Post by California gal on Mar 8, 2010 15:55:39 GMT -8
(Undated)
THE WILD WILD WEST
“The Night of the Samurai”
PRODUCER:
BRUCE LANSBURY
ASSOCIATE PRODUCER:
LEONARD KATZMAN
STORY CONSULTANT:
HENRY SHARP
WRITTEN BY:
SIMON WINCELBERG
SETS:
EXT. SAN FRANCISCO STREET
EXT. LOUISIANA HOTEL
INT. CREOLE ROOM
INT. ACADEMY OF KENJITSU
INT. ARYAN-PACIFIC CORRIDOR
INT. ARYAN-PACIFIC MEZANINE
INT. HANNIBAL’S PARLOW [sic]
INT. BARBARY COAST STREET
EXT. BUCKET OF BLOOD
EXT. SAUSALITO MILL
INT. MILL
EXT. ALLEY
INT. BUCKET OF BLOOD
INT. SAIGO’S SEDAN CHAIR
INT. SAUSALITO MILL
EXT. MILL DOORWAY
INT. WEST’S VARNISH
EXT. PORTUGUESE WHARF
EXT. WHARF BUILDING
EXT. TRAIL
INT. WAREHOUSE
EXT. HANNIBAL’S WAREHOUSE
INT. FALCONER’S ACADEMY
INT. REAR OF STORE
CAST:
JAMES WEST – ROBERT CONRAD
ARTEMUS GORDON – ROSS MARTIN
CLIVE FINSBURY
PRINCE SHINOSUKE
BARON SAIGO
REIKO O’HARA
FALCONER
SHAVED HEAD (AKI)
HANNIVAL EGLOFF
MADAME MOUSTACHE
SOAPY
SEAMAN
JAPANESE MAIDEN
SILENT:
SAMURAI NOBLES
NUBIAN STEWARDESS
BALINESE STEWARDESS
THUGS
“THE NIGHT OF THE SAMURAI”
FADE IN:
1. EXT. SAN FRANCISCO STREET – NIGHT
It’s a well-lighted main street with a fair amount of evening traffic. The CAMERA PICKS UP WEST and ARTEMUS and PANS with them as they ride just a bit ahead of the traffic flow. At an intersection, they are forced to halt for –
2. A HEARSE
drawn by four plumed horses who have somehow been induced to balk in the very middle of the intersection.
3. WEST, ARTEMUS
waiting for the obstruction to clear. They suddenly hear the high-pitched Apache-like WHOOPS and YELLS of some old-fashioned HONIN (Vagabond Samurai) horsemen, masked in ancient “menpo” face protectors. They come swooping down on them from behind the hearse with poised lances and wildly swinging sabers.
4. ARTEMUS
sensibly drops off his horse a split-second before one of the swords can remove his head.
5. WEST
manages, virtually barehanded, to parry the thrust of a Samurai lance, appropriate it, and unhorse his attacker.
6. WEST’S POV – ANOTHER ATTACKER
comes at him and lashes out with the sword.
7. WEST
parries the blow with the just-confiscated lance. He then leaps off his horse, draws his gun, in pursuit of the attackers.
8. HEARSE DRIVER
sharply whips his horse into swift escape. The attackers hastily scramble aboard. On the roof of the hearse, one of the attackers (riding “shotgun”) hurls a Japanese lance at –
9. WEST
who manages to flinch aside as the lance misses him by an inch. Artemus comes running INTO SHOT. The two look off toward their vanishing attackers.
ARTEMUS
(shakes his head)
San Francisco traffic’s getting worse every year.
West calmly consults his watch.
WEST
We’re running late.
ARTEMUS
Ever occur to you that that’s the big idea?
WEST
(nodding grimly)
Right – let’s go!
Both hustle themselves aboard their horses and catapult off in their interrupted flight.
10. EXT. LOUISIANA HOTEL – (ESTABLISHED) – NIGHT
11. INT. CREOLE ROOM – NIGHT
we see a Japanese entertainment troupe in action on a remarkably small stage – A JUGGLER, TWO ACROBATS and the Japanese equivalent of a clown – all integrated in a flashing combination of movements punctuated by the EERIE MUSICAL ACCOMPANIMENT.
12. CLOSE SHOT – A LACQUERED TRAY
on which we see a tantalus, the cut-glass decanter in the middle (containing sake, for the record) girdled by a series of positioned sake cups;
A pair of female hands come into view, starts to lift the tray, when a man’s hand is suddenly interposed—then, very surreptitiously, the man’s hand lifts off the decanter’s top and sifts a packet of powder into the decanter…
… after which the female hands lift the tray and bear it off.
12A. ANOTHER ANGLE
where we see a group seated nearby, watching the performance, with formal attention as cups of sake are handed out to them. As they sip, CAMERA PANS to show CLIVE FINSBURY, who we will learn is State Department Chief of Protocol, flanked by a couple of aides, and REIKO O’HARA, his interpreter, an exquisite porcelain doll in traditional robes and obi. They are seated o the floor in front of low lacquered tables bearing tea, sake, and sweetmeats.
… across from an austere group of JAPANESE DIGNITARIES: PRINCE SHINOSUKE, thin, taciturn, austere, thirtyish (and the Emperor’s Nephew, it will develop) – BARON SAIGO, his Military Attache, whose face, even in repose, is more fear-inspiring than any Bagaku mask—and seated a respectful distance away form Shinosuke and Saigo, are FOUR EXPRESSIONLESS SAMURAI NOBLES, all of them wearing exquisite silk and brocade kimonos.
13. ANOTHER ANGLE
CLOSE on a ceremonial sword resting on a lacquered stand precisely midway between the two delegations. (It should, if possible, be an exquisitely decorated example of 11th-Century craftsmanship.)
14. EXT. HOTEL – WEST, ARTEMUS – NIGHT
as they come thundering up on their horses, leap off, tossing their reins to the startled doorman.
15. INT CREOLE ROOM – NIGHT
OVER the MUSICAL ACCOMPANIMENT, we see the group looking off at the performers, during which Reiko reaches over to a tray of sweetmeats, lifts it and starts to extend it to Finsbury—then suddenly crumples inertly to the floor; Finsbury reacts, startled, starts to rise, then he crumples to the floor, as CAMERA PULLS BACK to show that the entire company is either sprawled o the floor, unconscious, or in is in the process of doing so—
… and this is the point where the MUSIC CEASES and the performers leap from the stage—the clown has just snatched up the sword when he and the others whirl round…
16. ANOTHER ANGLE
… to the main door, as West and Artemus come bursting in; in the startled beat used up as the two stare at the scrambled scene, Artemus (behind West) is felled by a vicious karate chop from one of TWO JAPANESE who materialize from behind the nearby drapes; unaware of what happened to Artemus, West leaps at the huge, shaven-headed performer who has snatched up the sword, dodges expertly as the other slashes viciously at him, during which we catch a glimpse of his distorted facial expression and the jagged scar stitched across the bridge of his nose..
… then West has leaped in before the other can recover and sent him staggering backward with a murderous, flashing right—and hard on the heals of this West whirls around at the stealthy sound from behind—
… but too late to ward off the karate chop that comes his way from the two bushwhackers at the door. West staggers, sinks to his knees, with his last clear view of the face of the shaven-headed assailant with the scar stitched across the bridge of his nose—then an inky wave pours over him, as we
17 THRU 30 OMIT
FADE OUT.
END OF TEASER
ACT ONE
FADE IN:
31. INT. CREOLE ROOM – TIGHT SHOT – NIGHT
on the sword-rack—empty. We HEAR Prince Shinosuke’s voice making what is clearly a cold and angry statement in JAPANESE.
32. ANOTHER ANGLE
to include West, Artemus, Finsbury, and Reiko. The men are grimly staring at the empty sword-rack. Reiko, alabaster-pale with shock is slowly fanning herself and switching her beautiful, dazed eyes between West and Artemus. Prince Shinosuke finishes his statement.
(NOTE: as evidence of the clouting that occurred, Artemus, from time to time will tenderly touch the traumatized area of his neck where the karate chop landed—and west’s forehead sports a small dressing.)
SAIGO
(reflecting Shinosuke’s cold, menacing tone)
Prince Shinosuke, regrettably, is put to the unpleasant duty of reminding you, as State Department representative, that your Admiral Perry—ah, borrowed, without consent—the sword of celestial worth from our people over 30 years ago. Now, after bitter years of delay, you place it in our hands—and then, sadly, permit it to be stolen again!
FINSBURY
(pleading—harassed—to Reiko)
Please to inform his royal highness
Prince Shinosuke cuts in with a curt statement in Japanese.
SAIGO
(translating)
In the name of his uncle, the Emperor, Prince Shinosuke must regrettably hold you responsible.
FINSBURY
Baron Saigo, speaking for my country…
SAIGO
There are those in my country who will find it easy to assume that you have lured us to this den of thieves only to make sport of us, to make us lose face…
FINSBURY
No, no, Baron, please tell his Royal Highness…
But Prince Shinosuke interrupts again, speaking in JAPANESE to Saigo.
SAIGO
Prince Shinosuke reminds this worthless one that his vessel sails with tomorrow’s tide; if his most august majesty should return to Japanese soil with the bitter taste of failure in his mouth, and without the venerated sword of Kuniyoshi to lay at the feet of the Emperor…
Prince Shinosuke trails off with a MUMBLED REMARK. Saigo listens, bows, silent. West, Artemus, and Finsbury look at Reiko when Saigo doesn’t translate. Reiko, biting her lip, finally blurts out with:
REIKO
Say then, each honor-bound to commit Seppuku!
WEST
Hara-Kiri…?
Reiko bows an affirmative.
33. ANOTHER ANGLE
as Prince Shinosuke bows to West, Artemus and Finsbury, then signals his entourage and the delegation files out with great dignity. The CAMERA MOVES IN on the swords each man wears ominously in his sash at precisely the same Katana-style, with its curved cutting-edge flaring upward.
FINSBURY
West, Gordon, listen to me…
He stops, suddenly aware of Reiko’s presence, then:
FINSBURY (CONT'D)
That will be all, Reiko.
The girl bows to all, then withdraws on little cat’s feet. As soon as she is gone, Finsbury starts striding about, pressing a pair of well manicured hands together during the following:
FINSBURY (CONT'D)
Tai-Nei-No-Wakare*--I don’t suppose that means anything to you, does it?
____
*phonetically, “Tay-Nay-No-Wah-car-ay.”
____
ARTEMUS
(uncertainly)
The bidding of the polite farewell?
Finsbury turns to Artemus, surprised in spite of his perturbation.
FINSBURY
Yes, that’s roughly the meaning of the phrase—it also happens to be the name of a fanatical, highly placed palace group, one of the number that is forever jockeying for power in Japan…
He trails off as he goes to the lacquered sword rack, staring at it as West and Artemus look on.
FINSBURY (CONT'D)
… and the kind of polite farewell they have in mind is a bloody one—the complete elimination of every shred of influence America has managed to acquire in Japan since the bamboo barricades were lowered!
ARTEMUS
Then returning the Sword was more than an act of reparation on our part…
FINSBURY
Most certainly; it was also designed to strengthen the hand of a good, progressive Emperor who wishes us well…
He pauses, and West takes up the thread.
WEST
(softly)
I begin to see it now; with the sword gone the Emperor loses face and will have to yield to the “Foreign Devils” clique…
ARTEMUS
… and then, up goes the bamboo barricades again!
FINSBURY
(nodding)
Gentlemen, the Prince’s ship sails with tomorrow’s tide—I would earnestly hope that you have seen to it that he also has the Sword of Kuniyoshi, by then!
Without a backward glance he turns and exits. West and Artemus exchange a look. West turns his attention back to the prop sword that he has been toying with, throughout.
REIKO’S VOICE
Reiko could help, perhaps?
West and Artemus turn to see the lovely face of Reiko, still touched by the stricken expression she has worn since the incident of the sword—peeking around the corner of a lacquered screen set up near the door.
WEST
(reproachfully)
Tsk, tsk—you didn’t leave when Finsbury dismissed you, did you, Reiko?
REIKO
(softly pleading)
Reiko most earnest desire to be of assistance. Please to forgive!
West and Artemus exchange wry smiles, then Artemus turns to Reiko again:
ARTEMUS
Okay, if you want to be helpful—what was the name of the character who made off with the sword?
REIKO
Not know, Mr. Gordon, but most surely he was a Tatsuejin.*
____
*Phonetically, “Tah-tsoo-jin.”
____
ARTEMUS
(groping)
Tatsue—a master of the Samurai Sword?
REIKO
(nodding)
It is my believe he must have been…
34. OMIT
35. ANGLE – ON WEST
he has been idly listening to Reiko, thoughtfully toying with the mock Samurai sword all the while, and now we see his eyes light up with restrained excitement at her words.
WEST
Of course! There can’t be too many masters of the Hokkaido sword grip!
He tosses the wooden sword aside, tilts Reiko’s chin and plants an enthusiastic kiss on her forehead—then exits. Reiko looks after West, bewildered, then turns to a smiling Artemus.
REIKO
Please, Mr. Gordon, can’t Reiko help?
ARTEMUS
Reiko, my little lotus blossom, idly adrift on sun-drenched waters, I have an idea you just did!
He tilts Reiko’s chin up, plants the mate to West’s kiss on her forehead, then he exits after West—leaving Reiko’s fetchingly blank face staring after them.
DISSOLVE TO:
36. EXT. FALCONER’S ACADEMY – NIGHT
CAMERA MOVES IN on the modest shop window, on which we see the legend, “ACADEMY OF KENJITSU,” the store beyond masked by the surprisingly rich, brocaded half curtain (dragon design) that has been set up—and dominating the window display space is a battered, full-sized replica of a samurai warrior in all his armored glory, a fearsome samurai sword clutched in his hands…
… then ANGLES TO SHOW that West has come up and is idly looking in the window, as if trying to peer beyond the half curtain…
… during which we will become aware of the approach of a picturesquely dressed PORTYGEE SAILOR type dressed in a pea captain’s jacket, striped jersey (colorful bandana at his throat), with one gold earring dangling from an ear, a profusion of curly black ringlets peeking coyly out from the visored captain’s cap he wears so rakishly, a cigar he is trying, with very little success to light and, quite obviously, more than his share of the wine that is red, as we can see from his lurching condition (underneath all that makeup is Artemus, of course). (NOTE: he is also carrying a long, narrow wrapped package.)
37. ANOTHER ANGLE
as he lurches right into West, then becomes elaborately apologetic as only the tipsy can.
ARTEMUS
Senhor, I am desolated—you will do me the honor of forgiving my clumsiness?
WEST
Of course.
ARTEMUS
And the devil himself has entered into a pact with my cigar to keep it unlighted—you have a match, perhaps?
West smilingly ignites a match and holds it to the cigar of the Portygee as he stands there, weaving, during which:
WEST
(softly)
Where are you off to?
ARTEMUS
(sotto, as he puffs)
The length and breadth of Barbary Coast, hopefully, to attract a little lightning—
(back to the Portygee)
Senhor, I am forever in your debt!
And with a flourish and a bow, he staggers on, leaving West free to enter the Academy.
38. INT. ACADEMY OF KENJITSU – NIGHT
CLOSE ON DOOR – which opens to admit West, who almost immediately flips into a lightning duck as a sword blades WHISTLES pat the point that his head was occupying a moment before…
… then CAMERA PULLS BACK, RETREATING before West as he casually advances down the long, narrow store area that presents itself—an area that is, in effect, the battleground between a succession of swordsmen students* lined up on either side, completely absorbed in thrusting and parrying with each other…
____
*The students are of various colorful, nationalities, we see, though mainly oriental—all wear the distinctive padded Kendogi.
____
… which forces West to whirl out of the way of one over enthusiastic sword swing as he advances toward us—then another duck to escape the consequences of another uninhibited mayhem type lunge—then a ballet-like pirouette to stay clear of two blades, first one, then the other in quick succession, that come airing his way…
39. ANOTHER ANGLE
to HOLD ON FALCONER, a tall, gaunt, almost Lincolnesque-like man in his 40s or 50s, sword in hand, exasperatedly addressing a group of STUDENTS clustered about him.
FALCONER
(to students)
By all the scars of Saint Maurice himself, no, no, no!
(snatches a sword out of the hands of a student)
Look! There are sixteen cuts permissible to the true Samurai, and in some extraordinary fashion you are managing to dishonor every one of them! Your sword isn’t your enemy—it is your loved one! You caress it, like…
He looks up, permitting a brief expression of pleasure to illuminate his face as West saunters into view, then the pleasurable expression is immediately replaced by a stern, deadpan expression as he flips the sword he carries to West (who catches it expertly, of course), snatches another sword from yet another student…
FALCONER (CONT'D)
… like so!
… and with a HAIR-RAISING RITUAL SNARL, he lunges at West, who parries the swing and counter-lunge, which Falconer parries…
40. ANOTHER ANGLE
… in which we are treated the awe-inspiring spectacle of a couple of closely matched masters of the Samurai sword going through their highly talented motions of (apparently) trying to decapitate the other with all the other students following after them, open-mouthed, until, as if by some uncannily precise, unspoken agreement, West and Falconer both stop and bend into the elaborate ritual finishing bow.
41. ANOTHER ANGLE
On West and Falconer (who now permits his leathery face to crease in an uninhibited smile of pleasure) as they stroll toward the back of the store area, where we see the entrance to a small office.
FALCONER
Good to see you, Jim—but you haven’t been practicing; your balance is off by a good inch.
WEST
I know, and I’m properly ashamed.
(nodding at the class)
How’s the vintage?
FALCONER
Not bad at all; of course there isn’t one you couldn’t take blindfolded…
These words are spoken as he allows West to precede him toward the rear of the store, where we see:
42. INT. REAR – ANOTHER ANGLE – REAR OF STORE
A desk, cluttered with papers, two chairs, a workbench with a samurai sword held in position in a vise, evidently being given first aid—and the walls covered with a variety of cutting weapons. As West takes a padded chair and Falconer seats himself behind his desk:
FALCONER
I have a feeling you’re not here for a refresher course, Jim.
WEST
Right.
(a beat, then:)
Gideon—can you identify this grip?
He takes up a nearby sword and demonstrates the interlocking grip which had been used against him in the Creole Room.
FALCONER
(eyes raised)
The Hokkaido grip.
WEST
(nodding)
Someone tried the seventh cut on me—know anyone in this city who uses it?
FALCONER
I do indeed.
(a beat)
For the past year and a half I’ve been teaching it to all my students.
West looks disappointed, then we see his frame stiffen almost imperceptibly as he catches a glimpse of a massive, shaven-headed swordsman coming down the stairs toward them, and it is obvious that he hasn’t noticed West yet.
SHAVEN-HEAD
(coming up to Falconer)
Shall I take over, Master?
FALCONER
Yes, Aki—have them work up a sweat on parries and lunges.
The newcomer nods, then, as he turns to leave he glances carelessly at West—and we see that he reacts in spite of himself—and that he has the same jagged scar stitched across the bridge of his nose—like West’s assailant in the Creole room; then he silently withdraws.
WEST
Who’s your instructor?
FALCONER
Aki Sergeiievitch. A Eurasian, I believe. Arrived in town only a week ago. Marvelous teacher. I should have introduced you to him.
WEST
Why not now?
Falconer heaves himself to his feet.
43. ANOTHER ANGLE
as West unceremoniously leaves Falconer’s side and starts walking toward a small group of students who are watching as Aki demonstrate his Hokkaido grip…
44 THRU 47. OMIT
48. CLOSE ON AKI
on him—and as he looks up, spots West’s grim expression as he bears down, breaks and runs. The CAMERA PANS HIM to a [copy missing at bottom of page]
49. EXT. ANGLE UP AT BROKEN WINDOW – NIGHT – AS AKI
comes through, hits the ground with cat-like springiness, and takes off down the alley. A moment later, West comes leaping out the same window. The CAMERA PANS with him as he hits the ground and takes off after Aki.
50. OVERSHOT SHOT – WEST
pursuing Aki down an even darker and narrower alley.
51. AKI
He goes flying PAST CAMERA, which then PAN to PICK UP West, pursuing Aki through a labyrinth of barrels, crates, bales, nets, nautical ropes, etc.
52. CLOSE ON AKI
as he starts to race by a huge stack of crates held together by lashings—Aki brakes to a stop, lashes at the rope, which part with an explosive action, permitting crates to spill out win wild profusion.
53. ANOTHER ANGLE
as West goes into some fancy broken field running to escape the careening crates, then leaping over the dam of crates, he follows after Aki.
54. AKI
now clearly in a funk, lurches around a corner and bursts through a shadowy, dusty, CREAKING old door. As the door closes behind him, the CAMERA ZOOMS IN on the name marking
General Manager – DELIVERIES ONLY
55. WEST
rounds the corner, breathless, gun in hand, and stops, wondering what direction his prey had taken, and whether there might be an ambush in the works. And then he HEARS the CREAK of a door as it CLICKS shut again. He goes to it, cautiously tests the doorknob to see if the door is locked, stands back in case his testing draws any shots, then kicks it open and dives through, gun in hand.
56. INT. ARYAN-PACIFIC CORRIDOR – WEST – NIGHT
comes flying through the door, hits the floor, rolls.
57. CLOSE ON WEST
looking around at:
58. POV SHOT
the corridor to a wooden staircase. The places looks like the hold of a merchant ship which has been beached and converted into a waterfront warehouse. But no sign of Aki…
… and then as he looks around he stiffens, preparing to dive for the ground—then he halts, staring cautiously.
59. HIS POV
a flight of stairs leads up to a mezzanine-like foyer that incomprehensibly terminates in what looks to be a blank wall—and over the edge of the mezzanine, at the head of the stairs, the tip of a samurai sword can be seen protruding; gun drawn, West starts to climb the stairs…
60. ANOTHER ANGLE
as West finally reaches the top—burst onto the mezzanine—and finds that the sword tip he saw is indeed Aki’s sword, held by Aki sprawled out on the floor, and from the delicately lethal dagger seen embedded in Aki’s back, a thoroughly dead Aki…
… and now West becomes alertly aware of MOUNTAINOUS, PUDDING-FACED MAN, standing against the blank wall, arms playing with an astonishing variety of rings that we see adorn his fat fingers as he watches West. (He is HANNIBAL EGLOFF.)
WEST
Your dagger?
HANNIBAL
(with a moue of distaste)
Was, would be more accurate; I wouldn’t dream of taking it back from the gentleman.
WEST
(thoughtfully)
A dead body can be an embarrassing thing to have on your doorstep.
HANNIBAL
Dead body…?
He extends a fat, glittering hand and ever so delicately pulls a wildly improbably red velvet bell cord that we see hanging nearby—and hard on the heels of this the floor opens under Aki, catapulting him into depths unknown—but depths that terminate in an unmistakably watery SPLASH—
-- then the trapdoor silently swings shut again.
HANNIBAL (CONT'D)
… what dead body?
On West grimly listening to the GURLING, DELIGHTED LAUGHTER that rolls out of Hannibal Egloff, as we:
FADE OUT
THE WILD WILD WEST
“The Night of the Samurai”
PRODUCER:
BRUCE LANSBURY
ASSOCIATE PRODUCER:
LEONARD KATZMAN
STORY CONSULTANT:
HENRY SHARP
WRITTEN BY:
SIMON WINCELBERG
SETS:
EXT. SAN FRANCISCO STREET
EXT. LOUISIANA HOTEL
INT. CREOLE ROOM
INT. ACADEMY OF KENJITSU
INT. ARYAN-PACIFIC CORRIDOR
INT. ARYAN-PACIFIC MEZANINE
INT. HANNIBAL’S PARLOW [sic]
INT. BARBARY COAST STREET
EXT. BUCKET OF BLOOD
EXT. SAUSALITO MILL
INT. MILL
EXT. ALLEY
INT. BUCKET OF BLOOD
INT. SAIGO’S SEDAN CHAIR
INT. SAUSALITO MILL
EXT. MILL DOORWAY
INT. WEST’S VARNISH
EXT. PORTUGUESE WHARF
EXT. WHARF BUILDING
EXT. TRAIL
INT. WAREHOUSE
EXT. HANNIBAL’S WAREHOUSE
INT. FALCONER’S ACADEMY
INT. REAR OF STORE
CAST:
JAMES WEST – ROBERT CONRAD
ARTEMUS GORDON – ROSS MARTIN
CLIVE FINSBURY
PRINCE SHINOSUKE
BARON SAIGO
REIKO O’HARA
FALCONER
SHAVED HEAD (AKI)
HANNIVAL EGLOFF
MADAME MOUSTACHE
SOAPY
SEAMAN
JAPANESE MAIDEN
SILENT:
SAMURAI NOBLES
NUBIAN STEWARDESS
BALINESE STEWARDESS
THUGS
“THE NIGHT OF THE SAMURAI”
FADE IN:
1. EXT. SAN FRANCISCO STREET – NIGHT
It’s a well-lighted main street with a fair amount of evening traffic. The CAMERA PICKS UP WEST and ARTEMUS and PANS with them as they ride just a bit ahead of the traffic flow. At an intersection, they are forced to halt for –
2. A HEARSE
drawn by four plumed horses who have somehow been induced to balk in the very middle of the intersection.
3. WEST, ARTEMUS
waiting for the obstruction to clear. They suddenly hear the high-pitched Apache-like WHOOPS and YELLS of some old-fashioned HONIN (Vagabond Samurai) horsemen, masked in ancient “menpo” face protectors. They come swooping down on them from behind the hearse with poised lances and wildly swinging sabers.
4. ARTEMUS
sensibly drops off his horse a split-second before one of the swords can remove his head.
5. WEST
manages, virtually barehanded, to parry the thrust of a Samurai lance, appropriate it, and unhorse his attacker.
6. WEST’S POV – ANOTHER ATTACKER
comes at him and lashes out with the sword.
7. WEST
parries the blow with the just-confiscated lance. He then leaps off his horse, draws his gun, in pursuit of the attackers.
8. HEARSE DRIVER
sharply whips his horse into swift escape. The attackers hastily scramble aboard. On the roof of the hearse, one of the attackers (riding “shotgun”) hurls a Japanese lance at –
9. WEST
who manages to flinch aside as the lance misses him by an inch. Artemus comes running INTO SHOT. The two look off toward their vanishing attackers.
ARTEMUS
(shakes his head)
San Francisco traffic’s getting worse every year.
West calmly consults his watch.
WEST
We’re running late.
ARTEMUS
Ever occur to you that that’s the big idea?
WEST
(nodding grimly)
Right – let’s go!
Both hustle themselves aboard their horses and catapult off in their interrupted flight.
10. EXT. LOUISIANA HOTEL – (ESTABLISHED) – NIGHT
11. INT. CREOLE ROOM – NIGHT
we see a Japanese entertainment troupe in action on a remarkably small stage – A JUGGLER, TWO ACROBATS and the Japanese equivalent of a clown – all integrated in a flashing combination of movements punctuated by the EERIE MUSICAL ACCOMPANIMENT.
12. CLOSE SHOT – A LACQUERED TRAY
on which we see a tantalus, the cut-glass decanter in the middle (containing sake, for the record) girdled by a series of positioned sake cups;
A pair of female hands come into view, starts to lift the tray, when a man’s hand is suddenly interposed—then, very surreptitiously, the man’s hand lifts off the decanter’s top and sifts a packet of powder into the decanter…
… after which the female hands lift the tray and bear it off.
12A. ANOTHER ANGLE
where we see a group seated nearby, watching the performance, with formal attention as cups of sake are handed out to them. As they sip, CAMERA PANS to show CLIVE FINSBURY, who we will learn is State Department Chief of Protocol, flanked by a couple of aides, and REIKO O’HARA, his interpreter, an exquisite porcelain doll in traditional robes and obi. They are seated o the floor in front of low lacquered tables bearing tea, sake, and sweetmeats.
… across from an austere group of JAPANESE DIGNITARIES: PRINCE SHINOSUKE, thin, taciturn, austere, thirtyish (and the Emperor’s Nephew, it will develop) – BARON SAIGO, his Military Attache, whose face, even in repose, is more fear-inspiring than any Bagaku mask—and seated a respectful distance away form Shinosuke and Saigo, are FOUR EXPRESSIONLESS SAMURAI NOBLES, all of them wearing exquisite silk and brocade kimonos.
13. ANOTHER ANGLE
CLOSE on a ceremonial sword resting on a lacquered stand precisely midway between the two delegations. (It should, if possible, be an exquisitely decorated example of 11th-Century craftsmanship.)
14. EXT. HOTEL – WEST, ARTEMUS – NIGHT
as they come thundering up on their horses, leap off, tossing their reins to the startled doorman.
15. INT CREOLE ROOM – NIGHT
OVER the MUSICAL ACCOMPANIMENT, we see the group looking off at the performers, during which Reiko reaches over to a tray of sweetmeats, lifts it and starts to extend it to Finsbury—then suddenly crumples inertly to the floor; Finsbury reacts, startled, starts to rise, then he crumples to the floor, as CAMERA PULLS BACK to show that the entire company is either sprawled o the floor, unconscious, or in is in the process of doing so—
… and this is the point where the MUSIC CEASES and the performers leap from the stage—the clown has just snatched up the sword when he and the others whirl round…
16. ANOTHER ANGLE
… to the main door, as West and Artemus come bursting in; in the startled beat used up as the two stare at the scrambled scene, Artemus (behind West) is felled by a vicious karate chop from one of TWO JAPANESE who materialize from behind the nearby drapes; unaware of what happened to Artemus, West leaps at the huge, shaven-headed performer who has snatched up the sword, dodges expertly as the other slashes viciously at him, during which we catch a glimpse of his distorted facial expression and the jagged scar stitched across the bridge of his nose..
… then West has leaped in before the other can recover and sent him staggering backward with a murderous, flashing right—and hard on the heals of this West whirls around at the stealthy sound from behind—
… but too late to ward off the karate chop that comes his way from the two bushwhackers at the door. West staggers, sinks to his knees, with his last clear view of the face of the shaven-headed assailant with the scar stitched across the bridge of his nose—then an inky wave pours over him, as we
17 THRU 30 OMIT
FADE OUT.
END OF TEASER
ACT ONE
FADE IN:
31. INT. CREOLE ROOM – TIGHT SHOT – NIGHT
on the sword-rack—empty. We HEAR Prince Shinosuke’s voice making what is clearly a cold and angry statement in JAPANESE.
32. ANOTHER ANGLE
to include West, Artemus, Finsbury, and Reiko. The men are grimly staring at the empty sword-rack. Reiko, alabaster-pale with shock is slowly fanning herself and switching her beautiful, dazed eyes between West and Artemus. Prince Shinosuke finishes his statement.
(NOTE: as evidence of the clouting that occurred, Artemus, from time to time will tenderly touch the traumatized area of his neck where the karate chop landed—and west’s forehead sports a small dressing.)
SAIGO
(reflecting Shinosuke’s cold, menacing tone)
Prince Shinosuke, regrettably, is put to the unpleasant duty of reminding you, as State Department representative, that your Admiral Perry—ah, borrowed, without consent—the sword of celestial worth from our people over 30 years ago. Now, after bitter years of delay, you place it in our hands—and then, sadly, permit it to be stolen again!
FINSBURY
(pleading—harassed—to Reiko)
Please to inform his royal highness
Prince Shinosuke cuts in with a curt statement in Japanese.
SAIGO
(translating)
In the name of his uncle, the Emperor, Prince Shinosuke must regrettably hold you responsible.
FINSBURY
Baron Saigo, speaking for my country…
SAIGO
There are those in my country who will find it easy to assume that you have lured us to this den of thieves only to make sport of us, to make us lose face…
FINSBURY
No, no, Baron, please tell his Royal Highness…
But Prince Shinosuke interrupts again, speaking in JAPANESE to Saigo.
SAIGO
Prince Shinosuke reminds this worthless one that his vessel sails with tomorrow’s tide; if his most august majesty should return to Japanese soil with the bitter taste of failure in his mouth, and without the venerated sword of Kuniyoshi to lay at the feet of the Emperor…
Prince Shinosuke trails off with a MUMBLED REMARK. Saigo listens, bows, silent. West, Artemus, and Finsbury look at Reiko when Saigo doesn’t translate. Reiko, biting her lip, finally blurts out with:
REIKO
Say then, each honor-bound to commit Seppuku!
WEST
Hara-Kiri…?
Reiko bows an affirmative.
33. ANOTHER ANGLE
as Prince Shinosuke bows to West, Artemus and Finsbury, then signals his entourage and the delegation files out with great dignity. The CAMERA MOVES IN on the swords each man wears ominously in his sash at precisely the same Katana-style, with its curved cutting-edge flaring upward.
FINSBURY
West, Gordon, listen to me…
He stops, suddenly aware of Reiko’s presence, then:
FINSBURY (CONT'D)
That will be all, Reiko.
The girl bows to all, then withdraws on little cat’s feet. As soon as she is gone, Finsbury starts striding about, pressing a pair of well manicured hands together during the following:
FINSBURY (CONT'D)
Tai-Nei-No-Wakare*--I don’t suppose that means anything to you, does it?
____
*phonetically, “Tay-Nay-No-Wah-car-ay.”
____
ARTEMUS
(uncertainly)
The bidding of the polite farewell?
Finsbury turns to Artemus, surprised in spite of his perturbation.
FINSBURY
Yes, that’s roughly the meaning of the phrase—it also happens to be the name of a fanatical, highly placed palace group, one of the number that is forever jockeying for power in Japan…
He trails off as he goes to the lacquered sword rack, staring at it as West and Artemus look on.
FINSBURY (CONT'D)
… and the kind of polite farewell they have in mind is a bloody one—the complete elimination of every shred of influence America has managed to acquire in Japan since the bamboo barricades were lowered!
ARTEMUS
Then returning the Sword was more than an act of reparation on our part…
FINSBURY
Most certainly; it was also designed to strengthen the hand of a good, progressive Emperor who wishes us well…
He pauses, and West takes up the thread.
WEST
(softly)
I begin to see it now; with the sword gone the Emperor loses face and will have to yield to the “Foreign Devils” clique…
ARTEMUS
… and then, up goes the bamboo barricades again!
FINSBURY
(nodding)
Gentlemen, the Prince’s ship sails with tomorrow’s tide—I would earnestly hope that you have seen to it that he also has the Sword of Kuniyoshi, by then!
Without a backward glance he turns and exits. West and Artemus exchange a look. West turns his attention back to the prop sword that he has been toying with, throughout.
REIKO’S VOICE
Reiko could help, perhaps?
West and Artemus turn to see the lovely face of Reiko, still touched by the stricken expression she has worn since the incident of the sword—peeking around the corner of a lacquered screen set up near the door.
WEST
(reproachfully)
Tsk, tsk—you didn’t leave when Finsbury dismissed you, did you, Reiko?
REIKO
(softly pleading)
Reiko most earnest desire to be of assistance. Please to forgive!
West and Artemus exchange wry smiles, then Artemus turns to Reiko again:
ARTEMUS
Okay, if you want to be helpful—what was the name of the character who made off with the sword?
REIKO
Not know, Mr. Gordon, but most surely he was a Tatsuejin.*
____
*Phonetically, “Tah-tsoo-jin.”
____
ARTEMUS
(groping)
Tatsue—a master of the Samurai Sword?
REIKO
(nodding)
It is my believe he must have been…
34. OMIT
35. ANGLE – ON WEST
he has been idly listening to Reiko, thoughtfully toying with the mock Samurai sword all the while, and now we see his eyes light up with restrained excitement at her words.
WEST
Of course! There can’t be too many masters of the Hokkaido sword grip!
He tosses the wooden sword aside, tilts Reiko’s chin and plants an enthusiastic kiss on her forehead—then exits. Reiko looks after West, bewildered, then turns to a smiling Artemus.
REIKO
Please, Mr. Gordon, can’t Reiko help?
ARTEMUS
Reiko, my little lotus blossom, idly adrift on sun-drenched waters, I have an idea you just did!
He tilts Reiko’s chin up, plants the mate to West’s kiss on her forehead, then he exits after West—leaving Reiko’s fetchingly blank face staring after them.
DISSOLVE TO:
36. EXT. FALCONER’S ACADEMY – NIGHT
CAMERA MOVES IN on the modest shop window, on which we see the legend, “ACADEMY OF KENJITSU,” the store beyond masked by the surprisingly rich, brocaded half curtain (dragon design) that has been set up—and dominating the window display space is a battered, full-sized replica of a samurai warrior in all his armored glory, a fearsome samurai sword clutched in his hands…
… then ANGLES TO SHOW that West has come up and is idly looking in the window, as if trying to peer beyond the half curtain…
… during which we will become aware of the approach of a picturesquely dressed PORTYGEE SAILOR type dressed in a pea captain’s jacket, striped jersey (colorful bandana at his throat), with one gold earring dangling from an ear, a profusion of curly black ringlets peeking coyly out from the visored captain’s cap he wears so rakishly, a cigar he is trying, with very little success to light and, quite obviously, more than his share of the wine that is red, as we can see from his lurching condition (underneath all that makeup is Artemus, of course). (NOTE: he is also carrying a long, narrow wrapped package.)
37. ANOTHER ANGLE
as he lurches right into West, then becomes elaborately apologetic as only the tipsy can.
ARTEMUS
Senhor, I am desolated—you will do me the honor of forgiving my clumsiness?
WEST
Of course.
ARTEMUS
And the devil himself has entered into a pact with my cigar to keep it unlighted—you have a match, perhaps?
West smilingly ignites a match and holds it to the cigar of the Portygee as he stands there, weaving, during which:
WEST
(softly)
Where are you off to?
ARTEMUS
(sotto, as he puffs)
The length and breadth of Barbary Coast, hopefully, to attract a little lightning—
(back to the Portygee)
Senhor, I am forever in your debt!
And with a flourish and a bow, he staggers on, leaving West free to enter the Academy.
38. INT. ACADEMY OF KENJITSU – NIGHT
CLOSE ON DOOR – which opens to admit West, who almost immediately flips into a lightning duck as a sword blades WHISTLES pat the point that his head was occupying a moment before…
… then CAMERA PULLS BACK, RETREATING before West as he casually advances down the long, narrow store area that presents itself—an area that is, in effect, the battleground between a succession of swordsmen students* lined up on either side, completely absorbed in thrusting and parrying with each other…
____
*The students are of various colorful, nationalities, we see, though mainly oriental—all wear the distinctive padded Kendogi.
____
… which forces West to whirl out of the way of one over enthusiastic sword swing as he advances toward us—then another duck to escape the consequences of another uninhibited mayhem type lunge—then a ballet-like pirouette to stay clear of two blades, first one, then the other in quick succession, that come airing his way…
39. ANOTHER ANGLE
to HOLD ON FALCONER, a tall, gaunt, almost Lincolnesque-like man in his 40s or 50s, sword in hand, exasperatedly addressing a group of STUDENTS clustered about him.
FALCONER
(to students)
By all the scars of Saint Maurice himself, no, no, no!
(snatches a sword out of the hands of a student)
Look! There are sixteen cuts permissible to the true Samurai, and in some extraordinary fashion you are managing to dishonor every one of them! Your sword isn’t your enemy—it is your loved one! You caress it, like…
He looks up, permitting a brief expression of pleasure to illuminate his face as West saunters into view, then the pleasurable expression is immediately replaced by a stern, deadpan expression as he flips the sword he carries to West (who catches it expertly, of course), snatches another sword from yet another student…
FALCONER (CONT'D)
… like so!
… and with a HAIR-RAISING RITUAL SNARL, he lunges at West, who parries the swing and counter-lunge, which Falconer parries…
40. ANOTHER ANGLE
… in which we are treated the awe-inspiring spectacle of a couple of closely matched masters of the Samurai sword going through their highly talented motions of (apparently) trying to decapitate the other with all the other students following after them, open-mouthed, until, as if by some uncannily precise, unspoken agreement, West and Falconer both stop and bend into the elaborate ritual finishing bow.
41. ANOTHER ANGLE
On West and Falconer (who now permits his leathery face to crease in an uninhibited smile of pleasure) as they stroll toward the back of the store area, where we see the entrance to a small office.
FALCONER
Good to see you, Jim—but you haven’t been practicing; your balance is off by a good inch.
WEST
I know, and I’m properly ashamed.
(nodding at the class)
How’s the vintage?
FALCONER
Not bad at all; of course there isn’t one you couldn’t take blindfolded…
These words are spoken as he allows West to precede him toward the rear of the store, where we see:
42. INT. REAR – ANOTHER ANGLE – REAR OF STORE
A desk, cluttered with papers, two chairs, a workbench with a samurai sword held in position in a vise, evidently being given first aid—and the walls covered with a variety of cutting weapons. As West takes a padded chair and Falconer seats himself behind his desk:
FALCONER
I have a feeling you’re not here for a refresher course, Jim.
WEST
Right.
(a beat, then:)
Gideon—can you identify this grip?
He takes up a nearby sword and demonstrates the interlocking grip which had been used against him in the Creole Room.
FALCONER
(eyes raised)
The Hokkaido grip.
WEST
(nodding)
Someone tried the seventh cut on me—know anyone in this city who uses it?
FALCONER
I do indeed.
(a beat)
For the past year and a half I’ve been teaching it to all my students.
West looks disappointed, then we see his frame stiffen almost imperceptibly as he catches a glimpse of a massive, shaven-headed swordsman coming down the stairs toward them, and it is obvious that he hasn’t noticed West yet.
SHAVEN-HEAD
(coming up to Falconer)
Shall I take over, Master?
FALCONER
Yes, Aki—have them work up a sweat on parries and lunges.
The newcomer nods, then, as he turns to leave he glances carelessly at West—and we see that he reacts in spite of himself—and that he has the same jagged scar stitched across the bridge of his nose—like West’s assailant in the Creole room; then he silently withdraws.
WEST
Who’s your instructor?
FALCONER
Aki Sergeiievitch. A Eurasian, I believe. Arrived in town only a week ago. Marvelous teacher. I should have introduced you to him.
WEST
Why not now?
Falconer heaves himself to his feet.
43. ANOTHER ANGLE
as West unceremoniously leaves Falconer’s side and starts walking toward a small group of students who are watching as Aki demonstrate his Hokkaido grip…
44 THRU 47. OMIT
48. CLOSE ON AKI
on him—and as he looks up, spots West’s grim expression as he bears down, breaks and runs. The CAMERA PANS HIM to a [copy missing at bottom of page]
49. EXT. ANGLE UP AT BROKEN WINDOW – NIGHT – AS AKI
comes through, hits the ground with cat-like springiness, and takes off down the alley. A moment later, West comes leaping out the same window. The CAMERA PANS with him as he hits the ground and takes off after Aki.
50. OVERSHOT SHOT – WEST
pursuing Aki down an even darker and narrower alley.
51. AKI
He goes flying PAST CAMERA, which then PAN to PICK UP West, pursuing Aki through a labyrinth of barrels, crates, bales, nets, nautical ropes, etc.
52. CLOSE ON AKI
as he starts to race by a huge stack of crates held together by lashings—Aki brakes to a stop, lashes at the rope, which part with an explosive action, permitting crates to spill out win wild profusion.
53. ANOTHER ANGLE
as West goes into some fancy broken field running to escape the careening crates, then leaping over the dam of crates, he follows after Aki.
54. AKI
now clearly in a funk, lurches around a corner and bursts through a shadowy, dusty, CREAKING old door. As the door closes behind him, the CAMERA ZOOMS IN on the name marking
General Manager – DELIVERIES ONLY
55. WEST
rounds the corner, breathless, gun in hand, and stops, wondering what direction his prey had taken, and whether there might be an ambush in the works. And then he HEARS the CREAK of a door as it CLICKS shut again. He goes to it, cautiously tests the doorknob to see if the door is locked, stands back in case his testing draws any shots, then kicks it open and dives through, gun in hand.
56. INT. ARYAN-PACIFIC CORRIDOR – WEST – NIGHT
comes flying through the door, hits the floor, rolls.
57. CLOSE ON WEST
looking around at:
58. POV SHOT
the corridor to a wooden staircase. The places looks like the hold of a merchant ship which has been beached and converted into a waterfront warehouse. But no sign of Aki…
… and then as he looks around he stiffens, preparing to dive for the ground—then he halts, staring cautiously.
59. HIS POV
a flight of stairs leads up to a mezzanine-like foyer that incomprehensibly terminates in what looks to be a blank wall—and over the edge of the mezzanine, at the head of the stairs, the tip of a samurai sword can be seen protruding; gun drawn, West starts to climb the stairs…
60. ANOTHER ANGLE
as West finally reaches the top—burst onto the mezzanine—and finds that the sword tip he saw is indeed Aki’s sword, held by Aki sprawled out on the floor, and from the delicately lethal dagger seen embedded in Aki’s back, a thoroughly dead Aki…
… and now West becomes alertly aware of MOUNTAINOUS, PUDDING-FACED MAN, standing against the blank wall, arms playing with an astonishing variety of rings that we see adorn his fat fingers as he watches West. (He is HANNIBAL EGLOFF.)
WEST
Your dagger?
HANNIBAL
(with a moue of distaste)
Was, would be more accurate; I wouldn’t dream of taking it back from the gentleman.
WEST
(thoughtfully)
A dead body can be an embarrassing thing to have on your doorstep.
HANNIBAL
Dead body…?
He extends a fat, glittering hand and ever so delicately pulls a wildly improbably red velvet bell cord that we see hanging nearby—and hard on the heels of this the floor opens under Aki, catapulting him into depths unknown—but depths that terminate in an unmistakably watery SPLASH—
-- then the trapdoor silently swings shut again.
HANNIBAL (CONT'D)
… what dead body?
On West grimly listening to the GURLING, DELIGHTED LAUGHTER that rolls out of Hannibal Egloff, as we:
FADE OUT