Day 14 Assignments

[Edward Lusk]

Ed’s Scary as Hell Scene.

What I learned doing this assignment is how different and useful scene mapping by situation and emotion is as opposed to just action. This is a tool I can use in other genre’s scenes as well as horror. The result is better defined and less wandering.

SCENE: Deceptive- Lured into horror – The gift exchange participants discover their gift is to be used to kill another participant. If they decline then they shall be killed.

Map:

Anxiety – Assembled ski lodge guest forced to participant in deadly gift exchange. Have to wait until stroke of eight bells to start.

Suspense – what is the gift? Who’s participating? Guests find their present under the tree. Await Krampus’s calling of who will participate. What is TO and FROM meaning?

Release: There’s a moment of comedy of name mix up between Mike and Michael. Michael and Gene are participating . The other Mike is safe. The other guest are not participating in this round of the exchange and are safe.

Anguish -Can participant do this? Participants have to watch. Seems unfair, Gene’s cross bow versus Michael’s acid. One shot, from the balcony. A miss means downing a shot of acid by Gene.

Panic – If participant does not go through with it, will be killed. James pleads Michael not go through with it. Has not choice. Other guest have to witness the murder & protest.

Terror – Killing another in gruesome way to ensure one’s survival. There is a killing but is is Saint Nicholas is killed by Gene, not Michael. Accident or intentional? Krampus rages for revenge. The others fear him.

Release – Because Saint Nicholas was killed, satisfying the rules. The guest are safe until next round. Krampus crumbles over. Appears to be dead. Game over?

INT. SKI RESORT – LOBBY – NIGHT.

The massive lobby clock begins to strike seven bells. The fire dances in the hearth casting shifting shadows. The guests, Ava, Mike, Linda, James, Michael, Susie and Gene descend from their rooms. One by one they assemble in front of Krampus and Saint Nicholas. The clock stops marking the hour. Worry drips across their faces.

Saint Nicholas stomps his staff on the wood floor announcing the gift exchange round is to begin.

KRAMPUS

Thank for coming down. So exciting. Isn’t it?

It’s not everyday one is given the opportunity to kill

Another person with impunity using a carefully chosen

Christmas present. One elegant kill an hour.

Nicholas, you have the floor.

MIKE

This is insane! You’ll never get away with it!

KRAMPUS

Silence! Or you’ll be the first to go.

NICHOLAS

By the rules for in the gift exchange,

Under the tree is a gift with your name on it.

Please pick it up.

The participants don’t move. Frozen in fear. Krampus yellow eyes glow with impatience.

KRAMPUS

Now !

Ava’s first, she snaps her’s up. It’s a small package. The other’s follow. Gene has a particularly large gift. He can barely get his arms around it. They all step back from the tree, gifts in hand.

NICHOLAS

Wonderful. I took great care in picking

These out just for you. What? No shaking, no guessing.

Go ahead. Just no peaking.

The participants reluctantly give their boxes a shake.

KRAMPUS

The rules are simple. Your gift has a tag on it.

From one of you to the other. Go ahead not read it.

The guest read their tags rather unenthusiastically.

NICHOLAS

Oh come on. This is suppose to be fun.

The participants yell a little louder. The From’s and the To’s.

NICHOALS (cont’d)

That’s the spirit. Now who to begin with?

The participants look among themselves. Worrisome it won’t be them.

NICHOLAS

How about Michael? Who’s your gift from?

Both Mike and Michael answer.

MIKE MICHAEL

Susie Gene

Krampus sighs deeply over the confusion.

KRAMPUS

So embarrassing. Nicholas, did you not know there’s two Michael’s

Gathered with us tonight?

NICHOLAS

One goes my Mike, and the other by Michael.

I thought that was clear.

KRAMPUS

As mud, you idiot. Since Mike, has already spoken

His peace, let’s just go with Michael then. Your gift is from Gene, correct?

MICHAEL

That’s what it says.

KRAMPUS

Perfection. Gene and Michael let’s see what you have?

The other participants step away giving Michael and Gene the floor. They tentatively open their presents. Gene’s large gift is a cross bow. Michael has a bottle of acid. James is at his wits end by the unfairness of the selection.

JAMES

This is crazy! He’s can’t kill him with acid when

He has a cross bow!

KRAMPUS

Good insight my boy. Gene, you shall go up to the

Second story landing and take your aim from there.

One bolt is all you get. One shot. If not it’s a shot of

Acid for you served by Mike. Get it?

The others shriek in protest.

NICHOLAS

Silence! Such a noisy crowd. Now get out of the way

Unless you want to be struck down.

Ava, Linda, Mike, Susie and James all step away leaving Micheal standing alone in the middle of the lobby. At least they only have to watch. Krampus and Nicholas, stand just a few feet way. Gene takes up his position on the landing.

His hands tremble. His finger curling around the trigger. Susie rushes out into the open in front of Gene.

SUSIE

Stop! This makes no sense!

She’s easily pushed aside by Krampus.

KRAMPUS

One more delay and we won’t wait until the next hour.

Nicholas stomps his staff several times on the floor. Other than the crackling fire the room is deadly silent.

Gene takes his aim. Sweat pours down Michaels face. He close his eyes and drops his head. James bites down on his fist. He looks away. Gene pulls the trigger, THWONG! The bolt leaves the cross bow.

We see from Gene’s perch on the landing the bold sail through the air. It strikes NICHOLAS directly in the heart! Slowly he crumbles to the floor. His face frozen in disbelief. Linda screams. Michael opens his eyes. He checks himself – not hit. What?

Nicholas is splayed out at his feet. He looks to Gene, a hero or a fool? James pushes his way through the others. Confused to see Michael standing there – alive. He runs to him.

Krampus rages. His eyes and veins nearly popping out of his head.

KRAMPUS

You fool!

Gene is a fool.

GENE

I never shot one of these before.

I…I… didn’t mean it. I missed!

KRAMPUS

You missed? You missed?

Confusion rages through Krampus. Susie helps him out.

SUSIE

By the rules one of us is dead until the next stroke

Of the clock. Right? Am I right?

The others grasp at the notion. Quick to agree. The rule of the gift exchange has been met – albeit a technicality. Krampus huffs and puffs. He roars out in frustration.

Nicholas becomes disembodied. Portions of him begin to flow to the fireplace and up the flue. Piece by piece he is gone. Krampus begins to fold over. The rage and power from him appears to have left. He keels over unconscious.

Gene calls out from the landing above.

GENE

Is he dead? Is that it? It’s over?

The participants relax at the stroke of dumb luck. They look up to Gene. Across their faces we can read what they are thinking , was it a miss shot or a calculated risk taken?

[CLAIRE RILEY]

Claire’s Scary-As-Hell Scene

What I learned: I love that we are starting from the emotion and not the action. I remember many years ago, Hal, you told us that people go to the movies to have an emotional reaction. That is true. So we need to keep focused on the emotions of each scene, not just in horror but in all genres.

INT. FARMEHOUSE/BASEMENT – NIGHT

Maeve and Diana look through the box of things from the past.

DIANA

Who do you think will get possessed next?

MAEVE

I’m not sure, but it seems like he is targeting the psychics in the group. If that’s true, the next would be me-

DIANA

Or Zora. (beat) I don’t want to die, Maeve. If Zora is next, please-

HORRIBLE SCREAMS! Maeve and Diana stare at each other for a moment, then Maeve gets up. Diana grabs her arm.

DIANA

No, don’t do down there. It sounds like Regina. You should run.

Maeve GASPS and put her face in her hands and shakes. Another SCREAM. Maeve looks at Diana, terrified, and runs up the stairs. Diana follows.

INT. FARMEHOUSE/LIVING AREA – NIGHT

Maeve and Diana come up the stairs. Regina is in a corner, panicked. She points to Zora.

REGINA

It has Zora!

Diana and Maeve both stopped, shocked. Zora turns to them.

ZORA

I am not possessed. She’s just trying to be funny, again.

Maeve and Diana exhale in unison, relieve.

MAEVE

Please, Regina, this isn’t funny.

REGINA

I’m not lyin’!

Zora approaches Regina.

ZORA

Could you for once stop trying to be the center of attention!

Zora stops suddenly and turns to Maeve and Diana, terrified.

ZORA

She’s possessed! Diana help me! Maeve, run!

Maeve dashes out the door. Diana runs to Zora.

EXT. FARMEHOUSE – NIGHT

Maeve races out the door. She reaches a tree and stops behind it. She catches her breath. Her eyes dart as she contemplates for a moment, then her eyes open wide in understanding. More SCREAMS from the house.

MAEVE

No!

Maeve races back to the house. Diana SCREAMS.

DIANA

Zora, no!

Maeve enters the house.

INT. FARMHOUSE/LIVING AREA – DAY

Maeve enters the house. Zora is strangling Diana. Regina trying to pull her off.

MAEVE

Zora, no! Fight it!

Zora CACKLES like a lunatic.

ZORA

You think she can stop me? No one can stop me.

Zora backhands Regina who falls to the floor. Maeve grabs Zora’s arm. Zora punches her in the nose. Maeve is stunned. She staggers and falls. Zora CACKLES again and squeezes Diana’s throat. Diana’s body is lifeless.

Regina SCREAMS hysterically. Maeve gets up and tries to calm her, but Regina still screams. Maeve picks her up and pulls her toward the door as Zora CACKLES with joy.

ZORA

I’ll see you soon, my dear!

Maeve looks at her, terrified, and drags Regina out of the house.

[Madeleine Vessel]

Madeleine Vessel’s Scary-As-Hell Scene

What I learned doing this assignment is it’s possible to elevate a horror scene to a scary-as-hell horror scene by using a Horror Map. Yay!

Horror Situations: isolated/tortured/paranoid

Scene Arc: From Dread to Hysteria

Emotions in between the bottom and top: Apprehension, Surprise and Shock

My Horror Map:

Dread: In the bathroom, the temperature is rising. Kathryn tries to find a thermostat to no avail. Max counsels Kathryn. “You have to get Mallory out of here.”

Apprehension: But what’s outside the door? Kathryn slowly turns the bathroom door handle. The door opens allowing a draft of cooler air into the bathroom. Thank God.

Release: Thank God. Mallory and Max follow Kathryn out of the bathroom. They make their way down a hall and enter into a lovely parlor. Kathryn carefully sets the candelabra on the table.

Scare: The ghost of a beautiful woman suddenly appears in front of Kathryn. Both Kathryn and Max jump. Mallory grabs onto Kathryn. “What is it?

Surprise: The woman leads Kathryn to a chest. Mallory clings on to Kathryn as she goes. The woman tells Kathryn to lift the chest lid. Kathryn does. Inside, the chest is full of beautiful women’s ball gowns. Mallory feels the cloth and wants to try one on. Kathryn tries to dissuade her, but Mallory won’t listen.

Shock: The dress puts a strangle-hold on Mallory.

Hysteria: Mallory struggles for breath as Kathryn frantically tries to get her out of the dress, but the dress won’t let her. Mallory starts to turn blue. Kathryn freaks out.

My Scary-as-Hell Scene

In the bathroom, heat pours out through the heater vent.

Kathryn and Mallory begin to perspire.

MALLORY
It’s too hot in here.

To Kathryn, who can hear him —

MAX
Feels fine to me.

KATHRYN
Hush, Max. Maybe there’s a thermostat in here. I’ll take a look.

The bathroom is small. It doesn’t take long for Kathryn to return to Mallory defeated.

KATHRYN (continued)
It must be somewhere in a wall outside the bathroom.

Kathryn starts to open the bathroom door.

MALLORY
You can’t go out there.

KATHRYN
We can’t open a window. We can’t turn down the heat. We’re going to boil in here.

MALLORY
Okay, but I’m coming with you.

MAX
(to Kathryn)
Don’t leave me behind.

Kathryn turns to Max.

He points to the pocketknife on the shower floor.

She picks up the pocketknife and puts it in her pocket.

Now, with Mallory and Max in tow, Kathryn carries the candelabra to the bathroom door.

Slowly, she opens the door. Cooler air rushes in.

MALLORY
That feels so good.

KATHRYN
Thank God.

MALLORY
Yes. Thank you, God.

Kathryn peeks out into the hall.

MALLORY
(whispering)
What do you see?

Kathryn holds up the candelabra and looks down the hall in both directions.

KATHRYN
I don’t see anything.

Kathryn enters the hall with the candelabra. Debating which way to go, she finally turns left.

Max and Mallory follow after her.

Kathryn stops at the entrance to a kind of posh parlor.

Mallory peeks over Kathryn’s shoulder.

MALLORY
Lovely.

Kathryn sets the candelabra on the table and checks the room.

Returning to where Max and Mallory wait.

KATHRYN
Shall we wait here?

She looks to Mallory for her answer when suddenly…

,,,out of nowhere…

…the ghost of a beautiful woman appears in front of her.

Kathryn startles. She clutches at her heart.

MALLORY
What is it? What do you see?

KATHRYN
A woman…A very beautiful woman.

MAX
(to Kathryn)
She’s beautiful, but I don’ like the color of her aura.

KATHRYN
(to the ghost)
Who are you?

GHOST
My name is Delinda.

KATHRYN
We didn’t mean to intrude. We’ll look for an empty room.

DELINDA
Don’t leave. I love entertaining, especially such pretty girls as you, two.

Pointing to Max.

DELINDA
He can go, though.

KATHRYN
He’s with us. We’ll find somewhere else.

DELINDA
Let me show you something wonderful.

Delinda leads Kathryn, followed closely by Mallory and Max, to an old clothes chest.

As if by magic the chest lid…

…FLIPS UP and…

BANGS against the wall.

Mallory startles. She SCREAMS BLOODY MURDER!

Kathryn quiets Mallory.

KATHRYN
It’s okay. Let’s take a look.

Kathryn and Mallory peer into the chest. It’s full of dazzlingly beautiful ball gowns.

MALLORY
Oh, my. So beautiful.

DELINDA
Try them on if you want.

Mallory holds up one of the dresses in front of her and goes to a large, ornate mirror, hanging on the wall.

She admires the dress.

She looks up and sees Delinda behind her.

MALLORY
(to Delinda)
Oh! … Can I try it on?

Delinda smiles and nods.

KATHRYN
Mallory, no. I don’t think you should.

MALLORY
Why not? She said it was okay.

MAX
Please don’t let Mallory try on the dress. I don’t like the color of Delinda’s aura.

KATHRYN
Max says, no.

MALLORY
I don’t see the harm. Besides, it’s something to do to pass the time.

She unbuttons her top.

MALLORY (continued)
You try one on, too.

KATHRYN
Mallory, please don’t.

Mallory plugs her ears with her index fingers until Kathryn backs off.

Slipping into the dress, Mallory preens before the mirror.

MALLORY
So beautiful. I look like a princess.

Behind her, Mallory sees Delinda clapping her hands.

MALLORY
(to Kathryn)
Lace me up.

Kathryn doesn’t move a muscle.

Mallory sees in the mirror Delinda offering to help her.

Mallory nods yes.

Delinda steps up and starts to tighten the laces of the dress.

SUDDENLY…

…the dress puts a stranglehold on Mallory.

MALLORY
That’s tight enough.

But Delinda keeps tightening the laces.

Max steps up and tries to push Delinda away, but he’s helpless to stop her.

Mallory SCREAMS until there’s no air left in her lungs.

Delinda LAUGHS WICKEDLY.

Kathryn loses it as she watches Mallory start to turn blue.

KATHRYN
(hysterical)
What do I do? What do I do?

MAX
Use my pocketknife.

[James Burns Burns]

James’s scary as hell scene

I learned to build a scene using emotions first, then action, to make it an emotional rollercoaster of thrills and scares.

EXT. WILDERNESS TRAIL – DAY

Brittany and Celine walk along the trail, both hyper vigilant and terrified. Celine is concentrating hard on walking exactly in Brittany’s steps, while Brittany walks as if she’s on egg shells, each step is delicate and tentative.

Celine spots a bunny ambling along the track.

CELINE
Brittany! Follow the rabbit.

She points and Brittany nods, following the very cute fluffy bunny. The rabbit is a little spooked by them but also intrigued, so it never goes too far ahead of them, but never lets them get too close. It twitches its nose and hops along, vigilantly keeping them in its vision.

BRITTANY

Oh my god, he is so cute! Hi bud…

As she speaks, the bunny gets spooked and takes a leap, then as it lands it sets off a landmine and explodes. Bits of bloody bunny splatter Brittany and some parts even reach Celine. They both freak out, trying to wipe the dead rabbit from their faces.

CELINE

Oh my god! Who is this bastard – Rambo’s fucked-up brother?

BRITTANY

Shit! Shit!

They daren’t move and use the end of their shirts to finish wiping off their faces.

CELINE

At least Thumper didn’t die in vain – he’s cleared a path for us.

BRITTANY

This bastard is industrious- how many fucking traps has he laid?

CELINE

Enough to kill us all, I’d bet.

Brittany shakes her head and looks about her. She finds a long stick and starts prodding the ground in front of her, slowly making her way back to the camp. Celine follows in her footsteps but not too closely.

CELINE

Did we come this way?

BRITTANY

Kind of, not along this track though, I think we followed that track over there.

CELINE

So why don’t we get back on that track.

BRITTANY
OK, genius, why don’t you lead the way.

CELINE

Well, you’re the one with the stick.

BRITTANY

I will happily give you the stick.

She holds the stick towards Celine, but Celine holds her hands up, away from it.

CELINE

I couldn’t possibly accept that. That is a beautiful stick, you need to keep hold of it.

BRITTANY

How very thoughtful of you.

Brittany starts cutting through some rough, long grass to get to the other trail. She waves and prods the stick ahead of her.

BRITTANY

Fuck!

CELINE

What is it?

BRITTANY

I stubbed my toe on a rock. Damn that’s sharp.

She keeps walking, more slowly this time, but then trips and falls, straight onto a tripwire.

BRITTANY

Shit!

As she falls onto the trip wire, four arrows whistle over her body, missing her by inches. She sighs in relief but then hears a scream behind her. Celine has been hit by an arrow that has gone into and through her left boob.

CELINE

He shot my boob! She shot my beautiful boob!

Brittany rushes over to her and takes in the damage.

CELINE

(crouching down)

Are we being attacked? Is he out there?

BRITTANY

No, it was another trap, I set off a trip wire when I fell. I think he set up a bunch of crossbows that were set to fire when the wire was tripped.

CELINE

Who is this guy, some sort of hillbilly Einstein?

BRITTANY

He’s focused, that’s for sure. Come on.

CELINE

Get it out of me first!

BRITTANY

I’ll do it when we get back to the camp. I’ll need the first aid kit to stop the blood once I take the arrow out.

CELINE

(angry)

OK, let’s go then!

Brittany goes to help Celine, but she bats her arm away roughly.

CELINE

He shot me in the boob, not the leg, I can walk.

Brittany shakes her head in exasperation, then slowly makes it to the other trail, and they quicken their pace back to the camp.

[Micah Delhauer]

MICAH’S SCARY-AS-HELL SCENE

What I learned doing this assignment is the importance of varying the emotions throughout the scene and keep the roller coaster of actions going up and down.

SITUATION: Pursued / Tormented – a young boy enters the radius of the Jinx’s influence, and everyone watches helplessly as fatal misfortunes befall him

ANXIETY: the boy is fearful of his surroundings as he tries to get his dog to come with him; the townsfolk see him on the hermit’s property; the hermit hears the commotion and goes to the window

RELEASE: The dog comes to the boy and they start back away from the house

SCARE / SURPRISE: the boy steps into a gopher hole and breaks his leg

SCARE / SHOCK: the dog is attacked by a wolf and killed

HORROR: the wolf turns to the boy

ANGUISH: the townsfolk dare not go to the boy’s aid; they hold his mother back

SUSPENSE: more wolves arrive and close in on the boy; the boy’s father runs back to his house

PANIC: the hermit runs from his house to save the boy

RELEASE: the hermit is shot dead by the father and the wolves disperse

EXT. HERMIT HILL – DAY

A neglected shack sits at the top of a low hill. Woods form a semi-circle around it, but the hill itself is nothing but barren and ugly soil.

A small western town, circa 1850, leads up to the hill, leaving a berth of some hundred feet.

A young BOY and GIRL play near the base of the hill, tossing a ball back and forth. The ball bounces up the side of the hill and nestles in a gopher hole.

The girl runs after it, about to step onto the hill when—

CRONE (O.S.): Stop right there!

The surprise children turn. A CRONE points a gnarled finger out them.

CRONE: You stay away from that hill, you hear? Stay far away!

The children look back toward the ball. It rolls to one side as a gopher noses its way out of the hole, looks about, and retreats again.

Looking further up, the children see an old man, THE HERMIT, standing in the window of the shack. His expression is sad as he looks back down at them.

The boy meets his gaze.

BOY (V.O.): How come that man lives up on that hill all alone, Pa?

INT. BOY’S HOUSE – NIGHT

The boy and his FATHER sit by a fire as the Father stirs beans in a pot. The boy’s MOTHER sets the table. A LABRADOR RETRIEVER is curled up by the hearth.

FATHER: He moved up there a long time ago to get away from folk. You make sure to stay well clear of that house.

BOY: Why are people so afraid of him? Is he a bad man?

FATHER: No, he’s not a bad man. Just… an unlucky one.

INT. HERMIT’S HOUSE – NIGHT

The hermit sits in a chair in the midst of the dilapidated home, breathing shallowly as he stairs into the dark. His eyes shift to a nearby window.

A WRYNECK BIRD is perched on the sill, watching him.

HERMIT: Goddamn you. Just let me go. Let it end already.

The bird just continues to stare.

EXT. HERMIT HILL – DAY

The boy chases the dog at the edge of the town.

BOY: Come on, Skip! I’m gonna get ya!

The dog playful evades the boy. He springs on her, and she dashes up the side of the hill. The boy goes to pursue, but stops at the base of the hill.

BOY: Skip! Come on back, girl! You’re not supposed to go up there!

The dog looks over her shoulder at the boy, then keeps on moving up the hill.

The boy shifts uncertainly, looks back to see anybody’s watching, the charges up the hill after his dog.

The dog barks at the boy, wagging her tongue, and continues up the hill. The boy slows the further up he goes, eyeing his surroundings nervously.

BOY: Come on, girl! You’re being a bad girl!

Down below, the boy’s mother comes out of her house.

MOTHER: Jake? Jacob, where are you?

She turns toward the hill. She sees her boy. Her face goes white.

MOTHER: JACOB!

She takes off running for the hill.

The Father follows her outside, sees what’s going on.

FATHER: No!

He chases after her.

The woman is about to step onto the barren property when her husband seizes her from behind.

MOTHER: Let go!

FATHER: You can’t go up there.

MOTHER: I have to save him!

INT. HERMIT’S HOUSE

The Hermit hears the commotion outside and stirs from his chair. Coming to the window, he sees the boy on his property.

HERMIT: Boy! Get out of here! Now!

EXT. HERMIT HILL

The boy looks from the hermit to his parents. OTHER TOWNSFOLK have gathered at the base of the hill.

TOWNSFOLK (Various): Come back down, boy! Get away! Hurry! Etc.

The boy jumps as something brushes past his leg. Just the dog.

HERMIT: Go! Get away!

The boy takes the dog by the leash and pulls her away from the house. He picks up speed. His parents beckon desperately to him.

As the boy jogs along, his foot plunges into a gopher hole, and there’s a SNAP as his leg breaks. He falls onto his back with a shriek.

MOTHER: No!

She lunges forward again, held in place by Father and another man.

The hermit tugs frantically at his hair.

The dog nuzzles the weeping boy, licking his face. He puts his arms around its neck. The dog pulls with all its might. Slowly, the boy’s foot withdraws from the hole, and the boy begins to be dragged back toward safety.

There’s a blur of grey and the retriever is tackled aside. The boy falls onto his hands.

A WOLF bites and scratches at the dog. It’s a fierce but short battle. The dog collapses in a bloody heap. Tears stream from the boy’s eye.

BOY: Skip! No!

Then the wolf turns its hungry eyes on the boy.

The Mother is in hysterics.

MOTHER: Somebody help him! Won’t somebody help him?!

The townsfolk look to one another, shamed but unwilling to go.

The hermit watches from his window.

HERMIT: God, no. Please, please, God, no.

The boy tries to crawl away, then stops when he sees another wolf, growling and drooling. Two more appear on either side of him. He’s surrounded. The predators close in.

The boy’s Father hands his wife off to his neighbor.

FATHER: Hold her.

The Father turns and rushes back toward town.

The boy hyperventilates as the wolves bear down on him.

INT. HERMIT’S HOUSE – DAY

The hermit flies from the window and out the door.

EXT. HERMIT HILL – DAY

The hermit charges down the hill.

HERMIT: Hey! Get off! Get away from him!

The wolves ignore him. Their saliva spatters the soil. The first wolf bares its teeth, the boy hypnotized by its evil gaze.

The hermit is almost to them.

The wolf makes to pounce.

A SHOT reverberates across the hill.

Blood spews from the hermit’s chest and flies onto his back.

Startled by the sound, the wolves quickly disperse.

The boy’s Father stands at the base of the hill with a rifle in hand. He hands it off to his neighbor and goes running up the hill to his son.

He gathers the boy up in his arms. He moves to the hermit, who is rasping out his final breaths. The two men lock eyes. The hermit weeps.

HERMIT: Thank you.

And he dies.

[Gregg Guest]

This lesson I learned that crafting out a sequence of emotional horrors can really help drive the dynamics of a scene.

Horror Situation: Lost: He’s trying to find his way out of the maze but is stopped at every turn.
Arc: Panic to Anguish
Emotions: Suspense, Fear, Hysteria
Sequence: Panic, Suspense, Fear, Hysteria, Anguish
Panic: He runs back and forth down the hallways
Suspense: Will the next turn free him?
Fear: He comes to a dead end
Hysteria: He freaks out as fire approaches, scraping at the walls
Anguish: He is hugged by the flaming creature and burned to death

INT. UNFINISHED HALLWAY – DAY

Julian rounds the corner, racing down an unfinished hallway to get further away from the fire. Looking back over his shoulder.

The hallway walls are unfinished, a mix of metal framing, particle board and insulation.

As Julian gets further down it, the construction becomes more sparse, just an endless grid of metal framework that all looks the same.

JULIAN
(yells)
Hello? Is anyone in here? Carina? Osmond? Hello??

Julian surveys the site for signs of a passage. Smoke begins to waft into the area. He hurries off through what looks like it might be a doorway.

INT. CONSTRUCTION SITE – DAY

Smoke billows across the floor as Julian makes his way through a maze of construction. He turns left, but runs into a barrier. He goes to the right, but metal armature blocks his way.

The smoke intensifies. Julian starts moving faster, but seems to be going in circles. Just when he thinks he’s found a way out, he turns around and everything looks the same.

Julian is now running through the construction, trying to find a way out. The smoke seems to be following him. He accelerates, but runs smack into a metal post and falls to the ground. Smoke envelops him.

JULIAN
(yells)
Anyone?! Help!

He jumps to his feet, coughing, and sprint off through an opening in the maze of metal beams and columns.

INT. HALLWAY – DAY

Julian rounds a corner, and smiles as he appears to have found a hallway, but it’s filling fast with smoke. He races down the hall, but as he breaks through a cloud of smoke, he runs into a wall. It’s a dead end.

He spins to both sides looking for a way out, but there is none except back from where he came. He turns around to retreat, but flames rise up at the other end of the hallway. The smoke recedes to reveal a fiery figure moving towards him.

JULIAN

Holy shit.

He can’t believe what he sees. The fiery figure has a face. With a devlish smile.

JULIAN
(yells)
Help! Someone help me!

But no one is there. He’s cornered. The fiery figure moves down the hall toward him.

Julian spins around and starts banging on the wall, a futile attempt to bust through it.

The fire creature is getting closer. Julian is hysterical now, clawing at the wall with his fingers until they are bloodied. But it’s no use. The monster is upon him.

He turns around to face his fate. The fire creature grins as it extends two fiery limbs, which slowly wrap around Julian. He SCREAMS.

JULIAN
(screaming)
Ahhhhhhh!

The fire creature pulls Julian in, as if to hug him, then with a flash the flames erupt and engulf him, his body burning to a crisp and falling apart in ashes.

[Tom Wilson]

Tom’s Scary-As-Hell Scene

This assignment taught me it’s great fun to learn to write scary.

Scene: On a hot summer night, Maggie and Stu, a couple on their first date—the high school prom—enter the gym. The music is loud. Dozens of kids dance up a storm. After a quick dance, Maggie goes to the ladies.

Anxiety: She returns to the gym that’s now empty. Spooky. Lights are off. The silence is deafening. She walks cautiously around the gym. It’s reverted to the pre-WWII smelly basement it was before it became a gym ages ago.

Surprise/scare: She starts to leave. The door is locked. Out the window is a foot of snow. Eerie noises are heard. Wind shakes the door. She shivers in the frigid air blowing in. What the hell? She gasps, breathes faster.

Release: She rushes back into the restroom. Closes her eyes. Great relief.

Shock: She opens her eyes. The dark room is now the grimy janitor’s closet it used to be decades before.

Fear: The door slams shut behind her. She grabs the handle. It’s locked.

Dread: She feels a draft on her neck. Reluctantly turns around. Window is open. A black, shiny-with-slime creature slithers in. A long tail twitches behind it. Vanishes into blackness. She shrieks. Can’t breathe.

Release: She grabs door handle. This time it opens. Jumps out. Slams door shut. OMG. That was too close. Great relief. Starts to breathe again.

Panic: She realizes somehow she’s still in the room! Again feels a draft on her neck. Slowly turns around. The black slimy creature towers over her.

Anguish: She backs up. Creature sniffs. Picks up her scent. Slips
after her. Pins her to the wall. Its tail slithers under her dress. Probes up her bare leg.