[Quick Summary: After he is convinced to swap in another baby for his stillborn, an American ambassador and his wife are not prepared for the destruction that follows.]
ME: "What exactly is horror?
MYSELF: It's blood and guts.
ME: That's lazy. This script is clearly horror, i.e., scary, but WITHOUT much blood and guts. So why is it still horror?
MYSELF: How does the dictionary define it?
ME: "(n.) painful and intense fear, dread, or dismay."
MYSELF: A-ha! Now you see why used the shorthand of "blood & guts"?
In other words, rely on "fear, dread, or dismay" (not blood & guts).*
ex. "INT. LIBRARY
Thorn turning to Kathy; pleased.
KATHY: I like her.
THORN: Yes.
KATHY: Where did you find her?
THORN (taken aback): Where did I find her?
KATHY: ...Yes.
THORN: I didn't find her, I assumed you found her.
They exit.
INT. ENTRY HALL - ANGLE ON KATHY
KATHY (shouting up the stairs): Mrs. Baylock!
INT. UPSTAIRS - SAME - ANGLE ON MRS. BAYLOCK
about to open the door to the child's room.
MRS. BAYLOCK (turning): Yes?
ANGLE ON KATHY
ascending the stairs, Thorn behind her; pausing as they reach the landing.
KATHY: I'm sorry, we're a little confused.
MRS. BAYLOCK (stiffening): Why is that?
KATHY: We don't know how you got here.
MRS. BAYLOCK: By taxi. I sent it away.
KATHY: What I mean is, who 'called' you?
MRS. BAYLOCK: The agency.
KATHY: ...The agency?
MRS. BAYLOCK: They saw in the papers you'd lost your first nanny, so they sent you another.
ANGLE ON KATHY
amazed.
THORN: ...very enterprising.
KATHY: I'll call to confirm that.
MRS. BAYLOCK: That'll be fine. Here are my references.
There passes an uneasy silence: all staring dumbly at each other.
MRS. BAYLOCK: If you'll excuse me now.
KATHY (uneasy): Yes, of course.
Mrs. Baylock reaches for the door... CUT TO:
INT. THE CHILD'S ROOM - SAME
as the boy sits on the bed gazing out the window...slowly turning as he hears the door opening.
ANGLE ON THE NANNY
ENTERING; closing the door behind her, and locking it -- turning to gaze at the child. As she does, her expression transforms --her body stiffening, as though she is gazing upon something of incomparable beauty.
ANGLE ON THE CHILD
vaguely frightened.
CLOSE ANGLE ON MRS. BAYLOCK
moved.
MRS. BAYLOCK (fighting to control her voice): ...Fear not, little one. I'm here to protect Thee.
CAMERA HOLDS on her face."
WHAT I'VE LEARNED: For horror, it's all about building the fear, dread, or dismay.
The Omen (1976)(dated 9/8/75)
by David Seltzer
*I once read a spec horror script that was pages of blood and gore, but failed to build any fear/dread/dismay. It was boring.
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