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namesisfortombstones · 9 months

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Howling II: ...Your Script Needs Work

I am fascinated by the insane sequel Howling II: Stirba - Werewolf Bitch (U.S. title—Howling II: ...Your Sister is a Werewolf). The movie is a train wreck, like if a jet full of mimes crashed into a bus full of clowns. And its behind the scenes story is every bit a train wreck with mishap after mishap after mishap happening to stymie the filmmakers at every turn. Hearing everything that went wrong with the movie, watching the final product makes one think it may have been something entirely different. And logically so, I had always wanted to read the screenplay for the film to find out just what it was originally supposed to be, but all attempts to do so met with failure.

Howling II: Choose Your Own Adventure!

Here is what we know as facts from eyewitnesses who participated in the production of the film; The Howling novel author Gary Brandner was enlisted by the Howling producers to write the screenplay for the sequel and what he did was adapt his book sequel The Howling II (aka The Return of the Howling). When he was done, he turned it in and the producers said "Gary, this is really good, but we have some money in Mexico. Can you set it down there?" Brandner was all "Sure!" and off he went on a re-write. When Brandner turned that in, the producers said, "This is really good, but now we have money from Spain, so can you re-write it to be set in Spain? And the producer's a friend of Fernando Rey. Can you write a part for him?" Brandner was like "Fine" and off he went on another re-write. When he turned that draft in, the producers said, "This is really good, but the Spanish money fell through, so now we're gonna shoot the movie on the cheap in Yugoslavia." Now that Brandner had a book deadline approaching, he basically told the producers, "I gotta go. Do what you want with it" and off he went to go write his next book. Enter a writer named Robert Sarno, whom the producers enlisted to polish up Brandner's work. But what does he do? He throws out most of what Brandner wrote and re-writes an unproduced vampire screenplay he'd written, turned the villains into werewolves, and passed it off as The Howling II.

Seen here: not the person at fault for Howling II. Director Philippe Mora, who says he never read anything but the Sarno draft when he came on board the movie, says that he shot a campy, silly movie. This is almost in line with Joe Dante's original The Howling. That movie played its events dead seriously, but with a tongue-in-cheek tone as if to say, "Yeah, it's scary sometimes, but you can laugh at it too." But Robert Sarno and Philippe Mora aren't John Sayles and Joe Dante. At any rate, Mora reports that after he created his edit of the film and left to go shoot his next movie, Death of a Soldier, the producers got cold feat about having a funny horror movie and decided they wanted a scary horror movie. As such, the producers had the movie re-edited without Mora's knowledge or input and it became the movie it is today. Logically, this would lead one to believe that at one point, Howling II was a completely different movie.

Still probably too much of this guy, though. A few months ago, I was watching the now "lost" TV version of Howling II to see if there were any differences between it and the normal version of the film (and in addition to the new end titles montage, there were a few here and there). But watching the movie with closed captions, I noticed when they announced Christopher Lee's character's name, it was spelled as "Stefan Krosko." Now, since I saw the movie back in... 1989 or 1990 (?), I presumed his name was "Stefan Croscoe" with one 's' because that's how all the Croscoes I've known spelled their name. With the advent of the internet, however, everyone online seems hellbent on spelling it "Crosscoe," which to my knowledge is not a legitimate name. At any rate, I did a few searches for "Stefan Krosko" and there were some hits from some eastern European websites and I subsequently discovered "Krosko" is a real European surname.

What is your name, man?! And what is your deal?! So what is the character's name? I decided we needed to find a damned script then and there to find out. And somehow, I happened to manage upon a site selling a Howling II screenplay and immediately snatched that sucker up. After waiting just shy of a month's time because of the site owner being in the hospital, the script arrived and I finally got to see just what the hell they were dealing with from the get-go. And the results are a disappointing mixed bag. Firstly, I have no reason to doubt anything said by anyone who made the movie. There is a literal laundry list of things that can go wrong with any movie. It's hard work to make a bad movie. A great or even a good movie is a miracle to pull off. However, while there are many differences to get into, this screenplay is more or less the final movie. By and large, everything that happens in the movie is here. Some of it is a little more in depth, but not much. Does the screenplay do anything to explain just what the hell is really going on in this story? The answer is a gritty, in-your-face "no."

“What do you mean it was like that already?!” The draft of the script I have is merely entitled "The Howling II." No subtitles. It's marked as "Revision Draft: May 1, 1984" and "Further Revised: June 20, 1984." It's about 89 pages long with a 4-page "optional" prologue. This is the first time I've ever encountered a writer bothering to craft something that could specifically be discarded. But why did I think anything about this movie would be standard? The prologue opens in L.A. where a couple named Gary and Joann [sic] are trying to get home before the latter's father realizes she's out. When they miss the bus, Gary thinks he's got a great shortcut— through the cemetery. Of course Joann is spooked the entire time, especially when they begin to hear "hideous laughter" that is not coming from Gary. As they flee in terror, a cemetery guard cackles to himself "Bet they'll never take this shortcut again." Scared senseless, the couple takes refuge in a church they run upon. Inside is a casket of one Karen Marie White (the protagonist played by Dee Wallace in The Howling). As they try to go out the back of the church, the coffin's lid opens and Karen emerges as a rotted zombie werewolf. Cue screams and the main titles. And after that bit of standard horror business is dealt with, the script moves on to Karen's funeral scene that opens the movie.

Dame Not-Appearing-In-This-Film The most peculiar thing about the screenplay, however, is the obscene amount of Hispanic character names, even when the story changes to Transylvania in Romania! Somehow, I don't think there are too many Carloses running around Romania. Frankly, Ben White and Jenny Templeton are the only characters whose name made it from script to screen. So do we finally get to discover what the true spelling of Stefan's surname is? No. Because in this script, his character name is Luis Romo. Now, I've seen damnably British Christopher Lee convincingly portray Chinese and Pakistani characters before, so I have no reason to doubt that I could buy him as a Spaniard. But on paper, it just looks silly (slightly less silly than "Stefan Croscoe/Krosko" I suppose). The proprietor of the Transylvanian hotel is named Carlos. The number two (three?) werewolf-in-command is named Vittorio (?!). Vasile the dwarf is Emiliano. And last but not certainly least, there is no Stirba. Well, there is, but she is only known as "La Bruja" ("The Witch" in Spanish) here. She has no true name other than "La Bruja," which is what Stefan/Romo refers to her as, as well (I'm going to use the film and script's character names in order to curtail confusion). This of course further betrays the story's vampire origins as, while La Bruja doesn't behave like a vampire, she's never really written to behave like a werewolf either. Stirba of the film does once or twice transform into a "werewolf bitch," but that's the extent of her werewolfery. Stirba in the finished film just seems to be a sorceress that can randomly grow body hair.

Fernando Rey as... Luis Romo??? This La Bruja business actually tracks to me because of the origin of Stirba's name. "Stirba" (properly pronounced by Christopher Lee and Judd Omen as "Still-buh," although Lee may be saying “Shtill-buh,” which is more correct) is derived from the German word "sterben" (still-ben/shtill-ben), which means "die" or "to die." And I don't believe for a second Robert Sarno was clever enough to come up with that. Maybe Philippe Mora (who alternates between being a genius and an absolute madman depending on the moment you're talking to him). But I'd bet dollars to donuts that Christopher Lee came up with that name, him being fluent in German.

Mora, you magnificent bastard... Probably the most interesting name-related bit from the script is that Mariana, portrayed by Marsha Hunt of Dracula A.D. 1972, in this script is Marsha Quist of the original Howling! Marsha was portrayed by Elisabeth Brooks in the first movie, but—like Dee Wallace—she refused to appear in the sequel. There are conflicting accounts as to why. At any rate, Marsha plays the same part and story function that Mariana does in the final film. Additionally, Marsha/Mariana's sidekick in the early parts of the story is Erle, originally portrayed by John Carradine in the first Howling but portrayed in Howling II by the fine character actor Ferdy Mayne [billed here as Ferdinand Mayne, who reportedly only did the movie because Christopher Lee was in it]. However, the script never seems to acknowledge that Marsha and Erle are returning characters and they are introduced in the text just like every other character, as if we hadn't seen them before.

Seen here: Elisabeth Brooks escaping from the raging tire fire that became Howling II.

I prefer continuity, but eh, we did okay.

Shit no, Ferdy! Nobody’s gonna notice you’re not John Carradine! Or... Martin Landau? So, as I said before, the script more or less unspools exactly as the movie does. No sillier, no more serious. It's the movie. What is different? Well... Ben White is written to be slightly less stubborn and disbelieving in this script than Reb Brown portrays him in the movie. Ben and Jenny don't know each other at all at the beginning. And Stefan/Romo is written as a bit of an aloof goof, at one point falling asleep in front of Ben and Jenny after giving them the lowdown on La Bruja and her evil plans. In the film, Christopher Lee imbues Stefan with a bit more personable humanity and never once does he come off as tired.

”It is her immortal soul which is in very grave danger.” “Please, eat my ass with a bag of skittles, Stefan.” “Now was that so hard? Good day, sir.” In the punk club scene, alas Stefan/Romo is not present in punk clothes and wraparound shades.

UNACCEPTABLE!!! Marsha comes in, picks up some annoying riffraff victims, and off she goes to the warehouse. I had noticed an odd name in the movie's end credits, "Moon Devil." All these years, I assumed this referred to the helmeted guard outside Stirba's castle. Apparently, Moon Devil was supposed to be one of the jerks at the club and subsequent warehouse victims! He absolutely does not live up to that cool moniker.

You’re gonna sit there and tell me this isn’t the “Moon Devil,” script??!?!? The whole slaughter in the warehouse is written to be quite a bit scarier than it comes off in the film. You're let in from the get-go that Marsha/Mariana has brought these people here to feed her werewolf friends. However, whilst Marsha/Mariana does appear naked to lure the men to their deaths, she doesn't seem to be hanging around partially transformed, listening to her werewolf brethren devour people. Once the attack begins, she disappears. Hell, she may be one of the attacking werewolves. However, at the very end of this scene, there is Stefan/Romo outside the warehouse (presumably in his normal clothes, but it'd been a lot cooler if it were that punk outfit), hanging around, "investigating outside" the script says, and doing absolutely nothing to help those poor people being eaten alive.

“Fuck those kids.” The scene where Stefan/Romo explains werewolves to Ben and Jenny happens right after the previous scene in the middle of the damn night, rather than more sensibly the next morning as in the movie. Stefan/Romo is written with explicit text that he is "giddy" and "excited" as he lays down the wolf lore here. There is about two-thirds of a page description of Stefan/Romo's home (a place we never see again) that more or less amounts to "it's gothic and messy." It's said that he has just stuff thrown all over the place with a combination work table/work bench right in the middle of the living room! What it's for goes without explanation. In the final film, Stefan’s house is shot at the Frank Lloyd Wright-designed Ennis House, notably used in The House on Haunted Hill (1959).

Seems a little... I dunno... big for one person? The tape that Stefan/Romo has seems to be trying to describe what's onscreen in reference to what happened at the end of the first Howling. However, here too, Karen is described as being a roaring, ferocious animal with bared fangs and blood red eyes filled with murderous rage. And of course in The Howling, Karen transforms into a weeping were-poodle that doesn't look frightening because she's "innocent" and hasn't murdered anyone. Sarno eschews all that in favor of cheap horror movie thrills. But at least it all comes off better than whatever the hell was on that tape in the movie. Yeesh.

I think somebody sold Stefan a copy of The Howling as recreated by those kids that remade Raiders of the Lost Ark in their spare time. Stefan/Romo shows Ben and Jenny pictures of Marsha/Mariana and Erle on a slide projector, rather than blown-up photographs. He still explains that Marsha has become immune to silver bullets and only titanium will kill her, but also adds a perplexing bit that if one were to shoot her with silver bullets, it would transform her into a "more dangerous mutant"!

SHIT. It's important to point out a couple of things here. According to the audio commentary on the Shout Factory Blu-ray, Philippe Mora reveals that they shot this scene on location over in Czechoslovakia. However, when the film came back, it was all dark, which forced them to reshoot the scene once they got back to L.A. In the song, "Your Sister is a Werewolf" written by Steven Parsons on the Howling II soundtrack (but not used in the film), the song's lyrics are solely pieces of dialogue heard in the film. All except for "Hear me; in three weeks time, at the next full moon, on the midnight hour of that fateful day, all werewolves—all—will reveal themselves. Each and every human being will be devoured by her lustful disciples." I assumed this might have been a line that was in that original Czech version of the scene but didn't make it into the U.S. reshoot. And that line is indeed here in the script (what Lee says in the final film is "At the next full moon, it will be the tenth millennium of Stirba's birth. At midnight on that day, all werewolves will reveal themselves—ALL. The transformations have already begun... Process of evolution has reversed. There are many stages before man becomes a beast.")

“ALL, motherfucker.” Additionally, you know that bizarre pre-title bit where Christopher Lee is floating in space, reading from a book, with a skeleton slowly fading in behind him? "The great mother of harlots and all abominations of the earth"? That bit is here! And while he is reading it, for some reason, thunder and lighting are going on outside (just like the unwarranted thunderclap over the title card). I suspect maybe this was shot in Czechoslovakia and was perhaps the only usable footage from the sequence. And Mora just threw it in at the beginning of the movie to 1.) ape Dune (1984) and b.) I dunno... baffle everybody? At any rate, the scene ends with Stefan/Romo falling asleep in a chair and telling Ben and Jenny to show themselves out.

That look says it all. So who exactly is Stefan/Romo? Who did you think he is? Because whoever he was in your head is who he will have to remain. There is absolutely no backstory on the character. There is no indication that Stefan/Romo is himself a werewolf or a witch or if he is in fact 10,000 years old like Stirba. Watching Howling II, you have questions. The film nor the script has any answers and Sarno seems infuriatingly uninterested in exploring whatever mythology he had cooked up for this story.

Stefan, we hardly knew ye. Sorry your creator couldn’t be bothered to give a damn. The whole sequence at the cemetery is far more involved than in the movie, starting with Ben and Jenny discovering the fence has been yanked wide open so something could enter. In the film, it looks like they're flabbergasted that someone used bolt cutters on a chain. There are four werewolves during the attack, presumably Marsha/Mariana, Erle, and two others. Stefan/Romo is not doing last rites over Karen's body like in the film, but instead is just loitering around waiting for Ben and Jenny to show up. When they try to flee into the crypt, one of the werewolves is up on the roof waiting to pounce, but gets shot for its trouble but when that doesn't work, Ben throws a flashlight at it. Maybe the flashlight was made of titanium casing? At any rate, once Jenny and Ben are in the crypt, Stefan/Romo seems to invoke the occult by drawing triangles around Karen's casket, though it says he does mutter a prayer in Latin. This, of course, pisses off Ben to no end and he threatens to "blow [his] nutsy head off!" Jenny tries to step in between the two to calm things down, but Karen-wolf bursts out of her coffin and grabs Jenny's wrist. When Ben tries to shoot Karen, Stefan/Romo stops him, claiming "Not yet! They are coming!" Karen-wolf proceeds to shred the lid of the coffin whilst still hanging onto Jenny. At this point, Ben loads his rifle with titanium bullets and pumps Karen full of lea—er, alloy?

Also not found in the screenplay, “BLAAAH!!!” Stefan/Romo blesses Karen, but then smiles and remarks, "Here they are," and sure enough the four werewolves are in the crypt with them. While Ben is busy shooting the monsters, Stefan/Romo "chants a strange Latin chant” [sic] and hurls holy water at the werewolves. And it works. One flees and another follows after it. The last werewolf helps the one blasted by Ben back to its feet and out of the crypt. For some reason, the four werewolves are on the run, fleeing for their lives from the cemetery as the wounded one lags behind. Now, in the film, Ben asks at one point, "Do you think Stefan's going to the cemetery tonight to set traps?" and there's no real payoff for it. Here, actual traps are mentioned being in Stefan's home and then, the wounded werewolf trips one and is caught in... a net. The other werewolves ditch him and our ersatz heroes catch up to Erle, who has transformed back into a human. We get the exchange in the movie "Where is La Bruja?!" "Dark country..." Stefan/Romo stabs Erle and kills him. Rather than Mariana, the security guard from the prologue has apparently been watching all this and remarks, "I gotta stop drinking."

Not gonna lie: this does work better. Stefan/Romo announces he's going to "do battle with La Bruja" and Ben demands to come with. When they ask where the "dark country" is, the response is "Transylvania... where else?" Where else, indeed... if you were fighting vampires! Christopher Lee's response in the movie works a lot better. "Where do we have to go to find 'Stur-buh'?" "To the dark country... to Transylvania." Ben then wonders if it's safe to drink the water... which works for when the story was to move to Mexico, but makes no sense referring to Romania.

You know Mexican architecture when you see it. At any rate, somehow Marsha/Mariana beats the heroes over to Transylvania and the script claims the town they're in is "Santa Marta," rather than "Vlk." Vlad here is named "Vittorio" and he meets Marsha/Mariana at the train and takes her to the castle. There's the scene with the hitchhikers, which seems to be played for terror rather than laughs. And then, we go to La Bruja's castle. The rite here is far more involved, starting with the little girl—said to be hypnotized and 14 years old—being prepared. The script says the rite is being witnessed by a coven of 12 disciples and that many of them are villagers of Santa Marta, even though we haven't met any of them yet! The little girl is taken and rested on a huge pentagram that has been drawn on the castle floor. It is at this point that Stirba/La Bruja makes her entrance into the story and she is rather rudely described as being "an incredibly old hag” [in all caps for emphasis]. The script does, however, describe what the hell the staff she has for the whole movie is—"some hideous gargoyle with folded wings and long fangs." So if you were wondering what it was, there it is.

Sarno’s mean. Stirba/La Bruja takes a "wickedly serrated dagger" and beheads a chicken over the little girl, pouring blood onto her face while mumbling "indecipherable magical words," and then the script proceeds to write them out! If you can discern them, they aren't indecipherable now, are they? In the movie at a later point, Stirba casts the Eko Eko Azarak protection spell against Stefan, and here, the words spelled out appear to be the black magic spell Exorcism of the Bat. At any rate, instead of the batshit crazy montage that is randomly edited into the scene, the script just describes a bunch of batshit crazy things going on at once: Stirba/La Bruja leans down inches away from the girl's face and "draws in air with a sucking sound." The little girl begins convulsing. The disciples writhe about "in orgasmic ecstasy" (which sounds repetitive to me) as they look on, the headless chicken is still flapping its wings, Marsha/Mariana watches "with intense pleasure," and Stirba/La Bruja kisses the little girl on her lips. The rite is apparently successful and Stirba/La Bruja is a young woman again. The little girl, though, has become desiccated and is dead. Stirba/La Bruja beckons Vlad/Vittorio and two handmaidens to her bedchamber.

Oh, gawd, yes! The two women dress the "werewolf" queen, but the script does not describe in what. She shoos them off and turns her attention to Vlad/Vittorio who can just barely keep his hands off her. Marsha/Mariana is brought in and she kisses a ring with "a strange design" Stirba/La Bruja is wearing Godfather-style. The scene continues as in the movie, though as Vlad/Vittorio and Marsha/Mariana begin "making love" on her bed (the script rather prudishly constantly uses the phrase "making love" rather than "sex" or "fuck" even though, let's face it, in the Howling II movie, nobody is making love), Stirba/La Bruja just slowly removes her clothes instead of ripping them off. Fade to, and I quote, "three wolves in a lovemaking frenzy" [again, in all caps for emphasis].

*sigh* Why? At this point it's worth mentioning that in an interview with Philippe Mora with Fangoria magazine during the filming of Howling II, Mora made the outrageous claim that Sybil Danning didn't really exist in the film. What he said was that throughout the entire movie, Stirba was an old woman and that the appearance of Sybil Danning was what Stirba wished she looked like and was a spell that she had cast over everyone. Some of this seems to make it to the final film like when Sybil-Stirba first appears and seems almost scared until she realizes that everyone sees her as young. And then the end of the movie where Stirba's magic won't work on Stefan and as such, he sees her as the 10,000 year old woman she actually is. However, the movie does in fact play it off as Stirba is young again, Elizabeth Bathory-style. None of that is in the script. Not even Stefan/Romo seeing Stirba/La Bruja as an old woman in the showdown.

Goddammit, Philippe. For real? We then hang out with our three heroes for a bit as they cross Transylvania in "a small European sedan." In the film, Christopher Lee seems to be asleep in the backseat but here, Stefan/Romo is described as "meditating" with a "slight smile on his face." For some reason, Stefan/Romo is written frequently to constantly have "a slight smile on his face." Yeah, I think Lee made the right decision not doing that.

“Meditating” my ass. I know a nap when I see one. They have the encounter on the road with the woman in the street and it goes like in the movie except the priest claims she was hit by falling rocks (?!) and the woman doesn't suddenly grow fangs. Stefan/Romo just ices her werewolf ass out of nowhere. Just like in the movie, Stefan/Romo randomly ditches Ben and Jenny, though he does anti-explain, "I will leave you now. There are things I must do alone." Where he goes is never described... just like in the movie. Ben and Jenny continue on when a tramp suddenly steps out into the road and they hit him. When they run out of the car to investigate, the tramp is nowhere to be found, but blood is on the road. Our heroes shrug it off (Ben remarks, "He is here... but he is not here. Welcome to Transylvania.") and get back in the car. This is where the crouching werewolf-hidden dumbass comes into play and the scene continues just like in the movie, complete with a random cliff just appearing out of nowhere.

Wait, so you’re telling me this actually made sense at one point?!? Ben and Jenny make it into Santa Marta/Vlk and the hotel they stay in is given a name, the Hotel Aragon. They also don't do the dumb "six floors" gag and are given room 204. As mentioned before, the hotel proprietor is named Carlos here, but his nephew porter is "Tonio" rather than Tondo. Once in their room, there is none of that godawful garlic nonsense. Instead, Jenny kinda randomly decides to entice Ben into bed and outside, Vlad/Vittorio can smell it. That brings us to page 50 in an 89-page script and the rest of the script unspools at a rather breakneck pace. Honestly, there isn't really much writing so much as there is just action sequences and stuff happening until Sarno decides to call it a script. Ben and Jenny go to the church, where they are spied on by "Carlos" from a hotel room. Stefan/Romo's allies are introduced; Father Florrin is "Father Matteo," Vasile the dwarf is “Emiliano,” Konstantine is "Rudolpho," and Luca is "Juan." Honestly, this is getting out of hand and the absolute region-blindness is sickening. This is just piss-poor writing. Are there some Spanish people in Romania? Sure, there probably are. This many? Doubt it.

Seen here: not a Carlos. In the script here, the children seem to really enjoy the wolf/girl puppet show. They make a bigger deal of Ben leaving Jenny to go stalk Vlad/Vittorio and Marsha/Mariana as they wander through town and... actually they don't even have the dialogue they have in the movie. They eventually come upon Stefan/Romo. Vlad/Vittorio bows mockingly at him and Marsha/Mariana just glares at him "with murderous intensity." When Vasile/Emiliano asks if that's the woman they're looking for, Stefan/Romo warns "she is as deadly as the black widow spider."

“Punk-ass werewolves...” Vlad/Vittorio and Marsha/Mariana return to Stirba/La Bruja's castle with Ben and Vasile/Emiliano hot on their heels. Vlad/Vittorio uses something described as "a cross between a whistle and a yodel" to gain entry from the rifle-toting sentry. When we go into the castle, Stirba/La Bruja is sitting on her throne, watching a fire and her "eyes are abnormally bright as if she were in a trance." In the movie, Stirba is wearing sunglasses because Sybil Danning had an allergic reaction to that wolf-hair makeup they put all over her and it looked like she was punched in the face, so they put sunglasses on her to cover it up and continue filming. The two other werewolves report Stefan/Romo is in town and Stirba/La Bruja spills the beans that he's her brother and that "he circles me like an avenging angel of death." She goes on to deliver the bizarrely-written "he lusts to destroy me. But I will destroy him!"

“Oh come on! We just sprayed for dwarves in here!” Stirba/La Bruja sees Vasile/Emiliano spying on them from the window and unleashes her werewolves upon them. When the castle door slams open, Vlad/Vittorio and Marsha/Mariana are already in full wolf form. Stirba/La Bruja chants another black magic spell that seems to be made up nonsense words this time. When Vasile/Emiliano loses his blessed earplugs, Stirba/La Bruja's chanting causes his head to explode from the inside out and the script says that geysers of blood and brain "tissure" [tissue, I imagine] sprays out of his eye sockets, nose, and ears. That seems unnecessary. Stirba/La Bruja pours an oil over Vasile/Emiliano's corpse and whispers something into his ear that causes him to come back to life as a zombie.

Like you w--wait, what were we talking about? Tondo/Tonio tries to rape Jenny, but rather than "take him away and teach him discipline," Stirba/La Bruja has a werewolf minion eviscerate Tondo/Tonio right then and there. She captures Jenny as bait. Stefan/Romo has the encounter with zombie Vasile/Emiliano and is saved by Ben in a sequence that reads like it goes on forever. Ben's fight with the dwarf is more involved than in the film—Vasile/Emiliano proves capable with a blade and Ben manages to toss him out the window with a judo throw! Ben and Stefan/Romo go back to the church for reinforcements and weapons. The significant change here is that Stefan/Romo says they have a titanium spike that was somehow made from the Holy Grail, rather than having the Holy Grail itself and nobody stopping to wonder how the fuck they have the Holy Grail on hand. He also shows off a "titanium machete" made by Luca/Juan. That, unfortunately, didn't make it into the movie, but perhaps it should have.

”Yeah, yeah, Holy Grail, whatever. Gimme dat gun!” [Yes in the final movie, Stefan actually cops to having the Holy Grail on hand. No, not a single person goes, “Hey, wait a second, Stefan...”] Stirba/La Bruja has a fuck party at her castle (described in the script as a "Black Sabbath revelry," but it's a fuck party). Here, there is "a diabolical altar with the head of the horned god prominent over it" (heavily implied to be Lucifer). Additionally, a slaughtered lamb has been split open and crucified upside down on a wooden cross. In the final film, I don't think it's crucified, but they do have a lamb just hanging in the corner of the castle, which Stirba prays to briefly.

Ya know... this movie is kinda making a good case for evil. One of her disciples runs in and tells her [presumably] the heroes are coming and she stops the fuck party dead in its tracks and orders, "Go my children... destroy them!" Everyone starts transforming, but Stirba/La Bruja tells Vlad/Vittorio and Marsha/Mariana to stay with her, which they do in human form. The trio then goes over to the altar and prays to their horned god, described as "staring out with eyes as dark and empty as deep, endless space."

Don’t make a Kristen Stewart joke. Don’t make a Kristen Stewart joke. Don’t make a Kristen Stewart joke. The werewolves attack our heroes and all hell breaks loose. Ben pushes Stefan/Romo down "for safety" and sets about murdering everything in sight. Konstantin/Rudolfo saves Luca/Juan by ripping through a werewolf's throat with his titanium machete. Another werewolf "rips Rudolfo's face" [did Sarno mean "rips off"?] and proceeds to slash him to death. Stefan/Romo—I shit you not—has a fire extinguisher that sprays holy water, which he uses to finish off the other werewolves! It causes them to "shriek in agony as if they were being burned alive!" I hope it was Christopher Lee who put his foot down and said "I'm not doing that." As they continue onward, "an unearthly, grotesque hand" with "enormous curved talons" grabs Luca/Juan and drags him into the earth like a random quicksand pit. There's no mention of werewolves here; it's just someTHING's hand. Another hand grabs hold of Luca/Juan's neck and drags him underground. Rather than hurl the Holy Hand Grenade of Antioch as in the movie, Stefan/Romo throws a vial of chrism at them and Father Florrin/Matteo [misspelled as "Metteo" here] lights the leaves up with a match. Then, this happens: "as the three men sprint away, there is a horrible agonizing roar of pain from the demonic creature as it begins to burn in the fire of the consecrated Chrism. The outlines of some unearthly form rises up in the flames and twist wildly [sic] in his death throes." As we cut back to the castle, Stirba/La Bruja is "screaming and writhing in ecstasy as she walks on glowing ashes." Why?? You will go wanting because there are no answers. Stirba/La Bruja orders Vlad/Vittorio and Marsha/Mariana to "bring the girl" and they head off for Jenny. Instead of the ultra-creepy area made up of walls of human skulls, Jenny is just being kept in a more mundane torture dungeon. When Father Florrin/Matteo sneaks into the castle, Stirba/La Bruja just steps out of a shadow and stares at him. She orders her gargoyle staff to attack him and the "hideous little creature opens its eyes which glow with an infernal ruby light," leaps onto the priest's face, drives its fangs into the top of his skull, uses its tail to wrap around his neck, then uses the tip of its tail to prod up through his nose into his skull. The thing causes Florrin/Matteo's head to explode from the inside out, causing "squirming, gelatinous tentacles" to pour out. Stirba/La Bruja marches off because that was all just a touch much. Vlad/Vittorio and Marsha/Mariana appear to harass Jenny and Ben charges in and blows the back of Vlad/Vittorio's head and his brains onto the wall behind him. Marsha/Mariana is understandably stunned by this and when Ben tries to shoot her, he's out of bullets. Sorta-Ms. Quist starts to wolf out and leaps at Ben but he stabs her with a silver knife, despite the fact Stefan/Romo had explicitly told him she's immune to silver now. However, she doesn't actually seem to die. She slumps to her knees and cannot pull the knife out. When Ben hauls Jenny away, Marsha/Mariana is said to be slumped onto the floor dying and screaming. I have to say, Marsha was done dirty and she should've been able to get away Howling I-style to run amok in The Marsupials: The Howling III, dammit (which yes, does seem to take place in the continuity of the first two movies, if Olga's stealth reference is to be believed). It's worth mentioning that in the script, this scene does not have a wooden cage locked full of victims which does appear in the corresponding scene in the movie. And after Ben kills Vlad and Mariana and hauls Jenny away, our ersatz hero just leaves those poor people there to starve to death! Stirba/La Bruja hears the screaming and charges off to help (I guess?) but Stefan/Romo steps into her path and boasts "You go no further." At this point, the script goes even more off the rails. Stirba/La Bruja beckons Stefan/Romo to come to her and dares him to fuck her, going so far to throw back her cape, revealing "her luscious naked body." Stefan/Romo just starts involuntarily walking over to her (as one would) and rather pathetically calls out for Christ and God like he was inside the Wicker Man and Lord Summerisle just lit it on fire. Stirba/La Bruja says "You will be my Prince of Darkness and I will be your Queen of the Night!" Obviously, there was no way Christopher Lee was going to let that line stay in when he came on board. Similarly, a line where Ben describes Stefan/Romo as looking like "Dracula's grandfather" was removed, probably for the same reason. Anyway, Stirba/La Bruja laughs that they will rule the world and that "I give myself to you; I am yours to ravage and rape." No, really. Bottom of page 86. Sarno seriously wrote that shit.

Seen here: not a man freaking out about possibly banging his smokin’ hot sister. Stirba/La Bruja demands "Love me, my brother!" [though, based on previous scenes, Sarno definitely means "fuck me, my brother!"] and Stefan/Romo leaps through the air, tackles his sister, drives the Holy Grail titanium spike into her (where is not said), and plants one on her as she shrivels into her "hideous and shriveled hag" form [again, rude!]. Now, some of this was actually shot because there is a still of Christopher Lee kissing Sybil Danning from this scene that is not in the movie. But there's absolutely no way they were gonna have/get 62-year-old Lee to jump through the air and tackle Sybil, even with his trusty stunt double Eddie Powell on hand.

You thought I was lying, didn’t you? Now, here in the script, Stefan/Romo's flying tackle causes he and Stirba/La Bruja to crash into her fire pit and that causes them to become engulfed in flames. Stirba/La Bruja won't let go and he can't get away from the fire and they both burn to death. And honestly, that works a lot better than whatever the hell happens at the end of the movie where there's no real excuse for Stefan having to burn to death too while Stirba admonishes that they will be "wedded for eternity." Got a man doing God's work here and God absolutely drops the ball on him.

Bullshit, I say! At any rate, Sarno thinks its funny to cut from them screaming as they burn to death to Jenny's fireplace in her apartment the next Halloween. Jenny says that she misses Stefan/Romo and Ben jibes that Halloween was probably his favorite [spelled with an extra u] day. There's a knock at the door and a werewolf plays trick or treat. You've seen the scene; you know how it goes, except Ben gives the werewolf money instead of candy and wishes him happy Halloween! The werewolf waves back and howls. When Jenny demands they go over to the apartment and say hi, the script says that Erle answers the door! But he had been killed by Stefan/Romo at the beginning of the story! In the movie, it's the priest they encounter when the woman on the road was hit by a car/falling rocks. The script just gives up after Erle/the priest asks "won't you come in?" It claims to be "The End," but it's more like "The Quit." For what it's worth, the script does not have the scene that I saw on USA one time where the camera creeps down the hall to reveal the inside of another apartment with a family of laughing werewolves inside. I'm told this ending also appeared on the VHS release in Australia, but it was certainly not in the "normal" TV version that played elsewhere (Fox, predominately, and later the Sci-Fi Channel).

Before you ask, yes that IS Philippe Mora painted into the mural on Stirba’s castle to the right of Sybil there. So there you have it. Everybody who worked on it says Howling II isn't the movie they made... but damned if the script isn't pretty much the movie we saw.

#Howling II #Stirba - Werewolf Bitch #Your Sister is a Werewolf #Robert Sarno #Christopher Lee #Sybil Danning #screenplay #script #writing #what the what?#Philippe Mora #Gary Brandner #Reb Brown #Annie McEnroe #Ferdy Mayne #Marsha Hunt

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countlessrealities · 3 months

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Unconventional first meetings

@diiistcntlcnds sent: [ BATTLE ] : both muses are forced to work together when caught up in a brawl (Evil Morty for Marsha)

Morty had travelled a lot during the time he had spent in his Rick's claws and a bit more once he had won his freedom. However, none of that felt real compared to the voyages he undertook these days. Back then, the trips had been dictated by someone else's will first and by necessity after. Now, he was the one to decide where to go, when, how and why, no external force pushing his hands, unless he willingly decided to indulge it.

The world he had picked that time had magic in it. Or, as the teen genius liked to think of it, unknown energy that he intended to harvest and bring back to his hidden sanctuary. His objective was a peculiar kind of crystal, which was supposed to function as a natural storage of said power.

What he hadn't anticipated were the twisted creatures that had attacked him before h could reach the deepest level of the cave that stored the crystals. Nor the unexpected ally who had joined him for the battle against them.

She wasn't human, as her gray skin and pointed ears betrayed, but that mattered little to him. What he wanted to know was whether or not she would get in his way too.

Focusing back on the present, he slammed a foot in the middle of the chest area of the latest creature he had been battling, before shooting it through the head. Then he spun around, his blank expression not faltering at all, to aim for the monster that had been about to jump on the mysterious girl.

The laser cut through it, close enough to Marsha's body that she could feel its heat, but not enough to bring her any sort of harm.

"Just for the record," he started, as they found themselves back to back. "Any chance you have an idea of how many of these beings lurk around here? This is getting tedious. And it's a waste of my time."

#[ threads :: Evil Morty ]#&& Marsha Abadeer #[ v. Through the looking glass ; post s5 verse :: Evil Morty ]#diiistcntlcnds #[[ this is from forever and a half ago but ]]#[[ I've finally got it done !! ]]#[[ lmk if i need to edit it! ]]#[[ also if you lost interest in writing this thread that's fine ]]#[[ no need to reply to the starter! ]]#[[ just lmk please ^^ ]]

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cow-dyke · 1 year

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Marsha P. Johnson (1945-1992)

“As long as gay people don’t have their rights all across America, there’s no reason for celebration” -Marsha P. Johnson

(Content Warning: Transphobia, homophobia, hate crime, assault, illness and death.)

Marsha “Pay it no Mind” Johnson was a Black-American LGBT activist and a well-known participant of the Stonewall Inn uprising. She self-identified as a transvestite, gay person, and drag queen. Although Marsha never used the term “transgender” to describe herself (as the word was not popularized till after her death), she is recognized as playing an essential part in transgender liberation with her gender-non-confirming presentation and advocacy for including marginalized people — such as trans people, people of color, incarcerated people, homeless people, and people living with HIV/AIDS — in the LGBT movement.

Marsha was born the fifth of seven siblings in Elizabeth, New Jersey on August 24, 1945. She grew up in a working-class, African American household that held Christian religious beliefs; Marsha herself was a practicing Christian from life til death. She continued to maintain her relationship with her family even after moving away. She graduated in 1963 from Thomas A. Edison High School and then enrolled in the United States Navy.

Since the age of five, Marsha enjoyed dressing in feminine clothing but felt pressured to stop doing so because of the stigma surrounding cross-dressing. Marsha was even bullied and harassed by other children because of it. It wasn’t until she moved to Greenwich Village, New York that Marsha returned to dressing feminine and took on the name Marsha P. Johnson. She provided service to the LGBT community as a drag mother who assisted homeless LGBT youth.

As a queer person, Marsha had a hard time finding employment due to the persecution of gay people’s existence and limited rights to the LGBT community. Therefore, she had to turn to sex work for money. This was dangerous as full service sex workers like Marsha were often faced with violence by clients or arrested by police. She also worked as a drag performer with the group “Hot Peaches” and stated "I was no one, nobody, from Nowheresville until I became a drag queen.”

A turn of events came into Marsha’s life when the Stonewall Inn riots happened on June 28, 1969. Police would often raid gay bars since same-sex relations were illegal and shut down places that served alcohol to LGBT people. As usual, police began raiding the Stonewall Inn bar on Christopher street but this time would be different. Filled with anger, when the residents of the neighborhood saw an officer hit one of the lesbians and manhandled her into the police car, they began fighting back by throwing objects at the officers. Soon, a whole riot started between the protesters and police where the officers barricaded themselves inside while the protesters threw fire at them. Marsha, alongside Sylvia Rivera (another trans person and activist), arrived at 2am to this site and fought back on the front lines. Many stories have been told surrounding Marsha’s role during this riot but what we do known is that she played an important one.

After these events, a fight for gay liberation rose. The first ever Pride Parade was held in 1970 with support from gay right organizations such as the Gay Liberation Front. With that, both Marsha P. Johnson and Sylvia Rivera founded Street Transvestite (now Transgender) Action Revolutionaries (or STAR). This organizations was made to house homeless transgender youth. The purpose was to create a safe space for transgender individuals as many of them had been shunned by their families. This was very personal to Marsha since she herself had experienced homelessness. One thing that concerned Marsha was the exclusion transgender and LGBT people of color faced from the gay liberation movement. This was a step towards including minoritized individuals into the community. Sadly, the group was eventually evicted from their house which went from the back of an abandoned truck to a rundown building.

Marsha soon became a popular activist for the gay rights movement. People like Andy Warhol — an American pop artist — caught her attention and created art of her in a series entitled “Ladies and Gentlemen.” In 1972, she was interviewed to discuss gay rights where she advocated for gay people who were incarcerated. In 1980, she was even invited to be on the lead car of the Gay Pride Parade. In spite of this, Marsha experienced physical and mental health issues. As a sex worker, she was diagnosed with HIV in 1990 but didn’t hide it. Instead, she used her voice to speak up about the ideas surrounding AIDS and encouraged people to not be afraid of those living with HIV/AIDS. Marsha also struggled with mental health breakdowns throughout the 1970s and spent some time in psychiatric hospitals. This still didn’t stop her from continuing her activism for the LGBT community.

Marsha died on July 6, 1992 as her body was found in the Hudson River. Her death was ruled as a suicide, however, many people were suspicious as Marsha was not suicidal and believed it to be a hate crime. It was then ruled as a drowning. Many people in the LGBT community were angry as the police wouldn’t further investigate her death. It wasn’t until 25 years later that Victoria Cruz — a Puerto Rican-American LGBT activist and former domestic violence counselor — re-opened the case. Hundreds of people showed up for Marsha’s funeral as they crowded streets.

Marsha is now seen as a symbol for transgender liberation and is honored as a monument in Christopher Park. Today, we remember Marsha as a trailblazer for for LGBT rights.

Rest in Power Marsha.

“History isn't something you look back at and say it was inevitable. It happens because people make decisions that are sometimes very impulsive and of the moment, but those moments are cumulative realities” -Marsha P. Johnson

#marsha p johnson #lgbtqia #transgender #gay #lgbt history #shay writes

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thatzenithnerd · 1 year

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Are you still obsessed with a poorly-made children’s movie from 2006? Are you a fan of tropey romance and the found-family idea? Would you have enjoyed a proper backstory given to some of the minor characters? Do you like to read? Well have I got news for you! Coming soon to AO3 will be a completed, in-depth rewrite of Zoom, featuring the same cast (plus one or two original characters), same dialogue (plus waaaay more), missing scenes, a critical backstory, angst, and a focus on romance. Stay tuned for the over-dramatized version of Zoom: The Second Coming (just as Jack Shepard himself would have preferred it told).

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campaaronapollo · 11 months

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#Marsha Vanwynsberghe #When She Stopped Asking Why #Substance Abuse #Parenting #Author #Book #Writing #Interview #Podcast #The Heartland Author Podcast #Memoir #Nonfiction #Spotify

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dimxndsareforever · 1 year

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"Your favourite memory of Benji on college?"

"My most favorite? Oh I have so many. But I guess I can share one since you asked so nicely..."

It was a few weeks after we met. I was still a closed off young woman struggling to find her way in this strange new land and he was a helpful and persist you g man who wanted to be friends. I let him stay around because I saw the use for someone like him. Mainly for holding my things.

But one day as we spoke I mentioned I have never been to the beach. As a young girl I dreamed of going to a beach. But.... but I have got a chance. I will not explain why. But Benji must have remembered because a few days later he pulls me out of class and drives me out off campus without so much as a explanation. He had me curious.

But when I saw the sands and the sea. My heart soared and my lips could not stop smiling.

He was smart enough to pack us both swim wear and towels. It was my first time out in public in a bikini so I was nervous. I could tell he likes what he saw but he was a gentlemen and helped me be less scared.

We had the beach to ourselves and we had the greatest day ever. We played in the water. We swamn despite I can not. We build sandcastles and had a picnic.

That was the day I felt a spark in my heart for the boy. A spark that grew into my eternal flame of love for him. And I will treasure everything he ever has done for me.

#anon answered #benjinielsen #i loved writing this #thank you so much #anyone else want some backstory?#please ask away!#young marsha #marsha x benji

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even-if-in-another-time · 1 year

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HAHAHAHUAHAHA MAKING HOMOPHOBIC TEACHERS SUFFER>>>>>

#for international womens history month we essentially just got to fuckin. pick A Woman to write an essay on #and i of course chose marsha p johnson #so i get to write an essay about her and watch my awful transphobic english teacher implode #can’t wait

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sinditia · 2 years

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Starkercest Fic - Father's day edition

Server prompt by @starkly : Dubcon starkercest, once again porn inspired. Peter's ex is saying Peter will never be able to find someone other than them, and Peter wants to disprove that But... Peter doesn't have a boyfriend.... What he does have though is his dad, fast asleep in the other room.... He could pull down the blankets and his pants and take some selfies sucking dick, that would show his ex they're wrong. They don't have to know the dick belongs to his sleeping father

Additional warnings: 17-yo-Peter. Quentin Beck being a gaslighting shithead.

Word Count: 2.5k

Peter Stark storms through the penthouse, fuming, angry tears still prickling his eyes.

Quentin, that fucking asshole.

It’s a party. Peter had a few solo cups of plain Sprite in him and he needed to find a bathroom.

The door wasn’t even locked. That’s how little Quentin cared about getting caught. Peter pushed it open to find his boyfriend standing there with his dick in another girl’s mouth.

Neither looked particularly sorry. The girl just said, “whoops” then straightened her skirt and slipped out of there, leaving the two alone.

Quentin tucked himself back in, just sighing as he continued leaning against the bathroom counter like Peter had just deeply inconvenienced him by interrupting.

“What the fuck?!” Peter finally said, voice pitched a little too high and pathetic to be righteous.

Quentin sighed again. “Babe, look-“

“Don’t fucking call me that!”

“What the hell did you expect me to do, dragging me to a high school party?”

“Oh, I don’t know, not stick your dick in some-”

Quentin scoffed. “What, it’s not like you were gonna do anything about this.” He gestured offhandedly at his crotch. “I told you we should go to my place instead of this stupid party.”

“I wanted you to meet my friends!”

“And sit in a corner and talk about Legos or Star Trek or whatever all night? You’re not even drinking. Jesus, Pete, I had no idea you’re such a kid.”

Peter blinked, eyes burning. He’s not… But Quentin said…

“Look around, Pete. All the other seventeen-year-olds in here are having sex. Meanwhile you’re just sitting there, a bunch of sad virgins talking about nerd-shit.”

“I- I’m not,” Peter stammered, “I’m not a virgin. I’ve had sex with… with-”

“With me?” Quentin finished, pitying and mean. “When you just laid there like a starfish and made me do all the work? That could barely be called ‘having sex’. My left hand does a better job getting me off than you.”

Peter blinked faster, tears starting to well up.

“Aw, baby,” Quentin cooed, but it sounded unkind, demeaning. He reached forward and cupped Peter’s cheek. Peter flinched but couldn’t muster the strength to push the other man away. “You know, that’s why I wanted us to go to my place tonight, work on your technique, get you a little better at it. But then you forced me to come here…” Quentin shrugs, pulling away.

Anger started to blossom under Peter’s hurt. “Are you actually trying to make it seem like it’s my fault you’re cheating on me?”

“Peter,” Quentin says, exaggeratedly all-patient like scolding a child, “when one person in a relationship can’t fulfil the other’s needs, it’s only natural that they look for it somewhere else. I think you should take this as an opportunity for self-reflection, some self-improvement. Don’t worry, baby, I can help you get better.”

Peter bristled. “You’re insane if you think I want anything to do with you after this. We’re over.”

“Oh sure, I’m insane.” Quentin actually laughed. “Babe, I’m the only one reasonable and understanding enough to actually put up with you. You think you’d actually find anyone willing to come near you, let alone fuck you?”

Peter wanted to punch Quentin square in the face but the tears were also threatening to fully cascade down his cheeks now so he did the only thing he had the strength to do.

He ran. He left the party and went home, his ex-boyfriend’s callous laughter and cruel eyes echoing in his mind.

“Dad!” Peter’s cry echoes through the quiet, dark foyer. He sniffles as he wanders the penthouse, wanting his dad’s strong arms around him. Tony is always there for his son, ready to comfort him whenever he’s upset. “Daddy, where are you?”

Peter finds the door to the liquor cabinet hanging open and a half-empty Glenfiddich sitting on the counter. He sighs sadly. His father’s been drinking. Judging from the silence replying his calls, Tony is probably passed out somewhere.

Peter heads to his dad’s bedroom, opening the door slowly as he peers inside. Tony’s room is never locked. Peter is always welcome to come inside, slip under the covers at night and sleep with him whenever he needed comfort. Nightmares and thunderstorms don’t seem so scary when he had his dad’s warm, protective body curled around him.

Peter’s feet are quiet on the carpets as he steps inside the bedroom. Through the darkness he sees an empty glass on the bedside. Tony is fast asleep, shirtless, but Peter knows he’s wearing boxer briefs under the blankets covering him from the waist down. That’s how his dad usually sleeps, even when he’s wasted.

Peter climbs into the bed, the king-size having plenty of space for him. He snuggles close, taking in his dad’s natural, musky scent under the faint remnants of sandalwood cologne and the boozy scotch in his breath. Peter feels better already though he wishes his dad would hug him, squeeze him tight and tell him everything would be alright in his low soothing voice.

“I had a bad day, Daddy,” Peter whispers to the slow heaves of his dad’s bare chest.

Tony doesn’t answer, still out cold.

Peter sighs, restless. He takes out his phone, intending to text his friends, apologize for taking off so suddenly, but sees a text from Quentin instead.

let me know when you’ve come to your senses. I’ll help you work things out.

Peter buries his face in the pillows and stifles a scream. That fucking sociopath really thinks he’s god’s gift to humanity, like he’s doing Peter the world’s biggest favour by being with him. Like there’s no other choice, like Peter won’t find someone other than him.

Is he right? An anxious little voice in Peter’s brain keeps asking. The only guy who’s ever shown interest in him is Quentin. He’s never dated anyone before him. What if he never dates anyone ever again?

Peter whimpers unhappily, pressing his face into the muscle of his dad’s shoulder. If Tony was awake, he’d say all the right words to make Peter feel better. He’d understand Peter’s feelings even if he can’t relate to them.

Tony was a notorious playboy back in the day. Even now, Peter has seen enough people throwing themselves at his dad. He can’t really blame them. Tony can wear a three-piece suit like no one else. He looks powerful and capable, beautiful and expensive. Unlike his son, Tony can have anyone he wants. But his dad has never taken up any of the offers, not since Peter’s mother ran off. It pleases Peter, secretly. He doesn’t want to share his perfect dad with anyone else.

His perfect dad.

Peter studies Tony’s sleeping face. So handsome. Peter wonders if he’ll grow up to look like that, with those strong brows and chiselled jaw and impeccable facial hair. Peter takes more after his mother, it seems. Soft freckles, small nose, thin lips. Peter does share his dad’s brown eyes and dark lashes though. That’s Peter’s favourite feature of himself, the part that shows he belongs to his dad.

Peter traces a hand down his dad’s chest, admiring the contours of his pectorals, down to the hint of abs covered by a healthy pudge that Peter shouldn’t find so, incredibly attractive. He follows the captivating trail of dark hair that goes down, down, until it hides from Peter’s view under the waistband of dark red boxer briefs.

How many people have followed this path ‘til the end? Peter wonders, feeling coarse hairs through the thin fabric. How many people have seen where it goes?

Peter’s own situation down there isn’t much to look at. Barely any hair, unimpressive cock even when fully hard. Peter’s face burns with humiliation. No wonder nobody wants him.

Hell would freeze over a million times before he gets back together with Quentin though. Peter would rather be alone forever. He just wishes there was a way to get back at him, show that smug-faced asshole that Peter can do so much better. That someone out there wants him.

Peter realizes belatedly, that he’s been touching his dad’s… his dad. Down there.

Peter’s eyes flick up to his dad’s face but he’s still fast asleep. Tony makes a soft sound and shifts his hips but his eyes remain closed. A different part of him is waking up though. The part that Peter touched. The part that Peter is still touching.

It grows. Firmer. Bigger. Until the tip is straining against the waist band.

And Peter is still touching it.

Now here’s a cock that wants him, Peter thinks, giddy at the thought that he can have an effect like this to a man as incredible as his dad. Wish Quentin could see this. That’d show him.

Peter could, though. He could show him. The phone is back in his hand before his brain catches up with him. His other hand hesitates only slightly before tugging the waist band of his dad’s boxer briefs down.

Oh God.

His dad is magnificently hard, impressively large, the most beautiful cock he’s ever seen, in real life and in porn. It feels natural for Peter to wrap his fingers around the length, give it a stroke, like it’s exactly what he’s supposed to do, like he’s made for it.

Tony sighs in his sleep, a content sound. His expression is slack, mouth curled into a slight smile like he’s having a nice dream. A slight twist on the upstroke has a bead of pearly liquid emerging from the tip. Instinctively, Peter leans down and laps it up. It’s a salty burst on his tongue and he moans at the taste, while Tony grunts and bucks his hips.

Peter grins, pleased. Okay, sure, he’s always been a little bit of a daddy’s boy, always eager to please. He works hard at school, gets good grades, all so he can come home and show his dad, see those eyes light up with pride. When his dad comes home from work all tired, Peter likes to rub his shoulders, make him feel better, and his dad would hold him, kiss him, tell him he’s the best. Peter loves making his daddy happy.

And Tony isn’t just Peter Stark’s dad. Tony Stark is a man. A handsome, wonderful, perfect… sexy man. And Peter is making him feel good.

Take that, Quentin. Peter opens the camera app on his phone.

Careful not to let Tony’s face in the frame, Peter angles the lens so that it catches his face, right above the man’s hard cock. Oh wow, his dad looks so big in Peter’s small hand. Peter clenches low in his gut at the sight of it. Peter puts his mouth on the shaft, licking, lapping up and down, clicking the shutter the whole time.

“Oh fuck.”

Startled, Peter looks up, fearing that he’s caught.

Tony’s eyelids flutter but don’t open. He’s still breathing deeply, albeit a little faster. He’s still asleep.

Peter huffs, relieved. He checks his photo gallery to see if he’s gotten some good shots.

“Mmm, baby…” Tony whines in his sleep, pelvis twitching against the cold air.

Peter stifles a giggle. “Sorry, Daddy,” he whispers, more apologetic about leaving his dad hanging than actually taking advantage of him.

Peter changes positions so that he can see his dad’s face while he’s doing this. Peter suckles the tip, lapping up any pre-cum that’s slipped out, before sinking down to try and take the whole length into his mouth. Tony is so big though that he’s hit the far end of Peter’s mouth with only half of it inside.

Peter bobs his head, getting a little more in deeper every time but never quite bottoming out so Peter strokes and rubs the part that he can’t fit into his mouth. Tony lets out a heavy sound each time Peter sinks down on him, hips twitching, abs flexing, chasing the pleasure his son is giving him. Peter is getting hard now too, turned on at the thought of making his daddy feel good. He squirms on the bed, grinding his achy, little cock against the mattress.

Peter fumbles for his phone, wanting to capture on camera the way his dad wants him, wanting to show off to his bastard of an ex-boyfriend just how fucking skilled and desirable and sexy he is. How it’s Quentin’s not Peter’s loss that they broke up and-

Peter chokes in surprise as two large hands wrap around his head and pushes him down, forcing the cock in his mouth to slip down his throat. There’s deep groaning sounds from the direction of the headboard as Tony starts thrusting into his son’s mouth, hard and fast. Peter drops the phone, only able to hang on to his dad’s thighs helplessly as he’s face-fucked within an inch of his life. The spill of thick, bitter cum in his mouth is sudden and brimming and while Peter’s throat convulses on instinct to swallow, some still escape his lips and drip down his chin.

Peter pulls off as soon as he feels the grip on his head relinquish.

“Daddy?” Peter coughs, voice raspy and breathless. He looks up but astonishingly, Tony continues to sleep, snoring softly. Peter lets out a giggle, a little hysterical with relief and the absurdity of it all.

Peter rummages the bed for his phone and finds it, looking at himself through the front camera. There’s cum – his dad’s cum – on his face, painting his lips, smearing across his cheek. It looks fucking good on him.

Peter leans down to take a selfie of his cum-splattered face right next to his dad’s spent cock. He sticks out his tongue to scoop up some leftover cum from the tip of that softening cock and takes a photo of that too. Yeah, he looks good like that. That one’s his favourite, he thinks. He sends that photo to Quentin.

let me know when you’ve come to your senses. I’ll help you work things out.

work THIS out, shithead, Peter replies.

this was supposed to be about 6k, then things happened and i lost steam. so there may be a second part to this where tony catches peter doing it again and i wrote like half of it already. i'll pick it up again if i get my zeal for writing back.

#starker #marsha writes #starkercest #tw dubcon #nff

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tchistorygal · 1 year

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The Write Photo with a Cuppa

Do you ever sit over a cup of coffee and go through photographs. I do it all the time when I blog. This week I’m inspired to combine K.L. Caley’s WritePhoto Challenge using the poetry forms I learned from Tanka Tuesday’s Colleen Chesebro to meet Natalie the Explorer’s for this Weekend Coffee Share. I think Natalie might enjoy this exploratory trip down an abandoned alley. The picture is far…

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#Tanka Tuesday #Alley #Alwayswrite.blog #Marsha Ingrao #Natalie&039;s Weekend Coffee Share #Poetry #Write Photo

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a-vampire-culturelover · 2 years

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Something about Benjamin- a vampire Oneshot I made thanks to a prompt made by @otpcompendium

TW blood

If you were to tell Marsha that her best friend and roomie, Benjamin, was dead in an alley and suddenly revived, she would have called you crazy, done a backflip, and rode off into the sunset to go make dinner for her and him. Currently if you were to say that to her, then she might believe you. The only thing on the news for the small county she lived in was that a serial killer had been caught and taken to court for presumably killing someone in an alleyway- the same alley Benjamin took his afternoon walks at. He wasn’t home to kiss her goodnight, and assuming the worst she called the local olive station 7 times to check on them and investigating her missing partner. Knowing that a serial killer was caught in that same alley-for killing someone- Marsha mourned all night thinking he was dead. The strawberry blonde she cares for was gutted in an alleyway and she’d never see him again. At 4 am she opened the door to see him there, perfectly fine, except for a bloodstained shirt. ”BENJAMIN!! FUCKING HELL, I THOUGHT YOU WERE DEAD!” Marsha screamed as she hugged her partner and cried in his shoulders, not noticing the missing pulse or cold skin. - - - - - - - - - - - - - - - - - - - - - - - - - “Benjamin?” “Yeah Mar?” why are you wearing a hoodie in 90 degree weather and covering your pretty eyes?” Marsha asked. The next day she decided they could go out for lunch to calm their nerves after their false-alarm. Benjamin had been acting weird that morning, hissing in pain when he tried to pick up his silverware for the eggs Marsha made. She had just racked it up to him being paranoid, but still it unnerved her pretty bad. “I. Um. C-can’t a guy be fashionable?” Benjamin lied, smiling a sealed mouth, something poking out of his mouth just barely. Strange. “Thats fine, but don’t go emo, ok?” Marsha said as their meals came, Marsha digging into a parfait; Benjamin barely touching his pasta, looking nauseated. “Are you feeling alright, Benjamin?” Marsha asked. Benjamin suddenly got up from their table and rushed to the bathroom, his stomach writhing in pain as the smells and loud noises confused and terrified him. The smell of the disgusting, suddenly unappetizing food everywhere in the cafe made his stomach twist and throw up, quickly flushing it down once realizing 'oh my god I just threw up my fucking blood' Marsha, knocking on the door, snapped him out of his thoughts, hiding his fangs and cleaning up before she opened the door. ”Benjamin are you ok..?” Marsha asked, concerned for Benjamin as he sped-walked out of the bathroom and restaurant back home, acting like it never happened. “Yeah, just..can’t stand garlic am I right?” He smiled weakly, Marsha getting a glint of tiny baby fangs. - - - - - - - - - - - - - - - - - - - - - - - - - Maybe she should have seen the signs. 1. His new disdain for garlic. Or just about any food. He’d say he wasn’t hungry, but the constant grumbling of his stomach contrasted. 2. he had no reflection anymore, 3.He was cold to the touch, colder than he should have been. 4. The fucking fangs. Marsha wanted to call her brother Milo. Well, she needed to, because Benjamin had left the apartment 2 hours ago and wasn’t picking up his phone.

“Hello?” Milo groggily asked on the phone all the way from him and Marsha’s birthplace, Ireland. ”Milo. It’s me, Marsha.” ”Oh right! How’s it going bro- I mean sis! How are you doing lil’ sis?” Milo corrected himself as Marsha rolled her eyes. ”So I think Benjamin got turned into a vampire and I don't know how to break it to him. Honestly it seems like not even he understands that he's probably turning into the bloodsucking undead judging by this morning when he kept trying to pick up his fork, burned his hand a bunch, and then got confused and had to use his sleeves to pick it up." "Marsha I have no fucking idea what to tell you. I don't know, fucking maybe just ask him if he knows? Has he killed anyone?" The last thing Milo heard before Marsha dropped her phone onto the soft confines of the bed was "Oh, shit."

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"Benjamin! Benjamin where are you!" Marsha yelled out into the Alleys as she looked for him, gripping her flashlight tightly out of fear. He can't have gone far. She couldn't just let him kill someone? Who would hide the body? What would he think of himself? Marsha refused to think of such things.

She had to stop him from killing someone. Turning a right in the alleys she saw Benjamin hunched near a dumpster, completely hidden from the open street on the other side of the alley. She heard a tearing noise as she saw Benjamin digging tiny fangs into a still-living possum's torso, a sickening crunch and dying squeak as it finally died, and he stopped feeding from it.

"Benji? Y-you still in there, bud?" Marsha asked out of fear as he gave a small hiss, bearing tiny fangs, before calming down slightly and panicking, dropping the rat and panicking to get the blood out of his mouth.

"WhatdidIdowhatdidIdoWHATDIDIDO?!" He shrieked to Marsha as hit his head on the brick wall and burst into tears, holding the dead rat in his hands like he just lost a prized pet, a best friend even. Well, he did have a pet rat when he 10, or so he had told her when they first started dating. Her benji always loved animals and the way they behaved.

"H-hey, Benji it's okay. It'll be okay, you didn't hurt anyone at least?" "Im still hungry? Why am I still hungry?" Oh shit. She wasn't expecting that.

She did have..one idea. But not out here, it was too risky. She wasn't even sure if he would say yes. "Lets go back home. Maybe we can work something out." Marsha assured Benjamin, picking him up and dragging him back to the apartment as he got comfortable and began purring. Back at their apartment, Benjamin and Marsha cleaned up, his hoodie in the wash due to stains from rat blood. Benjamin was still crying about the rat, muttering about how it had so much to live for. Okay, maybe animal blood might not work out. "So, what was that idea you said you had Mar?" "Well, I figured that you can't get anything from animal blood, hence why you're still hungry even after eating that rat. You obviously don't want to kill people and drink their blood, obviously, so my proposal is.." "Is what?" Benjamin asked, not liking where this was going.

"I..think maybe you could use me as a blood bag." Marsha said as blushing red enveloped her face. Benjamin, instead of being shocked and frantically trying to get the thought of biting into Marsha's neck out of his head, looked to Marsha with blown-out pupils. "Y-you'd let me?" He meekly asked, Marsha nodded as she sat down and yanked down the collar of her neck. "Anything to keep you from going nuts and eating some guy." Marsha tried joking as Benjamin bit down and started chugging, hunger consuming him and purring rumbling through his throat. 'Ow, ok, this hurts a lot more than it looks' Martha thought to herself as her partner eventually let go and stopped feeding, wiping his mouth and giving the bite mark a good lick as it scarred over. "Thanks, Martha. You're a life saver." Benjamin smiled as she finally showed his teeth fully, no longer bearing teeth out of instinct. She felt lightheaded due to the blood loss, but couldn't care any less as he partner was no longer starving and feral anymore. "Anything for you, Benji." .... "Wait. Did you just start purring??" "NO I DIDN'T!" And by the end of the night, Benjamin was nicknamed "Little mew mew" by Martha, falling asleep on the couch while Lost Boys played in the background. --- - -- - - - - -- - -- -- -- - - Well I hope whoever is reading this enjoys it! My first time using a writing prompt to make a short story, let alone with two new little characters! I might make another little Oneshot for this if I get the chance, but let me know what you think and make sure to reblog this!

#vampires #vampire oneshot #oneshot #angst and fluff #fluff and angst #original characters #writing prompts #vampire prompt #in case it isn't obvious Marsha is trans!

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