The Invisible Man (2020) - Gaslighting, Abuse and Modern Horror Done Right

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Hello horror fans and welcome back to the Script
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to Screen podcast, where we delve into the spine
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-tingling world of horror cinema. Each week we
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look at the scariest scenes, unmask the deeper
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meanings behind your favourite horror films and
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explore the psychology of fear that keeps us
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coming back for more. From script analysis to
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scene breakdowns, we'll be dissecting your favourite
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horror movies to see just what makes them tick.
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So whether you're a seasoned horror aficionado
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or just starting to explore the genre, join us
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as we unravel the spine -tingling stories that
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haunt the silver screen. I'm Will. And I'm Lee.
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Now, for those of you who may be new to the show,
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please check out our website. That's script to
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screen podcast dot com. You can find a lot more
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insight there into the scripts and the films
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that we cover. We have scareology graphs illustrating
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the scares in each of the films and annotated
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script excerpts to highlight some of the ideas
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we cover when dissecting the screenplays. So
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if you want to go deeper on your favorite scripts,
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there's more to interest, entertain and delight
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over at script to screen podcast dot com. Also,
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if you like what we're doing here, please do
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share the episodes. It really helps us reach
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new people, and leaving a review would be awesome
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as well. That would be amazing. But that said,
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how have you been, Lee? And maybe more importantly,
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what have you been watching? Besides wilting
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in this horrific heat wave that we've had. Yeah,
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it's been awful. I know, we're terrible. It's
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always cold, it's always wet, and as soon as
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the sun comes out... You can never please the
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English weather -wise, can you? No, that is very...
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Very true. What have I been watching? Actually,
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I've checked out some pretty good shit this week.
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First up was Apostle on Netflix, which is a really
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good kind of folk horror effort starring the
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always brilliant Dan Stevens and the equally
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great Michael Sheen. It was very much a slow
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burn affair, but it was beautifully shot, boasted
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a wonderful fatality involving a large hand drill
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and some poor chap's cranium. Ouch. And this
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was written and directed by Gareth Evans, who
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is on one hell of a roll at the moment. So it's
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definitely checking out. It's a lot more slow
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and low key than his other stuff, but really
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good, really good. What else did I watch? Oh,
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yeah. I watched the remake. of death stalker
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starring daniel bernhardt and this this was just
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delightful it was uh it was so cheap and cheesy
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uh and yet it kind of wore that campiness so
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proudly it was impossible not to get sucked in
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on the journey you know i mean uh i've been a
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fan of bernhardt since the old 1998 mortal combat
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tv show did you ever watch that no i didn't actually
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Oh man, it was, uh, I remember it being awesome.
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I've never gone back and rewatched it, which
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is probably a good thing. Um, but at the time,
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at the time I loved it, I thought it was amazing.
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And he was fantastic. And he was like one of
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the main characters. Um, and I always get a kick
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out of anything he pops up in. And it's great
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to see him in a, in a leading role again, rather
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than, uh, just like an imposing henchman, which
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he seems to have absolutely cornered the market
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on that. You'll have no doubt seen him. If you
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don't know the guy, you'll know the face. And
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finally, I checked out a little movie called
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Host. And this one was really interesting as
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it plays out over the course of a Zoom meeting
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during the pandemic. And a bunch of friends perform
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an online seance, which goes spectacular. wrong
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and uh and this this really felt like a paranormal
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activity movie you know right down to its bones
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and as a huge fan of that franchise this was
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right up my alley it's it's short and sweet uh
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just an hour long and i really got a kick out
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of this one i highly recommend it but how about
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you my man what has been on your screens this
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week Yeah, well, they sound like a cracking bunch
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of films, Lee, there. Yeah, I might have to check
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a few of those out. Well, this week, so I've
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watched a few movies. I watched an old thriller
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called Run Silent, Run Deep, which is sort of
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a, it's a cracking submarine thriller. for Robert
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Wise. It's written by John Gay, starring Burt
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Lancaster and Clark Gable. Fantastic film, Lee,
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like super tense. This is, you know, Das Boot
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before Das Boot was a thing. It's great, great
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stuff. And the two leads just bounce off each
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other wonderfully well. You know, they're sort
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of antagonistic towards each other at the start,
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but they learn to respect each other through
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the mission. It's just cracking, cracking stuff,
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beautifully shot. I also caught a film called
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Black Bag from Steven Soderbergh as written by
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David Coep. So, yeah, I mean, it's a great. sort
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of director -screenwriter combo. I think they
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also did Presence fairly recently, these two.
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But yeah, this one's a spy thriller set in London,
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which is great. Has a really great cast. Yeah,
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and this one I thought was really kind of effective.
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I mean, I love kind of Steven Soderbergh anyway.
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He's just one of my sort of filmmaking heroes.
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So I think I was predisposed to kind of enjoy
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this one. But yeah, this was pretty good. I saw
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Inherent Vice from Paul Thomas Anderson that
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stars Joaquin Phoenix. And this one's sort of
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a tale of, you know, like a sort of half -baked,
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you know, permanently kind of stoned private
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investigator working in L .A. in the 70s. It's
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a really sort of twisty plot. Some great cameos
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in this one. Martin Short's absolutely fantastic.
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Really beautifully shot, this one. And Phoenix
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is really, really good as well. Certainly not
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kind of, you know, Anderson's best work, but
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I thought, you know, it was a load of fun and
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it had a lot of charm as well. And I love a sort
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of private investigator movie. So this one really
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sort of tickled my belly. Lastly, I saw a classic
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movie called Excalibur. And this one was from
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John Borman and written by Borman and Rospo Pallenberg.
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I do love John Borman films, Lee. I don't know
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if you're any sort of you have any experience
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really with John Borman films, but I really love
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them. And this one was just kind of bonkers.
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I mean, I think it's obviously sort of Arthurian
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legends. They are really, I think, quite difficult
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to adapt tonally. And this. kind of proved to
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be the case here as well. So famously, you know,
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not really enough money to make this one the
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way Borman wanted to. But it has some really
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charming moments, some great set pieces. It's
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also like a who's who of early sort of 80s Irish
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talent. And it's worth a watch just for that.
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Liam Neeson pops up with a fantastic beard. So,
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yeah, it's worth a watch just for that. And the
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sparkly armour, Lee, it's absolutely a treat
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for the eye. so this is definitely definitely
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worth a watch it's flawed but you know i think
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it's definitely worth a watch i think i have
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seen excalibur when i was uh when i was a nipper
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yeah i don't remember anything about it except
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the really sparkly shiny armor very shiny very
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shiny indeed but uh but i'll add it to my ever
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lengthening list of things to to watch and hopefully
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i'll get around to check it out to watch or to
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avoid i'm not sure But it was fun, man. I love
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John Borman movies. So, you know, it was really
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good. Awesome, dude. So what is strapped on the
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table for dissection this week? OK, well, this
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week, Lee, we're going to be looking at Lee Wannell's
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The Invisible Man. Oh, this is such a great film.
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I've literally wanted to cover this one from
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the inception of the podcast, but I've only recently
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been able to get a hold of the script. So I really
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cannot wait to deep dive into this bad boy. Nice.
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So this was written and directed by Lee Wannell
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and released February 28th, 2020, and filmed
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on a budget of around $7 million. The Invisible
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Man will go on to make a staggering $144 .5 million
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at the global box office. box office lee is that
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blumhouse magic for you yeah now obviously i've
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heard you talk reverently about uh the blumhouse
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approach uh and i know you know you probably
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secretly harbor a little dream of working with
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them some daily some time in the future so uh
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yeah take it take a moment like elaborate a little
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on how the studio works and what makes them so
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appealing to horror writers like yourself OK,
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well, the success of Blumhouse Studios and Jason
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Blum's general philosophy is it's kind of nothing
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short of brilliant, really. I mean, the core
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idea is that the studio will bankroll and release
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low budget, i .e. like one to ten million dollar
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films. They allow maximum creator input, minimal
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studio interference, but with a very strict and
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limited budget and timescale. So the idea being
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that if they release, I don't know, say 15 to
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20 movies. on a $100 million combined budget.
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It doesn't really matter if they aren't all successful
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because the hits will more than cover the failures.
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And let's be real, a movie shot on, say, a $3
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million budget only has to rake in a little over
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double that to kind of start turning a real profit.
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And because Blumhouse deals mostly in horror,
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a genre that is constantly popular, and with
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an instant built -in fan base, these movies rarely
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wind up... failing really tanking hard especially
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with streaming sales added to the mix and dvd
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and blu -ray if you know people besides me ever
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still buy those things well i do i do physical
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media fan mealy you know yeah so yeah i mean
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it's an interesting point though isn't it is
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you know that being that horror fans kind of
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do eagerly consume most relevant media whereas
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maybe fans of sci -fi or romance you know possibly
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tend to be a bit more picky yeah absolutely i
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mean horror fans i just such a fucking great
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fan base to have because, you know, we don't
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care who's in it. We don't care what the budget
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is. Sometimes, even if it's particularly great,
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we don't really that, we don't really that fuss,
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you know, we'll, we'll give anything a go. And
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when you do give us something great, you know,
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we'll remember that shit and word of mouth will
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spread. quickly and it'll spread hard you know
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i've said it before and i'll happily die on this
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hill but i think horror fans are pretty much
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the best bunch of people in the world bold claims
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lee bold claims i'm sure there's a few red cross
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workers out there who may just may disagree with
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you slightly but to summarize anyway the basis
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of the the blumhouse method boils down to mass
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producing inexpensive movies with little studio
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interference in the knowledge that the failures
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won't be too costly successes will bankroll the
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studio pretty much yeah i mean just like the
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invisible man for instance you know um now we're
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going to be comparing the film to a copy of the
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script dated november 2018 written of course
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by lee wonnell and the script weighs in at 105
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pages all righty then folks settle into your
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seats as we strap down and slice open the invisible
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man After escaping her abusive tech genius boyfriend,
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Cecilia believes she's finally free when he apparently
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commits suicide. But as invisible forces begin
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tormenting her, she becomes convinced he has
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found a way to stalk her unseen, while everyone
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around her dismisses her terror as paranoia and
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psychological collapse. So we open on a cliffside
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vista. The waves crash against the rocks, Lee.
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The residue of the water briefly highlighting
00:11:54.480 --> 00:11:57.019
the opening titles as though they were themselves
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invisible. It's a really cool bit of opening
00:11:59.860 --> 00:12:03.769
imagery. Atop this cliffscape, we see the lights
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of a beautiful house and clearly a very expensive
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one. We head inside this modern mansion to find
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a sleeping woman, Cecilia Cass, played by the
00:12:12.950 --> 00:12:15.350
wonderful Elizabeth Moss. And she's either the
00:12:15.350 --> 00:12:17.909
world's lightest sleeper or she's fakingly because
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her eyes flick open bright and alert to check
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the clock next to her. And the clock reads 3
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.41 a .m. It's 3 .51 a .m. in the script. Ah,
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shocking deviation there. So why do you think
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this change occurred? No, I'm only joking. She's
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ahead of schedule. Anyway, after carefully slipping
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out of bed without waking the man sleeping next
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to her, she retrieves a bottle of sleeping pills
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tucked under her side of the mattress. Yeah,
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it's a cool little technique here with her name
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printed on the label and a nice close -up macro
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shot. The audience now knows that this is Cecilia
00:12:54.470 --> 00:12:56.870
Cass as well. So we all know who she is now.
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Nice little bit of exposition through mise -en
00:12:58.870 --> 00:13:01.909
-scene, isn't it? Great stuff. So now Cecilia
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creeps around the bed to the man's side and retrieves
00:13:05.549 --> 00:13:08.169
a half -empty glass of water. She gives it a
00:13:08.169 --> 00:13:10.389
quick swirl to confirm what we already suspect.
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She's spiked the drink with her Pillsley. She
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disposes of the spiked water in the en -suite
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bathroom before retrieving a bug -out bag stashed
00:13:19.409 --> 00:13:22.580
in a vent behind a walk -in wardrobe. In it,
00:13:22.600 --> 00:13:24.940
she stuffs her passport, some cash, some pills
00:13:24.940 --> 00:13:28.059
and a few other necessities. We also see some
00:13:28.059 --> 00:13:30.740
contraceptive pills stashed in there. And it's
00:13:30.740 --> 00:13:32.860
interestingly how loud everything is here. The
00:13:32.860 --> 00:13:35.460
trickling water, the rattling pills, everything
00:13:35.460 --> 00:13:38.340
is cranked up to the max, all in an attempt to
00:13:38.340 --> 00:13:40.799
put us in Cecilia's headspace. And it's wonderfully
00:13:40.799 --> 00:13:43.860
effective. Absolutely. Yeah. I mean, in the script,
00:13:44.019 --> 00:13:47.019
Cecilia replaces the spiked water with tap water.
00:13:47.480 --> 00:13:50.340
But this was omitted from the film. In the script,
00:13:50.419 --> 00:13:53.019
she also grabs a selfie stick she has stashed
00:13:53.019 --> 00:13:55.919
to reposition a security camera outside the bedroom.
00:13:56.320 --> 00:13:59.179
Yeah. Now on screen, she has a small step ladder
00:13:59.179 --> 00:14:01.299
for the same purpose. And after the camera is
00:14:01.299 --> 00:14:03.899
moved, she brings up the security feed on her
00:14:03.899 --> 00:14:07.360
phone and zooms in on the sleeping man. So now
00:14:07.360 --> 00:14:09.700
she can check he's still asleep while she presumably
00:14:09.700 --> 00:14:13.169
makes her escape. She moves now into a super
00:14:13.169 --> 00:14:16.210
high -tech lab. The walls are decorated with
00:14:16.210 --> 00:14:19.450
framed awards and some scientific accolades.
00:14:20.009 --> 00:14:22.629
In the script, we can see that these belong to
00:14:22.629 --> 00:14:25.649
one Adrian Griffin, but you can't really make
00:14:25.649 --> 00:14:29.169
these out on screen. Also, just before this scene
00:14:29.169 --> 00:14:32.570
in the script, Cecilia encounters Zeus the Doberman.
00:14:32.970 --> 00:14:36.970
Adrian's dog slash guard dog attack dog and plies
00:14:36.970 --> 00:14:39.590
him with dog treats to keep him quiet. But we're
00:14:39.590 --> 00:14:41.669
actually introduced to him a little later on
00:14:41.669 --> 00:14:45.409
screen. Yeah. So back in the lab and Cecilia
00:14:45.409 --> 00:14:48.250
logs into a computer and disables all of the
00:14:48.250 --> 00:14:50.769
security cameras bar the one watching Adrian
00:14:50.769 --> 00:14:54.269
sleep and also disables the alarm system. Then,
00:14:54.330 --> 00:14:56.230
as she's about to leave, something catches her
00:14:56.230 --> 00:14:59.549
eye. A sealed room with a large frame seemingly
00:14:59.549 --> 00:15:02.610
holding nothingly. Some foreshadowing, methinks.
00:15:02.950 --> 00:15:06.169
She makes her way through the lavish house into
00:15:06.169 --> 00:15:08.570
the kitchen where she accidentally kicks a dog
00:15:08.570 --> 00:15:11.009
bowl across the floor. But a panic check of her
00:15:11.009 --> 00:15:15.870
phone reveals Adrian is still asleep. Phew! Cecilia
00:15:15.870 --> 00:15:19.090
now removes some clothes from her bag and hastily
00:15:19.090 --> 00:15:22.269
dresses. And once dressed, she heads down to
00:15:22.269 --> 00:15:25.320
the garage. Yeah. So in the script here, Cecilia
00:15:25.320 --> 00:15:27.960
checks her phone while still in the kitchen just
00:15:27.960 --> 00:15:30.879
to see that Adrian is gone from the bed. We haven't
00:15:30.879 --> 00:15:33.419
reached that panic point yet on the screen, though.
00:15:33.440 --> 00:15:35.740
Instead, Cecilia makes it down to the garage
00:15:35.740 --> 00:15:39.399
where she is accosted by the lovely Zeus. But
00:15:39.399 --> 00:15:42.019
rather than alerting its master, the dog seems
00:15:42.019 --> 00:15:44.759
more intent on guilt tripping Cecilia for abandoning
00:15:44.759 --> 00:15:48.799
him. I feel that most dazely. She apologizes
00:15:48.799 --> 00:15:51.299
to Zeus for not being able to take him with her.
00:15:51.360 --> 00:15:53.460
And after a moment's emotional struggle, she
00:15:53.460 --> 00:15:56.399
removes its hefty electric shock collar before
00:15:56.399 --> 00:15:59.039
leaving. Yeah, I mean, this is a great character.
00:15:59.100 --> 00:16:01.480
You could say it's her save the cat moment, you
00:16:01.480 --> 00:16:05.879
know, despite it being a dog. Yeah. Nice to see
00:16:05.879 --> 00:16:09.480
a dog being treated well as well as opposed to
00:16:09.480 --> 00:16:12.480
dying a terrible death. You know, the movie's
00:16:12.480 --> 00:16:15.799
young. That's right. Yeah. I don't hold out hopes
00:16:15.799 --> 00:16:18.779
for Zeus, to be honest. And if we weren't already
00:16:18.779 --> 00:16:21.480
behind Cecilia and her desperate escape bid,
00:16:21.580 --> 00:16:25.169
we totally have her back now. Right. Her good
00:16:25.169 --> 00:16:27.169
deed does backfire, though, as the dog backs
00:16:27.169 --> 00:16:29.909
into a sports car and sets off the most sensitive
00:16:29.909 --> 00:16:33.629
car alarm in history. And stealth is well and
00:16:33.629 --> 00:16:36.149
truly out of the window at this point. And she
00:16:36.149 --> 00:16:39.009
bolts hell for leather across the massive lawn
00:16:39.009 --> 00:16:42.029
and scales the imposing yet surprisingly easily
00:16:42.029 --> 00:16:45.250
climbable security wall. Then she's into the
00:16:45.250 --> 00:16:47.730
adjacent forest and sprinting for the roadly.
00:16:48.360 --> 00:16:50.940
Aye, so the script really punches you in the
00:16:50.940 --> 00:16:53.759
gut here as the poor dog desperately tries to
00:16:53.759 --> 00:16:55.919
escape with her, but it can't scale the perimeter
00:16:55.919 --> 00:16:58.720
fence and just barks desperately and pathetically
00:16:58.720 --> 00:17:03.080
as Cecilia flees. I'm personally glad they dropped
00:17:03.080 --> 00:17:06.930
that, but any thoughts on why? I guess she would
00:17:06.930 --> 00:17:08.829
have gone from like the positive character beat
00:17:08.829 --> 00:17:12.230
of helping the dog to the negative beat of abandoning
00:17:12.230 --> 00:17:14.890
it in the space of a few heartbeats. So I suspect
00:17:14.890 --> 00:17:17.430
it may have soured the audience on Cecilia and
00:17:17.430 --> 00:17:20.069
her escape somewhat. Basically, I think it would
00:17:20.069 --> 00:17:22.289
have been a downer. We didn't really need at
00:17:22.289 --> 00:17:25.289
that point. Yeah, we just need to be behind Cecilia's
00:17:25.289 --> 00:17:28.160
attempt at this point, don't we? So back on screen
00:17:28.160 --> 00:17:31.319
and after a tense dash through a dark forest,
00:17:31.420 --> 00:17:34.400
a heroine arrives at the road. But whoever she's
00:17:34.400 --> 00:17:37.680
waiting for has yet to arrive. After a tense
00:17:37.680 --> 00:17:40.359
moment, headlights appear and Cecilia dashes
00:17:40.359 --> 00:17:43.119
for them. It's her sister, Emily, and Cecilia
00:17:43.119 --> 00:17:46.900
bundles herself into the car, dropping the sleeping
00:17:46.900 --> 00:17:50.160
pills in her desperation. Now, as Emily demands
00:17:50.160 --> 00:17:52.920
to know what's going on, Adrian sprints from
00:17:52.920 --> 00:17:55.220
the darkness and starts hammering on the passenger
00:17:55.220 --> 00:17:58.339
window, screaming at Cecilia to get out. When
00:17:58.339 --> 00:18:00.420
she refuses, he punches through the windscreen
00:18:00.420 --> 00:18:03.259
to grab her. But thankfully, Emily steps on the
00:18:03.259 --> 00:18:05.599
gas and they're able to leave him in the dust.
00:18:06.000 --> 00:18:08.920
As they drive away, the dastardly Adrian spots
00:18:08.920 --> 00:18:12.420
the box of pills on the road and picks them up.
00:18:12.420 --> 00:18:14.819
And man, what a great opener this is, right?
00:18:15.390 --> 00:18:18.190
I know, right? It's so, so good. And it does
00:18:18.190 --> 00:18:21.450
such a fantastic job of introducing the characters
00:18:21.450 --> 00:18:23.890
and planting seeds ready to ripen into payoffs
00:18:23.890 --> 00:18:27.680
later in the film. I love how up until Adrian
00:18:27.680 --> 00:18:30.000
arrives at the car, all we have seen of him is
00:18:30.000 --> 00:18:32.640
just a dude sleeping. But just through Cecilia's
00:18:32.640 --> 00:18:35.519
actions and the uses of Miz on scene, we already
00:18:35.519 --> 00:18:37.940
know so much about him. The shock collar on the
00:18:37.940 --> 00:18:40.539
dog, the sterile living environment, the security
00:18:40.539 --> 00:18:43.839
cameras inside the house. It all works to build
00:18:43.839 --> 00:18:46.440
a picture of just a really unpleasant individual.
00:18:47.469 --> 00:18:49.430
Yeah, I mean, it just goes to show how important
00:18:49.430 --> 00:18:51.809
kind of visual storytelling is when it comes
00:18:51.809 --> 00:18:55.369
to screenwriting. That said, Lee, I'm not entirely
00:18:55.369 --> 00:18:57.569
sure a clean house is necessarily indicative
00:18:57.569 --> 00:19:00.170
of unpleasantness, but, you know, I take your
00:19:00.170 --> 00:19:03.490
point and won't argue that any further. It's
00:19:03.490 --> 00:19:06.210
not just clean, though, dude. It's sterile. It's
00:19:06.210 --> 00:19:08.710
like a show home. You know, the only room with
00:19:08.710 --> 00:19:11.349
any real character is the science lab, which
00:19:11.349 --> 00:19:13.950
I guess is like Adrian's version of a man cave.
00:19:14.480 --> 00:19:18.599
It is quite the soulless, lifeless kind of abode,
00:19:18.619 --> 00:19:22.000
isn't it? Anyway, back in the film. And a handy
00:19:22.000 --> 00:19:24.640
little super informs us two weeks have passed.
00:19:24.859 --> 00:19:27.539
In the script, we get a brief scene of Cecilia
00:19:27.539 --> 00:19:30.359
in a new place, a new bed. The floor creaks and
00:19:30.359 --> 00:19:32.640
she's up instantly scanning the room nervously.
00:19:33.109 --> 00:19:36.890
Now on screen we rejoin Cecilia as she stares
00:19:36.890 --> 00:19:40.170
through a window into the street and the everyday
00:19:40.170 --> 00:19:43.670
suburbia beyond. She's joined by James Lanyer
00:19:43.670 --> 00:19:46.329
played by Aldous Hodge and we learn through some
00:19:46.329 --> 00:19:48.509
dialogue that he is a friend of her sister's
00:19:48.509 --> 00:19:51.349
who is putting her up for a while and he encourages
00:19:51.349 --> 00:19:54.269
her to go and grab the mail from the box at the
00:19:54.269 --> 00:19:57.750
end of the lawn but Cecilia is really scared.
00:19:57.910 --> 00:20:01.769
She does however agree to try. The way this sequence
00:20:01.769 --> 00:20:03.650
appears in the film film is really clever everything
00:20:03.650 --> 00:20:07.150
is very loud the creaking of the front door the
00:20:07.150 --> 00:20:09.910
birds singing outside but as soon as she sets
00:20:09.910 --> 00:20:12.349
foot outside everything is really muffled and
00:20:12.349 --> 00:20:15.349
it's near silent it's like she's underwater now
00:20:15.349 --> 00:20:18.109
cecilia she makes it to the mailbox but is startled
00:20:18.109 --> 00:20:21.650
by an incoming jogger and flees back to the house
00:20:21.650 --> 00:20:24.529
to be fair that jogging Did look shifty as fuck.
00:20:24.890 --> 00:20:28.789
He did look shifty, didn't he? It's just credit
00:20:28.789 --> 00:20:31.970
to one else for shooting it in such a way. Thankfully,
00:20:32.150 --> 00:20:35.130
James is very supportive and reassures her that
00:20:35.130 --> 00:20:38.210
she's doing great. Yeah. In the script, we are
00:20:38.210 --> 00:20:41.329
then joined by James's latest lady friend. Check
00:20:41.329 --> 00:20:49.609
it out. Another woman, Annie, 34, strolls into
00:20:49.609 --> 00:20:52.190
the room, scratching at bed hair. She's wearing
00:20:52.190 --> 00:20:54.730
a cocktail dress like she just woke up from going
00:20:54.730 --> 00:20:58.549
out. Seems surprised by Cecilia's presence. Annie.
00:20:58.890 --> 00:21:02.990
Hey there. James. Annie, good morning. This is
00:21:02.990 --> 00:21:06.630
Cecilia. See, this is Annie. Cecilia. Hi, nice
00:21:06.630 --> 00:21:10.670
to meet you. Annie. You too. Cecilia. I'm gonna
00:21:10.670 --> 00:21:14.430
go and get Sydney up. Cecilia beats a quick exit.
00:21:14.789 --> 00:21:19.039
James talks fast. Maybe too fast. James. See,
00:21:19.099 --> 00:21:20.740
here's an old friend of mine. She's staying with
00:21:20.740 --> 00:21:22.579
me for a little bit while she gets back on her
00:21:22.579 --> 00:21:25.140
feet. I grew up with her and her sister. We went
00:21:25.140 --> 00:21:27.000
to the same school. She's been helping me with
00:21:27.000 --> 00:21:30.119
Sid, so it's been... Annie. You don't have to
00:21:30.119 --> 00:21:32.339
explain anything, James. We've been on two dates.
00:21:32.880 --> 00:21:37.019
James. I know, I know. Beat. Switches tack. So
00:21:37.019 --> 00:21:40.440
last night was fun. Annie. Yeah, it was. I'm
00:21:40.440 --> 00:21:42.579
going to go home and get ready for work. James.
00:21:42.880 --> 00:21:46.220
Okay, cool. So give me a call. Let's do something
00:21:46.220 --> 00:21:48.710
next week or whenever you want. I'm not sure
00:21:48.710 --> 00:21:51.250
what the rules are here. Annie, aren't cops supposed
00:21:51.250 --> 00:21:54.630
to know all the rules? James, not this one. Annie,
00:21:54.769 --> 00:21:59.970
this cop or this rule? James, both. So why lose
00:21:59.970 --> 00:22:02.470
the lovely Annie from the film, Lee, do you think?
00:22:03.160 --> 00:22:06.039
Well, I almost feel like her main purpose here
00:22:06.039 --> 00:22:09.259
is to iterate that James and Cecilia aren't an
00:22:09.259 --> 00:22:12.900
item and aren't being set up this way. It does
00:22:12.900 --> 00:22:14.859
also throw in some pretty on the nose dialogue
00:22:14.859 --> 00:22:18.019
is exposition. And as we can tell from the fact
00:22:18.019 --> 00:22:19.839
that the scene is missing from the final film,
00:22:19.900 --> 00:22:22.839
we still get the gist of everything. quite easily
00:22:22.839 --> 00:22:25.339
quite clearly without it it does lead to some
00:22:25.339 --> 00:22:27.940
great dialogue in the next scene though which
00:22:27.940 --> 00:22:30.700
is also missing from the film it is in this scene
00:22:30.700 --> 00:22:32.920
in the script that we first meet james's daughter
00:22:32.920 --> 00:22:35.980
sydney played by storm reed in the film and here's
00:22:35.980 --> 00:22:43.680
that dialogue for you sydney uh so did you get
00:22:43.680 --> 00:22:47.140
a good look at dad's tinder skank cecilia Dad's
00:22:47.140 --> 00:22:49.940
Tinder skank. I'm confused. Is that a new band
00:22:49.940 --> 00:22:52.180
you like? Because I know a smart, awesome, modern
00:22:52.180 --> 00:22:54.019
young woman like you would never slut -shame
00:22:54.019 --> 00:22:56.279
another woman with a term like that. Sidney.
00:22:56.440 --> 00:22:59.759
Was she nasty? Cecilia. Your dad would be the
00:22:59.759 --> 00:23:02.559
expert on this seemingly very nice person. Sidney.
00:23:02.839 --> 00:23:05.519
Ah, I see. I'm picking up the code here. I'll
00:23:05.519 --> 00:23:07.259
tell him you didn't approve of her nasty ass.
00:23:07.660 --> 00:23:12.880
Cecilia. Please don't. So obviously by losing
00:23:12.880 --> 00:23:14.980
the previous scene, we have to lose this one
00:23:14.980 --> 00:23:16.960
too, which is a shame because there are some
00:23:16.960 --> 00:23:18.880
really nice little character beats in there,
00:23:19.000 --> 00:23:22.059
I think. Yeah. I mean, besides being amusing,
00:23:22.160 --> 00:23:24.259
it does illustrate the familiarity with Sydney,
00:23:24.440 --> 00:23:26.640
doesn't it? And possibly hints at something approaching
00:23:26.640 --> 00:23:30.759
a theme, but it's gone. So we move on, Lee. Now
00:23:30.759 --> 00:23:33.279
back on screen, we find Cecilia in the living
00:23:33.279 --> 00:23:36.039
room on her laptop reading about how hackers
00:23:36.039 --> 00:23:38.339
can view your webcam and she promptly paints
00:23:38.339 --> 00:23:42.079
over her webcam lens with nail polish. It's a
00:23:42.079 --> 00:23:44.640
cool little scene, almost a theme stated kind
00:23:44.640 --> 00:23:47.039
of moment as it shows that she's afraid of Adrian
00:23:47.039 --> 00:23:49.140
watching her without her knowledge or consent.
00:23:50.119 --> 00:23:52.660
James is busy painting the house when someone
00:23:52.660 --> 00:23:55.880
arrives at the door and it's Emily Lee. James
00:23:55.880 --> 00:23:57.799
is happy to see her, but Cecilia is freaking
00:23:57.799 --> 00:24:00.319
out, scared that Adrian might have followed her
00:24:00.319 --> 00:24:03.480
here and now knows where she is. After a few
00:24:03.480 --> 00:24:05.759
moments of desperately trying to get a word in,
00:24:05.839 --> 00:24:08.839
Emily blurts out that Adrian is dead and shows
00:24:08.839 --> 00:24:12.339
her the news article. Optics pioneer found dead
00:24:12.339 --> 00:24:15.599
from suicide. In the script, James is not present
00:24:15.599 --> 00:24:17.859
for this scene from the outset, while on the
00:24:17.859 --> 00:24:20.279
screen he makes himself scarce so the sisters
00:24:20.279 --> 00:24:23.440
can talk in privacy. Yeah, and it's all too much
00:24:23.440 --> 00:24:26.559
for Cecilia to take in and she shuts herself
00:24:26.559 --> 00:24:28.960
in the bathroom and tries to process the news.
00:24:29.259 --> 00:24:31.559
After a brief time out, she heads back to James
00:24:31.559 --> 00:24:34.039
and Emily. The three have a sit down conversation
00:24:34.039 --> 00:24:36.619
where Cecilia opens up about what actually happened
00:24:36.619 --> 00:24:39.400
between her and Adrian. And this is clearly the
00:24:39.400 --> 00:24:41.799
first time she's felt safe enough to really open
00:24:41.799 --> 00:24:45.480
up to her family and friends. She confesses how
00:24:45.480 --> 00:24:48.099
Adrian would control every aspect of her life
00:24:48.099 --> 00:24:50.900
and would become violent or worse when she displeased
00:24:50.900 --> 00:24:53.500
him. She says he wanted a baby, but she knew
00:24:53.500 --> 00:24:55.579
if she had one with him, she'd never be free.
00:24:55.700 --> 00:24:58.799
So she took birth control pills on the sly and
00:24:58.799 --> 00:25:02.190
concocted her escape plan. In the script, this
00:25:02.190 --> 00:25:05.450
plays out a little differently. James is still
00:25:05.450 --> 00:25:08.390
not present. And when asked if Adrian would hit
00:25:08.390 --> 00:25:13.329
her, this is her reply. Cecilia. No, it was worse
00:25:13.329 --> 00:25:16.009
than that. He altered my reality. He lied to
00:25:16.009 --> 00:25:18.309
me so convincingly that I thought I was the crazy
00:25:18.309 --> 00:25:21.029
one. I believed I was a burden to him. I begged
00:25:21.029 --> 00:25:23.230
for his forgiveness and thanked him for putting
00:25:23.230 --> 00:25:26.240
up with a little old worthless me. yeah it's
00:25:26.240 --> 00:25:29.059
so tragic isn't it i mean it's it's interesting
00:25:29.059 --> 00:25:32.420
though so why change uh him from a sort of psychological
00:25:32.420 --> 00:25:35.079
predator to a more physical one for the film
00:25:35.079 --> 00:25:37.380
do you think um well that's that's actually a
00:25:37.380 --> 00:25:40.380
really good question uh i have a couple of views
00:25:40.380 --> 00:25:44.160
on this first up i think it's much easier for
00:25:44.160 --> 00:25:46.319
the audience to get behind a physical threat
00:25:46.319 --> 00:25:49.400
you know everyone Everybody understands and fears
00:25:49.400 --> 00:25:52.339
physical harm, but not everyone has experienced
00:25:52.339 --> 00:25:55.420
psychological abuse, so it might be harder for
00:25:55.420 --> 00:25:58.940
some people to comprehend. And secondly, as we'll
00:25:58.940 --> 00:26:00.940
find out in due course, if he wasn't physically
00:26:00.940 --> 00:26:03.680
violent before, he's damn sure changed his tune
00:26:03.680 --> 00:26:07.680
about that stance now. What do you think? I mean,
00:26:08.440 --> 00:26:09.660
I think you probably nailed it there, dude. I
00:26:09.660 --> 00:26:11.579
mean, I think, you know, the seeds of kind of
00:26:11.579 --> 00:26:15.259
physical violence need to be sown as they speak
00:26:15.259 --> 00:26:17.839
to sort of how Adrian behaves later in the film.
00:26:18.420 --> 00:26:20.059
So maybe that's sort of something to do with
00:26:20.059 --> 00:26:22.980
it. Anyway, it's a beautiful day outside. Positive,
00:26:23.119 --> 00:26:26.180
upbeat music is kicking in and Cecilia is headed
00:26:26.180 --> 00:26:30.039
out to the mailbox. Hell yeah. Girl power. Now
00:26:30.039 --> 00:26:33.200
back inside, James and his daughter Sydney are
00:26:33.200 --> 00:26:36.880
discussing colleges and life goals when a triumphant
00:26:36.880 --> 00:26:40.160
Cecilia hands over the mail. Her newfound confidence
00:26:40.160 --> 00:26:42.180
is quickly shaken when she receives a letter
00:26:42.180 --> 00:26:45.700
from Adrian's estate. In the script, we get a
00:26:45.700 --> 00:26:48.759
brief scene before this one where Cecilia tells
00:26:48.759 --> 00:26:52.259
James and Sydney about Adrian's suicide. And
00:26:52.259 --> 00:26:54.559
we get a beautiful establishing shot of the Golden
00:26:54.559 --> 00:26:57.380
Gate Bridge before we join Cecilia and Emily
00:26:57.380 --> 00:27:00.319
in Adrian's attorney's office. The attorney also
00:27:00.319 --> 00:27:02.940
happens to be Adrian's brother, and his name
00:27:02.940 --> 00:27:07.960
is Tom. awkward uh we get a few preliminary scenes
00:27:07.960 --> 00:27:10.440
to this in the script of the sisters making their
00:27:10.440 --> 00:27:12.819
way through a packed street and setting up in
00:27:12.819 --> 00:27:15.539
the office before tom's arrival but nothing of
00:27:15.539 --> 00:27:18.799
any real interest is lost though um but this
00:27:18.799 --> 00:27:21.380
office scene though is really good there's some
00:27:21.380 --> 00:27:24.359
great character beats between emily and tom and
00:27:24.359 --> 00:27:26.660
the scene plays out almost exactly as it does
00:27:26.660 --> 00:27:34.769
on the page check it out Tom. As the appointed
00:27:34.769 --> 00:27:37.349
attorney representing Adrian's discretionary
00:27:37.349 --> 00:27:39.670
trust, I'm required to enact his final wishes
00:27:39.670 --> 00:27:42.890
and he stipulated that I do this in person. He
00:27:42.890 --> 00:27:46.109
wanted me to read a prepared statement. He clears
00:27:46.109 --> 00:27:48.710
his throat, prepares to fake the required solemnity.
00:27:48.990 --> 00:27:53.130
Tom continued. Cecilia. Although our relationship
00:27:53.130 --> 00:27:55.690
was far from perfect, I at least thought we had
00:27:55.690 --> 00:27:57.789
built up enough trust that you would talk to
00:27:57.789 --> 00:28:00.349
me rather than running away from... Emily. Nope.
00:28:00.410 --> 00:28:03.549
Sorry. You're not allowed to do this. Tom. I'm
00:28:03.549 --> 00:28:06.150
required to read it. Emily. But we're not required
00:28:06.150 --> 00:28:09.490
to listen. Email me a copy. Tom. I'm not trying
00:28:09.490 --> 00:28:11.710
to upset either of you. I'm just doing my job.
00:28:12.390 --> 00:28:14.930
Emily. Your job is to explain the money you mentioned
00:28:14.930 --> 00:28:18.390
on the phone. Tom. I mentioned that Cecilia specifically
00:28:18.390 --> 00:28:22.170
is named in Adrian's trust. Emily. And that's
00:28:22.170 --> 00:28:25.470
why we're sitting here. Tom. Yes. For the same
00:28:25.470 --> 00:28:27.589
reason so many women in Adrian's life got close
00:28:27.589 --> 00:28:30.430
to him. His money. Emily, if there was a chance
00:28:30.430 --> 00:28:32.490
of physically being close to him, we wouldn't
00:28:32.490 --> 00:28:35.730
be here for any amount of money. Tom, you are
00:28:35.730 --> 00:28:37.869
physically close to him. He's in that urn behind
00:28:37.869 --> 00:28:40.589
you. With a hint of joy at the checkmate, Tom
00:28:40.589 --> 00:28:43.630
indicates a small urn near Emily. She is shocked
00:28:43.630 --> 00:28:48.000
into silence, which is rare for her. Yeah, there's
00:28:48.000 --> 00:28:49.700
a really great little back and forth between
00:28:49.700 --> 00:28:52.539
the two different siblings. Each of whom clearly
00:28:52.539 --> 00:28:55.480
stands on different sides of the fence. Emily
00:28:55.480 --> 00:28:57.779
is all about protecting her sister and Tom is
00:28:57.779 --> 00:28:59.920
all about ensuring his brother's will is done.
00:29:00.539 --> 00:29:02.900
You know, each manages to get in little snipes
00:29:02.900 --> 00:29:05.640
at the other. Emily refusing to listen to Adrian's
00:29:05.640 --> 00:29:07.859
statement and stating no amount of money would
00:29:07.859 --> 00:29:10.880
get them close to Adrian. And then Tom sort of
00:29:10.880 --> 00:29:13.160
inferring that Cecilia was only after Adrian's
00:29:13.160 --> 00:29:15.339
money and then pointing out that they are, in
00:29:15.339 --> 00:29:17.880
fact, right next to Adrian. which in hindsight,
00:29:18.099 --> 00:29:20.980
who knows how true that statement actually was
00:29:20.980 --> 00:29:24.400
at the time. Yeah, it's a great scene. And it
00:29:24.400 --> 00:29:26.480
ends up with Cecilia being informed that Adrian
00:29:26.480 --> 00:29:30.480
has left her $5 million to be paid out in monthly
00:29:30.480 --> 00:29:32.859
installments, provided she meets basic criteria,
00:29:32.900 --> 00:29:36.319
such as not committing a crime, etc. So it looks
00:29:36.319 --> 00:29:38.619
like things are finally looking up for the poor
00:29:38.619 --> 00:29:41.339
lass. And it's another great character beat in
00:29:41.339 --> 00:29:44.039
that the first thing she does is buy James a
00:29:44.039 --> 00:29:46.359
new ladder and open a bank account for Sydney
00:29:46.359 --> 00:29:49.400
with $10 ,000 in it so she can go to fashion
00:29:49.400 --> 00:29:52.539
school. As the three of them celebrate, we get
00:29:52.539 --> 00:29:56.119
a strange POV shot from the hallway of all three
00:29:56.119 --> 00:29:59.339
of them rejoicing. Now, obviously, this film
00:29:59.339 --> 00:30:02.400
is called The Invisible Man, right? So no spoilers
00:30:02.400 --> 00:30:04.759
to say that there is an invisible man in it.
00:30:04.940 --> 00:30:07.859
And I read a really cool take on these POVs,
00:30:07.859 --> 00:30:10.779
that we're not looking through the titular character's
00:30:10.779 --> 00:30:13.700
eyes, but rather standing behind him, watching
00:30:13.700 --> 00:30:17.259
him, watching them, which would explain why the
00:30:17.259 --> 00:30:21.400
POV is set so low. Yeah, I love that idea. It
00:30:21.400 --> 00:30:24.200
makes the scene even creepier, right? Ah, definitely,
00:30:24.359 --> 00:30:26.599
definitely. And from this point on, the camera
00:30:26.599 --> 00:30:29.519
work in the film becomes incredibly suggestive,
00:30:29.519 --> 00:30:32.319
you know, dwelling on negative space to insinuate
00:30:32.319 --> 00:30:35.599
that something or someone may be lurking there.
00:30:35.819 --> 00:30:38.079
And I think what I was quoted as saying, if you
00:30:38.079 --> 00:30:40.359
think the Invisible Man is there in a shot, if
00:30:40.359 --> 00:30:42.619
it's suggested, then there's a very good chance
00:30:42.619 --> 00:30:45.960
that he is there. And we also get another scene
00:30:45.960 --> 00:30:48.019
on the page that didn't make it to the film.
00:30:48.079 --> 00:30:50.339
It's only a short one, but it kind of leans into
00:30:50.339 --> 00:30:53.019
the whole Cecilia and James hooking up notion
00:30:53.019 --> 00:31:01.039
again. Check it out. Interior, Cecilia's bedroom,
00:31:01.240 --> 00:31:04.559
James's house, night. James and Cecilia wander
00:31:04.559 --> 00:31:06.880
into her room, still laughing. They're both a
00:31:06.880 --> 00:31:10.339
bit drunk, especially Cecilia. James, was Emily
00:31:10.339 --> 00:31:12.460
a straight up bitch to him, even after she found
00:31:12.460 --> 00:31:15.220
out how much dough you were getting? Cecilia.
00:31:15.220 --> 00:31:18.099
Yes, she's always been like that. The way she
00:31:18.099 --> 00:31:20.799
talks to servers in restaurants. Emily impression.
00:31:21.380 --> 00:31:23.619
Could you not use Italian words? Just tell me
00:31:23.619 --> 00:31:27.539
what it actually is. James. That is eerie, girl.
00:31:27.579 --> 00:31:31.019
You are good. Cecilia. Yeah, I used to be funny.
00:31:31.880 --> 00:31:34.539
James gazes around the room. Cecilia has brought
00:31:34.539 --> 00:31:37.460
a few more homely things into it, such as daisies
00:31:37.460 --> 00:31:39.859
and a vase. There are a few shopping bags lying
00:31:39.859 --> 00:31:43.789
around. James. Look at this. You really brightened
00:31:43.789 --> 00:31:45.529
your little corner up. Did a little shopping,
00:31:45.630 --> 00:31:48.690
got some flowers. Cecilia, aware that it looks
00:31:48.690 --> 00:31:51.410
like she's staying forever. You know, the reason
00:31:51.410 --> 00:31:53.490
I love daisies so much is that Adrian hated them.
00:31:53.589 --> 00:31:56.930
He was allergic. Beat. So much of my life has
00:31:56.930 --> 00:31:59.390
been wasted because of one relationship. I'm
00:31:59.390 --> 00:32:01.450
going to start sending my stuff out to some architecture
00:32:01.450 --> 00:32:04.710
firms again. Get back out there. There's a lull
00:32:04.710 --> 00:32:07.329
and a suddenly apparent spark of romantic tension
00:32:07.329 --> 00:32:10.769
between them shows itself. James. All right.
00:32:10.829 --> 00:32:14.609
Well, good night. He closes the door. Cecilia
00:32:14.609 --> 00:32:16.769
reaches into one of the shopping bags, holding
00:32:16.769 --> 00:32:19.650
up a dress. We pan away from her and examine
00:32:19.650 --> 00:32:22.609
the empty room behind her. We stay on it for
00:32:22.609 --> 00:32:26.009
a few beats, hearing something. It almost sounds
00:32:26.009 --> 00:32:29.549
like breathing. We pan back to Cecilia. Her back
00:32:29.549 --> 00:32:32.950
is to us, and then we hear a sniff, exactly like
00:32:32.950 --> 00:32:35.430
the one we heard from Adrian on the night Cecilia
00:32:35.430 --> 00:32:38.329
escaped. Cecilia whirls around and glares into
00:32:38.329 --> 00:32:40.990
the emptiness behind her. She knows that sound
00:32:40.990 --> 00:32:43.630
like she knows her own breathing. In an instant,
00:32:43.730 --> 00:32:46.170
she has gone from happy and light to uncomfortable
00:32:46.170 --> 00:32:49.089
and unnerved. She leaves her clothes and the
00:32:49.089 --> 00:32:54.130
light on and climbs onto the couch. Yeah, interesting.
00:32:54.309 --> 00:32:56.829
So we do get this last section of the scene on
00:32:56.829 --> 00:32:59.769
screen with Cecilia thinking she heard someone
00:32:59.769 --> 00:33:01.470
in the room, but it's interesting how the script
00:33:01.470 --> 00:33:03.910
was alluding to a relationship between the two.
00:33:04.630 --> 00:33:06.880
Yeah, I mean, but... It's like hanging fruit
00:33:06.880 --> 00:33:08.579
in a way. You know, everyone's going to be expecting
00:33:08.579 --> 00:33:10.759
them to get together. And this poor girl is only
00:33:10.759 --> 00:33:13.400
a few weeks out of the most traumatic, abusive
00:33:13.400 --> 00:33:15.839
relationship imaginable. You know, she ain't
00:33:15.839 --> 00:33:18.720
ready to be dating again for a long while. I
00:33:18.720 --> 00:33:20.920
do love the little anecdote in the script where
00:33:20.920 --> 00:33:23.119
we learn her favorite flowers are daisies because
00:33:23.119 --> 00:33:26.900
Adrian was allergic to them. So the next morning,
00:33:27.039 --> 00:33:30.319
Cecilia is cooking some bacon and eggs in the
00:33:30.319 --> 00:33:35.799
same pan. Yeah. Sorry, but do people seriously
00:33:35.799 --> 00:33:38.940
do that? I mean, for reals? Do you cook bacon
00:33:38.940 --> 00:33:41.839
and eggs in the same pan? Have I just been living
00:33:41.839 --> 00:33:43.880
under a rock all my life? Is this natural behaviour?
00:33:44.059 --> 00:33:48.579
Well, I don't personally cook bacon and eggs
00:33:48.579 --> 00:33:51.440
in the same pan, but I think you can if you want,
00:33:51.500 --> 00:33:54.779
Lee. Fucking bacon and eggs in the same bloody
00:33:54.779 --> 00:33:58.660
pan. If you couldn't tell, Lee is disgusted by
00:33:58.660 --> 00:34:03.160
this, folks. Absolutely disgusted. Anyway, this
00:34:03.160 --> 00:34:05.859
is the first scene where we, the audience, get
00:34:05.859 --> 00:34:08.800
definitive proof that something sinister is going
00:34:08.800 --> 00:34:12.559
on. So as Cecilia leaves to get Sidney, first
00:34:12.559 --> 00:34:15.199
the knife is whisked away from the counter and
00:34:15.199 --> 00:34:17.920
vanishes. Then the stove is turned up to the
00:34:17.920 --> 00:34:21.039
max, causing the bacon and eggs. In the same
00:34:21.039 --> 00:34:24.860
pan. In the same pan, Lee, to burst into flames.
00:34:25.000 --> 00:34:27.519
Now, thankfully, the ladies arrive on the scene
00:34:27.519 --> 00:34:30.699
to extinguish the blaze and they manage to laugh
00:34:30.699 --> 00:34:33.099
it off. Yeah, I mean, was it just me or were
00:34:33.099 --> 00:34:35.380
your eyes on the corner by the fridge the entire
00:34:35.380 --> 00:34:38.539
time like mine? Yeah, I mean, I was just waiting
00:34:38.539 --> 00:34:40.840
for something to move. But, you know, there was
00:34:40.840 --> 00:34:44.139
nothing, was there? So this is our first real
00:34:44.139 --> 00:34:46.920
scare since the opening scene, I think. And it
00:34:46.920 --> 00:34:50.699
clocks in at around the 26 minute mark. Yeah,
00:34:50.760 --> 00:34:52.840
I mean, this is pretty much as it is on the page,
00:34:52.840 --> 00:34:55.699
except at the end of the scene, Cecilia realises
00:34:55.699 --> 00:34:58.320
the knife is missing. And also, I just realised
00:34:58.320 --> 00:35:01.960
she is quite literally being gaslit in this scene.
00:35:02.599 --> 00:35:05.500
Yeah, that's ingeniously. Yeah, get it? Because
00:35:05.500 --> 00:35:08.480
gas lit. The gas is lit because she's being...
00:35:08.480 --> 00:35:12.019
Anyway, later that night, the sound of footsteps
00:35:12.019 --> 00:35:14.539
in the house sends Cecilia on a nervous hunt
00:35:14.539 --> 00:35:16.880
for the source. But again, there's nothing there.
00:35:17.550 --> 00:35:20.429
In the script, this scene starts off very differently.
00:35:20.469 --> 00:35:45.429
Check it out. Cecilia suddenly stops, a chill
00:35:45.429 --> 00:35:47.929
running down her spine. She notices that her
00:35:47.929 --> 00:35:51.489
vase is now empty. The daisies are gone. A sound
00:35:51.489 --> 00:35:54.190
stabs out from behind her. The creak of wood,
00:35:54.349 --> 00:35:56.869
shifting weight. She turns to face the empty
00:35:56.869 --> 00:35:59.849
corner behind her. Nothing is there. She stares
00:35:59.849 --> 00:36:02.550
at the wall with the type of intense focus that
00:36:02.550 --> 00:36:06.050
people use to glare at magic eye paintings. We
00:36:06.050 --> 00:36:09.150
take it in from her POV. Just an ordinary wall.
00:36:09.789 --> 00:36:12.650
until a figure briefly takes shape, as if the
00:36:12.650 --> 00:36:15.030
wall had become a 3D sculpture in the shape of
00:36:15.030 --> 00:36:17.389
a man. It's only there for a second and then
00:36:17.389 --> 00:36:20.710
it's gone. And then she hears footsteps coming
00:36:20.710 --> 00:36:23.650
from the hallway. Cecilia gets up and walks out
00:36:23.650 --> 00:36:28.190
into the hall. So that's interestingly. I mean,
00:36:28.190 --> 00:36:30.170
again, why do you think they removed these little
00:36:30.170 --> 00:36:33.380
touches from the film? As much as I like the
00:36:33.380 --> 00:36:35.980
whole Daisy thing, we lost the scene where this
00:36:35.980 --> 00:36:38.179
was mentioned before, so it makes sense to lose
00:36:38.179 --> 00:36:41.179
it now, as it would have lost the majority of
00:36:41.179 --> 00:36:44.599
its impact. As for the magic eye scene, I'd say
00:36:44.599 --> 00:36:47.179
this probably went because it would have massively
00:36:47.179 --> 00:36:50.599
lessened the impact of the film's big jump scare,
00:36:50.679 --> 00:36:53.239
which happens a little later in the film. I do
00:36:53.239 --> 00:36:56.329
like that whole kind of... you know if you can
00:36:56.329 --> 00:36:58.130
relax your eyes you might be able to kind of
00:36:58.130 --> 00:36:59.809
catch a glimpse of the invisible man that whole
00:36:59.809 --> 00:37:02.369
magic eye thing that's quite cool that's quite
00:37:02.369 --> 00:37:04.130
clever but i think they definitely made the right
00:37:04.130 --> 00:37:07.130
choice in taking that out yeah yeah no i agree
00:37:07.130 --> 00:37:09.070
i mean we lost the set up with the daisies didn't
00:37:09.070 --> 00:37:11.130
we so we really you know we can't really have
00:37:11.130 --> 00:37:14.250
the payoff um yeah i agree about the jump scare
00:37:14.250 --> 00:37:18.199
too So finding nothing untoward in the house,
00:37:18.260 --> 00:37:20.739
Cecilia is unnerved to find the front door has
00:37:20.739 --> 00:37:23.860
opened somehow. And she tentatively heads outside
00:37:23.860 --> 00:37:26.260
into the bitter cold and surveys the surrounding
00:37:26.260 --> 00:37:28.800
street. And once again, there's nothing there,
00:37:28.820 --> 00:37:31.820
Lee. There's nada. Her breath ices the air and
00:37:31.820 --> 00:37:34.360
behind her, seemingly from nowhere and unseen
00:37:34.360 --> 00:37:37.619
by her, a second exhalation of cold air appears
00:37:37.619 --> 00:37:40.659
just over her shoulder at the 31 minute and 30
00:37:40.659 --> 00:37:43.900
second mark. Such a brilliant scare as well.
00:37:43.920 --> 00:37:47.219
It's so subtle. There's no reaction from Cecilia,
00:37:47.300 --> 00:37:51.280
no musical stinger or camera push. It's just
00:37:51.280 --> 00:37:54.960
there, you know? Yeah, absolutely. Now, after
00:37:54.960 --> 00:37:57.199
another moment, she heads back inside and locks
00:37:57.199 --> 00:38:00.099
the door behind her. But is she locking the danger
00:38:00.099 --> 00:38:03.519
out or locking herself in with it, Lee? Hmm.
00:38:03.519 --> 00:38:05.780
Who knows? There's a little more in the script
00:38:05.780 --> 00:38:09.119
as well. James wakes up and joins her as she
00:38:09.119 --> 00:38:11.440
reenters the house and they find that somebody
00:38:11.440 --> 00:38:15.219
has painted the letter C on the wall. Yeah, I
00:38:15.219 --> 00:38:17.280
mean, that would ring some serious alarm bells,
00:38:17.380 --> 00:38:20.750
me thinks, so I can see why that was cut. Things
00:38:20.750 --> 00:38:23.329
don't let up, though, as later that night, at
00:38:23.329 --> 00:38:26.269
the 32 minute and 30 second mark, Cecilia and
00:38:26.269 --> 00:38:28.530
Sydney are sleeping in the same bed when the
00:38:28.530 --> 00:38:31.449
duvet is slowly dragged off them and the room
00:38:31.449 --> 00:38:33.650
lights up several times with what appears to
00:38:33.650 --> 00:38:35.670
be the flash of a camera or a cell phone, maybe.
00:38:36.230 --> 00:38:39.409
Cecilia wakes up and is startledly startled to
00:38:39.409 --> 00:38:41.329
see someone standing at the foot of the bed.
00:38:41.409 --> 00:38:44.030
But no, wait, it's just one of Sydney's clothing
00:38:44.030 --> 00:38:47.239
mannequins. Did you catch how it was dressed,
00:38:47.300 --> 00:38:50.179
though? You know, big hat, big coat. You know,
00:38:50.179 --> 00:38:52.960
I'll eat my hat if that is not a sly homage to
00:38:52.960 --> 00:38:56.619
the original Invisible Man and his classic, super
00:38:56.619 --> 00:38:59.960
well -known outfit. I did see that, Lee. It was
00:38:59.960 --> 00:39:03.929
not lost on me. Very much appreciated. Now Cecilia
00:39:03.929 --> 00:39:06.429
notices the duvet is gone and goes to retrieve
00:39:06.429 --> 00:39:09.409
it. The tension doesn't abate though as a creak
00:39:09.409 --> 00:39:12.230
from behind draws our eyes to impressions on
00:39:12.230 --> 00:39:15.710
a seemingly empty chair. She approaches it cautiously
00:39:15.710 --> 00:39:18.469
before tossing the duvet over the chair and thankfully
00:39:18.469 --> 00:39:21.780
it's empty. We're still not done, though, because
00:39:21.780 --> 00:39:24.380
as Cecilia drags the duvet back to the bed, it
00:39:24.380 --> 00:39:27.800
catches on something and she halts. She tugs
00:39:27.800 --> 00:39:30.119
hard, but it doesn't move and it looks almost
00:39:30.119 --> 00:39:33.039
like someone is standing on it. Then footprints
00:39:33.039 --> 00:39:36.159
appear as an invisible figure steps toward her
00:39:36.159 --> 00:39:40.380
and she freaks Lee. Sydney wakes up and James
00:39:40.380 --> 00:39:42.159
hurries into the room. But of course, there's
00:39:42.159 --> 00:39:45.139
nothing to see except a near hysterical woman
00:39:45.139 --> 00:39:48.780
and his terrified daughter. He reassures Cecilia
00:39:48.780 --> 00:39:51.300
that she's safe and to get some sleep before
00:39:51.300 --> 00:39:55.079
the big job interview she has tomorrow. This
00:39:55.079 --> 00:39:58.360
whole scene is just an absolute masterwork of
00:39:58.360 --> 00:40:00.960
tension. And again, it's all in one else subtle
00:40:00.960 --> 00:40:04.559
use of negative space. You know, this scene itself
00:40:04.559 --> 00:40:06.719
doesn't appear in the script at this point, but
00:40:06.719 --> 00:40:10.159
it is used a little later on on the page. But
00:40:10.159 --> 00:40:12.699
it's at this point now where every time we look
00:40:12.699 --> 00:40:14.460
at the screen, we're picturing where the goddamn
00:40:14.460 --> 00:40:17.739
invisible man might be hiding. Now, before the
00:40:17.739 --> 00:40:20.000
big interview in the script, we get a couple
00:40:20.000 --> 00:40:22.260
of extra scenes that didn't make it to the film.
00:40:22.840 --> 00:40:25.420
First, Cecilia is late because her phone alarm
00:40:25.420 --> 00:40:27.860
didn't go off. And a few beats later, we get
00:40:27.860 --> 00:40:29.940
this quite cool little moment. Have a listen.
00:40:30.859 --> 00:40:33.119
Cecilia dashes out of the kitchen. We hold on
00:40:33.119 --> 00:40:36.559
the room for, beat, in a wide shot. A very sharp
00:40:36.559 --> 00:40:38.920
eye would notice Cecilia's phone sliding off
00:40:38.920 --> 00:40:41.400
the kitchen counter. It's almost unnoticeable,
00:40:41.400 --> 00:40:44.260
but it happens. Cecilia scampers back in, styling
00:40:44.260 --> 00:40:46.579
her hair. She drains the coffee and zips up the
00:40:46.579 --> 00:40:49.119
folder, then whips around. Thankfully, James
00:40:49.119 --> 00:40:51.260
is there, though, to keep her calm and call an
00:40:51.260 --> 00:40:53.820
Uber. And then we're back in pace with the film.
00:40:55.059 --> 00:40:57.199
Brilliant. And I'm sure the interview is going
00:40:57.199 --> 00:41:01.409
to go great. So a visibly nervous Cecilia chats
00:41:01.409 --> 00:41:03.969
with the head of an architecture company and
00:41:03.969 --> 00:41:05.929
they seem to be hitting it off reasonably well.
00:41:06.050 --> 00:41:09.210
The guy seems sincere, if a little creepy, and
00:41:09.210 --> 00:41:12.429
asks to see Cecilia's work. But when she opens
00:41:12.429 --> 00:41:16.329
her folder, boom, it's empty. And at this point,
00:41:16.349 --> 00:41:19.409
Cecilia becomes increasingly flustered and eventually
00:41:19.409 --> 00:41:23.250
passes out. And we get this great pass out cam
00:41:23.250 --> 00:41:25.630
style shot, which follows her in extreme close
00:41:25.630 --> 00:41:27.730
up all the way to the floor. It's fantastic.
00:41:28.639 --> 00:41:30.840
It's great. It's a really cool shot. And this
00:41:30.840 --> 00:41:32.940
scene is pretty much word for word as it is on
00:41:32.940 --> 00:41:35.980
the page. James has joined Cecilia in the hospital
00:41:35.980 --> 00:41:38.320
now where she's sent home by the doctor pending
00:41:38.320 --> 00:41:42.309
the results of a blood test. We do get a cool
00:41:42.309 --> 00:41:44.449
shot of a heavily bandaged patient, which is
00:41:44.449 --> 00:41:46.889
definitely a homage to the bandaged face of the
00:41:46.889 --> 00:41:50.949
original Invisible Man, I think. Back home, Cecilia
00:41:50.949 --> 00:41:53.909
is showering when her phone rings. She tells
00:41:53.909 --> 00:41:56.449
up to grab the phone, and it's the doctor who
00:41:56.449 --> 00:41:58.650
tells her that her fainting was the result of
00:41:58.650 --> 00:42:02.599
high diazepam in her system. As she struggles
00:42:02.599 --> 00:42:05.039
to understand this, she spots the diazepam bottle
00:42:05.039 --> 00:42:07.579
that she dropped the night of her escape, now
00:42:07.579 --> 00:42:10.260
perched on the corner of the sinkley, where it
00:42:10.260 --> 00:42:14.710
definitely was not a moment or two ago. So I'm
00:42:14.710 --> 00:42:17.389
going to put the end of act one here, but I really,
00:42:17.449 --> 00:42:19.349
really struggled with this one. You know, it
00:42:19.349 --> 00:42:22.710
feels it feels late in the film, but I just couldn't
00:42:22.710 --> 00:42:25.670
nail any other significant moments. You know,
00:42:25.690 --> 00:42:27.809
you could make an argue for the earlier invisible
00:42:27.809 --> 00:42:30.610
intruder moments, I think. But to me, this felt
00:42:30.610 --> 00:42:33.409
a lot more concrete. What did you think? Yeah,
00:42:33.449 --> 00:42:34.829
I mean, this one was really difficult, wasn't
00:42:34.829 --> 00:42:38.329
it? I actually thought of two. I mean, I sort
00:42:38.329 --> 00:42:41.570
of actually had it or had act one culminating
00:42:41.570 --> 00:42:44.639
in Cecilia and Emily's meeting with Tom. You
00:42:44.639 --> 00:42:46.739
know, I think that scene kind of puts the initial
00:42:46.739 --> 00:42:51.179
sort of Adrian saga to bed for a time. And Cecilia
00:42:51.179 --> 00:42:53.280
starts to feel free and is, you know, using the
00:42:53.280 --> 00:42:55.500
money to help Sid and start her sort of life
00:42:55.500 --> 00:42:58.360
again. And then we move into the sort of invisible
00:42:58.360 --> 00:43:01.480
man, stalky kind of manipulation phase of the
00:43:01.480 --> 00:43:03.340
film. So, yeah, that's that's kind of where I
00:43:03.340 --> 00:43:06.059
had it. But difficult, though. Yeah. Cool, man.
00:43:06.119 --> 00:43:09.360
Cool. Anyway, this scene plays out very differently
00:43:09.360 --> 00:43:18.269
in the script. So have a listen. Interior, shower,
00:43:18.550 --> 00:43:21.869
ensuite bathroom, James's house, day. Hot water
00:43:21.869 --> 00:43:24.949
soaks Cecilia's face from the showerhead. She's
00:43:24.949 --> 00:43:27.590
out of focus in the foreground, the steam fogged
00:43:27.590 --> 00:43:30.670
glass in focus behind her. As she moves around
00:43:30.670 --> 00:43:33.329
in the shower, she intermittently obscures our
00:43:33.329 --> 00:43:35.750
view from the shower door. And then she moves
00:43:35.750 --> 00:43:38.630
back and we notice a clear handprint on the glass
00:43:38.630 --> 00:43:42.590
behind her. Cecilia notices it and stops, stares
00:43:42.590 --> 00:43:45.650
at it. She rotates the faucet and the water cuts
00:43:45.650 --> 00:43:48.730
out. She steps out of the shower, groping for
00:43:48.730 --> 00:43:51.630
a towel. Nabs one and wraps it around her body,
00:43:51.750 --> 00:43:54.590
still staring at the handprint. She races out
00:43:54.590 --> 00:43:57.570
of the room. Interior, Cecilia's bedroom, James'
00:43:57.750 --> 00:44:00.769
house, night. Cecilia runs to her survival bag
00:44:00.769 --> 00:44:03.510
and ransacks it, locating a pair of gloves she
00:44:03.510 --> 00:44:06.650
stole from Adrian's house. Interior, en suite
00:44:06.650 --> 00:44:09.869
bathroom, James' house, night. The handprint
00:44:09.869 --> 00:44:12.389
is fading, droplets of water running off it.
00:44:12.750 --> 00:44:14.989
Cecilia runs in and holds the left -hand glove
00:44:14.989 --> 00:44:18.150
up against it. It's a perfect match. A knock
00:44:18.150 --> 00:44:20.690
at the door. Cecilia spins, heart in her throat.
00:44:21.309 --> 00:44:24.329
James, off screen. Hospital's on the phone. You
00:44:24.329 --> 00:44:27.369
can pick it up in here. Interior, Cecilia's bedroom,
00:44:27.630 --> 00:44:30.630
James' house, night. Cecilia stumbles in and
00:44:30.630 --> 00:44:33.610
grabs the landline. Cecilia, this is Cecilia.
00:44:34.480 --> 00:44:37.659
Dr. Lee, voiceover. Hi, this is Dr. Lee at St.
00:44:37.800 --> 00:44:39.800
Vincent's. We've got the results of your blood
00:44:39.800 --> 00:44:41.920
test in and it looks like the Valium was most
00:44:41.920 --> 00:44:44.780
likely the cause of your... Cecilia, what Valium?
00:44:45.199 --> 00:44:48.019
Dr. Lee, voiceover. Your blood work is showing
00:44:48.019 --> 00:44:50.139
a high amount of diazepam. That would definitely
00:44:50.139 --> 00:44:53.139
explain what happened to you. Cecilia, I don't
00:44:53.139 --> 00:44:55.780
have any Valium. Then something grabs her attention.
00:44:56.179 --> 00:44:59.480
Her facial expression tenses. Her wide eyes fixed
00:44:59.480 --> 00:45:01.940
on something. There's an object sitting on the
00:45:01.940 --> 00:45:05.239
floor. A small orange bottle. Cecilia puts down
00:45:05.239 --> 00:45:07.940
the phone and steps towards it. With horror,
00:45:08.039 --> 00:45:10.579
she sees that it's the bottle of Valium diazepam,
00:45:10.659 --> 00:45:13.139
the same one she dropped the night she escaped
00:45:13.139 --> 00:45:15.739
from Adrian's. She picks it up and examines it.
00:45:15.940 --> 00:45:18.440
A telltale thumbprint of blood is smeared across
00:45:18.440 --> 00:45:21.420
the label. A familiar feeling of dread courses
00:45:21.420 --> 00:45:24.400
through her. Male voice offscreen, surprise.
00:45:25.579 --> 00:45:28.119
Cecilia whips round, jolting at the sound of
00:45:28.119 --> 00:45:30.780
the voice. Her blood freezes. She knows that
00:45:30.780 --> 00:45:36.079
voice. So there's a lot to talk about here, Lee.
00:45:36.579 --> 00:45:40.539
I mean, as ever, I'm curious to know why you
00:45:40.539 --> 00:45:42.400
think these aspects were removed from the film.
00:45:42.860 --> 00:45:45.480
I think it just removes a lot of the mystery.
00:45:45.579 --> 00:45:48.059
I mean, we're all pretty convinced Adrian is
00:45:48.059 --> 00:45:50.340
somehow fucking with her, but we don't know that
00:45:50.340 --> 00:45:53.139
for sure, not yet. And I think once we know for
00:45:53.139 --> 00:45:55.260
sure, then a lot of that tension is going to
00:45:55.260 --> 00:45:58.860
vanish. Having his handprint and his voice pretty
00:45:58.860 --> 00:46:01.539
much confirms that he's going to be the one behind
00:46:01.539 --> 00:46:03.920
this and just kind of completely removes that
00:46:03.920 --> 00:46:06.719
what -if factor, you know? Yeah, no, I'd agree
00:46:06.719 --> 00:46:09.940
with that. OK, so back on screen, Cecilia and
00:46:09.940 --> 00:46:12.840
James confront Tom in his office where a near
00:46:12.840 --> 00:46:16.260
hysterical Cecilia lays it all barely. She knows
00:46:16.260 --> 00:46:19.179
Adrian is alive and through his groundbreaking
00:46:19.179 --> 00:46:21.840
work in optics has found a way to make himself
00:46:21.840 --> 00:46:25.139
invisible to torment her. Now naturally Tom and
00:46:25.139 --> 00:46:27.559
James find this concept a little hard to believe
00:46:27.559 --> 00:46:30.539
but surprisingly it is Tom who proves the sympathetic
00:46:30.539 --> 00:46:33.480
ear telling her that he hated Adrian as much
00:46:33.480 --> 00:46:36.659
as she did and that he controlled him long before
00:46:36.659 --> 00:46:40.420
he controlled her. He then shows her the crime
00:46:40.420 --> 00:46:43.440
scene photos of Adrian's corpse and this seemingly
00:46:43.440 --> 00:46:47.469
pacifies her for the moment at least. Yeah, I
00:46:47.469 --> 00:46:49.849
mean, there are some dialogue changes here, some
00:46:49.849 --> 00:46:52.769
specific references to the scripted version of
00:46:52.769 --> 00:46:55.409
the shower scene, but the overall context of
00:46:55.409 --> 00:46:58.250
the scene pretty much remains the same. Yeah,
00:46:58.329 --> 00:47:01.389
now still distraught Cecilia pays Emily a visit,
00:47:01.489 --> 00:47:03.829
but to say her big sister isn't pleased to see
00:47:03.829 --> 00:47:06.150
her would be an understatement. It seems she
00:47:06.150 --> 00:47:08.489
received an email from Cecilia that morning that
00:47:08.489 --> 00:47:11.750
basically ripped into her, and now she wants
00:47:11.750 --> 00:47:14.690
nothing more to do with her sister, despite Cecilia's
00:47:14.690 --> 00:47:17.949
tearful pleas. Now, in the script, this scene
00:47:17.949 --> 00:47:21.170
doesn't occur for about another six pages. In
00:47:21.170 --> 00:47:23.949
its place, the scene in the lawyer's office is
00:47:23.949 --> 00:47:26.429
followed by a phone call between Emily and Cecilia
00:47:26.429 --> 00:47:29.969
where they agree to meet for dinner. That is
00:47:29.969 --> 00:47:38.329
then followed by this scene. Interior, Cecilia's
00:47:38.329 --> 00:47:41.570
bedroom, James's house, night. Cecilia skims
00:47:41.570 --> 00:47:43.949
through her meagre suitcase of clothes, grows
00:47:43.949 --> 00:47:47.420
frustrated. Cecilia. Where have all my clothes
00:47:47.420 --> 00:47:51.119
gone? Then she hears it. Breathing. It's very
00:47:51.119 --> 00:47:54.519
low, but it's undeniable. It quivers, lustful.
00:47:55.280 --> 00:47:57.940
Cecilia whirls around. She bolts for the door
00:47:57.940 --> 00:48:00.380
to her room, wrenching the handle. It doesn't
00:48:00.380 --> 00:48:03.400
give. The door is locked. Cecilia continued.
00:48:03.760 --> 00:48:07.880
What? She yanks the door brutally. Nothing. Cecilia
00:48:07.880 --> 00:48:11.769
continued. Hello? Help! She pounds on the door,
00:48:11.869 --> 00:48:15.070
no response. She's alone. She turns and faces
00:48:15.070 --> 00:48:18.369
the room, closes her eyes, opens her eyes with
00:48:18.369 --> 00:48:20.590
a new fight in them. There are no other sounds
00:48:20.590 --> 00:48:23.510
in the room. She stalks forward, listening. As
00:48:23.510 --> 00:48:25.750
she reaches the centre of the room, the breathing
00:48:25.750 --> 00:48:28.530
becomes apparent again. Cecilia steps towards
00:48:28.530 --> 00:48:32.050
the sound, honing in on it. Another step. The
00:48:32.050 --> 00:48:34.429
panting. The presence of another human being.
00:48:34.769 --> 00:48:38.150
It has more clarity now. A floorboard creaks.
00:48:38.809 --> 00:48:41.610
Cecilia glares down at her own feet. They don't
00:48:41.610 --> 00:48:44.690
budge. Wide -eyed in terror, Cecilia moves towards
00:48:44.690 --> 00:48:47.389
the sound. She zeroes in on one corner of the
00:48:47.389 --> 00:48:50.429
room. She reaches out as if she's about to touch
00:48:50.429 --> 00:48:53.329
someone. The breathing suddenly stops. Her probing
00:48:53.329 --> 00:48:56.570
fingers reach the wall. Nothing is there. Cecilia
00:48:56.570 --> 00:48:59.849
backs up, staring all around her. She keeps backing
00:48:59.849 --> 00:49:02.269
up until she hits the opposite wall. She sinks
00:49:02.269 --> 00:49:04.750
to the floor, watching the empty room in front
00:49:04.750 --> 00:49:09.429
of her. And this scene is then followed by an
00:49:09.429 --> 00:49:11.670
iteration of the scene where the girls are asleep.
00:49:11.889 --> 00:49:14.630
The covers are pulled off and somebody photographs
00:49:14.630 --> 00:49:17.170
them in their sleep. Only this time, Cecilia
00:49:17.170 --> 00:49:20.369
awakes to see the phone floating above them and
00:49:20.369 --> 00:49:22.929
once again calls for increasingly exasperated
00:49:22.929 --> 00:49:25.710
James, who again finds nothing untoward in the
00:49:25.710 --> 00:49:28.530
room. And then we are back up to speed with the
00:49:28.530 --> 00:49:31.349
film as we have the written version of the scene
00:49:31.349 --> 00:49:34.070
where Emily and Cecilia have their falling out
00:49:34.070 --> 00:49:36.900
confrontation. Nice. Now, following that scene
00:49:36.900 --> 00:49:39.440
on screen, Cecilia returns home and checks her
00:49:39.440 --> 00:49:42.199
laptop and finds the incriminating email was
00:49:42.199 --> 00:49:45.500
indeed sent from her computer. We only get snippets
00:49:45.500 --> 00:49:47.280
of it, but it definitely looks like a nuclear
00:49:47.280 --> 00:49:50.639
relationship bomb and a distraught Cecilia collapses
00:49:50.639 --> 00:49:54.059
on the floor in tears. And it's in this state
00:49:54.059 --> 00:49:56.099
that she's found by Sydney, whoever the good
00:49:56.099 --> 00:49:58.960
kid offers the prospect of a girly night in to
00:49:58.960 --> 00:50:01.659
cheer her up. And it seems like this may be just
00:50:01.659 --> 00:50:04.730
what Cecilia needs when, bam! Poor Sydney is
00:50:04.730 --> 00:50:08.349
punched in the face and sent reelingly. Not seeing
00:50:08.349 --> 00:50:10.210
anyone else in the room, she screams for her
00:50:10.210 --> 00:50:12.789
dad, who, to his credit, still keeps his cool
00:50:12.789 --> 00:50:15.369
and ushers the hysterical girl out of the house
00:50:15.369 --> 00:50:18.030
to take her to stay with family. Cecilia has
00:50:18.030 --> 00:50:20.429
had enough now. She scatters coffee grounds on
00:50:20.429 --> 00:50:23.269
the floor, backs herself into a corner armed
00:50:23.269 --> 00:50:26.900
with a knife and waits. Yeah, I mean, this is
00:50:26.900 --> 00:50:29.900
set up slightly differently in the script. In
00:50:29.900 --> 00:50:32.179
the script, Cecilia enters Sydney's room to talk
00:50:32.179 --> 00:50:35.219
to her when the kid is basically punched in the
00:50:35.219 --> 00:50:37.280
face. But otherwise, it plays out almost exactly
00:50:37.280 --> 00:50:41.150
the same. Yeah. So after opening her heart and
00:50:41.150 --> 00:50:44.170
questioning Adrian, who may or may not be in
00:50:44.170 --> 00:50:46.769
the room with her, an idea sparks in her head.
00:50:46.909 --> 00:50:50.530
She grabs the nearby house phone and dials a
00:50:50.530 --> 00:50:53.929
number. Almost immediately, we hear the telltale
00:50:53.929 --> 00:50:56.670
vibration of a smartphone, but it's coming from
00:50:56.670 --> 00:51:00.250
above her, Lee, in the attic. A voicemail kicks
00:51:00.250 --> 00:51:03.130
in and it is indeed Adrian's phone she's called.
00:51:03.880 --> 00:51:06.840
And cue spooky attic sequence, Lee, because it
00:51:06.840 --> 00:51:09.860
does seem as though the phone is indeed up in
00:51:09.860 --> 00:51:12.920
the spooky attic. Actually, I actually thought
00:51:12.920 --> 00:51:15.659
the attic as horror movies go was decidedly less
00:51:15.659 --> 00:51:18.599
creepy than it could have been. There's a small
00:51:18.599 --> 00:51:21.840
change in the script here as on the page, she
00:51:21.840 --> 00:51:23.800
calls her own phone number because her phone
00:51:23.800 --> 00:51:26.059
went missing earlier. And it's her cell phone
00:51:26.059 --> 00:51:27.960
that starts ringing from upstairs. And personally,
00:51:28.079 --> 00:51:31.320
I kind of like this better because I refuse to
00:51:31.320 --> 00:51:33.800
believe that someone smart enough to invent an
00:51:33.800 --> 00:51:36.340
invisibility suit wouldn't think to completely
00:51:36.340 --> 00:51:40.579
silence his phone. Yeah, no, I agree. Yeah. And
00:51:40.579 --> 00:51:42.820
it's not that spooky and attic, is it? It's very
00:51:42.820 --> 00:51:46.130
functional up there. So using the new ladder,
00:51:46.230 --> 00:51:48.869
Cecilia climbs into the attic, equipped with
00:51:48.869 --> 00:51:51.969
a flashlight and the house phone. Now, as you'd
00:51:51.969 --> 00:51:54.909
expect, it's dark, a little creepy, but not too
00:51:54.909 --> 00:51:57.909
creepy. But it seems deserted, save for the usual
00:51:57.909 --> 00:52:01.130
junk and some half empty paint cans. Yeah, mate,
00:52:01.210 --> 00:52:03.630
if Sinister told me anything, it's that attics
00:52:03.630 --> 00:52:08.989
are to be avoided like the plague. Quietly. OK,
00:52:09.030 --> 00:52:11.929
so Cecilia locates Adrian's phone and unlocks
00:52:11.929 --> 00:52:14.510
it to see the photos of her and Sydney sleeping.
00:52:15.349 --> 00:52:19.349
How sinister is that? She also finds keys, the
00:52:19.349 --> 00:52:21.849
missing kitchen knife, all bagged up and sealed
00:52:21.849 --> 00:52:24.469
along with her architecture drawings and a stash
00:52:24.469 --> 00:52:27.730
of protein shakes. Little slice of manosphere
00:52:27.730 --> 00:52:32.170
heaven up there, isn't it, Lee? Indeed. In the
00:52:32.170 --> 00:52:34.230
script, there's a little more up there. Cecilia's
00:52:34.230 --> 00:52:36.909
missing clothes and there's a hole drilled in
00:52:36.909 --> 00:52:39.599
the ceiling above her bed. There's also a tablet
00:52:39.599 --> 00:52:42.059
which, when turned on, reveals hidden cameras
00:52:42.059 --> 00:52:45.559
all throughout the house. Grade A creep right
00:52:45.559 --> 00:52:48.920
there. Then the phone rings. It's a text from
00:52:48.920 --> 00:52:51.500
an unknown number with a single wordly. Surprise.
00:52:52.239 --> 00:52:56.159
Then the stepladder creaks. Oh, no. Cecilia bolts
00:52:56.159 --> 00:52:58.500
for it and stares through the attic hatch. But
00:52:58.500 --> 00:53:01.380
as expected, we see nothing. But our heroine
00:53:01.380 --> 00:53:03.659
is nothing if not resourceful and she dumps a
00:53:03.659 --> 00:53:06.400
can of paint through the hatch and it splatters
00:53:06.400 --> 00:53:09.380
over a bizarre humanoid figure in an absolutely
00:53:09.380 --> 00:53:12.780
fantastic jump scare that hits around the 56
00:53:12.780 --> 00:53:17.329
minute and 30 second mark. Man, what a... cracker
00:53:17.329 --> 00:53:19.789
a cracker of a jump scare i actually saw this
00:53:19.789 --> 00:53:22.570
one in the cinema when it first came out and
00:53:22.570 --> 00:53:24.690
and let me tell you hand on heart not a single
00:53:24.690 --> 00:53:27.889
butt remained in its seat for this scene and
00:53:27.889 --> 00:53:30.050
i'll always i'll always remember it because as
00:53:30.050 --> 00:53:33.190
soon as the scare was done the whole cinema laughed
00:53:33.190 --> 00:53:35.969
not in a kind of like you know oh that was funny
00:53:35.969 --> 00:53:38.829
but it kind of like a mass tension relief kind
00:53:38.829 --> 00:53:41.769
of way and it was a it was an awesome awesome
00:53:41.769 --> 00:53:44.800
cinematic moment you know Oh, that's amazing,
00:53:45.119 --> 00:53:48.219
dude. The magic of cinema. You can't beat it,
00:53:48.239 --> 00:53:51.940
right? So Cecilia drops from the attic, armed
00:53:51.940 --> 00:53:54.460
with a knife, and follows the trail of paint
00:53:54.460 --> 00:53:57.739
until it vanishes. A car screeches past the window
00:53:57.739 --> 00:54:01.380
and then a tap in the kitchen turns on. Cecilia
00:54:01.380 --> 00:54:03.940
moves carefully towards the sound and by the
00:54:03.940 --> 00:54:06.860
sink there's a brief, almost unnoticeable shimmer
00:54:06.860 --> 00:54:09.719
in the air. The sink is full of paint and as
00:54:09.719 --> 00:54:12.500
soon as Cecilia turns off the tap, she is attacked
00:54:12.500 --> 00:54:15.639
by an unseen force lifting her off the ground
00:54:15.639 --> 00:54:19.460
at around the 58 minute 32nd point. And what
00:54:19.460 --> 00:54:21.940
follows is a brutal confrontation between her
00:54:21.940 --> 00:54:24.860
and her unseen attacker as he chokes her and
00:54:24.860 --> 00:54:27.400
throws her around the room until finally she's
00:54:27.400 --> 00:54:29.539
able to make it to the front door and escape
00:54:29.539 --> 00:54:36.989
into the night. Oh, hello, Lee. I know what that
00:54:36.989 --> 00:54:40.949
noise is. It's time for another random page check.
00:54:40.989 --> 00:54:43.050
We're enjoying this now, aren't we? Fantastic.
00:54:43.670 --> 00:54:47.070
So basic screenwriting law tells us that one
00:54:47.070 --> 00:54:49.949
page basically equals one minute in the film.
00:54:50.090 --> 00:54:53.070
Now, obviously, this isn't always the case. So
00:54:53.070 --> 00:54:55.809
let's check in on the minute count and the script
00:54:55.809 --> 00:54:58.389
page and we'll see just how well this holds true
00:54:58.389 --> 00:55:01.269
for the Invisible Man. Nice. Far away, dude.
00:55:02.099 --> 00:55:06.739
OK, so we are just over the one hour mark on
00:55:06.739 --> 00:55:12.340
the film and we are on page 61 of the script.
00:55:12.579 --> 00:55:16.900
Oh, bang on, dude. Yeah, bang on indeed. You
00:55:16.900 --> 00:55:19.099
know, now we've lost a couple of minor scenes
00:55:19.099 --> 00:55:21.320
and dialogue snippets throughout the film, but
00:55:21.320 --> 00:55:24.320
I'd say this is this is a good pretty much exemplar
00:55:24.320 --> 00:55:26.940
of the rule. Yeah, totally agree. interesting
00:55:26.940 --> 00:55:28.860
couple of bits from the script here as well and
00:55:28.860 --> 00:55:37.340
let me read you this little extract first she
00:55:37.340 --> 00:55:39.840
turns and faces the empty kitchen a tense wait
00:55:40.409 --> 00:55:42.789
Her head kicks back violently as something grasps
00:55:42.789 --> 00:55:45.150
her throat. She is lifted into the air and held
00:55:45.150 --> 00:55:47.630
there, suspended in mid -air like a marionette.
00:55:47.829 --> 00:55:49.829
She struggles to force the blade towards her
00:55:49.829 --> 00:55:51.750
transparent attacker but something is stopping
00:55:51.750 --> 00:55:54.289
her. Her hand twists at the wrist and she drops
00:55:54.289 --> 00:55:56.590
the knife with a howl of pain. The invisible
00:55:56.590 --> 00:55:59.449
man drives her backwards. She hits the wall with
00:55:59.449 --> 00:56:01.670
such force that a grunt of air is socked out
00:56:01.670 --> 00:56:04.530
of her, her body collapsing into the tiled floor.
00:56:04.789 --> 00:56:07.230
The knife is punted away by an invisible foot.
00:56:09.579 --> 00:56:12.500
Now, I found this noteworthy, and this is from
00:56:12.500 --> 00:56:15.420
page 59 of the script, and it's the first time
00:56:15.420 --> 00:56:17.920
that Whannell actually refers to the invisible
00:56:17.920 --> 00:56:21.239
man by name. Yeah, that's really interesting.
00:56:21.380 --> 00:56:23.280
It's obviously a conscious choice by Whannell
00:56:23.280 --> 00:56:25.139
to first introduce the character by name here.
00:56:25.980 --> 00:56:29.099
So why sort of wait until this specific moment,
00:56:29.159 --> 00:56:32.440
do you think? I think because now we know, you
00:56:32.440 --> 00:56:36.000
know, 100 % that it is an invisible man stalking
00:56:36.000 --> 00:56:38.380
her. You know, no pun intended, but we've seen
00:56:38.380 --> 00:56:41.139
it now. You know, the cat's out of the bag. So
00:56:41.139 --> 00:56:43.519
now it's time to fully nail down these villainous
00:56:43.519 --> 00:56:47.199
acts to a specific antagonist. Yeah, I totally
00:56:47.199 --> 00:56:51.159
agree, man. So Cecilia calls an Uber and heads
00:56:51.159 --> 00:56:53.880
straight for Adrian's house. And it seems like
00:56:53.880 --> 00:56:56.880
he hasn't changed the security codes and she's
00:56:56.880 --> 00:56:59.639
able to waltz right in. There's also an interesting
00:56:59.639 --> 00:57:03.059
snippet of dialogue from the Uber driver that
00:57:03.059 --> 00:57:10.400
wasn't in the film. The driver turns around to
00:57:10.400 --> 00:57:13.679
face her. Lift driver. If you don't mind me saying,
00:57:13.860 --> 00:57:16.019
you seem so unhappy. A beautiful woman like you
00:57:16.019 --> 00:57:17.780
shouldn't have anything to be unhappy about.
00:57:17.940 --> 00:57:20.539
That's the way I look at it. Cecilia registers
00:57:20.539 --> 00:57:23.920
his voice somewhere in the fog of her mind. Cecilia,
00:57:23.960 --> 00:57:29.420
absent. Thank you. See, I point this out because
00:57:29.420 --> 00:57:32.000
this is the second time a bit part character
00:57:32.000 --> 00:57:35.760
has commented on Cecilia and her looks in that
00:57:35.760 --> 00:57:38.179
way. The other being the head of the architecture
00:57:38.179 --> 00:57:40.280
firm during the job interview. And I just wondered,
00:57:40.380 --> 00:57:43.039
you know, is there a deeper commentary in here?
00:57:43.159 --> 00:57:44.280
You know, and I just wonder what you thought
00:57:44.280 --> 00:57:46.980
about it. Yeah, I mean, I think almost certainly
00:57:46.980 --> 00:57:49.900
that there is. I mean, you know, I mean, it could
00:57:49.900 --> 00:57:52.159
be, you know, could be sort of interpreted several
00:57:52.159 --> 00:57:54.679
ways, I think. It could be sort of just a comment
00:57:54.679 --> 00:57:57.320
about superficiality, you know, in men to a certain
00:57:57.320 --> 00:58:00.159
degree. Could be a comment on how women are perceived
00:58:00.159 --> 00:58:03.380
by men. Or it could be hinting at, you know,
00:58:03.380 --> 00:58:06.579
how the problems women face can be, you know,
00:58:06.579 --> 00:58:08.579
kind of invisible to men because they're so...
00:58:08.989 --> 00:58:11.829
or we're so blinded by, you know, how they look
00:58:11.829 --> 00:58:14.730
maybe. I don't know, do you have any, I certainly
00:58:14.730 --> 00:58:16.789
think it's intentional, but did you have any
00:58:16.789 --> 00:58:19.110
thoughts? Yeah, I kind of like that idea, you
00:58:19.110 --> 00:58:21.650
know, that men are always distracted by appearance.
00:58:22.110 --> 00:58:24.869
You know, I kind of put it down to how guys always
00:58:24.869 --> 00:58:27.929
assume that certain women have, for lack of a
00:58:27.929 --> 00:58:30.250
better term, pretty privilege. You know, i .e.
00:58:30.269 --> 00:58:32.530
if they are attractive, they have little to worry
00:58:32.530 --> 00:58:34.889
about in life. You know, that was my kind of
00:58:34.889 --> 00:58:38.190
take on it, but definitely. Definitely interesting
00:58:38.190 --> 00:58:41.489
to think about. And also, there is an absolutely
00:58:41.489 --> 00:58:44.730
brilliant line in the script describing Adrian's
00:58:44.730 --> 00:58:47.710
house from outside, which goes like this. The
00:58:47.710 --> 00:58:49.849
modernist cube at the end of the drive is not
00:58:49.849 --> 00:58:53.070
so much a house as a statement. It says, I don't
00:58:53.070 --> 00:58:56.190
have normal problems. And I thought, that is
00:58:56.190 --> 00:58:59.690
a fucking A -plus line there. It describes the
00:58:59.690 --> 00:59:01.989
building perfectly in our minds. And it just
00:59:01.989 --> 00:59:04.929
makes us hate Adrian that little bit more. Yeah,
00:59:04.989 --> 00:59:09.110
so good, isn't it? So Cecilia makes her way inside
00:59:09.110 --> 00:59:12.269
and the place is somehow even more sterile than
00:59:12.269 --> 00:59:14.730
before. The artwork has been removed and the
00:59:14.730 --> 00:59:17.929
furniture is wrapped in plastic sheeting. And
00:59:17.929 --> 00:59:20.670
I have to say, Lee, Moss is so good here. I mean,
00:59:20.690 --> 00:59:22.969
she's been an absolute powerhouse all the way
00:59:22.969 --> 00:59:26.090
through the film. But the sheer terror and panic
00:59:26.090 --> 00:59:28.369
she's hiding just beneath the surface as she
00:59:28.369 --> 00:59:31.010
explores her old home is just phenomenal, right?
00:59:31.849 --> 00:59:33.550
Now, at this point, she's discovered by the lovely
00:59:33.550 --> 00:59:35.869
Zeus the Doberman, who hopefully is being fed
00:59:35.869 --> 00:59:38.670
and looked after. The dog is happy to see her
00:59:38.670 --> 00:59:42.730
and accompanies her on her exploration. Yeah,
00:59:42.769 --> 00:59:45.269
surprised he's not dead, to be honest, Lee. I
00:59:45.269 --> 00:59:47.110
thought he would have copped it by now, but no.
00:59:47.710 --> 00:59:50.690
Anyway, she makes her way into the Iron Man -style
00:59:50.690 --> 00:59:54.239
basement science workshop. I love the fact that
00:59:54.239 --> 00:59:56.460
Zeus is too scared to enter and just kind of
00:59:56.460 --> 00:59:58.980
stands whining at the door. You know, it says
00:59:58.980 --> 01:00:01.340
a lot about the fear he has of his master and
01:00:01.340 --> 01:00:04.139
he's obviously been trained to stay out of Adrian's
01:00:04.139 --> 01:00:07.440
workspace. Oh, bless him. He's a good boy. Hopefully
01:00:07.440 --> 01:00:10.139
he won't be abandoned this time. So she makes
01:00:10.139 --> 01:00:13.059
her way to the seemingly empty chamber we glanced
01:00:13.059 --> 01:00:16.119
during her frenetic escape. And after a few failed
01:00:16.119 --> 01:00:18.480
attempts, she guesses the access code as the
01:00:18.480 --> 01:00:21.579
day they first met. She enters and discovers
01:00:21.579 --> 01:00:25.179
what has long been suspected, an invisibility
01:00:25.179 --> 01:00:28.360
suit made up of hundreds of tiny cameras and
01:00:28.360 --> 01:00:31.400
holographic projectors. She removes it from the
01:00:31.400 --> 01:00:34.599
mannequin just as Zeus kicks off barking and
01:00:34.599 --> 01:00:37.659
someone else has arrived, Lee. I love this whole
01:00:37.659 --> 01:00:40.179
invisibility suit concept because it completely
01:00:40.179 --> 01:00:43.679
bypasses the normal discrepancies with invisibility.
01:00:44.340 --> 01:00:46.900
Interesting. What are the normal discrepancies
01:00:46.900 --> 01:00:51.199
with invisibility, Lee? Okay, so I have a little
01:00:51.199 --> 01:00:53.420
bit of an optics background, kind of like the
01:00:53.420 --> 01:00:56.739
very bottom of the scale that Adrian is on. And
01:00:56.739 --> 01:00:59.639
the reason normal invisibility would suck is
01:00:59.639 --> 01:01:01.920
because if you yourself were completely invisible,
01:01:02.159 --> 01:01:05.699
you would also be blind because... Basic vision,
01:01:05.780 --> 01:01:08.539
what we see is basically light hitting the back
01:01:08.539 --> 01:01:11.300
of our eye and being translated into signals
01:01:11.300 --> 01:01:13.559
by our brain. Now, if you are completely transparent,
01:01:13.840 --> 01:01:16.000
that light will pass right through your eye.
01:01:16.159 --> 01:01:18.480
Thus, there's nothing for your brain to register.
01:01:18.719 --> 01:01:20.960
So the suit works differently, obviously, by
01:01:20.960 --> 01:01:24.179
basically using cameras and projectors to perfectly
01:01:24.179 --> 01:01:27.619
copy the image on both sides of you, thus rendering
01:01:27.619 --> 01:01:30.079
you unseeable. But you can be sure those little
01:01:30.079 --> 01:01:33.320
cameras have a feed directly to Adrian's visuals
01:01:33.320 --> 01:01:37.230
so he can see. perfectly probably in a 360 degree
01:01:37.230 --> 01:01:40.329
plane if he wanted to and i think it also it
01:01:40.329 --> 01:01:42.510
also seems to enhance his strength by the way
01:01:42.510 --> 01:01:45.130
he's lobbing poor cecilia around like a rag doll
01:01:45.130 --> 01:01:48.389
yeah yeah some interesting points there lee maybe
01:01:48.389 --> 01:01:50.809
we should start a science podcast where you know
01:01:50.809 --> 01:01:55.110
lee explains it all he explains it with lee i
01:01:55.110 --> 01:01:58.440
like it I like it. Yeah, that's pretty much the
01:01:58.440 --> 01:02:01.920
extent of my knowledge. I can fit a good pair
01:02:01.920 --> 01:02:07.219
of varifocals, but that's about it. Also, I would
01:02:07.219 --> 01:02:10.000
wager money that anyone with trypophobia is going
01:02:10.000 --> 01:02:12.579
to have a really hard time dealing with that
01:02:12.579 --> 01:02:14.760
suit. Trypophobia, for anyone that don't know,
01:02:14.820 --> 01:02:19.380
is like a fear of holes. like lots of like small
01:02:19.380 --> 01:02:22.900
holes yeah hexagonal kind of you know holes like
01:02:22.900 --> 01:02:25.280
a beehive sort of thing yeah and it does have
01:02:25.280 --> 01:02:28.500
that kind of creepy look about it doesn't it
01:02:28.500 --> 01:02:31.500
yeah yeah absolutely yeah anyway i think it's
01:02:31.500 --> 01:02:33.219
safe to say adrian doesn't have an issue with
01:02:33.219 --> 01:02:36.860
that um now poor cecilia flees to the bedroom
01:02:36.860 --> 01:02:40.059
and stashes the suit in the vent where she concealed
01:02:40.059 --> 01:02:43.199
her bug out bag only to find herself trapped
01:02:44.170 --> 01:02:46.349
She can hear footsteps approaching and conceals
01:02:46.349 --> 01:02:48.710
herself as best she can behind the door, which
01:02:48.710 --> 01:02:52.110
ominously begins to slide openly. Her eyes are
01:02:52.110 --> 01:02:54.710
on the floor, and as soon as a footprint appears
01:02:54.710 --> 01:02:57.190
on the carpet, she blasts into the Invisible
01:02:57.190 --> 01:03:00.769
Man and sprints for it. Zeus then leaps between
01:03:00.769 --> 01:03:03.920
them. Zeus to the rescue, Lee! Come on! buying
01:03:03.920 --> 01:03:06.920
her valuable time to escape. And escape she does,
01:03:06.980 --> 01:03:09.900
Lee, back into the waiting Uber and they speed
01:03:09.900 --> 01:03:12.900
off to a temporary safety. And once again, poor
01:03:12.900 --> 01:03:16.980
Zeus is abandoned to his master's wrath. What
01:03:16.980 --> 01:03:19.980
the fuck? It's at this point I'm really hoping
01:03:19.980 --> 01:03:24.159
the Invisible Man is a very strong dog person.
01:03:25.179 --> 01:03:27.559
Oh, me too. But to be honest, Lee, I'm not holding
01:03:27.559 --> 01:03:31.119
up much hope for that. As we all know, Lee, horror
01:03:31.119 --> 01:03:36.840
hates dogs. So Cecilia calls Emily and arranges
01:03:36.840 --> 01:03:39.500
to meet her in a restaurant. Things are a little
01:03:39.500 --> 01:03:41.860
frosty between them, but Emily is won over by
01:03:41.860 --> 01:03:45.099
Cecilia's sincerity and listens intently as her
01:03:45.099 --> 01:03:48.480
sister tries to explain Adrian's suit. Emily
01:03:48.480 --> 01:03:51.420
is momentarily distracted by something just off
01:03:51.420 --> 01:03:53.760
screen. We see she's looking at that familiar
01:03:53.760 --> 01:03:56.559
kitchen knife floating beside Cecilia's head.
01:03:56.619 --> 01:03:59.679
What the fuck's going on? What happens next is
01:03:59.679 --> 01:04:02.780
over in seconds. Emily's throat is slashed by
01:04:02.780 --> 01:04:05.539
the floating knife, which is then slapped into
01:04:05.539 --> 01:04:08.800
a dumbstruck Cecilia's hand. And holy fucking
01:04:08.800 --> 01:04:12.360
shit, dude, this came out of nowhere, hitting
01:04:12.360 --> 01:04:15.719
like a sledgehammer at the one hour, 12 minute
01:04:15.719 --> 01:04:19.179
mark. I know, man. It's a tad late in the movie
01:04:19.179 --> 01:04:21.460
for a face punch, but that's exactly what this
01:04:21.460 --> 01:04:24.760
is. And there's some really, really wonderful
01:04:24.760 --> 01:04:27.159
writing in the script here. So check out how
01:04:27.159 --> 01:04:29.840
the immediate aftermath is handled on the page.
01:04:29.920 --> 01:04:39.019
And it plays out the same on screen, too. Emily
01:04:39.019 --> 01:04:42.019
can't speak. coughs out one last protest before
01:04:42.019 --> 01:04:44.980
gripping her neck. The knife smacks into Cecilia's
01:04:44.980 --> 01:04:47.340
hand before she has time to register any of this.
01:04:47.639 --> 01:04:50.260
And then the screaming starts. A woman at the
01:04:50.260 --> 01:04:52.519
next table lets out a high -pitched shriek so
01:04:52.519 --> 01:04:55.320
piercing that the entire room whips their eyes
01:04:55.320 --> 01:04:58.119
onto her. The picture everyone sees is Cecilia
01:04:58.119 --> 01:05:00.679
holding a bloody knife as Emily's body collapses
01:05:00.679 --> 01:05:03.719
forward, passing out quickly as blood soaks the
01:05:03.719 --> 01:05:06.559
white tablecloth. Cecilia stares at the knife
01:05:06.559 --> 01:05:09.579
with total delirium, dropping it and matching
01:05:09.579 --> 01:05:12.340
the original scream with one of her own. The
01:05:12.340 --> 01:05:15.519
other patrons blanch until a waiter tackles Cecilia.
01:05:15.639 --> 01:05:17.739
She fights against him with animal strength.
01:05:18.650 --> 01:05:20.889
What we witness is someone's sanity disappearing
01:05:20.889 --> 01:05:23.909
in an instant. Imagine watching your child fall
01:05:23.909 --> 01:05:26.710
off a cliff and your reaction. That's where we
01:05:26.710 --> 01:05:29.289
are with Cecilia. She screams from somewhere
01:05:29.289 --> 01:05:33.230
deep within her. She is broken. Time, space and
01:05:33.230 --> 01:05:36.469
sound fracture here. We're in sync with Cecilia.
01:05:36.929 --> 01:05:39.610
Close on Cecilia's face, pressed against the
01:05:39.610 --> 01:05:43.090
floor, we see flashes of police jackets, of Cecilia's
01:05:43.090 --> 01:05:46.469
hands being cuffed. She is pulled upwards, then
01:05:46.469 --> 01:05:51.809
darkness. Yes, I mean, it's brutal, isn't it,
01:05:51.829 --> 01:05:54.869
dude? Absolutely. I mean, it's interesting because
01:05:54.869 --> 01:05:57.690
we have some classic little formatting tricks
01:05:57.690 --> 01:06:00.489
here. You know, the line, what we witness is
01:06:00.489 --> 01:06:03.269
someone's sanity disappearing in an instant is
01:06:03.269 --> 01:06:05.670
underlined, you know, to bring it really, really
01:06:05.670 --> 01:06:08.190
bring it home. And a few lines later, we get
01:06:08.190 --> 01:06:11.150
time, space and sound fracture here, which is
01:06:11.150 --> 01:06:13.210
all written in uppercase. You know, which is
01:06:13.210 --> 01:06:15.650
it's basic formatting sort of like tricks, but
01:06:15.650 --> 01:06:17.909
it really does sort of draw your eye to that
01:06:17.909 --> 01:06:21.909
on the page and just kind of emphasize the gravitas
01:06:21.909 --> 01:06:25.090
of those lines. And one last thing I found really,
01:06:25.150 --> 01:06:27.230
really great and interesting here is Ronell's
01:06:27.230 --> 01:06:31.309
use of a tactile example. The line, imagine watching
01:06:31.309 --> 01:06:33.789
your child fall off of a cliff and your reaction.
01:06:34.230 --> 01:06:37.030
That's where we are with Cecilia. And what a
01:06:37.030 --> 01:06:39.269
great note that must be to get as an actor, you
01:06:39.269 --> 01:06:41.510
know, and for a reader as well. It just puts
01:06:41.510 --> 01:06:44.980
us. perfectly in cecilia's fracturing headspace
01:06:44.980 --> 01:06:47.599
it's just so good it's so well written isn't
01:06:47.599 --> 01:06:51.480
it unsurprisingly the poor woman is carted off
01:06:51.480 --> 01:06:54.159
to the nearest psychiatric facility where she's
01:06:54.159 --> 01:06:57.519
taken to a holding cell strapped down and sedated
01:06:58.329 --> 01:07:01.170
Now she screams that Adrian's in the room, invisible
01:07:01.170 --> 01:07:04.230
in the corner, and maybe he is, but understandably
01:07:04.230 --> 01:07:06.710
the psych team are not buying it. After they
01:07:06.710 --> 01:07:09.889
leave the room and she starts to slip into unconsciousness,
01:07:09.949 --> 01:07:13.769
she hears her voice say, surprise. Now I wasn't
01:07:13.769 --> 01:07:15.969
clear if she was imagining this or if Adrian
01:07:15.969 --> 01:07:19.750
really was in the room with her. I mean, that
01:07:19.750 --> 01:07:22.590
line isn't in the script. Instead, she hears
01:07:22.590 --> 01:07:25.389
footsteps as she passes out, which may be coming
01:07:25.389 --> 01:07:27.269
from inside or outside the room. You know, I
01:07:27.269 --> 01:07:30.389
watched and listened to this scene a few times.
01:07:30.429 --> 01:07:33.610
I'm still not 100 % clear, but my gut is going
01:07:33.610 --> 01:07:36.170
with, you know, he actually was there in the
01:07:36.170 --> 01:07:38.690
room. Yeah, that's my instinct too on this one,
01:07:38.769 --> 01:07:42.949
dude, I thought. So we rejoin a spaced out Cecilia
01:07:42.949 --> 01:07:45.429
in an interrogation room where she's being questioned
01:07:45.429 --> 01:07:48.869
by James and another detective. She tells them
01:07:48.869 --> 01:07:51.010
that the man who killed her sister is in the
01:07:51.010 --> 01:07:53.809
room with them right now, but that they can't
01:07:53.809 --> 01:07:57.010
see him. Yeah. In other words, she's trying to
01:07:57.010 --> 01:08:00.400
book a one way ticket to crazy town. It's not
01:08:00.400 --> 01:08:03.119
looking good for her to be sure. She tries to
01:08:03.119 --> 01:08:05.840
tell James about the suit, but holds off. She
01:08:05.840 --> 01:08:08.679
does want Adrian, who may or may not be in the
01:08:08.679 --> 01:08:12.280
room, to know that she stashed it. There's a
01:08:12.280 --> 01:08:14.780
nice little character moment for James here where
01:08:14.780 --> 01:08:16.939
he apologises for leaving her when she needed
01:08:16.939 --> 01:08:20.159
him. Yeah, that's not in the script. Instead,
01:08:20.279 --> 01:08:23.510
we get a super brief conversation. outside the
01:08:23.510 --> 01:08:26.510
room between the two cops where james insinuates
01:08:26.510 --> 01:08:30.029
that he is hoping an insanity plea will be cecilia's
01:08:30.029 --> 01:08:33.649
best option yeah now poor cecilia is pretty much
01:08:33.649 --> 01:08:36.350
a broken shell at this point she has a meeting
01:08:36.350 --> 01:08:39.090
with a staff nurse who informs her that she is
01:08:39.090 --> 01:08:41.810
pregnant much to a distraught cecilia's shock
01:08:41.810 --> 01:08:44.670
and denial there's no time to process this though
01:08:44.670 --> 01:08:46.729
as in the next scene she's bustled into a meeting
01:08:46.729 --> 01:08:49.409
with tom who informs her that due to her current
01:08:49.409 --> 01:08:53.510
status as Well, an insane murderess. The payout
01:08:53.510 --> 01:08:57.430
from Adrian's trust will cease. Goddamn small
01:08:57.430 --> 01:09:00.130
print clauses. You know, right? It's always in
01:09:00.130 --> 01:09:03.590
the fine print with these fucks. She manages
01:09:03.590 --> 01:09:06.569
to reel out one sick -ass burn, though, as she
01:09:06.569 --> 01:09:09.350
calls Tom the jellyfish version of Adrian. Everything
01:09:09.350 --> 01:09:13.340
but the spinely. Cecilia is still reeling when
01:09:13.340 --> 01:09:15.899
Tom leans in and whispers that if she agrees
01:09:15.899 --> 01:09:18.680
to have the baby and go back to Adrian, he can
01:09:18.680 --> 01:09:21.119
make all of this go away and she can return to
01:09:21.119 --> 01:09:24.659
her old life. He tells her that Adrian swapped
01:09:24.659 --> 01:09:27.840
out her birth control pills ages ago and that
01:09:27.840 --> 01:09:30.140
she's been punished enough and he's ready to
01:09:30.140 --> 01:09:33.199
forgive her. All she has to do is call him on
01:09:33.199 --> 01:09:36.460
the provided cell phone. Now, this latest revelation
01:09:36.460 --> 01:09:39.520
provokes a violent outburst from Cecilia, who
01:09:39.520 --> 01:09:41.979
hurls the papers and the phone onto the ground.
01:09:42.640 --> 01:09:45.159
Tom is nonplussed and says he'll be back in three
01:09:45.159 --> 01:09:47.699
days. But unbeknownst to him, Cecilia has swiped
01:09:47.699 --> 01:09:50.600
a pen from his briefcase. After he leaves, she
01:09:50.600 --> 01:09:53.340
steals a wad of Blu -Tack from the table and
01:09:53.340 --> 01:09:56.039
listens to the local weather report. And it seems
01:09:56.039 --> 01:10:01.760
a storm is coming, Lee. Metaphor. Indeed. In
01:10:01.760 --> 01:10:04.359
the script, we don't see her take the pen and
01:10:04.359 --> 01:10:06.699
the weather report is a couple of scenes later.
01:10:07.359 --> 01:10:09.119
Yeah, it makes sense to compress it all down,
01:10:09.180 --> 01:10:12.279
I think. Yeah, agreed. Absolutely. So next time
01:10:12.279 --> 01:10:14.659
we see Cecilia, the aforementioned storm has
01:10:14.659 --> 01:10:17.300
arrived and the guard searches her and her room
01:10:17.300 --> 01:10:20.260
for contraband before leaving her to sleep. As
01:10:20.260 --> 01:10:22.560
soon as she is alone, she retrieves the fountain
01:10:22.560 --> 01:10:26.000
pen she'd stashed in the shower cubicle and turns
01:10:26.000 --> 01:10:29.000
on the shower. She puts the pen to her wrist
01:10:29.000 --> 01:10:31.439
and tells Adrian he won't get the baby and he
01:10:31.439 --> 01:10:34.739
won't get her. Then she starts cutting Lee at
01:10:34.739 --> 01:10:38.270
the one hour, 26 minute, 30 second mark. She
01:10:38.270 --> 01:10:41.010
doesn't get far as something grabs her wrists,
01:10:41.050 --> 01:10:43.789
but rather than fear, there's triumph in her
01:10:43.789 --> 01:10:47.010
eyes. There you are, she curses before stabbing
01:10:47.010 --> 01:10:49.569
the invisible man repeatedly with a pen, causing
01:10:49.569 --> 01:10:52.229
his suit to malfunction and glitch out. The two
01:10:52.229 --> 01:10:54.409
struggle and she's thrown across the room just
01:10:54.409 --> 01:10:56.770
before a guard storms in and orders her back
01:10:56.770 --> 01:11:00.090
to bed. No more hiding for our invisible stalker,
01:11:00.090 --> 01:11:03.149
though, as the guard sees him and pulls his taser,
01:11:03.149 --> 01:11:05.750
which is promptly removed from his grip and shoved
01:11:05.750 --> 01:11:09.670
under his chin, dropping him hard. Cecilia flees
01:11:09.670 --> 01:11:11.989
into the hallway, where she's promptly grabbed
01:11:11.989 --> 01:11:14.430
by two more guards who drag her back towards
01:11:14.430 --> 01:11:17.930
her cell. Man, I am getting some serious Terminator
01:11:17.930 --> 01:11:20.970
2 vibes here. And incidentally, I put the start
01:11:20.970 --> 01:11:23.449
of Act 3 here. You know, Cecilia's gone from
01:11:23.449 --> 01:11:26.310
victim to aggressor, and this kind of kickstarts
01:11:26.310 --> 01:11:29.630
the final act. Yeah, interesting. I actually
01:11:29.630 --> 01:11:31.829
put the start of Act Three when she stole the
01:11:31.829 --> 01:11:34.510
pen, just because I think, you know, that's when
01:11:34.510 --> 01:11:37.130
she has a plan and she starts to sort of really
01:11:37.130 --> 01:11:40.630
go on the offensive. Nice, nice. But there's
01:11:40.630 --> 01:11:42.829
a great little bit of action in the script here.
01:11:42.869 --> 01:11:45.229
Let me read you these couple of lines. Cecilia
01:11:45.229 --> 01:11:47.949
skids on the slick linoleum, dog paddling desperately
01:11:47.949 --> 01:11:51.229
to her feet. She whams into two guards who grapple
01:11:51.229 --> 01:11:52.989
her as an aggressor. And I think that's just
01:11:52.989 --> 01:11:55.359
a... example of brilliant it's just brilliant
01:11:55.359 --> 01:11:57.560
word choice you know and another example of how
01:11:57.560 --> 01:12:00.539
great one l is at writing vivid description without
01:12:00.539 --> 01:12:04.159
using massive text dumps yeah yeah it's really
01:12:04.159 --> 01:12:08.100
sort of subliminally hints at the change you
01:12:08.100 --> 01:12:10.699
know in cecilia's mindset too right i think it's
01:12:10.699 --> 01:12:13.569
really great Anyway, the two guards are also
01:12:13.569 --> 01:12:16.090
quickly taken down by the Invisible Man, only
01:12:16.090 --> 01:12:19.149
for three more to charge into the fray, only
01:12:19.149 --> 01:12:22.270
to be brutally dispatched by their unseen assailant.
01:12:22.550 --> 01:12:26.210
At this point, two more guards come running into...
01:12:26.210 --> 01:12:28.350
Okay, come on, guys. This is starting to feel
01:12:28.350 --> 01:12:32.050
like the Keystone Cops here. You ever play a
01:12:32.050 --> 01:12:34.229
video game where the AI is so bad, the enemies
01:12:34.229 --> 01:12:36.770
just keep sprinting into your line of fire mindlessly
01:12:36.770 --> 01:12:39.050
until they're all dead? You know, this is the
01:12:39.050 --> 01:12:41.109
vibe I'm getting from these guys. I think...
01:12:41.479 --> 01:12:44.220
I think Adrian is just farming XP at this point.
01:12:45.500 --> 01:12:47.500
To be honest, that sounds like the kind of game
01:12:47.500 --> 01:12:49.960
I enjoy, you know, where they're just running
01:12:49.960 --> 01:12:51.619
into your line of fire. You don't need to move.
01:12:51.680 --> 01:12:55.600
Perfect. OK, to be fair, though, I doubt their
01:12:55.600 --> 01:13:00.859
training covers this scenario. You know, unsurprisingly,
01:13:00.859 --> 01:13:03.859
though, these are two fair, no better. And the
01:13:03.859 --> 01:13:07.649
score is Guard Zero, Invisible Man eight. I love
01:13:07.649 --> 01:13:10.850
how Adrian taunts the last guard, seemingly sparing
01:13:10.850 --> 01:13:12.729
and then just like shooting him in the back.
01:13:12.890 --> 01:13:15.909
I just want a dick move. Total dick move, isn't
01:13:15.909 --> 01:13:18.949
it? A wounded Adrian flees through the nearby
01:13:18.949 --> 01:13:21.689
fire exit, but Cecilia snatches up a gun and
01:13:21.689 --> 01:13:24.850
is in hot pursuit. And this girl is well and
01:13:24.850 --> 01:13:27.550
truly done being a victim, Lee. She almost tags
01:13:27.550 --> 01:13:29.970
a glitching Adrian in the stairwell, but he manages
01:13:29.970 --> 01:13:32.890
to escape outside into the downpour. But our
01:13:32.890 --> 01:13:36.569
girl is still in hot pursuit. She spots him glitching
01:13:36.569 --> 01:13:38.909
near some cars and takes another shot. But it
01:13:38.909 --> 01:13:41.069
doesn't look like she's hit anything. We get
01:13:41.069 --> 01:13:43.829
a three way game of cat and mouse here as Cecilia
01:13:43.829 --> 01:13:46.390
hunts Adrian through the car park while being
01:13:46.390 --> 01:13:48.989
hunted in turn by more security guards from the
01:13:48.989 --> 01:13:52.039
hospital. He manages to get the drop on Cecilia
01:13:52.039 --> 01:13:54.880
yet again and tells her that if she tries to
01:13:54.880 --> 01:13:57.460
fight him, he won't ever hurt her, but target
01:13:57.460 --> 01:14:00.539
people she loves. He then straight up announces
01:14:00.539 --> 01:14:03.300
that he's off to kill Sidney. And at this point,
01:14:03.340 --> 01:14:06.100
another guard arrives and Adrian shoots him,
01:14:06.180 --> 01:14:09.380
injuring him. But in a strange turn, he spares
01:14:09.380 --> 01:14:11.819
this guard. And this seems like odd behavior
01:14:11.819 --> 01:14:14.939
because now there's at least one witness to corroborate
01:14:14.939 --> 01:14:18.699
Cecilia's story. Maybe the genius is slipping,
01:14:18.760 --> 01:14:21.539
Lee? i don't know don't count on it dude this
01:14:21.539 --> 01:14:25.600
guy it always seems to be one step ahead Okay.
01:14:25.800 --> 01:14:29.100
So Adrian escapes the compound followed closely
01:14:29.100 --> 01:14:32.220
by Cecilia. He tears away in his car, but Cecilia
01:14:32.220 --> 01:14:34.819
knows he won't hit her. So she positions herself
01:14:34.819 --> 01:14:38.300
dead on and takes a shot. The car swerves to
01:14:38.300 --> 01:14:41.239
avoid her causing another incoming car to crash
01:14:41.239 --> 01:14:44.760
and wasting no time. Cecilia steals the crash
01:14:44.760 --> 01:14:48.000
car and calls James to warn him about Sydney's
01:14:48.000 --> 01:14:51.600
impending danger. Did you notice Billy the puppet
01:14:51.600 --> 01:14:54.909
from Saw is graffitied on the wall here? I did
01:14:54.909 --> 01:14:57.810
not actually notice that, Lee. Nice little nod
01:14:57.810 --> 01:15:00.649
for those in the know, though, right? So it looks
01:15:00.649 --> 01:15:03.750
like help may be late in coming as we arrive
01:15:03.750 --> 01:15:06.590
at James's house and the Invisible Man lets himself
01:15:06.590 --> 01:15:09.029
in through the back door and stalks through the
01:15:09.029 --> 01:15:12.989
house at the 1 hour 36 minute mark. And again,
01:15:13.069 --> 01:15:15.810
this is one of those looks like a POV, but is
01:15:15.810 --> 01:15:17.970
actually a tracking shot. I mean, you see how
01:15:17.970 --> 01:15:20.489
far back we are when the door to Sydney's room
01:15:20.489 --> 01:15:23.010
opens. You know, we're behind him watching the
01:15:23.010 --> 01:15:25.050
voyeur instead of watching through his eyes.
01:15:25.170 --> 01:15:27.270
And still, again, I just love that. I think that's
01:15:27.270 --> 01:15:30.590
so good. Yeah. The Invisible Man enters Sydney's
01:15:30.590 --> 01:15:33.029
room and it seems he's fixed his suit because
01:15:33.029 --> 01:15:36.229
it's no longer glitching out. The girl wakes
01:15:36.229 --> 01:15:39.210
and senses something is wrong and fishes her
01:15:39.210 --> 01:15:42.739
pepper spray out of her school bag. moment of
01:15:42.739 --> 01:15:45.600
listening she sprays it wildly in front of her
01:15:45.600 --> 01:15:48.619
causing the unseen form to splutter and crash
01:15:48.619 --> 01:15:52.180
into her desk yeah so i've been thinking about
01:15:52.180 --> 01:15:54.939
this for a bit and initially i was like you know,
01:15:54.979 --> 01:15:56.399
what's that going to do? His eyes are packed
01:15:56.399 --> 01:15:59.560
away beneath a thick, skin -tight suit. And then
01:15:59.560 --> 01:16:01.460
I sort of googled how pepper spray works. And
01:16:01.460 --> 01:16:03.359
yeah, if you inhale that shit, it's not going
01:16:03.359 --> 01:16:05.460
to do you a lot of good. But then I was like,
01:16:05.560 --> 01:16:08.300
so the suit clearly doesn't have room for oxygen
01:16:08.300 --> 01:16:10.699
storage. There are no visible breathing holes,
01:16:10.760 --> 01:16:13.060
so it must have some kind of respiratory function.
01:16:13.600 --> 01:16:15.899
And if that shit isn't heavily filtered, then
01:16:15.899 --> 01:16:18.239
I guess that pepper spray is going straight up
01:16:18.239 --> 01:16:21.319
his nose or down his throat. So anyway, too long,
01:16:21.359 --> 01:16:24.130
didn't read. Yeah, this would probably... probably
01:16:24.130 --> 01:16:27.529
work and it does work also note what sydney's
01:16:27.529 --> 01:16:30.149
wearing here because this is a great little moment
01:16:30.149 --> 01:16:33.829
of foreshadowing yeah a night shirt with a jellyfish
01:16:33.829 --> 01:16:37.630
on it okay pay attention so sydney dashes from
01:16:37.630 --> 01:16:40.149
her room but the invisible man has somehow beaten
01:16:40.149 --> 01:16:43.289
her out of the room and she runs straight into
01:16:43.289 --> 01:16:46.510
him knocking her down as he starts to strangle
01:16:46.510 --> 01:16:49.920
her In the script, the Invisible Man actually
01:16:49.920 --> 01:16:53.119
ties a wire across the corridor as a trap before
01:16:53.119 --> 01:16:56.779
entering her room, kind of like a murderous Kevin
01:16:56.779 --> 01:17:00.199
McAllister. And it's this that Polacks is Sydney
01:17:00.199 --> 01:17:03.960
to the ground. Just then, James arrives and he's
01:17:03.960 --> 01:17:07.060
all businessly, gun drawn and looking buff as
01:17:07.060 --> 01:17:10.859
fuck. Seriously, could that guy fit into a tighter
01:17:10.859 --> 01:17:15.279
shirt? Don't tell me if you look like Aldous
01:17:15.279 --> 01:17:17.100
Hodge, you wouldn't be rocking a tighty muscle
01:17:17.100 --> 01:17:20.069
shirt, Lee. Dude, if I looked as good as Aldous
01:17:20.069 --> 01:17:24.630
Hodge, I would spray my shirts on. The delectably
01:17:24.630 --> 01:17:27.890
buff James arrives to save his daughter, but
01:17:27.890 --> 01:17:30.210
then gets the absolute shit kicked out of him
01:17:30.210 --> 01:17:32.529
by the Invisible Man. Things are looking grim
01:17:32.529 --> 01:17:35.329
when Cecilia arrives and blasts the unseen attacker
01:17:35.329 --> 01:17:38.489
with a fire extinguisher, revealing him for all
01:17:38.489 --> 01:17:42.510
to see. Well, well, well, if it ain't the Invisible
01:17:42.510 --> 01:17:49.210
Cunt. Sorry. Not a fan of the boys? I watched
01:17:49.210 --> 01:17:51.430
the first season, but to be honest, I've heard
01:17:51.430 --> 01:17:53.989
a lot of disappointment over the final season.
01:17:54.989 --> 01:17:57.270
Yeah, the final season could definitely have
01:17:57.270 --> 01:17:59.550
been better. Okay. How would you improve it,
01:17:59.550 --> 01:18:02.590
Lee? ah dude i i don't have the time to list
01:18:02.590 --> 01:18:04.609
my thoughts on the final season but i think the
01:18:04.609 --> 01:18:07.829
biggest change uh i would do i'd probably drop
01:18:07.829 --> 01:18:10.710
the episode count down to six and sunk that extra
01:18:10.710 --> 01:18:13.170
two episode budget into going full scorched earth
01:18:13.170 --> 01:18:15.430
in the finale but what do i know we're all a
01:18:15.430 --> 01:18:19.609
slave to the studio right anyway OK, back to
01:18:19.609 --> 01:18:21.689
the film. And with the aforementioned invisible
01:18:21.689 --> 01:18:25.170
cunt now a very visible cunt, Cecilia puts four
01:18:25.170 --> 01:18:28.529
rounds in the murderous fuck's chest. He staggers
01:18:28.529 --> 01:18:31.689
and goes down and a triumphant Cecilia unmasks
01:18:31.689 --> 01:18:37.789
him to reveal Tom? Jinkies! I see now. Jellyfish
01:18:37.789 --> 01:18:41.569
nightshirt. Jellyfish version of Adrian. That's
01:18:41.569 --> 01:18:45.149
pretty cool, huh? Oh, Lee Whannell, you little
01:18:45.149 --> 01:18:49.430
genius, you. In the next scene, we find an armed
01:18:49.430 --> 01:18:52.609
SWAT team sweeping Adrian's house. From the basement,
01:18:52.670 --> 01:18:55.109
they hear a muffled cry for help and break down
01:18:55.109 --> 01:18:57.810
a flimsy -looking wall and find a bedraggled
01:18:57.810 --> 01:19:00.710
-looking Adrian, bloody and malnourished, chained
01:19:00.710 --> 01:19:03.930
to the wall. Come on, man. There's no way it
01:19:03.930 --> 01:19:07.149
was fucking Tom this whole time. Looks like it.
01:19:07.810 --> 01:19:12.100
Major rug pull, dude. So James, Cecilia and Sydney
01:19:12.100 --> 01:19:14.439
regroup at the police station and it seems like
01:19:14.439 --> 01:19:16.619
everybody is buying the story of Tom's guilt,
01:19:16.720 --> 01:19:19.960
save for Cecilia. Even James is convinced of
01:19:19.960 --> 01:19:22.340
it and you'd think he'd learn to trust her instincts
01:19:22.340 --> 01:19:25.020
by now. It seems they have a weird suit that
01:19:25.020 --> 01:19:27.500
doesn't work and a bunch of corroborative witnesses
01:19:27.500 --> 01:19:30.220
and that is going to be enough to get Cecilia
01:19:30.220 --> 01:19:33.340
off the hook if she goes along with it. Which,
01:19:33.340 --> 01:19:36.479
it seems, is what she does, as in the next scene,
01:19:36.560 --> 01:19:38.899
she's back at James' house watching over Sydney
01:19:38.899 --> 01:19:42.000
as she sleeps. And after a few moments, she gets
01:19:42.000 --> 01:19:46.800
up, heads outside and calls Adrian. So in the
01:19:46.800 --> 01:19:49.239
script, this conversation between them runs a
01:19:49.239 --> 01:19:51.399
little bit longer and it's revealed that James
01:19:51.399 --> 01:19:54.039
is with her and is fitting her with a good old
01:19:54.039 --> 01:19:57.399
police issue wire microphone. Yeah, I mean, I
01:19:57.399 --> 01:19:58.880
guess that would have given the game away a little
01:19:58.880 --> 01:20:01.739
early. I certainly think it's better keeping
01:20:01.739 --> 01:20:04.460
Cecilia's motivations in the dark for the moment.
01:20:04.800 --> 01:20:07.960
She meets Adrian, looking as glammed up as we've
01:20:07.960 --> 01:20:10.439
seen her, and Adrian is playing the nervous suitor
01:20:10.439 --> 01:20:13.659
very well. And as the two sit down for a very
01:20:13.659 --> 01:20:16.640
awkward dinner, Cecilia takes careful note of
01:20:16.640 --> 01:20:19.659
the cameras watching their every move. In the
01:20:19.659 --> 01:20:22.239
script, Cecilia insists that they swap seats,
01:20:22.439 --> 01:20:26.659
so the camera is on Adrian and not on her. She
01:20:26.659 --> 01:20:29.460
continually implores Adrian to confess, saying
01:20:29.460 --> 01:20:31.500
that their new life together can't be built on
01:20:31.500 --> 01:20:34.260
a lie, but either he ain't buying it or he's
01:20:34.260 --> 01:20:36.000
telling the truth because he's not budging on
01:20:36.000 --> 01:20:39.659
his story. We briefly cut away to James listening
01:20:39.659 --> 01:20:43.520
in a car nearby and he is itching for that confession
01:20:43.520 --> 01:20:47.000
as much as she is. She starts to cry and he moves
01:20:47.000 --> 01:20:49.140
to console her, whispering that he knows her
01:20:49.140 --> 01:20:51.720
better than anyone and that shouldn't come as
01:20:51.720 --> 01:20:55.789
a surprise. Oh, this bastard. The insinuation
01:20:55.789 --> 01:20:59.170
on that last word, the word he whispered to her
01:20:59.170 --> 01:21:02.010
and text her is all the proof she needs, Lee.
01:21:02.069 --> 01:21:04.810
She breaks down in tears and excuses herself
01:21:04.810 --> 01:21:08.029
to the bathroom and calms herself in front of
01:21:08.029 --> 01:21:10.750
the massive bathroom mirror. Meanwhile, Adrian
01:21:10.750 --> 01:21:13.810
sits smugly at the table enjoying his meal when
01:21:13.810 --> 01:21:17.729
he jerks suddenly and fear is in his eyes, Lee,
01:21:17.770 --> 01:21:20.930
as he viciously slits his own throat almost to
01:21:20.930 --> 01:21:23.569
the bone. He collapses to the floor and it's
01:21:23.569 --> 01:21:26.489
all caught on camera, Lee. Now, a minute later,
01:21:26.649 --> 01:21:29.829
Cecilia returns and screams at the site before
01:21:29.829 --> 01:21:33.409
her. She dials 911 and hurries to James's side,
01:21:33.529 --> 01:21:36.609
hysterical and distraught. Slowly, though, she
01:21:36.609 --> 01:21:39.829
backs away, screaming the address down the phone
01:21:39.829 --> 01:21:42.390
before hanging up. And the second she is out
01:21:42.390 --> 01:21:44.670
of view of the camera, her demeanour completely
01:21:44.670 --> 01:21:49.229
shifts. She's cold and calculating and she takes
01:21:49.229 --> 01:21:52.310
a seat on the steps and watches him slowly bleed
01:21:52.310 --> 01:21:57.539
out. Surprise! By the time James... Oh, yeah!
01:21:57.920 --> 01:22:00.220
By the time James arrives, Cecilia's already
01:22:00.220 --> 01:22:03.960
leaving. The suit she stashed earlier in a carry
01:22:03.960 --> 01:22:07.899
-all and Zeus by her side. Come on, Zeus! Love
01:22:07.899 --> 01:22:11.359
it. The big man is clearly unnerved by what she
01:22:11.359 --> 01:22:13.979
has apparently done, but he still has her back
01:22:13.979 --> 01:22:16.600
and agrees that he obviously committed suicide.
01:22:16.739 --> 01:22:20.260
It's obvious. The camera's caught it all. Cecilia
01:22:20.260 --> 01:22:23.979
thanks him and leaves to start a new life. Finally,
01:22:24.000 --> 01:22:28.279
finally free of fear. So come on, man. What did
01:22:28.279 --> 01:22:31.159
you think of this one? Yeah, man. I thought this
01:22:31.159 --> 01:22:33.100
one was really, really good. I mean, I thought
01:22:33.100 --> 01:22:36.819
it was really a well -crafted film. Some really
01:22:36.819 --> 01:22:40.619
great use of cinema and cinematic language to
01:22:40.619 --> 01:22:44.199
sort of accentuate the tension and fear. I thought
01:22:44.199 --> 01:22:46.460
the characters were all pretty interesting and
01:22:46.460 --> 01:22:48.979
were played for the most part in a very naturalistic
01:22:48.979 --> 01:22:51.600
way, which is interesting and I thought was cool.
01:22:51.920 --> 01:22:54.020
And yeah, I mean, I thought props to Elizabeth
01:22:54.020 --> 01:22:56.779
Moss because she is I mean, she just gives a
01:22:56.779 --> 01:22:59.680
truly outstanding performance in this film. She's
01:22:59.680 --> 01:23:02.560
the heart and soul of this film and is carrying
01:23:02.560 --> 01:23:06.859
the whole thing. It's just it's such an amazing
01:23:06.859 --> 01:23:10.250
performance, I think. Yeah, totally agree, man.
01:23:10.369 --> 01:23:12.369
I mean, I think this is such this is a complete
01:23:12.369 --> 01:23:15.810
masterful work. It's it's so rich on theme and
01:23:15.810 --> 01:23:18.029
subtext. And I can't wait to really kind of dig
01:23:18.029 --> 01:23:21.050
it, dig into it in the breakdown. It's also a
01:23:21.050 --> 01:23:23.409
really great shift from 1L. I mean, I think after
01:23:23.409 --> 01:23:26.210
such rip roaring rides like Saw and Insidious
01:23:26.210 --> 01:23:28.789
and this is this is such an understated film.
01:23:28.930 --> 01:23:31.210
You know, it just goes to show what a versatile
01:23:31.210 --> 01:23:33.069
talent he is and why he's one of the biggest
01:23:33.069 --> 01:23:36.329
and most important names in horror today. But
01:23:36.329 --> 01:23:39.199
I've. I like yourself. I've also really got to
01:23:39.199 --> 01:23:41.479
sing Elizabeth Moss's praise here, too. You know,
01:23:41.520 --> 01:23:43.279
you're probably going to roll your eyes, but
01:23:43.279 --> 01:23:45.760
I think this was an Oscar worthy performance.
01:23:45.939 --> 01:23:48.199
I think if this had been a straight up drama
01:23:48.199 --> 01:23:50.979
film or thriller, she would have bagged it. But
01:23:50.979 --> 01:23:53.659
because it's just regarded probably as a silly
01:23:53.659 --> 01:23:56.260
horror movie, you know, nothing. You know, it
01:23:56.260 --> 01:23:59.260
is generally one of the greatest acting performances
01:23:59.260 --> 01:24:01.739
I've ever seen. It's raw. It's heartbreaking.
01:24:01.979 --> 01:24:05.390
And it is 100 percent believable. Yeah, it's
01:24:05.390 --> 01:24:08.609
absolutely wonderful. And surprisingly, Lee,
01:24:08.670 --> 01:24:14.109
the dog survived. Zeus survived. I think maybe
01:24:14.109 --> 01:24:18.109
this is a personal drama, no? No, I'm only joking.
01:24:18.289 --> 01:24:21.829
Deep cuts. OK, let's break this baby down, Lee.
01:24:26.489 --> 01:24:28.649
OK, so let's begin the breakdown by looking at
01:24:28.649 --> 01:24:31.329
the most significant differences, if there were
01:24:31.329 --> 01:24:34.260
any, between the screenplay and the film. so
01:24:34.260 --> 01:24:37.340
there have been a few slight differences uh some
01:24:37.340 --> 01:24:40.840
scenes have been cut or rearranged in the timeline
01:24:40.840 --> 01:24:44.060
but nothing hugely significant to the plot i
01:24:44.060 --> 01:24:47.100
think the main general difference in the script
01:24:47.100 --> 01:24:50.319
is that we get a lot more proof that adrian is
01:24:50.319 --> 01:24:53.220
the invisible man we hear him speak more we get
01:24:53.220 --> 01:24:55.399
the scene with cecilia matching his handprint
01:24:55.399 --> 01:24:58.119
to the gloves she stole etc and i i think this
01:24:58.119 --> 01:25:00.920
was obviously changed for the film because they
01:25:00.920 --> 01:25:03.840
wanted people to be rocked by that final twist
01:25:03.840 --> 01:25:06.420
with the reveal of tom in a suit you know and
01:25:06.420 --> 01:25:09.199
that that's kind of pointless if there is absolutely
01:25:09.199 --> 01:25:13.729
no credibility to that at all i think yeah i
01:25:13.729 --> 01:25:16.310
mean i think it's very clear from the you know
01:25:16.310 --> 01:25:18.189
from the script that adrian is the invisible
01:25:18.189 --> 01:25:20.590
man uh and we may have a sort of difference of
01:25:20.590 --> 01:25:22.829
opinion here but i did think it was fairly clear
01:25:22.829 --> 01:25:25.449
in the film too or certainly the film definitely
01:25:25.449 --> 01:25:27.970
leads the audience to believe adrian is in the
01:25:27.970 --> 01:25:30.430
suit which is why you know the tom rug pull works
01:25:30.430 --> 01:25:33.090
so effectively i think I mean, my take on why
01:25:33.090 --> 01:25:36.130
some of the Adrian in the suit clues were left
01:25:36.130 --> 01:25:38.329
out of the film is maybe to lead the audience
01:25:38.329 --> 01:25:42.189
to doubt Cecilia's sanity more in a very sort
01:25:42.189 --> 01:25:44.409
of similar way to the manner in which, you know,
01:25:44.409 --> 01:25:48.189
many of the characters around Cecilia do. Yeah.
01:25:48.270 --> 01:25:51.159
Any thoughts on that? Yeah, that's a pretty good
01:25:51.159 --> 01:25:54.399
point. But let's be real here. No intelligent
01:25:54.399 --> 01:25:56.539
viewer is going to be doubting Cecilia's sanity
01:25:56.539 --> 01:26:00.319
here, even from the outset. It's the promise
01:26:00.319 --> 01:26:02.680
of the premise and all that, the invisible man.
01:26:03.119 --> 01:26:05.760
I think you've kind of nailed the point, though,
01:26:05.779 --> 01:26:08.470
in that it has to... It has to be believable
01:26:08.470 --> 01:26:11.010
that those around Cecilia will think she's going
01:26:11.010 --> 01:26:13.930
crazy, you know, if that makes sense. Yeah, yeah,
01:26:13.949 --> 01:26:17.350
no, that makes total sense. Okay, so let's look
01:26:17.350 --> 01:26:19.449
at our characters. Are there any introductions
01:26:19.449 --> 01:26:21.829
that stood out to you as particularly effective
01:26:21.829 --> 01:26:26.100
or memorable? Okay, for me... And this is really
01:26:26.100 --> 01:26:29.819
late in the game coming in on page 97. But it
01:26:29.819 --> 01:26:32.840
has to be Adrian's introduction. It feels weird
01:26:32.840 --> 01:26:36.319
having an introduction to a character so late
01:26:36.319 --> 01:26:38.359
in the film, especially one who's already played
01:26:38.359 --> 01:26:41.539
such a huge part in the film without hardly ever
01:26:41.539 --> 01:26:44.560
appearing in it. The description goes like this.
01:26:45.710 --> 01:26:47.850
adrian is standing there in front of her there
01:26:47.850 --> 01:26:50.350
is a supreme natural confidence in everything
01:26:50.350 --> 01:26:53.090
he does the way he opens the door appears to
01:26:53.090 --> 01:26:55.470
be the most efficient way to open a door the
01:26:55.470 --> 01:26:57.470
way he smiles appears to be the most efficient
01:26:57.470 --> 01:27:00.409
way to smile if you are in his presence you are
01:27:00.409 --> 01:27:04.960
inefficient inferior what was yours Oh, dude,
01:27:05.079 --> 01:27:09.039
we're on the same page on so many of these things,
01:27:09.079 --> 01:27:10.920
because when I read through the script, I actually
01:27:10.920 --> 01:27:13.539
picked this one out, too, just because it's great.
01:27:13.739 --> 01:27:17.060
I mean, it's such a great character intro. But
01:27:17.060 --> 01:27:20.000
to be different, I did pick out James's intro,
01:27:20.119 --> 01:27:23.920
which I thought was really, really good. So this
01:27:23.920 --> 01:27:27.640
is how James is introduced in the script. She
01:27:27.640 --> 01:27:30.300
jolts out of her daze as a handsome African -American
01:27:30.300 --> 01:27:34.340
man approaches. This is James Lanyer, 34, thinks
01:27:34.340 --> 01:27:37.420
before he talks, appears outwardly relaxed, but
01:27:37.420 --> 01:27:40.000
he's intensely studying and taking in everything
01:27:40.000 --> 01:27:43.979
around him. He rubs his eyes, yawning. So I picked
01:27:43.979 --> 01:27:46.319
this one out as well because I thought it was
01:27:46.319 --> 01:27:49.569
just such a wonderfully kind of succinct. yet
01:27:49.569 --> 01:27:52.270
highly kind of effective way of introducing a
01:27:52.270 --> 01:27:54.390
character whose profession is a police detective,
01:27:54.630 --> 01:27:58.109
you know? I mean, when Al references James thinking
01:27:58.109 --> 01:28:00.789
before he talks, his outwardly relaxed appearance,
01:28:01.109 --> 01:28:03.649
but that he's taking everything in around him.
01:28:03.710 --> 01:28:06.010
I thought this painted just such a beautiful
01:28:06.010 --> 01:28:08.609
picture, you know, of a guy whose watchfulness
01:28:08.609 --> 01:28:11.850
and kind of studiousness is inculcated by his
01:28:11.850 --> 01:28:15.590
profession and training. And the described mannerisms
01:28:15.590 --> 01:28:18.829
really reflect fantastically well who James is.
01:28:18.729 --> 01:28:21.329
is, you know, through his demeanour and his actions.
01:28:22.090 --> 01:28:25.210
And it's just such a great introduction for an
01:28:25.210 --> 01:28:27.369
actor. You know, we talk about this a lot, but
01:28:27.369 --> 01:28:29.930
for an actor to sort of latch onto and really
01:28:29.930 --> 01:28:31.829
sort of build a character around, I think it's
01:28:31.829 --> 01:28:34.710
absolutely fantastic. OK, so before we break
01:28:34.710 --> 01:28:36.850
down the scarology, did you have a scariest moment,
01:28:36.949 --> 01:28:40.850
Lee? Well, the jump scare definitely freaked
01:28:40.850 --> 01:28:43.630
me out the most on first watch. But on re -watching
01:28:43.630 --> 01:28:46.729
the film, I felt nothing at that point. You know,
01:28:46.729 --> 01:28:49.619
with forewarning, To me, it lost a lot of its
01:28:49.619 --> 01:28:53.039
power, like a lot of jump scares do. But I was,
01:28:53.039 --> 01:28:56.079
however, still quite unnerved during the stalking
01:28:56.079 --> 01:28:57.840
scenes. And the one that got me the most was
01:28:57.840 --> 01:29:00.579
when the Invisible Man stands on the sheet that
01:29:00.579 --> 01:29:02.539
Cecilia is trying to drag. I thought that was
01:29:02.539 --> 01:29:05.960
creepy as fuck. I still think that is creepy
01:29:05.960 --> 01:29:09.800
as fuck. But what freaked you out the most? Well,
01:29:09.840 --> 01:29:11.119
yeah, I mean, that was a really good one, I thought.
01:29:11.220 --> 01:29:16.199
But for me, it was Emily's death scene. for the
01:29:16.199 --> 01:29:18.899
death to a certain degree but not really i mean
01:29:18.899 --> 01:29:21.859
it was more i think just moss's reaction here
01:29:21.859 --> 01:29:24.899
is i mean she is so unbelievably good in that
01:29:24.899 --> 01:29:27.859
scene and you see the horror and the pain and
01:29:27.859 --> 01:29:31.539
the shock in her face um it's a truly kind of
01:29:31.539 --> 01:29:34.239
haunting piece of acting which i thought was
01:29:34.239 --> 01:29:36.539
for me i thought was the most powerful moment
01:29:36.539 --> 01:29:39.739
in the film you know and probably the most traumatic
01:29:39.739 --> 01:29:43.319
as well to watch um but it's all moss right she
01:29:43.319 --> 01:29:45.979
is just sensational and throughout the film but
01:29:45.979 --> 01:29:47.760
definitely in that moment as well Well, it's
01:29:47.760 --> 01:29:51.560
spellbinding performance, I think. All righty
01:29:51.560 --> 01:29:53.720
then. So let's talk about the scareology. So
01:29:53.720 --> 01:29:56.619
first of all, yes or no, Lee, does the film more
01:29:56.619 --> 01:29:59.500
or less conform to the 10 minute rule? I'm going
01:29:59.500 --> 01:30:03.159
to say yes, but with a small caveat. Nice. OK,
01:30:03.260 --> 01:30:05.850
break it down for us, dude. OK, so the movie
01:30:05.850 --> 01:30:08.250
starts out strong, starts strong out the gate
01:30:08.250 --> 01:30:10.750
with Cecilia's tension filled escape from Adrian.
01:30:10.869 --> 01:30:14.369
And this is just a raw, unrelenting 11 minute
01:30:14.369 --> 01:30:17.270
long sequence. There's an absolute masterclass
01:30:17.270 --> 01:30:20.319
in tension. By the time that is done, it's not
01:30:20.319 --> 01:30:23.819
until the 26 minute mark where we start to see
01:30:23.819 --> 01:30:26.319
the Invisible Man start to wreak havoc. You know,
01:30:26.340 --> 01:30:30.699
first in the kitchen, then at 31 .30, we get
01:30:30.699 --> 01:30:32.939
that kind of sinister second breath outside.
01:30:33.420 --> 01:30:36.500
And this is followed almost immediately by the
01:30:36.500 --> 01:30:39.359
blanket pull scene when the girls are asleep.
01:30:40.010 --> 01:30:42.149
And the tension is kept really high from this
01:30:42.149 --> 01:30:44.829
point on as we're constantly scanning the negative
01:30:44.829 --> 01:30:48.590
spaces on screen for any sign of this like unseeable
01:30:48.590 --> 01:30:52.289
enemy. And it's not until a while later at 5630
01:30:52.289 --> 01:30:54.569
that we finally get our first glimpse of the
01:30:54.569 --> 01:30:57.069
fiend with that standout jump scare with the
01:30:57.069 --> 01:31:00.260
paint in the attic. And then a few minutes later,
01:31:00.399 --> 01:31:02.680
Cecilia is attacked viciously in the kitchen
01:31:02.680 --> 01:31:06.319
at the 58 and 30 mark before fleeing the house.
01:31:06.439 --> 01:31:08.720
And then it's that big jaw drop of face punch
01:31:08.720 --> 01:31:12.520
Emily's murder at one hour and 12 minutes. And
01:31:12.520 --> 01:31:14.760
that's followed a little over 10 minutes later
01:31:14.760 --> 01:31:19.039
by Cecilia's attempted suicide slash trap at
01:31:19.039 --> 01:31:22.659
one hour, 26 and 30. And then it's cat and mouse
01:31:22.659 --> 01:31:26.619
in the car park at one hour, 32 and 30. And finally,
01:31:26.619 --> 01:31:29.340
the big battle to save Sydney at one hour and
01:31:29.340 --> 01:31:32.239
36 minutes. Nice. Well, let's break down those
01:31:32.239 --> 01:31:35.319
acts for you. So act one consists of four fairly
01:31:35.319 --> 01:31:38.840
evenly paced scares. Act two also consists of
01:31:38.840 --> 01:31:41.439
three main scares a little closer together now.
01:31:41.779 --> 01:31:44.840
And actually rounds us out with a final three
01:31:44.840 --> 01:31:47.859
scare scenes. Now, I think it's worth mentioning
01:31:47.859 --> 01:31:49.960
here, Lee, that, you know, just one more time
01:31:49.960 --> 01:31:52.520
that the mileage here may vary as the tension
01:31:52.520 --> 01:31:54.939
is maintained through the director's use of negative
01:31:54.939 --> 01:31:57.000
space throughout the second act of the film.
01:31:57.699 --> 01:32:00.260
Yeah, there's definitely a lot of tension that's
01:32:00.260 --> 01:32:03.239
not an outright scare, but, you know, you're
01:32:03.239 --> 01:32:05.239
going to be watching that screen very closely
01:32:05.239 --> 01:32:09.060
at all times. And did you have any thoughts on
01:32:09.060 --> 01:32:12.229
the themes at work here in the film? Yeah, so
01:32:12.229 --> 01:32:13.909
I think if we're looking at our Parker themes,
01:32:14.050 --> 01:32:16.029
I mean, we're definitely, definitely have the
01:32:16.029 --> 01:32:17.970
sort of fear of the unknown running through this
01:32:17.970 --> 01:32:21.909
film. I think in a wider context, this film feels
01:32:21.909 --> 01:32:24.869
like it's about, you know, obviously domestic
01:32:24.869 --> 01:32:27.930
abuse, coercive control, psychological manipulation.
01:32:28.829 --> 01:32:31.930
Adrian is gaslighting and isolating Cecilia in
01:32:31.930 --> 01:32:35.180
a classically sort of coercive manner. And Moss
01:32:35.180 --> 01:32:37.819
plays the confusion, fear and personal sanity
01:32:37.819 --> 01:32:40.680
questioning this generates in Cecilia to absolute
01:32:40.680 --> 01:32:43.939
perfection, I think. So I picked out a few lines
01:32:43.939 --> 01:32:46.140
from the script which sort of directly reference
01:32:46.140 --> 01:32:49.760
these ideas. Firstly, Cecilia states this in
01:32:49.760 --> 01:32:52.859
lines of dialogue in the film. The first example
01:32:52.859 --> 01:32:57.180
goes as follows. Cecilia continued. He's using
01:32:57.180 --> 01:32:59.300
his invisibility to do what he used to do to
01:32:59.300 --> 01:33:03.199
me. Gaslight me. Control me. And then again,
01:33:03.420 --> 01:33:08.960
a little bit later, she states, Cecilia continued,
01:33:09.300 --> 01:33:12.060
he always used to pressure me about having a
01:33:12.060 --> 01:33:14.319
baby, but he didn't know I was secretly taking
01:33:14.319 --> 01:33:17.300
birth control. It was the one thing I had control
01:33:17.300 --> 01:33:20.460
over. He knows my secret now, though, and I know
01:33:20.460 --> 01:33:23.420
he's angry about it. He's not dead. I just can't
01:33:23.420 --> 01:33:25.859
see him. But I'm going to find a way to expose
01:33:25.859 --> 01:33:29.689
him and you. And here we can hear Cecilia again
01:33:29.689 --> 01:33:32.430
sort of identifying Adrian's behavior, but also
01:33:32.430 --> 01:33:35.329
how she had a single area which she was able
01:33:35.329 --> 01:33:37.489
to sort of feel a sense of control over, you
01:33:37.489 --> 01:33:40.770
know, her sort of bodily autonomy, I guess. But
01:33:40.770 --> 01:33:44.289
we also get the lines from Tom, which go as follows.
01:33:44.970 --> 01:33:47.310
Tom continued, you're wrong about knowing him
01:33:47.310 --> 01:33:49.390
better than me. My brother controlled me long
01:33:49.390 --> 01:33:52.630
before he ever met you. I hated him. You and
01:33:52.630 --> 01:33:55.729
I have that in common. So, Tom, they're really
01:33:55.729 --> 01:33:59.250
sort of reiterating the film's thematic subtext
01:33:59.250 --> 01:34:01.470
and showing Adrian was a controlling character,
01:34:01.489 --> 01:34:04.050
you know, no matter who you were. Right. I mean,
01:34:04.050 --> 01:34:06.130
if Tom is speaking the truth here, of course.
01:34:06.229 --> 01:34:10.890
But I also love how Wannell has used this idea
01:34:10.890 --> 01:34:13.689
of an invisible man and linking it directly to
01:34:13.689 --> 01:34:16.489
the film's themes. You know, the abuse Cecilia
01:34:16.489 --> 01:34:19.649
is suffering is not the kind that leaves a physical
01:34:19.649 --> 01:34:24.439
mark. Right. He's not hitting her per se. He
01:34:24.439 --> 01:34:26.899
is psychologically manipulating her and controlling
01:34:26.899 --> 01:34:29.300
her, which is much harder to sort of identify
01:34:29.300 --> 01:34:32.380
because it generally happens behind closed doors.
01:34:32.579 --> 01:34:35.039
It's also much harder for others to identify
01:34:35.039 --> 01:34:36.939
as well. And I just think this is a great example
01:34:36.939 --> 01:34:40.199
of how a really great writer can take something
01:34:40.199 --> 01:34:43.720
like the concept of an invisible man and weave
01:34:43.720 --> 01:34:46.979
that idea directly into the expression of a film's
01:34:46.979 --> 01:34:50.319
theme. You know, the abuse that Cecilia is suffering
01:34:50.319 --> 01:34:53.140
is really sort of invisible to the outside world.
01:34:54.610 --> 01:34:56.409
Yeah, what about you, dude? What were your thoughts
01:34:56.409 --> 01:34:59.970
on this? As I mentioned earlier, I feel like
01:34:59.970 --> 01:35:03.470
this is such a thematically rich film. There's
01:35:03.470 --> 01:35:06.750
a lot to dig into. As far as our core Parker
01:35:06.750 --> 01:35:09.909
themes, like you, I'm leaning toward Fear of
01:35:09.909 --> 01:35:13.649
the Unknown as the majority for this one. The
01:35:13.649 --> 01:35:16.470
very nature of the Invisible Man, you don't know
01:35:16.470 --> 01:35:19.109
if he's there. He could be anywhere, anytime.
01:35:19.470 --> 01:35:21.069
He could be watching you take a dump and you
01:35:21.069 --> 01:35:23.489
wouldn't have a clue. And that's where the fear
01:35:23.489 --> 01:35:27.579
engine of the film is fueled. a little bit deeper
01:35:27.579 --> 01:35:30.079
i mean let's let's let's look at adrian he's
01:35:30.079 --> 01:35:32.859
he's ridiculously wealthy and powerful and that's
01:35:32.859 --> 01:35:35.199
even before we learn about the invisibility suit
01:35:35.199 --> 01:35:37.840
you know i mean hell one could one could argue
01:35:37.840 --> 01:35:41.359
that he doesn't really even need the suit you
01:35:41.359 --> 01:35:44.079
know i think there's a an underlying statement
01:35:44.079 --> 01:35:47.239
in the film that powerful men like adrian already
01:35:47.239 --> 01:35:50.020
possess invisibility at least socially when it
01:35:50.020 --> 01:35:52.220
comes to their discretions. I mean, look at shit
01:35:52.220 --> 01:35:54.800
today like the Epstein list. I'm not going to
01:35:54.800 --> 01:35:56.819
go down that rabbit hole, but there's a good
01:35:56.819 --> 01:35:59.239
reason that Cecilia never even contemplates going
01:35:59.239 --> 01:36:01.539
to the police to report Adrian's cruelty before
01:36:01.539 --> 01:36:05.829
his death. He's untouchable. And deeper still,
01:36:05.909 --> 01:36:08.750
I think this whole film plays on the methods
01:36:08.750 --> 01:36:12.449
abusers use to gaslight their victims. He makes
01:36:12.449 --> 01:36:15.250
her doubt herself. He undermines her every time
01:36:15.250 --> 01:36:18.250
she strives to do something for herself. He breaks
01:36:18.250 --> 01:36:20.630
down her support network, removes her friends
01:36:20.630 --> 01:36:23.569
and loved ones from the picture until he is all
01:36:23.569 --> 01:36:26.430
she has left. And it's terrifying because there's
01:36:26.430 --> 01:36:29.729
nothing she can do. And the whole invisible thing,
01:36:29.829 --> 01:36:33.189
it's just an analogy for this because. Everything
01:36:33.189 --> 01:36:35.369
he's doing is unseen, you know, no evidence,
01:36:35.510 --> 01:36:39.630
no proof. Cecilia faces an uphill struggle every
01:36:39.630 --> 01:36:42.090
time she tries to convince people of what's happening.
01:36:42.710 --> 01:36:45.710
Even Cecilia's name, you know, she's abbreviated
01:36:45.710 --> 01:36:47.890
throughout the film by those closest to her as
01:36:47.890 --> 01:36:51.649
C, pronounced, you know, C. And she is indeed
01:36:51.649 --> 01:36:54.369
the only one who truly sees Adrian for what he
01:36:54.369 --> 01:36:57.409
is. You know, even Tom is taken in and betrayed
01:36:57.409 --> 01:37:00.539
by him at the end. And another cool little touch
01:37:00.539 --> 01:37:02.739
I thought was, and this is just a little thing,
01:37:02.800 --> 01:37:05.800
but Adrian and Cecilia's career choices. I mean,
01:37:05.819 --> 01:37:08.380
she is an architect. She designs buildings, puts
01:37:08.380 --> 01:37:12.539
up walls, creates safe spaces, whereas he's in
01:37:12.539 --> 01:37:14.640
optics and surveillance. He makes sure he can
01:37:14.640 --> 01:37:17.840
see you at all times, even when you're most vulnerable.
01:37:18.020 --> 01:37:21.560
It's just genius, genius writing, dude. Yeah,
01:37:21.619 --> 01:37:23.479
I totally agree, man. I mean, I love that sort
01:37:23.479 --> 01:37:26.279
of point you make about the occupations, but...
01:37:26.750 --> 01:37:28.489
Yeah, it's just, I mean, it's just wonderful
01:37:28.489 --> 01:37:31.670
use of kind of analogy or metaphor from, you
01:37:31.670 --> 01:37:33.649
know, Whannell in the writing here. And he's
01:37:33.649 --> 01:37:36.409
really sort of elevated the concept, I think,
01:37:36.409 --> 01:37:39.430
of The Invisible Man to really sort of strike
01:37:39.430 --> 01:37:42.689
at the core theme of the film. I think it's fantastic,
01:37:43.029 --> 01:37:46.810
fantastic writing. Okay, dude. So what, if anything,
01:37:46.930 --> 01:37:49.550
did you think you've learned from the script
01:37:49.550 --> 01:37:52.750
here? A few things for sure. I mean, firstly,
01:37:53.189 --> 01:37:55.630
I... I absolutely love Ronell's use of setups
01:37:55.630 --> 01:37:58.609
and payoffs. Nothing is random in this film.
01:37:58.869 --> 01:38:01.909
You know, everything is there for a purpose.
01:38:02.189 --> 01:38:05.390
I mean, we'll look at a few examples. When Adrian
01:38:05.390 --> 01:38:08.770
sets the kitchen on fire, Sydney uses a fire
01:38:08.770 --> 01:38:12.390
extinguisher to snuff the flames. It's the same
01:38:12.390 --> 01:38:14.569
one that Cecilia will later use to reveal Tom.
01:38:15.470 --> 01:38:18.130
When Cecilia freaks out one night, Sidney's first
01:38:18.130 --> 01:38:20.409
instinct is to reach for a pepper spray, which
01:38:20.409 --> 01:38:23.489
she uses again to reveal Tom later in the film.
01:38:24.250 --> 01:38:26.710
The knife that vanishes from the counter and
01:38:26.710 --> 01:38:29.770
is found by Cecilia bagged up in the attic is
01:38:29.770 --> 01:38:32.689
used to murder her sister as it has her fingerprints
01:38:32.689 --> 01:38:35.779
on it. And we asked why Adrian didn't murder
01:38:35.779 --> 01:38:37.880
that last guard in the parking lot, you know,
01:38:37.880 --> 01:38:39.960
because too many people have seen him in his
01:38:39.960 --> 01:38:42.920
suit by now. So he knows the only recourse here
01:38:42.920 --> 01:38:45.840
is to frame Tom. Therefore, the more witnesses,
01:38:46.000 --> 01:38:47.960
the better. And it's just plant payoff, plant
01:38:47.960 --> 01:38:51.340
payoff. It's a masterclass in how to do it. And
01:38:51.340 --> 01:38:52.699
if it's something you're struggling with in your
01:38:52.699 --> 01:38:55.260
writing, I honestly can't think of a better script
01:38:55.260 --> 01:38:57.600
to read than this one, just to kind of set you
01:38:57.600 --> 01:39:00.960
on the right track. And secondly, as I mentioned
01:39:00.960 --> 01:39:03.979
already, Ronell is a master at creating short
01:39:03.979 --> 01:39:08.260
but visually captivating action lines. He does
01:39:08.260 --> 01:39:11.260
this by enacting a strong word choice and throwing
01:39:11.260 --> 01:39:15.060
up visual examples to put the reader in the correct
01:39:15.060 --> 01:39:16.880
headspace. And that's something that I've definitely
01:39:16.880 --> 01:39:19.359
taken on board and intend to use on the future.
01:39:19.720 --> 01:39:22.399
But how about you, man? What was your takeaways
01:39:22.399 --> 01:39:25.470
from this? Yeah, so I mean, to be honest, it's
01:39:25.470 --> 01:39:29.449
kind of more of the same for me. I mean, I actually
01:39:29.449 --> 01:39:31.630
pulled out a few passages from the script just
01:39:31.630 --> 01:39:34.470
to, you know, really highlight how wonderfully
01:39:34.470 --> 01:39:37.409
kind of evocative Whannell's writing is. And
01:39:37.409 --> 01:39:40.109
we've covered some of this already in the episode,
01:39:40.149 --> 01:39:42.409
but I've picked out a few examples different
01:39:42.409 --> 01:39:45.930
to those already mentioned. I love the line at
01:39:45.930 --> 01:39:48.210
the end of this passage where Whannell uses a
01:39:48.210 --> 01:39:52.659
wonderful simile. So check this out. In the script
01:39:52.659 --> 01:39:56.220
it goes like this. He holds up an account form
01:39:56.220 --> 01:39:59.960
and a gold fountain pen. Tom continued. As soon
01:39:59.960 --> 01:40:02.000
as I have your signature and your banking information
01:40:02.000 --> 01:40:05.659
I can start releasing the funds. The form wavers
01:40:05.659 --> 01:40:07.800
in the air like a formal invitation to another
01:40:07.800 --> 01:40:11.359
life. And I just love this line. I thought it
01:40:11.359 --> 01:40:15.640
was really, really evocative. And this this continues
01:40:15.640 --> 01:40:17.500
throughout the script. So here's another sort
01:40:17.500 --> 01:40:19.859
of example, which I think is another really powerful
01:40:19.859 --> 01:40:23.500
and evocative line. And it goes like this interior
01:40:23.500 --> 01:40:27.539
master bedroom, modernist house day. Cecilia
01:40:27.539 --> 01:40:30.840
sucks in a gasp. This room is the white hot center
01:40:30.840 --> 01:40:33.920
of her trauma. I just thought that was a wonderful
01:40:33.920 --> 01:40:36.560
line as well. I mean, it is kind of just throwaway,
01:40:36.680 --> 01:40:40.319
but, you know, it's fantastic. And this final
01:40:40.319 --> 01:40:45.079
one just just captures as guards change in psychology
01:40:45.079 --> 01:40:48.920
so masterfully and succinctly. It's just pure
01:40:48.920 --> 01:40:52.000
joy to read, I think. So this is how this appears
01:40:52.000 --> 01:40:55.149
in the script. And then the guard turns, taking
01:40:55.149 --> 01:40:57.729
in the surreal sight of an arm floating in the
01:40:57.729 --> 01:41:01.170
air, detached from a body, spitting static like
01:41:01.170 --> 01:41:04.029
a faulty TV set. The guard blinks away and he
01:41:04.029 --> 01:41:06.750
bluster in an instant, turning from bullish guard
01:41:06.750 --> 01:41:10.500
to child having a nightmare in one second. So,
01:41:10.520 --> 01:41:12.340
I mean, all of these examples, it's just really
01:41:12.340 --> 01:41:16.119
to say that when Elle writes in a way that seems
01:41:16.119 --> 01:41:19.100
to transcend kind of regular screenwriting and
01:41:19.100 --> 01:41:21.800
it becomes just wonderfully kind of evocative
01:41:21.800 --> 01:41:26.420
prose, which I imagine is just such a godsend
01:41:26.420 --> 01:41:28.300
for actors and, you know, heads of department
01:41:28.300 --> 01:41:31.439
to latch onto and use as kind of inspiration,
01:41:31.439 --> 01:41:33.779
you know, when the film actually goes in production.
01:41:34.730 --> 01:41:36.770
And it's certainly something I think I want to
01:41:36.770 --> 01:41:38.970
do a little bit more in my writing, you know,
01:41:38.970 --> 01:41:42.689
sort of use passages like this that are so kind
01:41:42.689 --> 01:41:47.069
of powerful and evocative, but very simple, you
01:41:47.069 --> 01:41:49.750
know. And the last thing I wanted to chat about
01:41:49.750 --> 01:41:51.850
is something I noticed from the script. And,
01:41:51.869 --> 01:41:53.989
you know, something I've been thinking about
01:41:53.989 --> 01:41:57.520
for a while, and that is using. kind of pre -planning
01:41:57.520 --> 01:42:00.619
how the tools of cinema can be used in your screenplay.
01:42:01.439 --> 01:42:06.550
So this, you know, leads to a transition. You
01:42:06.550 --> 01:42:08.630
know, it feels so simple when you read it. But
01:42:08.630 --> 01:42:11.010
from this, we can tell that Winnell is really
01:42:11.010 --> 01:42:13.829
kind of thinking about the cinematic toolkit
01:42:13.829 --> 01:42:16.409
and how that can be used to create effective
01:42:16.409 --> 01:42:19.949
windows into a character's psychology. And Winnell
01:42:19.949 --> 01:42:23.909
does reference shots in the script a little bit.
01:42:24.329 --> 01:42:28.229
And we saw that when Cecilia faints and the shot
01:42:28.229 --> 01:42:31.289
which follows her down is described. But in this
01:42:31.289 --> 01:42:33.829
next passage, he's thinking about how sort of
01:42:33.829 --> 01:42:37.060
diegetic sound can be used. also so so check
01:42:37.060 --> 01:42:40.159
this out nurse the sample showed us that it was
01:42:40.159 --> 01:42:42.680
pretty recent we can't be sure of exactly when
01:42:42.680 --> 01:42:45.239
but it must have been in the last month the shock
01:42:45.239 --> 01:42:47.880
of this has spanked her out of her narcotic stupor
01:42:47.880 --> 01:42:51.300
the nurse keeps talking but her voice dims to
01:42:51.300 --> 01:42:54.979
nothing and the dims to nothing is underlined
01:42:54.979 --> 01:42:57.300
and it's also capitalized so it's really sort
01:42:57.300 --> 01:43:00.390
of giving the well obviously when else the director
01:43:00.390 --> 01:43:02.409
but it's giving the heads of the department as
01:43:02.409 --> 01:43:04.909
well something to sort of latch onto to say that
01:43:04.909 --> 01:43:06.689
this is really important and this is something
01:43:06.689 --> 01:43:09.250
that's going to appear in the film This is something
01:43:09.250 --> 01:43:11.329
I think it's really worth thinking about when
01:43:11.329 --> 01:43:13.329
writing your screenplays, because it does show
01:43:13.329 --> 01:43:15.890
a level of understanding, a level of sort of
01:43:15.890 --> 01:43:18.189
cinematic understanding. But I also think it
01:43:18.189 --> 01:43:20.510
shows a level of planning with regards to engaging
01:43:20.510 --> 01:43:24.289
and informing your audience. And I think that
01:43:24.289 --> 01:43:26.789
just makes scripts kind of stand out in a way,
01:43:26.850 --> 01:43:29.510
you know, just that understanding of cinematic
01:43:29.510 --> 01:43:34.050
language, the tools of cinema and thinking how.
01:43:35.039 --> 01:43:38.800
you can transition through scenes as well. So,
01:43:38.920 --> 01:43:40.560
yeah, I just thought it was really, really great.
01:43:40.680 --> 01:43:42.220
And it's certainly stuff that I'm going to be
01:43:42.220 --> 01:43:44.600
I'm going to be sort of taking forward and feel
01:43:44.600 --> 01:43:47.060
a bit more confident about using in the future.
01:43:48.520 --> 01:43:51.300
OK, so how about dialogue, Lee? Were there any
01:43:51.300 --> 01:43:56.859
favorite lines or standouts for you? There's
01:43:56.859 --> 01:43:59.899
quite a few, actually. One of my favorite exchanges
01:43:59.899 --> 01:44:03.279
was just the dismissive banter between Emily
01:44:03.279 --> 01:44:05.680
and the waiter at the restaurant just before
01:44:05.680 --> 01:44:08.619
her unfortunate demise. It's nothing massive.
01:44:08.680 --> 01:44:12.079
It's not like a huge moment. But we never really
01:44:12.079 --> 01:44:14.340
had much chance to connect with Emily besides
01:44:14.340 --> 01:44:17.279
her similarly strong showing against Tom in his
01:44:17.279 --> 01:44:19.539
office. And here's just a wee snippet of it.
01:44:20.619 --> 01:44:23.199
A grinning young man with arm tattoos and a denim
01:44:23.199 --> 01:44:25.699
apron breaks the battle of wills, setting menus
01:44:25.699 --> 01:44:28.640
down. Waiter. Hey guys, I'm Taylor. I'll be looking
01:44:28.640 --> 01:44:30.539
after you tonight. Have you dined with us before?
01:44:30.659 --> 01:44:32.399
Do you need me to explain how this place works?
01:44:32.800 --> 01:44:35.220
Emily. I'm assuming you order food and then you
01:44:35.220 --> 01:44:39.039
eat it? Taylor. Well, yeah, pretty much. There's
01:44:39.039 --> 01:44:42.380
just a couple of things that we do. It's all
01:44:42.380 --> 01:44:44.880
family style. So, Emily, we've eaten here before.
01:44:44.939 --> 01:44:48.189
It's all good. Taylor. Okay. So you're good to
01:44:48.189 --> 01:44:51.090
go then. Would you like any water to start still
01:44:51.090 --> 01:44:54.729
or sparkling? Emily, the free kind. Taylor, tap
01:44:54.729 --> 01:44:58.310
it is. It's just a cool little character moment,
01:44:58.409 --> 01:45:00.170
I think, and just highlights the differences
01:45:00.170 --> 01:45:03.229
between the two sisters. How about you, dude?
01:45:03.289 --> 01:45:06.069
Any bangers in there worth mentioning? Well,
01:45:06.170 --> 01:45:07.970
first of all, I mean, I just have to say I love
01:45:07.970 --> 01:45:12.279
Emily. She's got such kind of a chutzpah and,
01:45:12.300 --> 01:45:15.819
you know, she's great a character, I think. She
01:45:15.819 --> 01:45:17.979
just takes no shit from anyone. She's that kind
01:45:17.979 --> 01:45:21.659
of girl, right? I love the exchange between Sydney
01:45:21.659 --> 01:45:25.159
and Cecilia where they discuss James's date.
01:45:25.859 --> 01:45:28.619
And we sort of covered this earlier in the episode,
01:45:28.680 --> 01:45:31.699
but, you know, the dialogue just really crackles.
01:45:32.380 --> 01:45:34.579
And just to sort of tell you again, I mean, that
01:45:34.579 --> 01:45:38.149
goes like this. Sydney. So did you get a good
01:45:38.149 --> 01:45:41.789
look at Dad's Tinder skank? Cecilia. Dad's Tinder
01:45:41.789 --> 01:45:45.010
skank? I'm confused. Is that a new band you like?
01:45:45.250 --> 01:45:47.550
Because I know a smart, awesome, modern young
01:45:47.550 --> 01:45:49.510
woman like you would never slut -shame another
01:45:49.510 --> 01:45:52.569
woman with a term like that. Sydney. Was she
01:45:52.569 --> 01:45:56.010
nasty? Cecilia. Your dad would be the expert
01:45:56.010 --> 01:45:59.149
on this seemingly very nice person. Sydney. Ah,
01:45:59.470 --> 01:46:03.250
I see. I'm picking up the code here. I'll tell
01:46:03.250 --> 01:46:06.069
him you didn't approve of her nasty ass. Cecilia.
01:46:06.520 --> 01:46:09.340
please don't yeah so i mean that that was actually
01:46:09.340 --> 01:46:11.399
cut from the film wasn't it lee but and we covered
01:46:11.399 --> 01:46:13.079
it earlier but i just thought it was such a wonderful
01:46:13.079 --> 01:46:15.239
passage of dialogue and just says so much about
01:46:15.239 --> 01:46:18.279
the characters and and who they are and we talked
01:46:18.279 --> 01:46:19.659
a little bit about this in the mist right and
01:46:19.659 --> 01:46:22.380
how they sort of speak really defines who the
01:46:22.380 --> 01:46:24.000
characters are they have an individual voice
01:46:24.000 --> 01:46:27.600
um and then also i thought there were two two
01:46:27.600 --> 01:46:29.880
more lines that i picked out one's from james
01:46:29.880 --> 01:46:32.079
and one from tom and they both kind of get at
01:46:32.079 --> 01:46:34.560
the same idea But I just thought they were so
01:46:34.560 --> 01:46:37.899
wonderfully handled. And these statements seem
01:46:37.899 --> 01:46:41.619
reasonable and it's good advice in a way. But
01:46:41.619 --> 01:46:45.100
it also, you know, sort of subtextually gets
01:46:45.100 --> 01:46:47.560
at this idea that Cecilia is not believed and
01:46:47.560 --> 01:46:50.659
is perceived to be imagining things as a result
01:46:50.659 --> 01:46:52.579
of her sort of trauma and everything she's been
01:46:52.579 --> 01:46:55.520
through. So she's kind of dismissed while ostensibly
01:46:55.520 --> 01:47:00.100
being supported. this line is from James it's
01:47:00.100 --> 01:47:03.560
quite supportive but it goes as follows James
01:47:03.560 --> 01:47:06.939
listen see Adrian will haunt you if you let him
01:47:06.939 --> 01:47:11.479
don't let him and this one is from Tom it sort
01:47:11.479 --> 01:47:13.659
of feels the same but obviously turns out to
01:47:13.659 --> 01:47:17.340
be manipulative so it goes like this in the script
01:47:17.340 --> 01:47:21.159
Tom continued he's gone Cecilia I saw his body
01:47:21.159 --> 01:47:23.800
don't let him win by bringing him back to life
01:47:24.350 --> 01:47:27.210
So I just thought these are two great examples
01:47:27.210 --> 01:47:29.550
of how you can do two things with dialogue at
01:47:29.550 --> 01:47:32.010
the same time. You know, there are sort of character
01:47:32.010 --> 01:47:35.189
beats here, but they also hit heavily at subtext.
01:47:35.310 --> 01:47:37.930
And when L is, you know, just from reading this
01:47:37.930 --> 01:47:39.829
and his other screenplays, he is just really
01:47:39.829 --> 01:47:42.189
a master at this. And I thought they were both
01:47:42.189 --> 01:47:44.649
handled so well by the actors in the film as
01:47:44.649 --> 01:47:47.189
well. OK, so I think we're almost about done
01:47:47.189 --> 01:47:51.029
here, dude. But before we wrap up and talk about
01:47:51.029 --> 01:47:54.119
our next episode, what would you rate this? script
01:47:54.119 --> 01:47:57.619
and the film as here lee okay so i'm going to
01:47:57.619 --> 01:48:00.619
give the script an eight and but i think the
01:48:00.619 --> 01:48:02.579
film just pips it and i'm going to give it a
01:48:02.579 --> 01:48:05.300
nine and i think that's all down to elizabeth
01:48:05.300 --> 01:48:07.779
moss i think she just elevates it to another
01:48:07.779 --> 01:48:11.520
level how about you yeah funny i actually gave
01:48:11.520 --> 01:48:15.479
the script a nine and the film an eight um but
01:48:15.479 --> 01:48:18.420
i mean i totally agree that moss is absolutely
01:48:18.420 --> 01:48:20.579
sensational in this film and it's yeah it's a
01:48:20.579 --> 01:48:22.699
huge part of why this film is so good i think
01:48:23.970 --> 01:48:27.529
Awesome. So let's top that up. That is a super
01:48:27.529 --> 01:48:30.789
impressive 17 out of 20 for both the script and
01:48:30.789 --> 01:48:32.930
the film. It's interesting that you slightly
01:48:32.930 --> 01:48:34.890
prefer the script and I thought the film just
01:48:34.890 --> 01:48:37.829
kind of eked it out. That was cool. But we are
01:48:37.829 --> 01:48:40.869
basically on the same page. Well, we can agree
01:48:40.869 --> 01:48:42.810
that both the script and the film are really
01:48:42.810 --> 01:48:46.430
great and just worth absorbing. you know in their
01:48:46.430 --> 01:48:50.130
entirety um i had an interesting thing lee just
01:48:50.130 --> 01:48:52.270
to bring up right at the end i was thinking about
01:48:52.270 --> 01:48:54.210
this you know and i sort of i like to think about
01:48:54.210 --> 01:48:56.210
these things and certainly after we spoke to
01:48:56.210 --> 01:48:58.949
phil parker on the uh on our episode about the
01:48:58.949 --> 01:49:02.670
genre um you know i was just thinking i wonder
01:49:02.670 --> 01:49:05.489
if this is like could this be interpreted as
01:49:05.489 --> 01:49:09.909
like a thriller rather than a horror um or could
01:49:09.909 --> 01:49:12.050
it even be interpreted as a sort of personal
01:49:12.050 --> 01:49:14.800
drama you know if you're thinking you know, Moss's
01:49:14.800 --> 01:49:17.060
character in this, if you're looking at it as
01:49:17.060 --> 01:49:21.100
a sort of a thriller, there's definitely, you
01:49:21.100 --> 01:49:23.779
could say, like a desire for order running through
01:49:23.779 --> 01:49:26.399
this film. You know, she's psychologically fractured.
01:49:26.720 --> 01:49:29.140
She's looking for stability. She's looking to
01:49:29.140 --> 01:49:31.640
escape, you know, this psychological manipulation.
01:49:32.279 --> 01:49:34.760
And in that way, I think she's really sort of
01:49:34.760 --> 01:49:37.619
clamoring for some sort of order in her life.
01:49:37.859 --> 01:49:40.819
Yeah. You know, if you look at this film through
01:49:40.819 --> 01:49:43.039
the lens of maybe something like a personal drama,
01:49:43.159 --> 01:49:46.039
you know, it's very much or an inner drama, maybe.
01:49:46.640 --> 01:49:51.680
It's very much sort of focused on Cecilia's mindset.
01:49:51.939 --> 01:49:54.800
And and you could say that there's sort of a
01:49:54.800 --> 01:49:57.399
desire for validation running through this film.
01:49:57.500 --> 01:50:01.060
Yeah. She's very sort of a lot of people are
01:50:01.060 --> 01:50:03.760
doubting what she's sort of saying and what she's
01:50:03.760 --> 01:50:06.810
thinking about what's going on. You know, I think
01:50:06.810 --> 01:50:09.649
she's really struggling to sort of get people
01:50:09.649 --> 01:50:13.750
to believe her. And I think, you know, there's
01:50:13.750 --> 01:50:16.609
sort of things about the film which are obviously
01:50:16.609 --> 01:50:21.329
sort of in a horror space. Yeah. But like thrillers,
01:50:21.329 --> 01:50:23.909
I mean, the antagonist is sort of initially stronger
01:50:23.909 --> 01:50:28.029
than the protagonist. And I was wondering about
01:50:28.029 --> 01:50:31.210
this sort of this idea of the supernatural being
01:50:31.210 --> 01:50:33.569
an element and whether you think I just get your
01:50:33.569 --> 01:50:34.989
take on this quickly, like whether you think
01:50:34.989 --> 01:50:40.289
Adrian being in that suit counts as that supernatural
01:50:40.289 --> 01:50:43.329
element that you need, you know, within the horror
01:50:43.329 --> 01:50:47.130
space. I think so. Absolutely. Yeah, I think
01:50:47.130 --> 01:50:50.609
it absolutely, absolutely counts as a supernatural
01:50:50.609 --> 01:50:52.909
thing because, you know, what was it? Phil said
01:50:52.909 --> 01:50:56.289
it was. super and natural right super and natural
01:50:56.289 --> 01:51:00.289
yeah so it's and whether it's by the use of science
01:51:00.289 --> 01:51:03.810
or magic yeah you know science science is essentially
01:51:03.810 --> 01:51:07.350
magic you know it comes down to you could um
01:51:07.350 --> 01:51:09.770
you've got scientists everywhere their toes are
01:51:09.770 --> 01:51:13.149
curling at that state well that's science is
01:51:13.149 --> 01:51:16.789
it is essentially magic because like if you showed
01:51:16.789 --> 01:51:20.420
today's science to someone 50 years ago you know
01:51:20.420 --> 01:51:22.939
if you showed like i don't know the the internet
01:51:22.939 --> 01:51:25.920
and email and like yeah things like that people
01:51:25.920 --> 01:51:28.619
that they would think it was you know it's magic
01:51:28.619 --> 01:51:30.840
and the further you the further back in time
01:51:30.840 --> 01:51:33.939
you take science or like if you find someone
01:51:33.939 --> 01:51:36.960
i know like one of these uncontacted tribes in
01:51:36.960 --> 01:51:39.460
the middle of the jungle if we just like waltzed
01:51:39.460 --> 01:51:41.380
in there and like showed them a movie on a phone
01:51:41.380 --> 01:51:44.699
you know they would they would think it was magic
01:51:44.699 --> 01:51:49.760
because you know And my point being that in a
01:51:49.760 --> 01:51:52.359
lot of ways, science and magic are kind of interchangeable,
01:51:52.399 --> 01:51:55.880
I think, in films. We could have had, obviously
01:51:55.880 --> 01:51:57.819
we didn't, and it would have made for a lesser
01:51:57.819 --> 01:52:00.539
film, but we could have had Adrian find some
01:52:00.539 --> 01:52:03.720
mystic relic in an archaeological dig that made
01:52:03.720 --> 01:52:07.140
him invisible. The basic gist of the plot would
01:52:07.140 --> 01:52:11.560
largely be the same, but that supernatural element
01:52:11.560 --> 01:52:15.520
would then be supernatural because it comes from...
01:52:15.739 --> 01:52:18.479
from magic. My point being that if it, whether
01:52:18.479 --> 01:52:20.220
it comes from magic or it comes from science,
01:52:20.439 --> 01:52:23.000
the outcome is still the same. So it's still
01:52:23.000 --> 01:52:27.060
kind of, to me, it's still a supernatural force.
01:52:27.979 --> 01:52:30.060
Yeah. Yeah. It's still a supernatural force.
01:52:30.060 --> 01:52:32.520
You know, it's something that's beyond, you know,
01:52:32.520 --> 01:52:34.420
the, the, you know, it's beyond everyone else,
01:52:34.439 --> 01:52:37.439
but you know, this one guy. Yeah. And I think,
01:52:37.439 --> 01:52:39.380
I think as well, you make a good point that I
01:52:39.380 --> 01:52:42.800
think a lot of films, if we, And if we wanted
01:52:42.800 --> 01:52:45.000
to class this as a personal drama or a thriller,
01:52:45.039 --> 01:52:47.300
we absolutely could. And I think that's the case
01:52:47.300 --> 01:52:49.739
for a lot of horror films. You know, you could
01:52:49.739 --> 01:52:53.819
essentially class it as something else. A lot
01:52:53.819 --> 01:52:57.180
of films are placed into the horror umbrella,
01:52:57.439 --> 01:53:01.680
whether rightfully or wrongfully. But I don't
01:53:01.680 --> 01:53:03.720
think that's a bad thing. So I've spoken earlier
01:53:03.720 --> 01:53:06.829
today about how. awesome i think horror fan base
01:53:06.829 --> 01:53:10.329
is and i think if they uh accept something into
01:53:10.329 --> 01:53:14.350
the the horror fold then you know that's a great
01:53:14.350 --> 01:53:16.130
thing because you've you've immediately got like
01:53:16.130 --> 01:53:19.449
a very passionate and a very sort of like a loyal
01:53:19.449 --> 01:53:22.829
very involved and loyal fan base yeah yeah but
01:53:22.829 --> 01:53:26.590
i think a lot of horror films if you wanted to
01:53:26.590 --> 01:53:29.649
class them as something other than horror and
01:53:29.649 --> 01:53:32.970
you could use the the parker themes to make an
01:53:32.970 --> 01:53:35.750
argument that it is in fact something something
01:53:35.750 --> 01:53:38.890
very different you know usually thrillers you
01:53:38.890 --> 01:53:41.289
know i think thriller and horror is a very sort
01:53:41.289 --> 01:53:45.010
of interchangeable very easily you know like
01:53:45.010 --> 01:53:47.789
it's seven a thriller seven a horror yeah you
01:53:47.789 --> 01:53:52.140
know yeah something like that yeah Well, I mean,
01:53:52.159 --> 01:53:54.420
the thing is, it's interesting, isn't it? Because
01:53:54.420 --> 01:53:57.500
there's the real sort of distinction in my understanding
01:53:57.500 --> 01:53:59.720
is that they, you know, between horror and thriller
01:53:59.720 --> 01:54:01.920
is that there is this presence of a supernatural
01:54:01.920 --> 01:54:06.420
force as opposed to a sort of more grounded sort
01:54:06.420 --> 01:54:09.819
of antagonistic force. And, you know, just when
01:54:09.819 --> 01:54:11.699
I was sort of noodling over this film, reading
01:54:11.699 --> 01:54:14.899
the script and whatnot, I was thinking that the,
01:54:15.039 --> 01:54:19.380
you know, the antagonists kind of main. kind
01:54:19.380 --> 01:54:23.180
of force here i guess is something that is grounded
01:54:23.180 --> 01:54:26.880
in science as opposed to being something that
01:54:26.880 --> 01:54:30.619
is more supernatural you know it's or something
01:54:30.619 --> 01:54:35.579
that is ghostly or interdimensional or you know
01:54:35.579 --> 01:54:39.260
natural which has gone i think you're kind of
01:54:39.260 --> 01:54:42.359
getting caught up on the on the ghostly side
01:54:42.359 --> 01:54:43.960
of supernatural i mean like it's when we had
01:54:43.960 --> 01:54:45.560
this argument for the terminator do you remember
01:54:45.560 --> 01:54:48.979
like um To me, the Terminator is a supernatural
01:54:48.979 --> 01:54:53.899
force because it is more than its natural equivalent.
01:54:54.500 --> 01:54:57.140
And to me, that's what makes the Terminator a
01:54:57.140 --> 01:54:59.420
horror film rather than a thriller. But you could
01:54:59.420 --> 01:55:01.640
argue that it is a sci -fi movie. You could argue
01:55:01.640 --> 01:55:05.279
that it is a thriller. We could argue this all
01:55:05.279 --> 01:55:08.279
day and we would both have very valid and very
01:55:08.279 --> 01:55:11.420
worthy points. We could convince people of our
01:55:11.420 --> 01:55:15.039
opinions, I think. Yeah, exactly. I think it's...
01:55:15.310 --> 01:55:17.369
You can argue about it till the cows come home,
01:55:17.430 --> 01:55:20.329
but. Yeah. It's interesting to play with though,
01:55:20.390 --> 01:55:22.470
isn't it? I mean. Oh, absolutely. Yeah, absolutely.
01:55:23.010 --> 01:55:24.689
Yeah. We were obviously talking to Phil about,
01:55:24.750 --> 01:55:27.590
you know, various films. Frankenstein, I think
01:55:27.590 --> 01:55:29.569
was the one that he mentioned, which has sort
01:55:29.569 --> 01:55:32.130
of elements of the horror genre in there and
01:55:32.130 --> 01:55:35.529
it's using horror tropes, but it's not actually
01:55:35.529 --> 01:55:38.949
a horror film. Yeah. The central story is something
01:55:38.949 --> 01:55:41.550
that's not necessarily, it's more of a sort of
01:55:41.550 --> 01:55:45.310
personal drama. Yeah. Whereas, you know, something
01:55:45.310 --> 01:55:49.869
like this, I think you can almost make that same
01:55:49.869 --> 01:55:52.270
argument, you know, in a way that it's using
01:55:52.270 --> 01:55:58.250
the tropes of horror, but it's really more about
01:55:58.250 --> 01:56:03.149
a sort of inner drama of Cecilia and her sort
01:56:03.149 --> 01:56:07.170
of desire for obviously sort of structure and
01:56:07.170 --> 01:56:10.300
order, but, you know, validation as well. Don't
01:56:10.300 --> 01:56:11.760
want to go too far down this rabbit hole, but
01:56:11.760 --> 01:56:14.220
I just thought it was, we may have already done
01:56:14.220 --> 01:56:15.920
that. No, absolutely, man, absolutely. But I
01:56:15.920 --> 01:56:17.300
don't think it's, I think it's interesting just
01:56:17.300 --> 01:56:19.460
to play with these things and sort of to think
01:56:19.460 --> 01:56:22.699
about genre. Yeah, go and get Phil's book and
01:56:22.699 --> 01:56:24.159
have a read of that because it will sort of go
01:56:24.159 --> 01:56:26.140
deeper into all of this. You can sort of get
01:56:26.140 --> 01:56:28.479
a greater understanding of what we're gibbering
01:56:28.479 --> 01:56:30.840
on about. Anyway, let's leave that there for
01:56:30.840 --> 01:56:34.000
now. So next time, Lee, what are we having a
01:56:34.000 --> 01:56:37.060
look at next time? Okay, so next time we're hitting
01:56:37.060 --> 01:56:39.739
up something really sort of like up to date.
01:56:40.060 --> 01:56:42.779
we're going to be taking a deep dive into curry
01:56:42.779 --> 01:56:47.739
barker's current smash obsession oh nice dude
01:56:47.739 --> 01:56:50.800
so this is a fairly recent one for us isn't it
01:56:50.800 --> 01:56:53.939
yeah this uh well at the time of this episode
01:56:53.939 --> 01:56:56.300
coming out it was still doing strong in the pictures
01:56:56.300 --> 01:56:59.619
um i've seen this one already it's a it's really
01:56:59.619 --> 01:57:04.189
good yeah um there's a lot of like room for interpretation
01:57:04.189 --> 01:57:06.630
in here so i haven't read the script yet but
01:57:06.630 --> 01:57:09.069
um i am looking forward to getting my teeth into
01:57:09.069 --> 01:57:12.069
it and really kind of just taking it apart but
01:57:12.069 --> 01:57:14.649
it's definitely unlike some horror films that
01:57:14.649 --> 01:57:18.770
i've kind of you know people may uh people may
01:57:18.770 --> 01:57:20.569
sort of like not agree with me on this one but
01:57:20.569 --> 01:57:22.729
i found like for example the last sort of two
01:57:22.729 --> 01:57:26.909
big Horror hype trains, weapons and long legs.
01:57:27.010 --> 01:57:29.590
I thought they were good films, but I didn't
01:57:29.590 --> 01:57:31.550
feel they were worthy of the hype. This one,
01:57:31.550 --> 01:57:34.890
this one I did. This one I thought was very much
01:57:34.890 --> 01:57:37.810
worthy of the hype. It's funny and it's like
01:57:37.810 --> 01:57:42.850
horrific in in equal measures. And it's quite
01:57:42.850 --> 01:57:46.170
a quite impressive feat to be able to do that.
01:57:46.250 --> 01:57:50.569
And it's very, very it's very dark. It's very
01:57:50.569 --> 01:57:52.470
dark. And I think you'll really get a kick out
01:57:52.470 --> 01:57:55.989
of this one. Nice. Good. Well, I'm looking forward
01:57:55.989 --> 01:57:58.090
to that, Lee. I mean, he's certainly an exciting
01:57:58.090 --> 01:58:00.670
kind of up and coming filmmaker and certainly
01:58:00.670 --> 01:58:03.670
has the wind in his sails right now. So that'll
01:58:03.670 --> 01:58:05.590
be really interesting to have a look at. Kind
01:58:05.590 --> 01:58:08.609
of kind of keen to have a look at that one. OK,
01:58:08.729 --> 01:58:12.829
so if you enjoyed the podcast, please do follow
01:58:12.829 --> 01:58:16.690
us. Like the episodes if you're feeling. especially
01:58:16.690 --> 01:58:19.569
generous uh leave us a review on your podcatcher
01:58:19.569 --> 01:58:21.510
of choice it really does help us find new people
01:58:21.510 --> 01:58:23.810
uh check out our socials we're on facebook and
01:58:23.810 --> 01:58:25.789
blue sky we can be reached there we also publish
01:58:25.789 --> 01:58:29.270
to youtube so you can listen to us there um feel
01:58:29.270 --> 01:58:32.010
free to drop us a line with any thoughts you
01:58:32.010 --> 01:58:37.029
can do that on our website that is www .scripttoscreampodcast
01:58:37.029 --> 01:58:40.430
.com we always love hearing from you guys and
01:58:40.430 --> 01:58:42.770
as i said we have a lot of content there as well
01:58:42.770 --> 01:58:47.159
to support the episode so scripts samples, scarology
01:58:47.159 --> 01:58:49.899
graphs, all sorts of goodness going on there.
01:58:50.140 --> 01:58:52.779
We are also, as we mentioned, offering script
01:58:52.779 --> 01:58:55.739
reading services. Me and Lee will take a look
01:58:55.739 --> 01:58:57.739
at your scripts, give you tailored feedback on
01:58:57.739 --> 01:59:00.420
your work. And we're also creating pitch decks
01:59:00.420 --> 01:59:03.359
for projects now as well. We will collaborate
01:59:03.359 --> 01:59:06.159
with you to create a stunning pitch deck for
01:59:06.159 --> 01:59:08.140
your project, which you can obviously take out
01:59:08.140 --> 01:59:11.710
into the world and get. Pitching. Let me also
01:59:11.710 --> 01:59:14.590
stress here, we do not rely on generative AI
01:59:14.590 --> 01:59:17.850
in the creation of our pitch decks. We very much
01:59:17.850 --> 01:59:20.770
don't agree with that sort of thing for our pitch
01:59:20.770 --> 01:59:23.229
decks, do we, Lee? AI pitch decks all look the
01:59:23.229 --> 01:59:27.149
same. That was very much drilled into us during
01:59:27.149 --> 01:59:31.149
our education. Very much drilled in, wasn't it?
01:59:31.210 --> 01:59:35.800
No AI pitch decks. If you're me, it's no AI in
01:59:35.800 --> 01:59:38.100
general, Lee. Yeah. So if that's of interest
01:59:38.100 --> 01:59:40.920
to you, obviously go to the website, navigate
01:59:40.920 --> 01:59:43.600
to the script reading page, and you can get all
01:59:43.600 --> 01:59:47.199
of the information there. But until next time,
01:59:47.239 --> 01:59:50.479
Lee, do take care. Watch those corners, listen
01:59:50.479 --> 01:59:52.479
carefully, and keep writing those scares.