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Retiring
This blog took an unexpected hiatus when an ongoing health condition got worse and I haven’t had the energy to look at it. It seems unlikely that I will be well enough to continue doing this without letting something else I need to do slip, so I was wondering if anyone else would be interested in taking over or joining as a co-writer.
Night Witch 4 Pages 1 to 5
Page 1
First Panel:
In a brightly coloured room. Varvara is lying on cushions in the foreground a hooka in front of her, an ash tray by her hand and spliff in the other hand wearing a cowboy hat, vest without bra, skirt and knee high boots. On the walls are posters for The Wicker Man, Mott and The Hoople, Roxy Music and others. A frowning white woman with brown hair in a black knee length coat, pink ruffled skirt and yellow below the knee skirt is standing hands on hips next to the door. On the panel above them is written ‘What have you been smoking comrade?’
Woman: Varya! Varya - for fuck’s sake! Varvara Sidorovna. Help me.
Second Panel:
An orange toned pop-art style panel of a young blonde white woman in military uniform being shot with ‘BLAM!’ written across the panel.
Third Panel:
The same panel in blue and pink.
Fourth Panel:
The same panel in purple and white.
Fifth Panel:
The same panel in green and red.
Page 2
At the top of the page the same panels are repeated in a line getting progressively smaller.
First Panel:
Close up on Varvara’s face and the woman’s torso.
Varvara: ANYA!
Woman: Anya’s not here. Just me.
Varvara: She was shot.
Woman: She’s fine now.
Second Panel:
Varvara lowers the blunt and exhales.
Woman: Really. She’s fine, Varya. She’s alive and well and living in Tomsk with an electrical engineer called Oleg.
Third Panel:
Varvara is no longer exhaling and her eyes are open.
Varvara: You got away?
Woman: Yes we did - thanks to you.
Fourth Panel:
Varvara squints at the woman.
Varvara: What do you want?
Woman: We want you do a job for us.
Fifth Panel:
Varvara alone in a room with her face in profile.
Sixth Panel:
Varvara smiling holding a spliff up and looking at it.
Varvara: Man, that shit didn’t keep well at all.
Page 3
First Panel:
Peter, sitting naked on the bed at Beverley’s with Beverley asleep on the other side of the bed.
Second Panel:
Peter, still naked, walking through Beverley’s living room.
Third Panel:
Focus refines to Peter’s back, back of his head and his hand opening a door.
Fourth Panel:
Peter’s head and shoulders from the front, framed in the doorway of a tiled room. Peter is shocked.
Fifth Panel:
Wide frame of Maksim in the Beverley’s kitchen sweeping the floor.
Maksim: Доброе утро. Кофе или чай? (Dobroe utro. Kofe ili chaj?)
Page 4
First Panel:
Close up of Peter’s face and shoulder leaning over a sleeping Beverley.
Peter: Bev?
Beverley: Hmnnn?
Second Panel:
Beverley has opened one eye.
Peter: Why is there a Russian gangster in your kitchen?
Beverley: I can explain.
The outside of Beverley’s house it is raining.
Peter: WHAT?
Third Panel:
Peter is lying across the bed resting his head on Beverley’s thigh. He has trousers on but hasn’t done them up. Beverly has sat up and is wearing a blue t-shirt with ‘All shall love and des...’
Peter: You had them all here - under control? And you didn’t think to tell me?
Fourth Panel:
Peter is in the foreground putting on a shirt and looking back at Beverley out the corner of his eye. Beverly is kneeling on the bed.
Beverley: And what would you have done?
Peter: Um...
Beverley: Yeah?
Peter: I’d at least have come round and asked them some questions.
Page 5
First Panel:
Peter is sitting on the bed doing up his shoes and Beverley is still kneeling on th bed.
Beverley: While they were under the influence?
Peter: Maybe.
Beverley: Which is why i didn’t tell you.
Second Panel:
Beverley has wrapped her arms and leges around Peter’s torso from behind.
Beverley: You take someone’s will - that makes you responsible for them.
Peter: Responsible?
Third Panel:
Close up of Peter and Beverley’s faces.
Beverley: Yeah, you know like loco parentis. See?
Peter: Sort of.
Beverley: I’m a goddess and they’re literally my flock.
Fourth Panel:
A cross stitched panel reading ‘Yea though I walk through the valley of the shadow of death I shall fear no inconvenient questions from the polices cos the Goddess of Beverley Brook says so.’ hangs on a wall.
Fifth Panel:
Back to Peter and Beverley’s faces. Peter has turned his head to look at her.
Peter: For how long?
Beverley: Until it wears off.
Peter: What if it doesn’t wear off?
Night Witch 3 Pages 21 to 25
Page 21
First Panel:
Back in the office of Nightingale’s former boss.
Man: I’m not saying the natives aren’t tricky blighters, Nightingale.
Second Panel:
Image of a child playing with a toy car. The image is striped.
Man: But the ones you’ve really got to watch for are the Russian.
Third Panel:
An oriental couple sitting on a couch. The image is similarly stripped.
Man: They look white. But they’ve got that Mongol taint from the days of the great Kahn, don’t you know.
Fourth Panel:
A man in a balaclava with an automatic gun wearing military surplice.
Man: European brains wedded to that oriental ruthlessness.
Fifth Panel:
The child, woman, man and the man in a balaclava are shown to be in the same room with a plaster peeling off. Behind the couple is a banner reading ‘DO AS YOU ARE TOLD’.
Man: Means the buggers can think round corners.
Page 22
First Panel:
Nightingale is sat in the breeze box room on a folding chair doing the crossword. on the ground in front of him is a tray with a mug and empty plate. On a table next to him is a computer monitor with the child, couple and armed man on it.
Man: So I advise you to watch your step.
Second Panel:
The side of Nightingale’s face and the newspaper are seen in the foreground. in the background a man in a balaclava and holding a sawn off shot gun is standing in the door.
Nightingale: Yes, can I help you?
Man: My boss has a question.
Third Panel:
The man comes in and points the gun at Nightingale:
Man: What kind of fairy tale creature delivers a ransom note?
Night Witch 3 Pages 16 to 20
Page 16
First Panel:
Varvara and Peter are walking away from the church.
Varvara: I need t check something on my own.
Peter: That wasn’t part of the agreement.
Varvara: You now, I could have escaped Holloway any time I wanted. That I don’t should tell you something.
Second Panel:
Focus tightens on Peter and Varvara’s heads and shoulders.
Peter: That we still have something you want.
Varvara: Don’t worry. I’ll meet you at the Folly nice and early.
Peter: I can’t go back to the Folly. They’ll be watching it.
Third Panel:
A shot of the outside of the Folly doors.
Varvara: You’re leaving it unguarded? Aren’t you worried that somebody might try to break in?
Fourth Panel:
In the Folly entrance way Molly waits with two knives ready.
Peter: God, I hope not.
Fifth Panel:
Close up on Molly’s smiling face.
Peter: The mess would be horrible.
Page 17
First Panel:
Back to Peter and Varvara’s head and shoulders this time in profile.
Peter: And we have surveillance on all the nominals.
Varvara: You’re watching them - they’re watching you.
Peter: Welcome to the cold war historical re-enactment society.
Second Panel:
Looking over the ASBO at Peter and Varvara with the church in the background.
Varvara: You were what? Three years old when the wall came down.
Peter: Yeah, but... I’ve seen both versions of ‘Tinker, Tailor, Soldier, Spy’
Third Panel:
Varvara turns and walks away from Peter.
Varvara: I’ll call you in the morning.
Fourth Panel:
Peter’s hand holding a phone with a recording device on it.
From the phone: Varvara Sidorovna. Бавно не вибелись (Bavno ne vibelis')
Fifth Panel:
Peter is on the phone while Varvara is walking away from him.
Narrator: And I’ve seen the ‘IPCRESS file’ about a million times. Dad really love that John Barry score especially the cimbalom solo.
Peter: This is Peter Grant - I have some translation work for you.
Page 18
First Panel:
A London street in an area that’s still lived in by normal people. It is dark and raining.
Lesley, narrating: You know what Peter’s mistake is? He thinks there’s a line. Between good and evil, order and chaos.
Second Panel:
Lesley wearing her white mask siting in a car with a drink with a straw.
Lesley, narrating: The side of the force and the light. Between good coppers and career criminals.
Third Panel:
Lesley getting out of the car and pulling up the hood of a stripped blue and white hoodie.
Lesley, narrating: There is a line. But not there.
Fourth Panel:
Lesley is following Varvara down the street.
Lesley, narrating: The line is between us and them.
Fifth Panel:
In the foreground is Varvara, frowning and dry under her umbrella. Behind her is Lesley in a her hoodie.
Lesley, narrating: Between those that make their own choices. And those that don’t.
Page 19
First Panel:
Varvara is opening a door with chipped paint.
Second Panel:
Vavara is climbing the stairs behind the door lit by a single bare bulb hanging from the ceiling.
Third Panel:
Varvara is pulling a floor board u in a room with mouldy walls and a single wooden table as the only visible furniture.
Varvara: I should have known he’d know about this place.
Fourth Panel:
Varvara is in the foreground holding a green box. Lesley is stood in the doorway.
Varvara: What does he want?
Fifth Panel:
Varvara sets the box on the table and Lesley comes in to the room.
Lesley: He’s got an offer for you.
Varvara: Not interested.
Page 20
First Panel:
Varvara has rips the paper the box.
Lesley: He says he can help you disappear - get away from the Russians forever.
Varvara: What does he want in return?
Second Panel:
Varvara is still opening the box.
Lesley: He just wants you to stay out of it.
Varvara: Whatever ‘it’ is. Do you know what ‘it’ is?
Third Panel:
Focus tightens on Lesley.
Varvara: Didn’t think so. Not interested.
Fourth Panel:
Unwrapped on the table are a passport and a black object.
Varvara: You’ve but your faith in the wrong person.
Lesley: Perhaps I’m not as easily impressed as you.
Fifth Panel:
Varvara pockets the contents of the package.
Varvara: Suit yourself.
Lesley: You know - if Nightingale is so shit-hot... Why hasn’t her escaped on his own?
Night Witch 3 Pages 11 to 15
Page 11
First Panel:
Peter is climbing up a ladder in to a loft while Varvara and Ludmilla watch.
Narrator: Good question. Because the kid might be hiding somewhere in the house and too frightened to come out.
Second Panel:
Peter is walking down an outside flight of stairs into a basement while Ludmila and Varvara observe.
Narrator: Or might have fallen into something.
Third Panel:
Peter is in a utility room looking into a chest freezer.
Narrator: Or be dead and stuffed into the freezer.
Fourth Panel:
Peter is stood on the helipad next to the helicopter talking to the pilot while Ludmilla and Varvara watch.
Narrator: The staff might know something the parents don’t.
Fifth Panel:
Peter is looking up at the wall of the house while Ludmilla and Varvara observe.
Narrator: Like why the southern face of the house is noticeably older than the north. Although I’m not sure that’s relevant to the case.
Sixth Panel:
Peter is walking into a wooden shed.
Narrator: And finally on the off chance you might have my governor stashed in the woodshed...
Page 12
First Panel:
Peter and Varvara are walking away from the front door of the house while Ludmilla looks out the cracked open door at their backs,
Peter: Something took that child, but I don’t think it was supernatural.
Varvara: The mother thinks it was. And she’s desperate.
Second Panel:
Close up of Ludmilla’s face frowning through the gap in the door.
Peter: Desperate enough to kidnap Nightingale?
Third Panel:
Peter and Varvara are back in the ASBO parked in a forest with the white van that followed them down the M26.
Peter: With a bit of luck, we’ll know in a minute.
Fourth Panel:
Ludmila is stood in the hall of her house speaking on the phone.
Ludmilla: What have you done?
Fifth Panel:
Seen from the front of the van, two white men operate surveillance equipment while Peter and Varvara look in through the back doors.
Peter: Any luck.
Operator 1: She’s calling the husband.
Ludmilla (over transmitter): Что ты натворил? (Chto ty natvoril?)
Page 13
First Panel:
Peter and Varvara are inside the van. Varvara is wearing headphones. The second operator is having a fag outside the van.
Narrator: The Commissioner doesn’t like it when serving officers get kidnapped. Not even when it’s Nightingale. Resources, as they say become available.
Varvara: This is not a happy woman. Ha! That’s a word I haven’t heard in in a long time. Well, if it was that small you probably shouldn’t have married him.
Peter: Varvara!
Varvara: She says she never wanted anyone else involved. Why can’t he understand that.
Second Panel:
Close up on Peter and Varvara’s faces.
Peter: But they came to you first? Why?
Varvara: It must have been his idea.
Third Panel:
Peter is outside the van talking on his phone and the second operator is helping Varvara out of the van.
Peter: What’s the status on Yakunin and Zhidinov?
Off-screen speaker: They’re both still at the house in Kensington.
Fourth Panel:
A leafy Kensington street is shown. From one of the cars parked along the street a voice is shown.
Narrator: As I said - resources become available.
Peter (Over phone): Stay on them
Off-screen speaker (from car): Rodger.
Page 14
First Panel:
Peter and Varvara are driving off in the ASBO.
Varvara: Somebody faked a Leshy attack well enough to fool the mother.
Peter: Specifically a Leshy? Or was it a generic forest spirit?
Varvara: The way she described it - definitely he of the forest.
Peter: So it would probably have to be another group of Russians.
Second Panel:
The ASBo is on the motorway up to London.
Varvara: Most likely. And if you want to know about the Russians, you need to talk to a Russian.
Peter: I though that’s what I already did.
Varvara: Someone more Russian than me.
Third Panel:
Varvara and Peter are meeting a middle aged white woman with brown hair in a church - probably catholic or high church anglican from the decorations.
Narrator: Эmma Grachjova (Jemma Grachjova) - Emma Grachyova. Information Broker.
Emma: Varvara Sidorovna. Long-time not see. What brings you in from the cold?
Varvara: We need to know if anyone else was involved in the Yakunin kidnap.
Emma: There was a kidnap?
Varvara: Don’t waste my time.
Page 15
First Panel:
Focus tightens to Emma, Peter and Varvara’s faces.
Emma: I wondered what the boy wonder was doing here. Semyon and Nestor? They’re strictly small time. Nobody at home even remembers their names.
Second Panel:
Focus tightens to just Emma and Varvara’s faces.
Emma: You, on the other hand, Varvara Sidorovna... People have expressed an interest.
Varvara: What sort of people?
Third Panel:
Focus swings to look over Varvara’s shoulder.
Emma: One of the new outfits Putin established. Operates out of a building on money lane in sight of the foreign ministry. Rumour has it the boss is an old woman general, name of Denisova Veronika Aronovna.
Fourth Panel:
Back to the same sepia photo of five young women in uniform.
Emma: Vika to her friends. Ring any bells?
Fifth Panel.
Back to the church. The focus has pulled out enough to show Peter siting cross legged between Varvara and Emma.
Varvara: No.
Emma: Her of the Soviet Union. Has all the same medals as you.
Sixth Panel:
Focus tightens to show Varvara’s face over Emma’s shoulder. Varvara is frowning.
Varvara: I don’t have any medals.
Emma: So you say.
Night Witch 3 Pages 6 to 10
Page 6
First Panel:
Peter has is his hands out in front of him. Molly is approaching, mouth open and with the knives held behind her.
Second Panel:
Peter stands aside letting her pass him.
Third Panel:
Molly stands in the open doors to the street. Holding her hands out with the knives at shoulder level.
Fourth Panel:
Her face drops as do her arms.
Fifth Panel:
She steps forward dropping one of the knives.
Sixth Panel:
Molly drops to her knees on the Folly steps. Hands on the ground in front of her. Peter can be seen standing just behind her.
Page 7
First Panel:
Molly rubs her face and Peter hovers behind her. None of the five passers by on on the street seem to react.
Second Panel:
Peter kneels down and puts his hands on her shoulders. Molly has sat up with her arms held up to cover her eyes.
Peter: There’s no point us rushing off in all directions. First we have to find out who’s taken him and where they’re located.
Third Panel:
Molly turns to face him partially lowering her arms.
Peter: And then you can chop them up into little bits to your heart’s content.
Page 8
First Panel:
Though a camera, Nightingale is against the same breeze block wall but the focus is further out showing that his arms are duct taped to his sides and he is seated on a folding chair. A black bag is over his head.
Off-screen speaker: Ah, you mush be the Nightingale I’ve heard so much about!
Second Panel:
In an office, the side of a younger Nightingale’s face is in the foreground. Behind him a older man missing his left arm is stood behind a desk holding a sheet of white paper. A map of the Indian sub-continent is behind him.
Man: Come to be our new Juju-Wallah, what?
Nightingale: Sir.
Man: Jolly good.
Third Panel:
In the room Nightingale is held in. His hood is being removed to show he had closed his eyes.
Off-screen speaker: If you find yourself in a spot of bother, we have a plain-word code.
Fourth Panel:
Back in the office. The focus has tightened in on the man.
Man: Your average native Johnny not having enough proper English to spot it, you see.
Fifth Panel:
Back in the room Nightingale is held in.
Nightingale: I know this situation is both irritating and less than cheerful, but I believe their demands are reasonable. They was you to find the Leshy and recover the child. But it is vital that you don’t contact the principals.
Sixth Panel:
Back in the office.
Man: “Difficult” means “attempt immediate resolution.” “Irritating” - “deal with the underlying cause.” “Unlucky” indicates a native threat, “vital” the Russians and “apropos” the French.
Seventh Panel:
Back in where Nightingale is held.
Nightingale: I know this is operating in extremis, but I expect you to follow these instructions.
Eighth Panel:
Back in the office. Focus tightens on the mans face.
Man: “Expect” and “instructions” in the same sentence.. use whatever means are necessary.
Page 9
First Panel:
Peter, now wearing a suit, is stood in frown of the silver ASBO waiting for Varvara, also dressed in a suit to approach.
Narrator: Roxane... You don’t have to put on the red light. Was the sheets for money... Something, something, sell you body to the night. Now I’ve got that song stuck in my head,
Varvara: Ha! I don’t think it was a Leshy.
Second Panel:
Peter and Varvara are in the car. Peter is in the driver’s seat putting on his seat belt.
Peter: Not anything local - we know that much.
Varvara: But the girl’s definitely missing.
Peter: Maybe.
Third Panel:
The car is driving down the M26 followed by a moving van. The sign shows ‘Maidstone 20, Ashford 40, Channel Tunnel 50, Felixstowe 46, Dover 61′
Peter: So, which one are we looking for - Nightingale or the girl?
Varvara: The girl.
Peter: And where do we start?
Page 10
First Panel:
Seen from the front the ASBO is driving down a private road.
Peter: Where you always start with a missing chid case.
Second Panel:
The Asbo is parked in front of the Yakunin family home.
Peter: By searching the parents’ house.
Third Panel:
Varvara and Peter are at the front door which has been opened by Ludmilla.
Ludmilla: Наконец-то! (Nakonec-to!)
Fourth Panel:
The focus shifts to look over Ludmilla’s shoulder.
Ludmilla: Кто это? (Kto jeto?)
Varvara: This is Peter Grant from the Special Assement Unit
Fifth Panel:
Inside the entrance of the Yakunin family home.
Peter: We’d like to have a quick look around the house and grounds.
Ludmilla: Why would you want to do that?
Night Witch 3 Pages 1 to 5
Page 1
First Panel:
Close up of a brown eye surrounded by fur. In the pupil Nightingale getting in to a van at the kidnappers direction is reflected.
Narrator: We’re the police. By definition, we’re all about systems, procedures, order...
Second Panel:
Focus pulls out to Toby’s face.
Narrator: But the irony is... That what we really like about the job is...
Third Panel:
Focus pulls out to show Toby sat on the pavement with his head cocked watching the van drive off as other people walk past.
Narrator: When you wake up in the morning... And you literally don’t know what’s going to happen next.
Page 2
First Panel:
Toby is barking and scratching at a door.
Second Panel:
Molly opens the door and Toby runs inside stilly barking.
Third Panel:
Molly looks out at the street as Toby disappears inside still barking.
Fourth Panel:
Petter is in work out clothes hitting a punching bag. From outside the room Toby can be heard barking.
Fifth Panel:
Molly opens the door and stands looking at Peter. Toby runs inside towards Peter barking.
Sixth Panel:
Focus draws in on Molly holding up Toby’s lead and looking angry. The sound effect GRRRR! is shown across her chest.
Page 3
First Panel:
Peter, still in workout clothes, and Toby are on the street in front of the Folly. Toby is sniffing the ground.
Second Panel:
Peter is looking at a mobile device, the screen isn’t clear enough to see what he is doing.
Third Panel:
Focus draws in to show it is a map with the GPS location of two devices showing.
Fourth Panel:
Focus switches to the two devices, a desktop and phone pining in the same location.
Peter: Bollocks!
Fifth Panel:
Peter is sitting in front of the desktop with the phone pinging next to him. On the screen his scowling face can be seen reflected next to a “You have email’ notification.
Sixth Panel:
The email is shown to read.
Subject: From Nightingale Urgent
pawnE4.wmv
Page 4
First Panel:
The focus is pulled out to show that the video is playing on a computer screen with Peter’s face reflected to the side of the video. In the video Nightingale’s head and shoulders are shown against a breeze block wall.
Nightingale: Two days ago, a child was abducted from the Kent home of Nestor and Ludmilla Yakunin. The people that are holding me wish you to safely recover the chid. At which point, they will release me.
Second Panel:
Peter’s reflected hand rises to his chin.
Nightingale: I know this is operating in extremis, but I expect you to follow these instructions.
Third Panel:
The screen is black now and Peter’s reflection is on the phone.
Narrator: I listed carefully. When the message is finished and I’m sure I’ve got it all...
Peter: Hello, this is PC Peter Grant at Russell Square. I need an appointment to speak to the Commissioner as soon as possible.
Fourth Panel:
Molly is also reflected in the computer screen. Peter is looking at her out the side of his eye.
Peter: Oh shit.
Page 5
First Panel:
Cutlery is being dropped in to a wooden draw and missing.
Second Panel:
A whisk and garlic press enter another draw with as much force and accuracy.
Third Panel:
A knife draw opens.
Fourth Panel:
A sharp knife is held in a hand with Molly’s furious face reflected in the blade.
Fifth Panel:
Molly wielding a knife in each hand makes for the door of the Folly.
Sixth Panel:
Peter is stood between the door an her.
Peter: Whoa, whoa, whoa!
Night Witch 2 Pages 21 to 25
Page 21
First Panel:
Outside shot of the Folly. Nightingale is leaving with Toby.
Second Panel:
Toby and Nightingale are walking to the central park when they are stopped the curly haired Russian holding an tablet.
Curly haired: Inspector Nightingale?
Third Panel:
Looking from behind the Russian’s ear. The Russian is holding the tablet out to show Nightingale.
Curly haired: Do you understand what I am showing you?
Nightingale: Yes I do.
Curly hairedL Then you will follow my instructions precisely - understood?
Nightingale: Understood.
Fourth Panel:
The side of Toby’s head is in the foreground. He is watching Nightingale get in the back of a van at the curly haired Russian’s instruction.
Fifth Panel:
The van drives of leaving Toby sitting on the pavement.
Night Witch 2 Pages 16 to 20
Page 16
First Panel:
Lesley, Nestor, Semyon and Alek, the blond who lost an arm to Varvara, are meeting an underground car park.
Lesley: A Nigerian counterfeiting gang? That’s hilarious that is.
Nestor: I’m glad you find it funny.
Second Panel:
Focus closes in to look between Semyon and Nestor to Lesley.
Semyon: We came to you in good faith.
Lesley: And I gave you good advice.
Nestor: No -- you played a game with us, but we are Russian.
Third Panel:
Close up on Nestor’s intense face.
Nestor: We know all about games and when to stop playing.
Fourth Panel:
Close up on Lesley’s impassive mask.
Page 17
First Panel:
Focus pulls out to show them all and the car Alek is leaning on from behind and to the right of Lesley.
Lesley: I’ll make it simple. Nightingale is more than you could handle. You could take Peter as a hostage but he’s police. The police can’t let themselves be used as hostages - it’s policy. Nightingale wouldn’t negotiate for Peter.he’d just wade in and take you apart.
Second Panel:
The car behind Alek starts smoking from under the bonnet.
Lesley: But for a civilian like Beverley Brook. He might have just done what you wanted.
Third Panel:
The flames spring from the bonnet, Alek leaps back and Nestor turns to look at the car.
Alek: Блять! (Bljat'!)
Lesley: Had your people been any good at your jobs.
Fourth Panel:
Nestor pulls a gun and swings back to face Lesley.
Fifth Panel:
Looking from behind Nestor, Lesley has left.
Nestor: Damn!
Page 18
First Panel:
In the foreground Semyon and Nestor look forward to Lesley was. In the background Alek uses a fire extinguisher on the car.
Semyon: Nestor, are we getting soft?
Nestor: Wasn’t that the whole idea of coming here?
Semyon: You can have too much of a good thing.
Alek: Except vodka and women.
Second Panel:
The side of Alek is shown in the foreground with Nestor and Semyon looking at him.
Nestor: Suggestions?
Alek: Knock down the big guy first. Then the little guys will have to do what we want.
Third Panel:
Top down view of Semyon and Nestor:
Nestor: Do you remember the guy in Yakiminka district?
Semyon: The one with the family in Germany?
Nestor: You do remember.
Fourth Panel:
Close up on Nestor and Semyon’s faces.
Semyon: You want to try that scam again?
Nestor: He’s supposed to be an honourable man. That can be a weakness too.
Page 19
First Panel:
A London street in dark. looking towards a skyscraper.
Second Panel:
Lesley standing in front of a window on an upper floor. Her face is downturned.
Narrator: My dad says that some people are born with a gift. And it doesn’t come with a receipt. You can’t tae it back and you can’t give it away. And try as to might you can’t ignore it.
Third Panel:
Peter is sat on a stool in a laboratory using and optical microscope.
Narrator: It’s an itch you’ve go to scratch.
Fourth Panel:
Nightingale and Toby are walking in to the Folly through the front door.
Fifth Panel:
in the foreground Peter uses the microscope. In the background Nightingale leans on the door jam of the laboratory looking at him.
Narrator: Even if you draw blood.
Page 20
First Panel:
A stark white studio flat. Lesley is walking across the room to a coat stand while her phone rings.
Second Panel:
Focus pulls in to Lesley handing her coat up as she talks on the phone.
Lesley: Yeah?
Caller: How’d it go?
Lesley? I have no idea what they’re going to do next.
Third Panel:
In the foreground Lesley’s mask lies on a book, in the background she opens the fridge.
Caller: It doesn’t matter. People are unreliable. It’s hard to make them do what you want. The trick is to arrange things so that whatever they do, it works for you.
Fourth Panel:
Lesley closes the fridge door. a photo of her and Peter in uniform is hanging on the door.
Lesley: Whatever.
Caller: So how do you feel?
Lesley: How do I feel?
Fifth Panel:
Close up on the photo. Lesley’s face has been scrubbed out with red pen.
Lesley: I feel like somebody else.
Night Witch 2 Pages 11 to 15
Page 11
First Panel:
Beverley looks up frowning from her book as the sound effect ‘Tishhhh’ enters the frame.
Second Panel:
Focus tightens in on Beverley’s face. The sound effect “Thump” is repeated four times increasing in size each time.
Beverley: Who’s there?
Third Panel:
Seen from behind the men. The bathroom door is forced open with a crash to expose Beverley in the bath tub to just below the nipples.
Fourth Panel:
Peter is sat in front of a computer with a map of the South East on the screen and four points points highlighted. He’s holding a police notebook and on the desk his phone is ringing.
Narrator: Geographical Intelligence A.K.A knowing where shit’s happening is key-
Fifth Panel:
Focus switches to Peter’s face.
Peter: Hi, Bev, what’s up?
Beverley: Peter. Have you pissed off the Russian mafia recently?
Peter: Not that I know of. Why do you ask?
Page 12
First Panel:
Beverley is relaxing on a leather chair in a bathrobe and with her hair in a towel, Maxim is holding a pedibath that her feet are in, a man is giving her a manicure, one is vacuuming and another is washing up in the kitchen. There are full bin bags in the foreground.
Beverley: Oh.. No reason. Just a sec. Maksim - I think it’s time for the bubbles now.
Maksim: Yes, Miss Brook.
Beverley: Sorry, what were you saying, babes? That’s great, only I’ve got stuff to go do... Some.. Stuff. You know River stuff. So you might as well fo your Latin or whatever and we can go out tomorrow.
Page 13
First Panel:
Close up on Peter’s face.
Peter: Okay - laters.
Second Panel:
Peter has put the phone down.
Peter: Latin? Utinam!*
*If only
Third Panel:
The focus pulls back to show Peter reading another Incident Book with a pen in his mouth.
County Practitioner Incident Book: Followed up on reports of a Green Man in Egerton Woods. I had hitherto considered them inoffensive spirits but...
Fourth Panel:
Peter is taking notes in his police notebook.
County Practitioner Incident Book: ... there have been recent reports that they have attempted to lure away local children.
Fifth Panel:
Nightingale is leaning against a tree holding a cup from a thermos and listening to his phone on speaker. Toby is poking his head around the tree from the other side.
Peter: According to the GPS, you should be right on top of the lair.
Nightingale: I believe I know where it is.
Page 14
First Panel:
Looking from behind Toby a small green humanoid creature wearing purple wellys, jeans, a white shirt and red jacket is running towards them. His face is covered in leaves that seem to a part of it.
Nightingale: Good evening. I don’t suppose you could care for a cup of tea.
Second Panel:
Close up of Peter’s face.
Nightingale: I doubt it is this particular individual. He doesn’t seem physically capable.
Peter: We should still inform Kent police. In fact we should have done that this morning.
Third Panel:
In the foreground is the side of Nightingale’s face. In the main panel Toby has knocked the creature to the ground and is licking its face.
Nightingale: I think I’ll finish interviewing our friend here and perhaps make a direct approach to the family first. There’s definitely something off kilter about this case.
Page 15
First Panel:
The four Russian’s are leaving Beverley’s without their balaclava’s on. The curly hair main is the lead with the blond and a man with a military cut even behind him and Maksim in the rear. Everyone else looks disturbed but Maksim is smiling.
Curly haired man: We never speak of this again.
Military cut: But what are we going to tell the boss?
Curly haired: We tell him that she was something...
Second Panel:
Close up on Maksim’s smiling face.
Maksim: An angel.
Third Panel:
The other three men look back at him looking confused. In the background is their car.
Fourth Panel:
The men get in the car:
Curly haired: We’ll say she was working with a... um...
Military cut: Nigerian counterfeiting gang?
Fifth Panel:
Only the curl haired man is still standing outside the car.
Curly haired: Nigerian counterfeiting gang. She had connections and we decided we didn’t want complications.
Maksim: The boss is not going to be happy.
Night Witch 2 Pages 6 to 10
Page 6
First Panel:
Nightingale and Toby are walking through a forest. Over head the sound effect ‘Thwop, thwop, thwop, thwop, thwop’ is written.
Second Panel:
Focus closes on the side of Nightingale’s face looking up at the sky. Overhead a helicopter passes by.
Third Panel:
The helicopter is shown landing on a private helipad outside a large Georgian style house with large gardens surrounded by a tall brick wall.
Fourth Panel:
The helicopter is framed in a circle, Ludmila and the pilot have disembarked.
Off-screen speaker: Now if I were a kidnapper...
Fifth Panel:
Nightingale is shown perched in a tree looking through binoculars.
Nightingale: Where would I breach the perimeter?
Sixth Panel:
Looking thought Nightingale’s binoculars an isolated part of the grounds is shown, the forest is tight to the wall and the only thing of interest is a outbuilding.
Nightingale: Over there?
Page 7
First Panel:
Toby and Nightingale are walking along a 6-foot chain length fence with ‘Private Property’ notices on it. Nightingale is pointing to the bottom on the fence where the ground has recently been dug up
Nightingale: See here?
Second Panel:
Focus tightens on the fence, it can be seen that one chain link panel is newer than shinier than it’s neighbours.
Nightingale: Brand new. They didn’t waste any time repairing it.
Third Panel:
Nightingale is crouched near the turned ground and Toby is sniffing the disturbed dirt.
Nightingale: Interesting... Not what I was expecting at all.
Fourth Panel:
Nightingale’s face is in the foreground, he has turned to the reader. In the background Toby is peeing on the fence.
Nightingale: Still, this must be where they got in and out. What do you thing Toby? Into the garden or back out into the woods?
Fifth Panel:
The back of Toby’s head is in the foreground. Nightingale is standing with and looking at Toby.
Toby: Rowf.
Nightingale: Well, of course, Peter would expect us to get a warrant to search the garden.
Sixth Panel:
Nightingale and Toby’s backs can be seen walking away from the reader in to the woods.
Nightingale: He can be very particular that way. I wonder if he’s uncovered anything useful.
Page 8
First Panel:
In sketchy greyscale, a old fashioned gentleman holding a burning torch is facing an angry Lethy.
County Practitioner Incident Book 1: September 23rd, Was called to a Gypsy camp near Sutton Valance after reports that a village child had gone missing the day before. the leader of the camp P---, who is know to me, swore that none known to him had taken the child but he had intelligence that a mullo which is what his people call a
County Practitioner Incident Book 2: called out night Jan 6th by victor who is missing a child of his parish terrible vest. of the most fearsome nature V said that some claimed that they saw a green man at the church bounds after service have set out with Liam and his hound to see
County Practitioner Incident Book 3: A wretched morning spent scouring the woods for Caroline Lancaster who has been missing for two weeks. A native of Stepney she has arrived with her family in late June for the hop picking. The county police were of the opinion
Narrator: Back in the good old days when men were men, wizards were gentlemen and servants didn’t sneak up behind you and scare you shitless... Every county in Britain had its very own wizard know as the CP, or county practitioner. It was their job to deal with any magical ‘problems’ that were beyond the ken of the mundane authorities.
Second Panel:
Peter is siting in the library reading an incident book for the county of Kent.
Narrator: And they wrote all these incidents down and sent them to the Folly who, in a remarkable display of classic British efficiency, utterly failed to cross reference them. Or as far as I can see arrange them in any logical order whatsoever.
Third Panel:
Peter is looking up shocked. Molly is standing behind him with one eyebrow raised.
Fourth Panel:
Peter has turned his face to look at Molly. Molly is smiling.
Peter: What?
Page 9
First Panel:
Beverley is walking through a garden away from the river in a wetsuit holding a swimming cap.
Beverley: Hey, babes, what happened to your phone?
Second Panel:
Peter is standing in the Folly entrance hall on a landline phone with a rotary dial.
Peter: It was off. I was doing experiments and forgot to turn it back on.
Third Panel:
Beverley is opening a door.
Beverley: You coming over tonight?
Peter: I wish. Got to go- somebody at the door.
Fourth Panel:
Peter is stood outside the doo talking to a man in a UPS uniform holding a clipboard out to Peter:
Delivery guy: Aaron Costello?
Peter: Let me see the address? It’s the other side of the square.
Delivery guy: Cheers, mate.
Fifth Panel:
The man in a delivery uniform is waking away from the Folly and talking in to a bluetooth earpiece. Seen from the front his uniform is the right colour but missing a name tag and the normal branding.
Delivery guy: The boyfriend is confirmed at Russell Square.
Sixth Panel:
Back in the black car parked near Beverley’s. The driver is holding a phone. There is a blond man in the driver’s side back seat and a curly haired man in the front passenger seat.
From the phone: You’re good to go.
Front Passenger: Let’s hope this job goes better than the last one.
Page 10
First Panel:
Beverley is in a bathroom running a bath with her wetsuit stripped to her waist.
Second Panel:
The men are pulling their balaclavas down. The driver is Maksim from his panda balaclava.
Front Passenger: Do you have to wear that?
Maksim: What’s wrong with it?
Front Passenger: It makes us look unprofessional.
Maksim: Do you have a spare?
Front Passenger: No.
Maksim: Then this is what I’m wearing.
Third Panel:
Beverley is in the bath tub reading a book.
Fourth Panel:
Four men exit the car.
Fifth Panel:
Focus is tight on Beverley and her book ‘The Atmospheric Chemist’s Companion’.
Sixth Panel:
The men force the front door open.
Night Witch 2 Pages 1 to 5
Page 1
First Panel:
Lesley is in the foreground facing the reader and away from Ludmila, Nestor and Semyon who stand behind her. In the background a pagoda can be seen against the sunset.
Lesley: You were right to come to us. The Special Assessment Unit won’t help you. Inspector Nightingale has his own agenda.
Second Panel:
The focus closes on Ludmila, Nestor and Semyon.
Ludmila: I told you that we should deal with this ourselves.
Nestor: Hush. Can you help us?
Third Panel:
Focus is tight on Lesley’s white mask covered face.
Lesley: Not directly. But we can help you manage the situation.
Fourth Panel:
From between Ludmila and Nestor looking directly at Lesley’s head and shoulders with the Millennium Bridge behind her and the sides of Ludmila and Nestor’s faces framing her.
Nestor: Manage?
Lesley: We can help you put pressure on Inspector Nightingale.
Nestor: And what do you get out of this?
Lesley: That’s our business.
Fifth Panel:
Lesley turns away from them to face the river.
Nestor: And how do we get to this Nightingale?
Lesley: Through his apprentice.
Nestor: And how do we get to him?
Lesley: The same way you get to anyone.
Sixth Panel:
Beverley is asleep in bed with the frame showing only her head and shoulders.
Lesley: You just need to find their weak spot. And give it a good squeeze.
Page 2
First Panel:
In a bedroom that is strewn with dirty clothes. Beverley is a asleep in the bed with her torso covered by a duvet. Peter is siting on the side of the bed naked.
Narrator: Crashing at Bev’s has its pros and cons. Pro? You wake up with Beverley.
Second Panel:
Peter, still naked, is walking thorough an office/living room that is partially unpacked and littered with rubbish.
Narrator: Con? You have to get up ridiculously early in the morning to make it to work on time.
Third Panel:
Peter is poring filter coffee in to a much is a similarly messy kitchen.
Narrator: And you have to make your coffee in a kitchen owned by someone for whom housework is something that happens to other people.
Fourth Panel:
In the foreground Beverley’s sleeping torso is shown, in the background Peter now dressed looks in to the bedroom.
Peter: Bye, Bev.
Beverley: Snfrgggle
Fifth Panel:
A street is shown with parked black four door car in the foreground. It looks still in the middle to the left side Peter can be seen getting in a silver car.
Sixth Panel:
Looking through the windscreen and driver’s side window past the driver Peter can be seen driving off. The driver is a greying white man.
Driver: Элвис покинул эдание (Jelvis pokinul jedanie)
Page 3
First Panel:
A naked bearded man with leaves growing out of him, wild eyes and an open mouth crouches threateningly in a forest.
Narrator: The Leshy. Леший (Leshij) ‘He of the Forest.’ Some say he’s an evil child-stealing wood demon, others believe he is merely temperamental. So far, so wikipedia.
Second Panel:
Narrator: I was hoping Varvara would know more.
Varvara and Peter are sat in an interview room. There is a recorder on the table between and Peter is digging through a white bag.
Varvara: They were what you would all genius loci - spirits of the forest. Very dangerous. Did you bring any vodka?
Peter: Are you sure you want it?
Varvara: Hand it over.
Third Panel:
Focus switches to look directly at Varvara over the table. She is drinking straight from the bottle.
Fourth Panel:
Varvara has put the bottle of vodka down but still holds it.
Varvara: I was still a child in 1943 and I’ve been English three times longer than I was Russian but all it takes is five minutes of conversation and a medal, and I revert to stereotype. God, I hate nostalgia.
Peter: The Leshy?
Fifth Panel:
Focus switches to look at the Varvara and Peter side on down to their knees. On the table is the vodka bottle, a box of Tampax and an unidentifiable box.
Varvara: The NKVD had special units of their own. Their job was to ‘mobilise the natural defences of the motherland against the fascists’. They used to goad the Leshy into a frenzy and then drive it towards the Germans. I never had direct dealings with it myself.
Page 4
First Panel:
It’s raining and the lighting is provided by fire. In the foreground a soldier hangs upside down from a tree. His left arm has been ripped off and blood is dripping into his helmet from his nose. He is starring ahead and his mouth is open like is screaming. Standing between tank tracks looking up at him is a Russian soldier. on the ground near the soldier are a leg and the head, torso and left arm of another soldier. Another soldier is hanging over a tree branch behind the Russian soldier. The tank responsible for the tracks is pushed into the same tree and on fire.
Varvara: I saw their handiwork, once or twice.
Peter: Really? Well, you may not have noticed but Kent is a long way from Russia.
Varvara: Then perhaps it is not the Leshy but something else - something local.
Second Panel:
Three wolves are running through a forest.
Varvara: It all used to be the same forest you know, when the channel was dry and the trees marched from St David’s to Vladivostok. The trees still remember that time.
Page 5
First Panel:
A wolf runs towards the reader.
Varvara: And so do the creatures that live amongst them.
Second Panel:
Close up on the wolf’s face, and partially open mouth.
Varvara: They still remember when it was them who had dominion.
Third Panel:
The wolf turns to leaves in the shape of a wolf amongst the trees.
Fourth Panel:
Toby is in a forest running happily.
Off-screen speaker: Here, boy!
Fifth Panel:
Nightingale is in the foreground wearing an old fashioned walking outfit and stood near the Jag. Toby is running towards him from the woods.
Nightingale: Find anything interesting?
Toby: Rowf.
Nightingale: Hmnn. Perhaps we should get a little closer.
Welcome to Brightlingsea
First Panel:
A beach scene is shown, on the left is a fenced area, in the centre is a beach shelter with two people sitting in it and to the right are a beach huts. Across the top is written ‘Welcome to Brightlingsea’.
Narrator: I’ve always hated it when people lie to me. It’s bad enough it when they’re doing it on purpose.
Second Panel:
The focus draws in on the beach shelter. One of the people sitting there is Peter. To his left is Lesley wearing a blue stripped hoodie, blue bandana over her mouth and nose, and dark glasses. Lesley is holding a tablet.
Narrator: But the worst kind of lies...
Lesley via tablet: What magic do magic can undo?
Peter: If you burn your hand with fire or electricity it’s still a burn.
Third Panel:
Focus closes in to just their heads and shoulders.
Narrator: ...Are the lies that they mistake for the truth.
Peter: You fix it with bandages and cream and stuff like that. You don’t use more electricity or more fire. You can’t just wish it away.
Night Witch 1 Pages 21 to 25
Page 21
First Page:
Close up of Peter and Nightingale’s faces.
Peter: The Faceless Man.
Narrator: Wanted for assault, murder and crimes against humanity. I’m not kidding about the crimes against humanity.
Second Panel:
In the shaft of the Skygarden’s central tower are Peter and Lesley.
Narrator: Spring 2013: Operation Tinker. Me and Lesley were investigating just why the Faceless Man was taking such an interest in a housing estate in south London. We tracked him through a series of shell companies to one called County Gard. We almost nicked him that day.
Third Panel:
From behind Ludmila and Nestor, the sides of their faces can be seen with Semyon driving in front.
Ludmila: No more outsiders.
Semyon: It’s the only way.
Nestor: I’ll set up the meeting.
Fourth Panel:
Lesley is shown tasing Peter.
Narrator: But things didn’t go to plan.
Third Panel:
Ludmila, Nestor and Semyon are walking down the banks of the Thames next to a park.
Ludmila: I don’t like it. I don’t like getting involved with this man.
Nestor: Don’t worry, he isn’t coming.
Semyon: He’s sending someone else.
Ludmila: Who?
Off-screen speaker: I hope I didn’t keep you waiting.
Page 22
Full page image of Lesley walking down the river bank towards them wearing a white face mask.
Lesley: Now let’s talk business.
Night Witch 1 Page 16 to 20
Page 16
First Panel:
From behind the couple, Varvara can be seen standing up holding the bouquet of flowers.
Varvara: I can’t help you. You have to go to the police.
Second Panel:
Looking at Varvara’s face. She’s frowning sadly into the roses, behind her the couple have stood and are angrily looking at her.
Ludmila: The police...
Varvara: Ask to speak to Inspector Nightingale of the Special Assessment Unit. They will be able to help you.
Third Panel:
The couple are walking out of the door which is held open by the guard.
Ludmila: Bitch.
Fourth Panel:
In a forest, six women in olive drab jackets and black skirts are stood in a line. In front of them is a woman in olive drab trousers and shirt.
Woman in front: Varvara Sidorovna, we want to freeze the fascist’s testicles to his rifle, not give him a nice refreshing spring bath. Do it again.
Varvara: Bitch.
Woman: I heard that.
Fifth Panel:
Close up on Varvara with her fist pulled back as if about to punch someone but her hand is glowing blue with blue snow flakes around it.
Woman: For that you can spend this evening cleaning the male officer’s latrines.
New woman off-screen: Oh shit.
Woman: Precisely.
Sixth Panel:
Varvara is seen in the visiting room with the guard behind her.
Varvara: I need to make a phone call.
Page 17
First Panel:
Nightingale is in a naturally lit room talking on his phone.
Narrator: Most cases get solved because someone somewhere can’t keep their mouth shut.
Nightingale: Just a moment. I’ll write that down.
Second Panel:
In a car, Ludmila and the brown haired man are in the back seats. Ludmila is holding a hand up to prevent the man from moving towards her.
Narrator: We call it information received.
Third Panel:
In the coach house Peter is using the computer with Nightingale stood behind him.
Narrator: And it don’t half make our jobs easier.
Fourth Panel:
Close up on the brown haired man.
Narrator: Nestor Ivanovich Yakunin.
Fifth Panel:
In sepia tone, a picture of a boy with messy curly hair and glasses smiling at the reader.
Narrator: Born 1971 in Maryina Roshcha, Moscow.
Sixth Panel:
A young man with aviator style glasses and brown hair hugging a old woman in a head scarf and coat in front of the Kremlin.
Narrator: Studied maths at university the first of his family to attend higher education.
Seventh Panel:
Three men standing on tank outside a soviet era building.
Narrator: Even as the old Soviet Union fell apart around him.
Eighth Panel:
Close up on the central man.
Narrator: But it’s an ill with that blows nobody any good.
Page 18
The page background is a 10000 Rouble note.
Narrator: October 1992, the Russian government gives every citizen vouchers that can be redeemed for shares in state-owned businesses. But most people are either too distracted or too desperate to realise their worth.
First Panel:
In front of a high rise building in the snow a man and a woman are standing.
Narrator: Instead they sell them for a tiny percentage of their face value in order to pay the rent or buy food, vodka and other necessities of life.
Second Panel:
Close up of the man and woman revealing that the man is Nestor Yakunin and he is handing over money for shares.
Narrator: Some people do realise the potential and end up owning bug chunks of the economy.
Third Panel:
Nestor is stood in front of a silver Mercedes.
Narrator: People like Nestor Ivanovich.
Fourth Panel:
The same man as stood on the tank is now stood in front of a podium.
Narrator: In 1995 Boris Yeltsin looks to solve his tiny cash flow problem by doing a deal with the nouveau riche that leads to vast tracts of Russia’s oil, gas and mining sectors being owned by a small group of oligarchs.
Fifth Panel:
A fat white man with brown hair is holding a briefcase in the air and grinning.
Narrator: Inspired by this rampant display of greed the British government hangs out the red light and unleashes the City of London to walk the streets for money... They don’t care if it’s wrong or right.
Page 19
First Panel:
Nestor and Semyon are siting in a leather booth with bottles of champagne in their hands and their arms around each other’s shoulders.
Narrator: Nestor Ivanovich repatriates vast sums of money out of Russia, with his security advisor Semyon Petrovich Zhidanov watching his back. Semyon is also from the Maryina Roshcha district of Moscow, also born in 1971.
Second Panel:
Through the windshield Semyon can be seen driving the car that Nestor and Ludmila are riding in.
Narrator: Met Intelligence thinks they might have been friends since school.
Third Panel:
Semyon is in the foreground smoking a cigarette. Through the door way two men are beating a third who is tied to a chair.
Narrator: Although Smeyon’s career path may have been somewhat different.
Fourth Panel:
In the coach house, Peter is looking at the computer screen while Moly is serving Nightingale tea.
Narrator: But the good times never last forever.
Fifth Panel:
In red tone, the head and torso of Valdimir Putin is shown.
Narrator: December 31st 1999 Yeltsin resigns and is replaced by Valdimir Vladimirovich Putin.
Sixth Panel:
Inside the Kremlin, group of men are milling around.
Narrator: Putin makes the oligarchs an offer they can’t refuse. Back him, pay their taxes and stay out of politics and they get to keep their ill-gotten gains. Or else...
Page 20
First Panel:
Two men in suits shaking hands.
Narrator: Some saw the way the wind was blowing.
Second Panel:
A man in a metal cage with two armed soldiers guarding it.
Narrator: Some did not.
Third Panel:
A woman in a fur hat is having her hand kissed by Nestor. In the background is a sign with the Union Jack on it and ‘Welcome to Britain’ written on it.
Fourth Panel:
Looking through the windshield Semyon is driving and Nestor and Ludmila are facing away from each other.
Semyon: Enough! I have an idea.
Fifth Panel:
Peter’s computer screen is shown with his face reflected in it. On the computer is database of Non-Executive Directorships. ‘Yakunin, Nestor Ivanovich’ is in the search bar and ‘County Gard Holdings’ is one of the companies shown.
Peter: Oh shit.
Sixth Panel:
Looking through the windshield to show Semyon, Nestor, and Ludmila.
Semyon: You’re going to have to call that guy.
Nestor: That’s not a good idea.
Semyon: But that guy knows all about... Black magic.
Ludmila: What guy?
Night Witch 1 Page 11 to 15
Page 11
First Panel:
The severed arm from earlier is now naked an lying on an autopsy table. It has three tattoos. One near his shoulder of a sailing boat, one near his elbow of a diamond with two diagonal lines and a circle in it, and a fancy chain around his wrist.
Off-screen speaker 1: Has anyone made the joke about him being “armless” yet?
Off-screen speaker 2: Everyone has made that joke.
Off-screen speaker 3: All right... The tattoo’s are interesting. I had to look some of them up. The band around his wrist usually means he spent his 18th birthday in prison. This boad either means he’s a roving thief or he’s good at escaping, and this is the logo for Spartak Moscow which is a bit inconsistent. None of them fresher than ten years.
Second Panel:
Focus pulls out to show Peter, Nightingale and an older red haired white man in a pathology lab.
Narrator: Dr Abdul Haqq Walid, Cryptopathologist.
Peter: So, not the Russian governement then.
Dr Walid: Not unless their dress code is slipping.
Third Panel:
Focus closes in on their faces.
Peter: So the question is what does the Russian mob want with our Varvara?
Nightingale: She has had rather a chequered past. The motive could relate to that. Revenge perhaps - or a past deal that went badly?
Fourth Panel:
The focus pulls out to look at them from diagonally across from Nightingale.
Peter: There’s something I want to know, though. If Varvara is pulling thermal energy out of the environment, where is it going?
Nightingale: Is that entirely relevant to the matter at hand?
Dr Walid: You could use an infrared camera and see if you can spot thermal bloom.
Fifth Panel:
Focus pulls in on Nightingale face palming.
Peter: It would have to at a distance or we’d lose the camera.
Dr Walid: But that’s the point -- it’s a test we can do from a distance.
Nightingale: Gentlemen.
Dr Walid: Do you think we can pick a camera up on Ebay?
Sixth Panel:
Nightingale has taken his hand off his face and is looking out the corner of his eye at Peter.
Nightingale: Gentlemen!
Dr Walid: ...
Nightingale: The Russians have a fearsome reptutation for violence and tenacity. I think we can expect their next step to be a dangerous escalation.
Page 12
First Panel:
A bouquet of pink roses against a white background.
Second Panel:
A brick and concrete building with a few trees surrounding it against a grey sky. In the fore ground is a sign pointing towards the building reading ‘H. M. Prison Holloway’.
Third Panel:
Ludmila and the brown haired man are standing in a doorway. The man is holding the bouquet of flowers.
Brown haired man: Varvara Sidorovna.
Fourth Panel:
The focus pulls out the show they are in a brightly coloured visitors room with Varvara and a black female guard. Varvara has taken the bouquet.
Brown haired man: I humbly apologise for any inconvenience we may have put you to. But I assure you we thought we had no choice.
Ludmila: Our daughter has been abducted.
Varvara: Please sit.
Fifth Panel:
Looking over the guards shoulder she is watching Varvara, Ludmila and the brown haired man sit in a group of chairs.
Man: Еще раз спасибо (Eshhe raz spasibo)
Ludmila: Вы должны нам помочь. (Vy dolzhny nam pomoch'.)
Sixth Panel:
Focus moves to look at them from the side excluding the guard.
Varvara: Surely this is a matter for the police?
Ludmila: Please Varvara Sidorovna. She was taken by a Leshy.
Varvara: ‘He of the Forest’ unlikly. Where did this happen?
Page 13
First Panel:
Seen from above the couple are leaning in towards Varvara.
Man: We have a place in Kent, near Canterbury.
Ludmila: She was taken from the garden.
Varvara: By a Leshy? In Kent? No fucking way.
Second Panel:
A young white girl with blond hair is playing with a hula hoop in a garden. She’s wearing a yellow top, purple skirt and blue ballet pumps.
Ludmila: I’m not lying.
Third Panel:
The focus closes in on the girl’s torso but with her in the foreground blurred and a group of trees behind her in focus.
Ludmila: It was a Leshy.
Fourth Panel:
The focus draws in between the trees to show a black shape with green glowing eyes between them.
Ludmila: I know the signs. the ‘true’ signs.
Page 14
First Panel:
Close up of Varvara’s face. She’s frowning slightly.
Varvara: How can you know these things?
Second Panel:
Close up on Ludmila’s face and hand. In her hand she is holding a golden medal.
Ludmila: My mother taught me.
Third Panel:
Close up on the golden medal. In the center is a stilted house between two trees with flowers beneath it. Around the medal is written ‘КОПАУНУ ОТЕЧЕСТ ВЕННОЙ ВОЙНЫ (KOPAUNU OTEChEST VENNOJ VOJNY)’
Ludmila: She was in the same regiment as you, Lieutenant.
Fourth Panel:
Close up of Varvara’s face, she looks shocked.
Varvara: What was her name?
Fifth Panel:
Close up of Ludmila’s face.
Ludmila: Anna Ivanovna Pavlenko.
Sixth Panel:
Close up on Varvara’s face.
Varvara: Anna Ivanovna.
Page 15
First Panel:
In sepia tone, five young women in military uniforms stand with Varvara in the centre.
Varvara: Anya.
Second Panel:
In normal colour the same five women are shown.
Varvara: Death to the fascists.
Woman in the top right: We are all going to die.
Woman to Varvara’s left: As long as we get laid first, I’ll die happy.
Third Panel:
The women have broken out of order now. the woman the top right is rolling her eyes. Varvara and the woman to her left have turned to face each other and the woman in the bottom left is looking up at them.
Varvara: Anya!
Anya: You can die a virgin if you like.
Fourth Panel:
Close up on Anya’s smiling face.
Anya: If the motherland wants me to die it can pony up a man first.
Fifth Panel:
Close up on Ludmila’s face. Looking at Anya and Ludmila side by side you can see they have the same eye, nose and jaw shape.
Ludmila: Can you help us, Varvara Sidorovna?
Night Witch 1 Page 6 to 10
Page 6
First Panel:
The white van is shown in the same place. The front is crumpled from the collision and there is a gaping hole in the side. It is taped off and surrounded by four people in white noddy suits, two crouched on the floor collecting evidence, Peter with his hood down walking across the scene and a figure kneeling on the roof of the van. Behind the police tape, Nightingale’s Jag is parked.
Occupant 1 of the Jag: And you’re sure they were Russian?
Occupant 2: Definitely, from Moscow by their accents. Although the one that spoke to me in English had had some education.
Second Panel:
Looking into the Jag from the drivers side window. Nightingale is seated in the drives seat with Varvara in the backseat behind him. Nightingale is looking back at her.
Varvara: We had an arrangement Thomas. I serve my time and you keep the Russian government off my back.
Nightingale: Are you sure they were official? They seemed somewhat disorganised to be the SVR*.
Narrator: Служба Внешней Развдки (Sluzhba Vneshnej Razvdki): Foreign Intelligence Service of the Russian Federation.
Third Panel:
Close up on Peter examining the hole in the side of the van.
Varvara, from off-screen: You watch too much TV.
Page 7
First Panel:
From behind Varvara. The sides of Nightingale and Varvara’s faces are seen and Nightingale’s eyes in the rear view mirror.
Varvara: They’re just thugs with power, same as they ever were.
Nightingale: Still, I would have expected at least a cursory attempt to repatriate you through diplomatic channels...
Second Panel:
Close up on Peter reading the note Maksim used.
Nightingale, from off-screen: Before they resorted to force.
Third Panel:
Close up on Varvara’s face.
Varvara: They might have been the hired help to maintain plausible deniability.
Nighitngale: Possibly. Still...
Fourth Panel:
Against a white background Peter crouches next to a east asian woman in a noddy suit who is collecting evidence.
Nightingale, off-screen: This feels more criminal than political.
Fifth Panel:
Looking up at Peter and the woman’s faces who are looking down at something.
Peter: Has anyone done the joke yet?
Woman: Yes. Twice.
Sixth Panel:
A severed arm is lying on the ground next to an evidence marker.
Peter: I wonder who this belongs to.
Page 8
First Panel:
In a kitchen. The Russian men from the back of the van, and other man and a woman are all in the room. Maksim, the brown haired man and the man who wasn’t in the back are stood around. The blond haired man is lying on the table and the woman is examining the stump of his arm.
Woman: If I told you that this man needed to go to a hospital would that make any difference?
Brown haired man: A hospital is unlikely. Just fo what you can.
Woman: Another three centimetres is going to have to come off.
Blond man: Fucking witch...
Second Panel:
The focus zooms out to show the house the kitchen is in from above. It’s part of a row of terrace houses with a busy road in front.
Woman: I beg your pardon?
One of the men: He’s not talking about you.
Woman: I don’t have any anaesthetics.
Third Panel:
Looking down on the man on the table and the woman and brown haired man looking down on him.
Brown-haired man: What about vodka?
Woman: You’re joking.
Blond man: That’s alright, Doc, I’ll save some for you. We can both get drunk together.
Fourth Panel:
Outside the kitchen the brown haired man is talking on the phone. Through the beaded curtain the other two men can be seen holding the blond man down while the woman works on him.
Brown haired man: No, she didn’t want to come. Perhaps she likes prison. I understand that it’s urgent. I don’t know. I’ll ask him.
Fifth Panel:
Same view in the background but the brown haired man has covered the microphone on his phone and turned to call back into the kitchen.
Brown haired man: Alek - you still alive?
Alek: Fuck!
Brown haired man: The boss wants to know if you’ve got any good ideas/
Alek: Flowers.
Brown haired man: Alek says flowers.
Page 9
First Panel:
A black helicopter without an markings is shown flying over the Thames.
Second Panel:
Inside the helicopter. A white man and woman in trench coats are sitting next to each other. The man is wearing glasses and his brown hair is greying at the temples. The woman has short blonde hair.
Woman: Tell him we’ll do anything.
Man: He already know that.
Third Panel:
The helicopter is coming in to land and is meet by a man in artfully blowing trench coat.
Narrator: Battersea Heliport. The rich and impatient use it for getting in and out of London in a hurry.
Fourth Panel:
Close up on the man meeting them. He is white, has black hair that is greying at the sided, a goatee that is grey at the chin and blue-grey eyes.
Fifth Panel:
The helicopter has landed and the woman and man have disembarked. The men have greeted each other with a hug leaving the woman standing near the helicopter.
Brown haired man: Syoma, thank you.
Black haired man: I wish I had better news.
Page 10
First Panel:
From behind the two men they are seen looking at the woman.
Black haired man: Ludmila Mikailovna.
Second Panel:
From over Ludmila’s shoulder the side of her face is seen and the two men.
Ludmila: Semyon Petrovich.
Semyon: We can talk in the car.
Third Panel:
A black SVU is seen from outside. Semyon is driving, the brown hair man is in the passenger seat and Ludmila is in the back.
Semyon: Aleksandr...
Brown haired man: How is Aleksandr?
Semyon: He’s been better. He thinks it might be advisable for you to talk to the ‘specialist’ directly.
Brown haired man: After what happened?
Semyon: He suggests you take flowers.
Fourth Panel:
Looking through the windshield at the brown haired man and Ludmila.
Brown haired man: Perhaps we should go to the police.
Ludmila: Don’t be stupid.
Fifth panel:
Looking at one of the bridges over the Thames along which the SVU is travelling.
Ludmila: What do the police know about witchcraft.