As the title sequence runs, photographs fade in and out of the screen, starting with photographs of Amanda and Jeremy as babies, handwritten captions below each picture showing their full names and dates of birth, which are within a week of each other. Full names being ‘Amanda Jane Bell’ and ‘Jeremy James Taylor’

The second photograph shows them in the same primary school uniform, captioned as ‘First day in school’.

The third photograph shows them together at a play park, captioned ‘New best friends’.

The fourth photograph shows them in their senior school uniform, holding hands, smiling, captioned ‘Secondary school – First Day for Mandy and Jay’.

The fifth photograph shows them in their prom clothes, captioned ‘The kids are growing up – Prom Night’.

The sixth photograph is taken at their joint graduation, in the full graduation dress, smiling, holding up their degrees, captioned ‘The superstars gain firsts!’.

The seventh photograph shows the couple standing in front of a semi-detached house, the sold sign still in the garden, a new handwriting for the captions now (Amanda’s) stating ‘Our first home together’.

The eighth photograph is of the couple on their wedding day, beaming smiles, confetti flying and the caption saying, ‘The best day of our lives.’

The ninth photograph is taken in hospital, Amanda lying in bed with a tiny baby swaddled in blankets, Jeremy cuddling them both (Jeremy and Amanda are now showing as the actors who will play them), captioned (in Jeremy’s handwriting) ‘George William Taylor arrives, at 2.31am, weighing in at 8 pounds 13 ounces. All exhausted but well’.

The tenth and final picture shows the three year old George with a Bob the Builder backpack smiling in front of the same house as in picture seven, with a few updates to the garden, and perhaps the cars on the driveway, with the caption (in Amanda’s handwriting), ‘Our little man grows up, first day at pre-school’.

FADE OUT

END OF TEASER – IN TITLE SEQUENCE

FADE IN:

INT. TAYLOR’S HOUSE – NIGHT

Amanda, wearing her knee length nightshirt, eases out of bed, the digital clock on her nightstand showing 2.19am, and quietly creeps to the bedroom door, silently opening it so as not to wake Jeremy, who is sleeping soundly. She walks down the corridor to George’s room, we see the handmade sign on his door confirming it’s his room. Amanda gently pushes open the door to peak in on her son. With the nightlight on she can clearly see he is fast asleep, snuggled up to his teddy-bear with his dummy next to his hand.

Amanda pulls the door to silently and then walks into the bathroom, closing the door gently before using the pull switch to turn on the light. After using the toilet, she silently turns the light back off, before opening the door and heading back towards her bedroom. She reaches the top of the stairs walks stealthily down them avoiding the creaking stair and heads for the kitchen to make herself a hot chocolate.

We see behind her the open lounge window and two shadowy figures making their way quietly into the room. So intent on their own tasks neither the men nor Amanda notice each other.

The men open their backpacks and pull out their nine inch steak knives, which glisten in the light of the street lamps, and then quickly make their way up the stairs. They push open the door to Jeremy and Amanda’s bedroom and Jack Grimshaw slaps his gloved hand over Jeremy’s mouth, plunging the steak knife into his chest. A geyser of blood jettisons its way from the damaged lung and artery of the heart, shooting over Jack’s arm. A low whistle emanates from Jeremy’s chest as he makes one last involuntary death spasm, before falling flat onto the bed.

JACK GRIMSHAW

(spoken quietly to himself)

Damn it, didn’t want that mess.

BOB REYNOLDS

(spoken quietly)

Fuck Jack, be careful when you stab these guys, you need to get the lung only, blood gives DNA and the cops love that shit.

JACK GRIMSHAW

(spoken quietly)

Well you can do anyone else then, as you know so much.

Bob leads Jack out of the bedroom and they head quietly down the landing, Jack heads towards the bathroom door, whilst Bob pushes open George’s room, looking in.

BOB REYNOLDS

(spoken quietly)

Ah damn it, I hate it when there are kids. Jack, I thought you said that there weren’t no kids here.

JACK GRIMSHAW

(spoken quietly)

Look Bob, I cased this joint all week and there were no kids here in that whole time, maybe they were away or something.

Bob walks across to George’s bed, raising the knife as he nears the sleeping boy.

BOB REYNOLDS

(spoken quietly to self)

Sorry kid.

Bob plunges the knife down into the sleeping toddler.

INTERCUT – TAYLOR’S KITCHEN – NIGHT

Amanda finishes her hot chocolate, rinses the cup and puts it into the dishwasher, heading back to the stairs she shivers as she notices that the lounge window is open. Shaking her head she walks across to the window, closing it.

AMANDA

(spoken gently)

Dammit Jay! I’m always telling you to lock the windows at night.

Amanda heads back to the stairs and quietly walks back up to her bedroom. She eases the door open and confused at not hearing Jeremy snoring she touches her side lamp, illuminating the room, she sees her dead husband.

AMANDA

(screams)

Jeremy, oh my God. Jay?

(quietly to self)

George, not George...

Amanda rushes to the bedroom door.

INTERCUT – TAYLOR’S BATHROOM – NIGHT

Jack hears the scream, lifts his knife in front of him at waist height, opens the bathroom door and heads into the hallway.

INTERCUT – GEORGE’S BEDROOM – NIGHT

Bob is wiping his knife on George’s curtains, when he hears the scream and turns towards the bedroom door, a confused expression on his face.

INTERCUT – TAYLOR’S UPSTAIRS HALL – NIGHT

Amanda rushes round the corner from her bedroom into the hallway just as Jack leaves the bathroom. Jack’s knife stabs deep into Amanda’s stomach, a terminal blow that she barely feels. The rage is so strong in her that she pushes Jack hard out of the way and he smashes through the bathroom door. Amanda rushes down the hallway and shoves open George’s bedroom door with a primeval scream.

INTERCUT – GEORGE’S BEDROOM – NIGHT

The door slams open and Amanda forces her way into the room, the knife still stuck deep in her stomach.

AMANDA

(screams)

Georgie!

Bob, knife raised high, rams it forward burying it in Amanda’s left shoulder, pushing her hard against the bedroom wall, before rushing out of the bedroom.

BOB REYNOLDS

(shouts)

Jack, let’s get the fuck out of here before the pigs arrive. She’ll never make it.

Amanda, the two knives still in her, falls to her knees at George’s bed, tears of rage and anguish flowing freely down her cheeks. Her head drops down onto her dead son’s chest as the life drains from her body along with the blood from the two knives. Her eyes, intense with anger, close and we hear in the distance the first sirens as the police respond to the neighbour’s calls for assistance.

FADE OUT

END OF ACT ONE

FADE IN:

INT : TAYLOR’S HOUSE - DAY

Amanda, still in her blooded nightshirt, kneels by the mark left by George’s bed. She appears to glow yellow in the sunlight as though a visible aura surrounds her. No furniture is left in the bedroom, though the Peppa Pig border remains on the walls. The door behind her slowly opens.

ESTATE AGENT (V.O.)

..and here we have the second bedroom..

An Estate Agent leads a young couple into the bedroom.

ESTATE AGENT

..which you can see is an ideal child’s bedroom. The former owner’s young son chose the decoration.

MALE VIEWER

Is it true that the whole family were murdered in the house?

ESTATE AGENT

That was a couple of months ago, but since then the neighbourhood watch has been stepped up and as you can see all the windows and doors have

been fitted with deadlocks. There has also been a full sensor alarm system fitted with alarm boxes at both the entrance and at the top of the stairs. The house has also been priced for a quick sale and I’m sure that the administrators would accept a reasonable offer.

Amanda looks shocked and scared and as the estate agent speaks the aura surrounding Amanda turns from the golden yellow to an orange hue.

AMANDA

(shouting)

I’m not dead. I’m stood right here.

As she speaks, she glides towards them and as she gets close the three shiver.

FEMALE VIEWER

Gosh, what a draft, must be a window open.

The estate agent and the two viewers leave the bedroom, closing the door behind them.

MALE VIEWER (V.O.)

We do like the house, and as you say, the price is very attractive. We’ll discuss it tonight and be in touch.

Amanda sinks down to her knees, crying hard. She slowly pulls herself together and as she does her aura changes back to golden yellow. She stands, walks to the bedroom door and puts her hand out to turn the handle. Her hand passes straight through the door handle, then the door as she loses her balance, stumbles forward straight through the door. As her head passes through the door, her world goes dark as her eyes are engulfed by the wooden door and then she goes deaf as her ears follow through.

AMANDA

(whispers)

Oh God, I am dead.

She starts down the hallway, walking first, then slowly rising off the ground and gliding down the hallway with increasing speed. She enters her old bedroom, which is completely bare, the dust accumulating on the light fittings.

AMANDA

(whispering furiously)

They killed my family, they killed me, did the police get the evil bastards?

Amanda’s eyes harden with rage as she speaks the hate-filled words, her aura going from yellow, to orange, to red and finally scarlet.

FADE OUT

END OF ACT TWO