-
Lesson 14
Reply to post your assignment.
-
6 Replies
-
M. Morgan’s Scary-As-Hell Scene
I learned to improve this scene by balancing different scare responses and emotions with brief moments of release. Makes the scene way better and lets me feel what it’d be like to be in the characters’ situation.
SCENE: Between Midpoint and Act II Turning Point: Feeling pursued, the girls go into a cave and find they’re not alone and without escape.
Anxiety: Katie, Maddy, and Megan enter cave to hide from something following them.
Apprehension: A horrible smell, but they make their way along in the dark.Release: Whatever’s following them goes past the cave.
Surprise: A GROWL from further in indicates something coming. A sound of SNIFFING as something enters the cave.
Suspense: Trapped, they follow the wall and hit a dead end.
Release: No noises, nothing seems to be following them.
Panic: Bones! Megan identifies them as human.
Shock: Light captures eye-shine of an aggressive Sasquatch approaching.
Fear: Something drives the Sasquatch away from their exit. They rush out and see two Sasquatches fighting behind them as they run to the exit.
Shock/Hysteria: Sight of the Sasquatches causes Maddy to freak.
Release: They exit the cave and get away with the battle sounds still coming from the cave.
EXT. CAVE – NIGHT
Katie, Megan, and Maddy pause near a cave entrance, listening. Snapping branches, the sound of pursuit advancing.
KATIE
Quick. In here.
MADDY
Have you ever seen a movie where entering caves is safe?
KATIE
This isn’t the movies, Maddy.
MADDY
I don’t like this much better.
KATIE
You could stay here.
MEGAN
Caves around here are connected. More like tunnels and there’s often a way out.
MADDY
You first.
MEGAN
You smell that?
MADDY
Whatever is after us probably lives here and takes its victims here to eat them.
KATIE
Always pointing out the bright side.
More snapping. Closer.
KATIE
I’m not staying to find out.
She heads in and Megan goes with her. Maddy sure isn’t staying behind.
INT. CAVE – NIGHT
Dark and foreboding. Katie ignites her phone light but her battery is nearly dead. Katie leads Megan and Maddy along, holding hands so they don’t lose each other.
MADDY
I’m gonna vomit.
MEGAN
Put your shirt over your nose, or something.
MADDY
You can’t smell that?
Megan hears something and nudges Katie.
MEGAN
Douse the light.
KATIE
What?
MEGAN
Shh!
Katie turns her light off. They press against the wall and hold their breath.
The Sasquatch BREATHES and SNORTS. It’s at the opening. Everything in them wants to scream but they suppress their desire. It passes and they continue.
A GROWL from further in indicates something coming and it sounds threatening.
A sound of SNIFFING as something returns to the entrance and steps inside.
Maddy squeezes Megan’s hand but Megan lets her. Maddy whispers.
MADDY
Hurry, you guys.
MEGAN
Back off, will you, we’re not going to get anywhere any faster.
MADDY
Switch me, then, and see how you like being the first picking.
KATIE
Maybe you’d like the front. I think it curves here.
MADDY
What do you mean?
KATIE
Don’t have my light, now, do I?
They tuck down the tunnel but they soon hit a dead end. They crouch and remain silent. They might be okay. No noise. They wait a moment. Still nothing. Is the danger gone?
MEGAN
That’s not coming from where we were. It’s deeper.
KATIE
You think it passed us?
MADDY
We’re dead. And it smells so bad in here. We’re going to die in such a revolting place.
KATIE
Quiet.
MEGAN
That’s your concern? The smell?
MADDY
You don’t think that thing can smell us? I never thought I’d die this way. I’m supposed to be old, beautiful and go in a peaceful sleep.
MEGAN
It doesn’t have to smell us when it can listen to you freak out. Besides, whatever this smell is, it’ll mask us.
MADDY
(sarcastic)
Sure, that makes sense.
KATIE
Few die the way they hope, because for most, not dying would be ideal.
Still no sound.
MEGAN
(to Katie)
Use your light. See if there’s anything we can see.
Katie moves but her hand feels something on the ground.
KATIE
I feel something.
She manages to pull her phone out of her pocket and flick the light back on, her phone almost dead. She almost wishes she hadn’t. Bones!
Megan inspects one in the light. Serious realization crosses her face.
MEGAN
Human.
MADDY
Probably from the others whose stuff we saw back in the ruins.
(gags)
That scent is so pungent. You must smell that. Don’t you?
Suddenly, they hear BREATHING. Katie spins an her phone light captures the eye-shine as they see an aggressive Sasquatch approaching. Katie drops her phone.
While fumbling for it, Maddy screams, and then something vicious drags it attacks it.
Megan urges them on, they have to get past and get out. Maddy’s not moving but Megan and Katie put her between them and move her along.
GROWLS, WHOOPS, and SNARLS.
They rush out and with Katie’s light see two Sasquatches fighting behind them. A fierce battle. That’s when Katie’s phone dies, and the light with it.
Maddy freezes, crying but unable to move or scream. How would you react? Two massive beasts, legends come to life, and when you see them, not from the safety of a computer, book, or tv screen, but actually see them living and awesome, would you choose, fight or flight?
Maddy chooses immobility but Katie and Megan take her by the wrists and run from each terrible battle-cry they no longer see. They go from crawling to jumping up and sprinting, falling once or twice, but making for the entrance.
Right near it, near freedom, fresh air, and no bones but their own.
EXT. CAVE
They make it out. The ferocious sounds echoing out but they’re still further away. Not far enough, so Megan and Katie keep Maddy between them as they run.
MEGAN
I can’t believe we’re still alive.
Maddy doesn’t say anything. Still in shock.
KATIE
There’s two of them. I think one of them was protecting us.
MEGAN
It could also just be territorial and didn’t want to share.
SAM (O.S.)
Maddy? Katie? Megan?
MEGAN
Sam! It’s us, Sam!
-
Kevin Lobo’s Scary-As-Hell Scene
Act 1
Safety taken away:
This is their first real indication that something bad is going to happen to them. They somehow lost the person, thing, map, or escape route that they had depended upon for safety.
The leader of the gang, Bradley, first to turn 19, has been possessed and killed by the evil spirit in the opening scene. Sarah, his girlfriend, is turning 19 next, does not want to celebrate her birthday, but is goaded on by the gang.
Monster: The nature of the beast:
Now, we see some version of what the monster can do. After the opening scene, this is often the second reveal of the monster, but we are only seeing a small part. We might see the result of a kill or some clues to something bad that happened in the past.
From the opening scene, as the surviving gang escape, we sense the spirit flow into another teen, Sarah – we now see the evil spirit erupt in Sarah. We see an extended possession, the physical harm to her, the upside down crucifixion, the death and the audience senses the flow of the evil spirit into another teen.
SCENE: Isolated/Pursued:
INT – the abandoned mine office – night
It’s the eve of Sarah’s Birthday. Sarah, Ruth, Kimberly, Jason and Glen begin slowly but turn into full party mode as they miss their leader, Bradley.
Unknown to them, Sarah has been slowly manifesting her possessed self. Just before midnight, the possessed Sarah locks them up in the room and begins a deadly evil torment of the teens. The spirit now in full possession of Sarah, threatens that they are all next in line.
Julia, shoots her way through the locked doors and rescues the teens but not before the spirit directly torments her and makes some demands. Julia and the rest of the teens are violently attacked by the possessed Sarah whom the spirit crucifies upside down.
We see the silent rush of wind, something invisible going to Ruth. JH’s spirit has chosen its next victim.
Anxiety: The teens
remember the evil spirit’s warning as it killed Bradley – the first death.
The warning has been vague. The teens, nor the audience, don’t know the
pattern yet. The teens simply sense that the disturbed evil spirit is
coming for all of them out of revenge and not anything more.
Surprise/scare: Sarah’s
is aware of the spirit manifesting itself in her but has kept it a secret.
In the noise of the party it surfaces again but she scampers out of the
party room just in time.
Release: The teens believe
Sarah that it is just her missing Bradley, trying to recreate his voice.
Shock: Sarah is
unable to go out the next time. The evil spirit imitates Bradley’s voice
in her.
Fear: The
teens see Sarah partially possessed but…
Dread: in a bit of denial
still believe that it is Sarah missing Bradley.
Release: Sarah assures
them she is fine and displays her normal self. It is not yet midnight and
the spirit is waiting to strike at the stroke of midnight.
Panic: As the teens
sing to ring in Sarah’s birthday, she goes into a full possession in front
of the remaining four.
Anguish: The teens see
Sarah go through a horrible beating and torture by the spirit. Along with
Julia who breaks in to rescue them they see Sarah die a horrible death as
she is slammed upside down into the wall and crucified.EXT – THE ABANDONED MINE – NIGHT
THE NEXT FEW 18SERIES SCENES WERE WRITTEN AS PART OF LESSON 14 – SCARY-AS-HELL-SCENE.
An abandoned mine… mounds of excavated earth, rusting machinery and a cinder block office with a metal door.
Sarah puts down her hamper and juggles a bunch of keys… she finally succeeds with one and holds the door open for…
Kimberly and Ruth, with grocery bags full of their party goodies, and, Jason and Glen, hauling a twelve pack.
Sarah, hesitates, closes the door on them and leans on it…
The faint moonlight reveals a panicked, pale face that…
Bursts into a demonic one… cheeks yanked to the sides… fiery eyes and her pony tail that lashes like a whip.
A muffled, hoarse voice breaks out.
MALE VOICE sARAH
I got you, Bitch? Got you, Got you…
The door bursts open as Sarah crumbles to the ground.
Jason and Glen lift her… Ruth hugs her and Kimberly holds the door, watching tense, biting her lips, fearful.
jason
What the fuck was that?
KIMBERLY
Just the storm… I guess…
sARAH
It warned us…
kimberly
And already got its revenge already.
jason
Let’s get in, if it’s coming for us…
GLEN
Then it’s taking on the five of us.
ruth
Together!
18A-int – the abandoned mine office – continuous
The gang settle Sarah in a chair… Ruth still hugging her…
sarah
I can’t do this, guys —
ruth
For Bradley, for your love, for —
Glen
You don’t have to, Sarah.
kimberly
NO! It’s not Bradley, its –-
sarah
It’s that… please understand —
ruth
We do, darling, and we’re ringing in this 19 on our own fucking terms… for now, nothing that a little…
Ruth hits the music and shoves a Beer into Sarah’s hand.
ruth (cont’d)
Beat and Beer wont fix. Let’s Rock it!
sarah
Oh, my Brad, my Brad —
the rest
OUR BRADLEY!
Sarah bursts out crying… drowned by the beat…
They huddle into a large group hug… slowly moving… a few yells, whoops and then break off to grab a drink as…
Sarah is sprung up full length by the spirit… it speaks as…
bradley voiced sarah
Happy Birthday, Sarah, Happy –-
Unaware, the teens join in imitating Bradley’s voice, until…
A very loud shriek breaks out from Sarah.
She storms out of the room screaming.
The rest flee to the sides, cold shivers and frozen faces.
Sarah returns… desperately trying to put on a smile.
ruth
What the fuck was that?
NORMAL VOICED sarah
Sorry, I miss him so bad.
Relief and tense smiles from the rest as they slowly go to her outstretched arms… tears… Ruth hits the music again…
ruth
Bottoms up for Bradley.
Loud cheers as they guzzle down their beers, except…
Sarah who chokes on a fierce spasm, and gnashes her teeth.
Kimberly cranks up the volume and the little space echoes.
Ruth gyrates on to Jason and they go into a frenzied kiss.
Glen extends his hand… to Sarah… she blushes and falls into his arms… a slow waltz in the middle… cheers from the rest…
GLEN
He was the best… will always be…
NORMAL VOICED sarah
What would I do without you guys?
Kimberly watches them… tense… a nervous jitter… checks her watch… 11:59:00 PM – begins muttering…
kimberly
Please no, no, please, let it be ok.
RUTH
Hey, I brought a fucking cake.
Ruth shuts the music, sets the cake on a stool, tears flowing… it catches on… tears all around…
ruth (CONT’D)
For our Bradley… and his Sarah?
NORMAL VOICED sarah
For our Bradley…
She blows the candle… eyes closed; she bends over the cake…
A single spasm rocks her body… a loud belch… she chokes…
Ruth hugs her, patting her back, rubbing it when…
Sarah’s hand flies out and smacks Ruth across the face BAM!
Ruth is thrown back… stumbles and crashes into the wall.
They jump back startled… as Sarah… head bowed begins to rock… back and forth… faster and faster…
Low growls and moans emerge… a soft voice to a growl to a…
MALE VOICED SARAH
Aren’t you going to sing for me?
Jason hauls Ruth up… a cut lip… blood pours down her nose…
On the other side Glen hugs a bitterly weeping Kimberly…
KIMBERLY
I’m so sorry, so sorry…
Kimberly stops, eyes glaring, charges Sarah…
KIMBERLY (CONT’D)
You son of a… leave my Sa —
Sarah’s hand springs out… lifts Kimberly and toss her back…
Into Glen… both crash into the wall.
The four begin to inch to the door but Sarah shoots to the door… blocking it…
MALE VOICED SARAH
Aren’t you going to sing for me?
They stare blank, as the strobe continues to flash, revealing dark piercing eyes that begin to float… Sarah is suspended in mid air her pony tail prancing like a snake…
MALE VOICED SARAH
I SAID SING FOR ME! Happy Birthday…
Croaking voices try… nothing emerges… they fall to their knees, bodies in rigor…
Jason and Glen’s eyes meet across the room… a nod…
They charge Sarah… again two hands reach out lift them like puppets and slam them to the floor.
Sarah’s faint voice emerges…
NORMAL VOICED SARAH
Please, please, let me go.
MALE VOICED SARAH
Please, please let me go.
KIMBERLY
You can do it Sarah… Try, Sarah…
JASON
We’re sorry… we’ll make it up to… what do you want… we’ll do it.
Sarah darts across the room… floating… a terrifying scream…
MALE VOICED SARAH
Kill them, kill them, kill them all –
A fierce knocking at the door… their eyes light up…
Sarah floats back to the door.
JULIA (O.S.)
Kimberly, Jason… open up… its Agent –-
Sarah opens the door, a fist flies out, a groan from Julia… the door slams shut again.
MALE VOICED SARAH
She can’t help… my 18s never to be 19s.
Sarah is flung into the wall… collapses… rises… blood pouring out of her temple, a broken wrist hangs upside down… her hands reach out and yank her hair, tearing out a mass of it… a scream… she’s in pain.
NORMAL VOICED SARAH
Please, let me go, let me –-
She is slammed like a puppet into the floor, into the wall…
The rest scream hysterically as Sarah is mauled and then…
JULIA (O.S.)
Stand back from the door.
BAM! BAM! BAM! The door rattles… THUD… a kick from the outside and it flies open…
Julia enters, a gun and flashlight aimed straight…
Julia collapses to her knees at the sight… the teens charge over to her.
MALE VOICED SARAH
Too late, too late…
Sarah is slammed into the wall over and over again. Her body is spun around like the arms of a clock until…
Julia charges, grabs Sarah off the wall, protectively tries to hold her in a hug but…
Sarah goes into a vicious spin… tosses Julia off…
Sarah is finally slammed into the wall one last time… a creaking of bones… turned upside down, arms stretched out… a laugh, a groan a final warning…
MALE VOICED SARAH
I’m coming for you peeps…
Sarah’s head whiplashes repeatedly… a vicious crack… her skull on the wall… her dilated eyes go still.
Julia drags the remaining four out slowly as the door goes into fierce slamming…
It stops… slams open once more… a fierce wind gushes out…
Into Ruth who is flung back, passed out.
Julia charges to Ruth… a faint face in the bushes… flees…
JULIA
Tom? TOM! Come back her you —
A cruiser speeds in, the Sheriff dashes out.
-
Tom’s Scary-As-Hell Scene
What I learned: Rather than adding scenes and then trying to dial up the emotion, starting with the emotional map ensures the action will have the requisite scariness.
ANXIETY –> FEAR –> SHOCK
Extrapolating: Dread, Anxiety, Scare, Release, Fear, Panic, Shock, Release, Surprise, Release, Shock, Panic/Hysteria
Dread: Jefferson admits his fear.
Anxiety: Jefferson worries how long box lasts.
Scare: Inside passageway, he thinks he hears it move.
Release: Just the AC kicking on.
Fear: The lid on the box moves!
Panic: The Worm is trying to escape!
Release: Jefferson fires his service revolver into the box.
Release/Surprise: The box stops moving.
Release. They arrive at the waste chute. The box is jettisoned out of the sub.
Jefferson opens the passageway portal. Mallory stands nearby, full of praise .She confides she gets her strength from the Lord, looks to find a verse..
Shock: POV Mallory horrified. Jefferson has turned into the Worm and kills her.
Panic, Hysteria: Crowd reaction
(Background: Angel has just risked her life to freeze the Worm using Liquid Oxygen. Now Jefferson must take it to the waste chute and jettison the frozen creature out of the sub.)
INT. NUCLEAR SUB – DAY
JEFFERSON
Gotta tell you this thing scare the shit outta me.
ANGEL
It’s natural. The key is to not to let it consume you.
JEFFERSON
Oh no, you didn’t just say that.
ANGEL
Har de har. Here. Borrowed it from medical.
She hands Jefferson a thermal transplant box from surgery with dry ice in it and a thermometer on the lid.
ANGEL
This should keep it chill till you get to the waste chute.
JEFFERSON
How long do it last?
ANGEL
Long enough. They use ’em for heart transplants. You good?
JEFFERSON
Y-yeah. I’m good.
He puts the box in the wagon and pulls it through the portal. Angel seals the portal behind him.
INT. PASAGEWAY – NUCLEAR SUB – LATER
Jefferson hurries down the passageway towards the trash chute. He hears a THUMP! He whips around to look at the box. That’s a WHIR and another THUMPS as the AC kicks in. He breathes a sigh of relief, He shakes his head, continues down the passageway. Thermometer needle creeps upward. CHUCK-A CHUCK-A! Jefferson turns his head around. Thermometer up a few degrees. CHUCK-A CHUCK! The box lid shakes violently! The Worm must be trying to escape! Jefferson unholsters his sidearm, a 1914 Colt 45. CHUCK-A-CHUCK-A CHUCK!
BAM! BAM! Jefferson fires twice into the box. The lid stops moving. Thermometer still rising. Jefferson races with the wagon until he reaches a sign, which reads: WASTE CHUTE. He picks up the box. Temperature reaches red zone. He places it on a stainless tray.
EXT. SUB – DAY
With a dull THOOM and a cloud of bubbles, the box is jettisoned out and away from the hull.
INT. PORTAL — PASSAGEWAY – NUCLEAR SUB – LATER
An anxious crowd has formed beyond the portal glass, awaiting some sign of an outcome.
INT. PASSAGEWAY – NUCLEAR SUB – SAME
Jefferson spots Mallory descending the stairs, carrying a well-worn bible.. He knocks on the glass, gives a ‘thumbs up’ sign. The crowd heaves a collective sigh of relief and applauds. Mallory sighs with relief and turns the wheel to open the portal.
MALLORY
Oh my gosh! Did you just—
Jefferson nods, smiles.
MALLORY
You are so brave! We are so blessed!
She hugs him. The crowd slaps him on the back fist bumps, etc.
JEFFERSON
Nobody gotta be afraid no more.
MALLORY
Where do you get your strength?
JEFFERSON
I dunno. I just —
Mallory looks down, starts flipping the pages of her bible.
MALLORY
I get mine from my faith. As Jesus tells us—
She looks up and lets out a blood-curdling
SCREAM!
Jefferson is now a much larger form of the Worm, its buzz-saw teeth spinning in its salivating mouth. As it lunges toward Mallory’s face, the crowd panics, scatters, screaming hysterically.
-
Eve Williams’ Scary-As-Hell Scene
What I learned from doing this assignment is that small scares can be funny and terrifying at the same time.
INT -GARAGE- AFTERNOON
The dimly lit garage is finished out as rudimentary office space, and was the model home sales office for the subdivision. Washer dryer hook-ups and a janitorial sink are on one wall.
Near the dusty windows, hundreds of dead flies and bugs litter the floor. A dying fly spins around and around, buzzing noisily.
A single buzzing suspended light bulb does little to illuminate the space.
Broom, dustpan, and paper towels in hand, Maria eyes the desk, table with sales brochures, and chairs. A dirty coffee pot, complete with the desiccated remains of coffee, catches her attention.
After leaning the broom and dustpan against the wall, she picks up the coffee pot
She sticks the pot under the tap and turns the hot water faucet.
Nothing. She tries the cold water faucet. Still nothing.
After setting down the pot, she squats down to check the shut off valves.
And sees a FACE looking back at her.
She jumps back and ends up on her butt.
A skittering behind her.
Still on the floor, she turns to see NOTHING.
Carefully, she peers under the janitorial sink.
And sees a mirror propped against the wall under the sink.
A bit relieved, Maria pulls out the mirror, and sets it on a counter. She picks it up, and gives it a quick cleaning with a paper towel.
Behind her, the broom falls with a THWACK.
Startled, Maria drops the mirror. It shatters into tiny pieces.
Maria stares the broken mirror shards. Then crosses herself.
MARIA
‘¡Dios mío!
After grabbing the broom and dust pan, she carefully cleans up the shards and dumps the bits into an empty box.
A few missed shards catch her eye; she sweeps them up and slides them into the box.
Involuntarily, she shivers as she walks over the desk. Glossy brochures touting the El Mirage Subdivision are scattered on the desk top. She arranges picks them up and tosses them into the trash can. All but one land in the can.
A skittering behind her. Maria turns and sees…NOTHING.
From the brochure on the floor, a large photo of a grinning man stares back at her. Bold lettering on the bottom of the brochure announces : LET ME TAKE YOU HOME.
Maria plucks the brochure from the floor.
The light bulb POPS and the space is now nearly dark, lit only by the sunlight from the dirty garage door windows.
A HISS. In a dark corner, a coiled object gains Maria’s attention.
MARIA
EEEEEEEEEEEKKK!!
After grabbing the broom, she repeatedly beats the coils, then stops and steps back.
Tentatively, she creeps toward the object, and pokes it with the broom.
It’s a rope. Relieved but sheepish, Maria shakes her head and shrugs.
She turns away and dabs at her flushed face with a tissue.
A skittering sound from the same corner.
Using the broom, Maria pokes at the rope, pulling at the rope. At its end is a hangman’s noose.
Maria crosses herself and backs away.
A mouse suddenly runs from the corner, heading toward Maria.
MARIA
EEEEEEEEEEEEEKKK!
Maria jumps on the nearest chair, and watches as the mouse attempts to crawl up the chair legs.
A game of Whack-a-Mouse ensues, and Maria eventually pummels the mouse to death.
Stepping from the chair, Maria cautiously approaches the flatted bloody mouse bits.
From behind Maria, a man’s low chuckle.
Maria whirls around to see…NOTHING.
-
Brett Born’s Scary-as-Hell Scene
What I learned doing this assignment is how to utilize release of tension to maximize frightening sequences.
FEAR to SUSPENSE to DREAD to PANIC
Fear: Shin watches the intermission ad on the screen. Something’s wrong.
Suspense: Buck is coming for Shin. Shin doesn’t realize he’s in danger.
Release: Shin ducks inside the back of the lobby. The door closes and locks.
Surprise/Scare: Fire alarm goes off several times in the hallway.
Release: Security company calls. Shin tells them it’s a false alarm. Everything’s fine.
Dread: Shin comes face to face with Muse. Muse performs a strange danse macabre. Spider walks to Shin. Pulls a knife.
Panic: Muse cuts Shin across his chest. He runs.
EXT. HOLIDAY THEATER – LOBBY – NIGHT
Shin stands at the rear of the building. He vapes.
LOT 1 SCREEN. The word ‘INTERMISSION’ flashes. An array of colors spin behind the word.
SHIN – What the hell is this?
LOT 1 SCREEN. Images of smiling hamburgers and merry hot dogs… a dancing slice of pizza.
INTERMISSION – We promise to satisfy… Your hunger… Your thirst…
Twenty yards from Shin… Buck. His red face paint glows beneath the artificial lights.
Buck’s POV. Marches for Shin… Shin doesn’t see him coming.
Shin exhales slowly. Hears FOOTSTEPS… turns…
Buck is less than ten yards from Shin… his intense gaze fixed on Shin.
Shin. Too much weirdness tonight.
The back door. A brick holds it open. Shin swings the door fully open and kicks the brick out of the doorway.
INT. HOLIDAY THEATER – HALLWAY – NIGHT
The door closes slowly. As the opening shrinks, Buck draws closer.
Buck smiles. He’s almost there…
The door shuts. Locks.
RATTLE. BANG! The door shakes violently.
SHIN – Go around, for Christ’s sake.
Shin looks down the dimly lit corridor. Walks to the stairs.
UNKNOWN POV. Watches Shin from the far end of the hallway.
INT. HOLIDAY THEATER – PROJECTION BOOTH – NIGHT
Shin pulls out the keyboard tray from under the projector. Opens the digital cinema package on the screen.
Shin studies the screen. He looks confused. Not finding what he expected.
BEEP BEEP BEEP. BEEP BEEP BEEP.
Shin turns. What the hell?
INT. HOLIDAY THEATER – UPSTAIRS HALLWAY – NIGHT
Shin peers out from the doorway.
The smoke detectors flash in the hallway.
BEEP BEEP BEEP. BEEP BEEP BEEP.
<b style=”font-family: inherit; font-size: inherit; color: var(–bb-body-text-color);”>SHIN – Are you kidding me?
A flashing alarm. Shin reaches out to touch it… the beeping stops.
INT. HOLIDAY THEATER – PROJECTION BOOTH – NIGHT
Shin heads back to the projector.
Beep Beep Beep.
SHIN – C’mon?!
INT. HOLIDAY THEATER – UPSTAIRS HALLWAY – NIGHT
Shin marches out of the projection booth. White lights flash all around.
His phone RINGS.
SHIN – Hi. Yeah. (beat) Roof.
The alarms stop.
SHIN – It’s a false alarm. I’m sorry. (beat) Yes, I’m sure. Don’t send anyone… please. (beat) Great. You too.
Shin pockets his phone. Turns around.
Far end of the hall… Muse waits.
SHIN – What are you supposed to be?
Muse says nothing. Watches Shin from beneath the twisted mask. Turns their back to Shin.
SHIN – Hi! Hello?! What is this?
Muse bends backward… drops their hands to the floor… spider crawls to Shin.
SHIN – I didn’t know we were doing performance art on this show?
Muse spider crawls up to Shin… slowly straightens… turns around… meets Shin’s gaze.
Shin is unnerved.
SHIN – Who are you?
Muse produces a Butterfly Knife. Deftly flips it open… holds it to Shin’s throat.
Shin stumbles back.
SHIN – Are you crazy?!
Muse lunges… swipes the blade at Shin. It slices his shirt… cuts his chest. Blood oozes from the wound.
Shin shoves Muse back… Muse falls down.
SHIN – Help?! Somebody!!!
Shin leaps over Muse and races to the stairs.
-
Tasha’s Scary-As-Hell Scene
What I learned doing this assignment is don’t try for perfection at this level. Just write the damn thing.
Create a Horror Map for your scene and then write the scene.
1. Use the Scary-As-Hell scene process to create the Horror Map.
-
A. Start with a Horror Situation.
-
Isolated/Paranoid/Pursued: Sheena drives down a lonely woodland road when she crosses paths with a serial killer.
-
B. Sequence the emotions, starting with the beginning and ending emotion.
- C. Give a physical action that could cause each emotion.
- completed
- D. Add in Scares and Releases.
- completed
Beginning: Apprehension
Ending: Panic
In between Emotions: Anxiety, Suspense, Shock, Fear
Emotional Sequence is
Apprehension, Anxiety, Suspense, Shock, Fear
2. Once you have the Horror Map, write the scene.
completed
-
Log in to reply.