Page 1Panel Description Dialog1.1 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!
Page 2Panel Description Dialog2.1 Phosphorus: Extremists2.2 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.
Page 2Panel Description Dialog2.5 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.
Page 3 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.Panel Description Dialog3.1 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 4Panel Description Dialog4.1 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.
Page 5 .Panel Description Dialog5.1 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.
Page 5 .Panel Description Dialog5.5 (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 6Panel Description Dialog6.1 (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’
Page 7 .Panel Description Dialog7.1 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 8Panel Description Dialog8.1 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 9Panel Description Dialog9.1 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 10Panel Description Dialog10.1 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 11Panel Description Dialog11.1 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 12Panel Description Dialog12.1 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 13Panel Description Dialog13.1 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 14Panel Description Dialog14.1 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 15Panel Description Dialog15.1 (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 16Panel Description Dialog16.1 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 17Panel Description Dialog17.1 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 18Panel Description Dialog18.1 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 18Panel Description Dialog18.5 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 19Panel Description Dialog19.1 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 20Panel Description Dialog20.1 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 21Panel Description Dialog21.1 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 22Panel Description Dialog22.1 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 23Panel Description Dialog23.1 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.