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1.

Bletcham

Vill gets into the stakeout car, figuring its empty. She looks into the side rear view mirror and discovers
the car is not empty: someone is in the front seat. This person looks back, in the mirror, and they
recognize each other.

Nadia looks around into the back seat. Vill tries to play their reunion off, with an apologetic compliment:
"Your hair has grown," but Nadia still lunges at her and they tussle.

---

Vill tries to re-connect and understand Nadia, saying "I thought I would never see you again," but Nadia
pins her to the car. The betrayal, in their relationship, is a wound that is still raw for Nadia.

Vill says she won't fight her, but Nadia wants to fight, hitting Vill's shoulder. Vill closes her eyes, at the
pain, but breaks her hold and gives her short jab to the face - but not hard enough to break her nose,
saying she doesn't want to hurt Nadia. Vill rubs her hurt shoulder.

---

Vill comments derisively on Nadia's choice of rebound, and Nadia, still upset, shoves her. Before Nadia
can get in another hit, Vill catches her wrists in another hold, trying to apologize, by saying she's glad
Nadia also got out of Russia.

Nadia is understandably still angry and struggles in the hold, but Vill seeks peace, saying despite
whatever happened, in the interim, they're both in the same place now. Vill heads off to Frank's house,
and Nadia looks after her sadly, still holding her wrist, where Vill's hand once was.

---

They go and meet Frank's "mother" (handler) and as Vill introduces them as 'Natalie and Fanny,' Nadia
visibly deflates, in the background. She's aware of what "fanny" means in British and American slang.
This shows a bit of Vill's sense of humor since Nadia was her former girlfriend. Vill does cover for Nadia
getting the preposition wrong, in the phrase, "drop in."

The meeting with the handler is marked by fruit cake, warmed up in a microwave (Frank's favorite) and
Paula repeatedly identifying the two, as 'Natalie and Fanny,' supposedly to Frank, over the phone, much
to Nadia's chagrin. She rolls her eyes and looks at Vill, whose expression says, 'just roll with it.'

From the phone call, Nadia gathers Frank isn't going to be appearing anytime soon, and surreptitiously
considers shooting the handler. Vill catches this and bumps her with her knee, shaking her head 'no.'
They leave, as it's obvious the handler is lying, since Frank somehow went back to London, from the
countryside - without his car.

---

In the three-way standoff, with the rebound, Vill says she came to get Nadia, and that Nadia "is not a
pumpkin," but "beautiful." When the shoot-out is over, Vill holds Nadia protectively. She sighs into Vill's
shoulder, saying "I am not a pumpkin."

Of all of Vill's hits, I feel for Nadia the most, probably because she is like Vill, only less bold, vicious, or
charismatic. One good thing about the writing is that every season Vill and Eve are doubled.

In Season 1, Vill's double is Nadia. In Season 2, Vill's double is 'Billie,' and to a certain extent, Aaron. In
Season 3, Vill's double is herself, as part of Vill dies forever, when she leaves her hometown for good,
this time. Rhian also counts, as a negative image of Vill.

2. Fourth Contact and shepherd's pie

After the waterworks (literally), Eve doesn't let Vill set the table because "you're my guest." However,
Eve is trying to sneak a knife into her pants. Vill notices this and says, "you don't want that to slip." That
might hurt if it falls.

From the time Vill helps Eve get changed, to when Eve says Vill's real name, "Tell Mama," by Unloved,
plays exceptionally low, in the background. The song plays for when Vill is in Anna's room, later on, in
Season 1, when Vill visits Eve's house, in her veil, in Season 2, and when Vill is being caressed by Helene,
in Season 3.

These women all stand in as maternal figures and as romantic figures, for Vill. The song is connected
with intense psychosexual experiences for Vill. A repeated line is, "Tell Mama all."

When Eve lists all the things she knows about Vill, Vill replies, with mock concern, that you should never
tell a psychopath they're a psychopath, "it upsets them." Eve, unperturbed, wonders if Vill is really upset.
Vill simply replies with a stock crying face. That's not what really bothers Vill, in life.

(This label isn't even a real psychological term anymore; it has been decoupled back down into
narcissism and antisocial behavior.)

When Vill says Bill was slowing Eve down, she puts her hand over Eve's. Eve becomes upset and moves
to grab the knife, but Vill intercepts her hand, saying "Don't do that." Eve still tries to fight, so Vill
disarms her and pins her against the refrigerator. However, Eve put on the perfume Vill gave her, earlier,
and that cheers Vill up somewhat.

The arrival of company brings their dinner date to a close. Vill segues seamlessly into a British accent
(Jodie Comer's natural accent), walks out the door and disappears.

3. Anton - they sent another one

First mistake: Anton surprises Vill, as she is coming into the room, by hiding behind a wall. He
congratulates her on making it back on the outside, clapping sarcastically.
He condescendingly says he has a lot to tell her and lot she will have to "try to understand," closing his
eyes, and pressing his index fingers against his temples, like someone thinking hard. Vill looks on in
disbelief.

Anton dismissively tells her to take a seat, and Vill's incredulity deepens. She doesn't move, only raising
her eyebrows slightly, as if to say, 'really?' Anton explains why he's here, and Vill deflates, realizing the
Twelve really does just send another handler. She had been only joking with Konstantin before, earlier
on in the season, but it turned out to be true.

The new handler tries to get Vill to sit down two more times, but Vill refuses both times, and begins to
look visibly angry. Anton finally proffers the postcard, with the target, making a point of holding on to
the paper, while saying this mission will be "challenging." Vill raises her eyebrows again, at this little
trick.

He hands over a suitcase, of "trendy" clothes, which causes Vill to look perplexed. (Later on, the
audience will see that the clothes are not trendy at all, but kitschy.) Vill is again visibly shocked at
Anton's rudeness on how she "likes to spend her money."

Finally, Anton claims Vill will only speak Russian to him, "no more English," and pretends to point a pistol
at Vill, flagging her - before giving the weapon to her - another trick.

He asks if she has any questions for him, and she has only one, "Are you always like this?" Anton,
oblivious, answers, "Like what?" Needless to say, Anton and Vill will not be working together anymore.

4. Heart-to-heart with Konstantin

The next target, from the Twelve, is a challenge because the next target is Konstantin (!). Out of respect,
Vill lets him choose how he wants to go, which is via pills.

Vill tries to get out whether he knows the names of the Twelve, but he isn't a Keeper and doesn't know
any Keepers. Annoyed, Vill says "take the pills." He tries to say something, and Vill raises the pistol,
saying "take some more."

Konstantin takes more pills and continues. As a father figure to Vill, he says he is so proud of her and
loves her. His speech makes Vill smile. Both of them start tearing up. Internally, Vill is crying a lot inside,
because she lost her actual father, which she loved very much.

Like her real dad, at this point, Konstantin understands Vill the best. He says she is "more powerful than
any other person" because of what she has inside, that she is different and strong and should be proud
of herself. Nearly losing her resolve, Vill says, one more time, "take the pills."

Konstantin's demeanor shifts. He knows now that he and the Twelve have trained Vill well, so well that
she will not waver, even from a mission that will devastate her emotionally. He makes as if to finish the
rest of the pills. Vill raises her eyebrows, as if to say, 'did it work?'
But then Konstantin throws the glass at her. To her credit, Vill recovers and jumps up immediately - only
to line up perfectly with Konstantin hitting her with a log. He then books it, as fast as possible, for his
boathouse.

In the house, Vill struggles to get up, incredulous that of all of the ways to get flattened, she got hit with
a log. She drags herself up and runs to the door, the reality sinking in that yes, she did really just get hit
by a log (of all things).

Still dizzy, Vill gives chase, zigzagging across the lawn to the dock. She makes it in time to get in one shot
over Konstantin's head, but after that, he is too far out, on the boat. Konstantin turns around, at the
wheel, and gives her the finger, and Vill gives him the finger right back.

Konstantin turns back around, shakes his head, and disappears into the distance. In her faux fur sweater,
Vill yells, Tony Montana-style, after him, and spits blood. She momentarily holds her head, the pain of
the log and the emotional weight, of all that just happened, sinking in.

5. Vill and Anna

When Anna comes to the door, because of Irina, Vill doesn't see her, but only hears her voice. After the
door closes, Vill lowers the pistol, and looks in the direction of the door, looking startled. She hasn't
heard Anna's voice for such a long time, and hearing Anna again has obviously impacted her.

She finally stirs herself out of her memories and puts the weapon away, trying to get her head back in
the game. She inhales, like she had been holding her breath the whole time.

---

While Anna is distracted by Irina, Vill picks the lock and silently breaks into the house. Unloved's "Tell
Mama" starts playing here. While surreptitiously closing the door back, Vill nearly runs into a picture of
Anna and Max, hung at eye-level. She eyeballs it, briefly. Years later, this set of events continues to
mock her.

Vill heads to Anna's bedroom, to pick up the money and documents, she stashed in the coat she sent
Anna, long ago. As she is passing the kitchen door, Vill sees Anna, from behind. For Vill, this is like
returning home, somewhat, and she instinctively takes a step toward Anna, showing that she still has
some love for Anna - but she steadies herself, and returns to the task at hand.

Anna is the arch maternal-romantic figure, for Vill, much more so than Helene, in Season 3, much later.
She is also Vill's first romantic and intimate relationship. Anna is Vill's Eve - not Eve Polastri - but "Eve,"
as in the all-encompassing female archetype. In a sense, Vill was not lying to Pamela, when she said she
was acting out a bit of an Eden fantasy.

Despite getting Anna out of her line-of-sight, Vill is now in Anna's bedroom - Vill and Anna's bedroom -
and thus a ton more memories abound there. Vill is deep in her subconscious here, much like Alexander,
at Isak's house, in Ingmar Bergman's film "Fanny and Alexander," as only Unloved's "Tell Mama" plays in
this scene and rises to a crescendo.

As soon as Vill closes the doors of the bedroom, and turns around, she is immediately confronted with
Anna's bed, which the camera lingers on. Vill obviously has many memories there. Vill manages to pull
herself out of her thoughts and goes on to search the room. Given the chaos of her early life, Vill did feel
safe with Anna, another lyric of "Tell Mama."

As the song changes into its more industrial, inorganic part, Vill finally finds the coat, under the bed (of
course), but when she goes for her belongings, behind the coat's liner, all she finds is a note, from Eve
Polastri, saying "Sorry Baby," - much like Vill's note to Eve, episodes before - mocking her efforts. Vill
smirks, even as she is floored by this, just as Anna enters the room.

Vill freezes, at hearing her real name, Oksana, and finally pulls out her pistol, to keep Anna at bay. Anna,
to her credit, stops mid-sentence, and says Vill's face is hurt (from the log, before) and offers to clean it
off. She still does care a lot about Vill. Vill initially refuses, as if afraid of getting lost in her feelings, if she
were to let Anna touch her again.

However, Vill cannot refuse forever; she begins to tear up. Anna says Vill looks the same, and Vill says
Anna looks older, "it's nice." Even Irina realizes something is going on here, and asks, "Can I go?"

Anna - probably the only person who can do this - calls Vill darling. and lowers Vill's pistol. Vill did miss
Anna so much, finally admitting, "it does sting a little." Her resolve crumbling, Vill lets Anna get some
disinfectant, for her face.

---

Anna is getting out bandages and Vill is walking around, still taking in the place. It is "exactly the same,"
preserved carefully, like all the letters and gifts sent Anna, like all the photos of Vill that Anna kept -
showing that Anna had some interest in keeping things the same, in remembering Vill.

Vill's attention falls on a large chair, in the living room, saying the best time they made love, was in that
chair. This also confirms on-screen, that the relationship Anna and Vill had was, in-fact, romantic and
sexual, as this fact had only been heavily alluded to before. Anna, however, is still in denial, holding on
to secrecy. She doesn't share the same clarity of honesty that Vill has, finally producing her own pistol.

Anna still feels guilt for all that happened, and all that happened to Vill afterward. The situation is kind
of like Carolyn's paradoxical advice, to Eve earlier, that the ones Carolyn liked the most, she loved the
least and the ones Carolyn loved the most, she liked the least. Anna cannot admit she loves Vill, and she
also cannot bring herself to shoot Vill.

Irina, once again, like truth serum (sodium pentothal), is here to sniff out the reality of the situation,
from the weight of Anna's emotional response, saying, "Did you two used to go out?" Confronted with
the truth, both finally admit, at the same time, that "she seduced me," to the incredulity of them both.
At least, Anna is finally being honest.
Working it out, "if you love each other..." Irina begins, but Vill stops her, saying she does not love Anna
anymore. The end of Irina's statement should have been, if they love each other, now they can finally be
together and go out. However, despite Anna being Vill's "type," and Vill still wanting to see Anna, Vill has
also long realized Anna will never be honest about loving Vill and will never be honest with herself.

Vill doesn't love Anna anymore, and can kill her. Anna is in disbelief. As noted, despite her denial, Anna
does still love Vill, and can't kill her. Anna has been betrayed by her own emotions. From the beginning,
the whole situation was like a game of romantic chicken, out of a Lanthimos film, and Anna lost. The
length of road has run out, before the cliff, and they're flying now, without a parachute.

Heartbroken that Vill does not love her anymore, in spite of how she treated Vill afterward, Anna exits,
with a pistol, instead of pills. Vill is shocked. For Irina's sake, Vill seems to recover quickly, but as she
looks down at Anna, Vill doesn't know what to feel. She loved Anna, but like the protagonist of "Fanny
and Alexander," and his stepdad, Vill will never be absolutely free of Anna.

Like the end of the film "Burn After Reading," the audience is left like the CIA manager, and his lackey,
wondering what did we learn from all of this. "Not to do it again?" the lackey manages, hopefully. The
best that I take from it is another lyric from Unloved's "Tell Mama" – "that to feel anything at all – that's
life."

6. Don't tempt me

After Eve blows off some steam, Vill comes in and Eve hides. She grabs a pistol and a knife, from Vill's
drawer, and tries to sneak up on Vill, who is looking around, incredibly sad and puzzled, at whoever
could have broken in, and trashed her apartment, like this.

Vill slowly becomes aware that someone is behind her, and turns around, to see Eve. She smiles, almost
like she knew it was going to be Eve, asking, in jest, if Eve had a "party, or something." The little shimmy
Vill does here, will reappear in Season 3, when Eve asks Vill to dance, in the tearoom.

Similar to Anna, Vill knows Eve cannot shoot her; Eve "likes her too much." Like in the cafe, Vill strongly
doubts Eve knows what to do with a pistol, which even Eve admitted at the time. Eve hesitates and Vill's
grin widens, as if to say, 'I knew it.'

At a loss, Eve tells Vill to sit down, and Vill complies (unlike with Anton; Vill will also sit down for Helene
also, in Season 3), with a face that says, 'what could this be, now?' Eve, exhausted, sits down in front of
Vill, on Vill's bed.

They have a heart-to-heart, both admitting, that in their own way, they both think about each other a
lot. As Eve was stating all the ways she thinks about Vill, Vill genuinely looked touched. She needs love
too. Eve's speech mirrors the kind of poetry she said, when she was first describing Vill, to the police
sketch artist.
Eve asks Vill, honestly, what does she want, and Vill answers. She just wants a normal life, with a "fun
job," and very truthfully, someone to watch movies with. As seen in the pilot, not even Konstantin has
watched any movies with her, and as will become more apparent, in Season 2 and 3, Vill does feel very
lonely sometimes.

The slow and soft rolling melody of Unloved's "Cry Baby Cry" has begun to play here. It is a very
romantic song, despite its title, and played earlier, in Season 1, when they met in the woods, and will
play again, in Season 2, when Eve calls Vill's bluff and takes Vill's pills. At this point, Eve, satisfied with
Vill's answer and spent, lies back on Vill's bed.

Vill leans back, surprised. Like when Eve stopped the car and walked toward Vill, in the woods, not many
people have reached out to Vill and made themselves vulnerable to Vill, in her life. Vill seems to steel
herself, not knowing what to do; she is in uncharted waters now.

Although she wasn't sure she could trust her, Vill rises to Eve's invitation. She takes away the pistol that
Eve has seemingly given up on and sits down on the bed, next to Eve, still looking uncertain. The song
lyrics here are "Don't give me your heart / I could break it."

In the shot, in her triptych vanity mirror, Vill still looks confused, but she decides to trust her heart. She
has gone from being vain and only thinking about herself, to possibly considering a future role for Eve, in
her life. Looking back at Eve, one more time, she finally decides to lie down, next to her.

Vill exhales, as if she's still not sure something bad will happen. Then she shakes her head slightly,
smiling, as if she still cannot fully believe her luck. Even with Anna being gone so soon, Vill has been able
to move on, and find a new romantic-maternal figure, that she likes. Eve must be commended for
actually finding Vill and learning all about her.

Vill is still holding on to the pistol, out of defense, but she isn't going to shoot Eve; she promises. Eve has
found a way into Vill's heart. Vill places the weapon, on the floor, at the side of the bed, and again looks
up at the ceiling. Then she turns, on her side, to face Eve and invites Eve to stay. Eve turns to face Vill
too and agrees to stay.

Vill traces a strand of Eve's hair and gently touches her cheek. However, Eve has tricked Vill, which is
"just rude." To prove it to her herself, and everybody else, including Vill, Eve stabs Vill and mounts her,
trying to go through with it, but becomes terrified mid-way through.

Vill whimpers and writhes in pain, while Eve runs to get some towels. After rolling off the bed and
shooting pretty accurately, even while in agony, Vill escapes out of her apartment. Poor Vill. She really
liked Eve and is now physically and emotionally hurt. The song in this scene is Unloved's "Bill," which
usually plays when someone is dying or gravely injured.

In the fallout of this event, Vill and Eve will continue to be bound together and drawn to each other,
falling into each other's orbit, again, in Season 2 and finally evolving their relationship, in Season 3. At its
best, Killing Eve is a love story, about two vastly different women, finding what they have in common,
and coming to love each other.