Loston's horror script page 1.
THE HEAD CASE
By Loston Wallace
Caption: This morning I woke up very tired. I stretched out my arms, tried to yawn, and made a frightening discovery....
Description: Shot of a male figure sitting up in bed with his arms outstretched. The bedroom is a typical apartment bedroom, and is likewise furnished. His neck and head should be obscured in this panel, either by shadows, placement of an object in the foreground, by panel crop, etc.
Caption: ….I had no head!
Description: Zoom in camera slightly on the headless figure in the bed. Don't zoom in too far—show some of his body in the shot. A good bit of body language here would help sell the shock of this young man's sudden realization. He is indeed without a head. He has some neck though, and there's no blood or signs of violence at all.
Caption: In a panic I leaped out of bed and began searching the room frantically!
Caption 2: I looked everywhere—even under the bed—but there was no sign of it!
Description: A headless man wearing pajama bottoms is down on the floor on hands and knees, setting aside the hanging bedcovers, searching under the bed for his missing head. This is a good chance to show a rug on the floor or maybe a bedside table with an alarm clock, etc.
Caption: Then it dawned on me—How was I seeing under the bed anyway? I mean—I didn't have a head anymore!
Description: Medium shot of the headless figure. He is still on his knees next to the bed, and is very perplexed.
Caption: Before I could begin to ponder an answer, I felt something cold tug at my ankle.
Description: A jet-black tendril protrudes from underneath the bed. The end of the tendril has a similar shape to a human hand, but the hand should look a little more monstrous with some sort of sharp fingernails or claws.
Caption 2: I felt sharp claws bite into my skin! I was being pulled underneath my bed by a set of shadowy hands!
Description: Zoom into a close-up shot of the headless man's ankle being held tightly by one or more dark hands—the claws digging into the headless man's leg.
Caption: I struggled to break free, but my body felt numb with fear. Inky tendrils held fast around my legs.
Caption 2: A large pit gaped open beneath my bed, and I was being pulled into it! Suddenly, I was falling downward, plunging helplessly through the surroundings of surreal and ominous realm!
Caption 3: I would have screamed my head off, but—well, you know...
Description: This should be a long vertical panel on the left side of the page. The strange tendrils stretch upward from the bottom of the panel, and are wrapped around the legs of the headless man in pajama bottoms, who is falling into a very strange looking dimension. Steve Ditko's bizarre interpretations of outer dimensions in DOCTOR STRANGE wouldn't be far off the mark. Use your imagination to create a freakishly weird world here. There could be weird flying creatures, strange objects, and bizarre bits of scenery in this panel. At the top of the panel, show a rectangular opening of light, representing the dimensional portal beneath the bed.
Caption: I don't remember how I stopped falling...or how I survived the impact with the stone floor...or even how I was experiencing any part of this! How was I even alive without a head??! Where was I?! It was all too much to take in at once. Was I insane? That had to be it! I'd gone mad while I slept. I'd gone utterly mad...
Description: The headless man struggles to pull himself up off of a stone floor. There is very little light around him, but some light seems to be radiating from elsewhere off-panel. There is no sign of the long, dark tendrils.
Caption: My mind reeled—at least I think it must have. In my unbalanced state, clarity seemed to be just beyond my grasp. Then there was music. Strange and delirious, it seemed to beckon me...
Caption 2: It was just as if those tendrils were still holding onto me. Like an obedient servant being summoned, I walked toward the source of the music. I could see a glimmering light not far ahead of me.
Description: The headless man walks down a dark corridor towards a lit chamber. The floor and walls are poorly lighted, but they are composed of blocks of roughly hewn stone.
Caption: I was both amazed and horrified by what I witnessed next....
Description: Headless man stands in an arched doorway of stone. Torches are lit on either side of the entrance. The headless man's arms are lifted as if to shield a face he no longer possesses.
Panel One: Full page splash
Caption: Amidst a great circle of human skulls was MY HEAD—smiling and laughing gleefully as it danced in the middle of the bony ring on spidery, black legs that protruded from the base of its neck!
Caption 2: From the mouth of my detached head came the creepy music. If there had been any room for doubt before, it was now quite clear that I must be mad, for no other explanation seemed possible.
Caption 3: I stood there helpless, marveling at the deranged spectacle before me. I was a lunatic. In my sleep I must have became unhinged, and now I was lost in my unsound mind. It must be so.
Caption: My head continued to spew hateful harmonies from its lips as it spun and whirled to its own hellish tempo. I struggled to free myself from the strange hold the music had over me. That's when I noticed the small, loose stone on the cobbled floor.
Description: This can be a close-up of a stone near the bare feet of the headless man.
Caption: With all the strength, will and remaining sanity in my being, I seized the rock with my right hand and sent it hurling towards the nightmarish troubadour!
Description: The headless man throwing the rock towards the “camera” in baseball pitcher fashion.
Caption: My disembodied head careened and squealed in agony as my aim drove the hurtling stone into the socket of its left eye!
Caption: Naturally that's when I awoke in my bed, covered in sweat. It had all been just a dream! Of course it was a dream!
Description: We see the man sitting up in bed again (similarly to page one, panel one). Once again his head is obscured by either shadow, object in the foreground, or panel crop.
Caption: Sleepily, I stretched my arms, and tried to force a yawn, but one did not come to me.
Description: Arms are outstretched, but the head is still obscured.
Caption: Wait a minute! Where was my head??! No—GOD, NO! This couldn't be happening all over again?!?
Description: He's headless again. Remember—no gore.
Caption: But it WAS happening. In a panic, I began to look around the room for my missing cranium. Then I really was mad? I really had cracked after all?!!
Description: Pan back the camera and show the bedroom. This can be an overhead Film Noir sort of shot, or even a profile shot of the headless man sitting up in bed.
Caption: I became frantic once more as I searched the blankets of my bed, and then, slowly, I drew back the covers and considered my next move.
Caption 2: The idea of looking beneath my bed filled me with horror, and I was shaking like a leaf.
Description: Headless man has removed the blanket and is sitting on the edge of the bed with both hands on the mattress.
Caption: Then something occurred to me. I had been drinking at the bar last night....
Caption 2: Everything was a blur.
Description: Similar panel to Panel two. Headless man is still sitting on the edge of the bed.
Caption: I stumbled down the hall towards the kitchen.
Description: Shot from behind the headless man in pajama bottoms. He's making his way towards the kitchen, which should be visible at the end of the hall.
Caption: And I was greatly relieved to find my head resting on the counter where I'd left it last night!
My Head: Hey there, buddy! You look like hell, man. Did you sleep okay?
The headless figure and the head need to be seen together in this panel. It might be a good idea to place the head in the foreground with the headless body in the background near the entrance way to the kitchen. Remember to draw in a refrigerator and other everyday kitchen furnishings and appliances.
Caption: Reluctantly I grabbed my head and held it above the stub of my neck....
My Head: No time for breakfast and a shower today, dude—we're late for work!
Caption: He was right, of course. We were late for work. Slipping on my loafers and a wrinkled dress shirt, I barely made the corner in time to catch the morning bus.
Description: An exterior shot of a passenger bus leaving the bus stop in the middle of the city.
Caption: My pajama pants were the talk of the morning. I'd forgotten to put on real pants. Fantastic. I'd lose my head if it wasn't attached to me 65 % of the time.
Description: We see the star of our tale (complete with his head) sitting on on an aisle seat of the bus. He is wearing a wrinkled dress shirt with a striped tie, loafers without socks, and his pajama pants. He looks embarrassed and uneasy. Show two young women smirking and/or giggling at his attire.
One Last Ballad
By Itai Rosenbaum
Panel 1 - Wide-angle shot of a desert road. It is noon and the sun is high. Driving across the panel at a high speed is a red convertible. In the convertible sits KRIS, she’s young, in her mid-twenties. Her long, red hair blows behind her in the wind. She wears very “rocker”-ish clothes, a white t-shirt with the sleeves cut-off, tied at the mid-drift, low-cut ¾ jeans, with a pair of black All-Stars (though we can’t see that yet, as she sits in the car), maybe a brace on one of her arms, or possibly some tattoos, go crazy. She tops off the look with a white cowboy hat, shading her eyes. She also wears reflective, mirrored sunglasses.
Panel 2 - Close-up on the car’s engine hood, as something inside it breaks down and smoke begins to come out.
SFX (engine): BAM!
Panel 3 - KRIS is bent over the car’s engine, it is, quite evidentially, broken. The car is now blowing black smoke up into the sky.
Panel 4 - (A little note: for the next 3 panels I want to show the passage of time, so what we’re going to do is have the three panels side-by-side taking up the width of the page. The 3 panels show the car so that each panel show one third of the car, the first shows the engine hood, the second the dash-board and driver seat, and the third the back-seat and “butt” of the car.) KRIS is leaning on the hood of the car staring off-panel looking for cars in the distance, it is still noon and the sun is high.
Panel 5 - It’s dusk now, and the sky (and entire landscape) take on a red hue. KRIS is sitting in the driver’s seat, her feet up on the dashboard. She has one hand on the car’s stereo and is flipping through radio stations.
RADIO: REPORTS OF--krrzch--BIE’S “FEEL SO NUM--ktzzsh--JOINING ME IS DR. HEN--knnzshff--BUT YOU SEE, IT’S NOT ME, IT’S NOT MY FAMILY, IN YOU--tsssshkzz--
Panel 6 - It’s night-time, and KRIS is sleeping in the back-seat. A big white moon hangs in the dark sky, illuminating everything in an eerie bluish light.
Panel 7 - Morning again and KRIS stretches her arms, yawning.
Panel 1 - KRIS stands outside the car reaching into the car’s trunk.
Panel 2 - Close-up on her hand, as she grabs the neck of an electric guitar.
Panel 3 - KRIS stands in front of the car, she has the guitar slung across her back, and in her hand she holds a small case for an amplifier. With the other hand she adjusts her hat so it shields her eyes from the sun.
KRIS: WELL... BETTER START WALKING.
Panel 4 - We are looking at KRIS walking towards us, guitar across back, amp in hand. In the background, a ways behind her, we can see the car, stranded.
Panel 5 - Close-up on KRIS’s face, time should pass from the last panel, shown by lighting changes and a change of scenery behind her. She should look tired, sweat beading at her temples. Her red-colored lips should be slightly parted, in awe. Reflected in her glasses, should be the vague forms of a few low western-town buildings, but nothing to clear.
Splash page. The camera is behind KRIS as she stands at the entrance to an old-west town. The town should be very small; we can see the other side of it not too far off. It’s got one main road, with the usual type of buildings around it - a general store, a saloon, black-smith, and a few other buildings, nothing more. The entire town should be quiet, no people, and no movement. Not even the required bush rolling in the wind across the road.
Panel 1 - KRIS is on the town’s main street, standing in front of the general store. The store itself should be old; it’s a real wonder how it’s still standing. The wooden structure is chipped and splintered, we can see a faded sign atop the door that reads “G ORE” (with previous hints of the letters “eneral st”, but not the actual letters). Through the front glass window we can see various items for sale with little scribbled price-plaques. Though these are not items anyone would want, as they seem to have been sitting in the display window for a long time (the items should be along the line of canteen, oil lantern, maybe even an old saddle, etc.).
Panel 2 - Close-up on the top of the store’s top door-frame. There’s a place for a little bell that would ring every time someone would walk through the door, but the bell is long gone, all that is left is small, tattered piece of string. The lack of the bell should be accentuated.
Panel 3 - KRIS stands in the middle of the store. Sitting on a stool behind a small counter is and old SHOPKEEPER. He’s very, very old! His facial features are filled with deep wrinkles, which are shown more clearly due to his leathery skin. Gray tufts of hair litter his head and chin, and he looks at KRIS with dead, un-focused eyes. The overall vibe of this should be “creepy”.
KRIS: UMMM... HI. MY CAR, AHHH, IT BROKE DOWN AND I NEED TO CALL SOMEONE... AHH, FAITHFUL STEED, I MEAN, MY BAND... IT’S... WELL, MAYBE YOU HEARD OF-- NAH, PROBABLY DIDN’T, I... COULD I JUST--
KRIS (connected): IS THERE A PHONE IN HERE?
Panel 4 - Close-up on the SHOPKEEPER’s head. He looks up at KRIS, but it’s as if nothing really registers, he can obviously see and hear her, but it’s like everything is out of focus for him.
SHOPKEEPER: THE REVERAND HAD A PHONE. BUT HE TOOK THE WAGON OVER TO FORT SAUNDER. TOOK THE KEY TO THE CHAPEL WITH HIM, IS ALL LOCKED UP NOW.
KRIS (o.p.): WHEN IS HE COMING BACK?
SHOPKEEPER (2): WE ARE EXPECTING HIM BACK REAL SOON.
Panel 5 - KRIS holds her hat in one hand, while the other goes through her hair with frustration, her sunglasses reflect the counter, the stool, but the old man should not be reflected in them.
KRIS: RIGHT. WELL, I’M GOING TO FIND SOMEWHERE TO REST, IF YOU SEE HIM, WILL YOU POINT HIM TOWARDS ME?
Panel 6 - The camera is now behind the SHOPKEEPER, as he stares at KRIS walking out the door, for the first time we see his back and the large knife that is jammed into it, a quarter of the blade is still showing, congealed blood caking the edge of the wound.
SHOPKEEPER: YES, YES. THAT IS GOOD. TRY THE SALOON, GOOD STURDY ROOMS THERE.
Real fancy stuff here. I'm enjoying this.