1 EXT/INT. GEORGIAN HOUSE, MAYFAIR - BEDROOM - DAY 1
ESTABLISH an elegant Mayfair townhouse, horse carriages pass
by and well heeled couples stroll.
We CUT INSIDE TO THE BEDROOM:
Edward Marshall Hall - known simply as MARSHALL (24) - is
tall and powerfully built but you wouldn’t know that as he is
laying underneath a beautifully proportioned young lady named
LILLIE LANGTREE, celebrated actress(28) who is rapidly and
noisily approaching orgasm.
LILLIE LANGTREE
(American accent)
"To bed, to bed; there's knocking
at the gate. Come, come, come,
come, give me your hand. What's
done cannot be undone. Wait. Wait.
NOW!
She collapses onto Marshall and kisses him passionately. They
hug in mutual contentment as Lillie contemplates.
MARSHALL (LAUGHING)
Why do you do that? Recite your
lines?
LILLIE LANGTREE
My two passions. Shakespeare and
sex. Why not enjoy both at once?
She reaches for a cheroot burning in an ashtray on the
bedside table.
LILLIE LANGTREE (CONT'D)
What do you like about me most?
Marshall thinks for a few beats. Then cheekily...
MARSHALL
Your acting.
LILLY LANGTREE
(affronted)
I was not !
MARSHALL
No....I mean, you know, on
stage....
She smiles and once more becomes affectionate.
LILLIE LANGTREE
Let’s do Two Gentlemen Of Verona...
Lillie rolls over and Marshall embraces her from behind.
They begin again with the creak of the four poster bed
indicating the urgency.
HOUSEKEEPER
MISS LANGTREE. MISS LANGTREE! You
must come at once.
Marshall and Lillie begin laughing and the spell is broken.
LILLIE LANGTREE
(calling out)
I HAVE....
HOUSEKEEPER
It’s ten o'clock, miss.
Marshall looks like a bucket of water has been thrown on him.
LILLIE LANGTREE
Damn it. I’m late for rehearsals.
Irving will kill me!
She leaps out of bed
MARSHALL
If he does, I’ll defend him!
She lobs a pillow at him and runs behind her dressing screen
LILLIE LANGTREE
Get thee gone traitor!
Marshall steps out of bed and we see he is in great shape.
He trips over two empty champagne bottles.
His trousers are under Lillie's dress and he pulls them up.
MARSHALL
My shirt? Shoes? Jacket? Underwear!
The door opens discreetly as the housekeeper’s extended arm
comes in dropping two shoes, a sock, shirt, jacket and tie.
POV Marshall as the door clicks shut.
Genres:
["Drama","Romance","Comedy"]
Ratings
Scene
2 -
A Late Arrival at Newgate
2 INT HANSOM CAB-EXT. NEWGATE JAIL - DAY 2
Marshall rides in a Hansom as it approaches Newgate Jail.
London streets bustling with activity.
A man CHARLIE GILL (34) waits outside the jail gates reading
a newspaper. Close on the headline: RIVER MURDERS. ANOTHER
BODY FOUND.
GILL looks up from the news as MARSHALL’S CARRIAGE arrives-
MARSHALL climbs down looking dishevelled. GILL approaches.
His look tells us he has waited longer than is courteous.
MARSHALL
I am so sorry Charlie. I came as
quickly as I could.
Gill shoots him a knowing look. Marshall pays the cab driver
and doesn’t wait for change.
CHARLIE GILL
(glancing down)
It’s difficult to be angry with a
man wearing only one sock. How is
dear Lillie?
Gill hands Marshall a LEGAL BRIEF tied with a pink ribbon.
3 EXT. NEWGATE JAIL - MAIN ENTRANCE -DAY 3
Gill knocks on the main gate entrance.
MARSHALL
Who is our client?
CHARLIE GILL
Gideon Rosenberg. Jewish immigrant
charged with murdering his
landlord. Thoughts?
The prison GUARD opens the gate and Marshall and Gill enter.
MARSHALL
We plead it down to manslaughter?
4 INT. NEWGATE JAIL - DAY 4
The gates are slowly unlocked.
NEWGATE GUARD FLETCHER
Morning Mr. Gill.
CHARLIE GILL
Good morning, Stanley.
Genres:
["Drama","Mystery"]
Ratings
Scene
3 -
Desperation in the Shadows
5 INT. NEWGATE JAIL - UNDERGROUND PASSAGEWAYS - DAY 5
Gill covers his nose with a handkerchief as they follow the
lamplight held by the guard.
Keys jangle and prisoners scream and shout in a cacophony
forged in purgatory.
INT. NEWGATE JAIL CELL - day
GIDEON ROSENBERG(38), is a Hasidic Jew with an Eastern
European accent. He clutches a Tanakh Hebrew Bible.
GIDEON ROSENBERG
….We fled persecution in Lithuania
and got a flat in Whitechapel. Ever
since, the landlord has made our
lives hell. He uses his keys to
enter our home whenever he chose.
He was about to rape my wife.
CHARLIE GILL
Mr. Rosenberg, the choice is stark
but clear. Take your chances with
the Jury or with a Judge.
MARSHALL
You were in debt and do not deny
pushing him to the floor. He died.
CHARLIE GILL
Debt is an easy motivation for any
Jury to understand.
GIDEON ROSENBERG
I lost my job. We were preyed upon
by this shyster. Wouldn’t an
English Jury have any sympathy?
MARSHALL
An English Jury is twelve, white,
Christian, middle aged, businessmen
all of whom are owners of land and
property. Most will be landlords.
Rosenberg seeks hope in Gill’s eyes.
GIDEON ROSENBERG
They are everything I am not.
CHARLIE GILL
On these facts alone, a Jury will
convict. If we plead guilty to
manslaughter a Judge may use
Judicial discretion and be lenient.
GIDEON ROSENBERG
One man decides, not twelve?
MARSHALL
It all depends on the Judge we get.
We are taking a gamble either way.
Rosenberg weighs up the odds.
GIDEON ROSENBERG
Gambling? And my life the stake.
Strange kind of justice in your
country.
Off on Marshall. It’s true, but it is all he can offer.
6 INT. NEWGATE TUNNELS. DAY 6
Marshall and Gill are led out by Guard Fletcher.
CHARLIE GILL
(to the guard)
We are late Stanley. Let’s cut
across the yard.
There is a chink of light coming through the door which is
ajar at the end of the corridor.
NEWGATE GUARD FLETCHER
Best be quick, there’s a topping
on, some mollisher or other.
Fletcher pushes open the door to find a solemn group
surrounding the hanging room scaffold.
Genres:
["Drama","Legal","Historical"]
Ratings
Scene
4 -
The Final Judgment
7 INT. NEWGATE HANGING ROOM - DAY 7
Marshall stops in his tracks as the harrowed face of the
CONDEMNED WOMAN (early 20’s) makes eye contact with him.
She could be the twin sister of Lillie Langtree. The same
wide eyed expression. Her full lips and luxuriant hair
hanging around the shoulders. Beautiful but aged by life.
Marshall looks at her bright yellow dress which seems
incongruous against the gloom and dark uniforms of the
priest, the hangman, and his helper.
Marshall and the woman exchange one last look before the
hangman slowly places the hood over her face.
CONDEMNED WOMAN
(confused, angry)
I shouldn’t be here. It wasn’t me.
The executioner spends a few moments checking the length of
the rope around the woman's neck.
Marshall looks quizzically at Gill.
CHARLIE GILL
(hushed tone)
If the drop is too long it will
partially remove the head and the
executioner can’t sell her clothes.
Marshall looks appalled but is compelled to watch.
The preacher says his final words.
PRIEST
Will you join with me in prayer to
ask for God’s forgiveness?
Several PRISONERS cross themselves next to a coffin.
CONDEMNED WOMAN
It wasn’t me killed ‘im. It was....
The executioner pulls the lever. She falls to her death with
a sickening CRACK of the spinal column echoing off the walls.
Marshall and Gill watch in real time as her legs continue to
kick for twenty seconds. Finally, they stop and like
everything else in the room she is still.
The yellow dress slowly turns to orange as blood seeps down
from above and mixes into the fabric.
The woman’s body is cut down.
The hangman inspects the dress and shakes his head.
HANGMAN
Not worth the trouble.
The prisoners place her inside the casket which is much too
large for her petite frame.
A lid is placed on top of the casket and one prisoner drives
nails in to secure it.
Marshall is distant as he watches the casket being carried to
a cart which already has six others on board.
GUARD#2 hands the prisoners shovels, and they follow as the
cart slowly moves off.
Gill looks to Marshall. His eyes are tearful.
CHARLIE GILL
I am so sorry. I didn’t realise.
I THINK WE NEED TO BE SPECIFIC M HASN’T SEEN A HANGING BEFORE
Genres:
["Drama","Historical"]
Ratings
Scene
5 -
Tension at the Thames
8 EXT. EMBANKMENT PIER - CUSTOMS POST - NIGHT 8
We are high above the moonlit Thames bisecting the city like
a silver ribbon. Ships bob at anchor as we descend towards
the customs pier on the Embankment near Blackfriars.
A uniformed customs officer BILLY SNEDDON (mid 30's) is
pacing up and down nervously outside the IMMIGRATION HUT.
He finishes one cigarette before quickly lighting another
one. He glances toward a BLACK CARRIAGE parked on the road
above the pier, and we cut on his look to..
9 INT. EMBANKMENT - POLICE CARRIAGE - NIGHT 9
Inside the carriage INSPECTOR FRED ABBERLINE and SERGEANT
SAMMY CUNNINGHAM sit watching.
Abberline raises a spyglass to his eye. Through the spyglass
we focus on Billy Sneddon.
INSPECTOR ABBERLINE (O/S)
I hope Billy doesn’t fuck this up.
10 EXT. LONDON EMBANKMENT PIER - CUSTOMS POST - NIGHT 10
Billy checks his gold pocket watch, then gazes downriver,
where he sees, with some relief...
11 EXT. RIVER THAMES - THE CORMORANT - - NIGHT 11
The FRENCH FLAGGED SHIP "CORMORANT" piercing the gloom as
she appears from under Blackfriars Bridge.
Guy Fawkes fireworks light the sky as the ship approaches.
12 EXT. EMBANKMENT PIER - QUAYSIDE - NIGHT 12
LATER. The CORMORANT is now docked.
The quayside is busy with human and carriage traffic.
Bright lamps shine from a pair of TWO HORSE CARRIAGES as they
arrive at the quayside. They bear the crest of LORD SOMERSET.
13 INT. EMBANKMENT PIER - POLICE CARRIAGE - NIGHT 13
Abberline swings the spyglass around and across the quayside.
INSPECTOR ABBERLINE
Somerset. Here we go.
14 EXT. CORMORANT SAILING SHIP - DECK - NIGHT 14
The SECOND MATE is assembling TEENAGERS on the deck.
15 EXT. EMBANKMENT PIER - QUAYSIDE - NIGHT 15
LORD SOMERSET (28) tall with a military bearing, steps out
from the first carriage. He turns, faces the second carriage.
LORD SOMERSET
Inspect the livestock Doctor Scyth.
DOCTOR SCYTH (O.S.)
Yes, my Lord.
Genres:
["Historical Drama","Mystery","Crime"]
Ratings
Scene
6 -
A Night of Hope and Defiance
16 INT/EXT. EMBANKMENT PIER - SECOND CARRIAGE - NIGHT 16
Doctor GILES SCYTH (40's), takes another sip from his hip
flask before hauling his rotund frame down from the carriage.
17 EXT. CORMORANT SAILING SHIP - DECK - NIGHT 17
The wet deck of Cormorant is illuminated as the teenagers
gaze up wide-eyed at the exploding fireworks in the dark sky.
18 EXT. EMBANKMENT PIER - QUAYSIDE - NIGHT 18
Somerset turns shouts to THE DRIVER of the second carriage
LORD SOMERSET
Mr. Fox, get them disembarked.
19 EXT. EMBANKMENT PIER - SECOND COACH. NIGHT 19
Coachman JUDAS FOX (26), a hard menacing looking man, jumps
down and strides over to the jetty.
20 EXT. EMBANKMENT PIER - QUAYSIDE - NIGHT 20
Raucous ROYAL NAVY SAILORS pass by the immigration post
heading to the sounds coming from Wiltons Music Hall.
21 EXT. EMBANKMENT PIER - JETTY. NIGHT 21
Lord Somerset holds a paraffin lamp as TWENTY FOUR TEENAGERS
cross the gangplank. They are a mix of African and French.
22 INT. EMBANKMENT PIER - POLICE CARRIAGE - NIGHT 22
POLICE COACHMAN
Inspector Abberline, the men are in
place. Just say the word.
INSPECTOR ABBERLINE
Thanks Charlie.
Abberline watches the Teenagers through his spyglass.
INSPECTOR ABBERLINE (CONT'D)
Poor sods. Most are snatched or
convinced London is paved with gold
and all promised well paid jobs.
SERGEANT CUNNINGHAM
Selling sex is well paid. For some.
They each smile at the irony.
23 EXT. EMBANKMENT PIER - CORMORANT GANGPLANK - NIGHT 23
Siblings VERONIQUE(15) and HENRI DUBOIS(14),part of the line
up of immigrants on the dock are nervous.
DR.SCYTH moves along the line. He begins checking for lice,
the quality of teeth, then pats then down for signs of
Rickets. Veronique sees Scyth touching up the girls.
VERONIQUE DUBOIS
Stay close to me.
HENRI DUBOIS
(in French)
What if they won't let us work
Veronique? Where will we go?
VERONIQUE DUBOIS
Speak English Henri. Remember what
Papa said. Head back. Look
confident and we will be hire
Finally he arrives in front of her and grabs her breasts. She
slaps him hard across the face.
VERONIQUE DUBOIS (CONT'D)
You are a pig!
DOCTOR SCYTH
You’ll get used to it.
Genres:
["Historical Drama","Crime","Mystery"]
Ratings
Scene
7 -
A Divided Fate
24 EXT. EMBANKMENT PIER - IMMIGRATION HUT - NIGHT 24
MOMENTS LATER:
Billy Sneddon checks the papers of Veronique and Henri
Dubois. They are in order.
BILLY SNEDDON
Parlez-vous Anglais?
Veronique and Henri smile upon hearing their native tongue.
HENRI DUBOIS
Yes, sir, we both do.
BILLY SNEDDON
Why did you come to London?
VERONIQUE DUBOIS
The big hotels need staff.
Billy is overwhelmed with empathy, something about Veronique
moves him to the core. HE LOOKS BACK TO THEIR DOCUMENTS.
Judas Fox is standing by with the next group of teenagers.
JUDAS FOX
Oi. Get moving what’s the hold up?
BILLY SNEDDON (A DECISION)
These papers are forgeries.
JUDAS FOX
What business is that of yours?.
VERONIQUE DUBOIS
They are genuine sir.
BILLY SNEDDON
(to Fox)
If you are going to traffic
children, get the paperwork right.
Fox steps forward, grinning.
JUDAS FOX
This livestock is property of his
Lordship. They are coming with me.
Fox holds up cash notes to Sneddon, who glares with disdain.
BILLY SNEDDON
(raised voice)
These two leave on the next tide.
VERONIQUE DUBOIS
We wish to work. Don't send us back
to France. Please.
Somerset, alerted by the commotion, paces over to the
immigration hut. He narrows his eyes at Sneddon.
LORD SOMERSET
Who the fuck are you?
BILLY SNEDDON
Billy Sneddon, my Lord.
LORD SOMERSET
Well, Sneddon, you must be new.
Billy stands firm, eye to eye with this arrogant man.
BILLY SNEDDON
If you send these two back to Paris
the others can stay.
Veronique Dubois catches Lord Somerset's eye.
LORD SOMERSET
They said want to stay.
BILLY SNEDDON
Because they don't know what
happens to them next.
LORD NORTHCLIFFE
You girl. What is your name?
Veronique holds her head high, locks eyes with Somerset.
VERONIQUE DUBOIS
Dubois sir. Veronique Dubois. This
is my brother Henri.
LORD SOMERSET
You will come to Fleur de Lis with
me. Henri will go with Mr. Fox.
Genres:
["Historical Drama","Crime","Mystery"]
Ratings
Scene
8 -
Chaos at the Quayside
25 EXT. EMBANKMENT QUAYSIDE - NIGHT 25
SUDDENLY the air is riven by the sound of POLICE WHISTLES and
POLICE BOOTS crashing on cobbles.
Abberline and Cunningham appear above the scene looking down.
TWENTY POLICEMEN make their presence known.
SHOUTS of “HOLD” “STAY WHERE YOU ARE”
VERONIQUE DUBOIS
(in French)
Run, we have been tricked.
The teenagers scatter in all direction evading capture.
SOMERSET runs for his CARRIAGE.
Policemen weilding billy clubs make arrests as SOMERSET locks
his coach door.
26 EXT. EMBANKMENT PIER - CUSTOMS HUT - NIGHT 26
A GUNSHOT rings out. The BULLET strikes the steel band around
a ships barrel and ricochets.
The BULLET grazes Billy’s left temple knocking him to his
knees.
Billy Sneddon is groggy.Blood runs into his eyes.
We see and hear the chaos through the kaleidoscope of his
senses. He staggers out onto the pier.
Inspector Abberline shouts out to Billy Sneddon.
ABBERLINE
Get away from here now.
Somerset hears this as his coach sets off at pace.
LORD SOMERSET
(screaming from his
window)
Fox...shoot that bastard....
Judas Fox comes running out of nowhere. His revolver is
raised pointing at Sneddon’s face. He pulls the trigger but
CUNNINGHAM rugby tackles him to the ground.
The bullet strikes a police officer standing behind Billy,
who falls to the ground. Fox scarpers. Firing again at Billy
as he goes.
CUNNINGHAM
Run.............
SNEDDON LEGS IT, a kerchief held to his wound, as Cunningham
gives chase to Fox.
Genres:
["Historical Drama","Crime","Thriller"]
Ratings
Scene
9 -
Shadows of Legislation
27 EXT. HOUSES OF PARLIAMENT – NIGHT - AERIAL SHOT 27
The illuminated Parliament Buildings reflect off the Thames,
rippled by a passing steamship heading east.
LORDS SPEAKER (O/S)
We now begin the committee scrutiny
of the Criminal Law Amendment Act,
eighteen eighty five.
28 INT. HOUSE OF LORDS, COMMITTEE CHAMBER – NIGHT 28
A NIGHT SITTING as the SPEAKER addresses the Lords.
LORDS SPEAKER
I call upon Lord Labouchere to
outline the key provisions.
LORD LABOUCHERE (42) turns to MARSHALL seated behind him.
LORD LABOUCHERE
Crib sheet?
MARSHALL hands over several note cards.
MARSHALL
Follow the order as each point
builds on the last. I have included
justifications for each section.
Labouchere reviews the notes and frowns.
LORD LABOUCHERE
I don’t see the justification
points for Section Eleven?
MARSHALL
(Dryly)
That’s because there are no
justifications for section eleven.
LORD LABOUCHERE
Be ready to step in as soon as they
start asking questions.
MARSHALL
Don’t parade me Henry. Everyone
already thinks I got the job of
drafting this Bill out of nepotism.
Labouchere is a shameless operator without conscience.
LORD LABOUCHERE
The entire British Empire is built
on nepotism. Think yourself lucky I
married your sister.
LORDS SPEAKER
Are you ready, my Lord?
LABOUCHERE stands to addresses the chamber.
LORD LABOUCHERE
My Lords, the Criminal Law
Amendment Act seeks to address the
decline in morality, social
deviancy and the manipulation of
the vulnerable.
MARSHALL NOTICES a sweating LORD SOMERSET enter the chamber.
We surmise he has rushed to the commons to cement an alibi
for the evening.
LORD LABOUCHERE (CONT'D)
We have all read W.T. Stead’s
terrifying article in the Pal Mall
Gazette entitled "The Maiden
Tribute of Modern Babylon," which
exposes child exploitation and
prostitution.
SOMERSET finds his place on the benches and wipes his brow,
smiling and nodding to his friends on the benches, making
sure everyone knows he is there..
LORD LABOUCHERE (CONT'D)
The Act includes measures to combat
the trafficking of children and
young women for the purposes of
sexual exploitation. We must stop
the White Slave Trade.
29 EXT. BLACKFRIARS EMBANKMENT - NIGHT 29
Billy runs along the Embankment towards Blackfriars before
stopping in an alleyway. He tries to hold his breath, but the
sound of his heart is preventing him hearing if he is still
being chased.
SNEDDON staggers on towards a brightly lit building with the
sound of music and revelry seeping from its windows, WILTONS
MUSIC HALL.
Genres:
["Drama","Historical"]
Ratings
Scene
10 -
Confrontation in the Chamber
30 INT. HOUSE OF LORDS, COMMITTEE CHAMBER – EVENING 30
LORD SOMERSET is now standing addressing questions to LORD
LABOUCHERE, making a big show of his interest.
LORD SOMERSET
By trafficking you mean shipping
people to England to find work?
LORD LABOUCHERE
The Act brings in stricter measures
against brothel owners and targets
those involved in the abduction,
procurement and oppression of women
and girls for prostitution.
Newspaper owner LORD NORTHCLIFFE (32)a debonair journalistic
crusader has a question.
LORD NORTHCLIFFE
What about the age of consent?
MARSHALL
(under his breath)
It goes from thirteen to sixteen.
LORD LABOUCHERE
It goes from thirteen to sixteen.
LORD SOMERSET
Are you closing the Molly Houses?
LORD LABOUCHERE
An epidemic of depraved
homosexuality is sweeping England.
Their Lordships express veiled support for this homophobia.
LORD LABOUCHERE (CONT'D)
My Section Eleven amendment to the
Act criminalises Gross Indecency
between men in public or private.
Grumbles ripple through the chamber.
LORD NORTHCLIFFE
How is gross indecency defined?
LABOUCHERE gestures to MARSHALL to answer. He stands.
MARSHALL
It isn’t. The Police will use their
judgement. Any act considered to be
gross indecency, will carry a
sentence of two years imprisonment.
From the sounds of it, this sentence is considered harsh.
LORD SOMERSET
This legislation threatens the very
existence of my family shipping
empire which employs thousands.
FOCUS on LORD NORTHCLIFFE listening to SOMERSET with an
undisguised look of contempt.
LORD NORTHCLIFFE (STANDING)
Yes, the Somerset's have been slave
trading for centuries and it didn’t
stop after the abolition.
Cries of “Rah, Rah” and “Shame” clash.
LORD SOMERSET
It is called supply and demand.
Whoring is the worlds oldest
profession. It won’t be stopped. We
must let the market decide.
LORD NORTHCLIFFE
We are talking about human lives.
LORD SOMERSET
Anything said here is privileged
but repeat any of it outside this
house and I’ll sue you and your
newspaper into the dark ages.
LORD NORTHCLIFFE
My newspaper will print the truth
without fear or favour.
LORD SOMERSET
You will regret making me an enemy,
Sir.
SOMERSET storms out, cronies trailing behind.
MARSHALL and NORTHCLIFFE lock eyes. NORTHCLIFFE nods his
approval to the young lawyer.
MOMENTS LATER:
The chamber is emptying. LABOUCHERE talks to a group of
supporters. MARSHALL waits for him, NORTHCLIFFE approaches.
LORD NORTHCLIFFE
That is a well drafted Bill. I
appreciate a well turned phrase.
MARSHALL
Thank you Lord Northcliffe..
LORD NORTHCLIFFE
Alfred.
MARSHALL
Alfred. I am a great admirer of
your own turns of phrase! Your
editorials are superb.
LORD NORTHCLIFFE
Thank you.Do you box?
MARSHALL
I do.
LORD NORTHCLIFFE
Then join me at my gym.
Genres:
["Historical Drama","Political Drama"]
Ratings
Scene
11 -
Confrontation at Wilton's
31 INT. WILTONS MUSIC HALL - NIGHT 31
Behind the bar is Landlady MAGGIE CROSS (30's), a fiery Irish
redhead, at home serving the rowdy customers. We track with
her as she navigates the crowd carrying a drink on a tray.
The bar is full of SAILORS in naval uniform. A customer at
the bar leans over to MAGGIE.
CUSTOMER
Where did this lot come from?
MAGGIE CROSS
The Polyphemus, just docked, watch
yerself. Rowdy lot!
TWO UNIFORMED NAVAL lieutenants ANDREWS AND BROWN (20’s), a
pair of pompous bullies are taunting a group of LOCAL
PROSTITUTES with cash they will never spend.
LIEUTENANT BROWN
How much for both of us?
PROSTITUTE
Five bob each. That's for me and
the room. You can do what you like.
LIEUTENANT ANDREWS
We wouldn't touch you with a barge
pole. You pox ridden whore.
The prostitute is hurt she didn’t see that coming.
Maggie walks past with the drink and notices the vitriol.
MAGGIE CROSS
Hang your heads in shame.Them’s
just honest working girls.
Brown laughs and mocks her and the other girls with a lewd
gesture. There are so many sailors in the bar the outnumbered
regulars remain tight lipped.
We shift focus to..
32 INT. WILTONS MUSIC HALL - FIREPLACE SNUG - NIGHT 32
SARAH SNEDDON (20’s) a beautiful BLACK AFRICAN WOMAN sits
watching JIMMY CROSS (40’s)the landlord of the pub, build a
raging fire.
Jimmy stands with the aid of a crutch and an artificial leg.
The tray arrives with Maggie below and the drink for Sarah.
Maggie kisses JIMMY on the cheek then turns to Sarah.
MAGGIE CROSS
A nice hot toddy for your sniffles.
SARAH SNEDDON
Thanks' Maggie. Billy not here yet?
JIMMY CROSS
Don’t fret. Working late is all.
Maggie goes to the busy bar, joking with drunken sailors.
Sarah gazes into the hypnotic flames of jimmy’s fire.
33 EXT. WILTONS MUSIC HALL. NIGHT 33
Billy is in the alleyway opposite watching what is happening.
Billy is showing signs of PTSD and is becoming paranoid.
Billy spots DR.SCYTH with Somerset's COACHMAN and a couple of
HENCHMEN looking through the window of Wiltons.They are
obviously looking for him. He draws into the shadows.
THE COACHMAN points to another pub further along on the
Embankment. They leave.
34 INT. WILTONS MUSIC HALL - TAP ROOM - NIGHT 34
Lieutenants Andrews and Brown approach other PROSTITUTES.
They are turned down because of their ugly manner.
Finally they spot Sarah sitting alone by the fireplace.
Brown looks at Andrews and they each smile.
Genres:
["Drama","Historical","Crime"]
Ratings
Scene
12 -
Desperate Defiance
35 INT. WILTONS MUSIC HALL - TAP ROOM - NIGHT 35
BILLY SNEDDON hurries in through the entrance door searching
for Sarah.
Maggie spots Billy. He is white and sweating..
MAGGIE CROSS
You seen a ghost, Bill?
Billy looks over to see the two uniformed officers standing
beside Sarah talking at her.
Billy forces his way through the crowds.
36 INT. WILTONS MUSIC HALL - FIREPLACE SNUG - NIGHT 36
Andrews and Brown are badgering Sarah.
LIEUTENANT BROWN
I thought so Freddie. Sally? Sadie?
BILLY SNEDDON’S POV as he moves at speed.
SARAH SAYS NOTHING looking downwards out of personal modesty,
but ANDREWS grabs her under her chin pulling her face up.
JIMMY CROSS
Oi, leave her be you, don’t you
touch!
BROWN shoves JIMMY violently backwards, and he falls to the
floor.
ANDREWS leans down and bawls into JIMMY’S face as BROWN
stands menacingly over him.
BILLY can’t hear exactly what ANDREWS screams at JIMMY, but
ONE WORD leaps out.
LIEUTENANT ANDREWS
.........Somerset........
BILLY comes HURTLING into the situation..
He hits ANDREWS with a powerful DOUBLE JAB sending him
crashing to the floor.
BROWN is HEAD BUTTED and falls to the floor, stunned.
BILLY puts his hands around BROWN’S throat strangles him
whilst hitting his head on the floor.
BILLY SNEDDON
Did Somerset sent you here to hurt
my wife? DID HE? DID HE?
BROWN is choking.
SARAH kneels quickly down next to Billy and pleads with him.
SARAH SNEDDON
(whispers)
BILL. If you kill him you will
hang. Come on Bill.
BILLY slowly comes around. It’s over. He loosens his grip.
BILLY helps JIMMY to get back up.
BROWN crawls away towards a table where SEAMAN RILEY, a
uniformed sailor from THE CORMORANT is sitting.
JIMMY CROSS
I’m fine Bill. Go right now. Go.
BILLY takes SARAH’S hand, and they begin walking away.
JIMMY sees BROWN as he takes a HUGE BOWIE KNIFE from SEAMAN
RILEY.
BROWN picks up a wooden chair HOLDS IT HIGH and runs straight
at Billy.
JIMMY CROSS (CONT'D)
Billy....
Too late. BROWN smashes the chair over BILLY’S back knocking
him to his knees.
Now ANDREWS grabs a broken chair leg, and repeatedly strikes
Billy. BROWN kicks BILLY hard in the ribs.
A panicked MAGGIE barges through the crowded room.
People back off from the fight.
MAGGIE CROSS
OI! STOP THIS! I will fetch the
Bobbies.
MAGGIE barges into BROWN knocking him off balance.
SARAH SNEDDON grabs a log stacked by the fire. She smashes it
into ANDREW’S arm as he wields the chair leg, catching him
square on the elbow.
ANDREWS squeals in pain. He backhands SARAH who falls down
hitting her head. The log flies across the room.
A groggy BILLY rises to his feet, then exchanges blows with
BROWN, sends him tumbling with a right hook to the ribs.
BROWN flies backwards into a LOCAL MAN spilling his beer on
to ANOTHER SAILOR. He punches the man square in the jaw.
ANDREWS produces a knife from his boot and slashes BILLY'S
face. Blood sprays from the wound, BILLY stumbles back.
SARAH watches helplessly as ANDREWS attacks again, but Billy
grabs the blade tight in his left hand.
ANDREWS smiles as he slowly draws the knife backwards slicing
into BILLY's fingers - blood spills onto the floor.
BILLY, enraged, fires a vicious right hook into ANDREW'S jaw -
he loses his grip on the knife, stumbles backward.
BILLY takes the knife in his bloody right hand, ANDREWS, head
down, rushes into BILLY, his momentum forces the knife blade
deep into ANDREW’S throat.
ANDREWS, gurgling, a knife stuck in his neck, keels over to
the floor.
SARAH scrambles back to her feet.
Behind BILLY, BROWN pulls the Bowie knife and drives it deep
into BILLY'S back by his left shoulder, then viciously
wrenches it out.
BILLY screams in agony.
SLO-MO - BILLY spins around, uppercuts BROWN in the jaw.
BROWN flies backward, hits his head into a low ceiling beam.
SARAH’S POV, BROWN’S eyes are murderous as he flies towards
her. She takes one step backwards.
Suddenly he drops the knife which impales into the top of a
wooden table next to Sarah.
BROWN, eyes glazed over, staggers menacingly towards her.
SARAH instinctively rips the knife from the table, then
plunges it into BROWN’S chest with force.
BROWN’S eyes roll back, then he crashes to the floor dead.
Then, the shrilling of POLICE WHISTLES.
SIX POLICE OFFICERS barge their way into the busy main
entrance. They stop anyone who may be a witness from
escaping.
WE CUT TO:
37 37
Genres:
["Drama","Action","Crime"]
Ratings
Scene
13 -
Sparring with Consequences
38 INT. BLACKFRIARS BOXING GYM – DAY 38
MARSHALL spars with LORD NORTHCLIFFE, trading sharp blows.
Northcliffe lands body shots, but Marshall dances away.
MARSHALL
Hit, Alfred. Don’t get hit.
MARSHALL counters with a double jab, unbalancing NORTHCLIFFE.
Northcliffe retaliates with a swift combination, forcing
Marshall to lean back and deflect the power.
MARSHALL lands a sharp hit on Northcliffe’s nose.
NORTHCLIFFE charges, only to be caught with a right cross and
a clean left jab on his way out.
A NEWSMAN, TOM VINCENT from NORTHCLIFFE’S OFFICE rushes in.
Unlike the boxers he is out of breath.
TOM VINCENT
Sir! Breaking News. Police raid on
the trafficking gang. Copper
killed. They need you in the
newsroom.
NORTHCLIFFE NODS and VINCENT runs off
MARSHALL
Its a dirty trade.
NORTHCLIFFE suddenly lands a hard jab, snapping MARSHALL’s
head back
MARSHALL (CONT'D)
Whoa! Good shot...unexpected.
LORD NORTHCLIFFE
Always keep your guard up. Always.
They tap gloves and end the bout.
LORD NORTHCLIFFE (CONT'D)
Tell me. Do you take defamation
cases?
MARSHALL
Are we suing or being sued?
LORD NORTHCLIFFE
We are working on a story linking
the river murders to the people
trafficking gang in the docks. I
need to be protected legally.I’d
like to brief you at some point.
MARSHALL
Somerset?
LORD NORTHCLIFFE
No names until I publish.
MARSHALL
And in so doing, are damned?
Northcliffe smiles and they head out of the ring together.
39 INT. WILTONS MUSIC HALL - LATER - NIGHT 39
A Police CONSTABLE gets a statement from an ENLISTED SAILOR.
A few feet in front of the fireplace, the bodies of Brown,
Andrews, and Billy Sneddon are laid out on the floor.
The CONSTABLE approaches Sarah. He grabs her by the arm.
POLICE CONSTABLE
What have you done you savage
whore?
Sarah, eyes glazed over, still in shock. She cannot speak.
SERGEANT GOODMAN (30's), is kneeling over the bodies. He
places his fingers onto the neck of Andrews, checking for a
pulse. Then does the same to Brown. He then moves onto Billy.
SERGEANT GOODMAN
This one is still alive. Somebody
fetch a doctor.
Genres:
["Drama","Crime","Thriller"]
Ratings
Scene
14 -
Justice at the Thames
40 EXT. THE THAMES EMBANKMENT - DAY 40
A carriage heads past moored ships and sailors buying
supplies from street vendors.
41 INT/EXT. CARRIAGE - THAMES EMBANKMENT- DAY 41
The carriage has pulled up next to an ironclad warship the
HMS POLYTHEMUS. Two men step out.
Renowned solicitor ARTHUR NEWTON (30's), hands Barristers
clerk BERNIE LAWLESS (40's), two sets of papers tied up in
pink ribbon.
ARTHUR NEWTON
Two naval officers from the HMS
Polyphemus here were knifed to
death in a bar fight. It was just
over there at Wiltons Music Hall.
We see in context Wiltons Music Hall and on the quayside
where the ironclad HMS Polyphemus is still moored.
BERNIE LAWLESS
Not where they expected to die when
they joined up.
ARTHUR NEWTON
Quite. Nor did our defendants
expect to be hanged for it. Take a
look. Rum pair. Chap is a veteran,
decorated in the Afghan Campaign.
Now a customs man. Not exactly the
murdering type.
Lawless looks at the front of both briefs and back again.
BERNIE LAWLESS
Sarah and Billy Sneddon?
ARTHUR NEWTON
Married. The wife is African. I
have managed to suppress that
particular detail from the press.
Newton produces a copy of the Daily Sketch newspaper with the
headline “Music Hall Double Murder - Man held”.
BERNIE LAWLESS
Arthur there isn’t a Jury in the
land that will acquit a black woman
for killing a naval officer.
ARTHUR NEWTON
Indeed. Lost cause. But I need you
to find me credible counsel for the
husband. Good form and all that.
BERNIE LAWLESS
Who are the prosecutors?
ARTHUR NEWTON
Ashraf Singh is leading counsel.
Edward Carson his junior.
BERNIE LAWLESS
Big guns.
Lawless ponders for a beat
Let’s look at the scene of the
crime then go up to the Bailey. I
may have an idea for you.
Genres:
["Crime","Legal Drama","Mystery"]
Ratings
Scene
15 -
A Bold Defense
42 INT. OLD BAILEY - ROBING ROOM - DAY 42
NEWTON AND LAWLESS enter to see...
Marshall and Charlie Gill getting into their battle dress
CHARLIE GILL
Arthur you vagabond. How are you?
Newton smiles.
ARTHUR NEWTON
I am well Charlie. Bernie has put
you up for a brief. A juicy murder.
CHARLIE GILL
(to Lawless)
I always said you are the best
barristers clerk in the Temple.
Lawless bows in mock modesty.
ARTHUR NEWTON
It’s a tricky one. Two navy men
knifed to death by a civilian
couple if you can believe it.
BERNIE LAWLESS
There is a decent self defence
story for the husband. Ex army,
some sort of war hero. Afghanistan.
MARSHALL
And for the wife?
Lawless smells a two for one offer going begging.
CHARLIE GILL
Arthur this is Marshall. My junior
in the Rosenberg murder.
ARTHUR NEWTON
A dozen witnesses saw her stab the
officer in the heart. There is no
defence.
MARSHALL
Then you and she have nothing to
lose. Give me the brief.
ARTHUR NEWTON
If she pleads guilty the judge may
offer leniency to her husband.
Marshall thinks quickly.
MARSHALL
You don’t have to decide now. Judge
me on my performance today?
Newton thinks. He likes the audacity of this young man.
ARTHUR NEWTON
Agreed.
Genres:
["Drama","Legal","Crime"]
Ratings
Scene
16 -
Prejudice in the Courtroom
43 INT. OLD BAILEY - COUNSELS BENCHES - DAY. 43
Marshall and Gill sit amongst other barristers and prepare
for the start of Crown -v- Rosenberg.
Rosenberg is already in the dock when the Jury file in.
The Jury are visibly hostile when they see by his attire and
hair ringlets that the defendant is Jewish. They make snide
comments to each other.
The Usher announces the arrival of the Judge.
COURT USHER
All rise for Mr. Justice Peach
Everyone stands as MR JUSTICE PEACH (50's), enters.
CHARLIE GILL
Ah Jesus, anyone but Peach.
44 INT. OLD BAILEY - REPORTERS BENCHES. DAY 44
The hollow faces of the usual dozen middle-aged hacks wait
impatiently.
Along the bench, XING FU (20's) is a female Anglo-Chinese
Illustrator. She works silently in charcoal. We see her
developing and sympathetic DRAWING of ROSENBERG.
Next to her taking notes is the CRIME JOURNALIST LILLY
FORTUNE (24), a stunning mixed heritage woman with an
intelligent sparkle in her eyes.
Marshall glances across from the defence benches. He smiles
at Lilly and is pleased when she smiles back.
Lilly whispers to Xing Fu
LILLY FORTUNE
Get an image of the handsome new
one.
XING FU
(whispers back)
I did that already.
Xing turns over her pad to show a remarkably lifelike
illustration of Marshall. They each smile appreciatively.
45 INT. OLD BAILEY - PUBLIC GALLERY. DAY 45
NEWTON and LAWLESS enter and sit at the front above the
courtroom looking down at Marshall.
ARTHUR NEWTON
Arrogant.
BERNIE LAWLESS
Young, passionate.
ARTHUR NEWTON
Knowledge of the law?
BERNIE LAWLESS
Sadly, he knows little of the law.
Newton shrugs with a smile.
ARTHUR NEWTON
Still, passionate is good....
Genres:
["Legal Drama","Crime","Historical"]
Ratings
Scene
17 -
A Verdict of Injustice
46 INT. OLD BAILEY - COURT ROOM. DAY 46
EDWARD CARSON rushes into court theatrically late.
He hurries to counsel's table and bows to the Judge.
JUDGE PEACH
Are you Counsel in Rosenberg?
EDWARD CARSON
Forgive my lateness my Lord. I am
Carson, representing the Crown.
Charlie Gill addresses Judge Peach.
CHARLIE GILL
Gill and Marshall for the defence.
Peach scrutinises Marshall through gold-rimmed spectacles.
Hasn’t seen this one before.
JUDGE PEACH
How does he plead?
Marshall catches Lilly looking at him from the press benches.
He stands to make an intervention.
MARSHALL
He pleads not guilty to murder my
Lord but guilty to manslaughter.
Peach looks down at Marshall. Then at the senior man Gill.
JUDGE PEACH
Is that right Mr. Gill? Guilty? Is
the Jury here for no reason?
CHARLIE GILL
Due to Mr.Carson’s tardiness, we
had no time for discussion with
councel, My Lord. My client is
willing to show contrition.
JUDGE PEACH
Is that acceptable Mr. Carson?
EDWARD CARSON (EMBARASSED)
It saves taxpayer money. We might
accept if with a harsh punishment.
JUDGE PEACH
What would the prosecution deem
harsh enough in this case?
EDWARD CARSON
As he is a foreigner who murdered
an Englishman... The death penalty.
CHARLIE GILL
Even if that same Englishman was
about to rape Mrs. Rosenberg.
EDWARD CARSON
I suggest you put that to the Jury
Mr Gill, instead of begging for
Judicial mercy.
Peach is in no mood for what he sees as tactical manoeuvres.
JUDGE PEACH
Mr.Gill expects my discretionary
powers to offer leniency, am I
correct?
Marshall jumps to his feet.
MARSHALL
What is the point in giving Judges
discretionary powers if they are
indisposed to exercise them...My
Lord?
Peach is now puce red and has to sip water before replying.
JUDGE PEACH
Insolence. How dare you. I can have
you disbarred forever.
Rosenberg exchanges a glance with his WIFE and young SON.
Gill jumps to his feet to calm things down.
CHARLIE GILL
My Lord, we do beseech you to
season justice with leniency.
JUDGE PEACH
Leniency? An Englishman is dead.
The answer cannot be leniency.
Breathes are held in the public gallery. Reporters scribble.
JUDGE PEACH (CONT'D)
Rosenberg. Isn’t that Jewish?
Lilly looks at Xing Fu’s sketch of Rosenberg as she writes
speedily in Pitman shorthand.
XING FU
So sad. His soul has left him.
JUDGE PEACH (TO ROSENBERG)
Your change of plea of guilty to
manslaughter rather than trial for
murder....
Peach looks patronisingly down at Marshall.
JUDGE PEACH (CONT'D)
Will result in the same outcome.
Peach gestures to the Usher.
The court usher places the black square on Peach’s head.
JUDGE PEACH (CONT'D)
You will be taken to Newgate jail
where you will be hanged by the
neck until you are dead. Next case.
Mrs. Rosenberg weeps as she hugs her son.
Gill’s head drops. Marshall is not surprised at the verdict.
Lilly watches Marshall from the reporters benches. She sees
his demeanour change as Rosenberg is led away.
Lilly stares inquisitively at Marshall, as if asking what
he’s going to do. He returns a solemn nod.
Marshall rises to his feet.
MARSHALL
This sentence is outrageous. The
brutal attack on my clients wife
deserved to be taken into account.
JUDGE PEACH
I have given my verdict to which
there is no right of appeal.
MARSHALL
Indeed, My Lord. Yet another legal
injustice for all the world to see.
I hope the Ladies and Gentlemen of
the press have taken note.
Marshall walks out of court in disgust.Glancing up at Lilly.
Xing taps Lilly.
XING FU
He is very brave.
LILLY FORTUNE
Or plain reckless.
Reporters run past to get back to newsrooms for deadline.
Genres:
["Drama","Legal","Historical"]
Ratings
Scene
18 -
New Beginnings at the Old Bailey
47 INT. OLD BAILEY - PUBLIC GALLERY. DAY 47
Newton gives a confident nod to Lawless. He appears impressed
despite the outcome.
ARTHUR NEWTON
To business. What is the fee for
Gill to represent Billy Sneddon?
BERNIE LAWLESS
Experienced man is Charlie. You
should mark the brief at twenty
Guineas.
Newton nods.
48 INT. OLD BAILEY - ROBING ROOM - DAY 48
Marshall is back in civilian clothes and slightly euphoric as
he places his robes and wig into his bag.
Newton and Lawless enter the room. Charlie is still downcast.
ARTHUR NEWTON
Chin up Mr.Gill. The Jury would
have hanged Rosenberg in a
heartbeat.
CHARLIE GILL
We gambled on guilty and lost.
ARTHUR NEWTON
You lost nothing. Judge Peach would
hang his own mother.
A moment for reflection. Lawless breaks the spell.
BERNIE LAWLESS
Charlie, you are representing the
husband in Crown -v- Billy Sneddon.
MARSHALL
Who is giving odds on the wife?
ARTHUR NEWTON
If you can show the passion you did
today, I would say 50/50.
MARSHALL
So you are giving her a chance?
ARTHUR NEWTON
No, I am giving you a chance. Your
first solo murder trial. Try not to
fuck it up won’t you.
Marshall smiles. LAWLESS steers Newton away.
BERNIE LAWLESS
Let’s go to The George. I’m buying.
ARTHUR NEWTON
That's also a first.
Marshall is unable to resist
MARSHALL
My terms!
Newton turns back
MARSHALL (CONT'D)
If I lose the case my services are
free. A win will cost you fifty
guineas.
A long beat while Newton weighs up some cutting response to
Marshall’s chutzpah, then..
ARTHUR NEWTON
Done.
Genres:
["Legal Drama","Crime","Thriller"]
Ratings
Scene
19 -
Tensions at The George
49 INT. THE GEORGE PUBLIC HOUSE - NIGHT 49
If the Old Bailey is the centre of the criminal world by day
then, The George holds that accolade by night. A smoke-filled
haven of barristers, solicitors, criminals, prostitutes,
reporters, clerks, fraudsters, Aristocrats and Judges.
Marshall, Newton, Lawless, and Gill enter.
Marshall immediately spots Lilly Fortune.
Marshall walks up to Lilly. He holds the copy of the Daily
Sketch with the neutral Sneddon story on the front page.
MARSHALL
(to Lilly)
A story acknowledging the
presumption of innocence.
LILLY FORTUNE
(New York accent)
You sound surprised.
MARSHALL
I have never met a lady crime
reporter let alone an American.
LILLY FORTUNE
(patronised)
I am here on merit. I graduated
from Columbia Law School.
A beat
MARSHALL
Would you join me for dinner?
Lilly smiles. She likes this non English approach.
LILLY FORTUNE
Yes, I would like that very much.
LAWLESS appears at MARSHALL’S shoulder
BERNIE LAWLESS
Not tonight, old boy. You have the
Royal dinner at Middle Temple Hall.
Lilly notices Marshall looks disappointed.
LILLY FORTUNE
Another time.
As they turn to leave CARSON is approaching the bar.
There is an awkward face to face.
BERNIE LAWLESS
Carson.
EDWARD CARSON
Lawless.
(to Gill)
You gambled and lost with Rosenberg
Charlie and worst of all, your lame
plea robbed me of a victory.
Gill looks annoyed by this insensitivity. He steps forward.
CHARLIE GILL
What does a Prosecution victory
look like? Execution? Imprisonment?
Hard labour? The poor house?
EDWARD CARSON
Oh, I see. A defence victory is
more noble than a win for the
prosecution?
LILLY FORTUNE
It’s a rigged game Mr.Carson.
Prosecutors have State money.
EDWARD CARSON
And why would you care as long as
you sell more newspapers?
LILLY FORTUNE
You really are a callous shit, Mr.
Carson. Why don’t you just bugger
off.
Carson looks wounded. He thought he was the Alpha.
EDWARD CARSON
All those big headlines when a
gamble pays off but who mentions
the ones paid for in client blood?
MARSHALL
You were told to bugger off.
This could turn nasty but Lawless politely interrupts,
steering Marshall away.
BERNIE LAWLESS
Let us get you into mess dress,
Marshall or you will miss dinner.
Lilly watches them go, genuinely intrigued.
Genres:
["Crime","Legal Drama","Mystery"]
Ratings
Scene
20 -
A Royal Flush at the Middle Temple
50 EXT/INT. MIDDLE TEMPLE HALL - NIGHT 50
Gowned Barristers walk forward in groups of four past
uniformed servants and into Great Hall, laid out for dinner
in one hundred “messes” of four.
Marshall sits in a mess with Charlie Gill, MONTAGUE DRUIT
(26) and Senior Man, ASHRAF SINGH, QC (50’s).
A fanfare sounds. The master of ceremonies announces.
M.C
All Stand for His Royal Highness
Prince Edward. Prince of Wales.
Everyone stands for PRINCE “BERTY” EDWARD (44) and his son
PRINCE ALBERT VICTOR (21), known as ”EDDY” as they make a
grand entrance.
A MONTAGE shows the royal dinner service begin.
Guests enjoying seven courses with wine.
Then comes the loyal toast.
EVERYONE PRESENT
The Queen.
CUT TO: LATER:
The meal ended, guests play cards, baccarat, and others are
discussing affairs of the day with drinks and cigars.
Marshall watches as we see Carson behaving arrogantly,
ordering the servants about as his table plays poker.
Carson notices Marshall looking over.
EDWARD CARSON
Afraid to gamble with the big boys?
Marshall approaches.
MARSHALL
Is that poker? I’m not really much
good at cards. I’ll give it a go if
you like.
Charlie Gill winks at Marshall.
The look on the avaricious faces of Carson and friends
attracts Prince “Eddy” who also steps forward.
PRINCE “EDDY”
I’ll play. What are the stakes?
Everyone stands and bows their heads.
EDWARD CARSON
Your Royal Highness it would be an
honour. The minimum stake is twenty
guineas. It’s cash only or a marker
acceptable to the winner.
PRINCE “EDDY”
Could someone sub me the stake
money? I would ask my father but he
is speaking to the Prime Minister.
Everyone laughs except Marshall. He is now laser focussed.
Marshall, Prince “Eddy”, Carson, Singh, Gill and Monty Druit
have their cash in front of him. They scrutinise each other.
The DEALER whips out the cards quickly. The players pick them
up with varying degrees of abandon.
Prince “Eddy” is sloppy and drops an ace of hearts.
PRINCE “EDDY” (CONT'D)
Oh bugger.
Marshall picks up and cautiously views his royal flush.
Gill, Druit and “Eddy” fold. Marshall, Singh and Carson play.
Ashraf Singh and Carson ask for new cards. Carson's face
lights up. Singh folds. It’s just Marshall and Carson.
EDWARD CARSON
I raise the stake by a hundred
guineas. Are you in?
Marshall puts his hundred in. Carson looks nervous.
MARSHALL
I raise you another two hundred.
Marshall throws the money in. Carson takes another look at
his cards. He counts his cash. He has only a hundred and ten.
EDWARD CARSON
I have come up a bit short.
MARSHALL
Yes, I'd heard that about you.
Everyone sniggers except Carson who is now riled with
bravado. Exactly the reaction Marshall hoped for.
Carson goes into his pocket and brings out a fine gold
cigarette case. It is encrusted with diamonds.
EDWARD CARSON
I have this.
Marshall holds out his hand and Carson gives it to him.
Marshall takes out a jewellers loupe and examines the
diamonds and the hallmark.
MARSHALL
I accept. Call.
Carson puts down his cards for all to see. It’s a straight
flush of diamonds.
PRINCE “EDDY”
Marshall can’t beat that. Side bet.
Twenty guineas?
Everyone but Monty Druit decline.
MONTAGUE DRUIT
I will take that wager but you
would have to give me two to one.
Carson is sweating and wishes he hadn’t been rude earlier.
PRINCE “EDDY”
Oh, all right. Two to one.
The room falls silent. Everyone gathers around the table.
Marshall flips over his cards.
PRINCE “EDDY” (CONT'D)
A fucking Royal flush!
Marshall has won and there are cheers.
MARSHALL
Beginners luck.
Druit holds out his hand to get his money from “Eddy” who
openly takes it from Marshall’s winnings.
PRINCE “EDDY”
I don’t carry cash.
EDWARD CARSON
Ruined my night.
We see Carson leave taking his card deck with him.
PRINCE “EDDY”
You see. No one likes a loser.
Genres:
["Drama","Historical","Legal"]
Ratings
Scene
21 -
The Weight of Silence
51 INT. 3 DR JOHNSON BUILDINGS - CLERKS ROOM - MORNING 51
The hushed chatter is audible as Marshall enters the chaos of
a Barrister’s Clerks room first thing in the morning.
BERNIE LAWLESS
I have a GBH for Mr Colton.
A rape for Mr Selby. A murder for
Charlie Gill at the Bailey.
JUNIOR clerks seamlessly pick up BRIEFs tied up in pink
ribbon to take to the respective barristers.
BERNIE LAWLESS (CONT'D)
A defamation brief to Mr Plowright,
This landlord and tenant eviction
for Mr Todd....Anyone Seen
Marshall....?
Lawless doesn’t look up.
BERNIE LAWLESS (CONT'D)
Late night?
LAWLESS hands MARSHALL the SNEDDON BRIEF
LAWLESS
First solo murder trial. Shreds the
nerves of the finest. Good luck.
MARSHALL is calm as he flips through the brief.
MARSHALL
The pathologists report?
BERNIE LAWLESS
That is next to the autopsy
photographs in the appendices.
MARSHALL
Sarah’s statement is blank. She
invoked her right to silence. I
need to see her urgently.
BERNIE LAWLESS
I said you would.
MARSHALL
Then I must visit Wiltons to
establish the layout of the crime
scene. We will need a photographer.
BERNIE LAWLESS
I’ve seen to that. The photographer
will see you at Wilton's. You are
to meet Mr. Newton and Gill at
Newgate at ten.
52 INT. 3 DR JOHNSON BUILDINGS - MARSHALL'S ROOM - DAY 52
Marshall is reading the brief, engrossed in the autopsy
report. He marks an illustration in red ink.
53 INT. NEWGATE JAIL - DAY 53
Marshall, Newton and Gill are shown in by The JAILER. He
leads them to the holding cells.
CHARLIE GILL
Mrs Sneddon hasn’t uttered a word
since her arrest. She’s clearly
traumatised. I’m not sure you’ll
get anything from her. The
interview may be mute.
Genres:
["Legal Drama","Crime"]
Ratings
Scene
22 -
Silent Struggles
54 INT. NEWGATE JAIL - CELL - DAY 54
Marshall and Newton enter. Sarah is crying. Her eye is
swollen and her lip is cut
ARTHUR NEWTON (INAPPROPRIATELY LOUD)
Mrs. Sneddon, this is Marshall. He
will defend you in court.
Marshall kneels gently beside SARAH
MARSHALL
What happened to your face?
SARAH says nothing. Her eyes meet MARSHALL’s defiantly.
Marshall can see a pain that only injustice creates.
MARSHALL (CONT'D)
You may confide in me, madam.
A long beat
SARAH SNEDDON
Some in this place find my
complexion disturbing.
Marshall hands her a clean handkerchief to wipe her tears.
ARTHUR NEWTON
Mr. Gill will defend Billy.
SARAH looks up
SARAH SNEDDON
Why do we need three lawyers?
ARTHUR NEWTON
I am a solicitor. Only a barrister
can defend you at trial.
MARSHALL
You are charged with murder. My
duty is to defend you. And I will
to the very best of my ability.
SARAH SNEDDON
Do we both have to pay?
ARTHUR NEWTON
Yes, you both had a lot of money
when you were arrested. You said
nothing to the police about that?
MARSHALL
Did the Navy men give you that
money for sex?
SARAH SNEDDON
I have the right to silence?
MARSHALL (NODDING)
The prosecution must prove their
own case beyond a reasonable doubt.
SARAH SNEDDON
I will not help the prosecution
hang my husband by providing a
motive. I shall remain silent.
MARSHALL
Forget the prosecution. To defend
you I must know what happened.
Sarah’s face hardens as she reminisces.
SARAH SNEDDON
I am a good person, I found
happiness when Billy saved me.
MARSHALL
Something happened to provoke
Billy. Was it the money?
SARAH SNEDDON
It is private.
Sarah cannot maintain eye contact with Marshall.
MARSHALL
The Jury will hang you if they
think the attack was unprovoked.I
do not want that to happen.
Sarah clutches a Crucifix hung on a chain around her neck.
SARAH SNEDDON
My faith will keep me safe.
Marshall gives an understanding nod.
ARTHUR NEWTON
God cannot save you Mrs. Sneddon.
SARAH SNEDDON
I will hang for the things I did.
ARTHUR NEWTON
Are you admitting you deliberately
stabbed Lieutenant Brown?
SARAH SNEDDON
Will a guilty plea save Billy?
MARSHALL
Pleading guilty will only hang you
it will not save Billy.
We can see Sarah is in turmoil.
SARAH SNEDDON
This is all my fault.
MARSHALL
Please. Please tell me the truth.
Genres:
["Drama","Legal","Crime"]
Ratings
Scene
23 -
Tensions Rise: A Day of Discovery and Danger
55 EXT. THE EMBANKMENT PIER - DAY 55
Marshall and Gill walk in awkward silence.
MARSHALL
What do you think of Newton?
They pass HMS Polyphemus in the line of moored vessels.
CHARLIE GILL
Good solicitor. Sails too close to
the wind. Play the system. He pays
well and he is an arch Royalist.
MARSHALL
Yes, that sounds right. I still
can't help liking him.
CHARLIE GILL
He will get us disbarred if we are
not careful and himself struck off.
A NEWSPAPER BOY is selling his wares with the billboard
headline "MURDERED BOY FOUND IN THE THAMES." Marshall buys a
copy and reads the headline story.
MARSHALL
It says here the vice squad are
convinced these murders are
connected to people trafficking.
Marshall holds up the paper.
CHARLIE GILL
I asked Billy Sneddon why he had so
much cash on him when he was
arrested. He said that was to do
with people trafficking.
MARSHALL
Sarah had cash as well. What
exactly did Billy tell you?
CHARLIE GILL
The gist was before the killings he
was checking immigration papers on
the docks. There was a police raid.
56 INT. WILTONS MUSIC HALL, FIRE PLACE - DAY 56
A camera flash goes off. We are in the familiar surroundings
of Wilton’s Music Hall.
Marshall stands where Lieutenant Brown died. The fire is
burning bright and illuminates the visible bloodstains on the
low ceiling beam where Brown hit his head.
A PHOTOGRAPHER repositions the camera and tripod.
MARSHALL
Get in close, please, Bertie.
Another camera Flash.
Charlie Gill is looking at blood stains on the floor boards.
CHARLIE GILL
This is where Andrews died. The
autopsy can’t determine whether the
wound was inflicted deliberately or
whether it was misadventure. Would
you take a look for me?
MARSHALL
Of course. I am having lunch with
my father tomorrow to the case.
The distant sound of an explosion is followed by a sonic boom
which shocks those who hear it.
Marshall and Gill run to the front entrance to the bar and
look down River. They can see a PLUME OF SMOKE rising above
the Tower of London.Bells start to ring.
CHARLIE GILL
The Fenian dynamite campaign?
MARSHALL
(introspective)
As an Irishman Charlie, I would
keep your head down.
Genres:
["Crime","Legal Drama","Mystery"]
Ratings
Scene
24 -
Secrets in the Shadows
57 INT. THE GEORGE PUBLIC HOUSE - DAY 57
Marshall arrives at The George as Lilly Fortune is
interviewing Inspector Abberline for an article.
Lilly looks over and indicates to Marshall to join them.
LILLY FORTUNE
We were just finishing up. Do you
know Marshall Inspector....?
Abberline stands and extends is arm.
ABBERLINE
This young man frequently twists my
detectives around his little finger
in the witness box at The Bailey.
MARSHALL
Did you not lead a raid a people
smuggling operation on the
Embankment Pier two nights ago,
Inspector?
ABBERLINE
You are remarkably well informed
Marshall. Who told you that?
LILLY FORTUNE
We were just discussing how that
event might be connected to this.
Lilly raises a copy of the Daily Sketch, and we recognise the
front page story of THE BODY found in the Thames.
MARSHALL
You think the dead boy was
trafficked?
LILLY FORTUNE
He hasn’t yet been identified.
ABBERLINE
They often kill and dump the
troublesome ones. Who told you
about the raid?
MARSHALL
My informant was given fifteen
pounds by someone. Does that help?
Abberline sits forward.
ABBERLINE
Customs officer Sneddon told you?
LILLY FORTUNE
He might recognise a photograph of
the boy if we could get one.
ABBERLINE
He inspected all of immigration
papers. Just my luck he has
vanished from the face.
(a few beats)
I’ll be honest,they may have
killed Sneddon and disposed of him.
MARSHALL
No Inspector. It’s much worse than
that.
58 INT. LINCOLN'S INN DINING HALL. NIGHT 58
Servants bring dinner and bottles of port to a table of men.
Judge Peach, CAPTAIN HUBERT BLIGHT in full naval uniform,
Ashraf Singh, and Edward Carson appear as thick as thieves.
CAPTAIN BLIGHT
Something has to be done.The brutal
murder of two of my officers
unpunished.wouldn’t do. Wouldn’t do
at all.
ASHRAF SINGH
The law could take its course?
CAPTAIN BLIGHT
As long as the Sneddons swing.
EDWARD CARSON
I may have a solution.
59 INT. ROYAL COLLEGE OF SURGEONS - OPERATING THEATRE - DAY 59
Marshall arrives as his father is changing into scrubs.
DOCTOR ALFRED MARSHALL HALL (60's), is an eminent physician.
Alfred is about to present a lecture to his final year
students seated overlooking the operating theatre.
ALFRED MARSHALL HALL
Are you early or am I late?
MARSHALL
I have an autopsy I wish to
discuss. Still free for lunch?
ALFRED MARSHALL HALL
Yes, if you can stomach another
dissection for my undergraduates?
MARSHALL
I never tire of watching you work.
Marshall observes the corpse on the slab has its heart
removed. The students all watch as Alfred dissects it.
ALFRED MARSHALL HALL
Damage to the heart interrupts the
flow of oxygenated blood. It causes
irreparable damage to the brain and
vital organs resulting in death.
Genres:
["Crime","Legal Drama","Mystery"]
Ratings
Scene
25 -
Picnic Tensions
60 EXT. LINCOLN'S INN - WALLED GARDENS - DAY 60
Marshall and Alfred are having a picnic lunch in the
spectacular gardens of Lincoln's Inn.
Alfred is reading the pathologist's report as he juggles game
pie, cherry tomatoes and pickled onions on his plate.
ALFRED MARSHALL HALL
Haven’t seen you at home in a
while. Your mother misses you. And
I’m sure Ethel feels the same way.
MARSHALL
Busy. You know how it is.
ALFRED MARSHALL HALL
With that Yankee showgirl by all
accounts.
MARSHALL
Actress, father. Actress.
ALFRED MARSHALL HALL
You’re doing well, getting
noticed,don’t throw it away on
tawdry scandal. People talk. Be
better off with a smart English
girl like Ethel Moon on your arm.
MARSHALL
Ethel is my good friend. Not my
future wife.
ALFRED MARSHALL HALL
Mmmm.
ALFRED looks up from reading with a withering stare. They let
the domestic conversation hang and return to business.
MARSHALL
What am I missing?
ALFRED MARSHALL HALL
Head wounds bleed. I gave you
fifteen stitches as a child.
MARSHALL
That's my point. Why was this head
wound so different?
ALFRED MARSHALL HALL
For the same reason, the heart
wound didn't bleed. It's very
simple. Look, and ye shall find.
Alfred points out one line in the autopsy. Marshall
underlines it in red ink with his fountain pen.
Genres:
["Legal Drama","Mystery","Crime"]
Ratings
Scene
26 -
Love Amidst Tragedy
61 EXT. OLD BAILEY- DAY 61
The streets are full of people and traffic coming to the
opening day of what the Daily Sketch is calling “The Music
Hall Double Homicide”.
Newspaper boys have brisk trade and there is already a queue
forming by the public entrance.
A carriage pulls up and out jumps Bernie Lawless carrying a
number of law books. Next out is Arthur Newton.
62 EXT. OLD BAILEY - ENTRANCE. DAY 62
Lilly Fortune is waiting with Xing Fu as Marshall arrives.
MARSHALL
Morning, Lilly. What have you there
Xing?
Xing has a charcoal drawing which she hands to Marshall.
XING FU
We thought you would like this.
Marshall holds it up. It is a Punch style sketch of the
courtroom scene with a very handsome Marshall defending
Rosenberg against angry Judge Peach who tears his hair out.
MARSHALL
That is wonderful Xing. May I keep
it? I shall have it framed?
XING FU
Of course.
Marshall kisses Xing on the cheek. Xing smiles.
LILLY FORTUNE
I want to discuss how the Daily
Sketch might portray the Sneddon's.
XING FU
We could make this more of a human
interest story. Perhaps balance out
the horror of the killings.
Marshall isn’t sure if she is being serious.
MARSHALL
If you can level the playing field
that would really help them.
Xing holds up two more individual images side by side. One is
Sarah, the other Billy. Both very sympathetic to their
subjects.
XING FU
The police brought them into court
at dawn. They used some sort of
short hand to speak.
The images show them lovingly turning towards each other with
Sarah seeming to sign to Billy as if deaf.
MARSHALL
These are excellent. What's the
angle?
LILLY FORTUNE
British solider marries Zulu woman.
But how do they communicate? Love
finds a way! Romantic Stuff.
The penny drops. Marshall smiles.
Genres:
["Legal Drama","Crime","Mystery"]
Ratings
Scene
27 -
Tensions in the Robing Room
63 INT. OLD BAILEY- ROBING ROOM - DAY 63
Marshall and Gill are changing into Barristerial attire, when
Bernie Lawless enters, carrying volumes of legal texts.
BERNIE LAWLESS
Good morning gentlemen. Now, let me
see, I have the Law of Provocation
in Homicide for Mr. Gill.
He holds up a bound reference book. Gill takes it.
CHARLIE GILL
Thank you, Bernie.
MARSHALL
Did you find --
Lawless holds up a thinner volume.
BERNIE LAWLESS
Inchoate Offences - The Law of
Impossible Attempts".Whatever that
means. This took some finding. High
shelf in Lincoln's Inn library.
Covered in dust.
Marshall, takes the book and looks at it wanly. A sudden
panic, he quickly loosens his collar, then suddenly nausea
grips him, he holds his gut, dashes out of the room...
64 INT. OLD BAILEY - THE LAVATORY. DAY 64
...Marshall rushes into a stall, where he vomits copiously.
65 INT. OLD BAILEY - ROBING ROOM - DAY 65
Ashraf Singh and Edward Carson are prepping for the case.
Marshall re-enters the room looking green around the gills.
ASHRAF SINGH, QC
Stage fright Marshall?
General amusement.
Charlie Gill goes to Ashraf Singh to discuss the case.
CHARLIE GILL
What are we saying, Ash? Not guilty
by self-defence all around, then
lunch on me at the George?
ASHRAF SINGH, QC
Afraid not, Charlie. Navy is very
angry. Not keen on civilians
butchering their officers.
EDWARD CARSON
Especially black females in a room
full of witnesses.
They all look at Carson with disdain.
ASHRAF SINGH, QC
Carson is offensive but essentially
correct.
EDWARD CARSON
One of the Sneddons has to swing,
so why not her?
MARSHALL
Come on Carson. They both acted in
self-defence. At worst, it’s
involuntary manslaughter. The wife
is only guilty of bad luck and the
colour of her skin.
Singh looks at Marshall as if he has lost all reasoning.
ASHRAF SINGH, QC
Have you taken leave of your
senses? An African woman killed a
British Naval Officer - in a bar.
EDWARD CARSON
Our instructions are to win at all
costs. You might want to remember
Billy is a war hero.
Genres:
["Legal Drama","Crime","Mystery"]
Ratings
Scene
28 -
Courtroom Clash: The Sneddon Case
66 INT. OLD BAILEY - COURTROOM - DAY 66
Marshall enters court, sees Lilly on the press benches,
smiles, then sits.
Lilly smiles back, discreetly points to his un-attached
collar, which he quickly rectifies.
Billy and Sarah Sneddon are placed in the dock.
The Jury enters to be seated in their box. The USHER stands.
CAPTAIN BLIGHT is in full uniform as he enters the public
gallery with great flourish.
The Jury is transfixed as they watch him getting seated.
USHER
All rise for Mr. Justice Peach.
Counsels rise for the Judge's entrance. Then all bow.
JUDGE PEACH
Crown against William and Sarah
Sneddon. Counsel?
Ashraf Singh stands.
ASHRAF SINGH, QC
May it please your Lordship, Singh
and Carson for the Crown and my
learned friends, Marshall Hall and
Gill, for the defendants.
JUDGE PEACH
How do they plead?
Gill and Marshall stand.
CHARLIE GILL
Billy Sneddon pleads not guilty.
MARSHALL
Sarah Sneddon pleads not guilty.
JUDGE PEACH (WEARILY)
Let's get on with it then. Mr.
Singh.
Singh stands and addresses the Jury.
ASHRAF SINGH, QC
Gentlemen of the Jury, there are
two prisoners each charged with a
separate murder. However, since
they acted together in one single
conflict, if you find one guilty of
murder, they must both hang.
This is news to the Jury and the public gallery. Murmering is
heard.
Peach and Singh nod to each other.
JUDGE PEACH
This is known as joint enterprise.
It only applies to murder, not to
manslaughter.
ASHRAF SINGH, QC
We say Billy Sneddon murdered
Lieutenant Andrews. Sarah Sneddon
murdered Lieutenant Brown. If
either is guilty of murder, both
are guilty of murder. Clear?
The Jurors nod to Singh, then each other.
ASHRAF SINGH, QC (CONT'D)
With regard to Billy Sneddon, we
say that he started a vicious,
unprovoked knife fight.
So far, so good. The Jury appears engaged.
ASHRAF SINGH, QC (CONT'D)
Lieutenant Andrews was already a
beaten man when the cowardly Billy
Sneddon took out his Bowie knife
and stabbed him in the throat as he
fell to the ground.
Singh fixes each juror in the eye one by one.
ASHRAF SINGH, QC (CONT'D)
That gallant young officer was
struck down with great vengeance
and furious anger at Billy's hand.
Charlie Gill jumps to his feet.
CHARLIE GILL
My Lord, I really must object. What
gallantry is he referring to?
Andrews died in a music hall brawl
that he started himself.
JUDGE PEACH
Show some respect, Mr. Gill. Two of
Her Majesties naval officers were
murdered by the defendants. The
prosecution will be allowed some
leeway.
Marshall leaps to his feet.
MARSHALL
Allegedly murdered or have you
already reached a verdict, My Lord?
Peach realises his bias has been highlighted.
JUDGE PEACH
A slip of the tongue. Allegedly, as
you say.
ASHRAF SINGH, QC
Very wise my Lord. Regarding Sarah
Sneddon, we say the facts are much
clearer. She dressed in such a way
as to mislead the officers into
thinking she was a working
prostitute.
Singh lets that sink in with the jurors.
ASHRAF SINGH
As such, it is possible the navy
men inadvertently insulted her.
This provoked in both Billy and
Sarah Sneddon a powerful need for
retribution through violence.
Marshall leaps to his feet.
MARSHALL
My Lord this is outrageous. Sarah
Sneddon was waiting for her husband
to arrive. I dispute that how a
woman dresses might have any
relevance.
JUDGE PEACH
I will allow the possibility.
MARSHALL
I want my objection on the record.
JUDGE PEACH
Noted, now sit down.
Chastised, Marshall sits. For now.
JUDGE PEACH (CONT'D)
A gentleman might conclude a woman,
all dolled up, sitting alone in a
music hall is a working harlot.
ASHRAF SINGH, QC
Sarah callously bided her time
until both officers were beaten
before making her deadly attack,
She plunged a knife into Brown's
chest, killing him stone dead.
The Jurors are engrossed by Singh's portrayal of his facts.
Marshall gets to his feet.
MARSHALL
My Lord, where did Mr. Singh get
his medical degree?
JUDGE PEACH
I told you to sit.
MARSHALL
You did, but I will not. We must
all do our duty and mine is to
justice. Mr. Singh has no evidence
that Brown died of that wound. He
should stick to facts he can prove.
Peach is visibly becoming puce with rage.
JUDGE PEACH
I know where my duty lies....
Marshall theatrically points to the packed press box.
MARSHALL
That will doubtless be a great
relief to the legion readers of the
national newspapers my Lord.
Peach is about to explode before noticing the poised pens of
the massed ranks of crime reporters. He thinks better of it.
Genres:
["Legal Drama","Crime","Mystery"]
Ratings
Scene
29 -
Tensions in the Courtroom
67 INT. OLD BAILEY - COURT ROOM - PRESS BENCHES. DAY 67
Xing Fu sketches Peach in pastel shades of plums. She shows
it to Lilly. It is an accurate likeness.
LILLY FORTUNE
It’s almost photography.
Xing smiles.
XING FU
He may still explode.
68 INT. OLD BAILEY - COURT ROOM. DAY 68
JUDGE PEACH
Try to stick to the facts agreed in
evidence, please, Mr. Singh.
Singh nods but he is perturbed. One-nil to Marshall.
ASHRAF SINGH, QC
I call my first witness my Lord.
USHER
Call Sergeant Goodman.
69 INT. OLD BAILEY COURTROOM - LATER - DAY 69
Sergeant Goodman is being cross-examined by Singh.
ASHRAF SINGH, QC
Sergeant, please tell the Jury how
you came to arrest the prisoners.
SERGEANT GOODMAN
( referring to his notebook )
Saturday the 12th we was called to
a brawl at Wiltons music hall. On
arrival, I found three men on the
floor.
(MORE)
SERGEANT GOODMAN (CONT'D)
Two of them were uniformed Navy
officers. Brown and Andrews. They
were both deceased.
ASHRAF SINGH, QC
Did you determine how they died?
Goodman takes a notebook from his pocket.
SERGEANT GOODMAN
There was a military knife still in
the neck of Andrews. It went
through the chin into his throat.
ASHRAF SINGH, QC
And Lieutenant Brown?
Goodman looks again at his book.
SERGEANT GOODMAN
Bowie knife in his chest.
ASHRAF SINGH, QC
Did anyone identify the killers?
SERGEANT GOODMAN
Witnesses said it was Billy Sneddon
as killed Andrews. He was the third
man on the floor. I arrested him. I
was told it were the wife did for
Brown. I arrested her for the
murder.
ASHRAF SINGH, QC
Did either of the prisoners provide
an account of their actions?
SERGEANT GOODMAN
As Billy Sneddon was being taken to
hospital, he spoke to me briefly.
Gill and Marshall look at each other. Marshall grabs his
brief containing Sergeant Goodman's statement.
ASHRAF SINGH, QC
Do you recall what he said?
SERGEANT GOODMAN
Yes, he said, "I did the murders.It
was me"
Gill jumps to his feet.
CHARLIE GILL
Every great lie has a bit of truth.
Who else heard this confession?
SERGEANT GOODMAN
Just myself, sir. Sneddon passed
out afterwards.
CHARLIE GILL
There is nothing in your statement
about any conversation with either
defendant, let alone a confession.
Peach is now impatient at the interruptions.
JUDGE PEACH
Sergeant, did you forget to include
this evidence in your statement
because of the pressure of work?
Goodman takes the hint.
SERGEANT GOODMAN
Yes, my Lord. Saturday nights gets
hectic. I forgot to add it.
Singh looks down at Marshall who is making notes.
ASHRAF SINGH, QC
Did Sarah Sneddon give any
explanation of events?
SERGEANT GOODMAN
She was defiant. She sat there in
dumb insolence, sir.
ASHRAF SINGH, QC
Did there come a time when she did
give an account or an admission?
SERGEANT GOODMAN
She cried when I told her that
Billy had confessed. I said that a
God-fearing woman would do the
same. It was then she said...
Goodman refers again to his notebook. Reads.
SERGEANT GOODMAN (CONT'D)
"I see now that we went too far. We
certainly killed them. I'm truly
sorry."
Singh sits. Marshall stands, and he is annoyed.
MARSHALL
How fortunate Mrs Sneddon sought to
unburden herself to you and to you
alone Sergeant Goodman.
Two JURORS smile at the irony and are clearly sceptical.
MARSHALL (CONT'D)
I put it to you that you are lying.
Lying to help the prosecution. No
such confession ever took place.
Did it?
Before Goodman can answer, Peach intervenes.
JUDGE PEACH
It is outrageous to suggest that
any police officer would commit
perjury, especially a Sergeant.
Withdraw that last remark.
MARSHALL
My Lord, I loathe injustice and a
little judicial scepticism might
prevent yet more of it.
Judge Peach looks up at the CAPTAIN BLIGHT who is seething.
JUDGE PEACH
(looks to the Jury)
In my view, Police officers are
above reproach. Their evidence can
be relied upon without question in
a court of law.
The courtroom is silent. Marshall and Gill look stunned.
MARSHALL
My Lord, in so saying you have as
much as written a blank cheque for
the prosecution . The Jury should
take note.
JUDGE PEACH
I do not like your tone, Mr.
Marshall Hall. We will adjourn for
today.
USHER
All rise.
Genres:
["Legal Drama","Mystery","Thriller"]
Ratings
Scene
30 -
Murder and Perjury: A Night at Blackfriars
70 EXT. BLACKFRIARS BRIDGE - NIGHT 70
Through the mist, we hear the whistle of a train crossing the
adjacent Blackfriars railway bridge.
A PRETTY BLONDE greets the curb crawling carriage. Her name
is EMILY HOWE. She is fifteen.
71 INT./EXT. CARRIAGE - NIGHT 71
From AN UNSEEN FIGURE POV, a lamp illuminates the fresh-
looking face of the young prostitute.
The unseen figure steps down and the girl takes her well-
tailored client into the shadows to conduct their business.
Suddenly her head is pulled back, then her throat is slit
outwards from behind. There are no screams.
Her prostrate body is dropped onto the ground.
The attacker kneels beside the body and makes a deliberate
incision down the abdomen. He dissects the kidney. It takes
no time at all. The killer throws her into the River below
and calmly boards the coach which drives away.
We DEFINITELY NEED MARSHALL LILLY HERE
72 INT. OLD BAILEY - COURTROOM - MORNING 72
GOODMAN is back in the box
JUDGE PEACH
Mr Marshall Hall, you may question
Sergeant Goodman. You will be
cogniscent of my feelings
concerning the probity of police
evidence, or I shall hold you in
contempt.
Marshall can see the detrimental effect of this intervention
on the faces of the Jury.
JUDGE PEACH (CONT'D)
(to Goodman)
I would remind you that you are
still under oath.
Marshall stands. He takes out the Bowie knife from the
exhibits box and holds it up.
MARSHALL
Is this is the knife you found in
the chest of Lieutenant Brown?
Sergeant Goodman is thrown off guard.
SERGEANT GOODMAN
Yes, that is correct.
MARSHALL
How can you be sure?
SERGEANT GOODMAN
The name “Riley” is carved on the
handle.
MARSHALL
And did you look this “Riley?”
He looks again at his book.
SERGEANT GOODMAN
A witness said Riley was a sailor
but with fifty ships moored on the
Embankment at any one time.....
Marshall reads from his brief.
MARSHALL
The witness said Riley was a Royal
Navy sailor did he not?
Goodman theatrically turns the pages in his notebook looking
for an imaginary entry.
SERGEANT GOODMAN
That’s possible,Sir.
MARSHALL
There were two Royal navy ships
moored and you boarded neither in
your search for Riley?
SERGEANT GOODMAN
We didn’t think it was important.
What are you getting at?
MARSHALL
The defence says the Sneddons were
unarmed and this man Riley supplied
Brown with the knife.
SERGEANT GOODMAN
As I say, we didn't follow it up.
MARSHALL
We also propose that in a botched
attempt to kill Billy Sneddon,
Brown ended up being killed with
his own weapon.
Marshall turns to speak to Newton. Newton nods and leaves.
SERGEANT GOODMAN
Given more time, we might have
investigated it more.
MARSHALL
(irony)
Yes, that shoddy aspect of your
investigation is consistent with
the rest.
Knowing he has unsettled Goodman, Marshall starts for real.
MARSHALL (CONT'D)
To be crystal clear, do swear that
Sarah Sneddon said every word you
read out from your pocketbook?
SERGEANT GOODMAN
I wrote down every word she said.
Marshall looks at each member of the Jury one by one as he
picks up a document from the table.
MARSHALL
How many languages do you speak?
Goodman smiles as if to say, what an idiotic question.
SERGEANT GOODMAN
Only the Queen's English, sir.
Marshall again eyes the Jury for signs of engagement.
MARSHALL
Ah, so you don’t speak Isizulu?
The face of Goodman betrays confusion.
SERGEANT GOODMAN
No sir, what is that?
MARSHALL
It’s the Bantu language of the
Zulus. It’s how Sarah communicates.
Goodman looks petrified as the Jury looks him over.
MARSHALL (CONT'D)
You wrote everything down but you
don't speak Zulu.
SERGEANT GOODMAN
No. Well. We tried everything to
get her to speak, but she refused.
MARSHALL
A confession by Sarah or Billy
amounts to joint enterprise murder.
You do know they will both hang?
The penny seems to be dropping for some of the Jurors.
MARSHALL (CONT'D)
The Judge accepted your story that
Billy confessed and you got greedy?
SERGEANT GOODMAN
She nodded when I put it to her. In
swear.
MARSHALL
You thought you could hang two for
the price of one.
Goodman is shaking at being caught committing perjury.
MARSHALL (CONT'D)
Billy was unresponsive when you
went over to him, wasn't he?
He looks at Judge Peach who is ready to explode.
SERGEANT GOODMAN
Yes sir. Billy was unconscious.
MARSHALL
And Sarah did not confess.
Goodman, reduced to shaking his head.
MARSHALL (CONT'D)
Out of misplaced loyalty to the
prosecution, you have perjured
yourself. You are a dishonest man,
Sergeant Goodman, are you not?
To the Jury directly
MARSHALL (CONT'D)
A dishonest man who holds the lives
of two innocent people in his
hands.
Lilly watches as Judge Peach quickly intervenes.
JUDGE PEACH
Bailiff, I want Goodman arrested
and locked up in the cells.
The BAILIFFS arrest Sergeant Goodman, who is taken away.
MARSHALL
You will instruct the Jury to
disregard Goodman’s lies my Lord?
JUDGE PEACH
Yes.Yes. And we will recess for
today.
USHER
All rise.
Genres:
["Crime","Legal Drama","Mystery"]
Ratings
Scene
31 -
Camaraderie and Confrontation
73 EXT. OLD BAILEY - DAY 73
Marshall, Lilly, Xing and Gill emerge from the court.
CHARLIE GILL
That was inspired, Marshall.
MARSHALL
Lilly’s article mentioned Sarah
said nothing to the police and is
of Zulu descent. I took a flyer,
even though I know her English is
perfect!
Marshall notices Lilly blush and smile.
XING FU
I could use a drink.
Lilly is holding her courtroom notes.
LILLY FORTUNE
Let me have the sketches and I’ll
finish the article. Take Marshall.
Xing hands her sketch pad to Lilly who walks away.
XING FU
I’ll see you in the morning.
74 INT. RED LION, BLACKFRIARS. NIGHT 74
Marshall and Xing are chatting over a bottle of Scotch.
STOCKY MAN
Lovely slant eyed whore.
The STOCKY MAN has FIVES accomplices. One draws a knife.
MARSHALL
Go outside and we can discuss this.
Marshall jumps up as the knifeman steps up to him.
Xing suddenly produces a derringer pistol and puts it into
the eye socket of the stocky man.
XING FORTUNE
Walk away and I won’t kill you.
Marshall grabs the knife from the stunned robber.
MARSHALL
The Lady said step back.
Xing fires a shot in the air. The men run away squealing.
75 EXT. BACK STREET - LONDON - NIGHT 75
Marshall and Xing sprint down the cobbled road laughing.
76 EXT. WOOLWICH ARSENAL QUAYSIDE. NIGHT 76
In the light of a full moon, MASKED MEN carefully climb off a
long boat that is being tied up to the pier.
SUPER: Woolwich Arsenal, 28th August 1885
The men assemble on the gaslit dock to receive instructions.
Michael COLLINS (30s), Irish, uncompromising - checks the
chamber of his Webley revolver and clicks it back into place.
His comrades DUBLIN JACK SAUL (17), ROY WISTON (25), JOHN
FLEMING (50s) BILLY BEETHAM (22), and MALACHY OLDMAN (18) are
checking their pistols and wait patiently for their orders.
MICHAEL COLLINS
(Irish accent)
They have arms for protection so we
need to be in and out quickly.
The Men move off towards the Factory up ahead.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
32 -
Night of Betrayal at Woolwich Arsenal
77 INT. WOOLWICH ARSENAL, ARMAMENT FACTORY. NIGHT 77
CIVILIAN WORKERS fashion brass into artillery shell casings
which are carefully placed onto horse-drawn wagons.
The SUPERVISOR inspects one of the casings and seems happy.
SUPERVISOR
Good work now let’s get this load
over to the gunpowder shed.
The cart passes by a rack containing pistols and rifles.
78 INT. WOOLWICH ARSENAL, GUNPOWDER SHED. NIGHT 78
HENRY MATTHEWS (30s) supervises FACTORY WORKERS loading large
boxes marked DYNAMITE carefully onto the carts.
FEMALE CHARGEHAND
Put your backs in lads, this load
has to be away on the morning tide.
The Workers begin to load the TWELVE KEGS of Gunpowder.
79 EXT. BLACKFRIARS BRIDGE, RIVER THAMES - NIGHT 79
Marshall and Xing collapse onto a bench in fits of laughter
on the gas lit banks of the Thames.
Marshall takes the whiskey bottle and two glasses from his
great coat pocket and hands one to Xing.
MARSHALL
Where did you get the pistol?
Marshall looks at Xing’s face and is enthralled.
XING
My father is the British Ambassador
to Hong Kong. Rough place.
A ship passes as they each contemplate making the next move.
80 EXT. WOOLWICH ARSENAL QUAYSIDE, THE GUNPOWDER WAGON. NIGHT 80
JIM BURNS (20s) and SAMUAL MILLS (40s) are aboard the wagon
from the Gunpowder shed.
JIM BURNS
I can relax once this lot has gone.
The wagon moves slowly across the yard to the waterfront.
SAMUAL MILLS
Take it easy, we have all night.
We hear orders being barked off-shore on an inbound vessel.
81 EXT. WOOLWICH ARSENAL DOCKS. NIGHT 81
As the Gunpowder Wagon moves behind the Customs Shed Collins
and his men come out of the darkness and strike.
Collins fires a shot in the air to get everyone's attention.
MICHAEL COLLINS
If any of you cause me trouble you
will be shot dead.
Burns and Mills look at Collins and slowly raise their hands.
SAMUAL MILLS
No trouble. We know what you want.
Wiston and Fleming jump up onto the side of the wagon and
aggressively throw Burns and Mills down to the ground.
Mills cries out as his head hits a cobblestone with a
visceral crack which causes it to split open.
Wiston and Oldman replace them in the driving seats.
The commotion brings a dozen FACTORY WORKERS to the yard.
Dazed, Mills gets back up but Oldman thinks he is escaping.
OLDMAN
(Dublin accent)
Stay where you are...
Oldman knocks Mills back down and kicks him in the face.
Burns sits upright and cuts open the back of Oldman’s calf.
JIM BURNS
You dirty Irish bastard.
This is not going to plan.
Oldman screams in pain. Collins appears and without a second
hesitation shoots Burns in the head and then in the chest.
The Factory Workers panic and noisily disperse.
MICHAEL COLLINS
Get this cargo into the boat and
let’s get it out of here.
Mills groans as he comes round. Collins points the gun.
SAMUAL MILLS
Please mister....
MICHAEL COLLINS
I can’t leave a living witness.
A final headshot from Collins ends Mills’ life.
Henry Matthews sees the execution and is armed with a rifle.
HENRY MATTHEWS
You murdering bastard.
Everyone on the Dockside scatters.
Matthews takes aim and fires hitting a barrel of gunpowder.
The resulting EXPLOSION wipes the screen.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
33 -
A Night of Romance and Revelation
82 EXT. PATH - RIVER THAMES - NIGHT 82
Marshall and Xing stand facing each at the parapet.
MARSHALL
I would like to take you home.
XING
I live in Chelsea.
Marshall pulls Xing towards him and as they kiss a fireball
lights up the night sky and the reflection makes the Thames
look like a golden thread.
CUT TO:
83 INT. BLACKFRIARS BOXING GYM – DAWN 83
Gaslight flickers in a shadowy room.
MAN ALONE SCENE - MARSHALL pummels a heavy bag with ferocity,
the chain groaning under the strain.
He stops, pulls off his gloves, and grabs a skipping rope.
With dancer-like precision, he skips, the rope cutting
sharply through the air in perfect sync with his footwork.
84 EXT. RIVER THAMES - WATERMAN'S SKIFF - PRE-DAWN 84
Two watermen, PHILIP and LIONEL STRUTT are navigating along
the south bank of the Thames, looking for eels with a lamp.
Lionel stands at the front of the boat peering down.
LIONEL
I have not seen one bleeding eel
yet. Get nearer the bank.
PHILIP
If we get in too close, we will run
aground.
LIONEL STRUTT
Do you want to eat?
As the skiff edges closer to the bank, it gets snagged.
PHILIP STRUTT
I bloody told you.
Lionel uses a boatman's hook to remove debris from the
underside of the skiff.
From under the water the pallid face of a DEAD BLONDE GIRL
surfaces.
The ghostly VERONIQUE DUBOIS stares at Lionel Strutt with
open eyes.
Lionel jumps back almost capsizing the boat.
LIONEL
Get onshore and bring the Bobbies.
Genres:
["Crime","Mystery","Drama"]
Ratings
Scene
34 -
Dawn of Tension
85 EXT. DAILY SKETCH, PRINTING PRESS FACILITY. DAWN 85
Wet cobbles reflect faint light as a carriage halts.
O/S – The printing presses whine in the distance.
Xing Fu steps out carrying an EASTMAN CAMERA. The DRIVER
hands her a gunpowder flashlamp.
Lilly Fortune strides purposefully into the print works.
86 INT. DAILY SKETCH, PRINTING PRESS. DAWN 86
The Hoe’s six-cylinder rotary presses are devouring paper and
ink, spitting out freshly printed newsprint.
Lilly and Xing approach LARRY BUNDOCK (40), head printer, who
lifts up a freshly printed paper.
87 INT. DAILY SKETCH - PRINTING PRESS FACILITY - PRE-DAWN 87
Close Up on the Hoe's six-cylinder rotary press. The noise
and dust is brutal as machines spin eating rolls of paper.
Lilly Fortune is with the head printer, LARRY BUNDOCK (40’s).
Men grab bundles of newspapers, tie them and throw them into
carts.
Bundock lifts a newspaper to show Lilly and Xing.
They smile a each other.
88 INT. DAILY SKETCH – NEWROOM EDITORS OFFICE. DAWN 88
Lilly and Xing enter the newsroom as LORD NORTHCLIFFE (32) is
leaving the EDITOR’s OFFICE. He looks tied and has a pair of
boxing gloves tied around his neck.
LILLY FORTUNE
Morning Chief. Seen this?
Lilly holds up the front page:
HEADLINE: “HANGING IN THE BALANCE”
LORD NORTHCLIFFE
There are loose ends need tying up.
Northcliffe heads out of the building.
89 EXT/INT. BLACKFRIARS BOXING GYM. MORNING 89
Marshall is hitting a heavy bag with brutal punches.
LORD NORTHCLIFFE
Morning Marshall.
MARSHALL
Morning Alfred, up early or not
been to bed again?
He was Alfred Harmsworth before his Peerage.
LORD NORTHCLIFFE
We are working on a big story so no
rest for the wicked. How’s crime?
MARSHALL
Thin gruel and the moneys no good.
Want to spar off some frustration?
Northcliffe smiles as he puts on his boxing gloves.
LORD NORTHCLIFFE
Yes, let’s but don’t think that
Cambridge Blue will help you here.
90 EXT. RIVER THAMES - WATERMAN'S SKIFF - DAWN 90
The skiff is tied to a buoy. Lionel Strutt has a cigarette in
one hand and holds onto the dead body with the other.
Philip Strutt and TWO POLICEMEN wade in from the shore.
Genres:
["Mystery","Crime","Drama"]
Ratings
Scene
35 -
Sparring with Consequences
91 INT. BLACKFRIARS BOXING GYM – DAY 91
MARSHALL spars with LORD NORTHCLIFFE, trading sharp blows.
Northcliffe lands body shots, but Marshall is ether.
MARSHALL
How are Lilly and Xing getting on
with the story.
MARSHALL lands a right left cross combination knocking
NORTHCLIFFE into the ropes.
Northcliffe retaliates with a swift combination, forcing
Marshall to lean back and deflect the power.
NORTHCLIFFE
Slowly but investigations always
are.
MARSHALL lands a sharp hit on Northcliffe’s nose. NORTHCLIFFE
charges, only to be caught with a right cross and a clean
left jab on his way out.
NORTHCLIFFE lands a hard jab to MARSHALL’s gut and it hurts.
MARSHALL
That didn’t hurt...unexpected.
LORD NORTHCLIFFE
Remember, always keep your guard
up.
MARSHALL removes his gloves.
MARSHALL
Let’s call it a draw.
LORD NORTHCLIFFE
I know you have a lot on your mind
so thank you for the work out.
92 INT. DAILY SKETCH PRINT WORKS - BUNDOCK’S OFFICE - DAY 92
LILLY FORTUNE
Can you increase production?
LARRY BUNDOCK
With six extra men I could double
output to thirty thousand an hour.
LILLY FORTUNE
I need to print one newspaper but
with a different front page.
LARRY BUNDOCK
(penny drops)
For which way the verdict goes?
LILLY FORTUNE
We must be selling the Sketch
before the other hacks have written
their stories. Can it be done?
LARRY BUNDOCK
It can but I assume Lord
Northcliffe doesn’t know?
Lilly puts her finger to her lips.
93 EXT. RIVER THAMES - SOUTH BANK - DAY 93
Inspector Abberline and Sergeant Cunningham watch the Two
Policemen place the body on the "Coroners" cart.
Abberline pulls back the shroud.
SERGEANT CUNNINGHAM
Jesus, look at the stomach. This
can’t be the same killer.
INSPECTOR ABBERLINE
The throats been cut same way.
94 EXT/INT. CARRIAGE, THAMES EMBANKMENT. DAY 94
Marshall, Gill, Lawless and Newton head to the Old Bailey.
Marshall looks out and sees the familiar shape of HMS
Polyphemus is navigating down the middle of the Thames.
MARSHALL
Polyphemus sails. That’s that then.
95 EXT. NEWSPAPER CART - LONDON - DAY 95
TWO MEN throw down bundles of newspapers to NEWSPAPER BOYS
outside the Old Bailey court building.
A disorderly queue waits to get into the Sneddon trial.
The paperboys hold the headline "HANGING IN THE BALANCE".
NEWSPAPER BOY #1
Judge threatens double hanging at
The Bailey.
Everyone begins to hand over the money to the paperboys.
NEWSPAPER BOY #2
Steady on. Plenty to go around.
96 EXT. CARRIAGE OUTSIDE OLD BAILEY - STREET - DAY 96
Marshall, Gill, Lawless and Newton get down from the coach.
Newton buys a newspaper. Holds up the front page to Marshall.
ARTHUR NEWTON
The trial really is in the balance.
They remove their hats as the Coroner's cart passes by.
97 EXT. BLACKFRIARS MORTUARY - DAY 97
Abberline and Cunningham wait as the Coroners cart arrives.
The body is placed onto a gurney, then taken inside.
Genres:
["Crime","Mystery","Drama"]
Ratings
Scene
36 -
Testimony and Tension at the Old Bailey
98 INT. OLD BAILEY - ROBING ROOM - DAY 98
Marshall, Newton, Gill, and Lawless take advantage of the
early hour and space.
CHARLIE GILL
If we say the fight began because
the officers offered Sarah money
for sex, we give the prosecution
the motive to kill.
ARTHUR NEWTON
Juries are middle-aged, middle
class and middle minded.
MARSHALL
I saw doubt in their faces. We
still have a good chance.
ARTHUR NEWTON
I hope you are right.
99 INT. OLD BAILEY - COURTROOM - DAY 99
Maggie Cross is in the witness box. Ashraf Singh speaks.
ASHRAF SINGH
Mrs. Cross, please tell us exactly
what you saw and heard that night.
MAGGIE CROSS
I saw Billy rebuke the navy men.
ASHRAF SINGH
Rebuke for what?
MAGGIE CROSS
For what I could not say.
ASHRAF SINGH
Isn’t the truth that Billy launched
a vengeful, unprovoked attack and
was then helped by Sarah?
MAGGIE CROSS
The sailors were crude and
insulting to the regulars. I run a
friendly bar. God knows know what
they said to Sarah.
Singh looks at the jurors, realises they are sympathetic
towards the honest and down to earth Maggie Cross.
ASHRAF SINGH
Whatever they said, we can all
agree they did not deserve to die?
MAGGIE CROSS
I am a Christian woman and do not
wish ill on anyone. But those
arrogant, self-entitled men got
what they deserved.
The jurors are nodding at each other and impressed with
Maggie. Singh is on a hiding to nothing and sits down.
Gill stands and cross-examines.
CHARLIE GILL
Billy was then attacked by
Lieutenants Andrews and Brown?
MAGGIE CROSS
The blonde one, Andrews, hit Billy
with a chair. The other one kicked
him on the ground. Cowards.
CHARLIE GILL
Am I right a knife was produced by
one of the officers at that time?
MAGGIE CROSS
Not right then. Sarah struck
Andrews with a fire log. She got a
punch in the face for her trouble.
Then the knives came out.
CHARLIE GILL
Did someone slash Billy's face?
MAGGIE CROSS
Blood everywhere. The pain he must
have been in to get the knife away
from Andrews. It saved his life.
CHARLIE GILL
Last question. Did Billy Sneddon
kill Andrews intentionally?
MAGGIE CROSS
Andrews ran at Billy. The wet blade
went in, and it killed him.
Gill sits, and Marshall rises and takes over.
MARSHALL
Am I right, Sarah hit Andrews with
the log because he was beating the
life out of Billy with a chair leg?
MAGGIE CROSS
Yes, and was very brave to do so.
It was then I left to get the
police.
MARSHALL
Members of the Jury, English law
allows you to defend yourself and
your spouse. The Sneddon’s were
simply defending themselves.
Marshall looks at the jurors before sitting.
JUDGE PEACH
We have a long afternoon to come.
We will break for lunch.
USHER
All rise.
They all bow, and Marshall immediately leaves court.
Genres:
["Legal Drama","Crime","Mystery"]
Ratings
Scene
37 -
Oysters and Intrigue
100 EXT. OYSTER BAR - BOROUGH MARKET - DAY 100
Oysters on the half shell are presented over an ice bucket.
Lilly picks up an oyster, places chopped shallot and lemon
juice onto it and lets it slide into her mouth.
LILLY FORTUNE
They say the bravest man on earth
was the first to eat raw oyster.
Lilly smiles her most flirtatious smile.
MARSHALL
Why would they presume it was a
man? Most men are squeamish about
putting anything raw into their
mouths.
They both smile.
LILLY FORTUNE
Touché.
MARSHALL
To what do I owe the pleasure?
LILLY FORTUNE
A girl can’t buy you lunch without
an ulterior motive?
MARSHALL
I like a free lunch, but this isn’t
one, is it?
LILLY FORTUNE
I am cultivating a network of
people with mutual interests.
MARSHALL
I have very little influence.
LILLY FORTUNE
You have influence. I see the way
people look and listen to you. That
is an attractive quality.
MARSHALL
You flatter me. But why?
LILLY FORTUNE
I like how you fight. It’s
provocative but measured. Fearless
yet pragmatic. You go to the edge.
MARSHALL
I despise injustice.
LILLY FORTUNE
You let Northcliffe help you.
MARSHALL
Its mutual. We are old friends, and
he does have great influence.
LILLY FORTUNE
You use him because he promises the
social change you desire?
MARSHALL
We are using each other.
LILLY FORTUNE
It’s very Faustian. Would you sell
your soul to get what you desire?
MARSHALL
I prefer to rent it and keep the
freehold.
LILLY FORTUNE
I trade favours to get help from my
informants.
MARSHALL
That of course includes the police.
LILLY FORTUNE
Briefings on a daily basis.
MARSHALL
You are close to Fred Abberline.
Are you lovers?
Lilly doesn’t avoid eye contact.
LILLY FORTUNE
Would you be jealous if we were?
MARSHALL
Now you make me think about it.
Yes.
They each avoid eye contact for a moment.
LILLY
I need your help.
MARSHALL
If I can.
LILLY FORTUNE
What are the two most likely
outcomes of the Sneddon trial?
Marshall points upwards.
MARSHALL
Billy is on solid ground for self
defence with Andrews. I have a
medical defence for Sarah on Brown.
Regrettably that may scupper Billy.
It’s fifty-fifty for him.
Genres:
["Crime","Drama","Mystery"]
Ratings
Scene
38 -
Clues from the Mortuary
101 INT. BLACKFRIARS MORTUARY - DAY 101
INSPECTOR ABBERLINE
What are you saying Doctor?
Piper removes his mask to speak. He points at the Thames
girl’s body.
DOCTOR AUGUSTUS PIPER
The person who killed her...
Piper pulls back the shroud on another table where the corpse
of an African girl is laying.
DOCTOR AUGUSTUS PIPER (CONT'D)
…is the same person who killed this
girl. She was found last night at
Bankside.
FLASH - a mortuary photographer gets a shot of redhead girl.
INSPECTOR ABBERLINE
Same throat wound?
DOCTOR AUGUSTUS PIPER
Same. Bankside girl was left on the
beach. Possibly disturbed putting
her into the water.
Piper covers up the African girl.
INSPECTOR ABBERLINE
What are the abdomen wounds on
Thames girl?
Abberline steps in closer as Piper demonstrates.
DOCTOR AUGUSTUS PIPER
The killer is getting bolder. He
performed a partial hepatectomy,
skilfully and in the dark.
Abberline takes in this grim news.
SERGEANT CUNNINGHAM
He performed a what?
INSPECTOR ABBERLINE
He removed part of her liver.
Cunningham's eyes are drawn to the name label inside the
girl’s dress. He lifts it up to the light.
SERGEANT CUNNINGHAM
“Veronique” something. Can’t make
out the surname.
Piper looks at it.
DOCTOR AUGUSTUS PIPER
Dubois. It's French.
Abberline looks at VERONIQUE DUBOIS's face.
INSPECTOR ABBERLINE
Well Veronique How, how did you get
here and why would someone do this
to you?
Cunningham examines her possessions and is drawn to the
distinctive blue chip on the gurney.
SERGEANT CUNNINGHAM
Why would she have this? It’s from
a casino.
Abberline looks at the embossing around the edge.
BIG CLOSE UP:
The letters F.D.L are burnt into the rim.
He hands the chip to Cunningham to examine.
SERGEANT CUNNINGHAM (CONT'D)
FDL. Fleur de Lis?
INSPECTOR ABBERLINE
If you paid a harlot with a gaming
chip is clever.
DOCTOR AUGUSTUS PIPER
It can be cashed in after sex.
Abberline is seeing the bigger picture.
SERGEANT CUNNINGHAM
I’ll get the photographs over to
Lilly Fortune for publication.
INSPECTOR ABBERLINE
If we connect either girl to Fleur
de Lis or The Cormorant, we may
have enough for a search warrant.
Genres:
["Crime","Mystery","Drama"]
Ratings
Scene
39 -
The Weight of Truth
102 INT. THE OLD BAILEY COURT ROOM - DAY 102
Wilton's landlord Jimmy Cross is in the witness box.
EDWARD CARSON
Lets be honest. The Naval Officers
insulted Sarah and you handed Billy
a knife to finish them off?
JIMMY CROSS
Brown got the knife from a sailor.
I had no knife and nor did Billy.
EDWARD CARSON
You and Sneddon saw action at
Rorkes Drift. Brother’s in arms are
obligated to help each other.
JIMMY CROSS
Billy fought them with his bare
hands. He was regimental
middleweight champion.
EDWARD CARSON
You gave him the killing knife.
Jimmy knows he said too much.
JIMMY CROSS
How many knife fights you have been
in? Forget Queensbury rules.
Marshall looks up at Lilly Fortune who is writing.
103 INT. OLD BAILEY COURT ROOM - PRESS BENCHES. DAY 103
Xing perfectly captures Jimmy’s features.
XING FU
I want to get Carson and Singh.
Individuals or together?
Lilly looks at the image of Jimmy.
LILLY FORTUNE
Can we have both?
Xing begins immediately and we stay with her until she has
mapped out the recognisable features of Carson and Singh.
104 INT. OLD BAILEY COURT ROOM. DAY 104
EDWARD CARSON
I have not yet had that pleasure.
JIMMY CROSS
A blade opens flesh like butter.
Blood escapes like oil. If you are
foolish enough to start a knife
fight and you had better know the
rules.
EDWARD CARSON
And what are these rules?
JIMMY CROSS
The winner is last man standing.
The Jurors see Jimmy Cross is truthful. Carson is riled.
EDWARD CARSON
You said Sneddon’s fists were as
effective as any knife?
JIMMY CROSS
You are putting words in my mouth.
EDWARD CARSON
The truth I am looking for is
Sneddon obtained a knife and he
killed Andrews out of revenge. Then
his wife did the same to Brown.
Carson sits. The jurors consider his proposition.
Marshall and Gill whisper to each other. Gill nods and rises.
CHARLIE GILL
I have no questions for this
witness my Lord.
Marshall stands.
MARSHALL
(to Jimmy Cross)
Billy and Sarah Sneddon are very
proud people. It is pride that put
them in the dock. You swore an oath
of silence but unless you to tell
this Jury what happened right now,
they will both hang.
Jimmy looks at Billy in a panic. Billy slowly nods back.
Jimmy narrates as we see in FLASHBACK:
Genres:
["Legal Drama","Mystery","Thriller"]
Ratings
Scene
40 -
Confrontation at Wiltons Music Hall
105 INT. WILTONS MUSIC HALL - FIREPLACE. NIGHT 105
JIMMY CROSS (O.S.)
To begin with, the officers were
just crude...but then....
LIEUTENANT BROWN
I thought so Freddie. It is her.
Sally? Or Sadie?
Sarah looks downwards out of personal modesty, but Andrews
grabs her chin and pulls it up to see her full face.
LIEUTENANT ANDREWS
Called herself Sarah when we
ploughed her. Are you still whoring
for Somerset or is he your new
pimp?
LIEUTENANT BROWN
(looks at Sarah)
Did Somerset throw you out after we
used you up?
JIMMY CROSS
You have her mixed up with someone
else. Leave her alone.
LIEUTENANT BROWN
(to Sarah)
It’s her alright. I thought about
you for weeks afterwards.
LIEUTENANT ANDREWS
So, did I. My first African.
Jimmy pushes the poker into the fire.
JIMMY CROSS
She's a respectable married woman.
Andrews and Brown both laugh in his face.
LIEUTENANT ANDREWS
(to Jimmy)
She’s a twenty guinea whore.
Somerset will cut off your balls
when we tell him you are pimping
out one of his tarts.
LIEUTENANT BROWN
I would have paid anything, but you
were a present from Somerset.
Andrews takes out bank notes and slams them on the table.
LIEUTENANT ANDREWS
(to Jimmy)
Get me the keys to your best room.
LIEUTENANT BROWN
(to Sarah)
Let’s go upstairs and this time we
won’t be rough.
Jimmy takes the red hot poker out of the fire and raises it.
JIMMY CROSS
Get out of my bar you bastards.
Brown shoves Jimmy backwards, and he falls over. The poker
clatters off the stone slab floor.
Suddenly Billy comes out of nowhere. He hits Andrews with a
powerful double jab, right cross. He crashes to the floor.
Billy head buts Brown who also goes down.
End Flashback:
106 INT. OLD BAILEY COURT ROOM. DAY 106
The public gallery is animated as spectators discuss amongst
themselves what they have heard.
MARSHALL
The prosecution say Billy had the
knife or that you gave it to him?
JIMMY CROSS
Brown got it from a sailor. Find
him and get the truth.
MARSHALL
Sadly, that ship has sailed. What
happened next?
107 INT. OLD BAILEY - PUBLIC GALLERY - DAY 107
Inspector Abberline and Sergeant Cunningham enter the packed
public gallery. They stand as they watch the proceedings.
108 INT. OLD BAILEY - COURTROOM - DAY 108
JIMMY CROSS
Brown stuck the Bowie knife into
Billy's shoulder. He pulled it out
and turned towards Sarah.
Lilly Fortune is taking down every word.
MARSHALL
What Billy did next is crucial.
Jimmy Cross is reliving the moment and lacks caution.
JIMMY CROSS
Seeing Sarah was in danger, Billy
swung around and landed an uppercut
onto Brown's jaw.
Carson is taking extensive notes during this exchange and
shows them to Singh, who nods. They are up to something.
MARSHALL
What happened to the knife?
JIMMY CROSS
It was wet from Billy's blood, It
slid from Brown's hand and stuck in
the table. Sarah grabbed it and
plunged it into Brown.
Gill sits. The Jurors are looking a bit more sympathetic.
MARSHALL
Did she intend to kill him?
Jimmy looks across at Sarah in the dock.
JIMMY CROSS
Maybe. I know I did.
The noise level in the courtroom increases dramatically.
JUDGE PEACH
It is a reasonable time to rise for
the evening.
Genres:
["Crime","Drama","Mystery"]
Ratings
Scene
41 -
A Haunting Revelation
109 INT. THE GEORGE PUBLIC HOUSE - NIGHT 109
Marshall and Lilly Fortune are having dinner when Abberline
arrives.
MARSHALL
Have you eaten inspector?
Abberline looks haunted.
INSPECTOR ABBERLINE
I’m not hungry but I will take a
beaker of wine if you don't mind.
Lilly pours him a large glass of red. Abberline exchanges it
for an envelope.
LILLY FORTUNE
What’s this Fred?
INSPECTOR ABBERLINE
Can you get these in the paper?
Lilly opens the envelope and finds photographs of Veronique
Dubois in the mortuary. The images shows some of the
injuries.
Lilly hands them to Marshall.
MARSHALL
Do you have the autopsy report for
this murder and the others? That's
where you will make the connection.
Abberline hands the Coroners reports to Marshall.
INSPECTOR ABBERLINE
Right now, I would just be happy to
solve Veronique's. I just sense it
is somehow connected to Somerset.
LILLY FORTUNE
Would Billy have checked the papers
of Cormorants passengers?
INSPECTOR ABBERLINE
Yes, which is why I need to
question him before the verdict
comes in.
MARSHALL
He is fragile enough as it is.
Abberline grabs the wine bottle and fill his glass.
MARSHALL (CONT'D)
But I do have another idea.
Genres:
["Crime","Mystery","Drama"]
Ratings
Scene
42 -
Courtroom Confrontations
110 INT. OLD BAILEY - COURTROOM - DAY 110
Ashraf Singh has called Billy Sneddon to give evidence.
BILLY SNEDDON
To tell the truth, so help me God.
ASHRAF SINGH
Did you witness your wife murder
Lieutenant Brown Mr Sneddon?
Marshall stands.
MARSHALL
Neither spouses can be required to
give evidence against the other.
ASHRAF SINGH
(busted)
Quite right. I will rephrase the
question. Mr Sneddon, did you
witness what happened to Lieutenant
Brown after you punched him?
Billy looks over at the dock where Sarah is rotating Rosary
beads through her fingers.
BILLY SNEDDON
I didn’t see anything.
ASHRAF SINGH
You are an army man. A hard man. A
killer. A man used to a knife
fight. I have your military record.
Carson hands Singh a British Army file.
BILLY SNEDDON
I served at a time of need.
ASHRAF SINGH
You worked behind enemy lines. A
gun expert and knife specialist.
BILLY SNEDDON
Yes.
ASHRAF SINGH
You were so haunted from killing so
many men that the Army discharged
you with traumatic hysteria?
BILLY SNEDDON
I fought and killed but the dead
fought back. Mostly in my head.
ASHRAF SINGH
What does such a warrior do when
his wife is called a whore?
BILLY SNEDDON
I was angry.
ASHRAF SINGH
Angry enough to murder both men?
BILLY SNEDDON
Yes.
The court goes into stunned silence.
ASHRAF SINGH
You admit it.
Billy looks again at Sarah.
BILLY SNEDDON
I determined they should die...
Billy looks at Marshall and Gill.
BILLY SNEDDON (CONT'D)
.. until my wife said not to. She
forgave them for everything they
did to her. I walked away.
ASHRAF SINGH
But ultimately you did kill them.
Sarah smiles at him now that Billy is able to tell the truth.
BILLY SNEDDON
They tried to kill me and my wife.
ASHRAF SINGH
I have no further questions my
Lord.
Ashraf Singh sits. Gill gets up.
CHARLIE GILL
I have no questions my Lord.
Marshall stands.
MARSHALL
My Lord I hope to paint the bigger
picture.
JUDGE PEACH
I will give you some leeway.
MARSHALL
You work as a customs officer at
Embankment Pier?
Billy notices Inspector Abberline in the public gallery.
BILLY SNEDDON
That’s right.
MARSHALL
We have in court Inspector
Abberline. Is it true you helped
disrupt a people trafficking ring?
Billy is red faced that this should come out in open court.
BILLY SNEDDON
I told Abberline about Lord
Somerset who ships in illegal
immigrants to work in his brothels.
Carson stands.
MARSHALL
You were shot at for trying to help
the illegal immigrants to escape?
The court room is now in silence.
BILLY SNEDDON
I tried and failed.
The court room door opens and in walks Leading Seaman Riley.
Marshall stands immediately and beckons to Riley.
MARSHALL
My Lord I wish to call Leading
Seaman Riley as a witness. He can
shed light on the knife evidence.
Ashraf Singh turns to Carson. They are worried.
ASHRAF SINGH QC
HMS Polyphemus left at first light.
That man must have jumped ship.
MARSHALL
How remarkably well informed my
learned friend is at secret
military shipping movements.
Ashraf Singh is red faced.
ASHRAF SINGH QC
That’s my assumption. The fact is
he is absent without leave.
MARSHALL
His Captain may have given his
permission to testify.
Judge Peach is quick to get to his malevolent best.
JUDGE PEACH
Bailiff arrest that man for
desertion and take him to Newgate.
The bailiff approaches Riley who looks resigned to his fate.
MARSHALL
You must allow him to testify.
JUDGE PEACH
Must? This man is a fugitive.
MARSHALL
Riley’s evidence could determine
life and death. I say you must hear
him and damn you if you don’t.
JUDGE PEACH
How dare you be so offensive.
MARSHALL
If I am offensive, you may take it
that I am offended.
The court room is silent. Gill looks stunned
MARSHALL (CONT'D)
(indicating the press)
Justice demands he be heard or by
god the world will know why.
Judge Peach sees the reporters are writing about his actions.
JUDGE PEACH
I will allow evidence from Riley.
Singh and Carson are deflated at Marshall’s victory.
Marshall’s gamble paid off. Riley goes into the witness box.
LEADING SEAMAN RILEY
I swear by almighty God that the
evidence I shall give will be the
truth and nothing but the truth.
Marshall holds up the Bowie knife from the evidence box. He
indicates to the usher to show it to Riley.
MARSHALL
What is the inscription on the
handle of this Bowie knife please?
Riley inspects the handle of the knife.
LEADING SEAMAN RILEY
My surname is carved on the handle.
MARSHALL
You are certain it is your knife.
LEADING SEAMAN RILEY
Its mine alright.
Marshall holds the knife up so the Jury can focus on it.
MARSHALL
The Jury heard this knife was found
in Browns chest. Why was it there?
LEADING SEAMAN RILEY
Brown asked me for a knife because
he was getting a beating.
Singh and Carson have their heads in their hands.
MARSHALL
You thought giving having a knife
would protect him?
Riley is now shamefaced.
LEADING SEAMAN RILEY
Knives are just for show. Make the
other bloke back off.
MARSHALL
Young men dying for bravado.
Peach rises.
JUDGE PEACH
We are adjourned.
Genres:
["Legal Drama","Crime","Mystery"]
Ratings
Scene
43 -
A Night of Urgency and Rebellion
111 INT. OLD BAILEY COURT ROOM - PUBLIC GALLEY. DAY 111
Abberline is approached by POLICE CONSTABLE DICKENS who has
clearly been running.
PC DICKENS
There’s been another one sir.
Teenage girl found at St.
Katherines Dock. Doc Piper wants
you at Blackfriars mortuary soon as
you can.
A look of reservation crosses Abberline's face as he leaves.
112 EXT. EMBANKMENT PIER - CORMORANT BERTH - NIGHT 112
Marshall, Xing and Lilly are surveying the Cormorant as the
crew disembark along the gangplank.
MARSHALL
The crew and cargo manifests are
usually kept on the bridge.
Marshall, Xing and Lilly watch as Captain Dupont leads the
First Mate and EIGHT SAILORS towards the music coming from
Wiltons.
113 EXT/INT. CORMORANT BRIDGE - NIGHT 113
The First Mate shouts back to the SAILOR left onboard.
FIRST MATE
Try and stay sober Mathurin and no
whores. That's for the rest of us.
A big cheers goes up amongst the crew. MATHURIN looks
disgruntled but waves, nonetheless.
MATHURIN
Fuck the lot of you.
Mathurin steps inside the bridge. He looks inside a drawer
where he finds a bottle of gin. He pulls out the cork with
his teeth and takes a long satisfying glug of the contents.
114 EXT. EMBANKMENT PIER - NIGHT 114
Xing stays put as Marshall and Lilly discreetly follow the
crew of the Cormorant across to Wilton’s where they all hit
the bar.
LILLY FORTUNE
That’s them for the night.
MARSHALL
Time to go aboard.
Genres:
["Crime","Mystery","Drama"]
Ratings
Scene
44 -
Tension on the Cormorant
115 INT. CORMORANT BRIDGE - NIGHT 115
Mathurin has his feet on the map desk and is snoring loudly.
Marshall and Lilly slowly open the door of the bridge.
They look around the cabin and discreetly open draws
containing maps and charts. Nothing helpful.
Marshall points downwards and Lilly understands. She keeps
watch as Marshall descends the steps to below deck.
116 INT. CORMORANT - CAPTAINS CABIN - NIGHT 116
Light from the porthole guides Marshall as he enters the
cabin. On a shelf there are several ships logs.
Marshall takes a box of matches and lights a candle. He takes
the logs down and begins to scrutinise.
In one of the logs there are passenger lists for various
dates. The passenger names, age, place of birth, embarkation
and disembarkation points are all listed.
117 INT. CORMORANT BRIDGE - NIGHT 117
Lilly looks out towards Wiltons. Various Sailors are up to no
good but non heading this way when suddenly she is grabbed by
Mathurin. Lilly supresses a scream.
MATHURIN
What are you doing here.
Lilly calms Mathurin down with faux affection.
LILLY FORTUNE
I am your present from the Captain.
118 INT. CORMORANT - CAPTAINS CABIN - NIGHT 118
Marshall runs his finger along the list for “London
disembarkations” on November 5th, 1885.
He then looks at places of birth and ages. There are nine
names where birth place and embarkation was Paris.
Marshall checks the names which includes Veronique Dubois.
Problem is, she has a sibling, Henri Dubois.
119 EXT. EMBANKMENT PIER - CORMORANT. NIGHT 119
Xing is watching the ship and the quayside when she spots the
First Mate staggering towards Cormorant.
XING FU
Oh shit.
120 INT. CORMORANT BRIDGE - NIGHT 120
Mathurin still has half of the gin in his bottle.
MATHURIN
Drink with me. I want you relaxed
before we do it.
Lilly takes the bottle, cleans the neck and takes a swing.
121 EXT. EMBANKMENT PIER - CORMORANT. NIGHT 121
Xing believes attack is the best form of defence and walks
directly at the First Mate. They collide.
FIRST MATE
Steady on. Oh, sorry.
Xing is steadfast.
XING FU
I think you owe me a drink.
The First Mate smiles his most lascivious smile.
FIRST MATE
My pleasure.
Xing and the First Mate walk towards Wiltons.
122 INT. CORMORANT - CAPTAINS CABIN - NIGHT 122
Marshall is turning back the pages to 1881. He slides his
finger down the list of passengers. He stops at the name of a
fourteen year old from Durban. Her name is Sarah Dlaminis.
Marshall puts the log inside his coat and leaves.
123 INT. CORMORANT BRIDGE - NIGHT 123
Lilly is in a non-consensual clinch with Mathurin when the
cabin door flies open. Marshall grabs the aggressor and bangs
his head up against the wall.
MARSHALL
What are you doing with my girl?
Lilly ducks down and exits the bridge.
Mathurin isn’t sure if it’s the drink or he dreamt Lilly.
MATHURIN
My ship mates, they...
Marshall hurries out of the door and down the gangplank.
Mathurin is once again alone. He picks up the near empty gin
bottle and scratches his head.
Genres:
["Mystery","Thriller","Crime"]
Ratings
Scene
45 -
Echoes of the Past
124 EXT. OLD BAILEY. DAY 124
Newspaper boys peddle their wares with the mortuary
photograph of Veronique on the front page.
NEWSPAPER BOY
Police name murder victim.
125 INT. OLD BAILEY COURT ROOM - DAY 125
Sarah Sneddon is in the witness box. She hands the bible she
has sworn on back to the Usher.
ASHRAF SINGH QC
Mrs Sneddon, you do not deny
stabbing Brown and yet you plead
not guilty. What is your defence?
Marshall stands.
MARSHALL
My client acted in self-defence and
through the vilest provocation.
ASHRAF SINGH QC
The level of self-defence allowable
must be proportionate to the harm
inflicted. Can she justify stabbing
Brown for his offensive language?
Sarah looks at Billy and then at Marshall. Marshall stands.
MARSHALL
Sarah will tell her story in her
own way. It begins when she came to
England. Be patient and you will
see the connection to this case.
Marshall nods and Sarah begins.
SARAH SNEDDON
My birthname is Sarah Dlaminis. I
was brought up in Durban.
126 EXT. DURBAN DOCKS - DAY 126
Ships are in the busy port area where traders sell good to
sailors and locals.
SARAH SNEDDON (OS)
My parents were killed in the war.
Sailors are loading supplies onto The Cormorant.
The FIRST MATE is looking around the docks for any strays.
SARAH SNEDDON (OS) (CONT'D)
At fourteen I was stolen and
brought to England.
Sarah sits alone. She is approached by the First Mate.
FIRST MATE
You look hungry. Come with me.
Genres:
["Crime","Drama"]
Ratings
Scene
46 -
A New Beginning
127 EXT. THE CORMORANT - ATLANTIC OCEAN - UPPER DECK - DAY 127
The sun shines onto the deck of the Cormorant as it is
scrubbed by TWENTY TEENAGERS including Sarah.
SARAH SNEDDON
The voyage took many weeks.
The First mate walks the deck. He kicks many of the boys or
girls if he doesn't think they are working hard enough.
FIRST MATE
Put your back into it.
Captain Dupont stands on the quarter deck. He points to one
of the teenage girls. The first mate nods.
The first mate grabs a GIRL and takes her to Dupont.
FIRST MATE (CONT'D)
The Captain wants you.
128 EXT. THE CORMORANT, NORTH SEA - UPPER DECK - DAY 128
The teenagers are huddled together for warmth.
As the mists lift, the sight of the white cliffs of Dover
sends the Cormorant crew into a bout of cheering.
CAPTAIN DUPONT
You Englishmen are home.
129 EXT. THE CORMORANT - RIVER THAMES - UPPER DECK - NIGHT 129
Sarah looks scared as the sun goes down over the buildings of
London and the crew start to prepare them for disembarkation.
SARAH SNEDDON
I was a long way from home and all
alone in the world.
As Sarah looks up, she sees several carriages on the
quayside.
Bright lamps shine from a pair of two-horse carriages. They
bear the livery and crest of Lord Somerset.
SARAH SNEDDON (CONT'D)
I didn’t know it then, but my new
owner was looking down on me.
Lord Somerset looks down at Sarah and points.
LORD SOMERSET
You will come with me.
Sarah points to herself and Somerset nods.
Genres:
["Historical Drama","Mystery","Thriller"]
Ratings
Scene
47 -
A Chosen Path
130 EXT. THE CORMORANT - GANGPLANK - NIGHT 130
From Sarah's POV we make it to dry land.
131 EXT. EMBANKMENT PIER - NIGHT 131
LORD SOMERSET
Doctor Scythee, prepare to inspect
the livestock.
DOCTOR SCYTHEE
Yes, my Lord.
Doctor Giles Scythee takes his medical bag from the carriage.
LORD SOMERSET
(points to Sarah)
Not that one. I don't want your
filthy hands on her.
Doctor Scythee inspects the teenagers in his usual way.
Coachman Judas Fox, walks over to the group of disembarked
teenagers. He points to the immigration hut. They follow him.
SARAH SNEDDON (O.S)
They had no papers to identify us,
so they bribed the customs man.
132 EXT. EMBANKMENT PIER - IMMIGRATION HUT - NIGHT 132
A uniformed CUSTOMS OFFICER is drinking rum from a bottle.
CUSTOMS OFFICER
How many this time?
Fox hands him a number of documents to the Customs Man.
SARAH SNEDDON (O.S.)
Lord Somerset picked me to go with
him in his carriage and for self
preservation I went with a smile.
133 INT. SOMERSET’S CARRIAGE - NIGHT 133
Somerset admires his new possession as the carriage clatters
along Fitzroy Square.
LORD SOMERSET
You will be my special girl. You
won’t do any work for now.
Somerset reaches out and pats Sarah’s leg.
SARAH SNEDDON (O.S.)
I didn’t know what he meant but it
didn’t take long to find out.
Genres:
["Drama","Historical","Mystery"]
Ratings
Scene
48 -
Descent into Despair
134 EXT. FLEUR DE LIS, CLEVELAND STREET - NIGHT 134
A DOORMAN opens the carriage door and Lord Somerset jumps
down. He holds out his hand for Sarah who follows.
Sarah stands in awe of the beautifully lit, Regency building.
SARAH SNEDDON
Only the Governor’s mansion in
Durban looked like Fleur de Lis.
135 INT. FLEUR DE LIS, CLEVELAND STREET - NIGHT 135
We track past finely dressed gentlemen seated on leather
settees and playing cards around mahogany tables.
Somerset doesn't bother to stop to speak to the numerous
sycophants. He is in a hurry to get upstairs.
SARAH SNEDDON (O.S.)
There was an urgency I had never
encountered before.
136 INT. FLEUR DE LIS, CLEVELAND STREET - BEDROOM. NIGHT 136
Somerset’s room has a fire and lamps lit. He locks the door.
He stands in front of Sarah with lust in his eyes.
137 INT. OLD BAILEY COURT ROOM. DAY 137
SARAH SNEDDON
I cannot shame my husband any
further. I was fourteen and until
that night I was a virgin.
There are tears in the eyes of some in the Jury box , public
gallery and reporters benches.
Billy, head held high as he mouths “I love you” to Sarah.
ASHRAF SINGH QC
That is a disturbing account but
how is that connected to this case.
Sarah looks at Ashraf Singh with renewed spirit.
SARAH SNEDDON
Somerset soon tired of me and took
another young girl. He had me
working on my back seven days a
week doing things you would not
speak of in polite company.
138 INT. FLEUR DE LIS, CLEVELAND STREET - BEDROOM - NIGHT 138
Sarah is being used by Lieutenant Brown whilst Andrews waits.
LIEUTENANT BROWN
Your turn next Freddie.
We can see Sarah has grown up and is in despair.
Genres:
["Drama","Historical"]
Ratings
Scene
49 -
A Fight for Justice
139 INT. OLD BAILEY COURT ROOM - PRESS BENCHES. DAY 139
Lilly Fortune shows empathy and mouths “well done” to Sarah
who holds her head high.
XING FU
Walking a mile in her steps...
An illustration by Xing captures the tragedy in Sarah’s eyes.
LILLY FORTUNE
We have to tell this story.
140 INT. OLD BAILEY COURT ROOM. DAY 140
SARAH SNEDDON
Those two did unnatural things to
me against my will. I was raped
repeatedly but nobody would listen.
Carson stands.
EDWARD CARSON
My Lord the two officers are not
here to defend themselves. Everyone
knows, in English law you cannot
rape a whore or your wife.
The courtroom erupts into chatter but not astonishment.
JUDGE PEACH
That is quite right Mr. Carson.
Ashraf Singh is scrutinising the Jury. They look moved by
Sarah’s testimony. He thinks better of continuing.
ASHRAF SINGH QC
How do we know this account is
true? Isn’t it possible she has
made up the story for sympathy?
Marshall stands quickly. He holds up the Cormorants logbook.
MARSHALL
I have here the passenger manifest
for The Cormorant. It shows that
Sarah Dlaminis, aged fourteen was
trafficked across the Atlantic.
The press are taking great interest.
MARSHALL (CONT'D)
She arrived in London and was taken
to Fleur de Lis, also owned by Lord
Somerset. Somerset was her first
lover and later became her pimp.
The Jury are hanging on Marshalls every word.
EDWARD CARSON
How is this relevant my Lord?
MARSHALL
Somerset allowed his military
friends Lieutenants Andrew and
Brown to rape Sarah at his club.
Carson stands.
EDWARD CARSON
Whatever they did to her it wasn’t
rape in the legal sense.
ASHRAF SINGH QC
What he means is there is implied
consent if she is selling herself.
MARSHALL
She wasn’t selling herself. She was
being sold.
EDWARD CARSON
Semantics my Lord.
MARSHALL
We heard evidence from Jimmy Cross
that both officers were bragging
about what they did to Sarah at
Fleur de Lis.
Judge Peach makes a note on his pad.
MARSHALL (CONT'D)
At Wilton’s, Sarah was forced to
relive the attack they perpetrated
which saw her raped and sodomised.
Sarah is suppressing a howl of pain.
EDWARD CARSON
None of which is illegal my Lord.
MARSHALL
Much to our national shame. I have
no more questions of this witness.
Billy Sneddon catches Marshall’s eye. He points downstairs
towards the cells and then at Abberline.
Genres:
["Drama","Legal","Historical"]
Ratings
Scene
50 -
Clues in the Cell
141 INT. NEWGATE JAIL - CELLS. NIGHT 141
Marshall and Abberline enter the cell.
BILLY SNEDDON
I saw this photograph in the paper.
What happened to Sarah happened to
this French girl that was aboard
the Cormorant? She was called
Veronica or something
An ironic smile slowly cracks across Abberline’s face.
INSPECTOR ABBERLINE
How can you be so sure?
BILLY SNEDDON
I tried to have her sent back to
France. That's what the row with
Somerset's bloke Fox was about.
Marshall has the Cormorants manifest. He scrolls through the
names on the list but only two have a surname in common.
MARSHALL
Was she with a boy?
BILLY SNEDDON
Yes, her brother.
Abberline and Cunningham get up to leave.
MARSHALL
It says his name was or is Henri.
SERGEANT CUNNINGHAM
We will check the brothels,
hospitals and morgue for Henri.
INSPECTOR ABBERLINE
I have written to the Judge telling
of Billy's cooperation. I hope it
helps. Good luck.
Genres:
["Crime","Drama","Mystery"]
Ratings
Scene
51 -
The Sneddon Proposition
142 EXT. DAILY SKETCH NEWSPAPER - FLEET STREET - NIGHT 142
The hustle and bustle of Fleet Street, the epicentre of the
newspaper world.
143 INT. DAILY SKETCH NEWSROOM - NIGHT 143
Lilly Fortune and Xing are assembling tomorrow's front page.
XING FU
This one is strong.
Lilly points to an image of Billy looking longingly at Sarah.
LILLY FORTUNE
I like that image too
Lilly points to a two shot of the Sneddon's.
LILLY FORTUNE (CONT'D)
This one would work best if there
were a double hanging.
Marshall arrives and bounds over to Lilly and Xing who shows
him what she is working on. Two versions of a headline.
XING FU
What do you think of the artwork?
The first says "Double Hanging of Navy Killers" and the
other, "Wife not guilty in Navy Murder".
LILLY FORTUNE
I took your advice on the outcome
otherwise I have no papers to sell.
MARSHALL
It wasn’t a free lunch after all.
LILLY FORTUNE
To beat the competition, we have to
have both versions ready to sell
when the verdict comes in.
MARSHALL
I am equally in awe and appalled.
We hear the loud voice of Lord Northcliffe shouting.
LORD NORTHCLIFFE
Is that you I hear Marshall?
Marshall motions to Lilly and Xing to follow him.
144 INT. DAILY SKETCH - LORD NORTHCLIFFE'S OFFICE - NIGHT 144
Lord Northcliffe has a pile of contracts he is signing.
LORD NORTHCLIFFE
Marshall, very good to see you.
They shakes hands and Northcliffe hands Marshall a cigar.
MARSHALL
I have a proposition.
Northcliffe indicated to Lilly and Xing.
LORD NORTHCLIFFE
I see you have help and I am
guessing this is going to cost me
money.
Marshall holds up the front page showing the Sneddon story.
LILLY FORTUNE
Sales of this are already
flourishing.
MARSHALL
If we continue to do our jobs well,
this will make you lots of money.
LORD NORTHCLIFFE
How so?
MARSHALL
You buy the exclusive rights to the
Sneddon story. Secure their future.
Northcliffe isn’t sure if Marshall is joking.
LORD NORTHCLIFFE
I get free access to good stories.
Why should this one be different?
XING FU
(ironic)
Because secretly you are a caring
man and want to help?
A wry smile as Northcliffe's eyebrows reach for the sky.
Genres:
["Drama","Mystery","Crime"]
Ratings
Scene
52 -
Doubt in the Courtroom
145 INT. OLD BAILEY - COURTROOM - DAY 145
Judge Peach addresses counsel and he is impatient.
JUDGE PEACH
Have counsel had the chance to
discuss a plea agreement?
Singh gets to his feet.
ASHRAF SINGH
We have my Lord, but defence
counsel are unmoved.
He looks over to Marshall and Charlie Gill in a way that
suggests they have broken some secret code of honour.
JUDGE PEACH
Did you emphasise I am considering
leniency Mr. Singh?
Marshall stands.
MARSHALL
My Lord, you may recall in Crown -v-
Rosenberg you said that leniency is
never a consideration for you when
sentencing in manslaughter.
The courtroom becomes a cacophony.
JUDGE PEACH
You had better hope your faith in
the jury is a gamble that pays off.
Judge Peach indicates with his hand for Carson to being.
Carson stands to question DOCTOR AUGUSTUS PIPER.
EDWARD CARSON
Doctor Piper, we need only concern
ourselves with the murder of
Lieutenant Brown by Sarah Sneddon.
Marshall stands with anger.
MARSHALL
Murder? Does the prosecution have
any facts to present?
EDWARD CARSON
Dr. Piper, you have been a
pathologist for twenty years?
DOCTOR AUGUSTUS PIPER
I have indeed.
EDWARD CARSON
In your report you say there was a
wound from a bowie knife in Browns
chest. How deep was the wound?
DOCTOR AUGUSTUS PIPER
More than half of the length of the
blade. The force used was great.
EDWARD CARSON
So, the infliction was deliberate?
Piper nods in the affirmative.
DOCTOR AUGUSTUS PIPER
The velocity of the blade into the
body was significant.
Carson stares at the Jury as he asks his final question.
EDWARD CARSON
Do you have any doubt that death
occurred immediately after the
fatal knife wound to the heart...
Carson points to Sarah Sneddon in the dock.
EDWARD CARSON (CONT'D)
….So barbarically inflicted by this
foreigner?
DOCTOR AUGUSTUS PIPER
None whatsoever. Brown died as soon
as the heart was punctured.
Lilly Fortune looks over at Marshall who is taking in the
pathologist's evidence. She looks concerned before Marshall
winks at her as he rises to his feet in all his glory.
MARSHALL
You are, a very expert witness?
Piper puffs out his chest.
DOCTOR AUGUSTUS PIPER
Yes, that has been said about me.
MARSHALL
Did you examine the corpse of
Lieutenant Brown in great detail?
Piper smiles weakly and looks around at the Jury.
DOCTOR AUGUSTUS PIPER
There were no other stab wounds to
the heart if that’s what you mean.
There is audible laughter in the courtroom.
Marshall holds up the autopsy report, and we see the
underlining in red ink.
MARSHALL
"The subject had a bloody wound to
the rear of the head. The skull
appeared unusually thin."
Piper looks uncomfortable.
MARSHALL (CONT'D)
Do you recall that observation when
you completed the autopsy?
Piper goes into defensive mode.
DOCTOR AUGUSTUS PIPER
I said that but concluded the head
injury was caused when Brown hit
his head on the ground after being
stabbed by the defendant.
MARSHALL
So, Brown's heart was still beating
when his head hit the floor, and
that caused the bleeding?
Piper shuffles about in the witness box and looks to Carson
for help. None is forthcoming.
MARSHALL (CONT'D)
It’s just that you told the
prosecution that the heart wound
was instantaneous and fatal.
DOCTOR AUGUSTUS PIPER
Is there another explanation?
Marshall looks to the Jury.
MARSHALL
I don’t claim to be an expert.
Marshall produces and holds up an illustration from the
autopsy and photographs of the blood-stained low ceiling
beam. He hands it to the Usher, who gives it to Piper.
MARSHALL (CONT'D)
Did you bother to visit the crime
scene at Wiltons Music Hall?
DOCTOR AUGUSTUS PIPER
The Police didn’t ask me to.
MARSHALL
I think I know why they didn’t.
Piper holds up the photographs to the light.
MARSHALL (CONT'D)
Those are the photographs referred
to by witnesses as the low hanging
beam. Do you see it has been
stained with red ink to illustrate
the size and shape?
Piper nods.
DOCTOR AUGUSTUS PIPER
Yes, I see that now.
MARSHALL
Do you agree that it is remarkably
similar to the wound on the back of
the skull of Lieutenant Brown?
Piper takes out his reading glasses and examines the autopsy
illustrations and the photograph in detail. The courtroom is
silent as he does so.
The silence is broken a gas lamp illuminating the public
gallery begins to hiss violently as the wick burns out.
MARSHALL (CONT'D)
Doctor Piper, could Brown have got
his head wound from the beam?
Piper looks up then slowly re-examines the images again.
DOCTOR AUGUSTUS PIPER
It’s not impossible but you are
overlooking the wound to the heart.
Marshall looks again at each member of the Jury.
MARSHALL
Doctor Augustus, please explain to
the jury the medical phenomenon of
an "egg-shell" skull.
DOCTOR AUGUSTUS PIPER
It is a condition whereby any
sudden pressure or impact applied
to the skull, can cause death.
MARSHALL
I put it to you that Lieutenant
Brown died when his eggshell skull
hit the low ceiling beam.
Piper looks poleaxed.
DOCTOR AUGUSTUS PIPER
Now, wait a minute.
MARSHALL
That collision caused an
irreparable brain injury. That
stopped Brown's heart pumping.
That's why there was so little
blood at the site of either the
head or the chest wound.
Seeing the Jury is completely transfixed, Marshall pauses so
the courtroom can appreciate what comes next.
MARSHALL (CONT'D)
You did not fully examine his head
wound did you, Doctor?
Piper is outmanoeuvred.
DOCTOR AUGUSTUS PIPER
This man had a knife sticking out
of his chest. That was the most
obvious cause of death.
Marshall explodes with anger.
MARSHALL
Most obvious? A mother is on trial
for her life, and you have given
damning evidence against her.
Seeing that Piper is stricken, Judge Peach interjects.
JUDGE PEACH
Marshall, we must have decorum. It
is discourteous for a professional
man to be undermined in this way.
Marshall ignores the Judge.
MARSHALL
You did not do your job, Doctor. As
a result, this woman could die on
the gallows. What do you say?
Piper has a look of contrition.
DOCTOR AUGUSTUS PIPER
On any Saturday night a dozen
corpses are brought to me for
examination. I am overwhelmed.
On counsel's benches, the case is being watched intently by
SIR FOREST FULTON QC, who is very impressed with Marshall.
MARSHALL
The reason there was no blood from
the heart wound, was because the
heart was no longer beating.
DOCTOR AUGUSTUS PIPER
I should have conducted a full
autopsy.
The courtroom is aghast.
JUDGE PEACH
You now think it possible that
Brown may have been dead before
Sarah Sneddon stabbed him?
Piper nods.
MARSHALL
You cannot kill a dead man.
JUDGE PEACH
Gentlemen of the Jury, if you
accept Doctor Pipers evidence that
Brown might have died before Sarah
Sneddon touched him the charge of
murder may be in doubt.
Peach is doing his best to cast doubt on Pipers favourable
evidence, and he lets that sink in with the Jurors.
MARSHALL
The defence of Sarah Sneddon rests.
Carson leaps to his feet and points to Jimmy Cross in the
public gallery.
EDWARD CARSON
I recall Jimmy Cross to the stand.
JUDGE PEACH
Very well. Mr. Cross, I remind you
that you are still under oath.
Genres:
["Legal Drama","Mystery","Thriller"]
Ratings
Scene
53 -
The Weight of Evidence
146 INT. OLD BAILEY - PUBLIC GALLERY - DAY 146
Sir Forest Fulton takes a seat next to Arthur Newton.
SIR FOREST FULTON QC
Arthur, who looks after Marshall?
ARTHUR NEWTON
Ah Forest, you too are impressed.
It's Bernie Lawless.
SIR FOREST FULTON QC
Do a deal with Bernie. I want
Marshall with me in the Police
murder case of Thomas Orrock.
Newton nods affirmatively.
147 INT. OLD BAILEY COURTROOM - DAY 147
Jimmy Cross stands in the witness box looking haunted.
EDWARD CARSON
Tell the Jury again about that last
ditch punch Billy Sneddon delivered
to the jaw of Lieutenant Brown.
JIMMY CROSS
I do not recall.
EDWARD CARSON
Let me refresh your memory.
He produces his notes and reads back to Jimmy Cross.
EDWARD CARSON (CONT'D)
You told Marshall, it was an
uppercut Billy delivered and Brown
hit his head off a low beam.
Jimmy looks over at Billy with tears in his eyes. He nods.
JIMMY CROSS
Yes sir.
EDWARD CARSON
My Lord, it stands to reason that
if Sarah didn’t kill Brown, then
someone else did.
JUDGE PEACH
Are you now saying you want to
charge Billy Sneddon with the
murder of Brown?
EDWARD CARSON
He was the last person to touch
Brown whilst he was alive.
JUDGE PEACH
Very well. I will allow the Jury to
consider that as part of their
deliberations.
Marshall notices Sir Forest Fulton and Newton watching and
discussing him intently.
ASHRAF SINGH QC
We are obliged my Lord.
Peach turns to the Jury.
JUDGE PEACH
Gentlemen, we have heard evidence
that Lieutenant Brown procured a
bladed weapon to use against Billy
Sneddon. We do not know where
Andrews got hold of the knife that
killed him, but this does support
the defence theory that it Billy
Sneddon who was attacked in the
second fight.
Marshall and Gill look almost hopeful.
Lilly is getting ready to leave court when she catches
Marshall smiling at her. She seems to like it.
JUDGE PEACH (CONT'D)
We also heard evidence in relation
to Andrews and Brown that they were
bragging about having had sex with
Sarah Sneddon in a high class
brothel. That could be regarded as
provocation.
Carson hands a note to Singh. He reads and passes it back.
JUDGE PEACH (CONT'D)
If Sarah Sneddon was trafficked to
England and raped by the navy men
that can be taken into account when
deciding your verdict.
Carson stands.
EDWARD CARSON
My Lord...
Peach indicates he sits. Carson does so.
JUDGE PEACH
Stronger than that is the evidence
of Doctor Piper who believes the
fatal blow to Brown may not have
come from Sarah at all. You shall
give verdicts on both defendants on
both killings. Go and deliberate.
USHER
All rise.
The court clears.
Genres:
["Drama","Legal","Mystery"]
Ratings
Scene
54 -
Verdicts and Turmoil
148 EXT. OLD BAILEY - DAY 148
Marshall, Lilly Fortune, and Arthur Newton have their backs
to the walls of the famous court building and say nothing.
Marshall lights a cigar.
LILLY FORTUNE
Why was the Judge hedging his bets?
ARTHUR NEWTON
The Lord Chancellor monitors
adverse stories about Judges in the
press. Too many, you are finished.
MARSHALL
I think even Peach is unsure of the
nuances of the evidence.
Lawless appears and looks nervous.
BERNIE LAWLESS
The Jury is back.
They each look at the others.
ARTHUR NEWTON
Less than an hour, this isn't good.
149 INT. OLD BAILEY COURT ROOM - DAY 149
The courtroom is even more crowded than before with people
standing cheek by jowl.
The JURY are seated and still as the Usher addresses the
Foreman.
USHER
Has the Jury reached verdicts that
you are all agreed upon for each
defendant?
JURY FOREMAN
We have.
USHER
Regarding WILLIAM Sneddon. How do
you find on the charge of the
MURDER of Lieutenant ANDREWS?
You could hear a pin drop in the packed courtroom.
JURY FOREMAN
We find him not guilty.
Billy looks at Sarah as there is consternation and some
cheers go up followed immediately by shushes from the court
BAILIFFS.
JUDGE PEACH
Be quiet in the public gallery!
The courtroom settles again.
USHER
What verdict for WILLIAM Sneddon on
the charge of the MANSLAUGHTER of
Lieutenant ANDREWS?
Marshall and Newton exchange tense looks.
USHER (CONT'D)
Regarding SARAH Sneddon, how do you
find on the charge of the MURDER of
Lieutenant BROWN?
The Court holds its breath.
JURY FOREMAN
We find her not guilty.
Sarah holds onto the Dock as this sinks in.
USHER
Regarding SARAH Sneddon on the
charge of the MANSLAUGHTER of
Lieutenant BROWN, how do you find?
JURY FOREMAN
We find her not guilty.
The courtroom erupts and not all of it is euphoria.
JUDGE PEACH
Silence in my courtroom. Sarah
Sneddon, you have been found not
guilty and are free to go.
Sarah does not want to be parted from Billy in the dock but
is ushered into the benches in the courtroom.
USHER
Regarding WILLIAM Sneddon on the
MURDER of Lieutenant BROWN, how do
you find?
JURY FOREMAN
We find him not guilty.
USHER
On WILLIAM Sneddon's charge of the
MANSLAUGHTER of Lieutenant BROWN,
how do you find?
JURY FOREMAN
We find him guilty.
There are RUNNERS waiting next to the PRESS BENCHES to take
the verdict back to Fleet Street.
Jimmy Cross punches the air and shouts out.
JIMMY CROSS
You rotten bastards. He’s innocent.
The court room volume goes up even more.
MAGGIE CROSS
(to the Jury)
Justice hasn’t been done.
Judge Peach is now catatonic at these outbursts.
JUDGE PEACH
Bailiffs remove that man and his
wife.
It takes FOUR BAILIFFs to drag Jimmy and Maggie Cross out of
court and once removed, things settle.
Sarah is inconsolable with grief and runs over to Billy. They
have a moment, then are parted by the Usher.
Genres:
["Drama","Legal"]
Ratings
Scene
55 -
A Sentence of Death
150 EXT. STREET - LONDON - DAY 150
Outside The old Bailey FOUR NEWSPAPER BOYS have hundreds of
newspapers and have set up both front pages we saw earlier:
They tear down the advertisement for the headline "Double
Hanging of Navy Killers" and promote the other which says,
"Wife Not Guilty in Navy Murder".
151 INT. OLD BAILEY COURTROOM - DAY 151
Marshall gives Billy Sneddon a “chin up old man” look as
Judge Peach begins sentencing.
JUDGE PEACH
Billy Sneddon the Jury has found
you guilty of the MANSLAUGHTER of
Lieutenant Brown.
The press pack is poised to run back to Fleet street.
JUDGE PEACH (CONT'D)
Unlike murder which carries with it
a mandatory sentence of execution,
the law gives me discretion over
sentencing in manslaughter.
Carson jumps to his feet sensing leniency.
EDWARD CARSON
My Lord, two men lost their lives.
Judge Peach ignores him.
JUDGE PEACH
You served your country in
Afghanistan and in the Zulu wars
and were commended for bravery.
Carson persists.
EDWARD CARSON
My Lord, I really must....
Peach continues.
JUDGE PEACH
I have a letter from Inspector
Abberline of Scotland Yard saying
you have helped in a murder
investigation for which I give you
due credit.
Last go for Carson.
EDWARD CARSON
My Lord, there must be a reckoning.
JUDGE PEACH
(Explodes)
BE QUIET MR CARSON!
Carson slowly sits back down red-faced.
Judge Peach indicates to the Usher standing at his side.
USHER
The prisoner will stand.
Billy gets to his feet for sentence.
SARAH SNEDDON
Please have mercy, my Lord.
The Usher places the black square on Peach's head.
JUDGE PEACH
Billy Sneddon, it is a long held
principle of law that you take your
victim as you find him. You could
not have known that BROWN had an
egg-shell skull but that is what
killed him after you punched him.
Sarah steps forward to pleas with Peach.
SARAH SNEDDON
(pleading)
Please my Lord......
Peach does not acknowledge Sarah.
JUDGE PEACH
You will be taken from this place
to Newgate Jail. There you will be
hanged by the neck until you are
dead. May God have mercy on your
soul. Take him down.
The courtroom erupts. Reporters evacuate their benches to get
back to Fleet Street. The public gallery empties.
Marshall and Gill go over to the dock where Billy sits.
MARSHALL
I told Sarah I would draw up your
last will and testament. I shall
come and see you in Newgate.
Billy and Sarah Sneddon are dignified. They are allowed one
last hug before Billy is led away.
Genres:
["Drama","Legal"]
Ratings
Scene
56 -
Reflections and Revelations at The George
152 EXT. THE GEORGE PUBLIC HOUSE - NIGHT 152
Marshall approaches Charlie Gill in The George.
MARSHALL
I have an apology to make but not
without a drink in my hand.
Gill has a bottle in front of him.
CHARLIE GILL
Is 1858 Armagnac, any use to you?
Grab a glass.
Marshall takes one from the bar and sits.
MARSHALL
Thank you. I was born in 1858.
Gill takes a long sip on his Armagnac and begins to light a
cigar on a candle.
CHARLIE GILL
It was not arrogance. It was
dedication.
MARSHALL
I couldn’t take the risk the Jury
would find Sarah guilty of
manslaughter because they found the
medical evidence to complex.
CHARLIE GILL
That was such a skilful cross-
examination of the pathologist.
MARSHALL
I then underestimated Carson. He
saw what I hoped to obscure.
CHARLIE GILL
There was a point you realised that
if your theory was successful, it
would save Sarah but condemn Billy.
MARSHALL
My duty was to Sarah alone.
CHARLIE GILL
I thought we had pulled off the
impossible. The gamble will be paid
for in blood, as Carson predicted.
Marshall refills the glasses.
MARSHALL
To Billy Sneddon.
Gill and Marshall clink glasses.
Lilly Fortune and Northcliffe arrive. Lilly looks gleeful.
LILLY FORTUNE
Good news, Marshall. It’s on.
LORD NORTHCLIFFE
Another bottle, Gentlemen?
Genres:
["Drama","Legal"]
Ratings
Scene
57 -
Final Reflections in Newgate Jail
153 EXT/INT. NEWGATE JAIL - CELL - NIGHT 153
Billy Sneddon sits in the gloom, alone with his thoughts.
Marshall and a wigged BARRISTER enter.
Marshall gives the guard a shilling to leave them alone.
BILLY SNEDDON
I will be glad when it is over. The
most important thing is Sarah and
the children.
Marshall alludes to the other barrister.
MARSHALL
My friend will keep notes for the
last will and testament.
BILLY SNEDDON
There is little to leave. A gold
watch my Grandfather was given by
Lord Wellington at Talavera.
LILLY FORTUNE
You are from a family of fighters.
Billy is contemplative.
BILLY SNEDDON
Sarah can sell my campaign medals.
MARSHALL
They will be valuable. Not many
survived the Zulu wars.
BILLY SNEDDON.
Jimmy and I survived Rorkes Drift.
MARSHALL
How did you meet Sarah?
BILLY SNEDDON
We told everyone it was in Durban
during the war.
LILLY FORTUNE
Because of Somerset?
BILLY SNEDDON
Out of embarrassment. We fell head
over heels, but I still couldn’t
forget my girl being a prostitute.
MARSHALL
That alone will sell newspapers.
Lilly removes the wig.
LILLY FORTUNE
Lord Northcliffe has agreed to buy
the story of your life and how you
and Sarah met and fell in love.
Lilly hands Billy the notes she has taken and a pen.
BILLY SNEDDON
Please tell Sarah and the children
I love them and miss them and that
I will be looking over them all.
Billy signs the document, then hands them to Marshall, who
witnesses it.
MARSHALL
This will help Sarah and the
children get through this.
BILLY SNEDDON
Sarah won’t come to the execution.
No one will be there for me at the
end. Would you do me the honour?
Lilly nods assent.
MARSHALL
Yes. Yes, of course. We both will.
154 EXT. NEWGATE JAIL - NIGHT 154
Lilly hands back the wig and gown to Marshall.
LILLY FORTUNE
If Billy's last night before
execution will be read by anyone, I
must get back to Fleet Street.
MARSHALL
Thank you for doing this.
LILLY FORTUNE
Helping each other works.
155 INT. 3 DR. JOHNSTON BUILDINGS - CLERKS ROOM - DAY 155
Bernie Lawless brings Marshall the brief in the murder case
of Police Constable George Cole in – Crown -v- Orrock.
BERNIE LAWLESS
Forest Fulton, QC is defending
Thomas Orrock. He has offered you
have second chair. Twenty guineas.
MARSHALL
A shooting, wasn’t it?
A breathless young solicitor hands Lawless a brief.
YOUNG SOLICITOR
Mr. Ashraf Singh urgently needs a
junior prosecutor in the Charlie
Peace murder trial. He wants
Marshall.
Lawless checks the front of the brief. We see it is marked at
a hundred guineas. Lawless shepherds Marshall to the window.
BERNIE LAWLESS
Its good money?
Marshall says nothing.
YOUNG SOLICITOR
What shall I tell Mr. Singh?
Lawless and Marshall exchange a glance.
BERNIE LAWLESS
Tell him we respectfully decline.
Marshall does not prosecute.
Genres:
["Drama","Legal"]
Ratings
Scene
58 -
The Weight of Shadows
156 INT. NEWGATE JAIL - HANGING ROOM - DAY 156
Marshall and Lilly enter the hanging room with the warder.
They watch as TWO GUARDS bring out Billy Sneddon.
A PRIEST steps forward.
PRIEST
Shall we pray to God?
BILLY SNEDDON
I will be seeing him soon enough.
The noose is placed around his neck and a hood over his face.
The rope is tied off. The executioner measures the drop.
But the hangman prematurely opens the trap door, and Billy
falls through the scaffold to a barbaric death.
Lilly jumps as the loud crack rings out!
Marshall takes Lilly in his arms to comfort her.
Then TWO GUARDS place Billy Sneddon into a casket and he is
carted off for burial in an unmarked grave.
157 EXT. BLACKFRIARS LANE - LONDON - NIGHT 157
Sickened by the hanging, they walk in silence.
A newspaper boy is selling the Daily Sketch where the
headline is, "War Hero is hanged".
NEWSPAPER BOY
(shouting)
Read all about it. “SNEDDON HANGED
IN NAVY MURDERS”.
Neither has the heart to look at the image of Billy and Sarah
advertising their life story to come out at the weekend.
158 EXT. HAMLET - ESSEX COUNTRYSIDE - NIGHT 158
The sun is setting as a carriage arrives on a hillside
overlooking a quiet hamlet.
Children kick a ball around by a stream.
SUPER: Threes Week Later
The carriage stops outside the only one of the ten cottages
without any chimney smoke.
Some of the RESIDENTS look on with SUSPICTION and hostility.
They clearly don't like strangers.
SARAH SNEDDON
The local people are unfriendly.
Marshall, Lilly, Xing, Sarah and her children ANNIE and LUKE
get down from a carriage. The children are awestruck.
MARSHALL
Don't worry about them. I will
speak to them.
XING FU
Do you like the setting?
MARSHALL
The property needs tender loving
care. But it is yours to keep.
Sarah realises the implication. She hugs the children.
The LOCALS watch intently as Lilly opens the door and invites
Sarah and the children to look inside.
Genres:
["Drama","Historical"]
Ratings
Scene
59 -
A Gift of Love and Hope
159 INT. COUNTRY COTTAGE, ESSEX. DAY 159
Other than a lick of paint it is perfect. Sarah turns to the
children.
SARAH SNEDDON
This is a gift from Daddy to us.
The kids look up as if to heaven. Annie blows a kiss.
XING FU
And this is also from daddy.
He hands Sarah a purse. She opens it and tips the contents
onto the table. It contains golden Guinea's.
SARAH SNEDDON
How much is......
XING FU
A hundred guineas.
Sarah looks petrified. In a good way.
LILLY FORTUNE
Billy told me to tell you he loves
you all very much and will look
over you every day.
Sarah hugs Annie and Luke.
LOCAL CHILD
Do you want to play footie?
The local children shout over to Luke and Annie to come and
play. They look friendly and fun.
ANNIE SNEDDON
Can we mummy?
Sarah nods, and the kids run towards the stream .
SARAH SNEDDON
Yes, of course, go and play.
Marshall looks on as Lilly hugs a tearful Sarah.
SARAH SNEDDON (CONT'D)
(to Lilly)
How can I ever thank you enough?
Lilly looks around at Marshall.
LILLY FORTUNE
Don’t thank me.
Genres:
["Drama","Family"]
Ratings
Scene
60 -
Chaos at Westminster Hall
160 EXT. WESTMINSTER HALL. EVENING 160
The carriage arrives at a reception which Lilly and Xing are
attending.
Uniformed butlers attend to the beautifully dressed guests as
they arrive in grand style.
Marshall gets down from the carriages and helps first Xing
and then Lilly.
XING FU
Are you sure you won’t stay
Marshall?
Marshall is in two minds.
LILLY FORTUNE
Two ladies to dance with can’t
possibly be beyond you surely.
Marshall smiles.
MARSHALL
I have the Orrock murder to be
getting on with. Besides, I will
see you both in court tomorrow.
Marshall raises Xing's hand and kisses it.
XING FU
Such a gentleman.
He then takes Lilly’s hands and kisses it.
MARSHALL
Have a wonderful evening. You
deserve it.
Marshall is still holding Lilly’s hand when unexpectedly she
kisses him on the lips once.
The other guests baulk as Marshall goes bright red.
161 INT. WESTMINSTER HALL. EVENING 161
Guests wait in line inside the hall. As each is called
forward, they are announced and shown their seating.
Lilly and Xing are waiting to hang their cloaks.
XING FU
You shouldn’t have done that.
LILLY FORTUNE
Done what?
XING FU
English men don’t like PDA.
Lilly looks confused.
XING FU (CONT'D)
Public displays of affection.
LILLY FORTUNE
Ah. He and I are....well. Noted.
A Gentleman carrying a Doctors case bumps into Xing.
GENTLEMAN
(American)
Forgive me ladies. I just need to
get my cloak.
(raises his case)
No rest for the wicked.
Xing and Lilly face the Gentleman who seems in a rush.
XING FU
Of course Doctor.
The Gentleman steps forward and goes out of sight.
Edward Carson calls over.
EDWARD CARSON
Lilly, how are you. Have you met my
friend...
Lilly pulls a face towards Xing who is at the front of the
line. She indicates for Lilly to go and mingle.
XING FU
Someone has to talk to him
(conspiratorial Laugh)
You go. I will come and find you.
Lilly smiles.
LILLY FORTUNE
I will get us a drink.
Xing watches as Lilly walk over to Carson and his friends.
Without warning an explosion rips through the entrance hall.
The cloak room takes much of the blast with debris scattered.
Xing Fu is thrown across the room.
From Xing’s POV: she looks across the hall where the faces of
those caught in the blast are contorted, mouths are open but
there is no sound.
Xing’s cheeks are burned. Her hair is singed. There is blood
seeping from her ears.
Lilly gets up from the floor and staggers over to Xing.
Xing's eyes are open, but she is in shock.
Lilly lifts Xing by her shoulders and hugs her.
LILLY FORTUNE (CONT'D)
Xing. Xing.
For Xing there is silence.
She can hear nothing and passes out in Lilly's arms.
FADE OUT.