ACT ONE.

 

ASHWIN (‘ASH’) DHUMAL (37, British Indian) rolls a FIFTY PENCE COIN across his knuckles. He sits at his writing desk in his STUDY, on his LAPTOP, his mind elsewhere. He’s a natural nerd with hipster tendencies, gaining a bit of a Dad Bod.

 

CHARLOTTE (‘CHARLIE’) DHUMAL (34, White British) rolls a fifty pence coin across her knuckles. She sits at her desk in a burbling FINANCIAL RECRUITMENT OFFICE, on her computer, thinking about her marriage. She’s athletic and practically dressed, and tends to come off a little cold at first.

 

In the study, the BOINK! of a child’s toy. EMMA DHUMAL (4) plays in the corner. Ash is glad to be distracted by her. On his laptop screen: a page of a NOVEL, the title in the footer: The Shadows March, by Ashwin Dhumal. Ash closes the laptop and scoops Emma up, telling her about how her babysitter is coming soon. We track them through the DHUMAL HOUSE, to the KITCHEN, where Ash turns on the RADIO.

 

The time appears onscreen: 6pm. This will be a regular occurrence, and you will come to know certain times very well …

 

Charlie packs up her stuff, efficiently, and starts to leave the office without saying goodbye to any COLLEAGUES.

 

In their BEDROOM, Ash changes into a shirt and some VERY TIGHT TROUSERS. CUT TO: the CUL-DE-SAC they live on - 4 and 5-bed houses, in a wealthy-ish area. Across the street, there’s the twitch of a curtain, and the dim figure of a NEIGHBOUR peering out.

 

Charlie drives home from work in their ELECTRIC CAR. It’s a hot Friday evening in August. Ash and Charlie live in LEAMINGTON SPA, a town in England’s West Midlands. Charlie passes a MAN looking under his car bonnet, way too stressed, shouting FUCK FUCK FUCK FUCK! 

 

Ash watches Emma play with her TOYS IN THE LOUNGE. We linger on capitalised items, because they’ll be important on the roads ahead. In fact, anything capitalised (beyond settings and character names) must be taken note of … CUT TO: on the radio in the kitchen, a NEWS PRESENTER talks of DIPLOMATIC TROUBLE WITH RUSSIA.

 

At the SUPERMARKET, Charlie picks up some food for dinner. At the checkout, she pays using an ID BRACELET. Behind her, a SHOPPER is loading way too many tins onto the conveyor belt. We’re establishing an undercurrent of everyday dread. Something is wrong, something is coming …

 

Ash spins his coin on the lounge table. He has an ID BRACELET too. CUT TO: a dying bee struggles on the Dhumals’ GARDEN patio.

 

Charlie’s driving through the suburbs now. She passes a JOGGER as she turns into their cul-de-sac. The jogger stops, dizzy, and retches.

 

From the lounge, the sound of Charlie pulling into the driveway; Ash and Emma, excited, rush into the hallway. CUT TO: we float from above Charlie’s car, over the Dhumal house and garden, to the ALLEY between their garden and the house’s behind, and then the NEIGHBOUR’S GARDEN beyond. In the alley, a HUSBAND and WIFE hiding from their children have a row, with a loud buzzing noise behind them. The buzzing is from a lawnmower, held by the NEIGHBOUR in the garden. She’s paused, staring into space, as if a horrifying thought has just come to her.

 

Charlie enters the house, and Emma immediately hugs her leg. As Charlie struggles to negotiate Emma and setting down her work stuff and shopping, Ash comes and gives her a big smooch - a little forced. Charlie puts the car keys on a KEY HOOK in the hallway.

 

They all head to the kitchen. On the radio, the News Presenter describes how a MYSTERIOUS ILLNESS has struck a school in Manchester. The Dhumals take no notice, because Ash is popping prosecco to celebrate DATE NIGHT. Charlotte offers a woop! in support - also a little forced. Both are clearly trying hard … Charlie can’t help but rib Ash about his tight trousers - is he reliving his indie kid days, or does he not want another child?

 

Onto the obligatory How Was Your Days. Ash is struggling to write his latest novel; Charlie thinks more conventional, regular WORK may take the pressure off. Charlie’s workplace is horrible - dog-eat-dog; Ash thinks she maybe she should quit; Charlie thinks they need the MONEY. These are old complaints, old debates, and the participants have to make an effort to stay tuned in. He overthinks; she’s decisive.

 

One bit of interesting news at Charlotte’s work, though: she’s heard rumours that it’s between her and ‘DARREN’ - a brief grimace from Ash, he does not like ‘Darren’ - to set up a ‘Frankfurt Office’. Ash pretends that he thinks that’s amazing; Charlie is wary, as ‘NEW YORK’ was tough. Ash promises her that they’ll figure it out. They’re a team, they support each other.

 

Ash massages Charlie’s shoulders. She doesn’t shrug it off, but doesn’t melt either. She asks for some water; he heads to the TAP, but she wants BOTTLED SPARKLING. He notes that they’re running out.

 

Their snooty neighbour PENNY has invited them to a DINNER PARTY. Charlie isn’t keen - they’re always fraught, a couple’s always had an argument. Ash thinks it’s ’cause CHARLIE DOESN’T GET ON WITH THE NEIGHBOURS. Charlie thinks it’s ’cause Penny’s such an arsehole - Emma gasps. Ash laughs.

 

They speak like best friends. They make each other laugh.

 

An odd moment: Charlie points out that the sink tap is still dripping. She wants to call a plumber. Ash claims he’ll get round to it, he promises. There’s a silence. (Not an argument. The Dhumals Do Not Argue. Both of them hate it, for reasons various versions of the film will unravel.) Then Charlie takes out her fifty pence coin. Ash sees. Suddenly we CUT TO:

 

THE CREDITS. Behind the credits, a montage set to music, racing through Ash and Charlie’s life. No dialogue is heard. We open with how Ash and Charlie met: in a BAR in LONDON in their 20s. They sneak away from their respective friend groups, and have a quiet drink. Both reach for the bill, and Ash suggests flipping a coin. Charlie enjoys the silliness of this, so Ash flips it, and as the coin rises, we CUT TO:

 

Ash and Charlie in bed together in a small LONDON FLAT. And again. And again. They talk all night long. It’s charming, enviable, true love. When a TAKEAWAY DELIVERYMAN is at the door, who goes? Charlotte flips a coin. As the coin rises, we CUT TO:

 

On a rainy afternoon in a PUB, Ash and Charlie teach themselves to roll a coin across their knuckles. Should they play Monopoly or Scrabble. Ash flips a coin. As the coin rises, we CUT TO:

 

Charlie moves in to Ash’s flat. There’s loads of washing up. Who does it? Charlie flips a coin. CUT TO:

 

They marry - a small ceremony, with Vidya and Anand grinning up at them. He shakes hands with an EDITOR in a PUBLISHER’S OFFICE - he’s sold a novel. She shakes hands with a BOSS at a RECRUITMENT OFFICE - she’s got a promotion. He reads from his novel for an AUDIENCE in a BOOKSHOP. She leads a meeting in her OFFICE. Together again, they look at dogs in the PARK - Charlie with longing, Ash with skepticism. Should they get one? Ash flips a coin. CUT TO:

 

Charlie gives birth to EMMA in a HOSPITAL. Ash comforts crying Emma, in a cot in his FLAT’S LOUNGE, in the early hours. Charlie and Ash scroll through their phones, side-by-side but miles apart on their flat’s sofa, looking exhausted. Charlie working late in a huge glass CANARY WHARF OFFICE. Ash working late in the lounge, Emma asleep behind him. They’re on a TRAIN with Emma, pulling into LEAMINGTON SPA STATION, where Vidya and Anand wave from the platform. Passing an ESTATE AGENTS, they stop and look at the adverts in the window. Vidya and Anand are nearby, playing with Emma in her pram. Ash points at an advert for a house - their house in the present, in fact. And takes out a coin. As he flips, CUT TO:

 

The present. The credits are over. Before Charlie can flip, Ash caves - fine, he’ll call a plumber.

 

In the lounge, a tablet computer displays news headlines. Apparently, big shifts in the climate are underway, and a mysterious object has been discovered buried in London’s docklands. The screen shifts to a WEDDING PHOTO.

 

Ash checks out the shopping. Profiteroles! He’s trying to cut down, he’s PUT ON WEIGHT RECENTLY. He does bloody love ’em, though. Charlie smiles - oh, she knows.

 

Ash wonders what tonight’s PRIME MINISTER’S ANNOUNCEMENT is going to be. Charlie offers what people in her office think - that the PM is resigning, possibly due to some really wild sex scandal, or that KING CHARLES III is dead. Ash puts forward some theories he’s seen on REDDIT - war with Russia, or another pandemic. Ash texts his COUSIN RISHI to see if he knows - Rishi sometimes advises the government on medical matters.

 

Another odd moment: Ash says that a parent called about their kid coming for a playdate with Emma at the weekend. Ash is in favour, but Charlie really doesn’t like the parent or the kid (it’s a particularly stinky kid). There’s a silence. Charlotte watches Ash take out his fifty pence coin - but caves: fine, they’ll have the stinky kid over! But Ash can febreeze the lounge after.

 

There are tensions in their relationship, which they hate discussing. And they’ve had some big speed-bumps over the years. But they both want to make it work. They’re currently functioning, rather than deeply in love. Whilst it’s clearly unhealthy behaviour, the coin does prevent arguments - arguments that might spiral into dreaded Relationship Chats.

 

A routine news alert on ASH’S PHONE: there’s been a massive gas leak and consequent evacuation in SWANSEA.

 

Charlie mentions that she was looking at holiday options in FRANCE for later in the year. Ash wonders whether they can afford it - Charlie’s bonus was smaller this year thanks to the company taking some knocks, and he hasn’t sold his novel. Charlie doesn’t like hearing this.

 

Are Ash’s clunky observations going to make things tense …? The radio starts to play ‘Stuck In The Middle With You’. Charlie turns it up, and starts dancing. Emma joins in, then Ash. Charlie mimics chopping off Emma’s ear; Ash laughs in horror; Emma does not know what’s happening.

 

Suddenly we’re in a BACK GARDEN nearby. On a phone, ‘Stuck In The Middle With You’ plays. The Dhumals’ snooty neighbour Penny (45) practices archery. Her well-put-together but steely wife DIANA (45) sits in a lawn chair, watching the BBC on a tablet. Wait, who are these people …? We only get brief glimpses of them, then we’re off …

 

Back in the lounge: the Dhumals dance.

 

At ASH’S PARENTS’ HOUSE, ANAND and VIDYA DHUMAL (both 60) lie on their sofa together. The BBC is on TV, but they’re watching a clip of Vidya doing stand-up comedy in the 90s, on Anand’s phone.

 

In the lounge: the Dhumals finish their dance.

 

NEXT DOOR, MARK NEWMAN (47), sweaty-faced and trembling, packs suitcases in his bedroom. On his bed, the laptop plays the BBC.

 

In the lounge: Ash notes the time - the announcement is soon.

 

On a COUNCIL ESTATE in Leamington, Charlie’s father WILLIAM ‘BIG BILL’ BURTON (50s) swigs whiskey from a bottle. He hands it to a Charlie’s sister, at a table watching the BBC on her cracked phone screen - AMY (34). We only see her from behind.

 

In the lounge: Ash vocally activates the TV, turning it to the BBC. His ID bracelet registers what he’s watching.

 

NEXT DOOR, NAZIM SAMAAN (45) and older couple THE SMITHS (early 80s) watch the BBC on an old TV. MAARA SAMAAN (39) brings them dinner she’s just cooked. In a corner, ALI SAMAAN (10) plays a shooting game on a console.

 

In a huge CALL CENTRE, hundreds of CALL CENTRE WORKERS watch their BOSS. She asks if they’re ready. A HELPLINE OPERATOR (20s) nods yes.

 

In the lounge: Charlie brings Emma a juice box.

 

In the lounge of a SWANKY FLAT, Darren (36) plays with a SAMURAI SWORD in his pants. A huge flatscreen plays the BBC.

 

In a GARAGE in CORNWALL, a MILITIA LEADER polishes a RIFLE. A dusty old TV set, surrounded by tools, plays the BBC in a corner. We start to feel different styles, genres. This one’s a bit apocalyptic.

 

In the lounge: Ash sits on the sofa, patting the seat beside him.

 

In a SWANKY DINING ROOM, GABIE and MICHAEL KING (40s) pass round lines of cocaine to GUESTS at their dinner party. Big laughter.

 

A TRUCK full of NERVOUS SOLDIERS -  including PRIVATES BLAKE, WILSON, BARRETT and BRIDLE (20s / early 30s). Riding up front: SERGEANT JOHNSON (40s). They’re on a DUAL CARRIAGEWAY, heading towards Leamington, in a convoy of MILITARY VEHICLES.

 

In the lounge: Charlie and Emma join Ash on the sofa.

 

At the EDEN PROJECT, a SECURITY GUARD rushes away from a DOME, forgetting to lock the door.

 

At an ISOLATED AIRFIELD, a MILITARY PLANE starts up. Inside, the PILOT glances back at TWO CREW, who are tying down a MYSTERIOUS CRATE.

 

At a HOSPITAL in Leamington, a DOCTOR rushes through a packed corridor. Entering a patient’s room, he’s horrified by what he sees.

 

In the lounge: Charlie wishes they had popcorn.

 

In a BUNKER, a GRIZZLED MAN (50s, who we’ll meet as JIM) carries boxes of SUPPLIES inside.

 

In a FRENCH DOCK, NAVY PERSONNEL climb onto WARSHIPS.

 

In a MEDICAL TENT, SCIENTISTS in hazmat suits scuttle about. Through translucent sheeting, SOMEONE shivers violently on a hospital bed, held down by scientists.

 

In the lounge: Ash notes that he hasn’t heard back from Rishi. He texts him again.

 

In a BEDROOM, ALEX (38) reads her TWO CHILDREN a bedtime story, while downstairs, in his HOME OFFICE, her husband CURTIS (38) frantically burns documents.

 

On a WELSH SUBURBAN STREET, SOLDIERS knock on doors and chat to CITIZENS. The residents hand over their electronics, afraid.

 

In a BRIEFING ROOM, the PRIME MINISTER (60s) stands nervous at a podium, ready to broadcast. She’s momentarily distracted by, to the side of the stage, one of her AIDES (30s) vomiting into a bin. A stern COMMS DIRECTOR (50s) shakes his head, disappointed.

 

7pm. On the Dhumals’ TV: the PM appears, to address the nation. She announces that there’s a serious and fast-moving national emergency underway.

 

Ash takes Charlotte’s hand. Charlotte pulls Emma closer.

 

There is an immediate curfew in effect. If you aren’t a key worker, stay in your homes, or get to shelter. Ration food and water. You can only go out to get medical attention. This is a state of emergency, so the army will be mobilised on the streets. Public transport is shut down, and the borders are closed. There will be further announcements with more information, including how to get food.

 

The broadcast ends. The Dhumals know they’re in danger, but try to hide it to keep Emma calm. Charlotte takes Emma and puts her in a corner with her toys. Emma watches as her parents whisper to each other. They tell each other that they love each other, they’ll get through this. Emma’s the most important thing, and they’re going to ensure a future for her. Their PROBLEM: how to keep Emma safe.

 

Ash is straight onto the INTERNET: what’s everyone saying? He sees a text from the babysitter, canceling their booking. Charlie wants to talk; Ash tries to call his parents, but the line is busy. Their PHONES begin to flood with messages from mates.

 

Charlie insists that they plan, and begins to think practically: what now? Check supplies. Maybe secure the house. Charlie is clearly very good at thinking like this (one might even say that she has ‘PREPPER TENDENCIES’). Ash knows she’s good at this, but is surprised that anyone can be so calm in such a  situation. He’s clearly not as good at thinking like this. He nervously jokes about the crisis.

 

He asks a favourite question of film fans in pubs: where would you ideally go, in the apocalypse? Hahahaha - obviously it’s not ‘the apocalypse’. But if it’s as bad as it sounds … Ash would go to his parents’ COTTAGE IN CORNWALL. They have a MOTORBOAT, so it’s like possible you could get abroad from there even? Charlie humours him, playing the game: her dad occasionally took her and her sister to his mate’s weird place in the countryside near Birmingham when they were kids, for ‘holidays’ - WILDMAN FARM. The mate, ‘Uncle’ Jim, was a prepper like her dad, and claimed to be building a bunker.

 

But what should they do right now? Charlotte thinks they should do what the government says: stay inside, take stock. Ash thinks it might be better to leave this populous area - let’s go to his parents’ house. It’s nicer, more isolated (up a big driveway, fields behind). They could try to grab his PRESCRIPTION on the way there. Charlie’s wary of breaking the curfew; Ash thinks: fuck the curfew.

 

Charlie tends to agree with and follow this centre-right government, effectively. (She voted for them.) Ash tends to disagree with and resist the government, ineffectively. (He voted for a leftwing party.) Ash claims to trust people. Charlie distrusts people, and thinks society would be chaos without the authorities. 

 

There’s a pause in the conversation. Ash thinks Rishi might be able to help - he gives Rishi a call.

 

In a CRASHED CAR, there’s a phone on a passenger seat, surrounded by broken glass. The phone lights up with Ash’s text. In the driver’s seat, RISHI (30s) is dead. His face is bloodied, his skull caved in, and the whites of his open eyes are … oddly yellow.

 

Ash puts the phone down, and pulls out his fifty pence coin instead. Charlotte hesitates. Should they really flip over this? But it’s second nature to them, and Ash’s idea isn’t half bad. So she agrees, and calls ‘Heads’. Ash flips. As the coin rises, we CUT TO:

 

The coin is rising, in slow motion. You, the viewer, now get to decide the result of the coin flip - and, so, what Ash and Charlie do next.

 

Ash and Charlie face each other, and the coin rises between them.

 

Beneath Ash appears onscreen: ‘Tails’. And, below that, ‘Go to Ash’s parents’ house’.

 

Beneath Charlie appears onscreen: ‘Heads’. And, below that, ‘Stay put’.

 

Which option will you choose? As the coin reaches its peak, and begins to fall into Ash’s open palm, the time for you to choose runs down. If you don’t choose by the time Ash catches the coin, the film will choose for you, at random.