CONSTRUCTION: SMASH CUT

 (As GIBBY finishes his tirade, the camera focuses on the spill of coffee on the table, and it fades to an identical stain of blood in the grass in front of the Belvedere. Suddenly, the music swells as the audience get flashes of scenes, of EMILY possessed in front of the Belvedere, a pin of an article about Claremont being haunted, EMILY leaving the boys to use the bathroom, EMILY possessed again, a pin of a ghost, EMILY staring in the mirror, a pin of the interior of Claremont, EMILY's reflection shifting and distorting, EMILY possessed again, a pin of ghost hunting equipment, EMILY touching the violin player on the shoulder, a pin of their plan, the boys running out of the mansion, EMILY presenting a book to the boys, EMILY's torch laying on the ground up to the Belvedere, the passage about demons within the book, the boys running up to the Belvedere, the book being closed with a slam, revealing the title (Daemonology), a black screen. Suddenly the audience see EMILY at the top of the back balcony, about to enter Claremont, looking back at the boys, as she says the words:)

This passage in our script utilises smash cuts, as shown in Cinematic Storytelling by Jennifer Van Sijll. We aim to increase the pitch and volume of our soundtrack, potentially with a violin, to create an impact and create the tension of the scenes while the scenes smash cut.

This technique was modelled in films such as American Beauty, within the alarm clock sequence, and Psycho, where the mother kills. We looked at these scenes for inspiration in forming our own sequences.