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Hanna Movie Script

Writer(s) : Seth Lochead

Genres : Action, Crime, Mystery

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                                      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