THE KRONOS PROJECT: GREAT MINDS
EXT. - RIVER APPROACH TO
CGI MEDIEVAL PARIS, it is spring, and in the greyness of
dawn,
OUR CHARACTERS are trudging, footsore, tired of life on the
road, dirty, hungry, in dire need of a good night's sleep. On their left is the
JOSS
(relief)
I see buildings!
CIARA
(heartfelt)
I see a bath.
…a soft bed…
ANAIT
I don't think taking rooms at a local inn would be such a good idea.
Cries of protest from all.
ANAIT
The world is not as civilized as it was a thousand years ago, or will be a thousand years from now. The rooms will be dirty, the food unhealthy, the beds infested with vermin.
REY
(tired)
What do you suggest? We've all had more than our fair share of sleeping on the ground.
Anait has no suggestions.
After a moment,
(consideringly)
Pavilions?
JOSS
Pavilions?
They're tents, only big, eight to ten feet tall, fifteen feet long. Expensive, since cloth is at a premium these days. But we might find some second hand, and they'll have good re-sale value when we're done.
PERRY
Couldn't we rent them?
ANAIT
Possibly.
PERRY
What's the currency?
Silver pennies.
Perry slides a pack off her shoulder and roots around inside. She pulls out a small sack.
PERRY
Silver coins, high purity, not sure about denomination. Worth about five hundred dollars in our…in 2008.
ANAIT
(alarmed)
Don't take the whole bag!
(reassuring)
I won't.
(to Perry)
Do we have an empty pouch?
Perry drops gracefully to the ground, pulling the pack on her lap as she roots around inside. Finally she pulls out a small, nearly threadbare pouch, and a piece of bright fabric.
PERRY
Put this inside for lining, or the money will fall out.
REY
Lets go,
ANAIT
We need a cover story first - what if the merchants ask you questions and your answers differ from what we devise here?
Joss and
Okay, what's our cover?
ANAIT
(frowning)
We…were on a pilgrimage.
We were robbed of all our supplies and animals, but fortunately spared
our lives. We want to stay upstream of
the city, where the water is still potable. We're returning from
To where? I imagine most of the noble families around here are known if only by name. And which one of us is the noble?
ANAIT
I hope no-one will be inquiring too closely. Perette will be our noblewoman; she has the proper appearance for both the class and the area.
CIARA
Figures.
ANAIT
(impatiently)
Ciara, the rest of us are too foreign looking, medieval
PERRY
Anait, you could be the noble, you could pass for Italian or Spanish.
ANAIT
And why would a Southerner on pilgrimage find herself
outside of
CIARA
Aren't there relics at Notre-Dame?
(dryly)
Notre-Dame hasn't been built yet. It won't be started for another fifty years and it won't finished for nearly another hundred after that.
CIARA
Yeah, well. In high school, the middle ages seemed a lot more...compact.
You call a thousand years "compact"?
REY
Peace, children.
(to Anait)
Can we all fit in one pavilion?
ANAIT
We should have a two, a larger one for Perette and a smaller one for her attendants.
(hesitates)
Two beds. Sleeping side by side on a bed should be no different than sleeping side by side on the ground, yes?
(grinning)
No different.
JOSS
Depends on who's in the bed.
Anait takes a minute to ponder the dynamics of the group.
ANAIT
Joss, you'll be with me and Ciara.
Joss looks at
JOSS
I win.
ANAIT
Warren, you and Rey will stay with Perry.
Perry opens her mouth to say something, then closes it, shaking her head.
ANAIT
Clothes. Cooking and eating utensils. Food. Fire wood.
REY
Got it.
ANAIT
While you two are getting all that, we're going to scout out a spot.
PERRY
What's wrong with this one?
ANAIT
We should get a little closer to the city walls.
PERRY
(shocked)
City walls?
ANAIT
(gently)
I'm afraid the only parts of
EXT. SOUTH OF PARIS - DAY
On the right bank of the
PERRY
Isn't that Ile Saint-Louis?
ANAIT
Yes. And the church behind us is St. Gervais.
PERRY
Incroyable.
JOSS
(wincing)
We could use another hand, here, cream-puff.
EXT. THE CAMP - DAY
The pavilions are set up, facing each other. The fire is between them, toward the road, while the mules are picketed behind the smaller tent, toward the city.
The furniture is still piled in between. Warren starts separating out the beds.
WARREN
(pleased)
Check these out!
CIARA
What exactly are we checking out?
WARREN
Trundle beds. That means that though we are divided in gender between the pavilions, we can preserve modesty, or whatever you want to call it. The bed will sleep the like gendered, and the odd one out gets the trundle.
(smiles at Perry)
Sorry.
JOSS
Man, way to ruin my fantasies.
PERRY
(exaggerated pout)
But I'm the noble!
EXT. THE CAMP - EVENING
The doors of the pavilions are tied open, revealing rather sumptuous camping, high beds, trundles tucked away, each with a carpet, albeit somewhat threadbare. The table is opposite the fire pit, the chairs now around the fire, which is lit, and everyone is sitting.
ANAIT
I don't see why I have to cook again.
PERRY
Because I cooked last night, and tonight we would like something better.
JOSS
I'll second that.
CIARA
I'll third it!
REY
You're outnumbered.
WARREN
I'll help, but you know I'm not much of a cook, either.
ANAIT
Lets boil the salt out of some of that meat and make a stew.
Oil lamps are lit, one in each pavilion, one on the table.
PERRY
We didn't get to see the clothes you boys brought back.
REY
That might be a good thing.
CIARA
If that's supposed to make me anxious, it's not going to work.
REY
(nodding towards the city walls)
It reeks in there. Even if you hadn't told us about the vermin, Anait, I prefer to camp.
JOSS
What exactly are we supposed to do with this scroll anyway?
Anait puts pieces of meat into a cauldron of boiling water over the fire, stirs it, and sits down.
ANAIT
We need to sell it.
JOSS
Ice. How much is it worth?
WARREN
Not much. People haven't come to value history yet. There is already a great deal that is ancient to these people, but they routinely tear apart thousand year old buildings to make new ones, with no concern for the past.
ANAIT
I'm afraid Warren is right. Only relatively recently in our history do value our history. It is this unconcern that gives us such barren records, and makes archaeology and anthropology such valuable sciences.
JOSS
I gotta admit, I never liked history. They forced us to study it, you know the "those who fail to learn from history are doomed to repeat it" deal.
PERRY
I prefer to quote George Bernard Shaw - the only thing we learn from history is that we learn nothing from history.
CIARA
History was boring...until we had to live it.
ANAIT
Shaw was probably closer to the truth, but the fact is, in my time, we're learning a lot from history and how it impacts the future.
WARREN
How do you statistical historians deal with the fact that much of the history written isn't really what happened?
ANAIT
It's all in the numbers.
INT. PERRY'S PAVILION - NIGHT.
The door is tied shut, the oil lamp is low. Warren paws through a pack, pulling out what appear to be nightgowns for all three of them. In the lamp light, they look very yellow.
Warren removes his vest, tosses the gown over his head and takes of his pants under the gown's cover before sliding into bed.
Rey follows suit, removing first vest, then begins loosening the ties on his pants. Perry watches in great interest.
WARREN
If you are sleeping with me, you are not sleeping naked.
Rey pauses, his pants half off. Perry sits very quietly, appreciating the lamplight on his naked backside.
REY
Why not?
Perry looks interestedly at Warren - yeah, why not?
Warren tosses Rey a night shirt.
WARREN
Just… put this on. For me.
REY
(sigh)
Okay.
He steps out of his pants, and Perry licks her lips appreciatively before he pulls the gown over his head.
WARREN
(to Perry)
Do we get to stare at you, while you change?
PERRY
(coyly)
If you wish…
She turns her back and removes her clothing, slowly, deliberately, and stretches before pulling a gown over her head.
JOSS (O.S.)
Perry's peep show was better than Rey's!
Rey and Warren are in the bed, covers up to their chins. Perry blows out the lamp and crawls into the trundle, shivering.
TIME PASSES - Perry tosses and turns, unable to warm up, while the men sleep soundly, comfortably. Finally she sits up and looks at them, envious. She pulls her blanket around her and goes to the foot of the bed, obviously contemplating sleeping at their feet to take advantage of the extra body warmth.
Then, shivering all the more, she sees a space between them, which to her eyes is all but radiating warmth. She carefully, and on top of their blankets, crawls between them with her own blanket. She sighs softly, and soon falls asleep.
INT. PERRY'S TENT - MORNING
Light has only begun to penetrate the thick tent walls, when the door is tossed back, emitting a blinding ray of sun that startles the trio awake. Joss is in the door silhouetted by the sun.
JOSS
Well. Look what we have here.
Warren props himself up on one elbow, looks down at Perry.
WARREN
What did I sleep through?
PERRY
(sleepy and cross)
I was cold.
JOSS
(laughing)
Man, if I had a camera.
Rey doesn't understand what all the fuss is about, and he gets tangled in his shirt as he tries to get out of bed, then he stumbles on the trundle, still pulled out.
REY
If Perry's going to sleep between us, do I still have to wear this stupid gown?
Joss and Warren snicker.
WARREN
You'll have to clear that with Perry.
JOSS
Anait says to get dressed in your new duds.
Joss backs away from the doorway and we can see where the sun hits him that he's in medieval clothing.
JOSS
It's a lot like what's in fashion where I'm from.
PERRY
(murmuring)
Plus ca change…
WARREN
Plus c'est la meme chose. In fashion, maybe. Paris is another story. The only thing the same is the name.
JOSS
Want me send Anait over, so she can tell you what goes where?
PERRY
(looking at Joss)
Maybe you can show us.
Joss shakes his head and lets the tent door fall closed. Warren starts pulling clothes out of the pack. Rey pushes in the trundle. Perry sits up, blankets close around her.
Anait walks in without warning, the bright slash of light there and gone as the tent flap closes behind her. She is in KP leathers.
She sorts out the clothing Warren has pulled out, passing Warren and Perry what look like socks.
ANAIT
Rey, you're okay with KP leathers.
PERRY
Why are mine only knee high?
ANAIT
Warren has to tie his to his underwear. Yours are tied at the knee.
WARREN
That doesn't seem fair. Why aren't hers tied to her underwear?
ANAIT
She won't be wearing any.
WARREN
Oh.
He looks at Perry, who has her gown pulled up above her knees so she can tie her stockings on. She gives him an amused smile.
PERRY
I wasn't wearing any before, Warren.
WARREN
But you had pants on…
Perry gives him a grin.
PERRY
(to Anait)
What next?
Anait helps them dress, while Rey doffs the gown and puts his leathers back on, again under Perry's appreciative gaze, when Anait isn't tugging on her clothes. Finally Perry is dressed as a noblewoman, and Warren as befits her servant.
WARREN
Okay, how do you go to the bathroom in this get-up?
ANAIT
(amused)
Joss can show you that.
Warren and Rey leave the tent together, and Perry takes a deep breath.
PERRY
Is that… coffee??
ANAIT
Joss found it in the food supplies. Warren must have gotten it, somehow, because Rey wouldn't recognize it.
PERRY
(dreamily)
I love that man.
ANAIT
You ever going to tell HIM that?
PERRY
(startled)
I didn't mean…
ANAIT
Didn't you?
Anait ties open the door, not expecting an answer, and being rewarded in that expectation.
EXT. KP CAMP - DAY
Perry has a contemplative look on her face as she walks with automatic grace in her long gown toward the table. Joss sets mugs of coffee out as proudly as if he'd invented the drink.
JOSS
My lady. Our first coffee in far too long.
PERRY
Merci, Joss. Don't you mean "my lady creampuff"?
Joss grins. Ciara comes out of the second tent, in clothing a little less grand than Perry's. She eyes Perry and snags a coffee.
CIARA
I hope you don't have to do any ass-kicking in that.
PERRY
Moi aussi.
Joss drops a kiss on Ciara's head, then one on Perry's.
Perry gives him a suspicious glance.
PERRY
(to Ciara)
He get lucky last night?
Ciara grins, sips her coffee.
CIARA
Not last night. But he might tonight.
JOSS
Be nice, cream-puff, or I'll take your coffee away.
(double-take; to Ciara)
What?
CIARA
Well, Anait and I were talking…
Joss's eyes widen and Perry begins to laugh. Warren and Rey return to the camp.
WARREN
Mmmm, coffee, how I've missed it!
CIARA
My hero!
She rises and kisses Warren gently on the mouth.
WARREN
(to Perry)
See, I'm a hero! Who else wants to kiss me?
Joss, still enjoying unprecendented good humour, kisses Warren the same way Ciara did, leaving Warren utterly speechless.
Rey grins and does the same. Before Warren can say anything, Anait taps him on the shoulder, and kisses him as well.
Perry stands up to do the same, her kiss a little moister.
WARREN
(dazed)
I guess you all really love your coffee.
JOSS
Leaving you speechless was pretty amusing, too.
EXT. PARIS - DAY
Crossing the bridge to the Ile-de-citie, Perry is riding a mule with as much dignity as she can, she and the other women have their noses covered, and Ciara is gagging. The men are trying to be macho, but they are constantly grimacing, clearing their throats, obviously dealing with their own gag reflexes.
Okay, maybe not that bad since the wind is blowing and the city is small, but odour is bad.
Warren and Ciara are walking on either side of Perry, Anait to the fore and Joss and Reynard to the rear. Anait and Reynard are still in project leathers, and have the air of exotic body guards or perhaps slaves.
WARREN
Anait, where are we going?
ANAIT
Notre-dame - where Notre-dame will be - is currently a scholarly haven, with outdoor classes and so forth. We have already begun our story of misfortune, we need to let it be known that we need to sell a scroll of some ancient wisdom for food or some other requirement.
PERRY
Why can't we just sell it at a market?
ANAIT
We need to ensure it goes into the scholarly community.
Perry sighs, meets Ciara's eyes, and they exchange a sympathetic glance.
EXT. NOTRE-DAME - DAY
Anait slows down as they pass a low wall, over which they can almost hear a lecture within.
ANAIT
(quietly)
Do you know who that is?
PERRY
How would I possibly know who that is.
WARREN
Is it who I think it is?
ANAIT
I am not one hundred percent certain, but yes, I believe so.
JOSS
Why are we slowing down?
CIARA
Some famous dead guy.
Perry snickers. Warren sends Ciara a dirty look.
CIARA
Well, y'know. Not dead now.
WARREN
Can we attend a few of his classes?
ANAIT
I don't see why not. It fits our cover.
PERRY
What are his classes about?
ANAIT
He teaches that logic and reasoning can allow us to know the true nature of God.
REY
This business of religion is very strange to me. It seems belittling to attribute yourselves and your accomplishments to a greater power.
PERRY
It does not make sense to me, either, Rey. It seems to me that logic by its nature disproves the existence of a god.
JOSS
We don't all have to go, do we? I mean I can't even understand what he's saying.
CIARA
Me, neither.
PERRY
(sighs)
I suppose I have no choice.
WARREN
That's my girl.
PERRY
Which famous dead guy is this?
ANAIT
Pierre Abelard.
PERRY
Never heard of him.
REY
I will keep Joss and Ciara company while you three are attending this, er, class.
PERRY
You three can cook up a decent supper for us.
CIARA
(sighs)
Damned if you do, damned if you don't.
REY
I’d rather cook, thank you.
JOSS
Oh, really?
REY
How hard can it be?
Anait looks at the individual project members.
ANAIT
Okay. Make sure you stay together. We'll be back at the camp for supper.
Joss, Ciara and Rey head towards a vegetable seller while Anait leads Perry and Warren to a posting of lecture times.
EXT. NOTRE-DAME - DAY
Perry, lifting her skirts clear of the mud, walks beside Warren, while Anait leads the way. The area is full, attesting to Abelard's popularity. There are some women, mostly of Perry's apparent rank, but the crowd is overwhelmingly young men.
PERRY
(muttering)
At least it smells better here.
Make up a likely LECTURE by ABELARD, based on his writings. It should be delivered in Latin, with subtitles.
The crowd is SRO, so when Perry chooses to argue a point with Warren, as much as their voices are low, they attract attention from ABELARD, who ceases to lecture until they cease being rude. Until otherwise noted, the following dialogue is in Latin.
ABELARD
If my lady wishes to argue a point, perhaps she could do so aloud, that I might respond.
PERRY
My humble apologies, sir. I was only…
ABELARD
Yes? You are not fond of logic and reason?
PERRY
On the contrary, sir. Logic and reason are my dearest companions.
ABELARD
Then your contention is, my lady?
PERRY
(carefully)
When I apply logic to the divine, logic tells me that the divine is illogical.
ABELARD
(kindly)
It is perhaps your understanding that is faulty. There is a lecture tomorrow morning which may help, but for now I beg your indulgence to continue.
PERRY
Of course, and again my apologies.
She remains silent for the rest of the lecture, mostly bored. Warren, after glancing at her to ensure she'll behave, listens avidly.
Anait buys tickets for the following lecture. Dialogue between project members is in English, the rest is Latin.
ANAIT
So we can compare.
WARREN
It's...quaint. The ideas are so old-fashioned, it’s hard for me to understand how daring and innovative they are for these people.
PERRY
Philosophy, theology, all too dry. That's why I studied law.
WARREN
And law isn't dry.
PERRY
It has its moments.
The second LECTURER is considerably less popular, more emotional. The jist of his diatribe is about preserving the status quo, as part of "God's plan"
Abelard has moved to the side and is taking congratulations from his admirers, while Perry is growing increasingly agitated at the new speaker.
PERRY
(in French)
Bullshit!
She stands straight, and begins to speak loudly (in Latin).
PERRY
You insult my intelligence, and that of everyone present!
Abelard looks up.
PERRY
Lets get out of here before I vomit!
WARREN
(in English)
Perry…
PERRY
(in English)
Irresponsible, mindless, complacent….
Perry pushes out of the courtyard, Warren and Anait trailing behind her. She does not notice Abelard watching her leave. He decides to talk to her, and rushes to intercept her.
ABELARD
My lady! A moment!
Perry turns, her face still angry, but Anait's hand on her arm forces her to comport herself properly.
PERRY
Sir?
ABELARD
I couldn't help but overhear your, er, comment. Might I inquire as to the cause of it?
WARREN
Lady Perette…
Perry takes a deep breath.
PERRY
I am perhaps too opinionated for my own good.
ABELARD
It is better to have formed an opinion of one's own, than to adopt another's.
Perry nods stiffly in acknowledgement.
PERRY
It infuriates me to hear people use "God's Will" as an excuse. I think God would appreciate some personal responsibility for a change. Forgive me, monsieur Abelard,
ABELARD
I must confess to being pleased that you do not heed that teaching.
PERRY
(uncertainly)
Thank you.
ABELARD
You are new to Paris.
Perry looks to Anait, who nods.
PERRY
We… I am completing a pilgrimage, but our party was beset by brigands. We need coin for foodstuffs to complete our journey.
ABELARD
A pilgrimage, very noble.
They are outside the courtyard now and the smell is stronger. Warren eases closer to Perry, protective.
PERRY
The one thing left to us, to me, that is of value is a scroll I purchased from a dusty seller in Rome. It is a medical treatise in Latin and Greek, with Arabic notations.
ANAIT
My lady, that scroll was to be a gift to your dear papa.
PERRY
It will be a poor gift if we starve on the road home.
(to Abelard)
I would see this scroll go to a scholarly community, but am unfamiliar with the manner of selling it.
ABELARD
I will be pleased to make inquires among my colleagues.
WARREN
(to Anait, in English)
Why can't we just give him the damn thing?
ANAIT
(in English)
He is not the one meant to have it.
PERRY
I thank you, sir, for your kindness. Excuse me, I must give you good day.
She gives him a courtly nod, and picks up her skirts, heading to where they left the mule. Anait and Warren scurry after. They now speak English.
WARREN
I think you've gained an admirer.
Perry looks back, surprised.
PERRY
I don't think so.
ANAIT
He is considered handsome by the standards of the day.
PERRY
Not my type.
Perry takes a quick look around before squeezing a choice bit of Warren's anatomy.
PERRY
I am a product of my time, I suppose.
WARREN
You thought Odysseus was handsome enough.
PERRY
Ah, but that was different. That was war.
A shadow crosses her face.
Warren rubs her back lightly. The family they have forged was not made without incurring a few wounds.
EXT. KP CAMP - EVENING
The meal consists of stewed root vegetables and grains, with a bit of fresh lamb or mutton. It is spring, all that is available to eat is last fall's harvest.
Note - at this time, stews are eaten in a loaf of hard bread called trencher, which is eaten when softened by the broth, with the fingers. A knife is also used, but no forks! And spoons were only used for cooking with, not eating!
PERRY
This is good.
REY
We worked hard on this, blame any lack on the quality of ingredients.
ANAIT
The quality isn't bad, considering the season.
CIARA
There's a bit of fresh green stuff in there. Without understanding the language, buying ingredients was a little tricky, but I think we did okay.
JOSS
Perry. From what I understand we're heading to Detroit, my Detroit, after this. I think we need to know why you're…gun shy.
Perry sets down the bit of trencher bread she was eating and wipes her fingers with her napkin. She takes a drink from a plain, wooden cup. She looks at her food for a long moment.
PERRY
It is not a story for the dinner table.
LATER - AROUND THE FIRE
PERRY
Delarue is not my real name. You would recognize my real name.
JOSS
I wouldn't. Sixty years ahead of you, remember?
PERRY
Yes, you would.
Joss looks sceptical, winces, and draws himself closer to the fire. Ciara drapes a cloak over her and Joss's knees. Warren moves his chair closer to Perry.
PERRY
I am an only child, and possibly an accident. My parents found me inconvenient to their lifestyle, and at the age of five, I was put in a special boarding school.
CIARA
I don't know much about how the other half lives, but that seems awfully young to me.
The others nod in agreement.
PERRY
Perhaps.
(shrugs)
My family is very wealthy. Such wealth attracts those who would have it from them. When I was six, I was forcibly taken from my school by three men.
WARREN
(surprised)
You were kidnapped?
PERRY
(nods)
I was taken to an old farmhouse in the French countryside, and a ransom was demanded of my parents.
DISSOLVE TO:
INT. OLD FRENCH FARMHOUSE - DAY
TITLE OVER: Rural France, 1985
The farmhouse is very old, the kitchen-living areas are one room, and there is a loft over the kitchen. The kitchen hasn't been updated since the early 20s, the stove still burns wood and is the sole source of heat.
In the house are three KIDNAPPERS, JEAN-PAUL, the leader; HOWARD, the questioning but loyal follower, and RENE, a trigger happy psychotic.
A six year old PERETTE is also present. She is wearing a school uniform and her mouth is taped shut. She looks terrified, but she is not crying.
HOWARD is not French, so the other two generally speak English for his benefit.
PERRY (V.O.)
I was very young and very frightened.
RENE
There is no possible way for her to escape from the loft.
JEAN-PAUL
Good. Since we mailed the ransom note before we had the kid, they should be in receipt of it by tomorrow, no later. In two days, we follow up with a phone call from Lucerne.
HOWARD
Can we take the tape off the kid's mouth? I mean…she's gonna have to eat at some point.
JEAN-PAUL
Certainly. No one can hear her scream out here.
Rene sits down and pulls the child Perette on his lap, while unholstering his gun at the same time. He puts the gun in her face, then slowly points the barrel directly at her nose.
RENE
(in French, smiling)
If you so much as move an inch, I will shoot you.
Perette's eyes widen, and she sits as still as she can. Rene reaches behind her to pull up a cushion from the sofa. He puts it beside her head and fires it.
JEAN-PAUL
Put the gun away, Rene! Stop frightening the child!
Howard glares at Rene, then rips the tape off.
PERRY (V.O.)
It was frighteningly loud, but what I remember most is the smell, and the heat, and the smoking hole in the cushion. That could have been my head.
Rene gives Howard a sneering glance.
RENE
You are getting as soft as this Brit, Jean-Paul.
JEAN-PAUL
The child is no good to us dead.
RENE
But she might have an accident, after we collect the ransom. Right, little girl?
HOWARD
C'mon, kid, lets get something to eat.
Howard holds out his hand and Perette carefully climbs down from Rene's lap, not looking at Rene. She does not take Howard's hand, but looks up at him, wary.
INT. FARMHOUSE-DAY
Time has passed, Perette is still wearing the same clothes but there are food stains, and her hair hasn't been brushed in some time.
She is alone with Rene, who has sat beside her with his gun.
PERRY (V.O.)
Normally, they left the Englishman with me, if they had to go out somewhere, but sometimes they left the crazy gunman. Each time they did so, he would take out his gun, point it at my head, near my ear, so that I couldn't really see it.
RENE
(in French)
See that pretty watermelon over there, just the size of your head?
PERRY (V.O.)
He would release the safety, cock the trigger, and then shoot at something else, usually singeing my hair in the process.
Rene does as Perry describes, while Perette sits in rigid fear. When the watermelon explodes, she cries out, just a little, and he taps her head with the still warm barrel of his gun.
RENE
(softly)
That will be your head, little girl, I promise.
PERRY (V.O.)
After perhaps a week, the leader and the Englishman returned to the farmhouse after an hours long absence and an argument began.
RENE
(angry)
Jean-Paul, we can't hold the little bitch here forever! What is the delay?
JEAN-PAUL
(frustrated)
Her family is traveling. I had to find where. Unless you think we should have asked the police to locate them, Rene?
RENE
But you have found them?
JEAN-PAUL
(strained)
Yes…
HOWARD
They don't believe we have the girl.
JEAN-PAUL
I think that is a bluff. I think…
PERRY (V.O.)
To me it seemed the essence of the argument was that my parents, who could buy and sell city blocks, were unwilling to buy me back.
EXT. KP CAMP - NIGHT
Perry's face is completely devoid of emotion, her eyes are black in the darkness, reflecting fire. Warren moves his chair as close beside her as possible, slipping an arm around her shoulders. Rey rises to stand on her other side.
Joss and Ciara exchange a look, then put a cloak on the ground at Perry's feet, sitting there, offering silent support.
Anait moves her chair beside Joss, reaching to touch Perry's knee.
WARREN
(softly)
I'm sure that wasn't the case.
PERRY
(staring into the fire)
Perhaps not.
INT.FARMHOUSE - DAY
Time has passed, Rene is alone with Perette, who is still wearing the same clothes, now filthy. Her hair is a greasy mess, her hands and face dark from dirt.
Rene is pointing the gun at her, pretending to pull the trigger without doing so. She flinches, eyes cringing shut every time he does so.
Every now and then, at irregular intervals, he really does fire. The child is sobbing, but remains frozen in place in the middle of the kitchen floor.
The door opens and Jean-Paul comes in, grinning.
JEAN-PAUL
We have it! Clean up the kid, we're making the exchange.
Rene picks up the child, chucks her under the chin with his gun, which is still warm.
RENE
Exchange? I don't think so. We get the money. Then they get the kid.
(grins)
Maybe.
JEAN-PAUL
(impatient)
Don't be ridiculous, Rene. The kid is nothing, a means to the money. Forget cleaning her up, give her to me.
RENE
No.
He pulls back, cradling Perette in one arm. At six, she is rather heavy, she clutches Rene's shoulder so she doesn't fall, but she does so with reluctance.
Jean-Paul grabs her around the waist, and she transfers her clutching grip to him, much preferring him to Rene.
Rene releases her, holds up his gun.
RENE
(grinning)
Your turn, little girl. I keep my promises.
He aims at her head.
JEAN-PAUL
Rene,…
Rene fires, and Jean-Paul's head shatters much like the watermelon, all over the child in his arms, who falls with him. Blood and brains are in her hair, her face, everywhere and she is screaming, screaming, screaming.
Howard bursts through the door.
HOWARD
Man, the cops are here!
He stares at Jean-Paul, then looks at Rene, who is now pointing the gun at the child. She is still screaming in terror.
HOWARD
No!
But Rene fires. Unfortunately for him, he's out of ammo, the gun clicks and nothing happens.
EXT. KP CAMP - NIGHT
The project members gathered around Perry are somewhat shocked at the revelation.
Perry herself is still stone-faced, staring unseeing into the fire.
She gives herself a little shake.
PERRY
And that is why I 'ate guns.
There is a silence, full of questions no one is sure how to ask.
CIARA
What happened next?
PERRY
(surprised)
Next? I was taken to the hospital; bathed, forced to spend a few hours with a counsellor, then I went back to school. Not the same school, of course, my parents found one with better security.
ANAIT
What about your parents?
PERRY
I saw them at the hospital; they stopped in for a few minutes before going back to wherever it was they'd been.
Perry shivers, and Warren pulls her onto his lap. She smiles at him. Rey takes her chair. She realizes they are looking at her with concern.
JOSS
Are you telling me your parents stopped in to talk to you for just a few minutes, you only six years old?
PERRY
They didn't talk to me, just looked in through the window.
(bitterly)
I've never been of value to my family until it looked like I might make a profitable marriage. Preferably into a rich American family, as they wanted to extend their influence. Hence my attendance at Harvard.
CIARA
So you had to tell this story to the police, the courts, alone?
PERRY
This is the first time I have ever told the story. My family didn't want to be involved. So when the hospital deemed me fit to leave, a limousine took me to a different school, with a suitcase of new clothes, and a new doll. I don’t know what happened to the kidnappers.
JOSS
That's...crazy. Cold.
PERRY
(shrugs)
I had food and shelter.
JOSS
Y'know, I always assured myself that if I had parents, they'd want me and love me. It never occurred to me that a person could have parents and still be…
(shrug)
For lack of a better word, an orphan.
Joss winces again, and hugs his knees to his chest.
PERRY
I'm sure my desire to sever myself from them by using a different name is clear, even without going into the rest of my life with them.
ANAIT
And your family is…?
PERRY
Please, Anait. You have hinted I make a name for myself, as Delarue. Lets leave it at that.
ANAIT
As you wish.
WARREN
Is your law degree in the Delarue name?
PERRY
It is. I had my name changed for my second year at Harvard, when I started being there for me, and not my family.
REY
That is a disturbing story to go bed on, but I suggest we retire for the evening. And if you missed it, we have spent some of the evening being watched.
JOSS
I noticed, but since whoever it was is gone, I wasn't sure if I should mention it.
WARREN
(startled)
Who would be watching us?
Joss stands up stiffly, Perry notices.
INT. PERRY'S PAVILION - MORNING
The trundle was never pulled out, Warren, Perry, and Rey are in the bed, Perry between the two men. All seem bereft of clothing.
JOSS (O.S.)
(crossly)
Up and at 'em, Princess, you got company.
Joss pushes aside the tent flap and allows Ciara past. Both notice the state of undress within the bed and neither comment.
Joss turns his back as Perry follows Ciara behind a dressing screen, leaving the two men to dress off screen.
PERRY
(quietly)
The pain is back, isn't it.
Ciara nods, biting her lip.
CIARA
Think Rey can do his magic again?
PERRY
(pause)
There's opium.
CIARA
Joss would rather avoid that. He thinks I'm the only one who knows. He thought everyone was so distracted by your story…
PERRY
Given what Rey has created, I imagine we all noticed.
Ciara helps Perry pull her over gown on, and impulsively hugs her.
PERRY
What's that for?
CIARA
For the little girl splattered in brains. For the woman who sees another's pain through her own.
Perry opens her mouth to speak, but nothing comes out. Her eyes tear up.
CIARA
Don't go all mushy on me now, there's a gentleman to see you.
Perry swallows her emotion, dabs at her eyes. Abelard is the only gentleman who would come to see her, and she hopes he has found a buyer for her scroll.
PERRY
How do I look?
CIARA
Oh? Is he that kind of gentleman?
PERRY
Not my type, thank you. Kind of creepy to think about it, really.
CIARA
Someday we're going to have a good girl-to-girl chat about just what attracts you to a man, because you are all over the board. I mean, he's got nothing on our men, but neither did that English lord you fucked in every drawing room in London, or that old Greek soldier guy.
PERRY
It's called 'je ne sais quois'. And Abelard doesn't have it.
She sweeps out of the tent.
EXT. KP CAMP - MORNING
The fire has been rekindled, Joss is pouring coffee for Abelard and Warren, while Anait and Rey make a show of checking on the pickets.
Perry comes out of the tent, followed by Ciara, and Joss immediately gets two more mugs ready.
PERRY
Thank you, Joss. Would it help to lie down?
He scowls at Ciara.
JOSS
No, it would not.
PERRY
(in Latin)
Good morning, sir.
NOTE: The conversation between Perry and Abelard is in LATIN, all other conversations are in English.
ABELARD
And to you, my lady.
CIARA
(to Warren)
What does 'je ne sais quois' mean?
WARREN
I don't know what.
PERRY
You flatter us with your presence.
ABELARD
You are too generous with your praise.
CIARA
(to Warren)
What do you mean you don't know; it's French isn't it?
WARREN
(amused)
It means "I don't know what"
PERRY
(stifling a grin)
Surely not.
Abelard returns the grin, not understanding the reason for it.
ABELARD
May I ask why you choose to stay outside the city walls?
PERRY
(surprised)
You have to ask? Shall I mention the fleas, lice, rats, mice to be found in every inn? Or the fragrant odour of open sewage and rotting offal?
ABELARD
(smiling)
You get used to it when you live there.
PERRY
Perhaps, but we do not live there, and have no desire to get used to it. I am hoping your presence here is precipitated by an offer on my scroll?
ABELARD
Ah, yes, the scroll. May I see it?
PERRY
(to Ciara, in English)
Ciara, could you get the scroll from Anait's pack?
Ciara, remembering her role, bobs a curtsey and fetches the scroll.
ABELARD
Your native tongue is strange to me, it sounds similar in cadence to certain northern tongues, but occasionally a word has a Latin familiarity.
PERRY
(guardedly)
It is a complex language.
ABELARD
(engaging smile)
Perhaps you could teach it to me.
WARREN
(in English)
Oh, inventing excuses to spend time with you. He’s got it bad.
Ciara places the scroll on the table with another brief dip of her head.
WARREN
(to Ciara)
Abelard wants Perry to teach him English.
Ciara giggles.
Abelard, having recognized his name, looks at Perry.
ABELARD
What did they say?
PERRY
(dryly)
Nothing of import.
She opens the scroll and holds it open, towards Abelard.
PERRY
It is a medical treatise, not my area of interest.
Abelard examines the scroll with great interest.
ABELARD
(casually)
What is your area of interest?
PERRY
Secular law.
Abelard looks up, surprised.
ABELARD
That is a rather peculiar interest. I would have thought you to be the philosophic type, given your enthusiasm the other day.
PERRY
Kind euphemism. But as far as philosophy goes, I never got much beyond "I think, therefore I am"
WARREN
(in English)
Perry, Descartes hasn't been born yet. At this time, philosophy takes the existence of God as a given.
ABELARD
(slowly)
I don't believe I'm familiar with the thinking behind that.
Warren jostles her elbow.
PERRY
Neither am I.
ABELARD
I think you are trying to appear less educated than you really are. I assure you, I find you no less attractive for having an education. Quite the opposite, in fact.
He smiles, in what he means to be a winning way, and Perry sighs.
WARREN
(in English)
Me, too.
PERRY
(gently to Abelard)
You flatter me, sir, but my affections are otherwise engaged.
ABELARD
(hand on his heart)
I shall not give up just yet.
PERRY
The scroll…
Abelard begins to read the scroll in earnest, and is impressed.
ABELARD
(sharply)
Where did you say you acquired this?
PERRY
Rome, from a seller in the streets. It was stolen by a private collector and retrieved at great personal cost.
WARREN
(muttering in English)
My fault.
PERRY
(to Warren, still in Latin)
It was not your fault.
ABELARD
How much did you pay, including the retrieval?
PERRY
The retrieval cost no money, and the scroll is worth considerably more than I paid for it.
(hesitates)
May I authorize you to sell it at a fair price?
ABELARD
What would you consider fair?
PERRY
What the market will bear.
ABELARD
May I take the scroll with me?
Perry hesitates.
WARREN
(in English)
I wouldn't worry about not seeing him again, he’ll use any excuse to spend time with you.
PERRY
Certainly.
Abelard rolls up the scroll, stands, and takes Perry's hand, kissing the back of it in a courtly fashion.
ABELARD
Good day, my lady.
As he walks away, Perry wipes her hand on her skirt.
PERRY
It was him watching the camp last night.
WARREN
I'd put money on it.
EXT. RIVERBANK - DAY
The camp is in the background. Joss is sitting, watching the river roll by. Perry comes from up-river wearing just her under gown, her hair damp from a dip in the river. She is heading toward the camp, but sees Joss and makes for him instead.
She sits down beside him. They talk a bit, unheard by the rest of the camp. When Perry comes back to the camp, Anait replaces her at Joss's side.
ANAIT
How bad is it?
JOSS
(irritated)
I wish Ciara hadn't said anything.
ANAIT
She didn't need to.
JOSS
(awkwardly)
You know, you get used to living with a degree of pain all the time. Then. These past few months living without it have been great. Well, except for the slave market, the brigands...
ANAIT
(gently)
I know what you mean.
JOSS
And now it's coming back, and I know it's not bad yet, but I've forgotten how to live with it.
Joss draws himself up, stretches out his shoulders.
ANAIT
As soon as Abelard sells the scroll for us, we'll up-jump to 2069. Rey and I will see you cured in Paris.
JOSS
(sideways look)
Aren't you a little worried about his fascination with Perry?
ANAIT
Rey?
(puts a hand on Joss's arm)
No, I know you mean Abelard. Perette can take care of herself, what worries me more is that Abelard might be delaying the sale of the scroll on purpose, as a means of spending more time with her.
JOSS
What if she offers to teach him English once he sells the scroll?
ANAIT
She can't teach him English. It's a non-existant language.
Joss sighs. How long have they been together and she still doesn't understand deception? But the sigh clues her in.
ANAIT
Oh, right. We just pack up and leave anyway.
(frowns)
It's not a very honest way of dealing with people.
JOSS
Delaying the sale of the scroll simply to spend time with Perry isn't very honest, either.
EXT. KP CAMP - DAY
There isn't a lot to do while they wait for Abelard to sell the scroll. Rey is in town on a food purchasing trip, Anait and Joss are still down at the river.
Warren is attempting to whittle, while Ciara rests her head on her hands on the table, a picture of boredom. Perry paces, picking restlessly at her skirt.
CIARA
Perry, why don't you teach me some of that martial arts stuff?
PERRY
In these clothes?
CIARA
We can put our leathers on, go down by the river bank, that's far enough away from the road.
WARREN
What if Abelard shows up?
CIARA
We'll take our stupid dresses with us. If Abelard shows up, Anait can come get us, and we can change before we come back.
Perry looks cheered by the idea.
PERRY
Let's do it.
EXT. KP CAMP - EVENING
Everyone is back in camp, though Joss is in the pavilion he shares with Ciara and Anait. Rey can be seen trudging toward camp from the city. The fire is lit, the cauldron is over it, and something is steaming.
Rey sets down a bag of provisions, and Anait roots through it, looking for items to add to the meal on the fire.
REY
I hope no one minds, I stopped to talk to an innkeeper just inside the walls. He has agreed to supply us with hot water enough for us all to have a proper bath tomorrow evening, and the privacy of his courtyard to bathe in.
His announcement is greeted with cheers.
ANAIT
Soap is basic, don't expect anything fancy.
CIARA
Beer.
WARREN
What?
CIARA
Flat beer. We can make a shampoo out of beer, which should counter the effect of lye soap on our hair.
REY
Castile soap, the finest available.
CIARA
(to Perry)
If it's really castile soap, it won't be so much of a problem. We can just use flat beer as a conditioner, and we should be fine.
PERRY
Dare I ask how you know that?
CIARA
My mother….
EXT. NOTRE-DAME CLOISTER - DAY
Anait is making her way cautiously through the muck and bustle of the city. Her way is somewhat easier as she is in project leathers. Her appearance draws many glances, some dismissive, some with censure.
She knocks on a door.
ANAIT
(in Latin)
A message for the esteemed Pierre Abelard, from my humble mistress.
She passes a folded sealed paper through the open door. The door closes. Anait waits a moment, but she has not specified she needs a reply and after a brief hesitation, she leaves.
EXT. COURTYARD OF THE CRIMSON RIVER INN - NIGHT
By torch light, three individuals dressed in rags carry pot after pot of hot water to fill a deep tub that resembles nothing so much as a giant half barrel.
Joss is sweating and shakes now and again. Ciara and Anait hover near, trying not to hover. Rey is a little apart from the group, watching them carefully. Perry and Warren, although sparing glances at Joss, are watching the tub fill with anticipation.
CIARA
I'll feel sorry about the slave labour later.
PERRY
Joss, you go first, perhaps the heat will ease the ache in your bones.
JOSS
Thanks, cream-puff.
CIARA
I'll bathe with you, Joss. That way I can walk back to camp with you before you take a chill on the way.
WARREN
(leering, to Perry)
Want me to bathe with you?
PERRY
(smiling)
I'll be fine all by myself, I'm sure. I'll go last.
REY
They won't be emptying the tub, Perry. Just topping it up with hot water.
PERRY
We've been bathing regularly in the river; the water will be clean enough. Besides, there's soap, and…beer. And I won't feel like I have to hurry for someone else.
REY
We'll be in the public room, Joss, Ciara.
EXT. COURTYARD - NIGHT
Joss and Ciara in the tub, she is washing his hair.
JOSS
Why wouldn't you bathe with me when I could enjoy it?
CIARA
(smiling)
Perry got there before me.
JOSS
That was a fluke, it happened once. I've had lots of baths since then.
CIARA
When you are healthy, I will have a celebratory bath with you, ok?
JOSS
Deal.
CIARA
I'm going to wash my hair now, then we can go back to camp and smother ourselves in warm blankets.
EXT. COURTYARD - NIGHT
Warren emerges from the tub, pulling a large towel around him.
WARREN
Perry! Tub's all yours!
INT. PUBLIC ROOM - NIGHT
Warren has dressed, his hair still damp. He joins Rey and Anait at a rough table, and a flagon of beer is set before him.
Rey and Anait each have one as well, though neither appear to be drinking.
WARREN
Something wrong with the beer?
ANAIT
It is well suited for washing hair.
REY
It seems to be an acquired taste I have yet to acquire.
ANAIT
I don't like the idea of Ciara and Joss being alone at the camp. You two keep an eye on Perry, I'm going to walk the pickets.
Anait leaves.
REY
An admirable woman.
WARREN
She doesn't talk much about herself.
REY
She shares a large part of the responsibility for us becoming arthan. She is compassionate, caring, and yet she does not realize she was as alone as each of us was. She chastises Perry for being reserved in her emotions, but Anait…
WARREN
(hesitantly)
She's afraid.
REY
Obviously. But of what? Not acceptance. But something makes her feel like she must keep her distance, though she has redefined what that distance is.
WARREN
Meaning…?
REY
She is regularly sexual with Joss. Or Ciara. Or both.
WARREN
And you know that…?
REY
I can smell it.
Anait suddenly reappears.
ANAIT
Rey, we could use your help. Joss is…he's getting worse, please, is there something you can do?
Both men stand up.
ANAIT
No, Warren, somebody must stay with Perette.
Warren sits down slowly, concern evident on his face.
WARREN
Should I go hurry her along?
ANAIT
I don't see why, there's nothing she can do. Joss isn't going to die. I…I almost wish he'd take the opium.
WARREN
You two go, then. Perry and I will be at camp soon.
EXT. INN - NIGHT
Abelard is approaching the entrance to the courtyard, ignoring the closed iron gate, he pauses beneath a lighted lamp to re-read the note in his hand. He looks at the closed gate and smiles.
EXT. COURTYARD - NIGHT
Abelard is looking for Perry, the sound of water draws him to the tub. He stares, astonished, to see her gleaming back, as she is bent over washing her hair. In the dim light the lash marks from a previous adventure are invisible.
Perry flings her hair back suddenly, in a sweeping arc, leaving her entire upper torso exposed until she sinks down, rubbing water off her face.
Abelard, speechless, is fairly certain he is not meant to see this, but cannot stop himself from moving for a closer look.
Perry reaches back to ring out more water from her hair. She picks up a hair stick, and holds it in her mouth, while she piles her hair untidily on her head.
Abelard is fixated on her breasts, which remain tantalizing below the surface of the water.
Perry stabs her hair with the stick, making sure it holds, then she stands up, giving Abelard all the look he was hoping for.
Some sound escapes his lips.
Perry wraps her arms around her, covering her breasts, not entirely alarmed.
PERRY
Warren?
Abelard clears his throat.
ABELARD
(in Latin)
It is I, my lady.
Perry swears in Arabic.
PERRY
Ciara! Anait!
INT. COMMON ROOM - NIGHT
Warren turns his head, as if he hears something. Already concerned for Joss, he decides to check and see if Perry's ready. He smiles as he considers that she may yet be in the tub.
EXT. COURTYARD- NIGHT
Abelard remains transfixed, and Perry can't reach a towel or her clothes without uncovering herself.
ABELARD
Such beauty. It should only be divine, yet, I am inspired not to glory but to my base instincts. Can the devil create such beauty, to lure men to their damnation?
PERRY
(crossly)
If men did not come upon me in my bath, they would surely be safe. Ciara!
ABELARD
(passionately)
I would know you, lady! The scent of your skin, the flavour of your lips…
Warren emerges from the shadows, taking in the situation. If Abelard's presence is welcomed by Perry, he does not want to interfere. Her defensive posture suggests she would not be upset by his interference.
WARREN
Perry?
PERRY
(in English)
What took you so long! Pass me…something!
WARREN
I don't know. You look like a Botticelli Venus, standing that way.
PERRY
Take a picture, I'm cold.
Abelard looks tragically upset at Warren's presence.
WARREN
(sympathetically, in Latin)
I know how you feel, my friend.
Warren sorts through the clothes on the ground, walks over behind Perry holding open a large towel. She turns, giving Abelard a view of her backside, and takes the towel, letting Warren see what he's seen before. She wraps the towel quickly, stepping out of the tub.
With the tub between her and Abelard, she dries herself, finds her clothes, and pulls the under gown over her head, drops the towel.
PERRY
My dress, please.
WARREN
(amused, in English)
I am not your maid.
PERRY
You'll have to do.
WARREN
Sorry, sweetheart. I'm going to have a word with our good friend Peter.
PERRY
Warren…
Warren ambles casually over to Abelard's side.
WARREN
(cordially, in Latin)
What brings you to the courtyard of the Crimson River Inn?
ABELARD
I received a note this afternoon. It says I might send word to yon lady here of her scroll, had I word by this evening. I thought I might inform her personally. I didn't realize…
(crossly)
What is she to you?
WARREN
(casually)
Everything.
Abelard is taken aback by Warren's answer.
WARREN
Inform her personally of what?
ABELARD
Is it your intention to threaten me?
WARREN
If that was my intention, sir, I would have threatened you already. Inform her personally of what?
ABELARD
(stiffly)
I would like to inform her personally.
WARREN
She's a little upset right now.
ABELARD
Then I will come by her camp on the morrow. Good night. Sir.
Perry, her over dress on, but not laced, since she can't reach it herself, comes to stand by Warren as Abelard exits the courtyard.
WARREN
Do you think he sold the scroll?
PERRY
Everything?
Warren looks away, embarrassed.
WARREN
C'mon, Joss isn't doing too well. I hope he sold the scroll.
EXT. KP CAMP - MORNING
The fire is smouldering, Rey is pacing. Joss, Anait and Ciara are still in their tent. Warren comes out of his in project leathers.
REY
Are you supposed to be wearing those?
WARREN
I think Abelard walked in on Perry's bath last night to tell her he sold the scroll. I know we've got a lot of work to do before we go up-time, but…
(shrugs)
How is he?
REY
I gave him a nerve block, he can't move, but the pain is manageable. I hope for his sake you're right.
Perry comes out of the tent. She too is in project leathers, with a medieval coat or robe over top.
PERRY
The bedding and our clothing is all packed in a chest. I even rolled the carpet up. I hope you're right, Warren.
She eyes the fire. Sighs.
PERRY
No coffee. How the hell did Abelard know I was at the inn, anyway?
WARREN
Said he had a note you sent, saying to send word there.
PERRY
I didn't send any note!
Anait comes out of her tent.
ANAIT
(tiredly)
I sent it. It said you'd teach him our native tongue - Spanglish - as soon as you could rest easy regarding the scroll.
WARREN
(admiringly)
Brilliant idea.
ANAIT
Joss's.
PERRY
Spanglish?
ANAIT
(irritable)
Creativity is not my strong point.
REY
Let's assume he's sold it.
Warren and Rey carry Joss out of the tent, laying him on the ground with a pillow and blanket. Bedding is packed up, the rolled carpets taken out of the tents, along with the lamps.
ANAIT
Tell Abelard we're moving into the city, because it will take a long time to teach him Spanglish.
PERRY
I'm working on saying that with a straight face.
Ciara packs the cooking utensils into another box. Rey is watching the city gates, looking for Abelard.
REY
Here he comes.
Abelard is on a horse today, he dismounts looks at the camp. Looks at Warren. Looks at Perry.
ABELARD
Interesting choice of clothing, my lady.
(bows)
My apologies for last night. I deeply regret our interruption.
He glares at Warren. Perry nods graciously, ignoring the interplay.
ABELARD
(anxiously)
You are preparing to leave?
PERRY
(sweetly)
If I am to teach you Spanglish, we must move into a proper residence.
Abelard smiles at her conspiratorily.
PERRY
(continuing)
Of course, it would be easier for me to concentrate, knowing the scroll was properly disposed of.
ABELARD
To that end, my lady, I have good news.
He brandishes a small bag and shakes it so that it clinks. As he does so, he notices Joss laid out on the grass.
ABELARD
Is your brother ill?
PERRY
My-? Oh. Yes, I'm afraid so.
(beat)
Living within four walls will be of benefit to him as well.
Warren and Rey are striking the pavilions, which go down much faster and easier than they went up.
Abelard takes Perry's hand, startling her. He presses the bag into it, wrapping her fingers around it.
ABELARD
I am honoured to assist.
Perry's smile is forced. He releases her hand.
PERRY
Ciara…?
Ciara takes the bag, walks behind Perry to the pack, under the table, where they keep their money. She looks at Anait, who moves her head negatively. Ciara pockets the money.
Abelard assists with the tear down and packing up.
ABELARD
Might I inquire as to where you will be relocating?
PERRY
(smiling)
How else will you learn Spanglish? We are moving to the other side of the city walls, within sight of the Louvre.
ABELARD
(disappointed)
A fair distance. But worth it for so fair a teacher.
EXT. WESTERN GATE OF PARIS - DAY
Just outside the western gate, hard by the Seine River, which is much greyer and fragrant for it's journey through and around Paris.
Perry, no sign of medieval clothing, is waiting with Warren and Joss for the rest of their party, finishing up the sale of their goods. Warren is carrying a tall walking staff with a small pack tied to the end.
Joss is sitting on the ground, his back against a building. His eyes are closed, his face bears witness to how he feels.
PERRY
Soon, Joss, soon.
Through the gate comes Abelard, on foot this time. Warren sees him, but Perry is looking in concern at Joss.
ABELARD
(in Latin)
So soon again we meet!
PERRY
(muttering)
Abelard.
(turns and smiles)
So soon!
Abelard looks at her outfit askance.
ABELARD
I think you are too feminine to wear masculine clothing. That is quite immodest.
PERRY
Thanks for the fashion tip.
Quite suddenly TWO THUGS set upon Abelard, shortly joined by another two. Warren ducks into a doorway. He tears the pack off the stick and hands the stick to Perry.
WARREN
Perry…
PERRY
Merde. Do I 'ave to save his life?
WARREN
I'm afraid so. He lives to a ripe old age.
(beat)
If it makes you feel better, he'll be castrated next year.
Perry smiles. Using the staff as a bo, she takes out one thug easily. The second is a bit tougher, but the first two are beating on Abelard, so Perry becomes impatient. She brings the staff down on the second man's head, inverts it and thrusts it under his chin so hard, his neck breaks.
PERRY
Merde.
She swings the staff around, pushing one of the thugs on Abelard backward. He gives her a murderous glare and pulls a wicked looking knife.
WARREN
Perry!
PERRY
I see it.
She blocks his first blow, numbing his wrist so the blade drops to the ground. Joss hooks it with his foot and it skitters across the stones.
WARREN
Abelard!
Abelard pushes the second thug back for a minute, but is stunned to see Perry fighting. The second thug kicks him in the back.
Perry turns, staff extended, and catches the second thug in the gut, sending him against the wall with a woof of air.
He comes back with a knife of his own.
PERRY
Merde.
She brings the staff down on his shoulder, trying to avoid a killing blow.
WARREN
Behind you!
Perry pulls the staff back in a smooth motion, so that it thrusts behind her. Because this is tv, it strikes home in first thug's gut. When she brings it back to bear on second thug, the force of the blow brings his head into fatal contact with a wall.
Disgusted, Perry tosses the staff to Warren and takes out the first thug with a good swift kick, tae kwon do. He scrambles away.
She gives Abelard a hand up.
PERRY
(in Latin)
Are you harmed?
ABELARD
(breathless)
Not…irreparably.
He looks at the three thugs lying around the street. One is obviously dead.
ABELARD
Are they…?
PERRY
(chagrined)
Just two of them.
ABELARD
How did you…??
PERRY
(wearily)
Far too easily. Incompetent fools.
ABELARD
(protesting)
They would have killed me.
JOSS
Here they come.
Through the gate comes Ciara, Anait and Rey.
CIARA
What the hell happened here?
Anait stares at Abelard.
ANAIT
What's he doing here?
WARREN
He was being attacked.
JOSS
Perry put some hurt on them. Two dead.
ANAIT
Perette!
PERRY
(defensive)
There were four of them. It's been a while since I could take out four men myself.
JOSS
She only killed the ones that were armed.
Abelard is still staring at Perry. He doesn't understand the words being spoken but he sees that no one else is surprised that Perry handled four men by herself, and killed two of them with frightening ease.
He dusts off his coat, not meeting Perry's eyes.
ABELARD
I just wanted to tell you…that I find my schedule too pressing to include language lessons at this time, I do hope you'll forgive me.
Warren grins, then pulls Perry close and kisses her on the mouth. To his surprise, she kisses back, stroking his cheek affectionately.
Warren gives the departing Abelard a smug look.
JOSS
Yo, dying man here.
FADE OUT