Horrorwood Issue 1

HORRORWOOD ISSUE 1: CARN-EVIL FINAL VERSION Written by: Brandon Terrell Illustrated by: Brent Schoonover

Brandon Terrell [email protected] 651.341.6556

PAGE 1 SPLASH PAGE: MANOS, a magician wearing a long cloak and a top hat, stands in front of a seedy bar. The neon sign reads: Lost Dreams. Fitting. CAPTION: Hollywood. The 1950s. PAGE 2 & 3: A two-page spread. PANEL 1: One man sits at the bar, behind which stands a redhaired woman. This is SOPHIA. SOPHIA Come on, Bobby. You gotta haul on out of here. I don't wanna have to carry you again. BOBBY (slurring, drunk) Hmmph...one more... PANEL 2: Sophia points at him, lecturing. SOPHIA You know Frankie'd kill me for serving you in the first place. You don't wanna see me get fired, do ya Bobby? PANEL 3: Drunk Bobby looks unconcerned. BOBBY Don't give...a rat's ass... PANEL 4: A close up of Sophia. SOPHIA Hurts my feelings, Bobby. And I always thought you cared. PANEL 5: The door opens, and Manos stands silhouetted in its frame. SFX: BOOM! PANEL 6: Drunk Bobby and Sophia both turn to eye up the stranger. Sophia looks annoyed. BOBBY Huh...? PANEL 7: Manos enters, approaches the bar. Sophia points back to the door.

2. SOPHIA Huh-uh. Sorry, Mr. Grand Entrance, but we're closing up for the night. Take your business elsewhere. PANEL 8: Manos has sat at the bar. MANOS Quite all right, my dear. I do not seek your libations. I bring my own. PANELS 9 & 10: With a flourish of hands, Manos produces a glass on the bar, filled with liquid. SFX: Poof! PAGES 4 & 5: Another two page spread. PANEL 1: Drunk Bobby is impressed with Manos' skills. BOBBY What the...? That's...that's nice. PANEL 2: A three shot of the occupants at the bar. SOPHIA Well, ain't you Charles Carter. Look, Frankie ain't here. He's in Tijuana doin' God knows what, and I'm closing shop. Don't make me have Bobby here escort you out. BOBBY Escort...? MANOS Ah, Sophia...how you have grown. SOPHIA Do I know you? PANEL 3: Sophia wipes down the bar. SOPHIA You ain't some autograph seeker, are you? Had enough of those nuts. I'm not an actress anymore.

3. MANOS No, I used to bounce you on my knee. SOPHIA Yeah, well now that'll cost you around fifty bucks. An extra hundred for spanking. PANEL 4: A close up of Manos. MANOS My, how the weight of the world has crushed you, child. You were but a toddler when last I saw you. PANEL 5: Close up of Sophia as she listens. PANEL 6: Sophia has turned to the till as they continue their conversation. SOPHIA Yeah, well, I've done a swell job of forgetting my childhood, so you'll have to forgive me for not recalling some creepy magician from my past. Now, if you'll excuse me, I'm closing this bar up. So you'll have to reminisce outside. MANOS Actually-PANEL 7: Sophia, her back turned to Manos, is reflected in the mirror behind the bar. Manos' reflection stares at her. MANOS -- I'm looking for your father. PANEL 8: Sophia and Manos face off. SOPHIA Tough. MANOS Tough? SOPHIA Tough luck, mystery man.

4. MANOS Why? Is he dead? SOPHIA Your guess is as good as mine. MANOS Curious. PANELS 9-11: Manos' hands dance, and the glass has once more disappeared. PANEL 12: Sophia, infuriated, points to the door. SOPHIA I'm gonna ask you kindly one last time, but get the hell out of my bar. Go now! PAGE 6, PANEL 1: Manos stands to leave, Sophia with her back turned to him. MANOS I'll go, as I did not intend to upset you. But I will not be far. The Farrington Brothers Carnival is in town. I love its light, its electricity, the way it brings out the childish imp in the young and young of heart. PANEL 2: A close-up of a calling card. On it can be read: Manos. Trades in Magic. PANEL 3: Manos walks out, the card in Sophia's hands. MANOS Here---I'll be indulging in some childish whimsy of my own tomorrow evening. If, by some odd coincidence, you do see your father, tell him I require his assistance once more. PANEL 4: Manos is by the door now, his words reaching back into the bar.

5. MANOS Just to make sure nothing is... out of place, shall we say? PANEL 5: Same panel, but now Manos turns back to address Sophia. MANOS Of course, you and Roger are also cordially invited. Farewell. PAGE 7, PANEL 1: Sophia is rocked to her core. Her hand covers her mouth. SOPHIA (whispers) Roger? PANEL 2: She rushes after Manos. Bobby holds up his mug. BOBBY Soph...my drink? SOPHIA Wait! Stop! Stop right there you son of a-PANEL 3: She bursts through the door. PANEL 4: A large panel. Sophia stands in the street, alone. Manos has disappeared into the night. SOPHIA -- bitch. PAGE 8, PANEL 1: A long shot of an abandoned studio backlot. Faded signs on the dusty walls read: King B Studios. A truck drives towards the gate. PANEL 2: The truck rumbles past the closed gate. PANEL 3: Signs display defunct projects, as the truck motors further into the studio. PANEL 4: Sophia sits behind the wheel of the truck, which has stopped in front of a large door marked: Stage 3A. PANEL 5: Sophia's reflection in the rearview as she musters up the courage to exit the vehicle.

6. SOPHIA (mutters) Can't believe I'm doin' this. PAGE 9, PANEL 1: The gates of a freight elevator. A sign proclaims it to be the third floor. PANEL 2: Sophia pulls aside the metal doors. SOPHIA Uuugghhh. Pierce?! SFX: CCRRRREEEAAKKKK! PANEL 3: Behind Sophia, some sort of creature lurks in the shadows. She either does not see it, or is not fazed. SOPHIA Hey Pierce? You here? 'Course you're here. PANEL 4: She moves into a room. SOPHIA Where the hell...? PANEL 5: A close up as she turns on the lights. SFX: Click! PANELS 6-8: Legs dangle back and forth, off of the ground. PANEL 9: Sophia looks unimpressed. SOPHIA There you are. Hello, Pierce. PAGE 10 SPLASH PAGE: A man in glasses with a mustache, PIERCE JACKSON, hangs from a noose. From some reason, he is fine, though. PIERCE Um, hello Sophia. I wasn't...wasn't expecting you. PAGE 11, PANEL 1: Pierce speaks to Sophia as he dangles from the noose. PIERCE Oh, well, impeccable timing. Impeccable. Stool up and capsized.

7. Hadn't rightfully figured, if it fell, how I'd have gotten...gotten down. PANEL 2: Sophia sets the stool up under his feet. SOPHIA This another one of your patented tricks? PIERCE Yes. It's something I've devoted time to. Yes. It's remarkable, really remarkable. PANEL 3: A long panel, in which Sophia hands Pierce the calling card. We see a number of props and effects littering Pierce's workspace. PIERCE Hides beneath -- this extra bit of rope -- behind the back of the, well, the victim. Heightens believability. Quite an effect. Quite an effect. SOPHIA And how exactly does that benefit you in here? It isn't like studios are knocking down your door, Pierce. PIERCE You appear...not amused. SOPHIA Observant. Thought you should have this. Here. PANEL 4: Close-up. Pierce studies the calling card. PANEL 5: Sophia blows smoke from a lit cigarette. SOPHIA An old chum of yours swung into the bar last evening. Ring any bells? PANEL 6: Pierce looks at the card, which he has propped on the gruesome torso of an a prop alien, guts and all. PIERCE He came looking for you? Manos? Why?

8. SOPHIA No. You. I told him I didn't know where you were, though I doubt he bought it. Never was much of an actress. He wants you to assist him. PIERCE No! PAGE 12 & 13, PANEL 1: An overhead as Sophia and Pierce speak over the alien body. SOPHIA No? PIERCE No. I will do nothing of the sort. SOPHIA Well ain't that a shocker. PANEL 2: Sophia has picked up a small sphere as, over her shoulder, her father has picked up the calling card. SOPHIA Pierce Jackson, effects wizard, locked away in a ratty old warehouse on a studio that went bankrupt, playing with his gizmos. PANEL 3: Close-up. Sophia examines the sphere. SOPHIA So you ever plan on rejoining the real world, pop? I mean, do you venture out at all? For food? Clothes? PANEL 4: Pierce swipes the sphere out of Sophia's hands. PIERCE Yes Sophia, but I am -- I am perfectly content to work here, it's my passion and -- Be careful! Dammit Sophia, this -- Manos -- has nothing to do with you. PANEL 5: Pierce examines the sphere.

9. PIERCE Fragile, everything's so fragile. You're, you're like your mother. Never understood my life, my work. Passion. My passion. PANEL 6: Sophia drops her cigarette, gets ready to leave. SOPHIA Well, hiding away in here doesn't do you a lick of good. Besides, he said something about Roger. He may know about Roger. PIERCE (O.S.) Who's Roger? PANEL 7: Long panel, a series of locations as Sophia makes her way towards the door, with Pierce following. SOPHIA Who's Roger? Pierce, you met Roger. Remember? You know, that guy that stopped by and, I don't know, asked you if he could marry me. PIERCE Oh. Oh yes. SOPHIA Forget it. And I'm the one with the understanding problem. If you won't face him, I will. He said something about the carnival. Maybe I'll find him skulking about there. PIERCE No. You cannot go. SOPHIA Stop me then. Better yet, follow me. Come on. PIERCE Sophia, I order you to stop. That man, that man is nothing but...trouble. Pure trouble. SOPHIA Too little, too late.

10. PANEL 8: Sophia stands in the doorway, infuriated. SOPHIA Acting like a father doesn't suit you well. It never has. Goodbye, Pierce. Have fun with your doohickeys. PANEL 9: Pierce stands alone, bathed in the light of the elevator. SFX: SLAM! PAGE 14, PANEL 1: A man stands before a podium. He holds his hand out to silence an unseen crowd. This is THE FATHER. THE FATHER Welcome, sons and daughters. PANEL 2: A close-up of The Father. CROWD (O.S.) We are blessed by your presence, Father. THE FATHER It is a glorious night, and there is much to do. Your Father has brought you here this night to prove your worth and to test your loyalty. By the purging of the abnormals, your Father will determine your faith and love. PANEL 3: The Father raises a fist above his head. THE FATHER This city needs us, children. To cleanse it. Your actions in the following hours will test your resolve. But be strong. For together, we well prevail. PANEL 4: He slams his fist into the podium. THE FATHER My children, my faithful children---Let us wash our hands clean, and be free of sins.

11. PANEL 5: We see the crowd, and it is large. All of them wear the same black hooded cloak as The Father. THE FATHER In your Father's name... GO! PAGE 15, PANEL 1: A long shot of a carnival, filled with tents, games, and rides in the background. Random unseen vendors shout to passerbys. VENDOR #1 Over here! Step right up. Look at how easy it is! VENDOR #2 Easy winner! Three throws for a dime! VENDOR #3 Break three plates, win a prize for your dates! PANEL 2: Standing amongst the crowd is Sophia. VENDOR #4 As simple as that! Win your lady a teddy bear and win her heart! PANEL 3: A close up of Sophia. Behind her, a man in a plaid suit, SEAMUS O'MALLEY, stands atop a stage. He calls to the onlookers. O'MALLEY Come one, come all! You won't believe your eyes! PANEL 4: We move away from Sophia, and close in on O'Malley as he goes into his spiel. O'MALLEY Step right up, and dare yourself to enter. Just two bits, twenty five cents, and you will see-PANEL 5: O'Malley, holding a cane, gestures wildly. O'MALLEY The rarest of rarities, the oddest of oddities! Fine citizens, I bring you...SEAMUS O'MALLEY'S SIDESHOW OF MYSTERY!

12. PAGE 16 & 17: A two page spread. PANEL 1: The cast of sideshow attractions. Two men stand next to one another. One breaks the top of the frame and can only be seen up to the shoulders, the other reaches merely to the tall man's knees. O'MALLEY (V.O.) Joe, the Gigantic Gent! And his brother, Wee Bob! PANEL 2: The bearded lady lies sprawled atop a couch. O'MALLEY (V.O.) Gertrude, the Lady...with a Beard! PANEL 3: A man stands scratching his head with his right hand, which is in a large cast. Beside him, we see the hints of an aquarium, and what could be an arm. The big man in the cast is BRUNO BARNSWORTH. O'MALLEY (V.O.) And Gill, the Underwater Sensation! BRUNO This is killing me, Gill. It's killing me. PANEL 4: There is a tank next to Bruno, and inside is GILL, swimming underwater, unaffected. GILL Relax, Bruno. It's only been a week. BRUNO I know. It's bad, though. I'm going out of my freaking mind here. GILL Hey, watch the language. There's kids present. PANEL 5: Bruno, frustrated, clenches his fists. BRUNO Yeah, yeah. This cast is driving me nuts, though. They won't let me do anything. I feel like a...like a...

13. GILL A caged animal? PANEL 6: A long shot, where we see Gill's tank is on a stage, and there are people staring and pointing. BRUNO Exactly. GILL Surprisingly, I know the feeling. BRUNO Funny. PANEL 7: Gill waves at the crowd, while Bruno rambles on. GILL Hi there folks! How's the weather out there? Dry, I'll bet! BRUNO I tell ya, they give me any more boring work to do, I'm hopping the first train outta here. PANEL 8: A two shot, as Gill speaks over Bruno's shoulder. GILL Will you stop bugging me about how mind-numbingly bored you are that Ralph isn't, I don't know, shooting you out of a cannon or setting you on fire anymore?! BRUNO Just because it's broke don't mean I can't play. PANEL 9: Bruno begins to leave. BRUNO All right, Splash, I'm getting some grub. You need anything? Something to drink? PANEL 10: A long shot again as Bruno exits, leaving Gill to work the stage.

14. GILL Sorry about that, kids! How's everyone doing this evening? Anyone else getting pruned fingers? PAGE 18, PANEL 1: Sophia is checking her watch in disgust. She does not see the man creeping up behind her. SOPHIA Great. What a complete and utter waste of my time. PANEL 2: The man snatches Sophia's purse from her shoulder and dashes off. SOPHIA Hey! My purse! Guy's got my purse! PANEL 3: The man is making ground, Sophia in the distance. SOPHIA For crying out loud, somebody stop him! PANEL 4: The purse snatcher looks back and laughs. PANEL 5: And runs straight into the massive bulk that is Bruno. SFX: BAM! PANEL 6: Bruno scolds the man, who is dazed on the ground. BRUNO Whoa there, chief -- slow down and watch where you're goin'! PANEL 7: Sophia has caught up with Bruno, and crouches to retreive her purse. SOPHIA Jerk stole my purse. Thanks. BRUNO Oh. Well, you're more than welcome, miss. PANEL 8: A close up of Bruno. BRUNO It was nothing. Really.

15. Just a big man. Take up a lot of space. PANEL 9: Sophia and Bruno stand facing each other. The purse thief makes a mad dash, but Bruno has already forgotten about him. BRUNO I'm, um, Bruno. Bruno Barnsworth. Stuntman extraordinaire. SOPHIA Great. Thanks, Bruno. PANEL 10: Sophia begins to walk away, but Bruno hurries after her. BRUNO You know, you look familiar Miss... SOPHIA Sophia. PAGE 19, PANEL 1: Sophia and Bruno walk across a small bridge, away from the carnival. BRUNO Sophia. That's a pretty name. You know, Bruno's not my real name. Well, it is, but it hasn't always been. It's kinda my stage name. SOPHIA Uh-huh. PANEL 2: A long shot of the two as they stop walking. BRUNO I'm a stunt man. Well, was. Still am. Just a little...sidelined, I guess. I broke my wrist when I was shot out of a cannon. That's my job. They shoot me out of a cannon. Been at it for a couple of months now. Until they fired me. PANEL 3: Bruno moves in close, waits for her to laugh.

16. BRUNO Get it? Fired? PANEL 4: Sophia remains straight faced. PANEL 5: Bruno throws his hands up. BRUNO It's a joke! I didn't really get fired. Well, I did, but only in an 'airborne human projectile' kind of way. Ya know? SOPHIA I'm sorry, Bruno-PANEL 6: They have crossed into an area with buildings, and Sophia stops Bruno's rambling. SOPHIA --you seem like a nice guy, but I'm kind of looking for someone. BRUNO Oh. Okay. I hear ya. SOPHIA He's an older man, dressed up like some sort of creepy magician. BRUNO Is he your boyfriend? PANEL 7: Sophia shudders at the thought. SOPHIA God no. PANEL 8: A close up of Bruno. He smirks, back in business. BRUNO Oh. Well. No. No, I haven't seen him. But, you know, I swear I've seen you before, though. PAGE 20, PANEL 1: They start walking again. In the foreground, it appears as if someone runs towards them. SOPHIA Yeah, well, I was in movies.

17. BRUNO Really? I bet that's it. Anything I'd recognize? SOPHIA If it didn't have large fakelooking rubber insect people in it, then I wasn't in it either. BRUNO Fair enough. PANEL 2: A man in a black cloak, one of The Father's minions, bumps into Bruno as he passes, in a hurry. SFX: Thump! BRUNO Hey! Excuse you, bud. PANEL 3: Bruno offers the man his middle finger as the stranger rushes on. BRUNO Geez. Not a very polite guy. I must be a magnet for the weird ones tonight. Present company excluded, naturally. So, who's this magician? SOPHIA Beats me. PANEL 4: Sophia lights up a smoke. BRUNO Then why are ya lookin' for him? SOPHIA Well, Bruno, the guy seems to know more about my social life than I'd care to divulge. I'm gonna find out why. PANEL 5: A close up of Bruno. He's thinking hard. BRUNO Hold on a sec. I just thought of something-PANEL 6: Sam panel, but now he smiles, pointing at Sophia.

18. BRUNO "The Man From the Outer Rim." Were you in that one? PANEL 7: They begin to walk down an alleyway. SOPHIA Sorry, but no. That was Gloria Powers. BRUNO Good. I didn't like that one much. Predictable. PAGE 21, PANEL 1: A long shot as they walk down the alley. SOPHIA Where the hell are we now? BRUNO We, uh, looped around, back behind where the sideshow's set up. SOPHIA You mean the freak show? PANEL 2: Bruno scolds her. BRUNO They're not freaks. They're people, just looking to make a buck like the rest of us. And they're nice. The nicest. PANEL 3: They've stopped walking again. SOPHIA Yeesh. Sorry. How do we get back? BRUNO Straight ahead, take a corner. PANEL 4: A silhouette shot of the two in the alley. BRUNO So tell me, what'd this guy say to get you all riled up? SOPHIA If you don't mind, I'd rather not share my life story with a complete stranger.

19. PANEL 5: A close up of Bruno. BRUNO Hey. We're not strangers any more. PANEL 6: A low shot. Something is on the ground in front of them, illuminated by a street lamp. SOPHIA He said to look for anything that was out of place. PANEL 7: Close up of Sophia. Her eyes are wide with shock. SOPHIA Oh dear God-PANEL 8: She and Bruno stand stunned looking down at-PAGE 22 SPLASH PAGE: The decapitated head of the Bearded Lady, laying in a pool of blood before them. SOPHIA Well that's out of place, wouldn't you say? BRUNO Oh my God. Gertrude! TO BE CONTINUED! END OF ISSUE 1