Lamb to the Slaughter 

Shooting Script 

by 

Oliver Horsfield

oh05250531@priestley.ac.uk

Adapted from a short story by Roald Dahl

Characters.

Patrick Maloney, white 25

Mary Maloney, white 25
Jane, white 24
Justin, white 26
Shopkeeper, 37 white
 FADE IN:

INT. JANE’S HOUSE - BEDROOM - MORNING

WE OPEN on a detached house in Warrington. There are birds sat on the window ledge
whilst the morning sun illuminates the windows making them shine and glisten. We slowly
push closer to the house which allows us to see the interior. The camera picks up pace and
follows someone's legs walk up the stairs from a low angle. We then follow the same
person into a bedroom where we see a woman lying in bed.

CUT TO:

2 INT. JANE’S HOUSE - BEDROOM - MORNING

The bedroom door opens and in walks a big, muscly man with a tray of food. Patrick has a
smile on his face as he passes the tray to Jane who is lying in bed. She smiles back. Her
hair is messy and she’s wearing pyjamas.

JANE
Breakfast in bed, it must be my lucky day. What’s up with you today?
Patrick sits on the bed. He rests his arm on Jane. We see Jane gazing into his eyes. She’s in love
with him. She blushes when mentions that he loves her.

PATRICK
I’m just treating the woman that I love and the woman that I am starting a family with. How are
you feeling this morning?
JANE
I was up in the night but only a few times. I can’t believe in less than a month we will have a child
together. The last eight months have flown by and we still haven’t decided on a name.
Patrick gently rests his hand on Jane’s stomach. Jane puts her hand on top of his. They both
smile.
PATRICK
I love the name James if he is a boy or Jenny if she is a girl.
JANE
I was thinking the same for a girl but not James for a boy. My cousin is called that and he is
always rude.
PATRICK
Well let’s hope that she is a girl then but until then I will keep on thinking of different names.
That’s what I normally do when I’m at work anyway because there isn’t much crime in Warrington
at the moment.
Mary sneakily grins. Her sarcasm makes Patrick laugh whilst shaking his head.
JANE
(SARCASTICALLY) Officer Maloney I hope you’re not skiving at work. What would your boss say
about that?
 2
Patrick gradually stands up. Slowly removes his hand off Jane’s stomach.
PATRICK
(LAUGHS) I would never do such a thing. Talking about work, I need to get in the shower and get
ready.
 1

FADE IN:
2
INT. JANE’S HOUSE - WARRINGTON - MORNING
WE OPEN with a hand reaching towards a kettle. We slowly see more of the kitchen which helps
us identify that the hand was Jane’s. She pours water into a cup and starts stirring it with a spoon.
She walks over to the fridge and pulls out a carton of milk. She pours the milk in and stirs with the
same spoon. She walks over to the kitchen table where she places the cup of tea.
CUT TO:
INT. JANE’S HOUSE - WARRINGTON - MORNING
Jane walks over to the kitchen door. The door is underneath the stairs. She shouts Patrick to let
him know his cup of tea is ready and if he’d like it in a flask so he can have it on his way to work.
JANE
Patrick I’ve made you a cup of tea. Do you want me to put it in a flask?
Patrick sitting on his bed shaking his head. Glances at a picture on his phone of him and Mary
and looks down at the floor.
PATRICK
(OFF) Yes please. I’ll be down in a minute.
Jane leant with her back against the kitchen counter. She looks like she’s thinking about
something.
JANE
It takes him longer to get ready than it takes me. What is he doing up there?
PATRICK
Why can’t she leave me alone?
Patrick exits the bedroom and walks downstairs. He stops at the front door for a couple of
seconds to compose himself. He walks into the kitchen wearing his uniform.
PATRICK
Sorry about that love, I couldn’t find my belt. I should be back later on but I still don’t know what
time because I've got a lot of paperwork to catch up on.
JANE
No worries. I will make your tea and I will leave it for when you get home but don’t be too late
please, you do too many night shifts.
PATRICK
Thanks. I will try to not be late but you never know what will happen. There could be a tragic
event that will take place.
JANE
Don’t say that Patrick. Just make sure that you stay safe.
PATRICK
I will do. Goodbye love.
Patrick's hand picks up a flask of tea. He smiles as Jane and walks out the front door.
JANE
Goodbye. Don’t forget your tea.
 FADE IN:
INT. PATRICK’S CAR - WARRINGTON - LATE AFTERNOON
WE OPEN with a shot of Patrick’s car driving down a street. There are other cars and trees in
shot. Here we see a close up of Patrick's face. He looks sad and depressed. There is lots of
paperwork on the passenger seat next to him.
CUT TO:
PATRICK (V.O.)
What a long day at work. When there is no call outs to go to, there is only so much
paperwork you can do. Now I’m returning home to someone who I don't even love
anymore. How have I got myself into this position? I’m meant to be a police officer who is
a good man (PAUSE) but not anymore. My whole reputation will be ruined after this.

JANE
(DISTORT) Hello Patrick.
PATRICK
Hi, What’s up? I’m just working at the moment.
Jane is sitting at the kitchen table drinking a cup of tea. Wearing a dressing gown. She doesn’t
sound very energetic.
JANE
Oh, sorry I thought I would just check up on you. See what time you were home?
PATRICK
I should be home later. I still have a lot of work to do.
JANE
Okay. See you then.
 FADE IN:
INT. MARY’S HOUSE - WARRINGTON - LATE AFTERNOON
WE OPEN with Mary sitting at her kitchen table. She’s wearing her favourite white pyjamas and
slippers. She looks anxious and unsettled. She keeps on glancing over at the clock on the wall to
check the time as Patrick is meant to be at home.
CUT TO:
MARY (V.O.)
Patrick, where are you? Work can’t be keeping you for this long. How would you want to
be away from someone you are meant to love for this long. I’m always second best in his
life and that shouldn't be the case. No one should be working for this long. He has been
away for over 24 hours and he isn’t picking up his phone. This isn’t the first time this has
happened over the last couple of months either. I am going to ring him for the last time.
Mary picks up her phone. We can see Mary dial Patricks phone number. She looks very nervous
as the phone rings. Patrick doesn’t answer.
PATRICK
Hi, It’s Patrick. Sorry I can’t take your call. Leave a message and I’ll get back to you.
MARY
(V.O) Not again. He is normally always on his phone but when I ring him he doesn’t
answer. What is he up to? For all of these months, he has been working but I don't see any
more money in our account. Patrick has some explaining to do because I can’t do this
anymore.
 FADE IN:
INT. MARY’S AND PATRICK’S HOUSE - WARRINGTON - NIGHT TIME
WE OPEN with Patrick walking into the house. His top buttons are undone and his tie is around
his neck. He looks stressed. We see a close up of Mary’s face when she hears the front door
open. She looks very relieved.
CUT TO:
PATRICK
Hello. Mary are you home?
Mary looks on edge. Her heart has been racing so much she’s breathless. We can see her facial
expressions in detail. She looks upset which indicates that she’s been worried about him.
MARY
(BREATHLESS) Patrick! I’ve been worried sick about you. You haven’t answered a single phone
call of mine and you’ve been gone for a lot longer than expected.
PATRICK
Sorry, I’ve lost my charger and my phone died when I was at work. You shouldn’t be stressing
(PAUSE) it could affect the baby.
MARY:
Don’t worry the baby is fine but what about me? You have left your wife all alone for over a day
without getting in touch but you only ask how the baby is!
Patrick puts his bags on the floor. He sits down on a chair in the kitchen and takes his shoes off.
He looks tired and emotionally drained.
PATRICK
I’ve said I’m sorry. It won’t happen again. Work is busy at the moment and I want the money so I
can support our baby.
MARY
Yes, I’m grateful but just next time buy a charger or use somebody else’s phone to ring me.
Patrick and Mary smile at each other as patrick starts to slowly make his way upstairs to get into
the shower.
PATRICK
I will do. It’s been a long day. I’m going to get a shower and then I’ll come back down.
MARY
Okay. I’ll start making your tea now. We are having lamb.
 FADE IN:
INT. MARY’S AND PATRICK’S HOUSE - WARRINGTON - NIGHT TIME
WE OPEN with Mary peeling potatoes for tea. She’s surrounded by knives, cutlery, plates and
chopping boards. She is wearing a pink apron and her hair is tied up. She puts her hand on her
stomach and winses.
CUT TO:
MARY (V.O.)
Not once does ask how I’m feeling. All he cares about is our baby. I feel like I’m his
surrogate parent not his wife. Why do I even try with him? He obviously doesn’t care. I’m
too good to him. He is ignoring me for a full day and now I’m making him this lovely piece
of lamb. He needs to open his eyes and realise how much I do for him. This is the third
time this week where my husband has left me alone. I’m going through the pain of having
a baby. I’m getting up in the middle of the night and I'm expecting my husband to comfort
me but instead I am ringing him all the time, seeing where he is. If I knew he was going to
be like this throughout the pregnancy, I would never have gone through with it.
 FADE IN:
INT. MARY’S AND PATRICK’S HOUSE - WARRINGTON - NIGHT TIME
WE OPEN with Patrick walking into the kitchen after being in the shower. He half heartedly smiles
at Mary whilst he rubs his hand through his wet hair.
CUT TO:
Patrick strolls around the kitchen observing what Mary has made to eat. He’s wearing his grey
and black striped pyjamas.
PATRICK
Is the lamb nearly ready?
MARY
It’s still frozen but don't worry it will be ready soon enough.
PATRICK
No worries, I will watch some TV while I’m waiting.
Mary puts the chopping board down and stops what she’s doing. She looks at Patrick and
questions him about what he’s been up to tonight. Instant tension is built in the room.
MARY
Before you do that, could I ask where you have been all night?
Patrick rolls his eyes. He gets extremely defensive straight away which shows signs of guilt.
PATRICK
Not again! I’ve told you I’ve been at work. Do you not believe me?
MARY
I didn’t say that but it's hard to believe because you always text me when you're working and
you're never off your phone.
PATRICK
My charger broke, I can’t keep saying this over and over again. I’m going to watch TV now.
 FADE IN:
8
INT. MARY’S HOUSE - LOUNGE - WARRINGTON - NIGHT TIME
WE OPEN with Patrick sitting on his couch watching TV. He can’t sit still and keeps on fidgeting
with the TV remote. He still looks stressed out.
CUT TO:
PATRICK (V.O.)
I think it’s time I told her. Living a lie is now catching up with me and I can see it’s affecting
Mary.
Patrick quickly pulls his phone out of his pocket. There’s a close up shot of the name Jane with a
love heart emoji. He answers the phone and puts it against his ear.
PATRICK
(DISTORT) Hello Jane.
JANE
Hi Patrick. Are you coming back here tonight?
PATRICK
Yes, I should be later on. But before that I am going to tell Mary about us.
JANE
Great! It's about time. We need to get on with our lives and stop sneaking about.
MARY
(OFF) Patrick are you on the phone again?
Patrick goes bright red and looks scared. He quickly looks at the lounge door to make sure Jane
isn’t there.
PATRICK
I’ll be there in two minutes. It’s just work.
JANE
How has she been with you tonight?
PATRICK
She is just very stressed and it's not fair on her. I just think it’s time I tell Mary about us.
JANE
Okay but as soon as you do that come straight round to my house.
 FADE IN:
INT. MARY’S HOUSE - WARRINGTON - NIGHT TIME
Mary is in the kitchen boiling the vegetables. She’s preparing the other food for tea. She looks
tired and she has a worried look on her face.
CUT TO:
MARY (V.O.)
Why is he always on the phone at this time? Work would not consistently ring him every
night at the same time. I need to get to the bottom of this.
Patrick keeps looking over his shoulder in case Mary is listening in to his and Jane’s
conversation.
PATRICK
(DISTANT) Just a second Mary, I’m on the phone to my boss. I’ll come through in
a second! So, as I was saying, we need to tell Mary.
JANE (DISTORT)
This is the best thing for us and the baby. This is the first step towards us having our own
family. It’s meant to be!
Patrick looks upwards and takes a deep breath in and out. He looks like he’s composing
himself.
PATRICK (DISTANT)
You’re right. Tonight is the night. I love you Jane!
Mary storms into the lounge. One hand on her stomach. She’s extremely angry at Patrick.
Patrick looks stunned.
MARY (SHOUTING)
Who the hell is Jane? I knew something wasn’t right. I think you have some explaining to
do Patrick! How could you do this to me, what about the baby?
PATRICK (STUTTERING)
Mary! It’s not how it seems, I can explain!
Mary picks up a glass on the side and launches it across the room. It smashes
everywhere.
MARY (SHOUTING)
You are so arrogant and selfish, I’m not surprised in the slightest that you’ve done this to
me!
PATRICK
Stop making assumptions Mary, I’ve not explained anything yet. It’s not you, it’s me. I want
to be a part of our baby’s life no matter what happens between us. 
Mary has a mild panic attack. She’s breathing really loud. Patrick runs to grab a chair for
Mary and helps her sit down.

Patrick
Mary, are you okay?
PATRICK
Sit down Mary, you look very lightheaded. 
MARY
Just get it over and done with Patrick! Tell me the truth, don’t lie to me. That’s the least I
deserve.
 FADE IN:
INT. MARY’S HOUSE - WARRINGTON - EVENING

SFX: The sound of a deep breath

Patrick composes himself before explaining to Mary

1. PATRICK: I promise you that everything that I’m about to tell you will be the truth.
I’m mentally drained from the constant lies in our relationship.

2. MARY: (SIGHS) Stop with the small talk and get to the point!

3. PATRICK: I love you Mary. However, I love someone else too.

4. MARY: I knew that you were up to something. So, does this mean that all the
times that you said you were doing overtime was a complete lie and
that you were with another woman? You make me sick.

5. PATRICK: It gets worse. She’s pregnant.

6. MARY: (SIGHS) How selfish can one person possibly be? You do realise that
our child is already at a disadvantage.

7. PATRICK: Why’s that Mary?

8. MARY: (LAUGHS) Hmmm I wonder why. Maybe because they aren’t going to
have a father figure in their life. I don’t know what I ever saw in you in
the first place. You couldn’t even do the mature thing and tell me.
You’re a coward!

SFX: The sound of footsteps onto a hard floor.

Patrick walks into the kitchen

1. PATRICK: (APPROACHING)I have to be a part of our child’s life Mary. I know I’m
in the wrong, but our child needs me just as much as you.
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14
SFX: The sound of footsteps

Mary follows Patrick into the kitchen

2. MARY: Patrick. Stop. I know what you’re trying to do. I can read you like a
book. You can’t cheat on me and get another girl pregnant and then be
nice to me. It doesn’t work like that.

SFX: The sound of footsteps

Patrick slowly walks over to Mary

3. MARY: (V.O.) I want the floor to swallow me up. Why am I in this house
with him? I hate him. How did I ever fall in love with him?

4. MARY: What are you doing? Don't even think about taking one step closer.

SFX: The sound of footsteps

Patrick proceeds to get closer

1. PATRICK: Mary I know you are upset but I didn’t mean for things to end up like
this.

2. MARY: I mean it Patrick, don’t take one step closer.

SFX: The sound of footsteps

3. PATRICK: Come on Mary. Let's speak about this.

4. MARY: I told you not to take another step closer.

SFX: The sound of a loud thud

SFX: The sound of a body hitting the floor

14
15
Music:
 15
16
SCENE 11: INT. MARY’S HOUSE, WARRINGTON. EVENING

Fade in – Mary crying as Patrick’s lying on the floor unconscious

SFX: The sound of something heavy hitting the floor

Mary drops the leg of lamb on the floor

SFX: The sound of heavy breathing

Mary starts to panic and guilt starts to show

1.MARY: Patrick. Patrick. Patrick!

2. MARY: (V.O.) Mary, what have I just done. I’m so stupid. I didn’t mean it. I
think he’s dead.

SFX: The sound of footsteps

Mary walks over to Patrick lying on the floor

3. MARY: (V.O.) He’s not breathing. There’s so much blood!

SFX: The sound of heavy breathing

4. MARY: (V.O.) I can’t go to prison. I have a child on the way. What will
happen to my baby? I have to sort this out. I have to be there for
my child.
 16
17
SCENE 12: INT. CORNER SHOP, WARRINGTON. EVENING

SFX: The sound of a shop bell

1. SHOPKEEPER: Hello.

2. MARY: Hi, What wine do you have?

3. SHOPKEEPER: I’ve got red and white wine.

4. MARY: I’ll have a bottle of white.

5. SHOPKEEPER: I’ve got a lot to choose from.

6. MARY: You choose. I’ll have a bottle of your favourite.

7. SHOPKEEPER: Okay.This one’s expensive but tastes amazing.

8. MARY: That’s fine, it’s for my husband. He’s had a long day at work and I
thought I would treat him.

9. SHOPKEEPER: He’s a lucky man.

10. MARY: I know he is.

SFX: The sound of a shop bell

Mary leaving the shop

 17
18
SCENE 13: INT. MARY’S HOUSE, WARRINGTON. EVENING

Fade in – The sound of Mary pouring a glass of wine

SFX: The sound of a fan

SFX: The sound of the oven door shutting

SFX: A beeping sound

1.MARY (V.O.) I can do this. Don’t mess this up. All I have to do is call
the police and sound believable.

SFX: The sound of a phone number being dialled and the phone ringing

2.JUSTIN: Hello. What is your emergency?

3.MARY: I’ve just got home and my husband is on the floor! There is blood
everywhere and he isn’t breathing. I need help!

4:JUSTIN: Okay. We already have your location. Stay calm. We’ll be at your
home in 5 minutes.

Fade out – silence

 18

19

SCENE 14: INT. MARY’S HOUSE, WARRINGTON. EVENING

Fade in – Police Sirens

1.JUSTIN: How did this happen Mary?

2.MARY: (OUT OF BREATH) I have no clue. I’d just been to the shop to treat
him to a bottle of wine and I came back to this.

3.JUSTIN: I’m going to need you to tell me what happened. Patrick was a dear
friend of mine and this is upsetting for us all but I need you to
cooperate with us.

4.MARY: I’ve been to the shop and then I come back to him dead on the floor
with a puddle of blood around his head.

5.JUSTIN: Are you sure Mary?

6.MARY: Yes, I’m sure. I went to the shop to get some wine for
dinner. I came home and found him lying on the floor.

7.JUSTIN: Okay. We’re going to have to look around your house

and we are going to have to take away the body.

8.MARY: Do you have to? I can't be in this house without him.

9.JUSTIN: I’m sorry but we have to. I can't understand the amount of pain you are
going through but we have to do this.

10.MARY: (CRYING) Goodbye Patrick. I love you.

Fade out - Silence

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 20

SCENE 15: INT. MARY’S HOUSE, WARRINGTON. NIGHT TIME

Fade in – Mary pouring a glass of wine

1.JUSTIN: Mary we have searched your house and everything looks good. You
have a nice house.

2.MARY: Thank you officer. How will you get to the bottom of this?

3.JUSTIN: We will be in touch and we will find who has done this to your husband.

4.MARY: Thank you. Please keep me updated.

5. JUSTIN: Don't worry we will. It’s going to be horrible not working with Patrick.

6. MARY: Everyone will miss him.

Fade out – Silence

 20

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SCENE 16: INT. MARY’S HOUSE, WARRINGTON. NIGHT TIME

SFX: Beeping noise from the oven timer

1. JUSTIN: What’s that noise Mary?

2. MARY: Oh no! That was the lamb that I made for me and Patrick.

3. JUSTIN: Oh sorry Mary. We will leave you too it and we will be in touch.

4. MARY: No, no, no. There’s too much here for me. Would you boys like
something to eat?

5. JUSTIN: Do you know what, we’ve had a long day. we’ll happily take that offer if
you don’t mind.

6. MARY: Okay, I'll take it out of the oven now.

Music:

SFX: The sound of cutlery tapping plates

7. JUSTIN: Thank you Mary, I know it’s been a stressful day for you. You didn’t
have to do this.

8.MARY: You all have helped me so much, so it's the least I can do.
Music:

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