BBC Drama The Ruby In The Smoke

BBC Drama THE SALLY LOCKHART MYSTERIES: THE RUBY IN THE SMOKE Written By ADRIAN HODGES

POST PRODUCTION SCRIPT 2006

BBC Drama The Ruby In The Smoke

TITLE SEQUENCE: 10:00:00 FADE UP, M1 IN 10:00:01 Title Card #1 FADE UP OVER: BBC (logo) 10:00:05 Title Card #2 FADE UP OVER: Billie Piper 10:00:11 Title Card #3 FADE UP OVER: JJ Feild David Harewood 10:00:18 Title Card #4 FADE UP OVER: Don Gilet Robert Glenister 10:00:24 Title Card #5 FADE UP OVER: Hayley Atwell Elliot Cowan 10:00:31 Title Card #6 FADE UP OVER: and Julie Walters 10:00:36 Title Card #7 FADE UP OVER: Screenplay Adrian Hodges 10:00:42 Title Card #8 FADE UP OVER: Producer Kate Bartlett 10:00:48 Title Card #9 FADE UP OVER: Director Brian Percival INT. OPIUM DEN. NIGHT A brightly lit blood red room. Indistinct shapes swirl about. A mans face as he lies down, eyes half closed in delirium. In his hands he holds an opium pipe. Blurred lights from candles dot the room.

A second figure emerges from the fog, dragging deeply on his own pipe. Smoke swirls in the air. The highly patterned barrel of another pipe.

The wide eyed stare of a woman in an opium thrall. More smoke drifts, hanging heavy in the air. Eyes stare into the smoke as if hypnotised. Now the figures in the room become more distinct. A candle burns in a cradle on the wall. The screen fills with red.

10:00:57 Title Card #9 FADE UP OVER: The Ruby In The Smoke 10:01:01 Title Card #10 FADE UP OVER: By Philip Pullman

Smoke rises up. It begins to form letters in the air.

DREAM SEQUENCE #1 START: 10:01:03 INT. SALLYS DREAM. PALACE. DAY A hand holds up a glinting multi-faceted blood-red Ruby edged in gold to the light from a window.

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10:01:06

INT. SALLY'S DREAM. NIGHT. A long corridor, hurtling towards a small girl in a white nightdress at the end of the corridor. A frightening world of shadowy darkness interspersed with glimpses of a sinister figure moving in the void. The girls screaming gets progressively louder. Her wide open, terrified screaming mouth. And, as the suffocating feeling of terror grows intolerable END DREAM SEQUENCE #1

10:01:12

INT. SALLY'S BEDROOM. MRS REES'S HOUSE. NIGHT. SALLY LOCKHART opens her eyes. The screaming of her nightmare fades into the normal sounds of the night. She pushes herself up on her bed, taking long deep gulping breathes. Trying to calm herself. She stands by the window, tears wet on her cheeks, and is reassured by the faint glow of the gas lamps in the street. She stops by her dresser and opens the top drawer. She brings out a small, pearl-handled pistol, the snub barrel glinting dully in the faint light. She feels the weight of it in her hand and it calms her.

10:01:40

INT. SALLYS BEDROOM. MRS REES'S HOUSE. DAY. SALLY stands in front of the mirror newly dressed smoothing down her skits and checking her appearance. She is pale and slender, a beautiful young woman a few months shy of her twentieth birthday. She is of medium height with blonde hair and striking dark brown eyes, but it is the strength and determination latent in her face that mark her out as unique.

10:01:49 M1 OUT 10:01:51

JIM (V.O) On a cold, fretful day in October 1874 the young woman rose early to join her aunt for breakfast INT. MRS REES'S HOUSE. STAIRS. DAY. SALLY walks slowly down the stairs dressed in dark mourning clothes.

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JIM (V/O contd) - as she had done every dreary day now for the last two months. Her name was Miss Sally Lockhart 10:01:57 INT. MRS REES'S HOUSE. BREAKFAST ROOM. DAY. The room is decorated in the most suffocating Victorian manner - oppressively dark wallpaper. JIM (V/O contd) - and within an hour she was going to kill a man. SALLY finds MRS REES (50) waiting irritably at the long table. She is a mean-spirited domestic tyrant with dead white skin and faded hair the colour of rust. SALLY glances at the clock, which ticks inexorably towards five minutes past eight. SALLY I'm sorry, Mrs Rees. I overslept... MRS REES Oh, Aunt Caroline, Aunt Caroline. How many times must I tell you, Veronica? SALLY sits at the table. SALLY Veronica is not my name. MRS REES You think I do not know my own niece. You must consider me very stupid. SALLY Of course not, no MRS REES (interrupting) You were christened Veronica I believe. SALLY Yes, but my father always called me Sally. MRS REES Sally is a servant's name. And your father is dead. SALLY pales. A FOOTMAN glides into the room carrying a letter on a

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silver tray. He goes to SALLY. The envelope is battered, her name and address crossed out and redirected. MRS REES A letter for you? Whatever can it be? Inside is a brief note, childishly written and misspelled. 10:02:46 M2 IN SALI BWARE OF THE SEVEN BLESSINGS. MARCHBANKS WILL HELP CHATTUM BWARE DARLING MRS REES stares at her expectantly. SALLY meets her basilisk gaze in confusion. SALLY It is a private matter. MRS REES Private? SALLY rises and leaves the room hurriedly. SALLY Excuse me... As she simply walks out, she leaves MRS REES openmouthed with astonishment. 10:02:56 EXT. LOCKHART AND SELBY. CITY OF LONDON. DAY. A WORKMAN is screwing in a brass plaque that reads SAMUEL SELBY, SHIPPING AGENT. SALLY appears behind him in the reflection of the plaque, pausing at this bitter reminder of her orphaned status. She enters the building. 10:03:13 INT. LOCKHART AND SELBY. PORTER'S LODGE/HALL. DAY. An elderly PORTER sits reading a Penny Dreadful comic with a lurid cover. The interior of the fusty old building is dark and masculine. PORTER Oh! Why, it's Miss Sally!

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He is sat in his dingy porter's office which stands by the entrance. SALLY Is Mr Selby here? 10:03:26 M2 OUT PORTER He's in the West India docks on business. But Mr. Higgs will look after you. He rings a bell sharply. JIM (O/S) Yeah? What d'yer want? JIM, 16, the company dogsbody appears. Hair sticking up in clumps and collar adrift he makes a grimy spectacle. Yet for all his savagery a lively intelligence dances in his eyes. It is his voice that introduced us to Sally. The PORTER looks at him balefully. PORTER Take Miss Lockhart up to Mr Higgs. And mind yer bleedin' manners. JIM notices the comic lying on the Porter's chair. JIM Oi! That's mine! The PORTER picks it up with guilty swiftness. PORTER You get on and do what you told! You'll have to forgive him, Miss. He weren't caught young enough to tame. JIM This way Miss. 10:03:45 INT. SELBY'S OFFICE. DAY. The office is all polished leather and mahogany. A fug of cigar smoke hangs in the air. JIM Miss Lockhart to see you, Mr 'iggs. HIGGS turns in surprise from his inspection of a large map spread out on the desk. He is a stout, choleric man in late middle-age. He wears a

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thick tweed suit with a heavy gold watch chain and sweats profusely in the heat from the fire. HIGGS Ah, Miss Lockhart! Your father was a tragic loss... terrible thing, The Lavinia going down like that. What are you hanging around for? This last remark is addressed to JIM, who goes out reluctantly. HIGGS points to a chair for SALLY and stands in front of the fire puffing grandly on his cigar. HIGGS (contd) Well now, my dear, what can I do for you? She sits. SALLY Mr Higgs, what was the business that took my father to the East? HIGGS Oh, hardly the sort of thing to interest a young girl. Especially one as pretty as you. His smile is meant to be gallant but comes off as a smarmy. SALLY bristles. SALLY But I assure you I am interested. Rebuked, HIGGS instantly becomes less affable. HIGGS He was checking a cargo and meeting our agent in the East, Mr Van Eeden. It was all purely routine. SALLY glances down at her letter. SALLY Did my father ever mention a man named Marchbanks? HIGGS Marchbanks... well there's a, there's a ship's chandler in Rotherhithe named Marjoriebanks... but I don't recall Captain Lockhart having any dealings with him... He shrugs and glances impatiently at his fob watch but Sally is not easily intimidated.

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SALLY Mr Higgs, have you ever heard of something called The Seven Blessings? 10:04:52 M3 IN HIGGS stops, his florid complexion abruptly draining of blood. HIGGS The Seven Blessings..? SALLY offers him the letter. He takes it and stares at the few words, his eyes widening. When he looks back at Sally he is a very frightened man. HIGGS (contd) What do you want from me? He is quivering with terror, his face reddening by the second. SALLY stares at him, open-mouthed with surprise. HIGGS (contd) You have the wrong man... the wrong man entirely... He thrusts the note towards her as though polluted by its very touch. By now his face is crimson and sweat pours down over his stiff collar. Suddenly his expression creases with agony and he clutches at his upper arm. SALLY Mr Higgs? He looks at Sally, tries to speak, then crashes to the carpet at her feet, writhing on the floor. She rises in alarm. SALLY (contd) Mr Higgs?! Paralysed with shock SALLY can only stare down at him as he convulses on the carpet. Before she can even think what to do next the door bursts open and SAMUEL SELBY (50s) bustles in. He stops in surprise, not yet noticing Higgs's corpse, which is hidden by the desk. SALLY (contd) Mr Selby. I SELBY What the blazes are you doing here?

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She can only stare at him, then suddenly realises the letter is still clutched in Higgs' hand. Instantly she picks it up and stuffs it into her pocketbook. SELBY (contd) A bad business about your father. SALLY points down at her feet. As SELBY frowns and moves around the desk SALLY We were talking... he just fell... SELBY is now at her shoulder looking down at the corpse. SELBY Whats the old fool done to himself now? SELBY stares at her, then takes Higgs's pulse. SELBY (contd) Hmm Dead as mutton. He looks sharply at SALLY. SELBY (contd) What are you doing here, anyway? There is suspicion, even outright hostility in his manner. SALLY is instinctively on her guard raises a hand to her suddenly weeping eyes. SALLY I just came to see my poor father's office... SELBY's searching gaze is unnerving. SALLY bows her head as though overcome and sobs piteously. Appalled at this display of feminine weakness. 10:06:26 M3 OUT SELBY Please (offers his handkerchief) You're not going to faint, are you? No? SALLY dabs her eyes and shakes her head weakly. SELBY (contd) You'd better wait in the porter's room. You'll have to give a statement to the police.

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She nods meekly. The moment his back is turned she lowers the handkerchief. She is dry-eyed and firmly in control of herself, her tearfulness an act for his benefit. Something is very wrong here and she knows it. 10:06:40 INT. LOCKHART AND SELBY. PORTER'S OFFICE. DAY. Pale but composed, SALLY comes in to find the Porter gone and JIM triumphantly in possession of both his chair and his comic. She sits on the bench opposite the Porters Office. He looks up, and grins. JIM Don't worry. I won't tell the police you killed old Higgsy. SALLY I didn't kill him! JIM 'course yer did. I was watching through the keyhole. He died of fright. Struck dead on the spot with terror. She tries to look shocked but something in his manner makes her feel she can trust him. He sits down at her side. JIM (contd) Let's have a look at this letter of yours. SALLY Which letter? JIM Give me some credit. And don't worry. My ticker's in better nick than his. SALLY smiles and hands it over. JIM reads it quickly. JIM (contd) Whichever bugger wrote this wants to get himself some education. Sally with an "i". C-h-a-t-t-u-m. That must mean Chatham in Kent. SALLY Oh... 10:07:32 M4 IN JIM Ain't you worked that one out yet?

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The PORTER appears at the end of the corridor talking to a POLICEMAN. JIM (contd) The name's Jim Taylor, by the way. I'll keep an eye out for yer. As he moves back into the Porters Office, he taps the side of his nose conspiratorially. There is something so forceful and confident in his manner his age seems irrelevant. SALLY knows instinctively she can trust him. The POLICEMAN approaches her. POLICEMAN Miss Lockhart? 10:07:48 INT. LOCKHART AND SELBY. HIGGS'S OFFICE. DAY. HIGGS lies dead on the carpet, his eyes staring blankly, his face still fixed in the same expression of terror. JIM (V.O) She never meant to kill him. But she did, just the same as if she'd taken her gun and shot him. And that wasn't all. Without even knowing it she'd shaken the edge of a web, and far away the spider at the heart of it had woken... 10:08:04 EXT. SWALENESS, KENT. MARCHBANKS' HOUSE. DAY. The promontory is deserted save for a large but neglected house, its paint peeling, slates missing and garden overgrown. A miserable sadness seems to ooze from its bricks. BLYTH (O/S) I assure you INT. MARCHBANKS' HOUSE. PARLOUR. DAY. MAJOR MARCHBANKS (60) stands by the window staring at a document in his hand. At his shoulder is JEREMIAH BLYTH, a solicitor whose honesty exists in inverse proportion to his outward show of dignity, which is immense.

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BLYTH (contd) - Major Marchbanks, the will is quite in order. MRS. THORPE, the slatternly housekeeper, hovers behind them, suspiciously unsteady on her feet. MARCHBANKS smiles bitterly, then throws the piece of paper down on the desk. BLYTH (contd) If you would be good enough to witness the signature Mrs Thorpe? She wakes with a start from her gin-soaked reverie. MARCHBANKS looks out of the window as she steps forward and scrawls an X on the document. BLYTH (contd) And the item in question..? MARCHBANKS Everything will be done as your client directs. He looks out to sea, his face as haggard and decrepit as the house in which he lives. 10:08:42 EXT. HANGMAN'S WHARF/ MRS HOLLAND'S HOUSE. WAPPING. DAY. JEREMIAH BLYTH picks his way fastidiously through the dirt, ignoring the BEGGAR CHILDREN crowding around him. The landscape of Hangman's wharf is sinister; warehouse beams stick out like gallows, while the whole place feels dark, damp and feverish. Crumbling tenements overhang the rat-infested alleys. JEREMIAH BLYTH stops at a lodging house and knocks at the door. It is opened by ADELAIDE (10). Somewhere beneath the filth is a sweet-faced young girl with flaxen hair and huge eyes - eyes haunted by a permanent and soul-destroying fear. 10:08:59 10:09:05 M4 OUT INT. MRS. HOLLAND'S HOUSE. PARLOUR. DAY. BLYTH sits in a shabby parlour. He stares with distaste at the cup of tea in his hands, clearly having decided not to drink from it. He stands up as MRS HOLLAND (late 50s) bustles in. Her whole manner radiates a malignant energy. She offers a claw-like hand and she mumbles an

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incomprehensible greeting. BLYTH I beg your pardon, Mrs Holland..? She tuts. MRS HOLLAND Oh, oh yeah hold up, hold up She goes to the mantle, then opens a small tin box. She takes out a truly terrifying set of false teeth and wedges them in her mouth, smacking her lips noisily. MRS HOLLAND (contd) Always forget me teeth indoors. The teeth - brown fangs in greying gums - are too big for her mouth, and the effect is somewhere between the rictus of a corpse and the snarl of an animal. MRS HOLLAND (contd) Pure ivory these are, made out east twenty-five year ago. Look at the workmanship! She thrusts her gurning face at him. BLYTH flinches. MRS HOLLAND (contd) When my 'usband was took with the cholera these was going into the grave with 'im. I whipped 'em out of his mouth before they shut the lid. Years of wear in them teeth, I thought. BLYTH looks revolted. MRS HOLLAND (contd) Right, now Mr Blyth, what have you got for me? He opens his bag and takes out a document. BLYTH Major Marchbanks agreed the terms as discussed. The ruby will be deposited with Hammond and Whitgrove, Bankers, Winchester Street... He hands her the will which she studies in great detail. MRS HOLLAND All legal is it?

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BLYTH The will was witnessed by myself and the Major's housekeeper, a Mrs Thorpe. She drinks, but her signatures perfectly valid. He gets up and gathers his things. BLYTH (contd) My clerk will prepare your account. Good day, Mrs Holland. MRS HOLLAND (focused on the will) Yeah, good day. Good day Mr Blyth. As soon as BLYTH is out of the room ADELAIDE moves forward tentatively to offer her a biscuit but with a startling display of aggression MRS HOLLAND dashes the plate from her hands. MRS HOLLAND (contd) Next time you make sure the pot is fresh. Last girl served me stewed tea once too often and you know what happened to her. Now get out! She raises her hand again and the little girl scuttles away in terror, leaving the old woman to return her attention to the will. 10:10:30 10:10:31 BLACK INT. MRS HOLLAND'S. HALL Carrying a candle MRS HOLLAND makes her way up the stares to bed. ADELAIDE watches her from the shadows. 10:10:45 EXT. MRS HOLLAND'S. YARD. NIGHT. ADELAIDE creeps out into the night, shields a candle with her, shivering at the shadows dancing all around her. She makes her way along the wall until she comes to a new patch of earth in the corner. She sticks the candle in the ground then gets to her knees and starts scrabbling at the earth with her bare hands. A glimpse of something white appears. She digs down further and then stops, transfixed with horror. A skull stares up at her from the earth. The tiny skull of a child.

10:10:17 M5 IN

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ADELAIDE reels back, scrambling to get away, her tiny body shaking with terror. 10:11:12 EXT. TURK'S HEAD PUB. DAY. Far away on the Kent coast, a dingy tavern overlooks the bay. Its name - The Turk's Head - is printed above a picture of a knotted rope on the sign. The sign creaks in the icy wind from the sea. 10:11:18 INT. TURK'S HEAD PUB. SNUG. DAY. Inside, MARCHBANKS, the only customer, sits looking listlessly at his newspaper. With shaking hands he reads. Then a small news item on an inside page seizes his attention. The headline reads: CITY MAN'S SUDDEN DEATH - HEART ATTACK BLAMED. It is an account of the inquest into Higgs's death. MARCHBANKS (V/O) The only witness to this sad event was Miss Veronica Lockhart, daughter of the late Captain Lockhart, whose own death in the wreck of the schooner Lavinia was reported in these pages last January. MARCHBANKS's parchment pale skin turns even whiter. There is shock in his eyes. 10:11:38 INT. MRS REES'S HOUSE. DRAWING ROOM. DAY. SALLY sits dutifully opposite MRS REES in the stiflingly formal room. ELLEN the maid stands behind her. The older woman's manner radiates a vindictive sarcasm. MRS REES You must have had some education Veronica. Surely you can sew? Or play the piano forte? What books have you read? SALLY None that I can recall immediately. MRS REES Well what accomplishments do you have? SALLY looks down. MRS REES glances waspishly at ELLEN, who stands by the door.

10:11:43 M5 OUT

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MRS REES (contd) Look, Ellen. Miss Lockhart is endeavouring to communicate by means of thought alone. I am supposed to understand her without the intervention of language. ELLEN simpers with amusement. SALLY looks up, halfdistressed, half angry. SALLY I am afraid I have no accomplishments. MRS REES So even the modest goal of governess is barred to you. I am surprised your father should leave you so unprepared for the world. The reference to her father is too much. SALLY answers with sudden spirit. SALLY He taught me how to fire a pistol and speak Hindustani. And he said I had the best head for figures of anyone he knew. I can read an accounts ledger as easily as a newspaper. SALLY looks away in pure misery as MRS REES gazes at her with exquisite distaste before carrying on as though Sally had said nothing. MRS REES Possibly one of my friends could in charity find room for a lady's companion. 10:12:31 INT. SWALENESS. MARCHBANKS' HOUSE. PARLOUR. NIGHT. MARCHBANKS sits by the light of a single candle, staring at a letter that is addressed to Miss Veronica Lockhart... 10:12:48 INT. TRAIN CARRIAGE. DAY. SALLY now sits holding the same letter in her hand. She glances out of the window at the sea in the distance, excited and nervous. 10:12:57 INT. SWALENESS. SEA FRONT. DAY. A couple of children play with a scruffy dog on the promenade of Swaleness.

10:12:14 M6 IN

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The town of Swaleness is a cheerless resort in the mould of Hastings or Broadstairs but lacking even their charms. SALLY walks along the front taking a route that follows the path of a muddy river across the salt-flats. Ahead of her, she sees a photographer composing a picture. It is a cumbersome business. Quite apart from the heavy camera set up on its tripod, he also has to transport a mobile dark room everywhere with him, a small tent full of volatile chemicals. The photographer - whose name is FREDERICK GARLAND - smiles affably as SALLY approaches him. SALLY Excuse me. I'm looking for Foreland House. FREDERICK Funny. You're the second person to ask me that in the past half hour. Its just over there, beyond the trees. FREDERICK is 22, boyishly handsome with straw-coloured hair and good-natured features. SALLY smiles her thanks but then frowns as she follows the angle of his camera towards the gloomy view. He laughs. FREDERICK (contd) Hmm Dismal, isn't it? I'm experimenting with new combinations of chemicals to try and find something a little more sensitive in recording this kind of high contrast. SALLY Something better than collodion, you mean? FREDERICK looks at her in astonishment. FREDERICK (contd) I must be dreaming. A perfect vision of beauty with a knowledge of photography. He gazes at her appreciatively and she looks away, gesturing casually at the camera. SALLY My father was interested in the subject. FREDERICK nods and fishes a calling card from his waistcoat.

10:13:14 M6 OUT

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FREDERICK Frederick Garland. Photographic artist. She takes the card. As their eyes meet an instant mutual attraction bursts into life. Scarcely understanding this odd new sensation in the pit of her stomach, SALLY nods a hurried goodbye. He watches her as she walks away. EXT. MARCHBANKS'S HOUSE/ GARDENS. DAY. The house exudes a tangible air of dank despair. SALLY shivers and goes to ring the bell but the door opens before she can touch it and MARCHBANKS steps out onto the porch. SALLY Major Marchbanks..? He stares at her for a long second, seemingly overwhelmed. She frowns at his scrutiny but before she can speak he takes her sharply by the arm. MARCHBANKS Come with me. Quickly. He hustles her to the ruined pergola at the top of the garden where he stares at her with frightening intensity. 10:14:37 M7 OUT MARCHBANKS (contd) You are Veronica He pauses oddly for a moment. MARCHBANKS (contd) - Lockhart? SALLY Sally. My father always called me Sally. MARCHBANKS Did he..? such a pretty name... He stares at her again, seemingly lost in his thoughts. SALLY Your letter said it was urgent... do you know something about the Seven Blessings?

10:14:12 M7 IN

10:14:14

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MARCHBANKS The Seven Blessings? Never heard of them. Thats not why I asked you hear. SALLYS face is the picture of confusion. MARCHBANKS (contd) Your life is in danger. I have a deadly enemy, that enemy is now yours too. Shes in the house as we speak. SALLY stares at him in astonishment. He hurries to an old pile of gardening tools in the corner and rummages behind them, bringing out a small package covered in an oil cloth bag. MARCHBANKS (contd) This will explain everything. What it contains will shock you very deeply. I wish I could protect you from the truth but I cannot. A chill runs down SALLY's spine as she takes the bag. But before Sally can question him further MRS THORPE appears. MRS THORPE She's calling for you, sir... MARCHBANKS squeezes SALLY's hands around the package then hustles her back towards the gate. But this is too much. She wrenches herself away from his grasp. SALLY Who is this enemy? Why does she hate me? Tell me her name, at least. MARCHBANKS Mrs Holland. Her name is Mrs Holland. You have no idea how dangerous she is. For God's sake get away from here as quickly as you can. She stares at him in bewilderment. Abruptly something crumples in his face, as though a dam of suffering is bursting deep inside him. MARCHBANKS (contd) How beautiful you are. Forgive me. He turns away and hurries back to the house. SALLY stares after him, stunned.

10:15:08 M8 IN

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10:16:01

INT. MARCHBANKS' HOUSE. PARLOUR. DAY. MARCHBANKS walks back into the parlour. MRS HOLLAND is seated by the pitiful fire. She looks at him narrowly. MRS HOLLAND Not very gentlemanly Major, leaving a lady on her own. But then, you never was much of a gentleman. Her awful teeth click and scrape in her mouth. Even though, seated, she seams frail and older, MARCHBANKS is plainly frightened of her. MRS HOLLAND (contd) I was that put out when Blyth told me you was trying to welch on our deal, I come all the way down 'ere to the bloody seaside, which I 'ate. Ain't you sorry to put me to so much trouble? MARCHBANKS You're too late. You'll never get hold of the ruby now. MRS HOLLAND You signed the will, fair and square. MARCHBANKS Your lawyer was a charlatan. The will was riddled with errors. No judge will take it seriously. MRS HOLLAND gazes at him and understands immediately he is telling the truth. Her expression burns with fury. MRS HOLLAND I want that ruby. Its mine by right. MARCHBANKS It's gone and you'll never find it. Its over, Mrs Holland. He looks around him at the dismal circumstances hes been reduced to. MARCHBANKS (contd) Youve taken everything I have. But now, I have finally defeated you. MRS HOLLAND is stunned by the determination she reads in his face. Something in him has changed, and she knows it. Instantly, she makes her decision...

10:16:08 M8 OUT

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MRS HOLLAND Well. 10:17:07 M9 IN She pulls him towards her in what might almost be mistaken for a fond embrace. Behind them MRS THORPE enters. MARCHBANKS looks at MRS HOLLAND in surprise, then, as she steps away, he gasps and folds to the floor, stabbed clean through the heart. MRS HOLLAND (contd) Up to a point, dear. MRS HOLLAND now holds a jagged and bloody kitchen knife in her hand. There is a creak from the floorboards and a horrified gasp. MRS THORPE stands in the doorway paralysed with terror. MRS HOLLAND (contd) Don't scream, Mrs Thorpe. She wipes the bloodstained knife on her dress. MRS HOLLAND (contd) I do abominate loud noises. She walks towards her, the knife raised. MRS THORPE stares, knowing she has only seconds to live. Frantically she offers the only bargaining counter she has. MRS THORPE There was a young girl here... Her name was Lockhart. Sally Lockhart. MRS HOLLAND reacts with astonishment to the name. MRS HOLLAND Lockhart? MRS THORPE Major gave her something... a bag... if, if you hurry youll still catch her... MRS HOLLAND considers for a second, then dashes out of the room. 10:17:41 EXT. SWALENESS. RIVER PATH. DAY. SALLY puts distance between herself and Marchbanks's

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house. She catches a glimpse of a small figure moving fast in pursuit. Unnerved, she hurries on quickly. SALLY looks back again in alarm to find that the woman is gaining on her. As they leave the path and walk along the harbour wall, she redoubles her pace. SALLY walks past The Turk's Head pub heading for the promenade. Only moments later MRS HOLLAND passes the same spot. 10:18:26 EXT. SWALENESS. SEA FRONT. DAY. The front is deserted except for FREDERICK GARLAND, who has moved his photographic equipment to a spot overlooking the sea. SALLY goes to him, out of breath and thoroughly frightened,. SALLY I'm being followed. There's an old woman just behind me. She's very dangerous. FREDERICK looks at her in astonishment, but instantly lifts the flap of his mobile darkroom. FREDERICK Ah. In here. Don't move or you'll knock something over. She hesitates for a split second, looking uneasily into the darkness of the tent, but then does as he says. He laces up the flap behind her, pitching her into near darkness. FREDERICK (contd) Don't say a word. She's coming. 10:18:48 EXT/INT. SWALENESS/DEVELOPING TENT. SEA FRONT. DAY. SALLY squeezes herself ever more tightly into the narrow space. She has to steal herself to hold her nerves steady as she hears footsteps approaching. Outside, MRS HOLLAND marches past FREDERICK and then stops, alarmingly close to SALLY. She turns and heads back to FREDERICK, who busies himself with the camera.

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MRS HOLLAND You seen a young lady pass this way, sir? Dressed in mourning clothes? 10:19:13 M9 OUT FREDERICK A young lady... you mean that remarkably pretty blonde girl? FREDERICK smiles guilelessly at MRS HOLLAND. She responds with a simpering flash of her ghastly false teeth. MRS HOLLAND Trust a handsome gentleman like yourself to notice. Yes, she's the one, bless her. FREDERICK She asked for directions to the Swan... said she wanted the Ramsgate coach. MRS HOLLAND stares at him as though looking right through into his heart. Unperturbed, he smiles amiably. MRS HOLLAND Ramsgate. I see. The Swan? Where might that be, Sir? FREDERICK smiles lazily, as though giving his directions careful thought. He points to a side street. FREDERICK Left, right, a few minutes walk, then right again. Youd better hurry. He takes out his pocket watch and checks it thoughtfully. FREDERICK (contd) The Ramsgate coach leaves in five minutes. MRS HOLLAND Thank you, sir. Won't forget this. She looks at him intently, as though committing his face to memory, before finally leaving. FREDERICK whispers from the side of his mouth into the tent. FREDERICK Don't move yet. Even in the darkness we sense SALLY is blushing. After a second FREDERICK raises his voice.

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FREDERICK (contd) All right. She's gone. SALLY emerges from the tent. FREDERICK looks at her with lively interest and she blushes deeply. SALLY There was no need to flatter me. FREDERICK Oh! I apologise. I take it back. Now I see in the light you are as ugly as she is. He grins cheerfully, teasing her. Confused, SALLY looks away. FREDERICK (contd) So, what have you done to upset the hideous old witch? SALLY I wish I knew. FREDERICK If you're frightened, I'm finished here... SALLY I'm not frightened! He looks at her admiringly. FREDERICK No, I don't believe you are. SALLY is once more thrown into flustered confusion. Not sure what else to do, she rummages in her bag and comes up with a few coins. SALLY You must let me pay for the use of your tent. He lets her stand there a second, her hand extended, before he smiles more gently. FREDERICK Oh, not everything in life has to be paid for. Embarrassed at her gaucheness, SALLY turns away.

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SALLY Thank you. Goodbye. FREDERICK I don't even know your name. SALLY It's Lockhart. Sally Lockhart. SALLY sets off at a brisk pace, feeling more alone than ever. 10:20:57 EXT. SWALENESS RAILWAY STATION. PLATFORM. DAY. The platform is empty save for a few soldiers and a family or two. The train is already waiting. GUARD All aboard! London Bridge. All stations to London Bridge. SALLY jumps on board as the GUARD blows his whistle. 10:21:04 M10 IN 10:21:19 As she enters the carriage MRS HOLLAND appears, watching, waiting ... INT. RAILWAY CARRIAGE. COMPARTMENT. DAY. SALLY settles into an empty compartment. She takes the book out of the bag and starts to read. MARCHBANKS (VO) In 1856, a few months before the outbreak of the Indian mutiny I, 10:21:40 INT. MARCHBANKS HOUSE. MARCHBANKS dead, lying next to his desk. MARCHBANKS (V/O contd) Arthur George Marchbanks had occasion to visit the Maharajah of Agrapur in company with my brother officers Colonel Brandon, 10:21:49 INT. PALACE OF AGRAPUR. DAY. MARCHBANKS (V.O contd) - Major Park and Captain Lockhart. A banquet takes place amid scenes of luxury. The guests sit

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on cushions eating from solid gold plates. Pride of place has been given to the four British officers, who are seated at the right hand of the MAHARAJAH himself. MARCHBANKS (V.O contd) On the second evening of our visit the Maharajah gave a banquet in our honour. I had never witnessed such splendour but it paled by comparison with the magnificent Ruby of Agrapur. The MAHARAJAH smiles, and fingers the astonishing jewel glittering on his breast. MAHARAJAH I see the ruby intrigues you, Major Marchbanks. It was discovered in Burma six centuries ago and given in tribute to the princely house of Agrapur. MARCHBANKS It is.. beautiful. MAHARAJAH A fatal beauty, alas, and the cause of many deaths. Only a few years ago it was stolen by a French adventurer who tried to escape detection by, umm, swallowing it. My father had him torn open while still alive and plucked the stone warm from his belly. Would you care to examine it? MARCHBANKS takes the dazzling stone as the Maharajah unpins it. It is the size of a quail's egg and utterly flawless. MAHARAJAH (contd) Hold it close to the light and look inside. Sa MARCHBANKS does so, he shudders but cannot tear his gaze from the jewel. He is possessed by it. A strange light seems to pulse from within the stone. MARCHBANKS (V.O) Something in its depth and beauty, its blood-red liquid fire, fascinated me beyond all rules of delicacy and good manners... The Rubys many facets glitter and shine in the light. 10:23:10 10:23:11 M10 OUT INT. RAILWAY CARRIAGE. COMPARTMENT. DAY The noise of the carriage door sliding open causes SALLY to

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start. As she does so a page falls out of the book and rests beneath her skirt. She looks up as a young man walks in. He wears a loud check suit and has a bowler hat perched at an angle on the back of his head. A classic wide-boy, his name is HOPKINS. SALLY closes the book quickly and places it back in its bag, not realising in her haste that the loose page has fallen out. HOPKINS sits down opposite and opens a packet of sandwiches. He looks SALLY up and down with a too friendly grin. HOPKINS Travelling alone, Miss? SALLY Yes. HOPKINS I see. A girl travelling without a companion, his look implies, can only be touting for business. SALLY You see nothing. She stares at him hard. He turns back to his sandwiches. She stares out of the window, quietly pleased with herself. 10:23:37 EXT. RAILWAY. LONDON BRIDGE. DAY. The train pulls into the station. 10:23:47 10:23:49 M11 IN INT. RAILWAY CARRIAGE. COMPARTMENT. LONDON BRIDGE. DAY. SALLY wakes with a start as doors slam. She looks instinctively down into her lap. Her stomach lurches in horror. The book is missing. SALLY My book! She gazes around frantically but the seats are bare. 10:24:00 EXT. RAILWAY. LONDON BRIDGE. DAY. SALLY gets out of the carriage and looks up and down the

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platform to no avail. ANNOUNCER (O/S) London Bridge change here for Waterloo! HOPKINS is nowhere to be seen. 10:24:09 INT. RAILWAY CARRIAGE. COMPARTMENT. LONDON BRIDGE. DAY. Back in the carriage, to her surprise she finds the stray page that fell out earlier - but nothing more. She stares miserably at the solitary sheet of paper. 10:24:15 EXT. THAMES/JETTY. WAPPING. DAY. A rowing boat makes its way to the jetty. It carries a solitary passenger. His name is MATTHEW BEDWELL (30s) and in normal circumstances he would be a good-looking man but now his features are ravaged by exhaustion and illness. The boat is secured at a mooring. BEDWELL slings his kitbag on to the jetty as he clambers up. On the jetty, a SEADOG looks at him curiously. SEADOG Been at sea long? MATTHEW BEDWELL A year. SEADOG What ship? MATTHEW BEDWELL The Lavinia. The SAILOR looks at him in astonishment. SEADOG The Lavinia went down with all hands... BEDWELL only picks up his kitbag and walks away. 10:24:49 EXT. LIMEHOUSE. STREETS. DAY/DUSK MATTHEW BEDWELL makes his way through the evening bustle, his eyes glazed with exhaustion. PASSERS-BY crash into him as he staggers but he ignores their shouts. A CHINESE MAN puts his hand on his shoulder,

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recognising him for what he is. CHINESE MAN Come with me. Number one smoke. Best in Limehouse. A look of the most intense yearning crosses BEDWELL's face. With a monumental effort, shakes his head. MATTHEW BEDWELL Lockhart and Selby. I got to find Lockhart and Selby. CHINESE MAN You need sleep, my friend. Mrs Hollands boarding house close by. Clean bed, very cheap. I take you there. He points along the road. BEDWELL, overwhelmed by exhaustion, heads slowly in the direction he indicates. 10:25:02 INT. MRS HOLLAND'S LODGINGS. HALL/ CORRIDOR/ STAIRS. NIGHT ADELAIDE leads BEDWELL through the dank entrance hall and past the big wooden scrubbed table. As BEDWELL passes he grabs a stray piece of bread left on a plate. ADELAIDE leads him on up the stairs and into a room overhanging the river. The bed is a mattress and the walls run with damp but BEDWELL is oblivious. He hurls his kitbag to one side and collapses. ADELAIDE stands watching him gravely. 10:25:20 INT. MRS HOLLAND'S LODGINGS. KITCHEN. DAY HOPKINS sits back with his feet up on the table, sipping a mug of tea and grinning cockily. HOPKINS Lifted it right out of her hands, didn't I? She didnt feel a thing. Oh dear me, I'd like to have seen her face when she woke up. Stuck up little thing. I showed her alright. MRS HOLLAND paces behind him turning the loose leaves of Marchbanks' book. MRS HOLLAND A book? Is that all? HOPKINS shrugs, yes.

10:25:28 M11 OUT

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HOPKINS Interesting, is it? MRS HOLLAND Well, there's a young lady I dare say might find it fascinating. If she was to read this it would be a first rate disaster. HOPKINS Just as well she ain't got it, then. MRS HOLLAND continues to turn pages, and then stops, examining one in particular with menace. MRS HOLLAND Do you like a nice story, Mr Hopkins? Shall I read to you? HOPKINS shrugs. She turns to the end of the book. MRS HOLLAND (cont'd) "I have therefore withdrawn the ruby from the bank. This is the only chance I have of redeeming myself and I mean you to have it. I have hidden it, and to make doubly sure, I shall conceal its hiding place in a cipher. You will find the jewel in..." She closes the book and looks up. HOPKINS frowns. HOPKINS Not much of an ending. MRS HOLLAND hurls the book with astonishing violence at the wall above HOPKINS' head. MRS HOLLAND Of course it's not the end. There's a bleedin' page missing! And she's got it. She leans close into HOPKINS face. MRS HOLLAND (contd) Now you go back and get it and then make sure she has a nasty accident. Her fury is awe-inspiring. HOPKINS cowers in his chair. HOPKINS I ain't no killer, Mrs H.

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MRS HOLLAND Oh, didn't you know? There was a stabbing in Kent this morning. Only eye-witness is in shock, poor soul. Ain't breathed a word. But one nod from me and she'll swear it was a sharp young feller in a check suit and a bowler hat she saw standing over the body with a knife in his hand... 10:27:11 M12 IN HOPKINS You vicious old cow MRS HOLLAND (laughs) Charmed, I'm sure. Now, do we understand each other or not? 10:27:25 INT. MRS HOLLAND'S LODGINGS. MATTHEW BEDWELL'S ROOM. DAY Indistinct patterns swirl and come in and out of focus. MATTHEW BEDWELL lies in bed, covered only by a thin sheet. withdrawal pains causing hallucinations visual and aural. The patterns are caused by the ceiling of the bedroom seeming to swirl above him. Hindustani words taunting him. Feverish, he writhes in pain on the bed, breathing heavily in mounting fear. The ceiling patterns rock and sway like the motion of a ship. BEDWELL grits his teeth and moans. The patterns dart about the place now as his eyes try to focus on something. Anything. ADELAIDE appears at his side. Watching him with pity. She wipes his sweating face with a damp cloth. The cool water calms him. MATTHEW BEDWELL I need opium! I must have a pipe. I must have a pipe! If you don't get me one the demons will kill me. ADELAIDE Another few days and you'll feel better.

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MATTHEW BEDWELL Look at me. Look at the state of me. What would my brother say? ADELAIDE You got a brother, sir? MATTHEW BEDWELL Yeah. Nicholas. Hes my twin. Hes a man of the church. He weeps abjectly. ADELAIDE looks at him with maternal pity but as she wipes his forehead again he grips her wrist with shocking strength, desperation suddenly gleaming in his eye. MATTHEW BEDWELL (cont'd) You must find a girl called Sally Lockhart. I got a message for her. ADELAIDE Mrs Holland don't let me leave the house. MATTHEW BEDWELL Her father was Captain Lockhart of Lockhart and Selby. ADELAIDE Shh, shh MATTHEW BEDWELL Shipping agents... ADELAIDE She's got spies everywhere. She'll know. She knows everything... BEDWELL continues to writhe on the bed, drifting back into his hallucination, utterly terrified. ADELAIDE stares at him gravely. 10:28:44 EXT. LOCKHART AND SELBY. DAY A few miles away in the city ADELAIDE stands outside the offices of Lockhart and Selby. She looks terribly small and frail in the crowd. She looks around cautiously. Pale with fear, she steals herself and walks towards the entrance.

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10:28:55

INT. LOCKHART AND SELBY. PORTER'S LODGE. DAY As ADELAIDE enters the PORTER rises angrily. PORTER Oi, no beggars here! Go on - Clear off! ADELAIDE stands her ground, whispering in a small voice. ADELAIDE Miss Lockhart, please..? Surprised, JIM leaps to his feet. JIM What d'yer want her for?

10:29:21 M12 OUT

He hustles her to a corner. Two CLERKS walk past them. CLERK Who's your lady-love, shortarse? JIM Shut yer bum and give your face a chance, Skidmore. He waits for them to pass before turning his attention back to ADELAIDE. JIM (contd) Who sent yer? ADELAIDE She'll kill me if she finds out I'm here. JIM Who will? ADELAIDE (whispering in fear) Mrs Holland. JIM You'll be all right. Just tell me what's up. We see ADELAIDE's courage returning under the encouragement of his friendly smile.

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10:29:37

INT. LOCKHART AND SELBY. PORTER'S LODGE. DAY JIM paces the porter's lodge anxiously. He looks up as SALLY hurries in. SALLY I got your message... JIM We can't stay here. Someone might see us. Come on. He takes her arm, hustling her away quickly towards the stairs.

10:29:48

INT. LOCKHART AND SELBY. ATTIC. DAY. JIM I up come 'ere when I need a bit of time alone to think. Carrying a candle JIM leads SALLY into the dark but roomy attic of Lockhart and Selby's office. A long forgotten room, JIM has converted it into his private den. There are piles of Penny Dreadfuls covering the floor, and a couple of battered but comfortable chairs. They sit down opposite each other. SALLY's face is alive with curiosity in the flickering light. SALLY Now, who is this Adelaide? And the opium addict, Bedwell. What does he know about The Seven Blessings? JIM He knows something, all right. And he's got a message for you. He's staying with some evil old cow called Mrs Holland. SALLY Mrs Holland! JIM You know her? SALLY I know she wants to kill me.

10:30:23

INT. MRS HOLLAND'S LODGINGS. HALL. DAY ADELAIDE sneaks back in through the front door, checks up and down the hall then tiptoes towards the stairs...

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10:30:28 M13 IN

... and then screams in terror as MRS HOLLAND appears from nowhere and grasps her savagely by the collar. MRS HOLLAND Whereve you been? ADELAIDE Nowhere. MRS HOLLAND Nowhere is it? I'll show you nowhere.

10:30:53

EXT. MRS HOLLAND'S LODGINGS. YARD. MRS HOLLAND drags ADELAIDE out by the hair into a dirty yard with a high wall. An old kitchen garden has long since been left to rot amid the tangle of weeds and rubbish. MRS HOLLAND I'll teach you to lie to me. It'll be the last lesson you'll ever learn. ADELAIDE cries in mortal terror. MRS HOLLAND pushes her to the ground by a patch of newly laid earth. She takes the kitchen knife from her skirts. MRS HOLLAND (cont'd) I'm gonna cut you up and Im gonna put you down there with the other one. Then you can keep each other company. ADELAIDE Don't kill me Mrs Holland... I'll tell you everything... don't put me in the ground... please

10:31:15

INT. LOCKHART AND SELBY. ATTIC. DAY The candle is worn down to a stub. Its light casts strange shadows across the roof. SALLY and JIM still sit together. SALLY I only had time to read a few pages but it had something to do with my father, Marchbanks and a ruby. Only I don't see how any of it ties in, Marchbanks had never heard of The Seven Blessings. JIM And Bedwell's never said nothing about a ruby. Maybe there's two mysteries and they ain't connected.

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10:31:31 M13 OUT

SALLY But there is a connection. Me. JIM You and Mrs Holland. It was her pinched your book. SALLY No, it was a man, a spiv... JIM rises and paces up and down behind her. JIM She clocked your photographer was winding her up, waited till you was asleep, then nicked it. Or got this bloke to do it. SALLY But what does she want the book for? JIM Come on, girl, keep up. It's the ruby she wants. Hey? What else can it be? Read us that bit of paper again. SALLY (Reads) "... a place of darkness, under a knotted rope. Three red lights shine clearly on the spot when the moon pulls on the water. Take it. It is clearly yours by right, and by the laws of England. Antequam haec legis, mortuus ero; utinam ex animo hominum tam celeriter memoria mea discedat." JIM thinks for a good while. JIM There you go. He's hidden the ruby and he's telling you where it is. It's some kind of code. What the bloody hell does that last bit mean? SALLY I don't know. I don't speak Latin. JIM frowns and takes the piece of paper, reading it again. JIM One good thing. If it is the ruby Mrs Holland wants, she ain't going to find it without this. SALLY stares at the vital page in his hand.

10:32:43 M14 IN

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10:32:45

INT. MRS HOLLAND'S LODGINGS. MATTHEW BEDWELL'S ROOM. DAY MRS HOLLAND stands over BEDWELL, who is shaking violently. ADELAIDE cowers in the shadows. MATTHEW BEDWELL My message is for Miss Lockhart alone. MRS HOLLAND Quite right, dear. We can't just blurt out our secrets to all and sundry, can we? He turns his face away, shivering in the torment of opium withdrawal. MATTHEW BEDWELL No. MRS HOLLAND (cont'd) No She waits, thinking of her next move. MRS HOLLAND (contd) Dear me, you do look poorly. Bring the pipe, Adelaide. ADELAIDE brings her a long heavy pipe, jointed in three sections. MRS HOLLAND (contd) All this suffering when there really is no need. ADELAIDE puts the opium paraphernalia at BEDWELL's side. MRS HOLLAND (contd) Just one little puff of medicine and you'll be right as rain. MRS HOLLAND takes a small lump of brown gum from her pocket, places it on a pin, lights a match then moves the pin and its cargo of opium over the flame. MRS HOLLAND (contd) Right as rain. The drug begins to bubble above the bowl of the pipe. BEDWELL pushes the pipe away at first, but then abruptly reaches out and sucks in the smoke greedily.

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MRS HOLLAND (contd) Thats it. A look of profound peace settles on his face. MRS HOLLAND watches with grim satisfaction. MRS HOLLAND (cont'd) (Business like to Adelaide) Fetch me when he starts talking. 10:33:47 EXT. MRS REES'S HOUSE. STREET. HOPKINS stands looking at the windows. He glimpses ELLEN the maid as she draws the curtains. She catches his eye and nods quickly. A look of understanding passes between them. 10:33:59 INT. MRS REES'S HOUSE. SERVANTS ENTRANCE. HOPKINS jogs down the steps. To the back door. ELLEN stands by. As he passes her he slips some coins into her hands and winks. She smiles in complicity. He glides into the house with the silent efficiency of the experienced housebreaker. 10:34:10 INT. MRS REES'S HOUSE. SALLY'S BEDROOM. HOPKINS goes silently to the bed. SALLY lies asleep, her blonde hair tumbling on the pillow. He stands over her a moment. A SERIES OF JUMP CUTS: Now he is at her chest of drawers. He slides them open one by one and rummages through the contents. After a second he brings out SALLY's gun. He stares across at her with amazement before slipping it in his pocket. Now he finds a wad of papers. He sorts through them quickly, throwing them carelessly on the floor as he goes, then stops and smiles as he finds what he is looking for. He folds the precious last page carefully. Now HOPKINS picks up a pillow. Now he is holding the pillow a few inches above her face... his expression uncertain, poised for a long second.

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10:35:09

EXT. MRS REES'S HOUSE. CELLAR/STREET. NIGHT HOPKINS ghosts through the door, then jogs up the steps into the street.

10:35:12

EXT. STREET. NIGHT HOPKINS looks around carefully, then walks away, trying to stay out of the light.

10:35:21 M14 OUT 10:35:30 M15 IN

Sensing something is wrong he takes another look behind him. There is nothing there. As begins to relax, out of nowhere a giant shadow emerges from the darkness, clamps a hand over his mouth and slides a knife between his ribs. His eyes widen. Murderer and victim remain embraced in a parody of intimacy for a second, then HOPKINS slips to the floor, the dark blood from his wound flowing into the gutter. His giant assailant bends over him, goes through his pockets and takes everything he can find, including Sally's pistol. HOPKINS stares up at the moon. HOPKINS Bugger. He frowns, drops his head and dies.

10:36:09 10:36:13 M15 OUT

INT. MRS REES' HOUSE. SALLY'S BEDROOM. NIGHT At the same second SALLY wakes, knowing something is terribly wrong. She looks puzzled to find her pillow on the floor, but then her expression turns to horror as she sees her papers scattered everywhere. She leaps from her bed, appalled and frightened, but never knowing how close Hopkins came to killing her as she slept. INT. MRS REES'S HOUSE. SALLY'S BEDROOM. DAY The drawers hang open and SALLY's papers are still strewn around her bag. SALLY herself is pale with shock but MRS REES is incandescent. MRS REES Robbed? I do not understand. She turns to ELLEN, who hovers in the doorway.

10:36:22

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MRS REES (cont'd) Are there any shattered windows? Any other rooms disturbed? Anything missing? ELLEN No, Ma'am. MRS REES is possessed by fury. It is as though SALLY has insulted her in the vilest way possible. MRS REES Why should this robber select you alone for his attentions? What do you have that anyone could possibly want? SALLY Some papers. MRS REES Lies now as well as ingratitude. This whole business has been got up to make yourself the centre of attention. SALLY stares at her in disbelief. But then as they stare at each other, something changes in her and quite unexpectedly she smiles. MRS REES (cont'd) Why are you smiling in that impudent fashion? I will not be smiled at! SALLY takes out a valise and loads it with clothes picked at random from her drawers. SALLY I am smiling because I am leaving. I can't stay in this house another second. MRS REES stares in astonishment. MRS REES You can't leave. Where will you go? You have nobody and nothing. SALLY If I stay here I will have you, which is much worse. She finishes packing her meagre possessions and strides out of the room.

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SALLY (contd) Good day to you, Mrs Rees. 10:37:14 M16 IN 10:37:17 MRS REES cannot contain her amazement. EXT. CLERKENWELL GARDENS. BENCH. DAY SALLY sits on a bench with her valise at her side. She watches a COURTING COUPLE go by. YOUNG MAN, tips his hat to her. YOUNG MAN Good-afternoon. She turns away quickly unsure as to if this should be interpreted as a come-on. Anxious to avoid any more inquisitive stares she looks in her bag for something to occupy herself. She takes out a handkerchief. As she does, a calling card falls out. She picks it up and stares at it. 10:37:39 EXT. BURTON STREET. DAY SALLY stands in a modest street filled with bustling shoppers and crowded shop fronts. She stops by a shop where a sign on the window announces: W AND F GARLAND, PHOTOGRAPHIC PORTRAITS AND SUPPLIES. 10:38:11 INT. BURTON STREET. SHOP. SHOP FLOOR/ BACK ROOMS. DAY The dusty little shop is crowded with magic lanterns, bottles of chemicals, cameras and souvenirs, all thrown together untidily on the crowded shelves. The inner door to the house is open and SALLY hears voices raised in a fierce argument. ROSA (O/S) These bills have been waiting since Easter! Where's all the money gone? FREDERICK (O/S) We have to invest in the business. Out in the back room, FREDERICK and ROSA are arguing.

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FREDERICK (contd) How else do you think I bought the polarizing lens? And the gelatin process? 10:38:24 M16 OUT ROSA Oh, damn the gelatin process! If we don't sort these bills out soon there won't be a business left to run... FREDERICK I don't need advice on how to run my business by some ranting puppet. FREDERICK storms into the shop, still looking behind him, but noticing a figure in the shop transfers his rant to them. FREDERICK (contd) If it's about a sitting we can fit you in any time. And I don't do babies... He finally turns to look at his customer and his evil mood evaporates instantly. He smiles with unaffected delight. FREDERICK (cont'd) You! A young woman storms out after him. ROSA is in her early twenties, a Pre-Raphaelite beauty. ROSA You? Who's you? FREDERICK The ugly fright from Swaleness I told you about. Miss Lockhart, this is my sister Rosa. She is an actress, so you'll have to forgive the vanity and hysteria. ROSA I'm also the only person who actually earns any money in this establishment. SALLY is bewildered by the affectionate verbal tennis that passes for conversation between the siblings. FREDERICK's tone softens as he sees her confusion. FREDERICK Something tells me you're not here for a picture. For a moment SALLY's resolve almost falters. Forcing herself not to give way she looks at FREDERICK as proudly as she can.

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SALLY I have nowhere to live. An old woman I barely know is determined to kill me. And I have no one left in the world to turn to. FREDERICK Well. ROSA and FRED look at her in astonishment but then he smiles kindly. FREDERICK (contd) You'd better come in then. 10:39:31 INT. MRS HOLLAND'S. KITCHEN. DAY MRS HOLLAND sits at her table poring over the last page of the book and Sally's pearl-handled pistol. Across from her, MR BERRY hulking figure dwarfs her, but he sits obediently in the corner like some giant attack dog watching its mistress for a command. MRS HOLLAND (laughing) Oh Mr Berry. This calls for a celebration. There's gin in the cupboard. MR BERRY I signed the Pledge in Dartmoor, Mrs Holland. Alcohol is the cause of madness, hallucinations, softness of the brain and moral decay. MRS HOLLAND I think the damage is already done in your case. He adopts a martyred air. MR BERRY Yeah, I was formerly very wicked. But I intend to lead a good life from now on. MRS HOLLAND Always excepting the odd murder or two. MR BERRY shrugs, clearly regarding this as the lesser offence. MRS HOLLAND picks up the last page of the book.

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MRS HOLLAND (cont'd) So this was it, was it? Nothing else? "... a place of darkness under a knotted rope..." Don't make sense. MR BERRY (realisation dawning) Here I reckon thats a riddle. MRS HOLLAND I know it's a bleedin' riddle! I just don't know what it means. If I didn't know the Major's writing I'd say that little cowd made this up just to throw me off the scent. A thump and piercing scream now echoes through the house. It is MATTHEW BEDWELL, suffering the agony of opium withdrawal. MRS HOLLAND (cont'd) It's our guest calling for his medicine. Honestly, I feel like Florence bleeding Nightingale sometimes. MR BERRY You'll get your reward in heaven, Mrs H. MRS HOLLAND I'll take it on earth thank you very much, Mr Berry. Just to be on the safe side. She smiles grimly and proceeds up the stairs. ROSA (O/S) Do you remember 10:40:47 INT. BURTON STREET. LABORATORY/STUDIO. FREDERICK, ROSA and SALLY are in the cramped laboratory, the remains of a modest meal scattered on the table. ROSA (contd) - what the last page said? SALLY I kept a copy in my notebook. SALLY takes her diary and gives it to her. ROSA reads avidly.

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ROSA "... a place of darkness under a knotted rope. Three red lights shine clearly on the spot when the moon pulls on the water... Oh, it's Latin. She tosses the diary to FREDERICK. ROSA (cont'd) My brothers a scholar, you know. He only pretends to be stupid. FREDERICK (Translating) Antequam haec legis... By the time you read this, I shall be dead. May my memory be... no may I be as swiftly forgotten. Looks like he knew what was coming. At least we know this Matthew Bedwell is at Mrs Hollands. The problem is getting at him. SALLY Jim said he had a twin brother. A man of the church. FREDERICK Oh, then he'll be in Crockford's Clerical Dictionary. ROSA Which of course you know intimately. FREDERICK Permanently glued to it. ROSA looks reassuringly at SALLY. ROSA You can stay here as long as you like. SALLY hesitates, torn between gratitude and uncertainty of her position. FREDERICK is instantly sensitive to her dilemma. FREDERICK We'll let you pay rent if itll make you feel respectable. His smile is teasing and again she feels the confusing mixture of emotions that add up to attraction. She looks down awkwardly. SALLY I have no money yet. But I couldn't help overhearing (CONT OVER)

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10:42:07 M17 IN

SALLY (contd) before... I could look at your books for you, help sort things out. I used to do my father's accounts. FREDERICK We accept. Enthusiastically. And if you can make any sense of the business I don't suppose we'll ever let you leave. Although this is offered lightly there is a glimmer of truth at the heart of it, more perhaps than even FREDERICK really knows. When she looks up SALLY finds his gaze on her, and this time neither of them look away.

10:42:24

INT. BURTON STREET. LAB/STUDIO. DAY SALLY has set herself up amid the bottles and potions in FREDERICK's lab. She is surrounded by piles of paper, invoices, bills and scrawled notes. She works her way through them methodically, entering figures into a ledger, tackling the calculations with lightning mental agility.

10:42:38

INT. BURTON STREET. LAB/STUDIO. NIGHT The paperwork has been rearranged into neat stacks. ROSA hands SALLY a final invoice while FREDERICK hovers by the door reading Crockford's Clerical Dictionary. FREDERICK Bedwell... Bedwell... Bedwell... here we are. The Reverend Nicholas Bedwell, born 1842, curate of St. John's Summertown, Oxford. That must be the man. I shall write to him immediately. He flings the book aside and glances cheerfully at SALLY. FREDERICK (cont'd) Well, come on then, are we bankrupt? SALLY Nearly. But you're owed a total of seventy-six pounds and seven shillings. If you get that money in, you can pay off most of your debts. And what you really need is someone to find you ways of making you more money. You've hardly begun to exploit the business side. FREDERICK Of course not. I'm an artist.

10:42:55 M17 OUT

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ROSA Well, why don't you do it? SALLY looks at her in astonishment. SALLY I have no formal qualifications... I'm not even twenty yet... ROSA That's better than Fred. He'll be ten for the rest of his life. SALLY As long as you are absolutely certain you wish to employ me... ROSA There are no employees here. Only equals. SALLY stares at her, suddenly realising how much she wants to be part of this unconventional menage. She smiles. 10:43:43 INT. BURTON STREET. SHOP. NIGHT FREDERICK and SALLY are alone in the empty shop, now closed for the night. SALLY hands FREDERICK goods that he stacks around the shop. SALLY My mother died during the siege of Lucknow. She was holding me in her arms when she was shot, managed to kill the murderer before she died. She gave her life for me. SALLY is lost in a reverie. SALLY (cont'd) She was the most beautiful woman in the regiment, and the most notorious. She could shoot better than any soldier, curse like a navvy and she would smoke these umm these tiny black cheroots from an ivory holder. The army wives were scandalised and of course all the men loved her. But my father was the only one she ever loved. FREDERICK Do you remember all this? SALLY No, um I was just two years old when it happened. All I had left of her was the pearl-handled pistol she used to save my life.

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FREDERICK The one that was stolen with the papers? She looks up to find his eyes on her. She blushes, suddenly uneasy with the intimacy. SALLY You dont have to worry about me, you know. I'm quite capable of protecting myself. FREDERICK Free book-keepers don't grow on trees. If anything happened to you I'd have to pay someone. SALLY knows he is teasing her but can't find the right tone or words to respond. Instead she frowns and lapses into silence. FREDERICK (cont'd) There's no need to scowl at me. SALLY I'm not scowling. He grins. She looks away, not knowing how to respond to his easy manner and, perhaps, uncomfortable with her own growing attraction to him. 10:44:57 INT. LOCKHART AND SELBY. SELBY'S OFFICE. MRS HOLLAND sits across from SELBY. He stares at her with blatant distaste. 10:44:49 M18 IN SELBY Your letter said you had important business, Mrs... Holland. God only knows what it might be. MRS HOLLAND Straight to the point, Mr Selby. Well, I respect that. I'm the same myself. Do you know a sailor named Matthew Bedwell? SELBY I can't say I do. MRS HOLLAND He knows you. And that ain't all he knows. The schooner Lavinia ring any bells? Her false teeth part in a parody of a smile. SELBY double-

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takes, then reaches impatiently for a pile of papers. SELBY I've no time for sailor's gossip... MRS HOLLAND Then Well perhaps you'll have time for the Seven Blessings and an oriental gentleman named Ah Ling? SELBY can't conceal his shock. MRS HOLLAND smiles unpleasantly. MRS HOLLAND (cont'd) Have I got your attention now? SELBY Go on. MRS HOLLAND Mr Bedwell knows things about the shipwreck, you see, shocking things. And he says the only thing for it is to publish them in the newspapers. SELBY (laughs) How much do you want? 10:45:56 EXT. BURTON STREET. DAY The Reverend NICHOLAS BEDWELL, tall and handsome, the image of his brother, has the slightly battered features of a boxer, surprising, perhaps, in a man of the cloth. He checks his whereabouts against the letter in his hand, then sees the Garland shop and studio. NICHOLAS BEDWELL (V/O) Your letter said 10:46:20 INT. BURTON STREET. PARLOUR. DAY BEDWELL now sits opposite SALLY and FREDERICK. His manner, wary at first, quickly grows passionate. NICHOLAS BEDWELL (contd) - you had important news for me, Mr Garland. 10:46:25 M18 OUT FREDERICK It concerns your brother. He is in a lodging house in Wapping. He's been there for at least a week.

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BEDWELL gives every sign of relief. NICHOLAS BEDWELL I knew he was alive... Oh, thank God. But why has he not contacted me himself..? SALLY He is smoking opium. He nods slowly, his mood abruptly sobered. NICHOLAS BEDWELL Again? Thank you. He stands as if to leave. NICHOLAS BEDWELL (contd) Ill go to fetch him this minute. FREDERICK stands to block his way. FREDERICK Its not that easy Im afraid. The boarding house belongs to a woman named Mrs Holland who, for her own reasons is keeping your brother captive and will not give him up lightly. NICHOLAS absorbs this with surprise and considers his next move thoughtfully. NICHOLAS BEDWELL The opium must have weakened his mind. She couldnt hold him otherwise. SALLY There is something else. My father drowned in the wreck of the Lavinia. Your brother knows something about it. He has a message for me. NICHOLAS BEDWELL Then we shall have to get him out of that wretched place and find out what it is. I must ask you to do me a service first. My brother has been an addict for a long time. Cutting off his supply too quickly might well kill him. Im afraid you will have to buy me some opium. FREDERICK (O/S) Ive been

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10:47:27

EXT. LIMEHOUSE. STREET. FREDERICK and SALLY walk side by side, acutely aware of the sullen stares of the poverty-stricken locals. FREDERICK (contd) - looking into the background of the Ruby of Agrapur, and it turns out its something of a legend. And no one has seen it since the Mutiny. FREDERICK's manner is casual but he watches over her carefully. SALLY What else did you discover? FREDERICK The Maharajah was slaughtered by his own people during the uprising. They said he was a collaborator. At least, that's the official account. Who knows? Perhaps Marchbanks killed him. SALLY No! I don't believe it. He was a very sad man, but there was something gentle about him. He wasn't capable of murdering anyone. FREDERICK (Smiles) I see you adopt a vigorously logical approach to evidence. He stops and directs SALLYS gaze to her surroundings. FREDERICK (contd) This is the place. I photographed it last year. Madame Sheng's establishment is just a bit further on. The walk on. SALLY Don't the police know about it? FREDERICK Probably. So what? Opium isn't illegal. SALLY But it's so dangerous.

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FREDERICK It's mostly the poor and helpless that become addicted. And why ban it when it earns the country a fortune? SALLY (Angrily) How can you be so cynical? He stops and turns to face her, serious now. FREDERICK I'm not the cynical one. Don't you know anything about history? The British government cultivates opium in India then exports it to the rest of the world. My God, when the Chinese Emperor tried to ban it a few years ago we even went to war to make him change his mind. That's how much the British government cares about the Bedwells of this world. He smiles with bitter sarcasm, but a second later his expression changes to one of tender concern. FREDERICK (cont'd) Are you sure you want to go through with this? She nods. They have arrived at a low wooden door set back in an alley. 10:49:00 INT. MADAME SHENG'S. HALL/OPIUM PARLOUR. DAY As they enter, an elderly CHINESE SERVANT bows politely. They are in a blood-red hallway with delicately patterned wallpaper and shining lacquered wood. An ornate lantern hangs from the ceiling and wisps of smoke drift in the air. MADAME SHENG appears. She is a handsome woman with urbane manners. 10:49:09 M19 IN MADAME SHENG Good afternoon Sir. Welcome. Can I help you? FREDERICK Good afternoon Madam Sheng. Umm Were not here to smoke. We're here to buy. SALLY stares as though hypnotised at the smoke dancing in the air. She walks on into the den, the smoke swirling around her. She can hear FREDERICK and MADAME SHENG talking

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in low tones behind her but her attention is fixed on the room and the strange people who inhabit the smoky atmosphere. MADAME SHENG As you wish. How much would you like? A bead of sweat appears on SALLY's forehead. She cannot drag her eyes from the drifting smoke. Her breathing becomes harsher and we see a glint of panic in her eyes. FREDERICK watches her progress with concern. Then, without warning, SALLY faints dead away. START DREAM SEQUENCE #2: 10:49:52 VFX IN MOTION BLUR INT. SALLY'S OPIUM TRANCE/NIGHTMARE. SALLY is hurled back into the world of her nightmare. She is walking along a dark corridor, holding a candle with a bright blinding light at the end. Now there is a room which sways and rocks like the motion of a boat. A blurred arm with a curved sword slices through the air. At the end of a dark panelled room, YOUNG SALLY, in a white nightdress, screams long and loud with absolute fear. More curved swords slice down repeatedly. The MAHARAJAHS distorted face screaming. Now a figure moves into focus it is the YOUNG CAPTAIN LOCKHART, staring down at the scene before him with uncontained horror. A second figure steps into focus at his side. It is the YOUNG MAJOR MARCHBANKS. DREAM SEQUENCE # 2 END 10:50:14 VFX OUT: INT. MADAME SHENG'S. HALL. DAY SALLY comes to on a bed in the den to find FREDERICK gently patting her hand to rouse her. FEDERICK Sally? Wake up. She hurls her arms around his neck.

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SALLY Thank God you're here. FREDERICK You alright? You must have inhaled the smoke. He looks in confusion over to MADAME SHENG. FREDERICK (contd) But it shouldn't have affected you like that. MADAME SHENG smiles knowingly. MADAME SHENG It was not your first time. SALLY I've never smoked opium in my life! MADAME SHENG The smoke never lies. It knows you, as you know it. SALLY looks at her in confusion, then back to FREDERICK. SALLY I was in my nightmare... one I've had since I was a child. Only this time it felt more real than ever. I'm going mad. MADAME SHENG responds with implacable authority. MADAME SHENG The power of the smoke is beyond limit. It hides the secrets of the past so well the sharpest eyes in the brightest daylight would never find them; it reveals them like buried treasure. SALLY looks at her in astonishment. SALLY I heard a man being killed then saw two men... they were always like ghosts before but this time they were real. One of them was Major Marchbanks. He was younger but I know it was him. But the worst thing... the worst thing of all is that the other was my father. HOLD on her bewildered expression, then MADAM SHENG What you saw was not a dream it was a memory.

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10:51:41

INT. LOCKHART AND SELBY. SELBY'S OFFICE. DAY SAMUEL SELBY opens a metal cashbox and counts a wad of notes out onto the table.

10:51:44 M19 OUT

SELBY Ten, twenty, thirty, MRS HOLLAND watches greedily. SELBY (contd) - forty, fifty. Satisfied? MRS HOLLAND deposits the money inside her skirts and flashes him a repulsive grin. MRS HOLLAND I can't speak for my gentleman. We shall have to see how the wind blows. SELBY You think you can tap me for money whenever the mood takes you? MRS HOLLAND What a common turn of phrase. You'll upset me if you carry on like that. Sally's pistol appears in her hand and she tuts reprovingly. SELBY settles back in his chair. SELBY You'd kill me as soon as look at me, wouldn't you? She only laughs in reply. SELBY makes an inner calculation as he watches her get up and then abruptly comes to a decision. SELBY (cont'd) Wait a moment, Mrs Holland. I could use a woman with your connections. MRS HOLLAND pauses to look at him in surprise. SELBY (cont'd) Suppose I had a proposal? One that was worth a lot more than blackmail money.

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MRS HOLLAND What game are we talking? SELBY Protection. A man in my position can't be too careful. MRS HOLLAND Oh? She sits back down. MRS HOLLAND (contd) And what position might that be? 10:52:46 INT. BURTON STREET. BACK ROOM/ SHOP. DAY SALLY races along the corridor behind FREDERICK and the Reverend NICHOLAS BEDWELL, now dressed in a rough tweed jacket and corduroy trousers, looking more like a boxer than a man of the church. Just now though, it is SALLY who is in fighting mood. FREDERICK Youre not coming. It's out of the question. SALLY Why not? FREDERICK Because... SALLY Im a woman? FREDERICK I was going to point out that you have no experience in fighting. Whereas Mr Bedwell boxed for his university. SALLY And what fighting have you done? FREDERICK I was fencing champion at school. SALLY Which will be enormously useful when Mrs Holland challenges you to a duel. ROSA grins. BEDWELL looks at SALLY with concern but she is defiant and determined.

10:53:03 M20 IN

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SALLY (cont'd) This is my battle as much as yours. 10:53:09 INT. TRAIN COMPARTMENT. DAY JIM gazes at a copy of Marchbanks' riddle and taps his pencil on it thoughtfully. He to underlines key phrases and makes copious notes. JIM (V/O) While Fred and Sally were preparing to rescue Mr Bedwell, I decided to take a little trip to the coast and do some investigating of my own. He makes a final mark with relish as realisation dawns. JIM Yes Jimbo! 10:53:24 EXT. MRS HOLLAND'S LODGINGS. DAY FREDERICK, SALLY and NICHOLAS BEDWELL arrive outside Mrs Holland's lodging house. BEDWELL hammers on the front door. It opens slowly to reveal ADELAIDE. She stares up at them, eyes as wide as a baby owl's. 10:53:38 M20 OUT FREDERICK Is Mrs Holland here? ADELAIDE shakes her head. SALLY smiles at her. SALLY You must be Adelaide. 10:53:44 M21 IN 10:53:47 The little girl stares back but only now does she really look at BEDWELL. Her eyes grow even rounder. INT. MRS HOLLAND'S. MATTHEW BEDWELL'S ROOM. MATTHEW BEDWELL lies on his filthy bed. He mumbles under his breath. His brother, SALLY, FRED and ADELAIDE slowly climb the stairs to find him. NICHOLAS BEDWELL leans over him with tears in his eyes.

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NICHOLAS BEDWELL Matthew?! It's me, Nicholas. MATTHEW only looks through him, completely insensible. NICHOLAS BEDWELL (cont'd) We'll have to carry him. ADELAIDE You can't take 'im. She'll kill me. SALLY moves to try to comfort her. SALLY He doesn't belong here. MATTHEW BEDWELL Is that really you? NICHOLAS BEDWELL (nodding) Can you walk? ADELAIDE is still looking at SALLY, fear in her eyes. SALLY looks at FREDERICK. SALLY We can't leave her here. MRS HOLLAND (O.S) Adelaide! ADELAIDE freezes in horror. They hear the creaking of rapid footsteps on the main stairs. NICHOLAS BEDWELL whispers urgently. NICHOLAS BEDWELL Go! Go. I'll buy you some time. FREDERICK looks at him for a second, then does as he urges, half-carrying the frail MATTHEW. The others go with him. Outside MRS HOLLANDs voice becomes ever more fractious. MRS HOLLAND (O.S) Adelaide!

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NICHOLAS hurries to the bed and pulls the sheet up around his neck. A second later she appears in the room. She glances at the figure lying on the bed and seems to sense there is something wrong. She draws Sallys pistol and walks across the room to the door through which the others made their escape. She turns back towards the bed. MRS HOLLAND (cont'd) Mr Berry? NICHOLAS instantly realises he has been discovered and leaps out of bed. MRS HOLLAND (cont'd) Well, now I've seen everything. You ain't him. You are but you ain't. She laughs, but her momentary inattention is a mistake. NICHOLAS leaps forward and knocks the pistol from her grip. It flies across the floor. He kicks it away and heads for the door only to find it now blocked by the massive shape of MR BERRY. The two men look at each other. MRS HOLLAND (cont'd) Don't just stand there! Kill him! MR BERRY swings a fist the size of a ham at BEDWELL's head. But the clergyman sidesteps smartly and crashes a right into his face. MR BERRY roars in anger and redoubles his assault. He forces BEDWELL back and gets his hands around his throat as the other man launches a series of blows to his face and body. MR BERRY rocks on his feet. BEDWELL pauses to pick up SALLYS gun and, with his attention diverted, MR BERRY turns and catches him with a haymaker that lifts him off his feet and sends him crashing through the door out onto the balcony. 10:56:01 EXT. MRS HOLLAND'S. OUTSIDE MATTHEW BEDWELL'S ROOM. MR BERRY appears in the broken doorway. BEDWELL tries to make his escape through the open window of the house opposite. MR BERRY catches hold of his arm and pulls him back and forth, repeatedly smashing his head against the window frame.

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Then, inside, BEDWELL's hand closes around a stray piece of bannister. He smashes it down on MR BERRYS arm, releasing the vice like grip, and kicks out at MR BERRY as he falls into the room. MR BERRY tumbles back onto the roof. MRS HOLLAND can only watch as BEDWELL makes his escape. She kicks at the unfortunate MR BERRY in frustration. 10:56:22 10:56:23 M21 OUT INT. BURTON STREET. PARLOUR. DAY As the triumphant rescue party regroup ROSA tends to NICHOLAS BEDWELL's cuts and bruises. She frowns at his battered face. ROSA Well, I hope you don't intend to take communion looking like this. NICHOLAS BEDWELL I shall preach a sermon on the Church Militant by way of explanation. How is my brother? ROSA Hes still asleep. He looks at her body with frankly secular appreciation. She is well aware of it and dabs disinfectant sharply into a cut around his eye. He yelps. ROSA (cont'd) Now don't be a baby. ADELAIDE is pressed into the corner, trembling with shock. SALLY smiles reassuringly. SALLY You'll be safe here. ADELAIDE She'll find me. If I went to the bottom of the sea she'll find me and drag me back out. NICHOLAS BEDWELL Well, at least she won't be able to use this. He lays the pearl-handled pistol on the bench. SALLY looks at it in astonishment.

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SALLY My gun! NICHOLAS BEDWELL Yours? SALLY How..? ADELAIDE Henry 'opkins took it. She sent him to nick your stuff and murder you, but only he wasn't the killing sort. So she done 'im in. SALLY stares at her in horror. ADELAIDE (cont'd) (turns to ROSA) She's got a knife what she sliced the last girl open with. I seen where she put 'er in the yard. She said that she would put me next to her. She'll do it now, an' all! She falls into ROSAS arms, sobbing. The others look at her, their high spirits suddenly muted. 10:57:18 INT. LOCKHART AND SELBY. SELBY'S OFFICE/ STAIRS. DAY JIM carries a letter up the stairs and through the open door. He puts it in front of SELBY who opens it casually. But as he reads, the effect is shocking. He doesn't even bother to conceal his alarm. He looks up in pure panic. SELBY Go to the window. Quickly! JIM looks at him askance but does as he is told. SELBY (cont'd) Is there anyone watching the office? A gentleman, cleanshaven, fair hair, sunburned complexion, quite tall... JIM There's 'undreds of people out there. What's he wearing? SELBY How do I know, you idiot! JIM I can't see no one.

10:57:06 M22 IN

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SELBY scribbles a note quickly, folds it and hands it to JIM. SELBY Deliver this. Now. JIM looks at the envelope and sees it is addressed to Mrs Holland. He stops dead in his tracks. JIM Mrs Holland? Are you sure? SELBY Of course I'm sure! And what the blazes has it got to do with you? SELBY watches JIM leave, plainly terrified. 10:58:18 EXT. LOCKHART AND SELBY. DAY JIM ducks out of the entrance and hurries away, the letter clutched in his hand. As he goes he fails to notice a well dressed MAN (VAN EEDEN) walking inconspicuously along the street behind him. VAN EEDEN watches JIM until hes out of sight, then turns his gaze up intently at Selby's window... SALLY (V/O) You read Selby's 10:58:34 INT. BURTON STREET. LAB/STUDIO. NIGHT The oddly-assorted group sit in front of the fire, its soft light casting a glow across the room. ADELAIDE has been thoroughly washed and ROSA soothingly combs her hair. JIM has joined the party and is very much the centre of attention. SALLY (contd) - letter? JIM looks at her with a shocked expression. JIM Oh, no. That would be dishonest. 10:58:40 M22 OUT He leaves a beat, then grins.

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JIM (cont'd) Of course I read it. All he said was he wanted their arrangement to start immediately. SALLY stares at him wonderingly. SALLY Who is he frightened of? He looks at SALLY meaningfully, eyes alive with excitement. JIM (cont'd) Listen, there's something else I've got to tell yer FREDERICK (Interrupting) What can Selby be doing though? What sort of crimes can a shipping agent commit? ROSA Smuggling? NICHOLAS BEDWELL Fraud. Sinking ships and claiming on the insurance. JIM looks at them impatiently. JIM Probably. Look, what I was going to say... you'll love this... SALLY (Cutting him off) They're not owners, they're agents. They only have one ship. And surely that kind of thing is too easy to spot. JIM squirms with frustration. He takes SALLY by the arm. JIM Listen will yer? This is important... FREDERICK (Ignoring him) You think the Lavinia was sunk on purpose? SALLY Why would anyone do that? A weary voice replies from the doorway.

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MATTHEW BEDWELL I can tell you. They all turn in surprise to look. He is frail and exhausted. In the shocked silence that follows SALLY finally turns to JIM with a distracted glance. SALLY What were you going to say, Jim? JIM It'll keep. I want to hear this. NICHOLAS puts a glass of brandy on the table. MATTHEW stares at it. NICHOLAS smiles gravely. NICHOLAS BEDWELL I know it's not what you crave. But if the urge becomes too great, we have what you need. MATTHEW BEDWELL Youd do that for me? NICHOLAS nods. MATTHEW stares at him. MATTHEW BEDWELL (cont'd) Ill never smoke opium again. He raises his eyes to SALLY. MATTHEW BEDWELL (cont'd) Are you Mr Lockhart's daughter? I'm sorry. He's dead. SALLY I know. He drowned in the Lavinia. MATTHEW BEDWELL He didn't drown. He was murdered. SALLY looks at him in horror. MATTHEW BEDWELL (cont'd) South China seas are home to every kind of smuggler, pirate, murderer. Worst of all are the Triads. Lockhart and Selby was hand in glove with all these societies. Whole company had the stench of corruption. SALLY Not my father!

10:59:50 M23 IN

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MATTHEW BEDWELL No. But hed heard the rumours. That's why he came out to the East. BEDWELL takes a gulp of his brandy before continuing. SALLY He was going to see the company agent, Hendrik Van Eeden. He trusted him. MATTHEW BEDWELL Van Eeden had the reputation of an honest man. Your father met him in Singapore when he came aboard with his Malay servant, Perak. He is lost in reverie for a second. MATTHEW BEDWELL (cont'd) The very first afternoon out we saw the black junk. Could have outsailed her easily but the captain, he just seemed to be dawdling on purpose. It was the second night it happened. Your father was attacked in his cabin. Stabbed. I heard him calling for help; When I found him, he was barely alive. SALLY holds herself bravely but we see tears in her eyes. MATTHEW BEDWELL (cont'd) He told me his murderer was the ships Captain and that he was in the pay of a man named Ah Ling. I knew then we was all doomed. Ah Ling heads the most brutal Triad gang in the South China Seas. He stops. SALLY Did my father say anything about me? MATTHEW BEDWELL He told me to tell you what had happened. And something else. "Keep your powder dry". SALLY He always said that. It was his way of telling me to be prepared for anything. FREDERICK looks at her compassionately. MATTHEW BEDWELL Captain scuttled his own ship while Ah Ling's men slaughtered the crew.

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He looks up, his face etched with horror. MATTHEW BEDWELL (contd) Nothing could wipe the cries of those dying men from my mind nothing but opium. He bows his head, exhausted. SALLY The Triad gang that corrupted Lockhart and Selby. What was its name? MATTHEW BEDWELL Its called the Fan Lin society. The Seven Blessings. And SALLY recognises the name. 11:02:02 EXT. LONDON STREETS. DAY A stranger (PERAK) emerges through the crowd. He is oriental, a lithe powerful man with a calm and watchful manner. He stops to get his bearings, then moves on purposefully. O/S the sound of banging on a wooden door. 11:02:27 INT. SWALENESS. MARCHBANKS' HOUSE. WINDOW. DAY A fist pounds violently on the door. MR BERRY peers through the dusty window pane into the house looking for a way in or a sign of life. Nothing. MR BERRY There's no one in. MRS HOLLAND (Sarcastic) Aint you the sharp one. MRS HOLLAND stares at the last page of Marchbanks' book. MRS HOLLAND (cont'd) "... a place of darkness under a knotted rope. Three red lights shine clearly on the spot..."

11:02:37 M23 OUT

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11:02:59

EXT. SWALENESS. MARCHBANKS' HOUSE. DAY MRS HOLLAND (cont'd) There's a kind of sense in it, but damned if I can see what it is. Oh I need a drink. You could use one an' all. Might oil your brain. MR BERRY I ain't drinking no beer. I signed the pledge and I got my principles. The odd couple walk off down the lane. MRS HOLLAND You know for a thieving murderer you do come across very strong on principle, Mr Berry. All right you can have a lemonade. And I hope that little maggot of a thing you call a conscience is satisfied.

11:03:27

EXT. TURK'S HEAD PUB/HARBOUR. DAY MRS HOLLAND and MR BERRY come to a stop underneath the Turks Head sign swinging gently in the wind. MR BERRY frowns as she stares intently at the picture of the knotted rope. He grins uncertainly. MR BERRY Stupid, that is. If it's the Turk's head you want a head not a rope. MRS HOLLAND studies the pub sign and then looks out into the bay. The tide is in and as the afternoon darkens the light from the buoy grows stronger. It blinks three times in sequence every few seconds. She thinks. MRS HOLLAND Yeah Lets go in.

11:03:52

INT. TURK'S HEAD. SALOON BAR. DAY The LANDLADY brings the drinks across to the table. She dumps a glass in front of MR BERRY with an admiring glance. LANDLADY Lemonade for a big feller like you.

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MRS HOLLAND Oh, my son 's got a very delicate stomach. Alcohol quite upsets him. She pauses, smiling affably. MRS HOLLAND (cont'd) That's a very unusual sign you've got out there. It don't go with the name. Turk's Head. LANDLADY 'Course it does. Turk's Head is a kind of sailor's knot. Didn't you know that? Not wishing to loose the thread of conversation, MRS HOLLAND follows the LANDLADY to the bar. MRS HOLLAND Well I never did. Well, that explains it then. MRS HOLLAND follows her to the bar, chatting affably as her eyes scan the room. MRS HOLLAND (contd) Have one yourself, love. LANDLADY Oh might as well. MRS HOLLAND I was looking for a friend of mine. Mrs Thorpe, housekeeper to Major Marchbanks. LANDLADY Oh well you've had a wasted journey, then. She packed her bags after what happened. MRS HOLLAND looks at her innocently. LANDLADY (cont'd) Didn't you know? He was murdered. MRS HOLLANDS hand leaps to her mouth in mock-shock. MRS HOLLAND Oh no! What is the world coming to? LANDLADY Stabbed. A burglar they reckon.

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MRS HOLLAND is becoming more excited by the moment. She glances around again. Her eagle eyes spot a door behind by the bar. 11:04:57 M24 IN LANDLADY (contd) He was a regular of mine. Quiet sort. Came in most days for his brandy and his newspaper. MRS HOLLAND Oh did he, though? She points casually. MRS HOLLAND (cont'd) Is that the privy dear? LANDLADY No. Thats the cellar. Privy's outside. MRS HOLLAND Oh, 'course it is. Dyou know, I think I could eat something. LANDLADY I've got some nice boiled beef. MRS HOLLAND Oh. Just the thing. The LANDLADY goes off behind the bar into the kitchen to see to the food. The moment she disappears MRS HOLLAND picks up the lamp from the table and hisses at MR BERRY to join her and goes to the cellar door. MRS HOLLAND (contd) (to MR BERRY) Bring the bag. He follows her. 11:05:36 INT. TURK'S HEAD. CELLAR. DAY/DUSK MRS HOLLAND hurries down the steps while MR BERRY stays at the top keeping look-out. MRS HOLLAND She comes back, break her neck. She looks around. The only light in the gloomy cellar comes from a narrow window with opaque coloured glass. The three panes in the centre are red from the light of the

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buoy flashing outside. MRS HOLLAND can barely contain herself. MRS HOLLAND (cont'd) A place of darkness under a knotted rope... that's this cellar... three red lights - there's a buoy out there in the creek what flashes three times... when the moon pulls on the water when the tide comes in you see? It all fits. MR BERRY's brows knit in helpless concentration. MRS HOLLAND (cont'd) Oh, never mind... And then it happens. There is a flash of light from the buoy, repeated three times in quick succession. The leaded window acts like a lens, focusing the flashing light on a spot on the opposite wall. It glints a pale red reflection on the same spot every few seconds. MRS HOLLAND (cont'd) That's it! She rushes forward and begins scrabbling at the mortar around the illuminated brick. It is soft and gives easily. The brick is out within seconds and MRS HOLLAND reaches into the gap behind it. MRS HOLLAND (cont'd) There's a box... She hauls it out. MR BERRY lights a match so they can see it. It is small and neat with brass studs and a simple catch. MRS HOLLAND looks up at her accomplice, her face showing a rare flash of true emotion. MRS HOLLAND (cont'd) I was promised this a very long time ago, Mr Berry. I'm only taking what is rightfully mine. Her hands shake as she wrenches the box open. She looks inside. And MRS HOLLAND (cont'd) It's empty! Its bleedin' empty. It's her. The Lockhart girl. No one else knows its here. She hurls the box to the ground and stamps on it. Big as he is, MR BERRY flinches in the face of her fury. She looks at him, half-demented with rage.

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MRS HOLLAND (cont'd) I will have that ruby, Mr Berry. You see if I don't. I'm owed it and I will have it, and then I will cut her heart out and dance on it! As she leaves MR BERRY has no doubt shell do exactly what she says. 11:07:06 EXT. ST. JOHN'S VICARAGE. OXFORD. GARDEN. DAY MATTHEW BEDWELL sits in a chair in the garden. Although the sun is shining he is swathed in blankets against the late afternoon chill. He dozes lightly. A dark shadow falls across him and he wakes suddenly. A MAN stands blocking out the sun. It is VAN EEDEN. MATTHEW BEDWELL Nicholas? The tall figure leans down. Confused by sleep, MATTHEW is slow to react, but then as he finally sees the MAN's face, his eyes widen in horror. A knife flicks open. 11:07:29 EXT. ST. JOHN'S VICARAGE. GARDEN. DAY. NICHOLAS comes out of the back door with a tray of food and sees his brother sitting in his chair. He walks across. But as he looks down his smile dies. He sinks slowly to his knees in despair. MATTHEW sits with his head resting on the cushions as though he has just dropped off to sleep. But his eyes are staring and there is a deep gash across his throat. His blankets and shirt front are covered in drying blood. 11:07:46 EXT. THAMES RIVERSIDE. PIER. DAY It is morning. SELBY walks along the dock ignoring MR BERRY, who trails along doggedly a few paces behind him. MR BERRY Wherere we going? SELBY I'm looking over a replacement for the Lavinia. Not that it's any of your business.

11:07:10 M25 IN 11:07:19 M24 OUT

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They arrive at the pier to find a small skiff bobbing at the foot of the steps. The OARSMAN, swathed in a scarf, shabby greatcoat and a large hat helps SELBY down into the boat. But as MR BERRY goes to follow the OARSMAN shakes his head. OARSMAN Only two in the boat. Company rules. MR BERRY I'm supposed to stay with him. SELBY Get a move on, will you? I'm a busy man. MR BERRY looks at him in confusion. SELBY waves him away. SELBY (cont'd) You stay here and don't move til I get back. He settles down in the seat at the back of the boat. As the OARSMAN pulls away from the dock his scarf slips to reveal the still, intent face of VAN EEDEN. MR BERRY watches as the boat heads out into the river, then takes out his pipe and sits on a bollard. 11:08:27 EXT. THAMES RIVERSIDE. PIER. NIGHT MR BERRY still waiting. He scans the river frantically for a sign of the returning skiff, but there is nothing to be seen on the oily water. Alarm registers on his bovine features. Across from him on the dock, he can hear a crowd of people gathering. 11:08:49 EXT. RIVERBANK. DAY Dawn sheds a dull grey light. A crowd of people are gathered on the edge of the dock, staring down into the water. A black clothed figure lies face down in the murk. A BOATMAN pulls at the figure. On the side of the dock the soaking figure is pulled onto dry land, and as it is turned over, it becomes clear it is SELBY,

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dead as a drowned rat. 11:09:07 INT. MRS HOLLAND'S. KITCHEN. DAY MR BERRY shielding his head as the furious MRS HOLLAND flick at him with a dishcloth. 11:09:10 M25 OUT MRS HOLLAND Codfish! I give you one simple job... What did I tell you? MR BERRY Stay with him at all times. MRS HOLLAND A bloody stone could understand that. MR BERRY But it was im that told me to wait. MRS HOLLAND You're a dab hand at killing people, Mr Berry, you ain't much at keeping 'em alive! She glances at BERRY then relents and pours them each a cup of thick black tea. He takes it with the tentative air of a man who expects to have it poured down his shirt collar at any second. But MRS HOLLAND has already forgotten him. MRS HOLLAND (cont'd) Oh well, never mind Selby. He ain't in any position to ask for a refund is he. D'you know something, Mr Berry, this is an interesting game we're in. I wouldn't miss it for the world. Far from being scared or intimidated, she is positively relishing the situation. MR BERRY watches in growing horror as she takes out her false teeth, swishes them in her cup of tea and replaces them in her mouth, sucking on the liquid with relish. 11:10:08 INT. BURTON STREET. LAB/STUDIO FRED is looking at SALLY through the camera, enjoying the chance to gaze at her without interruption. SALLY busies herself rearranging the sparse props. FREDERICK The pictures can wait you know, we dont have to do them right now

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SALLY We cant sit around moping. We all need something to think about something more than death and unhappiness. FREDERICK Right. Well I can take the pictures. But who's going to sell them? SALLY It will have to be you. FREDERICK My soul is far too fine for base commercial jousting. You should do it. SALLY I shall, as soon as I'm old enough to be taken seriously. 11:10:46 M26 IN FREDERICK I take you seriously. SALLY You mean as a business-woman? Slowly, carefully he approaches her. FREDERICK As all kinds of things. She shyly looks away. He comes closer. FREDERICK (contd) Sally, I ROSA re-enters in mid-sentence. ROSA (twirling an umbrella) Look what Ive found FREDERICK buries himself in his camera. SALLY desperately wants him to finish what he was going to say but is uneasy with the implications. ROSA glances at them, amused by the tell-tale silence. 11:11:16 11:11:17 M26 OUT EXT. BURTON STREET. DAY JIM and ADELAIDE turn into the street carrying armfuls of wooden swords, daggers, helmets and costumes. JIM teasing the little girl good-naturedly.

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JIM Then well put you in one yeah?! ADELAIDE Yeah. JIM Youd like that wouldnt ya?! ADELAIDE Yeah. JIM doesn't look up at the sound of a carriage behind them. He has no reason to be suspicious. 11:11:22 M27 IN But then from nowhere, MRS HOLLAND pounces on ADELAIDE. JIM drops his props in an instant and turns to help his little friend. JIM Get your hands off her you rat bag! ADELAIDE bites MRS HOLLANDS hand. MRS HOLLAND Ah! Dont bite me! Mr Berry, get him! MR BERRY is at her side and drags JIM away, throwing one huge punch into his face which floors poor JIM. JIM Get off me you big oaf! MRS HOLLAND throws ADELAIDE in the carriage and jumps in after her. MRS HOLLAND (contd) (to DRIVER) Drive on! MR BERRY grins tauntingly as he jumps on the running board and the carriage speeds away. There is nothing JIM can do but fling his cap at the retreating carriage in disgust. 11:11:37 INT. BURTON STREET. SHOP. DAY As ROSA a bandage around JIM's wrist, FREDERICK is

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already putting on his coat. FREDERICK Theyre only a few minuets ahead of us, we can still get to Wapping before them. JIM's eyes are full of tears, more of humiliation than pain. JIM I promised to look after the poor little scrap. I promised her. FREDERICK Jim, we are going to get her back. JIM nods grimly, and with that they are gone. SALLY and ROSA look at each other in consternation. 11:11:44 EXT. STREETS. DAY In a cab FREDERICK and JIM race along the streets. They leap out of the cab. FREDERICK turns with a few coins in his hand. FREDERICK Wait for us. CABBIE Round here? You must be joking. They'll have the shoes off me horse in a minute. FREDERICK has no time to waste in argument. He grabs JIM and they dash off 11:12:05 EXT. HANGMAN'S WHARF. MRS HOLLAND'S. DAY ADELAIDE and MR BERRY just alighting. The big man throws the little girl up against the side of the house. MR BERRY Get out! FREDERICK and JIM round the corner and pause for a moment as they see their quarry. JIM What's the plan? FREDERICK thinks for second then rushes forward, shouting at the top of his voice. JIM looks after him in

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astonishment. JIM (cont'd) Oh, nice tactics, Wellington. But he joins FREDERICK in the chase, yelling furiously. MRS HOLLAND, still fumbling with her keys, turns in surprise. FREDERICK Adelaide! Adelaide! He dives headfirst into MR BERRY, butting him in the stomach. MRS HOLLAND grabs ADELAIDE's shoulder but she breaks away and runs slap bang into JIM who takes her hand. JIM Right this way my love. They dash off. MRS HOLLAND goes a few steps after them, but soon gives up and looks back at FREDERICK, who is circling MR BERRY warily. The bigger man hauls himself up against the wheel of the carriage, a murderous glint in his eyes. FREDERICK moves in to land a punch only to have MR BERRY's giant fist catch him on the head. He goes crashing down, head buzzing. MRS HOLLAND Go on kick him! 11:12:34 EXT. WAREHOUSE. DAY. JIM drags ADELAIDE around the corner, only to come to a screeching halt as they see a THUG coming the other way. They veer off into a nearby warehouse. They slowly walk through the darkness of the warehouse, and exit into a busy dockland street. ADELAIDE We can get out by Tobacco dock. They turn a corner and keep running. ADELAIDE (contd) Up Old Gravel Lane.

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11:12:44

EXT. HANGMANS WHARF. MRS HOLLANDS MR BERRY continues his assault on FREDERICK. FREDERICK has lost consciousness as MR BERRY bangs his head repeatedly into the side of a carriage before dragging him into the street and continuing to pound with his fist. MR BERRY Come on my son. MRS HOLLAND watches with every evidence of enjoyment.

11:12:55

EXT. WAREHOUSE JIM and ADELAIDE tear around the corner, then resume a walking pace to look less obvious now that they have lost their pursuers. JIM darts back to the struggling ADELAIDE. JIM Come on. Then a shout comes from a WATCHMAN warming his hands at the brazier. WATCHMAN That's him! Thats them Mrs Hollands after. He and his MATE run towards them. JIM and ADELAIDE take off again. ADELAIDE They're going to kill me, Jim. I'm going to die. JIM Shut up. No one's dying. They hear feet running behind them and shouting voices. VOICE 1 Oi! Come here! VOICE 2 Come here! VOICE 3 Theyre getting away.

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JIM darts behind a large barrel. A moment later they see the WATCHMAN and his MATE come past.. There is a muttered consultation, then the men rush past them. WATCHMAN Split up. You go that way. JIM breathes a sigh of relief. 11:13:44 INT. WAREHOUSE They step into a warehouse that is situated behind their hiding place. PADDY You're the two Mrs 'olland's lookin' for, ain't yer? A boy of about Jim's age but who has a lifetime's knowledge of suffering in his eyes looks down at them from the stairs. He is coated from head to foot in dirt, wears little more than sacking and has long, jagged fingernails. JIM finally nods tentatively. PADDY beckons them to come up. PADDY (cont'd) Youll be alright with me. JIM follows him up a flight of metal stairs, clutching ADELAIDE's hand. PADDY (contd) We'll have to find a skiff somewhere. Get you out down the river. 11:14:10 INT. WAREHOUSE. DAY The cavernous old building is lit only by a few torches. At first the place seems deserted but then a small army of ghosts materialise from the darkness. They are wild and strange-looking and we know them from the riverside - the MUDLARKS. They stare at JIM and ADELAIDE, neither friendly nor hostile, but blankly curious. JIM Why are you helping us?

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PADDY What's that old cow ever done for me? ADELAIDE watches a GIRL play with a huge rat. PADDY (cont'd) We keeps the rats down for rent. He motions to them to follow him through the warehouse towards a door at the end. PADDY (cont'd) There's an alley that leads down to the river. They wont find you there. The three of them emerge into a larger room. An open door at the end of the room overlooks the street below. PADDY (contd) Just got to get you across Wapping Wall. JIM Well be safe now. PADDY leads JIM and ADELAIDE to the centre of the cavernous room and then stops, smiling oddly. JIM frowns in confusion. JIM (contd) Where do we go from here then? PADDY Dunno, matey. Not my problem. He looks past JIM to the way they came in. JIM turns. MRS HOLLAND and MR BERRY stand blocking the way out. ADELAIDE quivers with horror. PADDY (cont'd) Sorry, mate. Gotta live. He pockets the coin MRS HOLLAND gives him, then disappears. There is an ominous silence. MRS HOLLAND You try that again and Mr Berry'll twist your head off. He practises on chickens. Sometimes they runs around flapping for a full five minutes after their heads is off. He'd love to see how long you'd flap about without no head.

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MR BERRY produces an ugly wooden stave from behind his back. JIM wraps a protective arm around ADELAIDE, his brain working desperately. JIM Adelaide don't know nothing about the ruby. You don't want her. MRS HOLLAND Oh, I want her all right. She's going to be sleeping in the yard tonight, ain't you, poppet? We've got your bed all ready. JIM dashes furiously at MR BERRY, who brings his club whistling down towards JIM's head. JIM raises his arm in self-defence and takes the full force of it on his elbow. There is a horrible cracking sound and he falls back, screaming in agony. MR BERRY moves in to finish him off. ADELAIDE trys to defend him, but MRS HOLLAND grabs her and holds her close. 11:15:17 M28 IN FREDERICK Put her down or I'll kill you. FREDERICK is standing in the entrance. One eye is closed, his mouth is caked with drying blood and his cheek is black with bruising, but his good eye gleams defiantly. MR BERRY looks at him, perplexed. MR BERRY I thought I sorted you out. MRS HOLLAND Mr Berry you're losing your touch. Makes four times now he's crossed my path. I want him dead. MR BERRY runs at FREDERICK like a bull. They trade terrifying blows, throwing each other around the space. Gradually MR BERRY beats FREDERICK over to the open door at the side of the building which looks out into nothing but sky. As he does, the fighting couple pass JIM lying prostrate on the ground. He has only seconds of strength left but it is just enough for JIM to finally grasp the club and slide it across the floor towards FREDERICK. FREDERICK grasps the club passed to him from JIM. He finds the last of his strength and hurls himself at MR BERRY. He swipes the club through the air as though he were scything corn.

11:15:00 M27 OUT

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The blow catches MR BERRY smack on the temple. His eyes roll in his skull and he staggers backwards, suddenly finding himself treading thin air. He flies backwards. 11:15:57 EXT. WAREHOUSE. DAY MR BERRY flies out of the open doorway out into thin air. He falls, spiralling down, hitting a set of steps on his way past before landing with a heavy crunch on the dockside. A crowd of people run to try and help him but a dark pool of blood surrounds his head. MR BERRY is dead. 11:16:04 INT. WAREHOUSE. DAY FREDERICK and JIM stand at the edge and looks down. FREDERICK looks at JIM. FREDERICK Adelaide? They turn to look behind them. The warehouse is deserted. Mrs Holland and Adelaide have disappeared. JIM Adelaide? The pair race out of the warehouse. 11:16:09 M28 OUT INT. BURTON STREET. PARLOUR. SALLY paces as ROSA sits waiting in an agony of anticipation. ROSA They'll be fine. Pausing to think for a second, SALLY suddenly crosses to the dresser, her manner nervous but determined. SALLY This can't go on. It's not Adelaide Mrs Holland wants. It's me. She hates me and I still don't know why. She takes something from the top drawer. SALLY (contd) I have to discover the truth about the ruby. And there's only one way I can do it.

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ROSA's eyes widen as she sees SALLY is holding a ball of opium. ROSA Opium. SALLY Matthew Bedwell left it behind. He said he wouldn't need it. She smiles sadly at the irony but then looks up at ROSA. SALLY (cont'd) I have to go back into my nightmare. I have to finish it. Only I don't really know what to do. ROSA looks at her for a moment, then answers quietly. ROSA I do. She smiles wryly. ROSA (cont'd) Theatre people know a little about this sort of thing. Sit down on the sofa. Theres no pipe, so you'll have to breathe the fumes. SALLY sits down, trembling but utterly determined. ROSA gets on with the preparation with a minimum of fuss. She skewers the opium with a clean fork, then leaves to find matches. 11:16:56 M29 IN SALLY waits on the sofa nervously. ROSA re-enters and lights a match under the opium and brings it close. ROSA (cont'd) Now just breathe normally. The smokell do the rest. SALLY I'm scared, Rosa. What if I grow to like the smoke? If I became like poor Matthew Bedwell... ROSA You wont. SALLY breathes deeply as the smoke rises from the bubbling opium. After a few seconds SALLY's eyes begin to

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glaze. ROSA watches her anxiously as she falls back. START DREAM SEQUENCE # 3: 11:17:33 VFX IN: MOTION BLUR INT. SALLY'S TRANCE. SALLY is plunged back into the world of her nightmare. Once again she is walking along a dark corridor, holding a candle with a bright blinding light at the end. Now the Ruby glistens, dislocated in the air. Now there is a room which sways and rocks like the motion of a boat. A blurred arm with a curved sword slices through the air. The MAHARAJAHS distorted face screaming. In the corridor, SALLY trying to make sense of what she is seeing. MARCHBANKS and LOCKHART enter the frame and see also what has occurred. For the first time SALLY sees her nightmare clearly. YOUNG SALLY, as a child, witnessing the Maharajah being murdered. We hurtle back down the corridor. DREAM SEQUENCE # 3 END 11:18:05 VFX OUT: INT. BURTON STREET. PARLOUR. SALLY comes to from her opium trance. ROSA You were talking. Sometimes in English but mostly in a foreign language... SALLY Hindustani. I know everything, Rosa. The whole story. I have to find the ruby. I have to have it. Her voice breaks but she controls herself. ROSA Sally, it was a dream -

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SALLY It was never a dream. It was always the truth, buried in my memory all along. She looks so desolate ROSA hesitates, looking at her for a long second. ROSA Wait here. Theres something you have to know. She goes out. SALLY looks up as ROSA comes back, carrying something wrapped in a handkerchief. She unwraps it... ... and SALLY finds herself staring at the Ruby Of Agrapur. It is impossibly flawless and beautiful, drawing in the light of the lamp and magnifying it, seeming to glow with an inner heat. Abruptly she wrenches her gaze from the ruby and comes back to herself. She stares at ROSA in disbelief. ROSA (contd) Major Marchbanks hid it in a pub in Swaleness. It was Jim who cracked the cipher. It seems Black Jack Armstrong does that sort of thing all the time in Stirring Tales for British Lads. SALLY Why didn't he tell me? 11:19:21 M29 OUT ROSA He tried to, the night you rescued Matthew Bedwell and after that he gave it to me for safekeeping. I think he was frightened of what it does to people. So am I, a little. She hesitates, looking as uncertain as we have ever seen her. SALLY stares at her, understanding. SALLY Send a message to Mrs Holland. Tell her to meet me at Hangmans wharf in an hour's time. ROSA You're mad. At least wait for Fred... SALLY No I have to end all this. O/S the sound of the shipyard.

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11:19:48

EXT. HANGMANS WHARF. SALLY and ROSA walk along the shadowy wharf. The distant sound of revellers in the background. SALLY Whatever happens you must promise not to interfere. ROSA nods. SALLY kisses her quickly, then turns and walks on alone.

11:20:22 M30 IN

A figure emerges from the shadows. MRS HOLLAND stops in front of SALLY eyeing her suspiciously. SALLY looks back at her calmly. SALLY (cont'd) You killed my father. MRS HOLLAND says nothing. SALLY forces herself to carry on. SALLY (cont'd) My real father. Major Marchbanks. MRS HOLLAND registers no surprise but only looks at her, eyes gleaming malignantly. SALLY (cont'd) He sold me in return for a ruby, didn't he? The Maharajah had given the ruby to my... to Captain Lockhart as payment for protection during the Mutiny. She hesitates, the next part of her story becoming almost too raw and painful to confront. SALLY (cont'd) And Captain Lockhart left the Major guarding the Maharajah in the dark somewhere... MRS HOLLAND The Residency cellars. SALLY Marchbanks deserted his post to smoke opium. He was an addict. And somehow the mutineers got in and slaughtered the Maharajah. I saw it all. MRS HOLLAND smiles, her teeth like yellow tombstones in

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the light. MRS HOLLAND Lockhart knocked him down for a coward when he come back. Then they heard you crying. Lockhart was so disgusted and a-feared at what your life might become he offered Marchbanks the ruby in exchange for you. And he took it in a second. His own daughter in exchange for a jewel. She comes out of her brief reverie and smiles cruelly. MRS HOLLAND (cont'd) Now Miss, I want that ruby. It's what I come for. And I got a right to it. SALLY What right? You have no claim over it. MRS HOLLAND Oh, I've got the greatest claim of all. I was promised that ruby by the Maharajah himself. SALLY pauses, then the truth dawns on her and she gazes at MRS HOLLAND in astonishment. SALLY You were there as well! MRS HOLLAND Of course I was there. And the Maharajah were in love with me. SALLY turns away in contempt but MRS HOLLAND snarls angrily. MRS HOLLAND (cont'd) Oh yeah, I might be old and ugly now, but I was beautiful once. Everybody in northern India knew pretty Molly Edwards. They all paid court but it was the Maharajah what wanted me worst of all. He promised me the ruby if Id give him what he wanted. And I did. Her face creases with bitterness. MRS HOLLAND (cont'd) I couldve had a good marriage. Had prospects and me good name. One night with him put paid to all that. Afterwards he just laughed, threw me out the palace. SALLY stares at her, her eyes widening.

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SALLY It was you who betrayed the Maharajah. MRS HOLLAND It was no more than he deserved. Squealed like a pig when they cut him. SALLY I've heard that screaming in my dreams... MRS HOLLAND Yeah, you and all them stuck-up army wives would have been next if Lockhart hadn't come back. All them hypocrites called me slut and whore behind me back. Her expression boils with hate. SALLY looks at her, repulsed. There is a silence as MRS HOLLAND controls herself. She holds out her hand. MRS HOLLAND (cont'd) Well? SALLY pauses, then finally takes out the handkerchief, unwraps the material to leave the ruby gleaming magnificently. Even in the muted light it shines like a tiny sun. MRS HOLLAND (contd) Ah! MRS HOLLAND looks at it with delight, then back at SALLY. MRS HOLLAND (cont'd) You know something? We got more in common than you'd like, me and you. We was both bought for a ruby. SALLY My father left this to me but I renounce my claim. It has brought me nothing but death and unhappiness. She looks up at MRS HOLLAND. SALLY (cont'd) And if you want it, you can go and get it. And with that she simply throws it into the water.

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MRS HOLLAND stands perfectly still, then a wail of bereavement escapes her. She begins gibbering frantically. MRS HOLLAND Its mine my pretty Molly shell have a ruby Madness burns in her eyes. She lurches forward; SALLY tries to grab her, but grasps only fresh air. MRS HOLLAND dives over the side, falling without a cry. SALLY Mrs Holland? Mrs Holland?! Mrs Holland! But there is nothing she can do as MRS HOLLANDS body floats in the water. VAN EEDEN Miss Lockhart It is a moment before SALLY realises a carriage is rolling. She looks up as it stops and the door opens. She cannot properly see the shadowy figure inside but a man's hand rests on the door. VAN EEDEN - get in the carriage. I have news regarding your father. SALLY What news? Who are you? VAN EEDEN I was born Hendrik Van Eeden. In the East, though, I am better known as Ah Ling. Now get in the carriage. There is something so commanding in his soft yet brutally emphatic tone that SALLY finds herself obeying him. She gets into the coach as though in a trance. Emerging from the shadows, ROSA looks on in astonishment as SALLY gets in the cab. She runs after it vainly. The carriage rattles through the docks. SALLY (O/S) Where are we going? VAN EEDEN (O/S) The East India docks.

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The cab rolls to a halt. SALLY (O/S) I don't understand. VAN EEDEN (O/S) My ship sails with the tide. 11:25:40 INT. VAN EEDENS CARRIAGE. DOCKS VAND EEDEN turns his face to the light from the dockside. He is handsome, but there is only ruthless cruelty in his smile. VAN EEDEN (contd) You may come with me, alive, or you may stay here, dead. SALLY's face pales in the dim light from the gas lamp. VAN EEDEN (contd) One way or the other I must be certain that you will remain silent. SALLY What will happen to me if I come with you? VAN EEDEN Surely I don't have to explain that? You are not a child. He looks at her with such leering intimacy there can be no mistaking his meaning. SALLY You can't be Ah Ling. You're not Chinese. VAN EEDEN You have my Dutch father to thank for the way that I look. But my mother was the daughter of Ling Chi, a great and noble Chinese businessman. Though you might call him a pirate. He smiles. VAN EEDEN (cont'd) My European looks and education have been a great advantage. They have made it so much easier to set up an arrangement beneficial to both Lockhart and Selby and The Seven Blessings.

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He looks at her, his tone calm and dispassionate. VAN EEDEN (cont'd) Opium was the link. The finest comes from India, grown under British government supervision. There is an official stamp, a mould if you like, to form the drug into little cakes. All with Her Majesty's blessing and approval. As luck would have it I came into possession of one of those valuable stamps. After that it was a simple matter of adulterating premium opium with the low grade stuff from the hills of Penang. Thus one shipload became three or four, all certificated and shipped by the British government and the reputable firm of Lockhart and Selby. Alas, Captain Lockhart's intervention gave me a great deal of trouble. SALLY So you murdered him. He smiles and takes a lethally sharp seaman's knife almost casually from his pocket. Then he moves like lightning to cover her mouth with the same hand and hold the knife to her breast. VAN EEDEN Whats one human life when so much money is at stake? Thousands, perhaps even millions. But the gods have been kind. SALLY's eyes widen. She knows she has only seconds left. His presence fills the cab, overwhelming her... From within her cloak, silently SALLY pulls out her pearlhandled pistol. ... and a second later there is a deafening noise, an explosion which seems to rock the cab on its axis. Smoke still rises from the barrel. VAN EEDEN looks at her, tries to say something, then slides to the floor and lies still. SALLY throws open the door and runs. 11:27:56 EXT. EAST INDIA DOCKS. STREET. NIGHT. SALLY is unaware of what she is doing or where she is going. She races along blindly in a panic ... and suddenly finds ROSA standing in front of her. SALLY I killed him. She hurls herself into her friend's arms, hysterical with fear and shock.

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SALLY (contd) I killed him. She holds ROSA tightly, her voice breaking under the shock. SALLY (cont'd) Oh, God, Rosa, he murdered so many people... he killed my oh, I can't call him Captain Lockhart. He was my father but... Grief overwhelms her. ROSA looks all around the deserted street, thinking fast. SALLY (contd) We have to tell the police. I killed a man. ROSA How will you explain all this? They'll only have your word for it. No. We go now and we never look back. You understand me, Sally? Weve got to get out. SALLY looks at her and nods slowly. ROSA (cont'd) Did you leave anything in the coach? Anything they might be able to identify? SALLY can't think straight. ROSA dashes back in the direction of the abandoned coach. The cab stands exactly as it was, the door hanging open. ROSA approaches it slowly. She takes a deep breath and looks inside. SALLY I shot him in the heart from a few inches... There is blood all over the floor and Van Eeden's knife lies where it fell. But the cab is empty. SALLY stares in utter disbelief. SALLY (contd) - he was dead... I know he was. ROSA glances at her but there is no time to speculate. She grabs SALLY's hand and starts running. 11:28:45 11:28:46 M30 OUT INT. BURTON STREET. STUDIO/LAB. DAY The next morning. SALLY, ROSA and JIM sit around the

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benches. ROSA serves tea but no one is really interested. They make a battered spectacle. FREDERICK strides into the room. FREDERICK There's no sign of Adelaide. God knows what Mrs Holland has done with her, but at least there was no new grave in the yard. JIM Poor little mite. FREDERICK We're going to find her, Jim. Somehow or other one day were going to find her. I promise you. JIM looks up, wanting desperately to believe him. His sombre mood lifts a little as he tries to rally. JIM 'Course we'll find her. Even if I have to turn detective myself. Beneath the banter all of them know they face a difficult situation. FREDERICK looks at ROSA. FREDERICK (cont'd) Is there anything more in the paper? ROSA Well, the police are convinced theres a murder but they have no body and no suspects. He sees she is carrying a letter. FREDERICK Is that for me? ROSA Er, no, as it happens. Its for me. Its from Nicholas Bedwell. She tries to leave them casually to read it in private, but a delighted FREDERICK follows her, playfully trying to grap it. FREDERICK I didnt know you two were corresponding. ROSA Well, thats because its none of your business.

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She smiles coyly. FRED grins. Preoccupied, SALLY says nothing. FREDERICK now glances at her, uncertain what to say in the light of so much tragedy. He smiles gently. FREDERICK So. What do we call you now? Lockhart or Marchbanks? SALLY Whenever I hear the word father I know who I think of. And I don't know what my legal status is, or what rubies count for in a court of law, but I'm Sally Lockhart, I work for a photographer, and that's all anybody needs to know. Her voice is soft but emphatic, as though she is closing the whole subject once and for all. But the past is not quite done with her yet... 11:29:56 EXT. STREETS NEAR BRITISH MUSEUM. DAY SALLY is walking the busy streets. She has a shopping basket over one arm and stops to buy oranges at a stall. She smiles as she passes an enthusiastic GREENGROCER. GREENGROCER Fresh in today Miss? As she moves on we see a man fall into step a few yards behind her. It is the oriental man who arrived earlier. He gains on her slowly, pushing through the crowd until she is only a few feet in front, her back turned, terribly vulnerable. The tension mounts as he sees his chance and puts a hand on her shoulder. She spins, gasping in alarm to find the stranger so close. There is a moment of terrible fear, and then He bows and takes a piece of paper from his breast pocket. He offers it to her and speaks in accented but fluent English. PERAK My name is Perak, Miss Lockhart. I was your father's servant. Astonishment registers on SALLY's face. 11:30:29 M31 OUT PERAK (cont'd) He said I must deliver this in person. Apologies. My journey has been long and with many difficulties... He smiles at his own understatement. SALLY stares at him,

11:29:47 M31 IN

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then down at the note, which is written in a hasty scrawl. She reads it quickly. SALLY "Look under the clock"? What does it mean? PERAK Your father said you would understand. He bows again and then disappears into the crowd. SALLY Thank you. She stares at the brief few words again and suddenly her confusion clears. She looks up. JIM (V/O) And later Sally did understand. 11:30:51 EXT./INT. NORWOOD. CLOCKTOWER. DAY SALLY walks through the garden of her childhood home toward the battered remains of her fathers house. JIM (V/O contd) It was time to pay one final visit to her childhood home. And for the past to give up the last of its secrets. SALLY enters the house. It is silent save for the slowly beating mechanism of the clock. As SALLY stares around she smiles. She gets to her knees under the clock mechanism and uncovers a solid metal box. She opens it and feels around further inside, then brings out a bag bound with leather straps. She opens it. The bag is stuffed with bank notes. LOCKHART (V.O.) My dearest Sally, if you are reading this the worst has happened and I am dead. You will have much to bear, but you are strong, and you will recover. This money, darling, is for you. Ten thousand pounds, my share of Lockhart and Selby. Use it wisely. You will choose well, I know. Goodbye, my Sally. By now you will fully understand what it means when I sign myself with the deepest love, your father, William Lockhart. Tears stream uncontrollably down SALLY's face.

11:30:58 M32 IN

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11:32:58

EXT. BURTON STREET. DAY. SALLY turns into the street holding the bag and its precious cargo. JIM (V/O) Sally swore she would never give up the search for the missing Adelaide. She nears the shop and her pace slows as she sees FREDERICK in the window placing some stock on display. Despite his broken arm JIM is helping, and ROSA looks on, obviously dispensing advice that FREDERICK could well do without. She can sense the cheerful banter flying back and forth between them. JIM (V/O contd) And she knew Fred and Jim would always be there to help. SALLY stops to look at them, amused by the knowledge that she holds their future securely in her arms. She cannot help smiling. It is a smile of delight, of belonging, of deep affection. JIM (V/O contd) Although she had lost her father, she had gained a family. After a second she tucks the bag securely under arm and walks into the shop, home at last.

11:33:33 FADE TO: 11:33:35

BLACK END CREDITS ROLL Cast in Order of Appearance Sally Lockhart Jim Mrs Rees Ellen Porter Mr Higgs Samuel Selby Jeremiah Blyth Major Marchbanks Mrs Thorpe Adelaide Mrs Holland Frederick Garland Maharajah BILLIE PIPER MATT SMITH SIAN THOMAS KAY LYON ROBERT PUTT TREVOR COOPER ROBERT GLENISTER DOMINIC COLEMAN MILES ANDERSON TILLY VOSBURGH CHLOE WALKER JULIE WALTERS JJ FEILD RAMON TIKARAM

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Young Marchbanks Young Lockhart Henry Hopkins Matthew Bedwell Seadog Chinese Man Clerk Mr Berry Rosa Garland Rev Nicholas Bedwell Madame Sheng Young Sally Van Eeden Perak Landlady Cabbie Paddy Voice Of Capt. Lockhart Stunt Co-ordinator 1st Assistant Director 2nd Assistant Director 3rd Assistant Director Floor Runners Script Supervisor Location Manager Unit Manager Production Co-ordinator Production Secretary Production Runner Producers Assistant Production Accountant Assistant Accountant Supervising Art Director Art Director Property Buyer Standby Art Director Art Dept Runner Property Master Stand By Props Dressing Props Construction Manager Carpenter Supervisor Painter Supervisor

MATTHEW CURETON TOM DAVEY DON GILET DAVID HAREWOOD KEVIN HARVEY JASON CHAN NATHANAEL KELLY TONY MAUDSLEY HAYLEY ATWELL DAVID HAREWOOD PIK-SEN LIM JULIA JOYCE ELLIOT COWAN TOM WU SANDRA MAITLAND DENNIS BANKS BILLY SEYMOUR MARTIN JARVIS GARY CONNERY DEBBIE BOWSER MATT CARVER PAUL BENNETT GLYN HARPER MARTYN RICHMOND TAMARA KING JUDY GAYTON JONATHAN WICKS CRISPIN HARDY ZOE EDWARDS CAMILLA CURTIS KATIE CLIFFORD ELIZABETH DUPLOCK KEVIN McSWEENEY KEN PAYNE CHARMIAN ADAMS MARK KEBBY CATHY COSGROVE PADDY PADDISON LUCY SPOFFORTH MIKE POWER ANDY FORREST DAN CLEMENTS MIKE RAWLINGS BARRY MOLL STEVE DEANE NICK WOODS

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Standby Carpenter Costume Supervisor Costume Standby Wardrobe Assistant Costume Design Assistant Make Up Artists Camera Operator Focus Puller Clapper Loader Camera Assistant Camera Truck Grip Gaffer Rigging Gaffer Electricians

ANDY FOX SARAH MOORE DAVID ALLEN ROB BROWN LORRAINE BOYLE ZOE BROWN ASHLEY JOHNSON STEVE MURRAY ADAM COLES DEAN MURRAY ANDREW LAWRENCE GERRY BRYSON KEITH MEAD ALAN MARTIN STEWART HADLEY ANDY BELL ROB WALTON RICKY PAYNE ALAN COATES MICHAEL REDMOND MIKE REARDON STEVE HANCOCK MARK HOLT CAROLINE McMANUS ALICE GREENLAND AMAR INGREJI PHILIPPA HUNT GRAHAM HEADICAR RORY FARNHAM MIKE WILLIAMS CHRIS BEETON LOLA MATT CURTIS THALIA REYNOLDS UNA MAGUIRE TIM LEITH JILL TREVELLICK GORDON RONALD CAROLINE SKINNER STUART HILLIKER CHRIS ASHWORTH

Standby Rigger Sound Maintenance Special Effects Post Supervision Assistant Editor Post Co-Ordinator Supervising Sound Editor Dialogue Editor Online Editor Colourist Visual Effects Graphics Artists Contracts Publicity Picture Publicity Casting Director Production Consultant Script Editor Dubbing Mixer Sound Recordist

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Costume Designer Make Up Designer Composer Production Designer Director of Photography Editor Line Producer 11:34:20 Come to a hold centre screen End Card #1

JAMES KEAST CHRISSIE BAKER MARTIN PHIPPS DONAL WOODS PETER GREENHALGH KRISTINA HETHERINGTON LOUISE MUTTER

Executive Producer for WGBH REBECCA EATON Executive Producer SALLY WOODWARD GENTLE 11:34:21 FADE UP: End card #2 THE RUBY IN THE SMOKE (logo) A BBC (logo form) WGBH BOSTON (logo form) co-production bbc.co.uk/rubyinthesmoke 2006 BBC 11:34:25 M32 OUT

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