25.
ACT III
FADE IN:
EXT. - LIVERY STABLE - DAY
LONG SHOT - MUSICAL B.G.
Early morning, as PALADIN PULLS UP in the BUCKBOARD and DISMOUNTS. HE HANDS
the reins to the STABLE BOY FROM ACT II. Even at this distance, we can tell
from PALADIN's DEMEANOR and the ominous MUSIC that this will be a very, very
SERIOUS DAY indeed.
ANOTHER ANGLE
PALADIN ASKS SOMETHING WE CANNOT HEAR to the STABLE BOY, who then likewise
ANSWERS BACK, POINTING a FINGER down the street, INDICATING LEFT, then RIGHT.
HE IS OBVIOUSLY GIVING PALADIN DIRECTIONS.
Then the STABLE BOY enters the STABLE and returns with PALADIN'S HORSE. PALADIN GIVES HIM A DOLLAR, MOUNTS his HORSE and STARTS IT MOVING at a SLOW PACE.
FULL SHOT - PALADIN ON HORSEBACK
As HE RIDES SLOWLY down the STREET, following the STABLE BOY'S DIRECTIONS.
VARIOUS ANGLES
PALADIN seems to be ATTRACTING the ATTENTION of various TOWNSPEOPLE with each
passing yard. Some merely WATCH HIM go by, others SHADOW HIM... but no one
gets too close. ALMOST EVERYONE seems WELL-DRESSED, indicating that THIS IS
probably a SUNDAY MORNING and people are heading to religious services.
WE HEAR O.S. the SOUND of a NOT-SO-NEAR CHURCH BELL: THREE RINGS.
Finally PALADIN REACHES HIS DESTINATION, STOPS HIS HORSE and DISMOUNTS.
POV SHOT - WHAT PALADIN SEES
A small, somewhat dilapidated STOREFRONT, with an OPEN WINDOW or TWO. A plain
SIGN reads:
MINISTRY OF
REV. WILSON
26.
BACK TO SHOT
As PALADIN WALKS TOWARD the STOREFRONT'S DOOR, OPENS IT and ENTERS.
CAMERA PANS SLIGHTLY
...to reveal the TWO DANGEROUS-LOOKING MEN (FROM ACT I AT THE SALOON), MOVING
TOWARD THE STOREFRONT. Obviously THEY WERE NOT FAR FROM PALADIN. MAN #1 STARTS
FORWARD as if TO FOLLOW PALADIN, but MAN #2 REACHES OUT with an ARM, SHAKES
HIS HEAD NO and STOPS MAN #1.
INT. - THE MINISTRY - DAY
As PALADIN COMES THROUGH the DOOR. HE finds himself in a SMALL and somewhat
MESSY ANTEROOM/OFFICE, replete with a DESK, CHAIRS, BOOKS, etc. At the FAR
END is a DOORWAY COVERED by a CURTAIN.
WE can HEAR O.S. the SOUND of WILSON'S VOICE coming from BEYOND the CURTAIN, although WE CANNOT MAKE OUT HIS WORDS. PALADIN MOVES TOWARD the CURTAIN and PARTS IT.
INT. - MINISTRY MEETING ROOM - DAY
As PALADIN ENTERS. HE STANDS in FRONT of the CURTAIN. The ROOM is LARGER than
we might expect, rather DARK AT THE BACK WHERE PALADIN STANDS, and HE is NOT
NOTICED.
POV SHOT - WHAT PALADIN SEES
WILSON is STANDING at a PODIUM in front of SEVERAL ROWS of EMPTY CHAIRS. HE
SPEAKS to IMAGINARY PEOPLE.
WILSON
...
so what did Job do? How did he
react?
Did he waver in his faith...?
No,
despite all his suffering, all
the
seeming senselessness of it...
Job
never lost his faith.
BACK TO SHOT - PALADIN
HE looks DEADLY SERIOUS and is clearly PAYING close ATTENTION.
BACK TO WILSON
27.
WILSON
(continuing)
So,
what does this mean for us?
Could
it be that, during times of
struggle
or concern, we need to have
the
faith of Job?... Or do we need
instead
a faith in ourselves...? How
many
of us have suffered, knowing
that
we've done no wrong-- and
wondered
why it happens?
BACK TO PALADIN
No change in demeanor.
BACK TO WILSON
WILSON
(continuing)
Yes,
we are all tried and tested by
life,
but how many of us have enough
faith
in ourselves to say we have
triumphed
in the face of such...
undeserved
persecution? It is just
this
faith in ourselves which we
need
so desperately, if we are to--
BACK TO PALADIN
HE CLAPS HIS HANDS slowly in MOCK APPLAUSE.
PALADIN
(sarcastic)
Bravo...
bravo....
BACK TO WILSON
HE is STARTLED by PALADIN'S presence, and HIS HANDS quickly SLIP OUT OF VIEW
behind the PODIUM.
WILSON
What
do you want?
BACK TO PALADIN
HE MOVES CLOSER.
FULL SHOT - PALADIN AND WILSON
PALADIN
Where's
your flock, Wickler? Or have
they
finally seen through that costume?
WILSON
It's
not a costume. And the name's
Wilson.
And they will come in due time.
28.
PALADIN
They
have one minute. Then you and I
are
leaving here.
WILSON
I
know you think I'm that Wickler
fellow,
but I swear I'm not. What harm
is
there in waiting a few days? Sending
for
the marshal?
PALADIN
Because
given the chance you'd be a
hundred
miles away, in another town, another
masquerade. I'm surprised
you're
here now.
WILSON
What
if you're wrong? What if I'm not
the man
you think I am? What if I just
look
like him? How can you just drag
me
away from these people? They depend
on
me! What gives you the right!?
CLOSE ON PALADIN
HE'S THINKING of a GOOD ANSWER, SIGHS HEAVILY through the nose.
BACK TO SHOT
Suddenly WE HEAR the commotion of a DOZEN TINY VOICES. TEN to FIFTEEN CHILDREN
of various ages come SKIPPING into the ROOM. SOME SIT down, OTHERS FOOL AROUND
a bit.
WILSON
(to
Children)
Quiet,
children.... You got here just
in
time.... Now, be seated and keep
your
books closed....
THE KIDS QUIET DOWN IMMEDIATELY.
WILSON
(continuing)
We
have a guest today. I believe his
name is
Mister... Paladin.
WIDE ANGLE
The KIDS LOOK UP, WIDE-EYED and INNOCENT, at the suddenly NON-PLUSSED PALADIN.
HE SMILES WEAKLY and acknowledges the kids with a nod here and there.
29.
WILSON
(continuing)
Mr.
Paladin would like to tell you why
he's
here. Mr. Paladin?
ANGLE ON PALADIN
HE LOOKS AT the CHILDREN, SIGHS HEAVILY THROUGH the NOSE, GLARES at WILSON,
then TURNS and LEAVES.
EXT. - MINISTRY - DAY
As PALADIN EXITS and CLOSES the DOOR behind him. The TWO DANGEROUS-LOOKING
MEN MOVE INTO HIS PATH. PALADIN GLARES AT THEM, TRIES to MOVE AROUND them,
but THEY SHIFT POSITION and BLOCK HIM again.
PALADIN
Something
I can do for you two?
MAN
#1
You
ain't takin' our reverend.
MAN
#2
That's
right, mister.
PALADIN
Well,
it pains me to say this, but I'm
afraid
I must concur.
MAN
#1
Huh?
MAN
#2
It
means he ain't takin' the reverend.
(to
Paladin, unsure)
That
is right, ain't it, mister?
PALADIN NODS in ANNOYANCE and WALKS AWAY.
ANOTHER ANGLE
As PALADIN MOUNTS HIS HORSE, and TROTS SLOWLY AWAY.
ANOTHER ANGLE
The CROWD pretty much BREAKS UP, and PEOPLE go ON THEIR WAY.
30.
EXT. - STREET - EDGE OF TOWN
As PALADIN RIDES SLOWLY PAST the TELEGRAPH OFFICE. HE TURNS HIS HEAD to LOOK
AT IT, THINKS a MOMENT, THEN BACKS UP HIS HORSE, DISMOUNTS, and WALKS INTO
THE OFFICE.
INT. - TELEGRAPH OFFICE
As PALADIN ENTERS through the front DOOR.
ANOTHER ANGLE
There's a not-too-bright CLERK behind the COUNTER.
CLERK
(a
little nervous)
Uh,
mornin' stranger. What can I do
for
you today?
PALADIN
Well
sir, you have just won a kind
of
lottery. However, I do need to ask
you
for some information, and your response
will
determine whether you win this...
HE TAKES OUT a DOLLAR COIN and SLAPS it on the COUNTER.
PALADIN
(continuing)
...
or this.
HE DRAWS HIS GUN, COCKS IT and PLUNKS it on the COUNTER, keeping HIS HAND on it.
PALADIN
(continuing)
Your
choice.
CLERK
(a
beat)
Er,
what information do you need?
PALADIN
I
believe Reverend Wilson sent a telegram
yesterday.
I want to know about it.
CLERK
Uh,
we're not allowed to give out
information
of that particular type.
31.
PALADIN
(means
business)
Friend,
if I don't get what I came here
for,
I can assure you that your prize
will
be this.
HE RAISES the GUN.
ANGLE ON CLERK
HE starts SHUFFLING through STACKS of PAPERS, many of them TORN in HALF.
CLERK
(shaky)
I
know it's here somewhere... it
was just yesterday, after all...
ah,
here it is!
HE HANDS a TORN piece of PAPER, about half the size of a full sheet, to PALADIN.
BACK TO SHOT
PALADIN STUDIES the PAPER for a moment, then reads aloud:
PALADIN
"May
be visiting soon. Will advise."
(to
Clerk)
That's
all? Where's the rest of this?
CLERK
Lost,
I suppose.
PALADIN GLOWERS at HIM.
CLERK
(continuing)
Wait, I remember now.
PALADIN
Then
you remember who he sent it to.
CLERK
Um
hm, um hm... that was... Major
Stuart Lee, retired. In Richmond.
ANGLE ON PALADIN - EXTREME CLOSEUP
PALADIN
(sneering
in disgust)
"Major
Stuart Lee, retired."
32.
CLERK
Yep,
that's who it was, alright.
PALADIN
(two
beats, quoting
Wilson
from Act I)
"I
never even saw the war."
CLERK
Hah?
BACK TO SHOT
PALADIN DOESN'T ANSWER HIM, UNCOCKS and HOLSTERS HIS GUN FORCEFULLY. HE TURNS
SLOWLY and WALKS toward the FRONT DOOR-- HE MOVES OUT OF FRAME. The CLERK
then LOOKS DOWN at the DOLLAR on the COUNTER without moving.
EXT. - TELEGRAPH OFFICE - DAY
As PALADIN WALKS SLOWLY DOWN the STEPS.
VARIOUS ANGLES
CAMERA GOES WITH PALADIN as HE WALKS, clearly UPSET and ANGRY, with a POWERFUL
sense of PURPOSE, a man on a DEADLY SERIOUS mission. Some TOWNSPEOPLE still
WATCH and FOLLOW HIM as before, but PALADIN is OBLIVIOUS to THEM.
EXT. - THE MINISTRY - DAY
As PALADIN reaches the DOOR and STOPS.
PALADIN
(shouts)
All
right, Wickler! Get out of there!
Now!
INT. - THE MINISTRY - CLOSE ON WICKLER
The usual EXPRESSIONLESS FACE as HE LOOKS toward the sound of PALADIN's VOICE.
BACK TO PALADIN - ANOTHER ANGLE
As more TOWNSFOLK DRIFT BACK toward PALADIN.
PALADIN
(continuing)
Stop
hiding behind those children...!
(sarcastic)
..."reverend"!
ANOTHER ANGLE
As the TWO DANGEROUS-LOOKING MEN MOVE INTO FRAME.
33.
MAN
#1
Like
I said before, you ain't takin'
him.
ANGLE ON PALADIN
As HE TURNS to FACE the MEN.
PALADIN
Oh,
I will take him... and the two
of
you, if necessary.
SUDDENLY WE HEAR O.S. THE VOICE OF MICAH TORRANCE
MICAH
(strong
as possible)
Hold
it!
ANOTHER ANGLE
As MICAH ENTERS THE FRAME, carrying a SHOTGUN.
MICAH
(continuing)
No
one will be taking anybody.
PALADIN
(keeps
eyes on the
Two
Dangerous Men)
Marshal,
I apologize for yesterday...
but
don't try my patience today.
MICAH
Paladin,
back off.
(to
the Two
Dangerous Men)
You
two, go about your business.
NOBODY MOVES.
MICAH
I'm
warning you. I'll lock up all
three
of you.
NOBODY MOVES.
PALADIN
Too
late, marshal. I want Wickler and
these
two want to die.
34.
ANOTHER ANGLE
PALADIN hunkers down into his GUNFIGHTING STANCE. The TOWNSFOLK MOVE AWAY
from the line of fire. ALL IS QUIET. MICAH can do nothing but STAND THERE,
LOOKING helpless and FRUSTRATED.
PALADIN
(continuing)
Whenever
you're ready, gentlemen.
ANGLE ON THE TWO DANGEROUS MEN
NOT QUITE SO SURE of themselves now. THEIR HANDS dangle ABOVE their GUNS,
ready to draw, twitching, but not moving downward.
ANGLE ON PALADIN
HE'S READY.
ANGLE ON THE TWO DANGEROUS MEN
Still NOT DRAWING.
ANGLE ON PALADIN
ANGLE ON THE TWO DANGEROUS MEN
Suddenly WE HEAR O.S. a SHARP SOUND. (IT'S THE SOUND OF A DOOR OPENING,
ALTHOUGH WE DON'T REALLY KNOW IT YET.) THE TWO MEN ARE SPOOKED AND DRAW IN
RAPID SUCCESSION. WE HEAR O.S. THE SOUND OF PALADIN'S GUN FIRING, and MAN
#1 IS SHOT DEAD BEFORE HE CLEARS HIS HOLSTER.
ANGLE ON PALADIN
As HE FIRES a SECOND SHOT.
ANGLE ON MAN #2
As HE DOES FIRE A SHOT, BUT ONLY AFTER HE'S BEEN HIT and HE'S ON HIS WAY DOWN.
ANGLE ON PALADIN
HE'S UNSCATHED. SUDDENLY WE HEAR O.S. ANOTHER SHOT-- THIS TIME A RIFLE SHOT.
PALADIN SPINS AROUND TO SEE:
ANOTHER ANGLE - WIDER
REVEREND WILSON HAD OPENED THE DOOR TO HIS MINISTRY. HE HAS clearly just BEEN
SHOT and CLINGS TO THE DOORWAY. A GUN DROPS FROM HIS HAND. WILSON then FALLS
TO THE GROUND, DEAD.
ANGLE ON PALADIN
HE TURNS HIS HEAD BACK a bit, toward the SOURCE of the rifle SHOT.
35.
POV SHOT - WHAT HE SEES
Some distance away, LUCAS MCCAIN sits on a BUCKBOARD with son MARK. THEY are
DRESSED for CHURCH. LUCAS HOLDS HIS RIFLE just BELOW HIS CHEEK. HE HAS OBVIOUSLY
FIRED the SHOT which KILLED WILSON.
BACK TO PALADIN
HE SALUTES MCCAIN.
ANGLE ON MCCAIN - CLOSE
HE DOESN'T ACKNOWLEDGE PALADIN'S THANK-YOU; HIS TOUGH EXPRESSION DOESN'T
CHANGE.
BACK TO PALADIN
HE NODS ONCE IN UNDERSTANDING.
ANOTHER ANGLE
As MICAH WALKS UP to PALADIN.
MICAH
Well,
gunfighter, are you satisfied?
The
reverend, dead... and these two.
You
get enough justice for one day?
PALADIN
(two beats)
I...
hope so.
FADE OUT.
END ACT III / THE END
I HOPE YOU ENJOYED "The Masquerade." I look forward to your comments... ...and your rating. (See below.) E-mail Me HOWEVER, THIS TELEPLAY WAS WRITTEN BY... ...YOURS TRULY, IN THE YEAR 2000 and as such is Copyright © 2000 by Andrew S. Fischer |
