THE KRONOS PROJECT: CRIMINAL
FADE IN:
EXT. -
CGI London, Fall 1888, overlooking the city.
TITLE OVER:
We close in on a HACKNEY COACH, lighted lanterns bobbing as the horse trots over cobblestone streets. As the SUN RISES, the cab halts in a middle-class neighbourhood, in front of a building.
From the coach emerges Joss,
The coach drives off. Rey keys the lock and opens the door.
INT. - RENTAL HOUSE - MORNING
The parlour contains a rug, a sofa, a tete-a-tete, two wingback chairs, a fireplace, a small writing desk and stool, and a piano. A staircase is in the background and Rey, keys in hand, paper under his arm, closes the door.
Perry shrugs off her cloak, Ciara nearly rips hers off, Anait pulls hers off unconcernedly. All three drape them across the unadorned sofa.
REY
Welcome to your home for the next month.
ANAIT
Everyone take a seat, we've got a lot of work to do.
Everyone sits, Perry in a tete-a-tete, Rey, Ciara and Joss
on the sofa,
ANAIT
This house has three floors and an attic, which is for the servants we need to have. We can get away with just three, a housekeeper, a cook, and a butler.
CIARA
Servants?
ANAIT
Necessary to fit in with the class we need to socialize with.
JOSS
Cream-puff will be in her glory.
PERRY
You're an asshole, Joss.
ANAIT
This floor contains this parlour, a dining room, and a kitchen. Upstairs are four relatively spacious bedrooms, and above that are four smaller bedrooms grouped around a common room.
Anait looks around the room.
ANAIT
This floor is our show floor, we need to decorate it appropriately.
(pause)
I don't suppose anyone plays the piano?
(pause)
I took lessons as a kid, but I wouldn't venture anything more complex than "Chopsticks".
Anait gives Perry a hopeful look.
PERRY
Not covered in boarding school, sorry.
ANAIT
Ciara?
CIARA
My only relation to a piano is that my grandmother used to own one.
JOSS
What's wrong with the room the way it is?
ANAIT
It does not reflect our social status. We need to fill it with stuff, including some needlework.
Perry and Ciara look at each other and laugh.
PERRY
Make a list of what we need to buy.
ANAIT
Now there is the matter of our task here, and who is to play which roles. As some of you know, there is a tendency in this time period to plunder archaeological sites for home décor items. Those who bring back such items are considered adventurers, treasure hunters, and admired for their accomplishments.
(angrily)
Entire sites have been utterly destroyed by these, these...cretins.
JOSS
And different from what you do...how?
ANAIT
We are looking for a dagger, once owned by the Black Prince Edward-
(frown)
How do we know it was his?
ANAIT
His father had it made on the occasion of his "earning his spurs". It has his coat of arms on the hilt.
Oh! That dagger.
(frowns)
But that dagger wasn't found - won't be found - until 1913.
ANAIT
According to the math, no, but according to history, you are
quite correct. The numbers say it is
here, in
CIARA
How can that be?
ANAIT
I know only that we have to get it back to
JOSS
So we know what Masterson is doing, what about the rest of us?
ANAIT
I think
JOSS
Lets me out.
He reaches for the paper.
(leering at Perry and Ciara)
Which of you lucky ladies wants the honour of being my wife?
CIARA
In your dreams, Masterson.
REY
I would recommend Perry.
Ciara shoots a smug look at
ANAIT
I think you're right, Reynard. Ciara, do you know what we're looking for?
CIARA
Not my thing, sorry.
PERRY
But I don’t know anything about archaeology.
JOSS
(absently)
Don’t worry about it, cream-puff. Nobody’s going to think he married you for your brains.
Perry gives Joss a look of mixed anger and hurt, but he’s staring at the newspaper and doesn’t see it. Abruptly he unfolds the paper.
JOSS
(putting open paper on table)
Guys, check this out!
The leader line says WHITECHAPEL MURDER, A FRESH CLUE.
CIARA
…and?
JOSS
Don't you get it? Jack the Ripper! We're right in the middle of the most famous serial murders ever!
PERRY
There's a serial killer on the streets?
JOSS
Relax, Perry. You’re too...rich for him.
REY
(hastily)
Might I suggest I fill the role of butler, saving us some money?
Anait nods.
ANAIT
I will be the housemaid, so we need hire only a cook. That means, of course, that we clean up after ourselves, right? Right??
CIARA
Yeah, yeah. What do I get to do?
Anait thinks for a moment.
ANAIT
(thoughtfully)
The more eyes we have looking for this dagger the better. There must be a library where you can find a copy of the coat of arms that will identify the dagger. Photocopy...
She trails off, everyone grinning at her.
ANAIT
Make a copy somehow, so we can all be on the lookout for it.
JOSS
(folding paper)
I think I’ll figure out just who Jack really is.
ANAIT
(annoyed)
We aren’t here to solve mysteries that weren’t solved in the first place, Joss
JOSS
(easily)
I promise to never publish the truth, okay? Only we will know. But come on, how many people get this kind of opportunity? If you come up with something for me to do related to our job, I promise to drop Jack like a one night stand.
Perry’s expression darkens and for a moment it looks as if she has something to say, but she changes her mind.
REY
Be careful.
JOSS
Yeah. Whatever.
INT. - MALLORY HOME - NIGHT
The house is brightly lit and full of people - men in black tie, women in gowns of all colours, with layers of elaborate draping. The women also have big, up-swept hairstyles.
Amidst this glamour are Perry and Warren.
Not too far away, a group of women are also shooting looks at Perry and wearing malicious expressions.
PARTY MAN 1
Mr. Masterson! I apologize for our monopolizing your lovely wife’s attention.
(smiles)
One can hardly blame you, sir.
(to Perry)
Shall we call it an early night, my dear?
PARTY MAN 1
Oh but you can’t take her away so soon!
PERRY
(to
It has been a long day.
(murmurs)
Aren’t you supposed to be talking to the wives?
PERRY
(equally soft)
They don’t like me.
He is leading her towards the door, but she stops him with by putting her other hand on his arm.
PERRY
We should say good-night to the Mallory’s.
The Mallory’s have seen them, though, are approaching.
MR. MALLORY
Mr. and Mrs. Masterson! Are we to lose your company so soon?
He looks at Perry, his gaze dropping to her chest for a lingering, speculative look.
MRS. MALLORY
I’m sure Mrs. Masterson is tired, setting up house in a
Her voice is sweetly considerate but her expression says they - Perry in particular - aren’t leaving soon enough.
It has been a pleasure to meet you, Mrs. Mallory. Thank you for a lovely evening.
He kisses her hand, mollifying her somewhat.
Hope to see you again soon, Mallory.
A butler has brought Perry’s wrap, and helps her into it.
INT. - HACKNEY CAB - NIGHT
PERRY
I didn’t think it was quite that bad.
He doesn’t answer, merely slumps to one side, staring gloomily out the window. Perry moves from her side of the cab to sit beside Warren, who ignores her, continuing to stare out into the dark night.
PERRY
(softly)
What’s wrong?
(shortly)
Nothing.
PERRY
(lightly)
You shouldn’t keep secrets from your wife.
I said nothing, alright?
PERRY
Tell me anyway.
Archaeology is a science of context. Those artifacts, removed from their context, loose their meaning, their ability to tell us anything about the culture that created them, how they were used, what symbolic significance they might have had.
(sighs again)
These people are treated like goddamn heroes.
(pause)
Do you know how carefully I documented everything I sold? A piece of me dies every time I have to do that, but I have to keep excavating, to keep discovering, to keep learning.
PERRY
And that takes money.
I sold so many reproductions, Perry. I couldn't let them go. There is a warehouse that takes up most of my money; I've set it up for at least twenty years. Every item in there has a file with it that contains a map, extensive photographs, date of excavation, every detail I could record.
(pause)
If I ever found myself in a position to have funding, I could "find" half a dozen sites immediately.
PERRY
So you are as Joss might say, a thief with honor?
(bitterly)
These people are the thieves, the destroyers. But they are praised and congratulated and I, who understand what those sites mean and have done everything in my power to preserve them...I'm the criminal who must skulk in the shadows. If only I could have gotten to the glyph room on Atlantis before I got caught, I could have shown that I could translate the glyphs, I could have-
He suddenly realizes he has exposed a very vulnerable aspect of himself. Before he can get defensive...
PERRY
Did you ever wonder if maybe Anait might have “outed” you to Monsieur Takai?
Jesus, and I thought I was paranoid.
INT. -
Joss is dressed as a middle-class gentleman, and in the chaos of Scotland Yard, he is looking for the detectives investigating the Ripper murders, specifically Chief Inspector Abberline.
His American accent stands out prominently. Finally an INSPECTOR gives him the time of day.
INSPECTOR
You there. What do you want? Can’t you see we’re busy?
JOSS
I’d like to talk to Chief Inspector Abberline.
INSPECTOR
Oh you would, would you. And why would the chief inspector waste his time talking to the likes of you?
Joss is brought up short for a minute. He needs a good reason why Abberline would share ANYTHING with him.
JOSS
I’m...I work with the Pinkertons. They think there might be an American connection to this nasty business of the
(lowers his voice)
Ripper.
Mention of the Pinkertons changes the Inspector’s attitude a little.
INSPECTOR
The Pinkertons, eh? Well, I don’t think the chief inspector will talk to you, but I know someone who might be interested in what you have to say.
He leads Joss away.
INT. - PROJECT HOUSE - DAY
The entire project has abandoned their leathers. Ciara and Perry are dressed in middle-class
day dress, Anait is dressed as a housemaid.
They are in the main room, Rey and Anait keeping near the door in case the hired cook should wander by.
Ciara slides a sheaf of papers to the middle of the table. Each bears a slightly blurry representation of a coat of arms.
CIARA
I hope you appreciate these. I had to redraw the coat of arms by hand, which wasn’t easy, in order to make mimeographs.
JOSS
Mimeographs.
He pulls a piece of paper towards him, studies the
design.
REY
I can’t imagine I’ll be seeing it, given the role I’m playing.
ANAIT
You never know.
JOSS
Rey brings
I can try.
He takes Joss’s copy of the coat of arms, dips the pen and begins to draw, fairly accurately.
It’s a long, thin blade, with a slight curve on the end. It only has one edge, making it more properly a knife than a dagger. It would have been used primarily for eating. The hilt is black, and the leather sheath is also black.
The finished drawing includes the blade and sheath. Joss looks at it carefully.
JOSS
So it really couldn’t be confused with a contemporary knife.
(grins)
They don’t make ‘em like they used to, no.
Joss nods thoughtfully. Perry, Ciara, Rey and Anait look closely at the drawing before passing it back to Joss, who folds it carefully and puts it in his pocket.
EXT. - POMEROY HOUSE - NIGHT
Sir and Lady Pomeroy are hosting a small get together prior
to Sir Pomeroy’s departure to
INT. - POMEROY DEN - NIGHT
This room is dark-panelled, and contains a wall of books,
but many of the shelves contain artifacts, the pride of Pomeroy’s
collection.
(amiable)
Nice collection. I prefer statuary myself, but it admittedly takes up more space!
POMEROY
The missus has taken a fancy to mosiacs. She wants a dolphin or something, dancing around the fountain in the garden.
Is that what you’ll be looking for, this trip?
Pomeroy winks.
POMEROY
It’s on my list.
None of the items are medieval. Pomeroy’s interest is primarily Roman. Warren sits down to listen to the others, hoping one of them will confess an interest in medieval artifacts, or collecting daggers, or both.
INT. - POMEROY PARLOUR - NIGHT
Perry is trying to hide her boredom, as the ladies trade catty remarks on the fashion sense, morals or lack thereof, of women not present.
LADY POMEROY
I’m so sorry, Mrs. Masterson, I keep forgetting you are new to London. I understand that you usually travel with your husband?
(before Perry can answer)
Don’t you find it dreadfully boring?
PERRY
(surprised)
As opposed to staying at home alone? Quite the contrary!
LADY POMEROY
But foreigners are so...foreign.
(condescendingly)
Although I suppose being French you wouldn’t notice it so much.
She gives the other women a smug smile and they titter laughter.
PERRY
Foreigners tend to be polite and courteous. Although being British, I suppose you wouldn’t notice it.
Perry gives them a sympathetic smile.
Lady Pomeroy’s smile slips marginally.
LADY POMEROY
(sweetly)
It isn’t as if he married you for your intellect anyway, is it?
Perry’s smile freezes, the other women pretend to be shocked.
INT. - HACKNEY CAB - NIGHT
Perry automatically sits beside Warren, instead of opposite him.
PERRY
I hope Anait is correct that I am an asset to you. I would ‘ate to think I am enduring this for no good reason.
Warren turns to look at her profile, clued in by the thickening of her accent that she is unhappy.
WARREN
What do the wives talk about?
PERRY
(stiffly)
They make deprecating remarks about everyone, and not necessarily those absent from their company.
Warren takes her hand.
WARREN
Sorry.
The unexpected sympathy shakes Perry, and her lip trembles. She bites it, blinking furiously.
PERRY
I’s fine.
Warren hesitates, then scoops her onto his lap. Perry is so startled, she forgets she was upset.
PERRY
What are you doing?!
WARREN
Relax, will you? I’m not trying to seduce you.
(shifts her against his hips)
See?
Perry stares at him for a long moment before a wry smile cross her face.
PERRY
You are...what’s the word?
WARREN
Handsome? Witty? Charming? I’ll settle for cute.
PERRY
Incorrigible.
WARREN
I love it when you talk dirty.
He shifts her around slightly, pulling her head down to his shoulder, not without resistance.
WARREN
Now, isn’t that more comfortable?
She pushes against his chest, sitting up enough to look into his eyes.
PERRY
What do you want?
They stare at each other a long moment.
WARREN
Crap. So much for good intentions.
Before Perry can react, he kisses her. She scrambles from his lap.
PERRY
That’s not a good idea.
WARREN
C’mon. We’re married.
An unwilling smile crosses her face and she shakes her head.
EXT. - A PUB - NIGHT
Ciara, looking around uncertainly, enters the pub.
INT. - A PUB - NIGHT
It’s dark, smoky, but not packed. By the standards of those who frequent such places, it’s early. There are women, but they are dressed far less fine than Ciara. She notices they’re not wearing bustles and an envious expression crosses her face.
She is standing uncertainly when a hand grasps her elbow.
She spins around - it’s Joss, his pupils so wide his eyes look black.
CIARA
What’s up with your eyes?
JOSS
(smirks)
Medicine.
He brandishes a small brown bottle. Ciara holds his hand still enough to smell the contents. She makes a face.
CIARA
It ain’t tequila.
JOSS
Laudanum. But forget that. You been looking for that dagger?
CIARA
What else have I got to do? I’ve been prowling pawn shops.
(looks around)
I hate it here.
JOSS
It’s not the nicest pub.
CIARA
I mean 1888. Why did you ask me to meet you here, you find the dagger?
JOSS
I’ve been trying to figure out who the Ripper is.
Ciara shivers.
CIARA
What’s that got to do with the price of tea in china?
JOSS
It’s just...oh never mind. Be careful, okay? When you’re looking for the dagger?
She looks at his eyes.
CIARA
You be careful, too, Joss.
BLACK OUT
TITLE OVER: Saturday, September 29, 1888
INT. - BALLROOM - NIGHT
Men in black tie, women dressed in the height of fashion. Couples whirl across the floor. Warren is talking to a small group of men, watching Perry smile in the arms of a stranger on the dance floor. One of the men he is speaking with is also looking elsewhere - his gaze tracks a tall, dark, handsome man across the ballroom.
MAN 1
I’d keep a closer eye than that on your lovely wife, Masterson.
(nods towards the handsome stranger)
That’s Lord Darnsley. His only interest in our crowd is finding a lonely wife or three to keep company whilst we’re off treasure hunting.
(dryly)
If he even waits til we leave the country.
Not surprisingly, the man in question spots Perry and immediately begins making his way in her direction.
Perry doesn’t see him until he cuts in on the dance. He smiles warmly at her.
DARNSLEY
I hope you don’t mind my rudeness, but it isn’t everyday I see a woman of such loveliness. How is it we haven’t met before?
PERRY
(charmed)
My husband and I are new to London.
DARNSLEY
A husband! Oh, my dear you break my heart already! Point out the gentleman I hate, sight unseen.
Smiling, Perry subtly points out Warren.
PERRY
Monsieur Masterson.
DARNSLEY
Not even an ugly fellow, my bad luck.
His hands “accidentally” brush across her breasts in the course of dancing. Perry’s eyes widen, suddenly aware that this charming man intends to seduce her, married or not, and might even consider “married” to be an asset.
DARNSLEY
It's very warm in here...would you care to join me for a turn about the gardens?
His expression is one of smoking hot desire. Perry hesitates and nods, not trusting her voice.
EXT. - GARDENS - NIGHT
There are other couples here, but Darnsley leads Perry towards the shadows farther from the house.
DARNSLEY
So...Mrs. Masterson. If your husband is here, might I assume he is a treasure hunter as well?
PERRY
He is an archaeologist.
DARNSLEY
(smiles, seeing no difference)
Very involved with his pots and urns, yes?
Perry doesn’t reply.
DARNSLEY
How did a man so involved with his antiquities gain such a lovely wife?
PERRY
(hesitates)
It was a marriage of convenience. More convenient for others than either of us.
DARNSLEY
I find it difficult to believe that Mr. Masterson might in any way be neglectful of you...
He kisses her, barely brushing her lips with his. He knows she is interested, but he doesn’t want to push her. As he begins to draw away, she catches his face in her hands, and presses against him, lip to lip, body to body. Surprise stops him only a moment.
DARNSLEY
I see you are a woman of passion. All the greater the crime of your husband, in neglecting you.
Perry feels a smidgeon of guilt - Warren wouldn’t “neglect” her if he had his way. She lifts her chin, her lips parting in invitation. This kiss is deeply intimate, and his hands move freely over her body. She runs her hands down his chest to his waist. He draws back a bit.
DARNSLEY
(ragged whisper)
Not here…
He takes her even deeper into the garden, leans her against a stone fence and begins to hike up her skirts; she doesn't help him, but does nothing to stop him. As the skirts reach her waist, she runs her fingers across the front of his pants, startling him.
PERRY
(softly)
Please, monsieur
He fucks her, driving her hard against the wall, and she clutches at his back, her hands under his coat, her head thrown back. He kisses her neck and shoulders while she moans and cries out softly.
Another, more demure couple walking their way. They are merely arm in arm and perhaps mean to be indiscreet in the bushes, but we never find out for sure.
Perry, on the verge of orgasm, kisses Darnsley hard, the noise stifled in her throat as she writhes unmistakably in his embrace.
The other couple watch this with first surprise and then malicious glee. Gossip and scandal are like gold in this society.
NEWSPAPER HEADLINE: MORE EAST-END TRAGEDIES THIS MORNING!
Paper date: Sunday, September 30, 1888
EXT. - MITRE SQUARE - NIGHT
Jack the Ripper has done his dirty work on Catherine Eddowes and Joss is skulking around behind the police and the coronor. His first, unobstructed look at the body freezes him, the colour drains from his face.
He has to leave the scene, most likely to lose his lunch.
TIME LAPSE MONTAGE: Carriage ride in the park where Darnsley smiles knowingly as he nods at Perry; Gossips whispering behind their hands; the men of the group Warren needs to penetrate looking at him with sympathy and pity; a shot of Darnsley and Perry half naked and locked in embrace.
INT. - PROJECT HOUSE - NIGHT
INT. - PERRY’S ROOM - NIGHT
She strikes a match to light a candle, so she can see to undress. She nearly drops the match as she sees Warren, fully dressed, asleep on her bed.
She hesitates only a moment before going behind a dressing screen to undress. Her hand reaches for the candle, it goes out. In the cover of darkness, she gets into her bed, pushing gently at Warren to reposition him.
LATER, she wakes up, Warren’s gone.
EXT. - PUBLIC GARDENS - MORNING
Anait, Ciara, and Perry are walking, with warm coats and muffs. Anait is restless after a month in one place.
ANAIT
Is Warren any closer to finding the dagger?
PERRY
(sighs)
Not yet.
CIARA
I haven’t had any luck, either. Anait, what is laudanum?
ANAIT
It’s an opiate. Commonly prescribed to women, in this time period for “hysteria”. Why?
(amused)
Are you hysterical?
CIARA
(concerned)
It’s Joss, he’s been using it in place of tequila.
Anait winces.
ANAIT
Rey is a healer, maybe he has a suggestion. I’ll mention it to him.
PERRY
Is he still looking into the Ripper murders?
CIARA
(sarcastically)
You’ve given at least some of London something else to talk about.
PERRY
Ciara, think of it as revenge sex.
Ciara turns, raising an eyebrow at her.
CIARA
Revenge against who?
PERRY
(with immense satisfaction)
His great grandson.
CIARA
Oh my god. You mean Eliot Darnsley, don’t you.
(grins)
That’s twisted! I knew there was something between you and Eliot.
PERRY
Did Eliot ever tell you he was once engaged?
CIARA
No! To you?
PERRY
He thought he’d restore some grandeur to his family with my money. I actually thought he loved me.
(bitter laugh)
Last time I’ll ever suffer that delusion. At least great grand-pere knows what he’s doing in bed.
(wistfully)
He’s leaving town for a few weeks.
ANAIT
(dryly)
There’s always Warren.
INT. - PROJECT HOUSE - DAY
Warren and Rey are in a room with wing back chairs, shelves of books. Warren is slumped in a chair; he is dressed well-to-do, but slightly rumpled. He has a tumbler of whiskey in his hand, but it hasn't been touched.
REY
What's the problem?
WARREN
My wife is cheating on me.
He takes a small sip of whiskey.
REY
(sighs)
Yes, a third of London at least knows that. But she's not really your wife, and it does seem to be keeping people from wondering about other things...like what you're doing here at all.
Warren sits up a little.
WARREN
You don't know what it's like, living with her and not being able to touch her. And when she gets a little horny, she just goes out and seduces some Lord, and I'm supposed to deal with being a cuckold.
REY
(curious)
You are not a cuckold, Warren.
WARREN
(cross)
There is a certain loss of status to a man who can't keep his wife.
(groan)
If she wants sex so damn bad, what's wrong with me?
(ah the truth comes out!)
I mean, even as a courtesy! It's not like I could go out and screw some other woman. A wife succumbing to god-damned Lord Darnsley is one thing, but both of us fooling around would blow our sham of marriage wide open.
(sips whiskey)
Do you have any idea what it's like, waiting up for her to come home and when she does, she reeks of another man??
REY
(gently)
Warren...you are not married to Perry.
WARREN
(heavy sigh)
I know, I know.
(sips whiskey)
Something's different, Rey. I’ve never hidden my attraction to her. But it’s become some kind of obsession, a fire that clouds my mind... Maybe it's spending all this time with her, I don't know, or maybe it's smelling that she's having sex and I'm not. All of it.
Rey looks bemused. Human social relations are not something he really understands, but then Warren doesn’t seem to fully grasp them, either.
Warren, however, doesn’t look like he was expecting a solution, he just wanted to vent, and who else is he gonna talk to? Warren sighs, raises the glass to his mouth - the level of whiskey has not appreciably dropped - then changes his mind and sets it down on the table.
WARREN
Hey man, I'm sorry for dumping all this on you. It's my problem, I'll figure out a way to deal with it.
INT. - TOWER OF LONDON - DAY
A tour group is going through Wakefield Tower, ooh-ing and aaah-ing at the Crown Jewels. Joss, decently dressed, trails the group and lingers behind after most of them have moved off.
He peers at the displays intently, looking for something in particular.
The GUARD notices his interest.
GUARD
Whatcha lookin’ for?
JOSS
(muttering)
The Black Prince’s...
GUARD
Ruby? That’s it there, lad.
Joss gives the stone a dismissive glance.
JOSS
I thought maybe the his dagger might be among the regalia. Something like this?
He shows the guard the drawing Warren made; the Guard gives it a cursory glance and dismisses it.
GUARD
(suspicously)
You’re American, arn’t?
Joss hears something in the man’s voice that tells him to go cautiously. He ignores it. He gives the Guard an insolent stare. Takes a brown bottle of laudenum out of his pocket and takes a drink.
JOSS
Yup.
GUARD
Move along, ya sick fuck. Get out of here!
Joss gives him a feral grin and walks away with a “fuck you” strut. The guard is unlikely to forget Joss.
INT. - PROJECT HOUSE - NIGHT
The entire team is assembled around the dining room table. The cook has been sent to her room, allowing Anait and Rey to sit at the table with the “family”.
WARREN
I have been in half a dozen homes, being as nosy as I can, and I still have no idea who has the dagger.
REY
Have you at least figured out anyone who definitely does not have it?
WARREN
(defeated)
Not really. I’m pretty sure it’s not Sir Pomeroy, but... You’d think someone would brag about something like that.
JOSS
Just out of curiousity, I took the Tower of London tour today. I figured maybe somebody donated it to the crown jewel collection.
ANAIT
You weren’t thinking of liberating any of the crown jewels, were you?
JOSS
(dismissively)
Too easy. You wanna know what I figured out about Jack the Ripper, though?
(leans towards Warren)
He’s most likely in the crowd you’re running with.
Ciara shudders.
CIARA
That’s not funny, Joss. Perry and I “run with” that crowd, too.
JOSS
(easily)
You got nothing to worry about, sweetcheeks. Cream-puff, on the other hand...
He smirks.
PERRY
Shut up.
JOSS
Might even be your high falutin’ lord.
PERRY
Oh please. The very idea...
She rolls her eyes.
JOSS
(leaning forward)
It’s always the ones you least suspect.
PERRY
Lay off the opium, Joss.
JOSS
Bite me.
Perry bares her teeth at him. Warren is brooding.
ANAIT
(to Rey)
If we don’t find this damned dagger soon, I’ll kill them myself.
Rey grins at her.
INT. - A DARK ROOM - NIGHT
It is too dark to tell what kind of room it is, fancy or plain, rich or poor. There are only two VOICES, both male, talking in harsh whispers.
VOICE 1
There’s an American. Claimed he was with the Pinkertons, which was a lie.
VOICE 2
You want him to disappear?
VOICE 1
(thoughfully)
No...find out where else he’s been. I’m sure we can find a legal way to eliminate him.
INT. - PROJECT HOUSE - DAY
Warren, wandering through the main room, notices a note open on the writing desk. He walks over and picks it up. In calligraphic writing, it says, “back in London, looking forward to seeing you at the Crandall Masquerade. Look for the golden swan, my princess.” It is signed in bold, arrogant strokes, “Darnsley”.
Warren makes face, his fingers clench and the paper bends. Making an effort, he smoothes the paper and checks the date - November 1.
Scowling he sets the note down and rests his arm on the mantal, staring at his reflection in the gilt mirror above the fire place.
The scowl is replaced by a thoughtful expression and he steals another look at the note.
Finally he smiles, and leaves the room.
INT. - CRANDALL BALLROOM - NIGHT
View from the balcony: The room is decorated with gilt on the walls, reflecting both gas-light and electric light. The room fair shimmers with golden light and people in all manner of disguises flow to and fro, laughing, smiling, talking. Some disguises are no more than a mask, but everyone wears at least that much.
VOICE 1 (V.O.)
(thoughtfully)
The Crown Jewels...
VOICE 2 (V.O.)
(fearfully)
He was asking after the Black Prince’s dagger.
VOICE 1 (V.O.)
Oh, surely the ruby. Yes, quite surely the ruby, the dirty American thief.
View from the main floor: Perry is dressed in a blue and green gown, like a peacock’s colours - happily with no bustle. From her shoulders fall a cloak like cloth decorated with “eyes”. Her hair is parted down the middle and rolled up from each side, supporting a headdress that resembles a peacock’s crown. She holds a blue and green domino, but when she moves it from her face, we see that her face is painted with blue and glitter in the same shape as her mask.
She is approached by a matronly woman in a Grecian style gown, a poor costume choice for her figure. A silver mask covers her upper face. This is MRS. PRATT, whom we no doubt recognize from an earlier social scene.
MRS. PRATT
Mrs. Masterson? Lovely costume, dear. Is your husband not joining us tonight?
PERRY
(frowning)
He had some notes to make, Madame Pratt. He said he will be along within an hour or so.
MRS. PRATT
I see
(pause)
I understand Lord Darnsley will be here tonight.
PERRY
(neutrally)
Indeed.
MRS. PRATT
(dryly)
I must say, his dalliance with you has certainly helped to take our minds off the terrible events in Whitechapel.
Perry gives her a sidelong look, aware that the woman is being rude by Mrs. Pratt’s own standards. She decides to pretend she does not know that.
PERRY
(graciously)
So glad I could help.
She pointedly moves away from Mrs. Pratt, who smiles coldly before continuing on her own way, perhaps to skewer someone else.
Perry’s attention is drawn to the door, where a man in white and silver has just come through. He is wearing a half-mask that fits over his head, white feathers with black at the nose to represent a swan.
The man makes his way, obliquely, stopping to kiss many feminine hands as he moves inexorably towards her.
Perry, her domino hanging from her wrist, frowns slightly as she watches his progress, her head tilted as she tries to figure something out.
Then he is standing in front of her, holding out his hand, his eyes meeting hers. Her eyes go wide in reaction, and she gives him her gloved hand. He raises it to his lips, never taking his eyes off her.
Heavy duty sexual tension!
He gestures - shall we?
Perry hesitates. Her expression is uncertain. He smiles at her, a questioning sort of smile.
She decides and nods at him, letting him lead her slowly across the floor and away from the main ballroom.
THE FOYER is empty at the moment, and he leads her swiftly up the stairs. She follows, holding up her skirts, and glancing backwards once or twice to ensure they’re not being watched.
On the SECOND FLOOR, he pulls into a ROOM, closing the door behind them. Without a word, he kisses her, the hard impatient kiss of a man who hasn’t seen his lover in weeks.
Again, Perry hesitates a fraction before throwing her arms around him, kissing him back with all the enthusiasm she can muster.
Much as with their first time in the gardens, he impatiently pulls her skirts high, kissing her all the while. She in turn fumbles with his clothing.
For some reason he pauses.
PERRY
(harsh whisper)
Please...don’t stop.
His eyes through the mask glitter with desire, he needs no more encouragement from the lady.
She stifles a moan as he presses into her, pressing her mouth to his neck, his ear, pausing almost as if unfamiliar with the taste and scent of his skin.
His mouth is tracing patterns of desire on her own neck, until they are lip-locked again, bouncing off the wall in frantic sex.
He slows, perhaps to prolong the pleasure, and her head falls back as she reaches to push herself from the wall into him.
He pushes back, hard, and her breath is expelled in a gust.
PERRY
(softly, on exhale)
Warren...
He freezes.
PERRY
(eyes opening)
Don’t stop!
It’s Warren, of course, pretending to be Darnsley, and Perry forgets in the heat of the moment to pretend she’s fooled.
WARREN
(harshly)
How did you know it was me?
PERRY
Shhhh... harder...
She grabs his ass, pulling him deeper into her, and he forgets all about talking, as she reaches a shuddering climax. In the midst of her contortions he abruptly grabs her, pressing her tight against the wall with a harsh exhale of his own.
Neither hears the door open or see Darnsley, dressed almost identically to Warren, come into the room.
DARNSLEY
(cynical amusement)
Mrs. Masterson. I see you decided not to wait for me. I’m hurt.
Perry makes a startled sound, peering at Darnsley over Warren’s shoulder.
Darnsley obliges by moving where he can see her face clearly.
DARNSLEY
So who’s the lucky man?
PERRY
(huskily)
My ‘usband.
DARNSLEY
(grinning)
Oh come now, Mrs. Masterson. Women don’t have sex with their husbands in empty rooms in other people’s houses.
Still grinning broadly, he rips off Warren’s mask. Darnsley’s smile is abruptly wiped away.
DARNSLEY
It is your husband.
Warren offers a sheepish grin, trying to figure out a way of separating himself from Perry without unduly exposing either one of them.
Darnsley’s sharp expression examines Warren’s clothes.
DARNSLEY
I see. And did you know it was your husband when you came upstairs?
PERRY
Oui.
WARREN
(surprised)
You did?
Perry blushes, somewhat to her surprise.
PERRY
You have a certain...way about you.
She is keeping a wary eye on Darnsley, just in case he does something stupid.
WARREN
Darnsley, would you mind leaving us alone?
Perry gasps as Darnsley executes a bow and leaves - when he turned, she saw a thin black sheath at his side - the Black Prince’s dagger!
Warren shifts, and her attention is immediately refocused.
WARREN
(softly)
Can we finish this someplace... softer? There is much more I would like...
PERRY
(breathless)
We can never tell anyone.
WARREN
I have no intention of that.
Perry smoothes her skirts into place as Warren tucks his bits away.
PERRY
Warren, did you see...no, I suppose you didn’t. Darnsley was wearing a something that looked a lot like the dagger we’ve been looking for.
WARREN
Darnsley?! How the hell would he have gotten it?
PERRY
(shrugs)
Gift from a lady friend?
Warren looks at Perry.
WARREN
Do we have to do something about it right away?
PERRY
(smiles)
I think it can wait another day.
INT. - A PUB - NIGHT
Joss is laughing with a bunch of drunks, not drinking himself. His pupils are dilated, showing he has indulged in other vices.
Two beat police come in, to boos from the patrons.
To Joss’s surprise, they man-handle him and haul his stoned ass out of there.
JOSS
(protesting)
Hey, wait, what did I do??
The cops look at each other over his head. The accent proves he’s the right guy.
They pat down his pockets and pull out a small crown, obviously real.
Joss stares at the crown, knowing he didn’t take it, but having no explanation at all for how it got there.
INT. - PROJECT HOUSE - DAY
It’s near the middle of the day, Ciara is puttering in the main room downstairs, fully dressed as she is “at home”. Anait is ostensibly dusting, but the two of them are expressing their mutual frustration with this mission.
CIARA
It chafes, how little we can actually do.
ANAIT
(philosophically)
Perhaps we are learning valuable lessons we will need on other missions.
CIARA
(cold laugh)
Yeah, like what?
ANAIT
(sighs)
Patience?
CIARA
Joss has got his opium, Perry’s got a lord, at least they’re enjoying themselves.
Perry enters the room as if hearing her name.
PERRY
No coffee?
CIARA
It’s lunchtime.
(frowns)
Now that you mention it, there wasn’t any coffee this morning, either.
(to Anait)
Did Joss come home last night?
PERRY
Probably enjoying his poppy haze.
Warren comes into the room, looking cheerful for the first time in months.
WARREN
Morning, Perry. Did you tell them the good news?
PERRY
(offhand)
Darnsley has the dagger.
Ciara, looking elated, pulls the bell rope, bringing Rey into the room. Rey’s nostrils flare, as if smelling something unusual, and he gives Warren a speculative look.
CIARA
We know who has the dagger!
ANAIT
Darnsley.
REY
Great! When can we get it from him?
PERRY
(frowning)
I think it would be best if Joss, mmm, retrieved it from Darnsley’s rooms.
REY
(heartfelt)
I’m just glad we’ve found it.
(pause)
Has anyone seen Joss today?
Nobody has. There is a knock at the door. Rey smiles deprecatingly and goes to answer it.
He returns with a square of folded paper, frowning. With a quick look over his shoulder to ensure the cook is nowhere about, he hands it to Anait.
Anait reads the note, closes her eyes and sinks into a chair. She holds the note out, not caring who takes it.
Rey takes it and reads it. With no expression at all, he passes it on to Ciara.
CIARA
Well, that explains why we haven’t seen Joss.
She gives it to Perry, Warren moves so he can read it over her shoulder.
PERRY
(reading aloud)
“Under no circumstances let that cream-puff represent me.”
(pause)
He does realize this is a hanging offense, yes?
WARREN
(frowning)
You don’t think he did it?
PERRY
(thoughtfully)
Non. Why would he? He knows there’s nothing he could do with the jewels.
CIARA
Besides, where would the challenge be? Considering the security he’s used to cracking, this would be a piece of cake.
WARREN
That’s right, Ciara. He’s not starving so his only motivation would be to test his skill and this wouldn’t test his skill at all!
Rey takes the letter and re-reads it.
REY
He says it’s a mistake, he didn’t do it.
WARREN
So it’s open and shut.
PERRY
(dryly)
The only thing open and shut is the trap door on the floor of the hanging gallows.
Anait turns to Perry
ANAIT
Why do you say that?
PERRY
(ticking off her fingers)
Nobody is accidentally framed. Theft of the crown jewels is a hanging offense. Whoever framed Joss wanted him out of the way, permanently.
There is a silence.
ANAIT
Perette, you must help him.
PERRY
Even if Joss wanted my help, I am not sure how much I could do.
REY
(to Perry)
You can’t let him hang, just because he’s...
CIARA
An asshole?
ANAIT
Wait.
(beat)
Let’s get the dagger. Then, if worse comes to worst, we can meet Joss at the jail and time jump out of here.
CIARA
(slowly)
What if they hang him before we get the dagger?
ANAIT
Perette shouldn’t have a problem getting the dagger, if Darnsley has it.
PERRY
(clears her throat)
Even if I had not ended our relationship last night, it is unlikely he would just give it to me.
CIARA
(amused)
You dumped him? Why? I thought you said the sex was great?
Perry meets Ciara’s eyes calmly.
PERRY
I got a better offer, shall we say.
Warren turns towards the fireplace, suddenly fascinated with the bric a brac on the mantle. Rey gives him a sidelong look, which is ignored.
CIARA
You found better sex? I’m jealous!
(looks at Warren not looking at anyone, adds softly)
I imagine I’m not the only one.
PERRY
The point is, even though we know where the dagger is, getting it will not be easy.
ANAIT
So we can’t get the dagger without Joss and we can’t bust him out of jail without the dagger. Perette, you will have to be his lawyer, regardless of his wishes.
PERRY
It is not that simple, Anait. Forget the fact that I am a woman and as such not permitted to practice law at this time. Whoever framed Joss intends him to die, and is powerful enough to ensure the officers of the court will find him guilty.
REY
How do you know that? About the power of the person who framed him?
PERRY
Not just anyone can take one of the crown jewels to put in someone’s pocket for a frame.
Warren rejoins the group.
WARREN
He was looking into the Ripper murders, do you think that’s it?
ANAIT
(muttering)
I told him to leave that alone.
PERRY
Most likely.
(beat)
Someone needs to talk to Joss, he will have a better idea who set him up.
CIARA
I’ll go.
ANAIT
Not a good idea. Warren will be safest. We’ll all listen in on the conversation here.... Perette, is there anything you need?
PERRY
I need to find a library, review recent legal precedents, see what types of loopholes exist in the present British legal system.
Anait and Rey look at each other, almost a psychic exchange, as they work out what to do.
ANAIT
Ciara, you go with Perry. Warren, you go talk to Joss. Rey and I will stay here and both of us will write down everything we hear, to avoid any mistakes.
INT. - LIBRARY - DAY
Perry and Ciara, dressed in upper middle class day wear, complete with bustles and muffs, enter the library. The librarian is a young man, dressed to the same class level. Perry speaks with him, and an indulgent smile crosses his face.
He points them to the appropriate stacks with an air of amusement.
CIARA
(quietly)
What does he find so amusing?
PERRY
I can guess.
Perry runs a finger across spines of large books, pulling out several and passing them to Ciara. The last book she carries herself, to a large wood table.
PERRY
(sighs)
I love these old libraries....
She sorts through the books she’s chosen.
CIARA
Anything I can do to help?
PERRY
These books cover the laws. See if you can find anything with actual cases. Precedent setting cases are the ones that get in books, that’s what I want to see.
Ciara disappears around the stacks, leaving Perry to pore over the books. She skims, running her finger down the indices, looking for relevant laws. She adjusts her bustle and sits down, her face a study of concentration as she begins flipping pages.
She HEARS movement behind her, assumes it’s Ciara.
PERRY
Merde. I forgot there’s no copier.
DARNSLEY
Tsk, such language.
Perry jumps to her feet, surprised to see her newly ex-lover.
PERRY
(calmly)
My lord. I would not ‘ave expected to meet you here.
DARNSLEY
Rich people use libraries, too.
(he looks at her choice of literature)
But I am surprised to find you reading law books, Mrs. Masterson.
Perry gives him a surreptitious once over: he is not wearing the dagger.
PERRY
(sweetly)
Pretty women have brains, too.
DARNSLEY
(grins)
Touche.
He pulls out a chair, gestures for her to re-seat herself. Perry does so, forgetting her bustle. She curses softly in Arabic and adjusts it.
DARNSLEY
That didn’t sound French.
She doesn’t respond, so he continues:
DARNSLEY
Forgive me if I’m being too forward, but I think we know each other well enough to be pertinent. When you told me your marriage was one of convenience, I didn’t realize you were being truthful.
(leans forward)
That night, was truly your first time with your husband?
Perry looks around quickly to ensure Ciara isn’t within hearing.
PERRY
(restrained)
Oui.
Darnsley leans back, regarding her with amusement.
DARNSLEY
I well understand the...excitement that comes from a quick and dirty encounter. I can’t help but wonder, though, if the rest of your night lived up to the initial...promise.
To her surprise, she blushes. One hand rubs at the sudden warmth in her cheeks even as she smiles somewhat self-consciously.
PERRY
Oui; not that it is any of your business.
DARNSLEY
(smiling)
I see. You know I am more used to being the one who ends a liaison. And while it has happened on occasion in the past, never has a woman spurned me in favour of her husband...
Perry, being reminded of her “husband’s” lovemaking skills, responds involuntarily - she breathes shallower, her face remains flushed, and her eyes shine.
DARNSLEY
(murmuring)
Ah, you do look lovely aroused...
Perry takes a deep breath, trying hard to focus on why she’s here and not think about how good the sex was with Warren.
PERRY
‘E is ver’ skilled in the ars amores.
CIARA
Who is?
Ciara has returned, she is carrying a book, a sheaf of paper, an ink well and a pen. As she sets these things on the table, she looks inquisitively from Perry to Darnsley. She gives Darnsley a second, more side-long look as he rises hastily to his feet.
PERRY
My dear lord Darnsley, may I present the exiled princess Kamiya, of Japan. Late from America.
CIARA
(smile)
Lord Darnsley, I’ve heard so much about you...
He takes her hand and kisses it.
DARNSLEY
I’m afraid I must take Mrs. Masterson to task for not mentioning you...your highness.
CIARA
Please, that is neither necessary nor desirable.
DARNSLEY
What brings you to London?
CIARA
(lightly)
Curiosity. I knew Perry - Mrs. Masterson - before she, er, married.
Darnsley looks at the title of the book she picked out.
DARNSLEY
Two beautiful women interested in law, how peculiar!
CIARA
(hastily)
I just offered to help a friend.
DARNSLEY
(abruptly)
May I invite you lovely ladies to tea?
PERRY
Go ahead, Ciara. I’m afraid I can’t, but thank you.
DARNSLEY
Your husband would object?
PERRY
Non.
(looks at the books)
Non.
Ciara leans over to air-kiss Perry’s cheek and whispers in her ear:
CIARA
Perhaps I’ll have a shot at the dagger...
Perry smiles.
PERRY
(softly)
Have fun.
She watches the two leave, arm in arm, no trace of jealousy. The she looks down at the work ahead of her and sighs.
INT. - PRISON - DAY
Assumption the prison is relatively modern looking - cells laid out around a central block. Lots of bars, barbed wire coils on the perimeter...all that is period, but whether it was in London or not is a question for fact checkers.
Warren is sitting on a plain chair in a booth, staring through iron bars at an identical chair and booth. Joss is led into the room by a GUARD, who then stands out of earshot, but within sight.
Joss is wearing a cheap coverall; he sits in the chair, glad to see Warren, who sits forward.
WARREN
Joss, Anait and Rey are listening in, if you know what I mean.
JOSS
Not Perry?
Warren shakes his head in the negative. Joss glances around, as if for cameras.
JOSS
They took my amulet, saying I stole it, too.
WARREN
That’s not good. On a more positive note, we know who has the dagger.
JOSS
Yeah, well pardon me for not getting all excited about that right now.
WARREN
You’re in deep shit, my friend.
JOSS
C’mon! I was set up so badly, a moron could see it!
WARREN
You were set up for a hanging offence, so whoever framed you wants you dead. You’re an American who allegedly stole the Crown jewels in a country where you’re guilty until proven innocent. Who set you up and why? If we can’t find that out...
(shakes his head)
I don’t know that we can get you out of this.
INT. - PROJECT HOUSE - DAY
Anait and Rey are sitting at the table in the main room, both writing and listening, albeit at different times.
INT. - LIBRARY - DAY
Perry is writing rapidly, dipping her pen, using the index finger of her other hand to mark her spot in the book. Her notes are in point form, mixed English and French (Frenglish?)
INT. - PRISON - DAY
JOSS
And that’s everything.
WARREN
Are you absolutely sure?
Joss takes a minute to think. Behind him, the guard checks a pocket watch.
JOSS
Yeah. You got any cash on you? If I think of anything else, I’ll need money for a messenger.
Warren pats his pockets, tosses Joss a handful of coins. The guard begins to approach. Joss makes the coins disappear.
JOSS
Maybe a little more for a few comforts?
WARREN
(sighs)
Here.
He gives Joss more money, passing it to him this time.
GUARD
Time’s up.
INT. - PROJECT HOUSE - NIGHT
Perry is seated at the table, which is covered in papers. Immediately in front of her is a pile of blank paper and an inkwell. To her right is the transcript Rey and Anait made. The rest are her notes, spread out so she can find what she needs quickly.
An oil lamp is burning on the table, in addition to the gas lights on the wall.
She reads the transcript, makes notes of her own, filling up the blank paper.
Warren comes into the room, silently. He stands behind Perry and begins to rub her shoulders.
Perry puts the pen down, sits up a little straighter and closes her eyes. She absently rubs a cramp at the base of her thumb.
WARREN
(softly)
There’s a few days before the trial, you don’t need to work yourself to the bone.
PERRY
(swaying slightly to the rhythm of the massage)
It will be a difficult trial to win.
WARREN
More difficult if you’re tired. Come to bed.
Perry sighs, seeing the logic of his argument. She caps the inkwell before standing up.
Warren pulls her into his arms and kisses her thoroughly.
Perry resists momentarily, then relaxes into the embrace, kissing him back.
WARREN
(softly)
See? You can’t resist me.
PERRY
(mildly protesting)
I can quit any time I want.
Warren chuckles.
INT. - PROJECT HOUSE - DAY
Perry is seated at the table again. The COOK is tsk-ing at her, as she tries to set out breakfast.
COOK
Mrs. Masterson, whatever all this is, it can surely wait til after breakfast. Dr. Masterson will be down shortly, I’m sure.
Warren, as if psychic, appears behind Perry. He rests his hands on her shoulders and kisses the top of her head. The cook acts scandalized, but leaves the room smiling.
WARREN
(taking a seat)
I could get used to hearing that.
PERRY
Dr. Masterson?
WARREN
(smirking)
Mrs. Masterson.
Ciara joins them, looking somewhat worse for wear. The cook returns with the rest of breakfast and gives Ciara a disapproving look.
PERRY
(curiously)
What time did you get home?
CIARA
(smug)
Late.
Ciara begins putting food on her plate. Warren and Perry follow suit.
WARREN
Is there coffee?
PERRY
Something like it. Joss hasn’t managed to teach Cook how to make it.
She pours a black liquid from a pitcher into a teacup, then raises the cup to her nose. She makes a face.
Ciara pours a cup and stirs milk into it without care.
CIARA
He has the dagger, alright. Darnsley, I mean.
Ciara begins eating like she hasn’t seen food in days.
CIARA
He says it was a gift from a pause, friend.
(food pause)
Implication a lady friend, not that it matters, I suppose.
(food pause)
But for sentimental reasons he won’t part with it.
Perry and Warren are enjoying their food at a more leisurely rate.
WARREN
So we do need to steal it.
Ciara nods.
PERRY
(archly)
And?
CIARA
(grins at Perry)
You were right - he’s got a lot more talent than his grandson.
WARREN
Grandson?
CIARA
Eliot Darnsley, British Museum, remember?
WARREN
(astonished)
They’re related?
Perry and Ciara look at each other, smirking, then laughing. Ciara sobers quickly.
CIARA
What’s going on with Joss?
PERRY
(sighs)
‘aving a jury ‘elps, but not as much as it would in America.
CIARA
(to Warren)
She’s dropping her h’s, that’s not a good sign. Why would it be different in the States?
PERRY
The t’eory is that in America, a person is tried by a jury of their peers, but the truth is, guilty people go free and innocents are condemned because of their lawyer's ability or inability to influence what the jury believes in its collective heart to be true, regardless of facts. ‘ere, the jury does not have as much power, so...
WARREN
(thoughtfully)
The lawyer doesn’t have as much power.
Anait comes into the room wearing a full apron and carrying a feather duster.
ANAIT
(murmuring)
Morning, team. Update? Rey’s amulet is active.
WARREN
We have two items we need to retrieve. The dagger is at Darnsley’s; and I’m not sure where they’re holding Joss’s amulet.
PERRY
That he does not have it is good. He won’t know I’m involved until it is too late.
WARREN
(wryly)
I think your presence in the court-room might give it away.
ANAIT
No female barristers - women are just earning the right to enroll in law school.
WARREN
(slowly)
Then who’s going to be in the court-room.
Anait smiles at him.
WARREN
Oh no. No way! I’m an archaeologist, not a lawyer. I don’t know anything about lawyering. Get Rey to do it!
ANAIT
(slowly)
I suppose....
PERRY
Non. Rey is a person of colour.
ANAIT
There were minority barristers, Perry.
PERRY
It may harm Joss’s case, presenting what would be, in effect, a novelty lawyer. No offense intended, Rey.
CIARA
So...I am of no use?
Perry gives her a sly smile.
ANAIT
(slowly)
I suppose you could try to get the dagger from Darnsley.
CIARA
(with relish)
I’d certainly enjoy that.
Ciara winks at Perry.
INT. - COURT ROOM - DAY
Warren is wearing a robe and barrister wig and talking to Joss, who is wearing a prison uniform.
JOSS
So a solicitor does legal research, and a barrister does the courtroom stuff?
Joss’s amulet is with his clothes, so he has no way of knowing that Warren is being prompted by Perry, who is at the Project House with all her notes.
WARREN
Yeah, that’s the jist.
INT. - PROJECT HOUSE - DAY
Perry is sitting at the table wearing a flowing robe, traditionally worn over a nightgown. She is modestly attired to modern eyes, but to the cook...
COOK
(scandalized)
Mrs. Masterson! What in heaven’s name are you wearing?! What would Mr. Masterson say, seeing you like that?
PERRY
(mildly distracted)
He’s seen me in less.
The cook blushes, but will not be turned aside from saving her employer from embarrassment.
COOK
But ma’am, the staff! And you can’t accept callers like that!
PERRY
(mildly annoyed)
I shall tell the butler I am not at home today, will that suit you?
COOK
(shocked)
You can’t let the butler see you like that!
PERRY
(mildly spiteful)
I wouldn’t worry, he’s seen me in less, too.
She smiles an evil smile as the cook turns bright red and nearly runs from the room. Cook already knows Perry was “unfaithful” with Lord Darnsley, and as the Project nears the finish of this mission, she doesn’t give a damn what rumours and gossip go about.
She pours a cup of coffee, and makes a face.
PERRY
I should have been more graphic.
She turns to the papers, pushing the robe off her shoulder so she can access the nooks and crannies of her amulet. Rey pokes his head in the door, still dressed as a butler.
REY
Cook’s having...vapours, I think its called - what did you say?
PERRY
I made her think we were lovers.
She gives him a head to toe look, as if contemplating the idea. He looks puzzled.
REY
You can explain why to me later. I’ll find Anait.
PERRY
Warren? Can you hear me?
INT. - COURT ROOM - DAY
Warren is still talking to Joss. He blinks suddenly.
JOSS
You okay?
WARREN
Yes, yes, fine, quite well.
PERRY (O.S.)
(filtered)
Ah, understood.
INT. - PROJECT HOUSE - CONTINUOUS
Anait follows Rey into the main room. She is attired in her project leathers, while Rey remains in livery. Anait sits down at the table.
ANAIT
(touching her amulet)
Rey...?
Rey shrugs off his jacket and vest, then begins to unbutton his white shirt. Perry watches with undisguised interest, which Anait notices with amusement, while Rey himself is oblivious.
Perry catches Anait’s smirk and winks at her.
Meanwhile Rey takes off his shirt, revealing his project vest. Perry sighs dramatically, which gets Rey’s attention, but he clearly doesn’t understand any subtext.
He touches his amulet in the same place Anait did as he sits down.
REY
We can hear everything Warren says, but he can’t hear us.
ANAIT
Hopefully that will minimize his distraction.
PERRY
I’d like you to be as quiet as possible anyway, if you please, so I may concentrate.
ANAIT
Of course.
(frowns)
Where’s Ciara?
INT. - DARNSLEY’S APARTMENTS - DAY
The rooms are small, relatively speaking, but decorated with extravagant luxury more reminiscent of the 1750s than the 1890s. Darnsley is wearing a banyan coat with braies while Ciara is just in chemise, corset and pantaloons. He is seated at a small table, smoking a cigarette, while Ciara lounges on the bed.
DARNSLEY
How well do you know Mrs. Masterson?
CIARA
(smirking)
Not as well as you do.
DARNSLEY
(intrigued)
Indeed. Is that something you would like?
CIARA
Are you kidding? That hair, those eyes!
Darnsley butts out his smoke, his attention firmly caught by Ciara’s unabashed bi-sexuality.
CIARA
She’s not interested, of course. Women don’t even register on her...that is, if she’s giving a woman a speculative look, she’s sizing up a potential rival.
DARNSLEY
I have a friend I’d like you to meet...
INT. - COURT ROOM - DAY
The judge is addressing the court. Warren is making notes, not on what the judge is saying but what he’s hearing via his amulet. He looks like a man who is trying very hard to look like he knows what he’s doing.
The jury is an unfriendly looking bunch, also wearing wigs. Although the system is innocent until proven guilty, they seem to be anticipating the opportunity to hang an American.
The charge is read and Joss pleads “NOT GUILTY”
CUT TO the PROJECT HOUSE - Perry has decided the best way to go is to treat the small crown as circumstantial evidence, pointing out that no other item was stolen and the crown itself might have been put into his pocket by anyone as soon as the cops busted the bar.
As she listens to the responses to her words, via Warren, she frowns, and pulls her notes towards her.
CUT TO the COURT ROOM - Warren looks harried, Joss worried. The jury looks to each other, doubtful, but hesitant to lose their opportunity to hang an American. Finally the court recesses. Warren breathes a sigh of relief.
CUT TO the PROJECT HOUSE - Perry also breathes a sigh of relief.
ANAIT
(anxiously)
What’s the problem?
Perry rubs her temples, and, frowning begins to re-sort her papers, which by now are a mess across the tabletop.
PERRY
(frustrated)
I can’t see their faces, their body language, reactions. I did not realize how much I used dat to finagle a win.
(sighs)
I try to ask Warren to describe for me, but ‘e does not know what he is looking at, does not know what to look for. It makes dis case ver’ difficult.
REY
But you can win it.
PERRY
I ‘ope so. It would ‘ave been easier if we could ‘ave found out ‘o framed Joss and why.
ANAIT
(slowly)
Is it possible he was too close to unmasking Jack the Ripper?
PERRY
(irritated)
Most likely. But since ‘istory never found out ‘o ‘e was, we don’t know, either.
She looks at Anait.
PERRY
Could this be one of those “corrective measures” you mentioned once?
ANAIT
(sigh)
It is very possible.
(wistfully)
I have no access to the Archive, I downloaded only the information relevant to our missions.
Perry gets up, stretches. She is still “dishabille” . She walks around, pours water into her empty coffee cup, and drinks deeply.
PERRY
It must be convenient to download directly into your head. You have computer memory as well?
(off Anait’s confirming nod)
So you never forget?
ANAIT
(smiles)
It is convenient. Your attitude is refreshingly different. In my time, cyborgs like myself are still regarded as freaks.
PERRY
(consideringly)
Can you forget something, if you want to?
ANAIT
It’s possible, but we also have a way of disassociating the memory with the emotion associated with it, which is more like what happens in an organic brain. All our experiences have something to teach us, good and bad.
PERRY
(nods)
I suppose that’s true. Let us hope this experience is a good one.
She sits down and once more looks through the papers she has restacked, pulling two in particular towards her - her notes.
PERRY
(to Warren, as well as herself)
The guard at the Tower claims that Joss was asking after the Black Prince’s ruby. But the ruby wasn’t taken. Joss says he asked after the dagger, not the ruby.
Anait sits down, as does Rey.
ANAIT
Did he show the guard the picture Warren drew for him?
Perry gives her a sharp look that says, Why?
ANAIT
Warren?
COURTHOUSE
WARREN
Joss, when you talked to the guard at the Tower, did you show him the drawing I gave you?
JOSS
(irritable)
Of course! How the hell else was he gonna know what I was looking for?
WARREN
Hmmm.
JOSS
What does that have to do with...? This isn’t about the dagger, it’s about Jack-
Warren slaps his hand over Joss’s mouth.
WARREN
Of whom we know nothing. The dagger, on the other hand, we know exactly where to find.
Joss gives him a sullen look.
PROJECT HOUSE
PERRY
I fail to see the relevance. The guard mis-remembers, it ‘appens all the time with witnesses. Warren, we need to concentrate on the ruby, on what the guard ‘as already testified. Joss must appear to be obsessed by the ruby, and no other jewel will do.
ANAIT
(thoughtfully)
What did they confiscate when they arrested Joss?
COURTHOUSE
JOSS
(scowling)
My clothes and the amulet. The drawing you gave me, some unlabeled scribbles on...the project I was researching. Most of my notes on that are at the safe house. Why do you ask?
WARREN
Hmmm.
JOSS
Christ, you’re even beginning to sound like a lawyer.
PROJECT HOUSE
PERRY
(impatiently)
The ruby, Warren. Tell him what I told you and forget Anait for the moment. Court will be called back any minute and we need to establish reasonable doubt while making the charge look as ridiculous as possible.
COURTHOUSE
Court has been re-called. The gentlemen make their way inside.
JOSS
(musingly)
Although I did notice one thing about the dagger as you drew it - it would match the knife wounds on the victims.
PROJECT HOUSE
Perry’s face drains of colour.
Anait looks at Rey, who is already on his feet.
REY
I better find Ciara. Just in case.
ANAIT
(fiercely, to both Perry and Warren)
Focus! I’m sure it’s just a coincidence.
COURT ROOM
Joss is on the stand waxing poetic about the beauty of the Black Prince’s ruby, while Warren sits at the bench, a frown of worry on his face.
Joss finishes, and is released from the stand. He leans across to Warren.
JOSS
(whispers)
I did okay, right? You look worried...
Warren takes a quick look at the jurors, who are talking animatedly amongst themselves, then looks at the judge, who seems somewhat cross.
WARREN
Looks okay. Fingers crossed.
JOSS
Fingers crossed?!
WARREN
(grin)
Kidding.
The judge slams down the gavel and motions over the jury foreman. The two consult together, nodding in mutual agreement.
JUDGE
The court finds Joss Cracker not guilty of the charges of grand larceny, theft of a national treasure.
He shakes his finger at Joss.
JUDGE
I do recommend that you return to America on the fastest possible ship and never set foot on this island again.
JOSS
Yes, your honour. Thank you, your honour.
JUDGE
Court is dismissed.
There is a roar of disappointment from the gallery. Warren jumps up, tosses aside his wig and grabs Joss’s arm.
WARREN
We gotta go. NOW!
JOSS
Hang on, I gotta get my stuff - the amulet.
WARREN
Shit and goddamn.
JOSS
(grinning madly with relief)
Hey, I just escaped with my neck, we won! What’s the urgency?
WARREN
(impatiently but quietly)
Ciara is with Lord Darnsley.
JOSS
(grinning)
Good for her.
WARREN
Maybe not. Darnsley has the dagger.
JOSS
So?
WARREN
(exasperated)
Well what other knife matches the marks on the victims?
PROJECT HOUSE
Perry sweeps her papers, all of them, off the table and into the fire place.
PERRY
Joss needs to get his amulet, then they’re going to Darnsley’s. We should meet them there, Anait. Tell Rey. Then we can grab the dagger and get the hell out of here.
ANAIT
(nodding)
I’ll burn those and try to call a cab; you go get dressed.
Perry nods, gathers the length of her dressing gown in both hands and runs out of the room.
EXT. - DARNSELY’S APARTMENTS - DAY
Two horse drawn cabs arrive at the same time, one behind the other. From the first one emerge Anait and Perry, both in Project leathers, both wearing the cloaks they wore in the opening, though not so tightly drawn as they are carrying the teams two rucksacks.
The driver of the second cab looks like he has a bad case of indigestion as first Warren then Joss climb out, Joss still adjusting his leathers.
Rey is across the street, being surprisingly inconspicuous. He has a cloak wrapped around him and is carrying Ciara’s leathers.
Warren takes a step towards Perry and checks himself, turning to wait for Joss before following the women across the street.
Their cab driver gives them a dirty look as he drives away.
ANAIT
What was that about?
Warren gives Joss a sidelong look.
WARREN
Joss had to change in the cab. He tossed the prison issue clothes out the window as he took them off.
(looks at Perry)
You should’ve been with us, he stripped down naked, you ladies would have appreciated the sight considerably more than I did.
JOSS
I think the driver thought we were having sex.
PERRY
(amused)
With each other, how...intriguing.
JOSS
(smug)
Look creampuff - no rope necklace and I didn’t need you.
Perry’s humour fades, leaving her coldly calm. Without a word, she crosses the street, leaving the rest gaping after her.
ANAIT
Come on, range around the building and pay attention in case he tries to leave with the dagger.
JOSS
(wryly)
She means, “Keep your eyes peeled.”
REY
“Eyes peeled” how...descriptive.
Perry, ignoring them all, knocks on the door. Rey moves quickly to her side, holding out the bundle of Ciara’s leathers.
REY
Trade?
She smiles at him, unslings the rucksack and gives it to him, in exchange for Ciara’s leathers.
PERRY
(softly)
Thank you.
She knocks again, as Rey melts into the background.
PERRY
(loudly)
Ciara? I’s me.
All remains quiet within, and Perry flashes a concerned look over her shoulder.
PERRY
(louder)
Ciara! I’s time, I ‘ave your jewel.
The door opens, and a grinning naked Ciara, wrapped in a sheet, peeps out.
CIARA
It’s a good thing I didn’t get dressed, then, hmm?
Perry passes her the bundle, and takes advantage of the moment to whisper to Ciara:
PERRY
Where is Darnsley and where is the dagger?
Perry rubs her collarbone, activating her amulet so the others can hear - show this perhaps by having her question overheard by one of the others.
CIARA
Thank you.
Ciara leans forward to give Perry a hug, putting her head close to where she knows Perry’s amulet is.
CIARA
(whispers)
The dagger is in the oriental carved chest in the bedroom. I’ll distract his lordship in the main room as long as possible.
PERRY
(urgent whisper)
Be careful
Ciara pulls back, giving Perry a quizzical look. Perry just nods ands smiles.
JOSS (O.S., FILTERED)
I’m in.
Perry leans casually against the doorframe, just a woman waiting for her girlfriend, nothing unusual here.
JOSS (O.S., FILTERED)
I got it...shit!
A THUD punctuates his whispered exclamation.
Perry visibly tenses.
The door opens. Ciara is now wrapped in her cloak. Behind her is Darnsley.
DARNSLEY
Mrs. Masterson.
(bows)
And how is your husband?
Perry, in spite of herself, blushes.
PERRY
He is...very well, thank you.
Darnsley reaches out to stroke her cheek.
DARNSLEY
I am glad for you.
He then draws his hand back to Ciara’s shoulder.
DARNSLEY
As you can see, I am never at loose ends for long.
Perry smiles involuntarily.
PERRY
Then I am glad for you, as well. Ciara?
JOSS (O.S., FILTERED)
I’m out!
The rest of the team materializes out of the background, including Warren. Only Perry and Ciara are wearing cloaks. Rey and Warren are carrying the rucksacks. Perry unfastens her cloak and lets it drop on Darnsley’s doorstep.
Darnsley’s eyes widen as he realizes what she’s wearing. Ciara steps away from him.
Joss joins the group, both hands behind his back, as if clasped.
Perry steps closer, between Warren and Rey.
Ciara drops her cloak with a final smile for Darnsley, who is staring at the six people in leathers with incomprehension.
ANAIT
Ready or not, here we go....
SFX - Time travel FX.
FADE OUT.