Screenplay- Take 3

We looked at the script again and decided to take out the final girl going into the Void and just have the killer going into the void shaking from nerves and the fact he is high. We decided that if we showed the final girl going into the void it would show too much of the story:

1. EXT. UNDER THE BRIDGE NEAR ACLAND BURGHLEY - DAY

LONG SHOT

Eleanor and Hunter walking around until they reach the tunnel. Eleanor pushes Hunter against the wall of the tunnel. 

CUTS TO:

CLOSE UP

She puts her hand on his face. He puts his hand around her waist.She looks up to him and he looks back. She smiles then bites her lips.

CUTS TO:

MEDIUM LONG SHOT

They kiss.

SCENE FADES TO BLACK

INT. SUB-ENTRANCE OF THE VOID LOW ANGLE, LONG SHOT 

Opens the door. All you see is the antagonist's feet. Running towards the another door. Opens that door and slams it shut 

CUTS TO: 

CLOSE UP of the sign on the door - 'Please Keep Out, Under Further Notice'

2. INT. ELEANOR'S ROOM

CAMERA PANS THE ROOM - 360 TURN

The room is filled with memories that establishes their relationship together. Hunter is sitting on the floor with Eleanor as the two are drinking, empty bottles and cans everywhere. Hunter pulls out a pill and is about to swallow it but is interrupted Eleanor seeing him. They start arguing.

LONG SHOT

ELEANOR

(SHOCKED)

The hell are doing?

CAMERA TRACKS HUNTER STANDING UP. WHEN THE CONVERSATION STARTS THE CAMERA MOVES BACK AND FORTH TO WHOEVER IS TALKING.

HUNTER

It's not what you think

ELEANOR

(Angrily)

I'm not that stupid you know?!!! I though you stopped doing this kind of stuff!

HUNTER

(Shouting with an angry tone)

Do you know how hard it is to stop this kind of stuff?!!! It's been hard for me to resist.

ELEANOR

(Calms down and talks in a reasonable way)

Talk to me and tell why you're still doing this?

WHILST ELEANOR IS TALKING THE CAMERA'S FOCUS IS ON HUNTER. A NON-DIETETIC HEART BEATING SOUND IS IN PLAYING TO SHOW HOW TENSE HE FEELS. 

Hunter doesn't reply. He gets frustrated  He pushes her against the wall. He slams his fist into the wall instead of at her. Eleanor cowers away from him.

HUNTER

(Forcefully)

Just be quiet ok? I don't care!

ELEANOR

(Quivers in fear)

Then just leave... the door is wide open for you.

Hunter lets go of her and walks out of the room and slams the door on his way out.

CUT TO:

 INT. BEDROOM TO LIVING ROOM- NIGHT

Eleanor dressed in a white towel. Looks in the mirror. Wipes her tears whilst smudging her eye make-up.

CUTS TO:

Slowly walks through the living room with memories of her deceased friends. Hanging photos of her friends all happy, focus one with them all on night of the murders- before the deaths. 

Walk of shame.

Enters the bathroom.

CUTS TO:

 INT. BATHROOM- NIGHT

Holds the handle. As she twists her wrist you see a carved in heart with a 'H' in the middle of it. Closes the door.

CUTS TO:

Turns on tap. Bath is ready. Close up of her feet. Drops the towel.

CUTS TO:

LONG SHOT

Blurry, steamed up bathroom to censor her getting into the warm bath.

CUTS TO:

Side view the bath. Eleanor sits in a upright fetal position. Then lays down.

CUTS TO:

Close up of her face. Pulls her hair back. She sighs. Looks agitated. Empty alcohol bottles around her. A sharp and used razor beside the bath with a small amount of blood on it, bloody marks along the side of the bath.

ELEANOR

(stutters and shivers)

I'm sorry. I should have warned you all about him. But I didn't... I'm sorry... I'm so sorry.

CUTS TO:

Eleanor takes a pill. Closes her eyes for a few moments. But passes out due to drug. Her head falls in the bath. 

CUTS TO:

 3. EXT. ALLEY WAY- NIGHT

The killer is in the background with CHARLIE in the front looking scared and worried. Charlie has cuts and and bruises on her from the fighting with the killer.

CHARLIE

(begging)

Who are you?

There is no reply from the killer. The killer takes a few big strides and is stood behind CHARLIE with a syringe of heroine. He puts the needle in her and makes her OD, killing her instantly.

CUT TO:

The killer slightly closer than with Charlie. AMY is in the foreground with the killer behind her. 

AMY

(scared)

What do you want with me?

The killer still doesn't reply. He stays a little way from her.The killer moves over to her with a ROPE (thing druggies use) and quickly gags her before he strangles her. Her body falls to the floor dead.

CUT TO:

The Killer is right behind DANIEL. He holds him and puts a knife to his throat.

DANIEL

(scared)

No!

The killer laughs and slit's his throat with a blackened spoon that has been sharpened. Daniel coughs and chocks coughing up blood and collapses to the ground, shaking and coughing as blood oozes from the wound in his neck. The killer disappears.

4. EXT. OUTSIDE THE VOID - DAY

FROM ACTOR'S PERSPECTIVE OR HEADCAM

Breathing heavily. The antagonist is running towards the entrance to the void. Struggles. to get the keys out and opening the door. 

CUTS TO:

CLOSE UP

Unable to open the door because they uses the wrong key. Tries different keys. Drops keys before picking them up. Eventually opens the door. 

CUTS TO:

INT. SUB-ENTRANCE OF THE VOID

LOW ANGLE, LONG SHOT

Opens the door. All you see is the antagonist's feet. Running towards the another door. Opens that door and slams it shut

CUTS TO:

CLOSE UP of the sign on the door - 'Please Keep Out, Under Further Notice'

INT. THE VOID

MEDIUM LONG SHOT 

Running down the stairs and falls on the last step. 

CUTS TO:

FROM ACTOR'S PERSPECTIVE OR HEADCAM

Breathing intensely. Tilts head up then to left to right to check no one is here. Starts running further in the void

CUTS TO:

LONG SHOT

Antagonist running towards the camera. 

CUTS TO:

CLOSE UP

Stumbles on the way. Jumps to avoid getting glass on his feet. Screenshots of the location. Reaches main location

CUTS TO:

Hunter sits down. Gets some cannabis out of pocket. Rolls it up and inhales it. He sighs and tilts his head back. He starts hallucinating. 

CUTS TO:

Feels paranoid and starts walking back and forth. He sees picture of him and Eleanor on the wall and goes crazy and rips them down and throws it in the ditch. 

CUTS TO:

CLOSE UP OF HIS EYES TO SHOW HOW HIGH HE IS - BLOODSHOT.

HE WALKS OUT OF SCENE:

6. INT. BATHROOM- NIGHT

Close up of her face. Air bubbles develops when she opens her mouth. Eyes wide open. Lifts her head out of the bath. Breathes heavily in and out. She realizes she almost drowned herself unintentionally. Sits up and pulls her hair back.

CUTS TO:

CLOSE UP OF HER FOREARM TO EXTREME CLOSE UP OF HER WRIST

She finds fresh cuts on her arm and her wrist. The heart on her wrist turns into a broken heart. 

CUTS TO:

The blood drips in the bath. She begins to panic. Discovers beside her that the razor has fresh blood on it.

CUTS TO:

Pulls the bath plugs. Watches the blood and water flow away. 

Grabs the towel on the floor. Wraps it around her torso. Gets up and out the bath. 

CUTS TO:

Walks to the sink. Turns the tap on and washes the blood away, furiously. Smacks the edges of the sink. Breathes intensely.  

CUTS TO:

Slowly lifts up her head and looks at the steamed mirror. Discovers something dark next to her blurred reflection. Wipes the steamed mirror. 

CLOSE UP OF HER WIPING THE MIRROR, WHEN SHE REACHES THE DARK SHADOW. 

She discovers who it is. She turns and looks at the killer. 

CUTS TO:

(CLOSE UP OF HER FACE shivering and quivering )

Fear in her eyes. She turns around. Turns back to the mirror. 

CUTS TO:

CLOSE UP OF HER EYES AND She hears a dissonant voice. HER EYES ARE WIDE OPEN.

HUNTER/ KILLER

(Low, deep, artificial voice)

You're next

FADES TO BLACK:

Camera work

We have been trying to find a way to shoot through a mirror for one of our scenes. We then found this which we will try out and see if it works:

Propp theory

Film as Fairy Tale

Vladimir Propp, a Russian critic, active in the 1920’s, published his Morphology of the Folk Tale in 1928. While the Soviet cinema was producing excellent films, Propp was essentially interested in the narrative of folk tales. He noticed

Folk tales were similar in many areas. They were about the same basic struggles and they appeared to have stock characters. He identified a theory about characters and actions as narrative functions.

Characters, according to Propp, have a narrative function; they provide a structure for the text. 

Characters that perform a function

The Hero – a character that seeks something

The Villain – who opposes or actively blocks the hero’s quest

The Donor – who provides an object with magical properties

The Dispatcher – who sends the hero on his/her quest via a message

  The False Hero – who disrupts the hero’s success by making false claims

  The Helper – who aids the hero

  The Princess – acts as the reward for the hero and the object of the villain’s plots

  Her Father – who acts to reward the hero for his effort

Actions as functions of narrative

Preparation

A community/kingdom/family is in an ordered state of being

A member of the community/kingdom/family leaves home

A warning is given to the leaders of the community or a rule is imposed on the hero

The warning is discounted/ the rule is broken

The villain attempts to discover something about the victim of the broken rule

The villain tries to deceive the victim to gain advantage

The victim unwittingly helps the villain

Complication

A state of disorder

The villain harms a member of the community/kingdom/family

One of the members of the community/kingdom/family desires something

The hero is sent to get what is desired

The hero plans action against the villain

Transference

The hero leaves home

The hero is tested or attacked/ he meets the test and is given a magical gift or helper

The hero reacts to the donor

The hero arrives at the place he can fulfill his quest

Struggle

There is a struggle between the hero and the villain

|The hero is branded

The villain is overcome

The state of disorder is settled 

Return

The hero returns

The hero is pursued

The hero escapes or is rescued

The hero arrives home and is not recognised

A false hero claims rewards

A task is set for the hero

The task is accomplished

Recognition

The hero is recognised

The false hero or villain is unmasked

The false hero is punished

The hero attains the reward (princess/ kingdom)

To Propp events are not just about character and action but also about progressing the narrative.

CRITICISMS

Propp’s theory of narrative seems to be based in a male orientated environment (due to his theory actually reflecting early folk tales) and as such critics often dismiss the theory with regard to film. However, it may still be applied because the function (rather than the gender) of characters is the basis of the theory. E.g. the hero could be a woman; the reward could be a man.

  Critics argue that Propp’s strict order of characters and events is restrictive. We should rather apply the functions and events randomly as we meet new narratives. E.g. the hero may kill the villain earlier than Propp expects. Changing the traditional format will change the whole way the text is received.

Some critics claim there are many more character types than Propp suggests and we should feel free to identify them. E.g. the stooge in a sci-fi film, who is usually nameless and usually killed early on to suggest the power of the alien force, is a typical modern character type.

AS Level examiners have grown to HATE Todorov- because everyone learns the lists & tries to apply it to any narrative they are discussing.

 It applies to Fairy Stories and to other similar narratives based around 'quests' It does not apply to all narratives.

WHY THE THEORY IS USEFUL

It avoids treating characters as if they are individuals and reminds us they are merely constructs. Some characters are indeed there just to progress the narrative.

Research based on “Media Studies” by Stuart Price

Found on: http://www.adamranson.plus.com/Propp.htm

This links in with our trailers as it shows that we show all the characters but not all the sides to each character and what will happen to them at the end to keep the audience interested and wanting to know what will happen next. If we showed the entire character of the killer there wouldn't be much point in seeing the film because you can tell what will happen at the end.

E.g. In 'Scream 4' we see Jill Roberts as a sweet, innocent girl but at the end of the film she ends up being the killer, trying to kill her cousin Sydney.

Binary Opposition

In critical theory, a binary opposition (also binary system) is a pair of related terms or concepts that are opposite in meaning. Binary opposition is the system by which, in language and thought, two theoretical opposites are strictly defined and set off against one another. It is the contrast between two mutually exclusive terms, such as on and off, up and down, left and right. Binary opposition is an important concept of structuralism, which sees such distinctions as fundamental to all language and thought. In structuralism, a binary opposition is seen as a fundamental organizer of human philosophy, culture, and language.

Binary opposition originated in Saussurean structuralist theory. According to Ferdinand de Saussure, the binary opposition is the means by which the units of language have value or meaning; each unit is defined in reciprocal determination with another term, as in binary code. It is not a contradictory relation but, a structural, complementary one. Saussure demonstrated that a sign's meaning is derived from its context (syntagmatic dimension) and the group (paradigm) to which it belongs. An example of this is that one cannot conceive of 'good' if we do not understand 'evil'. In post-structuralism, it is seen as one of several influential characteristics or tendencies of Western and Western-derived thought,[citation needed] and that typically, one of the two opposites assumes a role of dominance over the other. The categorization of binary oppositions is "often value-laden and ethnocentric", with an illusory order and superficial meaning.

Found on: http://en.wikipedia.org/wiki/Binary_opposition

This might relate to our horror trailer as it is talking about how Binary opposition is a fundamental organiser of human philosophy, culture and language with would suggest that the killer in a horror thinks killing is right.

Fake blood- Option 3

FOR DRIPPING AND SPATTERING
Ketchup stains costumes. Besides, it's not real-looking, unless you're a Sergio Leone-wannabe aiming for spaghetti-Western effects. So while most mixtures avoid condiments, almost all are based on other common food products available at any grocery store.
For runny, crimson, oxygenated blood and splatters, Folino relies on a simple formula using corn (Karo) syrup and dye (red food coloring will work but is hard to wash out of clothes; Folino prefers red dye 40, available at Monster Makers & FX supply, 7305 Detroit Ave., Cleveland).
This is good for mouth-bleeding. Folino pours it in the corner of a sandwich bag sealed with a clothes hand iron. The actor bites it and spits blood. If used outside the mouth, add a squirt of liquid detergent to reduce staining. Cornstarch thickens. Water thins.

How to make it
• 2/3 cup light (clear) corn syrup
• 1/3 cup warm water
• 3-5 teaspoons red food coloring (less if using red 40)
• 2-3 drops blue or green food coloring
• 5 tablespoons corn starch
• A squirt of concentrated liquid laundry soap
• Mix ingredients, testing under stage lights and adjusting for color and consistency.

FOR GOUTS AND SMEARS
Alfred Hitchcock employed Bosco chocolate syrup for the shower scene in "Psycho." The viscosity and opacity were perfect, and he didn't worry about color for black-and-white film.
For live-action, adding detergent and red dye creates a convincing brownish, oxygen-depleted venous blood that smears like the real thing.
This was the formula for the copious blood spilled in "Sweeney." "It was so gratifying to hear the audience react every time I slit a throat," Folino said. "It was just awesome."
Folino hid sandwich bags in pockets on the inside of the aprons Todd put on his customers. As he slit, the customers reached instinctively for their throats and used their hands to dump the blood.
This mixture also can be used for dried blood. Use a hair dryer.

How to make it
• 2/3 cup chocolate syrup
• 1/3 cup concentrated liquid laundry detergent
• 4-6 teaspoons red food coloring (less if using red 40)
• Mix syrup with detergent, add food coloring, testing under stage lights.
• Refrigerate, if mixing in advance, until 1 hour before needed.

FOR ORGANS AND FLESH
Lots of other stage blood concoctions can be made of grenadine syrup, chocolate pudding, cherry Asian dipping sauce, flour, cocoa powder, arrowroot, instant coffee, and Kool-Aid or Jell-O mix.
And the corn and chocolate syrups can be manipulated in thickness and texture to create many effects, squirting through hidden plastic tubes, splashed on walls, spreading on floors.
To create blood with muscle or vital organs, some folks add peanut butter, smooth or chunky (depending on the grossness quotient), or pumpkin guts with the seeds removed.
Folino advocates for toilet paper (which we used in the photo at right) or oatmeal macerated in the corn syrup recipe until it's the gooey mess of head trauma.
Folino uses oatmeal in the headshot scene in "Evil Dead." "You can throw this stuff on the wall, and it sticks," Folino said. "It makes great brains."

How to make it
•1 portion of the corn syrup mix (top)
• Squares of toilet paper torn into thin strips OR oatmeal
• Blend the toilet paper (or oatmeal) into the blood a few strips at a time until the desired consistency is reached, testing for stickiness and color.
• Can be used as is or partially or fully dried.

Found off: http://www.cleveland.com/onstage/index.ssf/2009/06/stage_secrets_revealed_how_to.html

Slit throat effect

1) Make fake blood

2) Buy a very thin plastic icepack or a water balloon.

3) Fill the icepack or the water balloon with the artificial blood.

4) Put an inch thick bandages around the victims neck and throat.

5) Tape the thin icepack or water balloon against the thick bandages.

6) Get some plastic foil and surround the victims throat and neck as tight and smooth as possible, though not so much the victim actually suffocates.

7) Use "skin colored" spray and makeup to make the neck and throat realistic.

8) Get a medium sharp knife and slit the throat clean, but just right at the tip of the balloon or icepack; the bandages are so you don't hit the actual throat

Found off: http://www.wikihow.com/Make-a-Horror-Scene-With-a-Slit-Throat

Splattering blood- option 1

You will need:

Soy sauce
Red food coloring
Plastic tubing, to fit
Plastic syringe
Push pin

How to:

1) Make the splatter gun. Take a piece of small plastic tubing about the size of a vein or an artery, and force it onto the end of a syringe. Use tape or glue to make this into an airtight seal.

2) Make the blood. Pour some soy sauce into a cup or bowl and add the red food dye. Add enough to make the blood dark red.

3) Load the syringe. Put the end of the tubing in the cup or bowl and pull back the plunge to suck up the blood.

4) Stop the end. Use a push pin to clog the end of the tube. Make sure it's well clogged.

5) Prep yourself. Tape the loaded syringe under your costume and push on the plunger to release a spray of blood.

Found off: http://www.wikihow.com/Make-Fake-Blood