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Lesson 12
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Lesson 12: Level 3 Horror Emotions
Subject Line:(Huey J. Williams) Level 2 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.(Suspense/Dread for Deer)
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.(Suspense/Intrigue)
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
what we may find, or run into, there could be GHOSTS,
MONSTERS, maybe even a MAD KILLER.(Apprehension/Anxiety)
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. BLACK FOREST 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/Fear/Suspense)
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.(Fear/Suspense/Dread)
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
bushes. I couldn’t see it but it was there
watching me. I kept my rifle ready as I left.(Apprehension/Anxiety/Fear/Dread)
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 BLACK FOREST – 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.(Surprise)
ZOEY
There’s no signal out here, I can’t make a call,
now we’re really screwed. Gram, if anything happens
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
big eyees enlarged face staring at her, she SCREAMS and runs out of
the bathroom.(Shock/Hysteria/Fear)
ZOEY
There’s a monster out there, he’s peeping in
the bathroom window!
Zoey, Ashley, Cate begin SCREAMING as LOAD as they can!(Fear/Dread/Hysteria)
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.
EXT. OUTSIDE MOTORHOME BLACK FOREST – NIGHT
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/Dread)
They make multiple hits, but it doesn’t kill the monster, as it runs away into the
darkness.(Surprise)
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.(Dread,Hysteria,Fear)
Ashley, Cate, Zoey become hysterical, crying, sweating, Zoey soil herselves.(Fear)
EXT. OUTSIDE MOTORHOME BLACK FOREST – NIGHT
Alden, Gram, Cory attack the Thingamajig a battle begins with fire, (molotov cocktails).
Gram moves in close for a better shot with the molotov cocktail, the Thingamajig charges,
grabs him a runs into the darkness of the forest.(Dread/Horror)
Alden and Cory, armed place four molotov cocktails in cooler and head out tracking Gram and
the thingamajig, they follow the Thingamajig’s foot prints to his hideout.(Anguish/Panic)
EXT. BLACK FOREST THINGAMAJIG’S HIDEOUT – NIGHT
The Thingamajig hideout, a near hole in the ground.
Alden and Cory arrive at the Thingamajig’s cave.(Apprehension/Anxiety/Fear)
ALDEN
We found it’s hideout.
CORY
It looks like a spooky place, oneway in,
oneway out.
Alden and Cory enter the Thingamajig’s cave slowly, molotov cocktails in hand, as they
move deeper into the cave, suddenly a BIG BLACK BAT attacks them on his way out of
the cave.(PANIC/HORROR)
In the distance Alden and Cory, hear sounds of BONES CRUNCHING, CHEWING, and SWALLOWING,
then it stops.(Anguish/Panic/Horror)
Alden and Cory look at each other.(Fear/Anguish)
With blood, gutes, and gleaming sharp teeth, the Thingamajig leaps out, almost grabing Cory,
as he jumps out of the way.
Alden throws a molotov cocktail and misses.(Horror/Panic/Hysteria)
The Thingamajig spits a black paste at Alden, misses, jumps at him, a foot away,
then Cory throws a molotov cocktail, which catches his leg on fire.
The Thingamajig WOLF HOWLS in pain.
Alden throws his last molotov cocktail, hitting the Thingamajig’s upper body, he hits
the ground burning, HOWLING.
Alden and Cory fire several shots into the Thingamajig’s body, as it burns, then it changes
into something even more hideous.
As it burns the Thingamajig changes to a BIG MAGGOT, then to ASH.
CORY
Its changing shape, he looks even worse,
a big maggot, Yuk.
ALDEN
Lets find what’s left of Gram, and get out of
hear.
The go deeper into the cave and they find the half eaten body of Gram, they stair at his body,
both almost in tears.(Dread/Horror/Anguish)
CORY
Poor Gram, there’s not much we can do for him.
ALDEN
Lets bury him and get back to the camp.
Alden and Cory take Gram’s body out of the cave and bury him in the forest, then make their
way back to the camp.
EXT./INT. MOTORHOME – NIGHT
Ashley, Cate, Zoey stand at the motorhome happy to see Alden, and Cory, but Zoey begins
CRYING.(Fear/Apprehension/Anxiety/Dread)
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 in the woods. 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.(Dread/Fear/Apprehension/Anxiety)
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.(Fear/Apprehension/Anxiety)
EXT. BLACK FOREST – NIGHT
What appears as a falling star lights the sky, then lands near the lake.(Surprise)
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 3 horror emotions
I learned that I’m beginning to understand the escalation of horror. Watching films now, I can tell when it’s a horror situation a reaction or just connecting with the characters or if there is different level of horror in the scene. I learned that level 3 is level 3 for a reason and that it’s usually at the end for that reason.
INT. MONSTER BASEMENT-NIGHT
KIMWAKAZZI, the Monster assistant stands by in the corner walking in small circles, like a scolded child in a “time out”. He’s confused. The Monster turns his attention toward NIKKI. He bends over her chair and for the first time Nikki sees him face to face. She is terrified. Kimwakazzi is emotional over how sad Nikki is feeling after she watched Wanda get mauled to death by the Monster.
NIKKI
Wanda, Wanda, I’m so sorry. Why? Why are you doing this to us. She was a donor, I’m a donor, we were all donors.
MONSTER
Now, what to do about my number one fan?
The Monster grabs the dead WANDA, from the floor by her neck and shoves her face into NIKKI’S face and uses her as a puppet.
MONSTER
(imitating Wanda’s voice) Hey girlfriend. Wish you the best with your music career. By the way, your guitar, the one signed by Curt Kobain it got ranned over, oops
(The monster turns Wanda’s face toward him) was I supposed to mention that. (turns her back to Nikki) Sorry, girl.
The Monster flings Wanda’s body onto the floor. Nikki is hysterical now. She can’t control her fear. She’s struggling in the chair. He tears wont’ stop crying.
NIKKI
Please, please, I’m begging you, please don’t kill me, I don’t want to die like this.
The Monster grabs Nikki and lifts her up to him.
NIKKI
Not like this, please. If you have to kill me then please turn me. I don’t want to die.
MONSTER
You’re trying to bargain with me little girl?
(he thinks it over)
Tell you what…
Nikki interrupts him…
NIKKI
Who is in the coffin… in the funeral parlor who is in the coffin. I have to know. Put me back in. Let me leave like the rest of them. I’ll never say a word, cross my heart…
MONSTER
And hope to die?
NIKKI
Look, the buzzer is about to sound.
The Monster’s grip has eased a bit. Nikki sits back in the chair and makes sure her IV is still connected.
NIKKI
Okay, I’ll just go back, say my little speech and then walk out. You’ll never have to see me again. After all I’m the last one. You can trust me.
The Monster looks behind at the clock as it ticks down and then over to Kazzi standing in the corner. The Monster gives a “why the hell not” shrug/look. The buzzer sounds. The Monster checks the IV in her arm and the blood draining IV connected to her neck.
INT. FUNERAL PARLOR-NIGHT
Everyone is seated from the very first reading except this time Nikki is reading. DERRICK, MICHELLE, MALCOLM, WANDA, CHESSLEY and a few others.
NIKKI
Good, evening, I’d like to say a few kind words about the dearly departed.
(A look of confusion on her face)
Although I only knew the deceased but a short time I came to admire…
Nikki can hear a squeaking sound directly behind her. Seeing everyone from the group brings tears to her eyes but she’s also happy because she believes she’s about to walk out of there alive.
NIKKI
And that’s how I will always remember my friend, generous, thoughtful, helpful, one hell of a guy and what a great sense of humor, huh. Thank you, good night.
Everyone in the audience immediately stands and points at the same time toward the now open coffin.
Nikki turns to look. She sees herself laying in the coffin. She yells out.
NIKKI
No! No! It can’t be…
INT. MONSTER BASEMENT-NIGHT
The Monster thinks he hears something or someone in an Outer room. He walks to the opening to listen more closely. The Monster orders Kazzi to go find out what it is. Kazzi hesitates and then prepares to head out. He sort of keeps one good eye on Nikki as he walks. The Monster reaches down and picks up Nikki, still unconscious, by her neck. Both IV’s pop off as she is snatched from the chair. The Monster reaches up with with his right hand to plunge into her chest and remove her heart. Kazzi, secretly standing by recognizes this move and jumps in. Kazzi catches the Monster’s arm preventing him from killing Nikki. The Monster tosses Nikki back into the chair and turns his attention toward Kazzi.
MONSTER
Kazzi? What are you doing? How dare you.
The Monster reaches over and grabs Kazzi and tears his head clean from his shoulders. He stands over Kazzi heartbroken for what he has done. Outraged, the Monster picks Nikki up from the chair again to rip her heart out.
Derrick shows up with the shotgun and Ultra Violet shells loaded in the gun.
DERRICK
Hey Motherfucker, Remember me?
The Monster turns to Derrick and looks at the shotgun. He takes the gamble. Derrick can’t help but feel sorry for Nikki who again is unaware that she is being tortured.
DERRICK
Hey, you don’t need to do this, you’re famous, you can get away with this, please don’t kill her, just let us both walk outta here.
The Monster reaches for Nikki’s chest. Derrick pulls the trigger.
Derrick is too late. The Monster clutches Nikki’s heart in his hand as he bursts into fiery embers. Nikki’s body slumps lifeless to the floor.
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Bill Curley Level 3 Horror Emotions Learned. This last lesson provides the ultimate scene, dialogue,etc for a credible horror movie. EXT- Northwoods Road -Day. Three Lakes Police Chief Al Verbel and office Lisa Rawlins race to a construction trailer after receiving a panic stricken call. CAMERA pans over head displaying a tall pine forest and azure blue lakes. INT- Police Car – Day. Rawlins. Chief, what went down in this trailer? Verbel. That is exactly what we,re going to find out. Someone called us. Commotion. Hysterical. Said ” they,re all dead”. Rawlins. Dead? Verbel. Then this person screamed,” help us, please help us”. Rawlins. Oh, my God! EXT -Construction Trailer -Day. The police car sreames to a stop. Dust. Verbel. Lisa, draw your Glock We don,t know what or who is near. Rawlins. What? Verbel. This sounds like a black bear attack. Rawlins. Chief, here,s my little secret. I don,t like this. Verbel. 10 4. They approach the trailer. Door ajar Blood spurts everywhere. Verbel. My worst fears are coming true. INT – Construction Trailer – Day Grotesque carnage. Deaths. Dripping blood. Shredded body parts. Rawlins screams. Vebel looses his recent lunch. Rawlins. Dear God. What possible caused this. Verbel. It,s that damn bog. I had a bad felling about that place. Rawlins. What do you mean? Verbel. No more than two weeks ago we found a surveyor at a place called ” the overlook”. It,s part of this bog project. The guy had giant six feet long porcupine quils rimmed into his body. Rawlins. No! Movement. They are not alone. A repugnant looking monster takes aim at Verbel. Rawlins. Al, it,s behind you. Verbel attempts escape. Hopeless. The Wendigo pounces on the Chief. Rawlins empties her Glock. No use. Verbel. Lisa, run. You can,t help me. Rawlins screams. Verbel is devoured live.
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This reply was modified 1 year, 10 months ago by William Curley.
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This reply was modified 1 year, 10 months ago by William Curley.
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This reply was modified 1 year, 10 months ago by
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Barbara Fix Level 3 Horror Emotion Scene
I learned that it is quite thrilling to write this kind of scene, which is exactly what I hood the audience feels.
INT. SEYMOUR SANITARIUM – KITCHEN – CONTINUOUS
Carson enters sniffing madly, big smile on his face.
CARSON: Hello. Whose cooking?
No answer. He looks around. He sees the oven and crosses over to it. He can tell by the GLOW illuminating from inside that the oven is on.
But what the hell is the sword doing propped in the door? He looks around cautiously. Nothing. He shrugs and pulls the sword out, laying it on the counter.
He opens the door.
CARSON: (sotto) Let’s see what we’ve got in here?
It’s a grisly sight. Sandy is very baked by now – all her hair is burnt off and her skin is blistered and bubbly, blood running in driblets. Carson SCREAMS and slams the door shut.
He dashes back through the kitchen toward the cafeteria.
CARSON: Julie!!
INT. SEYMOUR SANITARIUM – CAFETERIA – CONTINUOUS
Julie exits the bathroom surprised by Carson’s yell. Carson is jacked.
JULIE: What?
CARSON: That ain’t a honey-baked ham in there. We gotta go.
He grabs her arm and leads her quickly through the cafeteria. Julie is confused.
JULIE: What’s going on?
CARSON: That smell.
JULIE: Yeah?
CARSON: I think it was Sandy.
JULIE: Oh my god.
CARSON: Let’s get our asses outta this freak show.
INT. SEYMOUR SANITARIUM – CORRIDOR – CONTINUOUS
They fly into the hallway, Carson in front.
JULIE: I can’t go as fast, Carson. My knee, remember.
Carson looks over his shoulder.
CARSON: Fuck your knee. go!
Carson is not waiting; he’s scared shitless. He pulls away from the struggling Julie who falls behind. Julie sees Carson disappear around a corner. She picks up the pace and that’s when she hears the TORTURED SCREAMS from Carson. She skids to a stop before the corner, her eyes terrified.
JULIE: Carson?
She hears Carson’s pained response.
CARSON (O.C.): Baby, help me!
Julie eases herself around the corner and we see a ghastly sight. Carson has run into a booby trap. Suspended from the ceiling are NUMEROUS FISH HOOKS SET AT ALL LEVELS and Carson is entangled unable to move. Fish hooks are imbedded in his arms, legs, chest, forehead and shoulders. His arms are outstretched. Plain and simple, he’s fucked, and in a whole lot of pain.
Any movement causes the hooks to dig deeper. He YOWLS in pain. He sways a few times spins towards Julie, struggling to keep his balance. The look on Julies face says it all, its too much for her, she faints and falls to the floor.
CARSON (CONT’D): Julie?? Julie!! Ah shit.
INT. SEYMOUR SANITARIUM – HALLWAY – EVENING
Julie opens her eyes. Her vision is fuzzy at first, she can just make out Carson’s shoes, right beside her. Her eyes clear and she SEES the BLOOD FORMING ON HIS SHOES AND FLOOR and HEARS him cursing with pain.
JULIE: Carson.
CARSON: Julie. Come on baby, I need you bad.
She gets up groggy, rubbing her knee. When she sees the hooks sticking out of Carson’s chest again, she is instantly alert.
CARSON (CONT’D): You’re going to have to pull these out for me.
JULIE:Oh no Carson. I can’t.
CARSON:Yes you can. You have too. I can’t; it’s gotta be you. Okay?
She nods. Then tentatively grabs at the first hook. She tugs. Carson YOWLS.
CARSON: Pull harder! It’s gonna hurt no matter what, so do it right.
She grips the same hook and pulls hard. It comes out. Carson GRIMACES and MOANS in pain, then tries to make light of it.
CARSON (CONT’D): See, wasn’t so bad. Go for number two, Julie.
She grips another hook and pulls hard. It rips out, BLOOD SPRAYING ONTO HER FACE. Carson GRIMACES.
CARSON (CONT’D): Good girl. Another one.
She grips the third hook and pulls. Carson SCREAMS. So does Julie. Part of the hook has embedded itself into her hand, pretty deep.
But Julie realizes that Carson hasn’t stopped screaming, and he’s thrashing around and trying to claw behind him. Then she SEES it.
A KNIFE, the point projecting just an inch out of his stomach is working it’s way down, gutting him. BLOOD flows freely. She SCREAMS and back away. At the same time she sees A FIGURE DRESSED IN BLACK behind Carson’s frame.
CARSON: Run!!!!
Julie turns and is gone as fast as her knee will take her.
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Sunil Pappu’s Level 3 Horror Emotion Scene
“What I learned doing this assignment is…to distinguish between Anguish, Panic, Horror and Hysteria and use each of them in the climax scene to create a fitting end to my horror story.”
ACT 3 SCENE: CLIMAX SCENE
ANGUISH: Daisy still in shock from seeing her mother die is relieved that her pet hamster is alive only to realize in horror that the darkroom has a crack and sees her pet hamster scramble towards the light beam and gets zapped by a blade splattering blood all over the floor.
PANIC: Daisy screams in panic as she is the only one who can see and quickly tries to shut her eyes. Her blind father and brother guard her and the enormous eye is inside the darkroom.
HORROR: Phil loads his shotgun and empties it out on the Detector, but his bullets don’t hit the target and its claws cut him up with their sharp blades. Meanwhile, it’s enough to distract the Detector until Mike can get to his enormous magnifying glass to focus his laser beam. He hits the inner eyelid before it closes and shatters it. The detector shoots out tentacles and grabs Daisy. Phil empties his gun but the tentacles grab him too.
HYSTERIA: Phil screams into it and jabs his bayonet into the enormous eye repeatedly until the eye bursts and the laser beam amputates the Detector’s tentacles and it releases Daisy. Daisy runs to help Mike and this time when it returns to life once more and while the laser beam hits Bullseye and electrocutes the Detector, Phil blows it to bits with a grenade.
INT. DARKROOM – DAY
Daisy holds Mike’s hand as he helps Phil get out of the car. Mike counts his steps and stumbles trying to check the signage outside the room…
MIKE
Alright, let’s get inside…
They stumble in…
DAISY
Can I take off my blindfold?
MIKE
Yes Daise… we are in the darkroom…
DAISY
Are you sure?
MIKE
I checked… Daise… go on… check Bella…
Daisy reaches for her blackened shoe box… puts her hand in…
DAISY
Oh, Bella… come here…
Daisy cuddles her hamster… slowly opens her blindfold. She sees her father and hugs him…
DAISY
(crying)
Dad! It… took… Mommy…
Phil has tears running down his cheeks. Hugs her. He reaches around for Mike and grabs him closer to hug him too…
MIKE
We’ll alright here… come on…
Daisy notices a beam of light come through a crack in the wall… Bella the hamster is drawn to it too…
Suddenly Daisy feels a chill in the room. Phil grabs his shotgun… Mike grabs his walker…
Bella slowly creeps up towards the light and looks back at Daisy… Daisy nods her head and leaps to catch it…
… too late… Bella moves into the light…
Zap! A metallic sound reverberates as it hits the ground… Bella’s flattened. Blood splatters all over the floor…
A wet splash hits Daisy in her face… Bella’s blood!
DAISY
(screams)
No!… Bella!
Mike throws her a blindfold…
MIKE
Here… Daisy cover your eyes…
Daisy screams as the room temperature drops and items start to freeze… a slow clicking sound…
Phil points his shotgun in the opposite direction almost ready to blow up Mike.
MIKE
Wait, Dad… it’s that way…
Mike gently orients Phil towards the Detector as he can feel its ragged breath behind him…
MIKE
Dad! Now!
Phil empties his shotgun into the enormous eye but the bullets bounce back and hit objects in the room shattering them. The inner eyelid protects the enormous eye…
MIKE
Stop! It’s bulletproof…
Mike presses his walker sensor sending an infrared light that distresses the enormous eye…
The Detector claws Phil cutting his hands and torso… Phil screams…
MIKE
Dad, are you okay?
PHIL
Goddamit! Yeah, I’m fine… just a slight cut…
Phil tries to reload… But blood gushes out of his tummy… he slides to the floor…
Mike points his walker to the enormous eye and fires a beam which shatters the inner eyelid…
MIKE
Dad… when I tell you…
Mike feels his way to the back and brings out an enormous magnifying glass… he sets it up…
MIKE
Daisy… I’ll need your help… You need to take off your blindfold…
Daisy takes off to help…
DAISY
Turn it more to your…
The Detector shoots out tentacles and grabs Daisy. Daisy screams…
MIKE
Daisy… are you okay?
DAISY
It’s got me with its tentacles…
MIKE
Daisy hang on…
Daisy hears her mom Sarah’s voice calling to her…
SARAH (V.O.)
Come, Daisy… it’s okay, sweety…
Phil gets up feeling helpless…
PHIL
Daisy! Baby…
Mike points his laser beam through the magnifying glass and a strong beam crisscrosses but misses the Detector…
DAISY
Mike… hurry!… I can’t fight it much longer…
Phil empties his gun into the Detector but the tentacles grab him too and he drops his shotgun.
PHIL
Sonofabitch!… Arrrggghhh…
Phil pulls out a bayonet knife from his belt and stabs it into the enormous eye repeatedly… while hysterically screaming…
DAISY
Please…let me go… I want to go to Mommy…
She hears her mom’s voice mimicked by the Detector…
SARAH (V.O.)
Come to me child… that’s it…
Mike points the laser beam to amputate the tentacles of the Detector and it releases Daisy. Daisy screams and drops to the ground…
Phil hears it mimic the voice of his wife Sarah…
SARAH (V.O.)
Phil… Come baby… our son is here… come to me… don’t fight it… we can be together again… See your boy…
Phil closes his eyes as the tentacles engulf him trying to absorb him…
Daisy runs to help Mike and this time when it returns to life again… flailing its enormous tentacles and bleeding from its enormous eye…
DAISY
Dad! Hold on… Don’t listen to it… it’s not real…
The laser beam hits the bullseye and electrocutes the Detector. Phil is thrown to the floor…
He scrambles to quickly grab a grenade hidden under the floorboard and throws it into the enormous eye… blowing it to bits.
They survive for now and Phil stands in front of Mike and Daisy to protect them… reloads his shotgun.
The shattered room invites more detectors who show up on the CCTV cameras set up inside the darkroom…
Mike swings the huge magnifying glass towards the door. Daisy picks up the walker and points its laser sensor through it. All three of them are ready!… thunder rumbles!… lightning cracks!
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This reply was modified 1 year, 10 months ago by Sunil Pappu.
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This reply was modified 1 year, 10 months ago by
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Brian King’s Level 3 Horror Emotion Scene
What I learned… that I like the ending of my story, but it needs modifications, which will have to wait for a rewrite. I did spend the last thirty minutes brainstorming a fix for the overall ending and came up with three viable options. I liked the exercise because it asked me to apply Anguish, Panic, Horror, and Hysteria, which gave me guidelines and springboards on how to write the scene. It was great.
INT. EMBALMING ROOM – NIGHT
In a sterile, macabre operating room, inside a glass cage labeled “Zombie #2,” a male zombie thrashes.
On a gurney, a woman lies motionless, tubes run down her body to a monitoring machine, it’s–
–Gigi–
–Max, dressed in surgical gear, oversees–
–Tess watches in wide-eyed horror from the shadows.
–Father looks at Gigi with a mix of wonder and anticipation.
FATHER
Let’s begin.
He opens a cabinet and carefully selects a vial filled with viscous, colorless fluid pulsating with unnatural energy.
The label reads–
–“Zombie #2 Semen.”
FATHER
Life marries death.
He fills a sinister-looking syringe with the tainted seed.
FATHER
A miraculous miracle.
With intent and calculated precision, Father approaches Gigi and inserts the syringe into her womb, presses down on the plunger, and injects her with the tainted seed.
He steps back and admires his work, the dark possibilities.
Tess slaps her palm against her mouth to stifle any sound.
Gigi turns green and her veins pulsate with morbid energy.
FATHER
Life will rise from the dark abyss.
Gigi moans, eyes flutter as unnatural vitality courses through her veins.
FATHER
You are reborn, my dear.
Gigi flails, her expression haunted–
–Tess losses it and lets out a PIERCING SCREAM.
Father, Max, and Gigi snap their heads in Tess’s direction.
TESS
You twisted piece of—–
–Fueled by anger and desperation, She lunges for Father.
–Max jumps between and grabs Tess around the waist–
–A HIGH-PITCHED CONTINUOUS SQUEAL comes from the heart monitor attached to Gigi–FLATLINE–Gigi’s heart gives out and she goes into a sudden cardiac arrest.
Father’s face contorts, utter disbelief.
Gigi lays on the gurney motionless.
FATHER
We’re losing her.
Max’s grip on Tess loosens and–
–She breaks free and flees.
FATHER
Don’t let her get away.
Max takes off in pursuit as–
–Tess darts through a side door and disappears into the darkness.
INT. HALLWAY – NIGHT – CONTINUOUS
Tess runs into the arms of her Therapist.
TESS
I’m next. Do you hear me? I’m next.
Her words cut short as–
–Max snatches her from behind.
MAX
I’ll take it from her.
THERAPIST
Put her down.
Max swats the Therapist aside and drags away Tess, who fights him every step of the way.
**
The MM 7 payoff to the above scene/is more of an exercise than the way it will play out in the first draft of the story.
INT. EMBALMING – NIGHT
Tess, strapped on a gurney, struggles to break free of the straps, forget it, she’s powerless to flee.
A grotesque ZOMBIE pounds on the walls inside a glass cage–
–It’s Gigi, now a hollowed-out shell of Goth Girl.
GIGI
(zombie growl)
Ahhhh.
TESS
No. You bastard.
Father reaches for a handheld device and stabs a–
–Red button labeled–Gigi–
–She goes limp and docile as a lamb–
–Tess watches with bone-chilling horror.
TESS
Please. Stop the madness.
He looks at her with terrible intelligence.
FATHER
(fatherly care)
I have big plans for you, my dear.
A terrible intelligence etched in the lines on his face–
–Tess tries to speak but nothing comes out… finally.
TESS
Daddy, please.
FATHER
I’m not him. I’m barely your father. If you must, call me stepdaddy.
He fills a syringe with liquid from a small vial.
TESS
(stunned)
What?
FATHER
I’m sterile. You came from an agency. I barely know you.
Tess goes limp, stunned.
Father taps the side of the syringe and presses the plunger, a small amount of liquid squirts out of the needle.
Tess slams her legs closed, defiant.
TESS
Father, don’t.
FATHER
(off “Father”)
Father. Old habits die hard.
He inserts the needle into a tube flowing into her arm.
FATHER
Something to help you sleep.
Tess manages to kick the needle out of the tube.
FATHER
Suit yourself. Immortality awaits.
He studied under the harsh glare of the Fluorescents.
TESS
I’ll kill whatever you put in me.
FATHER
A mother’s love is unbreakable.
He nods and–
–Max holds Tess’s legs apart, as–
–Father fills a syringe with Zombie sperm.
TESS
Ahh.
Father approaches Tess with intent, the–
–Syringe looms large in front of–
–Tess–she’s got the bed spins, the lights dim, her focus, blurry, and she blacks out.
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Frances Williams Level 3 Horror Emotions Scene.
What I Learned doing this Assignment is How to analyze Horror Films using Four emotions of Anguish,Panic, Horror and Hysteria.
Anguish – The team finds Jake lying against the rocks bloodied and half eaten by the Monster, they try to save him, but watches him die in vain.
Panic- John is being stalked by the Monster, he tries to outrun the Monster but falls and the monster pounces on him.
Horror – Enroute back to Base camp Jake finds a mysterious object laying in the woods, The stone has some ancient Egyptian writings on it, he touches the stone and a demon appears.
Hysteria – It looks like the group is being saved, they see what looks like a group of soldiers walking towards them, as they get closer they find themselves surrounded by monsters, they pounce on them and begin eating them alive
Ext – The Woods – Antiqua -Day
John is running through the woods hunting for Jake when he sees an object with Ancient writings on it, he touches the stone and it starts to vibrate, he yells out, Jake, Jake and finds him lying against a rock bloodied and battered, he had been half eaten by the Monster, he tries to save him, but watches as he dies in vain
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Jackson’s Level 3 Horror Emotion Scene
What I learned: To flesh out scenes to better terrify the audience.
INT—SCHOOL/CAFETERIA—DAY
DEE, SAMI, and ASHER make it to the CAFETERIA. They see a few other students there including MITCH. They then talk by the lunch counters about what this monster is, and what they know so far.
They see another student coming; one student recognizes that that one has died. They try to close the gates, but the DOPPELGÄNGER grabs one of the students closing them, ASHER. They threaten ASHER with death if SAMI closes it. SAMI nonetheless tries but the MONSTER slips past as it shuts, pulling Asher under it. They slowly move closer to the group, MITCH grabs a handful of PLASTIC KNIVES and begins throwing them at the monster, charging, but stopped by the alien’s electricity draining ability, while the others frantically search for anything. One opens the freezer; the monster is slowed. They flee out of an exit at the back of the kitchen.ou
Anguish: Asher in trouble
Panic: The monster is here
Horror: The monster has killed two of us, and we only have one way to escape. Not all of us will make it.
Hysteria: After all of these encounters the monster is still out there, they still need to get the weapon, and their friends are dead.
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This reply was modified 1 year, 10 months ago by Robert Lee.
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This reply was modified 1 year, 10 months ago by
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Budinscak Level 3 Horror Emotion Scene
Level 3 Horror Emotions
Day 12
What I learned doing this assignment is…
o To ramp all the emotions into a frenzy in Act 3.
o How to engage and scare an audience.
INT – MAKESHIFT PRISON – NIGHT
As they enter a glass-walled office, the Drone Pilot walks behind Vicki and Ian – he has them at gunpoint. Duct tape is prominent in the space covering all air ducts.
SOM: Handcuff him to a chair, not her. I’ll be right back.
Drone Pilot tosses handcuffs to Vicki.
DRONE PILOT: You know what to do.
Vicki handcuffs Ian to a chair. They watch the SOM enter an adjacent office approaching a man tied to a chair. They note the man’s violent struggle to free himself just before the SOM pulls out a gun shooting the man dead.
Vicki turns to the Drone Pilot, who smiles while shaking his head no. The SOM marches back in the room.
SOM: Someone or something doesn’t belong here, and I’m sorry to say it wasn’t him.
VICKI: Someone or something? Is that why you shot him.
SOM: I had to be sure.
VICKI: Sure about what? If he dies, he’s not an alien?
The SOM has a noticeable twitch when he smiles.
VICKI: Where’s the Commander?
SOM: He’s taking care of the weather balloon. I’m hunting aliens.
A cat limps tenderly on three paws towards Vicki. The SOM looks at the Drone Pilot motioning towards the cat.
DRONE PILOT: He ain’t mine.
SOM: He’s not? How long’s it been here?
DRONE PILOT: Just appeared a couple of days ago.
The SOM studies the cat while checking his gun. Vicki won’t have any of this, she scoops up the cat.
VICKI: Don’t be ridiculous.
SOM: There’s only one way for me to know for sure.
VICKI: By killing it. No. Not going to happen.
DRONE PILOT: Step back, lady.
IAN: Vicki, don’t do this.
SOM: Put the cat down.
Vicki turns towards Ian, protecting the cat with her body.
IAN: Vicki, put the cat on the floor. Everything will be alight.
Vicki steals a look at the SOM. His eyes tell her to drop the feline, her eyes say no. His lip unfurls into a sneer when he pulls the trigger – boom.
IAN: NO!
Vicki drops to the ground releasing the cat. The cat darts for cover under a desk. Vicki rolls to one side, blood pours out. Life quickly leaves her.
IAN: You wait…
The SOM turns to Ian, smacking him in the head with the butt of his gun. Ian’s unfazed. SOM waves goodbye pulling the trigger – boom. The bullet passes right through Ian. He becomes a mist freeing himself from the handcuffs.
Drone Pilot and SOM step back in shock. They race out the door, down the hall.
Ian’s mist invades Vicki’s body bringing it back to life, but with a twist. There now exists a part of the alien in Vicki’s body. She can separate her spirit from her flesh controlling both. Vicki is able to extract her animal spirit to administer vengeance.
INT – OFFICE – CONTINUOUS
The SOM and Drone Pilot hustle to seal off the door with duct tape, and they do. They confidently watch a scary apparition of Vicki approach the door and dissolve.
The men look in terror as Vicki herself approaches the door. She looks a little different, but they know it’s her. She peeks in the windows, smiles and waves. A mist enters through an air duct forming the large, vicious animal that will mete out Vicki’s brutal justice.
The Drone Pilot is torn in half dying instantly. The SOM empties his revolver, then grabs a fire extinguisher. Before he can dispense its contents, Vicki disembowels the SOM. He suffers greatly before he’s dead.
Vicki summons her spirit side. The mist enters the vent and appears on the other side of the door. It incorporates itself into Vicki. She heads back towards the makeshift prison.
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Tony J. Scott
Scares Releases and Creepy moments
I learned how to add highlights to a scene in order to enhance the moment and starting with a outline helps to organize the thoughts.
Horror situation: Det. Riley and Det. Davenport are standing in the front door foyer. They both hear screams for help from the basement.
Reaction: Det. Riley acts like he hears nothing. Det. Davenport realizes he left the basement sound proof door open during his haste.
Denial: Det. Riley ignores what he hears and doesn’t want to believe Det. Davenport heard the screams.
Scary: The front door suddenly fly’s open and not by the wind.
Release: Det. Riley thinks he is going to just walk out the door since it’s open.
Creepy: Det. Davenport/Monster steps closer to Det. Riley and takes one big sniff of him under his neck in an upward motion.
INT. MONSTER HOUSE FRONT DOOR-NIGHT
DET. LEO RILEY introduces himself to DET. REINEER DAVENPORT/MONSTER and mentions that CPT. BINGHAM told him to drop by to inquire why he’s been out almost a week and that he will be his new partner going forward concerning the recent vampire killings and that he’s just relocated from the DEKALB COUNTY POLICE DEPARTMENT. They are talking through the scree door.
DET. RILEY
I might need some ice for my hand. Just kidding. I’m Det. Leo Riley just transferred in from DCPD. We were supposed to meet and greet a couple hours ago but I hear you’ve been out for a minute on account of your brother’s gone missing.
DET. DAVENPORT
Hmm. Real sorry I missed that meeting… but I see you’re all caught up.
DET. RILEY
You, a, mind if I come in? I promised the CO I’d pop in, you know, introduce myself. The CPT speaks very highly of you and of course I’m a fan of your talk show.
DET. DAVENPORT
Yeah, not really. I’m pretty busy at the moment.
Det. Davenport begins to close the door but Det. Riley has opened the screen door and placed his foot partially inside. They both look down and Det. Riley’s foot.
DET. DAVENPORT
Right…
Det. Riley steps in and closes the large Oak Wood door but leaves it somewhat ajar.
INT. MONSTER HOUSE FRONT DOOR FOYER-NIGHT
DET. RILEY
I mean I did tell him I’d check on you. You look taller on TV. I’m sure you hear that a lot.
DET. DAVENPORT
No. Not really.
DET. RILEY
This is a very nice home. You live hear alone do ya? Hmm… anyway, I guess the CPT has tried calling you and since you didn’t pick up he sent me.
DET. DAVENPORT
How thoughtful of him.
They both hear screams for help coming from the basement. Det. Riley nor Det. Davenport flinch at the screaming. Det. Riley ignores it and never says a word.
DET. RILEY
So… I’ll just tell the CPT you’ll be returning next week then.
The front door fly’s open with a loud slam against the wall but there is no gust of wind. Det. Riley reacts to this. He’s caught off guard. He tries to maintain his fear. That was no wind gust.
DET. RILEY
Woe. Some wind we’re having huh?
Det. Davenport/Monster steps closer to Det. Riley and takes a big loud sniff of him from the base of his neck to the top of his neck in one upward motion.
DET. RILEY
Ah. Some personal space there buddy.
DET. DAVENPORT
Yes, well let me show you the door.
Det. Riley turns toward the screen door to leave. He’s relieved. Det. Davenport places his left hand on the back of Det. Riley’s upper back/lower neck area as if to pat him on the back, like a good by gesture. But with his right hand he grabs the open Oak Wood door.
With his left hand Det. Davenport pins Det. Riley’s head to the door-frame and begins slamming the Oak Wood Door onto Det. Riley’s head over and over again. Skull and brain grey matter splatters everywhere including onto Det. Davenport’s face.
DET. DAVENPORT
You can tell CPT. Bingham I said I need “some personal space there buddy.”
Det. Davenport lifts Det. Riley’s dead body over his shoulder, locks the front door and carries him to the basement. He drops Det. Riley’s dead body onto the empty chair between NIKKI and WANDA.
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Joyce’s Horror Emotion Scene Scary and Creepy Moments
WIL: I LEARNED THAT i CAN WRITE A HORROR SCENE AFTER ALL.
Scott and Chad leave Greg in charge of the girls and go to the gym.
INT. GYM – NIGHT
The lights are flickering and half go out.
Scott stumble on something, Blaine’s feet.
SCOTT
He’s crushed. Lift the bleachers.
Chad gropes in the dark to yank the controls to raise the bleachers.
The motor runs, but nothing goes up.
CHAD
He’s a goner. No use pulling on him.
He takes out his cell phone.
CHAD
I’ll call police.
No signal.
CHAD
Gimme yours.
SCOTT
I left it in the hotel.
CHAD
Figures. You stupid dolt. You’ll never make a living.
SCOTT
Yeah. Doctors have it tough right now.
CHAD
Doctor? Can you tell if Blaine’s alive?
SCOTT
He’s warm.
CHAD
We have to lift the weight.
SCOTT
If we raise the bleachers manually, he may bleed to death. It could be stopping the flow as it is.
CHAD
I say, Go for it.
They try to lift the bleachers manually,and move the section of bleachers a few inches.
Scott pulls on the legs. They are bloody stumps.
He drops hold of them.
Chad bends, sick and in disgust.
SCOTT
Is there a light on your phone?
Chad shines it around and back to the basketball net.
Blaine’s bleeding body hangs from it, missing legs
Scott holds the light as Chad cuts the body down.
In the doorway Haley stands and screams. She staggers to the hall and sinks down.
Down the hall is a shadow of a crouching tiger. The shadow moves away.
She points at it when Scott comes to her. There’s nothing there.
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This reply was modified 1 year, 10 months ago by Joyce Davidson.
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This reply was modified 1 year, 10 months ago by
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DEB STENARD’S LEVEL 3 HORROR EMOTIONS SCENE
What I learned doing his assignment is: when I started the class, I didn’t really have a fully formed idea for a horror film. Have never written one before, not my strong point. Still not complete, but with these steps, I am getting there.
ACT 3
INT. RECEPTION AREA – DAY
Carl tentatively creeps into the reception area, his eyes darting from side to side. A bird flies through the atrium, causing him to jump. He huddles behind the front desk.
He eyes light on the phone with buttons labeled GARAGE, HOUSEKEEPING, POWER PLANT, KITCHEN, EXECUTIVE SUITE, etc. He hits them one by one, calling hysterically into the phone.
CARL
Hello, hello? Is anyone there?
Hits another, making sure to avoid the one marked KITCHEN.
CARL
Gloria, Evabeth, Amber? Is anyone here? Am I alone?
Carl starts to shake.
CARL
They left me! They ran off and left me! I’ve never been alone in my life. I’m alone with a maniac who’s going to kill me and chop me up and eat me and I can’t reach anyone and I’m going to die in a goddam LOBBY.
Hits all the buttons at once and cries into the receiver.
CARL
Isn’t anyone here at all?
Suddenly a voice comes out of the phone.
GLORIA (O.S.)
Adderman, where are you?
CARL
You left me here, you bitch!
GLORIA (O.S.)
Temper, temper. Where’s Louis?
CARL
The monster got him. I couldn’t save him, wasn’t my fault!
GLORIA (O.S.)
Carl: calm down. Where are you?
CARL
In the lobby.
GLORIA (O.S.)
Ok, listen: I want you to come to the place where you hid your wallet. Do you hear me? Where you HID your WALLET.
CARL
Why are you saying it like that?
GLORIA (O.S.)
Because I don’t want to broadcast it over the entire resort. Idiot.
CARL
If I move, he’ll find me. I order you to come save me!
INT. PANIC ROOM – DAY
Gloria and the girls are in the massive safe Panic room installed the Executive Suite. There is a TV screen that allows Gloria to see the lobby, and other rooms in the resort. She can see Carl crouching behind the reception desk and Abaddon drooling and twitching in the kitchen.
GLORIA
Carl. I’m going to come get you. Stay where you are. You’re safe.
She hangs up the phone.
GLORIA
I’m gonna to go get that troglodyte which I hope I don’t regret. Don’t open the door unless I say sesame. NO ONE ELSE. Only if I say it.
AMBER
Why no one else?
GLORIA
Because I don’t put it past Adderman to double-cross me to save himself. Lock The door after me!
EVABETH
Where’s Louis?
Gloria opens the complicated locks on the door.
GLORIA
He didn’t make it.
She leaves and shuts the door behind her. Amber jumps up to lock the door. Her shoulders are shaking.
EVABETH
Amber, are you crying for Louis?
Amber wipes her eyes.
AMBER
I came with him this weekend, because I thought I could use him to get a job with Adderman. I barely knew him and now he’s dead!
The two girls hug each other.
INT. RECEPTION AREA – DAY
Gloria cautiously creeps into the reception area, holding a metal curtain rod with an end cap on it shaped like a spear.
GLORIA
(Whispering) Adderman. Adderman,
CARL
(Whispering) How do I know it’s you?
GLORIA
You pay me twelve dollars an hour and I don’t get health care.
Carl cautiously moves out from behind the desk.
GLORIA
I have the girls in the panic room. We’ll be safe there while we figure out what to do. Come on.
CARL
No, no we should leave now!
GLORIA
And leave those two girls behind?
CARL
They’ll be safe there, you said so.
GLORIA
I will shove this curtain rod up your crap cannon. MOVE IT.
She prods him into moving.
INT: EXECUTIVE SUITE – DAY
Gloria cautiously, with Carl pushing to get in behind her.
CARL
They’re not here! He got them, he came in here and found them! He killed them and ripped apart their bodies and ate them like a wolf!
Gloria puts down the spear, and holds Carl’s face between her hands.
GLORIA
They’re in the Panic Room. He didn’t get them, they’re OK.
Carl calms down. Gloria hauls off and slaps him. Hard.
CARL
I was calm, why did you do that?!
GLORIA
I felt like it.
She goes to the big door, knocks on it.
AMBER (O.C.)
Who it is?
GLORIA
Sesame. Open up.
The door opens slowly to reveal the two girls.
EVABETH
We were watching the cameras. He’s not in the kitchen any more.
CARL
Where is he?
All the lights go off, the AC powers down and the camera screen go black.
GLORIA
The Power Plant. That settles it, we gotta get out of here now.
EVABETH
But what if he catches us outside?
AMBER
He can catch us a lot easier in here with no power. I say we go.
EVABETH
If Gloria say so.
CARL
I’m staying here.
Gloria picks up the spear and the women all start to leave.
CARL
Wait! What about me?
AMBER
You can stay, but you’ll totally Kobayashi Maru it.
EVABETH
I did not peg you for a Trekkie.
They leave the room.
INT: THE ATRIUM – AFTERNOON
The group are walking silently through the atrium, skirting the koi pond in the middle. There are massive tress and ferns and plants and it is hard to see 5 feet in front of you.
GLORIA
Be careful, everyone. Don’t fall in the koi pond. Why they built it without a lip, I will never know.
CARL
That was my design esthetic.
AMBER
Figures.
Gloria is in the lead, then Carl and the two girls coming behind. Suddenly, a scarred hand comes out of nowhere, grabs at Evabeth and pulls her in the bushes.
INT: CLEARING – AFTERNOON
Evabeth turns around to see a horribly burned face and drooling mouth, red and scarred. The mouth moves.
LOUIS
Help me.
OMG. It’s Louis. She lets out a scream. Gloria and the others rush in. Carl grabs the spear from Gloria and plunges it into Louis’ mouth and out the other side of his head. He drops into the koi pond.
EVABETH
You said he was dead!
CARL
I thought he was!
AMBER
He is now.
GLORIA
Thank God.
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I just realized that I read the lesson incorrectly and wrote the script, NOT THE OUTLINE. But I feel i did incorporate everything that was in the lesson. Apologies
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Subject line: Marissa’s Level 3 Horror Emotion Scene
What I learned: Realizing I need to start fleshing out my scenes but trying to keep up with the assignments.
ANGUISH: Adair finds the Shin Hee outside the house her body burnt to the cement with a shell of a face. She howls inaudibly. She turns and sees Benjamin enveloped by white smoke floating. He is holding the teraphim. She jumps for his feet.
PANIC: Benjamin begins to drift across the room, elevated. He is shouting for Adair. She chases after the mixture of clouds and smoke. Benjamin’s screams grow distant. Adair continues to chase when the floors give out and she crashes through slamming back first into a coffee table. Adair moans feeling her ribs. She grimaces. Then. Adair rolls over in agony.
HORROR: Benjamin is gone.
HYSTERIA: Adair attempts to rise but collapses. Her eyes search the room and she screams “Benjamin?” She pulls her body out of the living room. Seeking “Benjamin!”
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Chuck Czech’s Level 3 Horror Emotion Scene
I learned that as a writer, you should not be afraid of hysteria. I find it tougher to watch a character get tormented than to write a character get tormented. The emotions described in the lesson provide structure and meaning to the torment. Another fun lesson!
INT. KAY’S DUPLEX/LIVING ROOM – NIGHT
Ty and Rudie emerge from the bedroom wearing pajamas. Kay’s in the kitchenette monitoring a microwave oven POPPING POPCORN.
TY: Game night — I call the game! Risk.
RUDIE: No, Ty, I call it. Connect Four.
TY: Baby game.
KAY: Stop teasing. How about something in the middle? Battleship.
TY (to Rudie): Something Mom can understand.
DOORBELL. Rudie instinctively runs to the front door.
KAY: Slow down, sweetheart! What did I tell you — always look first.
Rudie moves a stool in front of the door and peers through the peephole.
RUDIE: It’s Cam!
KAY: Cam?
Rudie unhooks the chain and twists the handle. The door is instantly shoved inward, knocking Rudie onto her butt.
It’s not Cam — it’s Cam’s severed head — in the hands of the Machinist. The possessed man drops the head and steps inside.
Rudie scrambles behind Kay and clutches her leg. Kay sees her gun on the side table. So does the Machinist. Does she go for the gun or guard her children?
The microwave’s timer BEEPS but it keeps cooking. The POPPING trails off.
Kay presses Rudie into Ty’s arms directly behind her. Like one unit, they edge toward the side table. The Machinist slides in the same direction, his feet smearing Cam’s blood.
Kay and the children drift back into the kitchenette, toward a block of knives. The Machinist mirrors their move.
The popcorn is burning now. Smoke oozes from the oven door.
KAY: Ty, you remember the shortcut to the street? Take your sister.
Kay draws a butcher knife from the block. The Machinist smiles. Kay and the children edge toward a low window adjacent to the kitchenette.
Shaking, Ty works the window’s locks. He strains to crack it open.
The Machinist steps forward. Kay raises the knife. Ty squeezes through the cracked window. Then the window SLAMS SHUT, trapping Ty outside. Invisible fingers re-lock the locks.
Then all the doors SLAM SHUT and drapes are violently closed. One by one, light bulbs BURST and darkness envelopes the duplex. Streetlights peeking through the drapes emphasize the smoke.
The microwave stops cooking. BEEP-BEEP-BEEP-BEEP. Kay’s eyes meet the Machinist’s. The Machinist’s eyes look down on Rudie.
Just then, the SMOKE ALARM SCREECHES and the duplex’s SPRINKLERS kick in. Kay takes this moment of confusion to scoop up Rudie and heave herself against the bedroom door. It gives. Then it violently SLAMS against her, stunning her. She drops Rudie into the bedroom, then presses her whole weight on the door to CLICK it shut.
INT. KAY’S DUPLEX/CHILD’S BEDROOM – CONTINUOUS
Kay locks the door, jams Ty’s desk chair under the knob, then slides his desk against the chair. She heaves Rudie’s mattress on top for good measure.
The Machinist POUNDS ON THE DOOR with the violence of a battering ram.
Kay hears a MUFFLED VOICE — Cheryl is outside the window POUNDING ON THE CLOSED SHUTTERS.
Kay tries to open the window — no good. She hurls a unicorn lamp against the glass — but amazingly it has no effect. The glass begins to frost, obscuring any sight of Cheryl.
Kay pushes Rudie into the corner and grabs the broken lamp, brandishing it like a weapon.
The bedroom door BEGINS TO SPLINTER.
KAY: Stay brave, sweetheart. I love you!
Kay hears a POUNDING ON THE BEDROOM WALL. Cheryl is on the other side! Kay squares herself to the wall and kicks it with her heel. The cheap sheetrock cracks. Kay kicks again and again and again. A hole forms. We can see Cheryl pulling bits of sheetrock from her side of the duplex.
The bedroom door gives. The mattress falls.
Kay pushes Rudie head first through the hole — Cheryl pulls her through to the other side. Rudie’s clear!
Kay jumps to her feet, the broken lamp ready. But there’s silence. The Machinist has stopped his assault on the bedroom.
KAY: Shit!
She clumsily jumps over the mattress, onto the desk, then squeezes through a ragged hold in the door.
INT. KAY’S DUPLEX/LIVING ROOM – CONTINUOUS
Kay snatches her gun from the side table. Checks it. Then notices Lemech’s rosary. She grabs it.
EXT. ENTRANCE TO CHERYL’S DUPLEX – CONTINUOUS
Kay tries Cheryl’s front door. Sealed. She HEARS RUDIE SCREAMING inside.
KAY (crying): No! Dear God, no!
Kay FIRES THREE BULLETS into the door handle. She tries it. Solid as rock. Another SCREAM — this time CHERYL.
Kay’s trembling, hysterical. She glances around for any clue to help. She notices the rosary wrapped within her fist.
KAY (whispers): Please… please…
Rosary in hand, she gently presses the door handle. It turns. Kay launches herself against the door and stumbles in.
INT. CHERYL’S DUPLEX/LIVING ROOM- CONTINUOUS
Kay falls to the floor and witnesses a nightmare. Rudie cowers in a corner staring up at Cheryl, who’s Levitating in the air, her limbs splayed wide, her head thrown back in agony.
Still on her side, Kay FIRES THREE SHOTS — all hitting the Machinist’s ribs. Good clean body shots. Blood spatters, his jacket smokes. But the Machinist stays on his feet, unbothered.
The Machinist gestures and Cheryl falls to the floor. Rudie, crying, crawls to Cheryl and hugs her.
The Machinist rotates toward Kay, his legs unmoving as if he was on a carousel. The Machinist’s face now bears the demonic visage we’ve seen before.
Kay’s eyes widen. Then narrow. She FIRES THREE SHOTS into the Machinist’s face, tearing through his cheek, shattering his jaw. But his eyes remain fierce and focused.
The Machinist gestures and Kay is lifted to her feet by invisible hands. Another gesture SMASHES her against the ceiling, cracking the plaster, expelling air from her lungs. And another gesture pounds her against the ceiling again — this time causing the gun and rosary fall from her limp hands. A third, punishing gesture rams Kay against the ceiling one more time, breaking bones and drawing blood.
RUDIE (hysterical): No more…
The Machinist rotates toward the girl, then skims across the floor to stand over her. His ruined face is twisted in triumph, his lips purse for an evil kiss.
The front door CREAKS, prompting the Machinist and Rudy to turn.
Becca stands at the entrance, silhouetted by the streetlights. Without taking her eyes off the Machinist, she stoops down, picks up the rosary and disappears before our eyes.
-
Brian G. Walsh’s Level 3 Horror Emotion Scene
What I learned doing this assignment is that you must be flexible enough to change whatever needs to be changed in order to make the story work with the correct horror elements in place.
INT. MINE TUNNEL – NIGHT
Raleigh and Christine move cautiously. They use their flashlights judiciously and stay several feet apart for safety.
MOANING
They douse their flashlights and stand still. Waiting. Listening.
They move forward slowly, keeping their lights off.
Raleigh moves close to Christine.
RALEIGH
Keep your light off. I’m gonna use
mine. If he gets me, you take off.
CHRISTINE
If he gets you, I won’t know what
to do. How to stop him.
RALEIGH
Find that cross. It immobilizes him
somehow. And the coffin. It has a prayer or
something that keeps the priest’s body
incorruptible.
CHRISTINE
Like Christ after the crucifixion.
RALEIGH
That’s why we can’t shoot him. Every time
the priest’s body is damaged the body begins
to decay. You saw the energy coming from
those holes in the body.
Christine nods.
RALEIGH (CONT’D)
The energy of the demon spirits bleeding
out. If his body gets damaged enough,
they’re gonna break free.
CHRISTINE
And then?
RALEIGH
Hell on Earth.
Raleigh moves away from her. He turns on his flashlight.
Sheriff Knickerbocker staggers around the corner, sinks to his knees, drops face-first to the ground.
Raleigh runs to him, Christine close behind. They check him.
RALEIGH
I can’t find a pulse!
CHRISTINE
Oh my God!
DEMON VOICES
(whispers)
Raleigh Douglass.
They both quickly get to their feet. Each uses their flashlight but nothing is there.
Keene waddles around the corner. He sways from side-to-side, turns his head both ways. He stands before them but apparently doesn’t see them.
Raleigh and Christine exchange a look.
They slowly back away.
Keene cocks his head to one side like a dog.
DEMON VOICES
(whispers)
Who’s there?
Knickerbocker suddenly rolls over, pulls out his gun and SHOOTS the priest several times.
Keene bounces against the wall but doesn’t fall.
CHRISTINE
No!
Knickerbocker notices Christine and Raleigh. He waves them away.
KNICKERBOCKER
Get back!
Knickerbocker gets up, shaky, and unloads the rest of his bullets into the priest’s body.
Holes open up in Keene’s body. Light energy seethes from those holes. Bits of flesh and cloth fall from him. The demon voices sigh in satisfaction.
DEMON VOICES
(whispers)
Do you feel guilty over the things you’ve
done, Sheriff Knickerbocker?
Raleigh and Christine rush to help Knickerbocker.
Keene LAUNCHES himself across from the wall and lands right on top of Knickerbocker. He strangles him.
Raleigh KICKS the priest in the head.
Keene grabs Raleigh’s foot. He drags Raleigh towards him.
Christine yanks the crucifix from her neck, dives at Keene and presses it into his face.
Keene releases Raleigh, rolls off Knickerbocker. The collective demon voices SHRIEK in agony.
Christine pursues him with the cross.
Keene whips his legs out –
Christine trips and loses the cross.
The cross lands beyond Keene’s body.
Keene LUNGES for her –
Raleigh pulls her away.
They run for their lives.
INT. PUMP ROOM – NIGHT
Raleigh and Christine enter and run to the back. There is no way out. They turn and run back the way they came.
CHRISTINE
Where is Sheriff Knickerbocker?
Raleigh pulls her along out of the room.
INT. MINE TUNNEL – NIGHT
Bartholomew Keene walks towards them, cutting off their avenue of escape.
Raleigh positions himself in front of Christine.
DEMON VOICES
(whispers)
After we kill you, Raleigh Douglass, one of
us is going to invest you and make you
kill everyone you ever loved.
RALEIGH
(softly to Christine)
When he grabs me, run.
DEMON VOICES
(whispers)
You are going to kill, kill, kill everyone
and everything who ever meant anything
to you.
CHRISTINE
He’ll kill you!
RALEIGH
(softly)
The next time you see me, don’t stop
to ask questions. Shoot me until I
stop moving.
Christine grabs onto him.
RALEIGH
It won’t be me, Chris!
(beat)
I won’t be me! I’ll be one of them!
-
<b style=”font-family: inherit; font-size: inherit;”>Avi Kapurala’s Level 3 Horror Emotions
<b style=”font-family: inherit; font-size: inherit;”>What I learned is: my outline has fewer scenes than I would like. I had to improvise.
<b style=”font-family: inherit; font-size: inherit;”>ANGUISH: Laura is anguished to see Scott, with multiple arrows in his body and bleeding from his wounds. He will die without help, but there is no help to be had. Scott urges Laura to leave him and get to the house. He’s going to die anyway, but he wants her to get the fuck out of here.
PANIC: Laura panics as the door to the house slams shut behind her, trapping her inside and her favorite song starts playing on the PA system.
HORROR: As the music builds, a montage of the deaths of the group members begins playing on a screen. Laura is asked to open the boxes on the table in the room. She hesitates, but has no choice if she wants the door opened. She opens a box and sees Emma’s head, eyes wide open, staring at her. Laura screams and the box falls to the floor and the head rolls and bumps into her feet. She wants to vomit, but has only one option- continue. She opens the other boxes and in each one, sees the head of a friend of hers.
HYSTERIA: Adam dodges Laura’s knife thrusts and overpowers her. He pins her to the ground. Laura tries to gouge his face and eyes, but he grabs her wrists with one arm and repeatedly slaps her with the other. A cut opens up on her lip and there are tears in her eyes from the pain, but she keeps struggling. Adam stops hitting her and unsheathes his axe. Laura is hysterical, trying to get out from his hold. His grip tightens and the axe begins to swing down….
EXT. WOODS – NIGHT
Laura and Scott are crashing through the last stretch of woods, towards the clearing between them and the house. Suddenly, Scott, who is a few steps ahead of Laura, stumbles. There’s a whooshing noise, followed by an explosive grunt, as Scott falls to his knees. Laura catches up with him and screams in horror as she sees that…Scott’s chest is peppered with arrows.
LAURA
Scott! Noooooo!
She falls to the ground beside him and he crumples sideways into her lap.
LAURA
Scott! No! Please! You can’t do this to me! I need you!
Scott looks at her, his eyes shining with pain.
SCOTT
I…got…careless…I’m…sorry, Laura.
Laura clutches him to herself and sobs in anguish.
SCOTT
But…you have to…keep going. Leave…
Laura shakes her head, tears flowing.
LAURA
No! I can’t leave you! I’m going to get help!
Scott shakes his head.
SCOTT
Too…late. Go…
He pushes Laura away weakly. She stumbles to her feet and starts running toward sthe house.
She makes it across the clearing and rushes into the house. The door slams shut behind her. She whirls around, in complete panic, as her favorite song starts playing.
The PA system crackles.
MAN
I know you like presents, Laura. Look on the table.
Laura hesitates.
MAN
Do it! Or you die now. Scott’s heroism would have been in vain. Is that what you want?
Laura shuffles to the table in the middle of the room and opens the first box. It has Emma’s head in it. Laura screams and stumbles back.
MAN
Go on, open the others.
LAURA
Fuck you!
MAN
Do it!
Laura opens the two other boxes and yells in horror. They contain Jessica and Regan’s heads. Laura is crying.
MAN
They shouldn’t have come. They would have lived. But they came…and I had to punish them.
The voice shuts off and suddenly, someone speaks behind her.
MAN
And now..it’s just you and me.
Laura spins around and sees…Adam. He’s holding a bloody axe in one hand and a knife in the other.
MAN
Hello Laura. Miss me?
LAURA
It was fucking you? You killed all of them?
She lunges at Adam and he sidesteps her. Laughs.
ADAM
Good to see you too. Here…
He tosses the knife at her.
ADAM
Use that. Kill me. Go on. I’m right here.
Laura picks it up and rushes at him. He sidesteps her again and again. Then he reaches out and..knocks the knife out of her hands! He pushes her to the ground and straddles her.
ADAM
You had your chance. Now, I have mine. To punish you for leaving me. For cheating on me.
Laura is struggling hysterically to break free from his grip. She tries to gouge his face, his eyes, to no avail. Adam is too strong for her. She watches in horror as his axe swings up and slowly starts to descend.
ADAM
Now, it’s time to die. Don’t you wish you hadn’t left me?
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