-
Day 9 Assignments
Reply to post your assignments.
-
11 Replies
-
I did not get the Day 9 assignment … could you please sent 9 and the rest of the assignments, please? To Mac McCord at mcmccord2@gmail.com Thank You!
-
Hi! I have not gotten the 9th assignment yet…could you please send it to Mac McCord — mcmccord2@gmail.com. Thank You
-
Hi Mac, the assignment is not available until tomorrow, October 21st. – Paige
-
-
John Garofolo’s Outline
What I learned is that I still have a few holes to fill.
OUTLINE
Act I – Set up for Horror
INT. CROWDED BAR, OAK PARK, IL – NIGHT
A YOUNG MAN and YOUNG WOMAN are clearly connecting. They finish their drinks, put on their coats and walk out the bar.
EXT. SIDEWALK, OAK PARK, IL – NIGHT
The couple walk arm in arm and continue flirting. They stop at an apartment building and kiss passionately before entering the building.
INT. APARTMENT – NIGHT
The couple enters the bedroom and continue kissing and tearing clothes off and begin making love.
They don’t notice the presence that is in the apartment and watching from the partially open door. Suddenly the door bursts open by a figure in shadow. The couple reason with the figure, apologize, try to calm things down. Reason turns to pleading. The young man attempts an escape.
The figure (POV) strangles the male lover . The girl, screaming in terror tries to escape.
She’s caught by the Shadowy figure and slowly strangled to death and then thrown back on the bed. Her lifeless face stares.
The murderer escapes.
Dissolve to detectives at the crime scene opines they couple must have been caught having sex and probably killed by a jealous boyfriend.
FIVE YEARS LATER…
INT. BRIDE TO BE’S FAMILY HOME (VARIOUS ROOMS) – DAY
A group of young women are getting ready for a family and friends co-ed bridal party . We learn about the characters through their discussion and are aware that the house is the family home of the bride-to-be and her step-mother. The plan is to a family and friends bridal shower dinner and come back to the house for an after-party with just the bride’s inner circle. (NOTE: There’s a lot in this sequence—it will reveal the characters and relationship back stories).
INT. RESTAURANT – NIGHT
We meet the fiancé and learn more about the characters. He’s quiet, but makes an effort to interact with the guests.
An old boyfriend shows up and corners the bride-to-be to tell her not to get married.
The only one who “sees” the monster: He asks if he can talk to the bride-to-be. She reluctantly agrees. He tells her she’s making a big mistake…there’s something off about her fiancé.
She doesn’t believe him and it’s getting awkward now. The Maid of Honor and several of the bridesmaids circle around the two of them. The bride-to-be tells the ex-boyfriend that it’s pretty despicable for him to trash talk her fiancé like that and she tells him to leave.
The old boyfriend leaves. But before he gets in his car, he sees the groom-to-be glaring at him in a way that gives him the chills.
(Alternate second scene–As the old boyfriend drives off, the groom (looking pretty angry) chases after the car for a moment, then goes back to the restaurant and returns to the party as if nothing happened.
(The bride-to-be probably asks him what he was doing out there and he replies nothing, acting perfectly normal)
The party guests have all left by now and the bridal party heads for the bride-to-be’s home.
OLD BOYFRIEND’S APARTMENT – NIGHT
A little later, the old boyfriend has returned to his apartment. There’s a knock at the door.
He opens the door, recognizes whomever is there and looks surprised/afraid, “ what the hell are you doing here?” The figure (POV) pushes the old boyfriend back and steps into the apartment. The sounds of a scuffle are apparent…then silence
Act 2 – The Point of No Return
EXT. BRIDE-TO-BE’S FAMILY HOME – NIGHT
The bridal party goes back to the suburban house for the real party to open up the presents not suitable for family and friends outside the bridal party to see. The bridesmaid’s cars fill up the long drive way and they chit-chat on the way into the house.
INT. BRIDE-TO-BE’S FAMILY HOME (DOWNSTAIRS) – NIGHT
The party continues inside the house, primarily in the kitchen, dining and living rooms, where they are seated and opening up the rest of the presents and getting more drinks.
We learn more about the dynamics, relationships and underlying pettiness between the characters (of particular importance is the discussion that the groom-to-be was adamant about no sex before marriage).
The bride’s step mother, collects everyone’s cell phones to make sure that no evidence of the party gets out and car keys to make sure no one can leave or drive while intoxicated.
They open the presents and talk further about the wedding, honeymoon with some corny sex jokes thrown in to embarrass the bride to be. The presents include sexy lingerie, handcuffs and an extra large vibrator.
The groom-to-be shows up a little later, bringing an expensive bottle of champagne. AT this point, everybody’s happy. While the level of intoxication/impairment isn’t a the level of being fall-down drunk, they’re mostly coherent, but clearly impaired, which will impact their decision-making and ability to plan and execute their escapes when needed.
That being said, the groom-to-be seems perfectly sober and the step mother of the bride-to-becomes an obnoxious drunk. The girls convince her it’s finally time for her to go to bed (and she’s intoxicated enough to get past the point of being argumentative.
INT. MASTER BEDROOM (UPSTAIRS) – NIGHT
When she gets into the master bedroom, the groom-to-be comes out of the master bathroom, apologizing profusely for startling her
The step-mother tells the groom-to-be to stay, flirting, then, seducing him. At first, he tries to politely escape, but she persists and eventually, they end up on the bed, with the groom-to-be on top of her. When she reaches down and grabs between his legs, she literally flips a switch and the seduction turns deadly. First, he tears at her clothes (which, at first, she thinks is merely rough sex play and reacts as such), then he paws at he body, getting rougher and then grabs her throat as she finally grasps the fact that this isn’t a game. Panic sets in and she fights to tear his hands from around her throat, thrashing her body wildly, to no avail. She’s slowly strangled to death.
The monster is now unleashed.
MIDPOINT
INT. FAMILY HOME (LIVING ROOM) – NIGHT
While the murder occurs, the party continued downstairs.
From this point on the monster engages in a cat and mouse game with the victims, who still aren’t aware that anything is going wrong. One of the bridesmaids decides to go use one of the upstairs bathrooms since the downstairs bathroom is occupied. She goes up stairs and snoops around, deciding to go into the Master Bedroom.
INT. MASTER BEDROOM (UPSTAIRS) – NIGHT
The room is empty, no sight of either the step-mother or killer. She looks around at things on the dresser, picks up a framed picture of the step-mother (perhaps, a boudoir photo), meanders through the room and enters the bathroom.
(Maybe there’s a shot of the step-mother’s lifeless body with eyes still open shoved under the bed looking out, seen by the audience, but not the nosy bridesmaid)
The groom-to-be walks out of the closet wearing a dark trench coat and startles her. She nervously starts to stammer and chatter until she notices he’s carrying a gas mask.
He notices her looking at the gas mask, gives her an evil grin and pushes the bathroom door closed and pounces on her, grabbing her throat with his free hand and strangles her to death (alternate: he wrestles her into the bathtub and chokes her while water from the faucet pours on her face). In either case, the victim’ reactions move from surprise, to panic, then terror as she realizes she’s going to die.
When the groom-to-be finishes the murder, he stands in front of the mirror, looking at himself with a now, permanently etched, evil grin, putting on the gas mask and saying something like, “He’s back.” These will be the last words the killer speaks from now on.
INT. FAMILY HOME (DOWNSTAIRS) LIVING ROOM – NIGHT
The rest of the partiers are still not aware they’re in danger.
INT. FAMILY HOME – NIGHT
PLACEHOLDER for third murder and monster reveal.
Reaction: panic, terror, fighting back, this time there’s some NOISE that alerts the bridal party that’s something’s very wrong.
They investigate to see what’s going on.
They go to the master bedroom and find the bride-to-be’s mother (step-mother), maybe positioned on the bed telegraphing it was a murder. They finally know they’re in big trouble.
They are disgusted, horrified, traumatized. But, they still have to solve the mystery. They look for their friends and fiancé.
The bride-to-be is devastated that her fiancé may have been killed or is the killer.
They can’t find their cell phones and can’t call 911, because the landline isn’t working, either. They realize they’re on their own.
Act III- Full out Horror
INT. FAMILY HOME (DOWNSTAIRS) – NIGHT
While they’re looking for their phones, keys and other victims, Bridesmaid #3 runs outside to the closest neighbor’s house for help.
EXT. FAMILY HOME/NEIGHBOR’S HOME -NIGHT
There’s no answer at the neighbors house, as she screams and knocks on the door. She knocks again, pleading. But there’s still no answer.
She’s grabbed from behind by the killer and choked, but she manages to break free and tries to run back to the house, but is disoriented from the choking, she trips and staggers through the side gate (thinking she can escape the killer), trips again, but gets up and staggers through the second gate into a long side yard backing up against a hill.
She’s pursued by the killer who doesn’t run, but methodically walks toward as she tries to escape, first by trying to climb over a wrought iron fence, but, pauses when she hears a pack of coyotes howling nearby.
The killer reaches for her and pulls her back and lets her escape. She can’t move very fast but keeps going as she looks over her shoulder and sees the killer pursuing her.
She reaches a small gate going into the backyard, but can’t seem to open it and climbs over the sharp pickets.
INT./EXT. FAMILY HOME – NIGHT
Back inside the house, the rest of the bridal party continues searching the house looking for their other dead friend and the fiancé.
They’re so afraid, they spook themselves, while they do their awkward search.
They’re all downstairs and decide to get out while they can and go to the front door to join their friend, who they think has gotten help. But they can’t open the front door, it’s jammed shut and try and push the door open with no luck.
In the meantime, the other bridesmaid gets to the slider and starts pounding on it, causing the bridesmaids inside the house to run to the family room.
When they flip the light switch, illuminating the back yard, they see the killer standing right there, holding their friend who has a terrified expression on her face (makeup streaming down her face from her tears). Now that he has an audience, the killer strangles her while the girls inside the house, frozen in fear, watch in horror.
The killer drops the body to the ground and walks out of view. The four remaining survivors now decide to stay inside the house and hide since they can’t get outside and they can’t call for help.
INT. FAMILY HOME (UPSTAIRS AND DOWNSTAIRS)
The survivors split up and hide inside the house, one pair going upstairs the other remaining downstairs.
The killer is somehow inside the house without making any noise. He stalks and finds the two panic-stricken survivors hiding downstairs as they try and make their escape
The bride-to-be and Maid of Honor, still in hiding, know their friends have been killed: and are riddled with panic, sorrow, guilt and shame.
Now, the bride-to-be and the Maid of Honor are faced with a decision: fight or make a run for it.
The killer turns off all lights in the house and begins hunting for the remaining two.
The two survivors are terrified, but resign themselves to the fact that they have to fight to survive.
The killer moves through the house, opening doors, peering inside, slamming them shut (for effect) He finds them waiting for him and they fight with tenacity and anger, both taking one hell of a pounding, but finally the two women get an advantage and one of them hits him with whatever heavy or sharp object they have and the killer goes down.
After the fight, the two survivors are exhausted, express sorrow, simultaneous guilt and gratitude they’ve survived.
They think they’ve won the fight and limp through the house and take stock of the situation. They look for their phones and go back up to the second floor bedroom and continue looking for their other friends (Note: The killer will probably reveal the two dead bodies by this time, but, I haven’t worked these reveals out yet).
The killer comes back to life and begins quietly stalking the two survivors, until he makes a move attacking from behind and round two of the fight continues.
When the dust settles this time, the maid of honor and the killer both appear to be dead.
The bride-to-be sobs heavily as she caresses her best friend’s body, holding her tight to her chest.
But, then, she realizes the killer, the man she almost married, has come back to life again, grabbing her from behind and choking her, lifting her off her feet.
She struggles to break the hold, throwing elbows, reaching around to grab anything. She’s almost out of air and with one final effort, pokes him in the eye and he releases his grip. She rushes to the side of the bed and reaches for a baseball bat. She grabs it, but he grabs her and pulls her away, and she swings away at him and finally strikes a killing blow.
It’s finally over. There’s no joy. Just survival.
***********
But, everyone knows that somehow the killer’s not really dead…at least not yet.
Alternate ending or epilogue: When it’s all over and the first police arrive on scene, they find the fiancé dazed, handcuffed with legs tied at the ankle in a closet in a room that hadn’t been checked. It turns out that the twin brother, who had some serious mental health issues came to town to confront his brother for not inviting him to the wedding. The two had had a fight and he was blindsided with a knockout shot to the chin. He was disoriented and ended up on the closet floor.
After he’s reunited with the bride-to-be, the two walk away from the camera, but after a few steps, he turns to the camera and gives it a disturbing, evil grin.
-
Shadow Dance – Readable Outline
What I learned – This process has helped create perhaps the most thorough outline Ive done and is a great tool for the future. Its still a first draft and can and most likely will change.
EXT. PARTY HOUSE – NIGHT
A young girl (23) KARISSA, says goodbye to friends, then starts her walk home.
EXT. PARK TRAIL – NIGHT
Karissa’s relaxed even though she’s walking an off the beaten path. It’s spooky; a nearby warehouse building casts eerie shadows over the walkway. She tells Siri to put the flashlight on. It doesn’t work. She hears noises. Behind her there’s someone else’s shadow. She questions if her eyes are playing tricks on her. She see’s objects. Then, some distance away there’s a cloaked figure. The street lights go out.
EXT. WOODS – NIGHT
Karissa’s running now, freaked out. Bushes and branches smashing into her face. She looks behind to see a meat cleaver, mid-air, no one holding it but it’s coming toward her. She runs harder when the meat cleaver cuts her head in two, down the middle., through her body until the two parts separate.
INT. COLLEGE LECTURE ROOM – DAY
On a screen we see shadows form shapes – bridges, trees, animals and the like when we realize we are watching a performance by a shadow troupe. Amazing. Then the lights come up and it was a video that was playing. The lecturer PETER G (40) announces that was a performance by his shadow dance troupe – all choreographed and man made. In the lecture he plays down the idea of unbrakinesis – the art of being able to manipulate shadows, light and dark, into shapes.
INT. 12 PASSENGER VAN – MOVING – DAY
Peter continues his conversation about unbrakinesis with his troupe of dancers. Seven performers. We find out they are on the way to an old Victorian theatre to rehearse for an upcoming world tour. He asks has anyone seen Karissa? No-one has heard from her. Peter says enough is enough and he will fire her.
EXT – THEATRE – EUREKA SPRINGS – DAY
They arrive, look over the old building, CAMERON questions why they didn’t hire a studio in the City. They all agree it’s pretty spooky. But their cameras are flashing.
INT. VICTORIAN THATRE – DAY
Deathly black until Peter floods the theatre with light. They stand in awe at the old wall-bank of levers that make up the lighting console. The drapes, the pulleys, the fly rail – a magnificent piece of work.
The trap door BOOMs – scare everyone to death. Everyone looks down into the abyss.
During this time we get to meet the cast and explore the theatre, the prop room, costume department, dressing rooms, green rooms etc. We also see someone making wall shadows.
ON STAGE
As they gather for a rehearsal there’s a horrifying scream.
BATHROOM
In the antiquated bathroom one of the girls has seen a spider crawling – but she says it was a shadow. This brings up the unbrakinesis theory. Peter tells them its ridiculous and will hear no more of it.
ON STAGE
Back on stage they realize their cell-phones are useless in the theatre.
More wall shadows – a finger beckons, AMANDA (22) follows. She’s disappeared so the cast set out to find her. DIMITRIUS shouts for everyone to come to the
PROP ROOM
Amanda is spread eagled over a three foot spike. They must remove her or she will be impaled.
The cast freak out. JOSE asks why Peter brought them there? His answer is he didn’t want any distractions.
AUDITORIUM/HALLWAYS
They find out the exits to the theatre are locked. The windows are unbreakable. JEREMY sits by a wall – some distance away, says nothing.
ACT 2
ON STAGE
They re-group. Peter says that will have to stay overnight, then someone will come looking for them. More denial.
During a shadow shape constructed by the cast a machete appears on the scrim. Peter calls a halt to the rehearsal. Everyone denies doing it. They get pissed off – go their own ways.
HEATHER asks Peter if it could be “him”. Peter responds that he’s dead, how could it be him.
WIG ROOM
Peter takes a cigarette beak. Wall shadows appear. Tense moment. No one answers his calls. Meanwhile in the auditorium the cast are impatient. PEYTON decides to go look for Peter.
WIG ROOM
His decapitated body lays on the floor.
The cast hear her chilling screams – as they run toward her, someone drags Peter’s body away. The cast get to the wig room – a shadow of a guillotine on the wall slowly dissolves – they find nothing. As they leave – Jose tells the cast to look at this – a wig sits on top of Peter’s severed head.
Dimitri tells the cast to gather any belongings and meet onstage –
ON STAGE
They discuss what, what and hoe to get away. Dimitri instructs them to don’t go anywhere alone. Just then Peter’s decapitated body splats onto the stage from above. A machete cuts through safety lines. The cast run fro their lives as stage weights – sand bags – scenic flats drop like bombs – then, the safety curtain drops like a ton of bricks – Cameron has his ankle severed. Dimitri ties a a tourniquet around his thigh – they have to get him out.
The cloaked figure is seen running amok in the fly system – it disappears. They question if the attacker is a shadow? Then debate the theory of unbrakinesisi. Heather comes clean about her ex husband and having an affair with Peter. Not only did Peter take his wife he also screwed him out of this world your deal. Her ex was killed on the way home in a head on collision and was pronounced dead. This causes an uproar. Dimitri keeps the peace but it’s on a knife edge.
A shadow dagger hurls through the air – pierces Heather’s throat. Blood splatters.
Dimitri demands someone throw the light switch – if there’s no light it can’t form a shadow. It’s pitch black – silence – when a candle flips on. The cloaked figure appears and disappears. We realize he can see in the dark. Dimitri opens the trap door, the master falls into the trap. Ot dusts off and ascends the stairs.
Again Dimitri demands they stay together. Jose says it’s everyman for himself and he’s going to find a way out. He makes several attempts then finds himself in the costume shop. A candle flips on – Jose sees a shadow on the wall – hides in the costume rack – runs for it. A medieval spike ball strikes Jose in the head – he’s down but not dead, when the figure bludgeons him to death.
In the prop room the cast find Cameron a wheel chair – he’s becoming delirious. They find pain killers – drug him up. The monster arrives. They escape, except for Jeremy who stands behind the door. Knife ready.
The monster slams a button the the wall. Another trap door opens up. Jeremy falls into a pit. The floor closes up again.
Jeremy is trapped in a tomb and the walls slowly close in, crushing him to death.
There’s only Dimitri, Peyton, Amanda and the wheel chair bound Cameron alive and the monster is in pursuit. Dimitri figures out the only way to form a shadow is through back light so the must stay ahead of the light. Cameron begs the others to leave him. They hide him in a drape on stage – make their way toward the foyer.
The monsters knives slash through the drapes, cut him up.
The auditorium doors are locked. Dimitri uses a an axe to break it down. Peyton decides she needs to use the bathroom. She sits in the toilet – she hears the monster enter. She prepares to leave when a spike comes up through the system, into her body and out of her mouth.
Dimitri and Payton re-hash Peters theory about mediation used to form unbrakenisis. They must break the monsters concentration. They plan a distraction.
Amanda takes up a position on the spotlight. The other entices the monster onto the stage. Once there, they hook its cloak and expose the monster. It’s a decomposing body – full of maggots, dung Beatles and worms etc. The monster forms a javelin and takes out the light.
Demetrius climbs the wall stairs to the fly rail. The monster pursues, throwing daggers and hatchets. Demetrius uses a rope to swing to another rail, they are in the rigging now – the monster was through the ropes, flings anything it can muster at our hero. Then Demetrius is trapped. The roof access door is locked he can’t unlatch it, when, Amanda opens the door from the outside (need to figure out how she gets there) the door swings open and a blaze of sunlight hits the monster. It falls to its death – smashes onto the stage in pieces. Amanda na dDemitruis hug when the door slams shut. They are trapped again
The master is reforming – It summons a batman like pulley-device and fires it toward the roof – lands on the fly rail and charges at Demetrius. Stabs him in the neck.
Amanda reaches for a can of inflammable liquid and deuces the monster, then ignites it. He 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.
Outside, the medics and police are clearing bodies.
Amanda sits alone wrapped in a blanket when she’s enveloped in a shadow.
-
Wayne’s THE TRAP – Readable Outline
I learned how hard it is to work an outline. I’m going to need lots more practice.
EXT—PARK BESIDE STREET—NIGHT
Surveillance Camera zooms in on AGENT PETERS 30, very fit. He is scared, wary, and about to try and save his life. A breath, a look, hesitation, and then a dash into his car.
As he closes the door a mysterious cloud with a hint of a face slips in.
As if the car were a blender, blood and chunks of the agent splash onto all windows.
An army of soldiers rush the car, open the doors. Almost no remains are there. Just a bloody mess.
INT—CIA MEETING ROOM
Video stops. Lights up. Six agents. STELLA is taking charge. “It’s bad. Peters was just the latest of many failures, many dead agents. You are each here for a reason. More on that later.
She pauses, “The CIA manual for these situations reads that I should “Exude confidence.” I will delegate that if anybody is feeling confidant… Anybody? No? Didn’t think so. Welcome to my world.
INT—MEN’S ROOM
Micheal, seasoned tough and charming, is spending some serious mirror time looking at himself. He’s winking, smiling, putting on his “denial” face, “me, you’re crazy”.
His face turns serious. To the mirror: “We’ve got this.” Then he asks himself, aloud, “Are you crazy?” And a wink for punctuation.
Brad, youthful, is mysteriously now also in there. He’s been watching Michael. Micheal says, “don’t mind me.” And smiles. Brad starts doing a little dance from Tiktok. Brad explains. “ It’s tension relief dude. That shit is spooky.
Stella walks in, “Ladies room is broken.” Micheal exits. Stella locks the door. “Need to dance?” Brad dances. Stella is interested.
INT—CIA MEETING ROOM
Abby, technician, attractive, is viewing read outs and talking to Jack, 60s. She scanned really weird energy fields at the crime scene. Jack thinks he’s going to die before he can retire. Abby keeps talking technical and Jack finally gets interested.
Stella returns disheveled.
They are kicking things around. Peters was good.
All are rattled, know they have to get this “monster”.
This is not a monster. She will dissect him when caught and then we’ll know.
Abby “Have to work, no time for denial. Contradiction.”
I choose work. Don’t have time to think.
Can’t feel. Time to work.
Task force is sizing up their team, a six person CIA hit squad.
Brad is practicing dance moves. “Gets my blood going.” I can dance and think about the monster, yeah.
Stella reads. The CIA manual says I should “Exude confidence.” I will delegate that if anybody is feeling confidant… No? Didn’t think so. Good news. She, the monster, took the bait. Bad news. She seems to have eaten him.
An army couldn’t save him and kill the bad guy. It’s our turn to try.
I hereby warn each of you not to take this mission. You have this opportunity to resign.
Jack is practicing drawing his pistol.
Jack: Monster ha. There is nothing in God’s kingdom a bullet won’t kill.
Stella puts him in his place.
We better have explosives.
Jack: You’ve brought me here to die. Others laugh.
Stella cautions. Don’t disrespect Jack… That’s my job.
Donna, 50s, up tight religious. She’s mad at the monster as if she were a jilted lover. The monster is a devil, I’ll give you that. This smells evil. How did the Monster get in, get out, where is the body? We are not safe. After some arguing they are all in.
Abby: Am I the only one who sees the Monster? That cloud has a face.
Micheal: So do my tea leaves. They all give a laugh which fades to a look, this is bad.
Michael: Face it team. You are the bait. Let’s build the trap.
INT. CONSTRUCTION MONTAGE
It is an odd construction. No windows. Thick walls. Computers. Weapons. No doors. No exist. They are being seal inside.
They show off the weapons, sensors, and psychic skills in a brief moment of chutzpah.
They build THE TRAP. They are the bait.
Jack resists being bait. Jack: So you are convinced that the monster sealed him or herself in with us. That’s crazy.
Donna: We are doing the Lord’s work.
Donna: Holy water. Prayer. Mind meld. Visions.
Donna prays and tries to bless their trap. Stella warns. Monster warns, then gently steals her soul and vaporizes her. It’s all caught on Abby’s instruments, which annoys Stella.
Donna challenges the leader’s (Stella’s) authority.
Stella goes of fuming and has sex with Agent Brad.
Agent Donna is killed.
There is a crosscut connection between Stella’s climax with Brad and the Monster killing Donna. Hint that Stella is connected to Monster.
Jack attempt to shut down the trap. Request denied.
Brad is hysterical and does his “shaky dance.” We owe it to Donna. We will finish the trap and put an end to this slaughter.
Stella’s nostrils flare.
ACT 2 Isolated / Trapped / Abducted: A frightened task force challenges the Monster by building a trap, sealing it with them and their arsenal inside.
Brad and Stella slip away and spark lust.
Abby’s instruments detect the lust then presence of the Monster.
Brad flirts with Abby. Dances. It works for a minute.
Jack, jealous, enraged, lets his monster out on Brad. We now have two monsters.
Monster: With a burst of questions, about love and morality, each answer is wrong. What do you expect from a CIA agent? And with each wrong answer a different part of him ages 150 years. “You like your nose? How about now. Boom. Brad is dead.
STELLA is puzzled: I’m going to really miss him.
Jack looks on secretly proud. He has his own monster.
MIDPOINT – The monster is worse than we thought: two of them.
Stella discovers she isn’t the only one with a monster.
Stella wants to abort the mission. Jack pulls rank (shock). We didn’t know he outranked Stella.
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. Abby gets involved distracts Jack’s Monster.
Stella’s Monster went out of control. Mad that Jack’s Monster killed Brad.
And Stella’s monster kills Jack’s monster.
Stella’s Monster attacks Jack. It yanks off a series of human necessities.
Monster questions: You didn’t feel? Took hands. Couldn’t see? eyes. Didn’t want? Take heart. Eats each one. Burns the remainder slowly.
Odd that it is conscious with serious parts missing.
Stella: He always knew he wouldn’t retire.
Stella is a monster. The monster is Stella.
Micheal suspects Stella as having information not shared.
ACT 3
Stella’s Monster attacks Abby and Michael.
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!
Michael: Can these fancy weapon get us out of here?
Micheal’s back at a mirror talking to himself. “I have deep respect for your tough brilliance.”
And then he’s flirting with Abby.
-
Carmen’s Horror Outline Version – 1 – Assignment 9
What I learned doing this is how easy it was to change the labels and tags and directions into my first outline. I enjoyed this process to see how it’ll all fit, although it is the first draft – I love seeing the potential being revealed!
ACT 1
INT. DON BRUNO’S CASINO OFFICE – DAY
Don Bruno makes a deal with the devil for power and money.
INT. SALVATORE BEDROOM – NIGHT
The Don comes home to discover Fredo and Cecilia in bed.
He kicks Fredo out.
INT. FREDO’S CASINO OFFICE – DAY
Fredo and Luca conspired to kill the Don. He can take over as Don and he promised Luca the right hand.
Fredo is summoned to the Don’s office.
INT. DON BRUNO’S CASINO OFFICE – DAY
They argue Fredo pulls a gun. He shoots both bodyguards before they can kill him. He tells the Don that Cecelia begged for him and that the Don was no lover.
The Don curses him and threatens he will be back for vengeance!
Fredo and Luca clean out the safe.
EXT. DESERT – MIDDLE OF THE NIGHT
Fredo and Luca bury the body and hide the money in a box in the same grave. Plans to come back after everything dies down.
Fredo tells the family that the Don is on a trip to the motherland. Suspicions arise – but no proof.
FLASHBACK: Don Bruno and Cecilia, the kids, and the whole family at an anniversary party for them. Dancing and having fun.
At the party Grandmother Sofia tells them of the Don “curse”. How every Don generation has made a deal with the Devil for wealth and power and subsequently the entire family or the Don’s “old team” dies to fulfill his pact. The group laughs at her story – the Don especially – in his own denial since he has already made the pact a few years before
Fredo gets a call from Grandmother Sofia – warning him. He pays no credence.
INT. SALVATORE HOME – NIGHT
Fredo and Cecelia are in bed. She asks about Don Bruno. Fredo said he did it for them. They argue – she knows it was for money and power.
Weeks pass – Fredo begins to take over for the Don
EXT. DESERT – MIDDLE OF THE NIGHT
Fredo and Luca dig up the Don’s grave. The Don’s spirit is released. He is not yet strong enough to kill anyone, but they know he is coming for them. The Don is targeting the family!
They fortify the family home. Cecilia is in denial.
Fredo and Luca are forced to watch the Don kill his oldest son, Dante Salvatore (Fredo’s Son). He is the next who would take over the Family. His Soul is sucked out and it’s the first portions of “skin” the Don puts on his face
Fredo then tries to hide his twin teens from Don Bruno.
They realize they are trapped. Due to water shortages, all state borders are closed and planes grounded. It becomes clear that it doesn’t matter where they go – Don Bruno can get to them.
Fredo takes over Don Bruno’s office
INT. FREDO’S NEW OFFICE – DAY
Fredo enlists the help of his brother, Leonardo, who lives out of state and left the family “business” to do other things.
Don Bruno comes to Fredo in a dream promising him that he will see everyone he loves die before he dies his own horrible death.
Cecilia gets tortured – Don Bruno stalks her on the Las Vegas Strip tearing and slashing at her before cornering her and sucking her soul dry and breaking all of her bones. Takes some of her skin for himself
Try to solve it – They go to Grandmother Sofia for answers.
ACT 2 — THE POINT OF NO RETURN
The Don stalks his victims – torturing them not knowing who is next
Reaction:
The spell doesn’t work! They start to hear strange noises.
They Flee – Leonardo and Bianca keep looking for answers. It is chaos.
FREDO’S HOME – DAY
Antonio Salvatore (Fredo’s young twin boy) is killed. The Don makes Fredo watch again and to show the ferocity of the Don’s anger. There are off-Screen, screams and begging to be spared – soul-sucking and bones crunching
Luca bails – he goes to hide at his girlfriend’s house. Because he helped Fredo cover up the affair with Cecilia, although not in the bloodline – he is collateral damage and punctuates the Don’s rage directed at Fredo’s actions
INT. FAMILY BUNKER/UNDER THE STRIP – Day
Don Bruno follows Fredo and his family to a bunker. One of Fredo’s twins is savely killed.
ACT III
INT. BUNKER – NIGHT
Fredo and his wife are fighting – she knows he did this – the affair, his narcissism, and power grab. Fredo fails to protect them or calm anyone down – everyone is scared
Fredo’s wife, Sasha is killed in front of him. Don Bruno is patchworking the skin of his victims onto his face and arms. He is even scarier now!
Fredo is held against the wall and his eyes are forcibly opened to watch the Don skin her alive and each her flesh then cut a section and stick it on his neck.
Fredo tries to appeal to Don Bruno’s human side. He weeps and yells.
Don Bruno slits Fredo’s daughter’s throat- Caterina Salvatore (Fredo’s young twin daughter) for revenge – to further torture Fredo – makes him watch. Although off-screen the soul-sucking and bone-crunching are heard. He spares her by taking any skin.
LEO and BIANCA join them in the BUNKER
INT. FAMILY BUNKER – LATER
Leonardo and Bianca and Fredo are cornered in the bunker. Just as Leo thinks they should leave, the Don is back, all but full force!
Fredo tries to hide under a couple of dead bodies, but Don Bruno finds him. Fredo’s soul is sucked out and he is skinned and Don Bruno takes his flesh to wear on his face. It’s the final blow to the bloodline
Fredo is in such a state of dread and hysteria that he begs. 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.
Leonardo and Bianca are trapped in the bunker. Leonardo appeals to Don Bruno’s human side and strikes a deal.
FINALE: Leonardo becomes the new Don – Don Bruno’s debt is paid and he is at rest. Leonardo and Bianca leave the bunker. Leonardo on the phone setting a meeting with his second cousin – ready to start giving souls for power and money
-
Charles Ferrell’s Outline
What I learned from this assignment is that my Act 2 and number of scenes need to increase.
Outline
ACT 1
Setup
Security camera footage of killings in the city alley ways and city street, footage of bodies being tossed over the side of cargo ship, literal blood in the water and on the side of the ship.
EXT. MARINA DAYTIME
The group is walking down the dock to the rental boat, carrying their gear. Jimmy after finishing paperwork, is far behind. Talking to an older man with a cigar in his mouth, while walking past the fuel pumps.
Old fisherman recommends fishing 24 miles out near the oil rigs.
EXT. BOAT DAYTIME
The throaty engine roars to life as bow of the boat lifts while picking up speed, the cabin cruiser heads out to sea. Eric holds onto a railing and makes his way up to the fly bridge above, is piloting.
News flash alerting to a serial killer comes on the radio, jimmy ignores and quickly changes the station.
Eric is annoyed and Jimmy alludes to that Eric needs to
EXT. BOAT/OIL RIG LATER
The group is flagged down by an anchored cargo ship crewman, he looks to be desperate and blood on his arm. Cry for help freeing a badly injured crew member
EXT. CARGOSHIP LATE AFTERNOON
Group of friends boards the anchored cargo ship to help
Back lit by the blazing sun a single silhouette can be seen in the bridge, high above the deck.
They spot the injured and run the length of the ship only to find a body that has been dead for days.
momentary tension/dissention erupts within the group, are we fools? Are we heroes too late? Or is something greater afoot?
The group decides loosely this is a misunderstanding and youthful panic on the part of the crew member who can now not be found. Choose to return to their fishing trip and lives.
They walk back to where they last spotted the crew member, only to hear their boat pulling away.
They run back towards the hatch which leads to the stairwells to the waterline porthole. Only to be shot at from on high near the bridge.
INT. CARGOSHIP/HOLD LATE AFTERNOON
Hide They run inside another hatch. Bullets follow only to ricochet inside the hatch forcing them to go lower into the cargo hold of the ship away from the hatch, away from familiar territory.
The hatch is suddenly shut and locked from the outside; they try the hatch with no avail. Blood is on the inside of the hatch. They must find another way out.
Deeper into the belly of the beast, searching for a way. This is no accident and the desire to trap them is becoming apparent, with no known motive or map for survival.
A metal hatch door is heard squeaking in the distant darkness, footsteps high above are heard slowly walking on a catwalk.
Wondering in poorly lit conditions, sparsely spaced swinging overhead lights above a massive arena of cargo containers, with overhead catwalks creaking with the waves.
They split up to seek anything in the cargo that could be used as a weapon or find a way out.
ACT 2 — THE POINT OF NO RETURN
Armed with what amounts to damaged cargo (weapons, tools, furniture) they search separately for a way out between the cargo containers blocking visibility to each other.
INT. CARGOSHIP/HALLWAY – NIGHT
Jimmy armed with a pipe wrench, climbs to a higher level sees a figure dart by a door and pursues
Jimmy is ambushed and in his final moments partially glimpses the monster’s warped reflection in a metal door.
He alone pursues, is ambushed from behind is killed and in his final moments catches a glimpse of a female silhouette watching from a distance.
Jimmy the assumed leader of group, tough and/or brave is removed from the equation. He leaves the others alone and dies, creating the necessity for the others discover a new leader and arc.
He chases his first impulse to act, causing him to get blindsided and stabbed in the back by another.
MIDPOINT
INT. CARGOSHIP/HOLD NIGHT
Hearing the echoed screams, they begin to call out locating each other (jimmy is missing). Creaking catwalk steps above in the darkness, jimmy’s body swings from the darkness above in their midst. His feet wrapped in chain, a bloody pendulum.
They scatter like roaches, hiding separately between cargo containers.
Above in broken light as shadows move, they catch a partial glimpse of the monster, enjoying their suffering. The vantage point from where Jimmy’s body came down. As the body swings back up the blood spatter hits the monster unflinching, like a soft welcomed rain.
Crouching the darkness separately, they can partially see Jimmy’s body swing as Chris starts to break down.
Chris mentally breaks down and is frozen, Eric tries to calm him and refocus his energy on survival and that Chris is too cautious to get caught in a trap.
The monster covered in fine blood spatter, jumps onto the chain with the swinging Jimmy’s body. Forcing the chain to swing in an ever wider arch, crossing thru small silvers of light in its path. The blood is now causing makeup to run beginning to expose some of the tattoos and scarring.
ACT 3
Impending Doom The monster lets out a shrill scream, suddenly the sound of metal-on-metal scraping of weapons on the containers, banging on others. Loud hurried footsteps across the tops of the containers coming closer. Building to what sound like a small army of steps and in the echoing dark it seems to be from all directions.
Hide some characters fumble in the dark for a means of defense, while others cower further into the darkness in fear.
The ship begins to move, while listing to one side as an anchor point pulls against it. Cargo Containers begin groan and creak, cargo securing chains begin to snap one by one, sending containers sliding and spilling. As the whole area tilts.
Forcing the group to run, climb to avoid being crushed, pick any direction just one together if possible
INT. CARGOSHIP/HALLWAY NIGHT
Eric enters hallway off the cargo bay, is confronted with armed teen who is slightly hesitant to kill. He hears more frantic footsteps and yelling coming.
Eric tries to reason with the youth, while waiting for Chris sprinkled with a misting of Jimmy’s blood and frozen in the shadows is unable to act.
Chris gathers himself and leaps, taking down the attacker
The youth beg for his life and promises to help if they will save his sister
Impending doom Bullets fly down the metal hallways, the group must decide and move.
The group is now + 2 as they pick up the hiding child aurie and her brother. No chance of out running, they duck inside a boiler room.
Several youths spilt off to explore the boiler room.
INT. CARGOSHIP/BOILERROOM NIGHT
Eric now protecting Aurie, along with the youth and Chris fight using any means they find. The youth is injured, one pursuer is killed the other badly injured calls the troops.
Eric with the guidance of the youth begins a long ladder climb up to a deck hatch, injured youth and chris (afraid of heights) behind him, with aurie climbing reluctantly between him and the ladder.
In the climb the are confronted with urgency, Chris’ fear of heights, an injured youth and the further physical challenges of a physically smaller and immature child in a mature situation.
The group makes it topside to the deck, locking the hatch behind them, only to discover the real danger, the real killer in waiting.
Weary of the ineffective young killers the monster directly pursues
The monster wiping blood from her eyes exposes her true face
Chris seeing escape for all not possible, arcs from coward to hero and faces the monster alone. While Eric escapes with Aurie and her injured brother.
Chris is afraid of everything and in the end faces his demons and the monster for the good of all.
In direct battle with the monster, in this the monsters true appearance is revealed. Chris appears to be winning then is attacked from behind by a second attacker bringing him to his knees before the monster & his demons, before his throat is slit.
A shot rings out of nowhere as the monster’s blood flies and she falls out of sight. Below the fishermen has come at the sight of the sinking ship and is firing. All in battle seem lost and survivors are safe.
-
Douglas Ryan’s Outline.
What I learned from this assignment is that this outline helps you find the beats to the story and have them ready for a scene.
INT – XENO’S HOUSE/OFFICE- NIGHT
DR XENO 50’s a small town optometrist is awoken for a house call. SHERIFF MASON is at the door with a MAN who was in a bar fight and his eye is popping out. Xeno helps the man by removing his eye even though he is not an eye surgeon. Mason notices that Xeno is unfazed by the mans cries of pain, but shrugs it off. Xeno asks if he can keep the eye for testing, the Man agrees, they leave and Xeno puts the eye in his eye room.
EXT- TOWN- DAY
Mason is driving around the town and gets a call on the radio telling her to pick up DANIELLA 17, for her guardian. She sees her son LEVI, and STUART (Xeno’s son) and ask if they have seen her. Levi tells his mom Daniella is at the coffee shop. Mason leaves to the coffee shop, waving and saying hi to random townies. This establishes how small the town is.
INT/EXT- COFFEE SHOP/SIDEWALK
DANIELLA orders a coffee, Xeno is behind her waiting to order. She takes her time angering the other customers. She enjoys this. Xeno has a word with her and stares at her intensely, she calls him a creep and goes outside. She sees a BOY (9) trying to burn ants with his glasses and the sun. She tells him he is cruel and not to do that. The Boy tells her off, Xeno comes from out of nowhere and pulls the Boy up and intensely tell him to treat his glasses better. The Boy calls for his mom. Xeno tells Daniella to have her guardian take her for an exam, she is very creeped out by him. The Sheriff shows up and tells her to head home, when Daniella tries to tell him that he is creepy, Mason explains why Xeno is a trusted and respected member of the community and she is a punk ward of the state.
INT- WARD HOUSE- NIGHT
Daniella comes home and is met with a smack from her foster mom BETTY telling her she is late. Her foster dad SAM whisks her away and tells her he is sorry for Betty’s behavior and for her to do her bible study before her homework. She ignores the first part and does her homework, advanced calculus.
INT-XENO’S HOUSE-NIGHT
Stuart comes home and goes to check on his mom MARY, 55, who sits in front of a window. Her eyes are hidden by her hair, he kisses her cheek and tells her about his day and how he has a crush on Daniella. Xeno comes upstairs from his home office. He holds an eye in a jar. He tells Stuart to put it away in the eye room. Stuart does as he is told listening to his dad yell at his mom telling her how much he is doing for her and she should help out more.
INT- EYE CLINIC- DAY
DR. JOHNSON, 40, is talking to patients waiting for a free eye checkup. She greets Xeno as he walks in and says there are detectives waiting in his office. He greets DETECTIVE MARCUS, and DETECTVIE SMITH, he thinks they are there for the bar fight man. Marcus says they are there because some people that came to the clinic were murdered and shows him pictures. They victims all have their eyes surgically removed. Xeno tells them that it looks like the person was attempting surgery but didn’t know how to do it. They speak to Johnson, she says that Xeno is not a surgeon but his wife once was. Xeno is with a child patient and creeps the kid out with his eye shake. The kid runs to his mom and is crying. Johnson says she’ll give the kid the exam and for Xeno to take a break. Marcus is intrigued by Xeno, Smith tells him to leave it alone.
ACT 2
INT- XENO’S OFFICE- DAY
Daniella is brought to Xeno’s for an exam, Betty is preaching to Xeno and asking why he hasn’t come to church. He says he feels he has offended god and is choosing to pray at home. He takes Daniella back for her exam. It is normal until he notices something about her eyes. They are perfect, and she has perfect vision. His eye starts to shake and it makes Daniella feel uncomfortable. He tells her to relax and the Boy from the other day walks in with his mom, who demands that he check her son right now. Xeno obigies and while doing the air puff test he stares at Daniella and puffs the Boy’s eyes until he is crying. The mother causes a scene and Daniella tells her it was Xeno’s fault. Betty bursts in and says that Daniella is a heathen and liar, in the commotion Stuart comes in and takes Daniella out of there. Xeno invites Betty back for a free exam after hours, she accepts.
EXT- DAY- TOWN SQUARE
Stuart, Levi and Daniella hang out and discuss how creepy Stuart’s dad is and how messed up Betty is. Daniella is biding her time until she’s 18 and off to college. Levi is all happy to stay in the town, Stuart wants to leave but is afraid of what his dad will do to his mom. Betty shows up at takes Daniella away from the boys and calls them names.
INT-NIGHT-XENO’S OFFICE
Xeno gets Betty back to a different room and tells Daniella to wait in the waiting room. Stuart is there he gets her to come upstairs and meet his mom. He professes his love for her and trying to leave she finds the eye room. She runs out the door. Betty is told she didn’t take care of her glasses and is strapped into the torture chair, Xeno dilates her eyes until blindness. He turns on an old tutorial of how to remove an eye and proceeds to remove both her eyes and plop them into jars. They are still dilated, he finishes her off and sits in silence.
MIDPOINT
INT- WARD HOUSE- DAY
Sam wakes Daniella and asks where Betty is, she doesn’t know. They call Xeno he says she left. They call Mason who says she’s probably off the wagon again and in some bar sleeping it off. Sam doesn’t think so and Daniella tells them about the eye room. Mason tells her it’s of no concern.
INT-SHERIFFS OFFICE- DAY
Marcus shows up and asks Mason about Xeno. She tells him that she likes her commuity and that Xeno is weird but he’s a respected member of the community and no killer.
EXT- XENO’S HOUSE- DAY
Marcus checks out the house and notices that there is a car parked way down the road hidden in the woods. He knocks on Xeno’s door, and asks him about the car and who’s it might be. Xeno says it’s been there for weeks and nobody has done anything about it. Marcus notices security cameras and asks to see footage, Xeno shows him that they are dummy cams to keep people honest. Sam and Daniella show up and demand to know where Betty is, Daniella tells them about the eye room. Marcus asks to see it, Xeno refuses but says it was a research facility before his wife had a terrible accident causing her to retire. Mason shows up and tells them all to leave and they do. Marcus gives Sam and Daniella his card.
EXT/INT XENO’S HOUSE/OFFICE
Daniella convinces Levi to help her stake out Xeno. As they sit outside waiting he drives up with a HOMELESS MAN, and takes him through a cellar door. The kids follow them inside. They witness him murdering the man and escape. They get Mason she goes to check it out. Xeno takes her to the body and kills her as she tries to handcuff him. He knocks out her son and straps Daniella to the chair. She screams until Stuart rescues her.
ACT 3- FULL OUT HORROR
INT/EXT – WARD HOUSE – NIGHT
Daniella and Stuart make it back to her foster house. Sam sees them in fear and asks what is wrong. They tell him the story and he says he’ll check on it, then notices Xeno at the end of the driveway. Sam confronts Xeno about the killings and is killed by Xeno quickly. Xeno enters the house and attacks the kids. Stuart punches his dad and knocks him out. He tells Daniella they have to go back and get his mom. Daniella calls Marcus and tells him what happened.
INT/EXT XENO’S HOUSE
The kids make it back and try to convince the non verbal mother to leave. Marcus shows up and waits for Xeno. When Xeno shows up he is almost handcuffed and but quickly subdues Marcus. He drags Marcus to the cellar door and drops him down before heading inside the main house. The kids get the jump on Xeno with Daniella smashing an eye jar over his head. Xeno is angry and chokes Daniella who is fighting back, Stuart ignores his dad who is telling him to help get her to surgery. Stuart stabs his dad in the back and in a knee jerk reaction Xeno spins and knocks Stuart down the stairs. Daniella runs down the stairs to check on Stuart, he’s dead, she finds Mary down stairs she is in a white gown for surgery. Mary tells Daniella all will be okay and she just needs to lie down. Daniella looks into Mary’s eyes, she is blind but has good sense to knock Daniella into the surgery chair. Xeno makes it down stairs and injects Daniella with a tranquilizer. Before she passes out she tells Mary that Xeno killed Stuart. Xeno says there is another set that are more perfect.
INT-HOSPITAL-DAY
Daniella wakes up in a hospital bed, Detective Smith is there. Smith asks her what she remembers and Daniella tells her about the eyes and how they were going to cut hers out for Mary. Smith tells her that the house was burned down and they found her outside the house. Smith says her boss likes Daniella for the murders and arson, but they are waiting on her toxicology report to come in to prove her story. Smith says that she believes her but Xeno and Mary are most likely dead because they found 4 bodies and one was her partner, another was the son and id’s are not back on the other two, waiting on dental records. Smith leaves barely making eye contact with the nurse that has an eye patch. Daniella sees the nurse’s face but it’s too late, she screams as the nurse is Mary puts her to sleep saying, “only one took, so we still need another.”
-
Larry Fraller’s Horror Outline Version 1
What I learned is a better understanding of what a horror situation is, and to look at my script from beginning to end as a single story rather than just scenes, and to do a setup/reveal of the monster, not putting them at the beginning as the three witches. However, the three witches still intrigues me. Perhaps somewhere later in the script, as a twist, as one of the characters – Lorette sees the darkness in all three older women, and through her painting maybe their evil starts to show their faces to her. I know this is a mess, but it’s not even a first draft. Unsure any longer where the acts end and begin. But that’ll come, hopefully.
SET UP FOR HORROR
ATMOSPHERE OF EVIL ESTABLISHED
(Later when something goes wrong for them: Megarette dies? or Prince gets emotionally attached to Lorette, for which he is chastised by Megarette?
As a twist at end of Act 1?)
ACT 1
EXT. COTTAGE – DAY
LORETTE paints a picture of the castle with a prince riding towards her.
CHAMBERS, Lorette’s husband plants seeds and seedlings.
PRINCE OSSIMON drives from the castle to greet them and invite them to dinner in their honor.
Lorette accepts the invitation eagerly. Chambers hesitates but agrees because Lorette does.
As Ossimon drives off, ALESSA, an old village woman advises them not to break the traditions, which they can only learn by doing what others do and avoiding what others avoid. Lorette shudders at a darkness she sees in her. Chambers doesn’t.
After Ossimon leaves, Lorette urges Chambers pick her a rose, fantasizing he’s the prince.
EXT. CASTLE GROUNDS UNDER A TREE – DAY
Ossimon welcomes and charms them. Lorette’s a vegetarian, and refuses the lamb until MEGARETTE, Ossimon’s elderly aunt frowns at her. Lorette shudders at the same darkness in her as in Alessa.
Invites Chambers to tour his vinyard next day.
Vintner eats with them.
INT. COTTAGE – NIGHT
Lorette sick with fever.
Alessa brings Lorette a potion to calm her fever.
The potion attracts gnats that swarm Chambers.
Lorette dreams Chambers keeps her in a dungeon.
EXT. COTTAGE – DAY
Their well water turns foul. The plants shrivel.
Vintner comes to take Chambers to the vinyard. He orders a servant girl with him to fetch water from the creek because Lorette is sick and Chambers is obliged to do as the Prince says.
EXT. RIVER – DAY
When servant girl doesn’t return, they find her dead in the creek, the water poisoned by her corpse.
EXT. COTTAGE – DAY
Alessa blames Lorette for the servant girl’s death because she touched the rose. No one touches any plants not native to the area. Of course, Lorette had no way of knowing that.
EXT. VINYARD – CONTINUOUS
Bees swarm the vines, stinging Chambers.
Megarette treats him with salve.
EXT. RIVER – CONTINUOUS
Chambers fetches water from upstream from where the girl died.
EXT. COTTAGE – CONTINUOUS
He ridicules Lorette’s for taking Alessa’s warning seriously.
River overflows and washes out the roads. Lorette says it’s a curse for him picking the rose like Alessa said.
EXT. COTTAGE – CONTINUOUS
Chambers builds a berm to keep the flood out.
Prince sends for Lorette to attend another dinner.
INT. CASTLE – DAY
Prince tells Lorette about ancient rituals no longer permitted, salacious tales she believes.
Megarette says there never were any and that it’s only his imagination to challenge her domesticity.
Megarette opens a bottle of wine. Bees swarm her. She bats them away without injury to herself.
When she drinks the wine, bees sting her inside and she is laid up in bed, paralyzed.
INT. COTTAGE – NIGHT
Lorette describes the dinner and Megarette’s demise to Chambers.
Chambers warns her not to go over there by herself any more. We learn now that he had told her not to the day before when he was building the berm.
EXT. CASTLE – DAY
Stephatta arrives in limo with entourage of gypsy men and women.
Lorette and Chambers attend a gala in her honor.
Chambers fatigues easily, Lorette remains, entertained by the gypsy music and dancing.
Prince and Stephatta amuse her with stories of their past escapades.
Lorette feels the coldness again, sees Stephatta’s darkness.
Megarette appears at top of stairs, crawled from her bed, trailing bedsheets like a banshee behind her. Everyone freezes, melts into the shadows.
Prince escorts Lorette to the door, has Vintner take her home.
EXT. PATH – NIGHT
Vintner bitten by a snake. He twists off its head with bare hands. The snake is nonpoisonous. Reptiles from the river pursue them in the dark.
Lorette makes it home safely.
Chambers laments his garden dying from bad water.
Alessa brings them exotic fish to clean the waters. Warns them not to get too close to the fish.
INT. CASTLE – NIGHT
Festive gala and dinner. Chambers gets drunk, passes out. Lorette half-drunk, loses her inhibitions and joins the gypsies dancing wildly and flirting with the men. Women taunt her to dance more and more wildly.
EXT. CASTLE – NIGHT
Lorette leaves castle as sun’s coming up.
EXT. COTTAGE – NIGHT
The three old women (Eumenides) standing in the flood, chanting as in Macbeth.
Lorette witnesses without being seen.
INT. COTTAGE – DAY
Lorette returns from castle, tries to wake Chambers to tell him about the old women.
He’s too hungover to listen.
She finds spider on her pillow, puts it on his hand, wakes him.
He freaks out. Runs into flood to get spider off. Nipped by exotic fish.
INT. COTTAGE – DAY
Chambers swells from fish bites.
Alessa brings salve. (She visits every day)
Salve doesn’t work.
Lorette goes to get salve from Megarette.
When she leaves, wolves attack Chambers. He locks all entrances to cottage.
INT. CASTLE – DAY
Rain traps Lorette in the castle.
Stephatta gives her a warm bath.
Prince climbs into the bath with her.
The bath heats up. Her skin burns. He boils to death.
She panics and can’t find her clothes.
Gypsies tie her to a post and flog her in wild orgy of pain, blood and erotic dancing.
Stephatta and Megarette chase the gypsies away and dress her and lead her outside, shutting the gate behind her.
EXT PATH – DAY
Vultures circle while she slogs through mud.
Wolves howl at her, but don’t attack.
INT. COTTAGE – DAY
Wolves get in. Attack Chambers.
She and Chambers kill them.
River rises. Bodies float.
Water rises in the house.
Rats attack swarm to escape flood.
Chambers and she are separated by the swirling bloody water
Lorette drowns. He can’t save her.
Large fish consume the rats.
He climbs to attic just ahead of rising water.
Her body floats to him, eyes open as if alive.
Piranhas attack him. He uses her body as shield to keep them back.
When the fish devour her down to a skeleton, the water recedes, leaving her bones at his feet.
Alessa directs him to bury Lorette near the roses Lorette loved so much.
Megarette and Stephatta come to pay their respects.
EXT. COTTAGE – NIGHT
As he digs the grave, the Eumenides chant and close in around him.
He backs into the roses. The more he tries to free himself, the deeper he plunges into the roses where the thorns pierce and torture him.
He watches helplessly as Lorette’s bones turn to dust which the Eumenides inhale.
Their final words something about searching for the next guilty conscience.
He asks what he’s done to cause him such pain.
They say, he stood by and allowed his wife to … blah blah blech.
The Eumenides morph into grotesque creatures and disappear into thin air.
-
LESSON 9
ACT 1
Ext. Day – House
Family pulls up to old dilapidated house, their new home. Inside, there are occult signs.
Dead woman found in bed. Lynn screams. Zoey is in shot. Ada regrets. Ron fixes.
Int. Day – House
Family moves into house. Begin repairs and updates.
Urine dripping from ceiling, Ron sets traps for the animal(s) in the attic.
Ext. Day – Front Yard
John, the neighbor, warns that he has seen paranormal activity in the house.
Ada reassures kids that “There are no such thing as ghosts”
Int. Night – House
Footsteps in the attic. Something is indeed in the house.
Sounds in the attic, walls, crawl space.
Parents blame it on the wind, animal, house settling
Int. Morning – House
Zoey wakes up with scratches.
Parents are confused and apprehensive. Self inflicted? Animal?
Int. Night – House
Children claim to see a woman.
Parents convince them they are imagining a ghost.
Kitchen is torn up, so they buy larger traps.
Act 2
Int. Night – bedroom
the monster traps Zoey in her bed.
Zoey Scream/Petrified. Parents burst in and Entity is gone. Zoey is complete hysterical.
Immediately another scare, they flee to neighbors.
Int. Night – House
Paranormal Investigators find evidence.
Curiosity. Fear.
Int. Night – House
Feral woman falls from the ceiling. Everyone panics. Blocks door.
An investigator’s body falls from the ceiling.
Feral woman grabs/kills another investigator and drags into the attic.
Act 3
Int. Night – House
Feral woman kidnaps Lynn. Takes to crawl space / her nest.
No one can get to her nest…accept Zoe.
Int. Night – Crawl Space
Zoe crawls into the nest and rescues Lynn.
Monster escapes.
-
This reply was modified 3 years, 6 months ago by Jeff Hall.
-
This reply was modified 3 years, 6 months ago by Jeff Hall.
-
This reply was modified 3 years, 6 months ago by
Log in to reply.