V for Vendetta (2005)

by Larry and Andy Wachowski.

Based on the graphic novel by Alan Moore.

FADE IN:

In the darkness, we hear a voice, a woman's voice. Her name

is Evey.

EVEY (V.O.)

"Remember, remember, the fifth of

November, the gunpowder treason and

plot. I know of now reason why the

gunpowder treason should ever be

forgot."

Her voice has a strength that is metered by a calmness, a

deep centered peace that we can feel.

EVEY (V.O.)

Those were almost the very first

words he spoke to me and, in a way,

that is where this story began,

four hundred years ago, in a cellar

beneath the Houses of Parliament.

In the darkness, we find a lantern. Guy Fawkes, a dangerous

man who wears a goatee, is struggling with a wheelbarrow

stacked with barrels of gunpowder.

EVEY (V.O.)

In 1605, Guy Fawkes attempted to

blow up the Houses of Parliament.

The wheelbarrow bumps over the heavy stone mortar of the

cellar floor. From the dark depths, we hear the sound of

dogs.

EVEY (V.O.)

He was caught in the cellars with

enough gunpowder to level most of

London.

Guy sees lanterns coming from both sides. He tries to run as

the dogs reach him first. He grabs for his sword as dozens

of pole axes pin him against the tunnel's stone wall.

EVEY (V.O.)

Sometimes I wonder where we would

be if he hadn't failed. I wonder

if it would have mattered.

In the dim pre-dawn light, Guy is led to the gallows.

EVEY (V.O.)

I suppose the answer is in the

rhyme. More than the man, what we

must remember is the plot itself.

The coarse noose of rope is snugged up to Guy's throat. He

looks into the crowd until he finds a face, a woman's face,

staring up at him.

EVEY (V.O.)

For in the plot we find more than

just a man, we find the idea of

that man, the spirit of that man,

and that is what we must never

forget.

The lever is thrown and the woman looks down, a tear falling

down her face.

EVEY (V.O.)

This, then, is the story of that

idea, of that spirit that began

with an anarchist's plot four

hundred years ago.

Guy's body hangs in silhouette, lifeless against a red

morning sun.

FADE OUT.

FADE IN:

INT. SUBURBAN HOUSE

A young Evey sits on her father's lap, combing her Barbie's

hair.

EVEY (V.O.)

I was born near the end of the

millennium, the year 1997. My

father used to say that people were

so afraid that the world was going

to end that they were willing it to

happen.

Her father sits beside her mother on the living room couch,

watching the news. From the look on their faces, the news is

bad.

EVEY (V.O.)

I don't remember much of the

century's turn. I don't remember

the market crash or the plague or

any of the Trafalgar riots.

The television flickers with images of heavily armed soldiers

fighting in a shelled city.

EVEY (V.O.)

I've read about them since but I

don't recall how any of them

impacted my life except for the

fear. They would hide it from me,

like a secret between them.

Little Evey sees her father staring at her mother. They

take hold of each other's hand, clasping them tight.

EVEY (V.O.)

But I could feel it.

EXT. CITY STREET

It is a new day. People are gathered along the street as if

they were waiting for a parade.

EVEY (V.O.)

Of the chaos that seemed to swallow

the beginning of the 21st century,

there is one thing I do remember.

Evey holds her father's hand. Unable to see what is coming,

she can hear it.

EVEY (V.O.)

Very clearly, I can remember that

sound.

We hear them, hundreds of marching soldiers.

EVEY (V.O.)

And I remember those boots, black

leather that gleamed bright in the

morning sun. I had never seen such

boots. All moving in perfect

unison.

Little Evey hides in the forest of adults, clinging to her

father's leg, staring as row after row of boots march by with

military precision.

EXT. CITY STREET

In the midst of a political rally for the emerging new party

calling itself Norsefire, we find little Evey now on her

father's shoulders.

Dascombe, a young man, paces the podium, inciting the crowd.

DASCOMBE

The time has come, London, to

return to a bygone age, an age of

tradition, an age of values that

have been disparaged and all but

forgotten. What this country needs

is a leader! A true leader to

remind us of that age. A righteous

leader with the strength of his

moral convictions to do what must

be done. I give you that man! I

give you our leader! Adam Susan!

Adam Susan rises and the crowd cheers. Evey's father looks

at her mother and again they clasp hands.

EVEY (V.O.)

It must have seemed so easy to

them. They offered such a simple

deal; give up control and we will

restore order.

INT. SUBURBAN HOUSE

Little Evey is asleep in her bedroom.

EVEY (V.O.)

At first, the arrests were

political. Dissidents. Radicals.

Liberals.

A loud crash of splintering wood wakes her up.

EVEY (V.O.)

When my parents were younger, they

had been activists. They had

marched with Labor in the great

train strike.

The sound of heavy boots swarms through the house.

LITTLE EVEY

Mommy?

Her bedroom door bursts open and a heavily armed soldier

scoops her up.

She is carried through the dark house which is filled with

soldiers. On the floor of the living room, she sees her

parents being bound with plastic zip-ties.

MOTHER

My daughter! Don't take my

daughter!

FATHER

Evey! Evey!

LITTLE EVEY

Mommy! Daddy!

A heavy black hood is pulled over each of her parent's heads

as Evey is carried out of the house.

EVEY (V.O.)

I never saw them again. Overnight,

my life, my entire world was

erased.

INT. BATHROOM

A nun with a switch in her crossed arms watches as Evey and

several other little girls scrub the floor of a dormitory

bathroom.

EVEY (V.O.)

It was done so quickly and

violently, so completely, that it

began to seem that it had never

even existed.

A tear rolls down Little Evey's cheek.

EXT. HOUSE

A gay man is dragged violently from his Piccadilly home.

Outside, he sees his lover being forced to the cobblestones.

EVEY (V.O.)

The homosexuals were next. What

God had started with AIDS had to be

finished by man. It was God's

work. That's what we were told.

He reaches for him as the clubs rise and fall, vicious and

bloody.

EVEY (V.O.)

But once they were gone, there was

someone else. Someone different.

In another neighborhood, we see the police arresting

Pakistanis.

EVEY (V.O.)

Someone dangerous.

In a different area, young black men are packed into a caged

van so tightly they are unable to move.

EVEY (V.O.)

There were those who understood

what was happening, who knew it was

wrong but who kept silent.

A young detective named Finch looks down as the van pulls

away. When he looks up, another man in a military uniform

whose name is Almond is watching him.

EVEY (V.O.)

And in the vacuum of that silence,

order was imposed.

Finch sticks his pipe in his mouth and turns away.

EXT. STREET

Again, we see the marching boots.

EVEY (V.O.)

Order that was like those boots,

order that required rigorous

discipline. Order that is exactly

the same, where each single step

falls with every step. The order

of the many shaped into one.

We move through the columns of marching soldiers to a wall

where a poster has been plastered up. The poster reads,

"Strength Through Purity, Purity Through Faith."

EVEY (V.O.)

Somehow in my heart, I knew it

wouldn't last.

As the sound of the marching fades, a shadow falls over the

sign.

After a moment, we hear the hiss of spray paint.

EVEY (V.O.)

What they thought they had crushed,

the spirit they believed trampled

and ground beneath the marching of

their boots, rose up, rose as if

from a four hundred year old grave,

rose to remind us all that day.

The shadow sprays a "V" over the poster.

FADE OUT.

FADE IN:

Close on a loudspeaker. There is one on every major street

corner.

FATE (V.O.)

Good evening, London. It's nine

o'clock, the fourth of November in

the year 2019 and this is the voice

of Fate broadcasting on 275 and 285

of the medium wave.

Beneath the loudspeaker is a surveillance system labeled,

"For your protection."

Bubble eyed lenses iris at the end of stalks that move,

insect-like, racheting and clicking as they watch a little

girl pedal her bicycle. The little girl glances nervously

over her shoulder up at the mechanical eyes watching her.

FATE (V.O.)

People of London, be advised --

EXT. EVEY'S APARTMENT

There is a radio on a small makeup table.

FATE (V.O.)

-- that Braxton and Streathon are

quarantine zones as of today.

Evey is now a young woman. She slips into a dress that is

little more than a nightgown. She tries to adjust it,

pulling it down at the hem, pulling it up at the thin

shoulder straps, but it is like trying to hide behind a

lamppost.

FATE (V.O.)

It is suggested that these area be

avoided for reasons of health and

safety.

INT. SHADOW GALLERY

Another radio in a room that seems to be of another world.

FATE (V.O.)

Good news following the

productivity reports from

Herefordshire indicating a possible

end to meat rationing starting mid

February.

A man enters the room as he once entered the world. His body

is lean and strong and though we do not see his face, there

is a strength in his carriage, a power to his presence.

INT. EVEY'S APARTMENT

She packs tissue paper into the toes of a pair of high heels

that are too big for her.

FATE (V.O.)

Police raided seventeen homes in

the Birmingham area, uncovering

what is believed to be a major

terrorist ring.

INT. SHADOW GALLERY

We move over a dressing bureau, past a wig and over a pair of

black leather gloves, moving until we find the mask; it is

like something from the masquerade ball of another era. It

has an exaggerated goatee, harlequin cheeks and a smile,

forever fixed, at once be-guiling and be-deviling.

FATE (V.O.)

Twenty eight people, eight of them

women, are currently in detention

awaiting trial.

INT. EVEY'S APARTMENT

Evey coats her lips with a lascivious red. She stares into

the mirror, her makeup like a mask over her own face.

FATE (V.O.)

And that is the face of London

tonight.

INT. SHADOW GALLERY

The man, now fully dressed in cloak, hat, and mask gazes into

the mirror.

This is V.

FATE (V.O.)

And this is the voice of Fate

signing off and bidding you a

pleasant evening.

EXT. CITY STREET

Close on Evey's high heels, stumbling and awkward as she

walks down a dark cobblestoned street.

EXT. CITY STREET

Close on V's boots walking in the opposite direction so that

it seems they are walking towards each other.

EVEY (V.O.)

I don't know what brought us

together that night. I had never

been to that part of Westminster

but ever since I've known him, I've

stopped believing in coincidence.

EXT. CITY STREET

Evey looks up and sees a man standing mostly in shadow.

EVEY

Excuse me? Uh... excuse me,

Mister?

The man turns around. It is not V.

EVEY

Would you like... uh, would you

like to sleep with me?

He smiles.

EVEY

I mean, for money.

MAN

That is the clumsiest bit of

propositioning I've ever heard.

EVEY

Oh god, I'm sorry.

MAN

Is this your first time, darling?

EVEY

Yes, no, I mean for money. But I

know what you want and I'll do it.

She presses her body to his, using her little girl eyes and

her woman's mouth.

EVEY

Anything you want, mister. Please,

I need the money. I know I'm young

but I promise I know what I'm

doing.

MAN

No. You don't know what you're

doing.

He pulls out his wallet and shows her a badge. The sight of

it knocks the breath out of her.

EVEY

Christ, you're a Fingerman.

FINGERMAN 1

Give the little lady a prize.

FINGERMAN 2

I've got something to give her.

Evey turns and there are more Fingermen behind her.

FINGERMAN 1

Prostitution is a class H offense.

Know what that means? It means

that we get to exercise our own

judicial discretion --

FINGERMAN 2

And you get to swallow it.

The Fingermen laugh.

EVEY

Oh god, please. It's my first

time. Please don't hurt me.

FINGERMAN 1

Gosh, fellas, look at those big

innocent eyes. What do you think?

FINGERMAN 3

Spare the rod, spoil the child.

Fingerman 2 laughs hard as he drops his pants.

EVEY

Oh no!

He shoves her face first against a brick wall, lifting her

dress to expose her bottom.

EVEY

Please, don't!

FINGERMAN 3

You heard the man, sweetie. This

rod's for your own good.

Suddenly, they are no longer alone.

V

"The multiplying villainies of

nature do swarm upon him."

FINGERMAN 3

What the hell --

V

"And fortune, on his damned

quarrel, smiling, showed like a

rebel's whore."

FINGERMAN 1

We're police officers, pal.

FINGERMAN 4

We're with the Finger.

FINGERMAN 3

So bugger off!

V

"Disdaining fortune with his

brandished steel, which smoked with

bloody execution."

In the clenched fist of black leather, we see a flash of

steel.

FINGERMAN 1

He's got a knife!

V attacks and at once we know this is no normal human being.

A single blow sends the largest of the Fingermen flying

backwards.

But more than his strength, it is his speed.

A gun is cocked but before the hammer falls, a knife is

buried in the Fingerman's chest and --

Before the body falls, the knife is gone.

It takes a handful of seconds and three bodies lay on the

ground. V turns to the last Fingerman who is struggling to

pull his pants up.

FINGERMAN 3

Jesus Christ! Don't hurt me!

V steps forward and he screams, bolting while holding his

pants up.

V

Good evening.

EVEY

Who -- Who are you?

V

Me? I imagine all manner of names

shall be heaped upon my humble

visage but, for now, let us simply

say I am the villain.

He throws wide his cloak and bows deeply to her.

V

And you would be?

EVEY

Evey.

V

Of course.

They hear sirens rushing towards them. In a blink, he scoops

her up and dashes into the shadows of a narrow alleyway.

EXT. ROOFTOPS

Police cars and several ambulances swarm over the area with

the dead Fingermen.

V watches them from above.

EVEY

Why did you do that? Why did

you... help me?

V

Why indeed?

He takes out an old antique pocket watch. It is almost

midnight.

V

Almost time.

EVEY

For what?

V

For the music.

EVEY

Music?

V

Yes, music. My music. You see.

Evey, I am a performer.

EVEY

Is that why you're wearing a mask?

V

We all wear masks. Life creates

them and forces us to find the one

that fits. Do you know what day it

is?

EVEY

Uh... November fourth.

V

Not for long.

He looks out where, rising above the rooftops, he can see Big

Ben.

V

"Remember, remember, the fifth of

November, the gunpowder treason and

plot. I know of no reason why the

gunpowder treason should ever be

forgot."

The second hand sweeps into the final minute.

V

Tell me, Evey, what good is an

actor that plays his part to an

empty theatre?

EVEY

I don't know.

V

Nor do I. That's why you are here.

I need you, Evey. I need someone

to listen.

EVEY

To your music?

V

Yes. Yes, to my music.

From his sleeve, he pulls a conductor's wand.

V

Can you hear it? It's already

begun.

He begins to lightly tap the wand in the air and, very

faintly, we hear it.

EVEY

I can't hear anything.

V

At first, you have to listen very

carefully...

He continues to conduct and we begin to hear the music,

violins and horns that seem almost like a whisper or a wind

that steadily swells.

V

Ahh, yes. There it is. Beautiful,

is it not?

He turns to the parapet, his gestures growing grander as the

music rises and we recognize Tchaikovsky's 1812 overture.

The music mounts a climax and V points the wand at Big Ben as

cymbals crash --

Big Ben explodes with such force the world seems to shake,

while --

V, smiling, always smiling, points again with another

crescendo and --

The statue of justice is blown to smithereens.

V nods in appreciation while mustering the music towards it's

finale as fireworks begin lighting up the sky.

EVEY

Oh my...

Everywhere across the city, people stand transfixed by the

dazzling shimmer of the fireworks until --

A strobing final blitz leaves a single, starry image floating

in the smoke filled sky.

It is the letter V.

EVEY

It's beautiful...

V

Thank you.

From every direction, the city screams with the panicked

sound of sirens.

EXT. NEW GOVERNMENT BUILDING

A massive modern building that is the seat of the new

government.

A long, black car pulls up to the entrance. Adam Susan gets

out, wearing a long black trenchcoat over his pajamas. He is

the Leader and he looks older, heavier, and meaner.

He hurries past the heavily armed guards, barely

acknowledging the snap and cock of their Nazi-like salute.

INT. LEADER'S OFFICE

The Leader enters his main chambers and we see the Fate

computer system.

It is a cerebral cortex for a vast intelligence network.

Information can almost be felt coursing through its hard

drives.

The Leader sits, at once regaining a measure of composure.

He takes a deep calming breath and accesses the system.

Dozens of monitors fill with images from all across the city,

most of them are of the damage caused by V.

LEADER

Gentlemen, I will hear your reports

now. Mr. Heyer, speak for the Eye.

Conrad Heyer appears on one of the screens. He is at his

desk inside the command center for the Eye, the governmental

organization responsible for the visual surveillance systems.

CONRAD

We have less than two minutes of

usable footage, Leader. It took

the suspect less than a minute to

dispatch the Finger's vice patrol.

On an insert screen, we see grainy footage of V rescuing Evey

from one of the pole-mounted cameras.

CONRAD

As you can see, the suspect's

reflex speed is extraordinary. As

is his strength.

As the last body falls, V seems to pause and looks back over

his shoulder straight into the camera.

LEADER

Freeze it!

The Leader stares at the smiling face.

CONRAD

I'm afraid the mask makes retinal

identification impossible.

LEADER

Mr. Etheridge, report for the Ear!

Bunny Etheridge appears on another screen. Behind him, huge

spooling reels of audiotape wind constantly.

ETHERIDGE

We were able to triangulate the

origin of the fireworks. We also

are currently monitoring a lot of

phone surveillance indicating a

high percentage of conversation

concerned with the explosions. All

suspect or significant transcripts

are being forwarded to Mr. Almond.

LEADER

Very good. Mr. Finch, speak for

the Nose.

Finch, no longer the same young man, stands at the site of

the fireworks launch.

FINCH

Thanks to Etheridge, we found the

launch for the fireworks. These

appear to be individually weighted

flares and we have found traces of

the same chemicals at both of the

detonation sites which leads us to

conclude that, despite a level of

sophistication, these devices are

all home-made with over the counter

chemicals, making them impossible

to trace. Whoever he is, Leader,

he's good.

LEADER

Thank you for that professional

annotation.

An intercom opens.

LIEUTENANT (V.O.)

Leader, Mr. Almond has arrived.

LEADER

Very good. Gentlemen, keep me

informed of any further

developments. England prevails.

They answer in unison as Almond enters the office. His face

is harder but he has the same violent gleam in his eye.

The Leader turns in his chair.

LEADER

Mr. Almond, do you know what this

is behind me?

ALMOND

Uh... the Fate computer system,

sir?

LEADER

No. No sir. It's more than that.

This, this computer is a symbol,

Mr. Almond. A symbol of the

highest attainable goal of mankind.

Do you know what that goal is, Mr.

Almond?

Almond does not. The Leader leaps from his chair while

pounding the desk.

LEADER

Control, Mr. Almond! Control! The

world around us is a changing,

directionless, amoral morass and it

is up to man and man alone to set

things right!

He moves around the desk at Almond.

LEADER

Without control, man is nothing

more than any other stinking,

sweating, brute animal. Control,

Mr. Almond. The control that we

have painstakingly built up over

the last ten years. Now, do you

understand what happened last

night?

ALMOND

We... lost control.

LEADER

Yes, Mr. Almond. Last night

someone did the unthinkable.

Someone hurt us. It is imperative

that we act swiftly and precisely.

I want that man found, Mr. Almond.

I want his head or, by god, I'll

have yours.

INT. SHADOW GALLERY

Evey is wearing a blindfold and V leads her by her

fingertips, guiding her almost as if they were dancing...

His fingers slip free of her and she reaches out.

EVEY

Wait. I've lost you.

V

No, you haven't.

He is behind her and he removes the blindfold, revealing his

house to her.

EVEY

Oh...

It is a labyrinth of interconnecting underground tunnels and

rooms.

The gallery is the main room as it is filled with an amazing

collection of human culture. There is art that spans from

the renaissance to the painted covers of Eerie comics,

literature that ranges from Shakespeare to Spillane,

philosophy from Plato to Bukowski, and a vast collection of

nonfiction.

There are movie posters everywhere and an entire wall is

lined with videocassettes.

A jukebox stands in front of an enormous vinyl and CD

collection of music.

EVEY

A jukebox? Where did you get it?

V

I saved it. Like everything here.

She punches a button and Billie Holiday begins to sing.

EVEY

Oh, it's beautiful. I've never

heard anything like it.

V

Of course not. You grew up in

their world. Art is created by

individuals and there are no

individuals in a world where you

are told what to think.

EVEY

This place is amazing.

V

You're welcome to stay.

She stops suddenly and looks at him. The offer is terribly

exciting but it is so unlike anything she has ever done that

it's almost impossible to imagine.

EVEY

Stay here... with you?

V

Yes. If you like.

EVEY

I... I don't even know your name.

V

I don't have a name. But you can

call me V.

EVEY

V? V... I like that.

And she returns his smile.

EXT. JORDAN TOWER

The only operating broadcast tower in London; home of the

Mouth.

INT. RADIO BROADCAST BOOTH

Lewis Prothero leans forward and lets his voice pour like

syrup over the microphone.

PROTHERO

Good morning, London. This is the

voice of Fate -- Damn.

He stops and coughs.

PROTHERO

Good morning -- ack. Good morning

Lond-- Goddammit! Where is my

bloody tea?!

In the control booth, Roger Dascombe, his hair thinner now,

rubs his temple.

DASCOMBE

Would someone get his lordship his

bloody tea?

He clicks on the microphone.

DASCOMBE

Lewis, they want this report on the

first hour --

PROTHERO

I know. I know. Damned

inconvenient this entire affair.

Fine. Let's try again.

He clears his voice and the red "record" light turns on.

PROTHERO

Good morning, London. It is 6 am,

the fifth of November 2019 and this

is the voice of Fate. The new day

brings good news and bright

prospects from overseas, where

negotiations with New China are

moving in a positive direction.

Last night's scheduled demolition

of two deteriorating landmarks went

off without a hitch.

Dascombe is unable to stop himself from smiling.

PROTHERO

Spokesman for the Interior ministry

said both structures were severely

damaged and judged to be a danger

to the unsuspecting public. Plans

for new landmarks are well

underway.

Prothero sits back, shaking his head.

PROTHERO

Do you believe this crap, Dascombe?

DASCOMBE

It's not our job to believe it,

Lewis. Our job is to tell the

people --

PROTHERO

"Exactly what they tell us." I

Know but do you think that people

will believe it?

DASCOMBE

They will if it's you that's

telling it to them. Now let's try

it again.

INT. SHADOW GALLERY

V is alone, listening to the first morning broadcast.

PROTHERO (V.O.)

... plans for new landmarks are

already well underway.

He clicks off the radio. Walking down a hall, he stops and

peers into Evey's new bedroom.

She is fast asleep, looking remarkably at peace. Quietly, he

shuts the door.

EXT. TRAIN STATION

People are hurrying to board a departing train.

INT. TRAIN CAR

Prothero is staring out his window.

PROTHERO

"Remember, remember, the fifth of

November..."

He talks to his bodyguards almost as if talking to himself.

PROTHERO

Do you suppose that's why he did

it?

BODYGUARD 1

Sir, who did what, sir?

PROTHERO

Guy Fawkes. He tried to blow up

Parliament.

The guards look at each other, confused.

PROTHERO

Don't they teach history in school

anymore?

BODYGUARD 1

Sir, we're both straight military,

sir.

BODYGUARD 2

Sir, yes, sir. I was fighting in

Ireland by the time I was sixteen.

PROTHERO

Yes, of course. My mistake.

He turns back to his window.

EXT. RAILROAD

The train rumbles along, heading for a tunnel.

INT. TRAIN CAR

Prothero watches the countryside rolling past.

PROTHERO

I love trains. I remember riding

the underground with my father.

Shame they shut them all down.

Bodyguard 1 looks out the opposite window just as the train

enters the tunnel.

BODYGUARD 1

What the hell's that!

EXT. TRAIN

For a flashing instant, we see V in silhouette, cloak

swirling around him like dark wings as he jumps from the

bridge onto the train.

INT. TRAIN CAR

Prothero and Bodyguard 2 stare at Bodyguard 1.

BODYGUARD 1

I thought I saw a man jumping onto

the train.

BODYGUARD 2

The train's doing almost seventy.

It would break his legs.

BODYGUARD 1

You're right, I... It must have

been rags.

EXT. TRAIN

Deep in the tunnel, a dark figure glides across the rooftops.

INT. CONDUCTOR'S CAB

The conductor hears something on the roof. He peers up just

as V swings down, smashing feet first into the cab.

INT. TRAIN CAR

The brakes suddenly lock, throwing Bodyguard 2 into Prothero.

PROTHERO

Get off of me!

A moment later, the lights are cut off and the entire train

is plunged into complete darkness.

BODYGUARD 2

What the fuck is going on?

BODYGUARD 1

Lock the car doors.

PROTHERO

I have a lighter... somewhere...

BODYGUARD 2

I can't find the lock -- wait. Hey

wha--

There is a muffled shriek followed by a sharp snap.

BODYGUARD 1

What's happening --

There is another sound, like the leather slap of a boxer

pounding a heavy bag, followed by the sound of the heavy bag

collapsing onto the floor.

PROTHERO

I found it!

He flicks on the lighter and, in the dim light of its flame,

he sees the smiling face.

PROTHERO

Oh god.

V sits casually, arms folded, across from Prothero. The

bodyguards lay dead on the floor.

PROTHERO

Who are you? What do you want?

Money? Is that it?

V just smiles.

PROTHERO

Wait, wait. You're, you're the one

that blew the Bailey.

V nods and Prothero's eyes go wide.

PROTHERO

You're making a mistake. I'm

nobody --

On the floor, he sees the bodyguard's gun. He kills the

lighter and dives for it.

In the darkness, we hear the struggle. It ends quickly.

When the lighter flicks back on, V is holding it and the gun.

PROTHERO

Oh god, what do you want?

V

I've come to offer you a choice.

Commander Prothero.

PROTHERO

What -- What did you call me?

V

Commander Prothero.

Prothero's heart begins to pound.

V

That was your title at Larkhill.

You remember Larkhill, don't you,

Commander?

EXT. LARKHILL RESETTLEMENT CAMP - FLASHBACK

A sign reads, "Larkhill Resettlement Camp."

V (V.O.)

Where they sent the undesirables.

A caged truck packed with minorities rolls into the gates

which are topped with spools of razor wire.

INT. TRAIN CAR

Prothero is sweating.

PROTHERO

I don't know what you're talking

about.

V

Maybe I can help your memory.

Let's see. Larkhill opened in the

summer of 2009. You were appointed

it commander. You wore a uniform

in those days. You looked very

good in it.

INT. LARKHILL - PROTHERO'S OFFICE - FLASHBACK

Prothero admires his uniform in the mirror.

V (V.O.)

You were a man of many

responsibilities. You made sure

Larkhill made all its quotas,

especially the oven quotas even

though they required an excessive

amount of maintenance.

EXT. LARKHILL OVENS - FLASHBACK

We see a detail of black and Indian men, shoveling mounds of

black ash from a series of furnace like ovens.

As the shovels lift, we see blackened bones and burnt skulls.

EXT. LARKHILL MAIN YARD - FLASHBACK

Prothero saunters through the lines of camp prisoners.

V (V.O.)

But there was one task you took to

with exceptional relish. Remember

the medical block, Commander? I

believe you called it the funny

farm. You were the one that

selected the prisoners. You hand

picked each one.

Prothero steps in front of a woman who remains beautiful

despite the suffering she has endured. Prothero smiles.

PROTHERO

Her.

As the guards grab her, we become aware of a man that is

staring at Prothero. He is one of the prisoners but we do

not see his face.

Prothero notices the man. He doesn't like the way the man is

staring at him.

PROTHERO

You.

INT. TRAIN CAR

Prothero is terrified.

PROTHERO

You! You're him, aren't you?

V nods.

PROTHERO

Oh my god! What are you going to

do?

V

You gave us a choice, remember,

Commander? You said we could

cooperate with the doctors or...

V cocks the gun.

V

Hold out your hand.

Trembling, Prothero sticks out his hand. V lets the light

die for a moment.

When he flicks it back on, Prothero is holding a long, metal

syringe filled with a murky liquid.

PROTHERO

Oh no, no! Please I was just doing

what I was told!

V

Of course you were. Now I'm

telling you to make a choice.

Either you stick that syringe into

your neck or --

He presses the gun barrel to Prothero's forehead.

V

I can kill you right now.

Prothero begins to blubber.

V

Crying doesn't help, Commander. I

remember there was a woman who had

been screaming for two days. You

winked at the doctor and laughed,

"All in the name of science."

PROTHERO

Please, don't make me do this...

V

It's a difficult choice, isn't it?

Certain death versus something that

might be... worse. But you never

know. There is still a chance.

You could survive. Look at me.

Now, time's up, Commander. Choose.

Anger galvanizes his fear and steadily Prothero lifts the

needle towards his neck.

PROTHERO

I'll see you in hell.

He jams the needle in and sinks the plunger.

V

Yes. I'm quite sure you will.

INT. TRAIN

Train workers with flashlights hurry through the cars.

TRAIN MAN

This door's locked!

He slams a shoulder against it and the door gives in.

TRAIN MAN

Holy Christ!

Flashlights sweep over the dead bodyguards. The train man

hears a strange gurgling rasp and he turns, finding Prothero

in his light.

TRAIN MAN

What happened here?

Prothero is foaming at the mouth while a thick mucus bubbles

from his nose. His breath comes in tiny rasps.

TRAIN MAN

Good lord! I need a medic here.

Prothero becomes more animate, trying to tell the man

something.

PROTHERO

Fi... Fi... Fi...

TRAIN MAN 2

He's trying to say something.

PROTHERO

Five.

TRAIN MAN 1

Five? Where's the goddamn medic?

PROTHERO

Room five.

Suddenly, his body convulses and blood pours out his ears.

His body slumps over.

TRAIN MAN 2

I think he needs a priest.

EXT. TRAIN STATION

The station is swarming with police. A stretcher wheels a

body in a black plastic bag out from Prothero's car.

INT. TRAIN CAR

Finch puffs on his pipe, staring at something spray painted

on the wall of the train car: a "V" with a circle around it.

DOMINIC

What do you make of this, Mr.

Finch?

Dominic, Finch's younger assistant, is holding a flower in

his rubber gloved hand.

FINCH

Hmm. It's a rose. A violet

carson, I believe. Strange.

DOMINIC

Strange?

FINCH

I didn't think they still existed.

SOLDIER

Mr. Finch! Sir!

Finch turns as a soldier with a radio steps into the car.

SOLDIER

Sir, they want you at headquarters,

sir.

FINCH

Now?

SOLDIER

Yes, sir. I'm to transport you

immediately.

FINCH

Send the rose to the lab. Also,

scrape a sample of this paint and

have it analyzed as well. I'll be

back as soon as I can.

INT. LEADER'S OFFICE

The door opens and Finch steps in.

LEADER

Ah, Mr. Finch. I sent for you

because what I have to say cannot

be said over a phone or a radio.

What I have to say cannot leave

these four walls. Do I make myself

clear?

FINCH

Yes, sir.

LEADER

I believe in a few things, Mr.

Finch. I believe in god. I

believe in the destiny of the

Nordic race. And I believe in

fascism. The romans invented

fascism. They had a symbol for it;

a bundle of twigs bound together.

One twig could be broken but a

bundle would prevail. That is the

heart and soul of fascism.

Strength in unity. I tell you

these things knowing full well that

they make you uncomfortable.

FINCH

Well, I...

LEADER

You have in fact expressed your

discomfort in several arrest

reports, arrests that were, in your

opinion, "unnecessary." The fact

that you are here, that you are not

rotting in a prison cell, is a mark

of my respect and admiration for

you, for your craft, and for what

you have done for this country.

Finch looks at the ground.

LEADER

It is also because I know you,

Finch. I know what you are.

You're a man like me. A man who

understands when they are given a

job what must be done. I

understand you, Finch, and that is

why I can trust you.

He moves in close to Finch.

LEADER

This terrorist knows us, Finch.

These attacks are perfectly

calculated and they are divisive.

He knows what he's doing, Finch.

He knows us all too well.

FINCH

You think he's an insider?

LEADER

What I think is that this man must

be stopped. Stopped at all costs

and no one, I repeat, no one is to

be placed above suspicion. Do I

make myself clear?

FINCH

Perfectly.

LEADER

England prevails, Mr. Finch.

FINCH

England prevails.

INT. SHADOW GALLERY

Evey, alone in the Shadow Gallery, stares up at the

inscription above the crooked staircase.

EVEY

V, v, v, v, v.

V

I hear your summons, my lady. And

obey.

She jumps, V suddenly appearing behind her.

EVEY

Oh, V, you scared me.

She turns back to the carving.

EVEY

I was reading the inscription.

What is it?

V

A Latin quotation. A motto. "Vi

veri veniversum vivus vici." "By

the power of truth, I, while

living, have conquered the

universe."

She nods.

EVEY

Yes, I suppose you have. This

place is the only universe I have

right now.

V

Does that bother you?

EVEY

I don't know. I'm so grateful to

you -- I just feel I should help

you, you know, the way you're

helping me. I mean, that's the

deal, isn't it?

V drifts over to the big old Wurlitzer, fingers scanning the

song list.

V

No deals, Evey. Not unless you

want them.

She looks up at the inscription as an old blues song begins

to play.

EVEY

I think I do. Part of me wants to

stay here forever and never have to

face what's going on outside. But

that's not right. Is it? That's

not taking responsibility. Not

conquering my universe.

She turns to him.

EVEY

I want to help you, V. I want to

do something. Can we make a deal?

V

Yes. I think we can make a deal if

you like. I think I know a way you

could help me very soon indeed.

Evey smiles nervously.

EVEY

Good. That's that, then.

The blues song curls in the air around them like a heavy

incense.

EVEY

V, you said that Latin thing was a

quote. Who said it?

V

Nobody you'd have heard of. A

German gentleman named Dr. John

Faust.

He spins her.

V

He made a deal too.

EXT. WESTMINSTER ABBEY - DAY

The church doors have opened with the flow of parishioners as

the final mass of the day has ended.

The tide slowly pours out onto the sidewalk, separating

around the clumps of people that conglomerate to network and

gossip.

Church bells toll in the orange dusk above them.

Helen Heyer, a woman whose spite and guile are hidden behind

her looks and clothes she drapes them with, charges into the

gossipers, her trophy husband in tow, a timid looking man

that we recognize as Conrad Heyer.

CONRAD

Hello, Rosemary. Derek, how --

Helen's head snaps over at the mention of the name.

HELEN

Derek!

She pushes past Conrad, giving Derek Almond an exuberant kiss

on both cheeks.

HELEN

Darling, how are you? Hello,

Rosemary.

Always behind her husband, Rosemary Almond smiles nervously

as she straightens her drab church dress.

ROSEMARY

Hello.

DEREK

It's so good to see you. Since

this bloody terrorist business, the

old man has me literally chained to

the office.

Helen pouts at him.

HELEN

Oh, you poor dear.

Derek taps the bottom of his cigarette box, drawing one with

his lips.

DEREK

It comes with the job. How are

things in the Eye, Conrad?

CONRAD

Well, we've been working some bugs

out of the new Mark IX fiber optic

network, actually --

HELEN

Oh, Conrad, don't be such a bloody

bore. Do tell us about the

terrorist, Derek. Is it true he

blew up Big Ben and the old Bailey?

DEREK

I'm afraid so. We're dealing with

a pathological psychotic in the

most extreme case. We'll catch him

though. I promise.

Helen rubs her white sable against her body.

HELEN

Oh, it sounds dreadfully exciting.

Aren't you glad you've got such a

ruthless, implacable brute for a

husband, Rosemary?

ROSEMARY

Yes, well --

HELEN

Believe me, you're lucky. You

could be struck with a professional

peeping tom like Conrad. England's

highest paid voyeur, aren't you

darling?

CONRAD

Helen, I think we'd better --

HELEN

Oh yes, of course. We have to get

back so the little pervert can

watch what the neighbors do after

Sunday lunch. He's so exciting.

Derek laughs as they climb into their car.

HELEN

Ciao!

DEREK

Goodbye, Helen. Conrad.

Rosemary waves as it pulls off.

ROSEMARY

She's a bit hard on him, isn't she?

Derek sneers at her.

DEREK

Until you're half the woman of

Helen's sophistication, I'd keep

your little mouth shut.

He throws the cigarette at her feet.

DEREK

Really, just look at the way you

dress.

INT. WESTMINSTER ABBEY

From above, a hand sweeps aside the red plush curtain.

LILLIMAN

Ah, there they go. My happy and

contented flock. Spiritually

refreshed and ready to face the

world again.

Bishop Anthony Lilliman is a slender man of pious elegance

with a warm, beautiful smile.

He turns from the window to his valet, Dennis, as Derek and

Rosemary get in their car.

LILLIMAN

Did you enjoy the sermon today,

Dennis?

DENNIS

Very inspiring, your grace. Though

the segue of the forces of Satan

among us did strike me as a bit of

a curious digression.

He whisks a lint brush over the Bishop's robes before putting

them away.

LILLIMAN

Hmm, yes. A trifle purple, I

thought. Still, Fate wanted it

included and who are we to question

the will of the almighty, miserable

sinners that we are?

A gentle smile spreads across his mouth.

LILLIMAN

And speaking of sin, I wonder which

of the seven deadlies the good lord

will see fit to tempt me with

today.

Dennis finishes with the Bishop's robes and sweeps the closet

door shut.

DENNIS

Perhaps pride, your grace.

Lilliman chuckles.

LILLIMAN

I was thinking of something a

little less ethereal. Has the

young lady arrived?

DENNIS

The agency informed me she'll be

here directly. However, there was

a mixup. It's not one of the usual

girls. She's a little older.

LILLIMAN

Oh dear. Oh dear. Not too old, I

trust?

DENNIS

They promise me she's no more than

fifteen.

LILLIMAN

Fifteen, hmm.

The Bishop rubs his cheek, ponderously.

LILLIMAN

Ah well, if Job could bear his

disappointments, I suppose I must

have the good grace to bear mine.

Show her in when she arrives.

DENNIS

Yes, your grace.

EXT. WESTMINSTER ABBEY - NIGHT

A pair of headlights melt through the heavy night's fog as a

taxicab pulls into the circle drive.

INT. BISHOP'S QUARTERS

Dennis peers into the Bishop's living quarters.

DENNIS

The young lady, your grace.

LILLIMAN

Oh my!

Standing next to Dennis is Evey, wearing a frilly pink summer

dress, pigtails and bows and white ruffled socks.

LILLIMAN

And to think I doubted your

loveliness for even an instant.

Mea culpa, my child, mea culpa.

You are a vision. An angel.

Evey smiles awkwardly.

EVEY

Uh... thank you.

EXT. WESTMINSTER ABBEY - NIGHT

A shadow begins moving across the manicured grounds borne on

the thick mist like a dark phantom. V glides toward the

rectory, cloak undulating against the dark, wet wind.

INT. BISHOP'S BEDROOM

It is extravagantly furnished, somewhere between posh and

pimp. The Bishop is sitting very close to Evey on his plush

water bed.

LILLIMAN

Of course, "hate the sin, love the

sinner." I always say. Take your

dress off, please.

Evey stammers, backing up along the bedside.

EVEY

Listen -- I was kind of hoping --

He paws at her, groping hands pushing the front of her dress

down as she backs up against the nightstand.

EVEY

No --

EXT. MAIN GATE - NIGHT

The guards look out into the night, fear suddenly gripping

their faces.

V emerges demonically through the parting veils of fog, the

white smiling mask bobbing eerily up and down as he rushes

them.

A cigarette drops from the first guard's mouth, red embers

exploding when it hits the wet cement.

Close as the two guards claw for their arms and the white hot

flash of V's knives --

That slice like talons.

The two men crumple to the ground, clutching their gaping,

gurgling wounds. A whisper. V sprints into the courtyard.

INT. BISHOP'S BEDROOM

Evey grabs a metal table lamp and swings it down on the

Bishop's head. There is a shuddering clank and he collapses

to the floor.

LILLIMAN

You -- You filthy whore!

His blood speckles the white bearskin throw rug as the Bishop

slowly rises after the retreating Evey.

LILLIMAN

I'll kill you, you fucking sow.

He charges after her but freezes dead in his tracks as V

swings around the corner in front of him.

LILLIMAN

What's this? Who --

V

Please allow me to introduce

myself...

V bows.

V

I'm a man of wealth and taste.

LILLIMAN

Dennis?

Instantly, the point of one of V's knives is against the

Bishop's throat. V presses a finger to his frozen smile.

V

Shh. It isn't polite to disturb

the dead on their journey.

Evey watches from around the corner.

V

A courtesy I'll most respectfully

extend to his grace.

EVEY

V?

Lilliman swallows audibly.

EVEY

V, what are you doing?

V

Vi veri veniversum vivus vici,

Evey.

Evey looks down at the knives on his belt, dripping blood.

EVEY

Oh no.

She begins backing to the door.

EVEY

You can't kill him!

V

Death has followed his grace the

whole of his career. Is it any

coincidence it has finally followed

him here?

EVEY

Oh god, V. I can't -- I can't --

V turns back to Lilliman as Evey runs.

V

Let us pray.

EXT. WESTMINSTER ABBEY - NIGHT

Evey sprints past the dead guards at the man gate and into

the fog.

INT. THE EAR

A cramped control room that looks like something between a

radio and television switching room, though it does not

broadcast. It receives.

Two operators sit at the main substation as the sounds of

lovemaking come over the speakers. The moans are stifled and

low, however, as if they were afraid someone was listening.

OPERATOR 1

Bloody hell. Doesn't anybody fuck

with feeling anymore?

Operator 2 does not look at him, scrolling through an

intricate city map on his computer.

OPERATOR 2

Hey, it's Sunday. Children's hour

over at the Abbey.

OPERATOR 1

Let's see what that filthy old

pervert is up to.

Operator 1 punches in some coordinates and the sound over the

speakers changes to a garbled fart of noise. Two voices

drown beneath a cacophony of classical music.

OPERATOR 1

What the --

He tries to dial out the background and suddenly the voices

rise clearly above the din.

VOICE 1

... And I saw a black shape against

the flames. Oh god. It's you.

The man from room five. You've

come --

VOICE 2

To collect what's mine.

VOICE 1

I beg you! I don't want to die!

Please have mercy!

The two men look at each other, Operator 1 lunging for a red

phone.

OPERATOR 1

Get me the Finger. This is an

emergency!

EXT. BISHOP'S QUARTERS - NIGHT

Close on a stain of white vomit and blood on the thick pile

of a Persian rug. It is encircled in police chalk.

Pull back to reveal the chalk outline where the body of

Bishop Lilliman was found. The circled bloodstain floats

above the head like the last word balloon of a crude comic

strip character.

The Bishop's quarters is slowly being picked over by a

forensic team from the Nose. A photographer's flash bursts

against a painted "V" on the wall near the body outline.

At the window, Finch chews on his pipe, staring at a plastic

evidence bag that contains a single violet carson rose.

DOMINIC

No prints yet, sir. Just like

Prothero.

FINCH

I want those tapes from the Ear in

my office tonight, Dominic.

DOMINIC

Yes, sir. They're on top of it.

Finch turns to a muscular man named Creedy, second in command

at the Finger.

FINCH

Any word from your superior, Mr.

Creedy?

CREEDY

Mr. Almond doesn't seem to be

answering his page, sir. I'm sure

he's in the field.

FINCH

Quite.

INT. CONRAD HEYER'S BEDROOM

Grunting like an animal, Derek's face is frozen, locked in

the rigor of a violent orgasm. After a moment, he collapses

beside Helen onto the sweat soaked sheets.

HELEN

There you go, baby. Now my baby

boy can think so much clearer.

Can't he?

She grabs her cigarette case and her lighter.

HELEN

You have been thinking, haven't

you?

She straddles his chest then lights two cigarettes.

HELEN

I know you have. Ever since this

terrorist appeared.

He smiles as she puts one of the cigarettes in his mouth.

HELEN

Oh jesus, that smile. That smile

turns me on like nothing else.

She whispers in his ear.

HELEN

Tell me. Tell me what's going on

in that ruthless sadistic brain of

yours.

DEREK

Everyone is so worried about the

terrorist. Especially Susan. You

know why? Because nobody knows

what he's going to do.

He exhales through his grinding teeth.

DEREK

If I were him, I know what I'd do.

He whispers.

DEREK

I'd blow that fat bastard to

kingdom come.

Helen bolts up.

HELEN

No. You're kidding.

DEREK

Am I?

He smiles, blowing more smoke.

DEREK

There's an old train line under the

New Government Building. It

collapsed when they poured the

foundation. You could haul in

enough TNT to launch our Leader's

ass all the way to the moon.

Helen's eyes gleam as he laughs.

HELEN

You're serious, aren't you?

He eyes her sucking on the cigarette.

DEREK

You need to be careful, Helen.

Your mouth is going to get you into

trouble one day.

HELEN

Is that the same trouble you love

putting in my mouth?

DEREK

You never know who might be

listening.

HELEN

I know, Derek. You love your

country and you love your party,

just like you love your wife.

He glares at her.

HELEN

Derek. I'm sorry. I know I can be

a bitch. But that's why you're

here, isn't it?

He smiles again and she presses her body to his.

HELEN

This is it, isn't it, Derek? What

we've been waiting for. At last,

you'll be rid of Susan. I'll be

rid of Conrad. And we'll be free.

Free, won't we?

His eyes close as he grinds his hips into hers and we rise,

drifting up to the ceiling light fixture --

Where we see a tiny hidden microphone.

INT. FINCH'S OFFICE - THE NOSE

Finch sits at his desk, staring into the silence of his

notepad. He has doodled a little "V" with a circle around

it.

He looks up as Dominic enters, holding up a portable cassette

player.

DOMINIC

Sorry it took so long. The boys

had a devil of a time trying to

filter out the background noise.

FINCH

Background noise?

DOMINIC

The perpetrator apparently turned

on the Bishop's stereo.

Subsequently, a great deal of the

tape is useless.

He hands the player to Finch.

FINCH

What music did he play?

DOMINIC

Beethoven. The fifth, I believe.

Finch smiles.

FINCH

Da, da, da, dum. That's code.

Morse code.

DOMINIC

Sir?

FINCH

For the letter "V".

Finch punches "play".

Over the small speaker, we sear Evey protesting to V, then

run. He stops it.

FINCH

Anything on the girl yet?

DOMINIC

No. The agency said somebody

claiming to be Lilliman's valet

canceled his Sunday appointment.

Finch starts it again and this time the tape is very fuzzy.

FINCH

What is it?

DOMINIC

23rd Psalm.

We recognize some of the words though muted and crackly.

TAPE (V.O.)

Though I walk through the valley of

the shadow of death...

DOMINIC

It goes on like that for a while.

Fairly incoherent except we could

make out a few words in this part.

Transubstantiation.

Finch nods, understanding.

DOMINIC

That miracle business when the

wafer transform into the body of

Christ.

FINCH

He made him eat a host.

DOMINIC

Yes, listen to this part.

The tape becomes somewhat clearer as the music rests.

TAPE (V.O.)

... And at the moment this enters

your mouth it becomes the flesh of

the savior? Yes... please... And

whatever it is made of now it will

become the body of Christ? Yes...

yes...

They eye each other.

TAPE (V.O.)

I want you to swallow it.

DOMINIC

There's a couple of funny human

noises...

FINCH

And then just Beethoven's fifth.

He shuts off the tape.

FINCH

We have got the initial path report

back. The host was full of

cyanide.

Finch picks up the bag with the violet carson.

FINCH

And do you know what?

He rises, sliding into his jacket.

FINCH

When it reached his abdomen, it was

still cyanide.

INT. MORGUE

Close on the heavy stitching of a "Y" incision sewn into the

chest of a corpse. It is one of the Bishop's guards.

DELIA

Do you have a motive?

Finch is standing next to the cadaver gurney with the

coroner, Delia Surridge. She is a serious woman, hair wound

tight behind her head in a severe bun.

DELIA

I mean, was anything taken?

She fills the dead man's head with cotton and replaces the

top of his skull.

FINCH

Just lives.

Pulling at the man's scalp, she stretches it over the

replaced skull piece.

FINCH

I know it's too early for your

profile but do you have any initial

impressions?

DELIA

Well...

She points at a jagged puncture wound at the base of the

man's sternum with a ball point pen.

DELIA

He's incredibly powerful. This

man's sternum was split like dry

wood from the base all the way up

to the manubrium.

Finch peers into the hole.

DELIA

And he's resourceful. On that

table behind you is a breakdown of

all the chemicals found in

Prothero's blood stream.

Finch hefts the pile of computer paper.

FINCH

Bloody hell.

DELIA

There were hundreds of different

chemicals in him. From

trinitrotoluene to estrogen to

motor oil.

He flips through the document, biting into the wooden end of

his pipe.

FINCH

Perhaps Fate will make something

more of all this. I certainly

can't.

DELIA

The Leader finally authorized an

uplink for you? He must be getting

nervous.

FINCH

Quite. Government directed

terrorism never sews healthy ideas

into the public. Oh, that reminds

me.

Finch pulls the evidence bag from his pocket.

FINCH

Can you tell us anything about

this?

Delia's eyes lock onto the violet carson.

FINCH

We found one in the carriage with

Prothero and this one in the

Bishop's quarters. A violet

carson.

He hands it to her.

FINCH

I heard that strain had died off.

Thought a botanist might shed some

light on it. Delia?

Delia, riveted to the rose, suddenly looks up to him.

DELIA

Yes -- Yes, of course.

FINCH

Magic. I'll drop by tomorrow then.

He turns, leaving her with the rose.

INT. SHADOW GALLERY

V relaxes with a book in an overstuffed reading chair, a

violet carson rose resting on a table next to him. He begins

to read a passage aloud.

V

"There is more behind and inside of

V than any of us had suspected.

Not who, but what: what is she?"

He places the book down. Thomas Pynchon's "V".

V rises, lifting the rose and moving into the darkness of the

Shadow Gallery.

EXT. EMPTY STREET

A small figure moves down the dark wet street, the

cobblestones glistening like black scales.

The huddled figure arcs across the street in the shadows,

avoiding the pools of streetlight. It is Evey, a frightened

look on her face.

INT. KITTY KAT KELLER

A woman in combat boots, fishnets, and a tight fitting

soldier's uniform is in the middle of a cheeky number on

stage in this smoky burlesque bar. It is a popular place

with locals and Fingermen.

Peter Creedy squeezes through the crowd, angling for the back

of the bar where a number of loud Fingermen are drinking.

CREEDY

What's all this, then, Harper? I

get a radio that a man's down and

in need of assistance?

HARPER

I ain't gone down yet but I sure do

need some assistance.

Creedy leans in.

CREEDY

Are you flat broke already?

They break up in laughter, led by Creedy who sits next to

Harper, pouring himself a drink.

LOUT

How'd you sneak away, Creedy?

Almond off buggering that blonde

chippy?

HARPER

The one with the tits?

They all begin to hoot and whistle.

CREEDY

What I wouldn't give for a piece of

that.

LOUT

She could serve a tray of drinks on

those thingies.

HARPER

I bet you get your chance with her

sooner than later, Creedy, with the

way Almond's crackin' up.

LOUT

Bloody bugger's losing his marbles.

HARPER

Terrorist or no, if that bastard

gives me another double shift, I'll

stomp his fucking head.

Creedy raises his drink.

CREEDY

Aye. This nonsense has put a

serious strain on my drinking. I

think I was actually sober today.

LOUT

I'll drink to that.

HARPER

We need to get a real man of the

people in that director's position.

Like Creedy here.

Everyone cheers in agreement.

CREEDY

Well, it's good to know when the

shit hits the fan who your real

friends are.

They salute and drink.

INT. ALMOND HOME

Derek Almond sits hunched under a desk lamp, pumping the

cylinders of his revolver with a wire brush.

Rosemary shuffles up to him, her frumpy gown gathered around

her.

ROSEMARY

Derek --

He blows down one of the cylinders, not looking up.

DEREK

I don't want to hear it, Rosemary.

ROSEMARY

Derek, please! We can't carry on

like this.

Derek stares at the gun, rage building.

ROSEMARY

You don't talk to me. You don't

eat with me. You don't have sex --

Derek leaps up, slugging her.

Rosemary clatters to the ground in tears. Derek glowering

over her.

DEREK

I don't have to take any crap from

you! I have that fat bastard

riding me all day. I don't want to

listen to you, so shut your fat

gob!

He leans into her face.

DEREK

And me not wanting to fuck you is

obvious. Take a look at yourself.

He sits back in front of the gun, wiping it down.

DEREK

Get out of my sight. I'm cleaning

my gun.

INT. DELIA SURRIDGE'S HOME

Dr. Surridge sits somberly in the dark, street light

filtering in from the open curtains.

Her eyes fixed on the violet carson as she slowly turns it

over in her hands, fingers tracing the soft petals.

After a moment, she stands, letting it fall from her lap.

INT. FINCH'S OFFICE - THE NOSE

Finch turns as Dominic bursts in.

DOMINIC

I got it!

FINCH

A connection?

Dominic waves a printout.

DOMINIC

Larkhill Resettlement Camp.

Prothero's and Lilliman's

employment records show they both

help positions there at similar

times.

FINCH

What about codename V?

DOMINIC

Most of Larkhill's records were

destroyed for security reasons but

I did uncover an old standard

procedures and operations manual.

Dominic smiles.

DOMINIC

In special case studies, medical

research groups used roman numerals

to identify test inmates.

FINCH

Five is the letter V. Brilliant,

Dominic.

Finch slides in front of his computer.

FINCH

All we need is Larkhill's

employment records.

INT. DELIA SURRIDGE'S BEDROOM

The covers pulled protectively up around her, Delia rests in

a light, uneasy sleep.

Suddenly, an eye pops open as she awakens, catching a

familiar scent. She slowly sits up and inhales.

DELIA

Roses.

She closes her eyes.

DELIA

It's you, isn't it? You've come to

kill me.

From the shadows, V answers.

V

Yes.

Tears begin to streak her face.

DELIA

Oh thank god. Thank god.

INT. FINCH'S OFFICE - THE NOSE

Dominic hangs over Finch's shoulder as Larkhill's employment

record comes up.

Finch's mouth falls open.

FINCH

Oh my god.

Row after row of names scroll by at the end of each bio are

the words: deceased, file closed.

FINCH

Oh bloody hell.

The data banks unfurl like a mass grave.

DOMINIC

He's killed them all? It's not

possible.

Finch stops, staring at the one name whose file is not

closed --

FINCH

Oh no.

Dr. Delia Surridge.

INT. DELIA SURRIDGE'S BEDROOM

V floats on the edge of the room's shadows, a dark angel.

V

Are you afraid?

DELIA

No, no. I thought I would be, but

I'm not. I'm --

She looks at the hovering, smiling mask.

DELIA

Relieved.

She starts to cry again.

DELIA

Oh god, all these years. All this

waiting. And somehow I always knew

you'd come back.

Delia thinks back.

DELIA

When I saw you that night -- the

night you escaped, you were

standing against the flames and you

looked straight at me.

The mask almost nods.

DELIA

I knew then that one day you'd come

looking for me, that you'd find me.

Her voice drops to an almost confessional whisper.

DELIA

What -- what happened at Larkhill.

What we did -- What I did. That

terrible knowledge, it's been with

me so long. That I could do things

like that.

Delia rubs the salty tears from her eyes.

DELIA

For years, I blamed it on the

government, on the authority I

could never stand up to. But

living so long with the knowledge

of what I did has made me

understand otherwise. I alone was

accountable.

V watches her.

DELIA

There is something wrong with us.

With all of mankind. With me.

Something evil that made me enjoy

what I did. Some hideous flaw.

Her voice almost trails off.

DELIA

We deserve to be culled. We

deserve it.

INT. ALMOND BEDROOM

Light sweeps across Rosemary from the opening bedroom door as

she sobs softly in bed. Derek enters, holding a bottle of

whiskey and his clean gun.

She sits up as Derek looms over her.

ROSEMARY

Derek? What?

He lifts the gun into her bruised face. Her eyebrows cringe

as he slowly pulls the trigger.

DEREK

Bang.

Click. It is empty.

DEREK

Don't worry, Rose. I didn't load

it.

The phone rings.

DEREK

Not tonight.

He grins evilly at her and answers the bedside phone.

DEREK

Almond. What?! Where?

Derek's drunk eyes light up.

DEREK

Oh god, yes! God, thank you!

He slams the phone down, charging out of the room.

EXT. KITTY KAT KELLER

A gaggle of drunks exit the bar, laughing and singing as they

pass a small figure.

INT. KITTY KAT KELLER

Evey wanders into the bar amidst the lustful screams and cat

calls for the line of high stepping, semi-clothed girls on

stage.

She stares out into the crowd, not sure why she is here when

a man approaches her: Creedy. His sloppy smile indicates he

has had a few drinks.

CREEDY

You look lost.

She looks blankly at him.

CREEDY

Can I buy you a drink?

EVEY

No... I made a mistake.

She turns for the door.

EVEY

I have to find someone.

Creedy frowns as his radio crackles.

CREEDY

Well I didn't like the looks of you

anyway --

RADIO (V.O.)

All units, all units. Code red.

Converge in Plaistow to apprehend

codename V.

CREEDY

Bloody hell!

He screams to the Fingermen at the back.

CREEDY

It's him! We got him!

Evey watches as they storm out of the bar, then follows.

EXT. CITY STREET

The emergency lights blaring, Finch's car squeals around a

corner.

INT. DELIA SURRIDGE'S BEDROOM

V hovers ghostly at Delia's bedside.

DELIA

It's funny, I was given one of your

roses today. I wasn't sure you

were the terrorist until I saw it.

She manages a smile.

DELIA

What a strange coincidence. That I

should be given it today.

V

There are no coincidences, Delia.

Only the illusion of coincidence.

He reaches into his cloak.

V

I have another rose. This one is

for you.

He hands it to her.

DELIA

Then you are going to kill me now?

V produces an empty syringe.

V

I killed you ten minutes ago.

While you slept.

DELIA

Is there any pain?

V sits on the bed.

V

No. No pain.

DELIA

Thank you.

She stares at the mask.

DELIA

Can I -- Can I see your face again?

V slowly pulls off his hat and lifts his mask. Delia stares

into his face.

DELIA

It's beautiful...

The rose falls from her hands.

INT. HALL

V quietly shuts the door as if not to wake her and turns just

as --

Derek Almond reaches the top of the stairs.

DEREK

Don't move an inch, you bloody

bastard.

He trains his gun.

DEREK

You didn't hear me arrive, did you?

Didn't know we'd rumbled you?

He squints.

DEREK

It's all finished, chummy. All of

it. The old man told me it was my

head or yours and what do you know.

It's yours.

The smiling mask stares.

DEREK

Because you're standing over there

with your bloody stupid knives and

your fancy karate gimmicks --

Derek pulls back the hammer.

DEREK

And I've got a gun.

He smiles.

DEREK

Bang.

Click. He never loaded it.

There is an awkward moment of silence, then V moves --

Cloak opening, filling the hall like a black tidal wave that

envelopes Derek. He chokes a scream as V embraces him,

slipping a knife above his floating rib.

Derek Almond sputters as he claws at V's mask.

DEREK

Who -- Who are you?

V

Yes, look. Look and tell me what

you see.

He rips V's mask off as V thrusts the knife in deeper.

Derek's eyes widen in horror as his life pours out the knife

wound.

DEREK

Horrible! God, it's horrible!

V jerks his blade free, letting Derek slip to the ground.

EXT. DELIA SURRIDGE'S HOME

Finch's car bucks up onto the sidewalk.

Finch and Dominic tear out of the car and barrel into the

house.

INT. DELIA SURRIDGE'S HOME

At the top of the stairs, they find the dead Derek. Finch

rushes past him for the bedroom.

FINCH

Delia?

Inside, he finds her. Her eyes fixed, cold, and dead, a

single violet carson in her lap.

FINCH

Get an ambulance.

EXT. DELIA SURRIDGE'S HOME

Evey rushes around a corner to see a crime scene bathed in

siren light. She pushes up to the police barricade as the

M.E.'s load a draped body into their van.

EVEY

Oh no... V?

She tries to angle around to get a better look when a man in

a brown overcoat grabs her from behind and drags her into the

alley.

INT. DELIA SURRIDGE'S BEDROOM

From the corner of the room, Finch sits, watching as the

M.E.'s wheel out Delia's body.

Dominic squeezes past the gurney and crosses toward Finch.

DOMINIC

I'm sorry, sir. You knew the

doctor pretty well?

Finch nods.

DOMINIC

We found this on her bureau, sir.

It's Dr. Surridge's journal. It

covers her years at Larkhill. It

might contain the whole story.

Dominic searches for something more to say when Finch does

not answer.

After a moment, Finch looks at the book in Dominic's hand,

then takes it, leafing through the pages. They flip by, a

breathy sigh, rising to a cold wind.

DELIA (V.O.)

May 23rd...

INT. LARKHILL MEDICAL RESEARCH BLOCK - DAY - FLASHBACK

A younger Dr. Surridge, one by one, administers a series of

injections to her research stock.

DELIA (V.O.)

Prothero has hand picked my

subjects. Four dozen of them, none

of which will be any use to me if I

don't get to work soon.

She finishes an injection, Prothero encouraging the next

subject. We recognize her as the woman Prothero pointed at.

DELIA (V.O.)

They're so weak and pathetic I find

myself hating them.

Delia prepares the next dose, a sour look on her face.

DELIA (V.O.)

They don't fight or struggle. Just

stare at you with weak eyes.

PROTHERO

Next.

INT. LARKHILL OVENS - DAY - FLASHBACK

Two inmate orderlies are hefting sacked cadavers from a cart

into an incinerator.

DELIA (V.O.)

June 9th: Of the original four

dozen, over 75

violet carsons.

EVEY

Valerie?

V

Yes. Valerie Page. She was the

woman in room four.

EVEY

She's beautiful.

V

She wrote the letter just before

she died. I delivered it to you as

it was delivered to me. The words

you wept over were the same words

that transformed me.

Evey smiles and bends to smell the roses.

EVEY

Roses. You grew them for her.

V

Yes.

EVEY

They're beautiful.

V

Evey, do you know what day it is?

EVEY

Two days before the first day we

met.

V

You remembered.

EVEY

You're planning something, aren't

you, V?

V

You know me too well now.

EVEY

What are you going to do?

V

I'm going to fulfill an old

promise.

Evey cocks an eyebrow.

V

I'll show you.

INT. UNDERGROUND STAIRWELL

Carrying a lantern, V leads Evey down a dark stone staircase.

EVEY

I've never been here before.

V

Yes. It is the deepest part of my

home. Once you know it, I should

think you'll know everything.

He pushes a button and a secret passage opens in a heavy

stone wall.

There is a small narrow series of passageways that he guides

her through, leading to another door. Evey steps out into an

underground subway station.

INT. VICTORIA STATION

Parked beside the concrete platform is a beautiful antique

train car.

EVEY

Oh, V, it's lovely. Where on earth

did you find it?

V

In a way, I suppose it really found

me.

Evey steps into the train car and finds it filled with little

packages wrapped in wax paper.

EVEY

What's in these packages?

V

Gelignite.

She screams and almost drops one.

V

Careful.

EVEY

What are you going to do with all

of it?

V

I told you. I'm going to finish

what was started four hundred years

ago.

EVEY

Where does this train go?

V

This is the old Victoria line but

it is blocked, blocked somewhere

between Whitehall and St. James.

EVEY

Whitehall... V, that's the New

Government Building.

V nods.

EVEY

But the underground has been shut

down for years. How are you going

to make it run without any power?

V

I just thought I might ask them to

turn it on for me.

INT. LEADER'S OFFICE

The Leader sits bathed in the flickering images of the Fate

computer.

LEADER

Yes, Mr. Creedy?

CREEDY

Everything's set, sir. No worries.

LEADER

When?

CREEDY

Tonight.

On one of the screens, a television program has just begun.

ANNOUNCER

Tonight on Tales from the Bible, a

story of treachery and betrayal

from the Book of Daniel.

We cut from that screen to another screen --

INT. JORDAN TOWER - CONTROL BOOTH

The television studio where Roger Dascombe surveys a large

bank of monitors filled with the images of typically vapid

television entertainment.

DASCOMBE

All of London's waiting. Ready,

two. And here we go --

A player locks on as a recorded program begins. We move in

as the logo slashes across the screen: Storm Saxon.

ANNOUNCER

Tonight, England's greatest hero

repels the forces of darkness in a

brand new episode.

We pull back from the show's opening teaser and find

ourselves looking at a small television.

INT. JORDAN TOWER

In the delivery bay at the back of Jordan tower, five

security guards are riveted to the heroic actions of Storm

Saxon.

HEIDI

Oh, Storm. Save me! Save me!

STORM

You mongrel trash, if you harm her!

MONGREL TRASH

Look out, de white debil has a

laser lugar!

Behind them, a shadowy figure in a cloak and tall hat enters

the loading bay.

GUARD

Hey, what the -- ?

They all turn and find a smiling V.

They go for their weapons. V goes for them. It is brutal

and quick, knives slicing in bloody arcs, bodies kicked and

thrown with superhuman power.

The TV crashes to the ground and we move in at it as Storm

Saxon stands triumphant beside his buxom lass.

HEIDI

Oh Storm, hold me. Hold me tight.

We pull back on another television screen inside --

INT. FINCH'S OFFICE

Dominic is chewing on a hamburger, engrossed in Storm Saxon.

Across the room, Finch is reading the "Roots of Coincidence."

FINCH

I don't know how you stand that

tripe.

Dominic answers with a mouthful of cheeseburger.

DOMINIC

Es gooh.

Finch shakes his head, reaching for his pipe. He realizes he

is out of tobacco. He slides open the bottom desk drawer and

his eyes almost pop out of his head.

He stares into the drawer like someone staring at his own

tombstone.

DOMINIC

Finch? Finch, what's wrong?

Slowly, he lifts something from the drawer. On his desk, he

lays out several knives, a cloak, a hat, and a smiling mask.

DOMINIC

What the hell?

Finch lifts the mask and almost has to laugh.

FINCH

Don't you see, Dominic?

He puts the mask to his face.

FINCH

I'm V.

INT. JORDAN TOWER

V emerges from an elevator and immediately attacks several

more guards. A surveillance camera watches as V steps over

their slumped, broken bodies.

INT. CONTROL CENTER

The security guard sees V on the monitor coming directly down

the hall.

GUARD

Bloody hell!

He grabs the machine gun, aiming it just as V kicks open the

door.

GUARD

Freeze!

V stops. At least five guards have trained their weapons on

him. He is surrounded.

Slowly, he lifts his arms as though surrendering. His cloak

opens, revealing enough TNT to level the entire building. In

his hand is the plunger detonator.

GUARD

Fuck all.

V nods.

INT. FINCH'S OFFICE

The door bursts open as Creedy and a group of heavily armed

Fingermen muscle in.

DOMINIC

Creedy? What the hell's going on?

CREEDY

I'm here to arrest Mr. Finch for

acts of treason and terrorism.

DOMINIC

You can't be serious.

CREEDY

If I were you, boy, I'd shut my

hole unless you want to start

explaining why you didn't say

nothing about Mr. Finch's secret

identity.

INT. JORDAN TOWER

V follows Roger Dascombe into the main control booth. The

door shuts behind them and they are alone.

All around them are the laugh tracks and gunshots of the

evening's entertainment.

V puts his hand into his cloak and pulls out a videotape. He

hands it to Dascombe.

INT. FINCH'S OFFICE

Finch glares at Creedy.

FINCH

Why don't you just shoot me,

Creedy? Wouldn't that make

everything a lot simpler?

CREEDY

Yeah, I suppose it would.

Creedy smiles, his finger tightening on the trigger when --

DOMINIC

Holy Christ! Creedy, you stupid

ape! If Finch is V then tell me

who is that?

He points at the television where V sits calmly at a desk in

front of the "VTV" logo.

V

Good evening, London.

CREEDY

Bloody fuckin' hell.

V

I thought it was time we had a

little talk.

FINCH

He has to be at Jordan tower. Come

on!

Finch and Dominic rush out of the room. Creedy looks at his

confused men.

CREEDY

Don't just stand there! Follow

them!

INT. LEADER'S OFFICE

V smiles at the horrified Adam Susan.

V

Are you sitting comfortably? Good.

Then I'll begin.

The Leader screams, pounding on Fate.

LEADER

Damn you! Damn you!

He hits the intercom.

LEADER

Lieutenant, ready my transport. I

want every armed man within a

hundred miles at Jordan tower.

Now!

We move in at VTV.

V

Right now, I imagine there are

hundreds of soldiers rushing here

to kill me because someone does not

want us to talk.

We pull back in --

INT. LIVING ROOM

A family watching television. In the background, two

children are squabbling.

MOTHER

Hush. Turn it up.

The husband does. V's voice gets louder as we move towards

him.

V

They are afraid that I am going to

say the things that are not

supposed to be said. They are

afraid that I am going to say the

truth.

INT. APARTMENT

A man sits on his couch, mesmerized by V.

V

The truth is that there is

something terribly wrong with this

country, isn't there? If you look

about, you witness cruelty,

injustice and despotism. But what

do you do about it? What can you

do?

He pops his beer tab and the beer foams over the couch but he

doesn't seem to notice.

INT. FINCH'S POLICE CAR

The car races wildly towards Jordan tower as Finch and

Dominic listen to the broadcast on the radio.

V (V.O.)

You are but a single individual.

How can you possible make any

difference? Individuals have no

power in this modern world.

That is what you've been taught

because that is what they need you

to believe. But it is not true.

INT. LEADER'S TRANSPORT

The Leader seethes, staring at three television monitors in

his limo which are all filled with V.

V

This is why they are afraid and the

reason that I am here; to remind

you that it is individuals who

always hold the power. The real

power. Individuals like me. And

individuals like you.

INT. KITTY KAT KELLER

The bar is almost completely soundless except for the voice

of V. People stare at the television as if the moment were

somehow suspended in time.

V

I have come to offer you a deal.

If you accept, I will give you a

different world. A world without

curfews, without soldiers and

surveillance systems. A world that

is not run by other men but that is

run by you. I am offering you a

second chance.

EXT. JORDAN TOWER

The military forces have begun to swarm.

V

Four hundred years ago, a great

citizen made a most significant

contribution to our common culture.

It was a contribution forged in

secrecy and stealth although it is

best remembered in noise and bright

light.

EXT. TELEVISION STORE

A crowd has gathered, watching through the window.

V

To commemorate that glorious night

at precisely the stroke of

midnight, the edifice of their

world will erupt with enough sound

and fury to shake the earth. All I

ask is that you join me at the

gates to watch as the past is

erased, the pathway cleared so that

together we can start toward a new

day.

EXT. JORDAN TOWER

The Leader climbs out of his limo and is met by one of his

captains.

LEADER

I want this man dead! I want him

shot on sight!

CAPTAIN

Yes, sir.

INT. FINCH'S CAR

Finch can see the forces gathering outside Jordan tower.

V (V.O.)

But, you ask, who am I to make such

promises? A fair question but

hardly necessary as you know me

already. To know me any more you

need only look to a mirror.

Finch catches a glimpse of himself in the mirror.

INT. CONTROL BOOTH

VTV fills every screen.

V

Truth be told, this wasn't even my

idea, was it? If you think back,

you'll remember that night,

whispering in your lover's arms. I

became a part of your plan just as

you have now become part of mine.

Give me the line of the queen and

I'll give you your secret dream.

INT. JORDAN TOWER - HALLWAY

A heavy battering ram is rushed down the hall, carried by

four soldiers.

V (V.O.)

On the twelfth stroke of the fifth

day of the eleventh month, I hope

we shall all meet again.

EXT. TELEVISION STORE

The crowd is much larger.

V

Until then, I bid you goodnight.

Every screen suddenly goes black. The crowd turns to each

other, unsure of what to do.

INT. CONTROL BOOTH

The door explodes open. V is standing alone, almost as if

waiting for them.

Before he can even move, they shoot. Machine gun fire lights

up the room. V's body dances and jerks backward, smashing

through an observation window --

Falling to the television stage below.

INT. HALL

A path is cleared for the Leader. As he heads into the

television studio, an armed soldier is heading in the

opposite direction.

It is impossible to tell because of the dark face plate but

it looks like the soldier is smiling.

The Leader shoves his way onto the main stage. A group of

soldiers is gathered around the body.

LEADER

Who was it? Who was he?

The mask is pried off, revealing the lifeless face of Roger

Dascombe. To the Leader, it is an obvious revelation.

LEADER

Roger Dascombe! Of course. Of

course! It makes such perfect

sense.

CAPTAIN

Sir, I think there has been a

mistake.

LEADER

No! There is no mistake!

CAPTAIN

But sir, there are people that say

they saw both the terrorist and

Dascombe together --

LEADER

Who? Who are these people? They

must be detained immediately.

Whatever they saw or whatever they

think they saw is subordinate to

the truth and that truth is that

Roger Dascombe is the terrorist and

the terrorist is dead!

FINCH

But I thought I was the terrorist.

Finch's voice stops the Leader cold.

LEADER

Finch, what are you doing here?

FINCH

Since I'm not in jail and since you

have another, even more convenient

suspect. I'm guessing the charges

have been dropped.

LEADER

Be careful, Finch.

FINCH

I am careful, sir. Always. That

is why I suggest that a search of

this building begin immediately.

LEADER

The terrorist is dead!

FINCH

With all due respect, I disagree

and I believe that he is presently

trying to get out of this building

disguised as one of us.

LEADER

Are you challenging my authority?

FINCH

No sir, I'm trying to run an

investigation --

LEADER

I am trying to run a country! When

I tell you, Mr. Finch, the

terrorist is dead, then the

terrorist is dead! If you continue

to suggest otherwise then you will

leave me no choice but to have you

arrested on charges of sedition.

Do I make myself clear?

He eyes the room. Everyone is silent.

LEADER

Now, it is imperative for the

people of London to know that they

are safe, that the terrorist is

dead and everything is under

control.

The Leader storms past Finch who looks at Dascombe and bites

down on his pipe.

EXT. CITY STREET

One of the Ear's black vans has been modified with large

speakers wired to the roof. As the van rolls down the

street, the speakers drone with a looped message.

SPEAKERS

The terrorist is dead. No further

threat exists. Everything is under

control.

Out of the back, soldiers hurl leaflets that swirl and

flutter in the van's wake.

The little girl on the bicycle that we saw earlier stops and

picks up one of the leaflets.

It has a picture with the body of Roger Dascombe beneath the

headline, "The terrorist is dead! London is safe once

again!"

LITTLE GIRL

Bollocks.

She crumbles the leaflet and throws it.

LITTLE GIRL

Bollocks!

She gets off her bike and takes something out of the

backpack.

LITTLE GIRL

He's not dead! It's all bollocks!

Turning to a nearby wall, she spray paints a large circle

around a "V".

INT. FINCH'S OFFICE

A recording of VTV plays on the small television.

V

... if you give me the line of the

queen, I'll give you your secret

dream.

Dominic freezes the image; V stares at them, smiling.

FINCH

Play it again.

DOMINIC

Come on, Finch. We've seen it

fifty times. I mean, after what

they done to you, I don't know why

we're even trying to stop him.

Finch stares out the window.

FINCH

I don't know. For twenty seven

years, I've been at this job.

Twenty seven years, I've done what

I've been told to do. Maybe that's

all there is to it. I'm just a

dumb old dog. A dumb old dog that

only knows one trick.

DOMINIC

That ain't it, Finch. It's more

than that. I know you. It's

something personal with this one.

Finch smiles.

FINCH

Maybe. And maybe I'm not ready for

a revolution.

DOMINIC

Well, we got less than thirty hours

to stop it.

FINCH

We will.

DOMINIC

How?

FINCH

It's on the tape. I know it. I

can feel it. He did this for a

reason. He needs something.

DOMINIC

What?

FINCH

The line of the Queen?

DOMINIC

But what does that mean?

FINCH

Maybe it's a line from Shakespeare.

Or a book. I don't know.

He rewinds and starts the tape.

V

... This wasn't even my idea, was

it?

FINCH

But right here. He's talking to

someone. Someone specific.

Someone who knows what he wants.

V

If you think back, you'll --

INT. CONRAD'S BEDROOM

V continues on a different television.

V

Remember that night, whispering in

your lover's arms.

Helen Heyer is lying on her bed, eating chocolates, watching

V through calculating eyes.

At her feet, we hear a suckling noise that suddenly stops.

CONRAD

Helen? Helen, why did you want

that tape?

HELEN

Shut up, Conrad. I'm thinking.

She shoves her foot back into his mouth and he continues to

suck on it and each of her toes.

V

... now you've become a part of

mine.

HELEN

How? How did you know that?

Conrad moves up her ankle, licking and kissing his way to her

knee.

CONRAD

Know what, my love?

V

Give me the line of the Queen and

I'll give you your secret dream.

She freezes the tape. Her eyes light up and she smiles back

at him.

HELEN

All right. You have a deal.

Conrad licks along the inside of her thigh until she slaps

him.

HELEN

Oh no! Not you. Conrad. Not yet.

Here you can have a chocolate.

Open up. Open!

She shoves the candy in his mouth.

HELEN

Good boy. As for the rest of the

box, perhaps when you're Leader.

She smiles.

HELEN

Right now I need something else

Conrad. I need you to use that

pretty little brain for me. You

know all about the old underground,

don't you?

He nods still gagged with the candy.

HELEN

I need to know everything,

understand? Everything.

INT. LEADER'S OFFICE

There are cameras set in front of the large black leather

chair so that the flashing images and data of the Fate

computer system can be seen behind the Leader.

A makeup artist mattes down the Leader's lipstick.

ASSISTANT DIRECTOR

Ready in five, Leader.

The makeup artist adjusts one last hair and scurries off.

ASSISTANT DIRECTOR

In four, three...

He points and the camera's red light goes on.

INT. LIVING ROOM

The same family, the same squabbling children watching as a

"Special Bulletin" interrupts a laugh track.

LEADER

Good evening London. As Leader of

this great country, I felt it

imperative to speak with you and to

assure you once and for all that

the shadow that recently fell

across our land has indeed passed.

WOMAN

Oh, for fuck's sake.

EXT. TELEVISION STORE - NIGHT

No one is watching.

LEADER

What we have endured this long year

was no accident, no mere

coincidence. This was not a simple

act of terror conducted by a

singular madman. No, this was a

test.

INT. KITTY KAT KELLER

A drunk struggles up onto his bar stool blocking the TV.

LEADER

It was not me, nor the Party, nor

the government that was threatened

this year. It was our beliefs.

Our faith. I believe that God

himself bore witness to our

struggle and like Job I believe

that we have been vindicated.

The drunk raises his glass.

DRUNK

Remember fifth of November!

The bar cheers.

INT. LEADER'S OFFICE

The Leader reaches for his Bible.

LEADER

How do I know this? Let me read to

you where I found the answer, where

I so often find the answer. In the

Scripture. Revelations.

EXT. STREET CORNER - NIGHT

The megaphones blast the Leader's voice.

LEADER (V.O.)

"If any man have an ear, let him

hear."

INT. FINCH'S OFFICE

There are stacks of printout everywhere.

LEADER (V.O.)

"He that leadeth into captivity

shall go into captivity; he that

killeth with the sword shall be

killed with the sword. Here is the

patience and faith of the Saints."

Finch stops reading, listening to the radio.

LEADER (V.O.)

"And I beheld another beast coming

out of the Earth; and he had two

horns like a lamb and he spake as a

dragon."

INT. SHADOW GALLERY

Another radio crackles with the Leader's voice.

LEADER (V.O.)

"And he doeth great wonders, so

that he maketh fire come down from

Heaven on the Earth in the sight of

men."

V nods, almost laughing as Evey enters the gallery.

LEADER (V.O.)

"And he deceiveth them that dwell

on the Earth by the means of those

miracles which he had the power to

do --"

EVEY

Oh, V, turn it off, please.

V

Of course, my dear.

He reaches over and changes the frequency. We hear voices,

hushed and secret but we recognize them.

CREEDY (V.O.)

But how does he know?

HELEN (V.O.)

I don't know. All I know is he

does... And I know what he wants.

The voices are labored, punctuated by gasps and moans.

EVEY

What is that, V?

V

That, Evey, is what I have been

waiting for.

CREEDY (V.O.)

Do you know what I want? I want

you just like this... Bent over

that black leather chair...

We are pulled by the radio into --

INT. CREEDY'S BEDROOM

Where we see a tiny microphone hidden in the ceiling light

above the bed.

Helen moans as we drift down, glimpsing Helen, her arms

reaching for the edges of the bed, her back arching up

towards Creedy, behind her, smiling.

CREEDY

What about Conrad?

HELEN

I told you, I'll handle Conrad and

V will take care of Susan. The mob

will take care of the guard and

then... You can use the Finger to

take over.

CREEDY

Use the Finger? You mean like

this?

He inserts a finger into her.

HELEN

Oh... oh... that is vulgar...

CREEDY

But you like it?

HELEN

Yes, oh yes, oh you're a pig,

Peter...

CREEDY

That I am, misses. But I'm the pig

that's gonna be running this

country.

That sends a shiver through Helen's body.

HELEN

Yes and I'm... I'm going to be

Eva... Oh Eva...

Her eyes close and her fists knot the sheets.

HELEN

"Don't cry for me Argen... oh

Argen... Argen... tina!

The word is almost lost in her orgasm.

EXT. LONDON

The sun rises over London. It is the morning of the fourth.

INT. FINCH'S OFFICE

Finch looks through the blinds at the morning sun. He has

been up all night. He checks his watch: 6:00am.

FINCH

Eighteen hours.

Rubbing the knot in his neck, he turns back to his office

which is now buried beneath mounds of paper.

Dominic is passed out, sprawled on the couch, and clutching a

printout from Spencer's "Fairy Queen."

FINCH

Dominic!

Dominic jumps, immediately searching the printout.

FINCH

Dominic, go home.

DOMINIC

But I've still got over three

hundred lines from The Fairy Queen.

FINCH

Forget it. There's no more time.

You go home and get some rest.

You're going to need it tonight.

Dominic lets the papers fall to the floor.

DOMINIC

He's got us, doesn't he, Finch?

FINCH

Yes, he does.

EXT. NEW GOVERNMENT BUILDING

Conrad pulls his car into his reserved space.

INT. CAR

Helen holds Conrad's chin the way a mother holds a child when

she is telling them something important.

HELEN

Now listen to me, Conrad. This is

the most important moment of our

lives. Everything I've worked and

hoped for comes to this. Susan is

a very dangerous man, especially

now, that's why I need you, Conrad.

I need you to be stronger than him.

I need you to be the better man.

Understand?

Conrad nods.

HELEN

If you do this Conrad, and you do

it right, I'm going to turn you

from the little man I married into

the man of my dreams.

CONRAD

Oh, Helen.

He embraces her to kiss but she turns her perfectly painted

lips.

HELEN

Not on the lips.

Ardently, he kisses her cheek.

INT. FINCH'S OFFICE

Finch sits alone, palms pressed to his bleary eyes.

FINCH

Give it up, old man. You're not

even sure you want to stop him.

With a red pen, he begins absently drawing red circles around

any V he sees on any piece of paper.

Victims. Vectors. Values. Victory. Words from quotes and

lists.

Suddenly, he stops. Carefully, as if reaching to touch a

butterfly, he slips a single sheet out from the sheaves

covering his desk.

The paper has a long list: the names of all the Queens of

England. He has circled in red the V in Victoria.

When it hits him, it hits him like a falling safe.

FINCH

Christ! That's it! It's got to be

it!

INT. LEADER'S OFFICE

The intercom clicks on.

LIEUTENANT (V.O.)

Sir, Mr. Heyer is here to see you.

Says it's urgent. And he's here

with his wife, sir.

LEADER

His wife?

LIEUTENANT (V.O.)

Sir, yes, sir -- Wait, you can't

go --

The door slaps open.

HELEN

Leader, I'm terribly sorry but I

absolutely must speak with you.

The Leader waves the Lieutenant off.

HELEN

I have something to tell you,

something important but --

She glances at Conrad.

HELEN

I can tell you and only you. In

private.

The Leader studies her.

HELEN

It is a matter of national

security.

EXT. CITY STREET

In his car, Finch races to a corner and slams on the brakes.

He gets out, staring at a shadow on the ground: a "V" in a

circle.

The shadow is cast by a sign for Victoria Station, part of

the abandoned subway.

The gates are chained shut. He fires his pistol into the

lock, kicks open the rusting gates, and descends into the

underground.

INT. LEADER'S PRIVATE QUARTERS

The Leader closes the door behind them.

LEADER

Now what's this all about, Mrs.

Heyer?

HELEN

Please, forgive me. I've been so

afraid, afraid to come here to talk

to you. I thought he must know. I

was terrified he knew but I had to

come because I knew you were the

only one that can protect me.

LEADER

Protect you from what?

She is unable to go on, seemingly about to burst into tears.

LEADER

Come now, Mrs. Heyer.

He touches her and it is all she needs. She buries her face

into his chest.

HELEN

You won't let him hurt me, will

you?

LEADER

Let who hurt you?

HELEN

The terrorist.

LEADER

The terrorist is dead.

HELEN

Oh, how I wanted to believe it,

Leader, but I know it's not true.

LEADER

How?

HELEN

Because I know who the terrorist

is.

INT. LEADER'S OFFICE

Conrad is alone with Fate. He glances about nervously,