|Genre||Monster in the House - Nihilist Monster|
|Opening Image||1||Patrick has dinner in a ridiculously luxurious restaurant, his
friend complaining about Patrick not being able to get them a table at a betterrestaurant.
|Theme Stated||11||"We have to encourage a return to traditional moral values."|
|Setup||A materialistic, hedonistic life. Expensive restaurants, silly 80's
clubs, drugs, loveless relationships; everything is about status, image, superficiality. Patrick is really immersed in that mentality and lifestyle (he wants to "fit in"), but there's a deep void inside him ("I'm simply... not... there."). This is the "sin" that permeates everything and everyone in the set up. People who embrace this world will be punished by the monster. The only one who has a close encounter with the "monster" and survives is Patrick's secretary who doesn't embrace the "sin" of materialism. Her words will offer Patrick a moment of clarity during a wonderful scene later in the movie, in which thetruth of the theme is offered to Patric, and by proxy to the audience.
|Catalyst||13||Patrick's stained laundry. He tries to hide it. The antithesis world comes crushing.|
|Debate||TBD||Were those stains from blood or from juice as Patrick claimed? Is he just an unhappy guy or a homicidal maniac?|
|Break Into Two||21||An upset Patrick slashes the homeless guy. He's a homicidal maniac alright.|
|B Story||TBD||Patrick's relationship with his secretary. She's the upside down
version of the materialistic characters who inhabit Patrick's world, and is the place where the movie's theme is openly discussed. Fun And Games: Patrick slashes a guy cause he has a better business card than he does, a threat to his status and image he just can't live with. We witness Patrick's methods, and learn more things about who he is and the extent of his madness. He also has run-ins with the detective who investigates the case. Thisis the promise of the premise: the deeds and tribulations of this psychotic lad.
|Fun and Games||TBD|
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Patrick refrains from killing Louis. His humanity is awakened. Maybe there's some hope for him after all. For the first time he feels anemotion besides "greed and disgust". He feels pity for Louis.
|Bad Guys Close In||TBD||The detective clearly starts to suspect our hero; shows him
the Huey Lewis & The News CD to see his reaction. Patrick slips deeper into madness, killing not only business competitors but everyone who poses a threat to his status. He kills the woman he meets in the club just cause she implied that he might not be happy with his job. He decides to kill his secretary causeher attire choices at work are bad for his image.
|All Is Lost||TBD||71
The rest of Patrick's apartment is revealed, dead bodieseverywhere. Clearly there's no hope for our hero. He has lost it completely.
|Dark Night of the Soul||TBD||TBD|
|Break into Three||73||TBD
Patrick doesn't accept the truth of the theme, and therefore his "solution" is to slip deeper into madness. He shows up wielding abig chainsaw and runs after his victim, slasher-movie style.
|Finale||TBD||Patrick further removes himself from the persona he presents to the
world. He breaks up with his girlfriend, and allows her to keep their common friends (Reese Witherspoon once more being dumped and making yet another scene, just like in "Legally Blonde"). Next, he goes on a killing spree. Afraid he'll be caught, he confesses his crimes and admits he's a "pretty sick guy". There's also the idea that maybe all this stuff happened in Patrick's imagination; wedon't know for sure.
Patrick is with his friends again, stuck in the thesis world cause he refused to accept the truth of the movie's theme. No synthesis has been achieved. He's totally and utterly mad, his "pain is constant and sharp... thereis no catharsis... this confession has meant... nothing."
|Notes||A weakness is that the movie doesn't have a definite, Save The Cat beat, and as
a result we feel distanced from the hero. The trap is Patrick's house. He usually follows the method of bringing his victims to his apartment where he can slash them without distractions. Because this is a Nihilist Monster movie, the victims don't have to commit a specific "sin" to find themselves trapped in his house; their whole lives are "sinful", embracing materialism obsessively. The "monster" element is handled masterfully, consistently applying the principle of the off-screen movie. In the Catalyst, we see Patrick's stained laundry and we wonder what's going on with this guy, until the Break Into Two where he kills someone. When he lures Paul into his house, we see that he has put newspapers all over so that the furniture doesn't get messy. His plans are always left off-screen, and are gradually revealed to us as heputs them into motion.