FADE IN: Middle - aged FACES looking up, in quiet shock, listening. A WOMAN'S VOICE -LRB- upper - class English accent. -RRB-. the world was stunned today by the death of Diego Ricardo, the youngest person on the planet.

INT. CAFE - DAY MORE SAD FACES, and now we see we're in a crowded cafe. Standing room only. Everyone staring upward, O.S., listening. WOMAN'S VOICE Baby Diego was killed in a bar fight in Buenos Aires after refusing to sign an autograph. A man enters he coffee shop, making his way through the transfixed crowd : THEO FARON -LRB- 55, American -RRB-, wearing a worn suit and tie, glasses. Theo is a veteran of hopelessness. He gave up before the world did. Theo wedges his way through the packed bodies to the counter. He orders : THEO Coffee. Black. Next to him, a 50 - year - old woman stares upward, cradling a small dog, a tear rolling down her face. Theo follows her gaze : an old plasma TV is mounted above the counter. A REPORTER delivering the breaking news. Theo watches with little interest. WOMAN REPORTER -LRB- TV. -RRB- He struggled his entire life with the celebrity status thrust upon him as the world's youngest person. ON TV : The face of `` Baby'' DIEGO -LRB- 18 -RRB-, the most famous boy in the world, a fair - haired teenager who never lacked anything, smiling a practiced smile. WOMAN REPORTER -LRB- CONT'D. -RRB- Witnesses say Diego spat in the face of a fan who asked for an autograph. The incident escalated into the brawl that ended with Diego's demise. The fan was trampled to death by the angry crowd shortly thereafter. Theo's coffee arrives. He lays exact change on the counter and makes his way back toward the door, weaving through the crowd, past people crying. WOMAN REPORTER -LRB- TV ; CONT'D. -RRB- -LRB- solemnly. -RRB- Diego Ricardo, the youngest person on earth, was 18 years, 4 months, 2 days, 16 hours and 8 minutes old.

EXT. STREET - DAY Theo walks outside with his coffee. All around him, people have stopped, their faces turned upward, transfixed by the news. Atop some buildings, old billboard style LED screens display the coverage. Some of the pixels are burnt out. On a nearby wall, a mural of the country's current leader, known only as the `` Warden.'' A stoic visage with steely, watchful eyes. SUPER : LONDON, NOVEMBER 17, 2026 A.D. Theo continues past dusty storefronts. Homeless huddle in doorways, bundled in threadbare blankets. Pedestrians hurry by, on their Monday morning rush to work. Theo sets his coffee cup atop a post box. A few cars roll by. Mostly `` older'' vehicles - 2008's, a couple of 18's. Some motorized rickshaws, a double - decker bus with metal mesh on the windows. Bicycles. He takes a flask from his pocket, unscrews the top, about to pour into his coffee, when behind him - BOOM! A BOMB EXPLODES inside the cafe, blowing out the windows, shaking the ground. Theo's knocked off his feet. Smoke pours through the shattered facade of the cafe. The counter where Theo stood moments before, simply gone. WAILS of pain as people stagger out of the blackened wreckage, bleeding, covered in debris. A woman splattered in blood, holding her own severed hand. Theo gets up, shell - shocked, hands pressed against his ears. SHRIEKING ALARMS from nearby buildings blending with the `` Eeeeeeeee'' of his ringing ears. BLACK SILENCE now, except for the `` Eeeeeeeee'' of Theo's ringing ears. Title : `` CHILDREN OF MEN''

EXT./INT. MINISTRY OF ENERGY BUILDING - LOBBY - DAY The LOUD RUMBLE of steel wheels on a stone floor, aged MAINTENANCE WORKER rolls a heavy bin out the front doors of the lobby. He passes Theo who is on the other side of the open doors. Theo, looking lost, disheveled, walks in and approaches the SECURITY GUARD. He displays his ID, looks into a retinal scanner and moves toward the metal detector. Absently, he begins to empty his pockets - then stops, pressing his palms against his ringing ears, staring off with a lost expression. A beat. He notices the guard looking at him expectantly. He then continues through the metal detector.

INT. MINISTRY OF ENERGY BUILDING - SECOND FLOOR - DAY Theo walks into a vast work space. There are two hundred identical cubicles on the floor, but only half are occupied. visible consequence of downsizing. A painting of the Warden dominates the front wall. Theo heads down an aisle, passing SEVERAL EMPLOYEES who have windows open on their computer screens, watching reports of Baby Diego's death. We catch a bit of the reports as he walks by. COMPUTER MONITOR A NEWS REPORTER. TV REPORTER Diego resisted being identified as a Zed, the label given to those of the final generation. He felt the term Zed had become primarily associated with the youthful gangs who have formed their own nihilistic and violent societies. But clearly' as youngest of the young. Theo passes another cubicle. 2ND REPORTER his tragic passing now makes Vladimir Raskovich the world's youngest human being, at 18 years, 4 months, 2 days. Vladimir was born in small town outside of Kazan, Russia. Theo arrives at his cubicle, sits down at his desk. It's devoid of any personal touches, except a little plastic palm tree stuck on his computer monitor. Etched into the base of the palm tree are are the words `` Pair A Dice.'' He looks up and watches SHIRLEY, a heavyset woman across the aisle, sobbing softly into a Kleenex. He turns away, once again presses his hands against his ringing ears and. PETER -LRB- O.S. -RRB- Broken up over Baby Diego, eh, Theo? PETER has wheeled a cart up to Theo's desk. Although he has an office boy's job, Peter is at least forty. Theo stares, considers setting Peter straight but. THEO The only thing on my mind, Peter. Peter places a few file folders on Theo's desk, then moves on with his cart. Theo gets up from his chair.

INT. MR. GRIFFITHS'S OFFICE - DAY Bare walls. Empty shelves. The fluorescent overhead flickers. The office of a middle manager. Mr. Griffiths -LRB- 40's -RRB- is watching coverage of Baby Diego on his computer screen. He looks up, sees Theo standing in his doorway. GRIFFITHS Faron. THEO Mr. Griffiths. I seem to be more affected by Baby Diego's death than I realized. Sir, if you would n't mind, I'd like to finish the day's work at home. Griffiths considers the request.

INT. OFFICE CORRIDOR - DAY Heading down the hallway, Theo glances at the elevators, Then turns a corner and stops in - front of a locked door. He puts his eye up to a retinal scanner. The laser beam shines across his pupil. A door clicks open.

INT. SAFE ROOM - DAY A wall of locked drawers, like safe deposit boxes. Block letters spell out : AUTHORIZED PERSONNEL ONLY. Theo slips a small key into one of the boxes and slides out a long metal tray containing stacks of coupons. On the side of the tray, a digital readout : 1,028. Theo takes out five coupons, and the readout instantly reflects the change : 1,023. Tearing a corner from a piece of paper, Theo fashions three tiny spitballs and, with a quick glance over his shoulder, slips them between the remaining coupons. The readout turns back to 1,028. Satisfied, Theo slips the pilfered coupons into his pocket.

EXT. STREET - WOOLWICH - DAY Old red - brick apartments interspersed with a few empty shops. A state poster on a hotel wall reads : `` ENGLISH IS OUR LANGUAGE.'' Theo crosses the empty street, heading for The Snake & The Flute, an old - school corner pub. A bicycle chained to a lamp post out front. RUDY -LRB- O.S. -RRB- A reliable source says the Warden'll be allowin' selective wireless service again, end of this year.

INT. THE SNAKE AND THE FLUTE - DAY From a canvas backpack, RUDY pulls out a cell phone and places it on a table next to two dented tins of tuna. WIDER : Theo in a booth with Rudy -LRB- 30's -RRB-, who has the qualities of a street hustler. Beers in front of them. Theo stares at the cell phone a moment, then picks it up and examines it. RUDY Get the internet back up as well. Theo twirls the phone in his hand. THEO -LRB- ironically. -RRB- And he'll hold free elections too. and places it back on the table THEO -LRB- CONT'D. -RRB- I need something for a woman. Something nice. RUDY -LRB- raises an eyebrow. -RRB- A new development? Sure, I got something for ya, Theo. Rudy lifts a black teddy from his bag. RUDY -LRB- CONT'D. -RRB- Keep you both warm on a cold night, eh? But Theo has noticed something else in Rudy's backpack. Theo pulls out a red scarf. THEO How much? RUDY You got a good eye, my friend. 100 % Chinese silk - THEO How much? RUDY Ai n't made nothing of that quality in fifteen years. Vintage stock, that is. - THEO -LRB- overlapping. -RRB- Rudy, I got a train to catch in twenty minutes. RUDY I'll let it go for fifty. Theo slides a packet of his purloined petrol coupons across the table. THEO -LRB- off Rudy's look. -RRB- Two months petrol rations. For the scarf. and the tuna. Rudy reaches for the packet of coupons - but Theo puts his hand on them. THEO -LRB- CONT'D. -RRB- - And I need you to place a bet for me. With Freddie. RUDY I ca n't do that. I do n't want Freddie up my arse. A beat, then Theo lets Rudy retrieve the coupons. RUDY -LRB- CONT'D. -RRB- Fuck, you do n't want Freddie up your arse either. -LRB- holds up coupons. -RRB- If you got access to these, use'em to pay'em off, instead of getting in even deeper. And from O.S. VOICE -LRB- O.S. -RRB- ` Tis his wrath we are feeling! Theo turns : A street - corner evangelist stands on a chair. STREET-CORNER EVANGELIST -LRB- ranting. -RRB- ` Tis your derogate ways that keeps this plague upon us! You disappoint our Lord! My wounds will make amends for your reprobate - And he opens his shirt, revealing strands of barbed wire wrapped around his waist, pin - pricks of blood dotting his skin. CLOSE ON A FLAT - SCREEN MONITOR A state propaganda loop of a quick montage of cities in turmoil. A mushroom cloud over Beijing. The battered Eiffel Tower surrounded by ruins. Tanks in the streets at Washington Square. Militias on the march in Oslo. Riots in the streets of Rio. Only one Petronas Tower still standing in Kuala Lumpur. The montage ends with an image of Big Ben, still ticking, its famous chimes BOOMING on the soundtrack. Title : `` OTHER - COUNTRIES FALTER. ENGLAND SHOULDERS ON.'' Then, superimposed over this, the ghostly, domineering face of the Warden.

INT. TRAIN - DAY Theo sitting next to the window of a passenger train, watching the flat screen mounted on the back of the seat in front of him. His eyes begin to close as the soundtrack's PATRIOTIC MUSIC swells. Then. POCK! POCK! Rocks smack against the side of the train, jolting Theo out of his sleepy moment. He looks out. A GANG is hurling rocks and bottles. Some of the faces are covered in war paint. They're mostly `` ZEDS'' - 20 - year - olds, members of the final generation. The gang disappears behind a billboard : `` IS YOUR NEIGHBOR A TERRORIST? REPORT ALL SUSPICIOUS ACTIVITY.'' Another billboard flashes by : `` AVOIDING FERTILITY TESTS IS A CRIME!'' Graffiti on a wall : `` LAST ONE TO DIE PLEASE TURN OUT THE LIGHT.''

EXT. TRAIN STATION - AFTERNOON Stepping off the train, Theo passes police officers patrolling with German Shepherds. A pleasant female VOICE on a taped loop announces : `` Transit Papers must be current and verifiable. Travel to Zone One requires a valid Zone One pass. Travel to Zone Two requires.'' Theo joins a queue to exit the station. Up ahead, passengers swipe ID cards and push through turnstiles. Off to one side, police stand guard over detained TRAVELERS -LRB- early 30's -RRB-, some sitting on their luggage. Tears roll down the face of one woman as she WHINES to the others in Dutch. Theo glances at the woman, then looks away. When he reaches the front of the line, he pulls out his ID card - fastened to a self - coiling chain - and swipes through the turnstile.

EXT. TRAIN STATION - PARKING LOT - DAY Theo spots an OLDER MAN across the way and walks toward him, waving. The older man's eyes light up as he waves - JASPER Hey, amigo! JASPER PALMER, a teenager in the 60's, has refused to let go of his youth. Thick glasses, wispy beard, long hair, he is probably the coolest 75 - year - old on the planet. The two old friends greet each other with a warm embrace. JASPER -LRB- CONT'D. -RRB- Good to see you. THEO You too, Jasper.

EXT. RURAL ROAD - DUSK Abandoned fields, ruined farms and barns. A pair of headlights cut through the darkening sky, illuminating machinery rusting on the fallow land. The car is a Volvo sedan, circa 2009, not mint but still reliable. JASPER -LRB- O.S. -RRB- How many were killed? THEO -LRB- O.S. -RRB- Fuck knows, the place was packed.

INT. VOLVO - SAME Theo's in the passenger seat, Jasper driving. JASPER Who do you think did it? THEO -LRB- shrugs. -RRB- Pick a number. JASPER They'll blame the usual bunch. Muslims, the Five Fishes, the IRA. but I'm sure the Warden is behind some of these bombings. It would n't be the first time. THEO All I know is my ears are still ringing. JASPER I'm glad you do n't take cream or sugar, amigo. Losing you and Baby Diego on the same day would be too much to bear. THEO Baby Diego was a wanker. JASPER Very true, but he was the youngest wanker on earth.

EXT. RURAL ROAD - SAME The Volvo sailing along the country road. A cyclone fence on one side cordons off a vast stretch of land - one of the Evacuated Zones. Behind the Volvo, a black bus escorted by Saracen tanks bears down on them.

INT. VOLVO - SAME Jasper slows, hugging the left side of the road to allow the tanks and bus to pass. Theo watches the bus overtake them. JASPER -LRB- re : the bus. -RRB- Fewgees - taking them to Bexhill. You see buses all the time now. The overcrowded bus has steel mesh over the windows, the driver separated from his passengers by a metal cage. A glimpse of a few arms handcuffed to the overhead railing. Sad faces pressed to the steel mesh, looking out. JASPER -LRB- CONT'D. -RRB- Poor devils. Things must be awfully grim in Europe to want to come here and be hunted down like foxes. Through the windshield, the bus speeds toward the horizon, passing a road sign : BEXHILL 22 miles. The Volvo slows down, turns off the road into a heavily wooded area.

EXT. ROAD - DUSK Jasper and Theo get out, Jasper looking both ways to make sure the coast is clear. They walk toward some bushes. Jasper lifts one up - it's not rooted. JASPER I was surprised you called. We were n't expecting to see you for a few weeks. THEO Yeah, they gave me the day off. They remove the rest of the fake bushes - revealing a dirt road. Jasper gets back in behind the wheel and drives through. Theo replaces the fake bushes and gets in the car.

INT JASPER'S CAR - SAME The car drives into the woods, up the small dirt trail. THEO -LRB- CONT'D. -RRB- How's Sandra doing : JASPER She's lovely. -LRB- beat. -RRB- She's had better days, though. Back in her own world at the moment. Through the windshield, in a clearing through the trees. JASPER -LRB- CONT'D. -RRB- Last week I found her down by the creek. Mud all over her nightgown. Poor thing, shivering her death of cold. a low - tech, jury - rigged eco - house, complete with primitive solar panels and a grass roof. JASPER -LRB- CONT'D. -RRB- When she's more her normal self, she cries, started talking about Quietus. -LRB- off Theo's look. -RRB- Thinks she's a burden. I tell her be patient, the curtain will lift. CLOSE ON SANDRA She sits in a chair, staring ahead. The light is gone from her eyes, her face a blank mask.

INT. JASPER'S HOUSE - NIGHT Theo and Jasper are standing in front of her. JASPER Hi, Sweetie. Jasper kisses her. Sandra does not react. JASPER -LRB- CONT'D. -RRB- Theo's here. Remember? Your Rebel with a Lost Cause? He came early this month. THEO Hi, Sandra. I brought you something. In her hand he carefully places the brightly colored scarf we saw earlier. No response from Sandra. She's still staring at something O.S. THEO -LRB- CONT'D. -RRB- -LRB- re : the scarf. -RRB- I think you like red, do n't you? Sandra just holds the scarf. Says nothing. JASPER It's her favorite color. A beat, then. JASPER -LRB- CONT'D. -RRB- She came out of it for a moment last week. Grabbed my hand and apologized to me for writing that article. She suffers unspeakable hell inside the Warden's prisons - a hell she ca n't leave behind, and she apologize to me. -LRB- to Sandra, tenderly. -RRB- Every line you wrote came true, my love. Theo follows Sandra's eyes. She's staring at a wall of photographs. The photos evoke a warm and keen observation of life's little moments, while also documenting Jasper's and Sandra's hippy past : Children with grinning painted faces at Woodstock ; Jasper carrying a peace banner at the Hyde Park anti - Iraq War rally in' 03 ; a pair of young girls at a piano in the middle of a field. There are few shots of Sandra, and when there are, she always has a camera in hand. Among the photos, a long - haired, defiant - looking Theo, arm - in - arm with a striking YOUNG WOMAN with the same attitude.

INT. JASPER'S GREENHOUSE - NIGHT It's a makeshift affair. Grow lights coax marijuana plants into bloom. Electronic MUSIC with an infectious, driving beat plays softly on a vintage stereo. Nearby, a bank of video monitors display infrared images of Jasper's property. Jasper is rolling a monster joint ; Theo sips from his flask. JASPER Business has been slow. Daddy government hands out pills and anti - depressants as part of your ration. Jasper holds up the joint for emphasis. JASPER -LRB- CONT'D. -RRB- and the Buddha is still illegal! Most of my weed now goes to Bexhill bloke buys it from me, smuggles it inside. Guess what he does? His real job? THEO Immigration cop? JASPER Bravo! One of the many perks of having a refugee camp in the neighborhood. Jasper fires up the joint. Theo toasts Jasper with his flask. Theo drinks deeply. JASPER -LRB- CONT'D. -RRB- -LRB- telling a joke. -RRB-. -RRB- So, the Human Project is having this big dinner. All the brightest minds - THEO -LRB- scoffing. -RRB- C'mon, Jasper, the Human Project does n't exist - JASPER I'm trying to tell a joke, Theo. THEO ah. Right. Okay. JASPER Anyway, there's this big dinner. Scientists and sages, all gathered together. They're throwing around theories, asking the ultimate question : why have n't there been any babies born in 18 years? -LRB- beat. -RRB- The bioethicist blames genetic experiments. The environmentalist argues it's pollution and pesticides. Minister says God is pissed, right? Same old, same old. -LRB- beat. -RRB- Then they look at this Englishman who has n't said a word, just keeps tucking into his entree. So they ask him, `` What do you think? Why do n't people have babies anymore?'' The Englishman looks at them, he's chewing on a wing. -LRB- thick English accent. -RRB- `` I have n't a clue,'' he says, `` but this stork is quite tasty, eh?'' Jasper playfully hits Theo. LAUGHS. JASPER -LRB- CONT'D. -RRB- Haaa! Get it? He's eating a stork! THEO -LRB- flat. -RRB- Stork. That's funny. Jasper takes another hit. JASPER No, I suppose not. We made a bollocks of the whole thing, did n't we? I would have hoped we might've held it together a little better. THEO Do n't take it so personally, Jasper. JASPER In sixty years, humanity will be gone. THEO Ninety - eight percent of the species that roamed the earth are extinct. What makes us so goddamn special? Just because we left behind a few piles of rock? JASPER A few really brilliant piles of rock. And some books. really awesome books. And some smashing symphonies. THEO True, but maybe the planet's ready for a little peace and quiet. Jasper turns to the old hi - fi system behind him. JASPER But not quiet yet. He cranks the volume, music blasting from the speakers.

EXT. JASPER'S HOME - NIGHT WIDE on Jasper's home in the woods. Light spilling from the greenhouse. The MUSIC continuing over. SLOW FADE OUT. Now we become aware of another sound. The SOUND OF THE SURF. We slowly fade in on.

EXT. BEACH - DAY A beautiful sunlit beach. Waves crashing in the b.g., palm trees, a gentle breeze. A female form approaches wearing a sarong. She's carrying a tray with one perfectly designed tropical drink centered on it. The sun is behind her, partly silhouetting her. When sh - reaches us, she smiles, impossibly beautiful, youthful, the sun glistening behind her long hair. REVERSE : Theo lying on the sand, relaxing, looks up. He likes what he sees, smiles back. She begins to speak. GIRL BBC World Report. The time is now seven hundred Greenwich mean time. Theo opens his eyes but.

INT. THEO'S APARTMENT - MORNING now he's on his bed, in his apartment. He blinks, looks over at the TV as the ANCHORWOMAN recites the morning news. ANCHORWOMAN A dirty bomb has exploded in Copenhagen. CLICK. A light comes on, reflected in the screen of the TV. ANCHORWOMAN -LRB- CONT'D. -RRB- And in the United States, the siege of Philadelphia is in its two hundred and thirtieth day. Theo gets up, shakes out the cobwebs. The news program cuts to a commercial. Soothing music, a smiling older couple. walking through a field of daises. SOOTHING VOICE Quietus. It's your choice. It's your decision. It's your final destination. IMAGES of elderly people greeted by smiling Quietus attendants dressed in white. SOOTHING VOICE -LRB- CONT'D. -RRB- Trained, compassionate professionals tend to your every need as you make the transition within luxurious and soothing surroundings. Quietus. You deserve it. CLICK. Theo shuts off the TV.

EXT. STARBUCKS - DAY Dressed for work, Theo walks out of Starbucks with his coffee in hand. A bit of visual deja vu as he stops at a mailbox to pour some whisky from his flask into his cup. He takes a sip and heads down the street

EXT. STREET - DAY Theo passes a row of apartment buildings. As we move with him, the multicolored facades behind him casually give way to a wall of riot shields. He seems oblivious as he app - roaches the intersection, where. Police Officers butted next to each other block off the cross street. Theo barely glances at the human barricade, when a Police Dog lunges at him, SNARLING. Theo jumps back, dropping his coffee, spilling it everywhere - THEO Jesus! He now notices the activity on the street beyond the barricade : Bewildered faces of frightened NORTH AFRICAN MEN and WOMEN, some with scarves around their heads, being lead out of their homes by uniformed officers. a school bus, painted over black, waiting for them in front of the building. Then, someone YELLING. Theo looks up to see objects, personal possessions being thrown out of an upper - floor window. A jewelry box smashes onto the street. A policeman trying to keep order. POLICE OFFICER Keep moving! Keep moving! Theo moves on.

INT. MINISTRY OF ENERGY BUILDING - SECOND FLOOR - DAY Theo at his desk, bored, killing time, staring impassively at the baby figurines and other trappings on Shirley's monitor. Peter approaches, places a thick folder on Theo's desk. THEO What's this? PETER Forms 22 B and C need your authorization. You might want to read them first. Theo looks up at Peter. Then, without saying a word, he opens the folder, picks up a stamp and stamps the various forms, barely glancing at the pages. He then signs them, closes the folder and hands it back to Peter. THEO Anything else? A beat. Then Peter turns away. As Peter heads out into the hallway, TWO MEN pass him on their way in. One is a head taller and a foot wider than Theo, dressed in a baggy maroon jogging suit. The other is smaller, slickly dressed with gold inlays in his teeth. Theo quickly shrinks down in his chair and slips under his desk, huddling there, listening to the SOUND of approaching footsteps. The footsteps stop near his desk. SMALLER MAN Pardon me, darlin'. We've come to visit our good friend, Mr. Faron. SHIRLEY Well, that's Theo's cubicle there. The big man moves dangerously close to Theo's desk. SMALLER MAN Do n't tell me ` e's gone fishing on us? Shirley giggles. SHIRLEY You might try the library on the third floor, though I've never seen him there. SMALLER MAN Thank you, turtle dove. Theo listens to the SOUND of RETREATING FOOTSTEPS. After a moment, he crawls out from under his desk. He straightens his jacket and heads for the door.

EXT. MINISTRY OF ENERGY BUILDING - ALLEY - DAY Theo bangs out a side door and hurries down the alley.

EXT. STREET - DAY Quickly putting as much distance between the office and himself as he can. He rounds a corner, slows down, trying to catch his breath. Up ahead, a MOTHER -LRB- 30's -RRB- is pushing a pram down the street. A YOUNG COUPLE approach, crouching to look at the infant and cooing `` Lovely, lovely baby.'' Suddenly, the YOUNG MAN grabs the infant and runs. The mother chases after him SCREAMING. and the man TOSSES the WAILING baby to his GIRLFRIEND. The mother lunges at the girlfriend, PLEADING, but she LAUGHS and tosses the flailing baby back to her boyfriend - playing a horrific version of keepaway. The frantic mother does her best to stop them when, abruptly, the man raises the baby over his head and SLAMS it head - first into the pavement. The baby shatters. porcelain and springs and computer chips flying. a tiny blue eye rolls to a stop. The mother crumbles to her knees, wailing as she gathers the pieces. Theo watches the pranksters dart off LAUGHING. He does n't notice TWO MEN coming up behind him, pulling on ski masks. Then, they're on him - MALE VOICE Keep walking. Theo does as ordered. THEO C'mon guys, I'm gon na pay! Tell Freddie, I swear I'll have his money, all of it - 2ND MAN Shut up. THEO By the end or the week - Monday at the latest Theo's rapped on the back of the head with a gun. 2ND MAN Shut up! Shut up! A van pulls up alongside them, the door sliding open. Theo is shoved inside. A motorcycle skids to a stop nearby. The gunman hops on the bike, and the motorcycle speeds off, racing against traffic along the one - way street. The van takes off in the opposite direction.

INT. VAN - DAY Theo stares at four masked faces. He's frightened and confused. Clearly these are not the men who were after him earlier. A burlap sack is whipped over Theo's head and we. BLACK. SILENCE. THEN. A VOICE ECHOING, as if in a vast space. MAN'S VOICE -LRB- LUKE. -RRB- You are under the jurisdiction of the 5 Fishes. Your basic human rights will be respected. SECOND MAN'S VOICE -LRB- PATRIC. -RRB- The 5 Fishes have eyes and ears everywhere. We keep the truth flowing. WOMAN'S VOICE Why is he handcuffed? MAN'S VOICE -LRB- LUKE. -RRB- It's procedure. WOMAN'S VOICE -LRB- an order. -RRB- Uncuff him. MAN'S VOICE -LRB- PATRIC. -RRB- The prisoner should remain cuffed at all times. WOMAN'S VOICE I do n't care. Uncuff him. MAN'S VOICE -LRB- LUKE. -RRB- Do it. MAN'S VOICE -LRB- PATRIC ; CONT'D. -RRB- She does n't have the authority. MAN'S VOICE -LRB- LUKE ; CONT'D. -RRB- Uncuff him. From Theo's POV. as the burlap sack comes off his head, the BLACK SCREEN becomes a blurry whitish image and.

INT. ABANDONED FACTORY - DAY a fuzzy, overexposed silhouette moving in front of a light, reaching around to remove his handcuffs. A second human shape moving closer, right up to his face and. slowly coming into focus : He's looking at the face of an angel. JULIAN TAYLOR is about Theo's age. Life on the run has taken its toll, but she still has the radiance of someone who believes in her cause. Julian is the woman in Sandra's photographs. A scar runs down the side of her face. Theo blinks, everything corning into focus, a few shafts of daylight in the otherwise huge, darkened space. Silhouettes of his four abductors, still wearing their ski masks, standing in the shadows. JULIAN Hello, Theo. Theo staring, clearly shocked to see her. SILENCE. SILENCE. SILENCE. THEO I thought you were dead. JULIAN Sorry about the theatrics, but it was for your safety as much as ours. THEO How'd you get that nasty scar? Or should n't I ask? JULIAN A close call. THEO And that did n't knock any sense into you? JULIAN Walk with me, Theo. She nods toward the cavernous warehouse floor. Theo seems tentative. JULIAN -LRB- CONT'D. -RRB- I wo n't bite. She holds out her hand. Theo takes it - Luke steps forward and Julian waves him off with a subtle gesture. They walk off - the Fishes following at a discreet distance. THEO I'm trying to think. I ca n't remember the last time I saw you. JULIAN You're not going to reprimand me for not calling? THEO Never crossed my mind. JULIAN It would have made things dangerous for you. THEO You're flattering yourself, Julian. It never crossed my mind. JULIAN Okay. -LRB- then. -RRB- How've you been? THEO Never better. JULIAN And Jasper and Sandra? THEO They're lovely. JULIAN How's Sandra doing? THEO She's brilliant. Julian tries to light a cigarette. The lighter sparks, and sparks, but no flame. Theo does nothing to help her. THEO -LRB- CONT'D. -RRB- And how about you and your boyfriends? -LRB- looks back at the Fishes. -RRB- Been busy with all these bombings around town? Luke steps up, lights her cigarette, turns to Theo. LUKE You know that's the Warden's handiwork, not ours. We're his scapegoat. THEO Right. kidnapping's more your style. Luke leans toward Theo, his eyes cool behind his mask. LUKE Sorry if we frightened you. Theo turns to Julian THEO Why am I here, Julian? JULIAN I need transit papers. Not for me. A girl. She's illegal. She has to get to the coast, past the security checkpoints. Her life depends on it. LUKE We'll pay you 10,000 pounds. Julian shoots Luke a look. A beat, and Luke retreats to the other Fishes. THEO Why come to me? JULIAN You have connections. THEO Not anymore. It's a brave new world. In case you have n't noticed. JULIAN You could rekindle an old friendship. THEO Nobody's handing out transit papers and they're impossible to steal. JULIAN You could find a way. THEO I'm flattered. Maybe one of your other ex - lovers could help. You could toss their names in a hat ; pick out the lucky winner. Julian looks at Theo a moment, then. JULIAN `` The only reason to breathe is to make a difference.'' Theo stops short. This seems to have an effect on him. She faces him squarely : JULIAN -LRB- CONT'D. -RRB- `` The only reason to breathe is to make a difference.'' -LRB- beat. -RRB- You remember who told me that? THEO Wan na know the truth? I got it off a fortune cookie. There's a look of disappointment in her face, a sadness in her voice. JULIAN Sorry to trouble you, Theo. My mistake. She turns and starts back to her comrades. Then - JULIAN -LRB- CONT'D. -RRB- -LRB- turning back. -RRB- Ramona's. The Italian place in Camden. Six years ago. It was my thirty - seventh birthday. You had a little too much to drink and fell asleep in the booth. That was the last time I saw you. And she continues walking, leaving four masked men alone with Theo.

INT. VAN - DUSK Theo riding with his four captors. The van jolts as it speeds along the dilapidated road. Luke stares at Theo. LUKE I told Julian that appealing to your conscience would be a waste of time. But you'll do what we want. -LRB- beat. -RRB- I know you need the money to pay your debts. -LRB- off Theo's look. -RRB- The Five Fishes have eyes and ears everywhere.

EXT. BUS STOP - DUSK Deserted, empty street. The van rounds a corner, pulls up in front of the bus stop. The sliding door opens. Luke addresses Theo : LUKE So when you change your mind. Luke hands Theo an index card. LUKE -LRB- CONT'D. -RRB- pin this card on the notice board at the entrance to the Camden tube. We'll do the rest. Theo looks down at the index card : Lost Dog, Black and White Shelty, answers to the name of Scottie,'' etcetera. THEO Right. Been a genuine pleasure, fellas. He starts to get out. And Patric gives him a shove into the street. Luke tosses some coins at him. LUKE Bus fare. The 5 Fishes hope you were n't too inconvenienced. The door slams shut, and the van speeds away. Theo watches it disappear. WIDER : The empty street. Theo looks in both directions, bends down and picks up the coins.

EXT. APARTMENT BUILDING - NIGHT Theo steps around a homeless woman sleeping on the stoop of his apartment building. He punches in a security code.

INT. LOBBY - NIGHT Dimly lit, paint peeling off the walls. Theo walks past the elevator, does n't even look at the faded sign that reads `` Out of Order'' and starts up a narrow staircase.

INT. HALLWAY - NIGHT He stops outside his door, fumbling for his keys. He hears a creak and looks up - the BIG MAN in the jogging suit is charging him. Before Theo has time to react, the thug slugs him in the stomach, knocking him backwards. Theo falls on the steps, tumbling down. Theo comes to a stop on the next landing, and he's hauled to his feet by the big thug who drags him back up the stairs to face his smaller partner. THEO I'm getting the money together SMALLER MAN -LRB- overlapping. -RRB- Are ya now? THEO -LRB- overlapping. -RRB- - Tuesday. The Smaller Man grabs Theo's hand, twists Theo's fingers back. He SCREAMS in pain. THEO -LRB- CONT'D. -RRB- Wednesday at the latest - A door opens - the Smaller Man stops, stares at a SKINNY MIDDLE - AGED MAN looking out. A long beat. SMALLER MAN May I help you? The door quickly slams shut. SMALLER MAN -LRB- CONT'D. -RRB- -LRB- back to Theo. -RRB- Ya think we got nothin' better to do ` an chase after the likes of you, do ya? -LRB- shakes his head. -RRB- I could be ` ome and warm watching a Franky Vaughan. And Andrew could be playing a bit a snooker. Instead, we're ` ere all evening waitin' and waitin' for you. And the Small Man jerks Theo's ring finger back, SNAPS the bone. Theo SCREAMS in agony. The big man lets go of Theo, and Theo crumbles to the floor, cradling his hand. The small man puts his foot on the Theo's hands. He presses down on Theo's broken finger. SMALLER MAN -LRB- CONT'D. -RRB- Now. ya know what I'm gon na say and I know what you're gon na say. So let's not bore each other to death. -LRB- and. -RRB- Do n't make me come back. A beat, and the Smaller Man releases Theo's hand. The SOUND of FOOTSTEPS receding. Theo crawls painfully down the hallway to his door. He struggles to his knees, leaning against the - wall. He then reaches inside his jacket with his good hand and pulls out - his flask. He manages to unscrew the top and gulp the booze down his aching throat.

INT. MINISTRY OF ENERGY BUILDING - SECOND FLOOR - DAY Theo walks down the hall with a bit of a limp. There's a small Band - Aid above his eye and a splint on his finger. Theo enters, walks with purpose toward the wall of locked drawers, his key in hand. and stops. There are two WORKMEN in the back of the safe room. One is on a ladder, the other passing him some tools. WORKMAN -LRB- greets Theo. -RRB- Morning to you. THEO Something broken? WORKMAN TWO Installing a camera is all. Theo considers this, then turns back toward the exit.

INT. HALLWAY - DAY Theo spots Peter and approaches him. THEO Peter. PETER -LRB- seeing Theo's condition. -RRB- Jealous husband, I suppose? THEO -LRB- motions toward safe room. -RRB- What's going on? PETER Someone's been stealing petrol coupons. THEO -LRB- a beat. -RRB- Huh. Wow. Stealing. PETER Keep your ears open. There's a thousand pound reward for any information. THEO Would n't want to be in that poor bastard's shoes. TNT. MINISTRY OF ENERGY BUILDING - SECOND FLOOR - DAY Theo approaches his cubicle. He stands there, pondering his next move, and. SHIRLEY -LRB- O.S. -RRB- -LRB- conspiratorially. -RRB- I know who it is. He turns, faces Shirley. THEO Really? SHIRLEY Yes, it's that Allison Hammer. Her son's a mongoloid, you know, retarded. Their medical bills are through the bloomin' roof. He's forty years and acts just terrible. I was alone with ` im for ten minutes at a Christmas party and he showed me his member! You tell me what you hear and I'll split the reward. Theo has been looking at her with a blank expression. SHIRLEY -LRB- CONT'D. -RRB- Keep your ears open. She starts back to her cubicle, then remembers something SHIRLEY -LRB- CONT'D. -RRB- Oh. Some gentleman was paging you. I connected him to your voice mail. Theo remains frozen for a moment, before moving to his phone. He keys in his code, listens to the message.

EXT. STREET - NIGHT Theo frantically pushes past pedestrians, limping as he runs through the park.

EXT. ALBERT HALL - NIGHT The famous concert hall is now a Quietus Auditorium - a large banner flaps in the wind, the word `` Quietus'' next to an enormous Union Jack. Theo rushes towards the building.

INT. ALBERT HALL - AUDITORIUM - NIGHT Rolling clouds across a glorious blue sky. You almost do n't notice the pixels. FACES lying on soft mats, staring at the clouds projected on the ceiling. Mostly older men and women, some middle - aged. Soothing music suffuses the ambiance, and a gentle female voice : VOICE Forgiveness. Experience forgiveness. Dwell in forgiveness. Forgiveness towards those who intentionally cause you pain. Forgiveness. Forgiveness for those who unwittingly caused you pain. Forgiveness. It's peaceful. It's inviting. It's Quietus. The participants on the floor are gently dying. FIND Sandra among the others. Her face is not the blank mask it was before. Her eyes are now moist with profound awareness. ON THE OTHER SIDE OF THE GLASS are the stands. A few dozen people on the bleacher seats. Some are there to observe loved ones make their final passage. Others are just looking for a warm place to sleep. In the b.g., Theo rushes in and finds. Jasper pressed against the glass, watching the event unfold. Jasper turns as Theo approaches, gives a small shake of his head. JASPER She left a note. I did n't get here in time. -LRB- off Theo's look. -RRB- They wo n't let you in. I tried. Jasper looks at Theo's bandaged hand. JASPER -LRB- CONT'D. -RRB- What happened to you? Theo dismisses the question with a shake of his head. Jasper looks back through the glass at Sandra. JASPER -LRB- CONT'D. -RRB- They say it's a peaceful way to go. God knows she deserves some peace after what they did to her. THEO SAYS NOTHING. THEY WATCH THROUGH THE WINDOW AS - BELOW - ON THE MAIN FLOOR An ATTENDANT approaches Sandra and offers her a cup. Sandra reaches for it, her hand shaking. The Attendant steadies her and Sandra drinks. VOICE Gratitude. Immerse yourself in gratitude. Gratitude. Gratitude for those who brought you joy. Gratitude. Gratitude for those who brought you pain. Gratitude. Gratitude for your unique journey. Gratitude. Dwell in gratitude. IN THE STANDS Jasper and Theo, watching silently as Sandra's grip slips from the cup. Her entire body relaxes as the attendant helps her lie back down. JASPER We just moved to Paris. We did n't have anything, a mattress, two cups. We were so broke. One day I finished early at the Sorbonne and I saw her from the window, coming home, carrying flowers. There was a curtain that was our closet, and I hid behind it. I was going to surprise her. Behind them, past the glass, a disturbance : An OLD MAN is resisting, he knocks away the cup as it's offered. The lights dim. JASPER -LRB- CONT'D. -RRB- She came in, put flowers in a drinking glass, and she sat on the sofa just looking at them. Daffodils. She was twenty - seven. Her hair was dark brown. So much of it, it would fill your hands. She was so beautiful. The lights fade up on the main floor, everything returned to its state of peace. The old man lies completely still. JASPER -LRB- CONT'D. -RRB- She was humming `` I Love Paris In the Springtime.'' Very softly. And she stayed there, just like that. Looking at the flowers. For a long time. And you know what she was doing? She was picking her nose. -LRB- smiles, back in the moment. -RRB- She always did that when she thought no one was watching her. Did you ever notice? THEO -LRB- lying. -RRB- No. JASPER That's what she did. She picked her nose. -LRB- shows his little finger. -RRB- With her pinky. Jasper looks down at Sandra. JASPER -LRB- CONT'D. -RRB- She's gone. BELOW - ON THE MAIN FLOOR Sandra stares up at the clouds rolling across the ceiling. VOICE Experience the light. The light is soothing. The light is comforting. The light is love. It's a light that shines forever.

INT. PICK-UP OFFICE - QUIETUS - NIGHT Theo waiting on a plastic couch in the simple white room. People at the counter, picking up paper bags that resemble sacks of flour. Jasper returns from the counter, holding one of the paper sacks. Theo stands to meet him. JASPER -LRB- re : brown sack. -RRB- She's still warm.

EXT. QUIETUS - NIGHT Outside, the street is quiet. Theo and Jasper walk. Jasper, stoic, holding the bag of Sandra's ashes. Sudden -RCB- y - Jasper breaks down. Crying. All of his 75 years now revealed, all at once an old man.

INT. ROLLS ROYCE - DRIVING - DAY A uniformed chauffeur pilots the Rolls. Theo in the back. His worn suit has been cleaned and pressed. On the London Mall, well - dressed citizens on their afternoon outing, some walking their dogs. Some dressed in chaps, riding horses. A woman walking, holding the hand of a young chimp in toddler's clothing. The privileged minority. A restricted zone. SOUTHWARK BRIDGE CHECKPOINT - DAY The chauffeur stops at a security gate at the entrance to the Southwark bridge. He hands papers to a security officer. Guards check under the car with mirrors. Dogs sniff for bombs. They are waved through.

INT. ROLLS ROYCE - DRIVING - DAY Coming over the bridge : an imposing brick structure, its square tower dominating the gloomy sky : the Battersea Power Station.

INT. BATTERSEA POWER STATION - GREAT HALL - CONTINUOUS A team of SECURITY GUARDS watches Theo walk through a metal detector and look into a retinal scanner. Then one of the guards leads Theo through an enormous hall. SECURITY GUARD Wait here. And the Security Guard walks out, leaving him there, alone. Theo looks further down the hallway - he's awed. In the middle of the marble hall, under the soft glow of a skylight dome, in its perfection : Michelangelo's David. Theo is drawn to the sculpture - WOOF! Two Irish Wolfhounds laying on the floor in front of the David. Theo does n't speak dog, but knows that means stop. Deep growls, the Wolfhounds standing up. From behind the David, a man dressed in T - shirt and jeans appears. COLIN PHILLIPS is Theo's age, but looks younger. COLIN -LRB- Oxford accent. -RRB- We could n't save `` La Pieta,'' it was already smashed by the time we go there. But this is pretty rummy, eh? THEO My mom had a plastic one in the bathroom. It was a lamp. Colin approaches Theo. They embrace. COLIN Hey, bro. I was surprised to hear from you. Told Mum you called - she sends her love. THEO How's she doing? COLIN Holding the respirator.

INT. REMBRANDT HALL - BATTERSEA POWER STATION - DAY An endless corridor with masterpieces on both walls. Colin throws tennis ball, and the Wolfhounds chase after it, shrinking in the distance. Colin and Theo carry drinks. Rembrandt's self - portraits age as they pass. COLIN the self - portraits. We have most of them. We lost the one at the Frick. That thing in New York was a real blow to Art. THEO Not to mention people. -LRB- then. -RRB- You've got ta admit it's a kind of perverse. The world's gone to shit and here you are assembling the world's greatest art collection. COLIN Might as well save what made us great. -LRB- indicates a painting. -RRB- His last. He stops in front of Rembrandt's final self - portrait. COLIN -LRB- CONT'D. -RRB- Look at him. Old Dutch bastard. He's saying something. Can you tell what he's saying? Theo looks at the portrait. THEO `` Oh, well.'' COLIN Exactly. This bloke did some of the wickedest masterpieces in history, and here he is, looking at you at the end of his days. Regretful, mischievous. `` Oh, well.'' The old Rembrandt looks down at them.

INT. PICASSO HALL - BATTERSEA POWER STATION - DAY Planes drop bombs on civilians. Black and white cubist mayhem. Theo and Colin stand in front of Picasso's Guernica.'' The Wolfhounds sit nearby. COLIN Things good at work, bra? THEO I ca n't thank you enough for making that possible. COLIN Thank your mum. I could n't have done a thing if you did n't have a British passport. THEO Actually, I feel stupid for asking. but I need another favor. Colin raises an eyebrow. THEO -LRB- CONT'D. -RRB- I have a new girlfriend. a bit of a Francophile. -LRB- sheepishly. -RRB- I promised her a trip to Paris. In a moment of passion, if you know what I mean. I have the money. But I was hoping you could get us the transit papers. COLIN Transit papers? That's quite a favor. THEO I know. I'm sorry. COLIN Is n't your girlfriend aware Paris is n't what it used to be? Paris n'est plus la ville des amants. THEO Her brother's there. She has n't seen him in five years and he's not doing too well. Not too well at all. -LRB- off Colin's look. -RRB- Colin, she's the one decent thing that' happened to me. She kind of looks to me for stuff like this. Colin chews on this. THEO -LRB- CONT'D. -RRB- Maybe I could pick up some art for you. COLIN There's nothing left but second - rate junk. THEO I guess I got myself in over my head. I did n't have anyone else to go to. Colin embraces the power of helping the little guy. COLIN Well. I ca n't exactly promise anything. THEO -LRB- brightening. -RRB- You're a lifesaver, Colin. COLIN Nonsense, bro. Mummy loved your mum. And times like these. Well. Vive le petit mort. THEO Amen. Colin opens a small silver case. He takes out a pill, offering it to Theo, who shakes his head, staring at him. COLIN What? THEO You amaze me. A hundred years from now, there wo n't be one sad fuck to look at any of this. What keeps you going? COLIN You want to know what it is, bra? 1 just do n't think about it. Colin pops the pill, washing it down with wine.

INT. PUB - NIGHT ON TV : A PRETTY REPORTER outside the fence surrounding Bexhill, speaking to a COLONEL in camouflage fatigues. PRETTY REPORTER -LRB- TV. -RRB- but there are some who'll ask : is n't there a more humane way of dealing with refugees than to lock them in Bexhill and force them to fend for themselves. FROM 0. S., CHANTING PROTESTS, the BANGING of POTS and PANS. Some sort of demonstration past the prison gates. COLONEL -LRB- TV. -RRB- We've been tolerant to the point of drawing criticism. Force is the only thing stopping Bexhill from becoming a breeding ground for terrorists. THEO sits alone at a table in a crowded pub, watching the TV. He glances at rowdy patrons arguing over a game of darts. PATRIC -LRB- O.S. -RRB- You're in the company of the 5 Fishes. Theo turns and sees Patric, Luke and another Fish standing behind him. They sit down. Patric rambles on. PATRIC -LRB- CONT'D. -RRB- The 5 Fishes have eyes and ears everywhere. The 5 Fishes keep the truth flowing. Theo looks from one Fish to the other. THEO One Fish, Two Fish, Red Fish, Blue Fish. Patric does n't understand. THEO -LRB- CONT'D. -RRB- -LRB- to Patric. -RRB- Dr. Seuss. You ought to do a little more reading, mate. Patric's eyes flair. THEO -LRB- CONT'D. -RRB- I can see why you guys opt for the masks. Luke stares at Theo, sees his bandaged finger. LUKE Looks like your friends caught up with you. THEO -LRB- ignores him. -RRB- Everything's moving ahead, but I'll need a photo of the girl and her name. LUKE -LRB- hands him an envelope. -RRB- It's all in here. THEO - And an extra 5,000 pounds for my trouble. LUKE We agreed on ten. THEO All I could get were joint transit papers, which means I'll have to escort the girl. Extra time means extra money. So now it's fifteen. LUKE Ten's as high as we can go. THEO Find another sucker then. Theo rises to leave. Luke grabs his arm. LUKE Twelve, take it or leave it. Theo stares a beat. LUKE -LRB- CONT'D. -RRB- Thirteen. THEO Fifteen's my lucky number. PATRIC The hell with the fuckin' Yank. THEO If you're short, you could always kidnap somebody. Rob from the rich, give to the poor, is n't that what you guys do? Luke stares at Theo, then gets up to leave. The other Fishes follow. Theo watches them walk off, then sits back down. He takes a swallow of his pint, turns his attention to the TV. ON TV : Footage from a surveillance camera. A man walking alone down a remote, poorly illuminated street. Emerging from the darkness. dozens of wilding Zeds. TV VOICE a security camera capturing the horrific assault of a 43 - year - old man from Shoreditch by a gang of Zed hoodlums. The Zeds swarm around the man, who disappears under their onslaught. A moment later, the Zeds withdraw into the night. One Zed left behind, holding a deep gash, staggering. TV VOICE -LRB- CONT'D. -RRB- it's not clear if the Zed was stabbed by the victim or by one of his own gang. The wounded Zed takes one step and falls to his knees beside the victim, who lies motionless on the sidewalk, half - naked, picked clean. OVER : The CHANT of English football.

EXT. ENGLISH FOOTBALL MATCH - DAY KICK! A cleated foot propels the ball into the air. Men fight their way to it. We're well into a hard - fought English football match. Players smeared in sweat and mud. Theo watching the match. Drinking a beer - hair of the dog. An OLDER WOMAN, 60's, stands in a front row, blocking his view - she casually moves her long gray hair from her neck revealing an image penned on her neck : five fish. She walks off. Theo gets up and follows her. On the walls, a billboard : `` REPORT ANY SUSPICIOUS ACTIVITY.''

EXT. EXIT TUNNEL - STADIUM - DAY The older woman walks through a tunnel, exiting the stadium. Theo follows, losing her in the shadows for a moment as his eyes adjust to the darkness, then. suddenly Julian is beside him. The older woman heads in another direction. JULIAN Smile. -LRB- discreetly motions toward a security camera. -RRB- You look good in that shirt. THEO You bought it for me, remember? -LRB- beat. -RRB- Is all this cloak and dagger necessary? JULIAN Yes. Have to be sure we're not followed. A pair of cops appear in he blinding light at the end of the tunnel. She holds out her hand. JULIAN -LRB- CONT'D. -RRB- Take my hand. Theo hesitates. JULIAN -LRB- CONT'D. -RRB- Lends credibility. She leans into his shoulder, hiding the scar on her face from the two cops who pass in the opposite direction.

EXT. STADIUM - DAY The crowd ROARS as one of the teams scores. Julian leads Theo to a bus stop. A double - decker starting to leave. She tugs Theo's arm and they run, catching up to it, jumping on through the rear door.

INT. DOUBLE-DECKER BUS - CONTINUOUS Theo and Julian sit at the front of the bus, their backs - toward the overhead security camera. Theo is a bit out of breath. She looks over at him, playful, seductive. JULIAN -LRB- whispers in his ear. -RRB- Remember when we used to ride the buses? Her hand tightens around his, passion in her gesture impossible to tell if it's real. or an act.

EXT. STREET - DAY The double - decker chugs through the outskirts of London. Very few people. Shuttered stores. Abandoned flats.

EXT. BUS STOP - CITY OUTSKIRTS - DAY The bus rolls away revealing Julian and Theo. They cross the street. She puts her arm around him. He looks at her, and for a second it seems he might kiss her. A FIAT MULTIPLA passenger wagon comes around the corner, stops in front of Julian and Theo. The back door opens. LUKE Get in.

INT. MULTIPLA - CONTINUOUS Julian gets in the front. Theo climbs in the back, looks around. Luke at the wheel, two other women in the backseat. THEO So this is the elite unit? No response. Luke shifts into gear, drives off. Theo glances at the woman beside him. KEE -LRB- 19 -RRB-, brown skin, North African descent. The world was already falling apart by the time she was born. She's a Zed. THEO -LRB- CONT'D. -RRB- -LRB- to Julian. -RRB- Is this the girl? JULIAN Kee, this is Theo. Theo locks eyes with the Zed. KEE Fuck you staring at? THEO Apparently the pleasure is all mine. Julian looks around the car, past Luke to the third woman. JULIAN This is Miriam. MIRIAM -LCB- 40s, black, simply dressed. She looks at him, nods. LUKE We're going with you to Canterbury Road. It's before the first checkpoint. THEO Why? LUKE Because we want to. We'll take the old road and you'll drop us where we say. After that, the two of you will be on your own. THEO Are n't you forgetting something? Luke reaches down and tosses a black bag onto Theo's lap. Theo look inside at stacks of notes. THEO -LRB- CONT'D. -RRB- Did you roll an old lady? Luke glares at him through the rear - view mirror. LUKE We took up a collection for your soul. THEO Hallelujah. He turns to look at Julian. The sunlight plays in her hair, her smile like the Mona Lisa. He looks past her, out the window, the bright sunlight bleeding in as we FADE TO WHITE. THE WHITE SLOWLY BECOMING OCEAN FOAM. The sound of. THE SURF. A glistening blue wave, rolling luxuriously toward the beach. The backlit woman in the sarong, her beautiful form moving closer. Theo in the sand, smiling, in heaven. as she approaches. Theo shades his eyes as she nears. and now we see. the woman is Julian Julian's face is soft and beautiful, her hair is flowing in the breeze. THEO -LRB- CONT'D. -RRB- Jules. She lowers her tray with the drink toward him, smiles and. THEO -LRB- CONT'D. -RRB- What do You want from me, Jules? JULIAN -LRB- tender reprimand. -RRB- Theo. -LRB- then. -RRB- You're snoring.

INT. CAR - DRIVING - DAY Theo asleep. A hand reaches over and nudges him awake. JULIAN Hey there. You're snoring. THEO -LRB- coming to. -RRB- No I was n't. JULIAN How would you know? -LRB- to the others. -RRB- He always snored. THEO I did not. Where are we? JULIAN Canterbury. Theo looks over at Kee. THEO So why's it so important to get this girl out of the country? She rob a train, kill a cop, blow up a building? No one responds. THEO -LRB- CONT'D. -RRB- You're right, I do n't want to know anyway. Kee turns from Theo to Julian KEE -LRB- to Julian, re : Theo. -RRB- You once was dotage for this berk? JULIAN Two or three lifetimes ago. We met in the states. We were n't much older than you. Theo was an activist then. Miriam LAUGHS, ca n't believe it. Theo ignores the slight. THEO An activist was what you wanted me to be. I just wanted to get laid. JULIAN We were at Berkeley. Theo was pissed that all the money for health and education was going to defense contractors. So he had this idea : Let's go to Seattle and chain ourselves to the sculpture in front of Boeing's corporate headquarters. Naked. THEO Naked was your idea. JULIAN We got shy, stopped at our underwear, thank God, and we chained ourselves to the sculpture, and we threw away the key. Total commitment. So we're waiting for the employees to arrive. Waiting for the TV cameras to show up. And it's cold. And nobody is coming. And it keeps. getting colder. So we start yelling : Hello? Help? I mean, where's a surveillance camera when you need one? Finally a patrol car drives up. The cops get out, they're staring at us. We're chained, we're shivering, we're in our underwear. Julian and Theo looking at each other, reliving this moment. JULIAN -LRB- CONT'D. -RRB- -LRB- laughing. -RRB- Cop says, `` What are you doing?'' And you say, `` Protesting.'' Cop says `` Come back tomorrow.'' And I said, `` Why?'' Cop says - THEO `` It's Columbus Day.'' JULIAN Yeah. -LRB- and. -RRB- A week later we ran off and got married. MIRIAM Married! THEO And six months later we ran off and got divorced. -LRB- beat. -RRB- Julian was used to giving herself to the masses. JULIAN -LRB- amused. -RRB- You're really still there, eh? Miriam spots something out the window. MIRIAM Look out! Through the windshield, up ahead : a BURNING CAR rolling down a hill, toward the road they're travelling on. Luke accelerates, the Multipla responds grudgingly. MIRIAM -LRB- CONT'D. -RRB- What are you doing?! LUKE We can make it! The Multipla gaining speed - The burning car careening down toward the road. It looks like they may beat it. THEO Go! But instead, Luke slams the brakes, screeching to a stop, just misses - ON THE ROAD - the burning car as it cuts them off and - SMASH! - crashes into a parked, abandoned vehicle. Flames rise from the car, blocking off the narrow Road. INSIDE THE MULTIPLA Tense silence. LUKE This is not good. Then : WAR CRIES. EMERGING FROM THE WOODS ZEDS. Faces painted, armed with stones, sticks and knives. The gang moves in a wave, like a tribe of hunters, running toward the car - INSIDE THE MULTIPLA CRACK! The first stone hits the window. JULIAN Go around! Instead, Luke throws the car into reverse, screeching the vehicle backwards. The Zeds race after the car. CRACK! Sticks and fists pounding, bodies piling on. Luke keeps the pedal to metal, screeching away in reverse, the last Zeds dropping off, giving chase, but ca n't catch up. A lone MOTORCYCLE emerges from behind the burning car, two riders in masks weaving through the running Zeds. It speeds towards the Multipla, gaining on them. INSIDE THE MULTIPLA Luke ca n't go any faster in reverse, the motorcycle closes in, alongside them now. The Zed on back, eyes visible for an instant through his black mask. The motorcycle drops back, riding now in front of the car and. Theo sees the Zed on back of the motorcycle straighten aiming a high - powered RIFLE. THEO He's got a gun - BAM! The bullet crashes through the windshield - Julian rocked by the impact, blood spraying. Everyone SCREAMING in terror and disbelief : VOICES -LRB- in car. -RRB- She's hit! She's hit! LUKE -LRB- screaming to Miriam. -RRB- Get Kee down! Miriam covers Kee with her own body. Theo moves to Julian She's been hit in the neck, bleeding badly. Her eyes are open, alive. Barely. MIRIAM Put pressure on the wound! THEO Godammit, godammit! MIRIAM Stop the bleeding! Use your hand! ROAD The motorcycle accelerates again, moving back alongside them. INSIDE THE MULTIPLA Theo sees the motorcycle approach, the Zed on back, pointing the gun at him, about to shoot and. He throws open his door - ROAD WHACK! Theo's car door SLAMS into the motorcycle. The bike wobbles. The driver trying to keep balance, but. The motorcycle tilts and falls, throwing the gunman into the grass, the driver bouncing across the pavement, leaving a lot of skin behind. INSIDE THE MULTIPLA Luke slows the car just enough to turn, spinning a 180, heading away from he ambush, finally driving forward. LUKE How is she? How's Julian? She's bleeding a lot. Theo holds her throat wound with both hands, trying to dam the blood with his fingers. THEO Hang on, Jules, hang on. Julian reaches toward her throat, grabbing one of Theo's hands. She squeezes it. Holding his hand tightly. Miriam rubs her palms together, laying healing hands onto Julian's head. Holding them there. MIRIAM She's making her transition. Julian's grip on Theo's hand loosens. She is dead. Everyone is silent. Then In the distance, SIRENS. THEO Jesus. A police caravan, two squad cars and a van, coming from the opposite direction. Luke plays it cool, maintaining his speed, as the caravan heads right toward them. The caravan flies past, heading toward the scene of the ambush. There's a moment of relief. Until - In Luke's rearview mirror : one of the police cars splits from the caravan, turning around, coming back. LUKE Jesus. Sirens screaming, the police car closing in. Luke is sweating. Neither slowing nor speeding up. KEE Go, go, go, go, go! MIRIAM You have to pull off! The Police are right on their tail. They have no choice. Luke eases the car to a stop. ROAD The police car skids to stop behind the Multipla. Two POLICE OFFICERS instantly out of their car, guns drawn : COP 1 Let's see your hands! COP 2 Your hands, let's see your hands! IN THE MULTIPLA Luke watches the two police officers approach. COP 2 -LRB- CONT'D. -RRB- Get out of the vehicle! Miriam opens her door, Theo opens his, starts to get out. ROAD Luke swings his door open and stands. One hand raised in the air. LUKE We were attacked by Zeds - COP 1 Your hands! Luke pulls his other hand from the car - BAM! Luke's other hand is holding a gun, and he's shot the First Cop through the heart. Before the Second Cop can react, Luke swivels BAM! Luke gets off another shot. And the Second Cop crumples to the ground. but manages to fire a round - BAM! Luke finishes him off. The echo of the gunfire dissipates. Theo standing there. Looking at the two cops bleeding on the ground. Silence. KEE The fuck? LUKE Let's go. THEO -LRB- stunned. -RRB- What did you do? MIRIAM Let's go! Theo does n't move. Still reeling. Luke levels the gun at Theo. LUKE Let's go. Luke holding the gun on Theo. Theo glaring back at him. Miriam sees how close Luke is to pulling the trigger and. MIRIAM Luke! No! -LRB- firmly to Theo. -RRB- Get in. Now! Theo gets in the car. Luke hands the gun to Miriam.

INT. MULTIPLA - DRIVING - DAY Luke driving off. All business, taking control. LUKE We'll need a new car. We have to get off the main roads - THEO You just killed two men. LUKE Had no choice. THEO No choice -? MIRIAM He's right. LUKE We need to find a safe house. Miriam reaches forward, brushes her hand over Julian's eyes, closing them. Theo looks at the blood on his hands.

EXT. WOODS - DAY Theo carries Julian's body through the woods, Miriam following. He lays Julian down between two trees. Theo looks at Julian's pale, bloody corpse. A sensation begins to form : anguish. MIRIAM She's at peace. Theo turns to Miriam. She has tears in her eyes. THEO She's dead. MIRIAM All is well. She died for something she believed in. THEO She died for nothing! MIRIAM If that's what you choose to believe, Mr. Faron. Kee is waiting down the hill, next to the Multipla. KEE He's coming. HONK! HONK! An old Vauxhaul sedan pulling up. Luke at the wheel. Miriam and Kee start toward the car. Theo lingers, alone, in private grief, looking at Julian's body. Then he walks off, the satchel of money in his hand.

INT. VAUXHAUL - DRIVING - NIGHT Cold rain beats steadily against the windshield. Theo sits in front, the wipers scraping shadows across his face. In the back, the shadows from the rain on the windows play on Miriam and Kee' faces, blending with their tears. Luke puts on the turn signal. Getting off the main road.

EXT. MUDDY ROAD - CONTINUOUS The Vauxhaul struggling up a muddy, rutted road.

INT. VAUXHAUL - NIGHT Luke honks three times. Through the windshield. the headlights illuminate an old farmhouse. Two men walk out the door. One of them holding a rifle. LUKE Tom and Ian. They're loyal Fishes.

EXT. FARMHOUSE - CONTINUOUS The Vauxhaul parks in front of the stone farmhouse. Luke turns the car off. The two men approach. TOM -LRB- 58 -RRB-, strong, dark features, a farmer with the wrinkles and weathered skin that comes from working the soil. IAN -LRB- 40 -RRB-, shorter, fine features, small - town bureaucrat, the pale skin of a man who shuffles paper under fluorescent light. Tom holds a rifle, an AK 49, the next generation. IAN Everything's been taken care of. TOM It's an honor, sir. LUKE Hide the car, Tom. Do n't block it. We have to push - start it. TOM Yes, sir. LUKE -LRB- Re : Kee and Miriam. -RRB- This is Kee, this is Miriam. They'll need a place to wash up and rest. We need to convene. KEE How ` bout Julian's mate? IAN We'll watch him. LUKE He needs a scrub. Get him a clean shirt. Luke looks at the black satchel in Theo's hand. LUKE -LRB- CONT'D. -RRB- I believe that belongs to the Fishes. -LRB- off Theo's look. -RRB- Clearly you wo n't be fulfilling your part of the bargain. Luke holds cut his hand. A beat. Theo gives him the satchel. LUKE -LRB- CONT'D. -RRB- Tomorrow we'll give you a lift back to London.

INT. BATHROOM - FARMHOUSE - NIGHT The bathroom is small, dank, unkept. Theo stands in front of the mirror after his shower. He wipes the mist off the mirror and looks at himself. Reflected in the mirror, he sees something on the wall behind him. He turns. AN OLD PHOTO. A weathered portrait from thirty years back, taken in front of the same farmhouse : a man, a woman. and their five chldren. All five kids hanging on a tire hung from a large tree. Testament to a world now gone.

INT. BEDROOM - FARMHOUSE - NIGHT Theo walking out of the bathroom wearing a fresh shirt. Tom is seated in a chair, waiting, holding his rifle. TOM Shirt fit? THEO It's fine, thanks. TOM -LRB- proud. -RRB- We've got an important meeting going on. Fishes from all over the place. Beyond, through the window, a car driving up. Ian greeting the TWO MEN who step out. TOM -LRB- CONT'D. -RRB- Luke sent this for you. Tom hands him a bottle of whiskey. Theo accepts it with the sad smile of someone aware he's being bought. THEO You thank him for me. Theo heads for the door. TOM If you're going out, take a coat. Catch a cold in this weather. Tom points to the coat rack. Theo crosses to it and glances through an open door into the next room : Luke is putting the black satchel in a closet.

EXT. FARMHOUSE - NIGHT The rain has stopped. Theo, wearing a long tweed coat, stands outside the farmhouse. He takes the first sip from the bottle. Tom catches up, rifle in hand. TOM I'm in charge of watching you. THEO You're doing a good job, Tom. Theo offers him the bottle. Tom shakes his head. TOM Alcohol is a tool of the government to numb the people. Theo takes another swallow THEO This your farm? TOM House is mine. and the cows. Consortium took the land They pay me shite. Theo notices the old tree. THEO That used to be a swing, right? A tire swing. TOM Yeh. A frayed rope dangles from a thick branch, moving with the breeze. A faint smile on Tom's face, a memory. TOM -LRB- CONT'D. -RRB- Children's stuff. THEO Yeah, children's stuff. From a short distance, Miriam shouts to Theo : MIRIAM Mr. Faron, Kee would like a word with you. She's in the barn. -LRB- to Tom. -RRB- It's okay, Tom. I'll watch him. Theo gives a nod to Tom, then starts walking toward Miriam. TOM Mr. Faron? THEO Yeah? TOM You're from America? THEO Yeah. TOM I'm sorry about what happened there. THEO Thank you, Tom.

INT. BARN - NIGHT Theo steps through the wooden door. Miriam stops at the threshold. MIRIAM I'll wait outside. Miriam closes the door. The old stone barn houses forty cows and industrial milking equipment. Theo spots Kee standing among the cows in the back. He starts toward her and. KEE You know they chop the poor cow's tits? They do - zzzt. Gone. Only leave four. To fit the machine. Why not make machines to fit the cow? Wacko, eh? He stops, a few yards from her now. THEO Something on your mind, Kee? KEE Julian said anything goes spooky, I could talk to you. Said to trust you. Said you'd get me out of England. THEO Sorry, Kee, it's out of my hands. You got plenty of friends, they'll take care of you. KEE But Julian said only trust you. THEO Yeah, well, Julian was wrong. Theo turns to leave. KEE You ca n't go. Kee begins to unbutton the front of her dress. KEE -LRB- CONT'D. -RRB- You ca n't leave me. THEO Do n't. KEE Got to help me. Theo wants no part of this. THEO -LRB- annoyed. -RRB- Do n't. Kee steps from behind the cow. Her arm covering her swollen breasts, her hand covering her panties. She's staring straight into his eyes. Theo is paralyzed at the sight of her naked form. The curve of her hip. Her hair dangling over her shoulders. Her taut belly. A million possibilities flash through his mind, but there can only be one explanation : Kee is pregnant. THEO -LRB- CONT'D. -RRB- -LRB- stunned. -RRB- Jesus Christ. And BAM! - The barn door behind Theo slams open. Luke walks in. Ian and Miriam hurrying in after him. LUKE What's going on here? Kee immediately retreats behind the cow, covering herself up. LUKE -LRB- CONT'D. -RRB- What is this then? Miriam steps forward. MIRIAM She wanted him to know. LUKE And who is she? Nobody authorized it. MIRIAM It's her body. Luke looks at Miriam. Seems to consider this. Then : LUKE We're meeting in five minutes. Luke turns an eaves.

INT. FARMHOUSE - NIGHT ON TV : Grainy footage of the Multipla approaching from the opposite direction, the windshield blasted out. The image is blurry. Then a series of FREEZE FRAMES : Kee, Luke, Miriam, Julian, and Theo. NEWSWOMAN'S VOICE Any citizens with information regarding the identity of these killers should report to the Ministry of Security immediately. Scrolling below the images : `` 20,000 pound reward for information leading to the arrest of each of these criminals.'' NEWSWOMAN'S VOICE -LRB- CONT'D. -RRB- Do not try and approach them directly : they are considered armed and extremely dangerous. Luke shuts off the TV with the remote and turns to the - assembly of the Five Fishes - about fifteen men, a few women - gathered in the musty living room. Theo stands in back. LUKE This was broadcast an hour ago. It's only a matter of time before identifications are made. For the present, it's too dangerous to proceed with the original plan. Kee squeezes Miriam's hand. MIRIAM But Julian wanted her to go to Iceland. FISH 1 Not all of us agreed on that. LUKE It's too dangerous THEO -LRB- interrupting. -RRB- Make it public! Theo's uninvited opinion draws glares from around the room. FISH 2 She is public - She was on the telly! A dead cop! LUKE The Warden would never let the people know that an illegal became pregnant. He'd lock Kee up, take the child and parade an Englishwoman as the mother. -LRB- beat. -RRB- And a baby in the hands of the Warden would perpetuate the regime. MIRIAM That's why we must go to Iceland! FISH 4 Yes - The Human Project! They're all waiting for her. The scientists. LUKE It's too late for that. Our faces are on TV, we'd never be able to reach the coast. It was agreed that getting Kee to Iceland was the best choice, but the reality has changed. We will have to adapt to it : The baby will have to be born here. After the birth, when the time is right, we will show the country we can do what the government can not -. -LRB- pauses for effect. -RRB- Deliver. MIRIAM Julian said this should n't be about politics. He turns to Miriam. LUKE I loved Julian We'll follow the spirit of her thinking, but we must salvage what we can from an untenable situation. He looks out at the others. LUKE -LRB- CONT'D. -RRB- We have all suffered under the tyrant's heel. Our brothers and sisters have been tortured, imprisoned, murdered, because their hearts burned with the flame of truth. It's this flame the Warden fears. It is this flame that spreads. We have been handed a torch in the form of a child. As the flame of truth obliterates darkness, so shall this new flame destroy the Warden and his regime! SHOUTS of `` Yes!'' ; `` He's right!'' LUKE -LRB- CONT'D. -RRB- The Uprising is assured! More CHEERS from the crowd as they look to Luke, unified - the Fishes have found their new leader. Theo turns to Tom, standing beside him. THEO Quite a speech. TOM Luke spent some time at the pulpit. He was a minister. THEO A man of God.

EXT. FARMHOUSE - NIGHT Quiet. One light burns in the living room. Tom keeping guard at the door. The hum of a motorcycle in the distance, growing closer. Faintly, its HORN sounds three times.

INT. BEDROOM - NIGHT Theo asleep, lying in a lower bunk. A CREAK. Past Theo's face, a FOOT descends the bunked ladder. Theo's eyes open : Fish 1 is covertly climbing down the ladder. He quietly joins Fish 2 who is freshly out of bed and is looking out the window. From outside, MUFFLED VOICES. The two Fish slip quickly out of the room. Theo gets up, moves to the window. Theo's POV : Two Zeds on a motorcycle. the driver straddling the bike, the rider slumped over, clinging to him. Theo recognizes the driver : Patric. Cut, bloody, clothes torn, soaked to the bone. Patric is pleading with Luke and Ian. PATRIC quickly! quickly! He needs to be treated. Fish 1 and 2 -LRB- from Theo's room -RRB- join them. Ian motions toward the slumped figure. IAN Take him to the barn. FISH 1 Aye, sir. IAN Stay on high alert. Luke, Ian and Patric head toward the house, disappearing from Theo's view.

INT. HALLWAY Theo's bare feet coming down the stairs. He stops when he sees Luke and Ian step into the front hall. IAN -LRB- to Tom. -RRB- You have a First - Aid kit - medicine? TOM Mostly for cows. IAN Hydrogen peroxide, bandages, clean towels, whatever you have, bring it to the barn. And for God's sake, hide that fucking motorcycle. Tom disappears into the bathroom. Luke, Patric, and Ian head into the kitchen and close the door. Theo starts down the stairs, toward the back door as. Tom steps out of the bathroom with an armful of medicine and supplies. No place to hide. Theo backs against the wall, waiting for Tom to pass. Tom walks out the front door.

EXT. FARMHOUSE - NIGHT Theo steps out the back door. SQUISH! Theo's expression his socks are soaked in the cold mud. He sloshes quietly alongside the farmhouse, no coat, shivering in the cold. He reaches the kitchen window and sees : Luke pacing, Patric in a chair, Ian leaning on the table. LUKE What were you thinking? You realize you put the whole mission in jeopardy? PATRIC What was I supposed to do? You saw how he was! Bloody piece of pulp. And all the fuckn' police coming. We had to hide in the woods for hours! LUKE You should n't have come! PATRIC But he's my cousin! I do n't know what's wrong, I think he's all broken inside, I'm telling you, he needs a doctor. LUKE -LRB- softens. -RRB- Do n't worry, we'll take care of him. PATRIC Where's the American Bastard? I'm goinq to kill him! LUKE You can do that, but tomorrow - after we move `` the girl. Theo has seen enough. He moves away from the window, sloshing back along the side of the house.

INT. FARMHOUSE - HALLWAY - NIGHT Theo walks stealthily down the hallway. Stops at the door to a room. Checks to make sure it's safe, then enters :

INT. ANOTHER BEDROOM - CONTINUOUS Miriam sits up in bed. MIRIAM What do you want? THEO Shhhh. Kee awakening - KEE What's going on'? THEO Luke killed Julian MIRIAM Ballocks. THEO That was Patric on the motorcycle. I'm getting the hell out of here. I suggest you come with me. The two women exchange a look. But do n't move. THEO -LRB- CONT'D. -RRB- Suit yourselves. Theo walks back out the door. The two women, looking at each other, unsure.

INT./EXT. FARMHOUSE - NIGHT Theo dons the tweed overcoat, looks out the side door : There's a row of six cars parked in front of him. Two Fishes standing nearby. Activity in the barn. Theo steps out the door. SQUISH! Theo's expression - he forgot to get his shoes. He continues, moving quietly to the car in front of him. He opens the door. INSIDE THE FIRST CAR Through the windshield, Theo sees the Fishes up ahead. He reaches down to the hood release - POOK! The hood pops open. The Fishes do n't hear it. OUTSIDE THE FIRST CAR Theo squatting, sneaking around to the front of the vehicle. Lifting the hood quietly. Reaching in. YANKING OUT the distributor cap. He gently lets the hood down. INSIDE THE SECOND CAR Theo repeating the operation. Reaching for the hood latch, when : Fish 2 returns from the barn, on a beeline for the car. His hands and coat stained with blood. Theo hunches on the car floor. FISH 2 -LRB- to the nearby Fishes. -RRB- Shite, he looks bloody awful. Fish 2 reaches in the car, just above Theo's head, feeling for : a pack of cigarettes on the dash. FISH 2 -LRB- CONT'D. -RRB- His bones are sticking out, no skin, no way to hold the blood in. Fish 2 snags the cigarettes, walks off. Theo watches them recede, then tugs the hood release. FOOK! OUTSIDE THE SIXTH CAR Theo has the hood up on the last car, he slips the distributor cap in his coat pocket, eases the hood down, glances over at. THE FARMHOUSE - NIGHT Two Fish are turned away, standing near the front door, trying to stay alert, trying to stay warm. THEO backs away from the car and. A HAND reaches for his shoulder. He jumps - spins o see Miriam and Kee. His reflex causing Miriam to GASP and. THE FARMHOUSE - NIGHT One of the two Fish standing guard turns toward them. THEO gestures down! And Miriam and Kee duck below the fender. Theo's pissed off. THEO -LRB- low. -RRB- Shit. O.S., the sound of FOOTSTEPS approaching. The FOOTSTEPS stop. A beat. Then the FOOTSTEPS recede. Theo inches back up, looking over the fender to see.

EXT. FARMHOUSE NIGHT The two Fishes are near the front door again, turned away. THEO Okay. Let's go. And Theo leads Kee and Miriam to the Vauxhaul, the first car parked in the row. Quietly opens the back door for Kee. She slips in, while Miriam moves to the front passenger seat. They silently shut the doors without letting them latch. INSIDE THE VAUXHAUL MIRIAM Theo? Theo turns to her and. THEO Stay put. Keep quiet. Theo opens the door to leave. MIRIAM But - And he's gone.

INT. FARMHOUSE - KITCHEN/HALLWAY - NIGHT Theo grabs a butcher knife off the kitchen table, he moves quickly and silently down the hall to Luke's room. Opens the bedroom door and moves toward the closet. WITH THEO CLOSE as the butcher knife slides between the door and door frame. The lock snaps and the closet door opens, revealing. THE SATCHEL OF MONEY. INSIDE THE VAUXHAUL The driver's door opens, Theo gets in and tosses the satchel down at Miriam's feet. MIRIAM You're risking our lives for that? He gives her a look and turns the key in the ignition and HARUMPH! After the first spark, the engine dies. Through the windshield : Two nearby Fishes REACT to the sputter. THEO -LRB- quietly. -RRB- Shit! Miriam stares at him, angry and scared. Theo tries again HARUMPH! Nothing. MIRIAM What happened? THEO Battery's dead. Through the windshield : the Fishes start walking to the car. FISH 6 Mark? Theo releases the brake and pushes in the clutch. The car starts rolling slowly down the steep, muddy road. In the direction of the approaching Fishes. THEO Shut the doors! Miriam and Kee and Theo pull their doors shut. Miriam hits a switch - FWICK! The car doors lock. FISH 6 Mark? TOP OF DRIVEWAY The Vauxhaul picking up a little speed, bouncing down the steep, rutted road, heading right at the Fishes. FISH 6 -LRB- CONT'D. -RRB- -LRB- shouting the alarm. -RRB- Alert! Theo checks the speedometer : 5 mph. MIDDLE OF DRIVEWAY Fish 5 stands in the muddy track holding up his gun, pointing it at the oncoming car. FISH 5 STOP! The car still coming. Fish 5 about to shoot. HOUSE Luke steps out of the door LUKE NO! DO N'T SHOOT! MIDDLE OF DRIVEWAY Fish 5 looks confused, lowers his gun, the car still rolling toward them. He and Fish 6 try stopping the car with their hands, but the weight and momentum of the car is too much for them. They're forced to step aside. More Fishes come running from the barn. Patric tearing out of the house. LUKE -LRB- CONT'D. -RRB- The girl's in the car! Do n't shoot! IAN Somebody get a car! MIDDLE OF DRIVEWAY Fish 5 and 6 chase down the slow - moving car, grabbing the doors, but they're locked. Fish 5 sticks his hand through the half - open window, trying to pull the car to a stop. INSIDE VAUXHAUL Kee punches the intruding hand, trying to break its grip, but Fish 5 hangs on. TOP OF DRIVEWAY More Fishes join the chase. So does Patric, running down the muddy road after the car. Two other Fish head for the row of parked cars. INSIDE VAUXHAUL Kee bites the intruding hand. Fish 5 yelps, releasing his grip, and the car gains momentum. Fish 6 slips down in the mud. TOP OF DRIVEWAY Fish 2 hops out of the second car. FISH 2 It wo n't start! INSIDE VAUXHAUL Theo turns : they now have some distance from their pursuers. He checks the speedometer - 10 mph. THEO Here we go. Theo shifts into second gear, releases the clutch : Ha - RUMPH! The car shudders, but does n't start. He tries it again - HA - RUMPH! No success. And the car slows, nearly stops. Kee looks out the back window : the Fishes are gaining. KEE They're coming! Theo puts in the clutch and the car starts rolling again. THEO -LRB- begging the car. -RRB- Go, go, go, go, go. The Fishes getting closer. Patric is racing full tilt, running faster than the rest. TOP OF DRIVEWAY At the row of cars, two Fishes push the second car, getting it rolling. As it picks up speed, the Fishes jump in, the momentum carrying them downhill. INSIDE VAUXHAUL They approach the end of the muddy track, one big ditch, right before it intersects the paved road. Speedometer : 9 mph. Theo shifts into second gear, about to release the clutch, when he turns to see : Patric has caught up, running even with the back bumper, gaining. MIDDLE OF DRIVEWAY The second car coming downhill picks up speed. INSIDE VAUXHAUL Theo ca n't afford to slow down, lets the car keep rolling. Patric catching up, keeping pace, focusing on Theo, raising a pistol. PATRIC -LRB- shouting. -RRB- Got a shot! Got a clean shot! Theo in disbelief, Patric running alongside, about to shoot him at close range, when Kee kicks open her door and - FWAK! Kee's door hits Patric's back, tripping him up, sending him tumbling, bouncing hard across the mud and rocks. The car headed right for the ditch - THEO Hold on -! BOTTOM OF DRIVEWAY The car crashes into the ditch, throwing up mud. The momentum carries the car through the ditch, flying up onto the paved road, where it bounces to a complete stop. INSIDE VAUXHAUL Theo looks back to see. BOTTOM OF DRIVEWAY The Fishes still running down toward them. The second car is coming fast, right behind the pursuing Fishes. PAVED ROAD Theo jumps out of the Vauxhaul. THEO -LRB- CONT'D. -RRB- -LRB- to Miriam. -RRB- You know how to push - start a car? Miriam slides over to the driver's seat. MIRIAM Just push! Push! Theo runs to the back of his car. He's wearing only socks. He starts pushing. As the car starts picking up a little speed - HA - RUMPH! Miriam releases the clutch. Stopping the car. THEO -LRB- annoyed. -RRB- Wait till it goes faster! Theo looks back : BOTTOM OF DRIVEWAY The Fishes part like the Red Sea, making way for the fast approaching second car. Fish 2 does n't get the message, still in front of the car. VOICES Move! Get off the road - Too late. The second car runs down Fish 2, just as it SMASHES into the ditch, the momentum carrying it to : PAVED ROAD The second car bounces to a stop. Not thirty yards from Theo. DOWN THE PAVED ROAD Theo is pushing for all he's worth. His socks are bloody. Gritting as he strains his broken finger. The Vauxhaul picking up speed. He turns to see : The Fishes have jumped out of the second car, running toward them, catching up. THEO -LRB- to Miriam. -RRB- Now! Now! The car shudders, the reluctant engine hesitating a moment, before - VA - ROOM! The engine finally roars to life. The Vauxhaul now pulling away from Theo. He turns : the Fishes are gaining. Miriam stops the Vauxhaul, ten yards ahead, Theo gasping, - trying to make it. One of the Fishes pulls out a gun, aiming. Kee looking out the back window. FISH 4 -LRB- seeing Kee. -RRB- Do n't shoot! Behind them, more fishes have reached the paved road, joining the chase. Theo reaches the car, the door swings open for him. INSIDE VAUXHAUL Theo jumps in. THEO Go, go, go, go! Miriam shifts it into gear, the car lurching forward. Through the back window we see the Fishes receding. MIRIAM Now what? Theo about to vomit, out of shape, out of breath - on the verge of complete collapse. THEO Just drive, damnit! Miriam floors it, then glances back at Kee. Kee looks pale, still worked up from the escape. MIRIAM -LRB- to Kee. -RRB- Breathe, Kee. Long deep breaths. Breaeethe. Breeeethe. Theo finally catching his breath. adrenaline dissipating. THEO -LRB- low. -RRB- Jesus Christ. Theo looks down at the satchel of money, then leans back in his seat. HOLD on Theo. as the car travels ON and ON. HOLD, HOLD, HOLD. then a flicker in his eye and. THEO -LRB- CONT'D. -RRB- -LRB- urgently. -RRB- Miriam! Get off the road! Pull into the woods! Miriam turns, confused. THEO -LRB- CONT'D. -RRB- Now! Miriam slows, pulling off onto the shoulder and.

EXT. WOODED AREA the Vauxhaul rolls through a field and into the trees.

INT. VAUXHAUL Theo reaches over and snaps off the headlights. THEO Leave it running. MIRIAM But - THEO Shh! And then we hear it. the ROAR of a MOTORCYCLE ENGINE growing closer. they watch through the windshield, as the motorcycle speeds down the road in the direction they were heading. A glimpse of two riders on the bike, Patric and another Fish. Miriam looks at Theo. MIRIAM Should we go back the other way? THEO Just give me a moment to think. Theo takes out his flask, takes a long pull. MIRIAM -LRB- re : Theo's drinking. -RRB- Right. -LRB- then. -RRB- We might try another safe house nearby. THEO The last one was real safe. I think we'll skip the Fishes, Miriam. MIRIAM If what you have said is true, and Luke pulled off a coup d'etat, there would still be others who are loyal to - THEO Wait, wait, wait : If what I say is true? -LRB- off Miriam's look. -RRB- Luke had Julian killed! MIRIAM We only have your word on that. But say it is true. then there was a coup d'etat - THEO What about all your pals waving guns at us, you only have my word on that too! MIRIAM They likely thought you were kidnapping Kee! THEO Why did n't you just stay with them! MIRIAM Where Kee goes, I go! KEE SHUT UP! SHUT UP! SHUT THE FUCK UP! They both turn around, looking at Kee. KEE -LRB- CONT'D. -RRB- I'm fuckin' cold and I'm fuckin' hungry and you two bitchin' ai n't getting us nowhere! We need to meet the boat, Miriam. MIRIAM I know, sweetie. THEO What boat? MIRIAM The Human Project sent a boat from Iceland - we're supposed to meet it tomorrow in Dover. THEO What is this nonsense about the Human Project and Iceland? MIRIAM Scientists from all over the world gathered in Reyjkavik to cure infertility. Kee could be their answer. THEO And they're all living next door to Jerry Garcia. KEE Jerry Gar -? MIRIAM -LRB- overlapping. -RRB- The Human Project is real. THEO Iceland is completely radioactive! MIRIAM That's the Warden's propaganda! He wants you to believe that he's the only choice. That everywhere else has failed. THEO Says who? KEE Says Julian And that stops Theo. Then, from the road, the SOUND of a motorcycle. They watch as the motorcycle speeds toward them. and continues on, back toward the farm. THEO Okay. Theo gets out of the car, walks around to the driver's side, opens the door and THEO -LRB- CONT'D. -RRB- Scoot over. A beat. Then Miriam slides over. Theo starts the car, pulls out of the trees. MIRIAM If I may just be permitted to ask. Where are you taking us? THEO Do n't worry. I know a safe place.

EXT. ROAD - DAY The Vauxhaul sails down a country road. We hear Miriam's Voice : `` Om Bhavan Namah. Om Bhavan Namah.'' Then Kee's voice joins in : `` Om Bhavan Narnah.'' THROUGH THE DRIVER SIDE WINDOW - MOVING Theo at the wheel, rolling his eyes in disbelief as the women continue chanting.

EXT. SIDE OF THE ROAD - DAY The Vauxhaul pulls up and stops, Theo gets out, walks to he middle of the road, making sure no one is coming. Then he hurries to Jasper's fake hedge, lifting the bushes.

EXT. WOODS - DAY The car approaches Jasper's house. MIRIAM You're certain we can trust this man? THEO Julian trusted him. That good enough for you?

EXT. JASPER'S HOUSE - DAY The Vauxhaul stops in front of Jasper's home. Theo climbs out, goes to the front door and knocks. THEO Jasper. Hello? Theo opens the door -

INT. JASPER'S HOUSE - steps inside. THEO Jasper? The house is a mess. Glasses and dirty plates, books left strewn around. He walks into : JASPER'S STUDIO From behind : Jasper on the sofa, his hand dangling lifelessly off the armrest. a bottle of pills spilled on the floor. On Theo's face, as he hesitantly approaches Jasper, walking around the couch. Jasper lays in peaceful repose, his long hair partially obscuring his face. A picture of Sandra in his hand. THEO -LRB- CONT'D. -RRB- -LRB- low. -RRB- No. Theo leans in closer. Pushes the hair out of Jasper's face, and. JASPER Huh? Theo jumps back and - THEO Fuck! JASPER Fuck you! The two men share a look - they've nearly scared each other to death. A hint of Jasper's old mischief flashes in his eyes. JASPER -LRB- CONT'D. -RRB- Amigo. But it fades away, and Jasper breaks down, sobbing. Theo leans down and hugs his old friend. JASPER -LRB- CONT'D. -RRB- I ca n't do it, Theo. There's no point without her. Kee and Miriam walk into the room. THEO Jasper. Meet Miriam. And Kee. Jasper turns, looking at Miriam and then at Kee - disbelief, recognition. awe.

INT. JASPER'S HOUSE - DAY Jasper is at the stove, frying eggs. Energized. JASPER They're sending a boat? Jasper delivers Kee a plate of eggs. Past her, Theo is soaking his bruised and cut feet in a big pot. MIRIAM -LRB- nods. -RRB- Traveling under the guise of a fishing vessel. KEE `` The Tomorrow.'' MIRIAM We were to board at Dover, but instead, Theo brought us here and - THEO No one's going to Dover. We're fugitives. We'd be stopped at the first checkpoint. Miriam looks over at Theo, who is gingerly, painfully, adjusting his soaking feet. She offers the olive branch : MIRIAM -LRB- to Theo. -RRB- Would you allow me to try something? She approaches him and begins massaging his shoulders. THEO Um, Miriam, it's my problem. MIRIAM Pain is pain. It would help if you try and relax. This will get your healing energy flowing. Theo's expression : His energy is not flowing. JASPER -LRB- to Miriam. -RRB- Anywhere else you could possibly board the ship? THEO Do n't encourage them, Jasper. MIRIAM -LRB- ignoring Theo. -RRB- If we fail to board at Dover, it will stop at the last two weather buoys along the route : tomorrow off the coast of Windsmore and - THEO It's impossible to get within five miles of the coast without hitting a checkpoint. MIRIAM - the following day at Bexhill. THEO There you go - impossible! JASPER Theo, why are you so afraid of hope? THEO It's not hope I'm afraid of - it's bullets! JASPER Right. -LRB- beat. -RRB- Why do n't you have a drink while the rest of us sort this all out. All too willing to play the part of the drunk. THEO Do n't mind if I do. Theo lifts his feet from the water, dripping as he hobbles on his tender feet toward the liquor cabinet. Jasper unfolds a map on the table. JASPER It's too late for Windsmore - we would n't make it in time. MIRIAM But it's our only chance. We ca n't get into Bexhill. THEO -LRB- looking through the cabinet. -RRB- All you have is gin? JASPER -LRB- to Theo. -RRB- You polished off the scotch. MIRIAM -LRB- to Jasper. -RRB- Bexhill's a refugee camp. KEE Refugee camp, my sharries. A jeezey death camp, that. Theo unscrews the top to the gin. Pours himself a hearty shot. THEO Too bad you're not fewgees - that way you could get yourself rounded up and tossed in. -LRB- beat. -RRB- Then again, if you were fewgees, cops'd just as likely shoot you on the spot. MIRIAM -LRB- to Theo. -RRB- Could you please -? JASPER -LRB- interrupting. -RRB- Brilliant! They all turn to Jasper. He's so thrilled by whatever he's thinking that he ca n't keep still. He grabs his coat, turns back to Kee. JASPER -LRB- CONT'D. -RRB- Kee, your baby is the miracle the whole world has been praying for! Hallelujah, hosanna, shanti, shanti, shanti! The old man starts for the door. THEO Where the hell you going? JASPER Wo n't be a tick. -LRB- to Kee. -RRB-. -RRB- You rest. With any luck, you'll need all your energy. They all watch as Jasper goes out the door. Theo downs his gin, looks up to see the women staring at him. THEO Anybody care to join me?

INT. JASPER'S BEDROOM - LATER A battered foot inches into one of Jasper's loafers. Theo, sitting on the bed, grimaces trying to squeeze his feet in the shoes which are two sizes too small. THEO -LRB- low. -RRB- Ow. He gives up, rummages through the closet and comes up with a pair of flip - flops. He slips his feet into them. The flipflops are also two sizes too small, but they'll have to do. He walks gingerly out of the room, his flip - flops slapping against the floor.

INT. LIVING ROOM - DAY Theo reaches for the bottle of gin, pours another drink. He glances out the window : Miriam is outside, doing Thai - Chi exercises. KEE -LRB- O.S. -RRB- She doin' her craze? Theo turns. Kee is stretched out on the couch, her belly is exposed and propped on a pillow. A fire blazing behind her. THEO She's doin' something. KEE She smited me with that. Said it was good for my baby. Theo grumbles, starts to take a swallow of gin but. KEE -LRB- CONT'D. -RRB- She look posh to you? Or gawky? Theo lowers the drink. Outside, Miriam is standing on one foot, suspending her other leg in the air, trying to keep her balance. THEO She looks earnest. Theo turns. Kee's beautiful belly in the soft light of the fire. He's about to sip from his glass, but stops. THEO -LRB- CONT'D. -RRB- How long have. how many months -? KEE Eight. -LRB- off his look. -RRB- Takes nine months. THEO Right. A beat. Silence. KEE -LRB- sharp. -RRB- Father? That what you wan na know? THEO Uh - huh. KEE Whiffet. I'm a virgin. THEO Huh? KEE Cha, be wicked, eh? Theo smiles. THEO That it would. KEE Fuck knows. Omar. Sammy. Phil. Do n't recall most of the wanker's names. Did some for quid, some for drugs. Some. Fuck knows, I was bored, horny. You know the cock'n bull. Theo clears his throat, has got the general idea, still holding his glass, not drinking. KEE -LRB- CONT'D. -RRB- When I started puking, thought I catch the pest. And I think - `` bitch, you are whoppingly fucked.'' But then my belly start gettin' big, and I think, `` this is no big fart stuck in my belly!'' No, this fuckin' spooky. Never seen a pregnant woman. Nobody ever told me these things. But I knew. Got a baby in me tummy. Cheedo, eh? THEO Uh - huh. KEE Felt like a freak. Embarrassed. Afraid. Did n't tell nobody. I thought about that Quietus thing. ` Sposed to be suave. Pretty music and all that. -LRB- beat. -RRB- Then the baby kicked. She breaks into a big smile, her mood now bright. Through the window, Theo sees Jasper's car pulling up. KEE -LRB- CONT'D. -RRB- Little bastard was alive. Me Too! I was alive. -LRB- then. -RRB- Did n't know what to do. Talked to me best girl, she knew the Fishes. Told me they would help me. I met Julian. She was suave. Outside, Jasper is excited, says something to Miriam who follows him toward the porch. THEO She was suave. The door flies open and Jasper hurries into the room. He grabs Theo and kisses him on both cheeks. JASPER You're a genius, Theo! THEO Now I'm a genius? JASPER -LRB- to Kee. -RRB- You're going to Iceland tomorrow! Cheedo, eh? KEE How? JASPER Just like Theo said - we get ourselves arrested! THEO Oh, Jesus! JASPER Syd, the border cop I sell to. he's agreed to get us in. Theo GROANS. JASPER -LRB- CONT'D. -RRB- Nicely ironic, is n't it? Breaking into a prison. -LRB- points to a spot on his map. -RRB- We'll meet him in Rye, tomorrow afternoon. -LRB- to Theo. -RRB- By the way, I'll need four thousand quid from your little black bag. THEO Excuse me? JASPER Syd's fee for getting us in, I'm afraid. Theo just stares at him. Then. THEO We'll never make it. Jasper takes this in, nods soberly. JASPER Perhaps. But I'd like to think we would. He hobbles out of the room.

EXT. JASPER'S HOUSE - DUSK The woods past Jasper's home becoming dark, shadowy shapes as the last rays of daylight fade. Smoke wafts from Jasper's stone chimney. THROUGH THE WINDOW : Miriam sitting on the couch by the fire. Kee by the kitchen where Jasper is making tea. THROUGH A SECOND WINDOW : Theo alone in the hallway.

INT. JASPER'S HOUSE - HALL/LIVING ROOM - DUSK examining the tweed overcoat he took from the farm. It does n't have a lining. He tosses it on a chair and rifles through the other coats in Jasper's closet. He pulls out a navy pea coat, checks the lining and measures it for size. Past him, in the living room, Miriam has joined Kee who is inspecting Jasper's wall of photographs. Jasper walks up to - them with the tea. KEE How long have you known Theo? JASPER Met in him oh eight. The three of them looking at the wall of photographs. MIRIAM Was he the same tosser back then? JASPER A different kind of tosser. Jasper's eyes fall on the photo of Theo and Julian JASPER -LRB- CONT'D. -RRB- He claimed to have fled America because of the Patriot Act witch hunts that were going on at the time. But it was obvious he came to Pembroke for Julian Theo calls out from across the hallway. THEO Can I have this? -LRB- re : peacoat. -RRB- JASPER Be my guest. Theo crosses to the table in the corner of the living room and begins to rip out the seam of the coat lining. JASPER -LRB- CONT'D. -RRB- -LRB- back to the girls. -RRB- Theo was reading P.P.E. -LRB- off Kee's look. -RRB- Politics, Philosophy, Economics. Miriam and Kee look at a photo of Theo in his robe on the Pembroke campus. JASPER -LRB- CONT'D. -RRB- He wrote this amazing paper. `` The ripple effect of class and racial prejudice on the low - income worker.'' He was gifted. But he chose to drown his talent in single malt Scotch. Miriam glances at Theo, who is absorbed with his work on the pea coat, ripping open the lining. KEE Because of Julian? JASPER Perhaps. She was a good excuse. But it would have happened anyway. Everyone gave up. -LRB- off Kee's look. -RRB- Not right away - in the beginning, most of us held on. Things changed slowly. Despair grew as the noise from the playgrounds faded. He looks at Sandra's photo of a pair of young girls gathering shells on the beach. JASPER -LRB- CONT'D. -RRB- Very odd, what happens in a world without children's voices. Theo is busy stuffing his money under the pea coat's lining.

EXT. BEACH - DAY A glistening blue wave, rolling luxuriously toward the beach. The wave slowly ebbs. and we become aware of a figure lying in the sand. perhaps asleep. Empty liquor bottles poke up from the sand. Another frothy wave rolls in, just reaching the still, prone figure, his back to us. Past him, a woman is hurrying out of the surf, her shorts and top soaked. She's smiling, lifts a beach ball from the sand And we can make out, now, that it's Sandra. SANDRA Hey. rebel with a lost cause - And she tosses the beach ball playfully at the prone figure. Then, oddly she starts singing. SANDRA -LRB- CONT'D. -RRB- -LRB- singing. -RRB- London calling to the faraway towns / Now that war is declared - and battle come down / London calling to the underworld / Come out of the cupboard, all you boys and girls - The figure slowly turns over, and we see that it is Theo. He looks hung over, confused. He squints up at Sandra, into the blinding daylight.

INT. JASPER'S HOUSE - NIGHT Theo opens his eyes. Jasper is shaking him awake. The driving beat of the Clash's `` London Calling'' louder now. JASPER Theo. wake up. THEO Wha - what? Theo looks around, getting his bearings. The MUSIC is some sort of alarm.

INT. GREENHOUSE - DAYBREAK Dark. The door flies open and Jasper and Theo rush in. Miriam a few feet behind them. Theo and Jasper stare at a bank of video monitors. MIRIAM What is it? ON THE SCREEN, the vague infrared image of a car pulling up to the perimeter of Jasper's property. Then, a second car. Both cars rolling slowly forward with their headlights off. The first car stops. The passenger door opens, and a man gets out and stares at the fake bushes that obscure the road to Jasper's home. The man gazes upward. it's Luke. THEO Shit. Jasper turns to a second monitor : More Fishes piling out of the two cars. Patric and Ian join Luke and have a discussion. Luke gestures toward Jasper's fake bushes.

EXT. JASPER'S HOUSE - DAYBREAK Jasper is behind the wheel of the Vauxhaul. Theo, at the back of the car, pushing it down the drive. The Vauxhaul gains momentum and Jasper pops the clutch. The car shutters, then - VA - ROOM! Theo breathes a little easier. Miriam and Kee hurry out the door of the house. Theo swings Open the passenger door for them. Jasper gets out of the car and. JASPER -LRB- to Theo. -RRB- You drive. Jasper removes a fake hedge from the back of his yard. Behind the hedge : a path through the woods. Theo slides behind the wheel, pulls onto the path. From the other direction, the SOUND of cars approaching. THEO Jasper! C'mon! Jasper rushes to the passenger's side door. He passes Theo his backpack through the open window. JASPER Follow this path to the main road. Then make a right and follow the map I gave Miriam. THEO What are you talking about? Get in. JASPER Wait for Syd on Watchbell Street - in Rye. He'll find you. Just give him the money and do as he says. THEO Get in! Jasper shakes his head no. JASPER I'm not going, Theo. Jasper's tone is matter - of - fact. JASPER -LRB- CONT'D. -RRB- You'll need time. This way I can stall them. It's the best plan, amigo. Theo leaps out of the car, hustles up to Jasper. JASPER -LRB- CONT'D. -RRB- I'll convince them you went off toward Windsmore. THEO Get in the car! Theo tries to grab him but the old man ducks away. JASPER Theo, you'll get us all killed! You know I'm right! The RUMBLE OF the Fishes' cars growing closer. JASPER -LRB- CONT'D. -RRB- I've talked myself out of worse. Miriam pokes her head out the window. MIRIAM Hurry! Again Theo lunges and again Jasper dodges, but now Theo gets him by the arm. JASPER `` The only reason we breathe is to make a difference.'' Your words - not mine. Theo is lost. He loosens his grip. Jasper backs away. He replaces the fake hedge behind the Vauxhaul, blocking the view of the car and the trail. WITH THEO Grim expression on his face as he gets into the Vauxhaul. Pulls out onto the trail.

INT. VAUXHAUL - DAYBREAK The Vauxhaul climbs the slope, following the trail, and is soon obscured by the trees. JASPER'S HOUSE - DAY Jasper enters the living room. He flicks on the stereo, cranks the volume, BLASTING `` Ruby Tuesday. He sits down in his chair facing his wall of photos, his eyes on one of Sandra. Through the windows - the dark shape of the Fishes' car.

INT. VAUXHAUL - DAYBREAK Theo at the wheel. Miriam and Kee in back. Theo's face is set as the car winds up a steep path through the woods, emerging out on the.

EXT. HILLTOP - DAYBREAK hilltop. Theo stops at the top of the hill. He gets out of the car, hurries to the edge of the ridge. In the distance he can see Jasper's home. A couple of Fishes stand outside the door. Jasper between them, seems to be calmly deflecting their questions. From here, they look slightly larger than black dots. Then, Patric hurries out the door, holding the tweed overcoat Theo took from the farmhouse. He shoves Jasper now, shouting questions. The Fishes circling Jasper ; someone pushes him roughly to the ground. One of the Fishes pulls a revolver, and we hear the flat POP of a gunshot. They shoot Jasper in the foot. He crumbles in pain. They continue to question him. Unhappy with Jasper's answers, they shoot him again, in the hand this time. Theo watches helplessly, the ordeal tearing his heart out. Patric lifts Jasper from the ground and the old man appears to break, yelling out and pointing down the road. The Fishes seem satisfied. Luke moves in, takes the pistol from one of the others and aims it at Jasper's heart. POP. and it's over. Theo stares.

INT. VAUXHAUL - DAYBREAK Theo slides in, looks at Miriam and Kee. KEE Jasper? Theo does n't respond. MIRIAM Where's Jasper? A long beat, then Theo releases the brake. MIRIAM -LRB- CONT'D. -RRB- Theo. Jasper? Theo answers with a look. Not another word. Theo puts it in gear, floors the accelerator. The Vauxhaul bounces through the woods, out onto. AN ABANDONED COUNTRY ROAD. and speeds down the wide, deserted road, toward Rye.

INT. VAUXHAUL - DAYBREAK Theo staring silently and darkly out the windshield. Miriam and Kee consumed by grief. Shadows from the muddy windshield pass over their faces like tears.

EXT. RYE - DAY The Vauxhaul putters down the empty streets of the - ghost town suburb. Turns left, down a narrow street. THE SUN A bright orb high in the sky. Cicadas DRONING. THROUGH THE WINDSHIELD Part of a windshield wiper. past it, the sky. A bee buzzes, banging against the glass. THEO in the driver's seat, waking up. He's alone in the car. He watches the bee beating its head against the windshield, trying to get out.

EXT. ABANDONED SUBURB - DAY WIDE as the car door opens and Theo gets out, looks around at a vast, empty suburb. Handsome homes with overgrown yards stretch out as far as the eye can see. Theo stares out at the empty streets, empty yards. It's eerily quiet. Miriam and Kee are nowhere to be seen. Christmas decorations adorn the overgrown lawn of the nearest house : gnomes and giant mushrooms and lawn elves. The front door is missing. Inside, a flash of movement.

EXT. TWO-STORY HOUSE - DAY Theo steps up on the porch of the door - less, two - story home and peers inside.

INT. HOUSE - SAME Dust particles in the sunlight. The house looks untouched. large rooms full of dusty furniture. Paintings on the walls. Apparently once the home of the well - to - do. Theo walks inside. spots Miriam in the kitchen, snooping around. He watches as she PINGS various pots and pans that are hanging from a rack. She turns on the faucets, nothing comes out. Theo looks around the empty living room in silence.

EXT. PORCH Theo steps out on the porch. He sees Kee by the side of the house, walking across an overgrown lawn toward a wooden fence. She seem drawn to something. a child's swing. Kee slips though a hole in the fence and walks over to it and sits. FOOTSTEPS APPROACHING. it's Miriam. She joins Theo. MIRIAM Three o'clock. He should be here in half an hour. Theo is still looking at Kee in the swing. Miriam follows his gaze. both of them looking at Kee : a picture of innocence. MIRIAM -LRB- CONT'D. -RRB- I was 27, a midwife in the maternity department of the John Radcliffe. I was doing a stint in the antenatal clinic. Three of my patients miscarried in the same week. The mothers were in their fifth and sixth month. We were able to save two of the poor babies. The following week we had five more miscarriages. Then, the miscarriages began to occur earlier. Kee gets out of the swing, walk behind a tree. Theo averts his eyes as she squats to pee. MIRIAM -LRB- CONT'D. -RRB- I remember booking a patient for her next appointment and noticing that the page seven months ahead was blank. Women usually booked after they'd missed a second period, some as soon as they missed one. But there it was - Not a single name. -LRB- turns to Theo. -RRB- You can relax. She's finished. Kee is approaching them now. Miriam looks back at the child's swing, still swaying slightly. MIRIAM -LRB- CONT'D. -RRB- I thought, what's happening to the women in this city? So I rang a friend who was working at Queen Charlotte's. She did n't have any new pregnancies either. She then telephoned her sister in Sydney. It was the same there. Behind them, moving down the street on a distant slope, unnoticed, some sort of vehicle approaches. MIRIAM -LRB- CONT'D. -RRB- I often wonder if I was one of the first to know. I was there at the end. -LRB- looks at Kee. -RRB- Now I shall be there at the beginning. Theo notices the vehicle now - a Humvee - intermittently visible past the homes. Miriam turns, Kee looks up. They all watch as the Humvee moves ominously closer. THEO Let's hope Syd's in the habit of showing up early. And he leads them out onto the street, into the open. KEE So it's him then? MIRIAM Who else would it be? Miriam raising her hand to wave. Apparently the driver sees them - because the vehicle speeds up. They watch in silence as the Humvee races down the street toward them. The Humvee is almost on them when. TAT! TAT! TAT! TAT! TAT! - as the remote machine gun on the cab swivels - Bullets sail over their heads. THEO Fuck! To the house! Theo grabs Kee's hand, pulls her toward the house and. VOICE -LRB- SPEAKER. -RRB- Stop! And TAT! TAT! TAT! Shingles fly from the roof of the home behind them. VOICE -LRB- SPEAKER ; CONT'D. -RRB- Or I'll shoot to kill! Theo, Kee and Miriam freeze. They turn toward the Humvee. but ca n't see through the tinted windows. VOICE -LRB- SPEAKER ; CONT'D. -RRB- Hands where I can see them! Get down on the ground! MIRIAM We're looking for Syd! VOICE -LRB- SPEAKER. -RRB- ON THE GROUND! KEE Jasper told us to come! A beat, then. VOICE -LRB- SPEAKER. -RRB- You have something for Syd? Theo holds up Jasper's backpack. The tinted driver's window lowers. VOICE -LRB- SPEAKER ; CONT'D. -RRB- Toss it inside! Theo tosses the backpack through the open window. The window rolls back up. Theo, Miriam and Kee, exchange looks. The window rolls down. A BORDER COP leans out, smiles. BORDER COP/SYD -LRB- extends his hand. -RRB- Say hi to Syd.

EXT. ROAD - DAY A Humvee moving along a muddy road.

INT. HUMVEE - DAY Syd is behind the wheel, smoking a cigarette. Mid - 50's, stout, lifelong cop. He loves his mother but would sell her for the right price. SYD Wiggy old bastard. So proud of his weed. Always asking more than it was worth. Theo, Kee and Miriam sit in back, behind a metal mesh divider. SYD -LRB- CONT'D. -RRB- Could get the same shit - way cheaper - from the Zeds, but Syd likes buying from him. Straight chap, a true gentleman. God bless him. Kee MOANS with sudden pain. She shoots a look of alarm at Miriam. SYD -LRB- CONT'D. -RRB- What's with the Zed? She sick? MIRIAM Nothing. Miriam takes Kee's hand, reassuring. SYD She's not going to puke, is she? Ca n't wash out puke. Smell never goes away. MIRIAM She's fine. The Humvee rolls alongside a cyclone fence topped with a swirl of razor wire. SYD Usually it's people trying to get out of Bexhill, not in. Syd does n't know why you want to get in, Syd does n't wan na know, Syd does n't care. Theo and the others look past the fence : two miles away, the sad town of Bexhill. Beyond that, the sea. SYD -LRB- CONT'D. -RRB- When they release you, stroll out with the rest of the detainees. You'll see a statue of a soldier. There you'll meet Marichka. She's an Arab, gypsy or something, always has an annoying piece'a shite little dog with her. She'll arrange fine accommodations for the night. Through the windshield, up ahead, a gate in the outer fence. A pair of Immigration Control buses waits next to a small outcrop of buildings. Syd glances back at his passengers. SYD -LRB- CONT'D. -RRB- You're fewgees now. So show Syd a big sad face, come on, let's see them. -LRB- shows them a sad face. -RRB- C'mon, sad fewgee face. And do n't speak English. No such thing as an English fewgee. Syd pulls to an abrupt stop outside the gate. SYD -LRB- CONT'D. -RRB- It's been Syd's privilege to serve you.

EXT. GATE IN THE OUTER FENCE - DAY Syd gets out of the Humvee, addresses the DOZEN SOLDIERS who are waiting near the buses, finishing their smokes.

INT. HUMVEE - CONTINUOUS Theo looks at Kee with concern. Kee suddenly doubles over, reacting to a sharp pain. THEO What's wrong with her? MIRIAM She had a contraction. It's normal. Probably from the exertion. Syd YANKS the doors open. SYD All right, fewgees. Out! Move!

EXT. ROAD -- CONTINUOUS Theo slides out of the Humvee, helping Kee down, Miriam following. Walking to the `` IMMIGRATION CONTROL'' bus - an old school bus, painted over black, bars on the windows. SYD Go on, get in.

INT. IMMIGRATION CONTROL BUS - DAY The steel cage door opens and the trio climbs on board. They make their way down the aisle, looking for a seat. Forlorn, malnourished, desperate, trapped faces of captured refugees stare back at them. The bus lurches forward. Kee MOANS as she's rocked by the sudden jolt. Miriam steadies her, finds her an empty seat. MIRIAM Here. She helps Kee into a seat and sits next to her. Theo sits across the aisle. Theo feels a tug on his shirt. He turns : it's a withered old COUPLE, filthy, pitiful, hungry. The Old Woman puts her fingers to her mouth, pleading for food, utters a few words in German. Theo turns away, staring out the window.

EXT. ROAD - DUSK The bus traveling down the road - approaching Bexhill.

INT. IMMIGRATION CONTROL BUS - DUSK Theo looking out at the ghetto - city. He turns to Miriam. THEO What time are we supposed to meet the boat? MIRIAM Sunset - Tomorrow. THEO How can we be sure Luke has n't diverted the boat back to Iceland? MIRIAM -LRB- shakes her head. -RRB- Luke has no way to contact the Human Project. Nor does anyone else. This seems to satisfy him for a moment. then. THEO Come again? MIRIAM Communication with the Human Project is done through mirrors. Julian was one of the mirrors. THEO You lost me, Miriam. MIRIAM Mirrors. Someone contacts one of our cells. That cell contacts another and so on. down the line until word reaches Julian and Luke. Theo lets this all sink in. THEO You mean you never actually talked to any of them? Like a game of telephone? KEE Uhh! Kee reacts to a shooting pain. THEO -LRB- low, to Miriam. -RRB- Do n't fucking tell me you never even talked to them! But Miriam is focused on Kee, who doubles over as her contraction peaks. KEE Uhhh! Other refugees turn. Theo realizes Kee is drawing attention. THEO -LRB- whispers to Miriam. -RRB- You sure this is normal? MIRIAM -LRB- quietly. -RRB- Should n't be this frequent. She's only in her eighth month. -LRB- to Kee. -RRB- Breathe through them. Just breathe. KEE Ca n't fuckin' breathe - Theo looks outside : the bus stops at a CHECKPOINT illuminated with spotlights. One bus already ahead of them. KEE -LRB- CONT'D. -RRB- Miriam. I'm all wet. Water drips down her leg, forming a tint puddle on the floor. MIRIAM Her water broke. This baby's coming. THEO She ca n't have the baby now. MIRIAM -LRB- glares at Theo. -RRB- You want to tell that to the baby? Kee reacts to the beginning of a new contraction. KEE -LRB- gritting. -RRB- Uhhh. MIRIAM Just breathe, sweetie. Breathe in. breathe out. Everything is perfect. Remember, the knowledge or all women who've ever given birth is with us. -LRB- to Theo. -RRB- How long until we're there? THEO They're checking a bus ahead of us.

EXT. CHECKPOINT - CONTINUOUS Theo's bus is stopped behind another bus. The checkpoint is wired off with steel fence, trimmed with razor wire. From the bus in front, Police violently yank off three black refugees, vicious dogs barking at them.

INT. IMMIGRATION CONTROL BUS - CONTINUOUS Kee breathing through a contraction. MIRIAM What's going on? THEO I do n't know. Theo looks out the window and sees Police forcing the black refugees to their knees. Dogs barking. Refugees pleading. One of the Police hits a refugee with a rifle butt - the man collapses. Another Police Officer kicks the fallen victim. INSIDE The overhead lights flick ON, shine harshly on the passengers. Kee is still breathing through her contraction. Two POLICE OFFICERS enter the bus, one holding a guard dog on a leash. They walk slowly down the aisle, checking the faces of refugees. A couple of refugees react to Kee's labored breathing, looking back at her. Theo and Miriam turn to Kee, concerned. MIRIAM Shhh. The 1ST POLICE OFFICER glares at a REFUGEE, who averts his eyes. 1ST POLICE OFFICER Look up! -LRB- no response from refugee. -RRB- Look up, you piece of shite! The 1st Police Officer pulls the refugee up by his hair. 1ST POLICE OFFICER -LRB- CONT'D. -RRB- Out! REFUGEE -LRB- pleading. -RRB- Pieta', pieta', no, no, no, ti prego, un po' id compassione. The 1st Police Officer keeps walking. The 2ND POLICE OFFICER drags the Refugee to the front of the bus, pushing him out the door. Now, the guard dog starts BARKING. Theo, Miriam and Kee tense, as the dog pulls the 1st Police Officer forward. The dog stops in front of Kee, BARKING at her, smelling something it has never smelled before. The 1st Police Officer scrutinizes Kee : she is breathing hard, Clutching the seat in front of her, looking at the floor, in the middle of a contraction. 1ST POLICE OFFICER -LRB- to Miriam. -RRB- What's wrong with her? Miriam frozen with fear. The dog barking. The Officer hands the dog's leash to his partner and steps closer. 1ST POLICE OFFICER -LRB- CONT'D. -RRB- -LRB- angry. -RRB- I said, what's wrong with her? The Police Officer grabs Kee's hair, twisting her face toward him. Kee's eyes wide, wet, terrified. Miriam springs up. MIRIAM -LRB- shakes her head no. -RRB- Rien! Rien! The Police Officer lets go of Kee. Theo watches but there's nothing he can do as the cop turns his attention to Miriam. 1ST POLICE OFFICER Sit down before I slap you down. Miriam holds her ground. MIRIAM Elle est bien! S'est necessaire que elle dorme. Laisse elle tranquille! The cop stares at her a moment. 1ST POLICE OFFICER Are you French? Fran - say? MIRIAM Oui! Laisse elle tranquille! S'il vous plait! 1ST POLICE OFFICER -LRB- to his partner. -RRB- A Fuckin' Frog, Teddy. The 2nd Officer approaches. The 1st cop tuns back to Kee. 1ST POLICE OFFICER -LRB- CONT'D. -RRB- You. Get up! Theo's mind is racing as the cop reaches for Kee and. THEO -LRB- with an accent. -RRB- Caca! The Police Officer turns to Theo. 1ST POLICE OFFICER What? THEO Cacao Caca, piss. Theo points to the floor. The Police Officer sees the puddle. Does n't want to get his shoes dirty. Steps back away from Kee. THEO -LRB- CONT'D. -RRB- Caca, piss, girl, big mess. Smell! The Police Officer recoils. 1ST POLICE OFFICER Smell it yourself. Jesus almighty! A beat and the cop turns away disgusted, starts off, then turns to his partner, seems to have just remembered Miriam and. 1ST POLICE OFFICER Get the French monkey outta my sight! And the second cop grabs Miriam by the hair - THEO -LRB- under his breath. -RRB- No. Miriam, shoots a parting look at Kee as she takes the bullet, does n't resist as the cop drags her out the door of the bus. Theo and Kee watch in shock. The doors close, the bus jerks forward. Theo looks out the back window and sees Miriam, standing with the rest of the detained refugees. In the b.g., a second bus waits. KEE What's going to happen to Miriam? THEO I do n't know. The image of Miriam receding as the bus pulls away.

EXT. BEXHILL - GATE - DUSK The bus pulls up Too the BEXHILL FENCE - the high steel fence that walls off the prison city. Hopeless faces peer out through the gaps. The bus doors open. Refugees pile out, guard dogs nipping at their heels. Theo helps Kee down. Chaos. Guards wield nightsticks, herding the group through the final gate into.

EXT. RUINED SQUARE - CONTINUOUS Bexhill. Theo and Kee look around, disoriented, lost. surrounded by a teeming mass of humanity. Hustlers and touts rush the fresh arrivals SHOUTING at them in a myriad of languages, aggressively looking for easy scores. A TOUT wearing glasses with a cracked lens moves in front of Kee. TOUT -LRB- Norwegian accent. -RRB- You need a room? Room? Kee and Theo ignore him, pushing past. but he's suddenly in her face again. TOUT -LRB- CONT'D. -RRB- Nice room for you! THEO Fuck off! Theo leads Kee through the cacophony of strange sounds, smells. Kee suddenly stops, doubles over - a new contraction. The flow of refugees keeps pushing behind them, Kee trying to mask her pain, but. KEE BLOODY HELL! Theo holding Kee for support. KEE -LRB- CONT'D. -RRB- I ca n't stay here, Theo! Theo looks out at the crowd. A roiling sea of humanity. For a moment, Theo looks lost. THEO Just hang on He rip. into the crowd, moving past improvised tent - like structures. He spots a statue of a soldier, nearly hidden by a pile of debris. Theo circles the statue, a WWI soldier holding a bayonet rifle, charging. The plaque reads : `` The Lost Generation.'' YAP! YAP! A tiny runt dog nips at his heels, scaring the hell out of him. THEO -LRB- CONT'D. -RRB- Shit. Theo turns to see a WOMAN : olive skin, 40, the exhausted eyes of someone who accepts life's hardship as fate. She's learned when to duck. THEO -LRB- CONT'D. -RRB- Marichka?

EXT. STREETS OF BEXHILL - NIGHT The rickshaw crosses through the dark streets. Theo and Kee in the back. MARICHKA in front, wrapped in an old wool coat. The dog on the handlebars, enjoying the breeze. Kee looks out at Bexhill. Remnants of the happy times : a sign for a fun house, what's left of the facade of the Bexhill Aquarium. Small, Jury - rigged plastic tents around the sidewalks. People warming their hands around scattered piles of burning rubbish, watching the passing rickshaw ; suspicion in their eyes. Theo notices graffiti spray - painted on the side of a building. the words `` The Uprising'' above a drawing of 5 fish lined up in a row. Before he can consider the implications. Kee is struck by another painful contraction. KEE -LRB- in pain. -RRB- FUCK! Kee doubles over. KEE -LRB- CONT'D. -RRB- You have to help me, Theo. THEO Sure, sure. We'll be fine. Kee grabs his hand, grips it tightly. Theo forces the most reassuring smile he can muster, then he looks away, and we see it on his face - fear.

INT. STAIRWAY - BUILDING - NIGHT The dog hopping up the stairs, Marichka next, holding a butane lantern, leading them up the dark stairwell. Kee stops suddenly, holding herself against the wall, in pain. KEE FUCKING! LITTLE SHIT! BASTARD! THEO Breathe through it. KEE FUCK! THEO That's It! One more flight. Marichka starts prattling to them in Romanian -

INT. BARE APARTMENT - NIGHT The door opens. The little dog scampers inside, uses a chair as a springboard, leaps onto the table and, through the broken window, yaps his presence to the dogs barking outside. Theo helps Kee on the table. Marichka sets the butane lamp in the table. The room is bare, peeling walls, broken window panes, a rough mat on the floor. Cold enough to see your breath. Theo immediately pulls the mat to the center of the room. Kee doubles up with another contraction - KEE Fuck all! Marichka trying to explain something they can not understand, pointing at two BUCKETS of water, the dog yapping and yapping. KEE -LRB- CONT'D. -RRB- -LRB- to Theo, re : Marichka. -RRB- Make her go. Theo move to Marichka, escorts her out the door into the hallway.

INT. HALLWAY - CONTINUOUS From inside the room, Kee screams. Marichka looks at Theo, alarmed. THEO -LRB- to Marichka. -RRB- She's fine, she's fine. Marichka stares at him blankly. KEE -LRB- O.S. -RRB- Get her fucking out! Marichka is still staring, concern in her eyes. THEO -LRB- to Marichka. -RRB- Go! Look for Miriam. -LRB- hands her money. -RRB- Mir - ia - am. MARICHKA Santo! The little dog comes bounding outside. Theo shuts the door.

INT. BARE APARTMENT - SAME Theo helps Kee lower herself onto a mat. He removes his jacket, putting it under her head. THEO Just relax, now. KEE You know ` bout this? THEO Oh sure. In the old days, in New York, I did a stint as a cab driver. Bunch of times : couple's on the way to the hospital, we get stuck in traffic, I deliver the baby in the backseat. Bunch of times. He looks at her, then slowly adjusts her knees in what might be a proper position. THEO -LRB- CONT'D. -RRB- -LRB- tentatively. -RRB- I'm uh. just gon na see what's happening. See how things are progressing. Theo slowly hikes up her dress. His expression : as if he were looking at a half - assembled engine. He does n't know where to begin. KEE Well? THEO You're uh. pretty far along. That's good. Theo looks toward the door, waiting for a miracle, hoping Miriam will walk through it. Nothing but silence. He goes to the window, looks out the dirty pane into the street. Deserted. He waits, still nothing. Another painful MOAN from Kee. He takes out his flask, looks like he wants to drink it, but instead, pours the alcohol over his hands, washing them. He walks back over to Kee, looks down. THEO -LRB- CONT' D ; CONT'D. -RRB- -LRB- low, lost in his own world. -RRB- Jesus Christ. KEE What? THEO -LRB- snapping out of it. -RRB- I think you're pretty close. Kee writhes in pain, SCREAMS. THEO -LRB- CONT'D. -RRB- Now just lie there and let your body take over. Get in touch with your body like Miriam said, that thing about tension. KEE I ca n't! THEO You can! Just breathe, breathe like Miriam taught you. relax, and when you feel like it, push! KEE I ca n't fucking do it! THEO Yes you can! Breathe and push! KEE Fuck you! It hurts! THEO Fuck you! Push! -LRB- then. -RRB- All the women who've ever given birth are with you! Kee pushes - her breath visible in the cold room. KEE Fuck all! THEO That's it. Just like that. Keep breathing. Breathe in. breathe out. Kee clutches Theo's hands harder - although we can see her breath, she is covered in sweat. THEO -LRB- CONT'D. -RRB- -LRB- bending lower. -RRB- Push! It's working goddamnit. I think it's actually working! Kee pushes with all her might. Theo witnesses this, utterly amazed. THEO -LRB- CONT'D. -RRB- I can see its head! Kee screams - excruciating pain - fear. She pushes - the head stretching open the vagina, coming through. THEO -LRB- CONT'D. -RRB- Push! Theo holding onto Kee, blown away. THEO -LRB- CONT'D. -RRB- You're doing great. Kee looks up at Theo, her face wet with sweat and tears, a little reassured. Theo watches : the baby's blue head emerges completely. THEO -LRB- CONT'D. -RRB- Keep doing what you're doing. Kee pushing - the rest of the baby's body flowing out in a stream of blood. Theo supporting the emerging infant. THEO -LRB- CONT'D. -RRB- Here he comes, here he comes. KEE PUSHING MIGHTILY - THEO You're nearly there. Kee screaming as she taps a reservoir of female strength, giving her body over to the new life coming through it, to life itself, the miracle KEE FUCKING GOD! - the baby bursts forth, a bloody explosion of life. Theo pulling it free, still hooked by the umbilical cord, the placenta spilling out in a bloody finale - There is a moment, a pause. For the first time in eighteen years, four months, two days, sixteen hours and eight minutes, a human child has been born. Theo holds the newborn baby, all blue, covered in white specks, steam rising from the tiny body in the cold room. KEE -LRB- CONT'D. -RRB- How is he? But Theo does n't answer. he's stunned, holding the baby. then. THEO Actually, it's a girl. KEE Lem me see her! Theo helps Kee lie back dom on the mat. Gives her the baby. He walks to the broken window and plucks a shard of glass. He pulls out his flask, takes a quick drink then pours the rest of the alcohol over the glass. THEO I have to cut the cord. I do n't think It's gon na hurt. Theo moves the shard of glass from one spot on the umbilical cord to another - unsure where to cut it. Then takes a breath and makes a decision and SLICES. The cord splits, spurting a bit of blood. Theo takes a bracelet from Kee's wrist, ties it to the stump left on the baby. Theo takes off his shirt and cleans the white, cheese - like residue from the baby. KEE Hey you. my boo, bloo. look at you. The baby CRIES, a strident, rhythmic scream that shatters the night. Kee puts the baby to her breast. Instinctively, the child nurses. Theo watches, amazed. KEE -LRB- CONT'D. -RRB- Cheedo, eh?

EXT. BEXHILL - NIGHT The Bexhill skyline. Battered three and four - story buildings blending into the black night. It's silent. Even the dogs have stopped barking. In one small window, a dim light glows - the silhouettes of Theo and Kee beholding this new life. The SOUND OF THE SURF FADES IN.

EXT. BEACH - DAY WHITE OCEAN FOAM tops a wave, blue and glistening, rolling luxuriously toward the beach. The backlit woman in the sarong, her beautiful form moving closer. Theo in the sand, smiling, in heaven. as she approaches. Theo shades his eyes as she nears. and now we see. the woman is Kee, but she's not carrying a drink. She's carrying a baby, smiling and laughing. She walks right by Theo. He looks down the beach after her, is blinded by a blazing sun. Theo leans back - the texture of the sun and sky decays. seems less real, like a mixture of reality and watercolor, and the sounds of the rolling surf slowly give way to distant HELICOPTERS. sporadic GUNFIRE. and a dog YAPPING.

INT. BARE APARTMENT - EARLY MORNING YAP! YAP! Theo opens his eyes, waking up on the floor, his coat pulled over him, getting his bearings : The first morning sun seeping into the empty room. Kee still sleeping on the mat, the baby on her chest. YAP! YAP! The barking is now outside the door. FOOTSTEPS following. Theo creakily gets to his feet. Someone PUSHES the door. But a chair wedged against it holds it shut. Kee is awake now, looking at Theo. Whoever is outside gives the door a powerful shove, and the chair skids forward, about to give. VOICE -LRB- outside. -RRB- C'mon, we do n't have much time! Open the bloody door! THEO Who is it? Kee wraps her cloak around the baby, hiding her. In the distance, a staccato burst of gunfire. SYD -LRB- O.S. -RRB- It's the Queen of England, can you spare a cup of tea? It's Syd, you fool. Open the door. Theo pulls the chair away and Syd shoves his way in, Marichka behind him. SYD -LRB- CONT'D. -RRB- Did n't you hear the bomb last night? City's gone to hell. Santo is now running around inside, yelping. SYD -LRB- CONT'D. -RRB- What's with the Zed? THEO She's fine. Some woman's thing. Santo is on the scent, sniffing at Kee, yelping. SYD A few hours ago part of the fence got blown up, and a group of fewgees escaped. The army came in, they're trying to control the situation. But Syd happens to know that hole in the fence is not about the fewgees getting out, it's how the Fishes get in. KEE -LRB- to Theo. -RRB- Luke? SYD -LRB- ignoring Kee. -RRB- Syd does n't know what they want, but the Fishes have guns and the fewgees are armed to the teeth - It's gon na be a fucking mess and this time the army will bomb the shit out of this place. Syd's got ta get you out of here. THEO We have to get to a boat. Santo keeps yapping at Kee. KEE -LRB- to dog. -RRB- Go on, piss off. Santo wo n't leave. Kee kicks him. Santo yelps, retreating. Marichka yells at Kee. Then - CRYING. From the baby. Rhythmic, loud. The dog comes charging again. KEE -LRB- CONT'D. -RRB- Get your fuckin' dog! Kee kicks the dog again. MARICHKA Santo! Marichka grabs her dog. The baby still crying loudly. Kee puts the baby to her breast. The baby quiets, nursing. SYD The hell was that? Santo still yapping in Marichka's arms. Marichka gives Santo a little slap, shutting the dog up. Silence - except for the sound of the baby nursing. SYD -LRB- CONT'D. -RRB- What is that? THEO I'll explain - can you get us a boat? SYD what you got there? Let Syd have a look. He moves closer. Pulls back Kee's cloak, revealing the BABY, at her breast. SYD -LRB- CONT'D. -RRB- Bloody Christ. Marichka approaches. Kneeling, seeing.the baby, stunned. SYD -LRB- CONT'D. -RRB- It's a fuckin' baby! THEO That's right. We've got a baby. Now we need a rowboat. Syd starts pacing. Theo pulls out a wad of bills, puts them in Syd's hand. THEO -LRB- CONT'D. -RRB- -LRB- firmly. -RRB- Today. Oddly, Syd hardly notices the bills in his hand, keeps pacing. SYD Hush! Hush! Syd's trying to think here! Marichka reaches out with her finger. She looks to Kee, who nods her permission. Marichka touches the baby. Her face lights up, her eyes well with tears - she has touched a miracle. SYD -LRB- CONT'D. -RRB- Okay, okay. Get her up. We've got to go right now. THEO Can you get us to the boat? SYD Sure, sure, sure. Just get her up! Come on, do it! Kee wraps the baby to her breast with her shawl. From outside, another burst of gunfire, closer. Marichka turns to Syd, talking to him, animated, adamant. THEO What's she saying? SYD Fuck knows. Marichka turns to Theo and Kee, prattling on, urgent. Marichka insistent, grabbing Syd's sleeve SYD -LRB- CONT'D. -RRB- Shut up! Basta! Syd pulls free of Marichka's grip. SYD -LRB- CONT'D. -RRB- Let's go. MARICHKA No! -LRB- points to Syd. -RRB- Bad! Bad, bad! KEE She does n't want us to go. Syd pulls out a gun. Marichka instinctively ducks to the floor, covering her head, pleading. SYD Okay, move. Let's go. KEE No! A standoff. In the distance, a mob chanting. THEO What do you want, Syd? BANG! Syd shoots he floor by Santo's feet. The dog yelps, scampering for Marichka's protection. Syd points his gun at Kee's forehead. SYD Move! THEO She's going. Theo turns to Kee. THEO -LRB- CONT'D. -RRB- I'll help you.

INT. STAIRWELL - DAY Theo carries Kee down the stairs, his flip - flops SLAPPING against the steps. Syd follows behind, gun trained on Theo. Marichka at Syd's side, still prattling on. SYD Last night, Syd gets home. Mommy's sleeping in front of the telly. She always does that, my sweet soul. Syd kisses her good - night. She has cancer, my mommy. Syd's about to turn off the telly - and there's your mugs. On the news. Couple of nasty pricks gunning down these cops - bam! bam! - you fuckers! Big reward. Then Syd finds out the Fishes are looking for you too. So Syd thinks, the cops are looking for them, the Fishes are looking for them, these blokes are bang - up commodities. And a baby? That's capital!

INT. STAIRS / LOBBY - CONTINUOUS The group descends the final flight of stairs into the empty lobby. Syd one step behind. Marichka next to him, ranting even louder. Santo yapping - SYD -LRB- to Marichka. -RRB- Shut the fuck up! He slaps her hard, silencing her. But as he turns back toward Theo, Marichka gives Syd a forceful shove and. he trips down the last few steps. his gun hand folding under him as he tries to break his fall and. Theo quickly puts Kee down, leaps toward Syd, who gets a SHOT off in the air before Theo lands. Theo's weight snaps Syd's head against the floor. Syd's stunned, his gun hand flailing like a snake as he struggles with Theo. THEO GO! And Marichka grabs Kee, guiding her toward the back hallway while Theo and Syd struggle for control of the pistol. Theo's hand - trying to muscle the gun away while Syd tries to point it back toward Theo. Theo's bandaged finger getting bent back - Theo screaming in AGONY as he pulls the trigger BAM! BAM! BAM! The bullets fly into the wall, plaster falling - BAM! BAM! two more shells - barely missing Theo's head, until the chamber CLICKS. CLICK. Empty. Syd drops the gun, reaches for Theo's throat. Theo gasps, trying to break Syd's grip. IN THE CORRIDOR Kee turns to Marichka. KEE Go - go help him! Marichka hurries back toward Theo. Kee leans against the wall, making sure her baby's okay. Syd tightens his grip around Theo's neck. Marichka spots the gun on the floor, grabbing the barrel and roundhousing it - SMACK! into Syd's face. Syd falls backwards. Marichka helps Theo get to his feet. Theo's still gasping for air as he looks down at Syd. Syd seems to be out cold. Theo and Marichka join Kee at the mouth of the corridor - they rush down the passageway and reach a door at the end of the hall. It's blocked with boxes and junk. Theo forces the door open. just enough space to pass. Marichka snakes through, out to a small alley, Santo following her. Then it's Kee's turn, but she ca n't fit through while holding the baby. From the alley, Marichka extends her hands. MARICHKA Baby, Marichka! Kee hesitates. Behind them, in the lobby, a groggy Syd getting up off the floor. Picking up his gun, loading it. Kee passes the baby through the doorway, fearing the worst. Marichka takes the baby. The point of no return. A moment. Marichka motions for Kee to follow. MARICHKA -LRB- CONT'D. -RRB- Come! Kee squeezes through the opening. Down the corridor, Syd stumbling toward them, gun in hand. Theo trying to squeeze out, but no one is helping with the door. And BAM! a bullet flies past his head.

EXT. ALLEY - CONTINUOUS Theo slips into the trash - strewn alley. SQUISH! Theo's expression - he's lost one of his flip - flops. His bare foot sinking in a mound of rotting garbage. Then POCK! POCK! POCK! Bullets pierce the door. He looks at Kee and Marichka. Both are on the left side of the door, while he's on right side. and POCK! POCK! two more bullets cut holes in the door. THEO -LRB- to the women. -RRB- Go! The women hurry down the alley. POCK! Another bullet pierces the door. Desperate, Theo digs through the trash at his feet. Worthless plastic, rotting food, a heavy old electric mixer. The door jerks open - Syd's face appears. He looks at Theo, furiously shoving his way out and. Theo swings the rusty iron mixer - SMACK! into Syd's face. Syd falls back inside. Theo stares at the door, ready for another round, mixer in hand. But there's no movement from inside. Theo drops the mixer and hurries to catch up with the others, one flip - flop on, one flip - flip off. AT THE END OF THE ALLEY Kee leaning against the wall, gathering her strength. Marichka peering around the edge of the building. Theo approaches. `` La Marseilles'' can be heard, chanted by an approaching mob. THEO -LRB- CONT'D. -RRB- You okay? KEE It hurts. THEO -LRB- to Marichka. -RRB- We need a boat. Theo picks up a stick, draws a rowboat in the sandy street. THEO -LRB- CONT'D. -RRB- A boat. Un bateau. Das boot. Capice? Marichka nods, points in a direction. Theo and Marichka take either side of Kee, helping her walk, Santo following. Theo's one bare foot bleeding. They turn the corner and. A mob marches toward them, more than fifty. A large flag billows, blue, white and red. VOICES Alons enfants de la patrie. They pass the mob, heading in the opposite direction. Passionate chanting, some wearing masks, all carry guns - modern semi - automatics, a few old Glocks. Theo and Kee stare : Nothing is surprising anymore. They pass a wall spray - painted with graffiti : five fish and the words `` The Uprising.'' Theo and Kee exchange a look.

EXT. FORMER BANK - DAY This street seems quiet, `` La Marseilles'' now distant. Marichka gestures, leading them into what once was the city courthouse, now covered with graffiti. Further down the street, on rooftops, men with rifles dart from building to building.

INT. FORMER BANK - CONTINUOUS Theo, Kee with the baby, Marichka and Santo, enter. Dozens of old shoes on the floor, neatly paired. They hear CHANTING - rhythmic prayers. It was once a bank, but now it's just skeletal remains : a few teller windows, pieces of tumbled Plexiglas. Past them, they see men kneeling on a carpeted floor, bowing toward Mecca in humble prayer. The bank now a makeshift mosque. Marichka guides Kee toward stairs at the end of the hall. Theo is still staring at the shoes.

INT. FORMER BANK - SECOND FLOOR CORRIDOR - CONTINUOUS At the end of the dark corridor, Marichka is bent down at a metal door, talking to someone through a low eye - slit. A tiny flashlight shines through the opening, at her face. A trembly voice on the other side of the door, in Russian : GEORGIAN MAN -LRB- O.S. -RRB- Nyet. Theo and Kee watch from the other end of the corridor. Kee leans on Theo, resting. On Theo's feet, a very worn pair of slippers. He looks up as Marichka waves forward, insistent, prattling. Theo helps Kee down the dim hallway. GEORGIAN MAN -LRB- O.S. ; CONT'D. -RRB- Nyet, nyet. As they approach the secure metal door, the flashlight from the eye slit shines in Theo's face. Marichka grabs Kee's cloak. The light shifts to Kee's face as she resists, but the cloak opens. The light tilts down, shining on the baby, eyes closed, feeding on Kee's breast. From the eye - slit, the flashlight shaking, a gasp.

INT. GEORGIAN MAN'S APARTMENT - DAY The ancient GEORGIAN MAN -LRB- 90 -RRB- stands beside his wife. The pale, withered WOMAN -LRB- 87 -RRB-, sitting in a wheelchair, hums a folk song as she carves the final touches onto an orange that she's cut into a swan. She presents the swan to Kee, who lays in bed eating some sort of potato stew, the baby asleep at her side. KEE Look at that. We're in a simple home that was once a banker's office. One table, two chairs, a gas burner, photos, a reproduction of Chagall's cow on the farm. And, in the clean, big windows, a few potted plants. Classical music playing. KEE -LRB- CONT'D. -RRB- -LRB- calls out. -RRB- Theo, they love my baby. Theo sits at the table, also eating stew, across from the old Georgian man. Marichka stands nearby, wolfing hers down - THEO We need a boat. The Georgian Man speaks in a trembly voice with thick accent. GEORGIAN MAN Why boat? THEO The Human Project is sending a ship for Kee. We have to be out in the bay at sunset. Theo holds out a handful of bills. A SOFT RAP at the door and the Old Georgian Woman hobbles for it. GEORGIAN MAN Human Project real? THEO It better be. The old woman opens the door. A MAN carrying a rifle steps in, thirties, Slavic features. He's an imposing figure, tall and broad. The butt of an automatic pistol is visible in his waistband. The Georgian Man wheels over to him. Theo watches the two men converse quietly in Russian. The younger man looks over at Theo with cold eyes. An amplified voice echoes from the street. VOICE -LRB- O.S. -RRB- -LRB- over loudspeaker. -RRB- The Warden has declared a State of Emergency! Everyone remain indoors! A curfew is now in effect! Theo moves to the window, looks out : A caravan of armored carriers and tanks move slowly down the empty streets. VOICE -LRB- CONT'D. -RRB- -LRB- over loudspeaker. -RRB- Anyone on the streets will be considered hostile and shot! England supports you and provides you shelter. Do not support terrorists. Then the same message repeated, translated into French. On top of the building across the street, men in masks armed with rifles run in the opposite direction of the tanks. KEE Theo? She's holding up her baby. KEE -LRB- CONT'D. -RRB- Come hold her. Theo walks to her. THEO I'd probably break her. Let Marichka. KEE I'm going to name her Froley. THEO Froley? KEE You do n't like it? THEO The first baby born in twenty years and you want to call her Froley? It sounds like a dog's name. KEE It's a good name. I like Froley. She smiles to hersellrf, her eyes closing. The Georgian Man and the Younger Man, SERGIUS, approach. Sergius stares in awe at child, finally turning to Theo. SERGIUS Sunset is five - thirty. Sergius's eyes sparkle disarmingly. GEORGIAN MAN Stay here for now. In one hour, you go. SERGIUS -LRB- mimics rowing. -RRB- I have boat. Theo holds out a fistful of 100 pound bills. Sergius closes Theo's fist on the money, not interested in it. Theo looks over at Kee ; she's fallen asleep nursing the baby.

EXT. FORMER BANK - DAY (HOURS LATER) Fog rolling in now. Sergius stands in the middle of the street, his senses on alert. Sporadic gunfire and shouting in the distance, but the street seems safe. He signals, and moves off. Theo pushes Kee from the bank in the Georgian Man's wheelchair. Marichka with them.

EXT. BAY STREET - DAY They move down the fog - shrouded street. A RUMBLING is heard. Santo stops, turns around and starts barking. The ground shakes. Through the fog. a silhouette slowly taking form. mammoth. A mechanical clatter drowning out Santo's barking. THEO Shit. IT'S AN ENORMOUS TANK. And it's close, coming right at them. Sergius darts into a cross street, turns to the others. SERGIUS This way! Theo pushes Kee toward the cross street. Marichka following behind. She looks back : Santo is still holding his ground, barking at the metal monster. Marichka races back for him. THEO Marichka! The tank looming closer, appearing larger. Santo losing his courage, whimpering, backing off. Marichka snatches up the dog and runs back toward the others, trying to catch up. DOWN BAY STREET They pass a long metal pole wedged in a sewer, buttressed by a mountain of broken concrete and debris - a barricade. Sergius gestures toward a narrow alley. Theo turns the wheelchair, veers toward the alley and stops. seeing a Basque man holding a machine gun. Sergius has seen him too. Theo follows Sergius's gaze. finds another armed Basque man. and another. and another. They are surrounded. A beat then. BASQUE MAN -LRB- in Basque. -RRB- Down! Down! Theo and The others scurry into the alley as the tank rolls down Bay Street - A metallic CREAK as the tank runs up against the metal barricade pole. The tank's tracks churn, but the pole holds fast. The Basque Man signals - BASQUE MAN -LRB- CONT'D. -RRB- Now! Now! The Basque men swarm into the street. ACROSS THE STREET More men surge forward - a flaming bottle hurled from a building EXPLODES against the tank. The ambush is on. NARROW ALLEY Sergius guides Theo and Kee through the alley. The distance and fog mask the carnage, but not the SCREAMS OF THE WOUNDED AND DYING.

EXT. WHARF STREET - DAY Three armored carriers cruise by. Theo and the others, huddled in a doorway, waiting for the formation to disappear into the fog. THEO -LRB- low, to Sergius. -RRB- Time? Sergius shows Theo his watch. SERGIUS Is okay. Close. The coast clear, Sergius leads Theo, Kee and Marichka into a quiet alleyway.

EXT. ALLEYWAY - DAY The alley seems a sanctuary from the fighting. The SHOOTING seems MUFFLED, distant now, fog obscuring the far end of the street. They stop near a courtyard with a small fountain. Sergius bends to lift a manhole cover near the fountain. SERGIUS Here. Theo helps Sergius pry the manhole cover up. Then, FOOTSTEPS. They drop the manhole cover as, from both ends of the alley, vague figures appear in the fog and circle around them. VOICES Drop your gun! Drop your gun! Drop your gun! Sergius spins, weapon in hand. Theo blocks Kee and the baby with his body. THEO Do n't shoot! Do n't shoot. VOICE Then drop the gun! Sergius lays the weapon down. SERGIUS Is safe! No gun. A man rushes in and grabs Sergius's gun - it's Patric. Other armed men surround the group. Patric moves to Theo and THUD! - slams his rifle into Theo's gut, knocks him to the ground. KEE Patric! From the fog, more FOOTSTEPS. Luke walking toward them, out of the mist. The tout with the cracked eyeglasses behind him. LUKE Get the girl. KEE NOOOOOO! And Patric and Ian subdue Kee. Luke squats down, eye level with Kee in the wheelchair. LUKE -LRB- to Kee. -RRB- You're safe now. Are you all right? Kee SPITS in his face. Luke suppresses his anger and takes out a handkerchief to wipe his cheek. THEO -LRB- struggling to his feet. -RRB- Let her go, Luke! You do n't know what you're doing! LUKE Oh no? Look around, Faron. It's happening! I did what Julian could n't. I called for The Uprising. And the people are responding. He gestures vaguely out at the sound of the gunfire. LUKE -LRB- CONT'D. -RRB- They're following me. And they have n't even seen the baby. -LRB- turns to Ian. -RRB- Detain Theo and the others. When Kee and I are far enough away and they can no longer cause trouble - let them go. He turns back to Kee, speaking in a gentle tone. LUKE -LRB- CONT'D. -RRB- Theo has been nothing but a thorn in my side, yet, I hold no malice toward him. -LRB- then. -RRB- Now we must go. -LRB- to the others. -RRB- Help her. Kee struggles, SCREAMS, as two of the Fishes grab her, holding her in the wheelchair as they hustle her away. Luke holds back, one last look at Theo and Marichka before turning to Patric LUKE -LRB- CONT'D. -RRB- -LRB- low. -RRB- Wait until we're far enough away. Patric understands. Luke leaves the quiet of the alley. Patric cocks his pistol, looks out into the street, waiting for Kee and Luke to turn the corner. As they disappear from sight. MARICHKA -LRB- begging. -RRB- Please, please, please. Patric points the gun at Sergius and POP! Shoots him in the head. Sergius falls backward, and Patric aims the pistol at Theo, finger on the trigger, and. BAM! BAM! Shots ring out. FROM THE OTHER END OF THE ALLEY An armored carrier is rolling toward them, two soldiers shooting from the turret. Patric fires back - POP! POP! Theo grabs Marichka and hustles her back to Wharf Street. He guides her to a doorway, Theo looks down the street and. FURTHER AHEAD. He sees Luke and his men pushing Kee, rounding the CORNER onto 3rd Street and. A TANK Shielding the group of soldiers SHOOTING at Ian and his men. THE CORNER Ian and his men hold their position, FIRING BACK, but are unable to stop the advancing tank. IAN -LRB- to the men. -RRB- Go! The two men peel off after Luke. Ian fires a few more rounds, then follows. WITH THEO Theo looks to his right : the tank advancing, soldiers marching, holding their fire, weapons trained, focused. And he musters his courage, runs out into the open, chasing after Luke and Kee. The soldiers are caught by surprise, a double - take before they BLAST AWAY. WHARF STREET. Theo runs, makes it across Wharf Street turning the CORNER He presses himself against the wall, catching his breath. He looks out and sees. UP AHEAD Luke and the Fishes fleeing with Kee. Ian and his men, not far behind. Theo trails after them. IAN turns, fires at Theo. THEO dives behind a stoop. AN ARMORED CARRIER emerges from the fog, cutting off the Fishes' escape. Luke gestures, leading Kee and the Fishes into a modern apartment building. Theo in hot pursuit when. Soldiers fire the back. TAT - TAT - TAT - TAT! One of Ian's men is hit in the back. Theo dives into a burned - out double - decker abandoned on the sidewalk across the street from the apartment building and.

INT. BURNED-OUT DOUBLE-DECKER falls on top of people huddled inside. SCREAMS of fear in SPANISH as bodies scramble away. Theo gets up. He's just crashed into crowded makeshift living quarters : mats butted along the floor of the bus, a stove in the middle of them. The inhabitants ducking for cover, a few peering out through the cardboard - covered windows. Theo bends the cardboard back from the window, looking out : OUTSIDE Soldiers fire as Ian and the last Fish make it to the. MODERN APARTMENT BUILDING. bullets RIDDLING the concrete facade as the Fishes slip through the doorway. The Soldiers rush the apartment building, disappearing inside. and a fierce fire - fight ensues - TAT - TAT - TAT - TAT! Flashes of GUNFIRE visible in the doorway. SCREAMS. Soldiers stagger back out of the doorway, some wounded, retreating from the opposing gunfire.

INT. BURNED-OUT DOUBLE-DECKER Stray bullets strafe the bus. Theo ducks out of the way. BACK OUTSIDE A TANK rumbles into position behind the soldiers, its gun turret cranks slowly toward the apartment building. THEO realizes the tank is about to fire on the apartment building with Kee and the baby inside. THEO No, no, no, no. He runs out of the bus into the street soldier positioned near the tank open hits the ground and. BOOM! The tank recoils with the blast, the explosion rips a gaping hole in the building. Theo rolls out of the way of falling concrete. He looks up at the apartment building - White sheets and clothes wave from windows, desperate pleas for mercy from tenants still in the building as. from the floor above, Fishes open fire on the soldiers. Someone throws a Molotov cocktail. it explodes in the street. Soldiers return fire - Tenants streaming out the front doors, hands in the air, SCREAMING SURRENDER in a dozen languages and TAT - TAT - TAT - TAT - the soldiers gunfire CUTS THEM DOWN. A few survivors scramble back into the building. The tank tilts its big gun up, aiming at the snipers on the fourth floor. BOOM! The tank shell blasts another hole into the building. In the silence of the aftershock, a thick cloud of dust in the air Theo gets up and races for the apartment building He's almost at the doorway when a soldier spots him through the haze and opens fire - BULLETS RAKE the entrance. Theo sidesteps the bodies of dead soldiers and refugees, makes it inside and.

INT. APARTMENT BUILDING slips on the blood - slicked cement, crawling in panic further into the blood - splattered building. Staying low, he moves through the lobby, desperately searching for any sign of Kee when - Gunfire erupts from the staircase. Theo takes cover behind a pillar - it's Ian who's firing at him, but bullets from one of the soldiers in the street tear into him. Theo spots Kee's wheelchair, abandoned at the foot of the stairs, and heads up.

INT. SECOND FLOOR STAIRCASE He reaches the second floor landing - looks down the hallway. A few tenants huddled in the dim shadows, staying low, keeping away from the windows. A man crying in agony bleeding badly. The heavy gunfire is playing out on the upper floors. Theo continues up.

INT. THIRD FLOOR STAIRCASE Theo steps out onto the third floor. Tenants on the ground covering their heads, a few wounded, screaming. Theo spots Patric in a blown - out apartment, firing at the street below. Soldiers' bullets strafe the room, and Patric bursts out into the hallway. Theo hides as Patric pushes past tenants. PATRIC Fuck outta my way, fuck outta my way! and kicks open the door of another apartment. Theo starts after him but then he hears, faintly. THE MUFFLED CRY OF A BABY. It's coming from the floor above. Theo heads for the stairs.

INT. FOURTH FLOOR CORRIDOR Theo emerges on the fourth floor, moves toward the MUFFLED CRIES. Following the sound into.

INT. FOURTH FLOOR APARTMENT The apartment has been tattered by bullets, glass shattered, everything upended. Kee in a corner, protecting her baby girl with her body. Luke lays by the window in a pool of his own blood, with his back toward Kee, firing out the window. Theo steps into the room, moves to Kee and her crying baby. THEO -LRB- low. -RRB- You okay? KEE Yeh. THEO How is she? KEE Pissed off. Theo helps Kee up. THEO Easy. We're gon na make it. Shots from outside RIDDLE the wall near them. At the window, Luke fires back at the soldiers. Theo and Kee making their way across the ruined room to the door. Luke turns and sees them. He points his gun. Theo freezes. LUKE I was carrying her up the stairs and I started crying. The baby. A girl. THEO Yeah, it's a girl. LUKE I forgot what they looked like. So tiny. Theo begins to inch Kee to the doorway, wary of Luke. THEO We need to get her out of here. LUKE No, no, no. You do n't understand, Faron. This child must stay with us. She can unite us. She's our flag. KEE Fuck she is! Theo and Kee at the doorway. LUKE She's our beginning. THEO Luke, she'll be killed if she stays here. We have to go. BAM! Luke shoots. Theo grimaces TAT - TAT - TAT. Glass shatters as guns fire from the outside, ripping Luke to pieces.

INT. FOURTH FLOOR HALLWAY Theo walks out the door, Kee following. He's in momentary shock, clutching his gut, looking at a trickle of blood spreading across the fabric of his shirt. THEO Shit. KEE Fucker shot you. THEO I'm okay. Bullet went through. -LRB- gritting through pain. -RRB- We got ta move. Theo breathing through the pain, holding up Kee, walking down the hall, the baby still crying. A volley of bullets from outside tear through the walls. The ROAR of the GUNFIRE is punctuated by the BABY'S CRIES. People huddled in the corridor, looking in disbelief. A WOMAN falls to her knees. WOMAN -LRB- praying. -RRB- Dios te salve Maria, llena eres de gracia, el senor es contigo, bendita eres entre 1as mujeres. Theo and Kee approach the stairwell. Bullets are still flying, but people seem fearless, poking their heads from doors, risking their lives to get a closer look. The baby's crying gives Theo and Kee a sense of security. They are no longer dodging bullets but are walking straight down the hall. A man breaks into tears. An old woman, bleeding to death on the floor, reaches her gnarled finger to touch the baby's blanket. She smiles as they pass - she has heard the song of an angel. Theo and Kee reach the stairs. Kee starts down the steps, but Theo stops her. THEO Come on. KEE You're shot. THEO I can do it. Kee allows Theo to pick her up. He strains to lift her, then starts down the stairs.

INT. FOURTH FLOOR STAIRWELL The baby's cry echoes through the stairwell. Theo slowly carrying Kee down. People huddled on the stairs, amazed, eyes glued to the baby. Others looking down at them from the upper. floors. TAT - TAT - TAT. A gun battle, moving up the stairs toward them. It's Patric and two other Fishes - backing up the stairs, battling pursuing soldiers. Patric hears crying, turning, pointing his gun at. Theo and Kee. No place to hide. Patric points the gun at Theo's head, about to pull the trigger. But the baby is wailing in Kee's arm. Patric looking at the baby in stunned disbelief. Then he lowers his gun. He and the Fishes back away, staring at the infant as Theo and Kee continue down the stairs.

INT. THIRD FLOOR STAIRWELL Gunfire from below forces people against the wall. Theo and Kee continue their descent. A SOLDIER surges up the stairs, pointing his gun at the newborn girl, who wails away. Theo and Kee walk past him. The Soldier breathless, the baby's cry clashing with his adrenaline. SOLDIER Hold positions and hold fire! Theo continues carrying Kee down. People on the stairs standing up, getting a look. More soldiers, holding their weapons in silence, immobilized by the baby's cry.

INT. APARTMENT BUILDING The baby's cries echo through the lobby, now held by the military. Soldiers hold strategic positions, watching Theo and Kee pass, glimpsing the child in confusion, awe. At the shattered doorway, Theo staggers. Kee sees his sweat, his pain. His shirt is covered in blood. KEE Put me down. Theo hesitates. KEE -LRB- CONT'D. -RRB- I wan na walk. Theo sets her down. Kee walks slowly, resolutely, leaning on Theo for support. They pass through the shattered doorway.

EXT. APARTMENT BLOCK PLAZA Theo, Kee and the baby step into the murky light of the foggy day. An impenetrable line of soldiers positioned in the plaza face them, their weapons pointed, ready. The heavy machinery of war silenced by the cries of a baby. Theo and Kee walk forward, toward the soldiers. The weapons aimed at them begin to lower. An instinctive shuffle to the side, as if commanded by the cry, creating a space for them. Kee carrying her child, Theo at her side as the soldiers part like the Red Sea. Somber faces watching as they pass, touched by the baby's crying. BAM! BAM! BAM! Rifle shots from the fourth floor window shatter the silence. Two soldiers behind Theo are hit. Theo covers Kee as soldiers open fire on the apartment building. A new battle flares. Theo and Kee walk on, ignored by the soldiers who race forward, taking up new positions. BOOM! The tank blasts a massive hole in the fourth floor. CORNER - WHARF & 3RD Leaving the battle behind, Kee and Theo hurry down the street. Marichka emerges from a blown - out doorway, holding Santo, greeting them with a crooked smile.

EXT. THE LITTLE FOUNTAIN - A LITTLE LATER With great effort, Theo pries off the sewer lid. They all disappear down the hole.

INT. SEWER A ceiling lamp illuminates a concrete sewer drain, a narrow channel of foul water running through it. Boxes of contraband stacked to one side : alcohol, batteries, medicine, cans of food, electrical wire. Theo holds Kee's arm as she steps into a wooden launch. Marichka lights the candle fixed to the bow of the boat. She prattles on, Santo on her shoulders, tears in her eyes, gesturing toward the end of the tunnel where ambient light filters in. MARICHKA Go, go boat. Theo extends his hand to help Marichka into the launch. MARICHKA Marichka no go. Marichka smiles. Theo nods a thank you. And he climbs in the boat and sets the oars. Marichka gives the boat a shove. Theo puts the candle into a holder and starts to row. They glimpse graffiti on the walls, like cave paintings, as they pass. AT THE END OF THE TUNNEL A breeze from outside extinguishes the candle. Theo rows - toward the light. Passing through a metal grate which has been cut away.

EXT. SEA'S EDGE - TWILIGHT The launch emerges into the fog at the end of a large harbor. Behind them, misty air cloaks the back side of the Bexhill Fence which runs the length of shoreline, separating the prison - city from the sea. The MUFFLED SOUNDS of the riot. Theo rows steadily, painfully. Dead calm, but the tide is on their side. What lays beyond is obscured by milky fog and growing darkness.

EXT. OPEN SEA - DUSK Theo is rowing slower now, his strength waning. The fog has enveloped the city behind them, the riots a distant echo. The world around them has disappeared. From somewhere off, the sound of a BELL. KEE The buoy! Theo, the buoy! Ahead of them, through the fog, patches of dull orange sunlight. The buoy visible in the distance. Theo rows once more, groans with the effort. KEE -LRB- CONT'D. -RRB- What time is it? THEO Late. The launch gains momentum, then slows. The sun touching the horizon, the day ending. No sign of any boats anywhere on the desolate sea. KEE They'll come back. The SOUND of the bell is drowned out by the WHINE of JETS high in the sky. Followed by the ROAR of EXPLOSIONS - POOF POOF POOF and, behind them, a glowing light, expanding in the fog. Theo rests, exhausted. He feels his gut, which has been steadily oozing from the bullet wound. His eyes drop down to his hands, now covered in blood. Something is poking through the ripped lining of his pea coat - He lifts a hundred pound note, staring at it. The sounds of the sea gently lapping at the boat. Kee looking around, anxious. The buoy rocking rhythmically, splashing water. no trace of a boat. THEO I am sorry, Kee. I am so sorry. KEE We gon na make it. He shakes his head. His eyes are watery. THEO I'm not gon na make it. Kee looks at him. THEO -LRB- CONT'D. -RRB- And I'll never know if you make it. Theo smiles at her. THEO -LRB- CONT' D ; CONT'D. -RRB- But I want to believe that you will. Tears well in Kee's eyes. KEE I will. THEO Promise? KEE -LRB- through tears. -RRB- Fuckin' yeah. Cheedo. THEO Theo in pain, genuinely smiles. THEO -LRB- CONT'D. -RRB- -LRB- looks at the baby. -RRB- Froley. That's a fine name. Theo musters all he's got left, reaching the oars back, wood cutting through water, propelling the launch a little further. He closes his eyes. HOLD as the SOUND of the surf fades in. THE CLOUDS PARTING - REVEALING A RED SKY Theo is sitting in his chair on the white sandy beach, watching a mother and child in the blue water, laughing and splashing in the waves. The mother is Kee but her child is now a toddler. Then, two other woman rush down to the beach, planting their infants on the sand, letting the foamy waves lap at their baby's feet. Kee looks from the babies to Theo and waves. A smile slowly comes to Theo's face. He is happy, content. KEE'S VOICE -LRB- a whisper. -RRB- Theo. BACK TO SCENE Kee looking at Theo. He's slumped over, dead. The launch drifting. No direction. Drifting. Drifting. Kee is still, silent. The baby begins to CRY. A light flickers, piercing the fog - Kee looks up KEE Theo. The fog gives way, revealing purple sky. Cutting through the water toward them, A LIGHT, A BOAT. The wooden vessel approaching, nets and gear - A FISHING BOAT. The name painted on the stern. `` THE TOMORROW.'' FADE OUT

Summary: In 2027, after 18 years of global human infertility and depression, the world is on the brink of collapse and humanity faces extinction. The United Kingdom, one of the few nations with a functioning government (the only other known functioning government is Angola), is deluged by asylum seekers fleeing radiation and plague. In response, the UK has become a police state as the British Army rounds up and executes immigrants. Theo Faron, a former activist turned cynical bureaucrat, is kidnapped by the Fishes, a militant immigrants' rights group. They are led by Theo's estranged wife, Julian Taylor, from whom he separated after their son's death during a 2008 flu pandemic. Julian offers Theo money to acquire transit papers for a young refugee, Kee. Theo obtains the papers from his cousin, a government minister who runs a state-sponsored collection of salvaged art. Theo agrees to escort Kee in exchange for a large sum. Luke, a Fishes member, drives Theo, Kee, and former midwife Miriam towards Canterbury. They are ambushed by an armed gang, and Julian is killed. When the group is stopped by the police, Luke kills the officers and the group hides Julian's body before heading to a Fishes safehouse. Kee reveals to Theo that she is pregnant. Julian had intended to hand Kee to the Human Project, a supposed scientific group in the Azores dedicated to curing infertility. However, Luke persuades Kee to stay and is voted as the new leader of the Fishes. That night, Theo eavesdrops on a discussion and learns that Julian's death was orchestrated by the Fishes so that Luke could become leader; they intend to kill Theo and use the baby as a political tool to support the coming revolution. Theo wakes Kee and Miriam, and they steal a car, escaping to the secluded hideaway of Theo's ageing friend Jasper Palmer, a former political cartoonist turned pot dealer. The group makes plans to board the Human Project ship, the Tomorrow, which will arrive offshore from a refugee camp at Bexhill-on-Sea. Jasper proposes having Syd, a camp border guard to whom he frequently sells drugs, smuggle them into Bexhill, masquerading as refugees. When the Fishes discover Jasper's house, the group flees while Jasper stays behind to stall the Fishes. Luke shoots and kills Jasper as Theo watches from the woods. The group meets Syd at an abandoned school, and he helps them board a bus to Bexhill. When Kee experiences contractions at a checkpoint, Miriam distracts a guard by feigning religious mania and is taken away. Inside the camp, Theo and Kee meet a Romanian woman, Marichka, who provides a room where Kee gives birth to a baby girl. The next day, Syd informs Theo and Kee that war has broken out between the British military and the refugees, led by the Fishes. Having learned that they have a bounty on their heads, Syd attempts to capture them, but Theo kills him with a car battery and they escape. Amidst the fighting, the Fishes capture Kee and the baby. Theo tracks them to an apartment building under heavy fire; he confronts Luke, who is killed in an explosion, and escorts Kee and the baby out. Awed by the baby, the British soldiers and Fishes temporarily stop fighting and allow the trio to leave. Marichka leads them to a hidden boat, but stays behind as they depart, despite Theo imploring her to come along. As British fighter jets bomb Bexhill from a distance, Theo reveals that he was mortally wounded by Luke. He tells Kee how to soothe her baby, and Kee tells Theo she will name her Dylan after Theo and Julian's lost son. Theo dies as the Tomorrow approaches and Kee tries to wake him to see that they've been saved. As the credits roll, the sound of children laughing and playing can be heard in the background, possibly implying that the fertility crisis was solved thanks to Kee.