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Post Day 10 Assignment Here
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JAYE’S LEVEL 1 HORROR EMOTION SCENE
What I learned is that trying to set the stage for a haunted house and a tree and creek that have personalities is a little difficult to pull off without coming off as corny. At first I wrote a first draft that showed all the details of Johnny’s assault. But it was so awful that I had to rethink it and rewrite it. Rather than actually seeing Johnny get assaulted by the tree, I decided to use different senses and visuals, like screaming and other sounds, Ravens flying, reflections in the window, we see glimpses of Johnny getting thrashed.
So, I wrote a first draft… almost posted it. Thought better of it, and wrote a second first draft that was less on the nose. I’m still not sure about this. But here it is nonetheless….
EXT. RURAL HOUSE – DAY
A beautiful brisk day. There are traces of melted snow; mushy grass,
crisp air. The sky is blue and not a cloud in sight.The two-story house sits on an acre of land, a creek sits 50 feat
behind it. Grass is lush. A tall willow tree nearby, filled with RAVENS.A heavy truck is parked in the driveway. On the side of the truck
READS: WALKER AND SON TREE REMOVAL.DERRICK WALKER (40) and JOHNNY (15), African American, father
and son, stand at the creekside willow tree. Large roots are visible
on top of the earth.Derrick, burly, shoulders an axe. Johnny, a younger version of his
father, holds his axe at his side.SUPER: Cleveland, Ohio, 1954, Spring
JOHNNY
It’s too bad. She’s a beauty.Derrick nods in agreement. A cigarette hangs from his lips.
DERRICK
The roots will start tearing up
the foundation.
(beat)
Already ruining the pipes.RAVENS CAW. Johnny looks up to the tree. Must be dozens in there.
Two more fly in.Johnny looks back at the house.
NORA (50s), Caucasian, long white apron and nurse’s cap, watches
from the back patio, arms crossed in front of her.Derrick drops his cigarette and grinds it into the ground with the tip
of his shoe.DERRICK
Alright, let’s get ‘er done.Derrick brings his axe down and he and Johnny walk closer to the
tree.A cloud from seemingly nowhere, moves in front of the sun, casting
a shadow on the backyard.A cool breeze comes through, blowing Nora’s hair and dress. She
holds her arms tighter, resisting the chill. She looks up at the cloud.The breeze picks up, sweeping the low hanging willow branches.
Johnny takes his place on the opposite side of the tree and begins
whacking away at the trunk.More clouds. More darkness. More wind.
The trunk of the tree is chipped away with each hit, but no
significant damage appears.Johnny’s blade starts to loosen from the handle.
Both men lower their axes. Johnny rubs his arms.
DERRICK
Must still be too cold.He wipes his brow. The wind whips branches around him.
Johnny curls his nose.
JOHNNY
What’s that smell?Derrick shakes his head. Johnny looks to the thick forest beyond. A
GURGLED WHISPER near his feet gets his attention and he pulls his
foot back as if something grabbed it.He looks down. A Raven flaps beside his foot. He kicks it. It CAWS
and flies away.DERRICK
Lord knows, son.Johnny looks back at the house. Nora is hugging herself tight.
Up in the second story window, a dark figure stands beside curtains,
watching them. Johnny squints. A NUN? A sharp chill runs through
his spine.DERRICK
I’m gonna grab the saw.Johnny looks back at his father. He releases a deep sigh, and shakes
off the eerie vibes.He takes another swing. The axe sticks in the trunk. He tugs.
The wind gains forces. Nora holds her hat down on her head.
Derrick turns; walks to the truck. Johnny tugs at his axe.
He pulls it free, and the axe blade comes loose from the handle,
spinning like a frisbee, sinking itself into Derrick’s jugular.Derrick drops to the ground with a THUD.
Johnny is frozen.
Nora’s blood-curdling scream snaps him out of it.
Johnny rushes to his father, but a willow branch reaches for him and
wraps around his ankle dragging him back.Johnny scratches at the ground and twists his body to face the tree.
Nora screams again. Her eyes grow wide and she covers her mouth
as she watches in horror.CRUNCHING! CRACKING!
Johnny cries out: terrified, guttural, desperate.
The Nun (60s) Caucasian, watches from the window, emotionless
and still.Willow branches whip around wildly and ravens fly off in all
directions in the window’s reflection.Johnny’s screams subside.
Nora lowers her hands. Her mouth agape.
Johnny lays face down in the water.
He slowly lifts his body with his right arm, shaking with its last
remaining strength. His left arm is ineffective. His head bleeds
profusely.Nora starts to run for him, but the tree comes for her. She runs back
to the house and slams the door shut behind her.Johnny rolls out of the creek onto his back, and tries to scramble
away. His left arm is mangled; useless.He stares up at the tree. It creaks and scratches, snaps and seems to
growl. Johnny’s eyes bulge and his face contorts. He covers his face
with his right arm and lets out a gut-wrenching cry.INT. HIGH SCHOOL AUDITORIUM – EVENING
Beautiful teenage boys and girls slow dance to a ballad under low
lights.The room is filled with streamers and balloons. A banner READS:
EASITSIDE HIGH SENIOR BALL.SUPER: Cleveland, Ohio, Present Day
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ASSIGNMENT 10 – NADIA’S LEVEL 1 HORROR EMOTION SCENE
(Title: “GRAHAMSTOWN”)
What I learned from this assignment: I learned about the various emotions associated to the horror genre and that they must be present during the whole story.
ACT 1—SET UP THE HORROR:
ON SCREEN – TITLE ROLLS IN: “GRAHAMSTOWN”
EXT – STREET – DAWN
A YOUNG GUY IN HIS TWENTIES is walking fast, checking his watch as he throws nervous glances behind him.
He takes a corner and a BLACK CAT runs out of a bush and in front of him with a wild screech; he swears and stops dead in his track.
On the right, a sign indicated a public park; he checks out his watch again and heads for the park.
EXT – PUBLIC PARK – DAWN
Shadows everywhere make the park appear much darker that the street.
The guy is now sweating profusely although steam coming out of his mouth indicates that it’s cold out there.
He starts jogging.
He reaches a crossroads, hesitates, takes a left and soon reaches a tunnel: total darkness in there!
He mumbles something, takes a deep breath and makes a sprint for it; we hear his footsteps as he disappears inside the dark tunnel then a shuffle of feet followed by…
A BLOOD CURLING SCREAM and the sound of a body being dragged slowly.
THE HORROR EMOTIONS IN THE SCENE:
Apprehension/ anxiety: It’s getting dark and the guy is checking out his watch and looking around nervously as it’s getting dark out there.
Surprise: A black cat jumps out of the bushes, giving him a fright; we can see the guy is edgy.
Shock: The guy decides to cut through the park and has to walk through a dark tunnel; he shakes his feeling of danger and goes for it but never makes it to the other side; whatever or whoever was in there was evil!
SCENE WRITEN AS 1st DRAFT TO INCLUDE THE 3 EMOTIONS:
EXT – STREET – DAWN
A YOUNG GUY IN HIS TWENTIES is walking in a fast pace, he keeps checking his watch as he throws nervous glances behind him. It’s getting dark and shadows are stretching everywhere. He picks up the pace, his breathing harder.
He takes a corner and suddenly a BLACK CAT runs out of a bush, coming out of nowhere, right in front of him with a wild screech, his hair standing up on his back as if it had just seen a ghost; the young guy swears profusely and stops dead in his track; he takes a minute to compose himself, exhales, hesitantly checks out behind the bush, shake his head and lets out a nervous laugh before moving on.
He walks down the road and, on his right, a sign indicates a public park, a short cut to town; he checks out his watch again and heads for the park.
EXT – PUBLIC PARK – DAWN
Shadows spread everywhere, giving an eerie atmosphere to the park; without street lights, the night appears much darker in the park that in the street; he looks back towards the street, hesitates, then moves further inside the park, leaving the last lamp post lights behind.
The guy is now moving in almost total darkness and sweating profusely, although the steam coming out of his mouth indicates that it’s a cold night.
Some noises startles him – sound of leaves being crushed, wind whistling through branches – he starts jogging, slowly at first then faster, his breathing becoming shorter as he picks up speed.
He reaches a crossroads, hesitates, takes a left and soon comes in view of a tunnel: it looks so dark that he can hardly see the end. He stops dead in his track, looking all around him at the dense trees surrounding the path; he can either go forward or go back to the way he came from; he squints to look at the time, then at the sky – clouds are hiding the moon – and says ‘fuck it!’.
He takes a deep breath and sprints towards the tunnel, swallowed by its darkness; we can hear his footsteps hitting the ground and throwing off little stones followed by the sound of feet shuffling and…
A MAN’S BLOOD CURLING SCREAM and sound of something heavy being dragged on the ground slowly.
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BOB KIELY’S LEVEL 1 HORROR EMOTION SCENE
What I learned from doing this lesson is that most of my scenes didn’t contain these three elements and that the progression to “shock” did create a good honor scene.
EXT. CEMETERY – DAY
A bulldozer is scraping earth in preparation for the construction of the new condo development. It’s a foreboding, misty day. The DEVELOPER, a portly man in his 50’s, waves the OPERATOR, young man in his 20’s, to stop. The operator leaves the machine on and jumps down. The bulldozer shuts off by itself.
OPERATOR
Weird. It’s been doing that all day today.
DEVELOPER
You gonna be finished today?
OPERATOR
I would have been if the dozer didn’t keep conking out on me all day. And the backhoe never showed up to move these graves.
He points to the six old grave markers.
DEVELOPER
Shit. We pouring concrete tomorrow. They gotta go. Move em.
They won’t complain.
OPERATOR
I don’t know boss. This doesn’t feel right.
DEVELOPER
Who’s gonna know.
The operator stares off into the distance and sees the blurred outline of the old hag that vanishes into the mist.
The developer starts to walks off, but turns around.
DEVELOPER (CONT)
I want them gone by tomorrow.
The operator reluctantly jumps up on the bulldozer and pushes the six gravesites to the far end of the lot. The bulldozer shuts off again. The operator jumps down sinking a little in the soft pile of new earth. He starts to walk off but has trouble pulling his feet from the moist ground. Suddenly he begins to sink as if he were being pulled down. He SCREAMS in vain until totally submerged beneath the soil.
The bulldozer STARTS by itself and smooths out the ground where the operator got submerged. The figure of the old hag with the shroud can be seen vaguely in the misty background.
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ROB’S LEVEL 1 HORROR EMOTIONS SCENE
What I learned: The introduction to evil is such an important scene. Currently I’m debating on two different scenes to open with.
INT. YOUNG ABBY’S BEDROOM – PAST – NIGHT
A streetlight spills on coloring books that are scattered across the dark bedroom floor. Outside a thunderstorm batters the window with RAIN.
The bedroom door opens on a pair of tiny feet. Lightning FLASHES outside the window, followed by a CLAP of thunder.
A child’s trembling hand reaches for the wall switch.
CLICK! The light reveals YOUNG ABBY TILLMAN, 5, big doe eyes and pigtails. She stands in the doorway, wearing pink footie pajamas. Her bedroom is a tornado of 80’s pop culture. Handmade art on the wall reads: ABBY’S ROOM.
Young Abby looks over her shoulder.
YOUNG ABBY
(calling)
Are you going to tuck me in?She listens intently, while peering down the dark hallway. She’s greeted only by silence.
Young Abby turns around, scanning the bedroom for danger. Her face is a mask of fear as she spots the open closet door.
YOUNG ABBY
I can do this. One…two…three!She bolts to the open closet door and slams it shut. Trembling, her eyes turn to the black void beneath her bed.
POV FROM UNDER BED as Young Abby kneels. She finds only a lone roller skate and a variety of discarded boardgames.
Relieved, Young Abby turns on a nightlight and grabs the small flashlight from her nightstand. She runs back to the light switch.
She’s startled by another FLASH of lightning.
Sensing the impending thunder clap, YOUNG ABBY swipes the light switch and runs towards the safety of her bed. The nightlight bathes the room in multi-color light.
YOUNG ABBY
One, one thousand…two, one thousand….three…She leaps into the air, landing flat on the bed and pulls the covers over her head. Thunder SHAKES the house fiercely.
Young Abby CLICKS the flashlight on, illuminating her face under the blankets. She begins to shiver and her breath forms into puffs of vapor.
The bed shifts and inner springs squeak as if someone has sat on the edge of the bed. Goosebumps form on Abby’s arm as a whispery voice begins to sing.
MOM (O.C.)
(singing)
Hush-a-bye, don’t you cry.
Go to sleep, my little baby.
When you wake, you shall have.
All the pretty little horses.Young Abby turns off the flashlight as an adult hand begins rubbing her back. She stifles a scream as another CLAP of thunder rumbles over the house.
MOM (O.C.)
(singing)
Blacks and bays, dapples and greys.
A coach and six little horses…The bedspread slowly pulls away from the scared and shivering young girl. Young Abby squeezes her eyes shut tight.
MOM (O.C.)
(singing)
Hush-a-bye, don’t you cry.Young Abby SNAPS on the flashlight and aims it towards the singing voice.
YOUNG ABBY
Mom?The flashlight beam falls on the face of NOELLE TILLMAN, 30s. Her head has been twisted backward and bloody tears fall from her recessed eyes. As she sings, black gore pours from the rotting hole that was her mouth.
MOM
(whisper singing)
Go to sleep, my little baby.The spirit smiles a wide black grin as the flashlight dies. Lightning FLASHES across the dead woman’s face, punctuated by an explosive ROAR of thunder.
Young Abby let’s out an ear shattering SCREAM, just as the bedroom door slams shut, splitting the wood.
CUT TO:
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Deborah’s Level 1 Horror Emotion Scene
What I learned is that you don’t have to just hit one note in a scene. It’s so much more interesting when you hit all three (so far). So I added the thing chasing them (we saw what it does in the teaser) to this scene instead of waiting for the reveal in the later scene. Fun.
EXT. FOREST – DAY
The rag-tag group hikes through the forest, Andre leading them with the robot, Sly, and his men in the back. Eboni and Ian follow, then the Senator, Mae, and Sabina snapping pictures of them and the forest.
The Senator loses his footing and falls down a gently sloping hill. He rolls up against a massive skull of some giant creature never seen on Earth and screams in Terror. Sly and Andre come running down to take care of whatever is happening and see the skull.
The Senator crabwalks backward away from the skull. (surprise)
Mae gasps in wonder and heads down the slope to get a closer look. Eboni, the robot, and Ian stay up top and look down on the skeleton of the incredible beast. Sabina stays up top, snapping pictures.
Eboni looks up at the robot.
Eboni
What is it?
Robot
It’s a creature from the horsehead nebula.
Ian
How do you know that?
Eboni
I programmed her to download information whenever
It becomes available to her.
Robot
Correct. I downloaded this as soon as we landed. That’s
How I know where the base camp is.
Ian
Are there any more of them around? I mean,
Like living ones?
Robot
I lack sufficient information. (Apprehension)
Suddenly, Sabina, taking pictures of the beast from up top, sees something through her lens.
Sabina
Ah, Major.
Andre and Sly look to where she’s pointing. Trees are swaying as something big moves through them toward them.
Andre
Everybody back up top.
He grabs Mae by the arm and practically drags her as she keeps looking back at the beast.
Once he gets to the top, he gets them running in a line, robot leading, and Sly and his man in the back. Suddenly a scream pierces the air, but it’s nothing human. Their run becomes more panicked. The Senator is looking out for his own life, not Ian’s. When Ian falls, Sly picks him up on the run and sets him back on his feet.
The sounds of the creature fall behind.
They come through the trees and find the buildings of the base camp. They all go inside, the civilians collapsing, trying to catch their breath, the soldiers checking out the building, Eboni thanking the robot for finding them. (Shock)
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Patrick Malone Level 1 Horror Emotion Scene
What I learned was the types of emotions needed for horror and how to integrate them in the script.
Apprehension: Tammy is concerned for the safety of Clark and Bill. She is aware of missing and drowned people, and has heard the tales of the Amaruga creature.
Surprise. Tammy and Ollie’s conversation is abruptly interrupted when a bird crashes into a window.
Shock: Ollie’s five-year-old is almost hit by a car.
SCENE FIRST DRAFT
EXT. OLLIE’S HOUSE – DAY
Ollie plays catch with his five-year-old daughter, Presley, in front of their modest shotgun house. Presley is quite a good catcher for her age.
PRESLEY
Daddy, throw it high. A fly.
Ollie lobs the ball into the air and she makes the catch look easy. She giggles.
INT. CAR – DAY
Tammy drives. She passes the Chestnut Street Cemetery.
EXT. CHESTNUT STREET CEMETERY – DAY
Old graves dating from 1831 sit amongst palm trees and moss-covered live oaks.
Close on a stone grave marker that reads: Colonel Cassius Fairfield, Union Army, Born, Dayton, Ohio 1832, Died June 10, 1871, Apalachicola. Florida
EXT. CAR – DAY
Tammy’s car turns left by the cemetery and arrives at Ollie’s home.
EXT. OLLIE’S HOUSE – DAY
Tammy steps onto the lawn and rubs Presley’s head.
TAMMY
Hey, honey.
PRESLEY
Hi Tammy. Look what I can do.
She tosses the ball awkwardly; it hits the ground and bounces by Ollie.
PRESLEY
Oh, oh. Ha, ha.
TAMMY
I’ve seen you throw better than that.
Presley shrugs her shoulders. Ollie retrieves the ball and throws it back to Presley.
OLLIE
Play with the ball while I visit with Tammy.
TAMMY
Clark and Bill are packing for their little expedition. They sure could use a guide.
Ollie laughs.
OLLIE
You’ve never been one to beat ‘round the bush. They already tried to corner me. They’ve spent tons of time out in the woods.
TAMMY
You trying to jerk a knot in my tail? When y’all were kids, yeah.
OLLIE
Clarks got it all planned out Tammy.
TAMMY
Clark, he’s just not familiar enough with roughing it. Bill’s not much better.
CLARE, Ollie’s wife looks out the front window. She waves to Tammy. Tammy nods ‘Hi’.
OLLIE
I’ve been on the boat for three days. I need time here.
TAMMY
I’m worried Ollie. You know those missing people, and the stories of some God- awful creature.
Ollie laughs.
OLLIE
No one’s gone missing for years. And the rest is simply nonsense.
TAMMY
The Amaruga, that’s what it’s called.
OLLIE
I’ve glimpsed some odd things in the woods, but the Amaruga is a legend. That’s all it is.
A loud whack startles them. Clare screams. They turn to the house.
OLLIE
What the …
They see that a bird has flown into the window.
TAMMY
Oh, the poor thing.
The bird is stunned and falls to the ground. Clare comes outside.
CLARE
Did you see that?
She picks the bird up and holds it.
OLLIE
Is it okay?
CLARE
It’s alive.
TAMMY
Good.
CLARE
Nothing like this has happened for years.
TAMMY
Weird. Ollie, you know we’ll be going to the Dead Lakes?
OLLIE
You’re going? I didn’t know that.
TAMMY
The Dead Lakes. They’re creepy and dangerous. Three people died there, what six months ago? You know that’s where that Amaruga is supposed to live.
Ollie sighs and steps to his wife, puts an arm on her shoulder.
CLARE
You should go and help your friends.
OLLIE
You sure?
PRESLEY (O.S.)
Look at this everybody.
She bounces the ball off the ground. It flies out into the street. She scampers after it. Brakes squeal. The adults turn to see the car lurch to a stop inches from Presley.
CLARE
Oh, God.
She releases the bird and runs out to her daughter. She pulls her to herself and hugs her.
CLARE
Never do that again. Please, never.
PRESLEY
But Mommy I caught it. See?
Presley holds out the ball.
CLARE
I see darling, I see.
Ollie and Tammy walk out to Clare and Presley. Ollie signals to the diver things are okay. The car pulls away.
OLLIE
You gotta be more careful Presley.
He hugs her.
TAMMY
Please listen to your folks. We don’t want anything bad to happen to you. We all love you.
PRESLEY
I know. I love you too.
TAMMY
(to Ollie)
So?
He looks to Clare.
CLARE
We watch out for our friends.
OLLIE
Okay. As long as I’m back for this one’s sixth birthday.
PRESLEY
Wee. My birthday.
TAMMY
Thanks Ollie.
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This reply was modified 3 years, 11 months ago by Patrick Malone.
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This reply was modified 3 years, 11 months ago by
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ROBERT R. SMITH’S HORROR EMOTION SCENE
What I learned from this assignment is…? To build horror by the emotional gradients. I am also learning how close I am to a first draft.
Film Title: The Toreph.
THE OUTLINE OF EMOTION SCENE
Backstory: In the previous scenes, archaeologist Dr. Colin Kendrick visits the foot of Tel Esh-Shaytaneen, “Hill of the Two Devils” in the Israeli Negev Desert, south of the Bedouin township of Hura. There is a sealed cave/tomb with a warning from the last expedition – a 2006 French expedition led by Dr. Clement Leroux – that the place is in danger of collapsing and nothing is within. Yet, Kendrick has a gold nameplate he is convinced comes from the cave. It has one word engraved on it: Azazel, a demon in Jewish and Arabic mythology. He is convinced there is more in the cave/tomb. His Bedouin guides Hassan and Hussein En-Nour warn him to have nothing to do with the evil place. Hussein is mysteriously struck by a flash of lightning coming from within the cave/tomb. Kendrick is undeterred and vows to return the following season to excavate the cave/tomb at Tel Esh-Shaytaneen. He also keeps the gold nameplate with the demonic name “Azazel.”
The Phone Call is the emotion scene.
Kendrick wants to learn what happened to the French expedition that occasioined Leroux’s decision to seal the cave/tomb at Tel Esh-Shaytaneen and leave a warning sign at the cave/tomb’s entrance. So, Kendrick calls that expedition’s leader, Dr Clement Leroux in Paris to ask him to recount his expedition’s experience and his reason for the warning sign.
Reaction: When Kendrick tells Leroux he wants to excavate the cave/tomb on Tel Esh-Shaytaneen, Leroux is frozen in fear for Kendrick and his expedition and recounts the horror situation of the French Expedition in 2006. Leroux describes how one of his party died, or maybe was murdered and that he (Leroux) threw away the gold Azazel nameplate which he now wishes he had destroyed so that it would never be seen again, or found asit was by Hassan and Hussein En-Nour who discovered it in the sand where Leroux had thrown it 2006. Leroux claims that the nameplate is a transmitter of evil. And he tells Kendrick
to destroy it once and for all. He fears for Kendrick’s life and the lives of his personel on his expedition. Leroux tells Kendrick to cancel the expedition.
Denial: Leroux’s words fall on Kendrick’s deaf ears. Kendrick believes he is about to make a major discovery like Kenyon’s in the fifties.
Reaction: Filled with apprehensiveness for Kendrick in his tenacious denial, Leroux tells him he is like Ahab and that cave/tomb is his White Whale. And warns that Ahab got his White Whale but at his own mortal expense and that of his ship and his crew.
Scene:
INT. KENDRICK’S STUDY AT BUCKRIDGE UNIVERSITY – DAY
Kendrick turns to his computer and googles Dr. Clement Leroux, Institute Francaise de Archaeologie Proche-Orient.
The LINK appears immediately and includes the Paris phone number, which KENDRICK dials on his desk phonoe.
Split Screen for phone conversagtion
INT. LEROUX’S OFFICE, PARIS – DAY
Leroux picks up the ringing phone.
LEROUX
When I saw your name in my caller I-D, I couldn’t
believe my eyes. What can I do for you my esteemed
colleague?
KENDRICK
I am organizing an expedition to dig at the cave on Tel
Esh-Shaytaneen. Your expedition in 2006
sealed up the cave and placed a warning sign against it.
LEROUX
What can tell you, Dr. Kendrick?
KENDRICK
What led you to post the warning sign?
LEROUX
My advice, sir, is do not dig at Tel Esh-Shaytaneen
KENDRICK
Because the cave may collapse?
LEROUX
Yes, but there is more. One of our party died in that cave, or may have been murdered. Another colleague committed suicide. Why do you want to dig at that remote place?
KENDRICK
I am sorry, Dr. Leroux. Your colleague who died in the cave – how did he die?
LEROUX
Snake-bite.
KENDRICK
Well, that sounds like natural death. Why do you think it might have been murder?
LEROUX
The snake was a rare Cereastes horned viper. Someone who did not want us there could have placed the snake in the cave. Either way, who wants to do archaeology in a possible den of horned-vipers?
KENDRICK
Yes. Now, I have a gold name plate with the name
“Azazel” written on it.
LEROUX
You found that demonic thing and you kept it?
KENDRICK
Well, actually two Bedouin friends found it
and they brought it to me to decipher.
LEROUX
I shouldn’t have just thrown it away. I wish now that
I had totally destroyed it so that no human would
Ever find it, like your two friends. Are they all right?
KENDRICK
Well, one of them died mysteriously by lightning strike,
when I removed one stone that you had placed
over the cave entrance.
LEROUX
Dr. Kendrick, destroy that demonic nameplate before
something else happens to you or your team..
KENDRICK
Dr. Leroux, I have had the Azazel nameplate in my
possession for months and nothing has happened.
LEROUX
Have you received any harassing voicemails or text
messages?
KENDRICK
None whatsoever.
LEROUX
You are fortunate. .
KENDRICK
Did you receive any?
LEROUX
Yes, I did. When I had that gold plate in my
possession. It is some kind of transmitter.
KENDRICK
In addition to the unfortunate death of one colleague
and the suicide of another – for which I convey my
sympathy – is there amything else that happened which
you would like to share?
LEROUX
Dr. Kendrick, if I were to explain everything, you
would question not only my professionalism but also
my sanity. I will tell you this much: Since 2006,
I have been receiving treatment for PTSD. Now,
I implore you, cancel your plans to excavate at
Tel Esh-Shaytaneen. Destroy that nameplate,
and excavate elsewhere.
KENDRICK
Dr Leroux, I thank you for your concern, but I believe
there is an important discovery here.
LEROUX
What discovery is more important than the lives
of you and your team?
KENDRICK
In the Hebrew Bible, the Old Testament, there is
mention of Terraphim, the word has been
Translated as ‘household gods,’ ‘images’ but in the
Targums and Talmud and rabbinical literature, there
is mention of something else.
Leroux puts his phone on speaker and reaches behind and pulls a venerable volume from the book shelves to his side.
LEROUX (CONT’D)
You mean like in the Pirke de Rabbi Eliezer. I have it
right here.
(Reading.)
“They cut off the head, and salt it with salt, and they
write upon a golden plate the name of an unclean spirit,
and place it under his tongue, and they put it in the wall,
and they kindle lamps before it and bow down to it,
and it speaks unto them. Whence do we know that
the Teraphim speak? Because these are the words
of the prophet Zechariah, ‘for the Terephim have
spoken vanity.’”
KENDRICK
Exactly. This gold nameplate confirms the tradition in
The Pirke de Rabbi Eliezer and retrospectively it
demonstrates the use of the plastered Neolithic skulls
discovered by Kenyon at Jericho. They were cultic objects
used for magical purposes. Look at the wealth of new
information about the culture of the Biblical era and
before. For that alone I want to excavate.
LEROUX
You forget what else was said by the good Rabbi Eliezer.
He wrote that “Everyone who follows that knowledge
of making the Teraphim will ultimately go down to Gehinnom.”
Down to hell, Dr. Kendrick. Well, that cave is the hallway to hell,
Dr. Kendrick.
KENDRICK
You don’t honestly think that I believe skulls can talk, do you?
I am a scientist, like yourself. We dig to discover the past including its occult practices.
LEROUX
You are a Captain Ahab who hunts the White Whale
which for you is that cave.
KENDRICK
Aren’t you being a bit melodramatic?
LEROUX
Two members of my expedition died. Remember Ahab caught his White Whale but at
the cost of his own life and that of his crew.
KENDRICK
A revoir, Dr. Leroux,
LEROUX
A Dieu, Dr. Kendrick. A Dieu. I do mean,
God be with you, Dr. Kendrick.
.
Both Kendrick and Leroux hang up.
SPLIT SCREEN ENDS.
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This reply was modified 3 years, 11 months ago by Robert Smith.
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This reply was modified 3 years, 11 months ago by Robert Smith.
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This reply was modified 3 years, 11 months ago by
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Pamela’s Level 1 Horror Emotion Scene
What I learned doing this assignment is…?
An outline is useful to creating a broader narrative and filling in details that add context and suspense.
Apprehension: Strong winds howl, trees and branches flail wildly in the gusting winds, a young women runs directionless in the swamp
Surprise: A church is usually a haven, but this church has an alter filled with hoodoo objects
Shock: The church doors are breached. Demon figures enter the church. Sybil is in great danger and about to be killed or worse from the demons. A priest intervenes and is dragged to the underworld.
First draft:
As Sybil flees through the back swamps of the Bayou Chene, branches rustle and fierce winds surround her. In a bid to escape and find shelter, she heads towards a desolate church building. Something tugs at her jacket knocking her to the ground. Muddy and drenched, her feet squishing through the soft earth, she makes it to the church and slams the door behind her, locking the iron bolt firmly.
Sybil approached the church alter and realized with horror at the alter was herbs, amulets, and dolls in the same configuration of the brand that her ex-fiancé had on his right arm. The same ex-fiancé who tried to kill her. She has a flash back montage in her mind of the relationship from its start to its terrifying moment he started to change his personality.
Sybil’s pursuer pushes at the door, the rattling startling her. Just as she thinks she is safe inside the walls of a sacred space, her pursuer breeches the church confines, his large hand coming through the wooden door. His entire being comes through along with three other beings and Sybil is in shock and extreme fear. All of the pursuers surround Sybil, they begin to grab at her arms and legs, Sybil screaming in hysteria.
Just as the pursuers with no eyes begin pulling at her with their extreme large hands, arms joints bulging, Sybil screaming in pain, a loud screech comes from the back of the church. The church priest is standing at the back of the church and starts speaking an incantation, swinging his rosary towards them. The pursuers are defeated but the priest lost his soul, his eyes disappearing.
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