Shot 01

08;22

Incomplete

This is a shot looking out the car window from the viewpoint of the child sitting in the back left seat of a small 4 door economy car. Any credits will be shown in the blurring scenery that passes. This will be a suburban landscape rendered into a loop of mailboxes, driveways, homes, parked cars, and trees. Via DOF the child’s reflection in the window comes into view. He has an incredibly bored look on his face, the blank stare many children have when staring out of car windows.

Shot 02

06;15

Incomplete

Fade to black, show titles, we hear the car slow; door opens and closes.

Shot 03

4;03

Incomplete

In this shot the camera is a few feet off the ground, tilted up a bit, it moves back and to the right. This is to simulate the camera being mounted on the hood of the car. The same basic view his mother would have. The boy’s posture and expression pleads for his mother not to leave him. He does not immediately move and stands there, at the end of the driveway. He does not want to be there, and does not want his mother to leave him, he is almost in disbelief, he wants the car to pull back up and whisk him away from there. He possibly stands there for a few seconds after the car leaves, in hope she will return.

Shot 04

5;00

Incomplete

Kid takes last step onto porch, approaches and opens screen door. He looks up at the knocker which is just out of his reach, trying to grab it.

This is a locked off shot of the front of the house. In this shot the child slowly edges towards the door; shuffling his feet, perhaps kicking a pebble along. His body language is “pensive”. He is reluctant to go up to the door, but doesn’t have a choice. He enters from frame left and slowly approaches the door. The cam angle is somewhat low, on his level, making the house look much more menacing. He stops short of the door and looks up for a second, he is looking at the knocker we see in the next shot, he’s contemplating how he will reach it. The scene is hot; desert-like, everything is in dead shades of brown, and plants in the front yard are long dead. Perhaps the grandmother’s husband has died and there is no one left to take care of the yard; it is a mess. The screen door is also obviously broken.

Shot 05

1;15

Incomplete

This is a frightening-cliché-horror-slow-zoom-in to the knocker itself. This is one of the initial shots that sets up the tone of the entire encounter. Possibly some sort of orchestra hit or something on this shot to denote and add to its menacing nature.

Shot 06

04;25

Incomplete

In this next locked off shot the child opens the screen door and attempts to reach the knocker, he finds it very difficult to reach the knocker and ring the knocker at the same time. He reaches as far as he can, only to realize that he will have to jump. He puts more pressure on the screen door when he jumps and knocks the knocker, this works against him as his hand pushes through the old screen door and he looses his balance, falling through the screen. He falls through the screen door, this happens very quickly. There is a momentary pause of recognition as he futilely tries to regain his balance, but then he falls very fast, in a whipping motion. His mid-section gets caught on the metal bar at the bottom of the screen long enough for the door to swing open, knocking his head into the side of the house. This needs to look more funny than painful, or perhaps both. This opens the audience to the physical comedy in the piece. He now continues to fall head over heels into the ground/bushes to the left of the door. Laying on his back, it takes a few seconds for him to regain composure and realize exactly what happened. He is then interrupted by the noise of the locks unlocking.

Shot 07

04;00

Incomplete

There are numerous clicks as the door is being unlocked from behind. This is a high-hat shot to make the house look larger-than-life. It is also very close the characters very own viewpoint looking up from the ground.

Shot 08

04;00

Incomplete

Right as his hand reaches for the door, it creaks open. This is shot to look like a cliché horror film shot. The hand; tensed to open the door, reacts as if surprised when it slowly swings open, his hand then wavers pensively as if not completely sure of what to do next. The door slowly continues opening and swings out of frame. It is very dark inside; a stark contrast to how bright the outside has been. When the door opens it is as if it was clicked open and then swung open under its own weight. It makes a very loud creak.

Shot 09

03;00

Incomplete

These are the characters first steps into the house. He is unsure what force opened the door. He stands there for a minute, and then enters the house very slowly. The first step is a very timid small one. As he walks toward the camera he looks side to side. His shadow cuts the light into powerful shafts that illuminate the dust the air coming through the long unopened door has churned up. The outside is extremely blown out to emphasize the eerie darkness inside.

Shot 10

05;28

Incomplete

This is a long pan of the character walking through the front room of the house. He is backlit with a very strong rim light from frame left where the door is open. His shadow cuts through the air creating dust beams of light that fall through the hallway. In the foreground at the beginning of the pan thee are dead and plastic plants. Possibly the outline of an IV bag and/or other humorous things that look scary. These are all silhouettes, and they are in the extreme foreground. He is slowly entering the house “Who opened the door?” “Where’s grandma?” [He thinks]. He kind of knows where he’s headed, he knows the layout of the house because he has been there many times, but it is very dark, and it is scary. As he is about halfway through the pan, the door shuts like a bank vault [noise as well]. This extinguishes all the light in the shot. As the door is shutting he begins to spin around, it gets dark and that is the end of that shot.

Shot 11

02;00

CUT

This is a transitional shot as not to violate the 180 degree rule. He enters the living room/kitchen from the dark front room/foyer. This room is mainly lit by the television in the living room (to frame left). He slowly emerges from the darkness. We can hear the TV coming from the other room. The light flickers in colors. He looks around, “Where’s grandma?” [He thinks].

Shot 12

02;00

CUT

Here we see him still cautiously walking into the house. He half-thinks that grandma might be in the next room watching TV, though she is not there. He looks around the corner as he enters the living room. He looks quick then his body relaxes and his motion slows as he realized there’s no one there. He also takes the delay to ponder where she is, then decide to sit down.

Shot 13

08;10

Incomplete

He enters the living room; lit by the TV, he stops, and looks at the TV. Then he walks up towards the left side of the couch. He puts his backpack down on the floor and climbs up to the couch where he turns around and sits down. You now start o hear the grandmothers approach from the hallway. She makes a metal hitting plastic, dragging noise followed by heavy wheezing. The boy cocks his head to the side and tilts right to see what the noise is.

Shot 14

06;00

Incomplete

This shot is from the boys viewpoint on the left of the couch. We see the TV and the hallway to the left ; which both light the scene. The TV has some kind of commercial on it, in the hallway we now see the shadow of a figure emerging. The shadow looks very menacing; the noises increase as the dark figure walks closer into the light. Enter: the Grandmother

Shot 15

12;02

Incomplete

Grandma, wheezing louder, approaches the boy, he looks up at her. She comes closer and stops short of him; as if awaiting something. He now gives her a sort of forced hug. She stands, waiting to be appeased; he knows what he must do, he knows what ritual she is waiting for. He climbs out of the sofa and works his way around her walker, maneuvering himself over it to give her a hug. They both sit down, Grandma takes a while positioning herself just right above the “drop zone” where she will sit, and the boy has already seated himself long before she begins to sit. All the cushions and padding squish under her weight and bow out, raising him up on his end of the couch. After a few seconds she lifet the remote and changes the channel once, or a few times, and it cuts.

Shot 16

09;00

Incomplete

Grandma unwhittingly changes the channel to the Mighty Morphin Toxic Ninja Slugs, which happens to be the boy’s favorite show. In this show intro there are a few hard guitar riffs and the name of the show is screamed. Quick shifting colors in the background and motion lines. Anime-esque. The slug flips in, ninja style, and we zoom in to see him throw three ninja stars. The slugz hold weapons, but they dont really touch the handles, they just kind of float. It fades on a high guitar riff to zoom out of a group shot and the intro titles.

Shot 17

01:15

Incomplete

CU reaction of the child’s face. It literally “lights up”. He loves this show! Things at grandmas might not be that bad after all.

Shot 18

01;20

Incomplete

Cuts to a loudspeaker, "ATTENTION JUNIOR SLUGS" yells yells "Sergeant Slug” in a growling drill sergeant voice.

Shot 19

01;15

Incomplete

Another CU of the childs face, "they never interrupt the intro, this must be important" [he thinks]

Shot 20

03;00

Incomplete

Cuts back to the TV "WE NEED YOUR HELP TO DESTROY THE EVIL ROBOT MENACE" he tells them. "Help Destroy the Evil Robot Menace" flashes on screen.

Shot 21

7;15

Incomplete

We cut to a shot of a pile of debris and skulls. The lighting is all in shades of blue. [see: T2 wasteland battle] A robot's foot steps down crushing some of them. The cam pans up and we see the robots body, he is firing a weapon that looks strangely like the walker the old woman has. The robot is firing to frame left then he turns to the camera. Cut to robot assembly line.

Shot 22

07;00

Incomplete

Here we see the close-up of a robots face in “Pre-Activation” mode. His eyes are dormant and not lit (normally glowing red). An “Application Arm” extends and forcefully joins on the “Dental Attack Apparatus”. The head sways with the shock of the impact. The robots eyes light up when the teeth are inserted; as if that is the final step in activating the bots. The bots eyes light up, his brows move down possibly. He is now ready for evil. We zoom out to see he was just one on a large assembly line of killer robots.

Shot 23

12;16

Incomplete

Seargeant Slug: "REMEMBER, THESE ROBOTS CAN LOOK LIKE ORDINARY PEOPLE, SO BE ON THE LOOKOUT." "USE YOUR SLUG DECODER WATCH TO INTERCEPT THE SECRET MESSAGE HIDDEN IN TODAY'S EPISODE" "FOR A CHANCE TO WIN 3000 SLUUUUG ACTION FIGURES!"

Shot 24

02;12

Incomplete

Overhead shot, establishes that the boy is a real fan, he has his trusty decoder watch on. This is the episode he has been waiting for! His arm grips the chair and tenses with excitement. He is on the edge of his seat.

Shot 25

01;21

Incomplete

Grandma isn't amused by the vivid colors and loud guitar riffs. Her face contorts in a "What the hell is this" expression.

Shot 26

02;20

Incomplete

Just as everything seems perfect, unwittingly, grandma moves into action. Annoyed by the flashy show and loud guitar riffs she raises the remote control. Time begins to slow. The boy realizes she is about to change the channel! As time begins to slow, the arm slowly rocks into “TV aligned, button-pushing position”. The boy can't believe it. Is she doing what he thinks she might be doing?! Possible intro Carmina Borana type music.

Shot 27

01;06

Incomplete

At this shot of the remote we begin to notice that time is slowing down. She is slowly raising her finger.

Shot 28

03;09

Incomplete

Extreme CU of her finger. It looks like a huge shaky brontosaurus neck, intent on changing the channel. The giant leviathan moves in slow motion; like a whale underwater, rearing its huge neck into the air. This is a high-hat shot up from the base of the remote control. It makes the finger look like a looming menacing figure, hell bent on destruction. Still in slow motion it begins to fall toward the camera.

Shot 29

03;00

Incomplete

The finger; still falling in slow motion, we see the boy move into frame between the finger and the remote. This is a rack focus DOF shot. The boy’s expression is that of complete disbelief. We slowly zoom into the frame to see his expression better as the finger continues to drop. The boy’s facial expression and the shaking of the woman’s arthritic finger are key here. He is in utter disbelief. “How can this happen?” [He thinks] The finger comes down. The screen goes to black for an instant.

Shot 30

02;15

Incomplete

“CLICK”; this frame only lasts 1/10 of a second, it is a transition to the next frame. A finalization to end the super slow-mo sequence that just took place. It also ends the dramatic music. Cheesy music, music stays for the duration of the next few shots, muted, in the background. With little sayings barely audible like “The lord’s gonna save yaaah but he aint gonna do it for foreeeyah!” For the next while, the backdrop audio is that of "Jesus Hour", a preacher dishing out forgiveness for $19.99.

Shot 31

06;00

Incomplete

We see the boy’s face of defeat. He’s angry, but he knows he can’t challenge the decision. To his amazement, grandma has instantaneously fallen asleep. It’s not like he can wake her, and the remote is in her grasp. “This is ridiculous.” [He thinks]

Shot 32

03;16

Incomplete

CU of grandma’s face, we see her sleeping and ever so slowly her head begins to fall forward. As her head tilts forward, her mouth slowly begins to drop. As her head comes to a rest, her hair piece continues to slip downward.

Shot 33

03;00

Incomplete

Grandmas arm tenses for a second; just shakes a little, then loosens, and she drops. Not as much she drops it, but her hand becomes limp and it falls out, it is as if she has lost consciousness.

Shot 34

01:15

Incomplete

Medium reaction shot of the child’s face. He starts looking down with an “Umm… what was that? Why’d she just drop the control?” expression.

Shot 35

01;17

Incomplete

Shot of the remote, where it sits on the ground.

Shot 36

01;15

Incomplete

He looks up at her to see why she dropped the remote he wonders if something is wrong with her, “is she ok”?

Shot 37

01;15

Incomplete

Quick cut to a CU of grandma “GAAAAHHHKRAHHHKAAAH!”, she seems to be choking on her own spit. She’s having trouble breathing, emitting loud nasty, horrific gargling sounds. She slumps forward shaking her head.

Shot 38

00;28

Incomplete

He is completely caught by surprise by this! He jumps back in horror.

Shot 39

02;00

CUT

He realizes that something is really wrong with grandma, and he gets up on the couch to try and help her out.

Shot 40

02;20

Incomplete

Grandma’s head starts shaking, she’s turning color and her head rears back into the air. Her face is turning purple! Veins are popping out on her neck and the choking sounds get louder and louder! Her head falls forward and she spits up a translucent mass of mucus and spit.

Shot 41

00;20

Incomplete

If you thought he was freaked out before, this time he throws his arms into the air screaming! He has never seen anything this disgusting or scary!

Shot 42

03;22

Incomplete

We cut back to grandma to see her begin to fall asleep. She seems to be drained from the experience. Yet she never woke up! Her head slowly falls to the side she spat and she trails off into silence.

Shot 43

02;00

Incomplete

We go to a close up of the boy; he can’t believe that just happened. He gives a sigh of relief and slouches a bit. He may or may not wipe his head. He doesn’t know what he would have done if she had kept choking, that was close; close and scary.

Shot 44

05;00

Incomplete

We fade to this shot of him watching TV. His eyes are becoming heavy and his head sways back and forth, ever so slightly. The colors from the TV constantly shift; projected on his face. He begins to nod off a little bit, but regains. We hear the TV audio as he is almost trapped there on the couch, held prisoner to the television, and his grandmother. Fade out.

Shot 45

03;00

Incomplete

Fade into the first shot in the sequence to depict the passage of time. With this fade in audio from a different show fades in, cueing us in to the passing of time. He looks very tired and bored.

Shot 46

04;21

Incomplete

Fade to the second shot in the sequence to depict the passing of time. With this fade in, audio from a different television show fades in, cueing us in to the passing of time. He looks very tired and bored, and is now in a completely different position; he is restless, “when will mom get off work and pick me up!”

Shot 47

04;07

Incomplete

Fade to the second shot in the sequence to depict the passing of time. With this fade in, audio from a different television show fades in, cueing the viewer in to the passing of time. He looks very tired and bored, and is now in a completely different position. He rubs his glazed over eyes..

Shot 48

04;15

Incomplete

Fade to the second shot in the sequence to depict the passing of time. With this fade in, audio from a different television show fades in, cueing the viewer in to the passing of time. E now see the height of his boredom as he does a headstand on the couch.

Shot 49

05:14

Incomplete

This is from his viewpoint, he looks over to grandma, and she is sound asleep. Her head slowly swings down and left (in his general direction), but as her cheek softly hits the couch, some unseen hinge unlocks and her face swings open revealing… AN EVIL KILLER ROBOT! With eyes glowing red. We now hear the sounds of large ships flying over the house.

Shot 50

00;27

Incomplete

The sounds continue! It sounds as if a jet is landing on the lawn outside. This is a quick cut to a CU of his face; screaming for his life.

Shot 51

01;15

Incomplete

He turns to look out the window; there is definitely something happening outside.

Shot 52

01;17

Incomplete

This is a shot of the window from his perspective. The drapes are being blown all over and a searchlight is shining in through the window. The hunter killer machines are coming for him!

Shot 53

03;24

Incomplete

We quickly cut to him waking from the dream. He looks to where grandma/the robot was, and we zoom out a bit; there’s nothing there. He quickly turns to look out the window…

Shot 54

01;16

Incomplete

But there’s nothing there, it’s as peaceful and tranquil as ever, if a bit aged and scary. [the furniture]

Shot 55

05:03

Incomplete

He doesn’t know where grandma went, but he hears something coming from another part of the house; the bathroom. So he gets up and walks across to frame right.

Shot 56

02;02

Incomplete

This shot is from his viewpoint. There is light coming from this door in the hallway. His hand reaches up and slowly opens the door. It looks like grandma is doing something inside. Her hand is up by her face.

Shot 57

01;23

Incomplete

Cut to a CU of the grandmother in front of the mirror in the bathroom. This is a Ren & Stimpy-esque horrific detail shot. Her saliva bridges the gap between her rotten gums and the teeth she is removing. It makes a nasty blood curdling sound.

Shot 58

01;01

Incomplete

Through the door (Grandma’s vantage point if she were to notice him) we see the boy freak out! He cannot believe what he is seeing! Grandma just pulled out HER FREAKING TEETH!

Shot 59

04;00

Incomplete

Quick shots back to the robot assembly line. THEY HAVE REMOVEABLE TEETH TOO! GRANDMA IS AN EVIL ROBOT!

Shot 60

02;12

Incomplete

Back in the hall outside the bathroom we see him spin around to run to frame right, but he sees something that scares him even more! He jumps back, losing balance and falls to the floor.

Shot 61

02;12

CUT

This shot starts at the top of the heater and slowly pans down. Lighting is crucial here, the heater emits a red evil glow from in its mouth. The knobs look like eyes and its grate like teeth. When the pan completes at the bottom we see him scampering back towards the camera.

Shot 62

01;00

CUT

We see that in his scampering backwards he bumps into a coat/hat rack. This freaks him out even more as it sways about to fall on him. Here possibly, a hat or coat falls on his head and he freaks trying to pull it off.

Shot 63

02;18

Incomplete

He runs for the door, with his backpack in tow; he’s getting outtah’ here.

Shot 64

02;24

Incomplete

In this shot the camera would be on the floor looking up. He reaches the front door, however, the knob seems too high for him to reach; he cannot reach all the locks. He turns, putting his back against the door. He is short on breath and scared; uncontrollably shaking. Right when it seems that he is about to lose it, the door begins to swing open. Light floods the room. There is a silhouette of a woman standing there.

Shot 65

01;28

Incomplete

CU of the boy, this is a reaction shot; he knows who this woman is. Its his mother. He’s saved!

Shot 66

02:15

Incomplete

He practically runs over the woman; throwing his arms around her yelling “MOMMY!”. She raises her arms and looks down. What did she do to deserve that welcome? What’s going on? She can’t believe it, she takes this as his being glad to see her, much unexpected. Fade out.

Shot 67

07;23

CUT

Same shot as the first. The boy is happy to be done with that experience, time to go home. He never wants to go to grandmas AGAIN! We hear the mother say [voice over] “Oh hon, you left your backpack at Grannie’s, it’s ok you can just get it when you go back tomorrow.” His jaw drops. GO BACK TOMMOROW! Nooooooooooo! Fade to Black: Credits.