To analyse a thriller radio trailer i listened to the dark knight rises.
Though it was short, there were some key factors that stood out to me.
As the trailer started there was suspenseful music playing, quiet at the start, accompanied by sound effects. The effect that stood out to me were bat wings flying. This is easily relate able to batman, as it was how Bruce originally decided to create the Batman. From here familiar music from the Dark Knight begins playing, letting listeners know if they didn't realise already, that this is the trailer to the last of the Batman trilogy by Nolan.
dialogue is used, such as clips of dialogue from the dark knight and batman begins, with familiar actor voices. These include Ra's, Bruce and Alfred. The music picks up, building more suspense. Sound effects grow in use such as the sounds of the bat mobile engine and other unknown sounds.With the use of these the music begins to change, straying from the familiarity of the dark knight turning into a new original piece. With the new music and new sound effects we haven't already associated to certain characters, this lets us know the new villain is making an appearance ready to face off against Batman. The lack of his dialogue though can hint to he's smart and keeps to the shadows. He isn't as obvious and wild as Joker.
Thursday, 23 February 2012
Pre-Production - Location
For my production i need 3 main locations. These include a bar, a secluded street, and a run down house.
The bar i am asking to use is the Bell in Stilton, it's a lovely old fashioned place, and would be easy to transport all teh actors and additional help there.
The house to be used is a little tricky to find, as i need a place with minimal furniture, and preferably made out of wood.
EDIT - 8th Feb
Danika said i can use her great grandmas house. It's old fashioned, practically empty and seems perfect for what i need.
EDIT - 11th Feb
Found out today that I can't use the house, Sadie (Danika's cousin) said they had already filled it with furniture to use for storage. After a minor panic, thought about mroe locations and decided to contact the church, the old Rev was nice and would let me, but since he's not in charge any more will have to contact Doug, found his details in the scan.
EDIT - 13th Feb
Not allowed to film at the church either, apparently I'm not 'representing the Christian Church how [they] see fit.' It's not like i'm raising religious debates. Now is the time to panic... Currently in Beverley until Thursday, unable to do much about visitng locations around peterborough.
EDIT - 15th Feb
Mum has a friend at work whose mum is a caretaker at a victorian school in Milton Keynes. She's also getting confirmation about the Bell later today. Her friend, Craig, said he could get the keys and i could use the school to film on teh weekend. It'd take a 2 hour drive but hey, it's the best place i've got so far!
... Losing hope with the project very quickly, contacted Craig to confirm everything and his mum refused to let me use the school. Final chance before i run out of time, i'll be trying to use a barn and the cortyard or back rooms at the Bell. May go to Wansford and get some shorts there, lovely place for streets and has a nice cobbled bridge. Would use the Haycock hotel there, but according to a friend they don't like renting out time on the cheap.
EDIT - 23rd feb
Tried using the bell for the house but didn't have the right scenery feel for me. Going to refilm those bits at my Dads old victorian house with Hattie and Chris and edit the last half next week ready for our first viewing of our projects.
The bar i am asking to use is the Bell in Stilton, it's a lovely old fashioned place, and would be easy to transport all teh actors and additional help there.
The house to be used is a little tricky to find, as i need a place with minimal furniture, and preferably made out of wood.
EDIT - 8th Feb
Danika said i can use her great grandmas house. It's old fashioned, practically empty and seems perfect for what i need.
EDIT - 11th Feb
Found out today that I can't use the house, Sadie (Danika's cousin) said they had already filled it with furniture to use for storage. After a minor panic, thought about mroe locations and decided to contact the church, the old Rev was nice and would let me, but since he's not in charge any more will have to contact Doug, found his details in the scan.
EDIT - 13th Feb
Not allowed to film at the church either, apparently I'm not 'representing the Christian Church how [they] see fit.' It's not like i'm raising religious debates. Now is the time to panic... Currently in Beverley until Thursday, unable to do much about visitng locations around peterborough.
EDIT - 15th Feb
Mum has a friend at work whose mum is a caretaker at a victorian school in Milton Keynes. She's also getting confirmation about the Bell later today. Her friend, Craig, said he could get the keys and i could use the school to film on teh weekend. It'd take a 2 hour drive but hey, it's the best place i've got so far!
... Losing hope with the project very quickly, contacted Craig to confirm everything and his mum refused to let me use the school. Final chance before i run out of time, i'll be trying to use a barn and the cortyard or back rooms at the Bell. May go to Wansford and get some shorts there, lovely place for streets and has a nice cobbled bridge. Would use the Haycock hotel there, but according to a friend they don't like renting out time on the cheap.
EDIT - 23rd feb
Tried using the bell for the house but didn't have the right scenery feel for me. Going to refilm those bits at my Dads old victorian house with Hattie and Chris and edit the last half next week ready for our first viewing of our projects.
Monday, 20 February 2012
Poster - First teaser
The lens flare behind the H was created to look almost like a spot light, to symbolise there may be someone in the distance. The fog is a typical convention to use, and holds mystery in its use.
Diary - Filming
Completed half of the production, filmed all the bar scenes with Toby, Glyn, Nick and Gemma. Planning on re-filming the scenes with Kaira and Hans and recasting them as Chris Maundrell and Hattie Drapper. I was having trouble with suitable locations so ended up using an apparently haunted room at the bell. The shots were nice but I didn't really get the right feel for the scene, so will be trying to drive the actors to my Dads house. He lives in a large refurbished victorian house, I barely talk to him and he live about an hour or two away, but the locations (From what i remember) would be perfect for my production.
Thursday, 9 February 2012
Similar Products - Silent Hill
After watchign silent hill i reviewed some aspects of it that make it an interesting film to watch, especially to the audience i'm targeting for my own production.
I focused on the opening, the first entrance to Silent Hill and the ending.
The production logos had a dark feel to them, the background soo taking over leaving the screen dark. We hear a voice over, which then fades to a house - obviously isolated. There are a series of long shtos and wide shots seeing a woman - the main character - running into a wood at night. This in itself is a very generic horror and thriller convention, as the audience knows it won't end well for the character. She has a slight low angle shot on her, expressing how brave she is, or possibly determined as the continues to supply the only dialogue given to us thus far, calling her daughters name.
Once the scne soon changes, after the thriller episode, it fades to a light mid day scene, the type of colours and setting used you'd expect to see in a romance or feel good film. This expresses the happy family mood. The diaglogue here gives you a lot of hints as to what will happen. Previously the child had said "Silent Hill." And the mother proclaimed to the father, "She said it again." This introduces the name of the film straight away, and it already seems a bad taboo to hear.
The third scene is when we actually see the first appearance of Silent Hill. There's a mid close up of the woman, Rose, in the car, where we can see snow - or what we think is snow - outside. A wide shot shows the car is isolacted, no one around, and one of the doors open. After realising the door is open and her daughter is missing, there are a series of close ups showing the emotion she has, and wide shots as she enters town. It's desolate, with fog surrounding it, so you're only able to make out the edges of a few buildings. Another low angle, mid shot shows her as she progresses into the town, again showing how brave she is.
A dark narrow stairway leads her down into the darkness, with a diagetic noise of a siren signalling. I assume it's diagetic, as she reacts once it starts and looks around her before continuing.
After being plunged into utter darkness she takes out a lighter, creating ambient lighting, showing us where she is, but still holding the mystery adn suspence of what could be around her.
The end scene holds a lot of emotion, as throughout the entire sequence we see the mothe and child together. We see close ups of both, showing the serious face the mother has, and a rather grave face on teh child. As we see shots between their situation and the fathers there is significant differences in colour and lighting. All the way until the end, the mother and child are stuck in a greay, foggy world a big contrast to the bright, sunny house to which the father is in. even when they arrive home, the colour doesn't change, and they never see the father in the seat we were shown previously. This suggests to the audience that they never made it out of the horror of silent Hill, unable to return to their normal happy life.
From this i have found some similarities between the film and my project. both involvea contrast in dangers, and an abandoned setting. In turn, each also involve some sort of monster that goes after the protagonist. After seeing this, i may see the effects of the lighting especially.
I focused on the opening, the first entrance to Silent Hill and the ending.
The production logos had a dark feel to them, the background soo taking over leaving the screen dark. We hear a voice over, which then fades to a house - obviously isolated. There are a series of long shtos and wide shots seeing a woman - the main character - running into a wood at night. This in itself is a very generic horror and thriller convention, as the audience knows it won't end well for the character. She has a slight low angle shot on her, expressing how brave she is, or possibly determined as the continues to supply the only dialogue given to us thus far, calling her daughters name.
Once the scne soon changes, after the thriller episode, it fades to a light mid day scene, the type of colours and setting used you'd expect to see in a romance or feel good film. This expresses the happy family mood. The diaglogue here gives you a lot of hints as to what will happen. Previously the child had said "Silent Hill." And the mother proclaimed to the father, "She said it again." This introduces the name of the film straight away, and it already seems a bad taboo to hear.
The third scene is when we actually see the first appearance of Silent Hill. There's a mid close up of the woman, Rose, in the car, where we can see snow - or what we think is snow - outside. A wide shot shows the car is isolacted, no one around, and one of the doors open. After realising the door is open and her daughter is missing, there are a series of close ups showing the emotion she has, and wide shots as she enters town. It's desolate, with fog surrounding it, so you're only able to make out the edges of a few buildings. Another low angle, mid shot shows her as she progresses into the town, again showing how brave she is.
A dark narrow stairway leads her down into the darkness, with a diagetic noise of a siren signalling. I assume it's diagetic, as she reacts once it starts and looks around her before continuing.
After being plunged into utter darkness she takes out a lighter, creating ambient lighting, showing us where she is, but still holding the mystery adn suspence of what could be around her.
The end scene holds a lot of emotion, as throughout the entire sequence we see the mothe and child together. We see close ups of both, showing the serious face the mother has, and a rather grave face on teh child. As we see shots between their situation and the fathers there is significant differences in colour and lighting. All the way until the end, the mother and child are stuck in a greay, foggy world a big contrast to the bright, sunny house to which the father is in. even when they arrive home, the colour doesn't change, and they never see the father in the seat we were shown previously. This suggests to the audience that they never made it out of the horror of silent Hill, unable to return to their normal happy life.
From this i have found some similarities between the film and my project. both involvea contrast in dangers, and an abandoned setting. In turn, each also involve some sort of monster that goes after the protagonist. After seeing this, i may see the effects of the lighting especially.
Ancillary task - Radio class
For our choice of ancillary tasks we could have gone with a poster, radio trailer or a magazine article. For the sake fo trying something different i chose to give the radio trailer a try. In calss we listened to a few trailers and were then told to think about what we would include in our own. I drafted out what i first thought mind would sound like.
It consisted of sound effects, such as a carridge, wind noises, creaking and banging. There was some use of non-diagetic music, shifting between soft then loud and heavy depending on the tension of the diologue and sound effects used. The diologue would include small inserts from the production, including a lot of Johans dialogue "Stupid outsiders. They'll hear you." etc.
As i designed as more of a teaser trailer i didn't include a release date, and had one of the characters, Kaira, include the production name at the start, as having a voice over stating a release date would - in my eyes- ruin any tension or theme that the trailer holds.
It consisted of sound effects, such as a carridge, wind noises, creaking and banging. There was some use of non-diagetic music, shifting between soft then loud and heavy depending on the tension of the diologue and sound effects used. The diologue would include small inserts from the production, including a lot of Johans dialogue "Stupid outsiders. They'll hear you." etc.
As i designed as more of a teaser trailer i didn't include a release date, and had one of the characters, Kaira, include the production name at the start, as having a voice over stating a release date would - in my eyes- ruin any tension or theme that the trailer holds.
Ancillary task - Poster in class
While in class and first thinking about what to include in my poster my first thoughts were as follows.
To have a variety of different posters, such as done with Harry Potter, one focusing on each of the different main characters. This way i could subtly put across more about their character, without really telling the audience anything at all.
In class i focused on designing the poster for Kaira. She'd be in the foreground, to the very left of the poster, looking over her shoulder with a curious expression. It was very important that she didn't look scared, as her character isn't a typical female victim. The background would be very dark, with a possible blue tint. It'd be located in a desolate street, old houses can be seen, and a street light lighting one point behind her. This would be the only source of light, other than the moon light which would be used to illuminate Kaira so she wasn't jsut a dark figure. On the ground in the light of the street light the audience would see a sillohette of a figure, but their identity would remain a mystery.
To have a variety of different posters, such as done with Harry Potter, one focusing on each of the different main characters. This way i could subtly put across more about their character, without really telling the audience anything at all.
In class i focused on designing the poster for Kaira. She'd be in the foreground, to the very left of the poster, looking over her shoulder with a curious expression. It was very important that she didn't look scared, as her character isn't a typical female victim. The background would be very dark, with a possible blue tint. It'd be located in a desolate street, old houses can be seen, and a street light lighting one point behind her. This would be the only source of light, other than the moon light which would be used to illuminate Kaira so she wasn't jsut a dark figure. On the ground in the light of the street light the audience would see a sillohette of a figure, but their identity would remain a mystery.
Ancillary task - decision
I've decided to do a movie poster and radio trailer for my ancillary tasks. The posters seem fun to make, and the radio trailer looked a lot easier than writing an article.
I've already had a lot of plans for my posters, and got a basic plan for the radio trailer.
I've already had a lot of plans for my posters, and got a basic plan for the radio trailer.
Pre-Production - Monster
I drew a quick picture of what i initially imagined the monster to look like. Made with a variation of splinteds and wood chippings, the creature formed out of the broken furniture around the room. Though for my final i may have to change it's appearance so it's easier to create.
Diary - Tripods
No base plates for the tripods, sirs going to send a few to my house over half term so they should get here before filming. If not I've got some stands at home that manage to hold my camera in place, they should do for a make shift tripod if worst comes to worst.
Pre-Production - Location
For the scenes including Johan, Vulrich and M.M at a bar, i decided to use the Stilton Bell Inn. The staff there are lovely, and had no issues with me using the second bar to film on a weekend. It's an old styled inn/pub, though there are electrical appliences and lights around which inevitably made there way into my shots. Though using a bar as a location would of been hard to find a convinient place that didn't have any such equiptment around, so this issue isn't that serious to me.
The bars are wooden and have a lovely stack of beverages behind it. I loved using this location, but due to the size of the second bar and the amount of furniture behind the camera, there wasn't much room to use many long shots, and it was hard to use handheld and get the ideal shots for the small fight, due to hiding unconvential furniture, behind the scenes workers and the tripods. Though my shots are not ideal for what i originally planned, the stoic shots used here will hopefully greatly contrast the different shots and angles used for the house scenes - where the bulk of the thriller convention will be held. Pre-Production - Actors and Casting
After watching the 6th form drama enrichment group, i looked out for suitable actors to play the characters in my production. Sadly, i needed a larger male cast, and almost all of the boys who did enrichment also took media. (We'd been told we can't use media students. Even though they would be well suited to play the parts. Though the exam specification says nothing about this, so I'll stick with using the actors i feel are best for the job.)
The girl who stood out most to me was Jess. She was confident, clear and i think she could easily pull off Kaira's bold personality.
There were a few guys who stood out to me, these being Harry and Jordan. Harry could easily suit the role of the paranoid barman, Johan, or the Mysterious side character.
Jordan could suit the role of either Hans or Vulrich in my eyes.
Jessica Leggett - Kaira
Toby Hall - Johan
Jordan Forshaw - Hans
Harry Alexander - M.M
Glyn Smith - Vulrich
EDIT
Kaira, Hans and M.M were instead played by Hattie Drapper, Chriss Maundrell and Nick Davey.
The girl who stood out most to me was Jess. She was confident, clear and i think she could easily pull off Kaira's bold personality.
There were a few guys who stood out to me, these being Harry and Jordan. Harry could easily suit the role of the paranoid barman, Johan, or the Mysterious side character.
Jordan could suit the role of either Hans or Vulrich in my eyes.
Jessica Leggett - Kaira
Toby Hall - Johan
Jordan Forshaw - Hans
Harry Alexander - M.M
Glyn Smith - Vulrich
EDIT
Kaira, Hans and M.M were instead played by Hattie Drapper, Chriss Maundrell and Nick Davey.
Diary - Kit
I've handed in the booking sheet to take out 2 cameras and tripods over the half term. With this i'll be able to record the pub scenes a lot easier, as a lot of it will be deviations between Toby and Glyn's conversation. By using 2 cameras i'll be able to film with no continuation errors of trying to match the camera angles perfectly, and be able to get a greater variety of shots in a shorter amount of time.
The two cameras will also be useful, as Gemma will be helping me filming, When Jessica and Jordan are in the house we cna do a continuous roll, with one of us following Jessica, and the other focusing on Jordan as the pair split up inside the house.
The two cameras will also be useful, as Gemma will be helping me filming, When Jessica and Jordan are in the house we cna do a continuous roll, with one of us following Jessica, and the other focusing on Jordan as the pair split up inside the house.
Diary - Actors and Props
Yesterday i printed out 6 copies of my script and gave them to my actors.Jessica Leggett, Toby Hall, Glyn Smith, Jordan Forshaw and Harry Alexander. I will be finalising the filming date with the two sets i need so Jessica and Jordan and availabl;e on teh same day and the other three guys are available at the same time.
I've also found a few props i will need to buy. I wanted to buy sugar glass, for the bottle smashing part in the pub, though each bottle was quite expensive and may not make it in time. (Or in one piece) Due to this i have decided i will give Toby a fake dagger to use as a weapon, and have Harry throw a plastic shot glass at Toby instead of a sugar glass one.
I've also found a few props i will need to buy. I wanted to buy sugar glass, for the bottle smashing part in the pub, though each bottle was quite expensive and may not make it in time. (Or in one piece) Due to this i have decided i will give Toby a fake dagger to use as a weapon, and have Harry throw a plastic shot glass at Toby instead of a sugar glass one.
Tuesday, 7 February 2012
Script draft 2
EXT. STREET. NIGHT
FOG fills the screen, allowing the audience to see a distant
figure walking away from the camera. The camera passes
through the fog gradually getting closer to the unknown
figure. Once the fog clears we see it's a young woman
dressed in red with long dark hair. Her face is never seen,
but footsteps become apparant. They get faster and louder as
the sound approaches her. A hand grabs her shoulder, at this
the girl turns around showing an unamused look on her face.
We see a man panting from the run.
HANS
Kaira! Where are you going?
KAIRA shrugs off his hand and turns slightly to look at him.
KAIRA
I'm looking for a house. I read in
an article a while back about an
occurrence that happened in this
village...
KAIRA continues down the road, with HANS keeping close lead
on her, trying to get her attention again.
HANS
And why are you going there? It
could be dangerous!
KAIRA
That doesn't bother me. There's
just something about that story
that caught my interest. I feel
like i have no choice but to
investiagte it more.
HANS
We shouldn't even be here, come
back to the carriage so we can get
back on course.
KAIRA continues ignoring HANS and his suspicions.
INT. BAR. NIGHT.
VULRICH and M.M are in a humbly lit, empty tavern. M.M is
off to the side sitting on his own with a shot of whiskey.
VULRICH sits at the bar by JOHAN, who is cleaning the side
down with a rag.
VULRICH
Excuse me sir, but can ya tell me a
bit about what's goin' on around
'ere?
JOHAN ignores him and continues cleaning.
VULRICH
Aye, Sir? Our carriage went missin'
and we've been 'earin strange
things, could ya shed some light on
this?
JOHAN looks away from VULRICH and mumbles something
inaudible under his breath.
VULRICH
Ay?
JOHAN
There's nothing going on around
here, everythin's fine. Nothings
wrong.
VULRICH
We been told people 'av been
diassappearin'. Out carriage 'as
also. What's 'appening' 'ere?
JOHAN
Nothings happening.
EXT. STREET. NIGHT.
KAIRA is closing in on a run down house, nearing the door.
JOHAN
(V.O CONT'D)
Everything's fine, nothings wrong.
INT. BAR. NIGHT.
JOHAN
(CONT'D)
Now stop talking about it.
VULRICH
Apparently there's some sort a
creature doin' this? Do ya know
anythin' 'bout it?
JOHAN
Don't talk about 'them'!
EXT. STREET. NIGHT.
KAIRA reaches her hand out to open the door, HANS at a safe
distance away.
JOHAN
(V.O CONT'D)
Stop mentioning it, nothings wrong!
VULRICH
(V.O)
'Them'?
INT. BAR. NIGHT.
VULRICH
Who are 'they'?
JOHAN
Stop talking about 'them', you're
not allowed to talk about 'them'
don't ask any questions, you're
ruining business!
VULRICH
But...
EXT. STREET. NIGHT.
KAIRA pushes open the door, seeing nothing but a bare room
and darkness.
VULRICH
(V.O CONT'D)
Who are 'they'?
INT. BAR. NIGHT.
JOHAN takes a near empty bottle near him and smaches it on
the counter, creating a weapon from it. He points it in
VULRICH'S direction, threatening him.
JOHAN
I told you, don't ask questions
about 'them', you can't know about
'them'.
INT. HOUSE. NIGHT
KAIRA enters the house, spotting odd marks on the floor and
a blood stain.
KAIRA
What's this? Hans, come look at
this.
JOHAN
(V.O CONT'D)
They'll hear you.
HANS sighs and slowly enters the house, kneeling down and
inspecting what KAIRA found. KAIRA idly wonders around,
noticing a set of stairs and wonders over to them.
HANS
Kaira, don't go up there alone!
KAIRA shrugs and turns her back to the stairs, HANS focuses
on the blood once again. Once he's focused KAIRA once again
faces the stairs and makes her way up them. Hans stays
focused on the blood and marks, untill a a high pitches
scream and a thud comes from upstairs.
JOHAN
(V.O CONT'D)
They'll come.
HANS
Kaira.... Kaira?!
HANS rushes up the stairs to see KAIRA laughing. She looks
as innocent as possible as HANS' face begins to retort with
rage.
KAIRA
Good evening.
HANS
You annoying little girl!
JOHAN
(V.O CONT'D)
Stupid outsiders.
As KAIRA opens her mouth to respond there's a crash, like a
door slamming, and a small squeal leaves her mouth instead.
She shuts her mouth instantly as a scraping noise begins
downstairs.
The scraping continues until a loud thud plunges teh two
into silence once again.
JOHAN
(V.O CONT'D)
Everything was fine until you
showed up!
INT. BAR. NIGHT.
JOHAN swings the bottle aimlessly at VULRICH, who backs off
avoiding it easily. VULRICH smacks the bottle away from
JOHANS hand. JOHAN doesn't falter and he climbs over the bar
to get a better reach at VULRICH. VULRICH grabs him as he
climbs down, JOHAN struggling to break free before finaly
regaining his freedom, looking for a new make shift weapon.
M.M throws his shot glass at JOHANs body, but he's ignored -
JOHAN stays focused on VULRICH, the main threat. As he nears
VULRICH, M.M comes up and takes him down, tying him up with
rope from his bag as he does.
INT. HOUSE. NIGHT.
KAIRA and HANS are crouched on the floor silent and waiting.
KAIRA
(Whispers)
What do you think that was?
HANS
(Whispers)
How am i supposed to know? I told
you not to come up here!
KAIRA
(Whispers)
I was curious, and it's not my
fault! This place has been
abandoned for months!
The wind picks up once again and some odd splinters and
scraps of wood begin to shake a little.
INT. BAR. NIGHT.
JOHAN is tied up with VULRICH questioning him. M.M is back
by the bar with another shot, listening in on the
conversation.
JOHAN
No! Stupid outsiders, you're
ruining everything, everything was
fine before you showed up, you're
ruining business,stop asking
questions,you can't ask questions!
VULRICH
Just tell us what's going on
already!
JOHAN
They can hear you, they'll know,
they'll come here. Stop asking
questions. They'll leave me alone
if i don't talk about them. I don't
want them to come. You're all the
same, you stupid outsiders!
M.M seems to have a thought as he takes a sip from his shot.
M.M
Where did Kaira and Hans go?
VULRICH looks up, now pondering the same thing, looking
slightly worried. JOHAN continues to rock back and forth,
muttering to himself, he looks petrified, as if he knows
something.
INT. HOUSE. NIGHT.
The pair are still crouched upstairs, unmoving.
KAIRA
(whispers)
Lets just make a run for the door.
HANS
(whispers)
No, I am not going down there! If
your so brave, why don't you go?
KAIRA
(whispers)
Fine!
With a huff, KAIRA stands up and proceeds slowly to the
stairs. She takes a breath before peering down. There’s a
reclining circle carved into the floor. The wind is still
picking up, and a strange noise can be heard very faintly
bellow it. KAIRA slowly makes her way down the stairs, then
avoiding treading on the spiral, makes her way for the door.
She struggles to open the door, as some unseen force is
keeping it closed. She tries to force it, but it won’t
budge. A soft crash resonates from upstairs, as a strange
screeching noise begins and the wind picks up dramatically.
Over KAIRAS shoulder a horrific creature can be seen.
EXT. STREET. NIGHT.
The scene cuts away from KAIRA and her distress and focuses
on the foggy street slowly zooming away from the commotion
of Havenheath.
JOHAN
(V.O)
Stupid outsiders, you have no clue
what's going on. You don't know
anything. Don't ask questions. They
were gone until you came back, you
don't know what you've done. You've
ruined everything. You all talk
about 'them', you're all the same.
All of you!
FOG fills the screen, allowing the audience to see a distant
figure walking away from the camera. The camera passes
through the fog gradually getting closer to the unknown
figure. Once the fog clears we see it's a young woman
dressed in red with long dark hair. Her face is never seen,
but footsteps become apparant. They get faster and louder as
the sound approaches her. A hand grabs her shoulder, at this
the girl turns around showing an unamused look on her face.
We see a man panting from the run.
HANS
Kaira! Where are you going?
KAIRA shrugs off his hand and turns slightly to look at him.
KAIRA
I'm looking for a house. I read in
an article a while back about an
occurrence that happened in this
village...
KAIRA continues down the road, with HANS keeping close lead
on her, trying to get her attention again.
HANS
And why are you going there? It
could be dangerous!
KAIRA
That doesn't bother me. There's
just something about that story
that caught my interest. I feel
like i have no choice but to
investiagte it more.
HANS
We shouldn't even be here, come
back to the carriage so we can get
back on course.
KAIRA continues ignoring HANS and his suspicions.
INT. BAR. NIGHT.
VULRICH and M.M are in a humbly lit, empty tavern. M.M is
off to the side sitting on his own with a shot of whiskey.
VULRICH sits at the bar by JOHAN, who is cleaning the side
down with a rag.
VULRICH
Excuse me sir, but can ya tell me a
bit about what's goin' on around
'ere?
JOHAN ignores him and continues cleaning.
VULRICH
Aye, Sir? Our carriage went missin'
and we've been 'earin strange
things, could ya shed some light on
this?
JOHAN looks away from VULRICH and mumbles something
inaudible under his breath.
VULRICH
Ay?
JOHAN
There's nothing going on around
here, everythin's fine. Nothings
wrong.
VULRICH
We been told people 'av been
diassappearin'. Out carriage 'as
also. What's 'appening' 'ere?
JOHAN
Nothings happening.
EXT. STREET. NIGHT.
KAIRA is closing in on a run down house, nearing the door.
JOHAN
(V.O CONT'D)
Everything's fine, nothings wrong.
INT. BAR. NIGHT.
JOHAN
(CONT'D)
Now stop talking about it.
VULRICH
Apparently there's some sort a
creature doin' this? Do ya know
anythin' 'bout it?
JOHAN
Don't talk about 'them'!
EXT. STREET. NIGHT.
KAIRA reaches her hand out to open the door, HANS at a safe
distance away.
JOHAN
(V.O CONT'D)
Stop mentioning it, nothings wrong!
VULRICH
(V.O)
'Them'?
INT. BAR. NIGHT.
VULRICH
Who are 'they'?
JOHAN
Stop talking about 'them', you're
not allowed to talk about 'them'
don't ask any questions, you're
ruining business!
VULRICH
But...
EXT. STREET. NIGHT.
KAIRA pushes open the door, seeing nothing but a bare room
and darkness.
VULRICH
(V.O CONT'D)
Who are 'they'?
INT. BAR. NIGHT.
JOHAN takes a near empty bottle near him and smaches it on
the counter, creating a weapon from it. He points it in
VULRICH'S direction, threatening him.
JOHAN
I told you, don't ask questions
about 'them', you can't know about
'them'.
INT. HOUSE. NIGHT
KAIRA enters the house, spotting odd marks on the floor and
a blood stain.
KAIRA
What's this? Hans, come look at
this.
JOHAN
(V.O CONT'D)
They'll hear you.
HANS sighs and slowly enters the house, kneeling down and
inspecting what KAIRA found. KAIRA idly wonders around,
noticing a set of stairs and wonders over to them.
HANS
Kaira, don't go up there alone!
KAIRA shrugs and turns her back to the stairs, HANS focuses
on the blood once again. Once he's focused KAIRA once again
faces the stairs and makes her way up them. Hans stays
focused on the blood and marks, untill a a high pitches
scream and a thud comes from upstairs.
JOHAN
(V.O CONT'D)
They'll come.
HANS
Kaira.... Kaira?!
HANS rushes up the stairs to see KAIRA laughing. She looks
as innocent as possible as HANS' face begins to retort with
rage.
KAIRA
Good evening.
HANS
You annoying little girl!
JOHAN
(V.O CONT'D)
Stupid outsiders.
As KAIRA opens her mouth to respond there's a crash, like a
door slamming, and a small squeal leaves her mouth instead.
She shuts her mouth instantly as a scraping noise begins
downstairs.
The scraping continues until a loud thud plunges teh two
into silence once again.
JOHAN
(V.O CONT'D)
Everything was fine until you
showed up!
INT. BAR. NIGHT.
JOHAN swings the bottle aimlessly at VULRICH, who backs off
avoiding it easily. VULRICH smacks the bottle away from
JOHANS hand. JOHAN doesn't falter and he climbs over the bar
to get a better reach at VULRICH. VULRICH grabs him as he
climbs down, JOHAN struggling to break free before finaly
regaining his freedom, looking for a new make shift weapon.
M.M throws his shot glass at JOHANs body, but he's ignored -
JOHAN stays focused on VULRICH, the main threat. As he nears
VULRICH, M.M comes up and takes him down, tying him up with
rope from his bag as he does.
INT. HOUSE. NIGHT.
KAIRA and HANS are crouched on the floor silent and waiting.
KAIRA
(Whispers)
What do you think that was?
HANS
(Whispers)
How am i supposed to know? I told
you not to come up here!
KAIRA
(Whispers)
I was curious, and it's not my
fault! This place has been
abandoned for months!
The wind picks up once again and some odd splinters and
scraps of wood begin to shake a little.
INT. BAR. NIGHT.
JOHAN is tied up with VULRICH questioning him. M.M is back
by the bar with another shot, listening in on the
conversation.
JOHAN
No! Stupid outsiders, you're
ruining everything, everything was
fine before you showed up, you're
ruining business,stop asking
questions,you can't ask questions!
VULRICH
Just tell us what's going on
already!
JOHAN
They can hear you, they'll know,
they'll come here. Stop asking
questions. They'll leave me alone
if i don't talk about them. I don't
want them to come. You're all the
same, you stupid outsiders!
M.M seems to have a thought as he takes a sip from his shot.
M.M
Where did Kaira and Hans go?
VULRICH looks up, now pondering the same thing, looking
slightly worried. JOHAN continues to rock back and forth,
muttering to himself, he looks petrified, as if he knows
something.
INT. HOUSE. NIGHT.
The pair are still crouched upstairs, unmoving.
KAIRA
(whispers)
Lets just make a run for the door.
HANS
(whispers)
No, I am not going down there! If
your so brave, why don't you go?
KAIRA
(whispers)
Fine!
With a huff, KAIRA stands up and proceeds slowly to the
stairs. She takes a breath before peering down. There’s a
reclining circle carved into the floor. The wind is still
picking up, and a strange noise can be heard very faintly
bellow it. KAIRA slowly makes her way down the stairs, then
avoiding treading on the spiral, makes her way for the door.
She struggles to open the door, as some unseen force is
keeping it closed. She tries to force it, but it won’t
budge. A soft crash resonates from upstairs, as a strange
screeching noise begins and the wind picks up dramatically.
Over KAIRAS shoulder a horrific creature can be seen.
EXT. STREET. NIGHT.
The scene cuts away from KAIRA and her distress and focuses
on the foggy street slowly zooming away from the commotion
of Havenheath.
JOHAN
(V.O)
Stupid outsiders, you have no clue
what's going on. You don't know
anything. Don't ask questions. They
were gone until you came back, you
don't know what you've done. You've
ruined everything. You all talk
about 'them', you're all the same.
All of you!
Script Draft 1
EXT. STREET. NIGHT
KAIRA is walking down a dim, foggy street alone. Footsteps
become clear as they get closer to her. She ignores them
completely and keeps heading forward, then her shoulder is
grabbed to reveal HANS catching his breath.
HANS
Kaira! Where are you going?
KAIRA shrugs off his hand and glances over her shoulder at
him.
KAIRA
To the carpenter's house. A man
told me that the last attack,
happened a few months ago.
KAIRA continues down the road, with HANS keeping close lead
on her, trying to get her attention again.
HANS
And why are you going there? It's
dangerous!
KAIRA
Yeh, I don't care. This type of
thing interests me.
They approach an old abandoned house. It's in bad shape, but
the door still seems to be in tact. Kaira proceeds to the
door whiles HANS hangs back near the small gate at the end
of the pathway.
HANS
Kaira, come back to the carriage
with everyone else where it's safe
... don't go in there!
KAIRA pushes the door open and peers about inside the house.
KAIRA
Don't be a wuss.
Without hesitating, she walks into the darkness, HANS edges
closer to the door but doesn't stand an arms length close to
it.
INT. BAR. NIGHT.
VULRICH and M.M are in a humbly lit tavern. VULRICH is
sitting at the bar, closest to the bar tender, JOHAN, while
M.M is on the other side with a shot of whiskey. JOHAN has a
bottle near him and is cleaning the side down with a rag.
VULRICH
Excuse me sir, but can ye tell me a
bit about what's goin' on arund
'ere?
OHAN looks away from VULRICH and mumbles something inaudible
under his breath.
VULRICH
ay?
JOHAN
There's nothing going on ound here,
everything' fine. Nothings wrong.
VULRICH
But people 'av been dissapearin'.
What's 'appenin' 'ere?
JOHAN
Nothings happening, everything's
fine, nothing's wrong, now stop
talking about it.
VULARICH
Apparently there's some sort a
monster doin' this? Do ya know
anythin' 'bout it?
JOHAN
Don't talk about 'them'! Stop
mentioning it, nothings wrong!
VULRICH
'Them'? Who are 'they'?
JOHAN
Stop talking about 'them' you're
not allowed to talk about'them'
don't ask any questions, you're
ruining business!
VULRICH
But, who are 'they'?
JOHAN takes the bottle near him and smashes it on the
counter, creating a weapon from it. He points it in
VULRICH'S direction, threatening him.
JOHAN
I told you, don't ask questions
about 'them', you can't know about
'them', they'll hear you! They'll
come, stop talking about them,
stupid outsiders, you're ruining
business, everything was fine until
you showed up!
JOHAN swings the bottle aimlessly at VULRICH and catches his
cheek. VULRICH returns a punch, causing the bottle to be
dropped, and pulls JOHAN over the bar. JOHAN tries to
struggle out of his grasp and breaks free, looking to
reclaim his lost weapon. M.M throws his shot glass at JOHAN,
who pays no attention to the action and focuses his
attention on the main threat. As he nears VULRICH with his
reclaimed bottle, M.M comes up behind him and knocks him
down, tying him up with rope from his bag as he does.
INT. HOUSE. NIGHT.
KAIRA looks around the bare room, seeing splinters covering
the walls. She ignores them for the most part but notices
some scratches on the floor with some dried blood by them.
KAIRA
Hand, Hans! Come look at this ...
it looks like he was forcefully
dragged out of here...
Hans sighs and takes a look around outside and what he can
see from the door inside before retrieving an arrow from his
bag and digging it in front of the door.
HANS
Let me see.
While he kneels down to inspect the marks, KAIRA wonders
towards the stairs curiously peering up them.
HANS
Hmm, nothing seems to be odd about
his blood .. Kaira, don't you go up
there alone! We have to stick
together!
KAIRA shrugs and heads up the stairs despite HANS comment.
Theres barely anything upstairs either, all the furniture
has been destroyed. HANS finished looking at the scratches
and blood before hearing a thud from upstairs. It's
accompanied with a high pitched scream. He jolts up at this
point.
HANS
Kaira... Kaira?!
Hans rushed up to see Kaira laughing. She looks as innocent
as possible as his face begins to retort in rage.
KAIRA
Good day.
HANS
You annoying little girl!
The wind begins to pick up, and the pair hear a creaking
from downstairs. The pair pick up on this and freeze
momentarily.
KAIRA
It's probably just the wind, the
door is rather old. It'll probably
get blown about a bit.
HANS
I put an arrow in front of it to
serve as a doorstop, it shouldn't
be creaking this much.
As Kaira opens her mouth to respond there’s a crash, like a
door slamming, and a small squeal leaves her mouth instead.
She shuts her mouth instantly as a scraping noise begins
downstairs. The scraping continues until a loud thud plunges
the two into silence once again.
KAIRA
(whispers)
What do you think that was?
HANS
(whispers)
How am i supposed to know? I told
you not to come up here!
KAIRA
(whispers)
I was curious, and it's not my
fault! This place has been
abandoned for months!
The wind picks up once again and the splinters on the wall
begin to shake a little.
INT. BAR. NIGHT.
JOHAN is tied up with VULRICH questioning him. M.M is back
by the bar with another shot, listening in on the
conversation.
JOHAN
No! Stupid outsiders, you're
ruining everything, everything was
fine before you showed up, you're
ruining business, none of the other
customers are like this, stop
asking quiestions,you can't ask
questions!
VULRICH
Just tell us what's going on
already!
JOHAN
They can hear you, they'll know,
they'll come here. Stop asking
questions. They'll leave me alone
if i don't talk about them. I don't
want them to come. You're all the
same, you stupid outsiders!
M.M seems to have a thought as he leaves the bar, realising
none of the customers reacted to their earlier brawl. He
tips one over in their chair, they fall with it not moving.
Vulrich watches as this happens while Johan continues
rocking slightly under the pressure.
M.M
What's up with this?
JOHAN
None of the other customers are
like you, their all good, they
don't ask questions. Their not bad
for business, not like you
outsiders. Supid outsiders!
M.M leans in closer to the body and cuts off the supposed
man's head to find it's stuffed.
M.M
There's something really messed up
about this village...
INT. HOUSE. NIGHT.
KAIRA and HANS are crouched down upstairs by an old blocked
off window.
KAIRA
(whispers)
Lets just make a run for the door.
HANS
(whispers)
No, I am not going down there! If
your so brave, why don't you go?
KAIRA
(whispers)
Fine!
With a huff, KAIRA stands up and proceeds slowly to the
stairs. She takes a breath before peering down. There’s a
reclining circle carved into the floor with the arrow stuck
in the centre of it. The wind is still picking up, and a
strange noise can be heard very faintly bellow it. KAIRA
slowly makes her way down the stairs, then avoiding treading
on the spiral, makes her way for the door. She struggles to
open the door, as some unseen force is keeping it closed.
She tries to force it, but it won’t budge. A soft crash
resonates from upstairs, as a strange screeching noise
begins and the wind picks up dramatically. KAIRA turns
slowly to seen an ungodly sight.
EXT. STREET. NIGHT.
The scene cuts away from KAIRA and her distress and focuses
on the foggy street slowly zooming away from the commotion
of Havenheath.
JOHAN
(V.O)
Stupid outsiders, you have no clue
what's going on. You don't know
anything. Don't ask questions. They
were gone until you came back, you
don't know what you've done. You've
ruined everything. You all talk
about 'them', you're all the same.
All of you!
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