Children of Men Screenplay PDF

12/18/24, 10:52 PM Screenplay-Children of Men The Wayback Machine - https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu:80/~ina2… Children of Men (2006)...

12/18/24, 10:52 PM Screenplay-Children of Men The Wayback Machine - https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu:80/~ina2… Children of Men (2006) Written by Alfonso Cuarón & Timothy J. Sexton and David Arata and Mark Fergus & Hawk Ostby Based on the Novel by P.D. James Directed by Alfonso Cuarón Clive Owen..................................Theo Faron Michael Caine............................Jasper Palmer Philippa Urquhart...............................Janice Chiwetel Ejiofor..................................Luke Julianne Moore...........................Julian Taylor Danny Huston.....................................Nigel Pam Ferris......................................Miriam Claire-Hope Ashitey................................Kee Francisco Labbe..............................Francisco Peter Mullan.......................................Syd Oana Pellea...................................Marichka FADE IN: Middle-aged FACES looking up, in quiet shock, listening... A WOMAN'S VOICE (upper-class English accent)...the world was stunned today by the death of Diego Ricardo, the youngest person on the planet... 1 INT. CAFE - DAY 1 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 (55, American), 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: https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 1/120 12/18/24, 10:52 PM Screenplay-Children of Men 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 (TV)...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 (18), the most famous boy in the world, a fair-haired teenager who never lacked anything, smiling a practiced smile. WOMAN REPORTER (CONT'D) Witnesses say Diego spat in the face of a fan who asked for an autograph. (MORE) ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 2 7-1-07 WOMAN REPORTER (CONT'D) 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 (TV) (CONT'D) (solemnly) Diego Ricardo, the youngest person on earth, was 18 years, 4 months, 2 days, 16 hours and 8 minutes old. 2 EXT. STREET - DAY 2 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 https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 2/120 12/18/24, 10:52 PM Screenplay-Children of Men 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... ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 3 7-1-07 BLACK SILENCE now, except for the "Eeeeeeeee" of Theo's ringing ears. Title: "CHILDREN OF MEN" 3 EXT./INT. MINISTRY OF ENERGY BUILDING - LOBBY - DAY 3 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. 4 INT. MINISTRY OF ENERGY BUILDING - SECOND FLOOR - DAY 4 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 https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 3/120 12/18/24, 10:52 PM Screenplay-Children of Men who have formed their own nihilistic and violent societies. But clearly' as youngest of the young... Theo passes another cubicle... ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 4 7-1-07 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 (O.S.) 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... 5 INT. MR. GRIFFITHS'S OFFICE - DAY 5 Bare walls. Empty shelves. The fluorescent overhead flickers. The office of a middle manager. Mr. Griffiths (40's) 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 wouldn't mind, I'd like to finish the day's work at home. Griffiths considers the request. 6 INT. OFFICE CORRIDOR - DAY 6 Heading down the hallway, Theo glances at the elevators, Then turns a corner and stops in-front of a locked door. He https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 4/120 12/18/24, 10:52 PM Screenplay-Children of Men ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 5 7-1-07 puts his eye up to a retinal scanner. The laser beam shines across his pupil. A door clicks open. 7 INT. SAFE ROOM - DAY 7 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. 8 EXT. STREET - WOOLWICH - DAY 8 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 (O.S.) A reliable source says the Warden'll be allowin' selective wireless service again, end of this year. 9 INT. THE SNAKE AND THE FLUTE - DAY 9 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 (30's), 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 (ironically) And he'll hold free elections too......and places it back on the table ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 6 7-1-07 THEO (CONT'D) I need something for a woman. Something nice. https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 5/120 12/18/24, 10:52 PM Screenplay-Children of Men RUDY (raises an eyebrow) A new development? Sure, I got something for ya, Theo. Rudy lifts a black teddy from his bag. RUDY (CONT'D) 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 Ain't made nothing of that quality in fifteen years. Vintage stock, that is. -- THEO (overlapping) 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 (off Rudy's look) Two months petrol rations. For the scarf... and the tuna. Rudy reaches for the packet of coupons -- but Theo puts his hand on them. ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 7 7-1-07 THEO (CONT'D) -- And I need you to place a bet for me. With Freddie. RUDY I can't do that. I don't want Freddie up my arse. A beat, then Theo lets Rudy retrieve the coupons. RUDY (CONT'D) https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 6/120 12/18/24, 10:52 PM Screenplay-Children of Men Fuck, you don't want Freddie up your arse either. (holds up coupons) If you got access to these, use 'em to pay 'em off, instead of getting in even deeper. And from O.S... VOICE (O.S.) 'Tis his wrath we are feeling! Theo turns: A street-corner evangelist stands on a chair... STREET-CORNER EVANGELIST (ranting) '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. ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 8 7-1-07 10 INT. TRAIN - DAY 10 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." https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 7/120 12/18/24, 10:52 PM Screenplay-Children of Men 11 EXT. TRAIN STATION - AFTERNOON 11 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 (early 30's), 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. 12 EXT. TRAIN STATION - PARKING LOT - DAY 12 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 (CONT'D) Good to see you. ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 9 7-1-07 THEO You too, Jasper. 13 EXT. RURAL ROAD - DUSK 13 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 (O.S.) How many were killed? THEO (O.S.) Fuck knows, the place was packed. 14 INT. VOLVO - SAME 14 Theo's in the passenger seat, Jasper driving. JASPER Who do you think did it? THEO (shrugs) https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 8/120 12/18/24, 10:52 PM Screenplay-Children of Men 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 wouldn't be the first time. THEO All I know is my ears are still ringing. JASPER I'm glad you don'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. ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 10 7-1-07 15 EXT. RURAL ROAD - SAME 15 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. 16 INT. VOLVO - SAME 16 Jasper slows, hugging the left side of the road to allow the tanks and bus to pass. Theo watches the bus overtake them. JASPER (re: the bus) 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 (CONT'D) 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. https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 9/120 12/18/24, 10:52 PM Screenplay-Children of Men 17 EXT. ROAD - DUSK 17 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 weren'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. ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 11 7-1-07 INT JASPER'S CAR - SAME The car drives into the woods, up the small dirt trail. THEO (CONT'D) How's Sandra doing: JASPER She's lovely... (beat) She's had better days, though. Back in her own world at the moment. Through the windshield, in a clearing through the trees... JASPER (CONT'D) 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 (CONT'D) When she's more her normal self, she cries, started talking about Quietus. (off Theo's look) Thinks she's a burden. I tell her be patient, the curtain will lift. CUT TO: CLOSE ON SANDRA She sits in a chair, staring ahead. The light is gone from her eyes, her face a blank mask. 18 INT. JASPER'S HOUSE - NIGHT 18 Theo and Jasper are standing in front of her. https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 10/120 12/18/24, 10:52 PM Screenplay-Children of Men JASPER Hi, Sweetie. Jasper kisses her. Sandra does not react. JASPER (CONT'D) Theo's here. Remember? Your Rebel with a Lost Cause? He came early this month. ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 12 7-1-07 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 (CONT'D) (re: the scarf) I think you like red, don't you? Sandra just holds the scarf. Says nothing. JASPER It's her favorite color. A beat, then... JASPER (CONT'D) 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 can't leave behind, and she apologize to me. (to Sandra, tenderly) 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. 19 INT. JASPER'S GREENHOUSE - NIGHT 19 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. https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 11/120 12/18/24, 10:52 PM Screenplay-Children of Men Jasper is rolling a monster joint; Theo sips from his flask. ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 13 7-1-07 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 (CONT'D)...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 (CONT'D) (telling a joke)) So, the Human Project is having this big dinner. All the brightest minds-- THEO (scoffing) C'mon, Jasper, the Human Project doesn'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 haven't there been any babies born in 18 years? (beat) The bioethicist blames genetic experiments. The environmentalist argues it's pollution and pesticides. Minister says God is pissed, right? (MORE) ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 14 7-1-07 https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 12/120 12/18/24, 10:52 PM Screenplay-Children of Men JASPER (CONT'D) Same old, same old. (beat) Then they look at this Englishman who hasn't said a word, just keeps tucking into his entree. So they ask him, "What do you think? Why don't people have babies anymore?" The Englishman looks at them, he's chewing on a wing... (thick English accent) "I haven't a clue," he says, "but this stork is quite tasty, eh?" Jasper playfully hits Theo. LAUGHS. JASPER (CONT'D) Haaa! Get it? He's eating a stork! THEO (flat) Stork. That's funny. Jasper takes another hit. JASPER No, I suppose not... We made a bollocks of the whole thing, didn't we? I would have hoped we might've held it together a little better. THEO Don'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. ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 15 7-1-07 Jasper turns to the old hi-fi system behind him. JASPER But not quiet yet.... https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 13/120 12/18/24, 10:52 PM Screenplay-Children of Men He cranks the volume, music blasting from the speakers. 20 EXT. JASPER'S HOME - NIGHT 20 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... 21 EXT. BEACH - DAY 21 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... 22 INT. THEO'S APARTMENT - MORNING 22...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 (CONT'D) And in the United States, the siege of Philadelphia is in its two hundred and thirtieth day. ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 16 7-1-07 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 https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 14/120 12/18/24, 10:52 PM Screenplay-Children of Men dressed in white. SOOTHING VOICE (CONT'D) 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. 23 EXT. STARBUCKS - DAY 23 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 24 EXT. STREET - DAY 24 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... ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 17 7-1-07 POLICE OFFICER Keep moving! Keep moving! Theo moves on. 25 INT. MINISTRY OF ENERGY BUILDING - SECOND FLOOR - DAY 25 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? https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 15/120 12/18/24, 10:52 PM Screenplay-Children of Men 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 Don't tell me 'e's gone fishing on us? Shirley giggles. ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 18 7-1-07 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. 26 EXT. MINISTRY OF ENERGY BUILDING - ALLEY - DAY 26 Theo bangs out a side door and hurries down the alley... 27 EXT. STREET - DAY 27 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 (30's) is pushing a pram down the street. A YOUNG COUPLE approach, crouching to https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 16/120 12/18/24, 10:52 PM Screenplay-Children of Men 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 doesn'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 gonna pay! Tell Freddie, I swear I'll have his money, all of it -- 2ND MAN Shut up. ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 19 7-1-07 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. 28 INT. VAN - DAY 28 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... CUT TO: BLACK. SILENCE. THEN... A VOICE ECHOING, as if in a vast space... MAN'S VOICE (LUKE) https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 17/120 12/18/24, 10:52 PM Screenplay-Children of Men You are under the jurisdiction of the 5 Fishes. Your basic human rights will be respected. SECOND MAN'S VOICE (PATRIC) The 5 Fishes have eyes and ears everywhere. We keep the truth flowing. WOMAN'S VOICE Why is he handcuffed? MAN'S VOICE (LUKE) It's procedure. WOMAN'S VOICE (an order) Uncuff him. MAN'S VOICE (PATRIC) The prisoner should remain cuffed at all times. WOMAN'S VOICE I don't care. Uncuff him. ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 20 7-1-07 MAN'S VOICE (LUKE) Do it. MAN'S VOICE (PATRIC) (CONT'D) She doesn't have the authority. MAN'S VOICE (LUKE) (CONT'D) Uncuff him. From Theo's POV... as the burlap sack comes off his head, the BLACK SCREEN becomes a blurry whitish image and... 29 INT. ABANDONED FACTORY - DAY 29... 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. https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 18/120 12/18/24, 10:52 PM Screenplay-Children of Men 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 shouldn't I ask? JULIAN A close call. THEO And that didn't knock any sense into you? ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 21 7-1-07 JULIAN Walk with me, Theo... She nods toward the cavernous warehouse floor. Theo seems tentative. JULIAN (CONT'D) I won'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 can'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. (then) How've you been? THEO Never better. JULIAN And Jasper and Sandra? https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 19/120 12/18/24, 10:52 PM Screenplay-Children of Men THEO They're lovely. JULIAN How's Sandra doing? THEO She's brilliant. ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 22 7-1-07 Julian tries to light a cigarette. The lighter sparks, and sparks, but no flame. Theo does nothing to help her. THEO (CONT'D) And how about you and your boyfriends?.. (looks back at the Fishes) 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. https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 20/120 12/18/24, 10:52 PM Screenplay-Children of Men THEO Not anymore. It's a brave new world. In case you haven't noticed. ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 23 7-1-07 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 (CONT'D) "The only reason to breathe is to make a difference." (beat) You remember who told me that? THEO Wanna 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 (CONT'D) (turning back) 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. ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 24 https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 21/120 12/18/24, 10:52 PM Screenplay-Children of Men 7-1-07 And she continues walking, leaving four masked men alone with Theo. 30 INT. VAN - DUSK 30 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. (beat) I know you need the money to pay your debts. (off Theo's look) The Five Fishes have eyes and ears everywhere. 31 EXT. BUS STOP - DUSK 31 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 (CONT'D)... 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 weren'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. ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 25 7-1-07 32 EXT. APARTMENT BUILDING - NIGHT 32 Theo steps around a homeless woman sleeping on the stoop of his apartment building. He punches in a security code. https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 22/120 12/18/24, 10:52 PM Screenplay-Children of Men 33 INT. LOBBY - NIGHT 33 Dimly lit, paint peeling off the walls. Theo walks past the elevator, doesn't even look at the faded sign that reads "Out of Order" and starts up a narrow staircase. 34 INT. HALLWAY - NIGHT 34 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 (overlapping) Are ya now? THEO (overlapping) -- Tuesday... The Smaller Man grabs Theo's hand, twists Theo's fingers back. He SCREAMS in pain. THEO (CONT'D) 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. ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 26 7-1-07 SMALLER MAN (CONT'D) (back to Theo) Ya think we got nothin' better to do 'an chase after the likes of you, do ya? (shakes his head) 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, https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 23/120 12/18/24, 10:52 PM Screenplay-Children of Men cradling his hand. The small man puts his foot on the Theo's hands. He presses down on Theo's broken finger. SMALLER MAN (CONT'D) Now... ya know what I'm gonna say and I know what you're gonna say. So let's not bore each other to death. (and) Don'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. 35 INT. MINISTRY OF ENERGY BUILDING - SECOND FLOOR - DAY 35 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 (greets Theo) Morning to you. THEO Something broken? WORKMAN TWO Installing a camera is all. Theo considers this, then turns back toward the exit. ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 27 7-1-07 36 INT. HALLWAY - DAY 36 Theo spots Peter and approaches him. THEO Peter... PETER (seeing Theo's condition) Jealous husband, I suppose? THEO (motions toward safe room) What's going on? PETER Someone's been stealing petrol coupons. THEO https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 24/120 12/18/24, 10:52 PM Screenplay-Children of Men (a beat) Huh... Wow. Stealing. PETER Keep your ears open. There's a thousand pound reward for any information. THEO Wouldn't want to be in that poor bastard's shoes. 37 TNT. MINISTRY OF ENERGY BUILDING - SECOND FLOOR - DAY 37 Theo approaches his cubicle. He stands there, pondering his next move, and... SHIRLEY (O.S.) (conspiratorially) 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. (MORE) ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 28 7-1-07 SHIRLEY (CONT'D) 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 (CONT'D) Keep your ears open. She starts back to her cubicle, then remembers something SHIRLEY (CONT'D) 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. 38 EXT. STREET - NIGHT 38 Theo frantically pushes past pedestrians, limping as he runs through the park... 39 EXT. ALBERT HALL - NIGHT 39 https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 25/120 12/18/24, 10:52 PM Screenplay-Children of Men 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. 40 INT. ALBERT HALL - AUDITORIUM - NIGHT 40 Rolling clouds across a glorious blue sky. You almost don'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. ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 29 7-1-07 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 didn't get here in time. (off Theo's look) They won't let you in. I tried. Jasper looks at Theo's bandaged hand. JASPER (CONT'D) What happened to you? Theo dismisses the question with a shake of his head. Jasper looks back through the glass at Sandra. JASPER (CONT'D) They say it's a peaceful way to go. God knows she deserves some peace after what they did to her... 41 THEO SAYS NOTHING. THEY WATCH THROUGH THE WINDOW AS -- 41 https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 26/120 12/18/24, 10:52 PM Screenplay-Children of Men 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. ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 30 7-1-07 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 didn'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 (CONT'D) 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 (CONT'D) 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. (smiles, back in the moment) She always did that when she thought no one was watching her. Did you ever notice? https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 27/120 12/18/24, 10:52 PM Screenplay-Children of Men THEO (lying) No. JASPER That's what she did. She picked her nose... (MORE) ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 31 7-1-07 JASPER (CONT'D) (shows his little finger) With her pinky. Jasper looks down at Sandra. JASPER (CONT'D) 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. 42 INT. PICK-UP OFFICE - QUIETUS - NIGHT 42 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 (re: brown sack) She's still warm. 43 EXT. QUIETUS - NIGHT 43 Outside, the street is quiet. Theo and Jasper walk. Jasper, stoic, holding the bag of Sandra's ashes. Sudden}y- Jasper breaks down. Crying. All of his 75 years now revealed, all at once an old man. FADE OUT: FADE IN: 44 INT. ROLLS ROYCE - DRIVING - DAY 44 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 https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 28/120 12/18/24, 10:52 PM Screenplay-Children of Men outing, some walking their dogs. Some dressed in chaps, riding horses. A woman walking, holding the hand of a young chimp ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 32 7-1-07 in toddler's clothing. The privileged minority. A restricted zone. 45 SOUTHWARK BRIDGE CHECKPOINT - DAY 45 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. 46 INT. ROLLS ROYCE - DRIVING - DAY 46 Coming over the bridge: an imposing brick structure, its square tower dominating the gloomy sky: the Battersea Power Station. 47 INT. BATTERSEA POWER STATION - GREAT HALL - CONTINUOUS 47 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 doesn'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 (Oxford accent) We couldn'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. ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 33 7-1-07 https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 29/120 12/18/24, 10:52 PM Screenplay-Children of Men 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. 48 INT. REMBRANDT HALL - BATTERSEA POWER STATION - DAY 48 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. (then) You've gotta 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. (indicates a painting) His last. He stops in front of Rembrandt's final self-portrait. COLIN (CONT'D) 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..." ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 34 7-1-07 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. https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 30/120 12/18/24, 10:52 PM Screenplay-Children of Men 49 INT. PICASSO HALL - BATTERSEA POWER STATION - DAY 49 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 can't thank you enough for making that possible. COLIN Thank your mum. I couldn't have done a thing if you didn't have a British passport. THEO Actually, I feel stupid for asking... but I need another favor. Colin raises an eyebrow. THEO (CONT'D) I have a new girlfriend... a bit of a Francophile. (sheepishly) 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 Isn't your girlfriend aware Paris isn't what it used to be? Paris n'est plus la ville des amants. ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 35 7-1-07 THEO Her brother's there. She hasn't seen him in five years and he's not doing too well. Not too well at all. (off Colin's look) 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 (CONT'D) Maybe I could pick up some art for you. https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 31/120 12/18/24, 10:52 PM Screenplay-Children of Men COLIN There's nothing left but second-rate junk. THEO I guess I got myself in over my head. I didn't have anyone else to go to. Colin embraces the power of helping the little guy. COLIN Well... I can't exactly promise anything. THEO (brightening) 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 won't be one sad fuck to look at any of this. What keeps you going? ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 36 7-1-07 COLIN You want to know what it is, bra? 1 just don't think about it. Colin pops the pill, washing it down with wine. 50 INT. PUB - NIGHT 50 ON TV: A PRETTY REPORTER outside the fence surrounding Bexhill, speaking to a COLONEL in camouflage fatigues. PRETTY REPORTER (TV)...but there are some who'll ask: isn'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. https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 32/120 12/18/24, 10:52 PM Screenplay-Children of Men COLONEL (TV) 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 (O.S.) 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 (CONT'D) 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 doesn't understand. ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 37 7-1-07 THEO (CONT'D) (to Patric) Dr. Seuss. You ought to do a little more reading, mate. Patric's eyes flair. THEO (CONT'D) 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 (ignores him) Everything's moving ahead, but I'll need a photo of the girl and her name. LUKE (hands him an envelope) It's all in here. THEO https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 33/120 12/18/24, 10:52 PM Screenplay-Children of Men -- 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. ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 38 7-1-07 LUKE (CONT'D) 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, isn'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 (CONT'D)...it's not clear if the Zed was https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 34/120 12/18/24, 10:52 PM Screenplay-Children of Men 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... 51 EXT. ENGLISH FOOTBALL MATCH - DAY 51 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. ----------------------------------------------------------------------------------------------------- Screenplay-Children_of_Men p. 39 7-1-07 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." 52 EXT. EXIT TUNNEL - STADIUM - DAY 52 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. (discreetly motions toward a security camera) You look good in that shirt... THEO You bought it for me, remember? (beat) 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 (CONT'D) Take my hand. Theo hesitates. JULIAN (CONT'D) Lends credibility. She leans into his shoulder, hiding the scar on her face https://web.archive.org/web/20160314203437/http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Children_of_Men.htm 35/120 12/18/24, 10:52 PM Screenplay-Children of Men from the two cops who pass in the opposite direction. 53 EXT. STADIUM - DAY