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Scene 3:
•	Enters house, dad is concerned
•	Living room, the two talk about the storm
•	Conceals the fact he got hit, passes off injury and lateness
•	Possible reference to split w/mother, make it obvious Damon means the world to Dad
•	Damon goes to bed, pretty much collapses in exhaustion

Scene 4:
•	Description of room: posters, memorabilia. Give insight into Damon as a person
•	Damon wakes, gets dressed. Talks to self before phone buzzes
•	Texting with Erica again, show that they’re damn close, but not romantically involved
•	Hints at Erica, not too much. Lil’ bit on storm, rumours.
•	Damon leaves room

Scene 5:
•	Remark on pictures as Damon trudges downstairs, look at personal life: start of with pictures of mother, frequent at first, becoming less and less common. Damon at age 10 with only dad
•	Second row on wall: Images of Jean, appearing much less often, before disappearing entirely with Damon at 14: photos of Berlin, however. Rests two fingers on said photos.
•	Dad is already gone, working. Damon leaves soon after.

Scene 6:
•	Damon leaves the house, and walks back up the way he came yesterday, crossing the crossroad…horizontal shot, Abbey Road style.
•	He fiddles with this MP3 and headphones, cranking up the volume to full. Once he’s clear of the crossroads and buildings, he finally presses play. The first notes of ‘Yesterday’ begin to play, muffled, before growing loud and clear.
•	As they grow Damon feels progressively sadder and sadder. Start off with sniffling, then crying, then weeping. He drops to his knees with gut-wrenching sobs. He speaks in a despondent tone, but in a confused manner: it appears his thoughts are normal.
•	As the song stops, it fades out again, and the tears stop. Damon feels oddly relieved, no longer sad at all. He stands, violently confused, and continues on his way.

Scene 7:
•	 Damon keeps walking as ‘Me Myself and I’ fades in. He’s initially oblivious, but soon notices to extra shadows and looks to his side: another him has appeared.
•	He screams, as does his clone, soon joined by a third: the three jump into a circle, and try to justify their shock and confusion. They mirror each other’s movements, and say the same things, all with slight variations. Equally their eye colours are different: one with yellow, one with blue, in opposite to Damon’s green.
•	To try and speak they all remove one earphone. After a short, and very confused discussion, the original Damon removes his headphones entirely: the other two vanish.
•	Damon is completely weirded out, and suspicions begin to wheel around in his mind. He keeps walking, not putting his headphones on at all. In the distance, behind him, we see a black haired, somewhat short figure.

Scene 8:
•	Now at a lunch break: Damon is sitting on a wall, munching on a sandwich, when a girl comes up: here we get our first up-close introduction to Erica. Short, with short, messy black hair, and thick glasses.
•	Erica is rather upfront, and after some basic pleasantries, and discussion about the storm, asks how Damon is. All of him.
•	 Damon is embarrassed and admits he has no idea what’s going on. Erica mentions a few apparent side effects of getting hit, and after a brief (and loud) argument, eliciting strange looks, Damon realises that it’s most likely superpowers
•	Erica invites herself to Damon’s house as a sort of scientific test

Scene 9:
•	Back at the house in the evening, the two are in Damon’s living room. Dad is out at work, later than usual, covering for a few ill colleagues.
•	Another conversation, during which Erica reveals she got hit, but shows no powers.
•	The two then go out into Damon’s back garden, in case of any dramatic side effects.

Scene 10:
What follows is a brief exploration of powers and moods;
•	Damon starts off with ‘Firestarter:’ his arms light up into hot, supernaturally red flame. He hastily stops the song as his shirt sleeves catch on fire, though.
•	‘What is Life’ makes him feel happy, upbeat, and optimistic. However, it’s a false emotion: his thoughts are still the same but expressed in a happy way. He finds he can let himself be influenced, though. He soon switches, though, curious to see more.
•	Damon then switches to ‘No Reply (Take 1) out of curiosity Looking at Erica, she bursts into laughter as his face shifts to become identical to hers. After a look into a mirror, Damon also begins to laugh, though no sound comes out: this only intensifies his silent amusement. He quickly explains afterwards about the Take and the joke in it. Erica notes that even musical bloopers and jokes have an effect.
•	Finally, Damon chooses ‘Lucy in the Sky with Diamonds,’ which puts him into an LSD-like trance; his eyes also become hypnotic, like kaleidoscopes. Erica looks in too deep, and they both fall into miniature comas.

Scene 11:
•	Once Erica and Damon come to, they make the (pretty obvious) conclusion that the music he listens to grants him powers and moods, depending on their lyrics and sound.
•	 The two begin to run through ideas for Damon to avoid any trouble. Firstly, he should only listen to mood songs casually, and positive ones at that. Equally, after a test with Holst’s Jupiter, Damon realises that classical has no effect owing to the lack of lyrics.
•	Damon trudges off to bed, talks to himself a little, and has an idea; flicking through his MP3 he finds ‘Good Night’ and plays it: he collapses on his bed, completely asleep, and we fade to black.

Scene 12: A month and a half later
•	Start off black, with the sound of ‘Tomorrow Never Knows’ slowly growing. Fade back into Damon’s room, much neater than before, though the posters are still there. Damon is sat cross legged on the floor, half naked and eyes closed, evidently in meditation. He’s more muscled than before, having evidently put in some work.
•	The song ends, and he wakes, standing and beginning to get prepared for something. As he dresses in a white shirt and cropped leather jacket, both with their sleeves haphazardly cut off and ragged vertical slashes in the back. Also worn are black jeans.
•	He pretty much sneaks downstairs, grabbing something from the back of his door before he goes. He shouts a quick goodbye and excuse to his dad, before leaving. He runs down the street, clicking through his MP3, and places the thing from the door on his face: a blank, faceless white mask, with one-way vinyl over the eyes. He chuckles, and though his voice is normal, his voice is clear.
•	Damon then finally presses ‘play’ on a playlist, and ‘Aces High’ begins playing; Damon sprout two thick, leathery wings through the gashes in his shirt and takes to the skies, flying towards Erica’s house.

Scene 13:
•	He lands, knocks on the door: Erica invites him in, and leads him into a shed: inside is a ham radio tuned to police frequencies
•	The two essentially run us through what they’ve been doing, acting as a miniature additional police force: Erica is essentially Damon’s tech-person, a position she doesn’t mind at all.
•	Over the radio comes a call of an armed burglar: Damon sets off again, this time to ‘Flying,’ which grants him bird wings, instead.

Scene 14:
•	 He lands on a rooftop, the wings retracting as the song ends. To the tune of nothing he clambers down a drainpipe as he descends, we see him flicking through various playlists; we only see a few, but he settles on ‘Crims.’
•	‘Saturday Night’s Alright for Fighting’ starts playing; with that, he lands, taps the burglar on the back, and his work for the night begins.
•	Damon fights well, almost professionally, outmatching the burglar, though he does get stabbed: he seems to ignore it, however, smiling all the while and occasionally singing, much to the burglar’s confusion
•	Eventually he overpowers the criminal, pulling him into a skip and calling the police. He then walks off, staggering due to the stab wound: he plays ‘Getting Better’ until it heals (though not instantly)

Scene 15:
•	He crawls up another drainpipe onto another roof and goes running and leaping across rooftops to ‘Born to Run;’ however, he’s soon stopped when an almighty crash interrupts the song.
•	He peeks over into another alley, where a masked figure pelts another, thinner figure (for what he takes as an elderly man) with rocks and stones: the crash came from a massive boulder in a wall.
•	He switches on another playlist; we see this one is called ‘Supernatural,’ and jumps in to help, landing to the side of the other figure, and grabbing their shoulder and forcing them into the wall: the oddly wrinkled figure dashes out of the alley, muttering vague thanks.

Scene 16:
•	The masked figure pushes Damon and tries to chase after the figure: Damon stops them again, and after a brief attempt at an explanation, the two begin to fight.
•	Damon turns into a clunkier, stronger, metal version of himself thanks to ‘Iron Man.’ The masked figure shows an unusual ability, turning into a similar figure to Damon. The two brawl it out, not making much progress, but still knocking the stuffing out of each other.
•	Once the song ends, it’s replaced with ‘Mack the Knife.’ Damon’s jaw seemingly bulges, giving him a slight snout, as well as a small knife. The figure, not wanting to beat Damon to a pulp, returns to a non-metal form; Damon leaps at him, mouth revealing a shark-like set of teeth, and manages to get a small bite and slash into them, but is swiftly batted into a wall by a remaining metal arm.
•	The figure stands over Damon, and removes his mask, revealing that he’s Vince. He also finally gets to explain his side of the story; Damon finally accepts this and apologises for his…overzealousness. The two agree to talk things over in a nearby café and demonstrate their respective healing powers.

Scene 17:
•	In the shop, Vince explains more to Damon about the old bloke in a small cafe; mentioning his odd 18th century cavalry uniform, zombie-like figure and rock-manipulating power.
•	 The two then discuss their respective powers, and Vince grills after a few songs.
•	 After a much more light-hearted discussion, (during which we get a quick recap of Damon’s last month, as well as Vince’s,) the two agree to go out to find, and stop the zombie, whom Vince calls ‘Eddie.’

Scene 18:
•	Eventually the pair come across Eddie causing havoc, and so the proper fight begins, with the two working in unison to beat the ever-loving shit out of the cavalryman.
•	Damon only uses one song here: ‘Glitter Freeze:’ his arms are covered in an ice-like gem substance which lets him hit harder, and freeze Eddie’s projectiles.
•	Essentially taking turns, soon Eddie is all but beaten: during the fight he keeps yelling madly about a charge, then a strange purple light, and then ending up in a strange land

Scene 19:
•	Toward the end of the fight, ‘Release the Beast’ comes up, one that Damon’s never used before; it turns him into a demonic figure, his hands and feet turning into long, clawed members, and extending his mouth into a slightly longer (if still short) snout, packed with teeth: he also gains a good amount of muscle: this is the Daemon
•	Daemon tears Eddie into strips despite his protestations as Vince looks on, horrified.
•	In a feral rage, Daemon then bats Vince away, and advances on him in a kind of bloodlust.

Scene 20:
•	 Vince shifts into his ‘Soviet Wolf’ form, a crystal white bipedal wolf: the two begin to fight once again, on even ground: both tear chunks out of each other
•	However, due to his intact faculties, Vince gains the upper hand, and knocks the Daemon out: the headphones come off, and it fades back into a very bloody, very unconscious Damon.

Scene 21:
•	Vince rings Leigh in a panic, because now he’s left with an unconscious Damon.
•	Leigh, though distracted with his own business (i.e Skate,) just tells him to take Damon to a somewhere warm, like a café or coffee shop: Vince lugs Damon off to the same place they visited before.

Scene 22:
•	Once Damon comes to, he’s confused as to what’s happened: why he’s in the shop, why he’s covered in blood.
•	Once Vince starts explaining, he remembers all too well, having been a passenger in his own mind.  He’s horrified at what he’s done, and vows on the spot to not kill again; going as far as to actively stay out of supernatural situations should they arise, for fear of going overboard.
•	Still, Vince recommends somewhere he can go to work through his obvious trauma: the Spaghetti Club.
•	Damon considers this, and then says he better go home: it’s late, and he feels he’ll do better there. He walks out the door, plays “Nobody Told Me,” and we learn not all songs affect him: thus, the episode ends.