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Day 13 Assignments
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7 Replies
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Brandyn Cross’ Scares, Releases and Creepy Moments!
What I learned in this lesson is the ‘science’ behind the manipulation of the audience’s emotions.
EXT – CHARLOTTE’S HOUSE – NIGHT
Alyssa stands outside the house, examining it. She slowly goes to the front door and pushes it open.
INT – CHARLOTTE’S HOUSE – NIGHT
Alyssa enters to find the house dark and obviously abandoned. She slowly goes further inside. She tries the light switch, but nothing happens. She then goes into the darkened livingroom.
A loud bang rings out behind her. She wheels around, but sees nothing.
The chandelier in the entry hall turns on, slowly growing from dark to a dim light. In the dim glow of the light, an eerie silhouette appears in the entry hall, menacing and looking like some kind of entity.
Alyssa gasps, momentarily taken back. She meekly calls out Charlotte’s name, asking if that’s her. There is no response, and the figure in the entry hall remains motionless.
As the moments pass with no further noises or movement, Alyssa regains some courage. She cautiously approaches the figure, glancing around her for any sign of disturbance. As she nears the figure, she sees that whatever is underneath is covered with a dingy, white sheet.
She stares at the figure a moment, then rips the sheet away, revealing an ornate Victorian, high-back chair underneath. Alyssa sighs in relief and chuckles to herself.
The chandelier light then begins flickering, alternating from a dim glow to dark. She looks at the chandelier, and it begins slightly swaying. Just then, the house begins echoing with creaks, groans, and eerie moans. She calls out Charlotte’s name, but hears only the same strange noises in response.
She looks back to the chair, the flickering chandelier light switching the chair from dim light to pitch black, almost like a strobe light. In one of the flashes of dim light, there is a charred, skeletal corpse sitting in the chair.
A that moment, she hears what sounds like a scream, and then a gunshot, echoing from upstairs. In the next flash of light, the corpse is gone.
Alyssa screams and runs away.
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1. In this lesson, I learned how to perform tension and release. I realize now how such scenes can help build on normal scenes or lead into much more horrifying moments.
2. Pick a scene from anyplace in your script that could use these three horror moments.
3. Create an OUTLINE of that scene and build in a scare, release, and a creepy moments.
4. Write the scene.
INT. GRANDMA’S ROOM – DAY
Grandma’s room door slowly opens. Grandma watches in the mirror as a face slowly appears. Grandma sees a reflection in the mirror. It is a horrid looking face with messy hair and no eyes. Grandma sucks in a breath and turns, however there is no horrid monster. Only Mother.
Grandma relaxes a moment. However, she stares in confusion as Mother makes the way into the room, skirting the edges and taking in memories from trinkets she remembers from her childhood and occasionally flashing that horrid monster in some of the small mirrored trinkets as she passes. She turns and smiles at Grandma, who is still staring at her in confusion.
MOTHER
What?
Grandma continues to stare, her eyes showing more conviction as she does.
MOTHER
What is it, mother?
Mother moves around the bed to Grandma. As she does, she looks into the window and sees the horrid reflection where she is. Grandma turns around again and sees this as well.
Mother pauses a moment, then smiles and makes her way around behind Grandma. A look of regret comes across her face. Grandma takes out a cross.
GRANDMA
Shot. Stop this.
Mother continues, wheeling Grandma back towards the bed.
GRANDMA
In the name of the God, stop this.
Mother stops and looks down at Grandma. Both wait in silence a moment. Then, Mother grabs a pillow and thrusts it over Grandma’s face. They struggle. Grandma suffocates and Mother sheds a tear despite her face looking stone cold.
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Chris Grant’s Scares, Releases, and Creepy moments!
What I learned doing this assignment is…?” I have a lot of scenes that can these scary treatments. There are plenty more than this one. I feel like my first act needs a lot more creepiness to amplify the scary. I’ll keep working on it.
Cristian stumbles up to his mother’s front door. He doesn’t want to go in, doesn’t want her to see him like this.
Behind him, the ocean howls, and the winds blow. He sits down on the concrete ledge. Down below is only feet away, but it’s as dark as Hades.
He digs in his pockets, and finds his meager bag of drugs, now running dry. He finishes the bag and licks the insides. He lays back on the ground as his head spins into a haze.
Is he asleep? Is he awake? Somehow the night begins to shift. The howling sea grows around him, the wind picks up. He opens his eyes. Nothing there. And then…
A voice calls out from below, down on the rocks in the darkness. Cristian takes out his flashlight and shines it on the rocks below. Somehow, its light does not penetrate the darkness.
He staggers to his feet, forehead still bleeding. The voice calls louder, beckoning him to come down closer. He shakes his head. Is this the drugs again? He can’t tell.
And then, “CRRRISSSTIAAAAN….”
The unmistakable sound of his father’s groaning voice. He stops down in the hole, the rocks are slippery. He yells out for his father and shines his flashlight on the rocks. There’s nothing there.
“CRISSSSTIAAAAN!!” His flashlight begins to flicker. He bangs it but it’s dying. Lightning strikes somewhere offshore as it fails. He’s left in the darkness on the slippery rocks. He calls out for his father again.
Lightning strike. A silhouette stands behind him. Cristian spins toward the light and sees…
A man, wretched, dismembered and way too close for comfort. Cristian falls back on the slippery rocks and tries to scramble away. But he only slides closer towards it, underfoot.
He makes out the horrible face, it appears to be…his father, the Ghost of Senor Cordova.
Senor Cordova points at Cristian, then out to the sea. He howls and as he does, Cristian sees other shadows of the dead approaching. He screams his father’s name but the howling only increases. “What do you want from me?”
“Red Devils” It howls to the wind. “Red Devils!”
Cristian struggles to understand. The ghost grabs him by the neck. Cristian asks his father why he did this to him. He hates his father, even as a ghost. He screams but the ghost suddenly holds a mass of dead fish in a net above his head. Cristian tries to scramble away but the ghost drops the slimy messy nets on him.
“REEEEED DEEEEVILLLLLLL” the ghost cries out as the mess covers Cristian.
Writhing sea creatures, slimy sea slugs cover Cristian as he screams and pulls away. But he’s unable to free himself. The ghost howls. Cristian screams back at his father. Why is he doing this to him?
Suddenly, he wakes up, back on his mother’s doorstep.
He screams in terror, asking what the ghost wants, scrambling to free himself from the now invisible nets covering him. She opens the door to find him bleeding, and crying.
She understands it’s the drugs and takes him inside.
As he stumbles through her front door, the sea behind him continues to howl. He turns back and shines his flashlight. Nothing there.
He tells his mother that he’s just had a vision of his father. His mother comforts him and tells him his father’s disappearance is not his fault.
He closes the door.
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Paul’s Scares, Release and Creepy Moments.
4. What I learned from this assignment is how it provides excellent sign-posts, helping, once again, to ensure my script contains the ingredients of a horror movie.
Title: No Man’s Land
INT. THE LYONS’ HOUSE. NIGHT.
Mrs Lyons is attending the mandatory workshop, “Eliminating outdated relics of masculinity in society.” Jack Lyons and his father-in-law are watching TV. The sound is low, so as not to attract attention. The local mayoress is being interviewed.
TV INTERVIEWER V.O.
Madam mayoress, can you update our viewers on your office’s latest successes in eliminating bearers of the Y chromosome?
MAYORESS V.O.
We’re making major strides. Our brave Amazons are going door to door, risking their lives to search out and destroy the enemy.
JACK
(Almost weeping)
Those bitches killed my son!
He gets up and switches off the TV. Suddenly female voices are heard outside the house. Jack and his father-in-law signal to each other to keep quiet.
FEMALE VOICE 1 V.O.
Hush! Did you hear that?
FEMALE VOICE 2 V.O.
It’s from inside here. Sounded like Y chromosomes to me.
FATHER-IN-LAW
(In a hushed, panic-stricken voice)
Amazons!
Jack signals to their hide-out under the stairs. The two men tiptoe over towards it.
FEMALE VOICE 1 V.O.
Well, there’s no such thing as warrants anymore.
The two men, manage to escape into their hide-out just as the two smash the glass on the front-door and force their entry.
INT. THE HIDE-OUT. SAME.
Jack and his father-in-law sit in the dark, ears to the small door.
FEMALE VOICE 2 V.O.
The TV’s still warm. They’ve got to be around here somewhere. You check upstairs.
The two men hear the footsteps pass back and forth in front of their hide-out.
FATHER-IN-LAW
(Still in whispers)
We’re dead if they find us.
JACK
(Also whispering)
Sshh!
They feel something being dragged along the wall of their hideout. Suddenly a hatchet bursts through the wall, just missing Jack’s head. The hatchet carves out a whole in the wall. Jack and his father-in-law step out. They are surprised to find two men. The four men stare for a moment at each other.
[Relief]
JACK
Are we glad to see you!
FEMALE VOICE 1
Really?
FATHER-IN-LAW
Hell, for a moment there we thought you were women.
FEMALE VOICE 2
You were only half right.
Jack and his father-in-law share a glance.
[Creepy]
FEMALE VOICE 1
(Playing with the axe)
So what’s it to be? Execution or castration?
FADE OUT.
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Judith’s L-13: 20 Scares and creepy Moments – HOMEWORK
What did I learn doing this assignment 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 woods. Dodging rocks and trees, thrilled that the boar isn’t catching up. Jake stumbles, laughs as he almost falls.
Jane holds Jake’s 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.
Jane wrinkles her nose.
JANE
You smell that. The boar must be here.
Jake smells.
JAKE
It’s your imagination. We’re safe. Let’s go back to the cabin.
She takes Jake’s hand.
JANE
You’re right.
They walk hand in hand when suddenly out of the trees a crash of boars come charging at them. They stop in their tracks. The sound the boars make is unbearable. Jane covers her ears.
Forcing them to the center of the clearing, the boars creep toward them ceating an unescapable barrier. Jane and Jake hold one another. Close their eyes for the inevitable attack.
The boars circle them making their weird sounds, but don’t attack. Around and around they go, slowly, deliberately, circling the couple closing in tighter and tighter. occasionally one bumps into them.
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. The couple watches them depart. Wait until they disappear into the trees. They look at one another, jump up and down and twirl and skip.
JANE
They’re gone…they’re gone.
JAKE
They’re gone.
Jane stops her joyous dance. Her face turns ashen.
JANE
Do you smell that?
Jake shakes his head.
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.
She looks around. Takes Jake’s arm. He pats her hand. Puts his arm around her. Kisses her on the cheek. But she won’t move.
JAKE
I’ll protect you. Didn’t I promise? Haven’t I already?
Still no movement when out of the trees a dead rat falls on Jane’s shoulder. She screams. Takes off in a run so fast through the trees that Jake can’t catch up to her.
She dodges and jumps rocks and fallen branches. Puts on more speed when she spots the cabin.
She halts at the front door and waits for Jake to catch up to her. Jake reaches her and shakes his head.
JAKE
A rat. You can run that fast from a stinking dead rat.
Jane shrugs her shoulders.
Jake unlocks the cabin’s door and they enter.
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Dan’s Scares, Releases, and Creepy moments!
What I learned doing this assignment is… how the tension and release dance makes a horror scene really come alive.
INT. GRADY HOME, KITCHEN – NIGHT
Nora takes cups out of the dishwasher and puts them in the cabinets. Suddenly, a cup gets stuck on something RED and RUBBERY.
Nora frowns, pulls on the red object. It’s stuck, but she gets it out. It snaps into her hand: it’s a deflated RED BALLOON.
Nora quivers. Emotion attacks her face, but she does everything she can to swallow it.
Just then, something GRABS HER ARM.
Nora gasps – closes the cabinet to see… it’s just Kendall. Nora looks back at the object in her hand to see its no longer there.
NORA: What is it? You just about gave me a heart attack.
KENDALL: I’m… hungry.
NORA: Dinner’s on the stove.
Kendall brings her pre-made plate to the table. Nora digs through the dishwasher to look for the balloon, but can’t find it.
She turns to see Kendall is at the table, sitting with her food. But not touching it.
NORA: Are you waiting for something?
KENDALL: Are you waiting for something?
NORA: Don’t do that.
KENDALL: Don’t do that.
Nora purses her lips, annoyed.
NORA/KENDALL: You’re acting like a chil– STOP IT!
KENDALL: Stop it! Stop it! Stop it!
Kendall slams her fork on the table, pointy side landing right next to her other arm resting on the table.
NORA: Kendall, please! (Calling out) Jack. Jack!!!
Jack enters the room. Looks to see… no one at the table.
JACK: What?
Suddenly, Kendall comes in from the other hallway. She sits down at the table.
KENDALL: (re: dinner) Ooh, yum.
NORA: Why did you just do that?
KENDALL: Sorry. I’ll wait for you guys.
Nora looks at Kendall like she has a tail.
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Lisandro Boccacci’s Scares, Releases, and Creepy moment
what I learned doing this assignment was how adding these elements made the scene have a horror element and taking advantage of those simple moments that get the horror going..
INT – HOUSE OF WAFFLES – DAY
the waitress who is the love character brings them their food.
LEADER:
this is the future right here… we open up a channel.. and do this for a living.LOVE:
i think its a brilliant idea…
LEADER:
what are you listening in to our conversation.. that’s rude.
LOVE:
no its just… i overheard and I know the victim..
victim:
yeah this is love… and this is leader..
LEADER:
so what do you have to say about our idea
LOVE:
i would say that…
she sits at the table next to the Leader..
(continued):
invite me over for a good time and I’ll tell you what you think…
she leaves to fill a pitcher..
Moral one:
dang, she hot dude…you gonna get her number?
LEADER:
a guy like me… I mean, you know.. i havent been .. you know…
Suddenly plates crash.. startles them both…
victim:
look, Im in as far as this goes… but its got to be organized and we have to careful.. I’m actually thinking of moving, laying low for a bit before I do anything…
LEADER:
big pussy, what are you scared of?Victim:
seriously you have to be careful with these things… especially if some of the cops turn out to be real wackos…
Moral one:
we do this right, try to stay anonymous as much as possible, stay within our constitutional right…
LEADER:
i think staying anonymous is gonna be a bit difficult dent you think?
Moral one:
yeah but we don’t ever state our address or any personal info… nothing like that.
victim:
that’s a good idea…
LEADER:
and all that cheddar we’re going to make is a good idea, you know what Im saying!
moral one:
i dont mind the money as long as justice is served and we dont break the laws while doing this..
LEADER:
all legit… so we all in?
victim:
im in..
moral one:
in
Love”
so hold on… you’re telling me that you guys just decided to create YouTube vidoes where you record cops be abusive, and then you sue them…
Leader:
yeah..
LOVE”
and you all make money doing that?Leader:
well… we can… victim won a lawsuit of four hundred thousand…
LOVE:
DANG! hold on hold on, I am totally in this shit…
she slams the tray she was holding on the ground.
(continued):
my whole life I’ve been assaulted by and abused by police officers…I want in.. I want in more than anything I want in because I didn’t know you could do that… and get back at them…
the leader scoots over and signals her to sit next to him.
(continued)
really?
suddenly a patron eating at the bar area throws up… and makes a disgusting mess everywhere…
Manager:
oh shit…
he rushes over to where love is…
manager:
what are you doing sitting there.. i need you to clean that bit of throw up ..
Love:
bit of throw up? no i don’t think so…I just quit.
manager:
if you don’t get up and clean that little bit of throw up. You’re fired and banned from here…
CUT TO:
EXT – HOUES OF WAFFLE – DAY
she storms out the front door and walk out towards the parking lot.
LEADER:
hey wait… hold on a sec… who are you?
LOVE;
name is love.. nice to meet you..
LEADER”
leader, watch out!.. .
he pulls her in, saves her from getting hit by a bicyclist.
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