V FOR VENDETTA

Written by Larry and Andy Wachowski

Based on the graphic novel by Alan Moore

FADE IN: In the darkness, we hear a voice, a woman's voice. name is vey. EVEY (V.O.) !"emember, remember, the #i#th o# $ovember, the g%npowder treason and plot. I know o# now reason why the g%npowder treason sho%ld ever be #orgot.! Her voice has a strength that is metered by a calmness, a deep centered peace that we can #eel. EVEY (V.O.) &hose were almost the very #irst words he spoke to me and, in a way, that is where this story began, #o%r h%ndred years ago, in a cellar beneath the Ho%ses o# 'arliament. In the darkness, we #ind a lantern. dangero%s man who wears a goatee, is str%ggling with a wheelbarrow stacked with barrels o# g%npowder. EVEY (V.O.) In *+,-, (%y )awkes attempted to blow %p the Ho%ses o# 'arliament. &he wheelbarrow b%mps over the heavy stone mortar o# the cellar #loor. )rom the dark depths, we hear the so%nd o# dogs. EVEY (V.O.) He was ca%ght in the cellars with (%y )awkes, a Her

eno%gh g%npowder to level most o# London. (%y sees lanterns coming #rom both sides. as the dogs reach him #irst. do.ens o# pole a/es pin him against the t%nnel's stone wall. EVEY (V.O.) 0ometimes I wonder where we wo%ld be i# he hadn't #ailed. I wonder i# it wo%ld have mattered. In the dim pre1dawn light, (%y is led to the gallows. EVEY (V.O.) I s%ppose the answer is in the rhyme. More than the man, what we m%st remember is the plot itsel#. &he coarse noose o# rope is sn%gged %p to (%y's throat. He looks into the crowd %ntil he #inds a #ace, a woman's #ace, staring %p at him. EVEY (V.O.) )or in the plot we #ind more than 2%st a man, we #ind the idea o# that man, the spirit o# that man, and that is what we m%st never #orget. &he lever is thrown and the woman looks down, a tear #alling down her #ace. EVEY (V.O.) &his, then, is the story o# that idea, o# that spirit that began with an anarchist's plot #o%r h%ndred years ago. (%y's body hangs in silho%ette, li#eless against a red morning s%n. FADE OUT. FADE IN: INT. SUBURBAN HOUSE He grabs #or his sword as He tries to r%n

A yo%ng Barbie's hair.

vey sits on her #ather's lap, combing her

EVEY (V.O.) I was born near the end o# the millenni%m, the year *334. My #ather %sed to say that people were so a#raid that the world was going to end that they were willing it to happen. Her #ather sits beside her mother on the living room co%ch, watching the news. is bad. EVEY (V.O.) I don't remember m%ch o# the cent%ry's t%rn. I don't remember the market crash or the plag%e or any o# the &ra#algar riots. &he television #lickers with images o# heavily armed soldiers #ighting in a shelled city. EVEY (V.O.) I've read abo%t them since b%t I don't recall how any o# them impacted my li#e e/cept #or the #ear. &hey wo%ld hide it #rom me, like a secret between them. Little vey sees her #ather staring at her mother. &hey take hold o# each other's hand, clasping them tight. EVEY (V.O.) B%t I co%ld #eel it. EXT. i# they were waiting #or a parade. EVEY (V.O.) 5# the chaos that seemed to swallow the beginning o# the 6*st cent%ry, there is one thing I do remember. vey holds her #ather's hand. coming, 7nable to see what is CITY STREET 'eople are gathered along the street as )rom the look on their #aces, the news

It is a new day.

she can hear it. EVEY (V.O.) 8ery clearly, I can remember that so%nd. We hear them, h%ndreds o# marching soldiers. EVEY (V.O.) And I remember those boots, black leather that gleamed bright in the morning s%n. I had never seen s%ch boots. All moving in per#ect %nison. Little vey hides in the #orest o# ad%lts, clinging to her #ather's leg, staring as row a#ter row o# boots march by with military precision. EXT. party calling itsel# $orse#ire, we #ind little #ather's sho%lders. crowd. DASCOMBE &he time has come, London, to ret%rn to a bygone age, an age o# tradition, an age o# val%es that have been disparaged and all b%t #orgotten. What this co%ntry needs is a leader: A tr%e leader to remind %s o# that age. A righteo%s leader with the strength o# his moral convictions to do what m%st be done. I give yo% that man: I give yo% o%r leader: Adam 0%san: Adam 0%san rises and the crowd cheers. looks at her mother and again they clasp hands. EVEY (V.O.) It m%st have seemed so easy to them. &hey o##ered s%ch a simple deal; give %p control and we will restore order. INT. SUBURBAN HOUSE vey's #ather vey now on her CITY STREET

In the midst o# a political rally #or the emerging new

9ascombe, a yo%ng man, paces the podi%m, inciting the

Little

vey is asleep in her bedroom. EVEY (V.O.) At #irst, the arrests were political. 9issidents. "adicals. Liberals.

A lo%d crash o# splintering wood wakes her %p. EVEY (V.O.) When my parents were yo%nger, they had been activists. &hey had marched with Labor in the great train strike. &he so%nd o# heavy boots swarms thro%gh the ho%se. LITTLE EVEY Mommy< Her bedroom door b%rsts open and a heavily armed soldier scoops her %p. 0he is carried thro%gh the dark ho%se which is #illed with soldiers. 5n the #loor o# the living room, she sees her parents being bo%nd with plastic .ip1ties. MOTHER My da%ghter: 9on't take my da%ghter: vey: Mommy: heads as vey is carried o%t o# the ho%se. EVEY (V.O.) I never saw them again. 5vernight, my li#e, my entire world was erased. INT. and several other little girls scr%b the #loor o# a dormitory bathroom. BATHROOM vey FATHER vey: LITTLE EVEY 9addy:

A heavy black hood is p%lled over each o# her parent's

A n%n with a switch in her crossed arms watches as

EVEY (V.O.) It was done so =%ickly and violently, so completely, that it began to seem that it had never even e/isted. A tear rolls down Little EXT. HOUSE vey's cheek.

A gay man is dragged violently #rom his 'iccadilly home. 5%tside, he sees his lover being #orced to the cobblestones. EVEY (V.O.) &he homose/%als were ne/t. What (od had started with AI90 had to be #inished by man. It was (od's work. &hat's what we were told. He reaches #or him as the cl%bs rise and #all, vicio%s and bloody. EVEY (V.O.) B%t once they were gone, there was someone else. 0omeone di##erent. In another neighborhood, we see the police arresting 'akistanis. EVEY (V.O.) 0omeone dangero%s. In a di##erent area, yo%ng black men are packed into a caged van so tightly they are %nable to move. EVEY (V.O.) &here were those who %nderstood what was happening, who knew it was wrong b%t who kept silent. A yo%ng detective named )inch looks down as the van p%lls away. When he looks %p, another man in a military %ni#orm whose name is Almond is watching him. EVEY (V.O.) And in the vac%%m o# that silence, order was imposed. )inch sticks his pipe in his mo%th and t%rns away. EXT. STREET

Again, we see the marching boots. EVEY (V.O.) 5rder that was like those boots, order that re=%ired rigoro%s discipline. 5rder that is e/actly the same, where each single step #alls with every step. &he order o# the many shaped into one. We move thro%gh the col%mns o# marching soldiers to a wall where a poster has been plastered %p. &he poster reads, !0trength &hro%gh '%rity, '%rity &hro%gh )aith.! EVEY (V.O.) 0omehow in my heart, I knew it wo%ldn't last. As the so%nd o# the marching #ades, a shadow #alls over the sign. A#ter a moment, we hear the hiss o# spray paint. EVEY (V.O.) What they tho%ght they had cr%shed, the spirit they believed trampled and gro%nd beneath the marching o# their boots, rose %p, rose as i# #rom a #o%r h%ndred year old grave, rose to remind %s all that day. &he shadow sprays a !8! over the poster. FADE OUT. FADE IN: >lose on a lo%dspeaker. street corner. FATE (V.O.) (ood evening, London. It's nine o'clock, the #o%rth o# $ovember in the year 6,*3 and this is the voice o# )ate broadcasting on 64- and 6?o# the medi%m wave. Beneath the lo%dspeaker is a s%rveillance system labeled, !)or yo%r protection.! B%bble eyed lenses iris at the end o# stalks that move, insect1like, racheting and clicking as they watch a little &here is one on every ma2or

girl pedal her bicycle. &he little girl glances nervo%sly over her sho%lder %p at the mechanical eyes watching her. FATE (V.O.) 'eople o# London, be advised 11 EXT. EVEY'S APARTMENT

&here is a radio on a small make%p table. FATE (V.O.) 11 that Bra/ton and 0treathon are =%arantine .ones as o# today. vey is now a yo%ng woman. 0he slips into a dress that is little more than a nightgown. 0he tries to ad2%st it, p%lling it down at the hem, p%lling it %p at the thin sho%lder straps, b%t it is like trying to hide behind a lamppost. FATE (V.O.) It is s%ggested that these area be avoided #or reasons o# health and sa#ety. INT. SHADOW GALLERY

Another radio in a room that seems to be o# another world. FATE (V.O.) (ood news #ollowing the prod%ctivity reports #rom Here#ordshire indicating a possible end to meat rationing starting mid )ebr%ary. A man enters the room as he once entered the world. body is lean and strong and tho%gh we do not see his #ace, there is a strength in his carriage, a power to his presence. INT. heels that are too big #or her. FATE (V.O.) 'olice raided seventeen homes in the Birmingham area, %ncovering what is believed to be a ma2or terrorist ring. EVEY'S APARTMENT His

0he packs tiss%e paper into the toes o# a pair o# high

INT. o#

SHADOW GALLERY

We move over a dressing b%rea%, past a wig and over a pair black leather gloves, moving %ntil we #ind the mask; it is like something #rom the mas=%erade ball o# another era. It has an e/aggerated goatee, harle=%in cheeks and a smile, #orever #i/ed, at once be1g%iling and be1deviling. FATE (V.O.) &wenty eight people, eight o# them women, are c%rrently in detention awaiting trial. INT. into the mirror, her make%p like a mask over her own #ace. FATE (V.O.) And that is the #ace o# London tonight. INT. into the mirror. &his is 8. FATE (V.O.) And this is the voice o# )ate signing o## and bidding yo% a pleasant evening. EXT. CITY STREET SHADOW GALLERY EVEY'S APARTMENT 0he stares

vey coats her lips with a lascivio%s red.

&he man, now #%lly dressed in cloak, hat, and mask ga.es

>lose on vey's high heels, st%mbling and awkward as she walks down a dark cobblestoned street. EXT. that it seems they are walking towards each other. EVEY (V.O.) I don't know what bro%ght %s together that night. I had never been to that part o# Westminster b%t ever since I've known him, I've CITY STREET

>lose on 8's boots walking in the opposite direction so

stopped believing in coincidence. EXT. CITY STREET

vey looks %p and sees a man standing mostly in shadow. EVEY /c%se me< 7h... e/c%se me, Mister< &he man t%rns aro%nd. It is not 8.

EVEY Wo%ld yo% like... %h, wo%ld yo% like to sleep with me< He smiles. EVEY I mean, #or money. MAN &hat is the cl%msiest bit o# propositioning I've ever heard. EVEY 5h god, I'm sorry. MAN Is this yo%r #irst time, darling< EVEY @es, no, I mean #or money. B%t I know what yo% want and I'll do it. 0he presses her body to his, %sing her little girl eyes and her woman's mo%th. EVEY Anything yo% want, mister. 'lease, I need the money. I know I'm yo%ng b%t I promise I know what I'm doing. MAN $o. @o% don't know what yo%'re doing. He p%lls o%t his wallet and shows her a badge. o# it knocks the breath o%t o# her. EVEY &he sight

>hrist, yo%'re a )ingerman. FINGERMAN 1 (ive the little lady a pri.e. FINGERMAN 2 I've got something to give her. vey t%rns and there are more )ingermen behind her. FINGERMAN 1 'rostit%tion is a class H o##ense. Anow what that means< It means that we get to e/ercise o%r own 2%dicial discretion 11 FINGERMAN 2 And yo% get to swallow it. &he )ingermen la%gh. EVEY 5h god, please. It's my #irst time. 'lease don't h%rt me. FINGERMAN 1 (osh, #ellas, look at those big innocent eyes. What do yo% think< FINGERMAN 3 0pare the rod, spoil the child. )ingerman 6 la%ghs hard as he drops his pants. EVEY 5h no: He shoves her #ace #irst against a brick wall, li#ting her dress to e/pose her bottom. EVEY 'lease, don't: FINGERMAN 3 @o% heard the man, sweetie. rod's #or yo%r own good. 0%ddenly, they are no longer alone. V !&he m%ltiplying villainies o# nat%re do swarm %pon him.! FINGERMAN 3 &his

What the hell 11 V !And #ort%ne, on his damned =%arrel, smiling, showed like a rebel's whore.! FINGERMAN 1 We're police o##icers, pal. FINGERMAN We're with the )inger. FINGERMAN 3 0o b%gger o##: V !9isdaining #ort%ne with his brandished steel, which smoked with bloody e/ec%tion.! In the clenched #ist o# black leather, we see a #lash o# steel. FINGERMAN 1 He's got a kni#e: 8 attacks and at once we know this is no normal h%man being. A single blow sends the largest o# the )ingermen #lying backwards. B%t more than his strength, it is his speed. A g%n is cocked b%t be#ore the hammer #alls, a kni#e is b%ried in the )ingerman's chest and 11 Be#ore the body #alls, the kni#e is gone. It takes a hand#%l o# seconds and three bodies lay on the gro%nd. 8 t%rns to the last )ingerman who is str%ggling to p%ll his pants %p. FINGERMAN 3 Bes%s >hrist: 9on't h%rt me: 8 steps #orward and he screams, bolting while holding his pants %p. V (ood evening. EVEY

Who 11 Who are yo%< V Me< I imagine all manner o# names shall be heaped %pon my h%mble visage b%t, #or now, let %s simply say I am the villain. He throws wide his cloak and bows deeply to her. V And yo% wo%ld be< EVEY vey. V 5# co%rse. &hey hear sirens r%shing towards them. scoops her %p and dashes into the shadows o# a narrow alleyway. EXT. with the dead )ingermen. 8 watches them #rom above. EVEY Why did yo% do that< yo%... help me< V Why indeed< He takes o%t an old anti=%e pocket watch. midnight. V Almost time. EVEY )or what< V )or the m%sic. EVEY M%sic< V It is almost Why did ROOFTOPS In a blink, he

'olice cars and several amb%lances swarm over the area

@es, m%sic. My m%sic. @o% see. vey, I am a per#ormer. EVEY Is that why yo%'re wearing a mask< V We all wear masks. Li#e creates them and #orces %s to #ind the one that #its. 9o yo% know what day it is< EVEY 7h... $ovember #o%rth. V $ot #or long. He looks o%t where, rising above the roo#tops, he can see Big Ben. V !"emember, remember, the #i#th o# $ovember, the g%npowder treason and plot. I know o# no reason why the g%npowder treason sho%ld ever be #orgot.! &he second hand sweeps into the #inal min%te. V &ell me, vey, what good is an actor that plays his part to an empty theatre< EVEY I don't know. V $or do I. &hat's why yo% are here. I need yo%, vey. I need someone to listen. EVEY &o yo%r m%sic< @es. V @es, to my m%sic.

)rom his sleeve, he p%lls a cond%ctor's wand. V >an yo% hear it< It's already

beg%n. He begins to lightly tap the wand in the air and, very #aintly, we hear it. EVEY I can't hear anything. V At #irst, yo% have to listen very care#%lly... He contin%es to cond%ct and we begin to hear the m%sic, violins and horns that seem almost like a whisper or a wind that steadily swells. V Ahh, yes. &here it is. is it not< the m%sic rises and we recogni.e &chaikovsky's *?*6 overt%re. &he m%sic mo%nts a clima/ and 8 points the wand at Big Ben as cymbals crash 11 Big Ben e/plodes with s%ch #orce the world seems to shake, while 11 8, smiling, always smiling, points again with another crescendo and 11 &he stat%e o# 2%stice is blown to smithereens. 8 nods in appreciation while m%stering the m%sic towards it's #inale as #ireworks begin lighting %p the sky. EVEY 5h my... verywhere across the city, people stand trans#i/ed by the da..ling shimmer o# the #ireworks %ntil 11 A strobing #inal blit. leaves a single, starry image #loating in the smoke #illed sky. It is the letter 8. EVEY Bea%ti#%l,

He t%rns to the parapet, his gest%res growing grander as

It's bea%ti#%l... V &hank yo%. )rom every direction, the city screams with the panicked so%nd o# sirens. EXT. NEW GOVERNMENT BUILDING

A massive modern b%ilding that is the seat o# the new government. A long, black car p%lls %p to the entrance. gets o%t, wearing a long black trenchcoat over his pa2amas. is the Leader and he looks older, heavier, and meaner. He h%rries past the heavily armed g%ards, barely acknowledging the snap and cock o# their $a.i1like sal%te. INT. LEADER'S OFFICE He Adam 0%san

&he Leader enters his main chambers and we see the )ate comp%ter system. It is a cerebral corte/ #or a vast intelligence network. In#ormation can almost be #elt co%rsing thro%gh its hard drives. &he Leader sits, at once regaining a meas%re o# compos%re. He takes a deep calming breath and accesses the system. 9o.ens o# monitors #ill with images #rom all across the city, most o# them are o# the damage ca%sed by 8. LEADER (entlemen, I will hear yo%r reports now. Mr. Heyer, speak #or the ye. >onrad Heyer appears on one o# the screens. He is at his desk inside the command center #or the ye, the governmental organi.ation responsible #or the vis%al s%rveillance systems. CONRAD We have less than two min%tes o# %sable #ootage, Leader. It took the s%spect less than a min%te to dispatch the )inger's vice patrol.

5n an insert screen, we see grainy #ootage o# 8 resc%ing vey #rom one o# the pole1mo%nted cameras. CONRAD As yo% can see, the s%spect's re#le/ speed is e/traordinary. is his strength. over his sho%lder straight into the camera. LEADER )ree.e it: &he Leader stares at the smiling #ace. CONRAD I'm a#raid the mask makes retinal identi#ication impossible. Mr. B%nny h%ge spooling reels o# a%diotape wind constantly. ETHERIDGE We were able to triang%late the origin o# the #ireworks. We also are c%rrently monitoring a lot o# phone s%rveillance indicating a high percentage o# conversation concerned with the e/plosions. All s%spect or signi#icant transcripts are being #orwarded to Mr. Almond. LEADER 8ery good. Mr. )inch, speak #or the $ose. )inch, no longer the same yo%ng man, stands at the site o# the #ireworks la%nch. FINCH &hanks to theridge, we #o%nd the la%nch #or the #ireworks. &hese appear to be individ%ally weighted #lares and we have #o%nd traces o# the same chemicals at both o# the detonation sites which leads %s to concl%de that, despite a level o# LEADER theridge, report #or the ar: Behind him,

As

As the last body #alls, 8 seems to pa%se and looks back

theridge appears on another screen.

sophistication, these devices are all home1made with over the co%nter chemicals, making them impossible to trace. Whoever he is, Leader, he's good. LEADER &hank yo% #or that pro#essional annotation. An intercom opens. LIEUTENANT (V.O.) Leader, Mr. Almond has arrived. LEADER 8ery good. (entlemen, keep me in#ormed o# any #%rther developments. ngland prevails. &hey answer in %nison as Almond enters the o##ice. #ace is harder b%t he has the same violent gleam in his eye. &he Leader t%rns in his chair. LEADER Mr. Almond, do yo% know what this is behind me< ALMOND 7h... the )ate comp%ter system, sir< LEADER $o. $o sir. It's more than that. &his, this comp%ter is a symbol, Mr. Almond. A symbol o# the highest attainable goal o# mankind. 9o yo% know what that goal is, Mr. Almond< Almond does not. &he Leader leaps #rom his chair while po%nding the desk. LEADER >ontrol, Mr. Almond: >ontrol: &he world aro%nd %s is a changing, directionless, amoral morass and it is %p to man and man alone to set things right: He moves aro%nd the desk at Almond. His

LEADER Witho%t control, man is nothing more than any other stinking, sweating, br%te animal. >ontrol, Mr. Almond. &he control that we have painstakingly b%ilt %p over the last ten years. $ow, do yo% %nderstand what happened last night< ALMOND We... lost control. LEADER @es, Mr. Almond. Last night someone did the %nthinkable. 0omeone h%rt %s. It is imperative that we act swi#tly and precisely. I want that man #o%nd, Mr. Almond. I want his head or, by god, I'll have yo%rs. INT. SHADOW GALLERY

vey is wearing a blind#old and 8 leads her by her #ingertips, g%iding her almost as i# they were dancing... His #ingers slip #ree o# her and she reaches o%t. Wait. EVEY I've lost yo%.

V $o, yo% haven't. He is behind her and he removes the blind#old, revealing his ho%se to her. EVEY 5h... It is a labyrinth o# interconnecting %ndergro%nd t%nnels and rooms. &he gallery is the main room as it is #illed with an ama.ing collection o# h%man c%lt%re. &here is art that spans #rom the renaissance to the painted covers o# erie comics, literat%re that ranges #rom 0hakespeare to 0pillane, philosophy #rom 'lato to B%kowski, and a vast collection o# non#iction.

&here are movie posters everywhere and an entire wall is lined with videocassettes. A 2%kebo/ stands in #ront o# an enormo%s vinyl and >9 collection o# m%sic. EVEY A 2%kebo/< Where did yo% get it< V I saved it. Like everything here.

0he p%nches a b%tton and Billie Holiday begins to sing. EVEY 5h, it's bea%ti#%l. I've never heard anything like it. V 5# co%rse not. @o% grew %p in their world. Art is created by individ%als and there are no individ%als in a world where yo% are told what to think. EVEY &his place is ama.ing. V @o%'re welcome to stay. 0he stops s%ddenly and looks at him. terribly e/citing b%t it is so %nlike anything she has ever done that it's almost impossible to imagine. EVEY 0tay here... with yo%< @es. V I# yo% like. &he o##er is

EVEY I... I don't even know yo%r name. V I don't have a name. call me 8. 8< EVEY 8... I like that. B%t yo% can

And she ret%rns his smile. EXT. !ORDAN TOWER

&he only operating broadcast tower in London; home o# the Mo%th. INT. RADIO BROADCAST BOOTH

Lewis 'rothero leans #orward and lets his voice po%r like syr%p over the microphone. PROTHERO (ood morning, London. &his is the voice o# )ate 11 9amn. He stops and co%ghs. PROTHERO (ood morning 11 ack. (ood morning Lond11 (oddammit: Where is my bloody tea<: In the control booth, "oger 9ascombe, his hair thinner now, r%bs his temple. DASCOMBE Wo%ld someone get his lordship his bloody tea< He clicks on the microphone. DASCOMBE Lewis, they want this report on the #irst ho%r 11 PROTHERO I know. I know. 9amned inconvenient this entire a##air. )ine. Let's try again. He clears his voice and the red !record! light t%rns on. PROTHERO (ood morning, London. It is + am, the #i#th o# $ovember 6,*3 and this is the voice o# )ate. &he new day brings good news and bright prospects #rom overseas, where negotiations with $ew >hina are moving in a positive direction. Last night's sched%led demolition o# two deteriorating landmarks went

o## witho%t a hitch. 9ascombe is %nable to stop himsel# #rom smiling. PROTHERO 0pokesman #or the Interior ministry said both str%ct%res were severely damaged and 2%dged to be a danger to the %ns%specting p%blic. 'lans #or new landmarks are well %nderway. 'rothero sits back, shaking his head. PROTHERO 9o yo% believe this crap, 9ascombe< DASCOMBE It's not o%r 2ob to believe it, Lewis. 5%r 2ob is to tell the people 11 PROTHERO ! /actly what they tell %s.! I Anow b%t do yo% think that people will believe it< DASCOMBE &hey will i# it's yo% that's telling it to them. $ow let's try it again. INT. SHADOW GALLERY

8 is alone, listening to the #irst morning broadcast. PROTHERO (V.O.) ... plans #or new landmarks are already well %nderway. He clicks o## the radio. and peers into he sh%ts the door. EXT. TRAIN STATION vey's new bedroom. C%ietly, 0he is #ast asleep, looking remarkably at peace. Walking down a hall, he stops

'eople are h%rrying to board a departing train. INT. TRAIN CAR

'rothero is staring o%t his window. PROTHERO !"emember, remember, the #i#th o# $ovember...! He talks to his bodyg%ards almost as i# talking to himsel#. PROTHERO 9o yo% s%ppose that's why he did it< BODYGUARD 1 0ir, who did what, sir< PROTHERO (%y )awkes. He tried to blow %p 'arliament. &he g%ards look at each other, con#%sed. PROTHERO 9on't they teach history in school anymore< BODYGUARD 1 0ir, we're both straight military, sir. BODYGUARD 2 0ir, yes, sir. I was #ighting in Ireland by the time I was si/teen. PROTHERO @es, o# co%rse. My mistake. He t%rns back to his window. EXT. RAILROAD

&he train r%mbles along, heading #or a t%nnel. INT. TRAIN CAR

'rothero watches the co%ntryside rolling past. PROTHERO I love trains. I remember riding the %ndergro%nd with my #ather. 0hame they sh%t them all down. Bodyg%ard * looks o%t the opposite window 2%st as the train

enters the t%nnel. BODYGUARD 1 What the hell's that: EXT. TRAIN

)or a #lashing instant, we see 8 in silho%ette, cloak swirling aro%nd him like dark wings as he 2%mps #rom the bridge onto the train. INT. TRAIN CAR

'rothero and Bodyg%ard 6 stare at Bodyg%ard *. BODYGUARD 1 I tho%ght I saw a man 2%mping onto the train. BODYGUARD 2 &he train's doing almost seventy. It wo%ld break his legs. BODYGUARD 1 @o%'re right, I... It m%st have been rags. EXT. roo#tops. INT. 2%st as 8 swings down, smashing #eet #irst into the cab. INT. 'rothero. PROTHERO (et o## o# me: A moment later, the lights are c%t o## and the entire train is pl%nged into complete darkness. BODYGUARD 2 What the #%ck is going on< BODYGUARD 1 TRAIN CAR CONDUCTOR'S CAB He peers %p TRAIN

9eep in the t%nnel, a dark #ig%re glides across the

&he cond%ctor hears something on the roo#.

&he brakes s%ddenly lock, throwing Bodyg%ard 6 into

Lock the car doors. PROTHERO I have a lighter... somewhere... BODYGUARD 2 I can't #ind the lock 11 wait. wha11 Hey

&here is a m%##led shriek #ollowed by a sharp snap. BODYGUARD 1 What's happening 11 &here is another so%nd, like the leather slap o# a bo/er po%nding a heavy bag, #ollowed by the so%nd o# the heavy bag collapsing onto the #loor. PROTHERO I #o%nd it: He #licks on the lighter and, in the dim light o# its #lame, he sees the smiling #ace. PROTHERO 5h god. 8 sits cas%ally, arms #olded, across #rom 'rothero. bodyg%ards lay dead on the #loor. PROTHERO Who are yo%< What do yo% want< Money< Is that it< 8 2%st smiles. PROTHERO Wait, wait. @o%'re, yo%'re the one that blew the Bailey. 8 nods and 'rothero's eyes go wide. PROTHERO @o%'re making a mistake. nobody 11 I'm He kills the &he

5n the #loor, he sees the bodyg%ard's g%n. lighter and dives #or it.

In the darkness, we hear the str%ggle. It ends =%ickly. When the lighter #licks back on, 8 is holding it and the g%n.

PROTHERO 5h god, what do yo% want< V I've come to o##er yo% a choice. >ommander 'rothero. PROTHERO What 11 What did yo% call me< V >ommander 'rothero. 'rothero's heart begins to po%nd. V &hat was yo%r title at Larkhill. @o% remember Larkhill, don't yo%, >ommander< EXT. LAR"HILL RESETTLEMENT CAMP # FLASHBAC"

A sign reads, !Larkhill "esettlement >amp.! V (V.O.) Where they sent the %ndesirables. A caged tr%ck packed with minorities rolls into the gates which are topped with spools o# ra.or wire. INT. TRAIN CAR

'rothero is sweating. PROTHERO I don't know what yo%'re talking abo%t. V Maybe I can help yo%r memory. Let's see. Larkhill opened in the s%mmer o# 6,,3. @o% were appointed it commander. @o% wore a %ni#orm in those days. @o% looked very good in it. INT. LAR"HILL # PROTHERO'S OFFICE # FLASHBAC"

'rothero admires his %ni#orm in the mirror. V (V.O.) @o% were a man o# many responsibilities. @o% made s%re

Larkhill made all its =%otas, especially the oven =%otas even tho%gh they re=%ired an e/cessive amo%nt o# maintenance. EXT. o# black ash #rom a series o# #%rnace like ovens. As the shovels li#t, we see blackened bones and b%rnt sk%lls. EXT. LAR"HILL MAIN YARD # FLASHBAC" LAR"HILL OVENS # FLASHBAC"

We see a detail o# black and Indian men, shoveling mo%nds

'rothero sa%nters thro%gh the lines o# camp prisoners. V (V.O.) B%t there was one task yo% took to with e/ceptional relish. "emember the medical block, >ommander< I believe yo% called it the #%nny #arm. @o% were the one that selected the prisoners. @o% hand picked each one. 'rothero steps in #ront o# a woman who remains bea%ti#%l despite the s%##ering she has end%red. 'rothero smiles. PROTHERO Her. As the g%ards grab her, we become aware o# a man that is staring at 'rothero. He is one o# the prisoners b%t we do not see his #ace. 'rothero notices the man. is staring at him. PROTHERO @o%. INT. TRAIN CAR He doesn't like the way the man

'rothero is terri#ied. @o%: 8 nods. PROTHERO PROTHERO @o%'re him, aren't yo%<

5h my god: do<

What are yo% going to

V @o% gave %s a choice, remember, >ommander< @o% said we co%ld cooperate with the doctors or... 8 cocks the g%n. V Hold o%t yo%r hand. &rembling, 'rothero sticks o%t his hand. die #or a moment. metal syringe #illed with a m%rky li=%id. PROTHERO 5h no, no: 'lease I was 2%st doing what I was told: V 5# co%rse yo% were. $ow I'm telling yo% to make a choice. ither yo% stick that syringe into yo%r neck or 11 He presses the g%n barrel to 'rothero's #orehead. V I can kill yo% right now. 'rothero begins to bl%bber. V >rying doesn't help, >ommander. I remember there was a woman who had been screaming #or two days. @o% winked at the doctor and la%ghed, !All in the name o# science.! PROTHERO 'lease, don't make me do this... V It's a di##ic%lt choice, isn't it< >ertain death vers%s something that might be... worse. B%t yo% never know. &here is still a chance. @o% co%ld s%rvive. Look at me. $ow, time's %p, >ommander. >hoose. 8 lets the light

When he #licks it back on, 'rothero is holding a long,

Anger galvani.es his #ear and steadily 'rothero li#ts the needle towards his neck. PROTHERO I'll see yo% in hell. He 2ams the needle in and sinks the pl%nger. @es. INT. TRAIN V I'm =%ite s%re yo% will.

&rain workers with #lashlights h%rry thro%gh the cars. TRAIN MAN &his door's locked: He slams a sho%lder against it and the door gives in. TRAIN MAN Holy >hrist: )lashlights sweep over the dead bodyg%ards. &he train man hears a strange g%rgling rasp and he t%rns, #inding 'rothero in his light. TRAIN MAN What happened here< 'rothero is #oaming at the mo%th while a thick m%c%s b%bbles #rom his nose. His breath comes in tiny rasps. TRAIN MAN (ood lord: I need a medic here. 'rothero becomes more animate, trying to tell the man something. PROTHERO )i... )i... )i... TRAIN MAN 2 He's trying to say something. PROTHERO )ive. )ive< TRAIN MAN 1 Where's the goddamn medic<

PROTHERO "oom #ive. 0%ddenly, his body conv%lses and blood po%rs o%t his ears. His body sl%mps over. TRAIN MAN 2 I think he needs a priest. EXT. TRAIN STATION

&he station is swarming with police. A stretcher wheels a body in a black plastic bag o%t #rom 'rothero's car. INT. painted on the wall o# the train carD a !8! with a circle aro%nd it. DOMINIC What do yo% make o# this, Mr. )inch< 9ominic, )inch's yo%nger assistant, is holding a #lower in his r%bber gloved hand. FINCH Hmm. It's a rose. carson, I believe. DOMINIC 0trange< FINCH I didn't think they still e/isted. SOLDIER Mr. )inch: 0ir: )inch t%rns as a soldier with a radio steps into the car. SOLDIER 0ir, they want yo% at head=%arters, sir. FINCH $ow< SOLDIER @es, sir. I'm to transport yo% immediately. A violet 0trange. TRAIN CAR

)inch p%##s on his pipe, staring at something spray

FINCH 0end the rose to the lab. Also, scrape a sample o# this paint and have it analy.ed as well. I'll be back as soon as I can. INT. LEADER'S OFFICE

&he door opens and )inch steps in. LEADER Ah, Mr. )inch. I sent #or yo% beca%se what I have to say cannot be said over a phone or a radio. What I have to say cannot leave these #o%r walls. 9o I make mysel# clear< FINCH @es, sir. LEADER I believe in a #ew things, Mr. )inch. I believe in god. I believe in the destiny o# the $ordic race. And I believe in #ascism. &he romans invented #ascism. &hey had a symbol #or it; a b%ndle o# twigs bo%nd together. 5ne twig co%ld be broken b%t a b%ndle wo%ld prevail. &hat is the heart and so%l o# #ascism. 0trength in %nity. I tell yo% these things knowing #%ll well that they make yo% %ncom#ortable. FINCH Well, I... LEADER @o% have in #act e/pressed yo%r discom#ort in several arrest reports, arrests that were, in yo%r opinion, !%nnecessary.! &he #act that yo% are here, that yo% are not rotting in a prison cell, is a mark o# my respect and admiration #or yo%, #or yo%r cra#t, and #or what yo% have done #or this co%ntry. )inch looks at the gro%nd. LEADER It is also beca%se I know yo%,

)inch. I know what yo% are. @o%'re a man like me. A man who %nderstands when they are given a 2ob what m%st be done. I %nderstand yo%, )inch, and that is why I can tr%st yo%. He moves in close to )inch. LEADER &his terrorist knows %s, )inch. &hese attacks are per#ectly calc%lated and they are divisive. He knows what he's doing, )inch. He knows %s all too well. FINCH @o% think he's an insider< LEADER What I think is that this man m%st be stopped. 0topped at all costs and no one, I repeat, no one is to be placed above s%spicion. 9o I make mysel# clear< FINCH 'er#ectly. LEADER ngland prevails, Mr. )inch. FINCH ngland prevails. INT. SHADOW GALLERY

vey, alone in the 0hadow (allery, stares %p at the inscription above the crooked staircase. EVEY 8, v, v, v, v. V I hear yo%r s%mmons, my lady. obey. And

0he 2%mps, 8 s%ddenly appearing behind her. EVEY 5h, 8, yo% scared me. 0he t%rns back to the carving.

EVEY I was reading the inscription. What is it< V A Latin =%otation. A motto. veri venivers%m viv%s vici.! the power o# tr%th, I, while living, have con=%ered the %niverse.! 0he nods. EVEY @es, I s%ppose yo% have. &his place is the only %niverse I have right now. V 9oes that bother yo%< EVEY I don't know. I'm so grate#%l to yo% 11 I 2%st #eel I sho%ld help yo%, yo% know, the way yo%'re helping me. I mean, that's the deal, isn't it< 8 dri#ts over to the big old W%rlit.er, #ingers scanning the song list. V $o deals, vey. want them. begins to play. EVEY I think I do. 'art o# me wants to stay here #orever and never have to #ace what's going on o%tside. B%t that's not right. Is it< &hat's not taking responsibility. $ot con=%ering my %niverse. 0he t%rns to him. EVEY I want to help yo%, 8. I want to do something. >an we make a deal< $ot %nless yo% !8i !By

0he looks %p at the inscription as an old bl%es song

V @es. I think we can make a deal i# yo% like. I think I know a way yo% co%ld help me very soon indeed. vey smiles nervo%sly. (ood. EVEY &hat's that, then.

&he bl%es song c%rls in the air aro%nd them like a heavy incense. EVEY 8, yo% said that Latin thing was a =%ote. Who said it< V $obody yo%'d have heard o#. A (erman gentleman named 9r. Bohn )a%st. He spins her. V He made a deal too. EXT. as the #inal mass o# the day has ended. &he tide slowly po%rs o%t onto the sidewalk, separating aro%nd the cl%mps o# people that conglomerate to network and gossip. >h%rch bells toll in the orange d%sk above them. Helen Heyer, a woman whose spite and g%ile are hidden behind her looks and clothes she drapes them with, charges into the gossipers, her trophy h%sband in tow, a timid looking man that we recogni.e as >onrad Heyer. CONRAD Hello, "osemary. 9erek, how 11 WESTMINSTER ABBEY # DAY

&he ch%rch doors have opened with the #low o# parishioners

Helen's head snaps over at the mention o# the name. HELEN 9erek:

0he p%shes past >onrad, giving 9erek Almond an e/%berant kiss on both cheeks. HELEN 9arling, how are yo%< "osemary. nervo%sly as she straightens her drab ch%rch dress. ROSEMARY Hello. DERE" It's so good to see yo%. 0ince this bloody terrorist b%siness, the old man has me literally chained to the o##ice. Helen po%ts at him. HELEN 5h, yo% poor dear. 9erek taps the bottom o# his cigarette bo/, drawing one with his lips. DERE" It comes with the 2ob. How are things in the ye, >onrad< CONRAD Well, we've been working some b%gs o%t o# the new Mark IE #iber optic network, act%ally 11 HELEN 5h, >onrad, don't be s%ch a bloody bore. 9o tell %s abo%t the terrorist, 9erek. Is it tr%e he blew %p Big Ben and the old Bailey< DERE" I'm a#raid so. We're dealing with a pathological psychotic in the most e/treme case. We'll catch him tho%gh. I promise. Helen r%bs her white sable against her body. Hello,

Always behind her h%sband, "osemary Almond smiles

HELEN 5h, it so%nds dread#%lly e/citing. Aren't yo% glad yo%'ve got s%ch a r%thless, implacable br%te #or a h%sband, "osemary< ROSEMARY @es, well 11 HELEN Believe me, yo%'re l%cky. @o% co%ld be str%ck with a pro#essional peeping tom like >onrad. ngland's highest paid voye%r, aren't yo% darling< CONRAD Helen, I think we'd better 11 HELEN 5h yes, o# co%rse. We have to get back so the little pervert can watch what the neighbors do a#ter 0%nday l%nch. He's so e/citing. 9erek la%ghs as they climb into their car. HELEN >iao: DERE" (oodbye, Helen. >onrad.

"osemary waves as it p%lls o##. ROSEMARY 0he's a bit hard on him, isn't she< 9erek sneers at her. DERE" 7ntil yo%'re hal# the woman o# Helen's sophistication, I'd keep yo%r little mo%th sh%t. He throws the cigarette at her #eet. DERE" "eally, 2%st look at the way yo% dress. INT. WESTMINSTER ABBEY

)rom above, a hand sweeps aside the red pl%sh c%rtain.

LILLIMAN Ah, there they go. My happy and contented #lock. 0pirit%ally re#reshed and ready to #ace the world again. Bishop Anthony Lilliman is a slender man o# pio%s elegance with a warm, bea%ti#%l smile. He t%rns #rom the window to his valet, 9ennis, as 9erek and "osemary get in their car. LILLIMAN 9id yo% en2oy the sermon today, 9ennis< DENNIS 8ery inspiring, yo%r grace. &ho%gh the seg%e o# the #orces o# 0atan among %s did strike me as a bit o# a c%rio%s digression. He whisks a lint br%sh over the Bishop's robes be#ore p%tting them away. LILLIMAN Hmm, yes. A tri#le p%rple, I tho%ght. 0till, )ate wanted it incl%ded and who are we to =%estion the will o# the almighty, miserable sinners that we are< A gentle smile spreads across his mo%th. LILLIMAN And speaking o# sin, I wonder which o# the seven deadlies the good lord will see #it to tempt me with today. 9ennis #inishes with the Bishop's robes and sweeps the closet door sh%t. DENNIS 'erhaps pride, yo%r grace. Lilliman ch%ckles. LILLIMAN I was thinking o# something a

little less ethereal. yo%ng lady arrived<

Has the

DENNIS &he agency in#ormed me she'll be here directly. However, there was a mi/%p. It's not one o# the %s%al girls. 0he's a little older. 5h dear. tr%st< LILLIMAN 5h dear. $ot too old, I

DENNIS &hey promise me she's no more than #i#teen. LILLIMAN )i#teen, hmm. &he Bishop r%bs his cheek, pondero%sly. LILLIMAN Ah well, i# Bob co%ld bear his disappointments, I s%ppose I m%st have the good grace to bear mine. 0how her in when she arrives. DENNIS @es, yo%r grace. EXT. a ta/icab p%lls into the circle drive. INT. BISHOP'S $UARTERS WESTMINSTER ABBEY # NIGHT

A pair o# headlights melt thro%gh the heavy night's #og as

9ennis peers into the Bishop's living =%arters. DENNIS &he yo%ng lady, yo%r grace. LILLIMAN 5h my: 0tanding ne/t to 9ennis is s%mmer dress, pigtails and bows and white r%##led socks. LILLIMAN And to think I do%bted yo%r loveliness #or even an instant. vey, wearing a #rilly pink

Mea c%lpa, my child, mea c%lpa. @o% are a vision. An angel. vey smiles awkwardly. EVEY 7h... thank yo%. EXT. on the thick mist like a dark phantom. 8 glides toward the rectory, cloak %nd%lating against the dark, wet wind. INT. BISHOP'S BEDROOM WESTMINSTER ABBEY # NIGHT

A shadow begins moving across the manic%red gro%nds borne

It is e/travagantly #%rnished, somewhere between posh and pimp. &he Bishop is sitting very close to vey on his pl%sh water bed. LILLIMAN 5# co%rse, !hate the sin, love the sinner.! I always say. &ake yo%r dress o##, please. vey stammers, backing %p along the bedside. EVEY Listen 11 I was kind o# hoping 11 He paws at her, groping hands p%shing the #ront o# her dress down as she backs %p against the nightstand. EVEY $o 11 EXT. MAIN GATE # NIGHT

&he g%ards look o%t into the night, #ear s%ddenly gripping their #aces. 8 emerges demonically thro%gh the parting veils o# #og, the white smiling mask bobbing eerily %p and down as he r%shes them. A cigarette drops #rom the #irst g%ard's mo%th, red embers e/ploding when it hits the wet cement. >lose as the two g%ards claw #or their arms and the white hot

#lash o# 8's knives 11 &hat slice like talons. &he two men cr%mple to the gro%nd, cl%tching their gaping, g%rgling wo%nds. A whisper. 8 sprints into the co%rtyard. INT. BISHOP'S BEDROOM

vey grabs a metal table lamp and swings it down on the Bishop's head. &here is a sh%ddering clank and he collapses to the #loor. LILLIMAN @o% 11 @o% #ilthy whore: His blood speckles the white bearskin throw r%g as the Bishop slowly rises a#ter the retreating vey. LILLIMAN I'll kill yo%, yo% #%cking sow. He charges a#ter her b%t #ree.es dead in his tracks as 8 swings aro%nd the corner in #ront o# him. LILLIMAN What's this< Who 11 V 'lease allow me to introd%ce mysel#... 8 bows. V I'm a man o# wealth and taste. LILLIMAN 9ennis< Instantly, the point o# one o# 8's knives is against the Bishop's throat. 8 presses a #inger to his #ro.en smile. V 0hh. It isn't polite to dist%rb the dead on their 2o%rney. vey watches #rom aro%nd the corner. V A co%rtesy I'll most respect#%lly

e/tend to his grace. EVEY V% Lilliman swallows a%dibly. EVEY 8, what are yo% doing< V 8i veri venivers%m viv%s vici, vey. vey looks down at the knives on his belt, dripping blood. EVEY 5h no. 0he begins backing to the door. EVEY @o% can't kill him: V 9eath has #ollowed his grace the whole o# his career. Is it any coincidence it has #inally #ollowed him here< EVEY 5h god, 8. I can't 11 I can't 11 8 t%rns back to Lilliman as V Let %s pray. EXT. WESTMINSTER ABBEY # NIGHT vey r%ns.

vey sprints past the dead g%ards at the man gate and into the #og. INT. THE EAR

A cramped control room that looks like something between a radio and television switching room, tho%gh it does not broadcast. It receives. &wo operators sit at the main s%bstation as the so%nds o# lovemaking come over the speakers. &he moans are sti#led and low, however, as i# they were a#raid someone was listening.

OPERATOR 1 Bloody hell. 9oesn't anybody #%ck with #eeling anymore< 5perator 6 does not look at him, scrolling thro%gh an intricate city map on his comp%ter. OPERATOR 2 Hey, it's 0%nday. >hildren's ho%r over at the Abbey. OPERATOR 1 Let's see what that #ilthy old pervert is %p to. 5perator * p%nches in some coordinates and the so%nd over the speakers changes to a garbled #art o# noise. &wo voices drown beneath a cacophony o# classical m%sic. OPERATOR 1 What the 11 He tries to dial o%t the backgro%nd and s%ddenly the voices rise clearly above the din. VOICE 1 ... And I saw a black shape against the #lames. 5h god. It's yo%. &he man #rom room #ive. @o%'ve come 11 VOICE 2 &o collect what's mine. VOICE 1 I beg yo%: I don't want to die: 'lease have mercy: &he two men look at each other, 5perator * l%nging #or a red phone. OPERATOR 1 (et me the )inger. &his is an emergency: EXT. pile o# a 'ersian r%g. It is encircled in police chalk. BISHOP'S $UARTERS # NIGHT

>lose on a stain o# white vomit and blood on the thick

'%ll back to reveal the chalk o%tline where the body o# Bishop Lilliman was #o%nd. &he circled bloodstain #loats above the head like the last word balloon o# a cr%de comic strip character. &he Bishop's =%arters is slowly being picked over by a #orensic team #rom the $ose. A photographer's #lash b%rsts against a painted !8! on the wall near the body o%tline. At the window, )inch chews on his pipe, staring at a plastic evidence bag that contains a single violet carson rose. DOMINIC $o prints yet, sir. 'rothero. B%st like

FINCH I want those tapes #rom the my o##ice tonight, 9ominic. @es, sir. command at the )inger.

ar in

DOMINIC &hey're on top o# it.

)inch t%rns to a m%sc%lar man named >reedy, second in

FINCH Any word #rom yo%r s%perior, Mr. >reedy< CREEDY Mr. Almond doesn't seem to be answering his page, sir. I'm s%re he's in the #ield. FINCH C%ite. INT. CONRAD HEYER'S BEDROOM

(r%nting like an animal, 9erek's #ace is #ro.en, locked in the rigor o# a violent orgasm. A#ter a moment, he collapses beside Helen onto the sweat soaked sheets. HELEN &here yo% go, baby. $ow my baby boy can think so m%ch clearer. >an't he<

0he grabs her cigarette case and her lighter. HELEN @o% have been thinking, haven't yo%< 0he straddles his chest then lights two cigarettes. HELEN I know yo% have. ver since this terrorist appeared. He smiles as she p%ts one o# the cigarettes in his mo%th. HELEN 5h 2es%s, that smile. &hat smile t%rns me on like nothing else. 0he whispers in his ear. HELEN &ell me. &ell me what's going on in that r%thless sadistic brain o# yo%rs. DERE" veryone is so worried abo%t the terrorist. specially 0%san. @o% know why< Beca%se nobody knows what he's going to do. He e/hales thro%gh his grinding teeth. DERE" I# I were him, I know what I'd do. He whispers. DERE" I'd blow that #at bastard to kingdom come. Helen bolts %p. $o. Am I< He smiles, blowing more smoke. DERE" &here's an old train line %nder the HELEN @o%'re kidding. DERE"

$ew (overnment B%ilding. It collapsed when they po%red the #o%ndation. @o% co%ld ha%l in eno%gh &$& to la%nch o%r Leader's ass all the way to the moon. Helen's eyes gleam as he la%ghs. HELEN @o%'re serio%s, aren't yo%< He eyes her s%cking on the cigarette. DERE" @o% need to be care#%l, Helen. @o%r mo%th is going to get yo% into tro%ble one day. HELEN Is that the same tro%ble yo% love p%tting in my mo%th< DERE" @o% never know who might be listening. HELEN I know, 9erek. @o% love yo%r co%ntry and yo% love yo%r party, 2%st like yo% love yo%r wi#e. He glares at her. HELEN 9erek. I'm sorry. I know I can be a bitch. B%t that's why yo%'re here, isn't it< He smiles again and she presses her body to his. HELEN &his is it, isn't it, 9erek< What we've been waiting #or. At last, yo%'ll be rid o# 0%san. I'll be rid o# >onrad. And we'll be #ree. )ree, won't we< His eyes close as he grinds his hips into hers and we rise, dri#ting %p to the ceiling light #i/t%re 11 Where we see a tiny hidden microphone. INT. FINCH'S OFFICE # THE NOSE

)inch sits at his desk, staring into the silence o# his notepad. He has doodled a little !8! with a circle aro%nd it. He looks %p as 9ominic enters, holding %p a portable cassette player. DOMINIC 0orry it took so long. &he boys had a devil o# a time trying to #ilter o%t the backgro%nd noise. FINCH Backgro%nd noise< DOMINIC &he perpetrator apparently t%rned on the Bishop's stereo. 0%bse=%ently, a great deal o# the tape is %seless. He hands the player to )inch. FINCH What m%sic did he play< DOMINIC Beethoven. &he #i#th, I believe. )inch smiles. FINCH 9a, da, da, d%m. Morse code. DOMINIC 0ir< FINCH )or the letter !8!. )inch p%nches !play!. 5ver the small speaker, we sear r%n. He stops it. vey protesting to 8, then &hat's code.

FINCH Anything on the girl yet< DOMINIC $o. &he agency said somebody claiming to be Lilliman's valet

canceled his 0%nday appointment. )inch starts it again and this time the tape is very #%..y. FINCH What is it< DOMINIC 6Frd 'salm. We recogni.e some o# the words tho%gh m%ted and crackly. TAPE (V.O.) &ho%gh I walk thro%gh the valley o# the shadow o# death... DOMINIC It goes on like that #or a while. )airly incoherent e/cept we co%ld make o%t a #ew words in this part. &rans%bstantiation. )inch nods, %nderstanding. DOMINIC &hat miracle b%siness when the wa#er trans#orm into the body o# >hrist. FINCH He made him eat a host. DOMINIC @es, listen to this part. &he tape becomes somewhat clearer as the m%sic rests. TAPE (V.O.) ... And at the moment this enters yo%r mo%th it becomes the #lesh o# the savior< @es... please... And whatever it is made o# now it will become the body o# >hrist< @es... yes... &hey eye each other. TAPE (V.O.) I want yo% to swallow it. DOMINIC &here's a co%ple o# #%nny h%man noises...

FINCH And then 2%st Beethoven's #i#th. He sh%ts o## the tape. FINCH We have got the initial path report back. &he host was #%ll o# cyanide. )inch picks %p the bag with the violet carson. FINCH And do yo% know what< He rises, sliding into his 2acket. FINCH When it reached his abdomen, it was still cyanide. INT. the chest o# a corpse. It is one o# the Bishop's g%ards. DELIA 9o yo% have a motive< )inch is standing ne/t to the cadaver g%rney with the coroner, 9elia 0%rridge. 0he is a serio%s woman, hair wo%nd tight behind her head in a severe b%n. DELIA I mean, was anything taken< 0he #ills the dead man's head with cotton and replaces the top o# his sk%ll. FINCH B%st lives. '%lling at the man's scalp, she stretches it over the replaced sk%ll piece. FINCH I know it's too early #or yo%r pro#ile b%t do yo% have any initial impressions< DELIA MORGUE

>lose on the heavy stitching o# a !@! incision sewn into

Well... 0he points at a 2agged p%nct%re wo%nd at the base o# the man's stern%m with a ball point pen. DELIA He's incredibly power#%l. &his man's stern%m was split like dry wood #rom the base all the way %p to the man%bri%m. )inch peers into the hole. DELIA And he's reso%rce#%l. 5n that table behind yo% is a breakdown o# all the chemicals #o%nd in 'rothero's blood stream. )inch he#ts the pile o# comp%ter paper. FINCH Bloody hell. DELIA &here were h%ndreds o# di##erent chemicals in him. )rom trinitrotol%ene to estrogen to motor oil. He #lips thro%gh the doc%ment, biting into the wooden end o# his pipe. FINCH 'erhaps )ate will make something more o# all this. I certainly can't. DELIA &he Leader #inally a%thori.ed an %plink #or yo%< He m%st be getting nervo%s. FINCH C%ite. (overnment directed terrorism never sews healthy ideas into the p%blic. 5h, that reminds me. )inch p%lls the evidence bag #rom his pocket. FINCH >an yo% tell %s anything abo%t

this< 9elia's eyes lock onto the violet carson. FINCH We #o%nd one in the carriage with 'rothero and this one in the Bishop's =%arters. A violet carson. He hands it to her. FINCH I heard that strain had died o##. &ho%ght a botanist might shed some light on it. 9elia< 9elia, riveted to the rose, s%ddenly looks %p to him. DELIA @es 11 @es, o# co%rse. Magic. FINCH I'll drop by tomorrow then.

He t%rns, leaving her with the rose. INT. SHADOW GALLERY

8 rela/es with a book in an overst%##ed reading chair, a violet carson rose resting on a table ne/t to him. He begins to read a passage alo%d. V !&here is more behind and inside o# 8 than any o# %s had s%spected. $ot who, b%t whatD what is she<! He places the book down. the 0hadow (allery. EXT. EMPTY STREET &homas 'ynchon's !8!.

8 rises, li#ting the rose and moving into the darkness o#

A small #ig%re moves down the dark wet street, the cobblestones glistening like black scales. &he h%ddled #ig%re arcs across the street in the shadows, avoiding the pools o# streetlight. It is vey, a #rightened look on her #ace.

INT.

"ITTY "AT "ELLER

A woman in combat boots, #ishnets, and a tight #itting soldier's %ni#orm is in the middle o# a cheeky n%mber on stage in this smoky b%rles=%e bar. It is a pop%lar place with locals and )ingermen. 'eter >reedy s=%ee.es thro%gh the crowd, angling #or the back o# the bar where a n%mber o# lo%d )ingermen are drinking. CREEDY What's all this, then, Harper< I get a radio that a man's down and in need o# assistance< HARPER I ain't gone down yet b%t I s%re do need some assistance. >reedy leans in. CREEDY Are yo% #lat broke already< &hey break %p in la%ghter, led by >reedy who sits ne/t to Harper, po%ring himsel# a drink. LOUT How'd yo% sneak away, >reedy< Almond o## b%ggering that blonde chippy< HARPER &he one with the tits< &hey all begin to hoot and whistle. CREEDY What I wo%ldn't give #or a piece o# that. LOUT 0he co%ld serve a tray o# drinks on those thingies. HARPER I bet yo% get yo%r chance with her sooner than later, >reedy, with the way Almond's crackin' %p. LOUT Bloody b%gger's losing his marbles.

HARPER &errorist or no, i# that bastard gives me another do%ble shi#t, I'll stomp his #%cking head. >reedy raises his drink. CREEDY Aye. &his nonsense has p%t a serio%s strain on my drinking. I think I was act%ally sober today. LOUT I'll drink to that. HARPER We need to get a real man o# the people in that director's position. Like >reedy here. veryone cheers in agreement. CREEDY Well, it's good to know when the shit hits the #an who yo%r real #riends are. &hey sal%te and drink. INT. ALMOND HOME

9erek Almond sits h%nched %nder a desk lamp, p%mping the cylinders o# his revolver with a wire br%sh. "osemary sh%##les %p to him, her #r%mpy gown gathered aro%nd her. ROSEMARY 9erek 11 He blows down one o# the cylinders, not looking %p. DERE" I don't want to hear it, "osemary. ROSEMARY 9erek, please: We can't carry on like this. 9erek stares at the g%n, rage b%ilding. ROSEMARY

@o% don't talk to me. @o% don't eat with me. @o% don't have se/ 11 9erek leaps %p, sl%gging her. "osemary clatters to the gro%nd in tears. over her. 9erek glowering

DERE" I don't have to take any crap #rom yo%: I have that #at bastard riding me all day. I don't want to listen to yo%, so sh%t yo%r #at gob: He leans into her #ace. DERE" And me not wanting to #%ck yo% is obvio%s. &ake a look at yo%rsel#. He sits back in #ront o# the g%n, wiping it down. DERE" (et o%t o# my sight. my g%n. INT. DELIA SURRIDGE'S HOME I'm cleaning

9r. 0%rridge sits somberly in the dark, street light #iltering in #rom the open c%rtains. Her eyes #i/ed on the violet carson as she slowly t%rns it over in her hands, #ingers tracing the so#t petals. A#ter a moment, she stands, letting it #all #rom her lap. INT. FINCH'S OFFICE # THE NOSE

)inch t%rns as 9ominic b%rsts in. DOMINIC I got it: FINCH A connection< 9ominic waves a printo%t. DOMINIC Larkhill "esettlement >amp. 'rothero's and Lilliman's employment records show they both help positions there at similar

times. FINCH What abo%t codename 8< DOMINIC Most o# Larkhill's records were destroyed #or sec%rity reasons b%t I did %ncover an old standard proced%res and operations man%al. 9ominic smiles. DOMINIC In special case st%dies, medical research gro%ps %sed roman n%merals to identi#y test inmates. FINCH )ive is the letter 8. 9ominic. Brilliant,

)inch slides in #ront o# his comp%ter. FINCH All we need is Larkhill's employment records. INT. in a light, %neasy sleep. 0%ddenly, an eye pops open as she awakens, catching a #amiliar scent. 0he slowly sits %p and inhales. DELIA "oses. 0he closes her eyes. DELIA It's yo%, isn't it< kill me. )rom the shadows, 8 answers. V @es. &ears begin to streak her #ace. DELIA @o%'ve come to DELIA SURRIDGE'S BEDROOM

&he covers p%lled protectively %p aro%nd her, 9elia rests

5h thank god. INT.

&hank god.

FINCH'S OFFICE # THE NOSE

9ominic hangs over )inch's sho%lder as Larkhill's employment record comes %p. )inch's mo%th #alls open. FINCH 5h my god. "ow a#ter row o# names scroll by at the end o# each bio are the wordsD deceased, #ile closed. FINCH 5h bloody hell. &he data banks %n#%rl like a mass grave. DOMINIC He's killed them all< possible. It's not

)inch stops, staring at the one name whose #ile is not closed 11 FINCH 5h no. 9r. 9elia 0%rridge. INT. DELIA SURRIDGE'S BEDROOM

8 #loats on the edge o# the room's shadows, a dark angel. V Are yo% a#raid< DELIA $o, no. I tho%ght I wo%ld be, b%t I'm not. I'm 11 0he looks at the hovering, smiling mask. DELIA "elieved. 0he starts to cry again. DELIA 5h god, all these years. All this

waiting. And somehow I always knew yo%'d come back. 9elia thinks back. DELIA When I saw yo% that night 11 the night yo% escaped, yo% were standing against the #lames and yo% looked straight at me. &he mask almost nods. DELIA I knew then that one day yo%'d come looking #or me, that yo%'d #ind me. Her voice drops to an almost con#essional whisper. DELIA What 11 what happened at Larkhill. What we did 11 What I did. &hat terrible knowledge, it's been with me so long. &hat I co%ld do things like that. 9elia r%bs the salty tears #rom her eyes. DELIA )or years, I blamed it on the government, on the a%thority I co%ld never stand %p to. B%t living so long with the knowledge o# what I did has made me %nderstand otherwise. I alone was acco%ntable. 8 watches her. DELIA &here is something wrong with %s. With all o# mankind. With me. 0omething evil that made me en2oy what I did. 0ome hideo%s #law. Her voice almost trails o##. DELIA We deserve to be c%lled. deserve it. INT. ALMOND BEDROOM We

Light sweeps across "osemary #rom the opening bedroom door as she sobs so#tly in bed. 9erek enters, holding a bottle o# whiskey and his clean g%n. 0he sits %p as 9erek looms over her. 9erek< cringe as he slowly p%lls the trigger. DERE" Bang. >lick. It is empty. DERE" 9on't worry, "ose. it. &he phone rings. DERE" $ot tonight. He grins evilly at her and answers the bedside phone. Almond. DERE" What<: Where< I didn't load ROSEMARY What< Her eyebrows

He li#ts the g%n into her br%ised #ace.

9erek's dr%nk eyes light %p. DERE" 5h god, yes: (od, thank yo%: He slams the phone down, charging o%t o# the room. EXT. they pass a small #ig%re. INT. cat calls #or the line o# high stepping, semi1clothed girls on stage. "ITTY "AT "ELLER "ITTY "AT "ELLER

A gaggle o# dr%nks e/it the bar, la%ghing and singing as

vey wanders into the bar amidst the l%st#%l screams and

0he stares o%t into the crowd, not s%re why she is here when a man approaches herD >reedy. he has had a #ew drinks. CREEDY @o% look lost. 0he looks blankly at him. CREEDY >an I b%y yo% a drink< EVEY $o... I made a mistake. 0he t%rns #or the door. EVEY I have to #ind someone. >reedy #rowns as his radio crackles. CREEDY Well I didn't like the looks o# yo% anyway 11 RADIO (V.O.) All %nits, all %nits. >ode red. >onverge in 'laistow to apprehend codename 8. CREEDY Bloody hell: He screams to the )ingermen at the back. It's him: CREEDY We got him: His sloppy smile indicates

vey watches as they storm o%t o# the bar, then #ollows. EXT. CITY STREET

&he emergency lights blaring, )inch's car s=%eals aro%nd a corner. INT. DELIA SURRIDGE'S BEDROOM

8 hovers ghostly at 9elia's bedside. DELIA It's #%nny, I was given one o# yo%r

roses today. I wasn't s%re yo% were the terrorist %ntil I saw it. 0he manages a smile. DELIA What a strange coincidence. sho%ld be given it today. &hat I

V &here are no coincidences, 9elia. 5nly the ill%sion o# coincidence. He reaches into his cloak. V I have another rose. #or yo%. He hands it to her. DELIA &hen yo% are going to kill me now< 8 prod%ces an empty syringe. V I killed yo% ten min%tes ago. While yo% slept. DELIA Is there any pain< 8 sits on the bed. $o. V $o pain. &his one is

DELIA &hank yo%. 0he stares at the mask. DELIA >an I 11 >an I see yo%r #ace again< 8 slowly p%lls o## his hat and li#ts his mask. stares into his #ace. DELIA It's bea%ti#%l... &he rose #alls #rom her hands. 9elia

INT. 2%st as 11

HALL

8 =%ietly sh%ts the door as i# not to wake her and t%rns

9erek Almond reaches the top o# the stairs. DERE" 9on't move an inch, yo% bloody bastard. He trains his g%n. DERE" @o% didn't hear me arrive, did yo%< 9idn't know we'd r%mbled yo%< He s=%ints. It's it. head It's DERE" all #inished, ch%mmy. All o# &he old man told me it was my or yo%rs and what do yo% know. yo%rs.

&he smiling mask stares. DERE" Beca%se yo%'re standing over there with yo%r bloody st%pid knives and yo%r #ancy karate gimmicks 11 9erek p%lls back the hammer. DERE" And I've got a g%n. He smiles. DERE" Bang. >lick. He never loaded it.

&here is an awkward moment o# silence, then 8 moves 11 >loak opening, #illing the hall like a black tidal wave that envelopes 9erek. He chokes a scream as 8 embraces him, slipping a kni#e above his #loating rib. 9erek Almond sp%tters as he claws at 8's mask.

DERE" Who 11 Who are yo%< V @es, look. Look and tell me what yo% see. He rips 8's mask o## as 8 thr%sts the kni#e in deeper. 9erek's eyes widen in horror as his li#e po%rs o%t the kni#e wo%nd. Horrible: DERE" (od, it's horrible:

8 2erks his blade #ree, letting 9erek slip to the gro%nd. EXT. DELIA SURRIDGE'S HOME

)inch's car b%cks %p onto the sidewalk. )inch and 9ominic tear o%t o# the car and barrel into the ho%se. INT. DELIA SURRIDGE'S HOME )inch

At the top o# the stairs, they #ind the dead 9erek. r%shes past him #or the bedroom. FINCH 9elia<

Inside, he #inds her. Her eyes #i/ed, cold, and dead, a single violet carson in her lap. FINCH (et an amb%lance. EXT. DELIA SURRIDGE'S HOME

vey r%shes aro%nd a corner to see a crime scene bathed in siren light. 0he p%shes %p to the police barricade as the M. .'s load a draped body into their van. EVEY 5h no... 8< 0he tries to angle aro%nd to get a better look when a man in a brown overcoat grabs her #rom behind and drags her into the alley.

INT.

DELIA SURRIDGE'S BEDROOM

)rom the corner o# the room, )inch sits, watching as the M. .'s wheel o%t 9elia's body. 9ominic s=%ee.es past the g%rney and crosses toward )inch. DOMINIC I'm sorry, sir. @o% knew the doctor pretty well< )inch nods. DOMINIC We #o%nd this on her b%rea%, sir. It's 9r. 0%rridge's 2o%rnal. It covers her years at Larkhill. It might contain the whole story. 9ominic searches #or something more to say when )inch does not answer. A#ter a moment, )inch looks at the book in 9ominic's hand, then takes it, lea#ing thro%gh the pages. &hey #lip by, a breathy sigh, rising to a cold wind. DELIA (V.O.) May 6Frd... INT. o# in2ections to her research stock. DELIA (V.O.) 'rothero has hand picked my s%b2ects. )o%r do.en o# them, none o# which will be any %se to me i# I don't get to work soon. 0he #inishes an in2ection, 'rothero enco%raging the ne/t s%b2ect. We recogni.e her as the woman 'rothero pointed at. DELIA (V.O.) &hey're so weak and pathetic I #ind mysel# hating them. 9elia prepares the ne/t dose, a so%r look on her #ace. DELIA (V.O.) &hey don't #ight or str%ggle. B%st LAR"HILL MEDICAL RESEARCH BLOC" # DAY # FLASHBAC"

A yo%nger 9r. 0%rridge, one by one, administers a series

stare at yo% with weak eyes. PROTHERO $e/t. INT. cart into an incinerator. DELIA (V.O.) B%ne 3thD 5# the original #o%r do.en, over 4-G are now deceased. 0trangely, no clear patterns have emerged as o# yet. Another body th%ds onto the pile. DELIA (V.O.) Batch - seems to have no common discernible e##ect on any speci#ic gro%p tho%gh the men seem slightly more resilient than the women. When it is #%ll, they move to the ne/t door %ntil the cart is empty. DELIA (V.O.) I'm hoping the s%rvivors will provide more answers or my time here will have gone to waste. "ed heat s%ddenly glows #rom the oven vents as the orderly throws a series o# switches. INT. LAR"HILL MEDICAL RESEARCH BLOC" # DAY # FLASHBAC" LAR"HILL OVENS # DAY # FLASHBAC"

&wo inmate orderlies are he#ting sacked cadavers #rom a

9r. 0%rridge moves down the drab aseptic hallway accompanied by an armed g%ard. "oman n%merals on the doors to each cell ascend to #ive. DELIA (V.O.) B%ne *?D And only #ive le#t now. &wo men and three women. Which tends to contradict my entry on the 3th. 0he pa%ses at room #ive. DELIA (V.O.)

&he man in room #ive is a #ascinating case. 0he looks thro%gh the small chicken wire glass window in the door. DELIA (V.O.) 'hysically, there doesn't seem to be anything wrong with him. $o cell%lar anomalies, nothing. In the back, 2%st on the edge o# the room's shadow, sits the man in room #ive, silently staring back. DELIA (V.O.) Batch #ive, however, seems to have bro%ght on some kind o# psychotic breakdown. He's =%ite insane. 9r. 0%rridge can't seem to break her stare. DELIA (V.O.) He has this way o# looking thro%gh yo%. "everend Lilliman won't go near him. He claims that it is the devil in room #ive. I see him cross himsel# whenever he passes his door. 0till, there's something abo%t him... EXT. LAR"HILL GARDEN # DAY # FLASHBAC"

9r. 0%rridge slowly moves thro%gh the Larkhill garden, an incredible ab%ndance o# #r%its, vegetables and violet carson roses. DELIA (V.O.) I'm glad 'rothero let room #ive have a go at the gardening pro2ect. He is =%ite pro#icient. 'rothero was rel%ctant to allow an inmate access to the tool and chemical s%pply at #irst b%t now the #at toad is delighted. &he crop has almost do%bled. 0he traces the petals o# a rose with her #inger. DELIA (V.O.) He also grows roses. Bea%ti#%l roses.

INT.

LAR"HILL LOUNGE # NIGHT # FLASHBAC"

9r. 0%rridge and several other Larkhill appointees rela/ a#ter dinner. DELIA (V.O.) 9ecember 6HthD I was in the mess. It was abo%t hal# past ten when we heard the #irst e/plosion. A massive e/plosion shakes the b%ilding to its very core, its windows shattering and hooded pend%l%m lights swinging. EXT. into the yard. DELIA (V.O.) &he ones at the #ront ran straight into the gas. It was horrible. &hey drop to the gro%nd, gasping and vomiting. &he back door is kicked open, 9r. 0%rridge #ollowing two g%ards. DELIA (V.O.) A #ew o# %s made it o%t thro%gh the rear door. @o% co%ld hear men screaming everywhere. I hate the so%nd o# men screaming. 0he looks o%t, men r%nning, collapsing, dying in a yellow green ha.e that seems everywhere. DELIA (V.O.) In the center o# the camp, everything was on #ire. veryone r%nning in all directions. We had hardly eno%gh time to get o%r bearings when the ovens e/ploded. Another e/plosion wracks the compo%nd. #lame rises into the black sky, dwar#ing the men in the camp. 9r. 0%rridge sees a gaping hole in the medical block, its insides t%rned o%t like an %nholy birth. DELIA (V.O.) &he pillar o# LAR"HILL LOUNGE # NIGHT # FLASHBAC"

Men and women cl%tch at their throats as they t%mble o%t

It was the man in room rive. I co%ldn't have known. &he chemical s%pplies, grease solvents, ammonia, #ertili.er. He'd been making things with them. >lose on a soldier, do%bled over, hacking %p bile. DELIA (V.O.) M%stard gas... A sticky bl%e #ire licks %p #rom a blackened body like a d%ra #lame. DELIA And napalm. 9r. 0%rridge t%rns as a silho%ette crosses the yard, backlit by a c%rtain o# #ire. DELIA (V.O.) And in the yard, I saw him. He had the #lames behind him. He was naked. &he man stops. DELIA (V.O.) He looked at me... 9r. 0%rridge seems to wilt %nder his stare b%t cannot look away. DELIA (V.O.) As i# I were an insect. 5h god. As i# I were something mo%nted on a slide. &he #lames conv%lse hypnotically behind him. DELIA (V.O.) He looked at me. INT. LEADER'S OFFICE

)inch snaps 9r. 0%rridge's 2o%rnal sh%t. He sits in #ront o# the Leader's desk p%##ing on his pipe while 0%san stares coldly. FINCH &hat's the last entry %ntil si/

months later when 9r. 0%rridge is back in London. &here is no mention o# the man in room #ive again. nd o# story. He tosses the 2o%rnal on 0%san's desk. FINCH /cept that it wasn't the end o# the story. )inch rises, crossing to the wastebasket. FINCH Between 6,,3 and 6,*6, over #orty men and women who were previo%sly stationed at Larkhill met with what were believed to be accidental deaths. vent%ally, only three remained. He taps his pipe into his hand, po%ring the contents into the wastebasket. FINCH &he three he'd been saving %ntil last. )inch br%shes the ashes #rom his hands and begins repacking his pipe. FINCH veryone who worked at Larkhill. veryone who co%ld have identi#ied him. @o% see there are two possible motives here. $ot one. 0%san raises his head. FINCH &he #irst is revenge. He escapes #rom Larkhill and vows to get even with his tormentors. &he whole e/ercise an elaborate, chilling vendetta. When he #inishes repacking the pipe, he replaces it in his mo%th. FINCH &hat's the e/planation that I #ind most reass%ring, #%nnily eno%gh.

Beca%se that means he's #inished. It's over now. )inch begins relighting his pipe. FINCH &he second motive is more sinister. Like I said, everyone who co%ld have identi#ied him is dead. A #lame leaps into the air. FINCH What i# he's 2%st been clearing the gro%nd< Another b%rst. FINCH What i# he's planning something else< &he lighter slips back into his pocket. FINCH @o% see, the diary we #o%nd was in #%ll view. We didn't have to search #or it. He le#t it there. He wanted %s to #ind it. He wanted %s to know the story. 5r... )inch ret%rns to his chair, letting o%t a h%ge clo%d. FINCH )or all we know, the diary co%ld be a complete and %tter #ake. >odename 8 co%ld have written it himsel#. )inch leans #orward. FINCH He's playing games with %s. He might never have been at Larkhill at all. 9o yo% see< It co%ld all be another smoke screen, a #alse trail, another cover story 11 LEADER no%gh: 0%san p%nches the desk. LEADER

Mr. )inch, wo%ld yo% please e/plain to me the nat%re o# this meeting<: Beca%se I was %nder the impression that yo% had some in#ormation abo%t the terrorist, codename 8: And p%nches it again %ntil his #ist h%rts. LEADER $o more =%estions, %nderstand: I want answers: I am not interested in where he grew %p, what kind o# #lowers he likes or his #avorite color: 0%san's collar chokes his #ace to an %nnat%ral crimson. LEADER 9o I make mysel# clear< FINCH @es, Leader. A#ter a moment, )inch stands, 0%san hanging on his last word. LEADER 9ismissed. ngland prevails, Mr. )inch. )inch t%rns, 0%san calling a#ter him as he leaves. LEADER Mr. )inch, the girl. 9o yo% have anything on the girl< )inch pa%ses at the door. FINCH $o, Leader. $ot yet. INT. door. MAN Wake %p, cow. &hree g%ards are silho%etted in the doorway o# a cramped 2ail cell. at the coarse slipover she's now wearing. 0till sl%ggish #rom the chloro#orm, vey looks down CELL

vey stirs as voices dri#t in #rom the hall o%tside her

5ne o# the men, "ossiter, crosses toward vey, swinging a pair o# shackles. He grabs vey, slamming her #ace down into the hard cot, driving a knee between her sho%lder blades. vey screams. GUARD 1 &sk. &his pathetic whore is the #amo%s Miss Hammond< &he shackles bite down on her wrists as they la%gh in the hall. EVEY @o%'ve made a mistake. "ossiter stands her %p, shoving her into the wall. ROSSITER 0h%t %p. 'lease. EVEY I haven't done anything 11

He slides a thick hood over her head. ROSSITER I said sh%t yo%r hole: INT. awash in a blinding, b%rning light. A man sits, %nmoving, at a desk across #rom her, a g%ard at his side, both backlit by a harsh white kliegs. vey's eyes start to water as she blinks. INTERROGATOR 9o yo% know why yo%'re here. Hammond< vey INTERROGATION ROOM vey s=%ints hard,

&he hood is li#ted #rom her head.

EVEY $o, please, I didn't do anything. INTERROGATOR Allow me to be more precise. 9id yo% participate in the m%rder o# 9r. 9elia 0%rridge<

EVEY $o. INTERROGATOR 9id yo% participate in the m%rder o# 9erek Almond, director o# the )inger< EVEY $o, I 11 INTERROGATOR 9id yo% participate in the m%rder o# Bishop Anthony Lilliman< EVEY 5h god, I don't 11 INTERROGATOR Have yo% ever participated in a terrorist act against yo%r co%ntry< EVEY $o 11 INTERROGATOR What is the identity o# codename 8< EVEY I don't know. INTERROGATOR @o% are a lying c%nt. A monitor ne/t to the desk lights %p. static, an image begins to #orm. A girl is talking to a man. him, propositioning him. When more men appear #rom the alley, vey reali.es she is watching hersel#. EVEY &hey were going to rape me, kill me 11 "ossiter grabs a hand#%l o# her hair. ROSSITER 0h%t %p. 0he is shoving her hips at )rom the snowy

0he swallows hard when she sees 8 emerge on the screen. &he image #ree.es on his smiling #ace. INTERROGATOR &his board will not tolerate any more o# yo%r lies, Miss Hammond. We have over *6, min%tes o# a%dio and videotape and 4- pages o# testimonials #rom eye witness that identi#y yo% as an accomplice to the terrorist, codename 8. &he monitor blinks o##. INTERROGATOR 9o yo% want to know why yo%'re here< @o% are #ormally being bro%ght %p on charges o# m%rder on #o%rteen co%nts and sedition against yo%r Leader and co%ntry which brings an a%tomatic sentence o# death. 'lease. EVEY I didn't do anything.

INTERROGATOR 'rocess the prisoner and ret%rn her to her cell %ntil she is more cooperative. "ossiter slips the hood back over INT. clippers over her head. gro%nd. DISSOLVE TO: INT. o# #ood is slid thro%gh a slot at the bottom o# the door. 0he watches as a rat crosses #rom a hole in the wall, sni##ing the m%rky rendered gelatin in the wooden bowl. DISSOLVE TO: CELL H%ge sheaves o# her hair #all to the PROCESSING ROOM vey's head.

vey cries as a ro%gh hand r%ns a pair o# electric

vey lies cr%mpled on the hard #loor, %nmoving, as a tray

INT. and

PROCESSING ROOM

vey hangs limply #rom a set o# manacles as she is washed delo%sed by heavy hands. 0he co%ghs in the yellow b%g powder clo%d as it b%rns her eyes and the red welts on her back. DISSOLVE TO: INT. arms wrapped aro%nd her legs. something moving in the rat hole. vey raises her head as something is p%shed thro%gh the crevice. &entative #ingers search the hole, p%lling o%t a length o# toilet paper. 5ver every inch o# it is a delicately scrawled message. We move into the rathole, its edges slowly #illing the #rame %ntil black. EXT. INTERROGATION ROOM 0he blinks when she hears CELL

vey is c%rled %p on the cot like a dry #et%s, now ga%nt

'%ll back #rom a shadow, the o%tline o# the interrogator's silho%ette against sharp light coming into #rame. EVEY (V.O.) I read her letter. Hid it. 0lept. Woke. &hey =%estioned me. And I read her letter again. "ossiter is b%ckling chair. Her now #rail #rame can barely hold %p the #rayed brown slipover. EVEY (V.O.) 5ver and over... 5n the table in #ront o# her, there is a large wash basin o# water. "ossiter d%nks her head into it. EVEY (V.O.) vey's thin arms and legs into a

Her name was 8alerie. INT. CLASSROOM # DAY # FLASHBAC"

A teacher reads #rom her lesson plan in #ront o# rows and rows o# %ni#ormed p%bescences in this all girl private school. Her voice drones on and on like M%.ak. VALERIE (V.O.) I was born in a rainy b%rg in $ottingham in *34-. I passed my eleven pl%s and went to girl's grammar. A blonde tomboy sneaks a smile to her c%rly haired #riend ne/t to her. VALERIE (V.O.) I met my #irst girl#riend at school. Her name was 0ara. Her wrists. Her wrists were bea%ti#%l. Her hand slides across the desk, #ingers tickling the yo%ng #lesh o# 0ara's wrist. &he teacher's voice slows, dropping octaves, becoming 11 INT. BIOLOGY LAB # DAY # FLASHBAC"

A man's voice. VALERIE (V.O.) I sat in biology class staring at the pickled rabbit #et%s while Mr. Herd said it was an adolescent phase that people o%tgrew. 8alerie looks at 0ara across the room, her head down in shame. 0ara did. INT. VALERIE (V.O.) I didn't.

LIVING ROOM # DAY # FLASHBAC"

&wo teenage girls stand in #ront o# a middle aged co%ple. &hey are holding hands. VALERIE (V.O.) In *33H, I stopped pretending and took a girl called >hristine home to meet my parents.

&he greying woman repeats the sign o# the cross over and over, sobbing into a handkerchie#. Her h%sband's #ace is contorted in disg%st. VALERIE (V.O.) A week later I moved to London to go to college and st%dy drama. My mother said I broke her heart. EXT. s%mmer sky, #eeding the pigeons. VALERIE (V.O.) B%t it was my integrity that was important. Is that so sel#ish< It sells #or so little b%t it's all we have le#t in this place... &he black haired girl nibbles on the blonde's ear. VALERIE (V.O.) It is the very last inch o# %s... INT. head s%bmerged. VALERIE (V.O.) B%t within that inch we are #ree. INTERROGATOR no%gh. "ossiter wrenches back and co%ghing o%t water. INTERROGATOR $ow Miss Hammond, let %s review the #acts. vey stares at him, eyes red, heart po%nding in her ears. INTERROGATOR @o% work #or codename 8. >odename 8 killed 9elia 0%rridge and then 9erek Almond with yo%r help and that is why yo% were #o%nd o%tside her home. vey s%cks hard #or air, INTERROGATION ROOM PAR" # DAY # FLASHBAC"

&wo yo%ng women c%ddle on a park bench %nder a London

vey str%ggles against "ossiter's weight who keeps her

vey begins to shake her head, water sl%icing o## her thin #ace. INTERROGATOR Isn't that what happened, Miss Hammond< $o. EVEY $o, that isn't tr%e 11

INTERROGATOR 5h dear, "ossiter< "ossiter grabs vey's neck 11 EVEY $o, wait: 'l%nging her head into the bowl. and ears. London. INT. woman's bare #oot with a slipper o# glass. VALERIE (V.O.) I played 9andini in >inderella. &he woman glances into the dark sea o# #aces. VALERIE (V.O.) &he world was strange and r%stling with invisible crowds behind the hot lights and all that breathless glamo%r. EXT. per#ect knee high meadow. VALERIE (V.O.) Work improved. I got small #ilm roles, then bigger ones. MEADOW # DAY # FLASHBAC" VALERIE (V.O.) I was happy in London. Water #ills vey's nose

THEATRE # NIGHT # FLASHBAC"

&he packed ho%se watches as a 'rince kneels be#ore a

&wo women weep in each other's arms, embracing in a

&he blonde woman br%shes away a tear #rom the other's cheek. VALERIE (V.O.) In 6,,+, I starred in !&he 0alt )lats.! &hat's where I met "%th. We #ell in love. We p%ll back and see we are on location #or a movie and the two women are being #ilmed. INT. CONDO # NIGHT # FLASHBAC"

"%th and 8alerie sit on the co%ch watching television. 5n the table behind them is a bo%=%et o# violet carson roses. VALERIE (V.O.) very 8alentine's 9ay she sent me roses and, oh god, we had so m%ch. &hose were the best three years o# my li#e. &he two women stare at the newscast in tears, the so%nd o# marching coming #rom the set's speakers. VALERIE (V.O.) In 6,*,, they came. EXT. LONDON STREET # DAY # FLASHBAC"

&he so%nd o# marching e/plodes as col%mns o# men in brown %ni#orms and 2ack boots #ill the streets. VALERIE (V.O.) And a#ter that there were no more roses... INT. INTERROGATION ROOM vey's neck, holding her

"ossiter presses his elbow onto s%bmerged.

VALERIE (V.O.) $ot #or anybody. "ossiter lets air. VALERIE (V.O.) A#ter the takeover, they started ro%nding %p the gays. &hey took "%th while she was o%t looking #or #ood. vey %p. Her red b%rnt l%ngs g%lp at the

vey blinks hard, black #ireworks e/ploding in her eyes. VALERIE (V.O.) Why are they so #rightened o# %s< 0he whee.es, on the edge o# %nconscio%sness. VALERIE (V.O.) &hey b%rned her #ace with cigarettes and made her give them my name. 0he signed a statement saying I'd sed%ced her. &he interrogator's voice melts into a slag heap o# so%nd with the hot, rhythmic po%nding in her ears. VALERIE (V.O.) I didn't blame her. (od, I loved her b%t I didn't blame her. "ossiter %nc%##s head. VALERIE (V.O.) B%t she did. vey's knees b%ckle as he #orces her to stand. 0he 0he me, 5h, behind. VALERIE (V.O.) &hey came #or me. &hey shaved o## my hair. &hey held my head down a toilet and told lesbian 2okes. &hey bro%ght me here and p%mped me #%ll o# chemicals. &he cell door swings open. VALERIE (V.O.) I can't #eel my tong%e. I can't speak. "ossiter yanks the hood #rom her head and p%shes her in. VALERIE (V.O.) killed hersel# in her cell. co%ldn't live with betraying with giving %p that last inch. "%th. "ossiter shoving her #rom vey, slipping the black bag over her

vey weaves down the hall.

VALERIE (V.O.) It is strange that my li#e sho%ld end in s%ch a terrible place b%t #or three years I had roses and apologi.ed to nobody. &he iron door slams sh%t, lock ringing in the stale air. VALERIE (V.O.) I shall die here. very inch o# me shall perish... vey rolls to her knees. VALERIE (V.O.) /cept one. 0he crawls #or the rat hole. VALERIE (V.O.) An inch. It is small and #ragile and it's the only thing in the world that's worth having. Her shaking hand p%lls the letter #rom the stone crevice. VALERIE (V.O.) We m%st never lose it or sell it or give it away. We m%st never let them take it #rom %s. vey cl%tches it like a rosary as she begins to cry. VALERIE (V.O.) I don't know who yo% are b%t I hope yo% escape this place. I hope that the world t%rns and things get better and that one day people have roses again. 0he holds the note to her #ace, her tears soaking into the #ragile paper. VALERIE (V.O.) I don't know who yo% are b%t I love yo%. I love yo%. 8alerie. 0lowly, vey slips away, s%cc%mbing to blackness. EVEY (V.O.) I had come to know every inch o# those #o%r walls in that dark hell and they knew every inch o# me. very inch...

INT.

INTERROGATION ROOM vey's solemn #ace.

Lo%d lights blare against

EVEY (V.O.) /cept one. A typed doc%ment sits on a small tray table in #ront o# her. INTERROGATOR !My name is vey Hammond. 5n the -th o# $ovember 6,*3, I was abd%cted by the terrorist known as codename 8 and then taken against my will to an %nknown location.! "ossiter hovers 2%st behind her as the Interrogator reads her con#ession. INTERROGATOR !5nce there, I was systematically brainwashed by means physical and psychological. I was #re=%ently s%b2ected to se/%al ab%se d%ring this period.! vey's e/pression is %nchanging. INTERROGATOR ! vent%ally I was terrori.ed into helping him commit the m%rders o# 9erek Almond, 9r. 9elia 0%rridge, and Anthony Lilliman, Bishop o# Westminster.! "ossiter drops a pen on the table. INTERROGATOR !I, the %ndersigned, swear that the above statement is gen%ine and that it was not signed by means o# intimidation.! &he pen slowly rocks to a stop. INTERROGATOR We'd like yo% to sign that #or %s, Miss Hammond. Where we've p%t the little cross. 0he blinks.

EVEY $o. INTERROGATOR As yo% wish. "ossiter begins %nb%ckling vey's restraints.

INTERROGATOR scort Miss Hammond back to her cell, "ossiter, where she will wait while yo% arrange a wet detail o# si/ men. He #orces vey to her #eet. INTERROGATOR &hen take her o%t behind the chemical sheds and shoot her. INT. CELL vey as she rereads 8alerie's letter

&he door opens behind #or the last time.

ROSSITER It's time, %nless yo% want to change yo%r mind. 0he holds the tattered piece o# toilet paper to her chest. ROSSITER 0ign that statement. @o% co%ld be o%t inside three years. 'erhaps they'd #ind yo% a 2ob with the )inger. vey closes her eyes. EVEY &hank yo% b%t I'd rather die behind the chemical sheds. Her last words hang in the air. ROSSITER &hen there's nothing le#t to threaten yo% with, is there< are #ree. He t%rns and leaves. EVEY

@o%

What< 0he listens as his #ootsteps #ade down the hall, the door hanging weirdly open. vey takes a #ew tentative steps toward the door and sticks her head o%t into the empty hall, peering down both ways. 0lowly, she emerges #rom her cell, retracing her path down the hall that her blind#old never allowed her to see. C%ietly inching along the wall, corner, gasping at the rigid g%ard standing o## to the side. &here is something abo%t the man's #ro.en stare that keeps her #rom r%nning. vey straightens and crosses to the g%ard. It is a manne=%in. 0he to%ches him, the wheeled plat#orm he is mo%nted on rolling back against the wall. INT. INTERROGATION ROOM vey peeks aro%nd a

&he door creaks open as vey enters the room where #or so long she was =%estioned and tort%red. 0he crosses to the #ro.en Interrogator sitting at his desk. Her #inger br%shes lightly against the plastic hand, then vey raps a kn%ckle on his hollow wooden head. Aro%nd his neck a small speaker hangs #rom a cord. vey dri#ts %neasily into a back room where a discarded prison g%ard's %ni#orm hangs on a rack. 5n a table ne/t to a wig and pair o# gloves, the rat looks %p at her thro%gh the bars o# its tiny cage. 0he moves thro%gh another door, the wind s%ddenly knocked #rom her chest as she #inally sees where her prison was b%ilt 11 INT. SHADOW GALLERY

8 steps #rom the shadows.

V Welcome home, EVEY @o%... Her mo%th hangs open.

vey.

EVEY @o% did this... to me. vey's rail thin #ig%re begins to shake. EVEY @o% did this to me: 0he st%mbles against the wall, %nable to s%pport hersel#. EVEY @o% 11 @o% hit me and 11 and c%t my hair. It was yo%. It was 2%st yo% all this time. 0he do%bles over, covering her #ace as she b%rsts into tears. EVEY @o% tort%red me. @o% tort%red me 11

vey looks %p at him, body shivering as he =%ietly glides toward her. EVEY 5h god, why< V Beca%se I love yo%, vey. I wanted to set yo% #ree. EVEY Love< A look o# horror twists her starved #ace. EVEY 0et me #ree< 9on't yo% reali.e< 0lender #ingers ball into #ists. EVEY 9on't yo% reali.e what yo% did to me< @o% nearly drove me mad: 9isg%st and anger light %p her eyes. Beca%se

EVEY I hate yo%. Her little, wiry body coils tight as she circles him. EVEY I hate yo%: 0et me #ree< @o% p%t me in a prison to set me #ree<: V @o% were already in a prison. @o%'ve been in a prison all yo%r li#e. EVEY 0h%t %p: I don't want to hear it. I wasn't in a prison. I was happy: I was happy here 11 V Happiness is the most insidio%s prison o# all, vey. EVEY &hat's warped: &hat's evil and it's wrong: What gives yo% the right to 2%dge< Who are yo% to say what's not good eno%gh<: V @o% were born in a prison, vey. I didn't p%t yo% there. I 2%st showed yo% the bars. @o%'ve been in a prison so long, yo% no longer believe there's an o%tside world. 0he wheels away #rom him, covering her ears, trying to get away #rom his voice. EVEY 0h%t %p: @o%'re mad: to hear it: I don't want

V &hat's beca%se yo%'re a#raid, vey. @o%'re a#raid beca%se yo% can #eel #reedom closing in on yo%. @o%'re a#raid beca%se #reedom is terri#ying. vey #alls, st%mbling thro%gh the labyrinth o# the 0hadow (allery.

EVEY I can't #eel anything: &here's nothing le#t to #eel: 9on't yo% %nderstand< V 9on't back away #rom it, vey. 'art o# yo% %nderstands the tr%th even as part pretends not to. 0he collapses, head po%nding. V Woman, this is the most important moment in yo%r li#e. 9on't r%n #rom it. EVEY I don't know what 11 5h god 11 I can't breathe 11 8 co%ches ne/t to her. V (ood. @o%'re almost there. (o closer. )eel the shape o# it. EVEY What are yo% doing to me< breathe 11 I can't

V @o% were in a cell. &hey o##ered yo% a choice between the death o# yo%r principles and the death o# yo%r body. He cradles her as she hyperventilates, tears streaming down her #ace. EVEY I #eel 11 I #eel like I'm going to b%rst. V @o% said yo%'d rather die. @o% #aced the #ear o# yo%r own death and yo% were calm. &ry to #eel now what yo% #elt then. EVEY 5h god 11 I #elt 11

&he mask hovers over her. EVEY Like an angel 11 He s=%ee.es her sh%ddering body. EVEY 5h god, 8, I'm so scared. happening to me< What's

V &he door o# the cage is open, vey. All that yo% #eel is the wind #rom o%tside. 9on't be a#raid. (ently, he li#ts her. V &ry to walk. to the roo#. &he roo#< &he li#t will take %s

EVEY 5%tside<

He helps her to an open elevator. EVEY I 11 I don't want to be blind#olded. V $o, vey. $o more blind#olds. &he cage in the elevator rattles sh%t. EXT. ROOF # NIGHT

&he two #ig%res stand in the door o# the roo# access, a raging tempest oo.ing #rom a split sky. 0omething draws vey o%t into the storm.

0lowly, she walks beneath it, the wind and rain po%nding against her thin #rame. vey lets the coarse slipover #all to the gro%nd and stares straight %p into the storm, naked, the elements soaking into her very being. 8 moves %p behind her. V 9o yo% #eel it<

EVEY verything's so 11 di##erent. V I know. )ive years ago, I too stared beneath a night like this. $aked %nder a roaring sky. A low r%mble o# th%nder washes over London. V &he night is yo%rs, vey. 0ei.e it. ncircle it within yo%r arms. His words b%##et against her with the sheets o# rain. V B%ry it in yo%r heart %p to the hilt. 0he raises her arms to embrace the raging torrent. V Become trans#i/ed and trans#ig%red 11 A 2agged bolt o# lightning shatters the sky. V )orever. EXT. o# the modern b%ilding. the heel o# his shoe. DASCOMBE )inch: )inch t%rns to #ind 9ascombe h%rrying towards him. DASCOMBE 9o yo% know what this is all abo%t< FINCH $o, b%t I can g%ess. DASCOMBE What< He sighs and taps his pipe against NEW GOVERNMENT BUILDING

)inch gets o%t o# a police car and looks %p the black #ace

FINCH !"emember, remember, the #i#th o# $ovember.! DASCOMBE 5h come on. He's long gone. He has to be. He did what he came to do and it's over. )inch chews on his pipe. DASCOMBE Isn't it< FINCH $ot #or %s. He t%rns and heads into the b%ilding. FADE OUT. FADE IN: EXT. NEW GOVERNMENT BUILDING # DAY

A dark $ovember sky hangs like a shro%d over the b%ilding. LEADER (V.O.) A year, gentlemen. INT. o# black granite. 'eter >reedy, sitting back o%t o# the lights, is the new head o# the )inger. LEADER I have given yo% almost a year and yo% have given me nothing. $othing: He glares at )inch. DASCOMBE $ow Adam, there is no one better than )inch and yo% know it. LEADER @es, Mr. 9ascombe, I do know it. It is that very #act that keeps me COUNCIL CONFERENCE ROOM

&he heads o# each department are gathered aro%nd a table

awake at night, wondering i# perhaps there is a reason that Mr. )inch has #ailed. FINCH What are yo% saying< LEADER I'm saying that perhaps I don't know yo% as well as I tho%ght I did. FINCH Are yo% asking #or my resignation< LEADER $o, I am asking #or some goddamn res%lts: DASCOMBE It's not )inch's #a%lt, Adam. CONRAD We've all been looking. simply disappeared. ETHERIDGE 8anished. DASCOMBE He's gone, Adam. It's over. &he Leader trembles like a volcano set to blow. LEADER It's over, is it< He's gone. 8anished, yo% say< &he Leader grabs a large bo/ #rom the #loor and h%rls reams o# comp%ter printo%t across the table. LEADER &ranscripts recorded over the last thirty days in which the terrorist was talked abo%t or mentioned in a positive conte/t. &his is only thirty days: He p%nches a !play! b%tton and a wall o# monitors blink on. It is a recording o# a television variety show. &he man

A character that is made to look like Adam 0%san is giving a speech. thing she is wearing %nder her cloak is a garter belt, stockings and high heels. 8 sneaks %p behind 0%san and yanks his pants down. is o%traged b%t when he gives chase he trips over his pants. &he a%dience hoots and howls. &he Leader kills the tape. LEADER Is this what yo% consider, !disappeared<! DASCOMBE )or god's sake, Adam, it's a st%pid variety show. LEADER Mr. >reedy, I want the prod%cers, writers, and actors o# that !st%pid variety show! arrested and charged with sedition. CREEDY @es, sir. DASCOMBE @o% can't be serio%s 11 LEADER '%sh me, "oger, p%sh me and yo%'ll #ind o%t how serio%s I am. He stares each o# them to silence. LEADER &his, this 8 is still o%t there. I can #eel him like a sickness worming its way into the hearts and minds o# the p%blic. 0omething m%st be done, and done =%ickly, to e/orcise this demon #or the very so%l o# this co%ntry is at stake. He pa%ses. LEADER &hat is why I am compelled to give each and every one o# yo% notice 0%san A woman is dressed like 8 e/cept that the only

that i# by the #i#th o# $ovember yo% are still giving me nothing more than e/c%ses, I will have to revoke yo%r party stat%s and terminate yo%r positions. veryone is st%nned. LEADER Mr. >reedy, I will speak with yo% in private. &he rest o# yo% are dismissed. ngland prevails. INT. LEADER'S PRIVATE $UARTERS

&he Leader stands at the window. LEADER Mr. >reedy, as the new head o# the )inger, yo% are the most important member o# my cabinet. CREEDY I, %h, appreciate yo%r #aith in me. LEADER @o%r predecessor, Mr. Almond, was a good man, a man who %nderstood what strength in %nity meant, a man who, above all, loved his co%ntry. I need to know i# yo% are s%ch a man. His eyes bore into him. LEADER 9o yo% love yo%r co%ntry, Mr. >reedy< EXT. ALLEYWAY

A police car is parked in a dark alley. It is raining and the windows o# the car are completely steamed. CREEDY 5h god, yes: He is sweating, his kn%ckles white as he s=%ee.es the steering wheel, panting. We hear a noise like a very wet kiss and then a woman's voice. HELEN !&he most important member o# my

cabinet.! dear< smeared abo%t her mo%th.

@es it is, isn't it, Her lipstick is

Helen li#ts her head o%t o# his lap.

CREEDY 5h, don't stop. HELEN I stop when yo% stop. say ne/t< CREEDY I can't 11 0he whispers in his ear while playing with his lap. HELEN >ome on, 'eter, what are yo% a#raid o#< Almond %sed to tell me everything and yo%'re twice the man he was. CREEDY He asked me... i# I loved my co%ntry. HELEN 5h yes, I can tell yo% do love yo%r co%ntry, almost as m%ch as yo% love this... 0he lowers her head into this lap. CREEDY 5h god... HELEN (o on. CREEDY &hen he asked me to do something... oh, oh... HELEN What< CREEDY Helen, I can't. I can't tell yo%. Helen li#ts her head. What did he

HELEN He told yo% to #rame someone as the terrorist. My god<: CREEDY How did yo% know that< $ow who was it<

HELEN I know Adam 0%san. $o way.

CREEDY I can't tell yo% that.

HELEN @es yo% can, honey. @o% can and yo% will. @o% have to tr%st me, love. We're going to help each other. CREEDY Helen, please. HELEN Look at that #ace. @o% see< @o%'re 2%st b%rsting to tell me. Her head drops back down. HELEN $ow who was it< CREEDY It was... )i... )i... )I$>H: &he name seems to orgasm #rom his mo%th. INT. FINCH'S APARTMENT >reedy moans.

)inch sits alone in his modest apartment, reading a book. &he book is Aoesterler's, !&he "oots o# >oincidence.! An old >9 player is playing m%sic, a Bach piano concerto. INT. gloved #ingers grace#%lly #litting across the keys. vey enters the gallery. still short. 0he pro2ects a kind o# strength that comes #rom a deep inner peace. Her hair has grown o%t b%t is SHADOW GALLERY

8 is playing the e/act same concerto on his piano, his

8 coa/es the #inal delicate notes and lets them so#tly #ade. EVEY &hat was bea%ti#%l. 0he walks %p to him and takes the smiling #ace in her hands. EVEY I've wanted to do this #or a long time. 0he bends and gently kisses the #ro.en lips. EVEY &hank yo%, 8. &hank yo% #or everything yo%'ve done #or me. V @o% did it all yo%rsel#, vey. I 2%st provided the backdrop b%t the drama was all yo%r own. EVEY It was a good backdrop. I believed it. I really did. It's still a bit hard #or me to accept that it wasn't real. &hat it was 2%st yo%. specially the letter. 0he takes the letter #rom her pocket. EVEY It is a bea%ti#%l letter, 8. very time I read it I co%ld #eel 8alerie, almost like she was holding me. I believed in her most o# all. I believed that she loved me and I loved her back. 0he looks down. EVEY I #eel a bit #oolish telling yo% this. I know that yo% m%st have written it and tho%ght yo% sho%ld have it back. V B%t I didn't write that letter, vey. EVEY

What< V >ome with me. INT. and reviews and pict%res o# an actresses named 8alerie 'age. We recogni.e her as the woman chosen #or the medical block 2%st be#ore 8. verywhere there are #lower bo/es #illed with blooming roses; violet carsons. EVEY 8alerie< V @es. 8alerie 'age. woman in room #o%r. EVEY 0he's bea%ti#%l. V 0he wrote the letter 2%st be#ore she died. I delivered it to yo% as it was delivered to me. &he words yo% wept over were the same words that trans#ormed me. vey smiles and bends to smell the roses. "oses. @es. EVEY &hey're bea%ti#%l. V vey, do yo% know what day it is< EVEY &wo days be#ore the #irst day we met. EVEY @o% grew them #or her. V 0he was the VALERIE'S ROOM &he walls are covered with movie posters

It is a shrine.

V @o% remembered. EVEY @o%'re planning something, aren't yo%, 8< V @o% know me too well now. EVEY What are yo% going to do< V I'm going to #%l#ill an old promise. vey cocks an eyebrow. V I'll show yo%. INT. UNDERGROUND STAIRWELL vey down a dark stone

>arrying a lantern, 8 leads staircase.

EVEY I've never been here be#ore. V @es. It is the deepest part o# my home. 5nce yo% know it, I sho%ld think yo%'ll know everything. He p%shes a b%tton and a secret passage opens in a heavy stone wall. &here is a small narrow series o# passageways that he g%ides her thro%gh, leading to another door. an %ndergro%nd s%bway station. INT. VICTORIA STATION vey steps o%t into

'arked beside the concrete plat#orm is a bea%ti#%l anti=%e train car. EVEY 5h, 8, it's lovely. did yo% #ind it< V Where on earth

In a way, I s%ppose it really #o%nd me. vey steps into the train car and #inds it #illed with little packages wrapped in wa/ paper. EVEY What's in these packages< V (elignite. 0he screams and almost drops one. V >are#%l. EVEY What are yo% going to do with all o# it< V I told yo%. I'm going to #inish what was started #o%r h%ndred years ago. EVEY Where does this train go< V &his is the old 8ictoria line b%t it is blocked, blocked somewhere between Whitehall and 0t. Bames. EVEY Whitehall... 8, that's the $ew (overnment B%ilding. 8 nods. EVEY B%t the %ndergro%nd has been sh%t down #or years. How are yo% going to make it r%n witho%t any power< V I 2%st tho%ght I might ask them to t%rn it on #or me. INT. )ate LEADER'S OFFICE

&he Leader sits bathed in the #lickering images o# the

comp%ter. LEADER @es, Mr. >reedy< CREEDY verything's set, sir. LEADER When< CREEDY &onight. 5n one o# the screens, a television program has 2%st beg%n. ANNOUNCER &onight on &ales #rom the Bible, a story o# treachery and betrayal #rom the Book o# 9aniel. We c%t #rom that screen to another screen 11 INT. !ORDAN TOWER # CONTROL BOOTH $o worries.

&he television st%dio where "oger 9ascombe s%rveys a large bank o# monitors #illed with the images o# typically vapid television entertainment. DASCOMBE All o# London's waiting. two. And here we go 11 in as the logo slashes across the screenD 0torm 0a/on. ANNOUNCER &onight, ngland's greatest hero repels the #orces o# darkness in a brand new episode. We p%ll back #rom the show's opening teaser and #ind o%rselves looking at a small television. INT. !ORDAN TOWER "eady, We move

A player locks on as a recorded program begins.

In the delivery bay at the back o# Bordan tower, #ive sec%rity g%ards are riveted to the heroic actions o# 0torm 0a/on. HEIDI 5h, 0torm. 0ave me: 0ave me:

STORM @o% mongrel trash, i# yo% harm her: MONGREL TRASH Look o%t, de white debil has a laser l%gar: Behind them, a shadowy #ig%re in a cloak and tall hat enters the loading bay. GUARD Hey, what the 11 < &hey all t%rn and #ind a smiling 8. &hey go #or their weapons. 8 goes #or them. It is br%tal and =%ick, knives slicing in bloody arcs, bodies kicked and thrown with s%perh%man power. &he &8 crashes to the gro%nd and we move in at it as 0torm 0a/on stands tri%mphant beside his b%/om lass. HEIDI 5h 0torm, hold me. Hold me tight.

We p%ll back on another television screen inside 11 INT. 0a/on. Across the room, )inch is reading the !"oots o# >oincidence.! FINCH I don't know how yo% stand that tripe. 9ominic answers with a mo%th#%l o# cheeseb%rger. DOMINIC s gooh. )inch shakes his head, reaching #or his pipe. he is o%t o# tobacco. and his eyes almost pop o%t o# his head. He stares into the drawer like someone staring at his own tombstone. He slides open the bottom desk drawer He reali.es FINCH'S OFFICE

9ominic is chewing on a hamb%rger, engrossed in 0torm

)inch< he

DOMINIC )inch, what's wrong< 5n his desk,

0lowly, he li#ts something #rom the drawer. mask. DOMINIC What the hell< )inch li#ts the mask and almost has to la%gh. FINCH 9on't yo% see, 9ominic< He p%ts the mask to his #ace. FINCH I'm 8. INT. !ORDAN TOWER

lays o%t several knives, a cloak, a hat, and a smiling

8 emerges #rom an elevator and immediately attacks several more g%ards. A s%rveillance camera watches as 8 steps over their sl%mped, broken bodies. INT. down the hall. GUARD Bloody hell: He grabs the machine g%n, aiming it 2%st as 8 kicks open the door. GUARD )ree.e: 8 stops. on him. cloak opens, revealing eno%gh &$& to level the entire b%ilding. In his hand is the pl%nger detonator. He is s%rro%nded. His 0lowly, he li#ts his arms as tho%gh s%rrendering. At least #ive g%ards have trained their weapons CONTROL CENTER

&he sec%rity g%ard sees 8 on the monitor coming directly

GUARD )%ck all. 8 nods. INT. armed )ingermen m%scle in. >reedy< DOMINIC What the hell's going on< FINCH'S OFFICE

&he door b%rsts open as >reedy and a gro%p o# heavily

CREEDY I'm here to arrest Mr. )inch #or acts o# treason and terrorism. DOMINIC @o% can't be serio%s. CREEDY I# I were yo%, boy, I'd sh%t my hole %nless yo% want to start e/plaining why yo% didn't say nothing abo%t Mr. )inch's secret identity. INT. !ORDAN TOWER &he

8 #ollows "oger 9ascombe into the main control booth. door sh%ts behind them and they are alone.

All aro%nd them are the la%gh tracks and g%nshots o# the evening's entertainment. 8 p%ts his hand into his cloak and p%lls o%t a videotape. He hands it to 9ascombe. INT. FINCH'S OFFICE

)inch glares at >reedy. FINCH Why don't yo% 2%st shoot me, >reedy< Wo%ldn't that make everything a lot simpler< CREEDY @eah, I s%ppose it wo%ld.

>reedy smiles, his #inger tightening on the trigger when 11 DOMINIC Holy >hrist: >reedy, yo% st%pid ape: I# )inch is 8 then tell me who is that< He points at the television where 8 sits calmly at a desk in #ront o# the !8&8! logo. V (ood evening, London. CREEDY Bloody #%ckin' hell. V I tho%ght it was time we had a little talk. FINCH He has to be at Bordan tower. on: )inch and 9ominic r%sh o%t o# the room. his con#%sed men. CREEDY 9on't 2%st stand there: them: INT. LEADER'S OFFICE )ollow >ome >reedy looks at

8 smiles at the horri#ied Adam 0%san. V Are yo% sitting com#ortably< &hen I'll begin. &he Leader screams, po%nding on )ate. 9amn yo%: LEADER 9amn yo%: (ood.

He hits the intercom. LEADER Lie%tenant, ready my transport. want every armed man within a h%ndred miles at Bordan tower. $ow: I

We move in at 8&8. V "ight now, I imagine there are h%ndreds o# soldiers r%shing here to kill me beca%se someone does not want %s to talk. We p%ll back in 11 INT. LIVING ROOM In the backgro%nd, two

A #amily watching television. children are s=%abbling. H%sh. towards him. MOTHER &%rn it %p.

&he h%sband does.

8's voice gets lo%der as we move

V &hey are a#raid that I am going to say the things that are not s%pposed to be said. &hey are a#raid that I am going to say the tr%th. INT. APARTMENT

A man sits on his co%ch, mesmeri.ed by 8. V &he tr%th is that there is something terribly wrong with co%ntry, isn't there< I# yo% abo%t, yo% witness cr%elty, in2%stice and despotism. B%t do yo% do abo%t it< What can do< he doesn't seem to notice. INT. FINCH'S POLICE CAR

this look what yo%

He pops his beer tab and the beer #oams over the co%ch b%t

&he car races wildly towards Bordan tower as )inch and 9ominic listen to the broadcast on the radio. V (V.O.) @o% are b%t a single individ%al.

How can yo% possible make any di##erence< Individ%als have no power in this modern world. &hat is what yo%'ve been ta%ght beca%se that is what they need yo% to believe. B%t it is not tr%e. INT. in his limo which are all #illed with 8. V &his is why they are a#raid and the reason that I am here; to remind yo% that it is individ%als who always hold the power. &he real power. Individ%als like me. And individ%als like yo%. INT. voice o# 8. were somehow s%spended in time. V I have come to o##er yo% a deal. I# yo% accept, I will give yo% a di##erent world. A world witho%t c%r#ews, witho%t soldiers and s%rveillance systems. A world that is not r%n by other men b%t that is r%n by yo%. I am o##ering yo% a second chance. EXT. !ORDAN TOWER 'eople stare at the television as i# the moment "ITTY "AT "ELLER LEADER'S TRANSPORT

&he Leader seethes, staring at three television monitors

&he bar is almost completely so%ndless e/cept #or the

&he military #orces have beg%n to swarm. V )o%r h%ndred years ago, a great citi.en made a most signi#icant contrib%tion to o%r common c%lt%re. It was a contrib%tion #orged in secrecy and stealth altho%gh it is best remembered in noise and bright light. EXT. TELEVISION STORE

A crowd has gathered, watching thro%gh the window. V &o commemorate that glorio%s night at precisely the stroke o# midnight, the edi#ice o# their world will er%pt with eno%gh so%nd and #%ry to shake the earth. All I ask is that yo% 2oin me at the gates to watch as the past is erased, the pathway cleared so that together we can start toward a new day. EXT. !ORDAN TOWER

&he Leader climbs o%t o# his limo and is met by one o# his captains. LEADER I want this man dead: shot on sight: CAPTAIN @es, sir. INT. FINCH'S CAR I want him

)inch can see the #orces gathering o%tside Bordan tower. V (V.O.) B%t, yo% ask, who am I to make s%ch promises< A #air =%estion b%t hardly necessary as yo% know me already. &o know me any more yo% need only look to a mirror. )inch catches a glimpse o# himsel# in the mirror. INT. CONTROL BOOTH

8&8 #ills every screen. V &r%th be told, this wasn't even my idea, was it< I# yo% think back, yo%'ll remember that night, whispering in yo%r lover's arms. I became a part o# yo%r plan 2%st as yo% have now become part o# mine. (ive me the line o# the =%een and I'll give yo% yo%r secret dream. INT. !ORDAN TOWER # HALLWAY

A heavy battering ram is r%shed down the hall, carried by #o%r soldiers. V (V.O.) 5n the twel#th stroke o# the #i#th day o# the eleventh month, I hope we shall all meet again. EXT. TELEVISION STORE

&he crowd is m%ch larger. V 7ntil then, I bid yo% goodnight. very screen s%ddenly goes black. other, %ns%re o# what to do. INT. CONTROL BOOTH 8 is standing alone, almost as i# Machine g%n #ire &he crowd t%rns to each

&he door e/plodes open. waiting #or them. lights

Be#ore he can even move, they shoot.

%p the room. 8's body dances and 2erks backward, smashing thro%gh an observation window 11 )alling to the television stage below. INT. HALL

A path is cleared #or the Leader. As he heads into the television st%dio, an armed soldier is heading in the opposite direction. It is impossible to tell beca%se o# the dark #ace plate b%t it looks like the soldier is smiling. &he Leader shoves his way onto the main stage. soldiers is gathered aro%nd the body. LEADER Who was it< Who was he< &he mask is pried o##, revealing the li#eless #ace o# "oger 9ascombe. &o the Leader, it is an obvio%s revelation. LEADER "oger 9ascombe: 5# co%rse. 5# co%rse: It makes s%ch per#ect A gro%p o#

sense. CAPTAIN 0ir, I think there has been a mistake. $o: LEADER &here is no mistake:

CAPTAIN B%t sir, there are people that say they saw both the terrorist and 9ascombe together 11 LEADER Who< Who are these people< &hey m%st be detained immediately. Whatever they saw or whatever they think they saw is s%bordinate to the tr%th and that tr%th is that "oger 9ascombe is the terrorist and the terrorist is dead: FINCH B%t I tho%ght I was the terrorist. )inch's voice stops the Leader cold. LEADER )inch, what are yo% doing here< FINCH 0ince I'm not in 2ail and since yo% have another, even more convenient s%spect. I'm g%essing the charges have been dropped. LEADER Be care#%l, )inch. FINCH I am care#%l, sir. Always. &hat is why I s%ggest that a search o# this b%ilding begin immediately. LEADER &he terrorist is dead: FINCH With all d%e respect, I disagree and I believe that he is presently trying to get o%t o# this b%ilding disg%ised as one o# %s.

LEADER Are yo% challenging my a%thority< FINCH $o sir, I'm trying to r%n an investigation 11 LEADER I am trying to r%n a co%ntry: When I tell yo%, Mr. )inch, the terrorist is dead, then the terrorist is dead: I# yo% contin%e to s%ggest otherwise then yo% will leave me no choice b%t to have yo% arrested on charges o# sedition. 9o I make mysel# clear< He eyes the room. veryone is silent.

LEADER $ow, it is imperative #or the people o# London to know that they are sa#e, that the terrorist is dead and everything is %nder control. &he Leader storms past )inch who looks at 9ascombe and bites down on his pipe. EXT. CITY STREET

5ne o# the ar's black vans has been modi#ied with large speakers wired to the roo#. As the van rolls down the street, the speakers drone with a looped message. SPEA"ERS &he terrorist is dead. $o #%rther threat e/ists. verything is %nder control. 5%t o# the back, soldiers h%rl lea#lets that swirl and #l%tter in the van's wake. &he little girl on the bicycle that we saw earlier stops and picks %p one o# the lea#lets. It has a pict%re with the body o# "oger 9ascombe beneath the headline, !&he terrorist is dead: again:! LITTLE GIRL London is sa#e once

Bollocks. 0he cr%mbles the lea#let and throws it. LITTLE GIRL Bollocks: 0he gets o## her bike and takes something o%t o# the backpack. LITTLE GIRL He's not dead: It's all bollocks: &%rning to a nearby wall, she spray paints a large circle aro%nd a !8!. INT. FINCH'S OFFICE

A recording o# 8&8 plays on the small television. V ... i# yo% give me the line o# the =%een, I'll give yo% yo%r secret dream. 9ominic #ree.es the image; 8 stares at them, smiling. FINCH 'lay it again. DOMINIC >ome on, )inch. We've seen it #i#ty times. I mean, a#ter what they done to yo%, I don't know why we're even trying to stop him. )inch stares o%t the window. FINCH I don't know. )or twenty seven years, I've been at this 2ob. &wenty seven years, I've done what I've been told to do. Maybe that's all there is to it. I'm 2%st a d%mb old dog. A d%mb old dog that only knows one trick. DOMINIC &hat ain't it, )inch. It's more than that. I know yo%. It's something personal with this one. )inch smiles.

FINCH Maybe. And maybe I'm not ready #or a revol%tion. DOMINIC Well, we got less than thirty ho%rs to stop it. FINCH We will. DOMINIC How< FINCH It's on the tape. I know it. I can #eel it. He did this #or a reason. He needs something. DOMINIC What< FINCH &he line o# the C%een< DOMINIC B%t what does that mean< FINCH Maybe it's a line #rom 0hakespeare. 5r a book. I don't know. He rewinds and starts the tape. V ... &his wasn't even my idea, was it< FINCH B%t right here. He's talking to someone. 0omeone speci#ic. 0omeone who knows what he wants. V I# yo% think back, yo%'ll 11 INT. CONRAD'S BEDROOM

8 contin%es on a di##erent television. V "emember that night, whispering in yo%r lover's arms.

Helen Heyer is lying on her bed, eating chocolates, watching 8 thro%gh calc%lating eyes. At her #eet, we hear a s%ckling noise that s%ddenly stops. CONRAD Helen< Helen, why did yo% want that tape< HELEN 0h%t %p, >onrad. to s%ck on it and each o# her toes. V ... now yo%'ve become a part o# mine. How< her knee. CONRAD Anow what, my love< V (ive me the line o# the C%een and I'll give yo% yo%r secret dream. 0he #ree.es the tape. back at him. HELEN All right. @o% have a deal. >onrad licks along the inside o# her thigh %ntil she slaps him. HELEN 5h no: $ot yo%. >onrad. $ot yet. Here yo% can have a chocolate. 5pen %p. 5pen: 0he shoves the candy in his mo%th. (ood boy. HELEN As #or the rest o# the Her eyes light %p and she smiles HELEN How did yo% know that< I'm thinking.

0he shoves her #oot back into his mo%th and he contin%es

>onrad moves %p her ankle, licking and kissing his way to

bo/, perhaps when yo%'re Leader. 0he smiles. HELEN "ight now I need something else >onrad. I need yo% to %se that pretty little brain #or me. @o% know all abo%t the old %ndergro%nd, don't yo%< He nods still gagged with the candy. HELEN I need to know everything, %nderstand< verything. INT. LEADER'S OFFICE

&here are cameras set in #ront o# the large black leather chair so that the #lashing images and data o# the )ate comp%ter system can be seen behind the Leader. A make%p artist mattes down the Leader's lipstick. ASSISTANT DIRECTOR "eady in #ive, Leader. &he make%p artist ad2%sts one last hair and sc%rries o##. ASSISTANT DIRECTOR In #o%r, three... He points and the camera's red light goes on. INT. a !0pecial B%lletin! interr%pts a la%gh track. LEADER (ood evening London. As Leader o# this great co%ntry, I #elt it imperative to speak with yo% and to ass%re yo% once and #or all that the shadow that recently #ell across o%r land has indeed passed. WOMAN 5h, #or #%ck's sake. EXT. TELEVISION STORE # NIGHT LIVING ROOM

&he same #amily, the same s=%abbling children watching as

$o one is watching. LEADER What we have end%red this long year was no accident, no mere coincidence. &his was not a simple act o# terror cond%cted by a sing%lar madman. $o, this was a test. INT. "ITTY "AT "ELLER

A dr%nk str%ggles %p onto his bar stool blocking the &8. LEADER It was not me, nor the 'arty, nor the government that was threatened this year. It was o%r belie#s. 5%r #aith. I believe that (od himsel# bore witness to o%r str%ggle and like Bob I believe that we have been vindicated. &he dr%nk raises his glass. DRUN" "emember #i#th o# $ovember: &he bar cheers. INT. LEADER'S OFFICE

&he Leader reaches #or his Bible. LEADER How do I know this< Let me read to yo% where I #o%nd the answer, where I so o#ten #ind the answer. In the 0cript%re. "evelations. EXT. STREET CORNER # NIGHT

&he megaphones blast the Leader's voice. LEADER (V.O.) !I# any man have an ear, let him hear.! INT. FINCH'S OFFICE

&here are stacks o# printo%t everywhere. LEADER (V.O.) !He that leadeth into captivity

shall go into captivity; he that killeth with the sword shall be killed with the sword. Here is the patience and #aith o# the 0aints.! )inch stops reading, listening to the radio. LEADER (V.O.) !And I beheld another beast coming o%t o# the arth; and he had two horns like a lamb and he spake as a dragon.! INT. SHADOW GALLERY

Another radio crackles with the Leader's voice. LEADER (V.O.) !And he doeth great wonders, so that he maketh #ire come down #rom Heaven on the arth in the sight o# men.! 8 nods, almost la%ghing as vey enters the gallery.

LEADER (V.O.) !And he deceiveth them that dwell on the arth by the means o# those miracles which he had the power to do 11! EVEY 5h, 8, t%rn it o##, please. V 5# co%rse, my dear. He reaches over and changes the #re=%ency. voices, h%shed and secret b%t we recogni.e them. CREEDY (V.O.) B%t how does he know< HELEN (V.O.) I don't know. All I know is he does... And I know what he wants. &he voices are labored, p%nct%ated by gasps and moans. EVEY What is that, 8< V We hear

&hat, vey, is what I have been waiting #or. CREEDY (V.O.) 9o yo% know what I want< I want yo% 2%st like this... Bent over that black leather chair... We are p%lled by the radio into 11 INT. CREEDY'S BEDROOM

Where we see a tiny microphone hidden in the ceiling light above the bed. Helen moans as we dri#t down, glimpsing Helen, her arms reaching #or the edges o# the bed, her back arching %p towards >reedy, behind her, smiling. CREEDY What abo%t >onrad< HELEN I told yo%, I'll handle >onrad and 8 will take care o# 0%san. &he mob will take care o# the g%ard and then... @o% can %se the )inger to take over. CREEDY 7se the )inger< @o% mean like this< He inserts a #inger into her. HELEN 5h... oh... that is v%lgar... CREEDY B%t yo% like it< HELEN @es, oh yes, oh yo%'re a pig, 'eter... CREEDY &hat I am, misses. B%t I'm the pig that's gonna be r%nning this co%ntry. &hat sends a shiver thro%gh Helen's body. HELEN @es and I'm... I'm going to be

va... 5h

va...

Her eyes close and her #ists knot the sheets. HELEN !9on't cry #or me Argen... oh Argen... Argen... tina: &he word is almost lost in her orgasm. EXT. #o%rth. INT. FINCH'S OFFICE He has LONDON It is the morning o# the

&he s%n rises over London.

)inch looks thro%gh the blinds at the morning s%n. been %p all night. He checks his watchD +D,,am. FINCH ighteen ho%rs.

"%bbing the knot in his neck, he t%rns back to his o##ice which is now b%ried beneath mo%nds o# paper. 9ominic is passed o%t, sprawled on the co%ch, and cl%tching a printo%t #rom 0pencer's !)airy C%een.! FINCH 9ominic: 9ominic 2%mps, immediately searching the printo%t. FINCH 9ominic, go home. DOMINIC B%t I've still got over three h%ndred lines #rom &he )airy C%een. FINCH )orget it. &here's no more time. @o% go home and get some rest. @o%'re going to need it tonight. 9ominic lets the papers #all to the #loor. DOMINIC He's got %s, doesn't he, )inch< FINCH @es, he does.

EXT.

NEW GOVERNMENT BUILDING

>onrad p%lls his car into his reserved space. INT. when she is telling them something important. HELEN $ow listen to me, >onrad. &his is the most important moment o# o%r lives. verything I've worked and hoped #or comes to this. 0%san is a very dangero%s man, especially now, that's why I need yo%, >onrad. I need yo% to be stronger than him. I need yo% to be the better man. 7nderstand< >onrad nods. HELEN I# yo% do this >onrad, and yo% do it right, I'm going to t%rn yo% #rom the little man I married into the man o# my dreams. CONRAD 5h, Helen. He embraces her to kiss b%t she t%rns her per#ectly painted lips. HELEN $ot on the lips. Ardently, he kisses her cheek. INT. FINCH'S OFFICE CAR

Helen holds >onrad's chin the way a mother holds a child

)inch sits alone, palms pressed to his bleary eyes. FINCH (ive it %p, old man. @o%'re not even s%re yo% want to stop him. With a red pen, he begins absently drawing red circles aro%nd any 8 he sees on any piece o# paper.

8ictims. and lists.

8ectors.

8al%es.

8ictory.

Words #rom =%otes

0%ddenly, he stops. >are#%lly, as i# reaching to to%ch a b%tter#ly, he slips a single sheet o%t #rom the sheaves covering his desk. &he paper has a long listD the names o# all the C%eens o# ngland. He has circled in red the 8 in 8ictoria. When it hits him, it hits him like a #alling sa#e. >hrist: it: INT. FINCH &hat's it: It's got to be

LEADER'S OFFICE

&he intercom clicks on. LIEUTENANT (V.O.) 0ir, Mr. Heyer is here to see yo%. 0ays it's %rgent. And he's here with his wi#e, sir. LEADER His wi#e< LIEUTENANT (V.O.) 0ir, yes, sir 11 Wait, yo% can't go 11 &he door slaps open. HELEN Leader, I'm terribly sorry b%t I absol%tely m%st speak with yo%. &he Leader waves the Lie%tenant o##. HELEN I have something to tell yo%, something important b%t 11 0he glances at >onrad. HELEN I can tell yo% and only yo%. private. &he Leader st%dies her. HELEN In

It is a matter o# national sec%rity. EXT. brakes. He gets o%t, staring at a shadow on the gro%ndD a !8! in a circle. &he shadow is cast by a sign #or 8ictoria 0tation, part o# the abandoned s%bway. &he gates are chained sh%t. He #ires his pistol into the lock, kicks open the r%sting gates, and descends into the %ndergro%nd. INT. LEADER'S PRIVATE $UARTERS CITY STREET

In his car, )inch races to a corner and slams on the

&he Leader closes the door behind them. LEADER $ow what's this all abo%t, Mrs. Heyer< HELEN 'lease, #orgive me. I've been so a#raid, a#raid to come here to talk to yo%. I tho%ght he m%st know. I was terri#ied he knew b%t I had to come beca%se I knew yo% were the only one that can protect me. LEADER 'rotect yo% #rom what< 0he is %nable to go on, seemingly abo%t to b%rst into tears. LEADER >ome now, Mrs. Heyer. He to%ches her and it is all she needs. #ace into his chest. HELEN @o% won't let him h%rt me, will yo%< LEADER Let who h%rt yo%< HELEN 0he b%ries her

&he terrorist. LEADER &he terrorist is dead. HELEN 5h, how I wanted to believe it, Leader, b%t I know it's not tr%e. LEADER How< HELEN Beca%se I know who the terrorist is. INT. LEADER'S OFFICE

>onrad is alone with )ate. He glances abo%t nervo%sly, moving closer and closer. His #ingers reach o%t and gra.e the main keyboard. &aking a deep breath, he t%rns and begins to type. INT. PRIVATE $UARTERS

&he Leader takes hold o# Helen by her sho%lders. Who< LEADER Who is it, woman< My

HELEN It's >onrad, Leader. >onrad. h%sband is the terrorist. LEADER What<: INT. #inds LEADER'S OFFICE

>onrad accesses the department o# water and power.

He

the correct #ile and begins rero%ting power to a once dead system. INT. V'S TRAIN STATION 8 looks %p,

A hanging light s%ddenly si..les to li#e. smiling. INT. LEADER'S PRIVATE $UARTERS

&he Leader stares hard at Helen.

LEADER How do yo% know< HELEN I saw him, Leader. In the middle o# the night. I heard something. I went to the landing and that's when I saw it. 0he cl%tches him. HELEN &hat mask. &hat hideo%s smiling mask. LEADER B%t how did yo% know it was Heyer< HELEN I know, Leader. woman knows. I know the way a

LEADER B%t yo% have no proo#< HELEN 'roo#< LEADER @es, proo#< &his is an e/tremely delicate sit%ation, Mrs. Heyer. It has been reported that the terrorist is dead. It wo%ld be a catastrophe to arrest a man now witho%t concrete, concl%sive proo#. 9o yo% have any evidence at all< &ears well %p in Helen's eyes as she shakes her head. LEADER B%t i# yo%'re right, i# Heyer is indeed the terrorist... His eyes #ly wide and he spins away #rom her, throwing open the door. Leader: INT. HELEN Wait:

LEADER'S OFFICE

>onrad sits calmly across the room.

CONRAD Is everything all right<

Helen<

LEADER @es, Mr. Heyer, yo%r wi#e has done her d%ty to her co%ntry. He t%rns to Helen. LEADER 9on't worry, Mrs. Heyer. @o% will be taken care o#. I will la%nch an immediate investigation and I promise, yo% will be the #irst to know when an arrest will be made. CONRAD Investigation o# what< LEADER 0%bversion, Mr. Heyer. @o%r wi#e was privy to the dialog%e o# s%bversives. &hat's all yo% need to know at this time. Lie%tenant: &he Lie%tenant appears almost instantly. LEADER &he Heyers are leaving. see Mr. >reedy at once. corners o# her per#ect red lips. HELEN &hank yo%, sir. &he Leader nods. INT. NEW GOVERNMENT BUILDING I need to

Helen looks %p at the Leader, a smile hidden near the

Helen and >onrad get o%t o# the elevator, standing beneath the rows o# new party #lags that line the lobby. HELEN I want yo% to go straight to yo%r o##ice and wait #or me to call. When I do, I want yo% to come immediately home. 7nderstood< CONRAD @es, Helen.

0he embraces him, pressing her body against his. HELEN 5h, >onrad, I'm so pro%d o# yo%. CONRAD I did it, Helen. I% HELEN &onight, >onrad. CONRAD &onight. HELEN I promise yo% will never #orget tonight. 0he almost kisses him. HELEN (oodbye, >onrad. 0miling, she pivots on her heel and heads #or the door. He reaches #or her when 11 GUARD Mr. Heyer: Mr. Heyer: &he #ront desk g%ard r%shes towards him. CONRAD @es< GUARD 0ir, this package arrived #or yo%, sir. He hands him a small, brown wrapped bo/. CONRAD &hank yo%. He looks back #or Helen b%t she is already gone. INT. searches the detrit%s o# the dead train line. INT. CONRAD'S CAR SUBWAY I did it, didn't

A single #lashlight beam creeps toward %s as )inch

0itting at a stoplight, >onrad decides to open the package. Inside is a cassette tape. &he light changes and a car behind him honks. He starts #orward and inserts the tape. INT. SUBWAY

)inch crawls %p onto the plat#orm o# 8's hidden station, staring at the bea%ti#%l old train car. INT. CONRAD'S CAR

0trangling the steering wheel, >onrad listens to the tape. &he speedometer climbs as everything seems to accelerate. TAPE (V.O.) 9o yo% know what I want< I want yo% 2%st like this... bent over that black leather chair. Helen moans. INT. the stacks o# gelignite. FINCH 5h my god. INT. stares o%t the windshield b%t sees only the images created by the tape. TAPE (V.O.) 7se the )inger<... @o% mean like this<... 5h... &hat's v%lgar... B%t yo% like it<... @es... oh yes. >onrad loses control and the car careens %p onto the sidewalk and smashes into a brick wall. Li#ting his bloodied #orehead, >onrad looks o%t and sees the %bi=%ito%s poster partially destroyed by the crashD !0trength thro%gh p%rity, p%rity thro%gh #aith.! CONRAD'S CAR With tears in his eyes, he TRAIN CAR

)inch steps inside the car, his #lashlight sweeping over

A scream b%ilds in >onrad.

INT. o#

TRAIN CAR

)inch hears something and 2erks back, almost #alling o%t the car. bolts. Aiming his g%n, he #inds no one. He t%rns and

As the so%nd o# his #ootsteps #ade, 8 steps o%t o# the shadows. INT. )inch r%shing towards him. FINCH Is the Leader in< LIEUTENANT @es, b%t he's meeting with the >aptain o# the (%ard. FINCH 'er#ect. LIEUTENANT Mr. )inch, yo% can't go in 11 )inch charges thro%gh the doors. INT. LEADER'S OFFICE NEW GOVERNMENT BUILDING

&he Leader's Lie%tenant looks %p #rom his desk and sees

&he Leader and his >aptain t%rn. LEADER Mr. )inch< FINCH Leader, I need as many men the >aptain can spare and I need them right now. CAPTAIN What #or< FINCH &o capt%re codename 8. EXT. CONRAD'S HOUSE

>reedy opens the tr%nk o# his car. In the phosphorescent glow o# the streetlight, the set o# knives gleam. He b%ndles

the cost%me that he tried to planet on )inch into his arms, then slams the tr%nk. Above, a window blind that was cracked open snaps sh%t. INT. LEADER'S OFFICE

&he Leader moves towards )inch. FINCH He's %ndergro%nd. &he old s%bway. I know e/actly what he's going to do. I# we move =%ickly, we can be there, waiting #or him. INT. the #ront door close and his grip tightens aro%nd the handle o# a long, steel1necked hammer. INT. LEADER'S OFFICE CONRAD'S HOUSE He hears

>onrad waits, hidden inside a bedroom closet.

&he Leader is steadily convincing himsel# o# something. FINCH Leader, every second we delay... &he Leader li#ts his hand, silencing )inch. LEADER I'm coming with yo%. GUARD 0ir 11 LEADER &here will be no disc%ssion 11 GUARD B%t i# Mr. )inch is right 11 LEADER I am sick to death o# this terrorist being everywhere and nowhere: I will 2%dge whether Mr. )inch is right and I will 2%dge it with my own eyes: 9o I make mysel# clear, >aptain< CAPTAIN

0ir, yes, sir: )inch is s%ddenly overwhelmed by a #eeling that is common to chess players. 2%st done e/actly what yo%r opponent wanted. LEADER Is there a problem, Mr. )inch< FINCH $o... no sir. (ood. LEADER >aptain, mobili.e yo%r men. It is the dist%rbing sense that yo% have

CAPTAIN 0ir, yes, sir. LEADER We'll #ind this bloody bastard and we will #inish him. INT. had done. 0he s%ddenly #eels 8 watching her. EVEY V% V @es. vey smiles as 8 steps o%t o# the shadows. EVEY 8, what's going to happen< >hange, change. V vey. &hat's all. B%st SHADOW GALLERY

vey sits in the gallery, reading 'ynchon's !8! 2%st as 8

EVEY Is it going to be violent< V @es, I s%ppose it will. INT. CONRAD'S HOUSE

>reedy empties a bottom drawer, making room to hide the

cost%me. As he does, the closet door behind him slowly creeps open. INT. SHADOW GALLERY

8 stands at the 2%kebo/. B%t why< EVEY Why m%st is be violent<

V Beca%se, vey, that is the nat%re o# change. 0he is a temperamental creat%re that appears in earnest rarely b%t, when she does, she will wear one o# two #aces. &he #irst #ace is the destroyer. It is lamentable b%t all tr%e change begins with death. INT. slash o# silver against the velvety darkness. INT. SHADOW GALLERY CONRAD'S HOUSE &he hammer raises, a

A dark #ig%re stands over >reedy.

8 p%nches a b%tton on the 2%kebo/ 2%st as 11 INT. CONRAD'S HOUSE

&he hammer #alls with a sickening so#t cr%nch. INT. goodbye to love. INT. o# 8's knives as another hammer blow cracks thro%gh his collar bone. He screams, l%nging at >onrad. INT. SHADOW GALLERY CONRAD'S HOUSE SHADOW GALLERY

&he song begins to play; a melancholy song that says

Blood po%rs down >reedy's snarling #ace, he snatches one

8 listens to the song, the smiling eyes somehow knowing.

INT.

CONRAD'S HOUSE

&he hammer #alls again and again %ntil the metal head is slick with blood and meat. >onrad st%mbles back, dropping the hammer. at the hilt o# the kni#e protr%ding #rom his stomach. yanks it o%t and holds 8's kni#e which is bright red with his own blood. He collapses to the #loor. INT. SHADOW GALLERY He He looks down

&he song contin%es. EVEY What is the other #ace, 8< V &he other #ace< 0he #ace o# change. &he creator. 0he is the remakes the world. EVEY @es, 8< V May I ask yo% #or a #avor< EVEY 5# co%rse. V It is a small thing b%t it wo%ld mean a great deal to me. EVEY &ell me. V I've never danced be#ore. I've tho%ght abo%t it many times, here in this room, listening to the m%sic. B%t I've always been alone. vey smiles and crosses to him. EVEY It wo%ld be my pleas%re. is the tr%e #ace o# the one that vey<

He opens his arms and she steps into them. &hey dance, standing very close, his gloved hand holding tightly to hers, her smile against his. EXT. CITY STREET

9o.ens o# military vehicles swarm aro%nd the entrance to 8ictoria 0tation while heavily armed men po%r thro%gh the gates o# the %ndergro%nd. INT. SHADOW GALLERY

&he song ends. V &hank yo%, vey. @o% are an e/cellent dancer. EVEY All it takes is a little practice. V Alas, I have r%n o%t o# time. He bows, pressing his #ro.en lips to her hand. s%ddenly nervo%s. 8< EVEY What are yo% going to do< I have a date vey is

V 9on't yo% remember< tonight, vey.

EVEY @o%'re coming back tho%gh, aren't yo%< 0he sei.es hold o# his hand. EVEY 8, I won't let yo% leave %nless yo% promise me that yo% will come back. V 5# co%rse, I'll be back. @o% don't think yo% can be rid o# me now, do yo%< EVEY B%st promise.

V I promise. 0he lets him go. INT. shock, o%traged by the mere presence o# the train. LEADER Mark my words, Mr. )inch, this man is going to become an e/ample so that every man, woman, and child in this co%ntry will remember what happens to those who wo%ld ever think to stand against the state. He t%rns to the >aptain. LEADER >aptain, I need a gas %nit down here with eno%gh nerve gas to #ill every rat1hole in these t%nnels. 0%ddenly the lights go o%t. FINCH I don't think that will be necessary. &he Leader smiles. LEADER &here are over one h%ndred o# the best trained soldiers in this co%ntry down here. Let him come. INT. TRAIN TUNNELS TRAIN STATION 0%san stares in

0oldiers swarm thro%gh the station.

)ive soldiers creep #orward in a tight #ormation, their #lashlights probing every nook and cranny. Behind them, a secret passage opens and 8 steps o%t. He is among them with #right#%l speed, a grinning dervish with blades like metal #angs ripping and rending #lesh, slashing bright in the #lashlight. 5ther soldiers r%sh towards the screams and g%n#ire b%t they #ind only #ive bodies and warm blood r%nning down the walls.

LEADER >aptain, what's happening< RADIO (V.O.) $o sign sir. "epeat, no sign o# him. CAPTAIN &hey lost him. )rom the opposite end, there is another series o# screams and machine g%n #ire that lights %p the dark t%nnel #or a moment. &hen, nothing. FINCH &his... this is a mistake. LEADER 9on't tell me yo%'re a coward, Mr. )inch. Back in the t%nnels, 8 drops #rom above, his cloak a swirling clo%d o# s=%id ink that hides him in the darkness. Again, =%icksilver knives lash o%t, drawing #onts o# blood. INT. TRAIN STATION

)inch can #eel the panic that is spreading thro%gh the t%nnel. FINCH Leader, we have to get o%t o# here: LEADER &his was yo%r idea. FINCH It was a mistake. &his is what he wants. He knows %s, Leader. He knows %s too well. We have to get o%t o# here be#ore it's too late 11 A voice rings o%t #rom hidden speakers, echoing thro%gh the t%nnels. V (V.O.) (ood evening citi.ens o# London.

&his is the voice o# )ate. #ate... LEADER What trick is this<

@o%r

V (V.O.) &onight, the #ace o# London is going to change and I am going to o##er yo% the chance to change with her. @o%r Leader is #inished. He will not leave these t%nnels alive. &he Leader screams to be heard over the resonant voice o# 8. LEADER &his is an o%trage: I order yo% not to listen to this: V (V.O.) At midnight tonight, the Head will be destroyed and a new era will begin. @o% m%st now decide i# yo% are going to be a part o# that era. verywhere, terri#ied soldiers listen to the voice. V (V.O.) @o% can choose to stay here and die with yo%r Leader or yo% can choose to be #ree. &he decision is yo%rs and yo%rs alone. LEADER >aptain, order all yo%r men to #all back and sec%re this position: V (V.O.) 0ome o# yo% have wives. 0ome o# yo% have #amilies. All o# yo% have lives. >onsider each o# them as yo% ask yo%rsel#, are they a part o# the past, or are they a part o# the #%t%re< CAPTAIN )all back. )all back and sec%re the central plat#orm. 9eep in the t%nnel, two soldiers look at each other. 0im%ltaneo%sly, they drop their g%ns and r%n. LEADER

Any man that disobeys this order will be co%rt marshaled: (ro%ps o# solders drop their weapons and disappear into the shadows. >aptain: men< LEADER >aptain, where are yo%r

&he station #ills with the so%nd o# boots r%nning wildly away. LEADER (oddammit, I will not tolerate this ins%bordination: I want those deserters shot, >aptain. )inch slowly draws back away #rom the Leader. LEADER 0hot on sight: &he #ew men on the plat#orm are soon the only men le#t. CAPTAIN @o%: @o%: 'oint position. getting o%t o# here: $ow: We're

A kni#e sings thro%gh the air and b%ries itsel# in the >aptain's chest. With a tiny rasp, he #alls to the gro%nd. &he remaining men bolt. &raitors: LEADER @o% cowards:

He grabs #or the >aptain's machine g%n. LEADER I know who yo% are: I'll see yo% hang: very last one o# yo%: !@o%! echoes down the dark empty throat o# the t%nnel. &he Leader looks aro%nd, his #lashlight sweeping in big arcs as he reali.es that he is alone. LEADER )inch< )inch: )inch, goddammit, yo% can't leave me: 9on't leave

me: V @o% are going to die as yo% r%led 11 &he Leader screams, whipping aro%nd towards the voice. V Alone. &he smile is as cold and as sharp as the kni#e that #licks #rom his hand. &he Leader raises his g%n 2%st when the kni#e sinks into his sho%lder. Howling in pain, he drops the g%n. 9amn yo%: LEADER 9amn yo%:

8 smiles into the spot o# his #lashlight. LEADER >onrad< Is that yo%< @o%'re working with )inch, aren't yo%< And >reedy: @o%'re all in this together: 8 closes in. LEADER Who are yo%< V @o%, most o# all, sho%ld know, Leader. @o% created me. Witho%t yo%, I wo%ld never be. More than li#e, Leader, yo% gave me p%rpose. 8 draws his #inal blade. V !He that killeth with the sword, shall be killed with the sword.! 8 raises the kni#e. LEADER $oooo: FINCH 9on't move:

8 and the Leader t%rn to #ind )inch aiming a machine g%n at V. LEADER Mr. )inch: 5h god, Mr. )inch: FINCH 9rop the kni#e. 8 does and 0%san begins an almost hysterical la%gh. LEADER 5h, I knew it, Mr. )inch. I knew yo% wo%ldn't desert me. @o%'re a good man, )inch. A damn good man. FINCH $o, Mr. 0%san. $o, I'm not. I'm a man who does his 2ob and does what he's told. )or twenty seven years, that's all I've been. He steps toward 8, staring into his smiling black eyes. LEADER >are#%l, Mr. )inch. the devil. )inch ignores the Leader. FINCH I've read 9elia's diary over and over all year. It sickens me b%t I am %nable to 2%dge her. I am as g%ilty as she. LEADER Mr. )inch, what are yo% doing< 0hoot him. Aill the bastard, )inch. FINCH I have no e/c%se. told to do. I did what I was He's =%ick as

LEADER )inch, I order yo% to shoot him: )inch: FINCH My 2ob was to #ind yo% and catch yo%. I've done my 2ob. I've done

it #or the last time. I'm tired o# it. I'm tired o# it all. He tosses the g%n to the Leader. FINCH Aill him yo%rsel# i# yo% can. &he Leader seethes, his eyes boring into )inch. FINCH &hank yo%, 8. And goodbye. V (oodbye, Mr. )inch. &he machine g%n b%rst shatters the =%iet concrete silence. )inch #alls dead at 8's #eet. LEADER I warned yo%, )inch, the penalty #or treason is death. He aims the g%n at 8. LEADER Are yo% ready to die< V &he real =%estion is, are yo%< &he Leader la%ghs. LEADER 9o yo% really believe yo% can pick %p that kni#e be#ore I p%ll this trigger< $o. V B%t I don't have to.

Almost cas%ally, 8 bends down to pick %p the kni#e 11 &he Leader screams and #ires. B%llets knock 8 back a bit b%t he contin%es, grabbing the kni#e and standing. yes widening with disbelie#, the Leader #ires another blast as 8 begins walking towards him. &he machine g%n roars, b%llets shredding o%t thro%gh the back

o# 8's cloak as he contin%es with short deliberate steps %ntil 11 &he hammer clicks against the pin. 8 stands be#ore him. V @o% see< @o% cannot kill me. &here is no #lesh and blood within this cloak to kill. &here is only an idea. 8 smiles. V And ideas are b%lletproo#. &he Leader screams. 8 drives the kni#e into his heart, killing him instantly. 8 stands alone amidst the carnage and seeping pools o# red. His body wavers. He takes his hands o%t #rom beneath his cloak and reveals his gloves, wet with blood. INT. CONRAD'S HOUSE &he g%n is empty.

&he #ront door opens and Helen enters. HELEN >reedy< >reedy, yo% d%mb bastard, yo% le#t yo%r car parked in #ront. 0he walks %p the stairs to the bedroom. HELEN What did I tell yo%< INT. the pl%sh carpet soaked with blood. HELEN 5h my god. When she sees >reedy's head mashed open, she covers her mo%th. CONRAD BEDROOM >reedy.

0he steps into the room, her sole and heel sinking into

Helen... >onrad has propped himsel# against the bed. >onrad: HELEN What have yo% done< I won.

CONRAD I won, Helen. I did it. I'm the better man.

He crawls toward her, slipping on the wet carpet. CONRAD We've been thro%gh a bad patch, Helen. B%t now, he's gone... &here's nothing to come between %s... He reaches #or her #oot, his hand gloved with wet red. HELEN 9on't to%ch me: @o% st%pid piece o# shit: @o%'ve r%ined it: I had it all planned per#ectly and yo%'ve r%ined it: 0he checks her watch; two ho%rs to midnight. HELEN I have to get o%t o# here: to get away: >onrad sei.es hold o# her ankle. CONRAD Helen 11 $o: #ree o# him b%t he won't let go. &wisting, she reaches #or the door b%t slips on the carpet. HELEN >onrad, damn yo%: Let me go: HELEN Let go: $ow: 0he tries to kick I have

&he look in his eyes #rightens her.

CONRAD $o, Helen, yo%'re not leaving me... not this time... not ever. He crawls %p her body still cl%tching the bloody kni#e.

HELEN $o, please: 5h god, no: please help me: >onrad raises the kni#e. CONRAD $o one can help %s, Helen. dead. &he kni#e #alls. INT. SHADOW GALLERY

5h god,

(od is

vey hears 8 on the spiral staircase. EVEY V% 0carlet #ootprints trail behind 8 as he str%ggles down the stairs. EVEY @o% came back. He nods and then collapses, rolling down the rest o# the stairs. EVEY V& slick with blood. EVEY 5h god, what happened< V vey... EVEY @o% need a doctor. V It's too late #or that... EVEY $o, don't say that: V vey, listen to me. I've not long and there are things that m%st be V& His clothes are "%nning to him, she #alls to his side.

said. His voice strains beneath the mask. V I have done that which I came to do. $ow, it is time #or me to rest and with me the past will, at last, #ind peace. &rembling, vey holds him.

V B%t the world, the world is not saved... 9o not think that, when the #ires die and the smoke clears, there is no miracle... there is only a path... %pon which they m%st learn to r%le themselves. EVEY @es, they need yo%, 8. V $ot me, vey, not me. I told yo% I am the villain. &he destroyer... B%t yes, they will need help... He reaches %p and wipes a tear #rom her cheek. V I kept my promise to yo%, $ow yo% m%st promise me. EVEY What< V 'romise me... yo% will discover the #ace %nder this mask... b%t yo% will never look beneath it. EVEY I don't %nderstand. V 'romise me. 'lease... vey...

EVEY I promise. V 0weet ve. Wherever I shall go, I shall always love yo%.

EVEY 8, yo% are not going anywhere: V Midnight... Midnight. them remember... ve... Make

EVEY @o%'re not going to die, 8: V Let me be there, vey, when it begins... 'lease, let me hear the m%sic, one last time... my m%sic... EVEY I won't let yo% die: V I know yo% won't... I know... EVEY V& V My love... Ave At=%e vale... Holding him as tight as she can, she #eels his li#e drain away, slipping thro%gh her arms in the way the last grains o# sand po%r thro%gh the neck o# the ho%rglass. 0he b%ries her #ace beside his and weeps. EXT. CITY STREET

An enormo%s crowd has beg%n to gather in the streets s%rro%nding the $ew (overnment B%ilding. With the crowd, a restlessness swells against each barricade erected by the military. A sergeant stands on an armored car, speaking thro%gh a megaphone. SERGEANT "et%rn to yo%r homes: &here is nothing to see: &he terrorist is dead: RABBLE ROUSER 1 He ain't dead:

RABBLE ROUSER 2 He'll be here, 2%st like he said: INT. SHADOW GALLERY

vey h%ddles against the stair railing, her #ace tear stained, staring at the li#eless body o# 8. EVEY (V.O.) I remember... I remember staring at the mask, at that smile. 0he to%ches the mask, her #ingers #inding its edge. EVEY (V.O.) 'art o# me co%ldn't believe he was dead and maybe that was why. &he smile was still the same. It made me want to tear it o## so I co%ld see the #ace, so I co%ld see that he was dead. Her #ingers stop. EVEY (V.O.) B%t I had promised. V (V.O.) @o% will discover the #ace %nder this mask b%t yo% will never look beneath it. EVEY (V.O.) I began to try to imagine his #ace. 5# co%rse, I had long pict%red my #ather behind that smile b%t I knew in my heart that 8 was not my #ather. vey stares into the eyes, the dark, empty eyes. EVEY (V.O.) @et every time I pict%red another #ace, any #ace, something was lost, something important was somehow diminished. 8 was more than a #ace. 8 was 8. Her e/pression changes. EVEY (V.O.) And then, =%ite s%ddenly, =%ite nat%rally, I reali.ed whose #ace m%st be beneath that mask. It was

the only #ace that mattered. EVEY I won't let yo% die. V (V.O.) I know yo% won't... I know. A small smile creeps across her #ace. EXT. CITY STREET

Midnight approaches and the crowd #eels it. 0pilling everywhere, they #ill the streets like a #lood. INT. TRAIN CAR

vey sets a #inal violet carson on the chest o# 8. He is lying on a bed made o# gelignite, covered in roses. &o%ching his mask, she bends over him. EVEY (oodbye, my love. &enderly, she presses her lips to the smile, her eyes closing, her #inal tears blinking #ree. 0he backs away and 8 smiles, his lips wet with her kiss, his cheek wet with her tears. EVEY (V.O.) !Ave At=%e vale.! 5n the train plat#orm, starts the train. vey reaches thro%gh the window and

EVEY (V.O.) I looked it %p the ne/t morning. &he wheels ch%rn as the train l%rches #orward. EVEY (V.O.) !Hail and #arewell.! V (V.O.) !Make them remember...! 0he watches the train disappear into the t%nnel. EVEY &hey will, my love. &hey will.

EXT. o%t

CITY STREET

&he crowd s%rges against a barricade when a voice cries across the city echoing thro%gh the megaphone on every corner. EVEY (V.O.) !"emember, remember, the #i#th o# $ovember:! High above the gathered mass, a masked #ig%re steps o%t onto a roo# parapet. &he crowd e/plodes. INT. rails. EXT. into a microphone. EVEY I have come here tonight promise. A promise that #o%r h%ndred years old. am here to give yo% yo%r to keep a is over &onight I #reedom: ROOFTOP vey stands on the roo#'s edge, speaking SUBWAY

&he train barrels along, screaming against its r%sted

9ressed as 8,

Again, the crowd b%rsts into a #ren.y. EVEY 0ince mankind's dawn a hand#%l o# oppressors have accepted the responsibility over o%r lives, responsibility that we sho%ld have accepted o%rselves. By doing so, they took o%r power. By doing nothing, we gave it away. &he voice booms over the mesmeri.ed crowd. EVEY &onight, o%r world will change. 5%r leaders will be gone and we m%st choose what comes ne/t. A ret%rn to the chains o# others or lives o# o%r own. A world o# the past or one o# the #%t%re.

0he #eels the sea o# h%manity beneath her, almost channeling their energy. EVEY Let %s choose care#%lly, London, and when we do, let %s mark well and remember, remember this #i#th o# $ovember: &he crowd screams as one and their scream becomes 11 INT. Ahead the tracks end, b%ried beneath the r%bble o# the collapsed t%nnel. INT. TRAIN CAR SUBWAY

&he train h%rling like a b%llet thro%gh a g%n barrel.

Inside the rattling train, 8 lays in per#ect repose. V (V.O.) Let me be there, vey, when it begins... EXT. ROOFTOPS vey p%lls the mask #rom her #ace.

Hidden and alone,

V (V.O.) 'lease let me hear the m%sic... one last time... my m%sic. Almost %nconscio%sly, vey raises her hand and coa/es the #irst so#t notes as he had once done. V (V.O.) At #irst, yo% have to listen care#%lly. &he violins o# the *?*6 overt%re steadily rise. V (V.O.) Ah, yes. &here it is. is it not< Bea%ti#%l,

vey smiles, her hand still gently cond%cting. EVEY @es, my love. @es it is.

INT. o#

SUBWAY

With the clash o# cymbals, the train crashes into the wall r%bble. EXT. NEW GOVERNMENT BUILDING

&he entire b%ilding opens like a time1lapsed rose blooming with brilliant orange petals o# #lame. EXT. #lame. EXT. ROOFTOP CITY STREET

&he crowd is awash in the baptismal glow o# er%pting

vey watches the e/plosion, a star1b%rst o# #laming debris searing against the night sky like #ireworks. EXT. CITY STREET

&he masses b%rst thro%gh the barricades with a e%phoric #ren.y. EXT. ROOFTOP

&he e/plosion begins to slowly die. EVEY (V.O.) I know that there is only one way to repay him #or what he did. 0he looks down at the mask. EVEY (V.O.) And I know that that way is going to take a lot o# hard work. 0he smiles. EVEY (V.O.) I know this like I know the s%n will rise tomorrow and beneath that new s%n, o%r work will begin. &he #ire #ades and walks away. FADE OUT. vey t%rns, cradling the mask, and