being human s1e1

8/4/2019 Being Human s1e1

1/60

Black.

ANNIEEveryone dies.

(beat)Actually, can I start that again?

(beat)Everyone deserves a death.

INT. THE HOUSE. 2008. NIGHT A. 22:21.1 1

Annie stares straight into the camera. Her eyes are fixed,glazed and empty. One pupil dilated. The paramedics workquickly and efficiently, one pounds her chest, one shines atorch into her eyes. Nothing, no response. The paramediclifts her head and slips an oxygen mask over her mouth.

ANNIE (V.O.)Whether its at home.

The pool of blood spreads out from under her head acrossthe wooden floor like a rose blossoming.

EXT. BATTLEFIELD. EDGE OF FOREST. DAY C. 1916. 06:16.2 2

Mitchell. Hes wearing the uniform of a first world warcaptain. He stumbles out of a forest into a clearing. Hisuniform is torn, his face streaked with blood.

ANNIE (V.O.)Or in a war.

Something up ahead makes him stop. A group of men, dressedin the clean crisp uniforms of officers. They lookstrangely out of place in the carnage and mud.

They are gathered around a body, a wounded soldier. Theyturn. One of them we will later recognise as Herrick. Theyspot Mitchell. They grin. And their eyes scorch black.

INT. BATTLEFIELD. EDGE OF FOREST. NIGHT C. 1916. 21:04.3 3

Its like a painting by Hieronymus Bosch. Blood, mud andbody upon body upon body. Mitchell among them. Dead, paleand cold. Just another soldier, just another death.

ANNIE (V.O.)Theres no getting out of it, nocoming back.

"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 1.

(CONTINUED)


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Suddenly his body jackknifes and arches. He gasps - hugegulps of air, like someone bursting to the surface from thedepths of the ocean.

He looks around, shocked, disorientated. The puncture markson his neck still just about visible.

INT. THE HOUSE. KITCHEN. DAY B. 2008. 15:41.4 4

Various relatives - Owen among them - stand around thekitchen. All in funeral black. Shocked, mute and awkward.Their grief and bodies too big for the tiny kitchen.

ANNIE (V.O.)You can love if you like.

Annie stands to one side, looking strangely out of place inher t-shirt and jeans among all the black. She pleads withthe people in the kitchen, waves her hands, shouts in theirfaces. No one sees her, no one hears.

INT. LAURENS FLAT. BEDROOM. NIGHT D. 2008. 23:06.4a 4a

Mitchell, and a young beautiful woman we will laterrecognize as Lauren. They are having sex.

ANNIE (V.O.)And if youre very lucky you canbe loved.

Then Mitchell opens his mouth wide. Baring vampire teeththat are long and sharp and wicked. Laurens body shuddersand braces as he bites her. He drinks and drinks.

INT. LAURENS FLAT. BEDROOM. NIGHT D. 2008. 23:17.5 5

Lauren is laying face down on the bed. Eyes open, but dead.

ANNIE (V.O.)But everyone gets a death.

Mitchell is slumped on the floor. Blood on his lips. Tearsrunning down his face. He beats himself with his fists.Whack. Whack. Whack. A slave to his addiction.

INT. THE HOUSE. LIVING ROOM. DAY E. 2008. 14:53.6 6

An estate agent shows a young couple - the woman, pregnant -around the house.


CONTINUED:3 3

(CONTINUED)


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Annie, resigned to her condition now, sits dejectedly onthe sofa - her middle finger raised at the trespassers.

ANNIE (V.O.)No one told me there was this.

But its an empty defeated gesture. The estate agent andthe couple, of course, look straight through her.

EXT. WAR MEMORIAL. NIGHT F. 2008. 21:09.7 7

Mitchell stands at the foot of the war memorial.

Mitchell turns away and walks down to his car. And we seethe world has moved on a long way from that Flanders field.People. Cars. Neon. Life.

ANNIE (V.O.)Weve driven off the edge of the

map but were still travelling.

He climbs in and drives off.

ANNIE (V.O.) (CONTD)No one told me death sometimescheats.

EXT. MOORS. NIGHT G. 21:11.8 8

Were looking down at George, on his back, on the ground.Hes in shock. Struggling to move, eyes rolling. His coatis shredded at the shoulder and red with blood.

We pull back. Lying next to him is another figure. His neckand chest are gone. Just gone. Torn away.

ANNIE (V.O.)But there are those that cheatdeath.

There are sharp flashes of light, and more figures run intoframe. One has a shotgun, blasting at something off screen.Another attends to George, writhing on the ground.

ANNIE (V.O.) (CONTD)Battered and bloody, they walkaway from the train wreck or thebig bad wolf.


CONTINUED:6 6


4/60

INT. HOSPITAL. PRIVATE ROOM. DAY H. 11:12.9 9

A brightly lit private room in a hospital. Sunlight washesacross George. He sits in a chair, surrounded by flowersand Get Well cards. But theres something fractured abouthim. Absent.

ANNIE (V.O.)But whats the cost?

Slowly George stands, walks out.

EXT. COUNTRYSIDE. DAY H. 19:16.10 10

Flat, barren, unforgiving land. George climbs out of hiscar and starts to walk. Its as if hes in a trance. Or

drawn inexorably on by an invisible thread. And as he walkshe starts to undress. With difficulty he pulls his jacketand shirt off. His shoulder is still wrapped in bandages.

ANNIE (V.O.)Theyre scarred.

EXT. WOODS. NIGHT H. 23:11.11 11

The transformation is horrific. Every bone in Georges bodybreaks as it stretches, contracts and reforms. The pain andthe brutality of it tears him apart, eviscerates him.

ANNIE (V.O.)Theyre transformed.

The flesh on his face stretches as his jaw distends into asnout. His back arches as his spine and shoulder bladesstretch and bow. George screams. Over and over.

INT. HOSPITAL. CANTEEN. DAY I. 11:01.12 12

George in his hospital porter scrubs. He reads the paper,sips his tea. He picks up a mini packet of biscuits and

without taking his eyes from the paper, offers them acrossto the person sitting next to him. Mitchell.

ANNIE (V.O.)And what happens to theserefugees?



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INT. THE HOUSE. BEDROOM. DAY J. 16:42.13 13

Annie looks out of the bedroom window at the street below.

George and Mitchell are just arriving, bags in hand. Georgelooks up at the house, looks at Annie.

ANNIE (V.O.)These flotsam and jetsam ofdeath.

He double-takes. Did he see something?

It makes Annie flinch and move back out of sight. Shefrowns. That was weird.

INT. THE HOUSE. KITCHEN. DAY K. 12:32.14 14

George and Mitchell are in the kitchen. Talking, laughing.George washes up. Mitchell, bored, flicks bubbles at him.George tries to keep his cool, tries not to laugh. Dont dothat. I said dont do that. Stop. Please stop. I mean it.

ANNIE (V.O.)Maybe, if they still deserve sucha thing as mercy...

Annie watches them, through the crack in the door.Frightened. Mesmerised.

ANNIE (V.O.) (CONTD)... they find each other.

She just watches. And watches.

AND WE FADE TO:

BLACK.15 15

Then a sound. The put-put of a moped. A squeak of brakes.

EXT. STREET. AFTERNOON 1. 15:01.16 16

A pizza delivery guy, 17 maybe, climbs off his moped,trudges to a door and rings the bell. It flies open.Theres Annie. Beaming.

ANNIEHello!

PIZZA GUY12 inch Mess of Meats?

Mitchell appears, scoops the pizza out of his hands, stuffssome money into his fist and disappears again.


(CONTINUED)


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ANNIEThank you very much.

The Pizza Guy turns to go. But Annie isnt letting him getaway that easily.

ANNIE (CONTD)So how long have you beendelivering pizzas?

PIZZA GUYUh. Couple of months?

ANNIECould you drive a moped before ordid they teach you?

PIZZA GUY

They taught us. We had to driveround and round a car park.

ANNIEYou like my top?

PIZZA GUYI suppose.

ANNIE(enjoying the word)

Matalan. Bet you hate pizza. Whenyou get home and your girlfriendasks what you want for your tea,I bet youre like Not pizza!

PIZZA GUYI live with my dad.

ANNIEYeah? Whats your dads name?

PIZZA GUYDuncan.

ANNIEHa! Madness! Ill seeya later.

She shuts the door. Pizza guy doesnt move. What was thatabout?

INT. THE HOUSE. LIVING ROOM. AFTERNOON 1. 15:02.17 17

Annie turns triumphantly to Mitchell and George, who aresat watching TV. A dozen mugs of tea on the table.


CONTINUED:16 16

(CONTINUED)


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ANNIEHe could see me.

MITCHELLHe could so see you.

ANNIE(gleeful)

Its happening all the time now. *Not just people like you, but *normal people. Yesterday I was *putting out the recycling andthis guy drove past in a van andshouted Slag!

Mitchell and George nod. Respect.

ANNIE (CONTD)

Right. Who wants tea?

George raises his hand... hold on... then:

GEORGEThe milks off.

ANNIEWhat happened there? What did youdo? Did you just make it go off?

George huffs. Irritated. He doesnt want to discuss this.Annie looks to Mitchell for an explanation.

MITCHELLRound the time he changes, hissenses get really heightened. *

ANNIECool! See? Being a werewolf isnt *all bad! *

GEORGE *No, youre right. I can smell off- *

milk. My life is one long Roll- *

Over week. *

George turns to Mitchell, noisily devouring his pizza. *George watches, a little grossed out.

GEORGE (CONTD) *How can you still be hungry? Youjust ate a whole box of GoldenGrahams.

MITCHELLMan, Carbohydrates. Theyve *

become my blood substitute. *


CONTINUED:17 17

(CONTINUED)


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ANNIEYou wanna be careful. When my

middle sister stopped smoking,she put on 2 stone. We had topadlock the fridge.

MITCHELLBig girls go mad over me. Itscoz Im wiry. Their worstnightmare.

ANNIEBut dont you need blood to, *

well, live?

MITCHELLNah. Just a question of willpower.

He raises a glass of water to his mouth. There is a tremorin his hand that makes the glass clatter slightly againsthis teeth. He moves the glass quickly away, glances aroundto see if the others noticed.

ANNIEIll make some black coffee.

(stands)What?

GEORGEWhat?

ANNIEYou made a huffy sound.

GEORGE(suddenly raging)

You keep making tea! Everysurface is covered with mugs oftea and coffee! I go to make

myself some tea and I cant!Theres no mugs, theres no tea!Its all been made! And you cant

even drink it! You cant drinkthe tea but you keep making it!Its driving me INSANE!

ANNIE(shrugs)

I like my routine, it makes mefeel normal.

GEORGEYOURE A GHOST!


CONTINUED: (2)17 17

(CONTINUED)


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ANNIEYeah so are you finished withthese?

George nods. A broken man. Annie gathers up the mugs andtrots off to the kitchen. Mitchell stands, starts gathering

his things to go.

MITCHELLCome on.

George stands, pulls out a little sports bag.

ANNIEYou both off?

MITCHELLYeah, weve got work, then its

his time of the month.

ANNIEOh. Ok.

She moves forward, trying to delay their exit a little

ANNIE (CONTD)Tell you what, I dont miss allthat. Id have to sit on the sofa

with a hot water bottle and Prideand Prejudice. If anyone saidanything, Id bite their headoff!

(beat)Though I guess in your casethats actually a possibility.

George just looks at her. Thanks. Mitchell sniggers.

MITCHELLWell see you later.

And they go. Annie looks around at the house, suddenlyempty and lifeless.

EXT. HOSPITAL. LATE AFTERNOON 1. 15:56.18 18

The hospital. Patents and visitors and doctors mill about.

MITCHELL (V.O.)Yknow, you should be pleased forher. She can be seen by otherpeople now, she can step out of *the house. Thats down to us.


CONTINUED: (3)17 17


10/60

INT. THE HOSPITAL. STAFF ENTRANCE. LATE AFTERNOON 1. 15:5719 19

Mitchell and George trudge into work. They clock in / signin / whatever. They lower their voices. *

GEORGE *

Why is she here anyway? Other *people move in somewhere, they *have damp, they have woodlice. *Why do we get Casper? *

MITCHELL *Weve been over this. There must *be something unresolved about her *death. Thats whats keeping her *here. *

GEORGE *

Its not fair... *

MITCHELL *Exactly. Whatever happened to *her, it was unfair. Unjust. *

GEORGE *No, I mean her being here is *unfair. The amount of washing up *she generates... *

Mitchell rolls his eyes, he isnt getting into this. *

MITCHELL *So what you gonna do? *

GEORGEIll work for an hour, then saytheres a family emergency andscoot down to the isolation roombefore the moon comes up.

MITCHELLCool. Ill come and let you outin the morning.

There is a gesture between them, a hug maybe, somethingunspoken. This is a familiar routine now but Mitchell knowsthe horrors his friend is about to endure.

George peels off. Mitchell is by a couple of screens. Flatgrey footage from CCTV cameras dotted around the hospital.Something catches his eye.

One camera looks on to an empty corridor. Lift doors. Theyopen. No one gets in, no one gets out. The empty lift justsits there. The doors close again. Mitchell watches the

screen.


(CONTINUED)


11/60

INT. HOSPITAL. CORRIDOR. LATE AFTERNOON 1. 16:04.20 20

Mitchell walks down a corridor. It's empty. A patientmaybe, wandering along. Mitchell looks around. It's as if

he's trying to find the thinnest trace of a scent on theair, or a distant sound.

INT. HOSPITAL. WARD. LATE AFTERNOON 1. 16:11.21 21

A ward, with private rooms at the end. Mitchell slips downthe aisle, past the nurse at the Nurse's Station. There'snothing here. Nothing out of the ordinary. But his eye isdrawn to a room, the door firmly shut, the blinds down.

INT. HOSPITAL. PRIVATE ROOM. LATE AFTERNOON 1. 16:12.22 22

There's one bed in the room, one patient. Deeply asleep,wired up to beeping monitors. And standing over him isSeth. He looks up at Mitchell as Mitchell enters. They keeptheir voices low.

SETHJesus, Mitchell, how are yousupposed to find anywhere in thisplace? I followed the signs forIntensive Care, I ended back

where I came in!

MITCHELLWhat are you doing here, Seth?

SETHHerrick thinks recruitment shouldbe more tactical. People with

money and influence. No moretramps or people who fall asleepon the Night Bus. Our gatherings

are starting to look like theseating area in Argos.

(a grin)You had the right idea withLauren. Least shes easy on theeye.

Seth takes his coat off, preparing to feed.

SETH (CONT'D)This guy, I think hes on thecouncil or something...


CONTINUED:19 19

(CONTINUED)


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MITCHELLLeave him alone.

SETHWhat, you want to share?

MITCHELLNo, Ive... Ive stopped.

SETHYeah weve had this conversation.What blood type is he anyway?

(the chart)A Positive. Hmmm. A bit JacobsCreek-y for me, but there you go.

MITCHELLMove away from the bed, Seth.

Seth stops, looks at Mitchell. Fuck, hes serious...

SETHRemember that guy, the student.When was it? 58, 59? Or you andHerrick and the girl in thehotel? What about that couple inthe park? You cant stop,Mitchell. This is what we are.

(a grin)Come on. Just a taste. A sip.

The temptation, the urge to drink, is so strong Mitchellliterally shudders. This is torture. He has to wrench the

words out.

MITCHELLI said... leave him alone...

Seths grins fades into a sneer of contempt.

SETHOr what? Look at you, when wasthe last time you fed? Youre

shaking, youre sweating. Youreally think youre up to gettingbusy with me?

Mitchell says nothing. Seth snorts - he thought as much.

SETH (CONTD)Now get into character and watchthe door. Ive got a job to do.

He pulls the sheet down, exposing the patients neck.Mitchell grips Seth by the arm and tries to yank him back

from the bed. Seth swings his arm back, knocking Mitchellshand away. Mitchell slams Seth back into the wall.


CONTINUED:22 22

(CONTINUED)


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They face each other, nose to nose. Mitchell clearly hadmore fight in him than Seth suspected.

MITCHELLI dont care if the coolest kidin school is suddenly your mate,

Seth. To me youll always be thatmilky little creep who smells ofbiscuits. Tell Herrick thehospital is out of bounds.

He lets Seth go. Seth says nothing. Then shrugs, smiles hisyellow smile and heads for the door. He stops.

SETHA word of warning. One friendto another. Its cold out there

without us.

Seth leaves. Mitchell takes a deep breath. And another.

INT. THE HOSPITAL. CORRIDOR. EARLY EVENING 1. 17:16.23 23

George is chatting to a nurse - Becca. Shes in her 20s,pretty, but homesick and a little shy. She has an armful oflaundry, George pushes an elderly man in a wheelchair

BECCAYeah, just outside Leeds. I mean,I loved it, but I thought if Idont get out now... Coz matesof mine, some are married or withkids, and theyve just stayed.

Theyve stopped by a little makeshift shrine. Cards andphotos and flowers (withering a little now) are pinned andpasted to a wall. One photo dominates and provides thefocal point. A woman in her 20s. Beautiful. Happy. Utterlyalive and vibrant. This is Lauren. George looks at theflowers and cards. Becca watches him.

BECCA (CONTD)Who was she?

GEORGELauren. Worked in A+E.

BECCAWhen did she die?

GEORGEA couple of months before youstarted. Heart attack. She was

20, 21? I know, mad, isnt it.


CONTINUED: (2)22 22

(CONTINUED)


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He looks at the main photo. Lost for a moment.

GEORGE (CONTD)She was beautiful...

BECCA

Look. Theyre doing a littlememorial thing. Planting a tree.

Mitchell approaches them quickly.

MITCHELLGeorge.

BECCA(beams, smitten)

Hiya, Mitchell.

MITCHELLYeah, hi.(to George)

Shouldnt you be going?

GEORGE(looks at his watch)

Shit.(to the old man)

Sorry.(to Becca)

Shit, Ive got to be somewhere.Kind of now.

He quickly takes the laundry from Becca, pops it on the oldmans lap and hands the wheelchair over to Becca.

BECCA(to Mitchell)

Ive got a break in 10 minutes.

GEORGE(to Becca) *

Ill see you around then.

MITCHELL(just GO)

In your own time.

George scurries off. Sneaks a glance back at Becca as hegoes.

BECCAI was saying, Ive got a break in10 minutes.


CONTINUED:23 23


15/60

INT. STAIRWELL / ISOLATION ROOM. EARLY EVENING 1. 17:22.24 24

George trots down the stairs towards the isolation room.Voices ahead make him stop. Shit, there are people inthere... He creeps closer to the door. Two maintenance menare clearing out the battered old desks and boxes.

GEORGEHello? Uh, what are you doing?

MAINTENANCE GUYThis is gonna be the site office

when they start building theadmin wing. You should have seenthe state of it! The furnitureall smashed, these marks on the

walls... They been keeping thementals in here or what?

George looks at his watch and stumbles back up the stairs.

The other workmen is brandishing a drill. He rams it intothe wall. The growl and squeal of the drill is magnified.Then it changes, into a scream of metal and wild creatures.Deafening and painful, like a giant engine grinding androaring. The kind of sound that swallows your own scream

whole.

FADE TO:

Mitchells face. A brittle smile fixed in place as he triesto ignore the fury of the scream inside him. Something elsecuts through the noise. A voice. Insistent.

BECCA (O.C.)Mitchell... Mitchell.

He blinks. Snapped back to reality. Bolsters the smile. Thescream fades out and we pull out to find ourselves in...

EXT. HOSPITAL. CANTEEN. EARLY EVENING 1. 17:47.25 25

Mitchell and Becca having coffee.

BECCAI said are you Ok? Your hand isshaking.

MITCHELLOh. Yeah, I quit, uh, smoking afew weeks ago. Im still at thetwitchy stage. Im hoping -

BECCASo are you seeing anyone?


(CONTINUED)


16/60

Mitchell laughs, taken aback by her directness.

BECCA (CONTD)Ok, that was me trying to be allsophisticated and Marie Clare,but it came out really Special

Needs, didnt it. Im such anidiot. I shouldnt be allowednear people.

MITCHELLIts fine, its fine.

Mitchell swills his coffee in his cup. Choosing his words.

MITCHELL (CONTD)But in answer to your question:no. My relationships have always

followed a similar pattern.They've been brief, they...haven't ended well. That has tochange. I can't keep hurtingpeople. I just want somethinggood and normal. But there arethose who say I can't do that.

BECCAWho says that? Your friends?

MITCHELLNot my friends, no.

BECCAYour family?

MITCHELLI guess youd call them that.

BECCA(solemn, wise)

Families are wankers.

MITCHELL

(laughs)Families are wankers.

Mitchell looks up. George has scurried into the canteen,his eyes searching frantically for Mitchell. Mitchellstands, excuses himself from Becca and trots over.

GEORGEThe isolation room I transformin, its full of people! We needto get somewhere, Ive got about40 minutes before I change!

Thats all Mitchell needs to hear. They hurtle out.


CONTINUED:25 25

(CONTINUED)


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EXT. COUNTRY ROAD. EVENING 1. 18:07.26 26

Mitchells car splashes along the country road and comes toan abrupt stop. George scrambles out.

INT. MITCHELLS CAR. EVENING 1. 18:07.27 27

MITCHELLGeorge, wait. Its too risky.

GEORGEWhat?!

MITCHELL

You havent had time to findsomewhere. You cant just runinto some random bit ofcountryside. Youll kill someone.

GEORGEWell what else can I do?

MITCHELLCome back to the house.

GEORGE(appalled)

Im not doing this in the house!

MITCHELLFor Gods sake, George, you cantalways keep it separate. This ishappening. This ispart of you.

George bolts into the woods. Mitchell yells after him.

MITCHELL (CONTD)Its safe there! We can containyou! George! George!

EXT. WOODS. EVENING 1. 18:09.28 28

George crashes through the bushes and branches, alreadytugging at his clothes.


CONTINUED: (2)25 25


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EXT. WOODS. CLEARING. EVENING 1. 18:11.29 29

George stumbles into the clearing. Stops dead. Theres afamily there. Parents and two kids. Camping. A tent andstove. They stare at George.

GEORGEHi, how are you?

He turns, crashes back into the woods.


George scrambles down a bank to a dried up river bed. Thiswill do. He turns. Two men, locked in an embrace, arestaring at him.

GEORGEOh for fu - Sorry, sorry.

He turns and flees.


A man doing Tai Chi. Behind him, George sprints past fromone side of the frame to the other.

GEORGEHavent you people got homes...!

The man turns. No one there.


Another clearing. This time, mercifully deserted. Georgetries to catch his breath. He starts to pull his shirt off.

VOICEGeorge Sands.

George spins around. All he can see in the fading daylightis the silhouette of a man, maybe 20 yards away. A thickdark shape in the gathering gloom.

VOICE (CONTD)Cutting it a bit fine, arentyou, George?

George is speechless. Frozen with shock. The figure takes a

step towards George. It breaks the spell and Georgescrambles back into the woods.


(CONTINUED)


19/60


George stumbles through the undergrowth. Its like hesrunning for his life.

INT. MITCHELLS CAR. EVENING 1. 18:27.34 34

Mitchell peers out of the window. Theres George. Poundingback towards the car. He yanks open the door, scrambles in.

GEORGENo, youre right, lets go backto the house.

MITCHELLWhat?

GEORGELike you said, its safer there.

Mitchell is too stunned to move.

GEORGE (CONTD)So can we go? Like, now?

Mitchell isnt going to argue. He starts the car and speedsoff. George looks back at the woods. Its as if he canstill feel that shadowy figure watching him.

INT. THE HOUSE. LIVING ROOM / KITCHEN. EVENING 1. 18:47.35 35

Annie is in the kitchen, pouring hot water into a line ofmugs. Suddenly the front door bursts open and George andMitchell pile in. Annie walks through to the living room.

ANNIEAlright, George? What are you

doing back? I thought it was yourtime of the month.

MITCHELLIt is. Hes doing it here.

ANNIEBut Ive just hoovered!

MITCHELLGeorge, what do you need?

George is shifting furniture, clearing a space in thecentre of the room.


CONTINUED:32 32

(CONTINUED)


20/60

GEORGEUh, close the curtains so it *cant see any windows. And put *some music on. Loud.

MITCHELL

Good idea. Well say theres aparty going on.

(the music)Annie.

Annie is being propelled along by events and the boysfrenzy. She fumbles with the CD player while Mitchell runsaround, yanking the curtains closed.

MITCHELL (CONTD)Anything you dont want broken,put in your room.

ANNIEWhat do we do while hes doinghis thing?

MITCHELLGet the hell out.

ANNIECan I watch?

Everything stops. Mitchell and George stare at Annie.

ANNIE (CONTD)Just for a bit. I want to see

what happens.

GEORGEThis isnt like when youre akid, watching your cat havekittens. Its private.

ANNIEYouve seen me since I died. Ithink the rules about privacy

have got a bit muddy.

George looks to Mitchell. This cant be happening.

ANNIE (CONTD)Please, George. Its not like youcan hurt me.

MITCHELLMaybe she should. This is what I

mean. Its part of you.

George shakes his head. What the hell. Everyone is crazy.


CONTINUED:35 35

(CONTINUED)


21/60

GEORGEKeep to the kitchen. Stay out ofits line of vision. If it seesyou, I dont know what itll do.

A shudder runs through him.

GEORGE (CONTD)Its coming.

EXT. THE HOUSE. EVENING 1. 18:49.36 36

Mitchell steps outside. Music starts thumping dully throughthe walls. At least the soundproofing is pretty good.Mitchell locks the front door.

INT. THE HOUSE. LIVING ROOM. EVENING 1. 18:59.37 37

Annie is in the kitchen, looking at George through theserving hatch. George has stripped. He just stands thereshivering, his hands over his groin. The atmosphere istense and tight as a drum. But oddly awkward too. Despitethe pounding music. Theres nothing to do but wait.

ANNIE(making conversation)

I see someones finally movedinto number 18 -

Suddenly George screams and jackknifes. It makes Annie gaspand stumble backwards.

EXT. THE HOUSE. EVENING 1. 19:24.38 38

Mitchell is sat ion the doorstep. Now, just audible underthe throb of the music, are Georges screams. It makesMitchell wince and shudder.

INT. THE HOUSE. EVENING 1. 19:39.39 39

From the expression on Annies face, the transformation hasobviously taken hold. We hear George screams as the cursethunders through him.

From the kitchen, Annie watches. Hypnotized, but horrified.Its awful to watch every shred of Georges humanity tornso painfully away. She screws her eyes shut.


CONTINUED: (2)35 35


22/60

EXT. THE HOUSE. NIGHT 1. 19:42.40 40

Mitchell flinches at the roar from inside. He turns andAnnie is sitting on the step next to him. She looksdistressed and pale. Even more than usual.

ANNIEHes gone.

Mitchell says nothing. He settles back against the door,getting comfy for the long night ahead of them. Annie sits,hunched and shaken. Through the walls, the dull pulse ofthe music and, if you listen really hard, the roars andhowls of a monster.

EXT. SKYLINE. MORNING 2. 06:52.41 41

The sun peeps over the rooftops. The world stirs and wakes.

INT. THE HOUSE. LIVING ROOM. MORNING 2. 06:53.42 42

The front door eases open and Mitchell and Annie peer in.

Imagine the aftermath of the biggest wildest party in theworld, then throw a hand grenade into that. Whats leftwouldnt look dissimilar to the living room now. Everythingis upside down. Some of the furniture has been atomized.Even the wallpaper is shredded. And lying amid the

wreckage, naked and unconscious, is George.

CUT.43 43


Later. Dressed now, George comes down the stairs. He stops

and stares. Mitchell and Annie have cleared all thewreckage out of the living room, leaving it cavernous andechoing. George looks around. Theyve lost so much.

GEORGEMy God. What did it do?

MITCHELLWeve salvaged what we can. Buttheres about 10 bin bags of crapand wreckage stashed in mybedroom. Im sensing a trip to

Ikea. And you know my feelingsabout that.


(CONTINUED)


23/60

GEORGELook, why dont you two go out.Leave the rest to me. Its theleast I can do.

Mitchell and Annie exchange glances. Mitchell rolls his

eyes. Annie tries not to literally squeal with excitement.

ANNIEOwen rang.

GEORGEOwen who?

ANNIEYour landlord! My fiance Ex- *fiancee. Hes coming over. *

MITCHELL(looks at his watch)In about... Now.

GEORGEHes coming here? Why?

MITCHELLHes over from Saudi for a few

months and wants to meet us.

ANNIEYoure the longest stayingtenants hes ever had.

(proudly)The others all found the placestrangely unwelcoming.

MITCHELLYoure like one of the villainsin Scooby Doo, scaring peopleaway from the deserted funfair.

ANNIEId have got away with it too if

it werent for you meddling kids.

George gestures around at the conspicuously empty room.

GEORGEWhy didnt you put him off?!

MITCHELLI tried. But she kicked me in theshin. The shin, George.

ANNIE

I havent seen him for 2 years,and there you were giving it all - *


CONTINUED:44 44

(MORE)

(CONTINUED)


24/60

(appalling Irishaccent)

Its not really convenient.

MITCHELLSo Im French now?

GEORGESorry, can we focus? You dont

mean youre going to be here whenhe arrives?

ANNIEOf course! I mean, Ill hideobviously, he wont see me.

Annie hands Mitchell a little note pad.

ANNIE (CONTD)Now then. Ive written a list ofquestions for you to ask him.

MITCHELLAre you screwing Janey Harris?

ANNIEAlways fancied Owen. When I died,believe me if shed known she

would have been here before theambulance crew.

MITCHELLHas my sister had a baby?

ANNIETheyve been trying for ages. Iblame her husband. Hes calledRobin and works for the PostOffice.

GEORGEOh my God, has everyone takenStupid Pills? This is Annies ex

were talking about. Annies exwho buriedher. She cant behere, she cant be within tenmiles of here.

ANNIEI cant have him in the house andnot see him. Christs sake,we *

were engaged. *

GEORGECan you imaginewhat will happen

if he sees you?


CONTINUED: (2)44 44ANNIE (CONT'D)

(MORE)

(CONTINUED)


25/60

The effect itll have on him, thedanger itll put us all in.

Annie faces George. Arms folded.

ANNIE

This isnt about our safety. Thisis about you. You lost yourlover, so cant bear the thoughtof me seeing mine.

GEORGE(splutters, appalled)

Thats... thats totally...

MITCHELLOk, look, as long as she staysupstairs, whats the worst that

can happen?

GEORGEIll remind you of that as thecrowds gather outside withtorches and pitchforks. No, Imsorry, but we have to protect thehousehold.

ANNIEThis isnt a good time to takethe moral highground, George. Youjust smashed upthe household.

She has a point. George fidgets. Mutters.

GEORGEIt wasnt me...

The doorbell rings.

MITCHELLWell. Thats that settled. Annie.

ANNIE

Yeah yeah, I know. Remember:Janey Harris.

GEORGECrazy... You are all crazy... *

Annie clomps upstairs. Mitchell looks to George - ready?George shrugs. Whatever. Mitchell reaches for the door.

GEORGE (CONTD)Oo! Ask him about the clanky tap.No, I will. In fact, leave all

the talking to me.


CONTINUED: (3)44 44GEORGE (CONT'D)

(MORE)

(CONTINUED)


26/60

Remember, were just two guysrenting a house, the most naturalthing in the world. We just haveto be totally and completelynormal.

MITCHELLYeah, good luck with that.

Mitchell opens the door.

INT. THE HOUSE. UPSTAIRS LANDING. MORNING 2. 10:01.45 45

Voices from downstairs as Mitchell lets Owen in. Anniecreeps as close as she can to the top of the stairs withoutactually tumbling down them.


MITCHELL- and this is George.

OWENHi, how are you?

GEORGEYes.

OWENWheres all the furniture?

GEORGEUm. We decided we wanted a more,uh, minimalist lifestyle. Its soeasy to get seduced by all theclutter and debris of 21stcentury living. To think havingthis sofa or that, uh, chairwillbring you happiness when, really,

shouldnt we be striving forsomething more spiritual? More...zen?

OWENOh. I thought maybe you weregoing to redecorate and didnt

want to get the furniture allpainty.

GEORGE(beat)

Yes, that would have made moresense.


CONTINUED: (4)44 44GEORGE (CONTD)

(CONTINUED)


27/60

A sound from upstairs. George and Mitchell stare at eachother, eyes wide.

MITCHELLGeorge, why dont you go and see

what that was.

George scurries upstairs.

MITCHELL (CONTD)Can I get you a drink, Owen? Tea,coffee, theres a couple of beersin the fridge.

OWENActually I wouldnt mind a beer.I think Im still on Saudi time.


George finds Annie, still skulking on the landing.

GEORGE(hisses)

What are you doing? We can hearyou!

ANNIE(hisses)

I just want to see him. I cansneak down, I can hide.

GEORGEAre you CRAZY? Hell see youand... and die of shock!

Annie brightens - even better!

GEORGE (CONTD)That. Is not. An option.


Mitchell re-enters the living room from the kitchen, handsOwen a beer.

MITCHELLMost of the time its fine. Youjust let it run and eventuallythe water comes through. But itskind of driving George nuts.


CONTINUED:46 46

(CONTINUED)


28/60

OWENNo worries. Ill take a look.Like I said, its such a reliefhaving you guys here.

Mitchell and Owen look around. Theres nowhere to sit but a

couple of upturned boxes.

OWEN (CONTD)It didnt work out with the lastlot of people - oh cheers.

(they clink)I think they heard about whathappened and let theirimaginations run away with them.

(drinks)You... know? About my fiance. *

MITCHELLA little. Just what the estateagent said.

OWENIve hardly been back since. Youcan imagine, its still kind of

weird being here.

Mitchell lowers his voice, aware of Annie upstairs.

MITCHELLWhat happened exactly? If youdont mind me asking.

OWENWed literally just moved in, we

were still living out of boxes.It was dark, I hadnt sorted outthe wiring yet. She was at thetop of the stairs and... Theysaid she must have fallenawkwardly.

MITCHELL

What was she like?

Owen is a little taken aback by the question. But somethingabout Mitchell, his calm assurance, makes Owen open up.

OWENAnnie? She was... extraordinary.She was kind. And funny. Clevererthan she thought she was...

(a sad smile)And she was mine.


CONTINUED:48 48

(CONTINUED)


29/60

MITCHELL(beat)

I believe people can leave anecho, in a place where they were.I know the tennants before ussaid they could detect something.

Maybe thats what it was.

OWENThey said it was creepy.

MITCHELLIts not, its not creepy. Itsgood. Its happy. We like it.

Owen drinks. He nods. Thank you. George comes downstairs.

OWEN

What was it?

GEORGEWhat? Oh a... pigeon.

OWENA pigeon?

GEORGEMust have left a window open.

OWENHave you got rid of it?

GEORGE(beat)

I killed it.

MITCHELLYou killed it?

GEORGEWith a shoe.

Mitchell is positioned behind Owen. He throws his arms up

in surrender - Ok, thats it, I give up.

OWENYou know what? I should... Ishould be going.

MITCHELL(jumps up)

It was lovely to meet you. Like Isaid, its great, were reallyhappy here.


CONTINUED: (2)48 48


30/60


Annie peeps around the corner, down the stairs. She canjust about see Owens feet and legs.

OWEN (O.S.)

Thanks for the drink. Anyproblems, youve got my number.

MITCHELL (O.S.)Cool. Lovely to meet you.


Mitchell closes the door and turns to George.

MITCHELLHowd you do that, stay so calm?

GEORGEOk, shut up.

MITCHELLYoure a spy, arent you. I meanyouve clearly had training.Because the way you held ittogether there, it was chilling.

Annie has walked down from upstairs. Mitchell and Georgewatch her nervously, as if she might shatter into athousand pieces at any moment.

MITCHELL (CONTD)He loved you very much, Annie.The way he talked about you...You made him very happy.

GEORGE(beat)

Did you ask about the tap?

Mitchell turns imploringly to George - PLEASE stop talking.

ANNIEIs this his?

MITCHELLWhat?

ANNIEThis bottle. Was it his?

MITCHELL

Yeah.


(CONTINUED)


31/60

Annie picks up Owen's beer bottle. Touches the rim to herlips. Her lips to his.

EXT. THE HOSPITAL. EVENING 2. 19:54.51 51

Establishing shot. The entrance to the hospital. Dribs anddrabs of people going in and out of the hospital. Latevisitors and the night shift arriving.

INT. HOSPITAL. CANTEEN. EVENING 2. 19:55.52 52

The first thing Mitchell sees when he enters the canteen isthe crowd of nurses, doctors and porters, gathered around atable, laughing and clapping. He frowns, whats going on?

He draws nearer and his face drops. There at heart of thecrowd is Herrick. One of the vampire officers from theWorld War 1 battlefield.

But this time, we see that Herrick is a policeman.

Hes performing some coin tricks. The crowd lap it up.

HERRICKNow watch. Youre not watching.

Cries of We are! We are!

Herrick holds a coin between his thumb and forefinger. Aflutter of hands. The coin is gone. Some Ooohs from thecrowd. Herrick sweeps his hand across the table, and ashower of coins clatter and bounce from his palm.

Squeals and applause from the crowd.

Herrick watches as some of them scrabble around the tableand chairs for the coins, his expression a mixture ofcuriosity and detachment.

He looks up and spots Mitchell watching from the sidelines.

HERRICK (CONTD)Ah, sorry, guys. Theres myfriend.

Cries of No! Dont go! Herrick laughs.

HERRICK (CONTD)Will you stop? Another time, Ipromise.

Herrick and Mitchell watch the crowd disperse, chatteringhappily about the little show.


CONTINUED:50 50

(CONTINUED)


32/60

MITCHELLYou didnt get my message? Thisisnt your fucking larder,Herrick.

HERRICK

A social call, nothing more.Were worried about you.

MITCHELLWere meant to keep a lowprofile. Coming here, attackingpeople in their sleep, thats nothow we work.

HERRICKAttacking people in their sleep?Whos attacking people in their

sleep?

MITCHELLSeth said -

HERRICKSeth said. Listen. Theressomething you need to know aboutSeth.

Herrick puts his hand on Mitchells shoulder, steelinghimself as if about to break terrible news.

HERRICK (CONTD)Hes an idiot.

Herrick laughs, pats his shoulder - come on - and strollsover to the counter. Mitchell follows.

HERRICK (CONTD)But it makes you think, doesntit. These rules about what we canand cannot do. For instance,heres a thought: suppose the

world knewof our existence.

Suppose they had a choice...

Behind the counter is a young girl, maybe 19. Gauche.Braces. Spots.

HERRICK (CONTD)You do Hot Chocolate?

The girl nods. Herrick turns to Mitchell - you wantanything? Mitchell shakes his head.

HERRICK (CONTD)

One Hot Chocolate.


CONTINUED:52 52

(CONTINUED)


33/60

The girl starts to make his hot chocolate.

HERRICK (CONTD)What time did you start?

GIRL

Uh, 2?

HERRICKOo, long shift. Who do you get inhere mostly, this time of night?

GIRLStaff mainly. Though we getparents too, of the kids in thechildrens ward. You can tellthem a mile off. They take it inturns and they come in and they

order coffee but they dont drinkit.

HERRICKWell. Im sure they appreciate

what you do.

He hands her the money. She shyly waves it away.

GIRLActually. Its fine.

HERRICKWell youre very kind. Take iteasy.

He and Mitchell walk away, towards the doors.

MITCHELL(re. the girl)

What was that? More tricks?

HERRICKNo. Manners.

INT. THE HOSPITAL. CORRIDOR. NIGHT 2. 19:56.53 53

Herrick and Mitchell emerge into a corridor

MITCHELLSo we declare ourselves. And whatthen? Start a mass conversion?


CONTINUED: (2)52 52

(CONTINUED)


34/60

HERRICKWhoa, whoa, one step at a time...Buuuuut, thats exactlythe kindof left-field thinking we needright now.

MITCHELLAnd those that refuse?

HERRICKAs I recall youwelcomed me withopen arms.

(sips his chocolate)This is horrible. Taste it.

MITCHELL *To save the lives of my men. *

HERRICK *Yeah, how noble of you to take on *the curse of immortality so your *friends could wither and decay in *hospitals and old peoples homes. *

Herrick laughs, gives Mitchells arm a good-natured slap. *

HERRICK (CONTD) *Im kidding. Im teasing you. *

*

INT. THE HOSPITAL. RECEPTION. NIGHT 2. 20:02.54 54

Herrick strolls through to the reception area. Mitchellskulking uncomfortably by his side.

HERRICKBut Im willing to bet, you offerpeople eternal life, not just forthem but their lovers andchildren, and the queues wouldstretch a thousand miles!

He leans in closer, his voice is barely a whisper. *

HERRICK (CONTD)Lets go up to the childrens

ward. Those parents she wastaking about, you think a singleone of them would turn us away? *

(grins) *Youve thought about it, haventyou.

Mitchell recoils. But not from disgust. Herricks eyes are *

blazing with urgency. *


CONTINUED:53 53

(CONTINUED)


35/60

HERRICK (CONTD) *They had their chance. We left *them to tend this paradise, this *Eden, and look what they did. *

MITCHELL *

You know what I dont understand?This interest in me. *

HERRICK *Look. If things were to change, *having you by my side, like it

was, back in the day, it would...People admire you! Iadmire you. *Despite your eccentricities.

MITCHELLMy eccentricities?

HERRICKYeah. I mean -

(picks at hisuniform)

- we all have to play a part. Butyou... Its like you like it.Plus now everyone says you're OnThe Wagon.

MITCHELLI wouldnt expect you tounderstand.

HERRICKGood. I dont. Its mental.Youre a shark: be a shark.Besides, Im sure youve got somefall-backs in place...

MITCHELLFall-backs?

HERRICKSomeone youve been grooming. So

when eventually you do fall offthe wagon, you won't have far todrop.

A crackle of static and voices over his radio.

HERRICK (CONTD)I gotta go. Everythings about tochange, and nothing can stop it.This is nature, its tectonicplates shifting. And the onlything, the only thingyou and me

get to choose, is what side wereon when it happens.


CONTINUED:54 54

(CONTINUED)


36/60

Mitchell says nothing.

HERRICK (CONTD)Something to ponder.

Herrick smiles and his eyes scorch black - just for a

second. He turns and strolls away. Mitchell doesnt move.

INT. THE HOSPITAL. CORRIDOR. MORNING 3. 09:34.55 55

The next morning. George is sorting through a linencupboard, piling stuff into Mitchells arms.

GEORGEListen, Im going to that thinglater. The memorial thing, for

Lauren. You want to come?

MITCHELLUm, I dont know...

GEORGECome on, itll be nice. Well, notnice so much as... horrible.I thought you were friends.

MITCHELLNot really. A bit. Towards theend.

VOICEGeorge.

It makes him jump. He spins around. But its Becca.

BECCAHiya. Little jumpy, arent you?

GEORGEYeah... sorry... Hi.

BECCAI need three pillow-cases.

(to Mitchell)Mrs Nixon just vommed herFishermans Pie.

MITCHELLThank you for sharing.

George hands the pillow cases to Becca.

GEORGE

Youve changed your shampoo. Itsminty. Normally youre vanillary.


CONTINUED: (2)54 54

(CONTINUED)


37/60

BECCAHow did you know that?!

GEORGEIve just got a good sense ofsmell.

BECCAYou like it?

GEORGEYes, you smell like a Polo.

They laugh.

GEORGE (CONTD)Have you got a hole?

And the laughter dies. George winces. Mitchell stuffs apillow case in his mouth. Becca just blinks, disconcerted.

BECCAIll, uh, see you later, yeah?

Becca walks on. Mitchell turns to George.

MITCHELLShit, are you interested in her?

GEORGENo. I dont know. Why, are you?

MITCHELLMe? God, no. I mean, shes nice,but if you're interested in her,I'll - because it's not like youget interested in people everyday. I don't want to discourageit.

GEORGE(fidgets)

She wouldnt be interested in me.

MITCHELLIll ask. You want me to ask?

GEORGENo! Christ, this is so...playground.

MITCHELLWell, welcome to being a bloke.Believe me, none of us emergefrom this exactly covered in

glory.


CONTINUED:55 55

(CONTINUED)


38/60

GEORGEWhy are you so anxious to pairher off with me?

MITCHELLI want you to be happy! Im not

trying topair you off, thats...thats daft. Let me talk to her.Im not like you, I can actuallytalkto a woman without weepingor setting fire to myself.

GEORGEI dont know. I dont know. Let

me think about it.

George starts to walk away. Mitchell looks down. His handis shaking. He stuffs it in his pocket. George has stopped.

GEORGE (CONTD)Oh yeah. Have you seen my phone?

INT. THE HOUSE. MORNING 3. 09:42.56 56

Annie is looking at the mobile phone in her hand. Shestyped a text message. It reads:

Tap in kitchen making very odd noises. Cld u come +repair? This afternoon good. Hope UR well. From george.

She presses send. Then swallows. No turning back now.

EXT. THE HOSPITAL. GROUNDS. AFTERNOON 3. 13:06.57 57

A little square in the hospital grounds. A smattering ofnurses and doctors. A hole has been dug, a tree planted. Acaretaker is shovelling in the last of the earth. A middleaged couple that must be Laurens parents watch theproceedings, still in wide-eyed shock. George hunches up

against the wind.

INT. THE HOSPITAL. STAFF TOILETS. AFTERNOON 3. 14:12.58 58

George, alone in the hospital staff toilets. He washes hisface, rubs his eyes wearily and looks at himself in the

mirror. Nothing behind him in the reflection but theopposite wall. He starts tugging off his tie. A handtouches his shoulder.

LAURENBoo.


CONTINUED: (2)55 55

(CONTINUED)


39/60

George almost jumps out of his skin. But the bigger shockis when he spins around and sees who it is.

GEORGELauren...?

LAURENSurprise.

She looks amazing. Her eyes glow a brilliant, dazzlinggreen. Her hair is as red as fire. She seems to swirl upout of nowhere, out of shadows. Shes grinning darkly.Hungrily. She looks beautiful. Ferocious.

LAUREN (CONTD)Enjoy my memorial service? ShameMitchell couldnt make it. Maybehell come to your one.

George scrambles back away from her. But he doesnt cryout. Lauren looms over him, moving closer... closer...

LAUREN (CONTD)Your face. This must beconfusing. Let me explain: BeforeI died I had this one odd lastthought. And now Im going to

make it yours. You know all thethings you were scared of as akid? All the monsters under thebed?

She is barely an inch away from him now, her eyes burningblack, her voice a hiss in his ear.

LAUREN (CONTD)Theyre all real.

She stops. Regards George for a moment. Straightens up.

LAUREN (CONTD)Ok, Im kind of new to this, butarent you supposed to weep or

scream or wee yourself? Ivenever loomed up on someone beforeand I was really looking forwardto it.

GEORGEMitchell did this to you?

The grin has gone now. She stares at George with cold fury.

LAURENYou know? You know what he is?

And then something else - a realisation.


CONTINUED:58 58

(CONTINUED)


40/60

LAUREN (CONTD)Wait a sec. Cmere.

She tugs George close to her again, studies him.

LAUREN (CONTD)

Oh my God.

She pushes George back. Grossed out.

LAUREN (CONTD)Ew. Creepy.

She backs away. And she's gone.

INT. THE HOSPITAL. CORRIDOR. AFTERNOON 3. 14:27.59 59

Mitchell is mopping a floor. George stomps towards him.

MITCHELLDo me a favour. Theres somebacon in the fridge at home, itgoes off at midnight, could you -

George punches him in the face. Mitchell staggers back,more from shock than the blow itself.

GEORGEGuess who I just saw.

Mitchell rubs his jaw.

MITCHELLYoko Ono.

George hits him again.

GEORGEI managemy condition. I hide ina shitty bloody cellar or the

middle of a forest. But you? You

buy a bottle of wine and a packetof condoms! What is thepoint ofus trying to build some kind ofnormality when youre attackingour friends and turning them into *monsters? For Christs sake, weknew her. You let me go to herbloody memorial!

MITCHELLHow the hell do you think I'vesurvived for the last 100 years?

You can't just avert your eyeswhen it suits you.


CONTINUED: (2)58 58

(MORE)

(CONTINUED)


41/60

I didnt hear you complainingwhen I saved you from those othervampires. Theres no escape fromit. Im not like you, I donthave days off. This is what I am.

GEORGEThen why are we even trying?

They stare at each other. Theres nothing more to say.

George turns and walks away. Mitchell is left, winded.

Becca approaches from the other direction.

BECCAHey. Oh shit, sorry, can I walkthere? Did you just mop that?

MITCHELLIts fine.

BECCASo do you want to go out for adrink with me?

Mitchell turns to her - what?

BECCA (CONTD)Yep, Ive made a decision, no

more procrastination. Ive beenmeaning to do it for ages, butkept putting it off. That soundedso much funnier in the Ladies.

Mitchell looks at her for a long time.

MITCHELLWhat the hell.

INT. THE HOUSE. BATHROOM. AFTERNOON 3. 14:33.60 60

A mirror. The sound of hairspray. Suddenly Anniestraightens up and looks at her reflection. Her hair is

wild and blow dried. She looks terrifying.

ANNIEAAAHHHHHHHHHH!

CUT TO:

Later. Thats better. She looks like herself again. Sheadopts a peaceful, celestial expression.


CONTINUED:59 59MITCHELL (CONT'D)

(CONTINUED)


42/60

ANNIE (CONTD)Be not afraid.

She sighs. That just sounds stupid. Pulls a spooky face.

ANNIE (CONTD)

WoooOOOOooooOOOO.

She slumps and looks flatly at herself. No funny faces,nothing. Just herself. Very frightened.

INT. THE HOUSE. GENERAL. AFTERNOON 3. 15:21.61 61

Annies working out the best place to present herself. Shestands in the centre of the living room. Sits. Standsagain.

CUT TO:

She tries the kitchen, appearing suddenly from behind thedoor. No, too weird.

CUT TO:

Shes gone back to standing in the centre of the livingroom. She waits. She looks at her watch.

CUT TO:

INT. THE HOUSE. LIVING ROOM. AFTERNOON 3. 16:02.62 62

Bored now, Annie is sat on the floor, leaning against thewall watching TV. 3 or 4 mugs of tea around her.

The doorbell rings. Annie sits bolt upright. Oh Christ.

Silence. Then the doorbell rings again.

Annie stands in the centre of the room and preparesherself. But at the sound of a key in the lock, her couragefails her. She scrambles around the corner and flattens

herself against the wall as Owen steps through the door.

OWENGeorge? Its Owen. Mitchell?

Annie takes a deep breath. Ok, here goes...

OWEN (CONTD)The TVs on.

Annie stops, frowns, whos he talking to?

And we see a woman step through the door behind him.


CONTINUED:60 60

(CONTINUED)


43/60

JANEYMaybe he popped out.

OWEN(calls out again)

Hello? I rang the doorbell...!

(to the woman)You dont have to do this, Janey.You can wait in the car.

Annies jaw is on her chest. She mouths miserably toherself - Janey Harris...!

JANEYIts fine. I want to.

OWENYou think I should turn this off?

Owen is moving towards the TV, towards Annie. She panics.Shes trapped. Owen walks into view. Annie gasps. Owenturns and looks right at her, rigid, flat against the wall.

OWEN (CONTD)You say something?

JANEYWhat?

OWENDid you say something?

Hes looking right through Annie. He cant see her.

JANEYYoure hearing things... Yougoing to look at this tap?

Owen doesnt move for a moment. Just stares at / throughAnnie. Then he turns the TV off and walks back towards thekitchen, away from Annie.

OWEN

Yeah. It could take a while.Really, go and wait in the car.

He disappears into the kitchen. Annie tentatively peersaround the corner, watching them.

JANEY (O.S.)And miss you doing D.I.Y? Itd belike missing an eclipse.


CONTINUED:62 62


44/60

INT. THE HOUSE. KITCHEN. AFTERNOON 3. 16:04. CONTINUOUS.63 63

Owen stands over the sink. Runs the tap. Janey watches him.

JANEYYou alright?

OWENYeah, I suppose. Its weird beinghere.

Owen crouches, looks at the pipes under the sink. Bangsthem a bit. Its all a bit cursory.

OWEN (CONTD)I have no idea what Im doing.Ill come back later.

The sound of a key in the lock.

INT. THE HOUSE. LIVING ROOM. AFTERNOON 3. 16:04.CONTINUOUS64 64

The front door opens. It's George. The first thing he seesas he steps inside is Annie, peeping around the corner ofthe living room, with a look of frozen wide-eyed horror.

GEORGEOh. Hello.

(beat)What?

He follows her eyes round to find Owen and Janey standingin the doorway to the kitchen behind him. George yells.

GEORGE (CONTD)AHHHHhhhhhello!

OWENHi, George, sorry, we rang thedoorbell, but no one answered.

George spins a little on the spot, back and forth, lookingfrom Annie to Owen and Janey. Cant they see her?

GEORGENo, no, no, its fine, its...

OWENI got your text.

GEORGEMy text.

OWENAbout the tap.


(CONTINUED)


45/60

GEORGEThe tap.

OWENYeah. You texted me. About thetap.

GEORGE(the penny drops)

Riiiiight. The tap.(louder, for Anniesbenefit)

But how silly of me, telling youto come when I wouldnt be here.

OWENSorry, I havent introduced you.This is my partner, Janey.

That gets Georges attention.

GEORGEJaney...?

JANEYHarris. Hi.

GEORGE(ouch)

Right. Hello.

He glances back over his shoulder. Annie is still in plainview but obviously only to George. Shes sat back on thefloor with her knees up, her head buried in her arms.

OWENI think Ill have to come back,take a look at the tank in theattic. When are you, uh, not in?I dont want to disturb you.

GEORGEHard to say. Theres usually

someone here.

OWENIll pop by later in the week.

Owen and Janey start moving towards the door.

JANEYIt was nice to meet you.

GEORGEYeah. And you.


CONTINUED:64 64

(CONTINUED)


46/60

They take their leave and go. George shuts the door. Annieis still bunched up on the floor.

GEORGE (CONTD)Annie -

And suddenly shes up on her feet, in the middle of theroom. Angry, tearful, punchy.

ANNIELook. I just thought if Iexplained... You dont knowhim,you dont knowhow hed react.But I knewif he saw me againhed...

And the tears start and her voice starts to crack.

ANNIE (CONTD)But hes got someone else. Andnow she gets to kiss him and

watch him shave and laugh and Imstill in the clothes I died in. Iget nothing. I get the memoriesand a house I can nevercompletely leave and you. SHEGETS HIM AND I GET YOU.

She slides down the wall opposite, her head in her hands,and weeps and weeps. George doesn't know what to say. Hesits down on the floor next to her.

GEORGEAfter I got... after I losteverything, I ran away. I metMitchell and we came here and metyou and... Id just about come toterms with whatd happened to me.And then I saw her. My ex. Andshed found someone else. And it

was so... savage. So I know howit feels. Like losing everythingall over again.

ANNIE(beat)

How did it happen?

George is a little thrown. No ones ever asked him before.

GEORGEWe were on holiday in Scotland.The place we were staying in, wason the edge of this huge ravine,and one evening I decided to go

out for a walk.(beat)


CONTINUED: (2)64 64

(MORE)

(CONTINUED)


47/60

Ive never been so scared. Thisthing was... Even at the time Iremember looking at it andbeing... offended. That thing inthis world, it was so... wrong.And the smell of it. Like meat

and sweat.

ANNIEAnd it attacked you?

GEORGEThis other guy, another guest,hed tagged along as well. He waskilled. It literally tore histhroat and chest out. I just gotbitten. I... survived.

ANNIELike me.

GEORGELike you. Hooray for us.

(beat)Why couldnt Owen see you?

ANNIEMaybe it was the shock of it.Like it... set me back.

GEORGELike a relapse?

ANNIETheres so much about this Idont understand.

(beat)What did you think of her? Janey.

GEORGEShes... orange.

ANNIE

She works in the Tanning Salon.She thinks she looks classy. Ithink she looks like Kilroy.

GEORGEYoure much prettier. And muchnicer.

ANNIEAnd much deader.

George says nothing. On an impulse, he puts his arm round

Annie. She smiles sadly and settles in to his embrace.


CONTINUED: (3)64 64GEORGE (CONT'D)

(CONTINUED)


48/60

Her head on his shoulder. And they sit like that. In theirliving room. Looking at the blank screen of the TV.

EXT. HOSPITAL. EVENING 3. 19:45.65 65

Establishing shot. Night is falling over the city. Lightsare flickering on inside the hospital.

INT. HOSPITAL. CORRIDOR. EVENING 3. 20:08.66 66

George wanders onto a ward, in his hospital scrubs. At theNurses Station, an HCA has a phone clamped between herneck and shoulder, shes looking at a patients chart.

HCAWhat does that look like to you?A 3 or a 5?

GEORGEA 3?

HCAThats what I thought. ThatsBeccas handwriting. So if shegave Mr Davies his meds at 3,then he needs them again now. Butif its a 5, then he wont needthem till 10 oclock.

GEORGESo ask her. *

HCA(the phone)

Not answering her mobile. Shesgone out for a drink with your *

mate. *

GEORGE *

(looks up) *What mate? *

HCA *You know. Him with the face. *

GEORGE *Where? Where did they go? *

HCA *Christ knows. I would have asked *but that might look like I gave a *

shit. *


CONTINUED: (4)64 64

(CONTINUED)


49/60

The HCA hangs up. She wanders off. George hasnt moved.

EXT. STREET. EVENING 3. 20:21.67 67

George tearing through the streets. He stumbles to a halt,turns one way, then another. Christ, where does he start?

INT. BAR. EVENING 3. 20:28.68 68

Mitchell and Becca are in a bar. They are already severaldrinks down. Becca looks beautiful. Shes clearly gone to alot of effort for this. Theyre laughing.

MITCHELL

Im serious. If theres anotherman there, I cant pee.

BECCAThats ridiculous!

MITCHELLAnd at my age. Now you: somethingembarrassing.

BECCAUhhhh. Ok. It wasnt until 6

months ago I stopped ringing myex every time I got drunk.

(cringes)Oh God, I shouldnt have told youthat.

MITCHELL(laughs)

No its sweet. Its tenacious.

BECCAYeah sweet. Me, usually withsick in my hair, going

Gaviiiiiin.

Mitchell laughs. Drinks. That tremor in his hand again.

BECCA (CONTD)Oh I meant to ask. Hows the not-smoking going?

MITCHELLNot great. But Im thinking, oncea smoker always a smoker. Whatsthe point of fighting it?


CONTINUED:66 66


50/60

EXT. STREET. NIGHT 3. 20:36.69 69

The city is swamped with drinkers and revellers. Georgepushes through crowds, diving into bars and pubs. Theresstill no sign of Mitchell and Becca.

INT. BAR. NIGHT 3. 20:37.70 70

BECCASo... so would you like to comeback to mine? My flat-mates out.Wed have the place to ourselves.

Mitchell swallows the last of his drink. Everything hasbeen set in motion, and now it will just carry him along.He takes the breath that will say yes. But Becca is

looking over his shoulder.

BECCA (CONTD)Is that a friend of yours?

Mitchell turns. His face falls. Pushing through the crowdedbar, making a b-line for them... is Lauren.

LAURENWell lookee here. Mind if I joinyou?

She plonks herself down into another chair.

LAUREN (CONTD)Arent you going to introduce us?

MITCHELLYou cant... you cant be here...

LAURENAw, look at his little face.

(to Becca)I should explain. Me and Mitchelldated. Just once really. Well it

was kind of a date. So where arewe up to? With me he did thiswhole thing about the ancientmachinery of the world.

MITCHELLPlease dont do this.

LAURENAt least hes brought you out. Wehad to make do with supermarket

wine and a packet of Doritos at

my place.


(CONTINUED)


51/60

BECCA... Ive seen you somewhere ...

LAURENWell I had my photo in the paperrecently.

BECCAYeah... Ive seen aphoto...

Mitchell is on his feet.

MITCHELLGet up.

LAURENBut I want to see her face whenshe works it out.

MITCHELLGET UP.

A few heads turn. Lauren shrugs, stands. Mitchell grabs herarm and marches her towards the door. Lauren calls backover her shoulder to Becca.

LAURENYou seem nice. Maybe afterwards

we can be friends... hang out...

And theyre gone. Becca is left, completely bewildered.

EXT. OUTSIDE BAR. NIGHT 3. 20:38.71 71

Mitchell drags Lauren outside. She snatches her arm awayfrom him. Takes out a pack of cigarettes, lights one.

LAURENSo I saw your furry friend.

(pulls a face)I was actually going to feed from

him, can you imagine? Idprobably need jabs or something.

MITCHELLWhat do you want? Did Herricksend you? *

LAURENYeah but this isnt just abouthim.

MITCHELL

Then what do you want?


CONTINUED:70 70

(CONTINUED)


52/60

LAURENYOU LEFT ME. You brought me intothis and then YOU LEFT ME. I wokeup and I was surrounded by thesestrangers, and they... It shouldhave been you there! And ever

since, theyve just passed meround, Im like this orphan!

That hit home. Mitchell nods, ashamed.

MITCHELLIm sorry...

Suddenly Mitchell grabs her arm.

MITCHELL (CONTD)Come away with me. There are

places we can go, where we can besafe from them.

LAUREN(laughs)

Theyre not some dopey abusiveboyfriend. You think anywheressafe from them?

MITCHELLThey stay away from the smallertowns, anywhere thats exposed -

LAURENWait - oh my God - you think I

want saving?

MITCHELLWe can save each other, this is

what Im - we save each other.

Lauren tips her head back and laughs.

LAURENDont you get it? I want to kill!

I want to feel their blood rundown my chin! I want to see theirfaceswhen they realize! I wantto kill my lovers, myparents, I

want them to know! Herrickstalking about offeringit first.Christ, just take it! Take their

world! Tear their children to *shreds!

Mitchell stares at Lauren, as if seeing her for the firsttime.


CONTINUED:71 71

(CONTINUED)


53/60

MITCHELLThank you.

LAUREN... What for?

He turns, walks away.

LAUREN (CONTD)You cant do this, Mitchell, youcant choose them over us. Youlllose everything. Whatever ittakes, we will Drag You Back!

But hes gone.

INT. THE BAR. NIGHT 3. 20:41.72 72

Mitchell returns to the bar.

BECCAYou alright? What was that about?

MITCHELLListen. Im... Im gonna go home.

BECCA(crestfallen)

Oh. Oh, Ok.

MITCHELLI just think its best.

BECCAWas it - Look, that thing I saidabout my ex, thats not me any

more -

MITCHELL(smiles)

I promise. This is about me, not

you.

BECCA(rueful)

Its the first time Ive heardthat before a shag. That must bea record, even for me.

MITCHELLIm sorry. Let me walk you to thetaxi rank.

BECCATheres no need.


CONTINUED: (2)71 71

(CONTINUED)


54/60

MITCHELLPlease. I want to make sureyoure safe.

BECCAWhatever. I just need a pee.

She trails off dejectedly to the toilets.

Mitchell slumps back into his chair. He takes a breath. Helooked over the precipice... and stepped back.

EXT. ALLEYWAY. NIGHT 3. 20:51.73 73

George is hurrying towards the bar where Mitchell and Beccaare. As he passes the mouth to the alley next to it, he

notices a figure in the shadows. The figure has her back toGeorge, barely discernible in the darkness. But somethingabout it, the way shes standing, makes George skid to ahalt. He takes a few tentative steps into the alley. Slowlythe figure turns and looks at him. Its Lauren.

INT. BAR. NIGHT 3. 20:53.74 74

In the bar, Becca still hasn't come back. Mitchell isuneasy. He gets up.


GEORGELauren? Its me, its George.

She starts moving towards George, out of the darkness. Herhand flashes out and she has George pinned by the throatagainst the wall, his feet kicking in the air. She leansin, almost nose to nose. All cruel smiles.

LAURENBad dog.

She drops him to the ground and stalks off.

George is flat on his back, winded. He turns his head andcomes face to face with... Becca.

She looks at George, her eyes wide with shock and terror.Her hands are clamped to her throat. And the blood floodsand pumps through her fingers.


CONTINUED:72 72


55/60

INT. BAR. CORRIDOR. NIGHT 3. 20:54.76 76

Mitchell is standing by the door of the ladies toilets. Awoman steps out.

WOMAN

No, shes not in there.

Suddenly a scream from outside. Mitchell is standing by thefire exit. He swings the door open, out onto the alleyway.


There's George. He's cradling Becca in his arms.

MITCHELL

Oh Jesus Christ...

A couple of people poke their heads out through the door.One of them screams when they see Becca and the blood.

MITCHELL (CONTD)Call an ambulance!

The women stumble back inside. Mitchell scrambles down ontothe ground next to Becca and George. George has his handclamped over the cut in Beccas throat, but the blood isstill coursing through his fingers. Becca blinks up atMitchell, bewildered and terrified.

BECCAWhats... theres water...

MITCHELLBecca, its Ok, its Ok, itsMitchell. Come on, baby, thatsit, stay looking at me.

BECCAIm covered... with water...

And then Lauren emerges out of the darkness.

LAURENNow isnt this a touching scene.

MITCHELLWhat did you do to her?!

LAURENEasy, tiger. Whats the problem?You just need to let her drinkfrom you.


(CONTINUED)


56/60

MITCHELLBecca, Becca, look at me.

Beccas eyes are rolling in her head. But they find Lauren,and she makes a sound; a childish, frightened sound.

LAURENIts Ok, honey, hell save you.Hell make this all go away.

With what little strength Becca has left, she tries to clawback away from Lauren, terrified of her.

LAUREN (CONTD)He just needed to be shown, yousee, that this whole thing isridiculous.

GEORGEMitchell? Can you save her?

MITCHELLI cant... I cant...

GEORGEShes losing consciousness...

LAURENYeah, you should get a move on.Shes about two pints away frombeing an organ donor.

GEORGEMitchell, DO something.

Mitchell is weeping. He shakes his head.

MITCHELLNot another one... I cant...

Even Lauren is a little surprised. She looks at Becca,lifeless and bloody. At George, sick and shocked. And atMitchell, weeping and cradling Becca in his arms.

LAURENYou did this.

Lauren steps away, melting back into the shadows.

LAUREN (CONTD)You made me this, Mitchell. Thisis all your fault.

And shes gone. In the distance, the wail of sirens.


CONTINUED:77 77

(CONTINUED)


57/60

People have spilled out from the bar now, crowded aroundthe fire exit, watching in shock. George looks on, asMitchell holds the dying Becca.

MITCHELLIm sorry... Im so sorry...

INT. THE HOSPITAL. CORRIDOR. NIGHT 3. 21:32.78 78

A blood soaked George sits on chairs in the corridor.Further along, Mitchell - also covered in blood and dirtfrom the alley - is with a group of police, uniformed andplain clothed. A doctor arrives. Shakes his head.

The Police talk among themselves, talk to Mitchell. After amoment Mitchell breaks off from the group and walks towards

George. George stands, steeling himself for the inevitable.

GEORGEIs this how it ends then? Theyconnect her to you, you toLauren. Everything gets blownopen. We lose it all.

MITCHELLNo. They have ways of doing this.Come on.

GEORGEWhat do you mean?

MITCHELLWeve been around for thousandsof years. You think its thefirst time something like thishas happened?

He looks back down the corridor at the group of Policemen.One of them is watching Mitchell and George. Its Herrick.And by his side, Seth.

MITCHELL (CONTD)We have branches everywhere.

INT. THE HOSPITAL. RECEPTION. NIGHT 3. 21:57.79 79

Mitchell and George wander out through a conspicuouslyquiet reception.

GEORGEWait here. Ill see if I can find

a cab.


CONTINUED: (2)77 77

(CONTINUED)


58/60

He scurries out. Mitchell just stands where George has lefthim, still dazed and shaken.

HERRICK (O.S.)Hey, Mitchell.

Mitchell looks up. Herrick has followed them out, Sethtrailing in his wake. They are standing on a little balconythat crosses reception.

HERRICK (CONTD)Its all about to start. Weredrawing up lists. Its make your

mind up time.

Mitchell thinks for a moment. The next thing he says willdetermine the rest of his life.

MITCHELLI choose them.

Herricks expression remains utterly inscrutable. But hiseyes scorch black as he regards Mitchell.

HERRICKPity.

He steps back, moving away into the shadows.

HERRICK (CONTD)Be seeing you.

SETH(a sly grin)

And your little dog.

He too turns, strolls back into the darkness.

INT. THE HOUSE. LIVING ROOM. NIGHT 3. 22:27.80 80

Mitchell is sat on the floor of the empty living room. His

eyes wet with tears. He stares ahead, lost and shattered.His clothes still caked with Beccas blood.

INT. THE HOUSE. KITCHEN. NIGHT 3. 22:27.81 81

Annie and George, in his dressing gown, are watchingMitchell from the doorway to the kitchen. Their voices low.

GEORGEId forgotten what theyre like.

The others. Theyre predators.Every inch of them.


CONTINUED:79 79

(MORE)

(CONTINUED)


59/60

Just hunger and fury.(looks at Mitchell)

The energy it must take him,every minute every day, not to belike that...

ANNIEYou think he should have savedher?

GEORGEI think he did.

Annie moves back into the kitchen, starts making tea.George watches his friend for a moment, then turns.

GEORGE (CONTD)We should go out.

ANNIEWhat?

GEORGETo the pub. Anywhere. Itll do usall good.

ANNIEI dont know... I think I want tostay in the house.

GEORGELet me put some clothes on and -

ANNIEI want to stay in the house now.

(beat)Please. Im sorry. I just feelsafer here. There are monstersout there. But here, when itsthe three of us, I feel likenothing can touch us then.

George sighs. He nods. Ok.

Annie smiles, grateful, and walks through to the livingroom. She sits next to Mitchell, her arm around him, pullshim close to her. She looks back to George. Smiles again.

George picks up his blood splattered clothes from a pile onthe floor and dumps them in the sink. He rolls his eyes asthe tap clanks and splutters.

EXT. STREET. NIGHT 3. 22:28.82 82

The kitchen window, seen from the street outside.


CONTINUED:81 81GEORGE (CONT'D)

(CONTINUED)


60/60

A figure is watching the house. His face lost in shadows.He steps forward, and the beam of the street lampilluminates his face. He's handsome, unshaven, with sharpintelligent eyes. He watches George, standing at the sink,oblivious. A predator watching its quarry.

End Titles.


CONTINUED:82 82

being human s1e1

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