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Nightmare Fuel / Insidious

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  • The idea of being hunted by body-snatching spirits in your sleep/astral travel, especially if you've had dreams resembling Astral Projection yourself. Thankfully, in real life, if something goes wrong, waking up is usually as simple as just desiring to be out of the nightmare. The characters encountered also can't interact with the waking world or obstruct your ability to wake up...usually.

Chapter 1:
  • Both scenes that use aforementioned "Tiptoe through the Tulips."
    • The infamous scene in which the Lorraine speaks about a nightmare she had of a shadowy figure in Dalton's room. It talks to her and tells her that it wants the comatose child's soul. All we see of the creature is its claw pointing at the kid, and then the sequence ends. When she finishes her story, The Red-Faced Demon suddenly makes an appearance behind Josh.
    • When The Red-Faced Demon is sharpening his claws.
    • The claws clicking at the end of Chapter 2. You didn't even need to see him for your stomach to jump to your throat. Elise's look of horror was all you needed.
    • And at the end of Chapter 3, he makes his official onscreen return.
  • The old lady is creepy. See Chapter 2 to learn more about her...
    • Elise's death. Even before the reveal, Josh's sudden violent outburst is unsettling, if you don't find it too much Narm.
  • The Smiling Family, holy hell. They way they stay absolutely still is so unnerving.
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  • When Josh and Dalton are making a break from the Demon's lair, they temporarily end up lost in The Further and acosted by a crowd of the dead who have become aware of that they have bodies they're away from. The limited lighting, moans of the dead, and sense of disorientation being lost in the void really sell the scene.
  • The shot of a ghost standing outside the babyroom. Extra points for Adult Fear.
  • Another scare that can double as Adult Fear is the voices on the baby monitor.
    Assumed to be Red Lipstick Demon: I want it. I want it NOW!!

Chapter 2:
Umm, hi?
  • In the second movie, the piano keeps playing by itself, which is creepy enough... but then it cuts to the Further, just as Josh slams the keys and screams in anguish.
  • "Grandma? There's someone standing behind you..."
  • The 'old lady' mentioned above is actually the ghost of a male serial killer named Parker Crane. And his back story doesn't help; he was a a man who dressed as an old woman in a black wedding gown whilst committing his murders, and after being hospitalized for self castration, he committed suicide. It's all because of his cruel, abusive and downright terrifying mother who beat him whenever he acted like a boy and insisted that his name was Marion. Seriously, she's arguably more terrifying than him!
    • To add, the way he had... well... the assemblage of his victims corpses when found by Loraine, Carl, Specs and Tucker in his home. It becomes much more unsettling when they make an appearance in The Further version of the Crane home, when Mrs. Crane hides among them.
  • During the second film, Renai receives a phone call from the detective working on Elise's murder, informing her that no evidence of Josh's DNA was found on Elise's neck marks. This means that Parker Crane's influence is so powerful he's able to change his host's fingerprints.
  • Dalton's false awakening scene where be believes he's still awake and tries to wake up his brother and starts hearing someone communicate with him through his tin-can-phone. Long story short, a young lady eventually jumps out of the closet, desiring to live again through Dalton's body, and the scene quickly drops all pretense of reality to reveal that the room is The Further's version filled with the dead ready to pounce on Dalton's body.

Chapter 3:
  • Quinn getting thrown from her bed and injuring her neck, meaning that all she can do is lie still and watch as a demon walks around her room, turning off all the lights and getting ready to attack her.
  • Demon-possessed Quinn effortlessly taking down three other people, then breaking away her casts and walking towards her father on broken legs, complete with horrible crunching sounds.
  • The faceless, limbless representation of Quinn in the Further.
  • "The man who can't breath" is very unnerving in the buildup moments. Always waving to Quinn. And knocking on the wall. It's the settle things that work for him.

The Last Key:
  • A non-paranormal example with the opening of the movie, showing Elise's past. With her still having her gift, but with her abusive father who literally tries to beat it out of her. Hitting her in the back with an iron crowbar and tossing her to sleep in the dark basement, and this obviously not being the first or last time he did this.
  • The scene where Elise and Tucker are lead to a cellar downstairs, expecting to find some sort of paranormal entity on the other side. What they do not expect, however, is an imprisoned woman, very much still alive, chained by her neck to the wall. Just as audience members are likely trying to put the pieces together, Garza enters the room, with a gun aimed squarely at Elise and Tucker.
    • Garza hearing Specs walking around upstairs, and asking, "Is that your friend?" before locking Elise and Tucker in the basement and quietly going upstairs to try and kill Specs, who is completely unaware that the seemingly hapless man he's been trying to help wants him dead.
    • The revelation that Elise's father was secretly getting up to the same activities as Garza when she was a child. Even worse, Elise met one of his prisoners, but failed to realize that she was actually alive, so she left her behind to be killed.
    • Even worse; the implication that Key Face influenced Elise's father and, therefore, Garza, into torturing and killing women.
  • Key Face. He looks like the unholy offspring of Castle Freak and Bughuul.
    • The way he captures people: He shoves his key into the victim's neck to silence them, uses a knife on it's finger to cut into their upper chest, and then puts another key there to knock them out. And then takes their souls into his prison.

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