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Tuesday, July 22, 2014

Mercy – Short Script Review (Available for Production) - posted by wonkavite



An ailing elderly man and his loving wife revisit defining moments in his past. 

Despite what certain script gurus say, not every script needs conflict. Or character arc. Some of the best short films simply give their audience a slice of life – illuminating aspects of the human condition we can all relate to. And characters that we empathize with, and care about.

Case in point – Mercy. A simple script with two main characters, Mercy follows Mary and Aaron Lewis (60s) as they sit down to browse through old photo albums. Debilitated by disease, Aaron can barely even hold his cup of tea. But despite their troubles, the love of this couple still burns bright – depicting a relationship we can all envy. Even as it reaches its invitable end…

Short, sad and sweet, Mercy is a drama in its purest form. A small psalm to aging, mortality – and what love sometimes requires.

About the writer: Born and bred in Derry Ireland, Mark resides in upstate NY with his wife and 2 beautiful daughters. Having started writing 5 years ago as a hobby,  he has 2 features and is currently collaborating in 2 more – with over 20 shorts and a TV series under his belt. His TV pilot “Loserville” was a finalist in the Wildsound competition. Mark currently has one short produced “11:07″, which can be viewed here
Contact Mark via email at mmrem24 AT yahoo

Pages: 6

Budget: Minor. The majority of the script takes place in a living room… with a few outdoor flashbacks.





All screenplays are copyrighted to their respective authors. All rights reserved. The screenplays may not be used without the expressed written permission of the author.



Monday, July 21, 2014

Adventureland screenplay - posted by Don

Adventureland - August 5, 2007 Revised Draft script by Greg Mottola – hosted by: Daily Script – in pdf format

In 1987, James Brennan’s dreams of a summer European tour before studying at an Ivy League school in New York City are ruined after his parents have a severe career setback. As a result, James must get a summer job to cover his upcoming expenses at the decrepit local amusement park, Adventureland, where he falls in love with a witty co-worker, Emily Lewin. In that bizarrely shady workplace, the young carnies have unforgettable and painful learning experiences about life, love and trust while James discovers what he truly values.

Information courtesy of

Find this and more scripts over on the Movie Scripts page.

Stowaway – Short Script Review (Available for Production) - posted by wonkavite



Anne Boleyn has escaped the Tower of London and seeks safe passage out of England. With the help of a young fishmonger, can she evade capture by Charles Brandon? A man determined not to fail his king…

Historical scripts – they’re such a tricky thing. A lot of history is downright dull. And when the wrong subject is chosen (or executed incorrectly), the result can be a cinematic nightmare… or an exposition laden snorefest.

And yet, historical scripts have such potential. To entertain. To educate. To bring a deceased culture and time back to living, breathing life.

When done correctly, such scripts look a lot like Stowaway.

Set in London 1536, Stowaway imagines a scenario where Anne Boleyn evaded the executioner’s ax. Hidden away in a warehouse, she awaits word from Henry Percy – who seeks to secure his love safe passage to Denmark on a ship. But the clock is ticking. For Duke Charles Brandon is on the hunt. Aware of Anne’s escape, he prowls the fish market, bribing everyone he meets for clues. One of the commoners he approaches is young fishmonger Bryce. And when Bryce discovers Anne’s whereabouts, he knows he has a grave decision to make…

In the masterful hands of writer Elaine Clayton, Stowaway brings 1536 England to vivid life. Reading the script, one sees the olde-world laid out before them, and can almost smell the fish market (a good or bad thing, depending on one’s point of view.) Read this script, and you’ll find yourself caring for the characters – and wanting to know more about them. Several centuries after the real life versions have turned to dust, that’s a remarkable writing feat.

Expertly written, Stowaway is a historical gem. One that deserves to be produced in full glory.

About the writer: Elaine Clayton is a London-based screenwriter, who has written several well-received shorts and is currently working on her first feature length scripts. Comfortable in a broad range of genres, Elaine has an innate sense of structure and arc development. Contact her at Elaine_clayton (AT) Hotmail(.)co(.)uk

Pages: 6

Budget: Ok. Let’s talk budget. Settings include a fisherman’s wharf and several secondary locations. And everything needs to look authentic. Period clothing would be required for the four main characters, and a number of extras. Needless to say, this is one script that couldn’t be done on a shoestring. And yet… such requirements aren’t insurmountable. For instance, the script describes a ship. But do we really need to see it in the water? Or would a shot of the ramp suffice? For a creative director with a decent budget… this script could still be shot as a work of art.





All screenplays are copyrighted to their respective authors. All rights reserved. The screenplays may not be used without the expressed written permission of the author.

Sunday, July 20, 2014

Original Script Sunday for July 20th - posted by Don

Over on the Unproduced Scripts page are thirty original scripts for your reading pleasure.

- Don

Saturday, July 19, 2014

The Thing That Wasn’t filmed as Darkness (Mrak) - posted by Don

The Thing That Wasn’t (12 pages in pdf format) by Chris Shamburger (sham) has been filmed as Darkness (Mrak)

A babysitter discovers the real reason children should be scared of their bedroom closets.

Discuss this script on the Discussion Board

Lookin’ for a few good scripts and writers! - posted by wonkavite

Yeah, STS is on a roll…

A little over four months since the site went live, we’re thrilled to say our reviews have helped five writers get their short scripts optioned, as well as facilitating several indie director/writer connections.

But… we need your help, in two very important areas:

Give us some damn’ good scripts!

A site is only as great as its content.  So we need good scripts to review.  Lots o’ them.  Tons of them.  Short and feature length.  We wanna drown in (good) scripts like it’s a mega-budget producer’s slush pile. Our mission statement at STS is to find the best, highest quality short (and feature length) scripts for review.  So if you have a gem that’s really ready for prime time (or have someone you want to recommend), check out the link below for submissions. (Don’t forget to include a URL link to your script!)

Give us a few damn’ good writers!

In the next month or so, STS will be expanding to include feature length reviews.  And that’s when even more fun’s gonna start!  But that’s a ton of readin’ and reviewin’, so we’re gonna need a bit of help.  In addition to script showcasing, STS also features occasional interviews with indie directors and industry related book reviews.  If you feel you’ve got a knack for any of those three writing areas – and want to contribute – send us a sample of your work for consideration using the URL listed above.  No, it’s not paid.  But you’ll get credit for your article and press.  And in this biz, that’s a pretty good thing….

Friday, July 18, 2014

A Face in the Crowd – Short Script Review (Available for Production) - posted by wonkavite


A Face in the Crowd — Review

An analyst at an intelligence agency is horrified when his subject starts to follow him…

Paranoia strikes deep. Into your life it will creep.” – Stephen Stills, For What It’s Worth

Just because you’re paranoid doesn’t mean they aren’t after you.” – Joseph Heller, Catch-22.

There’s plenty to be paranoid about these days, isn’t there? Drones watching us from above, the IRS targeting us, NSA listening to us. But what if you are the NSA? Nothing for you to worry about, right?

Or is there?

In the eerie psycho-sci-fi screenplay A Face in the Crowd, writer Anthony Cawood tells the tale of Derin, a 26-year-old analyst for the NSA who abruptly finds the paranoia tables turned.

As Derin runs a face-recognition program on his PC to analyze photographs of a riot, a man in one of the shots turns and looks out through the computer screen into Derin’s office. A short time later, Derin discovers the man has disappeared from the photo completely.

Time to be paranoid? (Did I mention it’s a still photograph?)

From that moment on, Derin has a series of real-world encounters with the mysterious man. Or at least it seems. A reflection here, a shadowy glimpse there… but are they real? Or just a figment of Derin’s panicked imagination? Or – perhaps – some strange blend of the two? Because, as Aldous Huxley once said, “There are things known and there are things unknown, and in between are the doors of perception.

Derin is stuck in between… but not for long.

A Face in the Crowd is an enjoyable, chilling read. And – given privacy concerns of the day – quite timely as well.

About the writer: Anthony Cawood is an aspiring screenwriter from the UK with a number of scripts in various stages of production, two of which have just wrapped shooting. His script, A Certain Romance, recently won in the Nashville Film Festival Screenwriting Competition (short script category). You can find out more at

Pages: 7

Budget: Moderate. A handful of locations, including a high-tech office, a CCTV monitoring room, a car park, a supermarket, a cafe, and Derin’s home. Five actors with speaking parts, plus lots of extras. Some FX, but nothing unreasonable.

About the reviewer: Scott Merrow co-writes screenplays with his wife Paula. Since 2006, they’ve written over 50 short screenplays, several of which have been produced. They tend toward family-friendly scripts, but they’ve written a little bit of everything: horror, fantasy, sci-fi, comedy… the whole nine yards.





All screenplays are copyrighted to their respective authors. All rights reserved. The screenplays may not be used without the expressed written permission of the author.

And THIS is what happens to Veteran Writers… (PJ McNeill in the Trenches) - posted by wonkavite

…they end up working on scripts – not to mention juggling a complicated home move.

Due to a looming deadline, P.J. regrets to inform STS’s faithful that he’ll be on vacation for a month – coming up for air on August 15th.  Until then, we promise to keep you fed with a bonus script review on Fridays  So make sure to tune in, anyway!

Thursday, July 17, 2014

Give Me Shelter – Short Script Review (Available for Production) - posted by wonkavite


Give Me Shelter

“Divorcees Moira and James attempt survival in the wake of an apocalyptic event. From a bomb shelter deep beneath the Earth, they must find peace between themselves before facing the new, chaotic world above.”

 The daily grind. Navigating bumper-to-bumper traffic, finding a seat on the subway, racing to class, transporting kids to school. There are appointments to keep, errands to run, never-ending housework, and a flow of constant bills to pay. Ah yes; the Responsibilities of Life. Your list may vary; but it stares you in the face everyday. Insurmountable… at least without that morning Starbucks.

For a few moments, though, imagine that everything you do — that routine you rely on so intimately — is gone. In a puff of smoke. The blink of an eye. Your daily life; obliterated. All that planning and plodding, blown clear out the window. And worst of all – no Starbucks!

As Douglas Adams was fond of saying, Try Not to Panic…

Even though your life has been shattered to bits.

In Rod Thompson’s drama, Give Me Shelter, 30 something Moira and James hole up in a small bomb shelter, having barely escaped the total destruction of their house, their neighborhood, and all their friends.

The bunker contains two small cots. A single light bulb dangles overhead. Some couples might find it romantic. But Moira and James are recently divorced. Not that divorce is the end of the world. Although, perhaps, in this case it is…

Because something HUGE is wreaking havoc above ground.

The couple huddle in darkness, hoping to escape attention. James attempts to calm a hysterical Moira – and promises her they’ll be safe. Though he can’t quite convince himself.

Apocalyptic events in a contained location; that alone is enough to sell a script. Yet, Moira and James’ relationship is what truly makes GMS shine – featuring terrific lines such as these:

James (singing to distract Moira from her fears): Sorry. Old habits.

Moira: No. Keep going. You may have been a shitty husband, but you were always a good singer.

James: By the sound of things up there, I may be the last singer before this day is over…

Confronting annihilation is no vacation from the daily grind. But it can really put things in perspective. Past the panic and the urgency – the dialogue in this script rings true, depicting the familiarity of two people that have been together for a long time. Fought – but loved each other, too. And in some small way… still do.

So if you’re a director drawn to well developed characters – and catastrophe – then grab your spot on the cot. ‘Cause there’s only one slot available!

About the writer, Rod Thompson:I have been writing creatively since I learned how to write. There is just something about telling a story that I can never get over. Storytelling in itself is like an old flame that occassional comes to me and just says, “Use me.” The ability to watch a movie through words, or to craft a world in such a manner is the closest to Godliness that man will ever come. True story. Contact Rod at RodThompson1980 “AT”

Pages: 5 pages

Budget: Low. A sparse interior for the bomb shelter. Equip with cots, a bare bulb, and two talented actors. Imagine the fun you’ll have creating sound effects for the end of the world!

About the reviewer for Give Me Shelter:California uber reader/reviewer KP Mackie is working hard on her animated feature. KP’s work is available at!





All screenplays are copyrighted to their respective authors. All rights reserved. The screenplays may not be used without the expressed written permission of the author.

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