Die Ahle (The Awl) S1:E1 "Kriegspflicht"

DIE AHLE (THE AWL) S1:E1
"KRIEGSPFLICHT"
Draft Three
July, 2022
DIE AHLE S:1 E:1 "Kriegspflicht" Draft Three 1
INT.SUTHERLAND HOUSE/ATTIC FLAT -- NIGHT
A 1930s British radio broadcast fades in, with music from

Harry Roy and his Orchestra, "Over Somebody Else's
Shoulder" followed by a news report about ongoing tensions
with Germany.
FADE IN:
A small, cozy, gable-roofed flat, with a curtained window,

a simple bed, dresser and mirror, wardrobe, writing table
and chair, desk clock, radio, and drinks trolley. A wisp of
smoke in the air from a cigarette burning in an ashtray,
with a tumbler of scotch beside it. EVE WAINWRIGHT (20s)
is in a slip, putting on makeup while looking at herself in
a mirror. She applies the blush, mascara and lipstick with
some attention to detail, pressing her lips together to
complete the effect, before making one final correction.
She reaches for her scotch and takes a sip, places her
glass back carefully, takes a drag of her cigarette. She
then begins a sequence of faces in the mirror--always
returning to "neutral" between each expression: she starts
with alluring, then innocent, then curious, then surprised
(with ensuing giggle), then concerned, then scared, then
caring, and ending with her in real tears of sorrow. She
completes these transformations with remarkable agility and
authenticity.
She finishes her "exercise" and drains what's left of her

scotch, takes a final drag then stubs out her cigarette.
She looks at her wristwatch and compares it with the time
on the desk clock. She rewinds her wristwatch and walks
over to the table where her toilet kit sits. She drops in
the lipstick and pulls out what looks like a compact, a
sachet of beauty pads, eyeliner pen, blush and mascara, and
sets them out on the table. She looks at the time again and
walks over to the drinks trolley and pours herself another
scotch to the exact level desired.
As she's taking another drink, she hears a thud--someone

downstairs, perhaps. She strolls over to the front door of
her flat and makes sure the bolt is latched. She walks over
to her radio and turns it up a notch, then lights another
cigarette. She looks at the time again, then starts to put
on a floral summer dress that was lying on the bed. She
meticulously applies blush and mascara.
Then, with one final look at the time, she finishes her
drink and walks over to the drinks trolley. She pours
herself another, with precision, and sits down on the bed,
facing the trolley. She removes a chain from around her
neck that has a small key on it.
She uses it on the drinks trolley cabinet keyhole and opens

the cabinet, revealing a worn, brown suitcase. He takes it
out and opens it, revealing a transistor radio and headset.
She turns it on and dons the headset--the fuzz of shortwave
radio can be heard with the music now dull in the b/g.
Eve takes out her beauty pads, and in the centre of the
stack are a number of pieces of circular paper with tiny
writing on them . She takes out the compact and it opens at
both ends revealing a magnifying lens, which she uses to
get ready to select the correct "one-time-pad" (spying
encryption code). She tunes into the correct radio station
and checks her watch, with a glance back at the door. She
takes the cap off her eyeliner revealing a small writing
pen. She waits for a moment.
Over the fuzz of the radio airwaves comes a series of beeps

followed by strange music: a version of "Barbara Allen" as
a ditty from a child's music box, playful but creepy and
distorted. This is Eve's interval signal (song played that
means the ensuing message is intended for her--e.g.,
"Swedish Rhapsody", Conet Project). After the ditty plays
three times, a numbers sequence is spoken by a GERMAN WOMAN
that sounds almost automated.
GERMAN WOMAN (V.O.)

Neun, null, eins, zwei, fünf.
(pause)
Eve selects the correct one-time pad and prepares to

transcribe the secret message. Once she's ready, she drinks
and smokes and glances back at the door.
GERMAN WOMAN (V.O. CONT.)

(pause)
(pause)
(pause)
(pause)
After a another pause, the ditty plays a few more times,

then, with Eve writing everything down on a small, circular
paper:
GERMAN WOMAN (V.O. CONT.)

Achtung! Achtung! Achtung!
Fünf, sieben, fünf, drei, sechs.
(pause)
(MORE)
GERMAN WOMAN (V.O. CONT.) (CONT'D)

Neun, zwei, acht, eins, null.
(pause)
Sieben, vier, eins, acht, fünf.
(pause)
Drei, sechs, neun, zwei, acht.
(pause)
Vier, null, sieben, null, neun.
(pause)
Achtung! Achtung!
Fünf, sieben, fünf, drei, sechs.
(pause)
Neun, zwei, acht, eins, null.
(pause)
Sieben, vier, eins, acht, fünf.
(pause)
Drei, sechs, neun, zwei, acht.
(pause)
Vier, null, sieben, null, neun.
(Long pause)
Ende.
Eve takes off her headset, turns off the transistor, closes
and locks the case and locks it up in the cabinet. She
stares at the numbers she's written down and compares them,
using the magnifier, with the one-time-pad. She does this--
as with all things--with efficiency and precision. Clearly,
the message was not an important one; she uses her lighter
to ignite the two circular pads which instantly combust and
are consumed in the ashtray. She then finishes her drink,
turns off the wireless, throws a jacket over her shoulders
and grabs a purse, but just as she is about to leave, she
checks in her purse and realizes--disgusted with herself--
she has forgotten something: she looks round for a moment
then reaches into the inside pocket of her jacket and
withdraws a singular instrument: a handcrafted awl with a
nasty-looking sharp pick for a blade. She places this in
her purse and opens her door.
INT. SUTHERLAND HOUSE/UPPER HALLWAY -- NIGHT
Eve walks out of her flat, closes the door and locks it.
Reaching up on the doorframe, she collects a small wedge of
wood, which she inserts in the lower part of the door--if
anyone opens her door, she'll know it. Satisfied, she turns
and walks out of frame.
TITLE SEQUENCE:
"Die Ahle" (The Awl) over Martha Wainwright's slow, sultry

version of "Over Somebody Else's Shoulder".
Sounds and images of wireless communication, numbers

stations, transcoding, spy paraphernalia: one-time pads,
secret messages, rows of numbers, British soldiers marching
past a sign reading "Gartmoor Garrison", Eve spying from
the shadows of an alley.
INT.SUTHERLAND HOUSE/LIVING ROOM -- NIGHT
A typical 1930s British home. In the furniture-crowded

space, FRANK and DEIRDRE SUTHERLAND make their home, with
Eve renting the upstairs flat. Deirdre is tidying up after
supper while Frank is in his armchair reading the paper,
smoking a pipe. The door to the hallway is open and Eve
appears there.
EVE
Good night, Mister and Missus
Sutherland.
DEIRDRE
Evie love, where are you off to?
EVE
Train into town. It's Friday
night, Missus. Mustn't keep the
lads waiting.
DEIRDRE
Well, I never. Frank, talk some
sense into that girl. In my day,
ladies didn't go gallivanting
about the High Street.
FRANK
(not looking up from his
paper)
Wish they would have done. Might
have sowed my wild oats whilst I
had the chance. Eh, Deirdre?
DEIRDRE
(scowls, then to Eve:)
What time can we expect you home,
love?
EVE
The last train back arrives in
Gartmoor at 11:13. I'll be back by
11:27.
DEIRDRE
(slightly taken aback)
Do be careful. Frank, say
something.
FRANK
Says here there may already be
German spies in England working
for them National Socialists.
EVE
I doubt very much that I'll run
into one of those. 'Night.
She walks off.
FRANK
(still in his paper)
Bloody Hitler.
EXT.SUTHERLAND HOUSE -- NIGHT
A beautiful summer evening, and Eve walks out into the

street--row houses with the Sutherland's standing somewhat
alone atop a hill. 1930s cars go by as Eve walks down the
slope on her way to the lit-up little village of Gartmoor.
FLASHBACK TO:
EXT. GARTMOOR/HILLTOP -- DAY
Same place, twenty years earlier. A beautiful summer day in

pre-WWI England. A horse-drawn caravan crests the hill,
past a old-style village sign reading "Gartmoor". On the
sideboards of the caravan is written "Ernest Wagner,
Leatherworks, Toolcraft, Sharpening & Repair". Driving the
caravan is ERNEST WAGNER (50s, portly) with his wife BERTIE
(40s). Looking over their shoulders is HARRY (mid-teens)
and YOUNG EVE (about 10). As they descend into the village,
voices and shouts of excitement can be heard.
EXT. GARTMOOR/HIGH STREET -- DAY
The caravan comes to stop at the village square. Horses go

by, perhaps an Imperial Touring Car -- an earlier time.
Kids and grownups are gathered around the caravan -- many
of the adults are holding farm implements, tools, or
leather pieces. Ernest is trying to create some space for
him and his family to serve their customers. He speaks with
a German accent. Eve seems to always be in the background,
watching with admiration.
ERNEST
All right, all right, let's have
some order here. You'll all get
some. Bertie, give me the bag.
Harry, go around the back and set
up.
As Harry darts around to the rear of the caravan, Bertie

hands Ernest a cloth bag.
ERNEST(CONT'D)
(orating to the rapt
crowd)
Attention! These are coming from
Emil Brach's Palace of Sweets all
the way across the Atlantic Ocean
in Chicago, United States of
America. (Then, with pride:) He's
German, you know. These are
Brach's Caramels, and I hope you
enjoy them, kids. Who would like
one?
Instant chaos. All the Gartmoor kids want a caramel. Ernest

and Bertie need to work quickly to serve everybody.
ERNEST(CONT'D)
Now, good people of Gartmoor,
parents... please, come around the
back.
He marches around to the back where Harry awaits. Eve has

slipped through the inside to be beside her brother in the
caravan.
ERNEST(SUBTITLE)
Harry! Übernimm die Verantwortung
und sehe zu dass sie dir zuhören.
(Take charge. Make them listen to
you.)
HARRY
(only a slight German
accent)
Please queue up in an orderly
fashion. Thank you.
The villagers respond and from a line. Eve sees a local

boy, YOUNG CHARLIE ALDERSON (10) and they smile at each
other. His mother MRS. ALDERSON (30s), carrying a leather
vest, is first in line with her other son, NICHOLAS (mid-
teens). Ernest takes pride of place beside Harry.
ERNEST
Mrs. Alderson, what can I do for
you? And how is Master Nicholas
doing today?
NICHOLAS
Fine, thank you, Mr. Wagner.
ERNEST
Excellent. And how about young
Charlie--how old are you my boy?
CHARLIE
Ten, Sir.
ERNEST
What a big, strapping boy you're
becoming. You'll be big like Harry
and Nicky one day, I am sure.
Charlie beams, with Eve admiring him too.
ERNEST(CONT'D)
Please, Mrs. Alderson?
MRS. ALDERSON
I've got this leather vest of his
that needs button holes. I'd do
them myself, but--
ERNEST
(shaking his head)
I'd prefer to do it myself. Eve,
my awl, please.
Eve disappears into the caravan.
INT. CARAVAN -- CONTINUOUS
The inside of the caravan is jam-packed with tools, boxes,

hanging strips of leather and rope--somehow magical.
Somehow, everything seems like it's where it's supposed to
be. Eve makes her way to a chest and opens it--it's full of
bizarre, handcrafted implements, and in a very fine,
special, soft leather pouch she withdraws Ernest's
Excalibur--the awl, which is the same one from the opening
scene. She looks at it with reverence, places it in her
hand using a rehearsed technique (handle facing outward)
and carries it back.
EXT. GARTMOOR/HIGH STREET -- CONTINUOUS
As Bertie and Harry are busy with other clients, Eve hands
her father the awl, with handle towards him.
ERNEST
(inspects and approves of
Eve's awl-handling)
Danke. (Then, pointing to a VIP
client:) Bertie!
Bertie hears him and approaches the client, LORD ARMITAGE

(50s) who's holding a broken riding crop. Ernest takes the
vest and awl and starts working. Eve and Charlie begin an
intense staring contest.
BERTIE
(speaking perfect Yorkie)
Lord Armitage? Now, what have you
done with that, love?
The staring contest ends with Charlie losing to Eve.
EXT. GRISDALE ARMS -- DAY
The public house in Gartmoor. Ernest, Bertie and family are

all gathered about with locals at the end of the day. Lord
Armitage and Ernest are at table, chatting.
ARMITAGE
The way all these ententes are
going in Europe, I should think
we're rather fortunate being off
the continent. Have you family
back in Germany, Ernest?
ERNEST
(cautious)
Ja. I do.
ARMITAGE
But Bertie's from here, is she
not?
ERNEST
From Mirfield, yes.
ARMITAGE
Well, I do hope you're not
thinking of going back over, old
boy. Things are looking rather
bleak.
ERNEST
We're staying. But Bertie's not
wanting to travel around so much
anymore. Still... a man must work.
ARMITAGE
Of course.
Ernest stares at him then looks out to where Eve is being

chased around by Harry, with other Gartmoor kids joining in
the fun. The rambunctious kids eventually get a little too
close and Eve accidentally bumps into her father, who
spills his beer.
ERNEST
Scheiße! Scheiße! Scheiße!
Eve stands, ashamed.
ERNEST(CONT'D)
Eve! What is the matter with you?
EVE
Sorry, Papa.
ERNEST
(shooing her away)
Raus.
She runs off.
ARMITAGE
(smiling)
We're fortunate to have you visit
us... But if ever you did want to
settle, I've a place on the
estate: you could have it for a
song. We all need to make do with
less these days, I'm afraid.
He stands, taking the empty pint glasses with him.
ARMITAGE(CONT'D)
These shall be my pleasure.
Ernest considers as he finishes wiping the beer spill.
EXT. FARMHOUSE ON ARMITAGE ESTATE -- DAY
With the caravan in front, Ernest and family unload boxes

into their new home. Bertie looks particularly pleased. Eve
glances across the way, where Mrs.
Alderson and Charlie are watching from their nearby land.

They wave at Eve and she smiles.
EXT./INT. FARMHOUSE ENTRANCE/HALL/LIVING ROOM -- LATER
POV of Eve following Harry in as he carries a box from

outside, through the hall, into the living room. The family
stand there, surrounded with boxes and odds and ends of
furniture and whatnot, admiring their surroundings.
ERNEST(SUBTITLE)
(orating, as usual)
Unser Zuhause für immer! (Our
forever home!)
BERTIE
Come on everyone, into the
basement for a moment. It's
Friday, after all.
Harry and Eve roll their eyes and look at their father who
shrugs and ushers them along.
INT. FARMHOUSE/BASEMENT -- DAY
A single candle lights up an otherwise dark, empty space

space. Bertie lights a second candle then places her hands
over her eyes. She mumbles something as Ernest and the
children look on.
BERTIE
(finishing up)
There we are. We've blessed our
house, in a fashion. (To Ernest:)
Thank you, Sufganiyah. Are you
excited, Harry and Eve?
As she speaks, she lays her hands on their heads.
ERNEST
Bertie, Darling... Now we eat!
Bertie smiles. Closeup on Eve looking into the candles with

an excited smile.
END OF FLASHBACK
INT. MARKET TAVERN -- NIGHT
Closeup on Eve with the same excited smile, twenty years

later--she's in her floral dress a few hours after the
opening scene. A busy, urban pub. Candlelit table. She's
being chatted up by a big lad, a uniformed DRUNK SOLDIER in
his twenties, nearly-empty pint in hand. Eve has a half-
full pint that she sips from and places back on the table.
DRUNK SOLDIER
So I says to him, I says, you
don't know how strong I am, mate.
You have no idea. You should see
me with me shirt off, lass. (He
leans in.) Bet you'd like that,
eh...? What's your name again?
Eve shows surprise and giggles--reminiscent of her

"exercise" session in the mirror earlier.
EVE
Agnes.
DRUNK SOLDIER
Agnes, eh? Aggie. I'll call you
Aggie. You like that, Aggie? Ags?
EVE
Whatever you like.
DRUNK SOLDIER
Oi. Give us a snog, Ags.
He tries to kiss her but she playfully evades him.
EVE
Don't you have somewhere we could
go?
DRUNK SOLDIER
Well, I can't bring you back to
the base, now can I?
EVE
What's a base?
DRUNK SOLDIER
Blimey, you're stupid aren't you.
I'm part of the 5th Duke of
Wellington's.
EVE
Is that...boots, or something?
DRUNK SOLDIER
It's the new Anti-Aircraft
Division--biggest in England.
EVE
Oo. I like it when you talk about
big things.
He gives her a lascivious look and leans in to give her a

kiss--in so doing, he nudges Eve's pint glass off the table
which she catches in mid-air. The soldier notices her skill
and is amazed. Eve sets her glass back on the table exactly
where it was and smiles.
EVE(CONT'D)
This goes....here.
EXT. CITY ALLEY -- NIGHT
Eve and the Drunk Solider are making out against a wall.
It's getting intense.
EVE
(between kisses)
Tell me about the size of your...
regiment.
DRUNK SOLDIER
Heh heh. Four companies. I'd
say... five hundred strong. You
like it strong, eh?
EVE
Mm. Air defense of Yorkshire, is
that right?
DRUNK SOLDIER
Enough about that, love. Let's get
your knickers off.
Eve tries to wiggle away from him while eying the alley
entrance.
EVE
No...please stop.
DRUNK SOLDIER
You want it, I can tell.
EVE
No, I don't. Stop.
DRUNK SOLDIER
I'm getting your kit off, lass,
whether you like it or not. So you
might as well like it.
EVE
Not here, come on.
He's enticed. She leads him to the dead end.
EXT. CITY ALLEY/DEAD END -- NIGHT
Eve leads the drunk soldier to a little alcove at the end

of the alley. He grabs her and kisses her.
DRUNK SOLDIER
Come on.
EVE
Wait. Lie down.
DRUNK SOLDIER
Fuck off, you little tart. I can't
wait anymore.
EVE
You can't?
In a moment, his eyes bulge and he seems frozen. Eve has

plunged her awl between his ribs, directly into his heart.
He looks terrified, betrayed. Eve helps him slink down to
the ground, twists the awl before pulling it out from his
chest. She cleans the awl off on his uniform, then places
it in her jacket pocket, inspects her bloodied dress, and
puts her jacket on over it. As the soldier makes gasping
sounds, Eve he looks like she's going to be sick. She walks
away from the alley, leaving him to die.
EXT. TRAIN STATION -- NIGHT
The commuter train arrives. Eve steps on the platform and

throws up into a garbage can. There are other travellers--
including a middle-aged husband and wife-- who see this.
Eve wipes her mouth, forces a smile and boards. The couple
share a look of disgust.
INT. TRAIN -- NIGHT
Eve sits, staring out of the window. Night fields go by.

Eve looks across at a passenger reading a newspaper--
evening edition, headline: "Hitler Eying German
Conscription. Treaty of Versailles in Jeopardy?" Eve takes
in the headline for a moment.
FLASHBACK TO:
INT. FARMHOUSE/KITCHEN -- NIGHT
POV of Young Eve. Ernest and Bertie are in the kitchen of

the farmhouse, arguing in muted voices. Eve, in pyjamas, is
staying just out of sight--already a proficient spy.
BERTIE
But why must he?
ERNEST(SUBTITLE)
Weil er has für Deutschland: seine
Kreigspflicht. (Because he must do
this for Germany: His war duty.)
BERTIE
But we're here now, Ernst. Harry's
an English boy.
ERNEST(SUBTITLE)
Harald ist ein Mann und ein
Deutscher. er muss gehen. (Harald
is a man and a German. He must
go.)
BERTIE
What? You want him to die in a
trench? To be killed by one of his
own countrymen?
ERNEST(SUBTITLE)
Ich möchte, dass er das Notwendige
tut. (I want him to do what is
necessary.)
BERTIE
You're killing him is what you're
doing!
She storms out of the kitchen into their bedroom, with

Ernest following--right past Eve who is concealed in an
alcove.
ERNEST(SUBTITLE)
(Listen, I came to this country to
make you happy--so that Harry and
Eva could grow up here.)
BERTIE
Then why send Harry away?
ERNEST(SUBTITLE)
(Because all men must do what's
right for their fatherland.)
BERTIE
Really? And what are you doing?
ERNEST(SUBTITLE)
(Don't worry about me, I have my
own plans.)
BERTIE
What? You're going to help Kaiser
Wilhelm, are you?
ERNEST(SUBTITLE)
(I will do my part for the Reich,
yes.)
He shuts the door, leaving Eve alone in the hallway.
EXT. GARTMOOR TRAIN STATION -- NIGHT
Ernest, Bertie and Young Eve are saying good bye to Harry
who's full of confidence, going off to fight for the
Central Powers. Ernest gives him a formal handshake.
ERNEST(SUBTITLE)
(Goodbye, my son. Be safe. I am
very proud of you.)
HARRY(SUBTITLE)
(Goodbye, Father.)
Bertie throws her arms around Harry.
BERTIE
I love you so much, my little
mensch. Stay far away from the
bullets and the trenches.
HARRY
(uncomfortable)
I will, Mother.
BERTIE
And be smart. I'll only be happy
again when you're home and safe.
HARRY
Yes, Mother.
BERTIE
And never forget who you are.
HARRY
All right.
BERTIE
And watch out for those French
girls--
HARRY
Mum! Enough!
She is in a tear-filled agony. He breaks away from her and

is about to get on the train when he remembers Eve. He
turns back and crouches down in front of her.
HARRY
I almost forgot you. You're so
quiet, sometimes I barely notice
you. Bye, Evie-girl.
Eve says nothing, but she's containing everything. Just as

Harry is about to step up onto the train, Eve rushes up to
him and grabs onto his legs. Ernest and Bertie pull Eve off
of him and she is quite emotional. Harry gives one more
look back then gets on the train. Eve stands there, looking
up at the train.
END OF FLASHBACK
INT. TRAIN -- NIGHT
POV: Inside the train. It pulls into the station revealing

the sign: "Gartmoor" through the engine's steam. Eve snaps
out of her daze and makes for the door. She can be seen
through the window taking a glance around before stepping
into the night.
EXT. GARTMOOR JUNIOR SCHOOL -- NIGHT
Eve walks past the darkened grounds of her old school. She
stops and peers through the gate.
FLASHBACK TO:
EXT. GARTMOOR JUNIOR SCHOOL -- DAY
Twenty years earlier, children are playing war-games during

recess. Young Eve is in a corner of the yard (near where
older Eve is currently standing), surrounded by a group of
lads, including YOUNG BUCKINGHAM (12) and his CRONY (11).
YOUNG BUCKINGHAM
Bloody Hun. It's your folk what's
killing everyone in Belgium.
Innit?
Eve, terrified but defiant, says nothing.
YOUNG BUCKINGHAM(CONT'D)
I heard they been bayoneting
babies, and cutting off women's
tits. What do you say we cut off
your tits eh, Frau Vagner?
CRONY
She hasn't got any yet, eh
Buckingham?
The bullies laugh and close in on her.
YOUNG BUCKINGHAM
So what do you say, Fraulein? Eh?
He slaps her in the mouth.
CRONY
Ya fucking Jerry. Go on, Bucks!
Eve gets punched in the stomach and collapses--protecting

herself by curling into a ball. The boys then gather around
her and spit on her before running away.
INT. FARMHOUSE/EVE'S BEDROOM -- DAY
Eve, seated on her bed is having her bloodied mouth tended

to by Bertie. Ernest stands in the doorway, looking on. Eve
remains stoic through it all.
BERTIE
Little bastards. Do you know their
names?
Eve says nothing.

BERTIE(CONT'D)
It's all right. My poor darling.
You won't be going to that school
anymore.
She turns around to look at Ernest, who quietly turns and

walks away--he is containing his rage. Bertie can tell he's
up to something, and she won't be interfering anymore.
INT. FARMHOUSE/BASEMENT -- LATER
Young Eve walks down a dark hallway lined with stocked

shelves--jars, sacks of flour, etc. towards a lit room,
door ajar. She spies on her father, who is in his crowded
little study--a glorified closet. He is writing something
at length, using a strange pen. He stops for a moment and
stands up to leave. Eve hides in the shadows and Ernest
passes her.
INT. FARMHOUSE/STUDY -- CONTINUOUS
Young Eve enters the empty study and peers down at the page
her father was writing on: it is completely blank. Young
Eve picks up the page and examines it. She does not
understand. She places it back down exactly where it was.
END OF FLASHBACK
EXT. GARTMOOR JUNIOR SCHOOL -- NIGHT
A lone piece of blank paper in the schoolyard. Eve stares

at it. She snaps out of her trance and walks off.
EXT. SUTHERLAND HOUSE -- NIGHT
Eve arrives back at the house where she's staying and opens
the front door, glancing back and doing a thorough search
over her shoulder before she enters.
INT. SUTHERLAND HOUSE/HALLWAY -- NIGHT
All is dark in the Sutherland's living room. There's a lone

light in the hallway stairs for Eve. On a table she sees a
letter left for her--right beside a photo of Andrew
Sutherland in his WW1 military uniform.
INSERT -- BACK OF TELEGRAM

Eve reads a handwritten message: "Eve, there's a bread &

butter pudding on the stove if you're hungry. --Mrs. S."
She smiles and flips the page over: it's a Post Office
Telegram: "CONGRATULATIONS ON 25 YEARS OF WEDDED BLISS -
MARJORIE"
Eve looks away from the page. An old-fashioned doorbell

rings.
MALE VOICE(O.C.)
Telegram!
FLASHBACK TO:
INT. FARMHOUSE/ENTRANCE HALL - DAY
Young Eve -- using one of her father's old awls to rip

stitches out of a stuffed lion -- watches her mother walk
down the hall and open the front door to a telegraph boy.
Bertie thanks him and gives him a coin, then opens the
telegram.
She puts her hand to her mouth. Eve registers that

something awful is happening.
BERTIE
(shrieking)
Ernest!
Eve reacts to this as the sound of feet comes thudding up

the stairs. Ernest arrives and goes to Bertie, reads the
telegram.
Both are in tears, hugging each other. Ernest nearly

collapses, held up by Bertie. Eve takes it all in.
END OF FLASHBACK
INT. SUTHERLAND HOUSE/HALLWAY -- NIGHT
Eve, back in the present, places the note back on the table
exactly where it was--beside the photo of Andy--and climbs
the stairs.
INT.SUTHERLAND HOUSE/UPPER HALLWAY -- NIGHT
Eve arrives at her door, looks over her shoulder and

reaches down to the (side) crack where she has placed a
small shim of wood. It is still in place. She removes it,
and reaches into her purse for the key.
INT.SUTHERLAND HOUSE/ATTIC FLAT -- NIGHT
The lock is keyed open and Eve enters. She's tired, fraught
with emotion. She locks her door and does a quick
inspection of her room. Everything seems in order. Then,
taking off her jacket, she does a quick inspection of
herself--there's a bit of blood on her dress and now on the
inside of the jacket. She quickly takes both off, stuffs
them into a canvas sack and lies down on her bed. Within a
few moments, she's asleep.
INT. SUTHERLAND HOUSE/ATTIC FLAT -- DAY
MONTAGE: Noise of people talking (the Sutherlands), morning

radio. Now beneath the covers, Eve wakes up, looks at her
watch. Still in her underthings from the night before, she
gets up and puts on a nightgown, lights a cigarette, then
heads over to the radio and tuns it on--adjusting the dial
to match the radio broadcast playing downstairs.
She heads over to the drinks trolley, unlocks it and pulls

out her wireless radio transmitter. From her makeup kit she
consults an encryption code (the little circular pads). She
rights down the message she wants to send, encrypts it,
puts on headphones and starts sending out a morse code
message:
INSERT -- (In German, SUBTITLED)
With the Morse code beeping, and Eve's steady hand

movements on the beeper:
"WOOL CITY STOP DIVISION OF 500 STOP ANTI AIRCRAFT STOP

NORTH DEFENSE STOP THE AWL
Eve takes a drag of her cigarette and is pensive. She stubs

it out.
INT. SUTHERLAND HOUSE/ATTIC FLAT -- LATER
MONTAGE of Eve doing a rigorous training regimen: pushups,

situps, lunges, etc., ending with practicing some knife-
fighting techniques.
FLASHBACK TO/
INTERCUT WITH:
INT. GERMAN TRAINING FACILITY -- DAY
Ten years earlier, Eve is being pushed hard by a stern

FITNESS TRAINER in a gymnasium. She shouts commands at Eve.
FITNESS TRAINER(SUBTITLE)
Schnell! Schnell! Es wird nicht
Leichter! Du Wirst stärker! (Fast!
Fast! It doesn't get easier! You
get stronger!)
Eve struggles through the exercises, but finishes.
FITNESS TRAINER(CONT'D)
Sehr gut. (Very good.)
INT. GERMAN COMMUNICATIONS ROOM -- DAY
Eve, in front of a communications device, is being schooled

by a WIRELESS SPECIALST. Eve, headphones on, turns a dial.
He scolds her.
WIRELESS SPECIALIST(SUBTITLE)
Nein, nein, drehen Sie es langsam
auf die genaue Frequenz. (No, no,
turn it slowly to the exact
frequency.)
She slows down.
WIRELESS SPECIALIST(CONT'D)
Now with a COMBAT SPECIALIST, she is showing Eve, using a

dummy, how to stab someone through the heart.
COMBAT SPECIALIST(SUBTITLE)
(You may only get one chance. The
blade has to go through the fourth
intercostal space between the
fourth and fifth ribs--between the
left nipple and the sternum. At a
slightly left angle, like so,
you'll pierce both left and right
ventricle at once. Bring something
to cover up whatever you're
wearing, as there will be much
blood. Now you try.)
Eve stabs the dummy.
COMBAT SPECIALIST(CONT'D)
Eve completes her morning training with a knife-fighting

maneuver mimicking her training stab with the Combat
Specialist.
EVE
Sehr gut.
Eve holds her deadly pose.
EXT. SUTHERLAND HOUSE -- DAY
Mr. and Mrs. Sutherland are gardening as Eve exits the

house with a wicker shopping basket containing the canvas
sack from the night before. She has binoculars around her
neck and is wearing a wide-brimmed hat.
DEIRDRE
Where are you off to now, Love?
EVE
Thought I'd do a bit of bird-
watching. Need my exercise.
A momentary cloud passes over Deirdre.
DEIRDRE
Our little Andrew really loved
birds. Didn't he, Frank?
Frank doesn't answer, not wanting to talk about his loss.

Eve registers this, then:
EVE
Then I thought I'd maybe pick
something up at the market.
DEIRDRE
(still recovering from
the memory of her son)
All right, Love. (Referring to the
sack.) What have you got in there?
EVE
Oh, just some old clothes. I
thought I'd drop them off at the
church.
DEIRDRE
What a dear. Did you hear that,
Frank?
Frank looks up: his white shirt is covered in dirt. He

tries to wipe it off and fails, while Eve collects her bike
from a nearby shed.
FRANK
(unhappy about his shirt)
Bloody hell.
DEIRDRE
Serves you right wearing that to
garden. (To Eve:) He shouldn't
have worn that, should he love?
EVE
Hope you don't have to throw it
out, Mr. S. Bye, now.
Eve heads off, walking her bike.
DEIRDRE
(watching her go)
What a dear.
Deirdre watches Eve go then scowls at her husband.
EXT. GARTMOOR COUNTRYSIDE -- DAY
MONTAGE of Eve cycling through the countryside to

"Lazybones" by Bertini & The Tower Blackpool Dance
Orchestra. Eve rides away from the town, into the lush
countryside outside of Gartmoor.
Before long, she comes to an old stone bridge over a river.

She dismounts at the base, lights a cigarette and has a
look around. Carrying her wicker basket with her, she finds
a large stone, removes the sack from the shopping basket,
opens up the sack and scoops the rock into. She then climbs
to the top of the bridge. She leans over the wall and
smokes.
A car motors by, tooting its horn at her. She waves and
smiles. Then, with one last look around, she picks up the
sack containing her stained dress and jacket and drops it
into the water.
She watches it sink, gets back on her bike and continues on

her way.
EXT. GARTMOOR FIELDS -- DAY
MUSIC CONTINUES as Eve bikes through fields and farmland.

Finally, she comes upon a tree-covered hill and dismounts.
She climbs the hill and pulls out a small notebook and pen.
EXT. GARTMOOR WOODS/MILITARY BASE -- LATER
She takes a look around, as always, before making a few

cursory looks through her binoculars up into the trees. She
notes something, then walks a distance further.
At the edge of the wood is a high, barbed wire fence. A

sign there reads "War Office Requisitioned Land -- Access
Strictly Forbidden -- Gartmoor Garrison. She takes a few
steps into some denser trees and peers through her
binoculars.
POV OF THE BINOCULARS: Three barracks buildings stand in

open fields. Soldiers troop about. Jeeps.
Eve opens her notebook and jots something down:
INSERT ON PAGE "Three house sparrows. Blackcaps approx.

60-80. No woodpeckers or goldcrests visible. Goshawks
likely. Acreage covered: approx. 150."
Done writing, she puts these away and approaches the fence.
She traces a finger along the chain links, looks around,
then withdraws a wire cutter from her purse. She tests it
on a link and it cuts through cleanly. She cuts through a
few more links with absolute precision. Stops. A few more.
Stops. She doesn't want to cut too many--just enough--like
a great painter or a chef putting on the finishing touches.
Finally, she puts her cutters away and walks back to her
bike. She rides off.
EXT. GARTMOOR FARMFIELD -- DAY
Eve rides past an abandoned farm -- her old home.
FLASHBACK TO:
INT. FARMHOUSE/BASEMENT -- DAY
Twenty years earlier, Young Eve is watching her father on

his radio, beeping out a message using Morse code.
He is wearing headphones, focused on his work, but when he

notices Eve he does his best to smile at her.
BERTIE(O.C.)
Ernest! Ernest!
Eve hears this and goes to alert her father who yanks off
his headphones.
Bertie appears halfway down the stairs.
BERTIE
There are cars coming.
Ernest turns off his headset, grabs the page he was writing
on and lights it on fire, dropping it in a metal basket. He
takes a brown package envelope off a shelf and walks out of
the closet. He crouches down and hands the envelope to Eve.
ERNEST(SUBTITLE)
(You will hide now, my little Eve.
Hide as you never have before.
Whatever you hear, stay hidden
until -- for a long time -- you
hear no noise. They need to be
gone. We will be gone too. But
you'll be safe. You'll go to the
Aldersons. Don't let anyone see
you. Give this to Mrs. Alderson.
She'll take care of you. Do you
understand?)
Eve nods.
Banging of the door upstairs.
MAN'S VOICE(O.S.)
Mister Wagner? Mister Ernest
Wagner? MI5. Open the door please.
Bertie is terrified and rushes over to hug Eve. Ernest is

also afraid but resigned. With a look from Ernest, the
parents climb the stairs. Eve is alone. Another set of
bangs upstairs. Eve looks around for a place to hide,
envelope in hand.
INT. FARMHOUSE/HIDING PLACE -- DAY
Eve, sitting cross-legged in a dark cabinet with only a

crack of light on her face, listens to various MEN'S
VOICES, and to the sounds of shuffling, rummaging, opening
and closing doors, booms, crashes, etc.
MEN'S VOICES (O.C.)

Let's open that up...confiscate
those...check in the
bedrooms...move that shelf
aside...I want everything, lads!
Eve, wide-eyed, remains still.
INT. FARMHOUSE/BASEMENT -- NIGHT
All is silent. From beneath the stairs, a small door that

matches the wall panelling opens. Eve emerges from a secret
cabinet/crawlspace. She looks around.
The whole area has been ransacked. The home she once knew
is no more. She peers into her father's basement study: the
transistor is gone, and the once cluttered space is now
practically empty. Eve is terrified.
EXT. FARMHOUSE -- NIGHT
Young Eve, with her envelope runs across the field toward
the Aldersons.
EXT. ALDERSON FARMHOUSE -- NIGHT
Young Eve is at the door, envelope in hand. Mrs. Alderson

opens it a crack with Young Charlie standing behind her. He
smiles when he sees Eve, then recognizes that something is
wrong. Mrs. Alderson looks out into the night.
MRS. ALDERSON
Come in, love.
She closes the door.
END OF FLASHBACK
Eve turns her head, watching the farmhouse disappear behind

her. It is an emotional ride -- with everything that now
motivates her in the background.
EXT. GARTMOOR OUTDOOR MARKET -- DAY
Eve rides down into the village marketplace, where all

sorts of wares are being sold to browsing locals: food,
trinkets, clothes.
She stops at a clothing kiosk and peruses the displays. She

takes out a dress, a jacket -- things to replace the ones
she just disposed of.
A couple of SOLDIERS in uniform come walking by on their

way to base. They spot a nearby female SHOPPER (20s, mixed
race--this is RHOMA YORKE who will become friends with Eve
in later episodes). They begin harassing her.
FIRST SOLDIER
'Ello Darlin'. I'm thinking that
top'll be a bit tight on you.
SHOPPER
Fuck off.
SECOND SOLIDER
Oo, and what a mouth on her, eh,
Bucks?
Eve hears this, looks up, and pales--recognizing

Buckingham.
BUCKINGHAM (FIRST SOLDIER)

They've all got big lips, the
negroes. Where'll you be out
tonight, sunshine? Fancy a drink
and a snog?
The Shopper tries to ignore him. Eve is staring at the

scene. Bucks takes a glance in her direction, makes eye
contact, but doesn't make the connection.
BUCKINGHAM(CONT'D)
(back to the Shopper)
I'm off duty at six.
He smacks her behind, chuckles and moves on with his pal.

Eve watches them go. Keeping her eyes on them, she
approaches the shopper.
EVE
You all right?
SHOPPER
He's right, I do have a mouth on
me: fucking cunts.
EVE
(smiles)
My name's Eve... Wainwright.
RHOMA (SHOPPER)
(mimicking her)
My name's Rhoma... Yorke.
Eve smiles again, stares off at Buckingham.
Eve returns on her bike, her new jacket and dress in her
shopping basket. She has a look around (as always) to make
sure she hasn't been followed, and enters the house.
INT. SUTHERLAND HOUSE/LIVING ROOM -- DAY
Mr. Sutherland is in his armchair reading the paper and

Mrs. Sutherland is at the coffee table where tea is set.
Eve appears at the hall doorway.
DEIRDRE
Evie, Love. Come and have tea.
EVE
(entering)
Thanks, Missus. I'm famished.
DEIRDRE
Sit yourself down, now.
Deirdre fusses up some scones and jam and tea.
DEIRDRE(CONT'D)
I see you got some things.
Eve takes them out of the basket and "models" them.
DEIRDRE(CONT'D)
Lovely. Was it busy at market?
FRANK
(off his newspaper)
Bloody Huns. Woulda thought they'd
learned their lesson first time
'round.
EVE
(pause, then to Deirdre:)
A little busy, yes. (Receiving the
scone and tea) Thanks, Mrs.
Sutherland.
Eve begins eating.

FRANK
Your name's Wainwright?
EVE
(guarded)
Yes. (A pause.) Why?
FRANK
There's a Juan Pablo Wainwright
causing trouble overseas. No
relation I suppose?
EVE
I don't think so.
FRANK
Hmph. Looks like he's going to be
executed. Probably serves him
right.
Eve sips her tea.
FLASHBACK TO:
INT. ALDERSON FARMHOUSE/LIVING ROOM -- DAY
Young Eve and Young Charlie are on the rug before the
hearth. He's playing with toy blocks and soldiers, building
an elaborate tower defense scenario. Eve is cutting up bits
of metal with a wire cutter. She does this in a
methodical--almost obsessive--fashion. Charlie watches her
for a while, then returns to his game.
YOUNG CHARLIE
Pow! Pow! Let's push 'em back,
lads. (To Eve) My daddy's in Egypt
protecting the Suez Canal. Do you
know where your brother died, Eve?
He accidentally bumps his tower and it all comes crashing

down.
YOUNG CHARLIE(CONT'D)
Oops.
Eve shakes her head. The doorbell sounds.
FEMALE VOICE(O.C.)
Yorkshire Evening Post!
MRS. ALDERSON(O.C.)
Can someone get that please?
Eve is closer so she stands up and goes to the door.
INT. ALDERSON FARMHOUSE/HALLWAY -- LATER
Eve walks up to the front door, opens it and receives the

paper from the delivery girl.
YOUNG EVE
Thank you.
The delivery girl nods and walks off. Eve takes in the
paper then stops, staring at the front page.
INSERT: Headline reading, "GUILTY OF SPYING, ERNEST WAGNER

AND WIFE EXECUTED"
In small print below that, "Today, at the Tower of London,

Ernest Wagner and his wife, found guilty of espionage and
high treason, were shot by firing squad. It is now feared
that Germans in England may be serving their country more
effectively by living here than by shouldering a rifle"
Eve begins shaking and crying as Mrs. Alderson and then

Charlie come into the hallway.
MRS. ALDERSON
Eve? Eve? What is it? Eve?
END OF FLASHBACK
INT. SUTHERLAND HOUSE/LIVING ROOM -- DAY
Deirdre, standing over Eve, is trying to get her attention.
DEIRDRE
Eve?
Eve snaps out of it. Finishes her tea.
EVE
(standing)
I think I'm a little tired from my
bike ride. I'm going to head up.
DEIRDRE
All right, Dearie.
She watches Eve go with some concern.

Eve, still distraught, comes in, locks the door, puts down
her bag. She turns on the radio and lies down on the bed.
She takes her bedside clock and sets the alarm, then places
the clock leaning against her on the bed. She closes her
eyes.
Later, the alarm goes off, slightly muffled by her body and
the bed, and Eve quickly silences it. She turns up the
radio a touch, walks over to retrieve her makeup kit, then
to the drinks trolley to unlock it. Donning her headset and
going through her usual ritual for receiving a transmission
(check time on wristwatch, prepare one-time pad and
circular paper, take out pen) she takes down the latest
command:
INSERT (SUBTITLED): INFILTIERNEN ANERKENNEN KASERNE

HEIDEDORF (INFILTRATE RECONNAITRE HEATH VILLAGE BARRACKS)
She sees the message and is already formulating a plan.
It is quite late, and Eve is sneaking out of the front door

of the Sutherland's house. She has on her dress and jacket,
carrying her shopping basket. She hops on her bike and is
pedalling off when...
INT. SUTHERLAND HOUSE/MASTER BEDROOM -- NIGHT
Mrs. Sutherland, awakened from sleep, walks over to her

bedroom window and draws back the curtain.
INSERT: POV of her view: Eve riding off into the night on
her bike.
Deirdre is disturbed.
EXT. GARTMOOR FIELDS -- NIGHT
Eve reaches the hill where she had been earlier that day.
She pulls her bike up into the trees where it won't be seen
from the road.
EXT. GARTMOOR WOODS/MILITARY BASE -- NIGHT
She reaches the military enclosure fence and pulls black

clothes out from her wicker basket. She takes off her
jacket and starts to don the blacks over her dress.
JUMP CUT TO: she has clipped a substantial hole in the

fence and easily slips through.
EXT. GARTMOOR GARRISON -- NIGHT
Eve rushes up to the wall of a barracks. She is silent, in

the shadows. At that moment, a flashlight beam and slow
footsteps on gravel. A sentry appears on his nightly
rounds. He walks right past Eve, who then darts off in the
direction he came from.
INT. SUTHERLAND HOUSE/LIVING ROOM – DAY
The next day. Deirdre and Frank are at the table eating
breakfast. The hallway door is open and Eve tries to walk
past.
DEIRDRE
Just a minute, young lady.
EVE
(in the doorway)
Yes, Missus?
DEIRDRE
Where were you off to, going out
at all hours last night?
EVE
Oh, I couldn't sleep. Decided to
go for a stroll.
DEIRDRE
Mm hm. On your bicycle? With your
shopping bag?
Eve acts bashful--like she's been caught doing a naughty

thing.
EVE
Well, there's this lad I met...
DEIRDRE
See? I told you, Frank.
Frank isn't interested. He's reading his paper, as usual.

DEIRDRE
Now, you're well of age, Evie
dear. How old are you, anyway?
EVE
(feigning modesty)
Mrs. Sutherland...
DEIRDRE
Well...let's say in your
twenties...(pause, Eve doesn't
reply) You're a grown woman and
can make your own decisions, but
do you really think this is the
kind of behaviour befitting a
respectable lady--one who's
already, perhaps, a little late at
securing herself a husband?
Eve hangs her head--a convincing display of shame.
DEIRDRE
After all, I was just eighteen
when...Frank, do say something.
FRANK
(after a slight pause)
Says here that Sir Reginald Hall,
former director of British naval
intelligence, has been giving
lectures on spying to the Yanks.
Says there are likely dozens of
German spies already operating in
England. Wouldn't bloody surprise
me.
DEIRDRE
Frank, this isn't the time for
that. We're talking about our
lodger going off in the dead of
night for something illicit.
FRANK
Sounds like fun.
Deirdre is aghast. Eve and Frank share a smile.
FRANK(CONT'D)
Go on, leave the lass alone,
Deirdre. You were the same way
when Marjorie was courting. Eve
can take care of herself.
Eve smiles.
EVE
I'm sorry I woke you, Missus. He's
a soldier, you see, and he's on
night duty.
DEIRDRE
(reluctantly approving)
Well...a nice soldier? I do hope
that works out for you, love.
EVE
Oh not to worry. I've got him
right where I want him.
She smiles and departs. Deirdre and Frank look at each

other and he chuckles to himself.
EXT. GARTMOOR GARRISON/MAIN ENTRANCE -- DAY
A busy, gated entrance to the garrison. A guard post is

present and a good many soldiers are walking to and from
the area, with every soldier entering the base being
checked off by a GUARD with clipboard and pen.
After a while, Buckingham appears, lumbering toward another

long day of duty. He arrives at the gate.
GUARD
Another late one, eh, Buckingham?
BUCKINGHAM
Oh, fuck off.
The guard laughs and checks him off. Buckingham enters the
base.
In the distance, Eve is leaning against a tree, smoking a

cigarette. She has seen Buckingham enter. She checks her
wristwatch, gets on her bike and rides off.
EXT. GARTMOOR GARRISON/MAIN ENTRANCE -- DAY
Later, 6pm, soldiers are coming off their shifts while

others arrive. Buckingham walks off at a clip. Some time
later, Eve appears, riding her bike a safe distance behind
him.
EXT. GARTMOOR VILLAGE FLAT -- DAY
Buckingham, keys in hand, unlocks the door to his townhouse

flat in the village. Eve, again, is watching from a
distance, smoking. She stamps out her cigarette and is
about to leave when she hears a yell.
BUCKINGHAM(O.C.)
G'wan y'auld bitch.
Eve turns back and sees Buckingham dragging a German

Shepherd out of his flat. The dog wants to pee but he yanks
on her leash.
BUCKINGHAM
Not 'ere, Daisy, fer Christ's
sake.
He pulls her across the street. Eve watches him go then

follows at a distance.
EXT. GARTMOOR FORESTED PARK/EDGE -- DAY
WIDE on Buckingham walking his dog along a dirt path into a

wood. He shouts something at Daisy and gives her another
rough yank.
Eve sees this and elects to cycle back.
INT. SUTHERLAND HOUSE/LIVING ROOM -- NIGHT
Mister and Missus have finished their dinner, listening to

the radio news as Eve peeks in.
DEIRDRE
Hello, Love. Fancy a nibble?
EVE
No thanks, Missus. Early night for
me.
DEIRDRE
That's sensible, Dear.
The RADIO ANNOUNCER has just reached:

RADIO ANNOUNCER
...the soldier who was found
murdered in an alley near the
Market Tavern--stabbed through the
neck by--"
EVE
Actually I think I will have a
little something, I forgot to eat
after--
FRANK
Would you pipe down? I'm listening
to that.
DEIRDRE
(disappointed in him)
Oh, Frank.
EVE
Sorry, Mister Sutherland. I just
wanted to let your wife know
that--
FRANK
Bloody hell.
RADIO ANNOUNCER
...are still investigating. In
other news--
FRANK
It's madness. Stabbing one of our
own in some drunken brawl. And if
they catch the fellow that'll be
two fewer if we need to fight the
Jerries.
Eve is silent.
FRANK
(getting emotional)
It's as though our Andy died for
nowt.
Deirdre, unsettled, gives Eve some food.
DEIRDRE
There you are, Love.
EVE
Ta, Missus.
MUSIC BEGINS:
Eve eats a little, then checks her watch.
INT. SUTHERLAND HOUSE/ATTIC FLAT -- NIGHT
In her room, wireless music playing: Gracie Fields "Isle of

Capri", Eve is on her radio device sending out a morse code
message.
SUBTITLED: Three barracks seventy men no aircraft one

Vickers anti three inch bore twenty five pound shell stop.
She completes her message, checks her wristwatch, smokes.
Music continues through: The next day, Eve on her bike

again, riding past farmhouses. She's on the lookout for
something. Finally she spots what's she's looking for and
stops.
EXT. GARTMOOR FORESTED PARK/EDGE -- DAY
CLOSEUP on Eve riding her bike. SLOW REVEAL: she is

peddling through fields and is now carrying a shovel.
WIDE on Eve cycling with her shovel along the same dirt
path Buckingham was using the night before.
Music continues until: Eve cycles up to where Mister and

Missus are gardening, dismounts and walks up. Deirdre looks
down at her shoes.
DEIRDRE
Evie dear, where have YOU been?
EVE
I'm sorry?
DEIRDRE
Look at your shoes, Pet. They're
filthy.
EVE
Oh... I ran into a dog in the
village and I was messing about
with her. Rather love dogs.
DEIRDRE
So do we, eh Frank? Remember ol'
Sammy?
FRANK
(emotional)
Sam was the greatest dog.
DEIRDRE
I wanted to get another after
Marjorie left, but...
FRANK
Aye. There's no replacing Sammy.
Still, he had a good innings.
Eve smiles with reverence.
EXT. GARTMOOR FOREST PARK -- DAY
Eve is in a patch of woods, her bike resting against a

tree. She's wearing a lovely floral dress, notebook in
hand, binoculars, summer hat, ostensibly looking at forest
flowers and foliage while making notes in her notebook --
but she has her eye on the nearby path.
In the distance, Buckingham approaches with Daisy, still

displaying cruelty towards the dog. Eve prepares herself --
hoping to lure him close. However, he fails to notice her
and walks on by.
Annoyed, she adjusts herself for his return walk -- places

herself closer to the path, lowers the front of her dress
revealing more cleavage, etc. She ensures that her purse is
opened and she has easy access to what's inside.
Buckingham is making his way back, but just as he's about

to reach the area near where Eve's standing, CHARLIE
ALDERSON comes riding up the path on his bike and he
notices her and stops.
CHARLIE
(surprised and delighted
to see her)
Eve?
Eve, wide-eyed, motions for him to come into the woods

where she's standing. He does and Eve grabs him and kisses
him. It's a long embrace, and Buckingham can't help but
glance at them as he passes. Only after he's gone does Eve
end the kiss. She is caught up in the moment of it -- maybe
for real?
EVE
Hi, Charlie.
CHARLIE
Well... I know it's been a long
time, but... How are you?
Eve looks into his eyes and smiles.
Eve and Charlie are walking their bikes and catching up--
there's definite chemistry between the two.
EVE
After the war, I went back to the
continent to stay with my
grandparents.
CHARLIE
In Germany?
EVE
No, in Poland. I went to school.
Got married. My name's Wainwright
now.
CHARLIE
Oh.
EVE
He died in 1925. Pneumonia.
CHARLIE
I'm so sorry.
EVE
(Pause.) I came back to Gartmoor
about a year ago. I missed it.
It's changed.
CHARLIE
Well... some things are still the
same. (Pause.) Can I ask you
something? (Pause.) Why'd you kiss
me back there? (Pause.) Was it ol'
Buckingham? You're not still
afraid of him, are you?
EVE
I'm sure he doesn't remember me.
CHARLIE
Not at all. You've...well...
Eve smiles.
EVE
I just get nervous sometimes, I
suppose.
CHARLIE
And so you kiss your childhood
friends?
Eve giggles. They continue walking.
EXT. GRISDALE ARMS -- DAY
Eve and Charlie are sitting with pints outside the pub. It
has changed/expanded since her father was there with
Armitage twenty years before, but the old time character of
the place is the same. Eve seems uneasy, eyes darting
around. Charlie watches her repeatedly reorganize her pint
and coaster.
CHARLIE
Some things haven't changed.
Eve catches herself and tries to contain her fussing. She

notices Charlie has some beer foam on his upper lip and
wipes it off for him. Charlie smiles.
EVE
So... how's your mom?
CHARLIE
She passed away. Actually, it was
four years ago today.
EVE
I'm sorry, Charlie.
CHARLIE
It's all right. I've been looking
after the house. Nicky died in the
war.
EVE
Yes, I remember. So did Harry.
CHARLIE
Yes.
There's an awkward moment as their brothers were fighting

on opposing sides.
CHARLIE(CONT'D)
Well, let's not talk about that.
Let's talk about you.
EVE
(evasive)
Not much to tell. After my husband
died I wanted to come back home.
CHARLIE
Things are looking rather bleak in
Germany.
EVE
I was in Poland.
CHARLIE
Yes, of course.
FLASHBACK TO:
Eve is in civilian clothes, standing at attention,

receiving orders from her stern combat trainer.
(You will settle yourself back in
your hometown--Gartmoor. If anyone
asks, you were in Poland, married
a British traveller named
Wainwright, Martin Wainwright who
died of pneumonia in January.
(Handing them to her:) Here is
your British passport and other
documents. In the town of Hull,
your contact will give you your
wireless communications device.
Once settled you will communicate
to us at the prescribed
transmission frequency and we will
begin transmitting your orders via
numbers station.
(MORE)
COMBAT SPECIALIST (SUBTITLE)

(CONT'D)
We know there is a small base near
Gartmoor and a larger one near
Leeds. You will carry out
reconnaissance, sabotage, and
liquidation objectives. Is this
clear? At this time, we must know
if you have any moral or personal
objections to your mission.)
EVE
Nein, mein commandant.
Against your fellow countrymen.
People you know. Possibly people
you care about. Any objections?
Eve? Eve?
END OF FLASHBACK
EXT. GRISDALE ARMS -- LATER
Eve is distracted. There is a WAITRESS standing beside her,

waiting to get her order.
CHARLIE
Eve?
EVE
Hm? Yes?
CHARLIE
Do you want another?
EVE
Bitte.
WAITRESS
You want a...?
EVE
(A bit awkward)
Bitter. This time. Please.
CHARLIE
(lifting his pint glass)
Same again for me.
The waitress rolls her eyes and walks off.
CHARLIE
So what did you do while you were
in...?
EVE
Poland. Not much. Tried to be a
good housewife to my husband.
CHARLIE
What was his name?
EVE
Wainwright. Martin Wainwright.
CHARLIE
Hm. From Yorkshire was he?
EVE
London. He was travelling in
Warsaw when we met.
CHARLIE
London? Really? Hm. I should look
him up in the archives.
EVE
What archives?
CHARLIE
I'm with the Royal Engineers-
Territorial Army, here at the
garrison. Mostly I'm doing
paperwork at the moment. So I have
some access to files. I could look
him up, if you like.
EVE
I wouldn't bother. Martin wasn't a
soldier. He was... quite a bit
older than me...
CHARLIE
I see.
A bit of an awkward pause. The waitress arrives with their

beers.
CHARLIE(CONT'D)
(to the waitress) Ta. (raising his
glass to Eve) To old friends and
new possibilities.
They clink and drink. Eve drains half her pint. Charlie
tries to match her and ends up spilling.
EVE
Always the klutz, aren't you,
Charlie?
CHARLIE
Klutz? What's that?
EVE
Clumsy. I can't believe you're an
engineer.
EVE(CONT'D)
Tell me more about your work.
Charlie marvels at her.
Eve and Charlie, a little drunk, are walking their bikes

under moonlight.
CHARLIE
(finishing up a funny
story)
And then he says to me, he says,
(imitating a Commanding Officer)
"You're not just a paper pusher,
Soldier, you're a soldier,
Soldier!"
EVE
(laughing)
A soldier-soldier? Too much. And
he's the Commanding Officer for
the Regiment?
CHARLIE
I know It's a bloody joke.
EVE
What's his name again? Jack the
Ripper?
CHARLIE
Roper. Sergeant Major Jack Roper.
EVE
Roper. Hope to meet him one day.
He sounds an absolute lamb.
CHARLIE
Ol' woolly Roper.
Eve giggles again.
EVE
(Having arrived at her
gate)
Well... this is me. It was great
seeing you again, Charlie.
CHARLIE
(a confession)
I haven't enjoyed myself like this
in a long, long time.
EVE
Let's do it again then, shall we?
CHARLIE
(working up courage)
I have to tell you something,
Eve...what I'm feeling...
Eve panics for a moment.
EVE
I'd prefer to wait, Charlie. Good
night.
She quickly gives him a kiss on the cheek then walks toward
the house. The look on her face says conflict, shame. Poor
Charlie is also left confused and a bit annoyed.
In moonlit near-dark, Eve lies awake in her bed.
FLASHBACK TO:
EXT. GARTMOOR FARMFIELD -- NIGHT
CHARLIE AGE 20 is chasing EVE AGE 20 down a dirt path. Eve

is much faster than Charlie, and she teases him by slowing
down then speeding up whenever he's close enough to catch
her. Eventually he gives up, bent over gasping for air.
Eve-- her breathing barely affected by the run--saunters
back to him.
CHARLIE AGE 20
(through gasps)
I don't know how you do it.
Eve says nothing. When Charlie stands up straight, she

brushes her hand against his cheek. He moves in for a kiss
and she stops him.
EVE AGED 20
I'd prefer to wait, Charlie.
He respects her wishes.
EVE AGED 20 (CONT'D)

Come on!
She runs off. He forces himself to run after her again.
EXT. ALDERSON FARMHOUSE -- DAY
Eve, 20, has a backpack on and is saying goodbye to Mrs.

Alderson and Charlie.
MRS. ALDERSON
Where's your uncle meeting you?
EVE
In Hamburg. At the port.
MRS. ALDERSON
Right. Well, speaking of ports...
it all seems a bit fishy.
EVE
Don't worry, Missus. I'll be well
looked after. (Turning to Charlie)
Goodbye, Charlie.
They hug. It's long and painful. MUSIC PLAYS: "ALL ALONE"
BY CONNIE BOSWELL. Afterward, Eve methodically readjusts
her pack, and then Charlie's tussled hair. She even wipes a
tear from his eye.
With that, she turns and walks off.
EXT. PASSENGER SHIP -- DAY
MUSIC CONTINUES THROUGH:

Eve, on board, watching the waves as the ship makes it way

across the North Sea. She removes a letter from inside her
jacket and opens it.
INSERT: Letter addressed to: Eve Alderson etc.
(IN GERMAN, SUBTITLED) YOU WILL REPORT TO REICHSWEHR,

OBERKOMMANDO DER WEHRMACHT, 76 TIRPITZUFER, BERLIN ON
AUGUST...)
Eve memorizes her assignment then rips up the letter and

envelope, casting the shreds into the sea.
Light streams in from the gabled window. Eve is up,

preparing for another transmission--liquor cabinet open,
"makeup" tools prepared on the desk, transistor ready. She
is seated writing out the message she wants to send on a
piece of paper.
INSERT/SUBTITLED: Close on Eve's hand, completing the

message, written in German, "MADE CONTACT OLD FRIEND
ENGINEER HEATH VILLAGE BARRACKS AWAIT ORDERS."
She stands, page in one hand, circular one-time pad for the
encryption code in the other. Consulting it, she crosses
over to the radio and turns up the Connie Boswell song a
touch. She then makes her way to the transistor and
prepares to send the message.
She is on the verge of sending when she stops. Confused and

uncomfortable...
MONTAGE: Eve putting all her espionage equipment away in a

frenzy of anger and frustration.
EVE
(in a voice reminiscent
of her father's)
Eve! What is the matter with you?
She stands, breathing heavily from her efforts. She then

crosses over to the radio and turns off the music. A silent
moment: Eve doesn't quite know what to do with herself.
NEW MUSIC BEGINS: "BEI MIR BIST DU SCHOEN" BY THE ANDREWS

SISTERS.
INT. GARTMOOR TEAHOUSE -- DAY
Eve and Charlie out on a date. They're laughing, catching

up, really connecting.
CHARLIE
But why would your mother call
him... doughnut?
EVE
I don't know! She used to make
them for us... Maybe because my
father liked to... eat a lot?
They laugh.
EXT. GARTMOOR FIELDS -- DAY
MUSIC CONTINUES as Eve and Charlie enjoy riding their bikes

through summer fields.
EVE
It hasn't changed at all!
CHARLIE
(referring to something
else)
No. Nothing has.
They ride on.
EXT. HILL OVER GARTMOOR -- DAY
MUSIC CONTINUES through Eve and Charlie sitting atop the

hill overlooking the village. They are having a wonderful
time.
MUSIC FADES AS:
Eve looks at her wristwatch and her face falls.
CHARLIE
You have to go.
EVE
Yes. I have a deadline.
CHARLIE
(teasing)
Now, explain this to me: you
transcribe radio broadcasts for a
living?
EVE
Mm hm. Translate them too.
CHARLIE
Someone actually pays you to
listen to the radio and write down
what people are saying?
EVE
There are other aspects to the
job, but yes.
CHARLIE
Wow. And how'd you get that?
EVE
Through my husband. He was the
Polish correspondent with Radio
Luxembourg.
CHARLIE
And that's how you ended up there?
EVE
(standing)
Not directly...I'm sorry Charlie,
but--
CHARLIE
No, no. It's all right. See you
again? I'm at the garrison all
week, but... in the evenings...
EVE
Maybe next weekend. I've got to
go.
CHARLIE
Shall I ring you, or...?
EVE
Yes. Bye.
She races off on her bike, leaving Charlie happy but

addled.
Eve charges into her room, closes the door and sets out her
"makeup" communication kit. She is scrambling and has
forgotten to take her usual precautions (locking door,
turning on wireless music, etc.). She keys open the liquor
cabinet and dons her headphones, turning on the transistor.
The numbers sequence transmission is already mid-broadcast.
GERMAN WOMAN (V.O.)

...eins, zwei, fünf.
Achtung! Achtung! Achtung!
Sieben, eins, fünf, null, drei.
Null, acht, eins, sieben, sechs...
As the numbers keep coming for Eve, she frantically writes

them down.
INT. SUTHERLAND HOUSE/LIVING ROOM – DAY
Deirdre looks up at the ceiling for a moment, then places a

few items, including a cup of tea, on a tray. She then
lifts up the tray and carries it to the hall.
INT. SUTHERLAND HOUSE/HALLWAY -- DAY
Deirdre carries the tray into the hall and begins ascending
the stairs to Eve's flat.
INT. SUTHERLAND HOUSE/UPPER HALLWAY -- DAY
Deirdre arrives and knocks at Eve's door.
DEIRDRE
Eve?
No answer.
DEIRDRE(CONT'D)
Eve, Love?
Still nothing. Deirdre has positioned the tray so that she

can hold it with one hand, and reaches for the doorknob
with the other. She opens the door and Eve appears in front
of her, holding the door partially closed.
EVE
YES? Missus?
Mrs. Sutherland is startled by Eve's strange, excited

behaviour.
DEIRDRE
Just wanted to see of you fancied
some tea, Love.
Eve takes the tray from her and puts it down.
EVE
Yes, thanks.
DEIRDRE
(trying to peer around
her)
Are you alright?
EVE
Yes. I had an unexpected...time of
the month.
DEIRDRE
Oh, I see, Dear. Of course. You
have everything you need?
EVE
Yes, Missus. Ta.
DEIRDRE
You're welcome... I remember when
our Marjorie first started hers--
do you know that she thought she
was dying?
Eve is anxious for this conversation to end, but Missus is

in no hurry.
DEIRDRE(CONT'D)
I suppose we all do, to a certain
extent. Our Marjorie was so
scared, do you know what she did?
She hid in her bedroom, wouldn't
even come down to supper. Well,
that only made me more curious to
know what was going on, of course.
The next thing I know, she's
barred the door. (Indicating Eve's
door) This very one, in fact.
Well, I had Frank come and find
the old key.
(MORE)
DEIRDRE (CONT'D)
She absolutely refused to open the
door under any circumstances. By
the time Frank found the
key...which was at the back of
what he calls his War Duty drawer,
or summat... by the time we get
the door open her entire bed was
covered in blood. And the poor
thing was just sitting there,
looking forlorn. Poor dear. I had
to explain to her that it's quite
normal. But all that blood, the
poor thing. Can you imagine?
EVE
(frazzled, slips into
German)
Ja... Yes, I can.
DEIRDRE
Right. Well, I'll leave you to it,
Love.
EVE
Ta.
Eve closes the door and locks it. Deirdre smiles but
there's a slight moment of suspicion there as well.
Eve, breathing heavily with her back to the door, is in a

state of turmoil.
FLASHBACK TO:
INT. ALDERSON FARMHOUSE -- DAY
EVE AGED 12, is in her room at the Aldersons. She is

playing a game of Ludo by herself, playing all the pieces
and racing to see how fast one of the colours will win. It
is frenetic and Eve is focused. In the end, the red pieces
win, but as she pulls her hand away from the winning piece,
she sees blood on her finger. Confused, she looks around
then notices the blood on her dress--from where she has had
her first period. She looks up, and there is CHARLIE AGED
12 in the hall, staring at her. Mortified, she yells and
gestures:
EVE AGED 12
Scheiße!
END OF FLASHBACK
SMASH CUT TO:
Eve is hitting herself.
EVE
(under her breath)
Scheiße! Scheiße!
Overwhelmed, Eve takes a moment to compose herself. Then,

with a look of resolve...
EXT. GARTMOOR COUNTRYSIDE -- DAY
Eve is pedalling furiously, leaning over the front of her

bike.
EXT. ALDERSON FARMHOUSE -- DAY
Wide on Eve arriving at the Alderson farmhouse. She cycles

right up to the mailbox by the road and places a letter
inside. She closes the mailbox, then reopens it. She
withdraws her letter--along with a few other letters that
are in there--and places her letter in the middle of the
other documents and replaces the neatly stacked bunch back
inside. She closes the mailbox, and has a look around,
perhaps a bit nostalgic and sad.
EXT. GARTMOOR GARRISON/MAIN ENTRANCE -- NIGHT
Charlie, in uniform, walks out from the guarded gate. He's

in excellent spirits.
CHARLIE
'Night, fellas.
The guards nod him through. He whistles "Barbara Allen" and

has a spring in his step.
EXT. ALDERSON FARMHOUSE -- NIGHT
Charlie arrives, still full of mirth. He extracts his mail

from the box and walks up the lane leading to his house.
INT. ALDERSON FARMHOUSE/KITCHEN -- NIGHT
Charlie, still in uniform, sits down to a supper of bread

and cheese with a glass of milk. He tears into these things
rather sloppily as he eyes his mail. He halts on the letter
from Eve and opens it.
INSERT on the letter: "Dear Charlie, we have to stop seeing

each other. My loyalty is to Martin and always will be.
Sincerely, Eve."
Charlie, sporting a milk moustache, is crestfallen.
Eve has finally gotten around to decrypting her latest

communiqué. She finishes her work then observes the result:
INSERT on circular pad: "PRIORITÄT INGENIEUR VERFÜHREN"
SUBTITLE: "PRIORTIY SEDUCE ENGINEER"
From her reaction, it's as though she knew this was coming.
Close on Eve setting the paper on fire. Her predicament and
her internal conflict are palpable.
MUSIC BEGINS...
CUT TO BLACK:
END CREDITS: ONE MINUTE OF MARTHA WAINWRIGHT'S "OVER

SOMEBODY ELSE'S SHOULDER."
*****END OF EPISODE*****

Die Ahle (The Awl) S1:E1 "Kriegspflicht"

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Die Ahle (The Awl) S1:E1 "Kriegspflicht"

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DIE AHLE (THE AWL) S1:E1

INT.SUTHERLAND HOUSE/ATTIC FLAT -- NIGHT

A 1930s British radio broadcast fades in, with music from

A small, cozy, gable-roofed flat, with a curtained window,

She finishes her "exercise" and drains what's left of her

As she's taking another drink, she hears a thud--someone

She uses it on the drinks trolley cabinet keyhole and opens

Over the fuzz of the radio airwaves comes a series of beeps

GERMAN WOMAN (V.O.)

Eve selects the correct one-time pad and prepares to

GERMAN WOMAN (V.O. CONT.)

After a another pause, the ditty plays a few more times,

GERMAN WOMAN (V.O. CONT.)

GERMAN WOMAN (V.O. CONT.) (CONT'D)

INT. SUTHERLAND HOUSE/UPPER HALLWAY -- NIGHT

"Die Ahle" (The Awl) over Martha Wainwright's slow, sultry

Sounds and images of wireless communication, numbers

INT.SUTHERLAND HOUSE/LIVING ROOM -- NIGHT

A typical 1930s British home. In the furniture-crowded

She walks off.

EXT.SUTHERLAND HOUSE -- NIGHT

A beautiful summer evening, and Eve walks out into the

EXT. GARTMOOR/HILLTOP -- DAY

Same place, twenty years earlier. A beautiful summer day in

EXT. GARTMOOR/HIGH STREET -- DAY

The caravan comes to stop at the village square. Horses go

As Harry darts around to the rear of the caravan, Bertie

Instant chaos. All the Gartmoor kids want a caramel. Ernest

He marches around to the back where Harry awaits. Eve has

The villagers respond and from a line. Eve sees a local

Charlie beams, with Eve admiring him too.

Eve disappears into the caravan.

INT. CARAVAN -- CONTINUOUS

The inside of the caravan is jam-packed with tools, boxes,

EXT. GARTMOOR/HIGH STREET -- CONTINUOUS

Bertie hears him and approaches the client, LORD ARMITAGE

The staring contest ends with Charlie losing to Eve.

EXT. GRISDALE ARMS -- DAY

The public house in Gartmoor. Ernest, Bertie and family are

Ernest stares at him then looks out to where Eve is being

Eve stands, ashamed.

She runs off.

He stands, taking the empty pint glasses with him.

Ernest considers as he finishes wiping the beer spill.

EXT. FARMHOUSE ON ARMITAGE ESTATE -- DAY

With the caravan in front, Ernest and family unload boxes

Alderson and Charlie are watching from their nearby land.

EXT./INT. FARMHOUSE ENTRANCE/HALL/LIVING ROOM -- LATER

POV of Eve following Harry in as he carries a box from

INT. FARMHOUSE/BASEMENT -- DAY

A single candle lights up an otherwise dark, empty space

As she speaks, she lays her hands on their heads.

Bertie smiles. Closeup on Eve looking into the candles with

INT. MARKET TAVERN -- NIGHT

Closeup on Eve with the same excited smile, twenty years

Eve shows surprise and giggles--reminiscent of her

He tries to kiss her but she playfully evades him.

He gives her a lascivious look and leans in to give her a

EXT. CITY ALLEY -- NIGHT

He's enticed. She leads him to the dead end.

EXT. CITY ALLEY/DEAD END -- NIGHT

Eve leads the drunk soldier to a little alcove at the end

In a moment, his eyes bulge and he seems frozen. Eve has