Phosphorus extremists

Panel Description Dialog

1.1 A quiet B road crossroads in
Kent. A young girl is on her
bicycle. She has a glittery
jacket, a helmet and stripey
socks. The camera is behind
and below the back of the
bike, so we can see the girl’s
legs and the pedals, and a
Hello Kitty sticker on the
back of the bike.

1.2 A police Saab roars across HARRIET (OP)
the crossroads as the girl is Of course, the safety of the
frozen in fear. civilians is my primary concern,
sir!

1.3 (big)Camera is looking HARRIET
directly at Harriet, as she But, with respect, London is about
is driving. Both hands on the to get a new date to replace 7/7.
wheel, talking into a headset. We can’t wait!
Harriet is a 30 year old Hong
Kong born police offier. She
has black hair in a tight
bob. She is about 5’ tall.
She needs reading glasses,
and has them around her neck.
She has a white high necked
blouse. In the background we
can see the girl standing next
to her fallen bike, hands to
her mouth in shock.

1.4 Side view of Harriet, jaw MALIK (OP)
set in determination as she Damn it Harriet. I don’t want
drives. She’s quite little so you running this Op. If it goes
she leans forward. tits-up the papers will have a
field day.
HARRIET
Sir, I was assured I would have
equivalent jurisdiction here. And
we can’t afford to wait!


2.1 Phosphorus: Extremists

2.2 A bustling train station,
looking down on the people
scurrying around. The view is
extremely high - giving us the
feeling of Gods looking down.

2.3 Val walks through crowds
- he is staring up at the
departure board- but we only
see him looking up, along
with everyone around him, like
sunflowers. Val is a likeable
white geek in his thirties,
with shaggy hair, glasses and
a goofy grin. He is wearing a
crisp white shirt. He wears a
tiny crucifix, and is carrying
a hessian bag with a Blue Sun
logo, covered in badges.

2.4 More crowds - Val is handing
over the coins for a coffee.
In the distance we can see
Simone, Weiscz and Jack.
Jack is a 17 year old white
boy, with a heavy dark fringe.
He is wearing a The Matrix
t-shirt and zip sweatshirt.
Simone is a tall 52 year old
black woman, with light brown
skin and very short frizzy
hair, greying. She is wearing
a double breasted pinstripe
Agnes B trouser suit, low
heels. When she is able, she
wears a classic butler tails.
Weiscz is a pugnacious,
shaved ex gangster, about
thirty. He is solidly built
and has a broken nose. He
has a lot of tattoos, celtic
abstracts across his torso
and arms. He wears rings and
a gold neckchain. Weiscz is a
relative of Jack.


2.5 A line of people showing
their tickets. Kurt is just in
front of Val, who drinks his
coffee.. Kurt is a 6’4 Texan
ex Special Forces Marine, late
thirties. He is built like
Dolph Lundgren and has a Kurt
Russell flat top haircut. He
is weatherbeaten. He often
chews a fat cigar and grins
a lot. Given the choice he
wears military fatigues. If
he needs to attempt to blend
in, like now, it’s Westpoint
sweatshirt and jeans. He has
a Semper Fi military tattoo
on his forearm. Simone, Weiscz
and Jack are way behind in the
queue.

This page is divided into three by two diagonal lines. The
first is high on the right low on the left. The second is
high on the left and low on the right.


3.1 Eurostar platform at Ebbsfleet HARRIET (OP)
International. The train Intel says we have four IC1 males
track is lined up to the already on the noon Eurostar.
line between this panel and They’ve got firearms, an intent
next. The picture should to hijack and crash the train into
show the ’ional’ of the the station.
name. The train snakes off
into the distance. We are at
the ticket end. We can see
eight figures waiting for the
train, in a variety of poses,
such as answering the phone,
checking for dog mess on their
shoes, talking to each other,
standing bored.

3.2 Harriet is surrounded by HARRIET
plain clothes armed police We’ve not worked together but I’m
officers - young men and a told British firearms officers
woman with concealed shoulder are amongst the best in the world.
holsters. One, the commander, Commander?
is a little older, black,
shaven head. Their faces shown COMMANDER
concern and determination, You heard Detective Shen. We use
totally focused on her. all the standard protocols. We
Reference shot: The Last preserve life, but if we must, we
Supper. To the right, the huge take it.
nose of the train, pointing
towards the apex of the panel
on the left.

3.3 Camera is in the midst of them COMMANDER(OP)
as they board the train, the This is for real. Let’s do it.
shot is like we are watching
hand-held footage of the
operation. Harriet is at
the rear. We can slant the
action to the angle of the
line between panels.

.
Page 4


4.1 Double-seat with table,
interior of a Eurostar train.
On the table in front of Val
is his hessian cloth bag
which has a stencilled Blue
Sun logo, and has dozens
of badges on it, including
CND, FoE, Peace Dove, CAAT,
Amnesty. Spilled out of it
are books. We can see these
titles: "Aspects of the Theory
of Syntax, by Noam Chomsky"
"No Logo, by Naomi Klein" (get
the Noam and the Naom lined
up) and this Graphic novels:
"From Hell, by Alan Moore" and
this fictional book "The Trial
of the Duke of Gloucester"
. He leans his head against
the glass and looks bored.
He is left handed and has a
pen in his hand, over some
writing, but he’s come to a
halt. He is still drinking
that coffee, right hand. He
is facing towards the rear of
the train, this means he is
on the left, looking right.
Background is the platform
at St Pancras, with a Fly
Eurostar poster. A passing
pigeon is imitating the Peace
Dove. There are the heads of
other passengers showing in
the seats in front and behind.


5.1 Camera over Val’s right
shoulder, looking through
the window on his left. We
can see his face partially
reflected. He is looking at
the guard, who is signalling
for the train to depart. The
guard is old, with white hair
and a full white beard. He is
wearing a suit, shirt and tie
(slightly loose) over which is
a dayglo yellow waistcost.

5.2 He sees Lou arrive at the
barrier - it’s a Victorian
thing made of curly wrought
iron, painted white. She
has sleek stockings on
rose-studded Louboutin heels,
a tight grey pencil skirt
leading to a snug grey half
jacket. Wavy blonde hair long
eyelashes and bright red lips.
(ref Andrj Pejic, it’s OK if
we don’t see Lou too clearly).
She has a smart vintage
handbag. Pigeons flap about
her, wings like angels’. Val’s
face is reflected, showing
interest.

5.3 (Small panel) The guard
looks stern. She bites her
lip, making “Please, please”
gestures with clasped hands,
and pulling a Diana as hard
as she can. Val’s face showing
disapproval.

5.4 (Small panel)The guard waves
her through. Val’s face
showing eyes rolling up in
a self-satisfied, world-weary
look.


5.5 (Small panel)Now Val looks
at himself in the reflection.
He smartens himself up and
undoes a button on his shirt.
As he is looking straight,
we see a different section of
station. The guard is walking
past, with name tag showing:
Revenue Protection Officer:
Peter Cephas.

5.6 (Small panel)Val smiles at
his own idiocy, shakes his
head as he does the button
back up. The station in the
background has shifted, as the
train begins to move. We see
the CRAS of St Pancras on the
Victorian-era sign.

.
Page 6


6.1 (Big Panel) Camera is
standing beside Val, so we
can see his head bottom left,
looking as Lou walks down the
carrige. Picture is sexy and
sumptuous, iconic. Lou’s body
is androgynous, and her face
must be 50% masculine, but her
clothes give her femininity
and glamour. Reference: Andrej
Pejic dressed as a woman, but
more importantly ref: William
Blake’s ’Satan in his Original
Glory: ’Thou wast Perfect till
Iniquity was Found in Thee’


7.1 Looking down on Val, who LOU (OP)
is not making eye contact, <quietly>Oh it’s
lips pressed together. He is <i>you</i></quietly>.
reading the Trial of the Duke
of Gloucester. The book is LOU
upside down. May I travel with you? I’d love to
know what you think of it.

7.2 Val slouches like Adam. Lou LOU
reaches across to take his I’m Lou, by the way, with bag and
hand like God (ref Cistine baggage.
Chapel).
VAL
Uh OK. Val. Pleased to meet you.

7.3 Lou is sitting down opposite VAL
Val, whose face has lit up I’m into linguistics! And this
with the chance to waffle. is about a Victorian trial. The
Typical man. language is really interesting.
One of my things is checking
out the court records from the
stenographers.

7.4 Close on Val’s book, with his VAL
eyes over the top of it. Back in the day they really didn’t
do the whole sub judice thing.
A lot of testimony was infl...
Anyway who isn’t interested in
Jack the Ripper stuff?

7.5 We look over Val’s shoulder VAL
at the interior of the book. This book’s all about the framing
It shows a picture of Lou in of the Duke of Gloucester, but
Victorian garb. Lou is sat in what really interests me is
an identical pose, making it the language of this woman who
clear that she is the woman of testified.
whom Val is speaking.

.
Page 8


8.1 Train carriage whizzing along VAL (OP)
through suburban London. It’s part of a pattern of
anomalies from all different
dates and places.

8.2 A drinks cart has come to VAL
where they are sat and Lou I’m trying to figure it out. If I
is buying a bottle of Pepsi, can make sense of it they’ll give
smiling kindly at the slightly me a prize. Until then the data
camp young vendor in his tight just makes me look stupid.
waistcoat and trousers. Val
has put the book down to
gesture.

8.3 Val looks sheepish, Lou VAL
laughing. Camera is at the I mean more stupid.
height of the Pepsi bottle,
looking up at them.

8.4 Close on Lou reading the book, VAL (OP)
smiling with nostalgia. Anyway, what do you think?
LOU
Well, this copy’s a little
dog-eared but the content’s right
up my street.

8.5 Angle is from someone standing
beside their table looking
down. Lou is obviously
checking out Val’s Blue Sun
bag, his badges and his books.

8.6 Camera is opposite them, Lou LOU
happily checks her makeup in Hmm. And I’d say the same thing
a handheld mirror. In the about the book too.
background is the fringes
of London, houses with many
trees. Val is slightly
blushing.

.
Page 9


9.1 Shot of the whole interior of VAL (OP)
the carriage. We can barely When I first saw you, I did think
see these two. Carriage is it was a bit rich, the way you
full of everyday folks being delayed the train.
everyday.
LOU (OP)
Hmm yes? Ok, well, sorry, but it
was pretty important that I got
on.

9.2 Camera faces Val as he ticks VAL
off his argument on his What makes you think you’re more
fingers. In the foreground important than all the other
is Lou’s hand, holding the people on the train?
mirror, reflecting back down
the carriage.

9.3 Camera looks up at Val, close. VAL
There’s probably, what, five
hundred of us mere mortals. We
all lost 2 minutes!

9.4 Camera faces Lou as she shifts VAL
into the corner, legs crossed. There’s always another train along
She is calm and glamourous. in an hour.
LOU
What can I say? Some things can’t
wait.

.
Page 10


10.1 The angle is from beside
the front of the train,
speeding through the Kentish
countryside at very high
speed, looking forward.

10.2 Camera is embedded within
Harriet’s team as they surge
forwards through the train.
Passengers look at them in
mild interest.

10.3 More of the same from a seated
passenger’s perspective. We
see the passenger opposite,
a white girl in tracksuit
top, hair in a top-knot
scrunchy, looking annoyed
as her elbow is jogged and
they struggle not to spill a
plastic Starbucks cup.

10.4 An elderly Indian man attempts
to exit the toilet, surprised
by the herd of police
stampeding past.

.
Page 11


11.1 Lou’s shoulders and face LOU
How do you know that I’m not on a
vital journey, worth delaying the
train for?

11.2 Val’s shoulders and face VAL
Well I’m guessing you’re not a
surgeon.

11.3 Lou’s face, close up. Intense LOU
and flirty. All that is gold does not glitter.

11.4 Val’s face, close up. Acting VAL
cynical. Oh really?

11.5 Camera is outside the train, LOU
looking in. Lou is staring I’ve seen things you people
past us into the far distance. wouldn’t believe...
Val is staring at her, jaw
open.

.
Page 12


12.1 Camera is standing behind VAL
Lou, centre carriage. We can Attack ships on fire off the
see a little of behind Val, Tannhauser gate.
seats with everyday folk being
everyday. Val begins to speak LOU
and Lou joins in ...off the Tannhauser gate.

12.2 Similar shot from standing
behind Val, looking the
other way. More everyday
people being mundane in the
background. Val and Lou are
grinning like shoolkids.

12.3 (small) Close on Val’s face, VAL
excitable. Hey! You know Geek Fu!

12.4 (small) Close on Val’s face, VAL
serious. Will you marry me?

12.5 Lou, smiling, checking her LOU
nails. I’ve made it a rule never to marry
on a first date.

.
Page 13


13.1 Outside the first class front COMMANDER (WHISPER)
cabin the police prepare, guns We get once chance to do this
drawn. Faces and tense and right.
businesslike.

13.2 Side shot of the officers POLICEMAN
kicking down the door open. Armed Police Officers!

13.3 First officers are bursting
into the room. Guns drawn.
Heroic poses (parodies later
shot with Kurt and Weiscz)

.
Page 14


14.1 Inside the driver turns on HARRIET
his seat, sandwich dropping Go se!
down his shirt. There are
8 first class seats in this
room abutting the cabin, a
glass wall in between them.
The passengers look terrified.
On the other tracks, a passing
train has a huge blood spray
across the inside of the
cabin window. The police
realise they are on the wrong
Eurostar.

.
Page 15


15.1 (Big) Camera is a fly on the
wall person sat next to Weiscz
on one of two tables beside
each other on the train. Three
people are sat around the
other table: Jack, Kurt and
Simone. Jack is wedged into
the corner using a laptop, one
hand typing while the other
uses the trackpad, like a
piano maestro. His face is
underlit by the screen. Simone
is beside him. Kurt takes up
both of the seats on the other
side, a huge bag (of guns)
is on the table.Through the
window a train is passing in
the opposite direction.

15.2 Weiscz is smoking a cigarette. JACK
Police are frapped, train error.

15.3 Alternate angle, next to KURT
Kurt looking over at Weiscz. Weiscz?
Weiscz, weary, sucks on his
cigarette. He holds it between WEISCZ
first and second fingers, Jack says the police are not on
hand made into a fist. He this train.
is reading a Red-top called
the Daily Male, with the
headline "Clarkson: Blow up
Chunnel". Another headline
says: "Imam-grant benefit
scrounger!". There is a
No-smoking sign on the wall
next to him. Simone and
Kurt look to Weiscz for an
explanation.

.
Page 16


16.1 Simone opens the bag of SIMONE
guns and begins to hand Well now, I suppose that you
out holstered guns, like gun-happy idiots and Miss
lunchboxes to kids. I-wear-heels-to-a-firefight are
going to go and save the day.

16.2 An irate passenger comes MAN
up, middle aged white man Can’t you read? This is a no...
in a suit and tie. Camera is
viewing from near Weiscz.

16.3 Camera is at table height, MAN
looking past the pile of guns My mistake. So sorry to have
at the man, Simone frozen in troubled you.
mid exchange with Kurt. The
man has seen the guns, eyes
wide.

16.4 Kurt and Weiscz are standing, KURT
fixing holsters, checking the Alright! Action!
guns. Kurt looks happy. Weiscz
looks resigned. Simone’s WEISCZ
sneer drops in real worry, This could get a bit naughty.
she doesn’t realise that she Jack, stay here with Simone.
loves Kurt. She looks away.

16.5 Camera faces Jack from below, SIMONE (TO HERSELF)
where his screen is. Simone Just be careful.
is to the side, biting her
lip. Jack stares at the JACK
camera. The two lads are gone, We debuffer in twenty two minutes.
through the door.

.
Page 17


17.1 Top down on Val and Lou. Val’s LOU
Satchel+books are shaped What do you do when you’re not
into a letter P. (Not too accosting strange women?
obviously). Lou is holding
on to a drink bottle. Val’s VAL
carelessly left his hand on Fasten your seatbelt: I’m a
the table very near to hers. linguist.

17.2 Camera points down the VAL
carriage behind Val. Kurt Yes, I know that’s probably a good
is moving onwards, looking deal more thrilling and dangerous
out for trouble. Weiscz than whatever you do.
has turned and seen Lou,
he has his head cocked in
the direction of the front,
eyebrows raised, bottom
lip out. They have made eye
contact. Both Kurt and Weiscz
have gun bulges.

17.3 Camera diagonal on Lou LOU
standing, twisting round Sorry honey, too much Pepsi, I
to get her handbag. In the gotta go. You know?
background the landscape is a
blur. VAL
Yes! Wouldn’t want you peeing
yourself!

17.4 (small) Full on, close on Lou
raising en eyebrow.

17.5 (small) Diagonal close on Lou
blowing him a kiss.

17.6 Medium on Val from the side,
facepalming. Through the
window we see a station, but
the train is going through at
full speed, so people’s hats
are off, newspapers flying,
faces panicked.

.
Page 18


18.1 Helicopter shot of a Eurostar LOU(OP)
train. Look, my name’s Margaret Major,
I’m a web journalist. Just tell me
your story.

18.2 In the first class compartment THUG 2
next to the cabin. Four thugs: British Bulldogs never gonna suck
young white lads in a variety Frog cock. Rule Britannia!!
of shapes. They are all in
badly fitting suits, no
ties. They have hand guns.
Passengers are slumped in
their seats, shot dead. Lou
is held at gunpoint by Thug
1. She is looking frightened,
but trying to be brave. Thug
2 gets in her face, shouting.
Thug 1 is leaning back, eyeing
her bum.

18.3 Looking over their shoulders LOU
at the front of the cabin, Look, if I’m going to die at least
two more thugs and the driver give me story. I can put you on
is dead, shot through the YouTube right now. I..I can get
head, blood sprayed across your message out. The last seconds
the windscreen. Thug 3 is before we die. It’ll go fucking
checking Lou out. Boss thug viral.
is all business.
BOSS THUG
Sure. Anything funny and I shoot
you in the cunt. Get the video
rolling.

18.4 Phone screen showing what LOU
you’d see from the captured This is Mags Major on the
footage if Lou videoed herself Eurostar, going through red
with her smartphone. Lou’s lights about 15 miles out from the
head, not steadicam. tunnel. I’m with four dangerous
armed rebels. This is what they
have to say to the people of
Britain:

.
Page 18


18.5 Phone screen showing Boss BOSS THUG
thug, scowling at the camera. We are Rule Britannia and we
are sick of all the scrounging
foreigners taking our benefits.
This is a wake-up call to the
fannies at number 10. Kick them
out before England rises up!

18.6 Close on Lou typing feverishly THUGS (MUSIC SYMBOLS)
on the phone. Rule Britannia! Britannia rules
the waves!
LOU
I’ve put that up on Facebook and
Twitter.

.
Page 19


19.1 Camera is outside the front of LOU
the train, showing its insane You know, I do admire what you
speed. The blood splashes boys stand for....
obscure most of the interior.

19.2 Lou stands surrounded by all LOU
four thugs. They are peering Oh Emm Gee. You’re trending just
over her shoulder to look at below Bieber on Twitter!
the phone.

19.3 The phone in Lou’s hand. We BOSS THUG
see a Facebook Event called What the fuck?
Arse-kicking in the Front
Cabin. There is a Video
attached to the event, with a
thumbnail of Lou (from above)
and Kurt Angel and Dexter
Weiscz are shown as attending.

.
Page 20


20.1 Big Damn Heroes Kurt and KURT
Weiscz. Kurt has two Pleased to make your acquaintance.
semi-automatic pistols. He’s
big, so he’s very comfortable WEISCZ
with their weight. Weiscz has Ka-chink!
a pump-action shotgun.

20.2 The camera is behind Lou, who
is now nearest the front of
the carriage. She has her
back to us. She is obscuring
Kurt, who is further down
the carriage. His hands are
outstretched, guns shooting
into the heads of two thugs.
It might be possible to see
his hands and the spraying
bullet casings as looking
somewhat like wings on Lou.
Other thugs’ weapons are
rising.

.
Page 21


21.1 Thug has raised his gun, but
Lou has stepped in the way,
pulling the gun into her
stomach. The camera faces the
thug, who looks surprised.
Behind the landscape flashes
past.

21.2 (small) Closeup on Lou’s face
as she is shot. Intense agony.

21.3 Weiscz unloads his shotgun KURT(OP)
into the face on thug 3. We Apologies for the headshots...
see this from the side, the
full kinetic effect of the big
gun lifting the thug off the
ground, tumbling backwards.

21.4 Kurt steps around Lou’s KURT
crumping form, gun pressed ...but ah do believe we are a few
under the neck of Boss Thug. moments from a painful death...
Camera angle is slightly
below. We see Boss Thug’s
terror.

21.5 Kurt has dropped his left KURT
hand gun and is leaning down ...and we don’t have time for
to help Lou up, in a very niceties.
gentlemanly pose. He looks
concerned but not distraught.
She is petite and he is
hulking. He blocks out the
sight of him shooting Boss
Thug, but we can see the blood
splatter on the ceiling.

.
Page 22


22.1 We are looking up at Lou LOU
standing amidst the carnage. You stupid fucks. So young. So
We see the tearing hole in fucking stupid.
her shirt where the bullet
has ripped, but amazingly
there is no wound. Lou looks
devastated, eyes wet with
tears.

22.2 Lou kicks one of the corpses KURT
miserably, half heartedly. Weiscz, my good friend, can you
She seems oblivious. Kurt drive a train?
and Weiscz are both looking
forwards, towards the camera.
Kurt is scratching his chin.
Weiscz is lighting a ciggie.

22.3 (Small)Kurt and Weiscz are
stare at each other.

22.4 Camera is at the door to KURT AND WEISCZ
the compartment seeing the Jack!
two gunmen panicky rush back
towards the body of the train.
They look a bit undignified.

.
Page 23


23.1 Train has stopped. Val has a VAL
book open, one hand holding You took your time! Queue for the
the page. He is oblivious. Lou toilet?
is sitting down at her seat
again, handbag covering the
rip in her blouse.

23.2 Helicopter shot of the train
at rest, forty feet from the
end of another train. Police
cars , ambulances and fire
engines just arriving.

23.3 Harriet is stood in the MALIK(OP)
front carriage. Medics are I am not having you screw up an
checking the dead. She looks opslike this again Shen, consider
crestfallen. yourself on suspension until they
tell you to go home.

23.4 Harriet sits on the steps up UNIFORMED POLICEWOMAN
to the carriage, resting her Ma’am? One of the passengers took
elbows on her knees, chin on this footage of the blonde woman.
her hands.

23.5 Harriet’s face, eyes slightly
narrowed.

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