Horrorwood Issue 3

HORRORWOOD ISSUE 3: ISOLATED FINAL VERSION Written by: Brandon Terrell Illustrated by: Brent Schoonover

Brandon Terrell [email protected] 651.341.6556

HORRORWOOD ISSUE 3: ISOLATED PAGE 1 SPLASH PAGE: When we left off, Manos had burst in on Bruno and Pierce's conversation. As Bruno informed the shutin of his daughter's situation. The two stand shocked as Manos stands behind them, cape billowing around him. MANOS Anthony Valmont has returned, old friend. And his powers are stronger than I had imagined. This does not bode well for Sophia. PAGE 2, PANEL 1: Close up reaction shot of Pierce. He is horrified to hear this. PIERCE Val--Valmont has my daughter? PANEL 2: Full figure shot of Manos. MANOS You must believe that my visit to Sophia was in no way a ploy to involve her. I had no intention of placing her in harm's way. PANEL 3: Bruno lunges towards Manos, infuriated. BRUNO My buddy Gill's dead, you son of a bitch, and yer gonna tell me why! PANEL 4: Like a matador, Manos sidesteps Bruno, who fumbles into a table of props (possibly the alien autopsy table?) SFX: CRASH! BRUNO Oof! MANOS Your quarrel is not with me. You are wasting valuable time...time that Sophia may not have. PANEL 5: Manos and Pierce stand face to face. PIERCE I can't believe -- Valmont is alive? He vanished...we assumed he was dead.

2. MANOS I don't know how, but he survived. I only recently discovered how wrong we were. PANEL 6: Another angle of them. Bruno nurses an injury behind Manos. PIERCE And...and Michael? MANOS Michael is not an easy man to conceal, even for Valmont. It was in tracking the son that I discovered the father. PIERCE He's still...? MANOS Scarred? Quite. PANEL 7: A close-up of Bruno, rubbing his head. BRUNO Wait a sec--you ain't behind the killings, but you both know the guy who is? So who is he? PAGE 3, PANEL 1: Manos in a sharp frame, with the rest of the page in tight pencils, as they are visions in a flashback. MANOS It is a long story, and I must give you the abbreviated version. PANEL 2: A young Valmont, standing on a stage holding aloft a stopwatch on a chain. MANOS CAPTION 1: In the late twenties, all three of us worked for a traveling variety show based out of Chicago. MANOS CAPTION 2: Anthony Valmont was a hypnotist -- a very good one. PANEL 3: Police officers shine flashlights on what appear to be dead bodies laying on the ground.

3. MANOS CAPTION: One night, the stage manager and two guards were found dead, throats slashed. The lockbox containing the weekly take was gone. PANEL 4: A blonde man in his early twenties, plump, is on his knees, holding up bloody hands and crying. BRUNO CAPTION: This Valmont offed some guys and lined his pockets? MANOS CAPTION 1: In a manner of speaking, Bruno. A man named Joseph Sullivan was caught with the empty lockbox, blood on his hands and a knife in his trailer. MANOS CAPTION 2: Valmont had hypnotized Sullivan into committing the crime for him. PANEL 5: Valmont hypnotizes another person, while in the shadows someone can be seen watching. MANOS CAPTION 1: Worse yet, Sullivan wasn't the only such victim. MANOS CAPTION 2: He was corrupting their subconscious, and he excelled at it. He brought out their hidden desires and proclivities. PANEL 6: Valmont in handcuffs, as two police officers lead him away. Behind them stands Seamus O'Malley, an Irish lug with a shock of red hair and a chiseled face. MANOS CAPTION 1: Seamus O'Malley witnessed Valmont in action, and alerted the police; there was nothing substantial to link Valmont to Sullivan, though, and he was released. MANOS CAPTION 2: His reputation was tarnished. PAGE 4, PANEL 1: Pierce in sharp current day, taking over the remainder of the story. PIERCE Shortly after was...the accident. PANEL 2: More of the tight pencils, as we see an on stage magic production in shambles, smoke and flames erupting. PIERCE CAPTION 1: During Manos' act, an effect went wrong. Anthony was killed -- or so we thought -- along with three others. PIERCE CAPTION 2: One of them was Sophia's mother. PANEL 3: A gigantic man thrashes about, his body on fire.

4. PIERCE CAPTION 1: Valmont's son, Michael, acted as a beast in the stage production. A clever actor. PIERCE CAPTION 2: He was disfigured in the ensuing fire; it drove him mad. PANEL 4: A three shot, back in present day from here on in. BRUNO So this guy comes back. Why now? Why the carnival? MANOS I had a feeling that Valmont's agents would be casing the carnival. But murdering people? Never! PIERCE Bruno's right. Why? PANEL 5: A close-up of Manos. MANOS Junior. PANEL 6: A three shot with an emphasis on Bruno. BRUNO Junior? Seamus O'Malley Junior? PIERCE The sideshow. It shut down after his father died. But -- he started it up again, didn't he? BRUNO We saw him. Sophia and I, at the theater. They had him strung up. PAGE 5, PANEL 1: Manos makes his way towards the door. MANOS Pierce, you must save your daughter. I will do what I can, but you and your friend must help her. And quickly. Her time may be short. BRUNO Hey! Where you running off to? PANEL 2: Close up of Manos.

5. MANOS I must take my own path. Good luck! PANEL 3: A cloud of smoke surrounds Manos as Pierce and Bruno cover their mouths. They both cough. PANEL 4: They stand beside one another, looking at the spot where Manos once stood. BRUNO So this is about payback, huh? PIERCE It appears so. BRUNO Well I got a couple things I aim to pay him back for. PANEL 5: The slumped but asleep head of Seamus O'Malley Jr. He is bruised and bloody, hanging limp. PANEL 6: The same panel. PANEL 7: The same panel, though now a hand slaps across O'Malley's cheek, startling him awake. SFX: SLAP! PAGE 6, PANEL 1: A large panel, half the page. We see O'Malley, hanging from various ropes in the theater. One of the ropes is around his neck. Cult members hover around him, one of whom is the slapper. Sophia lay on the stage floor, bound and gagged. She is awake. The Father, the large hulking Michael behind him, is emerging from the shadows. CULT MEMBER The Father wishes to address you, abnormal. THE FATHER Enough. We do not taunt our prey. We cannot show our superiority if we stoop to their level. PANEL 2: The frightened cultist shirks back as he is reprimanded.

6. CULT MEMBER My humble apologies, Father. PANEL 3: One of the cultists has pulled a struggling Sophia to her feet. The Father turns to face her. THE FATHER If it isn't Patricia Jackson. Or Sophia St. Claire, as Miss Powers called you. You always were a headstrong little girl -- even as a toddler. PAGE 7, PANEL 1: The Father studies the bruised features of a nearby cultist. THE FATHER And you've done quite a number on my children. They have much to learn. PANEL 2: Sophia tries to speak through the gag. SOPHIA Mmmmpphhhh. OOooo mmmfffrrrr. THE FATHER Michael. PANEL 3: The gigantic hulk reaches over and pulls the gag from Sophia's mouth. Her eyes are wide. PANEL 4: From Sophia's POV, we see some of the features of Michael, shrouded in shadow. He is hideously disfigured, his face scarred, tufts of hair sprouting from the sides of his head. PANEL 5: Sophia, taken aback by Michael, addresses The Father. SOPHIA What do you want?--Kaff! Kaff!-How...how do you know who I am? PANEL 6: Michael grabs her by the arms, and she protests. SOPHIA Ahh! Let go of me! Get yer disgusting mitts off me! PAGE 8, PANEL 1: A close up of The Father, as his eyes blaze with intensity. He holds his gnarled hand up near his face.

7. THE FATHER Look upon me, child. Let me show you your innermost secrets and desires. PANEL 2: A long panel, with The Father and Sophia on either end, staring at one another. THE FATHER You have great rage inside you. SOPHIA No...no... THE FATHER Yes. You know the answer is yes. PANEL 3: Sophia spits right in The Father's face. SOPHIA Weren't you ever told, when a girl says no, she means no? PANEL 4: A close up of the Father. He wipes spittle from his cheek. THE FATHER I rest my case. We shall try this again. PANEL 5: The Father holds his hands forward, toward Sophia as she struggles in Michael's arms. THE FATHER Your father has let you down, hasn't he Patricia? PANEL 6: Sophia has gone limp, and stares back at the Father in awe. SOPHIA How do you...? PAGE 9, PANEL 1: An extreme close-up of the Father's eyes. THE FATHER He has failed you, hasn't he? He always has. And for this, you can never forgive him.

8. PANEL 2: A extreme close up of Sophia's eyes. They are almost blank as she is being hypnotized, and we can see the Father's reflection in them. SOPHIA He did what he could. It was never enough. PANEL 3: The Father has moved closer to her, still staring. THE FATHER No, it never was. Listen to my voice. This is a new beginning for you. I will nurture you, as he did not. PANEL 4: A close up of Sophia. SOPHIA A new...beginning. PANEL 5: The Father places his hand on her chin again. She does not protest. THE FATHER Good. Do not ignore your instincts, for there are those out there who wish to cause you harm. We will not let them. PANEL 6: He stands back, takes pride in his work. THE FATHER We are your family now, Patricia. PANEL 7: A close up of Sophia. SOPHIA Yes...Father. PAGE 10, PANEL 1: The Father steps back, addressing all of the cultists present. THE FATHER For thirty years I've clung to the shadows, working in darkness to get where I am. We are everywhere. We are anyone. PANEL 2: He angrily points at Seamus Jr.

9. THE FATHER Your father disgraced me. He ruined my life, the life of my child. I thought your death would be my final vengeance. But now, I have even more. PANEL 3: He turns to look back at Sophia. THE FATHER I have her. PANEL 4: A close up of The Father and Sophia. He has moved in, still holding her chin, his face very close to hers. THE FATHER You are truly a gift, Patricia. A gift indeed. PANEL 5: The Father steps back, and from his cloak, removes a large knife. He is grinning maniacally. PANEL 6: Wielding the knife, The Father approaches O'Malley, whose eyes have widened. He is still gagged. He struggles against his bonds. THE FATHER I'm sorry, Junior. It appears we're going to have to cut our reunion short. PAGE 11, PANEL 1: The knife slices through a thick length of rope. PANEL 2: A thin panel, of sandbags falling with force. PANEL 3: Another thin panel, of a slack rope. PANEL 4: The same rope, only it is now taut. PANEL 5: Seamus O'Malley's terrified face as the noose around his neck tightens. O'MALLEY Huurrkkk! PANEL 6: A shot of O'Malley's lower torso, as his legs kick violently. O'MALLEY (O.S.) Huur...aacckkk...gurgle...

10. PANELS 7-9: The same shots of legs and feet from the first issue, as O'Malley stops struggling and his feet hang limp. This will mirror page 9 in issue 1, where Pierce's feet dangle and sway in the air. PAGE 12, PANEL 1: An exterior shot of Pierce's studio. BRUNO (V.O.) We're running out of time. PANEL 2: Inside, Pierce fiddles with something while Bruno paces. BRUNO Sophia's out there, and this Valmont guy could be doing Godknows-what to her. Ya gotta help me. PIERCE I...can't. I just can't. PANEL 3: A close up of Bruno. BRUNO Can't or won't? PANEL 4: Pierce stands up straight, holds his hands up in defeat. PIERCE I'm sorry, Mr. Barnsworth, but my situation is...complicated, and, well, as much as I'd like to help-BRUNO Like ta help!? This ain't exactly the same as giving someone a lift home from the bar or, or helping someone move. This is your daughter's life. PIERCE I am well aware of that. Stop presuming that I don't care. You don't know I've gone through. PANEL 5: Bruno picks up a nearby replica of a space ray gun. BRUNO The way I see it, something bad happened. Shitty. I get that.

11. Eventually, it got easier to hole up in here -- easier than facing the morons out there. They don't know what you've been through. Hell, they smile when all you wanna do is scream. And it's tearing you up. PANEL 6: Bruno in a closer-up shot. BRUNO Am I warm? PAGE 13, PANEL 1: Pierce contemplates Bruno's words. PANEL 2: He steps forward and speaks. PIERCE I th-thought I was okay. I really did. After the accident, I came here, to Hollywood. Patty was -Sophia -- was so young. I never knew... PANEL 3: A close up of Pierce. PIERCE I started having trouble. Breathing. Speaking. I felt trapped, like I was suffocating. The only thing I knew for sure was my work. Being here just made things easier. PANEL 4: A two shot. Bruno walks over to Pierce, whose head hangs down, staring at the floor. BRUNO I can't do this alone. You know that, right? PANEL 5: A close up of Pierce. He looks up. PIERCE Yes. PANEL 6: Bruno is clearly upset. BRUNO They know who I am, what I look like. But there's gotta be a way to get into that theater. Cuz if they done something to Sophia...

12. PAGE 14, PANEL 1: A two shot. Bruno has begun to pace. PIERCE These people. How many are there? BRUNO Couple hundred. PIERCE Hundred?! PANEL 2: Pierce sits, has trouble breathing. PIERCE Hundred...I don't... BRUNO You think Valmont remembers what you look like? PANEL 3: Pierce stands, rubs the back of his neck. PIERCE I'm sure my face is forever imprinted in his mind. But there is a way around that. I think. A way for us both to get in. Wax masks. I have many. PANEL 4: A long panel on the bottom of the page. Bruno stands near a large table on top of which a good number of wax masks are displayed, anything from underwater creatures and monsters to male and female faces. BRUNO Well then, who should we go as? PAGE 15, PANEL 1: A man walks down the street. He looks nervous. Anxious. A duffel bag is slung over his shoulder. In front of the man, we can see the theater. PANEL 2: The man passes an alley, and out of the shadows comes a hulking hand, grabbing him around the collar. NERVOUS MAN Wha...!? PANEL 3: A large frame. In the alley, Bruno stands holding the limp, unconscious man up. But it is not Bruno, not exactly. His face is grey and waxy, and he has chiseled features and a beard (a Charleton Heston type).

13. Behind him stands Pierce, who is molding wax on his face. On the ground is a man tied and gagged, a man of considerable size. BRUNO Sorry, pal, but trust me, this is for the best. PAGE 16, PANEL 1: Pierce molds the wax on his face. PIERCE How does this look? Does it look as real as yours, Bruno? PANEL 2: He lets his hands down, and he is a completely different person. High cheekbones, he looks like Errol Flynn. PIERCE I modeled it for Errol Flynn's stunt double in "They Died with Their Boots On." BRUNO Yeah? And mine? PIERCE An Old Testament film, never shot. A grand, religious epic. PANEL 3: A two shot. Bruno has a smirk on his face. BRUNO Well, I sure hope Mr. Flynn ain't in there. PIERCE I highly doubt it. BRUNO Well, don't be signing no autographs. PANEL 4: Pierce adjusts the face once more. PIERCE The wax is temperature sensitive. Should our body heat rise, the masks could slide right off. So you must be careful. PANEL 5: Bruno empties the contents of the man's bag as Pierce finishes touching up his face, looking in a mirror.

14. BRUNO Then I suppose I can't get hot under the collar. Here. PANEL 6: He holds out a robe, a black one. BRUNO Now we both got one. They was wearing these. All of them. PAGE 17, PANEL 1: Pierce takes the robe and the bag from Bruno as Bruno shrugs into a robe of his own. (This will be kinda tricky, but it's from the first guy they knocked out, so maybe we could have it draped on a trash can behind the tied up guy?) BRUNO You think they knew what they were doing? Killng, I mean? PIERCE I think to some degree, they know what Anthony -- what Valmont -- has done. But even thirty years ago he was subverting minds. I shudder to think what he's capable of now. PANEL 2: Pierce extracts something from his bag, a small box. He holds it gingerly. PIERCE You have what you need? PANEL 3: Bruno and Pierce, as Pierce puts on the robe. Bruno pats his robe. BRUNO Check. In my pocket. PIERCE And what...what should I expect? PANEL 4: A shot of Bruno. BRUNO A lot of them. PANEL 5: Pierce places his hands on his knees, having problems breathing.

15. BRUNO You'll do all right. Remember. You ain't doing this to be a hero. Just find Sophia, and we get her out of there. Blend in. PIERCE Blend in. PANEL 6: Bruno claps him on the shoulder. BRUNO You'll do it. I got faith in you. PAGE 18, PANEL 1: Pierce takes the first step out of the alley, tentatively moving towards the theater. He mumbles to himself. PIERCE Come on, Pierce. You're okay. Just don't make eye contact. PANEL 2: He hesitates, and Bruno places a massive hand on his back, prodding his forward. BRUNO Come on, now. PIERCE You remember the plan? BRUNO I got it. PANEL 3: They walk into the street, heading toward the theater. A few others, a couple in robes, most not, enter. BRUNO Pierce? PIERCE Yes? PANEL 4: A close up of Bruno. BRUNO Break a leg. PANEL 5: Pierce and Bruno PAGE 19, PANEL 1: Inside the theater, cultists mill about. The lobby has about ten to fifteen of them, all in robes.

16. PANEL 2: The door opens and Pierce enters, followed by Bruno. Pierce's hands are clenched at his side, and his bag is slung over his shoulder. Bruno hides his cast under his robe. PANEL 3: From Pierce's POV, we see cultists looking at him, staring at him. One man in particular, a SQUARE-JAWED man, looks suspiciously at him. PANEL 4: The square-jawed man approaches Pierce. SQUARE JAW You new? PIERCE Ye...yes. Um. Yes. PANEL 5: Square Jaw leans in closer. Others observe them speaking. SQUARE JAW Who invited you? PANEL 6: A close-up of Pierce. He has started to sweat, and a little of the wax near his ear has peeled back. Not noticeable. Behind him, Bruno pipes up. BRUNO Gloria. Gloria Powers. PAGE 20, PANEL 1: Sqaure Jaw hovers quite close to Pierce. Bruno steps back, in an attempt to be less conspicuous. SQUARE JAW Gloria? She ain't here tonight. She's off on an errand for The Father. You know who The Father is? PIERCE More...more than you know. PANEL 2: Square Jaw has clenched a fist. SQUARE JAW You giving me lip? Cuz the door's right there. The Father doesn't need your kind. PANEL 3: The door to the theater bursts open and a cloaked cultist steps out. CULT MEMBER Come! The Father speaks!

17. PANEL 4: Square Jaw stands unmoving next to Pierce, who cowers slightly. His attempt to fly under the radar appears to have failed. Others stream from the lobby into the theater. CULT MEMBER Forget this nonsense; you'll miss it if you don't hurry. PANEL 5: Sqaure Jaw begins to walk in, still eyeing up Pierce. SQUARE JAW This ain't over. PANEL 6: Pierce still stands immobile. He and Bruno are the last two people in the lobby. BRUNO You holdin' up? PIERCE Yeah...yeah... BRUNO Breathe. PAGE 21, PANEL 1: He turns for the door. PIERCE Can't...I can't. Oh God, I'm a coward. No. No! PANEL 2: He stands up straight as Bruno steps in front of him. BRUNO Sophia, Pierce. PIERCE For Sophia...I can do this for Sophia. I'm her father, for Christ's sake. I can, I can do this -- any father would. PANEL 3: He touches his face, and feels the wax starting to slide from his face. PIERCE Oh God, my...my mask is peeling. How does it look? PANEL 4: Bruno smirks.

18. BRUNO Like Errol Flynn went on a bender. PANEL 5: Pierce takes a deep breath, standing in front of the door to the theater. PIERCE (to himself) Breathe. PANEL 6: He pushes the door open. PAGE 22, PANEL 1: A large panel, the theater. It is filled with people in cloaks, some sitting in the seats, some standing, milling about. On stage, a sheet is draped over Seamus O'Malley's corpse. PANEL 2: A close up of Pierce. He begins to hyperventilate. Sweat streams down his forehead. PIERCE (barely audible) Oh God...oh dear merciful God... PANEL 3: Bruno mumbles out of the corner of his mouth. BRUNO Relax, Pierce. Remember the plan. I'm gonna head off now. PIERCE Right...right... PANEL 4: The Father, flanked by Michael, steps out onto the stage. THE FATHER Children! My wonderful children. Another glorious evening is upon us. Good fortune smiles on our family. What appeared to be a threat to our mission has turned out to be a gift. PANEL 5: Over the shoulder of The Father, we can see some of the cultists. In the distance, Pierce stands in the aisle. THE FATHER We are the blessed few, and those who stand in our way will pay for their sins!

19. PANEL 6: He uncovers the hanging corpse of Seamus Jr. THE FATHER Behold! PAGE 23, PANEL 1: A close up of a stunned Pierce. People have surrounded him. PIERCE (barely audible) Junior...? PANEL 2: Bruno furrows his brow in anger. He stands behind a small crowd of onlookers. THE FATHER (O.S.) My children! They can no longer stop us. For we are everywhere, we are in their grocery stores and bakeries, in their libraries and in their cinema. PANEL 3: A shot of Pierce listening. THE FATHER (O.S.) We are their sons and daughters. They will look to us, and they will be comforted. PANEL 4: The Father stands center stage as a cloaked cultist walks toward him. Michael follows. THE FATHER Tonight, our number grows by one, and we become stronger. PANEL 5: Pierce can't take it. He turns to leave. The Father can still be seen behind him, as can the cultist on stage near him, who is pulling back her cowl. PIERCE I can't...I'm so sorry, Sophia. THE FATHER Isn't that right, Sophia?! NOTE ON THIS PANEL: As a thought, if there's a way to end both of their lines with 'Sophia' and have the balloons merge on the name, I think that'd be a nice effect. PANEL 6: The same panel, only now there is a stunned look on his face.

20. SOPHIA That's correct, Father. PANEL 7: A close up of The Father and Sophia, who smiles on stage as she wears the cloak. SOPHIA We are strong, indeed. PANEL 8: Bruno is stunned. His eyes go wide. BRUNO Sophia? PANEL 9: Pierce's pushes through the crowd of cultists to get a good look. PIERCE Oh no... PAGE 24 SPLASH PAGE: The long aisle up to the stage, Pierce is the foreground. He has turned back, and is seeing all this. On stage, The Father and Sophia stand side by side. Everyone in the room has turned as Pierce yells at the top of his lungs... PIERCE Sophia! TO BE CONCLUDED!!