Dames Don't Care

Dame's Don't Care by Daniel Teixeira-Gomes “When you’re robbed, framed for your husband’s murder and have your life threatened, you’re supposed to do something about it.”

Dan Gomes 28a Glover Street, SF, CA 94109 415.563.2492 [email protected]

FADE IN. EXT. - OCEAN FLOOR - DAY ACETYLENE TORCH causes brilliant glow. Fierce heat creates a SCREAMING SOUND. Bubbles boil away to the surface. The cut is only an inch from coming full circle on the door of a VAST VAULT. INSERT TITLES CARD The Asiatic, 1937 Bubbles drift past the front portal of a DEEP SEA DIVING SUITE’S brass helmet. INT. - DEEP SEA DIVING SUIT HELMET - DAY PROF. ALICE RAMSEY possesses a look as brilliant and intense as the glow of her torch. Hazel eyes blink away sweat below tied back brunette hair. Her exquisite features are frozen in concentration. Top teeth bight down on lower lip. EXT. -- OCEAN SURFACE - SALVAGE SHIP DIMSK - DAY Older BALD CREWMAN sleeps atop of the bridge’s roof. A TATTOO is visible on the back of his head in the shape of a pyramid with brilliant gem at center. A TEENAGE CREWMAN sleeps at the bow on a pile of rope. They sleep through the AIR PUMP'S SPUTTERING, GRINDING racket. EXT. -- SALVAGE SHIP DIMSK - AFT - DAY Two old AIR PUMPS shake violently. Greasy smoke rises by the two cranes. Affixed to one of them is a bell. A rope attached to its clapper follows the vibrating air-hoses over the side and beneath the waves. EXT - SHIP WRECK VAULT DOOR - DAY Alice completes her cutting, extinguishing the torch.

(CONTINUED)

2.

CONTINUED: CAPTAIN IVAN IMOROV and Alice's huge iron-clad boots kick at the door. The SOUND of their KICKING is followed by that of WRENCHING STEEL. The vault door falls. A melee of bubbles is released. EXT. -- THE DIMSK - BRIDGE ROOF - DAY The bald Crewman bats away a fly. Above the SOUND of AIR-PUMPS SOUND of BOAT-PLANE builds. A boat-plane passes low over The Dimsk. The Bald Crewman sleeps on. INT. -- SEAPLANE - COCKPIT - DAY RAGU IMALLY stops playing the ivory handle of his cane against his lips, pouts and points it at The Dimsk. He looks like he has seen the inside of altogether too many seedy bars and awoke in as many gutters. He wears a suit that would kill for. And he did. THE PILOT nods and brings the Boat-plane back around for a landing. EXT. -- SALVAGE SHIP - BRIDGE ROOF - DAY SOUND of BOAT-PLANE builds again. It passes so close over The Dimsk that the Bald Crewman wakes with a start and is blown from the roof. He picks himself up from deck as Young Crewman runs up. After screamed exchange, they run to the bridge. INT. -- THE DIMSK - BRIDGE - DAY The Bald Crewman hurriedly opens a chest. He passes the Teenage Crewman a rifle and rounds, taking one for himself. INT. -- SHIP WRECK VAULT - DAY Flair ignited by Captain. In its shifting light we a floor strewn crucifixes and statues of holy figures. They lay mixed in silt around two hip-high WOODEN CRATES.

(CONTINUED)

3.

CONTINUED: Alice is at one. She unsheathes a LARGE DIVING KNIFE, pries the lid open. ALICE (jubilantly) Now that’s a dame's best friend. The Captain's big, toothy beard grins through the front portal. Alice, crying with joy, pulls his helmet to hers. When the front portals of both helmets are flush against each other she kisses her portal’s glass. The Captain sees her lips crushed against the glass. He GUFFAWS. EXT. -- SHIP WRECK VAULT - OPEN CRATE - DAY An INTRICATELY DESIGNED CHEST lies at center. Complex gold flourishes, encrusted with precious stones. Through the lid's glass mid-section we SEE a green iridescent glow around a large oily green gem. It is THE EYE OF JUDAS. Every facet’s surface is in motion, like clouds beyond a stain glass window. It is hypnotic. EXT. -- THE DIMSK - BRIDGE DOOR - DAY The BALD CREWMAN bursts through the bridge door onto deck, screaming at Teenage Crewman. They load and start firing at the Boat-plane. The BOAT-PLANE as it taxies directly towards them. The Crewmen stop to reload. The plane’s cargo door opens, revealing two of Ragu’s HENCHMEN, brandishing Thompson Automatics. They open fire. Bullets cut through wood, glass and steel. They stitch across the Bald Crewman’s chest. The Teenage Crewman runs to the forward. A second volley of shots get him as he dives for cover. One AIR-PUMP explodes, the second AIR-PUMP’S fuel tank is punctured in several places.

4.

EXT. -- OCEAN FLOOR - WRECK’S HULL - DAY Alice and The Captain finish hanging the crates from a hook. The Captain signals, thumbs up. Alice allows the Captain to hitch her to the other hook. He raps on the side of her helmet - thumbs up again - while yanking on the Bell's rope. Without warning the Captain doubles over. He is out of air. Inside his helmet he yells, gasps. Utter panic spreads across his face as he collapses. Alice releases herself and kneels by him. She pulls his helmet toward her. He is dead. Hyperventilating, she returns to the hook, hitches herself to it, pulls the rope, again and again, and again. EXT. -- SALVAGE SHIP DIMSK - AFT - DAY The BELL is wringing but can not be heard over the SOUND of the Boat-Plane's ENGINES. EXT. - OCEAN FLOOR - DAY Alice realizes something is very wrong, draws the LARGE DIVING KNIFE and plunges it into the fabric at her chest, slitting the suit open from chest to crotch. Takes three deep breaths, she swims out through the hole, leaving the suit hanging from hook, following the rope to the surface. EXT. - BOAT-PLANE - DAY The Boat-Plane pulls along side The Dimsk. Two Henchmen leap aboard. One ties-off, the other protects him from any surprise attacks. Ragu steps over to The Dimsk. He tries to yell over the SOUND of the BOATS-PLANE engines. Resorts to hand signals. Ragu cautiously and his men move aft, guns drawn. He stoops by the Teenage Crewman, studies a TATTOO, the duplicate of the Bald Crewman's

5.

EXT. -- DIMSK - AFT - DAY AIR PUMP sputters to a halt. RAGU You imbeciles. His voice is soft, affected. He slaps the nearest Henchman around the face. RAGU (CONT'D) (to himself) Can't find good help anymore. (to his men) For your sakes I hope they completed their work. Well, Gentlemen, time to do some fishing. Ragu throws a lever at the crane's base. The rusty cable winds in. The Henchmen laugh. They take aim at where the cable exits the water. Alice's helmet breaks the surface. Ragu opens fire. The Henchmen follow suit. They only stop when their magazines are spent. The suit is riddled with holes and very empty. Ragu looks disappointed. We HEAR the A MACHINE GUN being COCKED. They turn to see Alice’s lithe form standing on top of the bridge in wet, red long-johns. ALICE Sorry. Party's over, boys. RAGU (mouthing cane) Oh, please! He uses the cane to indicate the boat-plane.

(CONTINUED)

6.

CONTINUED: The Pilot stands in the door, gun aimed at Alice. ALICE Okay. Okay. You've got me. She throws her hands into the air, steps pack. With her second step backwards, she vanishes through a sky-light. RAGU I hate, dames. I don't want her alive, boys. The first Henchman climbs up on the roof, jumps into darkness. We HEAR him SCREAM. INT. - ENGINE ROOM - DAY The second Henchman kicks open the door. He cautiously steps through. We SEE his colleague impaled on a wrack of whale harpoons. ALICE (O.S.) Psst. The Henchman turns and receives a spare anchor full in the face. EXT. - THE DIMSK - AFT - DAY The crates bursts from the water. The Pilot uses a boat-hook to pull the crates into the boatplane. Ragu is dousing the ship in petroleum. EXT. -- DIMSK'S HULL - PORT-HOLE - DAY Alice pulls herself through a port-hole, into the water. INT. -- DIMSK’S BRIDGE - DAY Ragu picks up a can of gasoline and stops to look at his reflection in a mirror. He sees an ornate SILVER LADY'S COMPACT. He sucks thoughtfully on his cane. RAGU Waist not, want not. He pockets the Silver Compact.

7.

EXT. - BOAT-PLANE - DAY Ragu jumps across from the ship to the boat-plane, grabbing a small crow-bar. He then rips the top from the crate and retrieves The Small Chest, using both arms to clasp it to his bosom. RAGU The Eye and ... (patting crate) The Crown of Judas. All others that sort to posses it have perished. They were no different. But me ... (to Pilot) Take us home. PILOT Right away, Mr. Imally. The Pilot returns to the cockpit. We HEAR the sound of the engines turn over and catch. Ragu puts the chest back and uses the flare-gun from the emergency case to fire at the deck. The boat-plane lurches, lifts into the air. The ship is consumed by flame. Ragu is already off balance when both of Alice’s bear feet hit him square in the back. He screams as he falls through the air. INT. -- BOAT-PLANE - COCKPIT - DAY The Pilot looks around as the cold steel of a pistol is pressed against it. EXT. - OCEAN'S SURFACE - DAY RAGU And people wonder why I hate women.

(CONTINUED)

8.

CONTINUED: Ragu flounders in the water. An emergency raft and then the Pilot hit the water mere feet from his side. They are both distracted from the departing boat-plane by the approaching shark's dorsal-fin. EXT. -- THE RAMSEY HOUSEHOLD - THE DRIVEWAY - DAY INSERT TITLES CARD Three Months Later Car pulls into gravel drive, stopping at the front door where A MAID and THE BUTLER are waiting. BUTLER (opening door) Welcome back, Mam. Trust your expedition was worthwhile. Alice steps from the car in jodhpurs, riding boots and white shirt. Her hair now down, her face still devoid of makeup. PROFESSOR CHARLES RAMSEY strides through the front door - an older man dressed in tweeds, wearing bifocals and carrying walking stick. RAMSEY (Slight French accent) The artifacts. Your telegram mentioned trouble. They're undamaged, yes? ALICE Had to teach that black marketeer, Mr. Imally, a hard lesson. Hard enough that he won't be botherin' us none any time soon. He walks right by her, seeking out the crates. ALICE (CONT'D) I missed you too.

(CONTINUED)

9.

CONTINUED: RAMSEY Take the crates to the study. BUTLER Yes, Sir. INT. - THE STUDY - DAY The walls are lined with shelves of books. Surfaces strewn with maps and stacks of books. Pictures depicting a variety of artifacts and ancient Inca ruins hang from walls. The crates lay open on the floor. Two ornate chests on the desk in front of Ramsey and Alice. Ramsey reads a segment of an aging tome to himself and then, staring over the top of the bifocals, opens first one chest, then the other, revealing THE CROWN OF JUDAS and THE EYE OF JUDAS. He stands with his arm around Alice’s shoulders. They share a moment. It is the first glimmer of mutual intimacy. RAMSEY The Eye and The Crown ... CONTINUED:

(1) ALICE (spoofs her husband's accent) ...of Judas. Said to be the apple

that tempted Adam. And pretty much every other biblical evil. RAMSEY ...Eventually lost during the Holy Crusades, to be rediscovered by a Persian War Lord called The Judda who fashioned The Crown after The Crown of David and proceeds to use the myth to

(CONTINUED)

10.

CONTINUED: reign over his people with a combination of black-magic and pure terror. ALICE I love it when you talk theologically, baby. RAMSEY None of this would have been possible if it weren't for you. ALICE You, taught me almost everything I know. RAMSEY Almost? Alice smirks, picks up The Crown, puts a magnifying glass in her eye and studies it. The Crown is tarnished, as though from great heat. No fur trimmings. Harsh and clumsy. A mounting on its very top is empty. Ramsey prepares to examine The Eye. Alice stops him just shy of touching it. CONTINUED:

(2) RAMSEY (looks at watch) Very well, dear. I have a

meeting in an hour, anyway. How about we celebrate tonight. Get Chef to rustle up a romantic meal for us. I'll be back by six. ALICE (huskier tones) Honey ...

(CONTINUED)

11.

CONTINUED: Should I dress for the occasion? RAMSEY I was hoping you would. ALICE (kissing him) I was beginning to wonder. RAMSEY You talk to chef. I’ll lock these in the safe. Ramsey, waits a moment after she leaves. Then closes the chest with The Eye of Judas in it, picks it up and locks it in a MINI SUIT-CASE before taking The Crown to some shelving. He pulls a section aside, opens a safe and places the crown inside. EXT. - THE DOCKS - NIGHT - FOG We HEAR a FOG HORN which is then followed by THE SHIP’S HORN. We HEAR the DOCKSIDE GROAN as the full weight of the ship’s hull compresses its rain moistened timbers. The combination of fog and moon-light casts everything in shades of gray. We HEAR the PROPELLER THRASHING in the WATER as it boils. CREW MEMBER (shouting) Clear below! A rope is tossed through the swirling fog to the ground. The gangway is lowered into place. EXT. - STEAM TRAIN - NIGHT HIGH-PRIEST KLIM Strides through steam. He is dressed in a slightly out-dated but immaculate business suit, and spats. He has an uncomfortable air of authority about him. Men in black tunics work on the train. A crewman in simple black garb, finishes working on the gangway and bows head.

(CONTINUED)

12.

CONTINUED: Klim strides purposefully off towards his Lord's, THE JUDDA'S thrown room. He moves through corridors and down stares. All the crew made up of men, dressed in the same black garb, all bow low at his presence. His way is lit by dull oil lamps. The warm flickering light gives the impression that he is surrounded by fire. Eventually Klim arrives at the huge thrown room doors. He uses the hand-guard of his ceremonial scimitar to knock. We HEAR THREE BOOMING KNOCKS. INT. - THE JUDDA'S THROWN ROOM - DOORS Two guards, dressed in helmets, breast plates and shields, open the doors. Klim bows his head slightly as he walks over red carpet. He approaches the thrown steps. Spaced at regular intervals, Guards stand to attention on each side. He kneels at base of steps. The Judda sits in his thrown. He is a vast entity, resembling a cross between a Buddha and a molten ball of lard. His bald head is painted white to match is robes. His lips blood red. A single blind eye stares. He speaks with the hiss of a hungry snake. Behind him several flags hand, each with the same image which was tattooed to on The Dimsk’s Crewmen. JUDDA Well, Priest? KLIM (in respectful tones) All is ready, My Lord. Your Royal Crown is in the hands of a Sacramento antique dealer.

(CONTINUED)

13.

CONTINUED: JUDDA Then, I will go to the capitol and you will pay this man a visit. KLIM I took the liberty of arranging to meet the professor later tonight. (beat) Your train awaits. EXT. -- HIGH STREET - DRIVING BY DIX’S SPEAK EASY - NIGHT The rain is stopping. Car head lamps and street gas lamps transform a familiar scene into a surreal discotheque. Cars SPLASH through puddles on the slick road. EXT. -- HIGH STREET - ONE BLOCK FROM DIX'S - NIGHT It is Ramsey. He is walking with enthusiasm and confidence towards Dix’s. A block away, he stops and puts down the mini suit-case and CANE. He grinds out his cigarette. We see him regarding his reflection in the window of a darkened hardware store. Behind the glass, the store has a huge selection of knives on display. The many blades each hold a small distorted version of Ramsey’s reflection. EXT. -- HIGH STREET - RAGU'S CAR - NIGHT Ragu pulls up to the curb across the street. We see that Ragu's right arm is now missing, the empty jacket sleeve tucked into the jacket pocket. He has developed an annoying personal tick; Intermittently giving a chesty hacking cough and rubbing his nose. We see stubble and disheveled hair.

(CONTINUED)

14.

CONTINUED: Even though the stick shift is on the steering column, stopping the car is a cumbersome process. He watches Ramsey through the open passenger-side window. His expression that of a vulture waiting for its turn at the corpse. Ragu continues watching as Ramsey lights another cigarette, picks up the case, and continues in to Dix’s Supper Club. Ragu checks his watch. INT. - DIX’S SUPPER CLUB - NIGHT MS. MEREDITH JONES, sultry blues diva, is center stage, bathed in lime-light. She is immaculate in her figure hugging black sequined dress. A grip pulls her blond hair to one side. She exudes confidence as she finishes singing a Count Basey number to an EXPLOSION OF APPLAUSE. She sees Ramsey descending the stairs and being shown to his table. She turns and talks to the band. The Conductor does the count in. On the third beat of his hands Meredith goes straight into "Downhearted Blues". The audience is enraptured. Dancers slow dance around the floor. INT. -- RAMSEY HOUSEHOLD - DINING ROOM - NIGHT Alice sits in a beautiful full red dress. Her hair is now shaped into a bob with a big kiss-curl on her for head. She is looking annoyed. The clock shows that it is after eight. The splendid meal lays untouched and cold. All the candles are half burned out. ALICE (addressing maid) Maria, you seen your family this week?

(CONTINUED)

15.

CONTINUED: MAID No, Mam. ALICE Then you'd better divide this meal between the rest of the staff and yourself and take the weekend off. Alice places a hand on MARIA'S shoulder. Respect and friendship is evident. She grabs the bottle of wine and a glass, and then exits. INT. -- DIX’S SUPPER CLUB - STAGE - NIGHT Meredith hands over to CHRIS SCHMIDT, THE PIANIST. MEREDITH (beckoning to Chris) On keyboard, Mr. Chris Schmitt. As the crowd applauds, Chris bursts into a solo flourish. Meredith exist the stage. INT. -- DIX'S - BACKSTAGE Ramsey is waiting for her in the wings. She signals that he should be quite and leads him to her tiny dressing room. MEREDITH (kissing Ramsey on the lips) Charlie, honey, I didn't think you'd make it. RAMSEY Nothing could keep me from you. MEREDITH Tell me you're gonna take me away from this place, to Paris, Venice, Rome. Tell me tonight's the first night of the rest of our life together.

(CONTINUED)

16.

CONTINUED: RAMSEY Almost my darling. Ramsey places the mini-case on the make-up table. Opens it, revealing The Eye of Judas. Meredith reaches for it. MEREDITH This 'aint no diamond ring. RAMSEY (grasps her hand) The Eye of Judas. It's a very ancient artifact ... MEREDITH (catching on) And what would such an artifact be worth? RAMSEY More than enough to make our dreams come true. MEREDITH (looks like she will cry) Oh, Charlie, Honey! RAMSEY The real kicker is that I'm selling it back to its owner. MEREDITH I love it when you're devious. RAMSEY I'll pick you up at noon tomorrow. Meredith throws her arms around him and they passionately kiss. The passion builds as we leave. INT. -- DIX’S SUPPER CLUB - STAGE - NIGHT The Pianist has finished his solo and is evidently expecting Meredith back on stage. He exchanges puzzled looks with the other band members. Then takes the initiative.

(CONTINUED)

17.

CONTINUED: PIANIST (beckoning towards saxophonist) Ladies and gentlemen, on Alto Sax, Max Monroe. The audience applaud again. EXT. -- HIGH STREET - RAGU’S CAR - NIGHT Dix's entrance reflected and warped by the convex lens of a bras nautical style telescope, which Ragu holds to one eye. He watches Ramsey step back onto the street. Ragu tosses the telescope onto the passenger seat and watches Ramsey walk to the end of the block and turn down a dark alley. He curses as he fumbles with the keys again to get the car started. He pulls away from the curb and drives off up the street. EXT. - THE ALLEY - NIGHT Here the only light is from the full moon. The SOUND of the TRAFFIC is very distant. FOOT STEPS ECHO. Ramsey’s shadow is huge and warped. Litter occasionally drifts by. Ramsey starts at the SOUND of a disturb scavenger CAT. RAMSEY (hissing under his breath) Darn cat. He nervously whistles a tune. The OFF KEY, DRIFTING, IMPROVISED MELODY. The sound appears to calm him a little. At the next corner, there is a single gas lamp. He fishes a scrap of paper from his pocket, flattens it out and checks the details. He frowns a little and looks at his pocket watch, slumps against the wall, putting the paper back away, fishes out a carton of cigarettes and stubs out his current cigarette. Cupping a lit match in his hands and bringing it up to light the cigarette. The flame casts a flickering shadows across his face. Ragu's cane knocks the hand and the cigarette away.

(CONTINUED)

18.

CONTINUED: RAGU Why so early? RAMSEY Ragu? I see Alice had a lasting effect on you. You pathetic excuse of a man. Ragu pulls a gun from his jacket. RAGU Oh, come now. From the way that you sleep with every skirt in town, I’d say that you hate them as much as I do. RAMSEY That’s not true. RAGU Self denial. How uninspiring. CONTINUED:

(1) RAGU (continued) Let me show how much of

a man I am. Ragu picks up the case, opens it, offering its contents to Ramsey. RAGU Touch it. (beat) Come on. Scared? (beat) Its beautiful, isn't it. You know you mustn’t touch. Oh, I can see you’re just so curious. RAMSEY You really are a sick man.

(CONTINUED)

19.

CONTINUED: RAGU And so, flattering. I'll make it easy for you. Pick it up and I won't shoot you. Come one. The cold faith of my 45 or the old faith of the Judda? Ramsey lifts The Eye of Judas up so that the moon light catches its many facets. RAGU (CONT'D) Beautiful. Yes? RAMSEY (shrugs) Yes. RAGU Now, observe its surface. See how it moves. Ramsey complies, as he stares at it his expression becomes trance-like. His CANE drops to the floor. Ragu grins and steps back. CONTINUED:

(2) RAMSEY Zut...

A ring or fluorescent blue forms at the point farthest from Ramsey and grows brighter as it works its way over the crystal’s surface. An HIGH PITCHED SCREAM, almost beyond the range of human hearing, can be HEARD building. RAMSEY (CONT'D) (continuing) Allor... Ragu stands in the shadows behind an overflowing dumpster. We HEAR the HIGH PITCHED SCREAM as it build further. He covers his ears as the SOUND of DOGS HOWLING begins. Throwing his head back, he joins in the howling.

(CONTINUED)

20.

CONTINUED: Ramsey’s arms fall to his sides. The crystal remains, levitating in front of him. The blue glow is now a perfect sphere around it. A broad beam of light strikes Ramsey’s chest. BONES and FLESH, SNAP and TEAR apart. Ragu laughs, an insane laugh. Ramsey’s CORPSE collapses to the ground. The blue light snaps out and the HIGH PITCHED SCREAM stops abruptly. We HEAR a GLASS like TINKLE. The crystal has fallen to the ground. For a couple of moments, everything is silent. Ragu glances around. He moves forward with the redundant arm of his suit jacket flapping behind him. He bends to pick up the fallen crystal. Realizing what would happen to him he fetches the open case and half kicks, half scoops the crystal back inside. The crystal locked safely away, Ragu uses his gloved hand to hastily bury the SILVER LADIES COMPACT in a pile of trash. CONTINUED: (3) He picks up the bag, Ramsey's CANE and dropped COAT, steps over a building pool of blood and runs down the alley. INT. -- THE RAMSEY HOUSEHOLD - ALICE'S ROOM - DAWN Alice lays, still dressed, asleep on the bed. The empty wine bottle lays by her bed. The glass in her hand hanging off the bed. She awakes with a start as a hand is clamped down over her mouth. Her screams are muffled by a rapidly tied gag. Klim walks out of the door. Two of his men drag a struggling Alice after him. INT. -- THE RAMSEY HOUSEHOLD - THE STUDY The room is a mess. Books and papers cover the floor. The shelf concealing the safe has been ripped from the wall.

(CONTINUED)

21.

CONTINUED: Alice has her face thrust up against the safe. A gun is pressed against her temples. KLIM Please. Open it. One hand is freed and she works through the combination. The mechanism clicks open and she is instantly tied to a chair. Ragu lifts The Crown from the safe. Throws papers and money to the floor. Then turns on Alice and rips her gag away. KLIM Where is it? ALICE Who the Hell do you think you are, Mister? KLIM I’ll ask the questions. The Eye is not here. Where is it? Alice looks completely confused by this. A plan starts forming in her mind. ALICE I have no idea what you're talking about. Klim snaps his fingers. One of his men steps forwards and presents him with an open case of silver knifes, needles and other pain inducing objects. KLIM (continuing) Either you tell me. Or I will make you tell me. Your choice. ALICE Okay, truth is, I don’t know. KLIM Enough. Tie her to the table.

22.

EXT. -- THE ALLEY - GAS LAMP - DAWN The gas lamp fizzles out. A FORENSICS COP uses a pencil to poke at the cavity in the corpse’s chest. He shakes his head slowly as he withdraws the pencil and looks quizzically at the thick, black blood that drips from its tip. There is already a white chalk outline around the body. Several UNIFORMED COPS are poking around the alley, tapingoff the area and taking notes from an OLD MAN in a dressinggown. DETECTIVE NED FISHER - a detective's, detective - surveys the scene. At once in charge, respected, and able to put his men at ease. COP#1 (turning from Old Man) Ned. CONTINUED: (1) Fisher touches the brim of his hat to acknowledge the welcome. FORENSICS COP (looking up from corpse) What do you make of this? The Forensics Cop’s accent is very definitely Irish. Fisher grinds out his cigarette under his heal and crouches next to the Forensics Cop. He pulls a face, which says, “what the hell is this?” He makes a fist and holds it up to the hole. It is much bigger enough to comfortably house the fist. FISHER Sawed-off shot-gun? The Forensics Cop continues rambling as Fisher methodically goes through coat, suite and pant pockets. He finds the paper with the instructions. FORENSICS COP Only thing sawed-off is your brain. Just look at this here hole. Goes as deep as the heart. No further.

(CONTINUED)

23.

CONTINUED: What sort of gun does that, I ask ya? Now if it had gone all the way through, then it could be a gun. Saw a man shot with an artillery shell once. Went clean through him. But this... FISHER Well, he was waitin’ for someone. He finds a handkerchief with lip-stick on it, a carton of cigarettes, a book of matches and a wallet. He holds them up. FISHER Made some dame’s night. Smokes European. Eats at Dix's. And is called... Fisher opens the wallet. He first pulls out a wad of bills, all large denominations. CONTINUED: (2) More than he earns in a couple of months. Next he pulls out a business-card and reads it: FISHER (continuing) Professor Charles Ramsey, Archaeologist and Dealer in Fine Antiquities. He is studying a warn black and white photo. The subject is a young woman wearing a wedding dress, vale pulled back. FISHER (continuing) Lucky ‘ol devil. Fisher stands and walks back out of the alley.

(CONTINUED)

24.

CONTINUED: (2) As he walks by the pile of litter where Ragu hid the SILVER LADY’S COMPACT, he absentmindedly kicks at it. The COMPACT slides out and is about to drop into a storm drain when Fisher saves it. He turns it over and over between his fingers. FISHER Well, what have we got here? The Forensics Cop looks over fishers shoulder. FORENSICS COP Perhaps not so lucky? FISHER Lucky people tend to push their luck, keep pushing it until either it falls of a cliff or someone else pushes it off for them. FORENSICS COP And this lucky chap hangs around in the rain without a coat. Back at the body the NEWSPAPER PHOTOGRAPHER lowers his camera, we HEAR the POP of other FLASH-BULBS. CONTINUED: (3) The corpse is momentarily caught in strobing light. Fisher is accosted by two reporters, pads and pencils at the ready. REPORTER #1 What's the story, Detective? He ignores them and continues on his way. EXT. -- THE RAMSEY HOUSEHOLD - DRIVE WAY - DAWN Fisher’s car pulls into the drive way, followed by two squad cars. We SEE a CURTAIN TWITCH. The cars stop at the door and Fisher steps out.

25.

EXT. -- THE RAMSEY HOUSEHOLD - FRONT DOOR - DAWN Fisher pushes the door-bell. On the third attempt, the door opens. Klim looks out at Fisher and four armed cops. He looks completely unfazed by their presence. KLIM May I be of service? FISHER (flashing badge) Detective Ned Fisher. Homicide. Sorry about the early hour but we would like to see Mrs. Ramsey. KLIM I’m afraid that she is still asleep. FISHER Then you will wake her. KLIM (considers options) Just one moment please. The door closes for a moment. CONTINUED:

(1)

FISHER What is he playing at? The door opens again. KLIM Madam will be down, presently. Klim leads Fisher and the cops into the reception area. One of Klim’s men appears to be polishing a table. Another waters a plant. Alice staggers into the room wearing a gown. FISHER Mrs. Ramsey?

(CONTINUED)

26.

CONTINUED: ALICE That’s Professor Alice Ramsey. FISHER Detective Ned Fisher, Homicide. I’d like to ask you some questions. ALICE This is not a good time. FISHER I’m afraid I must insist. Alice looks briefly at Klim, who remains expressionless. Alice appears tense. Fisher pick up on this. FISHER (continuing) Is there anything I should know? ALICE No. FISHER In that case. He pulls the SILVER LADY’S COMPACT from a pocket. Alice looks panicked. CONTINUED:

(2)

FISHER I take it this is yours? ALICE I lost that several months ago. FISHER Then how would you explain it being found at a murder scene. Your husband’s murder scene.

(CONTINUED)

27.

CONTINUED: (2) Alice is visibly shaking. Tears are flooding down her face. ALICE I don’t understand? FISHER Where were you last night? ALICE At home. Alone. FISHER Witnesses? ALICE (stammering) The Maid. FISHER (to Klim) Is the Maid available? KLIM (slightly panicked) We have no Maid. FISHER (to Alice) Then you will accompany us to the station. (to closes cop) Sergeant, escort Mrs. Ramsey to my car. CONTINUED:

(3)

KLIM But I must object. FISHER (handing him his card) Present yourself down-town by mid afternoon. Or I will put out a warrant for your

(CONTINUED)

28.

CONTINUED: (3) arrest. Fisher follows the cops out of the building. When they are out of sight Klim hits the table with his fist. KLIM Damn, dame. EXT. - DIX’S SUPPER CLUB - MIDDAY Meredith uses her keys to let herself in. INT. - MEREDITH'S DRESSING ROOM - MIDDAY She enters her dressing room to see a HUGE BUCKET OF ROSES and a CANDY STRIPED PARCEL ties with a bow. She smells the roses. MEREDITH Oh, Charles. Ramsey's COAT and CANE are placed on her chair. She unties the bow as she picks up the card by the flowers. The cards reads: ALL WHO STARE UPON THE EYE MUST DIE. Meredith removes the lid from the box. Inside we SEE STICKS OF DYNAMITE lashed together, with a BRONZE POCKET WATCH taped to the top. The long hand is one minute from the twelve. The short hand is on the twelve and the second hand has just passed by the tree. Wires run from a pin driven into the face at the twelve to the dynamite. Meredith carefully puts the lid back on before placing the box on the table and running off. EXT. - DIX’S SUPPER CLUB - MIDDAY A few short moments pass. The door bursts open as she hurls herself through into the gutter. In a beat she is back on her feet and runs across the street. MEREDITH I’ll never fool around with another married man.

(CONTINUED)

29.

CONTINUED: The blast of the explosion picks her up off her feet and through a shop window which shatters as she disappears from view. INT. - INSIDE FISHERS OFFICE DOOR - DAY We HEAR a KNOCK at the door. FISHER (O.S.) Come in. The door opens to reveal a humorously wrecked Meredith escorted by two COPS. Her make-up has run. Her dress is torn. Her hair is a disaster. A young flustered secretary MISS. MARJORY BUCKFAST removes herself from Fisher’s desk top. The situation looks a little suspect. Stocking tops show below a hiked up skirt. FISHER Thank you Ms. Buckfast. MEREDITH Ned. Why’d it have to be you? FISHER Meredith Jones. A real pleasure, as always. (to Cops) Its okay. CONTINUED: (1) Ms. Buckfast picks up two card files and follows the cops from the room. As she minces by Meredith she gives her a withering look. We are left with no doubt in our mind that Ms. Buckfast considers Fisher a personal territory. MEREDITH Our reputation always precedes me. (beat) Still personally house training your young secretaries.

(CONTINUED)

30.

CONTINUED: Meredith limps over, one heal missing. Fisher is examining fragments of Ramsey's Cane. FISHER And I see you’ve added another husband to the honor list. Lets see how that reads now ... He pulls a sheath of papers from a desk draw. FISHER Old Louise's heart attack, That stock broker's suicide leap, McAuley. Shot by another dame's husband. Bishop. Poisoned by his wife. Gomez was knifed in the back. Oh and then there was Richie. He really should have kept his eyes on the road and his hands on the wheel. Then we almost got you for Smith. O.D. (slamming papers to desk) And now this. MEREDITH (overlapping) Don’t get smart with me, Ned. Besides you missed Al's concrete boots. (beat) I really loved this one.

(CONTINUED)

31.

CONTINUED: (2) CONTINUED:

(2)

FISHER Sure. Enough that the wife would want you both out of the way. MEREDITH You're just sore that you lost your sweet-heart. FISHER On a clear night I can count my luck stars. MEREDITH Look ... He said she knew. Has known for a good while. FISHER Then you were in it together. MEREDITH Oh, come on. Neither of us are the killin' type. FISHER You can only claim that on a technicality. MEREDITH I'd say that no evidence is a pretty damn big technicality. FISHER You and I both know that there was plenty of evidence. We just didn't reckon on the evidence room officer bein'

(CONTINUED)

32.

CONTINUED: (3) sweet on you. MEREDITH After all we shared together, you still think I could kill. FISHER I know that you should be behind bars. CONTINUED:

(3)

MEREDITH So, you're arresting me? FISHER No choice. The phone rings. FISHER Excuse me. (picking up phone) The butler came in, ‘cos I told him to. What d’ you mean another butler. How many does she have! The sound of the door slamming draws Fisher's attention to the fact that Meredith has fled. FISHER Ah, damn. No, not you. Look I've gotta go chase a dame. Yup, story of my life. INT. -- PRISON CELL - BED - DAY Alice is now dressed in heavy white prison uniform. Pulling and twisting at one of the rods which form the bed’s headboard. They’re thin, like spokes. One comes free.

(CONTINUED)

33.

CONTINUED: She bends it at right-angles. Then takes her implement to the cell door. It is made up of solid steel bars. She carefully checks that she is not being watched. Pushing her hands through the bars she deftly picks the lock. She exits the cell and heads away from the main entrance. INT. - PRISON CORRIDOR - DAY Alice walks past another cell. PRISONER (O.S.) You sure smells purdie. How’d you get in here? PRISONER (O.S.) (continued) Ain’t gonna find nothin’ down that way. The hall dead ends. She tries door handles. One door opens and she steps through. INT. - BROOM CLOSET - DAY Alice switches on the light. The walls are lined with steel shelves. There is no window. PRISONER (O.S.) You gonna clean my cell. Bet you’re real clean. She looks under shelves, scoops their contents to the floor. Amongst the mess is a book of matches. She picks them up and then picks up a bottle with a LARGE RED FLAME printed on the side of it. "Danger" printed under it. INT. - HALL WAY - DAY Alice leaves a trail of liquid part of the way back to her cell. PRISONER (O.S.) What you doin’? That ain’t no way to clean nothin’.

(CONTINUED)

34.

CONTINUED: Come in hear an I’ll show you how to cleanup. She turns and holds the match up so that the PRISONER sees it. PRISONER (O.S.) (scared) You don’t wanna do that. That could hurt someone. Didn’t mean to upsets you, lady. (shouting) Guards! Guards! She gonna burn me. She lights the trail of liquid. The flame runs all the way back to the Broom Closet, and under the door. INT. -- PRISON CELL - DOOR - DAY A second later their is an explosion. Black smoke billows by the door. Cops run by. PRISONER (O.S.) Ahhhh - I’m burnin’! Alice checks the hall. Two COPS are trying to put out the fire with a fire extinguisher. Another is opening the next cell down. She ducks out the way that they came in. INT. - PRISON CORRIDOR - DAY Alice heads to what she thinks is the rear of the building. She runs under a SIGN which reads: POLICE PERSONNEL ONLY. Cops run by in the opposite direction. One COP stops her. COP Hay you’re not allowed back here. How’d you get by the sign anyway?

(CONTINUED)

35.

CONTINUED: ALICE Oh, I just walk right under it. As the Cop considers this, Alice carries on her way. Eventually finds the rear door. It is unlocked. EXT. - POLICE STATION - FRONT STEPS - DAY Meredith run's down the steps towards A CAR. Cops are following her through the door. COP #1 Hay lady, stop. An doddering OLD ATTORNEY is unloading expanding files from the trunk of the car. Meredith gets in the car and is starting it up when a LARGE EXPLOSION is heard at the back of the building. The Old Attorney looks back at the police station. Then at the approaching cops. COP #2 Forget her. That was the holding cells. Meredith drives away. The Old Attorney leans back against his car, which is no longer there. He falls to the street. EXT. - ALLEY - DOORWAY - DAY Alice runs out onto the road, catches her breath and then heads towards the street. We HEAR the WAIL of the ALARM in the distance. Squad car SIRENS join the chorus. EXT. - STREET - ALLEY ENTRANCE - DAY Alice sees a car approaching. She runs out in front of it, waving her arms. It screeches to a halt. She jumps in next to the driver.

(CONTINUED)

36.

CONTINUED: The driver is Meredith. They both stair at each other, mouths open. They look each other over. Meredith post explosion, Alice in a prison uniform. The SOUND of a police SIREN starts closing from behind. Meredith makes a decision. MEREDITH Where to sister? ALICE A shower? The car moves off. Moments later squad cars shoot by. INT. -- THE JUDDA’S TRAIN - THROWN COACH - DAY Klim’s head is bowed. He is pail. A cold sweat beads on his brow. KLIM But, My Lord, we had no choice. The Antique Dealer was dead, the Eye was gone and his wife refused to talk. If I were to have aroused their suspicions, we would have lost everything. JUDDA Dead men are hard to arouse. KLIM (stammering) But, I JUDDA You fail me and now you question me? Oh, Klim, I think you forget your station, forget what happened

(CONTINUED)

37.

CONTINUED: to your father. How forgetful is a man without his head, I wonder? Guards. Two guards step forward and seize Klim. One places the blade of his scimitar at the back of Klim’s neck. KLIM I am at your mercy. JUDDA You will always be at my mercy. I have eyes and hands everywhere. Fail me again, you die. Restore to me The Eye of Judas. EXT. - MEREDITH’S APARTMENT BUILDING - DAY It is the prototypical apartment block. Eight stories of redbrick and square white windows. Meredith pulls up out front and leans over to the back seat. MEREDITH We’re at my place. Here are the keys. Six Oh Six. I’ll be up in a few minutes. (cutting Alice off) Go, before someone sees. Gotta ditch these wheels. There hotter than my act. Alice clambers out and briskly walks to the door. Once she is inside Meredith drives off.

38.

INT. - MEREDITH’S ROOM - DAY Her room is just that, a room. It has a sink built into the wall, a window which faces a brick wall, and an unmade bed. The closet is overflowing with cloths. Alice is sitting on the bed in a robe. She stares at a photo. Meredith walks in. MEREDITH We were in love. ALICE (looking at photo) How long? MEREDITH Almost five months. Meredith places a hand on Alice’s shoulder. Alice spins away. MEREDITH (continuing) I know he loved me. ALICE Honey, you don’t know a damn thing. MEREDITH (with certainty) I know he was selling that stone so that we could be together. ALICE Stone? The Eye? MEREDITH Yes. Why? Alice throws the picture at the wall. The glass shatters. She starts to cry. Holds it back. Looks directly at Meredith. ALICE I risked my neck for that damn thing. I risked my neck so that he could run

(CONTINUED)

39.

CONTINUED: off with you. MEREDITH I didn’t know. ALICE You didn’t care! I guess it had to happen eventually. We were husband and wife for the shortest time. Then he lost himself in a series of affairs. Charles was my professor at college, you see. He encouraged me to pursue my passion. We were married before I realized that I was just a curiosity to him - a young girl with a love for archeology and history. So, I lost myself in my study and research. I thought, that this last find would bring us back together again. Alice allows Meredith to embrace her. She sobs quietly. MEREDITH Last guy I was seeing turned up with concrete boots. ALICE Sorry. This is selfish of me. It must hurt you too. MEREDITH I’m getting kinda used to it. Alice pulls away, shocked. MEREDITH I hate this town. Alice can’t stop herself from laughing. Meredith joins in. ALICE (drying her eyes) I guess that when you’re robbed, framed for your husband’s murder and have your life threatened, you’re supposed to do something about it.

40.

INT. -- MEREDITH’S ROOM - DOOR There is a KNOCK on the DOOR. MEREDITH (O.S.) Just a minute. Meredith looks through the peep-hole. MAN (O.S.) Police. Open up. INT. - HALLWAY - DAY The image is warped by the peep-hole’s lens. It is still clear that the men in view are not police. We recognize them as the JUDDA’s MEN. INT. -- MEREDITH’S ROOM - DOOR Meredith turns to Alice. MEREDITH (quietly) Don’t look like any cops that I’ve ever seen. (loudly) I’m in the shower. This evidently doesn’t convince the men. We HEAR the THUD, THUD of BOOTS KICKING at the door. ALICE (pulling on pants) The fire escape? MEREDITH Don’t have one. Alice leans out of the window. There is a foot wide ledge. A hundred yards or so away is the fire escape. Alice starts to climb through the window. MEREDITH Are you mad? We’re six stories up! Alice ignores her and climbs onto the ledge.

(CONTINUED)

41.

CONTINUED: Meredith sits for a moment on the bed. There is the SOUND of SPLINTERING wood as the door frame starts to give. The bed is now vacated. EXT. - LEDGE - DAY Alice is almost at the fire escape. MEREDITH (muttering to herself) Don’t look down. Don’t look down. Oh. No. Meredith looks down. The street below sways sickeningly. She freezes. INT. -- MEREDITH’S ROOM - DOOR The door comes clean off its hinges. THE JUDDA’s MEN run in. One turns the bed over. Another rips the cloths from the closet. Yet another looks in the bathroom. At the same moment they HEAR MEREDITH SCREAM. They move to the window. EXT. - LEDGE - DAY Meredith has lost her footing. Alice is edging her way back to her. ALICE You had to look down, didn’t you? MEREDITH I’m gonna fall. Getting still closer. She sees one of the Judda’s Men climbing uncertainly onto the ledge. ALICE I’ve got ya. You are not going to fall.

(CONTINUED)

42.

CONTINUED: Alice’s hand closes over Meredith’s. Meredith relaxes and follows Alice to the fire escape. MEREDITH Thanks. Thought, I’d had it there. ALICE Don’t mention ... Before she can finish, the hand of one of the Judda’s Men closes over Meredith’s free hand. A tug of war ensues. Meredith repeatedly almost looses her balance. Then she slips, falling from the ledge. She takes the man with her. Alice manages to wrap her arm around a drain-pipe as she swings away from the building. As their fall is arrested, the man looses his grip and falls. Six floors below he smashes through a green-house roof. ALICE Hold on. MEREDITH You think I need telling that. Alice starts pulling herself closer to the wall. The weight is clearly overwhelming her. Another of the Judda’s men is now closing on her along the ledge. Two more men climb out onto the fire escape. The DRAIN-PIPE GROANS. Rivets pop from the wall. The drain-pipe peals away from the wall at increasing speed. Alice and Meredith SCREAM. EXT. - GREEN HOUSE - DAY The fallen member of the Judda’s Men MOANS, and extricates himself from the destroyed heap of plants, pots and earth. He HEARS SCREAMING and looks up just in time to see Alice and Meredith descend through the hole in the roof, at the end of the drain-pipe. Alice finally has to let go of Meredith.

(CONTINUED)

43.

CONTINUED: Meredith lands squarely on the head of the man. They both fall to the ground. Alice and the drain-pipe follow. EXT. -- GREEN HOUSE - PILE OF BODIES - DAY Alice picks herself up. ALICE That was different. Meredith stands. MEREDITH Next place I rent will have a fire escape. The man starts to stand. Meredith clubs him with a section of drain-pipe. ALICE Oh no. MEREDITH Its okay. He's out for the count. ALICE No! Alice points to the remaining members of the Judda’s Men jumping over a fence. ALICE This way. MEREDITH No, this way. They both head off in different directions. EXT. -- GARDENS - DAY The gardens occupy a square of open space at the center of the block of apartments. Alice is running through a blur of fences and hedge-rows, rose beds and trees. Each obstacle slowing her a little as the Judda's Men close. We HEAR her BREATH, FAST and LABORED. Another of the Judda's men is laid out as he hurdles a fence after Alice and lands on the business end of a shovel. The handle hits him full in the face and he doesn't move again.

(CONTINUED)

44.

CONTINUED: Eventually Alice makes it onto a service road. But she is at the point where it dead-ends. Turning to head back the other way, she finds herself surrounded by the Judda's Men. She picks up a discarded section of piping and swings it at any man who gets too close. ALICE I warn you, don't come any closer. The circle tightens. Alice hears something and looks up beyond the men. The SOUND of A CAR HORN makes the Judda's Men spin around. The car is moving at speed and drives through the men, sending them diving in all directions. It SCREECHES to a halt inches away from Alice's feet. MEREDITH Don't just stand there. Get in. Alice does so. ALICE Thought I'd lost you. Meredith slams the car into reverse and accelerates backwards out of the service road onto the street. MEREDITH Even when people loose me, I don't get lost easy. EXT. -- STREET - CAR - DAY Through the rear window we see the Judda's Men run into the street. They are already half a block away. MEREDITH Where do we start? Alice looks like she thinks Meredith is insane. MEREDITH (continuing) Come on, much as you hate

(CONTINUED)

45.

CONTINUED: it, he was my man too. (beat) Besides this is a trend that needs to stop before I date some other poor lug. Way I see it ... We’ve both got only pieces to this puzzle. And we don’t know what picture we're trying to make. MEREDITH (continued) And I need to clear my name too. ALICE They think you did it too? What's the matter, don't they think a dame can kill a guy by herself? (beat) Just don't get in my way. MEREDITH Don't plan to. So? ALICE First we reward someone for returning some lost property. EXT. - OLD WAREHOUSE - DAY Alice and Meredith walk down the full length of the warehouse. Laborers stop in mid action to observe these two women. We HEAR a WOLF-WHISTLE.

(CONTINUED)

46.

CONTINUED: LABORER #1 What you ladies doing later? LABORER #2 ‘Dat dames Meredith Jones. LABORER #3 I’d sure luv to make ‘er sing. This last statement triggers something in Alice. She walks over to the Laborer. ALICE Apologize to my friend. LABORER #3 Who the hell do you think you are lady. Alice removes the gun that she had stowed down the back of her pants. She levels it at the Laborer, who is no looking quite pail. ALICE A dame with a gun. The Laborer#3 runs off. Meredith looks slightly shocked. INT. -- OLD WAREHOUSE - TELEPHONE BOX - DAY Laborer #3 finishes dialing. As he place the phone to his ear we see the now familiar Tattoo. LABORER #3 That dame you’s was lookin’ fur. She just turned up with ‘er dead husband’s tunin’ fork. INT. - RAGU’S OFFICE - DAY Ragu cautiously opens the door in response to the incessant knocking. He pears around the edge of the door. RAGU Who’s there? A gun barrel is jabbed into his forehead. He pulls back and repeatedly slams the door against the gun.

(CONTINUED)

47.

CONTINUED: Eventually he runs off. There is a single shot. The lock shatters and the door opens. Meredith follows Alice into the room. Ragu is getting ready to jump from a window. ALICE Now, Now, Mr. Imally. Must you leave so soon? Alice fires another shot. Ragu staggers back against a wall and raises his hand above his head. ALICE (continuing) Not quite the man you used to be. Ragu does his cough and lowers his hand just long enough to rub his nose. RAGU You did this to me. Alice smirks. ALICE Then you’re lucky that I wasn’t in a bad mood. Meredith... Meredith pulls a chair around. MEREDITH If you’ll be seated. We’ll begin. RAGU (sneers) Hope you liked the flowers. INT. -- RAGU’S OFFICE

- RAGU BOUND TO CHAIR - DAY

ALICE So why’d you cap my old man? RAGU I didn’t Cap, anyone.

(CONTINUED)

48.

CONTINUED: Alice pistol whips him. Meredith is disgusted. ALICE Liar! Ragu braises himself for the impact of Alice’s swing. MEREDITH No! She stops Alice’s blow from falling. CONTINUED: (1) MEREDITH (continuing) What the hell do you think you’re doing? ALICE I told you to keep the hell out of my way. Alice aims her gun at Ragu. Ragu is screaming, pleading. ALICE (continuing) Vermin like this don’t deserve to live. RAGU I didn’t do it. It was The Eye. MEREDITH Oh come one. I’d kill for a bauble like that, but it can’t just kill someone. (taking gun) Gimme that here. ALICE No, I want to hear what he has to say.

(CONTINUED)

49.

CONTINUED: (2) RAGU The Eye, The Crown and The Judda make up an unholy trinity. Any two parts, without a third, destroy each other. Your husband stared upon the eye. He paid the consequence. Only a Crowned Judda can do such a thing. MEREDITH Sorry, I must be missin' something. The Judda is what? CONTINUED:

(2)

ALICE The third part of the trinity. A Myth. RAGU If only it were. I despise your arrogance. You deserve The Judda and his minions. MEREDITH What’s this, a Vaudeville? ALICE The Judda is the mythical leader of a nomadic people who have roamed the earth since before the rise of Christianity. He is said to occupy the sole of all whom

(CONTINUED)

50.

CONTINUED: (3) he rules. MEREDITH People say the Mafia is just a myth too, and love, and the Easter Bunny. ALICE So where is The Eye now? The Police? The Judda? RAGU Safe. MEREDITH Where? RAGU Where is The Crown? ALICE The Judda’s men took it. RAGU I rest my case. THE DOOR explodes into match wood. The Judda’s men storm into the room. Klim follows behind. Fully composed. CONTINUED:

(3)

KLIM Please forgive me for doubting your word, Mrs. Ramsey. ALICE Ah, my manicurist. MEREDITH Your manicurist? KLIM (to Ragu) You’ll beg The Judda’s mercy, like your father did before you.

(CONTINUED)

51.

CONTINUED: (4) (to Judda’s men) Search this place. Alice and Meredith are forced up against the wall at gunpoint. Their hands bound. MEREDITH Your manicurist? Klim is handed his torture tool case. KLIM Time is short. And your number of chances are half those of most men. So, I suggest you tell me where The Eye of Judas is before your other five chances are lost. Ragu's hand is forced flat on the table. Men tear panels from the walls, break tables and filing cabinets to pieces.

desks and

RAGU Death doesn't frighten me. KLIM Its not the being dead, Mr. Imally. Its how you get there that counts.

(CONTINUED)

CONTINUED: (4) Klim selects a particularly fierce saw like implement. MEREDITH Lucky I had my nails done last week. He demonstrates its action on the edge of the desk. Ragu, is panicked. Even though he says nothing Klim notices Ragu quickly glance at an area in the center of the room.

(CONTINUED)

52.

CONTINUED: (5) KLIM You pathetic fool. How easy it is to make your fear betray you. He walks to the center of the room. Studies the area and signals the Judda's men to pull a rug back. A trap door is revealed. Behind it is a smugglers den full of dust, weapons, art and other contraband. KLIM (continuing) Well what have we here? Quite the collection. Men are instantly searching the space. One reappears with the MINI SUIT CASE. KLIM (continuing) Hm. You disappoint me. I had hoped for more ... entertainment. And after all our trouble I feel you owe us a show. Klim takes a pair of tongues and lifts The Eye of Judas from the case. He then holds it in front of Ragu's eyes. Ragu is mesmerized. KLIM (hypnotically) Look into The Eye. It is your destiny. CONTINUED: (5) Ragu tries to look away, but a pair of hand grasps his head and forces it back around. KLIM (continuing) Do not fight it. Let it

(CONTINUED)

53.

CONTINUED: (6) inside. Come now. You know you must embrace it. Another hand takes Ragu’s and forces it to clasp The Eye of Judas. The blue ring appears on around The Eye. The SOUND starts to build. MEREDITH Why do I have a bad feeling about this? ALICE You need an explanation? As Ragu's head lolls back, Klim releases his hold on The Eye. It remains in the air. Klim appears to be getting a sexual thrill from the scene. The murderous cycle of The Eye of Judas repeats itself. Ragu's death is every bit as horrific as that of Ramsey. As the SOUND stops and the light snaps out, Klim catches The Eye before it can hit the floor. He is pleased. Alice and Meredith are in shock. Klim claps his hands and Alice and Meredith are carried bodily from the room. KLIM (O.S.) Well, you ladies are in for a real treat. You will have the honor of being the first women to service our Lord, The Judda, in over twenty years. EXT. - WAREHOUSE - DAY Alice and Meredith are loaded into one of a number of cars. A POLICE MAN, approaches.

(CONTINUED)

54.

CONTINUED: POLICE MAN Here, that's that Alice Ramsey woman. (shouting) You. Stop where you are. He aims his gun, noting the large number of Judda's men. POLICE MAN (continuing) They don't pay me enough for this gaff. The Judda's men ignore him. POLICE MAN (continuing) I said stop. The cars drive off. He runs after them blowing his whistle and firing shots at the rear car. EXT. - MAIN STREET - DAY The cars drive by a side street. A squad car in the junction starts its siren and accelerates into the road behind the cars. It is rapidly joined by several other squad cars. The rear car allows the a squad car to pull along side. The COP DRIVER looks over to see the barrels of several guns pointed at him. They open fire. His squad car careens off the road and into a fruit and vegetable store. The next squad car approaches the COP PASSENGER firing at the rear car. The rear car makes a turn. The squad car follows. COP PASSENGER still firing. The next to cars in line go left and right. The remaining squad cars split up to follow. INT. -- KLIM'S CAR - REAR SEAT - DAY MEREDITH Never thought I'd be so glad to be chased by the cops.

(CONTINUED)

55.

CONTINUED: ALICE Give it a rest. EXT. -- STREET -

KLIM'S CAR - DAY

Crosses several intersections. Squad cars follow. They make a hard turn, loosing the lead squad car as it skids by the turn and down an open stair well. Klim's car turns into a train yard. Trains are shunting stock around. Others are moving out of the yard onto the main tracks. The car drives up a ramp in to the back of a freight-car. The ramp drops away. The door slides shut and the train joins the others in their complex lumbering dance. By the time the first squad car pulls into the train yard, their is no way to tell which train is which. COP DRIVER They'll have our badges for this. INT. - DET. NED FISHER'S OFFICE - DAY Fisher is on the phone. He is exasperated by the apparent stupidity of the person on the other end of the line. FISHER What do you mean, they vanished? They must have got on one of those damn trains. Well how many places do they go? Forget those that go inland. Call me a crazy old fool, but my bet is they want to get outta this country, not go deeper into it.

(CONTINUED)

56.

CONTINUED: CONTINUED: FISHER (continued) So that leaves

(1)

what? North to Canada. South to Mexico. And the San Francisco docks. I want men at every stop between here and the borders. I'm puttin' my money on them takin' a little old cruise out of San Francisco. Okay, get moving. He hangs up and stands. Puts on his jacket. Picks up his hat. FISHER (shouting) Miss. Buckfast. (louder) Miss. Buckfast! MISS. MARJORY BUCKFAST enters. BUCKFAST Yes, Detective Fisher. FISHER Call me my car. BUCKFAST Yes, Detective Fisher. She starts to leave. FISHER And call the air field. I need a plain to take me to San Francisco. She stops.

(CONTINUED)

57.

CONTINUED: (2) BUCKFAST Yes, Detective Fisher. She starts to leave. CONTINUED:

(2)

FISHER And call ahead. I want men and a car waiting. Ask for Detective Driskill. Say I told you to. She stops. He walks past her. BUCKFAST Yes, Detective Fisher. She follows him. FISHER And I need to know where all the trains headed from here to San Francisco will off-load. Ask Driskill. Say I told you to. BUCKFAST Yes, Detective Fisher. As Fisher walks off, Buckfast picks up the nearest phone. BUCKFAST Jack. Margie Bring Fisher's car round front fast. He's got a real bee up his ass 'bout somethin'. INT. -- THE JUDDA’S TRAIN - THROWN COACH - DAY Klim kneels at the foot of the steps, head bowed, open chest with The Eye of Judas held up to his Lord. A tear rolls from the Judda’s eye.

(CONTINUED)

58.

CONTINUED: JUDDA Finally, our nation will be at one again. We must do this the right way. Our reunion must be celebrated. And we have women. Its been so long since we’ve had women. Prepare them. Bring them to me. INT. -- THE JUDDA’S TRAIN - PRISON CELL - DAY The GUARD #1 steps in to the cell and throws cloths at the feet of Meredith and Alice. GUARD #2 remains outside and locks the door. GUARD #1 unties Meredith. Alice’s hand slips over his mouth. Meredith draws his scimitar and holds it to his neck. INT. -- THE JUDDA’S TRAIN - OUTSIDE CELL The guard at the door looks through the small opening at its top. He has a very limited view of the guard and two women dressed in skimpy outfits with vales. He opens the door. Two sets of hands grab him and drag him through the door. INT. -- THE JUDDA’S TRAIN - INSIDE CELL - DAY Alice is in the first guards uniform. ALICE I didn’t think anyone was dumb enough to fall for that. Meredith is pulling tunic of the second guard over her head. She looks a little uncomfortable.

(CONTINUED)

59.

CONTINUED: They leave the guards lying, bound and gagged. The skimpy outfits are way too small for them. MEREDITH (O.S.) Decapitation would have been more humane. INT. -- THE JUDDA’S TRAIN - OUTSIDE CELL - DAY Meredith and Alice head towards the front of the train. At the door they see a guard and beyond the engine. So they head back down the other way. At this end is another door and a guard, beyond him is a coach full of guards. The only way is up. EXT. -- THE JUDDA’S TRAIN - COACH DOOR - DAY The SOUND of the ENGINE’S WHISTLE is deafening. To door opens. Alice raps an empty stocking leg around the neck of the GUARD and tries to drag him in to the coach. He is stronger than expected and drags her out onto the ledge by the coal scuttle. The struggle progresses rapidly. Mouths move but the only SOUND heard is the TRAIN, punctuated by its WHISTLE. Meredith pushes the guard up against the rail. This causes Alice to be flung like a sling shot over the rail. Alice’s feet dangle inches from the track. She holds on to the stocking leg, which is wrapped around the suffocating Guard’s neck. Her weight finally kills the Guard. He falls from the rail. Meredith is leaning over the rail and holding Alice by the wrists. EXT. -- COACH 1 - ROOF - DAY They climb onto the coach’s roof. The smoke is thick and black. The cross wind occasionally revealing the rest of the train. At the end of each coach a guard is seated facing the rear of the train.

(CONTINUED)

60.

CONTINUED: Meredith heads off along the roof and is about to take a swing at the guards head when a signal almost knocks her off her feet. The GUARD notices and stands to defend himself. Alice had to duck for the signal too and looks over to see the struggle going on. Meredith has successfully knead the guard in the crotch. He is barely effected. As they swing round, the guards back is to Alice. The Guard raises his scimitar. Meredith prepares herself for the blow. But It is the Guard’s body that strikes her, before falling from the roof. Alice stands behind with the bloody scimitar. Her attention is focused on the end of the next carriage where GUARD #2 has got to his feet and is staggering towards them. This one has a gun in his hand. GUARD #3 looks over the rim of the roof and then ducks back inside. INT. -- COACH 2 - DAY GUARD #3 On the roof. The coach is full of Guards. They start exiting the rear and front doors, through the windows etc. EXT. -- COACH 2 - ROOF - DAY Guard #2 raises his gun and grins as Alice and Meredith throw themselves flat. We HEAR a dull thud as Guard #2 is laid out by another signal. He rolls to the roof edge. Alice grabs the gun and arrests his fall. Guard #3 looks fearful of his life as he hangs from the strap. Meredith cuts the strap and the man falls.

(CONTINUED)

61.

CONTINUED: Two GUARDS approach Meredith from behind. ALICE (shouts) Get down! Meredith does and Alice hits GUARD #3. GUARD #4 tries to get out of the way, looses balance and falls from the train. Meredith picks up a dropped Thompson automatic and starts shooting at anything that moves. Alice clears a jam and fires on GUARD #3. Her aim is wild and hits him in the legs. He screams as he falls from the roof. The recoil takes Alice by surprise and she almost follows her foe. INT. -- COACH 2 - DAY A GUARD #4 indicates that they should shoot through the roof of the carriage. They set up an early Gattling-gun. THE GUNNER, a guard with a helmet and goggles, presses the handles together. He has a manic grin on his face that is so full of plaque that its hard to tell if any teeth still actually exist. The SOUND of MACHINE GUN fire is so load that nothing else can be heard. Flying cases and smoke fill the space. The Gunner does not notice that the bullets are not going through the roof but ricocheting off it and killing everything else around him. A full thirty seconds pass. The maelstrom stops. The dust clears and the plaque grin turns into to a look of horror. Every one is dead.

62.

EXT. -- COACH 2 - ROOF - DAY Meredith and Alice look around them. MEREDITH Guess we showed them. ALICE Just can’t handle real women. They cautiously climb down from the roof. INT. - COACH 2 - DAY Alice and Meredith find The Gunner sobbing in the middle of all his dead companions. They leave him to his crying, pick up new guns. Meredith throws a bandoleer of stick-grenades over her shoulder. ALICE Ever thought of joining the mob? MEREDITH Almost married it. Almost got fitted for concrete boots too. Lucky I have a fan in the evidence room. INT. -- THE JUDDA’S TRAIN - THROWN COACH - DAY The Judda is outraged. Klim is trying to calm him. KLIM There is no way for them to get to us. There are twenty of our best men between them and us. The intercom probably got damaged in a fire-fight. He does not look too convinced by his own words.

(CONTINUED)

63.

CONTINUED: JUDDA Kill them, or I’ll kill you. KLIM As you wish. EXT. -- THROWN COACH - DOOR - DAY The Judda’s carriage door is locked. MEREDITH The only way is up. ALICE I was afraid that you were going to say that. Gimme a boost. EXT. -- THROWN COACH - ROOF - DAY Alice pulls herself onto the roof. Lays flat and helps pull Meredith up. ALICE (shouting) Check the windows. Meredith considers this. MEREDITH (shouting) No, you check the windows. ALICE We don’t have time for this. MEREDITH After you. Meredith holds onto Alice’s ankles as she is lowered over the side. EXT. -- THROWN COACH - WINDOW - DAY Through the window Alice observes The Judda’s chamber. She sees more than a DOZEN members of THE JUDDA’S PERSONAL GUARD. They move like well greased gears in a precise machine. Weapons are being handed out. Scimitars sharpened. Orders given.

(CONTINUED)

64.

CONTINUED: The GUARD by the window turns to the window. Alice moves quickly back to the roof. EXT. -- THROWN COACH - ROOF - DAY MEREDITH Well? ALICE You really don’t want to know. Alice grabs Meredith’s hand and drags her to the caboose where she once again looks over the edge. EXT. - CABOOSE - WINDOW - DAY This time Alice sees the boxes containing The Eye and Crown. TWO of THE JUDDA’S PERSONAL GUARD are visible. One is on an intercom, at the rear of the Caboose, talking. Alice returns to the roof. ALICE Pay dirt, honey. All we need’s a key. Meredith moves towards the back of the Caboose. ALICE Where the hell are you going? MEREDITH To use my key. Meredith leans over the back of the caboose. She pulls a pin and drops the bandoleer of stick-grenades by the rear door. She quickly returns to the roof. MEREDITH Make like mascara! ALICE What? MEREDITH Run! They run to the other end of the Caboose.

(CONTINUED)

65.

CONTINUED: The explosion blows away the entire back wall and part of the roof. The door still remains. INT. - CABOOSE - DAY Alice and Meredith lower one another into the space occupied by the boxes. There is no sign of THE JUDDA’S PERSONAL GUARD. MEREDITH We did it. ALICE Not quite. We have to get these and our asses away from the rest of this train. MEREDITH That’s the easy part. ALICE Well. MEREDITH Just unhitch the Caboose. ALICE Just when I feel sure that you’re as dumb as you look you pull something like this. Meredith walks to the door between the Caboose and The Judda’s Thrown Carriage. She throws lock after lock open. Finally heaving the heavy door open. INT. -- CABOOSE - FRONT DOOR - DAY Alice is unloading The Crown and The Eye of Judas. MEREDITH (O.S.) Just when I feel sure that

(CONTINUED)

66.

CONTINUED: things are getting better someone pulls something like this. Alice turns to see the open door framing another Gattlinggun. It is pointed directly at them. They look at each other and then at up at the hole in the roof. A row of THE JUDDA’S PERSONAL GUARD bring guns to bear on them. INT. -- THE JUDDA’S TRAIN - THROWN COACH - DAY Meredith and Alice tied to two wooden frames. One at each side of the Judda’s thrown. JUDDA And I wondered why there are so few women amongst my people. Still it would be a terrible waist if I were to kill you now. I will give your pitiful lives some meaning by allowing you to be sacrificed at our re-unification. For now your pain will serve as entertainment. I have so missed women. MEREDITH That’s all we need. A bad guy that doesn’t like

(CONTINUED)

67.

CONTINUED: women. JUDDA Its not I that dislikes women. Women have never really like me. MEREDITH Well, you’re personal hygiene is questionable. MEREDITH (continued) You’ve the personality of an old corpse and evidently no sense of humor. JUDDA I like this one. Try not to kill her. MEREDITH I have to warn you. My lovers have a habit of turning up dead. JUDDA Gag her. (to Klim) Make them sing for me. Klim nods and returns to a table of familiar implements. EXT. - SAN FRANCISCO DOCKS - NIGHT The train SCREECHES to a halt by the Judda’s Ship. The awaiting crowd swarm over the carriages. The bodies of the dead are carried up the gangway. THE JUDDA’S PERSONAL GUARD act as pall-bearers, hoisting The Judda’s sedan chair onto their shoulders and positioning themselves along side his Thrown Carriage.

(CONTINUED)

68.

CONTINUED: The Judda uneasily settles his weight into the chair. EXT. - ALICE’S RACK IS CARRIED UP THE GANGWAY - NIGHT Meredith is also still tied to her rack. Alice weekly tugs at her bonds. Meredith hangs, unconscious. Both are born on the shoulders of CREWMEN up the gangway behind The Judda. He is, in turn, carried behind The Crown and The Eye of Judas. Klim at the processions head. The cortege moves sullenly onto the ship’s deck and down into one of the vast open cargo holds. INT. - CARGO HOLD - NIGHT The corpses have been piled in the center of the hold and set alight. Burning torches light the rest of the interior. The Judda transfers from his sedan chair to his thrown. A GROUP OF MONKS in satin robes CHANT a DEEPLY RESONANT MANTRA, whilst rocking back and forward on their knees. MONKS Jud-Dah. Jud-Dah. Jud-Dah. JUDDA My people. The CHANTING spreads through the hold. Grows louder. JUDDA (continuing) Tonight, The Judda become whole again. Tonight The Judda becomes strong. And tomorrow we will re-initiate the process of growth that will see The Judda claim its rightful place as masters of all infidels. One monk throws back his head and SCREAMS a STRING OF BABBLED WORDS. He is followed by a growing number of yells.

69.

INT. -- CARGO HOLD - MEREDITH’S FRAME - NIGHT As the SCREAMING grows in volume, Meredith’s eyes snap open. ALICE Welcome back. MEREDITH This is a nightmare, right. ALICE Oh sure. Just we ain’t sleepin’. MEREDITH Is this where I have another bad feeling? Alice nods. She looks defeated. INT. -- CARGO HOLD - JUDDA’S THROWN - NIGHT Klim throws his arms in the air and falls to his knees. His head bowed. MONK #1 carries The Crown of Judas and places it on the Head of the Judda. MONK #2 carries The Eye of Judas up to The Judda’s side and stands with the chest open. Klim then stands directly behind his master. He takes a pair of ceremonial calipers and places The Eye of Judas in its mounting on top of the crown. The scream of the congregation is now accompanied by that of The Eye of Judas. INT. -- CARGO HOLD - MEREDITH’S AND ALICE - NIGHT MEREDITH Is this the point where we look away? ALICE That no longer matters. The trinity is complete. The

(CONTINUED)

70.

CONTINUED: Judda now has the power to control whom he wants. INT. -- CARGO HOLD - JUDDA’S THROWN - NIGHT A sphere of blue light encompasses The Eye, The Crown and The Judda’s head. He throws his arms out and threads of blue light cascade from the sphere of light and penetrates the eyes of every person in the congregation. Then the same thing happens between each man and the man closest to him. Forming an expanding web. Alice watches as the web moves towards her, and then washes over her. Everything goes blue and then to black. INT. - CARGO HOLD - NIGHT Everything is black. SOUND is WARPED. JUDDA (O.S.) Pity, I was hoping they would both become at one with us. Still, a few failures are always to be expected. Dispose of her with the others. EXT. - SHIP’S DECK - NIGHT Klim walks up a line of men. All have their heads bowed. Each is chained to a sack. He pauses at each man. Whispers in their ears, places a hand on their forehead and then moves on. TWO of THE JUDDA’S PERSONAL GUARD follow behind. Picking up each man in turn and throwing them over-board. Last in line is Alice. KLIM Have you any last requests? ALICE Go to hell.

(CONTINUED)

71.

CONTINUED: KLIM I’m afraid you didn’t pass the entrance exam. ALICE What have you done to Meredith? KLIM You’re friend passed with flying colors. ALICE No. That’s impossible. KLIM You would have too if you weren’t so obstinate. I’m sorry. ALICE I’m not. Klim moves on. Alice is lifted into the air. She struggles, manages to get hold of a scimitar but is sailing through the air before she can use it on the Guards. EXT. - SEA - NIGHT The heavy sack hits the water. Alice follows. As the sack settle to the bottom we SEE a number of the other drown men, corpses floating tethered to the sacks. Alice is still for a moment. Then her eyes open and she rams the scimitar into the chains at her ankles. The action of the scimitar cuts into her legs. Clouds of blood drift by her face. The scimitar blade snaps. Alice ties again with the remaining part of the blade. A link breaks and she rockets skywards. Her head bursts through the surface. She gulps down the air. Legs kicking frantically to keep her head above the waves. The Judda’s ship is already several hundred meters away.

(CONTINUED)

72.

CONTINUED: She slowly makes her way to the docks. EXT. - DOCK SIDE - NIGHT Alice clambers onto the dock. Lays in a pool of water, coughing and spluttering. There is a METALLIC CLICK and she is surrounded by a circle of white light. This is followed by another, and another METALLIC CLICK. Each corresponding to another flash light and intensifying the circle of light. FISHER (O.S.) Don’t move. We have you surrounded. ALICE You ass-hole. EXT. -- DOCK SIDE - SQUAD CAR - NIGHT Cops move in towards Alice. Fisher stands by the open door of a squad car. Next to him is DETECTIVE ALAN DRISKILL, a younger clone of Fisher, only smoking a pipe and looking a whole lot less happy about being on a cold dock-side at this late hour. DRISKILL Well you got you Man ... Woman ... Whatever. Just hope it was worth disturbin' my glass of suds at O Realy’s. Fisher claps Driskill on the back and turns to enter the car. FISHER Owe me more than one missed drinking opportunity. See you down the station. Fisher is in the car now. The engine starts. He smirks, waves a hand and drives away. DRISKILL Now wait a minute!

73.

EXT. - JUDDA'S SHIP CUTS THROUGH THE WAVES - DAY The ship is moving effortlessly through high seas. This is SUPERIMPOSED OVER A MAP that charts its course from San Francisco towards New Zealand. INT. -- JUDDA'S SHIP - CABIN - DAWN Meredith is awoke from a fitful, nightmarish slumber by the THUD of the DOOR opening and the lights going on full. The cabin is richly decorated. Her crib a four-poster bed. She is in a silken night-dress. The door is held open buy a member of THE JUDDA'S PERSONAL GUARD. Meredith is now sitting, disoriented. Klim them makes his entrance. KLIM You slept well, I trust. Meredith offers no reply. Realization is settling into her mind. Klim has an unsettlingly sickly, sweat pleasantness about him. KLIM (continuing) Yours would appear to have been a rough joining. Still (beat) Better that than the fate your little friend suffered! Klim laughs. Meredith is going through some inner struggle, twitching slightly. The fire drifting in and out of her eyes. Her lips start to carefully form words. MEREDITH What ... Have you ... given me?

(CONTINUED)

74.

CONTINUED: KLIM (raising finger to lips) Hush. The Judda, our Master, has given you the greatest gift of all. Belonging. Tears well in her eyes. She is trying to will words from her mouth. And failing. KLIM We are all one now. You will grow used to it. Come, I'll show you a small part of your new world. Meredith moves as though in a dream, following Klim through the door. EXT. - MAIN DECK - DAWN The ship is under full sail. Gulls swoop to snatch fish from the wake of the ship. Klim strides through the door and into the gusting wind. Meredith follows. The wind whipping her hair around her face. She is visibly turning blue with cold. Klim throws his arms out turning in a small circle. Joy and pride in his recent success give him an uncharacteristic happiness. He has to shout to be heard. KLIM Welcome home. She was originally a French Naval Seaplane Carrier. But some of our people acquired her after the unfortunate loss of the Judda's last home. Its bigger, faster.

(CONTINUED)

75.

CONTINUED: See ... He indicates line of FOUR MITSUBISHI ZERO fighter planes. KLIM (continuing) Prototypes. The Japanese are under the impression that these crashed during sea trials. (laughs) We reap the benefits of our flock at every opportunity. He walks back through the door. Meredith follows. INT. - RADIO AND MAP ROOM - DAY Men labor over maps and radio sets. Teletypes chatter. Miniature model boats, planes, trains and people are moved about on a large map of the world. A large chalk board is continually being updated in some Cyrillic type script. Klim enters and the people immediately around him stop to bow. KLIM Carry on. He moves to the side of the large world map. KLIM And this is the very heart of the Judda. Here we gather the sum of our people's knowledge. Use it to direct the world as is The Judda's want.

(CONTINUED)

76.

CONTINUED: Oil in Texas. Diamonds in Africa. Weapons from Germany. There is nothing, nothing at all, that we are not, in some way, involved in. We are the invisible minority. After scrutinizing the large map for a moment, Klim picks up a mini Nazi swastika and, smirking, places it down on Poland. KLIM The Judda likes troubled times ... they help keep the authorities occupied. Two of the OPERATIONS OFFICERS look at each other with a conspiratorial look. It might just work. INT. - LARGE CARGO HOLD - DAY High above them the ceiling is open to the sky. Around them live stock moo, cluck and grunt about their business. Klim beckons to a FARM HAND and then points at a pig. KLIM I want that one on my table tonight. The Farm Hand pauses long enough to bow before diving into the pen. As Klim continues the Farm Hand skillfully ties the feet of the pig, drags it out of the pen and hangs it from a metal beam. Other Farm Hands gather around. KLIM We can be at sea for weeks or even months. So its important that we can maintain a ready stock of fresh meat.

(CONTINUED)

77.

CONTINUED: (beat) I love this bit. Klim pauses to watch as the throat of the pig is slit. The men cheer as the pig squeals and thrashes. Then is motionless. Its blood gushes into a bowl beneath its head. KLIM Now where was I? Ah, at sea for long periods of time. He continues talking as he needs for the bulkhead. Meredith momentarily frozen in horror at the sight of the bleeding pig. KLIM (continuing) So, we only really have one last problem. Moral. And we deal with that by ... INT. - DRUGS LAB - DAY Klim enters the room of flasks, retorts and test tubes to the same solemn welcome that he received before. KLIM (continuing) ... the precise application of certain substances. CONTINUED:

(1)

KLIM (continued) We find it most effective. Though I don't touch the stuff myself. Klim does not see Meredith pick up a scalpel. They exit the room.

78.

INT. - ARMORY - DAY Guns and riffles line every wall. Men work at weapons on tables in the center of the room. Klim is now silent. And walking ahead of Meredith. Meredith sees a luger laying on a surface and snatches it. Klim's progress is halted when he hears the SOUND of GUNS being COCKED and SWORDS being DRAWN. He turns to see everyone in the room focused on Meredith. She is aiming the luger a him while shaking violently. KLIM (signaling to guards) Its okay. She's just having trouble adjusting. She is going to give me the gun. (calmly to Meredith) Give me the gun. Meredith can not hold the luger straight. She is sweating profusely. MEREDITH No! She turns the gun on herself and places its snout in her mouth. KLIM Let's not be foolish. (beat) Don't fight it. CONTINUED: (2) As Klim approaches, Meredith’s shaking redoubles. She blinks sweat away. Holds up a hand to say halt to Klim. Her eyes close. As she takes a deep breath she pulls the trigger. CLICK. She pulls the trigger again. CLICK.

(CONTINUED)

79.

CONTINUED: KLIM (sighing) Why are women always so much trouble? As she pulls the trigger over and over again, Klim beckons to TWO GUARDS who lift her up and carry her after him. INT. - INTERROGATION ROOM - DAY Alice's cuffed hands are on the table in front of her. She is in prison whites again. Bruising is starting to show on her pail face. She stairs with indigence as Fisher and Driskill argue. DRISKILL (puffing on pipe) ... Least you can do is let me interrogate her. I mean ... I came at the drop of the hat and you want all the fun for yourself. FISHER Your legendary interrogation of women? Acquitted of GBH on more occasions than I care to recall. Hell, its why you had to quit Sac. Pee Dee. DRISKILL That Captain had it in for me from the start. Didn't hear him complaining about the near perfect score

(CONTINUED)

80.

CONTINUED: for confessions. FISHER If it were base ball, you'd have spent most of your time on the bench for throwing fowls. DRISKILL Only one way to settle this. Step outside. Driskill and Fisher leave the room. INT. -- OUTSIDE INTERROGATION ROOM - DAY Driskill slams the door behind him. He and Fisher are instantly back in the level headed detective mode. DRISKILL What's with that Dame? Looks like she's beyond caring. FISHER Dunno. She's a tricky one though. DRISKILL Yup. Heard how she goosed your guys before skippin' town. FISHER Like I said. A tricky one. DRISKILL I need a coffee. Warn her that the Bad Cop will be back. FISHER Sure. Oh ... and mine's black ... DRISKILL (overlapping) Two heaps of sugar.

(CONTINUED)

81.

CONTINUED: Driskill heads off down the corridor. Fisher returns to the room. INT. - INTERROGATION ROOM - DAY Alice raises her head from the table as Fisher walks in. ALICE So, where's the Bad Cop go? Fisher smirks. FISHER And who might that be. ALICE I might be exhausted, betrayed, beaten and half drowned. But I'm not stupid. Seen enough two bit movies to know the good cop bad cop scene. FISHER Well, the Bad Cop will be back soon. What say we act like you are dumb and you spill it. ALICE Didn't intend anything else. Wouldn't want to deflate a Bad Cop's ego. Right?! FISHER Right. He leans in towards Alice. ALICE Its like this. They killed my husband. Killed Ragu Imally.

(CONTINUED)

82.

CONTINUED: Tried to kill me. And they've got Meredith. Alice watches Fisher as this last revelation causes him to stand and rub a hand over his face. ALICE Oh man, she's got you too. How's she do it? FISHER In my case we've got history. You're still far from off the hook. Tell me everything. EXT. - DOCK SIDE - DAY A SKIN DIVER tosses his fins onto the dock. Driskill offers a hand to help him the rest of the way up. DIVER I tell ya Al, The Skin diver follows him back to Fisher and Alice. DIVER (continuing) I aint seen nothing like that before. Must be a dozen or so of them, Just floating there like ... like a human mine field. (hushed tones to Driskill) She do this? Alice barely acknowledges the comment. DRISKILL Well Fisher? I'd say that this

(CONTINUED)

83.

CONTINUED: casts new light on her story. FISHER And me in an asinine light. He fishes a key from a pocket and uncuffs Alice. FISHER Question now is how do we get Meredith back. DRISKILL You still hung up on that dame? After all these years? I was wonderin’ why you were so hot for this case. DRISKILL (continued) I say we arrest that murderous scum. FISHER Can't do that. He's on a ship and he's in international waters. We have no jurisdiction. They notice Alice walking off in the opposite direction. ALICE Pathetic ass-holes. Seen more real men at the ballet. DRISKILL And where the hell do you think you're going? Alice adopts a more familiar cockiness. ALICE Cloths, coffee and then I'm

(CONTINUED)

84.

CONTINUED: (2) gonna keep a promise to a friend. I think I’d have space for one knight in shining armor. INT. - HANGER - DAY Alice, now looking like an early female aviator, approaches the seaplane she acquired from Ragu. It is partially covered by a dust sheet. Fisher pats one of the engine housings. She grabs a rope and pulls the sheet away. As it clears the fuselage we SEE a MOTIF of A MAN done in the style of the female pinups made famous by the W.W.II bombers. The name reads “Flash Gordon”. FISHER Anything you can't do? I only ask so I'll know when I'm needed. ALICE I'm sure there is. But I'm sure as hell not gonna let a little thing like vocabulary stop me trying. They climb in. INT. - COCKPIT - DAY Alice flicks switches, checks gauges and test control surfaces. ALICE Please take a seat. Fisher does so. He is obviously not used to taking orders. ALICE Know how to operate a

(CONTINUED)

85.

CONTINUED: radio? FISHER Sure. ALICE Well there it is. Call the tower. SEAPLANE ENGINE turns over and caches. EXT. - SEAPLANE TAKES OFF - DAY The Seaplane climbs into the sky. This is SUPERIMPOSED OVER A MAP that charts its course from San Francisco towards New Zealand. The line marking the course of the Seaplane rapidly catches up with that of the Judda's Ship. INT. - JUDDA'S CHAMBERS - DAY The Judda is laying on a table on his back, a towel covering his modesty. Expansive roles of fat glistens with massage oils. A scantily clad ADONIS needs and strokes his body. The Judda is lost in the moment. This is quite evidently highly pleasurable for the Judda. The Adonis may be faking it. Klim's entrance snaps them both out of their pleasure places. JUDDA I instructed you, not to disturb me. KLIM Quite so. However, the latest member of our flock is having trouble adjusting. She even attempted to take her own life. JUDDA (to self) I'd forgotten what trouble women can be. It would be a shame to loose such an esthetically pleasing

(CONTINUED)

86.

CONTINUED: new social member, so soon. Bring her before me. Let her face her new Lord. Klim nods and snaps his fingers. The GUARDS were evidently waiting with Meredith just beyond the door. They carry her in behind Klim. Klim stands to one side. The Judda rolls around to a sitting position. The Adonis drapes a robe around his shoulders, bows and leaves. The Guards drop Meredith and have their scimitars half drawn when the Judda stops them. JUDDA That will not be necessary. Leave us. The Guards do as they are bid. Klim remains his head bowed, hands folded at his waist. JUDDA Well, Little One? Meredith remains kneeling, head also bowed. JUDDA Look upon your Lord. There is nothing to fear. Meredith doesn't move. JUDDA I demand you to look at me. Klim. Klim is behind Meredith, wrenching her head up. JUDDA You do not seam suitably happy with your new found situation. But you will learn

(CONTINUED)

87.

CONTINUED: (2) to be happy. What do you have to say to that? MEREDITH (mumbling) Sorry. JUDDA Loader. MEREDITH Sorry. I'm so sorry. Don't hurt me ... My Lord. The Judda seams slightly happier with this response. JUDDA There IS nothing to fear. You are at one with me now. MEREDITH What can I do? JUDDA (confused) Do? I hadn't really thought. What can you do? Cook? Clean? Farm? Klim, I forget, what do women actually do? Klim sneers. MEREDITH Sing. JUDDA (laughing) We have those amongst us whom chant. Those who play all manner of instruments. But I thing that this our first singer. Our first entertainer.

(CONTINUED)

88.

CONTINUED: (3) Very well, entertain us. MEREDITH I ... JUDDA (angry) What? MEREDITH Yes. Klim tugs at her hair, snapping her head back. KLIM (hissing in her ear) Yes, what? JUDDA My Lord. Another tug. MEREDITH My Lord, Judda. INT. - MEREDITH'S CABIN - DAY The cabin door opens. The Guards throw Meredith onto the bed. They leave as Klim enters. KLIM You will perform on stage for Our Lord Judda tonight. A man lays a blue dress on the bed by her and a box which he opens to display makeup. Klim runs a hand over the silken dress. KLIM (continuing) And once you leave the stage you will continue to entertain Our Lord The Judda in his

(CONTINUED)

89.

CONTINUED: chambers. (beat) Is that quite clear? Meredith doesn't move from her position on the bed, but nods slowly. KLIM Very well. We will tolerate no more of your foolishness. (to man) Watch her. If our sister here doesn't arrive on time and in that dress ... alive ... you will be singing a fine aria at the end of my blade. Klim leaves with a flourish. When the Man looks back at the bed, Meredith is no longer there. He gets very tense until he sees the bathroom door close. INT. - BATHROOM - DAY Meredith stares at her pale, mascara stained face in the mirror. She notices something and turns to see The Man looking through the small window pain in the door. She smiles thinly. The man stays where he is. Her gaze falls upon the shower. She turns on the hot water at full bore. With her back to the door she removes her dress. INT. - BATHROOM WINDOW - DAY The Man eagerly looks through the window. As the window rapidly fogs over he leans from side to side, on tip-toes, trying see what is going on inside.

(CONTINUED)

90.

CONTINUED: Finally all we can see is a vague pink blob moving behind the white opaque steam. He looks disappointed as he brings a chair close by the door and slumps down into it. INT. - BATHROOM - DAY Handfuls of cold water run from Meredith's face. She gasps from the shock. MEREDITH Come one, get a grip. Get a damn grip, girl. What would "Little Orphan Annie" do if she were here? (in little girls voice) "Ya hafta earn what ya get." "Ya hafta earn what ya get." She BURSTS into HYSTERICAL LAUGHTER. This quickly turns to sobbing. INT. - OUTSIDE BATHROOM - DAY The Man looks quite scared at what he is hearing. He gets up and tries the door. INT. - BATHROOM - DAY The door handle's is RATTLE snaps Meredith out of her tears. MEREDITH I'm okay. Just ... just saw what a mess my hair is. The rattling stops. Meredith lashes out with feet and fists at the wall. She is swinging into depression again.

(CONTINUED)

91.

CONTINUED: MEREDITH Damn, damn, damn ... A hand solidly hits the corner of the sink. MEREDITH Ow, damn that hurt. Something has clicked into place. A clarity comes into her eyes for a moment. The door handle starts to RATTLE again. MEREDITH (quietly) Pain. She starts to laugh again. This time she thrusts an arm into the boiling hot flow of water from the shower. A calmness and clarity returns. As it starts to drift away again she breaths deep and rummages through her dress. Looking at herself in the mirror again, she brings up the scalpel that she took from the lab. MEREDITH A little pain and my lord, Judda ya will get what ya have earned. INT. - SEAPLANE - DUSK The RADIO CRACKLES in Fishers ear. He carefully twists the knobs and dials on the radio set until he gets a clear signal. RADIO (repeating) Unidentified aircraft, Unidentified aircraft. Respond. Fisher taps Alice on the shoulder. They have to shout to be heard over the engines. FISHER They know we're here.

(CONTINUED)

92.

CONTINUED: ALICE Damn. What sort of radar do they have on that thing? Knew I should have flown lower. FISHER Should I tell them to get the red carpet out. ALICE Nah, think we should keep 'em guessing. Fisher flips the radio's of switch. The voice stops. INT. - LARGE CARGO HOLD - DUSK The floor of the cargo hold is a hive of activity. This is the same area where the ceremony was held earlier. Only now a stage has been erected across from The Judda's dais. Men are slapping paint on planks that have just been nailed in place, and which have in turn just been cut to size. Not everything is as organized. Curtains are been clumsily hung resulting in one MAN getting carried away after being hit over the head by a SAND BAG dropped from the OVERHEAD GANTRY. Yet another MAN (LARGE and EATING a CHICKEN LEG) falls through some badly nailed flooring. His colleagues are to busy to notice and he watches as the hole is boarded over. A CARPENTER holds feeds a section of wood through a jib. As he does this KLIM enters the area, looking at his watch. Everyone looks around. The Carpenter is no exception. Unfortunately for him he neglects to stop feeding the wood through the saw. KLIM You have a ... He is interrupted by the SOUND of the CARPENTER'S HAND being cut into and the CARPENTER'S SCREAM seconds afterwards.

(CONTINUED)

93.

CONTINUED: Klim watches as the Carpenter is carried by, agony on his face and a bloody rag wrapped around the stump. KLIM You have a half an hour. No longer. An OPERATIONS ROOM STAFFER runs up to Klim. Bowing he hands a piece of paper to Klim. INT. - THROWN ROOM - DUSK Klim’s bow exactly mimics that of the OPERATIONS ROOM STAFFER as he holds the piece of paper up to his master. JUDDA

What is this? KLIM Long range radar has picked

up a plane. Probably a seaplane. JUDDA Why bother me with this? KLIM They have ignored our hails. JUDDA I do hope Mr. Imally doesn't have yet more relatives. KLIM That would be unfortunate, for them. JUDDA Quite so. How long before our surprise guests arrive? KLIM A little under an hour.

(CONTINUED)

94.

CONTINUED: JUDDA In time for the main act. Have the fighters stand ready. KLIM It will be so, My Lord. Klim backs out of the thrown room, head still bowed. INT. - MEREDITH'S CABIN - DUSK Klim raps on the door, repeatedly. He eventually hands the job over to one of TWO GUARDS who does the job with less grace and more force. Guard#1 grasps the door handle and starts to push at the same moment as the door is pulled inwards. Guard#1 falls to the floor at the feet of Meredith in the dress. She is right back on form. KLIM Quite ravishing. MEREDITH Only the best for My Lord. KLIM Follow me. Meredith falls in behind Klim and Guard#2 behind her. Guard#1 staggers up by Guard#2 while straightening out his uniform. INT. - STAGE WINGS - NIGHT Meredith can see both the stage an the audience from her position. The audience looks quite bored while the opening act of seven short guys moves through a series of acrobatic set pieces which culminates in a human pyramid. MEREDITH No fear of being upstaged. A GAGGLE OF MUSICIANS arrive with beaten up instruments. MEREDITH (shocked) You guys are the band?

(CONTINUED)

95.

CONTINUED: Maybe I have been upstaged. INT. - MOVING THROUGH CROWD - NIGHT We see the acrobatics leave the stage. There is a PATHETIC RIPPLE of APPLAUSE. The Judda fidgets in his seat. Klim picks his teeth. Stopping when the Judda beckons. He leans in to listen. JUDDA Make sure our guest are show down. Klim nods and leaves as The gaggle of Musicians enter and seat them selves. Meredith climbs onto the stage. The Carpenter is so exited that he tries to clap his hands and after hitting the stump twice starts to sob to himself. The rest of the audience burst into ENTHUSIASTIC APPLAUSE. INT. - STAGE - NIGHT Meredith is quite genuinely taken aback by this welcome. She take the mic. MEREDITH Thank you, thank you. I'd just like to say how lovely to be here tonight with you cats. More applause. She turns away from the mic. MEREDITH (to herself) But I'd be lying. MEREDITH (continued) (to band) Okay boys. Know "Oo

(CONTINUED)

96.

CONTINUED: Pappa Do"? To her surprise the band nods "yes". And strike up the opening cords. Meredith returns to the mic and awaits her cue. MEREDITH (on cue) I got a man who loves me ... The band is a little rusty but give it their all. Their faces demonstrate what a rare pleasure it is to do this show. The audience is entranced. The Judda maintains an icy stare. His tapping foot betraying the fact that even he is being carried along. The Carpenter has stopped sobbing and has a fixed smile on his face. INT. - OPERATIONS ROOM - NIGHT The sound of the show is being piped around the ship. So even here we hear Meredith's sultry tones. Klim holds a radio head-set to his ear and picks up a mic. KLIM Launch all fighters. EXT. - FIGHTER CATAPULT - NIGHT A MAN waves his flag. The PILOT gives the thumbs up. And the CATAPULT launches the first OF FOUR MITSUBISHI ZEROS with an ear splitting WHOOSH. Then at even intervals, one after another, the remaining three are also launched. INT. - SEAPLANE - NIGHT We can see the Judda's Ship clearly now. FISHER How do we get on board?

(CONTINUED)

97.

CONTINUED: ALICE What? FISHER Well, they sure as all hell aren't going to stop while you land this heap. ALICE

So. FISHER Oh no.

The answer suddenly hits Fisher. FISHER (continuing) Now way, no how, are you putting us down on that. He points at the ship. ALICE Oh no? FISHER If this don't work ... I'll never be able to show my face down the station again. ALICE Corpses don't humiliate easy. (beat) Incoming. FISHER What? ALICE (pointing) Twelve o'clock high. Fisher peers out of the window at the squadron of fighters as they approach.

(CONTINUED)

98.

CONTINUED: (2) FISHER We're good as dead. ALICE I'm not ready to be measured for my harp just yet. FISHER 'Suspect you have this flight's destination all wrong, lady. (beat) At times like this I wish I'd taken up the family trade. Become a share cropper. MACHINE GUN FIRE tears through the roof of the cockpit. EXT. - SKY OVER JUDDA'S SHIP - NIGHT FIGHTER#1 banks around for another pass at the Seaplane. The Seaplane banks towards the Judda's Ship and begins a steep descent. FIGHTER#2 executes a strafing run. Its stream of bullets ripping through the upper rear fuselage and completely CUTTING OFF the top of the Seaplane's TAIL FIN. The Seaplane's banking maneuver takes FIGHTER#3 by surprise and it has to swoop around to its right to AVOID COLLIDING. FIGHTER#4 matches the Seaplane's course from the rear. Fighter#4's PILOT has the Seaplane in the center of his sights. INT. - SEAPLANE - NIGHT Fisher picks himself up from the floor. FISHER This thing doesn't have guns does

(CONTINUED)

99.

CONTINUED: it? ALICE No. FISHER Parachutes? ALICE No. He straps himself into his seat. Alice levels the Seaplane's wings. The Judda's ship grows closer. FISHER We're gonna die. EXT. -- SHIPS DECK - MACHINE GUN EMPLACEMENT - NIGHT The GUNNER joins in the sudden volley of shots from all the other gun emplacement’s. We realize that this is the same gunner as we met on the train. EXT. - FLYING BY PORT WING - NIGHT Fighter#1 executes yet another strafing run. This time it DECIMATES the CONTROL SURFACES on the PORT WING. Fighter#2 attacks the same area, approaching from aft. His MACHINE GUN FIRE PUNCTURES PORT ENGINE. Fuel sprays out into the air. INT. - SEAPLANE - NIGHT Fisher HEARS the ENGINE FAILING and looks through the window to see the PROP STOP and a beat later the ENGINE CATCH FIRE. FISHER I think we have a problem. ALICE (pulling knobs) We have a spare. She pulls a knob marked FUEL RELEASE. EXT. - FLYING UNDER SEAPLANE - NIGHT Shells explode in white clouds of smoke around the Seaplane, buffeting it.

(CONTINUED)

100.

CONTINUED: Fighter#3 now approaches the Port wind from the aft, but this time below the seaplane. The PILOT has the wing in his sights and fires his guns. As he does so the fuel is released. Aviation fuel and oil hit his canopy and he can no longer see where he is going. the little wind-screen wiper entirely ineffectual. Fighter#3 flies under the wing and then banks up sharply into the UNDER SIDE of Fighter#4. The Seaplane is now so close that we can see the open cargo hold and the lights of the show. It descends at forty-five degrees to the horizontal. INT. - CARGO HOLD - NIGHT Fighter#3 and Fighter#4 explode in an impressive CATACLYSM of OILY FLAME. The music stops. Some member of the audience stand up. The Judda claps his hands. He evidently thinks the explosion is the Seaplane. JUDDA (to self) Such entertainment. (to audience and band) Did I tell you to stop playing! Sit down. The band strikes up again. Meredith moves back to the mic. INT. - SEAPLANE - NIGHT Fisher's knuckles are white as he grips the chair's arms. Alice is pulling back with all her strength on the joystick. She flips a couple of switches. ALICE Come on baby. EXT. - AIR ABOVE JUDDA'S SHIP - NIGHT The Seaplane's approach is too fast and too steep.

(CONTINUED)

101.

CONTINUED: The starboard landing gear winds out and locks in place. The port landing gear is just a mangled mess of steal and cables. The Seaplane's nose starts to rise. Its touch and go. Fighters 1 and 2 anticipate the explosion and peal off to left and right. The starboard landing gear makes contact with the deck and is ripped off. But the Seaplane is now level and flies over the ship, mere feat above the deck. INT. - CARGO HOLD - NIGHT The Seaplane passes directly over the open roof of the cargo hold. This sends the audience scattering in all directions. The Judda yells in anger. JUDDA Nooooooooo. EXT. -- SHIPS DECK - MACHINE GUN EMPLACEMENT - NIGHT The GUNNER has the Seaplane in his sights and continues firing as he follows its passage over the ships deck. Unfortunately his aim is anything but accurate. Bullets cut into the ships deck killing men, destroying other gun emplacements and igniting barrels of aviation fuel. INT. - OPERATIONS ROOM - NIGHT Klim looks through the main window and watches as the Seaplane passes below. He is in a state of disbelief. The Gunner's BULLETS SHATTER the WINDOW. Klim dives to the floor. Many others do not move so fast. INT. - SEAPLANE - NIGHT Fisher watches the ship's control tower go by. Then the Seaplane is out over the sea again. FISHER (hysterically) We're not dropping by then.

(CONTINUED)

102.

CONTINUED: ALICE I'm bringing her back around. Relax. FISHER Relax? We have no landing gear. And there's a big hole in the center of the deck. EXT. - AIR OVER JUDDA'S SHIP - NIGHT The Seaplane banks around in a tight circle and makes its final descent. As its belly is about to touch the deck Fighter#1 FIRES and DESTROYS the STARBOARD ENGINE. EXT. - SHIP'S DECK - NIGHT The Seaplane hits the deck hard and SCREECHES as it skids along the deck towards the open CARGO HOLD. EXT. -- SHIPS DECK - MACHINE GUN EMPLACEMENT - NIGHT The Gunner stops jumps from his seat and dives clear as the Seaplane's wing smashes into the gun emplacement. This puts the Seaplane into a spin. INT. - OPERATIONS ROOM - NIGHT Klim sees that the path of the Seaplane will carry it into the open Cargo Hold. KLIM Close the Cargo Hold doors. Close them now. He turns to see that the few men who are left are busy extinguishing fires. So, he finds the lever marked CARGO HOLD THREE and throws it. EXT. -- SHIP'S DECK - CARGO HOLD DOORS - NIGHT The DOORS GROWN and GRATE as they slowly move into action.

(CONTINUED)

103.

CONTINUED: We see Fisher and Alice through the Seaplane cockpit window as the whisk by a couple of times. The Cargo Hold Doors are moving too slowly. The Seaplane approaches the openings edge. INT. - CARGO HOLD - NIGHT The Judda sees the Seaplane reach the lip of the opening and decides to leave. JUDDA Guards. There are no guards. So the Judda pulls himself from the chair and waddles as fast as he can to the rear of the cargo hold. Behind him the remaining Cargo Hold occupants run for cover as the SEAPLANE TOPPLES over the edge and CRASHES UPSIDE DOWN onto the stage. EXT. -- SHIP'S DECK - CARGO HOLD DOORS - NIGHT The Cargo Hold Doors close with a LOAD METALLIC SLAM. An strange silence descends. INT. - SEAPLANE - NIGHT The cockpit is upside down. Alice hits the safety release and falls to the roof. She stands and moves to Fisher who is shaking his head. ALICE Not quite what I'd planned. But any landing you walk away from ... FISHER You had a plan. Alice shrugs and hits Fisher's release. As Fisher falls. She heads aft.

104.

INT. - SEAPLANE'S HOLD - NIGHT Alice is stuffing a backpack with ammo clips and grenades. She takes a Thompson Automatic for herself. Fisher approaches from behind rubbing his head. Without looking around Alice hands him another Thompson Automatic. ALICE Check if anyone is coming. FISHER Oh sure. He cautiously peers around the edge of a broken window. Small fires illuminate the now deserted Cargo Hold. FISHER Fire and brimstone. Looks like I was right. Any bright ideas how we find Meredith? ALICE (leaning next to him) You're the detective. INT. -- CARGO HOLD - SEAPLANE - NIGHT The DOOR of the SEAPLANE is buckled and bent. The handle turns and the door drops to the floor, revealing Fisher and Alice brandishing guns. They hesitantly step into the hold. A sheet of HARD BOARD drops to the floor. The sound causes Fisher and Alice to swing around, guns ready. The space revealed by the fallen wood is occupied by the LARGE MAN who had fallen through the floor earlier. He tosses the BONE OF THE CHICKEN LEG away and licks his fingers before realizing that Fisher and Alice are present. He raises his arms. ALICE The Judda, where is he? Fisher pulls the Large Man from the wreckage of the stage. FIRE CONTROL CREWS suddenly approach from the rear.

(CONTINUED)

105.

CONTINUED: ALICE Well, get moving. The Large Man beckons and they follow. The Large Man, Fisher and Alice move up stairs to the gantry, along the gantry to a passage way lined with pipes labeled as GAS, WATER, STEAM, FUEL. Everything is oddly quiet. FISHER This can't be right. The Large man is a little way ahead. He beckons again. They move through another bulk-head. INT. - ENGINE ROOM - NIGHT A row of men, clad in leather aprons and goggles, shovel coal into the furriness. It is a world bathed in shades of fiery light. Fisher and Alice follow the Large Men through the men. FISHER Where this guy leadin' us? INT. - CORRIDOR - NIGHT Another corridor only this one lined with wood panels, lamps and pushily carpeted. The Large Man opens a door and steps through. The door shuts behind him. Alice and Fisher exchange looks of confusion. Fisher tries the door handle. It is unlocked. He throws the door open. INT. - LARGE ROOM - NIGHT The room is lined by huge plush red curtains. Alice strides along the red carpet to two pedestals. She flips open one of the ORNATE CHESTS. ALICE There you are.

(CONTINUED)

106.

CONTINUED: FISHER This would be The Eye of Judas? ALICE (nodding) Uh-huh. FISHER Where's our big friendly guide? He was meant to be taking us to the Judda. JUDDA (O.S.) And he did. The curtain in front of them is drawn aside, revealing the Judda upon his thrown, Klim by his side, the Large Man kneeling before him. JUDDA (continuing) Professor Ramsey. Surely you can't be that desperate to join our flock. JUDDA (continued) And you brought a friend. Referrals are always so flattering. Guards step from behind the curtains on the remaining three sides of the room. ALICE How could I be so stupid? FISHER (stepping forward) Where's Meredith? The Judda laughs. JUDDA Ms. Jones.

(CONTINUED)

107.

CONTINUED: (2) Meredith steps forward and stands at the Judda's side, opposite Klim. JUDDA You would appear to have gone to a great deal of effort for nothing. We are her family now. She is part of the Judda. You will be too soon enough. The Judda gestures. Guards move in and seize Alice's backpack, and hers and Fisher's guns. As they do this Meredith lunges at the Judda, the SCALPEL in her hand. But about a foot from his neck her hand stops, wavering in mid air. She tries a second swing. Then a third. The concentration on her face extreme. The Judda appears unmoved. Klim steps in and takes the scalpel from her hands. The Judda starts to laugh. CONTINUED:

(1)

JUDDA Oh, I have so missed women. Meredith collapses to her knees sobbing. The Judda leans forward and pats Meredith on the head like a man would pat his dog. JUDDA (continuing) My dear, you have to accept what you are now. You have no choice in the matter. (to guards) Take them out of my site.

(CONTINUED)

108.

CONTINUED: (3) Our new guest may yet be a useful. As for the Professor. Make sure that she never surfaces again. As Alice and Fisher are carried off, Alice shouts out defiantly. ALICE You're wrong Judda. You can't stop me. INT. - CORRIDOR - NIGHT Alice and Fisher are jabbed and prodded by scimitars as they walk between members of the JUDDA'S PERSONAL GUARD. FISHER How could you walk in there like that? ALICE Didn't hear any complaints from you. FISHER Should have know better than to follow some Dame on such a crazy trip. With this Alice swivels round. CONTINUED:

(1)

ALICE What's my being a woman got to do with anything? FISHER You had no idea what you

(CONTINUED)

109.

CONTINUED: were doing. Alice slaps Fisher. The Guards look on amused by their tiff. FISHER Why you ... Slaps Alice back. Alice looks shocked as she delicately touches the impact zone. She balls her hand into a fist and swings. Fisher side-steps and the blow falls squarely on the jaw of GUARD#1. He is out for the count. Fisher dives and tackles GUARD#2 who was standing in front of Alice. They fall to the floor. Alice picks up the scimitar of GUARD#1 and stands just in time to block the blow of GUARD#3. Fisher is having his head pounded against the wall. He attempts to push GUARD#2 away with his forearm against his neck. As his consciousness seeps away he knees GUARD#2 in the groin. GUARD#2 releases his hold. Fisher rolls free. Alice is sparing with GUARD#3. The Guard's moves heavy handed. Her's those of a skilled swords person. One heavy blow from GUARD#3 snaps Alice's blade off at the hilt. She looks down at the inch of plate left attached, and then up as GUARD#3 lifts his scimitar for the killing blow. A SINGLE SHOT rings out. GUARD#3 falls to the ground. Fisher stands holding the smoking gun. ALICE Not bad for a man. CONTINUED:

(2)

FISHER We have our uses. They both look up as a GROUP of GUARDS run towards them. ALICE Time to go.

(CONTINUED)

110.

CONTINUED: (2) Fisher and Alice pick up their weapons, Alice also reclaiming her satchel. They then run off in the opposite direction. They reach a T-junction. FISHER This way. ALICE No, this way. They run in opposite directions. The Guards follow Alice. INT. - RUNNING DOWN CORRIDOR - NIGHT Fisher starts realizing that something is out of place. His pace slows. He steals a glance over his shoulder. The corridor behind him is empty. Fisher stops. FISHER Well, I'm a Yankee Doodle Dandy. He thinks for a moment and doubles back. EXT. - PROMENADE DECK - NIGHT Alice runs out through the door and heads forward. More Guards approach from that direction. Alice jumps into the nearest life-boat and kicks one and then the other of the cable-release mechanisms. The life-boat drops towards the sea. The Guards can only watch over the side. As the life-boat drops by a lower deck, Alice leaps. Her hands grip the banister-rail and she halls herself onto the deck.

(CONTINUED)

111.

CONTINUED: A LOAN GUARD rolls to one its contents the canister

runs up and swings his scimitar at her. Alice side. Grabbing a FIRE-EXTINGUISHER she sprays on her assailant and knocks him out by bringing sharply up under his chin.

EXT - SHIPS DECK - NIGHT Alice runs around the corner and barrels through a small group of GUARDS, these with guns and grenades. She picks herself up and continue on out onto the deck. She runs behind a stack of barrels, just ahead of their machine gun fire. The Guards continue their fire. Out of site Alice's feet vanish down a deck vent's trumpet like opening. The barrels explode in an oily cloud. INT. - VENTILATION SYSTEM - NIGHT Alice is moving head-first, fast and accelerating. After one sharp turn and then another she shoots from the mouth of the vent and into a pig pen. INT. - PIG PEN - NIGHT A GROUP OF NOISY PIGS snuffle and nudge their way around Alice. She stands up. A look of disgust on her face. She scrapes some of the bigger pieces of filth from her cloths and face. INT. - MEREDITH'S CABIN - NIGHT As the door opens Meredith sits up expecting one of the Judda's minions. Instead she sees Fisher and two guards laying motionless at his feet. MEREDITH What the hell do you think you're doing here? Didn't you get the message yet? I'm one of the bad guys now.

(CONTINUED)

112.

CONTINUED: FISHER Nothing new there. Come on. He grabs her hand and drags her along after him. MEREDITH Where are you taking me? FISHER They've gotta have life-boats on this tub. They run into the corridor and up a series of stairs. INT. - STAIR CASE - NIGHT Klim and an ATTACHMENT OF GUARDS descend a flight of stairs. As they round a corner they come face to face with Fisher and Meredith. A pregnant pause follows. Neither group was expecting this. KLIM I don't want to hurt you. Fisher drags Meredith back the way they came and on to the next landing. Walls pass by in a blur of doors and lamps. For turn after turn Klim and the guards keep up. They run to a bulk-head door. It is locked. Fisher gives Meredith his Thompson Automatic. FISHER Here. Just point and fire. MEREDITH I know how to use a gun. The door refuses to open. Fisher turns to face his approaching foes. Meredith already has her gun aimed at the Klim and his men. Fisher does the same.

(CONTINUED)

113.

CONTINUED: Klim and his men stop running and walk to within a ten feet of Meredith and Fisher. KLIM (out of breath) You have no where to go. Come peacefully. We don't want to hurt you. FISHER Come any closer and we'll wriggle you so full of holes you'll look like a shower rose. KLIM We? The muzzle of the Thompson Automatic presses against Fisher's head. MEREDITH Oh, Ned. I'm sorry. Truly. But I told you. I'm a bad guy now. Klim laughs. INT. - JUDDA'S THROWN ROOM - NIGHT The Judda is laughing as he lowers himself into his thrown. Meredith stands on one side of him and Klim on the other. Fisher is lashed to one of the same frames used earlier for Meredith and Alice. The GROUP OF MONKS in satin robes CHANT their DEEPLY RESONANT MANTRA, whilst rocking backwards and forwards on their knees. The ceremony has already run most of its course. Klim throws his arms in the air and falls to his knees. His head bowed. Meredith follows his lead. MONK #1 carries The Crown of Judas and places it on the Head of the Judda.

(CONTINUED)

114.

CONTINUED: MONK #2 carries The Eye of Judas up to The Judda’s side and stands with the chest open. Klim then stands directly behind his master. He takes a pair of ceremonial calipers and places The Eye of Judas in its mounting on top of the crown. The Monks are now SCREAMING. A sphere of blue light encompasses The Eye of Judas. Meredith's voice is barley audible above the sound. MEREDITH Maybe I can't hurt, but I damn well can hinder. She grabs The Eye of Judda. The sphere of light vanishes. The Monks stop their screaming. The Judda is initially shocked. But as he turns his head and sees Meredith grasping The Eye, he laughs. JUDDA That's right, stare upon the eye. Meredith is mesmerized by The Eye. The SOUND of THE EYE starts to build again. The Sphere of light returns. INT. - GANTRY ABOVE THROWN CHAMBER - NIGHT Alice has been watching the proceedings from her hiding place above the Thrown Room. On seeing what fate is about to befall Meredith she bursts into action. Alice leaps from the gantry onto tapestry with the Judda's logo on it. She plunges her scimitar into the tapestry at the top center. As the scimitar cuts through the tapestry she descents towards Meredith and cuts the logo exactly in half.

(CONTINUED)

115.

CONTINUED: ALICE (screaming) Nooooooooo! INT. -- THROWN ROOM - NIGHT The blue sphere is almost at its maximum size when Alice crashes into it with her feet. The Eye of Judas is knocked to the ground. Meredith collapses. Klim dives after The Eye. The Judda moves to stand as Alice plunges the scimitar deep into the nape of his neck. The Judda falls back to his thrown. He SIGHS. Blood dribbles from his open mouth. His eyes still open. Every person in the room is acting extremely erratically. Some are unconscious, others cry, some run from the area and others mumble in payer. Klim, however, has the Eye of Judas back in the chest and is attempting to leave with it. CONTINUED:

(1)

ALICE Where do you think you're going? Alice leaps from the thrown's dais and tackles Klim to the ground. The chest breaks open. The Eye slides along the ground. Klim scrambles after it. We become aware that he is weeping. KLIM No, not The Eye. I have to protect the eye. I have to protect the Judda. As his hand reaches out for The Eye. Alice moves to stop him but then thinks better of it.

(CONTINUED)

116.

CONTINUED: ALICE Go ahead, its all yours. Klim picks up The Eye. Gets to his feat and starts moving away. Alice climbs to the top of the dais where Meredith is rubbing her head. MEREDITH (whispering) You're going to let him get away with The Eye? After all this? I don't understand. ALICE You will. Klim suddenly stops in his tracks. His hands move up so that The Eye of Judas is at his eye level. He has become mesmerized by The Eye. The cycle repeats itself. A ring or fluorescent blue forms at the point farthest from him, grows brighter as it works its way over the crystal’s surface. An HIGH PITCHED SCREAM builds. Alice grabs a discarded scimitar as she approaches Fisher. CONTINUED: (2) Klim’s arms fall to his sides. As before the crystal remains, levitating in front of him. The blue glow is now a perfect sphere around it. Alice hacks through Fisher's bonds and helps him to the ground. The broad beam of light strikes Klim's chest. BONES and FLESH, SNAP and TEAR apart. Klim’s CORPSE collapses to the ground. The blue light snaps out and the HIGH PITCHED SCREAM stops abruptly. Alice and Fisher stand behind Meredith. Looking at Klim’s corpse.

(CONTINUED)

117.

CONTINUED: (2) MEREDITH (quietly) Ya hafta earn what ya get. FISHER What now? ALICE We have to get out of here before his minions come to there senses and decide to become the next Judda. FISHER And the jewel. ALICE Destroy it. MEREDITH An unholy trinity. Any two parts, without a third, destroy each other. Alice picks up the dropped tongues and retrieves The Eye from a pools of Klim’s blood. She places it in The Crown. CONTINUED:

(3)

FISHER What happens now? The HIGH PITCHED SCREAM builds. ALICE You can do what you want. I for one don't want to hang around to find out. The blue sphere of light forms. Fisher and Alice help Meredith to her feet and move as quickly as they can to the exit.

118.

INT. - CORRIDOR - NIGHT The corridor leads of to left and right. Behind them we SEE an intense BLUE LIGHT building. The HIGH PITCHED SCREAM seams to come from everywhere. MEREDITH Which way? ALICE This way. FISHER No this way. We see the sense of da-ja-vu cross all their faces at the same time. ALICE Trust me I have it all worked out. FISHER I'm still not convinced. INT. -- THROWN ROOM - NIGHT The Judda's body is literally melting away, engulfed within the blue sphere which continues growing. Then what is left combusts. The sphere continues to grow. Within moments the same thing happens to the unconscious bodies laying closest to his. Then the ones a bit further out, eventually it picks up enough speed to catch up with those who are now fleeing for their lives. INT. - CORRIDOR - NIGHT Our trio momentarily turn at the sound of the screaming. FISHER I'm convinced. They follow Alice up the corridor. As they turn a corner the blue sphere engulfs the entire section of wall shared by corridor and thrown room.

(CONTINUED)

119.

CONTINUED: GAS PIPES disintegrate. The GAS ignites and forms an ORANGE LAYER OF FIRE over the sphere. INT. - FARM HOLD - NIGHT The sphere moves through pig pens and bird-cages, sheep and goats. EXT. - DECK - NIGHT Fisher instinctively moves to one of the life boats lining the deck. ALICE I have something much better. They continue on to a MOTOR BOAT. As they clamber aboard EXPLOSIONS can be seen behind them blowing through windows and doors. Its getting closer. ALICE Grab that crank and wind like you life depends on it. FISHER Well it does, right. Alice is pointing to the winding gear to aft. She heads to the duplicate set forward. ALICE Meredith, see if you can get this thing started. INT. - CARGO HOLD - NIGHT The sphere of light and destruction reaches the seaplane. It too explodes and is consumed. EXT. - MOTOR BOAT - NIGHT Meredith is desperately looking for the ignition. She finds it but there are no keys. She takes off a shoe and smashes the mechanism to pieces, then starts twisting wires together. MEREDITH Who says I have bad taste in

(CONTINUED)

120.

CONTINUED: men? EXT. -- MOTOR BOAT - AFT - NIGHT Fisher is winding as quickly as he can. The Motor Boat slowly drops towards the sea below. The winding handle snaps off and the aft half of the Motor Boat falls unchecked. When it stops falling it is two feet from the ocean surface. Fisher desperately tries to grab hold of something but fails and falls into the sea. Meredith has her arm rapped around the steering wheel. Alice is holding onto the rope. She takes in the situation and pulls a PISTOL. ALICE (shouting) Clear below. Alice SHOOTS the ROPE. The Motor Boat crashes in to the ocean. INT. - ENGINE ROOM - NIGHT The room is now deserted. The blue sphere moves through one furnace and starts a chain reaction of explosions, tearing through huge metal structures. EXT. - MOTOR BOAT - NIGHT The section of the hull by the motor boat starts to buckle and glow red. Fisher is helped onto the Motor Boat by Alice. He is coughing and spluttering. ALICE Can we leave now? MEREDITH Almost got it.

(CONTINUED)

121.

CONTINUED: The sphere penetrates the hull above and to their rear. Alice and Fisher stare at it. ALICE Now would be good. (beat) Please. Meredith is too engrossed in her task to notice. MEREDITH Okay, okay ... The ENGINE TURNS OVER, but does not catch. It turns over again, and does not catch. MEREDITH Third time lucky. The wires touch, sparks fly and the ENGINE starts. Meredith slams the throttle all the way open. The Motor Boat skips away, barely under control. EXT. - THE JUDDA'S SHIP - NIGHT Night becomes day, rendered in hot blue-white highlights. The blue sphere of light completes its destruction of the ship and starts to sink beneath the waves. EXT. - MOTOR BOAT - NIGHT. The motor boat stops and Meredith joins Fisher and Alice aft. Fisher places his arm around her shoulders. He stares into her eyes. Meredith looks deep into his. Then she snaps out of it and kicks his shins. Alice stares of intently at the sinking sphere of light. ALICE The world is free of the evil of the Judda. Never again will that Eye and Crown of Judda’s

(CONTINUED)

122.

CONTINUED: be used to manipulate the world with fear and greed. MEREDITH Who needs 'em? When the sphere is two thirds submerged, it fizzles out like disbursing TV static. EXT. - MOVING OVER OCEAN FLOOR - NIGHT INSERT TITLES CARD Three Years Later Time has passed. The ocean life has already made the remains of the Judda's ship its own. Schools of small, bright colored fish dart and dodge about in their complex ballet. Kelp clings and grows from most surfaces along side muscles, eals and crabs. We notice one patch of ocean floor where no life has taken hold yet. At its center is The Eye of Judas. Closer in we see that it is complete and perfect. Every facet in motion like oil on the surface of water. FADE OUT. THE END.