27 July 2020

The Crone-Maiden

One of eleven surviving short stories/novellas I wrote in a roughly five-year period (2004-2008).

This is a prime example of the junk I was producing at the time. I had recently discovered Lovecraft and immediately took to emulating his style. Or trying to emulate; I was a sixth-rate hack, plain and simple, using my small vocabulary of big words to prop up subpar writing. The sex-negativity is also strong with this one; another distasteful quality of my writing which I've thankfully overcome. Plus a bonus demerit for "hauntingly sensual pseudo-Teutonic"; this prose is so purple it's bruised. 😬

Original spelling mistakes, grammatical errors, omissions, and alterations have been preserved for your reading pleasure.

* * *

There are many universes parallel to our own. Each of these universes is very much like ours, but each one differs in ways either subtle or profound. In a myriad of realities exists worlds counterpart to our Earth, orbiting a sun or suns, often populated with humans (or human subspecies). On a number of planes, including that of our world, sci-ence holds sway; and the forces of magic are oppressed, kept in states of ineptitude and relative impotence. On others, though, the reverse is true.

The quantum universe the Crone-Maiden calls home is one such world.

Born originally from the same progenitor universe ours ultimately ties its origins to, this alternate Earth possesses the exact principals which govern our continuum; yet history there is widely divergent from our own, and the languages and cultures known to us have no counter-parts there. It is a technologically degraded society, dominated by feudalism, and the rise in atheism and rationalism has turned many of the spiritually hungry toward nature worship and self-denial.

You may now ask how I know of the existance of this universe, and the details of. Let it be said that there are many special projects sanctioned by the United States Government, the existance of which remains intentionally undisclosed to the general public. The project I was assigned to dealt with experiments involving wormholes and the manipulation of the fabric of spacetime. In on particular experiment, there was a horrific accident, killing many scientists, and depositing me into a rip in spacetime.

In the blink of an eye, travelling faster than the speed of light without truly travelling faster than the speed of light, I took an extradimensional trip sideways through time.

I landed in a fiflthy bog pond located with a dark bower on the far side of the world. The journey had left me disoriented and nauseous, and the birth into this world had been turbulent; thus, I slipped into semi consciousness. I pitifully flailed my arms about as liquid slip over my fingertips, and water entered my lungs. Just as my vision was obscured, I glimpsed a hazey white mirage located within the treeline beyond the pool's shore. I sank forever, and the murrky brown-green around me went red, then black, as I felt a nearly indiscernible touch on my hand.

Somehow

Somehow,  I had not died. When I awoke, I found myself dry before a popping and snapping camp fire, laying amongst the trees, yards from the pond I had landed in. And I was not alone. Before me, on the opposite side of the orange blaze, stood a woman. I started, and scrambled back-ward a number of inches.

She stood there unmoving, her gaze upon me. She was a tall, young woman with an appearance of twenty-six years of age. She possessed striking Scandainavian features: long, straight blonde hair encircling a face with high cheekbones and flowing down over slender shoulders, while piercing eyes of ice stood under near invisible eyebrows and over a straight Nordic nose, which in turn was stationed above a pair of full pink lips; her skin, which possessed a glow originating not from the flames, was pale, a soft peach which gave brillance to the white volumous robe she wore over her body.

Her facial features lacked expression, yet her eyes stabbed with a ra-venous hunger. With a swift, effortless move she unfastened her obscuring robe, drawing it open and exposing me completely to me her naked body.

I gasped. Naturally, I would have turned away, pled to her to redress. Yet at that moment I was entranced, frozen, and suddenly aroused.

She was voluptous, all firm curves. Her body was flawless, her taut breasts and buttocks shaped and proportioned perfectly — neither too large nor too small. Her entire body below the neck was lacking altogether in body hair. Her radiant skin had a exotic shine to it, as if having been anointed with oils. Her robe hung loose and hanging from her arms, in a single lithe movement she glided toward me, lowering herself to the grass.

Lay with me, she drawled in a husky, seductive voice. The voice had not issued from her lips to my ears, but from her mind to mine.

She removed my clothes as swiftly as she had her own, and thrust her body against mine; my erect organ penetrated her smooth, shaven, tight, orifice. She uttered a moan of ecstasy, a true moan, not one of tele-pathic origin. I ran my hands over her smooth, hairless body, fondling her firm bosom and posterior. We melted together, and she brought her robe up and over us, hiding our sex from the outside world. I cannot say how long we coupled. When we climaxed, she withdrew from me, a smile on her perfect lips.

We have shared each other. You are mine.

With those words suddenly came an influx of images, thoughts, memories. As I grew aware onf the gravity presented within these uploaded items of data, a horrendous dread seized me.

This is what I quickly learned to be the truth of this hauntingly sensual pseudo-Teutonic. Hundreds of years into the past of this universe separate from mine, this girl had once been human, an innocent daughter to a pair of kindly peasants until she had been seduced by a darkly hand-some man from outside her home village, a reputed sorceror who dabled in the black arts. He awoke in her heart lust, and stole from her her chas-tity and virginity; feuled by evil, she willingly devoted herself to her immortal lover and his diabolical practices, sacrificing her own parents upon a stone altar in his honour. They stayed in the village of her birth; in time, they came to be feared, and reproachable , their house avoided by all.

As the years went by, the townspeoples' hatred for the two demon-worshippers grew in potency. Though they had engaged in the most profane acts of inter-course, they had been unable to spawn any progeny. In order to fulfill their desire to pass  their knowledge on to a younger generation (as well as for the ritual sacrifices they observed on a monthly basis) sthey had begun to steal into the homes of parents, and kidnap their little ones. Finally, after finallu retrieving evidence that directly connected the two magicians with the missing children, a murderous mob organised, and came in a wave to their cottage weilding farming tools and flaming torches.

They forced their way into the dwelling, overturning tables cluttered with obscene objects and shelves stacked with tomes covered in obscure characters and frightful covers. They beat down the two lovers, then dragged them out in the open and into an animal cage. The riot forced open the basement door, where they found children, and the remains of children, huddled together in piles upon the stone floor covered in filth. The two criminals were given not any trial, but were instead led out into the forest depths by wagon, where their cage was ultimately unloaded. The carriage departed, and they were left to die within under the dark canopy of trees.

The sorceror eventually died, from hunger and thirst; what became of the girl, I could not positively identify from the content I had absorbed, but I do know that in the wake of her husband's death, an unquenchable hatred arose with her, as did an undying addiction for vengeance. She embraced completely the powers of the dark side, was transformed, and in doing so lost any humanity that had remained in her after her slaying of her own parents. She became a living corpse, forever immortal and youthful, yet bound to the forest wherein her partner had met his end; if ever she were to cross beyond the trees of the woods, she would immediatly age and die. She was unable to return to the village, unable to exact her revenge.

In time, she escaped the cage that had been her prison, and continued to develop her black magic. She knew she could not go to them, but, how-ever, they could come to her. A plan began to form.

She began a daily pattern in where she would build a large fire at the mouth of a cave she had located and begun to dwell within, the idea to attract any passersby within the forest in search of passible shelter. A year had passed since her lover's demise when she encountered her first wayward traveller, a homely young male amateur cartographer. She beck-oned to him telepathically, inviting him into the foul depths of the cave which smelled of rodecaying flesh and mould, where she seduced and lay with him, enslaving him forever.

This procedure would commence anytime she encountered a man capable of intercourse. For years since her transformation, she would on occassion encounter vagabonds, exiles, disgraced and dejected theives, Sodomites, adulterers, murrderers, etc. Weakening their minds with her abilities and seducing them with promises of pleasure or power, she would have sex with them, and hold them for many dawys, until their essence was spent and they became living corpses as she was; their minds would remain active, but they would have no control over their own bodies, which were commanded only by her to do one thing: bring living men to her, to increase the numbers of her minions and take her revenge against the members of the living.

Tales of the living dead girl and her cadaverous servants, as relayed from escapees who had managed to avoid the fate of those undead forest-dwellers, begun to circulate amongst the villages and towns nearest to the forest. They came to know this undead and undying witch as the Crone-Maiden, as she was as ancient as she was youthful.

I returned to reality as a sigh of satisfaction, a true vocalised one, escaped her lips. She rose to her feet, pulling her robe back into place and tying it shut, hiding her body once again within the sexless robe. I lay there, frozen and naked, breathing heavily from the sex and the terror that came with my newfound information.

"You — you used me!" I stuttered, excstatic. "Took advantage —"

I merely released your inhibitions and gave you what you would have wanted, she thought. Your essence is spent for now, but in time you will be replenished, and we will experience each other once more.

And that is when my mind snapped. In a fraction of a second, I went from sane to frightened to completely and incurably insane. My throat tore as a frightful amnimal howl escaped, and I was up and off before the pleased smile of my tormentor could vanish. All I could think of was my likely fate, and knew death was my only escape. I ran headlong back to the stagnant swamp pool, diving into the water and algae, fighting downward to the bottom, in hopes of drowning myself; as the liguid, I felt the slender but strong arms of the Crone-Maiden encircle me, attempting to haul me up and back to dry land.

Suddenly, I was elsewhere. I was still wet, but layed out upon a plat-form of titanium steel, not floundereing in filthy water. I was semi-conscious and full of nausea, yet I could make out dark shadows, damaged machinery, and smouldering corpses. Above and around me stood the forms of scientists in white loaboratory coats; all wore, as near as I could tell, fearful and concerned expressions upon their faces.

"Sturrmer!" one obscurre visage uttered, his or her voice distorting as I slipped out of the conscious world. "What happened? Where did you..."

The voice faded. Just as darkness overcame me, I turned over on my side; as I did so, a brittle, grey skeleton, clad in a white robe, came apart over me and scattered around the platform in pieces.

It would seem that the rip in spacetime that we had created had remained open after the initial incident, and had not sealded shut after I had passed through into the alternate reality. When I had raced back into the pond in search of death, I had stumbled into the rip which had originally brought me there, and returned to my familar world. It would seem that as the Crone-Maiden had caught me, she as well had gone through to the portal. As she was bound by magic to the forest, when she left her entire universe for mine, she aged rapidly and was nothing more than bones when we arrived. The author-ities never did learn about the nature of the female skeleton, or where I had gone; the rip had never closed, so the goverment cancelled the project, and had the base closed down and put under heavy guard.

As for myself, I never did recover. I am as mad now as I was mad then. For you see, although the Crone-Maiden's physical form had ceased to function, she was not dead! My initial ramblings upon regaining consciousness after my return led me to my comitmittal to an insane asylum. I was put in straight jacket and padded cell to in order to protect me from myself, yet nothing could protect my dreams from her visitations! My first night there, I was visited by the Crone-Maiden within my troubled nightmares, where she slept with me again, and has been doing ever since; she is as beautiful as she was in life, and as pleasurable.

But now she tells me that she tires of incorpereal existence and incorporeal lovemaking! She desires to dwell within the natural world again, to have intercourse with live flesh!

Now, at this moment, I hear the sound of the door of the padded cell unlockeing; and watch as it swings inward. In steps a woman in a white nurse's uniform. She closes the door, locks it, and turns to me. She is visibly dissimiliar from the Crone-Maiden I remember, a Latino with long black hair, brown eyes, and an olive complexion; yet she is tall, and as alluring.

"I just want to say," she uttered, as she began to unbutton her dress. "I never planned to absorb you into the ranks of my living dead slaves. You are not of the stock that killed my husband and dis-graced me, thus you were never subject to my venegence. You were meant to be my new bridegroom, and I was to place within you eternal life. You and I would have ruled the forests together, and took of the flesh of the living together. Now that cannot be. But I can still give you solice, some comfort to make the rest of your life in imprisonment somewhat easier. Do not worry, my love, I will visit you often, and give you vast pleasure until the day you die."

She pulled open her uniform, exposing a smooth, shiny voluptous body of firm curves and hairless features. She left the white clothing drop to the padded floor.

I scream now, as she comes to me, forcing my pants down, my mind shattering further, thankfully, into animal nonsenttience.

The End

18 July 2020

Stargate Reimagined: Part II (Rough Draft/Fragment)

I completed my first draft of Stargate Reimagined: Part I in July 2016. Almost a year later, I began writing Part II, but quickly pushed it aside due to all the stuff I had on my plate at the time. Almost three years later, I'm finally ready to get back to work on the script.

What follows is the incomplete rough draft I wrote in 2017. It consists of a recap of Part I, the opening titles, and a single scene introducing Samantha Carter. I'll be taking the story down a different direction from the one I initially envisioned, so most of this won't carry over into the first draft.

* * *

FADE IN

On the Haru Guard SIHATHOR standing within the pyramid on the planet Abdju, a pendant bearing the Eye of Atum held up to the iridescent black stargate rising before him. Behind him, crumpled upon the floor, is CAPTAIN JACK O'NEAL of the United States Air Force.

As the pendant glows in Sihathor’s hand, the nine panels on the stargate bearing the symbols for Earth light up. Within a second the entire stargate powers up, unleashing a geyser blast of glowing quicksilver to form a bridge back to Terra.

As Sihathor stands there, basking in the silver light of the rippling puddle, O’Neal picks himself up and staggers over to an energy rifle lying upon the floor. Picking it up, he takes aim, wavers on unsteady knees, then fires. The plasma bolt blasts right through the bomb’s arming mechanism, disabling it automatically. Spinning around, Sihathor finds O’Neal standing there with the rifle in hand. Growling, he takes a running leap for the captain.

INT. LADY OF SLAUGHTER/FAIZAH’S CHAMBERS -- TWILIGHT

Aboard the starship perched atop the pyramid, FAIZAH, first prime of the war goddess Sekhmet, strides forward, dark folds of her brown robe unfurling behind her like the wings of a fallen angel as she approaches SHA’URE, a young Abdjuan woman. Battered but alert, Sha’ure scurries backward, fishing around inside her robes until she gets her hands on a pistol. As she pulls it out, Faizah lunges, seizing the girl’s wrist in her right hand, knocking her aim off as she pulls the trigger. Activating the punishment jewel worn over her palm, the demigoddess begins to rearrange the atoms in Sha’ure’s forearm.

SHA’URE: NGHAAAAAAH!!!

Faizah releases Sha’ure’s arm before the jewel can work any serious damage, taking a step back as the Nagadan girl cradles her wrist in agony, evaluating the helpless creature. Faizah brings her hand up again, reactivating the punishment jewel -- not to realign the molecules of Sha’ure’s body this time, but to pulverize it into the floor with a force blast.

DANIEL: No!

Collecting himself, Egyptologist DANIEL JACKSON rushes headlong for Faizah, but the demigoddess is quick to redirect her blast, knocking him back as he comes within reach of her.

FAIZAH: (frowns) I am no longer amused.

Leaving Sha’ure where she lies, Faizah moves over to Daniel. Crouching over him, she seizes the crown of his head in her right hand, engaging the dark jewel within the centre of her palm to deliver him a most grisly finale.

INT. PYRAMID/STARGATE CHAMBER -- TWILIGHT

O’Neal seizes Sihathor in a bear hug as he comes to him. Wheeling him around, the captain then headbutts him, breaking the Haru Guard’s nose and knocking his head back. Using fists, knees, and elbows, O’Neal turns the tables against Faizah’s first. Locking his leg around Sihathor’s, he brings the Haru Guard crashing down.

Pinning Sihathor in place, O’Neal then brings his heavy, armoured boot down on his throat, crushing it, bringing this conflict to a close.

INT. LADY OF SLAUGHTER/FAIZAH’S CHAMBERS -- TWILIGHT

Faizah and Daniel are locked together, her hand upon his head, the energies of her punishment jewel wreaking havoc upon his nervous system, paralysing him in place. Daniel’s very face begins to ripple, the molecules swelling and contracting. Within seconds, Daniel will be dead.

Sha’ure then comes to Daniel’s aid. Attacking Faizah, she elbows the larger woman in the back. Distracted, Faizah’s concentration breaks and the punishment jewel goes dim. Turning on her heel, she backhands Sha’ure across the face, sending her sprawling and quickly ending her role in this fight. With the matter-displacing energies of the punishment jewel no longer working upon him, however, Daniel’s been bought the opportunity he needs. Lunging at Faizah, Daniel sends his hand forth, plunging it deep into her abdominal pouch. Pulling out a white worm -- Faizah's prim’ta -- Daniel tosses the alien creature clear across the room.

FAIZAH: NGHAAAAAAH!!!

All thoughts of anything else forgotten, Faizah’s rushes over to the prim’ta, intent on preserving its health. Daniel and Sha’ure are quick to use this opportunity to escape.

INT. PYRAMID/ANTECHAMBER -- TWILIGHT

O’Neal steps into the antechamber, dragging the dead form of Sihathor behind him. Bringing it around, he deposits it directly beneath the inactive ring transporter.

O’NEAL: Give my regards to the Pussy Queen, asshole.

The captain presses down on the colourless crystal adorning his left gauntlet, activating the ring transporter.

INT. LADY OF SLAUGHTER/BRIDGE -- TWILIGHT

Having returned to the bridge, Daniel and Sha’ure head on over to the ring transporter. Climbing atop the platform, they then hear the mindless raging of Faizah in the distance. Entering the chamber, face red and contorted with rage, the demigoddess charges them.

The ring transporter activates at that very moment. White light shining up from the platform under their feet, the five iridescent black rings of the ring transporter rise up to surround the pair, cutting Faizah off from them. With a flash of silver light, they are teleported away, Sihathor’s severed head taking their place upon the platform.

Faizah ROARS.

INT. PYRAMID/ANTECHAMBER -- TWILIGHT

The ring transporter disengages. Daniel and Sha’ure find themselves back down inside the pyramid. O’Neal is there waiting for them, face hard, the pendant clasped in his hand. Sha’ure recoils when she spots the decapitated body lying at their feet.

INT. PYRAMID/STARGATE CHAMBER -- EVENING

O’Neal, Daniel, and Sha’ure enter the stargate chamber. The stargate has returned to its dormant state, the connection to Earth severed. Raising the pendant up before the gate, the captain closes his eyes, his brow furrowing as he concentrates. In moments the Eye of Atum glows anew and the stargate reopens.

O’NEAL: (hands pendant to Daniel) It’s a key to the stargate. It can open the door to Earth. It can probably open other doors, too.

Taking Sha’ure by the arm, Daniel takes a step forward toward the gate. She stops him from stepping through, though, when she hears a GROAN. Leaving the gate, they walk over to MASTER SERGEANT ADAM KAWALSKY. Picking Kawalsky’s limp form up between them, Daniel and Sha’ure head for the stargate. They only stop when they notice O’Neal isn’t joining them. Indeed, he has turned his attentions to the bomb. A makeshift dead man’s switch has been jury-rigged into the weapon.

DANIEL: (dumbfounded) I thought we agreed to dismantle the gate on the other side.

O’NEAL: And you will. That’s your job now.

Taking hold of the switch, O’Neal engages it.

O’NEAL: (cont’d) I’m gonna stay here, make sure this goes off.

Daniel is ready to protest, but the captain silences him with a steely gaze.

O’NEAL: (face softens) I’ll be seeing you around, Dr. Jackson.

Resigned to the captain’s decision, Daniel exchanges solemn glances with Sha’ure. Together, Kawalsky held between them, they step through the stargate, leaving the pyramid and the whole of Abdju behind for all time. O’Neal watches the lovers vanish through the portal, his gaze lingering there for several moments.

As the ring transporter activates, O’Neal turns his attention to the antechamber. The ten rings pile up over the floor, white light shining down through them. Silver light passes down through the rings, then the transporter deactivates, leaving Faizah and seven Haru Guards standing there, all attired in their armour, armed with energy rifles.

Capt. Jack O’Neal releases the switch and the world goes white.

INT. CREEK MOUNTAIN/LEVEL 28/EMBARKATION ROOM -- DAY

Daniel, Sha’ure, and Kawalsky are spewed from the gate into the dark abyss of the embarkation room in the Creek Mountain military installation. Hitting the ramp, they take a roll, tumbling end-over-end until they come to a stop near the base.

After tending to Sha’ure as her first bout of gate sickness takes hold, after checking Kawalsky to make certain the sergeant suffered no further injuries transiting through the stargate, Daniel turns to look upon the glowing doorway which links Earth with Abdju. There then is a sudden burst of intense white light and that link is violently severed, casting them in pitch darkness.

CROSSFADE TO & PAN ACROSS

The details of an inactive stargate.

TITLE: STARGATE II

ZOOM OUT

To reveal this stargate is installed within a dark, frozen chamber of extraterrestrial design.

FADE TO

A shot of the moon hanging ghostly in the clear blue sky.

ZOOM OUT & PAN DOWN

To a panoramic shot of an archaeological excavation site centred around a partially unearthed Egyptian-style temple situated in a desert landscape of large dunes.

SUPERIMPOSE: "THE RUB' AL KHALI, FOUR MONTHS LATER"

INT. TEMPLE/ANTECHAMBER -- DAY

The antechamber, without doors or windows, sealed since construction, is dark. That darkness, undisturbed for eight millennia, is quickly dispersed as shaped charges in the north wall go off, blowing the wall in and admitting dim light from the other side.

As loose stones and debris are cleared out of the way, FIVE INDIVIDUALS enter the antechamber, all attired in the Airman Battle Uniform of the USAF. Leading this outfit, heavy-duty flashlight in hand, is CAPTAIN SAMANTHA CARTER, commanding officer of this operation. Though blonde, blue-eyed, and very beautiful, Carter is no stereotypical Hollywood ditz. Everything about the captain's manner -- her relaxed but disciplined stance, her keen, attentive gaze -- indicates she is quite the intelligent, resourceful woman.

The south wall of the chamber, unlike the surrounding walls of bare, unadorned stone, is decorated with a beautiful, intricate mosaic of precious gemstones. This mosaic, circular in pattern, surrounds a round depression set three-fourths of the way down the length the wall, at about chest height.

CARTER: Lieutenant.

LIEUTENANT ROBERT ROTHMAN, Carter's archaeological consultant, motions for an airman to come over. The airman steps up to Rothman, a small, latched case in his hands. Opening the lid, Rothman reveals what appears to be an oversized, jewel-encrusted gold doorknob nestled inside. Taking the "doorknob", the lieutenant turns and gingerly approaches the decorated wall. Bringing the knob forth, he slides it into the depression; its jewels come alive with varicoloured light.

CARTER: Careful.

Rothman takes a folded print-out from his left breast pocket. Unfolding it, following the archaic Arabic instructions, he begins cautiously turning the knob. Counter-clockwise; clockwise; clockwise; counter-clockwise. Once he has finished entering the combination, the mosaic lights up, glowing along with the knob. Pulling the knob free from the depression, the lieutenant steps back as the wall slides up into the ceiling.

INT. TEMPLE/BURIAL CHAMBER -- DAY

Carter and her men enter the burial chamber. The chamber is circular, devoid of decoration, empty save for the stone sarcophagus at its heart. Approaching the sarcophagus, the Americans find a coffin inside. Decorated with gems and hieroglyphs, arms crossed over its chest, it brings to mind the gorgeous coffins used by the pharaohs. Unlike the pharaonic coffins, however, its been carved from dark gray naqahdah, its non-humanoid face bearing a long, curved snout and long, flat-topped ears.

CARTER: (rests hand on coffin) Magnificent….

18 April 2020

Inner Beauty

One of eleven surviving short stories/novellas I wrote in a roughly five-year period (2004-2008).

This is one of my better short stories of the time, to the point, without most of the pseudo-Lovecraftian purple prose which defined my writing at the time. The wording's still cumbersome, the narrative saturated in the antisexuality and misogyny I was harbouring at the time.

Original spelling mistakes, grammatical errors, omissions, and alterations have been preserved for your reading pleasure.

* * *

With the removal of the last of the stubble, he discarded the razor, letting it splash and sink through the scummy, tepid water to the bottom of the porcelain sink. He picked up his guaranteed method of protection, like more than a yammaka fashioned from aluminum foil, and placed it over his freshly shaven scalp; over this he placed a wig of brown hair, maneuvering it into position, making certain it coveringed the silver metal and appeared as nothing other than true human hair. Making certain everything was perfect in the mirror, he reached out a flipped a switch, casting the small bathroom into darkness. He stepped out of the bathroom; pulling from his pocket as he did so a small blue cell phone; he flipped it open, dialled the desired cell phone number, then brought it up to his ear. After three short rings, there was a click as someone picked up.

"Astarte?" he inquired.

"Yeah, speaking," the feminine voice replied.

"A heard from a friend about the services you provide."

"Really?" the voice took on a seductive quality.

"I could use a friend tonight."

"Give me your name and adress, sweet putz," she cooed.

He gave it.

"Be there in a while crocodile," she uttered. The line then went dead.

He smiled, then closed the phone and returned it to his pocket. He entered his living room, and took a seat upon his sofa and waited. Twenty minutes passed, and a ring issued from the doorbell. He pushed himself up and off the sofa, walked to the door, and opened it. There, standing at the threshold, was an alluring Goth woman; her piercing blue eyes contrasted with her eye shadow, pale skin, and dyed-black hair, clad in a black tank top, leather wristbands, black leather miniskirt and thigh-high leather boots. A penagram and inverted crucifix hung from her neck.

She stepped inside, giving a wink and a smile as she chewed blue bubble gum. "Where and how you want it?"

"In the bathroom," he uttered, butterflies crawling about the interior of his stomach. "I like taking girls from behind, but I like to watch their faces in the mirror" as I do it."

"Sure, hon," she winked again. She walked into the bathroom, activating the light as she did so.

She pulled down her miniskirt, revealing a tantalising firm posterior clad in a jet black thong; she positioned herself over the sink and spread her legs.

"Take me hard," she moaned, a sigh escaping her lips. "Hard and slow."

He smiled, teeth revealing themselves. He reached into the waistband of his pants behind him, and pulled out a gleaming chrome .44 Magnum, loaded and ready to fire. As Astarte waited for penetration, black-lidded eyes closed, he took careful aim, and pulled the trigger. The weapon recoiled in his hand, and the loud resonating bang pained his ears. Her torso disintegrated in a fountain of blood and innards, few of the tissues actually human. Along with drops of crimson, fluid the colour of lilacs splashed the walls, light, and mirror. As the slain woman collapsed, inhuman tentacles spilled out, twitching slightly before going still.

He wiped a string of extraterrestrial tissue off from his forehead, smiling at having rid the world of a deadly alien creature world of the alien parasite.

The End

16 January 2020

Bartman vs. The Destroyer (Original Version)

This past October, I shared "Bartman vs. The Destroyer", a transcript of a short story I wrote for my fifth grade class back in 1997. I decided I would be remiss if I didn't then share scans of the actual physical copy, as they came complete with crude, partially coloured illustrations.

* * *








Even with illustrations providing context, the story remains nonsensical if you haven't read the Bartman comics I wrote in 1996-1998 or know about Bubblehead, the anthropomorphic bubble character I created in '97. I can only imagine what the teacher made of it after I handed it in to her.

08 November 2019

Dementia 6

FADE IN

On Adolf Hyla's painting, The Divine Mercy.

GHOST OF ROD SERLING: (V.O.) In the beginning was the word, and the Word was with God, and the Word was God. He was in the beginning with God, all things were made through him, and without him was not everything made that was made.

The Divine Mercy is suddenly replaced with William Blake's etching, The Ancient of Days.

GHOST OF ROD SERLING: (V.O.; cont'd) But we aren't going to talk about that God today, for this tale is set in a universe created by an altogether different god.

A montage of paintings depicting the six Biblical days of creation plays out across the screen.

GHOST OF ROD SERLING: (V.O.): In the beginning God created the heavens and the earth. The earth was without form and void, and darkness was upon the face of the deep; and the Spirit of God was moving over the face of the waters.

CUT TO

An image of Linda Blair's face from The Exorcist exploding.

TITLE CARD: DEMENTIA 6

INT. NAIAD & RAZE'S HOME/LIVING ROOM — NIGHT

On the interior of a living room. The living room — painted in various shades of brown — is very spartan, adorned only with a few bits of furniture, a single tall lamp, and a sepia-toned photograph of Vincent Price hung upon the wall.

In an uncomfortable-looking metal chair sits NAIAD, a pretty twenty-something redhead. She keeps her hands folded in her lap with her legs closed tightly together. Wearing a blue-&-white polka dot dress, white apron with lacy pink trim, and large unwholesome smile, Naiad is the picture of the typical '50s proletarian housewife.

NAIAD: (singing) Lollipop, lollipop. O lolli, lolli, lolli, lollipop!

Parting her legs, Naiad reaches under her dress, withdraws a purple popsicle, and proceeds to suck it.

RAZE'S VOICE: (O.C.) I hope you brought enough to share with the rest of the class, young lady!

PAN RIGHT

To RAZE, Naiad's husband, who stands in the living room's open doorway. Wearing black suspenders, red flannel work shirt, brown bowler cap, and large unwholesome smile, Raze is the picture of the typical '50s proletarian drunkard.

NAIAD: (stuffs popsicle back under dress; jumps to feet) Ooh, Raze! My darling, darling, darling, darling husband!

RAZE: (takes off & tosses aside bowler; embraces Naiad) Naiad! My lovely, lovely, lovely, lovely bride! You're looking swell!

Naiad & Raze begin jitterbugging around the living room floor.

NAIAD: Did you pick up your cheque?

RAZE: No! That goof boss of mine didn't give it to me! He says I've been jacking off on the job!

NAIAD: But everyone jacks off on the job! It relieves tension!

RAZE: Yeah, but he's a real Kellogg.

NAIAD: Well, I don't care so long as you still love me.

BACKSTREET BOYS: (O.C.) As long as you love me....

RAZE: (annoyed) What's this beatnik noise I'm hearing‽

NAIAD: It's not beatnik noise, dear. It's from the '90s. There are no beatniks in the '90s.

RAZE: I don't care! It's horrid! Turn it off!

Crestfallen, Naiad stops jiggerbugging and crosses over to the Victrola. Taking the record off the turntable, she throws it against the wall, shattering it.

Suddenly, a villainous-looking black man in a white suit, white cape, white mustache, white monocle, and white top hat crashes through a wall. This is LORD FAWDOR, Naiad & Raze's landlord.

LORD FAWDOR: Rent! Rent! Non-circulating pennies, nickels, dimes — four loonies and a toonie!

RAZE: No rent.

NAIAD: No rent.

LORD FAWDOR: I'm the rent.

Fawdor collapses to his knees.

LORD FAWDOR: NOOOO!!!

INT. LORD FAWDOR'S PORN STUDIO/SET — TWILIGHT

Fawdor sits in his director's chair, a cameraman beside him. Naiad & Raze are on the set, the REANIMATED CORPSES of JOHN HOLMES & SHYLA STYLEZ performing with them. Naiad is tied down to a mechanical bull, helpless as John force-feeds her blood sausage after blood sausage. Raze, chained to a pillar, is forced to watch while Shyla, crouched down between his spread legs, chugs down a 1-litre bottle of cream soda. Taking in more than she can swallow, she reels around and spews cream soda all over John and Naiad.

Fawdor grins with malevolent malice.

EXT. BUS STOP — DAY

Naiad & Raze stand at the bus stop alone, clothes tattered and sticky with dried cream soda, eyes dark, haunted.

RAZE: Hon?

NAIAD: Yes, hon?

RAZE: How come you never drink my cream soda?

NAIAD: I'm allergic. Allergic to cream soda.

IRIS OUT

End titles

INT. LORD FAWDOR'S PORN STUDIO/CUTTING ROOM — SUNSET

SUPERIMPOSE: POST-CREDITS SCENE!

Fawdor is busy splitting and splicing reels of film when he hears a knock at the door. Leaving his equipment, he goes to answer it. On the other side stands NICOLAS CAGE in a black Superman costume.

SUPERCAGE: Up, up, and away!

Supercage sends a right hook into Fawdor's chin. Fawdor's head is punched clean off, sent crashing through the ceiling, leaving the raw neck stump to gush bright red blood.

EXT. SPACE

Fawdor's head achieves escape velocity.

LORD FAWDOR: My God! It's full of stars!

Fawdor's head jumps to hyperspace.

06 November 2019

Star Wars: Episode ΑΩ – A Certain Point of View (A Fragment)

So here I am again, submitting another Star Wars-related post.

I've tried my damnedest this past year to renounce Star Wars, sever all ties to the series, and move on. I gave away every SW-related item I owned — all novels, comics, and movies (even the the GOUT copy of TESB I spent $47 on). Yet even after all that, in spite of the pervading, persisting loathing I hold towards the vast majority of the franchise, I still love Star Wars. I still love the aesthetics; I love the music; I love Luke, Leia, Han, et al.; I love what Star Wars was; I love what Star Wars could've been. Despite all my efforts to kill it, Star Wars lives still inside me. (The deletion of most of my SW content looks even more foolhardy and regrettable now.)

But I can't love Star Wars as it is, and I can't be the Star Wars fan I used to be. Evolution is a fact of life; that which can't adapt dies. For this Star Wars fan and his version of Star Wars to survive, they must evolve in parallel.

Last month, I started working on a condensed, streamlined, nonlinear, 9-in-1 retelling of the ST/OT/PT told solely from the POV of Rey/Luke/Anakin. I first considered doing it in the form of a collage novel — editing excerpts from the film novelizations into a new whole, complete with isolated, altered panels taken from the comic adaptations. Since I no longer own any novelizations/comics and wasn't able to acquire digital copies of all of them, I resorted to the tried-and-true method of screenwriting, which is less ambitious but less difficult. In the end, my interest in the concept fizzled out and I put it to bed.

I've since decided I'm going to try again at an OT rewrite. Though it isn't going to be as radical as my original concept, it'll still be significantly different from Lucas' OT. Work on it is presently underway, though I'm taking my time with it and it'll be a while before I'm confident enough in what I've written to present any excerpts. 'Til that time arrives, here is Star Wars: Episode ΑΩ – A Certain Point of View in all its truncated glory.

* * *

EXT. SPACE

TITLE CARD: The Milky Way Galaxy, a long time from now….

A vast sea of stars serves as the main backdrop for the main title, followed by a quote.

STAR WARS

EPISODE ΑΩ

A CERTAIN POINT OF VIEW

"What is, is without."

— The Corbet Dictum

PAN LEFT

To Jakku, a dingy rust-coloured planet wreathed in black smog.

Two small white starcraft — a pair of hammer-shaped Corellian corvettes — race through space towards the planet. In their wake follows a titanic wedge-shaped battlecruiser, a Resurgent-class Star Destroyer. As the three vessels emerge into full view, we see the Star Destroyer is a decommissioned wreck, scarred with grievous damage, carried in tow behind the corvettes by way of tractor beam.

As they near Jakku, the corvettes disengage their tractor beams and veer off, allowing the Star Destroyer to continue forward on its own momentum. As the corvettes slip away together into hyperspace, the Star Destroyer pierces the planet's atmosphere.

EXT. JAKKU — TRASHSCAPE — DAY

Tinted dark red behind the black pollution which keeps the planet in perpetual dusk, the sun of Jakku casts its maroon light upon the landscape. There are no natural landmarks in sight. From horizon to horizon, there are only hills and valleys of trash, streams and ponds of lubricants and coolants — the detritus of a dozen worlds and uncounted centuries. Despite this, life exists on this marginally habitable planet. Sparse pockets of hardy vegetation have sprung up amidst the debris; vermin call the innumerable crevices and hollows home; there are even people present — criminals, their offspring, their descendants — victims of a disproportionate justice which does not recognize acquittal or parole.

The Star Destroyer passes down through the sky. Red-hot from the uncontrolled entry, the pollution surrounding it has ignited, leaving a fiery trail in the sky which burns brighter than the shrouded sun. Those persons outside to witness this event shield their gaze, eyes unaccustomed to such brilliance. It is the last thing they will ever do in their benighted lives.

The Star Destroyer strikes the ground with the force of a nuclear weapon. With a white-hot flash, everything inside hundreds of kilometres is annihilated.

INT. JUNKED VESSEL/CORRIDOR — DAY

A metal sheet is pulled open to reveal the concealed face of a SCAVENGER.

In an upside-down, canted corridor, the scavenger is busy. Clad in a patched-together protective suit and opague filtration mask, a large pack and metal staff strapped to their back, a dim headlamp providing them the only illumination in this dark space, the scavenger is consumed with the task of removing mechanical components from inside a wall.

Finding a potentially valuable piece, the scavenger drops it in a satchel at hand. Slinging the bag over their shoulder, they shimmy down a cable, between treacherous walls of corroded machinery.

INT. JUNKED VESSEL/LARGER SPACE — DAY

Alone and tiny in this massive, sideways wreck, the scavenger descends, climbing down a long cable. They land hard onto rusty metal.

INT. JUNKED VESSEL/ENGINES — DAY

Booty in tow, the scavenger climbs over enormous pipes in the vast space, heading through the dust toward a distant slit of lesser darkness.

EXT. JUNKED VESSEL — DAY

The scavenger emerges. Sucking water from a feeding tube, they find their reservoir drained. Coaxing the final drops of moisture from the tube into their mouth, the scavenger looks to the horizon. Several kilometres into the distance but moving fast is a tremendous wall of wind-churned grit. It would not do to be caught in the open when that storm hits.

Leaving the wreck, the scavenger descends a slope of debris, taking care to maintain balance as loose bits shift under their weight. Reaching the bottom, the scavenger jogs over to their rusted ATV. Jumping atop, they fire the sputtery engine and head off.

EXT. STARSHIP GRAVEYARD — DAY

The scavenger speeds along the trash floor, through a graveyard of discarded starships.

EXT. NIIMA OUTPOST — DAY

The scavenger's ATV passes us, heading for a grimy shanty town. Originally a series of connected prefab shelters, expanded with the addition of jury-rigged spacecraft sections, the hermetically sealed outpost serves as a place for refuelling and small trade.

EXT. NIIMA OUTPOST — COURTYARD — DAY

ATV parked, the scavenger unfastens the large sack of heavy found objects from the back. With the vigor of a tough seaman, the scavenger hauls the sack from their ATV to the front gate.

INT. NIIMA OUTPOST/ENTRANCE HALL — DAY

The inner airlock door slides open, admitting the scavenger inside. Sheltered from the toxic and caustic chemicals in the air outside, the scavenger pulls off the filtration mask, revealing the grimy, gaunt face of an otherwise beautiful young brunette. This is nineteen-year-old REY.

INT. NIIMA OUTPOST/CLEANING AREA — DAY

At one of the many cleaning tables, Rey scrubs clean her day's salvage. Glancing up, she looks at an old woman, also cleaning salvage. Rey watches her, and for a moment is lost in pensive thought. A passing dwarf underling barks something to her. She returns to work.

INT. NIIMA OUTPOST/TRADING STRUCTURE — DAY

Rey looks up to a service window. Two feet above her, behind a protective screen, is her boss, UNKAR PLUTT. Hideously bloated and disfigured by severe allergic reactions and infections, he's barely recognizable as human. He examines her pieces.

UNKAR PLUTT: What you've brought me today is worth ... hmmm ... one quarter portion.

Though disappointed, Rey barely shows it. She nods thanks. Plutt pushes through his transfer drawer a sealed packet: dried green meat in one section, beige powder in another. Swallowing her resentment, she takes it and heads off.

INT. NIIMA OUTPOST/BARRACKS/REY'S DWELLING — NIGHT

Rey's one-room domicile, "generously" provided her on-site by her boss. Everything she owns is reclaimed. She cooks for one. Does everything for one.

She opens the powder and moves to the makeshift wok where the green meat sizzles. She pours the powder into milky water in a tin and stirs it; it grows into a loaf as she puts the meat on an old plate. She grabs the loaf.

CUT TO

Rey eating voraciously.

Every last drop consumed, the metal plate licked clean, Rey wipes her mouth. Reclining atop her cot, she gazes upon the opposing wall. Applied directly to the surface is a painting of her own creation. It is rough, limited to a palette of browns and yellows, yet surprisingly craftsmanlike. It depicts a desert vista from a planet Rey has never seen, the butterscotch sky supporting a pair of suns brighter in colour than the dull disc she has only known.

18 October 2019

Bartman vs. The Destroyer

What follows is the earliest surviving piece of fanfiction that I still have with me. I wrote it in the 5th Grade for a class assignment.  It originally came with a prologue explaining the origin of the story's antagonist, but the teacher made me discard it for some reason. 😕

The spelling mistakes, grammatical errors, and batshittery are strong with this one. For those reasons, I'm sharing its beauty with the world. 😽

* * *


Bart simpson was at home lisenting to the radio he was lisenting to the rocking rock then a newsflash came.

we interupt this program for a newsflash wow said bart.

I heard on the radio a monster was on the loose then i heard a crunch and a scream and i turned into bartman.

And he flew to the rescuse springfield look more like hell every building was crused there was seven dead people 172 injured and a giant

Who are you?!

i am the destroyer then bartman shoot a tranguilizer dart it broke to 500 pieces

and then he got his turbo laser cannon and shot the destroyer in the head. Then the destroyer shoot acid out of his mouth and burned his costume then bartman flew to the place where he was hit by the comet. And grabbed a peace flew back. And threw it at the destroyer and the street blew up up. And he was back to normal. But then something moved through the trees first no one saw then the edge came out then the spaceship landed an alien came out and said hes wanted in the galaxy

meanwhile in a galaxy far far far away a living bubblee named bubble head was wathing and he said.

What next darth vader giveing you a kiss good night in realty porky pig or garfield but not today so t.thats all folks.