Marvel Adventures Spider-man Spec Script

All characters are obviously copyright Marvel Comics.

I wrote this years ago because I was so in love with the Marvel Adventures line. All ages, self-contained superhero stories featuring the Fantastic Four, the Avengers (with one of the greatest line-ups of all time), and Spider-man.

Marvel Adventures Spider-man

“Bear Necessities”

By Kyle Garret

PAGE ONE

Big splash page of Spider-man fighting the Gibbon.  Grizzly is in the background looking ominous – we’re shouldn’t be able to tell exactly whose side he’s on, but the reader will most likely assume he’s a bad guy.  He should be towards the upper left corner while in the lower right we have the astral form of Dr. Strange.

Caption #1: Who are these ferocious new characters?

Caption #2: Will Spidey be able to save the day alone?

Caption #3: Will he be able to tell the good guy from the bad?

Caption #4 (maybe an arrow caption pointing at Dr. Strange): And what’s Dr. Strange doing here?

Caption #5: More importantly, just how quickly can we start making bad puns?

Caption #6: All this and more in a story we HAD to call

TITLE: “Bear Necessities”

CREDITS

PAGE TWO

Page Two, Panel One

Shot of a rather innocuous looking building in the middle of New York.  It should look fairly old, like a residential building or maybe one of those old college buildings.  It should not look like a modern business.

Caption: Mid-town Manhattan, midnight

Page Two, Panel Two

We open up with this shot.  It’s a man dressed as an animal – something like a wolf or a badger – sitting on the floor, a bowl in front of him.  It should be gold and held up off the floor by a metal frame of the same color.  There’s smoke coming out of the bowl.

Unknown magician: Yes!  YES!!  Fill me with your power!!

Page Two, Panel Three

Close up shot of the man’s face, as he’s overjoyed with the fact that his spell appears to be working.

Unknown magician: Give me your power!!

Off panel (behind him): Excuse me…

Page Two, Panel Four

Enter: Dr. Strange, Master of the Mystic Arts, Sorcerer Supreme!  He should be floating right on through the wall, but make sure to distinguish this from his astral form.  Going through the wall should be the result of a spell he cast on said wall, so go for magical energies there, linking back to one of his hands.  The other should be readying an attack.

Dr. Strange: I don’t think I approved any such magical incantations in the city tonight.

PAGE THREE

Page Three, Panel One

Wide battle shot here, as Strange blasts our guy, who has foolishly tried to raise mystical shields.  Strange’s blasts should be breaking them like their glass or hard plastic.

Dr. Strange: Maybe we should talk.

Unknown magician: No!

Page Three, Panel Two

Shot of the unknown magicians being tied up in the Crimson Bands of Cyttorak.  Make sure that bands are going around his mouth.

Unknown magician: Guhmmmfmm!

Page Three, Panel Three

Shot of Dr. Strange looking around the room, trying to suss out what this guy was up to.  Keep unknown magician in the shot, floating behind Strange, still bound, but struggling to get free – specifically, to get his mouth free.

Dr. Strange: What, exactly, were you up to in here?

Page Three, Panel Four

Shot of unknown magician, his head looking up as he has managed to get his mouth above the bands.  It should look like he’s trying to get his head above water.

Unknown magician: Go!

Page Three, Panel Five

Pull back as we see a fireball launch out of the bowl from earlier.  Dr. Strange should be falling backwards, startled, although he manages to maintain his hold on the unknown magician.

Page Three, Panel Six

Small shot of the fireball flying out the window, into the night.

Page Three, Panel Seven

Close-up shot of Dr. Strange (perhaps with unknown magician still floating in the background to establish that he’s still captured, but it’s up to you on how much space you have).  He looks concerned.

Dr. Strange: That can’t be good…

PAGE FOUR

Page Four, Panel One

Establishing shot.  It’s the next day, which needs to be very clear in this shot (the fact that it’s no longer dark should be enough, I think).  We’re outside of a convention center and a large banner is telling us that today is a special event: “Superhero For A Day!!”

Page Four, Panel Two

We’re inside now and on our boy, Peter Parker.  There are people walking past him going both directions.  More important, he’s walking past a row of people in bright costumes, all standing and posing, trying to look their best as potential superheroes.  None of them look that impressive, as these are all the second stringers.  Peter is lost in thought, reading a book as he walks.

Caption: Now that’s interesting.  How would have —

Page Four, Panel Three

Shot of Peter looking directly at us, but clearly looking at something ahead of him that has finally gotten him to pay attention to his surroundings.

Peter:  –that??

Page Four, Panel Four

There’s a large group of people in front of Peter, all looking towards the would-be superheroes, all very excited for some reason.  In the group is Flash Thomas and some of his friends.

High School Kid: Max!  You’re the best Max!

Flash: Max, you rule!

Caption: Flash?

PAGE FIVE

Page Five, Panel One

This should be a fairly big reveal shot.  We see four people standing and posing, all of whom appear to be finalists for the contest.  Each one has their superhero name across their chest.  From left to right it goes White Rabbit (a woman), Gibbon (big guy), Grizzly (Max Markham, professional wrestler), and Cobra (a smaller man).  The crowd is focused on Grizzly, who is clearly well known for his wrestling career.  There should be one small kid – maybe 10 — standing in front of Gibbon.

Caption: It’s Max Markham!  He’s a big time wrestler – even I know who he is!

Grizzly: Thank you, thank you, everyone!  I can only hope that being a superhero won’t be as hard as taking on King Diamond every Sunday night on channel 14!

Page Five, Panel Two

Side view of Peter looking at Grizzly and the crowd, although his eyes are looking over at the kid in front of Gibbon.

Caption: Looks like everyone’s here for Max…

Caption: …or almost everyone.

Page Five, Panel Three

The kid is looking up and Gibbon who does NOT look happy about the attention that Grizzly is getting.

Kid: What’s a Gibbon?

Gibbon: It’s an ape.

Page Five, Panel Four

Close-up shot of the kid, looking unimpressed.

Kid: So why don’t you call yourself “Ape?”

Page Five, Panel Five

Close-up shot of Gibbon looking particularly angry with that remark, glaring at the kid.

PAGE SIX

Page Six, Panel One

Peter steps in to get the kid out of the way.  It’s not that he thinks Gibbon will attack the kid, he’s just not entirely sure one way or the other.

Parker: Heeeeyyy, there, buddy, maybe it’s time you go find your parents, I’m sure they’re worried sick about you, and you shouldn’t be talking to strangers, anyway.

Page Six, Panel Two

The kid storms off.

Kid: Whatever.

Page Six, Panel Three

Peter looks at Gibbon, who is glaring right back at him.

Page Six, Panel Four

Peter turns away, preparing to head off.

Caption: Oooookay, then.  Someone doesn’t play well with others.  I don’t know what the criteria to win “Superhero For A Day,” but I don’t think the Gibbon matches it.

Page Six, Panel Five

Peter is walking away from the rest of the crowd and at this point we can’t really see anyone else walking near him.  We should be looking at him as if we’re on the side with the would-be superheroes, so we can see that there’s a wall on the other side of Peter (his right side).

Caption:  Funny how everyone seems to be an animal of some sort.  I wonder if that’s because of me –

Page Six, Panel Six

Suddenly, the upper body of Dr. Strange pops out of the wall – this is his astral projection form, so he’s all white like a ghost.  Peter is clearly surprised by this (but, as Dr. Strange is a good guy, his spider sense remains quiet).

Peter: Meeyah!

Dr. Strange: Spider-man, I need your assistance!

PAGE SEVEN

Page Seven, Panel One

We should reverse the angle here so that we’re on the other side of them, this time with Dr. Strange on the left and Peter on the right.  Dr. Strange is still half in the wall, half out.

Caption: Doctor Strange, magician most magnificent and generally creepy guy.

Peter: Geez, Doc, tell everyone why don’t you!

Page Seven, Panel Two

Similar as the last panel, but now Peter is frantically looking around to see if anyone was within earshot as Dr. Strange looks on.

Caption: Please please please let no one have heard that!

Dr. Strange: Relax, Peter, my astral form is in tune to your aura alone.  You are the only one who can see or hear me.

Page Seven, Panel Three

Shot of the two of them talking, although Peter still looks confused.

Peter: So I’m the only one who can hear you?  And see you?  Thank god.  Wait, does that mean I look like I’m talking to myself right now?

Dr. Strange: I would imagine it looks like you’re talking to the wall.

Page Seven, Panel Four

Shot of Peter looking back the way he came and seeing a woman pulling her small daughter away.  The woman has a concerned look on her face as she looks at Peter like he’s crazy.

Page Seven, Panel Five

Full body shot of Peter, his face in his hand.  He looks exasperated.

Peter: Ohhhh, yeah, should have seen that coming.

Page Seven, Panel Six

Return to something similar to the first panel on this page.

Peter: How do you know who I am, anyway?

Dr. Strange: I’m the Master of the Mystic Arts, Peter.  It’s my job to know these things.

PAGE EIGHT

Page Eight, Panel One

Straight shot of Peter, now looking somewhat flabbergasted by the situation.

Peter: So are you here for a reason other than making my life that much more miserable?

Page Eight, Panel Two

Our POV switches to Peter, so we see Dr. Strange head on, as if he’s speaking to us.  He’s still half in the wall, half out.

Dr. Strange: Last night I apprehended a minor wizard – a man of little consequence, really – but I was unable to reach him before his spell went awry.  I traced it to this building.

Caption: Of course.

Dr. Strange: In fact, I believe he placed the spell on one of the costumes they are using.

Page Eight, Panel Three

Shot of the two of them, Dr. Strange on the left, Peter on the right.  Peter is looking concerned, clearly ready for the worst.

Peter: What does the spell do?

Dr. Strange: It will give the user the innate strengths of the costume they’re wearing.  Not unlike, I might add, someone wearing a spider costume.

Page Eight, Panel Four

Full shot of Peter, throwing his hands in the air and clearly beside himself.

Peter: Of course!  Of course that’s what’s happening!  Because I’m me and it’s today and this is my life!

Page Eight, Panel Five

Peter and Dr. Strange both look back the way Peter came, a look of concern on their faces.

Off panel: AAAHHHHH!!

Off panel: Help!!

Note: Feel free to add any additional sound effects describing mass chaos and destruction.

Page Eight, Panel Six

Peter runs around the corner as Dr. Strange looks on.

Dr. Strange: Shouldn’t we be headed towards the commotion?

Peter (around the corner): My costume might not be magical, doc, but it’s still necessary!

PAGE NINE

Page Nine, Panel One

We cut to Spidey in all his costumed glory, swinging into battle, the astral form of Dr. Strange by his side.  This panel should be inset in the upper left hand corner, as the next shot will be full page and the third panel will be inset bottom right.

Caption: Please not the cobra, please not the cobra, anything but the cobra…

Spider-man: You’re not going to be much help like that, are you?

Dr. Strange: I can advise.

Page Nine, Panel Two

Big shot of the Gibbon causing havoc, knocking over tables and chairs and what have.  People are running in terror, including the guy in the cobra costume.

Gibbon:  Grraaaaaahhhh!!!

Page Nine, Panel Three

Shot of Spidey and Dr. Strange looking at us, although clearly in their world they’re looking at the Gibbon.  Spidey should look concerned (as concerned as he can look with his famous moving giant eyes).  Dr. Strange looks relatively calm.

Spider-man: Then perhaps you could advise me on how you stop a gibbon?

Page Nine, Panel Four

We should be close on Gibbon now.  We need to see his face and probably his upper body as well.  He’s clearly off his rocker with rage.

Gibbon:  Gaaaaaahhhh!!

PAGE TEN

Page Ten, Panel One

Shot of Spider-man and Dr. Strange getting read to launch an attack.

Spider-man: What’s wrong with him?

Dr. Strange: The spell has likely driven him insane.

Spider-man: Greeeeaaaat.

Page Ten, Panel Two

Spidey swings in feet first, hitting Gibbon in the face.

Spider-man: It’s time for you to back off, monkey man!

Page Ten, Panel Three

Close-up shot of Gibbon’s hand closing around one of Spider-man’s legs.

Page Ten, Panel Four

Shot of Gibbon throwing Spider-man away from him.

Page Ten, Panel Five

Shot of Spider-man crashing into a table and chairs.

Caption: Ouchouchouchouchouch.

Page Ten, Panel Six

Shot of Spider-man looking up from the floor.  He’s got one hand behind his head, indicating that he’s sore all over.

Dr. Strange is also here, hovering above him.

Dr. Strange: A gibbon is an ape, actually, not a monkey.

Spider-man: That’s really helpful, doc.

PAGE ELEVEN

Page Eleven, Panel One

Spider-man is running back into the fight.  We see webs coming from his wrists as he runs.

Spider-man: Let’s see how he likes the ol’ webbing in the face move!

Page Eleven, Panel Two

Shot of the webbing splatting in Gibbons face

Page Eleven, Panel Three

Shot of Gibbon yanking the webbing off.  He looks even angrier than before.  His face should probably be red here, both from the webbing and because he’s so mad.

Page Eleven, Panel Four

Spider-man, still in his web shooting position, stunned by what Gibbon just did.  Dr. Strange is in the picture now.  If we’re seeing Spidey from the side, Dr. Strange should be on the other side of him, facing him so that we see him head on.

Dr. Strange: That only seemed to make him angry.

Spider-man: Are you Master of the Mystic Arts or Master of the Obvious?

Page Eleven, Panel Five

The Gibbon has raised his arms over his head, ready to pummel Spider-man, who is calmly looking up at him.

Page Eleven, Panel Six

Pull back so we get at least their upper bodies in frame as Gibbon smacks Spider-man to the side, sending him flying.  This should be similar to Page Nine, Panel One.  This whole page should be similar to Page Nine, in fact.

Page Eleven, Panel Seven

Shot of Spider-man yet again lying on the ground after being tossed aside by the Gibbon.  Dr. Strange is hovering over him.

Spider-man: Déjà vu.

PAGE TWELVE

Page Twelve, Panel One

Shot of Dr. Strange.  He’s addressing Spider-man, but we should be close on him so it almost seems like he’s addressing the reader.

Dr. Strange: Spider-man, we need to contain this threat.  The longer he rampages, the less likely there’s to be anything left of the man he once was.  If we don’t stop him soon, he could be a mindless beast for the rest of his life.

Page Twelve, Panel Two

Spidey’s up now, although he’s squatting in a typical Spider-man pose.  He’s ready for action.  He’s also pleading his case to Dr. Strange.

Spider-man: It’s not like I’m not trying here, Doc!  I just don’t know if brute force is going to do the job this time around.

Off panel: Back off, man!

Caption: Oh, no…

Page Twelve, Panel Three

There’s Max, in full Grizzly suit, standing in front of the rampaging Gibbon.  He has his hand up in front of him, as if that will stop him.

Caption: Max!  What is he doing??

Grizzly: Just relax before this gets out of hand!

Page Twelve, Panel Four

The Gibbon pulls his arms over his head, ready to bring them down on Grizzly.

Gibbon: Grraaaaahhhh!!

Page Twelve, Panel Five

Spider-man swings in and rescues Grizzly just as Gibbon takes a swing at him.

Spider-man: Bad monkey!  No banana for you!

Page Twelve, Panel Six

Close in on Spider-man swinging away with Grizzly.  We should be able to see both of their faces (as they were) clearly.  Grizzly is surprised by what has happened.

Grizzly: That did not go like I planned.

PAGE THIRTEEN

Page Thirteen, Panel One

Spider-man and Grizzly land away from Gibbon.

Page Thirteen, Panel Two

Shot of Spider-man and Grizzly standing face to face.  Grizzly is much bigger than our hero, so he should be looking down as Spidey is looking up.

Spider-man: Are you crazy?  Forget that he can smash you with a pinky finger, I just tried that!

Page Thirteen, Panel Three

Grizzly responds in kind, not used to being yelled at by someone smaller than him.

Grizzly: Well I had to do something!  He’s already hurt the other contestants and if someone doesn’t stop him soon he’ll kill someone!

Page Thirteen, Panel Four

Spider-man returns the same.  We should be able to see most of his body in this shot.  He’s got his thumbs out and he’s pointing back at himself.

Spider-man: Hello, card carrying member of the superhero community here!  What do you think I’m trying to do?

Page Thirteen, Panel Five

Grizzly and Spider-man should be face to face here, both looking very serious.

Grizzly: Trying and doing are two different things.

Spider-man: Gee, thanks, Obi-wan.

Off panel: *Ahem*

PAGE FOURTEEN

Page Fourteen, Panel One

Spider-man turns to face the astral form of Dr. Strange.  There should be a wall behind him.  This is key for later and should stick throughout the next few pages.

Spider-man: What??

Dr. Strange: We need to remove the suit.  I think that will stop him.

Page Fourteen, Panel Two

Spider-man has his arms crossed and he’s tapping his foot while looking at Dr. Stange.

Spider-man: Oh, NOW you tell me, after I’ve been thrown across the room not once, but TWICE!  I’m going to start calling you Dr. Strangely-Willing-To-Withhold-Information.

Page Fourteen, Panel Three

Full body shot of Dr. Strange.  This is exposition mode, so his floating form should telegraph as much.

Dr. Strange: The spell is on the suit, not the man inside it.  The suit is the source of his power.  All we need to do is contain him and get the suit off him.  Once we do that he should return to normal, assuming we freed him in time.

Page Fourteen, Panel Four

Shot of Spider-man and Dr. Strange face to face, in full on plan mode.

Spider-man: Containing him is easier said then done.

Dr. Strange: I’m afraid that trying to get the suit off while he’s rampaging throughout the convention center would be far more difficult.

Off panel: Excuse me?

Page Fourteen, Panel Five

Spider-man turns to face Grizzly, who’s looking very confused.

Grizzly: Are you talking to the wall?

PAGE FIFTEEN

Page Fifteen, Panel One

This shot is from Grizzly’s perspective.  He’s looking at Spider-man, who has turned to face him and is gesturing the where Dr. Strange would be standing were he visible.

Spider-man: “No—it’s—he’s invisible!

Page Fifteen, Panel Two

Close-up of Grizzly, kind of averting his eyes from Spider-man with that “let the crazy man believe what he wants” look on his face.

Grizzly: Oooookay

Page Fifteen, Panel Three

Spider-man throws his hands up in the air, clearly fed up with how things have gone for the last, oh, twelve pages or so.

Spider-man: Fine, yes, I’m talking to the wall and it’s talking back!  Not only am I unable to stop a man in a monkey suit, but I am also off my rocker!

Page Fifteen, Panel Four

We’re back to an omniscient POV now and we see Dr. Strange interjecting into Spider-man’s ranting.

Dr. Strange: Spider-man, please, we need to get that suit off of him and we need to do it quickly.

Page Fifteen, Panel Five

Spider-man addresses Dr. Strange.

Spider-man: Well, Doc, can you ghost on over to the Baxter Building and get the Fantastic Four?  Because I don’t think I’m going to be able to contain Gibbon AND get his suit off.  And aside from your peppy dialog, you’re not much help.

PAGE SIXTEEN

Page Sixteen, Panel One

Grizzly interjects.

Grizzly: I can help.

Page Sixteen, Panel Two

Spider-man spins to face Grizzly.

Spider-man: Oh no, no, way, man.

Grizzly: Why not?  You told the wall you need help!

Page Sixteen, Panel Three

Shot of Spider-man facing us.  His hand is outstretched and he’s counting off points on his fingers.  He has three fingers up.

Spider-man: First of all, you might be a famous wrestler, but the Gibbon is way stronger than you.  Second of all, I was talking to Dr. Strange, you just can’t see him.  And third, I barely saved you the last time!

Page Sixteen, Panel Four

Shot of the three of them standing (and hovering) there, blank looks on all their faces.

Page Sixteen, Panel Five

Same shot as the last panel.

Grizzly: Was that a pun?

Spider-man: I pun when I’m about to throw myself into danger.

Dr. Strange: We really could use his help.

Spider-man: Fine, but if he gets smooshed it’s your fault.

Grizzly: Why would the wall care if I get smooshed?

PAGE SEVENTEEN

Page Seventeen, Panel One

Close shot of Spider-man’s face.

Spider-man: Let’s do this.

Page Seventeen, Panel Two

This is a shot of the three of them, Spider-man in the center, astral form Dr. Strange to his right, and Grizzly to his left, charging into battle.

Spider-man (yelling): Time to quit monkeyin’ around!

Page Seventeen, Panel Three

We’re back to the convention floor.  It’s completely empty, save the remnants of the destruction that occurred.

Grizzly: Uhhh…

Page Seventeen, Panel Four

The guys turn as a roar comes from off panel.

Gibbon: Raaaaarrrr!

Dr. Strange and Grizzly at the same time: He’s outside!

Spider-man (whispering): You two should take your act on the road.

PAGE EIGHTEEN

Page Eighteen, Panel One

Shot of the Gibbon, holding a car over his head, mass destruction all around.  I mean, we should see walls destroyed, piles of rubble, street signs, cars, parts of buildings, you name it.  He’s been busy while they’ve been yakking.

Gibbon: Grrrraaaahhhh!!

Page Eighteen, Panel Two

Shot of the three of them, standing united together, Spider-man in the middle.

Spider-man (whispering): Max, I’ll distract him, then you grab his feet.

Grizzly (whispering): Grab his feet?

Spider-man (whispering): Grab his feet.

Spider-man (yelling): Hey, you big ape!

Page Eighteen, Panel Three

The Gibbon spots them and throws the table at them.

Page Eighteen, Panel Four

Similar shot as panel two, but this time Grizzly is jumping off panel to the side and Spider-man is jumping off panel up as the car that the Gibbon was holding comes flying at them.  It passes harmless through Dr. Strange.

PAGE NINETEEN

Page Nineteen, Panel One

Spider-man is swinging above the Gibbon, taunting him.

Spider-man: You missed me, missing link!  Is that the best you can do?

Page Nineteen, Panel Two

We should be looking up with the Gibbon now (we should still see him in the shot) as he shakes his fists in the air at Spider-man.

Gibbon: Grrraaahhh!!

Page Nineteen, Panel Three

Spider-man is now standing right in front of Gibbon, tempting him to attack.  We can see Grizzly sneaking up behind Gibbon.

Spider-man: Man, you are a broken record!  Your dialog is worse than mine!

Page Nineteen, Panel Four

Grizzly jumps out at Gibbon, lunging at his feet.

Grizzly: I’ve got him, Spidey!!

Page Nineteen, Panel Five

Shot of Spider-man spraying massive amounts of webbing all over the Gibbon as he leaps into the air.

Spider-man: It’s time to get you out of that —

PAGE TWENTY

Page Twenty, Panel One

Big shot of Spidey in the air, yanking up with all his might on his web line and pulling the gibbon costume clean off of Gibbon.

Spider-man: — monkey suit!!

Page Twenty, Panel Two

The Gibbon, now only in boxers and socks, collapses to the ground, Grizzly still holding on to his feet.

PAGE TWENTY-ONE

Page Twenty-One, Panel One

Shot of Dr. Strange and Spider-man.  Dr. Strange’s astral form is starting to dissipate.

Dr. Strange: Thank you, Spider-man.  Now that the Gibbon has been stopped, I can finally rest in peace…

Spider-man: What?

Page Twenty-One, Panel Two

Similar shot as the first one, but now Dr. Strange has disappeared.

Spider-man: Doc!  Doc!!

Page Twenty-One, Panel Three

Again, similar panel as the one before, but now Dr. Strange, still in astral form, has blinked back, fully formed (as his astral form, that is).

Dr. Strange: Just kidding.

Spider-man: You’re a bucket of yuks, Doc.

Page Twenty-One, Panel Four

Spider-man and Dr. Strange head over to Grizzly, who is now on his knees and looking down at the fallen Gibbon.

Dr. Strange: I should be getting back to my body soon, though.  It’s not always safe to be away this long.

Spider-man: Tell me about it.  I can feel a monumental grounding coming on.

Page Twenty-One, Panel Five

Dr. Strange and Spider-man join Grizzly, now standing, all looking down on the fallen Gibbon, who seems to be fine, aside from knocked out.

Dr. Strange: It would appear that we got to him in time.

Grizzly: Man, people shouldn’t have animal powers.

Spider-man *ahem*

Grizzly: Except you, of course.

PAGE TWENTY-TWO

Page Twenty-two, Panel One

Upper torso shot of the three of them, left to right Dr. Strange, Spider-man, and Grizzly.  Spider-man is looking at Grizzly.

Spider-man:  You know, Max, you made a pretty good superhero.  I could barely contain my excitement.

 Dr. Strange and Grizzly: *groan*

Page Twenty-two, Panel Two

Similar shot as before, but both Dr. Strange and Grizzly are turning around to leave.

Spider-man: Then again, I don’t know if I could bare the competition.

Page Twenty-two, Panel Three

Close-up shot of Spider-man, enthusiastic about his puns.  He could have a finger in the air, as if he was excited about something.

Spider-man: And that costume of yours is bear-y cool!

Page Twenty-two, Panel Four

Shot of Grizzly looking back at Spider-man.

Grizzly: Can I be invisible now, too?

THE END

Young Zombies in Love, Part 2

Young Zombies in Love (part 1) by Kyle Garret from Best New Writing 2014

Part 1 of “Young Zombies in Love”

“Unnamed Adaptation of ‘Unrequited’” lacked romance.

Karen had never worked with zombies before. She’d never even considered them. She watched as many movies as she could, from Romero’s originals and all the remakes, to the various off shoots that pretended to be something other than zombie movies, but were just that. She watched the B-movies and the summer blockbusters, the serious takes and the comedic ones.

“I don’t really understand the mythology,” she said to Greg. He’d been home for two weeks now, no longer at the local psychiatric facility, no longer under “suicide watch.”

“What’s to understand?” he said. “The dead come back to life.”

“Well, yeah,” she said, “but why? I mean, it’s implied that radiation from a comet caused it, but that’s just pushing the suspension of disbelief too far.”

“Walking dead you can understand, but radiation from a comet is too much?”

“Of course it is,” said Karen. “The comet is a story in and of itself. Besides, the biblical allusions in all of these movies are pretty overt, so the comet angle seems unnecessary.”

“I guess,” said Greg.

“And is it a disease? One that’s spread through bites? And if that’s the case, what does that have to do with radiation from a comet? And how did the first zombies show up if they weren’t bitten?”

“Yeah, a lot of questions.”

“I’m actually surprised that something so vague would have such a following,” said Karen. “Although I guess that’s the appeal, like open source software.”

“I don’t know,” said Greg.

There was a time, when they were dating and even early in their marriage, when Greg would have jumped all over a conversation about zombies. He would have challenged every single point Karen made, answered all of her questions as best he could and goaded her into a debate so intense that it would nearly turn into a full blown argument. But that time seemed long past.

Karen had brought Greg back, but she wasn’t sure that she should have.

“Anything new?” said Greg. The fact that he’d taken such an interest in her new job was a positive sign, one that she should have found hope in, but that she nonetheless found bothersome.

“Not really,” said Karen. She was brushing him off. She didn’t want to, but it was her first instinct these days and she hated that. “I’m considering the zombies as characters.”

“Romantic characters?” said Greg with a smile.

“Right,” she said, “taking Bubba to the next level.”

“You’d definitely change the demographic appeal of the movie.”

“I have to think the necrophiliacs are going to a zombie movie regardless.”

“I like it,” he said. “’Young Zombies in Love’ has a nice ring to it.”

Karen laughed, not so much because she actually found Greg’s idea funny, but because she was taken aback by the fact that he just made a joke.

“I’ll run that by the studio,” she said, smiling.

“It has franchise written all over it,” said Greg as he started heading back downstairs. “I know what I’m talking about. I know my zombies and I know my romance.”

Karen plays with her hair when she writes. She strokes it in long, loving motions, as if it were a cat on her lap. Sometimes she twirls it with her finger, like someone pantomiming that she should get to the point. Periodically, she will run her palm over the ends of it like it’s a painter’s brush and she’s trying to remove excess paint.

If she were to hazard a guess, she probably spends a third of her time at the computer playing with her hair and another third surfing the internet. She is always amazed when she actually completes something.

Karen was determined. She loved “Unrequited” and refused to let the movie version exorcize its soul.
There was a place for love, she thought, even here. But she was having trouble picturing it.

Greg’s uncle had filled a void left by his father, a man made void with a specific shape. But when his uncle died, Greg realized that that void had never really been filled, and that his uncle had simply been a distraction, a distraction which now left a hole of its own. It wasn’t the holes that drove Greg to suicide, as much as the knowledge that those holes could never be filled.

Greg took time off work to fly back home for the funeral. That time off kept extending longer and longer until he was given an ultimatum: quit, come back, or be fired. He quit, a decision he made without talking to Karen.

Two weeks later, Karen was holding his head in the bath tub, trying to get him to throw up as she explained the situation to a 911 operator named Vanessa.

“Wait,” she said to herself. “Young Zombies in Love” was ridiculous, of course, except that perhaps it wasn’t.

Karen made a few notes on her legal pad, then flipped through her battered copy of the script. She had something. She had what she thought could be the fix she’d been looking for. She just had to figure out how to work it in and how many scenes she would have to change because of it. She also had to make the changes seem as natural as possible.

Only in Hollywood would a solution have to be shoe horned in and then made to look like it wasn’t.

“It’s great,” said Greg as he tossed the script on to the couch next to Karen. He did not seem pleased.

“You didn’t like it,” she said.

“No, actually, I really did think it was great,” he said. “You found the best solution; you’ll keep everyone happy.”

“O-kay,” said Karen. She gave Greg a questioning look, but if he noticed he ignored her. He had said everything he wanted to say, and walked back upstairs.

Karen sat, torn by her desire for peace and quiet and her all too common desire to yell at Greg. She wished she could just ignore him, just sit on the couch and watch TV, satisfied in the knowledge that she had turned what was a questionable, underperforming script into demographic hippie, open to the embrace of everyone and anyone. But Karen couldn’t have unresolved storylines. She picked up the script because she felt like she should have a prop and walked up the stairs to their bedroom to have an argument she didn’t understand, yet knew by heart.

Karen didn’t think it was possible for her heart to pound faster, but it does when she sees her house in the distance. She didn’t think it was possible to run faster, but she does. She is running for Greg’s life and she plans on telling him that after she brings him back again.

She wonders how determined he is. He wouldn’t try sleeping pills again. Greg is smarter than that. They don’t own a gun. Maybe he would hang himself. Could she bring him back from that?

She bursts through the front door because they never lock it when one of them is home. They would be the first to die, she thinks, if zombies were real.

Greg is lying on the couch. He is sprawling and unconscious.

“Greg!” yells Karen with a force she didn’t think she had left in her lungs.

Greg opens his eyes. “Karen?”

Karen collapses on their hardwood floor, the front door still open.

“Jesus, Karen,” says Greg as he jumps off the couch and hurries to her side. He kneels down next to her, wraps his arms around her. “Are you okay?”

“I ran,” she says between large gasps of breath. “You didn’t answer, so I ran.”

“You ran from the store?”

“I called…”

“Nap,” he says quickly. “I turned everything off because I was actually tired enough to take a nap. That’s all.”

Karen starts to cry.

“Karen, it’s okay,” says Greg. “I’m not going to…I’m not there anymore. You don’t have to worry about that.”

Karen shakes her head “no.” She’s trying to calm herself, trying to catch her breath and calm herself so she can speak.

Greg holds her close, trying to transfer his calm, regular breath to her.

She takes a deep breath and her entire body shakes.

“I’m sorry,” she says as she exhales.

Greg gives her a reassuring smile. Karen smiles back. She swallows and pats his cheek with her hand, looks into his wide open eyes.

“I’m sorry I made you a zombie,” she says.

“You killed me with a baseball bat,” he says.

“You like baseball.”

“I like you,” he says.

She smiles, a feeble, determined smile at odds with her tears.

“I don’t know what to do, Greg.”

“Nothing,” he says, glancing towards the still open front door. “I don’t know. Part of me feels like this is where I was headed no matter what.”

Karen stops crying and sits up. “And now?”

“I’m tired, Karen,” he says, as if it’s been just below the surface this entire time. “I’m tired of always thinking about what I don’t have instead of thinking about what I do.”

“That would be me, right?” says Karen, her smile now dominating her tears.

“God, yes,” says Greg.

As they kiss, Karen breathes deeply through her nose and her body shakes. She slowly lets the air out, her body relaxing, Greg’s mouth still there, still connected to her. She begins to smile despite herself.

“Now,” says Greg, as their lips separate, “I think you should take a nap with me.”

“I like that idea,” says Karen.

They stand up. Karen shuts the front door. Hand in hand, they walk up the stairs to the bedroom. They lie down together, wrapping themselves around each other, like a couple that had just started dating and had been up all night talking. There is plenty of room in their king sized bed and Karen pulls Greg around her, wanting to disappear inside him.

They fall asleep as if pressed up in a corner with no where to go but each other.

In Karen’s script, the female lead sees her ex, now one of the walking dead, and dispatches him after an emotional good-bye. She is then free to fall in love with the male lead. Karen will leave this in her script and the studio will love it and she and Greg will walk hand in and hand down the red carpet at the movie’s premiere.

And even though the leads die at the end, the studio will green light a sequel and they will ask Karen to write it, because this is the world she lives in, and because in it, something that has died can be brought back to life.

And she will be the one to revive it.

Young Zombies in Love, Part 1

Young Zombies in Love (part 1) by Kyle Garret from Best New Writing 2014

Karen has decided that her revenge will be cantaloupe. Greg is not a fan; he’s not a fan of anything in the melon family, so they rarely have it in the house. So she has bought not one, but two cantaloupes, which she will cut up and include in any fruit salad she makes, and he will have to eat around it.

She has decided that a silly fight deserves silly retaliation. She thinks Greg will see the humor in this. She hopes he will. She used to know.

When she gets to her car, Karen sets down her groceries to search her purse for her car keys. They regularly disappear into the void, hiding behind ridiculous amounts of change or tucked into a side pocket that’s supposed to be holding her cell phone. This is the kind of thing that used to annoy Karen, but at the moment she’s trying to be a better person.

When she can’t find them, she dumps her purse out in the Trader Joe’s parking lot, laying bare her life for any passers-by. There’s no sign of her keys.

She pushes her face up against the windows of her Acura and quickly scans the inside. There, on the passenger seat, are her keys.

“Yeah, that’s about right,” she says. She smiles a tiny smile because she should have known something like this would happen. She remembers one time in high school when she locked herself out of her car while it was still running. She takes comfort in the fact that at least the car is off, and that these days she has a cell phone.

She dials Greg, thinking that perhaps this is just as funny a way for them to make up as the cantaloupe.
She gets his voicemail.

She tries the landline and gets the voicemail.

Even if Greg didn’t hear his cell, he would have heard the home phone. Maybe he just couldn’t get to it in time. She tries the home number again. She gets voicemail again.

She tries Greg’s cell phone again. Voicemail. “Hi, you’ve got Greg, leave a message or risk never hearing from me again.”

“Hey, it’s me. Why aren’t you picking up? I tried the house line. I’m at Trader Joe’s and I locked my keys in the car. Call me.”

For a few minutes, Karen is angry. Why isn’t he answering? What else could he be doing? What could be more important? She is frustrated and angry and the annoyance she felt from the fight earlier, the annoyance she tried to bury and forget about, is bubbling to the surface. She thinks of the cantaloupes and even that doesn’t help.

She is always there for him, she thinks. She only saved his life and yet the one time that she needs him, he won’t answer the phone. He’s probably sulking after their fight, their pseudo-fight, more like. He’s using it as an excuse to sulk and to not answer the phone.

Or perhaps Greg has tried to kill himself again.

The contents of her every day life still lying in a pile in the parking lot, Karen begins to run. The grocery store is just under two miles away from their house.

“There are too many zombies,” said Greg as he knocked on Karen’s office door while simultaneously opening it, something she had repeatedly asked him not to do.

“I know,” she said, as he set the script down on her desk.

“It’s actually fairly decent, for an adaptation,” he said. “And I guess it shouldn’t be surprising that they added so many zombies.”

“I know,” she said again.

“I suppose their numbers aren’t even really the issue, so much that they show up right away, which is completely against everything the book is about.”

Karen looked up at him. He was sincere in his desire to help, something she hadn’t seen from him in some time.

“Well,” she said as she pushed herself back from her desk, “it would seem that someone at the studio has realized they aren’t going to make much money on a strict zombie movie.”

“I don’t know,” said Greg. He took Karen’s engagement as an opening and sat down in the chair on the other side of the desk, “Romero keeps making movies and I don’t think they’ve been particularly good for a while now.”

“I think they want more than just the horror crowd,” said Karen. “I think they’re looking for cross-demographic appeal.”

“Like the book.”

Karen flipped through the script. The notes she’d made in red pen had now been joined by notes in black pen. Greg’s were few and far between and generally consisted of “exactly” next to her notes.

“Which is why they gave it to me,” she said. “Because I do romance.”

Greg smiled. “You’ve been pigeon holed.”

Karen set the script back down, looked up at her husband, at his amused smile.

“Coo, coo.”

Whenever Karen had doubts about her marriage – which, if she were honest, was frequent even before Greg tried to kill himself – she thought about their third date.            

They had been driving to see some band, as that’s what they did back then.  Greg’s car had broken down, in and of itself a memorable experience since Greg was meticulous about keeping his car in working order.  He had no idea what was wrong, just that it had simply shut down, right there on the street.            
It was cold out, and Karen had curled up in the backseat to try to keep warm while Greg looked under the hood.  He kept looking at it, going over every inch of it, as if something would change if he just kept looking long enough.            

After a while, Greg crawled into the backseat and joined Karen, who was nearly asleep by this time.  He wrapped his arms around her, tried to keep her warm.            

“I called AAA,” he said.            

That was a big step for Greg.  He seldom admitted his own shortcomings and rarely acknowledged when he needed help.            

“I have no idea what’s wrong with it,” he said.  “They said it would be an hour.”            

In Karen’s mind, she snuggled in closer to Greg.  But the reality is that there was no room for her to move closer or even further away.  The reality is that she was half awake and just trying to stay warm.             But she holds on to the idea that the moment was about them and nothing else.              


“Three Roses” was panned by critics and barely broke even, but in Hollywood the former doesn’t matter and the latter is enough.  “A Winter Day” was a critical hit and actually turned a profit, and Karen’s stock began to rise.  She imagined that movie reviewers, if they ever considered screenwriters, would have declared that her second script was a natural progression from the first, and that only good things lay ahead.            

“Las Vegas Good-bye” opened in the top five.  The reviews were mostly positive but the gross, both domestic and foreign, far exceeded what the studio expected.  Entertainment Weekly went so far as to declare that “Romance Is Back!”            

It didn’t stay for long.            

Studios restructured and were bought up.  Movies were abundant and free online.  Movie theaters were expensive and everyone owned a plasma TV.  Tests were run, questionnaires filled out, and in the end it was decided that the movie going audience was shrinking, and that money could no longer be spent on “niche” genres.  Romance was out, unless it was able to bundle itself as a romantic comedy or, even better, an action movie with a romantic storyline.            

That’s how “9 Gun Salute” was born and how Karen became the most sought after script doctor in Los Angeles.            

It had been ten years since “Las Vegas Good-bye,” since someone bought one of Karen’s original scripts. 

It had been five years since she even wrote one.  Her time now is devoted to finding the love in action movies or the intimacy in war movies. 

And now she is looking for the romance in horror.

Karen turned off the desk light. Her monitor was still on, so the room was lit up by the eerie off-white screen. She pushed the power button as she stood, the light in the hallway guiding her way.

She walked down the stairs, looking down on the living room. Their 42” flat screen was still on, although the volume was low because Greg didn’t want to bother her when she was writing. She could make out his form on the couch and assumed he’d fallen asleep.

But he was awake, hunched low in the cushions, one hand behind his head, the other hand holding the remote aloft, ready to fire at any moment.

“Still up?” she said.

“So it seems,” he said, not looking away from the TV. “This insomnia bit is starting to get old.”

“I don’t think it’s actually insomnia,” she said as she sat down next to him. “You fall asleep eventually.”

“I know,” he said, sitting up. “Maybe insomnia would be better, as opposed to pseudo-insomnia.”

When Karen’s sister miscarried, her mother described her as being “broken.” Her mother said “she’s been broken by this.” It was a descriptive term Karen had heard hundreds of times before, but not one she particularly cared for. If the handle breaks off a coffee mug, you glue it back on. Karen’s sister was never going to be fixed.

But Karen couldn’t help but think of “broken” when she looked at Greg. Since his uncle died, he had very much been broken. And all she could do was try to think of ways to fix him.

Greg’s solution was sleeping pills.

Karen looked at the TV. It was the tail end of some late, late, late show.

“I’m sorry,” she said.

“It is what it is,” he said.

Karen leads a sedimentary life. On one hand, this means she is not in the ideal condition for running. On the other hand, it means that she seldom if ever wears uncomfortable shoes.

Her adrenaline wants her to sprint, but her body wants her to walk.

The most obvious change in zombie mythology over the years has been speed. While zombies were originally slow, lumbering corpses, the most recent zombie stories have changed this so that zombies are just as fast – if not faster – than the average living human being.

Perhaps it was the advent of the readily available automatic weapon or simply the expansion of the human race, but at some point slow monsters were no longer scary. Perhaps society just decided it was okay with the fact that death would eventually come for them. Maybe the only way to make death scary again was by making it fast and unexpected.

To avoid picturing Greg on the floor in the bathroom, Karen does math. She calculates the distance from the grocery store to their house. She tries to remember the last time she ran a timed mile and what the result might have been. High school, she’s sure. When would anyone recreationally time themselves?

Karen has determined that it will take her twenty minutes to get home, and that’s if she doesn’t collapse. But she has adrenaline on her side, adrenaline and the ability to disconnect her brain from her body.

She plays back the argument, the stupid argument that was about something stupid and was stupid for even happening. She thinks about how he overreacted, how he suddenly found fault in a stupid adaptation of a stupid book about stupid zombies. She wonders if she should have seen this coming. Her stupid self should have seen this coming.

Karen can’t help but remember. She remembers when she found him on the bedroom floor, dead to the world, but not dead to her. She remembers dragging him into the bathroom, lifting him into the bath tub, turning the shower on him while holding his head over the drain and sticking her fingers down his throat. She never hesitated, never stopped to question what had happened. It was as if she knew, as if she’d always known, that it would come down to that moment.

Part 2 of “Young Zombies in Love”