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Tuesday, December 20, 2016

Turn Me On Dead Man – Short Script Review (Available for Production) - post author David M Troop

Turn Me On Dead Man (pdf format) David Clarke Lambertson

Three band mates cover up the death of their famous bassist.

When someone asks you to name an urban legend, Bigfoot might come to mind. If not that hairy beast, then perhaps Bloody Mary. Or that creepy stalker guy – with a steel hook for a hand. One that probably won’t occur to you is “Billy Shears.” But if that name doesn’t ring a bell, don’t worry. Your mother would know. ‘Cause she was born a long, long time ago…

Based off the legend of a world famous doppelganger, Turn Me On Dead Man tells a tale of a man plucked from obscurity and transformed into a music icon.

With a little help from his friends.

Those of you old enough to have once been called “hippies” are probably catching on right about now.

Imagine – a tongue-in-cheek retelling of the infamous “Paul is dead” hoax.

That is, unless it’s really true…

The script opens after Paul McCartney’s fatal car accident. A stunned John, George and Ringo come together to conspire – hatching a plot to replace their friend with a look-alike, and keep the Beatles’ dream alive. As luck would have it, they discover a dead ringer. The one and only Billy Shears.

But can Billy and the lads Fool the World? Or will the band inevitably leave a trail of musical crumbs that point their loyal fans towards the truth?

A fab mixture of folklore and fantasy, Turn Me On Dead Man is chock full of enough jokes to fill Albert Hall. See if you can spot all the Beatle lyrics hidden in the dialogue… beginning with the title, all the way to the horrifying end.

And if you don’t know what we’re talking about by now? Get thee to Pandora. Immediately!

Pages: 8

Budget: Moderate. Locations include a recording studio and a concert backstage area. Costumes require Beatle suits and wigs. If you’re lucky, you might even convince Ringo to play himself. All he has to do is act naturally.

About the writer: David Clarke Lambertson took up writing rather late in life having already been retired before he put pen to paper (okay – finger to computer key) for the first time. His favorite genres to read and write are dramedies and romantic comedies. He has written three features; The Last Statesman (a Nicholl’s and BlueCat quarterfinalist), The Beginning of The End and The End (a Nicholl’s quarterfinalist and PAGE Awards semi-finalist) and has recently completed a new comedy – Screw You Tube.

About the reviewer: David M Troop resumed writing in 2011 after a twenty-five year hiatus. Since then, he has written about 50 short scripts, two of which have been produced. Dave would like to make it three. He is a regular, award-winning contributor to Born on the mean streets of Reading, PA, Dave now resides in Schuylkill Haven with his wife Jodi and their two lazy dogs Max and Mattie. He can be reached at dtroop506 “AT” Gmail.

Read Turn Me On Dead Man (pdf format)

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This screenplay may not be used or reproduced for any purpose including educational purposes without the expressed written permission of the author.

Sunday, December 18, 2016

Original Script Sunday for December 18th - post author Don

Over on the Original Script page are twenty seven original scripts for your reading pleasure.

– Don

Saturday, December 17, 2016

Five Tips on Making a Short Film – by John Montana - post author John Montana

Making a movie or a short film can be an extremely exciting and fun adventure. It is a ton of fun being on a set and shooting your own film. However, it can also be a complete nightmare, especially if you are not prepared or really have no idea on how to go about it. I have been making short films now for five years, and I have had some success at it. And I keep growing as a filmmaker, because no matter how many issues come up, I keep working at it. But for the most part, each film I have made has been very challenging because problems ALWAYS come up on a film set. It will be your job to navigate through these rocky times as it will most likely be your film. Don’t worry about it. If you learn how to stay calm and be focused on just solving these issues as they arise, you will have a great and rewarding experience. Following are five tips that I feel can smooth your way into filming. These tips address issues that I feel tripped me up several times and I want to share them with you, so you won’t make the same mistakes, because “Time Is Money”. If you remember this one thing, it will go a long way to keeping you on track and making a great film.

1. Be A Storyteller
The Bottom Line is this: The director is first and foremost a storyteller. You must have a cohesive, compelling story to tell. This is not a difficult thing to do, as everyone has at least one story to tell from their life. Whether it is a breakup, or a family trauma, or a secret desire… the list is endless. You have to trust that no matter how painful the story is, or how embarrassed you are of that story, it has been experienced before by someone else. This is not a bad thing… it means that we are all connected in many ways and that these stories are indeed universal. We all have a unique story to tell that many people will relate to and identify with.

2. Write Every Day
Many times I hear writers say they are stuck or are in a writer’s slump, because no ideas are coming or they don’t know what to write. They want an original idea for a film that nobody has ever seen before. They want the next great original idea that rocks the film world. Some of them will wait for years for that inspiration for the next great film. Now…you might get angry with me for saying this, or you will probably vehemently disagree, but I don’t think this should be your goal. Just write… let the words just flow out of you. Edit it all later. Write gobble-dee-gook, write crap, write anything. Just write. You can worry about judging it after you are finished. Think of it this way… A sculptor starts with a huge block of stone. This is your “gobble-dee-gook”. Then begin to slowly carve away the stuff that you don’t need. Carefully reveal the story you want to tell. In the end you will have something that you will be excited about putting on film.

3. Learn How To Communicate
Several directors I know have become very successful in their careers as filmmakers. They learned how to have some knowledge about every aspect of the process of filmmaking. They have learned how to speak the language of every person on their set, from costumes to the actors to the director of photography (D.P.) to the grip to the sound designer to the art director. What I am trying to say is this… I have almost totally screwed up a couple of my films because I didn’t communicate well enough with my crew. I wasn’t clear enough with a couple of my crew members of what I wanted, which then led them to do what they thought I wanted. It almost destroyed me and my film. Think of it this way. Everyone of your crew is an expert in their chosen field. You are being respectful of them, in turn they will do their best to give you what you are seeking. And that is called “Collaboration”. And good collaboration almost always leads to a great film.

4. Set Up Your Shot List Before Shooting
There are some directors who will storyboard every single shot on their shot list. Alfred Hitchcock was notorious for this, as he was also notorious for giving his actors very little freedom in their movements and portrayal of their characters. I don’t do this personally. I write out a complete shot list of every scene that I want to film. This is my process of making my shot lists:

I look at my script and write down the first scene and how I want to shoot it or how I want it to look on film. I normally start at the beginning and work my way through. I study the first scene over and over again. I look at the number of ways that I would like to shoot it. I will then write down the first set-up in regards to the camera angle and type of shot I want. Then I will choose another angle to shoot the same scene. I will then need to get coverage on these shots so that when I am editing, I have something to cut to for a reaction. And so when I have 4-5 different shots or set-ups for that first scene, I will then move on to the next scene and do it all over again. I find the act of setting up scenes is one of the most creative parts of the filmmaking process… for me anyways. There are so many options to choose from andso many different ways that you can tell your story. This part is where I go through all of my options and run the scene in my head and visually see how it plays out. Does it work? Or is there another, better way to do it?

What I am trying to say is this – ALWAYS finish your shot list before you get to your set. It will give you a road map of what you want, and how you will shoot your film. And, because you are so well prepared, you can easily replace or remove a shot that you don’t need. Or you will be inspired to get another shot…one you didn’t think of before. And when this happens, it always feels great.

5. Create a Real Environment
Creating a real world or environment for your actors or for the film is so important, that you will be surprised how easy filming is when you get this right. This is why I love shooting on real locations. The environment is real, as it is the world of the story. This is very helpful for your actors to believe the world they are in. Their imaginations must have something solid to grasp, in order to create believable characters. Wardrobe, lighting, their creativity all help in achieving truth in their performances. Now shooting on a sound stage is great as well, as long as you have the money to do it, or if your production is large enough where this is in your budget. I am at the stage where I go and rent locations as this is much cheaper and more time efficient. Even if you are on a soundstage you must not skimp on making the world as real and believable as you can.

So these are five important tips that every filmmaker should have addressed before shooting your film. If you take the time to prepare for your shoot correctly, when you actually get to the set, things will flow much more smoothly that if you were careless. Because if there is one thing you can always count on, is that there will be “challenges” that arise on the set. It is how well you deal with them that will make or break your film.

About The Author: John Montana is an actor living with his wife in L.A. and has begun to make short films. His most recent film, Hungry has been accepted into 27 film festivals all over the world. Watch his free online movies at No Title Production Films.

Images courtesy John Montana

Friday, December 16, 2016

Moonlight Screenplay and 20th Century Woman Screenplay – For Your Consideration - post author Don

Thanks Barkisd for the assist on these two!

A24 uploads two For Your Consideration Script

Moonlight – Undated, unspecified draft script by Barry Jenkins (Based on “In Moonlight Black Boys Look Blue” By Tarell Alvin McCraney) – hosted by: A24 – in pdf format

A timeless story of human connection and self-discovery, Moonlight chronicles the life of a young black man from childhood to adulthood as he struggles to find his place in the world while growing up in a rough neighborhood of Miami.

Information courtesy of
20th Century Woman – Undated, unspecified draft script by Mike Mills – hosted by: A24 – in pdf format

The story of three women who explore love and freedom in Southern California during the late 1970s.

Information courtesy of

Check out more Scripts Studios are Posting for 2016 – 2017 Script Award Consideration

My Imaginary Friend by Warren Duncan – Filmed - post author Don

My Imaginary Friend (pdf format) by Warren Duncan – Filmed

A young girl escapes the reality of her abusive father with the help of an imaginary friend. 9 page, short, psychological drama

Discuss this script on the Discussion Board

Thursday, December 15, 2016

What A Good Boy Does – Short script review, available for production - post author James Barron

What A Good Boy Does pdf format by Ben Clifford

A young boy feels like he needs to tell his parents about a horrifying thing that happened to him — only to find out that they might not want to know. Trigger warning.

Picture that classic 1950’s image of the perfect American family:

Mother in her apron, steam rising from a fresh batch of brownies.
Father with his dinner jacket and pipe, smiling like he just told a joke.
Son at the table, their pride and joy, what a good little boy.

Now take a match and light it on fire.

This is a story of the cracks and holes and twisted, burnt corners of the nuclear family dream. Mother is a strung-out mess, desperate to keep up appearances. Father is the buttoned-up breadwinner whose well-being trumps all else. And their son, Bobby, has a secret. Something that makes his mother very worried. Something that might just send the whole façade crumbling down. How far will mother go to plaster over the cracks? How deep can one family bury their skeletons?

If you want a safe, happy family drama, check the Hallmark channel. If you’re looking for a psychologically complex tale with the courage and conviction to face those very dark places, you owe it to yourself to check out Ben Clifford’s What A Good Boy Does.

Production: This ten page short is an actor’s film. Suburban neighborhood. Suburban house. Two couples and a child.

About the writer: Ben Clifford is an Australian screenwriter

About the reviewer: James Barron is a former law student turned screenwriter who loves to write comedy along with the occasional horror/thriller. Contact James at jbarron021 (a) gmail.

Read What A Good Boy Does (10 page short drama in pdf format)

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This screenplay may not be used or reproduced for any purpose including educational purposes without the expressed written permission of the author.

Wednesday, December 14, 2016

Come Hell or High Water screenplay for your consideration - post author Don

Thanks Barkisd for the heads up on this one!

CBS Films is up with this For Your Consideration Script

Hell or High Water – Undated, unspecified draft script by Taylor Sheridan – hosted by: CBS Films – in pdf format

Two brothers — Toby,a straight-living, divorced father trying to make a better life for his sons; and Tanner, a short-tempered ex-con with a loose trigger finger — come together to rob branch after branch of the bank that is foreclosing on their family land. The hold-ups are part of a last-ditch scheme to take back a future that powerful forces beyond their control have stolen from under their feet. Vengeance seems to be theirs until they find themselves in the crosshairs of a relentless, foul-mouthed Texas Ranger looking for one last triumph on the eve of his retirement. As the brothers plot a final bank heist to complete their plan, a showdown looms at the crossroads where the last honest law man and a pair of brothers with nothing to live for except family, collide.

Information courtesy of

Check out more Scripts Studios are Posting for 2016 – 2017 Script Award Consideration

Equity, Land of Mine, The Red Turtle, and Toni Erdmann screenplays for your consideration - post author Don

Sony Pictures Classics dumps out his purse with four more

For Your Consideration

Equity – Undated, unspecified draft script by Amy Fox (story by Sarah Megan Thomas, Alysia Reiner, Amy Fox) – hosted by: Sony Classics – in pdf format

Naomi Bishop is an investment banker determined to overcome a previous stain to her professional reputation, which is a challenge in the male dominated financial sector she works in. As Naomi in that spirit makes her move managing a burgeoning new tech IPO, she has to endure not only the condescension of her colleagues, but also her imperious client even as troubling new developments cloud the venture’s future. Against that, the probing of a college friend turned Federal investment law prosecutor and the conniving of her double-dealing boyfriend seem to be manageable complications, until a betrayal by a trusted colleague threatens to ruin everything.

Information courtesy of
Land of Mine – Undated, unspecified draft script by Martin Zandvliet – hosted by: Sony Classics – in pdf format

In the wake of the Second World War, the Danish authorities force thousands of German prisoners of war to defuse the millions of mines buried on Danish beaches.

Information courtesy of
The Red Turtle – Undated, unspecified draft script by Michael Dudok De Wit – hosted by: Sony Classics – in pdf format

The dialogue-less film follows the major life stages of a castaway on a deserted tropical island populated by turtles, crabs and birds.

Information courtesy of
Toni Erdmann – Undated, unspecified draft script by Maren Ade – hosted by: Sony Classics – in pdf format

A father tries to reconnect with his adult daughter.

Information courtesy of

Check out more Scripts Studios are Posting for 2016 – 2017 Script Award Consideration

The Neon Demon - post author Don

The Neon Demon – November 1, 2014 shooting script by Mary Laws and Nicolas Winding Refn ( based on a story by Nicolas Winding Refn) – hosted by: Whoa is (not) me – in pdf format

The sixteen year-old aspiring model Jesse arrives in Los Angeles expecting to be a successful model. The aspirant photographer Dean takes photos for her portfolio and dates her. Jesse befriends the lesbian makeup artist Ruby and then the envious models Gigi and Sarah in a party. Meanwhile the agency considers Jesse beautiful with a “thing” that makes her different and she is sent to the professional photographer Jack. Jesse attracts the attention of the industry and has a successful beginning of career. But Ruby, Gigi and Sarah are capable to do anything to get her “thing”.

Information courtesy of

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