A Letter From Hell

ACT I

SCENE 1

EXT. CHINA. HONG KONG. 1894. NIGHT.

It is the middle of the Evening. The streets are lit with Chinese lanterns. Candles sit in shop windows. An Elderly Lady is seen dragging her daughter down the street, pulling her hair. She drags her into a nearby shop with much more lighting than the other shops. We see a close up of the young girls face crying and screaming.

NARRATOR

The year is 1894. The Chinese have always been notorious for there unusual and deemed unmoral delicacies. In the time of poverty and hunger, It is no longer a question of morals. It is a choice of survival. Those able to make cruel and evil choices. They will be the driving force into the new world.

SCENE 2

EXT/INT. CHINA. HONG KONG. CHINESE MARKET. 1894. DAY

The town square is booming with activity, people shopping, calling out to people, stall keepers shouting to customers. It seems like everyday in Hong Kong. There is a loud crowd swarming around one individual stall. The Customers frantically trying to get the owners attention to be served. looking from behind the crowd, it becomes clear that there are human body parts hanging from meat hooks swarmed by flys. Specifically, childrens body parts hanging down. Legs, Arms, Torsos and a childs head hanging from hooks. It becomes clear people are selling these children as meat and it seems natural and people are eager to get there share.

MALE 1

1lbs of that girls behind! 

FEMALE 2

2lbs of thigh please!

SHOP OWNER

Right! We're Out of Torso!

SCENE 3

INT. CHINA. HONG KONG. HOUSE. 1894. EVENING.

A large fire is buring away. A large pot is brewing away, meat sizzling in the boiling waters. An Elderly lady is seen at the table chopping away at the thigh and arm she bought earlier. Chopping them into a stew. She has no expression on her face. shes chops, throws them into the water, adds vegetables and begins to stir. Her husband enters the house, exhausted, covered in dirt and dust. He takes a seat at the table. She brings the pot over and pours the stew into his bowl. He begins to eat, as if he has never had a meal before. She smiles. 

ACT II

SCENE 4

INT. SHIP CABIN. HONG KONG DOCKS. 1894. NIGHT.

Aboard the Steamer Tacoma Cpt. John Davies is sat in his ship chamber alone, eating a feast. Various meats are laid out on the table. A knock comes from his chamber door.

FIRST MATE

Cap'n?

JOHN DAVIES

What?! Cant you see im busy!

FIRST MATE

A thousand 'pologises Cap'n.

JOHN DAVIES

Well What is it then?! spit it out!

FIRST MATE

Th' Crew were wonderin' if we could have a few coins of silver for some grub'.

JOHN DAVIES

Take it and Fuck off already! (throws coins onto the floor) 

John jumps up from his chair in anger at the disturbance. The first mate cowers. Hiding behind the door.

FIRST MATE

Thank ya' Cap'n!

John returns to his seat, returning to eat the flesh upon his table.

SCENE 5

EXT/INT. CREW QUARTERS. HONG KONG DOCKS. 1894. DAWN.

The first mate returning to the ship, with a large wool bag, dripping blood down his back. 

The crew sat around the table, hungry, eager at the meal awaiting them. The chef, walks over to the large table with a large tray layered with meat, placing it on the table. 

The door swings open. Captain John Davies is standing in the archway. The crew look on in confusion.

JOHN DAVIES

What in God's name do you filthy creatures think you are you doing?!

The crew sit there in shock. 

JOHN DAVIES

Well Answer then!

They look at each other, the first mate stands up nervously.

FIRST MATE (TREMBLING) 

Whats the problem Cap'n?

JOHN DAVIES

Problem! PROBLEM?!

The first mate nods his head.

JOHN DAVIES

THE PROBLEM IS I GAVE YOU THREE SILVER! AND YOU COME BACK WITH THIS?!

FIRST MATE

But.....

JOHN DAVIES

YOU STOLE IT?!

FIRST MATE

No Cap'n, I swear!

JOHN DAVIES

Get out.

FIRST MATE

But Cap'n.

JOHN DAVIES

Leave now. Or god be my witness, I will carve your heart out and feed you it for supper. LEAVE!!!

The crew stand and rush out of the room. Leaving the Captain and the steaming meat lay out on the table.

He approaches the table. Takes a seat. Laying a napkin on his lap he begins to eat. 

Looking down, he sticks his fork into a cooked human nose. Inspects it, then continues. He continues, picking up a ear, wolfing it down. 

He clears the entire tray. 

JOHN DAVIES

Nothing can compare to the succulence that is a fresh child.

ACT III

SCENE 6

EXT/INT. DOCKS. NEW YORK. 1895. DUSK.

The crew are unloading the ship. Captain John Davies leaving the ship, wrapped in his silk cloak, spots a young boy moving small crates. The boy is about 11 years old. John approaches the boy. Hunger in his eyes.

JOHN DAVIES

Hello young sir.

BOY

What can I do you mister?

JOHN DAVIES

Theres a few important bags below the deck. Carry them home for me, and I shall give you one shiney silver coin.

The childs eyes light up. Dropping the crate, runs for the stairs to the lower decks.

John waits.

The child returns with Johns bag.

BOY

Where do you want them mister?!

JOHN DAVIES

406th St.Brought, Number 100. The key will be in the lantern beside the door.

The child runs down the street with the bags in hand. John begins to follow.

SCENE 7

INT. JOHNS HOUSE. NEW YORK. 1895. NIGHT.

The door slowly opens. John enters. The young boy is sat at the chair, the bags by his side. Hes eating an apple stairing into a fire, unaware of Johns presence.

John approaches the child from behind. He slides a knife out of his belt. Grabbing the young boy by his head, he slices the boys throat. Unable to react, the boy sits there, apple in hand, blood pouring and white as a ghost. 

John drags the boys corpse into his kitchen. lays his body onto a table. removes his clothes. Removes a cleaver from the wall. Strokes the boys head and begins chopping him into pieces. John continues chopping, with a hungry smile on his face.

JOHN DAVIES

Nothing Like It.

THE END

Aftermath (Unfinished)

Aftermath

Scene 1

Ext: Wasteland

The sun descending into the horizon and begins to slowly descend onto the entrance of a large grey concrete bunker peaking out of the ground, left of the frame. There is a sign on the left of the entrance to the bunker, it reads “for those who chose life”. The sign is rusted and shows signs of age. The entrance to the bunker is similar to a large cogwheel, centre of the bunker.

Int: Bunker

There is a strong light inside of the bunker, revealing a man like shadow standing at the entrance, centre frame, creating a black shadow.

The camera opens on a shot of a deserted wasteland for 5 seconds. Cut to a shot of a close up of the sign. As the camera zooms out, there is a loud bang coming from the bunker door, dust falls from the top of the bunker, due to the vibrations of the bunker door beginning to move, in this shot the camera remains fixed on the bunker door as it opens. As the bunker doors rolls to its left,. Cut to a shot to a low angle upward shot of the characters left, revealing only a small fraction of the characters facial features.

Female computerized voice: Thank you for using ‘CryoHappy’ Industries.

Male character: What year is this?

Female computerized voice: The year is 2109.

Male character: Feels like it was yesterday I signed up for this program.

Ext: outside the entrance of the bunker

Character centre of frame, he is a broad, medium heighted man, roughly in his mid 20’s, he is wearing a tight black suit with red stripes running down the arms and legs of the suit, with the numbers 223 are on the back of his suit.

The male character exits the bunker; cut to a wide-angle shot allows the audience to see the character. Cut to a shot of a wide low angle shot of the back of the man walking away into the wasteland from the point of view of the door.

Scene 2

Ext: desert landscape

Desert like, sand blows in the wind, there is a small girl with a muddy face, wearing a torn red dress clutching a small teddy

The camera is at a low angle showing feet run past the camera, it is mid day, and the sun is out. Cut to a shot showing the girl running from an unseen entity, the camera carries on tracking the girl, showing the expression on her face, her face is that of pure terror and tears run down her face. Cut to a low angle shot of the pursuers, claw like feet running at a very fast pace. Cut back to the child running from her pursuers, cut to a close up shot over her shoulder, showing that she is running into a large rocky valley.

Ext: rocky valley

Large V shaped valley with large black rocks sticking out from the ground standing roughly 15 feet high.

Cut to a tracking shot from behind, the girl trips and is thrown forward into the dust, cut to a low angle shot of her face, we see her expression as she realises that she is about to be attacked, cut to a long shot of her rolling over to face her pursuer, looking directly into the camera.

Ext: above rocky valley

Male character standing centre shot, clear lighting allows the audience to see the character clearer. His sidearm glimmering in the sun. Black large creatures, other features hidden from the camera.

Cut to a shot of a high angle over head shot of the man standing on the rocks, then cut to a low angle shot looking up on the man, expression of concern, cut to a high angle shot of him sliding down the side of rock, upholstering a sidearm, cut to a medium establishing shot of him standing in front of the girl, he aims his sidearm and fires to shots into the camera. Cut to a low angle showing some form of misshaped carcass, black with large spines, and the shot also prevents us from getting a clear view of the pursuers. Cut to a long shot waist level angle showing both the girl and man, he out stretches his hand, she accepts and he helps her up, cut to close up so we can see the characters faces.

Male character:

You seemed like you were in a hurry.

Small girl (she is sobbing):

Those were the demons, they’ve killed my family, oh god.

Male character (trying to console the child):

It’s okay, I’ve dealt with them, you need to be strong, why don’t you tell me your name?

Small girl (whipping away her tears, but still crying):

My name is Claire, who are you?

Male character:

I am Kovac. We better should leave.

Cut to a long shot showing the pair walking away from the camera. Fade to black.

Scene 3

Ext: top of mountainside

It is now night time, the pair are standing, centre frame on a mountain top, looking down on a large wasteland, in the distance a large stone structure can be seen with small fires glimmering, a whistling can be heard in the wind.

The camera is at a high angle shot over the heads of the pair, showing a medieval fortress in the distance, spanning across a mountain. Cut to a point of view shot of the two staring into the distance, Claire looks up at Kovac, cut to a close up shot of Kovac, his expression of showing concern.

Kovac:

Now this is starting to get interesting.

Ext: outside fortress

The fortress is a large stone structure; the stones have strange markings on them, there is a large wooden drawbridge in the centre of the fortress.

Cut to the camera zooming out as the pair begins to descend towards the fortress. As they draw closer to the fortress, cut to a over the shoulder shot, showing the point of view of Kovac and Claire can see, as they get closer, cut to a birds eye shot of the pair crossing the bridge.

Int: inside fortress

The interior of the fortress is a medieval style market place; the streets are empty, with only a few guards patrolling the alleys. The guards are in strange red metallic armour, holding large axes; on their armour there is a crest of a large demonic skull.

As Kovac and Claire enter the fortress, cut to establishing shot of the guards, looking at Kovac strangely, cut to a tracking shot at eye level of Kovac and Claire for 10 seconds walking through the alleys of the fortress.

Scene 4

Ext: outside great hall

There is a large wooden door embodied with gold.

Cut to a low angle shot, showing the sheer size of the doors, they begin do open.

Int: great hall

There are various sculptures of strange creatures formed from a sliver web in front of large pillars, both to the left and right of the frame. There is a throne in the centre frame, there is a middle-aged man, wearing bulky red and gold armour with an ornate crown upon his head, and sword lay by his side.

Cut to an over shoulder shot of Kovac and Claire entering the hall. Cut to tracking shot from behind remaining at an over the shoulder shot, as they continue the camera begins to pan left showing sculptures. Cut to an overhead shot from behind the stone chair, showing Kovac, Claire wanders off out of shot.

Unknown character:

I am Oden. I rule these treacherous lands. And who might you be, champion?

Cut to a shot of Kovacs point of view, revealing the unknown character, the shot returns to a close up of Kovac. He appears puzzled.

Kovac:

It’s Kovac, and why don’t you start by explaining to me what the hell those things were.

Cut back to a headshot of Oden.

Oden:

Those you vanquished, were demons, they wish to strip us of our very souls. If I am correct I believe you are from the old times, so I’m certain you have a slight lack of knowledge on what has happened in these past centuries, allow my adviser to give you the details.

Int: throne room

There is a young woman, the adviser, standing in the shadows, right of the throne, she is dressed in a long black robe, and a long tail is visible beside her, posed like a snake. She has creature/human like features.

Cut to a shadow of right of the throne, a dark figure emerges, cut to a full body shot of the “adviser”.

Adviser:

In 2012, your scientists meddled with a machine that would cause atoms to move a speed faster than light, it was believed to give a representation of what they believed was the creation of life, resulting in the God particle, but this was only a theory, when the machine began to does as desired, they did witness the beginning of life, but not what there science believed, what actually happened was they brought about a gateway to hell, striking with nuclear weapons they thought they could prevent the problem from spreading, but instead they caused there own demise.

Close up shot of Kovac’s face, his expression now serious.

Kovac:

You mean hell on earth? That’s new.

Adviser:

Now we face the threat of the demons that have been unleashed from hell.

Cut to a low angle shot at a guard bursting through the doors, screaming “there here!” Cut back to Kovac, Oden and the Adviser. Cut to a long shot of the three racing to the door.

Ext: outside the throne room

In the distance fires can be seen, and screams can be heard, after activating his suit, Kovacs armour has a yellow tint to it, and a female voice saying “maximum speed”.

Cut to an over the shoulder shot of Kovac looking into the camera and cut to a high angle establishing shot, showing the carnage of the attack. Cut to a shot of Kovac raising his wrist. Cut to a bird’s eye-view shot of Kovac, jumping from one ledge to another and sprinting.

Scene 5

Ext: fortress alleys

There are many warriors in red armour battling various demons of different shapes and sizes, 2 warriors armed with axes are fighting a demon standing at 10 foot tall, when the demon attacks, it tears their souls from them.

High angle establishing shot of a large battle outside of the fortress, cut to a low angle shot behind the warriors, showing the sheer size of the demon. The shot changes to another high angle shot over the large demon, the warriors throwing their axes at the demon, the demon then retaliates, killing them instantly.

When Kovac taps at his wrist, his suit now has a red tint, his sidearm now changing into a melee weapon

Cut to an upward low angle shot of Kovac, he quickly taps at his wrist, cut to a over-shoulder shot behind Kovac upholstering his sidearm, cut to tracking him run up a stone mound, leaping, slicing downwards at the large demon. Cut to low angle shot of Kovac slicing at the demon, guts dropping to the floor, as he swings, cut to a high angle shot over the shoulder of the demon, swinging for Kovac, scratching at his suit, cut to a close up shot of scratch and blood pouring from Kovac’s leg, which closes up instantly. Cut to close up of Kovac’s head pull up his expression changing to a smirk. Medium angle shot of Kovac and the demon, him swinging upwards and splitting it from head to toe. Cut to a high angle shot of the demon hitting the floor, and turning into a strange red gas. Cut to an over the shoulder shot of Kovac, cut to a bird-eye view of the rest of the battle. Cut to a close up of Kovac.

Kovac:

So this must be hell on earth.

Fade to black.