Day 16 assignments

[Ted Tronsen]

Ted Tronsen’s Outline Version 1

Title: Shadow Mountain

Logline: A Therapeutic Community Residence in a remote area of Oregon is struck by a string of apparent suicides, but they discover that the residents are being killed off one by one.

Horror Outline:

The outline is like having a blueprint when you’re building a house and serves as the foundation on which to build upon. I feel like I’ve completed Act I, but still need to add a lot to Act II (at least 10 more scenes), and a few more scenes to Act III.

ACT I (COMPLETE)

1. INT. ARTIST’S LOFT, SOHO, NYC – NIGHT

Inside a spacious artist’s loft, VINCENT paces back and forth surrounded by large abstract paintings on the wall. He rips a painting off the wall and smashes it. He begins splashing paint all over the paintings on the wall.

He goes on a rampage trashing the loft and everything in it. In a fit of rage, he yells and curses. In a destructive frenzy he rips paintings off the wall one by one. He smashes furniture, destroys everything in the Condo.

2. EXT. ARTIST’S LOFT BUILDING ROOFTOP – NIGHT

Vincent goes out the door into the hallway to the elevator and takes it to the roof of the building. He goes to the edge of the roof and climbs up on top of the precipice overlooking a rooftop below.

With arms outstretched he jumps and freefalls for several stories then lands hard on his feet breaking both of his legs instantly.

Horror Situation: Vincent attempts suicide by jumping off the roof.

Suspense: He goes to the edge of the roof.

Fear: He looks down over the precipice at the roof below.

Anguish: He jumps and breaks his legs.

3. EXT. THERAPEUTIC COMMUNITY RESIDENCE (TCR) IN OREGON – DAY

A car drives into a long dirt driveway leading to a large log cabin that serves as a TCR. BETHANY, an older woman with long gray hair, walks out of the house to greet the visitors. Vincent limping and his mother VICTORIA greet Bethany.

4. INT. ROCKY BROOK LOG CABIN – DAY

They enter the log cabin through the front door and walk into a large living room. There is a large fireplace with a woodstove surrounded by a couple couches and a bunch of rocking chairs. They walk into the dining room and kitchen.

Standing over the stove is JIMMY the chef. He’s wearing an apron and cooking a big pot of stew.

5. EXT. SHADOW MOUNTAIN CAMPUS – DAY

Bethany leads Vincent and Victoria around the sprawling campus. There are many gardens in a verdant valley surrounded by a lush forest and vast wilderness. It’s a sunny day and everything looks so green. They walk to the top of a hill.

At the top of the hill there is a giant stone obelisk in the center of a pentagram.

6. INT. DORMITORY CALLED THE APEX – DAY

Bethany, Victoria, and Vincent enter the dormitory revealing a long hallway with rooms on both sides. All of the doors to the rooms are closed and each one has a number at the top of the door. They walk all the way to the end of the hallway.

7. INT. ROCKY BROOK LOG CABIN – DAY

The table has been set in the dining room and Jimmy rings the dinner bell. The other seekers begin filing into the room one by one: SVETLANA, BROCK, HIDEKI, DJI DJI, JESSICA, CHRISTIAN, TANIVÉ, BOBBY, ELISE and EMILY. They sit down at the table.

8. INT. HEARTH ROOM – EVENING

After the meal all of the seekers gather in the hearth room by the wood stove. Victoria leaves and Bethany walks her out to her car. TODD, a tall, thin, middle-aged man with short dark hair enters the room and introduces himself.

Todd grabs a stack of poetry books and begins passing them out. Each seeker takes a book and looks for a poem to read. They go around the room each reading a poem, then Todd introduces the theme for the evening: Death.

**NOTE: THE FOLLOWING SCENES ARE FLASHBACKS DURING THE POETRY GROUP.**

9. INT. DJI DJI’S ROOM, MOROCCO – NIGHT

Dji Dji sits on her bed listening to dark wave electronic music. She’s writing in her diary. On the bedsheets around her she is surrounded by razor blades. She picks up one of the razor blades and slashes her wrist.

As she bleeds on her diary, she smudges it with her thumb then tastes it with her tongue. She cuts her wrist again. As her blood covers the page, she brings her wrist to her mouth and begins sucking the blood. She licks her red lips.

She places a razor blade in her mouth, and then another one. She begins chewing on the razor blades and the blood leaks out of the corners of her mouth onto the white bed sheets. She puts a few more razor blades in her mouth then swallows.

She chokes on her own blood as she tries to cough up the razor blades. She vomits blood and it splatters all over the white bed sheets. She loses consciousness and has convulsions.

Horror Situation: Dji Dji has a flashback of her suicide attempt.

Apprehension – Obviously, something bad is about to happen.

Anguish – She slices her wrists with a razor blade.

Disgust – She chews on razor blades and swallows them.

10. INT. HACHIKO TRAIN STATION, SHIBUYA, TOKYO, JAPAN – DAY

Hideki has a flashback. He is in downtown Shibuya, Tokyo at the train station near Hachiko Square. Throngs of people like ants cross the busiest intersection in the world. Hideki is carrying a briefcase, rushes quickly into the train station.

As a train approaches, Hideki jumps down on the tracks in front of it. The train slams on its brakes and a loud air horn sounds. People look down and watch as a bystander jumps down and pulls him off the tracks just in the nick of time.

Horror Situation: Hideki has a flashback of his suicide attempt.

Suspense – Hideki jumps down on the train track.

Release – Someone jumps down and pulls him off the tracks.

11. INT. ELISE’S ATTIC, LEXINGTON, MASSACHUSETTS – NIGHT

Elise is in the attic of her house. There is a single bright light bulb buzzing in the center of the attic above a chair in the middle of the room. A rope with a noose is dangling from the rafters above. Elise slowly gets up onto the chair.

Elise dangles the noose around her neck. She has a hopeless look on her face and her eyes are wide open. Her pupils are dilated, and she doesn’t blink. She just stares straight ahead and after a long pause, steps off the chair dangling.

She kicks over the chair. With both feet far off the floor, she spins as she kicks her legs and reaches up with both hands trying to grab hold of the rope. Her husband runs up the stairs and grabs her in his arms alleviating the tension.

He reaches up and is able to loosen the rope around her neck. He removes the noose and carries her in his arms. Her eyes are still wide open, and she looks as if she’s in shock. He sits down on a couch in the corner holding her in his arms.

Horror Situation: Elise has a flashback of her suicide attempt.

Apprehension – It’s obvious that she’s going to hang herself.

Panic – She spins and kicks her legs knocking over the chair.

Release – Her husband runs in and rescues her.

12. INT. EMILY’S CAR, EMBUDO, NEW MEXICO – NIGHT

Emily is driving down a winding road at night along the Rio Grande River. She holds an open bottle of Vodka in her lap with one hand as she grabs the steering wheel with her other hand swerving all over the road. Suddenly, the car plunges off the shoulder.

The headlights beam through the fog as she plunges over the embankment towards the river. The car flips over on the roof and slides down the steep slope with Emily hanging upside down wearing her seat belt. The car plummets into the river.

The car comes to abrupt halt as water begins to pour into the car from the open windows. Emily releases the seat belt and frees herself. She swims underwater to the top of the water, swims ashore and crawls out of the river under a full moon.

Horror Situation: Emily has a flashback of her near-death experience.

Apprehension – She is driving drunk.

Shock – The car plunges off the road into the river.

Release – She escapes from the car and gets out of the river.

13. INT. ADMINISTRATIVE BUILDING CALLED THE HIVE – DAY

Bethany is accompanied by an older woman with gray hair named KAREN. The seekers sit in a circle within a small room. They are in a study group studying Psychospiritualism, a book written by a German Philosopher named Hermann Thielemann.

14. INT. APEX – MORNING

At 6:15am Todd rings chimes and then knocks on all of the seeker’s doors to wake them up. If they don’t answer he opens their door to check on them. Svetlana doesn’t answer. Todd is visibly apprehensive/anxious as he opens her door.

Todd sees Svetlana naked on the floor of her room in a pool of blood after apparently slashing her wrists. Her veins were sliced open by stained glass. Todd is surprised at first and looks like he can’t believe his eyes, then he looks shocked.

He leaves the room, closes the door, then runs down the hallway and grabs a portable phone from the office. With a look of anguish and anxiety he quickly dials Bethany’s number. His hands are trembling and he is visibly upset.

Bethany arrives and she enters Svetlana’s room with Todd. Svetlana’s naked body is sprawled across the floor in a big pool of blood. It appears as if she slashed her wrists with stained glass. Bethany looks as if she’s in shock!

Horror Situation: Svetlana is found dead in her room.

Surprise – She is found naked in a pool of blood.

Shock – She has apparently committed suicide.

15. INT. ADMINISTRATIVE BUILDING CALLED THE HIVE – DAY

Bethany has called a meeting to speak to the entire staff about Svetlana’s apparent suicide. Michael, Todd, Jimmy, Karen and a few other guides are there: BILL, SAMANTHA and ASHLEY. They sit silently in a semi-circle around Bethany.

16. INT. HEARTH ROOM – EVENING

A meeting is being held to inform the remaining seekers that Svetlana has committed suicide. All of the seekers and staff gather in the hearth room. Bethany enters the room and there is total silence. She wipes away a tear and begins to speak.

17. INT. APEX – MORNING

Todd does his morning rounds knocking on doors and there is no answer at two of the rooms. When Todd enters the first room, he finds Dji Dji hanging from the ceiling.

When he enters the second room, he finds Hideki nonresponsive in his room with a needle in his arm. He immediately goes to the office and grabs the portable phone to call Bethany to tell her.

Horror Situation: Two other seekers are found dead in their rooms.

Surprise – How could 2 more seekers commit suicide?!

Shock – There are two more dead seekers!!

ACT II (This is in the second half – ACT II still needs a lot of work!)

18. INT. OREGON WILDERNESS – DAY

Michael, Todd and Jimmy take the seekers on a camping trip in a remote area of the Oregon Wilderness. They drive out into a forest in the mountains with all of the remaining seekers in a van. They hike into a remote area to camp and set up tents.

Jessica, Tanivé, Emily, Vincent, Christian, Bobby, Brock and Elise hike into the woods with 3 guides carrying back packs. They set up tents when they come to a nice campsite near a stream. They’re all visibly distressed by what happened back at Shadow Mountain.

19. EXT. OREGON WILDERNESS, CAMPSITE – EVENING

They build a campfire in the middle of the camping area and Jimmy cooks dinner. The seekers and guides sit around the camp fire talking. The seekers express their fear and doubt about the 3 deaths which have been labeled as suicides.

20. EXT. OREGON WILDERNESS, WOODS – NIGHT

Jessica walks deep into the woods and feels her way through the trees. She squats to take a piss and a masked killer with a machete is seen behind her slowly approaching. He swings his machete and nearly cuts her head off killing her instantly.

He swings the machete several more times severing her head from her body. Her head falls and rolls on the ground. He continues hacking her up with the machete and blood spurts out of her neck. After he’s done he runs back into the woods.

Horror Situation: Jessica is killed by a masked man with a machete.

Dread – The killer can be seen sneaking up behind her.

Shock – He cuts her head off with the machete!

21. EXT. OREGON WILDERNESS, CAMPSITE – NIGHT

Michael and Todd, Christian and Vincent, Emily and Elise, Brock and Tanivé pair up. They spread out in four directions and walk off into the woods CALLING Jessica’s name. They search the surrounding woods with their flashlights.

22. EXT. SURROUNDING WOODS – NIGHT

Tanivé looks around and suddenly the masked killer jumps out of the bushes with an axe. He lunges towards her. She SCREAMS at the top of her lungs. The masked killer splits her head open with an axe.

Horror Situation: Tanivé is murdered by the masked killer.

Surprise – The killer jumps out of the bushes with an axe.

Shock – He splits her head in half with the axe.

23. EXT. OREGON WILDERNESS, WOODS – NIGHT

Everyone hears Tanivé scream, and they all rush towards her to help her. Brock is first to arrive. They find her dead body with an axe wound splitting her skull in half. They are all visibly in a state of shock and go into a panic.

Horror Situation: They find Tanivé’s body and she’s been killed!

Shock – They can’t believe she’s been murdered!

Dread – Her skull is split in half!

Fear – There is a killer on the loose!

Panic – What are they going to do to survive?!

ACT III (Needs a few more scenes to be complete)

24. EXT. OREGON WILDERNESS, CAMPSITE – NIGHT

Everyone follows Todd back to the campsite and they leave everything behind. Michael grabs a kerosene lantern to help guide the seekers.

25. EXT. OREGON WILDERNESS, THE TRAIL – NIGHT

They look for the trail and start hiking back as fast as they can. Flashlights illuminate the trail. The seekers fall in line behind Todd and Michael leading the way.

26. EXT. OREGON WILDERNESS, FURTHER ALONG THE TRAIL – NIGHT

They hurriedly shuffle along the well-lit trail. The full moon helps to illuminate the trail and the woods around them. They are all visibly upset and in a state of hysteria.

27. EXT. OREGON WILDERNESS, ON TRAIL IN WOODS – NIGHT

A full moon illuminates the trail as Emily, Elise, Vincent, Christian, Brock, Todd and Michael hike away in a panic. They are being pursued by the masked killer who is now wearing night vision goggles and is hunting them.

Michael leads the way with a bright Kerosene lamp. Todd, Elise, Brock, Christian, and Emily follow in that order. Emily falls behind. She seems to get disoriented and panics.

28. EXT. OREGON WILDERNESS, FURTHER ON TRAIL – NIGHT

An arrow hits Emily in the back of the head piercing her skull. The tip of the arrow penetrates her mouth and points out like a long straight tongue. She drops lifeless to the ground.

Horror Situation: Emily falls behind and is killed with an arrow.

Panic – Emily falls behind and panics.

Horror – She is shot in the head with an arrow!

29. EXT. OREGON WILDERNESS, OFF THE TRAIL IN THE WOODS – NIGHT

Vincent looks back at her while he is running and trips over a rock rebreaking one of his legs. He is visibly in agony.

The others continue to run away moving forward on the trail. Vincent holds his leg writhing in pain on the ground. He is left behind by the others.

The masked killer can be seen lurking in the background as Vincent crawls on the ground. He turns his head and clearly sees the killer slowly walking towards him brandishing a hunting knife. Vincent is visibly afraid.

The masked killer removes his night goggles and stands over Vincent. He slashes the back of Vincent’s broken leg with his knife. Vincent screams in pain, but somehow manages to kick the killer with his other leg, knocking him down.

Vincent and the killer begin wrestling on the ground and engage in hand-to-hand combat. Vincent knocks the knife out of his hand, and they punch each other. As they struggle, the killer is able to mount Vincent, grab the knife and stab him.

The killer raises the hunting knife with both hands and brings it down with all his might stabbing Vincent repeatedly in the chest. Vincent spits blood and continues to struggle, then bleeds out and dies after being stabbed multiple times.

Horror Situation: Vincent is stalked and killed by the killer.

Anguish – Vincent trips and breaks his leg.

Fear – He sees the killer come out of the darkness.

Anguish – The killer slashes him.

Hysteria – They engage in hand-to-hand combat.

Shock – The killer stabs him to death.

30. EXT. OREGON WILDERNESS, LOST IN THE WOODS – NIGHT

Hysteria sets in when the group runs off the trail and realize they are now lost in the woods. They stop to get their bearings. Christian is shot in the chest by an arrow as he stops, turns around and looks behind him. The killer is picking them off one by one with a crossbow.

Horror Situation: They run off the trail and get lost in the woods.

Hysteria – Knowing they are going to die, hysteria sets in.

31. EXT. OREGON WILDERNESS, FURTHER IN THE WOODS – NIGHT

Guided by the North star Michael, Todd, Brock and Elise head in the direction where they think there is a road. Michael is shot in the back by an arrow. The masked killer then slits his throat killing him.

Horror Situation: Michael is killed.

Shock – The killer shoots Michael with an arrow.

Horror – The killer slits Michael’s throat killing him.

32. EXT. OREGON WILDERNESS, ON A DIRT ROAD – NIGHT

They find a dirt road and begin following it back to where they think their van is parked. Brock is shot through the neck by an arrow.

Horror Situation: Brock is killed by an arrow.

Shock – Brock is shot through the throat and killed by an arrow.

33. EXT. OREGON WILDERNESS, FURTHER ON A DIRT ROAD – NIGHT

Todd and Elise see the van parked on the side of the road and run toward it.

34. INT. INSIDE THE VAN – NIGHT

Todd gets in the driver’s seat and is killed by an arrow through the driver’s side window after turning the key in the ignition. With the motor running Elise panics and pushes Todd’s body out of the van and begins driving away.

Horror Situation: Todd is shot in the head with an arrow.

Shock – Todd is killed by an arrow as he starts the van.

Hysteria – Emily pushes his body out and drives away.

35. INT. INSIDE VAN – NIGHT

As Elise is driving, she sees the masked killer standing in the middle of the road pointing his crossbow at her.

He takes one last shot with his crossbow and the arrow smashes the windshield of the van but just barely misses Elise, however, she’s cut by the glass and blood drips from her head.

Although she’s in a state of hysteria she’s able to continue driving. She puts the petal to the metal and hits the killer.

Horror Situation: The killer tries to kill Elise, but she hits him.

Panic – Elise sees the killer in the middle of the road.

Release – He misses her but shatters the windshield cutting her.

Horror – She runs over the killer.

36. EXT. THE DIRT ROAD – NIGHT

The killer’s body appears lifeless in the middle of the road. Elise gets out of the van, and she removes the killer’s mask. It’s Jimmy! Still alive, he suddenly grabs her by the ankle tripping her up and she falls. This causes her to panic.

They begin wrestling on the ground it escalates into hysteria, but she’s able to break free and escape. He slashes her Achille’s heel with a knife, and she SCREAMS, but she’s able to limp back to the van.

Horror Situation: Elise fights with and escapes from the killer.

Panic – The killer is still alive.

Hysteria – Elise has to fight for her life and escapes.

Anguish – He slashes her Achilles’ heel.

37. INT. VAN – NIGHT

Elise hesitates for a moment after getting back in the van. She backs over Jimmy and then runs him over again. She drives away in a veil of tears as the sun rises in the distant horizon.

Horror Situation: Elise runs over the killer then drives away.

Horror: Elise runs over the killer.

Release: She drives away, the lone survivor.

THANK YOU FOR YOUR FEEDBACK!

[Jeremy Cooke]

1.2 How do we know he only breaks his legs?
1.3 to 1.4 What happens here?
1.5 Does something creepy happen here?
1.6 Do we need to see this?
1.7 Do we need to see this?
1.8
1.9 to 1.12 Like
1.13 Do we need to see this?
1.14 Like
1.15 Do we need to see this?
1.16 Is anybody surprised – she seemed fine last time I saw her?
1.17

2.18 Does nobody call the cops? Does nobody freak out and go home?
2.19 Weird stuff happens/said?
2.20 Like
2.21
2.22
2.23 If we knew how Jessica and Tanive had attempted to kill themselves maybe we could match their deaths up more closely? I’d like to see a body found with the face cut off and dressed in Jimmy’s clothes.

3.24 So they decided to hike out? Did everybody agree? Someone should go missing and no body found.
3.25
3.26 Why is this a separate scene?
3.27 Why is this a separate scene?
3.28 So here they panic and start running blind though the forest at night?
3.29 Like. Michael and Todd carry him to a broken -down cabin and promise they’ll be back for him.
3.30 Why do they not split up?
3.31 Arrow
3.32 Arrow
3.33 Hide & seek, then make a break for it? Could a survivor draw fire then die running to join the other in the truck? Wounded, screaming, they leave him.
3.34 To be honest I’d like to see something other than shot by an arrow.

As they started up the ridge they saw the missing person on the crest, spreadeagled vertically between two bent trees. They approach to help as the person struggles but their mouth has been crudely sewn shut. They get closer but one of them triggers a trip-wire and the trees spring apart.

3.35 Like
3.36 Like. What does the mask look like?
3.37 Like

[Jeremy Cooke]

Title: The Famine Pit by Jeremy Cooke v1

Logline: A gang of cannibals secreted in an underground labyrinth under a disused graveyard in early 1860 Belfast are hunting and devouring people to the alarm and distress of all.

Horror Outline: You threw us into the famine pits as though we were cattle, less than cattle, indifferent to whether we were alive or dead. Our parents clawed their way out and found both refuge and sustenance within these walls. But you have stopped using this place, stopped bringing us fresh food, so now we have to hunt further afield.

ACT 1
1 INT. LABORATORY – EVENING
The year is 1862 and Septimius, together with his wife Victoria are working, in their laboratory within The Queen’s University, Belfast, on the corpse of an man executed that morning. It is a large room with sheeted cadavers laid out in trolleys. Septimius finishes his task and bends straight and asks Victoria to pass him his”slasher”. Victoria Passes him an Indian Talwar which he uses to disfigure the corpse. “That’s enough I think. That poor devil has enough for one day”. Septimius then calls to Billy, the Porter, to take the corpse to the “purification chamber” and Billy grumbles as he wheels the corpse away. “There’s been funny goings-on in there”.
The doors crash open and two policemen reverse in with a corpse on a stretcher. They call out a cheery hello and dump the corpse on an empty trolley. Inspector Finn presents his compliments and would the Doctor cast his eye over the corpse of a vagrant?
Billy undresses the corpse and covers it with a sheet. Billy indicates a large tank filled with liquid which has several corpses floating in it. “This one will need the acid in it renewed Doctor”. “Tomorrow Billy, tomorrow- the dead can always wait”.
Septimius casts an eye over the corpse and remarks that the teeth have been filed to razor sharpness. “Good God Victoria, have you seen this?”. Victoria intervenes and reminds Septimius that they are dining with her parents this evening. Septimius reluctantly rinses his hands. Tomorrow will be soon enough.

2 INT. LABORATORY – MORNING
They are standing looking at chaos. Billy remarks that that vagrant has “up and disappeared on them”. On examination several bodies have been disturbed and their livers are missing. Billy shows us the “purification chamber” and the faces have been removed from all the corpses. Victoria questions why the livers have been removes and Septimius replies “Perhaps the game was too high for their tastes”.
Inspector Finn arrives and asks if this is the way Septimius and Victoria are running their experiments. Billy grumbles.
Septimius points out that if they can proves Monsieur Pasteur’s theories on purification that he, Inspector Finn, may be grateful some day. Victoria intercedes and asks Inspector Finn how his family are – they must come to supper some day.
Septimius explains what has happened and Inspector Finn tells us he has suspected a gang of thieves and grave robbers are operating from the old graveyard.
“It’s happened before, many times, but the authorities have been keeping it secret”.

“I have tried but they are leery for Protestant police to tread upon a Catholic burial ground after the recent disturbances”

“Well then you must prevail on the Magistrates to bring in the Military since they are better thought off in the round”

Inspector Finn introduces P.C. Little who will keep a special watch on the laboratory on his nightly patrols.

Billy is going through the missing corpse’s effects when he finds what looks like a mask. Inspector Finn is puzzled at large bat-like flaps over the ears but Septimius identifies it as made of human skin. He has seen similar during the Indian Rebellion when they had stormed heathen temples but the ears? Victoria suggests they would improve hearing.

And the metal claws strapped to the vagrant’s forearms?

Inspector Finn suggests that they hold a press conference to put pressure on the Magistrates.

3 INT. LABORATORY – MORNING
The correspondents from several local news letters are present. Septimius explains to the press what his research is about, how he assists the police as a surgeon, and about the stolen body and the missing livers.
Inspector Finn Show them the mask and the claws and tells them his theory about a gang operating from the graveyard. How other bodies have been found in the area.
The press demand why no action has been taken and Inspector Finn tells them that is not his to command.

4 EXT. STREET – EVENING
Septimius and Victoria are making their way home when they are accosted by a rough man warning them to mind their own business and keep away form the graveyard. P.C. Little intervenes and the man walks off.

5 INT. LABORATORY – MORNING
Inspector Finn arrives P.C. Little has told him about them being approached in the street. He is stationing a police guard outside their house until this matter is resolved.
A rattle is heard deep in the laboratory. Billy and Septimius search and return unconvinced “Rats”. Billy is outraged “There’s no rats in my laboratory. At least not the ones with four legs”.
Septimius and Victoria reveal they are both armed but nevertheless Inspector Finn insists on a guard for now.
Inspector Finn asks if these creatures are even human, he had heard of such creatures in his youth. Septimius and Victoria both laugh and assure his the vagrant’s corpse bled and stank like any other.

6 INT. FINN’S HOUSE – EVENING
Inspector Finn returns home to find he family sitting motinless, terrified. Finn is confused “What’s wrong?” The door closes behind him revealing a cannibal gang.

They hold Finn and sever his C-Spine to render him quadriplegic then place him in a chair; it’s how they keep meat fresh. They cut out his tongue. Then the cannibals kill his family and harvest the livers.

His face is removed while he lives.

They use the claws to rip gobs of flesh off Finn and feast while he is still alive.

They write a warning in blood telling Septimius to keep away from the graveyard.

7 INT. LABORATORY – LATER
Septimius and Victoria are working late when a policeman bursts in. Something dreadful has happened and the Chief Constable sends his compliments and would Septimius examine the bodies with the upmost dispatch.

Inspector Finn and his family are brought to the lab and Septimius greets his old friend before starting the examination.

Septimius asks P.C. Little to escort Victoria home while he completes the examination.

8 INT. STREET – EVENING
P.C. Little and Victoria are walking when a rough gang surround them. P.C. Little draws his baton and puts Victoria behind him. “You wait here Miss. Now you wait until I’ve started giving this lot a taste of their own and you get yourself away as quick as you can”. “Now don’t you worry about me Miss. I’ve handled worse many a time”.
“Right you lot! Come on and take your chances”.
Victoria runs away as P.C. Little and the gang fight.

ACT 2
9 EXT. GRAVEYARD – MORNING
Victoria is missing. The body of P.C. Little is found out side the graveyard.
A distraught Septimius examines the graveyard and finds Victoria’s glove.
The police are still not convinced. Finn was killed to settle a grudge, and Little interrupted a gang bent on robbing Victoria.
Septimius demands that the police search the graveyard but the police say that they have sought and been denied permission for the clergy and threatened that any entry by the police into the graveyard will be resisted.

10 INT. LABORATORY – EVENING
Septimius examines P.C. Little’s remains.
Septimius finds claw marks and again the liver and face is missing. We see movement behind him.
Septimius is attacked but he seizes the talwar and kills two of his opponents.
Police whistles sound as the approach the laboratory. Septimius’s attackers melt away.
The police chase the attackers to the graveyard.

11 EXT. STREET – EVENING
A young flower girl shivers in the street. She is chased from the shelter of a porch before entering the graveyard.

12 EXT. GRAVEYARD – EVENING
The door of a Crypt is ajar and she pushes it open and enters.

13 INT. CRYPT – EVENING
The flower girl hears noises. She strikes a match and says she’s doing no harm. If only she can shelter here tonight she’ll move on in the morning.
Faces suddenly appear from the dark of the crypt. The flower girl is attacked and pinned to the ground as she calls for mercy, for help.
The claws descend on the flower girl and her attackers feed.

14 INT. LABORATORY – MORNING
Septimius is insisting that they search the graveyard for Victoria.
Septimius finds himself alone and intuits that he is being stalked. He panics and runs…twists and turns…every way looks the same…is he going in circles…into the gatekeeper who leads him to the lodge. There the gatekeeper reveals the history of the graveyard is revealed and stories about missing children etc. are found in old papers, local historian.

The Magistrate now takes S seriously and calls out the Constabulary and Military to carry out a full sweep of the area is carried out.

15 INT. GRAVEYARD – AFTERNOON
Septimius, the police and military assemble at the graveyard gates but a mob, led by religious figures, gathers inside and oppose their entry.

The police are unsure and await further orders. Dusk falls and torch lights are lit.

ACT 3
16 EXT. GRAVEYARD – EVENING
A religious ceremony is held to cleanse the graveyard of evil.

We see the cannibals gathering.
The cannibals attack the people in the graveyard. Priests, nuns, the lot are butchered with many burnt to death.
The police and military burst through the gates and join the fight. It is dark now and some want to return in the morning to assault the crypt but Septimius cries out that Victoria may still be alive and they should move now.

17 INT. LABORATORY – EVENING
Billy is alone grumbling about rats etc, pushing trolleys around, mopping the floor. Several bodies sit up – they are cannibals who have been hiding under sheets. He realizes he is not alone. He backs into a corner brandishing the mop as a weapon as they close in. He grapples “You’ll not eat poor Billy’s liver” as they both tumble into a tank used for bleaching bones.

18 INT. CRYPT – EVENING
Septimius and the police enter the crypt but find no trace of Victoria. They move past the flower-girl’s body, her face has been cut off, she moans. They enter a tunnel.

Bones litter the floor. Septimius notes they are human.
When accompanying the police through the tunnels in the Crypt Septimius is cut off and lost. He is pursued through the tunnels by the cannibals until he comes to a barred dead-end though which he can see light.
Septimius hears the cannibals approaching through the tunnel as they scratch their metal claws against the sides.
He calls for help and the police dig him out just in time.
The Crypt is set alight and the police and Septimius pile in more fuel as we watch it burn.
Burning Cannibals flee and the police and military shoot them down.

19 INT. CRYPT – NIGHT
The leader of the cannibals leads the last members of his tribe to safety through the tunnels. They seem to have a prisoner, we see a flash of Victoria’s clothes from the back.

Police guards are surprised and their throats cut.

20 INT. LABORATORY – EVENING
Septimius is working in the lab. It is late. He asks Victoria to pass him an instrument then stops. He pauses for a moment then returns to his work.

21 INT. ELSEWHERE – EVENING
We see the surviving cannibals in a dark dank place. They are worshiping the figure of a man with the head of a goat. It turns and looks directly at us.

• This reply was modified 2 years, 10 months ago by  Jeremy Cooke.

[Ted Tronsen]

I am trying to critique Jeremy “Jerry” Cooke’s Horror Screenplay but am unable to get into it to comment on it. I would like to send him a message to let him know that I will critique it as soon as I can access it. Could you please let him know? Thank you!

[Jeremy Cooke]

Title: The Famine Pit by Jeremy Cooke v2

Logline: A gang of cannibals secreted in an underground labyrinth under a disused graveyard in early 1860 Belfast are hunting and devouring people to the alarm and distress of all.

Horror Outline: You threw us into the famine pits as though we were cattle, less than cattle, indifferent to whether we were alive or dead. Our parents clawed their way out and found both refuge and sustenance within these walls. But you have stopped using this place, stopped bringing us fresh food, so now we have to hunt further afield.

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ACT 1

INT. LABORATORY – EVENING

The year is 1862 and Septimius, together with his wife
Victoria are working, in their laboratory within The Queen’s
University, Belfast, on the corpse of an man executed that
morning.

It is a large room with sheeted cadavers laid out in
trolleys. There is a gantry with hoists and pulleys running
over a large glass-sided tank filled with acid; within which
several corpses are dissolving to expose the skeletons.

SEPTIMIUS
Ease him back Billy.

The head of the corpse rolls horribly as Billy and Septimius
roll the corpse onto his back. Billy feels the neck.

BILLY
Nice job here. Snapped clean the
lucky devil.

SEPTIMIUS
(chuckles)
I’d hardly call him lucky.

BILLY
Well he’s not worrying about the
rent no more.

SEPTIMIUS
That’s true. Victoria would pass me
my slasher…there by your seat.

Victoria passes Septimius an Indian Talwar. Septimius
considers the corpse then slashes it several times leaving
terrible gaping wounds. He then applies a liquid to the
wounds then straightens up rubbing his back.

SEPTIMIUS (cont’d)
Enough. The poor devil has had a
bad enough day I think.

Septimius draws a sheet over the corpse.

SEPTIMIUS (cont’d)
Billy, to the putrefraction chamber
if you please then I think we’re
finished here today.

Billy fusses round the trolley grumbling.

BILLY
There’s been funny goings-on in
there.

SEPTIMIUS
Nonsense. The odd rat mayhap.

BILLY
Maybe anyway that there tank is
nearly done.

SEPTIMIUS
Tomorrow Billy. You can drain it
down in the morn and refill…

The doors crash open and two policemen reverse in with a
corpse on a stretcher.

POLICEMAN #1
(cheerful)
Good day to you Doctor.

SEPTIMIUS
What have you for me today?

BILLY
Here mind my clean floor.

POLICEMAN #1
Inspector Finn presents his
compliments and would be obliged if
you’d cast you eye over this
rascal.

Billy pushes over a trolley and together they maneuver the
corpse on to it.

BILLY
Stop dripping on my floor you dirty
wretch!

Billy starts undressing the corpse while Septimius examines
the face.

POLICEMAN #1
Found in the park.

POLICEMAN #2
Scare the Gentry the look of him.

SEPTIMIUS
Well we can’t have that.

POLICEMAN #1
Anyway Inspector Finn didn’t like
the look of him.

Billy covers the corpse with a sheet leaving the head
exposed.

BILLY
Not surprised. Nasty looking
creature.

Septimius is examining the head.

SEPTIMIUS
Good God. Victoria look at this.

Septimius points to the open mouth. Everyone crowds round.

SEPTIMIUS (cont’d)
His teeth have been filed.

BILLY
I knew he was a bad one from the
look of him.

POLICEMAN #1
Would that be to help him eat his
vittles then Doctor?

SEPTIMIUS
(laughs)
I’ve seen this before but in India.
Some of the Heathen sects practiced
such rituals but for what purpose I
am at a loss.

POLICEMAN #2
Do you think he’s an Indian,
Doctor?

POLICEMAN #1
He might be a seaman?

SEPTIMIUS
(opens corpses eyes)
No, no a home grown Heathen I
think. Maybe if…

Septimius reaches for a long blade but Victoria covers his
hand.

VICTORIA
Have you forgotten we’re dining
with my parents this evening?

SEPTIMIUS
But if I…

VICTORIA
Septimius!

Septimius reluctantly wipes his hands on an old rag and
pulls on his coat.

SEPTIMIUS
Gentlemen my wife and I bid you
goodnight. Billy…till the morrow.

INT. LABORATORY – MORNING

They are standing looking at chaos. Sheets have been pulled
of corpses and the door to the putrefraction room stands
open.

Septimius and Victoria are standing looking when Billy
enters.

SEPTIMIUS
Morning Billy. We’ve had visitors.

BILLY
I see that nasty creature with the
teeth has left us. I told you to
trim his nut when we’d the chance.
That would put paid to any antics
from him.

Septimius is looking round at the corpses and examines some
more closely.

SEPTIMIUS
(laughs)
I hardly think he’s run far. Look
Victoria the livers have been
extracted from several.

Victoria and Billy join him.

VICTORIA
Why on…

BILLY
(cackles)
Maybe he’s hungry.

Billy and Victoria pause to look at Billy.

VICTORIA
With a few onions perhaps?

SEPTIMIUS
Stop it you pair. You’re making me
quite peckish. Billy let us examine
the putrefaction chamber.

INT. PUTREFACTION CHAMBER – CONTINUOUS

Billy and Septimius enter. Several corpses have been
disturbed. Billy examines the one nearest the door whilst
Septimius moves onto several further in.

SEPTIMIUS
Well this ones been opened but the
liver remains.

BILLY
(grumbles)
An he’s made a mess of my floor.
Lookee here Doctor.

Septimius moves to Billy.

SEPTIMIUS
Why the liver is still here. Why
extract it and leave it.

BILLY
He’s been sick too whoever he was
the nasty creature.

Septimius pokes the liver on the floor.

SEPTIMIUS
Mmm…there’s a bit missing…looks
like our chum fancied a snack and
it didn’t agree with him.

BILLY
(cackles)
No onions!

SEPTIMIUS
Maybe this game was too high for
his tastes!

INT. LABORATORY – CONTINUOUS

Billy and Septimius return sniggering. They stop when they
see Victoria has been joined by Inspector Finn.

SEPTIMIUS
Ah! Finn have you joined us for
breakfast?

BILLY
A few onions to your taste sir?

Billy and Septimius collapse laughing.

VICTORIA
Ignore them. They’re drunk on fumes
the brutes.

INSPECTOR FINN
I called in to see the new patient
I sent you last night but Victoria
tells me he’s escaped.

BILLY
(grumbling)
Nasty creature. All over my floor.

SEPTIMIUS
(to Billy)
Oh your precious floor. Go and sulk
in the putrefaction chamber with
your mops and buckets.
(to Finn)
Did Victoria tell you about the
teeth?

INSPECTOR FINN
She did. Most odd. My Constables
told me it was probably some
heathen from the docks.

Billy has moved around setting things right. He picks up the
clothes from the missing corpse.

BILLY
Here what’s this!

SEPTIMIUS
That heathen was born and bred here
to my mind.

They crowd around the pile of objects Billy has stacked on
the vacant trolley and start examining them. Passing them
around.

INSPECTOR FINN
A mask? But the ears? For what
purpose?

SEPTIMIUS
Leather certainly. But the human
kind I think. Look at the folds
around the eyes.

Victoria has moved over to another trolley and pulled back
the sheet.

VICTORIA
Gentlemen! Your attention!

Victoria drags the claw she is holding in her hand across
the torso of the corpse.

VICTORIA (cont’d)
We have seen these marks before.

INSPECTOR FINN
Claws! What sort of beggar was
this! Is anything else missing?

SEPTIMIUS
A few livers.

INSPECTOR FINN
Septimius be serious.

SEPTIMIUS
I am though. Look!

Septimius and Billy pull aside several sheets.

SEPTIMIUS (cont’d)
The livers have been extracted from
several of our guests.

INSPECTOR FINN
(looking around)
Well where are they?

SEPTIMIUS
Not here. Gone in the night.

INSPECTOR FINN
But why would

BILLY
Not all.

SEPTIMIUS
True enough. There was one
extracted in the putrefaction
chamber but abandoned.

BILLY
He had a taste first.

INSPECTOR FINN
What on…what are you two talking
about.

SEPTIMIUS
It’s true. There was a bite taken
out but it obviously wasn’t to his
liking. Maybe the corruption was
too much for him.

INSPECTOR FINN
Corruption! What are you doing in
that room.

Septimius points to the sign on the door “Putrefaction
Chamber”.

SEPTIMIUS
Exactly what it says. I saw too
many good men die in India from a
scratch.

INSPECTOR FINN
But this…this disfigurement of
the dead.

SEPTIMIUS
If I can prove Monsieur Pasteur’s
theories on purification then we
may all be glad of the knowledge
sometime.

INSPECTOR FINN
Should I see this…room?

SEPTIMIUS
Certainly come

VICTORIA
No! Trust me you don’t. It makes a
charnel house look respectable. You
shall have nightmares for a month.

INSPECTOR FINN
Well…maybe later…sometime

VICTORIA
You must come to supper! As soon as
you can. I do so want to see Mary.
How are the little ones?

INSPECTOR FINN
(relieved)
Fine. Everybody is well thank God.

VICTORIA
I do so want to have a good gossip
with Mary. You two can talk about
boring old Monsieur Pasteur as much
as you want…but you’ll be sorry
you started him.

SEPTIMIUS
Excellent. I’ll enjoy that. But
back to business.
(indicates laboratory)
What about this?

Inspector Finn points to the claw marks on the torso.

INSPECTOR FINN
I too have seen the like. And not
two hundred yards from here.

SEPTIMIUS
Where?

INSPECTOR FINN
The old graveyard.

SEPTIMIUS
Friar’s Bush? But it has fallen
into disuse in recent years.

INSPECTOR FINN
Indeed but I have heard tell that a
gang of Gypsies have taken up
residence.

VICTORIA
The poor gypsies! They get blamed
for ill.

INSPECTOR FINN
Well maybe not Gypsies but
vagabonds certainly.

SEPTIMIUS
And what makes you suspect them?

INSPECTOR FINN
(points at claw marks)
This. As I said I’ve seen this
before. There’s been a spate of
murders around the graveyard and
the bodies bore scars like these.

SEPTIMIUS
But why haven’t we heard I

VICTORIA
There’s been nothing in the news
letters.

INSPECTOR FINN
The authorities have been keeping
it secret for fear of riot.

SEPTIMIUS
But why don’t you sweep the
graveyard and apprehend these
vagrants?

INSPECTOR FINN
I have tried but they are leery for
Protestant police to tread upon a
Catholic burial ground after the
recent disturbances.

SEPTIMIUS
Well then you must prevail on the
Magistrates to bring in the
Military since they are better
thought off in the round.

P.C. Little enters the laboratory.

INSPECTOR FINN
And this is Constable Little the
nightwatchman for this beat.

Septimius and Victoria both acknowledge Little.

INSPECTOR FINN (cont’d)
Constable Little who will keep a
special watch on the laboratory on
his nightly patrols.

Finn hands Little the mask.

INSPECTOR FINN (cont’d)
Have you ever seen the like?

Little handles the mask then places it over his face for a
moment.

P.C. LITTLE
No Sir. Not in all my years. Why
it’s

VICTORIA
Like a bat.

INSPECTOR FINN
What

SEPTIMIUS
B’God that’s it.

INSPECTOR FINN
Would somebody

SEPTIMIUS
The hearing. I saw this same idea
used by the hunters in the forests
south of Nagpur when they went out
at night. I knew it was familiar.

Finn picks up the mask and tries it again.

INSPECTOR FINN
Hunters?

SEPTIMIUS
But this time I fear man is the
prey. Finn we must search that
graveyard!

INSPECTOR FINN
But

SEPTIMIUS
We must gather the correspondents
for the local news letters and
advise them of our suspicions.

INSPECTOR FINN
I’m not sure that my superiors will

SEPTIMIUS
They will once the press is in hue
and cry. The Magistrates live in
mortal fear of them exposing some
scandal.

INT. LABORATORY – MORNING

The correspondents from several local news letters are
present. They are staring around the laboratory and Billy is
darting hither and thither trying to stop them touching
things.

INSPECTOR FINN
Gentlemen, gentlemen and of course
Miss McFee of the press. Thank you
coming today, and thanks due to
Doctor Septimius O’Rourke for
allowing us to gather here in his
laboratory. Now I’m

PRESS #1
Now hurry up Charlie. You have to
get to the point quicker.

PRESS#2
(to general clamour)
Aye hurry up. Ink’s not cheap
y’know.

INSPECTOR FINN
(waving for quiet)
Now come on lads. I bring you a
tale of murder and

Septimius rips the sheet of the mutilated corpse from
yesterday and the press crowd round looking at the injuries.
Some are sketching.

INSPECTOR FINN (cont’d)
(grumpy)
Thank you Doctor. Get a good look
lads. This is

PRESS #1
Who is he?

PRESS#2
How’d he die then?

INSPECTOR FINN
One of a number that we’ve seen

PRESS#2
How’s his wife? Was he married?

PRESS #1
Any kids? Can we see the kids?

PRESS#2
Nah the Widow that’s who we want

INSPECTOR FINN
Of unfortunates that have turned up
in out City

PRESS#2
So why are we here in this place?

PRESS #1
(Points at Septimius)
What’s he here for?

PRESS#2
Aye, what’s the Doctor do in this…
place?

PRESS #1
It’s a rum place this? What’s he
doing to these here stiffs?

INSPECTOR FINN
Gentleman, gentlemen the Doctor is
not the story here

PRESS #1
Looks like a story to me.

PRESS#2
An we’ll decide the story Charlie.

INSPECTOR FINN
(in despair)
Cannibals!

General hubbub.

PRESS#2
Where? I don’t see no cannibals
here?

INSPECTOR FINN
Not here in the old graveyard. We
have reason

PRESS#2
So why are we here?

INSPECTOR FINN
That a gang of cannibals is
secreted about the grounds

PRESS #1
(looking up from the
corpse)
Why’s he not been eaten then?

SEPTIMIUS
Gentlemen, if I may have your
attention for a moment?

Finn looks relieved.

SEPTIMIUS (cont’d)
If you look closely here
(indicated the corpse)
And if I pull open the belly thus…
we see the liver is missing.

The press crowd in.

SEPTIMIUS (cont’d)
It is Inspector Finn’s, and my,
belief that people are being
murdered and their livers extracted
to be consumed by a gang of tinkers
not two hundred yards hence.

PRESS #1
How do they eat them? Do they cook
them first?

PRESS#2
What about young girls? Do they
kill and eat them as well?

SEPTIMIUS
Young girls? Well

INSPECTOR FINN
Not as we’ve seen to date. But if
they do you’ll be the first to know
now

PRESS#2
(points at mask)
What’s this here?

INSPECTOR FINN
Ah yes that we believe is a mask
they wear when about their work.
Note the

PRESS#2
(points at ears)
What’s these?

INSPECTOR FINN
I was just getting there!

PRESS#2
You does talk an awful lot Charlie.

INSPECTOR FINN
(glares)
I do not!

PRESS #1
(waving claw)
An these Charlie what’s these?

INSPECTOR FINN
(points at Septimius)
Ask him! Apparently I talk too
much!
(folds his arms)

PRESS #1
Ah don’t get

PRESS#2
(to Septimius)
Well what’s this?

SEPTIMIUS
Gentlemen now please. Now this
(taking claw and holding
it)
Look at the wounds here, and here
on this poor soul. They match this
(waves claw)
And they match the other victims
that we have seen

PRESS#2
How many?

INSPECTOR FINN
(interjects)
About a score to date.

SEPTIMIUS
I have seen these before in

PRESS#2
You’ve kept this quiet Charlie.

PRESS #1
Where’ve you seen this then Doctor?

SEPTIMIUS
(stiffly)
In India. I had the honour to serve
with General Rose in the recent
Mutiny where

PRESS #1
Are these here cannibals Indians?

SEPTIMIUS
No I meant

PRESS#2
They’ll be French then

SEPTIMIUS
No I

PRESS#2
It’s always the French. This is the
sort of thing they get up to.

PRESS #1
(points at corpse)
Is he French then?

SEPTIMIUS
Well i…don’t

PRESS #1
He ain’t saying!

PRESS#2
It’s the French then!

PRESS #1
An invasion?

PRESS#2
(To Finn)
Why haven’t you cleared them
Frenchies out off the graveyard
then?

PRESS #1
They’d need the Military to do
that.

PRESS#2
That lazy bunch of Militia in
Musgrave barracks. Much use they’d
be against the French. Drunken
sots.

INSPECTOR FINN
(Roars)
There’s no bloody French! Go on
you’ve got your story!

Finn indicates to the police (“Come along now” lads etc)
who, together with Billy (“Here, put that down, leave that
alone you etc”) shepherd the press out.

INSPECTOR FINN (cont’d)
(weakly)
Well that went well I think?

SEPTIMIUS
(weakly)
Yes…well.

EXT. STREET – LATER

Septimius and Victoria are making their way home through the
dusk when they are accosted by a rough man clutching a news
letter.

ROUGH MAN
(brandishing news letter)
Here you that French Doctor?

SEPTIMIUS
I am Doctor O’Rourke yes.

ROUGH MAN
(Thrusting his face close
to Septimius)
You want to learn to mind your own
business Sir.

SEPTIMIUS
I can

ROUGH MAN
Coz if’n you don’t there’s some
minded to teach you and your
(indicates Victoria)
A wee lesson.

SEPTIMIUS
Look

ROUGH MAN
Never you

P.C. LITTLE
What’s going on here then?
(touches hat to Victoria
and Septimius)
Is this here one bothering you?

ROUGH MAN
You keep away from that graveyard
now and

P.C. LITTLE
Right you, clear off or

ROUGH MAN
You? You and whose army Bulkie?

Little reaches for his baton.

ROUGH MAN (cont’d)
And wave your stick at me I’ll
shove it where the sun don’t shine.
(to Septimius)
You’ve been warned.

Walks off.

SEPTIMIUS
(to Victoria)
Did you note?

VICTORIA
His teeth, yes.

INT. LABORATORY – MORNING

Victoria, Septimius and Billy are working in the laboratory
when Finn bursts in.

INSPECTOR FINN
Are you all right?

SEPTIMIUS
Why wouldn’t we be?

VICTORIA
Perfectly.

INSPECTOR FINN
I was told that you were threatened
on the street last night.

SEPTIMIUS
(laughs)
Strongly advised perhaps.

VICTORIA
Septimius!
(to Finn)
Thank you but Constable Little saw
the rogue off.

INSPECTOR FINN
Well that’s as maybe but I’m
assigning a Constable to keep an
eye on you pair until this nonsense
is over.

Septimius picks up a Adams revolver from his desk and shows
it to Finn.

SEPTIMIUS
That’s really not necessary. We
have taken precautions.

INSPECTOR FINN
Good Grief man! Are you planning to
discharge that cannon on the
streets of Belfast?

SEPTIMIUS
(sniffy)
Well I’ll be able to protect poor
Constable Little with his stick.

INSPECTOR FINN
Victoria what

Shamefaced Victoria rummages in the bag and produces

VICTORIA
And I have selected one of Mister
Colts Pocket Pistols to

INSPECTOR FINN
But Victoria do you

VICTORIA
Oh yes! Septimius and I have been
practicing

INSPECTOR FINN
Have you ever discharged this
machine?

VICTORIA
Indeed, at the weekends we go out
to the country. For I am quite the
marksman. Better than Septimius I’d
say.

SEPTIMIUS
Ha! A woman’s pistols! Mine will
knock down a horse with ease.

VICTORIA
Well I don’t intend to shoot any
horses.

Finn extracts a new letter from his pocket.

INSPECTOR FINN
Well hopefully it’ll not come to
that. Have you seen this?

SEPTIMIUS
We picked up an early copy last
night.

INSPECTOR FINN
Bloody reporters. The Magistrates
are having conniptions and the
Militia have sent to Dublin for
reinforcements.

SEPTIMIUS
Reinforcements? Are they afraid of
a gang of vagrants then.

Finn waves the paper in the air.

INSPECTOR FINN
A squadron of French Dragoons
lurking in the graveyard according
to this!

Billy sniggers.

SEPTIMIUS
(tongue in cheek)
Ah well. Maybe it’s to the good. At
least we’ll be able to search the
graveyard.

INSPECTOR FINN
These…these creatures then. Do
you think bullets will knock them
down?

SEPTIMIUS
Creatures! Why Finn you’ve been
reading to much in the press. I can
assure you from what I’ve seen
they’ll fall down as quick as you
or I! And bleed too!

INSPECTOR FINN
It’s just

A rattle is heard deeper in the laboratory. Something has
been knocked over.

SEPTIMIUS
Hello what’s that eh?

INSPECTOR FINN
(weakly)
A rat?

BILLY
There’s no rats in my laboratory.
At least not the ones with four
legs.

SEPTIMIUS
(to Billy)
We’d better take a look.
(to Victoria)
Would you guard the gallant
Inspector my dear?

VICTORIA
Stop it Septimius.

Finn glares at Septimius and Billy as they investigate the
recesses.

Septimius and Billy return.

SEPTIMIUS
A sample jar fell. Nothings to
worry about.

BILLY
It didn’t jump of that shelf itself
did it.

SEPTIMIUS
The window was open. A gust.

BILLY
It’d take a bloody big

SEPTIMIUS
Billy! A gust.

Billy retreats muttering about rats and gusts.

INSPECTOR FINN
Well that’s settled then. Gust or
no gusts I’m placing a guard upon
you two

SEPTIMIUS
Really not

VICTORIA
But Finn dear we

INSPECTOR FINN
(smirking)
To protect the public!

INT. FINN’S HOUSE – EVENING
Inspector Finn returns home to a modest two-up, two-down. He
lets himself in through the front door.

INSPECTOR FINN
Hello all! I’m home!

Silence greets him as he looks into the living room –
nobody.

INSPECTOR FINN (cont’d)
Hello Mary! Are you in the kitchen?

Finn enters the kitchen and stops. Mary, his wife, is
sitting at the far end of the room; the two children are
clinging to her.

INSPECTOR FINN (cont’d)
Hello love. Why so

The kitchen door swings closed behind him. Finn turns round
and sees six rough looking characters. They smile revealing
sharpened teeth.
Finn draws a leather Billy Club from his coat pocket.

INSPECTOR FINN (cont’d)
Get out! Get out now! I’m warning
you!

The cannibals advance.

INSPECTOR FINN (cont’d)
I’m a policeman! Get out of

CANNIBAL #1
What you going to do Bulkie. Hit us
with yer wee stick?

Finn hardens his stance.

INSPECTOR FINN
Come on then. But mark I’ll see you
hang for this.

CANNIBAL #1
Unlikely you’ll be seeing much of
anything no more. Grab him boys!

The cannibals seize Finn and pin him to the ground face up.

CANNIBAL #1 (cont’d)
Don’t over worry this. We’re not
going to kill you just yet. Spin
him over boys.

The cannibals spin Finn onto his face.

CANNIBAL #1 (cont’d)
D’ye know how we keep the meat
fresh Inspector?

The cannibal draws out a small chisel and holds it for Finn
to see.

CANNIBAL #1 (cont’d)
We cuts the spine close up the
neck. That’s way they don’t die but
they can’t move neither.

Finn screams and struggles but is held. The lead cannibal
crouches down and severs his C-Spine. Finn’s struggles cease
as though a string has been cut but he can still scream and
plead.

INSPECTOR FINN
Please no! Not my family please!

CANNIBAL #1
(pulls over a kitchen
chair)
Haul him up boys.

Finn is screaming and pleading for his family.

INSPECTOR FINN
You bastards! I’ll make sure you
all die!

CANNIBAL #1
Ach! You’re terrible noisy for a
dead man.
(to the other cannibals)
Hold his mouth open!

Finn struggles, resists as best he can. Refuses to open his
mouth. The cannibals look to their leader.

Cannibal #1 seizes Finn’s daughter and caresses her face.

CANNIBAL #1 (cont’d)
Open wide now boy or I’ll cut her
wee face off. You know I will.

Finn slumps then slowly opens his mouth.

Cannibal #1 pushes Finn’s daughter back to her mother then
advances and pins Finn’s tongue with a small sharp knife.

CANNIBAL #1 (cont’d)
Stop yer wriggling or I’ll kill
her.
(to another cannibal)
Give us yer knife now!

A larger knife is handed over.

CANNIBAL #1 (cont’d)
Ah! That’s better.

Cannibal #1 works at Finn’s mouth the withdraws his hand
holding Finn’s tongue. He hold it up for the others to see.

Finn, paralyzed, trashes his head making empty grunting
noises.

CANNIBAL #1 (cont’d)
And now to business boys.

Cannibal #1 sweeps everything off the kitchen table.

CANNIBAL #1 (cont’d)
And now to business boys. Bring the
first one up. And spin your man
round so he gets a good eyeful.

One of the Cannibal seizes a child. The others move Finn’s
chair so that he has to watch.

CANNIBAL #1 (cont’d)
No, no! Not that one.
(indicates Mary)
Do her first. We’re not monsters.
You don’t torture the livestock, it
makes the meat taste sour.

Mary is seized and held face up on the table. She screams as
they cut out her liver. Mary is pushed off the table and
lies moaning weakly.

The children are then hauled up one by one and their livers
harvested.

CANNIBAL #1 (cont’d)
I hope this has been a wee lesson
for you Inspector. And you’ll tell
your…oh that’s right you can’t.
Never mind I’ll leave a wee note.

Cannibal #1 picks up Finn’s bloody tongue and writes on the
wall “KEEP OUT OF THE GRAVEYARD!”.

CANNIBAL #1 (cont’d)
That should get our message across.

Cannibal #1 picks up one of the children’s livers and tastes
it.

CANNIBAL #1 (cont’d)
Mmmm…sweet. A wee taste
Inspector?

Finn groans.

CANNIBAL #1 (cont’d)
No then? Well then…we can’t leave
you looking like this.

Cannibal #1 picks up a knife and slowly cuts Finn’s face
off.

CANNIBAL #1 (cont’d)
A wee memento of this moment. Well
we’ll be on our way then. I’ll
leave you and your family to
reflect on your folly.

INT. LABORATORY – LATER

Septimius and Victoria are working late when a policeman
bursts in.

POLICEMAN #1
Doctor, doctor! Something dreadful
has happened!

Other police burst in bearing stretchers.

BILLY
Over here boys. On this trolley and

Billy pulls another trolley over

BILLY (cont’d)
And here. This one.

A stretcher is upset and a child’s body falls to the floor.

Victoria picks up the child’s body.

VICTORIA
Oh the poor…this is Elizabeth!
Finn’s youngest…why

Victoria takes it all in.

VICTORIA (cont’d)
And Mary and…oh God wee Henry…
Dear God Finn himself!

SEPTIMIUS
Finn. My God. What has happened?

POLICEMAN #1
It was horrible Doctor. I never
seen the likes. Those poor wee
children.

SEPTIMIUS
But what

A Magistrate enters with more police.

MAGISTRATE
Doctor.

SEPTIMIUS
Poor Finn. Sir, what has happened
here?

They were found when their maid returned from running her
errands. All dead.

SEPTIMIUS (cont’d)
But who?

MAGISTRATE
There was a message written on the
wall. A message which concerns me
greatly warning us to keep clear of
the old graveyard.

SEPTIMIUS
The old graveyard? But…do you
think

MAGISTRATE
And that is what I want you to
confirm. If they have been murdered
by the same hand as before then…
then I will have the whole place
dug up and anyone in there burnt…
alive or dead! And to hell with any
objections.

SEPTIMIUS
With the upmost dispatch. Victoria
I’ll not need you for

VICTORIA
I’ll not leave you to

SEPTIMIUS
I must but I desire you to leave
this to Billy and myself.

VICTORIA
They were my friends also.

SEPTIMIUS
And that’s how I want you to
remember them.

VICTORIA
But

SEPTIMIUS
Please.
(to PC Little)
Constable would you escort my wife
home please?

MAGISTRATE
(to PC Little)
And remain there until relieved.

P.C. LITTLE
As you wish Gentlemen.
(to Septimius)
Never fear sir. You look after
Inspector Finn…and the little
ones too.
(to Victoria)
Ma’am?

VICTORIA
(to Magistrate)
Sir, my husband? Will

MAGISTRATE
Upon my honour. I will leave men
here to watch over him.

VICTORIA
Thank you.

Victoria gathers her belongings.

VICTORIA (cont’d)
(to PC Little)
I’m ready.

They both start to leave.

VICTORIA (cont’d)
(to Septimius)
Be careful my love.

SEPTIMIUS
I will. I’ll be home
(indicates the carnage)
As…as soon as I can.

We notice that Victoria has left her pistol on the desk.

VICTORIA
Sooner for I shall not sleep until
you are home safe with me.

Victoria and Little PC leave.

SEPTIMIUS
Well Billy shall we begin?
(to Finn. Draws sheet
back.)
Hello old friend.

INT. STREET – EVENING

P.C. Little and Victoria are walking when a rough gang
surround them.

Victoria looks in her handbag .

VICTORIA
Oh! I’ve forgotten it. It must be
on the desk!

P.C. Little draws his baton and puts Victoria behind him.

P.C. LITTLE
You stand back here Miss. Now you
wait until I’ve started giving this
lot a taste of their own and you
get yourself away as quick as you
can.

VICTORIA
I can’t leave you!

P.C. LITTLE
Bless you. Now don’t you be
worrying about me Miss. I’ve
handled worse many a time.
(to cannibals)
Right youse lot! Come and take your
chances.

Victoria runs away as the gang draw their claws and advance.
ACT 2

EXT. GRAVEYARD – MORNING

The mist is on the ground as a crowd of policemen gather
around a decapitated body in a police uniform lying outside
the gates of the graveyard. The head is mounted on the
spikes of the railings.

Septimius arrives on foot and pushes through.

SEPTIMIUS
Have you found her? Where is she?

MAGISTRATE
I’m sorry Doctor but there is no
sign of your wife here.

SEPTIMIUS
She is gone all night.
(points at body)
Is this Little?

MAGISTRATE
(indicating head on
spike)
Indeed it is he

SEPTIMIUS
Poor man. How

A policeman approaches.

POLICEMAN #1
(touches brim of hat)
Begging your pardon Sir but we
found this here up by the wall.

The policemen proffers the item to the Magistrate but
Septimius snatches it first.

SEPTIMIUS
This is Victoria’s! This is her
glove! I saw it last night and I

MAGISTRATE
(to policeman)
Exactly where did you find this?

POLICEMAN #1
By the old postern gate Sir.
(points)
Up there Sir. Outside the wall
where they used to

SEPTIMIUS
This proves it. Sir, you must force
open these gates and allow your men
to search.

A rumble of agreement from the police.

MAGISTRATE
(to police)
Damn you mind your p’s and q’s.
(to Septimius)
I have applied to the authorities
that own this place and have sought
permission.

SEPTIMIUS
And Sir, what of it?

MAGISTRATE
And have been denied permission
from the clergy. They have
threatened that any entry by the
police into the graveyard will be
resisted. And I do not have the
manpower to force entry against an
angry mob.

SEPTIMIUS
But they care naught whom they
kill. Protestant nor Papist.

MAGISTRATE
I have made that point Sir but to
no avail. We cannot afford

SEPTIMIUS
But Victoria, my wife, she is in
there. She may be in danger!

MAGISTRATE
The Chief Magistrate is in
communication with the Cardinal. We
may pray that better sense
prevails.

SEPTIMIUS
And the Militia? Will they not
assist?

MAGISTRATE
The Major insists that they wait
upon the reinforcements from
Dublin.

SEPTIMIUS
But

MAGISTRATE
You have my word Sir. Militia or
not we shall force entry tomorrow
morning and the Cardinal be damned.

The police raise a quiet cheer.

SEPTIMIUS
We cannot

MAGISTRATE
I am sorry Sir but my hands are
tied and

SEPTIMIUS
But mine are not! I shall

MAGISTRATE
You shall not Sir and if you try to
breach these walls you will be
arrested!

SEPTIMIUS
(stiffly)
Have your men bring Constable
Little’s head to my laboratory at
once. Good-day to you Sir.

INT. LABORATORY – EVENING

Septimius examines P.C. Little’s remains. He lifts the head
and carries it over to his dissection bench.

BILLY
Here Doctor. Where you going with
that?

SEPTIMIUS
Poor old Little may have been the
last person to see my Victoria.

BILLY
Well he’s not going to tell you now
is he?

Septimius busies himself extracting the eyeballs from PC
Little’s head.

SEPTIMIUS
A Doctor Kühne is investigating the
science of extracting images from
the dead.
(slicing the eyeballs in
half.)
He feels that if we could recover
the last vision from the victim’s
retina we would greatly advance the
cause of police science.

Billy is examining Little’s remains.

BILLY
They’ve had a good go at this poor
beggar. Those claws are

SEPTIMIUS
The liver?

Billy checks.

BILLY
No, still there. I reckon Little
took lumps of them. Maybe they
weren’t too peckish after tangling
with him.

SEPTIMIUS
Mmmm…where’s that Sodium light?

BILLY
It’s where you left it!

SEPTIMIUS
When did I

A noise.

SEPTIMIUS (cont’d)
Rats?

BILLY
There’s no blooming rats in my
laboratory.

Septimius slowly reaches for his talwar. Billy looks around
and picks up his broom. Snapping of the mop he is left with
a jagged point.

The sound of claws being dragged over the laboratory benches
approaches.

BILLY (cont’d)
(quietly assuming a
bayonet fighting
position)
Stand fast the 18th.

SEPTIMIUS
I wish General Rose was with us.
Come out, come out and show
yourselves!

BILLY
(snorts)
Rose! Pansy by name pansy by
nature. Now them Maori them

The Cannibals come into view.

BILLY (cont’d)
was proper men.

Billy and Septimius go back to back as the Cannibals
advance.

A fight ensues. Septimius kills one with his talwar and
grievously wounds another. Billy bayonets one through the
throat then snatches up a flagon of acid and throws it over
another.

Police whistles sound as they approach the laboratory. The
attackers melt away leaving their wounded.

POLICEMAN #1
Are you all right Doctor?

SEPTIMIUS
Yes yes I’m intact thank you.

Billy walks around the wounded dispatching them.

BILLY
(grumbles)
Not a word about me.

SEPTIMIUS
I’m sure we would have heard you if
you had been unfortunate enough to
be killed. I fact I doubt we would
have heard anything else for a very
long time.
(beat)
Or wounded for that matter.

Another policeman rushes in.

POLICEMAN #2
We chased them to the graveyard!
(to Billy)
Here what you doing?

BILLY
No prisoners son, not now. We’re
past that.

EXT. STREET – EVENING

A young flower girl is walking barefoot in the street. It is
clod and wet. She spies a porch and takes refuge. Drawing
her shawl around her she huddles in a corner.

A well-dressed man approaches.

HOUSEHOLDER
(fumbling with his key)
Here, what are you doing here?

FLOWERGIRL
Oh I’m sorry sir. If I could just
rest awhile. I’ll be

HOUSEHOLDER
Get the Hell out of that or I’ll
throw a bucket of water over ye.

EXT. STREET – LATER

We see the Flowergirl at the gates of the graveyard.
Tentatively she pushes and silently they open.

EXT. GRAVEYARD – EVENING

The door of a Crypt is ajar and she pushes it open and
enters. It is dark, dank with rubbish strewn over the floor.
She moves into a corner and settles for the night.

INT. CRYPT – EVENING

The flower girl hears noises. She strikes a match and
reveals a crowd of cannibal.

FLOWERGIRL
Oh please sirs! I ain’t doing no
harm! If I could just have this
little corner?

The Cannibals descend on the flower girl.

CANNIBAL #1
Keep the meat fresh!

FLOWERGIRL
Oh please God no! No

INT. GRAVEYARD – LATER

Septimius is by himself searching the graveyard for traces
of Victoria. He hears a noise behind him.

SEPTIMIUS
Hello! Is anybody there?

No response but further noises to his left and rear.

Septimius hurries on and come to a walkway cutting across
his path.

SEPTIMIUS (cont’d)
Bother now…I think.

Septimius takes the left fork and follows it for a while but
come to a dead end. He potters about looking when ore noises
this time much closer.

SEPTIMIUS (cont’d)
Hello! I can hear you I warn you I
am armed!

Septimius now lost hurries…twists and turns…every way
looks the same…is he going in circles…he sees an firure
appear out off the gloaming.

SEPTIMIUS (cont’d)
I warn you I’m armed!

GATEKEEPER
That’s not necessary Sir. Are you
lost?

SEPTIMIUS
Why yes I seem to be. Who are you?

GATEKEEPER
I’m the Gatekeeper Sir. Yes this
part of the graveyard can be
confusing…especially at night.
Out for a walk then?

SEPTIMIUS
Eh yes. I thought I’d look around
and see what I could see.

GATEKEEPER
Well if you have had enough for the
night Sir allow me to guide you
back.

SEPTIMIUS
Yes indeed. If you would be so
kind.

They reach the Lodge by the gates.

SEPTIMIUS (cont’d)
Well thank you.

GATEKEEPER
Not at all Sir. Now if that’s you I
need to lock the gates.

SEPTIMIUS
Yes yes that’s most kind…tell me
are you alone here?

GATEKEEPER
Alone? Well there’s me and the wife
if that’s what you mean?

SEPTIMIUS
No I mean is there anybody else…
here. Living in this place.

GATEKEEPER
As I say Sir it’s time for me to
close the gates.

Septimius slips the gatekeeper a few coins.

SEPTIMIUS
For your trouble. No I mean apart
from you and you wife.

The Gatekeeper pauses then look around slowly. He points to
several large mounds.

GATEKEEPER
See those sir? Those queer humps?

SEPTIMIUS
Yes indeed. What of them?

GATEKEEPER
They’re called the famine pits Sir.

SEPTIMIUS
What of them?

GATEKEEPER
Mind what I heard from my father
now. He kept this place afore me.
Well he told me in the times of the
great hunger they’d bury the dead
in those.

SEPTIMIUS
Yes. What off it?

GATEKEEPER
Well sometimes they weren’t too
picky going about it. If you looked
at death’s door they’d often throw
you on the dead cart anyway. Save
themselves two journeys if you
like.

SEPTIMIUS
It was a terrible time. Thankfully
we are more civilized nowadays.

GATEKEEPER
Well I was told that some managed
to claw their way through the dead
to the surface and sought shelter
in the old parts of graveyard.

SEPTIMIUS
And you think they are still there?

GATEKEEPER
(Alarmed)
Look ye I told you a story my
father told me. Now you have to
leave Sir.

SEPTIMIUS
But does this

GATEKEEPER
I don’t look for no trouble. I
guard the walls and keep the gate.
Now Sir
(indicates gates)
If you don’t mind?
ACT 3

INT. GRAVEYARD – AFTERNOON
A company of Militia, together with police, are assembled
outside the graveyard gates.
Septimius approaches the Magistrate.

SEPTIMIUS
Good Day Sir.

MAGISTRATE
Ah and good day to you Doctor.

SEPTIMIUS
I see you got your troops.

MAGISTRATE
(laughs)
The gallant Major’s reinforcements
arrived early this morning. Too
early for some from the cut of
them.

SEPTIMIUS
(laughs)
Yes I’d wager our happy warriors
would rather be home in barracks
that out on a day like this.

Septimius indicates the crowd inside the graveyard blocking
the entrance.

SEPTIMIUS (cont’d)
I’d didn’t expect such objections.
Did we not get permission from the
Archbishop himself?

MAGISTRATE
The Archbishop managed to sooth the
Ribbonmen but this lot
(he indicates the mob)
are led by these damned American
Fenians. There is no reasoning with
them.

SEPTIMIUS
But they know that most of the
victims have been Papists?

A volley of stones thrown by a crowd that has gathered
behind the Militia and rattles at the gates.

MAGISTRATE
Damnit! The Orangemen are getting
restless. The last thing I want is
another faction fight! The people
are still hot after that Fenian
damned rebellion.
(The Magistrate rushes
off)
Major! Major! Where is he damnit!
Serjeants, serjeants! Push that mob
back damnit!

The Police form a line against the Orangemen and start to
push them back.

Inside the Priests seem to have asserted control and are
leading the people in a Mass. The Fenians are hanging back
looking annoyed.
Dusk falls and torch lights are lit.

EXT. GRAVEYARD – LATER

The Priests are leading the people in a religious ceremony
held to cleanse the graveyard of evil.

We see the cannibals gathering. One or two in the gloom
amongst the stones, then more.

The Priests and people inside the graveyard have noticed and
are starting to huddle together.

MAGISTRATE
(rattles the gate)
Damnit! Open the gate! Let us in!

The cannibals attack the people in the graveyard. Priests,
nuns, the lot are being butchered.

The Orange mob has fallen silent.

MAGISTRATE (cont’d)
Open this gate! Damnit where is the
Major?

The Major stumbles out of the carriage where he has been
picnicking. His napkin is still tucked into his collar.

MAGISTRATE (cont’d)
Damnit! There you are! Get this
gate open now!

The Major runs off shouting for his Serjeant Major.

MAGISTRATE (cont’d)
(exasperated)
Damnit!
(points to a file of
Militia)
You lot! Get that damn gate open!

CORPORAL
Bur Sir

MAGISTRATE
Get it open now!

The Militia start working on the lock of the iron gates.

SEPTIMIUS
No! Lift the gates off their
hinges!

MAGISTRATE
Yes! Lift those damn gates!
(gestures to Major at the
head of more Militia)
D’ye hear me! Lift those gates off
now!

The police and military burst through the gates and join the
fight as survivors pass though them.

MAJOR
Fix bayonets Lads! Forward!

The cannibals quickly melt away.

MAJOR (cont’d)
Stand and fight you cowards!

MAGISTRATE
(to Major)
Have your men spread out search for
the Tinkers.

MAJOR
(stiffly)
This men are under my command Sir!

MAGISTRATE
The command them to follow my
suggestion damnit!

The Major turns to comply.

MAJOR
Serjeant Major! Serjeant Major!

MAGISTRATE
Oh and Major.

MAJOR
Sir?

MAGISTRATE
If you’ve finished dining Sir
perhaps the napkin is superfluous?

The Major snatches off the napkin and storms off.

MAJOR
Serjeant Major! Serjeant Major!

MAGISTRATE
(to Septimius)
No wonder we bloody nearly lost
India.

It is dark now and the searchers are using torches.

MAGISTRATE (cont’d)
Head Constable! Where’s Henry?

A Head Constable approaches.

MAGISTRATE (cont’d)
Ah Henry what transpires outside
the gate?

HEAD CONSTABLE
Quiet now Sir. They’re not so full
of piss and vinegar now they’ve
seen what could await them.

MAGISTRATE
Well and good.

SEPTIMIUS
And inside the graveyard? Have we a
tally on the Butcher’s bill?

HEAD CONSTABLE
I’d say about a dozen Papists
Doctor. There’s some were taken out
with them as they fled but

MAGISTRATE
A dozen! But what of the Tinkers?

HEAD CONSTABLE
Well Sir, that’s a queer thing.
There’s none to be found, some
blood on the ground perhaps but
they seem to have taken their
fallen with them.

The Serjeant Major approaches.

SERJEANT MAJOR
Good evening gentlemen.

MAGISTRATE
Ah Serjeant Major welcome. Where
pray is the Major?

SERJEANT MAJOR
The Major presents his compliments
and feels that since the battle is
won his talents would be of better
use in Musgrave Barracks.

MAGISTRATE
We are bereft at his loss but must
bow to his experience. So what can
you tell us?

SERJEANT MAJOR
I have the Company spread out in
half dozen packets throughout the
graveyard but it’s difficult to
seen blood on the ground in this
light.

MAGISTRATE
Did you suffer any losses?

SERJEANT MAJOR
One or two with sore backs from my
cane but thankfully no losses.

MAGISTRATE
Maybe we should hold the area until
daylight and

SEPTIMIUS
No Sir! We must stay at the job in
hand.

MAGISTRATE
Doctor! At night when we cannot see
a hand in front of our faces bar
the courtesy of a torch. What use

SEPTIMIUS
It will be just as dark underground
day or night.

SERJEANT MAJOR
Underground! By God what

HEAD CONSTABLE
He’s right. We’re here. We may as
well put and end to it.

SERJEANT MAJOR
But where

SEPTIMIUS
Think about it man. The cannibals
attacked then faded away taking
their dead and wounded with them.
(Septimius looks around)
But I see them not…do you…have
your men found them?

SERJEANT MAJOR
No.

SEPTIMIUS
Well then if they are not above
ground they must be below. In the
old crypts which I warrant they
have constructed a rat-run of
tunnels between.

MAGISTRATE
Tunnels?

SEPTIMIUS
It is a logical step if you seek to
live, to move around in this place
without being seen.

SERJEANT MAJOR
Sir, whoever you are, you’re fair
making my flesh crawl at the
thought of going

SEPTIMIUS
Nevertheless I must go. Victoria is
still missing and below ground is
the likelyist place she is being
held.

MAGISTRATE
Well then what do you say Serjeant
Major?

SERJEANT MAJOR
My men will do their duty above or

HEAD CONSTABLE
No. We’ll go.

MAGISTRATE
Henry?

HEAD CONSTABLE
With all due respect them’s our men
lying it the carnal house
(indicates the serjeant
major)
Not your’s.

A silence.

MAGISTRATE
Well then that’s decided. Henry if
you were to take your men to search
the crypts and any tunnels you may
find and

SERJEANT MAJOR
You flush ’em out and we’ll finish
the job.

HEAD CONSTABLE
(nods)
Serjeants! Four squads with
lanterns…and issue cutlasses!

INT. LABORATORY – EVENING

Billy is working alone on the gantry lowering in a fresh
corpse. We see it cracking and fizzing as the acid stripes
the flesh from the bones.

Railings run along both sides of the gantry but on one side
is replaced by a chain which is undone to allow the hoists
room to function.

BILLY
Rats he says. I’ll give him bloody

Billy stiffens. Slowly turns round to see a pair of
cannibals at one end of the gantry. A quick look to his rear
shows another pair at the other end. No escape.

BILLY (cont’d)
Rats!

CANNIBAL #1
Time to die old man.

The cannibals close in scraping their claws along the
railings.

BILLY
I may have something to say about
that.

CANNIBAL #1
Nobody’s asking.

BILLY
You talk too much boy.

The cannibals advance.

Billy swings the pulley block around catching one of the
cannibals full in the face; he falls to his knees.

BILLY (cont’d)
Not so clever now!

Billy rushes past the fallen cannibal. There is only one
standing between him and freedom.

Billy jabs his thumbs in the remaining cannibals eyes. The
cannibal howls.

BILLY (cont’d)
Ha! Belfast rules boy.

CANNIBAL #1
(rushing forward)
Seize him!

More cannibals climb onto the gantry blocking Billy’s exit.

BILLY
(singing low and quiet)
Abide with me, fast falls the
eventide
The darkness deepens Lord, with me
abide
When other helpers fail and
comforts flee
Help of the helpless, oh, abide
with me

CANNIBAL #1
There’s no God here.

BILLY
(sings)
I fear no foe, with Thee at hand to
bless
Ills have no weight, and tears no
bitterness

The cannibals hold Billy tight. He struggles but cannot
break free.

The leader approaches and pokes Billy in the stomach.

CANNIBAL #1
I shall enjoy cutting you open and
feasting.

BILLY
(singing)
Where is death’s sting?
Where, grave, thy victory?
I triumph still, if Thou abide with
me.
(He stares directly at
the cannibal leader)
I’ve shit better than you.

Billy suddenly grasps the belts of the two cannibals holding
him.

BILLY (cont’d)
(singing)
Where is death’s sting?
Where, grave, thy victory?
I triumph still, if Thou abide with
me.

Holding tight Billy steps back and all three fall into the
acid bath.

INT. CRYPT – EVENING

Septimius and the police push the door open and enter the
crypt. They stagger back with the stench.

A policeman vomits in the corner.

Septimius holds up his lantern. The floor is strewn with
bones. Septimius picks one up and examines it.

SEPTIMIUS
Human. Gentlemen I think we are
closing in on the nest.

POLICEMAN #1
Serjeant look you here!

It is the Flowergirl in a corner. Her face has been cut off.

POLICE SERJEANT
My God!

Septimius prods her face with a finger.

SEPTIMIUS
I think

The Flowergirl moans. Everybody recoils.

POLICEMAN #1
She’s alive! Doctor?

Septimius pauses then draws out a small scalpel. A thrust,
the body judders then relaxes.

POLICE SERJEANT
Doctor! What have

SEPTIMIUS
A kindness Serjeant, the only one I
could offer.

POLICEMAN #1
But

SEPTIMIUS
Gentlemen we must keep moving. Has
anyone found an entrance?

POLICEMAN #2
Here Sir. Look my candle is
guttering.

POLICE SERJEANT
Quick lads move them coffins out of
the way!

The coffins are moved and the Serjeant traces the outline of
a door with his finger.

POLICE SERJEANT (cont’d)
You’re right. Quick your cutlasses.
Pry this open!

The door is opened and the party reel back clutching their
noses.

POLICE SERJEANT (cont’d)
Dear God!

POLICEMAN #2
What manner of men are these?

POLICEMAN #1
The stink of them!

SEPTIMIUS
Nevertheless we must go forward.
Serjeant might I suggest that one
of your men notify the Magistrate
of our finding and that we are
entering a tunnel?

POLICE SERJEANT
Yes I think…
(points to a policeman)
It’s your lucky day son. Run back
and tell the Magistrate what we’ve
found and that we are now to
investigate this tunnel. Go on lad
hurry!

A policeman runs off.

POLICE SERJEANT (cont’d)
Ready lads? Doctor if you would
fall in behind?

SEPTIMIUS
Serjeant it’s my wife that

POLICE SERJEANT
And it’s my duty to try and keep
you safe.

The party moves into the tunnel with the Serjeant in the
lead. Septimius brings up the rear.

INT. TUNNELS – EVENING

The tunnel is narrow and dark. In places they are forced to
their knees. At times it divides. Noises are heard echoing
around them.

SEPTIMIUS
Wait for me.

Silence.

SEPTIMIUS (cont’d)
Serjeant!

VOICE
(faint echo)
Doctor.

Septimius is confronted with a junction. He listens.

VOICE (cont’d)
(faint)
Doctor.

SEPTIMIUS
Damn it! Serjeant!

Confused sounds.

Septimius hesitates then plunges to the left.

He comes across a dead policeman, then another. Terrified
Septimius tries to turn around but hears sounds approaching
from behind.

SEPTIMIUS (cont’d)
(screams)
Serjeant! Serjeant! I’m here!

The sound of claws on stone.

Septimius plunges ahead left, right, whatever. He is
sobbing.

A light ahead. A grill. He can see the stars through the
bars.

SEPTIMIUS (cont’d)
(hysterical)
Help me! help me! Please for the
love of God they’re coming!

The sound of claws on stones gets louder.

Figures appear outside the grill.

SERJEANT MAJOR
Who’s that?

SEPTIMIUS
It’s me Doctor Grant! Please for
the love of God they’re coming!

SERJEANT MAJOR
Right lads get the good Doctor out
now.

Strong fingers, bayonets make short work of the grill and
Septimius is pulled

SEPTIMIUS
(screams)
Oh God they have me! Help!

SERJEANT MAJOR
Pull lads. Here give me that!

The Serjeant Major seizes a musket with fixed bayonet and
thrusts it frantically into the tunnel behind Septimius.

A squeal and Septimius comes free. His trousers are shredded
and his legs bloody.

Septimius scrabbles away from the exit.

SEPTIMIUS
Burn them! Burn them!

SERJEANT MAJOR
Now Doctor we

SEPTIMIUS
They’re all dead! There’s nothing
alive there! Burn them! Burn them
all!

EXT. GRAVEYARD – EVENING

POLICEMAN #1
More tar here! More tar!

Barrels of tar are manhandled of a cart and poured down the
tunnel exit.

MAGISTRATE
All clear now! All clear!

HEAD CONSTABLE
We’re ready Sir!

MAGISTRATE
Very good. Serjeant Major as soon
as your men are ready we will light
the fires.

SERJEANT MAJOR
Ready lads. Fix bayonets and ready
yourselves.
(to Magistrate)
We’re ready Sir.

MAGISTRATE
Then light the fires and God help
us all.

Burning Cannibals flee from unexpected exits. The police and
military hunt them down.

MAGISTRATE (cont’d)
View halloo! View halloo! There’s a
pair making a break for it!

Militia quickly intercept them and finish them off.

MAGISTRATE (cont’d)
Well killed sirs! Well killed!
B’God this takes me back!

INT. TUNNELS – NIGHT
The leader of the cannibals leads the last members of his
tribe to safety through the tunnels. They seem to have a
prisoner, we see a flash of Victoria’s clothes from the
back.

EXT. GRAVEYARD – DAWN

Mopping up.
Police guards are found with their throats cut by a postern
gate which lies open.

SEPTIMIUS
(knees down to examine
the bodies, to
Magistrate)
We have a problem.

MAGISTRATE
How so?

SEPTIMIUS
These poor souls have died within
the hour.

MAGISTRATE
Damnit! That means

SEPTIMIUS
Some have escaped.

INT. LABORATORY – EVENING

Septimius is working in the lab. It is late.

SEPTIMIUS
Victoria would you pass

He pauses for a moment then returns to his work.

INT. ELSEWHERE – EVENING
We see the surviving cannibals in a dark dank place. They
are worshipping the figure of a man with the head of a goat.
It turns and looks directly at us.

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• This reply was modified 2 years, 9 months ago by  Jeremy Cooke. Reason: formatting