tag:blogger.com,1999:blog-56808505659430162012011-07-08T07:34:07.845-04:00Megabytenoreply@blogger.comBlogger511100tag:blogger.com,1999:blog-5680850565943016201.post-17041083499692235242010-03-19T12:14:00.001-04:002010-03-19T12:14:29.238-04:00<div><span class="Apple-tab-span" style="white-space:pre"> </span></div><div><br /></div><div><br /></div><div><br /></div><div> SHERLOCK HOLMES</div><div><br /></div><div> </div><div><br /></div><div> Written by</div><div><br /></div><div> Michael Robert Johnson,</div><div> Anthony Peckham &amp; Simon Kinberg</div><div><br /></div><div><br /></div><div> Sherlock Holmes and Watson characters created by</div><div><br /></div><div> Sir Arthur Conan Doyle</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> </div><div> September 29, 2008</div><div><br /></div><div><br /></div><div> 1.</div><div><br /></div><div><br /></div><div> FADE IN:</div><div><br /></div><div>1 EXT. STREETS OF LONDON - NIGHT 1</div><div><br /></div><div> Autumnal streets seen through the sooty glass of a STREET</div><div> LAMP. Shadows within shadows. Fog in the air. Full</div><div> moon.</div><div><br /></div><div> WATSON (V.O.)</div><div> The year was 1891. London was the</div><div> capital of the world -- the height</div><div> of modernity, with the hiss of</div><div> steam and smell of coal in the</div><div> air. It was also the great</div><div> cesspool into which all the</div><div> sinners and criminals of the</div><div> empire drained.</div><div><br /></div><div> Gas hisses audibly, the street lamp ignites, and casts a</div><div> POOL OF LIGHT onto the street, silhouetting a MAN making</div><div> his way through the fog and dark shadows with a lantern.</div><div><br /></div><div> WATSON (V.O.)</div><div> I had come to London, ten years</div><div> prior, to find a life after the</div><div> Afghan war. I had hoped to start</div><div> a medical practice and settle into</div><div> a nice, steady existence. The</div><div> life I found was anything but nice</div><div> and steady.</div><div><br /></div><div> We can see that the MAN wears a cape. The distinctive</div><div> silhouette of his deerstalker hat is unmistakable. A</div><div> FURIOUS CLATTER OF HOOVES APPROACHES in the distance.</div><div> The MAN tugs on a pipe and turns towards the growing</div><div> stampede.</div><div><br /></div><div> WATSON (V.O.)</div><div> And that had everything to do with</div><div> one man. My friend, my partner,</div><div> my burden...</div><div><br /></div><div> The MAN exhales a plume of smoke calmly, giving us the</div><div> impression that he knows something that we don't.</div><div><br /></div><div> WATSON (V.O.)</div><div> ... Sherlock Holmes.</div><div><br /></div><div> WHAM! The MAN in the deerstalker hat is KNOCKED FLAT by</div><div> A RUNNING MAN who has vaulted over a wall, sending him,</div><div> his pipe, and hat flying across the cobbles.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 2.</div><div>1 CONTINUED: 1</div><div> The RUNNING MAN leans down as if to assist, but instead</div><div> just picks up the smoker's broken umbrella and studies</div><div> it. The MAN in the deerstalker hat's eyes widen as he</div><div> recognizes his famous assailant.</div><div><br /></div><div> MAN</div><div> Sherlock Holmes?!</div><div><br /></div><div> SHERLOCK HOLMES offers the handle of the umbrella to the</div><div> MAN, hauls him to his feet and hands back his broken</div><div> umbrella.</div><div><br /></div><div> HOLMES</div><div> My apologies. Send the bill to</div><div> John Watson, 221B Baker Street.</div><div><br /></div><div> Sherlock Holmes sprints off down an alleyway. The MAN</div><div> takes a step into the road to watch him go --</div><div><br /></div><div> -- and is nearly flattened for good by the first of a</div><div> number of POLICE CARRIAGES, hurtling by on a serious</div><div> pursuit, Victorian-style.</div><div><br /></div><div>2 2</div><div> INT. CARRIAGE - CLOSEUP ON THE OFFICERS - NIGHT</div><div> inside. Big, uniformed guys assemble their weaponry -- a</div><div> 19th century SWAT team. One man stands out as a leader,</div><div> older than the rest, INSPECTOR LESTRADE.</div><div><br /></div><div> A man in plainclothes sits to one side of the officers:</div><div> DR. JOHN WATSON, physically as tough as anyone else in</div><div> the carriage, but with a more pensive air about him. A</div><div> thinking man of action.</div><div><br /></div><div>3 EXT. STREETS OF LONDON - NIGHT 3</div><div><br /></div><div> Almost tipping over, the carriage turns onto the</div><div> Embankment and hurtles through the writhing fog along the</div><div> river.</div><div><br /></div><div> As the carriage banks, we see Holmes cut across the</div><div> carriage path again, taking a line the horses cannot</div><div> follow.</div><div><br /></div><div> CUT TO:</div><div><br /></div><div><br /></div><div> ANOTHER ANGLE</div><div><br /></div><div> Holmes bursts out of an alley, sprints round a corner and</div><div> runs across a courtyard to a side door.</div><div><br /></div><div> WE PULL BACK to see the FACADE OF ST. PAUL'S CATHEDRAL.</div><div><br /></div><div> 3.</div><div><br /></div><div><br /></div><div>4 OMITTED 4</div><div><br /></div><div><br /></div><div>5 INT. CATHEDRAL CRYPTS - ENTRANCE - NIGHT 5</div><div><br /></div><div> Holmes enters through the door and stands at the top of a</div><div> stairwell. He takes a moment to recover; he's fit, but</div><div> not as fit as he used to be.</div><div><br /></div><div> Holmes descends the stairwell to a door and a spiral</div><div> staircase beyond it. He stops at the doorway and peers</div><div> round the corner.</div><div><br /></div><div> A lantern glow ascends the spiral stairway towards</div><div> Holmes. Holmes withdraws into the shadows behind the</div><div> door. A BOWLER-HATTED MAN ascends the stairs, carrying</div><div> the lantern and a gun.</div><div><br /></div><div> He peers behind the door and holds the lantern up to the</div><div> shadows, but does not see Holmes, who has pulled his</div><div> black jacket up to conceal his face. The man swings the</div><div> lantern away again. He peers about, confused.</div><div><br /></div><div> We see Holmes' eyes from the shadows, as he lowers his</div><div> jacket and thinks through his plan of attack.</div><div><br /></div><div> HOLMES (V.O.)</div><div> Head cocked to the left, partial</div><div> deafness in right ear. First</div><div> point of attack.</div><div><br /></div><div><br /></div><div> PRE-VISUALIZATION IN VARI-SPEED</div><div><br /></div><div> FOCUS ON the spot behind the man's right ear, just at the</div><div> top of the jaw -- the most vulnerable point. Holmes</div><div> launches a hammer blow, and we ramp from 24 fps to 400</div><div> fps (ULTRA SLOW MOTION) as he makes contact. The man's</div><div> head is thrown back as he spins round.</div><div><br /></div><div> HOLMES (V.O.)</div><div> Then throat, paralyze vocal</div><div> chords, stop screaming.</div><div><br /></div><div> BACK TO 24 fps. The man's mouth opens to cry out. We</div><div> RAMP BACK UP TO 400 fps as his Adam's Apple is struck</div><div> with a precision karate chop, strangling his scream.</div><div><br /></div><div> HOLMES (V.O.)</div><div> Stink of alcohol, heavy drinker --</div><div> knuckles to liver.</div><div><br /></div><div> BACK TO 24 fps, RAMPING TO 400 fps as a devastating</div><div> knuckle-punch to the liver doubles up the bowler-hatted</div><div> thug and crumples him to his knees.</div><div> (CONTINUED)</div><div><br /></div><div> 4.</div><div>5 CONTINUED: 5</div><div> SECOND-TIME ACTION - SUPER FAST REPEAT OF ABOVE</div><div><br /></div><div> Holmes flashes out of the shadows, moving so fast that we</div><div> can barely see what he's doing.</div><div><br /></div><div> THWACK! Hammer blow to ear.</div><div> CRACK! Karate chop to throat.</div><div> WHAP! Knuckle punch to liver.</div><div><br /></div><div> BACK TO NORMAL MOTION as the man crumples to the ground,</div><div> Holmes takes his bowler hat from his head and flips it</div><div> onto his own in one super fast move.</div><div><br /></div><div> Holmes drags the battered man into the shadows, lifts his</div><div> lantern and proceeds down the spiral staircase.</div><div><br /></div><div><br /></div><div> POV - BOTTOM OF THE SPIRAL STAIRCASE</div><div><br /></div><div> Another bowler-hatted THUG approaches the bottom of the</div><div> staircase. He has seen the lantern light. He draws his</div><div> gun and approaches. Holmes places the lantern on the</div><div> post at the bottom of the bannister, ducks down into the</div><div> shadows.</div><div><br /></div><div> THUG</div><div> What's goin' on, John?</div><div><br /></div><div> When he gets no answer, the THUG points his gun to where</div><div> we saw Holmes hide.</div><div><br /></div><div> But Holmes appears from the shadows behind the THUG,</div><div> reaches around him, grabs his gun hand and pistol-whips</div><div> him twice with his own gun, dropping him.</div><div><br /></div><div> Holmes extracts a cigar from the Thug's top pocket and</div><div> sniffs it appreciatively.</div><div><br /></div><div> HOLMES</div><div> Hhhmm, good cigar. Who do you</div><div> work for?</div><div><br /></div><div> He jams the cigar in his own top pocket, picks up the</div><div> man's bowler and proceeds on, further down into the</div><div> crypts.</div><div><br /></div><div>6 6</div><div> OMITTED</div><div><br /></div><div>7 INT. CATHEDRAL CRYPTS - BALCONY - NIGHT 7</div><div><br /></div><div> TWO HARD MEN in bowler hats stand guard.</div><div><br /></div><div> CUT TO:</div><div> (CONTINUED)</div><div><br /></div><div> 5.</div><div>7 CONTINUED: 7</div><div> ANOTHER ANGLE</div><div><br /></div><div> Holmes surveys the scene AT A DISTANCE, out of sight.</div><div> Eyes alive with intelligence, processing angles when --</div><div><br /></div><div> A HEAVY HAND falls on his shoulder. PULL BACK to</div><div> reveal --</div><div><br /></div><div> (The following exchange in whispers.)</div><div><br /></div><div> HOLMES</div><div> Watson. Perfect timing.</div><div><br /></div><div> WATSON</div><div> Nice hat.</div><div><br /></div><div> HOLMES</div><div> Just got it. Where's Lestrade?</div><div><br /></div><div> WATSON</div><div> Getting his troops in formation.</div><div> Is that your blood or theirs?</div><div><br /></div><div> HOLMES</div><div> I don't know. It's an old shirt.</div><div><br /></div><div> WATSON</div><div> You left this behind.</div><div><br /></div><div> Watson hands him his pistol. Holmes looks at it with</div><div> distaste, doesn't take it.</div><div><br /></div><div> HOLMES</div><div> Knew I'd forgotten something.</div><div> Thought I'd left the stove on.</div><div><br /></div><div> WATSON</div><div> You did.</div><div><br /></div><div> HOLMES</div><div> Right. Shall we?</div><div><br /></div><div> This is what they do. This is what they like.</div><div><br /></div><div> CUT TO:</div><div><br /></div><div><br /></div><div> ANOTHER ANGLE</div><div><br /></div><div> The two HARD MEN on guard turn fast and gather together</div><div> as they hear footsteps approaching.</div><div><br /></div><div> MAN #1</div><div> Des?</div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 5A.</div><div>7 CONTINUED: (2) 7</div><div> He can see the hat, but not the man underneath.</div><div><br /></div><div> WATSON</div><div> Yeah, s'me.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 6.</div><div>7 CONTINUED: (3) 7</div><div> Watson takes out the two men. He is more of a brawler,</div><div> using headbutts, knees, and elbows. Less artful, but no</div><div> less effective.</div><div><br /></div><div><br /></div><div>8 OMITTED 8</div><div><br /></div><div><br /></div><div>9 INT. CATHEDRAL CRYPTS - BALCONY - NIGHT 9</div><div><br /></div><div> Thugs dispatched, Holmes and Watson look down and see a</div><div> chilling sight.</div><div><br /></div><div> A WOMAN IN WHITE LIES INSIDE A CRUDELY-PAINTED PENTACLE</div><div> (five-sided figure), lit with candles at each corner.</div><div> Her eyes roll back in her head, trance-like. A sword has</div><div> been placed at her feet.</div><div><br /></div><div> A HOODED FIGURE KNEELS INSIDE A DOUBLE CIRCLE next to the</div><div> pentacle. This is LORD BLACKWOOD. We do not yet see his</div><div> face.</div><div><br /></div><div> ANOTHER HOODED FIGURE stands on the edge of the ceremony,</div><div> shrouded in shadow. We do not see his face.</div><div><br /></div><div> Suddenly, the woman rises up like a broken puppet, as if</div><div> pulled to her feet by invisible hands.</div><div><br /></div><div> Some kind of ritual is about to climax.</div><div><br /></div><div> Holmes and Watson head down, fast, not caring if they</div><div> make a noise or not. Their footsteps echo.</div><div><br /></div><div>9A 9A</div><div> INT. CATHEDRAL CRYPTS</div><div> The second hooded figure moves back and melts into the</div><div> shadows.</div><div><br /></div><div> Still kneeling, still hooded, Blackwood chants softly,</div><div> Latin incantation repeating and repeating.</div><div><br /></div><div> ON THE WOMAN as her lips start to move in time with the</div><div> incantation. This is spooky, real, powerful stuff.</div><div><br /></div><div> Holmes and Watson leap from the stairs to Blackwood's</div><div> level.</div><div><br /></div><div> Blackwood simply ignores them. The Latin incantation</div><div> never stops.</div><div><br /></div><div> Holmes is closer to the girl, Watson closer to Blackwood.</div><div><br /></div><div> WATSON</div><div> The girl.</div><div> (CONTINUED)</div><div><br /></div><div> 7.</div><div>9A CONTINUED: 9A</div><div> The girl bends with alarming and mechanical suddenness,</div><div> picks up the sword and turns it on herself, ready to</div><div> plunge the point into her heart.</div><div><br /></div><div> Holmes lunges, grabs the woman's arm, disarms her and</div><div> pulls her out of the pentacle. She collapses.</div><div><br /></div><div> Simultaneously and eerily the candles extinguish and a</div><div> rush of air departs the tunnel.</div><div><br /></div><div> Blackwood throws back his hood. We finally see his face.</div><div> His eyes are intense, he is tapped into something dark</div><div> and cruel.</div><div><br /></div><div> Holmes and Watson are shocked at his identity.</div><div><br /></div><div> WATSON</div><div> Lord Blackwood?!</div><div> Blackwood applauds softly, strangely.</div><div><br /></div><div> BLACKWOOD</div><div> Well done, Holmes. And Watson as</div><div> well.</div><div><br /></div><div> Watson raises his gun, trains it on Blackwood.</div><div><br /></div><div> WATSON</div><div> Stay right there.</div><div><br /></div><div> Blackwood raises his hands in front of him, almost</div><div> mockingly.</div><div><br /></div><div> BLACKWOOD</div><div> Tell me, doctor, as a medical man,</div><div> how did you like my work?</div><div> (beat)</div><div> The fifth one was so scrawny, it</div><div> was over before I'd finished the</div><div> first incision.</div><div><br /></div><div> That's more than Watson can take. He moves in to pistol-</div><div> whip Blackwood --</div><div><br /></div><div> -- is stopped suddenly by Holmes' hand grabbing his</div><div> collar.</div><div><br /></div><div> HOLMES</div><div> No.</div><div><br /></div><div> Watson struggles forward against Holmes' grip.</div><div><br /></div><div> HOLMES</div><div> Look.</div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 8.</div><div>9A CONTINUED: (2) 9A</div><div> Holmes seems to be pointing at Blackwood. Watson looks,</div><div> sees nothing.</div><div><br /></div><div> HOLMES</div><div> Look.</div><div><br /></div><div> Watson looks, and sees it and his eyes flare wide.</div><div><br /></div><div> INCHES FROM WATSON'S RIGHT EYE is the needle-pointed end</div><div> of a QUIVERING PIECE OF HIGH-TENSILE WIRE, almost</div><div> invisible --</div><div><br /></div><div> -- the other end held between Blackwood's hands. A</div><div> really nasty concealed weapon.</div><div><br /></div><div> One more step and Watson gets impaled in the eye.</div><div><br /></div><div> BLACKWOOD</div><div> What a shame. That would've been</div><div> fun.</div><div><br /></div><div> We hear heavy boots on the balcony, as Lestrade and his</div><div> men finally appear.</div><div><br /></div><div> POLICEMEN flood the area.</div><div><br /></div><div> HOLMES</div><div> Impeccable timing, Lestrade.</div><div><br /></div><div> LESTRADE</div><div> (vis Blackwood)</div><div> Is that -- ?</div><div><br /></div><div> WATSON</div><div> It is.</div><div><br /></div><div> HOLMES</div><div> (re: girl)</div><div> We've gone for the doctor...</div><div> (re: Blackwood)</div><div> And one for the rope.</div><div><br /></div><div> LESTRADE</div><div> You should've waited for my help.</div><div><br /></div><div> HOLMES</div><div> If I had, you'd be cleaning up a</div><div> corpse and chasing a rumor.</div><div> Besides, the girl's parents hired</div><div> me, not the Yard.</div><div> (a wry smile)</div><div> I can't imagine why they thought</div><div> you'd need any assistance.</div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 9.</div><div>9A CONTINUED: (3) 9A</div><div> Lestrade turns, frustrated. He watches his men yank</div><div> Blackwood out of his double circle, put chains on him,</div><div> while others carry the girl away on a stretcher. She's</div><div> still mouthing the incantation.</div><div><br /></div><div> Lestrade eyes the double circle, the pentacle, shakes his</div><div> head, not understanding them.</div><div><br /></div><div> Grudgingly, reluctantly, hating himself for needing to,</div><div> he turns to Holmes.</div><div><br /></div><div> LESTRADE</div><div> What do you make of that?</div><div><br /></div><div> HOLMES</div><div> Some kind of ceremony. Five girls</div><div> killed beneath cathedrals at the</div><div> height of the full moon.</div><div> (indicating)</div><div> The double circle's for his own</div><div> protection.</div><div><br /></div><div> LESTRADE</div><div> London will breathe a sigh of</div><div> relief --</div><div><br /></div><div> WATSON</div><div> -- at the excellent work of</div><div> Scotland Yard. As usual.</div><div><br /></div><div> HOLMES</div><div> Bravo, Lestrade. Have a cigar.</div><div><br /></div><div> Holmes sticks the villain's cigar in Lestrade's pocket</div><div> and --</div><div><br /></div><div> -- A POLICE PHOTOGRAPHER lifts his massive camera.</div><div><br /></div><div> FLASH! An explosion of light and sparks as a 19th</div><div> century flashbulb pops. The SCENE is FROZEN bright for a</div><div> split-second and then it FADES.</div><div><br /></div><div> CREDIT SEQUENCE BEGINS, MUSIC AND TITLES OVER --</div><div><br /></div><div>10 10</div><div> OMITTED</div><div><br /></div><div>10A INT. LAB 10A</div><div><br /></div><div> Dim light from a burner heats fluid in a jar, a bench</div><div> strewn with scientific equipment. Gloved hands mix</div><div> chemicals in a tray, a piece of photo paper on top.</div><div><br /></div><div> 10.</div><div><br /></div><div><br /></div><div>10B INT. NEWSPAPER LIBRARY 10B</div><div><br /></div><div> Another pair of hands search urgently through a row of</div><div> alphabetized files, coming to rest on the letter "H." A</div><div> bunch of "H" clippings hit the desk. The top one reads:</div><div><br /></div><div> STUDENT AND ARMY DOCTOR SOLVE LONDON MYSTERY! A photo of</div><div> Holmes and Watson in their 20s at a crime scene. Their</div><div> eyes are shut for the photo, unaccustomed to flashes.</div><div><br /></div><div><br /></div><div>10C INT. LAB 10C</div><div><br /></div><div> Chemicals are poured over the paper and spread across it.</div><div><br /></div><div><br /></div><div>10D INT. NEWSPAPER LIBRARY 10D</div><div><br /></div><div> Hands flip through more papers, more headlines: STUDENT</div><div> AND DOCTOR BEAT COPS TO THE PUNCH AGAIN! ROOMMATES SOLVE</div><div> BRIXTON MURDERS! Another picture of Holmes and Watson.</div><div> This time, they look more confident, the article bigger.</div><div><br /></div><div> Another headline: HOLMES AND WATSON OPEN FOR BUSINESS.</div><div> Holmes and Watson stand in front of 221 Baker Street.</div><div><br /></div><div>10E 10E</div><div> INT. LAB</div><div> A negative is clipped over the paper. A sudden flash of</div><div> light as it is exposed.</div><div><br /></div><div><br /></div><div>10F INT. NEWSPAPER LIBRARY 10F</div><div><br /></div><div> Another headline: DOCTOR AND DETECTIVE FOIL JEWELRY</div><div> SCAM! A picture of Holmes and Watson, holding a goose by</div><div> its feet and smiling. The men are front page news now.</div><div><br /></div><div> More headlines and photos come fast: LONDON DUO DO IT</div><div> AGAIN! A shot of Holmes and Watson, older, shaking hands</div><div> with a royal. HOLMES AND WATSON SOLVE SEVERED EAR</div><div> MYSTERY... CELEBRATED DETECTIVE PROVES GUILTY MAN</div><div> INNOCENT... More and more headlines, Holmes and Watson</div><div> getting older, solving crimes, and...</div><div><br /></div><div> The files are moved to another desk where hands punch</div><div> text on a vintage typewriter: "CATACOMB KILLER IS</div><div> INDUSTRIAL TYCOON LORD BLACKWOOD..."</div><div><br /></div><div><br /></div><div>10G INT. LAB 10G</div><div><br /></div><div> A faint image is forming on the paper.</div><div><br /></div><div> 11.</div><div><br /></div><div><br /></div><div>10H INT. NEWSPAPER LIBRARY 10H</div><div><br /></div><div> A hand yanks the paper from the typewriter and onto a</div><div> desk where a typesetter begins to assemble the story in</div><div> blocks of lead type. Upside down and back to front we</div><div> see the words "SHERLOCK HOLMES," one metal letter at a</div><div> time.</div><div><br /></div><div><br /></div><div>10J INT. PRINTING PRESS 10J</div><div><br /></div><div> A roller dripping with ink rolls over the story we have</div><div> seen assembled along with an engraving of the image. The</div><div> whole thing is fed into a printing press, a whirring mass</div><div> of wheels and gears. Papers are bundled and tied, then</div><div> distributed until one lands face-up outside the door of:</div><div><br /></div><div> 221 BAKER STREET, where we see the headline "CATACOMB</div><div> KILLER CAUGHT!" The photo of Holmes and Watson sits</div><div> above the fold, dominating the front page.</div><div><br /></div><div> TITLE SEQUENCE ENDS.</div><div><br /></div><div>11 11</div><div> EXT. 221 BAKER ST. - AFTERNOON</div><div> Autumn has turned to winter.</div><div><br /></div><div> SUPERIMPOSE: THREE MONTHS LATER</div><div><br /></div><div><br /></div><div> FROM A RAVEN'S POV</div><div><br /></div><div> We FOLLOW a lady, MRS. HUDSON, walking down the street</div><div> with the day's shopping. She picks up a paper with the</div><div> day's headline "BLACKWOOD HANGS TOMORROW: CLAIMS PACK</div><div> WITH THE DEVIL." She continues down the street until</div><div> arriving at 221 Baker Street. A raven lands on the entry</div><div> gate, she shoos it away, walks up the steps, and inside.</div><div><br /></div><div><br /></div><div>12 INT. 221 BAKER ST. - WATSON'S APARTMENT 12</div><div><br /></div><div> Watson takes a blood pressure cuff off CAPTAIN PHILIPS,</div><div> an OLDER GENTLEMAN who sports an array of medals. The</div><div> room is a tribute to military and medical order -- all is</div><div> neat and tidy, everything in its place.</div><div><br /></div><div> WATSON</div><div> 71 over 104... very good, Captain.</div><div><br /></div><div> CAPTAIN PHILIPS</div><div> Me nerves are the best they been</div><div> in years, thanks to you.</div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 11aA.</div><div>12 CONTINUED: 12</div><div> Watson is pleased by that.</div><div><br /></div><div> CAPTAIN PHILIPS</div><div> Tell me something -- your new</div><div> offices. There won't be so many</div><div> stairs, I hope?</div><div><br /></div><div> WATSON</div><div> No -- ground floor. And there'll</div><div> be a woman's touch, too.</div><div> (MORE)</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 11A.</div><div>12 CONTINUED: (2) 12</div><div> WATSON (CONT'D)</div><div> I think we can start to wean you</div><div> off the medicine --</div><div><br /></div><div> BANG-BANG-BANG-BANG-BANG! A dozen GUNSHOTS O.S. Captain</div><div> Philips hits the floor, terrified.</div><div><br /></div><div> Watson suppresses extreme irritation, writes a</div><div> prescription on a piece of paper, then helps Captain</div><div> Philips to his feet.</div><div><br /></div><div> WATSON</div><div> Let's give it a little longer,</div><div> just to be safe.</div><div> (beat)</div><div> I'll be right back.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 12.</div><div>12 CONTINUED: (3) 12</div><div> He heads out, letting his aggravation show once his back</div><div> is turned to his patient.</div><div><br /></div><div><br /></div><div>13 INT. 221 BAKER ST. - HALL 13</div><div><br /></div><div> As Watson exits his apartment and moves down the hall,</div><div> MRS. HUDSON, his landlady, shoots up the stairs with the</div><div> paper. Her nerves are almost as bad as Captain Philips'.</div><div><br /></div><div> MRS. HUDSON</div><div> (panting)</div><div> I won't go in there by myself, not</div><div> while he's in this state.</div><div><br /></div><div> WATSON</div><div> You're not going in at all.</div><div><br /></div><div> Which is a relief to Mrs. Hudson.</div><div><br /></div><div> MRS. HUDSON</div><div> What will I do when you leave?</div><div> He'll burn the house down around</div><div> me. What will he do? Couldn't</div><div> you have a longer engagement?</div><div><br /></div><div> WATSON</div><div> He just needs a new case, that's</div><div> all.</div><div><br /></div><div> Captain Philips emerges from Watson's apartment, heads</div><div> towards them.</div><div><br /></div><div> WATSON</div><div> I smell burning.</div><div><br /></div><div> Mrs. Hudson's already-frayed nerves take a turn for the</div><div> worse. Watson takes the newspaper from her.</div><div><br /></div><div> WATSON</div><div> Why don't you take Captain Philips</div><div> and give him a nice cup of tea.</div><div><br /></div><div> MRS. HUDSON</div><div> Come on, Captain, let's go down.</div><div> It'll be quieter.</div><div><br /></div><div> WATSON</div><div> (as they leave)</div><div> And perhaps some tea and bread up</div><div> here when you can.</div><div><br /></div><div> Watson heads down the hallway to the last door. A</div><div> tendril of smoke wafts out from under it. Urgent.</div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 12A.</div><div>13 CONTINUED: 13</div><div> Nonetheless, Watson stops, takes a deep breath, gathers</div><div> himself. Something like this has happened before (is, in</div><div> fact, Holmes' usual brand of chaos) the difference being,</div><div> now, that Watson is sick to death of dealing with it.</div><div><br /></div><div> Which doesn't mean he won't.</div><div><br /></div><div> Newspaper in hand, Watson opens the door, pokes his head</div><div> in, cautiously. He sees --</div><div><br /></div><div><br /></div><div>14 INT. 221 BAKER ST. - HOLMES' APARTMENTS 14</div><div><br /></div><div> Watson squeezes through the doorway to find that the </div><div> obstruction is Holmes who is sitting in the dark on a </div><div> chair, blocking the door, aiming a gun (with an odd </div><div> contraption fastened on its barrel) at the wall. </div><div><br /></div><div> Unadulterated chaos. A series of FLAMING BULLET HOLES </div><div> blasted into the wall in the (ragged) initials "V.R."</div><div><br /></div><div> WATSON </div><div> May I join you in the armory? </div><div><br /></div><div> HOLMES </div><div> Please... Watson, I've been </div><div> working on a device which will </div><div> suppress the sound of a gunshot. </div><div><br /></div><div> Watson heads towards the conservatory. </div><div><br /></div><div> HOLMES </div><div> Please... Don't, don't, don't... </div><div><br /></div><div> Watson pulls open the curtains allowing the light to pour </div><div> in. </div><div><br /></div><div> WATSON </div><div> It needs work. May I see?... </div><div><br /></div><div> Watson passes him heading to the other side of the room </div><div> (possibly grabs the gun) picking up a pile of open </div><div> letters from a table. </div><div><br /></div><div> HOLMES </div><div> Gently, gently, Watson... </div><div><br /></div><div> Watson whips open more curtains and opens a window. </div><div><br /></div><div> Holmes crawls on his hands and knees over to a table </div><div> where he finds his sunglasses and puts them on. </div><div><br /></div><div> Watson sits on a chair and begins to leaf though the </div><div> letters. </div><div> </div><div> (CONTINUED)</div><div><br /></div><div> 13.</div><div>14 CONTINUED: 14</div><div> WATSON </div><div> It's been three months since the </div><div> last case. About time you found </div><div> another one. </div><div><br /></div><div> HOLMES </div><div> I can't but agree. My mind rebels </div><div> at stagnation. Give me problems, </div><div> give me work. The sooner the </div><div> better. </div><div><br /></div><div> WATSON </div><div> Paper? </div><div><br /></div><div> Watson hands Holmes the newspaper. </div><div><br /></div><div> WATSON </div><div> Let's see, we have a letter here </div><div> from Mrs. Ramsey in Queen's Park -- </div><div> her husband has gone missing. </div><div><br /></div><div> HOLMES </div><div> He's in Belgium with the scullery </div><div> maid. Is it December? </div><div><br /></div><div> WATSON </div><div> Yes, Holmes. Lady Radford reports </div><div> a missing emerald bracelet. </div><div><br /></div><div> HOLMES </div><div> Insurance swindle. Lord Radford </div><div> likes fast women and slow ponies. </div><div> I see you're the attending </div><div> physician at Blackwood's hanging. </div><div><br /></div><div> WATSON </div><div> Yes, it's our last case together </div><div> and I wanted to see it through to </div><div> the end. </div><div><br /></div><div> Awkward pause. Cough. </div><div><br /></div><div> WATSON </div><div> Mr. Lewis is seeking... </div><div><br /></div><div> Mrs. Hudson enters carrying a tray of bread and tea. She </div><div> is steeling herself for this interaction. </div><div><br /></div><div> HOLMES </div><div> (to Watson) </div><div> There is only one case that </div><div> intrigues me at present... the </div><div> curious case of Mrs. Hudson, the </div><div> absentee landlady. </div><div> (MORE)</div><div> (CONTINUED)</div><div><br /></div><div> 14.</div><div>14 CONTINUED: (2) 14</div><div> HOLMES (CONT'D)</div><div> I have been studying her comings </div><div> and goings and they appear most </div><div> sinister. </div><div><br /></div><div> MRS. HUDSON </div><div> Tea, Mr. Holmes. </div><div><br /></div><div> Mrs. Hudson crosses to Holmes and puts the tray before </div><div> him. </div><div><br /></div><div> HOLMES </div><div> Is it poisoned, nanny? </div><div><br /></div><div> MRS. HUDSON </div><div> There's enough of that in you </div><div> already. </div><div><br /></div><div> She goes to remove an old tray from behind him. </div><div><br /></div><div> HOLMES </div><div> Don't touch that. Everything is </div><div> in its proper place, as per usual. </div><div><br /></div><div> She ignores him and removes the tray then crosses back </div><div> towards the door noticing a bulldog lying unconscious </div><div> under the table. </div><div><br /></div><div> MRS. HUDSON </div><div> He's killed the dog... again. </div><div><br /></div><div> Watson jumps up. His bulldog, GLADSTONE, lies on the </div><div> floor in a drugged stupor. </div><div><br /></div><div> WATSON </div><div> What have you done to Gladstone </div><div> this time? </div><div><br /></div><div> HOLMES </div><div> I was simply testing a new </div><div> anesthetic. He doesn't mind. </div><div><br /></div><div> WATSON </div><div> Holmes! As your doctor... </div><div><br /></div><div> HOLMES </div><div> He'll be right as a trivet in no </div><div> time. </div><div><br /></div><div> Watson's finally had enough. </div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 15.</div><div>14 CONTINUED: (3) 14</div><div> WATSON </div><div> ... and your friend, you've been </div><div> in this room for two weeks. I </div><div> insist you get out of here. </div><div><br /></div><div> HOLMES</div><div> There's nothing of interest to me </div><div> out there, on earth, at all. </div><div> </div><div> WATSON</div><div> So, you have nothing to do? </div><div> </div><div> HOLMES</div><div> Nothing. </div><div><br /></div><div> WATSON</div><div> Then you're free this evening. </div><div><br /></div><div> HOLMES</div><div> Absolutely.</div><div><br /></div><div> WATSON </div><div> For dinner. </div><div><br /></div><div> HOLMES </div><div> Wonderful. </div><div><br /></div><div> WATSON </div><div> The Royale. </div><div><br /></div><div> HOLMES </div><div> My favorite. </div><div><br /></div><div> WATSON</div><div> Mary's coming. </div><div><br /></div><div> HOLMES</div><div> Not available. </div><div><br /></div><div> WATSON</div><div> You're meeting her, Holmes.</div><div><br /></div><div> HOLMES</div><div> Have you proposed yet? </div><div><br /></div><div> WATSON</div><div> I'm still looking for the right</div><div> ring.</div><div><br /></div><div> A little smile from Holmes.</div><div><br /></div><div> HOLMES</div><div> Then it's not official.</div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 16.</div><div>14 CONTINUED: (4) 14</div><div> WATSON</div><div> It's happening, like it or not.</div><div> Half past eight. The Royale. </div><div><br /></div><div> The dog wakes up and runs out. </div><div><br /></div><div> WATSON</div><div> And wear a jacket.</div><div><br /></div><div> Watson exits, leaving Holmes alone in his own chaos.</div><div> For the first time, we see a hint of fear in his eyes.</div><div><br /></div><div> CUT TO:</div><div><br /></div><div>15 INT. THE ROYALE - DINING ROOM 15</div><div><br /></div><div> Holmes sits in the center of a booth waiting for Watson</div><div> to arrive. He is quite uncomfortable in this setting.</div><div><br /></div><div> WE SEE HIS OBSERVATIONS -- he picks up little pieces of</div><div> information from the other guests. He notices the</div><div> details on a pair of gentleman's cufflinks, the name on a</div><div> bottle of wine, a surreptitious argument between waiters.</div><div> It all becomes quite overbearing.</div><div><br /></div><div> And then Watson and Mary arrive, talking, intent on each</div><div> other -- surprised when they realize Holmes is already</div><div> there.</div><div><br /></div><div> WATSON</div><div> Holmes! You're early.</div><div> HOLMES</div><div> Fashionably.</div><div><br /></div><div> WATSON</div><div> May I present Miss Mary Morstan.</div><div><br /></div><div> Holmes looks at MARY MORSTAN -- looks again. She's</div><div> beautiful, 30s, and clearly a woman worth marrying.</div><div> Holmes stands. She extends her hand.</div><div><br /></div><div> HOLMES</div><div> My pleasure. For the life of me I</div><div> don't know why it's taken him so</div><div> long to get us properly</div><div> introduced.</div><div><br /></div><div> Holmes gestures politely, they sit, Mary and Watson on</div><div> either side of him. There is a decanted bottle of wine</div><div> on the table.</div><div><br /></div><div> MARY</div><div> The pleasure's mine. It really is</div><div> a thrill to meet you, Mr. Holmes.</div><div> (MORE)</div><div> (CONTINUED)</div><div><br /></div><div> 16A.</div><div>15 CONTINUED: 15</div><div> MARY (CONT'D)</div><div> I've a whole stack of detective</div><div> novels at home. Poe, Wilkie</div><div> Collins...</div><div> WATSON</div><div> (proudly)</div><div> It's true.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 17.</div><div>15 CONTINUED: (2) 15</div><div> MARY</div><div> They can seem a bit far-fetched</div><div> sometimes, though. Making these</div><div> grand assumptions out of tiny</div><div> details.</div><div><br /></div><div> HOLMES</div><div> (livening up)</div><div> Oh, no no. The little details are</div><div> by far the most important. Take</div><div> Watson...</div><div><br /></div><div> MARY</div><div> I intend to.</div><div><br /></div><div> Watson likes that, Holmes less so -- a forced chuckle.</div><div><br /></div><div> HOLMES</div><div> ... see that walking-stick? A</div><div> rare African snakewood hiding a</div><div> blade of high-tensile steel. A</div><div> few were awarded to veterans of</div><div> the Afghan war, so I can assume</div><div> he's a decorated soldier. Strong,</div><div> brave, born to be a man of action.</div><div> And neat, like all military men.</div><div> Then I check his pockets... ah. A</div><div> stub from a boxing match. Now I</div><div> can infer he's a bit of a gambler.</div><div> (a wink)</div><div> I'd keep an eye on that, by the</div><div> way.</div><div><br /></div><div> WATSON</div><div> Those days are behind me.</div><div><br /></div><div> HOLMES</div><div> Yes, right behind you.</div><div> (leaning in to Mary)</div><div> He's cost us the rent more than</div><div> once.</div><div><br /></div><div> Mary laughs.</div><div><br /></div><div> MARY</div><div> With all due respect, Mr. Holmes,</div><div> you know him. But what about a</div><div> perfect stranger? What can you</div><div> tell about me?</div><div><br /></div><div> Holmes and Watson exchange a glance -- not a good idea.</div><div><br /></div><div> WATSON</div><div> I don't think that's necessary --</div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 17A.</div><div>15 CONTINUED: (3) 15</div><div> HOLMES</div><div> Yes, I doubt --</div><div><br /></div><div> MARY</div><div> No, it'd be wonderful. I insist.</div><div><br /></div><div> HOLMES</div><div> You insist?</div><div> (at Watson)</div><div> She insisted.</div><div> (instantly)</div><div> You're a governess.</div><div><br /></div><div> MARY</div><div> Well done.</div><div><br /></div><div> WATSON</div><div> Yes, well done. So shall we --</div><div><br /></div><div> HOLMES</div><div> Your student's a boy of 8.</div><div><br /></div><div> MARY</div><div> Charlie's 7, actually.</div><div><br /></div><div> Watson's getting nervous, reaches for the wine. Holmes</div><div> stops him.</div><div><br /></div><div> HOLMES</div><div> It's breathing.</div><div> (back to Mary)</div><div> Then he's tall for his age.</div><div><br /></div><div> Mary nods.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 18.</div><div>15 CONTINUED: (4) 15</div><div> HOLMES</div><div> He flicked ink at you today.</div><div><br /></div><div> MARY</div><div> Is there ink on my face?</div><div><br /></div><div> The WAITER appears.</div><div><br /></div><div> WATSON</div><div> There's nothing wrong with your</div><div> face.</div><div><br /></div><div> WAITER</div><div> The gentleman has already ordered</div><div> for himself.</div><div> (to Watson)</div><div> What would madam care for this</div><div> evening?</div><div><br /></div><div> Watson gives Holmes a hard look: that's a bit much.</div><div><br /></div><div> WATSON</div><div> Give us a few minutes, please.</div><div><br /></div><div> He shakes his head, pours wine for all.</div><div><br /></div><div> HOLMES</div><div> There are two drops on your ear...</div><div> India blue's nearly impossible to</div><div> wash off, anyway. A very</div><div> impetuous act by the boy, but</div><div> you're too experienced to react</div><div> rashly -- which is why the lady</div><div> you work for lent you that</div><div> necklace. It's from Asprey's,</div><div> flawless, not the gems of a</div><div> governess.</div><div> (beat)</div><div> However, the jewels you're not</div><div> wearing tell us rather more.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 19.</div><div>15 CONTINUED: (5) 15</div><div> WATSON</div><div> Holmes.</div><div><br /></div><div> Both Watson and Mary scorch Holmes with their eyes.</div><div> Holmes pauses... pauses, then:</div><div><br /></div><div> HOLMES</div><div> You were engaged.</div><div><br /></div><div> Holmes' mind has gotten away from him. He begins talking</div><div> faster, intensely focused, manic.</div><div><br /></div><div> HOLMES</div><div> The ring is gone. But the lighter</div><div> skin where it sat suggests you</div><div> spent some time abroad wearing it</div><div> proudly.</div><div><br /></div><div> As Holmes talks, Watson gets up, moves to help Mary to</div><div> her feet. They're leaving.</div><div><br /></div><div> HOLMES</div><div> Or at least until someone informed</div><div> you of its true and rather modest</div><div> worth, at which point you broke</div><div> off the engagement and returned to</div><div> England for better prospects. A</div><div> doctor perhaps.</div><div><br /></div><div> Mary throws Watson's wine in Holmes' face. The</div><div> restaurant goes silent. She turns to leave, turns back.</div><div><br /></div><div> MARY</div><div> (low)</div><div> Right on all counts but one. I</div><div> didn't leave my fiance... he died.</div><div><br /></div><div> Now she leaves --</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 20.</div><div>15 CONTINUED: (6) 15</div><div> WATSON</div><div> Well done, old man.</div><div><br /></div><div> -- and Watson goes with her.</div><div><br /></div><div> Holmes lets the wine drip down over him.</div><div><br /></div><div> HOLMES</div><div> She's lovely.</div><div><br /></div><div> Holmes is left at an empty table with wine running down</div><div> his face.</div><div><br /></div><div> Their orders arrive -- an array of plates piled high.</div><div> The waiter puts them down, Holmes very carefully unfolds</div><div> his napkin and places it into the top of his shirt,</div><div> spaghetti style, takes his knife and fork and begins to</div><div> cut the meat -- then pauses, looks around.</div><div><br /></div><div><br /></div><div> HOLMES' POV</div><div><br /></div><div> Happy couples eating, laughing, talking. Suddenly,</div><div> Holmes hears no words. He just sees their mouths moving.</div><div> The sound of silverware clinking and scraping on fine</div><div> china rises to an ORCHESTRAL ROAR --</div><div><br /></div><div> -- which becomes the ROAR of a BLOOD-THIRSTY MOB as a</div><div> fist smashes into a face with a MEATY THUD.</div><div><br /></div><div>15A-17 OMITTEDINT. PUNCH BOWL PUB - BARE-KNUCKLE BOXING FIGHT - 5A-17</div><div> 1</div><div> NIGHT</div><div><br /></div><div> Holmes staggers back from the blow. He tastes his own</div><div> blood from a split lip. It interests him.</div><div> He is stripped to the waist, all sinew and gristle. His</div><div> opponent, McMURDO -- huge but flabby -- bangs his fists</div><div> together and moves in.</div><div><br /></div><div> Bets rage back and forth through the pressing CROWD.</div><div><br /></div><div><br /></div><div> HOLMES' POV</div><div><br /></div><div> The room and the fight are calm -- the sounds muffled and</div><div> indistinct -- a complete sensory reversal of his</div><div> experience in the restaurant. This is soothing to him,</div><div> the ring is the only place where his mind stops racing.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 21.</div><div>15A-17 CONTINUED: 15A-17</div><div> He's able to feel, not just think. He is utterly in the</div><div> moment.</div><div><br /></div><div> Holmes' hawk-sharp gaze darts down from McMurdo's face to</div><div> his muscles as they flex, giving him just enough warning</div><div> to move his head so that a punch grazes him.</div><div><br /></div><div><br /></div><div> BACK TO SCENE</div><div><br /></div><div> McMurdo throws a storm of punches, most of which Holmes</div><div> ducks or blocks. He throws nothing in return, sometimes</div><div> even drops his hands, just using his reflexes to protect</div><div> himself.</div><div><br /></div><div> Once or twice, he reaches out and gently touches</div><div> McMurdo's face or throat, when the big man leaves an</div><div> obvious opening. But that's all. Holmes is completely</div><div> in control --</div><div><br /></div><div> -- until he notices a face at ringside.</div><div><br /></div><div><br /></div><div> CLOSEUP ON A BEAUTIFUL WOMAN</div><div><br /></div><div> Early thirties, a look of pure intrigue in her eyes and a</div><div> slight smile on her lips as she watches the detective.</div><div><br /></div><div> Holmes' POV returns to normal when he sees her, the sound</div><div> floods back into the room.</div><div><br /></div><div> McMurdo senses his opponent's lapse in concentration and</div><div> steps on Holmes' foot, tramping him and --</div><div><br /></div><div> He knocks Holmes down with a thunderous right.</div><div><br /></div><div> Holmes rolls over, stands, shakes his head to clear the</div><div> cobwebs. He looks for the woman. She's gone. He turns</div><div> back to McMurdo, smiles.</div><div><br /></div><div> HOLMES</div><div> Well done. Thank you.</div><div><br /></div><div> Holmes begins walking away.</div><div><br /></div><div> McMURDO</div><div> Oi! We ain't done here.</div><div><br /></div><div> HOLMES</div><div> (walking away)</div><div> Not done. Finished. And as I</div><div> said, thank you, it was most</div><div> pleasurable.</div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 22.</div><div>15A-17 CONTINUED: (2) 15A-17</div><div> Face twisted in disgust, McMurdo strides forward and</div><div> SPITS CONTEMPTUOUSLY at Holmes, catching him on the back</div><div> of the head. The crowd falls silent.</div><div><br /></div><div> Holmes stops. Feels the back of his head, smells his</div><div> hand.</div><div><br /></div><div> HOLMES</div><div> Hm. Plymouth gin.</div><div><br /></div><div> He turns. Steps back into the ring.</div><div><br /></div><div> The crowd applauds, working into a fever pitch, but from</div><div> Holmes' POV, all is calm. His eyes tick slowly, scanning</div><div> McMurdo, locking onto the big man's knee:</div><div><br /></div><div> A little scar-tissue, nearly invisible. As McMurdo</div><div> braces for combat --</div><div><br /></div><div> Instantly Holmes unleashes a series of superfast moves,</div><div> incorporating exotic martial arts. The blinding</div><div> combination culminates with a spinning kick to the big</div><div> man's knee, which buckles altogether wrong.</div><div><br /></div><div> McMurdo falls, over and out. Holmes is already turning</div><div> away before the giant hits the canvas.</div><div><br /></div><div> He sees the crowd fall silent, they're not sure if they</div><div> like it, there really isn't any sport. He doesn't care.</div><div><br /></div><div> Passing fellow fighters and flirty barmaids, Holmes</div><div> strides out of the bar, battered on the outside, soothed</div><div> inside. He grabs a bottle in his hand. Taking a huge</div><div> swig, he climbs the stairs towards the upstairs rooms.</div><div><br /></div><div>18A 18A</div><div> INT. PENTONVILLE PRISON - CORRIDOR - NIGHT</div><div> A candle shivers, casting jagged shadows. A row of stone</div><div> cells. The sound of prisoners SCREAMING in the dark. A</div><div> full-scale riot is on.</div><div><br /></div><div> Five GUARDS charge down the corridor, banging on the</div><div> doors to quiet the prisoners.</div><div><br /></div><div> The GUARD CAPTAIN approaches a young guard, CHARLIE, who</div><div> is frozen on the spot.</div><div><br /></div><div> GUARD CAPTAIN</div><div> Charlie, what the hell's going on</div><div> down here?</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 23.</div><div>18A CONTINUED: 18A</div><div> CHARLIE</div><div> It's Jack, he tried to stop</div><div> Blackwood from doing his spells.</div><div> And now he's in some kind of fit.</div><div><br /></div><div> The Guard Captain continues around the corner. We see</div><div> another guard, JACK, lies convulsing on the floor.</div><div><br /></div><div> GUARD CAPTAIN</div><div> (to the prisoners in</div><div> the cell next to</div><div> Blackwood)</div><div> You lot shut it!</div><div> (to the guards)</div><div> Charlie, get, down here and get</div><div> him to the infirmary.</div><div><br /></div><div> The guards pick Charlie up and carry him away.</div><div><br /></div><div>19 19</div><div> INT. PENTONVILLE PRISON - BLACKWOOD'S CELL - NIGHT</div><div> Blackwood sits dead center in the dark. Eyes closed,</div><div> WHISPERING ungodly sounds.</div><div><br /></div><div> On the walls the scrawls of a madman: wild symbols,</div><div> sketches of animals, a headless sphinx, an upside-down</div><div> cross. A hint of some method to his madness.</div><div><br /></div><div> GUARD CAPTAIN</div><div> All right, Blackwood, what's this</div><div> all about?</div><div><br /></div><div> BLACKWOOD</div><div> I've a request.</div><div> GUARD CAPTAIN</div><div> You don't get nothin' `til you</div><div> stop this devil nonsense. That's</div><div> a holy book --</div><div><br /></div><div> Blackwood closes his eyes again, resumes his soft murmur.</div><div><br /></div><div> GUARD CAPTAIN</div><div> (louder)</div><div> -- and you will respect it!</div><div><br /></div><div> Blackwood starts whispering FASTER. LOUDER.</div><div><br /></div><div> GUARD CAPTAIN</div><div> Boy, you want me to muzzle you --</div><div><br /></div><div> Suddenly, the Captain starts COUGHING. He's confused.</div><div> He coughs harder. Prisoners watch him stumble backwards.</div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 23A.</div><div>19 CONTINUED: 19</div><div> Blackwood keeps whispering. The Captain falls to one</div><div> knee, keeps coughing.</div><div><br /></div><div> Finally the Captain COUGHS SOMETHING UP, spits it out</div><div> onto the stone floor. He looks down, horrified:</div><div><br /></div><div> It's a small CATHOLIC CROSS on a chain.</div><div><br /></div><div> Prisoners start SHOUTING. The RAVEN at Blackwood's</div><div> windowsill flutters away. Other guards run up,</div><div> terrified.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 24.</div><div>19 CONTINUED: (2) 19</div><div> GUARD #2</div><div> Get him to the infirmary, now!</div><div><br /></div><div> Guards pull the Captain away. The remaining guard picks</div><div> up the cross, stares at Blackwood, chilled. Blackwood's</div><div> eyes snap open.</div><div><br /></div><div> BLACKWOOD</div><div> I've a request.</div><div><br /></div><div><br /></div><div>20 OMITTED 20</div><div><br /></div><div><br /></div><div>21 INT. PUNCH BOWL PUB - BARE-KNUCKLE BOXING RING - NIGHT 21</div><div><br /></div><div> The fighting is over and the pub is closing. Only a few</div><div> people remain cleaning up, mopping the beer and blood.</div><div> Watson enters fast, looks around, and moves upstairs.</div><div><br /></div><div>22 22</div><div> INT. PUNCH BOWL PUB - ATTIC</div><div> Watson walks down a dingy hallway towards a door. With a</div><div> look of resignation, he opens the door to see Holmes</div><div> sitting alone in the sterile, barely furnished room.</div><div><br /></div><div> Holmes faces the corner, playing scales on his VIOLIN.</div><div> On the table next to him, an upside down BEER STEIN and</div><div> an assortment of prescription medicine bottles.</div><div><br /></div><div> Watson approaches, sees Holmes has bloodshot eyes from</div><div> lack of sleep.</div><div><br /></div><div> Watson picks one of the medicine bottles which is open.</div><div> WATSON</div><div> You know this is for eye surgery?</div><div><br /></div><div> HOLMES</div><div> I find that it lifts my spirits.</div><div><br /></div><div> WATSON</div><div> It's a pathological amorbic</div><div> process, it increases tissue</div><div> change and weakness. And you know</div><div> what a black reaction comes on you</div><div> afterwards.</div><div><br /></div><div> No answer. More scales. Watson approaches, sees Holmes</div><div> has bloodshot eyes from lack of sleep. The beer stein is</div><div> full of FLIES all buzzing about.</div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 24A.</div><div>22 CONTINUED: 22</div><div> HOLMES</div><div> Look at this. If you play a</div><div> chromatic scale, they move</div><div> clockwise. As soon as you switch</div><div> to a pentatonic scale --</div><div><br /></div><div> Holmes plays a different scale, the flies all stop</div><div> moving, stick to the glass.</div><div><br /></div><div> WATSON</div><div> (faking interest)</div><div> Really? What about when you --</div><div> oops --</div><div><br /></div><div> Watson picks up the glass, lets loose the flies. Holmes</div><div> looks up; Watson's already moving for the door, pissed.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 25.</div><div>22 CONTINUED: (2) 22</div><div> WATSON</div><div> Let's go. Lestrade wants you at</div><div> Pentonville Prison.</div><div><br /></div><div> HOLMES</div><div> That's your job, not mine.</div><div><br /></div><div> WATSON</div><div> You're Blackwood's last request.</div><div> Says he has information he'll give</div><div> only to you.</div><div><br /></div><div> But Watson's already out the door.</div><div><br /></div><div><br /></div><div>23 EXT. LONDON - DAWN 23</div><div><br /></div><div> Watson and Holmes ride in a cab, passing familiar</div><div> landmarks as the city comes to life. They sit in</div><div> silence, tension hanging between them. Finally Holmes</div><div> grabs Watson's bag, rummages around and pulls out a clean</div><div> white shirt.</div><div><br /></div><div> Watson looks out the window, frustrated. He sees THE</div><div> HALF-CONSTRUCTED MASS OF TOWER BRIDGE. Near ground</div><div> level, workers take down a large BLACKWOOD STEEL sign.</div><div><br /></div><div> HOLMES</div><div> Look at that structure. What has</div><div> it been? Five years' work</div><div> already? Are you aware that is</div><div> the first combination of bascule</div><div> and suspension bridge. Very</div><div> innovative.</div><div><br /></div><div> No reply.</div><div><br /></div><div> As Holmes is taking off his jacket, he reaches into his</div><div> pocket and pulls out a wad of money.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 26.</div><div>23 CONTINUED: 23</div><div><br /></div><div> HOLMES</div><div> Oh, I have your cut from last</div><div> night, by the way. You weren't</div><div> there so I laid your customary</div><div> bet --</div><div><br /></div><div> Silence. Holmes takes off his shirt.</div><div><br /></div><div> HOLMES</div><div> You're right... I'll keep it with</div><div> your check book, locked safely</div><div> away in my drawer.</div><div><br /></div><div> Silence. Holmes pulls on the clean shirt.</div><div><br /></div><div> HOLMES</div><div> The opera house is featuring Don</div><div> Giovanni and I could easily</div><div> procure two tickets if you had</div><div> some cultural inclination this</div><div> evening.</div><div><br /></div><div> Silence.</div><div><br /></div><div> HOLMES</div><div> You have the grand gift of</div><div> silence, Watson. It makes you</div><div> quite invaluable as a companion.</div><div><br /></div><div> Watson punches him square in the face.</div><div><br /></div><div> WATSON</div><div> And your grand gift is the uncanny</div><div> ability to demoralize people. I</div><div> was aware she'd been engaged. She</div><div> told me.</div><div> Holmes rubs his jaw.</div><div><br /></div><div> HOLMES</div><div> So that's a `no' to the opera</div><div> then?</div><div><br /></div><div> Watson's steaming. Holmes puts on his vest.</div><div><br /></div><div> WATSON</div><div> That's my waistcoat.</div><div><br /></div><div> HOLMES</div><div> It's too small for you.</div><div><br /></div><div> WATSON</div><div> Well, it's my property and I want</div><div> it back.</div><div> (CONTINUED)</div><div><br /></div><div> 26aA.</div><div>23 CONTINUED: (2) 23</div><div> Holmes hands him the waistcoat which he promptly tosses</div><div> out of the carriage window. Holmes frowns, looks out the</div><div> opposite window.</div><div><br /></div><div> 26A.</div><div><br /></div><div><br /></div><div><br /></div><div>24 EXT. PENTONVILLE PRISON - EARLY MORNING 24</div><div><br /></div><div> Already a CROWD is gathering outside the jail, papers are</div><div> for sale, Blackwood's death is the headline. Religious</div><div> zealots and occultists swarm. Police keep them away from</div><div> the entrance. Holmes heads inside, Watson stops.</div><div><br /></div><div> WATSON</div><div> You go ahead. I've no business</div><div> with him while he's alive.</div><div><br /></div><div><br /></div><div>25 OMITTED 25</div><div><br /></div><div> 27.</div><div><br /></div><div><br /></div><div>26 INT. PENTONVILLE PRISON - CORRIDOR - DAWN 26</div><div><br /></div><div> A pale, nervous GUARD leads Holmes down the shadowy</div><div> corridor. All the cells are now EMPTY.</div><div><br /></div><div> HOLMES</div><div> Where are all the other prisoners?</div><div><br /></div><div> GUARD</div><div> We had to move `em, sir, otherwise</div><div> we were going to have a riot on</div><div> our hands. There's something</div><div> about him... it's like he can get</div><div> inside your head.</div><div><br /></div><div> Holmes can see how spooked the Guard is.</div><div><br /></div><div> HOLMES</div><div> I'm sure I can find my own way</div><div> from here, if you have other</div><div> duties to attend to.</div><div><br /></div><div> GUARD</div><div> Much obliged, sir. Thank you,</div><div> thank you.</div><div><br /></div><div> The Guard high-tails it out of there.</div><div><br /></div><div>27 27</div><div> INT. PENTONVILLE PRISON - BLACKWOOD'S CELL - DAY</div><div> Holmes approaches Blackwood's cell, strolling</div><div> insouciantly. No way this creep's getting to him. In</div><div> the shadows he can barely make out Blackwood, who's</div><div> reading aloud to himself. Holmes listens, getting</div><div> closer.</div><div> BLACKWOOD</div><div> QUOTE from Revelations tbd...</div><div><br /></div><div> Blackwood pauses, turns, sees Holmes.</div><div><br /></div><div> They share a smile -- two heavyweights sizing each other</div><div> up.</div><div><br /></div><div> HOLMES</div><div> Love what you've done with the</div><div> place.</div><div><br /></div><div> BLACKWOOD</div><div> Thank you for joining me.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 28.</div><div>27 CONTINUED: 27</div><div> HOLMES</div><div> A small point of concern.</div><div><br /></div><div> BLACKWOOD</div><div> How can I help?</div><div><br /></div><div> HOLMES</div><div> I'd already followed the murders</div><div> with some interest and while my</div><div> heart went out to the families of</div><div> the victims, I couldn't but notice</div><div> a criminal mastery in the stroke</div><div> of your brush --</div><div><br /></div><div> BLACKWOOD</div><div> You're too kind.</div><div><br /></div><div> HOLMES</div><div> However, by comparison, your work</div><div> in the crypt was akin to a finger</div><div> painting.</div><div><br /></div><div> Suddenly, Blackwood is right at the bars, close to</div><div> Holmes.</div><div><br /></div><div> BLACKWOOD</div><div> So now you're curious as to</div><div> whether there's a larger game</div><div> afoot, and that's why you're</div><div> really here.</div><div><br /></div><div> HOLMES</div><div> Actually, my friend will pronounce</div><div> you dead shortly and I thought I</div><div> might keep him company.</div><div><br /></div><div> BLACKWOOD</div><div> Allow me to enlighten you. Your</div><div> mistake is to imagine that</div><div> anything earthly has led to this</div><div> moment. Your error in judgement</div><div> is to assume I've been holding the</div><div> brush at all -- I am merely the</div><div> channel.</div><div><br /></div><div> Despite the bars between them, the men are close</div><div> together. Holmes seems to be studying Blackwood's ear.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 29.</div><div>27 CONTINUED: (2) 27</div><div> HOLMES</div><div> My only wish is that I'd caught</div><div> you earlier. I might have spared</div><div> five lives.</div><div><br /></div><div> BLACKWOOD</div><div> Those lives were a necessity, a</div><div> sacrifice. Five otherwise</div><div> meaningless creatures called to</div><div> serve a greater purpose.</div><div><br /></div><div> HOLMES</div><div> I wonder if they'd let Watson and</div><div> I dissect your brain -- after</div><div> you're hanged, of course. I'd</div><div> wager there's some deformity that</div><div> would be scientifically</div><div> significant. Then you would serve</div><div> a greater purpose, too.</div><div><br /></div><div> BLACKWOOD</div><div> Mr. Holmes, you must widen your</div><div> gaze. I'm concerned you</div><div> underestimate the gravity of</div><div> coming events.</div><div> (beat)</div><div> For you and I are bound on a</div><div> journey that will twist the very</div><div> fabric of nature.</div><div> (beat)</div><div> I sense fragility beneath your</div><div> mask of logic, and it worries me.</div><div> Steel your mind, Holmes, I need</div><div> you.</div><div><br /></div><div> Holmes steps back, shakes his head.</div><div><br /></div><div> HOLMES</div><div> I must say, you've come a long way</div><div> down from the House of Lords.</div><div><br /></div><div> BLACKWOOD</div><div> But I will rise again.</div><div><br /></div><div> HOLMES</div><div> Bon voyage, Blackwood.</div><div><br /></div><div> As Holmes walks away, Blackwood calls after him.</div><div><br /></div><div> BLACKWOOD</div><div> Pay attention! Three more shall</div><div> die, and there is nothing you can</div><div> do to save them.</div><div> (MORE)</div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 29A.</div><div>27 CONTINUED: (3) 27</div><div> BLACKWOOD (CONT'D)</div><div> You must accept that this is</div><div> beyond your control, or by the</div><div> time you realize it was you that</div><div> made it all possible it will be</div><div> the last sane thought in your</div><div> head.</div><div><br /></div><div><br /></div><div>28 INT. PENTONVILLE PRISON - CORRIDOR - MORNING 28</div><div><br /></div><div> Holmes walks down the corridor, meets Lestrade and a</div><div> PRIEST. The place is bustling with cops and officials.</div><div><br /></div><div> LESTRADE</div><div> What did he want?</div><div><br /></div><div> HOLMES</div><div> Nothing.</div><div><br /></div><div> Holmes looks at the priest.</div><div><br /></div><div> HOLMES</div><div> Don't think you're needed, Father.</div><div> Not for this one.</div><div><br /></div><div>29 29</div><div> INT. PENTONVILLE PRISON - GALLOWS</div><div> The room where the execution takes place is packed to the</div><div> rafters with senior officials, members of the government</div><div> and cops. We get a good look at some of the faces.</div><div> Watson is there too. Blackwood walks up into the noose.</div><div><br /></div><div> CUT TO:</div><div><br /></div><div> A SHOT OF GATHERED WITNESSES AND OFFICIALS</div><div><br /></div><div> CUT TO:</div><div><br /></div><div><br /></div><div> A SHOT OF THE EXECUTIONER</div><div><br /></div><div> CUT TO:</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 30.</div><div>29 CONTINUED: 29</div><div> A SHOT OF BLACKWOOD</div><div><br /></div><div> smiling malignly. His final words:</div><div><br /></div><div> BLACKWOOD</div><div> Death is only the beginning.</div><div><br /></div><div> CUT TO:</div><div><br /></div><div><br /></div><div> A SHOT OF THE HOOD</div><div><br /></div><div> going over Blackwood's head.</div><div><br /></div><div> CUT TO:</div><div><br /></div><div><br /></div><div> A SHOT OF THE NOOSE</div><div><br /></div><div> slipping around Blackwood's neck.</div><div><br /></div><div> CUT TO:</div><div><br /></div><div><br /></div><div> A SHOT OF THE PERSPIRING PRIEST</div><div><br /></div><div> clutching his Bible.</div><div><br /></div><div> CUT TO:</div><div><br /></div><div><br /></div><div> A SHOT OF THE TRAP DOOR</div><div><br /></div><div> opening. Legs fall through and yank tight.</div><div><br /></div><div> CUT TO:</div><div><br /></div><div><br /></div><div> A SHOT OF WATSON</div><div><br /></div><div> checking Blackwood's pulse. He pronounces Blackwood</div><div> dead. The show is over.</div><div><br /></div><div>30 30</div><div> INT. 221 BAKER STREET - DAY</div><div> Holmes is out cold, lying on his tiger skin rug. </div><div><br /></div><div> CRACK! His eyes fly open. CRACK!! </div><div><br /></div><div> IRENE (O.S.) </div><div> London's so bleak this time of </div><div> year. </div><div><br /></div><div> </div><div> (CONTINUED)</div><div><br /></div><div> 31.</div><div>30 CONTINUED: 30</div><div> REVEAL: Irene Adler sits on the stairs near Holmes' lab, </div><div> cracking walnuts. She stands and Holmes watches her </div><div> every move as she crosses to him. She leans down, </div><div> putting the walnuts in front of him and flashes him a </div><div> smile. </div><div><br /></div><div> IRENE </div><div> Not that I'm pining for New </div><div> Jersey. </div><div><br /></div><div> Irene gets up to cross the room. Only once her back is </div><div> turned does Holmes lever himself upright, stunned by this </div><div> intrusion. As soon as she clears he quickly moves over </div><div> to a concealed safe. He tests the door to make sure it's </div><div> still locked. </div><div><br /></div><div> IRENE </div><div> I prefer to travel in the winter. </div><div><br /></div><div> As she passes a small table that has been outfitted with </div><div> tea, dried fruit, olives, etc... </div><div><br /></div><div> IRENE </div><div> I brought a few souvenirs. Dates </div><div> from Jordan, tea from Ceylon and </div><div> olives from Cyclades. I thought </div><div> we'd have a little tea party to </div><div> cheer us up. </div><div><br /></div><div> Irene grabs a file from Holmes' desk. </div><div><br /></div><div> IRENE </div><div> I came across this as I was </div><div> setting up. </div><div><br /></div><div> Irene opens the file, flips through newspaper clippings </div><div> and police reports, her back to Holmes. </div><div><br /></div><div> IRENE </div><div> Theft of Velasquez portrait from </div><div> the King of Spain... Missing naval </div><div> documents lead to resignation of </div><div> Bulgarian Prime Minister... </div><div> Scandalous affair ends engagement </div><div> of Hapsburg Prince to Romanov </div><div> Princess. </div><div><br /></div><div> Holmes stealthily turns down a photo of Irene, just </div><div> before she turns back to face him. </div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 32.</div><div>30 CONTINUED: (2) 30</div><div> HOLMES </div><div> Simply studying your methodology </div><div> for when the authorities ask me to </div><div> hunt you down. </div><div><br /></div><div> IRENE </div><div> I don't see my name anywhere. </div><div><br /></div><div> HOLMES </div><div> But your signature is clear. </div><div><br /></div><div> Holmes reaches for Irene and pulls on a chain around her </div><div> neck, revealing and enormous diamond. </div><div><br /></div><div> HOLMES </div><div> Ah, the Maharajah's missing </div><div> diamond. Another souvenir? </div><div><br /></div><div> IRENE </div><div> He has a palace full of them. </div><div> Let's not dwell on the past. </div><div><br /></div><div> They move to sit at the table. </div><div><br /></div><div> IRENE </div><div> By the looks of things you're </div><div> between cases at the moment. </div><div><br /></div><div> HOLMES </div><div> And you, husbands. No ring? </div><div><br /></div><div> IRENE </div><div> He snored. I'm Irene Adler again </div><div> and I need your help to find </div><div> someone. There's nobody more </div><div> brilliant or who knows London </div><div> better than you. Plus, it's a </div><div> wonderful opportunity to see you </div><div> again. </div><div><br /></div><div> TRACK INTO Irene's hypnotically beautiful eyes. Holmes </div><div> almost melts. Then, Irene reaches for something inside </div><div> her jacket and Holmes grabs her hand. </div><div><br /></div><div> IRENE </div><div> Why are you so suspicious? </div><div><br /></div><div> HOLMES </div><div> Should I answer chronologically or </div><div> alphabetically? </div><div><br /></div><div> Irene pulls out an ENVELOPE. </div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 33.</div><div>30 CONTINUED: (3) 30</div><div> IRENE </div><div> This is all the information you </div><div> need. </div><div><br /></div><div> She hands him the envelope. </div><div><br /></div><div> HOLMES </div><div> Who are you working for? </div><div><br /></div><div> Just for a brief moment, she can't hide the anxiety in </div><div> her eyes. </div><div><br /></div><div> IRENE </div><div> I'm my own man. </div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 33A.</div><div>30 CONTINUED: (4) 30</div><div> She stands and pulls out a large bag of coins. </div><div><br /></div><div> HOLMES</div><div> Keep your money. I didn't say I'd</div><div> take the case.</div><div><br /></div><div> She ignores him. Holmes examines the envelope. On it is </div><div> stamped the letterhead of the Grand Hotel. She pauses </div><div> behind him as she exits. </div><div><br /></div><div> IRENE</div><div> They gave me our old room. </div><div><br /></div><div> As she walks out she puts her photo back upright. </div><div><br /></div><div><br /></div><div>31 INT. 221 BAKER ST. - STAIRS 31</div><div><br /></div><div> Irene descends the stairs just as Watson is coming in.</div><div> He lifts his hat, waits for her to pass --</div><div><br /></div><div> IRENE</div><div> Hello, John.</div><div><br /></div><div> -- does a speechless double-take when he sees who it is.</div><div> Irene keeps moving.</div><div><br /></div><div> 34.</div><div><br /></div><div><br /></div><div>32 EXT. LONDON STREET 32</div><div><br /></div><div> We PICK UP Irene crossing a street. She passes a DARK</div><div> ALLEYWAY. Pauses. Looks. She turns into the alley.</div><div> HOLD ON the alley for a long beat. Too dark to see much</div><div> in there.</div><div><br /></div><div> CUT TO:</div><div><br /></div><div><br /></div><div> IRENE</div><div><br /></div><div> emerges from the alley holding a lovely bunch of roses.</div><div> She sniffs them appreciatively, walks on.</div><div><br /></div><div> CUT TO:</div><div><br /></div><div><br /></div><div> IRENE</div><div><br /></div><div> approaches a waiting carriage, looks around her, gets in.</div><div><br /></div><div> CUT TO:</div><div><br /></div><div>33 33</div><div> INT. CARRIAGE</div><div> Irene sits, turns to address a man-shaped shadow filling</div><div> the opposite corner of the carriage. Before she can</div><div> speak, a gesture from the shadow stills her. This is</div><div> PROFESSOR MORIARTY.</div><div><br /></div><div> Irene is made to wait as Moriarty finishes writing a</div><div> complex mathematical equation (in astronomy), folds the</div><div> paper to reveal that it is addressed to THE ROYAL</div><div> ASTRONOMICAL SOCIETY, cracks open the carriage window and</div><div> slides the folded paper partway out.</div><div><br /></div><div> Someone waiting outside takes the paper, and their</div><div> footsteps clatter away.</div><div><br /></div><div> Moriarty closes the window, and the carriage starts</div><div> moving. A full beat goes by before he turns to Irene,</div><div> finally prepared to engage with her.</div><div><br /></div><div> MORIARTY</div><div> I assume he'll do it?</div><div><br /></div><div> IRENE</div><div> Not for money, but for me. I</div><div> wager he'll find our man within</div><div> twenty-four hours.</div><div><br /></div><div> MORIARTY</div><div> You wager?</div><div> (CONTINUED)</div><div><br /></div><div> 34aA.</div><div>33 CONTINUED: 33</div><div> IRENE</div><div> I'm certain.</div><div><br /></div><div> MORIARTY</div><div> A better word. I sincerely hope</div><div> it's accurate.</div><div><br /></div><div> IRENE</div><div> I --</div><div><br /></div><div> Suddenly, the coach comes to a halt, they lurch forward.</div><div><br /></div><div><br /></div><div>34 EXT. LONDON STREET 34</div><div><br /></div><div> A rough-looking BEGGAR wearing an eye patch has fallen</div><div> under a wheel of the coach.</div><div><br /></div><div> BEGGAR</div><div> Ow, me leg!</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 34A.</div><div>34 CONTINUED: 34</div><div> COACH DRIVER</div><div> Get out of it!</div><div><br /></div><div> BEGGAR</div><div> You run me over, sir, yes you did!</div><div><br /></div><div> COACH DRIVER</div><div> You fell right into the carriage!</div><div><br /></div><div> The Beggar is up, limping toward the window where</div><div> Moriarty and Irene sit. He has disgusting blackened</div><div> teeth.</div><div><br /></div><div> BEGGAR</div><div> A little charity would go a long</div><div> way, yes it would, sir.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 35.</div><div>34 CONTINUED: (2) 34</div><div> He reaches toward the window. Within a nanosecond,</div><div> Moriarty extends his hand into which a PISTOL appears,</div><div> delivered by a concealed mechanism (Travis Bickle style).</div><div><br /></div><div> The gun rests on the Beggar's forehead. The cold eyes of</div><div> the man that holds the weapon bore into the skull of the</div><div> Beggar, who backs off in fear. The carriage moves on.</div><div><br /></div><div><br /></div><div>35 INT. 221 BAKER ST. - HOLMES' APARTMENT 35</div><div><br /></div><div> Holmes is washing his face in a basin on the other side</div><div> of the room, completely transformed now, utterly alive.</div><div> Watson approaches, very concerned, almost enraged.</div><div><br /></div><div> WATSON</div><div> Look at you, I can't believe you </div><div> ran after her like a schoolboy </div><div> again. Leaping about, all </div><div> aflutter. Are you a masochist? </div><div><br /></div><div> HOLMES</div><div> Allow me to explain. </div><div><br /></div><div> WATSON</div><div> Don't you remember what she did to </div><div> you? She turned you inside out, </div><div> she made a proper idiot of you. </div><div> I'm sorry, you were going to </div><div> explain something... </div><div><br /></div><div> HOLMES</div><div> Thank you, I -- </div><div><br /></div><div> WATSON</div><div> I know, instead of just being </div><div> tricked into being a witness at </div><div> her wedding like last time -- </div><div><br /></div><div> HOLMES</div><div> I don't believe -- </div><div><br /></div><div> WATSON </div><div> You dress up as clergyman and </div><div> actually perform the ceremony. </div><div> She'd love that. </div><div><br /></div><div> HOLMES </div><div> You've had your fun. </div><div><br /></div><div> This is a hopeless cause -- Watson won't stop. </div><div><br /></div><div> WATSON</div><div> What's she after, anyway?</div><div> </div><div> (CONTINUED)</div><div><br /></div><div> 36.</div><div>35 CONTINUED: 35</div><div> HOLMES </div><div> Now it's time to press on. </div><div><br /></div><div> HOLMES </div><div> Now it's time to press on. </div><div><br /></div><div> Holmes looks like he's had enough. </div><div><br /></div><div> WATSON </div><div> Go on. I won't interrupt. </div><div><br /></div><div> HOLMES </div><div> It doesn't matter -- </div><div><br /></div><div> WATSON </div><div> What could she possibly need? An </div><div> alibi, a beard, a human canoe. </div><div> She can sit on your back and </div><div> paddle you up the Thames... </div><div><br /></div><div> Holmes grabs the envelope back. </div><div><br /></div><div> HOLMES </div><div> Regrettably, we've had our last </div><div> case together. Those are my </div><div> dates. </div><div><br /></div><div> WATSON </div><div> I've already read it. Luke </div><div> Reordon, four foot ten, red hair, </div><div> missing two front teeth. </div><div><br /></div><div> Holmes picks up his violin. </div><div><br /></div><div> WATSON </div><div> Case solved! You're just not her </div><div> type, Holmes. She likes ginger </div><div> dwarfs. </div><div><br /></div><div> HOLMES </div><div> Midget! </div><div><br /></div><div> WATSON </div><div> So you agree? </div><div><br /></div><div> HOLMES </div><div> No, I don't agree. It's more than </div><div> a technicality. You're </div><div> misrepresenting the dimensions of </div><div> foreshortened people. </div><div><br /></div><div> WATSON </div><div> I've upset you, I can tell. I've </div><div> said too much. </div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 36A.</div><div>35 CONTINUED: (2) 35</div><div> HOLMES </div><div> No, I'm just saying, one has </div><div> disproportionate limbs the other </div><div> does not. </div><div><br /></div><div> WATSON </div><div> Alright. What were you just </div><div> doing? </div><div><br /></div><div> HOLMES </div><div> Will you allow me to explain. </div><div><br /></div><div> WATSON </div><div> That's what I've been trying to </div><div> do. </div><div><br /></div><div> Holmes plucks his violin, the notes play over a FLASHBACK</div><div> of the previous scene, all from HOLMES' POINT OF VIEW.</div><div><br /></div><div>36 FLASHBACK - INT. 221 BAKER ST. - HOLMES' APARTMENT 36</div><div><br /></div><div> We see Irene step out.</div><div><br /></div><div> IRENE</div><div> Why don't I see myself out.</div><div><br /></div><div> Once Irene leaves, he steps quickly to a window, and</div><div> looks out to see her walking down Baker Street, turning</div><div> down an alley. He bolts into --</div><div><br /></div><div><br /></div><div>36A INT. 221 BAKER ST. - CORRIDOR 36A</div><div><br /></div><div> He sees Watson coming up the stairs. Before Watson can</div><div> speak, Holmes snatches his coat and runs down the other</div><div> end of the corridor. He JUMPS out the window to --</div><div><br /></div><div><br /></div><div>37 EXT. 221 BAKER ST. - REAR YARD 37</div><div><br /></div><div> Holmes flies from the window and lands neatly on a tin</div><div> roof. The jump to the next level is a more taxing</div><div> prospect. Holmes weighs the distance and hurls himself</div><div> down with a determined look. He lands just right.</div><div><br /></div><div><br /></div><div>37A-37D OMITTED 37A-37D</div><div><br /></div><div> 37.</div><div><br /></div><div><br /></div><div>38 EXT. COAL SHED 38</div><div><br /></div><div> Holmes jumps off the shed, heads for the street one block</div><div> over from Baker Street.</div><div><br /></div><div><br /></div><div>38A EXT. LONDON STREET 38A</div><div><br /></div><div> He runs down the mews in great haste, stops at the same</div><div> alley that Irene disappeared into -- but at the other</div><div> side.</div><div><br /></div><div> CUT TO:</div><div><br /></div><div><br /></div><div> HOLMES' POV DOWN ALLEY</div><div><br /></div><div> from concealment: Irene walks towards a MAN HOLDING A</div><div> BUNCH OF ROSES.</div><div><br /></div><div> MAN WITH ROSES</div><div> Got some roses for you,</div><div> sweetheart. Cut you a deal `cos</div><div> you're so pretty.</div><div><br /></div><div> IRENE</div><div> Oh, how nice of you.</div><div><br /></div><div> Even without the man -- who is scrofulous and sly -- no</div><div> woman in her right mind would go down this alley.</div><div><br /></div><div>38B 38B</div><div> INT. ALLEY</div><div> The man with the roses beckons Irene forward. Another</div><div> man steps in behind her, trapping her. He closes in to</div><div> grab her --</div><div><br /></div><div> -- and WHAP!WHAP!WHAP! Gets three cosh-strikes across</div><div> the chin, dropping him immediately.</div><div><br /></div><div> Still holding the roses, the man finds himself smacked up</div><div> against the bricks with Irene's hand over his mouth.</div><div><br /></div><div> Quick as a snake, she slices upwards with a razor-sharp</div><div> knife, cutting his belt, then his clothes, all the way to</div><div> his collar. The move ends with Irene's finger over her</div><div> own mouth, signalling the mugger to be quiet. He obeys,</div><div> eyes bulging.</div><div><br /></div><div> Irene frisks him expertly. She's mugging the mugger.</div><div> There is excitement in her eyes; this turns her on.</div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 37A.</div><div>38B CONTINUED: 38B</div><div> IRENE</div><div> Oh, look, a wallet. Doesn't look</div><div> like yours, does it? And --</div><div> naughty boy -- here's another</div><div> one. I'll return them, shall I?</div><div><br /></div><div> She takes both wallets, takes the roses --</div><div><br /></div><div> IRENE</div><div> These are lovely, thank you.</div><div><br /></div><div> -- and leaves, stepping daintily over the crumpled man on</div><div> the floor.</div><div><br /></div><div> On second thoughts, she turns back, takes his wallet too,</div><div> then leaves.</div><div><br /></div><div> CUT TO:</div><div><br /></div><div><br /></div><div> ANGLE ON HOLMES</div><div><br /></div><div> HOLMES</div><div> Now, that's the Irene I know.</div><div><br /></div><div> He hurries after Irene down the alley.</div><div><br /></div><div>38C 38C</div><div> EXT. LONDON STREET</div><div> Holmes exits the alley, catches a glimpse of Irene</div><div> through a STREET FAIR, which is being assembled.</div><div><br /></div><div> Holmes picks up the pace.</div><div><br /></div><div> He snatches a HAT from a one-eyed old BEGGAR with his</div><div> hand out. He drops a coin in his hand, then another coin</div><div> and snatches the beggar's eye patch too.</div><div><br /></div><div> He runs past a coal cart, snags a lump of coal, rubs it</div><div> on his face and hands, then pops it in his mouth, chews</div><div> it to blacken his teeth.</div><div><br /></div><div> He pauses to singe the sleeve of Watson's coat on a</div><div> fairground fire-breather's flames, runs on.</div><div><br /></div><div><br /></div><div>39 EXT. LONDON STREET 39</div><div><br /></div><div> Holmes emerges as the beggar we saw previously. Again he</div><div> stops the coach and again the gun comes out, but this</div><div> time we can see that Holmes gets a view of the man on the</div><div> other end of the weapon before the carriage pulls away.</div><div><br /></div><div> 37B.</div><div><br /></div><div><br /></div><div>40 INT. 221 BAKER ST. - HOLMES' APARTMENTS (PRESENT) 40</div><div><br /></div><div> Holmes strums one more chord on his violin, thinking.</div><div><br /></div><div> Irene's bag of money still sits on the table. </div><div><br /></div><div> HOLMES</div><div> This man intrigues me, Watson. </div><div> He's got Adler on edge. </div><div><br /></div><div> WATSON</div><div> Which is no mean feat. </div><div><br /></div><div> HOLMES </div><div> She's intimidated, scared... </div><div><br /></div><div> WATSON </div><div> And yet she works for him. That's </div><div> bad money. It's nothing to do </div><div> with me, but leave this case. </div><div><br /></div><div> Holmes motions to the bills.</div><div><br /></div><div> HOLMES</div><div> Well, I may not have a choice. A </div><div> man has to make a living. After </div><div> all, I'll be paying the rent </div><div> entirely on my own. </div><div><br /></div><div> WATSON </div><div> You know what, I've had just about </div><div> enough -- </div><div><br /></div><div> HOLMES </div><div> Clarky! </div><div><br /></div><div> VOICE (O.S.)</div><div> Mister Holmes, sir...?</div><div><br /></div><div> He turns to see... CONSTABLE CLARK standing at the door.</div><div> Breathless, pale, scared.</div><div><br /></div><div> CONSTABLE CLARK</div><div> Inspector Lestrade asks that you</div><div> come with me, at once.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 38.</div><div>40 CONTINUED: 40</div><div> HOLMES</div><div> (mumbles)</div><div> What's he done now, lost his way</div><div> to Scotland Yard? Watson, grab a</div><div> compass. You means us. </div><div><br /></div><div> WATSON</div><div> Us means you. </div><div><br /></div><div> CONSTABLE CLARK</div><div> It's Lord Blackwood, sir. It </div><div> appears he's come back from the </div><div> dead.</div><div><br /></div><div> WATSON </div><div> Well that's clever seeing as how I </div><div> pronounced him dead myself. </div><div> </div><div> CONSTABLE CLARK</div><div> A groundsman saw him walking </div><div> through the graves, just this</div><div> morning.</div><div><br /></div><div> WATSON</div><div> I'll leave this one in your </div><div> capable hands. I have tea with </div><div> Mary and her parents this evening. </div><div><br /></div><div> Watson walks into his office. </div><div><br /></div><div> HOLMES</div><div> It is not my reputation at stake </div><div> here. </div><div><br /></div><div> WATSON </div><div> Are you taking this seriously? </div><div><br /></div><div> HOLMES </div><div> Like it or not, it's a matter of </div><div> professional integrity. No girl </div><div> wants to marry a doctor who can't </div><div> tell if a man's dead or not. </div><div><br /></div><div> They all move to the exit. </div><div><br /></div><div> HOLMES </div><div> Watson, you'd do well to hide your </div><div> medical certificates in case </div><div> they're revoked. </div><div><br /></div><div> Clarky laughs. </div><div><br /></div><div> 38aA.</div><div><br /></div><div><br /></div><div>41 EXT. THE BLACKWOOD ESTATE - ESTABLISHING - DAY 41</div><div><br /></div><div> Judging by the estate, Blackwood comes from old money,</div><div> and lots of it. We FOLLOW the carriage hurrying Holmes</div><div> and Watson forward.</div><div><br /></div><div><br /></div><div>42 EXT. THE BLACKWOOD BURIAL PLOT - DAY 42</div><div><br /></div><div> Generations of wealth buried in moss-covered marble</div><div> memorials. Not a place for a picnic, not even on a</div><div> bright sunny day -- and it's starting to rain.</div><div><br /></div><div> A COP stops the carriage, opens the door. Holmes and</div><div> Watson exit, Watson carries a black leather FORENSICS</div><div> KIT.</div><div><br /></div><div> They walk up the pathway towards the Blackwood Family</div><div> Crypt. Watson barely lifts his head, scanning the ground</div><div> while Holmes appears to have taken an interest in a clump</div><div> of trees in the distance.</div><div><br /></div><div> WATSON</div><div> Look at this mess. Nothing but</div><div> standard-issue police bootprints.</div><div> Any possible evidence there might</div><div> have been has been trampled.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 38A.</div><div>42 CONTINUED: 42</div><div> HOLMES</div><div> Scotland Yard at their finest,</div><div> once again.</div><div><br /></div><div> Police lamps light one large marble CRYPT. The cops are</div><div> in tight clusters, whispering to themselves, spooked.</div><div> They'd rather be anywhere but here.</div><div><br /></div><div> As Holmes and Watson approach, they see the marble doors</div><div> of the crypt have been BLASTED OPEN FROM THE INSIDE.</div><div> Holmes and Watson share a quick glance -- this is</div><div> interesting.</div><div><br /></div><div> Lestrade emerges from the crypt. He is sweating, shaken.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 39.</div><div>42 CONTINUED: (2) 42</div><div> Holmes offers Lestrade his handkerchief, Lestrade waves</div><div> it off.</div><div><br /></div><div> LESTRADE</div><div> Look at those slabs of marble --</div><div> they're half a ton each if they're</div><div> a pound -- smashed outward like</div><div> they were nothing.</div><div><br /></div><div> On second thought, Lestrade does take Holmes'</div><div> handkerchief.</div><div><br /></div><div> LESTRADE</div><div> Explain it if you can, Holmes.</div><div><br /></div><div> Holmes inspects the door, checking the hinges. He</div><div> notices the Blackwood CREST, and the image of a SPHINX.</div><div><br /></div><div> HOLMES</div><div> And the coffin?</div><div><br /></div><div> LESTRADE</div><div> We're digging it up now. The</div><div> witness is over there. You can</div><div> question him if you like -- but</div><div> you won't get much.</div><div><br /></div><div> The old GROUNDSKEEPER, pale and terrified, stands out of</div><div> the rain under an ancient cypress tree.</div><div><br /></div><div> Watson heads for him. Holmes disappears in the opposite</div><div> direction.</div><div><br /></div><div> As soon as their backs are turned, Lestrade marches over</div><div> to a nervous knot of cops, grabs a fistful of blue in</div><div> each hand, drags his boys in close. He doesn't want</div><div> Holmes or Watson to hear this.</div><div><br /></div><div> LESTRADE</div><div> (low, angry)</div><div> If you lot don't stop behaving</div><div> like a bunch of superstitious milk</div><div> maids, you're on double-time!</div><div> You're an embarrassment! Also,</div><div> you're forbidden to talk about</div><div> this to anyone, not a word. Are</div><div> we bloody clear on that?</div><div><br /></div><div> The cops nod, duly chastened.</div><div><br /></div><div> CUT TO:</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 40.</div><div>42 CONTINUED: (3) 42</div><div> THE GROUNDSKEEPER</div><div><br /></div><div> mumbles the Lord's Prayer under his breath. Watson</div><div> immediately goes into doctor mode checking his pulse,</div><div> looking in his eyes.</div><div><br /></div><div> The Groundskeeper just keeps praying. Watson takes a</div><div> boiled sweet from his pocket, pops it in the man's mouth</div><div> and gently sits him down.</div><div><br /></div><div> Holmes walks over holding a small branch from a tree.</div><div><br /></div><div> WATSON</div><div> He's in shock. We should give him</div><div> a few moments.</div><div><br /></div><div> Lestrade stomps up.</div><div><br /></div><div> LESTRADE</div><div> The witness stated that he saw</div><div> Lord Blackwood rise from the</div><div> grave.</div><div> (at Watson,</div><div> accusingly)</div><div> Well? You pronounced the man</div><div> dead.</div><div><br /></div><div> WATSON</div><div> (stung)</div><div> He had no pulse.</div><div> HOLMES</div><div> Inspector, do you know if this is</div><div> a spruce or a sycamore?</div><div><br /></div><div> Lestrade shakes his head. It hasn't been a good day for</div><div> him, or the Yard.</div><div><br /></div><div> There's a clunk. They all turn to see the coffin has</div><div> been extracted from the crypt.</div><div><br /></div><div> Four beefy, soil-stained cops emerge lugging the coffin.</div><div> They place it on the ground, step back, crossing</div><div> themselves, murmuring, plainly terrified. Holmes</div><div> chuckles.</div><div><br /></div><div> LESTRADE</div><div> OPEN IT!!</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 41.</div><div>42 CONTINUED: (4) 42</div><div> But no one moves. The cops pass a CROWBAR around as if</div><div> it were red-hot. Watson's had enough. He marches</div><div> forward --</div><div><br /></div><div> -- snatches the crowbar away, jams it under the lid and</div><div> levers it off with a slow, eerie groan.</div><div><br /></div><div> Holmes and Lestrade move forward, the cops move backward.</div><div><br /></div><div> The coffin is filled with EARTH, overflowing. They brush</div><div> away a layer of dirt, to reveal... A DEAD BODY in the</div><div> coffin. The body is a much smaller man than Blackwood,</div><div> in everyday clothes, with red hair.</div><div><br /></div><div> LESTRADE</div><div> That's not Blackwood.</div><div><br /></div><div> HOLMES</div><div> Now that we have a firm grasp of</div><div> the obvious...</div><div><br /></div><div> Watson opens his forensic kit, disturbed. Vials, silver</div><div> tools. He takes a CALIPER, begins examining the body.</div><div><br /></div><div> WATSON</div><div> Lividity is late stage. Diptera</div><div> deposits are approximately --</div><div> (measuring)</div><div> -- three quarters of an inch,</div><div> putting the time of death at ten</div><div> to twelve hours ago.</div><div><br /></div><div> HOLMES</div><div> Inspector, may I see your pen?</div><div><br /></div><div> Lestrade hands over a nice fountain pen, still stunned.</div><div> Holmes takes the pen and pries open the corpse's mouth,</div><div> revealing: two missing teeth in the man's jaw.</div><div><br /></div><div> WATSON</div><div> Missing two incisors in the upper</div><div> jaw...</div><div> (a look at Holmes)</div><div> Adler's midget.</div><div><br /></div><div> Holmes spots something glinting in the man's dirt-filled</div><div> pocket. He uses the pen to fish out: a POCKET WATCH.</div><div><br /></div><div> HOLMES</div><div> All yours, Inspector.</div><div><br /></div><div> Holmes hands the pen back to Lestrade. Lestrade looks at</div><div> it with dismay, takes it in Holmes' handkerchief -- a</div><div> small measure of revenge.</div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 42.</div><div>42 CONTINUED: (5) 42</div><div> Holmes and Watson begin walking away from the crypt.</div><div> Lestrade follows, anxious. Holmes shows him the dusty</div><div> pocket watch.</div><div><br /></div><div> HOLMES</div><div> Scratches around the keyhole where</div><div> the watch is wound. Most drunks</div><div> are the same, and pawnbrokers</div><div> scratch the ticket number and</div><div> their initials inside the lid.</div><div> This one has five, so the owner --</div><div><br /></div><div> GROUNDSKEEPER (O.S.)</div><div> He was walking.</div><div><br /></div><div> They all stop, suddenly. The old Groundskeeper stands in</div><div> front of them, ready to unburden himself.</div><div><br /></div><div> GROUNDSKEEPER</div><div> (quivering voice)</div><div> He was walking but his feet didn't</div><div> touch the ground. And I'm not</div><div> daft, I know what I saw and I know</div><div> Lord Blackwood. He was as alive</div><div> as you or me. It's not right.</div><div> It's not natural.</div><div> (turns, leaves)</div><div> Our Father Who art in heaven...</div><div> (etc.)</div><div><br /></div><div> All three men watch the Groundskeeper go. A sudden gust</div><div> of wind moans eerily. They all want to get the hell out</div><div> of there.</div><div><br /></div><div> HOLMES</div><div> Now the game is afoot, Watson.</div><div><br /></div><div>42A-50 OMITTE 42A-50</div><div><br /></div><div><br /></div><div>51 EXT. LONDON STREET - DAY 51</div><div><br /></div><div> Holmes stands in the middle of the street contentedly</div><div> observing humanity. Watson ENTERS FRAME and hands Holmes</div><div> a bundle wrapped in newspaper.</div><div><br /></div><div> WATSON</div><div> I fail to see how these fish and</div><div> chips are different from the three</div><div> other places we passed along the</div><div> way.</div><div><br /></div><div> HOLMES</div><div> Trust me.</div><div> (CONTINUED)</div><div><br /></div><div> 42A.</div><div>51 CONTINUED: 51</div><div> WATSON</div><div> Just eat.</div><div><br /></div><div> Holmes complies hungrily and they start to stroll along.</div><div> Watson appears preoccupied.</div><div><br /></div><div> WATSON</div><div> You know, I've seen things in war</div><div> that I couldn't explain. I once</div><div> heard a man predict his death,</div><div> down to the number and placement</div><div> of the bullet holes that killed</div><div> him. You have to admit that a</div><div> supernatural explanation is at</div><div> least theoretically possible.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 43.</div><div>51 CONTINUED: (2) 51</div><div> HOLMES</div><div> (mouth full, near</div><div> indecipherable)</div><div> Never theorize before you have</div><div> data. Invariably, you end up</div><div> twisting facts to suit theories,</div><div> instead of theories to suit facts.</div><div> Adler's midget is the key to this.</div><div><br /></div><div> Holmes pulls out a JEWELER'S LOUP, screws it into his</div><div> eye, and flips Reordon's watch open. He examines the</div><div> lid.</div><div><br /></div><div> HOLMES</div><div> Hmm... scratches around the</div><div> keyhole, what does that tell you?</div><div><br /></div><div> WATSON</div><div> The owner was most likely a drunk.</div><div> Each time he wound the watch his</div><div> hand would slip, hence the</div><div> scratches.</div><div><br /></div><div> HOLMES</div><div> Very good, Watson! You've</div><div> developed considerable powers of</div><div> your own.</div><div><br /></div><div> Watson looks quite chuffed.</div><div><br /></div><div> HOLMES</div><div> Let's see now, there are several</div><div> sets of initials scored into the</div><div> lid.</div><div><br /></div><div> WATSON</div><div> Pawnbroker's marks.</div><div><br /></div><div> HOLMES</div><div> Excellent.</div><div><br /></div><div> Watson looks extremely pleased with himself until they</div><div> turn a corner into a street where EVERY SECOND SHOP IS A</div><div> PAWN SHOP. His face falls.</div><div><br /></div><div> HOLMES</div><div> The most recent is M.H...</div><div><br /></div><div> Watson shakes his head.</div><div><br /></div><div> WATSON</div><div> Maddison and Haig.</div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 43A.</div><div>51 CONTINUED: (3) 51</div><div> HOLMES</div><div> Oh my Lord, here we are. They</div><div> should give us an address.</div><div><br /></div><div> WE SEE MADDISON &amp; HAIG, PAWNBROKERS, RESPECTABLE,</div><div> DISCREET, ahead of them there on Bow Street.</div><div><br /></div><div> WATSON</div><div> There's one thing you've missed.</div><div> On the watch.</div><div><br /></div><div> HOLMES</div><div> I think not.</div><div><br /></div><div> WATSON</div><div> The time. Which leads me to</div><div> deduce that I'm already late for</div><div> my appointment with Mary. You</div><div> remember, the one I was leaving</div><div> for before you talked me into</div><div> coming to dig up dead bodies with</div><div> you.</div><div><br /></div><div> A GYPSY PALM READER approaches Watson as he turns to</div><div> leave.</div><div><br /></div><div> PALM READER</div><div> Reckon your future, sir?</div><div><br /></div><div> HOLMES</div><div> Perhaps we do need a little help</div><div> from the beyond.</div><div><br /></div><div> WATSON</div><div> No, thank you.</div><div><br /></div><div> She grabs his hand anyway.</div><div><br /></div><div> PALM READER</div><div> You need to hear what I have to</div><div> tell you.</div><div><br /></div><div> Watson is so taken aback by the urgency and gravity of</div><div> her tone that he doesn't pull away.</div><div><br /></div><div> PALM READER</div><div> I see two men, brothers. Not in</div><div> blood but in bond. I see the</div><div> letters S and an L, no... wait, a</div><div> J.</div><div><br /></div><div> Holmes and Watson look at each other. She has their</div><div> attention.</div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 43B.</div><div>51 CONTINUED: (4) 51</div><div> PALM READER</div><div> (wincing)</div><div> I see madness. A man driven out</div><div> of his mind by a malign force.</div><div><br /></div><div> Watson looks at Holmes.</div><div><br /></div><div> PALM READER</div><div> I see a letter... the letter M...</div><div> another M... Mary? You will be</div><div> married... I see... I see...</div><div> (horrified)</div><div> Patterned table clothes, china</div><div> figurines, lace doilies...</div><div><br /></div><div> Watson snatches his hand away.</div><div><br /></div><div> WATSON</div><div> You think you are clever don't</div><div> you?</div><div><br /></div><div> Holmes feigns innocence.</div><div><br /></div><div> PALM READER</div><div> She turns to fat...</div><div><br /></div><div> WATSON</div><div> Enough.</div><div><br /></div><div> The Palm Reader looks at Holmes.</div><div><br /></div><div> HOLMES</div><div> (to Watson)</div><div> Do you have any changes?</div><div><br /></div><div> Watson shakes his head as he pays the woman.</div><div><br /></div><div> WATSON</div><div> This is a new low -- even for you.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 44.</div><div>51 CONTINUED: (5) 51</div><div> HOLMES</div><div> It's the most honest prediction</div><div> old Flora has made in years. And</div><div> you know it yourself, Watson.</div><div> That is precisely the reason you</div><div> can't find a suitable ring.</div><div> You're terrified of a life without</div><div> the thrill of the macabre, as well</div><div> you should be.</div><div><br /></div><div> Holmes swallows the last of his cod and casts the</div><div> wrapping aside, pleased with himself.</div><div><br /></div><div> WATSON</div><div> Do you still have my cut from the</div><div> fight?</div><div><br /></div><div> Holmes digs into a pocket, produces a wad of coins.</div><div><br /></div><div> HOLMES</div><div> Why, do you --</div><div><br /></div><div> Watson snatches the money, storms into Madison and Haig.</div><div><br /></div><div> Holmes is confused until he spots a sign in the window:</div><div> "Large selection of engagement rings for every wallet."</div><div><br /></div><div> Holmes starts to look a bit nervous. As he follows</div><div> Watson, he is intercepted by the Palm Reader who grabs</div><div> his arm.</div><div><br /></div><div> PALM READER</div><div> I seen something in his hand.</div><div> Darkness and great pain. Mortal</div><div> peril. Warn your friend, he's not</div><div> safe.</div><div><br /></div><div> Even Holmes is taken aback by this.</div><div><br /></div><div>52 52</div><div> EXT. LONDON EAST END - MINUTES LATER</div><div> Holmes and Watson move down the street, the pawnshop</div><div> behind them. Now Watson is smiling, and Holmes is not.</div><div> Watson is beaming at: an ENGAGEMENT RING in a box.</div><div><br /></div><div> WATSON</div><div> Not bad, eh?</div><div><br /></div><div> Holmes turns away, looks down at the TICKET he got from</div><div> the pawnshop: an ADDRESS.</div><div><br /></div><div> HOLMES</div><div> Reordon's lodgings should be right</div><div> around this bend. Here we are...</div><div> (CONTINUED)</div><div><br /></div><div> 44A.</div><div>52 CONTINUED: 52</div><div> He slows, looks up at a dark, dingy LODGING HOUSE. Some</div><div> windows are boarded up.</div><div><br /></div><div> HOLMES</div><div> Looks promising. And possibly</div><div> dangerous. Oh, well, give my</div><div> regards to Mary.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 45.</div><div>52 CONTINUED: (2) 52</div><div> Holmes heads for lodging house. Watson checks his watch.</div><div><br /></div><div><br /></div><div>53 OMITTED 53</div><div><br /></div><div><br /></div><div>54 INT. LODGING HOUSE 54</div><div><br /></div><div> Holmes winds his way up a twisting flight of creaky</div><div> stairs, finds a door with scratches on the keyhole.</div><div><br /></div><div> Holmes takes out his knife and goes to work on the lock.</div><div> It is fiddly. It takes him a while. He kneels to get a</div><div> better angle with the knife.</div><div><br /></div><div> CRACK! Watson's boot flashes past him as he KICKS the</div><div> door off its hinges. Off Holmes' pleased reaction, he</div><div> gestures them inside.</div><div><br /></div><div> WATSON</div><div> I can spare ten minutes.</div><div><br /></div><div>55 55</div><div> INT. REORDON'S ROOMS - DAY</div><div> The squalid doorway opens into a series of dark rooms.</div><div> Watson lights a lamp which reveals details of an interior</div><div> that stops them both in their tracks:</div><div><br /></div><div> From floor to ceiling, every available inch is covered in</div><div> writing, biblical Latin and Hebrew. Scrawled-on paper</div><div> and pages are tacked to walls and carved into the</div><div> plaster, crucifixes punctuate the yards of text and</div><div> collage, strange pagan charms hang from the ceiling.</div><div><br /></div><div> HOLMES</div><div> He clearly felt something was</div><div> coming to get him.</div><div><br /></div><div> WATSON</div><div> Something did.</div><div><br /></div><div> They move further inside where there is a hallway and a</div><div> basic bedroom. Holmes inspects it, moves through a door.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 46.</div><div>55 CONTINUED: 55</div><div> HOLMES (O.S.)</div><div> Watson, come take a look at this --</div><div><br /></div><div> Watson puts down what he was looking at, goes towards...</div><div><br /></div><div><br /></div><div>56 INT. REORDON'S LAB 56</div><div><br /></div><div> Instantly, Watson covers his nose with a handkerchief.</div><div><br /></div><div> WATSON</div><div> (reeling)</div><div> Bloody hell...</div><div><br /></div><div> The room is stacked with an alarming amount of scientific</div><div> and biological paraphernalia. Some of it gives off a</div><div> distinctly electrical hum. Ungodly fragments of limbs</div><div> and matter float in jars.</div><div><br /></div><div> HOLMES</div><div> (inhaling deeply,</div><div> loving it)</div><div> Ammonium sulfate.</div><div><br /></div><div> In the center of the room, something ROTTING. An</div><div> experiment generating a massive stench, a seething cloud</div><div> of flies. Holmes and Watson step closer to see:</div><div><br /></div><div> DEAD FROGS. Eyes opened impossibly wide, their bodies</div><div> frozen in strange contortions, as if mid-death-rattle.</div><div><br /></div><div> Holmes moves around the room, sniffing like a morbid</div><div> perfumer. Watson does his best not to gag.</div><div><br /></div><div> HOLMES</div><div> (mumbles)</div><div> Phosphorous... Formaldehyde...</div><div> Hemlock...</div><div><br /></div><div> WATSON</div><div> Appears he was attempting to</div><div> follow occult formula with</div><div> scientific practice.</div><div><br /></div><div> Watson moves to the stove, sees a sheaf of BURNT PAPERS.</div><div> He digs through them, finds one piece not as burnt as the</div><div> rest. A CREST stamped on it, impossible to read.</div><div><br /></div><div> Watson digs through his forensic bag, pulls out vials.</div><div><br /></div><div> WATSON</div><div> Has he any hydrochloric acid?</div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 47.</div><div>56 CONTINUED: 56</div><div> Holmes shuffles a few bottles, tosses one to Watson.</div><div> Watson catches it, starts pouring the acid, another</div><div> chemical on a clean sheet of paper.</div><div><br /></div><div> Holmes senses something, moves into the next room. He</div><div> stops at an open window, smells the CURTAINS:</div><div><br /></div><div> HOLMES</div><div> Irene was here.</div><div><br /></div><div> Watson presses the chemical-soaked paper onto the burnt</div><div> paper.</div><div><br /></div><div> WATSON</div><div> Why would she hire you to find</div><div> him, if she planned to do the job</div><div> herself?</div><div><br /></div><div> HOLMES</div><div> Maybe it's not the man she's</div><div> after, but something else.</div><div> Something he was working on?</div><div> WATSON</div><div> Ferrocyanide. Sucks the iron</div><div> right out of the ink. Long as</div><div> it's not too burnt...</div><div><br /></div><div> Watson keeps rubbing the paper together, puts it by the</div><div> lantern. Slowly, faint words APPEAR on the blank page.</div><div> Ghostly chemistry. Watson sees the crest is Blackwood's.</div><div><br /></div><div> WATSON</div><div> He worked for Blackwood.</div><div><br /></div><div> Holmes gets a whiff of something, raises an eyebrow. He</div><div> starts walking back to the other room.</div><div><br /></div><div> HOLMES</div><div> There's one odor I can't put my</div><div> finger on. Sweet, almost like</div><div> perfume... or sugar....</div><div> (stops, sniffs)</div><div> Barley sugar.</div><div><br /></div><div><br /></div><div>57 OMITTED 57</div><div><br /></div><div><br /></div><div>58 INT. REORDON'S ROOM 58</div><div><br /></div><div> BOOM! The door WHIPS open. TWO THUGS spill into the</div><div> room.</div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 48.</div><div>58 CONTINUED: 58</div><div> They are followed by DREDGER, a huge man, just shy of</div><div> seven feet tall and pushing 400 pounds, slightly</div><div> deformed, who follows them into the room. He sucks on a</div><div> twisty stick of barley sugar (Victorian hard candy).</div><div><br /></div><div> They stop, surprised to see Holmes and Watson. Holmes'</div><div> eyes widen at the giant.</div><div><br /></div><div> HOLMES</div><div> Hello, gentlemen.</div><div><br /></div><div> Dredger is deadpan.</div><div><br /></div><div> DREDGER</div><div> Sherlock Holmes.</div><div><br /></div><div> HOLMES</div><div> Let me guess -- you're here to</div><div> extinguish any connection between</div><div> the man who lived here and the man</div><div> you work for? Curious you'd still</div><div> be running errands for a dead man.</div><div><br /></div><div> DREDGER</div><div> (smiles)</div><div> You do like to talk.</div><div><br /></div><div> The two thugs step toward Holmes and Watson.</div><div><br /></div><div> HOLMES</div><div> You take them, I'll handle Mr.</div><div> Sweet tooth.</div><div><br /></div><div> WATSON</div><div> Seems about fair.</div><div><br /></div><div> Watson meets the men in the middle of the room, swinging</div><div> at them. As they dodge and swing back --</div><div><br /></div><div> Holmes grabs a standing lamp, sliding it into his hand as</div><div> a weapon. He looks at Dredger, knows it won't make a</div><div> dent. He keeps moving, swinging the lamp toward a</div><div> CURTAIN. In the blink of an eye:</div><div><br /></div><div> He WRAPS UP the curtain, ripping it down, bringing the</div><div> heavy STEEL ROD with it. He catches the rod, flipping it</div><div> so the curtain-rings rain to the floor.</div><div><br /></div><div> He spins the rod expertly, SMASHING it into Dredger's</div><div> face. It stuns the giant for a beat, but quickly --</div><div><br /></div><div> Dredger LUNGES forward, trapping the steel rod under his</div><div> arm. He grabs the rod and HURLS Holmes through the air,</div><div> sending him flying into --</div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 49.</div><div>58 CONTINUED: (2) 58</div><div> INT. REORDON'S LAB</div><div><br /></div><div> Holmes crash-lands on the table, scattering all the</div><div> bottles and tools. He blinks, trying to gather his</div><div> senses. He sees Dredger incoming, as --</div><div><br /></div><div> Watson tussles with the thugs, a bar-room brawler. Head</div><div> butting one, kicking the other in the groin.</div><div><br /></div><div> The men whip out knives. Watson ducks and dodges, blades</div><div> flashing on either side of him. One of the blades slices</div><div> his shirt, ripping off his pocket, so --</div><div><br /></div><div> The ENGAGEMENT RING falls to the floor. One of the thugs</div><div> accidentally KICKS it, sending it across the ground.</div><div><br /></div><div> As Watson follows the ring with his eyes, the first man</div><div> HURLS his knife. Watson just barely ducks the blade,</div><div> which SMACKS into the second thug, who falls. Watson</div><div> fights the first thug, as he scrambles toward the ring.</div><div><br /></div><div>58A 58A</div><div> INT. REORDON'S LAB</div><div> Dredger bears down on Holmes. Holmes reaches out for</div><div> some kind of weapon, anything he can grab. He snatches a</div><div> SHORT SHAFT. A truly pathetic weapon.</div><div><br /></div><div> Dredger lurches toward Holmes, who swings the metal shaft</div><div> desperately, and... the shaft SPARKS.</div><div><br /></div><div> ZAP! A flash of light and crackle, and Dredger gets an</div><div> ELECTRIC SHOCK that sends him flying back twenty feet --</div><div><br /></div><div><br /></div><div>58B INT. REORDON'S ROOMS 58B</div><div> Watson finishes off his thug and plucks the engagement</div><div> ring off the floor, just as --</div><div><br /></div><div> Dredger flies through the air, SLAMMING into Watson,</div><div> knocking him off his feet, and knocking the ring away.</div><div><br /></div><div> Holmes looks at the lightning rod in his hand, stunned by</div><div> the efficacy of the weapon.</div><div><br /></div><div> Dredger tries to recover, climbing off of Watson. Holmes</div><div> cranks his weapon. The rod sparks and hums.</div><div><br /></div><div> Dredger pulls himself up with the help of a water pipe on</div><div> the wall. Holmes thinks quickly, then touches the other</div><div> end of the pipe with the rod, and ZZZAPPPP!!</div><div><br /></div><div> The electrical current RUNS ALONG THE PIPE, and KNOCKS</div><div> Dredger back twenty more feet.</div><div> (CONTINUED)</div><div><br /></div><div> 50.</div><div>58B CONTINUED: 58B</div><div> Watson spots the ring rolling towards the window, starts</div><div> running for it, frantic as --</div><div><br /></div><div> Dredger rises, a clear change in his demeanor. He looks</div><div> at the sparking rod and races for the window as well.</div><div><br /></div><div> Watson chases the engagement ring, bends down... just as</div><div> he's about to grab it...</div><div><br /></div><div> THUD! Dredger's massive foot STOMPS DOWN ON THE RING.</div><div><br /></div><div> Dredger gives Watson a cruel smile, then leaps out the</div><div> window, landing atop a heap of coal. Watson glares as --</div><div><br /></div><div> Holmes blasts past him, leaps out the window. Watson</div><div> picks up the ring, sees:</div><div><br /></div><div> The stone was knocked out of the setting, lost in the</div><div> floorboards, the rest of the ring mangled. Watson</div><div> darkens, grips his ruined ring, and heads out --</div><div><br /></div><div>59-60 59-60</div><div> OMITTED</div><div><br /></div><div>61 EXT. TOOLEY IRONWORKS - GATE 61</div><div><br /></div><div> Dredger runs down the street, knocking people out of his</div><div> way. Holmes gives chase, darting around people, trailing</div><div> Dredger through the gates of a huge commercial</div><div> shipbuilders. Watson brings up the rear, as --</div><div><br /></div><div><br /></div><div>61A OMITTED 61A</div><div><br /></div><div>62 INT. SLIPWAY - DAY 62</div><div><br /></div><div> Dredger runs towards a SLIPWAY, which holds the</div><div> UNFINISHED HULL OF A LARGE SHIP. The vessel can't be far</div><div> from completion; it sits in a wheeled carriage designed</div><div> to see it smoothly into water.</div><div><br /></div><div><br /></div><div>63 EXT. UN-LAUNCHED SHIP - FIRST SLIPWAY 63</div><div><br /></div><div> For now though, big wooden chocks hold it in place, the</div><div> whole thing is attached to a heavy chain that coils back</div><div> around the shed that they just ran through.</div><div><br /></div><div> Holmes trails the hulking form of Dredger into this</div><div> network of struts. They weave through the shadows.</div><div><br /></div><div> Holmes sees one of the cables shifting slightly. He</div><div> takes an angle to cut off Dredger, and --</div><div> (CONTINUED)</div><div><br /></div><div> 51.</div><div>63 CONTINUED: 63</div><div> ZAP! Holmes steps into Dredger's path, hitting him with</div><div> the lightning-rod, knocking him back. ZAP!! Holmes</div><div> gives another jolt, but the shaft starts to LOSE POWER.</div><div><br /></div><div> Dredger knows there isn't much juice left. He reaches</div><div> out, grabs the weapon and... smiles a terrifying smile.</div><div> A moment of reckoning between Holmes and Dredger:</div><div><br /></div><div> The shaft slowly... sizzles... out. Dredger tosses the</div><div> rod. And now, Holmes backs away, as --</div><div><br /></div><div> Dredger grabs a sledgehammer, and swings the hammer at</div><div> Holmes, smashing some of the wooden supports, tearing</div><div> others out of his way. The ship LURCHES forward.</div><div><br /></div><div><br /></div><div>64 EXT. FABRICATION SHED - DAY 64</div><div><br /></div><div> Watson runs round the end of the building and sees Holmes</div><div> scrambling under the half-built hull. Dredger in</div><div> pursuit.</div><div><br /></div><div>64A 64A</div><div> EXT. UN-LAUNCHED SHIP - SLIPWAY</div><div> A police WHISTLE echoes through the air. Dredger turns</div><div> for a moment, just long enough for --</div><div><br /></div><div> Holmes to launch himself at Dredger. They tumble down</div><div> onto the massive runners on the floor of the slipway.</div><div><br /></div><div> Holmes wrestles Dredger's head onto the runner and pins</div><div> him down. Dredger kicks out viciously, splintering</div><div> another chock. It's the last straw for the support</div><div> mechanism, the whole thing starts to creak.</div><div><br /></div><div>64B EXT. FABRICATION SHED 64B</div><div><br /></div><div> From his vantage point, Watson can see what's coming.</div><div><br /></div><div> WATSON</div><div> Holmes!</div><div><br /></div><div><br /></div><div>65 EXT. SECOND SLIPWAY - CONTINUOUS ACTION 65</div><div><br /></div><div> Grappling frantically on the runners, both Holmes and</div><div> Dredger look up as the HUGE CHOCKS holding the ship</div><div> EXPLODE BACKWARDS --</div><div><br /></div><div> -- the PROPELLERS on the stern of the ship start sliding</div><div> down towards them.</div><div><br /></div><div> 52.</div><div><br /></div><div><br /></div><div>66 EXT. SECOND SLIPWAY - CONTINUOUS ACTION 66</div><div><br /></div><div> Dredger looks up at the approach of the propellers --</div><div><br /></div><div> -- Holmes charges into Dredger again, pulling him</div><div> backwards across the runners. Dredger pulls Holmes down</div><div> with him, Holmes' head hits the ground hard.</div><div><br /></div><div> Holmes lies semi-conscious, eyes rolled back into his</div><div> head, as the leviathan roars down towards him.</div><div><br /></div><div> The ground beneath him shakes, knocks his head against</div><div> the runner -- once, twice -- as he blinks back into</div><div> consciousness, he sees the great shadow sweeping over</div><div> him. He's doomed. And...</div><div><br /></div><div> The stern lurches to a STOP INCHES from his face. He</div><div> opens one tentative eye, half expecting to find himself</div><div> in the after-life, and sees black metal an inch from his</div><div> nose. He realizes the ship has stopped, but he doesn't</div><div> know why. He tries to roll out of the way, as --</div><div><br /></div><div>66A 66A</div><div> EXT. SECOND SLIPWAY - CONTINUOUS ACTION</div><div> We see the chain extended taut as a tight-rope behind the</div><div> half-launched ship.</div><div><br /></div><div> The SHIP squeals and groans as its timber supports buckle</div><div> and crack with the weight of the tethered ship.</div><div><br /></div><div> A beat where the whole business hangs in limbo and...</div><div><br /></div><div> The timber finally gives way. The ship is free again,</div><div> falling through the air --</div><div> Holmes rolls sideways as the propellers slice through the</div><div> air above his head -- the hull screams past him with a</div><div> sound like the side of the world being torn off --</div><div><br /></div><div> -- and then the ship's away, parting the Thames with a</div><div> vast, frothy explosion of water.</div><div><br /></div><div> Holmes watches the ship drift gracefully out into the</div><div> river -- from vortex to serenity in a matter of seconds.</div><div> A quiet beat.</div><div><br /></div><div> Holmes collapses back, great gulps of air disappearing</div><div> into his lungs. He tries to pull himself to his feet,</div><div> but Dredger's bone-shaking punches have taken it out of</div><div> him and he sags back to the ground.</div><div><br /></div><div> Watson arrives, helps him to his feet. They stagger back</div><div> to the slipway where Dredger was standing. And they</div><div> find:</div><div> (CONTINUED)</div><div><br /></div><div> 53.</div><div>66A CONTINUED: 66A</div><div> Nothing. No blood or trace. The big man is gone.</div><div><br /></div><div> The police whistles get louder, officers swarm the scene.</div><div> They see the wreckage, the ship adrift, and... Holmes and</div><div> Watson.</div><div><br /></div><div> Watson looks at his watch and does a slow, deep burn.</div><div><br /></div><div><br /></div><div>67 INT. LONDON JAIL - MORNING 67</div><div><br /></div><div> The next morning. A giant holding cell where every shade</div><div> and aspect of Victorian villainy is corralled.</div><div><br /></div><div> Holmes wakes up on a bench after a peaceful night's</div><div> sleep. Watson sits next to him, exhausted, bloodshot</div><div> eyes. He's reading his notebook, making the odd change</div><div> here and there.</div><div><br /></div><div> Holmes looks up and sees Watson staring at him, shaking</div><div> his head.</div><div><br /></div><div> WATSON</div><div> I haven't slept all night. I</div><div> deserve this... I clearly deserve</div><div> it. How could I ever be so</div><div> deluded as to believe I could meet</div><div> Mary's parents for tea once I let</div><div> myself be talked into going with</div><div> you. Now of course I'm in jail.</div><div><br /></div><div> Holmes tries to wiggle his fingers which causes him</div><div> enough pain that he decides to bind them with Irene's</div><div> handkerchief.</div><div><br /></div><div> HOLMES</div><div> (theatrically</div><div> indignant)</div><div> You're not implying that I am</div><div> responsible for our current</div><div> situation are you, Watson? We</div><div> were set upon, man, it was self-</div><div> defense.</div><div><br /></div><div> Watson shakes the notebook in Holmes' face.</div><div><br /></div><div> WATSON</div><div> I've used the time to review my</div><div> notes on our exploits of the last</div><div> seven months... and I've come to</div><div> the conclusion that I must be</div><div> suffering from to some profound</div><div> psychological aberration.</div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 54.</div><div>67 CONTINUED: 67</div><div> WATSON (CONT'D)</div><div> Why else would I continually allow</div><div> myself to be led into situations</div><div> where you're deliberately</div><div> withholding your intentions from</div><div> me?</div><div><br /></div><div> HOLMES</div><div> You've never complained about my</div><div> methods before.</div><div><br /></div><div> WATSON</div><div> I'm not complaining... I never</div><div> complain... I never complain about</div><div> your violin playing at three in</div><div> the morning, your mess, your lack</div><div> of hygiene, your stealing my</div><div> clothes, your setting our home on</div><div> fire!</div><div><br /></div><div> HOLMES</div><div> That was an accident...</div><div><br /></div><div> Watson challenges him with a look.</div><div><br /></div><div> HOLMES</div><div> The first time WAS an accident...</div><div><br /></div><div> BIG MAN (O.S.)</div><div> Remember me, boys? Put me away</div><div> for robbery a few years back?</div><div><br /></div><div> Holmes turns and comes face-to-face with a dangerous-</div><div> looking man who has a few conspicuous WARTS on his face.</div><div><br /></div><div> HOLMES</div><div> Ah, Mr. Brownlee. The fifteenth</div><div> most dangerous man in London.</div><div><br /></div><div> Watson snaps at the man.</div><div><br /></div><div> WATSON</div><div> Who could forget that face? I</div><div> told you, a little nitrate of</div><div> silver and the warts will be gone</div><div> in two weeks. Now, if you'll</div><div> excuse us!</div><div><br /></div><div> Brownlee takes a swing at Watson. Holmes checks him and</div><div> drops Brownlee without missing a beat.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 54A.</div><div>67 CONTINUED: (2) 67</div><div> WATSON</div><div> (to Holmes)</div><div> Nor am I complaining about the</div><div> fact that you terrorize my</div><div> patients and perform outlandish</div><div> experiments on my dog.</div><div><br /></div><div> HOLMES</div><div> Gladstone's my dog as well. It's</div><div> in the interest of science.</div><div><br /></div><div> WATSON</div><div> What I do take issue with is your</div><div> ruthless campaign to sabotage my</div><div> relationship with Mary.</div><div><br /></div><div> HOLMES</div><div> Watson, I completely understand</div><div> now. You're overtired and feeling</div><div> a bit sensitive.</div><div><br /></div><div> Watson now turns away, completely irritated at Holmes'</div><div> lack of understanding.</div><div><br /></div><div> HOLMES</div><div> What you need is a rest. You and</div><div> I could go out to the countryside.</div><div> My brother Mycroft has a small</div><div> estate near Chichester. It has</div><div> marvelous grounds and a beautiful</div><div> folly. We could throw a lamb on</div><div> the spit.</div><div><br /></div><div> Watson shakes his head in disbelief.</div><div><br /></div><div> WATSON</div><div> If I were going to the country, I</div><div> would be going with my future</div><div> wife --</div><div><br /></div><div> HOLMES</div><div> Certainly. We should have her</div><div> along. Let's get Gladstone out of</div><div> the house as well.</div><div><br /></div><div> WATSON</div><div> No, Holmes. Not you. Me and her.</div><div> You're not --</div><div><br /></div><div> HOLMES</div><div> Invited? Now you're not making</div><div> any sense, Watson. Why would I</div><div> not be invited to my own brother's</div><div> country home?</div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 54B.</div><div>67 CONTINUED: (3) 67</div><div> WATSON</div><div> You're not human. You don't get</div><div> it, do you? You are this...</div><div> (touches his own</div><div> head)</div><div> ... without this.</div><div><br /></div><div> He touches his own heart. They hear a BILLYCLUB hit the</div><div> bars.</div><div><br /></div><div> PRISON GUARD</div><div> John Watson? You made bail.</div><div><br /></div><div> Watson steps up. Holmes looks confused. He steps</div><div> forward. But the Guard shakes his head.</div><div><br /></div><div> PRISON GUARD</div><div> Just Watson.</div><div><br /></div><div> As he slides open the bars, they see... MARY emerges from</div><div> behind the Guard. Watson stands for a beat between</div><div> Holmes and Mary. He must make a decision. And he does --</div><div><br /></div><div> -- he leaves.</div><div><br /></div><div> Holmes watches him walk out, then locks eyes with Mary.</div><div> She gives him a polite nod, turns, heads off with Watson.</div><div> The bars slide shut.</div><div><br /></div><div> The mob surrounds Holmes. He's never looked more alone.</div><div><br /></div><div>68 68</div><div> INT. LONDON JAIL - CORRIDOR</div><div> Lestrade heads toward the holding room, flanked by prison</div><div> wardens.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 55.</div><div>68 CONTINUED: 68</div><div> As the door is opened, the thug blasts out backwards,</div><div> having just been battered through it by Holmes.</div><div><br /></div><div> HOLMES</div><div> Lestrade -- your usual impeccable</div><div> timing.</div><div><br /></div><div> LESTRADE</div><div> You know, in another life, you'd</div><div> have made an excellent criminal.</div><div><br /></div><div> HOLMES</div><div> And you, sir, an excellent</div><div> policeman.</div><div><br /></div><div><br /></div><div>69 EXT. LONDON JAIL - DAY 69</div><div><br /></div><div> Holmes and Lestrade march along. Lestrade holds out a</div><div> copy of the newspaper. The headline reads: "BLACKWOOD</div><div> LIVES AND THE DEVIL WALKS WITH HIM! MURDERER</div><div> RESURRECTED!"</div><div><br /></div><div> LESTRADE</div><div> Tell me you have answers.</div><div><br /></div><div> HOLMES</div><div> All in good time.</div><div><br /></div><div> LESTRADE</div><div> We don't have time. I've an</div><div> office full of policemen hanging</div><div> crosses over their desks. A</div><div> public that's working itself into</div><div> a frenzy...</div><div> Holmes sees a dark, strange carriage waiting, door open.</div><div><br /></div><div> HOLMES</div><div> Who's this?</div><div><br /></div><div> LESTRADE</div><div> Try to behave yourself. They just</div><div> paid a small fortune to bail you</div><div> out.</div><div><br /></div><div><br /></div><div>70 OMITTED 70</div><div><br /></div><div><br /></div><div>71 INT. CARRIAGE 71</div><div><br /></div><div> Holmes enters. An ANONYMOUS MAN sits in the other seat.</div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 56.</div><div>71 CONTINUED: 71</div><div> ANONYMOUS MAN</div><div> I'm afraid you'll have to put this</div><div> on.</div><div><br /></div><div> He holds a black hood. Holmes shrugs.</div><div><br /></div><div> CUT TO BLACK.</div><div><br /></div><div><br /></div><div> FADE IN:</div><div><br /></div><div>72 INT. TEMPLE OF FOUR ORDERS HEADQUARTERS 72</div><div><br /></div><div> The hood is pulled off. Holmes takes in the scene, eyes</div><div> flicking around the room.</div><div><br /></div><div> He's in a grand office where a man in his late 60s, SIR</div><div> THOMAS, rises from a pile of papers.</div><div><br /></div><div> SIR THOMAS</div><div> Mr. Holmes, apologies for</div><div> summoning you like this. I'm sure</div><div> it's quite a mystery as to where</div><div> you are, and who I am.</div><div><br /></div><div> HOLMES</div><div> As to where I am -- I was,</div><div> admittedly, lost for a moment</div><div> between Charing Cross and Holborn.</div><div> But I was saved by the bread shop</div><div> on Saffron Hill, the only bakers</div><div> to use a certain French glaze on</div><div> their loaves. After that, the</div><div> carriage forked left, then right,</div><div> a bump over the Fleet conduit --</div><div> need I go on?</div><div><br /></div><div> Somewhat stunned, Sir Thomas shakes his head.</div><div><br /></div><div> HOLMES</div><div> As to who you are -- that took</div><div> every ounce of my not-</div><div> inconsiderable experience and</div><div> skill... the letters on your desk</div><div> are addressed to Sir Thomas</div><div> Rotheram, Lord Chief Justice.</div><div> That would be your official title.</div><div> Who you realy are is another</div><div> matter entirely.</div><div><br /></div><div> Sir Thomas is not in the mood for this -- but Holmes is</div><div> on a roll.</div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 56A.</div><div>72 CONTINUED: 72</div><div> HOLMES</div><div> Judging by the sacred Ox on your</div><div> ring, you're also the secret head</div><div> of the Temple of the Four Orders --</div><div> in whose headquarters we now</div><div> stand, on the northwest corner of</div><div> St. James Square.</div><div> (beat)</div><div> And as to the mystery -- the</div><div> mystery is why you bothered to</div><div> blindfold me in the first place.</div><div><br /></div><div> SIR THOMAS</div><div> Yes, well, it's standard</div><div> procedure, I suppose.</div><div><br /></div><div> Holmes shakes his head; what a massive lack of judgement</div><div> on their part.</div><div><br /></div><div> STANDISH (O.S.)</div><div> I think we have the right man.</div><div><br /></div><div> Holmes turns to see JOHN STANDISH and LORD COWARD</div><div> standing behind him. Standish is an American in his</div><div> sixties. Coward is a hard, ambitious man in his 30s.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 57.</div><div>72 CONTINUED: (2) 72</div><div> SIR THOMAS</div><div> Sherlock Holmes, Ambassador</div><div> Standish from America and Lord</div><div> Coward, the Home Secretary.</div><div><br /></div><div> Holmes acknowledges them -- barely -- as they enter. He</div><div> isn't impressed by rank.</div><div><br /></div><div> LORD COWARD</div><div> I suppose you already have some</div><div> notion as to the -- practices of</div><div> our Order?</div><div><br /></div><div> HOLMES</div><div> Yes. They're almost interesting.</div><div><br /></div><div> SIR THOMAS</div><div> Be as skeptical as you like -- but</div><div> our secret systems have steered</div><div> the world towards the greater good</div><div> for centuries. The danger is that</div><div> they can also be exploited for</div><div> more nefarious purposes.</div><div><br /></div><div> LORD COWARD</div><div> What some call the dark arts, or</div><div> practical magic.</div><div><br /></div><div> Holmes looks around the room, sees FLAGS on the walls</div><div> with ancient symbols, variations of the SPHINX.</div><div><br /></div><div> STANDISH</div><div> We know you're are a rationalist.</div><div> We don't ask you to share our</div><div> faith, only our fears.</div><div><br /></div><div> HOLMES</div><div> Fear is the more infectious</div><div> condition.</div><div> (at Sir Thomas)</div><div> In this case, fear of your own</div><div> child.</div><div><br /></div><div> That shocks them rigid.</div><div><br /></div><div> HOLMES</div><div> Blackwood is your son, yes? You</div><div> have the same colored irises -- a</div><div> rare dark green, with diamond-</div><div> shaped hazel flecks --</div><div> (MORE)</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 58.</div><div>72 CONTINUED: (3) 72</div><div> HOLMES (CONT'D)</div><div> (pointing at Sir</div><div> Thomas' ear)</div><div> -- plus identical outer ears, or</div><div> pinna, which only pass down</div><div> through the direct bloodline,</div><div> which would make you either</div><div> brothers, or, more likely, father</div><div> and son.</div><div><br /></div><div> Stunned, the men consult silently, come to some sort of</div><div> conclusion. They turn back to Holmes. Sir Thomas seems</div><div> especially shaken.</div><div><br /></div><div> SIR THOMAS</div><div> Very few people are privy to that</div><div> information, and we want to keep</div><div> it that way.</div><div><br /></div><div> Sir Thomas opens a bureau, digs for something.</div><div><br /></div><div> SIR THOMAS</div><div> He was conceived during one of our</div><div> rituals. His mother wasn't my</div><div> wife, but she shared our beliefs.</div><div> She was a powerful practitioner.</div><div> Though not enough to survive</div><div> giving birth to him.</div><div><br /></div><div> Holmes is appalled and shows it.</div><div><br /></div><div> SIR THOMAS</div><div> We were young. It was before we</div><div> fully understood the powers we</div><div> were dealing with.</div><div><br /></div><div> HOLMES</div><div> Evidently.</div><div><br /></div><div> SIR THOMAS</div><div> Death followed him wherever he</div><div> went, from his birth to arms he</div><div> made and sold. What family he had</div><div> tended to... not survive. No one</div><div> could prove anything of course,</div><div> but we all knew --</div><div><br /></div><div> Sir Thomas hands Holmes a TINTYPE. A photograph from the</div><div> 1860s. It's chilling: a death scene, a BODY covered by</div><div> a sheet. A man who's just fallen out a window. A TEN-</div><div> YEAR-OLD BOY -- young Lord Blackwood -- looks on.</div><div><br /></div><div> SIR THOMAS</div><div> The boy was a curse. I didn't</div><div> have the courage either to take</div><div> him in or to --</div><div> (CONTINUED)</div><div><br /></div><div> 59.</div><div>72 CONTINUED: (4) 72</div><div> STANDISH</div><div> All this is history. The present</div><div> and future are worse.</div><div><br /></div><div> SIR THOMAS</div><div> We've done our best to stop him</div><div> ourselves, but it's not enough.</div><div><br /></div><div> LORD COWARD</div><div> His power grows daily and</div><div> exponentially. His resurrection</div><div> is evidence of that. What he does</div><div> next will be far more dangerous --</div><div><br /></div><div> SIR THOMAS</div><div> -- he's going to raise a force</div><div> that will alter the very course of</div><div> our world. We need you to find</div><div> him and stop him before he does.</div><div><br /></div><div> LORD COWARD</div><div> We'll give you any assistance we</div><div> can. As Home Secretary, I have</div><div> considerable influence over the</div><div> police.</div><div> (beat)</div><div> Name your price.</div><div><br /></div><div> Holmes looks at Coward with scathing disdain.</div><div><br /></div><div> HOLMES</div><div> One of the great benefits of my</div><div> work is that I can pick and choose</div><div> my clients. I'll get him, but not</div><div> for you.</div><div><br /></div><div> Holmes stalks out -- stops at the door, turns, fixes Sir</div><div> Thomas with a very bleak gaze.</div><div><br /></div><div> HOLMES</div><div> I have one last question, Sir</div><div> Thomas.</div><div><br /></div><div> SIR THOMAS</div><div> What is it?</div><div><br /></div><div> Holmes holds up the tintype.</div><div><br /></div><div> HOLMES</div><div> If the rest of his family's dead,</div><div> why are you still alive?</div><div><br /></div><div> Holmes tosses the tintype onto a table, leaves.</div><div>73 73</div><div> OMITTED</div><div><br /></div><div> 60.</div><div><br /></div><div><br /></div><div>74 EXT. THE GRAND HOTEL 74</div><div><br /></div><div> Holmes comes out of a carriage, and scoots up the steps</div><div> of the massive hotel that's bustling with people.</div><div><br /></div><div><br /></div><div>75 INT. IRENE'S HOTEL ROOM - DAY 75</div><div><br /></div><div> Irene enters wearing a stunning evening dress. She</div><div> pauses glancing briefly around the room before sitting at</div><div> a mirrored dressing table. There's a decanter on the</div><div> table next to her from which she pours herself a glass of</div><div> wine.</div><div><br /></div><div> Then she begins removing an impressive assortment of</div><div> WEAPONS hidden on her person: she pulls a stiletto from</div><div> her garter, a Derringer from her waistband (which she</div><div> puts down next to the wine glass). She pulls long thin</div><div> needles from her hair, lets her hair down. As she</div><div> continues...</div><div><br /></div><div> PULL BACK TO REVEAL Holmes watching her from a shadowy</div><div> corner. He looks on silently until:</div><div><br /></div><div> IRENE</div><div> If you're going to watch me take</div><div> my clothes off, Sherlock, the</div><div> least you can do is help me with</div><div> the buttons.</div><div><br /></div><div> OR ALT:</div><div><br /></div><div> IRENE</div><div> To watch a lady undress without</div><div> her permission is a criminal</div><div> offense, Sherlock, and could get</div><div> you into a lot of trouble...</div><div><br /></div><div> They both eye the Derringer on the table.</div><div><br /></div><div> IRENE</div><div> So why don't you come over here</div><div> and help me instead.</div><div><br /></div><div> Holmes approaches her somewhat tentatively and reaches</div><div> for the top button on the back of her dress.</div><div><br /></div><div> IRENE</div><div> That's better.</div><div><br /></div><div> HOLMES</div><div> You can stop looking for Reardon.</div><div><br /></div><div> IRENE</div><div> I knew I could count on you.</div><div> (CONTINUED)</div><div><br /></div><div> 61.</div><div>75 CONTINUED: 75</div><div> HOLMES</div><div> He was buried in Blackwood's tomb.</div><div><br /></div><div> Irene is momentarily taken aback then recovers.</div><div><br /></div><div> IRENE</div><div> Wonderful. Case closed then.</div><div> Your services are no longer</div><div> required.</div><div><br /></div><div> Unbuttoning done, Holmes steps out to confront Irene.</div><div><br /></div><div> HOLMES</div><div> I can't help wondering if your</div><div> employer will be as content with</div><div> these results? You were</div><div> uncharacteristically ill at ease</div><div> in his presence. Your hand was</div><div> trembling, your gaze was averted.</div><div> I couldn't see his face, but I</div><div> spotted chalk on his lapel. A</div><div> professor perhaps?</div><div><br /></div><div> Irene gets up, walks behind a DRESSING SCREEN.</div><div><br /></div><div> IRENE</div><div> (behind screen)</div><div> The eye patch was a nice touch.</div><div><br /></div><div> HOLMES</div><div> But I've never known a professor</div><div> to carry a gun, and on such a</div><div> clever contraption.</div><div><br /></div><div> IRENE (O.S.)</div><div> Let's not argue.</div><div><br /></div><div> HOLMES</div><div> We're not.</div><div><br /></div><div> Irene steps out, now wearing an array of Victorian</div><div> undergarments. Unfairly gorgeous. The huge DIAMOND</div><div> still around her neck. She moves back to the dressing</div><div> table.</div><div><br /></div><div> Holmes won't look at her, refusing to get turned on.</div><div><br /></div><div> HOLMES</div><div> Tell me who you're working for and</div><div> what he's after.</div><div><br /></div><div> IRENE</div><div> That's nobody's business but my</div><div> own.</div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 61A.</div><div>75 CONTINUED: (2) 75</div><div> HOLMES</div><div> I disagree.</div><div><br /></div><div> IRENE</div><div> You see, we are arguing.</div><div><br /></div><div> Holmes gets closer and closer to Irene as he presses his</div><div> case vehemently.</div><div><br /></div><div> HOLMES</div><div> When a man you ask me to find ends</div><div> up dead in the coffin of the most</div><div> notorious murderer since Jack the</div><div> Ripper and that murderer manages</div><div> to return from the dead, not only</div><div> is it my business, it's the</div><div> business of Scotland Yard and the</div><div> highest levels of the British</div><div> government. They will certainly</div><div> consider your reticence to be an</div><div> obstruction of justice. Which in</div><div> relation to a crime of this</div><div> magnitude would certainly mean</div><div> prison time.</div><div><br /></div><div> IRENE</div><div> This wine is excellent. You</div><div> should really try some.</div><div><br /></div><div> Holmes notices her Derringer on the table next to the</div><div> wine bottle.</div><div><br /></div><div> HOLMES</div><div> So what's it to be?</div><div><br /></div><div> IRENE</div><div> Do we really have to decide now?</div><div><br /></div><div> Irene reaches for the wine.</div><div><br /></div><div> HOLMES</div><div> You're in over your head this</div><div> time, Irene.</div><div><br /></div><div> Irene snatches up her gun. Holmes grabs her arm.</div><div><br /></div><div> BANG! A BULLET tears into his shoe, missing his toe.</div><div> Holmes snatches away the smoking Derringer. Irene kisses</div><div> him, hard and angry at first, becoming something else.</div><div> Another of the weapons in her arsenal, and the one that</div><div> disarms Holmes.</div><div><br /></div><div> The kiss leads them to the bed.</div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 62.</div><div>75 CONTINUED: (3) 75</div><div> IRENE</div><div> That's better.</div><div><br /></div><div> Irene pulls him down to it. He doesn't resist.</div><div><br /></div><div> CLICK!</div><div><br /></div><div> Holmes' eyes flare with surprise.</div><div><br /></div><div> CLICK!</div><div><br /></div><div> IRENE</div><div> Much better.</div><div><br /></div><div> Irene has handcuffed him to the bed frame.</div><div><br /></div><div> IRENE</div><div> This is the only way it could ever</div><div> work between us, Sherlock -- one</div><div> in shackles, the other with the</div><div> key.</div><div><br /></div><div> She gets off him.</div><div><br /></div><div> While he struggles on the bed, Irene walks casually</div><div> across the room. She starts putting on MAN'S CLOTHING.</div><div> She's in charge now.</div><div><br /></div><div> IRENE</div><div> I've NEVER been in over my head.</div><div><br /></div><div> HOLMES</div><div> How can you live like this --</div><div> always a fugitive.</div><div><br /></div><div> She approaches, now dressed as a man, straddles him.</div><div><br /></div><div> IRENE</div><div> But free. And on my own terms.</div><div> Just like you -- well, not you at</div><div> this exact moment --</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 63.</div><div>75 CONTINUED: (4) 75</div><div> She pulls at the front of his trousers, throws the</div><div> handcuff keys down there.</div><div><br /></div><div> IRENE</div><div> -- but generally speaking.</div><div><br /></div><div> Holmes has no retort. Irene takes the scarf off his</div><div> neck, moves to the doorway.</div><div><br /></div><div> IRENE</div><div> If anyone asks, please let them</div><div> know that Mr. O'Neil didn't have</div><div> time to check out.</div><div> (beat)</div><div> I hope you don't mind settling the</div><div> bill.</div><div><br /></div><div> OR ALT:</div><div><br /></div><div> IRENE</div><div> What were you doing consorting</div><div> with a married business traveller</div><div> in his hotel room is something</div><div> you'll have to explain for</div><div> yourself.</div><div><br /></div><div> She picks up TWO SUITCASES waiting for her at the door</div><div> (NEW PROP!) and, as she leaves:</div><div><br /></div><div> IRENE</div><div> Where's Watson when you need him?</div><div><br /></div><div>75A 75A</div><div> OMITTED</div><div><br /></div><div>76 INT. SIR THOMAS' HOUSE - NIGHT 76</div><div><br /></div><div> Sir Thomas enters the hall from outside, he looks tired.</div><div> His butler, PERIGRINE, stands there waiting for him.</div><div><br /></div><div> PERIGRINE</div><div> Good evening, sir. Some figs and</div><div> honey with a nice glass of port?</div><div> I've prepared a tray.</div><div><br /></div><div> SIR THOMAS</div><div> No thank you, Perigrine, I'm going</div><div> to bed.</div><div> (as he heads</div><div> upstairs)</div><div> You won't let those figs go to</div><div> waste, will you?</div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 63A.</div><div>76 CONTINUED: 76</div><div> PERIGRINE</div><div> Nor the port, sir.</div><div><br /></div><div> Thomas smiles, goes up. Perigrine heads for the kitchen,</div><div> licking his lips.</div><div><br /></div><div><br /></div><div>77 INT. SIR THOMAS' BATHROOM 77</div><div><br /></div><div> Sir Thomas sinks into his bath. Relaxing.</div><div><br /></div><div> The CAMERA SLOWLY TRACKS IN, drip, drip, drip.</div><div><br /></div><div> The silence is broken all of a sudden when the tap is</div><div> magically turned on. Sir Thomas opens his eyes in panic,</div><div> as he hears an eerie WHISPER O.S., like the rushing of</div><div> wind.</div><div><br /></div><div> Sir Thomas is overcome with panic, tries to sit up.</div><div> Can't. Not all the way.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 64.</div><div>77 CONTINUED: 77</div><div> BLACKWOOD (O.S.)</div><div> Hello, Father...</div><div><br /></div><div> Thomas blinks and sees that BLACKWOOD now sits in the</div><div> corner of the bathroom, lit in a sinister fashion.</div><div><br /></div><div> Sir Thomas' eyes widen, the muscles stand out in his neck</div><div> as he fights paralysis. He slides back down, slowly.</div><div><br /></div><div> BLACKWOOD</div><div> You can't fight it. It comes from</div><div> a power greater than yours. You</div><div> can only surrender.</div><div><br /></div><div> The water flows over Sir Thomas, as Blackwood steps</div><div> closer and takes the sacred RING from his rigid finger.</div><div><br /></div><div> BLACKWOOD</div><div> I've been imagining this moment</div><div> for a long time...</div><div><br /></div><div> The water closes over his face. Sir Thomas stares up at</div><div> Blackwood, who watches him drown, slowly and surely.</div><div><br /></div><div> BLACKWOOD</div><div> ... I must admit, it's better than</div><div> I thought it would be.</div><div><br /></div><div>78 78</div><div> INT. THE GRAND HOTEL - CORRIDOR - DAY</div><div> Carrying an armful of laundry, a MAID slips a pass-key</div><div> into a lock and opens the door...</div><div><br /></div><div> ... to be confronted by the snoring form of Holmes, still</div><div> handcuffed to the bed. Clothes in total disarray. Her</div><div> shriek wakes him. He looks down at himself and reacts</div><div> with shock, then grim recognition sets in.</div><div><br /></div><div> HOLMES</div><div> Don't take this the wrong way, but</div><div> might I borrow your hand?</div><div><br /></div><div><br /></div><div>78A INT. POLICE CARRIAGE 78A</div><div><br /></div><div> Holmes sits beside a COP, and opposite CONSTABLE CLARK.</div><div><br /></div><div> HOLMES</div><div> Chambermaids were once such a</div><div> liberal breed. Besides, she</div><div> misinterpreted my intention</div><div> entirely.</div><div> (MORE)</div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 65.</div><div>78A CONTINUED: 78A</div><div> HOLMES (CONT'D)</div><div> This is why I find this modern</div><div> religious fervor so troubling,</div><div> there is no latitude for</div><div> misunderstanding.</div><div><br /></div><div> He looks out the carriage window and sees signs of a</div><div> spiritualist gathering.</div><div><br /></div><div> HOLMES</div><div> Faith runs riot over reason.</div><div><br /></div><div> CONSTABLE CLARK</div><div> Well, it's a good thing she was</div><div> offended or we'd never have found</div><div> you. The inspector's been over to</div><div> Baker Street himself this morning.</div><div><br /></div><div> The coach stops.</div><div><br /></div><div>78B 78B</div><div> EXT. SIR THOMAS' HOUSE - DAY</div><div> Holmes steps out of the coach, and is escorted inside by</div><div> Constable Clark.</div><div><br /></div><div><br /></div><div>78C INT. SIR THOMAS' BATHROOM 78C</div><div><br /></div><div> Holmes is briefed by Constable Clark as they enter. As</div><div> Constable Clark continues in, Holmes swivels away --</div><div><br /></div><div> CONSTABLE CLARK</div><div> We've checked everything. No sign</div><div> of a break-in. The Butler didn't</div><div> hear anything. The body was in</div><div> the tub, eyes wide open --</div><div> -- so that Const. Clark ends up talking to thin air.</div><div><br /></div><div> CONSTABLE CLARK</div><div> (realizing Holmes</div><div> isn't there)</div><div> -- only his ring was missing.</div><div><br /></div><div> He turns, puzzled, looking for Holmes, finds him right</div><div> back at the doorway, in full virtuoso detective mode.</div><div> Right now, right here is where Holmes is at his very best</div><div> -- this is, in fact, why he exists.</div><div><br /></div><div> Holmes is satisfied by what he sees or finds, continues</div><div> into the bathroom, where a POLICE OFFICER stands over the</div><div> tub and Sir Thomas' body (covered with a blanket).</div><div><br /></div><div> The tub has been drained. The kind of crime scene</div><div> violation that Holmes cannot get them to stop doing.</div><div> (CONTINUED)</div><div><br /></div><div> 65A.</div><div>78C CONTINUED: 78C</div><div> HOLMES</div><div> Why did you drain the water?</div><div><br /></div><div> POLICE OFFICER</div><div> Out of common decency.</div><div><br /></div><div> HOLMES</div><div> (incensed)</div><div> Crime is common, logic is rare.</div><div> The decent thing to do is catch</div><div> the killer, not provide comfort to</div><div> the corpse.</div><div><br /></div><div> Neither the officer nor Clark have a response. Holmes</div><div> swivels, sees a JAR OF BATH SALTS on the table next to</div><div> the chair Blackwood sat in, leans over, scoops it up,</div><div> opens it, sniffs it.</div><div><br /></div><div> HOLMES</div><div> Hmm...</div><div><br /></div><div> Holmes thrusts the open jar under the Officer's nose.</div><div><br /></div><div> HOLMES</div><div> What is that?</div><div><br /></div><div> POLICE OFFICER</div><div> (smelling)</div><div> Uhhhh... jasmine?</div><div><br /></div><div> HOLMES</div><div> Superb. I suspect this comes from</div><div> a larger cannister. It'll either</div><div> be in the pantry, high up where</div><div> it's warm and dry, or in a linen</div><div> closet with a vent. And,</div><div> Constable, you could check the</div><div> ground under the rear windows for</div><div> any footprints not your own.</div><div><br /></div><div> Both cops hesitate -- Holmes is not their boss.</div><div><br /></div><div> HOLMES</div><div> Data, data, data! I cannot make</div><div> bricks without clay!</div><div><br /></div><div> The cops hurry away. Now Holmes can really get down to</div><div> work. This may mean he gets on his belly for a floor's-</div><div> eye-view, it may mean he looks down from a window sill.</div><div> Sometimes he hums or sings to himself.</div><div><br /></div><div> Holmes is happy.</div><div><br /></div><div> He glances around the room, sees the chair where</div><div> Blackwood was perched, sits in it himself.</div><div> (CONTINUED)</div><div><br /></div><div> 65B.</div><div>78C CONTINUED: (2) 78C</div><div> His eyes keep moving, noticing something on a wall. He</div><div> steps toward it, runs his hand along a layer of dust.</div><div> The dust has a line down it, as if the wall cracked open.</div><div><br /></div><div> Holmes steps to the sink, grabs a handful of TALCUM</div><div> POWDER and tosses the powder against the wall, revealing:</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 66.</div><div>78C CONTINUED: (3) 78C</div><div> FINGERPRINTS on one of the panels.</div><div><br /></div><div> He pushes the panel, and the wall shifts, opening to</div><div> reveal a SECRET ROOM. Holmes enters --</div><div><br /></div><div><br /></div><div>78D OMITTED 78D</div><div><br /></div><div><br /></div><div>78E INT. SIR THOMAS' SECRET ROOM 78E</div><div><br /></div><div> Holmes finds a desk with a prayer table, and ancient</div><div> texts, spellbooks, one book open to a picture of</div><div> Alexander the Great at the Sphinx. He steps toward --</div><div><br /></div><div> An ALTAR below the image of the Sphinx. On the altar,</div><div> four strange objects: a strand of human HAIR, a cow's</div><div> BONE, a large sharp FANG, and a FEATHER.</div><div><br /></div><div> Holmes pockets the altar items and a couple pieces of</div><div> paper, just as --</div><div><br /></div><div>78F 78F</div><div> INT. SIR THOMAS' BATHROOM</div><div> -- Const. Clark and the Officer return, the Officer</div><div> proudly hugging a 5 LB. CANNISTER OF JASMINE BATH SALTS.</div><div><br /></div><div> They are startled by the secret room --</div><div><br /></div><div> -- they are even more startled by the sight of Holmes</div><div> kneeling at the altar and singing to himself.</div><div><br /></div><div> As soon as they arrive, Holmes springs to his feet and</div><div> walks out. Maybe he continues singing between words.</div><div> HOLMES</div><div> (vis the secret room)</div><div> I have no idea what to make of</div><div> that.</div><div> (vis the bath salts)</div><div> Excellent work.</div><div><br /></div><div><br /></div><div>79 OMITTED 79</div><div><br /></div><div><br /></div><div>80 INT. 221 BAKER ST. - HOLMES' APARTMENTS - DAY 80</div><div><br /></div><div> Holmes walks up the stairs and finds Watson's office door </div><div> open. He is well into packing his things. The office is </div><div> full of boxes, the walls and shelves are very sparse. </div><div> </div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 66A.</div><div>80 CONTINUED: 80</div><div> HOLMES </div><div> Don't forget the wallpaper. </div><div><br /></div><div> WATSON </div><div> There isn't any. </div><div><br /></div><div> HOLMES </div><div> Figure of speech. </div><div><br /></div><div> Holmes steps into the room. </div><div><br /></div><div> HOLMES </div><div> Since this room is no longer in </div><div> use, do you mind if I employ it? </div><div><br /></div><div> WATSON </div><div> Be my guest. </div><div><br /></div><div> HOLMES </div><div> Bring him in, boys. </div><div><br /></div><div> Holmes steps aside. Two/three policemen enter carrying a </div><div> large, heavy bag and unceremoniously dump it on Watson's </div><div> desktop. They unzip the bag, revealing the dead body of </div><div> the thug from Reordon's lodging. </div><div><br /></div><div> </div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 67.</div><div>80 CONTINUED: (2) 80</div><div> WATSON </div><div> Who was he? </div><div><br /></div><div> HOLMES </div><div> My new roommate. He's an </div><div> inspiring conversationalist. </div><div> (alt: He has more humor than </div><div> you.) </div><div><br /></div><div> WATSON </div><div> Really. </div><div><br /></div><div> HOLMES </div><div> No, he's your friend from </div><div> Reordon's. He didn't survive </div><div> Dredger landing on him. Poor </div><div> fellow. But there is some </div><div> consolation in the knowledge that </div><div> he can still be of service to his </div><div> fellow men. </div><div><br /></div><div> Watson keeps packing. Holmes analyzes the body,</div><div> starting, of all places, with the outer elbows and</div><div> forearms of his coat.</div><div><br /></div><div> Holmes grabs various instruments and other items from </div><div> Watson's newly-packed boxes. Frustrated, Watson snatches </div><div> them back as quickly as Holmes takes them out. </div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 68.</div><div>80 CONTINUED: (3) 80</div><div> HOLMES</div><div> Elbows and arms stained with</div><div> blood, but older than his own</div><div> injuries. Plenty of it, layer on</div><div> layer...</div><div><br /></div><div> Holmes scrapes at the layers of blood with his knife,</div><div> examines it.</div><div><br /></div><div> HOLMES</div><div> Though none of it human.</div><div><br /></div><div> Watson slows down slightly. He keeps packing, trying to</div><div> resist the mystery, but it's not easy.</div><div><br /></div><div> HOLMES</div><div> A butcher perhaps...? What else?</div><div><br /></div><div> Holmes cuts a lock of the man's hair, ignites it, studies</div><div> the color of the flame carefully. Watson wrinkles his</div><div> nose at the smell.</div><div><br /></div><div> HOLMES</div><div> Hm -- predominantly yellow flame,</div><div> but with distinct green bursts.</div><div> Sulfurous. He spent lots of time</div><div> around industrial work and very</div><div> little around a wash basin.</div><div><br /></div><div> Holmes uses a curved nail file to scrape dirt from under</div><div> the man's fingernails, rubs the evidence between his</div><div> fingers like a connoisseur.</div><div><br /></div><div> HOLMES</div><div> Coal... river silt...</div><div><br /></div><div> Watson slows down further, struggling.</div><div><br /></div><div> HOLMES</div><div> That plus the river silt and</div><div> industrial slag on his trousers</div><div> puts him squarely in...</div><div><br /></div><div> A hanging beat. And Watson finally cracks, blurting out:</div><div><br /></div><div> WATSON</div><div> Nine Elms.</div><div><br /></div><div> HOLMES</div><div> Well done. Now, you didn't happen</div><div> to pack the Lord's Register of</div><div> members' interests, did you?</div><div><br /></div><div> Watson pulls it out of a box.</div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 68A.</div><div>80 CONTINUED: (4) 80</div><div> HOLMES</div><div> See what Blackwood admits to</div><div> owning.</div><div><br /></div><div> As Watson flips through it, Holmes plucks a few chords on</div><div> his violin, thinking. Watson finds the page.</div><div><br /></div><div> WATSON</div><div> It's endless, he's had a hand in</div><div> just about everything that's not</div><div> good for you.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 69.</div><div>80 CONTINUED: (5) 80</div><div> HOLMES</div><div> Something brutal by the river...</div><div><br /></div><div> WATSON</div><div> Woolwich Arsenal... Limehouse</div><div> Chemical... Queenshithe</div><div> Slaughterhouse, Nine Elms!</div><div><br /></div><div> HOLMES</div><div> That's it, Watson! This should </div><div> lead us right to Blackwood. </div><div><br /></div><div> Holmes leaps up and readies himself to leave. </div><div> </div><div> WATSON</div><div> Not us, you. </div><div><br /></div><div> This gives Holmes pause. </div><div><br /></div><div> HOLMES</div><div> Right. Well uh... best of luck </div><div> with everything, then.</div><div><br /></div><div> WATSON</div><div> Same to you.</div><div><br /></div><div> A brief nod, then Holmes is gone.</div><div><br /></div><div> A beat as Watson continues packing. He heaves a box up,</div><div> moves for his suitcase. After a moment, he notices...</div><div><br /></div><div> Holmes' PISTOL.</div><div><br /></div><div> WATSON </div><div> Not again. </div><div><br /></div><div> He picks it up. As he contemplates the weapon, he</div><div> becomes more serious. Then angry. He mouths a curse to</div><div> himself, and sees their DOG giving him a disapproving</div><div> look.</div><div><br /></div><div> WATSON</div><div> Yes, I know. Don't give me that</div><div> look, Gladstone.</div><div><br /></div><div> He pockets the gun, grabs his jacket and heads out.</div><div><br /></div><div>81-82 81-82</div><div> OMITTED</div><div><br /></div><div>82A EXT. COURTYARD - NIGHT 82A</div><div><br /></div><div> A figure moves across the dark, Gothic courtyard. It is</div><div> AMBASSADOR STANDISH. As he cuts through the shadows...</div><div> (CONTINUED)</div><div><br /></div><div> 70.</div><div>82A CONTINUED: 82A</div><div> A few DROPS OF RAIN trickle down. He looks up, surprised</div><div> by the rain. He raises his collar, and keeps moving.</div><div><br /></div><div> He hits the door to a building. It is locked. He bangs</div><div> on the door, as the rain comes harder. The door finally</div><div> opens. As he enters, we see the rain stops behind him,</div><div> gone as fast as it came. A RAVEN flaps into the night.</div><div><br /></div><div><br /></div><div>82B INT. TEMPLE OF FOUR ORDERS HEADQUARTERS - NIGHT 82B</div><div><br /></div><div> Standish comes up the stairs, wiping the raindrops off</div><div> his coat, trying to dry himself, as he enters --</div><div><br /></div><div><br /></div><div>83 INT. TEMPLE OF FOUR ORDERS HEADQUARTERS - COUNCIL CHAMBER 83</div><div><br /></div><div> A five-sided room. A few dozen venerable-looking</div><div> characters arrange themselves in seats. Lord Coward</div><div> stands next to a central throne. He stays standing as</div><div> they all sit -- all except STANDISH.</div><div><br /></div><div> STANDISH</div><div> What's the meaning of this? Why</div><div> did you call us here?</div><div><br /></div><div> LORD COWARD</div><div> Sir Thomas is dead. Effective</div><div> immediately, I nominate Lord</div><div> Blackwood as head of the Order.</div><div><br /></div><div> STANDISH</div><div> Are you mad, Coward? Have you any</div><div> idea what he's capable of?</div><div><br /></div><div> BLACKWOOD (O.S.)</div><div> Of course he does. It's why he's</div><div> here.</div><div><br /></div><div> Blackwood enters. He looks as if he's been to hell, and</div><div> come back more powerful than ever.</div><div><br /></div><div> The crowd is stunned. Standish looks at Coward,</div><div> betrayed, turns to the others -- who are transfixed by</div><div> the sight of Blackwood suddenly kneeling before them.</div><div><br /></div><div> BLACKWOOD</div><div> I am humbled. I am honored.</div><div> (beat)</div><div> My powers and my assets --</div><div> munitions, shipping, industry --</div><div> they were given to me for a</div><div> purpose.</div><div> (MORE)</div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 71.</div><div>83 CONTINUED: 83</div><div> BLACKWOOD (CONT'D)</div><div> A magnificent and simple purpose.</div><div> A different future... a future</div><div> ruled by us.</div><div><br /></div><div> Blackwood stands, prowls.</div><div><br /></div><div> BLACKWOOD</div><div> You've made policy in secret for</div><div> centuries. Now, you'll make it</div><div> openly.</div><div><br /></div><div> The men are beginning to like what they hear.</div><div><br /></div><div> BLACKWOOD</div><div> The first act is a necessary one,</div><div> for without death there can be no</div><div> rebirth...</div><div> (beat)</div><div> ... at noon tomorrow, we will take</div><div> the first step towards a new</div><div> chapter in history.</div><div> (beat)</div><div> England will know our power.</div><div> Then, the whole world will.</div><div> Across the Atlantic lies a colony</div><div> that was once ours, and will be</div><div> again. Their civil war weakened</div><div> them; their government is as</div><div> corrupt and ineffective as ours.</div><div> We'll take it from them.</div><div> (beat)</div><div> With their resources and our</div><div> power, we'll remake the world,</div><div> we'll create the future.</div><div> (beat)</div><div> Are you with me?</div><div><br /></div><div> STANDISH</div><div> No, sir, we are not!</div><div> (turning to the</div><div> others)</div><div> The powers he's playing with are</div><div> beyond any man's control.</div><div><br /></div><div> BLACKWOOD</div><div> They're limitless -- even death</div><div> holds no sway.</div><div><br /></div><div> STANDISH</div><div> Help me stop him before it's too</div><div> late.</div><div><br /></div><div> Nobody moves. Blackwood smiles -- he's won.</div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 71A.</div><div>83 CONTINUED: (2) 83</div><div> In desperation, Standish pulls a gun. But as he aims it</div><div> at Blackwood -</div><div><br /></div><div> BLACKWOOD</div><div> I wouldn't do that.</div><div><br /></div><div> -- he IGNITES, combusting with an impossible BLAST OF</div><div> BLINDING HOT FLAMES!</div><div><br /></div><div> The men in the room reel backwards, shocked, terrified.</div><div><br /></div><div> Flames consuming him, Standish flails, crashing through a</div><div> window out to --</div><div><br /></div><div><br /></div><div>83A EXT. LONDON STREET - NIGHT 83A</div><div><br /></div><div> The fireball plummets through the sky, lighting city</div><div> blocks. People look up, gape, and --</div><div><br /></div><div> WHOOMPF! Standish lands on the roof of a carriage.</div><div> Horses and carriages SCREECH to a stop.</div><div><br /></div><div> The flames flicker blinding white, as his body contorts,</div><div> melting away. People scream, gasp, faint, cross</div><div> themselves, as they witness this unnatural act.</div><div><br /></div><div>83B 83B</div><div> INT. TEMPLE OF FOUR ORDERS HEADQUARTERS</div><div> Blackwood turns away from the window, surveys them. They</div><div> are terrified, but they are with him.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 72.</div><div>83B CONTINUED: 83B</div><div><br /></div><div> Blackwood turns to Coward, nods.</div><div><br /></div><div> Coward produces a brimming silver chalice.</div><div><br /></div><div> BLACKWOOD</div><div> Come, drink your allegiance here.</div><div><br /></div><div> The members line up to drink from a CHALICE. It doesn't</div><div> taste good, but it tastes like power. As they drink,</div><div> Blackwood leans close to Coward:</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 73.</div><div>83B CONTINUED: (2) 83B</div><div> BLACKWOOD</div><div> You control the police. Use them.</div><div><br /></div><div> Coward nods.</div><div><br /></div><div><br /></div><div>84 EXT. QUEENSHITHE SLAUGHTERHOUSE - ESTABLISHING - NIGHT 84</div><div><br /></div><div> An industrial area on a bend of the Thames. Work doesn't</div><div> stop when the sun goes down. Wharves stretch out into</div><div> the water. WE SEE a boat is being loaded. We PULL BACK</div><div> FROM the scene and look ACROSS the water.</div><div><br /></div><div> Just above the thump of industry we can hear a</div><div> distinctive and irregular CHUGGING sound. Slowly a</div><div> decrepit and eccentric little steam launch chugs INTO</div><div> VIEW. Holmes is on the deck along with a much older man</div><div> in a sailor's hat -- CAPTAIN TANNER.</div><div><br /></div><div> HOLMES</div><div> Everything all right, Captain</div><div> Tanner?</div><div><br /></div><div> Captain Tanner has few teeth and a large white beard.</div><div><br /></div><div> TANNER</div><div> Just a little leak, nothing to</div><div> worry about.</div><div><br /></div><div> Watson is busy with a bucket clearing the boat of a very</div><div> serious leak. He's soaked, and furious.</div><div><br /></div><div> TANNER</div><div> Not a great one for the water, are</div><div> you, doctor? Army type, aren't</div><div> you? You wouldn't have lasted</div><div> long in the Navy.</div><div><br /></div><div> Watson glares. Holmes scans the banks with a telescope.</div><div> He sees a jetty with a few shadows shifting on it. The</div><div> engine shudders off, the boat drifts. Tanner whispers:</div><div><br /></div><div> TANNER</div><div> That's as far as we can go.</div><div><br /></div><div> Holmes starts clambering over the side. Watson's pissed.</div><div><br /></div><div> WATSON</div><div> There must be fifty yards of mud</div><div> out there.</div><div><br /></div><div> Holmes' head is just visible before he drops over the</div><div> prow. He whispers at Tanner.</div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 74.</div><div>84 CONTINUED: 84</div><div> HOLMES</div><div> Pull in at Vauxhall. Send for the</div><div> police when you get there.</div><div><br /></div><div> Tanner nods. A soft "splosh" as Holmes disappears.</div><div> Watson carefully leaves his valued possessions behind,</div><div> watch, etc. He lays down his wallet and looks at Tanner.</div><div><br /></div><div> WATSON</div><div> I know precisely how much money is</div><div> in there.</div><div><br /></div><div> TANNER</div><div> (taking the piss)</div><div> I am sure you do, doctor.</div><div><br /></div><div> Watson glares, goes over the side, with his walking</div><div> stick.</div><div><br /></div><div>85 85</div><div> OMITTED</div><div><br /></div><div>86 EXT. QUEENSHITHE SLAUGHTERHOUSE 86</div><div><br /></div><div> Holmes and Watson emerge out of the shallows, covered in</div><div> mud. Holmes doesn't seem bothered. Watson does.</div><div><br /></div><div> They look up and see a jetty that heads out into the</div><div> river. Two shadowy THUGS guard the dock, while more</div><div> THUGS are loading the boat with something.</div><div><br /></div><div> Holmes and Watson scuttle forward, towards the entrance,</div><div> where two more THUGS patrol. Watson pulls out Holmes'</div><div> GUN.</div><div> HOLMES</div><div> What are you doing with my gun?</div><div><br /></div><div> WATSON</div><div> Oh, please.</div><div><br /></div><div> HOLMES</div><div> It was an honest mistake --</div><div><br /></div><div> WATSON</div><div> There was nothing honest about it.</div><div><br /></div><div> Holmes looks back at Watson, takes the gun, says nothing,</div><div> the closest he'll come to a confession. Watson steps</div><div> forward.</div><div><br /></div><div> WATSON</div><div> Come on, let's get this over with.</div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 75.</div><div>86 CONTINUED: 86</div><div> They look out at the thugs guarding the door. Holmes</div><div> whispers, trying to figure out the best strategy.</div><div><br /></div><div> HOLMES</div><div> The one on the left seems more</div><div> attentive, might prove easily</div><div> distracted. The big one's been</div><div> drinking -- whether for courage or</div><div> from habit... Watson?</div><div><br /></div><div> Watson has already left. He simply walks up to the door</div><div> and whacks the larger man in the face with the gun --</div><div> before dispatching the other with a backhand pistol-whip.</div><div><br /></div><div> Holmes follows, notices that both men have hip flasks.</div><div> He picks one up, takes a whiff, and pockets it as he</div><div> follows Watson. He slows, sensing something behind him.</div><div> He turns, looks at shadows. Nothing. And he enters --</div><div><br /></div><div>87 87</div><div> OMITTED</div><div><br /></div><div>88 INT. QUEENSHITHE SLAUGHTERHOUSE - TUNNEL 88</div><div><br /></div><div> Holmes walks towards Watson who stands in the doorway,</div><div> stopped in his tracks, spooked. Holmes catches up,</div><div> passing Watson into --</div><div><br /></div><div><br /></div><div>89 INT. QUEENSHITHE SLAUGHTERHOUSE - ANTECHAMBER 89</div><div><br /></div><div> Shadows on shadows. Metal groans softly, like a</div><div> plaintive wail. The twisted blades of slaughterhouse</div><div> instruments glimmer in the darkness. A few RATS lay</div><div> dead. A truly creepy scene. Holmes and Watson move</div><div> through it.</div><div><br /></div><div> As they go, Holmes notices rows of empty tables. He runs</div><div> his finger through a layer of dust, inspecting it.</div><div> Quiet:</div><div><br /></div><div> HOLMES</div><div> They cleared something out of</div><div> here, not minutes ago...</div><div><br /></div><div> Holmes slows, picks up one of the dead rats. He inspects</div><div> it, sees something on its skin, some kind of dark spore.</div><div><br /></div><div> WATSON (O.S.)</div><div> Holmes. You need to see this.</div><div><br /></div><div> Holmes looks up, and sees Watson standing at a set of</div><div> doors.</div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 76.</div><div>89 CONTINUED: 89</div><div> Holmes pulls out a CIGAR-CUTTER, CLIPS off the rat's</div><div> TAIL, slipping it into his pocket, as he joins Watson,</div><div> stepping into --</div><div><br /></div><div><br /></div><div>90 INT. QUEENSHITHE SLAUGHTERHOUSE - FACTORY FLOOR 90</div><div><br /></div><div> A massive space with a maze of machinery full of deadly</div><div> gears and blades and saws, lifeless and silent for now.</div><div> An automated butchery on a grand scale. This is the</div><div> killing floor. Huge hooks hang from chain belts on an I-</div><div> beam, the ceiling, swaying softly, whispering in the</div><div> wind.</div><div><br /></div><div> On the high walls, a huge number has been scrawled: 118.</div><div><br /></div><div> WATSON</div><div> One-eighteen. It's a date, a</div><div> time?</div><div><br /></div><div> Holmes shakes his head, his eyes narrow, ticking.</div><div><br /></div><div> HOLMES</div><div> It's chapter and verse.</div><div> Revelation 1:18. `I am He that</div><div> liveth, and was dead.'</div><div><br /></div><div> Another voice completes the passage, echoing from above:</div><div><br /></div><div> BLACKWOOD (O.S.)</div><div> `And behold, I am alive</div><div> forevermore, and have the keys of</div><div> hell and of death. Amen.'</div><div><br /></div><div> Holmes and Watson follow the voice to see: BLACKWOOD in</div><div> the rafters. Shadows hang heavy around him. Holmes and</div><div> Watson react: this is the first time they've seen him in</div><div> the flesh.</div><div> BLACKWOOD</div><div> I cautioned you to accept that</div><div> this is beyond your control. Now</div><div> you see the truth for yourself.</div><div><br /></div><div> The hooks in the ceiling are shivering softly, strangely.</div><div> Holmes tightens. Blackwood continues, his voice echoes,</div><div> as the hooks move through the air, gliding on a track.</div><div><br /></div><div> BLACKWOOD</div><div> I want you to bear witness. At</div><div> noon tomorrow, the world as you</div><div> know it ends.</div><div><br /></div><div> Watson pulls his gun, draws a bead on Blackwood, pulls</div><div> the trigger. Click. Misfire.</div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 77.</div><div>90 CONTINUED: 90</div><div> BLACKWOOD</div><div> And because I appreciate your</div><div> help, Holmes, I have a gift for</div><div> you.</div><div><br /></div><div> Holmes starts climbing up towards Blackwood.</div><div><br /></div><div> BLACKWOOD</div><div> (voice moving away)</div><div> She followed you. You led your</div><div> little lamb straight to slaughter.</div><div><br /></div><div> Suddenly the whole machine starts up. Industrial-</div><div> strength loud, movement everywhere, empty hooks jerking</div><div> towards the processing line. Blades and gears and</div><div> grinders churn.</div><div><br /></div><div> Watson's eyes go from Blackwood to --</div><div><br /></div><div> A pig carcass as it comes swinging out of the killing</div><div> area, towards the SCORCHER (which scorches the carcasses</div><div> with live flame).</div><div><br /></div><div> Then next carcass emerges --</div><div><br /></div><div> -- not a carcass, Irene. She is alive, for now. She</div><div> hangs from two hooks on a track-line, her wrists shackled</div><div> above her, her mouth gagged.</div><div><br /></div><div> Her eyes show terror until she sees them, then immense</div><div> relief for a moment, then determination.</div><div><br /></div><div> Holmes looks up to see Blackwood's shadow retreating.</div><div><br /></div><div> Decision time.</div><div><br /></div><div>90A 90A</div><div> INT. QUEENSHITHE SLAUGHTERHOUSE - ASSEMBLY LINE</div><div> Holmes drops on to the machine and leaps from gear to</div><div> gear like stepping-stones. He heaves himself up to the</div><div> conveyor, where Irene is being pulled down the assembly</div><div> line towards the flames.</div><div><br /></div><div> Watson sprints ahead, looking for a shut-off switch.</div><div><br /></div><div> Holmes unties Irene's gag.</div><div><br /></div><div> HOLMES</div><div> It's your turn in shackles this</div><div> time.</div><div><br /></div><div> Ahead of them, the pig carcass is scorched in an</div><div> overwhelming burst of flame. Holmes and Irene are next.</div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 78.</div><div>90A CONTINUED: 90A</div><div> IRENE</div><div> But this time no key,</div><div> unfortunately.</div><div><br /></div><div> Holmes notes that Irene's hands are shackled to separate</div><div> hooks. It's going to take two actions to free her.</div><div><br /></div><div> The flame machine gurgles ominously, gearing up for the</div><div> next blast.</div><div><br /></div><div> Watson sees a LEVER (PLEASE NOTE, NEW PROP!) that looks</div><div> promising, turns to head for it -- then his eyes focus on</div><div> a big canvas splatter cloth.</div><div><br /></div><div> HOLMES</div><div> I've been meaning to ask you</div><div> something --</div><div><br /></div><div> IRENE</div><div> Well, I'm a captive audience.</div><div><br /></div><div> Watson rips down the splatter cloth, sprints to Holmes</div><div> and Irene, tosses the cloth across the conveyor belt to</div><div> Holmes --</div><div><br /></div><div> -- who wraps them up in the thick cloth just before the</div><div> flames hit them.</div><div><br /></div><div> The heat is excruciating -- but the cloth protects them.</div><div><br /></div><div> Watson watches anxiously as the scorched cloth drops</div><div> away, revealing that Holmes and Irene made it -- just.</div><div><br /></div><div> Relieved, Watson heads for the lever until "Oh Shit!" he</div><div> looks ahead --</div><div><br /></div><div> -- sees the scorched pig carcass being dragged into a</div><div> long, conveyor-belt-wide SCALDING TANK OF BOILING WATER.</div><div><br /></div><div> Decision time for Watson -- help Holmes and Irene, or try</div><div> the lever? He goes for the lever, reaches it, pushes it</div><div> all the way over --</div><div><br /></div><div> -- and the belt speeds up with a jerk.</div><div><br /></div><div> Watson hauls back on the lever, gets the belt back to the</div><div> original speed, looks around for another possible off</div><div> switch.</div><div><br /></div><div> Just as they reach the scalding tank, Holmes jumps off</div><div> the belt (still opposite side to Watson), grabs Irene's</div><div> legs and pulls her horizontal just before she's dragged</div><div> into the boiling water.</div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 79.</div><div>90A CONTINUED: (2) 90A</div><div> She's suspended just above the boiling water, with Holmes</div><div> moving sideways, keeping pace with her.</div><div><br /></div><div> IRENE</div><div> (trying her best not</div><div> to show the strain)</div><div> You had a question.</div><div><br /></div><div> Holmes keeps hold of Irene's feet as he maneuvers past</div><div> various obstacles --</div><div><br /></div><div> HOLMES</div><div> (same)</div><div> Ah. Yes. Do you still maintain</div><div> you're not in over your head?</div><div><br /></div><div> IRENE</div><div> (panting)</div><div> In some countries steam is</div><div> considered excellent therapy for</div><div> the skin.</div><div><br /></div><div> -- then is gouged in the back by a whirling fan belt,</div><div> jerks away, and Irene touches the water, SCREAMS.</div><div><br /></div><div> Watson hears the scream, turns -- then sees something</div><div> again. It pisses him off. Fuck this machine.</div><div><br /></div><div> When Holmes has Irene stable again:</div><div><br /></div><div> IRENE</div><div> (weakly)</div><div> I have to say -- it's overrated.</div><div><br /></div><div> Holmes has to admire her courage -- until he hears Watson</div><div> yelling at him.</div><div><br /></div><div> Up ahead a huge pipe spews boiling water into the tank --</div><div> and impassable obstacle from Holmes' side of the conveyor</div><div> belt.</div><div><br /></div><div> Watson points at the I-beam running above them. Holmes</div><div> nods. Irene sees it, too.</div><div><br /></div><div> Holmes helps her reach one foot, then other up to the I-</div><div> beam. She hooks her feet over it, and is suspended</div><div> upside down by her shackles and her feet --</div><div><br /></div><div> -- and still heading for the pipe spewing boiling water.</div><div><br /></div><div> Watson appears opposite Holmes, nods up at Irene. She</div><div> swings off the I-beam, through the air --</div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 80.</div><div>90A CONTINUED: (3) 90A</div><div> -- and Watson catches her feet, pulls her horizontal,</div><div> facing the other way just in time to avoid the gush of</div><div> boiling water.</div><div><br /></div><div> As Watson holds Irene, he spots a small, but significant-</div><div> looking SWITCH on the wall, painted red. (PLEASE NOTE,</div><div> NEW PROP!)</div><div><br /></div><div> Watson helps Irene back onto the conveyor belt, leaves</div><div> her for Holmes to deal with, sprints for the switch.</div><div><br /></div><div> Irene rides the belt upwards. Holmes clambers the</div><div> equipment, following her.</div><div><br /></div><div> Up ahead, the scorched, scalded pig carcass precedes</div><div> them.</div><div><br /></div><div> Holmes darts through a trimming station, with CLEAVERS</div><div> HANGING FROM CHAINS, grabs one, jumps onto the belt,</div><div> catches up to Irene --</div><div><br /></div><div> -- just as they both see the pig carcass CUT IN HALF</div><div> LENGTHWAYS BY A GIANT BANDSAW.</div><div><br /></div><div> Holmes wastes no time, swings the meat cleaver at the</div><div> lock shackling Irene's left hand. Sparks fly as metal</div><div> kisses metal, but that's all. She's still shackled.</div><div><br /></div><div> Then both of them see that Watson has reached the SWITCH.</div><div> Whew!</div><div><br /></div><div> Watson looks at them with relief -- close one -- and</div><div> pulls the switch down with a really satisfying CLUNK!</div><div><br /></div><div> A bank of lights goes out but the conveyor belt keeps</div><div> moving towards the giant band saw.</div><div><br /></div><div> Shit a brick.</div><div><br /></div><div> IRENE</div><div> Sherlock?</div><div><br /></div><div> Now, she's showing nerves. So is Sherlock. He braces</div><div> himself on the belt, swings the cleaver with all his</div><div> might --</div><div><br /></div><div> -- smashes the shackle lock.</div><div><br /></div><div> Irene swings sideways violently, still shackled by her</div><div> right hand.</div><div><br /></div><div> The bandsaw whines viciously.</div><div><br /></div><div> Irene swings aside, just misses it.</div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 80A.</div><div>90A CONTINUED: (4) 90A</div><div> Gets a free haircut.</div><div><br /></div><div> Then Holmes is under her, lifting her high so that she</div><div> can free her right hand (a move not possible with both</div><div> shackles).</div><div><br /></div><div> Irene unhooks herself, falls forward, taking Holmes with</div><div> her. They plummet downwards OUT OF FRAME.</div><div><br /></div><div> Watson sprints towards where they fell, looks down --</div><div><br /></div><div> -- sees them lying on a carpet of scorched, boiled, cut-</div><div> in-half pig carcasses. They're okay.</div><div><br /></div><div> Watson shakes his head, turns, heads for the door,</div><div> looking for Blackwood.</div><div><br /></div><div> Irene gives Holmes a sweet, grateful smile --</div><div><br /></div><div> IRENE</div><div> Thank you so much. I owe you.</div><div><br /></div><div> -- pulls a knife, gets up, heads after Watson. Holmes</div><div> grabs her, stops her.</div><div><br /></div><div> HOLMES</div><div> You owe me information.</div><div> (angry)</div><div> No more games, Irene.</div><div><br /></div><div> She hears Watson opening the door to the dock. She looks</div><div> at Holmes, their eyes locking. Finally, the truth:</div><div><br /></div><div> IRENE</div><div> Blackwood's manufactured large-</div><div> scale weapons for years. Lately</div><div> there've been rumors of something</div><div> new. More powerful than anything</div><div> else. And... magical. My job is</div><div> to find out if the rumors are</div><div> true.</div><div> (MORE)</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 81.</div><div>90A CONTINUED: (5) 90A</div><div> IRENE (CONT'D)</div><div> (beat)</div><div> I would say they are.</div><div><br /></div><div> And she's off, running toward the door. Holmes trails</div><div> her, processing. They blast through the doors to --</div><div><br /></div><div><br /></div><div>91 EXT. NINE ELMS JETTY 91</div><div><br /></div><div> Watson runs out of doors and towards the end of the dock.</div><div> He sees: Blackwood and the boat are disappearing into</div><div> the darkness.</div><div><br /></div><div> Holmes and Irene run out of the doors following Watson.</div><div> Holmes slows, looking around the dock, seeing something</div><div> on the planks:</div><div><br /></div><div> Steel drums are dripping. A chemical. Holmes recognizes</div><div> it.</div><div><br /></div><div> HOLMES</div><div> Watson!</div><div><br /></div><div> Watson continues down the dock, tripping a wire connected</div><div> to the steel drums, he turns realizing he has set off a</div><div> trap and turns back to warn the others --</div><div><br /></div><div> WATSON</div><div> Holmes...</div><div><br /></div><div> A metallic conductor SPARKS. Time slows. BOOM!</div><div><br /></div><div> The drums of chemicals all EXPLODE! A blinding</div><div> conflagration engulfing Watson. For a moment, it lights</div><div> up all of London.</div><div><br /></div><div> HOLMES</div><div> WAATTTSSSSSONNN!!!!</div><div><br /></div><div> Holmes is pushed back by the explosion as the rest of the</div><div> barrels that line the dock begin exploding arond them --</div><div> it looks as it Watson hasn't survived. BOOM! Irene is</div><div> knocked to the ground by the blasts and flying debris.</div><div><br /></div><div> Holmes races towards her as more explosions, flames and</div><div> debris fly all around him in slow motion, occasionally</div><div> knocking him to the ground.</div><div><br /></div><div> He reaches Irene, picks her up and grabs part of an</div><div> exploded barrel to shield the two as they run for cover --</div><div> BOOM! The barrel splinters as a final blast knocks them</div><div> down, but to safety.</div><div><br /></div><div> As he opens his eyes --</div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 82.</div><div>91 CONTINUED: 91</div><div> We see Lestrade and his men swarming the scene, they spot</div><div> Watson, alive, but unconscious. Irene has disappeared.</div><div> Holmes sees this and heads toward his friend, but --</div><div><br /></div><div> -- is intercepted by Constable Clark.</div><div><br /></div><div> CONSTABLE CLARK</div><div> There's an order for your arrest</div><div> all the way from the top, sir --</div><div> so you'll have to hit me now.</div><div><br /></div><div> HOLMES</div><div> From Lord Coward?</div><div><br /></div><div> CONSTABLE CLARK</div><div> Yes, sir, so make it look good.</div><div><br /></div><div> HOLMES</div><div> Thank you, Clarky.</div><div><br /></div><div> Holmes cracks Constable Clark in the sweet spot, helps</div><div> him gently to his knees. Holmes turns away, makes his</div><div> escape fast.</div><div><br /></div><div> Holmes turns back to look at the explosion.</div><div><br /></div><div>92 92</div><div> INT. HOSPITAL - CORRIDOR</div><div> Two POLICEMEN half-heartedly guard the end of a corridor.</div><div> One reads the paper. The headline: "AMERICAN AMBASSADOR</div><div> STANDISH BURNED ALIVE!"</div><div><br /></div><div> Mary returns past them, having unsuccessfully washed away</div><div> tear-stained makeup; there is a smear on her cheek. The</div><div> two coppers nod respectfully.</div><div> Mary arrives at the windowed door of a private room,</div><div> reaches for the handle, pauses.</div><div><br /></div><div> THROUGH THE GLASS, she sees a white-coated DOCTOR,</div><div> studying Watson's chart.</div><div><br /></div><div> Mary stays at the door, unsure whether to enter or not.</div><div><br /></div><div><br /></div><div>93 INT. HOSPITAL ROOM 93</div><div><br /></div><div> WE SEE a newspaper on the nightstand next to a hospital</div><div> bed, the headline reads: "AMERICAN AMBASSADOR STANDISH</div><div> BURNED ALIVE!"</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 82A.</div><div>93 CONTINUED: 93</div><div> Watson is burned, cut, bruised, scraped, pock-marked with</div><div> shrapnel. He mumbles inaudibly, his eyes still closed.</div><div> He's delirious, sweating.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 83.</div><div>93 CONTINUED: (2) 93</div><div> (NOTE: Mary's detective novels and magazines, coat,</div><div> handbag, etc. already in the room.)</div><div><br /></div><div> The doctor injects Watson in the arm. The shot wakes</div><div> him. Watson tries to sit up, wincing with pain.</div><div><br /></div><div> WATSON</div><div> What are you administering?</div><div><br /></div><div> DOCTOR</div><div> Morphia. A sixth of a grain, for</div><div> the pain.</div><div><br /></div><div> Watson looks at his wounded shoulder.</div><div><br /></div><div> DOCTOR</div><div> There are four pieces of shrapnel.</div><div> The surgeon should be along</div><div> shortly.</div><div><br /></div><div> Watson tries to sit up again.</div><div><br /></div><div> This reveals that Mary has entered the room, stands back</div><div> respectfully, letting the Doctor do his work.</div><div><br /></div><div> WATSON</div><div> Are they subcutaneous, or deeper?</div><div><br /></div><div> DOCTOR</div><div> They're near the carotid artery.</div><div><br /></div><div> WATSON</div><div> Get a mirror, I'll extract them</div><div> myself.</div><div><br /></div><div> DOCTOR</div><div> I can't authorize that, Doctor.</div><div> We must first manage the pain and</div><div> combat the infection.</div><div><br /></div><div> WATSON</div><div> I haven't time for that. My</div><div> friend is in dire --</div><div><br /></div><div> DOCTOR</div><div> Your friend? What kind of friend</div><div> takes a retired soldier, who's</div><div> served his country and deserves a</div><div> peaceful, private life, and puts</div><div> him so directly in harm's --</div><div><br /></div><div> Watson grabs the Doctor's arm angrily.</div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 83A.</div><div>93 CONTINUED: (3) 93</div><div> WATSON</div><div> The best and wisest man I've ever</div><div> known.</div><div><br /></div><div> DOCTOR</div><div> But evidently not wise enough to</div><div> value your life over his</div><div> misadventures.</div><div><br /></div><div><br /></div><div> ON MARY</div><div><br /></div><div> As she takes a closer, sharper look at the Doctor.</div><div><br /></div><div> WATSON</div><div> (succumbing to the</div><div> morphine)</div><div> It was worth a wound, worth many</div><div> wounds...</div><div><br /></div><div> Mary steps towards the Doctor, eyes flashing.</div><div><br /></div><div> MARY</div><div> Excuse me --</div><div><br /></div><div> DOCTOR</div><div> (leaving)</div><div> I have other... patients.</div><div><br /></div><div> MARY</div><div> Do you really? Doctor.</div><div><br /></div><div> The Doctor turns just outside the door, to face her.</div><div> She's suddenly very angry.</div><div><br /></div><div> MARY</div><div> You have nothing more to say to</div><div> me?</div><div><br /></div><div> DOCTOR</div><div> Um... I'll check in on him again</div><div> shortly.</div><div><br /></div><div> MARY</div><div> Is that the best you can do? I'm</div><div> disappointed, but not surprised.</div><div><br /></div><div> The Doctor has no words.</div><div><br /></div><div> MARY</div><div> If anything happens to him, both</div><div> our lives are lost. Do you</div><div> understand that? Can you? --</div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 83B.</div><div>93 CONTINUED: (4) 93</div><div> The Doctor can't face her anger any longer, turns, leaves</div><div> fast.</div><div><br /></div><div> MARY</div><div> -- or are you so selfish that's</div><div> just not possible.</div><div><br /></div><div> 84.</div><div><br /></div><div><br /></div><div>93A/93B OMITTED 93A/93B</div><div><br /></div><div> 84A.</div><div><br /></div><div><br /></div><div><br /></div><div>94 INT. HOSPITAL - CORRIDOR 94</div><div><br /></div><div> The doctor strides down the corridor past the policemen.</div><div><br /></div><div> 85.</div><div><br /></div><div><br /></div><div>94A EXT. LONDON - NIGHT 94A</div><div><br /></div><div> ESTABLISHING SHOT of London, possibly the bustle of Fleet</div><div> Street during the morning rush hour. A train crosses on</div><div> an overhead railway.</div><div><br /></div><div> We PUSH IN UNDER the railway arch until we can make out a</div><div> splash of white in the shadows -- the Doctor from the</div><div> hospital is slumped down against the wall.</div><div><br /></div><div> We PUSH IN ALL THE WAY, so that we CAN SEE that the</div><div> Doctor is actually Holmes.</div><div><br /></div><div> There is something grotesque about his face, he hasn't</div><div> completely removed his disguise. Parts of it hang down,</div><div> obscuring him --</div><div><br /></div><div> -- but not obscuring the light of instability in his</div><div> eyes. They begin to overflow with tears. He brushes</div><div> them away then looks at his wet hand, horrified.</div><div><br /></div><div>94B-94E OMITTED 94B-94E</div><div><br /></div><div><br /></div><div>95 INT. PUNCH BOWL PUB - ATTIC 95</div><div><br /></div><div> Holmes enters, disturbed, pained. Emotions swirling.</div><div><br /></div><div> He pulls out a newspaper with the story of Standish's</div><div> death, the pages and strange sacrificial offerings (bone,</div><div> hair, feather, fang) from Sir Thomas' house.</div><div><br /></div><div> Gathering himself, Holmes stands in the middle of the</div><div> bare room and starts to lay out the clues he has on the</div><div> floor. The Ox bone directly in front of him (at 12</div><div> o'clock). The eagle feather to his right (at 3 o'clock).</div><div> The human hair behind him (at 6 o'clock) and the Lion's</div><div> fang to his left (at 9 o'clock).</div><div><br /></div><div> Then with a piece of charcoal Holmes draws a circle</div><div> around each image and a circle directly in the center of</div><div> the four other circles. He then draws lines which join</div><div> the circles together in the shape of a cross.</div><div><br /></div><div> In the center circle he draws a pentagram (using wax from</div><div> a burning candle?). Then he pours a ring of salt around</div><div> that circle.</div><div><br /></div><div> He lights four candles (one at each point of the cross)</div><div> then stands in the center of the circle.</div><div><br /></div><div> He pulls a pocket knife from his coat, opens the blade,</div><div> cuts his thumb and allows the drops of blood to drip onto</div><div> the ground just outside the circle.</div><div> (CONTINUED)</div><div><br /></div><div> 85A.</div><div>95 CONTINUED: 95</div><div> Then he begins to chant. The words are eerily</div><div> reminiscent of Blackwood's chanting.</div><div><br /></div><div> Suddenly one of the drops of blood bursts into flame in</div><div> mid-air -- as it hits the ground, the circle around</div><div> Holmes ignites, followed by a larger circle beyond that.</div><div><br /></div><div> BLACKWOOD (O.S.)</div><div> And now it dawns on you, you begin</div><div> to recognize your part in his</div><div> play.</div><div><br /></div><div> Holmes snaps around, Blackwood has appeared behind him</div><div> within the outer circle of flame.</div><div><br /></div><div> BLACKWOOD</div><div> You see the path he chose for you.</div><div><br /></div><div> Holmes sways, fuzzy. He struggles to focus on Blackwood.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 86.</div><div>95 CONTINUED: (2) 95</div><div> BLACKWOOD</div><div> Didn't you wonder why it was so</div><div> easy to catch me? I told you I</div><div> needed five lives for my</div><div> resurrection. Why would I take a</div><div> sixth under St. Paul's?</div><div><br /></div><div> Holmes shakes his head, he can barely see straight.</div><div><br /></div><div> BLACKWOOD</div><div> Unless I simply wanted to be</div><div> caught by the great Sherlock</div><div> Holmes...</div><div><br /></div><div> Blackwood raises a sacrificial sword and swings at</div><div> Holmes' head.</div><div><br /></div><div> BLACKWOOD</div><div> ... so I could die on the biggest</div><div> stage of all. You made me what I</div><div> am.</div><div><br /></div><div> We see --</div><div><br /></div><div><br /></div><div> HOLMES' POV</div><div><br /></div><div> as Blackwood swings the sacrificial sword at Holmes'</div><div> head. It looks as if Holmes has no time to react --</div><div><br /></div><div> WHOOSH -- the sword WIPES the FRAME --</div><div><br /></div><div><br /></div><div>96 OMITTED 96</div><div><br /></div><div>97 INT. PUNCH BOWL PUB - ATTIC 97</div><div><br /></div><div> We see a SERIES OF QUICK CUTS, has Blackwood killed</div><div> Holmes, or is he hallucinating, caught in the spell he</div><div> conjured?</div><div><br /></div><div> CUT TO:</div><div><br /></div><div><br /></div><div> A CLOSEUP OF HOLMES</div><div><br /></div><div> His face covered with earth -- just as we saw Reordon in</div><div> his coffin. Holmes' eyes snap open, he breathes in air --</div><div><br /></div><div> As he comes to life we see events of the recent past</div><div> flash through his mind.</div><div><br /></div><div> BLACKWOOD'S TOMB.</div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 87.</div><div>97 CONTINUED: 97</div><div> THE STUFF IN REORDON'S ROOM.</div><div><br /></div><div> THE DEAD RATS.</div><div><br /></div><div> CUT TO:</div><div><br /></div><div><br /></div><div> A CLOSEUP OF HOLMES</div><div><br /></div><div> His face submerged in water inside a copper bath tub --</div><div> just as we saw Sir Thomas. Holmes' eyes snap open, he</div><div> breathes in air --</div><div><br /></div><div> THE OPENING CONFRONTATION IN THE CATACOMBS.</div><div><br /></div><div> THE OBJECTS IN SIR THOMAS' SECRET ROOM.</div><div><br /></div><div> THE PATTERNS HOLMES HAS DRAWN ON THE FLOOR OF THE PUNCH</div><div> BOWL.</div><div><br /></div><div> CUT TO:</div><div><br /></div><div><br /></div><div> A CLOSEUP OF HOLMES</div><div><br /></div><div> His face engulfed with flames -- just as we saw Standish.</div><div><br /></div><div> STANDISH FALLING THROUGH THE AIR CRASHING INTO THE</div><div> CARRIAGE.</div><div><br /></div><div> THE SPHINX.</div><div><br /></div><div> THE RAVEN FLAPPING ITS WINGS.</div><div><br /></div><div> CUT TO:</div><div><br /></div><div><br /></div><div> HOLMES</div><div><br /></div><div> Writing and sweating on the bed in the attic. Holmes</div><div> sees a hazy image of Irene. She leans over him smiling</div><div> sweetly then wraps her hands around his neck and starts</div><div> to strangle him.</div><div><br /></div><div> IRENE SAYING "WHERE'S WATSON WHEN YOU NEED HIM?"</div><div><br /></div><div> BLACKWOOD IN THE ROOM AGAIN WITHIN THE FLAME CIRCLE.</div><div><br /></div><div> We SEE WATSON turning to warn Holmes before EXPLODING --</div><div> HOLMES!!!!</div><div><br /></div><div><br /></div><div> FADE OUT.</div><div><br /></div><div> 87A.</div><div><br /></div><div><br /></div><div> FADE IN:</div><div><br /></div><div>98 INT. PUNCH BOWL PUB - ATTIC 98</div><div><br /></div><div> The sun is rising. Holmes' eyes open and we see:</div><div><br /></div><div> WATSON -- or some deathly version of his old friend -- is</div><div> sitting in the chair where Blackwood appeared.</div><div><br /></div><div> HOLMES</div><div> (confused)</div><div> Watson...?</div><div><br /></div><div> Watson leans closer, into the light. A ghost or a man?</div><div> He gestures towards the diagram on the floor.</div><div><br /></div><div> WATSON</div><div> Interesting artwork. You look</div><div> bloody awful.</div><div><br /></div><div> He writes something in his notebook. He is decidedly</div><div> alive, but with burn flashes, cuts and bruises. His arm</div><div> is in a sling. He's been through it.</div><div><br /></div><div> In the b.g. Irene is at the fire heating some coffee.</div><div><br /></div><div> HOLMES</div><div> What about the shrapnel in your</div><div> arm?</div><div><br /></div><div> Watson shows him a piece of shrapnel --</div><div><br /></div><div> WATSON</div><div> Took it out myself. Mary said I</div><div> had a lousy doctor.</div><div><br /></div><div> -- then tosses it away.</div><div><br /></div><div> They both smile. United in agony.</div><div><br /></div><div> HOLMES</div><div> (quietly, between</div><div> them)</div><div> She brought you here?</div><div><br /></div><div> WATSON</div><div> Yes, oddly, it seems she might</div><div> understand the power of</div><div> partnership.</div><div><br /></div><div> They both look back over to Irene who just finished</div><div> loading her gun. The coffee seems ready so she pours a</div><div> cup.</div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 88.</div><div>98 CONTINUED: 98</div><div> HOLMES</div><div> The fair sex was always your</div><div> department, Watson.</div><div><br /></div><div> Irene walks over and hands Holmes the cup.</div><div><br /></div><div> HOLMES</div><div> Thank you. You know, I dreamt</div><div> that you were strangling me.</div><div><br /></div><div> IRENE</div><div> I was... I had to get you to pass</div><div> out to settle down.</div><div><br /></div><div> They smile at their unique, twisted understanding of one</div><div> another.</div><div><br /></div><div> HOLMES</div><div> What time is it?</div><div><br /></div><div> WATSON</div><div> It's half past nine.</div><div><br /></div><div> Holmes takes a drink of coffee.</div><div><br /></div><div> HOLMES</div><div> Excellent brew, but I believe my</div><div> head requires something a bit</div><div> stronger to clear the --</div><div><br /></div><div> WATSON</div><div> I brought you this...</div><div><br /></div><div> HOLMES</div><div> Exactly.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 89.</div><div>98 CONTINUED: (2) 98</div><div><br /></div><div> He hands Holmes his VIOLIN. Holmes takes it.</div><div><br /></div><div><br /></div><div>99 INT. PUNCH BOWL PUB 99</div><div><br /></div><div> Watson and Irene sit at a table, the SCREECH of a fiddle</div><div> now comes from upstairs.</div><div><br /></div><div> The fiddler's owner -- from the pub's band -- is busy</div><div> getting drunk with the money he has acquired.</div><div><br /></div><div> Irene arrives with two pints, puts one down in front of</div><div> him, sits opposite him with the other.</div><div><br /></div><div> Watson looks from Irene to the pint with open suspicion.</div><div> Could it be poisoned? He wouldn't put it past her. But</div><div> then he decides that's absurd. He takes a sip.</div><div><br /></div><div> IRENE</div><div> Oh, I poisoned that one.</div><div><br /></div><div> WATSON</div><div> With your own venom no doubt.</div><div><br /></div><div> IRENE</div><div> Better a snake than a lap dog.</div><div><br /></div><div> WATSON</div><div> There's a new field in the</div><div> treatment of abnormal</div><div> personalities -- it's called</div><div> psychology. It appears you're</div><div> what's considered a para-neurotic</div><div> deviant with anti-social</div><div> proclivities. Quite severe. And</div><div> untreatable.</div><div><br /></div><div> IRENE</div><div> No, doctor, I'm simply a woman.</div><div> (beat)</div><div> (MORE)</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 89A.</div><div>99 CONTINUED: 99</div><div> IRENE (CONT'D)</div><div> Understand that, and you'll have a</div><div> happy marriage.</div><div><br /></div><div> ALTERNATE DIALOGUE:</div><div><br /></div><div> IRENE</div><div> (alternate dialogue)</div><div> Not quite, doctor. Let me make it</div><div> simple for you, with a lot fewer</div><div> words -- I'm what's called a</div><div> woman.</div><div> (beat)</div><div> Understand that, and you'll have a</div><div> happy marriage.</div><div><br /></div><div><br /></div><div>100 INT. PUNCH BOWL PUB - ATTIC - ON HOLMES 100</div><div><br /></div><div> as he plays the violin, but not with a bow. He plucks</div><div> it, he strums it, he makes strange atonal sounds, as he</div><div> STARES AT THE RITUAL PATTERN he's laid out on the floor.</div><div><br /></div><div> Flashes to various images of the sphinx that he's</div><div> observed over the course of the investigation.</div><div><br /></div><div> He stands up and draws a sphinx in charcoal on the floor.</div><div> Then he moves to the ox bone -- a flash of Sir Thomas'</div><div> ring with the Ox crest. He draws an ox in charcoal.</div><div> Next to the ox bone Holmes writes -- Sir Thomas -- OX</div><div> ring.</div><div><br /></div><div> Next, he moves to the feather -- a flash to an Eagle in</div><div> flight -- he quickly sketches an eagle. Then to an</div><div> American flag, then to Standish with his eagle-topped</div><div> cane. Next to the feather he writes America.</div><div><br /></div><div> Then he moves to the hair. He draws a man's face. Flash</div><div> to Reordon's red hair. Next to it Holmes writes Man.</div><div><br /></div><div> Then he moves to a Lion fang. He sketches out a lion --</div><div> he thinks -- BUT no flashes. Next to it he writes a big</div><div> question mark. Where? Who?</div><div><br /></div><div> Holmes returns to his violin. Staring at the Lion fang</div><div> as if willing the flashes to come.</div><div><br /></div><div>101 101</div><div> INT. PUNCH BOWL PUB</div><div> The music stops. Irene and Watson notice the silence.</div><div> They swap a glance. A beat. And Holmes emerges.</div><div><br /></div><div> HOLMES</div><div> I need a map of London.</div><div><br /></div><div> 90.</div><div><br /></div><div><br /></div><div>102 INT. PUNCH BOWL PUB - ATTIC 102</div><div><br /></div><div> Holmes is excited, electric.</div><div><br /></div><div> HOLMES</div><div> Now that you're sitting</div><div> comfortably, I shall begin. My</div><div> initial approach was far too</div><div> narrow. When Blackwood invited me</div><div> to Pentonville prison, he</div><div> suggested I widen my gaze and, at</div><div> minimum, I have done just that.</div><div> In fact, I may well have</div><div> reconciled thousands of years of</div><div> theological disparity. But that's</div><div> for another time. Blackwood's</div><div> method is based on a ritualistic</div><div> mystical system that has been</div><div> employed by The Temple of the Four</div><div> Orders for centuries. To fully</div><div> understand this system, to get</div><div> inside it, I re-enacted the</div><div> ceremony we interrupted in the</div><div> crypt... with a few enhancements</div><div> of my own.</div><div><br /></div><div> WATSON</div><div> At minimum.</div><div><br /></div><div> Watson and Irene shoot Holmes knowing looks.</div><div><br /></div><div> HOLMES</div><div> My journey took me somewhat</div><div> further down the rabbit hole than</div><div> I had intended.</div><div><br /></div><div> IRENE</div><div> Yes, your little white tail got</div><div> rather dirty.</div><div><br /></div><div> HOLMES</div><div> But I have emerged enlightened...</div><div> The fraternity who silently</div><div> control the Empire, share the</div><div> belief with the Kings, Pharoahs,</div><div> and Emperors of old that the</div><div> Sphinx was a door to another</div><div> dimension, a gateway to</div><div> immeasurable power --</div><div><br /></div><div> He tosses Watson the pages from Sir Thomas.</div><div><br /></div><div> HOLMES</div><div> It is made up of four parts: The</div><div> Ox, the Lion, the Eagle, and Man --</div><div> (CONTINUED)</div><div><br /></div><div> 90A.</div><div>102 CONTINUED: 102</div><div> He points out the individual parts of the Sphinx,</div><div> covering other parts with his hand. We see the Ox body,</div><div> Lion paws, Eagle wings, Man's face.</div><div><br /></div><div> HOLMES</div><div> In Sir Thomas' secret chamber I</div><div> found the bone of an ox, the tooth</div><div> of a lion, the feather of an</div><div> eagle, the hair of a man. Map!</div><div><br /></div><div> Watson throws the map down on the floor, really flying</div><div> now.</div><div><br /></div><div> HOLMES</div><div> Now, it is a widely held belief</div><div> that within the architecture of</div><div> the great cities are coded</div><div> references to this system.</div><div><br /></div><div> He runs his finger over the map tracing the shape of a</div><div> cross...</div><div><br /></div><div> Then he picks up the charcoal and (following the map)</div><div> draws a serpentine curve of the River Thames straight</div><div> through the middle of the cross that he drew on the</div><div> floor.</div><div><br /></div><div> HOLMES</div><div> Since he rose from the grave,</div><div> Blackwood has killed three men.</div><div> Each murder was committed at a</div><div> location that has a direct</div><div> connection with the Temple,</div><div> therefore the System.</div><div> (beat)</div><div> Reordon, the ginger midget,</div><div> represents Man. We found his body</div><div> here...</div><div><br /></div><div> He points to a spot on the map south of the Thames. It</div><div> corresponds to the point on the cross that Holmes drew</div><div> that has the hair (6 o'clock).</div><div><br /></div><div> HOLMES</div><div> Then Sir Thomas, Master of the</div><div> Temple, wore the ox ring... he</div><div> died here...</div><div><br /></div><div> Again the spot Holmes points is directly north of the</div><div> river and corresponds to the point on the cross that has</div><div> the ox bone (12 o'clock).</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 90B.</div><div>102 CONTINUED: (2) 102</div><div> HOLMES</div><div> Standish was Ambassador to</div><div> America, where the Eagle has been</div><div> the national emblem for over a</div><div> hundred years -- and not by</div><div> coincidence.</div><div><br /></div><div> Holmes points to the map.</div><div><br /></div><div> HOLMES</div><div> The headquarters of Temple of the</div><div> Four Orders where he died is</div><div> here...</div><div><br /></div><div> He points to corresponding points on the map and on the</div><div> cross.</div><div><br /></div><div> WATSON</div><div> Man, Ox, Eagle...</div><div><br /></div><div> He connects the dots on the map. They form three points</div><div> of a cross.</div><div><br /></div><div> WATSON</div><div> And last on the list: the Lion.</div><div> Holmes scribbles on a piece of paper. Watson and Irene</div><div> step closer looking at the lion's fang and then the</div><div> map...</div><div><br /></div><div> HOLMES</div><div> Correspondingly, the map will tell</div><div> us the location of Blackwood's</div><div> final act. Right here.</div><div><br /></div><div> Their eyes widen as they realize what they're seeing.</div><div> WATSON</div><div> Parliament.</div><div><br /></div><div> IRENE</div><div> What is the meaning of this</div><div> circle?</div><div><br /></div><div> Irene indicates the fifth circle Holmes has drawn -- the</div><div> point at which the other four come together. They look</div><div> to where it would correspond to on the map -- right in</div><div> the middle of the river.</div><div><br /></div><div> HOLMES</div><div> It is the fifth element -- the</div><div> ethereal. That which can't yet be</div><div> known.</div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 91.</div><div>102 CONTINUED: (3) 102</div><div> WATSON</div><div> It's right in the middle of the</div><div> River Thames.</div><div><br /></div><div> BOOM! They hear doors slamming outside, boots echoing.</div><div> Irene looks out the window, sees POLICE OFFICERS flooding</div><div> the pub.</div><div><br /></div><div> IRENE</div><div> Police.</div><div><br /></div><div> Holmes folds up his piece of paper, hands it to Watson.</div><div> He quickly moves to a hatch in the floor. Flings it</div><div> open.</div><div><br /></div><div> HOLMES</div><div> Ladies first.</div><div><br /></div><div> Irene jumps down. Watson is about to follow her down.</div><div><br /></div><div> HOLMES</div><div> Follow these plans.</div><div><br /></div><div> Watson goes down. It looks as though Holmes is about to</div><div> join them when Lestrade and his men burst into the room.</div><div> Holmes kicks the hatch closed and steps towards Lestrade.</div><div><br /></div><div>102A 102A</div><div> INT. PUNCH BOWL PUB - HALL</div><div> Holmes races down the hall toward the back door, but the</div><div> door EXPLODES inward. Police fill the hall. Holmes</div><div> looks back, where more police block his path. He simply</div><div> raises his arms, and they drag him away.</div><div><br /></div><div>103 INT. POLICE CARRIAGE - MID-MORNING (LATER) 103</div><div><br /></div><div> Holmes sits battered, cuffed and bruised, though we can</div><div> see from his face that his spirits are unaffected by his</div><div> physical state. Tough-looking cops sit either side of</div><div> him, Lestrade sits opposite, shaking his head -- he can't</div><div> believe it's come to this. He looks at Holmes.</div><div><br /></div><div><br /></div><div>104 EXT. HOUSES OF PARLIAMENT 104</div><div><br /></div><div> PULL BACK FROM an image of a GOLDEN LION on a banner.</div><div> We're at the Houses of Parliament.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 92.</div><div>104 CONTINUED: 104</div><div> The carriage pulls up. Crowds are gathering outside,</div><div> hawkers and tourists, plenty of flags and enthusiasm.</div><div> Holmes sees the hands of BIG BEN, climbing toward noon.</div><div><br /></div><div><br /></div><div>105 INT. HOUSES OF PARLIAMENT 105</div><div><br /></div><div> The place is a hive of activity, preparing for pomp and</div><div> circumstance, at its ceremonial best.</div><div><br /></div><div> All of which is in stark contrast to the battered figure</div><div> of Holmes, who is marched through a series of doors and</div><div> checkpoints along the corridors of power by an angry-</div><div> looking Lestrade. They come to a door. Lestrade knocks.</div><div><br /></div><div><br /></div><div>106 INT. PARLIAMENT - LORD COWARD'S CHAMBERS 106</div><div><br /></div><div> The door is opened by Lord Coward, who's halfway through</div><div> putting on his official robes, and caught off guard by</div><div> the sight of Holmes cuffed (hands behind him) and flanked</div><div> by Lestrade and men.</div><div><br /></div><div> LORD COWARD</div><div> Lestrade?</div><div><br /></div><div> LESTRADE</div><div> Begging your pardon, m'lord, I</div><div> know it's unorthodox, but Mr.</div><div> Holmes has been making serious</div><div> accusations about you and the</div><div> order, sir.</div><div><br /></div><div> Lestrade pulls his lapel, revealing a temple of four</div><div> orders pin.</div><div><br /></div><div> HOLMES</div><div> Oh, that solves the great mystery</div><div> as to how you became inspector.</div><div><br /></div><div> Lestrade punches Holmes.</div><div><br /></div><div> LORD COWARD</div><div> I have five minutes before my next</div><div> engagement, why don't you regale</div><div> me with your stories of</div><div> conspiracies. Thank you,</div><div> Lestrade, if you could wait</div><div> outside.</div><div><br /></div><div> Lestrade leaves and shuts the door.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 93.</div><div>106 CONTINUED: 106</div><div> HOLMES</div><div> I'm curious, Coward, did you</div><div> assist Blackwood in all the</div><div> murders or just the one I</div><div> prevented? Very distinctive those</div><div> hand-made shoes of yours, but the</div><div> price of quality is the unique</div><div> imprint they leave.</div><div><br /></div><div> Coward walks towards his desk at one end of the room.</div><div> Holmes goes to warm himself by the fire at the other end.</div><div><br /></div><div> HOLMES</div><div> Nonetheless, I confess to being</div><div> completely out-matched. I could</div><div> deduce very little from my</div><div> investigation.</div><div><br /></div><div> Coward turns away for a moment -- Holmes subtly kicks a</div><div> log from the fire, it starts to smolder and fill the room</div><div> with smoke.</div><div><br /></div><div> HOLMES</div><div> Fortunately, there is nothing more</div><div> stimulating than a case where</div><div> everything goes against you. How</div><div> many members of parliament do you</div><div> intend to murder at noon today?</div><div> (beat)</div><div> Man, ox, eagle, lion -- the lion</div><div> is parliament, isn't it?</div><div><br /></div><div> Lord Coward slows, looks at Holmes in some astonishment.</div><div><br /></div><div> LORD COWARD</div><div> Very clever. But it's not murder,</div><div> Mr. Holmes. It's mercy. We are</div><div> giving the weak masses a strong</div><div> shepherd. Don't you see it's for</div><div> their own good?</div><div><br /></div><div> Smoke fills the room so that Holmes is concealed. Coward</div><div> pulls a gun from the desk and moves to the window. He</div><div> opens it to try and clear the smoke.</div><div><br /></div><div> HOLMES</div><div> No, but I don't care much what you</div><div> think. I simply wanted to know</div><div> the location of Blackwood's final</div><div> ceremony, and now you have given</div><div> it to me.</div><div><br /></div><div> LORD COWARD</div><div> I have told you nothing.</div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 94.</div><div>106 CONTINUED: (2) 106</div><div> A pair of handcuffs, slide across the floor to Coward's</div><div> feet. He looks up and Holmes is nowhere to be found.</div><div> Coward quickly moves across the room to lock the door.</div><div><br /></div><div> HOLMES</div><div><br /></div><div> But your clothes say infinitely</div><div> more than you ever hope. The mud</div><div> smeared on your boots from where</div><div> you've been walking...</div><div><br /></div><div><br /></div><div> CLOSEUP ON COWARD'S CLOTHES</div><div><br /></div><div> That he's changed out of and discarded in the corner of</div><div> the room. We see a --</div><div><br /></div><div><br /></div><div> SERIES OF FLASHBACKS</div><div> Coward's heel walking through mud.</div><div><br /></div><div> HOLMES (V.O.)</div><div> A touch of red stock brick dust on</div><div> your knee, from where you've been</div><div> kneeling...</div><div><br /></div><div> Coward's knee dropping to the ground.</div><div><br /></div><div> HOLMES (V.O.)</div><div> A small bandage on your thumb from</div><div> where you've been vowing...</div><div><br /></div><div> Coward performing a ritual.</div><div><br /></div><div> HOLMES (V.O.)</div><div> A faint aroma of excrement, from</div><div> where you have been standing.</div><div><br /></div><div> Coward, Blackwood, and the Temple members perform a</div><div> ritual around a pentagram in the SEWERS. The big</div><div> ceremonial sword is prominent.</div><div><br /></div><div> LORD COWARD (V.O.)</div><div> It's a shame you made an enemy out</div><div> of Blackwood, Holmes, you would</div><div> have made a valuable ally. The</div><div> powers at our disposal are far</div><div> greater than you can imagine.</div><div><br /></div><div> HOLMES (V.O.)</div><div> You and Blackwood laid the final</div><div> touches to your ceremony in the</div><div> sewers beneath parliament less</div><div> than an hour ago.</div><div> (MORE)</div><div> (CONTINUED)</div><div><br /></div><div> 94A/94B.</div><div>106 CONTINUED: (3) 106</div><div> HOLMES (V.O.) (CONT'D)</div><div> Both Houses met today. The entire</div><div> government will be present.</div><div><br /></div><div> LORD COWARD</div><div> How terrible is wisdom, Holmes,</div><div> when it brings no profit to the</div><div> wise.</div><div> (turning to Holmes)</div><div> We take power at noon.</div><div><br /></div><div> REVEAL Holmes sitting in a chair behind Coward.</div><div><br /></div><div> HOLMES</div><div> Well there's no time to waste</div><div> then, is there?</div><div><br /></div><div> Coward spins around and shoots at Holmes. He misses.</div><div> Holmes runs towards the open window as Coward fires</div><div> another shot.</div><div><br /></div><div> With a single bound, Holmes leaps out of the window</div><div> Coward opened.</div><div><br /></div><div> Coward runs to the window and sees Holmes DIVING toward</div><div> the river Thames, PLUMMETING down down down to --</div><div><br /></div><div>107 107</div><div> EXT. THAMES - OUTSIDE PARLIAMENT</div><div> SPLASH! Holmes dives into the river handcuffed. He</div><div> disappears for a moment then surfaces, looks about in the</div><div> water. A moment of concern until we hear the familiar</div><div> "chug" of a struggling engine.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 95.</div><div>107 CONTINUED: 107</div><div> Holmes looks in the water and sees a rope trailing on the</div><div> surface. He grabs it with his hands. And... it pulls</div><div> him closer to the rickety boat of Captain Tanner.</div><div><br /></div><div> Watson stands on the rear deck, pulling Holmes in on the</div><div> rope. Irene is also present.</div><div><br /></div><div> When Holmes is level, Watson leans over and clips off his</div><div> cuffs using bolt cutters. Clearly the whole escape has</div><div> been planned. Holmes is pulled up into the boat.</div><div><br /></div><div> TANNER</div><div> (to Watson)</div><div> I told you he'd be coming out the</div><div> top window, soldier boy. No way</div><div> he'd be coming over the terrace.</div><div><br /></div><div> Watson hands over the change from the engagement ring.</div><div> Tanner takes it happily.</div><div><br /></div><div> WATSON</div><div> How was Lestrade?</div><div><br /></div><div> HOLMES</div><div> Performed his role perfectly. A</div><div> little too perfectly, come to</div><div> think of it.</div><div><br /></div><div> Watson has the PAPER that Holmes gave him in the attic.</div><div><br /></div><div> WATSON</div><div> Well, your instructions were</div><div> fairly precise... about everything</div><div> except the window.</div><div><br /></div><div> Tanner smiles, still pleased with himself.</div><div><br /></div><div> IRENE</div><div> Where to, Sherlock?</div><div><br /></div><div> Holmes points to a dark recess in the embankment.</div><div><br /></div><div> HOLMES</div><div> Port side, Captain Tanner, into</div><div> the sewers.</div><div><br /></div><div> Tanner turns the boat. Irene looks out, her eyes narrow.</div><div><br /></div><div> HOLMES</div><div> Watson, did you bring my clothes?</div><div><br /></div><div> Watson hands over a pile of clothes and Holmes' PISTOL.</div><div> Holmes opens the drum, checks the load, grimaces, pockets</div><div> it. He's never going to like guns.</div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 96.</div><div>107 CONTINUED: (2) 107</div><div> Then Holmes reaches inside a pocket of clothes he is</div><div> still wearing, and pulls out the hip FLASK that he took</div><div> from the men at the slaughterhouse. He takes a shot.</div><div><br /></div><div> IRENE</div><div> Starting early, aren't we?</div><div><br /></div><div> He offers the flask to her.</div><div><br /></div><div> HOLMES</div><div> Trust me, have a drink.</div><div><br /></div><div> She can see this is more than a social invitation, she</div><div> takes a hit, pulls a face. Holmes nods towards Watson,</div><div> Irene passes him the bottle. He drinks, grimaces, hands</div><div> it on to Tanner, who swallows it without flinching, wipes</div><div> his mouth, smiles. The boat is almost at the sewers.</div><div><br /></div><div> WATSON</div><div> What are we doing in the sewers?</div><div><br /></div><div> HOLMES</div><div> Patience, Doctor. I am about to</div><div> show you...</div><div><br /></div><div> As they head toward the sewers, Holmes glances up toward</div><div> Big Ben, the time moving toward noon.</div><div><br /></div><div>107A 107A</div><div> EXT. HOUSES OF PARLIAMENT - DAY</div><div> Expensive carriages fill the courtyard. The entire</div><div> government is here. We see familiar faces from the</div><div> Temple of Four Orders, heading into this epic building.</div><div><br /></div><div>108-109 OMITTED 108-109</div><div><br /></div><div><br /></div><div>110 INT. SEWERS - BOAT 110</div><div><br /></div><div> Tanner's boat, unlit, floats at the opening to the</div><div> tunnel, on the edge of the darkness.</div><div><br /></div><div> TANNER</div><div> Far as I can go.</div><div><br /></div><div> Holmes and Watson leap off the boat into the mouth of the</div><div> sewer. Irene follows. (Watson has his SWORD STICK and a</div><div> GUN, Holmes has changed into the clothes Watson brought</div><div> for him.)</div><div><br /></div><div> They move through the shadowy sewer tunnels, working</div><div> their way around corners and through junctions back under</div><div> the Houses of Parliament.</div><div> (CONTINUED)</div><div><br /></div><div> 97.</div><div>110 CONTINUED: 110</div><div> Holmes ducks around a corner, stops. Irene and Watson</div><div> flank him, standing in shadows. They look down a long</div><div> tunnel to:</div><div><br /></div><div> The area where Coward and Blackwood were seen in the</div><div> flashback ceremony with the sword. But now:</div><div><br /></div><div> Blackwood's THUGS patrol the area. In the center, the</div><div> pentagram remains. But there is something sitting in it,</div><div> a futuristic device:</div><div><br /></div><div> HOLMES</div><div> Behold, Blackwood's magic.</div><div><br /></div><div> A black glass cylinder is housed in a metal cradle with</div><div> electrodes on either side. It sits below a shattered</div><div> ceiling, bricks dismantled, exposing a VENTILATION PIPE.</div><div> Holmes looks back at Watson and Irene. Quiet:</div><div><br /></div><div> HOLMES</div><div> A chemical weapon. The first of</div><div> its kind. Cyanide, to be precise.</div><div><br /></div><div> WATSON</div><div> You can tell that from here?</div><div><br /></div><div> HOLMES</div><div> No. I can tell it from here.</div><div> He pulls something out of his pocket: the RAT TAIL.</div><div><br /></div><div> HOLMES</div><div> I snipped this off a rather</div><div> recumbent rat at the</div><div> slaughterhouse. Note the blue</div><div> discoloration, the faint smell of</div><div> bitter almonds. Tell-tale signs</div><div> of cyanide.</div><div><br /></div><div> He points at the device and the exposed shaft over it.</div><div><br /></div><div> HOLMES</div><div> That shaft leads directly to</div><div> Parliament. When activated, those</div><div> electrodes on either side will</div><div> send a charge converting the</div><div> cyanide powder into a gas.</div><div><br /></div><div> IRENE</div><div> All of the people inside that</div><div> building --</div><div><br /></div><div> WATSON</div><div> Will be dead at the strike of</div><div> noon.</div><div> (CONTINUED)</div><div><br /></div><div> 98.</div><div>110 CONTINUED: (2) 110</div><div> HOLMES</div><div> As if by magic. There will be no</div><div> one left to stop Blackwood and his</div><div> followers from assuming control.</div><div><br /></div><div> The CAMERA MOVES THROUGH the shattered ceiling, UP a</div><div> channel, DOWN a bend, all the way through a GRATE TO --</div><div><br /></div><div><br /></div><div>110A INT. PARLIAMENT - DAY 110A</div><div><br /></div><div> Air blows UP through the grate. The chamber is now full</div><div> of Lords and senior Royals. As they start to take seats,</div><div> Lord Coward steps up, checks the crowd. He sees a shadow</div><div> up in the Lords' Gallery.</div><div><br /></div><div>111 111</div><div> OMITTED</div><div><br /></div><div>112 INT. SEWERS - DAY 112</div><div><br /></div><div> Holmes checks his watch.</div><div><br /></div><div> HOLMES</div><div> Seven minutes to twelve...</div><div><br /></div><div> They nod. Shoulder-to-shoulder, they move down the</div><div> tunnel, faster and faster.</div><div><br /></div><div> Irene trails them closely.</div><div><br /></div><div> Watson slides his sword stick into a loop on his belt.</div><div> It's there when he needs it, out of the way otherwise.</div><div><br /></div><div> They draw their guns.</div><div> They burst into the area, completely surprising the three</div><div> thugs.</div><div><br /></div><div> Watson pistol-whips the nearest. Holmes front-kicks the</div><div> next.</div><div><br /></div><div> The third thug looks down the barrels of both their guns</div><div> before he has a chance to fight or flee.</div><div><br /></div><div> HOLMES</div><div> I wouldn't.</div><div><br /></div><div> He doesn't. Irene comes in behind them and heads</div><div> straight for the device.</div><div><br /></div><div> WATSON</div><div> I'll keep these under wraps.</div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 99.</div><div>112 CONTINUED: 112</div><div> HOLMES</div><div> Take this.</div><div><br /></div><div> Holmes hands Watson his gun. Gun in each hand, Watson</div><div> herds the three thugs away from the device.</div><div><br /></div><div> WATSON</div><div> Over there.</div><div><br /></div><div> Sullen, but without much resistance, they move away (two</div><div> dragging the pistol-whipped one, who is out). Watson</div><div> turns so that he can watch the action at the device --</div><div><br /></div><div> -- which puts his back to another tunnel.</div><div><br /></div><div> Holmes joins Irene at the device. She grips her knife,</div><div> looking for a way to detach the CYLINDER from the CRADLE</div><div> (where electric coils and circuits pulse).</div><div><br /></div><div> IRENE</div><div> I've never seen anything like it.</div><div><br /></div><div> HOLMES</div><div> There's never been anything like</div><div> it. A totally wire-free weapon.</div><div> He must have some kind of remote</div><div> device sending a signal to the</div><div> receiver. Really quite --</div><div><br /></div><div> She reaches out with her knife and... ZAP! Her blade</div><div> hits a coil, sparks flashing. Electrocuted, she drops</div><div> the knife, which falls into the cradle, surrounded by</div><div> humming, sparking coils.</div><div><br /></div><div> Irene recoils, sees something past Holmes --</div><div> RACK PAST HOLMES TO WATSON --</div><div><br /></div><div> Where DREDGER LOOMS OUT OF THE DARK BEHIND HIM, both</div><div> hands held high to grab the guns and smash Watson.</div><div><br /></div><div> Before Irene can alert him, Watson's wrists are crushed</div><div> from behind. Dredger jerks Watson's arms sideways,</div><div> sending both guns spinning away --</div><div><br /></div><div> -- Holmes's gun splashes into the sewer.</div><div><br /></div><div> Dredger spins Watson around, head-butts him with a teeth-</div><div> rattling blow, flings Watson away like a discarded paper</div><div> cup.</div><div><br /></div><div> Now unguarded, the two conscious thugs charge Holmes and</div><div> Irene.</div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 100.</div><div>112 CONTINUED: (2) 112</div><div> Irene shoots one point blank with her Derringer, Holmes</div><div> crushes the other's larynx.</div><div><br /></div><div> HOLMES</div><div> (to Irene)</div><div> Keep at it.</div><div><br /></div><div> Holmes goes for Dredger.</div><div><br /></div><div><br /></div><div>113 INT. PARLIAMENT - DAY 113</div><div><br /></div><div> Lords and Royals sit in this august hall, waiting for the</div><div> session to begin. Coward looks up, and points, very</div><div> emphatically.</div><div><br /></div><div> LORD COWARD</div><div> Look.</div><div><br /></div><div> All eyes rise to see: BLACKWOOD, up in the Lords'</div><div> Gallery. The hall goes silent, staring at a ghost.</div><div> Blackwood is calm, commanding.</div><div><br /></div><div> Voices rise; Blackwood's followers move to block the</div><div> doors as --</div><div><br /></div><div> BONG! The first CHIME OF NOON from Big Ben.</div><div><br /></div><div>114 114</div><div> INT. SEWERS - DAY</div><div> The chime echoes. Dredger charges towards the device and</div><div> Irene. Holmes flies into him feet-first, deflecting him</div><div> for a moment.</div><div><br /></div><div> It is now clear that Dredger's sole purpose is to protect</div><div> the device.</div><div><br /></div><div> Irene sits at the device, trying to figure out how to</div><div> defuse it.</div><div><br /></div><div> BONG!</div><div><br /></div><div> The second chime resounds. Dredger grabs Holmes, thrusts</div><div> him upwards against the sewer roof, simultaneously</div><div> strangling him and hammering him against the bricks hard</div><div> enough to dislodge some.</div><div><br /></div><div> Holmes lashes out with his feet at Dredger -- who doesn't</div><div> even bother to block anything. Holmes' kicks lose steam</div><div> as he loses air.</div><div><br /></div><div> BONG!</div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 101.</div><div>114 CONTINUED: 114</div><div> IRENE</div><div> (without looking up)</div><div> Nine strokes left.</div><div><br /></div><div> Dredger grins --</div><div><br /></div><div> -- until he is earholed from behind by two bricks, swung</div><div> with full force by Watson.</div><div><br /></div><div> Dredger drops Holmes, staggers back holding his bleeding</div><div> ears. Holmes heads back to Irene.</div><div><br /></div><div> Watson draws the sword from his sword stick. Deadly</div><div> enough, but not very big.</div><div><br /></div><div> WATSON</div><div> You owe me for the ring.</div><div><br /></div><div> Dredger backs off, as if scared of the sword -- but only</div><div> until he can reach up and pull Blackwood's ceremonial</div><div> sword down off a brick ledge. This is going to be more</div><div> uneven than usual.</div><div><br /></div><div> BONG!</div><div><br /></div><div> As Watson parries Dredger's massive slashes and thrusts</div><div> all around them, only just keeping Dredger at bay --</div><div><br /></div><div> -- Holmes sees that the cylinder is welded onto the</div><div> cradle by two RODS. His eyes narrow, a plan forming.</div><div><br /></div><div> HOLMES</div><div> Give me your gun. The bullets, I</div><div> need the bullets.</div><div><br /></div><div> BONG! The clock is ticking down.</div><div><br /></div><div> Irene pops open her Derringer, slides the bullets into</div><div> Holmes' hand. He chops open the bullet casings with his</div><div> knife, pouring the gunpowder into --</div><div><br /></div><div> -- the bowl of his pipe.</div><div><br /></div><div> BONG!</div><div><br /></div><div> Watson ducks a whooshing cut, lunges with his little</div><div> sword, sticks it into the meat of Dredger's bicep.</div><div><br /></div><div> Dredger grunts angrily, flexes his bicep, rips the sword</div><div> out of Watson's grasp with his muscle, then he pulls it</div><div> out, snaps the blade against the wall like a twig, and</div><div> moves in to cut Watson in two with the ceremonial sword</div><div> from head to toe.</div><div><br /></div><div> Watson dives desperately, gets a haircut from the sword --</div><div> (CONTINUED)</div><div><br /></div><div> 102.</div><div>114 CONTINUED: (2) 114</div><div> -- which shatters against the floor.</div><div><br /></div><div> While Watson is down, Dredger punts him into the sewer</div><div> with a splash, then turns back to the device.</div><div><br /></div><div> BONG!</div><div><br /></div><div><br /></div><div>114A OMITTED 114A</div><div><br /></div><div><br /></div><div>115 INT. HOUSE OF LORDS 115</div><div><br /></div><div> Blackwood has lit four small red candles, placed them on</div><div> the balustrade in front of him. He calmly intones a</div><div> familiar chant. Lords are on their feet. Guards are</div><div> banging outside the doors, but the doors are locked.</div><div> Members of the Temple of Four Orders stand in front of</div><div> anyone going to open them.</div><div><br /></div><div>116 116</div><div> INT. SEWER TUNNEL - DAY</div><div> Holmes rips the stem off his pipe, places the open end of</div><div> the bowl against the bolt holding the cylinders in place.</div><div> Shaped charge, Victorian-style.</div><div><br /></div><div> HOLMES</div><div> We need a light, a match --</div><div><br /></div><div> Irene's eyes narrow, seeing something in the cradle: her</div><div> KNIFE. She rolls up a sleeve.</div><div><br /></div><div> IRENE</div><div> Got it...</div><div> Which is when a blood-maddened Dredger thunders into them</div><div> both, arms wide, driving Holmes and Irene away from the</div><div> device --</div><div><br /></div><div> -- hammering them into the wall with a mighty thud. Then</div><div> he braces his massive feet, angles his huge legs and</div><div> pushes, squeezes them against the wall like a human vice.</div><div><br /></div><div> That's the extent of Dredger's plan, and it will work for</div><div> long enough because --</div><div><br /></div><div> BONG!</div><div><br /></div><div> IRENE</div><div> (breath crushing out</div><div> of her)</div><div> Three.</div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 103.</div><div>116 CONTINUED: 116</div><div> ON THE DEVICE AS IT GOES ACTIVE</div><div><br /></div><div> The batteries begin to fizz madly, cams turn, gears</div><div> ratchet past each other. Bad news.</div><div><br /></div><div> WATSON (O.S.)</div><div> Hey!</div><div><br /></div><div> Dredger turns his head so that he can see Watson, on his</div><div> belly, crawled from the sewer -- where he found HOLMES'</div><div> GUN.</div><div><br /></div><div> BAM! BAM! BAM! BAM! Four white phosphorous tracers</div><div> strobe through the sewer, stitch a line down Dredger's</div><div> back (aimed so as not to hit Holmes or Irene on the</div><div> through-and-through) --</div><div><br /></div><div> -- and continue to burn inside Dredger. He lurches away,</div><div> eyes bulging, mouth wide with a silent scream.</div><div><br /></div><div> BONG!</div><div><br /></div><div> IRENE</div><div> Two!</div><div><br /></div><div> Holmes and Irene stagger for the device.</div><div><br /></div><div> Fizzling, boiling inside, the dying giant falls like a</div><div> tree.</div><div><br /></div><div> Watson is face-down on the stones, still. The gun falls</div><div> out of his limp hand.</div><div><br /></div><div> Irene swipes her hand down into the cradle, just barely</div><div> avoiding the sparks and coils, snatching her blade,</div><div> and...</div><div><br /></div><div> ZAP! A spark hits the blade, and she angles the blade,</div><div> redirecting the spark toward --</div><div><br /></div><div> Holmes' pipe, which BLOWS WITH A VICIOUS CRACK! The</div><div> shaped charge shears the steel rods.</div><div><br /></div><div> Holmes and Irene reach for the cylinders.</div><div><br /></div><div> BONG!</div><div><br /></div><div>116A 116A</div><div> OMITTED</div><div><br /></div><div>117 INT. HOUSE OF LORDS - DAY 117</div><div><br /></div><div> Blackwood stands on balcony looking down at the assembled </div><div> Lords. </div><div> (CONTINUED)</div><div><br /></div><div> 104.</div><div>117 CONTINUED: 117</div><div> BLACKWOOD</div><div> You seem surprised. Did you </div><div> really take me for a man who could </div><div> be dispatched like a truculent </div><div> servant? I see before me a </div><div> conspiracy of arrogant old men </div><div> puffed up by the illusion of their </div><div> own vainglory. In your hands this </div><div> once great parliament has become </div><div> nothing more than a drunken satyr, </div><div> stumbling about the world's stage </div><div> seeking nothing more than to </div><div> satiate your own lust and </div><div> gluttony; your britches stained by </div><div> the incontinence of your </div><div> hypocrisy. I will not sit idly by </div><div> and watch you violate the </div><div> innocence of the public trust as </div><div> you drag this great Empire into </div><div> the quagmire that your pride has </div><div> dug and filled with the excrement </div><div> of your corruption. I am here to </div><div> change all this. </div><div><br /></div><div> He raises his hand and traces a circle in the air. A </div><div> circle of flame erupts on the opposite wall. </div><div><br /></div><div> BLACKWOOD </div><div> I am the fourth horseman. </div><div><br /></div><div> He raises his hand and traces a triangle in the air. A </div><div> triangle of flame erupts on the opposite wall. </div><div><br /></div><div> BLACKWOOD </div><div> I am the pale rider. </div><div><br /></div><div> He raises his hand and traces a second triangle in the </div><div> air. The second triangle of flame erupts on the opposite </div><div> wall to complete the pentagram within the circle. </div><div><br /></div><div> BLACKWOOD </div><div> And my name to you is death. </div><div><br /></div><div>117A 117A</div><div> INT. SEWER TUNNELS - DAY</div><div> ZZZZP! The electrical charge zaps through the device,</div><div> electrodes sizzle, sending blinding sparks through the</div><div> cradle.</div><div><br /></div><div> Holmes and Irene RIP the cylinder out of the way just</div><div> as... the sparks collide in a blinding flash and...</div><div><br /></div><div> 104A.</div><div><br /></div><div><br /></div><div>117B EXT. BIG BEN - DAY 117B</div><div><br /></div><div> BONG! The clock strikes twelve.</div><div><br /></div><div><br /></div><div>117C INT. PARLIAMENT 117C</div><div><br /></div><div> The men wait for something mythic, magical. And...</div><div><br /></div><div> Nothing happens. Nothing at all. They look around.</div><div> Everyone is still standing. Coward looks confused,</div><div> scared. Other Temple members eye him.</div><div><br /></div><div> Blackwood hits the remote again. But again, nothing</div><div> happens. WE SEE something new in his eyes: fear. He</div><div> ducks away fast, disappearing into the gallery.</div><div><br /></div><div>117D 117D</div><div> OMITTED</div><div><br /></div><div>118 INT. SEWER JUNCTION - DAY 118</div><div><br /></div><div> Holmes and Irene look each other in the eye. For the</div><div> first time, neither knows what to say.</div><div><br /></div><div> IRENE</div><div> That was something new for us.</div><div><br /></div><div> HOLMES</div><div> Yes... it was.</div><div><br /></div><div> She looks past Holmes.</div><div><br /></div><div> IRENE</div><div> Watson --</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 105.</div><div>118 CONTINUED: 118</div><div> Holmes whips around -- sees Watson, seemingly dead. He</div><div> goes to him, drops to his knees next to Watson, feels for</div><div> a pulse.</div><div><br /></div><div> With his face still pressed to the stones:</div><div><br /></div><div> WATSON</div><div> I'm pretty sure I heard the last</div><div> chime.</div><div><br /></div><div> Holmes looks down at his friend, relieved.</div><div><br /></div><div> HOLMES</div><div> Yes, we made it. Just.</div><div><br /></div><div> Watson rolls over, sits up. He's done, had enough.</div><div><br /></div><div> HOLMES</div><div> Come on, you've got to admit,</div><div> you're going to miss this.</div><div><br /></div><div> WATSON</div><div> Which part? The stench of the</div><div> sewers or the broken bones?</div><div> (beat)</div><div> My ankle's done.</div><div><br /></div><div> Watson looks around.</div><div><br /></div><div> WATSON</div><div> Where's Irene?</div><div><br /></div><div> Holmes turns, looks. The cylinders are gone, and so is</div><div> Irene. His face darkens. He misread her yet again.</div><div><br /></div><div> WATSON</div><div> Holmes, I'm sorry...</div><div><br /></div><div> Holmes sees Irene's lithe shadow moving fast into a maze</div><div> of tunnels. He motions to the disabled device.</div><div><br /></div><div> HOLMES</div><div> Make sure Lestrade keeps it</div><div> intact.</div><div><br /></div><div> Watson nods. He watches Holmes sprint into the darkness,</div><div> face grim.</div><div><br /></div><div>118A 118A</div><div> INT. HOUSES OF PARLIAMENT - DAY</div><div> Blackwood flashes downward through the ornate official</div><div> understory of the Houses, heads for a staircase</div><div> spiralling even further down.</div><div><br /></div><div> 106.</div><div><br /></div><div><br /></div><div>118B INT. SEWER TUNNELS - DAY 118B</div><div><br /></div><div> Irene hears Holmes' angry footsteps behind her, turns,</div><div> sees a flash of movement through the labyrinth of tunnels</div><div> and columns. She picks up speed.</div><div> CUT TO:</div><div><br /></div><div> ANGLE FROM THE SIDE</div><div><br /></div><div> Blackwood enters the maze of tunnels, hears, then sees</div><div> Irene sprint across the maze, about 500 yards away.</div><div><br /></div><div> Then Holmes.</div><div><br /></div><div> Blackwood follows them. Sees something on the ground</div><div> ahead -- pauses.</div><div><br /></div><div> It's WATSON'S SWORD STICK, flung there from the previous</div><div> action with Dredger.</div><div><br /></div><div> Blackwood scoops it up.</div><div><br /></div><div>118C 118C</div><div> INT. SINGLE SEWER TUNNEL - DAY</div><div> Panting, Irene runs along a tunnel that steps lower --</div><div><br /></div><div> -- and pinches tighter. A large-diameter water pipe</div><div> angles down the tunnel wall, forcing Irene to turn</div><div> sideways to continue.</div><div><br /></div><div> The sound of Holmes' footsteps drives her forward.</div><div><br /></div><div> And then the tunnel ends. The water pipe breaks off</div><div> jaggedly in mid-air, next to Irene's head.</div><div> The continuation of the pipe passes through solid brick</div><div> at the end of the tunnel -- a dark, claustrophobic</div><div> gamble. Irene hesitates for a moment, then slithers into</div><div> the pipe, into the unknown.</div><div><br /></div><div><br /></div><div>118D INT. PIPE - DAY 118D</div><div><br /></div><div> The pipe angles down, damp, horrible. For a long moment</div><div> it is pitch black, pinched down. Irene's quick, anxious</div><div> breath the only point of reference.</div><div><br /></div><div> This is as tight, subterranean, dark and nightmarishly</div><div> claustrophobic as it gets.</div><div><br /></div><div> Then, almost imperceptibly, light.</div><div><br /></div><div> We can make out Irene's determined profile. Light</div><div> increases, and so does Irene's rate of movement.</div><div><br /></div><div> 107.</div><div><br /></div><div><br /></div><div>118E INT. CELLAR - DAY 118E</div><div><br /></div><div> The pipe emerges from the brick wall in what looks to be</div><div> the cellar of a building. Stonework fairly new.</div><div><br /></div><div> Dim daylight from an unseen opening shows a fixed ladder</div><div> heading upwards. Irene accelerates for it.</div><div><br /></div><div><br /></div><div>118F INT. PIPE - DAY 118F</div><div><br /></div><div> Holmes grimaces, enters the pipe, shimmies TOWARDS us.</div><div> An even tighter fit for him.</div><div><br /></div><div><br /></div><div>118G INT. CELLAR - ON THE LADDER - DAY 118G</div><div><br /></div><div> Irene -- climbing with one hand, cylinders in the other --</div><div> reaches an iron grate, has to use all her strength to</div><div> shoulder it aside. As fit and athletic as she is, this</div><div> is a grind.</div><div><br /></div><div>118H 118H</div><div> INT. HOLLOW BUILDING - DAY</div><div> Irene emerges at the base of a dark, hollow building full</div><div> of construction equipment, and sees, yes --</div><div><br /></div><div> -- more stairs, upward. The only ready way out.</div><div><br /></div><div> Gritting her teeth, chest heaving, Irene charges the</div><div> stairs --</div><div><br /></div><div><br /></div><div>118I INT. CELLAR - DAY 118I</div><div> -- just as Holmes pops out of the pipe, vaults onto the</div><div> fixed ladder and swarms up it. Anger lends him energy.</div><div><br /></div><div><br /></div><div>118J INT. HOLLOW BUILDING - DAY 118J</div><div><br /></div><div> IN A SERIES OF TIME JUMPS MARKED BY INCREASING</div><div> EXHAUSTION:</div><div><br /></div><div> Irene finally makes it to a floor in the building that is</div><div> flooded with sky-bright daylight.</div><div><br /></div><div> She surges for light -- a brick-framed window -- and --</div><div><br /></div><div> SMASH CUT TO:</div><div><br /></div><div> 108.</div><div><br /></div><div><br /></div><div>118K EXT. TOWER BRIDGE - HELICOPTER SHOT - REVERSE ANGLE - 118K</div><div> DAY</div><div><br /></div><div> OF IRENE at the top of TOWER BRIDGE. She's climbed up</div><div> the inside of the Tower. She's 250 feet above the</div><div> Thames.</div><div><br /></div><div> We've gone straight from maximum claustrophobia to</div><div> maximum knee-buckling exposure.</div><div><br /></div><div> PULL BACK and SWEEP INTO a massive, NEAR 360-DEGREE</div><div> HELICOPTER SHOT that starts with Irene at the</div><div> (unfinished) window --</div><div><br /></div><div> -- then shows the skeletal bridge spanned tenuously with</div><div> scaffolding --</div><div><br /></div><div> -- then the glory of London, the center of the world,</div><div> laid out for us in breathtaking, spectacular beauty --</div><div><br /></div><div> -- and returns to Irene as, recovered somewhat -- she</div><div> darts onto the walkway scaffolding that crosses above the</div><div> Thames.</div><div><br /></div><div>119-119G OMITTED 119-119G</div><div><br /></div><div><br /></div><div>119H EXT. TOWER BRIDGE - WALKWAY - DAY 119H</div><div><br /></div><div> Irene works her way through the construction debris on</div><div> the bridge. She makes it to the end, no further to go. </div><div><br /></div><div> SHERLOCK </div><div> Woman! </div><div> Sherlock appears behind her, winded. </div><div><br /></div><div> SHERLOCK </div><div> It's bad manners to leave without </div><div> at least saying `goodbye.' </div><div><br /></div><div> Irene turns. </div><div><br /></div><div> IRENE </div><div> Goodbye! </div><div><br /></div><div> He start to move towards her. She whips out her gun. </div><div><br /></div><div> IRENE </div><div> You of all people know I will pull </div><div> this trigger. </div><div><br /></div><div> They circle around each other. </div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 109.</div><div>119H CONTINUED: 119H</div><div> IRENE </div><div> I'd tell you I'm sorry, that I </div><div> wish things could be different but </div><div> you wouldn't believe me anyway. </div><div><br /></div><div> HOLMES </div><div> Why hurry off, give it a try. </div><div><br /></div><div> He moves in again. She shoots him in the arm. </div><div><br /></div><div> And in that split second -- </div><div><br /></div><div> Blackwood drops down from behind Irene, HITS her with </div><div> WATSON'S SWORD STICK. She drops, stunned. As she falls, </div><div> Blackwood plucks the cylinder out of her hand, and kicks </div><div> her gun away. Her gun goes flying off the side of the </div><div> bridge. But Irene doesn't pause: </div><div><br /></div><div> She swings her legs through the air, trying to take out </div><div> Blackwood's knees. But he swipes her legs away, and </div><div> KICKS DOWN and -- </div><div><br /></div><div> IRENE FALLS OFF THE BRIDGE. </div><div><br /></div><div> BLACKWOOD </div><div> You're better off without her, </div><div> Holmes! </div><div><br /></div><div> High above: a RAVEN lands. </div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 110.</div><div>119H CONTINUED: (2) 119H</div><div> EXT. TOWER BRIDGE - WALKWAY - DAY</div><div> </div><div> A look between them and then it's on. Holmes grabs a</div><div> short section of wooden batten out of the railing.</div><div> Flimsy, no match for the sword --</div><div><br /></div><div> -- which is immediately apparent as Blackwood comes in,</div><div> slashes, chops six inches off the batten.</div><div><br /></div><div> BLACKWOOD </div><div> I planned to kill a handful of </div><div> senile old men to make this empire </div><div> strong... but now because of you </div><div> thousands are going to die. </div><div><br /></div><div> Holmes is on the defensive throughout, but, as before,</div><div> his target is the cylinder first, Blackwood second, self</div><div> defense third.</div><div><br /></div><div> BLACKWOOD </div><div> All I have to do is break this </div><div> cylinder. The wind will do the </div><div> rest. And you'll be the first. </div><div><br /></div><div> The two men continue their swordfight: Holmes grabs some </div><div> rope hanging from the scaffolding above and swings off </div><div> the bridge. Blackwood steps to the edge with his sword </div><div> out, awaiting Holmes. Holmes swings towards the blade </div><div> and then pushes off the bridge once again to avoid it. </div><div><br /></div><div> Holmes swings back onto the bridge a few feet away from </div><div> Blackwood. He lands, whips off his scarf and twirls it </div><div> around Blackwood's arm, binding them together. They </div><div> continue to spar, now bound. </div><div><br /></div><div> Blackwood snarls, mounts a frenzied attack, which Holmes </div><div> simply tries to survive. The two men finally part, with </div><div> Holmes cast off towards the end of the bridge. </div><div><br /></div><div> Blackwood smiles. He grabs Holmes' gun (which Blackwood </div><div> knocked from Irene's hand earlier). </div><div><br /></div><div> Blackwood fires at Holmes. Holmes quickly ducks. The </div><div> bullet misses him, but hits a bucket twirling above his </div><div> head. A black liquid (tar) begins to pour out in a </div><div> circle around him. </div><div><br /></div><div> Holmes turns, as if to flee (not that there's anywhere to</div><div> go) -- his eyes lock on to something. He looks back to </div><div> Blackwood. </div><div><br /></div><div> -- Holmes kicks a huge scaffolding plank, which falls --</div><div><br /></div><div> -- whipping a coil of rope across the floor, hooking</div><div> Blackwood around his ankle.</div><div> (CONTINUED)</div><div><br /></div><div> 110A.</div><div>119H CONTINUED: (3) 119H</div><div> Blackwood is DRAGGED down the walkway by the weight of</div><div> the falling plank, pulled toward the edge.</div><div><br /></div><div> Holmes grabs the cylinders as Blackwood passes. </div><div><br /></div><div> Blackwood digs his fingers into a gap, screeching to a</div><div> painful halt. His fingers are white from strain. Holmes</div><div> remains cool.</div><div><br /></div><div> HOLMES </div><div> There was never any magic. Only </div><div> conjuring tricks. </div><div><br /></div><div> Above Holmes: the raven starts PECKING at a rope. </div><div><br /></div><div> HOLMES</div><div> The simplest involved paying </div><div> people off, like the prison </div><div> guard... </div><div> </div><div> Holmes looks over the edge of the walkway. He sees the</div><div> plank swinging dangerously in the storm. Blackwood</div><div> strains desperately to hold on. As Holmes steps closer</div><div> we INTERCUT with relevant FLASHBACKS.</div><div><br /></div><div> HOLMES</div><div> (guard choking/ </div><div> payoff) </div><div> Who pretended to be possessed </div><div> outside your cell. Your </div><div> reputation and your jailers' fear </div><div> did the rest. </div><div> (burial ground/ </div><div> licking rocks) </div><div> Others required more elaborate </div><div> preparation, like the sandstone </div><div> slab that covered your tomb. You </div><div> had it broken before your burial </div><div> then put back together using a </div><div> mild adhesive. An ancient </div><div> Egyptian recipe I believe -- a </div><div> mixture of egg and honey. </div><div> Designed to be washed away by the </div><div> rain or eaten by animals. </div><div> (bath/Reordon</div><div> flashback)</div><div> Arranging for your father to drown </div><div> in his own bathtub required more </div><div> modern science. Very clever of </div><div> Reordon to find a paralytic that </div><div> was activated by the combination </div><div> of copper and water and was </div><div> therefore undetectable once the </div><div> bath water was drained. </div><div> (MORE)</div><div> (CONTINUED)</div><div><br /></div><div> 110B.</div><div>119H CONTINUED: (4) 119H</div><div> HOLMES (CONT'D)</div><div> That might have been quite </div><div> challenging had he not also tested </div><div> it on some unfortunate amphibians. </div><div> (Standish in rain/ </div><div> pulling the trigger/ </div><div> wharf explosion) </div><div> The death of Standish was a real </div><div> mystery, until you used the same </div><div> compound to blow up the wharf. An </div><div> odorless, tasteless, flammable </div><div> liquid -- yet it burned with an </div><div> unusual pinkish hue. Did Standish </div><div> mistake it for rain as he entered </div><div> your Temple? All it took was a </div><div> spark. A simple rigged bullet in </div><div> his gun. Ingenious. </div><div> (Parliament/flask/ </div><div> ceremony, dev ice) </div><div> Like all great performers you </div><div> saved your piece de resistance for </div><div> the end. Had it worked, your </div><div> followers in Parliament would have </div><div> watched unharmed as their </div><div> colleagues were dying around them. </div><div> They didn't know that you had </div><div> given them the antidote -- at one </div><div> of your ceremonies I suspect. </div><div> Instead, they would have believed </div><div> it was magic and that you </div><div> harnessed the ultimate power. </div><div><br /></div><div> END FLASHBACKS.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 111.</div><div>119H CONTINUED: (5) 119H</div><div> Blackwood struggles to hold on, he loses his grip for a</div><div> second and is dragged back toward the precipice. Wind</div><div> whips harder.</div><div><br /></div><div> Holmes doesn't notice: The Raven's rope SNAPS, starting</div><div> a slow, subtle DOMINO EFFECT IN B.G.: a bucket drops,</div><div> hits a row of standing timbers. The timbers start to</div><div> topple.</div><div><br /></div><div> (NOTE: Each time one object strikes another, we hear a</div><div> faint musical note moving up the same pentatonic scale</div><div> that Holmes played earlier for his flies.)</div><div><br /></div><div> HOLMES</div><div> You hated your father and the </div><div> other members of the Temple of the </div><div> Four Orders for what they did to </div><div> you. How satisfying it must have </div><div> been to use their own system </div><div> against them. </div><div><br /></div><div> IN B.G.: We see the slow, inexorable dominoes continue</div><div> to fall. The last timber falls over the edge, lands on a</div><div> rope. The rope yanks down a crane, the crane swings,</div><div> strikes another crane...</div><div><br /></div><div> BLACKWOOD</div><div> Cut me loose, Holmes!</div><div><br /></div><div> Blackwood's eyes are full of fear. Holmes thoughtfully</div><div> looks out at the angry storm, the atmosphere electric and</div><div> dangerous. Holmes gives the slightest hint of a smile.</div><div><br /></div><div> HOLMES</div><div> You better hope that it's nothing </div><div> more than superstition as you </div><div> performed all the rituals</div><div> perfectly. </div><div><br /></div><div> Holmes looks around at the gathering storm.</div><div> </div><div> Blackwood can hold on no longer. He screams as he</div><div> releases his grip and is torn down the walkway at</div><div> breakneck speed.</div><div><br /></div><div> Quick as a snake, Holmes grabs a workman's ax placed on</div><div> the side and hurls it at his feet, cutting the rope.</div><div><br /></div><div> Blackwood's imminent death is brought suddenly to a halt.</div><div> The storm grows in ferocity. Holmes bends down,</div><div> Blackwood is on his knees, cowed.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 112.</div><div>119H CONTINUED: (6) 119H</div><div> HOLMES</div><div> First, the world will see you for </div><div> what you are. Then you will </div><div> hang... properly this time. </div><div><br /></div><div> Blackwood looks up. CRACK! The crane dislodges a METAL </div><div> GIRDER, which misses Holmes by inches as it crashes</div><div> through the floorboards --</div><div><br /></div><div> Blackwood smirks. </div><div><br /></div><div> BLACKWOOD </div><div> We'll see about that shall we. </div><div> It's a long journey from here to </div><div> the rope. </div><div><br /></div><div> CREAK. Holmes looks up. Blackwood looks up. </div><div><br /></div><div> HOLMES </div><div> We'll see about that shall we. </div><div><br /></div><div> BANG! The top of the crane crashes down. The wooden </div><div> infrastructure supporting Blackwood falls away. </div><div><br /></div><div> Sending Blackwood falling into a lattice of HANGING</div><div> CHAINS below. Blackwood screams as the chains begin to </div><div> snap off one by one. He falls farther... and farther...</div><div> and finally --</div><div><br /></div><div> SNAP! The last chain CATCHES, TIGHTENS around</div><div> Blackwood's neck, killing him instantly.</div><div><br /></div><div> Blackwood dangles on the rusty chain, hanged like a</div><div> common man after all, with Tower Bridge as his gibbet.</div><div><br /></div><div> Holmes just stands there, stunned. He looks out to see:</div><div> the RAVEN flying away, a silhouette against the stormy</div><div> sky. The bird flaps its wings, disappearing into a</div><div> cloud.</div><div><br /></div><div> His brow furrows. Perhaps there really are some things </div><div> that cannot be explained.</div><div> </div><div> Holmes looks over the side of the bridge, sees:</div><div><br /></div><div> IRENE is awkwardly splayed on the lower level. She </div><div> appears to be dead, possibly a small trickle of blood is </div><div> coming out of her mouth. Holmes moves down to her. He </div><div> takes her hand. </div><div><br /></div><div> HOLMES </div><div> Oh, Irene... </div><div><br /></div><div> His fingers move to take her pulse. </div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 112A.</div><div>119H CONTINUED: (7) 119H</div><div> Her eyes pop open. </div><div><br /></div><div> Irene makes a quick move: she tries to CUFF him. But </div><div> this time, Holmes is ready for it: </div><div><br /></div><div> He reverses the move, cuffing her instead. He takes a </div><div> seat next to her. </div><div><br /></div><div> They sit there for a beat, an odd lovers' moment looking </div><div> out over the Thames. </div><div><br /></div><div> IRENE </div><div> It looks like rain. </div><div><br /></div><div> HOLMES </div><div> We've still got a moment. </div><div><br /></div><div> A bit of a smile and break. </div><div><br /></div><div> IRENE </div><div> You were right, he is a professor. </div><div> Moriarty. Key's in the watch </div><div> pocket. </div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 113.</div><div>119H CONTINUED: (8) 119H</div><div> Holmes reaches over to grab the key. Their faces close, </div><div> near a kiss. Holmes drops the keys down the top of her </div><div> shirt (just as she dropped them down his pants). He</div><div> snatches the DIAMOND from around her neck, turns and </div><div> walks away. She smiles, calls out:</div><div><br /></div><div> IRENE</div><div> You'll miss me, Sherlock. </div><div><br /></div><div> HOLMES </div><div> Sadly, yes. </div><div><br /></div><div> Holmes walks away, pauses to pick up Watson's sword </div><div> stick, keeps walking.</div><div><br /></div><div> At the end of the top of the stairs. Holmes hands the </div><div> Cylinder to one of the policemen. </div><div><br /></div><div>120-122 OMITTED 120-122</div><div><br /></div><div><br /></div><div>122A EXT. TOWER BRIDGE - DUSK 122A</div><div><br /></div><div> Rain falls softly.</div><div><br /></div><div> LESTRADE</div><div> It'll be a hell of a trick if</div><div> Blackwood comes back from this</div><div> one.</div><div><br /></div><div> HOLMES</div><div> Thank you, Lestrade.</div><div><br /></div><div> LESTRADE</div><div> Now you're going to be even more</div><div> arrogant and insufferable than</div><div> ever.</div><div><br /></div><div> Then Lestrade cracks a smile.</div><div><br /></div><div> LESTRADE</div><div> You're welcome, detective.</div><div> (beat)</div><div> Is the woman up there?</div><div><br /></div><div> HOLMES</div><div> She won't be by the time your boys</div><div> get there.</div><div><br /></div><div> Holmes keeps moving into the night. The storm curls</div><div> around him, the rain falling hard. And he sees...</div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 113A.</div><div>122A CONTINUED: 122A</div><div> A shadow is waiting for him. We recognize the figure of</div><div> WATSON. Holmes can't help but smile. He joins Watson,</div><div> no words spoken.</div><div><br /></div><div> Holmes holds out Watson's sword stick. Watson takes it.</div><div> The two of them stand looking out down the Thames.</div><div><br /></div><div> 114.</div><div><br /></div><div><br /></div><div>123 EXT. 221 BAKER ST. - DAYS LATER 123</div><div><br /></div><div> MOVING DAY. Mary and Watson walk towards 221B. A DRIVER</div><div> loads Watson's boxes into a CARRIAGE that waits in front</div><div> of the apartment.</div><div><br /></div><div> WATSON</div><div> One moment.</div><div><br /></div><div> Watson takes a quick look in one of the boxes.</div><div><br /></div><div> WATSON</div><div> Please make sure this one is put</div><div> on the desk in the front room.</div><div><br /></div><div> MARY</div><div> What's in all those notebooks?</div><div><br /></div><div> WATSON</div><div> Nothing really... Just a few</div><div> scribbles... cases we've worked on</div><div> over the years.</div><div><br /></div><div> MARY</div><div> All your adventures... I'd love to</div><div> read them sometime.</div><div><br /></div><div> Watson laughs then pauses for a moment to consider this</div><div> idea before they enter.</div><div><br /></div><div>123A 123A </div><div> INT. 221 BAKER ST. - STAIRCASE</div><div> As Watson and Mary climb the stairs, it becomes clear </div><div> that Mary now wears IRENE'S DIAMOND on her finger.</div><div> Holmes had it made into an engagement ring.</div><div> WATSON</div><div> I still can't believe he's given</div><div> us that ring.</div><div><br /></div><div> MARY</div><div> Do you think he's finally come to</div><div> terms with you leaving?</div><div><br /></div><div> WATSON</div><div> Of course. No question about it --</div><div><br /></div><div><br /></div><div>123B INT. 221 BAKER ST. 123B</div><div><br /></div><div> Watson opens the door of Holmes' apartment revealing a</div><div> horrific scene: Holmes is hanging from a rope, his back </div><div> to them. He looks dead. </div><div> </div><div> (CONTINUED)</div><div><br /></div><div> 114A.</div><div>123B CONTINUED: 123B</div><div> WATSON</div><div> Don't panic, dear. </div><div><br /></div><div> Watson and Mary step in but do nothing to help Holmes. </div><div><br /></div><div> WATSON </div><div> Suicide is not in his repetoire, </div><div> he's far too fond of himself. </div><div><br /></div><div> Watson pokes him. Turns him around. </div><div><br /></div><div> HOLMES </div><div> Good afternoon. I was trying to </div><div> deduce the manner in which </div><div> Blackwood survived his execution. </div><div> Clearing your good name, as it </div><div> were. But it had a surprisingly </div><div> soporific effect and I was carried </div><div> off in the arms of Morpheus, like </div><div> a caterpillar in a cocoon. </div><div><br /></div><div> WATSON </div><div> Get on with it, Holmes. </div><div><br /></div><div> HOLMES </div><div> Cleverly concealed in the </div><div> hangman's knot was a hook -- I </div><div> believe my legs have fallen </div><div> asleep. I should probably come </div><div> down. </div><div><br /></div><div> MARY </div><div> Shouldn't you help him, John? </div><div><br /></div><div> WATSON </div><div> I hate to stop when he's on a </div><div> roll. Do carry on, Holmes. </div><div><br /></div><div> Watson and Mary walk by. </div><div><br /></div><div> HOLMES </div><div> The executioner attached it to a </div><div> harness, thus allowing the weight </div><div> to be distributed around the waist </div><div> and the neck to remain intact. My </div><div> lord, I can't feel my cheeks. </div><div> Might we continue this at ground </div><div> level? </div><div><br /></div><div> WATSON </div><div> How did you manage it, Holmes? </div><div> </div><div><br /></div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 115.</div><div>123B CONTINUED: (2) 123B</div><div> HOLMES</div><div> I managed it with braces, belts </div><div> and a coat hook. Please, Watson, </div><div> my tongue is going next. I'll be </div><div> of no use to you at all. </div><div><br /></div><div> WATSON</div><div> Worse things could happen. </div><div><br /></div><div> MARY </div><div> John. </div><div><br /></div><div> Watson draws his sword. </div><div><br /></div><div> WATSON </div><div> But none of this explains the lack </div><div> of a pulse. </div><div><br /></div><div> He finally uses his sword stick and slices Holmes down. </div><div> Holmes tumbles to the ground. </div><div><br /></div><div> HOLMES </div><div> There is a toxin refined from the </div><div> nectar of the rhododendron </div><div> ponticum. It is quite infamous in </div><div> the region of Turkey bordering the </div><div> Black Sea for its ability to </div><div> induce an apparently mortal </div><div> paralysis. Enough to mislead a </div><div> medical mind even as tenacious and </div><div> well-trained as your own. It is </div><div> known locally as -- </div><div><br /></div><div> MARY </div><div> What's wrong with Gladstone? </div><div><br /></div><div> HOLMES </div><div> -- mad honey disease. </div><div><br /></div><div><br /></div><div> CLOSEUP OF WATSON'S DOG </div><div><br /></div><div> Stiff as a board. </div><div><br /></div><div> HOLMES </div><div> He is demonstrating the very </div><div> effect I've just described. He </div><div> doesn't mind. </div><div><br /></div><div> WATSON </div><div> His heart should be ticking in no</div><div> time.</div><div> </div><div><br /></div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 116.</div><div>123B CONTINUED: (3) 123B</div><div> Watson feels for a pulse in his dog's neck -- he shakes</div><div> his head. They are interrupted by a knock on the door.</div><div> Constable Clark enters.</div><div><br /></div><div> CONSTABLE CLARK</div><div> Mr. Holmes... Inspector Lestrade</div><div> asks that you come with me, right</div><div> away.</div><div><br /></div><div> HOLMES</div><div> What is it this time, Clarky?</div><div><br /></div><div> CONSTABLE CLARK</div><div> It's one of our sergeants, sir. </div><div> He went missing in the sewers, the</div><div> day you stopped Lord Blackwood...</div><div> Well, a maintenance man found his</div><div> body this morning. We believe the </div><div> sergeant was our first man on the </div><div> scene. Shot in the head. </div><div><br /></div><div> HOLMES </div><div> Were there powder burns on his </div><div> eyebrows? </div><div><br /></div><div> Clarky nods. </div><div><br /></div><div> CONSTABLE CLARK </div><div> Yes. </div><div><br /></div><div> WATSON </div><div> Point blank range. </div><div><br /></div><div> HOLMES </div><div> With small caliber bullet. </div><div><br /></div><div> CONSTABLE CLARK </div><div> Indeed. </div><div><br /></div><div> HOLMES </div><div> Moriarty. </div><div><br /></div><div> Holmes and Watson look at each other -- complete change </div><div> of demeanor -- mind racing, looking concerned. </div><div><br /></div><div> The dog has regained its vital signs. </div><div><br /></div><div> MARY </div><div> There's a brave boy... There, </div><div> there, everything's going to be </div><div> all right. </div><div><br /></div><div> WATSON </div><div> Where is Blackwood's device now? </div><div><br /></div><div> (CONTINUED)</div><div><br /></div><div> 116A.</div><div>123B CONTINUED: (4) 123B</div><div> CONSTABLE CLARK </div><div> The secret service has it, sir. </div><div> They've taken over the case. </div><div><br /></div><div><br /></div><div> CLOSEUP ON HOLMES AND WATSON </div><div><br /></div><div> Piecing it together: </div><div><br /></div><div> HOLMES </div><div> I'd wager there's a piece missing. </div><div><br /></div><div> Constable Clarke nods. Holmes pulls his coat on. </div><div><br /></div><div> WATSON </div><div> So you're saying Moriarty was </div><div> after a part of the machine and </div><div> not the poison. </div><div><br /></div><div> Watson nods. </div><div><br /></div><div> HOLMES </div><div> The wire-free invention was the </div><div> game all along. Imagine being </div><div> able to control any device simply </div><div> by sending a command via radio </div><div> waves. </div><div><br /></div><div> WATSON </div><div> Adler was just a diversion. </div><div><br /></div><div> Mary looks at Watson who is clearly trying to curb his </div><div> enthusiasm and interest. </div><div><br /></div><div> A KNOCK. The Driver pokes his head in. </div><div><br /></div><div> DRIVER </div><div> (to Watson) </div><div> I've loaded the last of your </div><div> boxes, sir. </div><div><br /></div><div> Watson nods, the Driver exits. Watson turns to Holmes. </div><div><br /></div><div> WATSON </div><div> Well... </div><div><br /></div><div> HOLMES </div><div> I'll leave with you. Clarky, case </div><div> reopened. </div><div><br /></div><div>124 124</div><div> OMITTED</div><div><br /></div><div> 116B.</div><div><br /></div><div><br /></div><div>125 FLASHBACK - INT. SEWER JUNCTION 125</div><div><br /></div><div> We FOLLOW POLICEMEN heading into the sewer tunnel.</div><div><br /></div><div> They spread out to seal the crime scene, where Holmes had</div><div> dismantled Blackwood's device.</div><div><br /></div><div> CONSTABLE CLARK (V.O.)</div><div> We believe Sergeant Smith was the</div><div> first officer there.</div><div><br /></div><div> SERGEANT SMITH sees a POLICEMAN leaning over the device.</div><div><br /></div><div> SERGEANT</div><div> Oi, what you doing?</div><div><br /></div><div> The policeman looks up, and a GUN slides into his hand by</div><div> means of the same device we saw in the carriage scene</div><div> with Irene. We don't see his face.</div><div><br /></div><div> CONSTABLE CLARK (V.O.)</div><div> Shot in the head.</div><div><br /></div><div> BANG!</div><div><br /></div><div> 117.</div><div><br /></div><div><br /></div><div>126 INT. 221 BAKER ST. (PRESENT) 126</div><div><br /></div><div> HOLMES</div><div> Were there powder burns on his</div><div> eyebrows?</div><div><br /></div><div> Clarky nods.</div><div><br /></div><div> CONSTABLE CLARK</div><div> He was shot at point-blank range.</div><div><br /></div><div> Holmes and Watson look at each other -- complete change</div><div> of demeanor -- mind racing, looking concerned.</div><div><br /></div><div> The dog has regained its vital signs.</div><div><br /></div><div> WATSON</div><div> There's a brave boy... There,</div><div> there, everything's going to be</div><div> all right.</div><div><br /></div><div> HOLMES</div><div> Where is Blackwood's device now?</div><div><br /></div><div> CONSTABLE CLARK</div><div> The secret service has it, sir.</div><div> They've taken over the case.</div><div><br /></div><div><br /></div><div> CLOSEUP ON HOLMES AND WATSON</div><div><br /></div><div> Piecing it together:</div><div><br /></div><div> WATSON</div><div> I'd wager there's a piece missing.</div><div><br /></