Genre: Horror
Premise: A drug addict returning from rehab kidnaps her daughter from her father then tries to skip town, only to end up at an old BnB chased by an evil tooth fairy determined to take her daughter from her.
About: This script finished in the bottom 25% of last year’s Black List. Chris Grillot had one other script on the Black List several years ago called “Bella.” Grillot is using his former job as a crime journalist in New Orleans as inspiration for much of what happens in today’s script. Except for the tooth fairy demon stuff, I’m assuming.
Writer: Chris Grillot
Details: 100 pages on the dot!
It’s been a while since we’ve reviewed a horror script on Scriptshadow so I thought, let’s bring the site back into equilibrium.
There have actually been some cool horror films that have come out lately. We had M3gan. We had Barbarian. We had Smile.
What I like about horror is that it’s very flexible tone-wise. You can take the exact same premise and construct three very different experiences depending on the tone you choose. While older viewers dismiss the genre as a jump-scare fest, you can write some pretty dramatic horror movies. Which is definitely what we get today.
29 year old drug addict, Celia, has just finished her latest court-ordered rehab. Celia lives in the heart of New Orleans and on this particular night, the night she goes to get her daughter back, it’s raining like hell.
Celia picks up her 10 year old daughter, Imani, from the girl’s father. Imani has a cast on her arm. Celia knows what that means so she storms back in the house and all we hear is a gunshot. She races back out and tells Imani that they’re going to California. TONIGHT.
They don’t get very far, though. The rains are so intense that Celia’s Corolla gets stuck in 3 feet of water. The two have to practically swim over to the nearby gas station, where Celia asks the checker for a ride. He laughs at her but a couple minutes later, a local Louisiana swamp lord zooms up to the station on his boat!
The man, David, says he’s got a B&B down the street and Celia can stay there the night then get their car fixed tomorrow. Without any other options, Celia is forced to accept and, oh yeah, the home also happens to be an Antebellum plantation! As if they didn’t have enough to worry about.
Once there, Imani’s tooth pops out, and one of the maids at the B&B, Jeanine, tells her to *make sure* she puts that tooth under her pillow tonight. Celia shakes her head. Now they’re dealing with crazy weirdos obsessed with the tooth fairy? Can this night get any worse!
But after the two fall asleep, the night does get worse. The tooth fairy creature, nicknamed “Le Feu Follet,” nearly snatches Imani. Celia storms up to Jeanine and asks her what’s up. Jeanine tells her the whole backstory of this thing, that amounts to if you don’t offer your tooth, it takes your kid.
So what do they do now?? Jeanine says they’re lucky in that all of the candles here at the home are blessed by Jesus or something. And since the tooth fairy won’t go near them, they just have to stay in the light. Except that these weak candles won’t last the whole night. Which means they have to escape.
The team gears up to make a run for it, but then the crafty tooth fairy snatches Imani away! Now, the plan changes. They have to go find the only person left in town who knows where this tooth fairy creature lives. Then Celia is going to save her daughter!
Here’s the way I look at horror scripts these days.
You’ve got your horror monsters.
And you’ve got your horror scripts.
If you’ve got a horror monster, you have to create a short film proof-of-concept.
If you’ve got a great horror premise that doesn’t rely on how your horror monster looks, then you can still get away with trying to sell the script by itself.
In other words, if you’re writing “Mama,” which is entirely dependent on how the “Mama” creature looks, you need to do a proof-of-concept short. You even need to do that for simple monsters, like the shadow monster in Lights Out.
But if you’re writing something like The Sixth Sense, that’s not a horror script where you need to put a monster on the poster. So that’s one that can get by on the script alone.
What’s interesting about Chatter is that it’s somewhere in between these two options and I don’t know if it’s good enough to get traction as a script alone. You probably need to do a proof-of-concept short on the tooth fairy creature.
With that said, the character work here is intense. And dark. This isn’t some light-hearted funzo horror movie, like M3gan.
We feel Celia’s addiction. We feel the physical abuse in her relationship, as well as the abuse from the father towards the daughter. We feel this “all hope is lost” vibe as they’re trying to start a new life. It’s intense, man!
That’s probably the script’s best quality. Its darkness. These people felt like they were genuinely at the end of their rope.
The script probably would’ve been a lot better, though, if the writer had patched up his mythology. We’re told that this creature used to steal children all the way back in the Civil War. But once word got out that it was doing so, everybody made sure to always put their teeth under the pillow.
Apparently, only one person didn’t do this in the last 50 years, and that was Jeanine, who didn’t do it for her son, which is why the tooth fairy took him. I’m trying to do the math here. How many teeth fall out of a child as they grow up? 15? Okay, now how many children have grown up in New Orleans in the past 50 years. 10 million? So we’re looking at 150 million teeth, and only once did someone not put a tooth under their pillow? I’m not sure I’m buying that.
I think a good question is, does stuff like this matter?
Does it really matter to a reader if that aspect of the story doesn’t pass muster?
It’s a good question. And the answer is, “It depends.” If I’m super invested in the characters and the storytelling and the script is really good, then I probably don’t care about it. But If I’m where most readers are when they’re reading a script, which is they think it’s pretty good and are hoping for a big exciting ending that’s going to put the script over the top. If that’s where a script is, then anything that’s shaky in the script could be the deciding factor that makes the reader give up.
That’s why details, in and of themselves, don’t matter. But taken in totality, with all the other details of the story, one lazy detail could be the straw that breaks the camel’s back.
For example, you have these candles. These candles are special god-approved candles that scare away the tooth fairy. Well, hold on here a second. These candles won’t last the night? Then what good are they? And does that mean you have to go to the church every morning to relight the candles? That seems like extremely specific mythology. Or are you saying they last for a long time but Celia and Imani just happened to show up on the night where they were running out of wax? If that’s the case, then that’s a bit coincidental, don’t you think?
Again, by themselves, these things don’t matter much. But when added up, they definitely matter. Because the reader is asking these very same questions in their mind as they’re reading your script INSTEAD OF doing what they’re supposed to be doing, which is enjoying your story.
With that said, there’s a teensy bit more good to Chatter than bad. Like I always say, get the main characters right and that will act as deodorant for many of your script’s weaknesses. I felt that Grillot got the characters of Ceilia and Imani right. And then I always love when writers take a goofy idea and treat it really seriously. It always creates an unexpected tone.
So, much like Monday’s movie review (You People), this one squeaks by with a ‘worth the read.’
[ ] What the hell did I just read?
[ ] wasn’t for me
[x] worth the read
[ ] impressive
[ ] genius
What I learned: Early in the script, Celia walks into the dad’s house. We stay outside so we can’t see anything. We hear a gunshot, we see her hurry out of the house, and then her and Imani make a run for it. However, later in the story, we learn that she didn’t shoot him. She merely fired a warning shot. I believe that the audience would rather you imply something bad DIDN’T HAPPEN only to later reveal IT DID, than imply that something bad DID HAPPEN only to later reveal THAT IT DIDN’T. Because it’s a letdown. Celia is bada$$ if she killed him. The stakes are much higher, since now they must completely disappear in order to survive the rest of their lives. Whenever something cool happens in your script and you later say, “Psyche!” the reader doesn’t like you.
