Sound in Short Films

Foley sound: used in post production - the reproduction of sounds on screen; often used for dramatic effect.

Presto - Disney and Pixar Short

This Disney short uses lots of foley sound to add to the action of the narrative. Speech is never used, but the film only ever stands silent for milliseconds. The music has a lot of movement so that it matches the pace of the visuals; and starts and ends in between particular shot changes. At 1:00, the music sounds mystical and almost like it is approaching as the magician puts his hand through the hat. 


The article Real-time Sound Effects: The Foley Way on Videomaker points out three ways in which foley can improve a video's performance, saying that: foley effects add realism and depth to audio tracks, they're easy to produce and record, and they simplify the synchronising of sounds.

Foley sounds are often used to create footsteps, to have the swing of an opening door or to make any sound more distinctive. This can make movements more dramatic and more cinematic. Horror or action movies tend to be the genres which are most commonly thought of when we consider where foley sound is often used. 

This sequence shows an entire section of foley sound production and action on screen...

Narration in Short Films

Narration is not often used in short films. Usually, shorts tend either to be told with no or hardly any speech, or entirely through speech. Full-length films tend to be more likely to use a narrator so that they can offer vital background knowledge for the story which is rarely necessary in a short.Tim Burton's Vincent is told entirely through the tellings of the narrator.

I've already mentioned Vincent, by Tim Burton. This story is mostly told through narration, and without this to guide the visuals it is likely that the film would be difficult for the audience to follow. At the beginning of the short, the narrator introduces the character and gives an indication of the boy's personality. Throughout the film, the narrator continues to speak; but there are constant pauses to allow the story to progress on screen. 

One of the reasons why I think this works so well is because of the rhythm and rhyme in the wording. At 1:57: He likes to experiment on his dog Abercrombie... in the hopes of creating a horrible zombie is my favourite example. The pause in between the two lines in the second half of the sentence helps emphasise its meaning. When the narrator then goes on to saying, so he and his horrible zombie dog... it is far more constant. During the sections where the boy is Vincent, the narration tends to speed up and slow down to suggest it is reaching a point of significance. 

The way the words are said are also a valuable part of why the narration works so well. A great example is at 4:50, but fell limp and lifeless down on the floor and 5:10, shall be lifted never more. It is also the fact that Vincent Price narrated the video which makes it so relevant and so successful. If a different narrator was used then it is very unlikely to have been as effective and as acknowledged.

Camera Angles

I worked on this short film with Evie Calaby; demonstrating the different camera shots and layout of the frame...                                                                 

http://www.youtube.com/watch?v=o4gWWGVQSAw

Oxburgh Hall: Seeing the Site - Photos

Green Dragon - Script

Although not all of the script is complete as a final draft, I have organised the changes that have needed to be made and developed and finalised the section ready for filming at The Green Dragon.

CUT TO:

INT. THE GREEN DRAGON – EVENING

HELENA AUVRAY, the bartender, is conversing with customers as she collects their empty drinks. She appears quite comfortable, though rushed off her feet.

Within the crowd of customers, ROBIN FINLAY sits. He appears to be entertaining a small crowd, and appears to have had a few drinks. Around him, they are laughing, partially at his expense, but as friends.

FRIEND

Hey, didn’t you say you were working today?

ROBIN

Helena knows I don’t work! I said I’d clear up a few drinks, but to some extent…

He finishes the drink in his hand.

Lettie emerges through the door at this point, unsettled. Throughout Helena’s discussion she can be seen readjusting her clothes and trying hard to remove the stain left from the rose. She is currently trying not to be noticed.

The customers at the table Helena stands at are looking anxiously across to a man (ZACHERY BOHUN) seated in the corner. He has a crazed expression on his face, has clearly been drinking a lot, and wears a large and expensive-looking navy coat and top hat.

Lettie appears to be listening in to Helena’s conversation.

HELENA (nodding over to the man)

Been coming here for the last couple of nights – can’t figure out why… he doesn’t exactly fit in.

But then again, we’re all outsiders here.

CUSTOMER (anxiously muttering under their breath)

He keeps saying he wants to talk to you.

HELENA

(Out of his earshot; with a raised eyebrow and a grin, and not quite aware of the customer’s response)

Well, gives the place a certain edge.

CUSTOMER

You know who he is don’t you? He’s Zachery Bohun… of course, he lost his status since then, but the other Bohun’s are still incredibly powerful. He can’t be here to give good news.

Helena, currently hunched over the table, straightens up and looks blankly and anxiously across the room. The man (BOHUN) turns his head to face her.

ZACHERY BOHUN

(Getting harsher and quieter with each line, and pausing between them)

The hourglass has been tipped.

The old Witch has had her time.

For the one that’s wearing It - the rose… wilts.

He sniggers.

From a distance, Lettie looks confused, shocked and frightened.

Almost instantly, Robin notices Lettie and approaches her with a jog in his step. He picks her up in a hug and spins her around on the spot. By the time he pulls away, Lettie has adjusted the look on her face. Robin continues to joke and play up to the crowd, gesturing dramatically, but with true meaning in his words.

ROBIN

Scarlett! Here she is, my beautiful fiancé!

He keeps hold of her hand and bows towards his friends.

Helena, upon noticing Lettie, walks across to the bar and nods contentedly as though to call them across. She looks concerned, almost to the same level as Lettie; as though hiding a secret.

HELENA

Drink?

LETTIE

(Quietly, though attempting to sound laid-back and relaxed)

Definitely.

Lettie looks across to the man, apparently nervously considering his words to Helena.

LETTIE

          Actually, you know what… I’ve got to go.

Helena looks alarmed but knowingly as Lettie quickly rushes out of the room. Robin looks positively flabbergast. He seems unsure how to respond.

ROBIN

Lettie – Come back!

Helena steps up and takes a jacket from a cloak hanger near the door that Lettie just exited.

ROBIN

Helena…?

HELENA

(Yelling above the noise of her customers)

Everyone out! Pub’s closed. Find somewhere else to go.

Robin rushes over to join her. Helena whispers to him, her eyes darting back and forth from Zachery; attempting for the meaning of her sentence not to become evident. She can be heard, only just, over the rush and sound of customers’ movements and complaints.

Robin – I think I just discovered something that I hoped would never come true.

Location

Oxburgh Hall - The Bohun Estate

Day 1 Filming: 15th September

Oxburgh Hall (now owned by The National Trust) was built in 1482 as a family home and manor. Because of it's original use, the building is a perfect setting for the Bohun Estate. It is a beautiful medieval country house surrounded by land. The location was also ideal because it was within travelling distance, so I could have a full day filming after a two-hour rehearsal with my actors. I visited the building in the Summer holiday after researching it online, and then contacted the ground manager, Helen, to ask whether it would be possible to use it as a location in my film. I filled in a form, arranged a date that suited the venue and my actors, and set off for my first day's filming on Saturday 15th September. 

     

The Fat Cat (Function Room) - Damien/William conversation; Helena/Robin conversation

The Function Room is a small area filled with wooden tables and chairs just out of the way of the bar. Near some translucent windows, the area of wall is panelled in red wood (similar to the image below). I thought this would be the ideal setting in order to create an eerie and unusual atmosphere during the scene with Damien and William. Not only does it give off an entirely different feel from The Green Dragon (making it more clearly the location for the villains, not the hero's) but it offers a unique style which still remains consistent with the genre of my film.

The Green Dragon - Helena's Pub
Filming Tuesday 30th October

The Green Dragon is a traditional and quirky medieval building. When first creating Helena's character, I considered names such as the Frozen Lake that would fit in with her own style, and the style of the film. I really like the building because it is exciting to look at and be in; it has a great atmosphere and strikes me as a warm, comfortable and quirky place. It was great filming there because the workers and customers (as I found at Oxburgh Hall) were all so lovely and supportive. We were given a space upstairs to practise and given the choice of where to film when we were ready. 

(THANK YOU to David - the pub owner, my actors and my extras - who will all be included in the credits!)

Character Profile Exercise

We were set the task of coming up with a character we would most like or hate to be stuck in an elevator with. From this, we created a character that had the traits we scored highest or lowest. We discussed our ideas as a three (with Evie and Lily) and went to film this short Big Brother audition tape, as though it were the character.

This is the person we would least like to be stuck in an elevator with...

Pitch

Script: Draft 2

This is my second draft of the script, however -

I have decided to make further alterations in order to make it a more visually interesting, art-house piece; and lose some of the complications with the story. So far, it is set out like a short, mainstream film. In an article, short film is described as living, 'outside standardized mainstream cinema and has evolved into a kind of great white hope for all that early cinema promised in terms of aesthetic complexity and plurality of content.' I think that my initial script can be improved by the use of creative content. The genre of fairytale and fantasy leaves the possibilities wide open for experimental shots, creations and illusions. I am going to attempt to transform my idea whilst sticking to it's initial layout.

Yellow indicates the parts of the script I am planning to keep.
Pink sections need revising (either because of wording or relevance).
Blue indicates parts I am hoping to get rid of entirely or replace.

FADE IN:

EXT. HELENA’S PUB - NIGHT

Establishing shot. The pub is busy with noise, and sounds somewhat aggressive.

HELENA (O.S.) 

Okay – quieten down all of you; pub’s closed! Time

to go, take yourselves elsewhere. The crowd mumbles in dissatisfaction.

CUT TO:

EXT. DESERTED STREET CORNER - NIGHT

Camera tracks SCARLETT (LETTIE) AUVRAY from her side as she walks. She wears a distinctive red cloak, white eye- mask and basket.

CUT TO:

INT. HELENA’S PUB - NIGHT

HELENA AUVRAY gathers up used glasses. She steps out to collect a bucket of water for cleaning, whilst the camera ‘waits’ for her, and steadily zooms in.

Having returned indoors, she stands at the bar and uses a cloth and water to clean the dirty glasses. The camera zooms in on her and then ‘crashes’ in to the side of the room, where there is a window. Lettie (though barely visible) looks in. The distorted image makes her look eerie and suspicious. The camera tracks her from inside, making her way round slowly and continuously until settling on the door. The handle quivers and then she steps in.

HELENA (nonchalantly) 

I had to close the pub early.

Lettie removes her mask.

LETTIE 

Why?

HELENA 

It’s almost Midnight, and you need to start

listening to what I have to say. Do you know what that means?

LETTIE (sarcastically) 

You’ve arranged a party for me?

HELENA 

I’m warning you, you have to get rid of it. Tonight.

LETTIE (in a harsh, dignified whisper) 

It was our mother’s!

HELENA 

Look - you aren’t the only one threatened by this!

Given the state of living these days, I need my 

business – it’s not even eleven and I’ve already 

had to clear the place out!

LETTIE 

Well, why did you? I never expected you to send them all away.

HELENA 

Because I need you to take this seriously.

LETTIE 

This cloak is here to protect me!

HELENA (flabbergasted) 

No – you think that it’s here to protect you!

LETTIE 

Listen to yourself. The whole idea of the cloak

being cursed is ludicrous!

HELENA 

And you’re willing to take that chance?

For the first time, they look like sisters.

Lettie’s face changes, and she suddenly looks sympathetic.

LETTIE 

Trust me.

Replacing her mask, she turns to leave.

HELENA 

Scarlett – Lettie – please, take off that cloak.

LETTIE 

It was our mum’s.

Lettie pauses at the door, but keeps her back turned.

LETTIE

I’m staying at Grandmother’s tonight. You don’t need to worry.

She exits.

Helena anxiously continues to clear up. She leaves soon after, her own mask in hand.

CUT TO:

EXT. HELENA’S PUB - NIGHT

After locking up, Helena strays around the corner and finds herself directly opposite ROBIN FINLAY. Robin’s pockets are filled with maps, parchment and quills.

HELENA 

Robin!

ROBIN 

Helena - where’s Lettie?

(Essential for establishing characters.)

HELENA (desperately) 

Already gone.

ROBIN (looking shocked) Well – where?

HELENA 

Our Grandmothers’.

ROBIN 

Then we follow. We go after her.

                                        (agitatedly)

Does she not realize what she means to 

us? We’re supposed to be getting married one day!

They continue to walk in silence. 

Helena looks up, in search for an attempt 

to lighten the mood.

HELENA (feebly) 

The moon is bright tonight.

Robin and Helena wander along their journey. Helena wears a mask and Robin has his face covered with clothing. The change in locations suggests a movement of time. Helena is clutching a map in her hands.

HELENA 

Thank goodness’ you’re a cartographer.

(Indicating on the map)

She lives across here somewhere...

ROBIN 

You haven’t been?

HELENA 

Only Lettie speaks to my Grandmother.

Robin hesitates, as though unsure whether he should ask why. He glances at her, raising an eyebrow quizzically.

Because she’s living her life in denial over what 

happened to her daughter. Maybe Lettie would think 

differently if she wasn’t influenced by her.

Robin is silent for a moment, and looks uncomfortable.

ROBIN 

What are the rumours? Does anyone know the truth...?

HELENA 

The cloak was brought by one of the Bohun 

ancestors hundreds of years ago... he was 

afraid that the reputation he’d developed for 

himself when they built the estate might one day be 

lost; or overridden by another high-status family. 

At the time, the village was fearful of witches. 

There was an elderly lady awaiting a trial and he 

found her. He got her to bewitch the cloak so 

that it would protect the Wearer. Some 

people – like Lettie – think the story ends there.

But of course, he didn’t save the witch. 

He went back on his word – he’d promised to 

protect her if she protected them. 

But he sent her straight back where she’d came from...

                                       And she cursed it.

EXT. WOODS – NIGHT

Lettie is in the distance, walking calmly. The red of her cloak is vivid against the dark, motionless setting.

She then begins running as she spots something off screen from behind her. The screen is a blur as she urgently rushes through the maze of trees. Sounds from all angles erupt alarmingly as she scrambles through leaves and gaps in branches. Lights flicker from either side of her, slowly edging nearer and faster as though catching her up. When the lights stop, she lunges uncontrollably in to the darkness.

A close up then shows her hand (nails painted pearl white) as it hits the floor. The contents of her basket hurdle across the ground. She is completely immersed within darkness.

CUT TO:

EXT. DESERTED STREET – NIGHT

Robin and Helena’s journey continues. Robin holds an open map in his two quaking hands. The shimmer of lights from shop windows and signs gives the image a red glare. A single drop of rain spills on to the paper as if from nowhere. Robin looks from where it came from to the place it spilt. He gently smudges it but it leaves a dent in the paper. It is cast over a section of woods.

He continues walking, though slightly confused, and his foot falls mistakably on a white rose, which has also appeared. The rose stands alone on the dark pebbled surface of the ground.

HELENA 

This means something.

They urgently pick up speed.

Bells ring to indicate Midnight. 

Night drifts in to morning.

                                                                                      CUT TO:

EXT. OUTSKIRTS OF A FOREST – MORNING

Robin and Helena emerge in to view. As they reach the trees, a figure begins to surface from them.

The figure - a man, WILLIAM FLETCHER, steps forward, a wild look on his face, which could almost be described as fear. He is holding Lettie’s mask. When he sees Robin and Helena, he appears quite surprised. He raises the mask before them, his fingers only touching the ribbons that tie it. - Consider other ways of introducing William.

WILLIAM 

You know her, don’t you?

The shocked silence makes this evident. Robin’s eyes widen so wildly that his expression seems almost unnaturally conceivable. They become red and crazed.

WILLIAM 

I can’t believe this! I’m so sorry!

ROBIN (hysterically) 

Where is she? Lettie!

WILLIAM 

She’s gone. I found her this morning. It was an

attack... this was no mistake.

HELENA 

But no one knew she was coming! 

(Long pause. Helena whispers)

When you found her, was she wearing 

a red cloak?

William shakes his head, looking puzzled.

WILLIAM 

Wait – you mean the Bohun cloak?

ROBIN 

You’ve heard of it?

WILLIAM 

Only when it was taken, I’ve heard the rumors. 

Isn’t it supposed to be very powerful?

HELENA (scornfully) 

Some might say.

WILLIAM (in an instant) 

Then I know who you’re to be looking for. Damien

Sallow would gamble just about anything for 

the chance to get back in to that family.

HELENA 

Back in to the family?

WILLIAM 

Jayson Bohun’s son.

Helena looks shocked beyond belief. Her eyes become wide and manic, even beyond usual.

                          After Jayson was banished from the family, 

he became Sallow. Jayson had no regrets leaving 

his parents, but Damien was different. He’s 

said to be hungry for the power that his 

Grandparents’ posses.

HELENA 

Do you think they’d take him back?

WILLIAM 

With the cloak in hand, they could be persuaded...

HELENA 

Where would he find them?

WILLIAM 

The Bohun Estate.

William’s expression turns darker, but his voice remains calm.

But if I were you, I’d find him before he gets

there. Alone, he’s powerless to seek revenge. 

But if the Bohun’s accept him... he’ll be safe.

Helena and Robin look alert, persuaded by his argument. 

Do you know the way?

Robin takes out the map.

ROBIN 

I can figure it out.

Robin and Helena get up in silence, ready the last minute, Helena turns to face William.

HELENA 

Sorry – we didn’t ask your name.

WILLIAM 

William Fletcher.

(Mentioning his name is essential, but I think this needs to be said earlier in order to really establish his importance in the storyline.)

                                                                                      CUT TO:

EXT. COUNTRY ROAD – DAY 

Robin and Helena are travelling to the Bohun Estate.

ROBIN 

Helena... how can we be sure it was somebody?

to leave. 

Why are you so convinced that this was - planned? 

Surely it was the curse...

HELENA 

Remember, when we got that warning it was before

twelve. Lettie never reached sixteen – she was still considered a child. The curse won’t harm someone considered to be innocent.

ROBIN 

Your mother –

HELENA 

Was nineteen when she was killed, and the cloak

didn’t react to her straight away. She was pregnant and it waited for her.

Robin drops the subject (in an attempt to distract himself as much as Helena) and raises himself to appear more upbeat. He attempts a smile.

ROBIN 

When we get back, you owe me a drink.

CUT TO:

EXT. BOHUN ESTATE – DAY 

The building is WAY IN THE DISTANCE.

HELENA 

Is this the place?

ROBIN 

Well - I’m not walking all that way back again to

ask for directions.

HELENA 

And... he’ll be here?

ROBIN 

Who knows? But it feels as though we’re doing the

right thing. If he’s not, we wait. I have an inkling he’ll turn

up eventually...

CUTS CLOSER to the Bohun Estate as they draw nearer. Both are filled with adrenaline. They stagger about aggressively as though unable to control their reactions. Robin has a particularly fierce look on his face, as though trying to appear calm, cool and collected.

Almost straight away, they see a figure in the distance with their back turned. They wear the red cloak, hood up.

CUT TO:

BLACKNESS

Lettie stands in the center of a dark, deserted space. She wears the same black dress that she wore previously, but without the cloak or mask. She stands with the same stance as the cloaked figure, though with her face to the camera. The camera zooms unsteadily and with great speed on Lettie’s face, a paused expression of shock. The sounds of the wood as she ran are clear once again, though there is no movement. Suddenly, she is replaced with -

CUT TO:

EXT. BOHUN ESTATE – DAY

Damien, the figure. The camera catches his eye before he turns around at the sound of movement from Robin and Helena. He looks satisfied with himself, and his eyes shine ecstatically. He turns slowly and elegantly, in time to see that Robin and Helena have sped up. They now stand in front of him.

DAMIEN 

Robin Finlay and Helena Auvray.

It is, indeed a delight to see you.

Damien offers them each a hand in turn, but they both stare at it sickeningly, unsure how to proceed. Damien laughs, but for a split second he is unable to control a look of utmost terror.

Robin is so furious his whole body is twitching convulsively. He is unable to speak a word, and appearance suggests that any speech or movement knock him off the edge. Something appears to be uncontrollably inside him. His eyes are large and innocent, and focused solely on the ground before him.

Alternatively, Helena looks beside herself with defiance. She instead looks positively hysterical, her eyes tearing in to Damien. Her skin is pale, and her face so white and cold that her features look like they have been carved from ice.

HELENA (incredulously) 

You’re Damien!

How can you wear that? How can you summon the 

strength to stand here, to live with yourself!

DAMIEN 

What? And take what is mine? Was it not supposed to

be in the Bohun’s possession all along... was it 

not stolen by your conceited mother. 

It was never supposed to be your sisters’.

HELENA 

You aren’t a Bohun! You are living in your fathers’

past. Damien Sallow! 

And from now on your life will be scarred 

with the damage of what you have done!

DAMIEN 

I might suggest lowering your tone if you have the

slightest interest in the value of 

what I have to say. And despite your incompetence, 

I am glad that you followed me here. 

I wish to communicate a truth.

HELENA (forcefully) 

What do you know?

DAMIEN (asserting his control) 

Calm yourself!

I am not like my father. Jayson smote 

his parent’s name. He disobeyed and broke them. 

Or rather, your mother pushed him to it. She was a 

delinquent. The cloak was never hers, she stole it.

HELENA 

That’s not how it happened!

DAMIEN 

Then inform me of how it did.

The camera tilts up to the sky.

                                                                                      CUT TO:

FLASHBACK

EXT. THE LAKE – EVENING

When it drops down again, the image becomes a lake. A series of events form the storytelling...

The camera tracks HELENA’S MOTHER from over her shoulder. Her head turns to see Jayson as she wanders past.

JAYSON SALLOW is leant against a tree by the river. Books are cluttered beside him. He is half-heartedly writing notes on a page.

As she approaches, Jayson turns, looking startled at the interruption but pleased to see her.

CUT TO:

EXT. THE LAKE – DAY

She walks past again. This time, Jayson is chucking bread to the ducks.

CUT TO:

EXT. THE LAKE – DAY 

The next time, Jayson nods at her as she goes by.

CUT TO:

EXT. THE LAKE – DAY

They smile at each other from a distance, but Helena’s Mother walks onwards as usual.

CUT TO:

EXT. THE LAKE – DAY

The lake is pretty and gleaming in the luminous pink and gold rays of the sun.

Jayson is sat calmly next to the lake, wearing a casual yet stylish navy jacket and boots. He is gently humming to himself, and staring in to the distance.

Helena’s mother, first appearing distracted, notices him only a few steps before her. She is wearing a simple yet striking blue dress. Her hair is messy and windswept despite it having been carefully arranged. She looks on at Jayson as though mesmerized, and suppresses a smile. She slows down instead of walking onwards.

Jayson gets up, grinning, and stands to face her directly.

JAYSON 

Here again? I’m Jayson Bohun.

CUT TO:

:

EXT. TOWN – DAY

Jayson and the girl are hurrying through the rain, sheltered under Jayson’s jacket. They rush to shelter near an old chapel. Whilst they run, they stumble about and step on each other’s feet. They are both in fits of laughter by the time they reach a standstill.

Jayson suddenly turns to her, looking serious. He quietly says something to her.

Helena’s Mother delicately takes a ring out of her pocket, studying it closely.

HELENA (O.S.) 

They were together for two years... but she knew that

the Bohun’s would never approve of her. So 

she didn’t want to dream that it could all be real.

She places it on her finger, but gently shakes her head, removes it, and hands it over to him.

HELENA (O.S.) 

By this time she was pregnant with me. She never

told him. She knew that if she did it would only 

hurt more that she couldn’t marry him. She was 

too afraid that she’d let him down.

CUT TO:

EXT. HOTEL ENTRANCE – EVENING

A young woman, the HOTEL OWNER stands just inside the open door. She wears a full-length red dress and an expression of strict pride. Despite it being so late in the day, she appears wide-awake and at ease.

The woman is approached by Helena’s mother; also young, but slouched in the position of an old woman. She is wearing an oversized khaki coat, her hair is straggled, and she looks in immense pain.

HELENA (O.S.) 

She was taken in by a lady who owned a hotel... 

but our mother never told her her name. She 

didn’t have anything of value, but she was 

allowed to stay for free. She left as soon as I was born.

CUT TO:

INT. JAYSON’S SHOP – EVENING

Helena’s Mother reaches out for Jayson’s hand, which lays outstretched across the counter. He pulls away.

The cloak is hanging up beside him.

JAYSON 

Where have you been? I haven’t seen you in over a

year! I thought I meant something to you.

HELENA (O.S.) 

She went back to him. He’d left the Bohun Estate

because he couldn’t bear to be part of the family 

anymore. He wasn’t like them.

MOTHER 

You took the cloak.

JAYSON 

Well, it means something to me doesn’t it! It

makes me sick to see it with my parents 

because it’s only a reminder that they’re 

the reason I can’t be with you.

CUT TO:

EXT. PARK – DAY Helena’s mother and Jayson are

HELENA (O.S.) 

He loved her, so he forgave her. 

But she couldn’t

keep a secret like that. She kept running away from him, 

and then for the final time...

CUT TO:

INT. JAYSON’S SHOP – EVENING 

Helena’s mother takes the cloak in a rush.

HELENA (O.S.) 

She was pregnant again, and scared. She didn’t

understand the cloak but she knew it was worth 

something. She didn’t want to go back to the 

Hotel without paying again.

She places the cloak over her shoulders.

CUT TO:

EXT. BOHUN ESTATE – DAY Robin realizes what is coming.

ROBIN 

What happened – what happened to her?

HELENA 

She was ill, for a long time.

FLASHBACK

EXT. HOTEL ENTRANCE – EARLY EVENING

Story continues: Helena’s Mother looks up at the Hotel Owner. 

The cloak is tangled up in her hands.

HOTEL OWNER 

Nice to see you again.

Your children have already been given a room. Spend as long as you need here.

MOTHER 

What do you want? You wont take what I give you!

Take this, take the cloak!

HOTEL OWNER 

I do not expect anything of expense. But you’ll

find that anyone staying in a room of ours is 

expected to act with polite appreciation. Need I remind you?

And your name, perhaps?

MOTHER 

No.

HOTEL OWNER 

Because you’re too ashamed, that someone will figure 

you out. But probably more ashamed of yourself, 

then any one is of you.

CUT TO:

EXT. BOHUN ESTATE – DAY 

HELENA

That was her last night.

(muttering to herself, more than anybody)

Lettie and I, we were named by this woman. Scarlett – 

it was the colour of the cloak she was

tucked in. And so Lettie thought it could be trusted.

(Looking to Damien again)

But it wasn’t just me and Lettie. There was 

rumoured to have been another... my mother had

another child. 

And you know this...

Robin, who is hearing this for the first time, looks astonished.

ROBIN 

You killed your own sister!

Damien’s smile twists abruptly. He suddenly looks extremely shaken and shocked.

                                            DAMIEN 

She’s dead –

FLASHBACK

INT. UNKNOWN - MORNING

WILLIAM FLETCHER is seated in a dark room, full of empty, neglected space. He sits on an old wooden chair, a table in front of him. He looks almost bored. DAMIEN SALLOW, a sinister grin on his face, is sat opposite him.

WILLIAM 

What makes you think that I have any interest in

laboring myself?

DAMIEN 

The cloak is enchanted with powerful magic, the

value of which exceeds any scorn that the 

Bohun’s will have towards me. When they 

let me back in the family, I will be rich. And 

if you do this for me, so will you.

It’s a full moon tonight. All you have to do 

is wait by the woods to transform.

Damien gets up immediately and leaves.

WILLIAM 

But what makes you think that I would prefer

riches, when you’ve given me the path to something more valuable?

CUT TO:

FLASHBACK

EXT. WOODS – DAY

It is just after William’s conversation with Robin and Helena, and he watches them leave. The mask is laid on the ground.

CUT TO:

FLASHBACK

INT. WILLIAM’S HOUSE – DAY

William leans over to pick the cloak off the ground, and puts it on. He collapses in an instant, dead.

Damien arrives to find him, a while later. He looks unsympathetic and reasonably unquestioning. He leaves with the cloak folded in his hands.

CUT TO:

EXT. BOHUN ESTATE – DAY 

ROBIN

William sent us here!

HELENA (to Damien) 

He must have wanted us to get rid of you for him.

DAMIEN 

He was supposed to panic her, to knock her

unconscious. She was never supposed to be killed! 

Helena pauses, looking genuinely apologetic.

HELENA 

The cloak doesn’t mean what you think it does.

It’s cursed... and I’m afraid it’s too late for you.

CREDITS