Form 02-B · First look briefing · Sample deck on file

Paddington 2

To buy Aunt Lucy the perfect birthday gift, a marmalade-loving bear is framed for stealing a pop-up book and must prove his innocence from inside prison.

Poster concept 12

Written by

Simon Farnaby and Paul King

Based on

Based on the Paddington Bear books by Michael Bond

Genre / Format

Family, Comedy Adventure · ~112 minutes (112 pages at roughly a page a minute)

Setting

Contemporary

Tone

warm whimsical family adventure

By the numbers

197

Scenes

Characters

Locations

Props

Exhibit A — Taglines

> A bear, a book, and a thousand coins behind his ear.

> The whole street turned on him. Then he made them tea.

> Some treasures fold flat. The best ones knock at the door.

Synopsis

In a London street of pastel houses, a small bear named Paddington has made himself the heart of Windsor Gardens, greeting every neighbour by name and carrying marmalade in his hat. Living with the Brown family, he sets his heart on one thing: a unique pop-up book of London in Mr Gruber's antique shop, the perfect hundredth-birthday present for Aunt Lucy back in Darkest Peru. He takes a job cleaning windows to save up, coin by coin, in a jar. Then the book is stolen, and Paddington, chasing the burglar through canals and over rooftops, is caught at the scene and arrested. Tried before a judge with a personal grudge and condemned by a charming faded actor's false testimony, he is sent to a vast Victorian prison and a kitchen run by the granite-faced bruiser Knuckles McGinty. As Paddington wins over hardened convicts with kindness and a single marmalade sandwich, the Browns turn detective on the outside, racing to uncover who really took the book, and why.

Themes

Kindness as a force that changes a place

Paddington's good manners are not decoration but the engine of the plot: a held door and a crustless sandwich melt Knuckles McGinty into a marmalade-making partner, and a dingy prison kitchen blossoms into a gingham tearoom as the inmates take up dessert recipes.

Looking for the good in everyone

The film's moral law, voiced in Henry's late speech about the bear who finds the good in people, is tested against a community that turns on Paddington the night he is led away in handcuffs, and proven when that same street pushes the Browns' stalled car back to life.

Reinvention versus being yourself

Three men wrestle with the same question. Jonathan hides his love of steam trains behind a cool "J-Dog" persona before reclaiming both his name and the throttle; Henry mourns his lost daredevil youth; and the vain actor Phoenix Buchanan, surrounded by mannequins of his old roles, would rather steal a fortune than admit how far he has fallen.

Found family and belonging

From the opening rescue of a cub on a Peruvian rope bridge to the falling-snow finale, the story measures love in who shows up: a birthday fund jar filling coin by coin, and a community that, given the choice, flies Aunt Lucy to London rather than chase the treasure.

Ordinary London made wondrous

Seen through Paddington's eyes, the city turns enchanted, never more so than when a pop-up book unfolds into a living paper London of buses and landmarks that he leads Aunt Lucy through. The same innocence frames Tower Bridge, St Paul's and Paddington Station as places of marvel rather than mere setting.

Scope at a Glance

197

Total scenes

Unique locations

Principal cast

Exterior scenes

Night shoots

VFX/FX scenes

Company moves

approx. 70-110 (the scene order switches location roughly 110 times across 41 distinct locations, with heavy returns to the prison, Windsor Gardens and the Browns' house)

Estimated shoot days

needs schedule pass — but on page count, scene count, 82 night scenes, 71 exteriors and a moving-train climax, plan for a long feature schedule well beyond a typical contained shoot

Complexity Read

The real pressure points are a CGI lead bear in nearly every scene, an underwater rescue and the multi-truck chase between two speeding steam trains, on top of trained animals (a ridden dog, a talking parrot), child performers, a swan wrangle, an improvised hot-air-balloon escape and 68 effects-heavy setups including the pop-up-book fantasy and a prison model that opens like a doll's house.

Atmosphere

This is a film built like the pop-up book at its centre: turn a page and a flat London springs into three dimensions, a paper bus rising off Portobello Road, St Paul's and Big Ben unfolding across a river of card. The whole picture wants that feeling, a world that is hand-made, slightly impossible, and lit so warmly you forget it could ever hurt you. Windsor Gardens is a street of pastel houses where a small bear rides from a moving bicycle onto a moving dustbin lorry to greet every neighbour by name, where sunlight pours into the Colonel's gloomy living room for the first time in years the instant his window is cleaned. The air is morning air, toothbrush-and-marmalade air, the comedy of two electric toothbrushes going up a nose before the teeth ever get brushed. Then the picture darkens without ever turning cruel. A bearded figure climbs through a second-floor window, smashes a glass case, and vanishes in a puff of smoke, leaving a little bear holding the evidence with his paws in the air. The film learns how to do dread in primary colours: a single red sock turning a wash of uniforms an ominous pink; a vast Victorian prison swept by searchlights, one tiny lit cell window among dozens; a tear falling in that cell as Paddington scrubs the line "I do hope they don't forget me" out of a letter he is too brave to send honest. The threat here is not violence, it is being forgotten, being left in the dark booth after the klaxon when nobody came to visit. What keeps it buoyant is appetite, literal and moral. Knuckles McGinty, a granite-faced bruiser with his name across his fists, melts under the Hard Stare and a marmalade sandwich into an eager partner squeezing oranges at machine-gun speed, and his confession of a strange warm tingle in his tum-tum is the film's whole thesis in one line. A dingy prison kitchen time-lapses into a sparkling temple of food; a grim canteen turns into a gingham tearoom of cake stands and china under a crochet banner reading "PRISON SWEET PRISON." Kindness is contagious and it redecorates. Even the villainy is theatrical and affectionate, a faded actor peeling off a false nose at a make-up mirror, surrounded by mannequins of his old roles, mistaking a dog-food commercial for the end of the world. A week later you remember the colours and the small impossible objects more than the plot: the round attic window where a bear sits gazing at the city he loves; the pop-up landmarks rising off the page in Gruber's shop; coins dropping one by one into a jar labelled "AUNT LUCY'S BIRTHDAY FUND"; a balloon stitched from prison tablecloths floating over the wall; green shoots bursting through a cell floor as the bars turn into rainforest trees; and at the very end, a door opening onto Aunt Lucy herself, standing in the falling snow.

Tonal Descriptors

01storybook02pastel-bright03warm-hearted04gently melancholic05slapstick-precise06hand-made07whimsical08tender09buoyant10twinkling11earnest12cosy-then-perilous

Reference Points

Wes Anderson's symmetrical doll's-house compositions

steal the cross-section reveal directly: the Warden's prison model swings open like a doll's house to show the escapees dropping through the floors.

Chaplin in Modern Times

the source itself invokes it for Paddington shimmying up the clock pendulum and riding the cogs; take the silent-comedy grammar where a body and a machine become one gag.

Pop-up and movable books (Lothar Meggendorfer, Robert Sabuda)

the literal aesthetic engine: a flat London that rises into paper architecture, the chrome of card folds and tabs.

The illuminated, hand-crafted miniature worlds of Aardman

for the tactile, model-made warmth of Jonathan's scale steam engine and the matchstick windmill, the sense that everything could be picked up and held.

British music-hall and pantomime tradition

Phoenix's whole register, and the parrot blurting "He's behind you!" as the villain appears on his balcony; play the villainy as theatre, not menace.

Searchlight prison-melodrama lighting (classic Ealing and 1930s jailhouse pictures)

for the one cold sequence: hard raking beams, barbed wire, a single warm cell window holding all the film's hope.

Music & Sound

The musical identity is symphonic and storybook, an orchestra that can pivot from a brass-bright street-life march to a single aching string line in the same breath. It should feel scored by hand and full of moving parts, like the mechanical monkey on its trapeze and the Van der Graaf generator in Gruber's shop. Two diegetic colours recur and earn their keep: a sad calypso jailhouse lament performed by a band of prisoners in striped uniforms when the little bear is first led up the prison staircase, and that same calypso band playing "Love Thy Neighbour" as the canteen fills with ecstatic eaters, the song carrying the entire prison-transformation montage from dingy kitchen to gingham tearoom. The fairground organ is the third sonic engine, its carved-letter notes literally a code, building toward the treasure box that opens on the moving train. The score should do its heaviest lifting in the quiet collapses, not the chases. Hold music sparse over the cell where Paddington scrubs out "I do hope they don't forget me," and over the empty visiting booth after the klaxon kills the lights. The lowest point asks for full lyrical swell as a tear falls and green creepers turn the prison bars into rainforest trees and Paddington sinks into Aunt Lucy's arms. Let the magical sweeping fantasy score carry the pop-up London sequence, where a paper city unfolds around the bear and Aunt Lucy, unembarrassed by its own bigness. When music stays out, let London and physical comedy speak. The whip and clatter of electric clippers and a ceiling fan spinning a bear around a barber's shop; the hiss of sprinklers drenching the marmalade; the distinctive horn of the dustbin lorry; a thunder crash on Knuckles' face announcing "Marmalade time"; the pips cutting off a phone-box goodbye a half-second before the telephone rings back. The funniest sound in the film is Paddington inside a plastic litter-bin sleeve muttering "just an ordinary bin" to a policeman who drops half a doughnut in him.

Soundtrack References

Paddington · 2014

Nick Urwin

the predecessor's own template of brass-led whimsy laced with a calypso strut and a tender orphan-bear undertow, the exact register to extend.

The Grand Budapest Hotel · 2014

Alexandre Desplat

for its clockwork, plucked, miniature-music-box propulsion that makes elaborate capers feel hand-built and toy-like.

Amélie · 2001

Yann Tiersen

the accordion-and-piano storybook warmth that finds melancholy hiding inside small everyday kindnesses.

Chitty Chitty Bang Bang · 1968

Irwin Kostal

borrow the unironic music-hall exuberance and the fairground-organ brightness for the Steam Fair and the runaway-train finale.

Color Palette

Marmalade Orange#E8770A

the bear's defining hue, from the jar smeared as "product" in the barber's shop to the sacks of oranges Knuckles eviscerates into bubbling marmalade in the prison kitchen.

Duffle Coat Blue#1F3B66

Paddington's coat and the deep dependable blue of belonging, carried through Mary's swimming lake and the murky river where she dives off the viaduct to save him.

Windsor Pastel Pink#F4C7C3

the storybook pink of the pastel houses on Windsor Gardens, turned ominous when a single red sock dyes the prison's locked uniforms a horrified pink.

Searchlight Slate#3C4654

the cold Victorian grey of the towering prison atrium and the grey striped uniform, the film's only true coldness, raked by searchlights and barbed wire.

Fairground Gold#F2B33D

the thousands of bulbs bursting alight across Kozlova's Steam Fair and the gold-and-diamond treasure that blossoms from the fairground organ on the climactic train.

Similar Moods

Paddington in Peru · 2024

the same bear, the same balance of hand-made wonder and gentle peril, the closest living relative in tone and craft.

The Grand Budapest Hotel · 2014

the storybook caper energy, the master-of-disguise antics, and the bittersweet warmth glowing under all the clockwork precision.

Babe · 1995

the same open-hearted faith that simple courtesy can disarm a hard world, told with comic innocence and a lump in the throat.

Singin' in the Rain · 1952

for the unembarrassed showbiz joy that lands the final gag, a vain performer finally happy with a captive audience and a number called "Rain on the Roof."

Scenes

1EXT

pp. 1-3

DARKEST PERU - A FEW BEARS YEARS AGO

rescue, tenderness

Lucy dives from a vine on a homemade rope bridge into the raging Amazon torrent to scoop a tiny bear cub from the brink of a waterfall.

Characters: LUCY, PASTUZO, PADDINGTON
Props: rope bridge; cup of tea; marmalade sandwich; red bush hat; binoculars; branch; trailing vines
Wardrobe: Pastuzo in a battered red bush hat
VFX/Stunts: Vine dive into raging river; cub clinging to branch over waterfall; Pastuzo yanked off bridge and clinging by one paw
Notes: Origin flashback establishing how Lucy and Pastuzo found baby Paddington; titles begin as the camera cranes to the London skyline.
Camera: Wide action shot, slight high angle following the dive
Lighting: Bright equatorial daylight, misting spray catching the sun
Mood: Tender peril

2EXT

DAY

pp. 3-3

WINDSOR GARDENS

belonging

An older, scruffier Paddington sits in a round attic window in a street of pastel homes, gazing out at the city he loves.

Characters: PADDINGTON
Props: red hat
Wardrobe: Paddington still wearing the same battered red hat
Notes: Paddington's letter to Aunt Lucy begins in V.O.
Camera: Wide low angle looking up at the attic window
Lighting: Soft mid-morning daylight
Mood: Quiet belonging

3INT

MORNING

pp. 3-4

PADDINGTON'S ATTIC ROOM

contentment

Paddington sets about his morning in his cosy attic room as his letter to the Home for Retired Bears continues.

Characters: PADDINGTON
Wardrobe: Standard
Notes: Attic room is part of the Browns' house.
Camera: Medium wide, eye level
Lighting: Warm low morning sun through the round window
Mood: Contented

4INT

MORNING

pp. 4-4

THE BROWNS' BATHROOM

comic innocence

Paddington cheerfully uses two electric toothbrushes in his ears and up his nose before finally brushing his teeth.

Characters: PADDINGTON
Props: two electric toothbrushes
Wardrobe: Standard
Notes: Browns' bathroom; part of the Browns' house.
Camera: Medium close-up, slightly low at basin height
Lighting: Crisp clean morning bathroom light
Mood: Comic innocence

5INT

MORNING

pp. 4-6

THE BROWNS' KITCHEN

warmth, banter

Amid the happy chaos of family breakfast, Mrs Bird magics a coin from behind Paddington's ear to prove he hasn't cleaned them.

Characters: PADDINGTON, JUDY, JONATHAN, MARY, HENRY, MRS BIRD
Props: Koslova's Steam Fair leaflet; pile of sandwiches; coin; hat
Wardrobe: Standard
Notes: Introduces the Steam Fair, Henry's midlife sensitivity and the coin gag that pays off later. Browns' kitchen; part of the Browns' house.
Camera: Wide ensemble shot across the table
Lighting: Warm sunlit kitchen
Mood: Warm banter

6EXT

MORNING

pp. 6-8

WINDSOR GARDENS

community joy

Paddington rides through his pastel street greeting every neighbour by name, leaping from bicycle to dustbin lorry as the community hums around him.

Characters: PADDINGTON, CYCLIST, DR JAFRI, COLONEL, MISS KITTS, PARROT, BIN MAN
Props: bicycle; sandwiches; newspaper; A-Z map of London
Wardrobe: Colonel in a dressing gown with a military moustache and stubble
VFX/Stunts: Paddington leaping between moving bicycle and dustbin lorry
Notes: Establishes the whole Windsor Gardens neighbourhood and Paddington's role in it. A colourful train carrying Kozlova's Steam Fair crosses a railway bridge.
Camera: Tracking wide shot following the leap
Lighting: Fresh golden morning sun
Mood: Community joy

7EXT

MORNING

pp. 7-8

SERPENTINE SWIMMING CLUB

yearning

Mary dives into the open lake, training to swim to France while Paddington's voiceover marvels at her ambition.

Characters: MARY
Wardrobe: Mary in swimming costume
VFX/Stunts: Open-water dive
Notes: Sets up Mary's channel-swim goal that pays off in the end credits.
Camera: Wide shot, low near the water line
Lighting: Soft cool dawn light, low mist
Mood: Yearning

pp. 7-8

CUTAWAY: VARIOUS MODES OF TRAVEL

whimsy

A quick cutaway riffs through boat, plane and train as alternatives to swimming the channel.

Characters: None
Wardrobe: Standard
Notes: Labelled scene 8A in the source. Brief illustrative cutaway.
Camera: Flat graphic insert, head-on
Lighting: Even flat illustration light
Mood: Whimsy

9INT

NIGHT

pp. 8-8

HENRY AND MARY'S BEDROOM

imagination

Mary's doodle of herself comes to life, an illustrated Mary climbing out of an airship window to dive into a sunken city below.

Characters: MARY, ILLUSTRATED MARY
Props: desk; drawing
Wardrobe: Standard
VFX/Stunts: Drawing comes to life / illustrated animation of Mary
Notes: Henry and Mary's bedroom; part of the Browns' house.
Camera: Push-in on the drawing coming alive
Lighting: Pool of lamplight, surrounding darkness
Mood: Imagination

10INT

DAY

pp. 8-8

JUDY'S BEDROOM

heartbreak, defiance

Judy slams down the telephone after defiantly informing Tony that he is the one being dumped.

Characters: JUDY
Props: telephone
Wardrobe: Standard
Notes: Judy's bedroom; part of the Browns' house.
Camera: Medium shot, slightly low to catch her resolve
Lighting: Flat overcast daylight
Mood: Defiant heartbreak

pp. 8-8

CUTAWAY: BLACK AND WHITE STOCK FOOTAGE OF NUNS

whimsy

Black-and-white stock footage of nuns illustrates Judy's brief impulse to take the veil.

Characters: None
Wardrobe: Standard
VFX/Stunts: Black and white stock footage insert
Notes: Brief comic cutaway in the family-introduction montage.
Camera: Locked-off archival wide
Lighting: High-contrast vintage monochrome
Mood: Whimsy

12INT

pp. 8-8

SCHOOL PRINTING ROOM - VARIOUS DAYS

pride

Judy proudly cranks out the first issue of The Portobello Express on an old school printing press as Paddington looks on.

Characters: JUDY, PADDINGTON
Props: printing press; The Portobello Express newspaper
Wardrobe: Standard
Notes: Establishes Judy's newspaper, a recurring plot engine.
Camera: Medium two-shot at the press
Lighting: Practical overhead workshop light
Mood: Pride

13INT

DAY

pp. 8-9

JONATHAN'S ROOM

secret enthusiasm

Paddington helps Jonathan add the finishing touches to a scale model steam engine on his bedroom floor.

Characters: PADDINGTON, JONATHAN
Props: scale model steam engine
Wardrobe: Standard
Notes: Jonathan's room; part of the Browns' house. Sets up Jonathan's hidden love of trains.
Camera: Low overhead three-quarter on the model
Lighting: Soft daylight from a side window
Mood: Secret enthusiasm

pp. 9-9

CUTAWAY: CHANGING LOOK BOOK

comic identity crisis

A flip-flap look book transforms Jonathan from his true self into J-Dog in ridiculous cyber-shades.

Characters: JONATHAN
Props: flip-flap look book; cyber-shades
Wardrobe: Jonathan in cyber-shades as 'J-Dog'
VFX/Stunts: Flip-book transition effect
Notes: Sets up the J-Dog persona resolved on the Pullman later.
Camera: Flat head-on graphic insert
Lighting: Even studio light
Mood: Comic transformation

15INT

DAY

pp. 9-9

JONATHAN'S ROOM

self-denial

Jonathan sadly shuts his beloved steam engine away in the cupboard to protect his cool new image.

Characters: JONATHAN
Props: steam engine; cupboard
Wardrobe: Standard
Notes: Jonathan's room; part of the Browns' house.
Camera: Medium shot over the boy's shoulder into the cupboard
Lighting: Bright room falling to cupboard shadow
Mood: Self-denial

16INT

DAY

pp. 9-9

LLOYDS OF LONDON

professional disappointment

Henry's hopeful face drops as a much younger man, Steve Visby, is named Head of Risk Analysis instead of him.

Characters: HENRY, C.E.O.
Wardrobe: Henry in business suit
Notes: Triggers Henry's 'Full Blown Midlife Crisis'.
Camera: Medium shot pushing slowly toward his face
Lighting: Cool even institutional light
Mood: Quiet disappointment

pp. 9-10

CUTAWAY: FOOD BLENDER, HAIR DYE

comic crisis

Quick cutaways of a food blender and hair dye chart Henry's midlife reinvention.

Characters: HENRY
Props: food blender; hair dye
Wardrobe: Standard
Notes: Labelled scene 16 in source heading; brief illustrative cutaway.
Camera: Flat product insert, head-on
Lighting: Bright high-key
Mood: Comic crisis

18INT

DAY

pp. 10-10

FITNESS STUDIO

comic humiliation

Among lycra-clad youngsters doing the splits, Henry attempts 'Chakrabatics' and collapses in a heap.

Characters: HENRY, CHAKRABATICS INSTRUCTOR
Wardrobe: Henry in lycra fitness gear
VFX/Stunts: Failed splits gag
Notes: Plants the Chakrabatics instructor's mantra that saves Henry on the train later.
Camera: Wide shot, the man central amid serene rows
Lighting: Bright flat studio light, mirror reflections
Mood: Comic humiliation

19EXT

DAY

pp. 10-11

PORTOBELLO ROAD MARKET

kindness

Paddington walks the bustling market greeting the traders and stops to feed Wolfie, a stray dog in an alley off Portobello Road.

Characters: PADDINGTON, MR BARNES, WOLFIE
Props: A-Z map; breakfast for Wolfie
Wardrobe: Standard
Notes: Establishes Wolfie. MR BARNES is the Bin Man named here.
Camera: Medium shot down the alley, market soft behind
Lighting: Dappled daylight, alley in shade
Mood: Kindness

20INT

DAY

pp. 11-13

GRUBER'S ANTIQUES

discovery, longing

Paddington opens an old book and a pop-up Tower Bridge unfolds, drawing the camera into an incredible paper world.

Characters: PADDINGTON, MR GRUBER
Props: pop-up book; Van der Graaf generator; mechanical monkey on a trapeze; wig and glasses; roller skates; list; coin
Wardrobe: Paddington briefly in a wig and glasses
VFX/Stunts: Pop-up book begins to come alive; Van der Graaf generator making fur stand on end
Notes: Introduces the pop-up book, the film's central object. Connects the book to Madame Kozlova.
Camera: Low push-in toward the unfolding book
Lighting: Warm dusty shop light pooling on the page
Mood: Discovery

21INT

pp. 13-14

POP-UP LONDON - DAY (FANTASY)

wonder, love

A three-dimensional Paddington leads Aunt Lucy through a living paper London, from a pop-up bus to St Paul's to Big Ben across the river.

Characters: PADDINGTON, AUNT LUCY, CONDUCTOR
Props: paper ship; pop-up bus; pop-up landmarks
Wardrobe: Standard
VFX/Stunts: Fully animated pop-up paper London fantasy sequence
Notes: Signature fantasy set-piece. Aunt Lucy imagined inside the book.
Camera: Sweeping wide tracking the two bears
Lighting: Magical soft glow, edges catching light like real paper
Mood: Wonder, love

22INT

DAY

pp. 14-15

GRUBER'S ANTIQUES

resolve

Paddington bangs his head hoping to dislodge more coins from his ear when he learns the unique pop-up book costs a thousand of them.

Characters: PADDINGTON, MR GRUBER
Props: pop-up book; coin; mechanical monkey; list
Wardrobe: Standard
Notes: Paddington resolves to get a job and buy the book; Gruber suggests minding the barber's shop.
Camera: Medium two-shot across the counter
Lighting: Warm interior shop light
Mood: Determined resolve

23EXT

DAY

pp. 15-15

BARBER'S SHOP

anticipation

Outside Giuseppe's smart shop, the barber heads off leaving Paddington alone in a borrowed barber's jacket.

Characters: PADDINGTON, GIUSEPPE
Props: broom; barber's jacket
Wardrobe: Paddington wearing a barber's jacket
Notes: MR GIUSEPPE is the barber shop owner.
Camera: Wide establishing on the shopfront
Lighting: Clean flat daylight
Mood: Eager anticipation

24INT

DAY

pp. 15-17

BARBER'S SHOP

comic disaster

Bound up in the flex of electric clippers, Paddington is whipped off his feet by the ceiling fan and spun around the shop at high speed.

Characters: PADDINGTON, CUSTOMER
Props: scissors; electric clippers; long flex; telephone; ceiling fan; barber's chair
Wardrobe: Curt customer with a magnificent mane of grey hair
VFX/Stunts: Slapstick clipper rampage; Paddington wound in flex and spun by ceiling fan
Notes: The customer here becomes the Judge at Paddington's trial.
Camera: Wide dynamic shot, slight upward tilt to the fan
Lighting: Bright clinical shop light
Mood: Comic disaster

25EXT

DAY

pp. 16-17

BARBER'S SHOP

comic timing

A mother reassures her nervous son outside just as Paddington is hurled from the fan and splats against the shop window.

Characters: PADDINGTON, MUM
Props: shop window
Wardrobe: Standard
VFX/Stunts: Paddington hurled into the window glass
Notes: MUM and her son Nelson are passers-by.
Camera: Medium shot framing the window with figures foreground
Lighting: Flat clean daylight
Mood: Comic timing

26INT

DAY

pp. 17-18

BARBER'S SHOP

escalating chaos

Paddington smears marmalade over the customer's accidental bald patch as 'product', then licks it off just as the sprinklers drench the shop.

Characters: PADDINGTON, CUSTOMER, BARBER
Props: jar of marmalade; barber's chair; mirror; smoke alarm; sprinklers
Wardrobe: Standard
VFX/Stunts: Sprinkler system soaking the whole shop; smoking ceiling fan
Notes: BARBER is Mr Giuseppe returning. Marmalade evidence planted that resurfaces at the trial. CUT TO.
Camera: Medium shot, water spray catching the lens
Lighting: Backlit sprinkler mist, smoky haze
Mood: Escalating chaos

27EXT

DUSK

pp. 18-23

KOSLOVA'S STEAM FAIR

introduction, charm

Charismatic actor Phoenix Buchanan pulls a lever with Paddington and thousands of light bulbs burst into life across the magnificent old steam fair.

Characters: PADDINGTON, HENRY, JUDY, MARY, JONATHAN, MRS BIRD, PHOENIX, CYBER-KID
Props: toffee apple; fairground organ; Kozlova's banner; lever
Wardrobe: Standard
VFX/Stunts: Fairground organ and rides bursting into illuminated life
Notes: Introduces antagonist PHOENIX BUCHANAN and his interest in the pop-up book; he plants the 'start at the bottom of the ladder' idea that inspires Paddington's window-cleaning job.
Camera: Wide hero shot, slight low angle to the rides
Lighting: Dusk turning to blazing fairground bulb-light
Mood: Charm, spectacle

28EXT

DAY

pp. 22-23

WINDSOR GARDENS

comic mishap

A rope-and-bucket physics gag goes wrong and Paddington is hauled three storeys up the building as the bucket plummets, then crowned by it as it lands.

Characters: PADDINGTON
Props: telescopic ladder; collapsible bucket; soap; rope; flowerpot; drainpipe
Wardrobe: Standard
VFX/Stunts: Counterweight bucket-and-rope rig hoisting Paddington up the building
Notes: Telescopic ladder pays off on the train climax.
Camera: Wide vertical composition, ground to roofline
Lighting: Bright clear daylight
Mood: Comic mishap

29INT

MORNING

pp. 23-24

DR JAFRI'S HOME OFFICE

comic recovery

Paddington uses his own soapy fur as a chamois, buffing Dr Jafri's French windows to a sparkle with his belly and back.

Characters: PADDINGTON, DR JAFRI
Props: French windows; soap; bucket
Wardrobe: Standard
VFX/Stunts: Paddington bumping into French windows, bucket flying off
Notes: Wins Dr Jafri's window-cleaning custom; part of Dr Jafri's house.
Camera: Medium shot from inside, bear against the glass
Lighting: Bright morning backlight through the windows
Mood: Comic recovery

30INT

DAY

pp. 24-24

PADDINGTON'S ATTIC ROOM

hope

Paddington drops his first earnings into a huge jar labelled 'AUNT LUCY'S BIRTHDAY FUND'.

Characters: PADDINGTON
Props: huge jar; coins; birthday fund label
Wardrobe: Standard
Notes: Attic room; part of the Browns' house.
Camera: Medium close-up, low at jar height
Lighting: Warm daylight through the round window
Mood: Hope

31EXT

pp. 24-24

WINDSOR GARDENS - DAY (MONTAGE)

diligence

A time-lapse of Paddington cleaning every window on the street ends at the Colonel's, where he resolves to clean them anyway.

Characters: PADDINGTON, COLONEL
Props: ladder; bucket
Wardrobe: Standard
VFX/Stunts: Time-lapse montage
Notes: Colonel is heard off-screen (O.S.).
Camera: Wide time-lapse composition down the street
Lighting: Bright daylight, montage feel
Mood: Diligence

32INT

DAY

pp. 24-25

COLONEL'S HOUSE

connection

Sunlight washes into the Colonel's gloomy living room for the first time in years, and across the street he and Miss Kitts begin a tender mimed flirtation.

Characters: COLONEL, MISS KITTS, MR CURRY
Props: tea; window; hi-viz jacket; megaphone
Wardrobe: Mr Curry in a hi-viz jacket and hat with a megaphone on his belt
Notes: Introduces MR CURRY as the self-appointed Community Defence Force; seeds the Colonel/Miss Kitts romance.
Camera: Medium wide, the light shaft leading the eye to the window
Lighting: Single dramatic shaft of sunlight in a dark room
Mood: Tender connection

33INT

pp. 25-25

PADDINGTON'S ATTIC ROOM - VARIOUS DAYS (MONTAGE)

perseverance

Jump cuts show coins steadily filling the huge birthday-fund jar across many different days.

Characters: PADDINGTON
Props: huge jar; coins
Wardrobe: Standard
VFX/Stunts: Jump-cut montage
Notes: Attic room; part of the Browns' house.
Camera: Locked-off medium on the jar, montage cuts
Lighting: Shifting daylight across the days
Mood: Perseverance

34EXT

pp. 25-25

VARIOUS STREETS - VARIOUS DAYS

triumphant montage

Pull back to reveal Paddington dangling from a gondola cleaning the entire glass face of the Shard while a calypso band plays inside.

Characters: PADDINGTON, HENRY, BIN MAN, CYCLIST
Props: squeegee; scuba gear; window-cleaning gondola
Wardrobe: Paddington in scuba gear cleaning an aquarium
VFX/Stunts: High-rise window cleaning on the Shard
Notes: Window-cleaning job montage across London. Calypso band recurs in prison.
Camera: Extreme wide crane pull-back, high above the city
Lighting: Bright daylight on reflective glass
Mood: Triumphant montage

35EXT

NIGHT

pp. 25-26

GRUBER'S ANTIQUES

alarm

Hearing breaking glass, Paddington spots a shadowy bearded figure climbing through a second-floor window of Gruber's shop.

Characters: PADDINGTON, THIEF
Props: pop-up book in glass case; ladder
Wardrobe: Bearded thief disguise
Notes: The robbery begins; THIEF is Phoenix in disguise.
Camera: Low wide angle looking up at the window
Lighting: Cold moonlight and one warm streetlamp
Mood: Alarm

36INT

NIGHT

pp. 26-26

GRUBER'S ANTIQUES

theft

The thief smashes the display case and snatches the pop-up book.

Characters: THIEF
Props: display case; pop-up book
Wardrobe: Standard
VFX/Stunts: Smashing glass display case
Notes: None
Camera: Tight medium on the case as it breaks
Lighting: Low blue night light, glints on glass
Mood: Theft

37INT

CONTINUOUS

pp. 26-26

MR GRUBER'S UPSTAIRS WORKSHOP

pursuit

Paddington tumbles through the window into the workshop just as the burglar alarm shrieks and the thief bursts out the front door with the book.

Characters: PADDINGTON
Props: burglar alarm; pop-up book
Wardrobe: Standard
Notes: Gruber's upstairs workshop; part of Gruber's Antiques.
Camera: Wide handheld feel, slight dutch tilt
Lighting: Blue night punctuated by red strobing alarm
Mood: Pursuit

38INT

NIGHT

pp. 26-27

GRUBER'S ANTIQUES

desperation

Paddington careers down the stairs and out of the shop yelling for the thief to come back with the book.

Characters: PADDINGTON
Wardrobe: Standard
Notes: None
Camera: Wide tracking shot following the run
Lighting: Dim interior, brighter doorway ahead
Mood: Desperation

39EXT

NIGHT

pp. 27-27

PORTOBELLO ROAD

rising danger

A police car swings into the top of Portobello Road as Paddington bolts down it after the thief.

Characters: PADDINGTON
Props: police car
Wardrobe: Standard
Notes: None
Camera: Long lens down the street, compressing depth
Lighting: Night, cold blue police flashes
Mood: Rising danger

40INT

NIGHT

pp. 27-27

POLICE CAR

mistaken identity

A serious-minded policewoman radios in a robbery in progress, describing the suspect as a small bear in a red hat and duffle coat.

Characters: POLICEWOMAN
Props: police radio
Wardrobe: Standard
Notes: The Policewoman who arrests Paddington recurs at the police station.
Camera: Tight profile in the front seat
Lighting: Radio-glow and intermittent street light
Mood: Grim procedure

41EXT

NIGHT

pp. 27-27

PORTOBELLO ROAD / ALLEY

chase

Paddington chases the thief down a dark alley towards the canal.

Characters: PADDINGTON, THIEF
Wardrobe: Standard
Notes: Alley off Portobello Road.
Camera: Wide compressed shot down the alley
Lighting: Deep night, faint canal glow ahead
Mood: Chase

42EXT

NIGHT

pp. 27-27

CANAL TOWPATH

ingenuity

On the towpath Paddington sees the thief steal a bicycle off a canal boat and cycle away, so he whistles sharply for help.

Characters: PADDINGTON, THIEF
Props: bicycle; canal boat
Wardrobe: Standard
Notes: None
Camera: Wide along the towpath, water to one side
Lighting: Cool moonlight on water
Mood: Ingenuity

43EXT

NIGHT

pp. 27-27

ALLEYWAY

loyalty

Wolfie pricks up his ears at Paddington's whistle and bolts to the rescue.

Characters: WOLFIE
Wardrobe: Standard
Notes: Alley off the market.
Camera: Low medium shot as the dog launches forward
Lighting: Night, one distant warm lamp
Mood: Loyalty

44EXT

NIGHT

pp. 27-28

CANAL TOWPATH

absurd heroics

Paddington bursts from the undergrowth of a canal island dangling from the legs of an enraged swan, astounding the thief into crashing his bike into the water.

Characters: PADDINGTON, THIEF, WOLFIE
Props: bicycle; pop-up book in pannier; boat roof
Wardrobe: Standard
VFX/Stunts: Paddington riding Wolfie like a horse; leaping boats and an island; hanging from a flying swan
Notes: Canal chase set-piece.
Camera: Sweeping wide tracking the swan over the water
Lighting: Moonlight, white swan luminous against dark
Mood: Absurd heroics

45EXT

NIGHT

pp. 28-29

WINDSOR SQUARE

framed

Cornered by sirens, the thief vanishes in a puff of smoke, leaving Paddington alone with the broken case as the policewoman orders his paws in the air.

Characters: PADDINGTON, THIEF, WOLFIE, POLICEWOMAN
Props: pop-up book
Wardrobe: Standard
VFX/Stunts: Thief disappearing in a puff of smoke
Notes: Windsor Square is part of the Windsor Gardens neighbourhood by the kiosk. Mirrors the magician's vanishing trick.
Camera: Wide, the bear isolated mid-square
Lighting: Pulsing blue police light, drifting smoke
Mood: Framed

46EXT

pp. 29-30

WINDSOR GARDENS - MOMENTS LATER

humiliation, injustice

Neighbours come to their windows as the handcuffed little bear, head hung in shame, is led up the street and bundled into a police van.

Characters: PADDINGTON, POLICEWOMAN, MARY, HENRY, POLICEMAN, MRS BIRD, MR CURRY
Props: handcuffs; police van
Wardrobe: Paddington in handcuffs
Notes: Mr Curry gloats; the community turns against Paddington.
Camera: Slow tracking medium following the walk to the van
Lighting: Night, warm window light versus cold street
Mood: Injustice, humiliation

47INT

NIGHT

pp. 30-31

ATTIC ROOM

revelation

The bearded thief peels off his nose, eyebrows, beard and wig at a theatrical make-up mirror to reveal Phoenix Buchanan, surrounded by mannequins of his old roles.

Characters: THIEF, PHOENIX
Props: make-up mirror; false nose and beard; wig; Hamlet mannequin; costumed mannequins; pop-up book
Wardrobe: Mannequins dressed as Phoenix's famous characters
Notes: Reveals Phoenix is the thief and his motive: clues hidden in the book. References his accomplice 'Magwich'. Phoenix's attic; part of Phoenix's house.
Camera: Medium close-up into the mirror lights
Lighting: Warm vanity-bulb glow, dark surround
Mood: Revelation

NIGHT

pp. 31-31

CUTAWAY: INT. ARISTOCRATIC DINING ROOM

comic degradation

A silver cloche lifts to reveal a gilt dog-food bowl, and we pull out to find Phoenix demeaning himself in a full dog suit to camera.

Characters: PHOENIX, BUTLER
Props: silver cloche; gilt dog food bowl; dog suit; fork
Wardrobe: Phoenix in a dog suit
Notes: Harley's Gourmet Dog Food commercial cutaway underscoring Phoenix's fallen status.
Camera: Pull-back reveal from the bowl to the wide table
Lighting: Glossy high-key commercial lighting
Mood: Comic degradation

49EXT

DAY

pp. 32-32

COURTROOM

foreboding

Various legal types stride towards the imposing courtroom building.

Characters: None
Wardrobe: Standard
Notes: Establishing shot.
Camera: Low wide establishing on the facade
Lighting: Flat overcast daylight
Mood: Foreboding

50INT

DAY

pp. 32-34

COURTROOM

injustice, despair

Paddington's hope collapses as the judge proves to be the very barber-shop customer he disfigured, and Phoenix calmly perjures himself on the stand.

Characters: PADDINGTON, CLERK OF COURT, JUDGE, MR GRUBER, PROSECUTOR, FORENSIC INVESTIGATOR, PHOENIX, MRS BIRD
Props: jar of marmalade; plan of Gruber's Antiques; pencil drawing of the thief
Wardrobe: Standard
Notes: Marmalade and barber-shop callbacks pay off; Phoenix's false testimony condemns Paddington. MATCH CUT TO.
Camera: Low angle from the dock up to bench and witness box
Lighting: Cool high windows, the bear caught in a hard shaft
Mood: Despair

51INT

NIGHT

pp. 35-35

PRISON ATRIUM

dread

Sad calypso music plays as the little bear in a grey striped uniform is led up the staircase of the towering prison atrium.

Characters: PADDINGTON, WARDEN, CALYPSO BAND
Props: rolled blanket; barred door; prison uniform
Wardrobe: Paddington in a grey striped prison uniform and hat
Notes: Establishes the prison and the Warden. Prison atrium; part of the prison.
Camera: High wide angle down the atrium stairwell
Lighting: Cold institutional light, one warm band-lit corner
Mood: Dread

52INT

NIGHT

pp. 35-36

PADDINGTON'S PRISON CELL

loneliness, brave face

The camera pulls back from Paddington's tiny lit cell window to reveal it as one of dozens in a vast, imposing Victorian prison swept by searchlights.

Characters: PADDINGTON
Props: letter to Aunt Lucy; pipe under the window
Wardrobe: Standard
VFX/Stunts: Searchlight and barbed-wire reveal
Notes: Paddington writes a hopeful letter masking the truth. Cell; part of the prison.
Camera: Slow crane pull-back from window to whole prison facade
Lighting: Cold night, single warm cell window, searchlight sweeps
Mood: Loneliness

53INT

pp. 36-36

KITCHEN - NIGHT (MONTAGE)

determination

Mary pins her drawing of the thief to a cork board, beginning what will become her crime wall.

Characters: MARY
Props: cork board; drawing of the thief
Wardrobe: Standard
Notes: Browns' kitchen; part of the Browns' house.
Camera: Medium over-the-shoulder onto the board
Lighting: Single warm lamp in a dark kitchen
Mood: Determination

54INT

pp. 36-36

LAW LIBRARY - NIGHT (MONTAGE)

weary resolve

Henry sits exhausted amid towering stacks of law text books.

Characters: HENRY
Props: law text books
Wardrobe: Standard
Notes: None
Camera: Wide, the man small among the stacks
Lighting: Single desk lamp, surrounding darkness
Mood: Weary resolve

55INT

pp. 36-36

SCHOOL PRINTING ROOM - NIGHT (MONTAGE)

campaign

Judy runs off a new edition of her newspaper on the printing press.

Characters: JUDY
Props: printing press; newspaper
Wardrobe: Standard
Notes: None
Camera: Medium at the press
Lighting: Single bare bulb over the machine
Mood: Campaign

56INT

pp. 36-36

JONATHAN'S ROOM - NIGHT (MONTAGE)

loyalty

Jonathan tacks up a 'Have you seen this man?' poster of the thief.

Characters: JONATHAN
Props: wanted poster
Wardrobe: Standard
Notes: Jonathan's room; part of the Browns' house.
Camera: Medium over the shoulder onto the wall
Lighting: Warm desk lamp, dark surround
Mood: Loyalty

57INT

pp. 36-36

THE BROWNS' HALLWAY - NIGHT (MONTAGE)

comic study

Using a washing-up brush as a wand, Mrs Bird makes a turnip vanish and looks around amazed.

Characters: MRS BIRD
Props: book 'Vanishing Acts and How to Do Them'; washing-up brush; turnip
Wardrobe: Standard
VFX/Stunts: Turnip vanishing trick
Notes: Browns' hallway; part of the Browns' house.
Camera: Medium shot, slight comic emphasis on her hands
Lighting: Soft warm hallway lamp
Mood: Comic study

58INT

NIGHT

pp. 36-37

PADDINGTON'S CELL

suppressed fear

Eyes full of tears, Paddington scrubs out the line 'I do hope they don't forget me' and pulls himself together.

Characters: PADDINGTON
Props: letter to Aunt Lucy
Wardrobe: Standard
Notes: Cell; part of the prison.
Camera: Close-up on the bear's composed-through-tears face
Lighting: Cold barred-window light, soft fill
Mood: Suppressed fear

59EXT

NIGHT

pp. 37-37

TOWER BRIDGE

intrigue

The iconic Tower Bridge stands silhouetted against the night sky.

Characters: None
Wardrobe: Standard
Notes: Establishing the first clue location.
Camera: Wide low establishing across the river
Lighting: Night, faint amber rim-light on the towers
Mood: Intrigue

60INT

NIGHT

pp. 37-37

NORTH TOWER, TOWER BRIDGE

stealth

Among royal suits of armour, one suit silently lifts its visor to reveal Phoenix, who clanks from the room once the guard has gone.

Characters: PHOENIX, SECURITY GUARD
Props: royal suits of armour; Gothic window
Wardrobe: Phoenix disguised inside a suit of armour
Notes: North tower; part of Tower Bridge.
Camera: Medium on the armour as the visor opens
Lighting: Cold blue with a warm glint on the eyes
Mood: Stealth

61EXT

NIGHT

pp. 37-37

TOWER BRIDGE

the hunt begins

Still in armour above the swirling Thames, Phoenix finds the letter 'D' carved into the back of the coat of arms.

Characters: PHOENIX
Props: suit of armour; coat of arms; carved letter D
Wardrobe: Phoenix in a suit of armour on the walkway
VFX/Stunts: Climbing the elevated walkway above the bridge
Notes: First clue letter of the organ code.
Camera: Tight on the carving, wide drop visible behind
Lighting: Night, faint walkway lamps, glint on armour
Mood: The hunt begins

62INT

MORNING

pp. 37-38

PRISON ATRIUM

comic menace

At morning roll call Paddington cheerily offers to start a gardening club and is met by tattooed T-Bone's threat to bury him in a very deep hole.

Characters: PADDINGTON, WARDEN, T-BONE
Wardrobe: Tattooed prisoner T-Bone
Notes: Assigns Paddington to laundry duty. Atrium; part of the prison.
Camera: Low medium on the bear and the towering prisoner
Lighting: Cool grey morning light through high windows
Mood: Comic menace

63INT

DAY

pp. 38-39

PRISON LAUNDRY

dawning disaster

Paddington watches in horror as a single red sock turns the locked uniforms wash an ominous pink, the door handle snapping off in his paw.

Characters: PADDINGTON
Props: industrial washing machines; single red sock; door handle
Wardrobe: Standard
VFX/Stunts: Avalanche of clothes from the laundry hatch
Notes: Sets up the pink uniforms gag. Laundry; part of the prison.
Camera: Medium close on the machine door and the bear
Lighting: Cold fluorescent laundry light
Mood: Dawning disaster

64INT

DAY

pp. 39-44

PRISON CANTEEN

terror turning to alliance

After bonking the granite-faced chef with a baguette and squirting condiments on his apron, Paddington saves himself by pushing a marmalade sandwich into Knuckles' mouth.

Characters: PADDINGTON, T-BONE, PHIBS, SPOON, FARMER JACK, THE PROFESSOR, CHARLEY RUMBLE, KNUCKLES, WARDEN
Props: pink uniforms; disgusting slop; matchstick windmill model; rolling pin; baguette; ketchup; mustard; marmalade sandwich
Wardrobe: Prisoners in bright pink uniforms; Knuckles in a striped chef's apron and hat
VFX/Stunts: Knuckles snapping a rolling pin in two
Notes: Introduces the prison gang and KNUCKLES McGINTY; the marmalade pact that drives the second half. Canteen; part of the prison.
Camera: Medium on the bear feeding the looming cook
Lighting: Hard canteen overheads
Mood: Terror to truce

65INT

DAY

pp. 44-45

GRUBER'S ANTIQUES

deduction

As Mr Gruber recounts the robbery, an animation of Mary's illustrated thief replays grabbing the book and choosing it over jewels.

Characters: MARY, MR GRUBER
Props: wanted poster; notepad and pen; illustration of the thief
Wardrobe: Standard
VFX/Stunts: Animated illustration of the thief acting out the robbery
Notes: Mary realises the thief specifically wanted the book.
Camera: Medium two-shot with animated overlay above
Lighting: Warm daytime shop light
Mood: Deduction

66EXT

NIGHT

pp. 45-46

KOSLOVA'S STEAM FAIR

myth, intrigue

Colourful fortune-teller Madame Kozlova leads the Browns toward the Spiegeltent, the camera pushing inside to the 1930s.

Characters: MARY, HENRY, MADAME KOZLOVA
Props: Spiegeltent
Wardrobe: Madame Kozlova in colourful Russian fairground dress
Notes: Introduces MADAME KOZLOVA and frames the flashback story of the fortune.
Camera: Tracking push-in following them to the tent
Lighting: Warm fairground bulbs against night
Mood: Myth, intrigue

67INT

pp. 46-46

SPIEGELTENT - NIGHT (FLASHBACK)

glamour, envy

The Flying Swan performs on the trapeze to showers of flowers and a tossed diamond necklace, while a jealous magician watches from the wings.

Characters: MADAME KOZLOVA, RICH MAN, MAGICIAN
Props: trapeze; flowers; diamond necklace; fur cape
Wardrobe: Great-grandmother Kozlova in trapeze costume; magician in stage costume
VFX/Stunts: Trapeze performance
Notes: Period flashback; great-grandmother Kozlova is the original Flying Swan. The magician is Phoenix's grandfather.
Camera: Low wide up to the trapeze, magician in foreground shadow
Lighting: Warm 1930s stage spotlight, smoky air
Mood: Glamour and envy

68INT

pp. 46-46

SPIEGELTENT - LATER THAT NIGHT (FLASHBACK)

treachery

Alone in the empty Spiegeltent, the magician files through the trapeze ropes.

Characters: MAGICIAN
Props: trapeze ropes; file
Wardrobe: Standard
Notes: Flashback. Spiegeltent same location, later time.
Camera: Tight on the hands and rope, figure in shadow
Lighting: Cold moon-shaft in a dark tent
Mood: Treachery

69INT

pp. 46-46

SPIEGELTENT - THE NEXT NIGHT (FLASHBACK)

tragedy, betrayal

The rope snaps mid-act and the Flying Swan plummets to the floor; the magician kneels in fake concern and slips the key chain from her neck.

Characters: MADAME KOZLOVA, MAGICIAN
Props: trapeze rope; key chain
Wardrobe: Standard
VFX/Stunts: Trapeze fall
Notes: Flashback.
Camera: Wide catching the fall, then the kneeling theft
Lighting: Stage spotlight, shadows pooling below
Mood: Tragedy and betrayal

70EXT

pp. 46-46

MADAME KOZLOVA'S CARAVAN - NIGHT (FLASHBACK)

pursuit of treasure

The magician darts up the steps into the painted fairground wagon.

Characters: MAGICIAN
Props: painted caravan
Wardrobe: Standard
Notes: Flashback exterior of the caravan.
Camera: Wide on the caravan, figure ascending the steps
Lighting: Night, warm caravan window glow
Mood: Pursuit of treasure

71INT

pp. 46-47

MADAME KOZLOVA'S CARAVAN - NIGHT (FLASHBACK)

mystery

Cornered after finding only a pop-up book in the strong box, the magician vanishes in a puff of smoke, leaving the book behind.

Characters: MAGICIAN, STAGE HAND, POLICEMEN
Props: strong box; key; pop-up book 'Twelve Landmarks of London'
Wardrobe: Standard
VFX/Stunts: Magician disappearing in a puff of smoke
Notes: Reveals the book as the key to the hidden fortune; mirrors Phoenix's vanishing trick. End of flashback.
Camera: Medium on the box, doorway figures behind
Lighting: Warm caravan lamplight, drifting smoke
Mood: Mystery

72INT

NIGHT

pp. 47-49

HENRY AND MARY'S BEDROOM

marital tension, nostalgia

Henry, in a blue face mask, imagines his younger 'Bullseye Brown' self knocking over three coconuts at a fairground shy.

Characters: MARY, HENRY, YOUNG HENRY, YOUNG MARY
Props: blue face mask; mirror; wanted poster; coconut shy
Wardrobe: Henry in a blue face mask
Notes: Mary's treasure-map theory; Henry's lost 'Bullseye' confidence sets up the climax coconut throw. Bedroom; part of the Browns' house.
Camera: Medium, present man foreground with daydream overlay
Lighting: Cool bedroom lamp, warm daydream glow
Mood: Nostalgia

73INT

NIGHT

pp. 49-49

PHOENIX'S ATTIC ROOM

scheming

Phoenix readies a new disguise at his make-up mirror beneath an old photograph of the magician, the pop-up book open at St Paul's.

Characters: PHOENIX
Props: make-up mirror; old photograph of the magician; pop-up book
Wardrobe: Standard
Notes: Confirms the magician was Phoenix's grandfather. MATCH CUT TO. Attic; part of Phoenix's house.
Camera: Medium into the mirror, photo above frame
Lighting: Warm vanity bulbs, surrounding shadow
Mood: Scheming

74EXT

NIGHT

pp. 49-49

ST. PAUL'S CATHEDRAL

infiltration

A flock of nuns processes up the cathedral steps, Phoenix's voiceover introducing 'Sister Agatha'.

Characters: PHOENIX
Wardrobe: Nuns' habits
Notes: None
Camera: Wide low angle up the steps to the portico
Lighting: Night floodlight on pale stone
Mood: Infiltration

75INT

NIGHT

pp. 49-49

ST. PAUL'S CATHEDRAL

stealth

Disguised in a nun's habit, Phoenix ducks from the procession into a staircase, his habit blacking out the camera.

Characters: PHOENIX
Props: nun's habit
Wardrobe: Phoenix disguised as a nun
Notes: None
Camera: Medium, habit swinging into and obscuring the lens
Lighting: Faint cathedral night-glow
Mood: Stealth

76INT

NIGHT

pp. 49-49

PADDINGTON'S CELL

comic jolt

Paddington opens his eyes to find Knuckles inches from his nose announcing 'Marmalade time' as thunder crashes.

Characters: PADDINGTON, KNUCKLES
Wardrobe: Standard
Notes: Cell; part of the prison.
Camera: Tight two-shot, faces almost touching
Lighting: Lightning flash through the bars
Mood: Comic jolt

77INT

NIGHT

pp. 50-51

PRISON CANTEEN

wary banter

Paddington politely holds the kitchen door for a suspicious Knuckles, who decides being let ahead makes Paddington a sap.

Characters: PADDINGTON, KNUCKLES
Props: kitchen door
Wardrobe: Standard
Notes: Canteen; part of the prison.
Camera: Medium at the doorway, both figures in frame
Lighting: Dim canteen, warm light from the kitchen beyond
Mood: Wary banter

78INT

CONTINUOUS

pp. 51-54

PRISON KITCHEN

unlikely friendship

Paddington's calming Hard Stare brings Knuckles out in a cold sweat, melting the bruiser into an eager marmalade-making partner with his knife-handed orange squeezers.

Characters: PADDINGTON, KNUCKLES
Props: sacks of oranges; striped apron; chef's hat; prison newspaper 'The Hard Times'; knives; sugar; cinnamon; chilli; lemon; bubbling marmalade
Wardrobe: Paddington in striped apron and chef's hat
VFX/Stunts: Knuckles eviscerating orange peels at machine-gun speed
Notes: The Hard Stare and marmalade bonding scene. Kitchen; part of the prison.
Camera: Medium two-shot, low to catch the upward stare
Lighting: Warm steamy kitchen practicals
Mood: Unlikely friendship

79EXT

MORNING

pp. 54-55

ST. PAUL'S CATHEDRAL

investigation

Judy, Jonathan and Mary slip in behind a tour group as the guide introduces Wren's great cathedral.

Characters: JUDY, JONATHAN, MARY, TOUR GUIDE
Wardrobe: Standard
Notes: None
Camera: Medium wide, family at the group's edge
Lighting: Crisp morning daylight
Mood: Investigation

80INT

MORNING

pp. 55-56

ST. PAUL'S CATHEDRAL

lead

Beside a taped-off crime scene of a smashed statue, the smitten security guard insists the real culprit, a beautiful nun, slipped the net.

Characters: JUDY, JONATHAN, MARY, TOUR GUIDE, SECURITY GUARD
Props: taped-off crime scene; smashed statue
Wardrobe: A hundred nuns held in a chapel
Notes: Security guard described as the Sleazy Guard from the first film; sets up his flashback testimony.
Camera: Medium group shot at the cordon
Lighting: Soft cathedral daylight from high windows
Mood: Comic lead

81INT

pp. 55-56

ST. PAUL'S CATHEDRAL - FLASHBACK

suspicion

From the top of the dome the guard watches a nun break from the herd and head for the Whispering Gallery.

Characters: SECURITY GUARD, PHOENIX
Wardrobe: Phoenix as a nun
Notes: Security guard's flashback POV.
Camera: Extreme high angle down into the nave
Lighting: Dim night cathedral, scattered pools of light
Mood: Suspicion

82INT

pp. 56-56

ST. PAUL'S CATHEDRAL / GEOMETRIC STAIRCASE - FLASHBACK

urgency

Phoenix races up the spiralling geometric staircase.

Characters: PHOENIX
Props: geometric staircase
Wardrobe: Standard
Notes: Flashback. Geometric staircase; part of St Paul's.
Camera: Top-down or low spiral shot emphasising the helix
Lighting: Dim night, soft stone glow
Mood: Urgency

83INT

pp. 56-56

ST. PAUL'S CATHEDRAL / WHISPERING GALLERY - FLASHBACK

discovery, destruction

Phoenix finds the letter 'A' between an angel's wings, then swings down on the loosened rod, toppling the statue to smash into a thousand pieces.

Characters: PHOENIX, SECURITY GUARD
Props: angel statue; carved letter A; securing rod
Wardrobe: Standard
VFX/Stunts: Statue toppling and smashing
Notes: Second clue letter 'A'. Whispering Gallery; part of St Paul's.
Camera: Wide on the gallery catching statue and figure
Lighting: Dim night dome-light
Mood: Discovery, destruction

84INT

pp. 56-57

ST PAUL'S CATHEDRAL / GEOMETRIC STAIRCASE - FLASHBACK

quick-change escape

Pulling off his nun's habit on the way down, Phoenix transforms into a decrepit old archbishop by the time he reaches the bottom.

Characters: PHOENIX
Props: nun's habit; archbishop costume
Wardrobe: Phoenix transforming from nun to archbishop
VFX/Stunts: On-the-move costume change
Notes: Flashback. Staircase; part of St Paul's.
Camera: Spiral descent shot following the change
Lighting: Dim night stairwell light
Mood: Quick-change escape

85INT

pp. 57-57

ST. PAUL'S CATHEDRAL / WHISPERING GALLERY - FLASHBACK

comic incompetence

The security guard ambles off in supposedly lightning pursuit of the vanished nun.

Characters: SECURITY GUARD
Wardrobe: Standard
Notes: Flashback. Whispering Gallery; part of St Paul's.
Camera: Wide along the curved gallery
Lighting: Dim night dome-light
Mood: Comic incompetence

86EXT

pp. 57-57

ST. PAUL'S CATHEDRAL - FLASHBACK

clean getaway

Disguised as the archbishop, Phoenix bids the guards good evening and disappears into the night unchallenged.

Characters: PHOENIX, GUARD
Props: archbishop costume
Wardrobe: Phoenix as archbishop
Notes: End of flashback.
Camera: Medium wide on the steps, guards and archbishop
Lighting: Night floodlight on stone
Mood: Clean getaway

87INT

DAY

pp. 57-57

ST. PAUL'S CATHEDRAL

comic devotion

The wistful guard offers to describe the most beautiful woman he's seen in years as Mary pulls a pencil from her hair.

Characters: SECURITY GUARD, MARY
Props: pencil
Wardrobe: Standard
Notes: Back to present; Mary gathers her identikit material.
Camera: Medium two-shot
Lighting: Soft daylight from clerestory windows
Mood: Comic devotion

88INT

MORNING

pp. 57-58

PRISON CANTEEN

anticipation

Paddington grandly announces Chef McGinty's crustless marmalade sandwich to a silent, sceptical canteen as Knuckles barks 'take it or leave it'.

Characters: PADDINGTON, KNUCKLES
Props: marmalade sandwiches; serving hatch
Wardrobe: Standard
Notes: Canteen; part of the prison.
Camera: Medium at the hatch facing the room
Lighting: Flat morning canteen light
Mood: Anticipation

89INT

MORNING

pp. 58-59

PRISON KITCHEN

vulnerability

Convinced the prisoners hated his food, Knuckles flies into a pan-throwing rage about never amounting to anything before Paddington opens the hatch.

Characters: PADDINGTON, KNUCKLES
Props: pans; serving hatch
Wardrobe: Standard
Notes: Kitchen; part of the prison.
Camera: Medium catching the thrown pan and the cook
Lighting: Warm kitchen practicals
Mood: Vulnerability

90INT

CONTINUOUS

pp. 59-60

PRISON CANTEEN

pride, belonging

The prisoners make ecstatic noises over the best food in years, and a proud Knuckles confesses to a strange warm tingle in his tum-tum.

Characters: PADDINGTON, KNUCKLES, PHIBS, SPOON, THE PROFESSOR, CHARLEY RUMBLE, T-BONE
Props: marmalade sandwiches
Wardrobe: Standard
Notes: Other prisoners volunteer dessert recipes; launches the prison-transformation montage. Canteen; part of the prison.
Camera: Wide canteen, push toward the cook's face
Lighting: Warming canteen light
Mood: Pride, belonging

91INT

pp. 60-61

PRISON KITCHEN - MORNING (MONTAGE)

transformation

In time-lapse the dingy kitchen blossoms into a sparkling temple of food thronging with prisoner chefs as Paddington wheels a dessert trolley through it.

Characters: PADDINGTON, SPOON, KNUCKLES
Props: dessert trolley; chocolate roulade; enormous cake; petit fours
Wardrobe: Standard
VFX/Stunts: Time-lapse set transformation
Notes: Kitchen; part of the prison.
Camera: Tracking with the trolley through the kitchen
Lighting: Warm bright kitchen glow
Mood: Transformation

92INT

pp. 61-61

PRISON CANTEEN - DAY (MONTAGE)

delight

The grim canteen turns into a genteel tearoom of gingham, cake stands and china as the Professor levers an entire slice onto a cake fork.

Characters: PADDINGTON, THE PROFESSOR, WARDEN
Props: red gingham tablecloths; cake stands; china tea sets; cake fork
Wardrobe: Standard
VFX/Stunts: Time-lapse set transformation
Notes: Canteen; part of the prison.
Camera: Medium on the prisoner and his giant cake slice
Lighting: Soft warm tearoom light
Mood: Delight

93INT

pp. 61-61

CLOCK - DUSK (MONTAGE)

passage of time

The camera sweeps past the swinging pendulum of the great prison clock as hours whizz by.

Characters: None
Props: clock pendulum
Wardrobe: Standard
VFX/Stunts: Time-lapse through clock mechanism
Notes: Prison clock interior; part of the prison.
Camera: Sweeping move past the pendulum and cogs
Lighting: Warm glints on brass in shadow
Mood: Passage of time

94INT

pp. 61-62

PRISON ATRIUM - DUSK TO NIGHT (MONTAGE)

homeliness

Welcome mats, hanging baskets and fairy lights bloom across the atrium as prisoners raise a giant crochet banner reading 'PRISON SWEET PRISON'.

Characters: None
Props: welcome mats; hanging baskets; bunting; fairy lights; crochet banner
Wardrobe: Standard
VFX/Stunts: Time-lapse set transformation
Notes: Atrium; part of the prison.
Camera: Wide up the atrium catching the banner
Lighting: Warm fairy lights against cool iron
Mood: Homeliness

95INT

NIGHT

pp. 62-62

WARDEN'S OFFICE

cosy authority

From his office atop the clock tower, beside a model of the prison, the Warden reads a bedtime story to the inmates over the tannoy.

Characters: WARDEN
Props: model of the prison; microphone; bedtime story book
Wardrobe: Standard
Notes: Warden's model of the prison pays off in the escape. Office; part of the prison.
Camera: Medium, model prominent in foreground
Lighting: Warm single desk lamp
Mood: Cosy authority

96INT

NIGHT

pp. 62-62

PADDINGTON'S PRISON CELL

hope

Hearing over the tannoy that tomorrow is visiting day, Paddington gazes at the photo of himself with the Browns and hopes for good news.

Characters: PADDINGTON, WARDEN
Props: photograph of Paddington with the Browns
Wardrobe: Standard
Notes: Warden heard O.S. via tannoy. Cell; part of the prison.
Camera: Close-up over the bear's shoulder onto the photo
Lighting: Cold cell light, soft warm fill on the bear's face
Mood: Hope

97INT

DAY

pp. 62-66

PRISON VISITING ROOM

comic embarrassment

A whole rogues' gallery of grinning prisoners crowds into the visiting window beside Paddington as Henry insults them with the microphone, not the light, still switched on.

Characters: PADDINGTON, MARY, JUDY, JONATHAN, HENRY, MRS BIRD, KNUCKLES, PHIBS, SPOON, JIMMY THE SNITCH, T-BONE, THE PROFESSOR, SQUEAKY PETE, DOUBLE BASS BOB, FARMER JACK, MAD DOG, SIR GEOFFREY, JOHNNY CASHPOINT, CHARLEY RUMBLE
Props: visiting booth glass; speaker; microphone; newspaper sketches
Wardrobe: Standard
Notes: Knuckles tells the Browns the suspects look more like a fancy-dress party than a gang, hinting it is one man. Visiting room; part of the prison.
Camera: Wide from the visitor side through the glass
Lighting: Flat institutional daylight
Mood: Comic embarrassment

98EXT

MORNING

pp. 66-68

WINDSOR SQUARE

absence, foreboding

As the first snow whirls, the neighbourhood frays without Paddington until the parrot Feathers blurts 'He's behind you!' and Phoenix appears on his balcony.

Characters: MARY, CYCLIST, DR JAFRI, MR CURRY, BINMAN, MISS KITTS, COLONEL, FEATHERS, PHOENIX
Props: newspapers; A-Z atlas
Wardrobe: Standard
Notes: Shows the street without Paddington; FEATHERS the parrot names Phoenix. Windsor Square is part of Windsor Gardens.
Camera: Wide street shot, actor on balcony upper-frame
Lighting: Flat cold snow-light
Mood: Foreboding

99INT

DAY

pp. 68-70

PHOENIX'S LIVING ROOM

realisation

Phoenix lets slip the thief had 'dazzling blue eyes' from a pencil sketch, and Mary's identikit drawings flicker over his face as the penny drops.

Characters: MARY, PHOENIX
Props: portrait of Phoenix in a kilt; wanted poster sketch
Wardrobe: Portrait of Phoenix in a Highland kilt
VFX/Stunts: Identikit drawings flickering over Phoenix's face
Notes: Mary deduces Phoenix is the thief. Living room; part of Phoenix's house.
Camera: Medium on the actor's face with sketch overlay
Lighting: Warm opulent interior light
Mood: Realisation

100INT

DAY

pp. 70-72

BROWNS' KITCHEN

rallying

While Henry scoffs that an award-winning actor can't be a petty thief, Mrs Bird vows actors are the most devious people alive and promises a foolproof plan.

Characters: MARY, HENRY, JUDY, JONATHAN, MRS BIRD
Props: wanted posters
Wardrobe: Standard
Notes: Mrs Bird's plan sets up the hamper sting. Kitchen; part of the Browns' house.
Camera: Medium ensemble around the table
Lighting: Warm daylight kitchen
Mood: Rallying

101INT

NIGHT

pp. 72-73

PADDINGTON'S CELL

temptation, doubt

Through the cell pipe Knuckles proposes a four-man escape, and the warning that the Browns will forget him seeps into Paddington like poison.

Characters: PADDINGTON, KNUCKLES, SPOON, PHIBS
Props: pipes; vent
Wardrobe: Standard
Notes: Plants the escape plan and Paddington's fear of being forgotten. Cell; part of the prison.
Camera: Close-up on the bear listening at the pipe
Lighting: Cold cell light, deep shadow
Mood: Temptation, doubt

102EXT

MORNING

pp. 73-73

THEATRICAL AGENT'S OFFICE

scheme

Jonathan and Judy ring the buzzer of an office building carrying a basket of pastries for their cover story.

Characters: JONATHAN, JUDY
Props: basket of pastries
Wardrobe: Standard
Notes: None
Camera: Medium on the children at the door
Lighting: Soft cool morning daylight
Mood: Scheme

103INT

MORNING

pp. 73-74

THEATRICAL AGENT'S OFFICE

comic intel-gathering

Glamorous agent Flick Fanshawe gives the children two minutes only because they brought breakfast, praising their 'nice buns'.

Characters: JONATHAN, JUDY, FLICK
Props: dictaphones; Chelsea bun
Wardrobe: Standard
Notes: Introduces FLICK; children record her lines for the later phone sting.
Camera: Medium three-shot across the desk
Lighting: Warm office light
Mood: Comic intel-gathering

104EXT

DAY

pp. 74-74

WINDSOR SQUARE

infiltration

While Mrs Bird distracts the postman, Mary climbs into a huge Barkridge's hamper in the back of the van and closes the lid from inside.

Characters: MRS BIRD, POSTMAN, MARY
Props: postman's van; Barkridge's hamper
Wardrobe: Standard
Notes: POSTMAN named Marlon. Windsor Square is part of Windsor Gardens. Hamper addressed to Mr Buchanan.
Camera: Wide showing van front distraction and rear hamper
Lighting: Clear daylight
Mood: Infiltration

105INT

DAY

pp. 74-75

AGENT'S OFFICE

key clue

Flick reveals Phoenix won't work with others because he thinks they dilute his talent, then sweeps off to the Ritz with another bun.

Characters: JONATHAN, JUDY, FLICK
Props: basket of buns
Wardrobe: Standard
Notes: Confirms Phoenix works solo, supporting the one-man theory.
Camera: Medium following the agent toward the door
Lighting: Warm office light
Mood: Key clue

106EXT

DAY

pp. 75-75

WINDSOR GARDENS

the sting in motion

From a telephone box across the road, Mrs Bird watches Phoenix take delivery of Mary's hamper and dials the children.

Characters: POSTMAN, PHOENIX, MRS BIRD
Props: hamper; telephone box
Wardrobe: Standard
Notes: None
Camera: Wide linking phone box and doorstep
Lighting: Bright daylight
Mood: The sting in motion

107EXT

DAY

pp. 75-75

TELEPHONE BOX OUTSIDE AGENT

coordination

In a phone box near the agent, the children get Mrs Bird's call that the package has been delivered and start to dial Phoenix.

Characters: JONATHAN, JUDY, MRS BIRD
Props: telephone box
Wardrobe: Standard
Notes: Mrs Bird heard O.S.
Camera: Medium through the phone-box glass
Lighting: Daylight, slight reflection on glass
Mood: Coordination

108INT

MORNING

pp. 75-76

PHOENIX'S HALLWAY

near miss

About to delve into the straw-filled hamper, Phoenix is interrupted by a phone call from what he believes is his agent.

Characters: PHOENIX
Props: hamper; straw; telephone
Wardrobe: Standard
Notes: Hallway; part of Phoenix's house.
Camera: Medium on the actor over the hamper
Lighting: Soft morning hall light
Mood: Near miss

109INT

MORNING

pp. 76-76

PHONE BOX OUTSIDE AGENT

ingenious deception

Judy and Jonathan play spliced dictaphone clips of Flick's voice to fake a live conversation with Phoenix.

Characters: JONATHAN, JUDY
Props: dictaphones
Wardrobe: Standard
Notes: None
Camera: Tight on the dictaphones and the children's faces
Lighting: Soft morning daylight
Mood: Ingenious deception

110INT

MORNING

pp. 76-76

PHOENIX'S LIVING ROOM

vanity baited

Believing his agent is calling, Phoenix eagerly asks where to go for the big Broadway meeting.

Characters: PHOENIX
Props: telephone
Wardrobe: Standard
Notes: Living room; part of Phoenix's house.
Camera: Medium on the actor at the phone
Lighting: Warm morning light
Mood: Vanity baited

111INT

MORNING

pp. 76-76

PHONE BOX OUTSIDE AGENT

comic jeopardy

A tape recorder left running plays the wrong line, and the children panic that they have been rumbled.

Characters: JUDY, JONATHAN
Props: tape recorders
Wardrobe: Standard
Notes: None
Camera: Tight two-shot, alarmed faces
Lighting: Soft morning daylight
Mood: Comic jeopardy

112INT

MORNING

pp. 76-76

PHOENIX'S LIVING ROOM

suspicion

Phoenix asks 'I beg your pardon?' as the spliced tape throws off the conversation.

Characters: PHOENIX
Props: telephone
Wardrobe: Standard
Notes: Living room; part of Phoenix's house.
Camera: Close-up on the actor's suspicious face
Lighting: Warm morning light
Mood: Suspicion

113INT

MORNING

pp. 76-77

PHONE BOX OUTSIDE AGENT

quick save

Thinking fast, Jonathan presses a button so the tape gushes 'Really nice buns!' to smooth things over.

Characters: JONATHAN, JUDY
Props: dictaphones
Wardrobe: Standard
Notes: None
Camera: Tight on the boy's hand and face
Lighting: Soft morning daylight
Mood: Quick save

114INT

MORNING

pp. 77-77

PHOENIX'S LIVING ROOM

the trap springs

Flattered by the praise for 'Mr and Mrs Botty-cheek', Phoenix grabs his coat and leaves, and Mary rises silently from the straw of the hamper.

Characters: PHOENIX, MARY
Props: hamper; straw; coat
Wardrobe: Standard
Notes: Living room and hallway; part of Phoenix's house. Mary is now inside the house.
Camera: Wide catching both actor and rising woman
Lighting: Warm morning light
Mood: The trap springs

115INT

MORNING

pp. 77-77

HENRY AND MARY'S BATHROOM

alarm

Brushing his teeth, Henry glances along the gardens and is horrified to spot Mary inside Phoenix's living room.

Characters: HENRY, MARY
Props: toothbrush
Wardrobe: Henry in pyjamas
Notes: Bathroom; part of the Browns' house. Mary seen through the window in Phoenix's house.
Camera: Medium on the man at the window
Lighting: Bright morning light
Mood: Alarm

116INT

MORNING

pp. 77-78

PHOENIX'S LIVING ROOM

breakthrough

Mary uncovers pencil indentations reading 'Saturday 06:35 / Where All Your Dreams Come True' as Henry, in pyjamas, clambers in through the window.

Characters: MARY, HENRY
Props: used notepad; pencil; vase; Phoenix's paperwork
Wardrobe: Henry in pyjamas
Notes: Uncovers the time and clue that drive the climax. Living room; part of Phoenix's house.
Camera: Medium on the woman and notepad, man at window behind
Lighting: Warm morning light
Mood: Breakthrough

117EXT

DAY

pp. 78-78

ROAD

rising tension

Phoenix realises he has forgotten his cravat and turns back the way he came.

Characters: PHOENIX
Props: cravat
Wardrobe: Standard
Notes: Sets up Phoenix returning to catch the Browns.
Camera: Medium on the actor turning
Lighting: Bright daylight
Mood: Rising tension

118INT

DAY

pp. 78-79

PHOENIX'S LANDING

discovery

Spotting two indentations in the carpet, Mary presses a ceiling panel that swings open and unfolds a step ladder into the divots.

Characters: MARY, HENRY
Props: panelled ceiling; step ladder; carpet indentations
Wardrobe: Standard
Notes: Henry's creaking pays off the midlife-age theme. Landing; part of Phoenix's house.
Camera: Low angle up to the opening ceiling hatch
Lighting: Warm landing light, brighter from the hatch
Mood: Discovery

119INT

CONTINUOUS

pp. 79-79

PHOENIX'S ATTIC ROOM

vindication

In the hidden attic Henry and Mary recognise the nun, the thief and the king among Phoenix's mannequins and realise they were right.

Characters: HENRY, MARY
Props: mannequins; disguises
Wardrobe: Standard
Notes: Attic; part of Phoenix's house.
Camera: Wide on the couple among the mannequins
Lighting: Warm vanity-bulb glow, deep shadow
Mood: Vindication

120INT

DAY

pp. 79-80

PHOENIX'S HALLWAY

danger

Phoenix comes back through his own front door, trapping the Browns inside.

Characters: PHOENIX
Wardrobe: Standard
Notes: Hallway; part of Phoenix's house.
Camera: Wide from inside as the door opens to him
Lighting: Bright doorway against warm hall
Mood: Danger

121INT

DAY

pp. 80-80

PHOENIX'S ATTIC ROOM

suspense

Henry and Mary creep down the ladder and watch over the banisters as Phoenix heads into the bathroom.

Characters: HENRY, MARY, PHOENIX
Props: ladder; ceiling hatch
Wardrobe: Standard
Notes: Attic; part of Phoenix's house.
Camera: Over-the-shoulder from the attic down through the hatch
Lighting: Warm attic glow, brighter below
Mood: Suspense

122INT

DAY

pp. 80-81

PHOENIX'S HALLWAY

tense farce

Phoenix levels a walking-stick sword at the intruders until Henry, in pyjamas, bluffs an annual Platinum Club home inspection and Mary plays along.

Characters: HENRY, MARY, PHOENIX
Props: walking stick sword; umbrella stand; sofa; curtain
Wardrobe: Henry in pyjamas
Notes: Henry and Mary bluff their way out. Hallway and living room; part of Phoenix's house.
Camera: Medium three-shot, sword central
Lighting: Warm interior light
Mood: Tense farce

123INT

CONTINUOUS

pp. 81-82

PHOENIX'S ATTIC ROOM

the puzzle solved

Relieved the book is safe in his make-up table, Phoenix debates his disguised inner voices and realises the carved letters are musical notes for the fairground organ.

Characters: PHOENIX
Props: pop-up book; make-up table; back cover image of the fairground organ
Wardrobe: Standard
Notes: Phoenix voices his mannequin alter-egos (Magwich, Macbeth, Poirot). Attic; part of Phoenix's house.
Camera: Medium on the actor and the open book
Lighting: Warm bulb-glow, theatrical shadow
Mood: The puzzle solved

124EXT

DAY

pp. 82-82

POLICE STATION

urgency

From outside the station the Browns can be heard all talking at once.

Characters: None
Wardrobe: Standard
Notes: Establishing shot.
Camera: Wide establishing on the station front
Lighting: Flat daylight
Mood: Urgency

125INT

DAY

pp. 82-83

POLICE STATION

frustration, dread

The policewoman insists she needs the book with Phoenix's fingerprints, and as a clock strikes the family realise with horror they have missed visiting.

Characters: MARY, HENRY, JONATHAN, JUDY, MRS BIRD, POLICEWOMAN
Props: counter; clock
Wardrobe: Standard
Notes: Sets the fingerprint goal and the missed-visit gut-punch.
Camera: Medium on the family at the counter, clock above
Lighting: Flat institutional light
Mood: Frustration, dread

126INT

DAY

pp. 83-83

PRISON VISITING ROOM

abandonment

A klaxon ends visiting and the lights go out, leaving Paddington alone in the dark booth that nobody came to.

Characters: PADDINGTON
Props: visiting booth
Wardrobe: Standard
Notes: The Browns' missed visit confirms Knuckles' warning. Visiting room; part of the prison.
Camera: Medium on the bear through the glass as light fades
Lighting: Light cutting out to gloom
Mood: Abandonment

127INT

NIGHT

pp. 83-84

PADDINGTON'S CELL

heartbreak, surrender

As a tear falls, green shoots burst through the cell floor and creepers turn the bars into trees, the Peruvian rainforest blooming around Paddington into Aunt Lucy's arms.

Characters: PADDINGTON, AUNT LUCY, KNUCKLES
Props: photograph of Paddington with the Browns; vent
Wardrobe: Standard
VFX/Stunts: Cell transforming into the Peruvian rainforest; Paddington's face vanishing from the photo
Notes: Lowest point; Paddington agrees to the escape. Cell; part of the prison.
Camera: Wide as the cell dissolves into rainforest
Lighting: Cold cell warming into golden jungle glow
Mood: Heartbreak, surrender

128INT

NIGHT

pp. 84-85

WARDEN'S OFFICE

the heist begins

The front of the Warden's prison model swings open like a doll's house, revealing the four escapees dropping through the floorboards of their top-floor cells.

Characters: WARDEN, KNUCKLES, PHIBS, SPOON, PADDINGTON
Props: model of the prison; searchlight
Wardrobe: Standard
VFX/Stunts: Doll's-house cross-section reveal; searchlight sweep
Notes: Office and cells; part of the prison. Launches the escape sequence.
Camera: Medium on the opening model cross-section
Lighting: Warm desk lamp, cool searchlight sweep
Mood: The heist begins

129INT

NIGHT

pp. 85-85

CRAWL SPACE BENEATH FLOOR

stealth

The prisoners crawl the length of the building beneath the floorboards before Knuckles drops down the laundry chute.

Characters: KNUCKLES, PHIBS, SPOON, PADDINGTON
Props: floor panel; laundry chute
Wardrobe: Standard
Notes: Crawl space; part of the prison.
Camera: Low tight shot along the crawl space
Lighting: Single torch beam in darkness
Mood: Stealth

130INT

NIGHT

pp. 85-85

PRISON LAUNDRY

momentum

The prisoners drop one by one onto a pile of laundry and slip out through a door.

Characters: KNUCKLES, PHIBS, SPOON, PADDINGTON
Props: pile of laundry
Wardrobe: Standard
Notes: Laundry; part of the prison.
Camera: Wide on the chute and laundry pile
Lighting: Cool dim night light
Mood: Momentum

131INT

NIGHT

pp. 85-85

BASEMENT STORAGE ROOM

preparation

The prisoners grab parcels of their civilian clothes from a wall of pigeon holes before Knuckles leads Paddington to the clock mechanism.

Characters: KNUCKLES, PHIBS, SPOON, PADDINGTON
Props: pigeon holes; parcels of clothes
Wardrobe: Standard
Notes: Basement storage; part of the prison.
Camera: Medium on the figures at the cubby wall
Lighting: Dim basement bulb
Mood: Preparation

132INT

NIGHT

pp. 85-85

CLOCK PENDULUM

comic peril

Like Chaplin in Modern Times, Paddington shimmies up the pendulum and rides the giant cogs up into the Warden's office.

Characters: PADDINGTON
Props: clock pendulum; cogs
Wardrobe: Standard
VFX/Stunts: Riding the clockwork cogs
Notes: Clock mechanism; part of the prison.
Camera: Wide low angle up through the gears
Lighting: Warm glints on brass in deep shadow
Mood: Comic peril

133INT

NIGHT

pp. 85-85

WARDEN'S OFFICE

progress

Paddington grabs a key and slips out of the Warden's office.

Characters: PADDINGTON
Props: key
Wardrobe: Standard
Notes: Office; part of the prison.
Camera: Medium on the bear taking the key
Lighting: Low warm lamplight
Mood: Progress

134INT

NIGHT

pp. 85-85

CANTEEN

improvisation

The prisoners use Paddington's stolen key to let themselves into the canteen, grabbing a pile of tablecloths on the way.

Characters: KNUCKLES, PHIBS, SPOON, PADDINGTON
Props: key; tablecloths
Wardrobe: Standard
Notes: Canteen; part of the prison.
Camera: Wide on the group entering the dark canteen
Lighting: Dim night light
Mood: Improvisation

135INT

NIGHT

pp. 85-86

PRISON KITCHEN

assembly

Carrying tablecloths, a laundry basket and a propane tank, the prisoners shimmy up to the kitchen skylight.

Characters: KNUCKLES, PHIBS, SPOON, PADDINGTON
Props: tablecloths; laundry basket; propane tank; skylight
Wardrobe: Standard
Notes: Kitchen; part of the prison. Assembling the balloon.
Camera: Low wide up toward the skylight
Lighting: Cool night, pale skylight glow
Mood: Assembly

136EXT

NIGHT

pp. 86-86

PRISON ROOF

tension

Dodging the searchlight, the prisoners climb from the skylight and run across the roof to the shadows of the watch tower.

Characters: KNUCKLES, PHIBS, SPOON, PADDINGTON
Props: skylight
Wardrobe: Standard
VFX/Stunts: Searchlight evasion on the roof
Notes: Roof; part of the prison.
Camera: High wide across the roofline
Lighting: Cold night, hard sweeping searchlight
Mood: Tension

137EXT

NIGHT

pp. 86-86

PRISON WATCH TOWER

ingenuity

Above the watch-tower guard the prisoners unfurl an enormous canopy of stitched-together tablecloths.

Characters: KNUCKLES, PHIBS, SPOON, PADDINGTON
Props: stitched tablecloth canopy; laundry basket
Wardrobe: Standard
Notes: Watch tower; part of the prison.
Camera: Wide catching the unfurling canopy
Lighting: Cold night, faint tower light
Mood: Ingenuity

138INT

NIGHT

pp. 86-86

LAUNDRY BASKET

ignition

Phibs opens the propane valve and Spoon ignites the flame inside the laundry basket.

Characters: PHIBS, SPOON
Props: propane tank; laundry basket; flame
Wardrobe: Standard
VFX/Stunts: Propane burner flame
Notes: Improvised balloon burner. Part of the prison.
Camera: Tight on the flame igniting in the basket
Lighting: Darkness lit by the new flame
Mood: Ignition

139INT

NIGHT

pp. 86-86

CELL

awe, farewell

T-Bone double-takes from his cell window as a tablecloth hot-air balloon rises from the watch tower carrying the escapees.

Characters: T-BONE
Props: hot air balloon
Wardrobe: Standard
VFX/Stunts: Hot air balloon liftoff
Notes: Cell; part of the prison.
Camera: Over-the-shoulder from the cell window to the rising balloon
Lighting: Cold night, balloon catching faint light
Mood: Awe, farewell

140EXT

NIGHT

pp. 86-86

PRISON EXERCISE YARD

escape

The makeshift balloon floats serenely over the prison wall.

Characters: KNUCKLES, PHIBS, SPOON, PADDINGTON
Props: hot air balloon
Wardrobe: Standard
VFX/Stunts: Balloon clearing the prison wall
Notes: Exercise yard; part of the prison.
Camera: Wide low angle, balloon cresting the wall
Lighting: Cold night, searchlights below
Mood: Escape

141EXT

NIGHT

pp. 86-86

BALLOON BASKET

elation vs unease

Three whooping prisoners hurl their prison hats into the sky while Paddington gazes anxiously at the city, scared of being a fugitive.

Characters: KNUCKLES, PHIBS, SPOON, PADDINGTON
Props: prison hats and jackets
Wardrobe: Standard
VFX/Stunts: Flight over London
Notes: Escape balloon in flight.
Camera: Medium in the basket, city far below
Lighting: Night, warm city glow from beneath
Mood: Elation versus unease

142EXT

NIGHT

pp. 86-87

LONDON DOCKLANDS

landing

Now in civilian clothes, the prisoners and Paddington descend over the docklands as Knuckles orders Spoon to bring her down.

Characters: KNUCKLES, PHIBS, SPOON, PADDINGTON
Props: civilian clothes
Wardrobe: Knuckles, Phibs and Spoon in civilian clothes; Paddington back in his hat and coat
Notes: None
Camera: Wide descending over the docklands
Lighting: Night, sparse dock lighting
Mood: Landing

143EXT

NIGHT

pp. 87-87

DERELICT FACTORY

arrival

The balloon settles by a derelict riverside factory and the prisoners tumble out and run to the wharf as it deflates.

Characters: KNUCKLES, PHIBS, SPOON, PADDINGTON
Props: deflating balloon
Wardrobe: Standard
Notes: Derelict factory; part of the derelict factory and wharf location.
Camera: Wide on the landing balloon and running figures
Lighting: Cold sparse night light
Mood: Arrival

144EXT

NIGHT

pp. 87-88

DERELICT FACTORY / WHARF

betrayal, heartbreak

At a waiting seaplane Knuckles confesses the change of plan, and a betrayed Paddington turns and runs rather than flee the country with them.

Characters: KNUCKLES, PHIBS, SPOON, PADDINGTON
Props: seaplane
Wardrobe: Standard
Notes: The friends reveal they are leaving the country; Paddington refuses. Wharf; part of the derelict factory and wharf location.
Camera: Wide on the wharf, bear running from the plane
Lighting: Cold night, faint water reflections
Mood: Betrayal, heartbreak

145EXT

NIGHT

pp. 88-89

STREET / ALLEY

loneliness, longing

Alone and dodging a police car, Paddington spots a telephone box and spends Mrs Bird's ear-coin to call the Browns, only to reach their answer-phone.

Characters: PADDINGTON, JONATHAN, JUDY
Props: telephone box; single coin; answer-phone
Wardrobe: Standard
Notes: The coin from breakfast pays off. Street and alley; part of various London streets. Children heard O.S. on the machine.
Camera: Wide on the street, the lit box central
Lighting: Night, warm glow from the phone box
Mood: Loneliness, longing

146INT

NIGHT

pp. 89-89

BROWNS' HALLWAY

confession

Paddington's recorded voice echoes through the empty Browns' hallway as he confesses he has broken out of prison.

Characters: PADDINGTON
Props: answer-phone
Wardrobe: Standard
Notes: Paddington heard V.O. on the machine. Hallway; part of the Browns' house.
Camera: Slow push toward the answer-phone in the empty hall
Lighting: Cool night, one warm lamp on the machine
Mood: Confession

147INT

NIGHT

pp. 89-90

PHONE BOX

reconnection

As the pips cut him off mid-goodbye and he walks away, the telephone rings behind him and Mary's voice floods Paddington with relief.

Characters: PADDINGTON, MARY
Props: telephone box
Wardrobe: Standard
Notes: Phone box; part of various London streets. Mary heard O.S.
Camera: Medium on the bear turning back to the phone
Lighting: Night, warm phone-box glow
Mood: Reconnection

148INT

NIGHT

pp. 90-91

BROWNS' HOUSE / PHONE BOX

reunion, deduction

Cross-cut between the phone box and the family, they piece together that 'Where All Your Dreams Come True' points to the fairground organ at Paddington Station.

Characters: PADDINGTON, MARY, MRS BIRD, HENRY, JUDY, JONATHAN
Props: telephone; old newspaper; piece of paper with the clue
Wardrobe: Standard
Notes: Split-location phone scene; Browns' house is the primary set. The plan to chase Phoenix at the station is set.
Camera: Composed to hold both family and bear in one frame
Lighting: Two warm pools in surrounding night
Mood: Reunion, deduction

149INT

NIGHT

pp. 91-91

PHONE BOX

resolve

Hearing the distinctive horn of the bin lorry, Paddington spots Mr Barnes the binman and finds his ride to the station.

Characters: PADDINGTON, MR BARNES
Props: telephone box; bin lorry
Wardrobe: Standard
Notes: Phone box; part of various London streets.
Camera: Medium on the bear looking out through the glass
Lighting: Night, box glow plus lorry headlights
Mood: Resolve

150EXT

NIGHT

pp. 91-92

LONDON STREETS

race against time

Paddington rides the dustbin lorry through town as Mr Barnes scatters traffic, declaring a refuse emergency.

Characters: PADDINGTON, MR BARNES
Props: dustbin lorry
Wardrobe: Standard
VFX/Stunts: Lorry weaving through traffic
Notes: None
Camera: Tracking the speeding lorry through traffic
Lighting: Night, streaking streetlamps and headlights
Mood: Race against time

151EXT

NIGHT

pp. 92-93

WINDSOR GARDENS

community redemption

After Henry's speech about the bear who finds the good in everyone, the neighbours gather to push the Browns' stalled car back into life over Mr Curry's panic board.

Characters: MR CURRY, MARY, JUDY, JONATHAN, MRS BIRD, HENRY, DR JAFRI, COLONEL
Props: loud hailer; panic board; the Browns' car
Wardrobe: Mr Curry in his dressing gown with a loud hailer
VFX/Stunts: Neighbours push-starting the stalled car
Notes: The street turns back to Paddington's side. Windsor Gardens neighbourhood.
Camera: Wide on the crowd pushing the car
Lighting: Night, warm street and window light, falling snow
Mood: Community redemption

152EXT

NIGHT

pp. 93-93

PADDINGTON STATION / ENTRANCE RAMP

comic disguise

The binman slips a plastic litter-bin sleeve over Paddington and tells him to keep his head down and remember he's a bin.

Characters: MR BARNES, PADDINGTON
Props: dustbin lorry; plastic litter-bin sleeve
Wardrobe: Paddington disguised as a litter bin
Notes: Entrance ramp; part of Paddington Station.
Camera: Medium on the bin going over the bear
Lighting: Night, warm station glow behind
Mood: Comic disguise

153INT

NIGHT

pp. 93-94

PADDINGTON STATION / CONCOURSE

comic suspense

Disguised as a bin muttering 'just an ordinary bin', Paddington thanks a dozy policeman who drops half a doughnut in him, briefly freezing the officer.

Characters: PADDINGTON
Props: litter-bin sleeve; doughnut
Wardrobe: Paddington disguised as a litter bin
Notes: Concourse; part of Paddington Station. Paddington heard O.S. from inside the bin.
Camera: Wide on the concourse, bin and policeman central
Lighting: Warm night station lighting
Mood: Comic suspense

154EXT

NIGHT

pp. 94-94

ROAD BRIDGE NEAR PADDINGTON STATION

convergence

The Browns' car races over a bridge near the station as the first gleams of winter dawn appear beyond it.

Characters: MARY, HENRY, JONATHAN, JUDY, MRS BIRD
Props: the Browns' car
Wardrobe: Standard
Notes: Road bridge approaching the station; part of various London streets.
Camera: Wide tracking the car over the bridge
Lighting: Night with a first sliver of dawn
Mood: Convergence

155INT

NIGHT

pp. 94-94

PADDINGTON STATION / PLATFORM 1

recognition

Still in his bin, Paddington watches a train porter approach the fair train and realises it is Phoenix in disguise.

Characters: PADDINGTON, PHOENIX
Props: litter-bin sleeve
Wardrobe: Phoenix disguised as a train porter
Notes: Platform 1; part of Paddington Station.
Camera: Low medium from the bin's level toward the porter
Lighting: Warm night platform light
Mood: Recognition

156EXT

NIGHT

pp. 94-94

PADDINGTON STATION / ENTRANCE

arrival

The Browns pull up at the station and leap from the car.

Characters: MARY, HENRY, JONATHAN, JUDY, MRS BIRD
Props: the Browns' car
Wardrobe: Standard
Notes: Entrance; part of Paddington Station.
Camera: Wide on the car and the running family
Lighting: Warm night station light
Mood: Arrival

157INT

NIGHT

pp. 94-95

PADDINGTON STATION / PLATFORM 1

near miss, the chase begins

Paddington casts off the bin and leaps onto the rear truck of the departing fair train as the Browns race to the platform's end just too late.

Characters: PADDINGTON, PHOENIX, HENRY, MARY, JONATHAN, JUDY, MRS BIRD
Props: fairground organ truck; litter-bin sleeve
Wardrobe: Standard
VFX/Stunts: Boarding a moving steam train
Notes: Platform 1; part of Paddington Station. Jonathan spots the Belmond Pullman to give chase.
Camera: Wide tracking the leap, family behind on the platform
Lighting: Warm night station light, drifting steam
Mood: Near miss

158INT

NIGHT

pp. 95-95

PULLMAN CARRIAGE

ironic comeuppance setup

The smug Judge sips champagne aboard the Pullman, insisting people get what they deserve in life.

Characters: JUDGE, WIFE, STEWARD
Props: champagne
Wardrobe: Standard
Notes: JUDGE and his wife Gertrude aboard the Belmond British Pullman.
Camera: Medium on the man at his table
Lighting: Warm tasselled-lamp glow
Mood: Smug irony

159INT

NIGHT

pp. 95-95

PULLMAN CAB

self-acceptance

Jonathan expertly reads off boiler pressure and brakes and proudly reclaims his name and his love of steam trains as he sets the Pullman moving.

Characters: JONATHAN, JUDY, HENRY, MARY, MRS BIRD
Props: train controls; boiler gauge
Wardrobe: Standard
Notes: Jonathan drops the J-Dog persona. Cab; part of the Belmond British Pullman.
Camera: Medium in the cab, firebox lighting the boy
Lighting: Warm firebox glow, cool night outside
Mood: Self-acceptance

160INT

NIGHT

pp. 96-96

PULLMAN CARRIAGE

comic indignity

The train's lurch slops champagne over the Judge, who is silenced when his wife firmly shushes him.

Characters: STEWARD, JUDGE, WIFE
Props: champagne
Wardrobe: Standard
Notes: Carriage; part of the Belmond British Pullman.
Camera: Medium two-shot at the table
Lighting: Warm lamp glow
Mood: Comic indignity

161INT

DAWN

pp. 96-97

SEA PLANE

guilt, doubt

A radio bulletin that Paddington is alone and police are closing in deflates the escapees, and Knuckles' eyes fill with tears as he insists they stick to the plan.

Characters: SPOON, KNUCKLES, PHIBS
Props: portable radio
Wardrobe: Standard
Notes: Sets up the prisoners' change of heart.
Camera: Medium in the cabin on the big prisoner
Lighting: Pale dawn light through the windows
Mood: Guilt, doubt

162EXT

DAY

pp. 97-97

COUNTRYSIDE

momentum

The fair train races out of London into rural England, the camera pushing toward the truck holding the fairground organ.

Characters: None
Props: fair train; fairground organ
Wardrobe: Standard
VFX/Stunts: Steam train through countryside
Notes: Establishing the moving train climax.
Camera: Wide aerial push toward the moving train
Lighting: Bright clear daylight
Mood: Momentum

163INT

DAY

pp. 97-98

FAIR TRAIN / ORGAN TRUCK

the prize within reach

Phoenix plays the carved-letter notes on the fairground organ keyboard and a light glows as the code begins to work, unseen by the watching Paddington.

Characters: PHOENIX, PADDINGTON
Props: fairground organ; tarpaulin; pop-up book; barrel of toffee apples; magician mannequin
Wardrobe: Standard
Notes: Organ truck; part of the fair train. Paddington plans to grab the book.
Camera: Medium on the actor at the organ, bear hidden behind
Lighting: Warm truck interior, one glowing accent light
Mood: The prize within reach

164INT

DAY

pp. 98-98

PULLMAN CAB

mobilising

Through her telephoto lens Judy watches Paddington climbing to the roof, and Henry resolves to cross between the speeding trains.

Characters: JUDY, HENRY, JONATHAN, MARY, MRS BIRD
Props: camera telephoto lens; coal
Wardrobe: Standard
Notes: Cab; part of the Belmond British Pullman.
Camera: Medium in the cab, girl with telephoto lens
Lighting: Daylight with warm firebox spill
Mood: Mobilising

165EXT

DAY

pp. 98-99

FAIR TRAIN / ORGAN TRUCK

white-knuckle progress

Using toffee apples as suckers, Paddington crosses the windy roof and limbos backward under an oncoming tunnel, emerging covered in soot.

Characters: PADDINGTON
Props: toffee apples; skylight
Wardrobe: Paddington covered in soot
VFX/Stunts: Roof crossing on a moving train; limbo under a tunnel
Notes: Organ truck roof; part of the fair train.
Camera: Low tracking on the roof, tunnel approaching
Lighting: Bright daylight into tunnel dark and out again
Mood: White-knuckle progress

166EXT

DAY

pp. 99-99

BETWEEN THE TRAINS

comic peril

As the tracks part, Henry is dragged into the splits between the two trains and, channelling Chakrabatics, holds the pose before Mrs Bird hauls him to safety.

Characters: HENRY, JUDY, MRS BIRD, CHAKRABATICS INSTRUCTOR
Props: telegraph pole
Wardrobe: Standard
VFX/Stunts: Henry doing the splits between two speeding trains
Notes: Chakrabatics mantra pays off (instructor heard O.S.). The gap between the two trains.
Camera: Wide low between the trains catching the splits
Lighting: Bright daylight, motion blur
Mood: Comic peril

167INT

DAY

pp. 99-100

FAIR TRAIN / ORGAN TRUCK

confrontation

The organ blossoms open to raise a treasure box of gold and diamonds, only for Phoenix to whirl and find Paddington hanging upside down nose-to-nose with him.

Characters: PHOENIX, PADDINGTON
Props: fairground organ; treasure box; gold jewellery and diamonds; pop-up book; toffee apples
Wardrobe: Standard
VFX/Stunts: Mechanical organ opening to reveal treasure; Paddington swinging through the skylight
Notes: Paddington grabs the book; Phoenix loses the code. Organ truck; part of the fair train.
Camera: Medium on actor and inverted bear, treasure below
Lighting: Warm truck interior, glinting treasure
Mood: Confrontation

168INT

DAY

pp. 100-100

FAIR TRAIN / CHAIR-O-PLANES TRUCK

pursuit

Henry, Mrs Bird and Judy run through a truck packed with chair-o-plane fairground rides.

Characters: HENRY, MRS BIRD, JUDY
Props: chair-o-planes ride
Wardrobe: Standard
Notes: Chair-o-planes truck; part of the fair train.
Camera: Tracking with the family through the ride parts
Lighting: Flickering daylight through truck gaps
Mood: Pursuit

169EXT

DAY

pp. 100-101

FAIR TRAIN / ROOF

reversal

Phoenix corners Paddington at the very back of the train with 'Exit, pursued by an actor' before suddenly plunging through a skylight.

Characters: PHOENIX, PADDINGTON
Props: skylight
Wardrobe: Standard
VFX/Stunts: Rooftop chase on a moving train; fall through skylight
Notes: Roof; part of the fair train.
Camera: High wide on the roof, actor falling through skylight
Lighting: Bright daylight, wind and motion
Mood: Reversal

170INT

DAY

pp. 101-102

FAIR TRAIN / SIDESHOW TRUCK

standoff

Phoenix brandishes a sword-swallower's blade and slices stuffed animals as Mrs Bird's plastic-dart gun proves no match, backing the Browns into the next carriage.

Characters: PHOENIX, MRS BIRD, HENRY, JUDY
Props: sword-swallower's sword; dart gun; stuffed animals; handcuffs
Wardrobe: Standard
VFX/Stunts: Sword fight / blade slicing props
Notes: Sideshow truck; part of the fair train.
Camera: Medium on the blade-and-dart-gun standoff
Lighting: Flickering daylight, gaudy colour
Mood: Standoff

171

DAY

pp. 102-102

ENT. FAIR TRAIN / REAR TRUCK

regrouping

As the two train lines converge again, Paddington climbs down to the platform at the back of the rear truck where he first boarded.

Characters: PADDINGTON
Props: rear platform
Wardrobe: Standard
Notes: Slug typo 'ENT.' in source; treated as EXT rear platform. Rear truck; part of the fair train.
Camera: Medium on the bear at the rear platform
Lighting: Bright daylight
Mood: Regrouping

172INT

DAY

pp. 102-102

PULLMAN CARRIAGE

comic comeuppance

Paddington cheerily compliments the Judge's hair through the window, and the horrified Judge faints face-first into a jumbo pavlova.

Characters: STEWARD, JUDGE, PADDINGTON
Props: jumbo pavlova
Wardrobe: Standard
Notes: Carriage; part of the Belmond British Pullman.
Camera: Medium on the man fainting into the pavlova
Lighting: Warm carriage light
Mood: Comic comeuppance

173EXT

DAY

pp. 102-103

FAIR TRAIN / REAR TRUCK

ingenuity

Amazed to see Mary in the Pullman cab, Paddington eyes his suitcase as the trains run thirty feet apart with no way across.

Characters: PADDINGTON, MARY, JONATHAN
Props: suitcase
Wardrobe: Standard
Notes: Rear truck; part of the fair train.
Camera: Medium on the bear, second train across the gap
Lighting: Bright daylight
Mood: Ingenuity

174INT

DAY

pp. 103-103

FAIR TRAIN / GALLOPERS TRUCK

menace

Phoenix checks the handcuffs binding Henry, Mary and Mrs Bird to the gallopers' poles, then turns his mind to Paddington.

Characters: PHOENIX, HENRY, MARY, MRS BIRD
Props: handcuffs; gallopers carousel
Wardrobe: Standard
Notes: Gallopers truck; part of the fair train.
Camera: Medium on the actor and the cuffed captives
Lighting: Flickering daylight, vivid carousel paint
Mood: Menace

175EXT

DAY

pp. 103-103

FAIR TRAIN / REAR TRUCK

race

Paddington winds his telescopic ladder out across the gap toward the Pullman to bridge the two trains as Phoenix shoulders at the locked door.

Characters: PADDINGTON, PHOENIX
Props: telescopic ladder; suitcase
Wardrobe: Standard
VFX/Stunts: Extending a ladder bridge between speeding trains
Notes: Telescopic ladder callback. Rear truck; part of the fair train.
Camera: Wide between the trains, ladder extending
Lighting: Bright daylight, motion blur below
Mood: Race

176INT

DAY

pp. 103-103

FAIR TRAIN / GALLOPERS TRUCK

resourcefulness

Mrs Bird pulls a pin from her hair and picks the handcuff locks with a trick she learned from Harry Houdini.

Characters: JUDY, MRS BIRD
Props: hairpin; handcuffs
Wardrobe: Standard
Notes: Gallopers truck; part of the fair train.
Camera: Close on the housekeeper's hands at the cuffs
Lighting: Flickering daylight
Mood: Resourcefulness

177EXT

DAY

pp. 103-104

BETWEEN THE TRAINS

capture

Just as Paddington reaches toward Mary, Phoenix smashes through the door and hits the retract button, snapping the ladder and pulling the bear back into his arms.

Characters: PHOENIX, PADDINGTON, MARY
Props: telescopic ladder; pop-up book; retract button
Wardrobe: Standard
VFX/Stunts: Ladder bridge retracting between two trains
Notes: Phoenix grabs the book and traps Paddington in the rear truck. Between the trains.
Camera: Wide between the trains, the ladder retracting
Lighting: Bright daylight, blurred speed
Mood: Capture

178EXT

DAY

pp. 104-104

FAIR TRAIN

triumph

Phoenix uncouples Paddington's truck onto a side track and turns to find himself among four coconuts as Henry's thrown ball flies clean through two trucks to knock him cold.

Characters: PHOENIX, HENRY, JUDY, MARY, MRS BIRD
Props: coupling pin; track-side lever; coconuts on stands; coconut shy ball
Wardrobe: Standard
VFX/Stunts: Uncoupling a moving train truck; switching the points
Notes: Henry's 'Bullseye' coconut throw pays off; Phoenix is beaten. Exterior of the fair train.
Camera: Wide along the train tracking the ball's flight
Lighting: Bright daylight
Mood: Triumph

179EXT

DAY

pp. 104-104

RAILWAY

disaster

Paddington's runaway truck crashes through the buffers, hurtles down a slope and plunges over a cliff into the murky river below.

Characters: PADDINGTON
Props: buffers; runaway truck
Wardrobe: Standard
VFX/Stunts: Train truck crashing off a cliff into a river
Notes: Countryside railway siding; part of the countryside railway.
Camera: Wide tracking the truck over the cliff
Lighting: Bright daylight
Mood: Disaster

180INT

DAY

pp. 104-104

PULLMAN DRIVER'S CAB

panic

Seeing the disaster from the cab, Mary orders Jonathan to throw the brake.

Characters: MARY, JONATHAN
Props: brake lever
Wardrobe: Standard
Notes: Driver's cab; part of the Belmond British Pullman.
Camera: Medium in the cab on the brake action
Lighting: Daylight, warm firebox glow
Mood: Panic

181EXT

DAY

pp. 104-105

VIADUCT

suspense

The Pullman shrieks to a halt high on a viaduct above the river.

Characters: None
Props: viaduct
Wardrobe: Standard
VFX/Stunts: Steam train emergency stop on a viaduct
Notes: Viaduct over the river.
Camera: Wide low from the river up to the viaduct
Lighting: Bright daylight, billowing steam
Mood: Suspense

182INT

DAY

pp. 105-105

RUNAWAY FAIR TRUCK

dread

Paddington's sinking truck fills with water as he heaves uselessly at the jammed door.

Characters: PADDINGTON
Props: sinking truck door
Wardrobe: Standard
VFX/Stunts: Truck sinking and filling with water
Notes: Runaway truck submerged at the river. Part of viaduct and river.
Camera: Medium inside the flooding truck
Lighting: Dim, green water-filtered light
Mood: Dread

183EXT

DAY

pp. 105-105

VIADUCT

courage

Mary jumps from the train and sends Jonathan to fetch help.

Characters: MARY, JONATHAN
Wardrobe: Standard
Notes: Viaduct.
Camera: Wide on the viaduct, woman jumping down
Lighting: Bright daylight
Mood: Courage

184INT

DAY

pp. 105-105

RUNAWAY FAIR TRUCK

desperation

Paddington heaves at the door as the carriage keeps filling with water.

Characters: PADDINGTON
Props: truck door
Wardrobe: Standard
VFX/Stunts: Flooding carriage
Notes: Runaway truck; part of viaduct and river.
Camera: Medium on the bear wrestling the door
Lighting: Dim green water-filtered light
Mood: Desperation

185EXT

DAY

pp. 105-105

VIADUCT

urgency

Mary runs to the side of the bridge.

Characters: MARY
Wardrobe: Standard
Notes: Viaduct.
Camera: Wide on the woman reaching the parapet
Lighting: Bright daylight
Mood: Urgency

186EXT

DAY

pp. 105-105

UNDERWATER

peril

The runaway truck settles onto the riverbed underwater.

Characters: PADDINGTON
Props: truck
Wardrobe: Standard
VFX/Stunts: Underwater truck on riverbed
Notes: Underwater; part of viaduct and river.
Camera: Wide underwater on the settling truck
Lighting: Dim filtered daylight from above
Mood: Peril

187EXT

DAY

pp. 105-105

VIADUCT

sacrifice

Mary pulls off her coat and dives off the viaduct into the water.

Characters: MARY
Props: coat
Wardrobe: Standard
VFX/Stunts: High dive from the viaduct
Notes: Mary's channel-swim training pays off. Viaduct.
Camera: Wide following the dive from the viaduct
Lighting: Bright daylight
Mood: Sacrifice

188EXT

DAY

pp. 105-105

UNDERWATER

rescue attempt

Mary knifes down through the water toward the sunken truck.

Characters: MARY
Wardrobe: Standard
VFX/Stunts: Underwater swimming
Notes: Underwater; part of viaduct and river.
Camera: Wide underwater following her descent
Lighting: Filtered green daylight, surface shimmer above
Mood: Rescue attempt

189INT

DAY

pp. 105-105

RUNAWAY FAIR TRUCK

the edge of death

With only inches of air left, Paddington takes a final breath and sinks under as Mary works the lock from outside.

Characters: PADDINGTON, MARY
Props: truck door lock
Wardrobe: Standard
VFX/Stunts: Air pocket disappearing in flooding truck
Notes: Runaway truck; part of viaduct and river.
Camera: Close on the bear at the vanishing air pocket
Lighting: Dim green water-light
Mood: The edge of death

190EXT

DAY

pp. 105-106

UNDERWATER

redemption, salvation

Paws clasped through the chained door at the end, Paddington and Mary look up to see Knuckles, Phibs and Spoon dive down and break the chain together.

Characters: MARY, PADDINGTON, KNUCKLES, PHIBS, SPOON
Props: chained door; chain
Wardrobe: Standard
VFX/Stunts: Underwater rescue, breaking a chain
Notes: The escapees return to save Paddington. Underwater; part of viaduct and river.
Camera: Wide underwater on the door and converging rescuers
Lighting: Dim green water with descending light shafts
Mood: Redemption, salvation

191EXT

DAY

pp. 106-107

RIVERBANK

relief, worry

Surfacing on the riverbank, Paddington beams that Knuckles came back, then passes out feverish in his friends' arms.

Characters: MARY, KNUCKLES, PADDINGTON, HENRY, JONATHAN, JUDY, MRS BIRD, PHIBS, SPOON
Wardrobe: Standard
Notes: Riverbank; part of viaduct and river.
Camera: Medium on the bear cradled in the group
Lighting: Bright daylight
Mood: Relief, worry

192EXT

pp. 107-107

WINDSOR GARDENS - THREE DAYS LATER

convalescence

Snow falls on the street as the camera cranes up to Paddington's attic window three days later.

Characters: None
Props: snow
Wardrobe: Standard
Notes: Windsor Gardens.
Camera: Slow crane up to the attic window
Lighting: Soft cold snow-light, warm window glow
Mood: Convalescence

193INT

DAY

pp. 107-108

PADDINGTON'S ATTIC ROOM

homecoming, guilt

Paddington wakes surrounded by the family to a newspaper proclaiming him freed, his joy curdling when he realises he has missed Aunt Lucy's birthday with no present.

Characters: PADDINGTON, JONATHAN, MARY, MRS BIRD, JUDY, HENRY
Props: thermometer; newspaper 'PADDINGTON FREED'; photograph
Wardrobe: Standard
Notes: Attic room; part of the Browns' house. Phoenix arrested, Paddington exonerated.
Camera: Medium on the bear in bed, family around
Lighting: Warm daylight through the round window
Mood: Homecoming, guilt

194INT

CONTINUOUS

pp. 108-110

THE BROWNS' STAIRCASE

joy, fulfilment

The neighbourhood that clubbed together fills the hall, and Paddington opens the door to find Aunt Lucy herself standing in the falling snow.

Characters: PADDINGTON, MR GRUBER, MISS KITTS, MS PETERS, COLONEL, BIN MAN, DR JAFRI, HENRY, CYCLIST, MARY, AUNT LUCY
Props: doorbell; snow
Wardrobe: Standard
Notes: Emotional climax: the community flies Aunt Lucy to London instead of the book. THE END. Staircase and hallway; part of the Browns' house.
Camera: Wide down the hall to the open door, crowd around
Lighting: Warm hall light meeting cold snow-light at the door
Mood: Joy, fulfilment

195

pp. 111-112

CREDITS

warm resolution

Paddington's scrapbook turns its pages to show everyone's happy endings, closing on a newspaper photo of the Judge sentencing a whimpering Phoenix.

Characters: PADDINGTON, AUNT LUCY, KNUCKLES, PHIBS, SPOON, MARY, JONATHAN, HENRY, JUDGE, PHOENIX
Props: scrapbook; snapshots; ticket stubs; newspaper headlines
Wardrobe: Standard
VFX/Stunts: Animated turning scrapbook pages
Notes: Epilogue montage over credits; Judge's photo comes to life to sentence Phoenix.
Camera: Flat overhead on the scrapbook, pages turning
Lighting: Soft even scrapbook light
Mood: Warm resolution

196EXT

DAY

pp. 111-112

PRISON

transition

A caption reads 'SIX MONTHS LATER' over the exterior of the prison.

Characters: None
Props: caption card
Wardrobe: Standard
Notes: Exterior; part of the prison.
Camera: Wide establishing on the prison facade
Lighting: Flat bright daylight
Mood: Transition

197INT

DAY

pp. 112-112

PRISON ATRIUM

comic poetic justice

Phoenix leads the inmate company in an extravagant musical 'Rain on the Roof', finally happy with a captive audience instead of the West End.

Characters: PHOENIX
Props: stage costumes; musical set
Wardrobe: Phoenix and inmates in musical costumes
Notes: Final gag: Phoenix thrives performing for the prisoners. Atrium; part of the prison. (Source labels this scene 196.)
Camera: Wide from the gallery onto the staged number
Lighting: Warm theatrical spotlights against iron
Mood: Comic poetic justice

Locations

darkest peru rope bridge

A home-made rope bridge strung across a vast Amazon jungle valley with waterfalls and a raging river beneath; the bears' home in Darkest Peru.

EXT1 scene

DAY

Set Requirements

•Rope bridge over a jungle gorge
•trailing vines
•waterfall and rapids (largely VFX)

Key Visual Moments

S1Lucy dives from a vine on a homemade rope bridge into the raging Amazon torrent to scoop a tiny bear cub from the brink of a waterfall.

windsor gardens

A beautiful London street of pastel-coloured homes (including Windsor Square and the newspaper kiosk) where the Browns and their neighbours live.

BOTH11 scenes

DAYMORNINGNIGHT

Set Requirements

•Pastel terraced street
•newspaper kiosk
•outside taps and drainpipes for window-cleaning gags
•snow dressing for later scenes

Key Visual Moments

S2An older, scruffier Paddington sits in a round attic window in a street of pastel homes, gazing out at the city he loves.
S6Paddington rides through his pastel street greeting every neighbour by name, leaping from bicycle to dustbin lorry as the community hums around him.
S28A rope-and-bucket physics gag goes wrong and Paddington is hauled three storeys up the building as the bucket plummets, then crowned by it as it lands.
S31A time-lapse of Paddington cleaning every window on the street ends at the Colonel's, where he resolves to clean them anyway.
S45Cornered by sirens, the thief vanishes in a puff of smoke, leaving Paddington alone with the broken case as the policewoman orders his paws in the air.
S46Neighbours come to their windows as the handcuffed little bear, head hung in shame, is led up the street and bundled into a police van.
S98As the first snow whirls, the neighbourhood frays without Paddington until the parrot Feathers blurts 'He's behind you!' and Phoenix appears on his balcony.
S104While Mrs Bird distracts the postman, Mary climbs into a huge Barkridge's hamper in the back of the van and closes the lid from inside.
S106From a telephone box across the road, Mrs Bird watches Phoenix take delivery of Mary's hamper and dials the children.
S151After Henry's speech about the bear who finds the good in everyone, the neighbours gather to push the Browns' stalled car back into life over Mr Curry's panic board.
S192Snow falls on the street as the camera cranes up to Paddington's attic window three days later.

the browns' house

The Browns' family home, including Paddington's round-windowed attic room, the kitchen, bathrooms, Henry and Mary's bedroom, the children's rooms, hallway and staircase.

INT19 scenes

MORNINGDAYNIGHT

Set Requirements

•Paddington's attic bedroom
•family kitchen
•two bathrooms
•master bedroom
•Judy's and Jonathan's rooms
•hallway with answer-phone
•staircase

Key Visual Moments

S3Paddington sets about his morning in his cosy attic room as his letter to the Home for Retired Bears continues.
S4Paddington cheerfully uses two electric toothbrushes in his ears and up his nose before finally brushing his teeth.
S5Amid the happy chaos of family breakfast, Mrs Bird magics a coin from behind Paddington's ear to prove he hasn't cleaned them.
S9Mary's doodle of herself comes to life, an illustrated Mary climbing out of an airship window to dive into a sunken city below.
S10Judy slams down the telephone after defiantly informing Tony that he is the one being dumped.
S13Paddington helps Jonathan add the finishing touches to a scale model steam engine on his bedroom floor.
S15Jonathan sadly shuts his beloved steam engine away in the cupboard to protect his cool new image.
S30Paddington drops his first earnings into a huge jar labelled 'AUNT LUCY'S BIRTHDAY FUND'.
S33Jump cuts show coins steadily filling the huge birthday-fund jar across many different days.
S53Mary pins her drawing of the thief to a cork board, beginning what will become her crime wall.
S56Jonathan tacks up a 'Have you seen this man?' poster of the thief.
S57Using a washing-up brush as a wand, Mrs Bird makes a turnip vanish and looks around amazed.
S72Henry, in a blue face mask, imagines his younger 'Bullseye Brown' self knocking over three coconuts at a fairground shy.
S100While Henry scoffs that an award-winning actor can't be a petty thief, Mrs Bird vows actors are the most devious people alive and promises a foolproof plan.
S115Brushing his teeth, Henry glances along the gardens and is horrified to spot Mary inside Phoenix's living room.
S146Paddington's recorded voice echoes through the empty Browns' hallway as he confesses he has broken out of prison.
S148Cross-cut between the phone box and the family, they piece together that 'Where All Your Dreams Come True' points to the fairground organ at Paddington Station.
S193Paddington wakes surrounded by the family to a newspaper proclaiming him freed, his joy curdling when he realises he has missed Aunt Lucy's birthday with no present.
S194The neighbourhood that clubbed together fills the hall, and Paddington opens the door to find Aunt Lucy herself standing in the falling snow.

serpentine swimming club

An open-air lake swimming club where Mary trains for her channel swim.

EXT1 scene

MORNING

Set Requirements

•Open-water lake / lido

Key Visual Moments

S7Mary dives into the open lake, training to swim to France while Paddington's voiceover marvels at her ambition.

montage cutaways

Assorted brief cutaway inserts used in the family-introduction montage (modes of travel, stock footage of nuns, a flip-book, blender and hair dye).

INT/EXT4 scenes

CONTINUOUS

Set Requirements

•Insert / stock-footage elements
•flip-flap look book prop

Key Visual Moments

S8A quick cutaway riffs through boat, plane and train as alternatives to swimming the channel.
S11Black-and-white stock footage of nuns illustrates Judy's brief impulse to take the veil.
S14A flip-flap look book transforms Jonathan from his true self into J-Dog in ridiculous cyber-shades.
S17Quick cutaways of a food blender and hair dye chart Henry's midlife reinvention.

school printing room

A room at Judy's school housing an old printing press where she produces The Portobello Express.

INT2 scenes

DAYNIGHT

Set Requirements

•Working antique printing press

Key Visual Moments

S12Judy proudly cranks out the first issue of The Portobello Express on an old school printing press as Paddington looks on.
S55Judy runs off a new edition of her newspaper on the printing press.

lloyds of london

The grand insurance institution where Henry works and is passed over for promotion.

INT1 scene

DAY

Set Requirements

•Corporate atrium with crowd of colleagues

Key Visual Moments

S16Henry's hopeful face drops as a much younger man, Steve Visby, is named Head of Risk Analysis instead of him.

fitness studio

A studio where lycra-clad young people practise 'Chakrabatics' splits and Henry humiliates himself.

INT1 scene

DAY

Set Requirements

•Mirrored exercise studio

Key Visual Moments

S18Among lycra-clad youngsters doing the splits, Henry attempts 'Chakrabatics' and collapses in a heap.

portobello road market

The bustling Portobello Road street market and its adjoining alleys where Paddington greets traders and feeds Wolfie.

EXT4 scenes

DAYNIGHT

Set Requirements

•Market stalls
•side alleys
•stray-dog den

Key Visual Moments

S19Paddington walks the bustling market greeting the traders and stops to feed Wolfie, a stray dog in an alley off Portobello Road.
S39A police car swings into the top of Portobello Road as Paddington bolts down it after the thief.
S41Paddington chases the thief down a dark alley towards the canal.
S43Wolfie pricks up his ears at Paddington's whistle and bolts to the rescue.

gruber's antiques

Mr Gruber's antique shop with a front showroom, glass display cases and an upstairs workshop; home of the pop-up book before the robbery.

BOTH7 scenes

DAYNIGHT

Set Requirements

•Antique showroom with fairground memorabilia
•glass display case for the book
•upstairs workshop
•alley and second-floor window

Key Visual Moments

S20Paddington opens an old book and a pop-up Tower Bridge unfolds, drawing the camera into an incredible paper world.
S22Paddington bangs his head hoping to dislodge more coins from his ear when he learns the unique pop-up book costs a thousand of them.
S35Hearing breaking glass, Paddington spots a shadowy bearded figure climbing through a second-floor window of Gruber's shop.
S36The thief smashes the display case and snatches the pop-up book.
S37Paddington tumbles through the window into the workshop just as the burglar alarm shrieks and the thief bursts out the front door with the book.
S38Paddington careers down the stairs and out of the shop yelling for the thief to come back with the book.
S65As Mr Gruber recounts the robbery, an animation of Mary's illustrated thief replays grabbing the book and choosing it over jewels.

pop-up london

A fantastical living paper version of London inside the pop-up book, with a pop-up Tower Bridge, bus, underground, Piccadilly Circus, St Paul's and Big Ben.

INT1 scene

DAY

Set Requirements

•Stylised pop-up paper environment (largely VFX/animation)

Key Visual Moments

S21A three-dimensional Paddington leads Aunt Lucy through a living paper London, from a pop-up bus to St Paul's to Big Ben across the river.

barber's shop

Giuseppe's smart grooming salon with barber's chairs, mirrors, a ceiling fan and a sprinkler system.

BOTH4 scenes

DAY

Set Requirements

•Period barber's salon
•working ceiling fan rig
•sprinkler system
•breakaway shop window

Key Visual Moments

S23Outside Giuseppe's smart shop, the barber heads off leaving Paddington alone in a borrowed barber's jacket.
S24Bound up in the flex of electric clippers, Paddington is whipped off his feet by the ceiling fan and spun around the shop at high speed.
S25A mother reassures her nervous son outside just as Paddington is hurled from the fan and splats against the shop window.
S26Paddington smears marmalade over the customer's accidental bald patch as 'product', then licks it off just as the sprinklers drench the shop.

koslova's steam fair

A travelling vintage steam fair with rides, a fairground organ and the Spiegeltent, run by Madame Kozlova.

EXT2 scenes

DUSKNIGHT

Set Requirements

•Vintage fairground rides
•fairground organ with light bulbs
•Spiegeltent
•small stage

Key Visual Moments

S27Charismatic actor Phoenix Buchanan pulls a lever with Paddington and thousands of light bulbs burst into life across the magnificent old steam fair.
S66Colourful fortune-teller Madame Kozlova leads the Browns toward the Spiegeltent, the camera pushing inside to the 1930s.

dr jafri's house

Dr Jafri's home, seen via his home office and the French windows onto the garden that Paddington cleans.

INT1 scene

MORNING

Set Requirements

•Home office
•French windows onto a garden

Key Visual Moments

S29Paddington uses his own soapy fur as a chamois, buffing Dr Jafri's French windows to a sparkle with his belly and back.

colonel's house

The Colonel's gloomy living room, transformed when Paddington cleans his window and lets the sunlight in.

INT1 scene

DAY

Set Requirements

•Dark, curtained living room
•large street-facing window

Key Visual Moments

S32Sunlight washes into the Colonel's gloomy living room for the first time in years, and across the street he and Miss Kitts begin a tender mimed flirtation.

various london streets

Assorted London streets, roads, alleys and a road bridge used for window-cleaning, the bin-lorry rides and Paddington's lonely flight, including the telephone box he calls from.

BOTH7 scenes

DAYNIGHT

Set Requirements

•High-rise (the Shard) with cleaning gondola
•telephone boxes
•road bridge near the station
•back alleys

Key Visual Moments

S34Pull back to reveal Paddington dangling from a gondola cleaning the entire glass face of the Shard while a calypso band plays inside.
S117Phoenix realises he has forgotten his cravat and turns back the way he came.
S145Alone and dodging a police car, Paddington spots a telephone box and spends Mrs Bird's ear-coin to call the Browns, only to reach their answer-phone.
S147As the pips cut him off mid-goodbye and he walks away, the telephone rings behind him and Mary's voice floods Paddington with relief.
S149Hearing the distinctive horn of the bin lorry, Paddington spots Mr Barnes the binman and finds his ride to the station.
S150Paddington rides the dustbin lorry through town as Mr Barnes scatters traffic, declaring a refuse emergency.
S154The Browns' car races over a bridge near the station as the first gleams of winter dawn appear beyond it.

police car

The interior of the police car from which the policewoman radios in the robbery.

INT1 scene

NIGHT

Set Requirements

•Police car interior with radio

Key Visual Moments

S40A serious-minded policewoman radios in a robbery in progress, describing the suspect as a small bear in a red hat and duffle coat.

canal towpath and basin

A London canal towpath, basin, bridge and central island used for the swan-and-bicycle chase.

EXT2 scenes

NIGHT

Set Requirements

•Canal with moored boats
•towpath and bridge
•overgrown island
•swan / waterfowl wrangling

Key Visual Moments

S42On the towpath Paddington sees the thief steal a bicycle off a canal boat and cycle away, so he whistles sharply for help.
S44Paddington bursts from the undergrowth of a canal island dangling from the legs of an enraged swan, astounding the thief into crashing his bike into the water.

phoenix's house

Phoenix Buchanan's grand house on the corner, with a lavish living room, hallway, landing and a hidden attic full of disguise mannequins and his make-up table.

INT14 scenes

NIGHTDAYMORNING

Set Requirements

•Lavish living room with kilt portrait
•hallway with umbrella stand
•landing with concealed ceiling hatch
•hidden attic with costumed mannequins and theatrical make-up mirror

Key Visual Moments

S47The bearded thief peels off his nose, eyebrows, beard and wig at a theatrical make-up mirror to reveal Phoenix Buchanan, surrounded by mannequins of his old roles.
S73Phoenix readies a new disguise at his make-up mirror beneath an old photograph of the magician, the pop-up book open at St Paul's.
S99Phoenix lets slip the thief had 'dazzling blue eyes' from a pencil sketch, and Mary's identikit drawings flicker over his face as the penny drops.
S108About to delve into the straw-filled hamper, Phoenix is interrupted by a phone call from what he believes is his agent.
S110Believing his agent is calling, Phoenix eagerly asks where to go for the big Broadway meeting.
S112Phoenix asks 'I beg your pardon?' as the spliced tape throws off the conversation.
S114Flattered by the praise for 'Mr and Mrs Botty-cheek', Phoenix grabs his coat and leaves, and Mary rises silently from the straw of the hamper.
S116Mary uncovers pencil indentations reading 'Saturday 06:35 / Where All Your Dreams Come True' as Henry, in pyjamas, clambers in through the window.
S118Spotting two indentations in the carpet, Mary presses a ceiling panel that swings open and unfolds a step ladder into the divots.
S119In the hidden attic Henry and Mary recognise the nun, the thief and the king among Phoenix's mannequins and realise they were right.
S120Phoenix comes back through his own front door, trapping the Browns inside.
S121Henry and Mary creep down the ladder and watch over the banisters as Phoenix heads into the bathroom.
S122Phoenix levels a walking-stick sword at the intruders until Henry, in pyjamas, bluffs an annual Platinum Club home inspection and Mary plays along.
S123Relieved the book is safe in his make-up table, Phoenix debates his disguised inner voices and realises the carved letters are musical notes for the fairground organ.

dog food commercial set

A mock aristocratic dining room used in Phoenix's Harley's Gourmet Dog Food television commercial.

INT1 scene

NIGHT

Set Requirements

•Linen-clothed dining table
•silver cloche and gilt dog bowl
•commercial lighting

Key Visual Moments

S48A silver cloche lifts to reveal a gilt dog-food bowl, and we pull out to find Phoenix demeaning himself in a full dog suit to camera.

courtroom

An imposing Crown courtroom where Paddington is tried, with a dock, witness stand and public gallery.

BOTH2 scenes

DAY

Set Requirements

•Courtroom with dock and witness box
•exterior steps

Key Visual Moments

S49Various legal types stride towards the imposing courtroom building.
S50Paddington's hope collapses as the judge proves to be the very barber-shop customer he disfigured, and Phoenix calmly perjures himself on the stand.

prison

A vast, imposing Victorian prison with a high central atrium, cells, laundry, canteen, kitchen, clock tower, Warden's office, watch tower, roof and exercise yard.

BOTH37 scenes

NIGHTDAYMORNINGDUSK

Set Requirements

•Multi-tier atrium with barred cells
•industrial laundry
•canteen and kitchen
•clock-tower mechanism and Warden's office with prison model
•watch tower, roof and exercise yard
•barbed-wire walls and searchlights

Key Visual Moments

S51Sad calypso music plays as the little bear in a grey striped uniform is led up the staircase of the towering prison atrium.
S52The camera pulls back from Paddington's tiny lit cell window to reveal it as one of dozens in a vast, imposing Victorian prison swept by searchlights.
S58Eyes full of tears, Paddington scrubs out the line 'I do hope they don't forget me' and pulls himself together.
S62At morning roll call Paddington cheerily offers to start a gardening club and is met by tattooed T-Bone's threat to bury him in a very deep hole.
S63Paddington watches in horror as a single red sock turns the locked uniforms wash an ominous pink, the door handle snapping off in his paw.
S64After bonking the granite-faced chef with a baguette and squirting condiments on his apron, Paddington saves himself by pushing a marmalade sandwich into Knuckles' mouth.
S76Paddington opens his eyes to find Knuckles inches from his nose announcing 'Marmalade time' as thunder crashes.
S77Paddington politely holds the kitchen door for a suspicious Knuckles, who decides being let ahead makes Paddington a sap.
S78Paddington's calming Hard Stare brings Knuckles out in a cold sweat, melting the bruiser into an eager marmalade-making partner with his knife-handed orange squeezers.
S88Paddington grandly announces Chef McGinty's crustless marmalade sandwich to a silent, sceptical canteen as Knuckles barks 'take it or leave it'.
S89Convinced the prisoners hated his food, Knuckles flies into a pan-throwing rage about never amounting to anything before Paddington opens the hatch.
S90The prisoners make ecstatic noises over the best food in years, and a proud Knuckles confesses to a strange warm tingle in his tum-tum.
S91In time-lapse the dingy kitchen blossoms into a sparkling temple of food thronging with prisoner chefs as Paddington wheels a dessert trolley through it.
S92The grim canteen turns into a genteel tearoom of gingham, cake stands and china as the Professor levers an entire slice onto a cake fork.
S93The camera sweeps past the swinging pendulum of the great prison clock as hours whizz by.
S94Welcome mats, hanging baskets and fairy lights bloom across the atrium as prisoners raise a giant crochet banner reading 'PRISON SWEET PRISON'.
S95From his office atop the clock tower, beside a model of the prison, the Warden reads a bedtime story to the inmates over the tannoy.
S96Hearing over the tannoy that tomorrow is visiting day, Paddington gazes at the photo of himself with the Browns and hopes for good news.
S97A whole rogues' gallery of grinning prisoners crowds into the visiting window beside Paddington as Henry insults them with the microphone, not the light, still switched on.
S101Through the cell pipe Knuckles proposes a four-man escape, and the warning that the Browns will forget him seeps into Paddington like poison.
S126A klaxon ends visiting and the lights go out, leaving Paddington alone in the dark booth that nobody came to.
S127As a tear falls, green shoots burst through the cell floor and creepers turn the bars into trees, the Peruvian rainforest blooming around Paddington into Aunt Lucy's arms.
S128The front of the Warden's prison model swings open like a doll's house, revealing the four escapees dropping through the floorboards of their top-floor cells.
S129The prisoners crawl the length of the building beneath the floorboards before Knuckles drops down the laundry chute.
S130The prisoners drop one by one onto a pile of laundry and slip out through a door.
S131The prisoners grab parcels of their civilian clothes from a wall of pigeon holes before Knuckles leads Paddington to the clock mechanism.
S132Like Chaplin in Modern Times, Paddington shimmies up the pendulum and rides the giant cogs up into the Warden's office.
S133Paddington grabs a key and slips out of the Warden's office.
S134The prisoners use Paddington's stolen key to let themselves into the canteen, grabbing a pile of tablecloths on the way.
S135Carrying tablecloths, a laundry basket and a propane tank, the prisoners shimmy up to the kitchen skylight.
S136Dodging the searchlight, the prisoners climb from the skylight and run across the roof to the shadows of the watch tower.
S137Above the watch-tower guard the prisoners unfurl an enormous canopy of stitched-together tablecloths.
S138Phibs opens the propane valve and Spoon ignites the flame inside the laundry basket.
S139T-Bone double-takes from his cell window as a tablecloth hot-air balloon rises from the watch tower carrying the escapees.
S140The makeshift balloon floats serenely over the prison wall.
S196A caption reads 'SIX MONTHS LATER' over the exterior of the prison.
S197Phoenix leads the inmate company in an extravagant musical 'Rain on the Roof', finally happy with a captive audience instead of the West End.

tower bridge

Tower Bridge, including its north tower of royal armour and the elevated walkway with the coat of arms hiding the first clue.

BOTH3 scenes

NIGHT

Set Requirements

•North tower with royal suits of armour
•high-level walkway
•carved coat of arms with hidden letter

Key Visual Moments

S59The iconic Tower Bridge stands silhouetted against the night sky.
S60Among royal suits of armour, one suit silently lifts its visor to reveal Phoenix, who clanks from the room once the guard has gone.
S61Still in armour above the swirling Thames, Phoenix finds the letter 'D' carved into the back of the coat of arms.

law library

A law library where Henry pores over text books trying to free Paddington.

INT1 scene

NIGHT

Set Requirements

•Shelves of law books and a reading desk

Key Visual Moments

S54Henry sits exhausted amid towering stacks of law text books.

st. paul's cathedral

St Paul's Cathedral, including the dome, Whispering Gallery, geometric staircase and exterior, where Phoenix retrieves a clue disguised as a nun.

BOTH12 scenes

NIGHTMORNINGDAY

Set Requirements

•Cathedral nave and dome
•Whispering Gallery with angel statue and securing rod
•geometric spiral staircase
•exterior steps and crime-scene dressing

Key Visual Moments

S73Phoenix readies a new disguise at his make-up mirror beneath an old photograph of the magician, the pop-up book open at St Paul's.
S74A flock of nuns processes up the cathedral steps, Phoenix's voiceover introducing 'Sister Agatha'.
S75Disguised in a nun's habit, Phoenix ducks from the procession into a staircase, his habit blacking out the camera.
S79Judy, Jonathan and Mary slip in behind a tour group as the guide introduces Wren's great cathedral.
S80Beside a taped-off crime scene of a smashed statue, the smitten security guard insists the real culprit, a beautiful nun, slipped the net.
S81From the top of the dome the guard watches a nun break from the herd and head for the Whispering Gallery.
S82Phoenix races up the spiralling geometric staircase.
S83Phoenix finds the letter 'A' between an angel's wings, then swings down on the loosened rod, toppling the statue to smash into a thousand pieces.
S84Pulling off his nun's habit on the way down, Phoenix transforms into a decrepit old archbishop by the time he reaches the bottom.
S85The security guard ambles off in supposedly lightning pursuit of the vanished nun.
S86Disguised as the archbishop, Phoenix bids the guards good evening and disappears into the night unchallenged.
S87The wistful guard offers to describe the most beautiful woman he's seen in years as Mary pulls a pencil from her hair.

spiegeltent (1930s flashback)

A 1930s mirrored Spiegeltent where great-grandmother Kozlova performed the trapeze as the Flying Swan.

INT3 scenes

NIGHT

Set Requirements

•Period Spiegeltent
•trapeze rig
•1930s audience dressing

Key Visual Moments

S67The Flying Swan performs on the trapeze to showers of flowers and a tossed diamond necklace, while a jealous magician watches from the wings.
S68Alone in the empty Spiegeltent, the magician files through the trapeze ropes.
S69The rope snaps mid-act and the Flying Swan plummets to the floor; the magician kneels in fake concern and slips the key chain from her neck.

madame kozlova's caravan (1930s flashback)

Great-grandmother Kozlova's painted fairground wagon where the magician finds only the pop-up book in her strong box.

BOTH2 scenes

NIGHT

Set Requirements

•Painted gypsy caravan
•strong box and key chain

Key Visual Moments

S70The magician darts up the steps into the painted fairground wagon.
S71Cornered after finding only a pop-up book in the strong box, the magician vanishes in a puff of smoke, leaving the book behind.

theatrical agent's office

Flick Fanshawe's office, walls lined with theatrical posters and actors' photographs, where the children interview her.

BOTH3 scenes

MORNINGDAY

Set Requirements

•Agent's office with show-business decor
•buzzer entry

Key Visual Moments

S102Jonathan and Judy ring the buzzer of an office building carrying a basket of pastries for their cover story.
S103Glamorous agent Flick Fanshawe gives the children two minutes only because they brought breakfast, praising their 'nice buns'.
S105Flick reveals Phoenix won't work with others because he thinks they dilute his talent, then sweeps off to the Ritz with another bun.

telephone boxes (sting)

Phone boxes near the agent's office from which Judy and Jonathan run the spliced-dictaphone phone sting on Phoenix.

BOTH4 scenes

DAYMORNING

Set Requirements

•Red telephone boxes
•dictaphone props

Key Visual Moments

S107In a phone box near the agent, the children get Mrs Bird's call that the package has been delivered and start to dial Phoenix.
S109Judy and Jonathan play spliced dictaphone clips of Flick's voice to fake a live conversation with Phoenix.
S111A tape recorder left running plays the wrong line, and the children panic that they have been rumbled.
S113Thinking fast, Jonathan presses a button so the tape gushes 'Really nice buns!' to smooth things over.

police station

The local police station counter where the Browns plead Paddington's case.

BOTH2 scenes

DAY

Set Requirements

•Police station front desk
•striking wall clock

Key Visual Moments

S124From outside the station the Browns can be heard all talking at once.
S125The policewoman insists she needs the book with Phoenix's fingerprints, and as a clock strikes the family realise with horror they have missed visiting.

london docklands

The London docklands over which the escape balloon descends toward the river.

EXT1 scene

NIGHT

Set Requirements

•Riverside docklands

Key Visual Moments

S142Now in civilian clothes, the prisoners and Paddington descend over the docklands as Knuckles orders Spoon to bring her down.

tablecloth balloon

The improvised hot-air balloon made of stitched tablecloths and a laundry basket carrying the escapees over London.

EXT1 scene

NIGHT

Set Requirements

•Practical / VFX balloon rig with propane burner

Key Visual Moments

S141Three whooping prisoners hurl their prison hats into the sky while Paddington gazes anxiously at the city, scared of being a fugitive.

derelict factory and wharf

A derelict riverside factory and wharf in the east end where the balloon lands and a getaway seaplane waits.

EXT2 scenes

NIGHT

Set Requirements

•Derelict factory interior/exterior
•wharf with moored seaplane

Key Visual Moments

S143The balloon settles by a derelict riverside factory and the prisoners tumble out and run to the wharf as it deflates.
S144At a waiting seaplane Knuckles confesses the change of plan, and a betrayed Paddington turns and runs rather than flee the country with them.

paddington station

Paddington Station, including its entrance ramp, concourse and Platform 1, where Paddington boards the departing fair train.

BOTH5 scenes

NIGHT

Set Requirements

•Station concourse and platforms
•steam fair train and Belmond Pullman

Key Visual Moments

S152The binman slips a plastic litter-bin sleeve over Paddington and tells him to keep his head down and remember he's a bin.
S153Disguised as a bin muttering 'just an ordinary bin', Paddington thanks a dozy policeman who drops half a doughnut in him, briefly freezing the officer.
S155Still in his bin, Paddington watches a train porter approach the fair train and realises it is Phoenix in disguise.
S156The Browns pull up at the station and leap from the car.
S157Paddington casts off the bin and leaps onto the rear truck of the departing fair train as the Browns race to the platform's end just too late.

belmond british pullman

A luxurious heritage steam train (carriage, cab and driver's cab) the Browns commandeer to chase the fair train; carries the Judge and his wife.

INT6 scenes

NIGHTDAY

Set Requirements

•Plush dining carriage
•working steam-engine cab
•coal tender

Key Visual Moments

S158The smug Judge sips champagne aboard the Pullman, insisting people get what they deserve in life.
S159Jonathan expertly reads off boiler pressure and brakes and proudly reclaims his name and his love of steam trains as he sets the Pullman moving.
S160The train's lurch slops champagne over the Judge, who is silenced when his wife firmly shushes him.
S164Through her telephoto lens Judy watches Paddington climbing to the roof, and Henry resolves to cross between the speeding trains.
S172Paddington cheerily compliments the Judge's hair through the window, and the horrified Judge faints face-first into a jumbo pavlova.
S180Seeing the disaster from the cab, Mary orders Jonathan to throw the brake.

seaplane

The escapees' getaway seaplane flying over the English countryside, later used to return and rescue Paddington.

INT1 scene

DAWN

Set Requirements

•Seaplane cockpit and cabin
•portable radio prop

Key Visual Moments

S161A radio bulletin that Paddington is alone and police are closing in deflates the escapees, and Knuckles' eyes fill with tears as he insists they stick to the plan.

countryside railway

The rural railway lines, siding and buffers through which the fair train and Paddington's runaway truck race outside London.

EXT2 scenes

DAY

Set Requirements

•Open countryside railway track
•siding with buffers
•track-side points lever

Key Visual Moments

S162The fair train races out of London into rural England, the camera pushing toward the truck holding the fairground organ.
S179Paddington's runaway truck crashes through the buffers, hurtles down a slope and plunges over a cliff into the murky river below.

fair train

Kozlova's travelling steam fair train, with an organ truck, chair-o-planes, sideshow and gallopers trucks plus a rear platform and roof, scene of the climactic chase.

BOTH11 scenes

DAY

Set Requirements

•Fairground organ truck with treasure mechanism
•chair-o-planes, sideshow and gallopers trucks
•rideable roof and rear platform
•coupling pins and skylights

Key Visual Moments

S163Phoenix plays the carved-letter notes on the fairground organ keyboard and a light glows as the code begins to work, unseen by the watching Paddington.
S165Using toffee apples as suckers, Paddington crosses the windy roof and limbos backward under an oncoming tunnel, emerging covered in soot.
S167The organ blossoms open to raise a treasure box of gold and diamonds, only for Phoenix to whirl and find Paddington hanging upside down nose-to-nose with him.
S168Henry, Mrs Bird and Judy run through a truck packed with chair-o-plane fairground rides.
S169Phoenix corners Paddington at the very back of the train with 'Exit, pursued by an actor' before suddenly plunging through a skylight.
S170Phoenix brandishes a sword-swallower's blade and slices stuffed animals as Mrs Bird's plastic-dart gun proves no match, backing the Browns into the next carriage.
S171As the two train lines converge again, Paddington climbs down to the platform at the back of the rear truck where he first boarded.
S173Amazed to see Mary in the Pullman cab, Paddington eyes his suitcase as the trains run thirty feet apart with no way across.
S174Phoenix checks the handcuffs binding Henry, Mary and Mrs Bird to the gallopers' poles, then turns his mind to Paddington.
S175Paddington winds his telescopic ladder out across the gap toward the Pullman to bridge the two trains as Phoenix shoulders at the locked door.
S178Phoenix uncouples Paddington's truck onto a side track and turns to find himself among four coconuts as Henry's thrown ball flies clean through two trucks to knock him cold.

between the trains

The dangerous gap between the two parallel-running steam trains where Henry crosses and Paddington bridges with his ladder.

EXT2 scenes

DAY

Set Requirements

•Parallel running trains rig
•telegraph poles
•ladder-bridge stunt rig

Key Visual Moments

S166As the tracks part, Henry is dragged into the splits between the two trains and, channelling Chakrabatics, holds the pose before Mrs Bird hauls him to safety.
S177Just as Paddington reaches toward Mary, Phoenix smashes through the door and hits the retract button, snapping the ladder and pulling the bear back into his arms.

viaduct and river

A railway viaduct over a deep river where Paddington's truck plunges in and sinks, and the underwater rescue takes place.

BOTH11 scenes

DAY

Set Requirements

•Railway viaduct
•deep river and riverbank
•underwater stage with sinking train truck and chained door

Key Visual Moments

S181The Pullman shrieks to a halt high on a viaduct above the river.
S182Paddington's sinking truck fills with water as he heaves uselessly at the jammed door.
S183Mary jumps from the train and sends Jonathan to fetch help.
S184Paddington heaves at the door as the carriage keeps filling with water.
S185Mary runs to the side of the bridge.
S186The runaway truck settles onto the riverbed underwater.
S187Mary pulls off her coat and dives off the viaduct into the water.
S188Mary knifes down through the water toward the sunken truck.
S189With only inches of air left, Paddington takes a final breath and sinks under as Mary works the lock from outside.
S190Paws clasped through the chained door at the end, Paddington and Mary look up to see Knuckles, Phibs and Spoon dive down and break the chain together.
S191Surfacing on the riverbank, Paddington beams that Knuckles came back, then passes out feverish in his friends' arms.

credits scrapbook

A stylised animated scrapbook over the end credits showing the characters' happy endings.

INT1 scene

DAY

Set Requirements

•Animated scrapbook environment with snapshots, ticket stubs and newspaper headlines

Key Visual Moments

S195Paddington's scrapbook turns its pages to show everyone's happy endings, closing on a newspaper photo of the Judge sentencing a whimpering Phoenix.

Cast

PADDINGTON

A small, polite young bear from Darkest Peru in a battered red bush hat and blue duffle coat, devoted to marmalade and to his Aunt Lucy's teaching that kindness and good manners make the world right.

Determined to buy Aunt Lucy the perfect birthday present, Paddington is framed and imprisoned, and through his unshakeable kindness transforms a prison full of hardened men and proves that looking for the good in people brings it out.

95 scenes·5 wardrobe changes

LUCY

An elderly bear, gentle and wise, who lives in Darkest Peru and raises the orphaned cub; appears as AUNT LUCY in Paddington's life and imagination.

Rescues the baby cub in the opening flashback and is finally brought to London by the community to share Paddington's birthday gift in person.

5 scenes·1 wardrobe changes

PASTUZO

An elderly bear, jovial and sandwich-loving, who with Lucy raises the cub; wears a battered red bush hat that becomes Paddington's.

Helps Lucy rescue the cub in the opening flashback; later referenced as having died, leaving Paddington as Aunt Lucy's only relative.

1 scenes

MARY

Paddington's adoptive mother, an adventurous illustrator training to swim the channel, imaginative and quick to believe in the impossible.

Refuses to give up on Paddington, deduces Phoenix is the thief, and dives into a river to save the bear, her swimming ambition redeeming itself in the rescue.

46 scenes·3 wardrobe changes

HENRY

Paddington's adoptive father, a risk-analyst at Lloyd's gripped by a midlife crisis, cautious and sceptical but with a buried daredevil 'Bullseye Brown' past.

Moves from doubting Mary and fearing his own ageing to rediscovering his courage, doing the splits between trains and felling Phoenix with a Bullseye coconut throw.

35 scenes·4 wardrobe changes

JUDY

The Browns' defiantly intellectual fourteen-year-old daughter, founder and editor of The Portobello Express newspaper, recovering from a break-up.

Channels her heartbreak into journalism, helping investigate and ultimately clear Paddington's name with her camera and printing press.

34 scenes·2 wardrobe changes

JONATHAN

The Browns' twelve-year-old son, secretly a steam-train enthusiast hiding behind a cool 'J-Dog' persona.

Sheds his fake J-Dog image to embrace his love of steam trains, driving the Pullman in the climactic chase and reclaiming his real name.

30 scenes·2 wardrobe changes

MRS BIRD

The Browns' aged Scottish relative and redoubtable housekeeper, sharp-tongued, capable and full of surprising skills from coin tricks to lock-picking.

Believes in Paddington from the start, masterminds the hamper sting, and proves invaluable in the train chase with Houdini-style lock-picking and a steady nerve.

26 scenes·1 wardrobe changes

PHOENIX

Phoenix Buchanan: a charming, vain, faded West End actor with dazzling blue eyes, reduced to dog-food commercials and living off his old roles; a master of disguise and the film's antagonist.

Steals the pop-up book to chase his grandfather's hidden Kozlova fortune, frames Paddington, and is finally defeated and imprisoned, where he rediscovers joy performing for a captive audience.

36 scenes·8 wardrobe changes

MR GRUBER

Paddington's kindly antique-dealer friend, owner of Gruber's Antiques, who holds the pop-up book for him and stands by him at trial.

Befriends and defends Paddington, and helps the family piece together that the thief was specifically after the book.

5 scenes

KNUCKLES

Knuckles McGinty: a huge, granite-faced prison chef and feared bruiser with his name tattooed across his knuckles, gruff and emotionally guarded.

Won over by Paddington's marmalade and kindness, the hardened convict learns pride and friendship, betrays then redeems himself by returning to save Paddington from drowning.

27 scenes·2 wardrobe changes

PHIBS

A friendly Australian prisoner and former restaurant critic.

Part of Knuckles' gang who joins the escape and ultimately helps rescue Paddington from the river.

21 scenes·2 wardrobe changes

SPOON

A wise, worldly prisoner who has seen it all, builds matchstick models and remembers a chocolate roulade recipe; also a capable pilot.

A steady member of the gang who flies the seaplane and helps break the chain to save Paddington.

22 scenes·2 wardrobe changes

T-BONE

A heavily tattooed, menacing prisoner quick with threats, who makes a strawberry panna cotta with pomegranate glaze.

Starts as a bully testing Paddington but is won over into the prison's gentle cooking culture.

5 scenes·1 wardrobe changes

THE PROFESSOR

A dozy, absent-minded prisoner prone to dropping his mug.

A background convict who joins the dessert-making transformation of the prison.

4 scenes·1 wardrobe changes

CHARLEY RUMBLE

A quiet prisoner who communicates mainly in low growls and makes a mean apple crumble.

A silent gang member folded into the prison's culinary revolution.

3 scenes·1 wardrobe changes

FARMER JACK

An old West Country prisoner with a moustache who has eaten the prison slop three times a day for ten years.

A long-term inmate who welcomes the food revolution.

2 scenes·1 wardrobe changes

WARDEN

The stern prison warden who runs the jail from an office in the clock tower and keeps a detailed model of the prison.

Softens under the prison's transformation, even reading the inmates bedtime stories, before the great escape exposes his complacency.

9 scenes

JUDGE

The pompous, vindictive judge who is revealed to be the very barber-shop customer Paddington accidentally disfigured.

Sentences Paddington out of personal spite, then gets his comeuppance fainting into a pavlova as Phoenix's eventual sentencing judge.

5 scenes·2 wardrobe changes

CUSTOMER

A curt customer with a magnificent mane of grey hair who insists nothing comes off the top; later revealed as the Judge.

His ruined haircut and marmalade 'product' set up his vengeful turn as Paddington's judge.

3 scenes·1 wardrobe changes

MR CURRY

A pompous, suspicious neighbour and self-appointed Commander of the Community Defence Force, always in a hi-viz jacket with a loud hailer.

Leads the street's prejudice against Paddington but is ultimately overruled by the neighbours who rally to bring the bear home.

4 scenes·1 wardrobe changes

COLONEL

A gloomy, dishevelled retired military man in a dressing gown who lives in shadow until Paddington cleans his window.

Paddington's window-cleaning lets sunlight and a romance with Miss Kitts into his life, and he gladly helps fly Aunt Lucy to London.

6 scenes·1 wardrobe changes

MISS KITTS

A cheery eccentric who runs the newspaper kiosk with a parrot on her shoulder.

Strikes up a tender romance with the Colonel and keeps selling Judy's newspaper to help clear Paddington.

4 scenes

DR JAFRI

An absent-minded doctor who constantly fears locking himself out of his house.

Relies on Paddington's reminders and gratefully helps the neighbourhood bring the bear home.

5 scenes

CYCLIST

A French woman who cycles through Windsor Gardens each morning and works at an aquarium.

One of Paddington's daily friends who misses his kindness in his absence and joins the welcome home.

4 scenes

BIN MAN

Mr Barnes, the cheerful dustbin-lorry driver who quizzes himself on the A-Z map of London and ferries Paddington around town.

Befriends Paddington over the A-Z, later passing his exams and smuggling the bear to Paddington Station disguised as a litter bin.

8 scenes

WOLFIE

A scruffy stray dog who lives in an alley off Portobello Road and is befriended by Paddington.

Repays Paddington's kindness by becoming his loyal steed during the canal chase.

5 scenes

MADAME KOZLOVA

The colourfully-dressed Russian owner of the steam fair who works as its fortune teller; her great-grandmother was the original Flying Swan.

Recounts the legend of her great-grandmother's hidden fortune and the pop-up book that maps it.

6 scenes·1 wardrobe changes

MAGICIAN

A jealous fairground magician of the 1930s, Phoenix's grandfather, who murders the Flying Swan for her fortune and vanishes in a puff of smoke.

In flashback he cuts the trapeze ropes and steals the key, but finds only the pop-up book before disappearing forever.

5 scenes

FLICK

Flick Fanshawe, a glamorous, no-nonsense theatrical agent with show business in her veins, representing Phoenix.

Unwittingly supplies the children intel on Phoenix's solo working habits that anchors the case against him.

2 scenes

SECURITY GUARD

A sleazy, easily-smitten St Paul's security guard (the same guard from the first film) who is convinced the 'nun' was the most beautiful woman he's ever seen.

His infatuated eyewitness account of the disguised Phoenix gives the family a crucial lead.

6 scenes

POLICEWOMAN

A serious-minded policewoman who arrests Paddington at the scene and later demands hard fingerprint evidence against Phoenix.

Initially convinced of Paddington's guilt, she sets the fingerprint bar that drives the train chase.

4 scenes

STEWARD

The attentive steward serving the Judge aboard the Belmond British Pullman.

Comic foil who repeatedly douses the Judge in champagne and pudding during the chase.

3 scenes

WIFE

The Judge's wife Gertrude, who travels with him on the Pullman and is unafraid to shush him.

Gently questions her husband's harshness and silences his complaints on the train.

2 scenes

CONDUCTOR

A polite bus conductor inside the pop-up London fantasy.

A charming fantasy figure who delights Aunt Lucy in the imagined book world.

1 scenes

GIUSEPPE

Mr Giuseppe, the Italian owner of the barber's shop who lets Paddington mind the shop.

Returns to find his shop in chaos and Paddington's haircut disaster underway.

2 scenes

MUM

A mother reassuring her nervous son Nelson about a haircut outside the barber's shop.

A passer-by gag who decides to take her son elsewhere after seeing Paddington splat the window.

1 scenes

C.E.O.

The chief executive at Lloyd's who announces the promotion that passes Henry over.

Triggers Henry's midlife crisis in a single announcement.

1 scenes

CHAKRABATICS INSTRUCTOR

The instructor of Henry's 'Chakrabatics' class, whose mantra is to open your mind so your legs will follow.

His teaching becomes the lifeline that lets Henry survive the splits between the trains.

2 scenes

PROSECUTOR

The prosecuting barrister at Paddington's trial.

Builds the marmalade-and-paw-print case that, with Phoenix's perjury, condemns Paddington.

1 scenes

FORENSIC INVESTIGATOR

A forensic witness who identifies marmalade at the crime scene and can't stop eating it.

Comic expert witness whose marmalade tasting turns the courtroom against Paddington.

1 scenes

CLERK OF COURT

The court clerk who calls the room to order and swears in witnesses.

Procedural courtroom figure.

1 scenes

TOUR GUIDE

A St Paul's Cathedral tour guide explaining the building's history.

Provides cover for the family slipping into the cathedral to investigate.

2 scenes

POSTMAN

Marlon, the friendly local postman whose van and parcel delivery the Browns hijack for the hamper sting.

Unwittingly carries Mary in a hamper to Phoenix's door.

2 scenes

BUTLER

A butler in the dog-food commercial cutaway who serves Phoenix his gilt bowl.

Comic prop of Phoenix's humiliating ad.

1 scenes

FEATHERS

Miss Kitts' parrot, who unexpectedly speaks the truth about the thief being right behind Mary.

A pantomime-style bird who points Mary toward Phoenix.

1 scenes

JIMMY THE SNITCH

One of Knuckles' fellow prisoners who appears at the visiting window.

A member of the prison friends introduced at the visiting booth.

1 scenes

SQUEAKY PETE

A prisoner among Paddington's friends introduced at the visiting window.

Background prison friend.

1 scenes

DOUBLE BASS BOB

A prisoner among Paddington's friends introduced at the visiting window.

Background prison friend.

1 scenes

MAD DOG

A prisoner who answers only with a 'Woof!' at the visiting window.

Comic background prison friend.

1 scenes

SIR GEOFFREY

Sir Geoffrey Willcot, a prisoner who speaks like a politician courting votes and refuses to comment.

Comic background prison friend at the visiting window.

1 scenes

JOHNNY CASHPOINT

A prisoner who greets the Browns with a 'Kerching!' at the visiting window.

Comic background prison friend.

1 scenes

MS PETERS

A Windsor Gardens neighbour who thanks Paddington at the homecoming.

Among the grateful neighbours at the finale.

1 scenes

Production Design · Props

pop-up book of London

Hero

16 scenes

The central MacGuffin; unique 'popping book' by Madame Kozlova hiding clues to her fortune. Needs hero close-up versions and a functioning pop-up Tower Bridge spread; carries Phoenix's fingerprints as key evidence.

S20S21S22S34S35S36S37S47S50S71S73S123S163S167S177S178

marmalade (sandwiches and jar)

Hero

12 scenes

Recurring motif and plot device: from Paddington's hat sandwiches to the 'product' on the customer's head (trial evidence) to the prison marmalade that wins over Knuckles. Needs edible and smearable versions.

S1S5S26S50S64S76S78S87S88S89S90S91

Paddington's red hat

Hero

6 scenes

Pastuzo's battered red bush hat, inherited by Paddington; stores his emergency marmalade sandwiches. Continuity hero prop.

S1S2S5S26S64S142

coin from behind the ear

Hero

3 scenes

Mrs Bird magics it from Paddington's ear at breakfast; the single coin he later spends in the phone box to call the Browns. Plant-and-payoff prop.

S5S22S145

telescopic ladder

Hero

5 scenes

Paddington's window-cleaning ladder from his suitcase; used as a bridge between trains in the climax with a working extend/retract action.

S28S35S174S175S177

fairground organ

Hero

4 scenes

Kozlova's organ emblazoned 'Where All Your Dreams Come True'; its keyboard plays the clue-letter code to open the hidden treasure mechanism. Requires practical opening mechanism / VFX.

S27S123S163S167

Phoenix's disguises and mannequins

Hero

9 scenes

Bearded-thief appliance, nun's habit, archbishop, suit of armour and train-porter disguises, plus the attic mannequins of his past roles. Needs quick-change rigging.

S47S60S74S75S84S86S119S123S155

huge birthday fund jar

Hero

2 scenes

Labelled 'AUNT LUCY'S BIRTHDAY FUND'; tracks Paddington's window-cleaning savings.

S30S33

A-Z map of London

Hero

4 scenes

The binman's much-thumbed atlas he quizzes himself on with Paddington's help.

S6S19S33S98

Judy's newspaper (The Portobello Express)

Hero

5 scenes

Judy's printed paper; carries the investigation sketches and the final 'PADDINGTON FREED' headline. Multiple edition versions needed.

S12S55S97S148S193

electric clippers and flex

1 scene

Drive the barber-shop slapstick; long trailing flex used to ensnare Paddington and trigger the fan gag.

S24

toffee apples

Hero

4 scenes

Sticky toffee apples used as roof suckers by Paddington in the train climax.

S27S163S165S167

dictaphones / tape recorders

4 scenes

Used by Judy and Jonathan to record and splice the agent's voice for the phone sting.

S103S109S111S113

Barkridge's hamper

Hero

3 scenes

Large straw-filled hamper Mary hides inside to infiltrate Phoenix's house.

S104S108S114

Warden's model of the prison

Hero

2 scenes

Detailed scale model that swings open like a doll's house to reveal the prison cross-section during the escape.

S95S128

coconut shy ball

Hero

2 scenes

Tied to Henry's 'Bullseye Brown' identity; the ball he throws through two train trucks to knock out Phoenix.

S72S178

propane tank and laundry basket

3 scenes

Components of the improvised tablecloth hot-air balloon used in the escape.

S135S137S138

sword-swallower's sword

1 scene

Razor-sharp blade Phoenix wields in the sideshow truck; stage-combat prop, contrast with Mrs Bird's dart gun.

S170

photograph of Paddington with the Browns

Hero

2 scenes

Bedside photo; Paddington's face magically vanishes from it during his lowest moment. Needs an effects-capable version.

S96S127

wig and false beard / nose

1 scene

Phoenix peels these off to reveal himself; prosthetic appliance prop.

S47

Poster Concepts

Character-Driven

The Window in the Eaves

“One small soul who knows everyone's name.”

A small bear in a battered red hat sits in a round attic window high in a row of pastel terraced houses, gazing out at a city skyline at golden hour. The bear is tiny against the building; the eye climbs the soft mint-and-rose facade to find him. Wide negative space of sky above for the title.

Character-Driven

The Hard Stare

“He has a look that ends arguments.”

Extreme close-up on a small bear's face filling the lower frame, brows lowered into a steady, disarming stare directly down the lens, one paw just visible at the chin. Soft prison-grey background falls away behind into darkness. The whole poster rests on the comic gravity of that look.

Character-Driven

The Man of a Thousand Faces

“Every disguise hides the same vanity.”

A single charismatic actor's face, dead centre, cracked vertically into mismatched slices — one slice a bearded burglar, one a nun's wimpled cheek, one a suit-of-armour visor, one a kilted aristocrat — all stitched into one smug, theatrical expression. Behind him, the faint silhouettes of costumed mannequins watch.

Symbolic/Metaphorical

The Pop-Up City

“The whole city, folded into a gift.”

An open antique book lies flat, and out of its pages a folded paper London erects itself — a tiny bus, a pleated cathedral dome, a bridge rising on creased tabs, a paper river threading between them. A small bear stands on the page among the landmarks, hand-in-hand with a paper-cut older bear. Everything is the warm cream of old card.

Symbolic/Metaphorical

A Jar of Sunlight

“It gets everywhere. It fixes everything.”

One glass jar of marmalade glows at the centre of a dark frame, lit from within like a lantern, a worn spoon resting against it. Around the jar, faint chalk-line drawings connect a barber's shop, a prison hatch, a courtroom and a kitchen — the sticky thread that runs through the whole story. A small red hat hangs on the spoon handle.

Symbolic/Metaphorical

Prison Sweet Prison

“Even here, kindness redecorates.”

A towering Victorian prison atrium drawn in cold stone, but blooming — hanging baskets, bunting and fairy lights strung across the iron landings, a crocheted banner draped down the centre, a dessert trolley far below. Searchlight cones soften into warm lamplight. The grim and the homely fused in one impossible interior.

Scene-Based

The Tablecloth Balloon

“A jailbreak only friends could fly.”

Night sky over a Victorian prison silhouette. A patchwork hot-air balloon stitched from mismatched tablecloths drifts up over the wall, a laundry basket swaying beneath it carrying small whooping figures, one of them a bear. A single searchlight beam misses them. London rooftops sleep below.

Scene-Based

Across the Speeding Trains

“The rescue runs on rails.”

Two steam trains thunder side by side through open countryside at dawn, framed from a low three-quarter angle. A small bear in a red hat clings to the roof of one, soot-streaked; on the other, a pyjama-clad man is stretched into an impossible splits across the gap between them. Motion blur streaks the fields; steam plumes ribbon overhead.

Scene-Based

Just an Ordinary Bin

“Nobody suspects the bin.”

A grand railway station concourse at night, vast iron-and-glass roof arching overhead. In the busy foreground, a small red litter-bin sits among real ones — but two furry paws and the brim of a red hat peek from its rim, and a dozing policeman drops half a doughnut toward it. Everyone else oblivious.

Minimalist/Typographic

Hat and Tag

“Wherever he goes, he is welcome.”

A vast flat field of soft duffle-coat blue. Dead centre, one small red wide-brimmed hat, and a single luggage tag on a string hanging just below it. Nothing else. The tag is blank, inviting the eye to fill it. Enormous calm negative space all around.

Minimalist/Typographic

Please Look After This Bear

“Mind the kindness; it spreads.”

A cream card filling the frame, slightly crumpled, as if a hand-lettered label. The title is the dominant element, brushed in warm ink, with a small marmalade thumbprint smudge in one corner and the faint impression of a hat brim watermarked behind the words. No figure at all — the letters are the poster.

Mood/Atmospheric

First Snow on the Gardens

“A street feels colder without him.”

The pastel terrace of a London garden square seen in falling snow at blue dusk, every window lit warm gold. The street is empty and quiet — a wistful absence — save one small set of pawprints in the fresh snow leading off-frame toward the viewer. Lamplight haloes the flakes.

Mood/Atmospheric

The Spiegeltent Memory

“Every fortune has a buried beginning.”

The mirrored interior of a 1930s fairground tent, gilt and candlelit, a trapeze artist in a feathered costume mid-swing high in the canopy as flowers rain up toward her. The image is soft-edged, sepia-bled at the corners like a remembered photograph, a single diamond glint catching the light. Faint, glamorous, doomed.

Collage/Ensemble

The Neighbourhood

“A whole street's worth of good mornings.”

The whole Windsor Gardens street rendered as a warm cross-section illustration: a moustached colonel at one window flirting across the road with a piano teacher, a market trader, a binman on his lorry, a doctor at his sparkling French windows, the Brown family on their step — and threading through them all on a bicycle, a small bear in a red hat greeting each by name. Busy, affectionate, every face doing something.

Collage/Ensemble

The Disguise Wardrobe

“Six faces, one liar, and the bear who saw through them.”

A grid of theatrical mannequins against a dim attic backdrop, each wearing one of the villain's costumes — a bearded burglar, a wimpled nun, a suit of armour, a kilted gentleman, a dog suit, an archbishop's robes. In the centre square, instead of a mannequin, a small red hat sits alone on a stand. The pop-up book rests open on a make-up table below the grid.