Post by California gal on Dec 4, 2009 16:29:54 GMT -8
Production #0359
THE WILD WILD WEST
“The Night of the Waxen Terror”
#0359
FIRST DRAFT
May 11, 1967
PRODUCER
BRUCE LANSBURY
ASSOCIATE PRODUCER
LEONARD KATZMAN
STORY CONSULTANT
HENRY SHARP
WRITTEN BY
ROBERT E. KENT
SETS:
EXT. PHOENIX STREET
INT. HOTEL ROOM
EXT. HOTEL
INT. RAILROAD CAR
INT. TOWN HALL
EXT. MUSEUM
INT. MUSEUM
EXT. ALLEY
INT. STOREHOUSE
EXT. RR CAR REAR PLATFORM
EXT. COPELAND RANCH
EXT. COPELAND MANSION
INT. COPELAND BASEMENT
CAST
JAMES WEST – Robert Conrad
ARTEMUS GORDON – Ross Martin
JUSTICE WARRANT DANE
JUSTICE MARK OLIVER
GOV. DOUGLAS COPELAND
BARNABY STARK
SANDRA DEVON
STADER (1st waiter)
KINNEY
DRUNK
SILENT:
1 WAITER
2 GUNMEN
GIBNEY
TEASER
FADE IN:
1. EXT. PHOENIX STREET – NIGHT
FAVORED in the ESTABLISHING SHOT of Phoenix’s main street, with its pedestrians and riders, is the sign of the “PHOENIX HOTEL.” As CAMERA MOVES TOWARD a lighted window, its shades drawn, on the second floor of the inn –
DISSOLVE THROUGH TO:
2. INT. HOTEL ROOM – NIGHT
A rather heated discussion, chiefly between Supreme Court Justice WARREN DANE and elderly, retired Justice MARK OLIVER, is taking place. Drawn intermittently into the debate – against their wills – are the other two men in the room WEST and ARTEMUS.
DANE
(vehemently)
I tell you, Oliver, this is the time for Arizona’s admittance to the union.
As the men talk, Dane paces irritably, occasionally moving near the window.
OLIVER
(seething)
Is that what you want Dane, a state built on violence?
(voice building)
Grant sent you hear for my advice. All right. This is it: tell him Arizona is at least ten years away from being civilized enough for Statehood!
DANE
Do you also expect me to tell the President that you’re afraid of Douglas Copeland?
OLIVER
When Copeland became Governor, he took over this territory from top to bottom. And he’s not going to let you, or anybody else, take it away from him.
2. CONTINUED
DANE
(furious)
Perhaps, the army can change his mind.
OLIVER
(to West and Artie)
What do you two say? Doesn’t the fact that Grant thought Dane needed you for bodyguards out here tell you something?
West and Artie exchange an uncomfortable glance.
WEST
A lot of prominent people have disappeared lately under strange circumstances. I couldn’t say whether our assignment had anything to do with the Arizona question.
DANE
(snapping; to Oliver)
Times have changed since you sat on the Supreme Court bench with us. I still contend that Statehood would make a civilized community out of a --
He is interrupted by a KNOCK at the door.
WEST
(calling)
What is it?
VOICE
(o.s.; from hall)
Your dinners, sir.
Oliver and Dane relax. West and Gordon don’t. They draw their guns alertly.
DANE
(dourly)
Let’s hope Arizona food sits better on my stomach than its Governor.
West opens the door, and two uniformed WAITERS enter, pushing a food cart, on which is an elaborate display of silver and covered serving trays. West and Artie put away their guns now.
2. CONTINUED
1st WAITER
Will there be anything else?
WEST
(shakes head)
This is fine.
The waiters nod, and make their exit, with West locking the door again behind them. Artie lifts the cover from a tray, disclosing a good-sized roasted duck.
ARTEMUS
(hungrily)
I don't know about anything else, but this sure looks civilized enough to –
He stops short, reacting, as he sees:
3. INSERT: ROASTED DUCK
There is a POPPING EXPLOSION, the duck splits in half – and inside it, we see a small, square, metal container. Instantly, the top on the container opens, and a red gas literally pours into the room.
4. FULL SHOT
as the gas fills the room, enveloping the four men, who begin to cough and choke. West makes a desperate lunge for the door. But, just as he reaches it –
5. SHOT – AT DOOR
A metal panel CLANGS down from above, covering the door, shutting off any exit to the hall.
6. FULL SHOT
West tears across the room toward the window. But, as he reaches it –
7. SHOT – AT WINDOW
Two metal shutters, coming out from the sides, slide together with a CLANG, sealing the room.
8. FULL SHOT
Elderly Oliver topples from his chair, unconscious; Dane, gagging, sinks to his knees; Artie sags against a wall in a paroxysm of coughing – and, as the weakened West tries to claw at the metal shutters –
FADE OUT
FADE IN:
9. INT. HOTEL ROOM – NIGHT
The scene is the same as before, with CAMERA MOVING PAST Dane and Oliver discernible in the red, gaseous smoke, until IT COMES TO West, who is struggling to get something out of his pocket. Artie is nearby, moving unsteadily.
10. CLOSER ANGLE – WEST AND Artie
West pulls a wad of clay from his pocket, slams it against the seam where the shutters meet. Artie has automatically contributed a short fuse to this wad, which West lights. They both stagger away.
11. SHOT – AT STEEL SHUTTERS
The clay EXPLODES, and white smoke mingles with the red gas.
12. REACTION SHOT – WEST AND Artie
13. SHOT – AT STEEL SHUTTERS
The explosion has ripped them apart, exposing the glass window.
14. PAN SHOT – WEST
He reaches the window and, after wrapping a handkerchief around his hand, SMASHES his fist through the glass. He fills his lungs with air, then rushes back to the stricken Dane, lifts him to his feet and drags him over to the window.
WEST
(yelling)
Artie, get Judge Oliver over here!
15. PAN SHOT – Artie
He nods blearily and goes over to where Oliver is lying on the floor.
16. MED. SHOT – WEST AND DANE
While Dane fights to get his breath, West is yanking the twisted shutters further away from the window, and SMASHING out more of the glass.
ARTEMUS VOICE (O.S.)
It won’t do any good, Jim –
West and Dane look off.
17. MED. SHOT – ARTEMUS AND OLIVER
Artie is bent over the old man.
18. MED. FULL SHOT – WEST AND DANE
Both react.
WEST
Work on him! Try –
He stops short, as something catches his eye out the window.
19. LONG SHOT DOWN - WEST’S POV
The 1st waiter can be seen running toward a tethered horse.
20. FULL SHOT
West doesn’t wait; he leaps through the battered window, out to the roof of the porch outside.
21. SHOT – ANGLING IN BOTH DANE AND ARTEMUS
They react. Artie comes up and runs to the window.
22. EXT. HOTEL – NIGHT
West runs across the porch roof.
23. EX. PHOENIX STREET – NIGHT
The waiter is mounted now and is just starting to get away.
24. ANOTHER ANGLE
West leaps from the roof and hits the mounted waiter squarely. Both go plunging to the ground.
25. FULL SHOT – UP STREET
A wagon, pulled by a team, is heading swiftly toward where West and the waiter landed.
26. FULL SHOT – WEST AND THE 1ST WAITER
The waiter gets to his feet first and aims a vicious kick at Jim’s head. Jim grabs the leg and twists. The man CRIES OUT as he is catapulted backwards.
27. FULL SHOT
The waiter regains his balance, tries to run – and heads directly into the oncoming team of horses.
28. FULL SHOT – THE WAGON
as it goes RUMBLING past.
29. CLOSE SHOT – WEST
reacting to the accident.
30. ARTEMUS AND DANE IN HOTEL WINDOW
reacting.
31. FULL SHOT – 1ST WAITER
lying in the dusty road.
32. PAN SHOT – WEST
He goes to the man in the road and ascertains quickly that he is dead.
33. CLOSE SHOT – WEST
He gets to his feet, his face grim.
DISSOLVE TO:
34. INT. HOTEL ROOM – NIGHT
Present are West, Artie, Dane and KINNEY, the hotel manager, who is examining the smashed metal shutters. Oliver’s body has been removed. Artie is snooping about, looking for clues.
KINNEY
-- All I can tell you is, this has been the Governor’s suite for many years.
(looks at West)
But it wasn’t until Mr. Copeland became Governor that the metal door panel and the shutters were installed… for security purposes, of course.
DANE
(dumbfounded)
Oliver was right about Copeland!
WEST
We have no proof of anything, sir.
(to Kinney)
Who hired those two waiters who brought the food in here?
35. MED. SHOT – ARTEMUS
He sees something on the floor, and bends to it.
KINNEY’S VOICE (O.S.)
I’ve no idea, Mr. West.
36. INSERT – CARPET
a red stain, in the shape of a heelmark, stands out rather vividly.
KINNEYS’S VOICE (O.S.)
The man who was killed in the street was a stranger/
37. SHOT – ANGLING PAST Artie – TOWARD WEST AND KINNEY IN B.G.
KINNEY
He didn’t work for the hotel.
WEST
(grimly)
And the other one’s well on his way by now.
(shakes head)
Doesn’t leave us much.
Now Artie gives a little signal to West to get rid of Kinney. West nods his acknowledgment.
WEST
All right, Mr. Kinney – that will be all. Just don’t be too far away in case we need you.
KINNEY
Yes, sir.
He exits. West waits until the door closes, then comes to Artie in the f.g., where Artie indicates the stain.
ARTEMUS
One of those waiters left a calling card.
WEST
(puzzled)
It’s not mud…
ARTEMUS
(shakes head)
Red clay wouldn’t powder like that. I’ll see if I can get enough for an analysis.
Artie takes out a small piece of paper and a penknife. With the knife, he begins to scrape the powder on to the paper. Now Dane enters to the two.
DANE
(morosely)
If I hadn’t come here, old Oliver would still be alive.
WEST
He didn’t underestimate the dangers.
Dane looks at West for a moment, then turns away.
DANE
They got the wrong man, West – I’m the one they wanted.
WEST
He tried to warn us.
(softly)
It won’t be forgotten
DISSOLVE TO:
38. INT. RAILROAD CAR – CLOSE SHOT – ARTEMUS – NIGHT
Using his lab instruments, Artie is trying to analyze the red powder. His disgusted explanation tells us he isn’t having much success. CAMERA PULLS BACK to disclose West and Dane bringing in Dane’s luggage from the rear platform.
WEST
So long as you’re in the territory, sir, this will be the best protection we can give you.
DANE
(looking around)
It will be fine. Thank you.
WEST
(to Artie)
Any luck?
ARTEMUS
Nothing. I haven’t even been able to learn one of the components.
(sourly)
If Copeland concocted this stuff, he knows more about science that I do.
WEST
Better send a sample to the laboratory in Los Angeles right away. Maybe they can do something with it.
Through the following, Artie gets their carrier pigeon out of its cage, puts some of the powder into capsule, and attaches it to the bird:
DANE
But, I tell you, gentlemen, it has to be Copeland.
Artie mulls this for a moment, then:
ARTEMUS
(drily)
From what we’ve heard about the Governor, he hardly seems the type who’d show favoritism to the Supreme Court by trying to kill one if its members with gas, instead of a gun.
WEST
Unless that’s what he wants us to think.
Artie goes to the window with the pigeon.
ARTEMUS
Maybe Arabella here will get some answers.
The pigeon is released out the window.
WEST
Tell the lab we need a reply in a hurry.
Artie nods, goes to telegraph key and begins to tap out the message.
39. MED. SHOT – WEST AND DANE
WEST
Tomorrow, Judge Oliver will be lying in state at Town Hall.
(a beat)
Be interesting to see who shows up to say good-bye.
As Dane looks at West curiously –
DISSOLVE TO:
40. EXT. PHOENIX STREET – DAY
A rather fancy, open carriage rolls down the street. In the carriage, dressed for the occasion, is GOVERNOR DOUGLAS COPELAND, a granite-chinned individual in his fifties. Two obvious GUNMEN ride escort, on their horses.
41. CLOSER ANGLE
as the carriage pulls to a stop outside the Town Hall, where a small crowd is gathered.
42. INT. TOWN HALL – DAY
Oliver’s open coffin lies in the center of the room, with an American flag draped over it. Two uniformed UNION SOLDIERS stand guard rigidly, as a line of mourners moves past the casket.
43. MED. SHOT – WEST, ARTEMUS AND DANE
standing off to one side, watching the faces of the mourners.
DANE
(low tone)
If any one of those has been disappointed that I’m still alive, I haven’t noticed it.
West stiffens abruptly, as he looks toward the door.
WEST
(softly)
Copeland…
44. PAN SHOT – COPELAND AND TWO GUNMEN
They enter, pause in the doorway, then move with the mourners toward the casket. One of the gunmen carries a big wreath.
45. MED. SHOT – WEST, ARTEMUS AND DANE
Anger is beginning to show in Dane’s eyes.
DANE
(tautly)
The arrogance of him – showing up here with his gunmen!
ARTEMUS
Easy, sir…
46. MED. SHOT – COPELAND AND TWO GUNMEN – FAVORING COPELAND
as he looks down in to the casket.
47. SHOT – DOWN – COPELAND’S POV
on Oliver’s face in the coffin.
48. MED. SHOT - COPELAND AND TWO GUNMEN
Without turning, Copeland snaps his fingers peremptorily and the gunman quickly puts the wreath in his hand, which Copeland then places with the other flowers around the casket.
COPELAND
(to gunmen)
He always liked flowers.
(a beat)
Guess he never learned a man’s got to like something stronger than flowers in this kind of country.
49. MED. SHOT – WEST, ARTEMUS AND DANE
Dane reacts to Copeland’s remark, his face filling with rage. He starts out of SHOT, before West and Artie can stop him.
50. PAN SHOT – COPELAND AND HIS MEN
They are walking toward the exit, with the coffin OUT OF SHOT now, as Dane barges into the scene angrily, with West and Artie in his wake.
DANE
Copeland!
Copeland whirls around, surprised.
COPELAND
What do y‘know!
(thin smile)
I have a message for the President, Dane. Tell him I don’t want Arizona admitted into the union. But I’ll let the union be admitted into Arizona.
(winks)
How does that get you?
DANE
(raging)
Oliver told me you’d stop at nothing to get your own way. Too bad I didn’t die, too, isn’t it?
Copeland stiffens. One of his gunmen starts to muscle Dane away, but the moment he does, West makes a liquid, barely perceptible move which drops the man to his knees, WHIMPERING. Artie helps the man to his feet, confiscating the gun. West’s “understatement” has been out of respect for the dead, and his tone now compliments this.
COPELAND
(to West, with wry hint of admiration)
That was pretty good. You want to give my boys some lessons?
50. CONTINUED
WEST
We already work for a bigger government than yours, Governor.
Copeland LAUGHS softly, then turns a jaundiced eye on Dane, as he takes out a big cigar and cigar clipper.
COPELAND
So you think I wanted you dead, huh, Dane?
He clips off the end of his cigar and holds it up.
COPELAND (CONT’D)
(flicks cigar bit away)
That could have been you. I’d never have gotten the wrong man.
He exits. The downed gunman glowers at West then joins his companion and follows Copeland out.
51. CLOSE ANGLE – WEST, ARTEMUS AND DANE
ARTEMUS
(wryly; to Dane)
That might have been a mistake, sir. You don’t insult a big man--in front of his constituents.
DANE
(furious)
The complete gall of the man. He –
He stops short suddenly, his eyes glued on the entrance. The surprised West and Artie look in that direction.
52. SHOT – ACROSS ROOM
Just entering, as other mourners file out, is a tall, gaunt man. We shall come to know him as BARNABY STARK. He wears a cape over his shoulders. His manner, as he crosses toward the casket, is deeply preoccupied, and he seems unaware of the presences of West, Artie, and Dane, who stand some distance from the coffin now.
53. CLOSER ANGLE – STARK
He stands over the open casket, and when he talks, his voice is little more than a whisper:
STARK
Ah, my old friends… the years have made a difference…
54. MED. SHOT – WEST, ARTEMUS AND DANE
STARK’S VOICE (O.S.)
… but, in my small way, perhaps I can give you a share of immortality…
DANE
(dumbfounded)
It is Barnaby Stark!
He starts forward quickly, with West and Artie at his heels. CAMERA PANS over them to Stark, who now looks up, reacting with surprise as he sees Dane. There is something strange and intense about Stark’s eyes, a contradiction to his seemingly gentle sophistication.
STARK
Warren… Warren Dane…
(smiles)
You haven’t changed at all.
DANE
Nor have you.
Stark holds out his hand.
STARK
(without malice)
I can offer you my hand now, since time mellows all things.
Dane hesitates, then shakes Stark’s hand briefly.
DANE
(introducing)
Friends of mine – James West and Artemus Gordon.
STARK
Indeed! I’ve heard of the gentlemen. My pleasure.
WEST
Did you know Judge Oliver well?
STARK
Yes. But that was a long time ago. Our respective careers led us up different roads since then.
(to Dane)
But you couldn’t possibly know what my work is now, could you, Warren? Come – I’ll show you.
(takes Dane’s arm in a friendly gesture)
I assure you, you won’t be bored.
He starts to usher Dane away. West and Artie look at each other, then follow.
55. EXT. MUSEUM – DAY
A large sign, placed strategically, is outside the building, which was once a saloon. The sign reads:
STARK’S MUSEUM OF WAX
The Great People and Events of History
ADMISSION 50 cents
CAMERA PANS OFF the sign to PICK UP Stark approaching, with West, Artie and Dane in tow.
STARK
And there it is – the only traveling wax museum in the world! Madame Tussaud’s may be greater – but only Barnaby Stark brings his directly to the people.
DANE
(dumbfounded)
This is what you’ve been doing? An attorney of your caliber running a – a freak show?
Stark’s face darkens, but he covers quickly, resuming his affable front.
STARK
Freak show? My sculptures are art. Besides, my friends in there will always remain loyal to me – something I shouldn’t have expected in Washington – eh, Warren?
Dane shoots a look at Stark, but Stark ignores it.
STARK (CONT’D)
Please, please - come in – I don’t often have such distinguished visitors.
He shows almost childish delight, as he leads the group inside.
56. INT. MUSEUM - DAY
The interior is dark and gloomy, after the bright sunlight on the street, and West, Artie and Dane squint into the murk as they enter.
STARK
Forgive the darkness, gentlemen – we don’t open for a few hours yet.
(calling)
Sandra! Sandra, a lamp, please!
57. PAN SHOT – SANDRA DEVON
Sandra, a pretty young woman, somewhere in her latter and knowing twenties, approaches, lighting a lamp as she reaches the group. The light, however, is still dim and somewhat ominous.
STARK
Gentlemen, this is Sandra Devon. A most worthwhile assistant, who does the lecture tour for the paying customers.
AD LIB greetings all around.
STARK (CONT’D)
(gesturing grandly)
And now – the world of Barnaby Stark!
He leads the group on, with Sandra holding the lamp.
58. TRUCKING SHOT
Stark comes abreast of a display depicting Admiral Nelson dying on the deck of his ship, in his last great battle.
STARK
One of my favorites – Admiral Nelson, as he breathed his last.
DANE
Amazing. It looks almost lifelike.
Stark doesn’t seem to hear Artemus, as he goes to the display and caresses it lovingly. This is how it reads in the script--don't know if Artie was supposed to have made the lifelike comment or this paragraph should have referred to Dane!
STARK
(reciting softly)
My Admiral … all that breathe
Will share thy destiny…
59. MED. SHOT – WEST AND ARTEMUS
Their eyes narrow as they listen.
STARK’S VOICE (O.S.)
“The gay will laugh
When though art gone, the solemn brood of care
Plod on, and each one as before will chase
His favorite phantom;…”
60. MED. FULL SHOT – GROUP
STARK
“… Yet all these shall leave
Their mirth and their employments,
And shall come, and make their bed with them…”
60. CONTINUED
ARTEMUS
(to Sandra; sotto voce)
Everybody get the Thanatopsis treatment on the fifty cent tour?
WEST
(a beat, also to Sandra)
Or is Mr. Stark making some kind of a point?
Sandra frowns, as she looks at Stark, then she forces a little smile.
SANDRA
Poetry doesn’t go with my lecture, Mr. West.
STARK
So, then -- enough of the Admiral.
They move on, CAMERA PANNING, until they are abreast of another display – this time with Marie Antoinette on her knees before the guillotine, though her waxen head is not yet in the knife slot. A small placard on the display reads: “THE LAST MOMENTS OF MARIE ANTOINETTE.”
STARK
Poor Marie Antoinette… a woman who towered in beauty above other women…
ARTEMUS
(drily; indicating guillotine)
Until this thing cut her down to size.
West shoots Artie an acid look, and Artie grins. Stark, however, doesn’t even seem to hear.
STARK
(musingly)
Just another example of man’s inhumanity to man…
They start to move on – but Dane, intrigued by the guillotine, goes over to examine it.
61. MED. SHOT – DANE AT GUILLOTINE
Suddenly, there is a CLICK! and the guillotine blade comes down resoundingly. Dane cries out and jumps back, the blade narrowly missing him. As he falls away, he hits the figure of Marie Antoinette, knocking her over and shattering one of her wax arms.
62. FULL SHOT – GROUP
Dane is staring in horror at the guillotine, as West and the others rush up to him.
WEST
You all right, sir?
DANE
(shaken)
That – thing – could have killed me.
STARK
Warren, I’m terribly sorry.
(to Sandra, harshly)
I told you to have the guillotine repaired.
SANDRA
(nervously)
It was Barnaby. I saw to it, myself.
Artemus picks up the detached arm of Marie.
ARTEMUS
You’d better see to it again. It will be easier putting one of these wax things together again than it would a human being.
WEST
(concerned; to Dane)
I think it’s time we left, sir.
STARK
(hurt)
You’re angry. But, please – accept my apologies. There’s something specific I wanted Warren to see.
DANE
I’m not sure I –
STARK
It will only take a moment. I promise you – there are no more guillotines.
Dane hesitates, then follows Stark. The rest follow… until Stark stops short and gestures ahead of him.
STARK (CONT’D)
There, Warren – my Diana of the Hunt –
Dane squints, unable to see ahead into the shadows.
STARK (CONT’D)
Raise the lamp, Sandra.
63. SHOT – DANE’S POV – DIANA OF THE HUNT
The wax figure shows a beautiful woman in the famous pose.
64. MED. SHOT – GROUP
DANE
(aghast)
Laura Hope!
STARK
(throatily)
You remembered. I wondered if you would. I caught her perfectly, didn’t I, Warren – the beauty – the expression around the eyes –
DANE
(repressed fury)
How could you do that, Stark? I should think you would have had the decency to let her rest in peace!
STARK
She does… a greater peace than you could possibly know.
DANE
(to West)
I’ve seen enough!
He storms away. West pauses for one look at Stark, then he and Artie hurry after Dane.
65. MED. SHOT – STARK AND SANDRA
An intense, almost maniacal, look replaces the affability in Stark’s eyes as they follow the O.S. West, Artie and Dane.
STARK
(softly)
They haven’t really seen enough, have they, Sandra?...
Sandra, jealousy showing in her face, bolsters her courage and faces Stark squarely. The words seem to burst from her in frustrated outrage.
SANDRA
What did that Laura Hope mean to you? You owe me an answer… Barnaby… Why did that man become so angry when he saw her?
Stark reacts with sudden fury, whirling around to grab Sandra’s wrist roughly.
65. CONTINUED
STARK
I know what life means to you, Sandra.
(a beat)
Don’t mention the name of Laura Hope again.
66. EXT. PHOENIX STREET – DAY
West, Artie and Dane are moving along the street, some distance from the museum.
WEST
(to Dane)
If I may suggest, sir, it might be a lot safer if you stay away from town. It…
He stops short, reacting, as he sees:
67. MED. LONG SHOT – WEST’S POV
Moving among other pedestrians is the Second Waiter (Stader).
68. MED. FULL SHOT – WEST, Artie AND DANE
WEST
Artie, stick with Mr. Dane!
West tears out.
69. REVERSE SHOT – PAST WAITER – AT WEST IN B.G.
The waiter reacts, as he sees West coming.
70. PAN SHOT – WAITER
He pushes pedestrians aside roughly and darts away.
71. DISCRETIONARY ANGLES – THE CHASE
as West runs after the waiter.
72. MED. SHOT - WEST
He sees:
73. SHOT – WEST’S POV – THE SECOND WAITER
as he runs into an alley alongside the museum.
74. PAN SHOT – WEST
He runs up the street toward the alley entrance.
75. FULL SHOT – SHOOTING PAST WEST – THE ALLEY
West comes up to the alley entrance and stops dead in his tracks.
76. SHOT – INTO ALLEY - WEST’S POV
Though the alley reaches a dead end – it is empty. No sign of the waiter.
77. FULL SHOT – WEST – IN ALLEY
as he runs in, looking about him. There are no doors – no windows – nowhere for the waiter to go. As he comes to a halt, amazement on his face –
FADE OUT:
THE WILD WILD WEST
“The Night of the Waxen Terror”
#0359
FIRST DRAFT
May 11, 1967
PRODUCER
BRUCE LANSBURY
ASSOCIATE PRODUCER
LEONARD KATZMAN
STORY CONSULTANT
HENRY SHARP
WRITTEN BY
ROBERT E. KENT
SETS:
EXT. PHOENIX STREET
INT. HOTEL ROOM
EXT. HOTEL
INT. RAILROAD CAR
INT. TOWN HALL
EXT. MUSEUM
INT. MUSEUM
EXT. ALLEY
INT. STOREHOUSE
EXT. RR CAR REAR PLATFORM
EXT. COPELAND RANCH
EXT. COPELAND MANSION
INT. COPELAND BASEMENT
CAST
JAMES WEST – Robert Conrad
ARTEMUS GORDON – Ross Martin
JUSTICE WARRANT DANE
JUSTICE MARK OLIVER
GOV. DOUGLAS COPELAND
BARNABY STARK
SANDRA DEVON
STADER (1st waiter)
KINNEY
DRUNK
SILENT:
1 WAITER
2 GUNMEN
GIBNEY
TEASER
FADE IN:
1. EXT. PHOENIX STREET – NIGHT
FAVORED in the ESTABLISHING SHOT of Phoenix’s main street, with its pedestrians and riders, is the sign of the “PHOENIX HOTEL.” As CAMERA MOVES TOWARD a lighted window, its shades drawn, on the second floor of the inn –
DISSOLVE THROUGH TO:
2. INT. HOTEL ROOM – NIGHT
A rather heated discussion, chiefly between Supreme Court Justice WARREN DANE and elderly, retired Justice MARK OLIVER, is taking place. Drawn intermittently into the debate – against their wills – are the other two men in the room WEST and ARTEMUS.
DANE
(vehemently)
I tell you, Oliver, this is the time for Arizona’s admittance to the union.
As the men talk, Dane paces irritably, occasionally moving near the window.
OLIVER
(seething)
Is that what you want Dane, a state built on violence?
(voice building)
Grant sent you hear for my advice. All right. This is it: tell him Arizona is at least ten years away from being civilized enough for Statehood!
DANE
Do you also expect me to tell the President that you’re afraid of Douglas Copeland?
OLIVER
When Copeland became Governor, he took over this territory from top to bottom. And he’s not going to let you, or anybody else, take it away from him.
2. CONTINUED
DANE
(furious)
Perhaps, the army can change his mind.
OLIVER
(to West and Artie)
What do you two say? Doesn’t the fact that Grant thought Dane needed you for bodyguards out here tell you something?
West and Artie exchange an uncomfortable glance.
WEST
A lot of prominent people have disappeared lately under strange circumstances. I couldn’t say whether our assignment had anything to do with the Arizona question.
DANE
(snapping; to Oliver)
Times have changed since you sat on the Supreme Court bench with us. I still contend that Statehood would make a civilized community out of a --
He is interrupted by a KNOCK at the door.
WEST
(calling)
What is it?
VOICE
(o.s.; from hall)
Your dinners, sir.
Oliver and Dane relax. West and Gordon don’t. They draw their guns alertly.
DANE
(dourly)
Let’s hope Arizona food sits better on my stomach than its Governor.
West opens the door, and two uniformed WAITERS enter, pushing a food cart, on which is an elaborate display of silver and covered serving trays. West and Artie put away their guns now.
2. CONTINUED
1st WAITER
Will there be anything else?
WEST
(shakes head)
This is fine.
The waiters nod, and make their exit, with West locking the door again behind them. Artie lifts the cover from a tray, disclosing a good-sized roasted duck.
ARTEMUS
(hungrily)
I don't know about anything else, but this sure looks civilized enough to –
He stops short, reacting, as he sees:
3. INSERT: ROASTED DUCK
There is a POPPING EXPLOSION, the duck splits in half – and inside it, we see a small, square, metal container. Instantly, the top on the container opens, and a red gas literally pours into the room.
4. FULL SHOT
as the gas fills the room, enveloping the four men, who begin to cough and choke. West makes a desperate lunge for the door. But, just as he reaches it –
5. SHOT – AT DOOR
A metal panel CLANGS down from above, covering the door, shutting off any exit to the hall.
6. FULL SHOT
West tears across the room toward the window. But, as he reaches it –
7. SHOT – AT WINDOW
Two metal shutters, coming out from the sides, slide together with a CLANG, sealing the room.
8. FULL SHOT
Elderly Oliver topples from his chair, unconscious; Dane, gagging, sinks to his knees; Artie sags against a wall in a paroxysm of coughing – and, as the weakened West tries to claw at the metal shutters –
FADE OUT
FADE IN:
9. INT. HOTEL ROOM – NIGHT
The scene is the same as before, with CAMERA MOVING PAST Dane and Oliver discernible in the red, gaseous smoke, until IT COMES TO West, who is struggling to get something out of his pocket. Artie is nearby, moving unsteadily.
10. CLOSER ANGLE – WEST AND Artie
West pulls a wad of clay from his pocket, slams it against the seam where the shutters meet. Artie has automatically contributed a short fuse to this wad, which West lights. They both stagger away.
11. SHOT – AT STEEL SHUTTERS
The clay EXPLODES, and white smoke mingles with the red gas.
12. REACTION SHOT – WEST AND Artie
13. SHOT – AT STEEL SHUTTERS
The explosion has ripped them apart, exposing the glass window.
14. PAN SHOT – WEST
He reaches the window and, after wrapping a handkerchief around his hand, SMASHES his fist through the glass. He fills his lungs with air, then rushes back to the stricken Dane, lifts him to his feet and drags him over to the window.
WEST
(yelling)
Artie, get Judge Oliver over here!
15. PAN SHOT – Artie
He nods blearily and goes over to where Oliver is lying on the floor.
16. MED. SHOT – WEST AND DANE
While Dane fights to get his breath, West is yanking the twisted shutters further away from the window, and SMASHING out more of the glass.
ARTEMUS VOICE (O.S.)
It won’t do any good, Jim –
West and Dane look off.
17. MED. SHOT – ARTEMUS AND OLIVER
Artie is bent over the old man.
18. MED. FULL SHOT – WEST AND DANE
Both react.
WEST
Work on him! Try –
He stops short, as something catches his eye out the window.
19. LONG SHOT DOWN - WEST’S POV
The 1st waiter can be seen running toward a tethered horse.
20. FULL SHOT
West doesn’t wait; he leaps through the battered window, out to the roof of the porch outside.
21. SHOT – ANGLING IN BOTH DANE AND ARTEMUS
They react. Artie comes up and runs to the window.
22. EXT. HOTEL – NIGHT
West runs across the porch roof.
23. EX. PHOENIX STREET – NIGHT
The waiter is mounted now and is just starting to get away.
24. ANOTHER ANGLE
West leaps from the roof and hits the mounted waiter squarely. Both go plunging to the ground.
25. FULL SHOT – UP STREET
A wagon, pulled by a team, is heading swiftly toward where West and the waiter landed.
26. FULL SHOT – WEST AND THE 1ST WAITER
The waiter gets to his feet first and aims a vicious kick at Jim’s head. Jim grabs the leg and twists. The man CRIES OUT as he is catapulted backwards.
27. FULL SHOT
The waiter regains his balance, tries to run – and heads directly into the oncoming team of horses.
28. FULL SHOT – THE WAGON
as it goes RUMBLING past.
29. CLOSE SHOT – WEST
reacting to the accident.
30. ARTEMUS AND DANE IN HOTEL WINDOW
reacting.
31. FULL SHOT – 1ST WAITER
lying in the dusty road.
32. PAN SHOT – WEST
He goes to the man in the road and ascertains quickly that he is dead.
33. CLOSE SHOT – WEST
He gets to his feet, his face grim.
DISSOLVE TO:
34. INT. HOTEL ROOM – NIGHT
Present are West, Artie, Dane and KINNEY, the hotel manager, who is examining the smashed metal shutters. Oliver’s body has been removed. Artie is snooping about, looking for clues.
KINNEY
-- All I can tell you is, this has been the Governor’s suite for many years.
(looks at West)
But it wasn’t until Mr. Copeland became Governor that the metal door panel and the shutters were installed… for security purposes, of course.
DANE
(dumbfounded)
Oliver was right about Copeland!
WEST
We have no proof of anything, sir.
(to Kinney)
Who hired those two waiters who brought the food in here?
35. MED. SHOT – ARTEMUS
He sees something on the floor, and bends to it.
KINNEY’S VOICE (O.S.)
I’ve no idea, Mr. West.
36. INSERT – CARPET
a red stain, in the shape of a heelmark, stands out rather vividly.
KINNEYS’S VOICE (O.S.)
The man who was killed in the street was a stranger/
37. SHOT – ANGLING PAST Artie – TOWARD WEST AND KINNEY IN B.G.
KINNEY
He didn’t work for the hotel.
WEST
(grimly)
And the other one’s well on his way by now.
(shakes head)
Doesn’t leave us much.
Now Artie gives a little signal to West to get rid of Kinney. West nods his acknowledgment.
WEST
All right, Mr. Kinney – that will be all. Just don’t be too far away in case we need you.
KINNEY
Yes, sir.
He exits. West waits until the door closes, then comes to Artie in the f.g., where Artie indicates the stain.
ARTEMUS
One of those waiters left a calling card.
WEST
(puzzled)
It’s not mud…
ARTEMUS
(shakes head)
Red clay wouldn’t powder like that. I’ll see if I can get enough for an analysis.
Artie takes out a small piece of paper and a penknife. With the knife, he begins to scrape the powder on to the paper. Now Dane enters to the two.
DANE
(morosely)
If I hadn’t come here, old Oliver would still be alive.
WEST
He didn’t underestimate the dangers.
Dane looks at West for a moment, then turns away.
DANE
They got the wrong man, West – I’m the one they wanted.
WEST
He tried to warn us.
(softly)
It won’t be forgotten
DISSOLVE TO:
38. INT. RAILROAD CAR – CLOSE SHOT – ARTEMUS – NIGHT
Using his lab instruments, Artie is trying to analyze the red powder. His disgusted explanation tells us he isn’t having much success. CAMERA PULLS BACK to disclose West and Dane bringing in Dane’s luggage from the rear platform.
WEST
So long as you’re in the territory, sir, this will be the best protection we can give you.
DANE
(looking around)
It will be fine. Thank you.
WEST
(to Artie)
Any luck?
ARTEMUS
Nothing. I haven’t even been able to learn one of the components.
(sourly)
If Copeland concocted this stuff, he knows more about science that I do.
WEST
Better send a sample to the laboratory in Los Angeles right away. Maybe they can do something with it.
Through the following, Artie gets their carrier pigeon out of its cage, puts some of the powder into capsule, and attaches it to the bird:
DANE
But, I tell you, gentlemen, it has to be Copeland.
Artie mulls this for a moment, then:
ARTEMUS
(drily)
From what we’ve heard about the Governor, he hardly seems the type who’d show favoritism to the Supreme Court by trying to kill one if its members with gas, instead of a gun.
WEST
Unless that’s what he wants us to think.
Artie goes to the window with the pigeon.
ARTEMUS
Maybe Arabella here will get some answers.
The pigeon is released out the window.
WEST
Tell the lab we need a reply in a hurry.
Artie nods, goes to telegraph key and begins to tap out the message.
39. MED. SHOT – WEST AND DANE
WEST
Tomorrow, Judge Oliver will be lying in state at Town Hall.
(a beat)
Be interesting to see who shows up to say good-bye.
As Dane looks at West curiously –
DISSOLVE TO:
40. EXT. PHOENIX STREET – DAY
A rather fancy, open carriage rolls down the street. In the carriage, dressed for the occasion, is GOVERNOR DOUGLAS COPELAND, a granite-chinned individual in his fifties. Two obvious GUNMEN ride escort, on their horses.
41. CLOSER ANGLE
as the carriage pulls to a stop outside the Town Hall, where a small crowd is gathered.
42. INT. TOWN HALL – DAY
Oliver’s open coffin lies in the center of the room, with an American flag draped over it. Two uniformed UNION SOLDIERS stand guard rigidly, as a line of mourners moves past the casket.
43. MED. SHOT – WEST, ARTEMUS AND DANE
standing off to one side, watching the faces of the mourners.
DANE
(low tone)
If any one of those has been disappointed that I’m still alive, I haven’t noticed it.
West stiffens abruptly, as he looks toward the door.
WEST
(softly)
Copeland…
44. PAN SHOT – COPELAND AND TWO GUNMEN
They enter, pause in the doorway, then move with the mourners toward the casket. One of the gunmen carries a big wreath.
45. MED. SHOT – WEST, ARTEMUS AND DANE
Anger is beginning to show in Dane’s eyes.
DANE
(tautly)
The arrogance of him – showing up here with his gunmen!
ARTEMUS
Easy, sir…
46. MED. SHOT – COPELAND AND TWO GUNMEN – FAVORING COPELAND
as he looks down in to the casket.
47. SHOT – DOWN – COPELAND’S POV
on Oliver’s face in the coffin.
48. MED. SHOT - COPELAND AND TWO GUNMEN
Without turning, Copeland snaps his fingers peremptorily and the gunman quickly puts the wreath in his hand, which Copeland then places with the other flowers around the casket.
COPELAND
(to gunmen)
He always liked flowers.
(a beat)
Guess he never learned a man’s got to like something stronger than flowers in this kind of country.
49. MED. SHOT – WEST, ARTEMUS AND DANE
Dane reacts to Copeland’s remark, his face filling with rage. He starts out of SHOT, before West and Artie can stop him.
50. PAN SHOT – COPELAND AND HIS MEN
They are walking toward the exit, with the coffin OUT OF SHOT now, as Dane barges into the scene angrily, with West and Artie in his wake.
DANE
Copeland!
Copeland whirls around, surprised.
COPELAND
What do y‘know!
(thin smile)
I have a message for the President, Dane. Tell him I don’t want Arizona admitted into the union. But I’ll let the union be admitted into Arizona.
(winks)
How does that get you?
DANE
(raging)
Oliver told me you’d stop at nothing to get your own way. Too bad I didn’t die, too, isn’t it?
Copeland stiffens. One of his gunmen starts to muscle Dane away, but the moment he does, West makes a liquid, barely perceptible move which drops the man to his knees, WHIMPERING. Artie helps the man to his feet, confiscating the gun. West’s “understatement” has been out of respect for the dead, and his tone now compliments this.
COPELAND
(to West, with wry hint of admiration)
That was pretty good. You want to give my boys some lessons?
50. CONTINUED
WEST
We already work for a bigger government than yours, Governor.
Copeland LAUGHS softly, then turns a jaundiced eye on Dane, as he takes out a big cigar and cigar clipper.
COPELAND
So you think I wanted you dead, huh, Dane?
He clips off the end of his cigar and holds it up.
COPELAND (CONT’D)
(flicks cigar bit away)
That could have been you. I’d never have gotten the wrong man.
He exits. The downed gunman glowers at West then joins his companion and follows Copeland out.
51. CLOSE ANGLE – WEST, ARTEMUS AND DANE
ARTEMUS
(wryly; to Dane)
That might have been a mistake, sir. You don’t insult a big man--in front of his constituents.
DANE
(furious)
The complete gall of the man. He –
He stops short suddenly, his eyes glued on the entrance. The surprised West and Artie look in that direction.
52. SHOT – ACROSS ROOM
Just entering, as other mourners file out, is a tall, gaunt man. We shall come to know him as BARNABY STARK. He wears a cape over his shoulders. His manner, as he crosses toward the casket, is deeply preoccupied, and he seems unaware of the presences of West, Artie, and Dane, who stand some distance from the coffin now.
53. CLOSER ANGLE – STARK
He stands over the open casket, and when he talks, his voice is little more than a whisper:
STARK
Ah, my old friends… the years have made a difference…
54. MED. SHOT – WEST, ARTEMUS AND DANE
STARK’S VOICE (O.S.)
… but, in my small way, perhaps I can give you a share of immortality…
DANE
(dumbfounded)
It is Barnaby Stark!
He starts forward quickly, with West and Artie at his heels. CAMERA PANS over them to Stark, who now looks up, reacting with surprise as he sees Dane. There is something strange and intense about Stark’s eyes, a contradiction to his seemingly gentle sophistication.
STARK
Warren… Warren Dane…
(smiles)
You haven’t changed at all.
DANE
Nor have you.
Stark holds out his hand.
STARK
(without malice)
I can offer you my hand now, since time mellows all things.
Dane hesitates, then shakes Stark’s hand briefly.
DANE
(introducing)
Friends of mine – James West and Artemus Gordon.
STARK
Indeed! I’ve heard of the gentlemen. My pleasure.
WEST
Did you know Judge Oliver well?
STARK
Yes. But that was a long time ago. Our respective careers led us up different roads since then.
(to Dane)
But you couldn’t possibly know what my work is now, could you, Warren? Come – I’ll show you.
(takes Dane’s arm in a friendly gesture)
I assure you, you won’t be bored.
He starts to usher Dane away. West and Artie look at each other, then follow.
55. EXT. MUSEUM – DAY
A large sign, placed strategically, is outside the building, which was once a saloon. The sign reads:
STARK’S MUSEUM OF WAX
The Great People and Events of History
ADMISSION 50 cents
CAMERA PANS OFF the sign to PICK UP Stark approaching, with West, Artie and Dane in tow.
STARK
And there it is – the only traveling wax museum in the world! Madame Tussaud’s may be greater – but only Barnaby Stark brings his directly to the people.
DANE
(dumbfounded)
This is what you’ve been doing? An attorney of your caliber running a – a freak show?
Stark’s face darkens, but he covers quickly, resuming his affable front.
STARK
Freak show? My sculptures are art. Besides, my friends in there will always remain loyal to me – something I shouldn’t have expected in Washington – eh, Warren?
Dane shoots a look at Stark, but Stark ignores it.
STARK (CONT’D)
Please, please - come in – I don’t often have such distinguished visitors.
He shows almost childish delight, as he leads the group inside.
56. INT. MUSEUM - DAY
The interior is dark and gloomy, after the bright sunlight on the street, and West, Artie and Dane squint into the murk as they enter.
STARK
Forgive the darkness, gentlemen – we don’t open for a few hours yet.
(calling)
Sandra! Sandra, a lamp, please!
57. PAN SHOT – SANDRA DEVON
Sandra, a pretty young woman, somewhere in her latter and knowing twenties, approaches, lighting a lamp as she reaches the group. The light, however, is still dim and somewhat ominous.
STARK
Gentlemen, this is Sandra Devon. A most worthwhile assistant, who does the lecture tour for the paying customers.
AD LIB greetings all around.
STARK (CONT’D)
(gesturing grandly)
And now – the world of Barnaby Stark!
He leads the group on, with Sandra holding the lamp.
58. TRUCKING SHOT
Stark comes abreast of a display depicting Admiral Nelson dying on the deck of his ship, in his last great battle.
STARK
One of my favorites – Admiral Nelson, as he breathed his last.
DANE
Amazing. It looks almost lifelike.
Stark doesn’t seem to hear Artemus, as he goes to the display and caresses it lovingly. This is how it reads in the script--don't know if Artie was supposed to have made the lifelike comment or this paragraph should have referred to Dane!
STARK
(reciting softly)
My Admiral … all that breathe
Will share thy destiny…
59. MED. SHOT – WEST AND ARTEMUS
Their eyes narrow as they listen.
STARK’S VOICE (O.S.)
“The gay will laugh
When though art gone, the solemn brood of care
Plod on, and each one as before will chase
His favorite phantom;…”
60. MED. FULL SHOT – GROUP
STARK
“… Yet all these shall leave
Their mirth and their employments,
And shall come, and make their bed with them…”
60. CONTINUED
ARTEMUS
(to Sandra; sotto voce)
Everybody get the Thanatopsis treatment on the fifty cent tour?
WEST
(a beat, also to Sandra)
Or is Mr. Stark making some kind of a point?
Sandra frowns, as she looks at Stark, then she forces a little smile.
SANDRA
Poetry doesn’t go with my lecture, Mr. West.
STARK
So, then -- enough of the Admiral.
They move on, CAMERA PANNING, until they are abreast of another display – this time with Marie Antoinette on her knees before the guillotine, though her waxen head is not yet in the knife slot. A small placard on the display reads: “THE LAST MOMENTS OF MARIE ANTOINETTE.”
STARK
Poor Marie Antoinette… a woman who towered in beauty above other women…
ARTEMUS
(drily; indicating guillotine)
Until this thing cut her down to size.
West shoots Artie an acid look, and Artie grins. Stark, however, doesn’t even seem to hear.
STARK
(musingly)
Just another example of man’s inhumanity to man…
They start to move on – but Dane, intrigued by the guillotine, goes over to examine it.
61. MED. SHOT – DANE AT GUILLOTINE
Suddenly, there is a CLICK! and the guillotine blade comes down resoundingly. Dane cries out and jumps back, the blade narrowly missing him. As he falls away, he hits the figure of Marie Antoinette, knocking her over and shattering one of her wax arms.
62. FULL SHOT – GROUP
Dane is staring in horror at the guillotine, as West and the others rush up to him.
WEST
You all right, sir?
DANE
(shaken)
That – thing – could have killed me.
STARK
Warren, I’m terribly sorry.
(to Sandra, harshly)
I told you to have the guillotine repaired.
SANDRA
(nervously)
It was Barnaby. I saw to it, myself.
Artemus picks up the detached arm of Marie.
ARTEMUS
You’d better see to it again. It will be easier putting one of these wax things together again than it would a human being.
WEST
(concerned; to Dane)
I think it’s time we left, sir.
STARK
(hurt)
You’re angry. But, please – accept my apologies. There’s something specific I wanted Warren to see.
DANE
I’m not sure I –
STARK
It will only take a moment. I promise you – there are no more guillotines.
Dane hesitates, then follows Stark. The rest follow… until Stark stops short and gestures ahead of him.
STARK (CONT’D)
There, Warren – my Diana of the Hunt –
Dane squints, unable to see ahead into the shadows.
STARK (CONT’D)
Raise the lamp, Sandra.
63. SHOT – DANE’S POV – DIANA OF THE HUNT
The wax figure shows a beautiful woman in the famous pose.
64. MED. SHOT – GROUP
DANE
(aghast)
Laura Hope!
STARK
(throatily)
You remembered. I wondered if you would. I caught her perfectly, didn’t I, Warren – the beauty – the expression around the eyes –
DANE
(repressed fury)
How could you do that, Stark? I should think you would have had the decency to let her rest in peace!
STARK
She does… a greater peace than you could possibly know.
DANE
(to West)
I’ve seen enough!
He storms away. West pauses for one look at Stark, then he and Artie hurry after Dane.
65. MED. SHOT – STARK AND SANDRA
An intense, almost maniacal, look replaces the affability in Stark’s eyes as they follow the O.S. West, Artie and Dane.
STARK
(softly)
They haven’t really seen enough, have they, Sandra?...
Sandra, jealousy showing in her face, bolsters her courage and faces Stark squarely. The words seem to burst from her in frustrated outrage.
SANDRA
What did that Laura Hope mean to you? You owe me an answer… Barnaby… Why did that man become so angry when he saw her?
Stark reacts with sudden fury, whirling around to grab Sandra’s wrist roughly.
65. CONTINUED
STARK
I know what life means to you, Sandra.
(a beat)
Don’t mention the name of Laura Hope again.
66. EXT. PHOENIX STREET – DAY
West, Artie and Dane are moving along the street, some distance from the museum.
WEST
(to Dane)
If I may suggest, sir, it might be a lot safer if you stay away from town. It…
He stops short, reacting, as he sees:
67. MED. LONG SHOT – WEST’S POV
Moving among other pedestrians is the Second Waiter (Stader).
68. MED. FULL SHOT – WEST, Artie AND DANE
WEST
Artie, stick with Mr. Dane!
West tears out.
69. REVERSE SHOT – PAST WAITER – AT WEST IN B.G.
The waiter reacts, as he sees West coming.
70. PAN SHOT – WAITER
He pushes pedestrians aside roughly and darts away.
71. DISCRETIONARY ANGLES – THE CHASE
as West runs after the waiter.
72. MED. SHOT - WEST
He sees:
73. SHOT – WEST’S POV – THE SECOND WAITER
as he runs into an alley alongside the museum.
74. PAN SHOT – WEST
He runs up the street toward the alley entrance.
75. FULL SHOT – SHOOTING PAST WEST – THE ALLEY
West comes up to the alley entrance and stops dead in his tracks.
76. SHOT – INTO ALLEY - WEST’S POV
Though the alley reaches a dead end – it is empty. No sign of the waiter.
77. FULL SHOT – WEST – IN ALLEY
as he runs in, looking about him. There are no doors – no windows – nowhere for the waiter to go. As he comes to a halt, amazement on his face –
FADE OUT: