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Day 9 Assignments
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Cameron Martin’s Horror Outline Version 1
What I learned doing this assignment is…this is a unique way to set up an effective outline, specific to the genre of Horror. Putting it into the context of the tracks that preceded this, Horror has a lot of similarities with the Action genre. The emphasis is on telling a story through action set pieces, and in the case of horror, it’s the same thing, but with a twist of horror. I think one of things I’ve really started to appreciate about this genre is how it fills my personal need to see the average joe take on impossible odds and face very real consequences. It’s a similar thrill ride to many action movies, but the action in horror appears to be handled better on a more consistent basis. And it’s not because the special effects, stunts, or unique action is any better than what the action genre offers. Far from it! What the horror genre does get right, however, is that sense of stakes that’s often missing from action nowadays.
OPEN WIDE
INT. APARTMENT – LIVING ROOM – NIGHT
Following an establishing shot/montage of an alien solar system and a space colony on another planet, we flash forward to the carnage painting the walls of the space colony maroon.
Sully carries his son, Isaiah (about 8-12 years old), who is coughing uncontrollably. A spaceman tries to shoot Sully and Isaiah, but Sully is quick enough to hit him in the head with a baseball bat that has two nailers attached to the end of it.
Sully hides with his son as more spacemen approach, and apologizes to his son before a shotgun blast is heard.
INT. SPACE COLONY – MEDICAL BAY – DAY
Establish the space colony on another planet, as we follow Sully working with a team of other doctors. He saves the life of one of the workers who was injured.
Isaiah sneaks into the medical bay and tries to tell his dad about a “new discovery” he’s made. Sully tells him he needs to go back to his class, before requesting an assistant to escort Isaiah back.
Isaiah sneaks off from the escort to demonstrate an exploit in the space colony, but in the process he breaks an irreplaceable medical device. Isaiah runs away, scared of the punishment he’ll receive, before Sully is called into his manager’s office.
INT. CONSTRUCTION ZONE – MANAGER’S OFFICE – DAY
Sully informs his boss that Isaiah is mentally delayed in some areas, but the boss tells Sully he must get himself and his child under control. An alarm goes off warning of aliens.
INT. SPACE COLONY – VARIOUS – DAY
Everyone is moving in a rapid but orderly manner, except Sully who’s fighting against the crowd to get to his son.
A family of three argue to get their very sick teenage son into the bunker with them. The mother and father argue about the virtue of protocol at the expense of humanity, and a doctor who knows the family vouches for them.
INT. SULLY’S APARTMENT – DAY
Sully finds Isaiah hiding in a corner with his eyes closed and his hands over his ears, while making noises to tune out the siren. Sully tries grabbing him by the hand, but as soon as Isaiah’s hand leaves his ear, exposing him to the loud sound of the siren, he runs away and hides again.
INT. BUNKER – DAY
The family of three make it into the bunker and start looking for medical supplies, after their son passes out. The doctor starts administering treatment, telling the other scared colonists that it’s just a bad case of pneumonia, and that some people’s lungs struggle with the artificial air, and that this has been the case with the teenager for months now.
INT. SULLY’S APARTMENT – DAY
Sully takes a headband out of his deceased wife’s drawer (untouched for weeks) and fashions earmuffs with it. He gives it to Isaiah. Isaiah doesn’t want to be carried, but Sully picks him up anyway so they can get to the bunker faster.
INT. BUNKER – DAY
Teenager wakes up, and his compulsive coughing and vomiting up blood cracks his jaw and tears the seams of his mouth.
INT. SPACE COLONY HALLWAYS/LIVING QUARTERS – NIGHT
Sully and Isaiah get to the bunker too late, with Isaiah still trying to get out of Sully’s grip. Sully is pissed off with Isaiah and punches the bunker door, fracturing one of the bones in his hand.
He lets Isaiah know as calmly as he can that they’ll have to work together to make it out alive.
Isaiah tells Sully he has a plan, but that Sully has to stop running or carrying him.
An adult alien worm (about 15 feet long) breaks through of a vent and slithers after them. Sully RUNS with Isaiah in tow, ignoring Isaiah’s previous suggestion. Isaiah kicks and tries to escape.
Sully darts into a room where they find a stranger who’s hiding from his loved one who’s an alien host. Isaiah tries to say something about the aliens’ weakness, but when Sully hushes him, Isaiah creates a distraction that draws the worms and host away.
The stranger makes a run for it and escapes from his loved one, but is subsequently infected by a worm slithering down his throat.
Sully and the other tenant try to stop the newly infected monster, but it uses its broken bones as shivs and kills the tenant, before eating her.
Sully uses Isaiah’s strategy and gets out of the apartment and manages to lock the aliens behind the front door.
More alien worms come out of hiding and hunt them. However, Jude, a frail old lady who didn’t make it to the bunker, takes Sully and Isaiah to her room where she believes they can fortify their position and prepare for the worst to come.
INT. LIVING QUARTERS – NIGHT
They make it to a corner/tool room of Jude’s apartment, and slam the door on the aliens. Sully goes to work make-shifting a weapon, and to his surprise Jude pulls out a laser gun from a safe. The two fight off the hostile aliens, and Jude doesn’t miss a single shot.
Isaiah tries catching and protecting the worms from his dad, asking that he listen to what he has to say. Sully declines to listen and kills the worms with prejudice.
Sully – “You don’t have a say! You do what I say, when I say it, or else! That’s how we’re going to get through this!”
Sully and Jude fortify the apartment, while Isaiah sulks in the corner. Jude comforts Isaiah and introduces herself as a spy for the Hegemony (the government entity that presides over the space colony).
INT. SPACE SHIP – CRYO-BUNKS
A passenger, Markus, wakes up to an alert, along with the rest of the ship. He meets Apollo, another passenger, when he accidentally steps on Markus’ head.
Markus recoils, and it nearly leads to Apollo falling. But, Markus is able to catch and save him.
INT. SPACE SHIP – FEEDING PEN
Markus and Apollo learn with the rest of the ship that their voyage has been redirected, and that the passengers are now conscripts to wipe out an outbreak of alien parasites and any survivors not in their designated bunker.
INT. LIVING QUARTERS – NIGHT
Sully asks why Jude isn’t in the bunker. Jude reveals that she was infected on her way to the bunker, and tells Sully to take it easy because they’re all going to die, regardless of what they do. Isaiah hypothesizes about a way to “cure” Jude, but she assures that there’s nothing that can be done.
Jude – “You know how they work, don’t you? Their eggs grow like a fungus from back on Earth. At the end of her cycle, the queen burrows deep and her eggs grow out of her in any confined space, whether it be a cave, a tree hollow…or a space colony. Then, the fungal eggs are carried on the wind, or ventilation system, and breathed deep by a new host, where they’ll grow in less than an hour, so that GOD knows how many worms hatch from inside you, and take over your body like it’s their shell to go hunting with.”
INT. SPACE SHIP – LOADING CORRIDOR
Apollo wants to start a mutiny, but Markus wants to lay low and hidden.
INT. LIVING QUARTERS – NIGHT
Sully asks why the spy helped them if they’re going to die anyways. The spy explains that she’s making peace with GOD, as she was sent to cover up the Hegemony’s involvement with the escalating outbreaks of aliens.
Isaiah wants to find a way to keep her alive, but Sully helps her take a lethal injection that kills her and the alien eggs inside of her as they’re hatching.
Jude – “It’s funny, you know. There used to be a natural predator to these monsters, but we wiped them all out when we started terraforming the planet. Somehow, the worms survived and are thriving now more than nature ever intended. Now any new space colony risks an outbreak. But you know our government will never own up to their mistakes. Terraforming is expensive, and we’ve just put too much into this planet to stop now.”
INT. SPACE SHIP – HANGER
The passengers are equipped with 3-D printed weapons that have one short range round each. Apollo is caught, along with other mutineers.
Markus is forced, along with several other passengers, to execute the mutineers, including Apollo.
INT. LIVING QUARTERS – NIGHT
Sully discovers a way inside the bunker by reviewing schematics left behind by the spy. He decides he’s going to try and save his and his son’s lives.
Isaiah asks to help, saying he knows more about the aliens and how to handle them than his dad.
Sully lures Isaiah into a closet and locks him inside to keep him safe while he ventures out alone to find out if the schematics are correct. He apologizes but insists it’s for his own good.
EXT. SPACE COLONY – WALKWAY – NIGHT
Sully inches across the roof of the enclosed space colony in a ventilation suit. He has to walk through an alien spore nest on his way to the bunker.
INT. SPACE COLONY LIVING QUARTERS – NIGHT
Isaiah is able to escape from his closet. He gathers rope and some tools from the tool room, and a spare ventilation suit.
EXT. SPACE COLONY – WALKWAY – NIGHT
Isaiah uses his obsessive knowledge of the aliens to calm their swarming, as he crosses blindfolded through their spore nest. He trips over a weak point his dad came across, but he’s able to crawl the rest of the way.
INT. SPACE COLONY HALLWAYS/BUNKER – NIGHT
Sully uses the grinder to open a hole into the bunker. When he drops down into the bunker, he discovers all of the residents are now alien hosts, including the teenager and his family.
The hosts attack him on all fours and lash out with their jaws that separate from their skulls with the worm’s body attaching the two.
He tries to fight back, but there’re too many of them, and he can’t reach the escape.
INT/EXT. SPACE COLONY – BUNKER/WALKWAY – NIGHT
Isaiah is able to save his dad at the last moment by dropping the rope for him. Dad climbs up the rope that’s anchored to the vent, through the use of the power tools Isaiah brought.
EXT. SPACE COLONY – WALKWAY – NIGHT
Isaiah insists on a different way from his Dad.
Stressed about the hosts still tailing them, Sully pushes Isaiah in the direction he believes they need to go, leading to Isaiah falling through the same weak point as before, leading to Isaiah’s mask breaking and his breathing in alien spore eggs.
INT. SPACE COLONY – ALIEN SPORE NEST/VENTS – NIGHT
Sully, holding his breath, pulls Isaiah out of the nest and replaces Isaiah’s broken ventilation mask with his. He kills another host on his way back inside the colony, but is unable to seal the way inside.
The hundred or so monsters that were contained in the bunker, are now able to run freely throughout the colony.
INT. SPACE COLONY LIVING QUARTERS – NIGHT
Sully is upset that Isaiah left the safety of the closet he was in, but expresses remorse about pushing Isaiah into the nest.
Sully – “I knew it was there. How could I forget? Why did I push you when I knew it was a mistake!?”
INT/EXT. SPACE COLONY – NIGHT
The Exterminators arrive in force to eliminate the alien threat and any infected, while Sully gathers as much of the Spy’s evidence as he can.
Sully and Isaiah try to hide, but Isaiah develops a cough, drawing the attention of exterminators and aliens alike.
While the two are surrounded, Sully apologizes to his son and asks him to help by using his knowledge of escape routes to get them to a medical bay aboard the exterminator’s vessel.
A shotgun blast goes off, killing one of the hosts, while two more tear into an exterminator.
INT. SPACE COLONY HALLWAYS AND HIDEAWAYS – NIGHT
Isaiah and Sully try sneaking around the carnage surrounding them, but exterminators find and chase after the two.
Sully releases the alien worm he locked up earlier, and the two make a break for it and escape.
INT. PASSENGER VESSEL – NIGHT
Sully and Isaiah make it to the ship, but are found out due to Isaiah’s coughing that’s getting worse.
With nowhere else to hide, the two run as fast as they can to the Medical Bay, with Sully using his makeshift weapon against the exterminators by aiming for their hands and guns, until his nailer-bat is out of ammo.
INT. PASSENGER VESSEL/MEDICAL BAY – NIGHT
They make it to the medical bay and lock themselves inside. Meanwhile, military and exterminators try to break in to kill the two.
Sully and Isaiah work together, against the clock, to extract the alien eggs that are growing rapidly in Isaiah’s chest.
The extracted eggs start to hatch, but Sully pours bleach over the hatching worms, killing them.
INT. PASSENGER VESSEL/MEDICAL BAY – NIGHT
Sully holds his son close as exterminators and military personnel break in. Markus is among them.
Sully reveals the Hegemony’s involvement with the outbreaks, but an officer orders the execution of the father and son.
Markus uses his weapon and shoots the officer. He and the other exterminators form a wall around Sully, setting the stage for a revolution.
INT. PASSENGER’S VESSEL/ESCAPE POD – NIGHT
Markus gathers up Sully’s documents and gets Sully and his son to an escape pod. He hands the documents to Sully and tells them to get the word out about the Hegemony.
INT. ESCAPE POD/SPACE
Sully and Isaiah are jettisoned from the vessel aboard an escape pod. Sully holds Isaiah tight, as the two watch the planet they were colonizing fade into the distance.
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Alfred’s Horror Outline Version #1
What I learned doing this was to think about the story and convert the tracks into an actual a plot. it forced me to realign my story to fit with in the parameters of the story.
INT. APARTMENT – DAY
AFRICA and her son MALIK are getting ready for their day when strange men knock on the door. They ask if she has time to talk about Jesus. She says no and closes the door and goes back to getting ready. Another knock on the door and she marches to the door to give them a piece of her mind. One touches her and she becomes dominated. They sing “Jesus Loves Me”. Malik comes out of the bathroom and stares at the three adults. The adults stop singing and look behind Malik. A hand with a hole in it rests on Malik’s shoulder. He looks up and screams. Malik runs to the bathroom and locks himself in it. Again it appears behind him and chomps down on the boy.
EXT. SCHOOL – NIGHT
PTA/ School Board meeting. Some parents are concerned that an atheist is teaching their kids. We are introduced to GABRIEL FREEMAN (The teacher in question), SIERRA, his wife and EBONI, their daughter. We are also introduced to SARA, a mother and concerned parent. Her son TAVIAN and OMAR POPE, the owner of a local book store. During the meeting Africa carries the bloody and mangled body of Malik into the meeting.
INT. FUNERAL HOME – DAY
Gabriel and Sierra arrive at a wake for Malik. Several members of the family are already dominated. Gabriel talks to a distraught DEON, Malik’s father. We are introduced to CHARLES RUTHERFORD, pastor at the newest mega church. Gabriel and Charles clash over ideology and Gabriel is asked to leave by Deon.
INT. CLASSROOM – DAY
Gabriel is teaching in class. Notices one of his students is withdrawn. Talks to him after class. Student tells him he saw a monster. Gabriel assures him there are no monsters. Deon enters the classroom a changed man. He wants to apologize to Gabriel for not acting like a christian. Gabriel hands Deon some of Malik’s belongings he left at school. This causes Deon’s control to slip and he freaks and tries to warn Gabriel and then dies. Police and Ambulance are immediately on the scene. Take Deon away.
EXT SCHOOL – DAY
After school there are parents looking for their child at school. Another child is missing.
INT. POLICE STATION – DAY
Gabriel and parents go to the police for help. Police with blank stares offer no help.
INT. FREEMAN HOME – NIGHT
That night Gabriel and Sierra discuss some of their weird things happening in their town. Gabriel decides to figure out what’s going on.
INT. CLASSROOM – DAY
Gabriel is teaching class when a parent comes to take their child out of class. They’re going to home school the child.
INT PRINCIPAL’S OFFICE – DAY
Gabriel follows the parent and child to the main office. Tries to persuade the parent not to take the child out of school. Loses. Gets read the riot act by the principal.
INT. HOME – AFTER SCHOOL
After school Gabriel drives to the parent’s house to try again to persuade the parent to let the child come back to school. The front door is open. The parent is sitting at the kitchen table singing “Jesus Loves Me”. Gabriel hears a noise in the back. Goes to the back and comes face to face with the creature feeding on the child. Runs. Tells the police but once again they’re no help. Omar gives Gabriel his card.
INT. SCHOOL GIRL’S LOCKER ROOM – DAY
Eboni is dressing our for gym and the creature traps her in the locker room and grabs her.
EXT. NEIGHBORHOOD
Gabriel and Sierra organize a search for their daughter. While looking in the nearby woods Gabriel is approached by Omar. Tries to tell him what’s going on.
INT. APARTMENT – NIGHT
RIANNA comes home from work and gets ready for bed. The creature feeds on her in her bed.
EXT. BASKETBALL COURT – NIGHT
TAVIAN is shooting hoops by himself. He’s practicing for the big game. He’s harassed by the police. Tavian tries to leave and walk home. The police continue to harass him and he runs. They herd him towards an alley. He’s trapped with the creature. The creature feeds on him.
INT. OMAR’S BOOKSHOP – NIGHT
Omar has organized and meeting with families. Tells them what’s really going on. Gabriel is present and finally tells someone he’s saw the monster. With this information they conclude that the taken kids are held at the Mega church founded by Charles Rutherford.
EXT. MEGA CHURCH – NIGHT
They rush over their and are confronted by most of the town at the megachurch. Most of the town are under its control. Sara rushes into the building. She’s overwhelmed and killed by the crowd. The crowd chases the remaining group (Gabriel, Sierra and Omar). They sneak into the back of the Megachurch.
INT. MEGACHURCH – NIGHT
They come face to face with Charles Rutherford leading a ceremony to feed grabbed kids to the creature. They see the creature. Gabriel and Sierra free Eboni and the other kids. Omar is revealed to be working with the creature. Lead them to their doom. Gabriel pushes Omar into the creature. Omar is killed.
EXT. MEGACHURCH – NIGHT
Gabriel, Sierra and Eboni get into their car and leave town. They’re chased by the town.
EXT. NEXT TOWN – NIGHT
Freeman family comes to the next town and find out that that town is under the control of the monster too.
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Eric Humble’s Horror Outline Version 1
What I learned doing this assignment is: that by identifying and focusing only on the aspects of a story which are essential to the genre, I can create a workable outline that is the perfect length and delivers fully on all the conventions. I almost always run into the issue of my first drafts being enormously overlong, which in turn makes the rewrite process long and difficult as I try to mine each aspect of the story and then eventually boil it down to a reasonable length. A lot of these problems stem from an outline that is too long at the outset, overstuffed with ideas that, while often strong, wander away from the essential aspects of the story. I’m very excited to work with this outline, as it is already much tighter and shorter than any I’ve started with before and delivers on the genre expectations while also taking us on a satisfying journey with each of the characters.
OUTLINE:
MM1:
INT. ABANDONED SUBWAY PLATFORM – NIGHT
Three gang members hanging out. A preppy college kid staggers down in a panic, begs them to sell him drugs… he takes some pills but before they kick in, he smells something rank approaching and takes off. The gang can’t see what’s spooking him.
EXT. STREET ABOVE – NIGHT
He looks around, sees nothing. He guzzles from a bottle. Then the drugs kick in. Suddenly, a big, obscured figure is right behind him – in a blur, it jabs a broken bottle into his throat, carves out his jugular… and slurps up his blood as it gushes out.
INT. UNIVERSITY HOUSING – NIGHT
Rachel comes home in scrubs, showers. Text from “Mac:” Can’t find my necklace anywhere. Rachel immediately spots it. She writes a letter, places a stamp on it, addresses it simply Mom. Mac texts/calls incessantly throughout, telling her to come out with them and to bring her necklace. Rachel stops to pray… but Mac’s text interrupts her: What else do you have to do tonight, pray? Rachel leaves, not particularly happy about it.
INT. BAR – NIGHT
Mackenzie brings Rachel a shirley temple to chide her – but she’s spiked it with vodka. Rachel spits it out. Claims she just wants her to loosen up – especially for the night they have planned. The introduces Bremmer…
…who is arm-wrestling Bill at the bar, and losing – but with charm. Bremmer points out Bill’s U.S. Marines tattoo. He regales them with the epic bash he’s setting up across town later tonight, an underground club. Invites them all, leaves.
A nasty smell comes over Rachel and an invitation suddenly flutters onto the table on stained, ragged, filthy paper: Party With Me. It lists the address.
Mackenzie brushes it off, urges her to come along as part of her “big city adventure.”
MM2:
INT. VERONICA’S DORM – NIGHT
Veronica, sick with a cold, in pajamas – opens the door on Mac and promptly shuts it with an eye roll. Mackenzie pushes Veronica to go, but she urges them not to go, because it’s in a dodgy section of town where you can’t get a rideshare after midnight. Mackenzie brushes this off because there’s allegedly a subway stop nearby.
INT. NOAH’S DORM – NIGHT
Noah is studying – when Mac acts like there’s an emergency to get him to open up. Mac finally convinces Rachel to go by ushering in Noah for the trip; Rachel is clearly crushing on Noah.
Meanwhile, Roach, Noah’s roommate, snorts coke in the bathroom… overhears and invites himself along, despite no one wanting him to go because he’s creepy – by paying for an upscale rideshare to pregame.
EXT. DERELICT FACTORY – NIGHT
Their rideshare drops them at an abandoned industrial park, all shadows and crumbling, empty buildings. They realize the section of town they’re in is where a building spontaneously collapsed a few years ago. Noah assesses the building as condemned for a reason – will collapse at any time.
But Veronica sees The Wino and is creeped out. Noah dismisses him – probably just wants a couple of bucks to get loaded… but he doesn’t see any wino. Mackenzie brushes it aside; she doesn’t see anyone either.
But they do see a message scrawled on the wall in feces: Party with Me.
Rachel finally calls it – let’s go. Bill seconds it, unafraid but aware this is an unwise move.
Mac charges ahead to follow some faint music out of jealousy, because Bill has deferred to Rachel. Roach pooh-poohs everyone’s suspicions – wants to see what there is to see… and goes along with her. Veronica doesn’t want to go, but follows because she doesn’t want to linger there with The WIno.
They get closer to the thrumming music – then Bremmer opens the door . An epic bash is going on up in the loft. Two rules to enter: they have to lock up their phones. They’re not supposed to be here and there are some VIPs – they can’t allow anyone to post anything about the party. And they have to do a shot at the door. Mac dares Rachel… and Rachel does the shot to prove she’s not a prude. Mac pushes them all to do the same. Bill dives in and does a shot to show Mac he’s her man.
INT. LOFT – NIGHT
They all black out… only to awaken alone. The party is long over, the place trashed, and it’s way past time to get a rideshare anywhere in this part of the city… if they could even get to their phones, but that room is locked.
EXT. CORRIDOR TO THE ELEVATOR – NIGHT
They discover a party girl dead, her spine ripped open. Veronica panics, sinks against a wall, hyperventilating – until Roach gets her breathing under control. Roach takes a drink from a bottle lying around and offers her a sip, which she declines because she’s on cold medicine.
Mac freezes up upon seeing it – then owns up to being responsible when Rachel calls her out on it. Noah is freaked out, doesn’t want any of them to go near the body – and refuses to himself, feeling queasy.
But Rachel gets up close to examine it, and Roach joins her, fascinated by the gore. Rachel identifies that the spine has been ripped out and there are teeth marks on it… and fragments of glass from a bottle around the wound. The girl has a glass pipe in hand, charred from recent use – she smoked meth. Someone did this with a bottle. No wonder the party broke up.
Bill takes charge, leads them away from the body – orders them not to touch anything. They’re getting straight out even if they have to walk the whole way across town, then they’re calling an anonymous tip in to cops as soon as they’re on safe ground. “From here to the street is a warzone.”
MM3:
INT. FREIGHT ELEVATOR/OVERLOOK – NIGHT
Veronica’s the only one able to see The Wino at the bottom of the elevator in the creepy mask. The others don’t see anything and just want to get out – but Veronica is on the verge of hysteria… and The Wino is now gone. Maybe lurking in the shadows, waiting. Bill believes her – as does Rachel. After all, something carved that girl’s spine out. They’re not going to take the elevator in case he’s still down there.
INT. CORRIDOR – NIGHT
They look for a staircase down, but get disoriented. Lit up Exit sign. They run to it, only to find it’s not even at a door – it’s just mounted there on the wall. And the door they entered through is now closed and locked from the outside.
INT. STORAGE CORRIDOR – NIGHT
They smell and sense its presence, then see The Wino coming for them. Veronica sticks with Roach as they bolt for it… and outrun it, shoving a massive piece of machinery in front of the door as a barricade. Noah gets everyone inside the next partition while remaining behind to finish barricading the door. Notices that it’s lumbering, not fast.
INT. STORAGE ROOM – NIGHT
Roach brings up that they just outran it. Why don’t we just run for this next elevator? More to the point, there are six of us and one of him. Bill rallies them to stay calm and stick together. They need to know more about him and this place before they engage. They arm themselves with anything that could be used as a weapon.
They discover Bremmer hiding. He acts like he’s panicking and trying to escape, that he’s as disoriented as them… but knows the building better. There’s another freight elevator somewhere on the other side of the building, if they can orient themselves…
Just as they’re coming up with a plan, the barricade is shoved aside with ease – and Veronica is stabbed in the gut with bottle and dragged away screaming by the Wino.
They scatter and hide. Better to live and rescue Veronica once they regroup with a plan than try to take on whatever the hell this guy is.
MM4:
EXT. CATWALK/OVERLOOKING FACTORY FLOOR – NIGHT
As they proceed, Bremmer tries to convince them to make a deal with the Wino. Mackenzie’s the only one who champions this. They come to a catwalk, and Bill asks Noah’s opinion – is it structurally sound?
Roach is terrified of heights. Opts to stay behind while they check it out.
He sees The Wino closing in on the others from this vantage, but can’t call out to them. Tries to draw The Wino away from them, but gets turned around as he retreats.
The Wino stabs Roach’s nose – and the shards are still embedded in the skin and have to be removed before they pierce something vital… just as they locate the second elevator. Bill orders Rachel to treat him; just get him in shape to move.
Rachel medicates Roach and performs impromptu surgery… as Roach is seeing the Wino sabotage the second elevator in his opioid stupor, and can’t warn them before he falls unconscious.
INT. ELEVATOR BANK – NIGHT
Bill is going to take him out with a makeshift knife from behind. Noah is Bill’s second, but Bill gives him the order, “If anything happens to me, don’t reveal yourself. Retreat and regroup.”
Bill goes to make his move… but realizes he’s too drunk. He forces himself to vomit, sobers up… and then, suddenly sober, he can no longer see it, even though the others can. It goes into a rage and stabs Bill repeatedly, eating nothing off of him.
Mac charges at it with a hammer she finds – but Noah stops her, silences her. Rachel presses on repairing Roach’s face… and takes a swig from a bottle they’re now passing around. She realizes The Wino is invisible unless you’re drunk or high.
MM5:
INT. FACTORY FLOOR – NIGHT
They have no choice but to cross the factory floor, a strategically foolhardy plan.
INT. MACHINE ROOM – NIGHT
The Wino ties Bremmer to a machine’s conveyor and activates a rotary saw. Gives him a broom whose handle is long enough to reach the control button – if he can keep a clear enough head to push it.
Meanwhile, The Wino has zeroed in on two pieces of equipment, one of which Mackenzie is behind… He pees into them, forcing her to show herself.
Rachel hides and watches. Sees that it’s sickly. Constantly detoxing – sick, weak, shaking with DTs. Only achieves its strength once it consumes drugs or alcohol, but loses the strength quickly after – a fast metabolism.
She slides Mackenzie an aerosol can of flammable paint but can’t get to Bremmer without being seen. Mackenzie comes out swinging with a cigarette lighter and the spray, burning him in the face.
Rachel leaves the last of the alcohol in a pool but it won’t get distracted and go toward it… until a rat drinks it. The Wino chases the rat instead of them, allowing her to release Bremmer.
INT. FACTORY FLOOR – NIGHT
They get clear, allowing The Wino to continue past them. But they’re out of alcohol. Roach and Bremmer both reveal they’ve brought along hard drugs: acid, meth, heroin.
MM6:
INT. FACTORY FLOOR – NIGHT
Rachel refuses to do hard drugs. Noah seconds Rachel’s decision even as Bremmer, Mackenzie, and Roach take a hit of meth.
INT. BOILER ROOM – NIGHT
Roach is hoarding a stash of coke. Noah wants some so he won’t have to drop acid, the only other alternative… but Roach’s addiction won’t let him. Noah drios acid…
INT. FARTHER ALONG – NIGHT
then catches Roach preparing coke. He fights him and Roach loses the coke through a crack in the floor. Roach lingers behind to try and collect what he can… but The Wino converges on him and breaks off his nose to get what’s inside… then cracks into his skull and sucks it out of his brain.
INT. BOILER ROOM – NIGHT
Rachel pieces together that it consumes the drugs and alcohol secondhand – took meth from the spine of the party girl, ate cocaine out of Roach’s brain, but didn’t eat anything off Bill, just killed him in a rage because he wasn’t drunk. It needs to consume alcohol or drugs through people to feed its endless addiction.
INT. RICKETY SECTION – NIGHT
Treacherous landscape – as the acid kicks in, Noah hallucinates the others transforming into hideous wraiths. He turns on them, fighting… and steps wrong, causing the floor to collapse.
INT. WINO’S LAIR – NIGHT
Rachel climbs down to help him. They’ve landed in The Wino’s lair. Victorian-age artifacts, portraits with the eyes slashed out and defaced to show drunkenness and lewdness, an altar with a pentagram and devilish statues.
Rachel won’t accept it, paces around, hysterical, acting like this is all going to be a nightmare she’ll wake up from… and then she sees…
…There’s a way out from here – a staircase that leads to an open door, light streaming in.
But Bremmer locks them in – and reveals that he hosted the party as a plan to meet The Wino. He’s known the legends and wants its power… and is offering the survivors as a bargaining chip. They try to bust out… but can’t.
MM7:
INT. WINO’S LAIR – NIGHT
There’s a rancid smell – The Wino is in here with them, but they can’t see it or pinpoint it… and they’re on its turf, a whole mazelike lair to navigate to get to the stairs.
Noah sobers up for a moment, his leg broken with an open fracture. Spots The Wino and finds a gun that he has to be steady enough to load… he can’t do it in his trippy state. Opts to take a bullet and a hammer — but it isn’t the Wino. It’s Veronica’s corpse.
The real Wino comes up behind him, kills him with the bottle, and gnaws the base of his brain at his neck.
Mac finds a bottle of whiskey, urges Rachel to drink so they can see it – but Rachel is thinking, based on Noah’s death – getting drunk or high allows you to see it, but hinders your ability to fight it… she gets an idea and looks to Veronica’s body.
INT. DOORWAY – NIGHT
The Wino lets Bremmer in, like it’s open to the deal he’s making by offering him the others… but instead of rewarding him, The Wino ties him up. He struggles against the Wino to no avail, other than breaking his own limbs to try and get free. The Wino forces him to take all the drugs and alcohol, even after his body is rejecting it and shutting down…
INT. WINO’S LAIR – NIGHT
Rachel takes Veronica’s cold medicine – and discovers it allows her to see The Wino without being overly impaired. She acts like she can’t see him and lures him into a rickety section of the building… then knocks the ceiling down on him and stabs him repeatedly with his own bottle, raging just like her abusive father.
It seems to kill him. Except he springs back up! When… Bill, still alive, pins him… Exactly as he was trying to before – stabs it with the makeshift knife. Pulls it clear of Mac and Rachel. He’s dying, but they take him with them.
EXT. STREET – NIGHT
They run out into the free air. But Bill dies. They cradle him…. Then The Wino shows up and devours his corpse, allowing them a moment to run to the subway.
INT. SUBWAY PLATFORM – NIGHT
They reach the subway platform. It’s empty and crumbling, no train coming. But they can hear a train somewhere ahead – they’re close to a functioning station. They have a choice – the safer route, above ground… but the medicine is starting to wear off and he’ll be invisible once they get up there. Or the tunnel, a straight shot to the next terminal and in the dark they’ll be as invisible to him as he is to them….
INT. TUNNEL – NIGHT
And while Rachel is deliberating, Mac takes off… only for Rachel to hear a muffled scream… because The Wino is already ahead of them in there and has just stabbed her through the gut with the bottle, slurps the cold medicine out of her stomach.
Out of alcohol and lighter drugs, Rachel has no choice but to inject heroin with the plan of using Narcan on her to sap it out of her body as soon as she can escape.
The Wino forces Rachel to walk the outside rim of the track – just inches away from the third rail, if she can manage to walk that straight.
Rachel tricks him onto the third rail, zapping him, finally making it within sight of the next subway stop, which seems to be populated and operational.
INT. OPERATIONAL SUBWAY PLATFORM – NIGHT
Rachel emerges at a platform, just getting populated for the morning rush. She finds a discarded whiskey bottle with some drink left in it.
INT. SUBWAY – DAWN
Gets on the subway with the bottle in a paper bag, swigs it as the train brings her back to the city. She’s wary of the winos and sketchy-looking passengers. Someone gives her a disapproving look, grumbles: “Lousy drunk, what a waste…”
INT. WINO’S LAIR – DAWN
Bremmer is still alive back at the Wino’s lair, even though his body is writhing in agony for multiple overdoses… The Wino crawls back in, barely alive, and proceeds to eat him whole.
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Scott Kaplan’s Horror Outline Version 1
What I learned in lesson 9 is … a writer’s outline serves as a ‘blueprint’ to get from start to finish. I employ the use of scene cards to storyboard. All genres(especially horror) require telling your story through action. Show, don’t tell is a valid approach. Removing the tags is a great way to create emotional sequenes in scenes; the key is to edit enough, yet keep relevant actions/scenes to continue moving the story forward–from Acts 1 to 2 and 3.
EXT. BOATYARD/SEWERS – NIGHT
Jean Parmiginia hosts a party at his house. He caters in from his restaurant. He invites most neighbors — not Clen or Piper –because they insist on keeping their boats on his backyard property. The local Sheriff is afraid to enforce he law, for fear of his family being harmed by the devious cult(Clen/Piper).
Piper and Clen summon the spirits who lurk underneath the canals. They command these ghastly spirits to execute the beloved restauranteur. Jean takes garbage out to the curb … as Piper’s eyes turn black(oil drips from his eye sockets). Fog rises up from the sewers. The grate is removed. White shapes with sharp claws drag Jean down to his gruesome death.
INT. HOUSE – DAY
Pat, the town handyman, is always at odds with his boss, Piper. One day, Pat chooses a ‘side job’ to make extra money. Piper finds out … blows a gasket. He wanted Pat to finish a job for him. Piper, fueled with rage, summons one of the ghosts.
EXT. SAME – DAY
Pat is decapitated, as black oil oozes from Piper’s eyes, a devilish grin on his face. He disposes of Pat’s body, as his head has disappeared into the abyss … Unbeknowsnst to Piper, Jean Jr. and Clen’s son, Dukes, witness the heinous crime. Dukes attemots to tell his mom. Clen’s wife balks at the idea.
EXT. STREET – LATER THAT DAY
Clen discusses with Piper. They order Stacy, the third, and somewhat reluctant, member of the cult, to get rid of the children. Stacy raises his arms, black oil pouring down his face, as the spirtits snatch the children’s ankles. Their screams are drowned out as soon as they are pulled into the dirty canal water — never to be seen again. No one is safe!
INT. SHERIFF’S OFFICE – NIGHT
Clen’s wife, Tammy, finds out that her child has gone missing. She implores Dick Sheriffs(his real name) to investigate. He says he’ll “look into it.” After she exits, he picks up the phone to call Clen. He’s afraid of the cult, and only wants to protect his own family.
EXT. STREET – NIGHT
Clen is hiding behind an enormous oak tree. He summons the spirits. They rise up, slicing Tammy’s throat with their claws … as blood gushes as if a water main broke. She crumbles to the ground, and is dragged into the sewer.
INT. WAREHOUSE – NIGHT
Stacy has a “crisis of conscience.” Upon discovery that his ancestors were responsible for extinction of the original settlers of this land (Native Americans who were exploded and buried alive 154 years ago), he goes to the revolt against the cult — led by Max and Shwin. They thank him, and welcome him to join forces.
EXT. WOODS – LATER THAT NIGHT
Clen and Piper have sensed Stacy’s change of heart for awhile, so they lure him to area near the boatyard. They insist that it’s just to show him a new boat they purchased for him. As Clen shows him his new boat, Piper clobbers Stacy from behind with a large shovel. They drag him to an abandoned area in the woods and shoot him. A grave has already been dug. Stacy is buried alive, gasping for his last breath. He is ‘sacrificed’ by the cult to show loyalty to their evil ancestors.
INT. SHERIFF’S OFFICE – THE NEXT DAY
The town has been under “lockdown” since dawn. No one gets in or out. Max pays a visit to the sheriff. He sways him enough to let some of the townies out. This leads to … Sheriff Dick’s brutal death.
EXT. SHERIFF’S STATION – NIGHT
Piper and Clen, possessed with rage, summon the undead ghosts to bite and claw the sheriff until he is just skin and bones. They rip every last piece of flesh off his body. All that remains is a skeleton and a badge. The cult wants to send a message to the town.
INT. CHURCH – MIDDAY
Max is close to Father Bob. He confides the truth to the pastor. Father Bob informs him that Stacy had confessed his sins days before. Max is incredulous that no action was taken. He convinces Father Bob to perform an exorcism on the cult and the spirits they command to kill.
EXT. CHURCH – NIGHT
Father Bob confronts Piper and Clen. He appears to be successful at first, only to be spliced in half. He is then fed to the spirits.
EXT. TOWN – LATER THAT NIGHT.
All out hysteria. Townies running for their lives, scrambling … vehicles with families attemoting to escape …crashes pile up.
EXT. CANALS – SAME.
Father Bob’s death was not in vain. His exorcism enables the spirits to roam the streets. In addition, Shwin reveals to Max that she is a descendent of the original settlers.
FLASHBACK to … the 1800s … The cult’s ancestor’s are shown to be responsible for the extinction of the Marsapeaques. Their motivation was for the sole purpose of building a new town. This Native American tribe was buried alive, their souls unable to rest.
EXT. TOWN – DAWN
The Mighty Shwin discovers a way to turn the spirits(her orignal ancestors) against the cult that has enslavened them for generations. The endgame which started at dusk has carried over until dawn. The Native American spirits rise up to kill the remaining members of the cult. The Marsapeaques can now finally rest in piece.
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This reply was modified 3 years ago by Scott Kaplan.
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This reply was modified 3 years ago by
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Lance’s Horror Outline
What I learned is that by going through the different tracks, the horror track, the character track, etc. You can ensure that your story has the hallmarks of the horror genre. I’ve used a number of different tools to develop a story idea and nowadays I like to use the story circle to break my story. With this method and overall track you create the building blocks you will need to properly outline your script.
ACT 1 — SET UP FOR HORROR
PROLOGUE
INT. MARSHALL’S APARTMENT – NIGHT
Opening scene / prologue two people enter the apartment where Marshall’s corpse sits in his chair. Marshall has been dead for an extended period of time before being discovered. The apartment is dirty and run down with a lot of junk covering the coffee table and the rest of the room as though it hasn’t been taken care of for the last several years. Marshall’s body has been decayed while resting in the room.
INT. CONDO – DAY
Nathan and Hailey, two newlyweds move into their new condo which used to be Marshall’s apartment. During the move, Nathan gets injured. While treating Nathan in the bathroom, Hailey has a vision of the decayed corpse of Marshall in the mirror’s reflection. She looks up and it’s just Nathan.
The apartment looks bright and clean at a stark contrast to when Marshall’s body was discovered. Nathan and Hailey have moved into the new home and made it their own.
INT. DINING ROOM – NIGHT
They have their friends Vanessa and Everett as dinner guests in their new home. Vanessa warns Hailey that she feels something in their home. A presence.
During dinner, Vanessa’s boyfriend Everett proposes a toast. They all raise their glasses when Vanessa accidentally drops her wine glass shattering it on the floor. She felt the evil spirit.
After the dinner is over, Hailey and Nathan deny that anything is wrong.
INT. BEDROOM – NIGHT
Hailey then begins to have misgivings about their new home when she starts to experience paranormal activity.
Marshall’s spirit hovers over Nathan’s body, watching him sleep. Hailey wakes from a nightmare and no one is there.
The next day, Hailey believes there is something wrong with their new home. Nathan continues to deny anything is wrong.
Marshall is able to take control of Nathan’s body.
ACT 2 — THE POINT OF NO RETURN
INT. CONDO – DAY
Hailey starts to notice that Nathan’s personality has changed. He acts different from what she is used to. She doesn’t realize at that he has been possessed.
INT. BATHROOM – DAY
Hailey finds out that they are pregnant.
INT. CONDO – DAY
Nathan (controlled by Marshal) starts to become abusive.
Hailey isn’t sure what’s going on but she thinks it’s just nerves moving into a new place. She tries to justify and excuse the behavior. She decides to not tell him about the pregnancy.
INT. BAR – NIGHT
Hailey finds Nathan at a bar playing pool and drinking. He lights up a cigarette (he never smoked before) and is kicked out for smoking. Nathan yells at Hailey and tells her to go home.
EXT. BAR – NIGHT
Shelly, a woman from the bar comes out to join Nathan for a smoke. They end up going back to her place.
INT. SHELLY’S APARTMENT – NIGHT
Marshall (controlling Nathan’s body) kills Shelly.
INT. KITCHEN – NIGHT
Hailey tries to reconnect with Nathan. She makes a special meal for him. They seem to reconnect and have a good time together.
INT. BEDROOM – NIGHT
That night, Nathan (controlled by Marshall) tries to have sex with Hailey. She doesn’t appreciate his approach.
Nathan (controlled by Marshall) sexually assaults her. “What’s wrong? I thought we’re married.”
INT. BATHROOM – NIGHT
Hailey leaves the bedroom after he is done and hides in the bathroom.
INT. CONDO – NIGHT
Marshall continues to torment Hailey.
Horrified by what happened the night before and Nathan’s behavior, she leaves. She still doesn’t know that Nathan has been possessed.
INT. VANESSA AND EVERETT’S APARTMENT – DAY
Hailey goes to stay with Vanessa and Everett. She doesn’t understand why Nathan did it but she doesn’t want to be around him. She tells them that she is pregnant.
INT. CONDO – NIGHT
Nathan’s body begins to decay because of the possession. Marshall pulls off one of Nathan’s fingernails as the fingertips are turning black.
Marshall rages that this body is starting to decay. He starts to tear up the apartment.
INT. CONDO – DAY
Hailey returns to the condo to get some more of her belongings with Vanessa’s help. The condo is torn up.
Nathan looks really sick. He tries to apologize.
Hailey starts to reconcile and Vanessa interjects.
Marshall rages at them. they leave.
EXT. VANESSA AND EVERETT’S APARTMENT – NIGHT
Marshall (possessing Nathan) shows up at Vanessa and Everett’s home where Hailey is hiding out. Everett tries to keep Marshall from getting inside. Marshall stabs Everett.
Vanessa and Hailey hide while they call the police.
ACT 3 — FULL OUT HORROR
INT. VANESSA AND EVERETT’S APARTMENT – NIGHT
Vanessa and Hailey must fight Marshall (who is controlling Nathan) or be killed.
Marshall is knocked out.
Hailey and Vanessa flee. On the run, they call the police.
Nathan was not found in the home.
INT. CONDO – DAY
Hailey and Vanessa return to Hailey’s condo. They perform a spell from the Key of Solomon to free Nathan from Marshall’s spirit.
Final battle with Marshall and end.
Putting together the pieces – Hailey and Vanessa go back to the condo and cast a spell to remove Marshall’s spirit from Nathan’s body.
Marshall is an evil force which cannot be killed. He’s just waiting for one more trick to play.
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This reply was modified 3 years ago by Lance Adams.
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This reply was modified 3 years ago by
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Brandon’s Horror Outline Version 1: HOLLOW
What I learned: The haunted-house ‘thrill-ride’ feeling should be throughout most of Act 2 and Act 3.
ACT I
EXT. BATTLEFIELD – DAY
Flashback. Redcoats vs. Patriots in the Revolutionary War. In slo-mo, an unstoppable Hessian horseman slays a half-dozen patriots until a cannonball finally decapitates him on the battlefield. The Hessian’s head is mutilated but mostly in one piece…
INT. AUCTION HOUSE – NIGHT
Present Day. Gordy, a mysterious, rich eccentric acquires the head of the 18th Century Hessian soldier in a Southeby’s-type auction for the macabre and bizarre.
INT. GORDY’S BASEMENT – NIGHT
Gordy places the head (in a creepy lit jar filled with formaldehyde) on a shelf among his other rare and historical oddities. The head twitches for a half-second as an eyeball tumbles down its cheek. Gordy flinches, tapping the glass, finally dismissing it.
INT. JULIAN & OWEN’S HOUSE – KITCHEN – DAY
Montage of kids getting ready for the school play — ‘A Midsummer Night’s Dream’ — at Sleepy Hollow High. We meet Julian, 16, painting (something; we don’t know what yet) on a distinctive prop, as his older brother Owen, 18, teases him. We learn Owen has a baby girl, argues with his Grandma over babysitting, but is generally a good Dad.
EXT. TOWNSQUARE – DAY
Townsfolk prep for a Revolutionary War reenactment the next day. Cannons in place, etc. Sofia, 17, helping out, argues with her Dad – she’s going to be late!
INT. HIGH SCHOOL – DRESSING ROOM
Sofia bursts in as we also meet Lacy,17, the stage manager. Newt, 15, getting ready, plays Puck. Everyone is relieved when Sofia arrives – we learn she’s the star of the show– the male drama teacher almost had to take her part.
INT. HIGH SCHOOL – STAGE
Kids perform on stage. Some flubbed lines and minimal mayhem. But in the end, a successful performance. During the play, while she’s on stage, Julian asks Sofia to prom via painted words on the distinctive prop from earlier. A little shaken at first but finally impressed, she says yes.
EXT. THE HOLLOW – LAKE – NIGHT
The kids celebrate closing night by throwing an impromptu party by the lake. Owen passes around 3 wine coolers he managed to nab from his Grandma. Suddenly, they hear a horse in the distance and galloping hooves. Curious, Newt wants to inspect… When he doesn’t return… the kids go on a search for him.
INT. SCHOOLHOUSE – NIGHT
The kids find instead a dilapidated schoolhouse. Julian discovers an old, broken portrait of Ichabod Crane. Then, flashback images of decapitated school children – ghosts from the past—fill his mind. Then, he can barely make out the image of a soldier with an axe. Before we tilt to the monster’s face…
EXT. THE HOLLOW – CEMETARY – NIGHT
…Newt has been following the galloping and neighing sound until he finds a strange, demonic horse tied to a rope, just outside an ancient cemetery. It has fiery eyes and a bare rib cage.
ACT II
INT. SCHOOLHOUSE – NIGHT
Cut back and forth between the schoolhouse and Newt. At the schoolhouse, the schoolmaster (spirit of Ichabod Crane) appears and Sofia and Lacy believe he’s part of the Revolutionary War reenactment taking place that week. The schoolmaster explains away the vision Julian had – it was the ghost of the Hessian soldier. For some unknown reason, old spirits have awakened including the schoolmaster, who can’t remember much. However, he can’t forget the dark history of Sleepy Hollow. We learn why the HH has returned – his head must be near.
EXT. CEMETERY – NIGHT
Meanwhile, Newt is nearly trampled to death by the horseman’s demonic horse.
INT. SCHOOLHOUSE – NIGHT
The schoolmaster gets halfway through the classic Sleepy Hollow legend when they hear a horse approach in the distance, growing closer and closer and closer. Suddenly, the schoolmaster locks them in. We discover Ichabod Crane (a Red Herring) owes the horsemen heads in order to be ‘released.’ The kids try to escape by trying to kick down doors and bust chairs through windows but it’s no use. Owen bashes open a window with his leg when the HH grabs it. HH smashes through. When Owen swings an old-fashioned paddle around – he sees the horseman has NO HEAD. First reveal of the monster. The HH swings the axe into Owen’s neck but it gets stuck halfway through. The HH may be a little rusty, but he finally gets the job done in a gruesome, horrific fashion. Meanwhile, Ichabod rocks back and forth with PTSD, profusely apologizing.
EXT. WOODS – NIGHT
The surviving kids manage to escape. They watch on, horrified, as Owen dies in the distance. Then, they hear MOANING, and soon discover…
EXT. CEMETERY – NIGHT
…Newt, barely alive, gruesomely trampled by the horse. Julian hears more ghostly voices – Revolutionary soldiers are starting to awaken. The kids try to call 911 but no bars. Finally…
INT. 911 CALL CENTER/INT. SHERIFF’S OFFICE – NIGHT
… a call gets through and a 911 operator tries to get ahold of the sheriff…but they’re inundated with calls and complaints regarding the Revolutionary War reenactment the following day. The operator can’t even get through to them.
EXT. VILLAGE – NIGHT
We quickly learn the horseman has a mad obsession with heads. Point of no return as the horseman is set loose on the village among the Revolutionary-era cannons set-up for the following day. He chops off the head of an assembly-line worker but grabs it just before it’s turned to mush on the conveyor belt. One or two more fun and creative deaths here. Maybe Sofia’s dad. Why is the HH collecting all these heads?
INT. SHERIFF’S OFFICE – NIGHT
The sheriff and deputy receive more calls about a killer on the loose. This time, they rush to investigate. But are they too late?
EXT. THE HOLLOW – NIGHT
Meanwhile, the kids try to find their way back through the woods but it’s like an unsolvable labyrinth. They can’t see – the fog is too thick. Lacy tries to mount a horse, but simply can’t without a saddle.
EXT. PARK/BATTLEFIELD – NIGHT
Sofia and Julian are arguing. Julian is being kind of a dick. Again, he hears ghostly voices from the past – the horrific screaming of Patriot soldiers from the Revolutionary War. Then, a horrible voice, asking for help. Lured away from the group, Julian’s blindsided by the HH in the fog. Maybe we hear a sound and see a head roll down a hill or steps that LOOKS like Julian – but it’s not really him. Julian simply made him drop one of HH’s collected heads (we learn later in a flashback). Merely a fake-out death.
EXT. TOWNSQUARE– NIGHT
As a witness to the killing, Sofia believes Julian is dead and flees, along with the others. They literally run into GORDY as the audience sees his face for the first time—reveal Gordy as a dwarf and a definite surreal character. He wants to know if the legend is true – if the Headless Horseman is real. The kids learn the HH is trying to find his original head, the head they must destroy to kill the horseman. Gordy soon gets his wish – the HH approaches as the kids flee. Gordy stays, fascinated, giddy. When HH is about to give him the axe – Gordy’s phone drops with the image of the original head in formaldehyde. HH stops. And picks it up. Gordy promises to take the HH to his original noggin. With this new plan, the horseman will finally be able to cross the bridge and into the world at large.
INT. JULIAN & OWEN’S LIVING ROOM – NIGHT
Grandma babysits Owen’s baby boy as she’s the only one who can ward off the HH in a clever way. Julian suddenly appears – we learn he’s alive in a quick flashback. He’s looking for something. A special prop used in the play. He finally finds it, but has to lie to his Grandma – ‘Owen’s ok and everything’s fine.’
EXT. VILLAGE – NIGHT
On the way, the Sheriff and Deputy try to apprehend the HH to no avail. They both die horribly. At least they delayed the monster. Meanwhile, it’s a race against time as the kids must get to the horseman’s original head at Gordy’s before the horseman does…
EXT. PARK – NIGHT
…but spirits from the Revolutionary War stand in the way… as HH gets closer. And closer.
EXT. GORDY’S HOUSE – NIGHT
The kids finally approach the rich eccentric’s house…
ACT III
INT. GORDY’S BASEMENT – NIGHT
The kids arrive first as the HH was slowed down by the cops. The HH appears just as the kids retrieve the Head from Gordy’s basement. Now, they’re trapped in there with the HH and the strange Revolutionary War antiquities (wax figures, weapons, cannons, etc.). Wax figures look like the real deal to both HH and the kids. The kids can only escape by placing one of their jackets on a wax dummy and trap the horseman inside the basement. But in a twist, the horseman outsmarts them, killing Gordy. Lacy finds an alternative exit, a secret entrance, leading to some underground tunnels.
INT. REVOLUTIONARY-ERA TUNNELS – NIGHT
The horseman pursues the kids through a labyrinth of Revolutionary-era tunnels. Darkness all around. Only light from their cell phones. Julian manages to track down Sofia by a location finder or a phone call. Julian uses the special prop from the play to thwart the Headless Horseman. In doing this, he sacrifices himself, the tunnels cave-in, but the gives Sofia and Lacy (the last remaining survivors) time to escape.
EXT. PUMPKIN PATCH – NIGHT
The HH catches himself in a funhouse mirror, upsetting him. He feels around but he’s got only a phantom head. He snatches a pumpkin, wearing it proudly as a temporary replacement.
EXT. BRIDGE – NIGHT
Sofia and Lacy mount one of Gordy’s horses – the only hope to cross the bridge on time. They’re tasked with bringing the horseman’s head back across the bridge – destroying the monster once and for all. Will they make it to the threshold on time? The girls make it to the bridge but not without sacrifice. Sofia is finally trampled and beheaded. The horseman hurls his flaming pumpkin head at Lacy – as she barely makes it past the threshold of the bridge with the disgusting original head – and the HH bursts into flames.
EXT. BRIDGE – MORNING
The next day. A stranger approaches. A gloved hand reaches into frame and picks up the smashed pumpkin head. It’s ICHABOD CRANE, chuckling, a little crazy, still shaking with his PTSD, taking up the horseman’s mantle.
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Marc KOENIG’s Horror outline Version 01
What I learned doing this assignment is the efficiency of making an outline before getting into the story details. While building it, several new ideas and breakthroughs came into my mind. It helps to be creative and prevents writer’s block. Some interesting changes were brought to the story without changing the concept. And it seems to be just the start!
ACT 1 – SET UP FOR HORROR
Ext. Archeological site – day
A team of archeologists led by Elizabeth excavates a skeleton tied up with chains, surrounded by remains of people who suffered violent deaths. They notice strange black marks inside the body. A text engraved on a granite stele gives a warning about the «Tears of the devil».
Int. archeological institute – night
Elizabeth studies the skeleton where a strange black metallic stone is welded to the spine. She writes a message to her sister Jennifer to ask her to analyze it.
Elizabeth’s boyfriend Paul childishly plays with the remains of the bodies. Small metallic spines bristle to the contact of his hand and imbed inside his fingers.
A few hours later, he feels sick and suffers convulsions. Tears run down his eyes, containing microscopic crystal flakes.
Int. Elizabeth’s car – night
On the way to the hospital, Paul attacks Elizabeth while she drives the car. She loses control and they crash in a ravine.
Ext. Jennifer’s house – garden – day
Jennifer has invited some colleagues from the lab where she works to celebrate her wedding with Scott. They discuss the rumors that the CIA and FSB have infiltrated the lab.
In the middle of the party, Jennifer learns about the death of her sister in terrible circumstances.
Int. Research compound – day
A few days later, Jennifer finds the message from her sister attached to the parcel containing the piece of metal. Its aspect and its mysterious origin impel her to keep its analysis confidential.
She convinces two colleagues, Irina and Bill, to help her analyze the mysterious mineral, but she hides the operation from Scott and her superior Sally.
Int. Research compound – night
Scott comes back to the lab because he found the evidence that his newly married wife cheats on him
Trevor, the man in charge of the security, has his attention drawn by unusual activities in the lab.
Julia and John stay after hours because they have an affair.
Questioned by Trevor about the night activity, Sally comes to find out what is going on.
At 11 pm, these 8 people are inside the research compound.
Inciting incident: Jennifer conducts tests on the mineral. As she finds herself alone in a technical room against Bill’s advice, the stone unexpectedly vibrates, cracks, and blows up into millions of microscopic spines that spread all over, hitting Jennifer’s body, eyes, hands, up to her lungs as she breathes the air full of sharp prickles. Blinded and wounded, she slips and knocks herself out on the corner of a counter.
Following the explosion, Sally locks the door where Jennifer lies unconscious, due to a brief rise in radioactivity. Irina overrides Sally’s order by putting on a protective suit to break into the room and save Jennifer.
ACT 2 – THE POINT OF NO RETURN
Int. Research compound – night
Jennifer is brought to the infirmary.
While Sally, Trevor, and Bill go through the notes from Elizabeth and the figures that came up from the tests, Scott and Julia provide treatments to Jennifer.
Sally and Trevor realize that they have discovered Element 119 and that the ancient texts reveal that this mineral that they call the Devil’s tears is mysteriously related to vampirism symptoms. Trevor locks down the whole compound to prevent any contamination to the outside.
Jennifer wakes up and slaughters Scott. She bleeds him alive with dreadful cruelty to drink his blood and vanishes from the medical room.
They play the records of video cameras and watch the horrifying scene. They locate Jennifer on surveillance cameras and see her eating metal pieces and broken glass. They try to call for help but all communications have been unexplainably shut down.
Jennifer hides somewhere between them and the way out. They decide to chase and neutralize Jennifer with their means. The group divides between Trevor, Bill, and Irina who want to save Jennifer’s life, and John, Julia, and Sally who want to eliminate her. They make a technical room their headquarters.
The chasing group consisting of Irina, Julia, and Bill is attacked by Jennifer. Bill prevents Julia from killing Jennifer. Irina is wounded. They neutralize Jennifer. During the fight, Jennifer spits out spines to Julia’s face, but nobody else notices it.
Julia feels pain in her eyes.
They put Jennifer through a scanner. They observe the spines migrating to her brain and other vital organs. They see that she ate metallic objects and glass. A nucleus develops inside her body, close to the vertebral spine. Bill and Sally think it may be a kind of mineral parasite. An unknown threat. Trevor thinks it is nanotechnology from a foreign country such as China, North Korea, or Russia.
In the bathroom, Julia sees in the mirror spines burrowing inside her eyes. She feels them moving inside her head up to her brain. Julia gets hysterical in the bathroom.
John rushes to help Julia. Julia cuts John’s throat and butchers him.
Bill runs away. Trevor and Irina try to stop her. Sally hides behind furniture.
During the fight, Trevor leaves the room and locks them inside. Sally and Irina are locked up inside the room with Julia willing to kill them.
Irina and Sally join forces to dodge and counter Julia’s attacks but Sally gets badly wounded. They finally escape while Julia gets Jennifer loose.
The group joins again and a conflict breaks out between them. Irina beats Trevor after his betrayal, but Trevor draws a gun. Bill blames Irina’s lack of judgment since she took Jennifer out of the room in the first place.
They eventually calm down and elaborate a plan to neutralize both freaks. Bill tries to think of a cure.
Trevor sets up a trap to catch Julia but she sets him up. Trevor begs Irina to help him, but she sacrifices him. Julia kills Trevor and bleeds him.
Sally and Irina are attacked by Jennifer. Bill escapes. Irina hides in a storeroom where Jennifer pukes a piece of metal before locking the door. The seed starts to quiver and crack. Irina finds a thick glass jar, grabs the seed, and throws it inside. As she closes the top, it blows up but remained confined in the recipient.
Irina helplessly watches Jennifer bleeding Sally.
ACT 3 – FULL OUT HORROR
Irina finds the evidence that Trevor was a CIA agent, that he called for backup, and ordered them to capture Jennifer and kill all members of the lab.
The commando breaks into the lab. They find Julia and shoot her. But when they lean over her agonizing body, she spits spines on the face of two soldiers.
The commando is lured into the horror. The soldiers start shooting at each other. There are more monsters now than survivors. Everybody strafe everywhere in total anarchy.
Int. Research compound – day
Irina asks Bill to help them destroy the whole place and everyone inside by overheating an energy plant prototype. It will raise the temperature to thousands of degrees and melt everything, including the deadly mineral.
The two survivors struggle to make their way to the prototype. They cross Jennifer’s path again. Her appearance has become terrifying. Bill admits that he was Jennifer’s lover, and his love for her is the reason why he has kept trying to protect her.
Jennifer has gotten stronger. Bill fights against her and ends up killing Jennifer with a grenade, but he is hit by several spines.
Contaminated soldiers walk in. The two survivors fight relentlessly against them. Bill leads Irina to an evacuation duct.
Ext. research compound – day
Once outside, Irina finds out that he is the CIA agent and he orders his own capture for them to find a cure and to possess this terrible weapon. Irina tries to kill him but he knocks her out.
Just before he bleeds her, he gets shot. Armed mercenaries take Irina to a chopper. They speak Russian.
Int. Russian military base – day
Irina is detained in and interrogated about what went wrong in her mission and where are the plans for the fusion energy prototype.
As she learns that they brought Bill’s body for an autopsy, lights turn red and a loud alarm blares.
Irina says in Russian «big mistake.»
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