Black.
ANNIE
Everyone dies.
(beat)
Actually, can I start that again?
(beat)
Everyone deserves a death.
1 INT. THE HOUSE. 2008. NIGHT A. 22:21. 1
Annie stares straight into the camera. Her eyes are fixed,
glazed and empty. One pupil dilated. The paramedics work
quickly and efficiently, one pounds her chest, one shines a
torch into her eyes. Nothing, no response. The paramedic
lifts her head and slips an oxygen mask over her mouth.
ANNIE (V.O.)
Whether it’s at home.
The pool of blood spreads out from under her head across
the wooden floor like a rose blossoming.
2 EXT. BATTLEFIELD. EDGE OF FOREST. DAY C. 1916. 06:16. 2
Mitchell. He’s wearing the uniform of a first world war
captain. He stumbles out of a forest into a clearing. His
uniform is torn, his face streaked with blood.
ANNIE (V.O.)
Or in a war.
Something up ahead makes him stop. A group of men, dressed
in the clean crisp uniforms of officers. They look
strangely out of place in the carnage and mud.
They are gathered around a body, a wounded soldier. They
turn. One of them we will later recognise as Herrick. They
spot Mitchell. They grin. And their eyes scorch black.
3 INT. BATTLEFIELD. EDGE OF FOREST. NIGHT C. 1916. 21:04. 3
It’s like a painting by Hieronymus Bosch. Blood, mud and
body upon body upon body. Mitchell among them. Dead, pale
and cold. Just another soldier, just another death.
ANNIE (V.O.)
There’s no getting out of it, no
coming back.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 1.
(CONTINUED)
Suddenly his body jackknifes and arches. He gasps - huge
gulps of air, like someone bursting to the surface from the
depths of the ocean.
He looks around, shocked, disorientated. The puncture marks
on his neck still just about visible.
4 INT. THE HOUSE. KITCHEN. DAY B. 2008. 15:41. 4
Various relatives - Owen among them - stand around the
kitchen. 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 in
her t-shirt and jeans among all the black. She pleads with
the people in the kitchen, waves her hands, shouts in their
faces. No one sees her, no one hears.
4a INT. LAUREN’S FLAT. BEDROOM. NIGHT D. 2008. 23:06. 4a
Mitchell, and a young beautiful woman we will later
recognize as Lauren. They are having sex.
ANNIE (V.O.)
And if you’re very lucky you can
be loved.
Then Mitchell opens his mouth wide. Baring vampire teeth
that are long and sharp and wicked. Lauren’s body shudders
and braces as he bites her. He drinks and drinks.
5 INT. LAUREN’S FLAT. BEDROOM. NIGHT D. 2008. 23:17. 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. Tears
running down his face. He beats himself with his fists.
Whack. Whack. Whack. A slave to his addiction.
6 INT. THE HOUSE. LIVING ROOM. DAY E. 2008. 14:53. 6
An estate agent shows a young couple - the woman, pregnant -
around the house.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 2.
3 CONTINUED: 3
(CONTINUED)
Annie, resigned to her condition now, sits dejectedly on
the sofa - her middle finger raised at the trespassers.
ANNIE (V.O.)
No one told me there was this.
But it’s an empty defeated gesture. The estate agent and
the couple, of course, look straight through her.
7 EXT. WAR MEMORIAL. NIGHT F. 2008. 21:09. 7
Mitchell stands at the foot of the war memorial.
Mitchell turns away and walks down to his car. And we see
the world has moved on a long way from that Flanders field.
People. Cars. Neon. Life.
ANNIE (V.O.)
We’ve driven off the edge of the
map but we’re still travelling.
He climbs in and drives off.
ANNIE (V.O.) (CONT’D)
No one told me death sometimes
cheats.
8 EXT. MOORS. NIGHT G. 21:11. 8
We’re looking down at George, on his back, on the ground.
He’s in shock. Struggling to move, eyes rolling. His coat
is shredded at the shoulder and red with blood.
We pull back. Lying next to him is another figure. His neck
and chest are gone. Just gone. Torn away.
ANNIE (V.O.)
But there are those that cheat
death.
There are sharp flashes of light, and more figures run into
frame. One has a shotgun, blasting at something off screen.
Another attends to George, writhing on the ground.
ANNIE (V.O.) (CONT’D)
Battered and bloody, they walk
away from the train wreck or the
big bad wolf.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 3.
6 CONTINUED: 6
9 INT. HOSPITAL. PRIVATE ROOM. DAY H. 11:12. 9
A brightly lit private room in a hospital. Sunlight washes
across George. He sits in a chair, surrounded by flowers
and Get Well cards. But there’s something fractured about
him. Absent.
ANNIE (V.O.)
But what’s the cost?
Slowly George stands, walks out.
10 EXT. COUNTRYSIDE. DAY H. 19:16. 10
Flat, barren, unforgiving land. George climbs out of his
car and starts to walk. It’s as if he’s in a trance. Or
drawn inexorably on by an invisible thread. And as he walks
he starts to undress. With difficulty he pulls his jacket
and shirt off. His shoulder is still wrapped in bandages.
ANNIE (V.O.)
They’re scarred.
11 EXT. WOODS. NIGHT H. 23:11. 11
The transformation is horrific. Every bone in George’s body
breaks as it stretches, contracts and reforms. The pain and
the brutality of it tears him apart, eviscerates him.
ANNIE (V.O.)
They’re transformed.
The flesh on his face stretches as his jaw distends into a
snout. His back arches as his spine and shoulder blades
stretch and bow. George screams. Over and over.
12 INT. HOSPITAL. CANTEEN. DAY I. 11:01. 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 across
to the person sitting next to him. Mitchell.
ANNIE (V.O.)
And what happens to these
refugees?
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 4.
13 INT. THE HOUSE. BEDROOM. DAY J. 16:42. 13
Annie looks out of the bedroom window at the street below.
George and Mitchell are just arriving, bags in hand. George
looks up at the house, looks at Annie.
ANNIE (V.O.)
These flotsam and jetsam of
death.
He double-takes. Did he see something?
It makes Annie flinch and move back out of sight. She
frowns. That was weird.
14 INT. THE HOUSE. KITCHEN. DAY K. 12:32. 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. Don’t do
that. I said don’t do that. Stop. Please stop. I mean it.
ANNIE (V.O.)
Maybe, if they still deserve such
a thing as mercy...
Annie watches them, through the crack in the door.
Frightened. Mesmerised.
ANNIE (V.O.) (CONT’D)
... they find each other.
She just watches. And watches.
AND WE FADE TO:
15 BLACK. 15
Then a sound. The put-put of a moped. A squeak of brakes.
16 EXT. STREET. AFTERNOON 1. 15:01. 16
A pizza delivery guy, 17 maybe, climbs off his moped,
trudges to a door and rings the bell. It flies open.
There’s Annie. Beaming.
ANNIE
Hello!
PIZZA GUY
12 inch ‘Mess of Meats’?
Mitchell appears, scoops the pizza out of his hands, stuffs
some money into his fist and disappears again.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 5.
(CONTINUED)
ANNIE
Thank you very much.
The Pizza Guy turns to go. But Annie isn’t letting him get
away that easily.
ANNIE (CONT’D)
So how long have you been
delivering pizzas?
PIZZA GUY
Uh. Couple of months?
ANNIE
Could you drive a moped before or
did they teach you?
PIZZA GUY
They taught us. We had to drive
round and round a car park.
ANNIE
You like my top?
PIZZA GUY
I suppose.
ANNIE
(enjoying the word)
Matalan. Bet you hate pizza. When
you get home and your girlfriend
asks what you want for your tea,
I bet you’re like “Not pizza!”
PIZZA GUY
I live with my dad.
ANNIE
Yeah? What’s your dad’s name?
PIZZA GUY
Duncan.
ANNIE
Ha! Madness! I’ll seeya later.
She shuts the door. Pizza guy doesn’t move. What was that
about?
17 INT. THE HOUSE. LIVING ROOM. AFTERNOON 1. 15:02. 17
Annie turns triumphantly to Mitchell and George, who are
sat watching TV. A dozen mugs of tea on the table.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 6.
16 CONTINUED: 16
(CONTINUED)
ANNIE
He could see me.
MITCHELL
He could so see you.
ANNIE
(gleeful)
It’s happening all the time now. *
Not just people like you, but *
normal people. Yesterday I was *
putting out the recycling and
this guy drove past in a van and
shouted “Slag!”
Mitchell and George nod. Respect.
ANNIE (CONT’D)
Right. Who wants tea?
George raises his hand... hold on... then:
GEORGE
The milk’s off.
ANNIE
What happened there? What did you
do? Did you just make it go off?
George huffs. Irritated. He doesn’t want to discuss this.
Annie looks to Mitchell for an explanation.
MITCHELL
Round the time he changes, his
senses get really heightened. *
ANNIE
Cool! See? Being a werewolf isn’t *
all bad! *
GEORGE *
No, you’re 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 (CONT’D) *
How can you still be hungry? You
just ate a whole box of Golden
Grahams.
MITCHELL
Man, Carbohydrates. They’ve *
become my blood substitute. *
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 7.
17 CONTINUED: 17
(CONTINUED)
ANNIE
You wanna be careful. When my
middle sister stopped smoking,
she put on 2 stone. We had to
padlock the fridge.
MITCHELL
Big girls go mad over me. It’s
coz I’m wiry. Their worst
nightmare.
ANNIE
But don’t you need blood to, *
well, live?
MITCHELL
Nah. Just a question of will
power.
He raises a glass of water to his mouth. There is a tremor
in his hand that makes the glass clatter slightly against
his teeth. He moves the glass quickly away, glances around
to see if the others noticed.
ANNIE
I’ll make some black coffee.
(stands)
What?
GEORGE
What?
ANNIE
You made a huffy sound.
GEORGE
(suddenly raging)
You keep making tea! Every
surface is covered with mugs of
tea and coffee! I go to make
myself some tea and I can’t!
There’s no mugs, there’s no tea!
It’s all been made! And you can’t
even drink it! You can’t drink
the tea but you keep making it!
It’s driving me INSANE!
ANNIE
(shrugs)
I like my routine, it makes me
feel normal.
GEORGE
YOU’RE A GHOST!
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 8.
17 CONTINUED: (2) 17
(CONTINUED)
ANNIE
Yeah so are you finished with
these?
George nods. A broken man. Annie gathers up the mugs and
trots off to the kitchen. Mitchell stands, starts gathering
his things to go.
MITCHELL
Come on.
George stands, pulls out a little sports bag.
ANNIE
You both off?
MITCHELL
Yeah, we’ve got work, then it’s
his time of the month.
ANNIE
Oh. Ok.
She moves forward, trying to delay their exit a little
ANNIE (CONT’D)
Tell you what, I don’t miss all
that. I’d have to sit on the sofa
with a hot water bottle and Pride
and Prejudice. If anyone said
anything, I’d bite their head
off!
(beat)
Though I guess in your case
that’s actually a possibility.
George just looks at her. Thanks. Mitchell sniggers.
MITCHELL
We’ll see you later.
And they go. Annie looks around at the house, suddenly
empty and lifeless.
18 EXT. HOSPITAL. LATE AFTERNOON 1. 15:56. 18
The hospital. Patents and visitors and doctors mill about.
MITCHELL (V.O.)
Y’know, you should be pleased for
her. She can be seen by other
people now, she can step out of *
the house. That’s down to us.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 9.
17 CONTINUED: (3) 17
19 INT. THE HOSPITAL. STAFF ENTRANCE. LATE AFTERNOON 1. 15:57 19
Mitchell and George trudge into work. They clock in / sign
in / 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 *
We’ve been over this. There must *
be something unresolved about her *
death. That’s what’s keeping her *
here. *
GEORGE *
It’s 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 isn’t getting into this. *
MITCHELL *
So what you gonna do? *
GEORGE
I’ll work for an hour, then say
there’s a family emergency and
scoot down to the isolation room
before the moon comes up.
MITCHELL
Cool. I’ll come and let you out
in the morning.
There is a gesture between them, a hug maybe, something
unspoken. This is a familiar routine now but Mitchell knows
the horrors his friend is about to endure.
George peels off. Mitchell is by a couple of screens. Flat
grey footage from CCTV cameras dotted around the hospital.
Something catches his eye.
One camera looks on to an empty corridor. Lift doors. They
open. No one gets in, no one gets out. The empty lift just
sits there. The doors close again. Mitchell watches the
screen.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 10.
(CONTINUED)
20 INT. HOSPITAL. CORRIDOR. LATE AFTERNOON 1. 16:04. 20
Mitchell walks down a corridor. It's empty. A patient
maybe, wandering along. Mitchell looks around. It's as if
he's trying to find the thinnest trace of a scent on the
air, or a distant sound.
21 INT. HOSPITAL. WARD. LATE AFTERNOON 1. 16:11. 21
A ward, with private rooms at the end. Mitchell slips down
the aisle, past the nurse at the Nurse's Station. There's
nothing here. Nothing out of the ordinary. But his eye is
drawn to a room, the door firmly shut, the blinds down.
22 INT. HOSPITAL. PRIVATE ROOM. LATE AFTERNOON 1. 16:12. 22
There's one bed in the room, one patient. Deeply asleep,
wired up to beeping monitors. And standing over him is
Seth. He looks up at Mitchell as Mitchell enters. They keep
their voices low.
SETH
Jesus, Mitchell, how are you
supposed to find anywhere in this
place? I followed the signs for
Intensive Care, I ended back
where I came in!
MITCHELL
What are you doing here, Seth?
SETH
Herrick thinks recruitment should
be more tactical. People with
money and influence. No more
tramps or people who fall asleep
on the Night Bus. Our gatherings
are starting to look like the
seating area in Argos.
(a grin)
You had the right idea with
Lauren. ‘Least she’s easy on the
eye.
Seth takes his coat off, preparing to feed.
SETH (CONT'D)
This guy, I think he’s on the
council or something...
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 11.
19 CONTINUED: 19
(CONTINUED)
MITCHELL
Leave him alone.
SETH
What, you want to share?
MITCHELL
No, I’ve... I’ve stopped.
SETH
Yeah we’ve had this conversation.
What blood type is he anyway?
(the chart)
A Positive. Hmmm. A bit Jacob’s
Creek-y for me, but there you go.
MITCHELL
Move away from the bed, Seth.
Seth stops, looks at Mitchell. Fuck, he’s serious...
SETH
Remember that guy, the student.
When was it? 58, 59? Or you and
Herrick and the girl in the
hotel? What about that couple in
the park? You can’t 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 Mitchell
literally shudders. This is torture. He has to wrench the
words out.
MITCHELL
I said... leave him alone...
Seth’s grins fades into a sneer of contempt.
SETH
Or what? Look at you, when was
the last time you fed? You’re
shaking, you’re sweating. You
really think you’re up to getting
busy with me?
Mitchell says nothing. Seth snorts - he thought as much.
SETH (CONT’D)
Now get into character and watch
the door. I’ve got a job to do.
He pulls the sheet down, exposing the patient’s neck.
Mitchell grips Seth by the arm and tries to yank him back
from the bed. Seth swings his arm back, knocking Mitchell’s
hand away. Mitchell slams Seth back into the wall.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 12.
22 CONTINUED: 22
(CONTINUED)
They face each other, nose to nose. Mitchell clearly had
more fight in him than Seth suspected.
MITCHELL
I don’t care if the coolest kid
in school is suddenly your mate,
Seth. To me you’ll always be that
milky little creep who smells of
biscuits. Tell Herrick the
hospital is out of bounds.
He lets Seth go. Seth says nothing. Then shrugs, smiles his
yellow smile and heads for the door. He stops.
SETH
A word of warning. One ‘friend’
to another. It’s cold out there
without us.
Seth leaves. Mitchell takes a deep breath. And another.
23 INT. THE HOSPITAL. CORRIDOR. EARLY EVENING 1. 17:16. 23
George is chatting to a nurse - Becca. She’s in her 20s,
pretty, but homesick and a little shy. She has an armful of
laundry, George pushes an elderly man in a wheelchair
BECCA
Yeah, just outside Leeds. I mean,
I loved it, but I thought “if I
don’t get out now...” Coz mates
of mine, some are married or with
kids, and they’ve just stayed.
They’ve stopped by a little makeshift shrine. Cards and
photos and flowers (withering a little now) are pinned and
pasted to a wall. One photo dominates and provides the
focal point. A woman in her 20s. Beautiful. Happy. Utterly
alive and vibrant. This is Lauren. George looks at the
flowers and cards. Becca watches him.
BECCA (CONT’D)
Who was she?
GEORGE
Lauren. Worked in A+E.
BECCA
When did she die?
GEORGE
A couple of months before you
started. Heart attack. She was
20, 21? I know, mad, isn’t it.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 13.
22 CONTINUED: (2) 22
(CONTINUED)
He looks at the main photo. Lost for a moment.
GEORGE (CONT’D)
She was beautiful...
BECCA
Look. They’re doing a little
memorial thing. Planting a tree.
Mitchell approaches them quickly.
MITCHELL
George.
BECCA
(beams, smitten)
Hiya, Mitchell.
MITCHELL
Yeah, hi.
(to George)
Shouldn’t you be going?
GEORGE
(looks at his watch)
Shit.
(to the old man)
Sorry.
(to Becca)
Shit, I’ve got to be somewhere.
Kind of now.
He quickly takes the laundry from Becca, pops it on the old
man’s lap and hands the wheelchair over to Becca.
BECCA
(to Mitchell)
I’ve got a break in 10 minutes.
GEORGE
(to Becca) *
I’ll see you around then.
MITCHELL
(just GO)
In your own time.
George scurries off. Sneaks a glance back at Becca as he
goes.
BECCA
I was saying, I’ve got a break in
10 minutes.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 14.
23 CONTINUED: 23
24 INT. STAIRWELL / ISOLATION ROOM. EARLY EVENING 1. 17:22. 24
George trots down the stairs towards the isolation room.
Voices ahead make him stop. Shit, there are people in
there... He creeps closer to the door. Two maintenance men
are clearing out the battered old desks and boxes.
GEORGE
Hello? Uh, what are you doing?
MAINTENANCE GUY
This is gonna be the site office
when they start building the
admin wing. You should have seen
the state of it! The furniture
all smashed, these marks on the
walls... They been keeping the
mentals 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 into
the 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 and
roaring. The kind of sound that swallows your own scream
whole.
FADE TO:
Mitchell’s face. A brittle smile fixed in place as he tries
to ignore the fury of the scream inside him. Something else
cuts through the noise. A voice. Insistent.
BECCA (O.C.)
Mitchell... Mitchell.
He blinks. Snapped back to reality. Bolsters the smile. The
scream fades out and we pull out to find ourselves in...
25 EXT. HOSPITAL. CANTEEN. EARLY EVENING 1. 17:47. 25
Mitchell and Becca having coffee.
BECCA
I said are you Ok? Your hand is
shaking.
MITCHELL
Oh. Yeah, I quit, uh, smoking a
few weeks ago. I’m still at the
twitchy stage. I’m hoping -
BECCA
So are you seeing anyone?
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 15.
(CONTINUED)
Mitchell laughs, taken aback by her directness.
BECCA (CONT’D)
Ok, that was me trying to be all
sophisticated and Marie Clare,
but it came out really Special
Needs, didn’t it. I’m such an
idiot. I shouldn’t be allowed
near people.
MITCHELL
It’s fine, it’s fine.
Mitchell swills his coffee in his cup. Choosing his words.
MITCHELL (CONT’D)
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 to
change. I can't keep hurting
people. I just want something
good and normal. But there are
those who say I can't do that.
BECCA
Who says that? Your friends?
MITCHELL
Not my friends, no.
BECCA
Your family?
MITCHELL
I guess you’d 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. Mitchell
stands, excuses himself from Becca and trots over.
GEORGE
The isolation room I transform
in, it’s full of people! We need
to get somewhere, I’ve got about
40 minutes before I change!
That’s all Mitchell needs to hear. They hurtle out.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 16.
25 CONTINUED: 25
(CONTINUED)
26 EXT. COUNTRY ROAD. EVENING 1. 18:07. 26
Mitchell’s car splashes along the country road and comes to
an abrupt stop. George scrambles out.
27 INT. MITCHELL’S CAR. EVENING 1. 18:07. 27
MITCHELL
George, wait. It’s too risky.
GEORGE
What?!
MITCHELL
You haven’t had time to find
somewhere. You can’t just run
into some random bit of
countryside. You’ll kill someone.
GEORGE
Well what else can I do?
MITCHELL
Come back to the house.
GEORGE
(appalled)
I’m not doing this in the house!
MITCHELL
For God’s sake, George, you can’t
always keep it separate. This is
happening. This is part of you.
George bolts into the woods. Mitchell yells after him.
MITCHELL (CONT’D)
It’s safe there! We can contain
you! George! George!
28 EXT. WOODS. EVENING 1. 18:09. 28
George crashes through the bushes and branches, already
tugging at his clothes.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 17.
25 CONTINUED: (2) 25
29 EXT. WOODS. CLEARING. EVENING 1. 18:11. 29
George stumbles into the clearing. Stops dead. There’s a
family there. Parents and two kids. Camping. A tent and
stove. They stare at George.
GEORGE
Hi, how are you?
He turns, crashes back into the woods.
30 EXT. WOODS. EVENING 1. 18:14. 30
George scrambles down a bank to a dried up river bed. This
will do. He turns. Two men, locked in an embrace, are
staring at him.
GEORGE
Oh for fu - Sorry, sorry.
He turns and flees.
31 EXT. WOODS. EVENING 1. 18:17. 31
A man doing Tai Chi. Behind him, George sprints past from
one side of the frame to the other.
GEORGE
Haven’t you people got homes...!
The man turns. No one there.
32 EXT. WOODS. EVENING 1. 18:21. 32
Another clearing. This time, mercifully deserted. George
tries to catch his breath. He starts to pull his shirt off.
VOICE
George Sands.
George spins around. All he can see in the fading daylight
is the silhouette of a man, maybe 20 yards away. A thick
dark shape in the gathering gloom.
VOICE (CONT’D)
Cutting it a bit fine, aren’t
you, George?
George is speechless. Frozen with shock. The figure takes a
step towards George. It breaks the spell and George
scrambles back into the woods.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 18.
(CONTINUED)
33 EXT. WOODS. EVENING 1. 18:24. 33
George stumbles through the undergrowth. It’s like he’s
running for his life.
34 INT. MITCHELL’S CAR. EVENING 1. 18:27. 34
Mitchell peers out of the window. There’s George. Pounding
back towards the car. He yanks open the door, scrambles in.
GEORGE
No, you’re right, let’s go back
to the house.
MITCHELL
What?
GEORGE
Like you said, it’s safer there.
Mitchell is too stunned to move.
GEORGE (CONT’D)
So can we go? Like, now?
Mitchell isn’t going to argue. He starts the car and speeds
off. George looks back at the woods. It’s as if he can
still feel that shadowy figure watching him.
35 INT. THE HOUSE. LIVING ROOM / KITCHEN. EVENING 1. 18:47. 35
Annie is in the kitchen, pouring hot water into a line of
mugs. Suddenly the front door bursts open and George and
Mitchell pile in. Annie walks through to the living room.
ANNIE
Alright, George? What are you
doing back? I thought it was your
time of the month.
MITCHELL
It is. He’s doing it here.
ANNIE
But I’ve just hoovered!
MITCHELL
George, what do you need?
George is shifting furniture, clearing a space in the
centre of the room.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 19.
32 CONTINUED: 32
(CONTINUED)
GEORGE
Uh, close the curtains so it *
can’t see any windows. And put *
some music on. Loud.
MITCHELL
Good idea. We’ll say there’s a
party going on.
(the music)
Annie.
Annie is being propelled along by events and the boy’s
frenzy. She fumbles with the CD player while Mitchell runs
around, yanking the curtains closed.
MITCHELL (CONT’D)
Anything you don’t want broken,
put in your room.
ANNIE
What do we do while he’s doing
his thing?
MITCHELL
Get the hell out.
ANNIE
Can I watch?
Everything stops. Mitchell and George stare at Annie.
ANNIE (CONT’D)
Just for a bit. I want to see
what happens.
GEORGE
This isn’t like when you’re a
kid, watching your cat have
kittens. It’s private.
ANNIE
You’ve seen me since I died. I
think the rules about privacy
have got a bit muddy.
George looks to Mitchell. This can’t be happening.
ANNIE (CONT’D)
Please, George. It’s not like you
can hurt me.
MITCHELL
Maybe she should. This is what I
mean. It’s part of you.
George shakes his head. What the hell. Everyone is crazy.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 20.
35 CONTINUED: 35
(CONTINUED)
GEORGE
Keep to the kitchen. Stay out of
its line of vision. If it sees
you, I don’t know what it’ll do.
A shudder runs through him.
GEORGE (CONT’D)
It’s coming.
36 EXT. THE HOUSE. EVENING 1. 18:49. 36
Mitchell steps outside. Music starts thumping dully through
the walls. At least the soundproofing is pretty good.
Mitchell locks the front door.
37 INT. THE HOUSE. LIVING ROOM. EVENING 1. 18:59. 37
Annie is in the kitchen, looking at George through the
serving hatch. George has stripped. He just stands there
shivering, his hands over his groin. The atmosphere is
tense and tight as a drum. But oddly awkward too. Despite
the pounding music. There’s nothing to do but wait.
ANNIE
(making conversation)
I see someone’s finally moved
into number 18 -
Suddenly George screams and jackknifes. It makes Annie gasp
and stumble backwards.
38 EXT. THE HOUSE. EVENING 1. 19:24. 38
Mitchell is sat ion the doorstep. Now, just audible under
the throb of the music, are George’s screams. It makes
Mitchell wince and shudder.
39 INT. THE HOUSE. EVENING 1. 19:39. 39
From the expression on Annie’s face, the transformation has
obviously taken hold. We hear George screams as the curse
thunders through him.
From the kitchen, Annie watches. Hypnotized, but horrified.
It’s awful to watch every shred of George’s humanity torn
so painfully away. She screws her eyes shut.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 21.
35 CONTINUED: (2) 35
40 EXT. THE HOUSE. NIGHT 1. 19:42. 40
Mitchell flinches at the roar from inside. He turns and
Annie is sitting on the step next to him. She looks
distressed and pale. Even more than usual.
ANNIE
He’s 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 of
the music and, if you listen really hard, the roars and
howls of a monster.
41 EXT. SKYLINE. MORNING 2. 06:52. 41
The sun peeps over the rooftops. The world stirs and wakes.
42 INT. THE HOUSE. LIVING ROOM. MORNING 2. 06:53. 42
The front door eases open and Mitchell and Annie peer in.
Imagine the aftermath of the biggest wildest party in the
world, then throw a hand grenade into that. What’s left
wouldn’t look dissimilar to the living room now. Everything
is upside down. Some of the furniture has been atomized.
Even the wallpaper is shredded. And lying amid the
wreckage, naked and unconscious, is George.
43 CUT. 43
44 INT. THE HOUSE. LIVING ROOM. MORNING 2. 09:57. 44
Later. Dressed now, George comes down the stairs. He stops
and stares. Mitchell and Annie have cleared all the
wreckage out of the living room, leaving it cavernous and
echoing. George looks around. They’ve lost so much.
GEORGE
My God. What did it do?
MITCHELL
We’ve salvaged what we can. But
there’s about 10 bin bags of crap
and wreckage stashed in my
bedroom. I’m sensing a trip to
Ikea. And you know my feelings
about that.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 22.
(CONTINUED)
GEORGE
Look, why don’t you two go out.
Leave the rest to me. It’s the
least I can do.
Mitchell and Annie exchange glances. Mitchell rolls his
eyes. Annie tries not to literally squeal with excitement.
ANNIE
Owen rang.
GEORGE
Owen who?
ANNIE
Your landlord! My fiancée Ex- *
fiancee. He’s coming over. *
MITCHELL
(looks at his watch)
In about... Now.
GEORGE
He’s coming here? Why?
MITCHELL
He’s over from Saudi for a few
months and wants to meet us.
ANNIE
You’re the longest staying
tenants he’s ever had.
(proudly)
The others all found the place
strangely unwelcoming.
MITCHELL
You’re like one of the villains
in Scooby Doo, scaring people
away from the deserted funfair.
ANNIE
I’d have got away with it too if
it weren’t for you meddling kids.
George gestures around at the conspicuously empty room.
GEORGE
Why didn’t you put him off?!
MITCHELL
I tried. But she kicked me in the
shin. The shin, George.
ANNIE
I haven’t seen him for 2 years,
and there you were giving it all - *
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 23.
44 CONTINUED: 44
(MORE)
(CONTINUED)
(appalling Irish
accent)
“It’s not really convenient.”
MITCHELL
So I’m French now?
GEORGE
Sorry, can we focus? You don’t
mean you’re going to be here when
he arrives?
ANNIE
Of course! I mean, I’ll hide
obviously, he won’t see me.
Annie hands Mitchell a little note pad.
ANNIE (CONT’D)
Now then. I’ve written a list of
questions for you to ask him.
MITCHELL
“Are you screwing Janey Harris?”
ANNIE
Always fancied Owen. When I died,
believe me if she’d known she
would have been here before the
ambulance crew.
MITCHELL
“Has my sister had a baby?”
ANNIE
They’ve been trying for ages. I
blame her husband. He’s called
Robin and works for the Post
Office.
GEORGE
Oh my God, has everyone taken
Stupid Pills? This is Annie’s ex
we’re talking about. Annie’s ex
who buried her. She can’t be
here, she can’t be within ten
miles of here.
ANNIE
I can’t have him in the house and
not see him. Christ’s sake, we *
were engaged. *
GEORGE
Can you imagine what will happen
if he sees you?
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 24.
44 CONTINUED: (2) 44
ANNIE (CONT'D)
(MORE)
(CONTINUED)
The effect it’ll have on him, the
danger it’ll put us all in.
Annie faces George. Arms folded.
ANNIE
This isn’t about our safety. This
is about you. You lost your
lover, so can’t bear the thought
of me seeing mine.
GEORGE
(splutters, appalled)
That’s... that’s totally...
MITCHELL
Ok, look, as long as she stays
upstairs, what’s the worst that
can happen?
GEORGE
I’ll remind you of that as the
crowds gather outside with
torches and pitchforks. No, I’m
sorry, but we have to protect the
household.
ANNIE
This isn’t a good time to take
the moral highground, George. You
just smashed up the household.
She has a point. George fidgets. Mutters.
GEORGE
It wasn’t me...
The doorbell rings.
MITCHELL
Well. That’s that settled. Annie.
ANNIE
Yeah yeah, I know. Remember:
Janey Harris.
GEORGE
Crazy... You are all crazy... *
Annie clomps upstairs. Mitchell looks to George - ready?
George shrugs. Whatever. Mitchell reaches for the door.
GEORGE (CONT’D)
Oo! Ask him about the clanky tap.
No, I will. In fact, leave all
the talking to me.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 25.
44 CONTINUED: (3) 44
GEORGE (CONT'D)
(MORE)
(CONTINUED)
Remember, we’re just two guys
renting a house, the most natural
thing in the world. We just have
to be totally and completely
normal.
MITCHELL
Yeah, good luck with that.
Mitchell opens the door.
45 INT. THE HOUSE. UPSTAIRS LANDING. MORNING 2. 10:01. 45
Voices from downstairs as Mitchell lets Owen in. Annie
creeps as close as she can to the top of the stairs without
actually tumbling down them.
46 INT. THE HOUSE. LIVING ROOM. MORNING 2. 10:01. 46
MITCHELL
- and this is George.
OWEN
Hi, how are you?
GEORGE
Yes.
OWEN
Where’s all the furniture?
GEORGE
Um. We decided we wanted a more,
uh, minimalist lifestyle. It’s so
easy to get seduced by all the
clutter and debris of 21st
century living. To think having
this sofa or that, uh, chair will
bring you happiness when, really,
shouldn’t we be striving for
something more spiritual? More...
zen?
OWEN
Oh. I thought maybe you were
going to redecorate and didn’t
want to get the furniture all
painty.
GEORGE
(beat)
Yes, that would have made more
sense.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 26.
44 CONTINUED: (4) 44
GEORGE (CONT’D)
(CONTINUED)
A sound from upstairs. George and Mitchell stare at each
other, eyes wide.
MITCHELL
George, why don’t you go and see
what that was.
George scurries upstairs.
MITCHELL (CONT’D)
Can I get you a drink, Owen? Tea,
coffee, there’s a couple of beers
in the fridge.
OWEN
Actually I wouldn’t mind a beer.
I think I’m still on Saudi time.
47 INT. THE HOUSE. UPSTAIRS LANDING. MORNING 2. 10:02. 47
George finds Annie, still skulking on the landing.
GEORGE
(hisses)
What are you doing? We can hear
you!
ANNIE
(hisses)
I just want to see him. I can
sneak down, I can hide.
GEORGE
Are you CRAZY? He’ll see you
and... and die of shock!
Annie brightens - even better!
GEORGE (CONT’D)
That. Is not. An option.
48 INT. THE HOUSE. LIVING ROOM. MORNING 2. 10:03. 48
Mitchell re-enters the living room from the kitchen, hands
Owen a beer.
MITCHELL
Most of the time it’s fine. You
just let it run and eventually
the water comes through. But it’s
kind of driving George nuts.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 27.
46 CONTINUED: 46
(CONTINUED)
OWEN
No worries. I’ll take a look.
Like I said, it’s such a relief
having you guys here.
Mitchell and Owen look around. There’s nowhere to sit but a
couple of upturned boxes.
OWEN (CONT’D)
It didn’t work out with the last
lot of people - oh cheers.
(they clink)
I think they heard about what
happened and let their
imaginations run away with them.
(drinks)
You... know? About my fiancée. *
MITCHELL
A little. Just what the estate
agent said.
OWEN
I’ve hardly been back since. You
can imagine, it’s still kind of
weird being here.
Mitchell lowers his voice, aware of Annie upstairs.
MITCHELL
What happened exactly? If you
don’t mind me asking.
OWEN
We’d literally just moved in, we
were still living out of boxes.
It was dark, I hadn’t sorted out
the wiring yet. She was at the
top of the stairs and... They
said she must have fallen
awkwardly.
MITCHELL
What was she like?
Owen is a little taken aback by the question. But something
about Mitchell, his calm assurance, makes Owen open up.
OWEN
Annie? She was... extraordinary.
She was kind. And funny. Cleverer
than she thought she was...
(a sad smile)
And she was mine.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 28.
48 CONTINUED: 48
(CONTINUED)
MITCHELL
(beat)
I believe people can leave an
echo, in a place where they were.
I know the tennants before us
said they could detect something.
Maybe that’s what it was.
OWEN
They said it was creepy.
MITCHELL
It’s not, it’s not creepy. It’s
good. It’s happy. We like it.
Owen drinks. He nods. Thank you. George comes downstairs.
OWEN
What was it?
GEORGE
What? Oh a... pigeon.
OWEN
A pigeon?
GEORGE
Must have left a window open.
OWEN
Have you got rid of it?
GEORGE
(beat)
I killed it.
MITCHELL
You killed it?
GEORGE
With a shoe.
Mitchell is positioned behind Owen. He throws his arms up
in surrender - Ok, that’s it, I give up.
OWEN
You know what? I should... I
should be going.
MITCHELL
(jumps up)
It was lovely to meet you. Like I
said, it’s great, we’re really
happy here.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 29.
48 CONTINUED: (2) 48
49 INT. THE HOUSE. UPSTAIRS LANDING. MORNING 2. 10:06. 49
Annie peeps around the corner, down the stairs. She can
just about see Owen’s feet and legs.
OWEN (O.S.)
Thanks for the drink. Any
problems, you’ve got my number.
MITCHELL (O.S.)
Cool. Lovely to meet you.
50 INT. THE HOUSE. LIVING ROOM. MORNING 2. 10:07. 50
Mitchell closes the door and turns to George.
MITCHELL
How’d you do that, stay so calm?
GEORGE
Ok, shut up.
MITCHELL
You’re a spy, aren’t you. I mean
you’ve clearly had training.
Because the way you held it
together there, it was chilling.
Annie has walked down from upstairs. Mitchell and George
watch her nervously, as if she might shatter into a
thousand pieces at any moment.
MITCHELL (CONT’D)
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.
ANNIE
Is this his?
MITCHELL
What?
ANNIE
This bottle. Was it his?
MITCHELL
Yeah.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 30.
(CONTINUED)
Annie picks up Owen's beer bottle. Touches the rim to her
lips. Her lips to his.
51 EXT. THE HOSPITAL. EVENING 2. 19:54. 51
Establishing shot. The entrance to the hospital. Dribs and
drabs of people going in and out of the hospital. Late
visitors and the night shift arriving.
52 INT. HOSPITAL. CANTEEN. EVENING 2. 19:55. 52
The first thing Mitchell sees when he enters the canteen is
the crowd of nurses, doctors and porters, gathered around a
table, laughing and clapping. He frowns, what’s going on?
He draws nearer and his face drops. There at heart of the
crowd is Herrick. One of the vampire officers from the
World War 1 battlefield.
But this time, we see that Herrick is a policeman.
He’s performing some coin tricks. The crowd lap it up.
HERRICK
Now watch. You’re not watching.
Cries of ‘We are! We are!’
Herrick holds a coin between his thumb and forefinger. A
flutter of hands. The coin is gone. Some ‘Ooohs’ from the
crowd. Herrick sweeps his hand across the table, and a
shower of coins clatter and bounce from his palm.
Squeals and applause from the crowd.
Herrick watches as some of them scrabble around the table
and chairs for the coins, his expression a mixture of
curiosity and detachment.
He looks up and spots Mitchell watching from the sidelines.
HERRICK (CONT’D)
Ah, sorry, guys. There’s my
friend.
Cries of ‘No!’ ‘Don’t go!’ Herrick laughs.
HERRICK (CONT’D)
Will you stop? Another time, I
promise.
Herrick and Mitchell watch the crowd disperse, chattering
happily about the little show.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 31.
50 CONTINUED: 50
(CONTINUED)
MITCHELL
You didn’t get my message? This
isn’t your fucking larder,
Herrick.
HERRICK
A social call, nothing more.
We’re worried about you.
MITCHELL
We’re meant to keep a low
profile. Coming here, attacking
people in their sleep, that’s not
how we work.
HERRICK
Attacking people in their sleep?
Who’s attacking people in their
sleep?
MITCHELL
Seth said -
HERRICK
“Seth said”. Listen. There’s
something you need to know about
Seth.
Herrick puts his hand on Mitchell’s shoulder, steeling
himself as if about to break terrible news.
HERRICK (CONT’D)
He’s an idiot.
Herrick laughs, pats his shoulder - come on - and strolls
over to the counter. Mitchell follows.
HERRICK (CONT’D)
But it makes you think, doesn’t
it. These rules about what we can
and cannot do. For instance,
here’s a thought: suppose the
world knew of our existence.
Suppose they had a choice...
Behind the counter is a young girl, maybe 19. Gauche.
Braces. Spots.
HERRICK (CONT’D)
You do Hot Chocolate?
The girl nods. Herrick turns to Mitchell - you want
anything? Mitchell shakes his head.
HERRICK (CONT’D)
One Hot Chocolate.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 32.
52 CONTINUED: 52
(CONTINUED)
The girl starts to make his hot chocolate.
HERRICK (CONT’D)
What time did you start?
GIRL
Uh, 2?
HERRICK
Oo, long shift. Who do you get in
here mostly, this time of night?
GIRL
Staff mainly. Though we get
parents too, of the kids in the
children’s ward. You can tell
them a mile off. They take it in
turns and they come in and they
order coffee but they don’t drink
it.
HERRICK
Well. I’m sure they appreciate
what you do.
He hands her the money. She shyly waves it away.
GIRL
Actually. It’s fine.
HERRICK
Well you’re very kind. Take it
easy.
He and Mitchell walk away, towards the doors.
MITCHELL
(re. the girl)
What was that? More tricks?
HERRICK
No. Manners.
53 INT. THE HOSPITAL. CORRIDOR. NIGHT 2. 19:56. 53
Herrick and Mitchell emerge into a corridor
MITCHELL
So we declare ourselves. And what
then? Start a mass conversion?
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 33.
52 CONTINUED: (2) 52
(CONTINUED)
HERRICK
Whoa, whoa, one step at a time...
Buuuuut, that’s exactly the kind
of left-field thinking we need
right now.
MITCHELL
And those that refuse?
HERRICK
As I recall you welcomed me with
open 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 people’s homes. *
Herrick laughs, gives Mitchell’s arm a good-natured slap. *
HERRICK (CONT’D) *
I’m kidding. I’m teasing you. *
*
54 INT. THE HOSPITAL. RECEPTION. NIGHT 2. 20:02. 54
Herrick strolls through to the reception area. Mitchell
skulking uncomfortably by his side.
HERRICK
But I’m willing to bet, you offer
people eternal life, not just for
them but their lovers and
children, and the queues would
stretch a thousand miles!
He leans in closer, his voice is barely a whisper. *
HERRICK (CONT’D)
Let’s go up to the children’s
ward. Those parents she was
taking about, you think a single
one of them would turn us away? *
(grins) *
You’ve thought about it, haven’t
you.
Mitchell recoils. But not from disgust. Herrick’s eyes are *
blazing with urgency. *
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 34.
53 CONTINUED: 53
(CONTINUED)
HERRICK (CONT’D) *
They had their chance. We left *
them to tend this paradise, this *
Eden, and look what they did. *
MITCHELL *
You know what I don’t 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! I admire you. *
Despite your eccentricities.
MITCHELL
My eccentricities?
HERRICK
Yeah. I mean -
(picks at his
uniform)
- we all have to play a part. But
you... It’s like you like it.
Plus now everyone says you're On
The Wagon.
MITCHELL
I wouldn’t expect you to
understand.
HERRICK
Good. I don’t. It’s mental.
You’re a shark: be a shark.
Besides, I’m sure you’ve got some
fall-backs in place...
MITCHELL
Fall-backs?
HERRICK
Someone you’ve been grooming. So
when eventually you do fall off
the wagon, you won't have far to
drop.
A crackle of static and voices over his radio.
HERRICK (CONT’D)
I gotta go. Everything’s about to
change, and nothing can stop it.
This is nature, it’s tectonic
plates shifting. And the only
thing, the only thing you and me
get to choose, is what side we’re
on when it happens.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 35.
54 CONTINUED: 54
(CONTINUED)
Mitchell says nothing.
HERRICK (CONT’D)
Something to ponder.
Herrick smiles and his eyes scorch black - just for a
second. He turns and strolls away. Mitchell doesn’t move.
55 INT. THE HOSPITAL. CORRIDOR. MORNING 3. 09:34. 55
The next morning. George is sorting through a linen
cupboard, piling stuff into Mitchell’s arms.
GEORGE
Listen, I’m going to that thing
later. The memorial thing, for
Lauren. You want to come?
MITCHELL
Um, I don’t know...
GEORGE
Come on, it’ll be nice. Well, not
‘nice’ so much as... ‘horrible’.
I thought you were friends.
MITCHELL
Not really. A bit. Towards the
end.
VOICE
George.
It makes him jump. He spins around. But it’s Becca.
BECCA
Hiya. Little jumpy, aren’t you?
GEORGE
Yeah... sorry... Hi.
BECCA
I need three pillow-cases.
(to Mitchell)
Mrs Nixon just vommed her
Fisherman’s Pie.
MITCHELL
Thank you for sharing.
George hands the pillow cases to Becca.
GEORGE
You’ve changed your shampoo. It’s
minty. Normally you’re vanillary.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 36.
54 CONTINUED: (2) 54
(CONTINUED)
BECCA
How did you know that?!
GEORGE
I’ve just got a good sense of
smell.
BECCA
You like it?
GEORGE
Yes, you smell like a Polo.
They laugh.
GEORGE (CONT’D)
Have you got a hole?
And the laughter dies. George winces. Mitchell stuffs a
pillow case in his mouth. Becca just blinks, disconcerted.
BECCA
I’ll, uh, see you later, yeah?
Becca walks on. Mitchell turns to George.
MITCHELL
Shit, are you interested in her?
GEORGE
No. I don’t know. Why, are you?
MITCHELL
Me? God, no. I mean, she’s nice,
but if you're interested in her,
I'll - because it's not like you
get interested in people every
day. I don't want to discourage
it.
GEORGE
(fidgets)
She wouldn’t be interested in me.
MITCHELL
I’ll ask. You want me to ask?
GEORGE
No! Christ, this is so...
playground.
MITCHELL
Well, welcome to being a bloke.
Believe me, none of us emerge
from this exactly covered in
glory.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 37.
55 CONTINUED: 55
(CONTINUED)
GEORGE
Why are you so anxious to pair
her off with me?
MITCHELL
I want you to be happy! I’m not
trying to pair you off, that’s...
that’s daft. Let me talk to her.
I’m not like you, I can actually
talk to a woman without weeping
or setting fire to myself.
GEORGE
I don’t know. I don’t know. Let
me think about it.
George starts to walk away. Mitchell looks down. His hand
is shaking. He stuffs it in his pocket. George has stopped.
GEORGE (CONT’D)
Oh yeah. Have you seen my phone?
56 INT. THE HOUSE. MORNING 3. 09:42. 56
Annie is looking at the mobile phone in her hand. She’s
typed 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.
57 EXT. THE HOSPITAL. GROUNDS. AFTERNOON 3. 13:06. 57
A little square in the hospital grounds. A smattering of
nurses and doctors. A hole has been dug, a tree planted. A
caretaker is shovelling in the last of the earth. A middle
aged couple that must be Lauren’s parents watch the
proceedings, still in wide-eyed shock. George hunches up
against the wind.
58 INT. THE HOSPITAL. STAFF TOILETS. AFTERNOON 3. 14:12. 58
George, alone in the hospital staff toilets. He washes his
face, rubs his eyes wearily and looks at himself in the
mirror. Nothing behind him in the reflection but the
opposite wall. He starts tugging off his tie. A hand
touches his shoulder.
LAUREN
Boo.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 38.
55 CONTINUED: (2) 55
(CONTINUED)
George almost jumps out of his skin. But the bigger shock
is when he spins around and sees who it is.
GEORGE
Lauren...?
LAUREN
Surprise.
She looks amazing. Her eyes glow a brilliant, dazzling
green. Her hair is as red as fire. She seems to swirl up
out of nowhere, out of shadows. She’s grinning darkly.
Hungrily. She looks beautiful. Ferocious.
LAUREN (CONT’D)
Enjoy my memorial service? Shame
Mitchell couldn’t make it. Maybe
he’ll come to your one.
George scrambles back away from her. But he doesn’t cry
out. Lauren looms over him, moving closer... closer...
LAUREN (CONT’D)
Your face. This must be
confusing. Let me explain: Before
I died I had this one odd last
thought. And now I’m going to
make it yours. You know all the
things you were scared of as a
kid? All the monsters under the
bed?
She is barely an inch away from him now, her eyes burning
black, her voice a hiss in his ear.
LAUREN (CONT’D)
They’re all real.
She stops. Regards George for a moment. Straightens up.
LAUREN (CONT’D)
Ok, I’m kind of new to this, but
aren’t you supposed to weep or
scream or wee yourself? I’ve
never loomed up on someone before
and I was really looking forward
to it.
GEORGE
Mitchell did this to you?
The grin has gone now. She stares at George with cold fury.
LAUREN
You know? You know what he is?
And then something else - a realisation.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 39.
58 CONTINUED: 58
(CONTINUED)
LAUREN (CONT’D)
Wait a sec. C’mere.
She tugs George close to her again, studies him.
LAUREN (CONT’D)
Oh my God.
She pushes George back. Grossed out.
LAUREN (CONT’D)
Ew. Creepy.
She backs away. And she's gone.
59 INT. THE HOSPITAL. CORRIDOR. AFTERNOON 3. 14:27. 59
Mitchell is mopping a floor. George stomps towards him.
MITCHELL
Do me a favour. There’s some
bacon in the fridge at home, it
goes off at midnight, could you -
George punches him in the face. Mitchell staggers back,
more from shock than the blow itself.
GEORGE
Guess who I just saw.
Mitchell rubs his jaw.
MITCHELL
Yoko Ono.
George hits him again.
GEORGE
I manage my condition. I hide in
a shitty bloody cellar or the
middle of a forest. But you? You
buy a bottle of wine and a packet
of condoms! What is the point of
us trying to build some kind of
normality when you’re attacking
our friends and turning them into *
monsters? For Christ’s sake, we
knew her. You let me go to her
bloody memorial!
MITCHELL
How the hell do you think I've
survived for the last 100 years?
You can't just avert your eyes
when it suits you.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 40.
58 CONTINUED: (2) 58
(MORE)
(CONTINUED)
I didn’t hear you complaining
when I saved you from those other
vampires. There’s no escape from
it. I’m not like you, I don’t
have days off. This is what I am.
GEORGE
Then why are we even trying?
They stare at each other. There’s nothing more to say.
George turns and walks away. Mitchell is left, winded.
Becca approaches from the other direction.
BECCA
Hey. Oh shit, sorry, can I walk
there? Did you just mop that?
MITCHELL
It’s fine.
BECCA
So do you want to go out for a
drink with me?
Mitchell turns to her - what?
BECCA (CONT’D)
Yep, I’ve made a decision, no
more procrastination. I’ve been
meaning to do it for ages, but
kept putting it off. That sounded
so much funnier in the Ladies.
Mitchell looks at her for a long time.
MITCHELL
What the hell.
60 INT. THE HOUSE. BATHROOM. AFTERNOON 3. 14:33. 60
A mirror. The sound of hairspray. Suddenly Annie
straightens up and looks at her reflection. Her hair is
wild and blow dried. She looks terrifying.
ANNIE
AAAHHHHHHHHHH!
CUT TO:
Later. That’s better. She looks like herself again. She
adopts a peaceful, celestial expression.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 41.
59 CONTINUED: 59
MITCHELL (CONT'D)
(CONTINUED)
ANNIE (CONT’D)
Be not afraid.
She sighs. That just sounds stupid. Pulls a spooky face.
ANNIE (CONT’D)
WoooOOOOooooOOOO.
She slumps and looks flatly at herself. No funny faces,
nothing. Just herself. Very frightened.
61 INT. THE HOUSE. GENERAL. AFTERNOON 3. 15:21. 61
Annie’s working out the best place to present herself. She
stands in the centre of the living room. Sits. Stands
again.
CUT TO:
She tries the kitchen, appearing suddenly from behind the
door. No, too weird.
CUT TO:
She’s gone back to standing in the centre of the living
room. She waits. She looks at her watch.
CUT TO:
62 INT. THE HOUSE. LIVING ROOM. AFTERNOON 3. 16:02. 62
Bored now, Annie is sat on the floor, leaning against the
wall 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 prepares
herself. But at the sound of a key in the lock, her courage
fails her. She scrambles around the corner and flattens
herself against the wall as Owen steps through the door.
OWEN
George? It’s Owen. Mitchell?
Annie takes a deep breath. Ok, here goes...
OWEN (CONT’D)
The TV’s on.
Annie stops, frowns, who’s he talking to?
And we see a woman step through the door behind him.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 42.
60 CONTINUED: 60
(CONTINUED)
JANEY
Maybe he popped out.
OWEN
(calls out again)
Hello? I rang the doorbell...!
(to the woman)
You don’t have to do this, Janey.
You can wait in the car.
Annie’s jaw is on her chest. She mouths miserably to
herself - Janey Harris...!
JANEY
It’s fine. I want to.
OWEN
You think I should turn this off?
Owen is moving towards the TV, towards Annie. She panics.
She’s trapped. Owen walks into view. Annie gasps. Owen
turns and looks right at her, rigid, flat against the wall.
OWEN (CONT’D)
You say something?
JANEY
What?
OWEN
Did you say something?
He’s looking right through Annie. He can’t see her.
JANEY
You’re hearing things... You
going to look at this tap?
Owen doesn’t move for a moment. Just stares at / through
Annie. Then he turns the TV off and walks back towards the
kitchen, away from Annie.
OWEN
Yeah. It could take a while.
Really, go and wait in the car.
He disappears into the kitchen. Annie tentatively peers
around the corner, watching them.
JANEY (O.S.)
And miss you doing D.I.Y? It’d be
like missing an eclipse.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 43.
62 CONTINUED: 62
63 INT. THE HOUSE. KITCHEN. AFTERNOON 3. 16:04. CONTINUOUS. 63
Owen stands over the sink. Runs the tap. Janey watches him.
JANEY
You alright?
OWEN
Yeah, I suppose. It’s weird being
here.
Owen crouches, looks at the pipes under the sink. Bangs
them a bit. It’s all a bit cursory.
OWEN (CONT’D)
I have no idea what I’m doing.
I’ll come back later.
The sound of a key in the lock.
64 INT. THE HOUSE. LIVING ROOM. AFTERNOON 3. 16:04.CONTINUOUS 64
The front door opens. It's George. The first thing he sees
as he steps inside is Annie, peeping around the corner of
the living room, with a look of frozen wide-eyed horror.
GEORGE
Oh. Hello.
(beat)
What?
He follows her eyes round to find Owen and Janey standing
in the doorway to the kitchen behind him. George yells.
GEORGE (CONT’D)
AHHHHhhhhhello!
OWEN
Hi, George, sorry, we rang the
doorbell, but no one answered.
George spins a little on the spot, back and forth, looking
from Annie to Owen and Janey. Can’t they see her?
GEORGE
No, no, no, it’s fine, it’s...
OWEN
I got your text.
GEORGE
My text.
OWEN
About the tap.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 44.
(CONTINUED)
GEORGE
The tap.
OWEN
Yeah. You texted me. About the
tap.
GEORGE
(the penny drops)
Riiiiight. “The tap”.
(louder, for Annie’s
benefit)
But how silly of me, telling you
to come when I wouldn’t be here.
OWEN
Sorry, I haven’t introduced you.
This is my partner, Janey.
That gets George’s attention.
GEORGE
Janey...?
JANEY
Harris. Hi.
GEORGE
(ouch)
Right. Hello.
He glances back over his shoulder. Annie is still in plain
view but obviously only to George. She’s sat back on the
floor with her knees up, her head buried in her arms.
OWEN
I think I’ll have to come back,
take a look at the tank in the
attic. When are you, uh, not in?
I don’t want to disturb you.
GEORGE
Hard to say. There’s usually
someone here.
OWEN
I’ll pop by later in the week.
Owen and Janey start moving towards the door.
JANEY
It was nice to meet you.
GEORGE
Yeah. And you.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 45.
64 CONTINUED: 64
(CONTINUED)
They take their leave and go. George shuts the door. Annie
is still bunched up on the floor.
GEORGE (CONT’D)
Annie -
And suddenly she’s up on her feet, in the middle of the
room. Angry, tearful, punchy.
ANNIE
Look. I just thought if I
explained... You don’t know him,
you don’t know how he’d react.
But I knew if he saw me again
he’d...
And the tears start and her voice starts to crack.
ANNIE (CONT’D)
But he’s got someone else. And
now she gets to kiss him and
watch him shave and laugh and I’m
still in the clothes I died in. I
get nothing. I get the memories
and a house I can never
completely leave and you. SHE
GETS 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. He
sits down on the floor next to her.
GEORGE
After I got... after I lost
everything, I ran away. I met
Mitchell and we came here and met
you and... I’d just about come to
terms with what’d happened to me.
And then I saw her. My ex. And
she’d found someone else. And it
was so... savage. So I know how
it feels. Like losing everything
all over again.
ANNIE
(beat)
How did it happen?
George is a little thrown. No one’s ever asked him before.
GEORGE
We were on holiday in Scotland.
The place we were staying in, was
on the edge of this huge ravine,
and one evening I decided to go
out for a walk.
(beat)
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 46.
64 CONTINUED: (2) 64
(MORE)
(CONTINUED)
I’ve never been so scared. This
thing was... Even at the time I
remember looking at it and
being... offended. That thing in
this world, it was so... wrong.
And the smell of it. Like meat
and sweat.
ANNIE
And it attacked you?
GEORGE
This other guy, another guest,
he’d tagged along as well. He was
killed. It literally tore his
throat and chest out. I just got
bitten. I... ‘survived’.
ANNIE
Like me.
GEORGE
Like you. Hooray for us.
(beat)
Why couldn’t Owen see you?
ANNIE
Maybe it was the shock of it.
Like it... set me back.
GEORGE
Like a relapse?
ANNIE
There’s so much about this I
don’t understand.
(beat)
What did you think of her? Janey.
GEORGE
She’s... orange.
ANNIE
She works in the Tanning Salon.
She thinks she looks classy. I
think she looks like Kilroy.
GEORGE
You’re much prettier. And much
nicer.
ANNIE
And much deader.
George says nothing. On an impulse, he puts his arm round
Annie. She smiles sadly and settles in to his embrace.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 47.
64 CONTINUED: (3) 64
GEORGE (CONT'D)
(CONTINUED)
Her head on his shoulder. And they sit like that. In their
living room. Looking at the blank screen of the TV.
65 EXT. HOSPITAL. EVENING 3. 19:45. 65
Establishing shot. Night is falling over the city. Lights
are flickering on inside the hospital.
66 INT. HOSPITAL. CORRIDOR. EVENING 3. 20:08. 66
George wanders onto a ward, in his hospital scrubs. At the
Nurse’s Station, an HCA has a phone clamped between her
neck and shoulder, she’s looking at a patient’s chart.
HCA
What does that look like to you?
A 3 or a 5?
GEORGE
A 3?
HCA
That’s what I thought. That’s
Becca’s handwriting. So if she
gave Mr Davies his meds at 3,
then he needs them again now. But
if it’s a 5, then he won’t need
them till 10 o’clock.
GEORGE
So ask her. *
HCA
(the phone)
Not answering her mobile. She’s
gone 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. *
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 48.
64 CONTINUED: (4) 64
(CONTINUED)
The HCA hangs up. She wanders off. George hasn’t moved.
67 EXT. STREET. EVENING 3. 20:21. 67
George tearing through the streets. He stumbles to a halt,
turns one way, then another. Christ, where does he start?
68 INT. BAR. EVENING 3. 20:28. 68
Mitchell and Becca are in a bar. They are already several
drinks down. Becca looks beautiful. She’s clearly gone to a
lot of effort for this. They’re laughing.
MITCHELL
I’m serious. If there’s another
man there, I can’t pee.
BECCA
That’s ridiculous!
MITCHELL
And at my age. Now you: something
embarrassing.
BECCA
Uhhhh. Ok. It wasn’t until 6
months ago I stopped ringing my
ex every time I got drunk.
(cringes)
Oh God, I shouldn’t have told you
that.
MITCHELL
(laughs)
No it’s sweet. It’s tenacious.
BECCA
Yeah ‘sweet’. Me, usually with
sick in my hair, going
‘Gaviiiiiin’.
Mitchell laughs. Drinks. That tremor in his hand again.
BECCA (CONT’D)
Oh I meant to ask. How’s the notsmoking
going?
MITCHELL
Not great. But I’m thinking, once
a smoker always a smoker. What’s
the point of fighting it?
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 49.
66 CONTINUED: 66
69 EXT. STREET. NIGHT 3. 20:36. 69
The city is swamped with drinkers and revellers. George
pushes through crowds, diving into bars and pubs. There’s
still no sign of Mitchell and Becca.
70 INT. BAR. NIGHT 3. 20:37. 70
BECCA
So... so would you like to come
back to mine? My flat-mate’s out.
We’d have the place to ourselves.
Mitchell swallows the last of his drink. Everything has
been 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 (CONT’D)
Is that a friend of yours?
Mitchell turns. His face falls. Pushing through the crowded
bar, making a b-line for them... is Lauren.
LAUREN
Well lookee here. Mind if I join
you?
She plonks herself down into another chair.
LAUREN (CONT’D)
Aren’t you going to introduce us?
MITCHELL
You can’t... you can’t be here...
LAUREN
Aw, look at his little face.
(to Becca)
I should explain. Me and Mitchell
dated. Just once really. Well it
was kind of a date. So where are
we up to? With me he did this
whole thing about the ancient
machinery of the world.
MITCHELL
Please don’t do this.
LAUREN
At least he’s brought you out. We
had to make do with supermarket
wine and a packet of Doritos at
my place.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 50.
(CONTINUED)
BECCA
... I’ve seen you somewhere ...
LAUREN
Well I had my photo in the paper
recently.
BECCA
Yeah... I’ve seen a photo...
Mitchell is on his feet.
MITCHELL
Get up.
LAUREN
But I want to see her face when
she works it out.
MITCHELL
GET UP.
A few heads turn. Lauren shrugs, stands. Mitchell grabs her
arm and marches her towards the door. Lauren calls back
over her shoulder to Becca.
LAUREN
You seem nice. Maybe afterwards
we can be friends... hang out...
And they’re gone. Becca is left, completely bewildered.
71 EXT. OUTSIDE BAR. NIGHT 3. 20:38. 71
Mitchell drags Lauren outside. She snatches her arm away
from him. Takes out a pack of cigarettes, lights one.
LAUREN
So I saw your furry friend.
(pulls a face)
I was actually going to feed from
him, can you imagine? I’d
probably need jabs or something.
MITCHELL
What do you want? Did Herrick
send you? *
LAUREN
Yeah but this isn’t just about
him.
MITCHELL
Then what do you want?
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 51.
70 CONTINUED: 70
(CONTINUED)
LAUREN
YOU LEFT ME. You brought me into
this and then YOU LEFT ME. I woke
up and I was surrounded by these
strangers, and they... It should
have been you there! And ever
since, they’ve just passed me
round, I’m like this orphan!
That hit home. Mitchell nods, ashamed.
MITCHELL
I’m sorry...
Suddenly Mitchell grabs her arm.
MITCHELL (CONT’D)
Come away with me. There are
places we can go, where we can be
safe from them.
LAUREN
(laughs)
They’re not some dopey abusive
boyfriend. You think anywhere’s
safe from them?
MITCHELL
They stay away from the smaller
towns, anywhere that’s exposed -
LAUREN
Wait - oh my God - you think I
want saving?
MITCHELL
We can save each other, this is
what I’m - we save each other.
Lauren tips her head back and laughs.
LAUREN
Don’t you get it? I want to kill!
I want to feel their blood run
down my chin! I want to see their
faces when they realize! I want
to kill my lovers, my parents, I
want them to know! Herrick’s
talking about offering it first.
Christ, just take it! Take their
world! Tear their children to *
shreds!
Mitchell stares at Lauren, as if seeing her for the first
time.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 52.
71 CONTINUED: 71
(CONTINUED)
MITCHELL
Thank you.
LAUREN
... What for?
He turns, walks away.
LAUREN (CONT’D)
You can’t do this, Mitchell, you
can’t choose them over us. You’ll
lose everything. Whatever it
takes, we will Drag You Back!
But he’s gone.
72 INT. THE BAR. NIGHT 3. 20:41. 72
Mitchell returns to the bar.
BECCA
You alright? What was that about?
MITCHELL
Listen. I’m... I’m gonna go home.
BECCA
(crestfallen)
Oh. Oh, Ok.
MITCHELL
I just think it’s best.
BECCA
Was it - Look, that thing I said
about my ex, that’s not me any
more -
MITCHELL
(smiles)
I promise. This is about me, not
you.
BECCA
(rueful)
It’s the first time I’ve heard
that before a shag. That must be
a record, even for me.
MITCHELL
I’m sorry. Let me walk you to the
taxi rank.
BECCA
There’s no need.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 53.
71 CONTINUED: (2) 71
(CONTINUED)
MITCHELL
Please. I want to make sure
you’re safe.
BECCA
Whatever. I just need a pee.
She trails off dejectedly to the toilets.
Mitchell slumps back into his chair. He takes a breath. He
looked over the precipice... and stepped back.
73 EXT. ALLEYWAY. NIGHT 3. 20:51. 73
George is hurrying towards the bar where Mitchell and Becca
are. As he passes the mouth to the alley next to it, he
notices a figure in the shadows. The figure has her back to
George, barely discernible in the darkness. But something
about it, the way she’s standing, makes George skid to a
halt. He takes a few tentative steps into the alley. Slowly
the figure turns and looks at him. It’s Lauren.
74 INT. BAR. NIGHT 3. 20:53. 74
In the bar, Becca still hasn't come back. Mitchell is
uneasy. He gets up.
75 EXT. ALLEYWAY. NIGHT 3. 20:52. 75
GEORGE
Lauren? It’s me, it’s George.
She starts moving towards George, out of the darkness. Her
hand flashes out and she has George pinned by the throat
against the wall, his feet kicking in the air. She leans
in, almost nose to nose. All cruel smiles.
LAUREN
Bad dog.
She drops him to the ground and stalks off.
George is flat on his back, winded. He turns his head and
comes 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 floods
and pumps through her fingers.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 54.
72 CONTINUED: 72
76 INT. BAR. CORRIDOR. NIGHT 3. 20:54. 76
Mitchell is standing by the door of the ladies toilets. A
woman steps out.
WOMAN
No, she’s not in there.
Suddenly a scream from outside. Mitchell is standing by the
fire exit. He swings the door open, out onto the alleyway.
77 EXT. ALLEYWAY. NIGHT 3. 20:54. 77
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 (CONT’D)
Call an ambulance!
The women stumble back inside. Mitchell scrambles down onto
the ground next to Becca and George. George has his hand
clamped over the cut in Becca’s throat, but the blood is
still coursing through his fingers. Becca blinks up at
Mitchell, bewildered and terrified.
BECCA
What’s... there’s water...
MITCHELL
Becca, it’s Ok, it’s Ok, it’s
Mitchell. Come on, baby, that’s
it, stay looking at me.
BECCA
I’m covered... with water...
And then Lauren emerges out of the darkness.
LAUREN
Now isn’t this a touching scene.
MITCHELL
What did you do to her?!
LAUREN
Easy, tiger. What’s the problem?
You just need to let her drink
from you.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 55.
(CONTINUED)
MITCHELL
Becca, Becca, look at me.
Becca’s eyes are rolling in her head. But they find Lauren,
and she makes a sound; a childish, frightened sound.
LAUREN
It’s Ok, honey, he’ll save you.
He’ll make this all go away.
With what little strength Becca has left, she tries to claw
back away from Lauren, terrified of her.
LAUREN (CONT’D)
He just needed to be shown, you
see, that this whole thing is
ridiculous.
GEORGE
Mitchell? Can you save her?
MITCHELL
I can’t... I can’t...
GEORGE
She’s losing consciousness...
LAUREN
Yeah, you should get a move on.
She’s about two pints away from
being an organ donor.
GEORGE
Mitchell, DO something.
Mitchell is weeping. He shakes his head.
MITCHELL
Not another one... I can’t...
Even Lauren is a little surprised. She looks at Becca,
lifeless and bloody. At George, sick and shocked. And at
Mitchell, weeping and cradling Becca in his arms.
LAUREN
You did this.
Lauren steps away, melting back into the shadows.
LAUREN (CONT’D)
You made me this, Mitchell. This
is all your fault.
And she’s gone. In the distance, the wail of sirens.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 56.
77 CONTINUED: 77
(CONTINUED)
People have spilled out from the bar now, crowded around
the fire exit, watching in shock. George looks on, as
Mitchell holds the dying Becca.
MITCHELL
I’m sorry... I’m so sorry...
78 INT. THE HOSPITAL. CORRIDOR. NIGHT 3. 21:32. 78
A blood soaked George sits on chairs in the corridor.
Further along, Mitchell - also covered in blood and dirt
from the alley - is with a group of police, uniformed and
plain clothed. A doctor arrives. Shakes his head.
The Police talk among themselves, talk to Mitchell. After a
moment Mitchell breaks off from the group and walks towards
George. George stands, steeling himself for the inevitable.
GEORGE
Is this how it ends then? They
connect her to you, you to
Lauren. Everything gets blown
open. We lose it all.
MITCHELL
No. They have ways of doing this.
Come on.
GEORGE
What do you mean?
MITCHELL
We’ve been around for thousands
of years. You think it’s the
first time something like this
has happened?
He looks back down the corridor at the group of Policemen.
One of them is watching Mitchell and George. It’s Herrick.
And by his side, Seth.
MITCHELL (CONT’D)
We have branches everywhere.
79 INT. THE HOSPITAL. RECEPTION. NIGHT 3. 21:57. 79
Mitchell and George wander out through a conspicuously
quiet reception.
GEORGE
Wait here. I’ll see if I can find
a cab.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 57.
77 CONTINUED: (2) 77
(CONTINUED)
He scurries out. Mitchell just stands where George has left
him, still dazed and shaken.
HERRICK (O.S.)
Hey, Mitchell.
Mitchell looks up. Herrick has followed them out, Seth
trailing in his wake. They are standing on a little balcony
that crosses reception.
HERRICK (CONT’D)
It’s all about to start. We’re
drawing up lists. It’s make your
mind up time.
Mitchell thinks for a moment. The next thing he says will
determine the rest of his life.
MITCHELL
I choose them.
Herrick’s expression remains utterly inscrutable. But his
eyes scorch black as he regards Mitchell.
HERRICK
Pity.
He steps back, moving away into the shadows.
HERRICK (CONT’D)
Be seeing you.
SETH
(a sly grin)
And your little dog.
He too turns, strolls back into the darkness.
80 INT. THE HOUSE. LIVING ROOM. NIGHT 3. 22:27. 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 Becca’s blood.
81 INT. THE HOUSE. KITCHEN. NIGHT 3. 22:27. 81
Annie and George, in his dressing gown, are watching
Mitchell from the doorway to the kitchen. Their voices low.
GEORGE
I’d forgotten what they’re like.
The others. They’re predators.
Every inch of them.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 58.
79 CONTINUED: 79
(MORE)
(CONTINUED)
Just hunger and fury.
(looks at Mitchell)
The energy it must take him,
every minute every day, not to be
like that...
ANNIE
You think he should have saved
her?
GEORGE
I think he did.
Annie moves back into the kitchen, starts making tea.
George watches his friend for a moment, then turns.
GEORGE (CONT’D)
We should go out.
ANNIE
What?
GEORGE
To the pub. Anywhere. It’ll do us
all good.
ANNIE
I don’t know... I think I want to
stay in the house.
GEORGE
Let me put some clothes on and -
ANNIE
I want to stay in the house now.
(beat)
Please. I’m sorry. I just feel
safer here. There are monsters
out there. But here, when it’s
the three of us, I feel like
nothing can touch us then.
George sighs. He nods. Ok.
Annie smiles, grateful, and walks through to the living
room. She sits next to Mitchell, her arm around him, pulls
him close to her. She looks back to George. Smiles again.
George picks up his blood splattered clothes from a pile on
the floor and dumps them in the sink. He rolls his eyes as
the tap clanks and splutters.
82 EXT. STREET. NIGHT 3. 22:28. 82
The kitchen window, seen from the street outside.
"Being Human" Episode 1 SHOOTING SCRIPT 17th September 2008 59.
81 CONTINUED: 81
GEORGE (CONT'D)
(CONTINUED)
A figure is watching the house. His face lost in shadows.
He steps forward, and the beam of the street lamp
illuminates his face. He's handsome, unshaven, with sharp
intelligent eyes. He watches George, standing at the sink,
oblivious. A predator watching its quarry.

Impressum

Tag der Veröffentlichung: 08.07.2011

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