Lesson 10

[David Wickenden]

David Wickenden Assignment #10 Horror Emotions
What I learned doing this assignment…?
I learned that it is much better to build up the emotions one on top of the other.

FADE IN:

INT. LABORATORY – GARAGE – DAY

BRENT and TYLER SHERIDAN push through a heavy metal door, a squealing audio alarm ceasing as the door closes behind them.
They run across the large garage area to a metal set of stairs. At the top, Brent, the father, dressing in a lab coat, swipes at card reader beside another sealed door.
The thick, metal and glass door hisses as it opens.

INT. LABORATORY – AIR LOCK – DAY

They enter and Brent pushes , his son into the corner, under a security camera. He looks up into the lens and the door clicks at his back.

BRENT
Brent Sheridan. Access code 7802993-992.

COMPUTERIZED VOICE
Good morning, Dr. Sheridan. Today is supposed to be your day off.

BRENT
Good morning, Velda. I forgot some papers in my office. I'll only be a moment.
The second door opens, and he pushes his son through it.

COMPUTERIZED VOICE
Have a nice day, Dr. Sheridan.

INT. LABORATORY – CORRIDOR – DAY

Brent nervously takes the lead, keeping his son behind him. He peaks around a corner, pauses, and then pulls his son along with him as he ducks into a lab, easing the door close.

INT. LABORATORY – BRENT'S LAB – DAY

His shoulders sag in relief. Tyler lets out a giggle, covering his mouth. Brent hushes him as he engages the lock.

BRENT
Keep it down. Remember, if they catch you in here, I could lose my job.
Tyler sobers up and steps towards the monitors his father is powering up. Tyler's eyes go wide at what he sees on the screen.

TYLER
(shock)
That’s so… sick!
He licks his lips. Leaning closer to the monitor, his face lit up in the dark room, he stares in wonder.

TYLER
What are they like? Are they smart?
Brent is standing behind his son, hand on his shoulder.

BRENT
Very smart. They continue to surprise us. Vincent, er… Dr. Wright believes he may be able to teach them to speak.

TYLER
That’s so…
The lights and monitors shut off, leaving them in complete darkness. Brent moves to the doors and looks out through the thick glass. Emergency lighting illuminates the hallway.

COMPUTERIZED VOICE
This is an emergency. There has been a breach in the electrical grid. Security doors compromised. All personnel evacuate the lab. Lock down commencing, T – 20 seconds.

BRENT
Christ!
He grabs his son by the arm and pulls him towards the door.

INT. LABORATORY – CORRIDOR – DAY

A glance down the hallway shows billowing steam.

TYLER
Dad…

BRENT
Hurry. We have to get out! This way.
He turns towards the back entrance where they had entered, only to see a blinking red light at the top of the door.

BRENT
Damn.
Brent reverses his direction, pulling Tyler with him.

BRENT
Come on. We need to use the main entrance.
Tyler, wide-eyed struggles to keep up with his father and almost flips as he is pulled forward. They run towards the column of steam moving across the walkway. It comes from a massive steel door on the left.
Brent staggers to a stop when he sees that the door has cracked open, releasing the compressed gas from the airlock within.
To Tyler, he points towards the exit.

BRENT
Go. I have to close the containment chamber.
Tyler freezes in place, fear and uncertainty on his features.

TYLER
But, …

BRENT
(screams)
GOOOO!!!
Brent lurches for the chamber and throws his shoulder into the massive slab of steel.
At the end of the walkway, near the entrance, a SCIENTIST yells at Tyler.

SCIENTIST
The door is closing. Run!
Tyler looks from the man to his dad.
Brent is pushing as hard as he can on the door. Over his should Brent pleads with his son.

BRENT
Run. Please, Tyler. Get out.
A jet-black hand appears around the edge of the door and curls around the steel. Razor-sharp talons scrap for purchase.
Tyler’s mouth hangs open at the sight, everything else forgotten. In a daze, he looks for help from the fleeing scientist, who is now sliding feet-first under the closing airlock door.
With no warning, the door drops onto the man’s legs, severing them from his body. Blood splashes upward, marring the glass. The man’s screams echo through the corridor.
Tyler’s stunned look returns to his father. The door explodes outward, throwing his father against the wall. He settles to the floor, his head turned the wrong way, obviously dead.
The door swings back, but the same hand stops its arc. Steam, tinted red from the flashing lights, fills the interior of the chamber.
The hand reaches out towards Tyler.

• This reply was modified 2 months, 3 weeks ago by  David Wickenden.

[Renee Miller]

Renee’s Level One Horror Emotions Scene

What I learned about doing this assignment is how important it is to carefully plot out the horror that the characters are going to experience through the story. I also learned that you want to start of slowly and build to the hysteria.

Int. Tracy’s Bedroom – Night
Wind rattles the windows, a long, eerie howl sweeping through the cracks. A single bedside lamp flickers, barely illuminating the small apartment. The rest of the room is drenched in shadow.
Tracy sits hunched on the edge of the bed, shoulders curled inward. Her fingers clutch a framed photo – her and her son, Mikey. A summer afternoon frozen in time. A boy with sun-kidded cheeks and a bright, toothy grin, his arms wrapped tightly around his mother’s neck. Tracy stares at it, her breath slow and ragged.
A whisper cuts through the room.
WHISPER
…Your fault…
Tracy flinches, her grip tightening on the frame. Her head snaps up. Silence. The wind rattles again, but there’s something else- a murmur, just under the surface.
WHISPER
…You failed him…
Tracy’s fingers go white against the frame. She looks toward the darkened hallway, her lips pressing into a thin line.
WHISPER
…he called for you…
She shudders, pulling the frame to her chest like a shield, weeping.
WHISPER
…but you didn’t wake up…
The voice is soft, distant – but it’s Mikey.
Tracy’s breathing turns shallow. The whisper comes from behind her this time.
MIKEY (whispering)
…Mommy?
The photo frame slips from her fingers. Glass cracks against the floor. A new sound joins the whispers.
DRIP. DRIP.
Tracy freezes. The bathroom door stands slightly ajar. Darkness yawns behind it. The drip quickens. DRIP. DRIP. DRIP.
She rises, slow and stiff. Moves toward the bathroom door, one step at a time.
INT. TRACY’S BATHROOM – CONTINUOUS
The air is thick, damp with something that isn’t just humidity. The door opens slowly. Tracy peeks in. The faucet isn’t dripping.
In the mirror’s reflection Tracy can see that the bathtub is full. Tracy stiffens. The water is dark. She steps further into the room.
Her stomach twists at the small figure that sits in the water, back to her. Tracy sways on her feet.
TRACY (whispering)
Mikey?
The child stirs. The whispers stop. Then –
The water turns black. A slow, thick seep of ink spills over the edge, stretching toward Tracy’s bare feet.
Her gasp is sharp and strangled. She stumbles back, hand flying to her mouth.
The boy turns. His skin is bloated and pale, his lips blue, his eyes sunken and empty. Once golden and full of life, his hair clings to his skull in wet clumps.
His mouth parts, and black water dribbles from his lips.
MIKEY
Why didn’t you save me, Mommy?
Tracy screams. The shadows pulse. The black water reaches her toes. She bolts for the door.
INT. TRACY’S LIVING ROOM – CONTINUOUS
Tracy runs into the center of the room, clutching her head and sobbing.
Stacy bursts through the door, fear and concern dancing in her eyes.
Tracy stands in the center of the room, trembling, her hands clutching her ears. Her breathing is ragged, panicked. Her eyes are wide, darting wildly.
The whispers are still there – relentless, seeping into her skull.
WHISPER
…you let me drown…you fell asleep…you deserve this…
Tracy sobs, rocking slightly, eyes squeezing shut.
TRACY
Make them stop. Please, make them stop.
Stacy rushes up and grabs Tracy’s arms, trying to look into her eyes.
STACY
Make who stop, Tracy? There’s nothing here.
Tracy’s head snaps up.
TRACY
You don’t hear that?
The whispers twist. Snarling. Hissing. Overlapping.
WHISPERS
…you’re a monster…
Tracy whimpers, shaking her head violently. She stumbles back, her hands still pressing against her ears.
TRACY
…make them STOP!
STACY
Tracy, listen to me! You’re safe, you’re okay, just breathe.
Tracy’s gaze locks onto hers, wild and desperate.
The whispers SCREAM.
Tracy shrieks and wrenches free from Stacy’s grasp. She turns and bolts for the balcony.
STACY
NO!
EXT. TRACY’S BALCONY – CONTINUOUS
Tracy throws open the glass door and stumbles onto the icy balcony. The wind whips around her, howling.
The whispers surge, deafening.
WHISPERS
…it ends here…jump…
Stacy lunges, grabbing the back of Tracy’s shirt just as she reaches the railing. For a terrible second, she has her.
Then-the fabric rips. Tracy plunges over the edge. Stacy is left standing there, her hands shaking, gripping nothing but torn fabric.
The wind screams. A final whisper slithers through the air.
WHISPERS
…not your fault…
Beat
WHISPERS
…unless it is.
Stacy’s breath hitches. She steps back from the railing, shaking, her pulse pounding in her ears.
Then – a flicker of movement. She snaps her head up, eyes darting across the balcony.
A shadow lingers just beyond the railing – twisting, stretching.
For a moment, it almost looks like a figure standing there. Watching. Waiting.
Then – it’s gone.
The wind dies down.
Stacy stumbles back, shaking. She slams the balcony door shut – locks it. She doesn’t turn her back on it. She backs out of the room, gripping the torn sleeve in her fist. In the reflection of the glass, something shifts in the darkness.

[Patricia Semler]

PAT’S LEVEL 1 HORROR EMOTION SCENE
What I learned doing this assignment is to add depth to a simple scene to instigate the tension and set up questions.
INT. SOUTHERN MANSION – PARLOR – DAY
Old world elegance stripped to the bare walls. Signs of vandalism and poverty in what’s left of the furnishings.
In the center of the room 3 Cuban women form a triangle facing one another. Dressed simply in white dresses and head scarves they’re focused on a vintage nightstand holding a tiny altar of candles, flowers, ribbons and a pair of unworn baby shoes.
Holding hands, heads bowed the women chant a prayer/hymn/spell in corrupted Latin.
Wary, frightened eyes dart back and forth.
Fingers cling against nerves.
Lips quiver as voices crack with strain.
Surrounding the trio a full dozen hard-faced shotgun-toting white men. Uncomfortable with the ceremony but steadfast.
A pastor clasps his Bible as a defense at heart level, rabid hate pinching his well-fed face.
The chant crescendos. The Priestesses drop their hand holds to tap the altar with reverence.
PRIESTESS ALVA, slightly older than the others, picks up a ribbon, ties the shoes together. She nods to the others.
BENITA plucks up a fresh ribbon. Shaking hands add another loop around the shoes then knot.
PIA cries silent tears as she takes the last ribbon and binds the bundle tightly.
They each place one hand on the bundle.
PRIESTESS ALVA
Restless spirit, we bind thee to this token and this house. May your rage never again venture beyond these walls. This we do in love ..
The pastor grunts disapproval. Alva’s eyes come up, level a frosty disregard in return.
PRIESTESS ALVA
And service to our Lord and Savior and the community we are pledged to protect. Bear us no ill will, sister. We forgive you.
She produces a tiny knife from her girdle. It passes hand to hand, nicking a fingertip to draw a bead of blood to be smeared over the ribbons.
Alva takes up the bundle, presents it to the sky. Ignoring the hostile men, the women fall into a line, advance to a gaping hole in an inner wall.
She secures the bundle down deep inside. The three are jerked backwards and men step in to nail the missing wall panels back in place.
Only then does the pastor drop his rigid pose. He advances to consecrate the wall with Holy Water.
The women are herded out of the room.
EXT. SOUTHERN MANSION – FRONT PORCH – DAY
The group marches to a long ditch. The women stop on the edge, look down into what can only be a grave.
That’s the last thing they see. Men step up to stab each woman in the back. Benita and Pia fall into the pit.
Alva manages to keep her feet, turns on the group.
PRIESTESS ALVA
Your betrayal and theft will avail you nothing. By this blood you shed today these fields will never again yield a bounty. This house will never harbor a white family. You.
She catches her oozing blood, flings it in the Pastor’s face.
PRIESTESS ALVA
May God curse your family to the last generation.
She steps backwards into the pit. Wind rises and a WAIL rattles tree limbs. The men turn tail and run away.

[Barry Barry Durbin Durbin]

Barry’s Level 1 Horror Emotion Scene
What I learned is the value of including your horror emotions in your outline!

EXT. STREAM NEAR WOODS. DUSK
A shallow stream runs through the dense woods. Just a glimmer of light peaks through the canopy.

A Native American male guides a small group of hikers crossing down the stream as they make their way through the forest. The sound of branches cracking can be heard in the woods.
The hikers gaze in the direction of the sound with a concerned look.

HIKER 1
What is that?

The guide focuses straight ahead. He keeps moving forward. He doesn’t respond to the question.

The sound gets louder and closer.

HIKER 2
What the hell is out there?

GUIDE
Keep moving.

They begin to move a little faster. Swinging their heads around keeping an eye on the direction of the sounds.

Suddenly, somewhere in the woods, an unseen creature lets out a long, earth-shattering scream. They all are frozen with fear. We see terror on their faces. They are silent for an extended time. The hikers slowly turn their head toward the guide.

The guide makes eye contact with them.

GUIDE
It’s the Hairy Man.

Terror still grips their faces. Suddenly, they catch a glimpse of something out of the corner of their eye. They turn, and just as they begin to scream…the screen goes black.

• This reply was modified 2 months, 3 weeks ago by  Barry Barry Durbin Durbin.

[Nick Walsh]

Nick’s Level 1 Horror Emotion Scene

What I learnt: Although I deviated from a character’s assigned traits, he chose a path of his own.

CLOSE-UP
A hairy, arthritic claw-of-a-hand nonchalantly scoops an eyeball from a screaming victim’s face with a piece of black obsidian. He mumble-sings in a strange, guttural lingo while he works–oddly to a familiar tune that evidently pre-dates history:
SUPER: “BEST-GUESS TRANSLATION: ‘Twinkle, twinkle, little eye, Now’s the time to say goodbye….’”
EXT. DESERTED OFF-ROAD AREA – DAY
A cargo van is parked. The back doors are open. SIX YOUNG BIKERS are unloading and assembling their mountain bicycles and backpacks in a spirit of expectation and camaraderie.
FRANK (24) pumps air into LEE’s (22) tire.
FRANK
Keep’m just under thirty pounds. Less than that you’re draggin’ ass; more, your slamin’ your balls.
LEE
Got it.
MANNY (19) and his best friend, SAMMY (18), do bike wheelies and practice tricky maneuvers in the parking, raring to go.
JOE (25) checks the map and looks off to the rocky foothills. GENE (22) stands beside him holding a pocket notebook.
JOE
This is as good a place as any to start mapping.
GENE
Starting Point “A.”
He scribbles in the notebook and pockets it.
Joe addresses everyone.
JOE
Okay, guys. Gather up.
Frank attaches his pump to his bike. Lee locks the van doors. Manny and Sammy side-skid to a dusty stop in front of Joe.
JOE
Manny, you and Sammy are the trail blazers. Find challenging jumps, but be careful. We don’t want any injuries that require a helicopter to bail us out. Everybody, make sure your GoPros are on.
Everyone checks the GoPros attached to his helmet.
JOE
(to Manny)
Don’t get too far ahead.
MANNY
Got it, boss man. Let’s go Sammy.
They take off pumping into the foothills. Gene calls out.
GENE
Watch out for Bigfoot.
JOE
(to Frank, Lee, Gene)
Okay. Here we go.
They petal off.
SERIES OF SHOTS
–Manny and Sammy on top of a steep, winding grade, looking down, gauging it.
–Manny and Sammy whizz down the twisting animal path with such reckless speed–through their GoPros–that we think they’ll crash at any second–nerve-racking to say the least.
–Manny leaps off a natural mogul on the hillside and lands thirty feet beyond onto another rise.
–Lee, reluctant to make a jump, is coaxed on by Frank. Lee crashes, but gets up, laughing.
–Everybody watches as Manny leaps off a short cliff, does a gainer in the air, and lands perfectly.
–Sammy turns his bike 360 degrees in mid-air and lands.
–Gene taking notes in his notebook.
EXT. CAMPSITE – NIGHT
Manny and Sammy are attached to their iPhones playing a video game. Joe is making notes on his map and reviewing GoPro footage. Gene, Frank, and Lee are playing a dice game. Lee shakes the cup of dice and spills two out onto the ground. He rolls a double six.
LEE
Boxcars!
Lee rakes the dollar bills in from the ante pot.
FRANK
Not again. I’m goin’ broke.
GENE
Lucky bastard. Let me see those dice. They must be loaded.
LEE
You oughta know. They’re yours.
They all laugh as Joe kneels to join them. He tosses a dollar into the ante. The others do the same.
JOE
Good ride today, guys. I figure we mapped out nine miles.
GENE
And got some fantastic GoPro shots. It would make a great documentary.
LEE
I’ll invest in that.
Gene shakes the cup and rolls the dice. A perfect roll: 3, 4, 5, and double six.
FRANK
I don’t believe it. Now I am broke.
(off, to Manny)
Hey, Manny. Loan your poor brother a Jackson, would ya?
Manny is concentrating on the game he’s playing with Sammy on his iPhone. Seemingly expecting the request, he removes a rolled twenty from his shirt pocket and tosses it to him.
MANNY
Here. Figured you’d ask.
FRANK
Thanks, little bro. Love your stinking ass. I’ll get you back when we get home.
MANNY
Yeah. Sure.
He’s already back to concentrating on the game.
JOE
Tomorrow we should arrive at the bar off the old logging road. It will make a great oasis for mountain bikers in the future. Just the right distance.
LEE
It’s a biker bar. They may want it for themselves.
GENE
They’ll love us. We bring in the ka-ching.
EXT. RURAL BAR – DAY
An isolated bar sits off an old logging road. A dozen or more Harleys are parked in front of it. Our mountain bikers wheel up and prop their bikes against the side of the building.
JOE
It’s hotter than a fired pistol barrel out here.
LEE
I hope they got air in there. I’m roasting.
GENE
I’m thirsty for a cold one.
INT. RURAL BAR – DAY
A local MOTORCYCLE CLUB wearing muscle shirts that say BIKER BROS stand idly around in scattered groups sullenly observing Joe, Gene, Frank, Lee, Manny and Sammy bop in, sweaty and high off the adrenalin of aggressive biking in the heat.
They aim for the corner of the bar, oblivious to looks from the bikers.
The BARTENDER washes glasses and watches them approach.
GENE
Hey, barkeep. Give us five pints of your coldest, would ya?
(to the others)
Roll the dice to see who buys?
He removes a die from his fanny pack and rolls. He rolls a 5. Joe takes it and rolls a 4. Lee’s turn; he rolls a 5.
GENE
Got a tie goin’.
Manny rolls a 2. Sammy rolls a 2.
GENE
You guys are out for sure.
Frank rattles the die in his hand, blows on it. He rolls a 6.
GENE
Looks like Frank’s buying…Thanks, Frank.
FRANK
This isn’t my lucky day.
The bartender sets the drinks down.
BARTENDER
That’ll be fifteen dollars.
Frank counts out 15 dollars and gives it the bartender. Manny and Sammy go over to a high table by the wall and play with their phones.
FRANK
That leaves me with a dollar.
GENE
That’s just enough to play a game of Ship, Captain, Crew. Whaddaya say? Maybe your luck will change.
FRANK
Okay. Why not get wiped out again.
GENE
(to Lee and Joe)
You guys want in?
LEE
Hell, yes.
JOE
I’m in.
Gene brings out his dice cup, tips out the dice, and gives each a die. They roll together. Lee rolls the only 6. Gene gathers the dice up and returns them to the cup.
GENE
Lee goes first.
Lee rattles the cup and pours the dice out. One scampers off the bar and lands at the feet of the bartender. The bartender picks it up and slams it onto the bar.
BARTENDER
Keep it on the bar.
LEE
(to the bartender)
Sorry about that.
He finishes his turn, but doesn’t qualify to win. Joe rolls his turn. He qualifies with a 5.
Gene rolls. A die bounces off the bar and lands in the wash basin. The bartender draws it out with a scowl and slams it on the bar in front of Gene.
BARTENDER
That’s it. No more dice on the bar.
Gene looks over to the pool table and sees that it is not being use.
GENE
Would you mind if we played on the pool table? We’ll give you a dollar for every round. Whaddaya say?
BARTENDER
If my regulars don’t mind, it’s okay with me.
Gene walks over to the pool table and confidently asks anybody:
GENE
Mind if we use the pool table to play dice? You can join us if you want.
The bikers look at one another as if to say, Why not? A big, mean-looking biker wearing an eyepatch nods, Okay.
Joe blocks the pool table pockets with cue sticks and the game is on. Joe, Frank, Gene, and Lee take turns rolling the dice. Frank throws the dice.
FRANK
Boxcars! Finally, my luck is changing.
Frank gathers in the ante pot. By now, the bikers show interest and have gathered around the table.
Our guys toss their dollars into the ante. Five Biker Bros toss a dollar into the pot.
LATER
Frank happily rakes in a pile of dollars, removes one for the house, and adds the others to a huge wad of bills that he sticks into his bulging fanny pack. The Biker Bros suspiciously slide their eyes at each other.
JOE
I’m out.
FRANK
(to Joe)
Order us another round.
Frank gives him a few bills. Joe staggers over to the bar. A DRUNK is sitting there by himself observing.
JOE
Four more, bartender.
DRUNK
You know, I’ve been watching you guys. You’re making a couple of huge mistakes.
JOE
What?
DRUNK
You boys could end up with broken bones if you keep it up. I was in the hospital for three months with broken legs because of them. You don’t want to dis them, like you just did, or you will regret it.
This gets Joe’s attention.
JOE
What are you saying?
DRUNK
First off, I’ve yet to see a Bro win and you’re taking their money without buying them a drink, too. That’s a big, big dis–the bone breaking kind, as I well know.
JOE
We weren’t thinking, I guess. Figured they’ll buy their own when they win.
DRUNK
You figured dead wrong there, boy.
JOE
What’s the other thing?
DRUNK
Your guy is flashing his wad in front of them. These assholes love money and won’t let you leave until you have none, one way or the other.
Joe looks over to the pool table as Lee giddily rakes in a pile. The Bros are visibly restless, looking more sinister, as if ready to pounce at a command.
JOE
I see your point.
DRUNK
You best be gettin’ outta here, pronto.
Joe looks very worried, now.
JOE
We’re on bicycles. We wouldn’t get far.
DRUNK
No, you wouldn’t. For fifty bucks I’ll get you out of here.
Joe’s PTSD is kicking in.
JOE
How?
DRUNK
My camper is parked next to your bicycles. Put them in the back. You better hurry. It’s unlocked.
Suddenly, an angry outburst at the pool table. Joe turns toward it.
The Bro with the eyepatch has grabbed Lee’s arm.
BRO WITH EYEPATCH
You are cheating us out of our money.
Lee stammers.
LEE
I-I-I’m not.
GENE
Let us buy you a drink.
JOE
(re: drinks; to bartender)
Give those to the Bros at the table. Thanks.
Joe turns back to the drunk.
JOE
You got a deal.
He goes over to Manny and Sammy at the high table.
SAMMY
Whazup?
JOE
We gotta get outta here, fast. There’s a camper truck parked next to our bikes. Throw our bikes into the back. We’ll be out as fast as we can. Go out the back door.
MANNY
Who’s camper is it?
JOE
The guy at the bar is going to drive us outta here. Now, go!
Manny and Sammy hurry off. Joe walks over to the table.
GENE
(to Bro w/ eyepatch)
We’ve played fair and square. It’s the luck of the dice. What can I say?
JOE
What’s going on?
BRO WITH EYEPATCH
You ripped us off and we want our money back. We only be askin’ once.
JOE
Give us a minute, would ya.
Joe pulls Lee, Gene, and Frank away and huddles with them.
FRANK
What the fuck’s goin’ on?
JOE
Don’t ask questions. Do as I say, now, or we’re all going to end up in the hospital. Gene, give me your money wad.
Gene opens his fanny pack and removes the wad.
JOE
Take out fifty.
GENE
Why fifty?
JOE
Don’t ask. It’s going to get us outta here alive.
Gene counts out fifty.
JOE
Give it to the guy sitting at the bar and leave with him. Hurry.
They give him a confused look then take off.
BRO WITH EYEPATCH
Hey, where you goin’?
Joe holds up the wad of cash and stops the Bros from pursuing the others as they exit the back door.
JOE
We talked it over and decided to give you back your money. Are we square?
EXT. BAR – PARKED VAN – DAY
The bikes are loaded. Manny and Sammy wait anxiously by the open side door of the van. The drunk, Gene, Lee, and Frank fly out the back door of the bar.
DRUNK
Quick everybody in.
They quickly cram in. The drunk fires it up and peels away as some Bros run out of the back door of the bar. He does a gravel-spitting doughnut in front of them and takes off.
INT. VAN – SAME
As everybody watches:
GENE
Hey! You’re forgetting Joe.
The driver knows better.
DRUNK
Don’t worry. We’ll pick him up at the front door.
EXT./INT. VAN – CONTINUOUS
As it skids to a stop in front of the bar. The front door bangs open and Joe flies out backwards and sprawls to the ground. He shakes his head to remove the cobwebs as a Bros steps out fists doubled.
The drunk rolls down his window.
DRUNK
Hurried up! Get in!
Joe scrambles up and staggers to the open door of the van and is grabbed by a set of arms and pulled inside.
The drunk lights a pair of cherry-bomb firecrackers and tosses them at the parked motorcycles.
BOOM! BOOM!
He peels off down the road.
DRUNK
Yeee-haa!

[Deborah Daughetee]

Debbie’s Horror Emotions

I learned to really pay attention to which emotions I'm evoking in my story, and where I'm failing. I chose to write the first scene (the prologue) as I think it displays the 3 emotions of this lesson. It was interesting to stop and thinking about the scene from the point of view of emotions and helped to build a better scene.

Outline of the Revenant Queen Prologue Scene

EXT. RIVERBOAT – UPPER DECK – PADDLEWHEEL – DAY

Captain Graves chews out deckhand for the seaweed on the paddlewheel. The deckhand is apprehensive and confused because the seaweed is unnatural. The captain orders him to clean the wheel.

EXT. LOWER DECK – PADDLEWHEEL – DAY

The deckhand is trying to clean the paddlewheel. He is still anxious as he leans out over the water, then surprised as a tendril shoots up out of the water and grabs him.

He surfaces and is shocked when the seaweed falls on him, wrapping around him and pulling him under the water for the last time.

First Scene:

FADE IN:

EXT. RIVERBOAT PADDLE WHEEL – DAY

CAPTAIN HARLAN GRAVES, late 40s, wears a faded navy or black frock coat with brass buttons dulled by years of river mist. A wide-brimmed hat shades his weathered face, and a neatly knotted cravat peeks out from a sweat-stained collar.

He stands with a DECKHAND in his 30s, who is dressed in a loose, sweat-streaked linen shirt with rolled-up sleeves and patched canvas trousers held up by frayed suspenders. A battered slouch hat shields his eyes from the sun.

Graves points at the paddlewheel, which is covered with a strange seaweed.

CAPTAIN GRAVES
I want the seaweed cleaned off this wheel by the time we’re scheduled to set sail. The neglect it took for this…

DECKHAND
But Captain, I swear these weren’t here this morning. I’ve never seen seaweed like this. It isn’t — natural.

CAPTAIN GRAVES
I don’t want to hear your excuses or your silly superstitions. Now get in the water and do your job, or you won’t have one.

Captain Graves storms off. The deckhand stares at the seaweed, then at the water; nothing moves. The deckhand turns away, muttering under his breath. It’s clear he doesn’t want to get in the water.

EXT. RIVERBOAT – LOWER DECK – NIGHT

The paddlewheel looms silent, half-submerged in the dark water. The deckhand crouches at the edge of the deck with his sleeves rolled up, gripping a boat hook. He leans out, snagging a tangle of seaweed on the wheel.

He pulls back, but nothing budges. He pulls harder, and the mess gives suddenly. His foot slips on the wet and slippery deck, and he loses his balance. Just as he regains it, a muddy tendril shoots up out of the river and wraps around his wrist. A strong yank has him off his feet and in the water.

He surfaces for a brief moment, but all the seaweed on the paddlewheel comes to life and falls onto him, forcing him under the muddy water. After a moment, the deckhand, along with the seaweed and the muddy tendril, disappears. The deckhand’s hat bobs on the waves.

• This reply was modified 2 months, 3 weeks ago by  Deborah Daughetee.

[Ira Drower]

Horror Emotions – Lesson 10
I Lewis Drower’s Scene using Apprehension/Anxiety, Surprise, and Shock
What I learned from this assignment was that using these three emotions early in the story can add to the audience’s anxiety and fears for the characters in the story.
Scene – Dinner at the Group Home
INT – GROUP HOME – NIGHT
Leah and Grace set the table in the group kitchen as Rob finishes preparing chili for dinner. Skeeter and Tony place the folding chairs in position. Becky sits quietly in a corner staring at the table.
LEAH
So, have you thought about what we want to do this weekend? It is the last weekend we will all be together before school starts.
ROB
We could binge watch Kobra Kai?
GRACE
We need to go somewhere, do something. I’m off this weekend and want to be outside. When was the last time you went out, Rob?
LEAH
Yeah, Rob. You are looking mighty pale these days.
GRACE
Speaking of pale, anyone hear from the Princess?
SKEETER
She sent a text. She is on her way with Jack.
LEAH
Ugh. He is such an asshole.
GRACE
She is always getting out of doing chores around here.
SKEETER
You know, I thought I saw Caretaker today. He was in the stands at Becky’s swim meet.
TONY
I swear I saw him on a bus.
LEAH
I thought I saw him, too.
GRACE
Me, too.
SKEETER
That dude was scary.
TONY
Are you saying that because he was black?
SKEETER
No, uh. No. It’s not a black thing Tony. Um…
TONY
No, I’m just messing with you. You’re right. He was frigging scary.
A large shadowy figure appears at the doorway. Skeeter, Leah, and Becky freeze and gasp as they stare at the figure. Diane’s boyfriend, Jack, enters the kitchen followed by Diane.
LEAH
Oh, man you guys scared the crap out of us.
GRACE
Missed out on chores again.
DIANE
Jack brought beer.
TONY
You know we are not allowed alcohol in the home, Diane.
Diane
You can’t make an exception to this one time?
TONY
It’s the rule. If we don’t follow it, we can’t live here. OK, let’s sit down and eat so we can discuss this weekend’s activity. Jack, can you set them on the side for now?

Rob serves the bowls of chili to everyone as they take their places at the table.
DIANE
You know, I thought I saw him on a motorcycle as Jack and I were driving here.
LEAH
That’s hysterical, Caretaker as a biker. Was he wearing any biker colors?
GRACE
Maybe he was delivering flowers.

The group breaks out in laughter except Jack.
JACK
Who’s Caretaker?
TONY
He was the groundskeeper at Miss Marie’s Gardening camp we all went to as kids. He didn’t say much but when he did you jumped.
SKEETER
Rumor has it the camp closed because he killed Miss Marie and buried her in her own garden.
GRACE
We should totally go there for the weekend.
ROB
Are you crazy it’s a murder scene.
LEAH
No murder, Rob. That place was shut down by the state after too many kids ran away from the camp and disappeared.
JACK
What did you guys do at the camp? Plant flowers? Mow the lawn?

Stunned silence from the group.
TONY
I honestly can’t remember a thing about what we did at the camp. Just remember Miss Marie and Caretaker.
BECKY
I remember her nursery rhyme. Trees will sway and flowers will swoon. Plants erupt under the blood red moon.
LEAH
Not too creepy, Becky. Take a break.
GRACE
The camp is supposedly abandoned for years. We could go camping and hiking in the area.
TONY
We could bring our bikes, too.
JACK
So, you all want to visit a summer camp you went to years ago, but no one can remember a thing about it?
DIANE
I’m in. Maybe being there will help us remember the fun we had.
ROB
Or not.

The house director, JOHN, a heavyset man in his thirties enters the kitchen and joins the group.
DIRECTOR JOHN
So, last weekend before everyone split up for school or work. Diane will be leaving us for her 1st semester at USC. Skeeter is back at forestry school. Some of you will still be here. You have any plans for your last weekend together?
GRACE
We’re going to Simi Valley to visit our old summer gardening camp.
DIRECTOR JOHN
You know there isn’t cell service in that area. And we are expecting some wicked weather. You sure you want to go?
TONY
We will pack all the necessary gear. It will be nice to disconnect from the real world for a few days.
DIRECTOR JOHN
Just make sure you look out for each other.

[JD Oppen]

JD’s Level 1 Horror Emotion Scene

What I learned doing this assignment is how these emotions start to make the scene feel more real, like a horror film. Cast is headed into something that’s not a great idea for them.

First draft of a scene from my outline:
EXT – HIGH SCHOOL BLEACHERS – DUSK
The goth couple suddenly pop up from under the bleachers. They startle the others. Their tattoos, piercings and overall looks are disturbing: SPIKE (Steven) with his mohawk and TRACE (Tracey) with a half-shaved head, both pale white and Trace with bright red lips.
SPIKE
We think all you little suck-asses should stay home.
BULL
What the fu–?
Bull snaps.
BULL
You little demons have been under there all this time?
He lunges toward them, but Jeff grabs his jersey, pulls him back. Bull makes a couple tough-guy gestures at the couple, a fist and a slice across his neck, then sits back down.
JAZZ
Maybe this isn’t such a good idea. Maybe we should go when the bears are hibernating.
Bull rolls his eyes.
JEFF
Suck it up. You play a wussy sport and now you want to wuss out on what will probably be the most fun we’ll have all year?
JAZZ
Anytime you want a one on one on the court…
Bull makes like he has Jazz on his hands and knees from behind, pulling hair and slapping his ass–
BULL
I’ll give you some one on one.
JAZZ
You really are a dick.
BULL
Maybe so, but I’m a ‘big’ dick.
JAZZ
Touche.
Bull looks puzzled.
BULL
Don’t worry crybaby’s, I’ll protect ya’s. From bears AND from Freakazoid.
Makes a Hulk Hogan muscle pose at Angelo.
Dina gives Bull a dirty look.
BULL
(refers to his school team)
Go Crushers!
He and Jeff high-five. Angelo shakes his head.
DINA
(To Angelo)
They’re assholes.
JAZZ
Okay. Fuck you, bitches. I’m in.
BULL
Party!
JEFF
It’ll be a blast. We’ll have the whole place to ourselves.
SPIKE
Well, yourselves and the bear that mutilated an entire fam—-
(apologizes to Angelo)
Sorry, dude.
Violet is frightened. Even Candace looks up from her cell phone, disturbed.
Bull points at Trace.
BULL
Why doesn’t whatever THAT is come along and ward off the bears for us.
Spike lunges at Bull. The others are shocked, expecting a brawl. Jeff and Trace grab them both.
JEFF
That’s enough.
TRACE
He ain’t worth it.
The others are a little uneasy, as Spike and Bull sit back down. Bull quickly reaches into his big football duffle bag, Spike and Trace keep a close eye on him. Bull pulls something out, the others jump! It’s only a bottle.
Bull holds up a fifth of rum. The bottle is passed around.
The bottle comes to Angelo.
ANGELO
I can’t. My medication.
VIOLET
It’s experimental anyway, isn’t it?
Dina gives her a look as if she had told Violet that in confidence.
BULL
You and your experimental drugs. You better not be a downer on this trip, Freak.
Dina gives Violet another dirty look, takes a swig of the rum.
JEFF
We’re always out a little early on the last day of school, so bring your shit with you. We’ll leave from here tomorrow, soon as we’re out.
They continue to pass the bottle around as Spike lights up a joint.
BULL
That’s what I’m talkin’ about. Yeah!