Day 12 Assignments

[Carmen Mosley]

Carmen’s Level Three Horror Emotions

What I learned doing this assignment was how intense this scene became once I added these elements and made sure I really adhered to the tenets of each emotion. This process is showing me how brutal and terrifying Don Bruno has become!

INT. FAMILY BUNKER – LATER

FREDO and CATERINA are hiding in a secret room.

FREDO

It’ll be okay.

CATERINA

But, Mom! Why Dad? What did you do?

FREDO

Oh, honey…. I

FREDO is cut off. CATERINA is suddenly pulled out of the hiding spot by one leg by an unforeseen force.

FREDO

Let her go!

She is thrown up against the wall. She is being strangled. Her eyes are popping out and FREDO is paralyzed, the DON using his supernatural powers to keep his head up and eyes watching.

Then the DON SUCKS out her soul and CRUSHES her bones. He uses a long sharp nail to cut some of her skin and it melts into his face. (ANGUISH).

FREDO

Nooo! Not my baby. Not her, NOT HER!!

INT. FAMILY BUNKER – LATER

FREDO is sitting next to CATERINA’S lifeless body, WEEPING.

Beat.

Then he gets up and paces the floor. He loads a couple of guns from a special safe nearby. He starts to shoot at the walls, the ceiling. (PANIC)

FREDO

Bring her back, god damn it, BRING HER BACK!!!

INT. FAMILY BUNKER – LATER

There is a LOUD BANGING at the door.

FREDO in a state of shock ignores it.

Beat.

LOUD BANGING CONTINUES.

FREDO

Go away! Leave me the fuck alone!

FREDO looks up at the outside cameras.

It is LEONARDO and BIANCA.

LEONARDO motions on the camera for him to open the door.

FREDO OPENS the door. They walk down two corridors to find FREDO.

LEONARDO and BIANCA see CATERINA. BIANCA drops to her knees. She is shaking as she grabs her bloodied body and holds her close. (HORROR)

BIANCA

Oh Caterina, oh baby. Oh God, no, no no!

BIANCA slumps into a corner.

LEONARDO

Fredo! Fredo.

FREDO is still in a daze.

LEONARDO

We need to go, brother. We have to go!

FREDO shakes his head.

FREDO

I’m staying. They’re all dead.

BIANCA

I know, but we need to leave!

BIANCA finds a sheet and puts it over Caterina.

LEONARDO

He will come back. He’s not done, you know. We have to get out of here.

FREDO

Leave me here with them. Where the hell would we go anyway? He can always get to us.

LEONARDO

Maybe not.

The lights go out. There’s a LOUD BANGING.

BIANCA

Let’s go!

FREDO goes his own way, LEONARDO turns on the flashlight on his phone.

LEONARDO

FREDO! FREDO!

They start running. There are endless hallways in the BUNKER.

The BANGING continues.

DON BRUNO

Fredo! Fredo! I will find you.

FREDO lights a match from a small matchbook in his pocket.

He goes into the room where SASHA was killed. He sets her up against him and gets into a ball. He blows out the match.

DON BRUNO

Fredo! Fredo! I hear you. I can hear your blood pumping.

LEONARDO and BIANCA find a bathroom. BIANCA hides in the cabinet.

BIANCA (WHISPERING)

Where are you going?

LEONARDO (WHISPERING)

I have to find Fredo

BIANCA (WHISPERING)

Please, please.

LEONARDO

I have to. I’ll come back.

FREDO is shaking and breathing heavily under SASHA’S body. The blood is running all over him.

DON BRUNO

I’m close, I smell your blood now!

FREDO loses control of his facilities.

DON BRUNO

Now, now, I’ve found you!

SASHA’S body is flipped off him and thrown to the other side of the room like a rag doll.

FREDO is lifted up as he still tries to fight. He kicks and flails around and is WAILING at the top of his lungs. (HYSTERIA).

DON BRUNO turns FREDO around to face him.

FREDO

Don, Don Bruno. I’m sorry, I’m sorry! It wasn’t, it wasn’t…

The DON makes FREDO eat one of the pieces of flesh from his mangled/disgusting face. Then he skins him alive and eats his entrails.

Then while FREDO still has a bit of life left, the DON sucks out FREDO’S remaining essence.

The DON is ultimately powerful now!

[Mark Doddy]

Mark Dotz

What I learned from this assignment is – I need to stop writing this at night, I’m creeping myself out.

Level 2 Horror Emotion Scene

INT. MANSION FRONT ROOM – NIGHT

With Boxie taking up the rear, the crew releases from their bottle neck into the foyer of the house.

SHANNON

Now what?

They look around. The front door slams shut and locks. Brad runs over to try and open it. Then another door nearby slams shut. Cmaeron tries to open it. Shannon runs over to an open door which slams in her face. And then another door slams, and another. Eventually all of the many mansion doors, one by one slam shut.

BRAD

Oh God. I have to call my Mom by 10pm?

Through her tears, Cameron manages to squeeze out a little more bitchiness.

CAMERON

It’s almost 11.

BRAD

Dammit.

Boxie is shocked.

BOXIE

Seriously? That’s what we are worried about right now? If we don’t want to end up like Mitch we better figure this out!

Boxie starts panicking. Shannon observes and analysiss the situtation.

BOXIE

Hello? Hello!? Who the fuck is doing this? Just let us go? We’re just kids ok?

CAMERON (UNDER HER BREATH)

Speak for yourself child.

BRAD

Hey! Hello! Anyone home? Our friend got hurt and our cell phones, you know…

Shannon puts her hand on Brad’s shoulder. Brad starts to realize how useless his efforts to yell for help are.

SHANNON

I don’t think we are going to get much help.

Suddenly, the piano in the middle of the foyer plays a quick and haunting three note melody.

“Ding, dong, ding…”

Brad goes in closer for inspection. Cameron is still freaking out.

BRAD

There’s a note here.

Brad looks closely and reaches out to take the note.

SHANNON

No! Don’t touch it . Don’t touch anything.

BRAD

It says “Play it slow, play it with feeling, and opportunity will arise.

But play it right, so no one dies.”

Brad reaches out for the note. Shannon looks around the house and tries to analyze if they’re will be any traps. Brad slowly reaches to the paper and turns it around.

BRAD

There is sheet music on the back.

BOXIE

Do you play?

BRAD

Yeah, I mean a little… when I was a kid.

Brad places the music down and sits at the piano. He starts to play the tune from earlier.

“DING, DONG, DING, DING DONG- DONG”

The last note is clearly wrong. The room starts to make a noise. Cameron has ascended up the stairs at this point and looks down at Brad. Brad stands up next to the piano trying to figure out what is happening, suddenly s metallic sound rings and a giant blade fly’s out of the wall and slices Brad’s head off. His head rolls to the feat of Boxie! She let’s out a blood curdling scream!

BOXIE

AAAH!

By instinct she kicks his head away. Cameron falls to her knees and is crying up stairs. Boxie folds into Shannon’s arms as Boxie cries. Shannon takes a deep breath and walks over to the piano. She pushes Brads headless body off of the piano stool.

SHANNON

Sorry Brad.

She sits down at the stool and whipes blood off her hand onto her jeans.

BOXIE

Shannon, no? Do you know what you’re doing.

Shannon takes another deep breath and stares at the sheet music. She touches it with her bloody hand, leaving some bloody finger prints on the sheet music. She takes a dramatic look back at her friends. Could this be the last time she sees them?

CAMERON

You don’t need to do this Shannon. Maybe I can just show them my tits or something?

Shannon and Boxie both look up at her.

BOXIE

Don;t you think it that’s what they wanted they would have already…Jesus Christ Cameron.

CAMERON

Well I don’t see you guys coming up with anything else. Shannon’s gonna get her head cut of too!

Shannon take a deep breath, which brings silence to the room.

SHANNON

I got this.

Shannon carefully plays the melody.

“Ding, Dong, Ding. Ding, Dong, Ding.”

Then the notes progress a little.

Ding, Ding , Ding, Dong, Dong Ding.

The last note resonates. The house starts to make a noise again. Then suddenly a door upstairs flys open.

The startled crew tries to compose themselves. Cameron peaks into the dark room upstairs.

INT. DARK ROOM UPSTAIRS

Unexpectedly a light pops on over one of the doors. This one is wooden and raw. Then another light pops on, this door is metal.

Then another light pops on, this door is gold colored and may be real gold.

CAMERON

Hey ah. I’m going to need your help up here.

[Ricki Holmes]

Lesson 12 Level 3 Horror emotions

What I learned: This reiterates how these exercises are strengthening the outline as each time we do a class, something else comes to light to elevate the (potential) script. In this case Heather (soon to be Kai) has just realized the monster is most likely her undead husband who she was unfaithful to with Peter G.

ANGUISH

Demetrius and Kai find Peyton impaled in the bathroom – there’s nothing to do but leave her there when Kai says, “its him.” And blames herself for the killings.

PANIC

A shadow looms over them – so they run for cover – hiding in a locker Heather tells Demetrius about her late husbands experiments with unbrakenesis. They need to break the monsters concentration so it can’t manipulate the shadows. At this point something unlocks the handles. Demetrius gives the word and they barrel out of there.

HORROR

Heather puts the monster in the spotlight as Demetrius unhooks the monsters cloak to reveal a decomposing body – full of maggots, dung Beatles and worms etc. Heather sees “him” and turns off the light. Demetrius scales the wall ladder up to the fly rail – the monster’s in pursuit slinging hatchets and knives.

HYSTERIA

Demetrius is about to be killed when Heather opens the roof access door – the light hits the monster and he falls to its death. The ground breaks the decomposing body into fragments. It seems its over when the access door slams shut. The worms and Beatles scurry together and the body reforms – creates a pulley device and scales upward onto the fly rail. A flurry of daggers slice into Demetrius neck. Heather backs away – grabs a can of inflammable liquid and douses the monster – reaches into Demetrius’s pocket for a lighter and ignites. It falls off the fly rail – hits the deck, burning. The sprinklers turn on, dousing everything in water but this time the monster is burnt to a crisp.

[Mark Doddy]

Mark Dotz

What I learned from this assignment is… what Anguish means. And even though as a writer it can be tough to put people in these horrible situations, Anguish really helps us be drawn into the characters fight.

Summary

Anguish – Boxie is shoved into a dark shaft and supposedly dies. Shannon just lost her best friend and the last survivor besides herself. She is alone.

Panic – Shannon shoves one of the twins off the stairs and knocks him out for a while, then she starts destroying the mansion, breaking and ripping anything she can.

Horror – With one twin badly hurt another one stands in her way at the bottom of the stairs. His creepy voice giving her know options.

Hysteria -Shannon runs down and beats and stabs him with every ounce of energy she has left.

Start of Act 3

INT. MANSION – NIGHT

(Dean has just been killed by the dogs on the other side of the door) 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.

BOXIE

I think it’s just you and me sister.

Shannon flips her knife into attach position. The two hold hands and start to go up the steps. There is a clanking sound coming from up stairs. Boxie and Shannon cautiously walk up the stairs as the clanking continues.

They notice a new door is opening and closing. It’s opening ajar and closing and opening ajar and closing. Boxie moves in to study it. It’s a dark shaft.

BOXIE

It looks like this is not the way to go.

With Boxie’s head looking down the shaft a voice whines a pig like noise and Tommy pops out another door and shoves Boxie down the shaft. She goes down and her head slams against the side of the long shaft before descending into darkness.

SHANNON

Boxie!

Shannon in pure reflex reaction pushes Tommy off the stairs ledge. He falls to the bottom of the stairs. Shannon cautiously peaks over and sees he is injured pretty bad and it looks like he has a broken leg. She pulls out the switchblade. She starts to cry.

SHANNON

That is my best friend. She better be okay!

Shannon looks around, nervous.

She looks down at the motionless Tommy. She doesn’t know what to do.

Shannon’s adrenaline spikes. She starts kicking off pieces of the stair railing.

She slashes the painting next to her.

She runs over to the window and throws a vase threw it. Shattering the stained glass everywhere and exposing the bars on the outside keeping her in.

SHANNON

Fuck you! And your stupid Gaudy, fucked up house!

Shannon finds anything she can break, shatter, or tip over. She kicks a hole in one of the walls.

She does the best she can to ruin any part of the house she can reach.

When she turns around she looks down and see Jerry at the bottom of the steps. He looks like Private Pyle from full metal jacket.

JERRY

You hurt my brother.

Shannon holds her knife out. Her breathing and sweat are overwhelming.

SHANNON

You killed all of them!

JERRY

You hurt my brother. Mother will not be happy if you hurt us.

Shannon doesn’t know what to do.

JERRY

Mother is already mad at you.

Shannon throws her knife right at Jerry. Jerry watches as it pass his face and he turns to watch it as it sticks into the wall.

When Jerry turns back he is met by Shannons fist. She cold cocks him hard he flops back towards the wall. Shannon grabs him by the collar and starts slamming his head into the wall. Over and over and over. Blood is covering the walls. Shannon grabs her knife from out of the wall and starts stabbing his back repeatedly until he falls to the ground.

She hears a rumbling behind her. Tommy is starting to get up.

BOXIE

Set!

It’s Boxie, she crawled out of the hole. Blood drips down her head and she is crawling. But she manages to throw a volleyball up into the air and serves it to Shannon who turns around and spikes it into Jerry’s face. Knocking him back down on the ground.

SHANNON

Match, bitch.

Boxie falls to the ground. Shannon stats searching Tommy’s pockets. She finds a key faub of some-kind. She starts clicking all the buttons. One button makes a door start flying open and closed. Another button makes the piano play it’s melodic song. Shannon addresses the piano.

SHANNON

Not again.

Another finally opens the front door.

SHANNON

Finally.

With the door open and the faub in her hand Shannon runs up to Boxie.

Shannon picks up Boxie from laying on the ground. Boxie vomits some blood.

BOXIE

Go. Go get help. I can’t make it out of here.

Shannon pulls her up onto to her shoulder.

SHANNON

You’re getting out of here.

Shannon gets Boxie up onto her feet.

BOXIE

I can’t, my feet. They hurt.

Shannon takes a deep breath.

SHANNON

Suck it up kiddo, we’re leaving this shit hole.

Shannon starts carrying her on her shoulders down the steps towards the front door. They pass the bloody mess that was Tommy and the shards of human that fill the foyer.

They step out the front door to the sunrise.

[Douglas Ryan]

Douglas Ryan’s Level Three Horror Emotions

What I learned from doing this assignment is I have a lot going on in one scene and I debated adding my big reveal but decided not to until the final climax.

EXT. XENO’S HOME – NIGHT

Sam’s car screeches to a halt almost hitting the mailbox. Daniella and Stuart jump out scrambling to the front door. Stuart throws the door open and they dart inside.

Marcus steps out from a hedge and draws his gun. He watches as the door shuts and steps back into the shadows.

INT. XENO’S HOME – CONTINUOUS

Both teens are covered in Sam’s blood and out of breath. He runs through the house with Daniella in tow.

STUART

MOM! MOM!

DANIELLA

Stu, let’s just go man. I’m sure your mom will be okay.

Stuart turns his face red with anger and exhaustion.

STUART

NO! If he gets here he’ll use her against me. He.. He… He’s a killer. He killed Sam and I don’t want him to hurt you or mom.

DANIELLA

Yeah I get it. You need your mommy.

He ignores her insult and keeps screaming.

STUART

Mom! We have to go!

They run into the kitchen, it’s dark.

Mary’s not there.

They run into the den, it is dark save for a small desk lamp. Mary is sitting at the window looking out she has dark glasses on.

STUART

Mom!

Stuart runs to her, and kneels. She does not move from her perch and continues to stare out the window.

STUART

Mom, we have to go. Dad’s lost it he’s…

DANIELLA

He’s a fucking psycho lady. He killed my guardians and some homeless dude. Lady we got to go or he might kill us all.

STUART

Mom, she’s telling the truth. I know now where dad has been getting the eyes.

Stuart puts his hand on her knee, and she pats his hand. When she speaks it startles Daniella.

MARY

He’s almost home. When he gets here dear we’ll talk this out and get your dad the help he needs. I’ve been putting him through some tough lessons lately and he needed to get out some anger. You know him and his anger. I swear.

The teens look at one another jaws to the floor.

STUART

Mom what the hell are you saying.

MARY

Oh sweetie you worry too much.

DANIELLA

Lady if you think that murder is letting off some steam you’re more fucked up than him.

Mary sighs in disapproval.

MARY

No dear, I just love my husband and we stick by each other no matter what.

Daniella shakes her head in disbelief. Stuart stands taking her hand and speaks in a firm voice.

STUART

Mom, it’s time to go. Dad is not who he says he is.

MARY

He’s always been your dad. And he’s been the same man all the year’s I’ve known him. He has his rough edges and quirks but he is who he is.

Daniella looks on in utter disgust.

DANIELLA

Quirks? If murder is a quirk of his you need to rethink the relationship.

Mary sighs as car lights shine through the window flooding the darkened room.

MARY

Looks like your fathers home. We can sort all this out now.

The teens look out the window and watch as Xeno parks sideways blocking their car from leaving.

DANIELLA

Shit! He’s trapping us in, you need to get his keys.

STUART

And we’ll take his car.

Mary laughs demurely, and hums “South of Heaven.” Daniella looks down at Mary.

DANIELLA

Stuart I think it’s time you left home and let your parents have each-other.

He looks at his mom and at Daniella tears in his eyes.

STUART

I love you mom, and I’ll come back for you.

He kisses her on the forehead and she attempts to grab his arm but he pulls away.

MARY

I’m sure you’ll be back sooner than you think dear.

DANIELLA

Don’t think so lady.

Mary hums some more bars of the song ignoring her.

STUART

I gotta go get the evidence, think you can hide in the front in the kitchen.

Daniella nods. They run to the kitchen and she hides behind the island counter. He heads down to the basement office.

Daniella watches the door handle.

It turns slowly and opens, Xeno’s silhouette fills the doorway.

MARCUS (O.S.)

Put your hands on your head, and interlace your fingers.

She watches as Xeno does what he says. Xeno looks in her direction. Does he see her? She can’t tell.

Xeno smiles as he takes two steps in his house.

MARCUS

Hey fucker don’t move! On your knees.

Xeno takes another step and lowers to his knees, turning his head looking directly at Daniella. He slides his toe forward moving a floor plank exposing a nail.

DR XENO

Well what to we have here. A two-for.

She sees Marcus’s silhouette in the door. He pulls out handcuffs and slaps one on.

Xeno knows that Marcus is going to have trouble with handcuffing with one hand. Xeno makes his move and squirms forcing Marcus to sidestep directly onto the nail.

Marcus screams in pain lifting his gun in the air and letting go of Xeno.

Xeno rolls forward and hops up punching Marcus in the stomach doubling him over. Xeno slams the serrated single stand of the open cuff into Marcus’s neck and yanks.

He hit the jugular, blood sprays all over Xeno and the room. Marcus drops the gun as he grabs his throat with both hands.

Daniella makes a run for the gun but slips on the blood and falls backwards slamming her elbow on the hard floor. She screams in pain.

Xeno bends down slowly and picks up the gun. He stands and points it at Daniella wile Marcus chokes to death on his own blood.

DR XENO

My dear I’m afraid you don’t have an appointment but I think I can fit you in.

[wayne schrengohst]

Wayne’s Level 3 Horror Emotion Scene

What I learned..It is going to take a lot more care and understanding the craft to actually have the reader experience the intended emotion. I need to par it down and stack the layers with way more care.

INT. TRAP EQUIPMENT ROOM

Stella is looking for Brad, her love interest.

STELLA

“Brad, where are you. I need you, again. Really really really. Are you sleeping? Are you hiding? Where’s my stud? It’s been almost an hour. I am fully recharged, ready, craving. You are so mean to stay away so long.”

Stella finds a trail of pieces of Brad. She absolutely knows it’s him from her higher powers but still can’t believe it. Slowly she accepts Brad’s death. She starts gathers pieces till she comes to the full pile of shredded Brad.

She scoops through the remains to verify identity. She finds lips, an eye, a tuft of hair, and finally his tattoo.

She hugs a big double handful of Brad, kisses, then rubs him on her face, on her chest, all over.

She sobs deeply. She sits comatose. She is picturing an eternity without Brad. “You are still warm.” Stella rolls in Brad. (Anguish)

From across the room Jack watches. Slowly a big evil smile consumes him. “Yes” he whispers.

A wisp of monster cloud rises from Stella and swirls.

She slowly gets into a full on murderous seething rage.

She starts turning into her monster.

INT. TRAP CONTROL ROOM

ABBY to Micheal (Looking at her tracking panel) (Panicking)

“Brad is dead. We have two Monsters. Stella has morphed. We are fucked. I want to scream. I want to shoot something. I want to understand. We are being lead by Monsters. Of course everything is going wrong. I’ve got a bazooka. Who knows what that will do. It could just mean there will be a dozen little Monsters. We have to get out of here. If you try to stop me I will kill you. Is that really how you want to die? Really. It’s your choice. Say anything besides YES ABBY and you are toast. (she threatens with a bazooka.) Burnt toast. Say PLEASE LISTEN and you are dead.”

MICHEAL

“Yes. Abby. (PAUSE) We are… “

Abby fires at Micheal and misses. The rocket lands in a pile of weapons. Bullets and projectiles fire every where.

MICHEAL

“WE ARE in a bunker designed to withstand anything but a direct nuclear hit.”

Abby fires round after round into the wall. They do not pierce the wall at all.

MICHEAL

The world needs us to do our job.

ABBY

No! No! No! That is a death sentence.

Abby starts shaking violently. Pounding the floor. Punching the air. Punching herself. Attacking the column holding up the roof. Punching Micheal. (PANIC)

Then suddenly she stops. Takes a breath. Snorts.

ABBY (Curious)

What’s your idea?

MICHEAL

Let’s kill Monsters.

ABBY

OK.

INT. TRAP CONTROL ROOM

Ent. Stella carrying Brad in a blanket.

STELLA

Brad’s been hurt.

Abby

Brad’s dead.

STELLA

“He was dead. Jack’s monster shredded him.”

Abby turns to her control panel. “Brad’s alive… again!?!?”

STELLA

Sort of. I put him back together.

Stella unveils Brad. (Horror) She has been put him back together. He looks horrible. Bleeding from every seam. In pain. Crying. Trying to smile. Here and there falling apart. Stella touches the breaking seams and like magic they heal.

Micheal points a bazooka at Stella.

STELLA

You think killing me kills my monster?

MICHEAL

It’s worth a try.

Stella’s monster and Jack’s monster are fighting in the ethers. Monsters are fighting and don’t care about humans for a moment.

Abby is learning through her instruments and getting better visuals of monsters.

Abby declares she can kill the monster, she knows what it is. They all can sense the presence, especially Stella. Stella’s Monster went out of control. Mad that Jack’s Monster killed Brad.

ABBY (Fighting back her crazy hysteria.)

And Stella’s monster kills Jack’s monster.

Stella is a monster. The monster is Stella.

Stella’s Monster attacks Jack. It yanks off a series of human necessities.

Abby is trying to make her weapons work.

Abby detects, then tracks, disempowers, then kills Stella’s Monster.

Whew. We’re safe.

Oops. Stella is becoming a new Monster.

Michael and Abby with an assortment of detectors and weapons battle.

It’s obvious that to live Abby and Micheal need to kill Stella. She is injured and weak and they feel sorry and hesitate till Stella flashes a very wicked smile.

Abby sensors can absorb and redirect whatever god awful energy Stella projects. So basically with Abby’s help Stella kills her monster self.

But wait…Is it attacking Stella? No, it is Stella. Stella becomes the monster.

Abby finishes by killing Stella!

[Lawrence Fraly]

Larry Fraller’s Level 3 Horror Emotion Scene

What I learned doing this assignment is to sequence emotion/horror situations. And while brainstorming, I can come up with situations for fun without pressure to fit it into plot or structure. Some of my ideas don’t fit ,but they’re fun.

ANGUISH, PANIC, HORROR, AND HYSTERIA

INT. COTTAGE – ATTIC – DAY

Lorette paints in the sunlight coming through the upstairs window, looking down at Chambers tending his field of flowers, which is the painting’s subject.

EXT. COTTAGE – GARDENS – CONTINUOUS

INTERCUT – ATTIC / GARDENS

She sees a snake attack Chambers. He hacks it to pieces with a spade he uses to cut weeds from his garden.

LORETTE

Chambers! Snake! By your foot.

CHAMBERS

Everything’s fine. Go back to your painting.

She sees the dying snake’s venom shoot at him with the snake’s final convulsion. But it doesn’t seem to bother him.

LORETTE

Careful. Its venom might still be active and –

CHAMBERS

Speak up! It takes a while for you voice to travel this far. What’s that you’re going on about?

LORETTE

Too weird.

She turns back to her painting and sees the snake, which she had not painted.

LORETTE

You better come up here and see this.

CHAMBERS

Busy right now.

The hacked snake isn’t anywhere to be seen. No blood, or anything.

LORETTE

Better watch out it doesn’t have babies. I’ve heard babies have the same amount of poison.

CHAMBERS

I know we’re not planning any kids yet. But calling them poisonous? You’re scaring me.

LORETTE

Where’d that snake go? Oh my God. What’s going on here? Are you okay?

Chambers ignores her.

Frantic, she’s looks at her painting, then out the window, the stream flows fast and full, almost to the top of the bank.

Next she looks the river is rising fast. With lightning speed it overflows the bank and

heads directly at Chambers.

LORETTE

Chambers! The stream’s getting full and – Oh fuck me with a whip! It’s getting really weird now.

Her painting is smothered with green paint.

She runs downstairs to the garden. Chambers is digging a ditch around the garden.

CHAMBERS

Go back inside. You’ll only get in the way. Gonna flood us any minute.

Lorette dips her hands in the water. Digs up mud and lets it run down her arms, ecstatic.

LORETTE

Oh thank God. It’s real.

CHAMBERS

Look at you! Careful it doesn’t pull you under.

Lorette screams.

CHAMBERS

You’re not helping the situation.

She grabs him and tries to force him to the house.

LORETTE

We’re gonna drown.

The water rises to their knees. They run to the house. She stumbles. He grabs her up and carries her.

Suddenly, he stops. He can’t speak. Can’t even point.

Two bodies float towards them.

Lorette screams.

She recognizes the two corpses as the two gypsy girls who ran the bath for her at the castle.

LORETTE

Oh fuck, Chambers. This is horrible. Most horrible.

She pushes him to the house. The dead gypsies get between them and the house.

CHAMBERS

What the fuck?

LORETTE 

It’s like they’re after me. I just know it.

CHAMBERS

Just get inside. We have to get a message to someone.

INT. COTTAGE – CONTINUOUS

He locks the door and closes all the windows.

Lorette runs upstairs. The gypsies are not in her painting. Streaks of red course through the green mass. It smells like blood. Outside, the flood water turns red as she’s watching it.

She runs downstairs. The water hasn’t reached the house yet.

LORETTE

I know it’s me. The paintings are coming to life. Those bodies? I don’t remember if I painted them or not. The other night, when I didn’t come home until the sun came up –

CHAMBERS

Not now. Keep your sordid affairs out of this house. Do you understand?

LORETTE

But there’s more to what I told you about.

CHAMBERS

Do I have to lock you in the basement?

LORETTE

The Prince, he – and the girls – and the whip and

He grabs her and tosses into the basement. She bounds and rolls down the stairs. He locks her in.

LORETTE (CONT)

I can’t keep it to myself any longer. What they did to me. Or maybe you’ll never know. Maybe I’ll take my secrets back to the castle.

CHAMBERS (O.S.)

Take them with you to the grave for all I care.

Water seeps into the basement through its concrete walls. Rats squeal and scramble around her, climb her legs, bite her legs, climb up her arms to her neck.

She bats them away, but they cling to her.

LORETTE

Let me out of here. I promise I’ll be good. I swear it. I’ll do anything you want. You’re a saint. A goddamn saint if you let me out.

She screams.

CHAMBERS

Stay down there all night for all I care. I am so sick of your fantasies and lies.

The water rises quickly to her knees, then to her waist. It reaches her bodice and she dives under the water to shake the rats from their hold on her.

She comes up for air. The rats let go, screaming at one another as they scramble to the door. They swarm the door, gnawing and chewing the heavy wood.

In a matter of minutes, they break through the door. Water falls them into the kitchen.

He opens the door to let her out while he chases the rats with a machete, slashing and thrashing them as the water carries him and the rats higher into the attic.

But she can’t swim. The water’s over her head. She kicks off the floor, but can’t stay up long enough to catch a breath. Three more tries, and she has no breath left.

Her body floats into the kitchen where the two gypsy are jammed between to chairs.

As the water rises higher, he flees up the stairs to the attic.

Lorette’s green and red paint no longer conceals the images. He sees the one with the snake.

CHAMBERS

Get in here.

Her body floats into the room, knocking over an easel with a painting of herself on a tropical island wading nude, oblivious to the sharks circling her.

The painting changes right before his eyes. He’s the one in the water. The sharks are piranhas.

The real water rises. He climbs into a closet, as high as he can go. The water stops rising.

Her corpse follows him like some kind of monster. Her eyes are open and appear to be watching him.

Piranhas race towards him. He holds her body in the water as a shield between him and the fish.

The piranhas devour Lorette’s flesh down to her skeleton. Soon as she’s reduced to bones, the water recedes, the fish depart, her paintings melt into a slushy mess.

With trembling arms, his body wracked with sobbing, his mind frozen with terror, he carries her bones downstairs. The river returns to its bank. Outside her bones turn to dust in his fingers.

Without realizing what he’s doing, his brain a fogbank, he scatters her dust in his garden.

Alessa appears, as does Stephatta and the Prince encircle him, chanting weird words about destiny and the imbalance of nature that Lorette brought on herself by giving eating meat which she had sworn she would never do. (I’ll write their chants, etc at a later time)