"What Lies in the Valley Below is based on the novel “The Happy Man” which takes us into the sordid decline of suburbanite Charles Ripley and wife Shelly when Ruskin Marsh and wife Sybil move in next door and life becomes just a little bit too much fun."
REVIEWDOWNLOAD
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2-24-23
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Era Present Genre Drama, Crime, Drama, Gangster, Mystery & Suspense, Crime Thriller
Logline When intelligent, cultured, attractive, powerful and charismatic Ruskin Marsh moves in next door, play by the book Charles Ripley begins to see the possibilities in life... and desire them for himself. But at what cost?
Pages 97
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Strengths:
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What Lies In the Valley Below is clearly the product of a skilled writer. The script is a technical gem. Its mechanics are brilliant--perfect length and pacing. Its structure is masterful: no logic holes; well plotted, all conflict is character driven, logical, and believable. The dialogue is well executed. Finally, its resolution-- the reveal of Sybil's finger nails-- was a masterful way of showing Charles' evolution as a character and a well plotted (horrifying) resolution to the film.
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This script drips with sexual and existential tension from its opening pages. The writer has a natural skill for rendering that kind of will-they-won't-they tension that can hold a movie aloft, as the audience begins to churn out possible scenarios in their minds. The writing feels novelistic, insofar that it's full of literary allusion and deploys a kind of heightened, gothic dialogue. The tension between Ruskin and Charles is really palpable, and drives quite a bit of the story, as we wonder whether their dynamic is going to descend into sex or violence at any particular turn. The car "accident" scene is particularly brutal and, in its own way, very cinematic. There's a sense, overall, that this movie knows what it wants to be and that it could attract a director.
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This script is captivating, and the action writing is incredible. The project moves quickly, throughout each act, as we get to know more and more about what Ruskin/Sybil are doing. The twists and reveals are earned, and they don't feel contrived or forced. We see how some things end up in the early moments of the entire feature, as we have Charles' narration getting started -- and this comes back around at times throughout the second act, effectively, and then is very well executed in the finale. The moment when Charles kills Ruskin is a powerful turning point in the plot. The audience is really able to see Charles take matters into his own hands, and that interaction with Edwin Hayes is fascinating and intriguing. The project builds the suspense and anxiety around what Charles is being involved in well -- the situation with the women dying in the fiery crash is an example of this. It ups the stakes for Charles' role, and does so in a clear way. The dialogue between Sybil and Shelly is some of the best conversational work in the script. Shelly's character comes to life in that sequence, earlier on in the plot, when Sybil brings her out and introduces her to the sexually charged evening. Charles' little subplot with Vicki is well thought out, especially due to how he goes to Ruskin about fixing it.
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Charles and his wife Shelly seem to live a very much normal existence within the comfort of their middle-class suburban lives. In fact, the screenplay seems to do a great job establishing a very accessible and relatable existence that is very much the definition of America. All of this changes when the Marsh's arrive next door. The Marsh's are everything the Ripley's are not and this excitement becomes their attractive draw. Ruskin's carefree, live in the moment attitude becomes Charles's calling card even after the horrific "accident" that leaves two girls dead. Meanwhile, Shelly's own life begins to turn upside down. Like a virus, the Ripley's relationship between them slowly begins to turn south that eventually leads to a shocking third act. The script does not hold back on the cinematic surprises and violence such as Charles's introduction to cannibalism with Ruskin. This scene is almost reminiscent of something from SILENCE OF THE LAMBS or HANNIBAL. Ruskin is very much the quintessential villain who is the definition of a sociopath. He's vile but at times enlightening.
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What Lies in the Valley Below does not play safe making some very bold creative choices. The script taps into some interesting social themes and messages that certainly helps elevate the material. This is a very execution dependent project that will need to be put together strategically. It's a script that would probably work best in the independent space given the boldness of the material. While adapted from a novel, kudos to the screenwriter for not softening any of the edges.
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Prospects:
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The prospects for this writer are strong, and "In the Valley Below" is an entertaining, graphic, and psychologically thrilling read. This could comfortably get produced, hypothetically, on a low budget (if need be). "In the Valley Below" could be pitched as "American Beauty" meets "Mr. Brooks" The script is well constructed, fast paced psychological horror; basically American Beauty with a slasher twist. As written it could certainly find a placement on Shudder or a streaming platform. WLITVB would surely attract A list talent (think Sicario) and become a feature studios are eager to produce.
