THE GHOULS

ISSUE #1

Written By Sam Gafford

PAGE ONE

Panel One:           Splash panel.

              There is a tremendous thunderstorm raging. The sky is filled with dark, black clouds. Rain is falling in torrents and sharp bolts of lightning are flashing in the distance. We are looking at a large Victorian mansion that is sitting alone on the top of a hill. There is a stone wall and a gate in the foreground but nothing to distinguish what or where this house might be. It is an OLD house and it stands alone in a place that both exists and does not exist at the same time. It is nowhere and everywhere. It is the house of THE GHOULS.

              A lone figure is struggling up the walkway to the front door. He is silhouetted against the raging storm but we cannot see who he is or even make out his face. All we can tell is that it is a tremendous struggle for him to reach the house and that he is nearly dying from exhaustion. This is JOHN SIMON and he is about to have his life, or death, changed forever.

CAPTION:          "Where do we go when we die?"

CAPTION:          That is a question that has mystified mankind since he first learned to speak and fear the night.

CAPTION:          But, like all great questions, there is a very simple answer.

CAPTION:          When you die, you come here…

CAPTION:          …to The GHOULS.

CAPTION:          It is where you go AFTER that that is the one, true mystery.

TITLE:                THE GHOULS

TITLE:                "Out of the Black…"

CREDITS            Written by Sam Gafford, Art by ??

PAGE TWO

Panel One:           Large panel. Simon has reached the front door and is pounding on it frantically. It is a large double door with very old oak knockers. He is panicking and we can finally see his face for the first time. He is an average looking man. Roughly about 35 years of age. He is not very muscular but he is not flabby either. He is wearing a normal suit but no tie. He is thoroughly soaked from the rain storm.

SIMON:              HELLO???

SIMON:              HELP!! HELP ME, PLEASE!!

Panel Two:          Close up on his fists as they beat on the door.

SIMON:              Please, God! Someone open the door!

Panel Three:        The door is opening slowly. There is a shadow of a figure inside. We can't tell exactly who or what it is. There is a hand on the door.

SHADOWY FIGURE:      Yes? Hello? Is someone out here?

Panel Four:          Simon leaps through the door and knocks the other person down. He is so frantic to get inside that he doesn't care what he does. The other figure is a man of roughly average height but a little pudgy. He is wearing a type of apron with some black indistinct stains on it. This is GARY, one of the GHOULS.

SIMON:              Thank you! Thank you!

GARY:                OW! Hey! Watch it!

PAGE THREE

Panel One:           Simon is helping Gary to his feet. Gary looks very angry.

SIMON:              I'm sorry, I'm sorry. I didn't mean to do that I just wanted to get inside.

GARY:                That's okay, I'm not hurt… It's okay, it's…

Panel Two:          Gary swings Simon around and smashes him against the wall. He is in a murderous rage now.

GARY:                NOT OKAY!!

GARY:                I'm not accustomed to being knocked down in my own home, little man! You've got three minutes to explain yourself before something REALLY ugly happens to you.

Panel Three:        Close up on Simon. He is really scared now. He does not want to die and is really frightened by Gary.

SIMON:              I'm sorry, Mister. I just had to get inside! My name is Simon, John Simon. I… I don't know what I'm doing here. I don't remember anything…

SIMON:              I… I was heading somewhere and found myself here. Please, please don't hurt me! I really don't know why I'm here!

Panel Four:          Gary swings Simon around and slaps him on the back. He is smiling now.

GARY:                HA! Good answer, John, good answer! What do any of us know why we're where we are, eh? It's all one big journey. The only question is if you're traveling first class or coach!

SIMON:              Huh?

GARY:                I'm Gary, by the way, and this is my house. Sorry to be so abrupt but we hardly ever get visitors. Well, not through the front door, anyway.

Panel Five:          Simon and Gary walking through the house. They're passing many doors. Some are open, some are closed. These rooms contain many souls. Some are awaiting judgment while others are serving penance. There are many portraits on the walls of the hallway and all show the GHOULS in various different settings. It should be evident that they have existed through all time by the variety of the portraits here and throughout the house. This is a recurring theme throughout the books in that the portraits are everywhere and show the Ghouls in various time periods and at various historical events. Sometimes they are together and sometimes they are alone but they are always identifiable as themselves.

SIMON:              What…what is this place? What are we doing here?

GARY:                Oh, you're just full of questions, aren't you? I like that! I love an inquisitive mind! They're so much tastier.

AMBROSE:        (off panel) GARY!

PAGE FOUR

Panel One:           Large panel. Worm's eye view looking upward at AMBROSE. He is standing on a second floor landing looking down at Simon and Gary. He is a tall, imposing figure. Dressed impeccably. Not a thread is out of place. He is always calm, cold and collected to the point of being virtually emotionless. He takes great pride in his work and demands that everything follow the correct order without any deviation at any time for any reason. If there was a supernatural god of obsessive compulsive behavoir, Ambrose would be it. He is holding a large black cat in his arms who is eyeing Gary and Simon with a detached interest. The cat is SNAGGIE and should always be around or near Ambrose. At times, Snaggie's shadow is cat-like but other times it has a distinctly female shape.

AMBROSE:        (spoken with disdain and disgust) What is THAT?

Panel Two:          Bird's eye view of Gary and Simon. Gary is looking a little petulant and mischievous while Simon is just scared and confused. He really has no idea what he's doing there or even where "there" is.

GARY:                That, my dear, dear brother Ambrose, is what I'm trying to find out! It says its name is "John Simon" but that sounds suspiciously like a fake name to me. Perhaps he's a spy. Sent to learn all of our secrets and sell them to the highest bidder??

GARY:                Or perhaps an evil demon hellbent on killing us and stealing our powers??

GARY:                Or maybe he's just some dumb schmuck who got caught out in the rain!

Panel Three:        Ambrose is walking down the stairway towards Gary and Simon. Light is throwing the shadow of Snaggie and Ambrose on the hall as he walks.

AMBROSE:        You know that's not possible, Gary. No one comes here who is not meant to be here. We are not some pitiful little roadway motel and Mr. Simon is not some stranded motorist, are you?

SIMON:              Ah, I don't really know what I am. All I remember is my name and finding myself at the gates to your house. Do you have a phone I could use?

AMBROSE:        Indeed! And who would you call, Mr. Simon? The local auto club? A friend? A neighbor? I assure you that you will find neither here. So, Mr. Simon…

Panel Four:          Close up on Ambrose.

AMBROSE:        …just why ARE you here?

PAGE FIVE

Panel One:           Long panel showing Simon between Gary and Ambrose. They are questioning him strongly now. Ambrose senses a threat or, even worse, a disruption in his set routine. Gary is just having fun antagonizing Ambrose and toying with Simon.

SIMON:              I told you, I don't know why I'm here. I don't even know where here is!

AMBROSE:        Don't play stupid, Mr. Simon.

GARY:                I don't think he's playing, Ambrose.

AMBROSE:        What's the last thing you remember?

SIMON:              Walking up the path from your gate to the house.

GARY:                What's your real name?

SIMON:              John Simon, I told you that!

AMBROSE:        If you don't remember anything, how do you know what your name is?

SIMON:              How do you know what YOUR name is?

GARY:                Touche, Ambrose!

AMBROSE:        No comes here, Mr. Simon, not willingly.

GARY:                Not by the front door.

AMBROSE:        Not by any means desirable.

GARY:                Perhaps he needs some persuasion?

SIMON:              What do you mean?

AMBROSE:        Some encouragement, perhaps?

GARY:                An incentive of sorts?

Panel Two:          Two-thirds shot of Ambrose from behind, looking mysterious and frightening.

AMBROSE:        Indeed.

AMBROSE:        MIRA! I command you to appear before us, NOW!

Panel Three:        Large panel showing MIRA appearing in a cloud of smoke and flame. She is a stunningly attractive woman with long black hair. The very image of sex and seduction. Her body holds the promise of unbelievable physical pleasure but her eyes are cold and full of disdain.

MIRA:                 This better be good.

PAGE SIX

Panel One:           Ambrose walking past Simon to the foreground of the panel. Simon is caught between Ambrose and Mira.

AMBROSE:        Mira, my dear sister. Pray tell us, what is that?

Panel Two:          Mira slinks up to Simon and literally wraps herself around him and smells him.

MIRA:                 You disturb me for this?

GARY:                Never mind the theatrics, Mira. Answer the question.

MIRA:                 It's a human male, nothing more. And, even worse…

Panel Three:        Mira drawing away from Simon almost in disgust as if his very touch nauseates her. Gary and Ambrose watch her with amusement.

MIRA:                 … it's alive!

GARY:                No way!

AMBROSE:        Interesting.

Panel Four:          Mira turns on Ambrose and points her finger at him accusingly. She is angry and pouting but Ambrose shows no emotion on his face.

MIRA:                 You're wasting your time up here with this?? Work is piling up downstairs, you leave me all alone to handle everything, to play with a new pet?

AMBROSE:        It's not mine, its Gary's.

MIRA:                 I don't care whose it is! We have work to do and I've just found a new case worthy of our judgment.

GARY:                Really? Something new?

Panel Five:          Mira walking away very seductively into an open doorway. Simon is virtually forgotten as they watch this beautiful woman move.

MIRA:                 Well, maybe not new, but delicious!

PAGE SIX:

Panel One:           Splash panel. This is a difficult panel. They are all traveling on a descending staircase. Mira is in the lead. Then Ambrose. Then Gary. Then Simon. It is a staircase that begins at the top with the most modern design and materials but, as they descend to the bottom, the staircase changes to more primitive materials ending in bare, uneven stone. They are descending into the basement of the house where the corpses are received.

MIRA:                 It's been quite some time since I've tasted anything this good.

AMROSE:           When did it come in?

MIRA:                 Just a few minutes ago. I would have summoned you if you hadn't called me first about this nonsense over Gary's 'pet'.

SIMON:              Wait a minute! I'm no one's pet! I'm a human being!

GARY:                Say it loud, John, say it proud!

AMBROSE:        Shut your toy up, Gary. Don't make me do it for you.

GARY:                As if you could, Ambrose. I am not without my own skills, you know.

AMBROSE:        Which is the only reason you're still here. Need I remind you about the Gryphon?

GARY:                That wasn't my fault! I only turned my back on it for a few seconds.

MIRA:                 And we lost the Lionheart because of it.

AMBROSE:        And I had to put the beast down. My right arm still aches when the sun shines.

PAGE SEVEN

Panel One:           Mira barging into the receiving room. We cannot see anything at this point. The vantage is from inside the room as they enter.

MIRA:                 Can't you two knock it off for one minute? I swear, I'd trade both of you for a calculator and a buzzsaw.

GARY:                There's an image!

Panel Two:          Bird's eye view. There is a corpse on the table. He is an adult white male of about 40 years of age. He is showing some wear and tear from a hard living life but it is obvious that, at one time, he was stunningly handsome. This is JACK FORD, one time Hollywood superstar, and it is his story that we are going to hear. His body shows the sign of longtime abuse of drugs and alcohol. But, even in death, there is something about him that sets him apart. The GHOULS and Simon are standing around the table. We cannot see them clearly, but there are two zombie attendants in the background. It is their job to bring the corpses in and out. They never speak and move very slowly.

SIMON:              That… that guy's dead!

GARY:                No kidding, sport. Everything's dead here… except you.

AMBROSE:        I recognize him. He used to be something famous, didn't he?

MIRA:                 Oh, yes, VERY famous. But like everyone else, he still wound up here.

Panel Three:        Mira climbs up on the table and straddles Ford.

AMBROSE:        Is there really something here, Mira? Or are you just craving an audience?

MIRA:                 Oh, there's something here all right. Warm, juicy, tasty.

Panel Four:          Simon is whispering to Gary.

SIMON:              Um, what is she doing?

GARY:                Her job. Now shut up and listen.

Panel Five:          Mira throws her head back and moans.

MIRA:                 Oh, yeah! That's it. That's the stuff, baby! Let me have it. Let me have it all!

AMBROSE:        Sister! Don't be greedy! Give us all a taste.

Panel Six:            Mira throws her arm back. Some sort of energy flows from it and locks itself around the heads of all of them. Only Simon shows any sign of shock or pain.

MIRA:                 Of course, dear brother, I could never forget you.

SIMON:              (screams in pain)

PAGE EIGHT

Panel One: This is a semi splash panel covering most of the page. It is here that we start Jack Ford's story. Mira is the narrator. The figure of Mira should be stretched along the length of the left border of the page and she is leaning forward seductively over the top panel. The panel itself shows Jack Ford dressed in a tuxedo and posing for the papparazzi. He is heading into the Academy Awards show and has a stunningly beautiful woman on his arm. He is smiling and handsome but there is an air of contempt about him as if he is above all this and his victory is a foregone conclusion. He has no idea that this is the beginning of the end of his life.

MIRA:                 There is a select group in the world of people who lived charmed lives. To them fall the spoils, the accolades, whether they deserve them or not. These are the people upon whom rare and mysterious gods have smiled and whose every step is paved with fame and fortune. Jack Ford is one of these people. Even among this select group, he is prized and admired. But he is about to find that gods have two faces and that life is very different when that golden face turns away and one is left with…

CAPTION (title):THE FACE

Panel Two:          Shows Jack as a young man in high school. He is the typical jock. Talented on the athletic field and admired by women. He is walking down the school hallway with a beautiful young thing on his arm. In the background, two girls are watching him. One is CATHY ANNE MAYBRICK. She is a plain girl and a little on the plump side. Her clothes are average teen age fare but she doesn't wear them well. It is a rather pitiful attempt to fit into a niche that will never accept her. She is shy and nervous but her eyes are always following Jack. The other is SONJA KLEINE who is a little prettier than Cathy-Anne but is part of the rebellious crowd. Her clothes are more individual and she has the air of someone who doesn't give a damn about much of anything.

CAPTION:          It was so many years ago, dear Jack, that it almost seems like a dream. The high school where you reigned as football jock and theatre class idol. Strolling through the halls of your kingdom. Master of all that you surveyed. A Master without the slightest hint of compassion or kindness.

SONJA:               So are you going to talk to him this time?

CATHY-ANNE: …I … no, not right now. He looks too busy.

Panel Three:        Closer to Sonja and Cathy-Anne now. Jack is now in the background, walking down the hall with his group.

SONJA:               He's always too busy. Busy with his whores.

CATHY-ANNE: SONJA! Don't say that! What if they hear?

PAGE NINE

Panel One:           Sonja is becoming agitated now and more aggressive. She doesn't care who she offends or what happens.

SONJA:               So what if they do? Ain't no big thing. Certainly isn't anything big hanging between his legs.

CATHY-ANNE: SONJA! Please!

SONJA:               Hey, you! Yeah, Ford, when you going to try a real woman for a change instead of a plastic Barbie doll?

Panel Two:          Closer to Ford now. He is looking backwards at the two girls. He's heard the taunt and looks back as if he's noticing them for the first time in his life. The predator in him smiles as he senses easy prey.

JACK:                 Something like you, baby? What makes you think you can ride the Ford?

SONJA (laughing):            "Ride the Ford"? More like a tricycle, I think!

GIRL ON JACK'S ARM:  Hey! What about me?

Panel Three:        Ford pushes the pretty girl aside, much to her anger, and starts walking towards the other two.

JACK:                 Wait for me outside.

GIRL:                  JACK! Don't you dare! Don't you dare FUCK with me here in front of all my friends!

Panel Four:          Ford grabs the girl by the throat and gets right in her face. She is frightened, aware that she has played her cards and lost.

JACK:                 If I want to FUCK with you, I'll do it anywhere and anytime I want. Understand?

GIRL:                  Y… Yes, I understand.

JACK:                 Now, go outside and wait.

Panel Five:          Ford moves up to Sonja and Cathy-Anne. He positions himself between them but, surprisingly, is paying more attention to Cathy-Anne than Sonja. He is smiling now, pouring on the charm. He has sensed the weaker of the two and is moving in.

JACK:                 Well, what about you, then? Do you think you can handle the Mustang?

SONJA:               (snorts) I just love when men name their penises.

CATHY-ANNE: um… I don't know.

JACK:                 That's what I thought. All talk, no action.

PAGE TEN

Panel One:           Still focused on the three of them. Jack should be more prominent as he is trying to dominate the other two. Sonja is a little surprised and shocked by what Cathy-Anne is saying.

CATHY-ANNE: I… I can do it. I can handle the action.

JACK:                 (laughing) Can you now? Well, maybe I'll let you try sometime. Always room for one more.

SONJA:               Give it up, Ford. She'd never touch you. She's got no interest in 'quick-draw minute men' like you who can't last.

Panel Two:          Ford swings around and slaps Sonja hard.

JACK:                 Shut up, dyke bitch!

CATHY-ANNE: (screams)

SONJA:               (yelling in pain)

Panel Three:        Sonja is on the floor, rubbing her bruised face. Cathy-Anne is behind Ford who is standing over Sonja.

JACK:                 Not so loud now, are you? Crap like you never are. (to Cathy-Anne) Coming, baby?

SONJA:               Cathy? Don't you do it!

Panel Four through Panel Six: Several small panels showing (from left to right) Ford's outstretched hand and Cathy-Anne's hand as it tentatively reaches out for his and then (in panel six) firmly grasps it.

SONJA (off-panel):           You fucking BITCH!

PAGE ELEVEN

Panel One:           Jack and Cathy-Anne walking towards the viewer. Sonja is in the background, still on the ground. Cathy-Anne is concerned about Sonja but she is so overjoyed that Jack is paying attention to her that she is trying to put everything else out of her mind.

SONJA:               I'll kill you! I'll fucking kill you!

JACK:                 Hey, do you hear something?

CATHY-ANNE: um… no… no, I don't.

Panel Two:          Jack and Cathy-Anne leaving the school by the side entrance. This may be a difficult panel to capture as we need to see them leave by one entrance, the girl waiting for Jack outside the front entrance with her friends, and a mysterious figure dressed in a black suit watching Jack.

JACK:                 I've seen you before, you know.

CATHY-ANNE: You have?

JACK:                 Yep. I've seen you watching me. When I was in the play last week, I saw you out there. You came to every show, didn't you?

CATHY-ANNE: Well… yes, I did. But you were so wonderful! I had to see it over and over again.

JACK:                 I know. I was brilliant. I know.

Panel Three:        They're walking further away now. The mysterious man is watching them.

CATHY-ANNE: You were more than brilliant! I never thought that the theatre could be so amazing. The way you played Biff. I never guessed there was so much to him.

JACK:                 Yeah, well, a lot of people think the play is really about Willy but they're wrong.

Panel Four:          They turn down a darkened street. We should get the impression that they are moving from the light into the dark.

JACK:                 But I won't be doing this high school play stuff much longer.

CATHY-ANNE: Oh no?

JACK:                 No way! I've got colleges looking at me. Big things are happening for me!

Panel Five:          They are in a dark place now. Secluded and alone. Ford has led her here for what will become obvious reasons.

JACK:                 I'm going to score me a nice, fat NFL contract and then it's off to Hollywood and the movies!

CATHY-ANNE: Really? That would be so cool!

JACK:                 Yeah, someday you'll be able to say that you knew me. Maybe they'll put you on one of those "BEHIND THE SCENES" shows.

CATHY-ANNE: Do you think so? That'd be great! But…um… what would I tell them? (she's trying to be seductive and cool)

Panel Six:            Ford is moving in now. He is pawing Cathy's breast and trying to kiss her. Cathy is trying to pull away a bit but she should look conflicted. This is what she wanted but not the way in which she wanted it to happen.

JACK:                 You'll tell them that the Mustang was the best you've ever had, baby!

CATHY-ANNE: Jack, wait, what are you doing?

JACK:                 Just what you wanted. It's what you all want. You know it. Just give in.

CATHY-ANNE: No, Jack, wait. I don't want it to be like this.

PAGE TWELVE

Panel One:           Ford is angry now. He only wants one thing from this girl and he cannot believe that she is actually refusing this 'gift'. He is up close in her face.

JACK:                 Like what? It's what you wanted. It's what you've been wanting ever since you saw me. Well, now you're going to get it.

CATHY-ANNE: JACK! NO! I mean it!

JACK:                 I don't care!

Panel Two:          This is a difficult panel. Ford has begun to rape Cathy-Anne and it is brutal. There is the sound effect of blows landing. I would suggest that rather than using a straight on view that it is suggested by use of a silhouette.

CATHY-ANNE: (screaming) NO!!!!!

Panel Three:        It is a short time later. Ford is standing over Cathy-Anne. Her clothes are torn and she is bruised and bloody. Ford is buckling his pants. Just barely visible in the background is the mysterious stranger that was following them.

JACK:                 I knew you couldn't handle it. Stupid bitch.

CATHY-ANNE: (sobbing sounds)

Panel Four:          Ford walks away whistling while Cathy-Anne lays there crying. He walks by the stranger without realizing it.

JACK:                 Now you'll have something to tell "Behind the Scenes" about.

Panel Five:          Close up on the stranger's face. He is smirking. There is the sound of Ford's whistling as he walks away.

PAGE THIRTEEN

Panel One:           High School football field. Ford is on the field playing. He is making a touchdown run and the crowd is cheering. He has just won the big game.

CAPTION:          How easy it is when you are the golden one. When everything you do is approved and applauded. How easy it can all be taken away.

Panel Two:          High school football boy's locker room. The team is hooting and hollering. Everyone is happy except for one other player. This is MIKE LEWIS. He looks concerned. He is a smaller boy. Not as big as the other players. He is nervous and twitchy. He is walking up to Ford.

MIKE:                 Uh, Jack, you got a minute?

JACK:                 For what? You want my autograph, Mike? Stand in line! (laughs and boys around him laugh)

MIKE:                 It's kind of important.

Panel Three:        Ford walks over to Mike. It's obvious that he holds Mike in contempt but, then, he holds everyone in contempt.

JACK:                 What do you want, Lewis? I'm busy.

MIKE:                 I saw what you did.

JACK:                 What are you talking about?

MIKE:                 I'm talking about Cathy-Anne. I saw you. I saw what you did to her.

Panel Four:          No dialogue. Ford still looks at Mike in contempt. This is a drama panel, meant to prolong the moment until Ford answers Mike's accusation.

Panel Five:          Ford, showing no remorse.

FORD:                 So? What do you care?

MIKE:                 Just thought you'd be interested in knowing something, that's all.

FORD:                 Really? And what could a dipshit like you have to say that would interest me?

Panel Six:            Ford is surprised and alarmed by what Mike says in response.

MIKE:                 She killed herself last night.

PAGE FOURTEEN

Panel One:           Ford is a little rattled now. He is struggling not to show it to Mike but he is starting to get scared.

JACK:                 So what does that have to do with me?

MIKE:                 I think you know the answer to that. She killed herself because of you. I'm sure there are some people who would be very interested in knowing what happened.

JACK:                 What do you want?

Panel Two:          Mike leans in close to Jack.

MIKE:                 Money. A lot of it. You see, I don't have the chances that you do, Jack. I'm not a quarterback. I'm not a pretty boy. You know what my future is, Jack? Burgers and fries, dude. Well, I'm not going to spend my life shoveling shit at fucking assholes all day. You got a trust fund. I want it.

JACK:                 When?

MIKE:                 Tomorrow night. Bring the cash here to the stadium. I'll be waiting.

Panel Three:        The outside of the locker room building. There is a window open. The conversation can be heard. The stranger is standing near the window listening.

JACK:                 And then what?

MIKE:                 Then we shake hands. I walk away and you have your fancy life.

JACK:                 How do I know you won't come back later?

MIKE:                 That's the great thing, Jack… you don't. (laughs)

Panel Four:          Silent panel. The stranger is smirking and talking on a cell phone.

PAGE FIFTEEN

Panel One:           Long panel. It's night. Ford is entering the stadium. He has a backpack in his hands.

JACK:                 Lewis? You here, man? C'mon, jackass, I've got your cash.

JACK:                 (whispering) Fucking asshole.

Panel Two:          This panel takes up most of the page. As Ford turns the corner, he sees Mike who has been viciously beaten and is hanging from a tree. He is quite dead. Ford is stunned and horrified.

JACK:                 WHAT THE FUCK??

STRANGER:      (Off panel) Good evening, Mr. Ford.

PAGE SIXTEEN

Panel One:           Ford turns around and sees the stranger standing there. The Stranger is very calm. He is dressed in a very fancy suit and everything about him should say that this is a man of power and wealth.

JACK:                 Who the fuck are you?

STRANGER:      My name is not important. I am merely a representative of certain parties who have taken an interest in you, Mr. Ford. A very deep interest. Shall we go for a drive?

Panel Two:          A large black limousine appears almost out of nowhere and the stranger moves Ford towards it.

JACK:                 Where are we going?? What the fuck is going on here?

STRANGER:      Really, Mr. Ford. Do you want to be here when the police show up? I don't think so. Besides, you know what they say, "it's not the destination that's important, it's the ride." Don't you agree?

JACK:                 Uh, yeah, sure, whatever, dude. Let's just get out of here, okay?

STRANGER:      Anything you say, Mr. Ford, anything you say.

Panel Three:        They are in the back of the limo now. It is an extremely opulent one. The very picture of luxury.

STRANGER:      I'll get right to the point, Mr. Ford, we're both busy men with no time to waste. You have a very successful career ahead of you. College football. Then the pros. Then, of course, endorsements and movies. Oh, yes, you're going to have quite a life.

FORD:                 And your point is??

STRANGER:      You're going to have a great life… if you don't ruin it. This business with the girl. We can take care of that. No one need never know. We can make it all go away… just like we've made Mr. Lewis go away. We can do that for you.

FORD:                 Oh, yeah, I see. And what do you want? I become some secret agent killing machine or something?

STRANGER:      You've seen too many bad tv shows, Mr. Ford.

Panel Four:          The stranger moves closer to Ford.

STRANGER:      We want you, Mr. Ford. We want you to be our 'face', our representative if you will. You see, you will be strategically placed to enter into circles and situations that few other people can ever fit in. At times, we may ask you merely for details or we may ask you to… influence people or events. All to your own good, I assure you, and never at your own risk.

FORD:                 That's all?

STRANGER:      That's all.

FORD:                 And if I refuse?

Panel Five:          The stranger leans back in the car seat. He is looking out the window. There is a homeless person pushing a shopping cart down the street. The person's sex is undeterminable. It is dirty and grubby, worn out and tired from the weight of life.

STRANGER:      Do you see that person out there, Mr. Ford? Rest assured that if you refuse our offer, your life will not even begin to reach the quality of yours. Your bright future? Gone. We can make that happen, Mr. Ford, just as easily as we can quarantee that it will happen. It's all up to you. What is your decision? Choose NOW!

Panel Six:            Ford smirking. He is back on the fast track again.

FORD:                 What do YOU think?

PAGE SEVENTEEN

Panel One:           It is years later. Ford should look as he did at the awards ceremony panel at the beginning of the story. He is at the top of his game, the most famous actor in the world and he commands one of the highest salaries in Hollywood. He is arriving at the awards show. The same panel that started the story can be used here to show the return of the story to this point.

MIRA (narrating):             So you took the offer, of course, and it all happened the way they said it would. The money, the fame, the women, the sex. All of it came easily after that. Every once in a while, someone would call and ask something of you. Nothing big. Nothing really even all that important. A word here, an opinion there. All in all, not a bad deal. Until the day you said, "No."

Panel Two:          Ford in his home. It is full of expensive items that he has acquired because someone has told him that he should have them. He has no taste and doesn't appreciate any of them. There is a woman at his feet. He has beaten her unmercifully. There is an evil look on his face.

FORD:                 You should know better by now, bitch. You do what I tell you and WHO I tell you. Have you forgotten who runs the show here? Huh? Do you need me to remind you??

GIRL (sobbing):  No, no, please, no more.

SFX (off-panel):  Knock, knock.

Panel Three:        Ford opens the door and the stranger is there. He looks older, but much the same.

STRANGER:      Good evening, Mr. Ford. Nice to see you again.

FORD:                 What the hell? What are you doing here?

STRANGER:      Just catching up.

STRANGER:      (to the woman) You can leave now, miss. There's a car downstairs that will take you anywhere you might want to go. The driver has the address of a discreet doctor if you should so desire.

FORD:                 Wait a fucking minute! Who are you to tell her she can go?

Panel Four:          Closer to the stranger's face.

STRANGER:      You know who I am, Mr. Ford. Say good night now. We have business to discuss.

Panel Five:          The girl runs out of the door and Ford walks away to the bar. He is not happy. He is not used to having his orders countermanded.

FORD:                 What do you want? I'm very busy.

STRANGER:      Yes, I know. Too busy, it seems.

FORD:                 What're you talking about?

STRANGER:      You received a phone call the other day asking you to do a particular task. You never did it. Now you have become 'unavailable'. Might I ask why?

FORD:                 Why should I tell you?

Panel Six:            The stranger stands still, waiting for a response.

PAGE EIGHTEEN

Panel One:           Ford takes a drink. He is a little nervous but still arrogant.

FORD:                 I didn't feel like it.

STRANGER:      "Didn't feel like it"? That's hardly an excuse, Mr. Ford. No, I'm afraid that won't do at all.

FORD:                 Listen, what you asked, I'm never going to do it.

STRANGER:      You don't have a choice. You never did.

FORD:                 Oh, yeah? And what are you going to do about it?

Panel Two:          The conversation continues but the stranger should be in the foreground and he should be the one dominating the panel. He is taking what looks like a pager out of his hand and presses a button on it.

STRANGER:      Me? Nothing. I don't have to do anything. It's already been done.

FORD:                 What are you talking about? You can't touch me! Don't you know who I am? I'm the King of Hollywood, baby! Ain't nothing going to bring me down. I'm too big! I'm too well known! Hell, I'm bigger than any of them! Bigger than Elvis! Bigger than them all!

Panel Three:        The Stranger is looking at his watch. Ford is getting angrier.

STRANGER:      Hmm hmm. You don't say?

FORD:                 You stupid piece of crap! Do you think I'm some kind of fucking errand boy? That you can just order me around and tell me what to do?

STRANGER:      Yes, Mr. Ford. That's exactly what you are. Or, more precisely, what you were.

STRANGER:      It's been long enough, I suppose. Turn your TV to CNN, please.

Panel Four:          Ford turning on the television. A newscast is in progress. In the background is a photo of the girl who just left Ford's house.

NEWSCASTER: This just in. Actress Gwen Stafford was found murdered earlier this evening. Authorities are not revealing the specifics of the attack but sources are reporting that Academy Award winner Jack Ford, recently linked to Stafford romantically, is suspected. More details as they develop.

JACK:                 What the FUCK are they talking about? She was alive not ten minutes ago!

STRANGER:      Was she? I hadn't noticed.

JACK:                 You set this up! You son of a bitch!

Panel Five:          Ford swings at the stranger who dodges expertly and then drops Ford with one punch.

STRANGER:      Shame on you, Mr. Ford. I thought you were one of the better ones. But I guess the fly doesn't move far from the shit, does it?

Panel Six:            Ford is on the floor bleeding from the mouth. The Stranger is leaving.

STRANGER:      You really should have just done what we asked.

SFX:                    Police siren.

PAGE NINETEEN

Panel One:           Television showing another newscast. This one has Ford being led away in handcuffs outside a courthouse.

NEWSCASTER: In a surprising verdict, Jack Ford was found guilty ten minutes ago of the murder of actress Gwen Stafford. His lawyers are expected to repeal but in light of the serious evidence given by the eyewitnesses, there appears to be little hope that the verdict will be overturned.

Panel Two:          Ford being thrown into a cell. It is small and dirty. There are sounds of men yelling in the background, taunting him. There are three other men in the cell, waiting for him. One is very large. This is MALCOLM and he runs this prison. He has come to welcome this new celebrity personally.

MALCOLM:       Well, well. Look what we got here.

MAN 1:               Looks like a new fish to me, Mal.

MAN 2:               Smells like a new fish.

MALCOLM:       So I guess it must be a new fucking fish then, eh?

Sfx:                      (laughter)

Panel Three:        Ford standing up to the men.

JACK:                 What the fuck do you want?

MAN1:                New fish. New meat. You gotta pay the toll.

MALCOLM:       You hear what the man said. Time comes, everyone pays the toll.

Panel Four:          Ford kicks Malcolm in the groin.

JACK:                 Pay this, asshole!

MALCOLM:       SHIT!

Sfx:                      Whump!

Panel Five:          The two other men jump on Ford and begin beating him mercilessly. Malcolm is nursing his tender genitals.

MALCOLM:       You fucking shit! You shouldn't have done that!

Panel Six:            Malcolm leaning close into Ford's face. The face is bruised and bloody. When he hears what Malcolm says, realization comes to Ford.

MALCOLM:       You should have just done what we asked.

PAGE TWENTY

Panel One:           Ford lying in the gutter. It is years later. His life has fallen completely apart. He is now homeless, penniless, a drunk and a drug addict. There is only a bare resemblance to the great and powerful movie idol he once was. There are three men coming towards him. The one in the lead is the Stranger who, though older, is virtually unchanged.

MIRA:                 It all went down so very fast, didn't it? The beatings in prison. The drugs. The booze. The attempts to forget it all. But you couldn't, could you. You'd had a taste of that good life and, from the gutter, you could see just how far you'd fallen.

STRANGER:      Well, well, Mr. Ford. What a pleasure to see you again!

Panel Two:          Ford looking up drunkenly. He can barely focus but recognizes the voice.

JACK:                 You! It's you! Thank God! Thank God you've come! I've been trying to find you for so long!

JACK:                 Listen, I'm sorry, ok? I didn't know what I was doing. I was wrong. Please, you've got to help me. I'll do anything you want, anything.

STRANGER:      Anything? Well, in that case, I'll be happy to help you, Mr. Ford. It's why I'm here.

STRANGER:      Take him.

Panel Three:        The two men knock Ford unconscious while the Stranger watches.

STRANGER:      I've been waiting years to help you.

Panel Four:          Ford wakes up and is naked in some kind of dungeon cell. There is another voice calling to him.

MAN:                  Jack? Can you hear me, son? Wake up now.

JACK:                 Huh? What? Who are you?

Panel Five:          Ford is awake now and can see the man who is questioning him. He is older, in his late 50's perhaps. Very dapper. You can sense the disgust in him as he looks at Ford. This is Mr. X (for lack of a better word).

Mr. X:                 That's not important, Jack. I just came down to see you and see what all the fuss was about. Doesn't look like very much.

JACK:                 It's you, isn't it? You're the guy in charge. You're the one who made this all happen, didn't you? Why? Why did you do it?

Mr. X:                 Jack, jack, jack. Trust me when I say that I couldn't give two shits about you. You were a tool. Useful sometimes but beneath my notice other times. No, the one who really deserves the credit for your success and fall is someone else. May I introduce…

Panel Six:            A stunningly beautiful woman comes into the cell. She is blonde and the epitome of sexuality.

Mr. X:                 …my wife!

Mrs. X:                Hello, Jack?

Jack:                    I don't understand this? Who the fuck are you? I've never seen you before!

PAGE TWENTY ONE

Panel One:          The woman is leaning closer. She is smiling a wicked smile because she knows something that Ford doesn't.

Mrs. X:                Are you so sure of that, Jack? Are you sure that you don't remember me at all?

JACK:                 Believe me, I would have remembered you!

JACK:                 Why? Why did you do this to me?

Mrs. X:                Oh, it's nothing personal, Jack, I assure you. After all….

Panel Two:          She is whispering into Jack's ear.

CATHY-ANNE: … not everyone can say that they rode the wild Mustang!

JACK:                 (whispering) C… Cathy-Anne?? NO! It can't be you! You're dead!

Panel Three:        Cathy-Anne standing up proudly hanging onto the arm of her husband.

CATHY-ANNE: Oh, come on, Jack! Did you actually ever 'see' the body? I mean, really, how dumb could you get?

Mr. X:                 She was recruited by us that night, Mr. Ford. The night you raped her. She was eager to do anything to get away so long as we promised that, at the right time, you would be punished. A small thing really.

JACK:                 But you… you look so different!

CATHY-ANNE: Amazing what an unlimited amount of money and plastic surgery can do, isn't it? But you don't really have time to talk, Jack honey. You've got a doctor's appointment to go to. A very special appointment. I think I heard the word 'lobotomy' being used.

JACK:                 No, you can't be serious! Please, Cathy-Anne!

Panel Four:          Two men come in and take Ford away. He is screaming and yelling.

CATHY-ANNE: Come on, Jack, you know you want it. It's what 'everyone' wants. Isn't it?

Panel Five:          The interior of a lush home. Cathy-Anne and her husband are lounging about. Ford is standing nearby. Half of his head is shaved and there is a large scar on his forehead. Just barely visible in the background are Elvis, John Belushi, and Marilyn Monroe also zombified and working as servants.

Mr. X:                 Enjoying your new pet, my love?

CATHY-ANNE: Oh, yes, I think he's the best one of them all!

Panel Six:            Television set. There is a newscast on. The newscaster is actually Mira. This is one of those joking-type newscast.

MIRA:                 And in the "where are they now file", once mighty Hollywood idol, Jack Ford, was found dead of a drug overdose in a LA hotel this morning.

NEWSMAN:       (off panel) Amazing how many of these rich and powerful celebrities end up like this, eh, Mira?

MIRA:                 Yes, Jeff, it sure is. It sure is.

PAGE TWENTY TWO

Panel One:           We are back in the mortuary. The Ghouls are all looking very satisfied but John is vomiting.

AMBROSE:        Looks like your little pet didn't like his dinner, Gary.

MIRA:                 I guess he's just not used to such pure human emotion. Shame to waste such a spectacular meal on him.

GARY:                I have to admit that you were right, sister. This was tasty.

Panel Two:          John standing up and yelling at the Ghouls.

SIMON:              What the hell is the matter with you people? What do you think you're doing?

AMBROSE:        Our job, Mr. Simon. Speaking of which, what is the decision?

MIRA:                 Ha! As if there were any doubt!

GARY:                C'mon, Mira. Didn't you have any sympathy for poor Mr. Ford? He was just a victim of circumstances!

Panel Three:        Mira looking at Gary and smirking.

MIRA:                 Oh, please! He asked for everything he got.

SIMON:              But why make him famous and give him everything he wanted? That didn't make any sense!

Panel Four:          The Ghouls all just stand and look at Simon.

Panel Five:          The Ghouls stand in a circle around the body of Ford.

AMBROSE:        Are you really that stupid, Mr. Simon? What better way to make someone appreciate what they're losing then to give it to them and then take it away?

MIRA:                 Why are you wasting time talking to that? We need to take a vote.

Panel Six:            The Ghouls all vote thumbs down. Close up on their hands.

AMBROSE:        Down.

MIRA:                 Down.

GARY:                Down.

FORD:                 (off panel) NOOOOO!!!!!

PAGE TWENTY THREE

Splash panel:       Ford's soul is being ripped from his body and torn apart by what appear to be demons. This should look very violent and painful. The Ghouls are just looking on with half smiles on their faces. John is horrified.

FORD:                 Screams in pain.

GARY:                And another one bites the dust! When was the last time we sent anyone 'up' instead of 'down'.

AMBROSE:        Can't recall exactly. Been a long time since we had one like that.

MIRA:                 Isn't that a wonderful comment on our times!

PAGE TWENTY FOUR

Panel One;           A large envelope falls out of John's coat. It is addressed to "The Ghouls". Ambrose picks it up.

AMBROSE:        Well, well, and what is this?

SIMON:              Huh? Where did that come from?

AMBROSE:        Where indeed? What have you been hiding from us, Mr. Simon?

Panel Two:          Simon backing up. He is protesting his innocence. He doesn't have any idea where the envelope came from or how it got into his jacket.

SIMON:              I swear to you, I don't know where that came from! I didn't have it a second ago!

GARY:                A likely story! And just where were you on the grassy knoll, John? Or where you in the Book Depository?

SIMON:              WHAT THE HELL ARE YOU TALKING ABOUT?

MIRA:                 What is it, Ambrose? An invitation to a party? Is Hades throwing another of his delightful shindigs again?

Panel Three:        Ambrose opens the envelope and reads the paper inside. We cannot see what it says from this angle.

AMBROSE:        Oh my.

GARY:                What? What is it? What does it say?

MIRA:                 Yes, Ambrose, what does it say?

Panel Four:          Close up on the letter. This is the closing panel of the first issue and should be larger than the other panels for dramatic effect.

Letter:                  Greetings!

                            This is to inform you that your facilities have been scheduled for inspection. Please prepare your records and facilities for my arrival in 24 hours.

                            Signed,

                            DEATH

AMBROSE:        It's from the Boss. He's coming for an inspection.

GARY:                Oh, crap!

CAPTION:          TO BE CONTINUED….