The Wonder Land

The Mad Hatter is a bank robber and Alice is mad.
A young girl who travels to Wonderland isn't something that's new to you, in fact you've all read the story before. However, listen closer and in this tale you might find something rather different.

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3. The badassery of a woman on a mission

 

The wonderland

Episode #3

“The badassery of a woman on a mission.”

Teaser

EXT; AN EMPTY STREET

A man in a business suit walks nervously through the street, watching this way and that. He pulls at his collar and tries to straighten his tie. DANIEL IRVING gulps.

He walks to a lone market tent with a stall out front, at the end of the street, and with a balding man who tends it. Daniel places his briefcase on the table.

DANIEL

I’m here for a meeting with Johnny?

The BALDING MAN just shrugs.

DANIEL

Tell him that I have the package.

The Balding Man disappears into the tent behind the table. After a moment he comes back nudging Daniel through the tent, who picks the briefcase back up.

The tent is brightly lit and covered in furs of every kind.

VOICE (O.S)

I see you’ve finally conjured the guts to come and see me Mr. Irving.

DANIEL

                                 (Stuttering)

Well you know me…

VOICE

Come closer so that I can actually see you Mr. Irving.

Daniel Irving goes closer, trailing through furs hanging from the top of the tent. He sees a slim man with a ponytail of blonde hair, he wears a smirk and a pair of sunglasses. This is JOHNNY MURRAY and he is a hitman.

JOHNNY

You being here is rather a shock; however, it also means that you have my birthday present.

DANIEL

I didn’t realise it was your birthday.

Johnny takes off his sunglasses and looks at Daniel with an exasperated look.

JOHNNY

To be honest I didn’t think you’d be able to get it for me, after all you have been missing for quite a long time.

DANIEL

I have my ways.

JOHNNY

The only way you have is the north and south side of the stick stuck up your ass.

DANIEL

Anyways, I have it and so I want a favour off of you.

JOHNNY

That depends how good my gift actually is.

Daniel places the briefcase in front of Johnny.

JOHNNY (CONT’D)

I’m not going to open it you fool, opening things is fools work.

He gestures for Daniel to open the briefcase. He hesitates before a snarl from Johnny prompts him to pop the locks. The briefcase holds wads of money and a stack of letters.

JOHNNY

And what are those?

DANIEL

A hundred thousand in cash with 50 assorted secrets and confessions.

JOHNNY

                                 (Picking up the cash)

You actually love me.

DANIEL

Love you enough not to die.

Johnny laughs boisterously.

JOHNNY

Now how on earth did you manage all of this?

DANIEL

Like I said I have my ways.

JOHNNY

I know that the kids on the block have kidnapped you to be their bitch.

DANIEL

You know that isn’t true.

JOHNNY

Remember that I’m smarter than you Mr. Irving.

Daniel doesn’t say anything, just twiddles his thumbs.

JOHNNY (CONT’D)

The prospect of working with those kids excites me, so consider yourself my investment. Now what did you want?

Daniel removes a piece of folded up paper from his pocket. He chucks it on Johnny’s lap.

JOHNNY

                                 (Sighing)

I always have to do all the work.

He unfolds the paper to reveal a name: Alice Trelawney.

                                                                 SMASH CUT TO:

MAIN TITLES

End of Teaser.

Act One

FADE IN:

EXT: A PENTHOUSE APARTMENT

Taylor and Cordelia Smith stand on the balcony of her penthouse. Cordelia faces the skyline with her back towards the camera. Taylor leans casually facing the camera.

CORDELIA

It’s plain as day that I don’t like you.

TAYLOR

You’re not the first to say that and you won’t be the last.

CORDELIA

But I can’t deny your success rate.

She pulls out a wad of cash from the inside pocket of her jacket, she angles it in Taylor’s direction.

CORDELIA (CONT’D)

You’re going to take this cash and you’re going to tell me everything you know, because the police here won’t. Then you’re going to catch my sister’s killers and when you do you’re going to let me see them.

TAYLOR

And if I don’t take the cash?

CORDELIA

I’ll go down my own routes however unsavory they may be.

Taylor clicks his tongue against his cheek.

CORDELIA (CONT’D)

I know how you have an addiction to saving lives; this deal is something you can’t forgo.

Taylor turns to her. He nods. Cordelia deflates with a heavy exhale.

TAYLOR

Earlier today, we caught a pickpocketer who seems to be involved in the crime circle here. She’s a snitch and revealed she has something to tell us for a lesser sentence. I’m going to interrogate her when we’re done here.

                                                                       CUT TO:

EXT; AN ALLEY

Taylor runs after a teenage girl down the alleyway. She scrambles up a nearby fire escape dropping her loot from the closure of her arms. Before she can make her way to the roof of a building, Taylor snags her foot and catches her as she falls.

TAYLOR

You are under arrest.

He slaps a pair of cuffs around her wrists.

TEENAGE GIRL

                                 (Muttering)

Fuck.

                                                                       CUT TO:

EXT: PENTHOUSE BALCONY

Cordelia faces the camera with a smile, Taylor follows her example.

CORDELIA

Good

She gives the wad of money to Taylor, who tucks it away safely.

CORDELIA (CONT’D)

Now you’re going to put that money to use otherwise I’ll make sure you’re shut down before you can count how much it is.

TAYLOR

I’ll do my very best.

CORDELIA

You’ll do better.

Taylor walks away with his hands in his pockets.

TAYLOR

                                 (Whispering)

There’s no crossing that demanding woman.

                                                            CUT TO:

INT: INTERVIEW ROOM

Taylor sits at a table with his hands folded over each other. A girl sits opposite him (ABBEY MATTHEWS, 16) with short blonde hair and street clothes. A phone sits between the pair. A tripod with a camera stands in the corner.

TAYLOR

This interview is being videoed and now recorded, and is being conducted in an interview room at Cheshire’s Police Station. I am Taylor Shaw, Detective Chief Inspector. Miss Matthews would you please introduce yourself to the camera with your full name and date of birth.

ABBEY

                                 (Grumbling)

Abbey Louise Matthews, 2nd February 1999.

TAYLOR

Thank you Abbey. It is 11:12 am and the date is 14th October 2015. After the video is concluded I will give you a notice explaining exactly what will happen to this footage. Do you understand?

ABBEY

Yes.

TAYLOR

Now today at 8:30 I caught you after you pickpocketed a man of his wallet. After further investigation we found not only a numerable amount of stolen items, but money with Cheshire’s banks security number on them. Money which was stolen two days ago by the local group The Masks. What do you have to say about that?

Abbey shrugs.

TAYLOR (CONT’D)

                           (Sighing)

Remember that you said you had information for us that we could use to cut you a deal. Withholding that information means no deal.

ABBEY

                                 (Hesitant)

Sometimes some of the bigger crime groups here recruit street kids to pass on information in exchange for money or goods.

TAYLOR

What does that have to do with you?

ABBEY

This morning I was going to see one of those groups for a job opportunity.

She stops and folds her arms stiffly, it’s hard to do with her hands handcuffed to the table.

TAYLOR

I’ll need more than that Abbey.

ABBEY

I overheard two men talking about something or another. One of them was said to be in league with The Masks, he was asking the other one for a favour.

TAYLOR

You’re getting warmer to that deal.

ABBEY

                                 (Exasperated)

I almost lost my privileges over it but after a while they talked about taking a hit out on some girl.

TAYLOR

What girl?

ABBEY

I didn’t catch the name but they were talking about a nutcase in some mental hospital, initials A.T.

Taylor places a map of Cheshire on the table.

TAYLOR

Could you point on this map where you overheard this?

ABBEY

Hell no, I’ll be shanked.

Taylor stares at her for a few moments. He points at several locations on the map, side streets and alleys. He watches her reactions to where he pointed, she tensed in some places and relaxed in others.

Finally, once he reached a certain alley she was like a coiled spring. She was sweating and was still.

TAYLOR

                           (Checking his watch)

Thank you, Abbey. I believe that you are free to go. This video and interview is concluded at 11:28 am.

Taylor presses a button on his phone and goes to turn off the camera. Then he goes around to her side of the table and places his hands on her cuffs.

TAYLOR

Do you know anything more about The Masks?

ABBEY

They are too high up for recruitment.

Taylor tightens the cuffs. Abbey gasps.

ABBEY (CONT’D)

I don’t know anything about them.

TAYLOR

Lie. They’re big around here and word on the street gets around.

Taylor maneuvers her so her cheek rests against the table.

TAYLOR (CONT’D)

Deals are only met if you meet the demands, you should know that.

ABBEY

And you wonder why we turn to crime and not to the police.

TAYLOR

I’m not the police.

ABBEY

Fine. All I know is that they are off the grid for the moment. They plan between their crimes, deduce, interrogate, wait.

Taylor takes off her cuffs. Abbey sits up.

ABBEY

If they are getting someone else to do their work then they must be planning on doing something big later on.

She gets out of her seat and makes her way to the door.

TAYLOR

What are you privileges by the way?

ABBEY

                                 (Scoffing)

I don’t even know why I’m answering some wacky cop. My privileges are my money after a job, my life, my silence.

TAYLOR

You can get off the street you know.

ABBEY

Yeah right, you’re just trying to suck up when you just harassed me you wacko.

Taylor hands out a notice.

She snatches it off of him and exits the room. 

                                                                 CUT TO:

INT: LYDIA’S APARTMENT.

An elder woman (LYDIA’S MOM) approaches Lydia’s door and knocks. After a few moments of silence she grows impatient, and looks under the frog model Lydia has outside. On the bottom there is a keypad which she enters the code for and retrieves a key. Looking this way and that she replaces the frog and puts the key in the lock.

LYDIA’S MOM

Lyd’s, its mom sweetie. 

She closes the door behind her and looks through the apartment. Lydia isn’t there.

LYDIA’S MOM

Where could you have got to baby?

She enters Lydia’s bedroom and goes to the mirror. The mirror is surrounded in bright post it notes. On the corner of the glass there is a business card: Investigators Anonymous – Holmes away from Homes. In writing it has the address for the local police station. She picks it up and in doing so an orange post it note falls off: Go and visit Grandfather at hospital, it reads. It is circled and ticked.  

She looks at the business card again.

LYDIA’S MOM

Hmm…

She turns and leaves the apartment, locking it back up.

                                                                 DISSOLVE TO:

INT: CHESHIRE POLICE STATION

In a boardroom, Taylor swings around on a chair aimlessly. A group of people sit at the table with laptops typing away.

TAYLOR

We need to figure out who this A.T is?

A young man in the center of the group looks up.

YOUNG MAN

We are looking at the record of all mental hospitals and facility in the nearby area, sir.

TAYLOR

Mike what have I told you about that name thing?

MIKE

Sorry, s- Taylor.

LYDIA’S MOM POV

She shoulders her way into the Police Station and idles her way to the desk.

YOUNG POLICE OFFICER

May I help you ma’am?

LYDIA’S MOM

                                 (Reading off of the business card)

Yes, I’m looking for Investigators Anonymous?

YOUNG POLICE OFFICER

                           (Pointing to a boardroom to the left)

Right in that room there, ma’am.

LYDIA’S MOM

Thank you.

She smiles and walks to the boardroom.

BACK TO SCENE

Taylor’s swinging is interrupted by a knock on the glass door. Swinging round to face it he encounters an elder woman with blonde hair tied in a bun. She looks familiar.

LYDIA’S MOM

I’m looking for my daughter.

TAYLOR

I’m on a case right now, but I can fit you in. How long has she been missing?

LYDIA’S MOM

                                 (Scoffing)

She isn’t missing she works for you.

Taylor only has a blank stare on his face.

LYDIA’S MOM

I’m Carol Davenport.

TAYLOR

Oh, you’re Lydia’s mother. I gave her the day off.

LYDIA’S MOM

She isn’t at home.

TAYLOR

She’ll be on a jog then, have you tried phoning her?

She goes to answer. But she doesn’t.

MIKE

S-Taylor we have a name.

TAYLOR

Out with it then.

MIKE (CONT’D)

Alice Trelawney aged 23 patient at Whittingham House here in Cheshire.

TAYLOR

Suit up then crew, we have a job to do.

He starts to put on his coat and the team shuts down their laptops.

TAYLOR (CONT’D)

Lydia won’t be turning up today so you might as well wait for her at home.

CAROL

                                 (Worried)

You don’t understand, she could be in danger.

Taylor crooks an eyebrow.

 

CAROL (CONT’D)

I think she’s went to visit my father in that very hospital.

She shows him the post it note.

Taylor pales.

TAYLOR

Fuck!

CAROL

Mind your language young man!

                                                                 FADE OUT:

End of Act One

Act Two

FADE IN:

INT: WHITTINGHAM HOUSE.

Nurse Kathy directs Lydia through the hospital, placing her security card on several doors to unlock them. Lydia looks this way and that at the pastel coloured walls and the many, many doors they were going through.

NURSE KATHY

This is certainly the mad house, we have several people saying they’re Jesus and one man that’s Judas.

LYDIA

I just came here for my Grandfather.

NURSE KATHY

You know how he had PTSD from the war?

Lydia nods absentmindedly.

NURSE KATHY (CONT’D)

     He’s now been diagnosed with Alzheimer’s, with him being half in his own persona and half into that of his past life as a fighting soldier.

LYDIA

And you didn’t think that you’d notify us when this developed?

NURSE KATHY

It wasn’t at its peak yet, so notification was a moot point. Unfortunately, it’s gotten to a point where the detrition is so bad within both personas that he can’t really determine much.

LYDIA (CONT’D)

                           (Sighing)

Where can I meet him?

NURSE KATHY

The library should suffice, it’s his favourite place to be at the moment.

The nurse smiles as she leads her through a set of double doors.

The library is sparsely occupied by patients and she recognises her grandfather near the window. WILLIAM DAVENPORT (93) had longish grey hair in his old age and his eyes were glazed over with his mouth gaping open.

NURSE KATHY

I’ll be right over here if you need me.

The nurse moves to the front desk of the library and sits down, pulling out a magazine. Lydia grimaces while going to sit at the seat opposite her grandfather.

LYDIA

Grandfather…

William says nothing, gazing out of the window to his left with an empty expression.

LYDIA

                                 (Slightly louder)

Grandfather.

Still nothing. She takes his hand in hers over the table between them. His eyes snap to hers.

LYDIA (CONT’D)

Grandfather it’s me, Lydia.

WILLIAM

I’m not old enough to be a grandfather sweetheart.

He smiles. He has no look of recognition.

LYDIA

                                 (Shakily)

Your name is William Davenport, you are 93 years of age and you have three wonderful children and four blessed grandchildren.

WILLIAM

I’m only 19 darling, can’t you see?

LYDIA

You entered the Second World War when you were just 18, fighting in a British Battalion. When we were little you would tell us bed time stories of the evil Nazis and how your team fought with them. You told us you punched Hitler and swore at him.

She wipes a tear from her eye.

WILLIAM

                                 (Smiling)

It would have been an honour to punch Hitler, that conniving bastard!

He withdraws his hand and places it on her face.

WILLIAM (CONT’D)

You’re so pretty, too precious to live in this war.

She shakes his hand off.

LYDIA

The war ended in 1945 when you were 24, Grandfather.

WILLIAM

Lies and slanders pretty girl. The world is still screwed up.

LYDIA

It’s now 2015 and your right, the world never changes, but you do. You’re not a soldier anymore.

WILLIAM

If the world never changes then…

He coughs violently into his hand. His eyes glaze over again and he tenses. His eyes show recognition.

WILLIAM (CONT’D)

                           (Quietly)

Lydia.

LYDIA

Yeah, Grandfather it’s me.

WILLIAM

What are you doing, sweet child? This is no place for you.

LYDIA

I came to see you, the nurse said that you weren’t feeling so good.

WILLIAM

Lies and slander, I feel as fit as a horse.

LYDIA

                                 (Smiling)

Well, you were never one to back down from a fight.

William takes her hands and pulls them up to his face, kissing them.

They are interrupted by a chair falling. Looking back they see Nurse Kathy jump up from the front desk and rush to the book shelves. That’s when the screams start.

INT: THE BOOKSHELVES.

Alice was pawing at the bookshelves, she picks up a random book and starts to scan through it. A word or two catches her eye, she furrows her eyebrows. She drops the book. Alice hears a sudden ringing and she drops to her knees covering her ears.

EXT: THE FOREST – PAST

Alice is younger then she is, her hair longer and her skin more relaxed. She stands in a forest clearing with a gun in her hand. A clothing line is constructed between the trees in front of her, several cans and makeshift targets hang from it.

VOICE

                                 (Amused)

Remember to breath.

Alice closes her eyes for a moment. She takes two deep breaths and fires the gun in quick succession. She opens her eyes to find that every target has been struck.

VOICE

Well done.

She looks to her left to find a gentlemen with long dark hair and bright blue eyes. Her trainer.

ALICE

Most of your students mustn’t have been able to do that at this stage.

TRAINER

No. But that just makes you more prepared for the world.

ALICE

What does that mean?

TRAINER

It means, come with me.

She follows him to a small cabin where she can hear shouts from the inside.

                                                                       CUT TO:

INT: THE BOOKSHELVES.

Nurse Kathy rushes through the bookshelves to find Alice kneeling on the floor. Her quiet moans erupt into screaming. The Nurse takes a syringe from her overalls and jams it into Alice’s veins, she subdues for a moment. Alice slumps to the ground under the sedative but she doesn’t stop screaming.

Lydia comes around the corner with William in tow.

LYDIA

What can I do?

NURSE KATHY

                                 (Out of breath)

Restrain her, while I get more help.

She waits until Lydia kneels over Alice and restrains her arms and legs before she leaves. Alice thrashes weakly against Lydia.

WILLIAM

Poor girl.

LYDIA

You know her?

WILLIAM (CONT’D)

She’s always in the library, prone to delusions Alice is. She’s the talk of the town here.

LYDIA

How so?

WILLIAM

They say that she’s becoming immune to the drugs they’re giving her.

LYDIA

                                 (Grimly)

Wonderful.

                                                            CUT TO:

INT: THE CABIN – PAST.

Alice enters the cabin to find a man with a bag over his head tied to a chair. Thugs surround him, one prim proper man sits in a chair opposite and asks him questions.

MAN

Tell us what we want to know Wallace.

WALLACE

                                 (Stuttering)

No. Nope.

MAN

Then we’ll just have to go to our more extreme methods.

Alice’s Trainer clears his throat. The prim proper man rises.

MAN

Ah, good, she passed?

TRAINER

With flying colours, sir.

The prim proper man nods and gestures to Alice to come closer.

MAN

Now, this man has done very bad things, and he won’t tell us what we want to know. Your next test is to try to get him to talk.

He hands Alice another gun, and pushes her forward, closer to Wallace.

The thugs back off and stare at Alice, they all smile in the same creepy way.

Alice goes closer to Wallace and positions the gun to the man’s temple.

ALICE

You’re going to tell them what they want to know or you’re going to die.

WALLACE

That doesn’t scare me.

Alice points the gun to Wallace’s foot and fires.

Wallace screams.

                                                                       CUT TO:

INT: THE BOOKSHELVES

Alice won’t stop screaming.

LYDIA

Where is that bloody nurse?

WILLIAM

She likes to take her time.

That’s when all of the lights go off.

LYDIA

Shit.

The whole library is then bathed in red light as the generators kick in.

LYDIA

We need to find that nurse, somethings wrong here.

ALICE

                                 (Moaning hoarsely)

They’re here. They’re here.

LYDIA (CONT’D)

Who’s here, Alice?

Alice’s eyes open weakly.

ALICE

The murderers.

William and Lydia look at each other. Alice closes her eyes and slumps against Lydia’s hold.

WILLIAM

What are we going to do with that, sweet child?

Lydia brushes her hair back as she lets go of Alice.

LYDIA

We are going to get to somewhere safe. Grab her.

William grabs Alice and puts her over his shoulder.

Lydia looks around the library. The only other occupants are the two men sitting on the same side of a long table playing cards calmly.

Lydia walks over to them.

LYDIA

Hey, you! We need to go. What’s your names?

THE ONE ON THE LEFT.

I’m Jesus.

THE ONE ON THE RIGHT.

I’m Judas.

Lydia facepalms.

LYDIA

We need to get going.

JUDAS

But we haven’t finished our game yet.

LYDIA

Now!

The men hurriedly comply and the group leaves the library.

                                                                       CUT TO:

INT: TAYLOR’S CAR.

Taylor is speeding down the highway, police radio in hand.

TAYLOR

This is Taylor Shaw. We have a hit on Alice Trelawney at Whittingham Hospital, agent also inhabited at that building. Possible hostage situation. Over.

POLICE OFFICER – THROUGH THE RADIO

Copy that.

Taylor flips his police lights on the car and hurries down the road.

CAROL

Do you not think you should slow down?

She’s clutching at her seat worriedly.

TAYLOR

The faster I get there, the faster we get her out of there.

CAROL

You’re a force to be reckoned with, you’ll do miracles.

Taylor looks at her.

TAYLOR

Mrs. Davenport, we are a small, nomadic detective company for hire, we don’t perform miracles.

CAROL

Then what do you do?

TAYLOR

Hard work.

The race down the roads of Cheshire.

                                                                       CUT TO:

INT: CORRIDOR OF WHITTINGHAM HOSPITAL

Lydia and the group hurry down a corridor, away from the library. They reach a set of double doors which is locked.

LYDIA

What do we do now?

WILLIAM

During brownouts such as this, the system defaults to factory settings, any key card will work.

Lydia looks down at her visitors pass around her neck. She takes it off and puts it into the door. It works. Lydia smiles at her Grandfather.

JUDAS

Now what?

LYDIA

We need to get to somewhere safe, somewhere accessible from the inside.

WILLIAM

There’s a security cupboard which you can lock from the inside via a code.

LYDIA

Where is it?

WILLIAM

It’s near here, I often frequent it when no-one’s looking.

LYDIA

Take us there.

William now leads the group through another corridor and round a corner where a big cupboard is located.

LYDIA

You’ve all got to get in there, and if someone knocks you do not open it for anyone, even me. No one gets in, no one gets out until police arrive.

JESUS

What about you?

LYDIA (CONT’D)

I’m going to fix this, that’s my job.

WILLIAM

She’s a detective.

Lydia ushers them all into the cupboard. Her grandfather puts Alice down and comes back out.

WILLIAM

Who are you again, sweetheart?

His eyes are distant again.

Lydia kisses his forehead.

LYDIA

Grandfather, stay safe.

William furrows his eyebrows but backs into the cupboard.

INT: THE CUPBOARD

Judas sets a random code into the system and presses it to lock. The sound of it locking is audible.

INT: THE CORRIDOR

Lydia smiles and walks away.

INT: THE CUPBOARD

William goes to sit down next to Alice. Jesus and Judas look at each other.

JUDAS

Now what?

JESUS

Father will save us.

Judas rolls his eyes and sits down.

                                                                       FADE OUT:

End of Act Two

Act Three

 

FADE IN:

INT: CORRIDOR OF THE HOSPITAL

Lydia walks aimlessly through the hospital, she encounters Nurse Kathy lying on the ground. She is dead. A baton is clasped in her hands. Lydia takes it and flips it. She walks on.

INT: COMPUTER ROOM

In the computer room, Lydia looks at the surveillance. It’s mostly clear but on three screens. On each floor of the hospital a group of three men in ski masks and holding guns survey the area.

LYDIA

Those are not police.

She rubs her forehead.

LYDIA (CONT’D)

Shit.

She exits the computer room, taking note of the men on that floor. Heading straight for her.

INT: THE CUPBOARD

William taps against a table leg. The cupboard is full of old furniture, tables and chairs stacked on top of each other. He and Alice sat on chairs while the other two found space on the ground.

JESUS

We didn’t get to have supper.

JUDAS

Yeah, our last supper.

JESUS

What?

JUDAS

Nothing.

Alice stirs from the place on the chair. She moans as she awakes.

ALICE

Uh, I hate those things.

JESUS

What, you hate us?

JUDAS

                                 (Smirking)

How could you?

ALICE (CONT’D)

Judas is a betrayer and Jesus dies.

The two gasp and then fall silent, not looking at her. They look suspiciously at each other.

WILLIAM

That wasn’t nice.

ALICE

                                 (Ignoring him)

Where are we?

WILLIAM

In a cupboard sweetheart.

ALICE

Why are we in a cupboard?

WILLIAM

For our own safety love?

ALICE

That’s just stupid.

She crosses her arms. There is silence for a few moments. She tries to get her limbs to work, Alice tries to stand and falls back down. William helps her to stand and she tries to walk. After a while the drugs where off and she can walk a few steps on her own.

WILLIAM

You should sit down until your fit as a spanner.

Alice glares at him. He quietens.

INT: A SUPPLY CUPBOARD

Lydia paws through draws in the cupboard looking for things that could be a weapon. She comes up empty.

There’s a crackling sound and she looks up to the speaker system in the ceiling.

VOICE THROUGH SPEAKERS

Hello ladies and gentlemen mad and sane alike, we are looking for Alice Trelawney, so if you could be a dear and step out of your hidey hole nobody else will die. Thank you.

LYDIA

Shit.

INT: THE CUPBOARD.

ALICE

Shit.

William looks at her.

WILLIAM

Don’t do what I think you’re going to do.

ALICE (CONT’D)

And what’s that?

WILLIAM

Go out there.

ALICE

You’re going to let me go, you know why? Because that woman you care about it also out there and if I go that means she doesn’t die.

WILLIAM

She can protect herself.

Alice moves to the door and punches in the code.

WILLIAM

How do you know that?

ALICE

I heard Judas saying it before.

William glares at Judas who smirks back. Alice pulls the door open and exits. William locks it again. He sighs.

WILLIAM

Do you want to hear a joke?

He gets no answer.

WILLIAM (CONT’D)

If you two went into a restaurant you would have to order a table for 26. Do you know why, because all thirteen of you sit on the same side. Except Judas that is.

The other two stare blankly back at him.

WILLIAM

                                 (Muttering)

Tough crowd this wartime.

INT: SUPPLY CUPBOARD

Lydia is about to exit when she hears steps coming closer to the door.

VOICE

What’s the plan here?

SECOND VOICE

The girl’s room is on this floor, room 204. If she knows what’s good for her she’ll be there and we take her.

VOICE

If she’s not?

SECOND VOICE

We kill everyone until we find her.

Lydia gulps. The steps come right up to the door. She stops breathing.

SECOND VOICE (CONT’D)

We poke through every hidey hole until we come across her.

VOICE

What like this one?

The other one doesn’t answer. There is silence for a while. Lydia can’t breathe. She puts a hand to her mouth to stop herself from crying out.

SECOND VOICE

We go to the room first.

They walk away. Lydia releases a breath. She slumps to the floor as she waits for them to pass. She puts her head into her hands. She looks to the shelf which holds a box of random items. She stands and looks in it, a handmade shank lie sat the bottom.

Armed and smiling grimly she exits the cupboard and heads to Alice’s room.

INT. ALICE’S BEDROOM

TWO THUGS open the closet doors, pawing through racks of dresses as they look for their prey. But they haven’t yet checked

UNDER THE BED,

Where a shank-wielding hand suddenly lashes out, cutting one thug’s Achille’s tendons. The goon SCREAMS as he falls. Gun in hand, his partner flips back the comforter to carefully look underneath.

But there’s no one there.

Confused, he glances up just in time to see Alice kick him across the face.

Hearing the commotion, one more GOON crowd into the room.

Ripping the clothes hanger pole from the closet, Alice uses it as a quarterstaff. She takes down the two GOONS and breaths heavily.

ALICE

You were looking for me?

INT. CORRIDOR TO ALICE’S ROOM

Still holding the handmade shank she found Lydia looks around cautiously. She hears footsteps behind her. She spins and finds several GOONS at the beginning of the corridor. She sighs and drives the shank into a shoulder, it breaks but the man falls. Then she takes one after another, using all the tools at her disposal. One guy gets hit with the freezer door, while another gets a face full of flour and a frying pan to the head.

Lydia may not be much of a cook, but she’s great in the kitchen.

Rolling back over the counter, Lydia swings a hanging plant to knock out a pursuer. Be it a waffle iron, rolling pin or barbecue tong, anything Lydia touches becomes a weapon.

When they are all down she flips her hair out of her face.

Alice herself exits the bedroom.

LYDIA

What are you doing here?

ALICE

Fixing this. I took down three in my room.

LYDIA

How?

ALICE (CONT’D)

I don’t know, I just did. Like my body just knew how.

Lydia rubs her forehead.

LYDIA

More will be coming this way.

ALICE

Then let’s fix it.

They head down the corridor and as they pass a bathroom, Alice is pulled in.

INT. BATHROOM.

A THUG goes flying through the glass shower door, which SHATTERS. Wrapping his hand in a towel, Alice grabs a large shard and uses it as a glass sword. She watches as Lydia struggles with a huge GOON further on in the room. She runs and SMASHES the glass shard into the second thug, who goes down. Just when she thinks she’s finished, she hears a

SHOTGUN PUMPING

behind her. She turns to face one last thug, the LEADER. He keeps both barrels trained on her.

THUG LEADER

You’re cornered.

Alice knows she’s toast. But just then, we hear a THWICK!

The cut was so fast we didn’t really see it, it heads towards the leader but he simply steps away. Lydia is behind Alice looking shocked.

LYDIA

How?

LEADER

I’m a lot more experienced then you’d think.

Half a beat, then Alice rushes him. She spin-kicks and his gun falls, which lands halfway across the bathroom.

Both unarmed and extremely dangerous, Alice and the Leader stare at each other, face-to-face, not sure what happens next.

Suddenly he grabs her, pulling her in for

A PASSIONATE KISS.

She doesn’t fight it - at least not at first. But then the adrenaline wears off, and she pushes free.

ALICE

Who are you?

LEADER

You already know.

They stare at each other.

ALICE

How?

Behind the pair, Lydia picks up the gun, aims and fires. The bullet stabs through the Leader’s shoulder who staggers back away from Alice. He stares. After a beat he turns and disappears. Alice follows.

INT: CORRIDOR.

Alice see’s the man jump and tear down the latch to an air vent. He stares at her and then clambers inside. Lydia stands behind her and goes to follow.

ALICE

Don’t.

LYDIA

                                 (Shocked)

What?

ALICE (CONT’D)

Don’t follow him. Let him go.

LYDIA

They just tried to kidnap you!

ALICE

So what.

She walks away and Lydia watches after her.

After Alice is gone, Lydia goes to the air vent. She’s going to follow him.

EXT: OUTSIDE THE HOSPITAL

Taylor and the police squad crowd the outside of the hospital. Taylor puts on a bullet proof vest and gets ready to go in.

CAROL

I’m going in with you.

TAYLOR

Uh, no you’re not.

CAROL

My daughter and my father are in there with murdering goons.

TAYLOR

And you’re going to trust me to get them back out alive.

Carol looks unsure. Taylor walks up to her.

TAYLOR (CONT’D)

Trust me Mrs. Davenport, they’re going to be safe and sound. Your daughter is credit enough to that.

Carol pats his arm and lets him go.

Taylor and the police storm the hospital with guns. They are prepared for anything.

INT: THE AIR VENTS

Lydia follows after the leader but he’s so ahead of her.

LYDIA

What do you want from us?

LEADER (V.O)

Not from you, from Alice.

Lydia crawls through faster.

LEADER (V.O) (CONT’D)

Then again, I wouldn’t tell you anything about her.

LYDIA
We are going to get you.

LEADER (V.O)

Why don’t you let us be, let the world run its course? You’ll live longer. Anyway, you are out of your depth here girl, give up.

He’s too far ahead and she takes a turn. The wrong turn. She stops and breaths. She comes up to a grate unlatches it and swings down. Right as Taylor comes in.

INT: ROOM

Taylor looks shocked as Lydia hangs from the ceiling and drops down.

TAYLOR

Woah.

LYDIA

                                 (Grinning)

No, hey I’m glad you’re alive?

TAYLOR

That too?

The pair hug.

TAYLOR

You’re safe, all of them are neutralized.

LYDIA

                                 (Murmuring)

Not everyone, the leader got away from me.

TAYLOR

That’s okay. Next time you’ll get them.

LYDIA

There might not be a next time.

                                                                 CUT TO:

EXT: OUTSIDE AN A&E DEPARTMENT.

Carol hugs her father as Jesus and Judas pass by. They are on their way to the hospitals van to be transferred.

JUDAS

One time, Jesus was trying to turn water into wine and I said, “Mate put your fiver in like the rest of us.”

Jesus beside him didn’t laugh while Judas laughed in uproar.

William tries to let go of Carol but fails.

WILLIAM

Jesus woman let go.

CAROL

I’m not Jesus, he’s over there. I’m so glad you’re alright.

WILLIAM

So am I. I couldn’t stand being in that cupboard any moment longer with those two.

Lydia then hugs her grandfather.

WILLIAM

You’ll do great, sweet child.

LYDIA

Thanks.

The family watches as William goes to the van and the van drives away from the hospital.

Lydia is then swarmed by a bear hug off of her mother. Carol takes note of the bandage on Lydia’s forehead from some minor hits.

CAROL

My beautiful daughter, I’m so overjoyed you’re safe.

LYDIA

Mom, I’m fine.

CAROL

Are you sure, you aren’t out of your depth here?

Lydia looks past her mother’s shoulder to Taylor, who smiles at her, then past Taylor to the police car behind him. It has Alice in the back, who looks forlornly away from her.

LYDIA

No mom. I’m in my element here.

TAYLOR (V.O)

Throw me to the wolves and I’ll return leading the pack – Unknown.

                                                                 FADE OUT:

End of Act Three

Roll Credits. 

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