ENTRY 23: THE NARRATIVE
-----------------------

The scene opens on a rather curious group of people, sitting in a
small function room, talking over tea. A debonair looking American
gentleman, lips pursed around a pipe, while he studies the others; a
slightly younger looking woman with an icy complexion whose beauty is
not marred by the faint scar along one cheek; a nervous, older looking
British gentleman, wiping his brow with a kerchief while he frowns;
and a self-possessed but vulnerable looking young woman, gracefully
exhaling cigarette smoke.

They sit for around an hour, talking intently with each other. There
is a frenzied feel about the air in the room, almost desperate. At
times, they get quite animated; the young woman with the cigarette in
particular punctuates many of her points with the cigarette, and gets
up to pace at one point. The older man gets more nervous as the
conversation goes on; the American watches much of the scene with a
smile of faint amusement on his lips. The beautiful but somehow
dangerous looking woman talks at length for a bit, and her companions'
expressions firm into determination, or perhaps resignation. They pay
their bill and leave; the older British gentleman walking down the
London street with the young woman in one direction, the American and
the dangerous woman walking purposefully in two different
directions. Dusk is falling.

---

The scene follows the young woman and the older man as they walk
through So-Ho to a less pleasant part of London; all houses are close
together, and yet have high fences to keep unwanted parties out. The
sidewalks are littered with trash, the gates are, by and large,
locked. The young woman's' heels click on the uneven cobblestone, and
she and the gentleman move closer together as they walk. They stop in
front of a house much like all the others, except that the brick wall
is perhaps a bit higher, and there is no gate. Walking up to the front
door, they take deep breaths and then knock.

As there is no answer, they knock a bit more loudly, craning their
heads around to attempt to look through the windows. The scene shows
that they have been painted over on the inside. They knock again, and
the gentleman calls out a name- "Shipley?" He looks nervous. Glancing
at the woman, he moves off of the porch, walking around to the back of
the house. She purses her lips, looks around nervously, and follows
him. When she catches up, she finds him kneeling down on the grass,
scratching the ground and sniffing his fingers. She moves to the back
door, tries to look in, and tries the handle. She turns around to the
older gentleman, who is looking intently now at the back of the
house.

"They're obviously not here, Adrian."

"But we had a meeting with them! Give me three minutes to think. This
is too important."

She waits, obviously impatient, while he moves around, muttering to
himself. After a few minutes, she talks to him again, and he
reluctantly nods his head. They leave.

As they are walking away, the young woman looks around nervously, then
slows her steps, whispering into Adrian's ear. They turn around, and
walk back towards the house, meeting up with an unkempt gentleman and
a rather scantily dressed, unattractive woman. The young woman smiles,
and talks to the new man. Over Adrian's protests, they reach some sort
of agreement, and the young woman walks off, Adrian on her arm. The
unkempt man watches them walk away intently for a little while before
bringing the scantily clad woman into the house.

---

The scene cuts to the debonair American walking purposefully up to a
stately house, and then to him joining an older, smiling man in a
tasteful room. The man puts on a stethoscope, and looks at the
American.

"Well, then, what's this? Another case of the clap?"

The American colors a bit, and then the two engage in a discussion
that turns a bit more serious. The doctor listens to the American's
heart, and performs a routine examination before sending him on his
way, shaking a friendly finger at the retreating figure.

The scene cuts to the American entering a bustling business. A sign,
labeled 'Cartwright Ship Lines', hangs over the door. At his
entrance, employees stand straighter, saluting, and he examines ship
departure times for the next month, written on a board. He looks up,
and an employee hastens to write the details down for him, as well as
a name. They chat briefly, and the American walks out into the night.

---

The scene shows the young woman, in an extremely well-appointed
parlor, talking on a telephone. "Yes, thank you for checking their
identity for me." <pause> "Yes, would you please connect me through to
them?" <pause> "Thank you very much."

She sighs, and sits on the edge of a silk-upholstered chair. Lighting
another cigarette, she speaks. "Master Hatch? Yes, this is Ms. Essex."
<pause> "Yes, I have had the chance to speak with our mutual friend,
and have some more news for you. Shall we meet?" <pause> "Why,
certainly. I'll be expecting you." Thoughtfully touching her lips with
her finger, she picks up the phone. "Yes, hello. Inspector Barrington,
please." She smiles, and then it fades. "Ah. I see you've spoken with
them. Well, then...." A confused expression crosses her face. "What do
you... Erm. Certainly. Yes." <pause> "Please take care,
Inspector. Thank you for your time." As she hangs up the phone, the
confusion changes to understanding, and she turns around, nearly
hitting the butler.

"Yes, Charles?"

"There are... two gentlemen to see you, Miss Essex." He frowns. "They
don't have cards, and said that they were expected."

"Oh, yes, of course. Apologies for not letting you know, Charles; I've
only just arranged the meeting. We'll take brandy in the blue parlor?"

"Of course, Miss Essex."

---

Another beautifully appointed parlor, done in blue silks and cherry
wood. Ms. Essex is seated gracefully in a chair opposite two men. The
men are dressed in nicely tailored suits; one is fair haired, the
other dark. The expression on their faces is inscrutable. Ms. Essex
wears a concerned expression, and is doing most of the talking,
accentuating her words with pauses, during which she studies the faces
of the men. She seems slightly uneasy, and unsure of her station in
comparison to them.

"That is all that we have done, and all that we know. We feel that the
warehouse (and the parties involved there) is integrally tied with the
horrible murders that are taking place, and it is very likely that at
least some of the goods are being taken to or from Gavigan's estate in
the Naze in the monthly truck run." She inhales deeply from her
cigarette, and swirls her brandy in its glass.

The fair haired one does the same, a small smile on his lips. "Dr.
Essex." He drinks. "Permit me to say that your naivete
is... charming. We are now quite certain that, as you say, you know no
more than we do about the goings on of the group located in the
warehouse." He pauses, the smile never quite leaving his
face. "However, perhaps you would be willing to let me explain to you
more fully the situation you find yourself in."

Dr. Essex regains her composure (some would say arrogance), and
addresses the fair haired man coolly. "Mr. Hatch, I would
be... delighted."

Hatch smiles. "Yes. Of course." He stands, and paces the room slowly.
"Well, perhaps you'll understand better if I let you know how it
seemed from an outside perspective. Given the recent political climes in
Egypt and elsewhere-" Hatch pauses, looking at Ms. Essex. "-you do
know about those, don't you--Yes. Well, given those events, His
Majesty is very... concerned... with possible underground political
movements. A short time ago, the warehouse in question came to His
Majesty's attention. We have since been trying to determine exactly
who the source of these goods is. We have guesses, of course.... ties
to Shin Fein, Egyptian separatist movements, Indian separatist
movements... but no real answers."

He takes another sip of brandy. "Imagine our surprise, then, when a
group containing a KGB agent (who also has ties to various separatist
movements) and a fairly well-known smuggler- fresh from a smuggling
operation that started in Egypt, no less!-" Hatch stops pacing, noting
the expression of disbelief on Dr. Essex's face. "Oh, did Mr. Wesson
forget to mention that? Yes, well. As I was saying, fresh from an
operation, just arrived from New York- both of these parties show up
at none other than the warehouse we've been watching so intently!" He
continues walking around the room. "You begin to understand why we're
so interested."

Dr. Essex wears a slightly stunned expression. "Yes. Yes, I do now."
She pauses for a moment. "Well, I'm not sure what to tell you.... our
mutual friend is rather reluctant to talk to you, as she considers her
ability to be mobile her greatest advantage at this point. I can tell
her again that you'd like to speak with her....." She looks
inquiringly at the men.

Hatch pulls a folded piece of paper out of his pocket, and hands it to
her. "We ask that you give this to her when you see her. Perhaps then
she'll talk to us, to discuss the situation more."

She places the paper in a pocket, and regards Hatch. "Well, but if she
talks to you, she's already agreed to give you some information,
right? Forgive me if this is naive-" she looks pained- "but once you
are within sight, you could just detain her with physical force."

The smile comes back to Hatch's face. "Ask her about meeting in
mutually hostile territory. We're prepared to wait. You have our
number."

---

A London morgue. The American is standing in front of a glass panel
that is curtained off.

"So we're going to raise the curtain, and then all you have to do is
say 'Yes' or 'No'. Understand?"

The American looks disdainfully at a man wearing a white jacket. "I
think I can manage that, good sir."

The curtain is raised. The American turns quite green, and vomits into
the galvanized bucket on the floor next to him. After vomiting, he
looks at the man in the white coat, who is smiling. He nods.

"Well, then. Let's just go ahead upstairs, and we'll take your
statement."

---

The same morgue, later. Dr. Essex is standing in a room with Hatch and
the other government agent. She puts on rubber gloves, and lifts the
sheet away from a body on a metal table. The two men look away. She
studies the body for a few moments, sighs, and then lowers the sheet.

"Yes, I'm afraid it's her."

---

The scene shows Dr. Essex in the middle of Picadilly Circus, looking
around at her surroundings, seemingly searching for someone. A small
street urchin bumps into her. Startled, she looks down at him. "Well,
hello there, young one. I'm terribly sorry...."

He backs away from her, making a rude gesture with his hands. "Up
Yours!"

Troubled, she turns the other way. A look of realization crosses her
face, and she yells. "Police!"

A bobby comes to her side quickly. "Yes, Ma'am?"

"That small boy just pick-pocketed me!"

A long-suffering expression comes over the bobby's face. "Which small
boy, Ma'am? There are several here."

Dr. Essex looks around forlornly. "Well, he was wearing a brown
coat...."

"Now then. What's missing?"

She searches her pockets, and a surprised look crosses her face. "Why,
nothing! My wallet is right here. I'm very sorry, officer. Very sorry
indeed." She gives him a winning smile.

Smiling back at her, the bobby fumbles through a little bow. "Oh, no
trouble at all, Ma'am, no trouble at all. Cheerio!"

---

We see Dr. Essex entering in a small room with an older, distinguished
looking British Gentleman. "Elizabeth- er, I mean, Ms. Essex. Please
sit down." He coughs in an embarrassed manner.

"Oh, Elizabeth, please, Inspector. We're far past formalities." She
smiles, and sits. "I got your note." It is her turn to cough in an
embarrassed manner. "Are we... free to talk here?"

They talk, the conversation quickly becoming serious. The Inspector
looks concerned, perhaps a touch irritated, and then a wry smile
crosses his face. "So, they didn't tell you what else they found in
the warehouse, eh? Some interesting things. Very... unusual... things."

Elizabeth perks up. "Well, those were probably the things we were
looking for, then."

The Inspector looks surprised. "Really? I'm not so sure. They found,
among other things, motor parts. Of a new design; nobody can figure
out what they are supposed to do. They were being shipped to China."
He takes a long drink of his ale. "If they're building a bomb, it's
frightfully large one."

---

The American is talking to an extremely distinguished gentleman, in an
extremely well-made suit, in an extremely posh, large room. They are
its only occupants.

"Well, these friends of mine, are in quite a bit of a mess. I'd like
to help them, but perhaps not drag the Cartwright family name into
it. Our family barrister"-he smirks a bit-"recommended you highly,
Nigil."

The older man smiles, and laughs a robust laugh. He puffs on his
cigar, and drinks of his brandy. "Well, you just tell me the
situation, and I'll take care of it. Don't worry about a thing."

---

The scene cuts to the American talking to a startlingly beautiful,
exotic woman. She appears Egyptian by birth, and leans over her meal
to trace a finger down the American's cheek. Her ample chest heaves
with her breath, and she smiles seductively. She breathes one
word. "Don...." Laughing a bit, and straightening up, she
continues. "My... sister... is in town, Don. I thought you might like
to meet her."

Don looks distracted for a moment, smiling a decidedly lecherous
smile. He then straightens up, sighing. "I was actually concerned for
your welfare, Sahaiea. You did hear about the dancer from the other
night, right?"

Sahaiea pouts prettily, and begins eating. "What dancer?"

Don looks confused. "The dancer, from the room, in the Blue Pyramid
the other night. You remember, I brought along that reluctant friend
of mine.... she was the latest victim in these horrible slayings. I
prayed that you were all right."

Sahaiea looks at Don as though he were speaking in a foreign
tongue. "What dancer, Don? Are you seeing someone else? I don't
remember that...." She looks genuinely confused.

---

The scene shows a lavish bed chamber. The four people from the opening
scene are sitting in various places around the room. The dangerous
woman is toying with a pair of polished brass manacles on the bed; the
American is looking at a tastefully done nude painting on the wall;
the older gentleman is trying not to look at anything. The young woman
is speaking rather vehemently at the others.

"I'm very, very tired indeed of not knowing what is going on, and I
don't like being a go-between for you and His Majesty's government,
Katya!" The dangerous woman looks as though she has been
slapped. Elizabeth stalks up to her. "They wanted me to give you this
note." She drops a piece of paper on the bed, sits in a plush chair,
and calms down a little. "I know that it's not your fault, Katya, but
they obviously aren't going to take anything but 'Yes, when can we
meet' for an answer. They're turning these screws into us, and if you
leave the country now, heaven knows what they'll do." Almost under her
breath, she adds "Not that they aren't watching us already, anyway."

Katya unfolds the note, and reads. She folds it back up and considers
for several moments. When she speaks, her voice is soft, and a little
husky. "I did not know them willing to do so much to meet with me."
She has a moderately thick Russian accent. "Perhaps we should meet
with them after all. Ezabeth, you call to set up?"

Elizabeth looks relieved and concerned at the same time. "Of course."
She picks up the phone, speaks briefly, then looks at Katya. "They
wish to speak directly with you." Katya nods, and takes the phone from
Elizabeth.

"Hello?" <pause> "No, Katya is fine." She speaks briefly, then holds
her hand over the mouthpiece. "They want to know if anyone would like
to join. Is a very generous offer. I strongly suggest Adrian take it,
though Don may not want name associated with us."

Don looks a bit relieved, and shakes his head slightly. "Thanks for
the offer, though."

Adrian looks resigned. "Yes. Yes, of course."

---

The scene cuts to an older man in a hospital bed, being woken up by
three men. "Wesson! Wake up!"

The man in the hospital bed sits up gingerly, rubbing his
eyes. "What?"

"We've been instructed to move you to police custody. Get dressed."

Wesson's shoulders slump. He does so.

The scene shifts to Wesson in a car with the three men. The car pulls
up to Hampstead Heath Train Station, and lets Wesson out. He stands
around, confused, for several moments. Hatch steps out of the
shadows. "Mr. Wesson, what a pleasure to see you in such good
health. Your friends are meeting with me tonight. I thought it prudent
that you should join us."

---

The scene now shows a very modest cottage, with beautiful roses in
front visible by moonlight. It is in the middle of a large field, and
there are both a car and a motorcycle parked in the driveway.

Inside the living room, Hatch, the dark-haired gentleman, Elizabeth,
Adrian, and Wesson sit, making chit-chat. In the kitchen, Katya is
conversing in Russian with a woman who looks remarkably like her, over
vodka.

"And so you see, my friends, that my inquiries about Egypt may in fact
have relevance to your situation, rather than just being small
chatter." Hatch pauses to study the faces before him. "You see, His
Majesty is very much in need of able eyes and ears there, especially
eyes and ears that have other, more public reasons for being there to
begin with." Hatch stands. "His Majesty is very lenient with those who
are doing him favors. I ask you to think on it." He walks into the
foyer, which separates the living room from the kitchen, and then into
the kitchen.

Once in the kitchen, he smiles indulgently. "Ivana, Katya, I'm sure
you both have much on which to catch up. However, time is passing, and
it may be prudent to discuss the matters at hand."

Katya looks at Hatch, expectation and dread combining on her face.

"Dr. Essex has led me to believe that you value your... freedom of
movement... much more than anything else. I would like to let you know
that this is not out of line with His Majesty's wishes. We presently
have a need for... shall we say... third parties, to aid His Majesty
in perhaps... less friendly reaches of His realm." He
swallows. "Particularly, for instance, third parties who have, on
occasion, shown themselves to be better able than even we. In
fact....."

Katya's face shows faint surprise, which turns into concentration as
she looks around the room. "Do you hear something?"

Hatch looks surprised, and than concentrates. "No, what?"

"I hear.... buzzing of some kind. Do you have insects in this part of
country?"

Hatch looks at Katya. "Crickets, but... I hear it now. It doesn't
sound like...."

The sound of Elizabeth's voice rises over their own. "It's coming from
the sky!"

Something crashes through the kitchen window.

---

It looks something like a cross between a crow and an ant, with a
bee-stinger on its hindquarters. It is slightly mechanical in
movement, as though there were heavy duty springs connecting each of
its eight major limbs to the thorax. It has wings. It is extremely
disturbing.

---

Two seconds pass, and there is a loud crash from the front door.

The scene shifts to the living room, where the window shatters
inwards, showering Adrian (who was standing there) with bits of
glass. Another of the creatures pokes its head in. There are more
crashes, from the bedroom on the first floor and upstairs.

In the kitchen, Katya draws her gun.

One steps through the front door. Adrian, who is turning from the
window, catches sight of it, and notices that it is clutching a piece
of one of his sweaters in one of its.... claws. The dark-haired
government agent draws his gun.

In the kitchen, Katya and Hatch fire their guns at the creature as it
picks up the gas stove. Hatch hits one side of its face; Katya blows a
hole through its chest. It's upper body collapses, the stove crushing
it and resting on its lower body, which does not collapse. It
is... disturbing.

Hatch congratulates Katya on her shot and runs out of the kitchen as
Ivana rises from her chair.

The creature in the doorway comes in a little further towards the
living room, looking intently at Adrian, who runs to the far side of a
rather heavy bookcase, and prepares to tip it. The dark-haired
government agent fires his gun at the creature in the window and
misses. Wesson dives behind a couch. Elizabeth picks up a chair.

From the kitchen, Ivana yells 'Gas main!'.

There is another crash from upstairs.

---

Another of the creatures lands in the foyer, jumping from the upstairs
landing. Hatch attempts to hurt one of the creatures by smashing a
chair over its head; the chair splinters instead. Its upper body
swivels completely around in a sickening way, and it reaches for
Hatch, who evades the reach by rolling under the
creatures.... legs. He drops his gun on the way.

The dark-haired agent shoots the creature in the window, pushing it
back out a bit. "We've got to get out this way!"

There is a disturbing pounding coming from behind the wall connecting
the bedroom to the living room, and it starts to break.

In the kitchen, Katya escapes through the window.

The dark-haired agent gets another shot at the creature in the living
room window. It is pushed further out. More appendages grab onto the
window-frame, its claws digging into the wood.

An appendage comes through the living room wall.

The creature tracking Adrian comes through the doorway into the living
room. Adrian pushes the large bookcase onto it. It bends in a
sickening way, somehow supporting the weight of the bookcase without
being crushed.

As Hatch attempts to roll under the creature in the foyer, another
scratches at him.

The creature in the living room window propels itself into the middle
of the living room. It lies on its.... back, all appendages reaching
out to tear at the humans.

Adrian climbs on top of the bookcase, and begins jumping up and down
on it. The creature SHRIEKS, a shrill and loud sound.

Ivana picks up Hatch's gun. "GET OUT!"

Elizabeth, fending the limbs of the creature off with her chair, makes
her way to the living room window.

---

The creature in the middle of the living room reaches all limbs down
simultaneously, and uses them to propel itself into an upright
position.

Ivana kicks one of the creatures in its stinger. They both cry out in
pain.

Hatch leaves by the front door.

The dark-haired agent throws his gun down and body checks the creature
in the middle of the living room. Smythe picks up the gun.

The two creatures in the foyer start walking towards Ivana, who is
yelling at them in Russian.

Elizabeth climbs out the living room window.

Another appendage comes through the living room wall.

The creature in the middle of the room reaches two appendages up to
attack the agent, only to be put into a lock. The agent attempts to
break its arms, ineffectively.

Smythe manages to make it past the creature coming through the wall,
over to the window. He gets scratched rather badly.

The two creatures in the foyer / kitchen chirp at one another,
communicating with complex arm gestures. After a few moments, they
make a concerted effort to do away with Ivana. Ivana evades them by
back-flipping onto a table. She starts counting down from ten, in
Russian.

10.....

Adrian manages to get out through the window.

9.....

As Smythe runs across the room towards the window, the creature
inserts appendages into the agent, making a particularly sickening
sound. The agent falls limp.

6.....

Smythe makes it out the window.

5.....

4.....

3.....

There is dead silence. As those who made it out of the house run,
bloodied, towards the vehicles, the house erupts in a beautiful and
perfect sphere of flame.

There is a sequence of shrieks from inside, and one of the creatures
staggers, on fire, out of the front door. It attempts to fly. It
makes to a nearby lake before it drops, still burning, into the
water.

A flame shaped like a human collapses in the doorway of the cottage.