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INT. NIGHT. COTTAGE.

KEMP

As I said when we spoke on the phone, Mrs Ford, I no longer work for the Catholic Church.

Caption: 7 months ago.

Pull back. We're in a kitchen. Small, poor, hard and God fearing. Much like the woman who sits opposite Kemp.

MRS FORD

Still believe in God, don't you?

KEMP I remain His servant.

MRS FORD

Well then.

A fair point. Kemp sighs. This has been a wasted journey.

KEMP

You believe your son has been possessed.

A quick nod from Mrs Ford.

KEMP (CONT'D)

Why?

MRS FORD

Every full moon he turns into a wolf.

Even Kemp doesn't know how to respond to that.

EXT. NIGHT. FIELD.

Mrs Ford tramps across a muddy field towards a ramshackle, corrugated iron barn. In her fist she has a set of keys. Kemp follows. The sun is beginning to set.

INT. NIGHT. BARN.

Kemp and Mrs Ford face her son, Craig. He's maybe 17. Thin and scared. Scattered around the barn are comics, clothes, remnants of food. This is where he's being kept now.

MRS FORD

Craig. This is Mr Kemp. Told you about him, didn't I, boy.

CRAIG Alright.

KEMP To whom am I talking?

CRAIG

It's still me, sir. Devil comes with the moon, sir.

INT. THE HOUSE. LIVING ROOM.

From episode 1, series 1. Annie is in the kitchen, looking at George through the serving hatch. George has stripped.

ANNIE

I see someone's finally moved into number 18 -

Suddenly George screams and jackknifes.

EXT. NIGHT. BARN.

Through a gap in the metal of the barn, Kemp watches Ford transform. We hear the screams and the howls and the roars as we stay on Kemp's face. Eyes wide and shocked. Even after 40 years of horror and devilry, he's never seen anything like this.

INT. DAY. TRAIN CARRIAGE.

Kemp and Craig Ford are travelling back to London. Kemp sits opposite him. Craig smiles, nervous but excited to be out of his confinement and away from his mother.

Kemp regards him. Fascinated, but wary.

INT. NIGHT. CAR.

Kemp and Lucy Jaggat in his car. She really isn't sure about this guy.

KEMP

What I found refreshing about your thesis were the hard facts of science placed next to the hard facts of faith.

LUCY

Yeah well it was crazy talk like that that's got me banned from all the best scientist parties.

KEMP

Here, I thought, is someone I could work with.

LUCY

I do actually have a job. In research. A very well paid job.

Kemp smiles. He looks out of the window. The full moon hangs low in the sky.

KEMP I have something to show you.

INT. NIGHT. ABANDONED CHURCH.

Kemp and Lucy pick their way carefully through one of the chambers of the abandoned church.

KEMP

When none of the usual methods of exorcism worked, I brought him here. I thought the religious

surroundings might be too oppressive for the demon within him. Sadly it wasn't the case.

They reach a closed door. He gestures to a crack in the woodwork. Lucy regards Kemp, sceptical. She sighs and looks through the crack.

There's Craig. Stood in the middle of the tiny stone room, naked and shivering. He looks at Lucy. A timid wave.

LUCY

Oh man, is this some weirdy sex thing?

Kemp is looking at his watch.

KEMP

And he asked them: What do you question about among you?

Suddenly from inside the room, Craig screams.

LUCY What the...?

We see Lucy - peering through the crack in the door. Eyes wide and shocked, just as Kemp was.

KEMP (V.O.)

And one of the multitude, answering, said: Master, I have brought my son to thee, having a dumb spirit.

EXT. NIGHT. FOREST.

Pre-titles from episode 2, series 1. George stands in the silver light of dusk. Suddenly, as if hit by an invisible wave, George collapses to the ground.

KEMP (V.O.)

Who, wheresoever he taketh him, dasheth him: and he foameth and gnasheth with the teeth and pineth away.

George's skin tightens and stretches as his jaw starts to distend. It's like the snout is pulled out of his face.

INT. NIGHT. ABANDONED CHURCH.

Lucy wrenches her eyes away from the crack in the door and the horrors beyond. She looks at Kemp.

LUCY

And Jesus saith to him: If thou canst believe, all things are possible to him that believeth.

Kemp just holds her gaze.

INT. NIGHT. ABANDONED CHURCH.

Lucy paces, barking orders into her phone. Everything she knew about the world has been wrecked. But her eyes are burning with excitement. Kemp waits patiently nearby.

LUCY

I need you to send cars for Richard and Stefan. I'm emailling the address now... Yes I do know what time it is... Then I need you to set up a conference call with Alistair...

KEMP

There are vampires too.

LUCY (into phone)

Hold on.

(to Kemp) What did you say?

KEMP

There aren't just werewolves. There are vampires too.

Lucy just stares at Kemp.

INT. DAY. THE FACILITY.

Kemp and Lucy watch as the decompression chamber is installed in the lower level of the facility.

Technicians buzz around. Wires snake across the floor. Welders weld. Boxes and crates of equipment are unpacked.

INT. COUNTRYSIDE. GAMEKEEPER'S COTTAGE. AFTERNOON.

From episode 2, series 1. George and Tully face each other in the cottage.

TULLY

I'm the one that bit you. I'm the one that gave you this gift.

GEORGE

... what?

INT. DAY. THE FACILITY. CONTROL BOOTH.

Lucy, Kemp, the technician and a small band of scientists and investors gather around the control panel. On the little screen is Craig Ford - in the chamber.

TECHNICIAN

Moon up in 30 seconds.

INT. GAMEKEEPER'S COTTAGE. NIGHT.

From episode 2, series 1. The first waves of pain crash into George and Tully at the same time. The transformations have begun.

INT. NIGHT. THE FACILITY. DECOMPRESSION CHAMBER.

Craig screams as the transformation thunders through him. But he doesn't change. Blood soaks through his scrubs. His body distends and warps. But still no transformation.

INT. NIGHT. THE FACILITY.

In the booth, Lucy, Kemp and the others watch in horror as Craig dies, screaming in agony.

INT. DAY. THE FACILITY.

Craig's body is zipped into a body-bag and removed from the chamber by two operatives. They pass Lucy, scribbling notes furiously. And Kemp, looking sceptical.

LUCY

The transformation was smothered, so we're having an effect. We keep trying. It's just a question of getting the pressure right.

KEMP "Keep trying"? With what?

INT. CLUB. 80S RETRO NIGHT. NIGHT.

From episode 3, series 1. Mitchell leads George and Annie into the 80s club.

ANNIE (shouting)

What are we doing here? I hate this bloody music!

MITCHELL You'll see.

He beckons to Gilbert, a very cute Ian Curtis clone.

MITCHELL (CONT'D) Annie! This is Gilbert. Gilbert - Annie, my flat-mate.

INT. DAY. THE FACILITY.

Lucy is walking along a corridor. A door opens. Kemp. He's smiling. He gestures - come with me.

He leads her through to the loading bay. A handful of people are gathered there. The technicians and various other operatives. They are surrounding two figures, unkempt and dirty - like they've been sleeping rough for a few weeks. A young girl, pale and awkward. Fierce proud eyes. This is Amy. And a man. Handsome and dark and wild. Tully.

KEMP Like waiting for a bus, isn't it.

INT. NIGHT. THE FACILITY. TYPE 3 LEVEL.

Tully and Amy in the room they share. Tully cradles her in the darkness. She has the same accent as Craig.

AMY

Got it from Craig. Soon as my family knew, they locked me in the cellar. That's no life. (a smile to Tully)

He's dead now. I know that. But they reckon they got all their numbers right since then.

Tully says nothing. Strokes her hair. Holds her.

INT. HOSPITAL. NIGHT.

From episode 3, series 1. George is giving Nina the seeing to of a lifetime. She cries out as she experiences the most earth-shattering orgasm of her entire life.

INT. DAY. THE FACILITY. CORRIDOR.

Tully and Amy are hugging goodbye. Lucy and a handful of operatives stand nearby. A little impatiently.

AMY

What they doing with you tonight?

TULLY

They just put me in a room. They let me get on with it.

AMY

Will you still like me when I'm better?

TULLY (laughs)

Of course. And next month I'll be better. And then we'll leave here and we'll have kids and we'll have a car and we'll go on holidays.

AMY

Not going to France. Cousin went. Said they stank.

LUCY

Amy. It's time.

Amy and Tully separate. She gives him a little wave as she's led away by Jaggat and a little crowd of technicians.

Tully only has one escort. They set off in the other direction. Tully glances back over his shoulder. But Amy has gone.

INT. HOUSE. MORNING.

From episode 3, series 1. George swings open the door. Marches in triumphantly.

GEORGE

I had sex with Nina last night and it was bloody marvellous.

EXT. DAY. THE FACILITY. GROUNDS.

They're burying Amy in the grounds of the Facility.

Kemp has led the service. He closes his bible. A couple of operatives flatten down the disturbed earth and dirt.

KEMP

You could leave. There are no locks on the doors, Mr Tully. But what is out there for you, really?

He places his hand on Tully's shoulder. And leaves him with that thought.

INT. THE HOUSE. KITCHEN. NIGHT.

From episode 6, series 1. George, Annie and Mitchell in the kitchen.

GEORGE

I have to think about my future. I have to think about Nina.

INT. DAY. THE FACILITY. ROOM.

C U - Tully, a dark grin. He's enjoying this.

TULLY A werewolf. A vampire. And a ghost.

We pull back. He's sitting at a table in one of the rooms of the facility. Lucy and Kemp, facing him.

LUCY In the same house? Together?

TULLY

Yeah, it's nice. Near the shops and a couple of nice pubs.

KEMP Where is this house?

TULLY

I'll tell you the day after tomorrow.

A glance between Lucy and Kemp. Not the answer they wanted.

KEMP

Mr Tully -

TULLY (leans forward)

If your cure works, I'll take you there myself. Christ, I'll make the damn tea while you talk to him. I gave him this. Can you imagine how that feels? And what it would be like to take it away again? But if this doesn't work, if I... Then you'll never find him. You'll never get to hurt him.

He sits back. Lets them stew on that.

TULLY (CONT'D)

So what you gonna do? How much faith do you actually have in this cure?

LUCY One thing we have in abundance, Mr Tully, is faith.

INT. DUSK. HOSPITAL. ISOLATION ROOM.

From episode 6, series 1. George faces Herrick.

GEORGE

You shouldn't have gone for Mitchell. It got my attention.

INT. NIGHT. THE FACILITY TYPE 3 LEVEL.

Tully is sitting on the bed in his cell. A knock on the door. Tully stands. The door opens. It's Lucy.

LUCY

It's time.

TULLY

Yeah, can you... I just want to have a bit of a pray.

LUCY (brightening)

I could pray with you.

TULLY Next time, yeah?

Lucy looks at her watch. A reluctant nod. She goes.

Tully moves quickly. From his pocket he takes a stub of pencil. He crouches down and starts to write a message on the crumbling plaster of the wall behind the bed.

A 'G' first... then an 'e'... then an 'o'...

INT. NIGHT. THE FACILITY. CONTROL BOOTH.

The screen is reflected on Lucy Jaggat's glasses. A figure writhes. We hear Tully's screams through the audio relay.

LUCY

The transformation was delayed by nearly 30 seconds. Don't you see? It took - sorry, can we turn the sound off? - it took longer. We're making progress.

Kemp isn't listening. Still mulling Tully's ominous news.

INT. DAY. THE FACILITY. KEMP'S OFFICE.

The technician has run up several flights of stairs to give this to Kemp. A print out from a computer.

TECHNICIAN

Pulled it from an internal NHS message board. Psychiatric nurse at a high security hospital. New patient, just come in, killed his wife. Says she's come back as a ghost and is living with a werewolf and a vampire.

Kemp snatches the paper away. Reads. A smile. Gotcha.

KEMP (V.O.)

I'm sorry to labour the point, but did she actually use the word 'vampire'?

INT. NIGHT. PSYCHIATRIC UNIT. WARD ROOM.

From episode 6, series 1. Owen and Kemp.

OWEN

She didn't say that's what he was. Or the other guy, the werewolf. But I've been thinking about what she said they'd do to me, plus all the bonkers stuff that was going on, and it all adds up.

INT. DAY. CAR PARK.

From episode 6, series 1. Kemp hurries to his car. Takes out his phone.

INT. DAY. THE FACILITY. LUCY'S OFFICE.

Lucy's phone rings. She picks it up.

INT. DAY. CAR PARK.

From episode 6, series 1.

KEMP Professor Jaggat. We've found them.


CUT TO: TITLES.

The script could be found here (however it isn't available anymore): http://web.archive.org/web/20100331082037/http://www.bbc.co.uk/blogs/beinghuman/original_ep_7_pre_titles_clean.pdf

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