Hanna Screenplay by Seth Lochhead and David Farr Story by Seth Lochhead
PINK REVISED 03/03/2010
EXT. FOREST FLOOR - DAY. Sparse forest. Snow falls. Breathing and the BEAT of a person running. HANNA, fourteen years old, long hair, eyes like blue ice, dressed in animal skins, glides through the trees, a bow strapped to her shoulder.
She slows, crooks her head, listening, her breath visible in the freezing air. A FEW HUNDRED YARDS away A REINDEER nuzzles the snow, searches for grass. Its head pops up. It looks at the trees but doesn’t see her. The bow string STRETCHES. Her blue eyes focus. She exhales deeply and releases. The arrow glides and SNAPS into the deer’s side. It flops, its feet running without ground, frantic. It resurrects itself, blood slipping from its side, and sprints. She sprints after it, the trees strobing past her. She follows the trail of blood in the snow. The deer stands in a clearing, waiting for her. Steam pours from its mouth and nostrils. HANNA approaches, removes a fur glove. She reaches out and gently pets the animal’s frightened face. She runs her hand down along its neck, in towards the wound. HANNA I just missed your heart. She pulls out an old pistol from her waist holster, pauses, and then-- POP. POP. into CAMERA. CUT TO TITLE: HANNA 2 EXT. FOREST FLOOR - LATER. A knife enters the deer near its anus. HANNA (whisper) Remove the penis and scrotum, make a deep, circular cut around the rectum. 2
PINK REVISED 03/03/2010
HANNA pulls the knife up towards the brisket. HANNA (CONT’D) (whisper) Cut from the rear to the brisket. She works calmly without expression.
a mammoth with leathery face. He moves in tight. ERIK (CONT’D) Drag it back yourself. She leaps to her feet. pulling the gun from its holster and tossing it deep into the forest... stands behind her like a ghost.
. liver. and goes for her pistol. ERIK stands and wipes the snow from his pants.
HANNA spins spraying deer-blood on to the snow and brings her fist right to ERIK’s face. ERIK (CONT’D) Use your hands! She goes for the gun again and again he stops her. He plods into the forest. mid forties. Her hand deep inside the animal. stomach. as ERIK aims a kick at her head.BLUE 26/02/2010
2. ..LATER The deer lies on it’s side. but she can’t. She wraps her arms around his neck preparing to snap. FOREST FLOOR .
EXT. She dodges. Right now. She freezes. No sound. He throws her over his shoulder into a pile of snow. punches below his knee cap. HANNA clips ERIK’S temple sending him to the ground. He blocks and thumps an open palm on to HANNA’s shoulder sending her sprawling into the snow. ERIK slaps the hand away. HANNA drags herself to the deer’s side. sensing danger. She stares at its dead face. ERIK. HANNA breaths hard. She listens. ERIK You’re dead.. I’ve killed you. His face shows a touch of frustration. She reaches deep into the body cavity and pulls out intestine. She looks out into the still forest.
ERIK (CONT’D) Always be ready. Hidden among the trees.EVENING HANNA drags the 200 lb deer on a makeshift sled. 7 8 OMITTED EXT/INT.YELLOW REVISED 17/03/2010
3. Think on your feet. There’s a few “modern” items. old and worn. HAND PRINTS of increasing size (marking Hanna’s age) run up one wall. LOG CABIN. She lifts her knees high and moves at a steady pace. ERIK is watching her. Cave-like.. ERIK (CONT’D) You were half asleep.
OMITTED EXT. NORTH FINNISH FOREST .
EXT. * * * * * 7 8 * * * * * * * * * * * * *
. a little way off. stripping the deer with a knife. HANNA is standing in the snow. Adapt. It’s a tough job but she does it no fuss. puts it in place a little too hard. the fading sunlight just barely illuminating him. Everything they own they’ve built themselves. Erik strides across the room for his knife. ERIK What’s wrong? Are you hurt? She grabs a shutter and begins closing up the cabin for the night.EVENING
A log cabin built around an ancient tree surrounded by the thick forest. He restrings a bow and watches Hanna. INSIDE Very primitive.LATER Hanna hops up onto the porch and drops a bucket full of bloody tools by the door as she enters. Erik sits in the dark. Even when you’re sleeping.. LOG CABIN . She’s a bit stiff. Hanna removes her coat and hangs it near the hearth. Hanna grabs another shutter. FOREST FLOOR .
You’re getting strong. slices excess away.
HANNA . ERIK That explains it.or die. HANNA (In Spanish w/ English subtitles) Did you really want me to snap your neck? He pulls the string taught. ERIK How much did you pull off the deer? HANNA A hundred and twenty with scraps. HANNA What? ERIK How you beat me. ERIK Italian. HANNA (In German w/ English subtitles) I’ll do better next time. I’ll do better next time.. ERIK (CONT’D) (insistent) Spanish.. ERIK About 200 pounds in total? HANNA I think so. HANNA (In Italian w/ English subtitles) I’ll do better next time. ERIK German. ERIK Spanish. The room darker and darker as Hanna closes up the last few openings to the outside world. * * * * *
. The room at its darkest.
Hanna puts the final shutter in place.
Its heart weighs thirteen hundred pounds and a male has seven gallons of testicles. Hanna smirks. LOG CABIN . ERIK We have all we need right here. ERIK The Great Blue Whale is the largest animal to have ever existed. 9
* * * * * *
. HANNA How much is that? ERIK It’s bigger than the cabin.NIGHT HANNA sits cross legged. HANNA It’s not enough. She pokes a stick into the glowing logs of the fire and tiny embers float into the darkness and disappear. HANNA What does music feel like? Erik flips through the pages. on the floor. back straight. 9 INT. ERIK (CONT’D) The Blue Whale’s “music” can be heard for over 500 miles. ERIK (reading) ‘Music. It’s one of her most favourite things. A blue whale's tongue weighs over two and a half tons and its mouth is large enough to hold 90 tons of food and water.
ERIK (CONT’D) (In Spanish w/ English subtitles) I’m glad you didn’t snap my neck. Erik sits in a chair and reads from a large ENCYCLOPEDIA. HANNA I want to hear it for myself. A combination of sounds with a view to beauty of form and expression of emotion’.YELLOW REVISED
* (CONT’D) She stares up at him. * * *
. HANNA I’m ready.
ERIK Go to sleep. pushes himself out of the chair. a pistol in his hand. HANNA’S ROOM. LOG CABIN . We have an early day tomorrow. SHOOTING RANGE . She still holds the photo booth photo pinned to her chest. looks at it . 9A INT.MORNING A GUNSHOT breaks a tree apart. LOG CABIN . NIGHT.YELLOW REVISED
7. pulls the covers up to her neck as a test. 12
* * * * *
. 12 EXT. LOG CABIN. and picks up the used dishes from an earlier meal. 9A * * * * * * * * * * * * *
Hanna./EXT. She stares at it. He closes the book.a row of four pictures each of JOANNA ZADECK (Hanna’s mother) in different contortions of silliness. gun aimed. She sits back up. Hanna’s eyes follow him around the room.MORNING 11 10
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HANNA wakes. in bed. she lays the stick in the fire and stands. Below. peers over the edge of her loft. Hanna reaches under her bed and pulls up a copy of GRIMM’S FAIRY TALES. It’s bruised and battered and splattered brown with old blood. covers herself in animal skin blankets. straightens them and makes sure they’re covering her feet. She lays back. Erik out focus. She lifts it up.he weighs it up but lets it go. HANNA tucks the photo back into her childhood book and places it gently under her bed. HANNA’S ROOM. Erik rinses the dishes in a bucket. Hanna opens it to the book mark: a photo booth photo.MORNING THROUGH THE WINDOW ERIK walks through the trees. 11 INT. LOG CABIN. In the last picture. Joanna in profile showing off her swollen belly. Her feet stay covered. It has a noticeable gap where pages have been ripped out. Then.
They look at each other . 10 INT.
Fist. Elbow. And fires. LOG CABIN. He defends easily. Aim for center mass. She rolls and fires. ERIK watches. A tree breaks apart.
* * *
EXT. Hand. She rolls and fires.
* * * * * * 13
EXT. ERIK Again. MORNING.
. Hanna flips over the railing of the loft and lands on the floor. Don’t rush. almost silent.DAY HANNA attacks ERIK. SHOOTING RANGE .MORNING Hanna fires. She reloads. She fires. LOG CABIN. ERIK Your balance. Knee.
7A. More weight on the left foot. MOUNTAIN PATH .
Neither will give up. leaving her behind. 15A EXT. He’s having fun. A smile creeps onto his face.BLUE REVISED 26/02/2010
8. Full sprint. Knee. LOG CABIN . a small hole in the ice. Erik and Hanna do chin-ups. ERIK observing HANNA’s power. His foot STRIKES hard. 14 EXT. in particular tennis and athletics. Erik pulls ahead.DAY ERIK and HANNA sit with their backs to a tree in the huge forest as they breathlessly recover from the exhaustion of the exercise. ERIK Keep up. 50 yards away. ERIK (CONT’D) Keep up Hanna. German city. Knee. I go to school at the Klaus Kohle Gymnasium and my best friends are Rudi Gunther and Clara Schliess. Hand. Fist. Hanna and Erik race across. reciting. HANNA I live in Leipzig. HANNA’s face fiercely determined. Both are fit. The ice cracks but does not break. Her strikes are solid. Both have the sense that he is judging her.DAY 14
A medium size log nailed along two pillars of the cabin acts as a chin-up bar. FROZEN LAKE . 15A 15
. Elbow.DAY A mile wide sheet of ice surrounded by sparse forest. ERIK (CONT’D) Again. Population 0. pumping his arms. He turns back. Hand. 15 EXT. I have a dog called Trudi. We live at Number 7 Weissingerplatz. HANNA speaks fast. MOUNTAIN TOP . But she’s gone.7 Million people.
They reset. She’s getting faster. I’m not that fast. She repeats the motion. Fist. Elbow. NORTHERN FINLAND. I like literature and sport.
more desperate-UNDER THE ICE Hanna struggles to breath. breaking it apart-Her shape is coming. 16-17 OMITTED 16-17
. more panicked. the bubbles of air escape her lips and race along the ceiling searching for an exit-ERIK on the surface. takes hold of it. frantic. splitting the skin in many places. He makes up those few final feet just as-Hanna slides by-He dives under. one hand holding to the surface.
ERIK (CONT’D) HANNA! UNDER THE ICE Hanna writhes in the murk.) (CONT’D) Hanna! His shadow crosses above her. Her fingernails rip. wrenches it back and forth. He will not let her die. Erik’s voice filtered through the ice and water. Each STRIKE breaks through. and snatches her under the arm. His strength and will is impressive. ERIK (O. along the icy ceiling. He’s broken enough ice and jumps in with a splash-He breaches back to the surface and hammers his forearm through the weakened ice.BLUE 26/02/2010
9. over and over again. She slams her fists and feet into it.S. He never could. just a few feet out of his reach. trying to break it.struggling and sliding under the ice-His eyes follow where the current is pulling her-Yards ahead. he slams his feet down.the diffused shape of her . A current pulls her along. desperate-ERIK on the surface hears the CREAKS and THUDS of her movements-He sees her . She throws her fists and feet hard. He sprints. It will pass-by. He works faster. he sees a heavy branch sticking out of the ice.
I don’t need it. ERIK There was no time.
OMITTED INT. Erik strides through the trees at a steady pace. ERIK I don’t understand why you’re so upset.BLUE REVISED 26/02/2010
ERIK stands over her in the dark. NORTH FINNISH FOREST. He stops. walks past him. LAKE SHORE. You could’ve drowned. It wasn’t an exercise. CABIN.
. I could’ve broken through. waits. I didn’t need your help. She ignores him. HANNA sleeps.NIGHT.
EXT. pointed at her head. HANNA I would’ve found a way. Hanna lingers behind him on the path. His temper and patience are about to give. a gun outstretched. HANNA’S ROOM . She turns from him and trudges into the forest. ERIK (CONT’D) Tell me what’s wrong. HANNA I would’ve found a way if you let me. I’m strong.
They both breath heavy. 22 EXT. She slices Erik’s forearm and spins him around until she has the tip digging into the side of his neck.... four.O.. He lunges at her. The whole cabin SHAKES.. the hole where she fell through already frozen over.O. HANNA breathless. two.. After 10 paces. two. grabs a flint knife. He counts his paces. utterly defeated.. I’m ready already. Hanna drops the knife and exits. racing across the lake..) (CONT’D) One. three. angry. ever before.. more than
HANNA slips her hand into her mattress. He knew this was coming. LOG CABIN .NIGHT ERIK . ten. LOG CABIN . 23 EXT.) . ERIK makes a 90 degree turn and enters the tree line. alone. he just hoped it never would. points it at his face. three. HANNA I’m ready. six. He snatches it quick. ERIK (V. 21 EXT. smashes the pistol from ERIK’s hand and smashes him back into the wall. She grabs his pistol. He seems intent to hurt her. ERIK One. ERIK (V.five. She snatches it back.DAY 22
HANNA. Erik sits there.nine.
HANNA bursts from her covers.BLUE REVISED 26/02/2010
11. eight.NIGHT 21
ERIK takes long lunging strides straight out from the cabin. LAKE . seven. The snow and mud crunch under his boots. 23
.. He SMACKS it out of her hand.
excited but weary. She reaches out a hand and rubs its tiny head. excited. with the cabin light distant. (MORE) * * * *
. foxy loxy. It grunts and growls and HANNA mimics it perfectly. She crouches and holds out her hand. HANNA Did you see it? Did you hear it? Like thunder.four. The BUZZ grows closer. CABIN . six. After 40 paces.. ERIK falls to his knees. HANNA enters. chin-ups. NORTH FINNISH FOREST . slowly making up the distance. snowy reaches of her isolated domain. 25 24
Erik sits at a table. Suddenly. He unsheathes a large knife and jams it into the frozen earth. the pup rights itself as a low BUZZ fills the air.. HANNA looks up through the trees.) (CONT’D) . to a clearing as---a PLANE roars overhead. shooting.YELLOW REVISED
12. The pup approaches.O. She pushes it over on its back and rubs its protruding belly. HANNA watches.MORNING HANNA in an isolated part of the forest. five. barely a speck against the endless. A metal box caked with frozen dirt sits open in front of him. HANNA jumps to her feet.MORNING.... Its paws wrap around her wrist. through the trees. It was so beautiful.. HANNA Hello little foxy. hug it.
We continue to inter-cut the following with more close-ups of HANNA training without Erik: climbing. 24 EXT.. HANNA shuffles in her crouch. The pup gnaws at her open palm. its pin-like teeth doing minimal damage.. sprints toward the sound. She spies a fox pup staring at her from the tree line. fighting. Footsteps. scratching the ground gently. 25 INT. ERIK (V.
. Her finger lingers on the switch. ERIK (CONT’D) But once it’s done. She approaches the box and places a single finger on the small red switch. So be sure. RIVER BANK . HANNA (CONT’D) What is it? ERIK It tells Marissa Wiegler where we are. ERIK (CONT’D) It’s here. She reaches a hand out to touch it.
13. there’s no going back. Be sure it’s what you really want.
* * *
She sees the strange box sitting in front of him. When you want to leave here all you have to do is flip that switch. You understand? I won’t be there to hold your hand. There’s no rush. She’ll never give up until you’re dead. 26 EXT. or she is.YELLOW REVISED 17/03/2010 HANNA (CONT'D) It shook the snow from the trees. HANNA pulls her finger away slowly and places her hand by her side.
There’s a melancholy between them. but sometimes I wish you would read it differently.BLUE REVISED 26/02/2010
14. Scientists believed humans would be unable to survive conditions of outer space. did she? ERIK They couldn’t bring the rocket back. 1957. 27 INT. HANNA shuts her eyes and tries to imagine how bright that might be. something lost they can never get back. watching the sun fall. so flights by animals were viewed as an experimental precursor to human missions. HANNA If you want. LOG CABIN . ERIK When a star collapses. Hanna snuggled close. turns the page and changes the subject. more sad than Hanna will ever know. was the first animal to orbit the Earth. HANNA I remember. ERIK Laika. and Laika had always been intended to die.MORNING 27
ERIK and HANNA go about their morning routine as if the ice hadn’t broken and the box didn’t exist.
ERIK reads from the encyclopedia. He wants. HANNA But she didn’t. ERIK straps the bow to his chest and grabs a quiver of bolts. ERIK Will you hunt with me? Hanna is sweeping the ground.
. the supernova explosion is 10 billion times brighter than other stars. She was launched into outer space on the third of November. a mongrel dog from the streets of Moscow. remember. Her rocket was not designed to be retrievable. ERIK.
An ALARM CLOCK begins to ring as we cut to 30 INT. reaches over and slams the alarm clock off.a bedside alarm clock ringing loudly.BLUE 26/02/2010
15. She pokes around it. turns back. LOG CABIN . HANNA I’ll stay.the metal box. MARISSA WIEGLER. 29 INT. loses her nerve. LOG CABIN .CONTINUOUS CLOSE ON . examining all its electronical weirdness. 30 29 28
. She places her finger to the switch. HANNA (whispering to herself) Marissa Wiegler.
ERIK It’s up to you. She approaches the metal box and FLIPS THE SWITCH before she loses her nerve. USA .EARLY MORNING CLOSE ON . a handsome Texan in her mid-40’s with red hair. HANNA enters. She stops. The room is still and quiet. the broom still in her hand.CONTINUOUS HANNA strides across the property and into the forest. ERIK leaves without saying a word. HANNA eyes the box sitting open. A little red light begins to flash. HANNA (whisper) Come and find me. and stares at her home. HANNA Me? ERIK Yes. VIRGINIA. MARISSA’S APARTMENT. HANNA looks at the box and walks over. 28 EXT. and exits the cabin.
She walks into her ensuite bathroom and looks at herself in the mirror. She leans into his heavy coat. She’s made choices in her life and lives without looking back. CIA HQ LANGLEY VIRGINIA . He walks by the box and sees the little red light flickering HANNA sees this and sees him smile. but she knows he’s sad. ERIK (CONT’D) Ouch. Is it almost ready? He wraps an arm around her shoulder and looks into the pot.
She’s alone in her bed.DAY 31A 31 *
An establisher. He stamps his feet shedding ice at the door. She’s cooking a feast. 31A EXT. Her bathroom cabinet is filled with the tools of a dental fixation. She has no children. briefly. A flat circular building set into a perfectly manicured lawn tended by an automatic sprinkler system. He smiles at her.DAY HANNA tends to boiling pots. She always is. 31 INT. He dips his finger into the pot scalding himself. But HANNA’s not going to let go first. ERIK enters. HANNA It’s hot. There was nothing out there today. They don’t hug much and it shows. The smell from that giant coat. and takes a deep breath. ERIK looks over at the meal HANNA is preparing. And it smells so good. One of the few he’s shown her. LOG CABIN . It wraps her all up and makes her feel like nothing in the whole wide world could ever hurt her. ERIK You were lucky to grab that deer. She collects a state of the art electric toothbrush and bares her teeth in a snarl as she brushes them in strict order.YELLOW REVISED 17/03/2010
16-19. ERIK I’m really hungry.
20. CIA HQ LANGLEY VIRGINIA . one of ours.
* * * * * * * * * * * *
. Triangulated 60 miles below the arctic circle. But the name is more than familiar. The name sounds familiar. We think it’s Erik Heller.DAY
32 * *
MARISSA. She’s not surprised or at least she doesn’t show it. walks down a set of stairs with her TECH ONE. right? MARISSA Sure. Near Kuusamo. TECH ONE You were his handler. MARISSA When? TECH ONE 0632 eastern standard. wearing a sharp business suit. MARISSA Finland. He hands her a coffee and she hands him some files. TECH ONE We’ve picked up an unencrypted signal.
. Hanna sits at a table utterly fascinated by her father’s transforming appearance. cutting his beard off with a knife. His whole head of hair is full of uneven divots. ERIK Good? HANNA Almost good. creating a very uneven divot. 1996 when his fingerprints appeared on a . 33A INT. he unholsters his gun and lays it down. She saws one area too close to his head. Recruited in 1991.EVENING
ERIK is leaning over a pail of water..) Erik Heller. MARISSA (V.GREEN REVISED
20A.. * * * * * * * *
. HANNA Good. CUT TO Erik clean shaven. Hanna saws off chunks of his long hair. MARISSA (V.O. folds it with care and places it in the box.22 caliber Luger found beside the body of one Johanna Zadek. He removes his giant coat.O. . There was no sign of life until April 18.
EXT.NIGHT 33A *
ERIK opens a WOODEN CHEST in the corner of the room. Her eyes widen and a smile cracks. ERIK How does it look? She steps back.. The file ends in ‘94.) An agent to the Clandestine Operations in Poland and a former FSK operative. he was integral to paramilitary operations in Eastern Europe and Central Asia. LOG CABIN . sizes him up. ERIK’S ROOM . He takes out an old folded three piece suit and rolled shirt.
A photo of JOHANNA ZADEK. German.a newspaper article. * * * *
. Marissa’s bosses.GREEN REVISED
20AA. Spotted and developed by Heller in 1994 but never recruited. VIDEO CONFERENCE ROOM. MARISSA Johanna Zadek.
INT. is in attendance. like a teacher. LANGLEY. lectures her students. A picture of a Young Erik in the article beside another picture of the burnt out carcass of a car tilted at an odd angle against a tree. LEWIS. Born 1970. ON ANOTHER SCREEN . sit at a wide table.
Suspended from the ceiling are a number of screens showing a feed to the European HQ where a young agent. Marissa. ON ANOTHER SCREEN . She’s the woman from Hanna’s photo booth pictures. WALT and BOB. the headline: POLICE HUNT FOR MURDER SUSPECT.
Walt leans back in his chair. MARISSA Interpol nabs him. There’ll be enough yarn to hang us all. BND. reads. We have bigger problems. Marissa. he knows things I don’t think you want to know-BOB Okay. She smiles. bigger fish. WALT Isn’t that an over reaction? MARISSA No. thinks about the horrible things he knows and the horrible things he’s not supposed to know.GREEN REVISED
20B. 34A INT. WALT Lewis? LEWIS One man. LANGLEY . Keep it small. Let’s stay on task. BOB Give it to Interpol. that exposes him to FSB. One day operation. MARISSA That’s not in the file. Do you really want every intelligence agency in Europe scratching at this thread? It’s a very thick sweater. these guy’s are fucking idiots. I propose we go in and pull him out. than some loon who went survivor man on us.
WALT Why was she being developed? Marissa opens another file. for Christ’s sake. gentlemen. I hear that. France. Erik is a rogue asset. 34A
* * * * * * * * *
* * * * * * * * * * * * * * * *
* * * * * *
. I worked with this man. WALT Lewis? MARISSA We need to keep this contained.OUTSIDE VIDEO CONFERENCE ROOM The hall is empty.
Marissa leans against a wall. her head down. her breathing controlled. MARISSA Fuck Erik. Why now?
* * * *
dressed incongruously in the suit and tie. You’ll be fine. ERIK What else? HANNA Adapt or die. ERIK Then? HANNA Postcard. HANNA Wilhelm Grimm’s house. ERIK Remember what I’ve taught you.. HANNA Even when I’m sleeping. ERIK Think on your feet. He doesn’t turn around. Stephanstrasse 260. HANNA (CONT’D) Papa. Berlin. ERIK moves a strand of hair from HANNA’S forehead and looks at her with paternal worry.
INT. 10559. ERIK Then? HANNA What? ERIK The address where we meet. Germany. HANNA’S ROOM.. LOG CABIN .
. Erik. face to face.YELLOW REVISED
HANNA and ERIK. She smiles at his back. ready to go. ERIK Tell me again? HANNA Marissa Wiegler. He stands and quietly goes to the door.
HANNA’S ROOM. HANNA’S ROOM. LOG CABIN.NIGHT HANNA doing push-ups on her bedroom floor. save for the glow of white snow. He knows we’re coming. NIGHT. NORTH FINNISH FOREST . 39 INT.DUSK ERIK comes out of the cabin carrying a small rucksack. 38 EXT. FOREST/CABIN . And quiet---a series of ropes break the top frame and THIRTY US SPECIAL FORCES dressed in white snow gear silently abseil down to the ground. LOG CABIN . 36 EXT. We see LEWIS who follows close behind the Leader of the Operation who himself follows the tracker signal. cracks it open and watches Erik walk into the calm blueness of impending night.
HANNA I’ll see you there. 40 EXT. EDGE OF NORTH FINNISH FOREST.YELLOW REVISED
21A. * * * *
.CONTINUOUS 37 36
HANNA goes to the door. Almost pitch. Watch your step. LOG CABIN . 37 INT/EXT. He closes the door behind him and takes a deep breath.NIGHT 40 39 38
Infra-red POV as the SPECIAL OPS TEAM head through the forest wearing night vision-goggles. LEWIS He’s one of ours.
HANNA’S ROOM. HEAD OF OPS McCullum? Do you read me? No response. 43 42 41
Through night vision we see the cabin interior. The two men approach the cabin. Then the first follows close behind. LOG CABIN. NORTH FINNISH FOREST .
We see through the infra-red vision the endless trees in the pitch blackness.BLUE REVISED 26/02/2010
. The HEAD of OPS and five other men storm the cabin. The rest of the forces wait in silence for a radio signal. 41 INT.NIGHT The HEAD OF OPS waves TWO SPECIAL OPERATIVES forward. They approach. The HEAD OF OPS waves all thirty of his men closer to the cabin. but at a distance. Just the breathing of men in the icy cold. They see the cabin in the night. HEAD OF OPS (CONT’D) I repeat.NIGHT HANNA stops her push-ups. do you read me? LEWIS looks to the HEAD of OPS for answers. Both are engulfed by darkness. 43 INT. Necks broken. Guns at the ready. CABIN DINING AREA. The SPECIAL OPS FORCES get closer. One opens the door and the other steps in. dead on the floor. The HEAD of SPECIAL OPS looses patience and picks up the radio. Silence in the darkness. LOG CABIN . 42 EXT. sensing the SPECIAL FORCES approach. Then the two SPECIAL FORCES. The rest of the forces surround the cabin.
Marissa.. her eyes shining in the dark.GREEN REVISED
23. Two American voices. Not moving. LEWIS The target escaped. One day operation. looking timid and unsure. LEWIS (CONT’D) But he’s in the wind and I have two men down. ON CLOSED CIRCUIT TELEVISION: A cement box. Marissa’s catches her breath. she can’t hear what he’s saying now. There were a lot of variables. She doesn’t respond. LEWIS (CONT’D) Wiegler? MARISSA Where is she now? 45 INT. Find him and bring him to me. I’d like to see how you would’ve done it differently. CAMP G. being driven on a cart. VOICE 1 She hasn’t moved since we brought her in. talks on the phone. LANGLEY. LEWIS (CONT’D) Things out of our control. 44 INT.
LEWIS enters to find HANNA sitting quietly. MARISSA. MARISSA How did that happen? LEWIS We were thinking maybe he got away in the snow.. 44 * * * * * * *
* * * * * * * * * *
LEWIS (CONT’D) --There was a kid. or. HOLDING CELL. in the thick snow. MARISSA One man. VOICE 2 (BURTON) Has anyone talked to her? 45
* * * * *
. Visibility was shit. Just a little girl. HANNA lies on a small bed. Just find him Lewis. VIRGINIA.
VOICE 1 They want a psych evaluation before they interrogate.
How long have you been in the forest? HANNA As long as I can remember. Burton. It’s cement.
HANNA lies on the cot. HANNA seems to be staring up at the ceiling. BURTON That’s right. HANNA I’ve never been in a room like this. BURTON Interesting. BURTON Hello Hanna. BURTON That’s interesting. BURTON. He walks up to HANNA. This must all be very strange for you. BURTON My name is Dr.
. She’s been cleaned up and is wearing an army regulation jump suit. closes a heavy. symbolically. The metal door drags open.BLUE REVISED 26/02/2010
INT. crouches down so he can be at her level. HANNA I was told by my father to gain the upper hand. mechanized door behind him. Were there other people there? HANNA Just me and my Papa. HANNA’S HOLDING CELL. HANNA Hello. A Doctor. Would you like to talk to me? HANNA sits up and hangs her legs off the side of the cot. What else did your father tell you? HANNA Where am I? BURTON You’re in holding. wearing a pair of thick framed GLASSES.
LEWIS sits with the MONITOR. 48 47
MARISSA. Her screen tells she is watching CAMP G .Interrogation Room 3. No one else there. LEWIS Plug the CCTV through to Langley. LEWIS (CONT’D) You should have visual on the psych evaluation now. 48 INT.
. MONITOR presses some buttons as LEWIS calls on his phone and speaks into it. HANNA Is that a camera? BURTON Uh-huh. LANGLEY HQ. Extension 247. OBSERVATION ROOM. NIGHT. watching HANNA watching him.GREEN REVISED
25A. alone in a Langley OBS ROOM. On the screen she sees HANNA in the Interrogation Room. OBS ROOM. How does that make you feel? HANNA Camera obscura. Late at night in America. It’s taking our picture right now. CAMP G.
BURTON Hanna? He follows her eye-line to the CCTV camera above them. HANNA It was first described by the Arabic scientist Ibn Alhazen in the year 1021. 47 INT. MARISSA watches HANNA intently. CONT. To keep a record. it’s Latin for "dark chamber". Something secret about Marissa here.
INT. The sense that MARISSA knows more about this girl than she is letting on. NIGHT.BLUE REVISED 26/02/2010
25B. On the screen BURTON continues to probe. LANGLEY HQ. CONT. OBS ROOM. MARISSA stares at her screen.
. at the blank face of the fourteen year old HANNA. Focus in on MARISSA’s face as she studies this strange young woman.
S. LEWIS (O. OBS ROOM.CONTINUOUS 50
HANNA leans forward. LEWIS I can handle this.CONTINUOUS MARISSA sits up. * * * 51 *
. MARISSA Tell her I’ll be there.GREEN REVISED
26. She whispers. MARISSA Just do it. Looks at BURTON. Anything at all.) Wiegler? MARISSA pauses before she answers. 50 INT. who encourages her with his eyes. HANNA’S HOLDING CELL . HANNA I want to speak to Marissa Wiegler. LANGLEY . 51 INT.
BURTON Can I get you something? What do you like? Music? Magazines? Just say.
DAY. He calls across to another doctor. MILITARY DOCTOR 2 looks at the results. CONT. A pair of smart female shoes enter the room. then looks at the two guards. It has shocked and intrigued him. 53
HANNA is sitting on her cot with her back against the wall. He speaks into a consoles microphone. HANNA stares at her. MILITARY DOCTOR 2 It’s contaminated. He sees the sample on the screen. CAMP G. CAMP G.) My name is Marissa Wiegler.this is the DNA lab. accompanied by the military boots of two guards. 53 INT. It is a completely different woman. OBSERVATION ROOM. A metal door drags open. MILITARY DOCTOR 2 walks across.
In the Observation Room LEWIS is looking at a small Monitor. Is that right? That can’t be right. The guards exit and the door slams shut behind them. baffled. FALSE MARISSA (O. dressed in similar clothes to MARISSA but not her. A MILITARY DOCTOR is looking at the result of something on a computer. 54 INT.C. MILITARY DOCTOR 1 And I got a sample of her hair.BLUE REVISED 26/02/2010
. A protected environment .
A white space with specialist lighting and the hum of specialised air pressurizes. You wanted to speak to me? HANNA turns to look. MILITARY DOCTOR 2. FALSE MARISSA (CONT’D) (to the guards) You can wait outside. HANNA’S HOLDING CELL. Run it again. MILITARY LABORATORY. MILITARY DOCTOR 1 John come and take a look at this kid’s blood sample.
55 INT. EARLY DAWN. CIA LANGLEY OPERATIONAL HQ. HANNA Where am I?
. watching the CCTV relay staring at the face of this strange little girl.GREEN REVISED
27A. 55 * *
MARISSA WIEGLER sits alone in the empty CIA Langley headquarters. CONT.
LEWIS You should have visual.
We see that she has a tiny microphone in her ear. LANGLEY . I met him at a news kiosk. her mind totally focussed.
INT. He had just arrived from Prague.CONTINUOUS HANNA stares at FALSE MARISSA awaiting an answer.
* * 58
INT. FALSE MARISSA (CONT’D) Yes. reading her face. He had just arrived from Prague.GREEN REVISED
28.CONTINUOUS MARISSA hears the question.. HANNA’S HOLDING CELL . East Berlin.
. looking at FALSE MARISSA. In the rain. FALSE MARISSA You mean Erik? Hanna nods.CONTINUOUS
FALSE MARISSA pauses looking at HANNA. Say it was raining. HANNA’S HOLDING CELL . FALSE MARISSA You’re in a safe place.. Thinks fast. I met him by a news kiosk in Alexanderplatz. OPERATIONAL HQ. Alexanderplatz. HANNA Where did you meet my father? The false MARISSA pauses. MARISSA Erik.
CAMP G. send Walt and Bob directly to me. FALSE MARISSA Do you know where your father is? LEWIS. we’ve completed the tests on the girl. MARISSA Send the results directly to me. LEWIS Walt and Bob-MARISSA If Walt and Bob come asking. Blood. talking to the intercom.GREEN REVISED
29. urinalysis. OPERATIONAL HQ. But then gets a call from the Military Laboratory. OBSERVATION ROOM . MILITARY DOCTOR Sir.
LEWIS turns to the screen as FALSE MARISSA tentatively takes HANNA in her arms.
* * * * *
* * 60
INT. LEWIS Agent keep your distance.
* * * *
.) Who authorized tests? On screen: FALSE MARISSA and HANNA. alone in Langley. holds out her arms.CONTINUOUS MONITOR Sir look. CAMP G.
* * * * *
* 61 *
INT. LANGLEY . FALSE MARISSA (filtered) Did he tell you where he was going? We’re all worried about him. OBSERVATION ROOM . All standard. MARISSA (V. hair.O.CONTINUOUS MARISSA. LEWIS I authorized them. LEWIS Go ahead.CONTINUOUS LEWIS watches on the screen. ON CCTV: Hanna cries. half watching the screen. suddenly alert.
CONTINUOUS The FALSE MARISSA tentatively takes HANNA in her arms. HANNA’S HOLDING CELL . FALSE MARISSA It’s OK. slightly concerned.
INT. It’s OK. Hanna wriggles in her arms.. HANNA coils her thin arms around the FALSE MARISSA’S neck. clinging to her like a monkey..
.BLUE REVISED 26/02/2010
29A. to get a better grip.
The FALSE MARISSA looks up to the security camera.
LANGLEY. FALSE MARISSA I think it might be necessary.. OPERATIONAL HQ. Almost excited. OPERATIONAL HQ. 68 * * * * 67
MARISSA stands up as her false self. 68 INT.CONTINUOUS HANNA clutching on to FALSE MARISSA. 66 INT. Intrigued. And two more into the first GUARD’s chest.
INT. He arrives at HANNA’S door. Marissa leans in.CONTINUOUS 66 65 64
Burton comes rushing down the corridor filling a syringe as he goes. weeps. DAY. weeping. OPERATIONAL HQ. MARISSA (whispers) Oh my. HANNA grabs the first GUARDS handgun from his holster and fires two rounds.as suddenly and with total efficiency HANNA SNAPS the FALSE MARISSA’s neck. on to the FALSE MARISSA. . 65 INT.CONTINUOUS Hanna hugs. HANNA’S HOLDING CELL .
.CONTINUOUS MARISSA watches.
63 * * *
HANNA begins to weep more and more. slumps dead to the floor. nestles close. BURTON hears the instruction to abort but too late. CONT. LANGLEY. BURSTING BURTON’S EYE. burrowing her face into the FALSE MARISSA.. The first guard opens HANNA’S door. BURTON (V. 67 INT..GREEN REVISED
30. CONT. captivated. BURTON Open up. CORRIDOR OUTSIDE HANNA’S HOLDING CELL . MARISSA watches.O. HANNA’S HOLDING CELL . ON SCREEN. LANGLEY ..) (filtered) You want me to give her something? 64 INT.
CONT. CAMP G.BLUE REVISED 26/02/2010
31. CORRIDOR IN SECURE BRIEFING AREA. CAMP G. He drops files and the pages flutter about his feet. DOCTOR Please. HANNA’S fierce eyes looking at her. LEWIS She’s a child for Christsake! 72 INT.“DNA. 70
MARISSA watches HANNA aim straight at camera. 73 INT. She ducks into a door to avoid two Centre Guards running past. her body rams him into the wall. OBSERVATION ROOM.”
. Hanna is upon him.
INT. Two shots. LEWIS Holy hell! Wiegler. 70 INT. stunned to the ground. Wiegler?
On another screen LEWIS watches as the other Guard tries to drag the metal door shut. 73
She finds herself in the specialist Military DNA Laboratory. 71 INT.” “Abnormal.Burton. CAMP G. MARISSA cant help but pull away from the screen. CONT. one after another. But still there’s no sign of HANNA. HANNA fires and the screen goes blank. 72 71
Alarms are sounding and red lights flashing in the corridor. she KNOCKS him out with an elbow and he slides. CAMP G. She picks it up.CLASSIFIED PROGRAM. OBSERVATION ROOM. LEWIS watches as. CONT. Amongst the papers. scans it-. The other Doctor puts his hands in the air. MILITARY LABORATORY. PROTECTED ENVIRONMENT . HANNA walks fast along the corridor. his camera’s go down. OPERATIONAL HQ. LEWIS immediately presses the Alarm Bell. dives down another corridor and walks through a pair of double doors with warning signs on them. LANGLEY. CONT. The MILITARY DOCTORS stare at her. He hits a fleshy door jam . a PHOTO of Hanna clipped to a single page document. One of them reaches for an alarm-Hanna slides across the desk.
. DOCTOR (CONT’D) Don’t hurt me. Hanna puts a finger to her mouth (Shoosh). scared out of his mind. I’m checking Zone eleven. GUARD (O.) This is Sanders.BLUE REVISED
She eyes the doctor for an answer. But he just presses deeper into the wall. slides to the floor.S.
but HANNA is gone. HANNA eyes the vent above her. alert to the sounds beneath her. AIR-CONDITIONING DUCT ABOVE CORRIDOR. She tenses up. all going in different directions but none coming towards her. 78 77
The duct bends to a vertical angle. 77 INT. CAMP G. 78 INT. 74
32. turns. She peers around a corner her only other route of escape and sees: 76 INT. eventually opening it as the personnel are almost upon her. gun ready. CAMP G. CORRIDOR. She crawls through the narrow air-conditioning duct. The DNA laboratory suddenly seems empty. She begins to crawl up a steep gradient towards a crack of light. CONT. She senses something. She walks around a table revealing the unconscious Doctor and the very scared One staring up at her.
. 74 INT. CAMP G. She walks into the lab.
A GUARD radios off. about waist height. CONT. CONT. AIR-CONDITIONING VENT. halls herself up towards the vent. She looks up at the duct again and a length of ducting along the wall. She fiddles with the vent. CORRIDOR IN SECURE BRIEFING CENTRE. runs along the corridor. The last pair of personnel start heading towards her. then enters. CONT. The buzz of the lab’s lighting and the whir of the air-pressurizes are the only sounds as the GUARD looks around. 76 75
MILITARY PERSONNEL reach the intersection close to HANNA and spread out. Through small perforations in a vent she sees more MILITARY PERSONNEL running down the corridor. CAMP G. AIR-CONDITIONING DUCT ABOVE CORRIDOR. 75 INT. She has in her hands the DNA results which she scrunches up and jams into a pocket. CAMP G. She stops. She puts a foot on a rail. Then a rustling from behind the Guard.
. CAMP G. OBSERVATION ROOM. LEWIS sits in silence. MONITOR looks at him nervously.
After a little effort the cover gives way and light floods in. Blearily she looks out across this alien environment. She summons the last of her strength and reaches a crest. The gradient has got steeper and she starts to slide backwards on the smooth metal surface. falling down a long chute into the blackness. she tumbles. then hauls herself over the crest and immediately starts sliding. She has no idea where she is or what’s happening. CONT. It takes her eyes a moment to adjust to the blinding light. When she opens her eyes she sees more tunnel .
MONITOR You think she’s out? LEWIS She can’t get out.and at the end light. AIR-CONDITIONING VENT. MOROCCO/DESERT.BLUE 26/02/2010
33. 81 80
. blinding her. She crawls quickly towards it and stops at a kind of manhole cover with a sprung lever . HANNA is sweating. trying to get a purchase. She rests a moment.. LEWIS picks up an internal telephone. but she’s covering a lot of ground. 80 INT. HANNA recovers and tentatively pokes her head out into: 81 EXT. She digs her fingers into the rivets joining the plates of stainless steel. trying to make out what the light source is. blinking in the darkness.. BLAZING SUN HANNA sticks her head out of a hole in the ground in the middle of the Moroccan desert. CAMP G. LEWIS (CONT’D) (into telephone) Who’s on the perimeter? Detail every unit available.she wrenches the lever and pushes against it. exhausted. She hits the bottom with a crunch and cries out. gathering pace. CONT.
HANNA rolls down the sand dune at speed until finally she slows and stops. the safe door opens. a few stacks of American bills. She peers through the trees. 85 82 83 84
* * * * *
. Inside. 85 EXT. in large blunt letters: GALINKA. Her face is pressed to the oily metal. no idea where she might be. HANNA takes her chance and lets go of her grip. She has no conception of this landscape. 82 83 84 OMITTED OMITTED (CONTENT IN SCENE 81) INT.GREEN REVISED
34. underwear. MARISSA’S APARTMENT. She tries to control her breathing. She opens it. Fully packed she goes to the back of the wardrobe and pulls aside some dresses to reveal a hidden safe.NIGHT MARISSA moves between her wardrobe and a suitcase packing clothes. On the file. She quickly ducks back down into her rabbit hole. ROAD . She clenches her eyes shut as the jeep passes over her. Her hands shake as she checks the clip of a small pistol. USA . Then she sits up and looks around herself. As soon as the jeeps clears she rolls herself over the edge of the dune. The jeeps are racing straight towards her. CUT TO: HANNA is clinging to the axle. She withdraws a fat manila envelope. MARISSA presses against a tree beside the road. She reaches back into the safe and retrieves a blue file. She lies still and shocked by the quiet as the Jeep disappears into the distance.
After a moment her ears prick up. She turns just in time to see a column of Military Jeeps rise over a sand dune a little way behind her. her back just an inch from the desert floor flashing beneath her. the shine of headlights makes her close her eyes. VIRGINIA. When the last vehicle has past we see that the air-conditioning duct is empty. The jeeps now take a track along the edge of a steep dune. hanging upside down underneath.DUSK (FLASHBACK) 1995. The Military Vehicles pass right over HANNA. another power suit. She keys in the security code.
spraying mud and ice into the air. FIRES.BLUE 26/02/2010
35. The accelerator of the Car SCREAMS.DUSK (FLASHBACK) 1995. grabs a dish mop. She raises her gun at the headlights . USA . 86 INT. 86A EXT. out of control.
She steps out into the road. beautiful song. She hums too. still shaking.DUSK (FLASHBACK) 85A
Erik drives and Joanna sits beside him in the passenger seat.her book of GRIMM’S FAIRY TALES open on her lap. not sure she wants to look-until she hears the sound of a BABY screaming. orange light. Still CLOSE ON Marissa. 86A 86 85B
. Joanna hums a quiet. She sees something disturbing. She smears the black mud across her skin with the back of her hand. 85A INT. Just barely. VIRGINIA. She’s on her feet. a strange. Something pierces the windshield. turns on the tap. Marissa slips on her pink rubber gloves. The HORN blares. Marissa opens her eyes-And dives as the car speeds past. just listening. 85B EXT. A 2-year-old Hanna is in the back seat . She FIRES again. ON HER FACE as she hears the car crash.DUSK (FLASHBACK) Marissa. and helps push the file down the gurgler. The garbage disposal GRATES. flickers to life somewhere behind her. unsure of her emotion. The Galinka file burns in the kitchen sink. her eyes still closed. lone tree and wide mist-filled field in the distance behind her. ROAD . Blood sprays over GRIMM’S FAIRY TALES. FIELD . MARISSA’S APARTMENT. running. Sprinting.still squinting. ERIK’S CAR .NIGHT PRESENT DAY. heartbreaking.
Johanna’s neck and face and clothes are covered in mud. The whole time Marissa sprints. doesn’t scream. It’s horribly quiet. no idea where she might be. She AIMS her gun. eyes down. its bumper angled up the trunk of the strange. They must be about the same age but there the resemblance ends. MOROCCAN DESERT . but the heat is still intense. 87 EXT. Following a page drifting away as we hear a GUNSHOT. clings to Erik’s neck. open. just out of reach. She walks purposefully but with a growing awareness of her tiny scale in this seemingly endless sea of sand.
In the distance. HANNA climbs a steep dune. her Grimm’s Fairy Tales draped. she can’t fire. feet pounding. She’s barely alive.. but knowing it’s too late. he has to let Johanna go. too far. drags Johanna’s limp body along the ground. JOHANNA She’ll never be yours.
. It hides her gruesome injuries. HANNA’s throat is parched by the dry heat. She has no conception of this landscape. Pages of the book tear against his shirt. A few pages of Grimm’s Fairy Tales float past Johanna’s face. A shadow falls across her path and she looks up to see the shape of a GIRL standing at the top of the dune silhouetted by the sun. desperate to save her.BUFF REVISED 19/04/2010
36. She passes the burning wreck. her pale eyes scorched by the angry sun. lone tree.LATER 87
* * * *
* * *
The sun has dipped a little now. Marissa rolls her over. So he does. Erik. across his back and held there by one of her tiny hands. Two-year-old Hanna.. The GIRL stares at HANNA. Erik dragged her an admirable distance from the wreck. Hanna cradled in one arm. Erik is across the field. but her eyes linger on her mother lying in the field. If he wants to save Hanna. the shadows of the dunes are longer. Some tear free and twist away across the field. HANNA’s hand goes to the concealed gun. Marissa slows and stops beside Johanna’s crooked body.
36A. trousers and boots stares at this perfect image of western adolescence.
. dusty. bloodied and bruised in military top.
I like literature and sport. SOPHIE (CONT’D) It’s not your fault if you can’t. We live at Number 7 Weissingerplatz. Like a wary animal. MILES.I. not digital.
Dressed flamboyantly and drinking a can of coke. SOPHIE Oh yeah? HANNA I live in Leipzig. rises over the dune and stands by SOPHIE’S side. She’s from Sri Lanka. Population 0.A couldn’t speak English until she was eight. HANNA I’m from Germany. MILES Who’s she? SOPHIE I found her. in America too. Looks at SOPHIE. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
. I go to school at the Klaus Kohle Gymnasium and my best friends are Rudi Gunther and Clara Schliess. HANNA turns back. This is SOPHIE. film. So don’t worry if you can’t speak English yet. no concession to where she is whatsoever. At that moment SOPHIE’S brother. HANNA stares at her. M. so this can be the only explanation.7 Million people. eight years old. SOPHIE Hello.GREY REVISED 22/05/2010
37. Hanna is compelled to speak. She can’t speak English. And now she’s a pop star. disturbed by someone creating a new identity for her for their own amusement. In his hand is a stills camera. because she was. SOPHIE (CONT’D) Don’t you speak English? In Sophie’s world. a refugee from Sri Lanka. then abruptly turns to walk in opposite direction until she sees another convoy of US military trucks in the distance. in particular tennis and athletics. everyone her age wants to talk to her. like. The truth is: HANNA is simply unsure how to speak to this strange person. MILES stares at HANNA while talking to SOPHIE.
Sophie! We’ll miss the light. From over the dune comes the voice of SOPHIE and MILES’S mother. Offhandedly: SOPHIE (CONT’D) I’m Sophie and this is my brother. SOPHIE Suit yourself. MILES We had a dog called Vincent.
SOPHIE They sound dull. RACHEL (O. isn’t it? Beat.GREY REVISED 22/05/2010
37A. SOPHIE takes one more puzzled look at HANNA. MILES raises his camera to his eye and snaps a picture of HANNA. desperate: HANNA I also have a dog called Trudi. MILES Bye. RACHEL. SOPHIE See you. Beat.S.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * *
.) Come on. A thought strikes Sophie. SOPHIE (CONT’D) What’s the age of consent in Germany? It’s something nasty like fourteen. SOPHIE turns back to HANNA. Miles. Hanna turns to walk away. then turns and disappears over the sand dune. I prefer to walk. SOPHIE (CONT’D) Do you need a lift somewhere? HANNA No. HANNA rises to the top of the dune. Thrown. but he went mad and died.
SOPHIE and MILES head back towards their nouveau hippy parents. Hanna turns back into the desert. RACHEL and SEBASTIAN who are waiting for them beside an old VAN parked by a tarmac road that cuts straight through the desert.
airline regulations state that MARISSA I’m in conference. DESERT/OASIS .NIGHT. Erik Heller is the immediate threat. but not an immediate threat to the security of the United States of America.DUSK 89
Hanna amongst slightly elevated desert rocks. AIR STEWARD Excuse me Madame.O. of course.
. A sweet-faced male AIR STEWARD hovers over MARISSA. The attendant is not sure what might happen if he asks her again. She hangs up. MARISSA’S response is quietly scary. not trying to hide the fact that she’s on her cell phone mid-flight. There’s turbulence. AEROPLANE .BUFF REVISED 19/04/2010
39.an oasis. She approaches the edge-Down below.O. AIR STEWARD All the same MARISSA Back off.V) Tactical says she’s in the desert south-east of Essaouira. Focus on Heller. LEWIS(O.V) Are you saying the child is not of interest to us? MARISSA She’s of interest. a tuft of green trees surrounding a small body of water .
INT. MARISSA Focus all operations on Erik Heller. 89 EXT. Lewis. LEWIS (O. dumbfounded.
MARISSA sitting in first class. He stands there.
Hanna sneaks through the trees toward a small body of water. OASIS .
EXT.BLUE REVISED 26/02/2010
39A.DUSK The CHATTER of female voices.
A group of BERBER WOMEN (non-arab). beat clothes against the rock. She watches them from the trees. There’s a clothes line not far from her. knee deep. The women are laughing. Just like her.. Hanna grabs a few items without the ladies noticing. Women. FIRST BERBER WOMAN (CONT’D) I can feel them when he kisses my cheek. 89B OMITTED 89B *
. strung up between two trees. careful where she steps. fascinated.TAN REVISED 17/05/2010
40. Hanna sneaks around the edge of the water. FIRST BERBER WOMAN The hairs in his nose are so long. But not like her at all. making sure she’s not seen.. They speak one of the many Berber dialects (with subtitles).
* 89C EXT. so beautiful.S. MEN steer them. She touches the rope with her finger.DUSK A sea of CAMELS.S. The CAMELS moan and croak. try to keep them tight and together. He runs up the steps toward his mother . A bazaar.) (CONT’D) Miles! She follows him toward a mud built HOTEL. shy boy from before MILES . RACHEL (CONT’D) What did I tell you? MILES I wanted cherries. It´s nose is pierced with a rope. HANNA hears: RACHEL (O. OASIS VILLAGE . Hanna stands amongst them in her stolen pantaloons and top. MUSIC floats over the camel´s moans.TAN REVISED 17/05/2010
41. She follows the sound and walks between the camels legs and under their long necks until she finds a sea of human beings. The camel doesn´t mind. Over this. the little. It’s staring back into hers. Most are passive and chew their cud. And so loud. Some nip at each other.running through the crowd carrying a bag of cherries. It´s so overwhelming. from some unseen buskers. RACHEL (O. Hundreds of them. She’s staring in one’s face.RACHEL. * * * * * * * * * 89C *
. And the music.) (calling) Miles! And then HANNA sees him.
Essouaira. and walks him toward the hotel. Language Arabic (in Arabic w/ English subtitles) I like Arabic very much. She relaxes her grip. Rachel and Miles enter the hotel and so does Hanna. MOROCCAN HOTEL RECEPTION . HANNA follows. Meanwhile HANNA pockets a POSTCARD OF A CAMEL.EVENING HANNA stands at the reception desk. It’s big. maybe a little too hard. HANNA looks at an array of tourist POSTCARDS displayed on the reception counter. HANNA Morocco. 90 91 OMITTED INT. He’s a little confused by HANNA. gently.
She grabs him by the arm. Places of interest. It’s like Japanese. MILES (CONT’D) Ouch. The HOTEL OWNER nearly spits out his biscuit in shock. HOTEL OWNER Where’s your family? HANNA Are you Arab? HOTEL OWNER I’m Moroccan. A kindly looking HOTEL OWNER is eating a jammy biscuit. Religion Islam.BLUE 26/02/2010
42. takes his hand. Marrakesh. Capital city Rabat. 90 91
HANNA It’s electricity? The HOTEL OWNER looks at HANNA askance.BLUE 26/02/2010 43. 92 INT.
HOTEL OWNER (in Arabic w/ English subtitles) You speak Arabic? HANNA (in Arabic w/ English subtitles) Yes. HANNA (CONT’D) Do you have one of these in every room? HOTEL OWNER Of course. HANNA stares at the light switch. HANNA Thank you. HOTEL OWNER Yes. HOTEL OWNER (in Arabic w/ English subtitles) Where’s your family? HANNA (in Arabic w/ English subtitles) I need a room for one night. Can you help? I don’t have any money. They say Edison discovered it. a used coffee cup and a newspaper open on the table.EVENING 92
The HOTEL OWNER leads HANNA down some stairs and into a utilitarian whitewashed room with twin beds. MOROCCAN HOTEL BEDROOM . All mod cons. They speak in Arabic with English subtitles. There is a vacuum cleaner and mop and bucket stood by the door. of course. HOTEL OWNER It’s the best we’ve got. or was it Franklin?
. HANNA I know a little bit about electricity.
HANNA is caught off guard. a fuzzy. the sound of gunfire. On the TV the news shows footage of war in the Middle East.BLUE 26/02/2010 44. the ceiling fan begins to turn. and leaves. HOTEL OWNER (CONT’D) Electric kettle for the English they like to make their own tea. HOTEL OWNER (CONT’D) Where do you come from? Distracted. He goes to a small wall mounted TV. She just sits there staring at the TV as it’s volume seems to increase. She stares at the picture. He picks up an electric kettle. HANNA The forest. bemused. I’m sure. The HOTEL OWNER smiles. HANNA What is it? HOTEL OWNER It’s the best we can do. He switches it on. confusing HANNA even more. but it keeps boiling and making its strange rattle. Hanna stares as it heats up noisily. Steam pours from its spout and the whole contraption starts to rattle violently.
HOTEL OWNER Some American. HANNA is fascinated. doesn’t take her eyes off the TV as she sits on the edge of the bed. HANNA tries another switch. HANNA gets up and approaches the kettle very warily. it’s blades cut the air like a helicopter. The ceiling fan is at its top speed. Combined the noises rise to a terrifying crescendo. himself a little puzzled by this strange encounter. A telephone beside the bed starts to ring. switches it on for her. She tries the light switch in an attempt to stop the kettle. terrible picture of an Arabic TV show.
. Meanwhile the electric kettle begins to boil.
In the bedroom the kettle is still having a violent tantrum. the phone still shouting. It’s her again. Water pours down on her. * * * * * * * 93
. but doesn’t know to turn the handle.EVENING Silence as HANNA sits on the corridor floor catching her breath. (thinking) But I’d only hold hands. the fan still cutting. 93 INT. One whose a supermodel. But not one of the fat ones. the TV is still screaming. SOPHIE Is ‘Kraut’ an ethnic slur? HANNA What? SOPHIE Like “queer” or “lesbo”? She glances at Hanna to see her reaction. She runs back into the bedroom. MOROCCAN HOTEL CORRIDOR . MILES Look. HANNA pulls at the exit door. Eventually she falls through the door and into the corridor.ORCHID REVISED 26/05/2010
45. And I’d probably marry a man. She panics. German girl! He nudges SOPHIE. inadvertently turning the taps on. MILES She looks different. Smashes at the door. A little way down the corridor MILES and SOPHIE emerge from their bedroom. (calling to Hanna): Hey German! Hey girl! Hey. They all regard her clothing. HANNA eyes them suspiciously. She stumbles and falls through the bathroom door straight into the shower. SOPHIE (CONT’D) I’d like to be a lesbian.
HANNA backs away towards the bathroom. HANNA springs up and turns to face the stream of water as if it were an attacker.
SOPHIE Are you on a diet?
.ORCHID REVISED 26/05/2010
SOPHIE Do you want to hang with us? MILES Are you hungry? Hanna shakes her head.
HAMBURG . Late 40s. the main street of Hamburg’s red light district. Tough and unglamorous. STRIP CLUB. MARISSA She’s a bit old isn’t she. HAMBURG . Isaacs smiles. A creepy uncle in a tailored white suit. MARISSA I’ll save it for when I need it.NIGHT The Reeperbaln. ISAACS I give people what they want. ISAACS She has male and female genitalia. MARISSA And you love her just the way she is. but gets no pleasure from it. Marissa enters the bar.
MARISSA gets out of a taxi. checks the sign of the strip club and crosses the road. Nearby are his two “boys”. as she walks toward him. * * * * * * * * * * * * * * * * * * *
. He ogles the stripper. He sips from something pink. briefly. At the far end. He gets very little pleasure from anything. ISAACS No kiss? Marissa eyes the stripper. She sits and avoids touching anything with her skin. who will stab a man for 10 Euro’s.
EXT. MICHAEL ISAACS.NIGHT 94A
On a small stage a TIRED STRIPPER is performing a snow white routine.BUFF REVISED 19/04/2010
46-49. a big Russian with dead eyes called TITCH and a scrawny teenager called RAZOR. STRIP CLUB. Vera make my friend something sweet. 94A INT.
MARISSA Erik Heller’s still alive. Marissa eyes her drink. just cautious. Marissa stands too.
ISAACS What do you want. puts a few feet between him and her. ISAACS notices something. STRIPPER What’s wrong. he stands-ISAACS (in German) STOP. ISAACS Why are you here? Be concise. She’s not scared of him. Isaacs sips his drink as Razor places Marissa’s down. The stripper removes her skirt. ISAACS Yes. MARISSA I need you. If there’s one thing she likes about Isaacs it’s that he doesn’t bullshit. MARISSA I need your talents. daddy?
. one button at a time. barely covering her breasts. I need you to do things my agency will not let me do. You have an entire agency. Then the stripper. Of course. The second thing is he’s the most coldly violent person she’s ever met. darling.BUFF REVISED 19/04/2010
49A. ISAACS You need me? Little ole me? I’m very flattered. Marissa? Marissa smiles. her corset open now. 5000 strapping young men at your disposal. not sure he might bite. The stripper unbuttons her corset. MARISSA And the girl. doesn’t touch it.
Marissa pulls the fat manila envelope from her inside pocket and drops it on the table. ISAACS Shall I kill her? Marissa pauses as Razor comes back on stage giving Isaacs the thumbs up as the music spins something whimsical. As Marissa reaches the door: ISAACS Did she turn out as you hoped? She pauses at the door. 95
* * *
* * * *
. ISAACS (CONT’D) The girl or Erik? MARISSA She’s in Morocco. The stripper. NIGHT MARKET RESTAURANT. almost completely dressed again. 95 EXT. swings her hips and begins to remove her clothes again.BUFF REVISED 19/04/2010
49B. AGAIN! Saliva bursts from his mouth. MARISSA Just find her. She exits. calms.NIGHT HANNA is sitting at a table with the FAMILY who are all eating falafel while HANNA eats meat. sips his pink drink. OASIS TOWN . ISAACS (CONT’D) Money. It’s all in the envelope. letting the busy street noise in. Let me worry about Erik. Isaacs sits. MARISSA Better. Razor scurries up on stage and disappears into the back to restart the music. Marissa begins to leave.
ISAACS (to Razor and in German) Again. Start again.
I think it’s dishonest. Sophie sits back. she’s actually brilliant with money. have some difficulty relating to their daughters attitudes. SOPHIE is describing a recent cultural phenomenon while she picks at her food. or History of Art. This is my face. They belong to a generation of counter cultural radicals whose priorities have. “Here’s fifteen grand. shifted and they’re now trying to assimilate into mainstream society whilst still holding on to their ideals of autonomy and social liberation. Take it or leave it. SOPHIE She was married to this footballer and. do you want a Hermes Kelly bag or a boob job?” she said she knew the implants have to be replaced every ten years. SOPHIE Mum doesn’t even wear make-up. constantly on the look out. Meanwhile HANNA eyes the crowd. That’s why everyone loves her.
SOPHIE and MILES parents. she really loved him and gave him lots of advice about how to dress and how to spend his money and do his tax. SOPHIE (CONT’D) That’s just common sense. Like. RACHEL and SEB. when he said to her for their anniversary. you know. but that the Kelly bag never depreciates in value. RACHEL I don’t.IVORY REVISED 24/05/2010
49C. over the past decade. SOPHIE (whispers to Hanna) Leave it. SOPHIE (CONT’D) Mum is against plastic surgery. They felt genuinely troubled when Kate Winslet and Sam Mendes got divorced. RACHEL I am. RACHEL If you study Anthropology. Because even though she’s beautiful. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
darling. Miles mimes being sick.
SEB Rachel . RACHEL (a bit vain) But I have a lot of pigment in my lips naturally. grow up.Sophie’s Mum . (MORE)
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
.you learn that red lipstick mimics arousal and suggests the geography of female genitalia. and to impress her) I was backpacking at your age. Because yesterday Mum said I shouldn’t act beyond my years.. (she is now rather competing with Sophie for Hanna’s attention.did a double major at Cambridge. RACHEL That’s wonderful. RACHEL . SOPHIE VOMITORIUM. so I never needed it.. SEB Oh. Hanna. RACHEL That does leave her with mixed messages.IVORY REVISED 24/05/2010
49D. Sophie! SOPHIE Grow up? Oh. SEB (CHANGING SUBJECT. SEB I just want her not to say “vomitorium”. SOPHIE PUKE.) (CONT’D) I’m pretty impressed that you’re travelling on your own. when I’m trying so hard to get Sophie to appreciate her childhood. HANNA My father encourages me to be independent.
See. Hanna? HANNA My mother is dead. (to the table) Are your parents still together. kids. RACHEL Oh My God.
50. SOPHIE’s cool deserts her. The Tivo doesn’t work. How appalling. RACHEL and SEB are appalled.. it was valuable. MILES (going with it) My ipod doesn’t have enough gigabytes.IVORY REVISED 24/05/2010 RACHEL (CONT'D) Spent a heavenly summer island hopping around Greece. Your shoes aren’t the right brand. SEB Oh. no. I lost my mother young. SEB (CONT’D) (quietly to Rachel) No. it was a long time ago. I’m so sorry to hear that. too. 96 OMITTED 96
. Rachel flashes him a look. Our experiences make us who we are. HANNA It’s ok. MILES What did she die of? With great relish: HANNA Three bullets. she is weirdly impressed. SEB You don’t know real sadness. All the things you complain about..
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
SEB (under his breath) Bed hopping around Greece.
MOROCCAN HOTEL BEDROOM .” HANNA looks at the photo of herself and those words.“SGM + test results. The test reads: HANNA HELLER .NIGHT The TV flickers illuminating HANNA as she sits on her bed looking at the DNA report folded up into a tight wad. She smooths it out and reads. Abnormal. HANNA “Abnormal” What does it mean?
. “Interfering sequence present.
OMITTED INT. B sample confirms result” HANNA stares at the words. Abnormal. Interfering sequence present.TAN REVISED 17/05/2010
looking around. they just won´t fit. VAN/ROOF . THE FAMILY travels through a mountain pass. VAN/ATLAS MOUNTAINS . He puts the bag into the rucksack and puts it on his back. All locked. 100 EXT. He has a rucksack on his back. He stares across the water towards DENMARK in the distance. 102 103 104 OMITTED OMITTED INT/EXT.
Erik undresses and puts his suit in a plastic bag that he knots tight.PRE-DAWN 100 * * * * 101 * * * * 102 103 104 *
In the parking lot. HOTEL CAR PARK.
. Then he begins to wade into the water. yawning. He stomps his feet a bit. He shoves the bags in and. sleepy and grumpy. SOUTH SWEDISH COAST . a grown child. no matter how hard he tries.
EXT.PRE-DAWN A barren rocky outcrop on the South Swedish coast. unseen. Erik arrives. MILES It’s cold in here.DAY. . Hanna watches him. The sun roof is open a few inches.PRE-DAWN
Hanna lurks around the van and tries the doors. She climbs up onto the roof. She slips her fingers into the gap and pries it open. Seb struggles with the family´s luggage. 101 EXT.TAN REVISED 17/05/2010
And since your mother and I are adults and we respect property. somebody broke the sun roof.. No new clothes or ipods. MILES I already have an ipod. I’m sure it’s insured. they do not. Across the sails of tiny fishing boats.
The sun roof to the rear. SEB Do people insure sunroofs? Do they? The last time I checked. above the breakfast table and bench seats. FERRY PORT . Just you wait. SOPHIE We didn’t do it. is wide open. the enormous hull of a modern PASSENGER FERRY gliding into dock. 105 105A OMITTED EXT. RACHEL Seb. MILES I didn’t break it. No vacation next year. leave it.DAY The FAMILY VAN pulls up to a busy ferry port.. SEB Well. 105B OMITTED 105B * 105 105A
.TAN REVISED 17/05/2010
their headlights on in the dark hull.. TITCH stands over the now bruised HOTEL OWNER.
* 105C INT. ISAACS Very good. FERRY CAR DECK. ISAACS (CONT’D) Has this van checked out? HOTEL OWNER Today. she was nice. ISAACS There we are. she left.TAN REVISED 17/05/2010
54. Titch flips open a KNIFE-106 INT. .DAY 106 * * * * * * * * * * * * *
Cars are parking. ON TV: footage of HANNA climbing into the Family’s VAN through the sunroof. HOTEL OWNER Who are you? What is your business with the girl? ISAACS Oh.what you´re looking for. We´re very concerned about her well-being. princess.
. TITCH hits him. HOTEL OWNER I don´t know what . I´m her uncle. She came.. they catch the ferry to Spain. FERRY GUARDS directing people to parking spaces it’s chaos. MOROCCAN HOTEL OFFICE . ISAACS North or south? HOTEL OWNER The ferry. Titch. horns blowing.DAY 105C
ISAACS is at a small TV speeding through CCTV footage of the hotel carpark.
.BLUE REVISED 26/02/2010
54A. SEB Typical. complaining all the while.
SEB parks the van with some difficulty. They’re worse than Italians.
DANISH COASTLINE . 115
. drops his helmets visor. tries to shake off the unbearable cold. At the far end of the walkway TWO POLICEMEN approach.CONTINUOUS 106A
HANNA lies quietly. he can see the ferry sailing into the distance. ERIK emerges. Hills are emerging and the land is turning green. He looks out to sea where. His lips. but is too late. suit cases. DANISH POLICEMAN.DAY 106B
ISAACS arrives at the ferry port. He takes a deep breath. like a monster from the deep. He sees the van. cramped into a tiny space.BLUE 26/02/2010
55. taking with them anything they might need knapsacks. 107-113 OMITTED 114 EXT. A figure slides through the water. 106A INT.DAY The FAMILY’S van speeds up through Spain. on the horizon. They head off towards the stairs up to the decks as we hold on the van. He pulls out his cell phone and punches in a number. Then. MOTORWAY/SOUTHERN SPAIN . She listens to the strange sounds of the ferry beginning to leave dock. and follows.DAY 107-113 114
Dark rain pours down onto long WOODEN WALKWAYS that stretch out into the sea. fingers. and toes are almost blue. FERRY PORT . Water dripping from his body. Her eyes glistening in the dark. VAN . He pulls himself free. HANNA’S HIDE OUT. 106B EXT. It’s a little cold for a swim isn’t it? 115 EXT.
They get out. computer games. They pass a lay-by where RAZOR is waiting on a motorbike.
Lewis. He’s reframed the situation. HANNA’S HIDE OUT. DANISH COASTLINE . There is a small spy hole through which she can see glimpses of the family who are all singing along with great enthusiasm to final bars of SOME CLASSIC SONG. Mr. LEWIS I’ve alerted Interpol. his face a beaten. Lewis? LEWIS Yes. MARISSA Then we must regain control of our story. We can’t keep this to ourselves anymore. MARISSA (CONT’D) Are we clear. Mr. 116-119 OMITTED 120 EXT. abstract pulp. MARISSA On who’s authority? LEWIS HQ.BUFF REVISED 19/04/2010
56. it’s out of our control. Lewis strides down the walkway and reaches Marissa’s side. We’re clear. He knows she’s there. MARISSA Were you not listening? LEWIS He killed two police. icy body of a DANISH POLICEMAN.
INT. Are we clear? Lewis watches the water drip off the policeman’s body.DAY
HANNA is still in her tiny hide out. I’m the first and last person Erik Heller will see. VAN . Miles notices the shadows and light moving in the peep hole. 116-119 120 * * * * * * * * * * * * * * * * * * * * * * * * * * *
.DUSK Marissa watches as-a crane pulls out the limp.
chats with two SPANISH BOYS. A GERMAN family is walking around in skimpy swimming costumes. VAN . The campsite is heaving with humanity. drainage. Miles sits in the back of the van. straddling his bike.PINK REVISED 03/03/2010
57. 121 INT/EXT. Rachel looks up from her book at Sophie.a small city with its own shops. but he’s slowly becoming bolder. borders and rules. She begins to lift the lid of her hide out.DUSK
The van has stopped and HANNA is listening for sounds of the family.DUSK 121
A cushion moves and then a box slides forward. Sophie eyes her Mom. a cell phone to his ear. a little way off. FELICIANO is very handsome. FELICIANO and his BROTHER. He’s too shy to speak. gazes out the window. They seem to be out of the van. She runs from the van. HANNA decides to take her chance at escape. SEB peels potatoes. VAN/SPANISH CAMPSITE . the straps of her bathing suit loose from a day of avoiding tan lines. through the tent city. SOPHIE.
INT. BEHIND RACHEL HANNA steps out of the van wary of being seen.
. RACHEL reads a translation of THE MANDARINS by Simone De Beauvoir. She rubs her legs quickly bringing them back to life. HANNA climbs out-CLICK. Families come here from cities across Europe and bring their whole lives with them. his camera pointed at Hanna. a little concern over the cute boys chatting up her daughter. watches Hanna scurry through the tents. Hanna isn’t sure what to make of him. He doesn’t seem to be a threat so she ignores him. RAZOR. thousands of EUROPEAN CAMPERS who have turned the site into what amounts to a shanty town . Miles GIGGLES. HANNA’S HIDE OUT. She tries to stand but her legs give way and she falls to the floor.
RAZOR Got her. or something? HANNA Yes. SOPHIE Oh. actually. trying to quench a thirst that has built up over her hours of confinement. out with it. my God. 122 OMITTED (CONTENT IN SCENE 121) 122 123-125 126 * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
123-125 OMITTED 126 INT. SOPHIE Was it bad? HANNA No. HANNA Out with what? SOPHIE The whole story. SOPHIE So. SOPHIE (CONT’D) Oh my God. that’s not what I meant.IVORY REVISED 24/05/2010
57A. CAMPSITE PUBLIC BATHROOM . I won. how did you get here? SOPHIE puts two and two together. Did you have a fight with your dad.NIGHT
HANNA is drinking from a bathroom tap.
. So come on. What are you doing here? HANNA I’m thirsty. the sun roof! Was it you? HANNA Would it be very bad if it was? SOPHIE You mean you were in the van the whole time? My dad’d have a heart attack if he found out. SOPHIE enters with her make-up bag.
lovingly. Hanna stares at her. Hoe. but not all preen-y about it like the footballers. SOPHIE (CONT’D) Have you got something to wear? HANNA looks down at the clothes she’s wearing. we’re meeting them tonight and you have to come. HANNA All right. HANNA What? SOPHIE I’ve met these boys. you’re staying with me. SOPHIE (CONT’D) Anyway. SOPHIE Yes you do. Of course I’m not going to tell him.
HANNA Will you have to tell him? SOPHIE Hanna! You are SO mental. you’re not hard to convince. SOPHIE God.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
. obviously. SOPHIE (CONT’D) They haven’t got their eyebrows waxed. HANNA I am? SOPHIE Yeah. Hanna smarts. Hanna still staring. I’m sneaking you in. I think it’s brilliant. Have you got anywhere to stay? HANNA No. gorgeous. Spanish. On one condition. Sophie continues.IVORY REVISED 24/05/2010
58. or anything.
.IVORY REVISED 24/05/2010
SOPHIE (CONT’D) You can’t wear those! You’ll look like some mad German. Isaacs’ car pulls up.
* * *
EXT. Razor is no where to be seen. He honks. RAZOR’s bike lies on the side of the road. SPANISH ROAD .NIGHT
A lonely street lamp beside a big row of bushes.
The bush shakes. 126B OMITTED 126B *
. Razor exits the bush buttoning his fly.TAN REVISED 17/05/2010
crossing back and forth over each other. Hanna. There’s a singer. someone sitting on a cajon .
Hanna. The atmosphere is warm and familial. tap. suppresses a cough. the headlights vibrating. a guitar player. holds onto the back of Feliciano’s scooter. her balance unsure. Their kids sit around watching.tap. and the two boys sit on a log in front of a big FIRE. Sophie. You never hear? Is all about death and love and death. A car comes from the other direction and PASSES-It’s ISAACS’ RENTAL CAR headed toward the camp. 126D EXT. HUNGAROS (GYPSY) CAMP . their chubby cheeks resting on their mother’s laps.. FELICIANO (yelling over the wind) Hold on. offers it to Hanna. HANNA What is this music? FELICIANO Flamenco. He takes a long drag.BUFF REVISED 19/04/2010
64-66. * 126D
.. wearing heavy gold rings.NIGHT The two SCOOTERS race down the road. takes a drag on a hash pipe. He speeds up.a few large men. SPANISH ROAD . doing palmas. FELICIANO (CONT’D) It’s good for the lungs.NIGHT A small caravan of Gypsies. wrinkles her nose and passes it on to Feliciano’s brother. trying not to touch the boy in front of her. tries to be cool. Feliciano makes a face. She turns to FELICIANO. tapping . Hanna is forced to hug and hold on to him. Hanna is fascinated. A small group are playing Flamenco music around a camp fire. Hanna smells it.
Hanna doesn’t acknowledge this. holds his head as if to snap. presses her knee into his back. back straight. SOPHIE and Feliciano’s mate come around the corner. his heels sending sparks flying from the fire. Feliciano closes his eyes. She grabs onto Feliciano’s leg out of sheer excitement for what she’s seeing. shocked. He catches the rhythm like a bullet and begins to dance.BUFF REVISED 19/04/2010
64-66A. (The following is inter-cut with close-ups of the Flamenco dancing from the previous scene). HANNA (CONT’D) The most important muscle involved is the orbicularis oris muscle -She feels the warmth of his face nearing hers.
They all look so very young and inexperienced. before he kisses her-HANNA (CONT’D) --which is used to pucker the lips-She grabs him. arms raised. poised. throws him to the ground. A YOUNG DANCER stands. just out of reach of prying eyes. This is life like she never experienced it. HANNA Are we going to kiss now? FELICIANO Would you like to? She looks at him. HANNA Kissing requires a total of thirtyfour facial muscles and 112 postural muscles. but doesn’t mind. 126E EXT. 126E
. Feliciano slips his arm around her back. Hanna has never seen anything so passionate. HUNGAROS (GYPSY) CAMP . She too wrapped up in what she’s seeing.NIGHT Hanna and Feliciano are standing behind one of the Gypsy caravans. weighing up his question. leans in.
don’t hurt me... tell your friend. FELICIANO Sure.
SOPHIE Hanna! You mentalist FELICIANO Please. HANNA looks up at SOPHIE. HANNA I’m going to go now. Now that she has FELICIANO on the ground she doesn’t know what to do with him. HANNA It was nice. HANNA Should I let him go? SOPHIE As opposed to what? Yes. you should let him go. 127 128 OMITTED OMITTED 127 128
.IVORY REVISED 24/05/2010
64-66B. (to SOPHIE) Please. HANNA whispers into FELICIANO’S ear. I just wanted a kiss.
JOHANNA (V. KATRIN’S APARTMENT/BATHROOM .O. She stops to inspect one of the tapes. KATRIN’S APARTMENT .) Mama. OLD EAST BERLIN HOUSING 130Aa PROJECT .
* * * * * *
With a torch.NIGHT 129C
She walks down the hall to the spare bedroom. But I have found maybe a way to make it better.NIGHT The room is dark.. tries the door and enters. 129C INT. KATRIN ZADECK approaches the door to her apartment. She bares her teeth. She searches the kitchen drawers. She sees the walls covered in newspaper clippings and photographs relating Johanna’S murder.NIGHT 129B
* * * * * * * * * * * * * *
She pauses and looks at her reflection in the mirror .. But also the picture of other MISSING WOMEN from around the same time.. CORRIDOR APARTMENT BLOCK. she overcomes it and stalks out..NIGHT A well-dressed woman in her 60’s..
* * * * * * *
. I know you're disappointed in me.. she eyes the toothbrush at the sink. I know it.GREEN REVISED
67. MARISSA stares at their faces for a moment then looks to her feet where she finds a box of old casette tapes. A label reads: ‘Johanna no. OMITTED 130A 130Aa OMITTED 130A
* * * * * * * *
INT.. 24’.O.she’s looking increasingly tired and strained.
OMITTED INT...) (in German) Mama. A quiet voice murmurs inside. MARISSA methodically searches the apartment. KATRIN’S APARTMENT . I'm so sorry.NIGHT JOHANNA (V. 129B INT. KATRIN’S APARTMENT .. it’s a weird compulsion. Mama. She searches the bathroom.
a tape player on the coffee table. KATRIN (in German) He said you were dead. Ms. KATRIN (in German) Did you ever have children of your own? MARISSA (in English) I made certain choices. he helped me make these tapes for youMarissa presses STOP.) (CONT’D) (in German) The husband. They’ll be good for the baby. JOHANNA (V.GREEN REVISED
67A. Erik. MARISSA (in English) Where’s Hanna? Katrin senses a weakness. I’m so fat. smiles. They’re keeping good care of me. In the lounge. Americans. KATRIN (in German) How did you get into my house.O.
The whir of the tape being fast forward.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
. MARISSA Idiot. So rich.) (CONT’D) (in German) They’re such a lovely couple. Marissa sits smiling. Mama. Katrin walks down the hallway following the sound of her daughter’s voice. JOHANNA (V.O. All the food I could ever eat. Vitamins. Wiegler? MARISSA (in German) I’m looking for Erik. MARISSA (in German) So you’ve seen him? KATRIN (in English) He sent word.
The frame SHATTERS. of JOANNA. Katrin falls. of watching from the window. Isaacs approaches the Family’s tent with a torch. revealed. She begins to screw it in place. She fires again. 130C EXT. Marissa unholsters her gun and pulls a silencer from her pocket. turning her back on Marissa and paces over to a picture hanging on the wall. To lose your child. The years of waiting.GREEN REVISED
67B. KATRIN (CONT’D) (in German) Have you seen her? Hanna. He unzips it. shines the light in. looks at the photograph. MARISSA (in German) Like her mother. VAN/CAMPSITE .NIGHT 130C
* * * * * * * * * * * * * * * * * * * * * * *
The VAN rocks with the quiet knocking of kitchen implements. To not know what happened.
KATRIN (in German) Then you will never understand what it’s like. looking for Hanna--
. MARISSA. Katrin stands. smoke swirling. Can you tell me what she looks like? A SILENCED GUNSHOT. Inside SEB and RACHEL are having sex. her silenced pistol raised.
Isaacs. lightly pinches Miles’ cheeks. God. They’re at it like rabbits. SOPHIE Hanna? HANNA Yes? SOPHIE Where do you really come from? HANNA Leipzig. SOPHIE If we’re going to be friends you have to be honest with me. walk from the entrance of the campsite toward the rocking van. I live in Leipzig SOPHIE looses her patience. Just as he disappears Hanna and Sophie. HANNA At what? 131 INT. whispers) It’s the sandman. Go to sleep. frustrated. HANNA is taken aback. TENT. Them’s the rules. MILES Sophie is that you? Isaacs reaches a hand in. ISAACS (in French. arm in arm. zips up the tent and creeps away. SPANISH CAMPSITE . So gross. SOPHIE Oh.PINK REVISED 03/03/2010
67C. SOPHIE looks at HANNA. HANNA Are we friends?
Miles shades his eyes.NIGHT 131
HANNA and SOPHIE lie next to each other with a sleeping bag over them and a torch between them.
SOPHIE Yes.BLUE REVISED 26/02/2010
67D. I like you.
I mean. Do you understand? SOPHIE Yes. HANNA There are people that want to harm me. HANNA (CONT’D) Can we still be friends? SOPHIE I don’t know. Abnormal. HANNA looks into SOPHIE’S eyes. Interfering Sequence. I don’t. HANNA I like you too. SOPHIE Right. They read. Brings out the DNA report. no. I don’t understand the rest of it. SOPHIE I mean you’re a freak and everything. Bad people.. SOPHIE What is it? HANNA It’s something about me. Neither do I. I know what DNA is. SOPHIE I see. but I like you.. SOPHIE Are you sick?
. HANNA So for your own safety. HANNA And they wont stop. Shows it to Sophie. But there are things I can’t tell you.. I really do..
HANNA I’d like to have a friend. I don’t really know who you are. Actually. She reaches into her bag. Do I? HANNA That’s just it.BLUE 26/02/2010
I have to meet my father at the house of Wilhelm Grimm. SOPHIE If you say so. SOPHIE Keep this. Beside them. SOPHIE As in “Grimm’s Fairytales”? HANNA That’s right. Moved. puts it on. HANNA takes it. SOPHIE What are you going to do? HANNA I’m going to Berlin. To remember me. HANNA reaches out and touches her hair. She takes a bracelet off her own wrist. 132 OMITTED 132 *
. SOPHIE What’s wrong with you? HANNA Nothing’s wrong with me. SOPHIE (CONT’D) It’s a friendship bracelet. we see that MILES has woken and has been listening in the darkness. They look at it. HANNA Thank you.
HANNA I don’t feel sick. Looks at SOPHIE. looks over at SOPHIE who’s starting to sleep. SOPHIE sighs at HANNA. HANNA stares at the ceiling. sees she’s vulnerable.GREEN REVISED 08/04/2010
69. HANNA Did I say the wrong thing again? SOPHIE looks at HANNA. Gives it to her. puzzling. separated by a thin piece of fabric.
. DANISH HOSTEL/BATHROOM .EARLY HOURS 133B
Erik has wrapped his waist. and hooded his head in towels. 133B INT. His little girl has done it and soon he will see her again. SPANISH CAMPSITE .GREEN REVISED 08/04/2010
70. and reads (probably for the 100th time): MISSION ACCOMPLISHED. 133C INT/EXT. He picks it up. wakes to find HANNA has gone. He sits on the edge of the bed staring at the bedside table. a POSTCARD with a camel. shoulders. On it. He smirks.MORNING SOPHIE. DANISH HOSTEL . turns it over.
* 132A 132B 133 133A OMITTED OMITTED OMITTED INT. His hands are swollen and black and the skin broken at the knuckles.EARLY HOURS 132A 132B 133 133A * *
ERIK in the first hot shower he’s had in 14 years. SOPHIE climbs out of the tent and rubs her bleary eyes. still wearing her clothes from the night before. TENT.
She lays them in front of the family.IVORY REVISED 24/05/2010
71. We are going to Lille. Or was. RACHEL We have to let other parents have their own style of parenting. He’s promoting independence. She came out with me last night. She’s here. SEB No I’m not! SOPHIE I said we’d give her a lift to Lille. You can call me conservative. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
. SEB How did she get here? Is she with her dad? SOPHIE No. HANNA Breakfast.. they hit the table with a wet SMACK.. Do you want tea? SEB Hanna who? SOPHIE The girl we ate dinner with in Morocco. RACHEL You are inherently conservative. darling. SEB That’s too independent for my tastes. (to Seb) Why are you frowning? Rachel looks pointedly at Sebastian.
SEB and RACHEL are preparing breakfast while MILES sits yawning on the steps of the van. aren’t we? HANNA appears from the woods carrying TWO BLOODIED. SOPHIE Where’s Hanna? RACHEL You look rough. She came on her own. but. SKINNED RABBITS.
MILES That’s amazing! He looks at Sophie accusingly: MILES (CONT’D) I bet Cheryl Cole can´t do that!
* * * * * * * * * *
. while SEB and RACHEL are confused as to what the appropriate reaction might be.
SOPHIE lets out a shriek of nervous laughter.IVORY REVISED 24/05/2010
71A. SOPHIE That´s gross.
I’ll be checking out. 135 136 137 OMITTED OMITTED INT. she sees Isaacs’ rental car. He stares right at her. DANISH HOSTEL . VAN/SPANISH CAMPSITE .DAY Erik at reception.MORNING
The FAMILY has checked out and DRIVE THROUGH the campsite.BLUE REVISED 26/02/2010
72. smiles. Isaacs sits on the hood rolling a cigarette. 135 136 137
. Hanna stares out the window.
INT. RECEPTIONIST Good day? ERIK Very.
pausing at the door. He moves off and walks through a tunnel towards the underground station car park. the other rushes downstairs to give chase too.
. The second AGENT immediately follows and from the walkway. I’m headed home now.but he can’t do what’s necessary-. contemplating how to cover his tracks-. A DANISH AGENT. He lays down the pen and exits. She’s sees it and he knows it.someone is watching Erik as he tries to conceal himself within the throng. He looks furtively around.BUFF REVISED 19/04/2010
73. ERIK (CONT’D) Thank you. He’s still smiling and charming.DAY. be careful.
RECEPTIONIST So soon? ERIK Just a short business trip. and signs the bill. ERIK I’ll be careful. and tries to blend in with the crowd. noting something not right. He picks up the pen with his swollen hand. past the ticket collectors. You heard about the manhunt? A man killed two coastguards. The receptionist PICKS UP THE PHONE. hidden on a metal walkway above the platform. 138 * * *
A commuter train pulls into the vast station. She hands him his bill. Amongst the morning commuters alighting the train is ERIK HELLER.from a walkway above the station .she’s scared. BERLIN MAIN STATION . On the platform Erik walks amongst the commuters.and exits.he stops and lingers by him. 138 INT. his knuckles torn. RECEPTIONIST Well. past another DANISH AGENT posing as a commuter . Her eyes betray her . POV .
74. She wants I repeat. more ferocious than ever given what he’s just heard.
INT. He boots the first guy in the nuts. AGENTS signal to each other. ERIK picks up the radio and speaks into it with a perfect American accent. ERIK Is that what she said? VOICE ON RADIO That’s what she said. ERIK stands in shock. he must be in here but they can’t see him.. MARISSA WIEGLER is alive. UNDERGROUND STATION CARPARK . cutting him on the hand. Wiegler will ID ON RADIO Wiegler.
Erik stops dead. The radio suddenly responds. stabs the AGENT in the side and the man falls to the ground squealing. Another AGENT comes at him. One of the AGENTS draws his hand gun. the radio goes flying. He spins around and kicks the other in the chest.. making him drop his gun. He steps behind on of the pillars just as FOUR AGENTS appear from each of the four exits. ERIK. head-butts him. Erik suddenly jumps out of the hiding place and grabs the AGENT with the radio. Erik produces a knife out of nowhere and launches at the man... Picking up now.DAY
Erik runs through the carpark towards an open area with wide pillars. All FOUR AGENTS lie groaning and disabled on the ground. VOICE OK bring him to to talk to him. AGENT We’ve got him. 139 OMITTED 139
. Marissa and interview. He plants an elbow in the neck of the third guy.
HANNA becomes anxious. creatively.. She sees ISAACS rental car. RACHEL (CONT’D) Everything all right? HANNA I think so. RACHEL (CONT’D) Nothing. What do you believe in.
Following in the black rental car. RACHEL makes a turn and HANNA checks the side view mirror again. TITCH unwraps a Chuppa Chup and sticks it in his mouth. But HANNA’S face betrays her concern. ISAACS.ORCHID REVISED 26/05/2010
75-75A. RACHEL I feel so much more grounded when I’m in the countryside. while HANNA rides in the front seat. Places like this bring us closer to God. but it begins to stir in her gut. free as the wind. She doesn’t panic. 141 INT. the rental car is still there. RAZOR is killing time buy taking the bullets out of a cartridge.. Buddha.
EXT.DAY The FAMILY van is making its way up through France. and rolling one back and forth across his knuckles. once. spiritually.. TITCH and RAZOR are biding their time.DAY RACHEL is driving. emotionally. * * * * * * *
.. Yes. HANNA “God?” RACHEL Oh. Krishna. The city stifles me. The God believe Hanna? 141
HANNA is looking in the side view mirror. (laughs to herself) I used to be just like you. inside you. not in any monotheistic of course. because I thought he looked like Krishna. I slept with a man in India. sense. FRENCH ROAD . a few cars behind. VAN/FRENCH ROAD . Or whatever you in.
MARISSA (CONT’D) Lewis? For Christ’s sake-ERIK (ON PHONE) Hello Marissa.. but at night I sing. She spits blood into the sink.. I can see it when eyes. The phone rings..O. JOANNA (V.GREEN REVISED 08/04/2010
76.. central incisors. MARISSA What? Nothing. She pads over to the tape machine and presses fast forward.NIGHT
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
MARISSA in the bathroom wearing pyjamas and no make up. ERIK (ON PHONE) What are you listening to? Marissa stops the player. (CONT’D) you. HOTEL SUITE. Marissa lifts the receiver. He doesn’t judge me.) . Then play JOANNA (V. MARISSA stops dead. pressing the brush into her lower.O. Even though he knows all about me.I'm not sure if it's true that the baby can hear me. Johanna GIGGLES. Static CRACKLES JOHANNA (V.
INT. I hope so.) (in German) . It’s shocking. JOANNA (V.) . Dead air.I think he likes me.. Blood streaks as she listens to: -.O.. I hope it hears me. Mama? baby looks I close my
. Marissa closes her eyes. BERLIN . He looks at me.was it like this for I think I know what the like. Is that silly? I think it's a girl.O.) (CONT’D) I can hear it inside me...a portable casette machine on the bed in her bedroom playing one of Johanna’s tapes. Moving. She’s brushing her teeth... The phone rings again.
COME UPSTAIRS. MARISSA Oh. LEWIS Tech’s on the way up-Marissa puts a finger to her lips. texts Lewis: GET TECH. Lewis mouths: TECH GUYS and moves to answer it. a little too loudly. ERIK I couldn’t do it anymore. MARISSA What did I miss? ERIK Love. MARISSA I’m sorry? With Johanna? ERIK No. Maybe people talking. You’re such a flirt. MARISSA It’s good to hear you. MARISSA So why come back now? A KNOCK at the door. points to the phone. There’s a subtle BASS coming from the hallway. I didn’t imagine we’d get the chance to talk. He shuts the door. It was sad to see you go dumb. ERIK You were supposed to be dead. MARISSA You were a good agent Erik.GREEN REVISED 08/04/2010
77. Erik. Lewis enters.
MARISSA Self help. with Hanna. ERIK Are you in need of help? Marissa picks up her cell.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
A storm of smoke and slivers of wood and bullets. His eyes search the room quickly with only slight awareness of self-preservation (he just needs to live long enough to kill her). Get up. it slowly tears from its hooks. PEEPHOLE-The cavernous barrel of a gun. pieces flood onto the floor. Her gun hand quivers.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
.GREEN REVISED 08/04/2010
78. stares through-ERIK (ON PHONE) I’m still here. reaches out to Lewis-LEWIS’ POV. unable to move save for her heaving chest up and down. are you still there? Lewis bends to the peep hole. at the door. Erik. snatches it. in motion. Marissa slides across the bed for her gun. The door frame cracks. Red drops dabble on its surface like fresh rain-another SHOT-. She holds her empty gun at the door. A LOUD STRIKE. deafening CRACKS and POPS. One hand reaches up and clings to the curtain above her. In a mirror on the far side of the room. Lewis falls in reflection. Erik is in. The door caves. MARISSA (whispers) Move. unseen. The bass vibrates low through the walls and echoes Erik’s voice through the phone-Marissa drops the phone. FROM OUTSIDE. He clears the room with a quick sweep of the gun. As she applies her weight.
MARISSA Erik? I asked you a question. Another QUICK STRIKE. She slides off the bed and smacks into the far wall. FIRES wild. Until all the sound that is left is just few clicks of Marissa’s empty gun. Loud. Marissa lays crooked against the far wall under a window. Erik fires back.the mirror splinters the reflection. gun RAISED. A white flash-A loud SHOT.
All that is left of her is a slightly torn curtain blowing in the gust of an open window.GREEN REVISED 08/04/2010
79. 143-144 OMITTED
* * 143-144
But Marissa is gone.
BRIDGE OVER INDUSTRIAL AREA .BLUE REVISED 26/02/2010
EXT.behind ISAACS rental car tails it.NIGHT
The FAMILY’S van drives .
CAR/CONTAINER PARK . shit. On either side of the road is an enormous container park. She’s knows that whoever is driving that car is after her. 147
. HANNA No. The containers are piled on top of each other like a giant baby’s building blocks. 147 EXT/INT. RACHEL waits for the ISAACS’ car to pass but instead it pulls in behind the van.NIGHT HANNA sits beside her in the passenger seat. SOPHIE wakes up in the back. Sophie.
RACHEL is still at the wheel. I was doing everything I could to get out of the way. RACHEL Well. her anxiety growing.
INT. SOPHIE Are we stopped? I need to pee. I don’t want you going too far right now. MILES’ fingers wrapped around a Transformers toy. I think we’re lost. watching the bright headlights behind. shit. Hanna. RACHEL (CONT’D) I need to pull over. RACHEL Why won’t that car pass? He has his lights on high beam. HANNA I think you should stay where you are. BRIDGE OVER INDUSTRIAL AREA . VAN. SOPHIE and MILES all comfortably asleep.BLUE 26/02/2010
80.NIGHT The van slowly pulls in at the side of the road. RACHEL I’ve got to check the map. don’t. RACHEL Shit.. She looks back and sees SEB. HANNA checks the side view mirror again and sees ISAACS rental car. Shit..
She can see the silhouettes of ISAACS and his MEN. HANNA pulls open the van’s side door and bolts from the van. SOPHIE This is creepy. HANNA Please.BLUE 26/02/2010
81. Everyone stay put. SOPHIE I promise. SEB Like fuck I will. RACHEL Hanna. All at once all four of the car doors open. HANNA (CONT’D) What ever you do. SEB (groggy) Are we in Lille? HANNA I’m sorry. wake up.
HANNA doesn’t take her eyes off the mirror. HANNA looks back at ISAACS car. RACHEL Hanna!
. don’t follow me. Seb. HANNA climbs into the back of the van and comes very close to SOPHIE. RACHEL Hanna. tell me what’s going on or Seb will go over to that car and find out. Promise not to follow me. Where’s my phone? HANNA (to SOPHIE) Thank you for being my friend. what’s going on. You’re creeping me out. They don’t move and neither does HANNA. In a flash. But you really mustn’t get out of the van. Both are waiting for the other to make the first move.
She drops back down into the corridors. search for her. ISAACS Where did you go. 148 * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
.SALMON REVISED 28/04/2010
82. Hanna leaps over Isaacs’ head. princess. The trio split apart. Your pop pop’s been missing you. Isaacs appears in front of her. ISAACS voice echoes as he slips down a side corridor. shows her his gun. her pink converse slap the hard tarmac. RAZOR Don’t move. 148 EXT. It’s cleaner that way. meine liebling? FEET beat atop the containers like tin drums. SOPHIE Hanna. throw Hanna in and out of dark shadows. puts a finger to his lips. Behind her. She tries to slip down another alleyway but Titch is there.NIGHT HANNA sprints. Containers swing from cranes. his balisong singing in his hand. Just stay where you are and you’ll be fine. RAZOR flanks to the far side. turns around and sees Sophie. RAZOR appears at her drivers window. ISAACS (CONT’D) We were so close. TITCH follows her up the middle. Escapes. Razor. block light. at the far end of the corridor. ISAACS Hey girlie. They converge. She enters a long corridor. alone.
RACHEL sees ISAACS and TITCH chase after HANNA. RAZOR. Disappears. I could tell you stories. She fights them off. The things Erik and I did. CONTAINER PARK . She speeds over the vast field of containers and leaps gaps with ease. the walls of containers’ rising and stretching in front of her.
She leans and then slides down against a container wall unable to look up at her friend. But Sophie is dead weight.
* * * * * * * * * * * * * * * * * * * * * * * * * * * *
. She releases Hanna’s hand. lost in the maze. dividing the corridor in half. Razor runs at Sophie. Razor bleeding out around her feet. Isaacs FIRES. and neck. She has to lead them away from Sophie. Hanna grabs Sophie’s hand. Hanna stares at her. She wheels the knife around. Hanna has to run. putting themselves between Hanna and Sophie. slices arteries in the groin. slips the knife from his hand-Isaacs appears behind them-ISAACS Don’t. Sophie in shock. BOOM. the balisong dripping in her hand. And somewhere behind them. BOOM. Titch runs at Hanna. snaps two fists into Titch’s throat and continues on to Razor just as his knife darts out at Sophie’s head-Hanna snatches his wrist. Titch rounds the corner. leaps. Hanna runs. armpit. Isaacs cradles his little Razor and cries.
Titch and Razor enter. out of sight of Isaacs and Razor’s body. Hanna sprints. A mist of red mingles with a small tornado gray dust.SALMON REVISED 28/04/2010
82A. Titch follows. She doesn’t understand why Sophie is so horrified. drags her around the corner.
. HANNA reaches the edge of an industrial canal where the scrap metal is unloaded.
EXT. A large industrial barge is chugging towards her. Either side of her rise mountains of waste. SCRAP METAL YARD/CANAL .NIGHT
HANNA sprints full tilt out of the container park and through a scrap metal yard. only a few hundred meters.SALMON REVISED 28/04/2010
83-85. HANNA jumps into the water.
BLUE REVISED 26/02/2010
INT. HOLDING CONTAINERS. DAWN
Four containers from the park, in a row, each one holding a member of the family. SEB paces around his cell. RACHEL sits stoically in hers. SOPHIE cries in her cell. MILES climbs on all the boxes of loot. He imagines he’s in the Alps. SEB’S CELL SEB She was odd. I’ll give you that. Disconnected. I mean I get on with most kids, you know, have a rapport. But, this one MARISSA You know, Sir, it’s days like these that I really hate my job. SEB I’m sure you do. MARISSA It’s a very, very difficult thing to do. SEB Absolutely. MARISSA But sometimes children are bad people too. SOPHIE’S CELL. MARISSA (CONT’D) Stop crying. SOPHIE I’m not telling you anything. MARISSA grits her teeth, shows SOPHIE a photo of FELICIANO. MARISSA Do you know him? SOPHIE No. MARISSA He knows you.
PINK REVISED 03/03/2010
SOPHIE looks away. MARISSA (CONT’D) Your friend is in a lot of danger. SOPHIE I don’t know anything! MILES’ CELL Miles sits at the top of the boxes looking down at Marissa sitting below. Her voice is soft and warm. Almost motherly. She’s very good at her job. MARISSA Will you come down here, sit with me? Miles shakes his head ‘no.’ MARISSA (CONT’D) Please. I have something to show you. She pulls out a photo envelope. MILES What is it? MARISSA You’ll have to come down here to see. Miles begins to climb down butt first. He’s half way down when Marissa takes him under the armpits and helps him the rest of the way. She sits him down in the chair and fixes his shirt, brushes the hair out of his face then holds his face a moment too long. MARISSA (CONT’D) There. That’s better, isn’t it? She sits. He stares at the envelope in her hand. MARISSA (CONT’D) Do you want to see what’s inside? MILES Yes.
PINK REVISED 03/03/2010
MARISSA Please? MILES Please. RACHEL’S CELL RACHEL She said she lived in Leipzig. She went to the Klaus Kohle Gymnasium and her best friends are Rudi and Gunther. She likes tennis. She has a dog named Trudi. MARISSA She lied to you. Rachel takes a moment not sure if she’s hurt by this or not. MARISSA (CONT’D) You smuggled her into port and helped her gain illegal entry RACHEL She smuggled herself. MARISSA She’s a minor. RACHEL She seemed lost. Like she needed taking care of. A bit of mothering. MARISSA shows her the photograph of JOANNA ZADEK. MARISSA This was Hanna’s mother-biological mother. Fifteen years ago Hanna’s father shot her to death on a camping holiday by the Baltic. RACHEL swallows, goes pale. 151 EXT. BARGE. RURAL FRANCE INTO GERMANY. DAWN 151
HANNA sits on the edge of the barge, an oily canvas over her shoulders. Innocent. Almost sweet. She watches as the sun rises over the misty fields either side of the canal. It’s a beautiful sight. HANNA is strangely peaceful.
Miles. tries to pick them up. DAWN. They’re all of Hanna.
INT.a whale will gobble me up. MILES Where is she? MARISSA You tell me. Girls are.. (CONTENT FROM SCENE 150) 151A MILES’ CELL He opens the envelope. She could be hurt very badly.YELLOW REVISED
86C. MARISSA (CONT’D) You like her. I searched online and there was no whales in lakes. MILES Sophie says every time I snitch. HOLDING CONTAINERS. Do you understand. I need to get to her first. pulls out the photos. He stares at Hanna’s photo. so I can protect her. I won’t tell anyone. MARISSA (CONT’D) It’s okay.even in a lake! . of course. MARISSA Hanna is in danger. Miles? Do you want Hanna to get hurt?
. MILES Is she in lots of trouble? MARISSA The worst kind sweetie. Only the ocean. drops some more. He looks up at Marissa and gives her a prideful smile. drops them. very yucky. the one of her getting out of her hiding spot. Bad men are looking for her. He flips through the photos. She’s very pretty. when I’m swimming . He flips through them one by one.. don’t you? His pride turns to embarrassment. MARISSA You’re a very talented little boy. spreads them out on his lap. Miles looks at the photo and agrees.
To meet her dad. and leaves without another word. 152-155 OMITTED 155A EXT. Marissa stands and -Miles holds out a single PHOTO. the red of Morocco or Spain behind them. MARISSA That’s a good little boy. MARISSA (CONT’D) Tell me where she is.PINK REVISED 03/03/2010
86D. Marissa stares at it. MILES To Berlin. in crooked selfshot. darling. MILES Will you give this to her? When you see her. CANAL . 152-155 155A
. It’s a photo of Hanna and Miles and Sophie. BERLIN . To Wilhelm Grimm’s house.DAY HANNA hops off the barge and waves as it chugs away. I promise no whale will gobble you up. takes it.
He looks down at the photos.
CHERRY REVISED 10/05/2010
KNEPFLER (CONT’D) What has Erik told you about me? HANNA Wilhelm Grimm’s house.WILHELM GRIMM’S HOUSE . She waits. 10559. books. WILHELM GRIMM’S HOUSE . boxes. mesmerized by the magical junk. ever so slightly.DAY
HANNA skirts along a wire mesh fence. She ducks through a rusted split in the fence and emerges into a surreal playground long disused. He opens the door wide and lets Hanna walk in. an enormous steel works spews man-made clouds into the sky. He’s as old as Erik but doesn’t wear it as well. I’ve been waiting for you a long time. antiques. She stands in front of the house in deep anticipation. but there’s something child-like about him. 158 INT. In front of her. He wobbles through the house. dusty china. the door opens and peering out at her is a man with the sad face of an out of work clown. rising above the park and surrounded by a muddy moat.
EXT.a fairytale theme ‘Fun House’ in the process of being digested by nature. She meanders through a field of toppled dinosaurs. a big ferris wheel. KNEPFLER Come. He stares at her a moment.DAY 158
It’s old and full of hoarded junk. This way. ABANDONNED AMUSEMENT PARK . heart sinking at the thought of there being no-one home. He stops to look at her and then keeps on moving. Berlin. Hanna. a very strange creature. She walks up the small steps that lead to the front door and knocks. In front of it. a tiny house . Come.
. the street light giving him a twinkle in his eye. Germany. Then. Stephanstrasse 260. their legs snapped revealing their fibreglass innards. Behind her.PINK REVISED 03/03/2010
91-93. figurines .an old man’s home. lamps.
my dear. She opens it and the coin slips from the envelope into her hand. She looks up at him to make sure she can keep. 28/03. Erik. until the coin disappears. a decorative piece. hands it to Hanna. Come. You can eat whatever you want. WILHELM GRIMM’S HOUSE . HANNA What day is it? KNEPFLER That’s today. He giggles sharing her excitement. She puts the coin in her pocket and reads: Klaus. 159 INT. KITCHEN. while KNEPFLER goes to the stove. He puts out the ingredients.PINK REVISED 03/03/2010
91-93A. Sit. My shoe? 159
.CONTINUOUS KNEPFLER Sit. KNEPFLER leads HANNA to the kitchen. KNEPFLER (CONT’D) Come. HANNA May I have one? KNEPFLER An egg? Of course. Read. But read. HANNA How did you do that? Knepfler does a few more hand movements and produces a letter. does a few quick hand movements. An antique CROSSBOW hangs by the door. You’re hungry.
KNEPFLER That’s it. See you soon. She’s very impressed. Waffles! HANNA sits at the old kitchen table on a wooden bench. He didn’t tell you about my magic? He pulls a coin from his pocket. KNEPFLER It’s yours. including a carton of eggs.
a passport. Knepfler watches her with interest and joy. KNEPFLER (CONT’D) Oh. ID cards. I almost forgot.some money. She looks inside . and pecks off the top gently. my dear.
Hanna laughs. She takes an egg.
. taps it on the table. KNEPFLER (CONT’D) A present.PINK REVISED 03/03/2010
91-93AA. KNEPFLER pulls out a buff envelope and lays it on the table.
my dear. But everything’s in order. KNEPFLER Not you. No magic. HANNA I don’t walk like that. KNEPFLER (CONT’D) ID. Don’t worry.ANNA-MARIE ELKAN. Do you sing? HANNA Papa-. Everyone else.
Knepfler continues to put together his waffles. She takes a deep breath. HANNA Did you know my mother too? KNEPFLER But of course. Hanna laughs. yes? HANNA looks at the passport with a new name . my dear. not really comprehending. A wonderful singer.Erik didn’t teach me. You look just like your Dad. she sees it. Not you. whisking eggs. the oafish gait. And you walk like him too. looks her in the face. I will teach you!
. KNEPFLER You do. Identity. You do. We need paper and computers so we don’t have to ask people their names or look them in the face. Erik didn’t tell you? HANNA Why do I need a piece of paper to tell me my name? I’m Hanna. KNEPFLER You poor child! He has truly limited you from all the wonderful things the world has to offer. dumping flour. He does a little Chaplin doing a little Erik. KNEPFLER (CONT’D) You’ll need a fresh photograph. my dear.PINK REVISED 03/03/2010
91-93B. No music. He grabs her chin. She was a singer. KNEPFLER (CONT’D) You have a good face.
opens it-. KNEPFLER (CONT’D) The park is closed. KNOCK.CONTINUOUS 160
The driver of the second car gets out and opens the back door for MARISSA. Hanna turns-HANNA Is that him? She runs to the window but instead of ERIK she sees ISAACS’ rental car and another car pull up right behind it. 161
. KNEPFLER I’m too fat to hide in this tiny house. He’s been beaten before. KNEPFLER Upstairs. RECEPTION. and rope him like a calf. KNOCK. Knepfler stumbles back as Titch and Razor run in. His gaze turns out the window. 160 EXT. but has also protected her from the horrible evil about to enter Wilhelm Grimm’s house. He pauses. HANNA Come with me. triumphant. gentlemen. Knepfler giggles.CONTINUOUS KNEPFLER points HANNA towards a set of stairs. grab him by the throat. WILHELM GRIMM’S HOUSE . 161 INT. KNEPFLER leads HANNA out of the kitchen. force him to the ground. my dear.
He brings his whisk into the air. Upstairs with you. KNEPFLER Upstairs with you. takes a breath. HANNA begins to climb the stairs while KNEPFLER approaches the front door. She gets out and looks up at the house. Quick.PINK REVISED 03/03/2010
91-93C. Upstairs. Marissa walks in behind them. his smile fades. WILHELM GRIMM’S HOUSE .Isaacs SLAMS him in the face. Erik has limited her from magic and music. looking around at the odd interior.
WILHELM GRIMM’S HOUSE . GRANDMA’S ROOM. Breathing as quietly as she can.DAY MARISSA crouches down by Knepfler’s bloody nose. he doesn’t scream.
On the bed. I have to take this call. MARISSA Herr Isaacs.PINK REVISED 03/03/2010
91-93D. ON THE CALL DISPLAY: Walt. Ring.. Erik. MARISSA When? KNEPFLER Tomorrow! Tomorrow morning. There’s lots of Eriks-MARISSA shows him a photograph of JOANNA. RECEPTION. and twists. Quickly now. but fuck it hurts. Marissa checks her phone. 163 INT. Ring. 163
. Isaacs takes a silk hanky from his pocket. ERIK and KNEPFLER outside the house.
INT. MARISSA (CONT’D) Tell me. MARISSA stands. MARISSA Where’s Erik? KNEPFLER Erik. HANNA slides under the bed. KNEPFLER She’s coming to meet him. KNEPFLER (CONT’D) I haven’t seen him in 15 years. a mannequin of a wolf in Grandma’s bed clothes. Her PHONE begins to RING.CONTINUOUS HANNA enters a room that’s been designed to look like Grandma’s bedroom from Little Red Riding Hood. WILHELM GRIMM’S HOUSE . Knepfler’s eyes widen.. grabs Knepfler by his broken nose.
ISAACS He doesn’t know much or he’s a very good liar. *
. MARISSA’S GREEN SHOES enter the room. WILHELM GRIMM’S HOUSE . Find out what else he knows.DAY 164
The sound of footsteps coming into the room. Ring. Isaacs enters. MARISSA That was quick. She just missed it. but enough. put something in his mouth. holding her breath. And. 164 INT. RING-MARISSA (CONT’D) Hello Walt. Hanna pushes herself deeper under the bed. stretches her toes. The mattress compresses. wearing his white suede loafers.
MARISSA Take him in there. Marissa kicks one off. sighs. Titch picks Knepfler up. GRANDMA’S ROOM. MARISSA Of course. darling. She looks out at the shoes. He knew Johanna. ISAACS Bits and pieces about the programme. Ring. MARISSA What does he know about Hanna? ISAACS He thinks Erik’s the father. Marissa begins to walk up the stairs. Not a lot.BUFF REVISED 19/04/2010
91-93E. They shuffle toward the bed. The door opens. the spring inches from Hanna’s face. MARISSA Well that’s rich.
ISAACS Everybody thinks Erik’s her father. She bends further.suddenly. HANNA’s eyes widen in shock. Walt-She hangs up. No. (long pause) MARISSA suddenly senses something. Hanna climbs out from under the bed and goes to a back door. Marissa answers. (pause) Listen. MARISSA (CONT’D) We all loved Lewis. peers under the bed. paces. to a fire escape. Fuck you. (pause) Oh. Marissa’s phone RINGS. Walt. MARISSA (CONT’D) He was shooting through the door. Walt. * * * *
.BUFF REVISED 19/04/2010
91-93F. She can barely control her breath. We’re inches away-. Marissa stands. If she could slam the thing down. Walt.(pause) I would’ve called it in-. Isaacs exits.(pause) That’s fine.Lewis was already dead. Hanna covers her mouth before she gasps. Walt (pause) It's an odd angle. Marissa stands. No. Did she hear an intake of breath? She crouches down. the edge of Hanna’s clothes almost visible-. The green shoes leave. I was just about to call you-Wiegler. Hello. she would. the door SLAMS. no one's there. Erik probably thinks he’s her father. MARISSA This is Marissa Wiegler. MARISSA (CONT’D) I’m not standing down.
Erik throws himself against the back wall of the kitchen. Then. Inside. he makes a run toward the house. Isaacs picking his finger nails with a bloodied knife. WILHELM GRIMM’S HOUSE . 166 EXT. The OWNER. ERIK crouches back down against the wall. Then sprints back across the Amusement Park. He suddenly stops dead and ducks behind a fallen fibreglass dinosaur as he sees TITCH still pissing. She hands him a twenty from the Euros Knepfler gave her.DAY 166
HANNA walks fast.
EXT. 167 INT. BERLIN STREET . tries not to bring attention to herself. BERLIN . the back of Marissa’s head. a Turkish man. keeping low. approaches.DAY Hanna sits at a computer. OWNER Excuse me. Then turns and rises to look through the kitchen window.DAY HANNA sees Titch pissing against a bush. HANNA How does it work? 167
. It’s at this moment that ERIK climbs the fence and jumps down into the Amusement Park. ERIK watches for a moment or two.
She runs toward the farside of the field of dinosaurs and ducks into the undergrowth and escapes without Titch stopping his stream.PINK REVISED 03/03/2010
94. INTERNET CAFE. Her mind spins .who is she? Who is Erik? She sees an internet cafe and ducks in.
.... OWNER You type whatever you want here.. “. The page fills with text: “An interfering sequence within DNA”.” There’s so much information. He logs in for her and brings up a search engine.
OWNER You’ve never used the internet? HANNA No. Is this normality? Is this the world she longed to be a part of?
.. so many lives being lived in unawareness. An article about Joanna Zadek’s death pops up..DAY 168 169 170
HANNA sits in the back of a taxi as it takes her into a grim concrete jungle of old East German housing projects. and the internet gives it to you. Search. Hanna pecks two new words: E-R-I-K H-E-L-L-E-R.. “. OWNER (CONT’D) Make sense? HANNA Makes sense.intervention into a mother’s uterus during pregnancy..” Hanna whispers to herself as she types: HANNA (CONT’D) The Heizinger buildings.PINK REVISED 03/03/2010
95.Erik Heller is wanted in connection with her death. TAXI.” and “.. He types “French mustard cream cheese” and presses SEARCH.. And presses SEARCH. She looks up at the thousands of tiny windows. 168 169 170 OMITTED OMITTED (CONTENT IN SCENE 167) INT. Hanna reads. EAST BERLIN SUBURB . He walks away as Hanna pecks out a few words: D-N-A I-N-T-E-RF-E-R-I-N-G S-E-Q-U-E-N-C-E.Zadek lived with her mother in the Heizinger buildings in the suburbs of East Berlin.
ISAAACS watches Marissa talk on the phone. Waits.Number 14. as Titch and Razor kick a flat football back and forth.BUFF REVISED 19/04/2010
96. Isaacs smiles. GRIMM’S HOUSE . ISAACS Off to grandmother’s house we go.DAY MARISSA´s phone RINGS-MARISSA Yes. Zadek. A search for DNA interfering sequence. Marissa hangs up. MARISSA She was looking for her daddy and found her dead mommy. ISAACS Leaving bread crumbs. 172 EXT. MARISSA (CONT’D) A public computer at a Berlin internet cafe.DAY HANNA gets out of the taxi and looks up at an enormous grey housing block . She approaches the entrance and looks on all the buzzers. Sees a name scrawled on one . She presses the buzzer. No answer.the Heizinger building. KATRIN ZADEK’S APARTMENT BLOCK. 173 OMITTED 173
OMITTED EXT. EAST BERLIN HOUSING 172 PROJECTS .
The kitchen seems to have been disturbed. drawers and kitchen implements are scattered across the floor. She looks around. tries to force it. HANNA quickly moves to the door.
EXT/INT. BACK OF KATRIN APARTMENT/KITCHEN. She peers through.
.DAY HANNA walks round to the back door of the apartment and approaches the kitchen window.BLUE 26/02/2010
97-100. With a sharp kick she smashes the glass and climbs through the broken glass into the kitchen. no-one’s coming. EAST BERLIN HOUSING PROJECT .
HANNA stares at the destruction wrought by MARISSA’S hunt for information.DAY HANNA walks down the hall and into the lounge. HANNA turns.O. HANNA Are you my father? He’s stern. She stops and enters. HANNA steps back. The air is thick with the buzz of Bluebottle flies. Cushions ripped. ERIK Sit down.) You won’t find anything here.
The lounge has been over thrown. HANNA sees the photograph of JOANNA. KATRIN ZADEK’S APARTMENT . passing the tiny second bedroom. She’s seen a dead body before. walks back down the hall. a lie. The room had been turned into a home office. HANNA Are you my father? ERIK Please. but it’s still disturbing. a bullet hole in her cheek. Anything that will help her understand who she is and where she came from. speckled with blood.BLUE REVISED 26/02/2010
101. ERIK (V. A man she’s known her whole life. Hanna. She stares at him. shelving pulled down. HANNA begins to search the room for clues. HANNA turns in shock. there are newspaper clippings relating to JOANNA’S MURDER and photographs of JOANNA herself covering every available wall space. Then suddenly she hears a quiet familiar voice. her father. With some trepidation she moves round the sofa and sees the body of KATRIN ZADEK.
INT. ERIK Sit down.
BLUE REVISED 26/02/2010
HANNA Are you? He YELLS. ERIK OF COURSE I’M YOUR FATHER. Hanna flinches at the loudness. He’s never yelled at her. He’s shocked by his emotion too. ERIK (CONT’D) I’m your father, Hanna. I raised you. HANNA But Marissa said... ERIK I’m your father, Hanna. HANNA You’re lying to me. ERIK I’m your father. I’ve been with you all your life. I cared for you like you were my own flesh and blood. HANNA But I’m not your flesh and blood. I’m a freak. I’m abnormal. ERIK No. HANNA Where was I born? ERIK Hanna. Please. HANNA Tell me the truth. ERIK Hanna. Erik didn’t want it to happen this way. ERIK (CONT’D) A research facility in rural Poland. HANNA What was the research?
PINK REVISED 03/03/2010
ERIK They made small changes to fertilized embryos... to improve them. She looks so young, so numb, so lost. He doesn’t want to tell her anymore. ERIK (CONT’D) To reduce the capacity for fear. For pity. Increase muscle strength. Heighten senses. Anything to make a better soldier. The perfect soldier. Hanna’s shrivelled self contradicts everything he just said. But she can’t see that. ERIK (CONT’D) I recruited your mother at an abortion clinic. HANNA doesn’t understand fully, but this is Erik’s confession more than Hanna’s education. ERIK (CONT’D) I recruited twenty women the same way. HANNA There were other children? ERIK When you were two, Marissa Wiegler closed down the program. The research was disposed of. Do you understand? She understands. ERIK (CONT’D) I love you very much. You need to know that. HANNA Because I’m a super soldier. I’m a freak. ERIK Because you’re my child. He’s about to break, he’s showing Hanna a whole range of emotions she didn’t know he had.
PINK REVISED 03/03/2010
HANNA You used me to kill a woman you hate. I don’t know Marissa Wiegler. I know you and you used me. ERIK It was the only way we could get close. Hanna. It’s the only way you and I could live in the world together, without having to always look over our shoulders. She tries to push past him, but he blocks the door. ERIK (CONT’D) We’re not finished here. HANNA I’m finished. She pushes his chest. He pushes her back. She picks up a letter opener-- lunges-He snatches her wrist. ERIK Stop this. She twists her wrist free-- attacks. Hand. Knee. Elbow. Fist. Hand. Knee. Elbow. Fist. Hand. Knee. Elbow. Fist. Furious. Fast. Tireless. HANNA Let me pass. Hand. Knee. Elbow. Fist. ERIK defends, not willing to hurt her, taking a beating he feels - rightly or wrongly - he deserves. Finally, she gets up high, clips his temple, lands on one knee-He drops, stunned. They both pant. Look at each other, more emotionally spent than physically. She gets up and runs through the kitchen and jumps over the back wall.
She slows down. ERIK Hanna. They take the bait and follow him-177 OMITTED 177
. looks at her Dad. headed directly for them. Please.PINK REVISED 03/03/2010
101D. ERIK (CONT’D) I tried to prepare you for what your life would be. EAST BERLIN HOUSING PROJECT . HANNA You didn’t prepare me for this. Hanna.
EXT. ERIK Run. but doesn’t stop. It’s Marissa and Isaacs. She turns around. KATRIN ZADEK’S APARTMENT. Erik cuts right in front of the lead car. TWO CARS speed across the estate scrublands. He turns and sprints towards the cars. wants to follow him for the briefest moment.” Erik follows. She turns and sprints. but doesn’t. ERIK (CONT’D) Hanna.DAY
HANNA rushes from the housing project into row upon row of empty clothes line “wickets.
EXITS. IN THE GAP Erik has almost reached the end. 25 yards. EAST BERLIN HOUSING-PROJECT.DAY Titch. Engines ROAR. Marissa’s car has split off and races around the otherside of Katrin’s building. 177B INT. spins into the dirt-* * * * * 178 178A 177B * *
. Erik sprints hard. Tires squeal and spin and rip up dirt. EAST BERLIN HOUSING-PROJECT. ERIK sees a narrow gap between buildings. The Balisong drops. * * 178 178A OMITTED (CONTENT IN SCENE 177A) EXT. And Isaacs trails. Isaacs gains. 75 yards.GOLDENROD REVISED 12/04/2010
102. Titch is close behind. 100 yards. ISAACS CAR . Erik EXITS first.
Isaac’s car chases Erik across the scrubland. RACES for it-50 yards. DAY. in the passenger seat. DAY. He’s not going to make it-Isaacs’ car BREAKS. as Erik just slips into the gap. THROUGH THE WINDSHIELD Titch spins open a BALISONG KNIFE and slides across the hood and SPEEDS into the gap after Erik.
EXT. TITCH I got this boss. skids sideways. disappears around the corner-Titch NEXT-Erik SLAMS into Titch.
grinding the round about on its joint. popping it like a knuckle over and over-ISAACS emerges at the gap.
as the two. twice-Isaacs falls limp. He turns around and they’re face to face for the first time in 14 years. still entwined.
* * * * * * * * * * * * * * * * * * * * * * * *
. Erik’s chest heaves. He lifts his arm in time. trying to summon the energy to stand. metal hand hold.her gun raised. closes his arm around Isaac’s hand. Erik pushes an open palm hard into Titch’s face. He’s utterly spent.once. still on the ground. He leans on it afraid to let go.Marissa . the neck twists against the metal bar-SNAP. Their bodies rock. trying to compose himself. a FIGURE approaches . He uses the round-about to stand up. Titch relaxes-The BALISONG darts out at Erik’s throat. They roll out onto a small playground and spin over each other. twist and fall. entwined. Behind him. takes the blade deep into his armpit.GOLDENROD REVISED 12/04/2010
103. grappling-Until Erik pins Titch against an old round-about. Erik pushes Titch’s neck against a thick. He stays kneeling over Isaacs body for a bit. He picks up the Balisong knife-and strides toward Erik. and flips him-Erik’s fist SNAPS into Isaacs’ nose-. his back to her.
MARISSA Why now. The muscles in her gun hand CONTRACT-181 181A OMITTED EXT. not sure he might come at her. But he doesn’t. He lets go of the round-about. Erik? He still can’t articulate his emotions. EAST BERLIN . but he tries. She looks back over her shoulder at the housing projects in the distance-She hears TWO gun shots. Slows to a dead stop. She’s solid. uses all his strength to keep himself standing.GOLDENROD REVISED 12/04/2010
104. Marissa hesitates. EAST BERLIN HOUSING PROJECTS.
* 178B 179 180 OMITTED OMITTED EXT. ERIK Kids grow up. everything goes quiet-181 181A * * * * * * * * * * * 178B 179 180 *
. CONTINUOUS HANNA’s sprint slows to a jog. Takes a few steps back toward the housing projects-Her breathing stops for a moment. STREET. no shakes.CONTINUOUS MARISSA with her gun still aimed. She’s perfectly hardened over.
On Kurfürstendamm. 200D 183-184 185-200B 200C
. VOICE (filtered) We have contact. A window full of Cell Phones.
EXT. a new CCTV angle. negotiating the sidewalks of the financial district.GOLDENROD REVISED 11/04/2010
105-117B. She passes a tall windowed structure full of porsches. Flick. MARISSA’S POV: A voice on the radio crackles. and then Hanna.. 183-184 OMITTED 185-200B OMITTED 200C EXT. A window full of Mannequins dressed in lingerie. North-east. EAST BERLIN. Out the passenger side window. Giant glass and steel buildings mix with ancient architecture.. As she turns a corner. Drunk party goers in Prenzlauer Berg. Titch and Isaacs lie in statuesque positions of rigour. alone. WASTELAND. aimless. BERLIN. NIGHT. unsure. ON CCTV Channels flick and pan. She seems lost. traffic jams near and around Alexanderplaatz. NIGHT. Throngs of human beings engulf her.
Erik’s body spins slowly round and round on the old roundabout. Everything is so big and Hanna is so small and alone... Flick. Flick. Walking east.. VOICE Contact has turned south on Joachimsthaler Str. Marissa is gone. CAR. the car slows and watches as Hanna opens the door to a SUPERMARKT and walks in. 200D INT..
She shuffles through all the packaged food. Brisket. Hanna pulls a PEPSI from an ice bed and cradles it like a doll. Hanna´s face is dirty and so are her clothes. Hanna has never seen her before. CLASSICAL MUSIC. loin. Hanna looks up to a WOMAN’s face.) (in German) Turkey and cheese sandwich.S. the sound off. the rows of produce. ribs. Marissa.
. Fluorescent light hums. NIGHT. MARISSA (O. the ornaments of a plastic wilderness.GOLDENROD REVISED 12/04/2010
105-117C. the hair products.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
The ceilings are low and the plumbing exposed. There’s an eating area. Down one aisle. Hanna thinks. a shape passes by . CLERK (in German) Do you want something? She stares at the meat. HANNA (in German) I don’t know. She digs into her pockets and pulls out the shiny magic coin.perhaps a woman with green shoes carrying a red basket. HANNA (in German) Is it good? MARISSA (in German) I like it. BERLIN SUPERMARKT. She hesitates. Hanna rides a moving walkway down into the mouth of the basement level. A TV hangs from the ceiling and plays 24 hrs news. she doesn’t want to give it away.
INT. clinically clean case of meat. Hanna stops and stands in front of a well lit. Just over the hum of the fluorescent.
GOLDENROD REVISED 12/04/2010
CLERK (in German) You can’t use that. It’s not real. HANNA (in German) It’s real. Marissa lays 50 Euros on the counter. MARISSA (in German) Two sandwiches please. HANNA (in German) Thank you. Hanna picks up her sandwich tray and sits at a table, her back to the television. She lays the MAGIC COIN onto the table top and watches Marissa walk from the till and take a seat a few tables away. Marissa opens her sandwich and picks off all the vegetation. Hanna does the same. Marissa closes it and proceeds to cut it into quarters. Hanna does the same. Marissa takes one quarter, eats it. And Hanna does the same. MARISSA (in German) So? Do you like it? Hanna`s mouth full. HANNA (in German) Very much. Marissa smiles, she’s almost human. She picks up her tray and stands. MARISSA (in German) May I sit with you? Hanna nods, her mouth brimming with food. Marissa walks over to Hanna.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * *
* * *
GOLDENROD REVISED 12/04/2010 105-117E.
Something wonderful, gentle, maybe Bach, plays. Marissa sits, smiles at her. They stare at each other, listen to the music. The atmosphere and food make Hanna feel warm and safe. HANNA (in German) Did you know the blue whale’s "music" can be heard for over 500 miles? MARISSA (in German) No. I didn’t know that. HANNA nods. HANNA (in German) It’s true. She fights the tears. MARISSA (in German) What’s wrong, sweetie? Are you in trouble? Hanna pokes at the quarters of her sandwich, running through the horrible adventure she’s endured. MARISSA (CONT’D) (in German) I’m sure there’s no problem we can’t fix. HANNA (in English) Nothing is what I thought it would be. It’s all... ugly and cruel... MARISSA looks past Hanna, at the TV, at ERIK’S MUG SHOT. Hanna licks mayo off her fingers, picks up the coin, fiddles with it, tears brim in her eyes. HANNA (CONT’D) (in English) And... and... I don’t know what I want anymore. Or what I am. I’m all alone now... She looks up into Marissa’s hollow face, looks for someone to understand how she feels, but Marissa is still looking past her at the TV. Hanna turns, but Marissa grabs her chin, hard, and forces it to stay. * * * *
GOLDENROD REVISED 12/04/2010 105-117EA.
MARISSA (in English) You’re not alone Hanna. I’m here now. Hanna stands, shocked by Marissa’s awkward touch and the sound of her name on a stranger’s lips. The MAGIC COIN falls, bounces, spins. She BACKS AWAY, crashes into a row of apples. They spill and bounce across the shiny, white floor. CLERK (in German) Hey. Hanna looks up at the mug shot of her father on TV and back as the coin spins and apples roll into Marissa’s GREEN SHOES. Marissa smiles. MARISSA (in English) Don’t do anything stupid, darling. Hanna doesn’t know where to look. Her father on TV. Marissa Wiegler. MARISSA (CONT’D) Hanna. CLERK (in German) What’s going on? Who will clean this up? MARISSA Hanna. Hanna still frozen. Marissa reaches out to her-Hanna knocks her hand away and stumbles toward the moving walkway. She falls and the walkway pulls her up, pulls her away from Marissa. ON THE MAGIC COIN As its spin turns into a slow wobble--
* * * * * * * * * * * * * * * * * * * * * * * * * * * *
The mushrooms hang like bodies from the ceiling. HANNA Mr. WILHELM GRIMM’S HOUSE.
. Grimm? The interior is very dark.GOLDENROD REVISED 12/04/2010 105-117F. HANNA (CONT’D) Mr. NIGHT. 200F
Hanna sneaks over the fence and scurries through the property and into the house.
* 200F EXT/INT. Grimm? And then there is a body hanging from the ceiling. Hanna stands in front of Knepfler. Everyone in her world is gone. staring up at him.
And a soft voice. She touches it gently. THE FRONT DOOR The handle JIGGLES.she approaches an impossible gap-. KNOCK. DAWN. She’s still very strong. 200H
Hanna throws the CROSSBOW over her shoulder. Hanna back peddles.leaps-. 200G
Hanna grabs the CROSSBOW from the wall. stares at her. LEAPS into the moat. AMUSEMENT PARK. She can’t load the CROSSBOW but she can feel the hallway fill with a presence she can’t see. kneels by his face. His head moves. rotted wood breaks away as she lands-. trips over Knepfler’s body.KNOCK. Grimm.lands on the far shore still running. MARISSA Hanna. runs into the KITCHEN as THE FRONT DOOR OPENS-200G INT. peaks out. She lays him on the mirrored floor. WILHELM GRIMM’S HOUSE. KITCHEN.PINK REVISED 03/03/2010
105-117G. She opens the back door and dashes out-200H EXT. HANNA (CONT’D) I’m sorry Mr.
. looks at it. ghastly. lands onto the backs of a few paddle boat swans. freezes. a grey dawn. Marissa at the front door-. Listens. Both of them floating in a false sky. OUTSIDE the sun RISES. turns and faces the hallway to reception.
She unties the rope holding him up and eases him down. her eyes dancing back and forth between the CROSSBOW and the empty hallway. DAWN. and PULLS HERSELF up onto a decomposing gang plank. She fumbles with a BOLT. She SPRINGS over wide gaps. She struggles up. She creeps toward the window. trying to slide it into place. Hanna jumps up.
HANNA (CONT’D) It’s over now. MARISSA Don’t worry sweetie. finding each tie with a blind foot. The bullet strikes Hanna in the hip. Don’t walk away from me. but corrects herself into a firing position. Just let me go.
. I can help you. keeps the CROSSBOW aimed. She takes each tie two at a time-IN FRONT OF HER.
She sprints across the grounds. GREEN SHOES step out of the tunnel-Marissa smiles. The bolt strikes Marissa in the chest.PINK REVISED 03/03/2010
105-117H. enters a SPARSE forest full of overturned. aims it at the wide part of Marissa’s chest. HANNA Please. MARISSA I just want to talk. MARISSA Hanna. I don’t want to hurt anyone anymore. She sprints along a train track. Don’t come any closer. Hanna tries to STOP. HANNA Don’t. her gun in her hand but aimed sideways. MARISSA (CONT’D) HANNA. Marissa RAISES her gun-Hanna flinches. blood pours out of her side. Marissa fires. Hanna stands. It winds into a clearing and rolls out across the middle of a man made pond and into the dark mouth of a miner’s tunnel. FIRES. the crossbow falls into the water. Marissa growing frustrated. she stumbles to her knees. once pink TRAIN CARS. She walks back. Hanna getting farther away. swings the crossbow off her shoulder. Hanna falls onto the tracks.
YELLOW REVISED 17/03/2010
Hanna struggles to sit up-. Marissa has disappeared. She trips up an IRON WROUGHT spiral staircase. mud speckles her face. HANNA I just missed your heart. Hanna removes the pistol from Marissa’s hand. She emerges through a hatch and crosses into a mausoleum the exposed. She looks up at the grey sky. POP. face up. *
. always looking back as she’s moving forward. Light sneaks into all the cracks and holes and catches the dust in the air. into CAMERA. She turns back into the darkness..adapt or die. and then slides. she rolls once. CUT TO Marissa climbs a utility ladder..her green shoe slips.. She takes a deep breath. AT THE MOUTH OF THE TUNNEL. Hanna slowly approaches and crouches by Marissa’s face. panicked-. Marissa stares at her. A SHADOW moves-She steps back. rams the bolt deeper into her chest. man made slope. stands. She runs her hand along Marissa’s body in toward the wound. A small breeze catches the blossoms and pulls them to the ground like snowflakes. quickly. her body limp like Millais Ophelia. a few inches of the bolt sticking out of her chest. the pain unbearable. This is the way the world works. She sees her. until she’s standing at the top of a steep. falls. stares down the staircase. into a foot deep puddle of murkiness. she twists..and fires-. .POP. CUT TO BLACK. She hears Hanna coming down the slope. ready to be put out of her misery. perforated innards of a giant rocky mountain.
O.) (CONT’D) (from the encyclopedia) The Earth is the third planet from the Sun and the fifth-largest of the eight planets in the Solar System. 201-205B OMITTED 201-205B
HANNA (V.PINK REVISED 03/03/2010
O. SOPHIE Morning handsome.
EXT. glowing. DAY. still there. A wide shot of the CABIN.. It’s all as it was.Earth is the only place in the universe where life is known to exist.. reading the POSTCARD. HANNA (V.. PLANET EARTH. The few possessions they brought with them. And the fire pit. And their hand made furniture.) . 206A INT. DAY. He hands her a POSTCARD. It’s a bright summer’s day. NORTH FINLAND.. CABIN. LONDON . THE FAMILY’S HOME.. On the front.YELLOW REVISED
Sophie comes out in her school uniform. As she walks down the garden path. NORTH FINLAND.) Sixty five million years ago. Sophie knows exactly who it’s from. wisps of smoke rise from its chimney. 206A 206
. She walks down the street and the vast cityscape of LONDON spreads out in front of her. FOREST. 206 EXT. Sophie opens the garden gate. there’s nothing on the back. she reaches and meets the Postman. old and worn.O. HANNA (V.
He’s bigger.) (CONT’D) . He’s watching Hanna.. He races ahead. it recovered. 206C
.. HANNA (V. She’s standing over Erik’s WOODEN CHEST. NORTH FINLAND. DAY. staring at something. She chases him through the skinny trees. 206B
The Fox pup is on Erik’s bed. HANNA (V.PINK REVISED 03/03/2010
119.) Scientists consider it to be one of the world’s all time worst days. THE END.. 206B INT. remembering. She pulls out his GIANT COAT and hugs it. She over takes him and he struggles to keep up.
.O... the pup follows. It’s all still there.) Nevertheless.and the scars in the wood marking Hanna’s height. DAY. an adolescent now. a bow strapped to her shoulder. She leads him into the forest...O. ERIK’S ROOM . Lanky and awkward. Hanna steps out of the cabin. She smiles. The smell wraps around her. 206C EXT.. her father’s coat on. HANNA (V.O.seventy per cent of the earth’s living species were extinguished when the earth was bombarded with asteroids. But the room is empty.