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Day 12 Assignments
Reply to post your assignment.
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8 Replies
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Chris Grant’s Level 3 Horror Emotion Scene
What I learned doing this assignment is…? I’m definitely seeing how these emotional shifts are relevant to each act. It’s important to wait until the anxiety is fully developed before introducing pure terror. I look forward to applying this to all of my scenes.
The woman, sweating, and frantic sees her chance. While the other Narcos struggle with the nets and the motors, she rises from the corner where she’s cowered from her shock.
They don’t pay attention to her, even when she reaches down and grabs a gaffe hook.
Before he can spin around, she lunges at the Harbor Master and gets the hook in his leg. He screams and slaps her backward onto the floor.
Blood spews from his leg.
Screaming in pain, he orders Narco 1 to shoot her.
But the boy has never shot anyone.
He hesitates, the look of anguish on his face, brought to this moment too prematurely in his life.
He panics and looks at Narco 2 in the other boat. He doesn’t know what to do. The Harbor Master orders him to shoot again. He raises his gun, but can’t pull the trigger.
The Harbor Master rises and shoves him into the water. Almost immediately, he’s set upon by the squid. He screams and tries to fight them off, but his gun wraps around his head and limits his ability to swing.
A Squid covers his face.
He screams underneath as it bites hard into his forehead. Narco 2 frantically reaches for him but to no avail. He’s pulled down under the water and ripped apart.
The Harbor Master orders Narco 2 to shoot the girl.
He grabs his gun and raises it. He too hesitates.
He cocks the weapon, looks to Cristian, and begs him “please find my wife. Please tell her what happened. Please don’t tell her what I’ve done here.
He points the gun at the girl, cocks it. The Harbor Master tells him to fire. Instead, he fires at the engine. It explodes, sending hot fuel everywhere.
He screams as the flames engulf his body. He falls screaming into the water.
The liquid fuel spreads quickly on the boats, driving them apart. The Harbor Master panics. His drugs have slid into the water and deep into the nets.
He yells at his men to stop it but the flames prevent them as the boats are driven apart.
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3. In this lesson, I learned about how to bring the emotions to a peak in act 3.
1. Look through your Act 3 scenes and pick one that you would like to write through all four emotions. The most likely candidates will be your climax scenes where the most horror happens.
2. Brainstorm the scene to emphasize the Level 3 emotions and write it.
Older Daughter and Caretaker flee over a dangerous wooden floor. Caretaker props a dying Older Daughter up along the wall as they wait. Mother tries to follow, but she falls through the flooring and dies on a piece of jagged wood. As Mother dies and Caretaker looks on, as Older Daughter breathes a sigh of relief. As Caretaker goes to assist Older Daughter up, Older Daughter stabs Caretaker.
Caretaker and Older Daughter rush down the stairs towards the basement. As they pass the Workroom, they find Son gasping for breath. Older Daughter is confused as to how he is here and tries to help him. As Older Daughter does to dress the wound, she removes Son’s shirt and his guts spill out onto the floor. Horrified she steps back and starts to scream. Caretaker can see nothing. Caretaker tries to shake Older Daughter back to reality.
Suddenly, Mother comes through the doorway with a pair of scissors. She chases Caretaker and Older Daughter around the room. The three frantically run around the room trying to avoid Mother, however Mother manages to trap Older Daughter and stabs her in the neck. Older Daughter runs, scissors still in her neck as Mother and Caretaker pursue.
Older Daughter comes to a rickety floor that covers an unfinished part of the basement. Caretaker catches up. The two looks down between the boards and see what looks like dozens of skeletons in various sensual positions. Mother rounds the corner screaming. Caretaker and Older Daughter move along a rafter under the boards. They make it. Mother does not notice the rafter and runs recklessly over the boards. The boards give way and she falls into a jagged pit of broken wood and discarded metal. It severs her head.
Older Daughter lays against a wall as Caretaker looks into the pit. She confirms that Mother is dead. Older Daughter sobs softly, then dies down. Caretaker goes over to Older Daughter. She tries to assist Older Daughter in getting up. Older Daughter takes the assistance. She plunges the scissors deep into the heart of Caretaker. Caretaker falls. Older Daughter passes out.
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Brandyn Cross’ Level 3 Horror Emotion Scene
What I learned in this lesson was a step by step arch to escalate and utilize a graduated system of emotional manipulation in extreme scenes of violence and terror.
INT – CHARLOTTE’S HOUSE – NIGHT
The three kids go to Charlotte’s house to confront her.
Charlotte appears in her fully evil and paranormal splendor. She tells Alyssa that all she had to do was be her friend and everything would have been okay. Alyssa accuses Charlotte of killing Kodi and Laura, and says she’s going to kill her for it.
Charlotte disapparates and all hell breaks loose in the house. The kids freak and try to find Charlotte, who can appear and disappear at will, and can kinetically control physical objects and threaten the kids with them.
Katie ends up in the attic, yelling for Charlotte to face her. Alyssa and Devin watch helpless as Charlotte appears, confronting Katie. Yet they are held back, helpless, unable to assist.
As they watch in horror, Charlotte conjures up a growing flame, and flings it at Katie. She dodges the flames, giving the kids hope of victory and escape. Alyssa and Devin yell to Katie to run, but she can’t get past the growing flames surrounding Charlotte, which are getting ever closer to Katie.
Katie sees an window of escape and tries to run but, just as she does, Charlotte kinetically escalates and moves the flames into Katie’s avenue of escape as she runs past. The flames engulf Katie. Alyssa and Devin watch, horrified and helpless as Katie is burned alive, screaming and thrashing about helplessly. She wanders about, completely engulfed in the flames, into the bathroom, where she falls dead into the tub, filled with water, her charred body floating in the water.
The kinetic manipulation of Katie and the flames drains Charlotte of energy, freeing Alyssa and Devin from the paralyzing force holding them back. They are clearly at a disadvantage against Charlotte’s other-worldly, evil powers, but no longer care. They rush her but, just as they are about to attack her, Charlotte disapparates, leaving Alyssa and Devin seething in rage, but powerless for the moment against her.
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Paul’s Level 3 Horror Emotion Scene
What I learned from this assignment, was, once again, what bases you need to cover to make it real horror. However, from watching the movie The Purge, I’ve also learned that I need to improve my game to ensure there is minute-by-minute tension. I’m not there yet.
Title: No Man’s Land
EXT. RED LIGHT DISTRICT ON THE MAINLAND. NIGHT.
A small group of Amazons have come to harvest semen. They have shed their green uniforms and are pimping in front of a brothel. They are recognizable by the red glint in their eyes.
AMAZON 1
(To a passing man)
Looking for some fun?
The man turns and immediately notices those eyes.
CLIENT 1
I love those eyes! How can I say no?
The Amazon takes the client by the hand. Suddenly deathly screams are heard from inside.
CLIENT 1
(Pulling back on the Amazon’s grip)
Hey, what’s going on in there?
He tries to pull back but there’s no escaping the Amazon’s iron-fast grip.
AMAZON 1
That’s just someone having a lot of fun.
The client tries to resist her iron-grip.
AMAZON 1
(In a suave tone)
Relax. You’re gonna have the time of your life!
She forces him into the brothel.
INT. BROTHEL. SAME.
The place is dimly lit. The screams have suddenly ceased. A deadly silence prevails. The Amazon leads the Client down a corridor, past curtained cubicles. They hear a man climaxing, then AMAZON 2 emerges from one of the cubicles. She holding a bottle filled with semen.
AMAZON 2
(Shouting to unseen people at the back of the brothel)
I’ve got a number 1 in here!
Client 1 gets a peep into the cubicle and sees CLIENT 2 zipping up his pants. Amazon 1 pulls him into the next cubicle. It is bathed in a diffused, red light.
CLIENT 1
(Unbuttoning his shirt)
What’s a number 1?
AMAZON 1
(The soft tone on the street is replaced by tough commands)
You can keep your shirt on. Take off your pants!
Client 1 looks surprised, but undoes his belt.
CLIENT 1
The other places ask for payment up front.
AMAZON 1
(With her back to him)
Don’t worry. You’ll pay for this afterwards.
She turns around and has a small, empty bottle in her hand.
CLIENT 1
(Alarmed)
Hey, is this a brothel of a hospital?
Holding the bottle in one hand she puts the other in his crotch and begins to caress him, taking his mind off the bottle. Suddenly, another piercing scream rings out.
CLIENT 1
Someone’s being murdered!
Client 1 tries to pull away from the Amazon but she has him by the short and curlies.
AMAZON 1
(Again in a soothing tone)
I tell you, relax. Some men like it rough.
She pushes him back against the wall with surprising force and continues to masturbate him. The screaming stops. Amazon 2 addresses Amazon 1 from the other side of the cubicle curtain.
AMAZON 2 V.O.
What have you got in there? A 1 or a 2?
Amazon 1 looks into Client 1’s face with a seductive look.
AMAZON 1
Definitely a 2.
Client 1 is close to orgasm, but manages to get out:
CLIENT 1
What’ this… 1 or … 2 business?
As he ejaculates, Amazon 1 catches the sperm in the little bottle. She seals the bottle and comes close to Client 1, looking into his eyes with the red glint on fire in hers.
AMAZON 1
Simple. Kill or castrate. You’re lucky.
[PANIC]
Client 1 freezes as he’s pulling up his trousers.
AMAZON 1
(Shouting)
A number 2!
Amazon 2 and AMAZON 3 throw the cubicle curtain back and rush in, grabbing Client 1. They overpower him and pull him out of the cubicle. Amazon 2 holds up the bottle of semen, happy with the latest deposit to the No Man’s Land semen bank.
INT. BROTHEL CORRIDOR. SAME.
Client 1 struggles to escape, but the two Amazons have full control. At the end of the dark corridor is a door with a big number 2 written on it. The Amazons push the door open and pull Client 1 inside.
INT. CASTRATION ROOM. SAME.
[HORROR]
The dim light of the brothel is replaced by a glaring white light with a clinical atmosphere. About twenty men are squirming on chairs, their hands in there depleted groins, horrendous pain on their faces. From the operating room, a voice shouts out:
SURGEON
Next!
The two Amazons pull their prey towards the operating room. Client 1 tries to resist, but it is helpless.
INT. OPERATING THEATER. SAME.
A female surgeon and three nurses await their next victim. The surgeon is playing with a pair of scissors and looking at Client 1 with that red glare in her eye.
SURGEON
The thirtieth No.2 today.President Evily will be pleased! Get him ready!
The Amazons and nurses forcefully prepare Client 1 for castration. They tie him down on the operating table.
[HYSTERIA]
CLIENT 1
No! No! No!
SURGEON
(Putting on her operating gloves)
But you’ll be able to serve the government and people of No Man’s Land. Don’t you realize? It’s such an honor.
[ANGUISH]
The surgeon starts the procedure as the nurses stuff a mask over Client 1’s face. His struggling ceases as he slowly becomes sedated.
END
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This reply was modified 2 years, 6 months ago by Paul McGregor.
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This reply was modified 2 years, 6 months ago by
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Judith’s Level 3 Emotions (anguish, panic, horror, hysteria) L-12 horror scene (PP2)
What I learned doing this assignment is to use the emotions that mostly occur in act 3: anguish, panic, horror, hysteria.
INT. CABIN – NIGHT
Candles are the only light in the room. Jake holds Jane as they cuddle on the couch. Jane hums.
JAKE
You’re shivering.
JANE
It’s nothing.
JAKE
Come on, what’s wrong. I can’t help you if you don’t tell me what’s going on.
Jane cuddles closer.
JANE
Dark.
JAKE
Not so much, the candles give great light. Look. See. You can see all around. Make out objects.
Suddenly standing, Jane sways back and forth as she hums louder. Jake gets up and moves to her.
JAKE
Stop it, Jane.
JANE
Why did you bring me here?
JAKE
It’s gonna be okay.
He tries to hug her, but she pulls away.
JANE
Sing, do something.
Jake slowly approaches Jane and puts his arms around her.
JAKE
Okay, I’m gonna get the lights back on. We’ll be able to better defend outselves.
JANE
The box is outside.
JAKE
Haven’t heard it for over an hour. Probably went to sleep.
Pulling gently away from her, he takes the barrier away from the door. He gives Jane a baseball bat.
JAKE
Anyone besides me comes through that door you surprise them and knock them out.
JANE
I can’t.
JAKE
You can, and you will.
Pulling on the door, he motions for Jane to get ready. She takes a stand by the door.
Jake moves outside.
Jane listens. She can hear his footsteps crunching the leaves as he moves away from the door.
She bites her lip. Tears roll down her face. She listens. It’s silent.
Pumping her hands up and down she suddenly stops when the lights blare on.
JANE
Get a hold of yourself, Jane. You’re a grown woman. Jake is counting on you.
She moves closer to the door. Places her ear against the wood. Almost falls over when a loud knock breaks the silence.
Frozen like a deer, Jane stares. Releases her fear. Holds her bat up, ready to strike.
Another knock…
JAKE
Jane, it’s me.
A big sigh. She unlocks the latch, and let’s Jake in, moves way from the swing open door.
But he’s not alone. The masked It follows behind him.
JANE
Jake, watch out…
Jane backs away. Terror smears her pretty face into a grotesque image.
She stops and stares as Jake and It stop. They look at one another. Jake smiles.
It pulls off her mask…it’s Jane’s Shrink.
JANE
What’s happening. This can’t be.
They step closer to one another and kiss.
A deafening SCREAM from Jane. She races up the stairs.
Jake and the Shrink stare after her. A smirk.
JAKE
I guess I better go rescue her.
He grabs a lit candle and marches up the stairs.
INT. CABIN – HALLWAY – NIGHT
Jake stops in front of the bedroom door. He tries the knob.
JAKE
Come out, come out, wherever you are.
He swishes the candle under the door.
JAKE
I’ve got fire. You know fire, Jane.
INT. CABIN – MASTER BEDROOM – NIGHT
Jane smells the fire. She backs off. Stands silent. She looks around for a weapon. She finds a pitcher. Fills it with water.
Jake knocks at the door again.
JAKE
I’ve got more candles. Lit. Fire. You like fire, don’t you, Jane?
JANE
Why are you doing this?
JAKE
No memories…is it that easy to forget. I haven’t forgotten.
Jane stares at the door. She paces back and forth. Then suddenly a look of remembrance on her face.
JANE
Ronnie?
INT. CABIN – HALLWAY – NIGHT
A big smile on Jake’s face.
JAKE
Hi, Sis. Thought I was dead did you? You tried your best but you failed. As with everything. You failed.
JANE
Why are you doing this?
JAKE
Why, you fucking little, bitch. You tried to kill me then you killed mom.
JANE
It was an accident. You were the one playing with fire. I tried to put it out.
JAKE
Yah, and lit it more on fire.
JANE
I didn’t know. I grabbed the first wet thing I could find.
JAKE
It that what you’re holding now? The first wet thing you could find? If I put this door on fire, you could go up in flames like I did.
JANE
Jake, I’m sorry.
JAKE
Fuck you. You not only tried to kill me, but you killed mom.
JANE
I did not.
JAKE
She committed suicide because she thought I was dead. I was her favorite you know. You took the life away from her when the doc told her there was little hope for me.
JANE
No one told me.
Jake looses it. Shrink has joined him and hands him a pitcher of liquid. He throws it on the door. Lights it with the candle.
It bursts into flame.
INT. CABIN – MASTER BEDROOM – NIGHT
Jane backs away from the inferno. She throws the pitcher of water on the fire, but it doesn’t do anything. She searches for something to extinguish the flame to no avail.
She moves to the window, climbs out.
EXT. CABIN – ROOF – NIGHT
She crawls around the building searching for a place to climb down to safety.
INT. CABIN – HALLWAY – NIGHT
Jake pounds on the fire infused door with a hatchet smashing it in. It falls to the ground.
He moves around the flames searches for Jane. Sees that the window is open and she is gone.
JAKE
Fuck, she got away.
He gets a fire extinguisher and puts out the blaze. He runs down the stares while Shrink stays behind to make sure the cabin is safe by extinguishing any recurring fire.
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I learned that the audience is living their emotions throughout he eyes of our protagonist. When they have built an emotional attachment to them you can manipulate the audience as well as your characters.
INT: BARN
ANGUISH. Turducken Monster ties Ellie on the wooden rack. He gets up close. Drool drips onto her face.
The chicken beak pecks at her eyes.
Suddenly Midge cries out from the storm cellar. The monster looks away. Turns his attention to the little girl. She shuts the door but the turducken grabs the handle with its claw.
HORROR Ellie witnesses this. She’s helpless to do anything as she’s affixed to the rack.
Just the Raj staggers into the barn. Bleeding and wounded.
He shoots the Turducken who lets go of the door and turns his attention to Raj.
Raj shoots again and again then the gun runs out of bullets.
The animal cackles and flutters over to Raj. It knocks him to the ground and sits on him.
Raj tries to fight back.
Turducken man rips Raj to shreds in full sight of Ellie still on the rack.
HYSTERIA Ellie freaks out and struggles like mad. Finally releases her ropes and falls off the rack.
The monster comes after her.
PANIC She scurries over to the storm door. Climbs in and locks it.
INT: STORM CELLAR
Ellie hugs Midge tight. She sobs uncontrollably.
Midge is unfazed.
MIDGE
It’s okay. That’s my grandpa. He won’t hurt me.
ELLIE
It’s not your grandpa. It’s a monster that took over his body. We have to get out of here. Is there a way out of the cellar?
MIDGE
Yes. Follow me.
They crawl though a darkened passageway.
They arrive at a door and Ellie throws it open. There stands the turducken.
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Dan’s Level 3 Horror Emotion Scene
What I learned doing this assignment is… how potent the emotion of hysteria is. I thought my earlier scripts had it, but I haven’t been pushing my characters far enough emotionally. Now I know what to do!
INT. NORA’S MIRROR MAZE – KALEIDOSCOPE REALM
Kendall and Jack burst into the scene. Kendall looks around to see a mirror version of the nursery. She then spots Nora, cradling something tiny swaddled in a blanket.
Jack and Kendall run over to Nora.
JACK: Honey. Wake up.
Nora looks up at Jack and smiles.
NORA: Shhh. He’s sleeping.
JACK: Snap out of it!
Suddenly, a guttural moan echoes from outside the room. The walls begin to crack open.
JACK: Shit. (to Kendall) Talk to her.
Jack runs over to the wall and moves a dresser in front of a crack, blocking it.
KENDALL: Mom. Please. This isn’t real. That’s not Benjie.
NORA: Don’t joke about that.
KENDALL: Benjie died, mom!
NORA: No!
KENDALL: And it was your fault! You aren’t accepting that!
NORA: No, no, no!
KENDALL: You’ve got to face reality!
NORA: How can it be my fault he’s dead if I’m HOLDING HIM RIGHT NOW!?
KENDALL: You’re not! This isn’t real! We’re inside that fucking kaleidoscope!
NORA: Lower. Your. Voice. Your brother is sleeping.
Suddenly, a force knocks over the dresser, knocking over Jack with it. A LARGE, GAUNT FIGURE slithers through the crack in the wall and saunters into the room.
Kendall turns around and SCREAMS at the sight of the demon: it’s tall and wobbly and has no arms. Its arms are wrapped around its torso and head, seemingly charred over its eyes. It laughs like a hyena through its huge gaping mouth full of rat-like fangs.
The demon marches up to Nora and locks eyes with her. Its hands peel back from its face to reveal TWO KALEIDOSCOPIC EYES. Nora looks into them and SCREAMS – as her face becomes KALEIDOSCOPIC, and detaches from her body.
Kendall freezes watching this. In absolute horror.
Just then, Jack pulls Kendall away.
JACK: We’ve got to go.
KENDALL: No. Mom!!!!
An anguished Kendall tries to shake off Jack’s hold, but she stops when she realizes Nora is no more. The demon’s head then snaps up, looking at Kendall and Jack.
Kendall gasps, triggered into running away with Jack.
INT – MIRROR MAZE
Kendall and Jack dart through a maze of mirrors, trying to flee from the demon. Suddenly, it comes out of the mirror to the side of them, and grabs Jack. Two of the mirrors then move in between Kendall and the demon, leaving Kendall in a trap all by herself.
KENDALL: Dad! DADDDDD!!!!!!!
Kendall tries to smash the mirrors, but they’re too strong.
She crumbles to the floor, weeping.
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Lisandro Boccacci’s Level 3 Horror Emotion Scene
what i learned from doing this assignment is how the emotions building up one moment at a time really helps guide the energy of the scene and story.
INT – CAR – NIGHT
CARRIER:
Oh god! it hurts
LOVE:
What’s wrong?
Carrier:
the glass!
Moral one:
shit.. i think we have to make a run for it!
LEADER:
We stay in the car! that’s always been the rule
CARRIER:
im going to die if we don’t get out of here!
LOVE: youre not going to die!
The carrier has a coughing fit.
LEADER: Keep rolling even if we are not streaming live.. we can still use our recordings
The carrier takes a hit from his spray
CARRIER: Oh god i cant see
LEADER:
that’s right, stick to the rules, no one leaves the car and we keep rolling. you hear that you psychopaths! we got you on video breaking our windows! ASSHOLE!
CARRIER: I want to go home.. please take me home…
Moral one:
this is different… i think this man is trying to kill us…we have to make a run for it… we can’t stay here…this isn’t right
LEADER:
of course this isn’t right? when has it been ever..
LOVE: but we have to get him to a hospital…
and when have they not tried to kill us before…we stay here and we keep recording! its what’s keeping us safe and eventually we will get out of this mess and get him to a hospital.. we step out of this car we are in serious trouble
the ex cop grabs a hold of the carrier and drags him out of the car window… Love character screams and gets a hold of the carrier’s feet.
LEADER:
get a hand on him!
the moral one jolts back towards the carrier and grabs on to him where can.
CARRIER:
don’t let me go….
LOVE: pull him in!
LEADER: pull !
the moral one gets hit with the taser clips. The carrier’s legs are slipping through their grip.
LEADER:
we’re losing him! PULL!
the leader is struggling to pull the carrier in. Love character has both hands-on carrier’s leg. the carrier is also holding on to the car as strong as possible.
CARRIER:
don’t let me go!
the ex cop tightens his hold around the carrier’s neck. The carrier’s reaction is to let go of the car try to pry the ex cop’s grip and pressure around his neck.
Love character opens the door and steps out, she runs to grab the gun left behind by the cop.. she picks it up. the ex cop shouts a demand to the dog. the dog runs towards the love character and stops standing ten feet away from her growling..
LEADER:
wait wait wait dont move! dont move!
the ex-cop pulls the Carrier out of the car and drags him from his hair towards the tow truck.
LOVE:
oh shit..
LEADER:
<font face=”inherit”>stop! </font>don’t<font face=”inherit”> move… </font>
he calls out to the moral one.
wake up!
cut to:
the ex cop dragging the carrier through the dirt..
EX-COP:
I always knew you would be the first to go in the group… after all its because of you they are all here to die…and its not cause your weak… its cause you’re stupid…
CUT TO:
LOVE:
What do I do…
<font face=”inherit”>LEADER: just </font>don’t<font face=”inherit”> move… hey moral guy, wake the fuck up man… </font>
he shakes the moral man, slaps his face a little.
Moral man:
im still here motherfuckers.. i know what I have to do… i’ll distract the dog..
LEADER:
no i need you to help me get the key for the handcuffs..
moral man:
no.. i will make a run for it and go get help…
Leader:
youre not gonna make-
moral man:
<font face=”inherit”>it’ll be </font>enough<font face=”inherit”> time for love to go after her brother and im pretty sure you can just break the fucking side </font>mirror<font face=”inherit”> to get free… now who the fuck is with me..</font>
Love:
im gonna make a run for it!
moral man:
i got this…
the moral man opens the car door…. the dog turns its attention to the door…
LEADER:
love, start moving the other direction…
moral man:
not so fast… we want him to chase after me…
LOVE:
your’e crazy…
the moral man steps out of the car ..
moral man:
hey dog… look over here… remember me… pop the trunk.. im gonna grab the lug nut wrench and use that to defend myself..
LEADER:
i dont think he’s gonna like that…
the dog is stepping forward…barking and grolwing…
CUT TO:
the ex cop puts a rope around the carrier’s neck.. he grabs a camera case on the floor. he opens the case and begins prepping a camera with a special long range Atena.
Ex-cop:
did you know that by the early American colonists, were readily accepted by the public as a proper punishment for serious crimes like theft, rape, and murder. Brought over to the states from our English ancestors…Oh how I really wish they would bring that back… but you know what…
he finishes the camera and sets it down. he now fiddles with a crane that’s connected to his tow truck.. He ties the rope to the crane. He picks up the camera points it towards the carrier…
CUT TO:
The moral one is now by the trunk…
moral one:
pop it..
the dog is running back and forth between watching the love character and watching the moral one and barking hysterically. the moral one grabs the lug nut wrench and starts to back up slowly ….
moral one:
when I make a run for it… you head to your brother…
CUT TO:
ex- cop :
During the American Revolution, the term ‘lynch law’ originated with Colonel Charles Lynch, a Virginia planter, and his associates, who began to make their own vigilante rules for confronting criminal elements… you’ll be the first to be served in this new age of modern lynching…tonight… we start a new revolution, and it starts with your death.. but the best part… it’ll be our little secret… well.. not completely.. there is an audience… who will just come close to equally enjoying this justice… well.. justice for me…
he pushes and button and he goes live.
the ex cop, pulls a lever and the crane starts winding up the rope. the carrier get dragged towards the tow truck… struggling to breath..
CUT TO:
moral one:
ok…. RUN!
<font face=”inherit”>the moral one makes a run for it.. the dog as predicted chases after him. the love character is clear to make a run </font>towards<font face=”inherit”> her brother. </font>
<font face=”inherit”>LOVE:</font>
<font face=”inherit”>carrier! carrier! carrier!</font>
<font face=”inherit”>CUT TO:</font>
<font face=”inherit”>the leader is working hard on breaking the side mirror free. </font>
<font face=”inherit”>LEADER:</font>
<font face=”inherit”>comon you bastard! fucking come the fuck off! </font>
<font face=”inherit”>CUT TO:</font>
the rope pulls the carrier up , and up until his feet dont touch the ground. the carrier is gasping for air.
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