Post by California gal on Nov 22, 2009 9:18:02 GMT -8
CBS-TV
GARRISON PRODUCTIONS
THE WILD WILD WEST
“The Night of the Legion of Death”
[Originally entitled “The Night of the Black Legion”]
#0368
FINAL DRAFT
September 20, 1967
THE WILD WILD WEST
“The Night of the Black Legion”
PRODUCER
BRUCE LANSBURY
ASSOCIATE PRODUCER
LEONARD KATZMAN
STORY CONSULTANT
HENRY SHARP
WRITTEN BY:
ROBERT C. DENNIS and EARL BARRET
SETS:
EXT. PRISON COURTYARD
EXT. DECREPIT BUILDING
INT. ATTIC
EXT. GALLOWS
EXT. SECOND STORY – ABANDONED BUILDING
EXT. FIRST STORY – ABANDONED BUILDING
EXT. ALLEY
EXT. STREET
INT. GAZEBO
INT. TUNNEL
INT. GOVERNOR’S OFFICE
EXT. GOVERNOR’S MANSION
EXT. FRONT LAWN
INT. MORGUE
INT. MORGUE OFFICE
INT. FLATBED CARRIAGE WAGON
EXT. KITTREDGE HOUSE
INT. CAROLINE KITTREDGE’S ROOM
INT. MONTGOMERY’S OFFICE
INT. COURTROOM
INT. AUDITORIUM BUILDING
EXT. WIDOW’S WALK
EXT. PRIVATE CAR
EXT. SIDING
INT. PRIVATE CAR
CAST:
JAMES WEST – ROBERT CONRAD
ARTEMUS GORDON – ROSS MARTIN
GOVERNOR WINSTON BRUBAKER
MONTGOMERY
AARON ADDISON
HENRIETTE FAURE
CAPTAIN DANSBY
CAROLINE KITTREDGE
SERGEANT
CORPORAL
ATTENDANT
PROSECUTOR
JUDGE
REEVES
FOREMAN
SILENT:
TROOPERS
GUARD
FADE IN:
1. OMIT
2. EXT. PRISON COURTYARD – DAY
CAMERA plays over the gallows set up in the courtyard, and picks out a decorative element rising above the gibbet on a long standard—of a slash of lightning bordered by a cut-out frame of olive leaves. (see Fig. 37) This is the graphic symbol of the dictatorship that we will see so much of in the script to come. (The symbol should be repeated and used at every opportunity, just as the swastika was, and for the same carefully calculated hypnotic effect.)
3. STILL ANOTHER ANGLE
No sooner does the CAMERA PICK UP the blindfolded figure standing on the trapdoor with the rope around his neck (attended to by a jack-booted executioner) then the trapdoor is tripped and the figure plunges out of sight…
… but as the CAMERA MOVES TO show the underside of the gallows, we see that the swaying figure at the end of the rope is a dummy, and we are witnessing the standard last minute dry-run execution.
4. OMIT
5. EXT. DECREPIT BUILDING – DAY
Long abandoned, obviously, a near ruin; CAMERA moves over the sagged front door, the windows with glass panes cracked, gray and opaque from disuse…
… then MOVES UP to the equally cracked and gray attic window panes, from which we see a pair of binoculars unobtrusively protruding.
6. INT. ATTIC – AT WINDOW
The man behind the binoculars, we see is WEST. He takes the glasses from his eyes, lost in thought, then moves off to one of the many posts supporting the ruined roof partially opened to the sky—manipulates the post, and a panel flips down revealing the post is hollow…
… and to contain an impressive sniper’s rifle, complete with telescopic sight,* which he removes.
****************
*An opportunity to take some designer’s license here, since optical sights actually were not used at this time.
****************
7. ANOTHER ANGLE – AT WINDOW
West settles himself at the window, busies himself making adjustments to the rifle sights as he aims it out the window.
8. EXT. PRISON COURTYARD – DAY
A huge door is flung open and a half dozen black-shirted trooper march out by twos, their boots cracking in the cobbled yard. Sandwich between two columns is a GRAY-HAIRED, SCHOLARLY-LOOKING, SAD-EYED OLD MAN – (his name is AARON ADDISON) accompanied by a WARDEN. CAMERA PANS with the parade to show their destination: the gallows.
9. INT. ATTICK – AT WINDOW – DAY
West, peering through the rifle sights, tenses.
10. EXT. GALLOWS – DAY
Addison has mounted to the platform, the executioner loosely encircles his neck with the hangman’s noose, then the Warden steps up to Addison:
WARDEN
Aaron Addison – do you have anything to say before your sentence is carried out?
A beat, then Addison bursts out with:
ADDISON
Only this—I am innocent! It’s true I was sent into this territory to spy—but I didn’t kill anyone! I did not kill anyone!
VOICE
Make me believe that, Addison.
The voice is unbelievably HARSH AND GRATING on the ear – not as part of the moment, but constitutionally, without effort on the part of the voice’s owner, who we now see as CAMERA ANGLES to show:
11. ANOTHER ANGLE – ON GALLOWS PLATFORM
seated nearby, up to this point unnoticed, angle now includes a man whose appearance matches his voice; he is DEKE MONTGOMERY, an extraordinarily unprepossessing man—very much at his ease as he stares at Addison with hooded eyes.
ADDISON
But—how?
MONTGOMERY
Tell me the name of the one who sent you here.
Addison shakes his head, the picture of a tormented, indecisive man, then, as if his last reservation has been swept away:
ADDISON
All right, I’ll tell you everything! The name of the man is…
12. CLOSE SHOT – WEST
he FIRES.
13. BACK TO ADDISON
as his body recoils under the bullet’s impact, then, slipping out of the loosely encircling noose, Addison plunges inertly to the floor of the platform.
14. BACK TO WEST
as he gets up briskly, replaces the rifle in the phony post, starts to go to the door, then reacts at the SOUND OF MANY BOOTED FEED POUNDING up the stairs. West whirls, goes to the window and peers out, then flings himself back as a COUPLE OF RIFLE SHOTS from below shatter what remains of the window panes.
15. ANOTHER ANGLE
as West backs away, looking tensely for a way out, the one door leading into the room shudders under the impact of rifle butts SLAMMING against it, then, as panels SPLINTER and the door starts to disintegrate against the overwhelming force being directed against it,
FADE OUT:
END OF TEASER
ACT ONE
16. INT. ATTIC – DAY
CLOSE – ON WEST, as he extracts a flat canister from an inside pocket, twists the cap, then, in one sweeping, compass-like motion, lays down a circular furrow of gray powder, completely surrounding him—then recoils like a turtle into his shell…
… and in an instant we see why as the circular deposit bursts into flame with a WHOOSH—a fierce, thermite-like flash that instantly becomes ROARING hoop of fire completely surrounding West.
17. CLOSE ON DOOR
enough panels have disintegrated under the rifle butts to show the several TROOPERS milling behind the door, then the last resistance of the door vanishes and the structure literally disintegrates before our eyes…
18. BACK TO WEST
then, just before a VOLLEY OF RIFLE FIRE SLAMS into the spot where West is huddling, the floor burns clear through and drops out from under his feet, with West following after…
19. EXT. SECOND STORY OF ABANDONED BUILDING – DAY
… as West plunges to the floor from the attic above, then, as he lands, the rotted floor collapses beneath him, and West continues his flight, plunges through this floor, too…
20. EXT. FIRST FLOOR – ABANDONED BUILDING – DAY
… and lands hard, but intact, on the ground floor. West bounces to his feet to find THREE HARD-EYED, JACK-BOOTED TROOPERS in black shirts facing him, rocked at his precipitous appearance.
21. ANOTHER ANGLE
West is the first to recover from the surprise, splits the defense with a lunge. He decks #1 with a haymaker right, but #2 jolts West in the interval, prevents West from leaving. West SLAMS in a couple of punches that cave in Trooper #2. Trooper #3 raises his gun butt high, starts to SMASH
West’s skull, but at the last second West ducks and wheels so that the gun comes down on nothing. West karates #3 on the back of the neck—and takes off. A second later he vanishes into an alley. Trooper #2 recovers sufficiently to fumble a whistle from his shirt pocket.
22. EXT. ALLEY – DAY
SOUND OF WHISTLE SHRILLS OVER as West races along the alley. Behind him a Trooper springs out of a doorway, aims his sidearm and FIRES. West careens around a right-angled turn and is out of SCENE.
23. ANOTHER ANGLE
A platoon of Troopers, heavily armed, swings around a corner, racing along in close formation.
24. EXT. STREET – DAY
As another detachment of Mounted Troopers trot along street and into the main square. At their head is CAPTAIN DANSBURY, lean, handsome, and deadly. One eye is covered by a patch, black naturally.
25. EXT. STREET AREA – DAY
The detachment pulls up at a hand signal from Dansby. He turns to his Sergeant.
DANSBY
Sergeant, deploy the men around the area. Stop everybody. In case of doubt, shoot.
The Sergeant flips a hand up in salute as he scurries away, one element in a scene of frenzied, deadly activity.
26. EXT. PARK – DAY
This borders one side of the square. West comes cautiously through the shrubs lining the narrow path. As he nears the perimeter of the park a Trooper in the square rides across his route. West is barely screened by the shrubs. He turns back, looking for another way out. From all around him comes the SHOUTED COMMANDS of the Troopers as they take up positions. West’s indecisive progress indicates he’s being hemmed in.
27. ANOTHER ANGLE
West comes up to a gazebo, reached by several steps. It is not open to the public but is used by the park caretaker to raise plants and shrubs for later transplanting outside. The open walls are effectively screened from view by a thick growth of ivy; West runs up the stairs, flips open the door…
28. INT. GAZEBO – DAY
… and a LOVELY WOMAN, her arms full of cut flowers turns around to face West, her eyes clear and completely without fear.
WEST
Sorry; am I trespassing?
HENRIETTE
I think that depends on who you are—and what you want.
WEST
Sorry… I’m not used to finding someone so pretty in a garden house… no, better forget I said that…
HENRIETTE
Really? I thought it was a rather pretty compliment.
WEST
(with assumed bitterness)
It was my last one—and you may quote me.
HENRIETTE
(looking at him keenly)
Ah—there’s a lady in the wings, isn’t there?
WEST
(heavily)
There was;
(with measured anger)
-- or I should say, a lady’s husband I never even knew existed…
He stops, reacting grimly as the SOUNDS of HORSES, RUNNING TROOPERS and SHOUTED COMMANDS GROW LOUDER.
WEST (CONT'D)
… and a very important husband, by the sounds outside.
Henriette goes to the door, peers out, then closes—and locks it.
HENRIETTE
No, I think I can tell you definitely those are not outraged husband’s noises.
WEST
I can’t tell you how relieved I am to hear that. For a while I thought he had sic’d all those wooden soldiers in the black shirts on me.
Henriette stares narrowly at West, then:
HENRIETTE
You don't know about the Militia? You must be new to the Territory.
WEST
(nodding)
Passing through. What are they—Governor Brubaker’s private army?
HENRIETTE
(stiffly)
The Militia is more than that; they’re quite useful in controlling the Indians and maintaining law and order.
(a twinkle)
I don't think their duties include helping angry husbands who are…
She stops as a heavy boot slams against the door and an impatient hand rattles the knob. Henriette moves quickly to West, who is reacting alertly, directs him to hide behind the door. As soon as West is concealed she unlocks it. A Trooper stands there.
HENRIETTE (CONT'D)
Yes, Corporal?
CORPORAL
(flustered)
Oh—Sorry, Miss Faure, but there’s a killer on the loose. We got orders to look everywhere.
HENRIETTE
And you think he’s hiding in here?
CORPORAL
(appalled at the idea)
Oh, not, but he’s dangerous, and –
(steps back and salutes)
Don’t you worry none, I’ll be on duty right out here until he’s caught.
HENRIETTE
(quickly)
There’s no need for that, Corporal…
She pastes on a smile and closes the door. As she turns, West steps out.
WEST
I’m impressed; you must be very important.
HENRIETTE
(shrugging this away)
Would it restore your faith in women if I showed you a way out?
WEST
Is there a way out?
Henriette’s answer is delayed as she goes to one of the wall uprights, presses what had seemed to be just a decorative stud, and West reacts alertly to see a trapdoor rising up before him, accompanied by a MUFFLED HISS, while a retracting staircase (just a small portion of which is shown) rises up into place from below. West peers down into the opening:
WEST
(nodding, impressed)
I like it; no garden house should be without one.
(a beat)
Where does it lead?
HENRIETTE
To a service exit in the back of the Governor’s mansion.
West peers into the dimly lighted depths of the cavern-like opening, then, as he turns around again, he reacts slightly to find that Henriette is now looking narrowly at him.
HENRIETTE (CONT'D)
The thought just occurred to me; maybe the Militia is searching for you.
West smiles lightly at her, and walks easily toward her, bends over and puts his lips to hers in a nicely sustained kiss. As West finally separates:
WEST
Thank you; you’ve been very kind.
HENRIETTE
(a beat—huskily)
Don’t—mention it.
West turns and steps into the opening. HOLD on Henriette, her expression, a curious blend of outrage struggling with the hint of a pleased smile hovering about her lips…
29. INT. TUNNEL – DAY
decorative little wall sconces illuminate the tunnel roughly hewn out of rock as West negotiates its twists and turns…
30. ANOTHER ANGLE
… rounds a corner and comes to a door. West cautiously turns the knob, opens the door slightly…
31. POV
framed by the doorway, we see the backyard of a mansion; and as we watch, a TROOPER comes into view, obviously on patrol, his eyes on the alert—but fortunately unaware of the opened door.
32. BACK TO WEST
hastily closing the door, then listening hard at it for any indication that the Trooper is approaching…
33. ANOTHER ANGLE
satisfied that he was not detected, West turns away, frustrated for the moment, then his eye is caught by something…
34. HIS POV – THE TUNNEL FLOOR
An earthen floor, but made more elegant by a plush red carpet in the middle, running the full length. West’s eye is caught by (and we HOLD ON) a particular area of the ground lying between the carpet runner—and the rough-hewn rocky wall…
… and we see that the area is marked by innumerable imprints of a woman’s high heel—as if, for good and sufficient reasons, a woman has halted in this particular spot many times before.
35. ANOTHER ANGLE
showing West’s exploratory, foot pressing down over the area, and suddenly, as a result of pressure on a particular point, a smoothly fitting catch flips out of the wall…
… and when West turns the catch, a flush-fitting door set in the wall swings open. West cautiously steps into:
36. OMIT
37. INT. GOVERNOR’S OFFICE – DAY
… an elegantly furnished sitting room. Eyebrows riding high, West swings the tunnel door closed (and now we can see that it forms one of the panels of the paneled room) and surveys the scene; the room is softly lighted by a chandelier suspended from the high ceiling, dominated on one side by a massive desk that might have been used by a French king…
… and on the other side, over the marble fireplace, by a large oil painting of a man; tall, silver-haired, keen-eyed—and extraordinarily handsome. West goes to the painting…
38. ANOTHER ANGLE
… it is while he is studying the compelling figure on the canvas, that he HEARS:
A HARSH VOICE
Nature and Art conspired to produce—this most perfect of Governors.
With an effort of will that only we are aware of, West very, very casually turns around to the source of the voice…
39. ANOTHER ANGLE
… and finds Deke Montgomery framed in the one doorway opening into the office, his ugliness relieved not at all by the smile that distorts his face as he walks over to a velvet bell rope and pulls it.
WEST
I can easily believe that;
(gesturing)
That is Governor Brubaker?
MONTGOMERY
(nodding absently)
And I am his secretary, Deke Montgomery, with a question.
As he says this, TWO TROOPERS wearing the distinctive insignia of an elite corps, file into the room, reacting with surprise to see West, then coming to attention facing Montgomery.
WEST
A question, you say?
MONTGOMERY
Yes. How did you get past my office—and these so-called guards?
WEST
(vaguely)
Why, I don't know—I guess I looked around…
MONTGOMERY
(smilingly)
… and didn’t see anyone; correct?
WEST
Exactly.
Still smiling, Montgomery lashes one of the Troopers with a stinging backhand, then does the same to the other—both of whom maintain their rigid, ramrod stance throughout. A beat, then, to West:
MONTGOMERY
Well, sir; as long as you are here, make yourself comfortable and tell us what we can do for you, Mr…?
WEST
West.
Montgomery indicates a chair—West seats himself, Montgomery throws a significant little glance at the Troopers, who take up their position on either side of the door, their eyes fixed on West…
… after which Montgomery seats himself on an adjoining chair and turns his smile-disfigured face to West.
WEST
I came to plead with the Governor for clemency—for Aaron Addison.
There is a beats, during which Montgomery’s smile flickers, almost goes out, then resumes.
MONTGOMERY
What a pity; you’re too late.
WEST
(softly—shocked)
He’s--dead?
Montgomery nods, his eyes boring to West’s, who rises, agitated, and takes a turn or two before he says:
WEST
His body…?
MONTGOMERY
Is where all bodies go, after our Territory has exacted the punishment decreed by law; the Morgue.
(a beat)
I should add, however, that a sniper’s bullet saved our hangman the trouble; perhaps you heard?
WEST
(distractedly)
What? No—I didn’t.
(solemnly)
At least I can arrange for Aaron Addison’s burial.
MONTGOMERY
You’re too late again; someone else has beaten you to that, too.
He rises, nods again to the Troopers, who move toward West from either side, during the following. West’s eyes flicker casually toward them, taking in their approach…
40. ANOTHER ANGLE – AT DOOR
… then back to the doorway gain, as Capt. Dansby appears, stands for a moment framed in it, then saunters toward West with an arrogant grace and a JINGLE OF SPURS…
… during which Montgomery continues:
MONTGOMERY
In fact, Mr. West, the only thing you are not too late for, is the interrogation that our Captain Dansby is so justly renowned for; covering such points as, who you are—why you are so interested in the late Aaron Addison—how much pain you can endure before you…
This is the point where West suddenly explodes into action, with a murderous left hook doubling up the Trooper on the right, a karate chop with his right hand that thuds home in the neck of the Trooper on the left…
… and a ballet dancer’s kick that deflects the aim of the gun that Dansby has whipped out and FIRED at West; over the JANGLING and the pattering down of shattered lustres from the bullet that has found its mark in the chandelier, and the GATHERING SOUNDS of JACK-BOOTS RACING toward them from the adjoining hallway, West turns and launches himself straight at the huge window…
41. EXT. GOVERNOR’S MANSION – DAY
ON WINDOW—as West plunges through in a spindrift of glass fragments…
… lands on the porch…
42. EXT. FRONT LAWN OF GOVERNOR’S MANSION
… and winds up on the cushioned surface of the lawn, with bullets from above kicking up divots all around him as he bounces to his feet and races out of view…
43. ANOTHER ANGLE – AT HITCHING POST
… and up to the hitching post where three horses are hitched; West flips all three sets of reins clear of the rail, vaults up into the saddle of one, gathers up the reins of the other two, and thunders off, with the other two horses galloping after…
… SEVERAL TROOPERS run up, reacting impotently to their horselessness as they FIRE their guns at the unseen West—during which, we
DISSOLVE TO:
44. INT. MORGUE – NIGHT
One wall contains sliding slabs to hold the clientele. When closed, as they are now, the slabs appear as drawers with handles and brackets to hold identifying cards. The place is brightly lit and empty. The swinging doors are butted open by an Attendant and he backs in pulling a cart.
45. ANOTHER ANGLE
Now we see that on the cart is a sheet-covered body. Following and pushing is Attendant #2 who hauls out one of the slabs. Between them they heave the body onto the slab which is slammed back into the wall. The Attendants exit. CAMERA MOVES IN on bracket. It reads: AARON ADDISON. CAMERA PANS to another drawer. The bracket on it reads: J. W. BOOTH. The slab begins to slide slowly and eerily out of the wall, revealing another shrouded body. When the drawer is fully extended the corpse sits up and the sheet falls off revealing West. He hops off.
46. ANOTHER ANGLE
West checks the other drawers until he finds the one labeled Aaron Addison and pulls it open. Stripping off the sheet he exposes Addison’s body. Now West takes out a leather case from his pocket.
47. CLOSE SHOT – CASE
Opened, we see it contains a hypodermic needle and a small vial. CAMERA PULLS BACK as West loads up the needle and injects the corpse. Then, after putting the needle away, he begins to peel the disguise off Addison, revealing ARTEMUS GORDON.
WEST
Artie – wake up. Come on now.
(slaps his face)
Artie!
Artemus doesn’t move a muscle.
48. EXT. STREET – NIGHT
A carriage comes into SCENE followed by a flat-bed wagon driven by two blackshirts. The procession pulls up in front of a stone building marked: MORGUE. The carriage driver, an old retainer and ex-army adjutant, GARVEY, hops down and opens the door for his passenger. Out steps a lovely lady, CAROLINE KITTREDGE, who moves off into the morgue. The Black Shirts linger behind with Garvey, as he hitches horses to the hitching post.
49. INT. MORGUE OFFICE – NIGHT
A tiny room with the bare necessities for operating the place. The Attendant is playing solitaire on the desk. Caroline enters alone, waits patiently for the attendant to look up from his cards, then, finally:
CAROLINE
I’ve come to claim the body of Aaron Addison.
No answer from the attendant, who continues to study his cards. A longer beat, then:
CAROLINE (CONT'D)
My name is Caroline Kittredge.
She holds out a document to the attendant, who reaches out a hand, takes it, puts it down by his side, all without once looking up from his cards, during which Garvey enters and reacts grimly to the scene.
ATTENDANT
(shaking his head)
Ol’ Jack o’ diamonds kills me every time. What a run of luck I’m…
GARVEY
(barking it out)
Right now, Attendant!
The attendant reacts, cards flying, hastily rises, during which the two Troopers enter office.
ATTENDANT
(gathering up his cards)
Yes, sir!
50. INT. MORGUE – NIGHT
West has removed all traces of Addison disguise from Artemus, has him sitting up on the edge of a slab—is supporting his head by grasping Artemus’ chin, which he shakes from time to time, obviously in an effort to clear Artemus’ head.
WEST
Come on, Artie, pull up your socks—snap out of it, old son…
Artemus focuses bleary eyes on West with an effort, creases his numb lips with an effort into a smile…
ARTEMUS
Hi, Jim—someone went an’ stuffed the ol’ noggin full of tapioca…
WEST
I know, Artemus—I have an idea I plugged you with a sedative capsule that was a little overstrength—
(helping Artemus to his feet)
--but we don’t have the time to wait for the effects to wear off.
ARTEMUS
Okay, Jim, I’ll make the ol’ college try;
(looking down)
Is that really my legs I’m walking on? Don’t feel a blessed thing…
ATTENDANT’S VOICE
Hey!
West and Artemus look around to find the attendant staring at them from the door through which he has just entered.
ATTENDANT (CONT'D)
What’s goin’ on? You got no right bein’ here!
ARTEMUS
Y’know what, Jim? Man’s absolutely right.
WEST
(to attendant—elaborately affronted)
All right, if that’s the way you feel about it, we’re going.
(to Artemus)
Come on, Vernon.
They move away, revealing the empty slab; the attendant stares wildly at it for a beat, then goes to West and Artemus, who are approaching the door.
ATTENDANT
Wait a minute! What’d you fellas do with the stiff?
ARTEMUS
(severely)
My good man, if you’ve lost a body, you’re quite unfit to hold public office!
(to West)
Right, Sidney?
The attendant grabs West by the arm and skews him around—West completely involved in holding Artemus upright gives ground, momentarily, then:
WEST
Be right with you, Artie.
He releases Artemus, and…
WEST (CONT'D)
(to attendant—sincerely)
Sorry, friend. We’ll have to put you to sleep for a spell.
… grabs the Attendant by the back of the neck, squeezing his pressure point, to cause him to reel back dazedly until he contacts the wall, against which he slowly, numbly slides downward until he’s sitting on the floor…
…whereupon West has lunged for Artemus who has slowly started to cave in—West catches Artemus in time, straightens him in a chair—after which he heads for the dazed attendant.
FLIP TO:
51. INT. MORGUE OFFICE – NIGHT
Caroline, Garvey and the two Troopers look up as West enters from the slumber room, supporting Artemus—who cannot resist the opportunity to go into an exaggerated bow to Caroline as he passes her. All four stare after West and Artemus as they exit, with the two Troopers exchanging knowing grins.
CORPORAL
I heard about the way some buckos go around sampling embalming fluid, and from the looks of that one…
He stops, as a MUFFLED THUMPING IS HEARD proceeding from the slumber room. A beat, then the two troopers barge in through the swinging doors…
52. INT. MORGUE – NIGHT
The Troopers enter and find the place deserted. THUDDING CONTINUES. Also:
ATTENDANT’S VOICE
(muffled shouts)
CORPORAL
(grimly)
I hear someone—and it ain’t a stiff!
He spots the Aaron Addison nameplate.
CORPORAL (CONT'D)
Open this one.
The Trooper hauls the slab out. On it is the Attendant enshrouded in Artemus’ cast-off sheet.
53. INT. FLATBED CARRIAGE WAGON – NIGHT
West is piloting the wagon, which is being propelled at top speed by the team of bays, with West vocally urging them to give it all they have. Artemus is nowhere in sight.
54. ANOTHER ANGLE – FACING WEST
Clutching the reins, SHOUTING the INCOHERENT NOISES at the horses that drivers always shout—during which the cheerful face of Artemus comes into view from the flat bed of the wagon, where he has been comfortably sprawling.
ARTEMUS
Don’t look now, Jim, but there’s a couple of mounted troopers bustin’ their britches trying to catch up to us.
West shoots a glance over his shoulder.
55. HIS POV
A couple of mounted troopers, FIRING as they go, are bearing down after West and Artemus.
56. BACK TO SCENE
As West turns his attention back to the horses.
WEST
That makes it a little more sporting, doesn’t it?
A sliver of wood is wrenched from the wooden seat as a rifle BULLET SCREAMS past, then another sliver is torn free by another bullet, then the BANSHEE SCREAM of a BULLET RICOCHETING off a metal bracket nearby, as CAMERA MOVES IN to a CLOSE SHOT of West and Artemus exchanging one of their grim little smiles at their bleak prospects for longevity, as we
FADE OUT
END OF ACT ONE
GARRISON PRODUCTIONS
THE WILD WILD WEST
“The Night of the Legion of Death”
[Originally entitled “The Night of the Black Legion”]
#0368
FINAL DRAFT
September 20, 1967
THE WILD WILD WEST
“The Night of the Black Legion”
PRODUCER
BRUCE LANSBURY
ASSOCIATE PRODUCER
LEONARD KATZMAN
STORY CONSULTANT
HENRY SHARP
WRITTEN BY:
ROBERT C. DENNIS and EARL BARRET
SETS:
EXT. PRISON COURTYARD
EXT. DECREPIT BUILDING
INT. ATTIC
EXT. GALLOWS
EXT. SECOND STORY – ABANDONED BUILDING
EXT. FIRST STORY – ABANDONED BUILDING
EXT. ALLEY
EXT. STREET
INT. GAZEBO
INT. TUNNEL
INT. GOVERNOR’S OFFICE
EXT. GOVERNOR’S MANSION
EXT. FRONT LAWN
INT. MORGUE
INT. MORGUE OFFICE
INT. FLATBED CARRIAGE WAGON
EXT. KITTREDGE HOUSE
INT. CAROLINE KITTREDGE’S ROOM
INT. MONTGOMERY’S OFFICE
INT. COURTROOM
INT. AUDITORIUM BUILDING
EXT. WIDOW’S WALK
EXT. PRIVATE CAR
EXT. SIDING
INT. PRIVATE CAR
CAST:
JAMES WEST – ROBERT CONRAD
ARTEMUS GORDON – ROSS MARTIN
GOVERNOR WINSTON BRUBAKER
MONTGOMERY
AARON ADDISON
HENRIETTE FAURE
CAPTAIN DANSBY
CAROLINE KITTREDGE
SERGEANT
CORPORAL
ATTENDANT
PROSECUTOR
JUDGE
REEVES
FOREMAN
SILENT:
TROOPERS
GUARD
FADE IN:
1. OMIT
2. EXT. PRISON COURTYARD – DAY
CAMERA plays over the gallows set up in the courtyard, and picks out a decorative element rising above the gibbet on a long standard—of a slash of lightning bordered by a cut-out frame of olive leaves. (see Fig. 37) This is the graphic symbol of the dictatorship that we will see so much of in the script to come. (The symbol should be repeated and used at every opportunity, just as the swastika was, and for the same carefully calculated hypnotic effect.)
3. STILL ANOTHER ANGLE
No sooner does the CAMERA PICK UP the blindfolded figure standing on the trapdoor with the rope around his neck (attended to by a jack-booted executioner) then the trapdoor is tripped and the figure plunges out of sight…
… but as the CAMERA MOVES TO show the underside of the gallows, we see that the swaying figure at the end of the rope is a dummy, and we are witnessing the standard last minute dry-run execution.
4. OMIT
5. EXT. DECREPIT BUILDING – DAY
Long abandoned, obviously, a near ruin; CAMERA moves over the sagged front door, the windows with glass panes cracked, gray and opaque from disuse…
… then MOVES UP to the equally cracked and gray attic window panes, from which we see a pair of binoculars unobtrusively protruding.
6. INT. ATTIC – AT WINDOW
The man behind the binoculars, we see is WEST. He takes the glasses from his eyes, lost in thought, then moves off to one of the many posts supporting the ruined roof partially opened to the sky—manipulates the post, and a panel flips down revealing the post is hollow…
… and to contain an impressive sniper’s rifle, complete with telescopic sight,* which he removes.
****************
*An opportunity to take some designer’s license here, since optical sights actually were not used at this time.
****************
7. ANOTHER ANGLE – AT WINDOW
West settles himself at the window, busies himself making adjustments to the rifle sights as he aims it out the window.
8. EXT. PRISON COURTYARD – DAY
A huge door is flung open and a half dozen black-shirted trooper march out by twos, their boots cracking in the cobbled yard. Sandwich between two columns is a GRAY-HAIRED, SCHOLARLY-LOOKING, SAD-EYED OLD MAN – (his name is AARON ADDISON) accompanied by a WARDEN. CAMERA PANS with the parade to show their destination: the gallows.
9. INT. ATTICK – AT WINDOW – DAY
West, peering through the rifle sights, tenses.
10. EXT. GALLOWS – DAY
Addison has mounted to the platform, the executioner loosely encircles his neck with the hangman’s noose, then the Warden steps up to Addison:
WARDEN
Aaron Addison – do you have anything to say before your sentence is carried out?
A beat, then Addison bursts out with:
ADDISON
Only this—I am innocent! It’s true I was sent into this territory to spy—but I didn’t kill anyone! I did not kill anyone!
VOICE
Make me believe that, Addison.
The voice is unbelievably HARSH AND GRATING on the ear – not as part of the moment, but constitutionally, without effort on the part of the voice’s owner, who we now see as CAMERA ANGLES to show:
11. ANOTHER ANGLE – ON GALLOWS PLATFORM
seated nearby, up to this point unnoticed, angle now includes a man whose appearance matches his voice; he is DEKE MONTGOMERY, an extraordinarily unprepossessing man—very much at his ease as he stares at Addison with hooded eyes.
ADDISON
But—how?
MONTGOMERY
Tell me the name of the one who sent you here.
Addison shakes his head, the picture of a tormented, indecisive man, then, as if his last reservation has been swept away:
ADDISON
All right, I’ll tell you everything! The name of the man is…
12. CLOSE SHOT – WEST
he FIRES.
13. BACK TO ADDISON
as his body recoils under the bullet’s impact, then, slipping out of the loosely encircling noose, Addison plunges inertly to the floor of the platform.
14. BACK TO WEST
as he gets up briskly, replaces the rifle in the phony post, starts to go to the door, then reacts at the SOUND OF MANY BOOTED FEED POUNDING up the stairs. West whirls, goes to the window and peers out, then flings himself back as a COUPLE OF RIFLE SHOTS from below shatter what remains of the window panes.
15. ANOTHER ANGLE
as West backs away, looking tensely for a way out, the one door leading into the room shudders under the impact of rifle butts SLAMMING against it, then, as panels SPLINTER and the door starts to disintegrate against the overwhelming force being directed against it,
FADE OUT:
END OF TEASER
ACT ONE
16. INT. ATTIC – DAY
CLOSE – ON WEST, as he extracts a flat canister from an inside pocket, twists the cap, then, in one sweeping, compass-like motion, lays down a circular furrow of gray powder, completely surrounding him—then recoils like a turtle into his shell…
… and in an instant we see why as the circular deposit bursts into flame with a WHOOSH—a fierce, thermite-like flash that instantly becomes ROARING hoop of fire completely surrounding West.
17. CLOSE ON DOOR
enough panels have disintegrated under the rifle butts to show the several TROOPERS milling behind the door, then the last resistance of the door vanishes and the structure literally disintegrates before our eyes…
18. BACK TO WEST
then, just before a VOLLEY OF RIFLE FIRE SLAMS into the spot where West is huddling, the floor burns clear through and drops out from under his feet, with West following after…
19. EXT. SECOND STORY OF ABANDONED BUILDING – DAY
… as West plunges to the floor from the attic above, then, as he lands, the rotted floor collapses beneath him, and West continues his flight, plunges through this floor, too…
20. EXT. FIRST FLOOR – ABANDONED BUILDING – DAY
… and lands hard, but intact, on the ground floor. West bounces to his feet to find THREE HARD-EYED, JACK-BOOTED TROOPERS in black shirts facing him, rocked at his precipitous appearance.
21. ANOTHER ANGLE
West is the first to recover from the surprise, splits the defense with a lunge. He decks #1 with a haymaker right, but #2 jolts West in the interval, prevents West from leaving. West SLAMS in a couple of punches that cave in Trooper #2. Trooper #3 raises his gun butt high, starts to SMASH
West’s skull, but at the last second West ducks and wheels so that the gun comes down on nothing. West karates #3 on the back of the neck—and takes off. A second later he vanishes into an alley. Trooper #2 recovers sufficiently to fumble a whistle from his shirt pocket.
22. EXT. ALLEY – DAY
SOUND OF WHISTLE SHRILLS OVER as West races along the alley. Behind him a Trooper springs out of a doorway, aims his sidearm and FIRES. West careens around a right-angled turn and is out of SCENE.
23. ANOTHER ANGLE
A platoon of Troopers, heavily armed, swings around a corner, racing along in close formation.
24. EXT. STREET – DAY
As another detachment of Mounted Troopers trot along street and into the main square. At their head is CAPTAIN DANSBURY, lean, handsome, and deadly. One eye is covered by a patch, black naturally.
25. EXT. STREET AREA – DAY
The detachment pulls up at a hand signal from Dansby. He turns to his Sergeant.
DANSBY
Sergeant, deploy the men around the area. Stop everybody. In case of doubt, shoot.
The Sergeant flips a hand up in salute as he scurries away, one element in a scene of frenzied, deadly activity.
26. EXT. PARK – DAY
This borders one side of the square. West comes cautiously through the shrubs lining the narrow path. As he nears the perimeter of the park a Trooper in the square rides across his route. West is barely screened by the shrubs. He turns back, looking for another way out. From all around him comes the SHOUTED COMMANDS of the Troopers as they take up positions. West’s indecisive progress indicates he’s being hemmed in.
27. ANOTHER ANGLE
West comes up to a gazebo, reached by several steps. It is not open to the public but is used by the park caretaker to raise plants and shrubs for later transplanting outside. The open walls are effectively screened from view by a thick growth of ivy; West runs up the stairs, flips open the door…
28. INT. GAZEBO – DAY
… and a LOVELY WOMAN, her arms full of cut flowers turns around to face West, her eyes clear and completely without fear.
WEST
Sorry; am I trespassing?
HENRIETTE
I think that depends on who you are—and what you want.
WEST
Sorry… I’m not used to finding someone so pretty in a garden house… no, better forget I said that…
HENRIETTE
Really? I thought it was a rather pretty compliment.
WEST
(with assumed bitterness)
It was my last one—and you may quote me.
HENRIETTE
(looking at him keenly)
Ah—there’s a lady in the wings, isn’t there?
WEST
(heavily)
There was;
(with measured anger)
-- or I should say, a lady’s husband I never even knew existed…
He stops, reacting grimly as the SOUNDS of HORSES, RUNNING TROOPERS and SHOUTED COMMANDS GROW LOUDER.
WEST (CONT'D)
… and a very important husband, by the sounds outside.
Henriette goes to the door, peers out, then closes—and locks it.
HENRIETTE
No, I think I can tell you definitely those are not outraged husband’s noises.
WEST
I can’t tell you how relieved I am to hear that. For a while I thought he had sic’d all those wooden soldiers in the black shirts on me.
Henriette stares narrowly at West, then:
HENRIETTE
You don't know about the Militia? You must be new to the Territory.
WEST
(nodding)
Passing through. What are they—Governor Brubaker’s private army?
HENRIETTE
(stiffly)
The Militia is more than that; they’re quite useful in controlling the Indians and maintaining law and order.
(a twinkle)
I don't think their duties include helping angry husbands who are…
She stops as a heavy boot slams against the door and an impatient hand rattles the knob. Henriette moves quickly to West, who is reacting alertly, directs him to hide behind the door. As soon as West is concealed she unlocks it. A Trooper stands there.
HENRIETTE (CONT'D)
Yes, Corporal?
CORPORAL
(flustered)
Oh—Sorry, Miss Faure, but there’s a killer on the loose. We got orders to look everywhere.
HENRIETTE
And you think he’s hiding in here?
CORPORAL
(appalled at the idea)
Oh, not, but he’s dangerous, and –
(steps back and salutes)
Don’t you worry none, I’ll be on duty right out here until he’s caught.
HENRIETTE
(quickly)
There’s no need for that, Corporal…
She pastes on a smile and closes the door. As she turns, West steps out.
WEST
I’m impressed; you must be very important.
HENRIETTE
(shrugging this away)
Would it restore your faith in women if I showed you a way out?
WEST
Is there a way out?
Henriette’s answer is delayed as she goes to one of the wall uprights, presses what had seemed to be just a decorative stud, and West reacts alertly to see a trapdoor rising up before him, accompanied by a MUFFLED HISS, while a retracting staircase (just a small portion of which is shown) rises up into place from below. West peers down into the opening:
WEST
(nodding, impressed)
I like it; no garden house should be without one.
(a beat)
Where does it lead?
HENRIETTE
To a service exit in the back of the Governor’s mansion.
West peers into the dimly lighted depths of the cavern-like opening, then, as he turns around again, he reacts slightly to find that Henriette is now looking narrowly at him.
HENRIETTE (CONT'D)
The thought just occurred to me; maybe the Militia is searching for you.
West smiles lightly at her, and walks easily toward her, bends over and puts his lips to hers in a nicely sustained kiss. As West finally separates:
WEST
Thank you; you’ve been very kind.
HENRIETTE
(a beat—huskily)
Don’t—mention it.
West turns and steps into the opening. HOLD on Henriette, her expression, a curious blend of outrage struggling with the hint of a pleased smile hovering about her lips…
29. INT. TUNNEL – DAY
decorative little wall sconces illuminate the tunnel roughly hewn out of rock as West negotiates its twists and turns…
30. ANOTHER ANGLE
… rounds a corner and comes to a door. West cautiously turns the knob, opens the door slightly…
31. POV
framed by the doorway, we see the backyard of a mansion; and as we watch, a TROOPER comes into view, obviously on patrol, his eyes on the alert—but fortunately unaware of the opened door.
32. BACK TO WEST
hastily closing the door, then listening hard at it for any indication that the Trooper is approaching…
33. ANOTHER ANGLE
satisfied that he was not detected, West turns away, frustrated for the moment, then his eye is caught by something…
34. HIS POV – THE TUNNEL FLOOR
An earthen floor, but made more elegant by a plush red carpet in the middle, running the full length. West’s eye is caught by (and we HOLD ON) a particular area of the ground lying between the carpet runner—and the rough-hewn rocky wall…
… and we see that the area is marked by innumerable imprints of a woman’s high heel—as if, for good and sufficient reasons, a woman has halted in this particular spot many times before.
35. ANOTHER ANGLE
showing West’s exploratory, foot pressing down over the area, and suddenly, as a result of pressure on a particular point, a smoothly fitting catch flips out of the wall…
… and when West turns the catch, a flush-fitting door set in the wall swings open. West cautiously steps into:
36. OMIT
37. INT. GOVERNOR’S OFFICE – DAY
… an elegantly furnished sitting room. Eyebrows riding high, West swings the tunnel door closed (and now we can see that it forms one of the panels of the paneled room) and surveys the scene; the room is softly lighted by a chandelier suspended from the high ceiling, dominated on one side by a massive desk that might have been used by a French king…
… and on the other side, over the marble fireplace, by a large oil painting of a man; tall, silver-haired, keen-eyed—and extraordinarily handsome. West goes to the painting…
38. ANOTHER ANGLE
… it is while he is studying the compelling figure on the canvas, that he HEARS:
A HARSH VOICE
Nature and Art conspired to produce—this most perfect of Governors.
With an effort of will that only we are aware of, West very, very casually turns around to the source of the voice…
39. ANOTHER ANGLE
… and finds Deke Montgomery framed in the one doorway opening into the office, his ugliness relieved not at all by the smile that distorts his face as he walks over to a velvet bell rope and pulls it.
WEST
I can easily believe that;
(gesturing)
That is Governor Brubaker?
MONTGOMERY
(nodding absently)
And I am his secretary, Deke Montgomery, with a question.
As he says this, TWO TROOPERS wearing the distinctive insignia of an elite corps, file into the room, reacting with surprise to see West, then coming to attention facing Montgomery.
WEST
A question, you say?
MONTGOMERY
Yes. How did you get past my office—and these so-called guards?
WEST
(vaguely)
Why, I don't know—I guess I looked around…
MONTGOMERY
(smilingly)
… and didn’t see anyone; correct?
WEST
Exactly.
Still smiling, Montgomery lashes one of the Troopers with a stinging backhand, then does the same to the other—both of whom maintain their rigid, ramrod stance throughout. A beat, then, to West:
MONTGOMERY
Well, sir; as long as you are here, make yourself comfortable and tell us what we can do for you, Mr…?
WEST
West.
Montgomery indicates a chair—West seats himself, Montgomery throws a significant little glance at the Troopers, who take up their position on either side of the door, their eyes fixed on West…
… after which Montgomery seats himself on an adjoining chair and turns his smile-disfigured face to West.
WEST
I came to plead with the Governor for clemency—for Aaron Addison.
There is a beats, during which Montgomery’s smile flickers, almost goes out, then resumes.
MONTGOMERY
What a pity; you’re too late.
WEST
(softly—shocked)
He’s--dead?
Montgomery nods, his eyes boring to West’s, who rises, agitated, and takes a turn or two before he says:
WEST
His body…?
MONTGOMERY
Is where all bodies go, after our Territory has exacted the punishment decreed by law; the Morgue.
(a beat)
I should add, however, that a sniper’s bullet saved our hangman the trouble; perhaps you heard?
WEST
(distractedly)
What? No—I didn’t.
(solemnly)
At least I can arrange for Aaron Addison’s burial.
MONTGOMERY
You’re too late again; someone else has beaten you to that, too.
He rises, nods again to the Troopers, who move toward West from either side, during the following. West’s eyes flicker casually toward them, taking in their approach…
40. ANOTHER ANGLE – AT DOOR
… then back to the doorway gain, as Capt. Dansby appears, stands for a moment framed in it, then saunters toward West with an arrogant grace and a JINGLE OF SPURS…
… during which Montgomery continues:
MONTGOMERY
In fact, Mr. West, the only thing you are not too late for, is the interrogation that our Captain Dansby is so justly renowned for; covering such points as, who you are—why you are so interested in the late Aaron Addison—how much pain you can endure before you…
This is the point where West suddenly explodes into action, with a murderous left hook doubling up the Trooper on the right, a karate chop with his right hand that thuds home in the neck of the Trooper on the left…
… and a ballet dancer’s kick that deflects the aim of the gun that Dansby has whipped out and FIRED at West; over the JANGLING and the pattering down of shattered lustres from the bullet that has found its mark in the chandelier, and the GATHERING SOUNDS of JACK-BOOTS RACING toward them from the adjoining hallway, West turns and launches himself straight at the huge window…
41. EXT. GOVERNOR’S MANSION – DAY
ON WINDOW—as West plunges through in a spindrift of glass fragments…
… lands on the porch…
42. EXT. FRONT LAWN OF GOVERNOR’S MANSION
… and winds up on the cushioned surface of the lawn, with bullets from above kicking up divots all around him as he bounces to his feet and races out of view…
43. ANOTHER ANGLE – AT HITCHING POST
… and up to the hitching post where three horses are hitched; West flips all three sets of reins clear of the rail, vaults up into the saddle of one, gathers up the reins of the other two, and thunders off, with the other two horses galloping after…
… SEVERAL TROOPERS run up, reacting impotently to their horselessness as they FIRE their guns at the unseen West—during which, we
DISSOLVE TO:
44. INT. MORGUE – NIGHT
One wall contains sliding slabs to hold the clientele. When closed, as they are now, the slabs appear as drawers with handles and brackets to hold identifying cards. The place is brightly lit and empty. The swinging doors are butted open by an Attendant and he backs in pulling a cart.
45. ANOTHER ANGLE
Now we see that on the cart is a sheet-covered body. Following and pushing is Attendant #2 who hauls out one of the slabs. Between them they heave the body onto the slab which is slammed back into the wall. The Attendants exit. CAMERA MOVES IN on bracket. It reads: AARON ADDISON. CAMERA PANS to another drawer. The bracket on it reads: J. W. BOOTH. The slab begins to slide slowly and eerily out of the wall, revealing another shrouded body. When the drawer is fully extended the corpse sits up and the sheet falls off revealing West. He hops off.
46. ANOTHER ANGLE
West checks the other drawers until he finds the one labeled Aaron Addison and pulls it open. Stripping off the sheet he exposes Addison’s body. Now West takes out a leather case from his pocket.
47. CLOSE SHOT – CASE
Opened, we see it contains a hypodermic needle and a small vial. CAMERA PULLS BACK as West loads up the needle and injects the corpse. Then, after putting the needle away, he begins to peel the disguise off Addison, revealing ARTEMUS GORDON.
WEST
Artie – wake up. Come on now.
(slaps his face)
Artie!
Artemus doesn’t move a muscle.
48. EXT. STREET – NIGHT
A carriage comes into SCENE followed by a flat-bed wagon driven by two blackshirts. The procession pulls up in front of a stone building marked: MORGUE. The carriage driver, an old retainer and ex-army adjutant, GARVEY, hops down and opens the door for his passenger. Out steps a lovely lady, CAROLINE KITTREDGE, who moves off into the morgue. The Black Shirts linger behind with Garvey, as he hitches horses to the hitching post.
49. INT. MORGUE OFFICE – NIGHT
A tiny room with the bare necessities for operating the place. The Attendant is playing solitaire on the desk. Caroline enters alone, waits patiently for the attendant to look up from his cards, then, finally:
CAROLINE
I’ve come to claim the body of Aaron Addison.
No answer from the attendant, who continues to study his cards. A longer beat, then:
CAROLINE (CONT'D)
My name is Caroline Kittredge.
She holds out a document to the attendant, who reaches out a hand, takes it, puts it down by his side, all without once looking up from his cards, during which Garvey enters and reacts grimly to the scene.
ATTENDANT
(shaking his head)
Ol’ Jack o’ diamonds kills me every time. What a run of luck I’m…
GARVEY
(barking it out)
Right now, Attendant!
The attendant reacts, cards flying, hastily rises, during which the two Troopers enter office.
ATTENDANT
(gathering up his cards)
Yes, sir!
50. INT. MORGUE – NIGHT
West has removed all traces of Addison disguise from Artemus, has him sitting up on the edge of a slab—is supporting his head by grasping Artemus’ chin, which he shakes from time to time, obviously in an effort to clear Artemus’ head.
WEST
Come on, Artie, pull up your socks—snap out of it, old son…
Artemus focuses bleary eyes on West with an effort, creases his numb lips with an effort into a smile…
ARTEMUS
Hi, Jim—someone went an’ stuffed the ol’ noggin full of tapioca…
WEST
I know, Artemus—I have an idea I plugged you with a sedative capsule that was a little overstrength—
(helping Artemus to his feet)
--but we don’t have the time to wait for the effects to wear off.
ARTEMUS
Okay, Jim, I’ll make the ol’ college try;
(looking down)
Is that really my legs I’m walking on? Don’t feel a blessed thing…
ATTENDANT’S VOICE
Hey!
West and Artemus look around to find the attendant staring at them from the door through which he has just entered.
ATTENDANT (CONT'D)
What’s goin’ on? You got no right bein’ here!
ARTEMUS
Y’know what, Jim? Man’s absolutely right.
WEST
(to attendant—elaborately affronted)
All right, if that’s the way you feel about it, we’re going.
(to Artemus)
Come on, Vernon.
They move away, revealing the empty slab; the attendant stares wildly at it for a beat, then goes to West and Artemus, who are approaching the door.
ATTENDANT
Wait a minute! What’d you fellas do with the stiff?
ARTEMUS
(severely)
My good man, if you’ve lost a body, you’re quite unfit to hold public office!
(to West)
Right, Sidney?
The attendant grabs West by the arm and skews him around—West completely involved in holding Artemus upright gives ground, momentarily, then:
WEST
Be right with you, Artie.
He releases Artemus, and…
WEST (CONT'D)
(to attendant—sincerely)
Sorry, friend. We’ll have to put you to sleep for a spell.
… grabs the Attendant by the back of the neck, squeezing his pressure point, to cause him to reel back dazedly until he contacts the wall, against which he slowly, numbly slides downward until he’s sitting on the floor…
…whereupon West has lunged for Artemus who has slowly started to cave in—West catches Artemus in time, straightens him in a chair—after which he heads for the dazed attendant.
FLIP TO:
51. INT. MORGUE OFFICE – NIGHT
Caroline, Garvey and the two Troopers look up as West enters from the slumber room, supporting Artemus—who cannot resist the opportunity to go into an exaggerated bow to Caroline as he passes her. All four stare after West and Artemus as they exit, with the two Troopers exchanging knowing grins.
CORPORAL
I heard about the way some buckos go around sampling embalming fluid, and from the looks of that one…
He stops, as a MUFFLED THUMPING IS HEARD proceeding from the slumber room. A beat, then the two troopers barge in through the swinging doors…
52. INT. MORGUE – NIGHT
The Troopers enter and find the place deserted. THUDDING CONTINUES. Also:
ATTENDANT’S VOICE
(muffled shouts)
CORPORAL
(grimly)
I hear someone—and it ain’t a stiff!
He spots the Aaron Addison nameplate.
CORPORAL (CONT'D)
Open this one.
The Trooper hauls the slab out. On it is the Attendant enshrouded in Artemus’ cast-off sheet.
53. INT. FLATBED CARRIAGE WAGON – NIGHT
West is piloting the wagon, which is being propelled at top speed by the team of bays, with West vocally urging them to give it all they have. Artemus is nowhere in sight.
54. ANOTHER ANGLE – FACING WEST
Clutching the reins, SHOUTING the INCOHERENT NOISES at the horses that drivers always shout—during which the cheerful face of Artemus comes into view from the flat bed of the wagon, where he has been comfortably sprawling.
ARTEMUS
Don’t look now, Jim, but there’s a couple of mounted troopers bustin’ their britches trying to catch up to us.
West shoots a glance over his shoulder.
55. HIS POV
A couple of mounted troopers, FIRING as they go, are bearing down after West and Artemus.
56. BACK TO SCENE
As West turns his attention back to the horses.
WEST
That makes it a little more sporting, doesn’t it?
A sliver of wood is wrenched from the wooden seat as a rifle BULLET SCREAMS past, then another sliver is torn free by another bullet, then the BANSHEE SCREAM of a BULLET RICOCHETING off a metal bracket nearby, as CAMERA MOVES IN to a CLOSE SHOT of West and Artemus exchanging one of their grim little smiles at their bleak prospects for longevity, as we
FADE OUT
END OF ACT ONE