V字仇杀队台词

V字仇杀队台词 V FOR VENDETTA Written by Larry and Andy Wachowski Based on the graphic novel by Alan Moore FADE IN: In the darkness, we hear a voice, a woman's voice. Her name is Evey. EVEY (V.O.) "Remember, remember, the fifth of November, the gunpowder treason and plot. I know of now reason why the gunpowder treason should ever be forgot." Her voice has a strength that is metered by a calmness, a deep centered peace that we can feel. EVEY (V.O.) Those were almost the very first words he spoke to me and, in a way, that is where this story began, four hundred years ago, in a cellar beneath the Houses of Parliament. In the darkness, we find a lantern. Guy Fawkes, a dangerous man who wears a goatee, is struggling with a wheelbarrow stacked with barrels of gunpowder. EVEY (V.O.) In 1605, Guy Fawkes attempted to blow up the Houses of Parliament. The wheelbarrow bumps over the heavy stone mortar of the cellar floor. From the dark depths, we hear the sound of dogs. EVEY (V.O.) He was caught in the cellars with enough gunpowder to level most of London. Guy sees lanterns coming from both sides. He tries to run as the dogs reach him first. He grabs for his sword as dozens of pole axes pin him against the tunnel's stone wall. EVEY (V.O.) Sometimes I wonder where we would be if he hadn't failed. I wonder if it would have mattered. In the dim pre-dawn light, Guy is led to the gallows. EVEY (V.O.) I suppose the answer is in the rhyme. More than the man, what we must remember is the plot itself. The coarse noose of rope is snugged up to Guy's throat. He looks into the crowd until he finds a face, a woman's face, staring up at him. EVEY (V.O.) For in the plot we find m just a man, we find the idea of that man, the spirit of that man, and that is what we must never forget. The lever is thrown and the woman looks down, a tear falling down her face. EVEY (V.O.) This, then, is the story of that idea, of that spirit that began with an anarchist's plot four hundred years ago. Guy's body hangs in silhouette, lifeless against a red morning sun. FADE OUT. FADE IN: INT. SUBURBAN HOUSE A young Evey sits on her father's lap, combing her Barbie's hair. EVEY (V.O.) I was born near the end of the millennium, the year 1997. My father used to say that people were so afraid that the world was going to end that they were willing it to happen. Her father sits beside her mother on the living room couch, watching the news. From the look on their faces, the news is bad. EVEY (V.O.) I don't remember much of the century's turn. I don't remember the market crash or the plague or any of the Trafalgar riots. The television flickers with images of heavily armed soldiers fighting in a shelled city. EVEY (V.O.) I've read about them since but I don't recall how any of them impacted my life except for the fear. They would hide it from me, like a secret between them. Little Evey sees her father staring at her mother. They take hold of each other's hand, clasping them tight. EVEY (V.O.) But I could feel it. EXT. CITY STREET It is a new day. People are gathered along the street as if they were waiting for a parade. EVEY (V.O.) Of the chaos that seemed to swallow the beginning of the 21st century, there is one thing I do remember. Evey holds her father's hand. Unable to see what is coming, she can hear it. EVEY (V.O.) Very clearly, I c sound. We hear them, hundreds of marching soldiers. EVEY (V.O.) And I remember those boots, black leather that gleamed bright in the morning sun. I had never seen such boots. All moving in perfect unison. Little Evey hides in the forest of adults, clinging to her father's leg, staring as row after row of boots march by with military precision. EXT. CITY STREET In the midst of a political rally for the emerging new party calling itself Norsefire, we find little Evey now on her father's shoulders. Dascombe, a young man, paces the podium, inciting the crowd. DASCOMBE The time has come, London, to return to a bygone age, an age of tradition, an age of values that have been disparaged and all but forgotten. What this country needs is a leader! A true leader to remind us of that age. A righteous leader with the strength of his moral convictions to do what must be done. I give you that man! I give you our leader! Adam Susan! Adam Susan rises and the crowd cheers. Evey's father looks at her mother and again they clasp hands. EVEY (V.O.) It must have seemed so easy to them. They offered such a simple deal; give up control and we will restore order. INT. SUBURBAN HOUSE Little Evey is asleep in her bedroom. EVEY (V.O.) At first, the arrests were political. Dissidents. Radicals. Liberals. A loud crash of splintering wood wakes her up. EVEY (V.O.) When my parents were younger, they had been activists. They had marched with Labor in the great train strike. The sound of heavy boots swarms through the house. LITTLE EVEY Mommy? Her bedroom door bursts open and a heavily armed soldier scoops her up. She is carried through the dark house which is filled with soldiers. On the floor of the living room, she sees her par MOTHER My daughter! Don't take my daughter! FATHER Evey! Evey! LITTLE EVEY Mommy! Daddy! A heavy black hood is pulled over each of her parent's heads as Evey is carried out of the house. EVEY (V.O.) I never saw them again. Overnight, my life, my entire world was erased. INT. BATHROOM A nun with a switch in her crossed arms watches as Evey and several other little girls scrub the floor of a dormitory bathroom. EVEY (V.O.) It was done so quickly and violently, so completely, that it began to seem that it had never even existed. A tear rolls down Little Evey's cheek. EXT. HOUSE A gay man is dragged violently from his Piccadilly home. Outside, he sees his lover being forced to the cobblestones. EVEY (V.O.) The homosexuals were next. What God had started with AIDS had to be finished by man. It was God's work. That's what we were told. He reaches for him as the clubs rise and fall, vicious and bloody. EVEY (V.O.) But once they were gone, there was someone else. Someone different. In another neighborhood, we see the police arresting Pakistanis. EVEY (V.O.) Someone dangerous. In a different area, young black men are packed into a caged van so tightly they are unable to move. EVEY (V.O.) There were those who understood what was happening, who knew it was wrong but who kept silent. A young detective named Finch looks down as the van pulls away. When he looks up, another man in a military uniform whose name is Almond is watching him. EVEY (V.O.) And in the vacuum of that silence, order was imposed. Finch sticks his pipe in his mouth and turns away. EXT. STREET Again, we see the marching boots. Order that was like those boots, order that required rigorous discipline. Order that is exactly the same, where each single step falls with every step. The order of the many shaped into one. We move through the columns of marching soldiers to a wall where a poster has been plastered up. The poster reads, "Strength Through Purity, Purity Through Faith." EVEY (V.O.) Somehow in my heart, I knew it wouldn't last. As the sound of the marching fades, a shadow falls over the sign. After a moment, we hear the hiss of spray paint. EVEY (V.O.) What they thought they had crushed, the spirit they believed trampled and ground beneath the marching of their boots, rose up, rose as if from a four hundred year old grave, rose to remind us all that day. The shadow sprays a "V" over the poster. FADE OUT. FADE IN: Close on a loudspeaker. There is one on every major street corner. FATE (V.O.) Good evening, London. It's nine o'clock, the fourth of November in the year 2019 and this is the voice of Fate broadcasting on 275 and 285 of the medium wave. Beneath the loudspeaker is a surveillance system labeled, "For your protection." Bubble eyed lenses iris at the end of stalks that move, insect-like, racheting and clicking as they watch a little girl pedal her bicycle. The little girl glances nervously over her shoulder up at the mechanical eyes watching her. FATE (V.O.) People of London, be advised -- EXT. EVEY'S APARTMENT There is a radio on a small makeup table. FATE (V.O.) -- that Braxton and Streathon are quarantine zones as of today. Evey is now a young woman. She slips into a dress that is little more than a nightgown. She tries to adjust it, pulling it down at the hem, pulling it up at the thin shoulder straps, but it is like trying to hide behind a lamppost. It is suggested that these area be avoided for reasons of health and safety. INT. SHADOW GALLERY Another radio in a room that seems to be of another world. FATE (V.O.) Good news following the productivity reports from Herefordshire indicating a possible end to meat rationing starting mid February. A man enters the room as he once entered the world. His body is lean and strong and though we do not see his face, there is a strength in his carriage, a power to his presence. INT. EVEY'S APARTMENT She packs tissue paper into the toes of a pair of high heels that are too big for her. FATE (V.O.) Police raided seventeen homes in the Birmingham area, uncovering what is believed to be a major terrorist ring. INT. SHADOW GALLERY We move over a dressing bureau, past a wig and over a pair of black leather gloves, moving until we find the mask; it is like something from the masquerade ball of another era. It has an exaggerated goatee, harlequin cheeks and a smile, forever fixed, at once be-guiling and be-deviling. FATE (V.O.) Twenty eight people, eight of them women, are currently in detention awaiting trial. INT. EVEY'S APARTMENT Evey coats her lips with a lascivious red. She stares into the mirror, her makeup like a mask over her own face. FATE (V.O.) And that is the face of London tonight. INT. SHADOW GALLERY The man, now fully dressed in cloak, hat, and mask gazes into the mirror. This is V. FATE (V.O.) And this is the voice of Fate signing off and bidding you a pleasant evening. EXT. CITY STREET Close on Evey's high heels, stumbling and awkward as she walks down a dark cobblestoned street. EXT. CITY STREET Close on V's boots walking in the opposite direction so that it seems they are walking towards each other. EVEY (V.O.) I don't know what brought us been to that part of Westminster but ever since I've known him, I've stopped believing in coincidence. EXT. CITY STREET Evey looks up and sees a man standing mostly in shadow. EVEY Excuse me? Uh... excuse me, Mister? The man turns around. It is not V. EVEY Would you like... uh, would you like to sleep with me? He smiles. EVEY I mean, for money. MAN That is the clumsiest bit of propositioning I've ever heard. EVEY Oh god, I'm sorry. MAN Is this your first time, darling? EVEY Yes, no, I mean for money. But I know what you want and I'll do it. She presses her body to his, using her little girl eyes and her woman's mouth.