Flotsam and Jetsam
Annie: So, who wants tea? {George groans} What?
George Sands (Russell Tovey): 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 know? You can’t drink it, you keep making it. Oh my god, it’s driving me insane!
Annie: Oh. Well I like my routine. It makes me feel normal.
George: You’re a ghost!
Annie: Yeah. Okay.
Mitchell: You know, you should be pleased for her. She can be seen by other people now, not just us. She can step out of the house.
George: Other people move in somewhere, they get damp. No. They get woodlice. Why do we get Casper the Friendly Ghost?
Mitchell: So what are you going to 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.
George: Hello. Uh, what are you doing?
Worker: This is going to be the site office when they start building the admin wing. Look at the state of it! Furniture all smashed up, those marks on the walls. They been keeping the mentals in here or what?
George: Oh no!
Annie: Can I watch? I just want to see what happens.
George: This isn’t like when you were six, watching your cat have kittens. It’s… it’s private.
George: Remember, we’re two guys renting a house. It’s the most natural thing in the world. We just have to be totally and completely normal.
Mitchell: Yeah. Good luck with that.
George on the lack of furniture: Shouldn’t we be striving for something more spiritual? More, um, more “zen”?
Owen: Oh. I thought maybe you were going to redecorate and didn’t want to get the furniture all painty.
George: Yeah. That would have made more sense.
Annie: I just want to see him. I could sneak down. I could hide.
George: Are you crazy? He will see you and die of shock. {Annie perks up.} Annie.That is not an option.
Mitchell: Oh come on, it’s not like you get interested in people every day. I don’t want to discourage it.
George: She wouldn’t be interested in me.
Mitchell: I’ll ask. Do you want me to ask?
George: No! No! Christ. This is so… playground.
Mitchell: Welcome to being a bloke.
Lauren: Boo!
George: Lauren?
Lauren: Surprise. Did you enjoy my memorial service? It’s a shame Mitchell couldn’t make it. But maybe he’ll come to yours. {She laughs.} Oh, your face. This must be really confusing. Let me explain. Before I died I had this one odd last thought, and now I’m going to make it yours. {She advances on him ominously.} You know all the things that you were scared of as a kid, all the monsters under your bed? They’re all real. No reaction. Okay. I’m kind of new to this, but aren’t you supposed to weep, or scream or wee yourself?
George: Mitchell did this to you?
Lauren: What, you know? You know what he is? Wait a sec. Come here. {She sniffs him.} Oh my god! A werewolf. Creepy.
George: Guess who I just saw?
Mitchell: Oh… Yoko Ono?
George: No. Lauren. I manage my condition. I hide in a shitty bloody cellar or in the middle of the forest but you, you buy a bottle of wine and a package of condoms! What is the point of us trying to build some kind of normality when you are attacking our friends and turning them into monsters? For Christ 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 hundred years? 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?
Annie: How did it happen?
George: We were on holiday in Scotland. The place we were staying was on the edge of this huge ravine. And one night I decided to go for a walk. 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… it was so wrong.
Annie: It attacked you?
George: This other guy, this— another guest who had tagged along, and… He was killed. It literally tore his throat and chest out. I was only scratched. I survived.
Annie: Like me?
George: Like you. Hooray for us.
George: Why do you think Owen couldn’t see you?
Annie: I don’t know. Maybe the shock of it was like… just set me back.
George: Like a relapse.
Annie: There’s just so much of this I don’t understand.
Annie: So what’d you think of her then? Janey.
George: She’s… orange.
Annie: She worked in a tanning salon. She thinks that looks classy. I think she looks like Kilroy.
George: Well, you’re much prettier. And much nicer.
Annie: And much deader.
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 this is the first time something like this has happened?
George: I’d forgotten what they were like, the others. They’re predators. Every inch of them is just hunger and fury. The energy it must take him every minute not to be like that.
Annie: Do you think he should have saved her?
George: I think he did.
View all quotes from Flotsam and Jetsam
Tully
Tully (Dean Lennox Kelly): How the hell do you get home? You’ve got no clothes, no transport. I guess you ring someone. God only knows where you keep change for the phone. George, come back. George! I know what you are.
George: What?
Tully: I know what you are.
George: And what’s that?
Tully: A werewolf.
George: That’s… that’s… why would you say something like that?
Tully: Because I’m one too.
Tully: Look, I’ve been doing this for years. And there’s loads of things that I’ve discovered. Not just the clothes. Tricks of the trade. Things that’ll make it just a little bit easier.
George: I don’t want to make it easier. I don’t want it to be something that I accept and allow into my life.
Tully: Oh no, sure. You’re a single hospital porter. I bet your week’s a round of ambassador’s receptions.
George: I have a life. I have friends. I live with some friends.
Tully: Eh.
George: I do! A ghost and a vampire, actually.
Tully: Vampire.
George: Oh yes. They exist too, you know.
Tully: Yeah, I know they exist. I keep getting beaten up by the bastards.
George: Who are you anyway?
Tully: People call me Tully.
George: Well how did you find me?
Tully: You’re a werewolf living in Bristol. It kind of narrows the field.
George: What the hell has brought this on? Since Becka died he’s barely left his room, barely said a word. And now this?
Annie: Maybe he’s had a blow to the head.
George: I’m sorry?
Annie: Happened to my nan. She got hit in the head by a radio-control plane at the county fair. From that moment, obsessed with pygmy goats.
George: There wasn’t a single bit of that sentence I understood.
George: Doesn’t he understand? These people are British. You’re not allowed to talk to your neighbors until you’ve nodded at them for fifteen years.
Mitchell: Where you sleeping tonight?
Tully: In the arms of Mother Nature, as always.
George: Is just saying “outside” really that hard?
George: What the hell are you doing?
Mitchell: I’ve told you. We need to embrace humanity. Let the world in.
George: Yeah, but he isn’t human.
Mitchell: Well in that case neither are you.
George: You know what this is? You’ve forgotten what it’s like to see your own reflection. To be faced with yourself. What you are every day. Mitchell, the house is my way of coping. I want to close that door—I’m allowed to close that door and forget.
Nina Pickering (Sinead Keenan): Here’s the thing. Dr. Newell is a cock. This has been proven by scientists. Look, we haven’t got any beds. Okay? He knows this because he called me and I told him we haven’t got any beds. But you see what he’s done is, he’s gone ahead and discharged her from A&E and sent her here anyway. By now somebody else will be in Mrs. James’ bed, leaving her—as they say—without portfolio.
George: So where do I take her?
Nina: What’s your place like?
George: What?
Nina: I don’t know, could be the start of something. She has a twinkle.
George: This has to stop. I cannot do another conversation about Vin Diesel.
Mitchell: We just need to get him on to another subject.
George: I’ve tried. Leonard Cohen. Darcy Bussell. It’s like he isn’t interested.
George: A few weeks ago, Tully was in London and got attacked by some vampires.
Mitchell: Vampires are arsholes. This is hardly news.
George: Yes. But Tully says it’s happening more and more. Like suddenly they’ve stopped hiding. But it’s the things they’re saying now, about time. How their time is coming.
Mitchell: Vampires have been saying their time is coming since the Crusades. Every now and then someone along, they get everyone all excited. It never comes to anything.
Annie: What, so something has been happening?
Mitchell: It’s nothing! Can we— ? It’s nothing. I promise you. I need a wee. {He walks out.}
George: Well. I feel totally reassured.
Annie: You changed your tune. You love old movies.
George: Hey, George is as George does.
Mitchell: Did you really just say that? Did you actually say those words?
Annie: Oh my god. You’re Tully’s Mini-Me.
Nina: I’ve always wanted to do it with a porter.
George: Are you serious?
Nina: Am I serious? Does a chicken have teeth?
I don’t know if it’s the polyester jacket or the whole minimum wage thing. But to meet one that not only hates women but attempts to humiliate them in front of his friend as well. Oh, man!
Tully: Mate, you’re amazing.
George: Really? Because it just felt like it went really badly.
Tully: You’re crazy. You’re a teen wolf.
George: Does a chicken have teeth?
Tully: It kind of has ridges. They’re like teeth.
Nina: What were you doing with Mrs. James? Have you been bothering her?
George: I was just talking to her.
Nina: About what?
George: New Zealand, if you must know.
Nina: Why?
George: Her son lives there.
Nina: I mean why were you talking to her?
George: The other day I took her to physio, she said she wasn’t getting any visitors so I said I’d visit her.
Nina: Yeah, well, I suppose that’s easier than actual work.
George: It’s my day off.
Nina: Oh. Right. Well, ah, that’s… that’s good.
George: Can I go now?
Nina: Yeah.
Mitchell: He’s a twat!
George: Well he’s my twat!
Mitchell: I expect that sounded better in your head.
George: I mean, he’s my friend.
Mitchell: So what the hell are we?
George: I don’t know, Mitchell. I really don’t.
George: Do you know the difference between you and him?
Mitchell: Hm. I don’t know, I don’t have to shave my palms?
George: I think that’s actually racist!
Tully: You can feel it too, can’t you? Huh? The fire in your gut, the expectation, the hunger.
George: It frightens me.
Tully: Then give in to it. Drown in it. Let him in, the Big Bad Wolf.
George: My friends—
Tully: Will never understand you.
George: But you do.
Tully: Better than you think.
George: And you won’t go?
Tully: How could I, George? It’s taken me two years to find you.
George: Two, two years? What do you mean?
Tully: I’m the one who attacked you. I’m the one who gave you this gift.
George: What?
Tully: I don’t remember what happened that night, but then I saw it in the paper. That someone had died and that the other person had survived. And I knew, I knew. And then it gave me the idea. The thought of you, every time I close my eyes.
George: That’s— No, that’s not true.
Tully: Oh George, I was going to tell you straight away. I almost did.
George: Why didn’t you?!
Tully: It’s a complex thing. It’s a glorious thing.
George: This isn’t a glorious thing, it’s a curse! This isn’t a gift. It’s God stamping on us with His boot.
Tully: Okay, George, let’s go— Should we go for a drink?
George: Why didn’t you tell me?
Tully: Because I needed you to need me first. I sought you out, and I wanted that too.
George: Everything you said, this whole time, has been a lie!?
Tully: I lost everything. I had a wife and a son, I lost them. I just needed to find the last human that I had a connection with. I had a son! I had a son.
George: This is becoming a habit. I come in here, look at the wreckage, and I say sorry.
George: My name’s George. And I’m a werewolf.
Mitchell: Hello George.
Annie: Just to warn you, if you go in for a hug Mitchell will try to kiss you.
George: My god, I leave you alone for five minutes.
Annie: It’s like being attacked by an ironing board.
Mitchell: If I had intended to kiss you I’d have put on some chapstick first.
George: The first time we met, you didn’t know what you were doing. I understand that. The second time. He throws him the bag. There won’t be a third.
Tully: This is you now. There’s no cure, there’s no way out. It’s in every cell. The only thing left is your conscience. But there will come a time when you’ll surrender that too. When you use what you are.
George: You’re wrong.
Ghost Town
George: Love should be the opposite of death. It should be our biggest reason for wanting to be here. I mean, what else have we got? Football? Shoes? But love gets complicated. It gets twisted up with other things like possession. Heartbreak. Lust. And death.
Mitchell: Woah! We can’t go in there. It’s not safe. It’s PMT. She wrote it on the calendar.
George: How could she possibly have PMT? She’s a ghost.
Mitchell: I don’t know, but it’s not worth the risk. Let’s go to the chippy.
George: Mitchell, I have two steaks in the fridge that go off if I don’t eat them today. And I’m bloody starving.
Mitchell: If you want, I could grab the steaks and we could just make a dash for it.
George: No way! I’m not eating raw meat like an animal just because a ghost is ovulating.
George: Are you sure this is a good idea?
Mitchell: This is what she needs! To meet someone with the same condition. Anyway, it’ll take her mind off of Owen.
George: Fair enough. It was such a success last time you encouraged one of us to meet someone with the same condition.
Mitchell: I never know with you whether it’s Jewish guilt or werewolf guilt.
George: They’re pretty much the same thing.
George: What’s that face?
Mitchell: It’s just my face.
George: I think that’s a good thing, don’t you?
Mitchell: Ugh. God only knows what she could uncover. Why do you think I’ve never said any of this to her? Now you’re doing a face.
George: I think you’ve grown attached to her and it’s clouding your judgment. She needs an answer, Mitchell. One way or another.
George: Do you see what you’ve done? You’ve turned us into a “Hello, how are you?” program with the whole sodding neighborhood.
Mitchell: We’re valued members of the local community.
George: Yes, ’til we inadvertently kill one of them.
George: No, hold on. We need to set some ground rules here about guests.
Mitchell: Like what?
George: Like, don’t kill them.
Mitchell: Ugh. That’s such a bourgeois concept.
George: Oh Annie. I really like this woman and it would be so nice to spend an evening with her without worrying about her discovering the existence of the spirit world. As well as what I am.
Mitchell: Annie was killed by Owen.
George: Five minutes. Could I have not just had five minutes with the biggest news?
George: Are you all right?
Mitchell: You know what I think? The house was telling us. All that stuff about the pipes and the taps. It’s like it was all part of you. It was your memories. They were—
George: Affecting the plumbing.
Mitchell: It’s stopped now, hasn’t it? Now everything’s numb.
George: Well that’s something.
Annie: Yeah. I find out that the love of my life killed me. But it’s okay, ’cause at least now we can wash up.
Mitchell: He wasn’t though, was he?
Annie: Yes. He was. He loved me. And I was in love. It felt like he owned me.
George: Nobody owns you, Annie. Nobody can.
Annie: Why didn’t I go? Being with him wasn’t it. Finding out what happened wasn’t it. So what now? What’s left?
Mitchell: I guess that’s what we find out.
View all quotes from Ghost Town
The Black Day
George: Tell me honestly, is this too flash?
Mitchell: I can’t imagine ever saying yes, but a bit of context might help.
George: Right. Yes. Sorry. I’m seeing Nina later. Not a date. It’s really really really not a date.
Mitchell: “Not a date” in a pub? Or “not a date” in a restaurant or “not a date” in another… date-like situation?
George: Gastropub. Not a date in a gastropub.
George trying on another shirt: Well?
Mitchell: This, ah, non-date. You gonna break it to her you cross-dress?
George: Bit much? Okay.
Annie: Oh, now that just looks like you can’t be asked.
George: Really?
Mitchell: Really.
George: Maybe I don’t need your advice. Maybe I understand women a bit better than you think.
Mitchell: Oh. You’re one of those guys.
George: What guys?
Mitchell: Turns bumptious once he’s getting laid.
George: I have always been— Now I’m not— And don’t, no, please don’t call it “getting laid.”
George: It’s just occurred to me. I was on the jaws of a change when me and Nina…
Mitchell not wanting details: Yeah yeah yeah.
George: You know, I had the wolf in me.
Mitchell: So did Nina.
George: Would you stop snickering! This is not a joke. I really really like Nina. And I thought that— well, I hoped that she liked me. But what if she’s only interested in the wolf? {they consider it.} Ah. Oh, oh, thank you for, “Oh no, George. How could that be possible?”.
Nina: You’re pissed off with me?
George: No. Nina, no! Your commitment to your job, it’s, it’s so attractive. Your passion, your… your… commitment. It’s up there with… ah.. er… !
Nina helping: My breasts?
Mitchell: You know what I can’t get my head around?
George: Quantum mechanics?
Mitchell: Bernie not knowing Laurel and Hardy. Immortality can make you feel so old.
George: He’s a good kid though, isn’t he? Thoughtful. Well-mannered.
Mitchell: Reminds me so much of me at that age.
George: Oh. The rampaging ego came much later, then?
Mitchell: We all build some sort of defense against the world. Like sarcasm.
George: But why hide it in Laurel and Hardy? What else have you got up there? Some German scat inside Chitty Chitty Bang Bang?
George: They got you too?
Mitchell: I managed to dodge most of it.
George: Shame the house couldn’t. It’s covered in rotten tomatoes. Who keeps their rotten tomatoes? Who looks in the salad cooler, sees tomatoes on the turn and thinks, “Oh no, no. I’ll hang onto those in case some pedos move in opposite”.
George: We’ve been deluding ourselves we could ever be accepted here by proper human beings. We are monsters, Mitchell. We deserve to be cast out.
George: I’m bad news, Nina. I’ve said so all along. Everything I touch turns to shit.
Nina: Because you let it! Look, if you’re having an attack of—
George: You think I’m having a down day, I’m not. Trust me. There is stuff you don’t know about me. Really dark, dangerous, nasty stuff and when you do know it, you’ll walk. So I’m only cutting to the chase. Well, not chase, because I will let you go. I won’t come after you. {she moves toward him.} No I mean it, Nina! I mean it! We have no future. We can’t…
Mitchell: Oh bollocks.
George: What now?
Mitchell: Owen’s on his way over. {a vase explodes and Annie storms in}
George: What the— ?
Annie: He can’t.
Mitchell: Well he can. It’s his house.
George: Did you just—
Annie: He can’t. {the lighting goes.}
George: How did she— ?
Mitchell: She’s a poltergeist. Annie, look you can’t be in this state when Owen arrives.
George: Mitchell, how long have you known about this?
Mitchell: George, we’ll talk about it later, okay! You’ve got to control it, Annie.
Annie: I don’t know how! {a vase dashes itself against the wall}
George: Ack! No! That was a present!
George: You don’t need me and my problems in your life.
Nina: Don’t I get to decide that? God. Who was she, George? Who messed up your head, ’cause if you’d rather have me leave here thinking you’re a pedophile, than—
George: Nina please. Just go. I am not a— It’s not kids or anything those idiots out there say. But trouble follows me like a curse. And you deserve so much better.
Nina: Yeah, I would have listened. Years from now, when you’ve pushed everyone away—and you will—let that haunt you. I would have listened.
George about the Dracula movie: I used to think this kind of stuff was bollocks. Now it looks like something by Ken Loach.
Mitchell: Tragic, misunderstood monster chased away by the mob.
George: Can you blame them? That lot are right. I mean not about the hats. There are some seriously mad hats there. But the likes of us. No. No, we’re not fit to live among decent people.
Mitchell: It’s a good job we don’t then.
Nina: I thought I’m supposed to stay away from you.
George: I’ve just seen a child killed in front of me.
George: I know. Nina. When I tell you I’m a man with a secret… I’m being as honest as I can be right now.
Nina: But you’re not ready to tell me what those secrets are.
George: Can you live with that?
View all quotes from The Black Day
Where the Wild Things Are
George: We meet people and fall in love. And when we part, they leave marks for us to remember them by. Our lovers sculpt us. They define us. For better or worse. Like a pinball, we slam into them and rebound in a different direction. Propelled by the contact. And after their parting, we might be scarred. But stronger. Or more fragile or needy or angry or guilty. But never unchanged. Our lovers linger inside us like ghosts. Haunting the corridors and deserted rooms. Sometimes whispering. Sometimes screaming. Invisible but… always there. Waiting.
George: More jam?
Annie: How many is that now?
George: That’s eleven jars. I wonder what it is about us that says we need jam.
Annie: It’s a gesture. They feel guilty.
George: Yeah. So is writing “pedo” on the front door.
George: Alright. Well can I just state for the record that, I understand why you’re doing this but… I don’t want you to go.
Annie: Noted.
George: What would Patrick Swayze do?
Annie: What d’you mean?
George: Well, what effect do you want to have? You know, maybe it would help if we knew what you wanted to achieve.
Annie: I want him to confess, I guess.
George: Well so tell him. “Confess.”
Annie: Confess!
George: Put a bit of a hiss on the end there.
Annie: You know what I said about making him confess? It’s not just that. I want to scare him. To make him cry and beg and scream. It’s not just about justice, it’s more jagged than that. Is that wrong?
George: It’s human. Not everything about being human is nice.
George: Annie? Annie? Annie! We’ve got to rescue Mitchell. The thing with the vampires? Oh my god! It’s a lot worse than we thought. So this woman, at the hospital, she’s fr— No, I’ll tell you on the way. They’re based at an undertakers. Stereotypes clearly hold no fear for these people. {rummaging through drawers} I have no idea what, what I’m looking for. Something to, something to defend myself with, but you know, so far I have a whisk and my— and my… mobile phone recharger. {tries them out.} I mean what do we take? Do we take crosses and garlic? I know, we should have watched more films. We should, you should grab something…. Um, any any time you want to chip in, say something constructive, do feel free.
Annie: I can’t.
George: I’m sorry? What did you say?
Annie: It’s beaten me. I can’t… move. I can’t…. Owen’s won. I can’t touch him. He just keeps on killing me.
George: Okay. First off, you need to stop talking. Then you need to stand up and help.
Annie: You don’t understand.
George: No! Mitchell, our friend, needs you. Your friend. So if you can’t do this then you have done to yourself the one thing Owen could never do. Because then you have finally died.
Seth: What do you want?
George: Well. Either you have the world’s worst customer service or we’re in the right place.
Seth: What the cock is that?
Annie: I’m a ghost actually.
Seth: Get out. Can you, like, move things about and, you know, walk from one room to another?
George: Yeah, I’m pretty sure everyone can do that.
George: That was pathetic! We were like the world’s gayest ninjas.
George brandishing a chair over his head: Who wants some my of chair!?
Annie: I told you we should have prepared something.
Mitchell: Run!
Annie: Oh my god, it’s here.
George: So that’s it? That’s death?
Annie: Do I pack?
Mitchell: No. I mean, I don’t think so. I think you just go as you are.
George: What is it? On the other side. Is it something good or something else?
Annie: Probably something else.
George: Then why are you going? It doesn’t make sense. Stay. Please. Just, just stay. If you don’t know what’s there why the hell are you going?
Mitchell: ‘Cause it’s an end.
Annie: You hated me!
George: I didn’t!
Annie: Oh you did.
George: A bit.
Mitchell: You’re lucky. Most people don’t get a chance to say goodbye.
Annie: I know, but fucking hell!
George: You might want to have different last words.
Annie: George, when I open it, don’t look inside.
Annie touching the door handle: It’s so cold. {suddenly there’s knocking.}
George: There’s someone behind the door! There’s someone— !
Mitchell: It’s the other door.
Annie: What?
Mitchell: It’s the front door.
Annie: Oh my bloody god.
George: I actually let out a little bit of wee there.
Annie: George, he’s dying!
George: You have to go! We don’t know how long the portal will be here. Annie, this might be your last chance! You have to go!
Annie: But he’s dying!
George: I’ll get him to the hospital. I can deal with this! Annie. Go. Annie, just go!
View all quotes from Where the Wild Things Are
Bad Moon Rising
Two Years Earlier
George: They were going to kill me.
Mitchell: Yeah.
George: Why?
Mitchell: They don’t like werewolves.
George: How did they know?
Mitchell: People like us can recognize people like you. It’s complicated.
George: People like you?
Mitchell: Vampires. Do you live near here?
George: I have a room over the café. Did you just say “vampires”?
Mitchell: Yeah. You’re gonna have to leave. They’re gonna come back. They always do. I’m sorry.
George: And then what? I can’t keep…. I’ve lost everything. I’ve had this for six months and now there are vampires. And they want to kill me. So I have to leave. Again. And then what?!
Nina: So you going to tell me what’s going on?
George: You know what’s going on. Mitchell was attacked.
Nina: There’s always something weird around you two. Mitchell—his condition, his body. It’s not right.
George: It’s a family thing.
Nina: “Family thing.” Jesus, what does that mean, George? It’s just riddles. Are you involved in this family thing?
George: I guess. By association.
Nina: Which means I’m involved by association. I don’t like that. {her pager goes off.} I can’t do this anymore.
George: We need to get him out of here. He’s raising too many questions. He’s too impossible.
Annie: Well we can’t move him while he’s like this. Why isn’t he getting better?
George: Why didn’t you go through the portal?
Annie: How could I? With him like this.
George: I told you I could manage.
Annie: What, you want me to go?
George: Of course not! But if I had the chance to be free from all—
Mark the Hospital Chaplain: If you’re non-believers that’s fine. We can just sit together for a few moments of contemplation.
George: Contemplation about what?
Chaplain: Fiery oblivion that awaits all atheists.
George: Huh. No it’s not that. I’m Jewish. And… he’s complicated.
Chaplain: Jewish people pray. I’ve seen Yentl.
George: You’re very sarcastic for a vicar.
Herrick: How do you think this ends?
George: I don’t know. We kiss?
Nina: What I said yesterday, I didn’t mean… There are things about you I’ll never know. I don’t want to know. And that’s fine. But whatever they are, they’re starting to bleed into everything else. And it frightens me.
George: It frightens me.
Nina: I need something normal now. Something kind.
George: You need me to choose between you and him.
Nina: I didn’t say that. Please don’t pin that on me. Look, I want to be happy. I want you. That’s not unreasonable. But my world and the world of you and all those secrets, I don’t know. Do you think they can exist together?
Chaplain: Why did you come here, George?
George: That thing you said the other night—that bit from the Bible. How does it go? “I was a child, I spoke like a child—”
Chaplain: “When I was a child, I spake as a child, I understood as a child, I thought as a child: but when I became a man, I put away childish things.”
George: It’s been going ’round and ’round in my head.
Chaplain: George, I need to know. Those… men. What were they?
George: Just men. Don’t start to doubt what you’ve got. They were just bad men.
Mitchell: Annie, I’m meeting Herrick. I’m ending this.
Annie: And it is precisely because of that attitude that you do not have a say in this, isn’t that right, George? {silence.} Talk to me, fella.
George: Mitchell’s made his decision. I think we should respect that. I have to think about my future. I have to think about Nina now.
George: I’m sorry, Annie. But there is nothing here for you now but this. I am the only one in this room that… I have a chance. I’m so sorry.
Mitchell: It’s fine. That’s what I want you to do. Both of you.
George: I’ll meet you at the station.
Annie: Maybe. Maybe I’ll stay here and fight.
George: There will come a time when you understand why I’m doing this.
Annie: Don’t worry, I get it.
George: You remember when we met? I was being attacked but you saved me and you told me I had to get away and then I said, “And then what?” I have this thing hanging about me that I can’t leave behind, so my life will always be “And then what?”
Mitchell: But there was this.
George: What?
Mitchell: You thought there’d be nothing but there was this. There was the house, you and me. There was Annie.
George: It wasn’t human though, was it?
Mitchell: No, George. It was never going to be that.
George: I didn’t think so.
George: Hey, there’s something I’ve always wondered. Why can Mitchell handle my Star of David? Why does it hurt you and not him?
Herrick: It’s because of your affection for him. It has to do with you.
George: No, yes. That makes sense. Thank you.
Herrick: No worries.
Herrick: But ah, I don’t know what you’re hoping to achieve, hm? I can’t be killed. This whole thing, you can’t hurt me.
George: We both know that’s not true. Because we’re not talking about bullets or knives here, are we? I am the weapon.
Herrick: I realize now that was my role. If I’m going to hell then I’m taking you with me.
George: Haven’t you worked it out yet? Humanity is about love and sacrifice. This doesn’t rob me of my humanity. It proves it.
Nina: You tried to protect me from it all, didn’t you?
George: I thought maybe the two things could exist side by side. Something I hated and something…
Nina: Say it.
George: Something I loved.
Nina: Oh, it looks so painful. When it happens to you, what does it feel like?
George: There aren’t words.
Nina: How did you get it?
George: That scar on my shoulder.
Nina: You told me you fell through a patio door when you were eleven.
George: Got scratched by a werewolf.
Mitchell: You’re using “I” and “me” when you talk about the werewolf. You didn’t used to do that.
George: All sorts of things are different. The last few months have been like living in dog years.
Annie: So what happens next, Mitchell?
George: Yeah, is it over? Are we safe now?
Mitchell: Maybe Herrick is right. Maybe someone will pick up where he left off. Or maybe that’s it. Maybe nothing happens now. None of us know what safety is like. What if this is it?