Lesson 12

[Patricia Semler]

PAT’S LEVEL 3 HORROR EMOTION SCENE
What I learned doing this assignment is not so much as milking the emotion, but mining the experience to generate the angst that will seal in the horror of the script.
INT. SOUTHERN MANSION – ROOT CELLAR – NIGHT
Mika holds Arianna close as they huddle in a corner. Nat cradles his broken arm, on his knees just in front of them.
Esperanza wanders from one side of the room to the other, at turns amused and irritated by Dahlia’s spellcraft efforts.
Centered in a chalk circle, with candles at the cardinal points, Dahlia strains to read directions from an open diary as she prepares a pair of baby shoes.
ESPERANZA
Not bad, girl. But it won’t work.
Startled out of her concentration, Dahlia sits back on her heels, looks up into almost sympathetic eyes.
DAHLIA
Why not?
ESPERANZA
Belief. You children believe in nothing so nothing binds the spell. You’re also missing the final ingredient.
Dahlia pushes through her stash or herbs and things. Everything’s there per her book. Exhausted, frustrated, she’s ready to give in to helplessness.
MIKA
She’s trying to distract you. Don’t listen to her.
Esperanza flicks a hand in the teens’ direction. Dirt cascades out of the wall over them. Arianna wails. Mika shields them both as best she can.
DAHLIA
It was the coven, wasn’t it?
The witch’s focus snaps back.
ESPERANZA
Always know who your friends are. Jealousy runs still and deep.
DAHLIA
Why would they do this to you?
ESPERANZA
Ambition betrays all. Husbands seek political appointments, church bishops compete for prestige. White skin aghast at black or brown success. The taint of witchcraft. No, not here. The girls turned against their instincts, against me.
Her sweep back and forth resumes, attention turning inward.
Dahlia gives a look back at the teens. She nods toward the stairs.
Nat eyes the short distance they have to travel. Hesitates. Mika punches his good shoulder.
MIKA
Low and slow, move.
ESPERANZA
They wouldn’t listen. Where are they now? Dead and moldering bones, forgotten under gravestones. If they even have a marker. While I still exist. No, choose your friends carefully, my pet. Choose carefully.
DAHLIA
There’s nothing I can do to stop you?
Nat drags himself across the floor. Mika prods Arianna into motion, stays close by her side as they advance.
Dahlia gets to her feet, moves the opposite way to hold the witch’s attention.
ESPERANZA
That pitiful spell won’t. You’re missing the key.
DAHLIA
Tell me.
The witch flies in nose to nose.
ESPERANZA
Why baby shoes, girl!
DAHLIA
I don’t — A life. A new life. An innocent life.
ESPERANZA
The blood of innocence. Fool! It takes blood to bind blood and you won’t find any here. Your people are gone. These children won’t serve your purpose. They belong to me.
Dahlia looks for the teens, half-way up the steps. Too slow. She sprinkles powder over the candles to create smoke.
DAHLIA
You need their essence to escape the house entirely.
ESPERANZA
My precious house. All I ever wanted, a grand house of my own, and they turned it into a prison.
She runs hands along the wall. Dirt trickles. Wood beams splinter under her fingers.
Nat makes it to the top, turns back to grab Arianna’s shoulder and encourage her up. Mika hesitates two steps from the top to find Dahlia. Her eyes widen in horror.
MIKA
Dahlia no!
DAHLIA
Go, now!
Nat reaches to tug Mika up and out of sight.
Esperanza whirls to face Dahlia. Shocked to see bloody wrists.
ESPERANZA
What are you doing?
Dahlia kneels at her altar again, picks up the shoes and a ribbon.
DAHLIA
I would have worked with you, grandmother, protected you, but your anger and hatred have corrupted what’s left of your soul. I bind you to this place, impotent and faithless.
Esperanza drops to her knees, tries to stem the blood spilling over the shoes.
DAHLIA
As you bound innocents to your will I bind you to mine.
She wraps the ribbon in place, infusing blood into each twist and knot. Esperanza howls.
Things rise up to strike Dahlia.
She keeps at her work, ignoring the bruises and cuts, pushes to her feet to carry the shoes to a gap in the wall.
DAHLIA
To this place, your sanctum and sanctuary for all eternity. Your only grace would be forgiveness from the One who gives all grace.
ESPERANZA
Foolish girl. A few drops of blood won’t stop me.
Dahlia inserts the shoes into the gap, smears dirt in over the bundle. She faces the witch.
DAHLIA
More than a few drops shed in place of the children in my care.
Esperanza’s howl reverberates through the walls. Dirt cascades. Timbers crack and shatter. The roof caves in.
EXT. SOUTHERN MANSION – NIGHT
Nat and Mika lead Arianna between them as they make their best speed toward the bridge.

[Nick Walsh]

LESSON #12

Nick’s Level 3 Horror Emotion Scene

What I Learnt: By showing the actions of the tormentor and the victim, you can emote horror to the audience.

CONCEPT: Six twenty-something buddies go on a week-end mountain bike adventure in the Sierras and end up getting lost, only to become prey to a pre-history tribe who collects eyeballs.

ACT 3

EXT. EDGE OF CLEARING – DAY
Joe, Gene, Frank, Lee, and Sammy stand astride their bikes at the edge of the woods observing the strange hut before them. More huts are scattered down the valley. Frank is hauling his dead brother, Manny, tied to his back
A woman and a child, carrying hand baskets, e. xit the front door and head for the opposite woods, past a clothesline with dishwater-gray clothes hanging from it.
LEE
Finally, some semblance of civilization.
GENE
Probably one of those doomsday wing nut cults.
SAMMY
Maybe they’ll know how to get outta here to avoid the motorcycle gang.
LEE
It never hurts to ask. People are always glad to help strangers.
JOE
The door’s open. We could see if anybody is at home.
GENE
I think I saw someone moving inside.
SAMMY
I did, too.
JOE
Okay, then.
(to Frank)
Frank, you better stay here with Manny. No telling how they might react to…you know….
FRANK
I hear ya. I’ll wait.
JOE
Okay, then. Let’s check it out.
They bike towards the hut.
EXT. MONSTER’S HUT – DAY
The hut is a permanent woodland structure made of stones and sticks. The roof is made of bright stretched skins. It has a veranda, a front door and windows covered with skin blinds.
Joe, Gene, Lee, and Sammy approach cautiously. Joe peers through the front door.
INT. MONSTER’S HUT – SAME
What Joe sees: The back of a man working at a workbench. Hanging from necklace strings in front of him are blue irised eyeball pendants encased in amber. Off to the side, another man with his back to us is scraping on a stretched hide. They are both dressed in stylish hides.
Suddenly, the man at the bench spins around and glares menacingly at Joe.
Joe is startled by the sudden action and at the sight of an inbred proto-human with a mis-shaped, orange, bristled head glaring back at him with coal-black, soul-less, hooded eyes.
His upturned pug nose is choked with snotty hairs. A chinless jaw with rat-like, yellow incisors chatter, as if sensing prey.
Eyeball medallions dangle from his urn-handle ears, infested with waxy hair plugs.
The others look in, in reaction to Joe, and are momentarily stunned and horrified by the sight.
The other monster turns and growls menacingly.
EXT. MONSTER’S HUT – CONTINUOUS
Joe, Gene, Lee, and Sammy jump back.
JOE
Let’s get the fuck outta here.
They hop on their bikes and pedal off with all that panic can move them, but it’s not enough for the two slowest.
The two monsters run with uncommon jerky speed after them, knock Lee and Gene off their bicycles with clubs, and drag them unconscious back to the hut by their heels.
Joe and Sammy stop, out of breath, watch, then hurry on towards the woods.
EXT. WOODS – DAY
Sammy stammers as he relates to Frank what happened.
SAMMY
…th-then they dragged them back to the hut, like dead game…I-I’ve never seen anything run so fast.
(to Joe)
What are we gonna do? I’m scared shitless.
Joe is confused, anxious, scared.
JOE
I-I don’t know. At this point, we don’t know if they’re dead or alive, do we?
SAMMY
What if they come looking for us?
Too many unanswerable questions makes Joe irritable.
JOE
I just don’t know! Let me think.
He passes the baton to Frank.
JOE
Frank, help me. What do you think?
FRANK
We can’t just leave them there without knowing what happened to them. We’re going to have to find a way to go back, without being noticed this time.
SAMMY
You got your gun. We can shoot them.
FRANK
I threw it away.
JOE
When did you do that?
FRANK
Right after I killed….
The memory’s to painful to repeat.
SAMMY
Where?
FRANK
I tossed it into the weeds on the riverbank.
JOE
Why? Didn’t you think we might need it with the motorcycle gang after us? Jesus!
FRANK
NO!…No, I didn’t. It’s how I felt at the time, okay? I wanted nothing more to do with the gun that killed my brother…You could have brought your own if you weren’t such a ditz.
A pregnant pause as Joe reflects on Frank’s words.
JOE
Sorry, Frank. I hear ya now.
FRANK
You’re alright.
SAMMY
I can ride back and get it.
JOE
Do you remember the way?
SAMMY
Oh, yeah. I never forget where I’ve been. I’m good at retracing. I’ll find it.
FRANK
It’s a little downstream from where we were. It didn’t land in the water, I know that.
JOE
Okay, Sammy. Get back as fast as you can. Be very careful. Keep an eye out.
SAMMY
Be back before you know it.
Frank and Joe watch him as he pedals off. An uncomfortable moment of silence.
JOE
Frank, I’ve been thinking.
FRANK
Now what?
JOE
It’s delicate, and I would understand if you don’t want to hear it.
FRANK
Let me make it easy for you. You want me to dump Manny.
JOE
I wouldn’t have said it like that, but…yeah…at least bury him.
FRANK
How would you have said it?
JOE
It doesn’t matter. It’s been said. I’m thinking that if we get chased by these motherfuckers….
FRANK
I’m not leaving Manny, and that’s that. If it kills me, so be it.
INT. MONSTER’S HUT – DAY
Lee and Gene are still unconscious, now sitting at a table hogtied in chairs with strips of woven leather. Monster #1 passes a clump of herbs under their noses and they awaken.
They struggle against their binds, frantically glancing about in panic trying to figure out what’s happening to them.
The monsters speak in primitive guttural sounds.
MONSTER #1
(chuckles)
(translated)
“They come to us now. Easy hunting.”
MONSTER #2
(translated)
“The pen is full. Nobody will starve.”
They hover by turns over Lee, then Gene, looking deeply into their eyes, as if looking for a joint prognosis.
MONSTER #1
(translated)
“Which one do you want?”
MONSTER #2
(translated)
“I like the hazel eyed one. Dazzling colors. Goes with anything.”
MONSTER #1
(translated)
“That one’s my favorite, too. We’ll spin for them.”
Monster #1 selects an amber-encased eyeball from his workbench and places it in the middle of the table. Lee and Gene exchange looks of terror.
GENE
What the fuck are they doing?
LEE
Their going to kill us. I just know it.
GENE
Shut up, Lee.
MONSTER #1
(translated)
(to Monster #2)
“You first.”
Monster #2 spins the eyeball. The iris points to him.
MONSTER #2
(jovial laugh)
(translated)
“Oops. My bad. Your turn.”
Monster #1 spins. The iris points to Gene.
MONSTER #1
(translated)
“Shee-it! Looks like you win. Take him.”
Monster #2 goes around the table and rough-handles Lee over to a stone slab, forces him into it so the back of his head fits into the cavity of a stone donut pillow. He then brings a strap around from under the stone pillow and over his neck.
LEE
What are you doi…Aaagh!
Monster #2 cinches the strap tightly over his throat to firm his head into place. Lee chokes.
Monster #1 hands him an obsidian blade. #2 proceeds to remove Lee’s eye. He buries two fingers on each side of the eyeball until it pops out. He cuts away the attached optic nerve with the obsidian blade.
He hands Lee’s eyeball to #1 who holds it up, admiring it.
MONSTER #1
(translated)
“That’s going to make a beautiful pendant for your squeeze.”
During this procedure Lee is kicking and screaming. Gene stares goggle-eyed in shock.
MONSTER #2
(translated)
“Why do they squeal so much?”
MONSTER #1
(translated)
“It’s not from pain. They don’t feel any. I figure they don’t like to be tied up.”
Lee passes out as his other eye is removed.
MINUTES LATER
Lee is back in the chair eyeless, head drooped, unconscious.
Gene stares wildly at the monsters as he is pulled from his chair. He screams from the depths of his being.
GENE
NO…NO…NO…
EXT. WOODS – SAME
Frank and Joe listen helplessly.
EXT. FOREST – DAY
We follow Sammy as he rides as fast as he can, up inclines, around tight oxbows at edges of steep ravines, twisting downhill paths. Through his GoPro, we see his front wheel move jerkingly back and forth to stay balanced and on track.
EXT. RIVERBANK – DAY
Sammy drops his bike and searches through the grasses. He espies the Glock, picks it up, and puts it into his backpack.
VOICE
Hey! You!
Sammy starts, looks across the river.
INCLUDE OPPOSITE RIVERBANK
The motorcycle gang from the bar is gathered there. We can see the dead skinned body of the drunk tied onto a pull-behind motorcycle trailer.
BRO WITH EYEPATCH
What are you doing? Where are your pals?
SAMMY
None of your business.
BRO WITH EYEPATCH
How did you get over there?
Sammy runs to his bike and jumps on.
BRO WITH EYEPATCH
Better get over here if you value your life.
Sammy takes off into the forest.

[Deborah Daughetee]

Debbie’s Level 3 Horror Emotions

Wow, this was fun to write. I learned to take my time to build up to the three different emotions here and to lay in some groundwork that would pay off later in the scene. I don't think doing this is easy–it's not. It really takes intense focus. But it certainly is fun, especially if you love writing horror.

INT. RIVERBOAT – LILITH’S ROOM – NIGHT

Lilith hurriedly goes through her witchy supplies and finds a bag of salt. She grabs a little leather pouch and fills it with salt, then attaches the pouch to her belt.

INT. RIVERBOAT – GIRLS' ROOM – NIGHT

A dim lantern flickers. The river groans beneath the boat, a long, hollow sound.
Lilith stands outside the door to the girls’ quarters. She knocks—three sharp raps.

Silence.

She knocks again.

LILITH
Girls?

Nothing.

She hesitates, then pushes the door open. The lanternlight sways, casting long, shifting shadows that cause Lilith to look around in apprehension.

INT. RIVERBOAT – GIRL’S ROOM – NIGHT

The bedsheets are crumpled. A shawl lies discarded on the floor. It’s a normal mess from six girls sharing one room.
That is until Lilith realizes she standing in a puddle of water and mud.

LILITH

No. Please no.

Lilith backs into the corridor and turns.

LILITH
Maybe you’re all topside.

INT. RIVERBOAT – CORRIDORS – CONTINUOUS

Lilith moves cautiously, quietly. Lanterns swing causing shadows to dance down the long, narrow corridor. She jumps every now and then, when a shadow seems like something more.

At the intersection of another corridor, she stops and plasters herself against the wall. She listens but there is only silence. Cautiously she peeks around the corner and finds the corridor empty.

She exhales, steps forward, and jumps as the boat shifts on the water and lets out a low, guttural moan.

She moves more quickly now, her fear overcoming her need for caution. She finds the stairs leading up to the deck, grasps the railing and begins to slowly move up while staring at the gaping darkness that shadows the top of the stairs. One step up. Then another. And another.

A shadow separates from the darkness above her.

Another step up. Something moves inside that blackness. Then the staircase trembles, and the creature comes into few view just above her. The barely human form drips black water onto the wooden steps. The water rolls down the steps toward Lilith.

A thin gasp escapes her lips and she stumbles/falls back down the stairs, her bag of salt catching on the wood—ripping free from her belt. Unnoticed, it falls and disappears into the space between the steps.

Lilith turns to go back down the corridor, but seaweed hangs from the ceiling, blocking her path. She turns back to the stairs and runs down into the hold.

INT. RIVERBOAT – CARGO HOLD – NIGHT
The lanterns down hear and sparse and darkness pools between the crates of mail and foodstuffs. The crates are stacked high with narrow paths snaking between them.

Lilith weaves her way through them, putting as much distance between herself and the creature as she can.
Suddenly there’s a rustling to her right. Lilith jumps as a rat runs across her path and disappears.
She continues to the back of the hold. She emerges into an open space with a door on the back wall. Lilith runs to it, but it is locked.

A wet squelching comes from behind her. She grabs for her bag of salt, but it’s gone. In a panic, she searches the floor, but there is another squelch.
She turns, but can’t see anything in the dark. So, keeping her back to the wall, she sidles back to the crates and hides in a pool of darkness.
The monster appears, oozing through a narrow pathways between the crates. It flows into the opens space and walks all around it. It approaches Lilith’s hiding place and, when her breath hitches, slaps a hand over her mouth.

The thing shifts, and a misshapen swivels, its hollow sockets fixed on the place she is hiding.
Lilith does not move.

The head turns back. After an eternity, the creature returns to the locked door.

A dripping tendril tries door, but it’s is locked. So it presses its form against the door. The wood groans and bows.

Lilith watches in horror as the monster sort of melts, its form liquefying into blackened sludge that oozed through the cracks,
the hinges, the seams, spilling down the other side and into the room beyond.

Lilith sees her chance and makes a run for it, but stops in her tracks by the SCREAMS of her girls.

Lilith runs back and throws herself at the door. She tries the door knob again. Still locked. She pummels, pounds, shaking the handle, kicks the door.

LILITH
(voice tinged with hysteria)
Don’t you touch them. Don’t you dare.

The screams inside don’t stop and Lilith screams in frustration, rage, and desperation.

LILITH
(voice breaking)
You leave my girls alone.

Then, a soft CLICK, and the door swings open beneath Lilith's fists. The screams stop. Slowly Lilith steps inside.

INT. LOCKED ROOM – CONTINUOUS

Her girls huddled in the furthest corner of their cage, crying and trembling.
Lilith sees the monster. It makes a move toward the cage and Lilith launches to place herself between it and her girls.

LILITH

No. I will not let you harm them.

The monster and Lilith face off. Tears fill Lilith’s eyes and spill down her face.

A tendrils of black water stretches toward her. More tears fall. She knows she’s facing death, but she will not move.

The tendril becomes pencil then, and with a feather-light touch, catches a tear on its tip.
The drop clings to the dark liquid. Then it is absorbed into the muddy mass.

After another eternity, the monster backs away and then, with a sickening squelch, dissolves into a slick, black puddle. The puddle slides out the door and is gone.

Lilith gasps as her legs give out and she sits down on the floor. Behind her, the girls continue to sob.

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

[Renee Miller]

Renee’s Level 3 Horror Scene

What I learned doing this assignment is how to space out the horror emotions to build the horror until it reaches hysteria.

INT. BASEMENT – NIGHT

The hallway stretches too long. The generator room should be ahead, but the walls seem to breathe, pulsing like a living thing.

The air thickens. Cold. Suffocating. The whispers slither through the darkness, layering over each other. A door disappears just as they reach it. The generator room is gone. Then – the shadows lunge.

A tendril whips through the air – fast. It snaps Anthony’s ankle. He stumbles, nearly losing his footing. Stacy lunges, grabbing his wrist.

Another tendril wraps around his leg. Then another. Twisting. Pulling.

REBECCA
No – no, no, no!

Anthony grits his teeth and yanks at his legs, trying to get free.

ANTHONY
I’ve got this – just pull me up!

Stacy leans back, pulling with all her strength.

STACY
Keep fighting – don’t stop!

A third tendril snaps out and wraps around his chest. Rebecca drops to her knees, grabbing his arm, pulling hard. Her eyes lock with Anthony’s. Terror wells up in his expression, but he keeps it steady.

ANTHONY
Don’t let go.

The tendrils pull harder. His body slides backward, inch by inch. Rebecca sobs, shaking her head violently.
REBECCA
Take me instead! Please!

The whispers deepen. A cruel chuckle echoes through the space.

ANTHONY
Don’t be stupid … you still have a chance.

Stacy tightens her grip, fingers digging into his wrist. Anthony grits his teeth, struggling. The shadows slither over his back. He gasps, his flesh pulls unnaturally.

ANTHONY
It hurts.

STACY
You’re not dying here!

A horrible wet sound. Anthony’s features distort – one eye sunken, his jaw pulling sideways. His face half-disappears into the shadow. His limbs elongate, grotesque, and unnatural.

STACY
(screaming)
No!

Anthony screams – a final, choked sound.

Then – the shadows tear him back. The darkness swells, swallowing him whole. His silent scream lingers in the air. A final, sickening crunch. Then nothing.

Rebecca collapses, trembling. Stacy stares, wide-eyed, chest heaving.

They couldn’t save him. He was right there. And they let him go.

The whispers twist into laughter. Mocking.

STACY
We have to move.

Rebecca is frozen, staring at the spot where he husband just stood.

REBECCA
He’s gone… He was just here…

Stacy yanks Rebecca up by her jacket, shaking her.

STACY
RUN!

They sprint down the hallway. The shadows follow.

[David Wickenden]

David Wickenden Assignment 12 Level Three Horror Emotions
“What I learned doing this assignment is…?”
The buildup of emotions makes for a far better range of emotions from initial to extreme.

INT. CORRIDOR – NIGHT
Vincent turns from the group and embraces the creature in a loving hug. Slowly, arms curl around the scientist's shoulder and returns the gesture.
The hug continues to tighten, and Vincent arcs his back at the pain.
VINCENT
I miss you too, but that's too tight.
The pressure grows.
VINCENT
(groaning)
Please…
More arms wrap around the scientist, whose face is turning beat red.
VINCENT
But… I … loved you.
Vincent's body explodes. The top of his head hits the ceiling and bounces down the corridor towards the others. Blood jets from his ears and hits either wall.
A geyser of blood shoots from his neck, covering the floor. Blood sprays over the group. Webster is splashed across the face.
The rest of the group stumble backwards through the airlock, falling and tripping over each other.
Webster is screaming and hitting the others to escape the horror behind him. He pushes through the door.

INT. LAB 3 – NIGHT
Webster rolls through the airlock and falls face first into the lab. He screams in pain as one of the others steps on his hand. He curls up in a ball.
Barrett grabs him by the collar of his flak jacket and hauls him to his feet.
BARRETT
God-damn-it. Get your shit together, boy or I swear, I'll toss your ass out there so we can escape.
Webster cringes at the big man's threat, whimpering. The big soldier drops him, and he scrambles away to crouch against a cabinet on the far wall.
As the others point their weapons towards the airlock they have just come through, Archer gives out commands.
ARCHER
Stay focused, people. Anyone hurt? Sound out.
MIA
We're good. I'm switching to sabot rounds. See if that puts a crimp in that thing's style.
ZURI
Damn, girl. You're sexy when you talk dirty.
Archer smirks but moves on. As he passes Barrett, the big soldier pats the heavy auto shotgun.
BARRETT
You want me to bring out my howitzer?
Archer shakes his head.
ARCHER
Not just yet. Let's see how the sabot rounds do. I want yours as a backup.
Both men turn abruptly as they hear a hiss behind them. They see the airlock at the far side of the lab closing. Webster is making a run for it.
BARRETT
That chicken-shit coward.
Archer shakes his head.
ARCHER
Keep an eye in here. I'll get him.
Barrett snarls menacingly.
BARRETT
Leave the motherfucker. He's a waste of air.
Archer shrugs, unslings his rifle and moves towards the airlock.
INT. CORRIDOR – NIGHT
Archer squeezes through the sliding opening and shouts at fleeing soldier.
ARCHER
(shouts)
Webster.
The man looks over he shoulder but keeps moving through the darkened hallway. As he comes to a intersection, he turns left. A door to his right has a sign above it, "Storage." He pushes through it
He hits the sensor pad and the door hisses open. As he dives into the room, he locks the door behind him.
Archer races around the corner and sees the light from the room through the glass partition. He sees Webster curled up on the floor.
ARCHER
Open the door, Webster. It's not safe out here. We have to get back to the others.
Webster looks up at him. He pulls himself to his knees, shaking his head. He says something, but the glass door muffles his words.
Archer watches in dismay as the younger man pulls out his service weapon and stares at it. Archer pounds on the glass.
ARCHER
No! That's never the answer. It's not over yet.
Webster grasps the weapon in both hands and places the barrel of the .45 Under his chin. Tears fall from the man's eyes.
Archer catches a movement near the ceiling and looks up. The entire ceiling is black. As he watches, the center of the black mass begins to stretch, revealing rows of teeth.
The mouth opens five feet across. Four eyes, each in a different corner of the room, glare at Webster.
Webster looks at Archer, sees the direction of his gaze and looks up. His eyes fill with terror as he sees the wide mouth.
The creature drops from the ceiling like a wet blanket. The black mass fully engulfs Webster and Archer can see the shape of the man's body before the sound of a gunshot rings out.
ARCHER
NOOOOO!
Archer steps back as the creature absorbs Webster. Webster is shaking, his rifle bouncing as he keeps the sights on the creatures.
He backs away, stumbling and running as fast as he can. He's constantly checking behind him to see if the creature is following.
In his panic, he runs into the frame of the airlock leading back into the lab he had just left. Frantically, he scrambles to his feet and slaps the sensor plate to open the door. He backs in, rifle aimed up the corridor.
As the door slides close, he slams the lock closed and crumples to the floor. The others race towards him. He is hyperventilating and cannot answer his comrade's inquires.
MIA
What happened? Where's Webster?
BARRETT
Give him some air. Take your time, Archer.
He presses his hand on Archer's chest.
BARRETT
Breath, man. You're safe.
Archer shakes his head frantically.
The others exchange an uncertain look

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

[Barry Barry Durbin Durbin]

Barry’s Level 3 Horror Scene

What I learned is how to create more intense horror emotions for both my characters and the audience.

EXT. ENCAMPMENT – NIGHT
The door slowly opens and Alex steps out. He carefully scans the area. He lights a flare.

ALEX
Okay, lets go. Nashoba, you go first. Girls, follow him and I’ll be right behind. As long as we have the flares, we should be okay.

They begin moving to the watchtower using flares as protection. Alex protects the others and is the last to go.

BETH
We’ll never make it. It’s waiting for us. It’s out there.

MEGHANN
We have to do this Beth. It’s our only chance. Come on, let’s go.

Nashoba starts walking fast in the direction of the watchtower. He holds a flare and scans constantly as he moves.

Meghann grabs Beth’s hand and pulls her out the door. Beth resists.

BETH
I can’t do it!

She is crying.

MEGHANN
Come on Beth, we have to leave now.

Beth reluctantly obliges. They move quickly trying to catch up with Nashoba. Nashoba reaches the watchtower. The door is stuck and won’t open. He frantically jerks the knob trying to open the door.

NASHOBA
(To the door)
Open up you…

He pries it loose just as the girls catch up with him. He struggles to pull the door open. The girls enter. Nashoba turns and looks for Alex. He freezes with fear.

NASHOBA
The spirits are angry.

Nashoba stands in the doorway to the watchtower. Beth screams at him. They can’t see outside.

BETH
Shut the door. Hurry!

MEGHANN
Where’s Alex?

Alex methodically walks backwards. He holds a flare with his arm extended in front of him. From Alex’s POV, we see the creature in front of him. The flare hold the creature at bay.

ALEX
Just go away you son-of-a-bitch. Leave us alone.

As Alex walks backwards, the creature matches him step for step. Alex waives the flare at it. The creature snarls and growls at him. Before Alex reaches the watchtower, his flare goes out.

NASHOBA
Run Alex. Now.

Alex stares at the creature and frantically pulls out another flare. He tries to light it, but it won’t light. The monster shows sharp teeth.

ALEX
Come on flare, light already.

Alex looks at the watchtower then back at the creature. The creature is moving closer to Alex. Alex panics and starts running in the direction of the watchtower.
Just before he reaches the door, he falls to the ground, face first.

ALEX
Nooooo!

He is pulled away by his legs. We hear him screaming. The door to the watchtower shuts.

INT. WATCHTOWER. NIGHT
The Meghann and Beth are in the top room of the watchtower. The are watching the horror outside.

MEGHANN
No, No, No.
Both girls scream and cry hysterically. Nashoba is able to light another flare and steps back outside. He uses that flare to light a second flare.

EXT. WATCHTOWER. SIMUTANEOUSLY
Nashoba moves toward the creature.

NASHOBA
Get away from him.

He waves the flares at the creature. The creature stops and glares at Nashoba. The monster starts after him and Nashoba throws the flare at it and its fur catches on fire. It screams , flails around trying to put out the fire, and leaves as the fire is out, but its fur is smoking.

Alex is still breathing. Blood is gurgling out of his mouth. His abdominal cavity is ripped open and blood is everywhere. Nashoba kneels down beside him.

NASHOBA
Hang in there man.

Alex looks at him and can’t speak. He stops breathing and dies.

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