phosphorus extremists

Phosphorus: Extremists

Panel Description Dialog

Page 1

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

the crossroads as the girl is

frozen in fear.

HARRIET (OP)

Of course, the safety of the

civilians is my primary concern,

sir!

1.3 (big)Camera is looking

directly at Harriet, as she

is driving. Both hands on the

wheel, talking into a headset.

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.

HARRIET

But, with respect, London is about

to get a new date to replace 7/7.

We can’t wait!

1.4 Side view of Harriet, jaw

set in determination as she

drives. She’s quite little so

she leans forward.

MALIK (OP)

Damn it Harriet. I don’t want

you running this Op. If it goes

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 2

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.


Page 2

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.


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.

3.1 Eurostar platform at Ebbsfleet

International. The train

track is lined up to the

line between this panel and

next. The picture should

show the ’ional’ of the

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.

HARRIET (OP)

Intel says we have four IC1 males

already on the noon Eurostar.

They’ve got firearms, an intent

to hijack and crash the train into

the station.

3.2 Harriet is surrounded by

plain clothes armed police

officers - young men and a

woman with concealed shoulder

holsters. One, the commander,

is a little older, black,

shaven head. Their faces shown

concern and determination,

totally focused on her.

Reference shot: The Last

Supper. To the right, the huge

nose of the train, pointing

towards the apex of the panel

on the left.

HARRIET

We’ve not worked together but I’m

told British firearms officers

are amongst the best in the world.

Commander?

COMMANDER

You heard Detective Shen. We use

all the standard protocols. We

preserve life, but if we must, we

take it.

3.3 Camera is in the midst of them

as they board the train, the

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.

COMMANDER(OP)

This is for real. Let’s do it.


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.


Page 5.

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.


Page 5.

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’


Page 7.

7.1 Looking down on Val, who

is not making eye contact,

lips pressed together. He is

reading the Trial of the Duke

of Gloucester. The book is

upside down.

LOU (OP)

<quietly>Oh it’s

<i>you</i></quietly>.

LOU

May I travel with you? I’d love to

know what you think of it.

7.2 Val slouches like Adam. Lou

reaches across to take his

hand like God (ref Cistine

Chapel).

LOU

I’m Lou, by the way, with bag and

baggage.

VAL

Uh OK. Val. Pleased to meet you.

7.3 Lou is sitting down opposite

Val, whose face has lit up

with the chance to waffle.

Typical man.

VAL

I’m into linguistics! And this

is about a Victorian trial. The

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

eyes over the top of it.

VAL

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

at the interior of the book.

It shows a picture of Lou in

Victorian garb. Lou is sat in

an identical pose, making it

clear that she is the woman of

whom Val is speaking.

VAL

This book’s all about the framing

of the Duke of Gloucester, but

what really interests me is

the language of this woman who

testified.


Page 8.

8.1 Train carriage whizzing along

through suburban London.

VAL (OP)

It’s part of a pattern of

anomalies from all different

dates and places.

8.2 A drinks cart has come to

where they are sat and Lou

is buying a bottle of Pepsi,

smiling kindly at the slightly

camp young vendor in his tight

waistcoat and trousers. Val

has put the book down to

gesture.

VAL

I’m trying to figure it out. If I

can make sense of it they’ll give

me a prize. Until then the data

just makes me look stupid.

8.3 Val looks sheepish, Lou

laughing. Camera is at the

height of the Pepsi bottle,

looking up at them.

VAL

I mean more stupid.

8.4 Close on Lou reading the book,

smiling with nostalgia.

VAL (OP)

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

happily checks her makeup in

a handheld mirror. In the

background is the fringes

of London, houses with many

trees. Val is slightly

blushing.

LOU

Hmm. And I’d say the same thing

about the book too.


Page 9.

9.1 Shot of the whole interior of

the carriage. We can barely

see these two. Carriage is

full of everyday folks being

everyday.

VAL (OP)

When I first saw you, I did think

it was a bit rich, the way you

delayed the train.

LOU (OP)

Hmm yes? Ok, well, sorry, but it

was pretty important that I got

on.

9.2 Camera faces Val as he ticks

off his argument on his

fingers. In the foreground

is Lou’s hand, holding the

mirror, reflecting back down

the carriage.

VAL

What makes you think you’re more

important than all the other

people on the train?

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

into the corner, legs crossed.

She is calm and glamourous.

VAL

There’s always another train along

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

and flirty.

LOU

All that is gold does not glitter.

11.4 Val’s face, close up. Acting

cynical.

VAL

Oh really?

11.5 Camera is outside the train,

looking in. Lou is staring

past us into the far distance.

Val is staring at her, jaw

open.

LOU

I’ve seen things you people

wouldn’t believe...


Page 12.

12.1 Camera is standing behind

Lou, centre carriage. We can

see a little of behind Val,

seats with everyday folk being

everyday. Val begins to speak

and Lou joins in

VAL

Attack ships on fire off the

Tannhauser gate.

LOU

...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,

excitable.

VAL

Hey! You know Geek Fu!

12.4 (small) Close on Val’s face,

serious.

VAL

Will you marry me?

12.5 Lou, smiling, checking her

nails.

LOU

I’ve made it a rule never to marry

on a first date.


Page 13.

13.1 Outside the first class front

cabin the police prepare, guns

drawn. Faces and tense and

businesslike.

COMMANDER (WHISPER)

We get once chance to do this

right.

13.2 Side shot of the officers

kicking down the door open.

POLICEMAN

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

his seat, sandwich dropping

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.

HARRIET

Go se!


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 looking over at Weiscz.

Weiscz, weary, sucks on his

cigarette. He holds it between

first and second fingers,

hand made into a fist. He

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.

KURT

Weiscz?

WEISCZ

Jack says the police are not on

this train.


Page 16.

16.1 Simone opens the bag of

guns and begins to hand

out holstered guns, like

lunchboxes to kids.

SIMONE

Well now, I suppose that you

gun-happy idiots and Miss

I-wear-heels-to-a-firefight are

going to go and save the day.

16.2 An irate passenger comes

up, middle aged white man

in a suit and tie. Camera is

viewing from near Weiscz.

MAN

Can’t you read? This is a no...

16.3 Camera is at table height,

looking past the pile of guns

at the man, Simone frozen in

mid exchange with Kurt. The

man has seen the guns, eyes

wide.

MAN

My mistake. So sorry to have

troubled you.

16.4 Kurt and Weiscz are standing,

fixing holsters, checking the

guns. Kurt looks happy. Weiscz

looks resigned. Simone’s

sneer drops in real worry,

she doesn’t realise that she

loves Kurt. She looks away.

KURT

Alright! Action!

WEISCZ

This could get a bit naughty.

Jack, stay here with Simone.

16.5 Camera faces Jack from below,

where his screen is. Simone

is to the side, biting her

lip. Jack stares at the

camera. The two lads are gone,

through the door.

SIMONE (TO HERSELF)

Just be careful.

JACK

We debuffer in twenty two minutes.


Page 17.

17.1 Top down on Val and Lou. Val’s

Satchel+books are shaped

into a letter P. (Not too

obviously). Lou is holding

on to a drink bottle. Val’s

carelessly left his hand on

the table very near to hers.

LOU

What do you do when you’re not

accosting strange women?

VAL

Fasten your seatbelt: I’m a

linguist.

17.2 Camera points down the

carriage behind Val. Kurt

is moving onwards, looking

out for trouble. Weiscz

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.

VAL

Yes, I know that’s probably a good

deal more thrilling and dangerous

than whatever you do.

17.3 Camera diagonal on Lou

standing, twisting round

to get her handbag. In the

background the landscape is a

blur.

LOU

Sorry honey, too much Pepsi, I

gotta go. You know?

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

train.

LOU(OP)

Look, my name’s Margaret Major,

I’m a web journalist. Just tell me

your story.

18.2 In the first class compartment

next to the cabin. Four thugs:

young white lads in a variety

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.

THUG 2

British Bulldogs never gonna suck

Frog cock. Rule Britannia!!

18.3 Looking over their shoulders

at the front of the cabin,

two more thugs and the driver

is dead, shot through the

head, blood sprayed across

the windscreen. Thug 3 is

checking Lou out. Boss thug

is all business.

LOU

Look, if I’m going to die at least

give me story. I can put you on

YouTube right now. I..I can get

your message out. The last seconds

before we die. It’ll go fucking

viral.

BOSS THUG

Sure. Anything funny and I shoot

you in the cunt. Get the video

rolling.

18.4 Phone screen showing what

you’d see from the captured

footage if Lou videoed herself

with her smartphone. Lou’s

head, not steadicam.

LOU

This is Mags Major on the

Eurostar, going through red

lights about 15 miles out from the

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

thug, scowling at the camera.

BOSS THUG

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

on the phone.

THUGS (MUSIC SYMBOLS)

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

the train, showing its insane

speed. The blood splashes

obscure most of the interior.

LOU

You know, I do admire what you

boys stand for....

19.2 Lou stands surrounded by all

four thugs. They are peering

over her shoulder to look at

the phone.

LOU

Oh Emm Gee. You’re trending just

below Bieber on Twitter!

19.3 The phone in Lou’s hand. We

see a Facebook Event called

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.

BOSS THUG

What the fuck?


Page 20.

20.1 Big Damn Heroes Kurt and

Weiscz. Kurt has two

semi-automatic pistols. He’s

big, so he’s very comfortable

with their weight. Weiscz has

a pump-action shotgun.

KURT

Pleased to make your acquaintance.

WEISCZ

Ka-chink!

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

into the face on thug 3. We

see this from the side, the

full kinetic effect of the big

gun lifting the thug off the

ground, tumbling backwards.

KURT(OP)

Apologies for the headshots...

21.4 Kurt steps around Lou’s

crumping form, gun pressed

under the neck of Boss Thug.

Camera angle is slightly

below. We see Boss Thug’s

terror.

KURT

...but ah do believe we are a few

moments from a painful death...

21.5 Kurt has dropped his left

hand gun and is leaning down

to help Lou up, in a very

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.

KURT

...and we don’t have time for

niceties.


Page 22.

22.1 We are looking up at Lou

standing amidst the carnage.

We see the tearing hole in

her shirt where the bullet

has ripped, but amazingly

there is no wound. Lou looks

devastated, eyes wet with

tears.

LOU

You stupid fucks. So young. So

fucking stupid.

22.2 Lou kicks one of the corpses

miserably, half heartedly.

She seems oblivious. Kurt

and Weiscz are both looking

forwards, towards the camera.

Kurt is scratching his chin.

Weiscz is lighting a ciggie.

KURT

Weiscz, my good friend, can you

drive a train?

22.3 (Small)Kurt and Weiscz are

stare at each other.

22.4 Camera is at the door to

the compartment seeing the

two gunmen panicky rush back

towards the body of the train.

They look a bit undignified.

KURT AND WEISCZ

Jack!


Page 23.

23.1 Train has stopped. Val has a

book open, one hand holding

the page. He is oblivious. Lou

is sitting down at her seat

again, handbag covering the

rip in her blouse.

VAL

You took your time! Queue for the

toilet?

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

front carriage. Medics are

checking the dead. She looks

crestfallen.

MALIK(OP)

I am not having you screw up an

opslike this again Shen, consider

yourself on suspension until they

tell you to go home.

23.4 Harriet sits on the steps up

to the carriage, resting her

elbows on her knees, chin on

her hands.

UNIFORMED POLICEWOMAN

Ma’am? One of the passengers took

this footage of the blonde woman.

23.5 Harriet’s face, eyes slightly

narrowed.

phosphorus extremists

Education

view of harriet

eurostar train

train intel

page 2paneldescriptiondialog2

harriet plain clothes

bustling train station

crowds val

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