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Day 11 Assignments
Reply to post your assignment.
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8 Replies
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Chris Grant’s Level 2 Horror Emotion Scene
What I learned doing this assignment is…?”
This process is getting easier with each try. Building suspense is a fun way to escalate a scene. With each pass, I can see more and more elements to add to the fear. I’m enjoying he process. I’m still staying away from dialogue.
The motor is twisted badly in the nets. Narco 2 hands Cristian a machete knife. He looks at the clear water below the boat. Though he can’t see far, it all seems clear.
He slips into the water.
He takes a deep breath and pushes himself below the water line. He’s careful to not splash or make any fast movements.
Everywhere, dead fish trapped in the nets, their decaying bodies cause the water to cloud up. The nets shift and drag with the current and make the dead rotting carcasses appear to dance and writhe.
Holding his breath, Cristian lowers himself below the keel. He searches the depths for signs of the squid, sees the bottom, about 30 feet down. Nets cover everything.
Above, Narco 1 holds a gaffing hook stating he will just stab a squid if it comes close. He thinks he has a chance to get one, but he’s pretty clumsy with the weapon.
Under the boat in the darkness, Cristian can see the net is tightly wound around the motor.
He surfaces and tells the others he’s going to have to cut it. When he gives the cue, they need to start the engine to spin it free.
He dives back down below the keel, knife between his teeth, eyes again scanning the murky water.
He slices at the thick net around the engine rotor. At first, it doesn’t give, so many layers tightly wound. He cuts a few and then pulls away from the engine, like pulling cotton candy off a spinning wheel. It gets everywhere.
In the corner of his eye, something darts past. He turns, nothing.
He sticks his hand above the water line and motions to the Narco to turn on the motor.
Narco 1 turns the engine over in a quick spurt. The frizzy water makes it hard to see anything as the boat grinds into the nets. Cristian dives back below to get a better look.
The Narco spins the motor again. Cristian is too close. The wound nets spin off the motor slapping him and pushing him away into open water.
From nowhere, a squid slips past him. He spins his body around to fight but it seems unconcerned with him, preferring instead a massive squirming Grouper thrashing in the nets just below him.
The squid grabs the fish and pulls it up towards Cristian as other squid ascend to attack. Cristian kicks backward and away as the motor spins free. The water all around him frizzes. He barely misses the rotors.
Above, the Narcos can see the squid rising. Narco 1 grabs his pole and starts to poke the water.
Down below, his pole barely misses Cristain as he struggles to swim away from the warm.
In seconds, they’re everywhere, swarming to get a bite of the fish. One turns and sees Cristian. It approaches. He bangs on the side of the boat but his frantic arm-waving attracts more squid who turn towards him.
He surfaces screaming “pull me up!” The surface of the water begins to froth with the swarm. “Pull me up!” he screams.
Under the surface, a squid grabs hold of his shoe. It tugs the shoe off his foot but before it can grab his leg, he swipes with his knife and cuts off a tentacle. The injured squid darts backward, bleeding, frantic as the shoe and the tentacle float down. The other squid react, bloodthirsty even for one of their own. They attack the other squid, and the shoe giving Cristian a moment to surface.
Cristian kicks for the surface. Something grabs his shoulder and head. He screams and lets out all his air.
It’s Narco 2, who grabs Cristian by the hair, and then by the arms, and yanks him up out of the water into the boat.
Cristian lays on the bed of the boat hyper-ventilating. The Narcos laugh. He’s got big cajones, this kid.
They start the engine. The motor whips off the last bits of the net.
But looking around, their boat sits in a mass of nets, they won’t get far before it becomes entangled again.
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3. In this lesson, I learned the emotions that make act II pop and how to bring them out!
1. Look through your Act 2 scenes and pick one that you would like to write through all three emotions. It very likely will be a scene where some kind of horror action begins.
2. Brainstorm the scene to emphasize the Level 2 emotions and write it.
The family sits down to dinner, suspicion rising over Grandma’s recent death. Husband argues with Mother over Younger Daughter’s constant crying while gripping a knife ever tighter.
HUSBAND
Will you shut her up? She has been crying for days.
MOTHER
Why don’t you shut her up? All you ever do is sit around and complain.
Husband rises from his chair with the knife. The Caretaker steps in.
CARETAKER
Please. Not now. I’ll take care of it.
Husband stands up and starts fixing dinner plates. He mixes some food for Younger Daughter.
Mother looks down at Younger Daughter and realizes Younger Daughter is staring directly at her. Mother turns and thinks, then looks at Husband. Mother considers the food, then looks back at Husband. Husband notices Younger Daughter looking at Mother.
Mother brings the food over and places it in front of each family member. Husband takes his seat. Mother adds something to one of the drinks and hands those out as well. The family starts eating. Older Daughter helps feed Younger Daughter.
Each family member takes sips of their drink. Suddenly, Younger Daughter stops crying and falls asleep. Everyone relaxes. Younger Daughter convulses. Older Daughter steps in to help. Husband looks on in shock. Mother snatches the opportunity.
MOTHER
What did you do to her?
HUSBAND
Excuse me?
The family struggles to help Younger Daughter. Mother steps around to assist Older Daughter. Caretaker tries to assess what is happening.
CARETAKER
What did she eat?
Son looks at the food and considers a moment, then runs to the door.
SON
I am going to go get help.
Older daughter
Are you out of your mind? They have patrols going. You can’t!
Son shakes his head and darts out the door. Caretaker runs up to the door after him while Husband goes to the window, looking between Younger Daughter and Son.
Son approaches a patrol waving his arms. He is shot dead as he does. The whole family hears is. Husband and Caretaker see it.
CARETAKER
What are we going to do?
OLDER DAUGHTER
We can’t…
Older Daughter looks down at the dying Younger Daughter and tries to contemplate what just happened.
Realizing the Younger Daughter always cries when Mother is around, Mother decides to poison Younger Daughter to keep Mother’s secret. Younger Daughter starts foaming at the dinner table and Son goes outside looking for help. PATROL MEMBER panics and shoots Son in full view of the family. The family, including Mother, look on – horrified.
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Judith’s Level 2 Emotion Scene – L-11 – HOMEWORK
What did I learn doing this excitement is all the preparation that we have done is a great help.
EXT. WOODS – CONTINUOUS – DAY
They rush toward the cabin, but before they can get there a wild boar bolts from the trees and springs toward them cutting off their path to the building.
Jake and Jane halt. Their mouths wide open. The beast and couple stare at one another. Neither moving an inch.
JAKE
Run………
They take off into the trees. The boar stares, motionless. Then lurches after the couple.
Running as fast as they can, Jake and Jane hurry through the trees. Dodging rocks and trees, thrilled that the boar isn’t catching up. Jake stumbles, laughs at his almost fall.
Jane holds Jake hand as they continue into the trees, the light growing dark as the trees become closer and closer to each other.
When suddenly, light, a clearing. Jake and Jane race to the center. Stop. Look around. No boar.
They laugh.
JAKE
We outran a boar. How about that.
His chest puffs up. Smiles at Jane.
Jane looks around. Some of the trees are green and full. Other trees, a strange dying off on one side creates a curtain of brown. Jane stares at the trees. Looks around.
JANE
It’s so quiet.
JAKE
Thank goodness. Would you rather hear a boar squealing.
JANE
No…but it’s so quiet.
Jake sighs…
JAKE
You’re not gonna start that again. There’s nothing here.
JANE
No, listen….nothing.
Jake obeys.
JAKE
Yah, nothing.
JANE
No birds, no sounds. There is always some sound.
JAKE
They just aren’t in this part of the forest. Come on…let’s go back to the cabin. I’ll take care of you. I promised I would. Haven’t I so far.
JANE
Yes…I’m sorry. It’s just the silence.
JAKE
That’s what we’re here to prove. You like the silence now. Silence is your friend. Remember what Miss Headright said.
JANE
Silence is my friend…silence is my friend…silence is my friend.
She takes Jake’s hand.
JANE
I’m sorry. Silly me. Silence is my friend. Silence is my friend.
They move toward the cabin when suddenly a crash of boars come barreling toward them. They stop in their tracks. The sound they make is unbearable. Jane covers her ears.
Forcing them to the center of the clearning, boars creep toward them. Forming a circle around them. Jane and Jake hold one another. Close their eyes for the inevitable attack.
They boars move around them making their weird sounds, but don’t attack. Around and around they go, slowly, deliberately, circling the couple closing in tighter and tighter.
JANE
I love you, Jake.
Jake doesn’t return the message. He stares at the beasts readying himself for one brave defense.
Snaring, snorting and making their weird sounds, the boars move closer and closer when a blast of sound from somewhere shatters the boars’ cacophony. They stop in their tracks.
Turn and leave.
Jake and Jane jump up and down. They twirl and skip.
JANE
They’re gone…they’re gone.
JAKE
They’re gone.
Jane stops her joyous dance. Her face turns ashen.
JANE
Where did that sound come from?
JAKE
Who cares…let’s get out of here.
He moves forward, but Jane holds back. She rocks back and forth. Jake glares at her, then realizes his mistake when Jane pulls away from him.
JANE
What if the boars are waiting in the trees?
Gently and sweetly…
JAKE
You’d rather wait here, Jane? We can make a break for the cabin.
JANE
But the sound…
She looks around. Takes Jake’s arm. He pats her hand. Puts his arm around her. Kisses her on the cheek.
JANE
The cabin will be safer.
JAKE
I’ll protect you. Didn’t I promise? Haven’t I already?
Jane nods. Cuddles into him. They proceed into the trees.
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Paul’s Level 2 Horror Emotion Scene
3. What I learned from this assignment is, once again, that it helps to have these markers as I develop my story. Being aware of what is required to make a movie a horror movie, really helps.
4. Title: NO MAN’S LAND
INT. WAITING ROOM, OBGYN CLINIC. DAY.
Several women are sitting around. Some reading magazines, others checking their cell phones. Carol is standing against the wall, tense and nervous. The door opens and a NURSE enters with a small file.
NURSE
(Addressing one of the waiting women)
Jacquie Williams?
JACQUIE WILLIAMS
That’s me.
NURSE
It’s a girl. You carry on through to delivery. Report back here in two weeks.
The nurse exits.
JACQUIE WILLIAMS
Oh, no! That’s the last thing I wanted to hear!
The other women look on in sympathy as she gathers her things and leaves.
The women chatter. Carol remains apart, still nervous about the result of the gender-test. The nurse returns.
NURSE
Carol Jenkins?
[Suspense]
Carol raises her hand without saying a word.
NURSE
It’s male.
The women break out into shocked chatter.
NURSE
Report down the corridor to fix the abortion.
Carol stares in shock at the nurse.
NURSE
But there’s another problem. The likely date of conception.
CAROL
What about it?
[Suspense]
The women all share a giggle.
NURSE
Show me your No Man’s Land passport.
CAROL
I don’t have it with me.
NURSE
You do know that’s an offense?
Carol says nothing.
NURSE
We don’t have any insemination records. When you come for the abortion, they’re going to demand them.
The nurse turns to leave.
CAROL
(Fear in her voice)
I understand.
The nurse turns around and hands a paper to Carol.
NURSE
(Handing a sheet of paper to Carol)
Oh, and give them this.
Carol looks at the paper which she holds in her trembling hand. The words “Date of conception?!” are highlighted.
As Carol gets ready to go, the other women stare at her and exchange whispered comments.
WOMAN 1
Do you think she’s one of them?
WOMAN 2
I wouldn’t want to be in her shoes.
Carol exits.
INT. CORRIDOR OF SAME CLINIC. SAME.
[Fear]
Carol walks down the corridor and stops in front of a door marked: ABORTIONS.
[Dread]
Seeing the sign, Carol’s hand grips her stomach in a reflex movement. She looks again at the paper, opens the door and walks in.
END
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This reply was modified 2 years, 7 months ago by Paul McGregor.
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This reply was modified 2 years, 7 months ago by
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INT – ALYSSA’S HOUSE – NIGHT
Brandyn Cross’ Level 2 Horror Emotion Scene
What I learned was how to structure the scene to specifically target intended emotional responses, rather than just write a scene containing events, with no specific target audience reaction.
Charlotte suddenly appears in the house as Laura, Alyssa and her friends finish dinner and put a movie on. As they do, the house becomes cold, and an uncomfortable sensation overtakes them. Immediately, a loud bang is heard from another room. They realize that someone may be in the house.
They all look at each other, but no one makes a move to do anything. Alyssa’s best friend wonders aloud if it’s Laura doing something, or if Charlotte might have snuck into the house. Just then, Laura comes in and asks what they were doing in there, as she has heard the sound as well. That leaves Charlotte as the most likely culprit.
Alyssa has had enough of Charlotte’s inappropriate intrusions into her life just as another bang is heard. She says she’s going to put an end to this, and volunteers to check it out. She slowly, deliberately goes down the hall toward where the sound came from.
Back in the family room, the others hear Alyssa scream. The all freeze for a moment, not sure what to do. Laura then follows Alyssa. Her best friend, and boyfriend, cautiously follow her, all careful and wary of what may have infiltrated the house, and of where it may be.
As they round a corner, Alyssa is held, suspended against the hall wall by an unseen force. Laura runs to her, but is thrown to the ground by the same unseen force. She fights against the force and pulls Alyssa down from the wall.
Charlotte launches a paranormal attack, not visible to the others, in which Laura is killed when debris falls onto her, as Alyssa tries desperately to save her. As Laura dies, eerie laughter echoes through the house.
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Bob’s Level 2 Horror Emotion Scene
Fear: Nad fears that Professor Wheeler may be the killer.
Suspense: Nad is worried that Professor Wheeler will kill the girl who has come to see him during office hours.
Dread: Convinced Professor Wheeler is killing the girl, Nad must confront the killer to save her.
INT. CHEM BUILDING CORRIDOR – DAY
Nad bolts out of the chemistry lab and runs right into Professor Teddy Wheeler, nearly knocking him over.
Teddy drops an Omega Chi paddle he was carrying.
PROFESSOR WHEELER
Wow. Watch it there.
Nad catches his breath.
NAD
Professor Wheeler. What are you doing here?
PROFESSOR WHEELER
Office hours, Mr. Park.
Nad notices the paddle.
NAD
What are you doing with that?
PROFESSOR WHEELER
Don’t you remember. You brothers gave me this honorary paddle at your last meeting. For being your faculty advisor for ten years.
NAD
But why do you have it with you?
PROFESSOR WHEELER
My wife doesn’t want this in the house, so into the office it goes.
NAD
Someone was chasing me in the chem lab with a paddle.
PROFESSOR WHEELER
I can assure you, Mr. Park, it wasn’t me. I’m too old to chase anyone.
Nad picks up the paddle, looking at it for signs of blood. He hands it to Teddy.
PROFESSOR WHEELER
Satisfied, Mr. Norris.
(a beat)
There is no one out to get the brothers of Omega Chi. If anything it is your mates playing another prank on you. Isn’t that how you brothers spend half your time?
NAD
What about Mort?
PROFESSOR WHEELER
The entry psych tests show Mr. Morris was an extremely disturbed individual. The police have concluded that, spurred on by too much alcohol, he jumped off the roof. The college has settled with the boy’s parents.
NAD
I guess it could have been Blago again.
PROFESSOR WHEELER
Doesn’t that make more sense than a murderer on the loose?
NAD
Still, I’d be careful anyway.
PROFESSOR WHEELER
I wil take that under consideration. Now, if you’ll excuse me.
Teddy walks down the corridor and enters his office.
Nad starts to walk away but looks back and sees a girl with a large purse enter Teddy’s office.
INT. TEDDY’S OFFICE – DAY
Teddy places the Omega Chi paddle on a bookshelf behind his desk and turns to sit. The girl who entered closes the door and stands in front of the desk. We don’t see her face.
PROFESSOR WHEELER
Good afternoon. I don’t recognize you. Are you in my afternoon seminar?
GIRL
Was that a fraternity paddle you were putting away?
PROFESSOR WHEELER
Omega Chi – I’m their faculty advisor.
GIRL
You keep them in line with the college rules?
PROFESSOR WHEELER
It’s a largely symbolic role, as is the paddle.
INT. CHEM BUILDING CORRIDOR – DAY
Nad is slowly walking back towards Teddy’s office. He is on the phone.
NAD
I think Professor Wheeler killed Mort.
CAESAR
(on phone)
You’re crazy.
NAD
I was attacked in chem lab by someone in a robe with one of our fraternity paddles. When I ran into the hallway, I collided with Professor Wheeler and he dropped a paddle.
CAESAR
We gave him an honorary paddle. He’s a drunk and a screwup, but he’s not a killer.
NAD
Someone is in his office now. What if he’s just gone off the deep end?
INT. PROFESSOR WHEELER’S OFFICE – DAY
The girl has gotten closer to the desk. Teddy is uncomfortable.
PROFESSOR WHEELER
What is I can do for you?
GIRL
How long have you been in charge of Omega Chi
PROFESSOR WHEELER
I’m not in charge of Omega Chi.
INT. CHEM BUILDING CORRIDOR – DAY
Nad continues slowly down the corridor towards the office.
INT. PROFESSOR WHEELER’S OFFICE – DAY
Teddy gets up from the desk.
PROFESSOR WHEELER
My office hours are for my chemistry students. If you don’t have a chemistry question, I think we’re done.
The girl locks the door.
PROFESSOR WHEELER
Really. it’s not appropriate for a male professor be in a locked room with an undergraduate coed.
Teddy goes past her to unlock the door but it is jammed. He starts to talk before turning around.
PROFESSOR WHEELER
See here. Whaat did you…
He turns and faces a robed figure. The figure has taken the paddle from the bookshelf.
INT. CHEM BUILDING CORRIDOR – DAY
Nad is just outside the door. He tries the lock.
NAD
(into phone)
The door’s locked.
CAESAR
(from phone)
Maybe he’s having a secret rendezvous.
Loud noises start to come from the room.
NAD
That’s no rendezvous.
INT. PROFESSOR WHEELER’S OFFICE – DAY
The figure is bludgeoning Teddy to death.
INT. CHEM BUILDING CORRIDOR – DAY
Nad tries the door again. Nothing.
NAD
He’s killing her.
CAESAR
We’re calling 9-1-1, Be there as soon as we can.
NAD
I have to get in now.
Nad looks down the hallway and finds a fire extinguisher. He smashes the window to Teddy’s office and opens the door.
He enters prepared to discharge the fire extinguisher at the killer.
But all he finds is Teddy, bludgeoned to death. The window in Teddy’s office is open. Pinned to the body is an Omega Chi party flyer with an X from Teddy’s blood.
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Dan’s Level 2 Horror Emotion Scene
What I learned doing this assignment is… how powerful dread is as a horror emotion, and the subtle difference between it and fear.
INT. KENDALL’S ROOM
Kendall comes back from the bathroom, rubbing her eyes. She passes the kaleidoscope. Checks her reflection in the mirror by her dresser.
Suddenly, she hears the sound of MUTTERING outside. Furrows her brow, walks to her window. Looks down to see…
AUSTIN ON THE GROUND OUTSIDE – SMILING AT HER
Kendall opens the window. Annoyed:
KENDALL: What the hell are you doing here?
Austin just smiles at her.
KENDALL: I said I don’t want to see you. Do I have to call the fucking cops?
Austin’s smile melts into a cartoonish sad pout.
KENDALL: Leave. Now!
Austin smiles again. He walks toward the wall of the house below Kendall’s window – until he’s out of her view.
Kendall books it into the hallway. She hears the sound of the FRONT DOOR OPENING. Her eyes bug out in fear.
She whips out her phone and calls Nora. No answer.
KENDALL: Fuck.
She then calls Jack, cracking open her door and looking into the hallway. No answer.
Kendall then takes a blunt object from her room and holds it like a weapon as she walks out.
She slowly walks down the hallway, to her parents’ room. Stops when she sees… Austin crawling into the room, and shutting the door.
Kendall gasps as she hears the sounds of Nora and Jack SCREAMING.
Kendall’s breaths become deeper.
KENDALL: What are you doing to them!?
She takes a breath, then marches into the room, holding the object.
INT – NORA AND JACK’S ROOM, CONTINUOUS
Kendall storms in.
KENDALL: Leave them alone!!!
NORA: What’s wrong!?
Nora turns on the lamp on her nightstand. Kendall looks around. No sign of Austin anywhere.
NORA: Kendall. Are you high right now?
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Lisandro Boccacci’s Level 2 Horror Emotion Scene
What I learned doing this assignment
EXT – FORREST – NIGHT
The ex cop takes a chain and hook and walks towards them.
LEADER: yo, are you getting this…
MORAL ONE: yeah yeah… what is he doing?!
LEADER: I don’t know, but I don’t like the look of this.
The ex cop is stepping forward and stops at the front bumper.
MORAL ONE: I think its time to get out of here…
The ex cop hooks the chain to the car..
LOVE: Hurry up and back it the car up!
the moral one puts it reverse and floors it… the car is moving backwards and the chain hanging loosely on the floor begins to tighten. the car is able to get 14 feet away in reverse until they get yanked to a stop. The chain now stretched out from the front of their car to the tow truck. The ex cop picks up his megaphone and speaks
EX COP: don’t try to get away or I’ll have to tell my officers to shoot.
LOVE: Oh God this isnt good!
LEADER: what are you waiting for step on it!
MORAL: you heard what they said, they’ll shoot if we try to escape!
The ex cop walks over to the back of the tow truck…
CARRIER: I dont like this…
LEADER: they’re bluffing…
MORAL you think so…
LEADER: we got them on camera..
LOVE: maybe we should do what they say
The ex cop pulls a lever and the chain pulls on the car towards him. The driver stomps on the breaks, but still pulls the car forward towards the tow truck.
CARRIER: I really don’t Like this!
LEADER: damn it! Floor it now!
LOVE: Oh god we are going to die!
LEADER: no, we need to get out of here while we still can
CARRIER: <font face=”inherit”>I </font>don’t<font face=”inherit”> like this! </font>
LEADER: we have to go home! NOW!
MORAL: fucking hold on!
the driver slams the gas pedal, tires screeching as the car struggles to pull against the pully.
LEADER: floor it, floor it!
MORAL: I am!
LEADER: NO, FORWARDS!
MORAL: WHAT?!
LEADER: drive it forwards, and I’ll unhook us, that should get us enough slack
LOVE: you’re crazy
The car is getting pulled by the chain toward the tow truck.
LEADER: what other option is there now?
the driver keeps trying to escape by reversing it.
the ex cop: people don’t listen do they. he grabs his side radio.
ex cop: why don’t you guys go ahead and scare them a bit before they do something stupid.
officer 1: copy
officer 2; copy
officer 3 copy
complainer: copy
officer 4: copy
Rescuer: copy that
officer 5: copy
a couple of gun shots are fired around the car, splattering the dirt ground. One bullets hits near of the carrier.
CARRIER: stop the car they’re firing at us!
LOVE: stop the car! they’re shooting!
the driver stops trying to force the car out in reverse and the gun fire stops.
MORAL: what do we do now?
LEADER: just keep filming…
The car gets pulled up to the tow truck and the ex-cop pulls the lever, making the towing mechanism stop.
The ex cop has his gun drawn out and he walks up to the passenger side door where the leader is sitting. he throws a pair of hand cuffs to the leader.
EX-COP: <font face=”inherit”>put them on and </font>handcuff<font face=”inherit”> yourself to the car… </font>
<font face=”inherit”>LEADER: i aint doing shit.. we go you on camera and im gonna sue the shit out of all of you…</font>
<font face=”inherit”>MORAL: yeah that’s right… and we still need your badge numbers…you all need to identify yourselves when asked..</font>
<font face=”inherit”>EX-COP: put them on or </font>ill<font face=”inherit”> make </font>you.
LEADER: try it asshole… you think that mask is gonna keep me from find out who you are.
The ex cop takes the gun and points it to the Love’s head.
EX- COPE: do it or she gets a bullet in her head.
LOVE: Oh my god!
CARRIER: do what he says asshole!
LEADER: Okay.. just put the gun down.
EX-COP: handcuff your self to the wheel.
LEADER: Okay… just don’t hurt anyone..
The leader takes the handcuffs, puts one around his left wrist.
EX-COP: you’ll be my insurance… in case you all decide to make a run for it.
the leader hand and cuffs the other end to the side view mirror.
EX- COP: I said the wheel…
LEADER: no wait stop!
he fires a bullet into the car <font face=”inherit”>shattering window that the love is seated at. the bullet </font>doesn’t<font face=”inherit”> hit anyone. Love screams.</font>
LEADER: stop you bastard!
CARRIER: NO!
<font face=”inherit”>EX – COP: next time you </font>don’t<font face=”inherit”> listen to me it’ll hit her in the head. </font>understand<font face=”inherit”>?</font>
<font face=”inherit”>LOVE: just do what he says, please.</font>
<font face=”inherit”>LEADER: look </font>I’m<font face=”inherit”> handcuffed either way.. so would you just please stop.</font>
EX -COP: oh… no… I’m afraid we are just getting started. now stay in your cars.
The ex cop climbs into his tow truck and pulls the them.
CARRIER: we’re moving!
LEADER: you guys make a jump for it
LOVE: and what leave you behind?
MORAL: Im with you brotha til the end
LEADER: you have to go now so you can call for help
MORAL: and risk getting shot? you saw the other officers, we are surrounded. best thing for us now is to stick together and to keep filming.
<font face=”inherit”>
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