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Day 11 Assignments
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7 Replies
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Charles Ferrell’s Level 2 Horror Emotions
What I learned doing this assignment was to gain an insight into the hierarchy of horror emotions and their ties to acts.
INT. CARGOSHIP/HOLD STAIRWELL DUSK
Fear: They run inside another hatch, onto a metal stairwell that leads down.
Suspense: Bullets follow only to ricochet inside the hatch forcing them to go lower into the cargo hold of the ship away from the hatch, away from familiar territory. Do they chance and run out or wait and see.
Dread: The hatch is suddenly shut and locked from the outside; they try the hatch with no avail. Blood is on the inside of the hatch. They must find another way out.
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Lesson 11 – Level 2 Horror Emotions
What I learned: I need to improve!
Outline.
FEAR: The cast realize their cell phones are useless and they are basically trapped, so after much debate decide to rehearse. SUSPENSE: Amanda hears something, she attempts to draw everyones attention to it but the Peter, the director shuts her up. Then she sees a wall shadow, a finger beckoning her to follow. She’s not in the scene so she investigates. As she wanders down backstage and into the trap, she’s scared but the noises compels her to see what is going on. DREAD: Amanda screams out – the cast run downstairs but stop at the door of the trap room. Demetrius takes it upon himself to enter.
INT. THEATRE – ON STAGE
Peter G puts the cast through their paces, creating a shape, checking it out on the scrim. Amanda isn’t in the scene and watches when she hears something.
AMANDA
There’s someone downstairs. Stop. Listen
The rehearsal stops – built deathly quiet.
CAMERON
Whats up, girl. You giving us the jeebies.
PETER G
Can we carry on.
DEMETRIUS
OK, positions.
The cast form a bridge shadow.
DEMITRIUS
Hit the lights.
The lights go dark – the bridge shows up on the scrim.
PETER G
That’s looking good. Heather move stage left a smidge.
Amanda hears the noise again
AMANDA
Am I go crazy is no one hearing that?
PETER G
Hearing what, Amanda? Chains jangling, ghosts going boo – what?
It’s quiet again
AMANDA
I’m sorry. I swear –
PETER G
I’ll swear in a minute.
CAMERON
Jesus, can we get on with tis my heads up Demetri’s sweaty ass.
PETER G
Okay, position two – Peyton move forward, Demetrius take up the base.
On the back wall, a wall shadow of a finger beckons.
Amanda stares at it, wide eyed. She looks at the cast – thinks better of it – She follows the finger into
THE WINGS
then down some steps. The noises are getting louder – another wall shadow of the beckoning finger. She reaches the
TRAP ROOM DOOR
Stands still – takes a breath.
She moves inside, heart racing. It’s darkness until the lights go on. Amanda SREAMS out.
ON STAGE
The cast hears her blood curdling cry. They charge downstairs.
AMANDA
Please, help me.
TRAP DOOR
The room is dark again. Demetrius takes it upon himself to lead the group. Stricken, they enter. They are dumbstruck to see
Amanda is spread-eagled over a three-foot spike – her wrists suspended from the ceiling with rope – candles are burning the rope and when it gives she will be gorged.
But there’s nothing holding her up, except shadows of the ropes
DEMETRIUS
What the hell?
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Carmen’s Level 2 Horror Emotion Scene
What I learned doing this assignment was how important each action, word, and reaction is to ensure the most amount of fear, suspense, and dread. This one was more difficult and more nuanced than Level One. But, I like the intensity and impact of the scene!
FREDO’S OFFICE – NIGHT
FREDO, LEONARDO, SASHA, AND BIANCA are all sitting in a circle. BIANCA pours some salt into a pile in the middle. She LIGHTS the circle around it.
They are all sitting, legs crossed in a circle. A picture of DON BRUNO is in the middle with a cross hanging on it. (FEAR)
FREDO
This has to work! Are you doing it just like Grandmother Sofia told you?
BIANCA
Let the curse be lifted. Let the sins be forgiven. Let Don Bruno rest in peace.
Silence.
FREDO
Did it work?
BIANCA
Shhh….
FREDO
Did it?
Beat.
Beat.
LEONARDO
I think it did.
BIANCA
Shhh.
The wind is WAILING outside. THUNDER CRACKS.
FREDO
It worked, didn’t it?
THUNDER CRACKS again.
FREDO tries to get up.
BIANCA
No, don’t break the circle.
Beat.
Beat.
Beat.
(SUSPENSE)
FREDO
It worked! The Fucker is gone!
LEONARDO
Don’t, Fre….
LEONARDO is cut off. Fredo’s desk is thrown across the room.
FREDO
Now, what the fuck do we do? He’s going to come for us all, you know? The bloodline.
Then, the walls start moving. There’s a LOUD BANGING.
FREDO
Stop! Stop!
The picture of the whole family on the wall behind the desk is lifted, the glass is BROKEN. It is suspended mid-air.
FREDO’S face getting scratched out from an unforeseen force. Then the rest of the family’s eyes bleed, one child’s head is cut off, and SASHA’S throat in the picture is cut. The picture starts to drip with real blood. The picture bursts into flames along with the desk. The three run out of the office. (DREAD)
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Douglas Ryan Lesson 11 – Level 2 Horror Emotions
What I learned from doing this assignment is that even as I am writing my rough draft I am thinking of several other ways I can manipulate the scene to use these emotion elements.
I/E. MACUS’S CAR – DAY
Detective MARCUS, 30’S, drives up the long hill towards Xeno’s house. Something shiny catches his eye and he pulls over.
He rolls down the window and notices a car in the woods. He exits the car and walks up to the vehicle checking the surroundings. Nothing seems out of the ordinary.
He checks the handle, it’s locked. He peers into the clean window. There is a box of bibles on the passenger seat, a cross and a 5 year AA chip hanging from the rearview.
He looks around and sees there is nothing in all directions. No houses, commerce, nothing but woods, and Xeno’s house at the top of the hill peering down.
EXT. XENO’S HOME – MOMENTS LATER
Marcus parks and exits noticing Xeno is home. He sees there are two entrances to the house, one main and one to his office in the back.
He studies the house noticing security cameras and a weird cellar entrance. He tries the cellar door, it’s locked from the inside.
DR XENO (O.S.)
Can I help you?
Marcus is startled, and turns to see Xeno on the porch steps. He makes his way to Xeno.
MARCUS
Hi Dr. Xeno, just coming by to ask you some more questions.
Xeno stays on the steps and folds his arms.
DR XENO
I’m sure my cellar isn’t on that list of questions.
Marcus laughs nervously at his deadpan comment and stops at the bottom stair looking up at Xeno.
MARCUS
You’re correct sir. I just found your home, interesting. So many different entrance and exit points.
Xeno nods and squints.
DR XENO
When you have a home business it makes it easy to separate the two.
MARCUS
True, but the cellar looks like it connects to something else.
Xeno cocks his head to the side and clears his throat.
DR XENO
Nope just an old fallout shelter from the 50’s. I use it to store my antique optometry equipment.
MARCUS
Really? Wow. So what’s the oldest thing you have?
Xeno puts his hand on his chin and thinks for a moment.
DR XENO
I don’t know if it’s the oldest but my favorite piece is my 1895 De Zeng Refractometer.
MARCUS
(Feigning interest) Wow. So who’s car is that in the woods down the hill?
DR XENO
Been there for weeks I called the sheriff about it and nothing.
Xeno takes a two steps down, Marcus stays put, he knows Xeno os lying. Xeno is eye to eye with him stares at Marcus’s eyes for an uncomfortable amount of time.
MARCUS
What is it? You see a cataract?
DR XENO
No. I see near perfection. It’s a gift I have. I can see most eye shapes without the use of my equipment. And I’ve seen very few perfect eyes in my time.
He takes another step. Marcus takes two steps back.
MARCUS
Really? My eyes, perfect.
DR XENO
They change color don’t they?
Marcus, shocked, takes another step back as Xeno makes it to level ground. Marcus puts his hand on his hip touching the butt of his gun.
Xeno notices this and smiles.
DR XENO
Sorry detective. I didn’t mean to scare you. It’s been ages since I’ve seen someone with changing eyes.
Marcus’s fingers keep tapping the gun butt.
MARCUS
How did you know that?
Xeno smiles and laughs until he snorts. Marcus takes another step back and shifts his foot to a defensive stance.
DR XENO
Oh man, Your eyes were a light green at my clinic the last time I saw you and today they are bluish grey. I think the color of your suit or shirt is affecting them. Let me ask do they go grey when you are sick?
Marcus nods and cocks his head to the side. Before he can answer a car speeds up the drive and startles Marcus. Xeno turns and looks on with disdain as the horn honks.
MARCUS
Looks like you got some customers.
Xeno scowls at him and then at the car. DANIELLA 17, jumps out of the car. SAM, 40’S jumps out and follows.
DANIELLA
Hey fucker what did you do to Betty?
She is racing to get to Xeno, she raises her fist and Marcus grabs her holding her back.
MARCUS
Hold on there kid,
DANIELLA
Who the fuck are you?
Sam is right behind Marcus.
SAM
Let her go!
MARCUS
I’m a cop. What’s going on?
Sam stops and puts his hands up Xeno watches and smirks. Marcus notices Xeno’s smirk.
DR XENO
Sam. Whats up with this kid? She keeps causing trouble.
DANIELLA
Eat shit! Where is she?
Marcus shoves Daniella back, and puts his hand up with his other hand on his weapon. She sees this and paces.
MARCUS
Easy kid!
SAM
Look doc, Betty didn’t come home last night, and this was the last place she was. Please for the lords sake tell me what happened last night? Danny here says that Betty was all kinds of upset and yelling during her exam.
Marcus turns to Xeno again, his hand leaves the gun.
DR XENO
Well she smelt like booze Sam, and I know how she fought those demons for so long. But it seems like she has succumbed to temptation once more. I’m sorry my friend.
Daniella lets out a teen moan.
DANIELLA
What the fuck ever dude! She was not drunk or even drinking. You lying sack of shit.
SAM
Language! Please.
Marucs looks up at the cameras and then at Xeno. He steps in the middle of this private affair.
MARCUS
Hold on everyone. Dr Xeno you have cameras, now what you say we go get the footage and we can see just what time this woman left last night.
Xeno shakes his head.
DR XENO
Sorry detective, they’re all dummy cams.
Xeno smiles while Marcus’s face drops in defeated disgust.
MARCUS
You’ve gotta be fucking kidding me.
DANIELLA
I know right. This dude is a…
SAM
Language!
Daniella stops and bobs up and down.
MARCUS
Sir, what car does your wife drive?
SAM
A blue Corolla, why?
Marcus looks at Xeno and smiles. Xeno stares blankly.
MARCUS
Well there just happens to be a blue Corolla down the hill in the woods. Lets go see if it’s hers. Anything you want to tell me Dr. Xeno before we head down there.
DR XENO
I have nothing to hide.
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Wayne’s Level 2 Horror Emotion Scene
What I learned… With each scene I write with intent for specific emotions I’m starting to feel in control of the material and not at the mercy of my nervous whims.
Scene:
INT. THE TRAP
BRAD
“We built a trap for a, let me just say it, Monster. A monster killed Peters. This trap, there’s no doors or window or vents… To catch this monster. And we are in the trap with all kinds of fancy scanners and weapons. Six agents are the bait! This is starting to scare me. Does this mean that one of us is the Monster? I am trapped with the Monster that shredded Peters. Yes, I… I… ah… ahh, I’m ah, fru, fru, fru…..SCARED. I’m scared.(FEAR)
STELLA
Welcome aboard Brad. Why don’t you go on a perimeter check.
BRAD
Ah ah..
STELLA
Come on. I’ll go with you.
As they walk we see the seriousness of the trap. Thick walls. Reinforcements. Very spooky. Flame throwers. Dry ice guns. Tank sized stun guns. With every new weapon Brad gasps louder and louder and shakes more. (SUSPENSE)
MUSIC; BRAD’S FEAR.
STELLA
Feel safer now? (Stella looks behind Brad and gasps.)
Brad turns and sees the shadow of a giant rabbit coming to bite him. Brad screams and looks back to Stella. The shadow is just her hand in front of a light making a rabbit shadow puppet.
Stella’s rabbit hand starts to bite Brad and she make little noises. She is flirting, coming on to him. Very pushy.
BRAD
You’re my… boss.
STELLA
And maybe I’m the Monster. And you must be the bait.
Brad tries to laugh this off, but all the forces are overwhelming him. Desire for Stella. Fear that she is the monster. Dread that he’s in the trap and will never get out.
Brad with a deep breath accepts the dangers and beings making love to Stella. (DREAD)
As Brad pushes a pile of debris a mouse squeaks and Brad tries to jump up.
His fear of the mouse is no match for Stella’s grip. Brad’s eyes roll back as desire takes him back.
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This reply was modified 3 years, 6 months ago by wayne schrengohst.
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This reply was modified 3 years, 6 months ago by wayne schrengohst.
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This reply was modified 3 years, 6 months ago by
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Mark Dotz
What i learned form this assignment is… suspense and dread become powerful when you’ve proven how bad things can get for your heros.
Summary
Fear- We just watched a crew member smashed by a dumb waiter. Now the crew enters into a new room where they hear creepy voices from behind the walls.
Suspense – Where are the voices coming from, then we see dogs from behind the doors ready to attack.
Dread- Dean runs in to stop the dogs and closes the door behind him. This is followed by a puddle of blood creeping out from under the door.
END OF ACT 2
INT. KITCHEN – NIGHT
The dumbwaiter comes crashing down on Cameron’s body leaving only her legs dangling out the dumbwaiter hole. The dumb waiter continues to wiggle although it is stuck on Cameron’s corpse. Another door opens allowing the crew to leave the kitchen. The crew, now just Shannon, Boxie and Dean leave the room cautiously.
INT. FRONT FOYER
Again the crew is lead into the front foyer. Brad’s remains are scattered by the piano. Boxie holds her chest in dreadful remembrance of him.
BOXIE
Oh Brad, I’m so sorry.
Shannon starts studying the paintings on the wall. They have no eyeballs. Dean heads up the stairs to see if he can come up with a plan B.
DEAN
Why are we back here again?
SHANNON
I think they’re running out of house.
Suddenly a creepy laugh cackles behind the walls.
TOMMY (O.C.)
Ha. Ha. HEE, HEE.
Dean creeps down the stairs.
SHANNON (WHISPERS TO BOXIE)
They’re behind the walls.
JERRY (O.C.)
More puzzles to solve children!
The voices are coming from all around the room.
TOMMY (O.C.)
Ha. Ha. HEE, HEE. Play with us more!
Shannon listens carefully, ready to pounce. Boxie knows this look.
BOXIE (WHISPERS)
Careful.
Suddenly, Shannon punches through one of the paintings and grabs whatever is on the other side. It’s Jerry! And he looks the same as he did in the flashback. Same clothes, same age.
Jerry struggles with Shannon a bit but she swing him around and puts him in a choke hold.
Boxie runs over to brads pants pockets and fumbles through until she finds his knife. She takes it over to Shannon. Boxie flips out the blade and hands it to Shannon who presses it next to Jerry’s neck.
SHANNON
Who are you? Why are you doing this?
Jerry starts giggling.
JERRY
Hee, hee.
SHANNON
Nothing is funny about this. I’m going to cut open your throat you asshole.
Tommy starts shuffling and laughing in the walls.
TOMMY
Haa, ha.
SHANNON
You! The other one. Come out here.
Jerry doesn’t resist anymore. His voice like a winey pee-wee herman.
JERRY
Hey, have you met my pets?
Shannon, Dean and Boxie all have an “oh shit” moment. The door upstairs creeks open.
Three white dogs can be seen through the door. The door cracks a little more.
Shannon readjust her position to hold Jerry in a tight headlock.
The Dogs snarling faces are popping out of the ajar door. Without thinking Dean runs into the room of dogs. He slams the door behind him.
SHANNON
No! Dean No!
BOXIE
Dean!
Boxie runs up to the door and attempts to open it, carefully but it’s locked.
Jerry wiggles out of Shannon’s grasp and runs off. Shannon is now worried about Dean and she hovers by the door with Boxie. The sound from the door is filled with scratches and sounds of suffering. Soon, a flood of blood comes pouring out form below the door.
Boxie goes to the front door and tries to open it. Still no luck.
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Larry Fraller’s Level 2 Horror Emotion Scene
What I learned doing this assignment is that I like writing about witches. And other weird psychological stuff. In some ways, I feel it’s not quite the structure of a slasher movie, so I don’t have to get grotesque and bloody, so long as the audience gets a good scare that frightens them for even days after they see the movie…or read the book.
ESSENCE: The expectation of torture or death
Fear: sense of impending danger, not expected death for characters
Suspense: Set up consequence, then delay the delivery
Dread: Require characters to face a known danger head on
INT. CASTLE – TOWER – NIGHT
Two gypsy women escort Lorette up the winding stone stairway.
When she hesitates, they urge her higher. Their shadows paint ghastly figures on the walls.
LORETTE
My husband’s going to worry sick if I stay much longer. He doesn’t like me out after dark.
GYPSY ONE
Dark? Not with the moon so bright tonight. See for yourself. Like liquid sky.
LORETTE
I meant the late –
She gasps as they usher her into a room lit by candles, and ripe with moonlight pouring in a tall window.
A luxurious couch stretches along one wall.
Beneath the lone window, steam rises from a large bath, scenting the air with lavender and cinnamon.
The two gypsy women shed their capes, but leave on their masks through which their dark eyes gleam with a light of their own.
They remove Lorette’s cape and mask. She tries to hold onto her costume, but their fingers are fast, deft, unabashed.
In seconds, they have her down to her undergarments, then out of those, while the women themselves remain clothed.
LORETTE
It’s a little chilly, don’t you think?
The two gypsies lift her into the tub with arms as strong as any man’s. And fingers cold as death.
She squirms but they hold her in.
GYPSY ONE
It won’t be long now.
LORETTE
The water’s getting cold.
GYPSY TWO
It won’t stay cold.
LORETTE
But there’s no door. And the window’s wide open. I only just yesterday recovered from a fever.
GYPSY ONE
The view will take your breath away.
GYPSY TWO
And your eyesight. On a bright day.
LORETTE
But the doorway. There’s a cold draft.
GYPSY ONE
Why, you’re trembling like a doe beneath a skinner’s knife.
GYPSY TWO
Be assured, nothing here will hurt you.
GYPSY ONE
This room is sanctified.
The gypsies laugh, echoing through the massive room. The candles flicker.
LORETTE
I’d like to go now.
She tries to climb out but the gypsies corral her, one at her feet and the other behind her head. They work their fingers along her neck and ankles.
LORETTE
That’s nice, but –
GYPSY ONE
She’s trembling.
GYPSY TWO
She’s afraid of something.
GYPSY ONE
But there’s nothing in this room to be afraid of.
GYPSY TWO
You’re safe here, unless –
Their fingers pin her down, her face nearly underwater, except for her nose –
and her eyes.
GYPSY ONE
Unless you aren’t.
A shadow appears on the ceiling. Elongated, it grows. She smells leather. Their hands lift her so she can see Ossimon approach.
His alabaster skin seems to glow of its own accord. His grin pierces the night. His lingering eyes heat the water around her belly and underneath.
She sinks into the bath, but there’s no escape. The gypsies bar the door. Ossimon massages her feet. She squirms, but her body has a mind of its own.
LORETTE
My prince.
She hears herself say.
OSSIMON
Yours? Who possesses who?
The gypsy women remove his outer garments. Beneath, he wears a silken white doublet and pants so tight it takes both gypsies to tug them free.
Their unabashed fingers linger longer than necessary. They cackle as he pries them loose.
Lorette uses their distraction to escape the tub. But she has no clothes.
OSSIMON
Cold?
He wraps her in an embroidered cloak. With one hand, he pulls her close.
Lorette coos. Her lips have a mind of their own. She opens her mouth for a kiss.
Ossimon’s fingers squeeze her lips together.
OSSIMON
I don’t think your husband would approve.
Ossimon snaps his fingers again.
LORETTE
He doesn’t know.
The gypsies wind a skein of red yarn around Lorette and force her to her knees.
Ossimon drags her across the room to a post she had not seen before. A wooden stake, large enough to hold her upright.
The gypsies remove the cloak.
OSSIMON
He’ll know by the marks on your body, if you ever dare intimacy with him or anyone else after tonight.
LORETTE
He’ll kill you.
He answers with the crack of a whip. Then another and another.
GYPSY ONE
Only three?
GYPSY TWO
She’s not as special as she thought.
They remove her bonds and plunge her into the bath.
OSSIMON
Never. No one is ever as –
STEPHATTA
Warm as yourself?
The gnarled old woman hovers over Ossimon and Lorette.
OSSIMON
Of course not.
STEPHATTA
They have no choice.
She fills the bath with ice.
Ossimon lifts Lorette quaking from the icy bath and burning from the whip. He walks her to the door.
Unclothed, she flees down the stairs. Behind her, she hears a WOMAN SCREAM.
Stephatta appears in front of Lorette, blocking the stairs.
Forced back to the room, she sees another naked woman in the tub. The bathwater near boiling. Ravens darken the window. They fight each other, pecking the terrified woman, through flesh and fat until nothing but her skeleton remains.
The gypsies dress Lorette in the clothes she came in. Stephatta escorts her to the gate.
OSSIMON
Did you forget something?
Lorette tries to run, but her legs won’t let her.
OSSIMON
This?
He kisses her passionately.
STEPHATTA
Do give Chambers our love.
The sun rises. Lorette traipses home.
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