HORRORWOOD ISSUE 2: THE FATHER Revised 12.26.

05 Written by: Brandon Terrell Illustrated by: Brent Schoonover

Brandon Terrell Houdini11@msn.com 651.341.6556

HORRORWOOD ISSUE 2: THE FATHER PAGE 1, FULL PAGE SPLASH: When we left off, BRUNO and SOPHIA were staring down at the decapitated head of Gertrude, the Bearded Lady. SOPHIA Dear Lord, is that the bearded lady? BRUNO Gert...awww, Gert, what have they done? PAGE 2, PANEL 1: As they look up, they notice five men and women in dark robes. Some of them are covered in blood. SOPHIA Umm, Bruno? Company. BRUNO What the hell is going on here? PANEL 2: A close up of one of the women cultists looking over her shoulder. She should be distinctive somehow. PANEL 3: Sophia wrinkles her brow. This woman looks familiar somehow. PANEL 4: They stand, facing off against one another. One of the men speaks up. MALE The world will be rid of the abnormals. So sayeth the Father. BRUNO What did you do-- why did you? I mean, Gertrude? MALE Others will suffer the same fate. It is deemed so. PANEL 5: Bruno lunges forward in anger. BRUNO Like hell! PAGE 3, PANEL 1: The robed ones scatter, but Bruno is able to grab hold of the back of the robe of the man who spoke. BRUNO (CONT’D) What do you mean? Who will suffer? Talk, you son of a bitch.

2.

PANEL 2: The man says nothing, but begins to convulse in Bruno’s arms. Foam pours out of his mouth, his pupils roll up, and he goes slack. CULTIST Gurgle... SFX: FSSSSSS! PANEL 3: Bruno smells the man’s face, then drops him to the ground. SOPHIA Oh my god. What did you do to him? BRUNO Cyanide. Dammit. SOPHIA Jesus. So he’s...dead? And what did he mean by “the abnormals?” You don’t think the rest of the--? PANEL 4: Something in Sophia’s words click in Bruno’s head. BRUNO Gill. PANEL 5: He begins to run off, leaving Sophia behind. SOPHIA What? BRUNO Gill! SOPHIA Who?! PAGE 4, PANEL 1: INT. GILL’S SIDESHOW ROOM - SOON AFTER A big frame, around half a page. Sophia and Bruno stand in front of Gill’s tank, which is full of red water and chunks of Gill. He looks like chum in the water. SOPHIA Oh god. I’m so sorry. BRUNO Bastards.

3.

PANELS 2-5: EXT. FREAK SHOW - NIGHT The body of the dead man lays where Bruno left it, and we see it from a bird’s eye view, legs and arms splayed out. From the shadows, three robed people slither towards him. They pick him up and carry him off. PAGE 5, PANEL 1: EXT. ABANDONED MOVIE THEATER - NIGHT A big frame of the movie theater. Ratty, run down, in a bad neighborhood. PANEL 2: INT. ABANDONED MOVIE THEATER - CONTINUOUS Just as horrible looking as the outside. In front of the torn screen, on a small stage area, lays the body of the dead cultist. A hulking, misshapen man hovers over it. THE FATHER Welcome back, sons and daughters. You have done well tonight, and I am proud. PANEL 3: From off stage, out of the darkness, comes the Father. THE FATHER (CONT’D) Though there appears to be a minor complication. PAGE 6, PANEL 1: The FEMALE CULTIST that Sophia recognized speaks up. FEMALE CULTIST (indicates the corpse) He was caught, but he refused to speak. THE FATHER As you have all been taught. Look to your fallen brother; he is an example. They cannot know of us. Take him away. PANEL 2: The Father begins to walk off stage as a couple of the cultists step forward and carry off the body of the dead man. THE FATHER (CONT’D) So, someone dares to stand in the way of my plans for this city. Who did you say these people were?

4.

FEMALE CULTIST A large man and a red-haired woman. She looked vaguely familiar. I think she was an actress... THE FATHER Interesting. PANEL 3: He turns to face the crowd of cultists. THE FATHER (CONT’D) Brothers and sisters. You’ve done well. Very well. The night has come to an end. PANEL 4: As the crowd disperses to meet downstairs, The Father continues walking backstage. He is followed by the massive cloaked man. THE FATHER (CONT’D) Come, Michael. Let me show you the beginning of their end. The massive hulk grunts an unintelligible answer. PANEL 5: Behind the screen, a series of ropes and pulleys and crossbeams (like a theater and not just a movie theater) line the backstage. PAGE 7, PANEL 1: A large, dynamic frame. Hanging from one these ropes, hands tied above his head, is a bloodied man, shirt torn, black eye, a dirty rag tied around his mouth. He smirks. THE FATHER (CONT’D) Hello Seamus Jr. Remember me? PANEL 2: The tied up man’s eyes widen. SEAMUS JR. Oh god...no. No! PANEL 3: The Father smiles from ear to ear. THE FATHER (CONT’D) Thought so. PAGE 8, PANEL 1: INT. PIERCE’S WAREHOUSE - THE NEXT DAY Pierce tinkers in front of a rack of beakers and dishes, a crazy looking prop from a Frankenstein-ish movie. He is meticulously pouring liquids into a beaker.

5.

PANEL 2: The table rattles as the door is slammed closed and Sophia from off frame yells-SOPHIA Pierce?! PANEL 3: As he stands upright, he notices Sophia is not alone. Bruno is with her. SOPHIA (CONT’D) The one who left the card. Who was he? PIERCE Always a pleasure to see you dear. Twice in two days? Why that’s more than, well, than the previous two years. How lucky of me. SOPHIA Who was he, Pierce? PANEL 4: PIERCE An old friend. SOPHIA That so? Well, I took his little hint, went down to that carnival, and dammit if we didn’t almost get killed. PIERCE We? You mean yourself and Roger here? PANEL 5: Bruno holds out his hand to shake. SOPHIA Pierce! BRUNO Uh, Roger? I’m Bruno, Bruno Barnsworth. Stuntman for the Farrington Brothers Carnival. PIERCE Pierce Jackson...uh, creator of special devices for the entertainment trades. PANEL 6: Sophia’s hands impatiently rest on her hips, her foot tapping incessantly.

6.

SOPHIA I want to know who this guy is, and I want to know how the hell he knows who we are. BRUNO Something went down at that carnival, and the members of the sideshow lost their lives. If he had anything to do with it... PAGE 9, PANEL 1: PIERCE His name is Manos. He’s a magician -quite good -- I used to travel with him when you were a child, before your mother...well... SOPHIA Well, for some reason, people were murdered tonight, and I find it pretty odd he wanted you down there, Pierce. PANEL 2: PIERCE Murdered? Manos...Manos has been a lot of things over the years, but never a killer. SOPHIA Well, there was a bunch of wackos running around doing the killing. I kinda figure he’s involved somehow. PANEL 3: Pierce shakes his head vehemently. PIERCE No. If murder plays a part in this, then you must go to the authorities. I...I don’t know what Manos is up to, but please, I...I do not want you mixed up in this any longer, Sophia. I’ll deal with it. SOPHIA And how do you plan on handling this? PIERCE I...I don’t know. PANEL 4: Bruno speaks up.

7.

BRUNO Well, no offense, Mr. Jackson, but you can go drive to the authorities and state your case. I’m with Sophia here. SOPHIA Not gonna happen. PANEL 5: Bruno turns to face Sophia. BRUNO Huh? SOPHIA Pierce going to the cops. He doesn’t go out, and he certainly doesn’t talk to anyone unless he has to. Instead, he likes to punish himself in this dank old hellhole. BRUNO Punish yourself? For what? PAGE 10, PANEL 1: PIERCE (under his breath) For having to put up with my daughter. BRUNO Well, you should have seen these sons of bitches who killed Gill. They were crazy, using cyanide capsules instead of talking. Wasn’t just the fellas; the ladies were just as nutty. PANEL 2: With Bruno’s words, a click of registration goes off in Sophia’s head. SOPHIA Gloria Powers. PIERCE Excuse me? PANEL 3: We see the same frame from earlier, the woman in the robe Sophia locks eyes with. The frame is faded, gray. SOPHIA (V.O.) Gloria Powers. It was her. PANEL 4: She turns to leave.

8.

BRUNO The Outer Rim lady? SOPHIA (CONT’D) I gotta go. PANEL 5: Bruno watches as she leaves, turning back to Pierce. BRUNO Uh, nice meeting ya, Mr. Jackson. PIERCE Good luck... PANEL 6: Pierce calls out after Sophia as Bruno rushes after her. PIERCE (CONT’D) Always a pleasure, Sophia! PAGE 11, PANEL 1: EXT. SCORCHING DESERT - DAY A chiseled and handsome man stands next to a stunning Gloria Powers, the wind whipping at their hair. They are looking at something in the distance. They are actors, and we are watching a horrible film. **We can talk about how this is going to look, but I envision it as a projected film running up and down in two strips on the page. The dialogue would be off in the columns beside the art, keeping the film just the image.** ACTOR Dear God, they’re coming. Just like the scientist warned us. Why must we never listen to science? ACTRESS Is there any way to stop them? PANEL 2: A close-up of the ruggedly handsome man. ACTOR For the sake of humanity, I hope so. PANEL 3: We see what they are talking about: gigantic bugs, roaches, quite fake-looking. They quickly approach our heroes. PANEL 4:

9.

ACTOR (CONT’D) Quickly, Veronica. We must flee. Now. ACTRESS Dick! Look out! PAGE 12, PANELS 1-4: As they turn, a giant bug attacks the actor, who fends it off. They fight, it looks corny, and in the end, the actor punches it and it scampers off. ACTOR Tell your friends there’s more where that came from! In the last frame, Sophia stands into the frame, thus making the image on the film projected on her as well. SOPHIA Okay. I’ve seen enough. PAGE 13, PANEL 1: INT. STEVEN DERRING’S HOME - THEATER - DAY A sleazy director (Roger Corman-esque), turns off a projector. This is STEVEN DERRING, director of schlock. Young, scrawny, toothpick in the mouth, wide grin. DERRING I don’t blame ya. One of the worst pieces of crap I ever made. Studio picture. Now if I’d had final cut-PANEL 2: Sophia stands and Bruno sits in the small theater, a screen in front of them. SOPHIA --it still would have stunk. Steven, I need to find Gloria. DERRING Gloria? I thought she popped a few too many pills a couple years back? SOPHIA No. At least, I don’t think so. That’s what I’m trying to figure out. PANEL 3: DERRING It’ll cost ya.

10.

SOPHIA We broke it off a long time ago, Steve-o. Not the time to come groveling back. PANEL 4: He smiles at her comment, throwing her a script. DERRING I’ve got a script for you to read. It could be your big comeback. PAGE 14, PANEL 1: She hands it immediately to Bruno. SOPHIA Ha! That’s even funnier than you trying to talk me into another romp in the sack. DERRING It’s good, Soph. SOPHIA Who says I wanna come back? And where the hell does everyone think I went? PANEL 2: DERRING It’s better than pouring draughts at a seedy hole in the wall, ain’t it? SOPHIA What is it this time? Rabid monkeys? PANEL 3: DERRING An alien. Only he looks like a human. He goes on the lam, makes the whole city come to screeching halt like it’s nothing, then gives us an ultimatum about our humanity. Science fiction, Soph. It’s the bandwagon. Hop on. BRUNO Klaatu Barada Nikto?...The hell? What is that? Gibberish? SOPHIA God science fiction is preachy. PANEL 4: She grabs the script out of Bruno’s hands.

11.

SOPHIA Sounds outstanding, Steven. Think I’m going to pass, though. The world will have to continue to hold their collective breath for my spectacular comeback. Where is she? PANEL 5: The script hits him square in the chest, and he grasps awkwardly to catch it. DERRING (sighs) Jeez! Fine. Last time I saw her, she lived at-PAGE 15, PANEL ONE: EXT. LEISURE ESTATES - DAY A shot of the building and the sign (so the cut makes more sense), and in the parking lot, Sophia’s truck is parked incognito. She and Bruno sit inside, staking out the building. Sophia smokes a cigarette. PANEL 2: Bruno tries to spark up conversation. BRUNO You know, Gill was a great guy. SOPHIA Excuse me? BRUNO Gill. My friend. The one we, um... PANEL 3: SOPHIA Right. I’m sorry. PANEL 4: They sit in silence. PANEL 5: Bruno tries again. BRUNO Yeah, well I’m not generally a violent man. I just want to meet this magician guy face to face. SOPHIA Then what?

12.

PANEL 6: Bruno smirks. BRUNO If he’s responsible for Gill’s death? Then I’m gonna punch him a new one. PAGE 16, PANEL 1: There is a moment of silence. Then: BRUNO (CONT’D) What did you mean by ‘punish himself?’ SOPHIA Pierce? BRUNO Yeah. You said he was punishing himself in that dank hellhole. (beat) I thought his place was kinda neat. PANEL 2: SOPHIA Do you really want to crack open that can of worms? BRUNO You just don’t seem to get along. SOPHIA Yeah, well, keen observation. BRUNO Hey, I’m just trying to, you know... PANEL 3: SOPHIA Pierce missed out on a lot of his daughter’s life, for one reason or another. Mainly because he was too scared to be out in public. PANEL 4: They sit there in silence, looking straight forward out the windshield. Uncomfortable silence. Bruno scratches his head. BRUNO Who’s Roger? SOPHIA Roger? Well, he was kinda my fiancee. Until he up and ran off.

13.

PANEL 5: Out of the front door of Leisure Estates walks GLORIA POWERS. She gets into a nearby car. SOPHIA Another story for another time, Bruno. PANEL 6: Sophia takes a last drag on her cigarette. SOPHIA (CONT’D) Hello, Gloria. PANEL 7: The cigarette lay smoldering on the cement as Sophia’s truck rumbles away down the street. PAGE 17, PANEL 1: EXT. ALLEYWAY - SOON AFTER In a large frame, we see Sophia’s truck pull into an alley. From the mouth of the alley, the abandoned movie theater looms on the other side of the road. PANEL 2: As they pull up, Gloria walks into sight, discreetly entering the theater. PANEL 3: Bruno climbs out of the truck. SOPHIA What are you doing? BRUNO Following her. SOPHIA Wait in the truck. BRUNO What are we waiting for? We ain’t gonna get an invitation here. PANEL 4: Sophia pauses. PANEL 5: Rolling her eyes, she opens the truck door and follows. SOPHIA Shit. PAGE 18, PANEL 1: INT. ABANDONED MOVIE THEATER - LOBBY MOMENTS LATER The door creaks open, and Bruno sticks his head in. It’s empty. He slides into the theater lobby.

14.

SFX: Crrreee--PANEL 2: A hand grabs his shoulder. He jumps. BRUNO (whispers - small type) Jesus! Scared the shit outta me. PANEL 3: Sophia stands there, looking around. SOPHIA (whispers) You think you were gonna get all the fun? PANEL 4: The door to the theater screen is cracked open, and a voice pipes in from the next room. VOICE (O.S.) If you’ll all take your seats, we’ll begin momentarily. PANEL 5: They make their way towards the door, past the concession booth. As they approach, the outside door makes a loud sound. VOICE (O.S.) Hurry! We’re gonna be late. PANEL 6: They dive behind the concession stand. BRUNO Get down! PAGE 19, PANEL 1: Two people enter, acting normal. Bruno and Sophia sit with their backs to the concession booth as they pass. FIRST PERSON His words just make me feel like a new person, you know what I mean? SECOND PERSON Exactly. The Father is just what this city needs more of -- people who care. PANEL 2: The door slams closed. PANEL 3: Bruno peeks his head up. No one. BRUNO (whispers) What is going on here?

15.

PANEL 4: Sophia stands, points to a small door with a plaque reading: Projectionist Booth. SOPHIA Let’s see if we can get a good vantage point up there. PANEL 5: They open the door and begin to climb up the steep stairs. PANEL 6: They open the door and step into an ancient, unused projectionist’s booth. THE FATHER (O.S.) As you awaken, my children, so shall your deepest hidden urges. They will blossom in your heart, for they have lain dormant far too long. PAGE 20, PANEL 1: INT. PROJECTIONIST’S BOOTH - CONTINUOUS Fairly large, a projector still up front. They approach the small window facing out into the theater. SOPHIA This is giving me the heebie jeebies. BRUNO You hear that? THE FATHER (O.S.) Hate. Rage. Seething anger. These, your purest emotions, will guide you on the proper path...the path I have created for you. PANEL 2: They look out and see The Father on stage, speaking out to his disciples. His hulking bodyguard hovers over him. SOPHIA Who is that guy? PANEL 3: The Father speaks, his arms gesticulating wildly. THE FATHER Do not deny these impulses, children, for you will need them. This city wallows in its own filth, but together we will cleanse it of false idols and false worship. PANEL 4: Sophia turns to Bruno.

16.

SOPHIA (whispers) I don’t see Manos. BRUNO (whispers) Me neither. PANEL 5: Back to The Father. THE FATHER This, my children, is merely the beginning. Tonight, we bring justice to a foul and wretched creature, a villain who walks the earth in human guise. PAGE 21, PANEL 1: The screen lifts, and O’Malley is hanging there, strung to a pole crucifixion style. PANEL 2: Bruno’s eyes widen. BRUNO Junior!?! SOPHIA You know him? BRUNO Seamus O’Malley Jr. He runs the sideshow at the carnival. Gill’s boss. But why...? PANEL 3: The door slams open, and three robed individuals burst into the room. ROBED CULTIST Get them! PANEL 4: Bruno and Sophia back up, knocking into the projector. BRUNO Sophia! Get behind me! PANEL 4: It cascades out of the window and onto the theater floor. SFX: CRASH! PANEL 5: This startles The Father, who looks up. THE FATHER What?! Abnormals! They must be taken!

17.

PAGE 22, PANEL 1-3: There is a fight, brief. Sophia kicks some butt, but eventually get overtaken, Bruno uses his cast to whomp some ass. SOPHIA BRUNO!! PANEL 4: One of the robes pushes Bruno, who backtracks to the stairs and tumbles down them. BRUNO Sophia! Hu--whoa! PANEL 5: In the lobby, the door to the theater bursts open, and many robes dash towards Bruno. SFX: THUD! PANEL 6: Bruno comes to, noticing he is surrounded by cultists. BRUNO Soph...gotta get help... PANEL 7: Bruno dashes for the front door. A cultist points to him as he flees. CULTIST The coward escapes! For The Father! PAGE 23, PANEL 1: He runs across the street, to the alley, to the truck. Thankfully, she left the keys. PANEL 2: He shifts into drive and peels out as robes flock into the street. He hits one as he speeds away. SFX: SCCRREEEE---!!! PANEL 3: INT. PIERCE’S WAREHOUSE - SOON AFTER Bruno, winded, pitches into the warehouse. He doubles over. BRUNO Mr. Jackson?! Mr. -- Pierce?! PANEL 4: Pierce emerges from a model scale cityscape across the room. PIERCE Yes? BRUNO I need...your...Sophia...help.

18.

PANEL 5: Pierce climbs out of the submarine as Bruno approaches. PIERCE What is it, Mr. Barnsworth? BRUNO Sophia, Miss Saint...Claire. They’ve...got her. PIERCE Who? Who has my daughter? PANEL 6: BRUNO I don’t know. Not magician...Some guy...wild eyes...people in robes...theater... From behind them comes a voice. MANOS (O.S.) It’s Valmont. PAGE 24, FULL PAGE SPLASH: They turn. Standing before them is Manos, looking cool as hell. MANOS (CONT’D) And I’m afraid he’s much more powerful than I’d anticipated. TO BE CONTINUED! END OF ISSUE TWO...

Related Interests