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Lesson 10
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Lesson 10: Level 1 Horror Emotions
Subject Line:(Huey J. Williams) Level 1 Horror Emotion Scene
What I Learned:
Its fun and not so difficult to create Horror Stories, the step by step
method that ScreenwritingU teaches makes everything understandable,
educational, and straightforward. The one step at a time method.
THE PITCH:
A Group of High School Graduates celebrate, before leaving for college
with a camping trip in the woods, that they will never forget.
TITLE: “THE THINGAMAJIG”
GENRE: HORROR
FADE IN:
EXT. BLACK FOREST – NIGHT
A forest near a lake illuminated by a full moon, the sounds of desperate
HISSING, and INJURED WOLF GROWL, QUICK THUMPING HITTING THE GROUND, slithers
threw the bush in hot pursuit of a EIGHT POINT BUCK.
The Buck SHRIEKS in pain when something in the bushes rips off it’s feet and
begins devouring it, bones CRUNCHING SOUNDS.
CLOSE ON – Just the monster’s mouth chewing is seen, as it takes big bites of
dear meat.
The forest goes silent.
CLOSE ON – SCREECH OWL SHRIEKS, as he watches from a tree.
INT. MOTORHOME – NIGHT
ALDEN drives the motorhome, SHAD his dog liying at his side CORY rides shotgun,
GRAM, ASHLEY, CATE, and ZOEY sit together at the table, all close friends
throughout High School.
Alden pulls up and stops at a sign that reads: “Black Forest Keep Out”
ALDEN
Keep out, my Dad and I have spent many hunting
seasons here, we’ve captured some of the bigest
bucks in the region, perfect dear hunting.
ASHLEY
Ok, lets go home, I don’t feel like getting shot
with rock salt. Do you remember what happend when
we raided that cherry orchard last sumer.
CORY
It’s probably a prank, pay it no mind, we’re here
lets go camping.
CATE
Cory, every since we’ve been together you always say
that prank bit, and you’re never right.
GRAM
Lets go for it, what do we have to loose, all they
can do is kick us out, if they find us.
ZOEY
Cate, I agree, I don’t like going to stange places
uninvited, especially in the woods. Its no telling (Apprehension/Anxiety)
what we may find, or run into, there could be GHOSTS,
MONSTERS, maybe even a MAD KILLER.
Everyone in the motorhome starts LAUGHING.
ALDEN
Cate you need to chill out, I think you watch to much TV.
Then it’s settled!
They continue to the camp sight by the lake.
EXT. CAMPSITE BY THE LAKE – NIGHT
Under a full moon, Ashley, Alden, and Shad pitch their tent and climb in.
Cate and Cory pitch their ten and climb in.
Zoey and Gram pitch their tent and climb in.
In the bushes hiding the monster watches, not making a sound.
Gram decides to go for a jog threw the woods, his nightly routine.
Gram retuns to camp and notices the motorhome is smoking.
GRAM
Hay guys the motorhome is smoking!
The Group jumps into action rushes into the motorhome putting out the
electrical fire.
ASHLEY
Now we’re trapped out in the middle of nowhere,
what’s next, someone gets lost, or maybe killed. (Apprehension/Anxiety)
ALDEN
Ashley, don’t be such a baby. Nothing like that
will happen, Shad and I will protect you.
They put the electrical fire out, return to their tents, all is
quiet.
CORY
I’ll fix the electrical problem in the morning.
Suddenly, there is a LOAD HISSIN followed by a SICK WOLF HOWL! (Surprise)
Everybody jumps out of bed.
EVERYBODY
What was that! What the hell was that!
Shad begins BARKING and GROWELING, then he runs out the tent in hot pursuit
into the woods after the monster.
Alden grabs his rifle and follows shad and tries to catch up into the woods.
Everyone in the camp, Ashley, Cory, Cate, Zoey, except for Gram are gathered
together in terror huging each other.
Alden returns with only Shad’s Tags and some of his fur.
Alden hugs Ashley almost in tears.
ALDEN
Shad is gone, he die protecting us, all I found was his
tages, and fur, his fur was scattered all over the ground.
GRAM
Shad was an excellent hunter, I bet he went out fighting.
ALDEN
There’s more, while I gathered Shads things, I fealt like
I was being watched by something hiding in the (Apprehension/Anxiety)
bushes. I couldn’t see it but it was there
watching me. I kept my rifle ready as I left.
The Group hugs each other tighter as Alden told the story of what he saw.
GRAM
Alden, how many extra guns did you bring?
ALDEN
The hand gun on me, my rifle, there is a hand
gun and rifle in the motorhome.
GRAM
I think we should leave the tents set up, but
everyone sleep in the motorhome tonight.
ALDEN
I agree.
INT. MOTORHOME – NIGHT
The Group make their way into the motorhome and bed down for the night.
Zoey tries to make a call home on her cell phone, no signal.
ZOEY
There’s no signal out here, I can’t make a call,
now we’re really screwed. Gram, if anything happens (Surprise)
to me, I’ll, I’ll, you better protect me.
GRAM
As long as you’re with me love, I’m your
Superman, you know that.
Gram, and Alden armed decides to share watch duty for the night.
The monster is watching the motorhome in the bushes.
The monster enters the camp, ransacking the tents, then goes to
the motorhome and peeps threw the bathroom window.
Zoey is in the bathroom bushing he teeth, when she spot the monster’s (Shock/Hysteria)
big eyees enlarged face staring at her, she SCREAMS and runs out of
the bathroom.
ZOEY
There’s a monster out there, he’s peeping in
the bathroom window!
Zoey, Ashley, Cate begin SCREAMING as LOAD as they can!
The monster jumps up and downon the motorhome HISSING, HOWLING LIKE AN
INJURED WOLF, shaking things up.
THE MONSTER
FEED ME! FEED ME! over and over.
Alden, Gram, Cory, go into action each armed, they make their way out of the
motorhome they get their first look at the monster, and begin shooting. (Shock/Fear)
They make multiple hits, but it doesn’t kill it, as it runs away into the
darkness.
Alden, Gram, Cory are sweating, knees kocking, wide eyeed and they can’t believe
what they just saw.
GRAM
What the hell was that!
ALDEN
The Girls are hysterical, but they must know what we are
dealing with. We have to come up with a way to kill this
THINGAMAJIG, what ever it is.
CORY
It looked hungry, its either us or it, the
Thingamajig, that’s a good name for it.
That’s what it looks like a Thingamajig.
We’ve learned something about it tonight,
bullets won’t kill it, mybe fire will.
Alden, Gram, Cory head back into the motorhome, they have some explaining to do
with the girls.
ALDEN
I wish I had a better way to tell you this,
but we’re being hunted, by something we have
named the Thingamajig. We promise you, we’ill
protect you, we have a plan.
Later that evening the Thingamajig strikes again this time Cate, Zoey, and Ashley all
get a look at it, as it raids the tents looking for food or one of them.
Ashley, Cate, Zoey become hysterical, crying, sweating, Zoey soil herselves.
Alden, Gram, Cory attack the Thingamajig off with fire, (molotov cocktails).
In the battle Gram get to close to the Thingamajig, it grabs him and takes him away
into the forest.
Alden and Cory follow Gram and the Thingamajig to it’s hideout.
The Thingamajig is half way done making a meal of Gram.
EXT. THINGAMAJIG’S HIDEOUT – NIGHT
The Thingamajig hideout, a near hole in the ground.
Alden and Cory arrive and begin bombing the Thingamajig with molotov cocktails setting
refuge a blase.
The Thingamjig falls to the ground HOWLING as it burns.
The Thingamajig rise and runs towards Alden, and Cory, they fire several shots, hitting
it then it falls and dies.
Alden and Cory take a close look of what’s left of Gram’s burned and half eaten body, they
bury Gram’s body before makeing their way back to the motorhome.
EXT./INT. MOTORHOME – NIGHT
Ashley, Cate, Zoey stand at the motorhome happy to see Alden, and Cory, but Zoey begins
crying.
ZOEY
Where is Gram! Where is Gram!
CORY
He didn’t make it. The Thingamajig killed him,
we were fighting and the Thingamajig grabed and
ran off, we tried to save him, he died trying
to help kill the monster, we buried what was left
of him. He was a very brave young man, and a true
friend. The Thingamajig is dead.
Zoey burst into more tears, Ashley and Cate comfort her.
ALDEN
Grab your things, we’re leaving, we’ll hike
to the nearest main road, hitch-hike back to
town for help.
ZOEY
Poor Gram, I miss him already.
ASHLEY
We all miss him, he and Shad gave their lives so
that we could excape being killed by that Thingamajig.
CATE
I hope there are no more of those monsters around.
CORY
You never know the way the world is changing, global
warming could be causing these things.
CATE
Cory, can we talk about something else, or maybe not
at all.
Together with Ashley, Cate, Zoey, Alden and Cory hike their way out to the main road,
where they catch a ride back to town for help.
EXT. BLACK FOREST – NIGHT
What appears as a falling star lights the sky, then lands near the lake.
CLOSE ON – A Thingamajig sureys the forest, grimaceing look on his face, looks at
the moon, HISSES and INJURED WOLF HOWLS into the night…
FADE OUT
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Tony J Scott Level 1 Horror Emotion Scene
I learned how to add Anticipation, Anxiety, Surprise and Shock to the first act and that these are emotions. These emotions are powerful tools and if I focus on them they help to add more depth to my story and the characters and the scene.
EXT. PEACHTREE STREET – NIGHT
Derrick steps off the Marta bus and rushes the 1600
Peachtree Street Plaza. He is looking forward to his
spa/aftercare treatment. He glances through the entrance
door as he reaches for the door handle. He notices a
woman carrying a guitar case enter into the same elevator
he needs to catch.
INT. EXPRESS ELEVATOR – NIGHT
Derrick presses the button for floor number ten. He
checks his cell phone and attempts to respond to an
earlier text from his boss. “yes I am at treatment
center”. He wants to add; “NOW LEAVE ME THE FUCK ALONE”
but he deletes that part and sends.
The elevator comes to a stop on floor six. It’s never
stopped before floor ten before.
The doors open. Derrick has no choice but to exit after
pressing the door close button a few times.
Derrick tries to hold the door open with his arm. The
elevator doors slam shut despite his attempts almost
catching his arm. He notices a tenth floor detour sign
pointing toward a crossing bridge. The bridge is dark,
unlit.
DERRICK CALLS OUT.
DERRICK
Hey! Is anyone there. I need to go
to the tenth floor, am I supposed
to follow this sign.
He thinks he sees someone walking past the bridge on the
detour side but they don’t respond.
INT. BRIDGE — NIGHT
The lights on the bridge turn on inviting Derrick to
cross. Derrick begins to cross. As Derrick walks across
the bridge he looks behind him. The lights behind him are
shutting off with a “schlunk” as quickly as he steps.
(CONTINUED)
DERRICK
Fuck me!
(He feels relieved
when he finally
reaches the elevator
at the end of the
bridge)
EXT. MONSTER ELEVATOR – NIGHT
Derrick presses the up button on the elevator panel. The
doors open immediately. Derrick jumps on, relieved even
more. Just as the doors to the monster elevator close,
Derrick notices the elevator across the bridge finally
open.
DERRICK
You mother fucker…
Derrick presses the button for floor ten. The elevator
begins to rise. Derrick watches as the each floor lights
up on the panel. Derrick leans back on the wall,
relieved.
The elevator stops on floor eight. Derrick thinks someone
is getting on the elevator and makes room. The doors
never open. Instead, the elevator swings upward and then
plummets downward.
Derrick panics and begins pressing all the floor buttons.
He looks for and pulls the emergency stop button. The
button comes off in his hand.
DERRICK
Shit! Shit! Shit!
The elevator stops abruptly. Derrick takes a breath and
notices the letter G lit up on the panel. He reaches for
the button marked floor ten and presses. Nothing happens.
The doors opens. He notices a light shining down from the
ceiling directly in front of the elevator but nowhere
else. He can see the daylight at what looks like the end
of the garage. The lights on the elevator go dark.
Derrick reaches for his cell phone as he steps off. The
doors shut behind him. He cringes from the sound. He
turns on the cellphone flashlight he looks left and can
see parked cars. He looks right and sees the same.
Derrick takes two steps to his left and trips and falls
over something. His cellphone slides away from him and
out of reach in the darkness. He feels around for his
cellphone but discovers what has tripped him.
CONTINUED:
(CONTINUED)
2.
It’s a guitar case. He remembers back to the woman he saw
carrying a guitar case earlier.
DERRICK
Hello? Hello? Miss, are you there?
Derrick looks toward the exit and thinks he sees someone
exiting on foot.
DERRICK
Hello, Miss, you forgot your
guitar.
No response. Derrick hears moaning and heavy breathing
and what also sounds like snarling. Afraid for his life
now, he heads toward the lit exit sign. He looks behind
him and sees a shadowing image quickly pass under the
light in front of the elevator doors.
DERRICK
I’m getting the fuck outta here.
Derrick notices an old Chevy Impala parked. He wants to
steal it so he can escape. He pulls on the door handle.
Suddenly car alarms begin to blare throughout the garage.
Derrick sees a shadow on the wall across from him.
Derrick looks toward a large Cadillac SUV and runs to
duck under it. His eyes search the garage from under the
SUV. Derrick feels both ankles grabbed and his body
snatched from under the SUV.
DERRICK
HELP!!
The MONSTER ASSISTANT subdues Derrick and renders him
unconscious. The Monster’s assistant drags Derricks
unconscious body to a white construction van parked in a
dark corner. He opens the door and tosses Derrick into
the back by his ankle. We see a few other unconscious
bodies previously stacked in the van. The Monster’s
assistant slams the doors shut.
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Bill Curley Horror Emotion Scene. Learned: These next three lessons will form the progressive patina of my screenplay. The crescendo of terrifing emotions will create a great , credible story. I am using my Inciting Incident for this lesson 10. EXT – Construction Site – Day. Forman Jim Sebieski, 31, toned and surveyor Tim Workman, 22, youthful talk outside next to a project trailer. SEBIESKI. Tim, we need these final figures to insure Plot accuracy. State is constantly on us. WORKMAN. You,d think Madison would have better things to do. Heading to the overlook for referencing. Workman walks briskly. Enters an old growth forest. SOBIESKI Tim, your walkie talkie. WORKMAN. Jeez, thanks boss. EXT-Thick Forrest- Day. Workman process to an overlook. A vast, ancient bog lies before him. He HEARS a slight rustling. WORKMAN Ah, who,s there? Damn <font face=”inherit”>chipmunks. Now silence. Set, s up transit. It happens again. This time closer and louder. WORKMAN. What the fuck. Who,s behind those birch trees? He looks around again. Listens. Continues survey. WORKMAN ( solo voce) Let,s see. Due north is.. Now a scary grunt. A huge animal perhaps. WORKMAN Stop fucking around . Show yourself you asshole. Grabs his walkie talkie. WORKMAN. Jim. do you copy? SIEBIESKI (O.C.) Go ahead, Tim. WORKMAN. There’s something out here stalking me. SOBIESKI. Tim, what are you talking about. Who,s out there watching you? Suddenly it appears. It,s a monster sized porcupine aiming at Workman. WORKMAN. Oh, fuck. God what is this thing? SOBIESKI. What the hell. What,s going on? WORKMAN. Christ, it,s a monster porcupine. …no. No! The beast rolls atop Workman. Huge quils </font>lance<font face=”inherit”> his body. He struggles. Thrashes about. SEBIESKI (O.C.) Tim! Tim! Only silence.</font>
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Sunil Pappu’s Level 1 Horror Emotion Scene
“What I learned doing this assignment is… although I’m familiar with using surprise and shock before. I learnt that sometimes apprehension can create intrigue in the most mundane things and is a powerful tool to spook your audiences.”
OPENING SCENE:
Apprehension: All three kids are blindfolded and playing in an abandoned mall. The walking stick sensor beeps…
Surprise: A sudden chill descends. A faint metallic rapid clicking sound… they stop to hear.
Shock: Daisy stumbles over a corpse with gouged-out eyes!
FADE IN:
INT. ABANDONED SHOPPING MALL – DAY
Shops inside the mega mall are destroyed and lie derelict and desolate.
Teenage twin boys play blindfolded with their younger sister, DAISY DONNER, 8, in a dilapidated play area.
DAISY
Come on make some noise both of you?
JASON DONNER, 16, the athletic twin swings his baseball bat around…
JASON
This is a stupid and dangerous game to play… blindfolded.
DAISY
Oh, I know where you are Jace… I will catch you!
She runs in his direction…
Crack! Daisy stumbles over something… A corpse with gouged-out eyes!
A sudden chill descends…
MIKE DONNER, the blind twin, uses his walking stick sensor to check for objects in his way… anticipating his watch to give an audio warning any moment…
MIKE
Daisy shh…
DAISY
Aah! Gotta… I will catch you too!
MIKE
(whispers)
Daise… stop… listen…
Daisy cuddles her body feeling cold.
Jason rubs his hands together and breathes out a cold wisp of air…
Mike’s walking stick sensor beeps…
JASON
Here we go…
MIKE
Jace. Stop!
They all go quiet… a faint clicking sound… metallic click… increases rapidly! They recognize it and…
Daisy stumbles into…
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Brian King’s Level 1 Horror Emotion Scene
What I learned… how far I have to go… by incorporating the exercise I was able to elevate the outline into an actual scene with subtext, frights, and a first draft to the two first scenes in the movie… baby steps, for sure.
EXT. MORTUARY – NIGHT
A cold wind billows the bloody nightgown on a WOMAN hanging off a tree, her lifeless body casts eerie shadows on the ground.
INT. MORTUARY – TESS’S BEDROOM – NIGHT
The dead air silence is broken by a pale young woman thrashing in her sleep, TESS, trapped in a night terror, wakes up SCREAMING, a man in a dark suit, FATHER, hovers at the end of the bed, concern etched over the deep lines in his face.
A deafening GUNSHOT shatters the dead air the silence.
Tess’s grip tightens as Father’s body jerks backward.
EXT. MORTUARY – NIGHT – continuous
Tess races out of the front door, eyes widening, heart pounding, her SCREAMS merge with Father’s heavy sobs as she races towards the woman hanging from the tree.
In a disheveled suit, Max stares in the distance, a smoking gun in his hand.
MAX
Coyote.
He follows a trail of blood from the woman’s nightgown into the darkness.
Father locks eyes with Max, they share a chilling moment of understanding.
Tess clutches the dead woman around the waist, refusing to let go, as something falls off the woman’s neck and lands in the dirt, raising dust–
–A silver chain with a teardrop-shaped pendant, a combination of cross and key—an Ankh, a symbol of life.
Tess drops to her knees, her trembling hands scooping up the pendant, tears mixing with the dust on her cheeks.
MM 1
INT. TESS’S BEDROOM – DAY
Somber, dreary light spears in an open window, Tess clutches a photo of a smiling beautiful woman, the same woman we saw hanging off the tree, dark mourning clothes are laid out on an unmade bed.
GOTH GIRL, Tess’s best friend, a goth with striking style, helps Tess dress for her mother’s funeral.
Tess approaches the window, her eyes fixed on a small group of protestors gathering outside. Signs read: “Suicide is a grave sin,” “Don’t violate the Sanctity of our graveyard.” “Keep the devil out of our graveyard.”
GOTH GIRL
It’ll be fine.
Tess lowers the blinds.
GOTH GIRL
I’ve got your back.
Tess embraces Goth Girl as a—
–Rock CRASHES through the window, Goth Girl ducks instinctively, but Tess remains rooted to the spot.
GOTH GIRL
Get down!
Tess, fueled by anger and ache, reaches for the rock, but before she can retaliate, the door flies open—
–Goth Girl jumps out of her skin.
Max fills the door frame.
GOTH GIRL
Don’t you ever knock?
MAX
Your father says it’s time to go.
Tess SLAMS the door in his face; her eyes burning with defiance, she turns to face the window once more.
GOTH GIRL
Don’t. They’re not worth it. Don’t worry. I’ve got your back.
She offers Tess a pearl droplet necklace and holds out her hand for the rock.
TESS
I’m wearing this.
She puts the Ankh, the pendant she found by the tree, around her neck, feeling its weight against her skin.
Father enters the room with a soft knock as Goth Girl adjusts the necklace on Tess.
FATHER
(to Goth Girl)
Excuse us.
GOTH GIRL
I’ll be right outside, Tess.
She brushes past Tess’s father and exits, Tess glares at her father, and tension drips off the walls.
FATHER
You’ll be alright.
TESS
Will I?
Her eyes burn with resentment.
FATHER
(off the Ankh)
Where did you get that? That belonged to your mother.
TESS
Now it’s mine.
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Frances Williams Level 1 Horror Emotions Scene
What I Learned doing this Assignment is How to write a scene using different emotions.
Apprehension
Enroute back to Base Camp Jake hears some moaning sounds coming from inside the cave, he goes to investigate and sees what looks like a man lying near the edge of the Cave, he turned to get help and he is sucked down into a hole.
Anxiety/Surprise
A search party is formed to look for Jake, John yells out, Jake, Jake they hear noises coming from the woods, they turned the corner to see Jake roaming around looking dazed and confused.oc
Shock
They hear screaming coming from the hills near the camp site, they turned the corner shocked to see Jake being sucked intro a Vortex.
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DEB STENARD’S LEVEL 1 HORROR EMOTION SCENE
What I learned in doing this assignment is: I keep saying, this is all like a reaod map. I’m having so much fun foloowing the map. No stress, just trying to watch my spelling mistakes!
EXT. WOODS BEHIND RESORT – DAY
CARL pushes his way through the thick underbrush, as LOUIS, EVABETH and AMBER struggle to keep up.
EVABETH:
Mr. Adderman. Wait! I wouldn’t go that way if I were you.
LOUIS:
This is his property, so he can walk wherever he wants. I guess Mr. Adderman knows where he is going.
Louis hurries to catch to catch up
AMBER:
Think he know he’s walking through a patch of poison ivy.
The two women trudge behind the two men.
AMBER:
So, which one do you think is the bigger douchebag- mine or yours?
EVABETH:
Don’t you like Louis?
AMBER:
I like vacations at luxury resorts and I don’t much care who brings me, as long as all expenses are paid.
EVABETH:
I’m not sure how I feel about Mr. Adderman. He sort of reminds me of my Daddy.
AMBER:
Do you love your Daddy?
EVABETH:
I hate him.
AMBER
You and I are gonna be friends.
Suddenly, there is a loud rustling in the bushes ahead.
Carl and Louis stop and the women catch up.
CARL:
What the hell is that?
LOUIS:
What is what, sir?
CARL:
That noise, you imbecile. Over there.
Louis is reluctant to investigate.
LOUIS:
Do you want me to go over and check?
CARL:
Yes. We’ll wait here.
Louis slowly starts to advance on the bushes.
EVABETH:
Louis, I wouldn’t go over there if I were you. Could be a skunk or a bobcat. Maybe a cougar or coyotes. We got wolves, and badgers, Even deer can be dangerous in the rutting season.
CARL:
What are you, recording a podcast? What the hell is the “rutting season”?
AMBER:
It means fucking.
The bushes are really shaking now. The women pick up big sticks. The men stand behind the women.
Suddenly, two baby raccoons come waddling out of the bush.
CARL:
Jesus, it’s nothing but a couple of raccoons. Louis, get rid of them!
Louis picks up his own stick and starts for the two babies.
EVABETH:
Louis, I wouldn’t go near them if I was you. Their mama is probably around here somewhere.
Louis reaches the two frightened babies and picks up one in his hand.
LOUIS:
What’s a tiny little trash panda gonna do to me?
A hiss, a snarl and the avenging mama raccoon launches herself onto Louis’ back, scratching and biting at his head. He screams and rolls on the ground, trying to get her off.
Evabeth grabs the squalling mother by the scruff of her neck and throws her into the bushes. The two youngsters quickly follow in her wake.
Louis is bleeding from several wounds.
AMBER:
We’d better head back and get those bites taken care of. They could become infected.
CARL:
I’m not done exploring. We don’t have to go back. Louis isn’t a pussy, are you, Louis?
LOUIS
No, Mr. Adderman.
The group continues to push through the brush.
CARL:
God, what is that stink? Louis, you didn’t crap your pants back there dancing with that bush rat, did you?
Louis’ pants are pee-stained.
LOUIS:
No sir, I did not crap my pants.
AMBER:
Tomato, to-mah-to.
But she hands him a bandana to bind his cuts.
EVABETH:
Mr. Adderman is right. There is a smell coming from somewhere up ahead.
AMBER:
That’s smells like something dead.
CARL:
How would you know what death smells like?
AMBER:
You don’t want to know.
CARL:
Ooh, tough girl. Oh Jeez, that wind is blowing that stick right in my face!
EVABETH:
Must be big to smell that bad.
CARL:
Louis, go check it out.
LOUIS:
Me, sir?
CARL:
You expect me to go? Or the women? If you need motivation, think of your paycheck on Friday.
Evabeth gives Louis her stick. Louis slowly advances forward, pushing the stick before him.
CARL:
Ha! He looks like my grandmother going to the toilet at night.
AMBER:
Adderman. Adder. An adder is a kind of snake, isn’t it?
Carl scowls at her.
CARL:
Dammit Louis, have you found anything?
LOUIS:
(calling over his shoulder) No , sir, but the smell is getting stronger.
Suddenly, Louis drops completely out of sight. The three others are frozen.
AMBER:
What the hell happened?
EVABETH:
There’s a lot of old sinkholes and collapsed caves around these parts. Maybe he fell in one.
CARL:
Well, go find him!
The women start to move forward, slowly and carefully.
AMBER:
(muttering) Carl isn’t a pussy, are you, Carl?
The women walk forward and suddenly, both of them cry out in fright. Carl rushed to them.
CARL:
What is it?
They are looking down into a partially hidden “tiger trap”. A natural hollow into which someone has propped up sharpened sticks in the bottom.
Louis is hanging onto some exposed roots coming out of the sides of hole, desperately trying not to fall.
LOUIS:
(whispering) Please. Help. I’m slipping.
Amber lies down on her stomach and reaches down to grab one of Louis’ wrists.
AMBER
Adderman, grab my legs and pull me back! I can’t pull him up by myself.
Carl grabs Amber’s legs and slowly pulls her back. Evabeth leans down and grabs Louis’ other hand.
LOUIS:
That smell is really strong down here. I think I’m going to throw up!
AMBER:
Louis, don’t you dare puke in my face! Turn you head to the right if you’re gonna barf.
EVABETH:
Whatever you do, don’t turn your head to the left.
LOUIS:
What’s to my left?
Louis ignores Evabeth and turns his head to the left.
The skewered and rotting face of some dead stranger is propped up on the spikes in the trap. Maggots and flies cover his skull and something has eaten his tongue. Or what’s left of it. Louis throws up.
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Budinscak Level 1 Horror Emotion Scene
Level 1 Horror Emotions
Day 10
What I learned doing this assignment is…
o What are the Level 1 horror emotions.
o Which Acts (1,2,3) these emotions typically fall.
o How to build the emotional journey in a horror film.
INT – JEEP – DAY
Vicki notices various, large pieces of tarp covering items on the ground as she pulls into the farm’s driveway.
EXT – FARM – DAY
The Jeep parks at the junction of the driveway and a fence. Vicki ambles over to one of the tarps where Curtis, the farmer, stands.
VICKI: What’s going on, Curtis?
CURTIS: Ever since they showed up at Candy Cane Mountain…
VICKI: The government facility?
CURTIS: Yep. Look at this.
Curtis grabs a corner of the piece of tarp.
BEEP! One of the military trucks in a 3-truck convoy blasts its horn.
Vicki and Curtis just about jump out of their skins. They can see some of the soldiers in the trucks laughing at their reactions.
VICKI: Assholes.
Vicki turns, comes nose to nose with Ian and jumps back.
CURTIS: Vicki, meet my new hire, Ian. Show her what’s under the tarp.
Ian pulls back the tarp and Vicki does her best to keep from vomiting. Hard to believe these grotesque remains were once a full-grown cow.
Vicki looks at 4 other tarps and turns back to Curtis. The farmer closes his eyes and nods.
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Jacksons Level One Horror Emotion Scene
I learned how to write a scene
INT—SCHOOL/LUNCHROOM—DAY
As SAMI enters, he bumps into NATHAN,16, who was coming from the lunch line, causing NATHAN to spill his LUNCH TRAY. He pushes SAMI to the floor, saying, “one more time and you’re dead!”.
SAMI makes his way towards the table, where DEE, and WILL are already sitting; Will is trying to convince the DEE to come and see the musical.
DEE: You look down. What’s goin on?
SAMI: Nathan pushed me again.
WILL: You still haven’t told anyone.
SAMI: It’s fine, Did you hear about the Serial Killer in town.
WILL: I did. In fact, as I was walking home from the musical, I saw this old car, almost following me, going very slowly through the neighborhood. Then, that night the murder was on the same street.
DEE: Your making that up
WILL: I swear I am serious.
ASHER and JOHN arrive.
ASHER: what’s going on?
WILL (to scare JOHN): We’re just talking about the Serial Killer.
SAMI: I heard it could be anyone. Your neighbor. A friend. Your parent.
JOHN is terrified.
Anxiety: The Rumors about the serial killer and the threats of the bully
Surprise: They bump into the bully
Shock: They seemingly toy weapon goes off.
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Subject line: (Marissa Lichwick’s) Level 1 Horror Emotion Scene
What I learned is: this is challenging and still changing and evolving more so now that the characters are talking.
INT. HOUSE – DAY
Levi – Are you sure you feel okay to drive?
Adair – Yea, I’m fine.
Adair looks over to reaffirm. Levi looks back, questioningly.
Adair – We were estranged.
Levi – Okay. She was still your mother.
Adair – Years ago.
INT. CAR – DAY
Adair – I-90 right?
Levi double-checks Adair’s GPS.
Adair – it’s the newest one. The GPS works fine.
Levi – You seem on edge, Are you sure you want to drive?
Adair – Yes.
INT. CAR – TWO HOURS LATER
Levi – What’s our ETA
Adair – Umm…what does it say.
Levi – it says 4800 hours.
Adair – WHAT? We should be there by dawn.
Levi looks desperately at Adair.
Levi – babe just let me.
Adair – No!
Levi looks around. His face is blank. Jo gets up and looks.
Jo – Mommy? Where are we?
Adair – We’re close, baby.
Adair looks around. time passes. They are now off the highway.
Benjamin – Aren’t we supposed to be on the highway?
Adair – there are backroads too, Benji.
Levi – babe
Adair – NO!
The family drives.
INT. CAR – FOUR HOURS LATER
Adair’s eyes are frantic. Benjamin looks out the window and sees trees and forests.
Benjamin – Why are there so many trees?
Adair – (non responsive)
Levi – Pullover. I’m driving.
Benjamin – Mommy are you lost?
Adair shakes her head.
Levi holds her hand. Adair looks out. She stares. A cloud of smoke whisks by. She hears a scream, follows. She is pulled by the gravity of her vision.
Adair pulls Levi’s hand away with force. She swerves the car to follow the apparition. Everyone is thrust from the motion and screams explode. Adair is deaf to the noise and possessed by her need to investigate her new discovery. The car halts and nearly crashes against the row of barricading bushes. She jumps out and begins to run inside the woods. Levi jumps out after her.
Levi – ADAIR! ADAIR! DAMMIT!
The children are in hysterics.
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Barbara Fixx’s Level 1 Horror Emotion Scene
I learned its quite fun and intricate to create a scene with all the elements necessary to create the vibe of apprehension etc.
Now we notice the quiet. Ellen looks around perplexed.
INT. SANITARIUM – DAY
ELLEN: Where is everyone? Its so quiet.
Travers points down the corridor.
TRAVERS: That’s odd. The door to the utility room is open.
The three exchange glances; something is not right here. They head to the utility room. When they reach it Hicks calls out.
HICKS: Dr. Harris? Nurse Klein? Dr. Chambers? (no response; to Ellen) Stand behind us.
She moves in behind them as they crowd the doorway to the utility room.
Hicks and Travers enter the room. Almost immediately, Hicks turns out, retching into the corridor. Travers stares, transfixed, crossing himself. Ellen pushes into the doorway and SCREAMS as she’s never screamed before; she’s unhinged.
INT. SEYMOUR SANITARIUM – UTILITY ROOM – DAY
In SHADOWS. It’s a ghastly vision.
The entire STAFF of the restricted wing — three DOCTORS, four ORDERLIES and four NURSES — are hanging from nooses from the ceiling. All have had their throats slit and their eyes gouged out. Some eyes are completely gone — others are suspended by their optic nerves, dangling in front of blood-streaked faces. PUDDLES OF BLOOD coagulate under each victim.
Seated calmly on a chair is NICK COSOMO, 40’s, an infamous serial killer. His white robe is streaked with blood. He pops an eyeball into his mouth and starts to chew.
TRAVERS: You sick fuck.
Travers rushes in, Tazer drawn, but Cosomo is up out of the chair and grabs his arm. They struggle surrealistically through the darkened room, bashing into the hanging bodies that sway and spin madly. Cosomo looks demented and elated; he’s enjoying this. Hicks recovers enough to use his WALKIE.
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Joyce’s Horror Emotion Scene
WIL: This will be enhanced by sound and lighting.
EXT. HIGH SCHOOL – DAY
A sign :
Commercial Property For Sale
SOLD. Trackmar Construction Company
~A new chain link fence closes in bulldozers parked behind buildings across a muddy field which may have been for baseball or soccer in recent years.
INT. COMPUTER ROOM – DAY
Obsolete computers and printers sit on tables. a silouhette of JON, crouching in a lighted corner before a conputer screen. His face isn’t visible.
Picture on computer:
“Find a yearbook”.
“Lawtry Falls Claw” annual appears. Pages turn, zoom on the yearbook staff. Colpied, saved in another window, photo-shopped with red like blood dripping from them. Printer spits out a copy. Jon reaches for it and envelopes fall to the floor.
He picks them up.
Envelope: Mrs. Kristina Smith Trackmar
4895 Zoar Bend
His thumb obscures the rest.
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Chuck Czech’s Level 1 Horror Emotion Scene
I learned that having a palette of emotions really helps craft a scene and encourages you to add some zest to the storytelling; writing this assignment was fun!
SCENE SET UP:
The following scene is the inciting incident of the supernatural horror story The World Between. BECCA WEAKS is a timid college student who has the ability to disappear into an adjoining dimension that allows her to see the spirit side of our reality. (Think of Frodo Baggins when he puts on his ring.) KAY LUND is a criminal investigator at a rural sheriff’s department who wants to solve a backlog of cold cases she’s been saddled with. Prior to this scene, Becca was on a university archeological dig and, while she was hiding in the other dimension, uncovered a critical piece of evidence. Kay’s been pressuring Becca to reveal her secret, though she tends to be skeptical of any psychic phenomena.
EXT. DIG SITE – DAY
Kay and Becca stand at the boundary of the crime scene, the police tape CRACKLING in the wind. This looks like an ordinary piece of ground except for the hole Becca had dug and the evidence card planted next to it.
KAY: Here you go, kid. Show me how you were able to find a tiny ID tag here — when you were all the way over there.
She points to the archeological dig site, which now stands idle. Becca looks at the site longingly, then turns back to the crime scene.
BECCA: I told you what I can do. I was, you know, in the other place, and I saw it plain as day. Little details jump out when you’re on the other side.
KAY: ‘When you’re on the other side.’ So how does this work? You meditate? Look for a sign? Take the blue pill?
BECCA: I can’t do it with you looking.
Kay sizes up Becca — is this young woman off her rails?
KAY: All right. I’ll wait by the truck. On the outside chance you find something, just give a shout. Don’t disturb anything. Got it?
ON KAY as she turns and walks toward the SUV. From this angle we see that she’s alone — Becca is not where we just saw her.
KAY (mumbling to herself): Great work, Lund. This is the big break we’ve all been waiting for…
Kay pops open the SUV’s hatch, where her gear is neatly stowed. She removes her beltpack radio, and for a second is tempted to check in — but then decides against it.
BECCA’S P.O.V. searching through tall grass. In this realm, the view of the world is distorted, tinted green, and SOUND IS MUFFLED as if we’re underwater. Becca follows a trail of blurry footprints that glow red, as if they were burned into the ground.
BACK TO SUV/KAY – Kay’s briefcase is open and she’s thumbing through some folders of police reports and victim photos.
BECCA comes to the end of the footprint trail, where she finds a nest of glowing disturbances. There was a struggle here.
KAY is fixated on a photo — an 8th grade portrait labeled “Anita Harms”. Kay absently reaches for a bottle of soda — but before she twists it open she’s distracted by a dramatic change of atmosphere — clouds darken the sun and harsh winds VIOLENTLY RUSTLE the grass and trees.
BECCA is on her knees brushing away dirt and detritus, as if she’s peering into a frozen lake and brushing snow off the ice. The buried object is becoming clearer.
KAY, looking a little spooked, watches the wind die. All is quiet. Menacingly quiet. Then PHHIT! the soda bottle overflows and shoots liquid all over the case files.
KAY: Shit!
Mortified, Kay watches as Anita’s photo bends with the contact with the liquid, her young features bleeding…
BACK TO BECCA – CLOSE ON the buried object coming into focus — a human skull — its jaws open in a silent scream! Becca petrifies and SCREAMS at the top of her lungs.
ON KAY throwing down the soda bottle and racing toward the crime scene.
KAY: Becca? Becca!
She freezes. Listens for Becca’s SCREAMS.
Becca lies crumpled in the tall grass, her body heaving. Kay gently pulls her up and assesses any injury.
BECCA (pointing): There! THERE!
Kay looks at an ordinary piece of ground.
EXT. TALL GRASS – MOMENTS LATER
Kay uses an emergency snow shovel to break ground. She chips away at the sod… then reaches black dirt. Becca rises and stumbles away.
KAY: Don’t go anywhere, sweetheart…
BECCA: I can’t stay!
Kay lets her wander off. Then resumes digging. She resorts to scooping dirt with her hand. She feels something. Digs harder. Then brushes away dirt to reveal… a skeletal hand encircled with a charm bracelet.
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Avi Kapurala’s Level 1 Emotion Scene
What I learned doing this assignment is: Incorporating the emotions helps flesh out the scenes better.
Apprehension: A black-gloved hand switches through feeds from a CCTV monitor.
Surprise: A hand clutches a bush. It’s dripping blood. Panicked breathing is heard and a blurry figure stumbles forward.
Shock: A tripwire comes into focus, but the figure doesn’t see it and walks right into it. A blade suddenly descends and impales her through the chest. The CCTV monitor watcher then beheads her with an axe.
FADE IN:
EXT. OUTDOORS- NIGHT
A tablet displays CCTV camera feeds. A black-gloved hand is holding the tablet and scrolls through the feeds and stops on one. It shows a woman walking through woods. She stumbles.
The figure holding the tablet starts walking. He’s out of focus and is holding what looks like an axe in the other hand.
EXT. WOODS – NIGHT
Panicked breathing is heard amidst the rustling of foliage. A hand falls on a tree trunk. A drop of blood drips from it. The hand lets go of the tree and a woman stumbles forward.
The woman starts moving forward, continuing to lurch and stumble.
Ahead, a trip wire between two trees comes into focus, at ankle-height. She doesn’t notice it and walks straight ahead. The trip-wire runs up one of the trees and disappears into its thick leaves. A rustling is heard and….
A blade descends from the tree just ahead and pierces her chest with an explosive impact.
The woman grunts and looks down at herself in shock. Blood starts spurting from the wound. She struggles, which only embeds the blade deeper into her.
Behind her, the axe-wielding figure appears and walks around. It looks into her eyes and lifts the axe. The woman whimpers and a trickle of blood appears at the corner of her mouth. It starts dripping onto her. The axe swings up and…
…down. It severs her head, which bounces onto the ground like a ball. The axe-wielding figure kicks the woman in the stomach, pushing her body off the blade. It falls back on to the ground.
He stoops and picks up her head. Its wide-open eyes stare at him in shock.
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Brian G. Walsh’s Level 1 Horror Emotion Scene
What I learned doing this assignment is that putting the necessary elements in place immediately helps evoke the proper mood for horror.
EXT. CHIPPEWA CORRECTIONAL FACILITY, KINCHELOE, MI – DAY
A Sheriff’s Office van drives in past the sign on the grass.
INT. HOLDING AREA – DAY
RALEIGH DOUGLASS, 35, Black, sits handcuffed to a chair. He rests his head back against the wall.
He closes his eyes. The guard, MILO GOTT, 25, sits at his desk. A TV on the wall blares with local news. Gott glances back at Raleigh.
GOTT
I told you not to go telling all them crazy
ass stories, Raleigh.
Raleigh opens his eyes.
GOTT
Gonna lock your ass away in a nice
padded cell where you can’t hurt no
one and where the devil can’t get
his dirty hands on you.
RALEIGH
The devil can get you anywhere.
Gott frowns, turns away. He mutters profanity. He glances at the TV.
GOTT
Hey, Raleigh! Ain’t that you’re ‘ho
on the tube?
Gott turns up the sound.
INSET: TV NEWSCAST
DENISE WASHINGTON, 30, Black beautiful, is on location with the Mohawk Mine in the background.
Raleigh sits up straight.
DENISE
(on TV)
. . . a medium-size quake that did damage all
along the coast. The aftershocks rippled through
the small town of Mohawk, damaging both
commercial and residential property. The old
abandoned Mohawk Mine suffered a partial
cave-in. The mine has been closed for more than
a century, but children and teens still congregate
here for various forms of mischief.
INSET: TV PHOTO OF RALEIGH DOUGLASS
DENISE (CONT’D)
The mine was also the scene of the brutal murder
of local resident Arnold Fanning. Former Army
Sergeant Raleigh Douglass was convicted of that
murder over a year ago.
Behind Denise, deputies walk to the mine entrance. One of them, DEPUTY CHRISTINE DIAMOND, 35, briefly looks towards the camera.
Raleigh squints.
RALEIGH
(softly)
Chris.
Christine enters the cave.
Raleigh jumps to his feet. The cuffs keep him immobilized.
Gott looks at him. He laughs.
GOTT
Been a while since you got a piece of that.
(beat)
Sit down.
Raleigh sits. He leans forward, watches the newscast carefully.
EXT. MOHAWK CEMETERY – DAY
The place is not well-maintained. Grass grows high, obscuring the names on some of the headstones.
Shovel HITS dirt
Dirt THROWN onto ground
KENNY MARSHALL, 20, tall, lean, digs up a grave. He whistles as he works.
INSET: GRAVESTONE OF ARNOLD FANNING
A strong wind blows through the trees. Marshall stops, sets the shovel down. He looks around.
MARSHALL
Don’t be bossing me around. I’m going as fast
as I can.
The shovel rises into the air and SLAMS into the grave.
A dark silhouette appears before him, fluttering in the wind, unable to remain still. This is EPHIPPAS, the demon of the Wind.
MARSHALL
(softly)
The Demon of the Wind.
Marshall flinches, steps back.
MARSHALL (CONT’D)
Where the hell have you been? It’s been
over a year –
EPHIPPAS
Hell. I have been in Hell.
(beat)
I have a message for you.
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