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Monday, February 2, 2015

Clone Wife – Feature Length Script Review (Available for Production) - posted by wonkavite

Clone Wife

A lovesick scientist clones his estranged wife, but when she unexpectedly comes out nine years younger, his broken marriage gets a magical reboot.

Remember when movies were fresh and fun? Big colorful premises that mixed comedy with drama and that needed touch of soul? Classic films like Splash and Big – such tales don’t grow old; they still charm and entertain today. Let’s face it, folks: gross out comedy like The Interview has a (very) limited shelf life. But Honey I Shrunk the Kids? That stuff stands the test of time…

And speaking of goofy scientists… There’s always room for one more. Especially when they’re wrapped in a warm n’ heartfelt rom-com, with action and drama on the side. With Valentine’s Day just around the corner, timing doesn’t get better than this.

Readers, meet Travis Wonders. A classic inventor type with his nose buried in textbooks and computer screens… his head perpetually in the clouds. For ten years, he’s been hard at work in his basement lab, attempting to clone woodpecker DNA. Assisting in the process: a little fluffy white dog named Algernon, and a pair of robotic arms nicknamed Eli and Emma. Then there’s Travis’ wife of nine years, Renee. Though she’s gone the corporate route, Travis can always depend on her support.

At least, that’s what he thinks.

Unbeknownst to the poor professor, marital trouble’s a-brewing. Tired of Travis’ never-ending tinkering, Renee’s accepted a position in Japan. An extended separation. Probably divorce. She just… hasn’t quite told her husband yet.

The couple heads to dinner at Montana Tony’s, a restaurant owned by Renee’s flamboyant brother Stig. Renee’s whole family’s there. Her acerbic mother Astrid throws barbs at Travis and sips martinis. And mentions Renee’s ex-boyfriend – Guy Ducharme. The successful author of Marry Your Prom Queen (hint, hint), Guy’s in town for a book signing. Not to mention the upcoming high school class reunion. Wouldn’t Renee just love to see him again? After a tense exchange, Renee’s secret spills. She’s leaving Travis. And there’s nothing he can say.

Not that Travis doesn’t try. He does: epically. But the day of Renee’s fateful departure arrives all too soon. Despite her husband’s pathetic pleas, her mind hasn’t changed. Renee drives off to the airport with Stigs, leaving a forlorn Travis with Algernon. Struck by a sudden misgiving, she forces a promise out of her brother. Check up on Travis. Make sure he’s okay?

Left alone, the professor falls into a funk. And far deeper into his research. Until an accident results in breakthrough! Doggy Algernon is cloned. Voila: Clone Al (dubbed “Alfredo.”). But what good is success without someone you love to share it? Renee still won’t return Travis’ calls. A drunken Travis extracts a lock of Renee’s hair from an anniversary photo album. It’ll take years to sequence her DNA – but he vows to start over again, rambling into a video to record his thoughts. Leaving the lab, he heads upstairs to sleep.

But a storm’s abrewing. Literally. As Travis slumbers, a bolt of lightning hits the backyard… supercharging robot arms Eli and Emma. And resulting in – Clone Wife.

A nine years younger model. With all of Renee’s memories up to that time (including a still unsullied love for Travis). And – thanks to the video – Clone Wife’s quite aware of who she is.

Needless to say, Travis receives a rude awakening… and one hell of a dilemma. A second chance – with a younger woman. Who in the world wouldn’t want that? But is Clone Wife really Renee? Where does Travis’ love and alliance really lie?

And the equation’s about to get more complex. Struck by unexplainable twinges, Renee boards a flight to the States to see Travis again. Then there’s the upcoming reunion. And slippery, sleazy Guy Ducharme, who’s coming home to claim his ex-prom queen. And nothing’s gonna stop him this time….

Chock full of over-the-top comedy and colorful characters, Clone Wife is the kind of classic comedy ride that audiences crave. But – like all true clones – CW is more than a sum of its parts. Because under the gloss and slapstick, there beats a far more poignant theme, embodied in the characters of Renee and Clone Wife: learning to face yourself (literally) – all your choices and mistakes. And blazing your own path in life and love… no matter who you’ve been “programmed” to be.*

* And speaking of the titular character – that’s a major strength to this script as well.  *TWO* strong, meaty female roles in one?  Get Jennifer Aniston on the phone!  🙂 Orphan Black ain’t seen nuthin’ yet!

About the writer: (story by Brett Martin and Ben Liska) Brett Martin is an unrepped screenwriter and freelance reader living in Los Angeles.  He sold an action/thriller to Quixotic Entertainment, which is associated with Zack Snyder. Once optioned by Destiny Pictures, his comedy feature, CLONE WIFE, just underwent a major face lift. He’s also developing a tentpole action feature & cartoon web series as he continues his quest to be a professional screenwriter.

Pages: 103

Budget: Mid-range. Yes, there’s the lab to create – but most of the scenes are set in simple locations. Houses, school auditoriums, a restaurant. Locations that can be obtained easily. The most important factor – getting a crew of actors with terrific comedic timing.

About the writer: (story by Brett Martin and Ben Liska) Brett Martin is an unrepped screenwriter and freelance reader living in Los Angeles.  He sold an action/thriller to Quixotic Productions, which is owned by Brett Stimely (Watchmen, Transformers 3). He’s also developing a tentpole action feature & cartoon web series as he continues his quest to be a professional writer.

Pages: 103

Budget: Mid-range. Yes, there’s the lab to create – but most of the scenes are set in simple locations. Houses, school auditoriums, a restaurant. Locations that can be obtained easily. The most important factor – getting a crew of actors with great comedic timing.





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, December 15, 2014

No BullScript Consulting – Danny Manus Script Review (Lowlife) - posted by wonkavite

In November, we reviewed Kosta Kondilopoulos’ Lowlife. As readers of Shootin’ the Shorts are aware, our goal at STS is to find new and promising writers, and provide them with the platform they need to get their work seen (then hopefully optioned, and produced!)

One of our not-so-secret weapons in this quest is Danny Manus of No BullScript Consulting. Having worked as a development executive in Hollywood, Danny is an in-demand script consultant, named by Creative Screenwriting Magazine at one of the “Top 15” consultants in their “Cream of the Crop” list.   Partnered with STS, Danny provides wonderfully detailed and helpful notes for the monthly STS feature script.  This coverage is provided free to the writer, and can be posted our site or kept confidential – at the writer’s discretion. But wait – there’s more!  Any script that gets a coveted “recommend” from tough but eminently fair Danny will be featured in his monthly newsletter and may also receive further exposure to his production contacts…

Below, please find Danny’s notes/coverage for Lowlife. Read, learn, comment…. and don’t forget to submit your best work for possible review!

**To submit a script, please visit STS at the page listed HERE. Danny can also be contacted directly via the No BullScript Consulting website at Or on Twitter @DannyManus.





Title:  Lowlife

Type of Material: Screenplay

Author:  Kosta K.

Number of Pages:  94

Submitted To:  Simply Scripts

Circa:  Present

Location:  Any City, USA

Genre: Thriller/Noir

Coverage Date:  12/1/14

Budget Range: Low-Medium


LOGLINE: Trying to protect his friend, a criminal is forced back into bed with a dirty cop and the Russian Mob after a job gone wrong but this time he may lose everything he has left.

COMMENTS:  Kosta, thank you for submitting your script, “Lowlife” to Simply Scripts. The following notes and comments will go through what works well and what still needs to be worked on or changed in order to make this a more viable and commercial script.

Overall, this is a solid script and story, and a pretty fast and easy read. There are a couple strong action scenes, nice visuals, and you’ve crafted a likeable anti-hero that we root for even though we’re not sure why. The killer with a conscience story has worked many times before, and can certainly work again, but the story and tone needs to feel really original to stand out. And while this is a nice read, I think the biggest issue is the originality and making it truly stand out. Right now, I’m not sure what really makes Lowlife, and Ritchie’s character, seem much different than Ray Donovan on Showtime or films like Jack Reacher or Drive. In fact a couple scenes feel very similar to those films.

The script could use a stronger specific hook to it. I like the noir feel, but I would suggest going even more noir with it and that would make the voice seem even stronger. The writing is strong, but I think it could feel a bit more mysterious and suspenseful – a bit sleeker or sexier – and perhaps the scope of the story could feel a bit bigger. For me, the porn angle seems a bit comedic and it doesn’t seem important enough or dark enough for these mobsters, dirty cops, and killers to all turn on each other. One mobster gets the hotter girls for their videos, so the dirty cop wants him dead? It sounds a bit too petty for stone-cold killers and “business” men. It’s more original than drugs or weapons, but it adds a more comedic slant to the danger instead of a noir or action feel.

The twist or reveal that Pete is a Detective and the dirty cop they’ve been talking about, is unclear. We are never told when we meet him in Trent’s office that he is a cop, and we don’t even know it for sure when he is at Dimitri’s house after Gwen’s murder. We’re actually not told this until later in the second act, and I think this could be revealed and made clear much earlier in the script. On page 45, Nikki and Ritchie talk about “that cop” and on pg 46 Ritchie asks if she knows who “HE” is and she says “some dirty cop,” but we still don’t know for sure it’s PETE they are talking about until Pete says it on page 61. And Pete is never around any other cops, he’s never dressed as a cop, he’s never seen as a cop. I think it could be even creepier to see that character in his police uniform at some point, and it could make for a visual and more shocking reveal of whom he is.

Structurally, I think you have some wonderful turning points in the second act that keep the story going, first with Nikki killing Gwen and it being Pete who finds her phone and calls them; and then on page 71 when they get double-crossed at the party. Your midpoint is exciting, but the action scene with Mike, Franky and Rocco isn’t really connected to the story – it’s just a random fight sequence. But as far as “filler” scenes go, it’s a fun and exciting one.

I’m not sure where the first act actually ends though and the opening scene seems a bit muted and I’m not sure it’s totally necessary. You could start the script in the rain in the dark alley as the car pulls up. Without dialogue or interaction, I’m not sure what the opening scene with the sleeping girlfriend really gets you, or what it tells us. The threat Sammy makes against her only means something if we really feel a connection between them, and from the opening scene the blonde could be a wife, girlfriend, or just some one night stand he’s watching in the morning. The relationship could be defined a bit better in that first scene to show how important the girlfriend character is to Ritchie.

It’s unclear if the girlfriend is pregnant in the opening scene. Perhaps if you’re going to open with the girlfriend, showing her as pregnant and maybe seeing Richie touch her stomach or just look at it, without any dialogue in the scene still, would set up a much deeper and clearer connection. It would also set up a bit more of a clear time frame as we don’t know how long ago she gave birth, was killed, or when he killed Sammy. Plus setting up that she’s pregnant will make us wonder if it’s the baby in the hospital, or the girlfriend or someone totally different and make us wonder what happened to her. Then perhaps the dialogue in the hospital scene could be even stronger on page 4. Something like “Any update?” “Still fighting.”

We learn that the girlfriend died by being run over by a car – seemingly on purpose. Who was this blast from the past and was it the guy Ritchie killed? Hard to believe that Ritchie didn’t get vengeance for this “accident.” Or if there could be some greater connection between her death, the man responsible, and all the mob guys and killers he’s working for/with?

After the double-cross when Dimitri takes Ritchie and Nikki, the third act brings us plenty of fun action and revenge and is pretty non-stop to the end. I love how Nikki’s death seems to reignite the killer in Ritchie and make him realize that being a nice guy wasn’t getting him anywhere and everyone must die, save one – Heather the innocent porn star – to prove he only kills guilty people. And I really like your last beat where we think Ritchie might be leaving the bag of money in the Church but then last second realizes that’s not who he is and goes back and takes the bag back. I think that’s a great moment that nicely defines that Ritchie knows he has nothing left to live for, so he might as well be the person he has always been.

The one bit I didn’t quite understand or believe is why Ritchie would go to such lengths to destroy all the evidence and not get caught, but then wear bloody dirty clothes with evidence all over them to the hospital. As a professional killer who has cleaned up crime scenes before, this doesn’t sound like something he would do. He would probably throw his shirt into the fire at the cabin. I like that the cops let him go because they all hated the dirty Pete, though perhaps it’s a bit of a stretch since Ritchie did kill like 6 people. But if the cop told him that the reason is because exposing Pete and everything he was into would reverse dozens of cases, put criminals back on the street, and destroy the reputation of the police force – then there’s more of a rational reason to let Ritchie go.

Projects like these usually get made when a big enough actor wants to play the lead role. Anti-heroes have been a growing trend in TV and film, and those types of protagonists usually are attractive to actors because it allows them to play different layers and emotions. And Ritchie feels like he has SO much churning inside of him right under the surface, but very seldom does any of it come out. I like that Ritchie has something innocent driving him as motivation – his dying baby – and I like that he has a rough backstory that he’s been to prison for 5 years and refuses to go back. It gives him a bit more of a moral compass and shows that he has compassion and a fear, but I’m not sure what Ritchie’s goal is in the story.

He goes on these little jobs given to him by other people and he wants to clean up after Nikki to clear her from Gwen’s murder, but there’s no clear case or goal or THING that Ritchie needs to accomplish by the end except survive. I would think that with his deeper need of getting redemption or vengeance for what happened to his girlfriend and Sammy, and with everything that’s happened to him, he’d have his own personal mission but there isn’t one set up. And then that goal or mission would be ruined by what he has to do to save Nikki and by working with Pete again.

Ritchie’s connection with Nikki is likable and they have a nice chemistry, but we never get much depth or backstory about them. There is a line that intimates they possibly used to sleep together or date, but we never get any real information about them or their connection. She’s a likable character who brings energy and levity to the script, and her death is definitely the emotional strong point of the story – perhaps the one true emotional moment in the script for the audience. I kept waiting for her to pop up and still be alive.

However, she does sometimes feel like this little neurotic Chihuahua constantly yapping in Ritchie’s ear. She tells other people she’s not his girlfriend, she’s not his friend, and she’s not his partner. So what is she? Where did he find her? Why does he keep her around? I actually think it’s pretty funny that after being told by Mike that she’s about to get beaten and raped in front of her boyfriend, her only response is “he’s not my boyfriend.” It makes her seem like a tough girl, but we already know she’s not really because of what happened with Gwen and how freaked out she is.

It’s clear Ritchie has this history with Pete and this anger or guilt over what he did to Sammy in the opening scene because of Pete, but other than knowing they “used to run together,” we don’t know anything about Ritchie’s relationship with Sammy or why this affected him so greatly. Did he have to shoot his best friend? After Sammy, has Ritchie been searching for some sort of redemption? Because he’s still doing the same things he was doing when he killed Sammy, so I’m not sure exactly how he’s trying to change.

Overall, the dialogue is pretty strong. You have nice moments of levity, the description is sparse and clear and easy to visualize, and your characters do have personality that comes through their dialogue. I think the biggest note in terms of dialogue is that it doesn’t always feel as NOIR-ish as it could, especially in Ritchie’s voice. His cadence and the speed of his dialogue and his delivery should basically set the tone of the script. It’s a solid thriller, but to make it stand out, I think giving it more of a noir slant could help.

Just a few specific page notes –

Pg 36 – Typo – It should be BOBBY who says the line, “He doesn’t get through that door again” instead of Richie.

Pg 40 – Can cut the scene heading at bottom as it’s the same location she’s already in.

Pg 43 – We don’t know immediately that Dimitri is the husband, as we’ve never seen him before.

Pg 54 – This scene with the 3 against one (and even Ritchie’s line about it) is pretty reminiscent of the Jack Reacher scene outside the diner.

Pg 55 – “I’m the one who got the fucking brain facial” is a great line.

Overall, it’s an enjoyable and fast read with a castable lead character. It’s a perfectly serviceable script. I think the biggest issue is just making the story and tone stand out against so many other thrillers about killers with a conscience. Stick with it! Keep writing! And best of luck! Thanks again Kosta for submitting your script Lowlife” to Simply Scripts, and congratulations on being the featured script of the month.



Elements Excellent Solid Needs Work Poor
Concept/Premise            X    
Story                X    
Structure          X    
Conflict/Drama            X    
Consistent Tone                      X    
Pacing        X    
Stakes                  X    
Climax   X    
Resolution                           X    
Overall Characters             X    
Protagonist         X    
Antagonist                X            
Dialogue                                 X    
Transitions                                 X    
Format, Spelling,   Grammar, Pg Count                      X    
Well Defined Theme                      X    
Commercial Appeal/Hook           X           
Overall Originality                                           X  
Production Value              X     
International Appeal              X    





Tuesday, October 28, 2014

O-Beast – Feature Length Bonus Script Review (Available for Production) - posted by wonkavite

Laptop Features


A chubby teen is nearly killed in a bullying incident… imbued with supernatural powers, her fat terrorizes the town for revenge

Horror movies just seem so dull these days. Don’t get us wrong: exorcisms, hauntings and found footage slashers… all these sub-genres have their place. But when compared to horror in the Eighties? Something just seems – missing. Movies such as Reanimator, Evil Dead, Chucky, The Stuff. Such films could never be called high art. But they were creative, colorful and weirdly fun. And isn’t that what we go to movies for?

Fortunately, some horror writers haven’t forgotten the good old days. Case in point: the horror-satire O-Beast.

Written as an homage to the Eighties (kind of like Scary Movie on steroids), O-Beast is gleefully crazy, and stuffed with intentional cliches. The class slut, the mean jock and his clique. Then there’s the downtrodden fat chick everyone makes fun of. Her name: Monica Bomer. Or as everyone calls her: The Bomer. Three hundred pounds. Riddled with acne and despair. Except for her camp counselor (Native American Chief Hokem Runningwater), Monica has absolutely no friends. But then she runs into Paul, the mysterious – yet cool – new kid at school. Things are finally looking up. Until a bullying incident with the jock sends Monica plummeting off an overpass. The height’s enough to kill normal people. Fortunately, Monica’s protected by layers of blubber – which explode out of her on impact. She’s left in a coma – but alive.

As for the fat? The local cops leave that on the side of the road, for the vultures. Since the jock’s the Mayor’s son, the case is instantly closed. But is really over?

Especially when the fat starts to merge. It takes on a life of its own – seeking disgusting, vile revenge.

With each victim, the fat grows. Soon it reaches epic proportions; wreaking havoc on everything from a Camero to a Ferris Wheel. (Seriously.) The whole town’s in peril. Only Paul can stop the horror – aided by the powers of Chief Runningwater. Can the Fat be stopped, and Monica saved?

Streamlined and just under 80 pages, O-Beast is a breeze to read. Chock full of Eighties in-jokes and tongue in cheek humor, O-Beast feels like the bastard child of The Blob and Toxie the Avenger… with laugh-out loud moments.

And the effects are do-able. (You’ll need some CG or buckets of toy Slime to make it work.) But if you’re an indie horror director looking for something REAL different, O’Beast is your girl. She’s hefty and weird. But tons of fun.

About the writer, Rod Thompson: Rod Thompson is an award winning screenwriter of both features and shorts. His feature, “The Squire” won Best Drama for the 2014 Table Read My Screenplay contest, and he has placed numerous times for his shorts at His short scripts “Gimme Shelter” and “A Memory in Winter” have both been optioned through their exposure on’s “Shootin’ The Shorts.” He is also “the most humble man alive.”

Pages: 79

Budget: Throw in a bunch of teens, CG and you’re fine.





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.


Thursday, October 16, 2014

The Devil’s Toy – Bonus Feature Length Script (Available for Production) - posted by wonkavite

Imagine… A hideous evil, hidden in the most innocent of places – a simple, unassuming children’s jack-in-the-box. Mix in a generous dose of Lovecraft, and a backstory that involves Nazis, the Dark Occult and an abandoned concentration camp…

Voila. You’ve got the Devil’s Toy. Penned by writer Chris Keaton, this worthy horror short has already found a home. Produced by Sprocketboy Films, the script’s won several awards. (Check out the full short film here!)

…and now it’s spawned a full-length script. While not an official pick (yet) for the STS feature of the month, the Devil’s Toy is a note-worthy horror that shouldn’t be missed. Especially near Halloween:

An old man lies dying. Before he passes away, he calls his estranged son, John, to his side. You see, he’s got a few souvenirs from the war upstairs. Ones that must be kept locked away.

Needless to say, things don’t turn out quite so easy. Before John can carry out his father’s wishes, his two sons open the box. Releasing a terror that can’t be contained.

Directors and producers take note: if you’re a fan of Lovecraft, and looking for your next project – Devil’s Toy has a lot of treasures locked away, ripe for the taking. A reasonable budget. Spectacular gore. And a premise that begs to be explored…

About the writer: Chris Keaton is an Air Force veteran living with his family in sunny Arizona. He’s primarily a screenwriter, but he does love diving into prose. He has had several short screenplays produced and go on to win awards. He’s optioned a few features screenplays and currently has a thriller feature in pre-production. A young-adult novel based on one of his screenplays is soon to be released. You can see some of his projects on his website, ( or follow him on Facebook (

Pages: 86

Budget: Within the reach of an indie budget. Some wild effects – but nothing that can’t be done with blood, and a touch of animatronics/stop motion.




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.



Wednesday, October 1, 2014

Memories – Feature Length Script Review (Available for Production) - posted by wonkavite

Welcome to the next STS feature length showcase!  A sweet and wryly amusing family comedy, Memories has already garnered accolades: including Quarterfinalist in 2014 Scriptapalooza, 2nd round Austin, and Finalist status – along with an award for “Best Ensemble Comedy Screenplay” – at the Broad Humor Film Festival. Now all it needs is an indie forever home….  Could it be with you? 🙂



Screenwriting – it’s an art that requires multiple layers of skill.

Sure, the fundamentals remain constant: an interesting premise. Structure. Character development – at least, to some extent.

But each genre throws fresh variables into the works – areas where writers must specialize. Wanna write for Michael Bay? The action damned well better leap off the page. If horror’s your poison of choice, your atmospheric visuals best be spit-shined… creeping your readers out of their skins.

Then there’s dramedy. In a world over-saturated with non-stop thrillers and FX blockbusters, dramedy’s an underappreciated genre. When done right, dramedy creates twice the work… demanding a writer create a compelling premise, empathetic characters – and make the audience laugh, as well?

That’s one heck of a balancing act – one that requires a feather-light touch to get right.

Fortunately, that’s one recipe Marnie Lister Mitchell’s got down pat: throw in a colorful ensemble – and a plot/bowl deep enough to keep them contained. Powder with good natured humor (organic only – no forced jokes, please.) Then bake carefully. Letting the story rise as it may…

In the case of Memories, the script rises on Abby Mahoney (50s). Though a successful photographer, Abby’s personal life’s in disarray. Her only daughter Juliana just started college. And then there’s her divorce from husband Mack, for whom she still carries a flame. Not a pleasant state of affairs… especially for a self-confessed control freak. Having found a new life (and exotic younger girlfriend Sierra) on an Arizona Indian retreat, Mack’s been pestering Abby to sell the house. Things just can’t get worse…

…until they do. While skipping class with her new boyfriend, Juliana sustains a major head injury. Abby and Mack spend a strained night in the hospital, waiting for their daughter to revive. When Juliana wakes, their delight fades – she looks at them as strangers. Juliana’s got amnesia. Indefinitely.

Mack sets up camp at a nearby hotel with Sierra – accompanied by her Native American father (and mystic guru) Jake. Abby brings Juliana back home, hoping the surroundings will jog her memory. But Abby’s pressure only makes the girl uncomfortable; driving her even further away. Juliana hits it off with Sierra – someone closer to her age. Despite Abby’s urgings, the only thing Juliana finds familiar is a faded photo from the Grand Canyon, taken during a family vacation a decade ago. An inspired Abby hits upon a plan: rent an RV and drive cross-country. It’s a chance to visit family, and reignite Juliana’s memories (and maybe her romance with Mack as well.)

…but there’s a kink in the plans. Juliana insists on Sierra coming along. And where Sierra goes, Jake does as well.

And so the group hits the road. As the miles roll by, the story enfolds: crammed into Winnebago sized spaces – not to mention public bathrooms. Will Abby win back Mack? Or push him (and Juliana) further away? Are the photos of a faded past worth saving… and were they real anyway? Unlike recent road trip tales like Tammy, Memories aims for subtlety; blending the clash of personalities, goals and expectations organically – mixed with gentle humor and a cast of colorful characters.

As any cook worth their “salt” can tell you, a recipe is more than just ingredients that one throws into a bowl and shakes. It’s a writer’s talent that blends the components together – creating wildly varying results.   (For anyone who doubts that statement – let them watch a double-header of Tootsie vs. Jack and Jill. Or Madea vs. Doubtfire) And so it is with Memories. A family road trip. Amnesia. The emotional agony of divorce. All such themes have been seen in other films. But when pulled together by a seasoned character writer (such as Ms. Lister) the result is something to be savored. Like a delicate dramedy souffle.

In the Indie world, budget isn’t king. But characters and characterization are. Easily shot in a handful of locations, Memories is chock-full of the things that give Indie dramedies their unique style and flavor – quirky characters. Genuine humor. And a story that will make you smile.

About the writer: An award winning writer AND photographer, Marnie Mitchell-Lister’s website is available at Marnie’s had 5 shorts produced (so far) and placed Semi-final with her features in Bluecat.





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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