In the midst of the storm of the century, a group of research scientists become stranded at a remote Antarctic base. With the weather worsening and food supplies getting low, desperate times call for desperate measures.
A stranded group in an isolated Arctic location. Low on food, high on paranoia… faced with the need to survive against all odds. Over the years, that scenario’s made for several damned good (and surprisingly varied) films. The Grey. Thirty Days of Night, to name just two. The premise is a recipe for success… if handled correctly. Stephen Wells is a writer that does just that, carving a fresh tale from the concept’s icy foundations.
The heroine of this particular story is Sarah – a researcher at the Bellingley Antarctic Research Station. A storm has hit, and food is running low. Sarah’s husband, Cole, plans to travel to a neighboring station to stock up on supplies. He’ll be back in less than a month – plenty of time. Sarah protests, but Cole insists. They have no choice. He takes off on the arduous trek – leaving Sarah and six other members of the team. Did I mention? Sarah’s pregnant, and almost due.
Not suprisingly, things get more dire as time passes. The team loses radio contact with Cole. As food stores dwindle, a member of the team, Doc, proposes a radical solution. I think you can guess what that is. As the team’s numbers decrease, the remaining survivors become more desperate. In a deadly game of eat or be eaten, who will live another day? Can Sarah save her unborn baby? Can she even save herself?
Beautifully and visually written, A Taste for Blood brings to mind aspects of several film classics: from The Shining to The Thing. But the script has a fresh feel of its own – perfect for a horror director with a taste for drama.
About the writer: Born and raised in England, Stephen Wells is a graphic designer who has been writing for 5 years after getting the screenwriting bug in 2009. He had a feature script optioned in 2013 and placed as a Quarter-Finalist in the 2014 Bluecat feature competition.
Budget: Not shoestring. But don’t let the setting worry your frugal sensibilities too much. With the exception of an establishing shot (which could theoretically be pulled from stock footage), the story takes place inside. So a dingy warehouse and props could suffice, if handled artfully.
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