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)
‘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 “joiner.”
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 “business as usual” 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 “DNA.”
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, “Two of these...”
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 - “SGM + test results.
Interfering sequence present. Abnormal. B sample confirms
RESULT
HANNA stares at the words. “Interfering sequence present.
Abnormal.” HANNA looks at the photo of herself and those
words.
HANNA
ABNORMAL
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:
‘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 “Grimm's Fairytales”?
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: ‘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: “Mission accomplished”
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 ‘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 ‘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
“caretaker” 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. “An interfering
sequence within the DNA” , “intervention to the mother's
uterus during pregnancy.”
HANNA stands in shock. She reads again. “Intervention to the
mother's uterus”
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 “DNA Interfering Sequence”.
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 “disposed of”.
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
“classified.” 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
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