Hanna (2019) s01e06 Episode Script


I don't know where she is because she didn't tell me.
She's smarter than all of us.
Don't look so surprised.
You made her that way.
Mommy, look.
Can I get you anything else, madam? No, just the coffee.
Good morning.
I'm making tea.
I passed out last night, didn't I? Oh, that's okay.
We, uh we crashed out, too.
- Wh-Where's Hanna? - Don't know.
I think she went out for a walk.
We should get packing.
Hey, where've you been? [PANTING] Sorry.
It's okay.
How's your head? It's okay.
Lucky you.
Oh, God, I made such a tit of myself last night.
I think I've missed my chance.
ANTON: Just grab the bag.
Hey, can you, um on the way back, sit in the front? Is that okay? Sure.
You're the best.
Take an edge.
SOPHIE: Mm, I'm just so tired, I could fall asleep right here.
You can be my pillow.
SOPHIE: Okay, no, wait, wait, wait.
I'm gonna I'll walk you to your house.
No, no.
No need.
It's all right.
No, no, no, wait, wait.
Look, uh, c-can you, um, call me later? ANTON: Do you really think your parents will let you out again after this? SOPHIE: [CHUCKLES] I-I really don't care what they say.
Look I am really sorry about what happened last night.
I'm so embarrassed.
It's fine.
[CHUCKLES] I just get really out of it when I'm around you.
Uh, uh, I think I left my keys in the front seat.
- Oh.
- [CHUCKLES] - Yeah, so - Sorry.
- I'll go I'll go this way.
- Yeah.
Is it all right if I stand - Your mom isn't gonna get mad? - Yeah.
No, it's fine.
[KNOCK ON WINDOW] When do I see you again? Sophie likes you.
Yes, well, the problem with that theory is I don't want Sophie, I want you.
She's my friend.
Hanna, listen to me.
Ow! What the fuck? SOPHIE: What is going on? - What did you do? - ANTON: Nothing.
- He trapped his hand in the door.
- Hanna, no.
No, he didn't.
- It's all right.
It's all right.
- Did you get hurt? Just leave me alone, all right? Hanna what's going on? [AIR CONDITIONER BLOWING] [SHIVERING] Her phone's off.
You were supposed to be keeping her under constant surveillance.
You were supposed to be watching her every fucking move! [ERIK CHUCKLING] You want to say something? The people you work for I worked for them once.
I was like you, so I know what you're going through.
Excuse me? ERIK: Yeah.
They chew you in their mouth.
Suck all the goodness out of you.
And one day, they spit you out.
I know, I know.
You think you can delay that day, but you can't.
You can't.
I can already see the fear in your eyes.
[AIR CONDITIONER STOPS] Where is the girl? [GRUNTS] Where is she?! DAN: I should get going.
- I'll leave the keys.
Wait, wait, wait.
[DAN SIGHS] Sophie, I don't want to be part of this.
- But you are a part of this.
- No, I'm not.
Whoever she is or whatever she's done, it's not my fault, okay? [GARAGE DOOR CLOSES] It just happened.
Wh-What happened? I saw him at the party.
I didn't know he had anything to do with you.
He looked at me, and it was obvious.
What was obvious? That he wanted me.
I could smell it.
Di-Did you fuck him? Did you fuck him?! [STIFLED LAUGH] You knew that I liked him.
Don't cry, Sophie.
No, don't tell me what to do.
I want you to leave, please.
- Get out.
- But I don't want to go.
SOPHIE: I don't care.
Can you ju Can you leave it so it's tidy? - Sophie, I didn't mean to do it.
- What didn't you mean? What didn't you mean? Y-You didn't mean to fuck him? Is that what you meant? No wonder your family don't want you.
Because no one wants a fucking liar in their house.
- I don't know who I am.
- Just shut up! Just leave.
- Go on.
- Sophie, I didn't mean to hurt you.
I'm not normal.
W-What does that even mean? I can't control my body, and it does all these things.
And I I don't know why, but it's who I am.
That's pretty pathetic.
Even by your standards.
I'm sorry.
It was nice knowing you.
[PANTING] Fuck! [WHIMPERS] [SCREAMS] - No, listen, Mum.
- Sophie No, no, no, no.
You can say what you have to say.
Actually, you can ground me, you can bawl me out or whatever the fuck you're gonna do.
Now just leave me alone, 'cause I'm not in the mood, - all right? - Sophie, this is Clare.
Clare is Hanna's mother.
She's just flown in from America.
Hi, Sophie.
Clare's trying to find Hanna.
Have you heard from her? Why don't you come and sit down, darling? [PANTING] [SHUDDERING BREATHS] [DOOR OPENS] [DOOR CLOSES] You are here.
I'm leaving.
- Why? - Doesn't matter.
But your mother's here.
Where? At the house, talking to Mom and Dad.
Hanna called me a few weeks ago, told me that she was in trouble.
She mentioned how much she likes you, so I thought she might have come here.
RACHEL: We were just explaining to Clare that we haven't seen Hanna.
I mean, you haven't seen Hanna, have you, Soph? - TOM: Sophie? - No, I haven't.
MARISSA: You sure - you-you don't know where she is? - SOPHIE: Nope.
TOM: So, where were you last night? SOPHIE: Um, Dan and Anton and I went to the forest to smoke some weed.
TOM [SIGHS]: Oh, Jesus, Soph.
Do you always go to the forest for that kind of thing? Yeah.
Bit of mother nature.
Know what I mean? - Oh, Sophie.
- I'm really sorry.
It's-it's not usually like this.
Listen, this is as much my fault as anyone's.
I let her live in, uh, Europe with her father, which I shouldn't have done and I deeply regret.
Hanna's father is not, um, a healthy presence in her life.
MARISSA [DISTANT]: Which is why I need to take her back.
Look, I know teenagers always want to protect their friends.
You must feel she's like you.
She feels the anger you feel.
She understands you.
But she's not like you, Sophie.
She's a deeply troubled young woman.
Which is why I need you to help me help her.
Do you understand? - Do you have a phone? - Yes.
- Give it to me.
- It's my phone.
- It's got my stuff.
- Just give it to me.
And don't tell anyone, you hear? She's not like you, Sophie.
She's not a well girl.
She's ill.
Do you understand? Um Can't help you.
Sophie? I would do anything for Hanna.
Just like your mother would do anything for you.
Nobody loves you like a mother.
No one.
So I am asking you, as a mother who has made mistakes but who loves her child, to please help me save her, because I can't do it on my own.
And I just want to see her.
My little girl, who's never done anything to hurt anyone.
RACHEL: Sophie.
You know it's the right thing to do.
Hanna needs to be with her family.
- Fuck off.
- What? Right, that's enough.
Go to your room now.
Now, you hear me? Fuck off! Fuck-fuck all of you! - You talk to me like that? - What are you gonna do? You gonna hit me? - RACHEL: Sophie, stop! - TOM: What the hell? Hit me.
Hit me, because at least, at least - it would be something! - Get out of my way! SOPHIE: You are pathetic.
- Get out.
Get out! - I'm going.
[RACHEL CRYING] Clare, listen, I think you should go.
If Sophie says anything, we'll let you know.
I'm sorry, I don't have time.
I have to fly back.
Just leave, please.
Mum? You okay? - I'm fine.
Tom, please? - Yeah, yeah, yeah.
Actually, your mom is really upset.
She's really sad about Hanna.
So if there's anything that you know that would help your mommy feel better, - now is the time to say it.
- Excuse me.
Get away from my son.
What do you know? [PHONE CHIMES, VIBRATES] You, downstairs, now.
Don't do anything stupid.
I'm alone, unarmed.
You can run if you want to.
But you have nowhere to go.
And then you'll place Sophie and her family in grave danger.
Which she does not want to be.
What happened to Erik? Erik is dead.
Did you kill him? Not me personally, no.
Do you know who Erik is? He's not my father.
No, he's not.
- Then who is? - I don't know.
Erik and I worked together, long ago, on a project.
And you were part of that project.
Do you understand? Why don't you sit down? I'm gonna offer you a deal.
You come with me, and I'll tell you everything.
Who I am, who Erik is.
Who you are.
You know you can't stay here.
I mean you've seen Sophie, you've seen her friends.
You're not like them.
You must know that by now.
You're a danger to them.
You hurt people, Hanna.
That's why I need to look after you.
You're special.
Come and be special with us.
And Sophie and her family will be safe? Mm-hmm.
We'll go and say bye to them now.
Nice and normal, like a good mother and daughter should be.
Then I'll take you to the people who made you, and you'll know everything.
Do we have a deal? [QUIETLY]: Okay.
The meeting went well.
They're gonna come and say good-bye.
[SNIFFLES] Listen, you did the right thing.
Didn't really have much of a choice, did I? Look, I know everything must seem so unfair.
But what Hanna's mother said is right.
You're the most important thing in my life.
Okay? [CRYING]: I'm a terrible person.
No, you're not.
No, I am.
I am.
I'm so selfish.
And I lie.
- You should hate me.
- TOM: We don't hate you.
Why not? [EXHALES] We couldn't hate you even if we tried.
And believe me, we've tried.
[SOFT LAUGHTER] [LAUGHS]: No, it's not funny.
You need to get some rest.
What about Hanna? Hanna's gonna be fine.
She's with her family now.
[PHONE VIBRATING] Give me a minute? Hey.
How are you? OLIVIER [OVER PHONE]: Fine.
Listen, this woman just came by.
Wanted to know where you were.
Oh, yeah? - When was that? - About an hour ago.
I thought you'd want to know.
And did you tell her I was away? OLIVIER: I just said I didn't know where you were, which is the truth, actually.
Okay, thanks.
Listen, um, I'm sorry, I have to go.
Sure you do.
- Get me Sawyer.
It's Wiegler.
Where are you? What the fuck are you doing sending somebody - to my partner's apartment? - You disappeared.
You broke the tenets of our agreement.
Fuck your agreement.
That's my life.
That's my private fucking life.
I've got the girl.
What do you want? I want everything back just as it was before.
No psych evals.
No reports on my mental health.
I want full authority over this operation, and I want to know why the fuck you're here.
I want to talk to whoever is behind you, and find out exactly what is going on.
SAWYER: All right.
Where is she? SAWYER: You should have kept her in that forest, my friend.
That's as good as it was ever gonna get.
And just as a point of order, I am nothing like you.
I don't make mistakes.
I do my job and then I wash up, go home to my wife, and play with my kids in my beautiful garden.
And all the shit, I put it in a box and turn the key.
They'll come for you, too.
They'll take your little box and blow it the fuck up.
They'll have it all.
They always do.
[WHISPERS INDISTINCTLY] - What's wrong? - Just come in.
So I found these in the camper van.
- What is it? - It's a place in Romania on the border with Ukraine and the whole area is blacked out.
Who's Erik Heller? - Who-Who's Johanna Petrescu? - I don't know.
You tell me.
SOPHIE: What the fuck? [PHONE CHIMES] Okay, I've got to go.
Sorry, I was just at Dan's, I - Hi.
- Hi.
Clare and Hanna are going home to Chicago.
We wanted to come and say good-bye, and let you know everything is okay.
We'll send you an address so you two can keep in touch.
Won't we, Hanna? - Yes.
- Thank you all.
Actually, can I just borrow Hanna for a sec, just I just want to give her something, it's like We haven't got much time, so It'll take two minutes.
Come on, let's go.
Two minutes.
- Where did you find it? Dan found it in the van.
It says here that your mother is Johanna Petrescu.
Is that true? Hanna, I am your friend, and you need to tell me if that woman downstairs is your mother or not.
She is.
- Th-Then what is this? - It's nothing.
Hanna, that is not nothing.
I'm trying to help you.
Okay? I'm worried about you.
Why do you even care about me? Look What do you want me to do? Do I let you go with her or not? - I don't know.
- [KNOCKING ON DOOR] Hanna, look at me.
We should go, sweetheart.
We'll be late for our plane.
What did Sophie give you? That's just our little secret, Clare.
Bite my tongue, bide my time Wearing a warning sign Wait till the world Is mine Visions I vandalize Cold in my kingdom size Fell for these ocean eyes You should see me in a crown I'm gonna run this nothing town Watch me make 'em bow One by one by one One by one by You should see me in a crown Your silence Is my favorite sound Watch me make 'em bow one by One by one One by one by one Count my cards, watch them fall Blood on a marble wall I like the way they all Scream Tell me which one is worse Living or dying first - Thank you.
- Enjoy your stay.
Good afternoon.
How may I help? I need a room for myself and my daughter.
Yeah, let me just see what we have available.
I'm okay I'm not your baby If you think I'm pretty.
Sit down.
You can watch TV if you want.
[SIGHS] How long till they come? Later.
Rest now.
We'll get some food in a bit.
[WATER RUNNING] - Okay, you have the green light.
- Copy that.
It's nothing personal.
[DOOR CLOSES] [GUNSHOT] - [GRUNTING] - [BONES CRACKING] [SCREAMING] Get out of the way! Fuck! [GROANING] [GROANS] Where's Sawyer? Where did he go? Is there really no one like me? You're unique.
That's why we want to look after you.
Unique just means alone.
diplomatic protection.
MAN: Uh, yes, sir.
It's at the end of the hall.
Thank you.
[PHONE VIBRATES] It's all you can eat; go for it.
And then what happens? And then they come and pick you up.
They look after you.
Like we said.
Where are they gonna take me? We can discuss all of that when they get here.
You said that you'll protect me.
I will.
Now go get something to eat.
Let's go.
Like this.
[CEREAL DROPS] Thank you.
ERIK: Hanna.
[DISHES CLATTERING] You okay? Is that all you want? I'm not hungry.
How did my father die? Erik's not your father.
But how did he die? He was shot.
At the airfield.
They shot him dead? Yes.
Why? - Can I help you, sir? - I doubt it.
I want one man on the roof in case she runs.
The rest cover me here.
[ELEVATOR DINGS] - You going down? - Sure.
Thought I missed you.
You two have a nice breakfast together? - Where's the car parked? Lobby? - Yes.
Was she like her when she was this age? [ERIK CHUCKLES] Not exactly, was she, darling? [ELEVATOR DINGS] Actually, uh, I want to show Hanna the spa.
We'll meet you downstairs.
Keep the car waiting.
There's an exit in the basement.
Heller's here.
He's got her.
- Last seen on the fourth floor.
- All right.
We have a situation.
Cover the basement.
I want men on all floors.
[DOOR CLOSES] Sir, they left the stairwell on floor two.
They're on floor two.
Let's go.
WOMAN: The fact is, the world now is a more anxious place than it was 100 or even 50 years ago.
[WHISPERS]: Go sit down.
WOMAN: But it is not a more dangerous place.
And it's the difference between these two things that I want to focus on today.
Feelings of anxiety versus the reality of danger.
[ELEVATOR DINGS] Yeah, they look like zombies Like the world finna end Yo, the world finna end, yes, boss My friend If you black or brown Babylon coming for your head So who can give me a thing that makes them feel anxious in their daily lives? Yes.
My mum getting sick.
WOMAN: That's very good, thank you.
What else? Anyone? How about you? They're coming for you, coming for you I'm afraid of being killed.
They're coming for you [INDISTINCT CHATTER] [ALARM BLARING] Now, please, can we leave the building as quickly as possible.
This is not a drill.
Leave everything on your, on your chairs.
[OVERLAPPING CHATTER] Heemy Hindu Everyone down to the ground floor, please.
Like the guts in the back woods - He was wearing a white hood - [SHOUTING] I'm always wearing a black hood And I kick it in a white hood And I kick it in a black hood, talk shit I was slapped, dude.
MAN: This way, please.
Stop there! Everybody, stay calm.
[GUNSHOTS] [GRUNTS] [GRUNTING] 25 on the left side 66 on the right side You see the whites of their eyes But don't pull out, you're gone until You see the whites of their eyes But they're your sisters and your brothers Your set of favorite friends Well, I hate to be a bother But there's a candle in your hand And it's burning at both ends You see the whites of their eyes Woah-oh, you see the whites of their eyes Woah-oh, you see the whites of their eyes Not too far away, on the hillside You see the whites of their eyes Oh, the whites of their eyes Yeah, you see the whites of their eyes Not too far away, on the hillside Up on 53rd and 2nd Pulling back on your heels Oh, you're not looking for a lesson But it's about to jump out of left field But they're coming on their horses Hey, out for the night Setting up the armed forces God will rise in little white lights Woah-oh, you see the whites of their eyes Not too far away, on the hillside.