Brainstorming for my Thriller Opening Sequence

Starting to think about possible ideas regarding my thriller opening sequence, I have come up with three potential ideas which I think would be effective opening sequences:

• A woman stands alone in a poorly lit kitchen, (pleonastically) chopping some kind of meat. She is garbed in an outfit which clearly identifies her as a housewife, and beside her is a tin tray lined with un-cooked pastry. As she slices, the diegetic sound of 1950's doo-wop music plays, but as the song comes to a close, the sound of static can be heard instead, creating suspense. The pleonastic sound of a phone ringing sounds out, and the woman looks up from her chopping hesitantly but does not move. After a while, the phone stops ringing (although the static sound continues) and so she continues slicing until a few moments later when once again the phone begins to ring out pleonastically. For a second she holds out the bloodied knife threateningly, her expression stern, before she places it down slowly beside her pie and ventures off into the next-door room (presumably where the phone is). Whilst absent from the room, we hear her muffled conversation - it’s the wrong number - and see as a swarm of flies pleonastically buzz around some unidentified object just out of shot; combined with the static and possibly some non-diegetic themed music, the sounds make the scene quite unnerving. The phone call shortly ends and the woman returns into the kitchen, patting down her apron. With a light sigh and almost manic smirk, she places the meat onto the pastry and starts folding it into a pie. The radio finally finds signal, and the sound of jolly 1950's doo-wop music returns, although this time it adds a contrapuntal element to the scene. As we see her making her pie, the unidentified object from before comes into sight in the background: it’s a dead body covered in some plastic tarpaulin, flies buzzing by its head.

The following two videos served as inspiration behind the above idea:

• Within a dimly lit room, a pale woman lays upon some sort of bed, feebly stirring. As she tries to distinguish her surroundings, we see a number of threatening-looking items such as bear traps and torture weapons. Upon sighting a row of what look like fire-pokers, her eyes widen and she suddenly becomes aware that her wrists and ankles have been strapped to the bed by leather binders. Panicking but unable to speak, we hear her worried murmurs as a dark shape steps forward towards her, his footsteps echoing upon the stone floor. The sound of water trickles in the background, signalling that the room is underground. As the male figure comes into the light, we see he is wearing a surgeon’s outfit, his face masked. The woman panics, unsuccessfully trying to strain away from him as he takes out a syringe and taps the end of it.

• Set in a small village in 1920’s rural Russia during the era of War Communism (when cannibalism was a national crisis), a young boy sets out to fetch a bucket of water from the local well; his clothes are shabby and clearly hand-me-downs, suggesting of his poor upbringing. As he makes his way over to the well, something lurks from within the tree-line of a nearby forest, eyeing up the child. Whilst filling up his bucket of water, the young boy notices a poster regarding missing children. Tension is created via the sounds of cutting and raking from farmers in a close-by field, as well as from the sloshing of water from within the well, the sound of wind whistling through the nearby trees, and the boy as he pulls up the rope which his bucket is attached to. Something startles the boy and he spins round where a couple of dirty, sinister-looking old people stand, watching; they smile to him and the woman outstretches his hand. The boy looks towards them hesitantly, and then glances back to the poster for missing children, dropping the bucket in fear.