Living Defender

Living Defender

Part I

By Sia Mozaffarimehr

PAGE ONE.
SPLASH PAGE
There is a zombie head in the foreground, we see a close up of a hand clenched around a spiked baseball bat dripping with the blood of the dead zombie.

J (V.O.): I’m not exactly sure how I started down this path, but then again I suppose many of us never do-

PAGE TWO.
CELL ONE.
J is seen from behind, sitting at his cubicle, typing, just about to answer the phone.
J: Fuck.

CELL TWO.
J: Hello.
NORM: Sup, you want to grab a coffee?

CELL THREE/FOUR.
The cell is split in half with a cubicle wall. J stands up from his seat, he looks down at the man sitting down looking up from his desk.
J: You couldn’t have just stood up and said, hey J, break time. Coffee.
NORM: No, unlike some people I like to look like I am actually being productive.
J: Whatever-
NORM: It’s true man. Right now, you look so unprofessional.
J: Are we going or what?

PAGE THREE.
CELL ONE.
J and Norm are seen at the coffee stand.
J (V.O.): Things seemed normal then.

CELL TWO.
This cell is enlarged, extending from the left hand corner of the page to the majority of the center. The present day is being shown now. J is holding his baseball bat in his right hand and a machete in his left. The bat, an old wooden one, made with some nails and a soldering gun. It reads, “Little Slugger.” This cell will show his fist clenched around the baseball bat and the words will be splattered with blood.

J (V.O.): Now-

CELL THREE.
Cell three is a full page set behind cells one and two. The image is shot from above, illustrating J facing off against five zombies plus three more that are already lying on the ground. A 1965 Lincoln Continental illuminates the scene.
J (V.O.): Now, I have a new job-

CELL FOUR.
J is shown swinging his bat into the front of a zombie’s skull, while also spinning and slicing a head off of another.

J (V.O.): Protecting the remaining members of mankind from becoming zombies.

PAGE FOUR.

CELL ONE.
J kicks one of the zombies after slamming it in the head. As he begins to spin around. One of the zombies grabs him from behind, jumping at him to take a bite. A monkey wrench impales the zombie’s eye and it falls to the ground.
J (V.O.): How did we get to this point? I’ve been at this for too many days-
D: You’re getting reckless. What does it say in the handbook?
J: Don’t wear armor unless you are going into battle.
D: Alright smart ass.

CELL TWO.
J is seen from behind, D is seen from the front, rubbing the top of his head.
J: First rule.
D: Don’t get bit.
J: Exactly-

CELL THREE.
J pulls back his shirt slightly to reveal chain mail shark suit.

J: That’s what this is for. If it can withstand the bite of a shark. It sure as hell can stop a zombie.
D: But you still have some weak points.
J: True.

CELL FOUR.
J and D are seen walking back to the car.

J: You make sure the car is empty?
D: You think I am an idiot or something.
J: I am just checking. You know, after the speech you just gave me.
D: Alright, shit.

CELL FIVE.
J leans into the car, shining a flash light. As leans down a zombie comes up behind him.

J: D, don’t move.
D: Why?

PAGE FIVE.
CELL ONE.
J trows his ax into the top of the zombie’s skull, it falls to the ground and splatters blood onto D’s shirt.

D: You could warn me when you’re going to do something like that.
J: I didn’t want you to move. You can be distracting.
D: A zombie almost bit me!
J: It didn’t.

CELL TWO.
D starts to remove his shirt.

D: I could have.
J: But you didn’t.
D: Brooks is right, wearing armor makes one reckless.
J: This coming from the guy that sleeps in his!
D: You know what?
J: A simple thank you would suffice.
D: This was my favorite shirt.

CELL THREE.
J shrugs his shoulders, inside the car, D.

D: Can we just go home?
J: Yeah-

CELL FOUR.
Shot from above, the car is seen with a plow attached to the front end. They slam into a zombie as they are driving down the alley.

D: We are kind of far aren’t we?
J: That’s why you should get some sleep.
D: But I’m not tired.
J: Very well then.

CELL FIVE.
A side shot of J and D from inside the car.

D: Why do we have to hunt so far from home now?
J: We are trying to increase the size of our holdings-
D: Do you ever think we will get back to how things were?
J: I don’t know D, but I have to believe they will. I have to for my family-
D: You know what I miss the most?
J: Pizza. I know, going out for pizza. But are you sure its not because of what happened?

PAGE SIX.
CELL ONE.
D looks out the window.

D: I don’t know.
J: I know its tough, but try and sleep.

CELL TWO.
The coloring of the next cells will be faded, some things will be colored in vividly while other aspects may be in black and white and light blue. D is sitting with his girlfriend Erica and her friend,

D:So, you guys know what we are going to order?

ERICA: Why are you even asking? It’s not like you’re new at this.

D:Yeah I know, it’s just that I… I just wanted to have the… (Mumbles) the sweet pig…

CELL THREE.
The waiter comes to the table.

THE WAITER: And what would you like to order this evening?
ERICA: Yeah, some water, oh and a regular ice tea. No lemon.

THE WAITER: Got it.

CELL FOUR.
D is sitting in the car once more.

D (V.O.): I should have seen the signs-

PAGE SEVEN.

CELL ONE.
Erica is lunging at D, blood spilling over her lips, her friend is slumped over in the booth next to her, neck split open. In the background, people are running out of the building. D is reaching for knife on the table.

CELL TWO.
A splash page is set behind cell one. D stabs Erica in the eye with a butter knife.
D (V.O.): I should have seen all the signs, the discoloration to her wound, not a cut. She lied, but why? She kept getting up and going to the bathroom, said she wasn’t feeling well. I guess I was drinking too much back then. I could have helped J save the world before the end came. He says it was going to happen no matter what I did, if not in Vegas, anywhere. It was a pandemic.

CELL THREE.
D manages to pull the knife out of her eye during their struggle, the eye still attached, he takes another stab at her, she continues to struggle, finally he breaks her neck, but she continues to move.

PAGE EIGHT.
CELL ONE.
D running down the Las Vegas Blvd.
D (V.O.): I can’t believe this shit is happening.

CELL TWO.
Moments later he is standing in front of a hotel room door, putting on the dead bolt. He grabs his cell phone from his pocket.

CELL THREE.
The cell is split, Mick walking up to a black jack table and D in the hotel room.
MICK: Yo, D, come join me for a game.
D: Get your ass to the room now.
MICK: Hey, D, let me call you right back.
D: Mick, don’t hang up the phone.

CELL FOUR.
Mick, is seen putting his phone away, he is smiling at the dealer, a young slender blonde woman.

MICK: Deal me in.

CELL FIVE.
Mick setting his chips on the table, the dealer, placing cards on the table.

DEALER: How are you sir?
MICK: I’m great, how are you?
DEALER: Good, thank you for asking.

CELL SIX
The people that were sitting at the table leave.

MICK: Wow, I guess this table is getting cold.
DEALER: We can still play if you like.
MICK: Well, then that sounds fine from a beautiful dealer such as yourself.
DEALER: Thank you, but I don’t think that we can…
MICK: Thank you will do just fine. (Looks to her name tag.) Josephine.

PAGE NINE.

CELL ONE.
Mick’s phone sitting on the table, (Sound Effects: VBRRRVBRRR!)

JOSEPHINE
Well, you know my name, what is yours?
MICK:Names, Mick. I am waiting for a few friends of mine to get back to the hotel so we can go for some drinks. They should have been back a while ago.

JOSEPHINE: Sounds like a fun night.
MICK: Care to join us?
JOSEPHINE: I can’t, I would love to though.

CELL TWO.
Mick gets up from the table.

MICK: Some other time perhaps…

JOSEPHINE: Perhaps. (She shoots him a smile.)

CELL THREE.
Mick is walking through the hotel. His phone begins to ring just as he opens it.

MICK: Hey, D that was scary. I was just about to call you.

D: Where are you?

MICK: I’m in the casino, why?

D: Meet me in the room. Just get here now.

MICK: What’s up man?

D: I will tell you when I get here.

CELL FOUR.
D is seen sitting on the edge of the bed and Mick is seen entering the room.

MICK: Where’s Erica?

CELL FIVE.
Close up of D, still holding the butter knife with an eye ball on it.

D: Dead.

CELL SIX
Close up of D’s eyes.

PAGE TEN.

CELL ONE.
Mick, sits down, just as D stands up.

D: Pack your shit.
MICK: But dude, we just got here.

CELL TWO.
D is looking out the window, Mick is still sitting on the bed.

D: She was infected some how by the virus.
MICK: You don’t mean you buy into that shit, do you? So where is Erica?
D: Aren’t you listening? She is fucking dead man. She is gone, I put a fucking butter knife through her head so I didn’t have to see her like that, fucking mindless and ravenous.

CELL THREE.
D is standing at the edge of the bed, Mick is staring at the eye ball at the end of the butter knife.

MICK: Is that?
D: Yes-
MICK: Fuck man.
D: I was going to propose-

MICK: So wait, you weren’t fighting? I’m sorry D. So what do we do now?

CELL FOUR.
D is seen getting his bags and heading for the door.

D: I heard there was this crackpot giving a speech or some shit about the end of the world some place in town. I think he is still here. I think we should try to find him. Maybe he can help us.

MICK: I heard about him-

D: The car is close by, we have to make it down to the car without getting killed. You think you can keep up?

MICK: Yeah, I have dreamed about living this shit. I have always wanted to kill real live zombies, or you think they prefer the un-dead? Or how about the zombie practitioners? Or maybe some other cool job description-

D: I would rather not get into that discussion right now. All I know is that we need something sharp or blunt object to kill these fucking things. I mean I obviously didn’t get it right the first time with Erica, but the second and the third time seem to do the trick, well?
CELL FIVE.
Mick digs through his bag.

MICK: Well what?
D: Get something sharp.
MICK: Like what? A butter knife?
D: Shut the fuck up ass hole.
MICK: Sorry,(laughing) I just couldn’t resist.
D: Yeah, yeah, this is no time for your jokes.

CELL SIX
Mick is holding a machete, as D turns around.

MICK: Alright, I will see what I can find.
D: Where the hell did you get those?
MICK: My bag…
D: You know what I am not even going to ask.

CELL SEVEN.

Mick hands D a knife.
MICK: There’s a sword convention this weekend; which I am going to miss now because of you and your stupid ideas.

Page Eleven
CELL ONE.
The Cell is a splash page, there were zombies on one side of the door and D and Mick on the other.

D: You order room service?
MICK: No-
D: You?
MICK: You don’t think?
D: Put your shit down. I think we better pack light.

CELL TWO.
Mick looks down to the Vegas strip, his eyes are up close, the reflection of the flames on the strip are shown from his eyes.

PAGE TWELVE.
CELL ONE.
Mick is shown opening the door, zombies reach in and try to grab him.

MICK:Holy shit man, what the fuck is going on?

CELL TWO.
D kicks the door shit on the arms of the zombie. The arms fall off in the door.

D: I don’t know. Maybe we can get out through the adjacent rooms.
MICK: Sounds like a plan. You think there are more on their way?

CELL THREE.
D and Mick kick down the door between the two rooms and run for the front door of the room.

CELL FOUR.
The two are seen running for the hallway.

D: You think that guy we were talking about is still here?
MICK: What guy?
D: The guy that said this shit was about to happen?

CELL FIVE.
D and Mick kick a couple zombies down the stairs.

MICK: You think he will be able to help us?

PAGE THIRTEEN.
Splash Page. J kicks open a door, he is wearing chain mail armor. He stands holding “Little Slugger,” D and Mick are standing frozen on the stairs.

PAGE FOURTEEN.
CELL ONE.
J pulls his axe out of the dead zombie, then looks up at the stunned men.
J: You boys been bit.
CELL TWO.
D and Mick remain silent.
J: Have you been bit?!
CELL THREE.
J kills another zombie coming up the stairs.

J: I don’t have all day.
D: No-
J: Alright then. I see you armed yourselves already. Let’s go. Maybe we can take the elevator, get a little rest for a minute.

CELL FOUR.
Inside the elevator, the three of them stand staring at each other.

MICK: You’re-
J: You know me?
MICK: You’re-
J: Who are you?
MICK: Names Mick, that guy over there is D.
J: Pleasure.
D: Mick, this is the guy I was talking about.
J: Again, you guys act as if you know me.
D: You’re J Lane.
J: The crackpot who gives the speeches about the end of days.
D: I was going to say-
J: It’s okay. Just be ready.

CELL FIVE.
D is seen looking out the window of the car once again.

J: We’re home.

PAGE FIFTEEN.
Splash Page.
J is shown sitting on the hood of his car, “Little Slugger” leaning on the bumper of the car. The lights are on illuminating the front of a garage door. In J’s hand there is a flask.

PAGE SIXTEEN.
Splash Page.
An arial view of the compound, ten sets of fences separates it from the outside world. The Car is shown shining its’ lights on the door of the compound garage.

J: Some home-

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One response to “Living Defender

  • Charles Hatfield

    Sia, this baffles me, because the zombie apocalypse genre knocks the whole world out of shape, thus canceling the need for a lot of superhero genre tropes such as the secret identity, etc. In other words, when the world’s going to hell in a handbasket, when zombies are pandemic and violence in the streets is a commonplace, it’s hard to imagine that the superhero’s traditional goal of defending the status quo really means much. Instead all bets are off, all constraints removed. Isn’t that part of the appeal of the zombie apocalypse genre?

    This reminds me of both Marvel Zombies (written by Walking Dead scribe Robert Kirkman) and also of the horror-comedy film Zombieland. But once the whole world is infected by zombies, the (in the literal function) conservative role of the superhero, as one who preserves or maintains a semblance of social order, disappears. Then it’s just about survival, baby!

    Lots of black humor here. I take this as dark comedy, because otherwise I can’t believe a guy recovering so quickly from the business of killing his girlfriend. And the eyeball gag? Over the top.

    I can imagine an artist having some fun with the scenarios you describe. But maybe a longer fuse, a more subtle buildup, would be necessary for true horror? Or is it more the videogame-like excess of it all that you’re after?

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