Read Online Horror Business by Ryan Craig Bradford - Free Book Online Page B
Authors: Ryan Craig Bradford
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happened?” I ask.
Her syllables come out between sobs. “I-I-I fell.” She moves her arms away from her knees. Road-rash extends from her knees all the way up her thighs, blood soaking into her shorts. Despite a bloody nose, I’m surprised at how little injury her face sustained overall. “I just want to go home,” she finishes and I’ve never wanted anything more myself.
I help her up and we turn her bike into a makeshift crutch. We walk the rest of the way. The scene is so pitiful that the surrounding monsters allow us to make it all the way home without killing us.
***
It’s a long, slow journey home. By the time we make it to my house, the light of dawn lines the horizon. Early-morning birds replace the omniscient hooting of owls, which filled our mostly-silent walk. My head throbs from the combination of hangover and no sleep, but the promise of daylight and getting some have kept my mood chipper.
Dad’s still asleep. An empty bottle of wine on the counter lets me know that we don’t have to be especially quiet. I clean Ally’s wounds. I give her a jungle wildlife Band-Aid as a finishing touch. I usually refuse to wear something so childish, but Ally seems into it. I secretly thank my mom for buying them.
Before she leaves, she asks: “Do you want to go to the aquarium sometime?”
I try not to smile too much when I say, “Yeah.”
Script: Split Screen
INT: ABANDONDED WAREHOUSE—TED RAIMI’S LAIR, DAY
SAM RAIMI and LT. CRONENBURG burst through the door to the warehouse, guns drawn. TED’S lair is covered with pictures of body parts, random trinkets hanging from the ceiling (bones, mannequin heads, hardware tools á la Texas Chainsaw Massacre ). The room is filled with full-sized mirrors, which immediately has a disorienting effect on the two detectives. Once they realize there is no immediate sign of TED, they put their weapons away and investigate the scene.
CRONENBURG
Jesus, Chief, you could write a textbook on this shit. (Picks up a jar with a decomposed appendage in it) This is one sick puppy we’re dealing with. (Puts the jar down and looks to RAIMI as if he’s misspoken) Er, no offense, sir.
RAIMI
None taken, Crony. My brother or not, we must not forget the heinous things he’s done. As far as I’m concerned, I have no brother. I’d prefer to take him alive. Let him find justice in a cold dank cell! But if it comes down to it, shoot to kill. We can’t let him escape. Understand?
CRONENBURG
Got it, Chief.
RAIMI and CRONENBURG keep searching the place (use weird camera angles here to convey the increasingly fucked-up nature of TED RAIMI). Light reflecting from the mirrors keeps blinding them when they walk through the beams. RAIMI moves to a table with documents sitting on it. He rifles through them.
RAIMI
Shit.
CRONENBURG
(Looking up from another pile of documents) What is it?
RAIMI
Pictures of my house.
RAIMI flips through the pictures, which start from a long shot of a house. The POV (point of view) moves closer, up to the door and inside the house. As RAIMI flips faster, the pictures move like a flipbook. The POV goes around the house and then up the stairs until finally ending on a candid shot of RAIMI’S wife, SISSY. She’s stepping out of the shower and soaked, barely covered by a towel. RAIMI tears them up and lets the little pieces float to the ground.
CRONENBURG
What should we do?
RAIMI
(Fuming with rage) We take this asshole out. (Cocks his gun)
RAIMI, in a violent outrage, shoots randomly. Pieces of bone and paper explode into the air. He shoots the mirrors, sending shards of glass flying everywhere in a deadly shower. CRONY jumps to the ground to dodge RAIMI’S rampage. RAIMI aims for one particular mirror and something in his reflection catches him off-guard. He lowers his gun, but the reflection does not.
RAIMI
Teddy?
Sound effect: BAM!
The “reflection” is,
Her syllables come out between sobs. “I-I-I fell.” She moves her arms away from her knees. Road-rash extends from her knees all the way up her thighs, blood soaking into her shorts. Despite a bloody nose, I’m surprised at how little injury her face sustained overall. “I just want to go home,” she finishes and I’ve never wanted anything more myself.
I help her up and we turn her bike into a makeshift crutch. We walk the rest of the way. The scene is so pitiful that the surrounding monsters allow us to make it all the way home without killing us.
***
It’s a long, slow journey home. By the time we make it to my house, the light of dawn lines the horizon. Early-morning birds replace the omniscient hooting of owls, which filled our mostly-silent walk. My head throbs from the combination of hangover and no sleep, but the promise of daylight and getting some have kept my mood chipper.
Dad’s still asleep. An empty bottle of wine on the counter lets me know that we don’t have to be especially quiet. I clean Ally’s wounds. I give her a jungle wildlife Band-Aid as a finishing touch. I usually refuse to wear something so childish, but Ally seems into it. I secretly thank my mom for buying them.
Before she leaves, she asks: “Do you want to go to the aquarium sometime?”
I try not to smile too much when I say, “Yeah.”
Script: Split Screen
INT: ABANDONDED WAREHOUSE—TED RAIMI’S LAIR, DAY
SAM RAIMI and LT. CRONENBURG burst through the door to the warehouse, guns drawn. TED’S lair is covered with pictures of body parts, random trinkets hanging from the ceiling (bones, mannequin heads, hardware tools á la Texas Chainsaw Massacre ). The room is filled with full-sized mirrors, which immediately has a disorienting effect on the two detectives. Once they realize there is no immediate sign of TED, they put their weapons away and investigate the scene.
CRONENBURG
Jesus, Chief, you could write a textbook on this shit. (Picks up a jar with a decomposed appendage in it) This is one sick puppy we’re dealing with. (Puts the jar down and looks to RAIMI as if he’s misspoken) Er, no offense, sir.
RAIMI
None taken, Crony. My brother or not, we must not forget the heinous things he’s done. As far as I’m concerned, I have no brother. I’d prefer to take him alive. Let him find justice in a cold dank cell! But if it comes down to it, shoot to kill. We can’t let him escape. Understand?
CRONENBURG
Got it, Chief.
RAIMI and CRONENBURG keep searching the place (use weird camera angles here to convey the increasingly fucked-up nature of TED RAIMI). Light reflecting from the mirrors keeps blinding them when they walk through the beams. RAIMI moves to a table with documents sitting on it. He rifles through them.
RAIMI
Shit.
CRONENBURG
(Looking up from another pile of documents) What is it?
RAIMI
Pictures of my house.
RAIMI flips through the pictures, which start from a long shot of a house. The POV (point of view) moves closer, up to the door and inside the house. As RAIMI flips faster, the pictures move like a flipbook. The POV goes around the house and then up the stairs until finally ending on a candid shot of RAIMI’S wife, SISSY. She’s stepping out of the shower and soaked, barely covered by a towel. RAIMI tears them up and lets the little pieces float to the ground.
CRONENBURG
What should we do?
RAIMI
(Fuming with rage) We take this asshole out. (Cocks his gun)
RAIMI, in a violent outrage, shoots randomly. Pieces of bone and paper explode into the air. He shoots the mirrors, sending shards of glass flying everywhere in a deadly shower. CRONY jumps to the ground to dodge RAIMI’S rampage. RAIMI aims for one particular mirror and something in his reflection catches him off-guard. He lowers his gun, but the reflection does not.
RAIMI
Teddy?
Sound effect: BAM!
The “reflection” is,
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