FADE IN:
CLOSE on West's unconscious body. WIDEN to REVEAL:
INT. ARDEN'S RANCH HOUSE - DAY
Bring him upstairs.
Two men pickup West and start up the stairs,
followed by Arden.
DISSOLVE TO:
INT. BEDROOM - ARDEN'S HOUSE - DAY
Alexis sits in a chair by the window. The door opens, and the two men
carrying West enter, followed by Arden. She turns and gasps.
Is he dead?
ARDEN
No my dear, Mr. West is not dead.
He is merely......resting.
The men lie West on the bed, and Alexis sits
down next to him.
What did you do to him?
ARDEN
Tranquilizers. He'll be asleep
for at least four hours, Alexis.
That should be enough time for
you to admire his chiseled face.
Arden laughs and exits, closing the door
behind him. On Alexis, staring at Jim's face, we,
CUT TO:
INT. PARLOR CAR - DAY
The car is a wreck. Cushions everywhere, papers strewn about, general
disorder, as if a cyclone had blown through. Madeline sits on the
desk chair, her legs swinging underneath it. Her arms are crossed in
front of her, and her cheeks are puffed full in a pout. A disheveled
Arte paces in the middle of the car, clearly steamed. There is the
air of a battleground, and Arte is losing. We get the feeling that
it's been a busy and somewhat unbearable morning for Gordon.
This train is not a playground, young
lady. As a matter of fact, there are
a lot of dangerous things in here;
items that are not toys.
He picks up the horse statue on the table,
and shakes it at the girl.
You could hurt yourself with this
thing--
MADELINE
--It's just an old horse....
Arte opens up the belly of the statue,
revealing a mini-bomb.
Yes, a horse that has an explosive
charge in it. You could have been
hurt, Madeline. I told you not to
play with things in here.
MADELINE
This is just a dumb old train, and
I don't want to be here!
The girl returns to her silent pouting, and
Arte's pacing revs up faster.
(thinking aloud)
Jim was right. This is no place for
a child. I don't know what Lil could
have been thinking. This just isn't
going to work. The safest thing would
be to send you to your grandmother....
The girl stands up defiantly, her arms still crossed.
You're sending me away?
He stops pacing and looks at her in
confusion.
You just said you didn't want to be
here....and now you're complaining
about going to live with your
grandmother?
Arte is completely out of his element, and he
knows it. He paces again, running his hand through his hair. Madeline
begins to sniffle and cry. Arte heaves a long sigh, stops moving and
stares at the child. He doesn't know what to do.
Hold on now.....why are you crying?
The child cries harder. ANGLE GORDON; he
feels terrible, but doesn't really know what to do. RESUME.
(softer)
Come on now, honey, don't cry......
Madeline's cries turn into a wail. Arte
walks over to her.
It's all right sweetheart, don't
cry.
MADELINE
(sobbing)
You...don't......like...me...
Arte awkwardly takes the girl into his
arms.
That's not true.
Madeline wails again, and Arte pulls her
closely to him.
Shhh....there, there darling, it's
all right.
MADELINE
I don't...want...to... be sent away...
He tries to soothe her, but she isn't
having it.
I won't send you away, Madeline.
I didn't mean it, honey.
The caterwauling ceases immediately, the
child pushes away from him, smiling. ANGLE ARTE; he's been had
by a five year old. He has a lot to learn about kids. RESUME.
Why you little sneak.....
MADELINE
Worked didn't it?
He watches as Madeline walks triumphantly out
of the room toward the stable car. He scratches the back of his
head.
The psychology of little girls...
this explains a lot about the grown
up versions.
On Arte, we,
CUT TO:
INT. ARDEN'S RANCH HOUSE - DAY
Alexis smoothes a cool cloth over Jim's face, and he stirs.
Are you all right, Mr. West?
WEST
(groggy)
Yes.....fine...
Jim starts to sit up, and Alexis holds him
down.
I wouldn't... the effects will
last a little while. You'll be
dizzy. Just lie back and let
me take care of you.
WEST
Under other circumstances, I'd
be happy to oblige; however, I
have to find Constance Warner.
Jim pushes himself up, and reaches for his
head.
I hate to say I told you so....
WEST
Who's house is this, Alexis?
Alexis looks away, and starts to get up from
the bed, but Jim takes a hold of her arms.
Alexis.....I asked you a question.
ALEXIS
I value my life, Mr. West.
WEST
Then I guess I'll have to find out
the hard way.
West stands up and sways slightly. He shakes
his head and moves over to the window. He opens it, and looks for a
way down. WEST's POV; a trellis leading down the side of the
house. RESUME. Jim reaches for his head. Alexis comes to his side,
and pulls him back to the bed.
You'd better lie down for awhile
longer, or you'll hurt yourself.
WEST
Then help me. Tell me whose house
this is...
ALEXIS
Keller Arden.
WEST
I've never heard of him.
ALEXIS
He made his money in cattle.
WEST
And now?
ALEXIS
He has an interest in....politics.
WEST
In overthrowing the government
perhaps....
(off a look)
Alexis, what's a girl like you
doing with Keller Arden?
ALEXIS
I don't want to be a saloon girl
all my life, Mr. West....
WEST
And, you like nice things?
ALEXIS
When I first took up with him, I
didn't know anything about him.
WEST
And now that you do?
Alexis leans over him and kisses him deeply.
On this, we,
CUT TO:
INT. PARLOR CAR - NIGHT
Arte and Madeline sit at the table. Candles are lit, the finery is
out, but the tension is the thickest thing at the table.
I don't like this food.
GORDON
How do you know whether you like
or dislike something if you haven't
tried it?
She crosses her arms and sticks up her
nose.
It smells funny.
GORDON
(incensed)
Beef Stroganoff, young lady, does
not smell funny'.... I'll have
you know you won't find a better
dish this side of the Mississippi.
MADELINE
It smells funny, and I'm not
eating it!
Arte has certainly met his match on the
stubborn front, and he knows it.
I'm telling you to try it.
MADELINE
No.
They each lean closer to the other.
Try it, you might actually like
it.
MADELINE
No.
They are almost nose to nose.
Has anyone ever told you that
you are the most stubborn of
little girls?
MADELINE
Mommy always said I inherited it
from Daddy.
ANGLE GORDON; figures. RESUME. Their noses
are almost touching now.
(gritted teeth)
Try the stroganoff....
MADELINE
No.
She out-stares him, he breaks away.
(sotto)
Oh, you're my kid all right....
On Arte, we,
CUT TO:
INT. ARDEN'S BEDROOM - NIGHT
Jim wakes up, alone. He sits up, and goes to the door; it's
locked. He could force it, but that would be extremely noisy. He goes
instead to the window, and we FOLLOW WEST onto,
EXT. TRELLIS - CONTINUOUS
West quickly scales down the trellis, and makes his way around the
house until he comes to,
EXT. CELLAR DOOR - CONTINUOUS
Jim forces the door, and we FOLLOW him into,
INT. ARDEN'S CELLAR - CONTINUOUS
West moves quietly through the cellar. He looks behind wine casks,
crates, and other supplies for any sign of Warner's daughter. He
works his way through, finding nothing. At the end of the room, he
sees a spiral staircase. West goes down the stairs and into,
INT. SUBBASEMENT - CONTINUOUS
The room is large, dark and cold. The hairs on the back of Jim's
neck are tweaked, and he knows there's something here. On a
hunch, he looks up, and we follow WEST's POV; CONSTANCE WARNER,
20ish, pretty, sits in a chair, on a platform with a trap door. There
is a noose around her neck, she is bound and gagged. One entrance to
the platform exists; a small staircase. Jim inspects the staircase
and realizes it's rigged for weight. If he mounts a step, the
trap door will open, and Constance Warner will hang. West looks up
and sees the beams across the ceiling of the room. He extends his
right forearm, and his derringer slides into his hand. He pulls an
arrow with a rope from his inside pocket and sets it in the weapon.
Taking aim on a beam, Jim fires and the arrow embeds itself into the
wood. West puts the derringer away, and begins to climb up the rope.
Once at the beam, Jim wraps his legs around it, so that he is hanging
upside down. He tries to reach the rope of the noose, but can't
quite make it. He pulls himself up and balances on top of the beam.
West reels in the rope he used to climb up, and extracts a
retractable anchor from his pocket. He attaches the metal anchor to
the rope and swings it so that it connects with another beam in the
ceiling. Jim takes the knife from the lining of his jacket, and
swings himself on the rope, across the top of the platform, slicing
the noose with the knife on his way by. Jim puts the knife away, and
removes the anchor from his beam. He swings it back at the other one,
swoops down and picks up Constance on his way, the two of them land
with a thud into the far wall. Jim drops to the ground, and catches
Constance. He removes the ropes on her hands, and the gag from her
mouth.
Who are you?
WEST
James West, I'm with the Secret
Service.
CONSTANCE
Is my father all right?
WEST
Worried about you, but I'm sure
he'll be fine once I get you back
to him. Let's get out of here....
Jim leads her to the spiral staircase and the
two of them climb up it and into,
CLOSE on the barrel of a gun. WIDEN TO REVEAL;
INT. ARDEN'S CELLAR - CONTINUOUS
Dan is holding a gun on West and Constance.
Don't give me a reason, because I'd
love nothing more than to kill you,
West.
(off a look)
Now move.
Dan leads West and Constance through another
door, and we FOLLOW them into,
INT. ARDEN'S LIBRARY - CONTINUOUS
Keller Arden smokes a cigar in a large leather chair. He stands when
West and Constance enter.
Mr. West....Miss Warner, do come in.
May I offer you a brandy?
WEST
Thank you.
West guides Constance to a couch and the two
of them sit. Arden pours a brandy for West and hands it to him.
Very impressive, Mr. West.
WEST
What is?
ARDEN
You, of course. Your rescuing of the
damsel in distress. I had of course
heard that you were quite good, and
you have lived up to your reputation.
WEST
That doesn't explain why I'm still
alive.
ARDEN
Doesn't it?
WEST
No.
ARDEN
I could use someone like you, West.
Jim smiles.
I've already got a job, thank you.
ARDEN
I could offer you so much more
than the Secret Service.
WEST
I appreciate the offer, but I'm
afraid I must decline.
ARDEN
(shrugs)
Have it your way.
(to Dan)
Lock him up downstairs.
DAN
Why don't we just kill him?
ARDEN
Because his demise will be that
much more painful when this house
burns to the ground.
(beat)
Now get going....
Dan moves toward Jim, who springs into
action. He throws Dan into a wall, and grabs the next man, but is
halted quickly by Arden
Stop Mr. West, or Constance will cease
to exist.
Jim freezes when he sees the gun Arden is
pointing at Constance Warner's head.
Now get him out of my sight.
On Jim exiting with the men, we,
CUT TO:
INT. GORDON'S SLEEPING CAR - NIGHT
Madeline climbs into bed, and Arte stands uncomfortably nearby. They
hold a look. She's obviously waiting for something.
What?
MADELINE
Mommy always tucks me in and tells me
a story. Uncle Jim read me a story
last night.
GORDON
Hmmmm......
MADELINE
I want Uncle Jim.
ANGLE ARTE; she knows the right buttons to
push.
(soft)
Won't I do?
The child glares at him.
Come on, get under the covers.
Begrudgingly Madeline complies, and Arte
tucks her in.
What should I call you?
GORDON
Uh....whatever you'd like, I guess.
Uncle Arte?
MADELINE
Are you really my daddy?
GORDON
(soft)
Yes.
MADELINE
Why weren't you with me and mommy?
GORDON
That's a very complicated question,
Madeline.
She thinks for a moment, then;
A story, read me a story!
Slowly Arte sits on the edge of the bed,
adjusting the covers.
How about if I tell you one?
Madeline eyes him suspiciously.
Are you any good?
ANGLE ARTE; this kid is unbelievable.
I'll have you know, Miss Madeline,
that long before your mother
discovered the stage, I was acting
in some of the best productions north
of the Rio Grande.
(off a look)
Once upon a time, there were three
bears--
MADELINE
--I've heard that one...
GORDON
Fine, I've got one I know you've
never heard..... Once upon a time,
there was an old cat living up a
tree--
MADELINE
--Cats don't live up trees.
GORDON
Are you writing this, or listening?
(off a look)
This old cat had magical whiskers,
and when he would wiggle them in a
certain way, he could make anything
happen....
On Madeline's rapt face, we,
DISSOLVE TO:
INT. GORDON'S SLEEPING CAR - LATER
Arte watches Madeline peacefully sleeping, a small smile lighting his
face. He leans over, kisses her sweetly on the cheek, stands and
exits. We FOLLOW GORDON through the passageway and into,
INT. PARLOR CAR - CONTINUOUS
Arte pours himself a cup of coffee and looks at his pocket watch.
It's getting late, and there's no sign of Jim. Worry
creases his forehead. The door to the car opens, much to his
relief.
Jim, it's about time, I was getting--
GORDON's POV; Richmond enters.
Oh, hello Colonel.
Richmond walks in, closing the door behind
him.
Artemus..... What's the word?
Arte looks away, guilt flooding him.
I'm afraid, Colonel, that there
isn't much to report at the moment.
RICHMOND
What do you mean?
GORDON
Jim went to check out a lead, and
I haven't heard from him since.
RICHMOND
Well why the hell haven't you gone
looking for him?
GORDON
I, uhm, haven't found anyone to
look after Madeline.
RICHMOND
Oh for pete's sake, Gordon. This
is the Secret Service, not a child
service.
(off a look)
How long has Jim been gone?
GORDON
Since this afternoon.
RICHMOND
Well what are you going to do about
it?
GORDON
I don't suppose you'd be interested
in a little baby-sitting tonight,
eh Colonel?
(off a look)
I didn't think so....
On Arte, we,
CUT TO:
EXT. ARDEN'S RANCH HOUSE - NIGHT
Men pack wagons with supplies from the house. And we,
CUT TO:
INT. ARDEN'S RANCH HOUSE - NIGHT
Arden smokes a cigar and watches as Dan douses the joint with lantern
oil. Others stand nearby, including Alexis and Constance. A man has
Constance in his grip. Dan finishes his chore, and Arden stands
poised with his cigar.
I will rather miss this house....
but then, everything has its uses,
and when its time is done, one must
simply move on.
Arden tosses the lit cigar into the oil, and
flames begin to blaze. On the mass exodus, we,
CUT TO:
INT. ARDEN'S SUBBASEMENT - NIGHT
West pulls on his chains as smoke begins to fill the room, the house
burning down like a cinder block. No matter how hard he tries to
reach any of his devices, he can't make it. On West struggling
as the room fills with smoke and flames, we,
FADE OUT: