"V For Vendetta" Script

DRAMA – PARTIAL UNIT – MOVIE SCRIPTS

V FOR VENDETTA

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PEOPLE:               SHER AND ANUSHKA

SCENE:                 #1 [OLD BAILEY’S EXPLOSION]

LIGHTING:          Yellow lighting on backdrop and red lighting following EVEY

and V (blackout at 0:38 of music before explosion) (black stage for alley) (grey stage for roof)

SOUND:               https://www.youtube.com/watch?v=P9TtBYgyXzk (fade in at

                               0:18)

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 V.

(He throws wide his cloak and bows deeply to her.)

V:           And you would be?

EVEY:    Evey.

V:           E – V, Of course.

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:          It’s 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.)

(taps on block)

V:           oh its starting

yes, the strings. The bass, the overtones. listen carefully Can you hear it? 

(Evey is confused as there is no music playing yet V continues to wave his wand)

(MUST FADE IN music from 0:18)

EVEY: I can hear it!!

(black out lights at 0:38)

(proceed to play music till end of music clip while blackout)

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PEOPLE:               SHER AND ANUSHKA

SCENE:                 #2 [BREAKFAST]

LIGHTING:          Yellow lighting on backdrop and red lighting following EVEY

and V (blackout at 0:38 of music before explosion) (black stage for alley) (grey stage for roof)

SOUND:               https://www.youtube.com/watch?v=P9TtBYgyXzk (fade in at

                               0:18)

EVEY:             V?

V:                    ahh Bonjour mademoiselle.

EVEY:             I just wanted to apologise for my reaction last night. I understand what you did for me and I am grateful. (look at hands) your hands?

V:                    oh yes sorry (put son gloves) hope I didn’t make you lose your appetite?

EVEY:             oh no worries. Can I ask what happened?

V:                    there was a fire a long time ago… ancient history for some. Not really good table conversation. Anyway, would you care for a cup of tea with your egg

EVEY:             yes thank you, I am starving actually

V:                    have a seat (pours tea)

EVEY:             hmm, that’s delicious... god, I haven’t had real butter since I was a little girl. Where did you get it?

V:                    A government supply train on its way to Chancellor Sutler.

EVEY:             You stole this from Chancellor Sutler?

V:                    Yes.

EVEY:             You’re insane.

V:                    I dare do all that may become a man. Who dares more is none.

EVEY:             Macbeth.

V:                    Very good.

EVEY:             My mum, she used to read all his plays to me and ever since, I’ve always wanted to act. Be in plays, movies. When I was 9, I played Viola in Twelfth Night. Mum was very proud.

V:                    Where is your mother now?

EVEY:             She’s dead.

V:                    I’m sorry.

EVEY:             Can I ask about what you said on the telly?

V:                    Yes.

EVEY:             Did you mean it?

V:                    Every word.

EVEY:             really think blowing up Parliament’s going to make this country a better place?

V:                    There’s no certainty, only opportunity.

EVEY:             you can be pretty certain that if anyone does show up Creedy will black-bag every one of them.

V:                    People should not be afraid of their governments. Governments should be afraid of their people.

EVEY:             And you’ll make that happen by blowing up a building?

V:                    The building is a symbol, as is the act of destroying it. Symbols are given power by people. Alone, a symbol is meaningless, but with enough people, blowing up a building can change the world.

EVEY:             I wish I believed that was possible. But every time I’ve seen this world change, it’s always been for the worse.

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PEOPLE:               FED & SHER

SCENE:                 #3 [shower murder]

LIGHTING:          white on Lewis + red on V (following the whole time)

SOUND:               n/a

V:                    Good evening, Commander Prothero.

Lewis:            How did you get in here?

V:                    Don't worry; I've made sure our reunion won't be disturbed by any pesky late-night phone calls, Commander.

Lewis:            Stop that. Why do you keep calling me that?

V:                    That was your title, remember? When we first met, all those years ago. You wore a uniform in those days.

Lewis:            You. It is you.

V:                    The ghost of Christmas past.

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PEOPLE:               ALINE & FED/SHER

SCENE:                 #4 [murder TV new]

LIGHTING:          white on whole stage

SOUND:                    (TV scene: [find YouTube link])

Evey:             V, yesterday I couldn't find my ID. You didn't take it, did you?

V:                    Would you prefer a lie or the truth?

Evey:             [Stands, gesturing toward the TV, which has just finished an announcement of Lewis Prothero's death] Did you have anything to do with that?

V:                    Yes, I killed him.

Evey:             You...? Oh God.

V:                    You're upset.

Evey:             I'm upset? You just said you killed Lewis Prothero!

V:                    I might have killed the Finger men who attacked you, but I heard no objection then.

Evey:             What?

V:                    Violence can be used for good.

Evey:             What are you talking about?

V:                    Justice.

Evey:             Oh... I see.

V:                    There's no courtroom in this country for men like Prothero.

Evey:             And are you going to kill more people?

V:                    Yes.

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PEOPLE:               ALINE & FED (fed must change voice to deep and monotone)

SCENE:                 #5 [interrogation] (pulls desk and two tables, Evey is dressed in prison uniform and interrogator/v wearing all black) (black stage)

LIGHTING:          one light blackout and the other red on Evey

SOUND:               n/a

FED/SHER:          I am instructed to inform you that you have been convicted by special tribunal and that unless you are ready to offer your cooperation, you are to be executed. Do you understand what I'm telling you?

EVEY:                    Yes

FEDERICO:          Are you ready to cooperate?

ALINE:                  No

FED:                      Very well. Escort Ms. Hammond back to her cell. Arrange a detail of six men and take her out behind the chemical sheds and shoot her.

(sher comes from backstage and place black clothe over head and dumps in cell/grey stage)

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PEOPLE:               ALINE & FED

SCENE:                 #6 [BLACKOUT TORTURE] & Valerie’s Letter- Aline (grey stage)

LIGHTING:          black out

SOUND:               shaving hair sound 2 seconds after blackout of previous scene (https://www.youtube.com/watch?v=Oa98uAVoGfs)
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PEOPLE:               ALINE & FED

SCENE:                 #7 [interrogation] – Aline & Fed (fed must change voice to deep, neutral and monotone) (pulls desk and two tables, Evey is dressed in prison uniform and interrogator/v wearing all black) (black stage)

LIGHTING:          one light blackout and the other red on Evey

SOUND:               n/a

FED:                      now, lets try again, all you have to do is co-operate. You will have one chance and one chance only to save your life. You must tell us the identity or whereabouts of code name V.

ALINE:                  no. (nods head)

(sher comes from backstage and place black clothe over head and dumps in cell/grey stage)
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PEOPLE:               ALINE ON BLACK STAGE – ANUHSKA ON GREY STAGE

SCENE:                 #8 [BLACKOUT TORTURE] – Aline (grey stage)

LIGHTING:          black out

SOUND:               n/a

(un-rolls the letter)
(anushka enters and sits in front on grey stage)

ALINE: I don't know who you are. Please believe. There is no way I can convince you that this is not one of their tricks. But I don't care. I am me, and I don't know who you are, but I love you. 

I have a pencil. A little one they did not find. I am a women. I hid it inside me. Perhaps I won't be able to write again, so this is a long letter about my life. It is the only autobiography I have ever written and oh God I'm writing it on toilet paper.

ANUSHKA: I was born in Nottingham in 1957, and it rained a lot. I passed my eleven plus and went to girl's Grammar. I wanted to be an actress.

I met my first girlfriend at school. Her name was Sara. She was fourteen and I was fifteen but we were both in Miss. Watson's class. Her wrists. Her wrists were beautiful. I sat in biology class, staring at the picket rabbit foetus in its jar, listening while Mr. Herd said it was an adolescent phase that people outgrew. Sara did. I didn't.

In 1976 I stopped pretending and took a girl called Christine home to meet my parents. A week later I enrolled at drama college. My mother said I broke her heart.

But it was my integrity that was important. Is that so selfish? It sells for so little, but it's all we have left in this place. It is the very last inch of us. But within that inch we are free.

London. I was happy in London. In 1981 I got my first rep work.

Work improved. I got small film roles, then bigger ones. In 1986 I starred in "The Salt Flats." It pulled in the awards but not the crowds. I met Ruth while working on that. We loved each other. We lived together and on Valentine's Day she sent me roses and oh God, we had so much. Those were the best three years of my life.

In 1988 there was the war, and after that there were no more roses. Not for anybody.

In 1992 they started rounding up the gays. They took Ruth while she was out looking for food. Why are they so frightened of us? They burned her with cigarette ends and made her give them my name. She signed a statement saying I'd seduced her. I didn't blame her. God, I loved her. I didn't blame her.

But she did. She killed herself in her cell. She couldn't live with betraying me, with giving up that last inch. Oh Ruth.

They came for me. They told me that all of my films would be burned. They shaved off my hair and held my head down a toilet bowl and told jokes about lesbians. They brought me here and gave me drugs. I can't feel my tongue anymore. I can't speak.

The other gay women here, Rita, died two weeks ago. I imagine I'll die quite soon. It's strange that my life should end in such a terrible place, but for three years I had roses and I apologized to nobody.

ALINE: I shall die here. Every last inch of me shall perish. Except one.

An inch. It's small and it's fragile and it's the only thing in the world worth having. We must never lose it, or sell it, or give it away. We must never let them take it from us.

I don't know who you are. Or whether you're a man or a woman. I may never see you or cry with you or get drunk with you. But I love you. I hope that you escape this place. I hope that the world turns and that things get better, and that one day people have roses again. I wish I could kiss you. Love, Valerie

(clutches paper to her chest tightly and sniffles)

(blackout)
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PEOPLE:               ALINE & FED

SCENE:                 #9 [Evey confronts V after hospital] – Aline and Fed

LIGHTING:          red on v and white on Evey

SOUND:               n/a

(door open sound effect after lights: https://www.youtube.com/watch?v=CF-gpq_cwMY)

(walks from grey area to black stage area)

V: Welcome home, Evey.

EVEY:  You...

(Her mouth hangs open.)

EVEY:  You did this... to me.

EVEY:  You did this to me!

(She stumbles against the wall, unable to support herself.)

EVEY: You -- You hit me and -- and cut my hair.  It was you.  It was just you all this time.

(She doubles over, covering her face as she bursts into tears.)

EVEY: You tortured me.  You tortured me --

(Evey looks up at him, body shivering as he quietly glides toward her)

EVEY: Oh god, why?

V: Because I love you, Evey.  Because I wanted to set you free.

EVEY: Love?

(A look of horror twists her starved face.)

EVEY: Set me free?  Don't you realize?

(Slender fingers ball into fists.)

EVEY:  Don't you realize what you did to me?  You nearly drove me mad!

(Disgust and anger light up her eyes.)

EVEY:  I hate you.

(Her little, wiry body coils tight as she circles him.)

EVEY: I hate you!  Set me free?  You put me in a prison to set me free?!

V: You were already in a prison. You've been in a prison all your life.

EVEY: Shut up!  I don't want to hear it. I wasn't in a prison.  I was happy! I was happy here --

V: Happiness is the most insidious of all, Evey.

EVEY: That's warped!  That's evil and it's wrong!  What gives you the right to judge?  Who are you to say what's not good enough?!

V:  You were born in a prison, Evey.  I didn't put you there.  I just showed you the bars.  You've been in a prison so long, you no longer remember there's an outside world.

(She wheels away from him, covering her ears, trying to get away from his voice.)

EVEY:  Shut up!  You're mad!  I don't want to hear it!

V:  That's because you're afraid, Evey. You're afraid because you can feel freedom closing in on you.  You're afraid because freedom is terrifying.

(Evey falls, stumbling through the ground).

EVEY:  I can't feel anything!  There's left to feel!  Don't you understand?

V: Don't back away from it, Evey.  Part of you understands the truth even as part pretends not to.

(She collapses, head pounding.)

V: Woman, this is the most important moment in your life.  Don't run from it.

EVEY:  I don't know what -- Oh god – I can't breathe --

(V couches next to her and helps her up from the ground)

V: Good.  You're almost there.  Go closer.  Feel the shape of it.

EVEY: What are you doing to me?  I can't breathe --

V:  You were in a cell.  They offered you a choice between the death of your principles and the death of your body.

( He cradles her as she hyperventilates, tears streaming down her face.)

EVEY:  I feel -- I feel like I'm going to burst.

V: You said you'd rather die.  You faced the fear of your own death and you were calm.  Try to feel now what you felt then.

EVEY:  Oh god -- I felt --

(The mask hovers over her.)

EVEY:  Like an angel --

EVEY:  Oh god, V, I'm so scared.  What's happening to me?

V: The door of the cage is open, Evey. All that you feel is the wind from outside.  Don't be afraid.

(Gently, helps her.)

V: Try to walk.  Let us go to the roof.

EVEY: The roof?  Outside?

(Something draws Evey out into the storm.)

(V moves up behind her.)

V: Do you feel it?

EVEY: Everything's so -- different.

V: I know.  Five years ago, I too stared beneath a night like this. Naked under a roaring sky.

(Evey raises her hands in the air)

(A low rumble of thunder washes over London.)

V:  The night is yours, Evey.  Seize it.  Encircle it within your arms.

V: Bury it in your heart up to the hilt.

(She raises her arms to embrace the raging torrent. Crying in disbelief)

V: Become transfixed and transfigured -- Forever.

(Evey cries in happiness and breathes heavily whil4 hand is still up)

(blackout)

END OF PLAY