Hanna

HANNA

Written by

Seth Lochead

1 EXT. FOREST FLOOR - DAY. 1

Winter. Silence on the forest floor. Snow falling. Then the sound of breathing. The soft footfall of a person running. HANNA, fourteen years old, long hair, eyes like blue ice, glides through the trees, a bow strapped to her shoulder. She is dressed in animal skins and fur shoes. She blends almost completely into the landscape of trees and snow. She stops dead. Her breath visible in the freezing air. Suddenly alert, she has spotted her prey. A REINDEER nuzzling the snow, trying to unearth a patch of grass to eat. Its head pops up - danger. Too late. The sudden swoosh and the snap of         an arrow piercing its skin. The deer flops to the ground with a thud. It whines, its feet dig at the earth. Its mouth gnaws at the icy air. Steam pouring from its nostrils. HANNA approaches, removes a fur glove. She bends to her knees. She reaches out and gently pets the animals frightened face. She runs her hand down along its neck, in towards the wound.

HANNA I just missed your heart. She stands and pulls out an old pistol from her waist holster. She fires two shots directly at CAMERA.

CUT TO TITLE: HANNA

2 EXT. FOREST FLOOR - LATER. 2

A knife enters the deer near its anus.

HANNA

(WHISPER) Remove the penis and scrotum, make a deep, circular cut around the rectum. HANNA pulls the knife up towards the brisket.

HANNA (CONT'D)

(WHISPER) Cut from the rear to the brisket. She works calmly without expression.

2.

3 EXT. FOREST FLOOR - LATER 3

The deer lies on it's side. HANNA breaths hard. She reaches deep into the body cavity and pulls out intestine, stomach, liver. She freezes, sensing danger. Her hand deep inside the animal. She listens. She looks out into the still forest. No sound. ERIK, mid forties, a mammoth with leathery face, stands behind her like a ghost.

ERIK You're dead. Right now. I've         killed you. HANNA spins spraying deer-blood on to the snow and brings her fist right to ERIK's face. He blocks and thumps an open palm on to HANNA's shoulder sending her sprawling into the snow. She leaps to her feet, as ERIK aims a kick at her head. She dodges, punches below his knee cap, and goes for her pistol. ERIK slaps the hand away.

ERIK (CONT'D)         Use your hands! She goes for the gun again and again he stops her. He moves in tight, pulling the gun from its holster and tossing it deep into the forest. HANNA clips ERIK'S temple sending him to the ground. She wraps her arms around his neck preparing to snap...         ... but she can't.          He throws her over his shoulder into a pile of snow. ERIK stands and wipes the snow from his pants. His face shows a touch of frustration. He plods into the forest.

ERIK (CONT'D)         Drag it back yourself. HANNA drags herself to the deer's side. She stares at its dead face.

3.

4 EXT. FOREST FLOOR - LATER 4

HANNA clears the kill site. Wipes the last dots of blood on         to a stick. No sign she was ever there.

5 EXT. FOREST FLOOR - EVENING 5

HANNA drags the 200 lb deer on a makeshift sled. She lifts her knees high and moves at a steady pace. Hidden among the trees, a little way off, ERIK is watching her.

6 EXT. LOG CABIN. NORTH SWEDISH FOREST - EVENING 6

A log cabin built around an ancient tree surrounded by the thick forest. HANNA is standing in the snow, stripping the deer with a knife. It's a tough job but she does it no fuss.

7 INT. LOG CABIN - EVENING 7

Almost everything ERIK and HANNA own they've made themselves using what can be found in the forest. What few possessions that have been brought in from the outside world are old and worn. HANNA is making a fire using a bow drill. The friction of the drill produces an ember which HANNA carefully transfers to         some dried leaves.

8 INT. LOG CABIN - LATER 8

HANNA and ERIK sit either side of a small fire, still dressed in furs. HANNA swirls a spoon around in a dish of stew. ERIK takes a         mouthful, watches HANNA not eating.

ERIK What's wrong? Are you hurt? She keeps swirling her spoon.

ERIK (CONT'D)         You were half asleep.

HANNA I'll do better next time.

ERIK German.

4.

HANNA (In German w/ English

SUBTITLES)         I'll do better next time.

ERIK Italian.

HANNA (In Italian w/ English

SUBTITLES)         I'll do better next time.

ERIK Spanish. HANNA studies her food and slowly takes a spoonful.

ERIK (CONT'D)

(INSISTENT) Spanish.

HANNA (In Spanish w/ English

SUBTITLES)         Did you really want me to snap your          neck?          He looks at her - drops the quiz.

ERIK How much did you pull off the deer?

HANNA A hundred and twenty with scraps.

ERIK About 200 pounds in total? HANNA nods.

ERIK (CONT'D)         That explains it.

HANNA What?

ERIK How you beat me. You're getting strong. HANNA almost blushes. ERIK stands to put his bowl away.

ERIK (CONT'D)         (In Spanish w/ English

SUBTITLES)

(MORE)

5.

ERIK (CONT'D)         I'm glad you didn't snap my neck.

9 INT. HANNA'S ROOM. LOG CABIN - NIGHT 9

HANNA is in bed under fur covers listening while ERIK reads to her from an old encyclopedia.

ERIK The Great Blue Whale is the largest animal to have ever existed. A blue whale's tongue weighs over two and a half tons and its mouth is large enough to hold 90 tons of food and water.

HANNA How much is that?

ERIK It's bigger than the cabin. Its heart weighs thirteen hundred pounds and a male has seven gallons of testicles. HANNA smirks.

ERIK (CONT'D)         The Blue Whale's "music" can be          heard for over 500 miles. He shuts the book.

ERIK (CONT'D)         Time for sleep.

HANNA Good night. He stands by her bed looking down at her.

ERIK Did you forget something?

HANNA No.         ERIK takes HANNA'S gun out of his pocket and puts it on the table next to her bed.

HANNA (CONT'D)         Sorry.

ERIK Good night. He walks to the door. HANNA stops him with a question.

6.

HANNA What's music like?

ERIK It's difficult to explain.

HANNA Try. He opens the encyclopedia again, leafs through the pages and reads.

ERIK

(READING) â€˜Music. A combination of sounds with a view to beauty of form and expression of emotion'.

HANNA But how does it feel? Erik is not equipped to answer such esoteric questions.

ERIK Good. It feels good. It's, uh, nice.

HANNA Tell me properly. Can you play music?

ERIK Your mother could. She used to sing very well.

HANNA I'd like to hear it for myself.

ERIK You will soon enough.

HANNA How soon? Erik looks away from her questioning eyes.

ERIK When you're ready.

HANNA I'm ready. I'm ready already. They look at each other- he weighs it up.

ERIK Just go to sleep now. I'll see you in the morning.

7.         Hanna covers herself in an animal skin as ERIK pulls a wattle screen across her bed, strokes her hair gently for a moment and leaves the room. HANNA reaches under her bed and takes out an old battered photograph, taken 15 years ago, of a YOUNG WOMAN with eyes like hers - her MOTHER, JOANNA ZADEK.

10 EXT. LOG CABIN - MORNING 10

The morning sunlight slants through the forest. ERIK is walking through the trees. He stops, raises his pistol at a tree trunk some distance away and fires. The tree breaks apart.

11 INT. HANNA'S ROOM. LOG CABIN - MORNING 11

HANNA wakes with the sound of the GUNSHOT. She is still holding her mothers photgraph. HANNA pushes the photograph under her mattress and climbs out of bed.

12 EXT. LOG CABIN. SHOOTING RANGE - MORNING 12

Another GUNSHOT breaks a tree apart. Hanna fires. Another tree breaks apart. She rolls and fires. She rolls and fires. She reloads. And fires. ERIK watching.

13 EXT. LOG CABIN - DAY 13

HANNA attacks ERIK. Hand. Knee. Elbow. Fist. He defends easily.

ERIK Again. They reset. She repeats the motion. Hand. Knee. Elbow. Fist.

ERIK (CONT'D)         Again. Hand. Knee. Elbow. Fist. She's getting faster. Her strikes are solid.

8.

14 EXT. LOG CABIN - DAY 14

A medium size log nailed along two pillars of the cabin acts as a chin-up bar. Erik and Hanna do chin-ups. Both are fit. Neither will give up. ERIK observing HANNA's power. Both have the sense that he is judging her. HANNA's face fiercely determined.

15 EXT. LOG CABIN - DAY 15

ERIK and HANNA sit with their backs to a tree in the huge forest as they breathlessly recover from the exhaustion of         the exercise. HANNA speaks fast, reciting.

HANNA I live in Leipzig. German city. Population 0.7 Million people. We         live at Number 7 Weissingerplatz. I         go to school at the Klaus Kohle Gymnasium and my best friends are Rudi Gunter and Clara Schliess. I         like literature and sport, in          particular tennis and athletics. I         have a dog called Trudi.

16 EXT. NORTH SWEDISH FOREST - DAY 16

HANNA is running, racing ERIK. Fierce determination, almost anger in her eyes. They reach the river and dive in.

17 EXT. RIVER - DAY. 17

HANNA and ERIK are swimming hard against the current of the fast-flowing river, working at full pelt just to stay still. They swim and swim, their muscles busting, their lungs bursting.

ERIK Don't give up! Don't give up! HANNA's arms flails as she fights against the stream and she screams in pain. She is grabbed under by the undertow and is         pulled downwards. For a second she is underwater and in         darkness but ERIK's hand pulls her back up and she breaks the surface with a gasp of relief.

18 EXT. NORTH SWEDISH FOREST. RIVER BANK. 18

On the bank, HANNA climbs out. ERIK approaches her but moodily, even angrily, she pushes him away.

HANNA I didn't need your help.

9.         Her face sullen, she walks away into the forest. He stares after her.

19 EXT. CABIN - NIGHT 19

Outside, ERIK stands alone, thinking. An OWL swoops down to         catch a mouse then flies back up into the tree tops.

20 INT. CABIN. HANNA'S ROOM - NIGHT. 20

HANNA is asleep. ERIK enters the room. ERIK approaches the bed, and solemnly takes out a pistol and aims it at HANNA. He is tense with expectation. Suddenly HANNA bursts from her covers, smashes the pistol from ERIK's hand and smashes him down on to the bed. She grabs the pistol and points it at his face. She is alert, eyes intense, face proud. She speaks quietly.

HANNA I'm ready now.

ERIK Maybe. ERIK relaxes. It's a false beat. He lunges again at her, really violently. He seems to be         really trying to hurt her. But HANNA has reached under her mattress and there is a flint knife - in an instant it is at ERIK's neck. She pricks his neck slightly. It bleeds just slightly. Stillness and silence. HANNA breathless, angry.

ERIK (CONT'D)         You didn't tell me you had a knife.

HANNA You told me to think for myself. Isn't that what you want? She is angry for the first time. ERIK does not answer. Just stares at her.

HANNA (CONT'D)         I want to see things. I can't stay here forever.

10.

21 EXT. LOG CABIN - NIGHT 21

ERIK takes long lunging strides straight out from the cabin. He counts his paces.

ERIK One, two, three, four...

22 EXT. FOREST FLOOR - DAY 22

ERIK and HANNA are racing through the forest. Over this we continue to hear ERIK counting his paces from the previous scene.

ERIK (V.O.) ...five, six, seven, eight...

23 EXT. LOG CABIN - NIGHT 23

ERIK ...nine, ten. After 10 paces, ERIK makes a 90 degree turn and enters the tree line. The snow and mud crunch under his boots. We continue to inter-cut the following with more close-ups of         HANNA training: climbing, fighting, chin-ups, shooting. All the while we continue to hear ERIK counting out his paces. After 40 paces, with the cabin light distant, ERIK falls to         his knees. He unsheathes a large knife and jams it into the frozen earth.

24 EXT. NORTH SWEDISH FOREST - MORNING 24

HANNA comes out of the cabin, rubbing her eyes and yawning, eating a hunk of cold meat. She looks up to see a snow fox staring at her from the tree line. She crouches and holds out what's left of her breakfast. The fox approaches gingerly, delicately.

HANNA Hello little foxy... foxy loxy...         come on... come and share my         breakfast. The fox comes to her and nervously accepts the scrap, withdrawing a few feet to eat it. HANNA shuffles forward carefully and gently pats the snow fox - it is only a cub.

11.         As the fox eats it makes low grunting noises which HANNA expertly mimics - causing the fox to look up, puzzled - they seem to have a genuine connection - as if they've done this before. Suddenly the snow fox freezes, pricks up its ears, looks up, HANNA looks up too. An aeroplane is approaching overhead. The fox darts back into the undergrowth as the roar of the plane reverberates through the forest. HANNA jumps to her feet and with incredible speed and dexterity climbs to the very top of a near by tree. The plane roars over her head and disappears over the snowy wilderness, oblivious to HANNA'S tiny presence. It's only now that we see the full extent of HANNA'S         isolation.

25 INT. CABIN - MORNING. 25

HANNA enters breathless with excitement. ERIK sits pensively with his back to the door.

HANNA Did you see it? Wasn't it         beautiful, like thunder. I had to         stick my fingers in my ears it was so loud. Did you hear it? She stops, sensing ERIK'S mood.

HANNA (CONT'D)         What's wrong? Sitting in front of ERIK is a metal case, caked with frozen dirt. ERIK pops open the case. Inside a tangle of technology. HANNA looks at the case, mesmerized.

HANNA (CONT'D)         What does it do?

ERIK It tells Marissa Wiegler where we         are. He looks at her, a hint of a challenge.

ERIK (CONT'D)         When you want to leave here all you have to do is flip that switch. She approaches the box and places a single finger on the small red switch.

12.

ERIK (CONT'D)         But once it's done, there'll be no          going back. She'll never give up         until you're dead, or she is. You understand? I wont be there to hold your hand. So be sure. Be sure it's         what you really want.

HANNA You're not scaring me. He looks at her disbelievingly. She shakes her head in protest, but simultaneously moves away from the switch. He softens towards her.

ERIK It's here. There's no rush. Take your time. HANNA turns her back on the box, but can't help taking another look at it over her shoulder.

26 INT. CABIN. HANNA'S ROOM - NIGHT 26

HANNA is under the covers again while ERIK reads more from the encyclopedia.

ERIK Laika, a mongrel dog from the streets of Moscow, was the first animal to orbit the Earth. She was launched into outer space on the third of November, 1957. Scientists believed humans would be         unable to survive conditions of          outer space, so flights by animals were viewed as an experimental precursor to human missions. Her rocket was not designed to be         retrievable, and Laika had always been intended to die.

HANNA That's sad. ERIK awkwardly turns the page to change subject.

ERIK When a star collapses the supernova explosion is 10 billion times brighter than other stars. HANNA shuts her eyes and tries to imagine how bright that might be.

13.

27 INT. LOG CABIN - MORNING 27

ERIK straps the bow to his chest and grabs a quiver of bolts.

ERIK Will you hunt with me? Hanna is sweeping the ground.

HANNA If you want.

ERIK It's up to you.

HANNA Me?

ERIK Yes. HANNA eyes the box sitting open, it's waiting for her.

HANNA I'll stay.

ERIK Fine. ERIK leaves abruptly. HANNA continues to sweep the ground, her movements bring her closer to the metal box. She stops sweeping and looks at the box. She turns and walks out of the cabin.

28 EXT. LOG CABIN - CONTINUOUS 28

HANNA comes out of the cabin and sits down on a tree trunk. She sees the snow fox cub but says nothing. It comes over and noses around the cabin, but HANNA'S mind is elsewhere.

HANNA (whispering to herself) Marissa Wiegler.

29 INT. LOG CABIN - CONTINUOUS 29

CLOSE ON - the metal box, the switch catches the light from the door as HANNA enters to confront it. The room is still and quiet. HANNA approaches the metal box and slowly reaches out her hand.

14.

HANNA

(WHISPER) Come and find me. CLOSE ON - She flips the switch, a little red light begins to         flash. An ALARM CLOCK begins to ring as we cut to -

30 INT. MARISSA'S APARTMENT. VIRGINIA. USA - EARLY MORNING 30

CLOSE ON - a bedside alarm clock ringing loudly. MARISSA WIEGLER, a handsome woman in her mid-40's with red hair, reaches over and slams the alarm clock off. She's alone in her bed. She always is. She has no children. She's made choices in her life and lives without looking back. She walks into her ensuite bathroom and looks at herself in         the mirror. She collects her toothbrush and bares her teeth in a snarl as she brushes them. Her gums bleed a little.

31 INT. LOG CABIN - EVENING 31

HANNA tends to boiling pots. She's cooking a feast. ERIK enters. He stamps his feet shedding ice at the door. He walks by the box and sees the little red light flickering on. HANNA sees this and sees him smile, but she knows he's         sad.

ERIK You were lucky to grab that deer. There was nothing out there today. ERIK looks over at the meal HANNA is preparing.

ERIK (CONT'D)         Smells good. He wraps an arm around her shoulder. They don't hug much and it shows. HANNA is almost defensive and tense. And then the hug is over.

32 EXT. CIA HQ LANGLEY VIRGINIA - DAY 32

MARISSA, wearing a sharp business suit, drives a black Acura into her designated spot in the CIA HQ's car park. As she gets out, we see the parking space is designated for

MARISSA WIEGLER. Her young male PA and TECH ONE are already waiting for her.

15.

TECH ONE Ma'am. We've had a signal reported by Interpol. We think it's Eric Heller. An unusual expression of shock on MARISSA'S face.

MARISSA Well I'll be.

TECH ONE It seems he's in Sweden. Jokkmokk. 40 miles out.

MARISSA What the fuck is he doing there?

TECH ONE Living in the middle of nowhere, like the frigging Una Bomber.

MARISSA The son of a bitch. Sweden? Sweden?! The PA hands her a coffee and she hands him some files.

TECH ONE Apparently he turned on his locator.

MARISSA He's not an idiot.

TECH ONE I know... I mean I believe so. But that's what happened.

MARISSA After 14 years in Jokkmokk, maybe he'd rather go to prison.

33 INT. LOG CABIN - NIGHT 33

ERIK is leaning over a pail of water, cutting his beard off with a knife.

MARISSA (V.O.) Eric Heller. From the Czech Republic. I recruited him in 1991 when they were all joining the Velvet Revolution and sticking it         to the commies ERIK, now clean shaven, opens a wooden case in the corner of         the room and takes out an old folded three piece suit and rolled shirt.

16.

MARISSA (V.O.) He couldn't wait to kiss some yankee butt and make some bucks doing our dirty work. ERIK awkwardly begins to change into the suit.

34 INT. VIDEO CONFERENCE ROOM, LANGLEY. 34

MARISSA sits in a video conference room surrounded by worried looking faces, with her are her close advisors WALT and BOB. She's also speaking into a microphone on the table in front of her.

MARISSA Trouble was he had his own way of         doing things. Kinda paranoid. WALT fires up a computer screen and logs on. He uses an         access code. This takes him to a new file. He enters the tracking device number. A name comes up. ERIK HELLER. He clicks on a link. HELLER's face pops on to the screen.

MARISSA (CONT'D)         Not a team player. Not a â€œjoiner.â€ He became increasingly isolated and disturbed. Kept mouthing off about classified programmes. WALT clicks on a link to a newspaper article which comes on         to the screen: The headline: POLICE HUNT FOR MURDER SUSPECT. A picture of Heller in the article and a smashed car on a         rural road. The two men stare at his face.

MARISSA (CONT'D)         I kept warning and he kept getting worse. In the summer of 1995 he         took his girlfriend, Johanna Zadek, on a trip to the Baltic coast and blew her head off. WALT hits a new link: A still of the same young woman as the photo HANNA was previously looking at in her bedroom. Her name printed below it: JOHANNA ZADEK.

MARISSA (CONT'D)         Never heard from him again.

BOB Anybody know why?

MARISSA

(DRYLY) Maybe the pressure got to him, Bob. You know what that's like.

17.         A MALE VOICE comes from the speaker, this is LEWIS but we          don't see him yet.

LEWIS (O.S.) What do you want us to do?

MARISSA Bring him in.

WALT What do you mean? Call the police,

MARISSA -

MARISSA - Walt. This is exactly the kind of         shit we can't have out there anymore. He was one of ours, we         trained him. He kills some other poor woman and it's a cluster fuck.

WALT Tell it to Interpol. Let them pick him up. Try him for murder.

BOB He's right. This has nothing to do         with us. I don't understand.

MARISSA You don't have to. I'm making the call. BOB and WALT exchange a look.

MARISSA (CONT'D)         Thank you, Gentlemen. That'll be         all. The video screen flickers off, people take their files and start to leave. MARISSA WIEGLER stands in the darkness.

35 INT. HANNA'S ROOM. LOG CABIN - CONTINUOUS 35

HANNA sits in her bed reading her encyclopaedia. ERIK, dressed incongruously in the suit and tie, enters and sits on the edge of her bed. She doesn't look up from her book. His face shows more emotion than we've seen before.

ERIK Hanna...         HANNA looks up, still trying to hide her fear.

ERIK (CONT'D)         Tell me again?

18.

HANNA Marissa Weigler.

ERIK Then?

HANNA Postcard.

ERIK Then?

HANNA What?

ERIK The address where we meet.

HANNA Wilhelm Grimm's house. Stephanstrasse 260. 10559, Berlin. Germany. ERIK moves a strand of hair from HANNA'S forehead and looks at her with paternal care.

ERIK Good night my sweet girl. He stands and quietly goes to the door when her voice stops him.

HANNA Father...         He turns to look at her, both their eyes full of trepidation.

ERIK You can do this. You're ready. Just remember what I've taught you. She smiles reassuringly at him.

HANNA I'll see you there.

36 EXT. LOG CABIN. NORTH SWEDISH FOREST - NIGHT. 36

ERIK comes out of the cabin carrying a small rucksack. He         closes the door behind him and takes a deep breath.

37 INT/EXT. HANNA'S ROOM. LOG CABIN - CONTINUOUS 37

HANNA gets out of bed and goes to the small window.

19.         She watches as ERIK walks away from the cabin for the last time.

38 EXT. EDGE OF NORTH SWEDISH FOREST. NIGHT. 38

Dusk in the forest as the flickering sun goes down. As         peaceful a place as you could imagine. A calm blueness of         impending night on the snow. Then a series of ropes break the top frame and FIFTY US         SPECIAL FORCES dressed in white snow gear silently abseil down to the ground.

39 INT. HANNA'S ROOM. LOG CABIN - NIGHT 39

HANNA is doing push-ups on her bedroom floor.

40 EXT. FOREST/CABIN - NIGHT 40

Infra-red POV as the SPECIAL OPS TEAM head through the forest wearing night vision-goggles. The Leader of the Operation follows the tracker signal.

SPECIAL OPS Is this guy one of ours?

HEAD OF OPS Used to be. Tread carefully, he's         been in there a long time, he's          damaged goods, and he knows we're          coming. We see through the infra-red vision the endless trees in the pitch blackness. The SPECIAL OPS FORCES get closer. They see the cabin in the night. They approach. Silence in the darkness. Just the breathing of men in the icy cold.

41 INT. HANNA'S ROOM. LOG CABIN - NIGHT 41

HANNA stops her push-ups, sensing the SPECIAL FORCES approach. She silently springs to her feet and moves to the front of         the cabin. She looks out and sees shadows moving among the trees. She turns and presses herself against the wall.

20.

42 EXT. LOG CABIN. NORTH SWEDISH FOREST - NIGHT 42

The HEAD OF OPS waves TWO SPECIAL OPERATIVES forward. The rest of the forces surround the cabin, but at a distance. The two men approach the cabin. One opens the door and the other steps in. Then the first follows close behind. Both are engulfed by darkness. The rest of the forces wait in silence for a radio signal. The HEAD of SPECIAL OPS looses patience and picks up the radio.

HEAD OF OPS McCullum? Do you read me? No response.

HEAD OF OPS (CONT'D)         I repeat, do you read me? The HEAD of OPS waves all thirty of his men closer to the cabin. Guns at the ready. The HEAD of OPS and five other men storm the cabin.

43 INT. CABIN DINING AREA. 43

Through night vision we see the cabin interior. Then the two SPECIAL FORCES, dead on the floor. Necks broken. Then find HANNA sitting quietly, looking timid and unsure. Just a little girl, her eyes shining in the dark.

44 INT. LANGLEY. VIRGINIA. 44

MARISSA is walking through long concrete corridor as her phone rings. She answers quickly.

MARISSA What is it?

LEWIS (O.S.) Ma'am, this is Lewis. MARISSA affects a â€œbusiness as usualâ€ tone.

MARISSA Go ahead.

LEWIS (V.O.) The target escaped.

MARISSA How did that happen?

21.

LEWIS (V.O.) We're thinking maybe he got away in         the snow, in the thick snow, or... But he's in the wind and I have two men down.

MARISSA

(URGENT) Find him, Lewis. Find him and take him out.

LEWIS Ma'am. There's more. They found a         child, his daughter. MARISSA turns pale.

45 INT. CAMP G. HOLDING CELL. 45

ON CLOSED CIRCUIT TELEVISION: A cement box. HANNA lies on a small bed. Not moving. Two American voices.

VOICE 1 She hasn't moved since we brought her in.

VOICE 2 (BURTON) Has anyone talked to her?

VOICE 1 They want a psych evaluation before they interrogate.

46 INT. HANNA'S HOLDING CELL. 46

HANNA lies on the cot. She's been cleaned up and is wearing an army regulation jump suit. The metal door drags open. A         Doctor, BURTON, closes the door behind him. He walks up to

HANNA.

BURTON Hello Hanna. Hanna lies motionless.

BURTON (CONT'D)         My name is Dr. Burton. Would you like to talk to me? BURTON'S voice has been trained to engender a state of peace and security. HANNA sits up and hangs her legs off the side of the cot.

22.

HANNA I was told by my father to gain the upper hand.

BURTON Really. Interesting. What else did your father tell you?

HANNA Where am I?

BURTON You're in holding.

HANNA I see.

BURTON This must all be very strange for you. You've been in the forest a         long time. But I want you to know no one's going to hurt you. We just want to talk to you about your father. HANNA seems to be staring up at the ceiling.

BURTON (CONT'D)         Hanna? He follows her eye-line to the CCTV camera above them.

HANNA Is that a camera?

BURTON Ah, yes, that's a camera. To keep a         record.

HANNA Camera obscura, it's Latin for "dark chamber".

47 INT. CAMP G. OBSERVATION ROOM. 47

LEWIS sits with the MONITOR, watching HANNA watching him.

LEWIS Plug the CCTV through to Langley. Extension 247. MONITOR presses some buttons as LEWIS calls on his phone and speaks into it.

LEWIS (CONT'D)         You should have visual on the psych evaluation now.

23.

48 INT. OBS ROOM. LANGLEY HQ. NIGHT. CONT. 48

MARISSA, alone in a Langley OBS ROOM. No one else there. Late at night in America. Something secret about Marissa here. On the screen she sees HANNA in the Interrogation Room. Her screen tells she is watching CAMP G - Interrogation Room 3. MARISSA watches HANNA intently.

HANNA It was first described by the Arabic scientist Ibn Alhazen in the year 1021.

MARISSA What's she saying?

LEWIS (O.S.) Gobbledygook.

49 INT. OBS ROOM. LANGLEY HQ. NIGHT. CONT. 49

MARISSA stares at her screen, at the blank face of the fourteen year old HANNA. Focus in on MARISSA's face as she studies this strange young woman. The sense that MARISSA knows more about this girl than she is letting on. On the screen BURTON continues to probe.

BURTON Can I get you something? What do         you like? Music? Magazines? Just say. Anything at all.

50 INT. HANNA'S HOLDING CELL - CONTINUOUS 50

HANNA leans forward. Looks at BURTON, who encourages her with his eyes. She whispers.

HANNA I want to speak to Marissa Wiegler.

51 INT. OBS ROOM. LANGLEY - CONTINUOUS 51

MARISSA sits in stunned silence.

LEWIS (O.S.) Did you hear that? MARISSA pauses before she answers.

MARISSA Tell her I'll be there tonight.

24.

LEWIS But...

MARISSA Just do it.

52 INT. CAMP G. MILITARY LABORATORY. 52

A white space with specialist lighting and the hum of         specialised air pressurizes. A protected environment - this is the DNA lab. A MILITARY DOCTOR is looking at the result of         something on a computer. It has shocked and intrigued him. He         calls across to another doctor.

MILITARY DOCTOR 1 John come and take a look at this kid's blood sample. MILITARY DOCTOR 2 walks across. He sees the sample on the screen.

MILITARY DOCTOR 2. Is that right? That can't be right.

MILITARY DOCTOR 1 And I got a sample of her hair. MILITARY DOCTOR 2 looks at the results, baffled.

MILITARY DOCTOR 2 That must be contamination.

MILITARY DOCTOR 1 What contamination? What would it         be?

MILITARY DOCTOR 2 Run it again.

53 INT. HANNA'S HOLDING CELL. 53

HANNA is sitting on her cot with her back against the wall. A metal door drags open. A pair of smart female shoes enter the room, accompanied by         the military boots of two guards.

FALSE MARISSA (O.C.) My name is Marissa Wiegler. You wanted to speak to me? HANNA turns to look. It is a completely different woman, dressed in similar clothes to MARISSA but not her.

25.         HANNA stares at her, then looks at the two guards.

FALSE MARISSA (CONT'D)         (to the guards) You can wait outside. The guards exit and the door slams shut behind them.

54 INT. CAMP G. OBSERVATION ROOM. DAY. CONT. 54

In the Observation Room LEWIS is looking at a small Monitor. He speaks into a consoles microphone.

LEWIS You should have visual.

55 INT. CIA LANGLEY OPERATIONAL HQ. EARLY DAWN. CONT. 55

MARISSA WIEGLER sits alone in the empty CIA Langley headquarters, watching the CCTV relay.

HANNA (V.O.) Where am I?

56 INT. HANNA'S HOLDING CELL - CONTINUOUS 56

HANNA stares at FALSE MARISSA awaiting an answer.

FALSE MARISSA You're in a safe place. Let's talk about your father. You must love him very much.

HANNA Where did you meet him? The false MARISSA pauses.

57 INT. OPERATIONAL HQ. LANGLEY - CONTINUOUS 57

MARISSA hears the question. Thinks fast, her mind totally focussed.

MARISSA Tell her it was by a news kiosk in         Alexanderplatz, East Berlin. Say it         was raining.

58 INT. HANNA'S HOLDING CELL - CONTINUOUS 58

FALSE MARISSA pauses looking at HANNA. We see that she has a         tiny microphone in her ear.

26.

FALSE MARISSA At a news kiosk. Alexanderplatz. In         the rain. She smiles reassuringly. HANNA nods, looking at FALSE

MARISSA.

59 INT. CAMP G. OBSERVATION ROOM - CONTINUOUS 59

LEWIS watches on the screen. But then gets a call from the Military Laboratory.

LEWIS Lewis.

MILITARY DOCTOR Sir we need to talk to you. We've         run tests on the girl. His voice sounds urgent, concerned. But Marissa has interrupted.

MARISSA (V.O.) What tests? As the argument continues, we see and hear on the screen the FALSE MARISSA continuing to talk to HANNA.

FALSE MARISSA Do you know where your father is? In the OBS room LEWIS, half watching the screen, explains to         MARISSA on intercom.

LEWIS Standard DNA and meds.

60 INT. OPERATIONAL HQ. LANGLEY - CONTINUOUS 60

MARISSA, alone in Langley, suddenly alert.

MARISSA Send the results straight to me. On the screen FALSE MARISSA is talking to HANNA.

FALSE MARISSA Did he tell you where he was going? We're all worried about him. On the CCTV Hanna looks at the FALSE MARISSA. She begins to         cry, holds out her arms to be held.

27.

61 INT. CAMP G. OBSERVATION ROOM - CONTINUOUS 61

The MONITOR sees her cry and turns to LEWIS who is still half- embroiled in the tests discussion.

MONITOR Sir look. LEWIS looks at HANNA.

62 INT. HANNA'S HOLDING CELL - CONTINUOUS 62

The FALSE MARISSA tentatively takes HANNA in her arms.

FALSE MARISSA It's OK. It's OK. HANNA coils her thin arms around the FALSE MARISSA'S neck, clinging to her like a monkey. The FALSE MARISSA looks up to the security camera, slightly concerned. Hanna wriggles in her arms, to get a better grip...

63 INT. OPERATIONAL HQ. LANGLEY - CONTINUOUS 63

MARISSA watches this strange image of her false self hugging this young girl. HANNA begins to weep more and more, burrowing her face into the FALSE MARISSA. On the CCTV we hear.

BURTON (V.O.) You want me to give her something?

64 INT. HANNA'S HOLDING CELL - CONTINUOUS 64

HANNA clutching on to FALSE MARISSA, nestles close, weeping.

FALSE MARISSA I think it might be necessary.

65 INT. OPERATIONAL HQ. LANGLEY. CONT. 65

MARISSA watches, now concerned. Something is wrong.

MARISSA Get her out of there.

66 INT. CORRIDOR OUTSIDE HANNA'S HOLDING CELL - CONTINUOUS 66

Burton comes rushing down the corridor filling a syringe as         he goes. He arrives at HANNA'S door.

28.

BURTON Open up. The first guard opens HANNA'S door.

LEWIS (V.O.) Abort. I repeat. Abort.

67 INT. HANNA'S HOLDING CELL - CONTINUOUS 67

Hanna hugs, weeping, on to the FALSE MARISSA. BURTON hears the instruction to abort but too late... ...as suddenly and with total efficiency HANNA SNAPS the FALSE MARISSA's neck.

68 INT. OPERATIONAL HQ. LANGLEY. DAY. CONT. 68

MARISSA stares in shock as her false self slumps dead to the floor. Then she watches as HANNA grabs the first GUARDS handgun from his holster and fires two rounds into Burton's         skull. And two more into the first GUARD's chest.

69 INT. CAMP G. OBSERVATION ROOM. CONT. 69

LEWIS immediately presses the Alarm Bell.

LEWIS Jee-sus wept! On another screen LEWIS watches as the other Guard tries to         drag the metal door shut. He hits a fleshy door jam - Burton. Hanna is upon him. Two shots.

70 INT. LANGLEY. OPERATIONAL HQ. CONT. 70

MARISSA watches HANNA aim straight at camera. HANNA'S fierce eyes looking at her, MARISSA cant help but pull away from the screen. HANNA fires and the screen goes blank.

71 INT. CAMP G. OBSERVATION ROOM. CONT. 71

LEWIS watches as, one after another, his camera's go down. But still there's no sign of HANNA.

LEWIS She's a child for Christsake!

72 INT. CAMP G. CORRIDOR IN SECURE BRIEFING AREA. 72

Alarms are sounding and red lights flashing in the corridor.

29.         HANNA walks fast along the corridor. She ducks into a door to         avoid two Centre Guards running past, dives down another corridor and walks through a pair of double doors with warning signs on them. PROTECTED ENVIRONMENT - CLASSIFIED

PROGRAMME.

73 INT. CAMP G. MILITARY LABORATORY. CONT. 73

She finds herself in the specialist Military DNA Laboratory. The MILITARY DOCTORS stare at her. One of them reaches for an         alarm but HANNA is too fast. She flies across the desk and smashing a glass test tube, she cuts the doctor's neck, then turns and does the same to the other one. HANNA looks round, trying to find a way out. Then she sees something on the desk. It is a file with a photo of herself clipped to it and a collection of papers - she scans it and reads in several places the letters â€œDNA.â€ But before she has time to read properly, she hears a female voice from outside the lab.

FEMALE GUARD This is Sanders. I'm checking Zone eleven. The FEMALE GUARD radios off, then enters. She senses something. POV SANDERS - The DNA laboratory suddenly seems empty. The buzz of the lab's lighting and the whir of the air- pressurizes are the only sounds as the GUARD looks around. Then the GUARD hears a rustling from behind her and tenses up. She turns around but HANNA has vanished into thin air, there is silence.

74 INT. CAMP G. CORRIDOR IN SECURE BRIEFING CENTRE. 74

HANNA, runs along the corridor. She has in her hands the DNA results which she scrunches up and jams into a pocket.

75 INT. CAMP G. AIR-CONDITIONING DUCT ABOVE CORRIDOR. CONT. 75

HANNA eyes the vent above her. She peers around a corner - her only other route of escape and sees:

76 INT. CAMP G. CORRIDOR. CONT. 76

MILITARY PERSONNEL reach the intersection close to HANNA and spread out, all going in different directions but none coming towards her.

30.         The last pair of personnel start heading towards her. She looks up at the duct again and a length of ducting along the wall, about waist height. She puts a foot on a rail, halls herself up towards the vent. She fiddles with the vent, eventually opening it as the personnel are almost upon her.

77 INT. CAMP G. AIR-CONDITIONING VENT. CONT. 77

She crawls through the narrow air-conditioning duct. She stops, alert to the sounds beneath her. Through small perforations in a vent she sees more MILITARY PERSONNEL running down the corridor.

78 INT. CAMP G. AIR-CONDITIONING DUCT ABOVE CORRIDOR. CONT. 78

The duct bends to a vertical angle. She begins to crawl up a         steep gradient towards a crack of light.

79 INT. CAMP G. OBSERVATION ROOM. 79

LEWIS sits in silence. MONITOR looks at him nervously.

MONITOR You think she's out?

LEWIS She can't get out. LEWIS picks up an internal telephone.

LEWIS (CONT'D)

(INTO TELEPHONE) Who's on the perimeter? Detail every unit available.

80 INT. CAMP G. AIR-CONDITIONING VENT. CONT. 80

HANNA is sweating, exhausted, blinking in the darkness, trying to make out what the light source is. The gradient has got steeper and she starts to slide backwards on the smooth metal surface. She digs her fingers into the rivets joining the plates of stainless steel, trying to get a purchase. She summons the last of her strength and reaches a crest. She rests a moment, then hauls herself over the crest and immediately starts sliding... she tumbles, gathering pace, falling down a long chute into the blackness. She has no idea where she is or what's happening, but she's covering a lot of         ground.

31.         She hits the bottom with a crunch and cries out. When she opens her eyes she sees more tunnel - and at the end light. She crawls quickly towards it and stops at a kind of         manhole cover with a sprung lever - she wrenches the lever and pushes against it. After a little effort the cover gives way and light floods in, blinding her. HANNA recovers and tentatively pokes her head out into:

81 EXT. MOROCCO/DESERT. CONT. 81

BLAZING SUN - HANNA's pale face appears, eyes crinkled shut. Wider - HANNA emerges from a hole in the ground in the middle of a sandblasted desert and slams the cover closed. Total silence now, except for the whistle of the wind on sand. It         takes her eyes a moment to adjust to the blinding light. Blearily she looks out across this alien environment. After a moment her ears prick up. She turns just in time to         see a column of Military Jeeps rise over a sand dune in the distance behind her. The jeeps are crawling straight towards her, ominously shimmering in the desert heat. She quickly ducks back down into her rabbit hole and waits.

82 EXT. MOROCCAN DESERT 82

In the middle of the desert the soldiers convene, looking for HANNA. A military truck is stationery. Nothing around for miles. We hear a military voice on a radio.

MILITARY VOICE (V.O.) 473 are you receiving me? Can you confirm your position. Subject has escaped.

83 EXT. MOROCCAN DESERT. DAY. 83

The truck moves off a short distance and stops again. Meanwhile a large convoy of Military Vehicles passes right over HANNA. When it has past she sees the first vehicle crawling to a halt right near the hole - just yards away. One of the MILITARY PERSONNEL in the jeep gets out and goes over to the hole, lifts the lid, inspects the darkness. The Truck radio is on and we hear the voice.

MILITARY VOICE Can you confirm your position 473? Banks? Banks can you hear me?

32.         Once BANKS is satisfied he walks away a few paces, gets out a          pair of high powered binoculars, looks this way and that. He walks up a dune and scans the dunes with his binoculars. Finally he walks back and climbs into the Jeep, gets on the radio.

BANKS. I'm at a perimeter opening at the far east wing. Something's not quite right... He doesn't notice but the lid is open now and the air- conditioning duct is empty.

CUT TO: As the Jeep moves off we see HANNA is clinging to the axle, hanging upside down underneath. Her face is pressed to the oily metal, her back just an inch from the desert floor flashing beneath her. The jeeps now take a track along the edge of a steep dune. HANNA takes her chance and lets go of her grip. She clenches her eyes shut as the jeep passes over her. As soon as the jeeps clears she rolls herself over the edge of the dune. HANNA rolls down the sand dune at speed until finally she slows and stops. She lies still and shocked by the quiet as         the Jeep disappears into the distance. Then she sits up and looks around herself. She has no conception of this landscape, no idea where she might be.

84 INT. MARISSA'S APARTMENT. VIRGINIA. USA - NIGHT 84

MARISSA moves between her wardrobe and a suitcase packing clothes, underwear, another power suit. Fully packed she goes to the back of the wardrobe and pulls aside some dresses to reveal a hidden safe. She keys in the security code, the safe door opens and from the back of the safe Marissa retrieves a blue file. MARISSA looks at the files title in large blunt letters:

GALINKA.

85 EXT. FOREST ROAD - FLASHBACK 85

FLASHBACK to 1995. A much younger MARISSA watching a very fast-moving car on a         deserted forest road. She takes from her pocket a small detonating device and as the car approaches a bend, presses it.

33.         There is a small explosion and the car swerves off the road and smashes headlong into a post. The horn starts to blare. MARISSA approaches the car. The road is empty. MARISSA looks through binoculars at the car. She sees a woman, on the passenger side, head thrust forward. JOHANNA ZADEK. Blood everywhere. MARISSA shoots her in the head just to be sure. But the driver's seat is empty. MARISSA stops dead. Then the back door opens on the other side. A man, a younger ERIK HELLER crawls out. He is holding a two year old child in         his hands. The child's coat is covered in blood. MARISSA stares at the shocked child and takes the rifle to         her eye to shoot again. As she does, ERIK senses her movement and throws himself to the ground. Through the rifle viewfinder we see just a glimpse of ERIK and the red glare of the coat covered in blood, ERIK HELLER grabbing the child and sprinting for the forest, MARISSA taking aim at HELLER, and then firing as HELLER dives into the forest.

86 INT. MARISSA'S APARTMENT. VIRGINIA. USA - NIGHT 86

PRESENT DAY. MARISSA puts on a pair of rubber kitchen gloves and sets fire to the file in the sink. When it's all burnt up she switches on the garbage disposal and pushes the ashen remains down the gurgler with a dish mop.

87 EXT. MOROCCAN DESERT - LATER 87

The sun has dipped a little now, the shadows of the dunes are longer, but the heat is still intense. HANNA's throat is parched by the dry heat, her pale eyes scorched by the angry sun. She walks purposefully but with a         growing awareness of her tiny scale in this seemingly endless sea of sand. She has no conception of this landscape, no idea where she might be.

HANNA

(MUTTERING) I live in Leipzig. German city...         0.7 Million people... I go to         school at the Klaus Kohle Gymnasium... literature and sport... I have a dog called Trudi.

34.         HANNA climbs a steep dune, eyes down, feet pounding. A shadow falls across her path and she looks up to see the shape of a         GIRL standing at the top of the dune silhouetted by the sun. HANNA's hand goes to the concealed gun. The GIRL stares at HANNA. They must be about the same age but there the resemblance ends. HANNA, dusty, bloodied and bruised in military top, trousers and boots stares at this perfect image of western adolescence. Dressed head to toe in pink and drinking a can of coke, no concession to where she is whatsoever. This is SOPHIE LYALL.

SOPHIE Hello. HANNA stares at her, then abruptly turns to walk in opposite direction until she sees another convoy of US military trucks in the distance.

SOPHIE (CONT'D)         All right? HANNA turns back. Looks at SOPHIE. Like a wary animal.

SOPHIE (CONT'D)         Don't you speak English? HANNA is unsure how to speak to this strange person.

SOPHIE (CONT'D)         That can't be helped. You look terrible. At that moment SOPHIE'S brother, MILES, eight years old, rises over the dune and stands by SOPHIE'S side. In his hand is a stills camera, not digital, film. MILES stares at HANNA while talking to SOPHIE.

MILES Who's she?

SOPHIE I don't know. I just found her.

MILES What's her name?

SOPHIE She can't talk.

HANNA Hanna.

MILES She talked.

35.

HANNA I live in Leipzig. German city. Population 0.7 Million people. We         live at Number 7 Weissingerplatz. I         go to school at the Klaus Kohle Gymnasium and my best friends are Rudi Gunter and Clara Schliess. I         like literature and sport, in          particular tennis and athletics.

MILES

(RE' HANNA) She's weird.

HANNA I also have a dog called Trudi.

MILES We had a dog called Vincent, but he         went mad and died.

SOPHIE I'm Sophie and this is my brother, Shit for Brains. From over the dune comes the voice of SOPHIE and MILES'S         mother, RACHEL LYALL.

RACHEL (O.S.) Come on, Sophie! We'll miss the light. MILES raises his camera to his eye and snaps a picture of

HANNA.

MILES Bye.

SOPHIE See you. SOPHIE takes one more puzzled look at HANNA, then turns and disappears over the sand dune. HANNA rises to the top of the dune. SOPHIE turns back to

HANNA.

SOPHIE (CONT'D)         Do you need a lift somewhere?

HANNA No. I prefer to walk.

SOPHIE Suit yourself.

36.         SOPHIE and MILES head back towards their nouveau hippy parents, RACHEL and SEBASTIAN LYALL who are waiting for them beside an old VAN parked by a tarmac road that cuts straight through the desert.

88 INT. AEROPLANE - NIGHT. 88

MARISSA sitting in first class, trying to hide the fact that she's on her cell phone mid-flight. There's turbulence.

LEWIS(O.O.V)         She's in the desert east of          Essouiara.

MARISSA Have you got the DNA results?

LEWIS We can't find them. It's possible she has them on her. Marissa takes that in.

MARISSA Okay. I want you to focus on Erik Heller.

LEWIS (O.O.V)         Why? A sweet-faced male AIR STEWARD hovers over MARISSA.

AIR STEWARD Excuse Madame, airline regulations state that -

MARISSA I'm in conference.

AIR STEWARD All the same -

MARISSA Back off, honey. I'm busy. MARISSA'S response is so fierce that the AIR STEWARD instinctively does as he's told.

LEWIS (O.O.V)         You know this isn't going to go          away.

MARISSA I'm dealing with it Lewis.

37.

LEWIS (O.O.V)         Okay but I just want you to admit - my Lord - how did she know to ask for you? She hangs up.

89 EXT. DESERT/OASIS TOWN - DUSK 89

HANNA walking along the side of a tarmac desert road, approaching a dusty oasis town. HANNA enters the outskirts, teaming with scooters, trucks, taxis, mules and goats. The impact knocks HANNA backwards, assailed by the smells of dried fruit, meat tagines, couscous cooking at market stalls, fresh fish and meat, still bloody and twitching, hanging in the sun for the flies. She listens to the babble of Arabic, her ears, nose and eyes sensitive to         every conversation and twitch of life. It all overpoweringly exotic and visceral to her. An old broken-backed woman inches her way to market. HANNA stares at her in astonishment. Her wrinkled skin. She eyes the abundance of animals - animals she's never seen before in her life: Chickens. Goats. A camel, which Hanna finds bizarre and hilarious.

90 INT. CENTRE OF TOWN/NIGHT MARKET - EVENING 90

HANNA finds a stall with simple cotton clothing. She chooses some cheap clothes and unseen goes around the back of the stall. She changes out of her ragged old clothes into her new clothes. HANNA sees MILES running through the crowds carrying a bag of         cherries. She follows him a little way, onto a busy street with hotels and cheap jewellery stores. He runs up the steps and enters a small mid-range hotel. HANNA looks up at the hotel, then enters.

91 INT. MOROCCAN HOTEL RECEPTION - EVENING 91

HANNA stands at the reception desk. A kindly looking HOTEL OWNER is eating a jammy biscuit. He's a little confused by

HANNA.

HOTEL OWNER Where's your family?

38.

HANNA Are you Arab?

HOTEL OWNER I'm Moroccan.

HANNA Morocco. Capital city Rabat. Places of interest. Marrakesh. Essouaira. Religion Islam. Language Arabic (in Arabic w/ English

SUBTITLES)         I like Arabic very much. It's like          Japanese. It's big.          The HOTEL OWNER nearly spits out his biscuit in shock.

HOTEL OWNER (in Arabic w/ English

SUBTITLES)         You speak Arabic?

HANNA (in Arabic w/ English

SUBTITLES)         Yes, of course.

HOTEL OWNER (in Arabic w/ English

SUBTITLES)         Where's your family?

HANNA (in Arabic w/ English

SUBTITLES)         I need a room for one night. Can          you help? I don't have any money.

92 INT. MOROCCAN HOTEL BEDROOM - EVENING 92

The HOTEL OWNER leads HANNA into a simple whitewashed hotel room with twin beds. They speak in Arabic with English subtitles.

HOTEL OWNER It's the best we've got.

HANNA Thank you. HANNA stares at the light switch.

HANNA (CONT'D)         Do you have one of these in every room?

39.

HOTEL OWNER Of course. All mod cons.

HANNA It's electricity? The HOTEL OWNER looks at HANNA askance.

HOTEL OWNER Yes.

HANNA I know a little bit about electricity. They say Edison discovered it, or was it Franklin?

HOTEL OWNER Some American, I'm sure. He picks up an electric kettle.

HOTEL OWNER (CONT'D)         Electric kettle for the English - they like to make their own tea. He switches it on, Hanna stares as it heats up noisily. He goes to a small wall mounted TV, switches it on for her, a         fuzzy, terrible picture of an Arabic TV show. HANNA is         fascinated, doesn't take her eyes off the TV as she sits on          the edge of the bed.

HANNA What is it?

HOTEL OWNER It's the best we can do. She stares at the picture, bemused.

HOTEL OWNER (CONT'D)         Where do you come from? Distracted, HANNA is caught off guard.

HANNA The forest. The HOTEL OWNER smiles, himself a little puzzled by this strange encounter, and leaves. She just sits there staring at the TV as it's volume seems to         increase. Meanwhile the electric kettle begins to boil. Steam pours from its spout and the whole contraption starts to rattle violently.

40.         HANNA gets up and approaches the kettle very warily. She tries the light switch in an attempt to stop the kettle, but it keeps boiling and making its strange rattle. HANNA tries another switch, the ceiling fan begins to turn, confusing HANNA even more. On the TV the news shows footage of war in the Middle East, the sound of gunfire. The ceiling fan is at its top speed, it's blades cut the air like a helicopter. A telephone beside the bed starts to ring. Combined the noises rise to a terrifying crescendo. HANNA backs away towards the bathroom. She stumbles and falls through the bathroom door straight into the shower, inadvertently turning the taps on. Water pours down on her. HANNA springs up and turns to face the stream of water as if         it were an attacker. She runs back into the bedroom. In the bedroom the kettle is still having a violent tantrum, the TV is still screaming, the fan still cutting, the phone still shouting. HANNA pulls at the exit door, but doesn't know to turn the handle. She panics. Smashes at the door. Eventually she falls through the door and into the corridor.

93 INT. MOROCCAN HOTEL CORRIDOR - EVENING 93

Silence as HANNA sits on the corridor floor catching her breath. A little way down the corridor MILES and SOPHIE emerge from their bedroom.

MILES Look. It's that girl. He nudges SOPHIE. HANNA eyes them suspiciously.

SOPHIE Hey you made it.

MILES Hey, again.

SOPHIE Did you walk here?

MILES She looks different.

41.

SOPHIE Do you want to hang with us?

MILES Are you hungry?

SOPHIE Miles is always hungry.

HANNA I'm thirsty.

94 EXT/INT. STRIP CLUB. HAMBURG. 94

The Reeperbaln, the main street of Hamburg's red light district. Tough and unglamorous. MARISSA WIEGLER gets out of         a taxi, checks the sign of the strip club and crosses the road. She is on the phone and we hear.

LEWIS (O.S.) The Swedish borders are sealed. I         have Swedish, Norwegian and Danish border patrols on high alert and Interpol have briefed the police.

MARISSA I don't want any bad news Lewis. Neither of us can afford a fuck up. MARISSA hangs up. She enters a converted car park which is         now a lap dancing bar. It's early in the day and the patrons are as scarce as the clothes on the dancers. At the far end of the room is the reason Marissa is there, MICHAEL ISAACS. Mid fifties. Rumpled suit, bleary, unshaven and drinking a scotch. ISAACS smiles coldly at MARISSA.

ISAACS I didn't think they let women in         here.

MARISSA They let them in, they just don't         let them get dressed. He smiles, drinks, she eyes the scotch.

MARISSA (CONT'D)         Still drinking on the job. You haven't changed.

ISAACS You have.

42.

MARISSA Adapt or die.

ISAACS You want a drink?

MARISSA I'll wait until I really need one. He grins and drinks. She sits, with a sigh, looks him in the eye.

MARISSA (CONT'D)         Erik Heller's still alive. ISAACS glances up from his drink.

ISAACS You don't say.

MARISSA There's more. MARISSA passes him a newspaper. He opens it. Hidden inside is         a picture of Hanna. He looks it over, surprised.

ISAACS (IRONIC) Wow. All grown up.

MARISSA He did a good job.

ISAACS Did she turn out like you hoped?

MARISSA She just tried to kill me.

ISAACS Isn't it always the way?

MARISSA The fuck does that mean?

ISAACS You bring them into this world, teach them how to kill and maim...         and then they turn against you.

MARISSA I didn't teach her.

ISAACS No, it's better than that. You bred her from a test tube. MARISSA turns to the BARMAN and signals for a round of the scotches, â€œTwo of these...â€

43.

MARISSA Here's the problem: She thinks we         killed her mother. He smiles wryly.

ISAACS Just get her sectioned or         something.

MARISSA Sure, just as soon as she's done breaking peoples necks. You get her sectioned, if you can catch her. The drinks arrive, MARISSA drinks.

MARISSA (CONT'D)         Right now she's in Morocco but she'll be trying to get out of the country. Find her and bring her to         me. Quietly.

ISAACS I'll need funds. MARISSA slides an envelope of bills across the table.

MARISSA Don't spend it all on candy. She glances meaningfully at the STRIPPERS, who have been eyeing up ISAACS as a potential mark. ISAACS looks at the money. When he looks back up MARISSA is         already walking out the door.

95 EXT. NIGHT MARKET RESTAURANT. OASIS TOWN - NIGHT 95

HANNA is sitting at a table with the FAMILY who are all eating falafel while HANNA eats meat. SOPHIE and MILES parents, RACHEL and SEB, have some difficulty relating to their daughters attitudes. They belong to a generation of counter cultural radicals whose priorities have, over the past decade, shifted and they're now trying to         assimilate into mainstream society whilst still holding on to          their ideals of autonomy and social liberation. SOPHIE is describing a recent cultural phenomenon while she picks at her food.

SOPHIE She's beautiful. I wish I had a         body like hers. She's really cool too. She's married to a footballer and really loves him -

44.         Meanwhile HANNA eyes the crowd, constantly on the look out.

SOPHIE (CONT'D)         - only the papers found out he was shagging like loads of other girls so she went and got all successful in her own right and now does a         make-over show where she turns right dogs into real babes. I could do you a make-over if you'd like?

RACHEL Perhaps Hanna doesn't want a make- over, sweetie. SOPHIE ignores RACHEL and addresses all her responses to

HANNA.

SOPHIE Rachel doesn't believe in making the best of yourself.

RACHEL No Sophie, I just don't believe fourteen year-old girls should be         dressing to look like porn stars. It objectifies them.

SOPHIE

(TO HANNA) Do you shave your armpits yet?

HANNA I don't think so.

RACHEL Good. Keep it that way.

SOPHIE That's SOOO gross.

RACHEL Do you often travel on your own, Hanna?

HANNA My father encourages me to be         independent.

SEB And your mother?

HANNA She's dead.

SEB Oh, I'm sorry.

45.

SOPHIE Nice one, Dad.

HANNA People die.

MILES What did she die of?

HANNA Three bullets.

RACHEL Oh. God. How terrible. SOPHIE is weirdly impressed.

96 EXT/INT. BUTCHERS SHOP. SOUTH SWEDEN - NIGHT 96

ERIK HELLER, still wearing his three piece suit, enters a         tiny provincial Swedish butchers shop and walks up to the counter. He checks around to make sure no one is following him before approaching the BUTCHER and slapping some cash on         the counter.

HELLER Three pounds of goose fat if you please.

97 INT. MOROCCAN HOTEL CORRIDOR - LATER 97

HANNA arrives back at the hotel with RACHEL, SEB, MILES and SOPHIE. MILES is sleepy and SOPHIE a little grumpy.

SOPHIE Why do we always have to get up so         early?

SEB If you were a Berber shepherd -

SOPHIE - I'm not a shepherd. Jesus.

RACHEL We have to be at the port by eight tomorrow so I want you to pack now...

MILES I'm too sleepy. HANNA listens anxiously, knowing she needs to go with them to         be safe. She arrives at her door.

46.

HANNA Good night. But the family are too wrapped up in their discussion to         notice her.

SEB No, you're not. Come on we'll do it         together. HANNA enters her room. SOPHIE turns at the sound of HANNA'S         door closing.

SOPHIE She's weird. Is it me, or is that girl weird?

98 INT. MOROCCAN HOTEL BEDROOM - NIGHT 98

The TV flickers illuminating HANNA as she sits on her bed looking at the DNA report folded up into a tight wad. She smooths it out and reads. The test reads: HANNA HELLER - â€œSGM + test results. Interfering sequence present. Abnormal. B sample confirms

RESULTÂ€ HANNA stares at the words. â€œInterfering sequence present. Abnormal.â€ HANNA looks at the photo of herself and those words.

HANNA

Â€ŒABNORMALÂ€ What does it mean? She looks up at the TV and sees footage of millions of Muslim worshipers circling the Kaaba at Mecca. The sheer mass of         humanity stuns her. HANNA turns up the volume and hears the call to prayer. She listens in wonder to her first experience of music.

HANNA (CONT'D)

(WHISPERS) Music. A combination of sounds with a view to beauty of form and expression of emotion. She breathes in the beautiful sounds.

99 EXT. SOUTH SWEDISH COAST - PRE-DAWN 99

The music continues over -

47.         A barren rocky outcrop on the South Swedish coast. HELLER arrives. He has a rucksack on his back. HELLER undresses and puts his suit in a plastic bag that he         knots tight. He puts the bag into the rucksack and puts it on         his back. Then HELLER starts to cover his body in the goose fat he         bought in the butcher's. He stares across the water towards DENMARK in the distance.

100 EXT. HOTEL CAR PARK. - PRE-DAWN 100

HANNA appears in the blue morning light and stalks around the car park looking for the family van. When she finds it, she tries the doors but they're locked. She tries the back door but that's also locked. She gets her foot onto a wheel and another foot onto a         doorhandle and climbs up onto the roof.

101 EXT. VAN/ROOF - PRE-DAWN 101

She studies the sun roof of the recreational vehicle. It has been left open a few inches for air. She gets her hands in there and tries to prise it open further but it's mechanised and won't budge. She looks around the car park for an implement. She spies a fire escape with a caretaker's nook next to it. She climbs back down off the van and goes to the caretaker's         room.

102 INT. CARETAKER'S ROOM - PRE-DAWN 102

HANNA searches the tiny office until she finds a crowbar.

103 EXT. FERRYPORT. MOROCCO. DAY 103

A busy bustling ferry-port, cars in both directions. ISAACS looks round, makes silent contact with other men. His men. Four of them dotted around the ferryport. ISAACS approaches a BORDER GUARD. The GUARD is looking at a         photocopied photo of HANNA from her holding cell. The GUARD pockets the photocopy as ISAACS passes him a wad of cash.

48.

104 INT. VAN - DAY. 104

THE FAMILY travels towards the ferry-port, sleepy and grumpy, yawning, looking around. The sun roof to the rear, above the breakfast table and bench seats, is wide open.

SEB ... Somebody broke the sun roof. I         said somebody broke the sun roof. It won't close...

RACHEL Call the rental.

SEB I hope its insured.

105 EXT. FERRYPORT. MOROCCO - CONTINUOUS 105

ISAACS watches closely every car that approaches the ferry from behind his dark glasses. He sees the FAMILY have joined a cue of vehicles and are having their papers checked. Then they're waved on board. He         scrutinises them but has no reason to suspect anything.

106 INT. FERRY CAR DECK. - DAY 106

Cars are parking, their headlights on in the dark hull, horns blowing, FERRY GUARDS directing people to parking spaces - it's chaos. SEB parks the van with some difficulty, complaining all the while.

SEB Typical. Get me back to the European Union.

RACHEL Don't be rude. They get out, taking with them anything they might need - knapsacks, computer games, suit cases. They head off towards the stairs up to the decks, passing ISAACS on their way. ISAACS searches between the cars and trucks. He passes the back of the FAMILY'S van as the camera pushes in on its back door. The handle is being JIGGLED FROM INSIDE.

49.

107 INT. VAN/FERRY CAR DECK - DAY 107

Inside, the van is as the family left it, but the bench seats around the breakfast table are disturbed. One has been opened out, the lid taken off, the mattress strewn on the floor - inside is a big storage space where HANNA has evidently hidden... The crowbar has been discarded there. HANNA is trying to get out. She tries the back door but its locked. She climbs over the seats and climbs into the front cabin, the driver's seat. She finds a lock on the door and unlocks. She climbs out.

108 EXT. LOWER FERRY DECK - DAY 108

HANNA walks out on deck and sees the sea, the sight of it         takes her breath away. She walks to the railings and looks over the edge. Then up at the seagulls following the boat. A little way off the FAMILY are sitting eating ice-creams. SOPHIE lies out on a bench sunning herself.

RACHEL What has got into you? Oh my God, look over there. They all look where she is pointing - at HANNA.

SOPHIE It's her.

SEB You think she... you don't think she... Rachel, the sunroof?

RACHEL You think we should say something?

SEB What's there to say?

RACHEL Maybe she's in trouble.

SEB Maybe she's a hooker. Or a         terrorist. There's a lot of them in         Germany.

SOPHIE Hookers or terrorists?

RACHEL I'll go over.

50.

SEB Rachel, walk away. I'm insisting here. I'm putting my foot down...         RACHEL heads off towards HANNA, SOPHIE follows.

CUT TO: SOPHIE and RACHEL approach HANNA and move to positions either side of her.

SOPHIE All right?

HANNA Did you know that 71 percent of the earths surface is covered in water?

SOPHIE My father thinks you're a stowaway. He thinks you broke our sunroof too, which puts you in deep shit.

RACHEL Sophie just - I'll handle this.

(TO HANNA) Where's your father? No reply.

RACHEL (CONT'D)         I really think it might help if you told us the, you know, the truth and all that. Have you run away from somewhere?

SOPHIE Are you okay?

HANNA I'm fine.

RACHEL I'm worried about you.

SOPHIE She said she's fine.

RACHEL You have to understand this really is a problem for us.

51.

SOPHIE You know what? Why don't I stay here with her and you go off and be         with dad? He's looking kind of         tense.

CUT TO: RACHEL rejoins SEB and MILES.

SEB Has she even got a passport?!

RACHEL I don't think I handled that very well.

SEB How do you know she's not some kind of illegal immigrant?

109 EXT. UPPER FERRY DECK - CONTINUOUS 109

ISAACS searches the upper deck. Through the bar on the other side of the ferry he sees one of his men searching the opposite deck. A CHILD knocks into ISAACS and the few photocopied photographs he has of HANNA fall from his pocket and are blown along the deck. ISAACS scrambles to pick-up the photocopies.

110 EXT. LOWER FERRY DECK - CONTINUOUS 110

HANNA and SOPHIE are still standing at the railings. SOPHIE offers HANNA some of her ice-cream.

SOPHIE Would you like some? HANNA looks curiously at the ice-cream.

HANNA Please. She tries it.

HANNA (CONT'D)         It tastes like music.

SOPHIE You're so weird, aren't you? Did you have a fight with your dad or         something?

52.

HANNA Yes.

SOPHIE Was it bad?

HANNA No. I won. HANNA studies the sea.

HANNA (CONT'D)         Can you help me get home? At that moment one of ISAACS photocopied pictures of HANNA rolls across the deck and catches on the railings. HANNA looks down at it, recognizes herself and quickly pockets it. She looks across the deck, too many people, she shouldn't have let herself be so exposed.

HANNA (CONT'D)         You could do me a make-over if you like?

111 INT. VAN. FERRY CAR DECK - DAY 111

MILES is sitting in the driver's seat, pretending to drive the stationary van. Through the windscreen, RACHEL and SEB can be seen having a         heated discussion. In the back, HANNA is changing into some of SOPHIE'S clothes.

SOPHIE You're pretty. You know that?

HANNA Am I?

SOPHIE Of course you are. You've got pretty eyes and you're tall. I         always wanted to be tall. If I were a man I might fancy you. She laughs. HANNA responds seriously.

HANNA I'm not a man. SOPHIE laughs even more. The door swings open and SEB is standing there with RACHEL, nervous but determined.

53.

SEB Okay, here's the deal. We're going to find a way to get you home just as soon as we get off this crate. But since you don't have a passport with you right now, we're just going to have to be a bit gorilla. Okay?

RACHEL We passionately believe it's the right thing to do. They don't look sure at all, but SOPHIE puts her arm round HANNA and HANNA returns the gesture, everybody slightly embarrassed.

112 EXT. FERRY PORT ALGECIRAS - DAY 112

The FERRY is docked, the huge doors are open and cars are starting to drive out, halting on the dock to have passports checked.

113 INT. VAN. FERRY CAR DECK. - DAY 113

Cars are revving up, manoeuvring and getting ready to         disembark. RACHEL is at the drivers wheel while SEB is in the back stripping the cushions from the bench seats to prepare a         place for HANNA to hide. HANNA waits, breath bated, her arm round SOPHIE's shoulders. On the far side she sees ISAACS enter the deck. She watches him carefully and decides he must be looking for her. She ducks down a little further. RACHEL, looking nervous, turns to HANNA.

RACHEL You okay honey?

HANNA Yes yes I'm ready! ISAACS is getting closer, walking between the cars. The ferry gates are open and the noise subsides. SEB discovers the crowbar, examines it.

SEB Oh Jesus. HANNA grabs it and sticks it back in the box, helps SEB fling cushions aside and gets into the compartment.

54.         SEB grits his teeth.

SEB (CONT'D)         Here goes nothing. He shuts the bench seat over HANNA and replaces the cushions just as ISAACS passes the van, sniffing around. SEB gets out of the back and walks around to the front. He         passes ISAACS on his way round.

SEB (CONT'D)         Excuse me. Sir?         ISAACS gets out of the way and SEB gets into the front passenger's seat. RACHEL starts the engine, checks her mirrors. SEB eyes ISAACS with some paranoia - although he has no idea who he is.

INSIDE HANNA'S HIDE OUT - HANNA lies quietly, her eyes glistening in the dark. She listens, hearing the van disembarking the ferry.

114 EXT. DANISH COASTLINE - DAY 114

Dark rain pours down on to a beach on the Danish coast. A figure struggles to land. Then, like a monster from the deep, ERIK emerges out of the surf. His lungs bursting with the exertion. Water dripping from his body. He collapses for a while then stumbles up the beach. He         approaches the beach car park. A POLICE CAR swings into the car park. ERIK tries to run, but it's too late. The POLICE CAR is on         him. He stops and turns towards the police car. TWO POLICEMEN get out of the car and approach ERIK. He         watches them very carefully.

115 EXT. MOTORWAY/SOUTHERN SPAIN - DAY 115

The FAMILY'S van speeds along the E-15 up from the Bay of         Gibraltar, heading north east towards the mountains.

55.

116 INT. VAN - DAY 116

HANNA stares out at the changing light in the rugged landscape. Hills are emerging and the land is turning green in the gold evening light. HANNA watches RACHEL unscrew the cap of a water bottle and brings it to SEB'S mouth while he drives. SEB laughs as a         little water spills down his front. SOPHIE is listening to an iPOD. HANNA looks at her. SOPHIE takes one earphone out of her own ear and puts it in HANNA's.

117 INT. MARITIME SECURITY/OFFICE - DAY 117

ISAACS shows fake ID to the ferry's frowning SECURITY OFFICER, who doesn't appreciate the unsolicited approach.

ISAACS Sir, I'll be as brief as I can, we         have a situation here...

118 INT. MARITIME SECURITY/OFFICE - LATER 118

ISAACS is studying CC TV footage of the ferry. He views a         number of scenes with no luck until he notices: The car deck - HANNA and SOPHIE weaving through the cars and boarding the van.

119 INT. VAN - DAY 119

HANNA rests her head on SOPHIE'S shoulder and relaxes for the first time. MILES relaxes his head on HANNA's shoulder and they stare at the huge, granite mountain range...         She starts to nod off... she falls asleep on SOPHIE's         shoulder.

120 EXT. DANISH COASTLINE - DAY 120

MARISSA walks along the desolate patch of coastline. She approaches a Crime Scene. Dogs, markings on the ground. Two DANISH POLICEMEN lie inert on the pebbles, their throats freshly sliced.

LEWIS The Danish authorities are taking this very seriously. They've         doubled the number of officers on          the ground. We've sent up spotter planes over the channel.

(MORE)

56.

LEWIS (CONT'D)         They're appealing for witnesses through the local media...         MARISSA nods and looks out at the roiling grey sea. The reality of ERIK'S determination unnerving her.

LEWIS (CONT'D)         You think he really swam it? MARISSA knows he did. She calls over her shoulder as she walks away.

MARISSA Keep me posted.

121 EXT. SPANISH CAMPSITE - DAY 121

The campsite is heaving with humanity, thousands of EUROPEAN CAMPERS who have turned the site into what amounts to a         shanty town - a small city with its own shops, drainage, borders and rules. Families come here from cities across Europe and bring their whole lives with them. The LYALL FAMILY van is squeezed in between a GERMAN family walking around in skimpy swimming costumes - and a serious looking FRENCH family with quad bikes. SOPHIE, MILES and HANNA stare at the other families a moment.

GERMAN CAMPER. Guten tag.

HANNA Guten Morgen.

GERMAN CAMPER. Wie geht es Ihnen?

HANNA Gutm und Ihnen?

GERMAN CAMPER. Jah, gut, gut...         A FRENCH CAMPER nods at them.

FRENCH CAMPER. Bonjour. Ca va?

HANNA Ca va. Oui. Bien... HANNA starts efficiently helping SEB erect the children's         tent. He's watches impressed as HANNA expertly ties complicated knots. RACHEL and MILES start blowing up two inflatable mattresses.

57.

RACHEL Maybe we could all go for a walk when we've put the tent up.

SOPHIE No thanks. HANNA looks off to the tree line. In the distance she spots a         couple of RABBITS in a pool of sunlight.

122 INT. SPANISH CAMPSITE. OFFICE/SHOP. 122

HANNA turns a display unit of postcards. Through the window she can see SOPHIE talking to TWO TEENAGE

BOYS. One of the boys enters the shop. He looks at HANNA as he         passes and smiles. This is FELICIANO. He is handsome. HANNA'S         not used to this feeling of being looked at. While the SHOP ASSISTANT serves FELICIANO HANNA pockets a         postcard and a book of stamps.

123 EXT. SPANISH CAMPSITE. OFFICE/SHOP. 123

HANNA sits on a low wall writing her postcard: â€˜Mission accomplished' HANNA gets up and posts the card.

124 EXT. WOODS NEAR CAMPSITE - DAY 124

RACHEL and HANNA are walking in the woods together. Above them the evening chorus is in full song.

RACHEL I just feel connected when I'm in         the countryside. The city stifles me... emotionally, creatively. HANNA'S attention is elsewhere, she's spotted something in         the undergrowth.

RACHEL (CONT'D)         Anyway, I was very young when I...          Seb and I.... He was so impressive. HANNA suddenly runs into the woods.

RACHEL (CONT'D)         Hanna?!

58.

125 EXT. SPANISH CAMPSITE - EVENING 125

The FAMILY are sitting in fold-out chairs eating charred veggie sausages.

SOPHIE It's probably just a bunch of         Spanish farmers, mum. We're hardly going to be out all night.

RACHEL You're not going, Sophie. No way, Jose. HANNA appears from the woods carrying TWO SKINNED RABBITS. She lays them in front of the family.

HANNA Food. SOPHIE lets out a shriek of nervous laughter, while SEB and RACHEL are confused as to what the appropriate reaction might be.

MILES That's gross.

126 INT. CAMPSITE PUBLIC BATHROOM - NIGHT 126

The girls are hiding out in the Ladies Room as SOPHIE does HANNA'S make-up.

SOPHIE I don't know why I'm doing this, you're going to steal all the best men off of me.

HANNA What do you mean?

SOPHIE Though quite frankly I don't need more digits than I've got right now. Loads. Loads and loads. HANNA watches herself in the mirror. Mascara, eye liner. She licks the lipstick, puzzled. Almost a woman, but it doesn't         look right on her.

HANNA It's like paint.

SOPHIE Don't lick it off. SOPHIE finishes HANNA's face, looks at her in the mirror.

59.

SOPHIE (CONT'D)         You're gorgeous.

127 EXT. CAMPSITE. NIGHT. 127

SOPHIE and HANNA sneak through the campsite together and move secretly between the parked cars. HANNA is dressed in some of         SOPHIE's clothes and has the make-up on. They are excited, SOPHIE alive with the thrill of disobedience.

HANNA I can't walk in this.

SOPHIE You look hot.

HANNA Where are we going?

SOPHIE Shhhhh! HANNA uncomfortable with the situation.

HANNA I shouldn't take unnecessary risks.

SOPHIE Says who? SOPHIE heads off down the road. HANNA weighs the situation and then quickens her pace to         catch up with SOPHIE.

128 EXT. RAVE AT ROMAN AMPHITHEATRE. NIGHT. 128

A loud out door rave in a Roman amphitheatre. SOPHIE and HANNA stand at the top of the amphitheatre looking down on the thrilling spectacle, soaking up the bass, the abstract sounds, the sheer volume, the pulsing lights and electric atmosphere - HANNA is thrilled and startled. Many of the crowd seem to be wearing fancy dress. HANNA stares at a girl dressed as a red ladybird.

CUT TO: The girls approach a bar and SOPHIE goes to order. She's         forced to mime and shout her order over the music.

SOPHIE Vodka. Two.

60.         The bartender shakes his head and holds up two bottles of          water.

BARTENDER Water only. No booze. Meanwhile HANNA spots FELICIANO, the handsome SPANISH BOY from the camp site shop, across the dance floor. He is         staring at her again. SOPHIE comes back with two bottles of water and hands one to

HANNA.

HANNA What do they call this music?

SOPHIE Banging. HANNA stares at the dancers, people losing themselves in it - SOPHIE just grins, starts to move to the music. HANNA smiles awkwardly, tries to copy SOPHIE.

CUT TO: ISAACS enters the rave followed by two of his HENCHMEN. They split up and start to survey the crowd. Over in a secluded corner ISAACS sees a drug deal taking place. ISAACS sidles over to the DEALER and his PUNTER. The PUNTER, thinking ISAACS is probably a cop, makes a hasty getaway.

ISAACS What you got?

DEALER (in Spanish w/ English

SUBTITLES)         Nothing man. That guys just a          friend.          ISAACS frisks the DEALER, nothing. He turns the DEALER          against the wall and checks his socks where he finds a stash          of tiny baggies each containing a gram or two of white          powder.          ISAACS samples the powder and pockets the lot.

DEALER (CONT'D)         (in Spanish w/ English

SUBTITLES)         Hey, you're not police. What the          fuck?          ISAACS turns as he walks away and puts a finger to his lips.

61.

ISAACS Ssh.

CUT TO: Back near the bar HANNA and SOPHIE are approached by a couple of scrawny SPANISH BOYS in day-glow tops.

SPANISH BOY (in Spanish w/ English

SUBTITLES)         Where are you from?          The girls just look at each other.

SPANISH BOY (CONT'D)         English? American? You like to         party? They watch, puzzled, as SOPHIE smiles disinterestedly and leads HANNA away.

HANNA Will you teach me to do dancing?

SOPHIE It's easy. HANNA and SOPHIE walk onto the dance floor and begin to         dance. HANNA starts by dancing like a five year-old, swinging her arms jerkily and lifting her feet as if walking through a         field. But soon her movements become more sophisticated and expressive.

CUT TO: ISAACS is searching through the crowd. He eyes the bodies around him greedily. He takes another dab of the white powder and rubs it into his gums.

CUT TO: Back on the dance floor, HANNA and SOPHIE are dancing. FELICIANO approaches through the crowd followed by a FRIEND. THEY start to circle HANNA and SOPHIE, dancing, insinuating their way in.

SOPHIE (CONT'D)         He's after you.

HANNA How can you tell?

62.

SOPHIE Duh, look at the way he's looking at you. He's gorgeous. FELICIANO'S FRIEND approaches SOPHIE, he's not bad looking either.

FELICIANO'S FRIEND What's your name?

SOPHIE Sophie.

FELICIANO'S FRIEND Have you come here before?

SOPHIE All the time.

FELICIANO'S FRIEND Really? You dance well.

SOPHIE So do you. HANNA and FELICIANO hold eye contact. The music rises and now they're lit only by the intermittent flashes of a strobe light. HANNA and FELICIANO begin to dance around each other, their movements caught in still flashes.

CUT TO: From some distance away ISAACS spots HANNA. He smiles and starts to move through the crowds towards her.

CUT TO: SOPHIE and the FRIEND are kissing. HANNA sees this and laughs. The crowd is jumping. HANNA feels FELICIANO'S hand take hers, she flinches a         moment, then lets him draw her towards him. Their eyes still locked. ISAACS is getting closer, his eyes flashing eerily in the strobe lighting. HANNA and FELICIANO are in a world of their own. His fingers trace the lines of her arms, shoulders and neck. He draws her face towards his.

63.

HANNA Are we going to kiss now?

FELICIANO Would you like to?

HANNA Kissing requires a total of thirty- four facial muscles. Their lips are almost touching.

HANNA (CONT'D)         The most important muscle involved is the orbicularis oris muscle, which is used to pucker the lips - He kisses her. HANNA closes her eyes. ISAACS moves in. FELICIANO becomes more ardent, puts his arms around her waist, she doesn't like it. He tries to open her mouth with his. HANNA snaps. In a few swift moves, HANNA pulls FELICIANO round and throws him to the ground. She falls to his side and, with one knee on his back, she holds his head, about to snap his neck. SOPHIE turns and sees them on the ground. A few of the closest DANCERS also stop dancing and stare. ISAACS backs off, watching from a safe distance.

SOPHIE Hanna! Holy crap...

FELICIANO Please, don't hurt me.

(TO SOPHIE) Please, tell your friend...         HANNA looks up at SOPHIE. Now that she has FELICIANO on the ground she doesn't know what to do with him.

HANNA Should I let him go?

SOPHIE As opposed to what? Yes, you should let him go. HANNA leans in to whisper into FELICIANO'S ear.

64.

HANNA I'm going to go now.

FELICIANO Sure.

HANNA It was nice. And she's gone, pulling SOPHIE away through the crowd. ISAACS jumps into action. But he's lost sight of the girls among the mass of dancing bodies. HANNA and SOPHIE move quickly through the crowds towards the exit.

SOPHIE Oh, my God, Hanna. I thought you were going to kill him. Where d'you learn to do that?

HANNA My father taught me. They escape through a hole in the perimeter fence.

129 129

NIGHT An immaculately tidy lounge in a small apartment on the ground floor of a run down East Berlin housing project. A well-dressed woman in her 60's, KATRIN, is sitting alone listening to music on an old casette machine. The door buzzer rings. KATRIN gets up slowly and approaches the door.

KATRIN Who is it? No reply. KATRIN puts the safety chain across the door and opens it a small amount.

MARISSA Hello Katrin. KATRIN slams the door shut in fright and double locks it. Fear racing through her veins, she rushes her way through the lounge, knocking furniture as she goes.

130 INT. KITCHEN. KATRIN'S APARTMENT - NIGHT 130

KATRIN races to the kitchen door and bolts it.

65.         Thinking the apartment is secure, she tries to catch her breath. But slowly she becomes aware of someone else's         presence in the room. She turns to face the intruder... MARISSA standing, waiting patiently.

KATRIN You look different in pictures.

MARISSA Well here I am in the flesh. KATRIN'S mouth twitches with all the imagined conversations she's had with MARISSA.

MARISSA (CONT'D)         Has Erik Heller contacted you?

KATRIN Erik's dead. MARISSA sits calmly in an old arm chair.

MARISSA Huh, if only.

KATRIN If he's alive why would he contact me?

MARISSA That depends on whether you believe he's innocent, or not.

KATRIN I'm an old woman with a broken

HEART -

MARISSA - What's in the past, stays in the past, right?

KATRIN Something like that.

MARISSA So why all the years of snooping around and sticking your nose in?

KATRIN You'd understand if you had kids. She turns her back on MARISSA.

MARISSA Kid's, they fuck you up, don't         they?

66.         MARISSA stands up, puts a 9mm to the back KATRIN'S head and pulls the trigger. KATRIN drops to the floor revealing a framed, blood splattered, photograph of KATRIN ZADEK'S daughter - JOANNA.

131 INT. TENT. SPANISH CAMPSITE. EARLY DAWN. 131

HANNA and SOPHIE lie next to each other in sleeping bags with a torch between them.

SOPHIE Can't you sleep?

HANNA No.

SOPHIE Me neither. SOPHIE pauses. Looks at her.

SOPHIE (CONT'D)         Hanna?

HANNA Yes?

SOPHIE Where do you really come from?

HANNA Leipzig, I live in Leipzig - SOPHIE looses her patience.

SOPHIE If we're going to be friends you have to be honest with me. Them's         the rules. HANNA is taken aback.

HANNA Are we friends?

SOPHIE Yes. I like you.

HANNA I'd like to have a friend.

SOPHIE I mean you're a freak and everything, but I like you.

67.

HANNA I like you too. I really do. But there are things I can't tell you. Do you understand?

SOPHIE Yes... Actually, no, I don't.

HANNA There are people that want to harm me. Bad people.

SOPHIE I see.

HANNA And they wont stop.

SOPHIE Right.

HANNA So for your own safety...         HANNA looks into SOPHIE'S eyes.

HANNA (CONT'D)         Can we still be friends?

SOPHIE I don't know. I mean, I don't         really know who you are. Do I?

HANNA That's just it. Neither do I.         She reaches into her bag. Brings out the DNA report. Shows it         to Sophie. They read. Interfering Sequence. Abnormal.

SOPHIE What is it?

HANNA I think it's about me. DNA is kind of how we're made I think. I mean who we are. They look at it.

SOPHIE What will you do?

HANNA I'm going to Berlin. I have to meet my father at the house of Wilhelm Grimm.

68.

SOPHIE As in â€œGrimm's Fairytalesâ€?

HANNA That's right. SOPHIE sighs at HANNA.

SOPHIE If you say so.

HANNA Did I say the wrong thing again? SOPHIE looks at HANNA, sees she's vulnerable. She takes a         bracelet off her own wrist. Gives it to her.

SOPHIE Keep this. To remember me. HANNA takes it, puts it on. Moved. Looks at SOPHIE.

SOPHIE (CONT'D)         It's a friendship bracelet.

HANNA Thank you. HANNA stares at the ceiling, looks over at SOPHIE who's         starting to sleep. HANNA reaches out and touches her hair. Beside them, separated by a thin piece of fabric, we see that MILES has woken and has been listening in the darkness.

132 INT. KATRIN'S APARTMENT - NIGHT 132

MARISSA is searching the apartment. She's thorough and fast. She rips cushions and throws books from their shelves. Her actions become progressively more frantic, relishing the destruction. She finds more and more photograph's of JOANNA. The photographs seem to have a driving effect on her. She walks down the hall and opens a door onto a small spare bedroom that had been turned into home office. Every available wall space is covered in newspaper clippings and photographs relating JOANNA'S murder. On the floor MARISSA finds a box of old casette tapes. She stops to inspect one of the tapes. A label reads: â€˜Joanna no.

24'.

133 INT. DANISH HOSTEL - MORNING. 133

ERIK HELLER walks into a small, long-established family hotel on a Danish road near the coast.

69.         He is in the slightly dated suit he wore when he left the forest and looks a little dishevelled and odd. A sixtyish Danish woman stands behind the counter, scrutinising him. They speak in Danish with English subtitles.

ERIK (SIGHS, EXHAUSTED) I need a room.

RECEPTIONIST Yes of course.

ERIK I stayed here fifteen years ago. It         hasn't changed.

RECEPTIONIST We don't much like change here.

ERIK Neither do I.

RECEPTIONIST Name?

ERIK Olsson. Peter Olsson.

RECEPTIONIST You have some post. She turns and retrieves HANNA'S POSTCARD from the mail rack and hands it to him.

ERIK Thank you. ERIK reads: â€œMission accomplishedâ€

RECEPTIONIST Have you heard about the manhunt? A man has killed two coastguards. Everybody is being asked to keep an         eye out.

ERIK For what exactly?

RECEPTIONIST I don't know. He smiles. She takes a closer look and notices goose fat smeared behind his ear.. and blood on a shirt cuff...

134 INT. VAN/SPANISH CAMPSITE - MORNING 134

The FAMILY have checked out and are leaving the campsite.

70.

HANNA How long until you drop me off?

RACHEL We should have you there by dinner time. From Lille you can get a         train to Berlin. Leipzig's just a         few hours further. HANNA and SOPHIE exchange a look.

135 EXT. RECEPTION. SPANISH CAMPSITE - CONTINUOUS 135

The FAMILY van passes through the campsite gates to reveal ISAACS coming out of the reception hut. He sees the van, recognises it. He sees the kids in the back. Bingo. He runs to a black BMW where two of his HENCHMEN are waiting for him.

ISAACS Wake up. It's them. He jumps in the passenger seat whilst the driver revs the engine. The BMW pulls out in front of an oncoming truck narrowly avoiding a collision.

136 INT. ISAACS' BMW - CONTINUOUS 136

ISAACS holds onto the dash.

ISAACS Keep your distance.

137 INT. DANISH HOSTEL - DAY 137

The RECEPTIONIST picks up the phone and dials.

RECEPTIONIST Is that the police? Yes, I don't         want to trouble you but I have a          new guest you may wish to know about.

138 EXT. VESTERBROGADE STATION/COPENHAGEN. DAY. 138

A commuter train pulls into the vast station. Amongst the morning commuters alighting the train is ERIK HELLER. He         looks furtively around, and tries to blend in with the crowd.

71.         POV - from a walkway above the station - someone is watching HELLER as he tries to conceal himself within the throng. A         DANISH AGENT, hidden on a metal walkway above the platform. On the platform HELLER walks amongst the commuters, past the ticket collectors, past another DANISH AGENT posing as a         commuter - he stops and lingers by him, noting something not right. He moves off and enters a small bar. The second AGENT immediately follows and from the walkway, the other rushes downstairs to give chase too. HELLER walks through the bar into the toilets, finds a FIRE EXIT and walks out through it.

139 EXT. GOODS YARD/VESTERBROGADE STATION - DAY 139

HELLER finds himself in a goods yard adjoining the train station. He walks through the goods yard, then suddenly, and apparently for no reason, stops dead, then throws himself behind a skip of empty bottles. As he does two new men, AMERICAN SPECIAL OPS, run round the corner into the goods yard. From the fire exit, the DANISH AGENTS EMERGE and after signalling to each other, head off to the perimeter. The various agents scour the yard. The SPECIAL OPS get closer to HELLER's hiding place. HELLER suddenly emerges from his hiding place and sticks an elbow in the face of one, a knee in the groin of another. There's a brief exchange of blows. One of the SPECIAL OPS draws his hand gun. HELLER produces a knife out of nowhere and launches at the man, cutting him on the hand, making him drop his gun. He stabs the other in the eye and the man falls to the ground squealing. HELLER leans in and takes from the man's pocket his

CELLPHONE. HELLER makes a run for it. One of the SPECIAL OPS lets off a         shot, the bullet clipping HELLER in the leg. He falters but limps off behind the towering containers.

140 EXT. FRENCH ROAD - DAY 140

The FAMILY van is making its way up through France.

72.         Following in the black BMW, a few cars behind, ISAACS and his HENCHMEN are biding their time.

141 INT. VAN/FRENCH ROAD - EVENING 141

RACHEL is driving, while HANNA rides in the front seat keeping her entertained.

HANNA ...they can live at freezing temperatures for up to nine months without food. Imagine that, nine months.

RACHEL Why do you know so much about fleas?

HANNA I read it in my Encyclopaedia. HANNA is looking in the side view mirror. She sees ISAACS BMW and frowns, she's seen it before.

HANNA (CONT'D)         Also, they can jump around 200 times their own body length, which makes them the best jumpers of all known animals except for the froghopper. Now they can really jump. RACHEL makes a turn and HANNA checks the side view mirror again. Yes, the BMW is still there. HANNA becomes anxious.

RACHEL Everything all right?

HANNA I think so. But HANNA'S face betrays her concern.

JOANNA (V.O.) Mama, I know you're disappointed in         me, I know it. I'm so sorry, Mama. But I have found maybe a way to         make it better...

142 INT. HOTEL SUITE. COPENHAGEN - NIGHT 142

CLOSE ON - a portable casette machine playing one of the tapes MARISSA discovered at KATRIN ZADEK'S.

73.

JOANNA (V.O.) I'm in a program now... a program to make babies stronger. In an adjoining bathroom MARISSA, in a pair of cotton pyjamas, is brushing her teeth. Her lips pulled back in a         snarl.

JOANNA (V.O.) An American program. It's very scientific. Important scientific work. Still brushing MARISSA walks through to the tape machine and presses fast forward. Then play -

JOANNA (V.O.) Erik says he can get these tapes to

YOU -

MARISSA

(MUTTERS) Bastard.

JOANNA (V.O.) - He says I look beautiful. I don't         feel beautiful...          MARISSA doesn't care, fast forwards. Play -

JOHANNA (V.O.) ...I'm not sure if it's true that the baby can hear, but at night I         sing. I hope it hears me. MARISSA listens, for some unknown reason to MARISSA this catches her imagination. The phone rings.

MARISSA What?

RECEPTIONIST Frau Wiegler, this is reception. I         have one Erik Heller for you. MARISSA stops dead.

MARISSA Put him on.

ERIK (O.S.) You were supposed to be dead.

MARISSA So were you.

74.

143 EXT. PARK. COPENHAGEN - NIGHT 143

A phone booth in a city park. ERIK shivering in the cold as         icy rain falls around him, he's holding the CELLPHONE he          stole from the dead SPECIAL OPS. HELLER'S leg is bleeding profusely.

ERIK Well, here we are.

MARISSA How did you know I was here?

ERIK I killed one of your men. Got his cellphone. You've gotten soft.

MARISSA (O.S.) No, I just grew up. The world's         changed since you died.

ERIK You got kids?

144 INT. HOTEL SUITE. COPENHAGEN - CONTINUOUS 144

MARISSA stops, taken aback by the question.

MARISSA No, I made choices.

ERIK Hanna's practically yours, you know? This goes straight to an ache that's been building in

MARISSA.

MARISSA Not interested. But she is.

ERIK She's true and good and funny. Yeah, she's funny. She's special. You should see her.

MARISSA I'm looking forward to it.

ERIK You'll have to catch her first. The line goes dead. MARISSA puts the phone down and sits quietly for a moment. Then presses play again on the tape machine.

75.

JOANNA (V.O.) Was it like this for you, Mama? I         think I know what the baby looks like. I think it's a girl -- I hope so.

145 EXT. INDUSTRIAL ROAD - NIGHT 145

The FAMILY'S van drives - behind ISAACS BMW tails it, lights on high beam.

JOANNA (V.O.) I wonder who she'll be? I hope she's smart. I hope she's a         stronger person than I am.

146 INT. VAN - NIGHT 146

HANNA sits beside her in the passenger seat, her anxiety growing. RACHEL is still at the wheel, watching the bright headlights behind.

RACHEL Shit. Shit, shit, shit. I think we're lost, Hanna. HANNA checks the side view mirror again and sees ISAACS BMW. She's knows that whoever is driving that car is after her. She looks back and sees SEB, SOPHIE and MILES all comfortably asleep. MILES' fingers wrapped around a Transformers toy.

RACHEL (CONT'D)         I'm going to pull over.

HANNA No, don't.

RACHEL I need to check the map.

147 EXT/INT. CAR/CONTAINER PARK - NIGHT 147

The van slowly pulls in at the side of the road. RACHEL waits for the BMW behind to pass but instead it pulls in behind the van. On either side of the road is an enormous container park. The containers are piled on top of each other like a giant baby's         building blocks.

76.

RACHEL Why won't that car pass? He has his lights on high beam, I was doing everything I could to get out of         the way...          SOPHIE wakes up in the back.

SOPHIE Are we stopped? I need to pee.

RACHEL Well, I don't want you going too far right now.

HANNA I think you should stay where you are, Sophie. HANNA doesn't take her eyes off the mirror. She can see the silhouettes of ISAACS and his MEN. They don't move and neither does HANNA. Both are waiting for the other to make the first move.

RACHEL Hanna, what's going on. Seb wake up.

HANNA Please.

SOPHIE This is creepy. You're creeping me         out.

SEB

(GROGGY) Are we in Lille?

HANNA I'm sorry. But you really mustn't         get out of the van. HANNA climbs into the back of the van and comes very close to

SOPHIE.

HANNA (CONT'D)         What ever you do, don't follow me. Promise not to follow me.

SOPHIE I promise.

RACHEL Hanna, tell me what's going on or         Seb will go over to that car and find out.

77.

SEB Like fuck I will. Everyone stay put. Where's my phone?

HANNA

(TO SOPHIE) Thank you for being my friend. HANNA looks back at the BMW. All at once all four of the car doors open. In a flash, HANNA pulls open the van's side door and bolts from the van.

RACHEL Hanna! RACHEL sees ISAACS and one of the HENCHMEN chase after HANNA. The SECOND HENCHMAN appears at her drivers window aiming his gun at her head. RACHEL screams.

148 EXT. CONTAINER PARK - NIGHT 148

HANNA sprints across hard tarmac heading for the relative safety of the container park. ISAACS and his HENCHMAN follow at speed. HANNA enters a dark gully between two enormous containers. ISAACS slips around the other side to block her off. He         signals to the HENCHMAN to loop around and flank HANNA. HANNA moves quietly between the containers, turning this way and that. ISAACS voice comes echoing through the maze.

ISAACS (O.S.) Don't be a silly girl, Hanna. You need to come with me now. I know where your papa is. She listens.

CUT TO: ISAACS, his gun in hand, calls out again.

ISAACS (CONT'D)         He wants to talk to you, Hanna. He         misses you.

CUT TO: The HENCHMAN appears directly behind HANNA. HANNA double- kicks him in the chest.

78.         HANNA pulls herself up the side of the containers and scrambles on top of them and runs, jumping between the containers when she reaches a gap. The HENCHMAN appears having climbed up too. A chase ensues. HANNA, followed by the HENCHMAN climbing up         higher, now four containers high. ISAACS follow below. HANNA jumps an enormous gap between two containers and right over the head of ISAACS. HANNA slips and tumbles but catches the edge of one of the containers on her way down. She hangs there a moment, then pushes herself off the side of the container and manages to         land on a lower container on the other side. HANNA running across the tops of the containers sees the HENCHMAN appear at the far edge. She grabs a discarded wrench and throws it at the man, catching him in the side of the head - a perfect aim - and he tumbles to the ground. She descends the containers with nimble leaps and comes to         the ground. She's running now through a maze of tight alleys between the containers. She stops at a â€˜T' junction, unsure which way to         go. Suddenly ISAACS appears at the end of one alley, HENCHMAN ONE at the end of another, and HENCHMAN TWO at the end of the third. She's trapped.

ISAACS (CONT'D)         Just take it easy. HANNA makes her decision and runs straight at ISAACS. He stretches out his arms in an attempt to catch her. She hits him like a bowling ball hitting the last pin and he         crashes to the ground. She rolls and springs to her feet. The HENCHMEN follow but HANNA is too quick.

149 EXT. SCRAP METAL YARD/CANAL - NIGHT 149

HANNA sprints full tilt out of the container park and through a scrap metal yard. Either side of her rise mountains of         waste. HANNA reaches the edge of an industrial canal from where the scrap metal is unloaded.

79.         A large industrial barge is passing beneath. HANNA jumps and lands on the moving barge. Then quickly takes cover under a         tarpaulin.

150 INT. HOLDING CELLS. DAWN 150

Four holding cells in a row, each one holding a member of the family. SEB paces around his cell. RACHEL sits stoically in hers. SOPHIE is crying in her cell while MILES is playing with his Nintendo in his cell. MARISSA walks into SOPHIE'S cell.

MARISSA Would you please stop crying?

SOPHIE I'm not telling you anything.

MARISSA Honey, your friend is in a lot of         danger. You need to help us find her.

SOPHIE I don't know where to find her! MARISSA grits her teeth, shows SOPHIE a photo of FELICIANO.

MARISSA Do you know him?

SOPHIE No.

MARISSA He knows you.

CUT TO: MARISSA now in RACHEL'S cell.

RACHEL We gave her a ride because we         thought she was in trouble.

MARISSA But you knew she didn't have a         passport. You smuggled her into port and helped her illegally gain

ENTRY -

RACHEL She said she lived in Leipzig. She went to the Klaus Kohle Gymnasium.

80.

MARISSA There is no Klaus Kohle Gymnasium. It closed five years ago. Shock on Rachel's face.

MARISSA (CONT'D)         Did she give any idea of where she was going? Rachel wracks her brains.

RACHEL She said she was going home, to         Leipzig. She seemed lost. Like she needed taking care of. (woman to woman) You understand. MARISSA shows her the photograph of JOANNA ZADEK.

MARISSA This was Hanna's mother, Joanna Zadek. Fifteen years ago Hanna's         father shot her to death on a          camping holiday by the Baltic. RACHEL swallows, goes pale.

CUT TO: MARISSA now in SEB'S cell.

SEB She was odd. I'll give you that. Disconnected. I mean I get on with most kids, you know, have a         rapport. But, this one -

MARISSA You know, Mr Lyall, it's days like these that I really hate my job.

SEB I'm sure you do.

MARISSA It's a very, very difficult thing to do.

SEB Absolutely.

MARISSA But sometimes children are bad people too.

CUT TO:

81.         MARISSA in MILES'S cell. MILES is terrified of MARISSA. She puts her hand out and strokes his hair.

MARISSA (CONT'D)         I'm not going to hurt you. MILES shrinks from her touch.

MARISSA (CONT'D)         Miles is a nice name. Are you a         nice boy? She strokes MILES' hair and immediately he starts crying loudly. SEB pounds on the wall from his cell.

SEB Hey what's going on in there? We         don't have to put up with this! We're in the EU, Goddammit!

151 EXT. BARGE. RURAL FRANCE INTO GERMANY. DAWN 151

HANNA watches as the sun rises over the misty fields either side be the canal. It's a beautiful sight. HANNA is strangely peaceful.

152 INT. HOLDING CELLS. DAWN 152

Now the whole family are reunited in MILES' cell. He sniffs and plays with his Nintendo. The others look wan as MARISSA passes around a photo of the two dead DANISH POLICEMEN. The family go silent.

MARISSA Three days ago Hanna's father killed two Danish policemen on a         beach with a hunting knife.

SEB Where is he now?

MARISSA He's still at large and he's still very dangerous. We need to find Hanna before he does. Pause. SOPHIE thinks about it but clams up. Marissa notices.

MARISSA (CONT'D)         If you know anything at all, it's          vital you tell us for her own safety. We are now very worried about her.

82.         But SOPHIE doesn't say a word.

RACHEL Sophie? Still nothing. They all look at her. MILES suddenly speaks.

MILES She's going to Berlin. To Wilhelm Grimm's house.

SOPHIE (TO MILES) You little bastard!

RACHEL How did you know that?

SOPHIE You fuckwad! SOPHIE slaps MILES over the back of the head but SEB pushes her back.

SEB Hey hey hey! Sophie for God's sake.

153 EXT. BERLIN CANALS - DAY 153

HANNA'S sits on the prow of the barge as it makes it's slow progress into Berlin.

154 INT/EXT. CAR/STREET - DAY 154

MARISSA looks out at a school playground as she waits in the back of her car. The passenger door next to her opens and ISAACS gets in.

ISAACS I've looked through Heller's         contacts from the 1980's. There's          no one called Wilhelm.

MARISSA Wilhelm Grimm wrote fairy-tales. He         died two hundred years ago. MARISSA hands ISAACS a brown envelope containing one of the photographs she took from KATRIN'S apartment. The photograph shows a happy looking JOANNA and ERIK at a         busy family amusement park. Between ERIK and JOANNA is a         clown, his arms around both of them. This we will come to         understand is KLAUS KNEPFLER. Behind them is a GRIMM'S

BROTHERS HOUSE OF FUN.

83.

ISAACS What the hell is this? MARISSA smiles slightly.

MARISSA Wilhelm's house. (to the DRIVER) Drive on.

155 EXT. BERLIN STREETS - DAY 155

HANNA wanders through the skyscrapers and glass constructions of Berlin. People swarm around her but pay her no mind.

156 INT. TRAM - DAY 156

HANNA is riding a tram to the outskirts of town.

157 EXT. ABANDONNED AMUSEMENT PARK - DAY 157

HANNA walks beside a wire mesh fence that separates her from an abandoned amusement park. Behind her is an enormous steel works from which great industrial plumes of steam rise. HANNA climbs under the fence and walks through this surreal playground long since reclaimed by nature. There are huge fibreglass dinosaurs toppled over with heads missing and abandoned dinosaur legs. Rising above the park, surrounded by         a muddy moat, is the big wheel now standing at a vertiginous angle. In front of the big wheel is the WILHELM GRIMM HOUSE. The house is a Grimm Brothers fairytale theme â€˜Fun House'. It's windows long since shuttered, vines growing through its roof. HANNA stands in front of the house in deep anticipation. She walks up the small steps that lead to the front door and knocks. She waits, heart sinking at the thought of there being no-one home. Then, ever so slightly the door opens and peering out at her is a man with the sad face of an out of         work clown.

KNEPFLER Excuse me young lady? It is the man from the photo, but twenty years older. Small, with a wiry intensity.

HANNA Are you Wilhelm Grimm?

84.

KNEPFLER Not exactly, but it'll do for now. Come this way. He leads her inside.

158 INT. WILHELM GRIMM'S HOUSE - DAY 158

They come inside - it's old and full of hoarded junk, antiques, boxes, books, dusty china, lamps, figurines, but still functional - an old man's home. He stops to look at         her.

KNEPFLER So you are Hanna. He puts out his hand to shake.

KNEPFLER (CONT'D)         It's very nice to meet you, Hanna. HANNA smiles and shakes his hand, she likes him already. KNEPFLER studies her, quietly moved by his memories.

KNEPFLER (CONT'D)         My real name is Knepfler. Herr Knepfler. I'm an old friend of your father's. I am a sort of         â€œcaretakerâ€ here.

HANNA What happened to it?

KNEPFLER No car park. You need a car park these days, otherwise people wont come. But somebody has to watch over it...

HANNA It's beautiful.

KNEPFLER I like it too. Erik used to come here a great deal.

HANNA Have you heard from him? He nods.

KNEPFLER You must wait. He will be here soon. HANNA stares, not quite believing.

85.         HANNA stares out the window, thinking all this through. KNEPFLER leads HANNA through a reception area and under a         spider with a human face that straddles a door to a run down kitchen.

159 INT. KITCHEN. WILHELM GRIMM'S HOUSE - CONTINUOUS 159

HANNA follows KNEPFLER into the kitchen.

KNEPFLER Please, sit down. HANNA sits at the old kitchen table on a wooden bench, while KNEPFLER goes to the stove.

KNEPFLER (CONT'D)         Would you like an egg? They're         fresh.

HANNA Please. HANNA takes an egg, breaks it and swallows it raw. KNEPFLER smiles. He gives her a buff envelope. She looks inside - some money, a passport, ID cards.

KNEPFLER You'll need a fresh photograph. Don't get it wet. HANNA looks at the passport with a new name - ANNA-MARIE ELKAN. She takes a deep breath, not really comprehending.

HANNA I don't really understand.

KNEPFLER ID. Identity. It tells people who you are. She stares at the passport with the blank space for her photo.

KNEPFLER (CONT'D)         There is an apartment ready for you in the south. Erik will come and the car will take you there today. You will live there now.

HANNA Do I have to?

KNEPFLER Don't you want to?

86.

HANNA I don't know. I miss the forest. I         miss my home.

KNEPFLER That's to be expected. But the city is so exciting, don't you think?

HANNA I suppose. She drinks her water, thinking.

HANNA (CONT'D)         Did you know my mother?

KNEPFLER I did.

HANNA What was she like?

KNEPFLER She was very gentle, she was very funny, very talented - a singer - did you know that?

HANNA Yes...

KNEPFLER She had your eyes. He smiles at her. She here's a noise outside and runs to look out the window. She sees ISAACS BMW pull up outside the house followed by a         second car.

HANNA It's him.

KNEPFLER Quick. KNEPFLER leads HANNA out of the kitchen.

160 EXT. WILHELM GRIMM'S HOUSE - CONTINUOUS 160

The driver of the second car gets out and opens the back door for MARISSA. She gets out and looks up at the house.

87.

161 INT. RECEPTION. WILHELM GRIMM'S HOUSE - CONTINUOUS 161

KNEPFLER points HANNA towards a set of stairs that lead up         from the reception.

KNEPFLER Upstairs. There's a knock at the door. HANNA begins to climb the stairs while KNEPFLER approaches the front door. There's another knock at the door.

162 INT. GRANDMA'S ROOM. WILHELM GRIMM'S HOUSE - CONTINUOUS 162

HANNA enters a room that's been designed to look like Grandma's bedroom from Little Red Riding Hood. HANNA hurriedly slides under the bed. Breathing as quietly as         she can. She can hear the sound of ISAAC'S MEN starting to spread through the house.

KNEPFLER (O.O.V)         Listen to me, listen. There is no         one here. There is nobody up         there...

MARISSA (O.C.) Check the attic. Footsteps to the attic.

163 INT. WILHELM GRIMM'S HOUSE/STARS - DAY 163

MARISSA has KNEPFLER cornered on the stairs.

MARISSA Erik Heller? Do you know him?

KNEPFLER I have never heard of him.

MARISSA Really? MARISSA shows him the photograph of JOANNA, ERIK and KNEPFLER outside the house.

KNEPFLER I don't know these people.

88.

MARISSA Think very carefully He shrugs and MARISSA grabs KNEPFLER by the throat. He speaks in gasps.

KNEPFLER He called me. She's coming soon. To         meet him.

MARISSA When?

KNEPFLER Tomorrow! Tomorrow morning. MARISSA lets him go. She turns to ISAACS.

MARISSA Take him in there. Find out what he         knows.

164 INT. GRANDMA'S ROOM. WILHELM GRIMM'S HOUSE - DAY 164

The sound of KNEPFLER being escorted into a next-door room, the door shutting. The sound of footsteps coming into the room. HANNA silent under the bed. MARISSA'S GREEN SHOES are in sight, nothing else. The green shoes come close and HANNA feels the mattress compress as MARISSA sits on the bed. She looks at the shoes as she hears her call.

MARISSA Lewis. It's Marissa. HANNA hears the name. The name of the woman she thought she had killed. Her face pale in shock and fear.

MARISSA (CONT'D)         You got anything? He's coming here. I can smell it. Double the men. But, Lewis, I want to talk to him. HANNA hears MARISSA hang. Another pair of shoes enter the room. Male. ISAACS.

ISAACS His name's Klaus Knepfler. He used to send Heller's things from Berlin before the Communists were kicked out of Prague.

MARISSA How much does he know about the programme?

89.

ISAACS Everything. He knew Johanna.

MARISSA What does he know about the child?

ISAACS He also thinks Erik's the father.

MARISSA Well that's good.

ISAACS Everybody thinks Erik's her father. Erik probably thinks he's her father. They snigger. HANNA's eyes widen in shock. She can barely control her breath.

MARISSA Crazy bastard. You got a fix on him yet?

ISAACS Let's see what else Knepfler has to         offer. He leaves her. MARISSA suddenly senses something. Did she hear an intake of breath? She turns and quickly looks under the bed. No one there. Her imagination maybe. MARISSA stands and we see the shoes walk away to the door. They reach the door. HANNA, clinging to the bedsprings in mid- air, not breathing. The green shoes leave. HANNA breathes. Hurriedly she climbs out from under the bed and goes to a         window.

165 EXT. WILHELM GRIMM'S HOUSE - DAY 165

HANNA lands having jumped from the window. She looks around quickly. Then, out of sight from the cars at         the front of the house, she runs for dear life.

166 EXT. BERLIN STREET - DAY 166

HANNA walking fast, in total shock and confusion. Who is she? She walks head down, determined not to be seen. Not knowing where she is going. Her world turned upside down. She sees an         internet cafe. Ducks into it.

90.

167 INT. INTERNET CAFE. BERLIN - DAY 167

HANNA sits down at a computer. The young OWNER comes up to         her.

OWNER Excuse me. You have to pay first.

HANNA How much?

OWNER 3 Euros for half an hour. She looks at the money that Knepfler gave her. It contains Euros. She hands some over to the OWNER.

HANNA How does it work?

OWNER You've never used the internet?

HANNA No. He smiles in amazement and logs on for her. The owner brings up a search engine.

OWNER Just type whatever it is you're         looking for here. He walks away and HANNA slowly starts to type. She types in

DNA INTERFERING SEQUENCE.

168 EXT. AMUSEMENT PARK/WILHELM GRIMM'S HOUSE - DAY 168

ERIK HELLER limps, head bowed, through the Amusement Park. He suddenly stops dead and ducks behind a fallen fibreglass dinosaur as he sees two CIA AGENTS sitting in a car outside the house. HELLER watches for a moment or two. Then, keeping low, he makes a painful run towards the house. HELLER throws himself against the back wall of the kitchen. He breathes heavily for a moment, clutching his wounded leg. He turns and rises to look through the kitchen window. Inside he sees KNEPFLER, stripped to the waist his body bloodied, hanging upside down from a meat hook. He's         obviously dead.

91.         HELLER crouches back down against the wall, thinking furiously. Then, decision made, he checks sight lines and runs back across the Amusement Park away from the house.

169 INT. INTERNET CAFE. BERLIN - DAY 169

HANNA sits at the computer, looking at the screen breathless with tension. Phrases from the text leap out at her. â€œAn interfering sequence within the DNAâ€, â€œintervention to the mother's         uterus during pregnancy.â€ HANNA stands in shock. She reads again. â€œIntervention to the mother's uterusâ€ HANNA deletes the page. Sits in shock. Then writes in her mother's name. JOHANNA ZADEK. Immediately the article about JOHANNA's death comes up. HANNA stares at it. She reads it. No mention of a child. There is         an address for Johanna Zadek. She came from the Heizinger Buildings area in the suburbs of East Berlin. HANNA writes it         down. Gets up and leaves.

170 INT. TAXI. EAST BERLIN SUBURB - DAY 170

HANNA sits in the back of a taxi as it takes her into a grim concrete jungle of old East German housing projects. HANNA looks at the thousands of tiny windows, so many lives being lived in unawareness. Is this normality? Is this the world she longed to be a part of?

171 INT. GRANDMA'S ROOM. WILHELM'S HOUSE. BERLIN - DAY 171

MARISSA and ISAACS wait in Grandma's Room. ISAAC's phone rings.

ISAACS Isaacs. He listens. Puts the phone down.

ISAACS (CONT'D)         A public computer at a Berlin internet cafe just did a web search for â€œDNA Interfering Sequenceâ€.

MARISSA Hanna?

ISAACS Next they searched the name Johanna Zadek.

92.         MARISSA stops dead. Looks at ISAACS.

MARISSA She's not coming here.

172 EXT. KATRIN ZADEK'S APARTMENT BLOCK. EAST BERLIN HOUSING 172

PROJECTS - DAY HANNA gets out of the taxi and looks up at an enormous grey housing block - the Heizinger building. She approaches the entrance and looks on all the buzzers. Sees a name scrawled on one - Number 14. Zadek. She presses the buzzer. Waits. No answer. A GANG OF KURDISH YOUTHS come out the block and HANNA catches the door and enters.

173 INT. HALL. KATRIN ZADEK'S APARTMENT BLOCK - DAY 173

HANNA knocks at the door of number 14, waits, knocks again, louder. No reply. A door further along opens. Kurdish music pours out. A         KURDISH WOMAN wrapped in shawls emerges pushing a pram. She's         followed by her two other CHILDREN.

HANNA (In German w/ English

SUBTITLES)         Excuse me. I'm looking for Joanna          Zadek's house. Can you help?          The KURDISH WOMAN wont look HANNA in the eye as she passes.          She mutters her response.

KURDISH WOMAN (In Kurdish w/ English

SUBTITLES)         I don't speak German.          HANNA kicks at the door but knows it won't be answered so          doesn't wait.

174 EXT/INT. KATRIN ZADEK'S APARTMENT. EAST BERLIN HOUSING 174

PROJECT - DAY HANNA walks round to the back door of the apartment and approaches the kitchen window. She peers through. On first inspection the kitchen seems undisturbed. Then HANNA sees the framed photograph of JOANNA on the wall. Blood splattered across the glass.

93.         HANNA quickly moves to the door, tries to force it. She looks around, no-one's coming. With a sharp kick she smashes the glass.

175 INT. KATRIN ZADEK'S APARTMENT - DAY 175

HANNA climbs through the broken glass into the kitchen. The air is thick with the buzz of Bluebottle flies. HANNA sees the photograph of JOANNA. With some trepidation she moves round the kitchen table and sees the body of KATRIN ZADEK. The back of KATRIN'S head is blown clean away. The flies have laid their eggs in the bloody mess of her brain that spreads across the cheap lino floor. HANNA steps back and gags. She backs out of the kitchen and into the hall. Turns and goes through into the lounge. The lounge has been over thrown. Cushions ripped, shelving pulled down. HANNA stares at the destruction wrought by         MARISSA'S hunt for information. HANNA turns, walks back down the hall and passes a door to a         tiny second bedroom. She stops and enters. The room had been turned into a home office, there are newspaper clippings relating to JOANNA'S MURDER and photographs of JOANNA herself covering every available wall space. A testament to KATRIN'S unremitting search for the truth behind her daughters murder. HANNA begins to search the room for clues. Anything that will help her understand who she is and where she came from. Then suddenly she hears a quiet familiar voice.

ERIK (V.O.) You won't find anything. HANNA turns in shock.

ERIK Marissa would have been much too careful for that. HANNA stares at him. ERIK HELLER.

ERIK (CONT'D)         Sit down Hanna.

HANNA Are you my father?

ERIK Sit down.

94.

HANNA Are you my father?

ERIK Please.

HANNA Are you? Moment of electric silence between them. ERIK does nothing but she knows the answer is no.

ERIK I was going to tell you. HANNA sinks to the floor. Breathing fast.

HANNA What's wrong with me? ERIK flinches slightly.

ERIK Nothing.

HANNA Where was I born? ERIK knows he has to tell the truth.

ERIK At Galinka.

HANNA What's that?

ERIK It was a secret CIA research programme in rural Poland.

HANNA What kind of research?

ERIK Children. HANNA stares at ERIK.

ERIK (CONT'D)         It was run by Marissa Wiegler. The science came from the old East Germany. The money from the CIA. The intention was to explore whether small genetic changes could be made to embryos... to improve

THEM

95.

HANNA CONT'D)         Improve?          ERIK looks at her. She looks so young, so numb, so lost.

ERIK Reduce capacity for fear. For pity. Increase muscle strength. Heighten senses. Anything that might make a         better soldier. HANNA looks up, stares at him. It's her he's talking about.

HANNA How did you know about it? ERIK's stares right at her.

ERIK I worked for it. She stares at him. He hands her a piece of paper from his pocket.

ERIK (CONT'D)         This is what you were looking for. HANNA reads. It is an invitation to Johanna Zadek to         participate in the Galinka project. A projected date of         arrival at the Galinka Centre. A date - 23rd February 1995. An agreed fee to be paid to Johanna. Five hundred American dollars. An agreement to give up the child and have no legal claim over it. The letter is signed by Erik Heller.

ERIK (CONT'D)         I recruited your mother at an          abortion clinic in May 1994. She was about to terminate an unwanted pregnancy. Some boy at a disco. HANNA looks at the paper in shock.

ERIK (CONT'D)         I had recruited twenty women. She was the last. She was different. Two years later I heard the programme was to be terminated. The research â€œdisposed ofâ€.

HANNA Disposed of?

ERIK I tried to save all of you. But you were the only one I was able to         rescue.

96.         HANNA stands in shock. She reaches to the window of the room to get some air. She is reeling - faint.

ERIK (CONT'D)         Hanna listen to me.

HANNA Keep away from me. ERIK approaches her. With real conviction.

ERIK It worked. You worked.

HANNA You mean I'm a killer?

ERIK No... no.. He makes to touch her. HANNA springs back in violent repulsion.

HANNA Don't touch me.

ERIK We have a new identity for you. A         new life. A new beginning. She stares at him, then pushes past him. ERIK stops, pushes her back but then HANNA grabs a sharp letter opener.

ERIK (CONT'D)         Don't.          She attacks, ERIK pushes her to one side, grabs her. A fight in the apartment. Chaos, photos of Johanna crashing, lamps and bookshelves falling. HANNA murderous, ERIK just defending himself, not willing to hurt her. But then she overpowers him, has a knife to his throat.

HANNA Let me go. He releases her. She goes to the door.

ERIK I tried to prepare you for what your life would be.

HANNA You didn't prepare me for this. And her look is so full of pain that in that moment ERIK knows he has done a terrible wrong. She starts to leave down the fire escape. ERIK calls after her.

97.

ERIK Hanna wait. He looks out to watch her go. It's then ERIK sees the cars coming across the estate scrubland. ERIK turns in panic. And dashes back into the apartment, runs through the destroyed living room, and out through the front door.

176 176

DAY ERIK comes out of the main entrance and runs into full view of the cars, deliberately distracting them from HANNA.

177 INT. MARISSA'S CAR. CONT. 177

MARISSA's car is a about to turn the corner and bump straight into HANNA when suddenly...         MARISSA sees ERIK leaving the front of the apartment block. She speaks to ISAACS.

MARISSA That's him. And the car swerves to follow him. Thus moving unknowingly away from the slight figure of HANNA. HANNA can see the cars in full chase of Erik Heller. He has distracted them.

178 EXT. STREET. EAST BERLIN. 178

HELLER sprints fast across the wasteland. Incredible athleticism. He dives down a side alley, losing his pursuers for a second. Takes out a gun, looking for Marissa. Looking to finish it off. Just as he has done this ISAACS' HENCHMAN approach from the end of the street. HELLER fires in their direction, starts to         run down an alley. He vaults a dividing wall, scratching himself on barbed wire. He sprints round a corner and sees a         doorway ahead of him. He walks towards the doorway.

MARISSA (O.C.) Drop it. MARISSA steps out of the doorway, her gun trained on him. There are men at the end of the alleyway. No escape. HELLER drops his gun. Silence between them. He turns to look her in the eye.

98.

ERIK So go ahead. She stares at him. Wants to make this as painful as she can for him.

MARISSA You know I'll find her.

ERIK Don't under estimate what you created.

MARISSA What we created, together.

179 EXT. ESTATE BUILDINGS - CONTINUOUS 179

HANNA is walking fast across the grim grey estate to a main road.

180 EXT. STREET. EAST BERLIN - CONTINUOUS 180

MARISSA with her gun still at ERIK.

MARISSA Truth is I was always very fond of         you.

181 EXT. ESTATE BUILDINGS - CONTINUOUS 181

CLOSE ON - HANNA continuing to walk away. She hears a single gun shot. Stops dead. Knows what it means. An intense conflict of emotions inside her. Her breathing stops for a moment, her world seems to go silent. Then a car flies by on the main road, almost running her over, and she is woken. She sees a bus stop ahead. On auto- pilot she runs to it, a bus coming, she beckons. It stops and she is on board.

182 EXT. WASTELAND. EAST BERLIN. 182

MARISSA stands over the dead body of ERIK HELLER.

MARISSA Leave him here. And they all walk away leaving him alone in the East Berlin dirt.

99.

183 INT. BUS, EAST BERLIN. 183

HANNA on the bus. Shaking from the shock of his death, bloodied slightly from the fight. The other passengers stare at her as she forces back the tears. HANNA reaches in her pocket for a handkerchief, but only pulls out the letter Erik showed her. The Galinka letter. She sees the address. Galinka, Ostrovska district, Poland. HANNA makes a decision. She is going back to where she was born. She must find out who she is.

184 INT. ESTATE BUILDING. KATRIN ZADEK'S FLAT. 184

MARISSA enters the apartment. And looks at the chaos. ISAACS comes up behind her. HENCHMEN at the door.

ISAACS They had a fight.

MARISSA She must know the truth.

ISAACS Where do you think she's gone?

MARISSA Where would you go? MARISSA turns to ISAACS.

MARISSA (CONT'D)         I'm closing the CIA operation down. Heller is dead, that's all that matters to them. This we do alone.

185 INT. POLISH TRAIN. 185

HANNA's head rests on the backrest of a train-seat as the train crawls through the Polish/German border. Exhausted, many nights without sleep. Hungry but unable to eat. Needing resolution. In the same carriage a Polish woman sleeps alongside her child of two, also sleeping. HANNA looks at the child. The peace of the innocent.

186 EXT. POLISH TRAIN STATION. NIGHT. 186

The train entering a Polish train station. The town is called Ostrovska. Freezing cold. The town is in the North of Poland and it's very poor. Industrial. Bleak. HANNA exits, approaches a station guard.

100.

HANNA I am looking for a train to         Galinka.

GUARD Galinka is a small village. No         trains. You must wait for bus in         the morning.

HANNA Where can I stay? He points. HANNA sees the hotel.

187 INT. POLISH HOTEL. BEDROOM. NIGHT. 187

HANNA enters the tiny, dank hotel room. She looks at the filthy carpet, the grey ceiling. She turns on the tiny TV. Cartoons. Tom and Jerry type stuff. But she doesn't laugh. She flicks channel. Then stands dead still. She is looking at         ERIK HELLER's dead body on the ground. The report depicts him as a dangerous criminal. HANNA stares at the image. The death of the man she spent her life with. Lost forever. HANNA's         face oddly still in the TV flicker. Then she flicks it off. Leaves the room.

188 INT. POLISH HOTEL. FOYER/BAR - NIGHT. 188

HANNA, exhausted, sleepless and starving, comes down the shabby hotel stairs and enters the hotel bar. Grim. Empty room, old carpet, bad smell, dated pop music. Three hard- drinking men stare at her, making her uncomfortable as she goes to the bar. A forty-five year old BUSINESSMAN stands there, drinking.

HANNA Do you have a sandwich?

BARMAN Kitchen is closed. The BUSINESSMAN speaks in German.

BUSINESSMAN Get her something. Poor girl's         hungry. The barman disappears. HANNA looks round, waits.

BUSINESSMAN (CONT'D)         I'm from Leipzig. HANNA flinches at the name. Leipzig.

BUSINESSMAN (CONT'D)         You?

101.

HANNA The same.

BUSINESSMAN Business? He looks at her body. HANNA senses it. Her sandwich arrives. It's grim. She leaves it, walks out.

BUSINESSMAN (CONT'D)         Where are you going?

HANNA I am tired. I need to sleep. She leaves the bar. HANNA walks back up the stairs. BUSINESSMAN follows.

BUSINESSMAN Hello? She walks along the corridor, gets to her room. BUSINESSMAN follows.

BUSINESSMAN (CONT'D)         I was just making nice conversation. Yes? As she enters her room, he puts his foot in the door.

BUSINESSMAN (CONT'D)         Let's talk. Maybe we can do         business. HANNA kicks his foot out of the door. Hard.

BUSINESSMAN (CONT'D)         You don't like talk, huh? He barges into the room and grabs her. Tries to push her on         to the bed. He is strong. His words and tone contrasting violently with his actions.

BUSINESSMAN (CONT'D)         Be nice. Be a nice little dolly. HANNA is thrust on to the bed, but suddenly turns him over her head and smashes him against a cupboard. BUSINESSMAN grabs her hair and throws her on the bed. But now HANNA snaps. She starts to roar. It's like an animal, like nothing we have seen before. She rips at his face, grabs a glass, smashes it and cuts his face with it. Pure animal rage. BUSINESSMAN starts to scream, blood pouring from his eyes. He collapses on the floor. She kicks him, punches him, repeatedly in a grief-fuelled rage until she is spent of her primal fury and falls, panting, to the floor.

102.         When she looks up she sees his mangled bloody body lying next to her. Not quite dead. HANNA suddenly recoils in horror. Shocked by the viciousness of her actions. Tears begins to run down her cheeks as HANNA grabs the man's         wallet, and leaves the room.

189 EXT. POLISH STREET - NIGHT 189

Shaking in shock, HANNAH walks out of the hotel and down the street, in a daze, no idea where she is going. She starts to         run, faster and faster, just running to run out of herself. Finally she stops and is sick. She looks up. A taxi's yellow light blinks in the darkness. She looks at the businessman's         wallet to see how much money is in there. She approaches the taxi.

HANNA I have this much. Can you take me         to Galinka?

190 EXT. POLISH HILL ROAD - NIGHT 190

HANNA is in the taxi as it travels a lonely Polish forest road through undulating snow-covered hills. Cold dawn is         arriving. Grey skies lightening through the windscreen. Tall snowy pines tower above the car. No one else on the road, just a horse drawn cart guiding cows to pasture. It is as if         from a different age. Quiet, solitary. HANNA checks the paper in her pocket. Still there. Blood on her hands from the businessman. A cut in her arm. Carefully, secretly, she wipes it clean. Suddenly the taxi stops.

DRIVER This is as far as the money gets you. HANNA looks out. Middle of nowhere.

HANNA How much further?

DRIVER Twelve miles.

HANNA Please. But no smile from him, nothing. HANNA gets out. Starts to         walk as the taxi turns and drives back the way it came.

103.         She is alone in the forest, freezing, shattered, hungry. Just about dawn. Cold as hell. She hears a car approach. Tries to hail it but it flies past fast. Blows icy air in her face. She continues in the freezing cold - sees the road ahead. It's hilly, winding, she isn't going to make it. Too tired. Too shattered. Time passes. Still she walks. Dead on her feet. Gathering every ounce of energy. Then the sounds of another car. But it too just flies by, ignoring her waves and cries. HANNA almost collapses in frustration. But carries on. Carries on walking. Time passes. Freezing cold. HANNA alone on the road. Can she make it? Then another car. HANNA turns, waves, cries out. And, almost magically, the car slows and stops. The window winds down.

HANNA (CONT'D)         I'm going to Galinka. Can you help me? A woman's voice, German, in German.

WOMAN (V.O.) Yes I can take you there. And as HANNA gets in, she looks at the comforting, smiling face of MARISSA WIEGLER.

191 INT. CAR. POLAND. ROAD TO GALINKA - NIGHT 191

MARISSA starts to drive, HANNA sits in the front with her. HANNA has no idea who she is. MARISSA speaks in perfect German. Calm, soft, comforting.

MARISSA It's a very dull place Galinka. Why would you want to go there?

HANNA I was born there. But I've never really seen it. Why are you going?

MARISSA I have some business to sort out. She looks at her and smiles a sunny, uncomplicated smile.

104.

MARISSA (CONT'D)         It's very lucky we ran into each other, don't you think?

HANNA Yes...

MARISSA You've hurt your arm.

HANNA It's okay. MARISSA hands her some tissue. HANNA bandages the arm.

MARISSA I'm Astrid.

HANNA You're not German. Are you American?

MARISSA That's right. I lived there for many years. I travel a lot. MARISSA smiles at her kindly. HANNA feels safe for the first time in ages. She feels the tears come.

MARISSA (CONT'D)         Oh dear, what's wrong with you?

HANNA Sorry.

MARISSA It's okay. Are you in trouble? HANNA nods. She fights the tears. MARISSA gently holds her hand as she drives. HANNA weeping.

MARISSA (CONT'D)         What sort of trouble?

HANNA (though her tears) I don't know what to do. Nothing is         what I thought it would be. It's... ugly and cruel and I don't know where to go, or... I'm stupid. I         don't know what I expected...          MARISSA secretly, genuinely affected by this. Fights the emotion that has surprised her. Human warmth.

MARISSA Sometimes I feel the same way.

105.         HANNA eyes her, surprised to hear this from a grown up woman. MARISSA puts on some music. Gentle. Bach maybe.

HANNA I like music.

MARISSA Sleep why don't you? You look very tired. It will take half an hour on         this road. HANNA nods. She begins to drift off, so long since she has slept. Her eyes fall shut and her head rests against the window. She is asleep. Vulnerable.

192 EXT. RURAL ROAD - DAWN 192

Soft dawn light as MARISSA drives on a narrow rural road.

193 INT. CAR - DAWN 193

MARISSA looks at the sleeping HANNA. MARISSA represses her gathering emotion. HANNA suddenly looking so young as she sleeps the sleep of the innocent. The rush of emotion shocks her - she is watching HANNA, not the road - and she veers off, nearly crashing the car, narrowly avoiding a tree. She puts her foot sharply on the brake. She's wearing the same GREEN SHOES as she wore at Wilhelm's House. HANNA is jolted awake.

HANNA Where are we? MARISSA calms herself instantly.

MARISSA Nearly there. HANNA doesn't see MARISSA'S SHOES.

194 EXT. GALINKA 194

MARISSA's car slows as it enters a tiny deserted hamlet.

MARISSA (V.O.) This is it.

195 INT. MARISSA'S CAR. 195

HANNA looks around. There is not much to Galinka. She is         confused.

106.

HANNA It's so small.

MARISSA Yes. Just a few cottages. And the old bunker. HANNA chooses not to ask any more questions.

HANNA Thank you for the ride. You're very kind.

MARISSA I wish there was more I could do         for you. MARISSA looks kindly at HANNA who is confused by the intimacy. MARISSA reaches into the glove compartment and retrieves a torch which she hands to HANNA.

MARISSA (CONT'D)         Here, take this. HANNA switches the torch on and off, thinking.

MARISSA (CONT'D)         I hope you find what you're looking for.

HANNA Thank you. She gets out and shuts the door behind her.

196 EXT. GALINKA. CONT. 196

HANNA looks around at the grey desolation, rural poverty, the ends of the earth. In the car MARISSA stares at her, then drives off. HANNA walks through the trees along a track. Overgrown, not used for many years. She reaches a hidden entrance off the track. By the entrance there is an old battered sign. GALINKA. HANNA looks at the old iron gate. Rusted, locked. It has not been opened in a         long time. She stares at the sign, tries the gate - yes, locked. Then she climbs the gate. She nearly tears her clothes on the spikes at the top of the gate, then leaps over and, exhausted, four days without real sleep, begins to walk up         the narrow tree-lined driveway.

107.

197 EXT. GALINKA BUNKER - CONTINUOUS 197

HANNA approaches the gaping mouth of an underground bunker. She stops, looks down at the torch in her hand, switches it         on and walks into the darkness.

198 INT. TUNNELS. GALINKA - CONTINUOUS 198

With only the torch light to see by HANNA treads warily deeper into the tunnels as, behind her, the small aperture of         daylight recedes slowly to nothing. The tunnels seem to stretch on for miles ahead of her. HANNA reaches a junction where four tunnels meet. She shines her torch down each tunnel, trying to decide which way to go. She stops when she sees, a little way down one of the tunnels, a child's forgotten shoe. HANNA steps forward and shines her torch down at the tiny red shoe, its buckle rusted. She walks on into the dark. HANNA finds a door which she pushes at. The door is stiff, but HANNA uses her full weight and soon she's made enough of         a gap to squeeze through.

199 INT. NURSERY. GALINKA - CONTINUOUS 199

At first HANNA has difficulty making out where she is, but dotted here and there are parts of an old nursery. The walls are painted with a blue sky, clouds and the figures of         children holding hands. She begins to remember as, from a distant place, she hears the sound of children laughing. She shines her torch in the direction of the laughter and catches a glimpse of a child, dressed in a party frock and hat, playing hide and seek. She shines her torch the other way, and there's another, then a         third and a fourth. For a moment the room seems to be filled with laughing children. Then, in an instant, they're gone again and silence returns. HANNA, lit only be the reflected light of her torch, knows she has been here before. She walks on through the tunnels.

200 INT. DORMITORY. GALINKA - CONTINUOUS 200

HANNA enters a long hall which was once the children's         dormitory.

108.         At one end is a steep pile of metal bed frames. From a distant place in her memory HANNA begins to hear the sound of children singing.

CHILDREN Happy Birthday to you, Happy Birthday to you... From the far end of the dormitory come a procession of         CHILDREN, the first of whom is carrying a large birthday cake lit with birthday candles. The children's faces glow eerily in the candle light. They're looking at HANNA and walking straight towards her as they sing.

CHILDREN (CONT'D)         Happy Biirrrrthday, dear...          The CHILDREN arrive at HANNA lifting the cake towards her.

CHILDREN (CONT'D)         ... Hanna. Happy Birthday to you! HANNA leans forward, takes a deep breath and blows. The children disappear with the flames of the candles. The sound of a woman's approaching footsteps echo through the tunnel. HANNA swings her torch beam in the direction of the footsteps. She freezes as she sees a pair of GREEN SHOES walking towards her. The same shoes as in Wilhelm's house.

MARISSA WIEGLER. HANNA raises her torch beam to see the face of the woman from the car.

HANNA You're Marissa Wiegler. HANNA starts to shake. MARISSA has her gun pointing at HANNA but her expression is         the same sunny, uncomplicated smile as earlier. Dead silence. HANNA breathing fast. MARISSA speaks in English.

MARISSA Don't worry sweetie. I don't want to hurt you. MARISSA'S tone has turned into a twisted interpretation of         maternal care. HANNA does not move. Like a wild animal cornered.

109.

MARISSA (CONT'D)         I could have killed you already when you were asleep in the car. HANNA'S still shaking. HANNA now sees ISAACS and his HENCHMEN, three of them, all with hunting rifles. All ready to shoot her should she attack or run. They are some distance away, not coming any closer.

MARISSA (CONT'D)         Did Erik tell you about this place?

HANNA Where are the other children? She looks at MARISSA, who waits, then answers quietly.

MARISSA Sleeping. They're all sleeping.

HANNA I don't believe you.

MARISSA I can protect you, Hanna. Make sure you walk out of here and keep walking. Grow up and grow old in         safety and security. No one need know a thing. But you have to trust me. You can't talk about this with anyone. It's what we call â€œclassified.â€ If you tell anyone, it'll be dangerous for both of us. HANNA looks at her, remembering what ERIK told her, trying hard not to succumb.

HANNA You killed my mother.

MARISSA You're mother didn't want you, sweetie. I saved you. HANNA just stares, not believing her.

MARISSA (CONT'D)         I'm the only person left who understands who you are. The only one who cares. MARISSA holds out a hand to HANNA, for HANNA to take, a         motherly gesture...

MARISSA (CONT'D)         I practically am your mother.

110.         HANNA'S stomach turns in horror. She switches off her torch and runs into the shadows. ISAACS raises his gun fires.

201 INT. TUNNELS. GALINKA - CONTINUOUS 201

HANNA running through the darkness. Behind her ISAACS and the HENCHMEN come after her. ISAACS carries a large heavy torch, as does one of the HENCHMEN. The other HENCHMEN all have night vision on their rifles. HANNA crouches down, she sniffs the air, can smell them coming. A HENCHMAN treads carefully down the tunnel. We see his point of view through his night vision sight, just the dark tunnel stretching on. Like a ghost HANNA'S face appears up close, her eyes a pearly white. She slams the gun back in the HENCHMAN'S face. Still in night vision we see the fight, quick and hard. The flash of a single bullet illuminates his death. Silence once more. HANNA now has the first HENCHMAN'S rifle. From around the corner into the next tunnel she hears the sound of feet on dirt. She presses herself against the tunnel, waits listening, hears the feet again and in one movement raises the rifle and spins round the corner. Through her night vision sight she sees a deer, scared eyes staring back at her. She releases her grip on the trigger and the deer scampers into the darkness.

202 INT. LABORATORY. GALINKA - CONTINUOUS 202

HANNA comes into the old laboratory. Through her night vision sights we see the white tiles and smashed equipment. She senses someone coming after her and ducks behind a lab bench. A HENCHMAN enters the lab carrying a hand gun and a small torch. His footsteps make a crunching sound as he steps through the broken glass that litters the floor. HANNA rises from her hiding place and stands straight into the torch light.

111.         She fires but is off target and only catches the HENCHMAN'S          left arm. He drops his torch which slides across the floor. HANNA comes round the lab bench to where the HENCHMAN should be lying but he's gone. There's a trail of blood which she follows to a metal cabinet. She stops at the cabinet and fires three shots into its flimsy doors. The dead HENCHMAN slides out from the cabinet. HANNA takes the dead man's hand gun and goes to retrieve the torch. She switches the torch off.

203 INT. TUNNELS. GALINKA. 203

ISAACS, unnerved, presses himself against the wall of the tunnel. He feels something at his legs. Points his torch to         find the deer pulling at his trouser leg. He shoots it. Then runs further down into the tunnel. Alerted by the sound of ISAACS' shot HANNA starts to pursue her prey.

204 INT. DORMITORY. GALINKA. 204

ISAACS is back in the dormitory. With torch in hand he         searches under the beds. Behind him he hears HANNA enter. He         switches off his torch and crawls under a bed. HANNA walks slowly between the beds. Under the bed ISAACS is         preparing to fire, now watching her feet. Suddenly the bed he's under is lifted straight up in the air and off him - HANNA has summoned enormous strength and is         clutching the end of the bed. He fires, hits nothing and she lets go - the bed comes crashing down on him again. His torch rolls away. His arms are trapped under the bed, he's unable to move. With all his might ISAACS pushes at the bed and lifts it off himself. They fight. HANNA picks up the torch and slams the torch across his temple. She grabs him by the hair and smashes his head repeatedly into the floor - BAM - BAM - BAM - BAM - BAM. Silence - he's dead.

112.         HANNA sits back on the bed and looks at her bloodied hands - looks down at what she's done. Shocked by her own violence she begins to cry hot tears of bewilderment. She gets up and runs from the dormitory.

205 INT/EXT. TUNNELS/TUNNEL MOUTH. GALINKA - CONTINUOUS 205

HANNA runs back through the tunnels.

HANNA No more. No more. Tears are streaming down her face as she reaches sight of the tunnel mouth and the daylight beyond. Standing in silhouette is MARISSA. HANNA slows her pace and stops when she can see the white of MARISSA'S eyes and the finger on MARISSA'S         trigger. MARISSA raises the gun and aims at HANNA - but HANNA comes forward again, walking calmly towards her. She stops and drops her gun to the ground.

HANNA (CONT'D)         Everything I see is nothing I want. MARISSA looks at HANNA, her gentle, childlike countenance. She smiles.

MARISSA Let me take care of you?

HANNA No. I don't want that. HANNA turns her back on MARISSA and starts to walks in the opposite direction. MARISSA watches her walk away. HANNA walks waiting for the shot to come.

MARISSA Hanna. HANNA spins, fires directly at CAMERA.

CUT TO BLACK.

206 EXT. FOREST. NORTH SWEDEN. 206

FADE UP: The sun spreads its golden fingers through the trees catching the early morning dew.

113.         A wide shot of the HANNA'S cabin, wisps of smoke rise from it's chimney. HANNA steps out of the cabin. She's back wearing her furs again. In her hands she carries a cup of hot milk and a small wooden bowl. In VOICE-OVER we hear HANNA reading from her beloved Encyclopaedia.

HANNA (V.O.) The Earth is the third planet from the Sun, and the fifth-largest of         the eight planets in the Solar System. HANNA sits down on a tree trunk outside the cabin and pours some milk into the bowl, then drinks a little for herself.

HANNA (V.O.) (CONT'D)         Home to millions of species, including humans, Earth is the only place in the universe where life is         known to exist. She raises her head and makes a small clicking sound. Her friend, the snow fox, appears from the trees. The fox now has a small family of cubs. HANNA watches as the cubs approach the milk and begin to         drink.

HANNA (V.O.) (CONT'D)         The planet formed over four and a          half billion years ago, and life appeared on its surface within a         billion years. HANNA sits back and feels the sunlight on her face. Above her the trees are beginning to leaf.

HANNA (V.O.) (CONT'D)         It is expected to continue supporting life for another one and a half billion years, after which the rising luminosity of the Sun will eliminate it all. HANNA surveys her beautiful world.

THE END