A Horrific Inspiration II: From Screenplay to Serial Novel
Origin Stories for The Devil's Road a TRUE CRIME Serial Novel about Serial Killers
I’ve adapted stories from songs, poems, books, movies, slogans, expressions, and on and on and on. However, this is the first time I’m adapting my own work from one format to another. I wrote a spec pilot to add to my writing portfolio in 2022, and sent the little fifty-eight-page bundle of horror out into the world to be consumed and judged.
After getting into the finals in nine different contests, I was pretty certain I had a great tale to share, but if I’m honest, it’s just a tool to land more writing work. What I wanted was to share the story with you, my greedy word consumer. Scripts are difficult to read for the uninitiated and, as we all know, the first rule of reading is difficult = 😴 … just ask my kids.
So, in order to give you a terrifying twisted tale of torture I decided to reformat it into a serial novel. Similar in some respects to an episode of television, but in smaller digestible bites. Below are links to the first three issues which make up Chapter 1 of the novel followed by the excerpt of the script from which I derived the issue.
If you are not a paid subscriber, you can open this link in a separate window to follow along, as the issues below have been archived and only paying members can view the archives. However, I like you … so join in the fun, but maybe think about an upgrade, or refer a friend to get a free upgrade.
I’ll admit this first chapter was pretty easy to write. When I write scripts I have a tendency to rewrite the opening scene multiple times. This happens because I like to reread the script occasionally when I’m struggling with various aspects of the project, and as a result the first couple of scenes really get a workover.
FADE IN:
EXT. GORE MOTEL - NIGHT
A red neon sign “Gore Motel, VACANCY” BUZZES over the dimly lit parking lot of a rundown, two-story cinderblock motel.
SUPER: CASE 4490 - GORE, OKLAHOMA - APRIL 12TH, 1999
There is a growing ROAR. A tractor-trailer carrying a heavy load flies past on Highway 64, heading west into a brewing storm in the flat and lonely distance.
Coming out of the storm, a beat-up green four-door sedan pulls into the parking lot of the motel. Ancient country music can be heard playing on the radio.
THE DRIVER (V.O.)
You think that when you look at folks, you really see ‘em, but you don’t.
The passenger door opens, and a WOMAN(20s) gets out. She adjusts her skirt and tugs at her red-haired wig.
THE DRIVER (V.O.)
Truth is, nobody really wants to be seen.
She walks into the darkness under the second-floor balcony. A FLASH of light crosses her face as she lights a cigarette.
A metal-on-metal CREAK and BANG comes from the car as the driver-side door opens and shuts. Work boots CRUNCH in the gravel. The Driver approaches the Woman.
THE DRIVER (O.S.)
Ain’t paying you to smoke.
The Woman takes a long pull and thumps the cigarette into the night. She blows the Driver a kiss and gives him a wink.
THE DRIVER (V.O.)
We hide in our little lives, worlds we create so that others don’t ever truly find out who we really are.
In the darkness, keys JINGLE and the motel room door opens. A silhouette of THE DRIVER(40s) appears in the glow from the room’s interior. His imposing size fills the door frame.
The Woman follows him inside and closes the door behind her.
I was worried that this issue would be a bit short, especially since it was only the second issue. However, it’s turned into one of the most read issues overall. I love the idea of the sickening florescent light highlighting this poor emaciated creature trying desperately just to live.
INT. MOTEL ROOM/BATHROOM - CONTINUOUS
The Woman looks into the mirror, darkens her eyeliner and her lipstick. She’s nervous, shaky.
Digging through her purse, she pulls out a small baggy with several blue/white crystals inside. She shoves a crystal into the end of a pipe, lights the end, and draws in the smoke.
She closes her eyes and slowly lets the smoke drift back out, enjoying the coming on of a high.
She looks at herself in the mirror again. The fluorescent light overhead flickers as she smiles. When her lips part, she stares at her misshapen teeth.
THE DRIVER (V.O.)
The real person lives just under the surface of the skin.
Back into the purse, she pulls out a tiny .22 revolver, smaller than the palm of her hand. She unscrews the cylinder pin and pulls the cylinder free.
She drops five bullets into the cylinder and reattaches the assembly. She shoves the small gun into her boot.
THE DRIVER (V.O.)
Maybe they’re a good person, maybe they’re not. Don’t matter.
She unzips her skirt, drops it to the floor, and pulls off her blouse.
She looks at herself in the mirror again. She smiles, keeping her lips together this time.
THE DRIVER (V.O.)
All we get is the show they put on. The image they draw for us to see. The mask they wear.
She flips off the light.
Now we finally get to the action! You will note this is the first time I really divert from the screenplay. In this issue, I began to really discover some of the difficulty of going from screen to page.
INT. MOTEL ROOM/BEDROOM - CONTINUOUS
The Woman steps out of the bathroom with confidence, leaving the door open behind her. She looks into the room and sees one of the beds unmade, covers and sheets on the floor, but no Driver.
THE WOMAN
We playin’ hide and seek, sweetie?
She walks towards the unmade bed. Polaroids cover the raw mattress.
She picks one up.
The bound, naked, and bloody body in the photo stares back at her.
She drops the photo and sees the rest of the pictures on the bed are more of the same. Different women, some alive ... some not.
She runs to the window and looks outside. The car is still there. She spins back towards the room. She’s alone.
Her heart’s racing from the mixture of fear and drugs. She bends over and pulls at the zipper on her boot, and the bathroom door behind her slowly swings closed.
She hears the SQUEAK of the hinge and turns as a blur of flesh charges at her. The naked Driver swings a wooden club that connects with her face. Everything goes BLACK.
THE DRIVER (V.O.)
But if you’re lucky, you get to see what’s underneath ... underneath all those lies.
INT. MOTEL ROOM/BEDROOM - MOMENTS LATER
The Woman’s swollen and bruised eyes peek open slowly. Her bloody nose runs down over her taped mouth. As she regains consciousness, she tries to scream.
A large hand in leather working gloves reaches out and caresses her face. It adjusts the red-haired wig, putting it back in place.
THE DRIVER (O.S.)
Shhh. I’m not finished yet. Now, look. Look at the raw ... the real. There’s no mask here.
The Driver stands in front of her, fully nude. A wooden club hangs from a leather strap on one hand. He picks up a box cutter and CLICKS open the blade.
Again she tries to cry out. The club arcs through the air and comes down on her head.
If you haven’t started reading The Devil’s Road, check out Chapter 1. You can read or listen to it for free here:
Or, if you are a subscriber and would like to read along by issue, you can bookmark this page for quick access to individual issues. If you are enjoying this series, please consider sharing it with others, and don’t hoard all the good tales for yourself.
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