Malignant (2021) - Why Akela Cooper's writing style is so accessible and the techniques other writers can use

WEBVTT
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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 am Will. And I am
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Lee. Excellent stuff. So for those of you that
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may be new to the show, please go check out our
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website. That's script to screen podcast dot
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com, where you can find a lot more insight into
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the scripts and the films that we cover. We've
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added scarology graphs to illustrate the scares
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in each of the films and some annotated script
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excerpts to highlight some of the ideas and concepts
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we cover when dissecting the screenplays. So
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if we want to go deeper. On the scripts we cover,
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there's a lot more over at scripttoscreampodcast
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.com. Also, if you like what we're doing here
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on Script to Scream, please rate and review the
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episodes. It really helps us reach new people.
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So that would be awesome too. But more importantly,
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Lee, we're back together, old bean. How are you?
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And what have you been watching, sir? Yeah, not
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bad, mate, not bad. It's started to cool down
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a bit now, so I'm no longer melting in the heatwave
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quite as much. I watched a really fun little
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zombie flick called Little Monsters the other
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day, which starred the always excellent Lupita
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Nyong 'o. Hopefully I'm saying that right. And
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it was about this... Kindergarten teacher who
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took the little kids out on a day trip to a farm
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only for the said farm to become the center of
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a zombie outbreak. So most of the film is just
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her trying to protect the kids, like both physically
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and emotionally from the horrors around them.
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They're like singing songs, playing tag, like
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doing congos, trying to get through all the freaking
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zombie hordes. I'd be doing a congo in a zombie
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apocalypse situation, definitely. The Nyongo
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Congo. It wasn't. serious it was played for laughs
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and i just had a great time with this one it
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was just really good fun really clever um also
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there's a new shark movie out on amazon prime
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called the devil's mouth so unsurprisingly i
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was straight onto that shit and i also checked
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out a much lower budget shark flick called noah's
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shark two shark films. You know, it amazes me,
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Lee, for such a renowned thalassophobe. Your
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love of shark exploitation is always a source
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of amusement for me. Yeah, I get that. But I
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mean, it's great, really, because ocean -based
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horror, it is absolutely terrifying to me. But
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the ocean, as it turns out, is fairly easy to
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avoid in real life. So I don't tend to have too
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many traumatic experiences. This is very true.
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Was the film any good? Okay, so Devil's Mouth,
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Sadly, this one kind of fell hard into the pit
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of mediocrity, I think. On the plus side, it
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had a pretty cool looking shark, which is always
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a plus for us shark exploitation fans. But the
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film itself was kind of dull. I really didn't
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give a shit if anyone survived or not. I mean,
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you have a shark and you have a cave. That's
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not an entirely new recipe. It's been done before.
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And there's only so much you can do with those
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ingredients. And also, it might have just been
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like my old man eyes, but most of the film was
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really dark, and I had trouble seeing what was
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going on. Okay. What about Noah's Shark? Oh,
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boy. Okay. So sometimes, as something of a film
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expert, critic, and student of the art, I get
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asked, what is the worst movie that you've ever
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seen? And I've always kind of struggled with
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that until now, because now, now I can say I
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have a definitive answer as to what the worst
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movie I've ever seen is. Wow, dude. Was it a
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complete shocker then, was it? Mate, I won't
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lie to you. I was somewhat intoxicated at the
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time, and I watched this one with my sons, and
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we just cracked up and laughed all the way through
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it. So technically, I did actually kind of enjoy
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it. Oh, there you go. But from a... purely clinical
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perspective it was shocking i mean i was expecting
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it to be bad but this was a whole other level
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bad it was just unbelievable um but yeah how
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about you man anything watch anything good I
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probably won't be watching those two last ones
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then, Lee. But I might check out Little Monsters.
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That sounded like quite good fun. I think you'll
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quite enjoy that. I feel like everyone should
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experience Noah's Shark at some point. Well,
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yeah, maybe. Maybe if I'm slightly intoxicated
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too sometime. It definitely helps. And I'm sort
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of itching for a shark film, a terrible one.
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I'll throw that one. Yeah, I saw a couple of
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things this week, a couple of standouts. I caught
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a Stanley Kramer film called Judgment at Nuremberg.
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It's a slightly older film. This one's a bit
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of an ensemble cast. And the main players get
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this castly. It was Spencer Tracy, Burt Lancaster,
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Richard Widmark, Marlena Dietrich, Maximilian
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Schell, Judy Garland. Montgomery Clift, and a
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little sneaky appearance from William Shatner.
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If you've got the Shat in there, then I'm all
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in. Oh, dude. He was, like, surprisingly, you
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know, what's the word? He's very sort of, you
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couldn't take your eyes off him. You know, he's
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very sort of natural. He's not a big part, and
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he's quite young, you know, but he sort of really
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has a kind of charisma on screen. It was quite
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amazing to watch. But yeah, I mean, this film,
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it's kind of, you know, there's a sort of a trial
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going on. These are the sort of the Nuremberg
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trials after World War II. And this is sort of
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almost like a peripheral trial during the Nuremberg,
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you know, the big Nuremberg trials. And it's
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the sort of judges acting on behalf of the Nazi
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regime are basically sort of being tried for
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their decisions that they made. which led to
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various kind of horrors being carried out, you
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know. And this one, I mean, just, dude, standout
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performances like across the board, like, you
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know, Spencer Tracy was great. He's kind of the
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main judge in the trial. Lancaster is sort of
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almost this kind of mute, stoic kind of German
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judge. Like he doesn't say a lot, but has this
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kind of amazing, you know, monologue. from the
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witness stand towards the end. I mean, Judy Garland,
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Montgomery Clift, they were just absolutely spellbinding.
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They sort of played, you know, witnesses that
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had to come forward and speak about some of the
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atrocities and whatnot. Really, really strong
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performances. And Shell played the sort of the
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defense counsel. And he was really amazing. It's
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kind of really conflicted, sort of prideful,
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kind of nuanced performance. And as I say, Shatner,
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you know, fairly small part, but charismatic
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as fuck. I mean, just such a confident performance
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from him, too. So, yeah, mostly sort of a kind
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of trial sort of procedural kind of courtroom
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drama sort of thing, but really definitely worth
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a watch. And I also caught the first season of
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Sugar starring Colin Farrell. I don't know if
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you know anything about this one at all, but.
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uh i know it's like colin farrell and he's like
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a private investigator or something yeah like
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he's pretty much the height of my uh my knowledge
00:07:53.759 --> 00:07:56.819
on that well i mean that's a fairly good summary
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i mean he's basically this guy who finds sort
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of missing people so he's sort of a pi but mostly
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sort of high net worth folks um certainly in
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the first season and you know they generally
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want to sort of keep things on the down low and
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he comes in and he's this kind of amazing uh
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sort of pi so it's kind of You know, it plays
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out like a detective noir. It's set in sort of
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contemporary Los Angeles. But one of the things
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I loved about this, you know, apart from Farrell,
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who's amazing, is the character is kind of a
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movie buff, loves old films. So there are all
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these kind of cutaways to old kind of noir films,
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which are interspersed, you know, in the narrative
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and kind of illustrate various things or whatever.
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Yeah, great cast, amazing performances, you know,
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all round again. I mean, this one's written by
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Mark Protasevich. Don't know if you know him,
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but he's been on a few things. He wrote The Cell,
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I Am Legend, the Spike Lee Old Boy remake. He
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wrote Thor. and Poseidon. And it was directed
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by a guy called Fernando Moreles, who is an amazing
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director. He did City of Gods, City of Men, a
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film called The Two Popes, which was really good.
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Constant Gardener, which is a cool film as well,
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a film called Blindness. So this was, you know,
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he's really talented and can get, he can obviously
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get like great performances out of actors and
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has this really kind of distinctive visual style.
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So he was a really great fit for the material.
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There's a great sort of twist in this. Really,
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really worth a watch, this one. If you've got
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Apple TV, I'd highly recommend having a peek
00:09:32.019 --> 00:09:35.120
of that. Nice, nice. I think I've had Apple TV
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for about eight months now. I haven't watched
00:09:37.340 --> 00:09:39.179
a single thing on there. Boy, get on there and
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watch sugar. I know they, they, they caught me
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in with like the offer, like get it for like
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three months for like a pound a month or something.
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I was like, yeah, I'll have that. I'll watch
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everything and then cancel it. And then like,
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I just didn't watch anything and I keep going
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to cancel it. And then I keep going to see all
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these really good shows on there. And I'm like,
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no, I've got to kind of just get in there and
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watch something. There's some really good stuff.
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Cause there's loads of, there's loads of good
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shows on there. I want to watch. There's, um,
00:10:01.279 --> 00:10:05.139
severances on there. I think silos on there.
00:10:05.659 --> 00:10:10.960
Godzilla. Monarch is on there. I do like Godzilla.
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I love Godzilla. I do owe it to my Godzilla fan
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to at least check out the second season of Monarch
00:10:19.019 --> 00:10:23.080
before I cancel it. Anyway, dude, what is strapped
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on the table for dissection this week? Okay,
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well, this week, Lee, we'll be looking at the
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2021 cult hit horror Malignant. Lush. I think
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you're going to enjoy this one. It's a lot of
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fun, and there's a point in this film, and it's
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fantastic, where everything just goes batshit
00:10:42.940 --> 00:10:45.779
fucking bonkers. All the plot holes suddenly
00:10:45.779 --> 00:10:49.159
make sense, and you're like, ah, okay, now I
00:10:49.159 --> 00:10:52.990
get it. Ah, well, we shall see. I shall reserve
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any batshit ratings until after I've watched
00:10:55.110 --> 00:10:58.929
the film. But, I mean, this one's directed by
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script -to -screen favourite James Wan. And it
00:11:02.690 --> 00:11:06.889
was released the 10th of September 2021 for a
00:11:06.889 --> 00:11:09.330
budget of around $40 million. And the film would
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struggle a little bit at the post -COVID box
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office, only taking in around $35 million globally
00:11:17.090 --> 00:11:21.279
at the box office. Which does look rough on paper,
00:11:21.419 --> 00:11:24.899
but it also arrived during Warner Brothers' day
00:11:24.899 --> 00:11:28.700
-and -date HBO Max experiment. So it's fair to
00:11:28.700 --> 00:11:30.840
say that that box office number does not describe
00:11:30.840 --> 00:11:33.879
the whole audience, even if it does describe
00:11:33.879 --> 00:11:38.179
a fairly painful theatrical run. And we'll be
00:11:38.179 --> 00:11:40.740
comparing the film to an undated copy of the
00:11:40.740 --> 00:11:43.720
script written by Akilah Cooper and weighing
00:11:43.720 --> 00:11:48.370
in at 114 pages. Yeah, now, Akilah Cooper, why
00:11:48.370 --> 00:11:51.009
does that name ring a bell, Lee? Okay, so Cooper,
00:11:51.210 --> 00:11:54.990
she cut her teeth writing for TV before breaking
00:11:54.990 --> 00:11:57.370
into the movies with Malignant, but her biggest
00:11:57.370 --> 00:12:01.129
credit so far is the delightful killer android
00:12:01.129 --> 00:12:04.769
romp Megan. Okay, yeah, that'll be where I heard
00:12:04.769 --> 00:12:07.830
the name before. Nice. Okay, so let's get that
00:12:07.830 --> 00:12:12.750
whip cracking as we strap down and dissect Malignant.
00:12:18.059 --> 00:12:20.700
After a brutal domestic violence attack leaves
00:12:20.700 --> 00:12:23.259
her plagued by waking visions of grisly murders,
00:12:23.460 --> 00:12:25.899
a traumatized woman discovers the killings are
00:12:25.899 --> 00:12:28.480
real and linked to a forgotten figure from her
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childhood, forcing her to uncover the shocking
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truth about her past before the seemingly supernatural
00:12:34.580 --> 00:12:38.120
killer strikes again. So before the film even
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gets underway, we get this cool electrical interference
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effect that glitches out the screen during the
00:12:44.580 --> 00:12:47.820
studio trailers at the very beginning, which
00:12:47.820 --> 00:12:49.740
is a great way to set the scene for what's to
00:12:49.740 --> 00:12:52.440
come. The film then begins and we're presented
00:12:52.440 --> 00:12:55.320
with a gloriously creepy looking building. It's
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huge and gothic looking. And of course, it's
00:12:58.399 --> 00:13:01.019
the middle of the nightly. A helpful super informs
00:13:01.019 --> 00:13:04.480
us that this is the Simeon Research Hospital
00:13:04.480 --> 00:13:08.710
and the year is 1990. We head inside to meet
00:13:08.710 --> 00:13:11.769
one Dr. Florence Weaver as she records a video
00:13:11.769 --> 00:13:15.909
diary chronicling a patient named Gabriel, who
00:13:15.909 --> 00:13:18.149
we learn is becoming stronger and more malicious
00:13:18.149 --> 00:13:22.210
by the daily. Sounds like my dog's farts, dude.
00:13:22.570 --> 00:13:28.950
The diary is interrupted by the flickering of
00:13:28.950 --> 00:13:31.950
the lights and then a security guard enters who
00:13:31.950 --> 00:13:34.789
informs the good doctor that he... got out again.
00:13:35.269 --> 00:13:38.549
And this is at the one minute 40 mark. Now, as
00:13:38.549 --> 00:13:40.570
the doctor heads to the scene, she's informed
00:13:40.570 --> 00:13:43.429
that Gabriel got to the records room and found
00:13:43.429 --> 00:13:46.210
his information and he wants to go home, it seems,
00:13:46.289 --> 00:13:48.850
Lee. Another doctor informs her that the child
00:13:48.850 --> 00:13:52.269
seems immune to tasering and is drinking the
00:13:52.269 --> 00:13:55.429
electricity. Yeah, this does not seem to bode
00:13:55.429 --> 00:13:59.090
well. No, it doesn't, does it? That proves to
00:13:59.090 --> 00:14:01.090
be one hell of an understatement, dude, as we
00:14:01.090 --> 00:14:04.759
rock up to the scene. And it is fucking carnage
00:14:04.759 --> 00:14:07.639
-ly. There's bodies everywhere, screams, the
00:14:07.639 --> 00:14:09.779
lights are exploding, people are being thrown
00:14:09.779 --> 00:14:12.519
about the place willy -nilly. A security guard
00:14:12.519 --> 00:14:15.740
tries to trank Gabriel, but gets his arms snapped,
00:14:15.960 --> 00:14:19.000
pretty brutal, before the doctor snatches up
00:14:19.000 --> 00:14:22.179
the gun and drops the crazed patient. Now, we
00:14:22.179 --> 00:14:23.720
still don't get a good look at Gabriel, though
00:14:23.720 --> 00:14:26.580
as the survivors strap him down in a chair, we
00:14:26.580 --> 00:14:29.200
can see he's just a young child. And through
00:14:29.200 --> 00:14:31.779
the plastic curtains, we catch glimpses of a
00:14:31.779 --> 00:14:36.279
freakishly deformed monstrosity. The radio crackles
00:14:36.279 --> 00:14:38.600
and in a static voice, Gabriel declares that
00:14:38.600 --> 00:14:41.299
he will kill them all. His powers have grown
00:14:41.299 --> 00:14:44.299
to the point where he can broadcast his thoughts
00:14:44.299 --> 00:14:47.399
through electrical devices, prompting Dr. Weaver
00:14:47.399 --> 00:14:49.899
to admit that she was wrong, and the only thing
00:14:49.899 --> 00:14:53.220
they can do with Gabriel is to cut out the cancer.
00:14:55.360 --> 00:14:58.820
Fantastic. So smash to some delightfully Saw
00:14:58.820 --> 00:15:01.220
-esque opening credits, which during the various
00:15:01.220 --> 00:15:03.460
flash cuts drop some pretty significant clues
00:15:03.460 --> 00:15:06.399
to things that are revealed later in the film.
00:15:07.720 --> 00:15:10.480
I mean, that whole kind of Saw -style opening
00:15:10.480 --> 00:15:14.039
is a very James Wan thing, I think. And despite
00:15:14.039 --> 00:15:16.279
being absent from the script, the sequence gives
00:15:16.279 --> 00:15:20.679
us names, rules, violence, but it keeps the patient's
00:15:20.679 --> 00:15:22.879
actual shape behind doors. You know, it's all
00:15:22.879 --> 00:15:25.740
hair, shadow and frantic editing, you know. I
00:15:25.740 --> 00:15:28.279
think it adds to the film because it plants a
00:15:28.279 --> 00:15:30.379
lot of information that we'll be relying on later.
00:15:30.559 --> 00:15:32.620
We've got Gabriel, electricity, that distorted
00:15:32.620 --> 00:15:35.240
voice. You know, when that happens in the film,
00:15:35.259 --> 00:15:37.120
we'll all be, OK, so this must be that. that
00:15:37.120 --> 00:15:39.860
Gabriel fella, rather than just being, you know,
00:15:39.860 --> 00:15:43.080
what's going on? What's happening? Yeah. So how
00:15:43.080 --> 00:15:46.039
does this opening compare to what's in the script,
00:15:46.080 --> 00:15:49.539
Lee? As I alluded to, it doesn't. This whole
00:15:49.539 --> 00:15:52.039
opening scene and the various hints and clues
00:15:52.039 --> 00:15:54.580
within it are completely absent from the script.
00:15:54.940 --> 00:15:58.019
Instead, the script kicks off exactly where the
00:15:58.019 --> 00:16:00.950
film is headed to next. Yeah, it's interesting,
00:16:01.009 --> 00:16:02.110
isn't it? It's not the first time we've seen
00:16:02.110 --> 00:16:05.110
cold opens added or removed from script to screen.
00:16:05.549 --> 00:16:08.809
Any thoughts on why this one happened? Yeah,
00:16:08.850 --> 00:16:11.610
I mean, both choices work, but they make different
00:16:11.610 --> 00:16:13.269
deals with the audience. I mean, the script,
00:16:14.230 --> 00:16:18.590
where it opens in this upcoming scene, just tells
00:16:18.590 --> 00:16:20.389
us, you know, protect this woman, work out what
00:16:20.389 --> 00:16:23.389
is happening to her. Whereas the film says...
00:16:23.559 --> 00:16:25.799
There is a creature called Gabriel. Doctors did
00:16:25.799 --> 00:16:27.980
something to it. And sooner or later, we are
00:16:27.980 --> 00:16:29.940
coming back to this. You're going to see him
00:16:29.940 --> 00:16:33.139
again. You lose some purity in the mystery, I
00:16:33.139 --> 00:16:35.220
think, but you gain a brilliant promise of the
00:16:35.220 --> 00:16:37.759
premise. Without the cold open, this could easily,
00:16:37.940 --> 00:16:41.419
for the first third of the film, be almost a
00:16:41.419 --> 00:16:45.559
domestic abuse tale. Whereas with that cold open,
00:16:45.639 --> 00:16:47.440
we know that this shit is coming back to haunt
00:16:47.440 --> 00:16:49.679
us at some point in the film. And we're all going
00:16:49.679 --> 00:16:52.179
to be waiting to see how those two threads tie
00:16:52.179 --> 00:16:55.570
together. And it is a huge structural plant,
00:16:55.690 --> 00:16:58.169
you know, and it also gives James Wan permission
00:16:58.169 --> 00:17:00.409
to sort of start at full camp. You know, the
00:17:00.409 --> 00:17:03.210
performances, the tilted camera, the thunderous
00:17:03.210 --> 00:17:06.509
music, the obscured creature. There's no pretense
00:17:06.509 --> 00:17:08.750
that this will be a subtle domestic drama tale
00:17:08.750 --> 00:17:11.589
here. This film announces it has a big red button
00:17:11.589 --> 00:17:14.430
marked batshit and intends to hammer that motherfucker
00:17:14.430 --> 00:17:19.450
at some point in the movie. Yeah. So do you,
00:17:19.450 --> 00:17:21.309
I mean, do you think it gives away too much?
00:17:22.960 --> 00:17:25.819
There is that. I mean, it gives away the existence
00:17:25.819 --> 00:17:28.400
of a medical secret, but not the exact nature
00:17:28.400 --> 00:17:31.059
of that secret. If anything, I think the prologue
00:17:31.059 --> 00:17:33.720
gives the audience the wrong confidence. We think
00:17:33.720 --> 00:17:36.119
we're ahead because we know more than Madison,
00:17:36.200 --> 00:17:38.200
whereas truthfully, we're not even in the same
00:17:38.200 --> 00:17:41.279
ballpark yet. Yeah, that's a really great point.
00:17:41.380 --> 00:17:43.200
I mean, a mystery doesn't require the audience
00:17:43.200 --> 00:17:45.960
to know nothing. Rather, it requires the audience
00:17:45.960 --> 00:17:48.480
to arrange what they know incorrectly, right?
00:17:49.340 --> 00:17:52.359
In other words, it's kind of taking the pieces
00:17:52.359 --> 00:17:55.619
the creators give us in the order they give them
00:17:55.619 --> 00:17:59.140
and deducing something that, while valid, is
00:17:59.140 --> 00:18:01.460
obviously not the truth. Right. So long story
00:18:01.460 --> 00:18:04.180
short, red herrings and broken fragments of the
00:18:04.180 --> 00:18:06.240
truth can be assembled in many different ways,
00:18:06.319 --> 00:18:08.819
I guess. Yeah, exactly. I mean, Cooper plants
00:18:08.819 --> 00:18:11.720
the pieces. One gives us a few more and then
00:18:11.720 --> 00:18:14.640
lets us build the wrong monster entirely. Yeah,
00:18:14.680 --> 00:18:19.000
absolutely. I think you're absolutely right on
00:18:19.000 --> 00:18:20.400
the points you make there because, you know,
00:18:20.400 --> 00:18:23.279
they are very different kind of the two approaches
00:18:23.279 --> 00:18:25.579
make different contracts with the audience, don't
00:18:25.579 --> 00:18:28.859
they? Yeah. Yeah. OK, so we jump now to the present
00:18:28.859 --> 00:18:31.920
day and a much nicer looking suburban home as
00:18:31.920 --> 00:18:35.200
a noticeably pregnant Madison Mitchell returns
00:18:35.200 --> 00:18:38.140
home from a draining shift. Now, Madison is played
00:18:38.140 --> 00:18:41.140
by Annabelle Wallace, who most will recognize
00:18:41.140 --> 00:18:44.890
from her role in Peaky Blinders. Now, the house
00:18:44.890 --> 00:18:47.269
she enters is somewhat poorly lit and definitely
00:18:47.269 --> 00:18:50.750
creepier on the inside than on the outside, but
00:18:50.750 --> 00:18:53.470
it's pleasant enough. Madison checks out the
00:18:53.470 --> 00:18:56.609
nursery before waddling to the main bedroom where
00:18:56.609 --> 00:19:00.170
her husband awaits. Yeah, already I'm not betting
00:19:00.170 --> 00:19:02.809
on this unborn child's life expectancy, I'm afraid.
00:19:03.589 --> 00:19:06.569
It does kind of feel like a precursor to tragedy,
00:19:06.849 --> 00:19:09.490
doesn't it, Lee? Yeah, we don't get the whole
00:19:09.490 --> 00:19:11.829
establishing shot in the script. It just pretty
00:19:11.829 --> 00:19:14.690
much drops us straight into the nursery. Yeah.
00:19:14.869 --> 00:19:17.609
Now, it turns out Madison's hubby is a bit of
00:19:17.609 --> 00:19:19.910
a bellend, to put it lightly, who seems more
00:19:19.910 --> 00:19:22.430
concerned with watching TV than his wife's plight.
00:19:22.849 --> 00:19:25.710
He drops a couple of cold word bombs on her,
00:19:25.769 --> 00:19:28.109
like, you know, maybe you need to stop getting
00:19:28.109 --> 00:19:30.230
pregnant. And how many times do I have to watch
00:19:30.230 --> 00:19:33.650
my children die inside of you? Jesus Christ.
00:19:33.730 --> 00:19:35.849
Yeah. Bellend may be going a little bit lightly
00:19:35.849 --> 00:19:39.069
on this guy, I think. It's complete bellend.
00:19:39.789 --> 00:19:43.289
The two argue and he aggressively finger pokes
00:19:43.289 --> 00:19:46.190
the baby bump before smashing the back of Madison's
00:19:46.190 --> 00:19:48.849
head against the wall. When he hurries off to
00:19:48.849 --> 00:19:51.490
grab some ice, Madison locks herself in the room
00:19:51.490 --> 00:19:53.690
and finds that the back of her head is slick
00:19:53.690 --> 00:19:56.609
with blood. And this is at around the eight minute
00:19:56.609 --> 00:20:00.210
mark. Yeah. So in the script, this is basically
00:20:00.210 --> 00:20:03.069
the same, although Derek is more of a full on
00:20:03.069 --> 00:20:05.990
evil asshole. You know, the film at least throws
00:20:05.990 --> 00:20:09.210
in a little extra for the actor to chew on, giving
00:20:09.210 --> 00:20:11.470
him some subtle backstory, making him out to
00:20:11.470 --> 00:20:13.990
be more of a deeply flawed asshole than a straight
00:20:13.990 --> 00:20:16.430
up mustache twirling villain. And I always dig
00:20:16.430 --> 00:20:18.470
that in films, you know, evil for evil's sake
00:20:18.470 --> 00:20:21.849
villain can work, but it is too easy for them
00:20:21.849 --> 00:20:23.509
just to come across as kind of two dimensional.
00:20:24.079 --> 00:20:25.819
Yeah, absolutely. Yeah, no, I totally agree.
00:20:25.940 --> 00:20:28.799
Well, it's nighttime now. And thanks to a fresh
00:20:28.799 --> 00:20:31.799
camera angle and some nighttime fog, the once
00:20:31.799 --> 00:20:34.700
delightful house now looks suitably creepy. In
00:20:34.700 --> 00:20:36.980
other words, something bad is about to go down,
00:20:36.980 --> 00:20:40.160
Lee. And this is pretty much confirmed when the
00:20:40.160 --> 00:20:43.559
porch light starts to flicker. Ah, yes, we know
00:20:43.559 --> 00:20:46.099
from that cold open electricity, flickering means
00:20:46.099 --> 00:20:48.900
trouble. So in the script, we get a brief scene
00:20:48.900 --> 00:20:51.200
of Madison in the shower before Derek throws
00:20:51.200 --> 00:20:54.920
out his shitty apology. And we see in the script
00:20:54.920 --> 00:20:57.359
that her upper back and neck are really heavily
00:20:57.359 --> 00:21:01.000
scarred. Yeah, I mean, that may have been one
00:21:01.000 --> 00:21:04.420
clue too many, I think. Possibly. I mean, the
00:21:04.420 --> 00:21:07.259
script does go out of its way to insinuate that
00:21:07.259 --> 00:21:09.619
these scars are evidence of Derek's past abuse,
00:21:09.759 --> 00:21:12.059
even dropping a little reader note. Check it
00:21:12.059 --> 00:21:14.619
out. This is from the script. Madison sits in
00:21:14.619 --> 00:21:17.119
the tub, cradling herself as water cascades over
00:21:17.119 --> 00:21:19.680
her from the shower. She silently cries to herself.
00:21:19.819 --> 00:21:22.359
Her back is filled with scars and bruises, a
00:21:22.359 --> 00:21:25.819
latticework of pain. Note, the scars were later
00:21:25.819 --> 00:21:27.839
revealed to be surgical, but we shouldn't know
00:21:27.839 --> 00:21:29.880
that now. There's a bit of blood flowing down
00:21:29.880 --> 00:21:32.319
her back from a wound in her head. Yeah, it's
00:21:32.319 --> 00:21:34.579
interesting. I mean, a few of these do pop up
00:21:34.579 --> 00:21:36.740
in the script, don't they, as the script goes
00:21:36.740 --> 00:21:39.880
on. OK, so on screen, Madison is recuperating
00:21:39.880 --> 00:21:42.700
in bed while asshole Derek sleeps soundly on
00:21:42.700 --> 00:21:45.599
the couch until he's disturbed by a sound from
00:21:45.599 --> 00:21:47.779
the kitchen at around the 11 minute 30 second
00:21:47.779 --> 00:21:50.700
mark. The blender has seemingly turned itself
00:21:50.700 --> 00:21:52.940
on, which is rather strangely, always rather
00:21:52.940 --> 00:21:56.680
strange. Behind him, the fridge door opens. He
00:21:56.680 --> 00:21:59.640
closes it and looks suitably confused before
00:21:59.640 --> 00:22:02.819
the TV in the living room comes on. And he rushes
00:22:02.819 --> 00:22:05.119
to the scene in time to spot a dark figure sat
00:22:05.119 --> 00:22:08.640
on the couch, Lee, before the TV turns off and
00:22:08.640 --> 00:22:12.140
the house is plunged into darkness. In the script,
00:22:12.240 --> 00:22:14.859
there are a few small differences. Madison and
00:22:14.859 --> 00:22:17.740
Derek are sleeping in the same bed. And during
00:22:17.740 --> 00:22:19.920
their argument earlier, the lights flickered
00:22:19.920 --> 00:22:22.650
when Madison was enraged. Yeah, I like the fact
00:22:22.650 --> 00:22:24.710
that on the screen, Madison has stood her ground
00:22:24.710 --> 00:22:26.829
and left Derek to sleep on the couch. You know,
00:22:26.869 --> 00:22:29.269
it gives her a little more agency, makes her
00:22:29.269 --> 00:22:31.210
a bit more of a stronger character, I think.
00:22:32.009 --> 00:22:34.670
Now, Derek turns on the light and the figure
00:22:34.670 --> 00:22:37.710
is gone. And there's a great shot of the couch
00:22:37.710 --> 00:22:40.009
cushion rising up as though someone has recently
00:22:40.009 --> 00:22:43.089
sat on it. It is a great shot, no doubt. But
00:22:43.089 --> 00:22:46.769
they overcook it, I think, in my opinion. OK,
00:22:47.049 --> 00:22:51.910
so explain that, Lee. OK, so. So we start with
00:22:51.910 --> 00:22:54.329
a wide shot of Derek looking around the room.
00:22:54.390 --> 00:22:56.869
It's kind of confused and bang center of the
00:22:56.869 --> 00:22:59.410
screen. You see the couch cushion rising. It's
00:22:59.410 --> 00:23:02.450
really subtle and you might miss it. But then
00:23:02.450 --> 00:23:04.809
we get an extreme close up of the cushion rising
00:23:04.809 --> 00:23:07.190
as if to say, you know, look at this cool thing
00:23:07.190 --> 00:23:09.569
we did, you know, rather than just keep it subtle,
00:23:09.650 --> 00:23:11.829
which I think would have made it a lot more unsettling
00:23:11.829 --> 00:23:14.299
kind of a. Did you just see that moment? Did
00:23:14.299 --> 00:23:16.720
you see that? I mean, just clarify what I'm trying
00:23:16.720 --> 00:23:18.859
to say. You know, when we did the Invisible Man
00:23:18.859 --> 00:23:22.039
episode, there's a scene of Cecilia just standing
00:23:22.039 --> 00:23:24.740
outside in the cold and her breath mists. And
00:23:24.740 --> 00:23:26.900
a moment later, there's another breath, like
00:23:26.900 --> 00:23:29.700
seemingly from thin air, just behind her. Imagine
00:23:29.700 --> 00:23:32.539
if we'd suddenly snapped to a close -up of that
00:23:32.539 --> 00:23:34.839
said breath. It would have taken me straight
00:23:34.839 --> 00:23:37.539
out of the moment. Yeah, I mean, I definitely
00:23:37.539 --> 00:23:38.759
think there's something to that. I mean, I think
00:23:38.759 --> 00:23:43.329
this film... uh is kind of camp and you know
00:23:43.329 --> 00:23:47.069
sort of in general is pretty unsubtle so you
00:23:47.069 --> 00:23:49.549
know i think this kind of tension building could
00:23:49.549 --> 00:23:52.509
probably be forgivable you know whereas i mean
00:23:52.509 --> 00:23:54.509
the invisible man is creating a very different
00:23:54.509 --> 00:23:58.369
sort of more subtle kind of ambient slow burn
00:23:58.369 --> 00:24:02.130
tension at least initially um so yeah probably
00:24:02.130 --> 00:24:04.009
wouldn't kind of work in something like that
00:24:04.009 --> 00:24:05.730
but it's certainly debatable though isn't it
00:24:05.730 --> 00:24:08.359
yeah It's cool to see that this great shot came
00:24:08.359 --> 00:24:16.200
directly from Cooper's script. Interior, living
00:24:16.200 --> 00:24:19.059
room, continuous. The living room where the TV
00:24:19.059 --> 00:24:21.220
is switching frantically between channels of
00:24:21.220 --> 00:24:24.319
infomercials at full volume. Derek is confused
00:24:24.319 --> 00:24:27.420
and mystified, and then he sees something. The
00:24:27.420 --> 00:24:29.759
glow of the TV illuminates a dark figure seated
00:24:29.759 --> 00:24:33.119
on a couch, watching the TV. Derek startles.
00:24:33.440 --> 00:24:36.279
Derek. Who the fuck are you? What are you doing
00:24:36.279 --> 00:24:39.880
in my house? The TV goes static, blaring white
00:24:39.880 --> 00:24:42.859
noise. Then the TV switches off, plunging the
00:24:42.859 --> 00:24:45.799
whole room into darkness. Derek immediately reaches
00:24:45.799 --> 00:24:48.539
out for the light switch, finds it, flicks on
00:24:48.539 --> 00:24:51.660
the light, and the figure is gone. Derek scans
00:24:51.660 --> 00:24:54.720
around the room. Nothing. The compressed cushion
00:24:54.720 --> 00:24:56.799
of the couch where the figure was sitting on
00:24:56.799 --> 00:24:59.440
slowly lifts, as though someone just got off
00:24:59.440 --> 00:25:03.329
it. Yeah, I mean, one, obviously, I mean, he
00:25:03.329 --> 00:25:06.089
shot what's in the script, right? I think it's
00:25:06.089 --> 00:25:09.769
sort of totally it works for me. Anyway, Derek
00:25:09.769 --> 00:25:12.109
investigates the dining room, but the dark figure
00:25:12.109 --> 00:25:15.289
appears behind him and delivers a brutal headshot
00:25:15.289 --> 00:25:18.269
before we cut back to Madison as she is startled
00:25:18.269 --> 00:25:21.269
awake. There's some small differences on the
00:25:21.269 --> 00:25:24.170
page, but the general gist here is pretty much
00:25:24.170 --> 00:25:27.369
the same. Now, Madison heads downstairs to investigate,
00:25:27.410 --> 00:25:30.720
but is shocked to discover Derek's body. which
00:25:30.720 --> 00:25:33.119
has been on the receiving end of a wicked -looking
00:25:33.119 --> 00:25:37.259
neck snap, Lee. Yeah, boy. It looks like his
00:25:37.259 --> 00:25:39.980
head has been almost completely twisted off,
00:25:40.019 --> 00:25:41.859
which I've got to say... Couldn't have happened
00:25:41.859 --> 00:25:46.859
to a nicer fella. And this whole scene is a great
00:25:46.859 --> 00:25:50.279
example of audience knowledge. Mystery puts us
00:25:50.279 --> 00:25:52.740
behind the character. Suspense places us beside
00:25:52.740 --> 00:25:55.259
the character. Anticipation and dread puts us
00:25:55.259 --> 00:25:57.980
ahead of the character. So in layman's terms,
00:25:58.140 --> 00:26:00.039
if we know less than the characters, it becomes
00:26:00.039 --> 00:26:02.359
something of a mystery. If we're on the same
00:26:02.359 --> 00:26:04.900
knowledge level, it creates suspense and empathy.
00:26:05.160 --> 00:26:07.319
But if we know more than they do, as we do in
00:26:07.319 --> 00:26:10.539
this case, it creates anticipation and dread.
00:26:10.539 --> 00:26:14.019
read yeah but there's no rest for madison though
00:26:14.019 --> 00:26:16.960
as the dark figure looms up from behind derrick
00:26:16.960 --> 00:26:20.059
in a wonderfully creepy shot and i'll say this
00:26:20.059 --> 00:26:22.619
for one right now nobody uses negative space
00:26:22.619 --> 00:26:25.480
quite like this guy right uh he may be kind of
00:26:25.480 --> 00:26:27.079
the best in the business at setting up scares
00:26:27.079 --> 00:26:29.980
i think it's really hard not to agree with you
00:26:29.980 --> 00:26:32.720
on that dude he is a Freaking master of it. Yeah.
00:26:32.960 --> 00:26:36.000
So the dark figure pursues Madison upstairs and
00:26:36.000 --> 00:26:39.119
smashes down her bedroom door, knocking out our
00:26:39.119 --> 00:26:42.000
downtrodden mum -to -be in the process. So in
00:26:42.000 --> 00:26:44.880
the script, the scares are drawn out just a little
00:26:44.880 --> 00:26:52.380
bit longer. Have a listen. Interior. Mitchell
00:26:52.380 --> 00:26:55.900
home. Nursery. Night. Madison slams the door
00:26:55.900 --> 00:26:58.180
shut. puts all of her weight behind the door
00:26:58.180 --> 00:27:01.380
just as the killer pounds into it. Madison yelps,
00:27:01.380 --> 00:27:04.819
bracing the door. Smash! The door flies open,
00:27:04.980 --> 00:27:07.579
knocking Madison onto the floor. She cries out
00:27:07.579 --> 00:27:09.859
in pain and rolls onto her side to look at the
00:27:09.859 --> 00:27:13.460
door. The killer stands there, very still. Madison
00:27:13.460 --> 00:27:16.460
scrambles helplessly into the closet, shutting
00:27:16.460 --> 00:27:19.180
the doors. Interior, Mitchell Home, nursery,
00:27:19.440 --> 00:27:22.539
closet, continuous. She cowers deep into the
00:27:22.539 --> 00:27:25.079
closet, frightened beyond belief. The killer
00:27:25.079 --> 00:27:27.400
steps into the room. Madison hears footsteps.
00:27:27.839 --> 00:27:31.400
Heavy, slow, deliberate. The killer is taking
00:27:31.400 --> 00:27:34.700
his time, knowing she's got nowhere to go. Madison
00:27:34.700 --> 00:27:37.380
pinches her eyes shut, fighting back tears and
00:27:37.380 --> 00:27:39.640
the urge to scream. The killer stands before
00:27:39.640 --> 00:27:42.160
the closet door. He slowly runs his finger down
00:27:42.160 --> 00:27:46.200
the slats. Click, click, click. Madison shakes,
00:27:46.480 --> 00:27:49.519
panic and terror taking hold. Just as she can't
00:27:49.519 --> 00:27:52.119
take the torment anymore, the closet door bursts
00:27:52.119 --> 00:27:55.240
open. As Madison screams, everything smashes
00:27:55.240 --> 00:28:00.359
to black. So that's definitely a more drawn out
00:28:00.359 --> 00:28:02.640
scare, isn't it, Lee? Any thoughts on why they
00:28:02.640 --> 00:28:06.859
changed that? Pacing, I'd say. I mean, you've
00:28:06.859 --> 00:28:08.599
had the audience on the edge of their seat for
00:28:08.599 --> 00:28:10.799
about five minutes now. I think maybe you've
00:28:10.799 --> 00:28:13.200
got to cut them a little break. Yeah, agreed.
00:28:13.319 --> 00:28:15.460
Yeah, possibly a bit cliche to the old slatted
00:28:15.460 --> 00:28:18.799
cupboard door, isn't it? It has been done a lot,
00:28:18.859 --> 00:28:22.480
yeah. A few times. So the next thing we know,
00:28:22.539 --> 00:28:25.420
the place is swarming, and I mean swarming with
00:28:25.420 --> 00:28:30.180
Copsley. It's a great shot. Helicopter overhead,
00:28:30.539 --> 00:28:33.339
cop cars, ambulance, police searching the area
00:28:33.339 --> 00:28:36.039
with flashlights. The whole thing is just bathed
00:28:36.039 --> 00:28:39.089
in blue and red lights, and it's gorgeous. And
00:28:39.089 --> 00:28:41.170
it's here we're introduced to detectives Kakoa
00:28:41.170 --> 00:28:44.589
Shaw and Regina Moss, as well as the ditzy Officer
00:28:44.589 --> 00:28:49.210
Winnie. In the script, Kakoa is named Eric and
00:28:49.210 --> 00:28:51.950
there is no mention of Winnie. So any thoughts
00:28:51.950 --> 00:28:55.279
on these changes, Lee? Well, Kakoa... Eric is
00:28:55.279 --> 00:28:58.160
mentioned in the script as being of Asian Hawaiian
00:28:58.160 --> 00:29:01.000
descent. So it makes sense to kind of lean into
00:29:01.000 --> 00:29:04.440
that with his name. As for Winnie, well, she
00:29:04.440 --> 00:29:07.500
is played by Ingrid Bisou, who just happens to
00:29:07.500 --> 00:29:10.480
be James Wan's wife and who helped develop the
00:29:10.480 --> 00:29:12.380
story of the film before it was handed over to
00:29:12.380 --> 00:29:15.059
Cooper. So maybe a little bit of, hey, my wife
00:29:15.059 --> 00:29:17.319
wants to be in the movie. But to be fair, she
00:29:17.319 --> 00:29:19.519
seems to be a great actress. And this seems to
00:29:19.519 --> 00:29:22.000
be as much her story as Wan's. So I'm like, you
00:29:22.000 --> 00:29:26.400
go for that well -earned cameo. The whole police
00:29:26.400 --> 00:29:28.619
station scene is a little more drawn out in the
00:29:28.619 --> 00:29:31.700
script. They spend a little more time recapping
00:29:31.700 --> 00:29:33.880
what's just happened and surveying the damage,
00:29:34.059 --> 00:29:36.900
but we lose nothing by cutting down into what
00:29:36.900 --> 00:29:40.359
we get on screen. Although Derek's fate was much,
00:29:40.420 --> 00:29:44.099
much worse in the script. Listen to this. Derek's
00:29:44.099 --> 00:29:46.119
body lies face up, revealing the full effect
00:29:46.119 --> 00:29:48.380
of his attack. His face has been butchered, the
00:29:48.380 --> 00:29:52.309
nose and lips sliced off, eyes cut out. Yeah,
00:29:52.329 --> 00:29:54.609
that's definitely a worse way to go than seemingly
00:29:54.609 --> 00:29:57.289
quick, you know, albeit brutal neck snapping.
00:29:59.150 --> 00:30:02.269
OK, well, we're back with poor Madison now as
00:30:02.269 --> 00:30:04.710
she wakes in the hospital where she's comforted
00:30:04.710 --> 00:30:07.250
by her sister, Sydney. Now, things go from bad
00:30:07.250 --> 00:30:09.650
to worse when she learns that after the dual
00:30:09.650 --> 00:30:12.690
assault, she has sadly lost another baby, Lee.
00:30:12.910 --> 00:30:17.710
Beatus deletus. Oh, dude. Sorry. So we rejoin
00:30:17.710 --> 00:30:21.500
these sisters a couple of days later. Madison
00:30:21.500 --> 00:30:23.799
has largely retreated into herself, refusing
00:30:23.799 --> 00:30:27.319
to eat or speak, which make Kakoa's interrogation
00:30:27.319 --> 00:30:29.759
a pointless endeavour. Now, thanks to Sydney,
00:30:29.880 --> 00:30:32.500
dressed in a glorious princess costume, Lee,
00:30:32.599 --> 00:30:35.680
from her day job, we learn that Derek actively
00:30:35.680 --> 00:30:39.619
kept the two sisters apart. What a shit. She
00:30:39.619 --> 00:30:42.220
didn't even know about the three previous miscarriages
00:30:42.220 --> 00:30:44.319
Madison had suffered over the last two years.
00:30:44.869 --> 00:30:47.849
Jesus. I mean, this scene is way longer in the
00:30:47.849 --> 00:30:50.509
script. Madison is able to talk, although she
00:30:50.509 --> 00:30:52.730
doesn't provide much in the way of useful information.
00:30:53.230 --> 00:30:56.009
Again, just pretty much a word for word recap
00:30:56.009 --> 00:30:59.150
of the events that happened. There's also no
00:30:59.150 --> 00:31:01.589
princess costume, which is a shame as I think
00:31:01.589 --> 00:31:04.599
it's a nice. quirky little beat for sydney although
00:31:04.599 --> 00:31:06.900
the film does a really good job of telling us
00:31:06.900 --> 00:31:09.700
about her character through action i mean the
00:31:09.700 --> 00:31:12.359
second madison needs her she's there no question
00:31:12.359 --> 00:31:15.039
she's quick to put herself between the detective
00:31:15.039 --> 00:31:17.799
and her sister before climbing on the bed to
00:31:17.799 --> 00:31:19.980
comfort madison you know basically we've been
00:31:19.980 --> 00:31:22.940
shown that she's caring selfless and loyal just
00:31:22.940 --> 00:31:26.099
through some basic on -screen action yeah it's
00:31:26.099 --> 00:31:28.319
great isn't it it's a really good uh good tip
00:31:28.319 --> 00:31:30.240
as well i think for people it's interesting in
00:31:30.240 --> 00:31:32.440
the script she's she's sort of portrayed as um
00:31:32.440 --> 00:31:36.259
like a sort of fairly well -to -do psychiatrist
00:31:36.259 --> 00:31:38.819
isn't she she's yeah she's like a she's like
00:31:38.819 --> 00:31:41.319
a psych major or something yeah yeah yeah so
00:31:41.319 --> 00:31:43.779
slightly different character sort of being suggested
00:31:43.779 --> 00:31:46.339
with the uh with the funky princess outfit as
00:31:46.339 --> 00:31:49.069
well you know it's interesting Anyway, we then
00:31:49.069 --> 00:31:52.230
cut to a classic autopsy briefing featuring our
00:31:52.230 --> 00:31:54.930
detective duo, which tells us that the killer's
00:31:54.930 --> 00:31:57.190
handprints were backwards, like the killer was
00:31:57.190 --> 00:32:00.630
hanging from the ceiling. Moss also informs Shaw
00:32:00.630 --> 00:32:03.529
that neighbors told them Derek regularly beat
00:32:03.529 --> 00:32:06.670
his wife. And as far as Moss is concerned, that's
00:32:06.670 --> 00:32:10.970
a motive. Yeah, this is way streamlined compared
00:32:10.970 --> 00:32:13.509
to what we get in the script. So on the page,
00:32:13.509 --> 00:32:16.109
it's indicated that Derek's skull was cracked
00:32:16.109 --> 00:32:19.410
open by someone using their fingers. And after
00:32:19.410 --> 00:32:21.769
the autopsy briefing, the two then move out into
00:32:21.769 --> 00:32:24.910
the corridor where we get the whole domestic
00:32:24.910 --> 00:32:28.130
abuse is motive speech. Yeah, definitely better
00:32:28.130 --> 00:32:30.910
to compress this into one scene on screen for
00:32:30.910 --> 00:32:33.349
pacing and cost reasons, I think. Aye, definitely.
00:32:34.200 --> 00:32:36.539
So two weeks have passed and it's time for Madison
00:32:36.539 --> 00:32:39.880
to return to her not so happy home. Sydney wants
00:32:39.880 --> 00:32:42.099
to stay with her at least for a few days, but
00:32:42.099 --> 00:32:44.599
Madison is insistent that she won't have her
00:32:44.599 --> 00:32:48.140
home taken from her as well. And she powers only.
00:32:48.640 --> 00:32:51.579
Later that night, after a shower, Madison notices
00:32:51.579 --> 00:32:54.339
the streetlight across the way flickering. She
00:32:54.339 --> 00:32:56.559
looks out of the window and can just make out
00:32:56.559 --> 00:32:59.579
a shadowy figure standing beneath it. The house
00:32:59.579 --> 00:33:01.599
lights flicker, distracting her, and when she
00:33:01.599 --> 00:33:04.359
looks back, the figure is gone. And this is at
00:33:04.359 --> 00:33:07.720
the 23 minute mark, Lee. She rushes through the
00:33:07.720 --> 00:33:10.200
house, locking the doors and pulling the curtains.
00:33:10.279 --> 00:33:12.660
But when she reaches the back door, it's already
00:33:12.660 --> 00:33:16.140
swinging open. She closes it, backs into the
00:33:16.140 --> 00:33:19.180
kitchen. And we're in full James Wan mode now,
00:33:19.240 --> 00:33:23.940
Lee. 360 camera shots, countless places where
00:33:23.940 --> 00:33:26.940
things could be hiding. The door swings open
00:33:26.940 --> 00:33:29.559
again and Madison flees through the house. This
00:33:29.559 --> 00:33:32.470
time we get a wonderful top down. bird's eye
00:33:32.470 --> 00:33:34.970
view of her kind of scurrying through the house
00:33:34.970 --> 00:33:38.630
like a rat in a maze she locks herself in a bedroom
00:33:38.630 --> 00:33:41.589
and repeatedly tells herself that it's all in
00:33:41.589 --> 00:33:44.970
her head important line there which we will come
00:33:44.970 --> 00:33:48.190
back to a bit later yeah now the camera moves
00:33:48.190 --> 00:33:51.069
through the seemingly deserted house and it seems
00:33:51.069 --> 00:33:54.750
for tonight at least our heroine is safe Cue
00:33:54.750 --> 00:33:57.710
the next morning. The sun is up and the house
00:33:57.710 --> 00:34:00.430
appears far less sinister. Madison is taking
00:34:00.430 --> 00:34:03.490
no chances, however, barricading the lower windows
00:34:03.490 --> 00:34:06.490
and installing extra locks and deadbolts on the
00:34:06.490 --> 00:34:10.289
doors. In the script, we get a whole lot of extras,
00:34:10.329 --> 00:34:12.869
starting off with this sequence, which occurs
00:34:12.869 --> 00:34:21.349
just after Madison exits the shower. Interior,
00:34:21.650 --> 00:34:25.579
grocery store, night. Independent local grocery.
00:34:25.800 --> 00:34:28.639
It's late. The employees are closing up for the
00:34:28.639 --> 00:34:31.760
night. Unknown POV at the end of the candy aisle.
00:34:31.920 --> 00:34:35.000
The POV peeks around the corner. There's a beautiful
00:34:35.000 --> 00:34:38.340
woman, 45, at the dairy case, deciding which
00:34:38.340 --> 00:34:40.699
almond milk she prefers. Let's call her Jane
00:34:40.699 --> 00:34:45.079
Doe for now. Store PA VO. The store will be closing
00:34:45.079 --> 00:34:47.260
in 10 minutes. Please finish all transactions.
00:34:47.440 --> 00:34:51.079
Thank you. Unknown POV watching as Jane Doe makes
00:34:51.079 --> 00:34:54.340
a selection, hurrying to the cereal aisle. POV
00:34:54.340 --> 00:34:57.480
follows, methodically stalking Jane Doe. She
00:34:57.480 --> 00:35:00.820
heads down the aisle, pursuing the granola. POV
00:35:00.820 --> 00:35:03.199
slips into the next aisle, peering through the
00:35:03.199 --> 00:35:06.019
shelves from a discreet distance. Even still,
00:35:06.239 --> 00:35:09.420
Jane Doe senses eyes on her. She looks around,
00:35:09.659 --> 00:35:12.039
trying to find where this uneasy feeling is coming
00:35:12.039 --> 00:35:16.500
from. Store PAVO. We'll be closing in five minutes.
00:35:16.579 --> 00:35:20.340
Please finish all transactions. Unknown POV.
00:35:20.860 --> 00:35:23.400
Jane Doe shakes off the feeling. She grabs a
00:35:23.400 --> 00:35:25.940
bag of organic granola, a pack of protein bars
00:35:25.940 --> 00:35:28.599
and rushes to the counter. After a beat, the
00:35:28.599 --> 00:35:31.440
POV follows, watching her check out from the
00:35:31.440 --> 00:35:35.059
edge of the aisle, hidden, unseen. Jane Doe pays,
00:35:35.380 --> 00:35:39.239
leaving. Exterior, parking lot, night. The parking
00:35:39.239 --> 00:35:41.900
lot is quite empty. Jane Doe carries her grocery
00:35:41.900 --> 00:35:45.260
bags to her car, opens the trunk. Her back to
00:35:45.260 --> 00:35:48.400
us. The POV seizes this opportunity and moves
00:35:48.400 --> 00:35:51.360
rapidly in on her, attacking Jane Doe from behind,
00:35:51.599 --> 00:35:53.960
knocking her out with a hard punch to the head.
00:35:54.420 --> 00:35:57.280
She's thrown into the open trunk. The trunk door
00:35:57.280 --> 00:36:00.639
slams down. A gloved hand picks up her keys off
00:36:00.639 --> 00:36:03.579
the ground. The driver's door opens and the POV
00:36:03.579 --> 00:36:06.019
steps into the driver's seat of Jane Doe's car,
00:36:06.219 --> 00:36:09.559
a Ford sedan, and fires up the engine. The car
00:36:09.559 --> 00:36:11.739
pulls away without anyone noticing what just
00:36:11.739 --> 00:36:17.199
happened. So that's a lot to snip out, isn't
00:36:17.199 --> 00:36:19.960
it, Lee? Any thoughts? Yeah, I think you're going
00:36:19.960 --> 00:36:22.039
to see this a fair bit in this early draft. I
00:36:22.039 --> 00:36:24.460
mean, the foundations are there, but some of
00:36:24.460 --> 00:36:27.159
the building blocks haven't quite slid into place.
00:36:27.300 --> 00:36:30.719
And we do get a replacement for this scene a
00:36:30.719 --> 00:36:33.940
little bit later in the film. OK, I shall keep
00:36:33.940 --> 00:36:36.500
my eyes peeled. Are we back in line with the
00:36:36.500 --> 00:36:39.300
film yet, Lee? Not quite. Not quite yet. The
00:36:39.300 --> 00:36:43.070
intruder scene. is also much different so after
00:36:43.070 --> 00:36:45.929
locking up the house madison locks herself in
00:36:45.929 --> 00:36:48.570
her room but it's awoken by an intruder entering
00:36:48.570 --> 00:36:51.130
the house and trying to get into her room the
00:36:51.130 --> 00:36:53.829
two even have a brief conversation so check out
00:36:53.829 --> 00:37:01.849
this from the script but then from the other
00:37:01.849 --> 00:37:04.690
side of the door the killer taunts her in a disturbing
00:37:04.690 --> 00:37:09.050
sing -song the killer off screen madison come
00:37:09.050 --> 00:37:12.750
out and play Her blood runs cold. Madison backs
00:37:12.750 --> 00:37:14.829
away from the door, all the way to the other
00:37:14.829 --> 00:37:17.170
side of her bed. There's a gentle knocking on
00:37:17.170 --> 00:37:20.750
the door. Killer off -screen continued. You can't
00:37:20.750 --> 00:37:23.789
hide from me forever. She's frightened out of
00:37:23.789 --> 00:37:26.789
her wits. Madison's eyes fall on her nightstand,
00:37:27.030 --> 00:37:30.170
Eric's card. She quickly snatches it, grabbing
00:37:30.170 --> 00:37:32.329
her cell phone. There's a laugh from the other
00:37:32.329 --> 00:37:35.449
side of the door, mocking. The killer off -screen
00:37:35.449 --> 00:37:40.389
continued. He can't help you. No one can. Madison.
00:37:40.869 --> 00:37:43.690
Leave me alone. You better get the fuck out of
00:37:43.690 --> 00:37:46.010
my house. I'm calling the cops. They'll be here
00:37:46.010 --> 00:37:48.889
any minute. The killer laughs and keeps laughing.
00:37:49.409 --> 00:37:52.389
Madison grips her phone for dear life. Eric,
00:37:52.550 --> 00:37:57.750
sleepy, over the phone. Hello? Madison. Detective,
00:37:57.969 --> 00:38:01.570
he's here. He's in my home. The killer laughs
00:38:01.570 --> 00:38:05.949
harder, louder. Madison continued. Leave me alone.
00:38:09.260 --> 00:38:13.400
Yeah, so then Shaw, Kakoa Shaw, aka Eric in the
00:38:13.400 --> 00:38:15.840
script, arrives to find the house empty, save
00:38:15.840 --> 00:38:18.260
for Madison, who is locked in her bedroom. And
00:38:18.260 --> 00:38:21.760
it's a fairly long scene, but I feel we've summed
00:38:21.760 --> 00:38:24.380
it up pretty accurately here. And it definitely
00:38:24.380 --> 00:38:25.960
would have given the film a lot more urgency
00:38:25.960 --> 00:38:30.039
in the early phases. So any thoughts on why change
00:38:30.039 --> 00:38:33.280
it? I think it... Just because it gets Madison
00:38:33.280 --> 00:38:36.179
and Shaw a little too involved, a little too
00:38:36.179 --> 00:38:39.440
quickly, perhaps, and it also escalates the threat
00:38:39.440 --> 00:38:43.019
to Madison directly a lot quicker. Yeah, I thought
00:38:43.019 --> 00:38:45.059
that too. It also, in a way, sort of lessens
00:38:45.059 --> 00:38:47.460
the mystery a bit, maybe. I mean, I know it's
00:38:47.460 --> 00:38:49.699
not kind of explained, but, you know, it just
00:38:49.699 --> 00:38:53.059
maybe tips us into sort of Madison is not imagining
00:38:53.059 --> 00:38:55.579
this kind of territory, if you know what I mean.
00:38:55.639 --> 00:38:58.570
Yeah. I'm not sure, maybe. Anyway, the next morning,
00:38:58.650 --> 00:39:00.690
Sydney arrives with a casserole but finds the
00:39:00.690 --> 00:39:03.449
place locked up tight and has to climb up to
00:39:03.449 --> 00:39:05.550
the first floor where she finds Madison staring
00:39:05.550 --> 00:39:08.610
at the hole in the wall where Derek slammed her
00:39:08.610 --> 00:39:11.599
head. Now, the two of them have a little heart
00:39:11.599 --> 00:39:14.380
to heart about what a dick Derek was and how
00:39:14.380 --> 00:39:16.679
Madison just wanted a baby so she could feel
00:39:16.679 --> 00:39:19.760
a biological connection to someone. So it turns
00:39:19.760 --> 00:39:22.380
out, Lee, confession time, that she's adopted
00:39:22.380 --> 00:39:25.179
and her and Sydney aren't biological sisters.
00:39:25.420 --> 00:39:27.260
Now, this is something the younger sibling was
00:39:27.260 --> 00:39:30.559
painfully unaware of. Yeah, and this is largely
00:39:30.559 --> 00:39:33.519
the same in the script. The dialogue is a little
00:39:33.519 --> 00:39:36.659
more exposition heavy on the page, but it's basically
00:39:36.659 --> 00:39:39.800
the same. Also on the page, Sydney just enters
00:39:39.800 --> 00:39:41.840
through the front door as Madison has yet to
00:39:41.840 --> 00:39:45.239
fortify the house. And Madison is dismantling
00:39:45.239 --> 00:39:47.440
the nursery rather than staring at the damaged
00:39:47.440 --> 00:39:50.579
wall. Yeah, the whole dismantling the nursery
00:39:50.579 --> 00:39:53.139
seems a lot more poignant, to be honest. Yeah,
00:39:53.199 --> 00:39:55.960
it really does. But I mean, I guess that hole
00:39:55.960 --> 00:39:58.969
in the wall does have some pretty serious. plot
00:39:58.969 --> 00:40:01.929
ramifications too they do kind of glaze over
00:40:01.929 --> 00:40:04.869
madison's like baby loss trauma quite a bit in
00:40:04.869 --> 00:40:07.329
the film um but i'm going to put the end of act
00:40:07.329 --> 00:40:09.789
one around about here what what do you reckon
00:40:09.789 --> 00:40:13.329
yeah i had it here too in the film for sure yeah
00:40:13.329 --> 00:40:16.349
yeah yeah actually awesome so next in the script
00:40:16.349 --> 00:40:18.869
sydney storms home to confront her mother and
00:40:18.869 --> 00:40:21.409
we get more critical exposition which we're still
00:40:21.409 --> 00:40:23.670
given in the film just a little bit further down
00:40:23.670 --> 00:40:26.530
the road Okay, so in the film, we move on now
00:40:26.530 --> 00:40:29.769
to an as -yet -unknown woman giving a public
00:40:29.769 --> 00:40:33.070
tour of Seattle's old underground. And she jokes
00:40:33.070 --> 00:40:35.150
about how it's meant to be haunted down here
00:40:35.150 --> 00:40:39.449
just as the lights flicker. Ooh, sinisterly.
00:40:40.570 --> 00:40:42.989
So when the tour is over, as the woman locks
00:40:42.989 --> 00:40:45.889
up, she hears something or someone moving in
00:40:45.889 --> 00:40:48.969
the darkness and heads in to investigate it around
00:40:48.969 --> 00:40:51.840
the 30 -minute mark. Now, a few more creepy noises
00:40:51.840 --> 00:40:54.659
and she is running to turn the lights back on.
00:40:54.760 --> 00:40:57.980
But when she does, there's nothing there. Something
00:40:57.980 --> 00:41:00.860
moves above her, though, and the familiar dark
00:41:00.860 --> 00:41:03.539
figure drops from the ceiling and we get a brief
00:41:03.539 --> 00:41:07.000
glimpse of its bloody disfigured face. The woman
00:41:07.000 --> 00:41:10.239
wakes up bound and gagged in a creepy ass attic
00:41:10.239 --> 00:41:13.320
where the killer taunts her over the radio, telling
00:41:13.320 --> 00:41:15.900
her that he's waited a long time for this moment.
00:41:16.199 --> 00:41:19.880
But first on the to do list is one Dr. Weaver.
00:41:20.360 --> 00:41:24.480
Nice. So this is the film's version of the supermarket
00:41:24.480 --> 00:41:28.059
abduction. They both end with Jane Doe bound
00:41:28.059 --> 00:41:31.420
in an unknown attic. In the script, the killer
00:41:31.420 --> 00:41:34.079
is a little more vocal. He doesn't talk using
00:41:34.079 --> 00:41:37.000
the radio, but rather a distinctive kind of all
00:41:37.000 --> 00:41:40.239
caps monster voice and makes it clear he wants
00:41:40.239 --> 00:41:43.099
the woman's help in finding the elusive Dr. Weaver.
00:41:43.949 --> 00:41:47.150
Now on screen, we then jump to the aforementioned
00:41:47.150 --> 00:41:49.630
Dr. Weaver, looking a wee bit older than when
00:41:49.630 --> 00:41:52.269
we first saw her during the cold open. She gets
00:41:52.269 --> 00:41:54.369
a phone call where our mysterious monster in
00:41:54.369 --> 00:41:57.489
black tells her it's time to cut out the cancer.
00:41:57.829 --> 00:42:00.309
Oh, it's coming back to bio, isn't it? That one.
00:42:00.690 --> 00:42:04.369
This unnerves her to the point. She retrieves
00:42:04.369 --> 00:42:07.690
some old patient files and one particular photo,
00:42:07.769 --> 00:42:10.809
which we don't see, seems to set off some serious
00:42:10.809 --> 00:42:14.860
reflection. There's also a notable pointy, stabby
00:42:14.860 --> 00:42:17.980
-looking medical trophy on her mantle. Yeah,
00:42:18.019 --> 00:42:19.860
I mean, health and safety should not have approved
00:42:19.860 --> 00:42:21.679
that bad boy. You could have someone's bloody
00:42:21.679 --> 00:42:25.039
eye out with that thing. And also in the script,
00:42:25.159 --> 00:42:26.980
the good doctor receives a threatening email
00:42:26.980 --> 00:42:29.840
instead of a phone call. But otherwise, we're
00:42:29.840 --> 00:42:32.219
on a pretty similar ground. And I think it's
00:42:32.219 --> 00:42:34.619
fair to say that a threatening phone call is
00:42:34.619 --> 00:42:36.539
much more worrying than a threatening email 90
00:42:36.539 --> 00:42:39.690
% of the time. Yeah, for sure. Okay, so we're
00:42:39.690 --> 00:42:42.230
back with Madison now as she busies herself with
00:42:42.230 --> 00:42:44.730
housework until the lights start to flicker and
00:42:44.730 --> 00:42:48.349
the radio blasts static. It's only for a brief
00:42:48.349 --> 00:42:50.170
moment, though, and everything seems normal.
00:42:50.289 --> 00:42:53.570
Or is it, Lee? Something dashes past her at the
00:42:53.570 --> 00:42:55.510
bottom of the stairs and the lights flicker again.
00:42:55.889 --> 00:42:58.389
Each disturbance seems to cause Madison some
00:42:58.389 --> 00:43:01.429
pretty severe head pain and she checks the wound
00:43:01.429 --> 00:43:03.630
on the back of her head to find that she's bleeding
00:43:03.630 --> 00:43:06.630
again. As she crouches down to fill the washing
00:43:06.630 --> 00:43:09.190
machine, she's assaulted by visions of Dr. Weaver
00:43:09.190 --> 00:43:12.289
and Madison finds herself unable to move as the
00:43:12.289 --> 00:43:15.500
room around her melts away. and she finds herself
00:43:15.500 --> 00:43:18.539
in Weaver's house, a helpless psychic observer
00:43:18.539 --> 00:43:22.420
of the killer, at 36 minutes. There's a really
00:43:22.420 --> 00:43:26.119
cool VFX shot here, Lee, as the camera 360s around
00:43:26.119 --> 00:43:28.960
Madison, and the room kind of melts into Dr.
00:43:29.039 --> 00:43:32.039
Weaver's house as she's beaten down by the dark
00:43:32.039 --> 00:43:35.099
figure, whom she seemingly recognizes after he
00:43:35.099 --> 00:43:40.010
repeats, Cut out the cancer! He then bludgeons
00:43:40.010 --> 00:43:42.510
the poor doctor to death with the stabby trophy
00:43:42.510 --> 00:43:45.489
after promising to show her what the cancer has
00:43:45.489 --> 00:43:48.690
become. Madison then snaps back into her own
00:43:48.690 --> 00:43:51.389
home. Yeah, and this is actually very similar
00:43:51.389 --> 00:43:53.570
to what we have in the script, with a small addition
00:43:53.570 --> 00:43:56.590
of a housekeeper discovering the body, which
00:43:56.590 --> 00:43:59.190
adds nothing to the film. So that would be an
00:43:59.190 --> 00:44:02.309
easy cut to make, I think. Yeah, for sure. Now
00:44:02.309 --> 00:44:04.630
Shaw and Moss arrive at the scene where they
00:44:04.630 --> 00:44:07.250
quickly note the similarities between this murder
00:44:07.250 --> 00:44:10.679
and Derek's. In the script, the killer uses a
00:44:10.679 --> 00:44:13.900
surgical knife for the murders, whereas in the
00:44:13.900 --> 00:44:17.099
film he uses blunt force and from this point
00:44:17.099 --> 00:44:20.840
on he'll use Weaver's trophy. Yeah, half of which
00:44:20.840 --> 00:44:23.960
we learn is missing from the crime scene. The
00:44:23.960 --> 00:44:26.340
mystery is quickly solved as we cut to the killer
00:44:26.340 --> 00:44:29.219
in his attic abode, modifying said trophy into
00:44:29.219 --> 00:44:32.219
a lethal killing tool. Our mysterious woman is
00:44:32.219 --> 00:44:34.480
still bound and gagged, although she is struggling
00:44:34.480 --> 00:44:38.260
to escape her bonds. In the script, the Freddy
00:44:38.260 --> 00:44:41.480
-esque weapon creation is obviously absent as
00:44:41.480 --> 00:44:43.880
he uses the surgical knife instead, although
00:44:43.880 --> 00:44:46.500
we still do get a dialogue between the woman
00:44:46.500 --> 00:44:55.360
and the killer, which plays out as follows. Interior,
00:44:55.699 --> 00:44:59.559
loft space, day. Close on a medical journal lying
00:44:59.559 --> 00:45:02.099
on a workbench. It's the missing journal from
00:45:02.099 --> 00:45:05.579
Dr Weaver's office. Jane Doe, face puffy, eyes
00:45:05.579 --> 00:45:08.800
red from crying, watches, still bound and gagged
00:45:08.800 --> 00:45:11.619
on the bed. The killer. Do you remember what
00:45:11.619 --> 00:45:14.480
it's like to be afraid of the dark? Children
00:45:14.480 --> 00:45:17.360
often are. Always worried that at any moment
00:45:17.360 --> 00:45:20.480
some monstrous thing will grab you and tear you
00:45:20.480 --> 00:45:23.099
out of your bed. Take you away from your home.
00:45:24.039 --> 00:45:26.320
The killer flips through the pages, searching
00:45:26.320 --> 00:45:28.619
for something. There are glimpses of the pages.
00:45:28.719 --> 00:45:31.519
Medical notes. Sketches of surgical procedure.
00:45:31.900 --> 00:45:34.280
The killer turns the page, landing on another
00:45:34.280 --> 00:45:37.679
image of Emily. The killer continued. I remember.
00:45:38.460 --> 00:45:41.460
The killer turns the page. It's a surgical consent
00:45:41.460 --> 00:45:44.480
form. There are a list of names. We recognise
00:45:44.480 --> 00:45:47.280
one as Dr Weavers. The killer runs his finger
00:45:47.280 --> 00:45:50.119
down the list, stopping by one. Victor Field.
00:45:50.760 --> 00:45:55.570
The killer continued. There you are. To Jane
00:45:55.570 --> 00:45:58.349
Doe. Looks like you'll have to keep waiting.
00:45:58.929 --> 00:46:02.510
But don't worry. When I'm done with him, your
00:46:02.510 --> 00:46:09.489
turn will come. Nice. So after this scene in
00:46:09.489 --> 00:46:11.829
the script, we get some nice bonding moments
00:46:11.829 --> 00:46:14.289
with Madison and Sidney before a news report
00:46:14.289 --> 00:46:17.289
reveals Dr Weaver's shocking murder and Madison
00:46:17.289 --> 00:46:19.489
recognises her as the woman from her vision.
00:46:20.239 --> 00:46:22.619
On screen, we skip the bonding and jump straight
00:46:22.619 --> 00:46:25.980
into Madison's reaction. And it's here she confesses
00:46:25.980 --> 00:46:28.840
to Sidney about her vision. Meanwhile, at the
00:46:28.840 --> 00:46:31.260
cop shop, Shaw and Moss are still pouring through
00:46:31.260 --> 00:46:34.480
Dr Weaver's medical files. Shaw calls on a colleague
00:46:34.480 --> 00:46:37.119
to age up a photo of a patient, a young girl,
00:46:37.260 --> 00:46:41.079
which seemed important at the crime scene. Yeah,
00:46:41.159 --> 00:46:43.559
this is all pretty much spot on with what's written
00:46:43.559 --> 00:46:47.059
in the script. We move now to the other doctor
00:46:47.059 --> 00:46:50.500
from the cold open, one Dr Fields, as he speaks
00:46:50.500 --> 00:46:52.940
over the phone about his sadness over Weaver's
00:46:52.940 --> 00:46:55.940
murder. After some electrical interference cuts
00:46:55.940 --> 00:46:58.860
him off, he notices his apartment window is open
00:46:58.860 --> 00:47:02.300
and a trail of water leads off into his closet
00:47:02.300 --> 00:47:06.340
at around the 43 minute and 20 second mark. I
00:47:06.340 --> 00:47:08.699
love this whole electrical distortion calling
00:47:08.699 --> 00:47:11.679
card. It's basically telling the audience. Okay,
00:47:11.719 --> 00:47:14.659
guys, it's time to be afraid now. Something bad
00:47:14.659 --> 00:47:17.079
is going to happen. Yeah, it's almost like the
00:47:17.079 --> 00:47:20.380
Jaws theme music, isn't it? So the doctor investigates
00:47:20.380 --> 00:47:23.320
the closet but emerges unharmed, one giving us
00:47:23.320 --> 00:47:25.659
several potential jump scares here but refusing
00:47:25.659 --> 00:47:29.460
to bite on any of them yet. As the doctor closes
00:47:29.460 --> 00:47:32.260
the window, we get a glimpse of the killer lurking
00:47:32.260 --> 00:47:34.980
behind him. Still no attack, though. We even
00:47:34.980 --> 00:47:38.340
get a classic from under the bed POV shot, but
00:47:38.340 --> 00:47:40.300
still one holds off on pulling the trigger and
00:47:40.300 --> 00:47:42.579
the good doctor settles down for the night as
00:47:42.579 --> 00:47:45.900
we jump back to Madison's house. She's crashed
00:47:45.900 --> 00:47:48.760
out in bed until the room becomes bathed in an
00:47:48.760 --> 00:47:51.360
eerie red light similar to that of the good doctors
00:47:51.360 --> 00:47:53.920
and she opens her eyes to find herself lying
00:47:53.920 --> 00:47:57.880
next to the sleeping man. She screams as the
00:47:57.880 --> 00:48:00.619
room melts into the doctor's apartment and the
00:48:00.619 --> 00:48:03.860
killer crawls over her paralyzed body to mount
00:48:03.860 --> 00:48:06.440
the sleeping man before stabbing him repeatedly
00:48:06.440 --> 00:48:09.579
with his shiny new weaponry. Also, I've got to
00:48:09.579 --> 00:48:11.659
say, this is probably the clearest look we've
00:48:11.659 --> 00:48:13.940
had at the killer yet, and this guy is just a
00:48:13.940 --> 00:48:18.099
whole load of wrong, dude. His body is distorted
00:48:18.099 --> 00:48:21.719
and bent out of shape. It's a disturbing visual,
00:48:21.840 --> 00:48:25.219
isn't it? Absolutely. The killer looks down at
00:48:25.219 --> 00:48:27.460
Madison, and we get a glimpse of a glistening
00:48:27.460 --> 00:48:32.079
inhuman eye, and then she wakes screaming. Madison
00:48:32.079 --> 00:48:34.380
is understandably shaken up, but is more convinced
00:48:34.380 --> 00:48:36.719
than ever that these visions she is having are
00:48:36.719 --> 00:48:39.630
real. So this is all pretty similar to what's
00:48:39.630 --> 00:48:42.190
on the page. Obviously, the killer is using the
00:48:42.190 --> 00:48:44.250
surgical knife rather than the trophy weapon,
00:48:44.349 --> 00:48:46.769
but otherwise it's pretty much the same thing.
00:48:47.829 --> 00:48:50.090
With her sister in tow, Madison heads down to
00:48:50.090 --> 00:48:52.050
the police station where she speaks with Shaw
00:48:52.050 --> 00:48:54.809
and Moss. It goes over about as well as you'd
00:48:54.809 --> 00:48:56.849
expect, but the sisters are able to convince
00:48:56.849 --> 00:48:59.170
the detectives to go check out the scene of the
00:48:59.170 --> 00:49:01.710
crime, if nothing else. They leave the sisters
00:49:01.710 --> 00:49:03.909
outside with a couple of beat cops before heading
00:49:03.909 --> 00:49:06.630
up to see if there is indeed a dead man upstairs.
00:49:07.639 --> 00:49:09.900
Of course, as we already know, there is. But
00:49:09.900 --> 00:49:12.460
Madison now has a vision of the killer's face,
00:49:12.659 --> 00:49:15.320
although the resulting police sketch winds up
00:49:15.320 --> 00:49:18.380
being a mix between Fred Krueger and the girl
00:49:18.380 --> 00:49:20.699
from The Ring. But that does give us a great
00:49:20.699 --> 00:49:23.360
line from Moss about putting out a bolo on Sloth
00:49:23.360 --> 00:49:31.639
from The Goonies. Oh, hello. If I'm not mistaken,
00:49:31.719 --> 00:49:34.340
Lee, that's the sound of our random page check.
00:49:34.860 --> 00:49:37.510
Now, it's common in screenwriting lore. that
00:49:37.510 --> 00:49:41.130
one page equals one minute of screen time. It's
00:49:41.130 --> 00:49:44.190
an oft -contested statement, but we've found
00:49:44.190 --> 00:49:45.829
it holds up pretty close to the mark, haven't
00:49:45.829 --> 00:49:48.510
we, Lee, so far? So how are we doing on this
00:49:48.510 --> 00:49:51.829
one? Let's have a look. So we can lock in pretty
00:49:51.829 --> 00:49:54.989
accurately here as this exact line is featured
00:49:54.989 --> 00:50:02.639
in the script on page 47. And we are at... minutes
00:50:02.639 --> 00:50:05.659
and 50 seconds in the script so that's just three
00:50:05.659 --> 00:50:08.719
pages out so we're pretty close to the net on
00:50:08.719 --> 00:50:10.840
this one we've had a few extra scenes though
00:50:10.840 --> 00:50:14.239
and a few scenes taken out so it's kind of balanced
00:50:14.239 --> 00:50:17.860
itself out nicely i think nice in the script
00:50:17.860 --> 00:50:20.920
we get a motherfucking montage of the sketch
00:50:20.920 --> 00:50:23.360
being compiled but otherwise things are playing
00:50:23.360 --> 00:50:26.920
out pretty close to what's on the page Excellent.
00:50:27.159 --> 00:50:29.460
So Madison heads off to the bathroom, but no
00:50:29.460 --> 00:50:32.199
sooner is she isolated from the others when the
00:50:32.199 --> 00:50:34.760
lights start to flicker and her phone rings at
00:50:34.760 --> 00:50:37.579
the 52 -minute mark. It's our killer Lee, and
00:50:37.579 --> 00:50:40.519
he calls Madison by her birth name, Emily, and
00:50:40.519 --> 00:50:43.199
scolds her for believing them that he was just
00:50:43.199 --> 00:50:45.699
a voice in her head and that he's going to get
00:50:45.699 --> 00:50:48.300
revenge on those responsible for making her forget
00:50:48.300 --> 00:50:50.820
him. But she remembers his name, if nothing else,
00:50:50.860 --> 00:50:54.429
Lee. You guessed it, folks. It's Gabriel. Yeah,
00:50:54.489 --> 00:50:57.070
a pretty similar conversation goes down on the
00:50:57.070 --> 00:50:59.550
page. Emily, our killer was originally envisioned
00:50:59.550 --> 00:51:03.389
as a woman named Gabrielle. Also, the visual
00:51:03.389 --> 00:51:05.929
framing of this phone conversation is absolutely
00:51:05.929 --> 00:51:08.789
fucking genius. And we'll get to why in the breakdown.
00:51:09.210 --> 00:51:11.650
Now, the Gabriel Gabrielle thing, that's an interesting
00:51:11.650 --> 00:51:14.510
change, isn't it? Have you got any thoughts on
00:51:14.510 --> 00:51:17.530
that particular? I've got a few, but again. Probably
00:51:17.530 --> 00:51:19.530
best to save it for the breakdown. But I must
00:51:19.530 --> 00:51:22.349
say, I am really vibing with Cooper's writing
00:51:22.349 --> 00:51:25.289
style. It's extremely engaging. And here is the
00:51:25.289 --> 00:51:29.150
killer reveal as it's written on the page. Madison.
00:51:29.789 --> 00:51:33.030
Gabrielle, no! Madison catches herself. Holy
00:51:33.030 --> 00:51:36.369
fuck, she knows her name. And it's her, the killer
00:51:36.369 --> 00:51:38.789
is a woman. On the other end of the line, the
00:51:38.789 --> 00:51:42.130
voice, the killer now, known as Gabrielle, laughs.
00:51:43.159 --> 00:51:45.639
I think it also serves as a nice little summary
00:51:45.639 --> 00:51:47.420
just to kind of make sure the reader is up to
00:51:47.420 --> 00:51:50.039
speed on these latest developments. Yeah, I mean,
00:51:50.059 --> 00:51:52.139
just a second that the script is very engaging,
00:51:52.280 --> 00:51:53.960
isn't it? But again, we can get to that in the
00:51:53.960 --> 00:51:57.219
breakdown. So Madison plucks Sydney away from
00:51:57.219 --> 00:51:59.659
her flirtatious banter with Shaw, who realises
00:51:59.659 --> 00:52:02.139
after they've left that the girl in the aged
00:52:02.139 --> 00:52:05.380
up picture he requested is Madison, thus tying
00:52:05.380 --> 00:52:09.050
her deeper to the ongoing case. In the car, Madison
00:52:09.050 --> 00:52:11.309
tells her sister about the phone call with Gabriel
00:52:11.309 --> 00:52:15.090
and how she knows the cops probably suspect her
00:52:15.090 --> 00:52:17.610
of the killings. So in an attempt to learn more
00:52:17.610 --> 00:52:20.230
about Madison's childhood, they head to the last
00:52:20.230 --> 00:52:22.829
person who may know something, their mother.
00:52:23.610 --> 00:52:26.849
So Mama Jean is delighted to see her girls, but
00:52:26.849 --> 00:52:29.369
has no recollection of Madison having a brother.
00:52:29.550 --> 00:52:32.269
Although when Madison mentions the name Gabriel,
00:52:32.570 --> 00:52:36.579
that very clearly strikes a nerve. Again, apart
00:52:36.579 --> 00:52:39.159
from the gender switch, this is pretty much on
00:52:39.159 --> 00:52:42.199
par with what's on the page. And it's home movie
00:52:42.199 --> 00:52:44.739
time as Jean sits the girls down to watch some
00:52:44.739 --> 00:52:49.480
old VHS tapes from when Madison was nine. One
00:52:49.480 --> 00:52:53.739
is of a sad birthday party, which no other kids
00:52:53.739 --> 00:52:56.159
attended because they thought she was a freakly.
00:52:57.340 --> 00:53:00.760
And the other is a pre -Christmas vid. I don't
00:53:00.760 --> 00:53:02.840
know why it makes me laugh, but for some reason.
00:53:03.179 --> 00:53:08.969
Sick fuck. You were obviously a popular child.
00:53:11.929 --> 00:53:14.710
Annoyingly popular. During both tapes, Madison
00:53:14.710 --> 00:53:17.190
is seen talking to her imaginary friend, Gabriel.
00:53:17.889 --> 00:53:20.170
In the second tape, it seems that Gabriel is
00:53:20.170 --> 00:53:23.050
trying to persuade Madison to harm the unborn
00:53:23.050 --> 00:53:26.909
child in Jean's belly. Yeah, see, I definitely
00:53:26.909 --> 00:53:29.730
ensure there was no creepy -ass imaginary friends
00:53:29.730 --> 00:53:32.110
on my kid's adoption clause. Any sign of that,
00:53:32.210 --> 00:53:33.889
they'd be straight back to the adoption centre.
00:53:35.159 --> 00:53:38.380
Oh, you are all heart, dude. I've seen enough
00:53:38.380 --> 00:53:40.440
horror movies to know that adoptions go one of
00:53:40.440 --> 00:53:43.599
two ways, great or some kind of demon -possessed
00:53:43.599 --> 00:53:48.099
murder child. Well, it looks like Gene and Sidney
00:53:48.099 --> 00:53:51.460
may be on the fence about this one. Yeah. So
00:53:51.460 --> 00:53:53.440
in the script, we get a little more information
00:53:53.440 --> 00:53:56.719
here. It seems Gene was told that Madison was
00:53:56.719 --> 00:53:58.800
recovering from the removal of a brain tumour
00:53:58.800 --> 00:54:01.449
at the time of the adoption. We then get an extra
00:54:01.449 --> 00:54:03.650
scene with the killer, now officially christened
00:54:03.650 --> 00:54:06.429
Gabrielle, as she taunts her unnamed prisoner.
00:54:06.550 --> 00:54:15.409
Check it out. Interior, loft space, night. Close
00:54:15.409 --> 00:54:18.570
on, a blade. The edge runs across a sharpening
00:54:18.570 --> 00:54:23.389
stone in quick, succinct movements. Skrt, skrt.
00:54:24.090 --> 00:54:27.139
It's getting sharper with every pass. Pull back
00:54:27.139 --> 00:54:29.940
to reveal Gabrielle wearing black leather gloves
00:54:29.940 --> 00:54:32.079
and a hoodie, hunched over a table surrounded
00:54:32.079 --> 00:54:35.539
by shadow. The sound of the blade echoes through
00:54:35.539 --> 00:54:40.059
the loft. Scrit, scrit. Across the loft, bound
00:54:40.059 --> 00:54:43.340
to the bed, Jane Doe watches. Gabrielle's attention
00:54:43.340 --> 00:54:46.059
is on her task, so Jane Doe works her wrist in
00:54:46.059 --> 00:54:48.980
circles, trying to get the knot loose. She's
00:54:48.980 --> 00:54:51.340
focused on her binds, doesn't hear the sudden
00:54:51.340 --> 00:54:55.380
silence. Gabrielle, off screen. It won't work.
00:54:56.170 --> 00:54:58.710
Jane Doe snaps around. Though she's covered in
00:54:58.710 --> 00:55:01.489
shadow, Gabrielle is watching her. Gabrielle
00:55:01.489 --> 00:55:04.269
continued. You're working the knot to get it
00:55:04.269 --> 00:55:09.989
loose. Smart. Gabrielle walks towards her. Jane
00:55:09.989 --> 00:55:13.489
Doe pinches her eyes closed, terrified. Gabrielle
00:55:13.489 --> 00:55:16.230
reaches out, gripping the rope. She tightens
00:55:16.230 --> 00:55:20.010
it. The rope digs into Jane Doe's skin. Gabrielle
00:55:20.010 --> 00:55:24.369
continued. Now try. Jane Doe is too afraid to
00:55:24.369 --> 00:55:27.420
move. Gabrielle grips her face, pressing it into
00:55:27.420 --> 00:55:32.380
the bed. Gabrielle continued. Do it. Whimpering,
00:55:32.519 --> 00:55:35.260
Jane Doe tries to roll her wrist around. She
00:55:35.260 --> 00:55:39.360
can't. Gabrielle continued. I can't have you
00:55:39.360 --> 00:55:42.599
leaving before you've served your purpose. Pats
00:55:42.599 --> 00:55:45.559
her on the head. Be good. I'll be right back.
00:55:49.800 --> 00:55:52.400
Now, back at the station, Shaw is poring through
00:55:52.400 --> 00:55:55.539
the medical records from Dr Weaver's when he
00:55:55.539 --> 00:55:58.739
finds a bunch of old USB drives. And upon watching
00:55:58.739 --> 00:56:00.900
the videos contained on the drives, he learns
00:56:00.900 --> 00:56:03.500
there were three doctors that oversaw Madison's
00:56:03.500 --> 00:56:07.139
case. And the last, Dr Gregory, may be the next
00:56:07.139 --> 00:56:11.300
victim. So on the page, Shaw has another look
00:56:11.300 --> 00:56:13.800
over Weaver's house, basically returns to the
00:56:13.800 --> 00:56:16.300
scene of the crime and finds the aforementioned
00:56:16.300 --> 00:56:19.059
drives that way. But otherwise. We're pretty
00:56:19.059 --> 00:56:21.139
much still on the same beat. Now, while Shaw
00:56:21.139 --> 00:56:23.900
heads for Dr. Gregory, Madison is at home brushing
00:56:23.900 --> 00:56:26.659
her teeth when a reflection changes to that of
00:56:26.659 --> 00:56:28.880
the aforementioned doctor. And we get another
00:56:28.880 --> 00:56:33.840
cool room melty transition to Gabriel's POV at
00:56:33.840 --> 00:56:36.579
around the one hour mark. And it's a race against
00:56:36.579 --> 00:56:39.300
time now as to whether Shaw will arrive before
00:56:39.300 --> 00:56:42.519
Gabriel can finish his work. And like all good
00:56:42.519 --> 00:56:44.639
American detectives, Lee, Shaw heads straight
00:56:44.639 --> 00:56:48.030
there without backup. discovers the body and
00:56:48.030 --> 00:56:51.210
is attacked by Gabriel. He gets a good look at
00:56:51.210 --> 00:56:53.429
the freaky mofo before the killer flees out the
00:56:53.429 --> 00:56:56.369
window and down the fire escape with superhuman
00:56:56.369 --> 00:56:59.670
agility. Somehow Shaw is able to keep up long
00:56:59.670 --> 00:57:02.489
enough to pursue Gabriel into the old Seattle
00:57:02.489 --> 00:57:05.769
underground ruins. And the way this thing moves
00:57:05.769 --> 00:57:10.429
is just freaky, dude. Shaw gets a few shots off,
00:57:10.550 --> 00:57:14.269
misses them all, Lee. And Gabriel escapes through
00:57:14.269 --> 00:57:18.780
the ceiling like a freaky gibbon. Again, we're
00:57:18.780 --> 00:57:21.039
on a similar path in the script here. However,
00:57:21.159 --> 00:57:23.619
rather than heading down into the ruins beneath
00:57:23.619 --> 00:57:27.579
the city, on the page, Gabrielle heads up, leading
00:57:27.579 --> 00:57:30.039
to a rooftop chase that plays out like this.
00:57:35.300 --> 00:57:37.800
Interior, apartment complex, hallway, continuous.
00:57:38.760 --> 00:57:41.300
Eric runs into the hallway just in time to see
00:57:41.300 --> 00:57:43.460
the back of Gabrielle's head disappearing around
00:57:43.460 --> 00:57:45.949
the corner. Eric follows, taking the corner.
00:57:46.329 --> 00:57:49.150
Eric has become a running juggernaut, but he's
00:57:49.150 --> 00:57:51.869
still not gaining on Gabrielle. Gabrielle bursts
00:57:51.869 --> 00:57:54.769
through a window onto a fire escape, showering
00:57:54.769 --> 00:57:57.269
glass everywhere. She skitters up the stairs
00:57:57.269 --> 00:58:00.750
like an insect. Eric tries to keep up. Exterior,
00:58:00.969 --> 00:58:04.269
rooftop, night. Camera's behind Eric as he bounds
00:58:04.269 --> 00:58:06.650
after Gabrielle, giving it everything he's got.
00:58:07.030 --> 00:58:10.090
Even still, she's pulling away. She reaches the
00:58:10.090 --> 00:58:12.650
edge of the roof, leaps, disappearing on the
00:58:12.650 --> 00:58:15.210
other side. Eric doesn't bother to look before,
00:58:15.389 --> 00:58:18.769
fuelled by adrenaline, he leaps, sailing through
00:58:18.769 --> 00:58:21.989
the air. Wham! He hits another apartment rooftop,
00:58:22.349 --> 00:58:25.309
barely missing the ventilator. He quickly gets
00:58:25.309 --> 00:58:28.190
back on his feet, scrambling up. Gabrielle is
00:58:28.190 --> 00:58:30.389
booking it across the edge of the roof. Eric
00:58:30.389 --> 00:58:34.309
pulls his gun. Eric, stop! Gabrielle keeps going,
00:58:34.489 --> 00:58:37.900
hunched over, crab walking on the ledge. Eric
00:58:37.900 --> 00:58:41.039
fires. Gabrielle dodges with almost inhuman speed.
00:58:41.199 --> 00:58:43.800
She's upright, bolting for the stairwell door.
00:58:44.199 --> 00:58:46.960
Eric fires two more rounds, blasting the door
00:58:46.960 --> 00:58:50.199
before Gabrielle reaches the door. She turns
00:58:50.199 --> 00:58:53.300
on a dime, retreating to the fire escape. Eric
00:58:53.300 --> 00:58:56.500
is up, tearing ass after her. He reaches the
00:58:56.500 --> 00:58:59.059
fire escape, just as Gabrielle dives over, head
00:58:59.059 --> 00:59:02.239
first. Eric leans over, awestruck by what he
00:59:02.239 --> 00:59:06.519
sees. His POV, Gabrielle's spider crawling down
00:59:06.519 --> 00:59:10.019
the fire escape head first. Eric aims, looking
00:59:10.019 --> 00:59:12.699
for a clear shot, but Gabrielle is weaving in
00:59:12.699 --> 00:59:15.940
and out of the fire escape. He has a shot, fires,
00:59:16.219 --> 00:59:19.280
it ricochets off the metal. Gabrielle reaches
00:59:19.280 --> 00:59:22.579
the ground, back flipping to her feet. She runs,
00:59:22.579 --> 00:59:25.320
but Eric clocks there's something weird, disjointed
00:59:25.320 --> 00:59:28.360
about her movements. Eric continued. What the
00:59:28.360 --> 00:59:33.820
fuck? He aims again, fires, he's out. Fuck. Gabrielle
00:59:33.820 --> 00:59:39.699
disappears into the dark alleyway. So, any thoughts
00:59:39.699 --> 00:59:42.340
on the changes here, Lee? I mean, the underground
00:59:42.340 --> 00:59:44.880
set pieces that we get in the film are undeniably
00:59:44.880 --> 00:59:47.320
cool. You know, in the space of a couple of minutes,
00:59:47.340 --> 00:59:50.000
we go through dark alleys, steam -filled boiler
00:59:50.000 --> 00:59:52.860
rooms, burnt -out ruins, and an old warehouse
00:59:52.860 --> 00:59:55.300
full of horse -drawn carriages. And I think that's
00:59:55.300 --> 00:59:57.559
way more interesting than jumping a couple of
00:59:57.559 --> 01:00:00.619
rooftops. Yeah, I also think this place holds
01:00:00.619 --> 01:00:03.530
significance in the plot. But also, if you've
01:00:03.530 --> 01:00:07.710
paid for it, you might as well get your money's
01:00:07.710 --> 01:00:11.010
worth, right? Anyway, back at Madison's, Moss
01:00:11.010 --> 01:00:13.949
and Shaw lay down the pieces of the puzzle they've
01:00:13.949 --> 01:00:16.530
managed to connect. So Madison was a patient
01:00:16.530 --> 01:00:19.150
of the doctors when she was a child, but she
01:00:19.150 --> 01:00:22.090
has no memory of it. Thankfully, Shaw has a plan.
01:00:22.289 --> 01:00:25.389
By using repressive hypnotherapy, he hopes Madison
01:00:25.389 --> 01:00:29.219
will remember the truth about her past. And you
01:00:29.219 --> 01:00:31.260
must have had that hypnotherapist lined up and
01:00:31.260 --> 01:00:33.019
waiting in the car because the next thing you
01:00:33.019 --> 01:00:35.659
know, still in Madison's living room, the hypnosis
01:00:35.659 --> 01:00:39.280
is underway. And are you a believer in hypnosis,
01:00:39.280 --> 01:00:42.239
by the way? A little off topic, I know. I don't
01:00:42.239 --> 01:00:43.400
really know anything about it, to be honest.
01:00:43.480 --> 01:00:46.099
I mean, you know, there seems to be a thing called
01:00:46.099 --> 01:00:48.500
hypnosis, which seems to work for various things,
01:00:48.639 --> 01:00:51.000
right? I mean, primarily making people look like
01:00:51.000 --> 01:00:54.920
tits for the entertainment of others. I don't
01:00:54.920 --> 01:00:57.360
know, dude. What about you? I'm not really sure,
01:00:57.380 --> 01:00:59.199
you know. I reckon it's one of those things that
01:00:59.199 --> 01:01:01.800
it'll work if you believe it'll work, but I guess
01:01:01.800 --> 01:01:03.579
there's got to be something behind it all, right?
01:01:03.639 --> 01:01:05.440
Who knows? There's definitely something about
01:01:05.440 --> 01:01:07.980
the power of suggestion, I think. Yeah, very
01:01:07.980 --> 01:01:11.500
much. Anyway, so with Madison under hypnosis,
01:01:11.579 --> 01:01:13.760
she begins to remember pieces of her childhood,
01:01:13.940 --> 01:01:18.340
of first being adopted and of Gabriel, who followed
01:01:18.340 --> 01:01:20.840
her home from the hospital, but who nobody but
01:01:20.840 --> 01:01:23.909
her could see and hear. Now, during this flashback,
01:01:24.010 --> 01:01:26.210
Gabriel convinces Madison to cut her mother a
01:01:26.210 --> 01:01:28.989
big slice of cake. But as she's about to do it,
01:01:29.010 --> 01:01:31.190
the room melts away and we see she's actually
01:01:31.190 --> 01:01:34.210
stood over her sleeping mother, knife poised
01:01:34.210 --> 01:01:38.269
to perform an impromptu C -section. So this is
01:01:38.269 --> 01:01:40.829
interesting because it shows us that the whole
01:01:40.829 --> 01:01:43.070
melty room thing is something that has happened
01:01:43.070 --> 01:01:46.530
before and that Gabriel has apparently been influencing
01:01:46.530 --> 01:01:50.519
Madison ever since her childhood. Madison understandably
01:01:50.519 --> 01:01:54.420
starts to freak the fuck out. The hypnotist undoes
01:01:54.420 --> 01:01:57.679
her hypno mojo and Madison now remembers more
01:01:57.679 --> 01:02:00.840
of her youth, which is handy, especially that
01:02:00.840 --> 01:02:03.500
Gabriel used to make her do things she didn't
01:02:03.500 --> 01:02:06.860
want to and hated Sydney because he knew that
01:02:06.860 --> 01:02:09.159
with a loving sister, Madison wouldn't need him
01:02:09.159 --> 01:02:13.119
anymore. And it seems he was right. Madison tells
01:02:13.119 --> 01:02:15.780
the cops that he became a lost memory buried
01:02:15.780 --> 01:02:19.199
deep in the back of my head. Key words there.
01:02:19.340 --> 01:02:22.239
On the page, before this whole hypnosis deal
01:02:22.239 --> 01:02:24.639
goes down, we get a pretty cool scene where Moss
01:02:24.639 --> 01:02:27.900
and Shaw review the CCTV footage of Gregory's
01:02:27.900 --> 01:02:30.559
murder, which shows Gabrielle quite clearly as
01:02:30.559 --> 01:02:32.780
she fries the electric locks and does her weird
01:02:32.780 --> 01:02:35.099
running. What's interesting is that they note
01:02:35.099 --> 01:02:37.500
when played in reverse, the running looks almost
01:02:37.500 --> 01:02:40.119
normal. Yeah, I feel that would have perhaps
01:02:40.119 --> 01:02:42.260
spoiled the big reveal, which is coming pretty
01:02:42.260 --> 01:02:45.610
soon now. Yeah, agreed. I mean, on this page,
01:02:45.670 --> 01:02:48.769
we then get the hypnosis scene. And one interesting
01:02:48.769 --> 01:02:51.769
thing about the way it's put on the page is this.
01:02:53.070 --> 01:02:56.349
Beverly. Is anyone else around? Madison. No.
01:02:57.230 --> 01:03:01.849
Nervous. I mean, yes. Him. Beverly. Who? Madison
01:03:01.849 --> 01:03:06.050
hesitates. Seems scared. Whispers. Madison. Gabrielle.
01:03:06.940 --> 01:03:09.199
Now, this is not the first time the script has
01:03:09.199 --> 01:03:11.500
referred to the killer as male. It's the first
01:03:11.500 --> 01:03:14.659
time after naming and gendering the killer officially
01:03:14.659 --> 01:03:18.059
as Gabrielle. And this trend continues quite
01:03:18.059 --> 01:03:20.500
a bit right up until the end of the script. And
01:03:20.500 --> 01:03:22.579
it makes me wonder if Gabrielle was originally
01:03:22.579 --> 01:03:25.300
a Gabriel and then switched perhaps before switching
01:03:25.300 --> 01:03:27.920
back again. Yeah, I have to say, dude, I mean,
01:03:27.940 --> 01:03:30.460
I was confused by this a bit when I was reading
01:03:30.460 --> 01:03:33.159
the script. And I've like highlighted some of
01:03:33.159 --> 01:03:36.469
this for the breakdown as well. I mean, reading
01:03:36.469 --> 01:03:38.210
the script, my sense was initially the draft
01:03:38.210 --> 01:03:41.030
was kind of in between maybe like a note stage
01:03:41.030 --> 01:03:44.010
where it was, you know, used to be Madison's
01:03:44.010 --> 01:03:46.389
sister. And now we've changed it to a brother.
01:03:47.250 --> 01:03:50.230
But some sort of hims and hers and whatnot were
01:03:50.230 --> 01:03:51.969
left in by accident. But yeah, I'm not sure if
01:03:51.969 --> 01:03:55.869
that's the case or not. Anyway, we'll kick that
01:03:55.869 --> 01:03:58.650
can down the road, I think, for the for the old
01:03:58.650 --> 01:04:01.510
breakdown for the time being. But back on screen,
01:04:01.789 --> 01:04:04.909
Moss just clarifies that Madison wants them to
01:04:04.909 --> 01:04:07.429
believe that the killer is her imaginary friend.
01:04:08.190 --> 01:04:09.929
Yeah, see, when you say it like that, it makes
01:04:09.929 --> 01:04:13.250
Madison look guilty as fuck. Kind of does, doesn't
01:04:13.250 --> 01:04:15.769
it? We then get some establishing shots of a
01:04:15.769 --> 01:04:19.190
rainy, windswept cityscape before returning to
01:04:19.190 --> 01:04:22.909
our Jane Doe tied up in Gabriel's attic. See,
01:04:22.969 --> 01:04:26.449
these establishing shots are absolutely key for
01:04:26.449 --> 01:04:30.079
this next scene. So she eventually manages to
01:04:30.079 --> 01:04:32.739
free herself before crashing through the unsafe
01:04:32.739 --> 01:04:36.360
floor of the attic right into Madison's living
01:04:36.360 --> 01:04:40.980
room, Lee! What the hell? To the understandable
01:04:40.980 --> 01:04:43.619
shock of all present and all watching, I would
01:04:43.619 --> 01:04:48.039
imagine. So everyone's down there in the hypnotherapy
01:04:48.039 --> 01:04:51.519
session and boom! Down comes Jane Doe, dude!
01:04:51.880 --> 01:04:53.679
Yeah, it was such a great moment. I remember
01:04:53.679 --> 01:04:55.280
when I first watched it, I was just literally
01:04:55.280 --> 01:04:57.500
like, what the fuck? This is so good. I mean,
01:04:57.559 --> 01:05:00.280
it's such a great little twist. But if we hadn't
01:05:00.280 --> 01:05:02.860
had those reestablishing shots of the cityscape,
01:05:03.099 --> 01:05:05.500
we'd still have been in the mindset of Madison's
01:05:05.500 --> 01:05:08.179
living room. But by inserting those sort of like
01:05:08.179 --> 01:05:10.679
one basically fools us into thinking that either
01:05:10.679 --> 01:05:13.860
time and or distance have passed since we left
01:05:13.860 --> 01:05:16.980
that scene. And it's a fantastic example of using
01:05:16.980 --> 01:05:19.960
the audience's preconceived notions against them.
01:05:20.000 --> 01:05:22.420
You know, we see and establish. shot we know
01:05:22.420 --> 01:05:24.440
we're somewhere else right i mean it's absolute
01:05:24.440 --> 01:05:28.500
genius and uh this whole reveal plays out pretty
01:05:28.500 --> 01:05:30.539
much exactly the same on the page as it does
01:05:30.539 --> 01:05:33.559
on screen and i reckon this is probably the end
01:05:33.559 --> 01:05:36.900
of act two yeah i also had it here dude yeah
01:05:36.900 --> 01:05:39.019
and i just don't second what you say it's like
01:05:39.019 --> 01:05:43.139
you know knowing how sort of uh filmmaking works
01:05:43.139 --> 01:05:46.199
and the language of film and manipulating the
01:05:46.199 --> 01:05:50.719
audience it's uh it's great stuff So things aren't
01:05:50.719 --> 01:05:53.039
looking great for Madison as she's locked up
01:05:53.039 --> 01:05:55.679
in the back of a cop car as the boys in blue
01:05:55.679 --> 01:05:59.030
swarm the scene. Now, James Wan's wife takes
01:05:59.030 --> 01:06:01.929
the detectives up into the attic where they find
01:06:01.929 --> 01:06:05.210
the murder weapon, as well as Gabriel's trademark
01:06:05.210 --> 01:06:08.269
coat and gloves. So I'd say our heroine is pretty
01:06:08.269 --> 01:06:11.130
much screwed at this point, Lee. The next time
01:06:11.130 --> 01:06:13.949
we see Madison, it's in an interrogation room
01:06:13.949 --> 01:06:17.369
as Moss tries to force a confession out of her.
01:06:17.449 --> 01:06:19.969
She's a bit brutal here, I thought, Moss. But
01:06:19.969 --> 01:06:22.269
Madison is getting more and more freaked out
01:06:22.269 --> 01:06:25.789
until the lights in the room explode and Shaw's
01:06:25.789 --> 01:06:29.710
phone starts ringing. Now, the lighting in this
01:06:29.710 --> 01:06:32.650
scene is great. It really kind of isolates Madison
01:06:32.650 --> 01:06:36.690
as Shaw speaks with Gabriel on the phone. And
01:06:36.690 --> 01:06:38.929
it seems that unlike his partner, at least, he
01:06:38.929 --> 01:06:42.760
isn't totally convinced of Madison's guilt. Yeah,
01:06:42.760 --> 01:06:44.780
I mean, this is all pretty similar to what's
01:06:44.780 --> 01:06:47.880
on the page, but on the page, our gender terminology
01:06:47.880 --> 01:06:56.099
is all over the place now. Check this out. Pop.
01:06:56.280 --> 01:06:59.500
The fluorescent light tubes explode. All around
01:06:59.500 --> 01:07:02.940
them, sparks shower down. Accent lighting are
01:07:02.940 --> 01:07:07.579
still on, dimly lit. Regina. What the fuck? Madison
01:07:07.579 --> 01:07:09.440
rocks back and forth, whispering to herself.
01:07:09.940 --> 01:07:14.610
Madison. He's here. He's here. Eric. Madison.
01:07:15.670 --> 01:07:18.409
Shaw's phone vibrates. A call is coming through.
01:07:18.670 --> 01:07:21.210
Madison stops rocking. Finally looks at them.
01:07:21.429 --> 01:07:23.670
There's something different about her now. She's
01:07:23.670 --> 01:07:28.550
calmer. Certain. Madison. That's her. Eric takes
01:07:28.550 --> 01:07:30.469
the phone out of his pocket. Caller unknown.
01:07:30.849 --> 01:07:34.349
He hesitates. Madison. Continued. She wants to
01:07:34.349 --> 01:07:39.269
talk to you. Yeah, man, I mean, definitely feels
01:07:39.269 --> 01:07:41.969
like the first draft after a significant change
01:07:41.969 --> 01:07:44.690
to the story and some of the gender terminology
01:07:44.690 --> 01:07:46.710
just slipped through the net on this particular
01:07:46.710 --> 01:07:50.989
pass. What do you think? Yeah, I think so. I
01:07:50.989 --> 01:07:53.369
mean, it definitely feels like a between two
01:07:53.369 --> 01:07:56.469
drafts kind of edit, if you know what I mean.
01:07:56.630 --> 01:07:58.969
There's definitely been an attempt to change
01:07:58.969 --> 01:08:03.110
the gender one way or the other. And it's just
01:08:03.110 --> 01:08:08.090
been a fair few times. Anyway, with Madison in
01:08:08.090 --> 01:08:10.550
the slammer, it falls to Sydney to play detective
01:08:10.550 --> 01:08:13.789
to try and absolve her sister. And after chasing
01:08:13.789 --> 01:08:16.489
down a few leads from her mother and Madison's
01:08:16.489 --> 01:08:19.369
adoption agency, she finds herself at the abandoned
01:08:19.369 --> 01:08:22.590
Simeon Research Hospital, i .e. the place from
01:08:22.590 --> 01:08:25.329
the cold open. Now, if you thought this place
01:08:25.329 --> 01:08:27.989
was creepy before, it's 10 times worse now in
01:08:27.989 --> 01:08:30.869
its current state. But thankfully, it is very
01:08:30.869 --> 01:08:33.210
poorly secured and Sydney is able to break in
01:08:33.210 --> 01:08:36.250
with very little difficulty. Meanwhile, Madison
01:08:36.250 --> 01:08:40.090
is placed in a holding cell with, well, how can
01:08:40.090 --> 01:08:42.250
I put this, Lee? Bunch of the roughest looking
01:08:42.250 --> 01:08:45.640
skanks this side of the river. That will suffice.
01:08:46.119 --> 01:08:48.760
Sydney, meanwhile, locates her sister's case
01:08:48.760 --> 01:08:51.939
files with little difficulty, along with a bunch
01:08:51.939 --> 01:08:55.020
of handy videotapes. And she scoops them all
01:08:55.020 --> 01:08:57.579
up, takes them home, and her and mum settle down
01:08:57.579 --> 01:09:00.729
for some home movies. Yeah, I mean, Sydney's
01:09:00.729 --> 01:09:03.289
whole hunt for the truth is way more detailed
01:09:03.289 --> 01:09:05.789
in the script. First, she sweet talks a guy at
01:09:05.789 --> 01:09:08.149
the adoption agency before duping a real estate
01:09:08.149 --> 01:09:12.010
company, evading a security guard and then fleeing
01:09:12.010 --> 01:09:20.970
a pack of rabid wild dogs. Check it out. Sydney
01:09:20.970 --> 01:09:24.069
finds what she's looking for. Records. Sydney's
01:09:24.069 --> 01:09:26.930
face drops. It's in the basement. Motherfucker.
01:09:27.479 --> 01:09:30.659
The creepiness is about to get a lot worse. Offscreen,
01:09:30.659 --> 01:09:33.380
there's a low, threatening growl. Sydney turns
01:09:33.380 --> 01:09:36.380
to the noise. Down the hall are a pack of mangy
01:09:36.380 --> 01:09:39.460
wild dogs pacing towards her. They look mean
01:09:39.460 --> 01:09:43.319
and hungry. Sydney slowly backs away. The dogs
01:09:43.319 --> 01:09:46.800
match her step for step. The alpha growls, hair
01:09:46.800 --> 01:09:50.100
raised. Sydney breaks into a sprint. The dogs
01:09:50.100 --> 01:09:53.420
give chase. Sydney runs for her life. Interior,
01:09:53.720 --> 01:09:57.170
Simeon Hill Clinic corridor continuous. Sydney
01:09:57.170 --> 01:09:59.609
rounds the corner. She tries every door, but
01:09:59.609 --> 01:10:02.750
they're all locked. Then one opens. It's a stairwell.
01:10:02.989 --> 01:10:05.569
Interior, Simeon Hill Clinic, stairwell continuous.
01:10:06.250 --> 01:10:08.970
Sydney flies down the flight of stairs. A few
01:10:08.970 --> 01:10:10.890
of the dogs make it through before it closes,
01:10:11.050 --> 01:10:14.489
following her, snipping and barking. Sydney hits
01:10:14.489 --> 01:10:17.090
the bottom. There's an open door. She takes it,
01:10:17.130 --> 01:10:19.670
slamming it shut behind her. The dogs leap and
01:10:19.670 --> 01:10:25.029
pound on the door, barking and growling. Yeah,
01:10:25.050 --> 01:10:27.970
so any thoughts on why take this out, Lee? I
01:10:27.970 --> 01:10:30.109
mean, I guess it's probably going to be expensive,
01:10:30.289 --> 01:10:33.350
a bit of a hassle, animals, handlers, or expensive
01:10:33.350 --> 01:10:36.670
CGI, etc. I mean, plus this whole investigation
01:10:36.670 --> 01:10:39.649
scene is basically just taking us away from the
01:10:39.649 --> 01:10:42.069
driving mystery, which is what the fuck is going
01:10:42.069 --> 01:10:44.770
on with Madison? Yeah, I mean, this is definitely
01:10:44.770 --> 01:10:47.329
a where is your narrative drive kind of moment
01:10:47.329 --> 01:10:49.590
with that, I think, isn't it? Although that said,
01:10:49.649 --> 01:10:52.210
from the film, I did quite enjoy sort of, you
01:10:52.210 --> 01:10:54.859
know, Sydney going off. Doing a few bits. I did
01:10:54.859 --> 01:10:57.000
quite enjoy that. Sydney was a beacon of light
01:10:57.000 --> 01:11:01.199
in this whole dark and depressing film. She had
01:11:01.199 --> 01:11:03.119
a little rare sunshine, wasn't she? She was great.
01:11:03.159 --> 01:11:05.199
Amongst the clouds. She absolutely was. I would
01:11:05.199 --> 01:11:08.199
love a sister like Sydney. Yeah. I actually have
01:11:08.199 --> 01:11:10.420
a sister a bit like Sydney. She's a rare sunlight
01:11:10.420 --> 01:11:13.460
as well. Lucky you. Wonderful. Doesn't often
01:11:13.460 --> 01:11:15.380
wear a princess outfit, though. I have to say,
01:11:15.380 --> 01:11:17.800
she's kind of grown out of that. So the first
01:11:17.800 --> 01:11:21.079
tape reveals that Gabriel and Madison, Emily
01:11:21.079 --> 01:11:24.319
at the time, were siblings who were entrusted
01:11:24.319 --> 01:11:26.260
to the institute by their 15 year old mother
01:11:26.260 --> 01:11:28.640
who was sexually assaulted and couldn't look
01:11:28.640 --> 01:11:31.739
after the children and now even here she refers
01:11:31.739 --> 01:11:35.819
to gabriel as an abomination lee we then jump
01:11:35.819 --> 01:11:37.880
over to the hospital where the jane doe is formally
01:11:37.880 --> 01:11:42.300
id'd by shaw and madison's birth mother and now
01:11:42.300 --> 01:11:44.819
we're back in jean's house for the latest home
01:11:44.819 --> 01:11:47.420
movie and this one lee is what you would call
01:11:47.420 --> 01:11:50.800
a banger absolutely We interview a young Emily
01:11:50.800 --> 01:11:53.140
slash Madison where she reveals that Gabriel
01:11:53.140 --> 01:11:56.720
makes her strong and tells her to do awful things.
01:11:57.819 --> 01:12:00.880
We then pan around behind the girl to find that
01:12:00.880 --> 01:12:06.100
Gabriel is in factly a parasitic twin, his face
01:12:06.100 --> 01:12:09.060
and arms growing out of the rear of Emily slash
01:12:09.060 --> 01:12:12.800
Madison's head and back. It's a great little
01:12:12.800 --> 01:12:15.760
scare at around the one hour, 26 minute and 30
01:12:15.760 --> 01:12:18.920
second mark. And by golly, if things aren't beginning
01:12:18.920 --> 01:12:22.659
to fall into place now. Oh man, it's such a great
01:12:22.659 --> 01:12:25.560
reveal and things are about to kick off. Big
01:12:25.560 --> 01:12:27.359
time now. We're getting one hell of a holy shit
01:12:27.359 --> 01:12:31.220
scene coming up. It seems that way, as back in
01:12:31.220 --> 01:12:33.760
the holding cell, the pack of female hoodlums
01:12:33.760 --> 01:12:37.159
have singled out Madison as a victim. And we're
01:12:37.159 --> 01:12:40.420
cutting between the two now, the home movie and
01:12:40.420 --> 01:12:43.399
the cell, as we learn from the videos that Gabriel
01:12:43.399 --> 01:12:46.460
can influence Madison's reality, making her see
01:12:46.460 --> 01:12:49.220
and hear things that aren't there. And while
01:12:49.220 --> 01:12:51.399
Madison is getting the shit kicked out of her
01:12:51.399 --> 01:12:53.840
by the skanky criminals led by a vicious mullet
01:12:53.840 --> 01:12:57.359
dyke, we learn via video that Gabriel has been
01:12:57.359 --> 01:13:00.239
hijacking Madison's body to commit his crimes
01:13:00.239 --> 01:13:03.659
whilst trapping her in a false reality. So the
01:13:03.659 --> 01:13:06.640
vision she's been having were actually Gabriel's
01:13:06.640 --> 01:13:09.680
memories slash real -time visions of the crimes
01:13:09.680 --> 01:13:14.539
themselves. I mean... What the hell? The decision
01:13:14.539 --> 01:13:16.819
is made to cut as much of Gabriel away as possible
01:13:16.819 --> 01:13:19.380
so Madison can have a chance at a normal life.
01:13:19.500 --> 01:13:23.739
So the surgeons get choppingly. I noticed here
01:13:23.739 --> 01:13:26.539
at about one hour, 25 minutes and 45 seconds
01:13:26.539 --> 01:13:29.359
during the film, Dr. Weaver actually refers to
01:13:29.359 --> 01:13:32.359
Gabriel as Gabrielle just once. It's the only
01:13:32.359 --> 01:13:35.100
time it happens in the film. Oh, I didn't spot
01:13:35.100 --> 01:13:38.590
that. Interesting. So the surgeons basically
01:13:38.590 --> 01:13:42.090
cut off as much as Gabriel as they can and pack
01:13:42.090 --> 01:13:44.869
the rest away into the back of Madison's skull.
01:13:45.510 --> 01:13:48.810
I'm not sure. Is that real? Not sure. Meanwhile,
01:13:48.890 --> 01:13:51.510
back in the cell and a badly beaten Madison goes
01:13:51.510 --> 01:13:55.149
into a seizure before Gabriel emerges, ripping
01:13:55.149 --> 01:13:58.109
open the back of her skull and popping all of
01:13:58.109 --> 01:14:00.750
her joints into reverse at around the one hour,
01:14:00.789 --> 01:14:03.890
30 minute mark. Oh man, here we fucking go. This
01:14:03.890 --> 01:14:07.909
is going to be good. Here we fucking go. So Gabriel
01:14:07.909 --> 01:14:11.430
just absolutely butchers his way through these
01:14:11.430 --> 01:14:14.409
skanky o -bags before using Mullet Dyke as a
01:14:14.409 --> 01:14:17.729
human shield against cop's gunfire and breaking
01:14:17.729 --> 01:14:22.420
out of the holding cell. Brilliant. I mean, this
01:14:22.420 --> 01:14:24.420
is all on track with what's on the page, except
01:14:24.420 --> 01:14:26.899
we get an extra scene of how Madison is experiencing
01:14:26.899 --> 01:14:29.020
all of this. In her mind, she is just sitting
01:14:29.020 --> 01:14:31.399
peacefully in the holding cell and all the other
01:14:31.399 --> 01:14:33.720
prisoners are leaving her alone. I kind of like
01:14:33.720 --> 01:14:35.720
that visual clarification that she has no idea
01:14:35.720 --> 01:14:37.560
what's going on. We do get a bit of that in the
01:14:37.560 --> 01:14:39.520
film in a minute, but it's just really cool.
01:14:39.880 --> 01:14:42.720
Yeah, yeah, for sure. So Sidney calls up Shaw
01:14:42.720 --> 01:14:45.220
and fills him in on all the latest developments,
01:14:45.340 --> 01:14:48.600
which understandably he struggles to take at
01:14:48.600 --> 01:14:52.390
face value. Meanwhile, James Wan's wife is storing
01:14:52.390 --> 01:14:55.569
Gabriel's gear in the evidence room where she
01:14:55.569 --> 01:14:58.590
hears the carnage outside and hides as Gabriel
01:14:58.590 --> 01:15:00.989
enters to reclaim his signature killing tools.
01:15:01.590 --> 01:15:04.109
Moss and Shaw, having heard the gunshots, are
01:15:04.109 --> 01:15:06.250
heading into the station to locate the source.
01:15:06.869 --> 01:15:10.449
And man, it is a veritable bloodbath in here,
01:15:10.510 --> 01:15:12.949
Lee. I mean, this shit makes the Terminator look
01:15:12.949 --> 01:15:17.430
like an amateur. as gabriel just john wicks the
01:15:17.430 --> 01:15:20.590
shit out of every cop in the building dude we
01:15:20.590 --> 01:15:22.970
do get that missing scene here you mentioned
01:15:22.970 --> 01:15:26.810
where shaw has a shot at gabriel's exposed back
01:15:26.810 --> 01:15:28.949
but doesn't take it as he's looking directly
01:15:28.949 --> 01:15:32.409
at madison's face and he calls out to her and
01:15:32.409 --> 01:15:35.470
we see her inside the prison cell but she hears
01:15:35.470 --> 01:15:38.050
his voice and her fellow cellmates transform
01:15:38.050 --> 01:15:40.670
into dead cops and it's a great shot i think
01:15:41.680 --> 01:15:44.079
Sadly, it makes no difference as Gabriel cuts
01:15:44.079 --> 01:15:46.699
through the last of the cops like butter and
01:15:46.699 --> 01:15:49.899
drops Mossenshaw with a fantastic chair shot
01:15:49.899 --> 01:15:52.699
from across the room. It was an absolutely amazing
01:15:52.699 --> 01:15:55.500
shot. It was amazing. When we say room, this
01:15:55.500 --> 01:15:57.699
is like a hall. This is like the other side of
01:15:57.699 --> 01:16:00.220
a sports hall. And he just fucking yeets that
01:16:00.220 --> 01:16:03.800
chair like a sniper. And I did cheer at that
01:16:03.800 --> 01:16:08.189
chair shot. It was pretty damn epic. Funny how
01:16:08.189 --> 01:16:09.949
you mentioned the Terminator because I was thinking
01:16:09.949 --> 01:16:11.850
exactly the same thing when I rewatched this
01:16:11.850 --> 01:16:14.529
and I got to wondering just how many cops died
01:16:14.529 --> 01:16:17.109
in each assault and which was the most efficient
01:16:17.109 --> 01:16:20.449
eliminator of law enforcement. So I had a little
01:16:20.449 --> 01:16:23.949
look and as any Terminator fan knows, the T -800
01:16:23.949 --> 01:16:26.970
killed 17 police officers during its initial
01:16:26.970 --> 01:16:30.189
assault back in Terminator 1. But according to
01:16:30.189 --> 01:16:32.869
Dead Meat's kill count, Gabriel tops that with
01:16:32.869 --> 01:16:37.359
22 dead cops. Damn. Yeah, not to mention the
01:16:37.359 --> 01:16:40.460
16 other women in that holding cell. So that
01:16:40.460 --> 01:16:43.640
brings the combined total to 38. That is one
01:16:43.640 --> 01:16:47.140
hell of a high score, dude. Yeah, that's pretty
01:16:47.140 --> 01:16:50.359
badass, isn't it? Okay, so Shaw realises that
01:16:50.359 --> 01:16:53.159
Gabriel is going for the mother in the hospital
01:16:53.159 --> 01:16:55.779
and heads off. Meanwhile, Sydney has just arrived
01:16:55.779 --> 01:16:57.859
and is trying to persuade the security guard
01:16:57.859 --> 01:17:00.479
to let her in. When the guy's pacemaker explodes
01:17:00.479 --> 01:17:02.760
out of his chest, Lee, the lights flicker and
01:17:02.760 --> 01:17:05.920
Gabriel is there at around the one hour, 40 minute
01:17:05.920 --> 01:17:09.079
point. So in the script, this is a much more
01:17:09.079 --> 01:17:11.800
generic yet still really creepily written stalk
01:17:11.800 --> 01:17:14.939
and slash scene. And also on the page, Sydney
01:17:14.939 --> 01:17:17.720
arrives at the police station first. and her
01:17:17.720 --> 01:17:20.439
and Shaw leave together for the hospital. Now
01:17:20.439 --> 01:17:23.239
on screen, Gabriel sets to taking his revenge
01:17:23.239 --> 01:17:25.880
on Sydney, who he blames most of all for Madison
01:17:25.880 --> 01:17:28.619
abandoning him. But he's taken aback when his
01:17:28.619 --> 01:17:30.859
mother wakes up and begs him for forgiveness,
01:17:31.079 --> 01:17:33.960
saying she should have loved him no matter what.
01:17:34.989 --> 01:17:36.989
Now, could she be the key to getting through
01:17:36.989 --> 01:17:40.010
to Gabriel? We'll never know as Shaw rocks up
01:17:40.010 --> 01:17:42.750
and this time has no hesitation in putting a
01:17:42.750 --> 01:17:45.750
bullet in Gabriel slash Madison before Gabriel
01:17:45.750 --> 01:17:49.390
takes him out with another wicked shot. Sidney
01:17:49.390 --> 01:17:52.789
is pleading with Madison, but Gabriel seems untouchable
01:17:52.789 --> 01:17:55.850
now. He pins Sidney beneath a heavy hospital
01:17:55.850 --> 01:17:59.600
bed. retrieves Shaw's gun and moves in for the
01:17:59.600 --> 01:18:02.600
kill. But Sydney reveals to Madison how Gabriel
01:18:02.600 --> 01:18:05.699
was the one behind all her miscarriages, feeding
01:18:05.699 --> 01:18:08.739
off the babies to rebuild his strength. Man,
01:18:08.779 --> 01:18:10.539
I've seen that pissed off look before. Madison
01:18:10.539 --> 01:18:12.840
is about to go super saiyan on this guy's ass.
01:18:13.359 --> 01:18:17.850
What was that? Never mind, don't worry. Anyway,
01:18:17.930 --> 01:18:20.189
an enraged Gabriel executes poor Sydney before
01:18:20.189 --> 01:18:23.449
suffocating his bedbound mother, claiming she
01:18:23.449 --> 01:18:26.369
made him a monster. But wait, the hospital room
01:18:26.369 --> 01:18:30.050
begins to melt away and Madison rocks up. Seems
01:18:30.050 --> 01:18:32.569
she's learned a few tricks from her brother and
01:18:32.569 --> 01:18:35.210
has locked him up in a self -created mind prison.
01:18:35.670 --> 01:18:38.869
Both Sydney and bio -mum are alive and welly.
01:18:39.149 --> 01:18:42.029
Gabriel rages that he'll break free, but Madison
01:18:42.029 --> 01:18:45.029
isn't scared. She'll be ready for him. Yeah,
01:18:45.109 --> 01:18:49.029
you go, Madison. Seems she can also access Gabriel's
01:18:49.029 --> 01:18:51.750
superpowers as she manages to lift the heavy
01:18:51.750 --> 01:18:54.270
bed from her sister before collapsing in pain
01:18:54.270 --> 01:18:57.510
because she was shot, of course, earlier in the
01:18:57.510 --> 01:19:00.170
scene. We get a final heartwarming moment between
01:19:00.170 --> 01:19:02.890
the two sisters before focusing on a nearby lamp.
01:19:03.170 --> 01:19:05.289
We're waiting for it to flicker, but instead
01:19:05.289 --> 01:19:08.069
it just gives a faint buzz before we fade to
01:19:08.069 --> 01:19:11.170
black. On the page, the movie ends in a much
01:19:11.170 --> 01:19:13.930
darker fashion. First of all, while manipulating
01:19:13.930 --> 01:19:16.949
her body, Gabrielle has Madison trapped in like
01:19:16.949 --> 01:19:24.890
an eerie fantasy. Check it out. Interior, Mitchell
01:19:24.890 --> 01:19:29.149
House, nursery, day, fantasy. On Madison. She
01:19:29.149 --> 01:19:31.729
opens her eyes, pull back to reveal she's sitting
01:19:31.729 --> 01:19:34.449
in her chair in her nursery. She blinks, confused.
01:19:34.930 --> 01:19:37.689
Wasn't she just somewhere else? She was. This
01:19:37.689 --> 01:19:40.069
is Gabrielle's mental construct. Gabrielle has
01:19:40.069 --> 01:19:42.890
put Madison in another fantasy. Derek enters,
01:19:43.210 --> 01:19:47.510
alive. Nice. Derek. Hey. She should be surprised
01:19:47.510 --> 01:19:50.729
to see him, but she's not. Derek continued. I'm
01:19:50.729 --> 01:19:52.829
going to a grocery run. Text if you need anything.
01:19:53.369 --> 01:19:57.250
A baby coos. Madison moves to the crib. She looks
01:19:57.250 --> 01:20:00.909
down on a baby girl. Plump, rosy cheeks, a smile.
01:20:01.109 --> 01:20:04.829
Her daughter, alive. Madison eyes her child with
01:20:04.829 --> 01:20:07.520
a mother's wonder. Madison, I have everything
01:20:07.520 --> 01:20:10.880
I need. Derek leaves. Madison takes her daughter
01:20:10.880 --> 01:20:13.340
in her arms, cradling her, smelling her head.
01:20:13.819 --> 01:20:17.000
Sydney, off screen. Madison, Madison, please.
01:20:17.359 --> 01:20:21.399
Madison turns. Madison, Sydney? The baby coos
01:20:21.399 --> 01:20:25.399
stop. Madison looks down. The baby is gone. Sydney,
01:20:25.579 --> 01:20:28.840
off screen. Madison, wherever you are, it's not
01:20:28.840 --> 01:20:32.420
real. Madison turns to the sound. She gets up,
01:20:32.460 --> 01:20:38.539
following. When Madison is finally able to break
01:20:38.539 --> 01:20:41.020
free of the illusion, she decides on a much more
01:20:41.020 --> 01:20:44.159
permanent course of action to defeat her diabolical
01:20:44.159 --> 01:20:53.399
twin. On Madison's face, the real Madison, her
01:20:53.399 --> 01:20:55.880
eyes roll back down. She's coming out of it.
01:20:55.939 --> 01:21:00.000
She gasps for air, retaking her body. Gabrielle,
01:21:00.000 --> 01:21:04.729
no! Madison pulls her arms back. The gun is in
01:21:04.729 --> 01:21:07.590
her hand. Madison turns to her sister, tears
01:21:07.590 --> 01:21:11.109
in her eyes. Madison. I'm so, so sorry, Sydney.
01:21:11.310 --> 01:21:13.729
I spent my whole life yearning for a blood tie,
01:21:13.890 --> 01:21:16.449
for that special connection. And in the end,
01:21:16.449 --> 01:21:18.310
what mattered the most was right in front of
01:21:18.310 --> 01:21:20.850
me the whole time. You'll always be my sister,
01:21:20.949 --> 01:21:24.090
and I'll always love you. Madison aims the gun
01:21:24.090 --> 01:21:26.970
to the back of her head. To Gabrielle. Sydney
01:21:26.970 --> 01:21:29.449
realises what Madison's about to do. Sydney.
01:21:29.850 --> 01:21:34.399
Madison, no! She pulls the trigger. Boom! The
01:21:34.399 --> 01:21:37.699
blast blows out the back of Madison's head. Sidney
01:21:37.699 --> 01:21:40.840
screams. Eric breaks into the room. He goes to
01:21:40.840 --> 01:21:43.460
Madison, checking her pulse. Blood pools from
01:21:43.460 --> 01:21:45.800
the back of her head. Offscreen, we hear the
01:21:45.800 --> 01:21:52.399
wail of sirens. And this sets us up for the final
01:21:52.399 --> 01:22:00.739
scene of the script. The curtain rises, revealing
01:22:00.739 --> 01:22:03.960
Madison in a padded room. She's facing the wall,
01:22:04.039 --> 01:22:06.560
making circles with her fingers. She's alive,
01:22:06.779 --> 01:22:10.159
her head shaved, long surgical scar running across
01:22:10.159 --> 01:22:13.000
the back of her head. Madison stares into space,
01:22:13.239 --> 01:22:16.560
childlike, mumbling to herself. Sydney sucks
01:22:16.560 --> 01:22:18.880
in her breath, seeing her sister for the first
01:22:18.880 --> 01:22:22.039
time. It's a lot to take. Eric holds her hand,
01:22:22.079 --> 01:22:25.350
reassuring. Cranial surgeon. We've done everything
01:22:25.350 --> 01:22:28.069
we can to repair the nerve damage. But as you
01:22:28.069 --> 01:22:30.029
know, it's extensive. She's lucky she survived
01:22:30.029 --> 01:22:33.989
at all. Eric, what about her twin, Gabrielle?
01:22:34.750 --> 01:22:37.569
Cranial surgeon. So far, we've seen no activity
01:22:37.569 --> 01:22:40.369
from the teratoma. There's no indication it survived.
01:22:41.710 --> 01:22:45.029
Sydney, but she's still my sister. Cranial surgeon.
01:22:45.609 --> 01:22:47.689
Pieces of it, yes. To preserve what we could
01:22:47.689 --> 01:22:49.630
of her brain, we had to leave some tissue intact.
01:22:50.699 --> 01:22:53.260
Madison looks to the window. She waves at Sydney,
01:22:53.420 --> 01:22:56.319
like an excited little kid. Sydney gives her
01:22:56.319 --> 01:22:59.600
a sad wave back. Sydney, does she remember anything?
01:23:00.220 --> 01:23:02.920
Cranial surgeon. She didn't remember how to walk.
01:23:03.119 --> 01:23:04.920
She's having to learn everything over again.
01:23:05.340 --> 01:23:08.699
We'll do everything we can, but it's like you
01:23:08.699 --> 01:23:10.399
have to prepare for the possibility this will
01:23:10.399 --> 01:23:13.260
be the permanent state for your sister. It hangs
01:23:13.260 --> 01:23:18.619
there. Sydney is heartbroken. Yeah, so this scene
01:23:18.619 --> 01:23:20.960
ends with the lights flickering, indicating that
01:23:20.960 --> 01:23:24.119
some, if not all, of Gabrielle's consciousness
01:23:24.119 --> 01:23:27.600
did indeed survive. So come on, man, what did
01:23:27.600 --> 01:23:29.859
you think of this one? Yeah, I thought this one
01:23:29.859 --> 01:23:33.279
was really funly. It wasn't, I think I said before,
01:23:33.399 --> 01:23:35.989
it wasn't quite what I was expecting. As I said,
01:23:36.010 --> 01:23:38.989
a little more broad than I was kind of expecting.
01:23:39.289 --> 01:23:42.270
A little bit more sort of humour, slightly kind
01:23:42.270 --> 01:23:44.689
of camp arch kind of thing. But I thought it
01:23:44.689 --> 01:23:46.829
was fun, man. I have to ask you, which ending
01:23:46.829 --> 01:23:48.630
did you prefer? I mean, I know you tend to lean
01:23:48.630 --> 01:23:50.750
towards darker climaxes when it comes to horror
01:23:50.750 --> 01:23:53.600
movies, but did you have any preference? Normally,
01:23:53.619 --> 01:23:55.880
yeah, but I think in this case, I think we got
01:23:55.880 --> 01:23:58.500
the right ending. I mean, poor Madison has spent
01:23:58.500 --> 01:24:01.880
the entire movie struggling with her own autonomy.
01:24:02.079 --> 01:24:04.319
She had a controlling husband, a controlling
01:24:04.319 --> 01:24:06.800
twin. She was given up as a child, forced to
01:24:06.800 --> 01:24:09.319
be operated on by doctors. She's barely had any
01:24:09.319 --> 01:24:12.060
control of her life, which is what led to her
01:24:12.060 --> 01:24:15.470
kind of craving this. irrelevant biological connection
01:24:15.470 --> 01:24:18.590
so I think the ending we got her finally seizing
01:24:18.590 --> 01:24:21.229
autonomy for herself it's pretty much the perfect
01:24:21.229 --> 01:24:23.869
ending I think in the script yeah she does overcome
01:24:23.869 --> 01:24:26.949
Gabrielle but she kind of loses her autonomy
01:24:26.949 --> 01:24:29.949
again albeit willingly in order to do it although
01:24:29.949 --> 01:24:31.550
it does kind of leave us with the question that
01:24:31.550 --> 01:24:33.109
surely she's going to prison for a long time
01:24:33.109 --> 01:24:37.439
now for murdering 38 people in a police station
01:24:37.439 --> 01:24:39.300
right i mean i'm not sure what's that all about
01:24:39.300 --> 01:24:42.960
is is that is that gonna be maybe they can medical
01:24:42.960 --> 01:24:45.460
can pull it off i don't know but uh that would
01:24:45.460 --> 01:24:49.739
be interesting yeah yeah no i agree man i think
01:24:49.739 --> 01:24:52.199
the ending we got has the kind of catharsis madison's
01:24:52.199 --> 01:24:54.399
arc really requires and i'm not sure the darker
01:24:54.399 --> 01:24:57.079
ending would work with the changes that the film
01:24:57.079 --> 01:24:59.640
made tonally from the script but yeah i agree
01:24:59.640 --> 01:25:01.800
man i think it's the right ending okay the man
01:25:01.800 --> 01:25:08.159
let's break this thing down So let's begin the
01:25:08.159 --> 01:25:09.979
breakdown by looking at the biggest differences,
01:25:10.039 --> 01:25:12.619
if indeed there were any, between the screenplay
01:25:12.619 --> 01:25:15.659
and the film. Yeah, so the biggest talking point,
01:25:15.680 --> 01:25:17.880
which we've mentioned already, is the change
01:25:17.880 --> 01:25:21.140
of Gabrielle to Gabriel, something which even
01:25:21.140 --> 01:25:23.140
this version of the script doesn't seem to be
01:25:23.140 --> 01:25:26.840
sure about which works the best. Yeah. So which
01:25:26.840 --> 01:25:30.840
one do you think works best? I mean, there are
01:25:30.840 --> 01:25:34.010
two ways to look at this. Gabrielle gives us
01:25:34.010 --> 01:25:36.729
a direct parallel between her and Sydney, you
01:25:36.729 --> 01:25:39.109
know, Madison's biological and adoptive sisters.
01:25:39.170 --> 01:25:42.390
And they kind of offer two very different perspectives.
01:25:42.409 --> 01:25:45.229
On the one hand, you've got Gabrielle, the biological
01:25:45.229 --> 01:25:47.970
connection that Madison craves, but who is violent
01:25:47.970 --> 01:25:51.149
and controlling and kind of pretty fucked up.
01:25:51.430 --> 01:25:54.430
Whereas Sydney may not have that biological connection,
01:25:54.550 --> 01:25:57.090
but she's loyal, supportive, caring. In other
01:25:57.090 --> 01:25:58.869
words, pretty much everything you'd want in a
01:25:58.869 --> 01:26:02.880
sister. But by making Gabriel male, it then switches
01:26:02.880 --> 01:26:05.779
back to the whole autonomy debate again. You
01:26:05.779 --> 01:26:08.199
know, you've got a male trying to control Madison's
01:26:08.199 --> 01:26:12.079
body. Plus, it lessens the obvious physical similarity
01:26:12.079 --> 01:26:14.420
between the two. You know, by stating the killer
01:26:14.420 --> 01:26:16.659
as a woman, it's a lot easier to equate her to
01:26:16.659 --> 01:26:18.760
Madison, whereas the monstrous Gabriel seems
01:26:18.760 --> 01:26:21.460
like a completely different entity entirely.
01:26:22.340 --> 01:26:24.840
Yeah, I agree, man. I think definitely the autonomy
01:26:24.840 --> 01:26:26.760
kind of angle is more powerful with Gabriel,
01:26:26.960 --> 01:26:29.930
right? And the coercion and control angle fits
01:26:29.930 --> 01:26:31.810
better with Madison's relationship with Derek
01:26:31.810 --> 01:26:34.789
as well, I think. Yeah, I think it's cleaner
01:26:34.789 --> 01:26:37.949
in the film, definitely. Okay, so let's look
01:26:37.949 --> 01:26:39.609
at our characters. Are there any introductions
01:26:39.609 --> 01:26:41.029
that stood out for you as particularly effective
01:26:41.029 --> 01:26:44.649
or memorable? Yeah, I really enjoyed Marston
01:26:44.649 --> 01:26:46.789
Shaw's kind of two -for -one intro, which went
01:26:46.789 --> 01:26:51.210
like this. Detective Eric Shaw, 30s, Asian -Hawaiian
01:26:51.210 --> 01:26:53.819
descent, square -jawed Boy Scout. and his partner,
01:26:53.920 --> 01:26:57.340
Regina Moss, 50s, African -American, fast approaching
01:26:57.340 --> 01:26:59.619
too old for this shit, make their way inside.
01:27:00.380 --> 01:27:03.000
How about you? Yeah, that was good, wasn't it?
01:27:04.140 --> 01:27:05.960
Yeah, so I initially picked that one out as well,
01:27:05.979 --> 01:27:07.979
but there's a couple more that I picked out.
01:27:08.380 --> 01:27:11.279
Firstly, I thought Derek's intro was good at
01:27:11.279 --> 01:27:13.920
setting up his character. And in the script,
01:27:13.939 --> 01:27:17.279
his intro goes like this. Madison jumps, turning.
01:27:17.789 --> 01:27:20.270
Her husband, Derek Mitchell, 50s, stands in the
01:27:20.270 --> 01:27:23.470
doorway. He holds a gym bag, agitated. Immediately
01:27:23.470 --> 01:27:26.229
there's tension. Madison cowers, trying to make
01:27:26.229 --> 01:27:28.810
herself smaller. Her hands cover her belly, protective.
01:27:29.270 --> 01:27:31.670
So I thought that was pretty good. I also enjoyed
01:27:31.670 --> 01:27:36.729
the coroner's intro. And that goes like this.
01:27:38.580 --> 01:27:41.699
Spacious, sterile, lit by harsh fluorescent lights.
01:27:42.199 --> 01:27:45.359
Derek's body lies on the steel table, a Y incision
01:27:45.359 --> 01:27:48.039
in his chest. Regina stands with the coroner,
01:27:48.060 --> 01:27:51.159
a female, been there, done that attitude. So
01:27:51.159 --> 01:27:54.359
I like these intros. I like all the intros actually
01:27:54.359 --> 01:27:56.880
in this script, but I like these because all
01:27:56.880 --> 01:27:58.800
of them are sort of fairly light on physical
01:27:58.800 --> 01:28:02.739
detail, but they do a really good job of setting
01:28:02.739 --> 01:28:05.279
up the kind of attitude of how these characters
01:28:05.279 --> 01:28:10.560
carry themselves. um very sort of succinct uh
01:28:10.560 --> 01:28:13.460
really good for casting you know because you
01:28:13.460 --> 01:28:16.560
it doesn't describe them too much but really
01:28:16.560 --> 01:28:21.060
in a very sort of uh as i say succinct economical
01:28:21.060 --> 01:28:25.859
way sets up the character's attitude which i
01:28:25.859 --> 01:28:28.380
think yeah i mean yeah good cooper has a real
01:28:28.380 --> 01:28:31.869
real knack for character intros i mean that's
01:28:31.869 --> 01:28:33.550
one thing yeah there's a lot of things she does
01:28:33.550 --> 01:28:35.970
really well but like you said every character
01:28:35.970 --> 01:28:38.510
introduction in this script pretty much sings
01:28:38.510 --> 01:28:42.710
yeah really good and it's light on physical detail
01:28:42.710 --> 01:28:47.649
but it's it just kind of you know nails attitude
01:28:47.649 --> 01:28:51.350
right or just nails a certain bearing that these
01:28:51.350 --> 01:28:54.569
characters have which i think is great um okay
01:28:54.569 --> 01:28:56.909
so were there any notable lines of dialogue that
01:28:56.909 --> 01:28:59.720
stood out for you lee I mean, that Goonies one
01:28:59.720 --> 01:29:01.420
was probably the best line in the film, but we
01:29:01.420 --> 01:29:04.460
spoke about that earlier. And again, Cooper is
01:29:04.460 --> 01:29:07.560
really good at throwing in humor as like an emotional
01:29:07.560 --> 01:29:10.539
reset when it really zings. I quite like this
01:29:10.539 --> 01:29:14.020
one from just normal lines. I like this one from
01:29:14.020 --> 01:29:17.340
Gabrielle, which kind of speaks to the futility
01:29:17.340 --> 01:29:19.539
of repressing your trauma, which goes kind of
01:29:19.539 --> 01:29:21.920
like, you could change your name, change your
01:29:21.920 --> 01:29:25.180
life, but you'll always be Emily to me. And this
01:29:25.180 --> 01:29:28.020
one from her as well, when she's talking. to
01:29:28.020 --> 01:29:30.140
uh sydney she's like she's not your sister she
01:29:30.140 --> 01:29:33.119
never was she's mine i'm not going to lose her
01:29:33.119 --> 01:29:36.359
again you know so i just kind of liked that whole
01:29:36.359 --> 01:29:39.359
like possessive that possessive like you know
01:29:39.720 --> 01:29:41.760
controlling kind of stuff that comes through
01:29:41.760 --> 01:29:44.539
but leaving gabriel slash gate gabriel slash
01:29:44.539 --> 01:29:47.520
gabriel for a minute um it's another great line
01:29:47.520 --> 01:29:50.359
from moss referring to uh shaw's reluctance to
01:29:50.359 --> 01:29:53.039
accept that madison could be the killer which
01:29:53.039 --> 01:29:56.079
goes like uh this isn't calculus it's common
01:29:56.079 --> 01:29:58.640
sense sometimes reality stares us in the face
01:29:58.640 --> 01:30:01.000
and we're too busy trying to be clever which
01:30:01.000 --> 01:30:03.180
i thought was a really good line yeah how about
01:30:03.180 --> 01:30:05.289
you Yeah, I mean, I really enjoyed the Goonies
01:30:05.289 --> 01:30:07.289
reference that like we said earlier, I mean,
01:30:07.310 --> 01:30:09.409
I thought Moss was the center of most of the
01:30:09.409 --> 01:30:13.409
humor in the film. She has this kind of wonderfully
01:30:13.409 --> 01:30:18.550
acerbic wit and nature. So the lines I picked
01:30:18.550 --> 01:30:21.289
out were in addition to the sort of Goonies lines,
01:30:21.369 --> 01:30:24.710
they're all from Moss or pretty much. So the
01:30:24.710 --> 01:30:29.590
first one was during a sort of dialogue sort
01:30:29.590 --> 01:30:32.810
of. piece between madison eric in the script
01:30:32.810 --> 01:30:37.069
uh and uh and moss and that goes like this madison
01:30:37.069 --> 01:30:40.109
somehow i'm seeing his murders like he's showing
01:30:40.109 --> 01:30:43.409
them to me eric he's sending you videos madison
01:30:43.409 --> 01:30:46.529
no god damn it i see them as they're happening
01:30:46.529 --> 01:30:49.729
it's like i'm there at the scene of the killings
01:30:49.729 --> 01:30:54.569
eric you mean like psychically madison i know
01:30:54.569 --> 01:30:56.930
it sounds crazy but i have no other explanation
01:30:56.930 --> 01:31:00.699
for it regina Are you fucking with us right now?
01:31:01.960 --> 01:31:05.800
And that just kind of sums up her attitude. Yeah.
01:31:06.239 --> 01:31:10.119
This is great. So here's another one. It goes
01:31:10.119 --> 01:31:13.340
like this. Tech forensic continued. Smell it.
01:31:13.420 --> 01:31:17.420
Regina does. Screws up her face. Regina. Smells
01:31:17.420 --> 01:31:22.500
like someone burned a hobo's asshole. Something
01:31:22.500 --> 01:31:27.159
quite funny about that. I also enjoyed the back
01:31:27.159 --> 01:31:29.060
and forth between Shaw Moss and the coroner,
01:31:29.060 --> 01:31:33.420
and that exchange goes like this. Coroner, cause
01:31:33.420 --> 01:31:35.640
of death was a severe blunt force trauma to the
01:31:35.640 --> 01:31:39.699
back of his head. Regina, really? Wow. To Eric,
01:31:39.899 --> 01:31:43.060
did you know that? Eric, I mean, his brains were
01:31:43.060 --> 01:31:46.000
on the floor when we came in, but cause of death
01:31:46.000 --> 01:31:48.939
could have been anything, really. Coroner, fuck
01:31:48.939 --> 01:31:52.340
the both of you. Look, it takes a lot of force
01:31:52.340 --> 01:31:55.279
to crack open a human skull like this. A lot.
01:31:55.659 --> 01:31:58.180
Skull fractures are a dime a dozen. But to break
01:31:58.180 --> 01:32:00.880
the skull open takes force. Yeah, so I just,
01:32:00.939 --> 01:32:04.539
I really enjoyed kind of Regina's, you know,
01:32:04.539 --> 01:32:10.180
cynical, sort of no -nonsense, acerbic manner.
01:32:10.739 --> 01:32:13.840
She, for me, was the sort of the humorous heart
01:32:13.840 --> 01:32:15.500
of the film, really, here, I think. Absolutely,
01:32:15.640 --> 01:32:18.689
yeah. okay so before we break down the scareology
01:32:18.689 --> 01:32:22.770
uh did you have a scariest moment uh yeah i think
01:32:22.770 --> 01:32:25.229
for me for me personally the longer this film
01:32:25.229 --> 01:32:28.050
runs and and the more that is revealed i think
01:32:28.050 --> 01:32:31.229
the less kind of scary it becomes yeah i think
01:32:31.229 --> 01:32:34.699
my my probable scariest moment it's probably
01:32:34.699 --> 01:32:37.479
the scene where weaver is interviewing sort of
01:32:37.479 --> 01:32:39.920
young madison slash emily and then that camera
01:32:39.920 --> 01:32:43.060
pans around to gabriel kind of screaming clawing
01:32:43.060 --> 01:32:46.819
the air behind her i think that was quite literal
01:32:46.819 --> 01:32:50.159
nightmare fuel i think yeah it was a really that
01:32:50.159 --> 01:32:52.579
was a really strong moment wasn't it uh it's
01:32:52.579 --> 01:32:54.100
interesting you say you know the sort of the
01:32:54.100 --> 01:32:55.539
longer it goes it gets scary because i think
01:32:55.539 --> 01:32:58.100
that the thing that really the only thing that
01:32:58.100 --> 01:33:01.159
gave me a sort of real legit chill was the shadow
01:33:01.159 --> 01:33:04.159
figure in the Derek stalking sequence at the
01:33:04.159 --> 01:33:07.460
start of the film. Yeah. Where there's that sort
01:33:07.460 --> 01:33:10.159
of dark figure just lurking behind him. And I
01:33:10.159 --> 01:33:12.199
thought that sequence was pretty strong and we're
01:33:12.199 --> 01:33:14.159
sort of unaware of what's going on, which is,
01:33:14.180 --> 01:33:16.960
you know, not a small part of its power, but
01:33:16.960 --> 01:33:19.039
yeah, as the film went on, I thought it got less
01:33:19.039 --> 01:33:21.680
and less, you know, chilling. All right, then
01:33:21.680 --> 01:33:23.859
let's talk about the scarology. So first of all,
01:33:23.859 --> 01:33:26.899
does the film more or less conform to the 10
01:33:26.899 --> 01:33:30.779
minute rule? Yeah. Yeah. Pretty much. Nice dude.
01:33:30.840 --> 01:33:34.100
Break it down for us. Okay, so our first scare
01:33:34.100 --> 01:33:36.659
hits pretty much right out the gate at 1 minute
01:33:36.659 --> 01:33:40.319
40 and is quickly followed up at 8 minutes by
01:33:40.319 --> 01:33:42.600
our introduction to Madison's asshole husband,
01:33:42.739 --> 01:33:46.119
Derek. A few minutes later at 11 .30, Derek is
01:33:46.119 --> 01:33:49.819
justifiably dispatched and then Madison is seemingly
01:33:49.819 --> 01:33:52.380
stalked in her home again at around the 23 minute
01:33:52.380 --> 01:33:55.680
mark. So next up, 7 minutes later at exactly
01:33:55.680 --> 01:33:58.560
half an hour. is our jane doe's abduction in
01:33:58.560 --> 01:34:01.300
the seattle underground followed by dr weaver's
01:34:01.300 --> 01:34:04.859
murder at 36 minutes and dr field's demise at
01:34:04.859 --> 01:34:08.420
43 minutes and 20 seconds then it's the bathroom
01:34:08.420 --> 01:34:11.819
phone call with the ingenious framing at 52 minutes
01:34:11.819 --> 01:34:14.539
followed by dr gregory's murder and the underground
01:34:14.539 --> 01:34:17.279
chase at one hour and then from here we get some
01:34:17.279 --> 01:34:19.500
creepy moments the hypnosis session the roof
01:34:19.500 --> 01:34:22.380
crash but nothing particularly scary until that
01:34:22.380 --> 01:34:25.140
gruesome reveal of gabriel the teratoma at one
01:34:25.140 --> 01:34:28.300
hour 26 30 and then it's the cop shop blood bath
01:34:28.300 --> 01:34:32.260
at 1 hour and 30 and final showdown 10 minutes
01:34:32.260 --> 01:34:36.170
later at 1 hour and 40 Nice. OK, well, let's
01:34:36.170 --> 01:34:38.930
break down those acts for you. So Act 1 gives
01:34:38.930 --> 01:34:42.350
us four evenly placed scares hinting at a murderer
01:34:42.350 --> 01:34:44.710
from Madison's past or perhaps a supernatural
01:34:44.710 --> 01:34:48.109
entity. Act 2 gives us five scares, again, pretty
01:34:48.109 --> 01:34:51.670
evenly spaced, and it forces us to second guess
01:34:51.670 --> 01:34:55.029
our earlier assumptions. Is it a human killer
01:34:55.029 --> 01:34:58.829
or a ghost? And finally, Act 3 rocks up after
01:34:58.829 --> 01:35:02.439
a brief investigatorial respite. with three drawn
01:35:02.439 --> 01:35:05.859
-out scare -slash -action sequences that finally
01:35:05.859 --> 01:35:08.739
lock in on the identity of the killer and power
01:35:08.739 --> 01:35:12.680
through to a poignant conclusion. So, did you
01:35:12.680 --> 01:35:14.899
have any thoughts on the themes at work here,
01:35:14.920 --> 01:35:18.199
Lee? Yeah, I mean, I think if we're going on
01:35:18.199 --> 01:35:20.539
our classic Parker themes, Pursuit of Love, I
01:35:20.539 --> 01:35:23.500
think is the big one. I think Madison has spent
01:35:23.500 --> 01:35:26.239
her whole life kind of yearning for some deeper
01:35:26.239 --> 01:35:29.100
familial connection, despite having a loving
01:35:29.100 --> 01:35:31.800
adopted mother and sister and presumably father
01:35:31.800 --> 01:35:33.899
as well, though he's passed by the time the film
01:35:33.899 --> 01:35:37.050
rocks around. And when she finds out she actually
01:35:37.050 --> 01:35:39.329
still has these biological relatives, they turn
01:35:39.329 --> 01:35:43.189
out to be less than ideal, shall we say. And
01:35:43.189 --> 01:35:46.390
yeah, understatement. And as I kind of alluded
01:35:46.390 --> 01:35:49.470
to, this is also a film about autonomy. Madison
01:35:49.470 --> 01:35:51.770
is a woman who has spent her whole life under
01:35:51.770 --> 01:35:54.630
the direct or indirect control of oppressive
01:35:54.630 --> 01:35:57.310
male figures, either in the form of Gabriel or
01:35:57.310 --> 01:35:59.750
her abusive husband, Derek. You know, she's been
01:35:59.750 --> 01:36:03.609
gaslighted via Gabriel's inflicted hallucinations
01:36:03.609 --> 01:36:06.260
and literally forced. to do awful things. And
01:36:06.260 --> 01:36:08.359
as I mentioned earlier, this is why the more
01:36:08.359 --> 01:36:10.899
upbeat ending really works here, I think, for
01:36:10.899 --> 01:36:13.810
the better. And the film's overall thematic statement,
01:36:13.850 --> 01:36:15.670
I think, is simple. Family is created through
01:36:15.670 --> 01:36:17.649
love, loyalty, action, blah, blah, blah, not
01:36:17.649 --> 01:36:20.130
biology. You know, Gabriel has the strongest
01:36:20.130 --> 01:36:23.350
possible biological link to her, like could not
01:36:23.350 --> 01:36:26.689
be any stronger and yet becomes the most destructive
01:36:26.689 --> 01:36:29.430
relationship in her life. You know, Sydney has
01:36:29.430 --> 01:36:33.010
no biological claim and yet risks everything
01:36:33.010 --> 01:36:35.649
for her sister time and time again. I do have
01:36:35.649 --> 01:36:38.310
to say, though, that you're probably going to
01:36:38.310 --> 01:36:40.760
moan at me for this. But part of me does feel
01:36:40.760 --> 01:36:43.579
a little bit bad for Gabriel. I mean, that poor
01:36:43.579 --> 01:36:46.659
little guy was never going to have any chance
01:36:46.659 --> 01:36:48.920
for a happy life, was he? I mean, he's basically
01:36:48.920 --> 01:36:53.260
born a screaming back scrotum with little T -Rex
01:36:53.260 --> 01:36:56.319
arms. And, you know, even with the superpowers,
01:36:56.340 --> 01:36:58.800
he never really stood a chance. And I think that's
01:36:58.800 --> 01:37:02.279
kind of tragic in a way. You know, if he and
01:37:02.279 --> 01:37:04.899
Madison had been born in the other bodies, like
01:37:04.899 --> 01:37:07.100
the other way around, I have no doubt that Madison
01:37:07.100 --> 01:37:09.560
would be. every bit the villain that gabriel
01:37:09.560 --> 01:37:14.100
is and so in a way i found it hard to blame him
01:37:14.100 --> 01:37:17.920
completely i mean you know imagine if he and
01:37:17.920 --> 01:37:19.779
madison were able to coexist though and like
01:37:19.779 --> 01:37:23.539
and like madison's husband wanted to um i don't
01:37:23.539 --> 01:37:25.060
know how should i put it hit it from the rear
01:37:25.060 --> 01:37:26.720
you know that's a that's a challenging boner
01:37:26.720 --> 01:37:31.399
right there dude oh your mind is a wondrous place
01:37:31.399 --> 01:37:34.270
lee yeah i mean can you imagine how that conversation
01:37:34.270 --> 01:37:36.590
would go she'd be all like should we try something
01:37:36.590 --> 01:37:38.449
a little different tonight honey and the husband
01:37:38.449 --> 01:37:41.149
would be like nope nope nope no missionary is
01:37:41.149 --> 01:37:44.010
fine just fine no complaints here just eye contact
01:37:44.010 --> 01:37:46.229
constant eye contact just don't turn your head
01:37:46.229 --> 01:37:52.250
but um a horrific thought yeah there's also i
01:37:52.250 --> 01:37:54.109
mean maybe that kind of thing floats your boat
01:37:54.109 --> 01:37:55.710
i don't know maybe you're into like screaming
01:37:55.710 --> 01:37:59.100
back scrotums who knows but um Anyway, I digress.
01:37:59.220 --> 01:38:02.220
There's also a lot to be said here for childhood
01:38:02.220 --> 01:38:07.100
trauma and repression. Gabriel effectively lives
01:38:07.100 --> 01:38:10.220
rent -free in Madison's head, even making his
01:38:10.220 --> 01:38:12.579
lair in her attic. And if that ain't symbolic,
01:38:12.779 --> 01:38:15.380
I don't know what is. What were your thoughts
01:38:15.380 --> 01:38:17.819
on it, anyway? My initial thought is that Screaming
01:38:17.819 --> 01:38:20.180
Back Scrotum should be the name of a band or
01:38:20.180 --> 01:38:25.079
something. I think that should be... Or maybe
01:38:25.079 --> 01:38:27.310
one of your straight -to -video scripts. you
01:38:27.310 --> 01:38:32.930
know yeah man anyway uh besides your sort of
01:38:32.930 --> 01:38:35.310
somewhat troubling thought processes lee i mean
01:38:35.310 --> 01:38:37.909
i thought um parker themes this was yeah pursuit
01:38:37.909 --> 01:38:39.689
of love too dude i mean i thought for the reasons
01:38:39.689 --> 01:38:41.750
that you mentioned already i think you've actually
01:38:41.750 --> 01:38:43.270
done a really good breakdown of the themes there
01:38:43.270 --> 01:38:44.829
so i don't want to sort of blather on too much
01:38:44.829 --> 01:38:47.369
about this but definitely you know in a wider
01:38:47.369 --> 01:38:49.810
context bodily autonomy seems to be a big theme
01:38:49.810 --> 01:38:53.279
here too um i like the sort of trauma piece the
01:38:53.279 --> 01:38:56.560
repressed memories etc i think that works i thought
01:38:56.560 --> 01:38:59.399
the family angle too you know the blood uh over
01:38:59.399 --> 01:39:01.439
care and sort of nurturing totally agree with
01:39:01.439 --> 01:39:04.439
all of that i think you have this kind of idea
01:39:04.439 --> 01:39:08.439
of repressed or suppressed rage somewhere there
01:39:08.439 --> 01:39:10.960
or sort of a repression of the darker side of
01:39:10.960 --> 01:39:13.539
madison's character like this sort of the idea
01:39:13.539 --> 01:39:15.579
of a shadow self you know that sort of thing
01:39:15.579 --> 01:39:18.800
maybe in there as well um and i was thinking
01:39:18.800 --> 01:39:20.680
about this i wondered if this this is probably
01:39:20.680 --> 01:39:24.250
just you know uh a window into my brain here,
01:39:24.270 --> 01:39:26.649
Lee, which I'm sure you're terribly bored with.
01:39:26.810 --> 01:39:29.390
But I thought, you know, I was thinking I wondered
01:39:29.390 --> 01:39:32.590
if this has something to do with maybe like a
01:39:32.590 --> 01:39:35.109
sort of social media technology kind of angle.
01:39:35.409 --> 01:39:39.789
Gabriel exerts power through technology and communicates
01:39:39.789 --> 01:39:42.449
primarily through smartphones and radios or whatnot.
01:39:43.010 --> 01:39:46.289
He kind of implants dark thoughts into Madison's
01:39:46.289 --> 01:39:49.069
mind and tries to get her to do sort of bad things.
01:39:49.109 --> 01:39:51.829
And he's living. in her head, like a malicious
01:39:51.829 --> 01:39:54.529
kind of idea, festering away, makes her angry
01:39:54.529 --> 01:39:57.569
and sets her off on killing sprees. And there's
01:39:57.569 --> 01:40:00.329
sort of, you know, there's wild kind of theories
01:40:00.329 --> 01:40:02.710
floating around, swirling around in the mix.
01:40:04.010 --> 01:40:06.390
So, yeah, man, I kind of wondered if that was
01:40:06.390 --> 01:40:09.449
maybe something there. Not sure if that holds
01:40:09.449 --> 01:40:12.489
up, but popped into my head. It's probably just
01:40:12.489 --> 01:40:17.550
my hobby horse kind of coming back to. OK, so
01:40:17.550 --> 01:40:18.970
what, if anything, do you think you've learned
01:40:18.970 --> 01:40:21.680
from the script here, Lee? Okay, well, going
01:40:21.680 --> 01:40:25.680
off this script alone, I'm really enjoying Cooper's
01:40:25.680 --> 01:40:28.199
writing style. It's extremely engaging and reader
01:40:28.199 --> 01:40:30.640
-friendly. I'll give you a quick example here.
01:40:30.859 --> 01:40:33.539
The unknown POV moves out of the kitchen into
01:40:33.539 --> 01:40:36.779
the hallway. It slowly ascends the stairs. Oh,
01:40:36.899 --> 01:40:40.020
fuck. It's coming for Madison. Madison clenches
01:40:40.020 --> 01:40:42.100
her jaw, her fingernails digging into her arm
01:40:42.100 --> 01:40:44.899
as if she's trying to wake herself. The POV comes
01:40:44.899 --> 01:40:47.579
to the bedroom door. It's open, but didn't Madison
01:40:47.579 --> 01:40:50.329
lock it? See, it's just the little touches here,
01:40:50.390 --> 01:40:52.069
I think, that makes the words sing. You know,
01:40:52.109 --> 01:40:55.449
it slowly ascends the stairs. Oh, fuck. And it
01:40:55.449 --> 01:40:57.489
also poses in some sort of active questioning.
01:40:57.569 --> 01:41:01.069
But didn't Madison lock it? I mean, this shows
01:41:01.069 --> 01:41:04.010
us not only that Madison could be in direct peril,
01:41:04.090 --> 01:41:06.329
but also questions the reality of the situation.
01:41:06.590 --> 01:41:09.510
The door was locked. So how is it open? And the
01:41:09.510 --> 01:41:11.890
film also does a really great job of planting
01:41:11.890 --> 01:41:14.630
seeds that pay off once the big reveal hits.
01:41:14.869 --> 01:41:17.289
Madison, for example, frequently telling herself
01:41:17.289 --> 01:41:19.710
that it's all in her head, which it absolutely
01:41:19.710 --> 01:41:22.529
is, just not in the way she's currently framing
01:41:22.529 --> 01:41:25.939
it. And speaking of framing, that bathroom phone
01:41:25.939 --> 01:41:28.100
call I spoke about earlier where she speaks to
01:41:28.100 --> 01:41:30.680
Gabriel for the first time on the phone and the
01:41:30.680 --> 01:41:32.539
way the mirror is positioned, you can literally
01:41:32.539 --> 01:41:34.899
see the brother and sister talking to one another.
01:41:35.140 --> 01:41:38.140
Like the front, you see Madison's face and then
01:41:38.140 --> 01:41:40.260
in the mirror, the back of her head, which is
01:41:40.260 --> 01:41:42.680
Gabriel's face. And so you literally see brother
01:41:42.680 --> 01:41:44.500
and sister talking to one another, but you don't
01:41:44.500 --> 01:41:46.460
realize it at the time. It's just brilliant.
01:41:47.449 --> 01:41:50.029
But from a technical perspective, if we break
01:41:50.029 --> 01:41:53.029
the script down, we can see just how Cooper's
01:41:53.029 --> 01:41:55.590
writing style plays out on the page. She's a
01:41:55.590 --> 01:41:59.229
fan of short, fast action beats with 70 % of
01:41:59.229 --> 01:42:02.350
them coming in at two lines or less. And that
01:42:02.350 --> 01:42:05.640
makes for a really quick, really... Easy script
01:42:05.640 --> 01:42:08.479
to read. And then 19 % of her action lines are
01:42:08.479 --> 01:42:11.340
just three lines long, so about one in five.
01:42:11.579 --> 01:42:14.159
And then the last 10 % or so are made up of five,
01:42:14.239 --> 01:42:16.920
six or seven lines, with only two action lines
01:42:16.920 --> 01:42:20.319
coming in at seven lines in length. And Cooper's
01:42:20.319 --> 01:42:23.159
dialogue is also quite quick and snappy in most
01:42:23.159 --> 01:42:27.279
places, although it does tend to veer into overexposition,
01:42:27.359 --> 01:42:30.579
at least in this draft. But most of that has
01:42:30.579 --> 01:42:33.279
been eliminated by the time the story hits the
01:42:33.279 --> 01:42:35.930
screen. Another interesting thing Cooper does,
01:42:36.090 --> 01:42:38.229
and this is purely a formatting thing, but she
01:42:38.229 --> 01:42:41.369
drops a double space after every full stop. Yeah,
01:42:41.390 --> 01:42:43.510
I didn't, I must admit, I didn't notice that
01:42:43.510 --> 01:42:45.390
when I was reading the script. What's that all
01:42:45.390 --> 01:42:46.850
about, do you think? I haven't seen that before,
01:42:46.949 --> 01:42:49.729
I don't think. I haven't seen it before, but
01:42:49.729 --> 01:42:52.250
to be honest, I didn't really notice it until
01:42:52.250 --> 01:42:53.989
I was really sort of digging into the script,
01:42:54.029 --> 01:42:56.770
looking for little formatting things. And I was
01:42:56.770 --> 01:42:58.750
like, yeah, okay. Interesting though, isn't it?
01:42:59.960 --> 01:43:01.539
Yeah, I mean, I totally agree with your thoughts
01:43:01.539 --> 01:43:03.479
on Cooper's writing style. I mean, I picked out
01:43:03.479 --> 01:43:06.579
some of, you know, these to talk about too when
01:43:06.579 --> 01:43:08.560
I was reading the script. And in fact, I thought
01:43:08.560 --> 01:43:13.039
at the time, I bet Lee picks these out too. Because
01:43:13.039 --> 01:43:16.020
it's totally something that I've seen in your
01:43:16.020 --> 01:43:19.140
work, including Lee, your latest piece, Fractured,
01:43:19.260 --> 01:43:22.579
which is available as an audio drama on Outward
01:43:22.579 --> 01:43:26.619
.com. And that's Outward spelled O -U -T -W -R
01:43:26.619 --> 01:43:28.880
-D .com. So you should go and listen to that.
01:43:29.439 --> 01:43:34.060
But yeah, it's a Lee -ism in my head. Some of
01:43:34.060 --> 01:43:36.119
the examples I picked out, which I really like
01:43:36.119 --> 01:43:39.539
was, well, one was this. Sydney walks to the
01:43:39.539 --> 01:43:42.520
chain link fence and closing the perimeter. There's
01:43:42.520 --> 01:43:46.020
a large faded, no trespassing sign lazily hanging
01:43:46.020 --> 01:43:48.859
catty corner. Even the sign doesn't give a fuck
01:43:48.859 --> 01:43:52.579
anymore. I thought there was there's little bits
01:43:52.579 --> 01:43:54.239
like this throughout the script, isn't there?
01:43:54.319 --> 01:43:57.479
The oh, fuck little moments where she's kind
01:43:57.479 --> 01:44:00.439
of really engaging the reader. And I thought
01:44:00.439 --> 01:44:02.239
this was a sort of hilarious little example.
01:44:02.279 --> 01:44:04.180
Maybe chuck her out loud when I was, you know,
01:44:04.180 --> 01:44:06.520
chuckle when I was reading the script. But you're
01:44:06.520 --> 01:44:08.920
right is a really great way to engage readers.
01:44:08.979 --> 01:44:11.619
And in the right script, I think it really works.
01:44:12.560 --> 01:44:14.920
So, I mean, truth be told, I'm not sure I learned
01:44:14.920 --> 01:44:17.220
loads here, but there were like a few things
01:44:17.220 --> 01:44:18.920
that I think are worth highlighting from the
01:44:18.920 --> 01:44:22.060
script, which were interesting and will be interesting
01:44:22.060 --> 01:44:24.680
for the sort of writers in our audience. And
01:44:24.680 --> 01:44:26.300
there are a few moments in the script where Cooper
01:44:26.300 --> 01:44:28.800
references elements from the script in her writing
01:44:28.800 --> 01:44:32.020
by way of clarification. And the following I
01:44:32.020 --> 01:44:33.899
thought was interesting. And this is from a moment
01:44:33.899 --> 01:44:37.060
later in the script where Madison's head is hit
01:44:37.060 --> 01:44:41.340
and we get this action line from Cooper. To the
01:44:41.340 --> 01:44:44.140
exact same thing that happened when Derek slams
01:44:44.140 --> 01:44:46.380
Madison's head against the wall at the start
01:44:46.380 --> 01:44:50.159
of the story, cracking open her skull. The inciting
01:44:50.159 --> 01:44:53.840
incident that unleashed Gabrielle. So, Lee, can
01:44:53.840 --> 01:44:57.220
you tell for those who may not know what an inciting
01:44:57.220 --> 01:45:00.199
incident is? Yeah, sure. I'll give it a shot.
01:45:01.520 --> 01:45:04.819
An inciting incident is basically an event that
01:45:04.819 --> 01:45:08.300
disrupts the protagonist's normal life, and it
01:45:08.300 --> 01:45:11.600
kind of introduces the story's central problem.
01:45:11.699 --> 01:45:14.779
It creates a situation that they can no longer
01:45:14.779 --> 01:45:18.039
ignore, even if they initially resist taking
01:45:18.039 --> 01:45:22.090
action upon it. does not always begin the main
01:45:22.090 --> 01:45:24.270
journey immediately, but it kind of sets that
01:45:24.270 --> 01:45:27.590
journey in motion and makes the existing status
01:45:27.590 --> 01:45:30.130
quo sort of pretty much impossible to maintain.
01:45:30.470 --> 01:45:33.590
So the protagonist needs to take action of some
01:45:33.590 --> 01:45:37.159
form. yeah brilliant yeah yeah yeah so i mean
01:45:37.159 --> 01:45:39.239
here is the as the sort of thing i read out sort
01:45:39.239 --> 01:45:42.180
of you know cooper references and draws a parallel
01:45:42.180 --> 01:45:44.779
to the inciting incident from the start of the
01:45:44.779 --> 01:45:47.680
film and the moment where derrick kind of smashes
01:45:47.680 --> 01:45:50.920
madison's head against the wall and fully awakens
01:45:50.920 --> 01:45:54.020
gabrielle in the script or gabriel in the film
01:45:54.020 --> 01:45:57.079
so i thought that was Just interesting to highlight.
01:45:57.300 --> 01:45:59.300
I mean, you could, you know, assume your readers
01:45:59.300 --> 01:46:01.399
will know this, but here Cooper felt the need
01:46:01.399 --> 01:46:04.020
to clarify what this moment signifies and what
01:46:04.020 --> 01:46:07.260
its implications are by referencing the inciting
01:46:07.260 --> 01:46:10.720
incident from earlier in the script. And we referenced
01:46:10.720 --> 01:46:12.539
this already, but I think it would be, you know,
01:46:12.539 --> 01:46:13.800
just good to sort of illustrate with another
01:46:13.800 --> 01:46:17.359
example. There's definitely sort of gender confusion
01:46:17.359 --> 01:46:20.079
in the script between sort of Gabriel and Gabrielle.
01:46:20.119 --> 01:46:22.760
It's unclear if this is an error or included
01:46:22.760 --> 01:46:24.960
purposefully. I can't imagine it's on purpose,
01:46:25.020 --> 01:46:27.100
but either way, it is confusing when reading
01:46:27.100 --> 01:46:30.020
the script. And here's just kind of another passage
01:46:30.020 --> 01:46:33.880
that illustrates this and sort of. you know shows
01:46:33.880 --> 01:46:36.699
how this confusion occurs in the script just
01:46:36.699 --> 01:46:38.899
so you get another flavor of it and this is in
01:46:38.899 --> 01:46:41.260
actually a piece of dialogue and that goes as
01:46:41.260 --> 01:46:45.199
follows eric i don't think so this woman whoever
01:46:45.199 --> 01:46:47.619
she is is our killer she's going to kill again
01:46:47.619 --> 01:46:51.640
madison is our key to capturing him so i mean
01:46:51.640 --> 01:46:54.779
it makes no sense whatsoever on the page but
01:46:54.779 --> 01:46:56.420
it's i mean it's a bit more sense maybe when
01:46:56.420 --> 01:47:01.300
you view in the finished film um but i'm sure
01:47:01.300 --> 01:47:03.380
this has got to be mistakes right and it's kind
01:47:03.380 --> 01:47:05.720
of all cleaned up at the final draft stage right
01:47:05.720 --> 01:47:07.380
yeah it's a shame we couldn't get our hands on
01:47:07.380 --> 01:47:09.319
that final draft script you know the final draft
01:47:09.319 --> 01:47:10.659
script because i think it would have been a much
01:47:10.659 --> 01:47:14.460
cleaner definitely definitely yeah for sure um
01:47:14.460 --> 01:47:16.420
another thing i thought was cooper likes using
01:47:16.420 --> 01:47:19.340
underlining for emphasis quite a bit uh the last
01:47:19.340 --> 01:47:22.079
reading actually piece of dialogue had some underlining
01:47:22.079 --> 01:47:26.489
in it but um another example is as follows and
01:47:26.489 --> 01:47:30.029
that goes like this she sees eric enter he doesn't
01:47:30.029 --> 01:47:33.010
see her because she's not really there and it's
01:47:33.010 --> 01:47:34.850
he doesn't see her because she's not really there
01:47:34.850 --> 01:47:37.590
is all underlined now we've spoken about this
01:47:37.590 --> 01:47:39.649
in a lot haven't we on in sort of script to screen
01:47:39.649 --> 01:47:42.550
previous episodes but i mean here the underlining
01:47:42.550 --> 01:47:46.189
is used to clarify exactly where madison is or
01:47:46.189 --> 01:47:49.050
is not quite a lot and you know madison is obviously
01:47:49.050 --> 01:47:52.239
sort of spoilers, you know, seen to be places
01:47:52.239 --> 01:47:55.760
that she actually isn't. And that could be a
01:47:55.760 --> 01:47:58.500
wee bit confusing in a script. But the use of
01:47:58.500 --> 01:48:01.579
underlining here serves to sort of clarify this
01:48:01.579 --> 01:48:04.460
for the reader. And I think in general, it works
01:48:04.460 --> 01:48:07.640
kind of pretty well. She also uses it in dialogue,
01:48:07.640 --> 01:48:10.420
as we say, underlining things for sort of emphasis
01:48:10.420 --> 01:48:13.939
and in other areas as well. So it's a technique
01:48:13.939 --> 01:48:16.000
that she sort of seems to like and finds useful.
01:48:16.670 --> 01:48:18.850
And the last thing I wanted to highlight is something
01:48:18.850 --> 01:48:21.069
we chatted about recently, and that's the use
01:48:21.069 --> 01:48:24.409
of the double hyphens. And I think you sort of
01:48:24.409 --> 01:48:25.850
had mentioned previously that this can be used
01:48:25.850 --> 01:48:28.470
to great effect as a lead into another continuous
01:48:28.470 --> 01:48:30.550
piece of action, particularly if the action is
01:48:30.550 --> 01:48:34.409
shifting across locations. And Cooper does this
01:48:34.409 --> 01:48:37.829
exact thing in this script to great effect. And
01:48:37.829 --> 01:48:42.250
that passage goes like this on Madison. She has
01:48:42.250 --> 01:48:44.659
no idea what's going on. but it's like she's
01:48:44.659 --> 01:48:47.399
being pulled along as the killer chases Dr. Weaver
01:48:47.399 --> 01:48:49.939
through the house. Though Madison is stationary,
01:48:50.239 --> 01:48:52.539
it's as if the house is moving underneath her.
01:48:52.619 --> 01:48:54.899
And that's actually underlined, those few lines
01:48:54.899 --> 01:48:58.460
there. Dr. Weaver runs through the double hyphen
01:48:58.460 --> 01:49:02.560
living room. She knocks over a side table, screaming
01:49:02.560 --> 01:49:05.500
her head off as she rounds into the double hyphen
01:49:05.500 --> 01:49:08.720
dining room, beelining for the double hyphen
01:49:08.720 --> 01:49:11.859
kitchen. Each room surges around Madison. She
01:49:11.859 --> 01:49:14.619
grips her stomach, gagging, getting motion sickness
01:49:14.619 --> 01:49:18.020
from the sudden movements. So we mentioned, I
01:49:18.020 --> 01:49:20.060
think this can be a good way to get around having
01:49:20.060 --> 01:49:23.539
to, basically you're sort of having, it's a way
01:49:23.539 --> 01:49:25.760
to get around having new scene headers during
01:49:25.760 --> 01:49:28.260
a moment of fast -paced action, I think, isn't
01:49:28.260 --> 01:49:31.420
it? And that's what Cooper is doing here, you
01:49:31.420 --> 01:49:33.569
know. I think the takeaway is that this technique
01:49:33.569 --> 01:49:37.170
keeps the action on the page flowing really well
01:49:37.170 --> 01:49:40.609
and it's less broken up and the momentum and
01:49:40.609 --> 01:49:42.909
propulsion of the scene is not diminished by
01:49:42.909 --> 01:49:46.489
breaking to those scene headers. And I think
01:49:46.489 --> 01:49:49.029
that's a really good technique. It's not actually
01:49:49.029 --> 01:49:50.989
something that I use that much, to be honest,
01:49:51.130 --> 01:49:53.550
but I think I probably will start using that
01:49:53.550 --> 01:49:56.250
in those moments where you just don't want the
01:49:56.250 --> 01:49:59.229
sort of pace and the momentum of a scene to be
01:49:59.229 --> 01:50:02.850
broken up by scene headers. Yeah, not loads of
01:50:02.850 --> 01:50:05.170
kind of learning, but it's great to see some
01:50:05.170 --> 01:50:07.130
of these techniques that we've spoken about before
01:50:07.130 --> 01:50:10.369
being used. And it's great to be able to highlight
01:50:10.369 --> 01:50:12.529
some of these techniques to sort of new writers
01:50:12.529 --> 01:50:14.869
out there. And if you go and read the script,
01:50:15.029 --> 01:50:17.449
which I really suggest that you do, you can see
01:50:17.449 --> 01:50:20.789
a lot of these in context. And I think that's
01:50:20.789 --> 01:50:23.890
really sort of useful to do. Right. I think that's
01:50:23.890 --> 01:50:26.270
really good stuff. And this script is really
01:50:26.270 --> 01:50:27.899
good for that. Okay, so I think we're almost
01:50:27.899 --> 01:50:29.699
done here, dude. But before we wrap up and talk
01:50:29.699 --> 01:50:32.239
about our next episode, what would you rate the
01:50:32.239 --> 01:50:35.460
script and the film as here, Lee? I think I would
01:50:35.460 --> 01:50:39.699
give the film a 7, 7 out of 10. And while I really
01:50:39.699 --> 01:50:42.199
enjoyed the script, I really did, this particular
01:50:42.199 --> 01:50:45.239
draft, which is what we are judging, it feels
01:50:45.239 --> 01:50:47.739
a little unfinished. You've got the confusing
01:50:47.739 --> 01:50:50.579
gender switches. There are some obvious typos.
01:50:50.579 --> 01:50:53.239
Again, not a big deal, but if I'm... trying to
01:50:53.239 --> 01:50:55.279
give a fair review i've got to kind of take this
01:50:55.279 --> 01:50:57.220
into account so i was going to give it a seven
01:50:57.220 --> 01:50:59.800
as well but with the confusing nature of this
01:50:59.800 --> 01:51:02.000
draft i'm going to drop that down to a six out
01:51:02.000 --> 01:51:05.199
of ten yeah yeah no that's cool i mean i think
01:51:05.199 --> 01:51:07.859
um the other thing i was thinking was um that
01:51:07.859 --> 01:51:09.880
you know when you write a script and you sort
01:51:09.880 --> 01:51:11.899
of you're sort of sending that out obviously
01:51:11.899 --> 01:51:14.579
you want it to be i mean i would be looking to
01:51:14.579 --> 01:51:17.279
make that as perfect as possible in terms of
01:51:17.279 --> 01:51:19.659
its formatting and it's uh you know typos and
01:51:19.659 --> 01:51:23.170
that sort of thing but you know scripts do once
01:51:23.170 --> 01:51:25.470
they're sort of you know purchased or they're
01:51:25.470 --> 01:51:27.729
going they go through a development phase right
01:51:27.729 --> 01:51:30.289
it's yeah yeah rarely do you ever sort of submit
01:51:30.289 --> 01:51:32.670
something and it's just nothing happens with
01:51:32.670 --> 01:51:33.989
it you know it goes straight into production
01:51:34.810 --> 01:51:37.810
And this kind of is, you know, a good example
01:51:37.810 --> 01:51:39.670
of that, right? Obviously, a script has gone
01:51:39.670 --> 01:51:41.989
in, but it's going through a development process.
01:51:42.109 --> 01:51:44.149
There's notes and feedback and there's changes
01:51:44.149 --> 01:51:46.590
being made. And obviously, sometimes some things
01:51:46.590 --> 01:51:48.829
are missed, right? Yeah. But yes, you will be
01:51:48.829 --> 01:51:52.409
pleased to know, Lee, I actually gave very similar
01:51:52.409 --> 01:51:55.289
marks, if not exactly the same. So I gave the
01:51:55.289 --> 01:51:58.229
film a seven. I thought the film was sort of
01:51:58.229 --> 01:52:01.409
really entertaining and I enjoyed the tone. I
01:52:01.409 --> 01:52:02.729
mentioned to you before, you know, before we
01:52:02.729 --> 01:52:06.670
came on, I'm not sure I'm a huge fan of Wong's
01:52:06.670 --> 01:52:10.029
like, you know, Saw -like music video sort of
01:52:10.029 --> 01:52:13.229
style vignette moments, but I think visually
01:52:13.229 --> 01:52:17.609
he is really, really good. And the script I thought
01:52:17.609 --> 01:52:20.210
was, again, sort of well -written, but those
01:52:20.210 --> 01:52:23.029
errors, the confusing gender swaps made me mark
01:52:23.029 --> 01:52:24.949
it down a touch. So it would have been higher,
01:52:25.010 --> 01:52:28.199
but I gave it a 6 .2. Nice. So once again, the
01:52:28.199 --> 01:52:30.560
oracles have spoken and we are in complete agreement.
01:52:30.720 --> 01:52:33.899
Nice. Giving the film a respectful 14 out of
01:52:33.899 --> 01:52:36.920
20 and the script 12 out of 20. Now, I've got
01:52:36.920 --> 01:52:39.420
to say again, to clarify, in my case, this feels
01:52:39.420 --> 01:52:42.159
a little harsh because without the various gender
01:52:42.159 --> 01:52:44.500
confusion, the script would have been easily
01:52:44.500 --> 01:52:46.500
a comfortable seven for me. And I don't think
01:52:46.500 --> 01:52:49.520
for a second that this is Cooper just. haphazardly
01:52:49.520 --> 01:52:51.239
writing a script like you said this is something
01:52:51.239 --> 01:52:53.579
that was done in edits and it's just unfortunate
01:52:53.579 --> 01:52:56.199
this is the only sort of copy of the script we
01:52:56.199 --> 01:52:58.439
were able to get to but if we'd have had a uh
01:52:58.439 --> 01:53:00.939
a more recent version we may well have lost those
01:53:00.939 --> 01:53:03.760
scenes that were that were changed for the film
01:53:03.760 --> 01:53:07.680
so you know it's uh swings around yeah no i totally
01:53:07.680 --> 01:53:09.680
agree i mean i think it's like you said you know
01:53:09.680 --> 01:53:14.680
this is a really accessible, easy to read script,
01:53:14.880 --> 01:53:17.479
you know, that just sort of flows really nicely.
01:53:17.739 --> 01:53:20.520
And Cooper has a really engaging kind of writing
01:53:20.520 --> 01:53:24.619
style and is also using a lot of little sort
01:53:24.619 --> 01:53:26.579
of tricks of the trade as well, which I think
01:53:26.579 --> 01:53:29.300
are really good to watch. So it's not sort of
01:53:29.300 --> 01:53:31.779
an indictment of any sort of skill level or,
01:53:31.800 --> 01:53:33.779
you know, writer's quality or anything like that,
01:53:33.819 --> 01:53:36.079
because it is definitely a great script, which
01:53:36.079 --> 01:53:37.779
I would have sort of marked it higher had it
01:53:37.779 --> 01:53:39.479
not been for some of those things as well. So,
01:53:39.500 --> 01:53:41.859
yeah, yeah, yeah. It's a really good read and
01:53:41.859 --> 01:53:44.640
definitely worth seeking out. OK, man. So what's
01:53:44.640 --> 01:53:47.399
on the agenda for next time? OK, I got one for
01:53:47.399 --> 01:53:50.859
you. How about a movie in which a bunch of children's
01:53:50.859 --> 01:53:53.239
animatronics are possessed by the spirits of
01:53:53.239 --> 01:53:56.239
dead murderers? OK, I think I know where you're
01:53:56.239 --> 01:53:58.420
going with this one, Lee. And where a lone employee
01:53:58.420 --> 01:54:01.119
must survive the night against these robotic
01:54:01.119 --> 01:54:05.439
monsters. I got it, dude. It's a Five Nights
01:54:05.439 --> 01:54:07.239
at Freddy's. Where the protagonist doesn't have
01:54:07.239 --> 01:54:11.640
a single line of dialogue. Oh, really? And it's
01:54:11.640 --> 01:54:16.680
Nicolas fucking Cage, baby. Okay. Yeah, we'll
01:54:16.680 --> 01:54:20.000
be going deep into the batshit Cage fest that
01:54:20.000 --> 01:54:24.659
is Willy's Wonderland. Oh, nice. Well, I'm a
01:54:24.659 --> 01:54:26.720
big fan of Cage generally, so that'll be fun.
01:54:26.840 --> 01:54:30.220
I look forward to that. All right. So if you
01:54:30.220 --> 01:54:35.300
enjoyed the podcast, please rate the show. Follow
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01:55:08.340 --> 01:55:11.199
screen podcast dot com. We always love hearing
01:55:11.199 --> 01:55:14.220
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01:55:14.220 --> 01:55:17.590
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Anything you want, just reach out to us. There's
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01:55:22.789 --> 01:55:25.430
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01:55:25.449 --> 01:55:29.390
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01:55:29.390 --> 01:55:32.130
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stuck for something to watch, go on there and
01:55:35.149 --> 01:55:38.090
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01:55:38.090 --> 01:55:40.699
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01:55:46.510 --> 01:55:50.270
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01:55:56.069 --> 01:55:58.510
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01:55:58.510 --> 01:56:01.029
to you, we'd love to hear from you. Go to our
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01:56:03.770 --> 01:56:07.010
and you can get all of the info there about our
01:56:07.010 --> 01:56:10.630
feedback and obviously pitch deck creation. But
01:56:10.630 --> 01:56:13.390
until next time, do take care. Beware low flying
01:56:13.390 --> 01:56:15.899
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