Eastern Promises_2007

EXT. A STREET NEAR BRICK LANE - EVENING
    It 's 5.30 pm in late December and rain is pouring . The scant Christmas decorations are hanging limp in the rain . A young Turk -LRB- EKREM -RRB- runs through the rain with a Turkish newspaper held over his head . He ducks into a traditional barber 's shop called Ozim 's .

INT. OZIM'S BARBER SHOP - EVENING
    The shutters are drawn . OZIM -LRB- a plump middle - aged Turk -RRB- is cutting the hair of the last customer of the day -LRB- SOYKA -RRB- . Soyka is a Chechen , well - groomed , wearing a sharp suit beneath the barber 's gown . During the conversation we glimpse distinctive eagle - and star - shaped tattoos on Soyka 's arms and hands . Ozim and Soyka are chatting as Ekrem enters . Soyka speaks with a Russian accent .
    OZIM
    Guvenilmez. daginik. bloody kids, you know. he says - ` but Amca it's Christmas? Christmas! We're Islam!
    SOYKA
    Oi, how much are you taking off?
    OZIM
    Christmas! So I said to him. alisverise cimac. The kid's sixteen.
    Ozim brushes some hair off the customer 's shoulder and Ozim finally acknowledges Ekrem , who is shivering and wet near to the door . Ekrem turns the ` Open ' sign to ` Closed ' .
    OZIM
    ( CONT 'D . )
    They do n't want to work do they. Shicma.
    EKREM
    ( hesitantly interrupting . )
    Uncle Ozim.
    We see for the first time that Ekrem is shaking with fear as well as cold .
    OZIM
    This is him. The kid I'm talking about.
    Ekrem approaches , stiffened by terror . Soyka nods at Ekrem in the mirror .
    SOYKA
    He looks OK to me. how you doin' Ekrem?
    Soyka offers Ekrem a hand to shake and Ekrem stares at it as if it were enchanted .
    OZIM
    He looks OK, yeah, but he wo n't do one lousy thing for me. Here, look. Ekrem, take this.
    Ozim takes an open razor from behind a line of hair - tonic bottles and hands it to Ekrem , who now looks mortally terrified .
    EKREM
    Ozim. memnum etmek.
    OZIM
    We had a deal now he's backing out.
    SOYKA
    ( laughing . )
    Hey Ozim, leave the kid alone. It's obviously a psychological thing.
    OZIM
    Take it Ekrem.
    SOYKA
    Ozim, it's OK. I do n't want a shave.
    OZIM
    This is the kid who walks around like Al Capone. Take the fucking ustura and finish this Rushca.
    SOYKA
    ( startled . )
    What?
    Soyka rises up from the seat , casting off his barber 's gown . Ozim yells ` kabuka ! And Ekrem snarls , flicks open the razor and drags it across Soyka 's throat . Soyka 's scream bubbles in the blood .

EXT. KILBURN HIGH ROAD - NIGHT
    We dissolve to a Christmas decoration flashing on and off in the rain , high on a lamp post in Kilburn High Road . We pan down the lamp post to the High Road where revelers are hurrying through the rain . We see a young girl -LRB- TATIANA -RRB- hurrying across the street , wrapped in a dressing gown with a man 's overcoat thrown over the top of it . Her hair is soaked as she approaches an all night chemist 's shop . She is barefoot .

INT. CHEMIST'S SHOP - NIGHT
    The CHEMIST is delivering advice in Gujurati to a CUSTOMER . Tatiana wipes rain from her face and the Chemist and the customer react to her ragged appearance .
    TATIANA
    ( Russian accent . )
    Please. I have.
    CHEMIST
    For methadone I need to see paper prescription.
    The customer looks at Tatiana 's feet and reacts . We see blood trickling down her legs . Tatiana looks down , then faints onto the floor .

INT. TRAFALGAR HOSPITAL. OPERATING WARD - NIGHT
    We see Tatiana unconscious on a wheeled trolley bursting through double doors into the operating ward of Trafalgar hospital . The trolley is accompanied by TWO NURSES , a JUNIOR DOCTOR and a midwife , -LRB- ANNA KHITROVA -RRB- . The two PARAMEDICS who brought her are following behind the trolley .
    ANNA
    Did you get a name?
    PARAMEDIC
    No.
    CUT TO

INT. TRAFALGAR HOSPITAL. OPERATING THEATER - NIGHT
    A tiny brown handbag is being shaken empty by a nurse . Tatiana is being prepared for an emergency Caesarean . The theater is full of people in scrubs , including an anesthetist . Monitors and drips are being attached at double speed . We notice that her arms are already dotted with festering needle marks . A nurse searches through the contents of the handbag and we can hear frantic activity from the operating table .
    NURSE 1
    Her stats are very poor, very poor. Baby's very distressed.
    Anna approaches the nurse , who is rummaging through the contents of the bag . We see a business card from a restaurant called ` The Trans - Siberian ' , a St. Christopher necklace and a tiny battered diary . Anna grabs the diary .
    JUNIOR DOCTOR
    Shoulder distocia, I think. Stuck on the pubic bone.
    Cut to Anna at Tatiana 's head . Anna strokes her face and speaks softly .
    ANNA
    Darling. darling, can you hear me?
    NURSE
    Baby's heart beat sixty. fifty - eight, fifty - eight. fifty - seven.
    JUNIOR DOCTOR
    Anna, I'm trying to rotate the shoulder medially. shit.
    THE JUNIOR DOCTOR is breathing hard with a look of utter panic as he attempts to free the baby . The doors burst open and a more senior doctor in his mid thirties -LRB- DOCTOR AZIZ -RRB- enters at a gallop . As he enters .
    NURSE 1
    Baby stats sixty - eight and in free fall.
    NURSE 2
    I'm not getting a pulse.
    Heartbeats . Doctor Aziz joins the junior doctor , who looks out of his depth .
    AZIZ
    Speak to me.
    Before the junior doctor can speak Anna speaks directly to Aziz .
    ANNA
    ( softly . )
    We need to get the baby out now.
    Aziz knows he can take Anna 's word .
    AZIZ
    OK, let's go.
    All hell is let loose . As the Caesarean process begins at frantic speed , we slowly zoom in on Tatiana 's unconscious face and hear her voice in V.O . a young girl 's voice speaking with an Russian accent . The crosstalk between nurses and doctors becomes more and more frantic .
    TATIANA
    ( V.O . )
    My name is Tatiana. My father died in the mines in my village, so he was already buried when he died. We were all buried there. Buried under the soil of Russia. That is why I left to find a better life.
    We hear . a baby cry . Anna 's face appears in our framed shot of Tatiana 's face . She gently kisses Tatiana 's cheek .
    ANNA
    ( whispers . )
    You had a girl.
    A sheet is pulled over Tatiana 's face . A nurse weighs the screaming baby . Anna wipes her brow with the back of her bloody wrist .
    AZIZ
    Ok. Call it.
    The Junior doctor and a nurse check watches and speak almost in unison .
    JUNIOR DOCTOR
    Unidentified woman, died December 24th at 11.13.
    NURSE
    Baby girl, born December 24th at 11.14.

EXT. TRAFALGAR HOSPITAL. LABOR WARD - MORNING
    Anna leaves the labor ward , putting on her crash helmet . She emerges out into the crisp , sunny morning . Aziz hurries to catch her up and hands her a wrapped gift .
    AZIZ
    Merry Christmas, Anna.
    ANNA
    Oh, do n't be ridiculous.
    He grins .
    AZIZ
    And you have to open it in front of me.
    Aziz smiles as Anna unwraps a pair of leather motorcycling gloves . She looks up at him , expressionless .
    AZIZ
    ( CONT 'D . )
    At least pretend.
    Anna considers the gloves .
    ANNA
    ( deadpan . )
    . -RRB- In the whole entire history of my life, I have never felt this special.
    AZIZ
    Thank you.
    Aziz plants a kiss on his two fingers and presses his fingers against Anna 's cheek through the open visor of the helmet .
    AZIZ
    ( CONT 'D . )
    Wear them. It's cold.

EXT. LONDON STREET - DAY
    Anna rides her big vintage URAL motorcycle through deserted morning streets . As she rides , we hear Tatiana in V.O.
    TATIANA
    ( V.O . )
    I am so excited this morning. Yesterday a friend came back to our village and he told us all about the places on the map that I look at. Paris, Amsterdam, London. He's been there for real.

INT. HELEN'S HOUSE. ANNA'S BEDROOM - DAY
    After the bright airiness of the bike ride , we are suddenly in Anna 's bedroom where the curtains are drawn . Anna is lying awake on the bed , wearing a dressing gown .
    TATIANA
    ( V.O . )
    he said the future of everything was already happening in all those places.
    There is a gentle knock at the door , which opens before Anna can respond . It is ANNA 'S MOTHER -LRB- HELEN -RRB- with a cup of tea .
    HELEN
    Did you sleep?
    ANNA
    A bit.
    HELEN
    There's no point us tiptoeing around if you're not even sleeping.
    Helen puts the tea on the dressing table , then turns to leave without a smile .
    ANNA
    Mum? Are you OK?
    HELEN
    ( contrite . )
    Of course not. It's Christmas.

INT.   HELEN'S HOUSE. KITCHEN - DAY
    Anna is pouring two glasses of sherry . Helen is peeling potatoes . Anna peers at Helen . and sees tears . They share a moment of stifled emotion . Helen wipes her eyes with her sleeve .
    HELEN
    It's the chicken.
    ( pause . )
    The smell of chicken roasting reminds me of him.
    ANNA
    You should have done beef, then.
    They look at each other and giggle . They both have potato peelers in their wet hands , sleeves rolled up , two practical unsentimental women being almost consumed by the same wave of emotion .
    HELEN
    It would n't be Christmas without tears in the gravy, would it.
    We hear a gruff Russian voice calling out from the living room -LRB- UNCLE STEPAN -RRB- .
    STEPAN
    ( V.O . )
    ( angry . )
    Anna! Anna! Where did you get this?
    Anna and Helen roll their eyes .
    HELEN
    ( whispering . )
    It's your own fault for giving him something to play with.
    ANNA
    ( irritated . )
    Well, I ca n't read Russian, can I?
    Anna drops her peeler and hurries into the living room . CUT TO

INT. HELEN'S HOUSE. LIVING ROOM - DAY
    The living room table is laid for dinner . Uncle Stepan is early seventies , Russian . He is reading the tiny diary that Anna found in Tatiana 's bag . Anna breezes in .
    ANNA
    I told you, Uncle Stepan, I found it in the handbag of a girl who died in my ward.
    STEPAN
    Do you always rob the bodies of the dead?
    ANNA
    ( suppressed , familiar anger . )
    Of course, we all do it. It's one of the perks of working in a hospital.
    Stepan grumbles , accustomed to this teasing . Helen enters carrying a bowl of walnuts and brazil nuts which she places on the table . Pause . Stepan looks pointedly at Helen .
    STEPAN
    Did you know that your daughter robs the bodies of the dead?
    ANNA
    Stepan, is there an address?
    Stepan lays the diary aside , obstinate and prim .
    STEPAN
    You have an uncle who does n't steal things from the dead. Not even their secrets.
    HELEN
    Oh, do n't go all momentous on us, Stepan.
    ( she straightens the table cloth . )
    Lift your elbows.
    STEPAN
    You should put this in her coffin, Anna. Bury her secrets with her bodies.
    ANNA
    Body. Singular.
    Stepan leaves in a huff . Anna picks up the diary and begins to study it . She sees the ` Trans - Siberian ' business card between the pages .
    ANNA
    ( CONT 'D . )
    How long will dinner be?
    Helen looks at Anna , suspecting an attempt to escape .

EXT. LONDON STREETS - DAY
    Driving music as we see Anna riding her motorbike through deserted morning streets again . We should begin to sense that this is a kind of release for her . We hear Tatiana in V.O.
    TATIANA
    ( V.O . )
    When I was little, London was like a place in the Bible. I was n't even sure if it was real. My friend has told me there is a place in London where they pay girls to sing.
    Anna arrives outside the ` Trans - Siberian ' restaurant . It has a Russian - themed frontage in blue and gold , expensively and recently finished .
    TATIANA
    ( V.O. ; CONT 'D . )
    He said if I sang in this restaurant I would make more money in a week than my father made in a year.
    As Anna pulls up we hear a dog begin to bark .

EXT. TRANS-SIBERIAN RESTAURANT. SIDE ENTRANCE - DAY
    The side door opens to reveal a hard - looking , handsome Russian man -LRB- NIKOLAI -RRB- , who stops to groom his hair back from his face and put on a pair of sunglasses as he emerges into daylight . He steps into a small courtyard , where a fierce Doberman dog is barking and snarling on the end of a chain . Nikolai is followed by KIRILL , who is a little younger , slim and pretty but hard - looking too . Kirill is dressed in a crumpled T - shirt and jeans and looks like he had a heavy night . Nikolai ignores the dog as he walks by but Kirill yells at it and teases it with a whoop and few Russian curses . Nikolai unbolts the gate to the street .
    KIRILL
    So you pick up Ozim and his bitch of a wife and you bring them back here.
    He glances back at the restaurant and speaks softly .
    KIRILL
    ( CONT 'D . )
    Then I'll think of an excuse and we can get away.
    NIKOLAI
    I'll think of an excuse. Your excuses are like fucking fairy tales.
    Kirill grins and Nikolai flicks the fob of his car keys . The lights on an expensive black Mercedes glow in response . Kirill notices Anna locking up her bike at the front of the restaurant .
    KIRILL
    Who the fuck's that?
    They both see Anna removing her crash helmet and shaking out her hair . She walks towards the front door .
    NIKOLAI
    ( in Russian . )
    Maybe somebody sent your dad a hooker for Christmas.
    KIRILL
    ( grinning . )
    You're so. fucking unbelievably disrespectful.
    Kirill sees that Nikolai is studying Anna and his grin fades . We sense jealousy .
    KIRILL
    ( CONT 'D . )
    Hey, you've got work to do. Go.
    Kirill grabs Nikolai 's face to distract him , gives him a playful slap , but there is somehow more to it than playfulness . Nikolai gets into his car . Kirill glares at Anna as she approaches the front of the restaurant .

EXT. TRANS-SIBERIAN RESTAURANT - DAY
    As Nikolai drives away , Anna rings the doorbell beside the front door . There is no reply . She is about to ring again when the door opens . We see SEMYON , a Russian man in his late sixties . He is wiping his hands on a tea towel , dressed in a spotlessly white apron . He has the sparkling piercing eyes of a falcon .
    SEMYON
    We are closed.
    ANNA
    I know.
    She fumbles in her bag .
    ANNA
    ( CONT 'D . )
    Sorry. I'm a midwife.
    Anna produces her hospital ID and shows it to Semyon .
    SEMYON
    ( with a twinkle . )
    Then unless one of my daughters is keeping something from me, you have the wrong address.
    ANNA
    I'd like to speak to the Manager.
    Semyon studies the name on the ID .
    SEMYON
    Khitrova?
    ANNA
    My dad was Russian.
    Semyon seems suddenly delighted .
    SEMYON
    And his name?
    ANNA
    Ivan.
    SEMYON
    So, you are Anna Ivanovna.

INT. TRANS-SIBERIAN RESTAURANT - DAY
    The tables are set for a huge party . Kirill is now on step ladders , fixing some Christmas decorations . Other relatives are getting the place ready . Semyon hurries through the restaurant , leading Anna by the hand .
    SEMYON
    We must hurry. I must stir. Stir, stir or the gravy dies in my hands. Today it is family. Here is my son, Kirill.
    ( he hisses at Kirill . )
    Kirill! The berries are too low, too low. And Roman, more glasses for red!
    ( he claps his hands . )
    Come on!
    Kirill follows Anna 's progress through the restaurant with a glare . There are three little girls in extravagant party frocks , all holding violins and giggling near to the door that leads to the kitchen . Semyon stops when he reaches them and puts his hands on his hips .
    SEMYON
    ( CONT 'D . )
    My angels. You should be practising. You must make the wood cry. Like this, like this.
    Semyon grabs a violin and plays a three - second burst of sad Russian violin music .
    SEMYON
    ( CONT 'D . )
    You see.
    Semyon hurries on into the kitchen . Anna smiles , delighted at the eccentric old man .

INT. TRANS-SIBERIAN RESTAURANT. KITCHEN - DAY
    Inside the kitchen there is an inferno of activity , steam , smoke . Family members , some dressed in their party outfits , others in chefs ' uniforms , are standing over steaming pots , laughing , arguing . Children play and yell . You can almost smell Christmas . Anna enters , dazzled by it all , overwhelmed by the contrast to her own lifeless Christmas kitchen . Semyon calls out to everyone .
    SEMYON
    Come, come, hurry, hurry. They will be here any moment.
    ( to Anna . )
    Ok, show me this card.
    Anna reaches into her pocket and produces the ` Trans - Siberian ' business card she found in Tatiana 's bag . Semyon angles his head to look as he stirs .
    SEMYON
    ( CONT 'D . )
    It is the old card. From before the renovations. But even so, if she had worked here I would remember the name. Perhaps she ate here once. Try this.
    Semyon offers Anna a spoonful of his gravy . She sips it .
    ANNA
    God, that's amazing. My dad made gravy just like that.
    Semyon shrugs and smiles , his eyes twinkling , then goes back to stirring . He speaks as if unconcerned .
    SEMYON
    So did you get a chance to talk to this girl before she died?

EXT. TRANS-SIBERIAN RESTAURANT - DAY
    Nikolai 's black Mercedes pulls up outside the restaurant and parks a few inches from Anna 's motorbike . The rear windows are sun shaded so we only see Nikolai in the driver 's seat . He gets out of the car and opens the rear door of the car for an elegantly dressed Turkish lady in her fifties . Nikolai goes to the other rear door . The portly figure of Ozim the barber emerges . As Ozim gets out he gives Nikolai a fifty - pound note .

INT. TRANS-SIBERIAN RESTAURANT. KITCHEN - DAY
    Two of the little girl violinists are fighting , pulling each other 's hair . The third is sobbing , sitting on the floor . A young woman in a party dress is carrying a huge silver bowl of sauce across the kitchen . Anna looks delighted at the noise and energy of the place . Finally Semyon emerges from a cloud of steam with a scrap of paper .
    SEMYON
    This is an agency that hires casual kitchen staff. Maybe you will have more luck there. But I think they will be closed until New Year.
    As Anna takes the address , Kirill puts his head around the door and yells through the noise .
    KIRILL
    Papa, Ozim is here.
    Semyon is alarmed and claps his hand in urgent fashion .
    SEMYON
    Ten minutes!
    ( to the rest of the kitchen . )
    Fish, fish, fish! Ten minutes! OK, Kirill, get him a drink and tell him I am coming.
    Semyon takes a pot from the heat , suddenly flustered .
    SEMYON
    ( CONT 'D . )
    Anna, I'm so sorry I could n't help. It is sad.
    ANNA
    That's OK. I'll probably find out more when I get her diary translated.
    SEMYON
    Her diary?
    There is the tiniest of changes in Semyon 's manner . He lays his heavy pot down .
    ANNA
    I found her diary in her bag.
    A pause . Semyon disappears into a billow of steam to put a pan onto the heat then re - emerges .
    SEMYON
    Why did you not tell me you found a diary?
    He peers at her for a moment , his eyes hardening a little .
    SEMYON
    ( CONT 'D . )
    OK, Anna, this is how it will be. You will bring the diary here and I will translate it for you. Then if we get the names of any relatives I will call them myself. I am something of a. community leader for the Russians here in this unfriendly city. What do you say?
    Semyon hoists a passing child into his arms .
    ANNA
    I was going to ask my uncle.
    SEMYON
    ( apparently not hearing . )
    And when you come I will make you some more gravy like your papa used to make and you can try the fish with the sauce. OK? Tomorrow, yes? Shall we say seven?
    Anna is a little overwhelmed .
    SEMYON
    ( CONT 'D . )
    Then it is settled. But for now, you must forgive me.
    Semyon shrugs then kisses Anna on both cheeks .
    SEMYON
    ( CONT 'D . )
    Dosvedania.
    ( Goodbye . )

    ANNA
    Dosvedania.
    Anna heads for the door that leads back to the restaurant . Semyon goes back to stirring but as he stirs he calls out .
    SEMYON
    Oh Anna, you always work at the Trafalgar hospital?
    ANNA
    Yes, always.
    A pause before Anna leaves Semyon to his clouds of steam .

INT. TRANS-SIBERIAN RESTAURANT - DAY
    Kirill and Ozim are talking confidentially in a mix of Russian and Turkish whispers at a table . Ozim 's wife is at a table alone , well out of their earshot , smoking a cigarette and peeling glazed figs . As Anna walks by , Ozim and Kirill stop talking . The scene has a much darker mood to the bustling scene in the kitchen , but for now Anna feels no unease . As she passes , Kirill surveys her with a deadly smile and a professional eye .
    KIRILL
    Hey, you OK? You want a drink?
    ANNA
    No, thanks. I'm driving.
    As Anna smiles , Ozim mumbles something in Turkish and Kirill shushes him .
    KIRILL
    OK. Merry Christmas. Drive safely.
    Ozim giggles . Anna departs .

EXT. TRANS-SIBERIAN RESTAURANT - DAY
    Anna emerges into the daylight . As she does she sees that four expensive - looking cars have already parked and various ostentatiously dressed Russian and Turkish couples with their children are emerging from their cars . The women are all wearing furs , even the little girls . The men wear leather or dark suits . They greet each other exuberantly as they emerge from their cars . Anna suddenly feels slightly uneasy . As she approaches her motorbike she sees Nikolai leaning against the bonnet of his car , smoking , still wearing shades . His bumper is almost touching Anna 's bike .
    NIKOLAI
    ( in Russian . )
    Nice bike.
    ANNA
    What?
    NIKOLAI
    Nice bike.
    ANNA
    Thank you.
    NIKOLAI
    A Ural. You do n't see them anymore.
    ANNA
    It was my dad's.
    NIKOLAI
    How much do you want for it?
    Anna has already taken a dislike to this man . He is arrogant and looks potentially violent . His shades , suit and tattoos say it all .
    ANNA
    ( irritated . )
    It has sentimental value.
    Nikolai rolls the concept around in his mind and considers .
    NIKOLAI
    ` Sentimental value'. I've heard of that.
    Anna puts her helmet on .
    NIKOLAI
    ( CONT 'D . )
    You're not staying for the party?
    ANNA
    No.
    NIKOLAI
    Nor me. Chauffeurs do n't get invited. You want to go for a drink instead?
    Anna mounts her bike .
    ANNA
    It's Christmas. Everything's closed.
    Nikolai smiles .
    NIKOLAI
    Sometimes if things are closed you just open them up, you know?
    Anna now feels intimidated and luckily the bike fires first time . She rides away . Nikolai watches her go and then stubs his cigarette .

INT. HELEN'S HOUSE. DINING ROOM - NIGHT
    Sudden silence . perhaps the ticking of a clock . This is Anna 's Christmas dinner , a total contrast to the chaos of the restaurant . Stepan is attempting to carve the chicken .
    STEPAN
    Anna, how come is it that your boyfriend is n't here to carve?
    Stepan takes a large sip of vodka .
    ANNA
    I do n't live with Oliver any more, Uncle Stepan. I'm living back here for a bit.
    HELEN
    ( softly . )
    For as long as you want.
    STEPAN
    I knew he would run away from you.
    ANNA
    He did n't run away. You make me sound like a burning building.
    STEPAN
    Black men always run away.
    HELEN
    Oh Stepan!
    STEPAN
    What? I am allowed to be honest?
    HELEN
    He was a doctor, Stepan.
    ANNA
    What the hell has that got to do with it?
    A pause . Stepan sips his vodka .
    STEPAN
    It is not natural to mix race and race. That is why your baby died inside you.
    Anna slams her napkin onto the table .
    HELEN
    Stepan, shut up!
    ( Anna gets to her feet . )
    Please Anna.
    Helen takes Anna 's hand but she turns and leaves . Helen stands to follow her , but first she whips Stepan 's vodka away from him .
    HELEN
    ( CONT 'D . )
    You're just how he was. Stupid bloody drunken Russians.

EXT. HELEN'S HOUSE. GARDEN - NIGHT
    The garden is just outside the kitchen . Anna is lighting a cigarette . Helen steps outside and reacts to the cigarette . She is about to admonish Anna for smoking , but Anna speaks first .
    ANNA
    It's Christmas. I'm thirty - one.
    A pause . Anna blows smoke , clearly upset .
    HELEN
    Anna, you know what he's like.
    ANNA
    I do n't give a damn about Stepan. Who has that poor baby got in the whole world?
    Helen reacts .
    HELEN
    I knew this would happen.
    ANNA
    Good. Fine. So you know everything.
    HELEN
    Anna, she is n't your responsibility.
    ANNA
    The baby is my responsibility until I hand her over to the mother. The mother is dead.
    HELEN
    Then it's up to the proper authorities.
    Anna smiles as if in agreement .
    ANNA
    The proper authorities will all be skiing until after New Year.
    Anna coughs a little then stubs her cigarette . Helen takes the butt as if it were poisonous .
    HELEN
    It's part of the grieving.
    ANNA
    What grieving?
    Helen touches her hand . An inadequate gesture .
    HELEN
    In the last year you've lost your father and you lost a baby.
    Anna is irritated but does n't put words to her feelings .
    HELEN
    ( CONT 'D . )
    Come in and have your dinner.
    ANNA
    I'm not hungry.
    Anna and Helen look into each other 's eyes for a moment before Helen heads for the kitchen , carrying the cigarette butt as if it were a deadly snake .

INT. TRAFALGAR HOSPITAL. S.C.B.U. CHRISTINE'S PRIVATE ROOM - NIGHT
    In a private room in the Special Care Baby Unit , Anna approaches Tatiana 's baby 's plastic crib . The baby is tightly bundled up , sound asleep . Through the windows of the room , we see the darkened , quiet ward outside - another world . Anna stands over the baby , her face full of emotion . There we see pain , loss , shame , emptiness , isolation . Tears begin to roll from her eyes , and then she is sobbing soundlessly .

INT. TRANS-SIBERIAN RESTAURANT - NIGHT
    The Trans - Siberian restaurant is smoky with cigarettes and cigars . The party is in full swing with two dozen guests and family . One of the golden - haired children is playing violin badly . The language is Russian , English and Turkish mixed . Kirill is bringing a huge baked carp to the table . His mobile phone rings and he wipes his hands on a towel to answer it . When he hears the voice , Kirill glances at his father and moves quickly out of earshot . Semyon notices but hides his concern . As Kirill walks , a child tugs his leg and holds up a soft toy , asking a question in Russian .
    KIRILL
    ( to child . )
    He's called Goofy. Goofy yeah.
    ( into phone . )
    So the coast is clear, yeah? What? I said ` coast'.
    ( pause . )
    No, not the beach. It's an English expression, you fucking baboon. I mean.
    ( hissing out of ear shot . )
    . there are no police. You sure? Good.
    Kirill glances over at Semyon , who is apparently lost amongst a sea of children , but we see from the corner of his eye he is watching Kirill .
    KIRILL
    ( CONT 'D . )
    ( to phone . )
    No, my dad's not involved. I'm a big boy now. I do my own stuff. Yeah. Merry Christmas.
    Kirill cuts the call and nods to Ozim , who stubs his cigar . Semyon notices their silent communication , then turns to one of the violin - playing angels , smiles , and kisses her on both cheeks .

EXT. OZIM'S BARBER SHOP - NIGHT
    We see the car pull up sharply outside Ozim 's barber 's shop . Nikolai jumps out and opens the door for Ozim . The three men walk to the door beside the barber shop . Ozim takes a bunch of keys out and prepares to open the door to the upstairs . He stops .
    OZIM
    The driver stays down here.
    Kirill smiles and shakes his head .
    KIRILL
    You really think I do this kind of thing?
    Kirill puts his hand on Nikolai 's shoulder
    KIRILL
    ( CONT 'D . )
    This guy's not a driver. He's an undertaker.
    Ozim looks at Nikolai , highly dubious .

INT. OZIM'S BARBER SHOP. UPSTAIRS ROOMS - NIGHT
    The rooms above Ozim 's shop have been converted into a drinking club . Ozim leads Nikolai and Kirill through the debris of the night before . As they walk through , Ekrem suddenly leaps out of the darkness with a yell . Kirill and Nikolai both react with instinctive aggression .
    OZIM
    Hey, hey, hey Ekrem, sakim, durgun, durgun.
    EKREM
    I got tickets, Ozim. It's with Chelsea. They said there was no tickets but I got tickets for the Chelsea game.
    OZIM
    OK, OK, OK. You go and watch a DVD, yeah?
    Ekrem nods and hugs Ozim . We realize he is slightly deranged . Finally he lets Ozim go and leaves . Kirill watches him go .
    KIRILL
    He knows to say he has n't seen us, right Ozim?
    Ozim finds the key to the kitchen .
    OZIM
    He do n't know anything. He's touched by the angels.
    Ozim opens the kitchen door .

INT. OZIM'S BARBER SHOP. KITCHEN - NIGHT
    Inside the kitchen there are carcasses of lambs hanging from meat hooks . There are knives and skewers around the place . Ozim stops and locks the kitchen door behind them .

INT. OZIM'S BARBER SHOP. KITCHEN - NIGHT
    The freezer door opens and Ozim gestures towards a large package bound up in black bin liners which are dusted with frost . Kirill nods to Nikolai who grabs the package and hauls it out onto the kitchen floor . Kirill tears a hole in the bin liner and we see the frost - dusted face of Soyka . Kirill studies the face and nods .
    KIRILL
    That's him.
    Kirill crosses himself .
    KIRILL
    ( CONT 'D . )
    There was a time when he was like a brother to me.
    He puts his hand on his heart with mock solemnity .
    KIRILL
    ( CONT 'D . )
    Now he looks like a fucking ice cream.
    Kirill giggles .
    OZIM
    ( softly . )
    Hey, hey, show some respect for a dead man.
    KIRILL
    Respect? This is respect.
    Kirill reaches into his pocket and produces an envelope which he hands to Ozim . As Ozim opens the envelope and begins to count the huge wad of cash , Kirill turns to Nikolai .
    KIRILL
    ( CONT 'D . )
    OK, Nikolai, he's all yours. And show some respect. This Muslim is scared of ghosts.
    Nikolai squeezes the body inside the bags . It is rock hard .
    NIKOLAI
    Have you got a hair dryer?

INT. OZIM'S BARBER SHOP. KITCHEN - NIGHT
    We cut close to an ancient - looking hair dryer from the shop downstairs being trained onto a human hand with a large eagle tattoo . We pull wide to reveal the full , gruesome scene . Nikolai has the body of Soyka laid out on a surface , his head still bound up in a bin bag , his lower portions bound up similarly . Nikolai is de - frosting Soyka 's left hand with the hair dryer , concentrating on his ring finger which has a gold ring on it . The parts of Soyka 's shirt and jacket which are visible are crusted with frozen blood . Nikolai is wearing rubber gloves . As he dries , Nikolai takes a sip of coffee . Ozim is watching this scene with horror . Kirill has his arms folded , mightily impressed . Finally the hand is thawed enough for Nikolai to remove the gold ring . He studies an inscription and then offers it to Ozim . Ozim shakes his head as if the thing were a contagion . Nikolai shrugs and pockets it . He then turns the hair dryer back on and blows some hot air onto the crisply bloody chest of Soyka . He tugs at the frozen lapel of the jacket and blows air into the inside pocket . Within a few moments he is able to remove Soyka 's glistening , thawing wallet which is caked in frozen blood . He opens it -LRB- we glimpse a photo of a wife and children -RRB- and blows hot air onto the money inside . He tugs a wad of frozen bank notes from the wallet , all stuck together by drops of frozen blood . He offers this money to Ozim as well but Ozim shakes his head vigorously . Kirill hoots with laughter . Ozim is now staring at Nikolai as if he were a devil from hell . Nikolai grabs a plastic bag and puts the money inside it , then pockets the frozen wad . He tosses the rest of the frozen wallet to Ozim , who instinctively catches it .
    NIKOLAI
    You'd better burn that.
    Ozim , reacting to the cold of the wallet and to the horror of it , drops the thing on the floor . Nikolai looks at Ozim as if he were a complete amateur .
    NIKOLAI
    ( CONT 'D . )
    Did you finish cutting his hair?
    Ozim ca n't answer .
    NIKOLAI
    ( CONT 'D . )
    I just thought you might want six - fifty out of his pockets.
    Kirill laughs . Nikolai takes a deep breath to prepare himself .
    NIKOLAI
    ( CONT 'D . )
    OK, now I'm going to do his teeth and cut off his fingers.
    ( to Ozim . )
    You might want to leave the room.
    Ozim thinks , decides , leaves fast . A pause .
    NIKOLAI
    ( CONT 'D . )
    You too, Kirill.
    Kirill smiles and pats Nikolai on the cheek . Kirill leaves . Nikolai is left alone . His hand shakes a little as he picks up his cup of coffee .

EXT. NINE ELMS. ABANDONED DOCK - MORNING
    Nikolai pulls up beside a rusting crane on the abandoned dock in a dry - cleaner 's van . Kirill watches as Nikolai grabs the semi - thawed body , now bagged and tied , lifts it onto his shoulder , and smartly approaches the dockside .
    KIRILL
    Are n't you going to weight him down or something?
    Nikolai drops the body into the water with a splash .
    NIKOLAI
    If you want to dump a body, this is the place. The currents keep it under the surface until past the barrier.
    Nikolai and Kirill watch as the body is swallowed by a fast ocean - bound current .

EXT. LONDON STREET - NIGHT
    Anna pulls up at some lights on her motorbike .
    TATIANA
    ( V.O . )
    My friend said he would get me to Amsterdam and from there we could find a way into London. I have been practising my singing and have even rejoined the church choir. I am also practising my English.

INT. TRANS-SIBERIAN RESTAURANT - NIGHT
    Semyon sits alone at the dinner table in the restaurant where before there was family and uproar . Outside it 's dark and raining . He is reading a Russian crime novel . A half - empty bottle of vodka sits on the table . Tatiana 's voice - over continues as we cut inside the restaurant .
    TATIANA
    ( V.O . )
    My friend says his uncle owns the restaurant where you can sing. He is sure this man will take care of me.
    There is a knock at the door and Semyon looks up sharply . His eyes glisten . He puts his novel aside .

INT./EXT. TRANS-SIBERIAN RESTAURANT. DOOR - NIGHT
    Semyon is unlocking the door and discovering , in the drizzle and half light , that it is Anna .
    SEMYON
    Ah. My dear! I was n't expecting you so early.
    ANNA
    Is it OK?

INT. TRANS-SIBERIAN RESTAURANT - NIGHT
    Semyon and Anna are sitting down at the candlelit table . Anna fumbles in her bag and produces a sheaf of photocopied sheets . She has photocopied the pages of the diary and they are laid out in segments on each page .
    ANNA
    I copied the whole thing.
    Semyon takes the pages and looks troubled .
    SEMYON
    Where is the original?
    ANNA
    I'm going to keep it. Maybe give it to Tatiana's daughter someday.
    Semyon looks thwarted but hides it well . He studies the photocopied sheets for a while then looks up and smiles .
    SEMYON
    I will need my spectacles and a clear head. Today I broke my rules and drank vodka. Tomorrow I will translate it.
    He folds the papers carefully .
    SEMYON
    ( CONT 'D . )
    Then I will bring what I have done to your home. Where do you live, Anna?
    There is nothing in Semyon 's smile to cause alarm but Anna perhaps remembers Nikolai . Finally .
    ANNA
    Not far. I can drop by and pick it up.
    SEMYON
    Then maybe I can drive you home.
    ANNA
    I'm fine. I'm on my motorbike.
    Semyon stares at her for a moment .
    SEMYON
    So what will happen to the poor child?
    ANNA
    After Christmas, they'll do a missing persons report.
    SEMYON
    Who will?
    ANNA
    The police.
    Semyon does n't blink . At that moment a little girl of seven -LRB- MARIA -RRB- emerges from the darkness , carrying a soft toy .
    MARIA
    Grandpa.
    SEMYON
    Hey, hey, Maria, go back to bed.
    MARIA
    I'm too sad. Next Christmas is n't for another hundreds and hundreds of days.
    Semyon takes her onto his knee . As he does , we see , for the first time , an eagle tattoo on his wrist .
    SEMYON
    But you have had so many presents.
    The girl wafts Semyon 's cigar smoke .
    MARIA
    You should n't smoke, Grandpa.
    SEMYON
    I know.
    Semyon cuddles Maria and stubs his cigar . Anna smiles at the warm family scene , perhaps remembering her own father .

EXT. TRANS-SIBERIAN RESTAURANT - NIGHT
    Nikolai gets out of the Mercedes and helps an extremely pissed Kirill out of the car into the rain . Kirill is so drunk he slips through Nikolai 's hands and lands in the gutter .
    KIRILL
    We're partners now, man, you know?
    NIKOLAI
    Yeah, yeah, I know.
    Nikolai manages to lift him to his feet again . As they head towards the restaurant , Anna emerges . Nikolai looks up , curious , as Semyon kisses her on both cheeks in the doorway . As she turns Kirill stumbles forwards and collapses in front of her . Nikolai looks up at Anna , his face splashed with rain .
    NIKOLAI
    ( CONT 'D . )
    What? You never seen anybody pissed before?
    Semyon looks down at the drunken Kirill and slams the door of the restaurant . Nikolai sighs , then turns to Kirill and starts to go through his pockets .
    NIKOLAI
    ( CONT 'D . )
    Come on, Kirill. Where are your keys?
    Anna walks around the two of them , watching the undignified struggle as Nikolai finds Kirill 's keys . Nikolai smiles at her .
    NIKOLAI
    ( CONT 'D . )
    Who are you, anyway?
    Anna hurries away into the rain . Nikolai finds Kirill 's keys and drags him toward the door of the restaurant .

INT. TRANS-SIBERIAN RESTAURANT - NIGHT
    Nikolai heaves Kirill into a chair . Semyon is back at his novel and watches as Kirill attempts to get to his feet and then stumbles to the floor . He slumps down , now totally unconscious , breathing deeply . Nikolai smiles .
    NIKOLAI
    We went to a Kurdish place. They do n't even celebrate Christmas.
    Semyon steps up to where Kirill is lying and stands over him for a moment . Then he kicks him hard in the guts with all his might . Nikolai is shocked , and grabs Semyon 's arm . A hand laid upon him is like deadly poison . Kirill grunts and moans .
    KIRILL
    Hey, Papa, what did I do? This is Merry Christmas or what?
    Semyon kicks him hard in the guts again .
    NIKOLAI
    I think he's had enough.
    Nikolai steps in between Semyon and Kirill . Semyon is shocked that anyone should face him like this .
    SEMYON
    Who. the fuck. are you to tell me enough?
    Nikolai 's face hardens .
    NIKOLAI
    We're partners.
    Nikolai looks down at Kirill .
    NIKOLAI
    ( CONT 'D . )
    He's thunder, I'm lightning. He makes all the noise, I do all the damage.
    SEMYON
    I hired you as a driver.
    Semyon bends to roughly hoist Kirill into a chair .
    SEMYON
    ( CONT 'D . )
    someone to stop him killing himself.
    NIKOLAI
    Well, you got more than a driver.
    Nikolai reaches into his pocket for a business card and offers it to Semyon . As Semyon looks at the card in the candle light , he also sees the TATTOO OF AN EAGLE on Nikolai 's hand . It is obvious that the tattoo means more than the card to Semyon , and he reacts .
    NIKOLAI
    ( CONT 'D . )
    I run a mini - cab business. Albanians, Chechens, Russians. They deliver packages. Anything. Anywhere.
    A pause .
    NIKOLAI
    ( CONT 'D . )
    I only took this job so that I could get to meet you.
    ( in Russian . )
    I think you and I could do business together.
    A pause . Semyon looks at Nikolai with utter contempt .
    SEMYON
    I have no idea what business you're talking about. Now get out.
    Nikolai smiles and then leaves . Semyon watches him go then peers at his drunken , sleeping son with something approaching compassion .

EXT. TRANS-SIBERIAN RESTAURANT - NIGHT
    Nikolai hurries out to his car in the rain . He hears an engine splutter and spots Anna still trying to kick - start her motorbike . He approaches . She 's already soaked . Nikolai watches her try to start the bike and fail .
    NIKOLAI
    You've got water in it.
    Deadpan , Anna looks up and holds out her hand into pouring rain .
    ANNA
    Water? What makes you think that?
    Anna tries to start the bike again . Nothing .
    NIKOLAI
    The postmen used these. In my village. When I was a boy. Russian copy of BMW flat twin.
    Anna tries one more time to start the bike and growls with fury . Nikolai gently takes her shoulders and after a brief resistance Anna climbs off the bike . Nikolai sits astride it . He kicks it . It fails to start . Anna folds her arms . He tries again . And again . He climbs off .
    NIKOLAI
    ( CONT 'D . )
    Get a bus.
    Anna curses under her breath . Nikolai is n't sure what to make of her . She begins to chain the bike 's rear wheel .
    NIKOLAI
    ( CONT 'D . )
    You got far to go?
    Anna tucks her crash helmet under her arm and prepares to set off walking .
    ANNA
    Just across the park.
    NIKOLAI
    I'm a driver. I even do limousines. Look.
    Nikolai opens the rear car door .
    NIKOLAI
    ( CONT 'D . )
    If Semyon found out I let one of his guests walk home in the rain, he'd fire me. And I can take care of your bike. So.
    Nikolai holds open the rear car door . Rain pours .

EXT. LONDON STREET - NIGHT
    Nikolai is driving Anna through the rain - swept streets . The wipers beat time as they drive in silence . As Nikolai holds the steering wheel , Anna sees the intricate detail of the eagle tattoo on the back of his right hand .
    NIKOLAI
    So you're a midwife. Jesus.
    Anna smiles politely .
    NIKOLAI
    ( CONT 'D . )
    What's it like?
    ANNA
    You get used to it.
    A pause . Nikolai seems vaguely horrified at a memory .
    NIKOLAI
    I did n't faint, but it was close.
    ANNA
    How many have you got?
    Nikolai half shrugs . Pause .
    ANNA
    ( CONT 'D . )
    What, you do n't know?
    NIKOLAI
    Yeah, I know, I know, it's just. it makes me upset, you know? Thinking about it. This time of year. They're back in Yekaterinburg. In the forests. Near the mountains.
    A long pause .
    ANNA
    Left here.
    Nikolai turns .
    ANNA
    ( CONT 'D . )
    So Semyon employs you?
    NIKOLAI
    I'm. sort of freelance.
    ANNA
    You said he'd fire you.
    Nikolai does n't answer . Anna decides she can be bold .
    ANNA
    ( CONT 'D . )
    Did you ever meet a girl called Tatiana?
    NIKOLAI
    I meet lots of girls called Tatiana.
    ANNA
    She was pregnant.
    NIKOLAI
    In that case, no, I never heard of her.
    Anna does n't care for the smile on Nikolai 's face .
    ANNA
    She died last night on my shift.
    NIKOLAI
    I thought you did birth.
    ANNA
    Sometimes birth and death go together.
    ( pause . )
    She had needle punctures all over both arms. Dehydration, emaciation. Early presentation of syphilis. Probably a prostitute. At the age of fourteen.
    NIKOLAI
    ( quickly , without a pause . )
    You know what? I hate the rain. This time of year. You ever been to Russia at Christmas? Man, snow that covers your whole house.
    Nikolai glances at Anna in the rear - view mirror .
    NIKOLAI
    ( CONT 'D . )
    Oh yeah. And the ice. Whole lakes covered in ice. You do n't want to walk across them, though. Ice gets thin where you least expect it.
    ANNA
    You think Semyon's son knew her?
    NIKOLAI
    Like I said, I'm a driver. I go left, I go right, I go straight ahead. That's it.
    Anna nods , her curiosity and suspicions aroused . Nikolai glances at her .
    NIKOLAI
    ( CONT 'D . )
    What?
    ANNA
    Just here is great.
    Nikolai pulls over and Anna opens her door to escape .
    ANNA
    ( CONT 'D . )
    How much do I owe you?
    NIKOLAI
    Christmas present.

EXT. HELEN'S HOUSE - NIGHT
    Nikolai watches her hurry to her front door and let herself in .

EXT. THE BANKS OF THE THAMES - NEXT MORNING
    Somewhere within sight of the Thames barrier . A dozen policemen and forensic investigators are milling round on a shale beach , the icy waters of the Thames lapping at their feet .

INT. FORENSIC TENT - MORNING
    A large tent has been erected over the body of Soyka . Inside the tent two senior police officers await the arrival of a third man , a specialist from the Russian desk -LRB- YURI -RRB- , who is not dressed for the weather . He has obviously been dragged out of bed . He is led to the side of the body . One of the officers pulls up the dead man 's hand and shows him the eagle tattoo .
    OFFICER
    We think he might be Russian Mafia.
    Yuri studies the tattoo , then borrows a torch . He crouches to push up the wet trouser leg on the corpse 's right leg . When the knee is exposed in torch light we see a small star tattooed on the knee cap .
    YURI
    He is actually a Chechen. He is also a member of the vory v zakone. The stars on the knees mean he would never kneel before anyone.
    Yuri opens the dead man 's shirt and we see a tattoo of an eight - pointed star on his chest .
    YURI
    ( CONT 'D . )
    In Russian prisons, your life story is written on your body in tattoos. You do n't exist without tattoos.
    ( pause . )
    He was a captain.
    He then checks out the fingers in the torchlight and we glimpse that the finger tips have been sawn off .
    YURI
    ( CONT 'D . )
    But he has been processed professionally.
    Yuri straightens and grabs a paper towel to wipe his hands .
    OFFICER
    There was something else. It was. inside the body. Chest cavity.
    The officer holds up a small zip - lock bag which has a handwritten note sealed inside it . The handwriting is just visible through the wet cellophane .

EXT. THE BANKS OF THE THAMES - MORNING
    Yuri steps outside the forensic tent . He opens the bag and takes out the note . He unfolds it to read , then smiles to himself .

INT. HELEN'S HOUSE. ANNA'S BEDROOM - MORNING
    Anna is drying her hair , looking at herself in the mirror . She turns off the dryer . There is a knock on the door .
    HELEN
    Anna?
    Helen enters looking anxious . We see Stepan hovering in the background .
    HELEN
    ( CONT 'D . )
    Stepan, come here. Tell her what you told me.
    Stepan stands primly in the doorway , strangely defiant .
    ANNA
    What?
    ( pause . )
    Stepan, what? I'm late for work.
    He shakes his head angrily . Finally from behind his back he produces Tatiana 's diary .
    ANNA
    ( CONT 'D . )
    Who gave you that?
    HELEN
    It was on the dresser.
    ANNA
    Mum, you ca n't go through my things.
    HELEN
    You wanted him to translate it.
    Anna gets up to grab the diary .
    ANNA
    And he said he would n't do it so I've found somebody else.
    Stepan explodes .
    STEPAN
    No Anna! You do n't go to someone else with this! You do n't go to anyone! Nasilovanie, it means rape. Iglah, it means needle. Prostitutcia, perhaps you can guess.
    Stepan hands the diary to Anna and then turns .
    STEPAN
    ( CONT 'D . )
    I go to wash my hands.
    He disappears . Anna and Helen are left in awkward silence . Anna buries the diary in her dressing table drawer . Helen looks at her with anxiety .
    HELEN
    Anna, Stepan said this girl ended up in the hands of the vory v zakone. Do you know what that means?
    ANNA
    Just because I'm back in this room does n't mean I'm twelve again.
    HELEN
    You never listened to me even then!
    ANNA
    Look, if I do n't find a relative in the next few days they'll put Christine out for fostering. Once she's in the system, she'll never get out again.
    A pause .
    HELEN
    Who named her Christine?
    ANNA
    I had to call her something. It sounds like Christmas.
    ( pause . )
    She's very beautiful.
    Helen is now deeply concerned .
    HELEN
    If I can persuade Stepan to translate it, will you leave the rest to the police?
    Anna looks at Helen , then digs out the diary and hands it to her .
    ANNA
    Tell him I've heard bad words before.
    Helen is about to leave . She stops in the doorway .
    HELEN
    Your father used to say the vory are a contagious disease. There's no cure once they've touched you.
    A pause . Anna smiles .
    ANNA
    Momma, this is London.

INT. SUBURBAN HOUSE. NEGLECTED SITTING ROOM - DAY
    We are in HARLESDEN , NORTH LONDON . A large portable stereo is playing rock music . The curtains are drawn against daylight . The living room is decorated in seventies suburban style , but with the wall paper peeling and the paint work fading . Kitsch paintings still decorate the walls . Six young East - European girls are sitting on a broken - down sofa and on hard - backed chairs , wearing short skirts . Their eyes are sunken and their faces vacant of expression , but they are painted with so much make - up they almost look like tiny , sad clowns . They sit in silence as the music blares out . After a few moments a young Albanian man enters and claps his hands .
    ALBANIAN
    OK, boss is here. Boss, boss. You make him happy.
    All the girls apart from one immediately get to their feet and begin to dance to the music , their bodies moving awkwardly and painfully . The Albanian approaches the one girl who refused to stand and yanks her to her feet . He slaps her hard and hisses at her in Albanian . She tries to sit down again but he pulls her up and slaps her again . Finally he shoves her into the middle of the room and she begins to dance , sobbing as she does .
    ALBANIAN
    ( CONT 'D . )
    No fucking crying. It's a party!

EXT. SUBURBAN HOUSE - DAY
    Kirill and Nikolai are climbing out of Nikolai 's Mercedes . Kirill is in full flow as they walk towards the house . The rock music is audible outside the house .
    KIRILL
    So he said to me, ` who is this driver guy?' I laughed so hard.
    Kirill knocks on the door hard .
    KIRILL
    ( CONT 'D . )
    And I said you were the safest guy I'd met. Solid.
    A pause .
    NIKOLAI
    And what did he say?
    KIRILL
    You know my dad. He did n't say nothing. But his eyes looked impressed.
    The door opens and the Albanian opens his arms in welcome .
    ALBANIAN
    Kirill!
    KIRILL
    Get out of the fucking way, you black gypsy baboon.
    Kirill pushes his way inside and Nikolai follows .

INT. SUBURBAN HOUSE. SITTING ROOM - DAY
    Kirill and Nikolai are swigging whisky from the bottle and dancing with the girls . Some of the girls are drinking , too , and managing to laugh . Kirill is dancing maniacally and swinging his girl around faster and faster until she falls over . Nikolai swigs his drink and notices the girl who refused to stand up . She is standing in the corner , sobbing . Nikolai does n't care to look at her for more than a second and he goes back to dancing . After a moment Kirill dances his way over to Nikolai and yells above the music .
    KIRILL
    OK, which one you going to fuck!?
    NIKOLAI
    ( laughing . )
    What's it to you?
    KIRILL
    Serious. Pick one.
    NIKOLAI
    I'm just enjoying myself, man.
    Kirill suddenly stops dancing and stares at Nikolai . He yells again over the music .
    KIRILL
    You hear me? You're going to fuck one of these girls.
    NIKOLAI
    OK, OK, Jesus.
    KIRILL
    You're going to fuck one of these girls right now. That's an order.
    NIKOLAI
    What? What's the matter with you?
    Kirill suddenly goes to the stereo system and yanks the plug from the wall . Silence . The girls look terrified . The only sound is the sobbing of the girl who wo n't dance . Kirill is glaring at Nikolai .
    KIRILL
    Come on Nikolai. Who are you going to fuck?
    A pause .
    KIRILL
    ( CONT 'D . )
    I'm recommending you to my dad. I want to make sure you're not a fucking queer.
    Kirill looks suddenly wild . He swigs his whisky . A long pause .
    NIKOLAI
    You've drunk enough Kirill.
    KIRILL
    Enough?
    Kirill hurls his whisky bottle against the wall . The girls all flinch .
    KIRILL
    ( CONT 'D . )
    You fucking Siberian ox do n't tell a vor what is enough.
    A pause . Nikolai studies Kirill 's anger .
    KIRILL
    ( CONT 'D . )
    I've brought you to my dad's best stable. He uses this place himself. They're all clean. Now I'm going to watch you fuck one of these girls to prove to me that you ai n't queer.
    A pause .
    KIRILL
    ( CONT 'D . )
    So which one is it going to be?
    Silence . Nikolai looks around the room . Finally . Nikolai turns to the girl who is sobbing .
    NIKOLAI
    Her.
    Kirill smiles .

INT. SUBURBAN HOUSE. BEDROOM - DAY
    Nikolai is fucking the girl , who is now silent . She is on all fours , registering no emotion . Kirill is leaning against the wall , drinking wine from the bottle , watching Nikolai with burning eyes , his lust and drunken jealousy mixing together . Nikolai grits his teeth and comes inside the girl . Kirill whoops and whistles and begins to applaud . The girl is still silent , expressionless .
    KIRILL
    You did OK! You did OK.
    NIKOLAI
    Yeah?
    Nikolai glares at Kirill .
    NIKOLAI
    ( CONT 'D . )
    Well if my examination is over, get the fuck out of here while I get dressed.
    Kirill grins and offers the girl an elaborate bow before leaving . Finally alone , Nikolai gently helps the girl to lie down . She is numb . He covers her up with a blanket then begins to pull on his clothes . The girl is staring up at the ceiling . After a few moments she begins to sing a Russian folk song softly under her breath . Nikolai speaks to her softly in Russian .
    NIKOLAI
    ( CONT 'D . )
    ( in Russian . )
    What's your last name?
    A pause . Finally the girl stops singing but is silent . Nikolai is insistent .
    NIKOLAI
    ( CONT 'D . )
    ( in Russian . )
    Tell me your last name.
    GIRL
    Kirilenko.
    NIKOLAI
    ( in Russian . )
    Where are you from?
    Silence . She looks up and stares into Nikolai 's eyes . She sees some urgency there .
    GIRL
    Ukraine.
    NIKOLAI
    ( in Ukrainian . )
    Where? Which village? Which town?
    GIRL
    ( in Ukrainian . )
    Irpen. Outside Kiev.
    The girl is asking a silent question but Nikolai does n't linger . He heads for the door then stops and turns .
    NIKOLAI
    ( in Ukrainian . )
    Stay alive a little longer.

INT. TRAFALGAR HOSPITAL. S.C.B.U. CHRISTINE'S PRIVATE ROOM - NIGHT
    In the half - lit private room , Anna is dancing with Christine in her arms . She is singing a lullaby softly to her . The door is open to the rest of the ward and all the other babies are silent . Finally she lays a sleeping Christine back in her crib . She sits down on the bed where the mother should be . She curses herself silently and gets to her feet , determined to pull herself together . As she starts to leave the private room to enter the ward , she is suddenly confronted by Semyon . He is standing in the shadows , a Bavarian trilby in his hands . Anna gasps with shock . Semyon speaks softly .
    SEMYON
    Hello Anna. I came on tiptoes.
    ANNA
    How did you get in here?
    SEMYON
    There are always open doors, Anna Ivanovna.
    Anna glances at an alarm button .
    ANNA
    You're not allowed in here.
    SEMYON
    Please Anna, let me speak.
    Semyon looks to be almost in tears . He speaks softly .
    SEMYON
    ( CONT 'D . )
    I translated the diary.
    A baby begins to cry and is comforted somewhere across the ward .
    SEMYON
    ( CONT 'D . )
    I was shocked to discover. that my son Kirill is mentioned many times.
    Semyon appears to be fighting tears .
    SEMYON
    ( CONT 'D . )
    I have known for some years that he has strayed from the path I set out for him. His mother died when he was very young.
    A pause . Anna almost begins to buy his sorrow .
    ANNA
    What does it say about him?
    Semyon looks up , his eyes filled with tears .
    SEMYON
    Many bad things.
    A pause .
    SEMYON
    ( CONT 'D . )
    But Anna please. Let me deal with him. If the diary should find its way to the police.
    Semyon wipes his eyes .
    SEMYON
    ( CONT 'D . )
    Some of the things my son did are illegal. Anna, he is a good boy.
    A pause .
    ANNA
    I do n't care about him. I care about the baby.
    SEMYON
    Of course. Of course. And that is the baby?
    Semyon glances over Anna 's shoulder into the corner where Christine is sleeping . Anna freezes and does n't reply . Semyon takes her hand .
    SEMYON
    ( CONT 'D . )
    Anna, I have made some inquiries and I have found out an address for Tatiana's family in Russia. That's where the baby belongs, no?
    Anna reacts but Semyon 's face suddenly hardens .
    SEMYON
    ( CONT 'D . )
    So. perhaps we can do a deal.
    He stares into her eyes .
    SEMYON
    ( CONT 'D . )
    Do you understand me, Anna?
    At that moment a nurse walks by and hesitates when she sees Semyon .
    NURSE
    Anna?
    ANNA
    It's OK. He's just leaving.
    Semyon puts his hat onto his head .
    SEMYON
    You know where I am, Anna Ivanovna.
    He turns .
    SEMYON
    ( CONT 'D . )
    And I know where you are.
    Semyon disappears into the shadows of the ward . As Anna reacts we hear Tatiana in V.O.
    TATIANA
    ( V.O . )
    I was thrown down the stairs and fell onto some sacks, like potato sacks.

INT. HELEN'S HOUSE. KITCHEN - DAY
    Stepan is sitting at the kitchen table , translating Tatiana 's diary aloud , as Helen transcribes it onto a note pad . Stepan 's translation breaks up with emotion but he tries to remain detached . Helen also tries hard to concentrate on her task but wipes away a tear as she writes . Tatiana 's V.O. slowly blends into Stepan 's voice .
    STEPAN
    like potato sacks. Kirill came down after me and he hit me until I was bleeding. Then he tried to rape me but he could n't do it. He just got madder and madder and kept hitting me. In the end his father came down. It was the father who raped me. He shouted at his son. ` if you do n't break a horse, it will never be tame, Kirill'.
    They hear a key in the door and prepare for Anna 's arrival . When she enters she feels the tense silence . After a moment , Helen tries to be bright .
    HELEN
    Hello dear. How was your night?
    Anna sees the tears in both their eyes . She sees the diary and the transcription and sits down .
    HELEN
    ( CONT 'D . )
    Stepan's arthritis is playing up. I'm taking dictation.
    Helen gets to her feet .
    HELEN
    ( CONT 'D . )
    Would you like some tea or something?
    ANNA
    No.
    Anna gently pushes Helen back into her seat .
    HELEN
    What's wrong?
    ANNA
    He came to see me.
    Silence .
    ANNA
    ( CONT 'D . )
    The man from the restaurant. He came to the hospital.
    Stepan leaps to his feet .
    STEPAN
    I told you this would happen! I told you!
    HELEN
    Sit down Stepan.
    STEPAN
    The devil is loose now.
    Everyone begins to talk at once .
    ANNA
    I know it's my fault.
    HELEN
    It's no one's fault.
    STEPAN
    They are in this room now. They are cancer.
    HELEN
    We should just sit down calmly and think.
    STEPAN
    I have a friend from Ukraine who owns a gun.
    HELEN
    Stepan!
    STEPAN
    from the war in Afghanistan.
    HELEN
    Do n't talk about guns.
    Anna suddenly stands up .
    ANNA
    Shut up both of you!
    Silence . Everyone catches their breath .
    ANNA
    ( CONT 'D . )
    OK. now. what would dad have done?
    A pause .
    STEPAN
    We all know what he would have done.
    Stepan heads for the kitchen cupboard and produces a bottle of vodka . Rather than admonish him , Anna and Helen both nod agreement . Stepan pours three large vodkas . Stepan knocks his down . Anna and Helen take sips .
    HELEN
    And then he would have been practical.
    STEPAN
    He would ask if there were bullets for the gun.
    HELEN
    No! This is n't our world. We're just. ordinary people.
    STEPAN
    I dealt with the vory v zakone when I worked for the KGB.
    ANNA
    You never worked for the fucking KGB!
    HELEN
    Anna!
    STEPAN
    ( primly . )
    I was an auxiliary!
    HELEN
    Please!
    A stand off . Finally .
    HELEN
    ( CONT 'D . )
    What did this man want?
    ANNA
    The diary. In return he'll give us an address for Tatiana's family. For Christine's family.
    A pause . They all look to each other .
    HELEN
    And that's all he wants?
    Stepan is utterly astounded .
    STEPAN
    You can not do deals with these people!
    HELEN
    This is n't a deal. It's an exchange of information.
    STEPAN
    Have you forgotten already what I just read to you?
    HELEN
    We must be practical.
    ANNA
    Stepan, I think he was threatening to harm Christine.
    HELEN
    Then it's settled.
    STEPAN
    No! No! No!
    HELEN
    ( repeating as a mantra . )
    Stepan, this is n't our world. We are ordinary people.
    Stepan stares at them both for a long time . Finally he gets to his feet and points to the diary .
    STEPAN
    She was an ordinary person.
    He leaves . Anna and Helen hold hands , genuinely close now for the first time in a long time .

EXT. TRANS-SIBERIAN RESTAURANT - NEXT DAY
    Nikolai pulls up in his car . He checks his look in the rear view mirror and puts on his sunglasses . As he gets out of the car he notices that Anna 's motorbike is still there . He approaches it , strokes the bodywork . Suddenly , someone grabs him from behind . It 's Kirill .
    KIRILL
    Hey, come on, Nikolai, I've got a Christmas present for you.

EXT. TRANS-SIBERIAN RESTAURANT. BACK DELIVERY AREA - DAY
    A white van is parked with its rear doors open , ready for unloading . Kirill shows Nikolai that the van is loaded with unmarked white boxes .
    KIRILL
    Open one.
    Nikolai opens one of the boxes and produces a bottle of vintage champagne .
    KIRILL
    ( CONT 'D . )
    From France. Old as fuck. Old is good with wine. Sixty quid a bottle anywhere. Except I got them for ten quid a case.
    NIKOLAI
    From where?
    KIRILL
    ` From where?' From where you do n't ask. Give it here.
    Kirill snatches the bottle and begins to uncork it .
    KIRILL
    ( CONT 'D . )
    If my dad says OK, I can start telling you about the serious stuff. Import, export. This booze is just for gifts to Papa's friends. The real import stuff is from Kabul, you understand?
    He pops the cork and swigs the frothing champagne .
    NIKOLAI
    Import - export sounds good.
    Kirill laughs .
    KIRILL
    You bet it's fucking good.
    Nikolai hands the bottle back . As he does , one of the van doors is kicked closed revealing Semyon , suddenly upon them .
    KIRILL
    ( CONT 'D . )
    Jesus Christ, Papa. You scared me.
    Semyon grabs the bottle of champagne and smashes it on the floor . Kirill recoils in terror . Nikolai straightens , faces up .
    KIRILL
    ( CONT 'D . )
    What's wrong? We're just sampling it!
    Semyon is so furious he still ca n't speak . He grabs Kirill and slams him against the wall . Finally he hisses in his face .
    SEMYON
    Your friend Soyka is dead.
    KIRILL
    Yeah? So what? What's that got to do with me?
    SEMYON
    Do n't lie to me!
    Semyon slams Kirill against the wall once more .
    KIRILL
    I swear I do n't know nothing about it.
    SEMYON
    I said, do n't lie to me!
    Semyon slams Kirill hard against the wall again . Suddenly Nikolai steps forward .
    NIKOLAI
    Your dad is right, Kirill. There's no point lying to him.
    A pause . Semyon and Kirill are frozen for a moment . Nikolai calmly lights a cigarette .
    NIKOLAI
    ( CONT 'D . )
    Ozim's nephew slit Soyka's throat. Kirill paid him to do it.
    There is stunned silence . Semyon loosens his grip on Kirill .
    KIRILL
    ( in Russian . )
    Shut your fucking mouth!
    NIKOLAI
    ( in Russian . )
    Your dad always knows the truth anyway.
    Nikolai and Semyon survey each other .
    NIKOLAI
    ( CONT 'D . )
    But it's OK boss. You do n't have to worry.
    SEMYON
    ( incredulous . )
    I do n't have to worry?
    NIKOLAI
    I disposed of the body myself. The police wo n't find a thing.
    Semyon has now lost all interest in Kirill and is concentrating on Nikolai . He laughs with incredulity .
    SEMYON
    My son commits a murder? On my own doorstep? A fellow soldier! And no one thought to tell me about it?
    NIKOLAI
    The vory code says you do n't talk to anybody about your captain. Kirill is my captain.
    Semyon circles Nikolai .
    NIKOLAI
    ( CONT 'D . )
    When I found out what had happened, I did what I had to do to clean the situation up.
    Kirill is about to speak but before he can , Nikolai speaks for him .
    NIKOLAI
    ( CONT 'D . )
    It was a matter of honor. Soyka was spreading lies about Kirill. About your family.
    ( in Russian . )
    Kirill did the right thing.
    Semyon hisses with fury and grabs Nikolai .
    SEMYON
    I decide what is right and what is wrong. You do not kill a vor for no reason.
    Nikolai shrugs Semyon off , holding his ground .
    NIKOLAI
    You know as well as I do Soyka was talking to the police.
    A pause . Semyon is shocked at the depth of Nikolai 's knowledge . He peers at him .
    SEMYON
    For a driver, you are well informed.
    NIKOLAI
    I've got connections with the Chechens who export cars. Soyka was speaking to the Russian desk. Scotland Yard.
    A pause .
    NIKOLAI
    ( CONT 'D . )
    ( in Russian . )
    Kirill did a good thing for all our people. Our people will know that.
    In Semyon 's silence Kirill finally gathers courage .
    KIRILL
    Papa, I swear to you, I was going to.
    SEMYON
    Shut up!
    Kirill is hurt that Semyon seems only to be interested in Nikolai . After studying Nikolai for a while .
    SEMYON
    ( CONT 'D . )
    If you are so well informed, you will know Soyka has brothers.
    NIKOLAI
    ( with a smile . )
    That's OK. Kirill has got me.
    Semyon shows the first flicker of admiration . He then looks at Kirill with utter contempt , making the comparison with Nikolai obvious .
    SEMYON
    Get these boxes out of sight.
    Semyon leaves them . Kirill is angry , straightening his clothes . Finally he yells .
    KIRILL
    You heard him, patsan! Get these boxes out of sight.

INT. BURGER RESTAURANT - DAY
    It is Saturday morning and the place is full of families . Christmas decorations are beginning to look ragged . Anna and Helen are sitting at a table , terrified but trying hard to stay calm . Stepan arrives with a tray of coffees and a burger . He sits , and Anna and Helen glance uneasily at each other . Stepan begins to eat noisily .
    ANNA
    How the hell can you eat?
    STEPAN
    I'm hungry.
    There is a tension that builds until Nikolai 's Mercedes suddenly looms into view , filling the street window of the burger bar . Nikolai gets out of his car , all shades and sharp suit .
    ANNA
    That's their driver.
    Stepan very deliberately slides his hand into his inside pocket .
    HELEN
    ( hissing . )
    Tell me you have n't done anything ridiculous.
    Stepan removes his hand , empty , his bravado crushed . Nikolai enters the restaurant and spots Anna . He comes and sits at the table beside Stepan , opposite Anna . It 's a tight squeeze . Anna and Helen are stiff with terror . Nikolai smiles .
    NIKOLAI
    Meet in a public place with lots of people around. Very wise.
    He smiles at Helen .
    NIKOLAI
    ( CONT 'D . )
    And I see you brought along a body guard. Also very wise.
    Stepan is shaking with emotion and hisses something in Russian .
    STEPAN
    ( whispers , in Russian . )
    When I was in the KGB, we knew how to deal with scum like you.
    Nikolai smiles .
    NIKOLAI
    ( in Russian . )
    When you were in what?
    HELEN
    Shush, Stepan. Anna?
    Nikolai is amused by the three of them . Anna produces Tatiana 's diary and hands it to Nikolai . Nikolai studies it and nods . He gets to his feet .
    ANNA
    ( shaking . )
    Now you give me the address.
    NIKOLAI
    What address?
    ANNA
    Tatiana's family.
    NIKOLAI
    I do n't know what you're talking about.
    Nikolai calmly heads for the door . Stepan hisses .
    STEPAN
    I told you! I knew they would do this.
    Anna gets to her feet .
    HELEN
    Anna! No! Come back here!
    Anna races out of the restaurant in pursuit of Nikolai .

EXT. BURGER RESTAURANT - DAY
    Nikolai has emerged into the busy suburban street and is about to get in to his car . Anna flies at him , yelling .
    ANNA
    She was fourteen! Read the diary! She was fourteen when he raped her!
    Nikolai casually hits the key fob of his car .
    ANNA
    ( CONT 'D . )
    You murdered her! You bastards murdered her!
    Passers - by stare at Anna . Helen and Stepan have come out of the restaurant to restrain her . Nikolai stops and judges the fury on Anna 's face . He speaks calmly .
    NIKOLAI
    Anger is very dangerous. It makes people do stupid things. Forget any of this ever happened. You're in the wrong place, Anna Ivanovna.
    He gestures at the burger restaurant .
    NIKOLAI
    ( CONT 'D . )
    You belong in there. With nice people. Stay away from people like me.
    Anna and Nikolai are staring at each other , suddenly a strange connection between them . Then Stepan steps forward and spits in Nikolai 's face , delivering a Russian curse as he does so . Nikolai almost reacts out of instinct but stops himself . Nikolai wipes his face and peers into Anna 's eyes . Finally he gets into his car and drives away .

INT. TRANS-SIBERIAN RESTAURANT - NIGHT
    Nikolai is alone , sitting at a candlelit table , reading Tatiana 's diary . We hear Tatiana in voice - over .
    TATIANA
    ( V.O . )
    I am not sure I can carry on another day. The windows wo n't open so I ca n't throw myself out. They inject me every day with heroin. Sometimes I think this is all a hallucination.
    He sees Semyon approaching from the kitchen and closes the diary . Semyon grabs a bottle of vodka from the bar on his way to sit opposite Nikolai . Nikolai pushes the diary across the table . Semyon pours two drinks .
    SEMYON
    It is good to have someone who I can trust to do simple tasks.
    A pause as Semyon glances at a few pages of diary .
    SEMYON
    ( CONT 'D . )
    In this business, sometimes the biggest danger comes from the most stupid things. You ca n't afford to be careless in any area.
    Nikolai senses a change of attitude towards him . As if Semyon were beginning to accept him into the fold . Semyon raises a toast .
    SEMYON
    ( CONT 'D . )
    Nasdrovia.
    NIKOLAI
    Nasdrovia.
    After a moment .
    SEMYON
    So what was the lie that Soyka was spreading about my son?
    Nikolai looks anxious .
    NIKOLAI
    ( in Russian . )
    It was nothing important.
    SEMYON
    Kirill had him killed for nothing important?
    Semyon pours two more vodkas .
    NIKOLAI
    I do n't want to repeat it.
    SEMYON
    ( smiling . )
    For me you will repeat it.
    Nikolai does n't respond . It is obvious that Semyon half knows already . He shrugs .
    SEMYON
    ( CONT 'D . )
    You play with the Prince to do business with the King. But if you want to do business with me you must be open with me. Thieves - in - law.
    A pause . Semyon nurses his vodka .
    SEMYON
    ( CONT 'D . )
    What was Soyka saying about the Prince?
    He stares into Nikolai 's eyes . Finally , Nikolai stammers .
    NIKOLAI
    That he is a drunk. And that he is also. a queer.
    Semyon swigs his vodka and Nikolai swigs his . Semyon pours two more . Semyon has to stare out of the window to hide his emotion .
    SEMYON
    ( softly , in Russian . )
    My only son.
    They both knock their drinks back . Semyon looks suddenly angry as he peers out of the window .
    SEMYON
    ( CONT 'D . )
    You know it never snows in this City. And it's never hot. London is a city of whores and queers. My son.
    Semyon shrugs , fighting deeper emotion .
    SEMYON
    ( CONT 'D . )
    I think London is to blame for what he is.
    NIKOLAI
    So why do n't you go home?
    Semyon smiles , as if seeing Moscow through the window .
    SEMYON
    The cold gets into my bones.
    A pause .
    SEMYON
    ( CONT 'D . )
    And also. the KGB would be waiting for me.
    Nikolai smiles ruefully and glances at Semyon .
    NIKOLAI
    FSB. They are called FSB now.
    SEMYON
    Whatever they call them they are worse even than the KGB were. Maybe the KGB and the vory v zakone were partners in a marriage. We had rules, they had rules.
    He swigs some more vodka .
    SEMYON
    ( CONT 'D . )
    Now in Moscow, the thieves do n't wear tattoos and the police do n't wear uniforms. You never know who they are.
    Semyon seems to be taking the vodka less well than Nikolai . He pours some more .
    SEMYON
    ( CONT 'D . )
    You've heard about these new policemen?
    Nikolai does n't blink .
    SEMYON
    ( CONT 'D . )
    They get under you, over you, behind you, inside you. They are the ones you least expect.
    Semyon peers at Nikolai and Nikolai does n't respond . Mention of the new breed of FSB agent causes an almost imperceptible tension in Nikolai . Is Semyon too drunk to notice ? There is a strange game going on here . For now , nothing is revealed . Semyon knocks back his vodka and Nikolai does the same . Semyon picks up the diary and holds it into the flame of the candle . It begins to burn and he drops it into the ashtray . The flames flicker for a while .
    SEMYON
    ( CONT 'D . )
    The midwife said she had an uncle. A Russian.
    NIKOLAI
    I met him.
    SEMYON
    So you know what he looks like.
    Semyon peers at Nikolai .
    SEMYON
    ( CONT 'D . )
    She said he has read the diary.
    A pause .
    SEMYON
    ( CONT 'D . )
    We ca n't trust a Russian with that kind of information.
    A pause .
    SEMYON
    ( CONT 'D . )
    ( in Russian . )
    Do you understand me?
    Semyon gets to his feet and smiles .
    SEMYON
    ( CONT 'D . )
    Perhaps you can deal with him.
    Semyon leaves Nikolai to stare into the flames of the burning diary .

EXT. TRAFALGAR HOSPITAL. MATERNITY UNIT - DAY
    Anna exits , pulling on her coat against the cold . She stops in her tracks when she sees her unchained motorbike parked in the parking bay . She hears Nikolai 's voice over her shoulder .
    NIKOLAI
    I thought I'd bring it back before it got stolen. Lot of villains around. Sorry about the chain.
    Anna is about to walk quickly away .
    NIKOLAI
    ( CONT 'D . )
    I got that address you wanted.
    Anna turns and sees Nikolai is offering a scrap of paper .
    NIKOLAI
    ( CONT 'D . )
    A little village outside St. Petersburg. I know it. Not much of a place for a kid to grow up in. Especially not a girl.
    She hesitates . Nikolai approaches and gives her the address .
    NIKOLAI
    ( CONT 'D . )
    If you want my opinion, the kid would be better off in London. Maybe with you. Why not? Tatiana's family do n't sound like the kind of people who'd want another mouth to feed.
    A pause .
    ANNA
    You read the diary?
    Nikolai looks all around . Anna studies him , unsure .
    ANNA
    ( CONT 'D . )
    So how can you keep doing what you're doing?
    NIKOLAI
    I told you. I'm just a driver.
    Anna sees some softness in his expression . Their eyes lock .
    ANNA
    You look the other way.
    NIKOLAI
    I'm a camera. The pictures stay in my head.
    Anna sees pain in his eyes . She peers at the address .
    ANNA
    Why did you bring me this?
    NIKOLAI
    I do n't know. I was passing.
    After a long moment Anna turns away .
    NIKOLAI
    ( CONT 'D . )
    Oh, and. your uncle.
    Nikolai smiles .
    NIKOLAI
    ( CONT 'D . )
    Is it true he was in the KGB?
    ANNA
    I do n't know.
    NIKOLAI
    Well, he's a brave old man. That's for sure.
    A pause .
    NIKOLAI
    ( CONT 'D . )
    Does he live with you?
    Anna is about to answer but stops herself . Nikolai peers at her and finally shrugs then turns to walk away . He gestures at the bike .
    NIKOLAI
    ( CONT 'D . )
    I fixed it. It should be OK now.
    Anna watches him walk away into the street .

EXT. CHELSEA FOOTBALL GROUND. SIDE STREETS - NIGHT.
    Crowds of football supporters are streaming away from the football stadium , where the floodlights are still casting their glow . There are Arsenal and Chelsea supporters on opposite sides of the street and there is some mildly vicious yelling between the two groups . Police are visibly keeping order . Among the crowd we see Ekrem . He seems slightly drunk on top of his normal craziness . He has an Arsenal scarf around his neck and is looking for trouble , jeering at the Chelsea supporters across the street .
    EKREM
    Hey! Hey Kabuka Chelsea! Fuck you! Yeah you! Aliverisme! Fucker!
    A policeman steps up to Ekrem and gives him a shove and he stumbles a little . As he gets to his feet we notice TWO CHECHEN MEN who are trailing Ekrem , ducking their heads away from the line of policemen .

EXT. CEMETERY - NIGHT
    Ekrem is now isolated from the crowds , swigging from a can of lager . He is chanting ` Arsenal , Arsenal ' to himself as he walks . He stops to take a piss on someone 's grave . In the background the two Chechens are coming closer . As Ekrem zips his flies , the Chechens are upon him . One of them grabs his Arsenal scarf and begins to strangle him . Ekrem chokes for a while and the Chechen loosens the knot . The second Chechen pulls out an open razor . Ekrem struggles to escape .
    CHECHEN
    For my brother.
    The Chechen cuts Ekrem 's throat then drops him onto the grave stone .

INT. TRANS-SIBERIAN RESTAURANT - NIGHT
    The place has two dozen customers and there is a Russian band playing ` Dark Eyes ' . At a particular table an old Russian lady is having her birthday celebrated by an adoring family and lots of very ancient friends . There is a huge round of applause as Semyon emerges from the kitchen with a cake decorated with sparklers .

INT. TRANS-SIBERIAN RESTAURANT. KITCHEN - NIGHT
    Semyon returns to smoke and steam and yelling . As he prepares to take a drink one of the young dishwashers approaches .
    DISHWASHER
    ( in Russian . )
    Guy out the back.
    Semyon grabs a bottle of vodka .

EXT. TRANS-SIBERIAN RESTAURANT. KITCHEN REAR - NIGHT
    Semyon emerges into the wine crates and beer bottles in the yard at the back of the restaurant where the Doberman is straining at the leash , snarling and barking . An already anxious Ozim is cowering in the shadows , held at bay by the dog . The moment Semyon steps out the dog stops barking . Ozim relaxes a little and steps forward . Semyon pets the dog .
    SEMYON
    So what did they say?
    Semyon takes a swig of vodka . Ozim looks severely nervous .
    OZIM
    They were going to kill me. Those Chechens are savages.
    Ozim is reliving the ordeal .
    OZIM
    ( CONT 'D . )
    I pointed out that I am a Muslim too and it is a sin for a Muslim to kill a Muslim.
    SEMYON
    ( irritated . )
    What did they say about my son?
    OZIM
    They said they would spare me only if I delivered Kirill to them.
    SEMYON
    You are being very honest.
    OZIM
    I fear you more than I fear them.
    Semyon suddenly breaks the neck of the bottle and holds the jagged edge to Ozim 's throat . The dog snarls at Semyon 's feet .
    SEMYON
    Never again do business with any member of my family behind my back.
    OZIM
    Never. I will never listen to Kirill again. I swear.
    Semyon tosses the bottle away . After a moment .
    SEMYON
    Do they know where to find Kirill?
    OZIM
    They are like wolves.
    SEMYON
    Do they know what he looks like?
    Ozim shakes his head .
    OZIM
    No. They have just arrived from the mountains.
    SEMYON
    Then tell them you will deliver Kirill to them.
    Ozim is stunned . He stares at Semyon as if he were insane .
    SEMYON
    ( CONT 'D . )
    Tell them to give you two days.

INT. HELEN'S HOUSE. ANNA'S BEDROOM - NIGHT
    Anna is reading the translation of the diary by lamplight . Tatiana 's voice over continues .
    TATIANA
    ( V.O . )
    I know now for sure that I am pregnant. It has n't begun to show yet. After I was raped they made me take pills but I guess it was too late. I am condemned to give birth to a new life. But first I will try to find a way to end my own life and spare this child the pain.
    Anna looks up from the pages and thinks .

EXT. HOUSING ESTATE - NIGHT
    A large public housing estate is being swept by rain . Christmas lights glow in the windows of the dilapidated tower blocks . Stepan is walking against the wind , carrying a bag of shopping . He holds onto his Russian hat to stop it blowing away . Kids splash in the puddles . Stepan arrives at the front garden of his small , ground - floor council flat . As he fumbles for his keys in the cold we see that Nikolai is watching him from the driver 's seat of his Mercedes . Once Stepan has disappeared into his flat , Nikolai gets out of the car and approaches Stepan 's flat .

INT. HELEN'S HOUSE. KITCHEN - NIGHT
    Helen is preparing food for a small family dinner . Anna enters with her cellphone in her hand . She mooches for food to hide her agenda . Finally .
    ANNA
    Mum. I ca n't get hold of Stepan.
    HELEN
    Why do you want to?
    ANNA
    I need to check something with him.
    HELEN
    Anna.
    ANNA
    ( matter of fact . )
    He's not at home, do you know where else he might be?
    Helen simply stares at her .
    HELEN
    Anna. Have n't you had enough excitement?
    ANNA
    ( deadpan . )
    I think I've worked out who Christine's father is.
    Helen slams her knife down .
    HELEN
    ( yelling . )
    Why does it matter?!
    ANNA
    ( firmly . )
    It matters. to me!
    A pause . After a moment Helen goes to her , holds her hands and peers into her eyes . We expect comforting words , but instead .
    HELEN
    You enjoy this.
    A pause .
    HELEN
    ( CONT 'D . )
    You're like your father. Ordinary life is n't enough.
    Anna turns and walks out of the house .

EXT. LONDON STREETS - NIGHT
    Anna drives her motorbike through North London streets . Rain is falling .

EXT. TRANS-SIBERIAN RESTAURANT - NIGHT
    Anna is standing in the falling rain , staring over at the trans - Siberian restaurant . The restaurant is busy , with the noise of revelers swelling every time the door is opened . Anna seems to be exiled from where she should really be - Inside a restaurant like this , with its danger and vibrancy . Suddenly she is illuminated by headlights . She turns and sees that Nikolai is pulling up in his Mercedes . Kirill is in the passenger seat . Nikolai gets out of the car and stops when he sees Anna . Anna is like a fox caught in headlights .
    NIKOLAI
    What are you doing here?
    A pause .
    ANNA
    ( echoing Nikolai 's words . )
    I do n't know. I was passing.
    Kirill studies the gaze between Nikolai and Anna and senses the connection .
    KIRILL
    If you're passing, you pass. You keep going, bitch. Nikolai, come on.
    Kirill grabs Nikolai 's arm , and after peering at Anna for a moment , he turns to go with Kirill . Anna gathers her courage .
    ANNA
    Family is important to you people is n't it?
    KIRILL
    ( laughing . )
    ` You people'?
    ( in Russian . )
    What the hell is she talking about?
    Music swells from the restaurant .
    ANNA
    Tell Semyon the baby I delivered on Christmas Eve is his daughter.
    Kirill and Nikolai stop . A swell of laughter from the restaurant . Anna is about to continue but Nikolai steps forward and places two fingers on Anna 's lips to stop her from saying anymore . Anna tears his hands from her mouth . At the same time Kirill yells in Russian .
    KIRILL
    ( in Russian . )
    What did she say?!
    Anna is terrified but angry too . She yells .
    ANNA
    When he raped her she was a virgin. Then they gave her pills. Semyon has to be the father!
    Kirill suddenly goes for her over the bonnet of the car .
    NIKOLAI
    ( in Russian . )
    . -RRB- She's a civilian!
    Kirill pushes Anna up against the car , but she fights him .
    ANNA
    She was fourteen! She was a child!
    Kirill slaps Anna hard . Nikolai grabs Kirill and pulls him away .
    KIRILL
    You do n't use my father's name! You do n't say that filth about him.
    He goes for Anna again , and this time Nikolai shoves Kirill to the wet ground . He looks up at Nikolai and slowly gets to his feet . He wipes his hands then stares into Nikolai 's eyes .
    KIRILL
    ( CONT 'D . )
    Do n't even look at her any more.
    Headlights from a passing car sweep the scene .
    KIRILL
    ( CONT 'D . )
    That's an order.
    Nikolai peers at Anna for a moment . Anna 's voice is defiant but cracking with fear .
    ANNA
    Tell him what I said.
    Nikolai has taken what Anna said on board . He speaks softly .
    NIKOLAI
    There is nothing to tell. Slaves give birth to slaves.
    Kirill yells .
    KIRILL
    Come on Nikolai!
    He turns to Anna .
    KIRILL
    ( CONT 'D . )
    And if you open your mouth again, I'll tell my driver to stick his cock inside it! Understand? Maybe that's what you want!
    He offers the lights of the restaurant to her as a vicious invitation .
    KIRILL
    ( CONT 'D . )
    You want to come in?! Maybe we all get to fuck you.
    Anna stares back . Nikolai peers at her for a moment before grabbing Kirill and pulling him away towards the restaurant .

INT. TRANS-SIBERIAN RESTAURANT. KITCHEN - NIGHT
    The place is winding up . Chefs and waiters are cleaning surfaces and dishes . The only still point is Semyon , who is cutting and wrapping the birthday cake in small parcels of golden paper . He works intensely and delicately at the back of the kitchen . Nikolai and Kirill enter . Kirill swigs a half - drunk glass of wine .
    KIRILL
    That girl you fucked in front of me. you remember her? The Ukrainian bitch?
    NIKOLAI
    No.
    KIRILL
    So they kick down the door. These are ordinary fucking police. They ask for her by name and they take her away. Some fucking punter must have given them her name. What gives the police the right to take our women, huh?
    Semyon shoots Kirill a hard look : he 's talking too much and too loudly . Kirill ignores the look .
    KIRILL
    ( CONT 'D . )
    Hey Papa, I never seen so many old people in one place. Whose party is it out there? The angel of death?
    SEMYON
    ( in Russian . )
    She is one hundred years old.
    Semyon works on for a moment then glances at Kirill .
    SEMYON
    ( CONT 'D . )
    Kirill, go down into the cellar and bring up some brandy. Twelve bottles.
    Kirill turns to leave .
    KIRILL
    Come on, Nikolai, help me.
    SEMYON
    No. He stays here. I want to talk business.
    A confused pause . Kirill looks from Nikolai to his father .
    KIRILL
    What business?
    A pause as Kirill suddenly senses his exclusion .
    KIRILL
    ( CONT 'D . )
    Papa, what business? His business is my business.
    Semyon stares at Kirill and Kirill knows the look .
    SEMYON
    Go to the cellar Kirill. And take your time.
    Kirill hesitates . He is angry as hell but too scared of his father 's gaze to say anything . Finally he turns fast and departs , slamming his open hand against the door as he goes . Semyon waits a moment before returning to the business of cutting the cake . Finally .
    SEMYON
    ( CONT 'D . )
    Did you deal with the old man?
    Nikolai nods . A pause . Semyon looks up and fixes Nikolai with a stare .
    SEMYON
    ( CONT 'D . )
    ( in Russian . )
    It's time you joined us.
    A long moment . The thing Nikolai has been working for has finally happened . There seems to be little joy .
    NIKOLAI
    ( in Russian . )
    Thank you. Papa.
    Semyon returns to his work . Nikolai hesitates .
    NIKOLAI
    ( CONT 'D . )
    What shall I tell Kirill?
    Semyon continues with the cake , unconcerned .
    SEMYON
    Tell him I changed my mind about the brandy.

INT. TRANS-SIBERIAN RESTAURANT. CELLAR - NIGHT
    The cellar is half lit , the arched walls lined with crates of wine . Flour , grease and potatoes are stored here . As Nikolai walks down the steps into the gloom , he hears Kirill singing a Russian folk song to himself as he drags a case of brandy across the cellar floor . Kirill has already opened a bottle of brandy and takes a long swig as Nikolai joins him . He grins as he gestures at the brandy .
    KIRILL
    My dad swapped a little Georgian girl for this stuff.
    Nikolai sits down on a crate , rests his head against the wall . Kirill joins him and swigs some more .
    KIRILL
    ( CONT 'D . )
    Hey, do n't feel bad. What happened up there is just how he is. He plays people against each other. That's all. I realize more and more what he's like. Here, drink to the Georgian girl.
    Kirill offers the bottle to Nikolai but he refuses .
    KIRILL
    ( CONT 'D . )
    What? I drink alone now.
    Nikolai decides to bite the bullet , get this news over with .
    NIKOLAI
    He offered me stars. I accepted them.
    A long pause . This is what Kirill wanted , but now it feels like a stab in the back . Finally Kirill swallows a huge swig of brandy then turns awkwardly to hug Nikolai . He squeezes him hard for a long time then shoves him away .
    KIRILL
    ( lying . )
    . -RRB- You think I did n't know already? He told me before. It was my fucking idea. He said there are a lot of things I have to teach you.
    Nikolai nods . Kirill gets to his feet .
    KIRILL
    ( CONT 'D . )
    Some stuff will take a long time. I've been protecting you until now.
    NIKOLAI
    Yeah.
    KIRILL
    What?
    A pause .
    KIRILL
    ( CONT 'D . )
    You think I do n't know stuff you do n't know? I am vor by birth. The stars are a birthmark for me.
    NIKOLAI
    I know, Kirill.
    Kirill is about to fly into a rage but Nikolai gets to his feet .
    KIRILL
    Where the fuck are you going? We've got to celebrate. Help me with these bottles.
    Nikolai heads for the steps .
    NIKOLAI
    Your dad do n't need the bottles any more.
    As Nikolai departs Kirill calls after him .
    KIRILL
    Hey! We're still partners, right? Thunder and lightning!
    Nikolai climbs the steps . Kirill is left to swig his brandy and stare into the darkness . He wipes his eyes angrily with his sleeve .

EXT. TRANS-SIBERIAN RESTAURANT. TWO DAYS LATER - NIGHT
    Sweet Russian choral music covers the next four scenes . The street outside the restaurant is now flooding with rain . A Daimler and a Bentley are already parked . A large SUV pulls up and a hard - looking Russian man in his sixties -LRB- VALERY -RRB- is ushered from the car by bodyguards in suits and shades . He is greeted by a darker - looking man in his fifties -LRB- THE GYPSY -RRB- who has a fur coat around his shoulders . Semyon is waiting on the doorstep , dressed in a fine dark suit .

INT. TRANS-SIBERIAN RESTAURANT - NIGHT
    The curtains are drawn against the rainy light . The Gypsy , Valery , Semyon and TWO OTHER RUSSIAN MEN are sitting in a line behind a restaurant table , like a judging panel . After a moment Nikolai enters , dressed in suit and tie for the biggest interview of his life . The vory behind the table greet him . Then Nikolai takes off his jacket and removes his tie . He then takes off his shirt , to reveal that his upper body is decorated with elaborate tattoos -LRB- details to follow -RRB- . He carefully places his shirt over the chair then sits down . The panel of the vory study his body , the Gypsy pushing a candle across the table to better illuminate the detail of the tattoos . Only after the men have studied the tattoos does the interview begin . The following dialogue should not be translated , and can be cut around to suggest a long and grueling interview .
    VALERY
    We can see that you were in prison in Siberia. And that you were a thief.
    NIKOLAI
    My father was a government worker. He fixed the cars of officials. I began by selling the spare parts when I was fifteen.
    VALERY
    You have no forced tattoos?
    NIKOLAI
    None.
    GYPSY
    You were not co - operative?
    NIKOLAI
    I spent two years in the punishment block.
    VALERY
    You went through the Crosses in St. Petersburg?
    NIKOLAI
    I was in solitary confinement fifteen times. I was called ` The Stump' because they could n't shift me.
    VALERY
    Your father was a bitch and a weak fucker for working with the Government, that's right is n't it?
    Nikolai flickers a little .
    NIKOLAI
    That's right. My father means nothing to me. My Mother.
    GYPSY
    You have no mother. She was a whore anyway.
    NIKOLAI
    Yes. I have no mother and no father. There is only the code, the vory v zakone code which I have always followed.
    VALERY
    That is why there is an empty place above your heart. Where the stars will go. And why there is an empty place on your knees.
    NIKOLAI
    I am dead already. I died when I was fifteen. Now I live in the zone all the time.
    GYPSY
    You have never worked for the government? Any government?
    NIKOLAI
    I have lived off Albanians and Georgians. I steal from them within the law.
    The questions and answers are delivered with great solemnity , making the ceremony feel almost religious . Candles burn , the men all sip water . Semyon is silent throughout but listens attentively . Towards the end of the interview there is the ghost of a smile on the Gypsy 's face and this pleases Semyon .

EXT. TRANS-SIBERIAN RESTAURANT. REAR ENTRANCE - NIGHT
    A wizened old Russian man -LRB- THE TATTOOIST -RRB- arrives at the kitchen door , carrying a battered leather case . The kitchen door is opened as he arrives and Semyon greets him .

INT. TRANS-SIBERIAN RESTAURANT - NIGHT
    The choral music continues as we see the old man opening his case and pulling out tattooing equipment . Nikolai is sitting in a banquette at the back , wearing only his underpants . We circle Nikolai as the tattooist begins to work on his knees , preparing Nikolai 's knee caps for the tattoos . The needle bites at Nikolai 's skin as the old tattooist wipes away the blood . Then we see the needle working on the empty spaces above Nikolai 's heart , tattooing the star symbol . Nikolai now has a star tattoo on each knee and two eight - pointed stars on his chest . He is now a member of the vory v zakone .

INT. HELEN'S HOUSE. ANNA'S BEDROOM - MORNING
    Anna is lying awake , her curtains drawn against the daylight . Helen knocks and enters with a cup of tea , just as in the opening scenes . Anna sits up .
    HELEN
    ( almost accusing . )
    Have you slept at all?
    Anna does n't answer . Helen looks anxious as she peeks out of the curtains .
    HELEN
    ( CONT 'D . )
    I tried to get hold of Stepan for you.
    A pause .
    HELEN
    ( CONT 'D . )
    He's usually either at home or at his sisters. But she has n't heard from him at all.
    Helen is trying to hide her anxiety but Anna sees it .
    HELEN
    ( CONT 'D . )
    He did spit in that horrible man's face.
    ANNA
    I do n't think the driver would do anything to Stepan.
    Helen knows Anna well , senses some flicker of attraction .
    HELEN
    How do you know what he would do?
    A pause .
    HELEN
    ( CONT 'D . )
    You have n't spoken to him since, have you?
    Anna does n't answer and Helen 's anger sparks . She leaves and slams the door .

EXT. TURKISH BATHS - DAY
    We are in St. Pancras , North London . More rain . Ozim is waiting nervously , blowing into his hands against the cold . The Turkish bath building is a Victorian red - brick edifice . Nikolai pulls up in his Mercedes .

INT. TURKISH BATHS. CHANGING ROOM - DAY
    Ozim and Nikolai are undressing . The place is deserted apart from an OLD TURKISH BATH - HOUSE ATTENDANT who is distributing towels . Ozim is unbuttoning his shirt .
    OZIM
    Semyon recommends these places for business meetings because you can see what tattoos a man has.
    Nikolai is pulling off his shirt and Ozim reacts to the sight of the fresh eight - pointed star tattoos . Ozim chuckles .
    OZIM
    ( CONT 'D . )
    Come on. We have a lot to get through. Let's cook.
    Ozim disappears into a steam room , naked . Nikolai watches him go , a private agenda bubbling beneath the surface .

INT. TURKISH BATHS. STEAM ROOM - DAY
    Ozim and Nikolai sit side by side , sweating . There is no one else in the steam room .
    OZIM
    Our lines to Kabul get broken every two or three weeks.
    NIKOLAI
    How come?
    OZIM
    The Americans. Fucking NATO.
    ( pause . )
    Valery Nabokov imports flowers and television sets into this country. The television sets are one in ten. That means one in ten have cargo inside them.
    NIKOLAI
    Where do they dock?
    Ozim grins .
    OZIM
    I will tell you when I return from the bathroom.
    Ozim chuckles as he leaves in a swirl of steam . Nikolai leans back against the cold wall , his tattoo almost the only visible thing through the steam .

INT. TURKISH BATHS. CHANGING ROOM - DAY
    Ozim is dressing frantically , his face suddenly betraying his real anxiety . He checks his watch as he puts it back on his wrist . After a moment the two Chechen brothers who killed Ekrem enter the changing room . They swagger up to Ozim . He gulps down his fear .
    OZIM
    Kirill is in there.
    Ozim slaps his chest to denote the place where they will see the vor tattoo . They head towards the steam room as Ozim grabs his shoes and hurries towards the exit .

INT. TURKISH BATHS. STEAM ROOM - DAY
    Nikolai is sweating hard , staring at the ceiling . The steam room door opens but the steam is now so thick he ca n't see who has entered .
    NIKOLAI
    Ozim?
    He sees a shape . a clothed body . He realizes immediately . Suddenly one of the brothers is upon him and has him in a head lock . He strokes the tattoo on Nikolai 's chest as if this were confirmation of who this is . He grunts an instruction and his brother emerges through the steam with an open razor . Nikolai is naked , alone . Suddenly he kicks the razor guy in the balls and uses a martial arts chop to free himself from the other brother . In the steam there are boots and bare feet and knees and fingers flying . Nikolai manages to gouge the eye of one brother and throw another against the wall . He obviously has serious combat training but the brothers are strong and angry . Suddenly Nikolai is slashed across the arm by the razor and blood oozes into the steam and hot water . All the men are slipping and falling on the blood and hot water . Another slash of the razor cuts his thigh open . All the men are now covered in blood and Nikolai , with a final surge of strength , manages to cripple one brother with a blow to the throat , and the other with an elbow to the temple . As the Chechens slump to the floor , Nikolai fumbles in the bloody water for the razor , finds it , kneels , and slashes their throats . He lurches to his feet , drops the razor , and staggers out of the steam room .

INT. TRAFALGAR HOSPITAL. A AND E DEPARTMENT. CANTEEN - DAY
    Aziz and a group of a dozen doctors and nurses are eating lunch , some in party hats , some drinking red wine out of paper cups . Aziz seems anxious , distracted . Anna enters in a hurry , locates Aziz and joins him .
    ANNA
    I'm so late. Sorry.
    She looks around the ` party ' with horror .
    ANNA
    ( CONT 'D . )
    Oh God.
    AZIZ
    It's fine, although I think I've had enough.
    He smiles and downs his glass of wine in one go .
    ANNA
    Paul, on my way here I made a decision.
    AZIZ
    ( mock horror . )
    You ca n't possibly dump me. We're not even going out.
    ANNA
    Take my hand.
    Aziz , confused , takes her hand .
    ANNA
    ( CONT 'D . )
    Feel my pulse.
    Aziz feels Anna 's pulse . Anna takes a deep breath .
    ANNA
    ( CONT 'D . )
    I'm going to apply to adopt Christine.
    A pause .
    ANNA
    ( CONT 'D . )
    Can you feel that?
    Aziz smiles .
    AZIZ
    Yes, I can.

INT. TRAFALGAR HOSPITAL. A AND E DEPARTMENT - DAY
    Nikolai is being hurried down the corridor , his face covered with an oxygen mask . He is covered with a surgical gown which is covered in blood . His arm flops out from under the covers as the paramedics rush him into the hospital . Anna is walking in the opposite direction . Then , as Nikolai 's trolley passes , Anna sees Nikolai 's arm , flopping from under the covers . She sees the eagle tattoo on the back of his hand . Anna freezes .

INT. TRAFALGAR HOSPITAL. WARD. NIKOLAI'S ROOM - DAY
    Nikolai is conscious in bed , attached to a single drip . His wounds have been stitched up . A doctor and two nurses are settling Nikolai 's vital signs , moving around him , checking his temperature . Finally they clear the bed and through the glass of the room we see Anna , standing outside , staring in at Nikolai .

INT. TRAFALGAR HOSPITAL. WARD. NIKOLAI'S ROOM - NIGHT
    Nikolai is peering through half - opened eyes . The last nurse is checking his vital signs . Then Anna enters . The nurse stops work .
    NURSE
    Anna?
    ANNA
    Is it OK to talk to him for a minute?
    The nurse hesitates .
    NURSE
    He's still in trauma. Do you know him?
    Anna glances at Nikolai who is rousing himself .
    ANNA
    Yes.
    The nurse is reluctant but sees Anna 's fierce stare and finally leaves . After she has gone Nikolai stirs , focuses on her face .
    NIKOLAI
    I thought you did birth.
    Nikolai smiles , but Anna is trying hard to even out her fear and anger .
    ANNA
    My uncle.
    Nikolai tries to sit up and registers pain .
    ANNA
    ( CONT 'D . )
    the one who spat in your face. He's disappeared.
    A pause . Nikolai gasps in pain as he raises himself up . Anna sees the wounds on his arms and glimpses the tattoos on his chest , scaring her even more .
    ANNA
    ( CONT 'D . )
    If we do n't hear from him soon we're going to the police.
    Nikolai reaches for a bottle of water and manages to take a swig . Anna is impatient for a reaction .
    ANNA
    ( CONT 'D . )
    Do you know where he is?
    A pause . Nikolai finishes the bottle of water in one thirsty swig . Finally .
    NIKOLAI
    Yes.
    A pause .
    NIKOLAI
    ( CONT 'D . )
    He's in Scotland. In Edinburgh. In a five - star hotel.
    Anna is locating the door in case she has to flee as Nikolai swings his legs out of the bed to stretch his painful limbs .
    ANNA
    Edinburgh?
    NIKOLAI
    I'm going to need some clothes. I arrived here without any. Can you get me some?
    Anna does n't budge .
    NIKOLAI
    ( CONT 'D . )
    I ca n't walk out of here naked.
    ANNA
    You ca n't walk out of here because you're attached to a drip. Explain Edinburgh.
    Nikolai sighs , sits back down on the bed . He finally speaks softly .
    NIKOLAI
    Your uncle knew too much.
    Nikolai shrugs .
    NIKOLAI
    ( CONT 'D . )
    I was told to get rid of him. I was meant to send him to heaven with a bullet in his head. Instead I sent him to Edinburgh. With a first - class ticket.
    A pause .
    NIKOLAI
    ( CONT 'D . )
    He is of the old school. He understood the situation. Exile or death. Edinburgh was his idea. He said they throw a great party at New Year. And he said it was a good excuse to get away from his family.
    Nikolai smiles at Anna .
    NIKOLAI
    ( CONT 'D . )
    So. just a pair of jeans and a T - shirt. A jacket. And some shoes.
    Anna still looks disbelieving . Nikolai sighs .
    NIKOLAI
    ( CONT 'D . )
    The hotel is called the Caledonian.
    Without a pause Anna leaves .

INT. TRAFALGAR HOSPITAL. S.C.B.U. CHRISTINE'S PRIVATE ROOM - NIGHT
    Anna is sitting on the bed beside Christine 's crib . Christine is asleep . Anna is speaking into her cell phone , trying to keep her voice down .
    ANNA
    ( into phone . )
    . no, I could n't get much sense out of him, he was drunk.
    A pause . Anna looks exasperated .
    ANNA
    ( CONT 'D . )
    ( into phone . )
    Mum, I do n't want to tell you how I found him because I do n't want another argument. I just wanted you to know he's definitely safe.
    Anna listens with weariness .
    ANNA
    ( CONT 'D . )
    ( into phone . )
    No, we ca n't tonight. I'm working. I need the money.
    ( a pause . )
    For a place of my own, for Christ's sake!
    She listens with growing anger until she finally cuts the call without a word . Christine stirs but does n't wake . She leans back against the wall , already regretful .

INT. TRAFALGAR HOSPITAL.    WARD OUTSIDE NIKOLAI'S ROOM  NEXT MORNING.
    The ward is busy as Yuri , the police specialist from the Russian desk , enters wearing a heavy overcoat . He looks all around and approaches a nurse .

INT. TRAFALGAR HOSPITAL. WARD. NIKOLAI'S ROOM - MORNING
    Nikolai 's drip is being removed by A NURSE . Nikolai is examining his healing wounds . Then through the glass of the door he notices Yuri , speaking to a nurse , and obviously recognizes him . The nurse points Yuri in Nikolai 's direction .

EXT. TRAFALGAR HOSPITAL. A FIRE ESCAPE LANDING - MORNING
    It 's cold and the wind is blowing . We see rooftops behind them . Yuri is lighting Nikolai 's cigarette . Nikolai is wearing Yuri 's overcoat loosely over his hospital gown . Yuri lights his own cigarette and they smoke in silence for a moment .
    NIKOLAI
    You got my message?
    Yuri chuckles .
    YURI
    Using a dead body to file a progress report must be against FSB regulations.
    NIKOLAI
    It's called improvisation.
    YURI
    You've been improvising quite a lot lately. And taking risks.
    He glances at the cuts on Nikolai 's hands .
    YURI
    ( CONT 'D . )
    ( in Russian . )
    Maybe too many.
    Nikolai suddenly glares at Yuri .
    NIKOLAI
    ( in Russian . )
    You did n't come here to give me flowers.
    Yuri shakes his head and prepares to deliver bad news . Nikolai turns as if to go back inside . Yuri grabs Nikolai 's arm and speaks formally .
    YURI
    In light of what has happened to you.
    Nikolai shakes his head wearily .
    NIKOLAI
    ( in Russian . )
    Ah, Christ.
    YURI
    and in light of other violent incidents associated with you, the Russian desk at Scotland Yard have made an official request to the Russian embassy that your undercover operation in London be terminated.
    Nikolai does n't react for a moment .
    YURI
    ( CONT 'D . )
    ( in Russian . )
    You have gone beyond what was agreed.
    With his cigarette dangling from his mouth Nikolai begins to unbutton his overcoat .
    YURI
    ( CONT 'D . )
    In my opinion you should see this as good news. You've been in the zone far too long.
    Nikolai turns and slowly pulls open the overcoat and the thin hospital gown beneath it . He reveals the eight - pointed star tattoos on his chest and Yuri reacts with absolute astonishment .
    YURI
    ( CONT 'D . )
    My God.
    NIKOLAI
    If they terminate the operation now, they will be wasting this.
    A pause . Yuri looks shocked and slightly horrified . Nikolai too suddenly seems almost ashamed that he has got this far . After a long silence Nikolai mumbles .
    NIKOLAI
    ( CONT 'D . )
    You tell the Russian desk you saw stars over my heart. OK? Tell them I'm through the door.
    A pause . Yuri is still overwhelmed .
    YURI
    They are bound to ask. who did you kill?
    A pause .
    NIKOLAI
    ( in Russian . )
    Tell them I only killed myself.
    A pause . Yuri is humbled . They share a moment of understanding as they smoke . Finally .
    NIKOLAI
    ( CONT 'D . )
    And you can tell them I'm going to replace Semyon at the head of the London organization.
    Yuri laughs .
    YURI
    What drugs are they giving you? Maybe it's the anesthetic speaking.
    NIKOLAI
    I need you to take Semyon out of the picture. I want you to arrest him.
    Nikolai lights another cigarette from the stub of the one he is smoking . Yuri is incredulous .
    YURI
    Arrest him for what?
    NIKOLAI
    Rape.
    Yuri begins to chuckle .
    NIKOLAI
    ( CONT 'D . )
    The girl was fourteen.
    YURI
    ( incredulous . )
    And of course, she will testify.
    NIKOLAI
    She does n't have to. She's dead.
    A pause .
    NIKOLAI
    ( CONT 'D . )
    But she had Semyon's baby. If you prove the baby is his and prove the girl was under age when the baby was conceived, that's statutory rape.
    A pause . Yuri begins it think it through .
    NIKOLAI
    ( CONT 'D . )
    All you need is the baby and some of Semyon's DNA. For poetic reasons I suggest you take his blood.
    Yuri peers at Nikolai with awe . A long pause . Finally Yuri smiles .
    YURI
    You intrigue me.
    A pause .
    YURI
    ( CONT 'D . )
    If we had never had this conversation they would have sent you home. You could have spent the Spring in the mountains. Riding your bicycle to your office every morning through fields of flowers.
    A pause .
    YURI
    ( CONT 'D . )
    Why stay?
    Nikolai reacts but does n't answer . A pause .
    YURI
    ( CONT 'D . )
    You keep in touch.
    Yuri studies Nikolai .
    YURI
    ( CONT 'D . )
    ( in Russian . )
    And take care, Mikhail.
    Yuri tenderly takes his overcoat from Nikolai 's shoulders and goes back through the fire - escape door . Nikolai is left cold and exposed in his thin gown .

INT. TRAFALGAR HOSPITAL. WARD. NIKOLAI'S ROOM - DAY
    Nikolai is playing chess against himself , sitting on the bed , trying hard to concentrate . There is a knock and Anna enters , carrying an old shopping bag . She takes out a worn pair of jeans and a T - shirt , a denim jacket and a battered pair of shoes . Nikolai smiles .
    NIKOLAI
    How is Uncle Stepan?
    Instead of answering , Anna lays the clothes on the bed .
    ANNA
    ( deadpan . )
    They're from the morgue. They belonged to someone who died yesterday.
    Nikolai picks up the jeans and examines them . They 're way too big .
    ANNA
    ( CONT 'D . )
    I ca n't believe I'm doing a favor for someone just because he had the decency not to murder a member of my family.
    Nikolai smiles but Anna turns to leave .
    NIKOLAI
    Hey. wait a minute.
    Nikolai steps behind the bed screen to pull on the jeans . He speaks from behind the screen .
    NIKOLAI
    ( CONT 'D . )
    Is your bike still working OK?
    A pause . Anna considers leaving but hesitates .
    ANNA
    Yeah. It's OK.
    Nikolai steps out from behind the screen , the baggy jeans tightly belted , his chest bare . For the first time Anna sees the extent of Nikolai 's body tattoos and reacts . Nikolai sees her reaction to the tattoos and does n't care for it . He grabs the T - shirt and pulls it on .
    NIKOLAI
    Did you get in touch with Tatiana's family in Russia?
    ANNA
    No.
    NIKOLAI
    Good.
    Nikolai is now dressed , his cut and tattooed arms still showing .
    NIKOLAI
    ( CONT 'D . )
    So the baby's still in England.
    A pause . Anna nods .
    ANNA
    She's staying here for good.
    They peer at each other .
    ANNA
    ( CONT 'D . )
    Why do you care?
    Nikolai shrugs and grabs the shoes .
    ANNA
    ( CONT 'D . )
    Stepan said you were kind to him. He said you were risking your own life to keep him alive.
    Nikolai laughs .
    NIKOLAI
    Yeah, and all the thanks I get is a pair of dead man's shoes.
    ( pause . )
    * I listen to you. *
    ANNA                                    *
    ( sarcastic . )
    * Do you really? *
    NIKOLAI                                 *
    Yes. About Semyon and the baby. * Thank you. *
    ANNA                                      *
    ( still wary . )
    * You thank me for that? *
    Their eyes lock across a huge divide . He rubs the tattoos on his arm .
    NIKOLAI
    ( indicating tattoos . )
    * These things are just marks on the skin, you know?
    Anna nods . An awkward pause , then Anna turns and leaves quickly .

INT. TRANS-SIBERIAN RESTAURANT - DAY
    The restaurant is filled with balloons of every color , all over the floor and bouncing off the tables . A large ` Happy New Year ' banner is hanging from the wall . Kirill is sitting on the floor amongst the balloons , blowing up another one . Maria , Semyon 's little granddaughter , runs in to the restaurant and stops to stare at Kirill . He begins to inflate another balloon then stops .
    KIRILL
    ( in Russian . )
    What are you looking at?
    MARIA
    ( in Russian . )
    You.
    Maria comes to him and take a balloon . She tries to blow it up but fails . Kirill smiles and blows it up for her .
    MARIA
    ( CONT 'D . )
    What were you and Grandpa shouting about last night?
    KIRILL
    Nothing, baby.
    MARIA
    It sounded like something.
    Kirill takes a deep breath to blow a balloon then stops and looks at Maria .
    KIRILL
    Someone I know got hurt and I blamed Grandpa.
    MARIA
    Did you fight each other? I heard banging.
    KIRILL
    No. It's not a fight if one of you does n't fight back.
    A pause . Kirill smiles . We see slight abrasions .
    KIRILL
    ( CONT 'D . )
    So, today I do as I am told.
    She nods and Kirill blows another balloon . At that moment Kirill sees on the security monitor behind the bar that a police car is pulling up outside the restaurant . His face clouds as another pulls up beside it .
    KIRILL
    ( CONT 'D . )
    Maria. Go upstairs.

INT. TRANS-SIBERIAN RESTAURANT - DAY
    Semyon sits at a bare table , opposite Yuri from the Russian desk . A uniformed officer stands nearby , and there is a police doctor with a medical bag sitting at the next table , waiting . The whole scene is rendered surreal by all the balloons which bounce around them . Semyon is in full charming old man mode .
    SEMYON
    ( in Russian . )
    You'll have a drink, Yuri.
    He is half on his feet .
    YURI
    ( in Russian . )
    I do n't drink on duty.
    SEMYON
    ( in Russian . )
    Sometimes I do n't believe you are really Russian.
    YURI
    ( in Russian . )
    I've told you, I am half Russian.
    SEMYON
    ( in Russian . )
    Then have half a drink.
    Yuri shakes his head . Semyon goes to the optic and helps himself to a vodka .
    SEMYON
    ( CONT 'D . )
    So what is all this nonsense?
    YURI
    We just need a blood sample.
    SEMYON
    For what?
    YURI
    We can take the sample right now voluntarily or I can get an order from the court. It's up to you.
    Semyon glances at the doctor and chuckles .
    SEMYON
    ( in Russian . )
    He sits there like a vampire.
    YURI
    ( in Russian . )
    What, you are afraid of needles, Semyon?
    Semyon 's face hardens and he glares at Yuri .
    SEMYON
    I am afraid of. conspiracies.
    A pause . Yuri speaks softly .
    YURI
    I will return tomorrow with a court order.
    He gets to his feet .
    SEMYON
    Wait. I've done nothing wrong.
    Semyon begins to roll up his sleeve , revealing a long scroll of tattoos . Then a needle is being pushed into Semyon 's arm by the doctor . Semyon 's face does n't flicker . He stares into Yuri 's eyes .

INT. TRANS-SIBERIAN RESTAURANT. KITCHEN - DAY
    Kirill is preparing food for the night 's festivities . Semyon enters and goes straight to the sink . He pulls off the plaster from his arm where the blood was taken and pours some vodka over the tiny puncture hole .
    KIRILL
    What did they want with you, papa?
    SEMYON
    To poison me.
    Semyon pours more vodka on the wound then takes a swig .
    SEMYON
    ( CONT 'D . )
    They took blood from me with a needle. Probably the same needle they use for all the junkies and whores and blacks and queers.
    He glares at Kirill as he rolls his sleeve down .
    SEMYON
    ( CONT 'D . )
    Now I probably have the fucking queer disease.
    Kirill has his back turned , does n't react . Semyon sits heavily . Finally .
    KIRILL
    Why would they want your blood, papa?
    For the first time Semyon looks vulnerable and confused as he admits .
    SEMYON
    I do n't know.
    Kirill is surprised to see his father unsure . He peers at him .
    SEMYON
    ( CONT 'D . )
    Someone is ahead of me. I do n't like people ahead of me.
    Kirill is now unnerved by Semyon 's quiet confusion . He watches as Semyon grabs at the bottle of vodka to drink . He speaks softly as he swigs .
    SEMYON
    ( CONT 'D . )
    ( softly . )
    What the hell did that cocksucker want with my blood?
    Kirill is reluctant to speak at first but eventually chances his arm .
    KIRILL
    Maybe it's about the baby.
    SEMYON
    ( swigging . )
    What baby?
    A pause .
    KIRILL
    Some bitch was out there saying you were the father of a baby.
    Semyon turns to Kirill , his face hardening .
    SEMYON
    What are you talking about?
    Semyon approaches and Kirill gets scared .
    KIRILL
    It was nothing. Just some bitch.
    SEMYON
    Who?
    KIRILL
    The woman from the hospital. The midwife.
    Semyon stares into Kirill 's eyes and Kirill mistakes his frantic thought process for anger . Kirill backs away . Semyon is beginning to catch up .

EXT. TRAFALGAR HOSPITAL - NIGHT
    The main entrance of the hospital is busy with visitors and staff . There is a ` Happy New Year ' banner across the entrance . In amongst the bustle of visitors we spy a young man with his collar turned up and a bunch of red roses in his hand . We then see that it is Kirill , entering the hospital .

INT. TRAFALGAR HOSPITAL. CORRIDOR - NIGHT
    Anna is walking down a corridor with her crash helmet in her hand , heading for another shift .

INT. TRAFALGAR HOSPITAL. ELEVATORS - NIGHT
    We are close on Kirill 's face as he studies a map of the hospital near the elevators . Anna comes down a stairwell and spots Kirill - she especially notices the roses - just as he gets into an elevator . The elevator doors close . Was it really him ? Anna is not sure . She frowns .

INT. TRAFALGAR HOSPITAL. EMPTY CORRIDOR - NIGHT
    A door opens and Kirill steps into striped moonlight . Clamping the roses under his arm , he pulls a black zip - up sports bag from under his coat . After a brief dialogue with himself , he produces a half bottle of vodka and takes a swig . Then he hurries on .

INT. TRAFALGAR HOSPITAL. S.C.B.U. CHRISTINE'S PRIVATE ROOM - NIGHT
    Anna walks onto the ward in her uniform . She checks a few stats as she walks by various beds . She then glances over at Christine 's private room . She tiptoes into the room and goes to the crib . She finds it empty - except for a bunch of red roses . Outside the ward is now filling up with visitors . Babies cry , people laugh . Anna goes back out to the ward and calls to a nurse .
    ANNA
    Sonya! Is someone bathing Christine?
    SONYA
    No. She's in her cot.
    ANNA
    ( calmly . )
    Well she's not. She's not.

INT. TRAFALGAR HOSPITAL. CORRIDOR - NIGHT
    Anna runs at breakneck speed through the corridors .

EXT. TRAFALGAR HOSPITAL. CAR PARK - NIGHT
    Kirill is at the wheel of Nikolai 's Mercedes . He swigs from his bottle of vodka , which is now more than half empty . He fires the engine and reverses . A car passing by has to slam on its brakes . Kirill yells .
    KIRILL
    Hey, you stupid fucker!
    A horn blows . The passing car accelerates angrily by . Then we hear a baby crying . Kirill looks into the half darkness of the back seat and we see Kirill 's black sports bag , partially zipped up . Christine is crying inside it , her little grasping hand protruding past the zipper . Kirill speaks softly .
    KIRILL
    ( CONT 'D . )
    Be quiet baby. Quiet baby. It's OK.

INT. TRAFALGAR HOSPITAL. WARD OUTSIDE NIKOLAI'S ROOM - NIGHT
    Anna flies out of Nikolai 's room and spots a nurse .
    ANNA
    What happened to the patient with the knife cuts? The Russian?
    NURSE
    We just discharged him. A couple of minutes ago.
    Anna runs out .

INT. TRAFALGAR HOSPITAL. RECEPTION - NIGHT
    Anna runs fast down the corridor towards the hospital exit . She spots Nikolai ahead of her . She pushes past a couple of drunks and flies at him .
    ANNA
    Where have they taken Christine?!
    Nikolai reacts .
    ANNA
    ( CONT 'D . )
    You bastards! Where will he take her?! Tell me!
    People back away as Nikolai grabs Anna 's arms and holds her still .
    NIKOLAI
    What are you talking about?!
    Anna studies Nikolai 's face and sees his genuine confusion . She calms down a little .
    ANNA
    Kirill. Kirill has taken Christine. I saw him here! I thought he was coming to see you, but he was n't, was he?
    Nikolai curses under his breath and thinks fast .
    NIKOLAI
    You brought your bike?

EXT. NINE ELMS. ABANDONED DOCK - NIGHT
    The same dockside where Nikolai dumped Soyka and recommended this as the best place to dispose of a body . Kirill pulls up slowly in Nikolai 's Mercedes . The car is parked for a long time before finally the headlights are switched off .

EXT. TRAFALGAR HOSPITAL. MATERNITY UNIT - NIGHT
    Nikolai and Anna race to Anna 's motorbike .
    NIKOLAI
    I'll drive.
    ANNA
    I'll drive.
    Anna and Nikolai leap aboard the bike and it starts first time . With Nikolai riding pillion , they roar away .

EXT. LONDON STREET - NIGHT
    Anna and Nikolai ride through London streets .

EXT. NINE ELMS. ABANDONED DOCK - NIGHT
    On the edge of the dockside , Kirill is kneeling with the zip - up bag before him . Suddenly fireworks begin to burst over the Thames . It is the stroke of midnight . Kirill unzips the bag . When he looks inside Christine stops crying . He peers at her , wiping away tears .
    KIRILL
    She's a little girl, Papa, a little sweet fucking girl.
    Kirill sobs then Christine cries .
    KIRILL
    ( CONT 'D . )
    Shush, shush.
    Kirill lifts her out of the bag and holds her close to him , fireworks still illuminating the London skyline . He looks down at the freezing cold water , utterly confused . He whispers .
    KIRILL
    ( CONT 'D . )
    ( in Russian . )
    I'm sorry, my little sister.
    For a moment we believe he is going to throw her into the water . Instead he begins to sing a lullaby to her and her crying stops . Then we see a single light behind him . In a firework flash we see Nikolai and Anna climbing off the bike . They approach cautiously . Kirill stares at the man he loves . A pause . Christine begins to cry .
    ANNA
    Kirill, let me take the baby.
    KIRILL
    You stay where you are.
    ANNA
    She's cold, Kirill.
    Kirill suddenly screams as another barrage of fireworks explodes . Nikolai does n't move . Kirill is dangerously close to the edge of the dock . Maybe he 'll throw himself in too .
    NIKOLAI
    Kirill, a vor does n't kill little babies.
    Kirill is motionless .
    NIKOLAI
    ( CONT 'D . )
    Something like this would be bad for all of us. Your dad has gone too far, Kirill.
    A pause .
    NIKOLAI
    ( CONT 'D . )
    ( in Russian . )
    It's our turn now.
    Nikolai steps forward slowly . As he gets closer Kirill hugs the baby . Finally Nikolai reaches Kirill and hugs him . As he does he edges him away from the dockside . The three of them are locked in a long embrace . Nikolai emerges from the embrace with Christine in his arms . He quickly hands her to Anna who hugs her close . Kirill turns to Nikolai .
    KIRILL
    I swear I did n't know my dad was setting you up.
    NIKOLAI
    He's going away. When he's gone the family business will be yours.
    A pause .
    NIKOLAI
    ( CONT 'D . )
    We can be partners again. Thunder and lightning, right?
    Kirill smiles through his tears and nods .
    NIKOLAI
    ( CONT 'D . )
    Get into the car. I'll drive you home.
    A pause . Kirill dries his eyes and heads for the car . Nikolai looks at Anna , who is hugging the baby . He waits a long time before realizing he must leave her .
    NIKOLAI
    ( CONT 'D . )
    You're OK, yeah?
    Anna nods .
    ANNA
    Who are you really? Why have you helped us?
    Nikolai ca n't answer truthfully , though he longs to do so . There is a long pause before he manages to finds a suitable lie .
    NIKOLAI
    How can I become King if the King is still in place?
    A pause . He laughs . Anna studies him , unsure . More New Year fireworks explode over the river . Kirill yells from the car .
    KIRILL
    You come on, Nikolai! We're missing the fucking party of the year out there! Get here and drive!
    ( in Russian . )
    That's a fucking order!
    Nikolai and Anna peer at each other .
    NIKOLAI
    Maybe I can drive you somewhere?
    She shakes her head .
    ANNA
    There's someone I can call. He'll come and fetch us.
    Nikolai nods , not liking the information but hiding it . Nikolai comes close and gently uncovers Christine 's face . He smiles . Kirill is hooting the car horn . After a moment Nikolai and Anna kiss each other gently before Nikolai heads for the car .

INT. HELEN'S HOUSE. KITCHEN - DAY
    A summer 's day . Anna , Helen and Uncle Stepan are preparing to eat Sunday lunch . Stepan is carving . The conversation is jovial as Anna and Helen bring dishes of food to the table . Then we hear a baby crying . Anna goes to a small crib and lifts a six - month - old Christine out . She hands her to Helen who hugs her . Over this happy scene we hear Tatiana in V.O. , a repeat of the first words we heard her say .
    TATIANA
    ( V.O . )
    My name is Tatiana. My father died in the mines in my village, so he was already buried when he died.
    Anna takes Christine back and takes her to the window to peer outside , staring across the park .

INT. TRANS-SIBERIAN RESTAURANT - SAME DAY
    Nikolai is sitting at a window table , alone , sipping vodka , staring back across the park . He peers out at ordinary life going on in the streets outside . Tatiana 's V.O. continues .
    TATIANA
    ( V.O . )
    We were all buried there. Beneath the soil of Russia. That is why I left to find a better life.
    Nikolai finishes his drink . THE END

Summary: Anna Khitrova, a British-Russian midwife at a London hospital, finds a Russian-language diary on the body of Tatiana, a 14-year-old girl who dies in childbirth. She also finds a card for the Trans-Siberian Restaurant, which is owned by Semyon, an old vor in the Russian mafia. Anna sets out to track down the girl's family so that she can find a home for the baby girl, and meets with Semyon, who offers to help. Anna's mother Helen does not discourage her, but Anna's Russian uncle Stepan, who claims he is a former KGB officer, urges caution. When Stepan translates Tatiana's diary, Anna comes to learn that Semyon had raped the girl after his son Kirill’s failed attempt to do so (on account of his homosexuality), gotten her addicted to heroin, and forced her into prostitution. Ultimately, Anna realizes that the baby was fathered by Semyon. Semyon's driver, Nikolai Luzhin, also serves as the family "cleaner", removing evidence and dumping murdered bodies in the River Thames. Through Nikolai, Semyon, fearing prosecution, promises to give the location of the girl's family to Anna if she hands back the diary. Nikolai takes the diary and gives a location, but urges Anna to keep the baby in London. Semyon orders Nikolai to kill Stepan, who soon goes missing. As Nikolai's star rises within the vory, Semyon sponsors him as a full member, due in part to Nikolai's protection of Semyon's playboy son Kirill, who authorized an ill-advised hit on a rival Chechen vory leader with the help of a Turkish associate, Azim, and without Semyon's approval. Two Chechen hit men soon arrive in London seeking vengeance and kill Azim's mentally handicapped nephew, who also took part in the hit. Semyon hatches a plan to trick Nikolai into taking Kirill's place during a meeting at the baths with Azim. The Chechens attack, thinking Nikolai is Kirill, but Nikolai kills them both, ending up in the hospital with severe wounds. It is revealed that Nikolai is actually an FSB agent who has infiltrated the gang, working under license from the British Government. As part of his undercover duties, Nikolai was able to read Tatiana's diary before Semyon destroyed it, and hatches a plan with his handler to have Semyon arrested for statutory rape, with a paternity test of Tatiana's baby as evidence. Nikolai tells Anna that Stepan is safe, in a 5-star hotel in Edinburgh for protection. Semyon orders Kirill to kidnap the baby girl and kill her. However, as Kirill sits by the Thames working up the courage to throw the child in, Nikolai and Anna find him and persuade him to give the baby back. Nikolai and Kirill embrace as Nikolai tells him that his father is finished and they are now the bosses. Nikolai succeeds Semyon as boss of the organization and Anna gains custody of Tatiana's baby, whom she names Christine.