Day 10 Assignments

[Ted Tronsen]

Ted Tronsen’s Level 1 Horror Emotions Scene from Shadow Mountain

What I learned from doing this assignment is that it is important to create an atmosphere of evil and to gradually ratchet up the emotions from apprehension/anxiety to surprise to shock.

When Svetlana doesn’t answer her wakeup call in the morning there is apprehension and anxiety until the night watchman Todd opens her door and finds her naked in a pool of blood. This is when surprise and then shock sets in. At first Todd is surprised and can’t believe his eyes, but then it turns to shock as it starts to sink in, and he has to tell his boss what happened.

In the
Inciting Incident Todd (the night watchman) discovers one of the seekers
(Svetlana) has apparently committed suicide by slicing her wrists with stained
glass from a work of art she had created. Bethany (Todd’s boss) cannot understand why she would kill herself and thus is surprised at first. She had almost completed the yearlong program and was preparing to graduate. Also, she was supposed to attend her daughter’s wedding in a few weeks after leaving Shadow Mountain (the name of the TCR).

Horror Situation: A seeker (Svetlana) is found after apparently committing suicide.

Reaction: Todd and Bethany are surprised and can’t understand why she would kill herself. They are shocked and can’t believe she’s dead.

Character Death 1: Svetlana

Why? She is the least likely to die as she just successfully completed the program.

How? Her wrists are sliced open by stained glass (but she was unknowingly strangled by the killer first).

Reaction: Todd
and Bethany are shocked as the strongest seeker becomes the sacrificial lamb
and apparently takes her own life.

ACT I Inciting Incident (Page

INT. WEST WING – MORNING

At 6:15am Todd rings chimes and then knocks on all of the seeker’s doors to wake them up. If they don’t answer he has to open their door to check on them. Svetlana doesn’t answer. Todd is visibly apprehensive/anxious as he opens her door.

Todd sees Svetlana naked on the floor of her room in a pool of blood after apparently committing suicide. Her wrists are sliced open by stained glass. Todd is surprised at first and looks like he can’t believe his eyes, then he looks shocked.

He leaves the room, closes the door, then runs down the hallway and grabs a portable phone from the office. With a look of apprehension and anxiety he quickly dials Bethany’s number. His hands are trembling and he is visibly upset.

TODD

(on the phone)

Bethany, I just woke everyone up and found Svetlana naked on the floor of her room in a pool of blood. She’s non responsive and I think she’s dead.

BETHANY

This can’t be! Are you sure she’s dead? Did you check her pulse?

TODD

No, not yet… But she’s not breathing.

BETHANY

Well, check it god damn it! She was supposed to go to her daughter’s wedding next weekend after her graduation!

Todd puts down the phone and then checks Svetlana’s pulse.

TODD

There’s no pulse…

BETHANY

Hold on, I’ll be up in a minute! Don’t let any of the other seekers see her or tell them about what’s going on!

Todd makes sure all of the other seekers are up and sends them down to the main building for breakfast. They walk down the hill one by one and pass Bethany who is walking briskly up the hill towards the West Wing trying to look calm.

Bethany arrives and she enters Svetlana’s room with Todd. Svetlana’s naked body is sprawled across the floor in a big pool of blood. It appears as if she slashed her wrists with stained glass. Bethany looks on in surprise and then shock!

TODD

It looks like she slashed her wrists…

BETHANY

(with a look of surprise)

How could this be?! She was doing so well! She was all excited about graduating and then going to her daughter’s wedding! What am I going to tell her daughter?! She’ll be devastated!

TODD

What should we do? Should we call the police?

BETHANY

(in a state of shock)

Oh my God… what can we do?! Let me call her daughter first! Okay? Oh, this is terrible! Do any of the other seekers know yet?

TODD

No, not unless they overheard me on the phone with you, but I highly doubt it.

BETHANY

Well, don’t tell them… don’t tell anyone yet. Let me handle this… okay?

TODD

Yeah, sure.

Bethany exits the room, walks fast down the hallway and then quickly goes down the hill. Todd closes the door and follows her out, but he appears to be taking his time.

[anna harper]

I am behind so I placed the emotions for 1 and 2 in this submission.

What I learned from this assignment. A very useful technique for me to assess the tension and potential audience’s emotional engagement with the story.

THE LONG DARK screenplay by Anna Harper based on some true events

ACT 1

ESTABLISHING CREATING ATMOSPHERE FOR HORROR

EXT.YUKON FOREST/EARLY WINTER/DAY/DARK

Aerial view of the remote Yukon bushland. ISOLATED

Loud sounds of wolves howling EERIE

SOUNDS of distant traditional native drumming

INT/GRUNGY BAR/TRAILER/AFTERNOON/DARK

The neon sign is half burned out. Cigarette smoke fills the sir and the smell of stale beer/vomit and piss.

Tennesse Whisky is playing on the jukebox.

A lone Caucasian man SMILEY FORD is sitting at a table in the corner, drinking beer. He is middle-aged, with thinning and receding hair, (a comb-over.) A large snake tattoo is visible on his forearm. He is scruffily dressed, contrasted with an expensive-looking gold chain around his neck, and well-worn but expensive cowboy boots. He has a bunch of keys, suspended by a chain, hanging from his belt. FORESHADOWING

Two men, NORMAN AND FRANCIS SMITH two brothers, indigenous young men, dirty T-shirts, and jeans, tall and skinny, they are already intoxicated. The men stumble into the bar, giving each other a punch as they enter.

SMILEY eyes the men up as they approach the bar.

SMILEY

Hey, barman, give these guys a beer on me.

FRANCIS

Thanks. Do we know you?

SMILEY

Nope, better make me some friends. My first time on this rez.

NORMAN

Do ya mind if we sit at your table then?

SMILEY

Lights himself a cigarette. Blows the smoke out slowly.

What do you do for fun around here? Looks pretty dead, even for A bush rez.

FRANCIS

Play a little pool, get drunk, fight. Wait for the next welfare check.

NORMAN

We do some hunting when the mood takes us.

SMILEY

Oh yeah. I was thinking of doing a little hunting myself while I was up here.

NORMAN

Where you from then?

SMILEY

The city, sometimes. I go where there is opportunity. Don’t stick around too long. I get bored, which is bad. Makes me angry and restless, then it’s time to move on. Know what I mean? ANXIETY this guy is trouble

FRANCIS

So what kinda huntin’ you want to do? Maybe we can help you out. We got the guns and the knives. We even got us a ski-doo, though the snow is only just a startin’, so we won’t be needing those yet.

SMILEY

Well, maybe you could be of some help. I fancy a little deer hunting. How’s 100 bucks to be my guide. And other 100 to keep your mouths shut.

NORMAN

No license eh? No worries. How about another beer then?

SMILEY

Let’s go talk in my truck. FORESHADOWING trouble ahead

EXT.PARKING AREA/DARK AFTERNOON

SMILEY’S truck is a late model one ton. The paint looks new, and the tires and hub caps look fancy though there is road dirt halfway up the box. The men pile in, one sits in the rear of the cab.

SMILEY reaches under the seat and pulls out a half of vodka, and passes it to the men.

FRANCIS

Who Hoo good times.

SMILEY

Where is everyone? Thee’s no one out and about and it’s still early.

NORMAN

Drinks from the bottle.

It’s bingo night, everyone’s at the bingo in the Church.

SMILEY

Jeezus! Where are the girls? Do you want to do a little deer hunting, my way?

FEAR/SUSPENSE AND DREAD audience understands what may happen, feel dread for the intended victim/dread of consequences

FRANCIS

What’s that then? FRANCIS IS CURIOUS/EXCITED

SMILEY

First, we need us an old truck with a canopy. We can boost one if there’s one parked up somewhere.

NORMAN

Then what? NORMAN IS EXCITED/CURIOUS

SMILEY

I found a small cabin about 10 miles out when I came up here on the old bush road. ISOLATED HORROR ENVIRONMENT

creates anxiety for the audience.

FRANCIS Then what?

SMILEY

We go get us a deer. The two-legged kind. DREAD EXPERIENCE FOR THE AUDIENCE

The men are silent while their intoxicated brains and confused expressions process the information. ANXIETY FOR POTENTIAL CONSEQUENCES OF OUTCOME FOR NORMAN AND FRANCIS

FRANCIS

Speaking excitedly with agitated body language.

Do you mean you want to take a woman up there? We could ask around, and see who is interested. THE AUDIENCE EXPERIENCES ANXIETY AS THE SITUATION IS REVEALED/ FORESHADOWED.

SMILEY

That’s no fun. No, we are going hunting. HORROR SITUATION FOR THE AUDIENCE/NO TURNING BACK FROM PLANNED EVIL

There are a few rules for this hunting expedition.

Rule number 1, I go first, got it! ANGUISH EXPERIENCE FOR AUDIENCE/DELAYED OUTCOME

Rule number 2 keep your mouths shut.

SMILEY takes a pistol from an underarm holster. The men’s eyes widen. Then he takes out a handful of bills and throws them over his shoulder to the back seat where NORMAN is sitting. NORMAN AND FRANCIS ARE SURPRISED AND REALIZE THERE IS NO WAY OUT FOR THEM

NORMAN

What did you say your name was? ANXIOUS ABOUT WHAT HE IS ABOUT TO GET INVOLVED WITH

SMILEY

I don’t know your name, and you don’t know my name. And now let’s go get us some deer meat!

EXT.DEEP FOREST BUSH ROAD/EVENING ISOLATED SETTING FOR HORROR

An old canopied truck is parked on the bush road.

SMILEY FORD, FRANCIS SMITH, AND NORMAN SMITH are wearing ski masks.

Laughing and cursing they get out of the truck, then drag a girl WILLOW SUMMER out of the back of the truck canopy.)

She is kicking, screaming, and yelling at them that her father and brothers will kill them. She begs them to let her go. PANIC SITUATION FOR GIRL AND AUDIENCE

SMILEY

Get her over to the cabin as quickly as you can. Shut the fuck up or I’ll give you something to scream about.

You ‘r goin- a -be screaming pretty quick here anyways! DREAD/GREAT FEAR

The men laugh and drag her, holding her by her hair to the broken-down cabin. AUDIENCE IS EXPERIENCING ANGUISH

SMILEY

Fetches the gas can out of the truck. ESCALATED HORROR

We’ll be disposin’ of our evidence. No need to tell the cops what we’ve been doing a little sport eh, boys? AUDIENCE PANIC LEVEL

A murder of crows are making their loud noisy calls near the cabin.

NORMAN

The men note the HUGE BEAR claw marks

on the cabin door and laugh. FORESHADOWING OF HORROR DENIED

NORMAN

Looks like a big ol’ bear came a-visiting already!

The men tie WILLOW with ropes to various pieces of furniture.

WILLOW CONTINUES SCREAMING CURSING AND SPITTING AT THEM

HYSTERIA FOR WILLOW AND AUDIENCE

SMILEY

Picks up the gasoline can and pours gas on her legs, arms and her hair.

HORROR/DREAD for the girl and the audience

• This reply was modified 2 years, 10 months ago by  anna harper.

[Jamie Stegner]

Jamie Stegner Horror Lesson 10 post from Act 1

What I learned: It’s great to have labels and specific definitions for the different emotions. Easier to write deliberately.

APPREHENSION / ANXIETY

EXT. DARK OLD HOUSE – CONTINUOUS

They come to the dark old house. If it was ever painted, it was in a dark color. Now the wood siding is exposed to the weather.

The predicted storm comes closer; wind picks up and the clouds swirl in the sky. Crows caw.

It’s two-story house with a four gabbled attic and wrap-around veranda. There’s a full basement with windows in the foundation walls.

A large brick chimney goes up one side and stands proudly above the roof. The house might blow away, but that chimney will remain standing.

The house needs repair and maintenance. A few window panes are cracked and some of the sills look rotted.

HOWARD

Yikes! A cheery coat of paint would help.

SUSAN

Does pink scare away devils?

The grounds haven’t had any attention for years. The remains of a garden are overgrown with vines and weeds. The surrounding forest is tangled with under-brush. Behind the house is a cliff edge over-looking Lake Erie.

There are no other cars in sight.

SUSAN (CONT’D)

Good. We’re here first.

They park and get out but leave their luggage in the car. The wind is frisky. The crows are cawing, upset about something.

Susan looks around at the sky and the forest and the crows.

SUSAN (CONT’D)

What a ruckus!

As she walks up to the house, Susan puts the car keys in her purse and gets out the house key.

Howard looks up at the crows, cawing a warning.

VERANDA

SURPRISE.

As Susan is about to unlock the front door, it opens and BRIAN (33) (tall slim) is inside. His foot stops the door from opening more than ten inches.

SUSAN

Oh! How did you get here?

Brian glares at her.

Susan glares back at him.

Susan pushes hard and Brian relents to her opening the door.

Susan enters. Howard comes up the steps and follows her inside.

INT. DARK OLD HOUSE, DOWNSTAIRS HALL – CONTINUOUS

The front door opens into an entry hallway. A beautiful stairway goes up to the second floor.

Howard eye follows the stairway up and he notices the pulley in the center of the second floor ceiling.

BRIAN

There used to be a chandelier. The pulley allowed it to be lowered for cleaning and replacing the lights.

Howard nods.

BRIAN (CONT’D)

Pity the person who stands under it when it falls.

Curious, Howard looks down at the floor below the pulley. The floor boards have an old dark red stain. He doesn’t ask.

The living room and dining room open on either side of the downstairs hallway. Straight back is the kitchen. The basement stairs open under the main stairway.

SUSAN

Is Wendy here? Where’s your car?

BRIAN

She’s at the store.

LIVING ROOM – CONTINUOUS

Howard and Susan come into the living room and remove their coats, laying them over a chair.

The room is sumptuous with carpets, upholstered club- chairs and ottomans, couches, oak tables with lamps. Bookcases. Cozy, heavy drapes. The walls are a quiet color of taupe.

A grand photograph portrait of a couple hangs above the fireplace and mantle. Other photographs and paintings fill the walls.

Howard looks around at the interesting accessories and antique furniture.

SUSAN

I’ll see if there’s anything to drink.

HALL TO THE KITCHEN – CONTINUOUS

SHOCK

Susan walks down the hall towards the kitchen, but stops short in the doorway. She stifles a gasp, like she knows who set up this trick. It’s not totally unexpected.

She clenches her jaw and seethes.

KITCHEN – CONTINUOUS

All the kitchen knives are laid out on the counters.