Trapped between our world and an otherworldly plain of ancient deities, a recluse wages a desperate physical and psychological war against the cosmic decay tearing his house and the fabric of reality apart. He sees the destruction of the Earth millions of years in the future. The recluse realizes he is to suffer an horrific death and has little trepidation of the hoard of daemonic swine-things that break through the cellar doors of his house and are about to attack him in his study. A link to a proof of concept video of the screenplay is included below. There is also a link to an MP3 table read of the screenplay below.
Type:
Feature
Status:
For sale
Page Count:
23pp
Genre:
Horror, Sci-Fi
Budget:
Independent
Age Rating:
17+
Based On:
the classic novel by William Hope Hodgson
Synopsis/Details

The House on the Borderland opens in a cosmic void, with the point of view belonging to the Recluse, an old man who has been torn loose from ordinary time. He floats in wavering darkness and speaks of the house still standing on a blasted heath, of eternity stretching endlessly, and of a malevolent thing that tries to control his actions. He sees a diseased, swollen sun drag an ice-encrusted Earth into its orbit and engulf it in fire, then glimpses a green sun giving birth to planets and galaxies. He senses the presence of ancient beings who despise humanity and mourns for Mary, his sister, who ages every time she searches for him. His words are confession, prophecy, and warning: the house is a borderland, and he is trapped inside it.
In 1877, in the pastoral Kraighton valley, two Victorian gentlemen, Tonnison and Berregnog, are fishing on a riverbank.
Tonnison is agitated and distracted, staring at rocks and claiming to see gambolling disembodied spirits, the “gentry” of folk belief. He speaks passionately of earth currents, invisible lands, and the need to open one’s mind to what is unseen.
Berregnog, pragmatic and sceptical, dismisses his talk as heatstroke and old legends. But Tonnison grows more intense, revealing that he stayed in this region the previous summer and was deeply disturbed by what he encountered. He tells Berregnog that they are near the House on the Borderland and that a leather diary will be found, a diary that holds the cryptic explanation for everything. Tonnison nearly collapses, and Berregnog leads him back to their tent. As they walk, Tonnison is haunted by visions: a wounded hound dragging itself through the weeds, a scribbling pen, and the faint voice of the Recluse.
The Recluse’s voice surfaces in fragments, filling in the history of the house. He describes the passing of millions of years, his sister Mary, a lost woman named Nanai, and the death of his dog Pepper, who turned to dust while the Recluse watched aeons pass. He remembers another dog and a cat, Tip, and he hears the hoarse grunts of debased, porcine abominations battering at his door. In a dreamlike memory, the Recluse kneels beside Pepper, asleep, only to touch a body that crumbles into dust. These visions are not simple flashbacks; they feel like memories pressing into the present.
That night, Tonnison sleeps restlessly and dreams the Recluse’s nightmare. In the old study, a candle burns and Pepper lies at the Recluse’s feet. There are soft footfalls in the corridor, scratches at the window, and the silhouette of a swine-thing retreating into deep shadow. The Recluse thinks of Nanai and the Sea of Sleep, but the monstrous presence outside his door will not be ignored. When Tonnison wakes, the dream stays with him.
The next day, the two men make their way to the ruins of the house. The plateau is scorched and reeks of sulphur; only foundations, a broken staircase, a fireplace, and tiled sections of floor remain. Tonnison hears the Recluse’s whispered account of repelling the swine-things that swarmed up from the gorge. Berregnog, uneasy, begins clearing debris near the fireplace and uncovers a small leather-bound book wrapped in oilskin, pressed against a human jawbone with three loose teeth. It is the diary. Tonnison says he knew Berregnog would discover it. The diary’s pages are water-damaged, decayed, and stained with what appears to be dried blood. The first legible line reads: “I am an old man. I live here in this ancient house…” Berregnog is disturbed but fascinated, and he agrees to read the entries aloud after supper. The sky darkens quickly, and both men feel watched.
That night, Tonnison enters a deeper dream. The Recluse’s astral body looks down on the house, which transforms into a jade-green replica of itself, surrounded by enormous shades of gods, monsters, and swine-things. He is carried through the Sea of Sleep to a mountain temple with Doric columns and green jade peaks, where the old ones mock and torture him. He screams to wake, and the house itself seems to protect him, drawing his spirit back into his earthly body. But the torment does not end.
In the study, the doors unbolt by an invisible hand, and a monstrous swine-thing enters, its face glowing green. The Recluse is beaten and devoured in his own chair as blood pools on the floor. It is his death, witnessed by Tonnison as a kind of inherited memory.
Morning brings a harsh return to daylight. Berregnog is packing, pale and angry, asking whether the Recluse was insane.
onnison insists he was not. Berregnog accuses the old man of letting himself be killed; Tonnison says the Recluse welcomed death. Berregnog is too unnerved to stay and declares he will walk forty miles rather than spend another night in the valley.
Tonnison is unwavering in his beliefs over what he dreamed. He still has the diary. One day, he stares across the river and fails to see Pepper on other banking, who observes Tonnison.

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The Writer: Glyndwr Edwards

To create original stories has been my primary aim and I am always fascinated when the premise alters during writing and takes an unexpected turn. This usually results in a better outcome. There is so much that is left unsaid, with forgotten stories, that the field is never exhausted in whatever genre a writer specialises. In collaboration with my brother, we have written a number of short screenplays based on forgotten aspects of British Folklore and History. The screenplays have been praised for their originality and ambiguity, with the story being left to the discretion of the reader to draw their own conclusion. This will be seen in the follow up to "The Brotherhood of Shadows": "Veils… Go to bio
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