MONDAY'S SCRIPT TIP:

THE TERROR OF ACT 2


I think James Wan deserves some sort of special Oscar for bringing back classic horror films which don't rely on blood and gore to make you scream and jump out of your cinema seat. Oddly ironic, since Wan is the fellow who started the whole "torture porn" genre of horror in the first place with SAW. But with films like both of THE CONJURINGs and alll three of the great (and very low budget) INSIDIOUS movies he has taken those tales of terror to new heights. That first INSIDIOUS movie, made for under a million dollars (the catering budget on a Hollywood film) was creepy and scary and kept you on the edge of your seat the entire time. Too bad you can't bottle Wan's talent and apply it to other Hollywood horror flicks...

When a Ranger Calls DVDs

I saw WHEN A STRANGER CALLS a few years ago with a bunch of friends in a suburban movie theater on opening night. Packed house - the previous showing had been sold out and there was a line for this showing. People leaving the previous showing told everyone in line that the film sucked - but we already had our tickets - and doesn't every horror film these days kind of suck?

Then we saw the film... and it sucked. Big time. It sucked so bad that everyone in the theater actually booed the ending! I can't remember the last time everyone in the audience booed a film.

Why did the audience dislike this film so much? Why will this film drop off the box office charts next week? The film had no Act Two! Just a really long Act One and a really short Act Three.


Act One: Sets up the conflict.
Act Two: Conflict and Escalation of Conflict.
Act Three: Resolves the Conflict.

Okay - remove the conflict and you have a dull movie... like WHEN A STRANGER CALLS.

Here's the story: Pretty high school girl Jill is grounded for using all of her cell phone time talking to everyone about her cheating boyfriend... who kissed her best friend. Not slept with - kissed. And not even a very good kiss, it turns out. Her friends want her to dump him at the big bonfire before the big game... but Jill will be babysitting that night.

Jill's dad drives her to this huge mansion on a lake where she meets the Doctor and his wife who are going out to dinner and a movie - the kids are already asleep. The house is something out of a magazine - ultra modern. After the Doctor and his wife leave, Jill *doesn't* turn on the TV like any normal babysitter would... nor does she even look at the sleeping kids. She sits by the phone... which eventually rings. On the other end - just breathing! Then the breather hangs up. The phone rings again a few minutes later - one of her friends. In fact, I think her friends call her more in this film than the breather. But the breather calls back a couple of times - breathing. This freaks her out so bad that she calls 911 and tells the police it's an emergency - some guy keeps calling and breathing. The police take it seriously... which confused me. Don't they have anything better to do?

No one throws out the theory that this might be a cell phone mis-dial issue. You see, I once called a friend by accidentally bumping my cell phone against a counter - and it hit a speed dial button and next thing you know there are voices coming from my pants (where the phone was). I didn't freak out and call the police.

The old version DVDs

Jill freaks out big time. She freaks out over everything. She keeps calling the police in a panic over every little noise... and there's never anyone there. Now, we know that this is a horror movie so the breather on the phone will eventually show up with a machete or something... but for well over an hour not a single thing even remotely threatening happens. Then, the thing that happens is that she sees a shadow in the guest house and runs over there - no one there - and then runs back to the main house... and eventually pokes around enough to discover the dead maid. By now the film is almost over, so the killer makes his entrance - no weapon of any kind - and Jill has to round up the kids and escape the house... which she does. She tussles with the killer a little, but it's over in a second when the cops arrive. Most of the film has been Jill and some phone calls from a breather - not scary.

Now, some of you may think that this lack of blood is a good thing - a step away from the gore-fests that horror movies have become back to the golden age of suspense. I'm sure if you interviewed the writer, that's what he would say. But even in the golden age, they had an Act Two where there was DIRECT CONFLICT WITH THE PROTAGONIST. John Carpenter's HALLOWEEN is filled with suspense and dread.... and there is no shortage of Michael Myers chasing Lori Strode in Act Two (direct conflict).

If you are writing a horror script, the emotional reaction the audience expects is to be scared. Pacing is the heartbeat of your script, and you want a regular heartbeat... and that means regular scares through out Act Two. The audience doesn't want to go for too long without being scared - that's the emotion they came to experience.

DIRECT CONFLICT... WITH GHOSTS!

Buy The HAUNTING DVDs

Now, "scares" doesn't mean heads getting lopped off (though it could). It means scary scenes. A wrong number or a guy on the phone breathing isn't scary. THE HAUNTING (the good version from 1963) doesn't have any blood at all... yet it has regular scares throughout Act Two - and lots of DIRECT CONFLICT between the source of the scares and the protagonists. This is tricky, because THE HAUNTING is about ghosts and has no special effects - no guys in sheets, no double exposure FXs, nothing we can *see*. Though we can't see the ghosts, we CAN see what they do. The original version of THE HAUNTING has five characters and only one of them dies - at the very end. But they are constantly in peril throughout Act Two of the film, and often in conflict with each other. Even though nobody dies for 99% of the film's running time, there are a bunch of big scary scenes - it's as much fun to have a character *almost* killed as it is to have them killed.

It's a haunted house story about a team of ghostbusters who are going to "cleanse" a very haunted house. Richard Johnson is the professor leading the expedition into the world's most haunted house. Claire Bloom and Julie Harris are two different kinds of psychics, Rusty Tamblin (from my INVISIBLE MOM movie) represents the owner of the house and the actress playing Johnson's wife (can't remember her name). The scares are (brilliantly directed) scenes with ghosts pounding on the walls or doors slamming on their own or people almost being swept off balconies by the wind or spiral staircases becoming untethered and almost falling over or people having to walk down long hallways in the dark while wind or shadows chase them. The ghosts are constantly chasing our heroes! The ghosts are looking for fresh blood - and our five ghostbusters are in peril from the moment they enter that house. The ghosts don't just call on the phone and breathe heavy, they actively try to kill every member of the team!

Though the most famous scary scene is probably that spiral staircase sequence, my favorite couple of minutes of absolute terror is a scene where ghosts pounding on the door to Harris and Bloom's bedroom actually begin to push the door inwards - bending it to the breaking point! The door just keeps bending inwards. Will the ghosts break through the door to get our team of psychics? This scene goes on so long you almost pass out from holding your breath in fear! And that door bows so far inwards you know it will break any minute! No blood (but the scene will drain the blood from *you*!) but scary as hell! THIS is the kind of "old school horror" audiences are looking for - direct conflict between the terrifying and the protagonists. Real suspense based on a real threat.

STRANGE BETWEEN SCARES

Buy The shitty version DVDs

The best part about the original HAUNTING is that between these great bloodless scare scenes, you get to "catch your breath" with scenes of mentally unbalanced romance as Julie Harris interprets everything that Richard Johnson does as proof that he's secretly in love with her. The guy's married and doesn't even flirt with her - but she's so delusional that she's sure it's love. This is almost as creepy as the ghost attacks (just in a different way). So the "valleys" in the ghost story are "peaks" in the twisted romance story (kind of Harris's character coming of age late in life - she's been sheltered since that incident where stones rained on the family home when she was a kid... and has never been on her own or in love before). There are no slow spots in a (good) movie, just different kinds of excitement.

Compare the twisted Julie Harris stalker-romance to the boyfriend who barely kissed another woman from WHEN A STRANGER CALLS... One is creepy and the other is a subplot too dull for an episode of THE O.C. If the audience goes for too long without feeling the type of emotion the genre promises to deliver, the film is "dull"... And they may boo the film when it ends. They will definitely feel like they got ripped off by the movie - it didn't deliver! We go to the movies to feel, to be moved emotionally. Laugh, cry, get scared, sit on the edge of our seat in suspense, feel an adrenaline rush, feel new love, etc. They're E-motion pictures. Emotions come from conflict and *direct conflict* needs to at the core of your Act Two.

Let Act One be the breather phone calls... and use Act Two to play hide-and-seek with the killer in the house. You have a guest house, two kids, lots and lots of rooms.... plenty of things to do to fill up Act Two with a dozen scary conflict scenes. WHEN A STRANGER CALLS you don't want the audience to hang up!

Hollywood has put Wan in charge of the FAST AND FURIOUS franchise and it turned out to be a wise choice (F & F7 is one of the top Box Office films of all time), and he continues to produce the CONJURING and INSIDIOUS movies. He knows how to scare you!



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