The Elevator Most Belonging to Alice
Short Finalist for the 2016 Nashville Film Festival!
Where will life take you?

“The Sole Property of Miss Alice” So reads the small plaque hanging in the large, luxurious elevator in which we open. We observe ten-year-old Alice, and her butler, Jerome. At first, Alice is unsure of just why she is here, or even where here is. But after a formal ribbon-cutting ceremony, Jerome tenderly explains the rules: this is Alice’s space, and this elevator will take her anywhere.

From here we are whisked away on a grand tour. Rather than falling with Alice down a rabbit hole, we fly high with her through the clouds and over snow-capped mountains. Alice is enthralled and delighted to be lifted up out of her seemingly dreary life. The spectacle outside is nearly as engaging as the conversation that Alice and Jerome are having inside the elevator. You see, as they soar through the sky, the two ruminate on Alice’s situation. It seems she is having some difficulty back home, and Jerome is here to help her through it all. He will stand by her side and help her take strength in her hour of need, which will come soon.

As the journey’s end draws near, Alice learns that you don’t always have to move to change where you are. The emotional hammer drops as we find out just what Alice has been flying away from, and what she still faces ahead. This is one ending that will stick with your audience long after the final frame.

The Elevator Most Belonging to Alice offers a surreal fantasy escape in the tradition of Lynch and Fellini. The script packs a potent, powerful punch, while delicately examining a difficult subject matter without ever devolving into exploitation. A metaphorical, metaphysical, meditation on life, akin to Radio Flyer, the message is one of courage, endurance, and above all, hope. All of which are themes that continually reap benefits on the awards circuit.

So hop on board before the doors close, this script will take you anywhere you want to go.

Pages: 17

Budget: Medium. One central location, the elevator, may need a production designer. Limited SFX.

About the Reviewer: Dane Whipple is talking with Davey, who’s still in the Navy, and probably will be for life. He is currently working on that screenplay everybody keeps talking about: The Wild Age. Contact him at dane.whipple (at) live.com.

About the Writer: An award winning writer, Bill Sarre has had scripts place both finalist and quarter finalist with Page and Bluecat. Another short of his, The Grieving Spell, was recently grand prize winner of the London Film Awards. Bill can be reached at Bill.sarre “AT” gmail.com

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Last Shot (aka Baby Shoes)
Shoot first, die later.

Where the road to perdition meets the highway to nowhere, there sits a small café. And in that café there sits a man, calmly reading the newspaper, skimming the classifieds. When he notices an ad for ‘Baby Shoes’, our man moves to the pay phone and places a call.

But, the transaction that’s about to take place doesn’t involve any actual shoes. You see, our man’s name is Baby Shoes, and he is not just any man, he’s a hitman. You know it well – the lethal kind.

With the information on his target secured, we ride along with Baby Shoes as he carries out his latest job…

….or at least attempts to. Turns out not everything goes as smoothly as Baby Shoes (and his employer) had planned.

After a botched first shot, all hell breaks loose. His target on the run, Baby Shoes races after his prey in hot pursuit, setting off a rock-em sock-em, high-octane action chase sequence that will literally blow your socks off. Well – ok – not literally, but somebody is getting something blown off, I guarantee that. But who?

Will the target live to see another day, or will Baby Shoes take his last shot?

Everyone loves a good hitman movie. From Collateral to Machete, it’s practically its own genre. Last Shot provides a strong character in the vein of no less than Leon: The Professional – with a slam-bam action pace that will keep even the most stubborn audiences on the edge of their seats.

But don’t think this is a mindless six-page car chase, oh no. The central arch provides us with a weightier intelligence more akin to Killing Them Softly; providing a director with ample opportunity to highlight directorial skills in action as well as straight drama.

Think you’ve got what it takes to be the last man standing? Then grab your silencer and put on your black gloves. You’ve got a job to do.

Pages: 6

Budget: Medium. Limited actors but multiple locations, props, and an action sequence.

About the Reviewer: Dane Whipple is like ten-thousand spoons when all you need is a knife. He is currently working on that screenplay everybody keeps talking about: The Wild Age. Contact him at dane.whipple (at) live.com

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

READ THE SCRIPT HERE – AND DON’T FORGET TO COMMENT!!

FOR YET MORE SCRIPTS AVAILABLE FOR PRODUCTION:

PLEASE SEARCH SIMPLYSCRIPTS.COM 

OR THE BLOG VERSION OF STS HERE.

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.

Tick Tock Toe

An elderly man plays tic tic toe with his granddaughter resulting in an unexpected outcome

Life isn’t a game you win or lose.

Rose is a born loser. An awkward, angsty, acne-ridden 14-year-old. After a long day of being ridiculed by the popular kids at school, she stops by the nursing care center to visit her grandfather, Sidney.

Sidney is a born winner. Or at least he was, until he got put out to pasture here at the old folks home. Here, his winning days exist only as faded photographs of yesteryear. Nowadays, Sidney is a bit of a curmudgeon. He calls things like he sees them, and what he sees is that Rose could use some life lessons.

To kill some time, Sidney and Rose decide to play a good old game of Tick Tac Toe. Sidney plays to win. Rose plays not to lose.

Naturally, game after game ends in a draw. What’s the point of a game you can’t win?

As the two trade moves on the board, they swap stories, as well. Sidney’s time in the war has given him a unique perspective on life, and some advice for Rose on how to live it. Following draw after draw, Rose begins to adopt a new and positive outlook, and Sidney realizes that perhaps it is time for him to try a new approach to the game of life. He knows all too well that if you kill enough time, it may just kill you right back.

In the tradition of Gran Torino and Little Miss Sunshine, Tick Tock Toe is a classic mentor/mentee character-driven drama, examining what the young can learn from the old and vice versa. There is also an element of life mirroring the game ala Searching for Bobby Fisher. The script offers a profound meditation on the nature of life, death, and everything in between. The kind of weighty rumination that would make Terrence Malick proud, TTT is surely set to be a standout on the festival and awards circuits.

If you are looking for a real winner, play a game of Tick Tock Toe!

Pages: 13

Budget: Medium. One central location, the nursing home, with a short school scene and a (spoiler) casket shot.

About the Reviewer: Dane Whipple is living in a powder keg and giving off sparks. He is currently working on that screenplay everybody keeps talking about: The Wild Age. Contact him at dane.whipple (a) live.com

About the writer: An award winning writer, Bill Sarre has had scripts place both finalist and quarter finalist with Page and Bluecat. Another short of his, The Grieving Spell, was recently grand prize winner of the London Film Awards. Bill can be reached at Bill.sarre (a) gmail.com

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