|SCENE: Victorian England. Present. The Big Ben tower sits in a distance. The camera shifts to the park, where a man dressed in Victorian clothes, is painting the surrounding scenery on a easel. Suddenly, he flinches when a loud explosion occurs and dirt showers over him. He turns to look at the smoky site of the disturbance to see Jafar standing there. The man rises from his seat and notices a White Rabbit shaking himself clean from a hole in the ground. Jafar walks over to the man.----
Jafar: I'm looking for Bethlem Royal Hospital. Is it near?
Painter: (Looking at White Rabbit) What is... (Pointing at Jafar with his paintbrush end) Who are...
Jafar: Bethlem. The asylum. Where is it?
Painter: East of here. Just past Westminster Bridge.
Jafar: See? What wasn't so difficult, was it? (Eyeing painter's clothes) And I must compliment you. That is a very nice suit.
SCENE: Victorian England. Present. Bethlem Asylum. In his office, Dr. Lydgate is extracting droplets of laudanum from a bottle with a dropper and placing it into an empty cup. He sets down the bottle and dropper to drink from the cup. A knock comes at his door.
Dr. Lydgate: Hello, can I help you?
(The door opens. Jafar, now dressed in the painter's Victorian clothes, stands in the doorway.)
Jafar: I certainly hope so. My name is Dr. Sheffield. I've just arrived in London and I was hoping to pick your brain about a former patient.
Dr. Lydgate: Yes, of course, always have to help a colleague. Come in, have a seat.
(Jafar shuts the door behind him. He takes off his hat.)
Dr. Lydgate: You have to excuse the mess. I wasn't expecting anyone.
Jafar: That's quite all right. (He sets down a bag before sitting down on the seat across from Dr. Lydgate's desk.) I imagine you don't get many visitors here.
Dr. Lydgate: Most people tend to avoid asylums. They worry there might be something... contagious in the air. So, what patient were you after?
Jafar: Blonde hair, blue eyes. I'm sure you remember her. Name of Alice.
Dr. Lydgate: (His expression becomes uneasy.) I don't recall any Alice, I'm afraid. We have so many patients.
Jafar: Of course you do, but many of them escape in the company of a talking rabbit?
Dr. Lydgate: I have no idea what you mean.
Jafar: Really? Even after you saw it with your own two eyes? (He picks up his bag and rises from the seat.)
Dr. Lydgate: Talking rabbit? (Chuckles nervously) Madness.
Jafar: (Places bag on desk) Sometimes, the madder stories are the truest ones. (He opens the bag to reveal the White Rabbit's head poking out from inside.)
Dr. Lydgate: (Recoiling in fear) Put it away. P-p-p-please, I've tried so hard to forget.
Jafar: (Closes bag) Yes, well, what I need you to do is now remember. Your specialty is getting inside heads. Now, I want to get inside hers. I need to know everything about Alice.
SCENE: Wonderland. Present. Jafar's lair. The Red Queen strides into the cage room of the lair while Tweedledee follows in from behind.
Red Queen: Hello? Jafar?
Tweedledee: I don't think he's here, Your Majesty.
Red Queen: (Sees Cyrus' empty cage) I don't think anyone is here, darling. Not Jafar, not the guards, and more importantly, the genie. This has got me quite curious. If someone could tell me where they went. (She looks to the Old Prisoner in his cage.)
Old Prisoner: (Standing up) I may be Jafar's prisoner, but I'm not yours. You'll get no answers from me.
Red Queen: Oh, now, no need to be rude. We don't even know one another. (She magically flings him against the ceiling of his cage, and then he hits the bottom in visible pain.) Yes, and now we do. I can continue doing that until you're dead or you can talk.
Old Prisoner: Jafar is gone. I don't know where he went. But he brought Cyrus with him. (He hits the cage ceiling again via the Red Queen's magic.)
Red Queen: Darling, the cage has been cut open. If Jafar wanted to take him, he would've used the key.
Old Prisoner: It doesn't matter. You will never catch him.
Red Queen: And why's that?
Old Prisoner: Because he carries with him the greatest power of all—true love.
SCENE: Wonderland. Present. Outside Jafar's lair, Cyrus is scaling down a rocky cliff. He hears guards shouting in the far distance. He jumps down to the bottom of the cliff. After looking behind to see the coast is clear of guards, Cyrus places his hands together and closes his eyes; attempting to sense something.
Cyrus: Alice, where are you? (He opens his eyes, and then smiles at a red glow in a faraway forest.)
(The scene shifts to the site of the red glow—Cyrus' pendant, which Alice is wearing around her neck. She gazes at Jafar's lair in the distance.)
Alice: All I have to do is follow the sun west and I'll find you.
(The scene shifts back to Cyrus on the cliff.)
Cyrus: Stay strong, Alice. I'm coming for you.
SCENE: Wonderland. Present. Alice is walking along a forest trail. She passes two campers roasting food over an open fire. One of them rises to blocks her path.
Thief #1: Hold on there. Where do you think you're headed?
(Briefly, Alice glances at the latter's companion, who also stands up.)
Alice: I'm heading west. I need to find someone and you're blocking my way.
Thief #1: You keep heading west; you'll end up in the Black Forest, love. You won't find anyone there.
Thief #2: They say it's so dark you can't even find your own nose.
Alice: I'll take my chances. Thank you. (She tries to leave, but they block her way.)
Thief #2: That seems awfully dangerous, don't it? A little girl travelling alone. She may not know the rules.
Thief #1: See, this is a toll road. You need to pay the toll.
Thief #2: Now be a good girl and give us that necklace.
Alice: (Unsheathes sword) You even touch this necklace and you lose your hand.
Thief #1: Careful who you threaten, love. No marble is worth losing your life.
Alice: This one is.
(She engages in battle with them and easily overpowers Thief #2. After throwing Thief #1 on his back, she points her sword at his throat.)
Alice: Be careful who you threaten, love. (She picks up a burning branch from their campfire.) Thanks for the light. (She walks off, sheathing her sword, and grasps the pendant protectively.) I already lost you once before. I'm not going to lose you again.
SCENE: Victorian England. Past. It is one year ago. A blast emits from the ground, forming a large hole, which Alice climbs out of. Distraught, she sits on her knees and looks into the hole.
Alice: No. Cyrus. Cyrus. (Sobs) No.
(From behind, a young girl dressed in a pink dress carrying a net comes up to her.)
Girl: Are you okay?
Alice: Yes, I'm fine. Just... just a little lost— (She gets up to her feet.) —finding my way home.
Girl: Do you live near here?
Alice: I used to. A long time ago.
Man: (Off-screen) Millie, where are you?
Woman: (Off-screen) Millie!
Girl: (To Alice) My parents. I'm sure they can help you. (Calling to her parents) Over here!
(Her parents approach.)
Woman: What have we told you about running off?
Girl: I'm only trying to help. She can't find her way home.
(Alice looks at the girl's father, and is stunned to recognize him as her father, Edwin.)
Edwin: Alice? (She runs to embrace him.) My god, you're alive.
Alice: (Sobbing) Oh, father. He's gone.
Edwin: Who's gone?
Alice: Cyrus. She killed him.
Edwin: I-I don't understand. Alice, where have you been all these years? Who's Cyrus?
Alice: The man I was going to marry, but the Red Queen... she killed him. (She relapses into more sobs.)
Edwin: Hush. (Turns to look at his wife, who is in disbelief) (To Alice) You're home now. We can talk about all this later.
Millie: Father, who is this girl?
Edwin: This is Alice. She's your sister.
Woman: Your half-sister.
Millie: You never told me I had a sister.
Edwin: Alice, so much has changed since you left. I'd like to introduce you to Millie, and this, this is your new mother, Sarah. This is your family now.
SCENE: Wonderland. Present. Alice journeys through the forest and passes a plaque on the road that reads as "Dead end of the Queen's road". She passes it without a second thought and sees another plaque.
Alice: (Reading plaque) "Abandon all hope ye who enter". (She strolls past a third plaque that reads "Turn back".) I'm not going to abandon anything; certainly not hope. (There is a fourth plaque she passes that says, "Black Forest beware".) Seems like an awful waste of wood, when one sign would do. (Continuing on, another plaque gives the ominous warning "Endless night awaits".) Maybe it's really that bad?
(She stops before the dark entrance of the Black Forest. Upon reaching her hand in, the darkness reacts like a black glop and engulfs her limb. Alice withdraws and then pushes nearly her whole arm in. The darkness reacts in the same way. She gasps and pulls away.)
Alice: Okay, Alice. A little bit of darkness won't hurt anybody. (She steps into the Black Forest entrance and disappears into it.)
SCENE: Wonderland. Present. Knave, in visible pain, walks the forest while grasping the back of his head with one hand.
Knave: Bloody hell, my head. (A old man pushing a cart passes along the road.) Please, mate, can I get a sip of that water?
Old Peddler: You okay? You don't look so good.
Knave: You ever been stoned? Feels like death when you come out of it.
Old Peddler: Maybe you've been messing with the wrong stuff.
Knave: No, I mean stoned as in turned to stone.
Old Peddler: (Skeptically) Sure, sure. Now, here. (He gives Knave a jug of water.) Take the whole thing. (He resumes pulling the cart down the road.)
(Knave busily gulps down the water just as the two campers, who battled Alice earlier, approach him.)
Thief #1: Hey, Knave of Hearts. (Knave belches.) We've got a message from that she-devil you've been travelling with.
Knave: Alice? You've seen her?
Thief #2: She's mad, that one. Attacked us for no reason while we were sleepin'. (Thief #1 nods in agreement.)
Thief #1: You tell her if we meet again, we won't go easy.
Knave: Of course, if you lads could point me in the right direction. Look, she just saved my life. I have to find her.
Thief #2: Well, good luck with that. She's headed to the Black Forest.
Knave: The Black Forest? (Thief #2 nods.) Bloody hell.
Thief #1: Yeah, like we said, good luck. (He and his companion leave.)
SCENE: Wonderland. Present. After entering the Black Forest, Alice is surrounded in near darkness except for the torch light guiding her.
Alice: Keep walking in a straight line. Keep walking west. (She hears fearsome noises of various beasts. Suddenly, Alice is horrified to see her light is rapidly dying out. She picks up a branch and tries to stabilize the flame.) Please stay, light. Please. No, no, no.
(The light goes out. Out of the darkness, a bright light shines from a few feet away.)
Alice: I made it through. I knew I was close. (She runs straight into the light source, with hopes of an exit, only to end up in another forest populated by trees with purple flowers puffing out smoke. She inhales a whiff of the pleasant scent.) That feels wonderful.
Man: (Off-screen) Beautiful, isn't it?
(On guard, Alice pulls out her sword at the stranger.)
Man: Makes you feel quite mimsy.
Alice: Who are you?
Man: I'm the Carpenter. Who are you?
Alice: I'm not sure I want to give you my name. Do you know where we are? I've been trying to find my bearings.
Carpenter: We are in the Boro Grove, the most beautiful place in the world. Why don't you put down your sword and stay awhile?
Alice: I couldn't possibly. I've got quite more things to do.
Carpenter: What could be more important than basking in the sun?
Alice: S-saving... saving someone's life. I've been... following the sun. I mean, I'm trying to find, uh... there's this genie and he's, uh... he's in trouble. And, uh... at least I thought he was. Suddenly I can't quite remember.
Carpenter: Then you must stay.
(Another puff of the flower's fragrance blows in Alice's face. She smiles at the pleasing aroma and looks around at her surroundings.)
Alice: It is quite beautiful. (She drops her sword.) Maybe I will stay awhile.
SCENE: Victorian England. Past. Alice is peering through a keyhole and eavesdropping on a conversation in another room.
Sarah: (To Edwin) How long is she planning to stay?
Edwin: I don't know yet.
Sarah: Aren't you concerned about her running?
Edwin: Let me talk to her, please.
(He moves to exit the room as Alice, on the other side of the door, rushes to hastily seat herself on the couch. Edwin comes in to speak to her.)
Edwin: I wish we had a proper bedroom. Or a change of clothes. We'll get you new things, of course. What I would like to know is how long you are planning on staying this time.
Alice: Forever. There's nothing left for me in Wonderland.
Edwin: Alice. (He sits down next to her.) There's something you must understand. I have a new family now and they will love you as I do, but Millie is quite young; impressionable. If you truly want to stay, there can be no more mention of Wonderland or this genie.
Alice: He had a name—Cyrus.
Edwin: Alice, wherever you really were, whatever really happened, these things are best forgotten.
Alice: So I should just sweep him under the rug? Like you did with Mother? And with me?
(He looks taken aback by her words.)
Edwin: I spent a long time clinging to painful memories. And then one day I realized I had to stop clinging to be happy.
Alice: I don't think I can be happy again. Not without him.
Edwin: You will be if you want to live in this house. Can you do that? Can you try to fit in; to be happy in our home?
Alice: I have nowhere else to go. I'll try.
Edwin: Then you will forget about Wonderland and this Cyrus. (She looks at him wordlessly as a single tear falls from her eye.) Alice.
Alice: Are you glad I'm back, Father? (She studies his face for a moment.) Do you really want me here?
Edwin: Of course I do, Alice. (Tentatively, he reaches to touch her hand.) Of course.
SCENE: Wonderland. Present. Outside Jafar's lair near a cliff, the Red Queen, followed by Tweedledee, approach to see footprints in the dirt.
Red Queen: Cyrus ran this way. Jafar's filthy guards; they all ran after him this way.
Tweedledee: Then they'll have him apprehended in no time.
Red Queen: That, my little dimwit, is precisely what we do not want.
Tweedledee: I don't understand.
Red Queen Of course you don't, you Tweedles never do. You two are dumber than the next.
Tweedledee: But Your Majesty can't go out alone and that outfit is not befitting a Queen. (She slaps him across the face.)
Red Queen: Do NOT tell me what I can and can't do! I was not always Queen! I know how to get my hands dirty!
Tweedledee: Of course.
Red Queen: If I alone capture the genie, I will have him and his bottle. I will have everything. Jafar will have nothing and I win the game.
SCENE: Wonderland. Present. The Boro Grove. Knave has stumbled into the area from the Black Forest.
Knave: Alice! Al— (He holds up a hand to shield against the purple smoke puffing out of the tree flowers.) Alice—Ugh! (The smoke hits him in the face.) Ugh. What the hell? It's a bloody perfume bottle. Ugh.
(Nearby, Alice notices Knave's presence and gasps in surprise. She runs over to him.)
Alice: You're here! (She hugs him.)
Knave: Found ya. And you're in one piece. I guess we're both okay. You had me worried for a bit.
Alice: Don't worry about anything! Everything is wonderful here. You've got to see this. (She grabs his arm and pulls him along.)
Knave: Slow down!
Alice: Come on! (She halts at a meadow of white flowers arranged in a large circle. In the center, Alice's sword is embedded in the ground. A garland of flowers, as well as Cyrus' necklace, decorates the handle of the sword.)
Knave: What the hell is that?
Alice: I made it. Isn't it pretty? (She looks down to examine her "work".)
Knave: Bloody hell is goin' on here? (He sees the Carpenter standing in place nearby with a frozen smile on his face.) Who is that?
(Alice looks up to glance behind at the Carpenter.)
Alice: Oh, that's just the Carpenter. Don't worry about him.
Knave: Right. Don't worry about the man with the sword and the scary grin.
Alice: Exactly. (She admires a flower in her hand and inhales its fragrance.)
Knave: How long have you been here, Alice?
Alice: I don't remember. A while.
Knave: And you took the necklace off and stopped everything to pick flowers? With Cyrus still a prisoner?
(She contemplates his words, and then smiles.)
Knave: Why would you do that?
Alice: Because it makes me happy. (She gives him a big grin as Knave stares at her in alarm. Alice happily takes another whiff of the flower.)
SCENE: Victorian England. Past. Alice is having dinner with Edwin, Millie and Sarah.
Alice: Really, I'm so happy to be back. (To Sarah) Thank you for my new dress. I really love the smell of these daises.
Sarah: They're dahlias, dear.
Alice: Yes, of course. Must remember that.
Millie: I think you look beautiful in that dress, Alice. (Alice smiles.)
Sarah: Of course she does, which is why I think we should talk about her social obligations now that she's back for good.
Alice: Social obligations?
Sarah: Well, I don't want to put a fine point on it, but you're not a little girl anymore.
Alice: No, of course not.
Sarah: And a woman should think about her future.
Edwin: Sarah, please, she's only just returned.
Sarah: All the more reason we have to help.
Alice: Help? With what exactly?
Sarah: Meeting a suitable young man, of course. Moving on with your life. I've been speaking with Mrs. Darcy down the road. Her son is unmarried, employed and not awful to look at. We've arranged for tea.
Alice: (Inhaling shakily) I-I just couldn't.
Sarah: I'm afraid you must. I've already made the arrangements.
(Silently, Alice gulps down some water.)
Edwin: It's just tea, Alice. Surely you can manage that much.
Sarah: The Darcy boy will carry on both halves of the conversation. All you have to do is smile.
(Alice tightens her grip on her water glass.)
Edwin: This could be good for you, Alice. A way to, you know, forget your troubles.
(The cup shatters in Alice's hand. She looks stunned at her own action.)
Edwin: (Rising from seat in alarm) Alice, what on earth?
Alice: Oh, god. I'm so sorry. I'm simply not ready to meet young men at the moment. (Edwin and Sarah exchange a troubled glance.) I think some troubles take a bit longer to forget.
SCENE: Wonderland. Present. Cyrus is running in the foggy woods. Off-screen, guards shout as they pursue after him.
Guard #1: (Off-screen) Where did he go?
Guard #2: (Off-screen) He went this way!
(Cyrus continues to flee and stops at a stream. He decides not to cross, and instead purposely makes footprint tracks leading to the stream. Then, he steps backwards while keeping his tracks in the embedded footprints.)
(The scene shifts to the guards as they approach. The lead guard briefly glances down to see Cyrus' foot tracks.)
Guard #1: This way!
(They find Cyrus' mud tracks that stop at the stream.)
Guard #1: He's in the river. You two, that way.
Guard #3: Yes, sir.
(From the brush, Cyrus eavesdrops.)
Guard #1: And you lad, you're with me. And when you find him, remember, the bastard killed one of ours. So make him bleed.
(They commence in their search. Cyrus, still hidden from sight, takes off from behind the brush in another direction.)
SCENE: Wonderland. Present. The Boro Grove. Knave is attempting to convince Alice to leave with him.
Knave: Come on, Alice. We've got to find Cyrus.
Alice: Maybe in a little while. (She touches a tree trunk.) Have you felt the bark on these trees? It's lovely.
Knave: I don't want to feel the bloody bark! I want you to snap out of it. (He follows along as she walks.)
Alice: Snap out of what?
Knave: Alice, what's wrong with you?
Alice: Nothing! For the first time in my life, nothing's wrong. I'm happy, he's happy. (Gesturing at the Carpenter) Why aren't you? (She skips off while Knave turns to look at the Carpenter. He marches over to the man.)
Knave: What have you done to Alice? (The Carpenter, wearing the same frozen smile, does not respond.) I said, what did you do to her? (No response.) Listen, I'm more of a lover, generally, but if you don't talk, I will knock an answer out of ya! (He shoves the Carpenter, who stiffly bounces back from the movement, accompanied by a rustling sound of leaves. Knave sees something sticking out from the nape of the Carpenter's neck.) You've got something. (He takes a closer look, revealing a leafy branch snaking from the Carpenter's neck, from under the backside of the man's clothes, to his lower half, which is a tree trunk in place of legs. Knave recoils in horror.) Bloody hell! (His back hits a tree. He looks up at it to see a face on the tree trunk.) Oh, god. (Knave glances at the other tree trunks; realizing all of them have human faces.) This is not good.
Carpenter: It makes you want to stay.
Knave: (Running to Alice) ALICE! ALICE! ALICE. Alice, Alice, we have to get out of here right bloody now. (She gives him a blank look.) Alice.
Alice: Who's Alice?
SCENE: Victorian England. Past. During the night, Alice is fast asleep and having a nightmare.
Alice: Cyrus. (In her dream, she recalls watching Cyrus being grabbed by the Red Queen's guards at the Boiling Sea.) No! (She has a recollection of the Red Queen throwing Cyrus down the cliff.) Cyrus! (Suddenly, she is shaken awake.)
Alice: Millie. What are you doing in here?
Millie: I heard you screaming.
Alice: Oh. It's just a bad dream, that's all. Go back to bed.
Millie: Father says you should never be afraid of your bad dreams because they're not real.
Alice: That certainly sounds like Father.
Millie: Are your bad dreams real, though? Is that why you broke that glass at dinner?
Alice: That's enough. Off to bed.
Millie: At least tell me who Cyrus is.
Alice: What did you say?
Millie: Cyrus. You kept yelling his name. Who is he?
Alice: He's someone very special. (Millie sits down on Alice's bed as she listens.) Someone impossible to forget no matter how hard I might try.
Millie: I hope I meet someone like that someday.
Alice: I'm sure you will. And when you meet him, you won't wish for anything in the whole world.
(Millie smiles at her words. The door opens as Sarah comes in with Edwin following from behind.)
Sarah: Millie, get to bed this instant.
(Millie hastily retreats from the room.)
Alice: I'm sorry.
Edwin: We don't need you to be sorry, Alice. We need you to be better and at least if you won't stop believing this foolishness, at least have the decency to keep it to yourself.
Alice: I want to be. I want to be happy. I am trying.
Sarah: Not nearly hard enough. We really thought you could forget this nonsense, Alice, but it appears we were wrong.
(Edwin leaves the room. Sarah does as well, and closes the door.)
SCENE: Wonderland. Present. The Boro Grove. Alice is tending to the garland of flowers on her sword.
Knave: All right, that's enough. You don't remember Cyrus, you don't remember yourself. Well, no more arguments, we're going. (He tugs at Alice's wrist; forcing her to stand. She drops the garland.)
Alice: Go where?
Knave: Out of here! Look at this! Do you see all these trees? They all used to be people! And that's what's gonna happen to you if you stay, so I'm getting you out.
Alice: (Yanking her wrist free) No! (She goes to pull her sword out of the ground. Without her notice, Cyrus' necklace falls to the ground.) I don't want to go! I'm not leaving! Stay away from me! (She swings the sword at Knave, who dodges the blow.)
Knave: Easy, Alice. Easy! (She attempts another hit, to which he evades.)
Alice: [Inaudible.] You can't make me go! (Knave continues to avoid her sword swings.) Just leave me alone, let me stay!
Knave: I don't want to hurt you, Alice, but you're not yourself.
Alice: I'm better, and the person I've always wanted to be! I'm happy!
Knave: This place is making you happy! It's not real happiness! Believe me, I know the difference when I see it.
Alice: And why's that?!
Knave: Listen, there's something I never told you before. When my heart was ripped from me, I mean, literally taken from my chest, I thought that hole could never be filled. And then you got it back for me. Ever since then, I didn't really use it properly. I always felt guilty about that. That you gave me something more than I deserved. Like I still owe you something. Maybe that's why I can't let this happen. (He attempts to snatch her sword, though she resists.)
Knave: Give me the sword, Alice! (She shoves him away. Knave flies backwards onto the ground.)
(Vines snake around Alice's lower half, which has already turned into a trunk of a tree.)
Knave: Alice, I can't make you go.
Knave: No, I mean it. I can't make you. I can't take you, I can't force you cause this place, the only way out is wanting to go, so please, Alice, just come with me. Bloody hell, Alice, look at ya!
(The vines begin solidifying nearly up to her waist. Alice looks down at the transformation, but does nothing to stop it.)
Knave: Please, Alice, just come with me.
Alice: (Smiles) No. I'm not going anywhere. I finally found a home.
SCENE: Wonderland. Present. The Red Queen is examining a trail on the forest ground. She follows it to the stream.
Red Queen: If I were a frightened little genie, which way would I run? (She uses magic, which recreate how Cyrus deliberately made footprints leading to the stream, though he backtracked into the brush.) Clever. But not clever enough.
SCENE: Victorian England. Past. Alice is sitting at the dining table when Edwin enters.
Edwin: Ah, there she is. Looks like she started breakfast without us.
Sarah: Alice, this is the boy I was telling you about. (A young man walks in.) Mrs. Darcy's son.
Edwin: He just stopped by. We thought he could join us for breakfast if you were feeling better.
Mr. Darcy: Good morning, Alice. Nice to meet you.
Alice: You brought him here. And you thought what? It would make things better? Help me forget? (She rises from her seat.) You really don't know me at all. (She storms out of the room.)
(Edwin follows her outside of the house.)
Edwin: Where are you going?
Alice: Anywhere else.
Edwin: But you have nowhere else to go. Isn't that what you said? (Alice stops walking, and turns around.) Go back in and apologize.
Alice: I won't. Just because you married someone you don't love doesn't mean I have to.
Edwin: What are you talking about?
Alice: She doesn't make you truly happy.
Edwin: Of course she does.
Alice: Not like Mother.
Edwin: We can't spend our whole lives in mourning, Alice. You must find a way to move forward as I did.
Alice: You took you years to get over Mother. You were sad my entire childhood. Why do you think I get over Cyrus in just a few days?
Edwin: Because, unlike him, your mother was bloody real.
Alice: Cyrus was real.
Edwin: No, he's not, and you must find a way to give up this imaginary love story, Alice, and move on with your life.
Alice: What if it's not possible? What if a person can't forget their love no matter how much easier it would be?
Edwin: You must.
Alice: I can't.
Edwin: Then you can no longer live under our roof with our family.
Alice: Is that you talking, or her?
Edwin: There's one other good option. A doctor in London, Lydgate, he runs a psychiatric hospital.
Alice: A madhouse?!
Edwin: It's not like it is in the books. This place is very nice, very modern.
Alice: But I'm not mad! Why can't you just believe?
Edwin: What part do you want me to believe? The genie or the talking rabbit?
Alice: (Tearfully) Me. You should believe in me.
Edwin: I'm sorry. We can't go on like this. I have to think of Millie.
Alice: You'd just send me to a madhouse?
Edwin: Not send you; offer you a choice—let Sarah find you a husband or you can live in a hospital, but you can't sit here pining for a make-believe life, Alice. The choice, Alice, is entirely yours.
SCENE: Wonderland. Present. The Boro Grove.
Knave: You're running out of time, Alice. You have to make a choice.
Alice: Don't come any closer.
Knave: This place can only make you stay if you want to. (He picks up Cyrus' necklace.) So I'm gonna help you remember even if it kills me. (Holding up necklace) Remember who gave you this? His name was Cyrus. (A vine smacks at him.) You've been fighting like hell to get to him. (Knave's arms becomes bound by vines; forcing him to kneel.)
Alice: Stop it. I'm happy here.
Knave: Kill me. Become a bloody tree. Stay here forever. But you'll never truly be happy until you're with him. The Alice that I know would never give up on love.
Alice: Please stop it.
Knave: No. (He struggles against the vines holding him down and loses his grip on the necklace.)
(It soars into the air as Alice catches it within her palm. Wide-eyed, she stares from the necklace to Knave in surprise. While the vines squeeze Knave's body, the necklace glows a vibrant red. A flash of memories overtake Alice's mind. She has a flashback of Cyrus showing her the necklace at the Boiling Sea, and the first time they kissed after a sword lesson.)
(The vines' hold on Knave loosens completely. Alice glances down at the greenery and shrub encasing her lower half.)
Alice: What are these? Get off me, let me go! (With her sword, she slices the vines away.)
Knave: That's it, bloody brilliant, Alice!
Alice: I-I need to find him.
SCENE: Wonderland. Present. Cyrus makes his way out of the forest to a clearing, but stops short at a cliff's dead end with nowhere else to go. Below the cliff lies only the great open sea. The Red Queen approaches Cyrus from behind.
Red Queen: Careful now. Watch your step.
Cyrus: (In recognition) You.
Red Queen: Yes, me. Look familiar?
(He turns away from her to glance down once more at the sea.)
(The scene zooms away from Cyrus, and shows the surrounding area of Jafar's lair, which is a massive floating island in the sky.)
SCENE: Victorian England. Past. Alice, dressed in a blue coat, carries a luggage bag while waiting alone outside the front of Edwin's house. A horse-drawn carriage slowly approaches on the road. From inside the house, by the windowsill, Edwin watches Alice. Sarah offers him a comforting hand on the shoulder.
Sarah: It's going to be all right, Edwin.
Edwin: Are you certain?
Sarah: We both know she couldn't stay here. She's going to be much happier.
Edwin: You think she made the right decision?
Sarah: I know she did. I was actually surprised at her wisdom. It's going to be fine. She can't be a little girl forever, Edwin. They'll take excellent care of her.
Edwin: I certainly hope so.
(Outside, the carriage halts and Dr. Lydgate steps out. Alice ascends into the carriage to seat herself as Dr. Lydgate follows her in. Once seated, she notices Edwin and Sarah standing at the window inside the house.)
(The scene switches to the interior of the house.)
Edwin: She doesn't even want me to visit the hospital, you know.
Sarah: She's still young and impetuous, which is why this is best. It's time for her to grow up.
(Outside, the horses neigh as the carriage begins taking off. Inside the house, Millie runs up to her parents.)
(Within the carriage, Alice sadly watches Edwin and Sarah smile adoringly at Millie. They each grab one of Millie's hands and walk away from the window just as the carriage begins moving away from the house.)
SCENE: Wonderland. Present. Alice and Knave have made it out of the Boro Grove. Alice stops walking to bend over in pain while clutching her stomach.
Alice: Ugh. (Knave pats her on the back.) Thank you.
Knave: We're square for once. That's one less I owe you.
Alice: I've never felt anything like that. All my troubles just lifted away. Now it's all just coming back at once. There's this pain in my heart. Do you feel it too? (As they walk, Knave helps her along.)
Knave: Nothing like that. You're going to be fine. I mean, it felt like hell when I got out of that statue, but look at me now—good as me. Thank you for that.
Alice: For what?
Knave: Turning me back.
Alice: That wasn't me.
Knave: Wasn't you, then who was it?
Alice: Anastasia had a bit of magic dust.
Knave: Bloody hell.
Alice: What? You want to remain a statue?
Knave: I want nothing to do with her.
Alice: Perhaps she's still in love with you, Will.
Knave: [Inaudible] can't love her back. I can't. I made sure of that a long time ago.
Alice: What does that mean? It's about your heart, isn't it? You said there was something you didn't tell me. Will, you owe me an explanation.
Knave: Look, I know you went to a lot of trouble to get my heart back, but that place can't possibly affect it.
Alice: Because you never put it back in. What were you thinking?
Knave: Anastasia broke my heart. And the minute I put it back in me chest, I'll feel all that again.
Alice: You didn't want to feel.
Knave: Not that. I thought, why not put off the misery until tomorrow, then the next tomorrow, then the next. And after a while, I kind of got used to it—the emptiness.
Alice: So if you didn't put your heart back in, where did you put it?
Knave: I'll tell ya later because look at that bloody thing.
(Alice looks down to see Cyrus' necklace is glowing.)
(The scene shifts to Cyrus and the Red Queen at the cliff of Jafar's floating island.)
Red Queen: It was a wonderful fantasy you had—escaping back to Alice.
Cyrus: It's much more than a fantasy. I will see her again.
Red Queen: You're trapped on a floating island and nowhere to escape. Darling, the harsh reality is sometimes love is not enough.
(In the distance, Cyrus catches sight of the red glow of his necklace.)
Cyrus: I'm afraid you're wrong.
(He jumps down into the sea. A dumbfounded Red Queen is stunned by his action.)
SCENE: Victorian England. Present. A man comes calling on the doorstep of a house. Inside, Edwin opens the door.
Edwin: Can I help you?
Man: Actually, I believe I can help you.
(The camera angle shifts to the opposite side of Edwin; revealing the man is Jafar dressed in Victorian clothes.)
Edwin: I'm sorry, do we know one another?
Jafar: No, but I know your daughter. And I know where she went after she escaped from that asylum.
Edwin: Alice? You've seen her?
Jafar: Yes. And I can take you to her.