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Post Day 13 Assignment Here
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9 Replies
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ROB’S SCARES, RELEASES AND CREEPY MOMENTS
What I learned: I learned that scares, releases and creepy moments really help to intensify your scenes. I had fun playing around with this lesson. It’s so much fun to set up these characters only to traumatize them.
SETUP: After a traumatizing experiment with her dying grandfather, Ellie tries to get some rest. The spirits have other plans.
INT. DOLL ROOM – BEACH HOUSE – NIGHT
Ellie sleeps as the eyes of 100 dolls watch in the darkness.
The sound of pitter pattering feet across the hardwood floor, wakes Ellie. She turns on a flash light and scans the room. The dolls haven’t moved.
Ellie CLICKS off the flashlight and rolls over. She shuts her eyes and pulls up her blankets as a floorboard CREAKS behind her.
She SNAPS on the flashlight and points it straight into the FACE of her father. Ellie SCREAMS.
ELLIE
Holy shit! Jesus! Can’t you knock?AL
Sorry. I just wanted to let you know that I’m leaving with Abby and the crew. Dr. Tillman is staying with grandpa.ELLIE
Everything okay?AL
Yeah. No…We’re just doing some experiment thing. I don’t know…Al hesitates to leave.
ELLIE
Something on your mind, pops?AL
Just…I guess…Our family has never been good at…communication.ELLIE
Oh, really?Al laughs.
AL
I just wanted you to know that I love you. And I’m proud of you.His sincerity makes her uncomfortable.
ELLIE
Geez, Dad. I know. I’m tired. Let’s talk tomorrow?AL
Okay, kid. Okay.Al exits the room as Ellie settles back into bed. She closes her eyes. With a deep sigh, she relaxes.
After a long SILENCE, the sound of movement in the darkness. Louder than before.
Started, Ellie swings her flashlight towards the source. THE DOLLS HAVE MOVED. A few still shake as they settle in to place.
ELLIE
Dad?!No one else is with her.
Ellie pulls her blanket over her head. Her flashlight illuminates her face as her breath becomes visible. It’s getting colder.
ELLIE
It’s not real. It’s not real. Just breathe.Ellie peaks out from under her blanket and shines her flashlight towards the shelves. The dolls have completely VANISHED.
Ellie SCREAMS.
From below the bed, the sound of SCRATCHING.
Ellie is shaking now. Slowly, she leans over the edge of the bed. Peeking carefully. Her flashlight BLINKS out, just as she sees a doll leg scurry underneath the bed.
ELLIE
Fuck that!Ellie throws back the covers. Her foot touches floor and she prepares to run, but tiny hands reach out and trip her. Ellie falls.
The dolls are on her in an instant Ripping and pulling. Dragging Ellie under the bed.
ELLIE
Somebody, help me!THE DOLL LADY (O.C.)
Shhhhh.Something is in the room. Watching from the darkest corner.
As Ellie pulls with all her might, a doll smacks the flashlight out of her hand. The flashlight turns back ON as it spins across the floor, illuminating The Doll Lady hiding in the corner.
The Doll Lady’s body is embedded with jagged porcelain pieces. Her face a gory porcelain mask.
Ellie loses her mind, fighting, clawing and kicking. She SCREAMS for her life.
ELLIE
Get off! Get off! Get off me!Dr. Tillman BURSTS in the room and grabs Ellie by the hands. He pulls with everything he has.
DR. TILLMAN
Let her go!Ellie pulls free.
DR. TILLMAN
Go! Go! Run!Ellie runs for the door, with Dr. Tillman close behind.
The Doll Lady flies towards them!
THE DOLL LADY
Don’t let her go!The bedroom door SLAMS.
CUT TO:
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Tony McBride’s Scares, Releases, and Creepy moments!.
What I learned doing this assignment is that I can add value to my scenes by using these emotions.
Write a scene that uses scares, releases, and creepy moments.
1. Pick a scene from anyplace in your script that could use these three horror moments.
The scene where the husband gets killed.
2. Create an OUTLINE of that scene and build in a scare, release, and a creepy moment
S The Husband walks into an abandoned room and hears a scream in his head.
He looks around and sees nothing but an old figurine.
He relaxes.
An image appears of him having sex with a lover—it’s not his wife.
The husband hears a scream in his head—then a voice whispers “Die”.
3. Write the scene.
INT. BEDROOM – MANSION – DAY
The husband walks into an empty room. Nothing but antiques and paintings.
Then…
He hears a VOICE scream in his head—
VOICE
Ahhhhhh
The husband grabs his ears and closes his eyes.
When he opens his eyes he sees an image of him having sex with another woman—it’s an
An affair.
As the husband lusts over the imageryhe hears another scream in his head—
VOICE
Ahhhhhhh
(then, stoccato)
Die.
Out of nowhere a spear from a statue in the room shoots through the back of the husband and out through his chest.
5. Post your assignment in the forums at https://www.screenwritingclasses.com/forums/
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ASSIGNMENT 13 – NADIA’S SCARES, RELEASES, AND CREEPY MOMENTS
(Title: “GRAHAMSTOWN”)
What I learned from this assignment: I learned that it’s important to take the viewers on a roller coaster ride of (horror) emotions to make sure that they never disconnect from the story and the experience.
ACT 2—THE POINT OF NO RETURN:
INT – MIA’S LAVISH APPARTMENT – NIGHT FALL
The apartment is in semi darkness, apart from the TV screen, now on mute, and a large computer screen that Mia is staring at, going through the recent press articles of disappearance and murders in the town.
The birthday cake is standing on the table behind her, the single candle consuming and dripping into the untouched cake.
There’s a KNOCK AT THE DOOR.
Mia jumps and asks ‘who is it?’
‘Brian miss, flowers for you’
She jumps off her seat with a ‘must be from my dad’ and rushes to the door, hand on the knob, about to unlock. Then she freezes, and slowly looks through the pipe hole. She sees Brian’s uniform and cap, his face hidden behind a huge stunning bouquet of red roses. As she unlocks the door and opens, something nags at the back of her mind, something to do with flowers then… as she open wide she recalls that her father used to tease her for only liking white roses and that’s when she sees simultaneously the BLADE STICKING OUT THE WALKING STICK and the face, not Brian’s, but a SMILING OLD MAN and the lift doors open up on a pack of walking and crawling oldies with eerie smiles and drooling.
Mia, hysterical, screams resonates through the apartment as she runs to the bay window, onto the terrace, looks back as the creatures progress through the apartment narrowing on her. She takes one last look, softly talking to herself ‘sorry daddy’ and JUMPS, crashing down 8 floors below and breaking her neck.
OUTLINE:
Scares: Mia freaks out when there is a knock at the door; straight away she thinks danger is at her doorstep and that the monster is coming for her, has been watching her, and somehow overhead Brian – the security guard – say that it’s her 21<sup>st</sup> birthday.
Releases: Mia is relieved when she hears Brian says that he is delivering flowers; she thinks they are from her father and is both relieved and happy.
Creepy Moments: Mia first only sees the flowers and opens the door; then she realises it’s not Brian but some old folk but it’s already too late as some more old folks were hiding and are now invading the apartment; simultaneously, she realizes what was wrong with the flowers: she only liked white roses and her father always used to tease her about it!
Mia freaks out and runs through the apartment, away from the monsters and onto the terraces; they follow her, sniffing around like animals, chanting with an evil grin on their face, at this point she is in total hysteria and choses to jump from the terrace – plummeting to her death – over facing the monsters.
SCENE WRITEN AS 1<sup>ST</sup> DRAFT TO INCLUDE SCARES, RELEASES & CREEPY MOMENTS:
INT – MIA’S LAVISH APPARTMENT – NIGHT FALL
The apartment is in semi darkness, apart from the TV screen, now on mute, and a large computer screen that Mia is staring at, going through the recent press articles of disappearance and murders in the town.
The birthday cake is standing on the table behind her, the single candle consuming and dripping into the untouched cake.
There’s a KNOCK AT THE DOOR.
Mia jumps out of her skin and, in a trembling little voice, asks ‘who is it?’
‘Brian miss, flower delivery for you’
She sighs of relief and springs off her seat with a ‘must be from my dad, am coming!’
Mia rushes to the door, put her hand on the knob and is about to unlock and lets her hand rest on it, a deep frown crossing her forehead.
She slowly and quietly puts her face to the door to look through the pipe hole; she can only see Brian’s uniform and cap, his face being hidden by a huge stunning bouquet of red roses. She smiles at the sights of the flowers, unlocks the door and, as she opens it wide, something nags at the back of her mind, something to do with flowers, and that’s when she sees them, as if crawling out of the walls, hiding on both sides of the door, the oldies and their grins.
Brian drops the bouquet away from his face – only it’s not Brian, it’s the old bus driver, she can’t remember his name and that’s when she realizes what’s wrong with the flowers: RED roses! She only likes WHITE roses, her father always used to tease her about it and how is always orders white roses on her birthday weeks ahead to make sure she’d never get any other color but white!
And now she sees the BLADE STICKING OUT THE WALKING STICK that the bus driver is holding, something red is dripping from it;
She recoils as she whines ‘what did you do to Brian?!’; the SMILING OLD MAN, with an eerie smile and drooling, lifts the stick and with a finger wipes some of the red stuff – Brian’s blood – licks his finger and smiles ‘he was a good boy’;
That’s when Mia, hysterical, takes off and runs, her shrilling scream resonating throughout the dark apartment, as she runs blindly to the terrace, knocking objects as the does, in hope of slowing the monster down.
Mia is now ON THE TERRACE, with nowhere to run; she takes one last look around her, then at the monsters closing in; they stopped at the threshold, their chanting getting stronger, urgency in their voices;
Mia, now dead calm, gets on the narrow ledge, glances down and with a sad smile, whispers to herself ‘sorry daddy’ and JUMPS!
Mia’s body comes crashing down 10 floors below, SPLASHING ON THE CONCRETE.
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Deborah’s Scares, Releases, and Creepy Moments
I learned that using these three in a scene can really help to introduce the horror in your story in a way that eases the audience into it. The scene I wrote wasn’t in my original outline, but it’s absolutely great as the second scene of Act Two. Nothing really happens in my scene, the scare is false but it introduces the hybrid characters and tells us there are creatures out there that we don’t know about. I went more for the creep factor than true horror. I want to create anticipation. Hopefully, this scene does that.
EXT. FOREST – NIGHT
The camp is quiet. On the roof of the asteroid, stars are wheeling as if they were really outside on Earth. It is beautiful. The fire still burns with every strewn around it sleeping. We don’t see Sly or his men, or Andre. The robot has found a conduit to plug in and looks like she’s asleep while she’s downloading information.
A soft cough-like noise awakens Eboni. She lies there, listening. She hears it again, behind her.
Eboni sits up and twists to look behind her. Deep, dark shadows pull between the trees making it impossible to see anything. Eboni slowly moves so she sitting on her knees, facing the dark. Suddenly, two glowing eyes appear.
Eboni gasps, but doesn’t move. The eyes suddenly drop down getting closer to the ground. Eboni sits transfixed and the two stare at each other. Finally, Eboni mimics the sound that had awakened her.
The eyes run toward her, so quick that Eboni gasps and falls back on her rear end. In the firelight, we can see a creature with the body of something like a prairie dog but the fuzzy head of something like a red panda.
It stands up to regard Eboni. It’s cute, in a creepy kind of way. Eboni starts to reach out, but the creature is suddenly gone.
Sly puts a hand on Eboni’s shoulder making Eboni jump and let out a little scream. Sly stares into the dark shadows willing them to part so he can see what is there.
Sly
What is it?
Eboni
Nothing. I thought I heard something.
Sly
It’s easy to imagine things when you’re scared.
Eboni
I wasn’t scared until you snuck up on me.
Sly smiles. He likes this girl.
Sly
Go back to sleep. Your dad and my men will keep you safe.
Eboni glances back at the shadows, but there’s nothing. She lies down and closes her eyes. Sly motions one of his men to check out the forest where Eboni was staring. Andre appears beside Sly.
Sly
That’s some daughter you have there.
Andre
Don’t I know it.
Andre nods. He kneels down and covers Eboni, who is already asleep.
The man comes back out of the trees shaking his head. Nothing. Sly nods. All three men go back to their posts. As soon as they are gone, the glowing eyes appear once again.
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BOB KIELY’S SCARES, RELEASES, CREEPY MOMENTS OUTLINE
What I’v e learned in this lesson is the power of using the 3 elements together in a scene to provide a bit of a roller coaster ride to the scene. It’s a substructure that can be embellished with good dialogue and dark settings.
INT. CONDO/SUB-BASEMENT – NIGHT
Donna has locked Anne and John in the sub-basement. Anne is startled by the sound of the closing trap door and its being locked. John tries to open it but can’t. There’s only a little light coming in. Anne is despondent. John tries to calm her down. He tells her that his going into the tunnel is the only hope they have to get out alive.
Anne dreads the idea of John going into the witch’s domain, but accepts it. After John has been in awhile, Anne decides to go in and search for John. She enters the spider filled, slimy damp tunnel. A snake slithers over her feet.She sees a shadow against the tunnel wall a short distance away. It’s gets bigger. She tries in vain to hide. Suddenly a her cat jumps out at her. She’s shocked until she sees it’s her cat. She takes a breath. The cat runs off into a branch of the tunnel.
She gingerly goes in softly calling the cat. He emerges and she’s relieved. Suddenly she jumped by a homeless squatter that lives in the tunnel. She’s shocked and tries to scream but the man has his hand tightly over her mouth. He talks her into calming down and that he knows the way out. She stops resisting, he releases her and she calms down.
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PATRICK MALONE Scares, Releases, and Creepy moments!
What I learned was to layer in scares and creepy moments so that they grow in intensity. Then use a release to calm things down and then hit with a more horrific event.
OUTLINE
Creepy moment: the spooky Dead Lakes
Scare: Clark trips on a root
Scare: Clark trips on a rock and alligator lungers at him
Scare: mysterious figure watches the men
Scare: nature sounds stop, campfire goes out
Scare: something trudges toward the men
Scare: Screech in the night
Creepy moment: foul smell
Creepy moment: Emmett projectile vomits
Creepy moment: monster approaches, levels camp
Release: monster leaves, men drink and calm down and feel safe
Scare: Clark freaks out
Scare: monster suddenly reappears
Scare: monster kills Clark
EXT. DEAD LAKES – DAY
A huge prehistoric swamp dotted with Cypress trees and thousands of skeletons of dead trees. Creepy nature sounds. Clark, Ollie, Bill, and Emmett trek along the shore.
Clark’s foot catches on a root. He loses his balance, but manages grasp a tree and stay on his feet.
OLLIE
You, okay?
CLARK
(pissed)
Fine.
BILL
(chuckles)
Great save Clark.
Clark turns to face his two friends.
CLARK
Years of practice.
As he takes a step backwards, he trips over a rock and hits the ground.
CLARK
Damn.
Suddenly a gator lunges from a thicket. Bill and Ollie freeze for a few seconds before Ollie grabs Clark’s arm and pulls him away. Bill waves his arms and yells at the gator and it slinks into the swamp.
OLLIE
I bet you didn’t practice that.
Clark gets up and brushes dirt off.
BILL
You really have to watch where you step around here.
CLARK
You think?
OLLIE
We should try to get on a little further before dark.
Clark keeps an eye on the water as they hike.
EXT. DEAD LAKES – NIGHT
The men’s camp is set up. Sounds of insects and frogs abound. Ollie, Bill and Emmett are eating by the campfire. Clark is alone, agitated, pacing by his tent. Ollie comes over to him.
OLLIE
Come on and eat before those two polishes it off.
Clark shakes his head ‘No’.
OLLIE
You worried about Tammy?
CLARK
Where is she? She just took off.
OLLIE
She’s good at taking care of herself.
CLARK
I didn’t want her to come.
(pause)
Ollie, what if that bastard Grant got hold of her?
OLLIE
He has no reason to harm her.
CLARK
I, I can’t think what life would be without her.
OLLIE
There’s a good chance we’ll find her tomorrow. You know according to Bill we should be pretty close to where the gold is stashed.
CLARK
If we had the map, we’d have a better idea.
OLLIE
Well , Bill has a good recollection of the signs and landmarks.
CLARK
We’ll see.
A figure in the dark watches Clark amble away and Ollie head back to the fire. Clark wanders around the site deep in thought. The figure steps between two of the tents. Clark gets a quick look. The figure is a Confederate soldier. Clark blinks and the Confederate is gone. Clark looks around, but doesn’t see him. He starts to head to the other men, but instead goes to his tent.
LATER
Ollie, Bill and Emmett talk by the fire. Ollie is worried about Clark and Tammy. A sudden breeze picks up. The insects and frogs go quiet. The men notice a pungent odor. Emmett says that’s what he had smelled. The fire goes out.
A couple of snakes slither near the men. A heavy thudding sound moves toward them through the woods. A horrendous screech echoes. The air smells like rancid meat. Emmett projectile vomits.
Then they see the glowing green discs – huge eyes. The men stand.
The breeze whips into a gale and tosses Emmett into the brush. Bill is flung against a tree. Ollie is knocked to the ground. He manages to crawl behind large rock.
The tents collapse. Clark’s tent is wrapped around him, trapping him, He has trouble breathing.
The wind subsides, but the creature trudges closer. It heads toward Emmett. Ollie finds his rifle and fires. Amaruga halts and looks to Ollie. Emmett scrambles out of its reach. Ollie shoots Amaruga repeatedly. It grunts, turns away and slogs off into the forest.
Clark’s cries attract the others. Ollie and Emmett free him from the tent. He collapses whimpering and weeping. Bill is hurt, holds his side.
Emmett produces his liquor bottle and they all drink. Things calm down. They are safe.
Suddenly Clark breaks into an angry rant about Grant, the gold and the monster. Ollie and Bill try to calm him, but he grabs the rifle and dashes into the woods.
Clark thrashes through the woods and randomly fires the rifle. A few snakes crawl toward him. Ollie and Bill run after him. Clark runs right into a nest of snakes. He falls. The vipers slither onto him.
Amaruga suddenly appears. It confronts Clark. Ollie picks up the rifle and shoots. A long claw on one of the creatures three fingers reaches for Clark. Ollie fires but the chamber is empty. The claw impales Clark. It lifts him and sinks its fangs into him. Ollie and Bill scream at the monster. It turns and carries Clark toward the swamp.
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JAYE’S SCARES, RELEASES AND CREEPY MOMENTS
What I learned is that if we bombard with horror, the audience becomes desensitized to it. Providing releases from scares allows the audience to relax and be surprised with the next larger event.
INT. BEDROOM – NIGHT
Sarah sits on Robert’s lap, her legs wrapped around his
waist. His tux jacket and cummerbund are on the floor at the
foot of the bed.
He sits upright and unzips the back of her gown; he fumbles
with her bra hooks.
She kisses him with eyes open as she scans the room. The
dresser. The curtains. The chair.
SARAH
Robert, I’m uncomfortable.ROBERT
Well let’s get you out of thisdress.
He nuzzles her neck and she pulls away.
SARAH
No… this place. It’s wrong.The door behind her creeks open and Sarah freezes.
Robert looks over her shoulder and waits. The door slowly
creaks further open.
[CUT TO OTHER SCENES]
BEDROOM
Robert watches as Karen makes her way in. Robert huffs.
ROBERT
No vacancy.Karen shuts the door behind her. She walks silently up to the
bed and runs her fingers up Sarah’s unzipped back.
Sarah looks Robert in the eyes. Don’t say a word.
Karen starts to kiss the nape of Sarah’s neck and Sarah leans
her head back.
Sarah turns her head to her right and meets Karen’s lips.
Robert smiles like he won the lottery.
He reaches for Karen and grabs her hair. He pulls her in.
He starts kissing her with lust.
Karen pull back. Jealous
Karen pushes Robert away. What the fuck?
Karen puts all her attention back to Sarah.
Sarah gets off Robert’s lap and stands, facing Karen.
Karen reaches around Sarah and unhooks her bra with ease. The
kiss is uninterrupted and Robert moves in for more action.
The girls ignore him as he kisses their shoulders and runs
his fingers through their hair. It’s as if they’ve forgotten
he’s in the room.
He huffs and rolls off the bed. The girls take a seat on the
edge of the bed, petting and kissing with passion.
He retrieves his jacket from the floor and pulls a joint from
the pocket. Lights up.
Robert goes to the chair. Plan B. He unzips his pants and
takes a seat; the joint dangling from his mouth.
He watches the girls. Their hands. Their mouths. Their plump,
glossy lips. His pleasure is clear.
With his left hand he takes a deep drag. With his right hand,
he starts cranking it.
He relaxes, as best he can in a four-legged wooden chair.
He takes a deep toke, but pauses his rub, as a dark shadow
extends across the wall.
INSIDE ROBERT’S MOUTH
His lips close around the joint. His lungs pull smoke from
the blunt… a thin gray fog. As smoke fills his mouth, it
takes shape of a bony hand with elongated fingers, as it
makes its way down his esophagus.
Robert’s eyes grow wide and he releases the joint. He
clutches her throat. Mouth agape, he can get no breath.
He grabs at his throat. Smoke lingers in his open mouth.
[CUT TO OTHER SCENES]
BEDROOM
Karen and Sarah glance look over as Robert grunts. They like
that they are exciting him.
But his chair falls to the side. The shadow has extended to
the door, but the girls are looking opposite, at Robert.
Robert is lying down, one hand on his penis, the other at his
throat; making unnatural sounds and kicking his feet into the
carpet.
The girls look at each other. Embarrassed for Robert. This
has suddenly turned exponentially awkward.
KAREN
You’re boyfriend’s disgusting.She goes to the door and Sarah follows.
They leave and shut the door behind them.
Robert’s kicks and moans subside.
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Pamela’s Scares, Releases, and Creepy Moments
What I learned doing this assignment is…?
Peppering in scares, releases, and creepy moments makes the scene jump and come to life. I really enjoyed thinking through this exercise and intentionally adding more spark to the scene.
Write a scene that uses scares, releases, and creepy moments.
Pick a scene from anyplace in your script that could use these three horror moments.
Create an OUTLINE of that scene and build in a scare, release, and a creepy moments.
Write the scene.
SCARES: The children, Lily, Miles, and Chantel, play hide and seek in the school back corridors where storage, janitorial closets and rooms are. Lights flicker as the electricity lines are under stress from the hurricane. Lily hides behind locker. The flickering lights causing ominous shadows on the concrete walls. She sees a shadow that looks like it is coming towards her. The lights go out completely leaving Lily in the dark.
CREEPY MOMENTS: Lily finds her parents, Jacob and Jill in the cleaning closet. Eyes gone, with herbs, amulets, and sack cloth stitched doll held between them. Lily screams.
SCENE
Jacob and Jill try to take advantage of the chaos to pilfer electronics from the media room. They load up laptops and chargers into their backpacks and plan to hide them in the janitorial closet for safe keeping. Jacob and Jill think it will be an easy place to retrieve the goods from but if the computers are found, the janitor, Potter, would be blamed.
Lily, Miles and Chantel occupy themselves with a game of hide and seek in the school’s back corridors where storage, janitorial closets, and rooms are. Lights flicker as the electricity lines are under stress from the hurricane. Chantel hides behind locker. The flickering lights causing ominous shadows on the concrete walls. She sees a shadow that looks like it is coming towards her. The lights go out completely leaving Lily in the dark. The lights come back on Miles is standing in front her. He yells “Found you!” Chantel is startled and Miles and Lily are laughing hysterically.
The start the game over again. This time Lily hides. She decides to hide in the janitor’s closet. The hall is still very dark. She opens the door and backs in with her hand on the door knob, the door cracked so she can see hear any movement in the halls from Miles and Chantel.
As Lily crouches down, she loses her balance and falls backward on a lump. Her first thought is that Miles and Chantel heard her. She gets on her feet and kicks the lump. She feels around and grabs hold of the chain that would turn on the single light bulb in the closet. Slowly, she pulls the cloth back from the lump and finds a grizzly surprise. Her parents, Jacob and Jill are in the cleaning closet, eyes gone, with herbs, amulets, and sack cloth stitched doll held between them. Lily screams.
Clara pulls Lily away and shields her from the carnage. Lily mumbles that her parents warned her about this.
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RobertRSmith’s Scares, releases, creepy moments.
Film Title: THE TOREPH.
What I learned doing this assignment is …….?
Film Title: THE TOREPH.
About the title: Toreph is singular of Teraphim, “Household gods” found in the Hebrew Bible (aka, Old Testament): Most notably, Genesis 31:19; I Am 19:13; Judges 17:5; 18:14; Zech 10:2. They were the mummified heads in the ancient Near East that were used for necromancy and divination after a gold plate with the engraved name of a demon was inserted into its mouth. The word “toreph” is also said to mean “filth.”
ASSIGNMENT
.A scene that uses scares, releases, and creepy moments.
OUTLINE: I have all these moments in many scenes already but two scenes, which I now make as one.
Kaitlyn was abused as a child by her Uncle Archie who has died. But when Ned thinks up he nickname Katydid for Kaitlyn, she tells him that her abusing uncle called her “Katydid” and she steal becomes nauseated at the word. Later, Kendrick gets a text message on his phone that is a mesage to Kaitlyn in which he calls her Katydid. Kendrick could have had no way of knowing. It sends Kaitlyn into hysterics and projectile vomits. She says she hopes he is in hell. Later dr. Kendrick receives a text message sent by Archie with a message
Backstory: Because of all the unsettling things about the archaeological site known as “Tel Esh-Shaytaneen “Hill of the Two Devils.” Ned suggested it would be good for Kendrick to share them with those going on the expedition to give them a chance to decline going on the trip. This explanation could have intercuts with footage from Act 1 with all the scares and creepy things repeated.
This amounts to Kendingrick repeating the story of the first act of the film with visual repetition of the scary scenes of scares, releases, and creepy moments.
1. The death of Hussein.
2. The Azazel nameplate that seems to have a buzzing about it..
Scary/creepy moments. The ancient gold nameplate with the name of the demon Azazel on it, seems to have a mind of its own.
Releases: The logic wth which the evidence of a supernatural danger (a monster) is denied. But it is a false release because it is denial which only makes the monster Toreph even more horrible, which follows in the next half of the second act.
T H E S C E N E
INT. BUCKRIDGE UNIVERSITY FACULTY BUILDING HALLWAY OUTSIDE KENDRICK’S OFFICE– DAY
NED GARNER and his girlfriend, KAITLYN RANDOLPH are walking down the hallway to Dr. Colin Kendrick’s office where Kendrick will meet with them and Bob Barton about the strange goings on connected to the ‘dig season’ at the Negev archaeological site known as Tel Esh-Shaytaneen, translated, “Hill of the Two Devils.” Ned, Kaitlyn, and Bob are Kendrick’s principal graduate archaeology students who form the leadership of the expedition. .
NED
Glad you can come, Kaitlyn. I think everybodyneeds to know from Kendrick some unsettling things about Tel Esh-Shaytaneen. I suggested he call this meeting. Katydid.
KAITLYN
Why did you call me that?
NED
I just thought up Katydid as a pet nickname for you.
Kaitlyn is visibly shaken.
NED (CONT’D)
What’s wrong?
KAITLYN
(this is difficult to say)
That word is what my uncle used to
call me.
NED
That uncle?
KAITLYN
Yes. That uncle! Even after all these years in therapy, that word still makes me sick.
NED
I didn’t know. I will never say it again.
KAITLYN
I know you didn’t. For all he did to me, I hope
Uncle Archie is in hell.
INT. DR. KENDRICK’S OFFICE – DAY.
Ned, Kaitlyn, and Bob are seated at a meeting table. Kendrick joins them and sits himself.
INTERCUTS: Between footage of Act 1 action that Kendrick narrates in his lines below.
KENDRICK
I am glad to see you are all here. Ned told me that .before we go on this expedition, I should tell you about certain strange things about Tel Esh-Shaytaneen before we leave on our expedition and see if you still want to go? It all began with this gold nameplate.
Kendrick gently places his cellphone and the gold nameplate on the table and the nameplate seems to take a slight bounce, as if it has a mind of its own.
KENDRICK (CONT’D)
The name on the plate is written in Paleo-Hebrew. It is the name of the desert demon Azazel. One of the leaders of the fallen angels in the Book of Enoch.
BOB
Tel Esh-Shytaneen. Hill of the Two Devils. Azazel must be one of the two devils.
KENDRICK
Makes sense.
BOB
Who is the designated Devil Number Two?
KENDRICK
Maybe we’ll find out when we dig. What I need to
tell you is that, this Azazel nameplate was brought
to me by two Bedouin goat-herders from the town
of Hura. One of them died when they took me to the place where they found it in the sand at the bottom of the hill.
I looked up the slope of the hill and saw a cave which I presumed was a tomb. It had been sealed up with stones by the French expedition in 2006. They left a sign warning against entering the cave because it was in danger of collapse. The sign was left by Dr. Clement Leroux the leader of the French expedition. I spoke by phone with Dr. Leroux in his Paris Office. He told me he threw away the gold Azazel nameplate. It remained in the sand until Hassan and Hussein discovered it last year. Leroux said that now he wishes he had destroyed it so no one would ever find it. Then, he begged me to destroy it. He described how two of his colleagues on his expedition had died mysteriously, perhaps murdered and that he has been treated for P-T-S-D ever since. He advised me to cancel the expedition. Now, all that considered. Before you tell me if you think I should cancel the expedition or you decide to decline joining me. Let me tell why I think this will be an important expedition: According to the Pirke de Rabbi Eleazar,
the teraphim, or household gods in Biblical times were mummified heads,
gold nameplates with demonic names, like this, were –it is said –
inserted under the tongues of these heads so that the skulls would speak
to necromancers. I believe our expedition would confirm this cultic
use of skulls as found in the Pirke de Rabbi Eliezer. It would be a
major discovery for Biblical and Near Eastern archaeology and may
explain the real use of the Neolithic skulls discovered by Kenyon at
Jericho. Either way. I believe we will make a major discovery in
Biblical and Near Eastern Archaeology. Do you still want to join me in a dig at Tel Esh-Shaytaneen? Ned?NED
Whatever misfortunes had occurred doesn’t mean they would happen again. I see no reason to cancel an expedition that could yield such an important find. As for the occult aspects attached to the dig: Let’s remember, there was no curse on the tomb of King Tut, The curse was invented by the press to sell newspapers. Moreover, I have studied the Egyptian magical papyri, it’s not so spooky after all, in fact, they are quite pedestrian. Count me in.
KAITLYN.
Me too.
BOB
Same here.
Kendrick picks up his cellphone, he has received a text message. He reads it and then turns toward Kaitlyn.
KENDRICK
This is strange. I have a text which is a message for you,
Kaitlyn: “Tell Kaitlyn, her uncle Archiesays, “Hello, Katydid. I can’t wait for you to join me where I am now.”
Kaitlyn screams, freaks out, and dashes out of the office. Her face is ashen.
Ned follows her. Then, Bob follows.
INT. BUCKRIDGE UNIVERSITY FACULTY BUILDING HALLWAY OUTSIDE KENDRICK’S OFFICE– DAY
Kaitlyn is bent over. She projectile vomits on the floor and recovers enough to say: .
KAITLYN
Did you do that?
NED
You could see. I didn’t even have my phone on the table.
KAITLYN
You could have dialed up everything on yourphone, in your pocket.
NED
Well, why would I want to do something like
that and hurt you? I didn’t do it. I love you.
KAITLYN
Maybe Kendrick did it.
NED
He never touched his cell phone.
KAITLYN
Maybe he ad-libbed the text message right there.First he tells us spooky stories then he makes up this horrible message. .
NED
He would have to know about your uncle and our conversation.
KAITLYN
The halls echo. Maybe he heard us through the air vent above his door.
NED
Even if he did hear us, Kendrick wouldn’t do a thing like that.
Kendrick enters the hallway.
KENDRICK
Do you need the campus physician?
KAITLYN
Thank you, Doctor Kendrick. It’d just indigestion. I’ll clean this
up.
KENDRICK
Nonsense. You go rest. I’ll call the custodian..
NED
Thank you, Doctor Kendrick.
BOB
(to Kendrick)
Just one question, Doctor Kendrick.
KENDRICK
Yes, Bob.
BOB
Do you keep your cellphone in the same pocketas the Azazel nameplate?
.
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