Post by Apple on Nov 18, 2009 9:35:15 GMT -8
The Wild Wild West
“The Night of the Assassin”
PRODUCED BY
Bruce Lansbury
WRITTEN BY
Robert C. Dennis
And
Earl Barret
DIRECTED BY
Alan Crosland, Jr.
GUEST STAR
Robert Loggia
as
Colonel Barbossa
Donald Woods
as
Greswold
Nina Roman
as
Lupita
Nate Esformes
as
Perrico
Carlos Romero
as
The Lieutenant
WITH
Frank Sorrello as Juarez
Phyllis Davis as Lt. Ramirez
Juan Talavera as Soldier 1
AND
Ramon Novarro as Don Tomas
CREATED BY
Michael Garrison
ASSOCIATE PRODUCER
Leonard Katzman
STORY CONSULTANT
Henry Sharp
MUSIC COMPOSED AND CONDUCTED BY
Walter Scharf
DIRECTOR OF PHOTOGRAPHY
Richard L. Rawlings
ASSISTANT TO THE PRODUCER
Joe Kirby
UNIT PRODUCTION MANAGER
Mike Moder
ART DIRECTOR
CRAIG SMITH
SET DECORATION
Raymond Molyneaux
ASSISTANT DIRECTOR
Charles Scott, Jr.
FILM EDITOR
BYRON CHUDNOW, A.C.E.
© MCMLXVII Columbia Broadcasting System, Inc.
All Rights Reserved
Production # 3224-0352
IATSE (bug)
(Seal of Good Practice)
A MICHAEL GARRISON PRODUCTION
In Association with the CBS Television Network
Filmed at
CBS STUDIO CENTER
Studio City, California
TEASER
FADE IN:
1. EXT. Bell TOWER – DAY
The bell tips and begins a steady TOLLING.
1A. EXT. MEXICAN FIESTA DAY SCENE (DAY) (STOCK)
2. EXT. ALLEY – DAY
SOUND OF BELL COMES OVER from a distance. The alley is a narrow, shadowed street between walls with only an occasional doorway breaking the blankness. One of these doors in f.g. opens and a PADRE emerges. Projecting from over the door is a sign shaped like an olla. We don’t see the Padre’s face. CAMERA FOLLOWS him until he turns the corner OUT OF SCENE and then HOLDS on a sign on the building corner: CALLE DE ARTESANO.
3. EXT. PLAZA – DAY
A DETACHMENT OF Mexican soldiers are drawn in formation. They come to attention on a SHOUTED order from a burly LIEUTENANT. SOUND OF CHURCH BELL is closer here.
LIEUTENANT
(commands in Spanish)
4. WIDER ANGLE
The Padre in f.g. his back to CAMERA has paused to look at the soldiers. Now COLONEL ARSENIO BARBOSSA strides into SCENE to inspect the troops.
5. CLOSER – THE COLONEL
A trim, strikingly handsome man with a cruel, patrician face. We sense the soldiers are petrified by him.
6. EXT. CASA CALDERON – DAY
A walled town house overlooking the plaza. The Padre moves along in front of the high wall at a measured pace. We are too far away to tell anything about him except that he’s the same Padre. The CHURCHBELL CONTINUES OVER.
7. INT. CASA STUDY – DAY
This is a large, handsomely furnished second story room with several French windows opening on to a balcony or upper verandah extending across the front of the house. There’s a big grandfather clock and a huge fireplace. A small party is in progress. The host is DON TOMAS, a wealthy Mexican landowner. The guest of honor is PHILIP GRISWOLD, a grayhaired distinguished American diplomat. Also present: TWO YOUNG MEXICAN WOMEN, A DUENNA, JAMES WEST and ARTEMUS GORDON. A servant is circulating with champagne.
7A. CLOSER
as Don Tomas signals for attention.
DON TOMAS
Senores, senoras – and in honor of
our distinguished visitors, ladies
and gentlemen – very shortly now
our President will make his address
in the plaza. Before we adjourn to the
balcony I should like to propose a dual
toast – to Benito Juarez, el presidente
de la republic de Mexico, and to the
ambassador of our friends from the North –
Senor Griswold!
ALL
(appropriate responses)
Griswold, the gray haired distinguished type, bows in acknowledgement as everyone drinks; then West and Artemus rise and turn gravely to the ladies.
ARTEMUS
It has been our pleasure to join in
Many toasts, on e more fitting than the
other – but now, at last, the time
has come to exclude the ladies…
The faces of the ladies fall – the others look perplexed.
WEST
…so gentlemen, if we may be
permitted a toast to the greatest
of Mexico’s treasures:
ARTEMUS
Her lovely Senoritas.
The ladies TITTER and cover their faces with their fans to conceal their blushes—the others beam, make the appropriate responses and drink.
8. EXT. CHURCH – DAY
The PADRE is now approaching the church, A PEON in a big sombrero and serape moves out from the shade of the church and offers a folded Mexican blanket to the Padre. He accepts it, nods benevolently at the other and goes on into the church. The Peon saunters away into a passage between the church and the casa wall.
9. INT. CHURCH ROOM – DAY
The door into this small room opens to reveal a SEXTON hauling on the rope to ring the bell. His back is to the door. The Sexton glances around and reacts at what he sees…
9A. HIS POV
The ‘Padre’ is slipping a set of lethal-looking brass knuckles onto his right hand—then, with murderous swiftness he lashes out at the CAMERA.
9B. BACK TO SEXTON
being hurled back by the impact—but as he is flung back the convulsive action of his hand on the bell rope cuases the BELL TO CLANG OUT DISCORDANTLY, during which the ‘PADRE’ has leaped for a spiral staircase leading up (apparently) to the belltower.
9C. EXT. BALCONY – DAY
The CLANGOR of the BELL is STILL REVERBERATING when Don Tomas emerges, followed by West and Griswold. All look off curiously at the (unseen, of course) belltower…
10. EXT. BALCONY – DAY
Don Tomas emerges, followed by West and Griswold.
11. EXT. PLAZA - DAY
A crowd, awaiting Juarez’s arrival, is being held back by the troops.
12. EXT. BELL TOWER – DAY
Close ON THE Padre is crouched beside the bell tower, unrolling the serape and disclosing a series of rifle sections, which he swiftly assembles into an ominous-looking sniper rifle, complete with telescopic; We still don’tsee his face.
13. EXT. PLAZA – DAY
An open carriage rolls into the plaza and halts. Seated in it are JUAREZ and his Minister of the Interior, RAMIREZ. GREAT CHEERING from the crowd. Juarez stands in the carriage.
14. EXT. BALCONY - DAY
The people here APPLAUD too but with more restraint. West reacts to a glint of light which catches the corner of his eye. He turns to look off and up. Puzzled, he takes a small tube from his picket and elongates it so that we realize it’s a telescope. He looks toward belltower through this.
14A. EXT. BELL TOWER – MATTE SHOT – DAY
The Padre’s face is partially concealed by the telescopic sight in his rifle. The part we see is badley scarred. There’s no doubt he’s lined up on Juarez below.
15. EXT. BALCONY - DAY
CLOSE on West—his face set in grim lines as he reacts—then CAMERA PULLS BACK to show his hand leaping instinctively for a holster that isn’t there; a frustrated beat, then he whirls around toward the Casa study.
WEST
Artie! A bottle of beer for Mr. Dooley!
15A. INT.CASA STUDY – DAY
Artemus has just offered his arm to one of the ladies and is moving off toward the balcony when he HEARS the above---his reaction is so instantaneous that is should suggest beyond any doubt that this is a Standard Operation Procedure bit that he and West have used before—he lunges out at the wine bucket nearby, scoops up a bottle and flings it toward West like a ninepin…
15B. BACK TO WEST
as he deftly snares the bottle hurtling toward him, whirls and flings it down, with all his might.
16. EXT. PLAZA – CLOSE SHOT – HORSE’S HOOVES - DAY
The bottle SMASHES on the cobbles right at the horse’s feet. The horses promptly shy.
17. MED. SHOT - JUAREZ
He’s jerked off-balance and sits down abruptly. Simultaneously a RIFLE SHOT rings out. Ramirez is hit. Pandemonium breaks out in the plaza. The crowd scatters – the soldiers try to spot for the sniper.
18. EXT. BELL TOWER - DAY
The Padre is trying to track his target below for a second shot. He FIRES again.
West leaps onto the railing, balancing himself precariously as:
WEST
Off to intercept, Artie!
ARTEMUS
I’ll cover you from below!
Simultaneously, West nods, leaps up and latches on to the roof beam, hangs there for a beat as Artemus turns and races for the stairs—then West draws himself up and onto the roof.
19. SHOT – ON ROOF
At Director’s discretion, a series of SHOTS showing West racing along the tiled roof, heading for the parapet where the sniper still crouches.
20. ANOTHER ANGLE
to include the Peon on top of the wall guarding a six foot ladder extending to the church roof – obviously the assassin’s escape route. West comes into view and charges, the Peon grabs the ladder and swings it to wipe West off the wall. West ducks. They feint at each other.
21. EXT. PLAZA - DAY
The soldiers have zeroed in on the sniper’s location and are FIRING up at the Bell Tower. The Colonel is calmly directing the operation. The carriage is gone.
22. EXT. CHURCH ROOF - DAY
The Padre, chased out of the bell tower, comes sliding over the sloping tiled roof to his escape route. There’s no ladder. He looks down at the wall. West, distracted by possible attack by the Padre, glances away from the Peon who backswings the ladder. It catches West across the shoulders, causing him to lose his balance. He falls. The Padre runs away across the rooftop.
23. ANOTHER ANGLE - WEST
He’s grabbed the top of the wall and hangs from it by his fingertips. The Peon’s feet come INTO SCENE. One heavy boot rises to stamp down on West’s fingers as we (X)
FADE OUT.
ACT 1
FADE IN:
24. EXT. WALL – DAY
Just as the Peon’s boot smashes down, West lets go with one hand and, hanging on by the other, grabs the Peon’s ankle—jerks, and the Peon is carwheeled off the wall on the side West hangs from—
--then West reaches into his inside pocket and comes up with a ping-pong-ball-sized metal sphere that he mashes against the wall (NOTE: this is the chemical leech, last seen in THE GLOWING CORPSE – see Fig. 37), to which it adheres tenaciously, then gripping the handle connected to the sphere by a fine wire, West reels himself downward at a breathtaking rate…
24A. EXT. CASA GARDEN - DAY
…and contacts the ground smartly, his knees buckling from the impact, just as Artie coms running INTO THE SCENE. Artemus nods appreciatively at the long line of wire extending from the chemical leech still adhering to the wall above.
24B. ANOTHER ANGLE
West and Artemus come into view, staring down at the Peon, face down in the shallow fountain, his body draped awkwardly over the low, stone retaining wall in the attitude that is the distinctive property of death alone. Artemus bends down, picks up the Peon’s wrist, obviously testing for a pulse.
ARTEMUS
Poor fellow couldn’t swim –
WEST
(grimly)
--and the phony Padre got away, too.
Nothing left to do but inform the
police.
ARTEMUS
I’m not so sure. Take a look at
his face.
West stoops, peers closely at the dead man’s face.
WEST
(reacting thoughtfully)
An American…Calico Jack!
CONTINUED
WILD WILD WEST
#0352 – Assassin
Rev. 5/31/67
24C. CLOSE IN ON ARTEMUS
He is bending over the dead man’s leg. He takes a snap-blade pen knife from his pocket, along with a small sample envelope, and proceeds to scrape a red, clay-like substance from the trouser, which is covered with a pink dust.
ARTEMUS
Not the tidiest of men, either!
24D. AS BEFORE
WEST
Why is an American helping
to assassinate the president
of Mexico?
25. INT. STUDY – CLOSE SHOT – GRISWOLD – DAY
GRISWOLD
All the shots missed President
Juarez. His Minister of the
Interior wasn’t so lucky.
He’s dead.
26. WIDER ANGLE
to include West and Artie.
GRISWOLD
Jim, did you get a good look at
the sniper? Was he an American too?
WEST
I don’t know. He could’ve been.
All I saw was a man in a priest’s
cassock.
GRISWOLD
Then for the moment we must accept
that he was an American. And that,
gentlemen, means we have a critical
problem.
WEST
I don’t see why, sir.
GRISWOLD
Perhaps you’ll understand when I
tell you that my mission here has
been a total failure. Juarez refused
even to appoint a commission to study
the border problem. Two hours later
he’s almost assassinated.
#0352 – Assassin I-8
Rev. 5/31/67
26. CONTINUED
ARTIE
But there’s no connection.
GRISWOLD
We know that. Now how do we
convince the Mexican Government?
ARTIE
Find out who hired the gunmen.
WEST
There’s one man who knows that.
ARTIE
The sniper, yes. We’ve got to
find him before the police do.
WEST
The first movie is to keep the
police from finding Calico
Jack’s body.
ARTIE
I’ll take care of that, Jim.
WEST
Then, I’ll try to get a line on
the sniper…
GRISWOLD
For you to engage in any activity
on Mexican soil violates all the
diplomatic rules in the book! I
can’t permit a mission like this –
27.
& OMIT
28.
29. NEW ANGLE
DON TOMAS hurries gravely through the door.
DON TOMAS
Martial law has been declared.
No one may enter or leave town
until further notice.
West
That could be inconvenient.
#0352 – Assassin I-9
Rev. 5/31/67
29. CONTINUED
DON TOMAS
Consider my house your house
until the emergency is over.
GRISWOLD
You are very gracious. But we have
Mr. West’s private car on the siding –
DON TOMAS
(embarrassed)
Unfortunately, Senor, curfew has been
invoked.Anyone found on the streets
after dark will be arrested – or shot.
There are no exceptions.
GRISWOLD
(he bows)
In that case your generous hospitality
is deeply appreciated.
DON TOMAS
We shall dine at ten. Until then –
He bows and exits. Griswold swings around to West and Artemus.
GRISWOLD
That settles it! Those soldiers
are trigger-happy now. When it
gets dark they’ll be shooting at
everyting that moves—I will not
allow you to risk your lives by
leaving this house!
He turns and stalks from the room. Artemus turns to West with an elaborately straight face.
ARTEMUS
Well, that’s as direct an order
as I’ve ever heard.
WEST
What is?
ARTEMUS
What Griswold said—about not
allowing us---
(trailing off)
Isn’t that funny? I can’t
Remember the point he was making.
CONTINUED
#0352 – Assassin I-10
Rev. 5/31/67
29. CONTINUED
WEST
Neither can I. Artie…
What was that powder you took
Off Calico’s overalls?
ARTEMUS
Turned out to be potter’s clay, Jim
WEST
(moving to the door)
Well, maybe that’s a beginning…
30. EXT. STREET - NIGHT
A squad of four or five soldiers move ominously along the narrow dark steet. They are spread out, rifles at the ready, checking every doorway, every niche, sweeping the street toward a corner.
31. EXT SIDE STREET - NIGHT
For a moment it’s empty and unmoving. Then West materializes from a dark recess and darts silently to another shadowy-niche further along the street. He’s heading toward the corner too.
32. MED. SHOT - PATROL
Nearing the corner.
33. MED. SHOT - WEST
repeating his maneuver which brings him closer to a meeting with the patrol. As he vanishes into a doorway we HEAR the APPROACHING PATROL.
34. CLOSE SHOT - WEST
flattened in his shallow doorway, which is barely deep enough to curtain him. CAMERAL PULLS BACK sharply to include the corner thirty feet away. The patrol comes around the corner toward West’s hiding place.
34A. CLOSE – WEST’S DERRINGER
as it SNAPS from his sleeve.
35. CLOSE SHOT - WEST
He comes up with an odd, elongated bullet, which is striped red, white, and blue, that he places in the business end of the barrel, aims his gun at a forty-five degree angle and FIRES…
#0352 – Assassin I-11
Rev. 5/31/67
36. MED. SHOT - SOLDIER
at the only doorway between the corner and West. He jams his rifle butt into the dark inset and rolls it around, establishing it’s empty.
37. WIDER ANGLE
we see West’s projectile strike the ground; it detonates with WHISTLES AND BANGS. Every member of the patrol reacts, wheeling and FIRING instinctively.
38. OMIT.
39. REVERSE ANGLE
The soldiers, still not aware of the cause of the disturbance, are closing in. West emerges from his doorway and, moving behind the troops, silently makes it to the corner and is gone.
40. EXT. ALLEY - NIGHT
West moves cautiously toward a street at the distant end. As he’s almost to the mouth of the alley he HEARS GALLOPING horses and pins himself against the side of the building. TWO MOUNTED SOLDIERS gallop past, and are gone. West runs to the corner of the building.
41. MED. SHOT – ALONG STREET
The horsemen are disappearing in the distance. West’s head comes INTO SCENE as he peers after them. A beat and then from another alley or doorway beyond West another head sticks out. This is Perrico. As he turns to look in the opposite direction West pulls his head back just in time.
42. ANOTHER ANGLE
Satisfied no one has spotted him Perrico comes out of his nest and hurries across the street to vanish into the continuation of the alley. After a moment West follows the same route. AS he disappears CAMERA PANS up to the sign on the corner of the building. It reads: Called de Artesano.
43. INT. POTTERY WORKSHOP - NIGHT
Shelves of unfinished pottery, work tables, potters wheels, and,
over in a corner, a bunk on which is the dark form of a man. Tossed carelessly over a wooden chair is the Padre’s discarded cassock. SOUND OF KNOCKING. The man on the bunk sits up into moonlight streaming through the window. This is HALVORSEN, the scar-faced Texas gunfighter – when he isn’t posing as a priest.
He crosses to the door.
HALVORSEN
Who’s there?
PERRICO’S VOICE
Perrico – quickly.
Halvorsen admits Perrico, grabbing him angrily.
HALVORSEN
What are you doing here?!?
You might have been followed!
PERRICO
Followed? By whom? Not even cats
and dogs are out tonight.
Only soldiers –
HALVORSEN
All the more reason to stay clear.
Perrico
But they’re only one street away –
and they’re searching from house to
house. You must leave.
HALVORSEN
Leave? There’s no place in this
town I can go!
Perrico
That’s not my concern, Senor. If
you’re caught here I’ll be shot too.
HALVORSEN
What do you want – more blood money?
PERRICO
No, I want to live to spend what I
Have. Get out, quickly.
HALVORSEN
You double-crossing hyena –
He starts at Perrico who stops him by hastily drawing a gun.
PERRICO
Please, gringo, no names. Just go
Before I remember you tried to
Assassinate El Presidente.
HALVORSEN
All right – all right, amigo. But
If I get out of this alive, I’ll be
back for you.
He goes to the door and out.
44. EXT. ALLEY - NIGHT
The door from which Halvorsen emerges is the same one we saw
him leave earlier as the Padre. It’s marked by the olla-
shaped sign above.
WEST’S VOICE
Buenos noches – Padre.
Halvorsen wheels to face West who moves in to SHOT.
HALVORSEN
What are you talking about? I’m
no padre.
WEST
You were for a little while this
afternoon --
Halvorsen throws a punch with no warning, spinning West into
the side of the buiding. Then the sniper runs. West pursues him.
45. ANOTHER ANGLE
West brings Halvorsen down with a flying tackle. The momentum rolls both them [sic] clear of the alley.
46. EXT. STREET - NIGHT
West gets an armlock on Halvorsen who continues to struggle.
WEST
(low)
It’s either me or the soldiers. And
all you’ll get from them is a bullet.
HALVORSEN
Yeah and what do I get from you?
WEST
First some questions.
HALVORSEN
And then?
WEST
That depends on the answers.
HALVORSEN
All right –
47. WIDER ANGLE
to include a lighted window as a WOMAN looks out and SCREAMS to wake the dead. O.S. SHOUTS AND RUNNING ARMY BOOTS.
WEST
Into the alley – fast!
They run for the alley as soldiers careen around the corner of the first street over. A couple of SHOTS miss as West and Halvorsen vanish into the alley.
48. EXT. ALLEY - NIGHT
They run at full speed along the twisting alley.
49. MED. SHOT - SOLDIERS
racing by in full pursuit. This patrol is commanded by the
burly Lieutenant.
50. CLOSE SHOT - HALVORSEN
running. SOUND OF SHOT.
51. CLOSE SHOT - HALVORSEN
He’s hit by the shot, stumbles and goes down.
52. WIDER ANGLE
Halvorsen sprawls headlong on the alley floor. West is going too fast to stop before he’s around a bend and out of sight. A second later the soldiers pounce on Halvorsen. The Lieutenant charges up.
LIEUTENANT
(bawling)
There were two of them – find the
other one.
Two soldiers push on past and around the turn of the alley.
53. MED. SHOT - WEST
He races up to the CAMERA and stops abruptly, staring ahead.
54. REVERSE ANGLE
showing the alley is a deadend. There’s no place to go. The FOOTSTEPS of the soldiers POUND CLOSER. West leaps for a doorway on the side of the alley. The door is firmly locked. He flattens himself against it and waits to be discovered.
55. MED. SHOT. - SOLDIERS
They approach more slowly now that they see the dead-end ahead.
56. CLOSE SHOT - WEST
The door behind him opens suddenly and he falls back into pitch darkness. The door closes again a moment before a soldier comes INTO SCENE. He checks the door. It’s locked.
57. WIDER ANGLE
The soldiers are joined by the Lieutenant, now carrying a lantern.
LIEUTENANT
Where is he?
SOLDIER
He got away.
LIEUTENANT
You fool. He couldn’t get away –
there’s no place to go.
(points)
Did you look in there?
SOLDIER
No, sir. It’s locked.
LIEUTENANT
Smash it.
One of the soldiers smashes his rifle butt against the door. Once more and it gives way.
58. INT. STOREROOM - NIGHT
as the Lieutenant’s lantern lights up a small dusty room
full of empty crates and boxes. The Lieutenant stares around
as we
FREEZE FRAME
“The Night of the Assassin”
PRODUCED BY
Bruce Lansbury
WRITTEN BY
Robert C. Dennis
And
Earl Barret
DIRECTED BY
Alan Crosland, Jr.
GUEST STAR
Robert Loggia
as
Colonel Barbossa
Donald Woods
as
Greswold
Nina Roman
as
Lupita
Nate Esformes
as
Perrico
Carlos Romero
as
The Lieutenant
WITH
Frank Sorrello as Juarez
Phyllis Davis as Lt. Ramirez
Juan Talavera as Soldier 1
AND
Ramon Novarro as Don Tomas
CREATED BY
Michael Garrison
ASSOCIATE PRODUCER
Leonard Katzman
STORY CONSULTANT
Henry Sharp
MUSIC COMPOSED AND CONDUCTED BY
Walter Scharf
DIRECTOR OF PHOTOGRAPHY
Richard L. Rawlings
ASSISTANT TO THE PRODUCER
Joe Kirby
UNIT PRODUCTION MANAGER
Mike Moder
ART DIRECTOR
CRAIG SMITH
SET DECORATION
Raymond Molyneaux
ASSISTANT DIRECTOR
Charles Scott, Jr.
FILM EDITOR
BYRON CHUDNOW, A.C.E.
© MCMLXVII Columbia Broadcasting System, Inc.
All Rights Reserved
Production # 3224-0352
IATSE (bug)
(Seal of Good Practice)
A MICHAEL GARRISON PRODUCTION
In Association with the CBS Television Network
Filmed at
CBS STUDIO CENTER
Studio City, California
TEASER
FADE IN:
1. EXT. Bell TOWER – DAY
The bell tips and begins a steady TOLLING.
1A. EXT. MEXICAN FIESTA DAY SCENE (DAY) (STOCK)
2. EXT. ALLEY – DAY
SOUND OF BELL COMES OVER from a distance. The alley is a narrow, shadowed street between walls with only an occasional doorway breaking the blankness. One of these doors in f.g. opens and a PADRE emerges. Projecting from over the door is a sign shaped like an olla. We don’t see the Padre’s face. CAMERA FOLLOWS him until he turns the corner OUT OF SCENE and then HOLDS on a sign on the building corner: CALLE DE ARTESANO.
3. EXT. PLAZA – DAY
A DETACHMENT OF Mexican soldiers are drawn in formation. They come to attention on a SHOUTED order from a burly LIEUTENANT. SOUND OF CHURCH BELL is closer here.
LIEUTENANT
(commands in Spanish)
4. WIDER ANGLE
The Padre in f.g. his back to CAMERA has paused to look at the soldiers. Now COLONEL ARSENIO BARBOSSA strides into SCENE to inspect the troops.
5. CLOSER – THE COLONEL
A trim, strikingly handsome man with a cruel, patrician face. We sense the soldiers are petrified by him.
6. EXT. CASA CALDERON – DAY
A walled town house overlooking the plaza. The Padre moves along in front of the high wall at a measured pace. We are too far away to tell anything about him except that he’s the same Padre. The CHURCHBELL CONTINUES OVER.
7. INT. CASA STUDY – DAY
This is a large, handsomely furnished second story room with several French windows opening on to a balcony or upper verandah extending across the front of the house. There’s a big grandfather clock and a huge fireplace. A small party is in progress. The host is DON TOMAS, a wealthy Mexican landowner. The guest of honor is PHILIP GRISWOLD, a grayhaired distinguished American diplomat. Also present: TWO YOUNG MEXICAN WOMEN, A DUENNA, JAMES WEST and ARTEMUS GORDON. A servant is circulating with champagne.
7A. CLOSER
as Don Tomas signals for attention.
DON TOMAS
Senores, senoras – and in honor of
our distinguished visitors, ladies
and gentlemen – very shortly now
our President will make his address
in the plaza. Before we adjourn to the
balcony I should like to propose a dual
toast – to Benito Juarez, el presidente
de la republic de Mexico, and to the
ambassador of our friends from the North –
Senor Griswold!
ALL
(appropriate responses)
Griswold, the gray haired distinguished type, bows in acknowledgement as everyone drinks; then West and Artemus rise and turn gravely to the ladies.
ARTEMUS
It has been our pleasure to join in
Many toasts, on e more fitting than the
other – but now, at last, the time
has come to exclude the ladies…
The faces of the ladies fall – the others look perplexed.
WEST
…so gentlemen, if we may be
permitted a toast to the greatest
of Mexico’s treasures:
ARTEMUS
Her lovely Senoritas.
The ladies TITTER and cover their faces with their fans to conceal their blushes—the others beam, make the appropriate responses and drink.
8. EXT. CHURCH – DAY
The PADRE is now approaching the church, A PEON in a big sombrero and serape moves out from the shade of the church and offers a folded Mexican blanket to the Padre. He accepts it, nods benevolently at the other and goes on into the church. The Peon saunters away into a passage between the church and the casa wall.
9. INT. CHURCH ROOM – DAY
The door into this small room opens to reveal a SEXTON hauling on the rope to ring the bell. His back is to the door. The Sexton glances around and reacts at what he sees…
9A. HIS POV
The ‘Padre’ is slipping a set of lethal-looking brass knuckles onto his right hand—then, with murderous swiftness he lashes out at the CAMERA.
9B. BACK TO SEXTON
being hurled back by the impact—but as he is flung back the convulsive action of his hand on the bell rope cuases the BELL TO CLANG OUT DISCORDANTLY, during which the ‘PADRE’ has leaped for a spiral staircase leading up (apparently) to the belltower.
9C. EXT. BALCONY – DAY
The CLANGOR of the BELL is STILL REVERBERATING when Don Tomas emerges, followed by West and Griswold. All look off curiously at the (unseen, of course) belltower…
10. EXT. BALCONY – DAY
Don Tomas emerges, followed by West and Griswold.
11. EXT. PLAZA - DAY
A crowd, awaiting Juarez’s arrival, is being held back by the troops.
12. EXT. BELL TOWER – DAY
Close ON THE Padre is crouched beside the bell tower, unrolling the serape and disclosing a series of rifle sections, which he swiftly assembles into an ominous-looking sniper rifle, complete with telescopic; We still don’tsee his face.
13. EXT. PLAZA – DAY
An open carriage rolls into the plaza and halts. Seated in it are JUAREZ and his Minister of the Interior, RAMIREZ. GREAT CHEERING from the crowd. Juarez stands in the carriage.
14. EXT. BALCONY - DAY
The people here APPLAUD too but with more restraint. West reacts to a glint of light which catches the corner of his eye. He turns to look off and up. Puzzled, he takes a small tube from his picket and elongates it so that we realize it’s a telescope. He looks toward belltower through this.
14A. EXT. BELL TOWER – MATTE SHOT – DAY
The Padre’s face is partially concealed by the telescopic sight in his rifle. The part we see is badley scarred. There’s no doubt he’s lined up on Juarez below.
15. EXT. BALCONY - DAY
CLOSE on West—his face set in grim lines as he reacts—then CAMERA PULLS BACK to show his hand leaping instinctively for a holster that isn’t there; a frustrated beat, then he whirls around toward the Casa study.
WEST
Artie! A bottle of beer for Mr. Dooley!
15A. INT.CASA STUDY – DAY
Artemus has just offered his arm to one of the ladies and is moving off toward the balcony when he HEARS the above---his reaction is so instantaneous that is should suggest beyond any doubt that this is a Standard Operation Procedure bit that he and West have used before—he lunges out at the wine bucket nearby, scoops up a bottle and flings it toward West like a ninepin…
15B. BACK TO WEST
as he deftly snares the bottle hurtling toward him, whirls and flings it down, with all his might.
16. EXT. PLAZA – CLOSE SHOT – HORSE’S HOOVES - DAY
The bottle SMASHES on the cobbles right at the horse’s feet. The horses promptly shy.
17. MED. SHOT - JUAREZ
He’s jerked off-balance and sits down abruptly. Simultaneously a RIFLE SHOT rings out. Ramirez is hit. Pandemonium breaks out in the plaza. The crowd scatters – the soldiers try to spot for the sniper.
18. EXT. BELL TOWER - DAY
The Padre is trying to track his target below for a second shot. He FIRES again.
West leaps onto the railing, balancing himself precariously as:
WEST
Off to intercept, Artie!
ARTEMUS
I’ll cover you from below!
Simultaneously, West nods, leaps up and latches on to the roof beam, hangs there for a beat as Artemus turns and races for the stairs—then West draws himself up and onto the roof.
19. SHOT – ON ROOF
At Director’s discretion, a series of SHOTS showing West racing along the tiled roof, heading for the parapet where the sniper still crouches.
20. ANOTHER ANGLE
to include the Peon on top of the wall guarding a six foot ladder extending to the church roof – obviously the assassin’s escape route. West comes into view and charges, the Peon grabs the ladder and swings it to wipe West off the wall. West ducks. They feint at each other.
21. EXT. PLAZA - DAY
The soldiers have zeroed in on the sniper’s location and are FIRING up at the Bell Tower. The Colonel is calmly directing the operation. The carriage is gone.
22. EXT. CHURCH ROOF - DAY
The Padre, chased out of the bell tower, comes sliding over the sloping tiled roof to his escape route. There’s no ladder. He looks down at the wall. West, distracted by possible attack by the Padre, glances away from the Peon who backswings the ladder. It catches West across the shoulders, causing him to lose his balance. He falls. The Padre runs away across the rooftop.
23. ANOTHER ANGLE - WEST
He’s grabbed the top of the wall and hangs from it by his fingertips. The Peon’s feet come INTO SCENE. One heavy boot rises to stamp down on West’s fingers as we (X)
FADE OUT.
ACT 1
FADE IN:
24. EXT. WALL – DAY
Just as the Peon’s boot smashes down, West lets go with one hand and, hanging on by the other, grabs the Peon’s ankle—jerks, and the Peon is carwheeled off the wall on the side West hangs from—
--then West reaches into his inside pocket and comes up with a ping-pong-ball-sized metal sphere that he mashes against the wall (NOTE: this is the chemical leech, last seen in THE GLOWING CORPSE – see Fig. 37), to which it adheres tenaciously, then gripping the handle connected to the sphere by a fine wire, West reels himself downward at a breathtaking rate…
24A. EXT. CASA GARDEN - DAY
…and contacts the ground smartly, his knees buckling from the impact, just as Artie coms running INTO THE SCENE. Artemus nods appreciatively at the long line of wire extending from the chemical leech still adhering to the wall above.
24B. ANOTHER ANGLE
West and Artemus come into view, staring down at the Peon, face down in the shallow fountain, his body draped awkwardly over the low, stone retaining wall in the attitude that is the distinctive property of death alone. Artemus bends down, picks up the Peon’s wrist, obviously testing for a pulse.
ARTEMUS
Poor fellow couldn’t swim –
WEST
(grimly)
--and the phony Padre got away, too.
Nothing left to do but inform the
police.
ARTEMUS
I’m not so sure. Take a look at
his face.
West stoops, peers closely at the dead man’s face.
WEST
(reacting thoughtfully)
An American…Calico Jack!
CONTINUED
WILD WILD WEST
#0352 – Assassin
Rev. 5/31/67
24C. CLOSE IN ON ARTEMUS
He is bending over the dead man’s leg. He takes a snap-blade pen knife from his pocket, along with a small sample envelope, and proceeds to scrape a red, clay-like substance from the trouser, which is covered with a pink dust.
ARTEMUS
Not the tidiest of men, either!
24D. AS BEFORE
WEST
Why is an American helping
to assassinate the president
of Mexico?
25. INT. STUDY – CLOSE SHOT – GRISWOLD – DAY
GRISWOLD
All the shots missed President
Juarez. His Minister of the
Interior wasn’t so lucky.
He’s dead.
26. WIDER ANGLE
to include West and Artie.
GRISWOLD
Jim, did you get a good look at
the sniper? Was he an American too?
WEST
I don’t know. He could’ve been.
All I saw was a man in a priest’s
cassock.
GRISWOLD
Then for the moment we must accept
that he was an American. And that,
gentlemen, means we have a critical
problem.
WEST
I don’t see why, sir.
GRISWOLD
Perhaps you’ll understand when I
tell you that my mission here has
been a total failure. Juarez refused
even to appoint a commission to study
the border problem. Two hours later
he’s almost assassinated.
#0352 – Assassin I-8
Rev. 5/31/67
26. CONTINUED
ARTIE
But there’s no connection.
GRISWOLD
We know that. Now how do we
convince the Mexican Government?
ARTIE
Find out who hired the gunmen.
WEST
There’s one man who knows that.
ARTIE
The sniper, yes. We’ve got to
find him before the police do.
WEST
The first movie is to keep the
police from finding Calico
Jack’s body.
ARTIE
I’ll take care of that, Jim.
WEST
Then, I’ll try to get a line on
the sniper…
GRISWOLD
For you to engage in any activity
on Mexican soil violates all the
diplomatic rules in the book! I
can’t permit a mission like this –
27.
& OMIT
28.
29. NEW ANGLE
DON TOMAS hurries gravely through the door.
DON TOMAS
Martial law has been declared.
No one may enter or leave town
until further notice.
West
That could be inconvenient.
#0352 – Assassin I-9
Rev. 5/31/67
29. CONTINUED
DON TOMAS
Consider my house your house
until the emergency is over.
GRISWOLD
You are very gracious. But we have
Mr. West’s private car on the siding –
DON TOMAS
(embarrassed)
Unfortunately, Senor, curfew has been
invoked.Anyone found on the streets
after dark will be arrested – or shot.
There are no exceptions.
GRISWOLD
(he bows)
In that case your generous hospitality
is deeply appreciated.
DON TOMAS
We shall dine at ten. Until then –
He bows and exits. Griswold swings around to West and Artemus.
GRISWOLD
That settles it! Those soldiers
are trigger-happy now. When it
gets dark they’ll be shooting at
everyting that moves—I will not
allow you to risk your lives by
leaving this house!
He turns and stalks from the room. Artemus turns to West with an elaborately straight face.
ARTEMUS
Well, that’s as direct an order
as I’ve ever heard.
WEST
What is?
ARTEMUS
What Griswold said—about not
allowing us---
(trailing off)
Isn’t that funny? I can’t
Remember the point he was making.
CONTINUED
#0352 – Assassin I-10
Rev. 5/31/67
29. CONTINUED
WEST
Neither can I. Artie…
What was that powder you took
Off Calico’s overalls?
ARTEMUS
Turned out to be potter’s clay, Jim
WEST
(moving to the door)
Well, maybe that’s a beginning…
30. EXT. STREET - NIGHT
A squad of four or five soldiers move ominously along the narrow dark steet. They are spread out, rifles at the ready, checking every doorway, every niche, sweeping the street toward a corner.
31. EXT SIDE STREET - NIGHT
For a moment it’s empty and unmoving. Then West materializes from a dark recess and darts silently to another shadowy-niche further along the street. He’s heading toward the corner too.
32. MED. SHOT - PATROL
Nearing the corner.
33. MED. SHOT - WEST
repeating his maneuver which brings him closer to a meeting with the patrol. As he vanishes into a doorway we HEAR the APPROACHING PATROL.
34. CLOSE SHOT - WEST
flattened in his shallow doorway, which is barely deep enough to curtain him. CAMERAL PULLS BACK sharply to include the corner thirty feet away. The patrol comes around the corner toward West’s hiding place.
34A. CLOSE – WEST’S DERRINGER
as it SNAPS from his sleeve.
35. CLOSE SHOT - WEST
He comes up with an odd, elongated bullet, which is striped red, white, and blue, that he places in the business end of the barrel, aims his gun at a forty-five degree angle and FIRES…
#0352 – Assassin I-11
Rev. 5/31/67
36. MED. SHOT - SOLDIER
at the only doorway between the corner and West. He jams his rifle butt into the dark inset and rolls it around, establishing it’s empty.
37. WIDER ANGLE
we see West’s projectile strike the ground; it detonates with WHISTLES AND BANGS. Every member of the patrol reacts, wheeling and FIRING instinctively.
38. OMIT.
39. REVERSE ANGLE
The soldiers, still not aware of the cause of the disturbance, are closing in. West emerges from his doorway and, moving behind the troops, silently makes it to the corner and is gone.
40. EXT. ALLEY - NIGHT
West moves cautiously toward a street at the distant end. As he’s almost to the mouth of the alley he HEARS GALLOPING horses and pins himself against the side of the building. TWO MOUNTED SOLDIERS gallop past, and are gone. West runs to the corner of the building.
41. MED. SHOT – ALONG STREET
The horsemen are disappearing in the distance. West’s head comes INTO SCENE as he peers after them. A beat and then from another alley or doorway beyond West another head sticks out. This is Perrico. As he turns to look in the opposite direction West pulls his head back just in time.
42. ANOTHER ANGLE
Satisfied no one has spotted him Perrico comes out of his nest and hurries across the street to vanish into the continuation of the alley. After a moment West follows the same route. AS he disappears CAMERA PANS up to the sign on the corner of the building. It reads: Called de Artesano.
43. INT. POTTERY WORKSHOP - NIGHT
Shelves of unfinished pottery, work tables, potters wheels, and,
over in a corner, a bunk on which is the dark form of a man. Tossed carelessly over a wooden chair is the Padre’s discarded cassock. SOUND OF KNOCKING. The man on the bunk sits up into moonlight streaming through the window. This is HALVORSEN, the scar-faced Texas gunfighter – when he isn’t posing as a priest.
He crosses to the door.
HALVORSEN
Who’s there?
PERRICO’S VOICE
Perrico – quickly.
Halvorsen admits Perrico, grabbing him angrily.
HALVORSEN
What are you doing here?!?
You might have been followed!
PERRICO
Followed? By whom? Not even cats
and dogs are out tonight.
Only soldiers –
HALVORSEN
All the more reason to stay clear.
Perrico
But they’re only one street away –
and they’re searching from house to
house. You must leave.
HALVORSEN
Leave? There’s no place in this
town I can go!
Perrico
That’s not my concern, Senor. If
you’re caught here I’ll be shot too.
HALVORSEN
What do you want – more blood money?
PERRICO
No, I want to live to spend what I
Have. Get out, quickly.
HALVORSEN
You double-crossing hyena –
He starts at Perrico who stops him by hastily drawing a gun.
PERRICO
Please, gringo, no names. Just go
Before I remember you tried to
Assassinate El Presidente.
HALVORSEN
All right – all right, amigo. But
If I get out of this alive, I’ll be
back for you.
He goes to the door and out.
44. EXT. ALLEY - NIGHT
The door from which Halvorsen emerges is the same one we saw
him leave earlier as the Padre. It’s marked by the olla-
shaped sign above.
WEST’S VOICE
Buenos noches – Padre.
Halvorsen wheels to face West who moves in to SHOT.
HALVORSEN
What are you talking about? I’m
no padre.
WEST
You were for a little while this
afternoon --
Halvorsen throws a punch with no warning, spinning West into
the side of the buiding. Then the sniper runs. West pursues him.
45. ANOTHER ANGLE
West brings Halvorsen down with a flying tackle. The momentum rolls both them [sic] clear of the alley.
46. EXT. STREET - NIGHT
West gets an armlock on Halvorsen who continues to struggle.
WEST
(low)
It’s either me or the soldiers. And
all you’ll get from them is a bullet.
HALVORSEN
Yeah and what do I get from you?
WEST
First some questions.
HALVORSEN
And then?
WEST
That depends on the answers.
HALVORSEN
All right –
47. WIDER ANGLE
to include a lighted window as a WOMAN looks out and SCREAMS to wake the dead. O.S. SHOUTS AND RUNNING ARMY BOOTS.
WEST
Into the alley – fast!
They run for the alley as soldiers careen around the corner of the first street over. A couple of SHOTS miss as West and Halvorsen vanish into the alley.
48. EXT. ALLEY - NIGHT
They run at full speed along the twisting alley.
49. MED. SHOT - SOLDIERS
racing by in full pursuit. This patrol is commanded by the
burly Lieutenant.
50. CLOSE SHOT - HALVORSEN
running. SOUND OF SHOT.
51. CLOSE SHOT - HALVORSEN
He’s hit by the shot, stumbles and goes down.
52. WIDER ANGLE
Halvorsen sprawls headlong on the alley floor. West is going too fast to stop before he’s around a bend and out of sight. A second later the soldiers pounce on Halvorsen. The Lieutenant charges up.
LIEUTENANT
(bawling)
There were two of them – find the
other one.
Two soldiers push on past and around the turn of the alley.
53. MED. SHOT - WEST
He races up to the CAMERA and stops abruptly, staring ahead.
54. REVERSE ANGLE
showing the alley is a deadend. There’s no place to go. The FOOTSTEPS of the soldiers POUND CLOSER. West leaps for a doorway on the side of the alley. The door is firmly locked. He flattens himself against it and waits to be discovered.
55. MED. SHOT. - SOLDIERS
They approach more slowly now that they see the dead-end ahead.
56. CLOSE SHOT - WEST
The door behind him opens suddenly and he falls back into pitch darkness. The door closes again a moment before a soldier comes INTO SCENE. He checks the door. It’s locked.
57. WIDER ANGLE
The soldiers are joined by the Lieutenant, now carrying a lantern.
LIEUTENANT
Where is he?
SOLDIER
He got away.
LIEUTENANT
You fool. He couldn’t get away –
there’s no place to go.
(points)
Did you look in there?
SOLDIER
No, sir. It’s locked.
LIEUTENANT
Smash it.
One of the soldiers smashes his rifle butt against the door. Once more and it gives way.
58. INT. STOREROOM - NIGHT
as the Lieutenant’s lantern lights up a small dusty room
full of empty crates and boxes. The Lieutenant stares around
as we
FREEZE FRAME