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...