Post by California gal on Mar 26, 2010 11:28:51 GMT -8
WILD WILD WEST
NIGHT OF THE JUGGERNAUT
By Calvin Clements, Jr.
FINAL DRAFT
July 5, 1968
#0608
CBS Television Network
Press Information
Television City
Los Angeles, Calif. 90036
Sept. 16, 1968
“The Wild Wild West”. . .
FLOYD PATTERSON IN ACTING DEBUT OCT. 11
Floyd Patterson, who came within a whisker of regaining his world heavyweight crown last week in a both with World Boxing Association champion Jimmy Ellis in Stockholm, Sweden, that ended in an unpopular 9-6 decision, steps into a new arena Friday, Oct. 11.
The former champ makes his acting debut o that date on “The Wild Wild West,” action adventure series, presented 7:30-8:30 PM, PT, in color on the CBS Television Network.
Patterson plays a homesteader whose farm is threatened by a high-powered land syndicate. Robert Conrad stars as secret agent James West and Ross Martin as his colleague, Artemus Gordon.
When agents West and Gordon arrive on the scene, they discover that a respected local citizen, Theodore Bock, is the power behind the move to dispossess local landowners.
James West…..ROBERT CONRAD
Artemus Gordon…..ROSS MARTIN
Lyle Dixon…..Floyd Patterson
Theodore Bock…..Simon Scott
Lonie Millard…..Gloria Calomes
County Clerk…..Byron Foulger
Harwood…..Peter Hale
Farmer No. 2…..Irving Mosley
Geezer…..Wild Bill Reynolds
Farmer No. 1…..Stuart Nisbet
Nurse…..Evelyn Dutton
Storekeeper…..Bart LaRue
Director…..Irving Moore
Writer….Calvin Clements, Jr.
THE WILD WILD WEST
“The Night of the Juggernaut”
PRODUCER
BRUCE LANSBURY
ASSOCIATE PRODUCER
LEONARD KATZMAN
STORY CONSULTANT
HENRY SHARP
WRITTEN BY
CALVIN CLEMENTS, JR.
SETS:
EXT. JORGENSON FARM
INT. JUGGERNAUT
EXT. BLACK BOWL STREET
INT. LAND RECORD OFFICE
INT. WEST’S VARNISH
EXT. COUNTRYSIDE
INT. SALOON
EXT. MISSION RANCH COMPLEX
INT. LONIE’S ROOM
EXT. DIXON FARM
INT. FOUNDRY ROOM
INT. CORRIDOR
INT. OIL CHAMBER
INT. TOOL CHAMBER
CAST:
JAMES WEST – ROBERT CONRAD
ARTEMUS GORDON – ROSS MARTIN
LYLE DIXON
THEODORE BOCK
LONIE MILLARD
COUNTY CLERK
STOREKEEPER
FARMER #1
FARMER #2
DOCTOR
GEEZER
GUARD
2ND GUARD
HARDCASE
SILENT:
NURSE
WILD WILD WEST
“The Night of the Juggernaut”
TEASER
FADE IN:
1. EXT. FARMHOUSE GROUNDS – NIGHT
Establish a simple farmhouse, a nearby barn with corral attached. A light burns in the farmhouse window, one of the barn doors swings slightly ajar—into this scene rides JAMES WEST and ARTEMUS GORDON. They ride to the front of the house and dismount. West CALLS softly.
WEST
Mr. Jorgenson…
There is no answer from within.
ARTEMUS
I’ll check the barn.
He moves off toward the barn. CAMERA stays with West who moves to the doorway—KNOCKS.
WEST
Mr. Jorgenson…
2. CLOSE AT DOORWAY
The door swings softly open, West peers in, again CALLING off.
WEST
Mr. Jorgenson…
He moves back onto the porch, in the b.g. we see Artemus come out of the barn.
ARTEMUS
Jim…
3. CLOSE SHOT – ARTEMUS
Sorrow is on his face as he refers to the barn.
ARTEMUS
I found him… We’re too late.
4. CLOSE SHOT – WEST
he reacts to the information. Suddenly the air is filled with MECHANICAL SOUNDS of frightening intensity. The SOUND seems to come from every direction. West reacts trying to pinpoint the direction of the sound.
5. ANGLE WITH ARTEMUS
against the barn. Suddenly his gaze centers again:
6 ANGLE TO THE JUGGERNAUT – (ARTEMUS’ POV)
Emerging from the fence area is a monstrous mechanical mass, roughly in the shape of a tank, though it is seen here only as a shadow as its form blends into the night blackness. Smoke belches from a smokestack, and steam is generated from beneath the machine and from a number of ports, giving us the impression that the thing moves on and within a cloud. The Juggernaut swings to face Artemus, and now all clues to its silhouette disappear as two beams of light, the “eyes” of this creature, glare into CAMERA.
7. WEST
raises his arm against the glare at the first appearance of the monster, then starts once again for the corral area;
8. ARTEMUS
trying to see what it is.
9. THE JUGGERNAUT
seen only as a huge mass, its two beams of light glaring as it CRASHES through the corral fencing, sending beams flying, and heads INTO CAMERA.
10. ANGLE TO ARTEMUS
SHOOTING PAST THE FRONT OF THE JUGGERNAUT as it approaches Artemus who pulls out his gun and fires.
11. WEST
vaults the corral fence, FIRES a couple of shots in desperation at the Juggernaut, trying to divert the machine from Artemus. These shots are HEARD TO PING harmlessly off the steel hull of the monster.
12. THE BARN
The tank rams into a section of barn dropping timbers on Artemus who lies pinned.
13. THE JUGGERNAUT
CLOSE ON THE FRONT OF THE MACHINE as it turns from Artemus and now heads for West, its form still obscured by smoke.
34. WEST
would turn to elude the thing but finds himself trapped between the barn and the corral fencing.
15. THE JUGGERNAUT – VARIOUS ANGLES
1. The twin beams of light coming INTO CAMERA.
2. The smokestack belching smoke.
3. The bottom of the machine, billowing smoke. Also seen is a steam port form which we HEAR THE WHISTLING SOUND with each new gust of steam.
16. INT. JUGGERNAUT
SHOOTING THROUGH A PORT OF THE JUGGERNAUT to see West FIRING his last few futile shots, then, in desperation, hurling his gun INTO CAMERA.
17. CLOSE – THE JUGGERNAUT – (WEST’S POV)
SHOOTING UP-ANGLE as the Juggernaut FILLS THE SCREEN.
18. WEST
As the Juggernaut bears down, now inches from him. West leaps upon the face of the thing, crawls to the top, turns to see:
19. THE FENCE – (WEST’S POV)
The Juggernaut CRASHES through the fence now. The timbers come into CAMERA, scraping West off the Juggernaut.
20. WEST
falls to the ground and the machine rolls past him. CRUNCHING SOUNDS fill the air, joining the SOUND of the mechanical monster. Timbers fall over West, one large beam rendering him unconscious as the Juggernaut rolls off on its way.
FADE OUT:
END OF TEASER
ACT ONE
FADE IN:
21. STOCK SHOT – WEST’S VARNISH – ON SIDING
HOLD for titles.
22. INT. VARNISH
CLOSE on the face of TOM HARWOOD—a member of the Secret Service. Youngish and obviously impressed with the presence of West and the car…
HARWOOD
And Mr. Gordon, sir, how is he?
WEST
You’ll see for yourself in a moment.
HARWOOD
And you said Mr. Jorgenson was dead by the time you got there?
Now CAMERA PULLS BACK to disclose we are in the car. Harwood has a sheaf of papers in front of him. West is relaxing on the couch.
WEST
That’s right. And whatever he wanted to tell us is gone with him.
At this moment the rear door of the car swings open, and in comes Artemus, his leg heavily bandaged supported by two of the prettiest NURSES any sick man could reasonably hope for, as they guide him to a chair, he leans heavily on them.
ARTEMUS
Careful… careful now… hold tight.
He slowly eases himself into a chair, smiles at the girls.
WEST
Nice to see you’re bearing up so well, Artie.
ARTEMUS
I never was one to pamper myself.
WEST
Artie, this is Tom Harwood, he works out of our Albuquerque office.
HARWOOD
A real pleasure, Mr. Gordon. I hope your leg gets better.
ARTEMUS
I expect it’ll be fine shortly.
WEST
Harwood was checking up on the homesteaders in the Big Hill area.
ARTEMUS
Come up with anything?
HARWOOD
(shakes head)
No, sir, the homesteaders up there are getting along fine. A few quit, but mainly they’re settling on the land.
ARTEMUS
So it’s only in the Black Bowl area that they won’t stay on. I wonder why.
(to West)
You see any connection with that—whatever it is we ran into.
HARWOOD
Someone’s going to a lot of trouble to try to run the homesteaders out of the Black Bowl area.
WEST
Be interesting to know if anyone takes over the land once the farmers move off.
HARWOOD
The title changes would have to be recorded.
ARTEMUS
Jorgenson’s letter mentioned a man named Lyle Dixon—another farmer they’re trying to run off.
WEST
I think a little visit to Black Bowl might be in order.
Artemus looks at his two nurses hovering near.
ARTEMUS
I’ll join you there… just as soon as my leg gets better.
DISSOLVE TO:
23 THRU 28 OMIT
29. EXT. BLACK BOWL TOWN STREET – DAY
ESTABLISHING a small town. West rides in. Before the general store an old GEEZER sits, whittling, the only activity apparent in the town. CAMERA EMPHASIZES A LAND RECORDS OFFICE where West dismounts and enters.
30. INT. LAND RECORDS OFFICE – DAY
Where the officious but cheerful COUNTY CLERK comes from behind shelves of records which serve to screen the front of the office from the back, there to greet West.
COUNTY CLERK
Howdeedo. Help you out?
WEST
I’d like to take a look at the titles to certain properties in this area.
COUNTY CLERK
I can save you the trouble. Nothing for sale out this way.
West takes a list from his pocket.
WEST
Maybe the owners just haven’t heard the right offer. Might start with the old Sommerlad place.
COUNTY CLERK
Sorry on that one. Records ain’t available right now.
WEST
The Fernstrom property over there near the bluffs…
COUNTY CLERK
(shakes his head negatively)
Sorry again. Not your day, looks like.
WEST
(annoyed)
Now just a minute. You the County Clerk?
COUNTY CLERK
Guilty as charged.
WEST
Those titles a matter of public record?
He trails off as two toughs—identify them as JIMBO and TOUGH #1—emerge from behind the shelf screen, their presence an unspoken threat.
COUNTY CLERK
See, we’re reorganizing the files right now. You come back in a month or so… be glad to help you out.
West sees the wisdom of withdrawing here.
WEST
As you say. Guess it can wait.
COUNTY CLERK
Sure am sorry can’t oblige.
West EXITS.
31. EXT. BLACK BOWL STREET – DAY
West exits the Land Records Office, more than a bit annoyed. He notes something O.S.
32 THRU 33 OMIT
34. WITH WEST
abreast of the general store, West notes the old Geezer whittling; also noted here is a farm wagon outside the store, the store being the type that displays much merchandise outside, on the boardwalk, and hanging from overhead.
34A. ANGLE AT THE GENERAL STORE
Where West moves to the old Geezer and speaks:
WEST
I’m looking for a man—Lyle Dixon.
The old Geezer speaks in a disinterested monotone.
GEEZER
‘Spect Dixon’ll be along anytime.
Punctuating Geezer’s line is a loud CRASH as a man comes hurtling through the door of the general store, falling off the boardwalk to sprawl in the street dirt.
GEEZER (CONT'D)
There he is now.
35. FAVORING DIXON
LYLE DIXON is a bull of a young man; a well-formed, good-looking Negro, about thirty-five. As he gets groggily to his feet, a number of TOUGHS (call them Toughs #1, 2, 3, 4 and HARDCASE) emerge from the general store, obviously having propelled Dixon from the store in the first place.
Hardcase wrenches the shovel from Dixon’s hand and hands it to the STOREKEEPER, who has emerged last from the store.
DIXON
You got no right not to sell me supplies!
(turning to crowd)
Ain’t that what a store’s for?
The crowd shuffles its feet, gaping, aimless, without purpose, as yet—
—and while Dixon is appealing to the crowd, Hardcase comes up to him, slams a punch to Dixon’s jaw, sending him sprawling into the street. A nod from Hardcase and a couple of the Toughs now start for Dixon as he gets to his feet. Dixon slams these two, left and right, but is overwhelmed as the other Toughs move to join the fracas. With two of the Toughs holding Dixon, Hardcase prepares to deliver a beating—and this is the point where West steps into FRAME to stand next to Dixon; before Hardcase can deliver a blow, West decks him. A couple of the Toughs now move for West while Dixon throws off the two men holding him and the fight is on.
36. ANGLE TO ARTEMUS
walking his horse this way, now quickening his pace as he sees the fight.
37. THE FIGHT
As a small crowd is gathering, the fight continues in the street where Dixon battles a couple of men near his wagon, spooking his horse, and on the boardwalk where West fights, spilling plenty of goods in the process, creating much RACKET.
38. ANOTHER ANGLE – AT A DIFFERENT STORE
where we see a DISTINGUISHED-LOOKING MAN, in his fifties (his name is THEODORE BOCK) emerge from the store, followed by LOVELY, YOUNG NEGRO GIRL, straining under the weight of what is evidently a very weighty shopping basket. (Her name is LONIE MILLARD.) Bock stops, shaking his head with a pained expression as he watches…
39. ANOTHER ANGLE
… the fight raging in the street before him—where we see West and Dixon beginning to function very well as a team, with first one, then a second tough sent sprawling to the ground, out of commission.
40. FAVORING ARTEMUS
watching the fight from an inconspicuous place on the outskirts of the crowd. Bock and Lonie pass this point on their way into the crowd.
41. ANGLE IN THE CROWD
As Bock stands on the periphery of the fight, continuing to shake his head regretfully, muttering so all can hear him.
BOCK
Why? Why this terrible, senseless fighting…?
42. THE FIGHT
With most of the toughs now out of the fracas, West now contends with Hardcase, sends him sprawling into the horse trough to be soaked, then turns to aid Dixon—who needs very little help.
43. BOCK
Speaking to no one in particular:
BOCK
This must be stopped!
44. OMIT
45. HARDCASE
scrambling out of the horse trough in rage and humiliation, fumbling, as he starts to draw his pistol…
46. OMIT
47. WEST
spotting Hardcase, going into a crouch as he draws…
48. HARDCASE
A SHOT RINGS OUT and the gun flies from his hand.
49. WEST
Surprised at the sound of the shot since he didn’t fire.
50. OMIT
51. FAVORING BOCK
looking at a smoking pistol in his hand as if with disbelief—as all swing to look at him.
52. ON SCENE
The Toughs are picking themselves up, Dixon looking about somewhat surprised; West approaches Bock who still appears shaken by his action.
(NOTE: during the following, Hardcase and the gunsels will all drift off inconspicuously—when West turns to look for them, they are all gone.)
WEST
Well… thank you.
BOCK
Thanks? No, I don’t want thanks—
(suddenly angry)
Why all this fighting? We’re a small community—can’t we live as neighbors?
DIXON
That’s all the homesteaders want—we need supplies—
(a finger at storekeeper)
—only we can’t get none from him!
WEST
A small problem of money?
DIXON
I got money; problem is, he won’t sell!
West and Bock have turned and are staring at the storekeeper; West narrow-eyed, Bock incredulously.
BOCK
Maddox…?
STOREKEEPER
I don’t set the policies, Mr. Bock; the Co-op does—and the policies say we don’t sell to no farmer who ain’t a member of the Co-op!
BOCK
Policies, policies, would your policies replace the blood spilled in this fight? Would your policies bind the wounds of this community? Life is short! A shovel isn’t reason to fight!
STOREKEEPER
(stubbornly—as he hefts the shovel)
Mebbe not; but I gotta go by the rules.
BOCK
Policies! Rules!
(turning to crowd)
Men aren’t animals to fight over trifles, like dogs over a bone.
(pointing to Dixon)
I say, if this man needs supplies—
(pointing to storekeeper)
—and he has supplies, the two should get together.
The crowd begins to wake up, MUTTERING TO ONE ANOTHER, shaking heads approvingly and casting ugly, disapproving glances at the storekeeper…
… who suddenly caves in; he tosses the shovel to Dixon, who catches it expertly.
STOREKEEPER
All right! That’ll be two an’ a half dollars.
DIXON
I want beans and flour, too.
The storekeeper nods sourly and stalks into his store, over the CROWD’S MURMURS OF APPROVAL, now. Dixon starts to follow, then swings around to West, hand outstretched.
DIXON (CONT'D)
I’m obliged to you, Mister.
WEST
(shaking hands)
Pleasure.
DIXON
Name’s Lyle Dixon.
WEST
Jim West.
DIXON
(turning to Bock)
And I’m sure obliged to you, too, Mr. Bock; if it hadn’t been for the way you stood up and—
(breaking off)
—Miss Lonie…
Dixon and Lonie gaze at each other, suddenly oblivious to everything else—it’s obvious the two have enjoyed a previous relationship.
LONIE
I was worried there for a while—watching you and all those others…
BOCK
(cutting in)
I think we’re holding up Mr. Dixon, Lonie—he’s got to get his supplies loaded.
The spell is shattered; Dixon and Lonie nod awkwardly at one another, then Dixon turns and EXITS into the store.
… as Bock swings around to West.
BOCK (CONT'D)
You call yourself James West…
WEST
And you’re Mr. Bock; a pleasure.
West turns to Lonie, standing behind Bock—his manner obviously indicating that he is waiting to be introduced—and finally, with a start:
BOCK
Oh, this is—Miss Lonie Millard, a member of my household…
WEST
Pleasure, ma’am.
Lonie starts to lift the weight basket into the bed of a wagon nearby, straining to lift it over the high sides…
… until West takes the basket from her and sets it into place. Lonie thanks West with another dignified nod, then allows West to help her up into place on the front seat…
… after which West turns to find Bock looking him over appraisingly.
BOCK
It’s unfortunate your introduction to our little community was so strenuous. Actually, it’s a good town, with good people.
WEST
Business establishments a little odd though—never saw a store fight to turn away business before.
BOCK
(wryly)
Ah, yes, this Co-operative store; some homesteaders saying to another group of homesteaders, “No, you will not have our help in scratching a living from the soil…”
(shaking his head)
It must come to an end, this division between men.
(abruptly)
Good day, Mr. West.
WEST
(nods to Bock, and)
Miss Millard.
LONIE
Nice to meet you, Mr. West.
Bock climbs aboard his wagon and drives OFF.
At this point Dixon emerges from the General Store, his arms laden with supplies. West moves to Dixon, gives him a hand loading at the wagon.
53. ANGLE AT DIXON’S WAGON
Where Dixon regards West with appreciation.
DIXON
I meant to tell you—you can handle yourself.
WEST
For the record, you do fine, too.
(a beat)
Too bad you weren’t around when Jan Jorgenson had his—accident.
DIXON
(eagerly)
You knew Jan?
WEST
(soberly)
Only that he wrote to the Government, asking for help… it was his letter that brought me here… but he was dead when I reached him.
DIXON
So you’re a Government man… well now you’ve seen part of it.
54. OMIT
55. BACK TO SCENE
As Dixon nods to West,
DIXON
Listen, you come to my farm tonight—me and the other farmers—we’ll tell you plenty!
West nods; Dixon boards the wagon and MOVES OFF, West watching him go…
56. INT. VARNISH CAR – DAY
WEST ENTERS having come from town. He crosses to the buffet, a puzzled frown on his face… as he moves to the buffer he spots leaning against the back exit door a pair of crutches… he smiles and goes through the door.
57. INT. LAB CAR
ARTEMUS is working, apparently recovered, among all manner of chemical equipment, he has at the moment a mold into which he is pouring some liquid chemicals, he now closes the mold as WEST ENTERS and looks about;
WEST
Where are they?
ARTEMUS
Who…?
WEST
The nurses… the last time I saw you… I didn’t think you’d ever walk without them.
ARTEMUS
Jest if you will… only my iron determination… and my ability to withstand pain allows me to be here now… and my time has not been wasted.
WEST
Really?
He watches at Artemus opens the mold and pulls the pellet of now solid chemicals out… he now cuts off a sliver of material, places this in a pair of forceps, bangs it against the table.
ARTEMUS
While lying in my sick bed… I managed to work out the formula for this… won’t go off on impact… but watch when exposed to heat.
He now holds the sliver, in the tongs, at arms length, over a burner and the tiny sliver gives off an EXPLOSION much greater than its size…
West nods impressed, Artemus throws him the rest of the pellet, which West pockets.
ARTEMUS (CONT'D)
So… fill me in…
WEST
Well, briefly, there’s a land record office… that doesn’t seem to want the records to be seen by anyone.
ARTEMUS
That’s a little unusual.
WEST
And a co-op store that won’t sell to the farmers… who, by the way have invited me to a meeting tonight…
ARTEMUS
Shall we say I’ll meet you at the farmers… later?
WEST
Later!...
QUICK CUT TO:
58. EXT. BLACK BOWL TOWN STREET RE-ESTABLISHING – NIGHT
Featuring the County Clerk’s Office.
59. ANGLE TO THE RECORDS OFFICE – ARTEMUS
He comes stealthily INTO SCENE, takes out his wind-up lock-pick, inserts it. CLICKETY-CLICK, and he lets himself in.
60. INT. LAND RECORDS OFFICE – NIGHT
Artemus proceeds stealthily to filing cabinet, opening it. He riffles through the folders, evidently finding what he wants. He takes out a folder and starts perusing its contents.
61. EXT. BLACK BOWL STREET – COUNTY CLERK
As he makes his way down boardwalk to office!
62. INT. OFFICE – ARTEMUS
Still working, making notes. He HEARS approaching FOOTSTEPS, whirling around as:
63. ANGLE ON DOOR
As Clerk ENTERS, making straight for filing cabinet. He stops shot as he sees the aforementioned folder on top of cabinet, picks it up suspiciously, whipping out a pistol that he holds at the ready…
… and cautiously prowls the length and breadth of the room looking around filing cabinets, under desks, the picture of a gunsel prepared to gun down an intruder…
64 AND 65 OMIT
66. BACK TO SCENE
The clerk shrugs, puts folder into filing cabinet, slams it shut, pockets his gun and strolls out of the room—and the door has hardly closed behind him when…
67. OMIT
68, BACK TO SCENE
… as Artemus steps out of a hidden place, breathing a happy sigh of belief.
68A. EST. SHOT – DIXON FARM – NIGHT
69. INT. DIXON BARN – NIGHT
A number of farmers are gathered, holding a meeting. Dixon stands upon a crude podium constructed of a few bails of hay while West stands to one side, observing the meeting. Oil lanterns, hanging on timbers, light the scene. FARMER in the group is voicing a common point of view.
FARMER #1
… and we cannot buy food, cannot buy tools, cannot buy nothing! How are we to live? My Martha and me—we think maybe another place is better to live.
DIXON
An’ I say, don’t let ‘em run us out! We’ll buy our own tools and food!
A farmer speaks up.
FARMER #2
Where, Lyle? Albuquerque is so far!
DIXON
Who says we can’t start our own Co-op? Point is, we stay!
Loud MURMURS of agreement, but the timid Farmer continues.
FARMER #2
And maybe we’d stay for good! In our graves! They killed Jan Jorgenson! Mebbe they kill us all!
Some in the crowd agree with this.
DIXON
Not if they know we’re gonna stand up an’ fight!
(pointing to West)
I been saving this—this is James West, from the Government—here to help us fight, too!
FARMER #1
What can one man do?
DIXON
That’s the point. One man alone can’t do anything, but if we buy our goods together, if we fight together—then we’ll stay on together!
CHEERS at this.
70. CLOSE – WEST
watching, listening with satisfaction.
71. FAVORING DIXON
as he continues rousing the men with his speech, being forced to shout over the enthusiasm of the crowd.
DIXON
These are our homes! There ain’t nothing can move us, nothing that can beat us down, nothing…
Suddenly Dixon ceases, and the crowd quiets, for another SOUND now fills the air and is overpowering in its intensity. This is the SOUND OF THE JUGGERNAUT!
72. WEST
Knowing what the sound portends, he leaps into action, CAMERA FOLLOWS as he moves into the crowd, trying to urge the farmers away.
WEST
Get out of here! Quick!
But the farmers are frozen by the sound. West grabs one mans and hurls him away as he shouts, his voice barely audible above the sound of the Juggernaut and terrible CRUNCHING SOUNDS coming from outside.
WEST (CONT'D)
Everybody! Out!
He is herding them toward the barn doors, as:
73. ANGLE TO THE MAIN DOORS
The SOUND GROWS IN INTENSITY. Suddenly the Juggernaut crashes through the barn doors, and heads for the terrified farmers.
74. FAVORING WEST
As the farmers near him bolt for cover.
75. CLOSE – FARMER
looking up in terror as:
76. THE JUGGERNAUT
SHOOTING UP-ANGLE as the Juggernaut comes INTO CAMERA.
77. FARMER
falls in the path of the tank. West runs to pull him aside. The tank bears down.
77A. WEST
reacts to the tank closing at him.
FREEZE FRAME:
END OF ACT ONE
NIGHT OF THE JUGGERNAUT
By Calvin Clements, Jr.
FINAL DRAFT
July 5, 1968
#0608
CBS Television Network
Press Information
Television City
Los Angeles, Calif. 90036
Sept. 16, 1968
“The Wild Wild West”. . .
FLOYD PATTERSON IN ACTING DEBUT OCT. 11
Floyd Patterson, who came within a whisker of regaining his world heavyweight crown last week in a both with World Boxing Association champion Jimmy Ellis in Stockholm, Sweden, that ended in an unpopular 9-6 decision, steps into a new arena Friday, Oct. 11.
The former champ makes his acting debut o that date on “The Wild Wild West,” action adventure series, presented 7:30-8:30 PM, PT, in color on the CBS Television Network.
Patterson plays a homesteader whose farm is threatened by a high-powered land syndicate. Robert Conrad stars as secret agent James West and Ross Martin as his colleague, Artemus Gordon.
When agents West and Gordon arrive on the scene, they discover that a respected local citizen, Theodore Bock, is the power behind the move to dispossess local landowners.
James West…..ROBERT CONRAD
Artemus Gordon…..ROSS MARTIN
Lyle Dixon…..Floyd Patterson
Theodore Bock…..Simon Scott
Lonie Millard…..Gloria Calomes
County Clerk…..Byron Foulger
Harwood…..Peter Hale
Farmer No. 2…..Irving Mosley
Geezer…..Wild Bill Reynolds
Farmer No. 1…..Stuart Nisbet
Nurse…..Evelyn Dutton
Storekeeper…..Bart LaRue
Director…..Irving Moore
Writer….Calvin Clements, Jr.
THE WILD WILD WEST
“The Night of the Juggernaut”
PRODUCER
BRUCE LANSBURY
ASSOCIATE PRODUCER
LEONARD KATZMAN
STORY CONSULTANT
HENRY SHARP
WRITTEN BY
CALVIN CLEMENTS, JR.
SETS:
EXT. JORGENSON FARM
INT. JUGGERNAUT
EXT. BLACK BOWL STREET
INT. LAND RECORD OFFICE
INT. WEST’S VARNISH
EXT. COUNTRYSIDE
INT. SALOON
EXT. MISSION RANCH COMPLEX
INT. LONIE’S ROOM
EXT. DIXON FARM
INT. FOUNDRY ROOM
INT. CORRIDOR
INT. OIL CHAMBER
INT. TOOL CHAMBER
CAST:
JAMES WEST – ROBERT CONRAD
ARTEMUS GORDON – ROSS MARTIN
LYLE DIXON
THEODORE BOCK
LONIE MILLARD
COUNTY CLERK
STOREKEEPER
FARMER #1
FARMER #2
DOCTOR
GEEZER
GUARD
2ND GUARD
HARDCASE
SILENT:
NURSE
WILD WILD WEST
“The Night of the Juggernaut”
TEASER
FADE IN:
1. EXT. FARMHOUSE GROUNDS – NIGHT
Establish a simple farmhouse, a nearby barn with corral attached. A light burns in the farmhouse window, one of the barn doors swings slightly ajar—into this scene rides JAMES WEST and ARTEMUS GORDON. They ride to the front of the house and dismount. West CALLS softly.
WEST
Mr. Jorgenson…
There is no answer from within.
ARTEMUS
I’ll check the barn.
He moves off toward the barn. CAMERA stays with West who moves to the doorway—KNOCKS.
WEST
Mr. Jorgenson…
2. CLOSE AT DOORWAY
The door swings softly open, West peers in, again CALLING off.
WEST
Mr. Jorgenson…
He moves back onto the porch, in the b.g. we see Artemus come out of the barn.
ARTEMUS
Jim…
3. CLOSE SHOT – ARTEMUS
Sorrow is on his face as he refers to the barn.
ARTEMUS
I found him… We’re too late.
4. CLOSE SHOT – WEST
he reacts to the information. Suddenly the air is filled with MECHANICAL SOUNDS of frightening intensity. The SOUND seems to come from every direction. West reacts trying to pinpoint the direction of the sound.
5. ANGLE WITH ARTEMUS
against the barn. Suddenly his gaze centers again:
6 ANGLE TO THE JUGGERNAUT – (ARTEMUS’ POV)
Emerging from the fence area is a monstrous mechanical mass, roughly in the shape of a tank, though it is seen here only as a shadow as its form blends into the night blackness. Smoke belches from a smokestack, and steam is generated from beneath the machine and from a number of ports, giving us the impression that the thing moves on and within a cloud. The Juggernaut swings to face Artemus, and now all clues to its silhouette disappear as two beams of light, the “eyes” of this creature, glare into CAMERA.
7. WEST
raises his arm against the glare at the first appearance of the monster, then starts once again for the corral area;
8. ARTEMUS
trying to see what it is.
9. THE JUGGERNAUT
seen only as a huge mass, its two beams of light glaring as it CRASHES through the corral fencing, sending beams flying, and heads INTO CAMERA.
10. ANGLE TO ARTEMUS
SHOOTING PAST THE FRONT OF THE JUGGERNAUT as it approaches Artemus who pulls out his gun and fires.
11. WEST
vaults the corral fence, FIRES a couple of shots in desperation at the Juggernaut, trying to divert the machine from Artemus. These shots are HEARD TO PING harmlessly off the steel hull of the monster.
12. THE BARN
The tank rams into a section of barn dropping timbers on Artemus who lies pinned.
13. THE JUGGERNAUT
CLOSE ON THE FRONT OF THE MACHINE as it turns from Artemus and now heads for West, its form still obscured by smoke.
34. WEST
would turn to elude the thing but finds himself trapped between the barn and the corral fencing.
15. THE JUGGERNAUT – VARIOUS ANGLES
1. The twin beams of light coming INTO CAMERA.
2. The smokestack belching smoke.
3. The bottom of the machine, billowing smoke. Also seen is a steam port form which we HEAR THE WHISTLING SOUND with each new gust of steam.
16. INT. JUGGERNAUT
SHOOTING THROUGH A PORT OF THE JUGGERNAUT to see West FIRING his last few futile shots, then, in desperation, hurling his gun INTO CAMERA.
17. CLOSE – THE JUGGERNAUT – (WEST’S POV)
SHOOTING UP-ANGLE as the Juggernaut FILLS THE SCREEN.
18. WEST
As the Juggernaut bears down, now inches from him. West leaps upon the face of the thing, crawls to the top, turns to see:
19. THE FENCE – (WEST’S POV)
The Juggernaut CRASHES through the fence now. The timbers come into CAMERA, scraping West off the Juggernaut.
20. WEST
falls to the ground and the machine rolls past him. CRUNCHING SOUNDS fill the air, joining the SOUND of the mechanical monster. Timbers fall over West, one large beam rendering him unconscious as the Juggernaut rolls off on its way.
FADE OUT:
END OF TEASER
ACT ONE
FADE IN:
21. STOCK SHOT – WEST’S VARNISH – ON SIDING
HOLD for titles.
22. INT. VARNISH
CLOSE on the face of TOM HARWOOD—a member of the Secret Service. Youngish and obviously impressed with the presence of West and the car…
HARWOOD
And Mr. Gordon, sir, how is he?
WEST
You’ll see for yourself in a moment.
HARWOOD
And you said Mr. Jorgenson was dead by the time you got there?
Now CAMERA PULLS BACK to disclose we are in the car. Harwood has a sheaf of papers in front of him. West is relaxing on the couch.
WEST
That’s right. And whatever he wanted to tell us is gone with him.
At this moment the rear door of the car swings open, and in comes Artemus, his leg heavily bandaged supported by two of the prettiest NURSES any sick man could reasonably hope for, as they guide him to a chair, he leans heavily on them.
ARTEMUS
Careful… careful now… hold tight.
He slowly eases himself into a chair, smiles at the girls.
WEST
Nice to see you’re bearing up so well, Artie.
ARTEMUS
I never was one to pamper myself.
WEST
Artie, this is Tom Harwood, he works out of our Albuquerque office.
HARWOOD
A real pleasure, Mr. Gordon. I hope your leg gets better.
ARTEMUS
I expect it’ll be fine shortly.
WEST
Harwood was checking up on the homesteaders in the Big Hill area.
ARTEMUS
Come up with anything?
HARWOOD
(shakes head)
No, sir, the homesteaders up there are getting along fine. A few quit, but mainly they’re settling on the land.
ARTEMUS
So it’s only in the Black Bowl area that they won’t stay on. I wonder why.
(to West)
You see any connection with that—whatever it is we ran into.
HARWOOD
Someone’s going to a lot of trouble to try to run the homesteaders out of the Black Bowl area.
WEST
Be interesting to know if anyone takes over the land once the farmers move off.
HARWOOD
The title changes would have to be recorded.
ARTEMUS
Jorgenson’s letter mentioned a man named Lyle Dixon—another farmer they’re trying to run off.
WEST
I think a little visit to Black Bowl might be in order.
Artemus looks at his two nurses hovering near.
ARTEMUS
I’ll join you there… just as soon as my leg gets better.
DISSOLVE TO:
23 THRU 28 OMIT
29. EXT. BLACK BOWL TOWN STREET – DAY
ESTABLISHING a small town. West rides in. Before the general store an old GEEZER sits, whittling, the only activity apparent in the town. CAMERA EMPHASIZES A LAND RECORDS OFFICE where West dismounts and enters.
30. INT. LAND RECORDS OFFICE – DAY
Where the officious but cheerful COUNTY CLERK comes from behind shelves of records which serve to screen the front of the office from the back, there to greet West.
COUNTY CLERK
Howdeedo. Help you out?
WEST
I’d like to take a look at the titles to certain properties in this area.
COUNTY CLERK
I can save you the trouble. Nothing for sale out this way.
West takes a list from his pocket.
WEST
Maybe the owners just haven’t heard the right offer. Might start with the old Sommerlad place.
COUNTY CLERK
Sorry on that one. Records ain’t available right now.
WEST
The Fernstrom property over there near the bluffs…
COUNTY CLERK
(shakes his head negatively)
Sorry again. Not your day, looks like.
WEST
(annoyed)
Now just a minute. You the County Clerk?
COUNTY CLERK
Guilty as charged.
WEST
Those titles a matter of public record?
He trails off as two toughs—identify them as JIMBO and TOUGH #1—emerge from behind the shelf screen, their presence an unspoken threat.
COUNTY CLERK
See, we’re reorganizing the files right now. You come back in a month or so… be glad to help you out.
West sees the wisdom of withdrawing here.
WEST
As you say. Guess it can wait.
COUNTY CLERK
Sure am sorry can’t oblige.
West EXITS.
31. EXT. BLACK BOWL STREET – DAY
West exits the Land Records Office, more than a bit annoyed. He notes something O.S.
32 THRU 33 OMIT
34. WITH WEST
abreast of the general store, West notes the old Geezer whittling; also noted here is a farm wagon outside the store, the store being the type that displays much merchandise outside, on the boardwalk, and hanging from overhead.
34A. ANGLE AT THE GENERAL STORE
Where West moves to the old Geezer and speaks:
WEST
I’m looking for a man—Lyle Dixon.
The old Geezer speaks in a disinterested monotone.
GEEZER
‘Spect Dixon’ll be along anytime.
Punctuating Geezer’s line is a loud CRASH as a man comes hurtling through the door of the general store, falling off the boardwalk to sprawl in the street dirt.
GEEZER (CONT'D)
There he is now.
35. FAVORING DIXON
LYLE DIXON is a bull of a young man; a well-formed, good-looking Negro, about thirty-five. As he gets groggily to his feet, a number of TOUGHS (call them Toughs #1, 2, 3, 4 and HARDCASE) emerge from the general store, obviously having propelled Dixon from the store in the first place.
Hardcase wrenches the shovel from Dixon’s hand and hands it to the STOREKEEPER, who has emerged last from the store.
DIXON
You got no right not to sell me supplies!
(turning to crowd)
Ain’t that what a store’s for?
The crowd shuffles its feet, gaping, aimless, without purpose, as yet—
—and while Dixon is appealing to the crowd, Hardcase comes up to him, slams a punch to Dixon’s jaw, sending him sprawling into the street. A nod from Hardcase and a couple of the Toughs now start for Dixon as he gets to his feet. Dixon slams these two, left and right, but is overwhelmed as the other Toughs move to join the fracas. With two of the Toughs holding Dixon, Hardcase prepares to deliver a beating—and this is the point where West steps into FRAME to stand next to Dixon; before Hardcase can deliver a blow, West decks him. A couple of the Toughs now move for West while Dixon throws off the two men holding him and the fight is on.
36. ANGLE TO ARTEMUS
walking his horse this way, now quickening his pace as he sees the fight.
37. THE FIGHT
As a small crowd is gathering, the fight continues in the street where Dixon battles a couple of men near his wagon, spooking his horse, and on the boardwalk where West fights, spilling plenty of goods in the process, creating much RACKET.
38. ANOTHER ANGLE – AT A DIFFERENT STORE
where we see a DISTINGUISHED-LOOKING MAN, in his fifties (his name is THEODORE BOCK) emerge from the store, followed by LOVELY, YOUNG NEGRO GIRL, straining under the weight of what is evidently a very weighty shopping basket. (Her name is LONIE MILLARD.) Bock stops, shaking his head with a pained expression as he watches…
39. ANOTHER ANGLE
… the fight raging in the street before him—where we see West and Dixon beginning to function very well as a team, with first one, then a second tough sent sprawling to the ground, out of commission.
40. FAVORING ARTEMUS
watching the fight from an inconspicuous place on the outskirts of the crowd. Bock and Lonie pass this point on their way into the crowd.
41. ANGLE IN THE CROWD
As Bock stands on the periphery of the fight, continuing to shake his head regretfully, muttering so all can hear him.
BOCK
Why? Why this terrible, senseless fighting…?
42. THE FIGHT
With most of the toughs now out of the fracas, West now contends with Hardcase, sends him sprawling into the horse trough to be soaked, then turns to aid Dixon—who needs very little help.
43. BOCK
Speaking to no one in particular:
BOCK
This must be stopped!
44. OMIT
45. HARDCASE
scrambling out of the horse trough in rage and humiliation, fumbling, as he starts to draw his pistol…
46. OMIT
47. WEST
spotting Hardcase, going into a crouch as he draws…
48. HARDCASE
A SHOT RINGS OUT and the gun flies from his hand.
49. WEST
Surprised at the sound of the shot since he didn’t fire.
50. OMIT
51. FAVORING BOCK
looking at a smoking pistol in his hand as if with disbelief—as all swing to look at him.
52. ON SCENE
The Toughs are picking themselves up, Dixon looking about somewhat surprised; West approaches Bock who still appears shaken by his action.
(NOTE: during the following, Hardcase and the gunsels will all drift off inconspicuously—when West turns to look for them, they are all gone.)
WEST
Well… thank you.
BOCK
Thanks? No, I don’t want thanks—
(suddenly angry)
Why all this fighting? We’re a small community—can’t we live as neighbors?
DIXON
That’s all the homesteaders want—we need supplies—
(a finger at storekeeper)
—only we can’t get none from him!
WEST
A small problem of money?
DIXON
I got money; problem is, he won’t sell!
West and Bock have turned and are staring at the storekeeper; West narrow-eyed, Bock incredulously.
BOCK
Maddox…?
STOREKEEPER
I don’t set the policies, Mr. Bock; the Co-op does—and the policies say we don’t sell to no farmer who ain’t a member of the Co-op!
BOCK
Policies, policies, would your policies replace the blood spilled in this fight? Would your policies bind the wounds of this community? Life is short! A shovel isn’t reason to fight!
STOREKEEPER
(stubbornly—as he hefts the shovel)
Mebbe not; but I gotta go by the rules.
BOCK
Policies! Rules!
(turning to crowd)
Men aren’t animals to fight over trifles, like dogs over a bone.
(pointing to Dixon)
I say, if this man needs supplies—
(pointing to storekeeper)
—and he has supplies, the two should get together.
The crowd begins to wake up, MUTTERING TO ONE ANOTHER, shaking heads approvingly and casting ugly, disapproving glances at the storekeeper…
… who suddenly caves in; he tosses the shovel to Dixon, who catches it expertly.
STOREKEEPER
All right! That’ll be two an’ a half dollars.
DIXON
I want beans and flour, too.
The storekeeper nods sourly and stalks into his store, over the CROWD’S MURMURS OF APPROVAL, now. Dixon starts to follow, then swings around to West, hand outstretched.
DIXON (CONT'D)
I’m obliged to you, Mister.
WEST
(shaking hands)
Pleasure.
DIXON
Name’s Lyle Dixon.
WEST
Jim West.
DIXON
(turning to Bock)
And I’m sure obliged to you, too, Mr. Bock; if it hadn’t been for the way you stood up and—
(breaking off)
—Miss Lonie…
Dixon and Lonie gaze at each other, suddenly oblivious to everything else—it’s obvious the two have enjoyed a previous relationship.
LONIE
I was worried there for a while—watching you and all those others…
BOCK
(cutting in)
I think we’re holding up Mr. Dixon, Lonie—he’s got to get his supplies loaded.
The spell is shattered; Dixon and Lonie nod awkwardly at one another, then Dixon turns and EXITS into the store.
… as Bock swings around to West.
BOCK (CONT'D)
You call yourself James West…
WEST
And you’re Mr. Bock; a pleasure.
West turns to Lonie, standing behind Bock—his manner obviously indicating that he is waiting to be introduced—and finally, with a start:
BOCK
Oh, this is—Miss Lonie Millard, a member of my household…
WEST
Pleasure, ma’am.
Lonie starts to lift the weight basket into the bed of a wagon nearby, straining to lift it over the high sides…
… until West takes the basket from her and sets it into place. Lonie thanks West with another dignified nod, then allows West to help her up into place on the front seat…
… after which West turns to find Bock looking him over appraisingly.
BOCK
It’s unfortunate your introduction to our little community was so strenuous. Actually, it’s a good town, with good people.
WEST
Business establishments a little odd though—never saw a store fight to turn away business before.
BOCK
(wryly)
Ah, yes, this Co-operative store; some homesteaders saying to another group of homesteaders, “No, you will not have our help in scratching a living from the soil…”
(shaking his head)
It must come to an end, this division between men.
(abruptly)
Good day, Mr. West.
WEST
(nods to Bock, and)
Miss Millard.
LONIE
Nice to meet you, Mr. West.
Bock climbs aboard his wagon and drives OFF.
At this point Dixon emerges from the General Store, his arms laden with supplies. West moves to Dixon, gives him a hand loading at the wagon.
53. ANGLE AT DIXON’S WAGON
Where Dixon regards West with appreciation.
DIXON
I meant to tell you—you can handle yourself.
WEST
For the record, you do fine, too.
(a beat)
Too bad you weren’t around when Jan Jorgenson had his—accident.
DIXON
(eagerly)
You knew Jan?
WEST
(soberly)
Only that he wrote to the Government, asking for help… it was his letter that brought me here… but he was dead when I reached him.
DIXON
So you’re a Government man… well now you’ve seen part of it.
54. OMIT
55. BACK TO SCENE
As Dixon nods to West,
DIXON
Listen, you come to my farm tonight—me and the other farmers—we’ll tell you plenty!
West nods; Dixon boards the wagon and MOVES OFF, West watching him go…
56. INT. VARNISH CAR – DAY
WEST ENTERS having come from town. He crosses to the buffet, a puzzled frown on his face… as he moves to the buffer he spots leaning against the back exit door a pair of crutches… he smiles and goes through the door.
57. INT. LAB CAR
ARTEMUS is working, apparently recovered, among all manner of chemical equipment, he has at the moment a mold into which he is pouring some liquid chemicals, he now closes the mold as WEST ENTERS and looks about;
WEST
Where are they?
ARTEMUS
Who…?
WEST
The nurses… the last time I saw you… I didn’t think you’d ever walk without them.
ARTEMUS
Jest if you will… only my iron determination… and my ability to withstand pain allows me to be here now… and my time has not been wasted.
WEST
Really?
He watches at Artemus opens the mold and pulls the pellet of now solid chemicals out… he now cuts off a sliver of material, places this in a pair of forceps, bangs it against the table.
ARTEMUS
While lying in my sick bed… I managed to work out the formula for this… won’t go off on impact… but watch when exposed to heat.
He now holds the sliver, in the tongs, at arms length, over a burner and the tiny sliver gives off an EXPLOSION much greater than its size…
West nods impressed, Artemus throws him the rest of the pellet, which West pockets.
ARTEMUS (CONT'D)
So… fill me in…
WEST
Well, briefly, there’s a land record office… that doesn’t seem to want the records to be seen by anyone.
ARTEMUS
That’s a little unusual.
WEST
And a co-op store that won’t sell to the farmers… who, by the way have invited me to a meeting tonight…
ARTEMUS
Shall we say I’ll meet you at the farmers… later?
WEST
Later!...
QUICK CUT TO:
58. EXT. BLACK BOWL TOWN STREET RE-ESTABLISHING – NIGHT
Featuring the County Clerk’s Office.
59. ANGLE TO THE RECORDS OFFICE – ARTEMUS
He comes stealthily INTO SCENE, takes out his wind-up lock-pick, inserts it. CLICKETY-CLICK, and he lets himself in.
60. INT. LAND RECORDS OFFICE – NIGHT
Artemus proceeds stealthily to filing cabinet, opening it. He riffles through the folders, evidently finding what he wants. He takes out a folder and starts perusing its contents.
61. EXT. BLACK BOWL STREET – COUNTY CLERK
As he makes his way down boardwalk to office!
62. INT. OFFICE – ARTEMUS
Still working, making notes. He HEARS approaching FOOTSTEPS, whirling around as:
63. ANGLE ON DOOR
As Clerk ENTERS, making straight for filing cabinet. He stops shot as he sees the aforementioned folder on top of cabinet, picks it up suspiciously, whipping out a pistol that he holds at the ready…
… and cautiously prowls the length and breadth of the room looking around filing cabinets, under desks, the picture of a gunsel prepared to gun down an intruder…
64 AND 65 OMIT
66. BACK TO SCENE
The clerk shrugs, puts folder into filing cabinet, slams it shut, pockets his gun and strolls out of the room—and the door has hardly closed behind him when…
67. OMIT
68, BACK TO SCENE
… as Artemus steps out of a hidden place, breathing a happy sigh of belief.
68A. EST. SHOT – DIXON FARM – NIGHT
69. INT. DIXON BARN – NIGHT
A number of farmers are gathered, holding a meeting. Dixon stands upon a crude podium constructed of a few bails of hay while West stands to one side, observing the meeting. Oil lanterns, hanging on timbers, light the scene. FARMER in the group is voicing a common point of view.
FARMER #1
… and we cannot buy food, cannot buy tools, cannot buy nothing! How are we to live? My Martha and me—we think maybe another place is better to live.
DIXON
An’ I say, don’t let ‘em run us out! We’ll buy our own tools and food!
A farmer speaks up.
FARMER #2
Where, Lyle? Albuquerque is so far!
DIXON
Who says we can’t start our own Co-op? Point is, we stay!
Loud MURMURS of agreement, but the timid Farmer continues.
FARMER #2
And maybe we’d stay for good! In our graves! They killed Jan Jorgenson! Mebbe they kill us all!
Some in the crowd agree with this.
DIXON
Not if they know we’re gonna stand up an’ fight!
(pointing to West)
I been saving this—this is James West, from the Government—here to help us fight, too!
FARMER #1
What can one man do?
DIXON
That’s the point. One man alone can’t do anything, but if we buy our goods together, if we fight together—then we’ll stay on together!
CHEERS at this.
70. CLOSE – WEST
watching, listening with satisfaction.
71. FAVORING DIXON
as he continues rousing the men with his speech, being forced to shout over the enthusiasm of the crowd.
DIXON
These are our homes! There ain’t nothing can move us, nothing that can beat us down, nothing…
Suddenly Dixon ceases, and the crowd quiets, for another SOUND now fills the air and is overpowering in its intensity. This is the SOUND OF THE JUGGERNAUT!
72. WEST
Knowing what the sound portends, he leaps into action, CAMERA FOLLOWS as he moves into the crowd, trying to urge the farmers away.
WEST
Get out of here! Quick!
But the farmers are frozen by the sound. West grabs one mans and hurls him away as he shouts, his voice barely audible above the sound of the Juggernaut and terrible CRUNCHING SOUNDS coming from outside.
WEST (CONT'D)
Everybody! Out!
He is herding them toward the barn doors, as:
73. ANGLE TO THE MAIN DOORS
The SOUND GROWS IN INTENSITY. Suddenly the Juggernaut crashes through the barn doors, and heads for the terrified farmers.
74. FAVORING WEST
As the farmers near him bolt for cover.
75. CLOSE – FARMER
looking up in terror as:
76. THE JUGGERNAUT
SHOOTING UP-ANGLE as the Juggernaut comes INTO CAMERA.
77. FARMER
falls in the path of the tank. West runs to pull him aside. The tank bears down.
77A. WEST
reacts to the tank closing at him.
FREEZE FRAME:
END OF ACT ONE