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The three episodes were each written and directed by, in order: House and Home by Sean Hogan, Mutant Tool by Andrew Parkinson, and Bitch by Simon Rumley. (All three made films that played at Fantastic Fest in 2006.) The episodes are all set in modern-day London, but otherwise appear to have no relationship to each other. (Well, except the obvious "death" connection. And other stuff that comes up after you watch all three one after the other.) The sequencing of the episodes is exactly right. House and Home starts off as kind of a chamber horror piece. Richard (Luke de Lacey) and Victoria (Siubhan Harrison) are a married couple who are a little bit off; Vi refuses Richard sex, and the two talk about something they've been doing as "just a bit of fun ... nobody gets hurt ... much." It seems that whatever their nefarious activity might be, it's evidently something that brings them a measure of sexual satisfaction. Richard recruits a young homeless woman (Holly Lucas) to come home for dinner with the immortal pickup line: "Have you come to know Jesus?" She says her name is Sorrow, setting up an evening featuring food, wine, bodily fluids, blood, and guts. Mutant Tool also features a couple who are having problems. Frank (Daniel Brocklebank) is helping Dr. Reece (Brendan Gregory) collect gooey, er, stuff (we're not quite sure what it is at first), while his girlfriend Jennifer (Jodie Jameson) is having trouble adjusting to a new lifestyle. She's a former drug addict and prostitute; Frank sends her to Dr. Reece to get help, and the good doctor prescribes medication. The tablets produce unpleasant side effects for Jennifer: she starts experiencing weird visions. Meanwhile, a parallel tale unfolds as two grungy technicians care for an unfortunate person who has "something special" (the titular "mutant tool") and is chained up behind a plastic curtain. Finally, Bitch revolves around still another couple -- yes, there is a theme here after all -- with an off-beat relationship. Pete (Tom Sawyer) and Claire (Kate Braithwaite) play sexual power games with one another at home, with Claire in the dominant position and Pete very much a submissive. Out in the world, they go clubbing and work their jobs, seeming very much like any other couple, but once they get home, all bets are off. We get the sense that Pete is tiring of Claire's dominance, even though he appears to be a willing partner.