Children of Men
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 
               ...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., 

                           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:

               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.

     Screenplay-Children_of_Men                                             p. 2

                           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)
               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 
     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


     SILENCE now, except for the "Eeeeeeeee" of Theo's ringing 
     ears.  Title:

                          "CHILDREN OF MEN"


     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.


     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...



                           TV REPORTER
               ... Diego resisted being identified 
               as a Zed, the label given to those 
               of the final generation.  He felt 
               the term Zed had become primarily 
               associated with the youthful gangs 
               who have formed their own nihilistic 
               and violent societies. But clearly' 
               as youngest of the young...

     Theo passes another cubicle...

     Screenplay-Children_of_Men                                             p. 4

                           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, 

     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...

               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.


               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

     Screenplay-Children_of_Men                                             p. 5

     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 

               Get the internet back up as well.

     Theo twirls the phone in his hand...

               And he'll hold free elections too...

     ...and places it back on the table

     Screenplay-Children_of_Men                                             p. 6

                           THEO (CONT'D)
               I need something for a woman. 
               Something nice.

                    (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, 

     But Theo has noticed something else in Rudy's backpack. Theo 
     pulls out a red scarf.

               How much?

               You got a good eye, my friend. 100% 
               Chinese silk -

               How much?

               Ain't made nothing of that quality 
               in fifteen years.  Vintage stock, 
               that is. --

               Rudy, I got a train to catch in twenty 

               I'll let it go for fifty.

     Theo slides a packet of his purloined petrol coupons across 
     the table.

                    (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

                           THEO (CONT'D)
               -- And I need you to place a bet for 
               me. With Freddie.

               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)
               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
               '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 


     A state propaganda loop of a quick montage of cities in 

     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 

     The montage ends with an image of Big Ben, still ticking, 
     its famous chimes BOOMING on the soundtrack. Title: "OTHER -
     over this, the ghostly, domineering face of the Warden.

     Screenplay-Children_of_Men                                             p. 8

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 

     Another billboard flashes by: "AVOIDING FERTILITY TESTS IS A 
     CRIME!" Graffiti on a wall: "LAST ONE TO DIE PLEASE TURN OUT 
     THE LIGHT."

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 -

               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

               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.

               Who do you think did it?

               Pick a number.

               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.

               All I know is my ears are still 

               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.

               Baby Diego was a wanker.

               Very true, but he was the youngest 
               wanker on earth.

     Screenplay-Children_of_Men                                            p. 10

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.

                    (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 

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.

               I was surprised you called. We weren't 
               expecting to see you for a few weeks. 

               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


     The car drives into the woods, up the small dirt trail.

                           THEO (CONT'D)
               How's Sandra doing:

               She's lovely...
               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 

     ...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:


     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.

               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

               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.

               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 
                    (to Sandra, tenderly)
               Every line you wrote came true, my 

     Theo follows Sandra's eyes. She's staring at a wall of 

     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.

     Jasper is rolling a monster joint; Theo sips from his flask.

     Screenplay-Children_of_Men                                            p. 13

               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?

               Immigration cop?

               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--

               C'mon, Jasper, the Human Project 
               doesn't exist--

               I'm trying to tell a joke, Theo.

               ah... Right. Okay.

               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?
               The bioethicist blames genetic 
               experiments. The environmentalist 
               argues it's pollution and pesticides.  
               Minister says God is pissed, right?

     Screenplay-Children_of_Men                                            p. 14

                           JASPER (CONT'D)
               Same old, same old.
               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!

               Stork. That's funny.

     Jasper takes another hit.

               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.   

               Don't take it so personally, Jasper.

               In sixty years, humanity will be 

               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?

               A few really brilliant piles of rock. 
               And some books... really awesome 
               books. And some smashing symphonies.

               True, but maybe the planet's ready 
               for a little peace and quiet.

     Screenplay-Children_of_Men                                            p. 15

     Jasper turns to the old hi-fi system behind him.

               But not quiet yet....

     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.

               BBC World Report. The time is now 
               seven hundred Greenwich mean time...

     Theo opens his eyes but...

22   INT. THEO'S APARTMENT - MORNING                               22 he's on his bed, in his apartment. He blinks, looks 
     over at the TV as the ANCHORWOMAN recites the morning news.

               ...A dirty bomb has exploded in 

     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

     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 

     IMAGES of elderly people greeted by smiling Quietus attendants 
     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 --


     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

                           POLICE OFFICER
               Keep moving! Keep moving!

     Theo moves on.


     Theo at his desk, bored, killing time, staring impassively 
     at the baby figurines and other trappings on Shirley's 

     Peter approaches, places a thick folder on Theo's desk.

               What's this?

               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.    

               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.

               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 

     Shirley giggles.

     Screenplay-Children_of_Men                                            p. 18

               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 
     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.

               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

               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:


     A VOICE ECHOING, as if in a vast space...

                           MAN'S VOICE (LUKE)
               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

                           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.

               Hello, Theo...

     Theo staring, clearly shocked to see her.  SILENCE.  SILENCE.  

               I thought you were dead.

               Sorry about the theatrics, but it 
               was for your safety as much as ours.

               How'd you get that nasty scar? Or 
               shouldn't I ask?

               A close call.

               And that didn't knock any sense into 

     Screenplay-Children_of_Men                                            p. 21

               Walk with me, Theo...

     She nods toward the cavernous warehouse floor. Theo seems 

                           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.

               I'm trying to think. I can't remember 
               the last time I saw you.

               You're not going to reprimand me for 
               not calling?

               Never crossed my mind.

               It would have made things dangerous 
               for you.

               You're flattering yourself, Julian.  
               It never crossed my mind.

               How've you been?

               Never better.

               And Jasper and Sandra?

               They're lovely.

               How's Sandra doing?

               She's brilliant.

     Screenplay-Children_of_Men                                            p. 22

     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 
                    (looks back at the 
               Been busy with all these bombings 
               around town?

     Luke steps up, lights her cigarette, turns to Theo.

               You know that's the Warden's 
               handiwork, not ours.  We're his 

               Right... kidnapping's more your style.

     Luke leans toward Theo, his eyes cool behind his mask.

               Sorry if we frightened you.

     Theo turns to Julian

               Why am I here, 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 

               We'll pay you 10,000 pounds.

     Julian shoots Luke a look. A beat, and Luke retreats to the 
     other Fishes.

               Why come to me?

               You have connections.

               Not anymore.  It's a brave new world.  
               In case you haven't noticed.

     Screenplay-Children_of_Men                                            p. 23

               You could rekindle an old 

               Nobody's handing out transit papers 
               and they're impossible to steal.

               You could find a way.

               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...

               "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."
               You remember who told me that?

               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...

               Sorry to trouble you, Theo. My 

     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

     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.

               I told Julian that appealing to your 
               conscience would be a waste of time. 
               But you'll do what we want.
               I know you need the money to pay 
               your debts.
                    (off Theo's look)
               The Five Fishes have eyes and ears 

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:

               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.

               Right... Been a genuine pleasure, 

     He starts to get out. And Patric gives him a shove into the 
     street.  Luke tosses some coins at him.

               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

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.

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.

               I'm getting the money together

                           SMALLER MAN
               Are ya now?

               -- 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

                           SMALLER MAN (CONT'D)
                    (back to Theo)
               Ya think we got nothin' better to do 
               'an chase after the likes of you, do 
                    (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, 
     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.  
               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.


     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.

                    (greets Theo)
               Morning to you.

               Something broken?

                           WORKMAN TWO
               Installing a camera is all.

     Theo considers this, then turns back toward the exit.

     Screenplay-Children_of_Men                                            p. 27

36   INT. HALLWAY - DAY                                            36   

     Theo spots Peter and approaches him.


                    (seeing Theo's 
               Jealous husband, I suppose?

                    (motions toward safe 
               What's going on?

               Someone's been stealing petrol 

                    (a beat)
               Huh... Wow.  Stealing.

               Keep your ears open. There's a 
               thousand pound reward for any 

               Wouldn't want to be in that poor 
               bastard's shoes.


     Theo approaches his cubicle. He stands there, pondering his 
     next move, and...

                           SHIRLEY (O.S.)
               I know who it is.

     He turns, faces Shirley.


               Yes, it's that Allison Hammer. Her 
               son's a mongoloid, you know, retarded.

     Screenplay-Children_of_Men                                            p. 28

                           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   

     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 

               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

     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 


     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.

               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...



     An ATTENDANT approaches Sandra and offers her a cup. Sandra 
     reaches for it, her hand shaking. The Attendant steadies her 
     and Sandra drinks.

               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


     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.

               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 

                           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 
               She always did that when she thought 
               no one was watching her.  Did you 
               ever notice?


               That's what she did. She picked her 

     Screenplay-Children_of_Men                                            p. 31

                           JASPER (CONT'D)
                    (shows his little 
               With her pinky.

     Jasper looks down at Sandra.

                           JASPER (CONT'D)
               She's gone.


     Sandra stares up at the clouds rolling across the ceiling.

               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.

                    (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 
     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

     in toddler's clothing. The privileged minority. A restricted 

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 


     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.

                    (Oxford accent)
               We couldn't save "La Pieta," it was 
               already smashed by the time we go 
               there.  But this is pretty rummy, 

               My mom had a plastic one in the 
               bathroom. It was a lamp.

     Colin approaches Theo. They embrace.

     Screenplay-Children_of_Men                                            p. 33

               Hey, bro.  I was surprised to hear 
               from you.  Told Mum you called -- 
               she sends her love.

               How's she doing?

               Holding the respirator.


     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.

               ...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.

               Not to mention people.
               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.

               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.

               "Oh, well..."

     Screenplay-Children_of_Men                                            p. 34

               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.


     Planes drop bombs on civilians. Black and white cubist mayhem. 
     Theo and Colin stand in front of Picasso's Guernica." The 
     Wolfhounds sit nearby.

               Things good at work, bra?

               I can't thank you enough for making 
               that possible.

               Thank your mum. I couldn't have done 
               a thing if you didn't have a British 

               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.
               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.

               Transit papers? That's quite a favor.

               I know. I'm sorry.

               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

               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 

               There's nothing left but second-rate 

               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.

               Well... I can't exactly promise 

               You're a lifesaver, Colin.

               Nonsense, bro. Mummy loved your mum. 
               And times like these... Well... Vive 
               le petit mort.


     Colin opens a small silver case. He takes out a pill, offering 
     it to Theo, who shakes his head, staring at him.


               You amaze me.  A hundred years from 
               now, there won't be one sad fuck to 
               look at any of this. What keeps you 

     Screenplay-Children_of_Men                                            p. 36

               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...

     Some sort of demonstration past the prison gates.

                           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.


     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.

               One Fish, Two Fish, Red Fish, Blue 

     Patric doesn't understand.

     Screenplay-Children_of_Men                                            p. 37

                           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 

     Luke stares at Theo, sees his bandaged finger.

               Looks like your friends caught up 
               with you.

                    (ignores him)
               Everything's moving ahead, but I'll 
               need a photo of the girl and her 

                    (hands him an envelope)
               It's all in here.

               -- And an extra 5,000 pounds for my 

               We agreed on ten.

               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.

               Ten's as high as we can go.

               Find another sucker then.

     Theo rises to leave. Luke grabs his arm.

               Twelve, take it or leave it.

     Theo stares a beat.

     Screenplay-Children_of_Men                                            p. 38

                           LUKE (CONT'D)

               Fifteen's my lucky number.

               The hell with the fuckin' Yank.

               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 

     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)
     's not clear if the Zed was 
               stabbed by the victim or by one of 
               his own gang.

     The wounded Zed takes one step and falls to his knees beside 
     the victim, who lies motionless on the sidewalk, half-naked, 
     picked clean...

     OVER: The CHANT of English football...

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

     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.

                    (discreetly motions 
                    toward a security 
               You look good in that shirt...

               You bought it for me, remember? 
               Is all this cloak and dagger 

               Yes. Have to be sure we're not 

     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 
     from the two cops who pass in the opposite direction.

53   EXT. STADIUM - DAY                                            53   

     The crowd ROARS as one of the teams scores.

     Julian leads Theo to a bus stop. A double-decker starting to 
     leave. She tugs Theo's arm and they run, catching up to it, 
     jumping on through the rear door.

     Screenplay-Children_of_Men                                            p. 40

54   INT. DOUBLE-DECKER BUS - CONTINUOUS                           54   

     Theo and Julian sit at the front of the bus, their backs -
     toward the overhead security camera.  Theo is a bit out of 
     breath. She looks over at him, playful, seductive...

                    (whispers in his ear)
               Remember when we used to ride the 

     Her hand tightens around his, passion in her gesture 
     impossible to tell if it's real... or an act.

55   EXT. STREET - DAY                                             55   

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

56   EXT. BUS STOP - CITY OUTSKIRTS - DAY                          56   

     The bus rolls away revealing Julian and Theo. They cross the 
     street. She puts her arm around him. He looks at her, and 
     for a second it seems he might kiss her.

     A FIAT MULTIPLA passenger wagon comes around the corner, 
     stops in front of Julian and Theo. The back door opens.

               Get in.

57   INT. MULTIPLA - CONTINUOUS                                    57   

     Julian gets in the front. Theo climbs in the back, looks 
     around. Luke at the wheel, two other women in the backseat.

               So this is the elite unit?

     No response.  Luke shifts into gear, drives off.

     Theo glances at the woman beside him. KEE (19), brown skin, 
     North African descent. The world was already falling apart 
     by the time she was born.  She's a Zed.

                           THEO (CONT'D)
                    (to Julian)
               Is this the girl?

               Kee, this is Theo.

     Theo locks eyes with the Zed...

     Screenplay-Children_of_Men                                            p. 41

               Fuck you staring at?

               Apparently the pleasure is all mine.

     Julian looks around the car, past Luke to the third woman.

               This is Miriam...

     MIRIAM {40s, black, simply dressed. She looks at him, nods.

               We're going with you to Canterbury 
               Road. It's before the first 


               Because we want to.  We'll take the 
               old road and you'll drop us where we 
               say.  After that, the two of you 
               will be on your own.

               Aren't you forgetting something?

     Luke reaches down and tosses a black bag onto Theo's lap. 
     Theo look inside at stacks of notes.

                           THEO (CONT'D)
               Did you roll an old lady?

     Luke glares at him through the rear-view mirror.

               We took up a collection for your 


     He turns to look at Julian.  The sunlight plays in her hair, 
     her smile like the Mona Lisa.  He looks past her, out the 
     window, the bright sunlight bleeding in as we FADE TO WHITE...


     The sound of... THE SURF...

     Screenplay-Children_of_Men                                            p. 42

     A glistening blue wave, rolling luxuriously toward the beach.

     The backlit woman in the sarong, her beautiful form moving 
     closer.. .

     Theo in the sand, smiling, in heaven... as she approaches...

     Theo shades his eyes as she nears... and now we see... the 
     woman is Julian Julian's face is soft and beautiful, her 
     hair is flowing in the breeze.

                           THEO (CONT'D)

     She lowers her tray with the drink toward him, smiles and...

                           THEO (CONT'D)
               What do You want from me, Jules?

                    (tender reprimand)
               You're snoring...

58   INT. CAR - DRIVING - DAY                                      58   

     Theo asleep. A hand reaches over and nudges him awake.

               Hey there. You're snoring.

                    (coming to)
               No I wasn't.

               How would you know?
                    (to the others)
               He always snored.

               I did not. Where are we?


     Theo looks over at Kee.

               So why's it so important to get this 
               girl out of the country?  She rob a 
               train, kill a cop, blow up a building?

     Screenplay-Children_of_Men                                            p. 43

     No one responds.

                           THEO (CONT'D)
               You're right, I don't want to know 

     Kee turns from Theo to Julian

                    (to Julian, re: Theo)
               You once was dotage for this berk?

               Two or three lifetimes ago. We met 
               in the states. We weren't much older 
               than you. Theo was an activist then.

     Miriam LAUGHS, can't believe it.  Theo ignores the slight.

               An activist was what you wanted me 
               to be.  I just wanted to get laid.

               We were at Berkeley. Theo was pissed 
               that all the money for health and 
               education was going to defense 
               contractors. So he had this idea: 
               Let's go to Seattle and chain 
               ourselves to the sculpture in front 
               of Boeing's corporate headquarters. 

               Naked was your idea.

               We got shy, stopped at our underwear, 
               thank God, and we chained ourselves 
               to the sculpture, and we threw away 
               the key. Total commitment. So we're 
               waiting for the employees to arrive. 
               Waiting for the TV cameras to show 
               up. And it's cold. And nobody is 
               coming. And it keeps.  getting colder. 
               So we start yelling: Hello?.. Help?  
               I mean, where's a surveillance camera 
               when you need one? Finally a patrol 
               car drives up. The cops get out, 
               they're staring at us.  We're chained, 
               we're shivering, we're in our 

     Screenplay-Children_of_Men                                            p. 44

     Julian and Theo looking at each other, reliving this moment.

                           JULIAN (CONT'D)
               Cop says, "What are you doing?"  And 
               you say, "Protesting." Cop says "Come  
               back tomorrow."  And I said,  "Why?"  
               Cop says--

               "It's Columbus Day."

               A week later we ran off and got 


               And six months later we ran off and 
               got divorced.  
               Julian was used to giving herself to 
               the masses.

               You're really still there, eh?

     Miriam spots something out the window.

               Look out!

     Through the windshield, up ahead: a BURNING CAR rolling down 
     a hill, toward the road they're travelling on.  Luke 
     accelerates, the Multipla responds grudgingly.

                           MIRIAM (CONT'D)
               What are you doing?!

               We can make it!

     The Multipla gaining speed -- The burning car careening down 
     toward the road... It looks like they may beat it...


     Screenplay-Children_of_Men                                            p. 45

     But instead, Luke slams the brakes, screeching to a stop, 
     just misses -- 


     -- the burning car as it cuts them off and -- SMASH! --crashes 
     into a parked, abandoned vehicle. Flames rise from the car, 
     blocking off the narrow Road.


     Tense silence.

               This is not good.

     Then: WAR CRIES.


     ZEDS.  Faces painted, armed with stones, sticks and knives.

     The gang moves in a wave, like a tribe of hunters, running 
     toward the car --


     CRACK! The first stone hits the window.

               Go around!

     Instead, Luke throws the car into reverse, screeching the 
     vehicle backwards. The Zeds race after the car.  CRACK! Sticks 
     and fists pounding, bodies piling on...

     Luke keeps the pedal to metal, screeching away in reverse, 
     the last Zeds dropping off, giving chase, but can't catch 

     A lone MOTORCYCLE emerges from behind the burning car, two 
     riders in masks weaving through the running Zeds.  It speeds 
     towards the Multipla, gaining on them.


     Luke can't go any faster in reverse, the motorcycle closes 
     in, alongside them now. The Zed on back, eyes visible for an 
     instant through his black mask.

     The motorcycle drops back, riding now in front of the car 

     Screenplay-Children_of_Men                                            p. 46

     Theo sees the Zed on back of the motorcycle straighten aiming 
     a high-powered RIFLE.

               He's got a gun --

     BAM! The bullet crashes through the windshield -- Julian 
     rocked by the impact, blood spraying.  Everyone SCREAMING in 
     terror and disbelief:

                    (in car)
               She's hit! She's hit!

                    (screaming to Miriam)
               Get Kee down!

     Miriam covers Kee with her own body. Theo moves to Julian  
     She's been hit in the neck, bleeding badly. Her eyes are 
     open, alive. Barely.

               Put pressure on the wound!

               Godammit, godammit!

               Stop the bleeding!  Use your hand!


     The motorcycle accelerates again, moving back alongside them.


     Theo sees the motorcycle approach, the Zed on back, pointing 
     the gun at him, about to shoot and...

     He throws open his door --


     WHACK! Theo's car door SLAMS into the motorcycle. The bike 
     wobbles. The driver trying to keep balance, but...

     The motorcycle tilts and falls, throwing the gunman into the 
     grass, the driver bouncing across the pavement, leaving a 
     lot of skin behind.


     Screenplay-Children_of_Men                                            p. 47

     Luke slows the car just enough to turn, spinning a 180, 
     heading away from he ambush, finally driving forward.

               How is she? How's Julian?  She's 
               bleeding a lot...

     Theo holds her throat wound with both hands, trying to dam 
     the blood with his fingers.

               Hang on, Jules, hang on...

     Julian reaches toward her throat, grabbing one of Theo's 
     hands. She squeezes it. Holding his hand tightly.

     Miriam rubs her palms together, laying healing hands onto 
     Julian's head.  Holding them there.

               She's making her transition.

     Julian's grip on Theo's hand loosens. She is dead. Everyone 
     is silent. Then In the distance, SIRENS.


     A police caravan, two squad cars and a van, coming from the 
     opposite direction. Luke plays it cool, maintaining his speed, 
     as the caravan heads right toward them.

     The caravan flies past, heading toward the scene of the 
     ambush. There's a moment of relief. Until-

     In Luke's rearview mirror: one of the police cars splits 
     from the caravan, turning around, coming back.


     Sirens screaming, the police car closing in. Luke is sweating.  
     Neither slowing nor speeding up.

               Go, go, go, go, go!

               You have to pull off!

     The Police are right on their tail. They have no choice. 
     Luke eases the car to a stop.

     Screenplay-Children_of_Men                                            p. 48


     The police car skids to stop behind the Multipla.  Two  POLICE 
     OFFICERS instantly out of their car, guns drawn:

                           COP 1
               Let's see your hands!

                           COP 2
               Your hands, let's see your hands!


     Luke watches the two police officers approach.

                           COP 2 (CONT'D)
               Get out of the vehicle!

     Miriam opens her door, Theo opens his, starts to get out...


     Luke swings his door open and stands. One hand raised in the 

               We were attacked by Zeds -

                           COP 1
               Your hands!  

     Luke pulls his other hand from the car --

     BAM!  Luke's other hand is holding a gun, and he's shot the 
     First Cop through the heart. Before the Second Cop can react, 
     Luke swivels 

     BAM!  Luke gets off another shot.  And the Second Cop crumples 
     to the ground... but manages to fire a round --

     BAM!  Luke finishes him off.

     The echo of the gunfire dissipates. Theo standing there. 
     Looking at the two cops bleeding on the ground. Silence.

               The fuck?

               Let's go.

     Screenplay-Children_of_Men                                            p. 49

               What did you do?

               Let's go!

     Theo doesn't move. Still reeling. Luke levels the gun at 

               Let's go.

     Luke holding the gun on Theo. Theo glaring back at him. Miriam 
     sees how close Luke is to pulling the trigger and...

               Luke!  No!
                    (firmly to Theo)
               Get in. Now!

     Theo gets in the car. Luke hands the gun to Miriam. 

59   INT. MULTIPLA - DRIVING - DAY                                 59   

     Luke driving off. All business, taking control.

               We'll need a new car. We have to get 
               off the main roads--

               You just killed two men.

               Had no choice.

               No choice -- ?

               He's right.

               We need to find a safe house.

     Miriam reaches forward, brushes her hand over Julian's eyes, 
     closing them.  Theo looks at the blood on his hands.

60   EXT. WOODS - DAY                                              60   

     Theo carries Julian's body through the woods, Miriam 
     following.  He lays Julian down between two trees.

     Screenplay-Children_of_Men                                            p. 50

     Theo looks at Julian's pale, bloody corpse.  A sensation 
     begins to form: anguish.

               She's at peace...

     Theo turns to Miriam. She has tears in her eyes.

               She's dead. 

               All is well.  She died for something 
               she believed in.

               She died for nothing!

               If that's what you choose to believe, 
               Mr. Faron.

     Kee is waiting down the hill, next to the Multipla.

               He's coming.

     HONK! HONK! An old Vauxhaul sedan pulling up.  Luke at the 

     Miriam and Kee start toward the car.  Theo lingers, alone, 
     in private grief, looking at Julian's body. Then he walks 
     off, the satchel of money in his hand.

61   INT. VAUXHAUL - DRIVING - NIGHT                               61   

     Cold rain beats steadily against the windshield. Theo sits 
     in front, the wipers scraping shadows across his face.

     In the back, the shadows from the rain on the windows play 
     on Miriam and Kee' faces, blending with their tears.

     Luke puts on the turn signal.  Getting off the main road.

62   EXT. MUDDY ROAD - CONTINUOUS                                  62   

     The Vauxhaul struggling up a muddy, rutted road.

63   INT. VAUXHAUL - NIGHT                                         63   

     Luke honks three times.  Through the windshield. the 
     headlights illuminate an old farmhouse. Two men walk out the 
     door. One of them holding a rifle.

     Screenplay-Children_of_Men                                            p. 51

               Tom and Ian. They're loyal Fishes.

64   EXT. FARMHOUSE - CONTINUOUS                                   64   

     The Vauxhaul parks in front of the stone farmhouse. Luke 
     turns the car off. The two men approach. .

     TOM (58), strong, dark features, a farmer with the wrinkles 
     and weathered skin that comes from working the soil. IAN 
     (40), shorter, fine features, small-town bureaucrat, the 
     pale skin of a man who shuffles paper under fluorescent light.  
     Tom holds a rifle, an AK 49, the next generation.

               Everything's been taken care of.

               It's an honor, sir.

               Hide the car, Tom. Don't block it. 
               We have to push-start it.

               Yes, sir.

                    (Re: Kee and Miriam)
               This is Kee, this is Miriam.  They'll 
               need a place to wash up and rest. We 
               need to convene.

               How 'bout Julian's mate?

               We'll watch him.

               He needs a scrub.  Get him a clean 

     Luke looks at the black satchel in Theo's hand.

                           LUKE (CONT'D)
               I believe that belongs to the Fishes.
                    (off Theo's look)
               Clearly you won't be fulfilling your 
               part of the bargain.

     Luke holds cut his hand.  A beat.  Theo gives him the satchel.

     Screenplay-Children_of_Men                                            p. 52

                           LUKE (CONT'D)
               Tomorrow we'll give you a lift back 
               to London.

65   INT. BATHROOM - FARMHOUSE - NIGHT                             65   

     The bathroom is small, dank, unkept.  Theo stands in front 
     of the mirror after his shower. He wipes the mist off the 
     mirror and looks at himself. Reflected in the mirror, he 
     sees something on the wall behind him. He turns...

     AN OLD PHOTO. A weathered portrait from thirty years back, 
     taken in front of the same farmhouse: a man, a woman... and 
     their five chldren.  All five kids hanging on a tire hung 
     from a large tree.  Testament to a world now gone.

66   INT. BEDROOM - FARMHOUSE - NIGHT                              66   

     Theo walking out of the bathroom wearing a fresh shirt. Tom 
     is seated in a chair, waiting, holding his rifle.

               Shirt fit?

               It's fine, thanks.

               We've got an important meeting going 
               on. Fishes from all over the place.

     Beyond, through the window, a car driving up. Ian greeting 
     the TWO MEN who step out.

                           TOM (CONT'D)
               Luke sent this for you.

     Tom hands him a bottle of whiskey. Theo accepts it with the 
     sad smile of someone aware he's being bought.

               You thank him for me.

     Theo heads for the door.

               If you're going out, take a coat. 
               Catch a cold in this weather...

     Tom points to the coat rack. Theo crosses to it and glances 
     through an open door into the next room: Luke is putting the 
     black satchel in a closet.

     Screenplay-Children_of_Men                                            p. 53

67   EXT. FARMHOUSE - NIGHT                                        67   

     The rain has stopped. Theo, wearing a long tweed coat, stands 
     outside the farmhouse. He takes the first sip from the bottle. 
     Tom catches up, rifle in hand.

               I'm in charge of watching you.

               You're doing a good job, Tom.

     Theo offers him the bottle. Tom shakes his head.

               Alcohol is a tool of the government 
               to numb the people.

     Theo takes another swallow

               This your farm?

               House is mine. and the cows.  
               Consortium took the land They pay me 

     Theo notices the old tree.

               That used to be a swing, right? A 
               tire swing.


     A frayed rope dangles from a thick branch, moving with the 
     breeze. A faint smile on Tom's face, a memory.

                           TOM (CONT'D)
               Children's stuff.

               Yeah, children's stuff.

     From a short distance, Miriam shouts to Theo:

               Mr. Faron, Kee would like a word 
               with you. She's in the barn.
                    (to Tom)
               It's okay, Tom. I'll watch him.

     Screenplay-Children_of_Men                                            p. 54

     Theo gives a nod to Tom, then starts walking toward Miriam.

               Mr. Faron?


               You're from America?


               I'm sorry about what happened there.

               Thank you, Tom.

68   INT. BARN - NIGHT                                             68   

     Theo steps through the wooden door. Miriam stops at the 

               I'll wait outside.

     Miriam closes the door. The old stone barn houses forty cows 
     and industrial milking equipment. Theo spots Kee standing 
     among the cows in the back. He starts toward her and...

               You know they chop the poor cow's 
               tits? They do -- zzzt. Gone. Only 
               leave four. To fit the machine.  Why 
               not make machines to fit the cow? 
               Wacko, eh?

     He stops, a few yards from her now.

               Something on your mind, Kee?

               Julian said anything goes spooky, I 
               could talk to you. Said to trust 
               you.  Said you'd get me out of 

     Screenplay-Children_of_Men                                            p. 55

               Sorry, Kee, it's out of my hands. 
               You got plenty of friends, they'll 
               take care of you.

               But Julian said only trust you.

               Yeah, well, Julian was wrong.

     Theo turns to leave.

               You can't go.

     Kee begins to unbutton the front of her dress.

                           KEE (CONT'D)
               You can't leave me.


               Got to help me.

     Theo wants no part of this.


     Kee steps from behind the cow. Her arm covering her swollen 
     breasts, her hand covering her panties. She's staring straight 
     into his eyes.

     Theo is paralyzed at the sight of her naked form. The curve 
     of her hip. Her hair dangling over her shoulders. Her taut 
     belly. A million possibilities flash through his mind, but 
     there can only be one explanation: Kee is pregnant.

                           THEO (CONT'D)
               Jesus Christ.

     And BAM! -- The barn door behind Theo slams open. Luke walks 
     in. Ian and Miriam hurrying in after him.

               What's going on here?

     Screenplay-Children_of_Men                                            p. 56

     Kee immediately retreats behind the cow, covering herself 

                           LUKE (CONT'D)
               What is this then?

     Miriam steps forward.

               She wanted him to know.

               And who is she? Nobody authorized 

               It's her body.

     Luke looks at Miriam. Seems to consider this.  Then:

               We're meeting in five minutes.

     Luke turns an eaves.

69   INT. FARMHOUSE - NIGHT                                        69   

     ON TV: Grainy footage of the Multipla approaching from the 
     opposite direction, the windshield blasted out. The image is 
     blurry. Then a series of FREEZE FRAMES: Kee, Luke, Miriam, 
     Julian, and Theo.

                           NEWSWOMAN'S VOICE
               Any citizens with information 
               regarding the identity of these 
               killers should report to the Ministry 
               of Security immediately.

     Scrolling below the images: "20,000 pound reward for 
     information leading to the arrest of each of these criminals."

                           NEWSWOMAN'S VOICE (CONT'D)
               Do not try and approach them directly: 
               they are considered armed and 
               extremely dangerous...

     Luke shuts off the TV with the remote and turns to the -
     assembly of the Five Fishes -- about fifteen men, a few women -- 
     gathered in the musty living room.  Theo stands in back.

     Screenplay-Children_of_Men                                            p. 57

               This was broadcast an hour ago. It's 
               only a matter of time before 
               identifications are made.  For the 
               present, it's too dangerous to proceed 
               with the original plan.

     Kee squeezes Miriam's hand.

               But Julian wanted her to go to 

                           FISH 1
               Not all of us agreed on that.

               It's too dangerous

               Make it public!

     Theo's uninvited opinion draws glares from around the room.

                           FISH 2
               She is public -- She was on the telly! 
               A dead cop!

               The Warden would never let the people 
               know that an illegal became pregnant. 
               He'd lock Kee up, take the child and 
               parade an Englishwoman as the mother.
               And a baby in the hands of the Warden 
               would perpetuate the regime.

               That's why we must go to Iceland!

                           FISH 4
               Yes-- The Human Project!  They're 
               all  waiting for her.  The scientists.

               It's too late for that. Our faces 
               are on TV, we'd never be able to 
               reach the coast. It was agreed that 
               getting Kee to Iceland was the best 
               choice, but the reality has changed.

     Screenplay-Children_of_Men                                            p. 58

                           LUKE (CONT'D)
               We will have to adapt to it: The 
               baby will have to be born here. After 
               the birth, when the time is right, 
               we will show the country we can do 
               what the government cannot --
                    (pauses for effect)

               Julian said this shouldn't be about 

     He turns to Miriam.

               I loved Julian We'll follow the spirit 
               of her thinking, but we must salvage 
               what we can from an untenable 

     He looks out at the others...

                           LUKE (CONT'D)
               We have all suffered under the 
               tyrant's heel. Our brothers and 
               sisters have been tortured, 
               imprisoned, murdered, because their 
               hearts burned with the flame of truth. 
               It's this flame the Warden fears. It 
               is this flame that spreads.  We have 
               been handed a torch in the form of a 
               child. As the flame of truth 
               obliterates darkness, so shall this 
               new flame destroy the Warden and his 

     SHOUTS of "Yes!"; "He's right!"

                           LUKE (CONT'D)
               The Uprising is assured!

     More CHEERS from the crowd as they look to Luke, unified-- 
     the Fishes have found their new leader.

     Theo turns to Tom, standing beside him.

               Quite a speech.

               Luke spent some time at the pulpit.  
               He was a minister.

     Screenplay-Children_of_Men                                            p. 59

               A man of God.

70   EXT. FARMHOUSE - NIGHT                                        70   

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

71   INT. BEDROOM - NIGHT                                          71   

     Theo asleep, lying in a lower bunk. A CREAK. Past Theo's 
     face, a FOOT descends the bunked ladder.  Theo's eyes open: 
     Fish 1 is covertly climbing down the ladder.  He quietly 
     joins Fish 2 who is freshly out of bed and is looking out 
     the window.  From outside, MUFFLED VOICES.  The two Fish 
     slip quickly out of the room.

     Theo gets up, moves to the window. Theo's POV: Two Zeds on a 
     motorcycle... the driver straddling the bike, the rider 
     slumped over, clinging to him. Theo recognizes the driver: 
     Patric. Cut, bloody, clothes torn, soaked to the bone.

     Patric is pleading with Luke and Ian.

               ...quickly!.. quickly!.. He needs to 
               be treated.

     Fish 1 and 2 (from Theo's room) join them.  Ian motions toward 
     the slumped figure.

               Take him to the barn.

                           FISH 1
               Aye, sir.

               Stay on high alert.

     Luke, Ian and Patric head toward the house, disappearing 
     from Theo's view.

72   INT. HALLWAY                                                  72   

     Theo's bare feet coming down the stairs. He stops when he 
     sees Luke and Ian step into the front hall.

                    (to Tom)
               You have a First-Aid kit -- medicine?

     Screenplay-Children_of_Men                                            p. 60

               Mostly for cows.

               Hydrogen peroxide, bandages, clean 
               towels, whatever you have, bring it 
               to the barn. And for God's sake, 
               hide that fucking motorcycle.

     Tom disappears into the bathroom. Luke, Patric, and Ian head 
     into the kitchen and close the door.

     Theo starts down the stairs, toward the back door as...

     Tom steps out of the bathroom with an armful of medicine and 
     supplies. No place to hide. Theo backs against the wall, 
     waiting for Tom to pass. Tom walks out the front door.

73   EXT. FARMHOUSE - NIGHT                                        73   

     Theo steps out the back door... SQUISH! Theo's expression 
     his socks are soaked in the cold mud. He sloshes quietly 
     alongside the farmhouse, no coat, shivering in the cold. He 
     reaches the kitchen window and sees:

     Luke pacing, Patric in a chair, Ian leaning on the table.

               What were you thinking? You realize 
               you put the whole mission in jeopardy?

               What was I supposed to do? You saw 
               how he was! Bloody piece of pulp.  
               And all the fuckn' police coming.  
               We had to hide in the woods for hours!

               You shouldn't have come!

               But he's my cousin!  I don't know 
               what's wrong, I think he's all broken 
               inside, I'm telling you, he needs a 

               Don't worry, we'll take care of him.

               Where's the American Bastard? I'm 
               goinq to kill him!

     Screenplay-Children_of_Men                                            p. 61

               You can do that, but tomorrow -- 
               after we move "the girl.

     Theo has seen enough. He moves away from the window, sloshing 
     back along the side of the house.

74   INT. FARMHOUSE - HALLWAY - NIGHT                              74   

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

75   INT. ANOTHER BEDROOM - CONTINUOUS                             75   

     Miriam sits up in bed.

               What do you want?


     Kee awakening-- 

               What's going on'?

               Luke killed Julian


               That was Patric on the motorcycle. 
               I'm getting the hell out of here.  I 
               suggest you come with me.

     The two women exchange a look. But don't move.

                           THEO (CONT'D)
               Suit yourselves.

     Theo walks back out the door. The two women, looking at each 
     other, unsure.

76   INT./EXT. FARMHOUSE - NIGHT                                   76   

     Theo dons the tweed overcoat, looks out the side door: There's 
     a row of six cars parked in front of him. Two Fishes standing 
     nearby. Activity in the barn.

     Screenplay-Children_of_Men                                            p. 62

     Theo steps out the door... SQUISH! Theo's expression -- he 
     forgot to get his shoes. He continues, moving quietly to the 
     car in front of him. He opens the door...


     Through the windshield, Theo sees the Fishes up ahead. He 
     reaches down to the hood release -- POOK! The hood pops open. 
     The Fishes don't hear it.


     Theo squatting, sneaking around to the front of the vehicle. 
     Lifting the hood quietly. Reaching in... YANKING OUT the 
     distributor cap.  He gently lets the hood down.


     Theo repeating the operation. Reaching for the hood latch, 

     Fish 2 returns from the barn, on a beeline for the car. His 
     hands and coat stained with blood. Theo hunches on the car 

                           FISH 2
                    (to the nearby Fishes)
               Shite, he looks bloody awful.

     Fish 2 reaches in the car, just above Theo's head, feeling 
     for: a pack of cigarettes on the dash.

                           FISH 2 (CONT'D)
               His bones are sticking out, no skin, 
               no way to hold the blood in...

     Fish 2 snags the cigarettes, walks off. Theo watches them 
     recede, then tugs the hood release.  FOOK!


     Theo has the hood up on the last car, he slips the distributor 
     cap in his coat pocket, eases the hood down, glances over 

77   THE FARMHOUSE - NIGHT                                         77   

     Two Fish are turned away, standing near the front door, trying 
     to stay alert, trying to stay warm.


     backs away from the car and...

     Screenplay-Children_of_Men                                            p. 63

     A HAND reaches for his shoulder. He jumps -- spins o see 
     Miriam and Kee. His reflex causing Miriam to GASP and...

78   THE FARMHOUSE - NIGHT                                         78   

     One of the two Fish standing guard turns toward them...


     gestures down!  And Miriam and Kee duck below the fender.  
     Theo's pissed off.


     O.S., the sound of FOOTSTEPS approaching. The FOOTSTEPS stop. 
     A beat. Then the FOOTSTEPS recede.

     Theo inches back up, looking over the fender to see...

79   EXT. FARMHOUSE                                                79   


     The two Fishes are near the front door again, turned away.

               Okay. Let's go.

     And Theo leads Kee and Miriam to the Vauxhaul, the first car 
     parked in the row.  Quietly opens the back door for Kee. She 
     slips in, while Miriam moves to the front passenger seat. 
     They silently shut the doors without letting them latch.



     Theo turns to her and...

               Stay put. Keep quiet.

     Theo opens the door to leave...


     And he's gone.

     Screenplay-Children_of_Men                                            p. 64

80   INT. FARMHOUSE - KITCHEN/HALLWAY - NIGHT                      80   

     Theo grabs a butcher knife off the kitchen table, he moves 
     quickly and silently down the hall to Luke's room.  Opens 
     the bedroom door and moves toward the closet.


     CLOSE as the butcher knife slides between the door and door 
     frame. The lock snaps and the closet door opens, revealing...



     The driver's door opens, Theo gets in and tosses the satchel 
     down at Miriam's feet.

               You're risking our lives for that?

     He gives her a look and turns the key in the ignition and 
     HARUMPH! After the first spark, the engine dies.

     Through the windshield: Two nearby Fishes REACT to the 


     Miriam stares at him, angry and scared. Theo tries again 
     HARUMPH! Nothing.

               What happened?

               Battery's dead.

     Through the windshield: the Fishes start walking to the car.

                           FISH 6

     Theo releases the brake and pushes in the clutch.  The car 
     starts rolling slowly down the steep, muddy road.  In the 
     direction of the approaching Fishes.

               Shut the doors!

     Screenplay-Children_of_Men                                            p. 65

     Miriam and Kee and Theo pull their doors shut. Miriam hits a 
     switch -- FWICK! The car doors lock.

                           FISH 6


     The Vauxhaul picking up a little speed, bouncing down the 
     steep, rutted road, heading right at the Fishes.

                           FISH 6 (CONT'D)
                    (shouting the alarm)

     Theo checks the speedometer: 5 mph.


     Fish 5 stands in the muddy track holding up his gun, pointing 
     it at the oncoming car.

                           FISH 5

     The car still coming.. Fish 5 about to shoot...


     Luke steps out of the door

               NO! DON'T SHOOT!


     Fish 5 looks confused, lowers his gun, the car still rolling 
     toward them.  He and Fish 6 try stopping the car with their 
     hands, but the weight and momentum of the car is too much 
     for them. They're forced to step aside.   

     More Fishes come running from the barn. Patric tearing out 
     of the house...

                           LUKE (CONT'D)
               The girl's in the car! Don't shoot!

               Somebody get a car!


     Screenplay-Children_of_Men                                            p. 66

     Fish 5 and 6 chase down the slow-moving car, grabbing the 
     doors, but they're locked. Fish 5 sticks his hand through 
     the half-open window, trying to pull the car to a stop...

81   INSIDE VAUXHAUL                                               81   

     Kee punches the intruding hand, trying to break its grip, 
     but Fish 5 hangs on...


     More Fishes join the chase. So does Patric, running down the 
     muddy road after the car...

     Two other Fish head for the row of parked cars.


     Kee bites the intruding hand. Fish 5 yelps, releasing his 
     grip, and the car gains momentum.  Fish 6 slips down in the 


     Fish 2 hops out of the second car.

                           FISH 2
               It won't start!


     Theo turns: they now have some distance from their pursuers. 
     He checks the speedometer -- 10 mph.

               Here we go...

     Theo shifts into second gear, releases the clutch: Ha-RUMPH! 
     The car shudders, but doesn't start.  He tries it again -- 
     HA-RUMPH! No success. And the car slows, nearly stops.

     Kee looks out the back window: the Fishes are gaining.

               They're coming!

     Theo puts in the clutch and the car starts rolling again.

                    (begging the car)
               Go, go, go, go, go...

     Screenplay-Children_of_Men                                            p. 67

     The Fishes getting closer.  Patric is racing full tilt, 
     running faster than the rest.


     At the row of cars, two Fishes push the second car, getting 
     it rolling. As it picks up speed, the Fishes jump in, the 
     momentum carrying them downhill...


     They approach the end of the muddy track, one big ditch, 
     right before it intersects the paved road.

     Speedometer: 9 mph.

     Theo shifts into second gear, about to release the clutch, 
     when he turns to see: Patric has caught up, running even 
     with the back bumper, gaining.


     The second car coming downhill picks up speed.


     Theo can't afford to slow down, lets the car keep rolling. 
     Patric catching up, keeping pace, focusing on Theo, raising 
     a pistol.

               Got a shot! Got a clean shot!

     Theo in disbelief, Patric running alongside, about to shoot 
     him at close range, when Kee kicks open her door and --

     FWAK!  Kee's door hits Patric's back, tripping him up, sending 
     him tumbling, bouncing hard across the mud and rocks.

     The car headed right for the ditch--

               Hold on -- !


     The car crashes into the ditch, throwing up mud. The momentum 
     carries the car through the ditch, flying up onto the paved 
     road, where it bounces to a complete stop.


     Screenplay-Children_of_Men                                            p. 68

     Theo looks back to see...


     The Fishes still running down toward them. The second car is 
     coming fast, right behind the pursuing Fishes...


     Theo jumps out of the Vauxhaul.

                           THEO (CONT'D)
                    (to Miriam)
               You know how to push-start a car?

     Miriam slides over to the driver's seat.

               Just push! Push!

     Theo runs to the back of his car. He's wearing only socks. 
     He starts pushing. As the car starts picking up a little 
     speed -

     HA-RUMPH!  Miriam releases the clutch. Stopping the car.

               Wait till it goes faster!

     Theo looks back:


     The Fishes part like the Red Sea, making way for the fast 
     approaching second car.  Fish 2 doesn't get the message, 
     still in front of the car.

               Move! Get off the road--

     Too late. The second car runs down Fish 2, just as it SMASHES 
     into the ditch, the momentum carrying it to:


     The second car bounces to a stop. Not thirty yards from Theo.


     Theo is pushing for all he's worth. His socks are bloody. 
     Gritting as he strains his broken finger. The Vauxhaul picking 
     up speed. He turns to see:

     Screenplay-Children_of_Men                                            p. 69

     The Fishes have jumped out of the second car, running toward 
     them, catching up...

                    (to Miriam)
               Now! Now!

     The car shudders, the reluctant engine hesitating a moment, 
     before -- VA-ROOM! The engine finally roars to life. The 
     Vauxhaul now pulling away from Theo. He turns: the Fishes 
     are gaining.

     Miriam stops the Vauxhaul, ten yards ahead, Theo gasping, -
     trying to make it...

     One of the Fishes pulls out a gun, aiming... Kee looking out 
     the back window.

                           FISH 4
                    (seeing Kee)
               Don't shoot!

     Behind them, more fishes have reached the paved road, joining 
     the chase.  Theo reaches the car, the door swings open for 


     Theo jumps in.

               Go, go, go, go!

     Miriam shifts it into gear, the car lurching forward.  Through 
     the back window we see the Fishes receding.

               Now what?

     Theo about to vomit, out of shape, out of breath -- on the 
     verge of complete collapse.

               Just drive, damnit!

     Miriam floors it, then glances back at Kee. Kee looks pale, 
     still worked up from the escape.

                    (to Kee)
               Breathe, Kee. Long deep breaths.  
               Breaeethe. Breeeethe.

     Screenplay-Children_of_Men                                            p. 70

     Theo finally catching his breath... adrenaline dissipating.

               Jesus Christ...

     Theo looks down at the satchel of money, then leans back in 
     his seat...

     HOLD on Theo... as the car travels ON and ON...

     HOLD, HOLD, HOLD... then a flicker in his eye and...

                           THEO (CONT'D)
               Miriam! Get off the road! Pull into 
               the woods!

     Miriam turns, confused.

                           THEO (CONT'D)

     Miriam slows, pulling off onto the shoulder and...

82   EXT. WOODED AREA                                              82   

     ...the Vauxhaul rolls through a field and into the trees.

83   INT. VAUXHAUL                                                 83   

     Theo reaches over and snaps off the headlights.

               Leave it running...

               But -


     And then we hear it... the ROAR of a MOTORCYCLE ENGINE growing 
     closer... they watch through the windshield, as the motorcycle 
     speeds down the road in the direction they were heading. A 
     glimpse of two riders on the bike, Patric and another Fish. 
     Miriam looks at Theo.

               Should we go back the other way?

               Just give me a moment to think...

     Screenplay-Children_of_Men                                            p. 71

     Theo takes out his flask, takes a long pull.

                    (re: Theo's drinking)
               Right.. .
               We might try another safe house 

               The last one was real safe.  I think 
               we'll skip the Fishes, Miriam.

               If what you have said is true, and 
               Luke pulled off a coup d'etat, there 
               would still be others who are loyal 

               Wait, wait, wait: If what I say is 
                    (off Miriam's look)
               Luke had Julian killed!

               We only have your word on that.  But 
               say it is true... then there was a 
               coup d'etat-- 

               What about all your pals waving guns 
               at us, you only have my word on that 

               They likely thought you were 
               kidnapping Kee!

               Why didn't you just stay with them!

               Where Kee goes, I go!

               SHUT UP!  SHUT UP!  SHUT THE FUCK 

     They both turn around, looking at Kee.

     Screenplay-Children_of_Men                                            p. 72

                           KEE (CONT'D)
               I'm fuckin' cold and I'm fuckin' 
               hungry and you two bitchin' ain't 
               getting us nowhere! We need to meet 
               the boat, Miriam.

               I know, sweetie.

               What boat?

               The Human Project sent a boat from 
               Iceland -- we're supposed to meet it 
               tomorrow in Dover.

               What is this nonsense about the Human 
               Project and Iceland?

               Scientists from all over the world 
               gathered in Reyjkavik to cure 
               infertility.  Kee could be their 

               ... And they're all living next door 
               to Jerry Garcia.

               Jerry Gar--?

               The Human Project is real.

               Iceland is completely radioactive!

               That's the Warden's propaganda!  He 
               wants you to believe that he's the 
               only choice.  That everywhere else 
               has failed.

               Says who?

               Says Julian

     Screenplay-Children_of_Men                                            p. 73

     And that stops Theo. Then, from the road, the SOUND of a 
     motorcycle. They watch as the motorcycle speeds toward them... 
     and continues on, back toward the farm.


     Theo gets out of the car, walks around to the driver's side, 
     opens the door and

                           THEO (CONT'D)
               Scoot over.

     A beat. Then Miriam slides over. Theo starts the car, pulls 
     out of the trees.

               If I may just be permitted to ask... 
               Where are you taking us?

               Don't worry. I know a safe place.

84   EXT. ROAD - DAY                                               84   

     The Vauxhaul sails down a country road. We hear Miriam's 
     Voice: "Om Bhavan Namah... Om Bhavan Namah..."  Then Kee's 
     voice joins in: "Om Bhavan Narnah."


     Theo at the wheel, rolling his eyes in disbelief as the women 
     continue chanting.

85   EXT. SIDE OF THE ROAD - DAY                                   85   

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

86   EXT. WOODS - DAY                                              86   

     The car approaches Jasper's house.

               You're certain we can trust this 

               Julian trusted him.  That good enough 
               for you?

     Screenplay-Children_of_Men                                            p. 74

87   EXT. JASPER'S HOUSE - DAY                                     87   

     The Vauxhaul stops in front of Jasper's home. Theo climbs 
     out, goes to the front door and knocks.

               Jasper.  Hello?

     Theo opens the door --

88   INT. JASPER'S HOUSE                                           88   

     -- steps inside.


     The house is a mess. Glasses and dirty plates, books left 
     strewn around. He walks into:

     JASPER'S STUDIO From behind: Jasper on the sofa, his hand 
     dangling lifelessly off the armrest... a bottle of pills 
     spilled on the floor.

     On Theo's face, as he hesitantly approaches Jasper, walking 
     around the couch...

     Jasper lays in peaceful repose, his long hair partially 
     obscuring his face. A picture of Sandra in his hand.

                           THEO (CONT'D)

     Theo leans in closer. Pushes the hair out of Jasper's face, 

               Huh... ?

     Theo jumps back and --


               Fuck you!

     The two men share a look-- they've nearly scared each other 
     to death.  A hint of Jasper's old mischief flashes in his 

     Screenplay-Children_of_Men                                            p. 75

                           JASPER (CONT'D)
               Amigo.. .

     But it fades away, and Jasper breaks down, sobbing. Theo 
     leans down and hugs his old friend.

                           JASPER (CONT'D)
               I can't do it, Theo. There's no point 
               without her...

     Kee and Miriam walk into the room.

               Jasper. Meet Miriam. And Kee.

     Jasper turns, looking at Miriam and then at Kee-- disbelief, 
     recognition... awe.

89   INT. JASPER'S HOUSE - DAY                                     89   

     Jasper is at the stove, frying eggs. Energized.

               They're sending a boat?

     Jasper delivers Kee a plate of eggs. Past her, Theo is soaking 
     his bruised and cut feet in a big pot.

               Traveling under the guise of a fishing 

               "The Tomorrow."

               We were to board at Dover, but 
               instead, Theo brought us here and --

               No one's going to Dover.  We're 
               fugitives.  We'd be stopped at the 
               first checkpoint.

     Miriam looks over at Theo, who is gingerly, painfully, 
     adjusting his soaking feet. She offers the olive branch:

                    (to Theo)
               Would you allow me to try something?

     She approaches him and begins massaging his shoulders.

     Screenplay-Children_of_Men                                            p. 76

               Um, Miriam, it's my problem.

               Pain is pain. It would help if you 
               try and relax. This will get your 
               healing energy flowing.

     Theo's expression: His energy is not flowing.

                    (to Miriam)
               Anywhere else you could possibly 
               board the ship?

               Don't encourage them, Jasper.

               (ignoring Theo} If we fail to board 
               at Dover, it will stop at the last 
               two  weather buoys along the route: 
               tomorrow off the coast of Windsmore 
               and -

               It's impossible to get within five 
               miles of the coast without hitting a 

               -- the following day at Bexhill.

               There you go -- impossible!

               Theo, why are you so afraid of hope?

               It's not hope I'm afraid of -- it's 

               Why don't you have a drink while the 
               rest of us sort this all out.

     All too willing to play the part of the drunk...

               Don't mind if I do...

     Screenplay-Children_of_Men                                            p. 77

     Theo lifts his feet from the water, dripping as he hobbles 
     on his tender feet toward the liquor cabinet. Jasper unfolds 
     a map on the table.

               It's too late for Windsmore -- we 
               wouldn't make it in time.

               But it's our only chance.  We can't 
               get into Bexhill.

                    (looking through the 
               All you have is gin?

                    (to Theo)
               You polished off the scotch.

                    (to Jasper)
               Bexhill's a refugee camp.

               Refugee camp, my sharries.  A jeezey 
               death camp, that.

     Theo unscrews the top to the gin.  Pours himself a hearty 

               Too bad you're not fewgees -- that 
               way you could get yourself rounded 
               up and tossed in.
               Then again, if you were fewgees, 
               cops'd just as likely shoot you on 
               the spot.

                    (to Theo)
               Could you please -- ?


     They all turn to Jasper. He's so thrilled by whatever he's 
     thinking that he can't keep still. He grabs his coat, turns 
     back to Kee.

     Screenplay-Children_of_Men                                            p. 78

                           JASPER (CONT'D)
               Kee, your baby is the miracle the 
               whole world has been praying for!  
               Hallelujah, hosanna, shanti, shanti, 

     The old man starts for the door.

               Where the hell you going?

               Won't be a tick.
                    (to Kee))
               You rest. With any luck, you'll need 
               all your energy.

     They all watch as Jasper goes out the door.  Theo downs his 
     gin, looks up to see the women staring at him..

               Anybody care to join me?

90   INT. JASPER'S BEDROOM - LATER                                 90   

     A battered foot inches into one of Jasper's loafers.

     Theo, sitting on the bed, grimaces trying to squeeze his 
     feet in the shoes which are two sizes too small.


     He gives up, rummages through the closet and comes up with a 
     pair of flip-flops. He slips his feet into them. The flipflops 
     are also two sizes too small, but they'll have to do.

     He walks gingerly out of the room, his flip-flops slapping 
     against the floor.

91   INT. LIVING ROOM - DAY                                        91   

     Theo reaches for the bottle of gin, pours another drink. He 
     glances out the window: Miriam is outside, doing Thai-Chi 

                           KEE (O.S.)
               She doin' her craze?

     Theo turns. Kee is stretched out on the couch, her belly is 
     exposed and propped on a pillow. A fire blazing behind her.

     Screenplay-Children_of_Men                                            p. 79

               She's doin' something.

               She smited me with that. Said it was 
               good for my baby.

     Theo grumbles, starts to take a swallow of gin but...

                           KEE (CONT'D)
               She look posh to you?  Or gawky?

     Theo lowers the drink. Outside, Miriam is standing on one 
     foot, suspending her other leg in the air, trying to keep 
     her balance...

               She looks earnest.

     Theo turns. Kee's beautiful belly in the soft light of the 
     fire. He's about to sip from his glass, but stops.

                           THEO (CONT'D)
               How long have... how many months --?

                    (off his look)
               Takes nine months.


     A beat.  Silence.

               Father? That what you wanna know?


               Whiffet. I'm a virgin.


               Cha, be wicked, eh?

     Theo smiles.

     Screenplay-Children_of_Men                                            p. 80

               That it would.

               Fuck knows.  Omar. Sammy. Phil. Don't 
               recall most of the wanker's names. 
               Did some for quid, some for drugs.  
               Some... Fuck knows, I was bored, 
               horny. You know the cock'n bull.

     Theo clears his throat, has got the general idea, still 
     holding his glass, not drinking.

                           KEE (CONT'D)
               When I started puking, thought I 
               catch the pest. And I think -- "bitch, 
               you are whoppingly fucked."  But 
               then my belly start gettin' big, and 
               I think, "this is no big fart stuck 
               in my belly!"  No, this fuckin' 
               spooky. Never seen a pregnant woman.  
               Nobody ever told me these things.  
               But I knew. Got a baby in me tummy.  
               Cheedo, eh?


               Felt like a freak. Embarrassed. 
               Afraid. Didn't tell nobody. I thought 
               about that Quietus thing. 'Sposed to 
               be suave. Pretty music and all that.
               Then the baby kicked.

     She breaks into a big smile, her mood now bright.

     Through the window, Theo sees Jasper's car pulling up.

                           KEE (CONT'D)
               Little bastard was alive.  Me Too!  
               I was alive  
               Didn't know what to do. Talked to me 
               best girl, she knew the Fishes.  
               Told me they would help me.  I met 
               Julian.  She was suave.

     Outside, Jasper is excited, says something to Miriam who 
     follows him toward the porch...

     Screenplay-Children_of_Men                                            p. 81

               She was suave...

     The door flies open and Jasper hurries into the room. He 
     grabs Theo and kisses him on both cheeks.

               You're a genius, Theo!

               Now I'm a genius?

                    (to Kee)
               You're going to Iceland tomorrow! 
               Cheedo, eh?


               Just like Theo said -- we get 
               ourselves arrested!

               Oh, Jesus!

               Syd, the border cop I sell to... 
               he's agreed to get us in.

     Theo GROANS.

                           JASPER (CONT'D)
               Nicely ironic, isn't it?  Breaking 
               into a prison.
                    (points to a spot on 
                    his map)
               We'll meet him in Rye, tomorrow 
                    (to Theo)
               By the way, I'll need four thousand 
               quid from your little black bag.

               Excuse me?

               Syd's fee for getting us in, I'm 

     Theo just stares at him. Then...

     Screenplay-Children_of_Men                                            p. 82

               We'll never make it.

     Jasper takes this in, nods soberly.

               Perhaps. But I'd like to think we 

     He hobbles out of the room.

92   EXT. JASPER'S HOUSE - DUSK                                    92   

     The woods past Jasper's home becoming dark, shadowy shapes 
     as the last rays of daylight fade.  Smoke wafts from Jasper's 
     stone chimney.

     THROUGH THE WINDOW: Miriam sitting on the couch by the fire... 
     Kee by the kitchen where Jasper is making tea...

     THROUGH A SECOND WINDOW: Theo alone in the hallway...

93   INT. JASPER'S HOUSE - HALL/LIVING ROOM - DUSK                 93   

     ... examining the tweed overcoat he took from the farm. It 
     doesn't have a lining. He tosses it on a chair and rifles 
     through the other coats in Jasper's closet. He pulls out a 
     navy pea coat, checks the lining and measures it for size.

     Past him, in the living room, Miriam has joined Kee who is 
     inspecting Jasper's wall of photographs. Jasper walks up to -
     them with the tea.

               How long have you known Theo?

               Met in him oh eight.

     The three of them looking at the wall of photographs.

               Was he the same tosser back then?

               A different kind of tosser.

     Jasper's eyes fall on the photo of Theo and Julian

                           JASPER (CONT'D)
               He claimed to have fled America 
               because of the Patriot Act witch

     Screenplay-Children_of_Men                                            p. 83

                           JASPER (CONT'D)
               hunts that were going on at the time. 
               But it was obvious he came to Pembroke 
               for Julian

     Theo calls out from across the hallway...

               Can I have this?
                    (re: peacoat)

               Be my guest.

     Theo crosses to the table in the corner of the living room 
     and begins to rip out the seam of the coat lining.

                           JASPER (CONT'D)
                    (back to the girls)
               Theo was reading P.P.E.
                    (off Kee's look)
               Politics, Philosophy, Economics.

     Miriam and Kee look at a photo of Theo in his robe on the 
     Pembroke campus.

                           JASPER (CONT'D)
               He wrote this amazing paper. "The 
               ripple effect of class and racial 
               prejudice on the low-income worker.." 
               He was gifted.  But he chose to drown 
               his talent in single malt Scotch.

     Miriam glances at Theo, who is absorbed with his work on the 
     pea coat, ripping open the lining.

               Because of Julian?

               Perhaps. She was a good excuse.  But 
               it would have happened anyway. 
               Everyone gave up.
                    (off Kee's look)
               Not right away -- in the beginning, 
               most of us held on. Things changed 
               slowly. Despair grew as the noise 
               from the playgrounds faded.

     He looks at Sandra's photo of a pair of young girls gathering 
     shells on the beach.

     Screenplay-Children_of_Men                                            p. 84

                           JASPER (CONT'D)
               Very odd, what happens in a world 
               without children's voices.

     Theo is busy stuffing his money under the pea coat's lining.

94   EXT. BEACH - DAY                                              94   

     A glistening blue wave, rolling luxuriously toward the beach. 
     The wave slowly ebbs...

     ... and we become aware of a figure lying in the sand... 
     perhaps asleep. Empty liquor bottles poke up from the sand.

     Another frothy wave rolls in, just reaching the still, prone 
     figure, his back to us...

     Past him, a woman is hurrying out of the surf, her shorts 
     and top soaked.. She's smiling, lifts a beach ball from the 
     sand And we can make out, now, that it's Sandra.

               Hey... rebel with a lost cause--

     And she tosses the beach ball playfully at the prone figure. 
     Then, oddly she starts singing...

                           SANDRA (CONT'D)
               London calling to the faraway towns/ 
               Now that war is declared-and battle 
               come down/ London calling to the 
               underworld/ Come out of the cupboard, 
               all you boys and girls--

     The figure slowly turns over, and we see that it is Theo. He 
     looks hung over, confused. He squints up at Sandra, into the 
     blinding daylight...

95   INT. JASPER'S HOUSE - NIGHT                                   95   

     Theo opens his eyes.  Jasper is shaking him awake. The driving 
     beat of the Clash's "London Calling" louder now.

               Theo... wake up....

               Wha -- what?

     Theo looks around, getting his bearings. The MUSIC is some 
     sort of alarm.

     Screenplay-Children_of_Men                                            p. 85

96   INT. GREENHOUSE - DAYBREAK                                    96   

     Dark. The door flies open and Jasper and Theo rush in... 
     Miriam a few feet behind them. Theo and Jasper stare at a 
     bank of video monitors.

               What is it?

     ON THE SCREEN, the vague infrared image of a car pulling up 
     to the perimeter of Jasper's property. Then, a second car. 
     Both cars rolling slowly forward with their headlights off.

     The first car stops.  The passenger door opens, and a man 
     gets out and stares at the fake bushes that obscure the road 
     to Jasper's home.  The man gazes upward... it's Luke.


     Jasper turns to a second monitor: More Fishes piling out of 
     the two cars.  Patric and Ian join Luke and have a discussion. 
     Luke gestures toward Jasper's fake bushes.

97   EXT. JASPER'S HOUSE - DAYBREAK                                97   

     Jasper is behind the wheel of the Vauxhaul.  Theo, at the 
     back of the car, pushing it down the drive.  The Vauxhaul 
     gains momentum and Jasper pops the clutch. The car shutters, 
     then -- VA-ROOM! Theo breathes a little easier.

     Miriam and Kee hurry out the door of the house. Theo swings 
     Open the passenger door for them...

     Jasper gets out of the car and...

                    (to Theo)
               You drive.

     Jasper removes a fake hedge from the back of his yard. Behind 
     the hedge: a path through the woods.

     Theo slides behind the wheel, pulls onto the path.  From the 
     other direction, the SOUND of cars approaching...

               Jasper!  C'mon!

     Jasper rushes to the passenger's side door. He passes Theo 
     his backpack through the open window...

     Screenplay-Children_of_Men                                            p. 86

               Follow this path to the main road.  
               Then make a right and follow the map 
               I gave Miriam.

               What are you talking about? Get in.

               Wait for Syd on Watchbell Street -- 
               in Rye. He'll find you. Just give 
               him the money and do as he says. 

               Get in!

     Jasper shakes his head no.

               I'm not going, Theo.

     Jasper's tone is matter-of-fact.

                           JASPER (CONT'D)
               You'll need time... This way I can 
               stall them... It's the best plan, 

     Theo leaps out of the car, hustles up to Jasper...

                           JASPER (CONT'D)
               I'll convince them you went off toward 

               Get in the car!

     Theo tries to grab him but the old man ducks away.

               Theo, you'll get us all killed! You 
               know I'm right!

     The RUMBLE OF the Fishes' cars growing closer.

                           JASPER (CONT'D)
               I've talked myself out of worse.

     Miriam pokes her head out the window.


     Screenplay-Children_of_Men                                            p. 87

     Again Theo lunges and again Jasper dodges, but now Theo gets 
     him by the arm.  

               "The only reason we breathe is to 
               make a difference." Your words -- 
               not mine.

     Theo is lost. He loosens his grip.

     Jasper backs away. He replaces the fake hedge behind the 
     Vauxhaul, blocking the view of the car and the trail.


     Grim expression on his face as he gets into the Vauxhaul. 
     Pulls out onto the trail.

98   INT. VAUXHAUL - DAYBREAK                                      98   

     The Vauxhaul climbs the slope, following the trail, and is 
     soon obscured by the trees.


     Jasper enters the living room. He flicks on the stereo, cranks 
     the volume, BLASTING "Ruby Tuesday.  He sits down in his 
     chair facing his wall of photos, his eyes on one of Sandra.

     Through the windows -- the dark shape of the Fishes' car.

99   INT. VAUXHAUL - DAYBREAK                                      99   

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

100   EXT. HILLTOP - DAYBREAK                                     100   

     ... hilltop.  Theo stops at the top of the hill.  He gets 
     out of the car, hurries to the edge of the ridge.

     In the distance he can see Jasper's home. A couple of Fishes 
     stand outside the door. Jasper between them, seems to be 
     calmly deflecting their questions. From here, they look 
     slightly larger than black dots.

     Then, Patric hurries out the door, holding the tweed overcoat 
     Theo took from the farmhouse.  He shoves Jasper now, shouting 
     questions.  The Fishes circling Jasper; someone pushes him 
     roughly to the ground. One of the Fishes pulls a revolver, 
     and we hear the flat POP of a gunshot. They shoot Jasper in 
     the foot. He crumbles in pain. They continue to question

     Screenplay-Children_of_Men                                            p. 88

     him.  Unhappy with Jasper's answers, they shoot him again, 
     in the hand this time.

     Theo watches helplessly, the ordeal tearing his heart out. 
     Patric lifts Jasper from the ground and the old man appears 
     to break, yelling out and pointing down the road. The Fishes 
     seem satisfied. Luke moves in, takes the pistol from one of 
     the others and aims it at Jasper's heart. POP... and it's 

     Theo stares.

101   INT. VAUXHAUL - DAYBREAK                                    101   

     Theo slides in, looks at Miriam and Kee.


     Theo doesn't respond.

               Where's Jasper?

     A long beat, then Theo releases the brake.

                           MIRIAM (CONT'D)
               Theo... Jasper?

     Theo answers with a look. Not another word. Theo puts it in 
     gear, floors the accelerator. The Vauxhaul bounces through 
     the woods, out onto...


     ... and speeds down the wide, deserted road, toward Rye.

102   INT. VAUXHAUL - DAYBREAK                                    102   

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

103   EXT. RYE - DAY                                              103   

     The Vauxhaul putters down the empty streets of the-ghost 
     town suburb. Turns left, down a narrow street.

                                                     DISSOLVE TO:

     THE SUN A bright orb high in the sky. Cicadas DRONING.


     Screenplay-Children_of_Men                                            p. 89

     Part of a windshield wiper... past it, the sky. A bee buzzes, 
     banging against the glass.


     in the driver's seat, waking up. He's alone in the car. He 
     watches the bee beating its head against the windshield, 
     trying to get out.

104   EXT. ABANDONED SUBURB - DAY                                 104   

     WIDE as the car door opens and Theo gets out, looks around 
     at a vast, empty suburb. Handsome homes with overgrown yards 
     stretch out as far as the eye can see.  Theo stares out at 
     the empty streets, empty yards.  It's eerily quiet.  Miriam 
     and Kee are nowhere to be seen.

     Christmas decorations adorn the overgrown lawn of the nearest 
     house: gnomes and giant mushrooms and lawn elves. The front 
     door is missing.  Inside, a flash of movement.

105   EXT. TWO-STORY HOUSE - DAY                                  105   

     Theo steps up on the porch of the door-less, two-story home 
     and peers inside...

106   INT. HOUSE - SAME                                           106   

     ... Dust particles in the sunlight. The house looks 
     untouched... large rooms full of dusty furniture. Paintings 
     on the walls. Apparently once the home of the well-to-do.

     Theo walks inside... spots Miriam in the kitchen, snooping 
     around. He watches as she PINGS various pots and pans that 
     are hanging from a rack. She turns on the faucets, nothing 
     comes out.

     Theo looks around the empty living room in silence.

107   EXT. PORCH                                                  107   

     Theo steps out on the porch. He sees Kee by the side of the 
     house, walking across an overgrown lawn toward a wooden fence. 
     She seem drawn to something...

     ... a child's swing. Kee slips though a hole in the fence 
     and walks over to it and sits.

     FOOTSTEPS APPROACHING... it's Miriam. She joins Theo.

               Three o'clock. He should be here in 
               half an hour.

     Screenplay-Children_of_Men                                            p. 90

     Theo is still looking at Kee in the swing.  Miriam follows 
     his gaze... both of them looking at Kee: a picture of 

                           MIRIAM (CONT'D)
               I was 27, a midwife in the maternity 
               department of the John Radcliffe. I 
               was doing a stint in the antenatal 
               clinic.  Three of my patients 
               miscarried in the same week... The 
               mothers were in their fifth and sixth 
               month.  We were able to save two of 
               the poor babies.  The following week 
               we had five more miscarriages.  Then, 
               the miscarriages began to occur 

     Kee gets out of the swing, walk behind a tree. Theo averts 
     his eyes as she squats to pee.

                           MIRIAM (CONT'D)
               I remember booking a patient for her 
               next appointment and noticing that 
               the page seven months ahead was blank.  
               Women usually booked after they'd 
               missed a second period, some as soon 
               as they missed one. But there it was -- 
               Not a single name...
                    (turns to Theo)
               You can relax. She's finished.

     Kee is approaching them now. Miriam looks back at the child's 
     swing, still swaying slightly.

                           MIRIAM (CONT'D)
               I thought, what's happening to the 
               women in this city?  So I rang a 
               friend who was working at Queen 
               Charlotte's.  She didn't have any 
               new pregnancies either.  She then 
               telephoned her sister in Sydney. It 
               was the same there...

     Behind them, moving down the street on a distant slope, 
     unnoticed, some sort of vehicle approaches.

                           MIRIAM (CONT'D)
               I often wonder if I was one of the 
               first to know. I was there at the 
                    (looks at Kee)
               Now I shall be there at the beginning.

     Screenplay-Children_of_Men                                            p. 91

     Theo notices the vehicle now -- a Humvee -- intermittently 
     visible past the homes.  Miriam turns, Kee looks up. They 
     all watch as the Humvee moves ominously closer...

               Let's hope Syd's in the habit of 
               showing up early.

     And he leads them out onto the street, into the open.

               So it's him then?

               Who else would it be?

     Miriam raising her hand to wave.  Apparently the driver sees 
     them -- because the vehicle speeds up. They watch in silence 
     as the Humvee races down the street toward them...

     The Humvee is almost on them when...

     TAT! TAT! TAT! TAT! TAT! -- as the remote machine gun on the 
     cab swivels -- Bullets sail over their heads.

               Fuck! To the house!

     Theo grabs Kee's hand, pulls her toward the house and...

                           VOICE (SPEAKER)

     And TAT! TAT! TAT!... Shingles fly from the roof of the home 
     behind them.

                           VOICE (SPEAKER) (CONT'D)
               Or I'll shoot to kill!!

     Theo, Kee and Miriam freeze. They turn toward the Humvee. 
     but can't see through the tinted windows.

                           VOICE (SPEAKER) (CONT'D)
               Hands where I can see them!  Get 
               down on the ground!

               We're looking for Syd!

                           VOICE (SPEAKER)
               ON THE GROUND!

     Screenplay-Children_of_Men                                            p. 92

               Jasper told us to come!

     A beat, then...

                           VOICE (SPEAKER)
               You have something for Syd?

     Theo holds up Jasper's backpack. The tinted driver's window 

                           VOICE (SPEAKER) (CONT'D)
               Toss it inside!

     Theo tosses the backpack through the open window. The window 
     rolls back up. Theo, Miriam and Kee, exchange looks.

     The window rolls down. A BORDER COP leans out, smiles.

                           BORDER COP/SYD
                    (extends his hand)
               Say hi to Syd.

108   EXT. ROAD - DAY                                             108   

     A Humvee moving along a muddy road.

109   INT. HUMVEE - DAY                                           109   

     Syd is behind the wheel, smoking a cigarette.  Mid-50's, 
     stout, lifelong cop.  He loves his mother but would sell her 
     for the right price.

               Wiggy old bastard... So proud of his 
               weed. Always asking more than it was 

     Theo, Kee and Miriam sit in back, behind a metal mesh divider.

                           SYD (CONT'D)
               Could get the same shit -- way cheaper -
               from the Zeds, but Syd likes buying 
               from him... Straight chap, a true 
               gentleman.  God bless him.

     Kee MOANS with sudden pain. She shoots a look of alarm at 

                           SYD (CONT'D)
               What's with the Zed? She sick?

     Screenplay-Children_of_Men                                            p. 93


     Miriam takes Kee's hand, reassuring.

               She's not going to puke, is she? 
               Can't wash out puke.  Smell never 
               goes away.

               She's fine.

     The Humvee rolls alongside a cyclone fence topped with a 
     swirl of razor wire.

               Usually it's people trying to get 
               out of Bexhill, not in. Syd doesn't 
               know why you want to get in, Syd 
               doesn't wanna know, Syd doesn't care.

     Theo and the others look past the fence: two miles away, the 
     sad town of Bexhill. Beyond that, the sea.

                           SYD (CONT'D)
               When they release you, stroll out 
               with the rest of the detainees. You'll 
               see a statue of a soldier. There 
               you'll meet Marichka. She's an Arab, 
               gypsy or something, always has an 
               annoying piece'a shite little dog 
               with her.  She'll arrange fine 
               accommodations for the night.

     Through the windshield, up ahead, a gate in the outer fence. 
     A pair of Immigration Control buses waits next to a small 
     outcrop of buildings.

     Syd glances back at his passengers.

                           SYD (CONT'D)
               You're fewgees now. So show Syd a 
               big sad face, come on, let's see 
                    (shows them a sad 
               C'mon, sad fewgee face. And don't 
               speak English. No such thing as an 
               English fewgee.

     Syd pulls to an abrupt stop outside the gate.

     Screenplay-Children_of_Men                                            p. 94

                           SYD (CONT'D)
               It's been Syd's privilege to serve 

110   EXT. GATE IN THE OUTER FENCE - DAY                          110   

     Syd gets out of the Humvee, addresses the DOZEN SOLDIERS who 
     are waiting near the buses, finishing their smokes.

111   INT. HUMVEE - CONTINUOUS                                    111   

     Theo looks at Kee with concern. Kee suddenly doubles over, 
     reacting to a sharp pain.

               What's wrong with her?

               She had a contraction. It's normal. 
               Probably from the exertion.

     Syd YANKS the doors open.

               All right, fewgees.  Out!  Move!

112   EXT. ROAD -- CONTINUOUS                                     112   

     Theo slides out of the Humvee, helping Kee down, Miriam 
     following.  Walking to the "IMMIGRATION CONTROL" bus -- an 
     old school bus, painted over black, bars on the windows.

               Go on, get in.

113   INT. IMMIGRATION CONTROL BUS - DAY                          113   

     The steel cage door opens and the trio climbs on board. They 
     make their way down the aisle, looking for a seat.  Forlorn, 
     malnourished, desperate, trapped faces of captured refugees 
     stare back at them.  The bus lurches forward. Kee MOANS as 
     she's rocked by the sudden jolt.  Miriam steadies her, finds 
     her an empty seat.


     She helps Kee into a seat and sits next to her. Theo sits 
     across the aisle.

     Theo feels a tug on his shirt. He turns: it's a withered old 
     COUPLE, filthy, pitiful, hungry. The Old Woman puts her

     Screenplay-Children_of_Men                                            p. 95

     fingers to her mouth, pleading for food, utters a few words 
     in German. Theo turns away, staring out the window.

114   EXT. ROAD - DUSK                                            114   

     The bus traveling down the road -- approaching Bexhill.

115   INT. IMMIGRATION CONTROL BUS - DUSK                         115   

     Theo looking out at the ghetto-city. He turns to Miriam.

               What time are we supposed to meet 
               the boat?

               Sunset -- Tomorrow.

               How can we be sure Luke hasn't 
               diverted the boat back to Iceland?

                    (shakes her head)
               Luke has no way to contact the Human 
               Project. Nor does anyone else.

     This seems to satisfy him for a moment. then...

               Come again?

               Communication with the Human Project 
               is  done through mirrors.  Julian 
               was one of the mirrors.  

               You lost me, Miriam.

               Mirrors.  Someone contacts one of 
               our cells.  That cell contacts another 
               and so on... down the line until 
               word reaches Julian and Luke.

     Theo lets this all sink in...

               You mean you never actually talked 
               to any of them? Like a game of 

     Screenplay-Children_of_Men                                            p. 96


     Kee reacts to a shooting pain.

                    (low, to Miriam)
               Don't fucking tell me you never even 
               talked to them!

     But Miriam is focused on Kee, who doubles over as her 
     contraction peaks.


     Other refugees turn. Theo realizes Kee is drawing attention.

                    (whispers to Miriam)
               You sure this is normal?

               Shouldn't be this frequent. She's 
               only in her eighth month.
                    (to Kee)
               Breathe through them. Just breathe.

               Can't fuckin' breathe --

     Theo looks outside: the bus stops at a CHECKPOINT illuminated 
     with spotlights. One bus already ahead of them.

                           KEE (CONT'D)
               Miriam... I'm all wet.

     Water drips down her leg, forming a tint puddle on the floor.

               Her water broke.  This baby's coming.

               She can't have the baby now. 

                    (glares at Theo)
               You want to tell that to the baby?

     Kee reacts to the beginning of a new contraction.

     Screenplay-Children_of_Men                                            p. 97


               Just breathe, sweetie.  Breathe in... 
               breathe out.  Everything is perfect.  
               Remember, the knowledge or all women 
               who've ever given birth is with us.
                    (to Theo)
               How long until we're there?

               They're checking a bus ahead of us.

116   EXT. CHECKPOINT - CONTINUOUS                                116   

     Theo's bus is stopped behind another bus. The checkpoint is 
     wired off with steel fence, trimmed with razor wire.

     From the bus in front, Police violently yank off three black 
     refugees, vicious dogs barking at them.

117   INT. IMMIGRATION CONTROL BUS - CONTINUOUS                   117   

     Kee breathing through a contraction.

               What's going on?

               I don't know.

     Theo looks out the window and sees Police forcing the black 
     refugees to their knees. Dogs barking. Refugees pleading.  
     One of the Police hits a refugee with a rifle butt -- the 
     man collapses. Another Police Officer kicks the fallen victim.


     The overhead lights flick ON, shine harshly on the passengers. 
     Kee is still breathing through her contraction.

     Two POLICE OFFICERS enter the bus, one holding a guard dog 
     on a leash. They walk slowly down the aisle, checking the 
     faces of refugees.

     A couple of refugees react to Kee's labored breathing, looking 
     back at her. Theo and Miriam turn to Kee, concerned.

               Shhh... .

     Screenplay-Children_of_Men                                            p. 98

     The 1ST POLICE OFFICER glares at a REFUGEE, who averts his 

                           1ST POLICE OFFICER
               Look up!
                    (no response from 
               Look up, you piece of shite!

     The 1st Police Officer pulls the refugee up by his hair.

                           1ST POLICE OFFICER (CONT'D)

               Pieta', pieta', no, no, no, ti prego, 
               un po' id compassione...

     The 1st Police Officer keeps walking. The 2ND POLICE OFFICER 
     drags the Refugee to the front of the bus, pushing him out 
     the door.

     Now, the guard dog starts BARKING.  Theo, Miriam and Kee 
     tense, as the dog pulls the 1st Police Officer forward.  The 
     dog stops in front of Kee, BARKING at her, smelling something 
     it has never smelled before.

     The 1st Police Officer scrutinizes Kee: she is breathing 
     hard, Clutching the seat in front of her, looking at the 
     floor, in the middle of a contraction.

                           1ST POLICE OFFICER
                    (to Miriam)
               What's wrong with her?

     Miriam frozen with fear. The dog barking. The Officer hands 
     the dog's leash to his partner and steps closer.

                           1ST POLICE OFFICER (CONT'D)
               I said, what's wrong with her?

     The Police Officer grabs Kee's hair, twisting her face toward 
     him.  Kee's eyes wide, wet, terrified.  Miriam springs up... 

                    (shakes her head no)
               Rien! Rien!

     The Police Officer lets go of Kee.  Theo watches but there's 
     nothing he can do as the cop turns his attention to Miriam.

     Screenplay-Children_of_Men                                            p. 99

                           1ST POLICE OFFICER
               Sit down before I slap you down.

     Miriam holds her ground.

               Elle est bien!  S'est necessaire que 
               elle dorme.  Laisse elle tranquille!

     The cop stares at her a moment.

                           1ST POLICE OFFICER
               Are you French? Fran-say?

               Oui! Laisse elle tranquille! S'il 
               vous plait!

                           1ST POLICE OFFICER
                    (to his partner)
               A Fuckin' Frog, Teddy.

     The 2nd Officer approaches. The 1st cop tuns back to Kee.

                           1ST POLICE OFFICER (CONT'D)
               You. Get up!

     Theo's mind is racing as the cop reaches for Kee and...

                    (with an accent)

     The Police Officer turns to Theo.

                           1ST POLICE OFFICER

               Cacao Caca, piss.

     Theo points to the floor. The Police Officer sees the puddle. 
     Doesn't want to get his shoes dirty. Steps back away from 

                           THEO (CONT'D)
               Caca, piss, girl, big mess.  Smell!

     The Police Officer recoils.

                           1ST POLICE OFFICER
               Smell it yourself... Jesus almighty!

     Screenplay-Children_of_Men                                           p. 100

     A beat and the cop turns away disgusted, starts off, then 
     turns to his partner, seems to have just remembered Miriam 

                           1ST POLICE OFFICER
               Get the French monkey outta my sight!

     And the second cop grabs Miriam by the hair -

                    (under his breath)

     Miriam, shoots a parting look at Kee as she takes the bullet, 
     doesn't resist as the cop drags her out the door of the bus.

     Theo and Kee watch in shock. The doors close, the bus jerks 
     forward. Theo looks out the back window and sees Miriam, 
     standing with the rest of the detained refugees. In the b.g., 
     a second bus waits.

               What's going to happen to Miriam?

               I don't know.

     The image of Miriam receding as the bus pulls away.

118   EXT. BEXHILL - GATE - DUSK                                  118   

     The bus pulls up Too the BEXHILL FENCE -- the high steel 
     fence that walls off the prison city. Hopeless faces peer 
     out through the gaps...

     The bus doors open. Refugees pile out, guard dogs nipping at 
     their heels. Theo helps Kee down. Chaos. Guards wield 
     nightsticks, herding the group through the final gate into...

119   EXT. RUINED SQUARE - CONTINUOUS                             119   

     ... Bexhill. Theo and Kee look around, disoriented, lost... 
     surrounded by a teeming mass of humanity. Hustlers and touts 
     rush the fresh arrivals SHOUTING at them in a myriad of 
     languages, aggressively looking for easy scores. A TOUT 
     wearing glasses with a cracked lens moves in front of Kee.

                    (Norwegian accent)
               You need a room? Room?

     Kee and Theo ignore him, pushing past... but he's suddenly 
     in her face again.

     Screenplay-Children_of_Men                                           p. 101

                           TOUT (CONT'D)
               Nice room for you!

               Fuck off!

     Theo leads Kee through the cacophony of strange sounds, 
     smells. Kee suddenly stops, doubles over -- a new contraction. 
     The flow of refugees keeps pushing behind them, Kee trying 
     to mask her pain, but...

               BLOODY HELL!

     Theo holding Kee for support.

                           KEE (CONT'D)
               I can't stay here, Theo!

     Theo looks out at the crowd. A roiling sea of humanity. For 
     a moment, Theo looks lost.


               Just hang on

     He rip. into the crowd, moving past improvised tent-like 
     structures.  He spots a statue of a soldier, nearly hidden 
     by a pile of debris.

     Theo circles the statue, a WWI soldier holding a bayonet 
     rifle, charging. The plaque reads: "The Lost Generation."

     YAP!  YAP! A tiny runt dog nips at his heels, scaring the 
     hell out of him.

                           THEO (CONT'D)

     Theo turns to see a WOMAN: olive skin, 40, the exhausted 
     eyes of someone who accepts life's hardship as fate. She's 
     learned when to duck.

                           THEO (CONT'D)

120   EXT. STREETS OF BEXHILL - NIGHT                             120   

     The rickshaw crosses through the dark streets.  Theo and Kee 
     in the back.  MARICHKA in front, wrapped in an old wool coat. 
     The dog on the handlebars, enjoying the breeze.

     Screenplay-Children_of_Men                                           p. 102

     Kee looks out at Bexhill. Remnants of the happy times: a 
     sign for a fun house, what's left of the facade of the Bexhill 
     Aquarium.  Small, Jury-rigged plastic tents around the 
     sidewalks. People warming their hands around scattered piles 
     of burning rubbish, watching the passing rickshaw; suspicion 
     in their eyes.

     Theo notices graffiti spray-painted on the side of a 
     building... the words "The Uprising" above a drawing of 5 
     fish lined up in a row.  Before he can consider the 
     implications. Kee is struck by another painful contraction.

                    (in pain)

     Kee doubles over.

                           KEE (CONT'D)
               You have to help me, Theo.

               Sure, sure. We'll be fine.

     Kee grabs his hand, grips it tightly. Theo forces the most 
     reassuring smile he can muster, then he looks away, and we 
     see it on his face -- fear.

121   INT. STAIRWAY - BUILDING - NIGHT                            121   

     The dog hopping up the stairs, Marichka next, holding a butane 
     lantern, leading them up the dark stairwell. Kee stops 
     suddenly, holding herself against the wall, in pain.


               Breathe through it...


               That's It!  One more flight...

     Marichka starts prattling to them in Romanian --

122   INT. BARE APARTMENT - NIGHT                                 122   

     The door opens.  The little dog scampers inside, uses a chair 
     as a springboard, leaps onto the table and, through the broken 
     window, yaps his presence to the dogs barking outside.

     Screenplay-Children_of_Men                                           p. 103

     Theo helps Kee on the table.  Marichka sets the butane lamp 
     in the table.  The room is bare, peeling walls, broken window 
     panes, a rough mat on the floor.  Cold enough to see your 

     Theo immediately pulls the mat to the center of the room. 
     Kee doubles up with another contraction --

               Fuck all!

     Marichka trying to explain something they cannot understand, 
     pointing at two BUCKETS of water, the dog yapping and yapping.

                           KEE (CONT'D)
                    (to Theo, re: Marichka)
               Make her go.

     Theo move to Marichka, escorts her out the door into the 

123   INT. HALLWAY - CONTINUOUS                                   123   

     From inside the room, Kee screams. Marichka looks at Theo, 

                    (to Marichka)
               She's fine, she's fine.

     Marichka stares at him blankly.

                           KEE (O.S.)
               Get her fucking out!

     Marichka is still staring, concern in her eyes.

                    (to Marichka)
               Go! Look for Miriam.
                    (hands her money)


     The little dog comes bounding outside. Theo shuts the door.

124   INT. BARE APARTMENT - SAME                                  124   

     Theo helps Kee lower herself onto a mat. He removes his 
     jacket, putting it under her head.

     Screenplay-Children_of_Men                                           p. 104

               Just relax, now...

               You know 'bout this?

               Oh sure.  In the old days, in New 
               York, I did a stint as a cab driver. 
               Bunch of times: couple's on the way 
               to the hospital, we get stuck in 
               traffic, I deliver the baby in the 
               backseat. Bunch of times.

     He looks at her, then slowly adjusts her knees in what might 
     be a proper position.

                           THEO (CONT'D)
               I'm uh... just gonna see what's 
               happening.  See how things are 

     Theo slowly hikes up her dress. His expression: as if he 
     were looking at a half-assembled engine. He doesn't know 
     where to begin.

               Well ?

               You're uh... pretty far along. That's 

     Theo looks toward the door, waiting for a miracle, hoping 
     Miriam will walk through it.  Nothing but silence.

     He goes to the window, looks out the dirty pane into the 
     street. Deserted. He waits, still nothing. Another painful 
     MOAN from Kee. He takes out his flask, looks like he wants 
     to drink it, but instead, pours the alcohol over his hands, 
     washing them.

     He walks back over to Kee, looks down.

                           THEO (CONT' D) (CONT'D)
                    (low, lost in his own 
               Jesus Christ...


     Screenplay-Children_of_Men                                           p. 105

                    (snapping out of it)
               I think you're pretty close. 

     Kee writhes in pain, SCREAMS.

                           THEO (CONT'D)
               Now just lie there and let your body 
               take over.  Get in touch with your 
               body like Miriam said, that thing 
               about tension.

               I can't!

               You can!  Just breathe, breathe like 
               Miriam taught you... relax, and when 
               you feel like it, push!  

               I can't fucking do it!

               Yes you can! Breathe and push!

               Fuck you! It hurts!

               Fuck you! Push!
               All the women who've ever given birth 
               are with you!

     Kee pushes -- her breath visible in the cold room.

               Fuck all!

               That's it. Just like that. Keep 
               breathing. Breathe in... breathe 

     Kee clutches Theo's hands harder -- although we can see her 
     breath, she is covered in sweat.

                           THEO (CONT'D)
                    (bending lower)
               Push! It's working goddamnit. I think 
               it's actually working!

     Screenplay-Children_of_Men                                           p. 106

     Kee pushes with all her might.  Theo witnesses this, utterly 

                           THEO (CONT'D)
               I can see its head!

     Kee screams -- excruciating pain -- fear. She pushes -- the 
     head stretching open the vagina, coming through...

                           THEO (CONT'D)

     Theo holding onto Kee, blown away.

                           THEO (CONT'D)
               You're doing great.

     Kee looks up at Theo, her face wet with sweat and tears, a 
     little reassured.

     Theo watches: the baby's blue head emerges completely...

                           THEO (CONT'D)
               Keep doing what you're doing...

     Kee pushing -- the rest of the baby's body flowing out in a 
     stream of blood. Theo supporting the emerging infant...

                           THEO (CONT'D)
               Here he comes, here he comes...

125   KEE PUSHING MIGHTILY -                                      125   

               You're nearly there...

     Kee screaming as she taps a reservoir of female strength, 
     giving her body over to the new life coming through it, to 
     life itself, the miracle

               FUCKING GOD!!!

     -- the baby bursts forth, a bloody explosion of life...

     Theo pulling it free, still hooked by the umbilical cord, 
     the placenta spilling out in a bloody finale -

     There is a moment, a pause.

     For the first time in eighteen years, four months, two days, 
     sixteen hours and eight minutes, a human child has been born.

     Screenplay-Children_of_Men                                           p. 107

     Theo holds the newborn baby, all blue, covered in white 
     specks, steam rising from the tiny body in the cold room.

                           KEE (CONT'D)
               How is he?

     But Theo doesn't answer... he's stunned, holding the baby... 

               Actually, it's a girl.

               Lemme see her!

     Theo helps Kee lie back dom on the mat. Gives her the baby. 
     He walks to the broken window and plucks a shard of glass.  
     He pulls out his flask, takes a quick drink then pours the 
     rest of the alcohol over the glass.

               I have to cut the cord... I don't 
               think It's gonna hurt.

     Theo moves the shard of glass from one spot on the umbilical 
     cord to another -- unsure where to cut it.  Then takes a 
     breath and makes a decision and SLICES. The cord splits, 
     spurting a bit of blood.  Theo takes a bracelet from Kee's 
     wrist, ties it to the stump left on the baby.

     Theo takes off his shirt and cleans the white, cheese-like 
     residue from the baby.

               Hey you... my boo, bloo... look at 

     The baby CRIES, a strident, rhythmic scream that shatters 
     the night. Kee puts the baby to her breast. Instinctively, 
     the child nurses. Theo watches, amazed.

                           KEE (CONT'D)
               Cheedo, eh?

126   EXT. BEXHILL - NIGHT                                        126   

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


     Screenplay-Children_of_Men                                           p. 108

127   EXT. BEACH - DAY                                            127   

     WHITE OCEAN FOAM tops a wave, blue and glistening, rolling 
     luxuriously toward the beach.

     The backlit woman in the sarong, her beautiful form moving 

     Theo in the sand, smiling, in heaven... as she approaches...

     Theo shades his eyes as she nears... and now we see... the 
     woman is Kee, but she's not carrying a drink. She's carrying 
     a baby, smiling and laughing... She walks right by Theo. He 
     looks down the beach after her, is blinded by a blazing sun.

     Theo leans back -- the texture of the sun and sky decays... 
     seems less real, like a mixture of reality and watercolor, 
     and the sounds of the rolling surf slowly give way to distant 
     HELICOPTERS... sporadic GUNFIRE... and a dog YAPPING...

128   INT. BARE APARTMENT - EARLY MORNING                         128   

     YAP! YAP! Theo opens his eyes, waking up on the floor, his 
     coat pulled over him, getting his bearings:  The first morning 
     sun seeping into the empty room. Kee still sleeping on the 
     mat, the baby on her chest.

     YAP! YAP!  The barking is now outside the door.  FOOTSTEPS 
     following.  Theo creakily gets to his feet.

     Someone PUSHES the door. But a chair wedged against it holds 
     it shut.

     Kee is awake now, looking at Theo. Whoever is outside gives 
     the door a powerful shove, and the chair skids forward, about 
     to give.

               C'mon, we don't have much time! Open 
               the bloody door!

               Who is it?

     Kee wraps her cloak around the baby, hiding her. In the 
     distance, a staccato burst of gunfire.

                           SYD (O.S.)
               It's the Queen of England, can you 
               spare a cup of tea?  It's Syd, you 
               fool.  Open the door.

     Screenplay-Children_of_Men                                           p. 109

     Theo pulls the chair away and Syd shoves his way in, Marichka 
     behind him.

                           SYD (CONT'D)
               Didn't you hear the bomb last night? 
               City's gone to hell.

     Santo is now running around inside, yelping.

                           SYD (CONT'D)
               What's with the Zed?

               She's fine.  Some woman's thing.

     Santo is on the scent, sniffing at Kee, yelping.

               A few hours ago part of the fence 
               got blown up, and a group of fewgees 
               escaped.  The army came in, they're 
               trying to control the situation.  
               But Syd happens to know that hole in 
               the fence is not about the fewgees 
               getting out, it's how the Fishes get 

                    (to Theo)

                    (ignoring Kee)
               Syd doesn't know what they want, but 
               the Fishes have guns and the fewgees 
               are armed to the teeth -- It's gonna 
               be a fucking mess and this time the 
               army will bomb the shit out of this 
               place. Syd's gotta get you out of 

               We have to get to a boat.

     Santo keeps yapping at Kee.

                    (to dog)
               Go on, piss off.

     Santo won't leave. Kee kicks him. Santo yelps, retreating.

     Marichka yells at Kee.

     Screenplay-Children_of_Men                                           p. 110

     Then --

     CRYING. From the baby. Rhythmic, loud. The dog comes charging 

                           KEE (CONT'D)
               Get your fuckin' dog!

     Kee kicks the dog again.


     Marichka grabs her dog.  The baby still crying loudly. Kee 
     puts the baby to her breast.  The baby quiets, nursing.

               The hell was that?

     Santo still yapping in Marichka's arms. Marichka gives Santo 
     a little slap, shutting the dog up.  Silence -- except for 
     the sound of the baby nursing.

                           SYD (CONT'D)
               What is that?

               I'll explain -- can you get us a 

               what you got there? Let Syd have a 

     He moves closer. Pulls back Kee's cloak, revealing the BABY, 
     at her breast.

                           SYD (CONT'D)
               Bloody Christ.

     Marichka approaches.  Kneeling, seeing.the baby, stunned.

                           SYD (CONT'D)
               It's a fuckin' baby!

               That's right.  We've got a baby.  
               Now we need a rowboat.

     Syd starts pacing. Theo pulls out a wad of bills, puts them 
     in Syd's hand.

     Screenplay-Children_of_Men                                           p. 111

                           THEO (CONT'D)

     Oddly, Syd hardly notices the bills in his hand, keeps pacing.  

               Hush! Hush! Syd's trying to think 

     Marichka reaches out with her finger.  She looks to Kee, who 
     nods her permission.  Marichka touches the baby.  Her face 
     lights up, her eyes well with tears -- she has touched a 

                           SYD (CONT'D)
               Okay, okay... Get her up. We've got 
               to go right now.

               Can you get us to the boat?

               Sure, sure, sure.  Just get her up!  
               Come on, do it!

     Kee wraps the baby to her breast with her shawl. From outside, 
     another burst of gunfire, closer.

     Marichka turns to Syd, talking to him, animated, adamant.

               What's she saying?

               Fuck knows...

     Marichka turns to Theo and Kee, prattling on, urgent. Marichka 
     insistent, grabbing Syd's sleeve

                           SYD (CONT'D)
               Shut up! Basta!

     Syd pulls free of Marichka's grip.

                           SYD (CONT'D)
               Let's go.

                    (points to Syd)
               Bad!  Bad, bad!

     Screenplay-Children_of_Men                                           p. 112

               She doesn't want us to go.

     Syd pulls out a gun.  Marichka instinctively ducks to the 
     floor, covering her head, pleading.

               Okay, move.  Let's go.


     A standoff. In the distance, a mob chanting.

               What do you want, Syd?

     BANG! Syd shoots he floor by Santo's feet. The dog yelps, 
     scampering for Marichka's protection. Syd points his gun at 
     Kee's forehead.


               She's going.

     Theo turns to Kee.

                           THEO (CONT'D)
               I'll help you.

129   INT. STAIRWELL - DAY                                        129   

     Theo carries Kee down the stairs, his flip-flops SLAPPING 
     against the steps.  Syd follows behind, gun trained on Theo. 
     Marichka at Syd's side, still prattling on.

               Last night, Syd gets home.  Mommy's 
               sleeping in front of the telly.  She 
               always does that, my sweet soul.  
               Syd kisses her good-night.  She has 
               cancer, my mommy.  Syd's about to 
               turn off the telly-- and there's 
               your mugs. On the news. Couple of 
               nasty pricks gunning down these cops -- 
               bam!  bam!-- you fuckers!  Big reward. 
               Then Syd finds out the Fishes are 
               looking for you too. So Syd thinks, 
               the cops are looking for them, the 
               Fishes are looking for them, these

     Screenplay-Children_of_Men                                           p. 113

                           SYD (CONT'D)
               blokes are bang-up commodities. And 
               a baby? That's capital!

130   INT. STAIRS / LOBBY - CONTINUOUS                            130   

     The group descends the final flight of stairs into the empty 
     lobby. Syd one step behind. Marichka next to him, ranting 
     even louder.  Santo yapping --

                    (to Marichka)
               Shut the fuck up!

     He slaps her hard, silencing her. But as he turns back toward 
     Theo, Marichka gives Syd a forceful shove and...

     ...he trips down the last few steps... his gun hand folding 
     under him as he tries to break his fall and...

     Theo quickly puts Kee down, leaps toward Syd, who gets a 
     SHOT off in the air before Theo lands.  Theo's weight snaps 
     Syd's head against the floor.  Syd's stunned, his gun hand 
     flailing like a snake as he struggles with Theo.


     And Marichka grabs Kee, guiding her toward the back hallway 
     while Theo and Syd struggle for control of the pistol.

     Theo's hand -- trying to muscle the gun away while Syd tries 
     to point it back toward Theo.  Theo's bandaged finger getting 
     bent back -- Theo screaming in AGONY as he pulls the trigger 
     BAM!  BAM!  BAM! The bullets fly into the wall, plaster 
     falling -- BAM!  BAM! two more shells -- barely missing Theo's 
     head, until the chamber CLICKS.  CLICK.  Empty.

     Syd drops the gun, reaches for Theo's throat.  Theo gasps, 
     trying to break Syd's grip.


     Kee turns to Marichka.

               Go -- go help him!

     Marichka hurries back toward Theo. Kee leans against the 
     wall, making sure her baby's okay.

     Syd tightens his grip around Theo's neck.

     Screenplay-Children_of_Men                                           p. 114

     Marichka spots the gun on the floor, grabbing the barrel and 
     roundhousing it -- SMACK! into Syd's face. Syd falls 

     Marichka helps Theo get to his feet. Theo's still gasping 
     for air as he looks down at Syd.  Syd seems to be out cold.

     Theo and Marichka join Kee at the mouth of the corridor -
     they rush down the passageway and reach a door at the end of 
     the hall.

     It's blocked with boxes and junk. Theo forces the door open... 
     just enough space to pass.

     Marichka snakes through, out to a small alley, Santo following 
     her. Then it's Kee's turn, but she can't fit through while 
     holding the baby. From the alley, Marichka extends her hands.

               Baby, Marichka!

     Kee hesitates. Behind them, in the lobby, a groggy Syd getting 
     up off the floor. Picking up his gun, loading it.

     Kee passes the baby through the doorway, fearing the worst. 
     Marichka takes the baby. The point of no return. A moment. 
     Marichka motions for Kee to follow.

                           MARICHKA (CONT'D)

     Kee squeezes through the opening. Down the corridor, Syd 
     stumbling toward them, gun in hand.

     Theo trying to squeeze out, but no one is helping with the 
     door. And BAM! a bullet flies past his head.

131   EXT. ALLEY - CONTINUOUS                                     131   

     Theo slips into the trash-strewn alley... SQUISH! Theo's 
     expression -- he's lost one of his flip-flops.

     His bare foot sinking in a mound of rotting garbage.  Then 
     POCK!  POCK!  POCK!  Bullets pierce the door. 

     He looks at Kee and Marichka.  Both are on the left side of 
     the door, while he's on right side... and POCK! POCK!  two 
     more bullets cut holes in the door.

                    (to the women)

     Screenplay-Children_of_Men                                           p. 115

     The women hurry down the alley.  POCK! Another bullet pierces 
     the door.  Desperate, Theo digs through the trash at his 
     feet. Worthless plastic, rotting food, a heavy old electric 

     The door jerks open -- Syd's face appears. He looks at Theo, 
     furiously shoving his way out and...

     Theo swings the rusty iron mixer -- SMACK! into Syd's face.  
     Syd falls back inside.  Theo stares at the door, ready for 
     another round, mixer in hand.  But there's no movement from 
     inside.  Theo drops the mixer and hurries to catch up with 
     the others, one flip-flop on, one flip-flip off.


     Kee leaning against the wall, gathering her strength.  
     Marichka peering around the edge of the building.

     Theo approaches. "La Marseilles" can be heard, chanted by an 
     approaching mob.

                           THEO (CONT'D)
               You okay? 

               It hurts.

                    (to Marichka)
               We need a boat.

     Theo picks up a stick, draws a rowboat in the sandy street.

                           THEO (CONT'D)
               A boat.  Un bateau.  Das boot.  

     Marichka nods, points in a direction. Theo and Marichka take 
     either side of Kee, helping her walk, Santo following. Theo's 
     one bare foot bleeding. They turn the corner and...

     A mob marches toward them, more than fifty.  A large flag 
     billows, blue, white and red.

               Alons enfants de la patrie...

     They pass the mob, heading in the opposite direction. 
     Passionate chanting, some wearing masks, all carry guns -- 
     modern semi-automatics, a few old Glocks.

     Theo and Kee stare: Nothing is surprising anymore.

     Screenplay-Children_of_Men                                           p. 116

     They pass a wall spray-painted with graffiti: five fish and 
     the words "The Uprising."  Theo and Kee exchange a look.

132   EXT. FORMER BANK - DAY                                      132   

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

133   INT. FORMER BANK - CONTINUOUS                               133   

     Theo, Kee with the baby, Marichka and Santo, enter. Dozens 
     of old shoes on the floor, neatly paired. They hear CHANTING -- 
     rhythmic prayers.

     It was once a bank, but now it's just skeletal remains: a 
     few teller windows, pieces of tumbled Plexiglas.  Past them, 
     they see men kneeling on a carpeted floor, bowing toward 
     Mecca in humble prayer.  The bank now a makeshift mosque.

     Marichka guides Kee toward stairs at the end of the hall.  
     Theo is still staring at the shoes.


     At the end of the dark corridor, Marichka is bent down at a 
     metal door, talking to someone through a low eye-slit. A 
     tiny flashlight shines through the opening, at her face. A 
     trembly voice on the other side of the door, in Russian:

                           GEORGIAN MAN (O.S.)

     Theo and Kee watch from the other end of the corridor.  Kee 
     leans on Theo, resting.  On Theo's feet, a very worn pair of 
     slippers.  He looks up as Marichka waves forward, insistent, 
     prattling.  Theo helps Kee down the dim hallway.

                           GEORGIAN MAN (O.S.) (CONT'D)
               Nyet, nyet...

     As they approach the secure metal door, the flashlight from 
     the eye slit shines in Theo's face.

     Marichka grabs Kee's cloak. The light shifts to Kee's face 
     as she resists, but the cloak opens. The light tilts down, 
     shining on the baby, eyes closed, feeding on Kee's breast.

     From the eye-slit, the flashlight shaking, a gasp.

     Screenplay-Children_of_Men                                           p. 117

135   INT. GEORGIAN MAN'S APARTMENT - DAY                         135   

     The ancient GEORGIAN MAN (90) stands beside his wife. The 
     pale, withered WOMAN (87), sitting in a wheelchair, hums a 
     folk song as she carves the final touches onto an orange 
     that she's cut into a swan. She presents the swan to Kee, 
     who lays in bed eating some sort of potato stew, the baby 
     asleep at her side.

               Look at that.

     We're in a simple home that was once a banker's office. One 
     table, two chairs, a gas burner, photos, a reproduction of 
     Chagall's cow on the farm.  And, in the clean, big windows, 
     a few potted plants. Classical music playing.

                           KEE (CONT'D)
                    (calls out)
               Theo, they love my baby.

     Theo sits at the table, also eating stew, across from the 
     old Georgian man.  Marichka stands nearby, wolfing hers down -

               We need a boat.

     The Georgian Man speaks in a trembly voice with thick accent.

                           GEORGIAN MAN
               Why boat?

               The Human Project is sending a ship 
               for Kee. We have to be out in the 
               bay at sunset.

     Theo holds out a handful of bills.  A SOFT RAP at the door 
     and the Old Georgian Woman hobbles for it.

                           GEORGIAN MAN
               Human Project real?

               It better be.

     The old woman opens the door. A MAN carrying a rifle steps 
     in, thirties, Slavic features.

     He's an imposing figure, tall and broad.  The butt of an 
     automatic pistol is visible in his waistband.  The Georgian 
     Man wheels over to him.

     Screenplay-Children_of_Men                                           p. 118

     Theo watches the two men converse quietly in Russian.  The 
     younger man looks over at Theo with cold eyes.

     An amplified voice echoes from the street.

                           VOICE (O.S.)
                    (over loudspeaker)
               The Warden has declared a State of 
               Emergency!  Everyone remain indoors!  
               A curfew is now in effect!

     Theo moves to the window, looks out: A caravan of armored 
     carriers and tanks move slowly down the empty streets.

                           VOICE (CONT'D)
                    (over loudspeaker)
               Anyone on the streets will be 
               considered hostile and shot!  England 
               supports you and provides you shelter.  
               Do not support terrorists.

     Then the same message repeated, translated into French. On 
     top of the building across the street, men in masks armed 
     with rifles run in the opposite direction of the tanks.


     She's holding up her baby. 

                           KEE (CONT'D)
               Come hold her.

     Theo walks to her.

               I'd probably break her.  Let Marichka.

               I'm going to name her Froley.


               You don't like it?

               The first baby born in twenty years 
               and you want to call her Froley? It 
               sounds like a dog's name. 

     Screenplay-Children_of_Men                                           p. 119

               It's a good name. I like Froley.

     She smiles to hersellrf, her eyes closing. The Georgian Man 
     and the Younger Man, SERGIUS, approach. Sergius stares in 
     awe at child, finally turning to Theo...

               Sunset is five-thirty.

     Sergius's eyes sparkle disarmingly.

                           GEORGIAN MAN
               Stay here for now. In one hour, you 

                    (mimics rowing)
               I have boat.

     Theo holds out a fistful of 100 pound bills.  Sergius closes 
     Theo's fist on the money, not interested in it.

     Theo looks over at Kee; she's fallen asleep nursing the baby.

136   EXT. FORMER BANK - DAY (HOURS LATER)                        136   

     Fog rolling in now.

     Sergius stands in the middle of the street, his senses on 
     alert. Sporadic gunfire and shouting in the distance, but 
     the street seems safe.  He signals, and moves off.  

     Theo pushes Kee from the bank in the Georgian Man's 
     wheelchair.  Marichka with them.

137   EXT. BAY STREET - DAY                                       137   

     They move down the fog-shrouded street.

     A RUMBLING is heard.  Santo stops, turns around and starts 
     barking.  The ground shakes... Through the fog... a silhouette 
     slowly taking form... mammoth.  A mechanical clatter drowning 
     out Santo's barking.


     IT'S AN ENORMOUS TANK.  And it's close, coming right at them. 
     Sergius darts into a cross street, turns to the others...

               This way!

     Screenplay-Children_of_Men                                           p. 120

     Theo pushes Kee toward the cross street.  Marichka following 
     behind. She looks back: Santo is still holding his ground, 
     barking at the metal monster. Marichka races back for him.


     The tank looming closer, appearing larger.  Santo losing his 
     courage, whimpering, backing off...

     Marichka snatches up the dog and runs back toward the others, 
     trying to catch up...


     They pass a long metal pole wedged in a sewer, buttressed by 
     a mountain of broken concrete and debris -- a barricade.

     Sergius gestures toward a narrow alley.  Theo turns the 
     wheelchair, veers toward the alley and stops...

     ... seeing a Basque man holding a machine gun.  Sergius has  
     seen him too.  Theo follows Sergius's gaze... finds another 
     armed Basque man... and another... and another... They are 
     surrounded. A beat then...

                           BASQUE MAN
                    (in Basque)
               Down! Down!

     Theo and The others scurry into the alley as the tank rolls 
     down Bay Street -- A metallic CREAK as the tank runs up 
     against the metal barricade pole.  The tank's tracks churn, 
     but the pole holds fast.  The Basque Man signals --

                           BASQUE MAN (CONT'D)
               Now! Now!

     The Basque men swarm into the street.


     More men surge forward -- a flaming bottle hurled from a 
     building EXPLODES against the tank. The ambush is on.


     Sergius guides Theo and Kee through the alley. The distance 
     and fog mask the carnage, but not the SCREAMS OF THE WOUNDED 

     Screenplay-Children_of_Men                                           p. 121

138   EXT. WHARF STREET - DAY                                     138   

     Three armored carriers cruise by...

     Theo and the others, huddled in a doorway, waiting for the 
     formation to disappear into the fog.

                    (low, to Sergius)

     Sergius shows Theo his watch.

               Is okay.  Close.

     The coast clear, Sergius leads Theo, Kee and Marichka into a 
     quiet alleyway.

139   EXT. ALLEYWAY - DAY                                         139   

     The alley seems a sanctuary from the fighting.  The SHOOTING 
     seems MUFFLED, distant now, fog obscuring the far end of the 
     street.  They stop near a courtyard with a small fountain.  
     Sergius bends to lift a manhole cover near the fountain.


     Theo helps Sergius pry the manhole cover up. Then, FOOTSTEPS.  
     They drop the manhole cover as, from both ends of the alley, 
     vague figures appear in the fog and circle around them.

               Drop your gun!  Drop your gun!  Drop 
               your gun!

     Sergius spins, weapon in hand... Theo blocks Kee and the 
     baby with his body...

               Don't shoot! Don't shoot.

               Then drop the gun!  

     Sergius lays the weapon down.

               Is safe! No gun.

     A man rushes in and grabs Sergius's gun -- it's Patric.  
     Other armed men surround the group. Patric moves to Theo and

     Screenplay-Children_of_Men                                           p. 122

     THUD! --  slams his rifle into Theo's gut, knocks him to the 


     From the fog, more FOOTSTEPS. Luke walking toward them, out 
     of the mist. The tout with the cracked eyeglasses behind 

               Get the girl...


     And Patric and Ian subdue Kee.  Luke squats down, eye level 
     with Kee in the wheelchair.

                    (to Kee)
               You're safe now. Are you all right?

     Kee SPITS in his face.  Luke suppresses his anger and takes 
     out a handkerchief to wipe his cheek.

                    (struggling to his 
               Let her go, Luke!  You don't know 
               what you're doing!

               Oh no?  Look around, Faron.  It's 
               happening!  I did what Julian 
               couldn't. I called for The Uprising. 
               And the people are responding.

     He gestures vaguely out at the sound of the gunfire.

                           LUKE (CONT'D)
               They're following me. And they haven't 
               even seen the baby.
                    (turns to Ian)
               Detain Theo and the others. When Kee 
               and I are far enough away and they 
               can no longer cause trouble -- let 
               them go.

     He turns back to Kee, speaking in a gentle tone.

     Screenplay-Children_of_Men                                           p. 123

                           LUKE (CONT'D)
               Theo has been nothing but a thorn in 
               my side, yet, I hold no malice toward 
               Now we must go.
                    (to the others)
               Help her...

     Kee struggles, SCREAMS, as two of the Fishes grab her, holding 
     her in the wheelchair as they hustle her away.

     Luke holds back, one last look at Theo and Marichka before 
     turning to Patric

                           LUKE (CONT'D)
               Wait until we're far enough away...

     Patric understands.  Luke leaves the quiet of the alley. 
     Patric cocks his pistol, looks out into the street, waiting 
     for Kee and Luke to turn the corner.  As they disappear from 

               Please, please, please...

     ... Patric points the gun at Sergius and POP!  Shoots him in 
     the head.  Sergius falls backward, and Patric aims the pistol 
     at Theo, finger on the trigger, and...

     BAM!  BAM! Shots ring out.


     An armored carrier is rolling toward them, two soldiers 
     shooting from the turret.

     Patric fires back -- POP! POP!

     Theo grabs Marichka and hustles her back to Wharf Street. He 
     guides her to a doorway, Theo looks down the street and...


     He sees Luke and his men pushing Kee, rounding the CORNER 
     onto 3rd Street and...

     A TANK

     Shielding the group of soldiers SHOOTING at Ian and his men.

     Screenplay-Children_of_Men                                           p. 124


     Ian and his men hold their position, FIRING BACK, but are 
     unable to stop the advancing tank.

                    (to the men)

     The two men peel off after Luke.  Ian fires a few more rounds, 
     then follows.


     Theo looks to his right: the tank advancing, soldiers 
     marching, holding their fire, weapons trained, focused.

     And he musters his courage, runs out into the open, chasing 
     after Luke and Kee.

     The soldiers are caught by surprise, a double-take before 
     they BLAST AWAY...


     ...Theo runs, makes it across Wharf Street turning the


     He presses himself against the wall, catching his breath. He 
     looks out and sees...


     Luke and the Fishes fleeing with Kee. Ian and his men, not 
     far behind.

     Theo trails after them. IAN turns, fires at Theo. THEO dives 
     behind a stoop. AN ARMORED CARRIER emerges from the fog, 
     cutting off the Fishes' escape.  Luke gestures, leading Kee 
     and the Fishes into a modern apartment building.

     Theo in hot pursuit when...

     Soldiers fire the back.

     TAT-TAT-TAT-TAT!  One of Ian's men is hit in the back.  

     Theo dives into a burned-out double-decker abandoned on the 
     sidewalk across the street from the apartment building and...

     Screenplay-Children_of_Men                                           p. 125

140   INT. BURNED-OUT DOUBLE-DECKER                               140   

     ... falls on top of people huddled inside.  SCREAMS of fear 
     in SPANISH as bodies scramble away.

     Theo gets up.  He's just crashed into crowded makeshift living 
     quarters: mats butted along the floor of the bus, a stove in 
     the middle of them.  The inhabitants ducking for cover, a 
     few peering out through the cardboard-covered windows.

     Theo bends the cardboard back from the window, looking out:


     Soldiers fire as Ian and the last Fish make it to the...

     MODERN APARTMENT BUILDING... bullets RIDDLING the concrete 
     facade as the Fishes slip through the doorway.

     The Soldiers rush the apartment building, disappearing 
     inside... and a fierce fire-fight ensues -- TAT-TAT-TAT-TAT! 
     Flashes of GUNFIRE visible in the doorway.  SCREAMS.  Soldiers 
     stagger back out of the doorway, some wounded, retreating 
     from the opposing gunfire.

141   INT. BURNED-OUT DOUBLE-DECKER                               141   

     Stray bullets strafe the bus. Theo ducks out of the way.


     A TANK rumbles into position behind the soldiers, its gun 
     turret cranks slowly toward the apartment building.


     realizes the tank is about to fire on the apartment building 
     with Kee and the baby inside.

               No, no, no, no...

     He runs out of the bus into the street soldier positioned 
     near the tank open hits the ground and...

     BOOM!  The tank recoils with the blast, the explosion rips a 
     gaping hole in the building.

     Theo rolls out of the way of falling concrete. He looks up 
     at the apartment building -

     White sheets and clothes wave from windows, desperate pleas 
     for mercy from tenants still in the building as...

     Screenplay-Children_of_Men                                           p. 126

     ...from the floor above, Fishes open fire on the soldiers.  
     Someone throws a Molotov cocktail... it explodes in the 
     street.  Soldiers return fire -

     Tenants streaming out the front doors, hands in the air, 
     SCREAMING SURRENDER in a dozen languages and TAT-TAT-TAT-TAT -- 
     the soldiers gunfire CUTS THEM DOWN.  A few survivors scramble 
     back into the building.

     The tank tilts its big gun up, aiming at the snipers on the 
     fourth floor... BOOM! The tank shell blasts another hole 
     into the building.

     In the silence of the aftershock, a thick cloud of dust in 
     the air Theo gets up and races for the apartment building

     He's almost at the doorway when a soldier spots him through 
     the haze and opens fire -

     BULLETS RAKE the entrance.  Theo sidesteps the bodies of 
     dead soldiers and refugees, makes it inside and...

142   INT. APARTMENT BUILDING                                     142   

     slips on the blood-slicked cement, crawling in panic further 
     into the blood-splattered building.  Staying low, he moves 
     through the lobby, desperately searching for any sign of Kee 
     when --

     Gunfire erupts from the staircase.  Theo takes cover behind 
     a pillar -- it's Ian who's firing at him, but bullets from 
     one of the soldiers in the street tear into him.

     Theo spots Kee's wheelchair, abandoned at the foot of the 
     stairs, and heads up.

143   INT. SECOND FLOOR STAIRCASE                                 143   

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

144   INT. THIRD FLOOR STAIRCASE                                  144   

     Theo steps out onto the third floor.  Tenants on the ground 
     covering their heads, a few wounded, screaming.  Theo spots 
     Patric in a blown-out apartment, firing at the street below.  
     Soldiers' bullets strafe the room, and Patric bursts out 
     into the hallway.  Theo hides as Patric pushes past tenants...

     Screenplay-Children_of_Men                                           p. 127

               Fuck outta my way, fuck outta my 

     ... and kicks open the door of another apartment.  Theo starts 
     after him but then he hears, faintly...

     THE MUFFLED CRY OF A BABY.  It's coming from the floor above. 
     Theo heads for the stairs.

145   INT. FOURTH FLOOR CORRIDOR                                  145   

     Theo emerges on the fourth floor, moves toward the MUFFLED 
     CRIES.  Following the sound into...

146   INT. FOURTH FLOOR APARTMENT                                 146   

     The apartment has been tattered by bullets, glass shattered, 
     everything upended.  Kee in a corner, protecting her baby 
     girl with her body.

     Luke lays by the window in a pool of his own blood, with his 
     back toward Kee, firing out the window.

     Theo steps into the room, moves to Kee and her crying baby.

               You okay?


               How is she?

               Pissed off.

     Theo helps Kee up.

               Easy. We're gonna make it.

     Shots from outside RIDDLE the wall near them.  At the window, 
     Luke fires back at the soldiers.

     Theo and Kee making their way across the ruined room to the 
     door.  Luke turns and sees them.  He points his gun.  Theo 

     Screenplay-Children_of_Men                                           p. 128

               I was carrying her up the stairs and 
               I started crying. The baby. A girl.

               Yeah, it's a girl.

               I forgot what they looked like. So 

     Theo begins to inch Kee to the doorway, wary of Luke.

               We need to get her out of here.

               No, no, no.  You don't understand, 
               Faron.  This child must stay with 
               us.  She can unite us.  She's our 

               Fuck she is!

     Theo and Kee at the doorway.

               She's our beginning.

               Luke, she'll be killed if she stays 
               here.  We have to go.

     BAM! Luke shoots. Theo grimaces TAT-TAT-TAT. Glass shatters 
     as guns fire from the outside, ripping Luke to pieces.

147   INT. FOURTH FLOOR HALLWAY                                   147   

     Theo walks out the door, Kee following. He's in momentary 
     shock, clutching his gut, looking at a trickle of blood 
     spreading across the fabric of his shirt.


               Fucker shot you.

               I'm okay. Bullet went through.

     Screenplay-Children_of_Men                                           p. 129

                           THEO (CONT'D)
                    (gritting through 
               We gotta move...

     Theo breathing through the pain, holding up Kee, walking 
     down the hall, the baby still crying.  A volley of bullets 
     from outside tear through the walls.  The ROAR of the GUNFIRE 
     is punctuated by the BABY'S CRIES.

     People huddled in the corridor, looking in disbelief.  A 
     WOMAN falls to her knees.

               Dios te salve Maria, llena eres de 
               gracia, el senor es contigo, bendita 
               eres entre 1as mujeres...

     Theo and Kee approach the stairwell. Bullets are still flying, 
     but people seem fearless, poking their heads from doors, 
     risking their lives to get a closer look.

     The baby's crying gives Theo and Kee a sense of security. 
     They are no longer dodging bullets but are walking straight 
     down the hall.

     A man breaks into tears. An old woman, bleeding to death on 
     the floor, reaches her gnarled finger to touch the baby's 
     blanket. She smiles as they pass -- she has heard the song 
     of an angel.

     Theo and Kee reach the stairs. Kee starts down the steps, 
     but Theo stops her.

               Come on.

               You're shot.

               I can do it.

     Kee allows Theo to pick her up. He strains to lift her, then 
     starts down the stairs.

148   INT. FOURTH FLOOR STAIRWELL                                 148   

     The baby's cry echoes through the stairwell. Theo slowly 
     carrying Kee down. People huddled on the stairs, amazed, 
     eyes glued to the baby.  Others looking down at them from 
     the upper. floors.

     Screenplay-Children_of_Men                                           p. 130

     TAT-TAT-TAT. A gun battle, moving up the stairs toward them.  
     It's Patric and two other Fishes -- backing up the stairs, 
     battling pursuing soldiers.

     Patric hears crying, turning, pointing his gun at...

     ...Theo and Kee. No place to hide. Patric points the gun at 
     Theo's head, about to pull the trigger.  But the baby is 
     wailing in Kee's arm.  Patric looking at the baby in stunned 
     disbelief.  Then he lowers his gun.  He and the Fishes back 
     away, staring at the infant as Theo and Kee continue down 
     the stairs.

149   INT. THIRD FLOOR STAIRWELL                                  149   

     Gunfire from below forces people against the wall.  Theo and 
     Kee continue their descent.  A SOLDIER surges up the stairs, 
     pointing his gun at the newborn girl, who wails away.

     Theo and Kee walk past him.  The Soldier breathless, the 
     baby's cry clashing with his adrenaline.

               Hold positions and hold fire!

     Theo continues carrying Kee down. People on the stairs 
     standing up, getting a look.  More soldiers, holding their 
     weapons in silence, immobilized by the baby's cry.

150   INT. APARTMENT BUILDING                                     150   

     The baby's cries echo through the lobby, now held by the 
     military.  Soldiers hold strategic positions, watching Theo 
     and Kee pass, glimpsing the child in confusion, awe.

     At the shattered doorway, Theo staggers.  Kee sees his sweat, 
     his pain.  His shirt is covered in blood.

               Put me down.

     Theo hesitates.

                           KEE (CONT'D)
               I wanna walk.

     Theo sets her down. Kee walks slowly, resolutely, leaning on 
     Theo for support. They pass through the shattered doorway.

151   EXT. APARTMENT BLOCK PLAZA                                  151   

     Theo, Kee and the baby step into the murky light of the foggy 
     day. An impenetrable line of soldiers positioned in the plaza

     Screenplay-Children_of_Men                                           p. 131

     face them, their weapons pointed, ready. The heavy machinery 
     of war silenced by the cries of a baby.

     Theo and Kee walk forward, toward the soldiers. The weapons 
     aimed at them begin to lower. An instinctive shuffle to the 
     side, as if commanded by the cry, creating a space for them.

     Kee carrying her child, Theo at her side as the soldiers 
     part like the Red Sea. Somber faces watching as they pass, 
     touched by the baby's crying.

     BAM!  BAM!  BAM!  Rifle shots from the fourth floor window 
     shatter the silence. Two soldiers behind Theo are hit.  Theo 
     covers Kee as soldiers open fire on the apartment building.

     A new battle flares.  Theo and Kee walk on, ignored by the 
     soldiers who race forward, taking up new positions.

     BOOM! The tank blasts a massive hole in the fourth floor.

     CORNER - WHARF & 3RD Leaving the battle behind, Kee and Theo 
     hurry down the street. Marichka emerges from a blown-out 
     doorway, holding Santo, greeting them with a crooked smile.

152   EXT. THE LITTLE FOUNTAIN - A LITTLE LATER                   152   

     With great effort, Theo pries off the sewer lid.  They all 
     disappear down the hole.

153   INT. SEWER                                                  153   

     A ceiling lamp illuminates a concrete sewer drain, a narrow 
     channel of foul water running through it.  Boxes of contraband 
     stacked to one side: alcohol, batteries, medicine, cans of 
     food, electrical wire.

     Theo holds Kee's arm as she steps into a wooden launch. 
     Marichka lights the candle fixed to the bow of the boat. She 
     prattles on, Santo on her shoulders, tears in her eyes, 
     gesturing toward the end of the tunnel where ambient light 
     filters in.

               Go, go boat.

     Theo extends his hand to help Marichka into the launch.


               Marichka no go.

     Screenplay-Children_of_Men                                           p. 132

     Marichka smiles.  Theo nods a thank you. And he climbs in 
     the boat and sets the oars.  Marichka gives the boat a 

     Theo puts the candle into a holder and starts to row. They 
     glimpse graffiti on the walls, like cave paintings, as they 


     A breeze from outside extinguishes the candle.  Theo rows -
     toward the light. Passing through a metal grate which has 
     been cut away.

154   EXT. SEA'S EDGE - TWILIGHT                                  154   

     The launch emerges into the fog at the end of a large harbor. 
     Behind them, misty air cloaks the back side of the Bexhill 
     Fence which runs the length of shoreline, separating the 
     prison-city from the sea. The MUFFLED SOUNDS of the riot.

     Theo rows steadily, painfully.  Dead calm, but the tide is 
     on their side.  What lays beyond is obscured by milky fog 
     and growing darkness.

155   EXT. OPEN SEA - DUSK                                        155   

     Theo is rowing slower now, his strength waning.  The fog has 
     enveloped the city behind them, the riots a distant echo.  
     The world around them has disappeared.  From somewhere off, 
     the sound of a BELL.

               The buoy! Theo, the buoy!

     Ahead of them, through the fog, patches of dull orange 
     sunlight.  The buoy visible in the distance.  Theo rows once 
     more, groans with the effort.

                           KEE (CONT'D)
               What time is it?


     The launch gains momentum, then slows.  The sun touching the 
     horizon, the day ending.  No sign of any boats anywhere on 
     the desolate sea.

               They'll come back.

     Screenplay-Children_of_Men                                           p. 133

     The SOUND of the bell is drowned out by the WHINE of JETS 
     high in the sky. Followed by the ROAR of EXPLOSIONS -- POOF 
     POOF POOF and, behind them, a glowing light, expanding in 
     the fog...

     Theo rests, exhausted. He feels his gut, which has been 
     steadily oozing from the bullet wound.  His eyes drop down 
     to his hands, now covered in blood. Something is poking 
     through the ripped lining of his pea coat -- He lifts a 
     hundred pound note, staring at it.  The sounds of the sea 
     gently lapping at the boat.

     Kee looking around, anxious.  The buoy rocking rhythmically, 
     splashing water... no trace of a boat.

               I am sorry, Kee.  I am so sorry.

               We gonna make it.

     He shakes his head.  His eyes are watery.

               I'm not gonna make it.

     Kee looks at him.

                           THEO (CONT'D)
               And I'll never know if you make it.

     Theo smiles at her.

                           THEO (CONT' D) (CONT'D)
               But I want to believe that you will.

     Tears well in Kee's eyes.

               I will.


                    (through tears)
               Fuckin' yeah.  Cheedo.

               Theo in pain, genuinely smiles.

     Screenplay-Children_of_Men                                           p. 134

                           THEO (CONT'D)
                    (looks at the baby)
               Froley.  That's a fine name.

     Theo musters all he's got left, reaching the oars back, wood 
     cutting through water, propelling the launch a little further. 
     He closes his eyes.  HOLD as the SOUND of the surf fades 


     Theo is sitting in his chair on the white sandy beach, 
     watching a mother and child in the blue water, laughing and 
     splashing in the waves. The mother is Kee but her child is 
     now a toddler.  Then, two other woman rush down to the beach, 
     planting their infants on the sand, letting the foamy waves 
     lap at their baby's feet.  Kee looks from the babies to Theo 
     and waves.  A smile slowly comes to Theo's face.  He is happy, 

                           KEE'S VOICE
                    (a whisper)


     Kee looking at Theo.  He's slumped over, dead.

     The launch drifting.  No direction.  Drifting...  Drifting... 
     Kee is still, silent... The baby begins to CRY...

     A light flickers, piercing the fog -- Kee looks up


     The fog gives way, revealing purple sky...

     Cutting through the water toward them, A LIGHT, A BOAT.

     The wooden vessel approaching, nets and gear -- A FISHING 
     BOAT.  The name painted on the stern. "THE TOMORROW."

                                                         FADE OUT