HORRORWOOD ISSUE 3: ISOLATED

FINAL VERSION

Written by: Brandon Terrell

Illustrated by: Brent Schoonover

Brandon Terrell
Houdini11@msn.com
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 shut-
in 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 God-
knows-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!!