Script - Just a Cup of Coffee

I was asked the other day for a script submission for an anthology from Jim Main (Main Enterprises), so I wrote this one up... Idea popped in my head on Sunday night and I wrote it on Monday. It got the stamp of approval, but not for the originally intended anthology. This is too, um... vulgar for the original intended anthology. Oops! It should appear at some point in the SATYR Anthology. Roger Wilbanks might be doing the art on this one... If he says yes anyway. :P

Enjoy and be warned... there are cuss words... Oh my GOD!

PAGE ONE (Three Panels)

Panel 1. Group of six guys sitting around a poker table. Scattered around beneath their cards and chips are bottles of various sorts (hard liquor) and cans of cheep beer plus blue prints for a bank of some sort with areas circled in red marker, such as the vault, paths to the vault, spots where a security guard stands, etc… All of the men look like they need a shower and a shave and are a couple of drinks past being able to stumble home effectively. Our protagonist, Jamie, is facing us, cards held up so no one can see them, looking across at the dealer with a poker face, at least as great a poker face as someone as drunk as he is can manage. He’s in his mid-thirties, mousy brown hair, scruffy growth of beard that would look fine if he had bothered to shave the scruff beneath his neck, too. He’s wearing layers of clothes to protect himself from the chill of the room, a flannel shirt buttoned up, wind breaker over that, and a thick worker coat over that (looks similar to a flannel shirt, but thicker and has padding beneath). The others are dressed similarly, but each looks a different shade of desperation. Pauly is to Jamie’s right and Kent is to his left on the panel. Of the others, we only see their hands and cards. Across from Jaime, the hands are holding a full house.

Caption:
You ever have one of those days? Last night was no biggie, hangin’ out with the boys, playin’ cards, an’ shootin’ the breeze. Just like a ton of other times.

Panel 2. Angled shot so we see Jamie’s face from the side, proud of himself as he puts two pair down on the table, confident he’s won the hand. Around the table, except for Carlos, sitting across from him, everyone is ticked, and throwing their hands down on the table. Carlos, on the other hand, looks proud of himself.

JAMIE:
Read ‘em and weep, fellas!

Caption:
Me an’ the boys, we had this bright idea. Let’s help plan the perfect heist. Got the blue prints, cased the joint, yadda yadda yadda. Perfect in every way, so we decided to celebrate.

Panel 3. Carlos, smirk on his face, slams down his full house and we see Jamie’s face, cursing at the loss.

CARLOS:
Not so fast, Jamie-boy. Pony up!

JAMIE:
You a card shark in your last life, Carlos?

CARLOS:
No, I just got the touch, man.

JAMIE:
Uh huh…

CARLOS:
Who gives a shit, man, we’ll be rollin’ in it tomorrow, anyway.

CAPTION:
Actually, none of us gave a shit, but goin’ home broke wasn’t the best way to end the night.

PAGE TWO (Five Panels)

Panel 1. Jamie stumbling down the street, walking with Pauly and Kent, all in the same state, laughing and holding cans of beer.

KENT (singing):
If I was a rich man, rich man, very very rich…

CAPTION:
Pauly, Kent, an’ me, we went way back. Well, we used to kick the crap outta Kent, but when he gave Pauly a shiner one day, we decided he was all right.

Panel 2. The three of them further down the street, Jamie facing a wall, peeing, blocked by Pauly and Kent, who are facing us, watching for cops.

CAPTION:
We watched out for each other. When Pauly got wind of this gig, he told that douche-bag Carlos to bring us in.

Panel 3. Jamie walking towards us, peace sign held up towards his friends, who are trailing behind him.

JAMIE:
Later boys!

PAULY:
2 o’clock, Jamie, don’t forget.

JAMIE:
You’re gonna call me three times before then, Pauly, how can I forget?

CAPTION:
When was it, 2, 3 in the morning? Hell, I didn’t care, Candie was probably dead to the world anyway.

Panel 4. Jamie walking away from us, stumbling one way.

CAPTION:
Man, I was piss drunk.

Panel 5. Jamie walking away from us, stumbling another way.

CAPTION:
I was real pissed. Shoulda stopped a six pack ago. Heh, didn’t care, though… usually didn’t.

PAGE THREE (Five Panels)

Panel 1. Jamie, whistling, messing with the key to his front door, view from the side. House doesn’t look too bad from this angle, just a bit small. Above and beyond him, we see a metro track of some sort, nothing running at the moment.

Panel 2. Jamie stumbling towards us, door closed now. He’s fumbling in the dark with his jacket, dropping it on the ground.

Panel 3. View from the corner of the bed, Candie’s side, looking towards the door as Jamie comes in the room. He’s wearing just his boxers and socks, large polka dots on his white boxers. He has a couple of prison tattoos, one on his upper arm, a serpent of some sort and one on his right pec, a skull with a knife through it. Candie’s face is visible turned towards us (not visible to him), eyes open, face looking enraged. She’s pretty despite the rage.

CAPTION:
Seein’ Candie layin’ there had me thinkin’ maybe I could do right by her for once. Maybe this would be the score.

Panel 4. View from the opposite corner of the bed looking towards Candie and Jamie. Jamie is getting into bed, a slight grin on his face, reaching towards his wife.

CANDIE:
Don’t even think about it, you drunk prick.

JAMIE:
I wasn’t gonna do nothin’.

CANDIE:
Uh huh… Well, you keep your friend to yourself, James, get your ass to sleep and sober up.

CAPTION:
Always hated it when she called me that. Next time, I figured I’d be quieter, stealth-like.

Panel 5. Jamie on his back, hands under his head looking up at us, eyes open, the grin still on his face.

CAPTION:
As I went to sleep last night, I had dollar signs goin’ through my head. Dollar signs an’ the look on Candie’s face when I brought it home.

Panel 6. Similar view, but Jamie turned slightly, drool coming out of his face, sheets messed up, looking like he’s been sleeping for hours. Light is coming in through the blinds slightly.

CAPTION:
Oh the dreams last night… Always loved my wife and, you know, had lots of good dreams about her. She was a stripper once, ya know? Used to tips. Well, I got a big one comin’, Candie, I thought.

PAGE FOUR (Six Panels)

Panel 1. View of the metro tracks close to the house, everything vibrating from the noise as the train pounds over the tracks.

SFX:
CHOOMCHOOMCHOOMCHOOM!!!

CAPTION:
You ever get one of those headaches when you wake up a little hung over an’ don’t need nothin’ but a cut of coffee?

Panel 2. View of Jamie’s face, lying against the bed looking towards us. Beyond him we can see light from outside the window shining in. His eyes are bloodshot, his face needs a shave, he most definitely has a hangover.

JAMIE:
Shit.

CAPTION:
God, this is one of those days if Candie was here she’d let me have it.

Panel 3. Jamie getting out of bed. The opposite side has been straightened and Candie is long gone.

CAPTION:
Why did you have to buy the damned house by the tracks? Fifty fuckin’ k, Candie, that’s why!

Panel 4. Jamie, wearing clothes similar to the day before, but a sweat jacket with a hood somewhere in the layers, too, stumbling down the cramped hallway, lit cigarette in one hand, wadded up empty wrapper from some generic cigarettes dropping from his other hand onto the ground.

CAPTION:
All I could think of was just how much I wanted a damn cup of coffee.

Panel 5. Jamie walking into the small kitchen. We see a coffee pot in the center of the counter with a pale yellow post it note on it, writing too small to see from here. Immediately to the left of Jamie is a small table with a pile of bills on it, “PAST DUE”, “FINAL NOTICE”, etc…

CAPTION:
Don’t need no frapawhatsitsfuck, just black. Throw in some grains, I don’t care, just gimme the damned coffee.

Panel 6. Hand lifting up the empty coffee pot with a post it on it that reads in pretty woman’s writing, “Get more coffee if you can get off your lazy ass long enough to do it.”

JAMIE (OP):
Shit again…

CAPTION:
She had a talent, you know, for writin’ stuff in that pretty scrawl that was just plain fuckin’ mean... So much for that.

PAGE FIVE (Five Panels)

Panel 1. Jamie walking towards us down the sidewalk tossing the last of his cigarette on the ground nonchalantly. His hood is up and smoke is coming out of his mouth from the cigarette and the cold.

CAPTION:
Figured I’d just head to the store, grab some cigs, some coffee, and a candy bar. That’ll do me, I thought.

Panel 2. Jamie standing at the counter in a 7-11 type store. A short Hispanic man is helping him but handing his credit card back to him. A pile of candy bars, pack of generic cigarettes and a steaming cup of coffee are sitting in front of him on the counter. Jamie looks disgusted and the Hispanic man looks apologetic.

CLERK:
Sorry man, your card was declined.

JAMIE:
Hold on a sec, I’ve got some --

CAPTION:
Then I remembered the night before.

Panel 3. View from Jamie’s POV looking across the poker table at Carlos as he hoards his winnings from their final hand last night.

CAPTION:
God damned Carlos, that snake.

Panel 4. Clerk pulling the goods towards him like Carlos pulled the money towards him in the previous panel.

CLERK:
Sorry, sir, I’m going to have to ask you to leave.

CAPTION:
What was he gonna do, stop me from taking a fuckin’ cup of coffee?

Panel 5. View from behind Jamie, his hand in the back of his pants pulling out a pistol, yelling at the clerk and pointing with his other hand.

JAMIE (yelling):
You’re sorry! I just want a fuckin’ cup of coffee! You’re gonna be--

PAGE SIX (Five Panels)

Panel 1. View from the clerk’s POV looking towards the door. Jamie, standing in front of him, is still pointing, but he’s glancing over his shoulder towards the door. Kent is sticking his head in, calling to Jamie.

KENT:
Come on, man, Carlos’s here.

CAPTION:
That clerk was one lucky son of a bitch. I was gonna do it!

Panel 2. View from outside the convenience store. A late 70’s model car, built like a tank and big enough to hold six with room in back is sitting out front. We’re looking towards the store as Jamie walks out to join the guys. Kent and Pauly are outside the car waiting, while Carlos and the other two guys are in the car. Carlos is in the passengers side up front glancing out at Jamie.

JAMIE:
I was gettin’ a cup of coffee, man.

KENT:
Plenty of time for coffee later, Jamie.

CAPTION:
That headache, though, uhhhh… they just didn’t get it.

Panel 3. Guys in the car all talking. Jamie is in the back, crunches between two other guys. View from the back looking forward. Carlos, in the passenger seat, turned back looking at everyone, hand holding a ski mask. Several other ski masks are laying around, too, as well are a couple of pistols, a submachine gun, and an assault rifle.

CARLOS:
You got your parts down?

KENT:
Yeah, how hard can it be? Get in, pull guns, take money.

CARLOS:
Shit like that gets you killed, man. Be serious.

KENT:
I’m serious.

CARLOS:
Whatever.

CAPTION:
Once we got in the car it was all business. We were all mouthy ass-holes, but no fuckin’ around with a gun, you know?

Panel 4. View from the front hood looking in. The guys in the back are pulling on ski masks. Carlos is facing forward, ski mask already on, checking the bolt on his submachine gun. Jamie has his ski mask half way over his head and is mouthing something off.

JAMIE:
And you sure he’s not gonna show?

SFX:
CLICK-CLACK!

CARLOS:
Nah man, I heard on the street Dedicator was after him.

JAMIE:
What kinda stupid name is dedicator? He gonna give ‘im a valentine?

CAPTION:
Ski mask, check, piece, check, pissin’ my pants, check.

Panel 5. Kent looking back at Jamie, smart-assed look on his face.

KENT:
Heard he slit Augustine’s throat last month. I wouldn’t wanna fuck with him.

JAMIE (small):
Still a stupid fuckin’ name.

CAPTION:
No matter what they tell you, don’t believe ‘em. They say those stupid fuckin’ heroes ain’t gonna show up, they’re full of shit.

PAGE SEVEN (Six Panels)

Panel 1. The bank robbers, masks on, guns in hand, bursting into the bank double doors, view from in the bank a little ways. Security, old, frail looking guy is clutching his chest, already starting to pitch over.

CAPTION:
Didn’t even have the first gun pointed an’ the security guard was keelin’ over, heart attack. What kind of security is that?

Panel 2. Closer view of Carlos from the waist up, brandishing his sub-machine gun, dirty look visible barely beneath the ski mask, hard look in his eyes.

CARLOS (yelling):
YOU KNOW THE DRILL, GET ON THE FUCKIN’ GROUND AND DON’T DO NOTHIN’ STUPID!

CAPTION:
Carlos spent eight years upstate for his last heist. What’s the first thing he does when he gets outta the pen? Plans his next, of course!

Panel 3. Guys in ski masks, getting set up, covering different clusters of people. Carlos and Jamie, Jamie holding his pistol, moving towards the front counter.

CAPTION:
Me, I was already countin’ the money. I was gonna go to the store, and get a pack of cigs.

Panel 4. Jamie facing a teller, gun pointed in her face. She has a panicked look on her face, jaw quivering and tears starting to pool on the corners of her eyes. She has a pleading look on her face.

JAMIE:
Come on, girl, they train you for this shit, get with it.

SFX:
BOOOOOOOOMMMM!!!!

CAPTION:
Not that generic shit, either. I was gonna buy the good stuff, red fuckin’ box. I was gonna get a six pack of beer. I could already taste the shit.

Panel 5. View from behind the teller looking towards Jamie. She’s fumbling with the money and he’s glancing the wrong direction over his shoulder. Over the opposite shoulder one of the crooks is getting knocked out of the way by a blue and red blur of motion about 6’6” tall.

SFX:
BOOOOOOOOMMMM!!!!

JAMIE:
Wha?

CAPTION:
And some coffee so black you gotta use a spoon to get it outta the bottom of the cup. Oh God, and that fuckin’ house. I was gonna burn it to the ground.

Panel 6. View from behind Jamie. He’s grabbing a bag from the teller and swinging towards us.

JAMIE:
Gimme that!

CAPTION:
All of those eager thoughts popped outta my head, though, in a blur of red and blue.

PAGE EIGHT (Five Panels)

Panel 1. View from behind Jamie as he looks up into the eyes of Aeronaut in his red and blue costume, looking intimidating and disapprovingly down upon poor Jamie. You can almost see the “gulp” on his face. Aeronaut wears a stereotypical costume of red and blue with an A integrated into the design, chiseled features, and a mask that covers his head and upper face. No cape, however.

JAMIE (small):
Oh…

AERONAUT:
Uh huh.

CAPTION:
I saw this GOD in front of me, honest to god. Never seen one of ‘em so close before. I knew before he did anything I was fuckin’ toast, man.

Panel 2. Aeronaut grabbing the wrist Jamie is using to hold the loot in his hands. Jamie’s face is too shocked to realize he should be screaming in pain.

Panel 3. Aeronaut picking up Jamie quickly into the air by his wrist, the bag dropping to the ground.

Panel 4. Aeronaut swinging Jamie to the ground hard,

SFX:
BOOOOOOOMMMMMM!!!!

CAPTION:
Somewhere between surprise an’ oblivion I had this thought. Maybe these guys don’t realize we’re not built like them.

Panel 5. Aeronaut pulling Jamie back into the air. It’s obvious several of his bones are already broken and he’s about unconscious. Not easy to tell given how jacked up his face is.

CAPTION:
Then I thought about it again… Maybe they just don’t give a shit.

PAGE NINE (Seven Panels)

Panel 1. Aeronaut chucking Jamie towards the far wall, Jamie’s body limp like its strings were cut.

Panel 2. Jamie smashing into a wall deeper than a human body should be able to, bones and body giving out. It doesn’t kill him, but… he should wish he’s dead.

SFX:
SPLAT!

Panel 3. Black…

CAPTION:
Couldn’t guess how long I was out. Coulda been at the pearly gates for all I knew. Bet they had to shock me. Clear! Clear! Heh heh…

Panel 4. Looking at Jamie in a hospital bed, hooked up to an IV, covered head to toe in bandages, both arms immobilized, one hand’s fingers splayed to keep them separated and healing, attached to wires. One leg is in the air, dangling from a set of wires hanging above the bed. His eyes are closed and the only indication he’s alive is the monitor to his left blipping and showing his stats, a steady pulse.

SFX:
BEEP! BEEP! BEEP!

Panel 5. Close up of Jamie’s face, eyes open, capillary burst in his right eye and bruising visible around the edges. He looks fierce.

CAPTION:
Fuck coffee, I want revenge.

CAPTION:
END

The Living Dead - Dead on Arrival

So some people have been asking for samples of my writing, so I thought I would post a sample script I wrote on my blog. I created this one last week, it took me a total of maybe four hours to write, edit, and send over. Avatar allows for freelance writers to submit to them for potential jobs, but they require you to write a sample script using their characters... So, I chose the Living Dead because I was always a sucker for those movies when I was younger. Late night on USA, I watched a ton of horror movies when I was a kid. Probably explains why I'm so twisted with my writing now at times. Anyway, read and enjoy... let me know if you have any comments and keep in mind that though it contains zombies and is inspired by the Living Dead, it doesn't mean you can take the idea and run with it... I've got the rest of the story saved up in case Avatar asks me to move forward with it.

THE LIVING DEAD: DEAD ON ARRIVAL
PAGE ONE (Two Panels)

Panel 1. A 747 flying through thick clouds, heavy rain, and lightning all around (some way too close to the plane). Angled image to give the impression that the plane is not flying perfectly straight (turbulence). Plane labeled with fake airline logos for Northern Airlines - Pacific Connection, flight 842.

RADIO (Captain): This is your captain speaking, please return to your seats and fasten your seatbelts. We are experiencing a little bit of turbulence.

Panel 2. View from a seat in coach looking up at the little air dial, the no smoking light and the fasten your seatbelts light which has just lit up. The square compartment for the air masks is closed in the center.

SFX:
DING!

PAGE TWO (Five Panels)

Panel 1. View from Dr. Evans' seat as he reaches up to fiddle with the air nozzle above him with his right hand. The motion from the plane shaking is making his hand move around slightly as he tries to twist the nozzle.

Panel 2. View Dr. Evans from the seat in front of him. He is looking forwards, sweat on his brow as his right hand arcs awkwardly down, feeling sick due to the motion of the plane. His left hand is clenched tight on his briefcase against his chest. He is crammed between an exceptionally fat man (Roy - his left) and woman (Wanda - his right), barely enough room to gesture, let alone reach for an air vent. The man to his left appears to be sleeping and the woman to his right has her hand on the slide to open the little window cover so she can see outside.

Panel 3. Nervously, Dr. Evans positions the briefcase onto his lap flat and clicks open the locks.

SFX:
Click! Click!

Panel 3. View from the aisle looking in towards Dr. Evans’. His head is cocked slightly to the side and he tries to contort to looks into the barely open briefcase without letting anyone else see what is inside. Barely visible is an orange bag with a biohazard symbol on it and, written in sharpie, “tissue samples 08-13-2005”. Slivers of duct tape hold the visible corners of the bag to the inside of the brief case.

Dr. Evans:
Ahhh…

Panel 4. Same POV, but Dr. Evans’ head is back up and he’s looking around with a look of relief on his face. The fat woman to his right has opened the window and is looking out into the storm, raindrops buffeting the window. It’s dark outside and her head is cocked in that direction. A flash of lightning is visible in the distance. The plane continues to rumble with turbulence.

WANDA:
Roy, check this out!

ROY:
Wha?

WANDA:
Lean your fat head and look out!

Panel 5. View from outside in the rain looking into the window, the window taking up most of the frame. Other windows are visible, but all are closed. Dr. Evans has leaned a little back in his chair so Roy can lean towards the window without getting overly friendly. Beyond Roy, we can see the middle and opposite side of the plane where most people are looking forward, concerned looks on their faces because of the turbulence. On the far side, Alan is visible, head back, eyes closed, and a relaxed look on his face ~ all in a day’s work. He is wearing a sports coat over a red button up shirt and khakis.

PAGE THREE (Five Panels)

Panel 1. Camera pans back into the plane, closing in on Alan, still looking relaxed. The motion from the plane’s turbulence intensifies.

Panel 2. View from outside the plane again, view from beyond the back of the plane looking forward at a slight angle. A thick bolt of lightning hits the top of the plane about a third of the way back, the arc of the bolt is visible on top, arcing to the left engine, and continuing on into the depths below the plane.

SFX:
CRACK!

Panel 3.
Same view as before looking at Alan, but his eyes snap open suddenly.

Panel 4. From his POV looking at the passengers. Everyone is looking around frantically, some looking like they just woke up. Dr. Evans is visible on the other side of the plane, briefcase clenched tightly again to his chest.
RANDOM PERSON 1:
What was that?

RANDOM PERSON 2:
Did you hear that?

RANDOM PERSON 3:
What the fuck?

RANDOM PERSON 4:
Huh?

RANDOM PERSON 5 (burst):
Stewardess!

RANDOM PERSON 6:
Have you ever felt turbulence this severe?

Panel 5. Same POV, but the lights go out and only the light coming in from the bolts of lightning outside cast any light in the cab.

RANDOM PERSON 1 (burst):
SHIT?

RANDOM PERSON 2 (burst):
FUCK!

RANDOM PERSON 3:
Neil?

RANDOM PERSON 4:
Stewardess?

RANDOM PERSON 5:
OHSHITOHSHITOHSHIT!!!

RANDOM PERSON 6:
Mommy?

PAGE FOUR (Four Panels)

Panel 1. View from the nose of the plane looking back at the left engine which is on fire and sputtering, not sure if it wants to stall out or explode. Figures of the pilot and co-pilot are partially visible in the front windows, but it’s dark in there.

PILOT:
Mayday! Mayday! This is Northern Airlines flight 842 en route to Los Angeles, engine has been hit by lightning and we are losing altitude. Mayday! Mayday!

CO-PILOT:
Captain, looks like the radio is fried.

PILOT (burst):
God damn it!

Panel 2. View from inside the pilot’s cabin. The pilot is looking back towards the door to the cabin, which is open. In the darkness a couple of figures are visible strapped in for the turbulence.

PILOT (burst):
Get into the cab and tell everyone to get on their life preserves and release the damned oxygen masks, this brick’s going down.

Panel 3. View from the door looking at the two stewardesses, both buckled in and trying to get themselves unstrapped. They are looking at each other with fear in their eyes.

STEWARDESSES:
Yes Captain!

Panel 4. The stewardesses walking into the main cabin of the plane, view from around ten rows back looking forward towards them. Everyone still looks frantic, but their mouths are closed. Many have their eyes clenched shut. Stewardesses on either side of the plane start unbuckling themselves. Of the two who are already standing, 1 is addressing the crowd and 2 is reaching into a compartment by the door.

STEWARDESS 1 (burst):
Ladies and gentlemen, the captain is working to get us leveled out, but we were asked to please have you put on your oxygen masks and reach under your seats for flotation devices.

PAGE FIVE (Three Panels)

Panel 1. Door above one passenger opens up and three air masks drop down, lines for the air lost in the darkness. Dozens of tubes intertwined are visible.

Panel 2. View of the left engine from a close by window, exploding violently.

SFX:
BOOM!

Panel 3. Same POV, but the engine, the wing and the section by them flying out into the night in a shower of rain, air, fire, glass, and people.

PAGE SIX (Five Panels)

Panel 1. View from outside where the wing was looking into the plane, the plane at a 45-degree angle forward to back and left to right. A lot of empty seats are in the middle of the plane and all of the seats close to the explosion are gone, blackened areas in their wake. People either have on their oxygen masks or are frantically trying to fasten them on themselves or their children. A couple more people, including a stewardess are flying out of the plane due to the angle. A crack has appeared on the top of the plane where the wing and section came off.

Panel 2. Same view, but the crack has gotten worse. People are looking up around them who can see it and a few are trying to get themselves out from their seats to move out of the way.

Panel 3. Same view, but the crack is larger. A few people have successfully started climbing towards the front and back of the plane. A few more people fly out of the plane, though.

Pane 4. Same view, but the front of the plane take a steeper dip while the back retains the same angle, now only attached at the seat level. Some people, screaming, whoosh out all around.

Panel 5. View from well behind the plane looking forward towards it. An island is ahead in the distance, a large mountain visible on the right, and a fishing village of some sort visible at the foot of the mountain, also on the right side of the island. The angle of the plane is pointing towards the left side of the island.

PAGE SEVEN (Six Panels)

Panel 1. Fuzzy vision… View from Alan’s POV looking around. Light is filtering into the wreckage of the plane from outside. All around are dead bodies, moans, metal, seats scattered, body parts, and a general mess of things.

ALAN:
Ugh…

CAPTION:
Hours later…

Panel 2. Alan’s POV a little clearer. He is looking back in the direction of Dr. Evans. Evans is wearing his life preserver and has the oxygen mask on his face. The briefcase is still held tightly to his chest, but both he and it have been pierced by a piece of metal from the plane upon crashing. Blood has come out of his mouth and is now dry, flies are just starting to flutter around from outside.

ALAN:
Hello?

Panel 3. View from a few seats away looking at Alan. He is struggling to get himself out of his seat belt. There are dead bodies in all of the seats around him, necks at odd angles and impaled with shards of metal. He’s looking around frantically as he struggles with the buckle. His movement reveals a concealed weapon beneath his jacket, under his left armpit.

ALAN:
Fuckin’ thing!

JOSIE (OP):
Hello?

Panel 4. View from behind Alan’s shoulder as he looks ahead of him to the seats. A hand is waving a little ways ahead of him from the floor, barely visible near one of the seats.

ALAN:
Hello? Where are you?

JOSIE:
I’m down here… I’m stuck… They’re on top of me…

JOSIE (burst):
Sob…

ALAN: I’ll be right there, just hold on.

JOSIE:
Please hurry.

Panel 5. View from the floor where Josie is looking up towards Alan who is coming her way. He has a tender look on his face and looks a little battered, but not overall in bad shape.

ALAN (small):
There you are.

JOSIE:
Thank you, I didn’t think anyone would come. A few people passed by, but… I don’t know if they couldn’t hear me or what.

ALAN:
It’s ok, I’m here now.

Panel 6. View from beyond the two looking back at them. Josie is pinned beneath two bodies and one of the chairs has curved over, blocking her beneath. Alan is forcing the chair to move out of the way bodily.

ALAN (burst):
OOF!

ALAN:
Ok, slide out of there.

PAGE EIGHT (Six Panels)

Panel 1. View from Alan’s POV as Josie slides out from beneath the two dead bodies on top of her. She’s covered in a bit of blood, but it’s obvious that she’s very pretty. She’s wearing a green top, spaghetti straps with a different shade of green cardigan over it and dark blue jeans now with splotches of dark blood. She’s also wearing tennis shoes.

JOSIE:
Thank you!

Panel 2. Alan helping Josie to stand up and they’re looking each other in the eyes. She smiles sadly while he maintains a grim expression.

JOSIE:
Josie…

ALAN:
Alan… Let’s get out of this place.

Panel 3. View from behind Josie and Alan as they walk towards the light, behind where Alan was sitting. The plane is in half, and he was in the front half. Bodies litter everywhere and beyond the light they see the other half of the plane. In the other plane there are some people standing in the shadows.

ALAN:
Well Josie, it looks like we weren’t the only lucky ones.

JOSIE (small):
Look at all the people.

ALAN (small):
Shhhh, there’ll be time to mourn later. Let’s make sure we’re safe first, ok.

Josie (small):
ok…

Panel 4. Walking into the light, sun just about down, view from where the two parts of the plane split looking towards the wide opening. We see Alan and Josie’s backs. Trees surround the plane, but there is a little clearing there around the crater where the plane landed. A few people are sitting down in the shade beneath one of the trees. Frank is pointing towards Alan and Josie.

FRANK:
A couple more made it out!

ALAN:
There may be more survivors in there.

FRANK:
I think we got most of them.

Panel 5. Closer view of Frank from over Alan’s shoulder. He has a devastated look on his face, as they all do.

FRANK:
We’ve been through there; anyone still alive is probably dead by now.

ALAN:
You missed us.

MARK:
You looked dead a couple of hours ago.

ALAN:
Fair enough.

Panel 6. View of the group together looking up near the nose of the plane on top where a fire is burning.

FRANK:
Not to mention that.

ALAN:
Holy shit, you think it’s gonna blow?

FRANK:
No fuckin’ clue.

PAGE NINE (Four Panels)

Panel 1. View from Alan’s POV looking up at the sky, a few people’s torsos at the bottom of the frame and the sun, just a sliver on the horizon, darkness all around except for there.

ALAN:
And there it goes.

Panel 2. View from Alan’s POV. He has turned back towards the plane. Mark is walking towards the plane, the sun is now down and view is darkening. Mark has his head cocked as though he’s listening to something.

MARK (burst):
MOLLY?!?

Panel 3. Closer view, Mark is near the opening and it’s now dark inside the plane, nothing visible except for the silhouette of a woman, torso cocked to its left (our right) and head cocked even more to the left (our right). Left arm is dangling uselessly while the right is reaching forward, the tips of the fingers in enough light to make out nails painted red.

MARK:
Oh God, Molly, you’re alive!

MOLLY (small):
Uhhhhh….

MARK:
You’re in shock, honey, I’m coming.

Panel 4. Mark is now stepping into the darkness of the plane, stepping to reach for Molly. Frank and Charles are stepping forward to flank Mark, a little cautious. Molly’s head has moved a little bit against the unnatural angle of the neck and is now putting her right hand on Mark’s shoulder, tips of her nails biting into Mark’s shoulder.

MARK (burst):
OW MOLLY!

MARK:
It’s ok, I’m here.

Panel 5. Closer view of the two of them. Mark has pulled Molly partially into the light and it’s obvious she’s a zombie. She clamps down on his face with her mouth and her hand digs more into his shoulder, breaking the bone. She is still hobbling forward, motion to indicate the two of them are going to fall.

MARK (burst):
OH GOD MOLLY!

MOLLY:
Gurgle…

Panel 6. View from Frank’s POV looking down on Molly who is eating Mark’s face, pulling a bit of flesh up, gobbling. Her eyes are looking up to the sky, but don’t see anything, they’re a sickly white. Mark is thrashing around on the ground. Charles, beyond them is looking down in horror, his mouth open.

CHARLES:
OH FUCK!

MARK:
MMRRRPPPHHHH!!!!

PAGE TEN (Six Panels)

Panel 1. View from Josie’s POV behind Alan. Alan is pulling out his gun. Beyond him. Frank is pulling the zombie Molly off of her husband.

FRANK (burst):
Get --

Panel 2. Same POV, but now Alan has his gun out and Frank is chucking Molly towards the side of the plane.

FRANK (burst):
-- OFF!

Panel 3. Molly being impaled by a sharp piece of plane, the metal just bursting from her chest in a spray of blood and flesh. Her head, at an angle, is being thrown back and her limbs are splayed out.

MOLLY:
Uhhhhh…..

Panel 4. Molly impaled on a sharp piece of the plane, the metal hooking around so she can’t just slide off. She is looking down (more sideways down since her head is tilted wrong) at the metal.

MOLLY:
….

Panel 5. View from behind Frank and Charles looking towards Mark and, beyond them, Molly, still impaled, but trying to move her arm and legs to get loose. Blood is bubbling from her mouth. Mark is squirming on the ground.

MARK (small):
Uhhhh….

Panel 6. View from Molly’s POV looking towards everyone else. Alan is visible on the right side of the plane, motioning for Frank and Charles to get over to him with his left hand, his right is holding his gun, pointing it towards Mark. Frank and Charles are starting to move, but shocked looks are on their faces.

ALAN (burst):
Get your asses in gear; let’s get the fuck out of here!

CHARLES (burst):
What the hell’s happening?!?

ALAN:
Don’t worry about that now, let’s start moving!

PAGE ELEVEN (Four Panels)

Panel 1. View from Molly’s POV looking towards everyone again. Charles and Frank have joined Alan and the others. Josie has started crying. Alan is now aiming with both of his hands and has just fired a round, the shot visible arcing through the air into Mark’s head, right in the temple. Mark had started to pull himself off the ground, his face a mess and his shoulder where Molly grabbed him is gored, but the bullet has started to knock him back a little bit, a spray of blood and brain matter popping out behind his head.

MARK:
Uh--

SFX:
CRACK!

Panel 2. POV looking over Alan’s shoulder back at Josie whose mouth is open, bottom lip quivering and she’s pointing back towards the plane.

JOSIE:
Alan?

Panel 3. From Josie’s POV looking forward. Alan, Charles, and Frank are in front of her, though spread out. Visible beyond them are the two halves of the plane. Shuffling figures are visible in the darkness of the left side. In front of them is marks body, now dead on the ground.

MOLLY:
….

FIGURES IN THE SHADOWS:
Uhhhhhh…..

Panel 4. Three figures in different states of destruction are now standing behind Marks body, shuffling forward, arms forward, hands opening and closing, mouths open. Blood is visible all over them in various places depending on where they died (crushed by seats, other passengers, overhead luggage, etc or impaled by metal). One of them has the oxygen mask still on its face, though slightly out of place, the tube trailing behind them. More figures are shuffling forward from the shadows behind them.

ZOMBIES:
Uhhh….

ALAN (OP):
SHIT!

END FOR NOW…
CHARACTERS

ALAN:
Mid-Twenties air marshal – Ruggedly handsome and white with a farmer’s tan, brown hair, blue eyes, stocky build, 6’ / 205 lbs.

DR. EVANS:
Fifty-something biologist – white (pale), stringy grayish hair, grey eyes, very thin, 5’8” / 140 lbs.

JOSIE:
Nineteen – Very pretty African American with dark skin, brown hair (curly and relaxed, just past the neck) and brown eyes. Labret piercing, piercing green makeup around the eyes and red lipstick.

FRANK:
Mid-Forties – X-Football player… Big like he could hit the field today, but a bit round in the middle. White, light tan, blond hair, blue eyes, and built like a refrigerator, 6’5” / 300 lbs.

MARK:
30 year old accountant – handsome in a bookish kind of way, wire framed glasses, light brown hair and green eyes wearing a business suit torn to shreds. Married to Molly.

MOLLY:
30-year-old schoolteacher – very pretty in a bookish kind of way… perfect match for her husband Mark.

CHARLES:
28-year-old tourist – African American with medium tone skin, clean shaven (head and face) and brown eyes. He’s wearing a form fitting yellow t-shirt partially tucked in, displaying a big belt buckle and baggy jeans, only down a little bit below his waist, large hiking boots on his feet.