ASHES
by Paul Knauer

In a desperate bid to escape her abusive boyfriend, a woman rents a house in the country only to find it inhabited by the dangerous, manipulative spirit of a murderer with an ominous request: Stop me from killing.

Horror/Thriller – Feature Length Script – 96 pages

Script Review by K. Cranford

“I see dead people” from 1999’s “The Sixth Sense” is one of the most iconic lines spoken in cinematic history. Ghost stories in cinema hold significance as they explore universal themes of loss, immortality and the mystery of the unknown. Incorporating all these themes, screenwriter, Paul Knauer’s latest offering, “Ashes” is poised to rise to the top of ghost story annals with its theme of a ghost, “Percy G. Jones”, whose opening character description depicts him as an eerie dichotomy of “an oddly charming, intellectual wannabe…holding a smoking shotgun”. As we soon learn, Percy is a cursed spectre that inhabits a house where he is trapped in a time loop, doomed to repeat both the murders he committed as well as his own death at the hands of the townspeople throughout the sixty years since the commission of the original crime.

Weaving the time hops from 1965 to present day, Knauer expertly takes us back to the original scene of the crime, where an unbalanced Percy, deep in the throes of a psychotic obsessive-compulsive disorder becomes fixated on the number “five”. This obsession serves to draw him to a farm house inhabited by a normal mid-western family to satisfy both his blood lust and his fixation. The action begins in earnest as Percy brutally dispatches the father, mother and young son and then turns his attention to the two young daughters innocently sleeping upstairs. To complete his twisted head count, he ominously counts down the exact number of shotgun shells required, “five, four, three…”. Ultimately, and to his dismay, Percy finds that only one child occupies the bedroom. The ensuing scene in which he confronts the lone young girl with alternating charm and murderous intent sets the chilling premise for what is to come.

As the second scene opens, in a time hop back to modern day, our female protagonist, Anne, is introduced as a victim of ongoing abuse by her boyfriend, aptly named “Brax”. Not a common name, the choice denotes the writer’s purpose of creating a mental picture of a brute, while the name itself, upon pronouncing tends to leave a metallic distaste – undoubtedly with intent. The threatening nature of their interactions will undoubtedly give rise to chills in those who know the pattern all too well and picture themselves in the shoes of the long-suffering Anne. In continuance of the story and after yet another violent confrontation with Brax, Anne plans her escape by blindly pointing to a dot on a map: Scott City, Kansas, as if it is all very random. We will soon learn it is not. As the story unfolds, every word, every action is skillfully laid leading to a climactic reveal that shows that not only were Anne’s actions not random, they were pre-ordained…sixty years ago.

“Who are you? Why are you here? ”
The eerily repeated disembodied voice of a young boy.

As Anne arrives in the “random” town of Scott City, Kansas, the string of assumed coincidences continues with the introduction of several townsfolk, including an older woman who eerily seems to recognize her and becomes intent on assisting her to achieve her eventual purpose, including leading her to the farm house under guise of free accommodation in return for caretaking. Almost immediately, Anne learns she is not alone as disembodied voices speak and apparitions abound.

“Percy will show you who you are.”
A. J, the hapless farm hand, an unwitting accomplice to the murders, now caught in the middle and unable to escape the predicament which unfolded long ago but in which he too is now a victim, warns Anne of Percy’s ominous presence. As Anne’s suspicions and fear escalate, she is befriended by a lone farmhand who interjects himself as her protector.

After interceding and scaring away teen pranksters, A. J. proceeds to warn Anne of a more dangerous and looming presence. Percy.

“I am both the watcher and the watched”.
Percy’s take on his own predicament.

There are two sides to every coin (or in this case, ghost): The intellectual quoter of poetry vs. the murderous entity. The one with certain remorse for his actions, seeking the one who can save both those he murdered and himself from… himself, seamlessly played alongside the fractured mind that calmly explains his rationale for unthinkable deeds.
As Anne and Percy’s relationship develops and for a bit of respite amid the level of suspense, the writer weaves in skillfully placed bits of familiarity and near comic banter between Percy and Anne:

Anne
You killed people in this house.

Percy
That shouldn’t define me.

In addition, after her initial meeting with Percy, Anne returns to the house with a “motel Bible and a Crucifix”.

Percy
I’m not a vampire.

Anne
I thought about garlic cloves.

Percy
…only helpful if you were serving Italian tonight”.

The back and forth between Anne and Percy harkens back to yet another classic, “The Ghost and Mrs. Muir” and is a welcome distraction from the fact that we are immersed in a tale of horror.

Quid pro “quote”
Percy’s misspoken offer to Anne in return for stopping his murderous spree.

Percy, in intellectual mode, oddly serves as a mentor to Anne’s predicament and involvement in the twisted psychology of a narcissist when Anne, who when confronted with a new danger, returns to the deeply imbedded dysfunction by contacting her abuser, Brax.

Percy
Guys like him will punch you in the nose
and then blame you for bleeding.

But not one to miss an opportunity, Percy proposes to dispose of Brax and rid her of the nightmarish relationship, in trade for her assistance in preventing him from the killings by actually intervening before they occur. This “deal with the devil” scenario echoes the recurring theme of the script: Which monstrous presence is worse and of whom is Anne more afraid?

Make all this worth something. Give it purpose.
Advice from the only survivor of Percy’s killing spree, knowing that Anne is their only hope to stop the repeating cycle.

As Anne finds the courage to go forward with a plan with help from her new acquaintances, will she manage not only to free herself from the brutal Brax, but devise an unexpected resolution and bring about Percy’s long awaited freedom? The answer lies in the final climatic moments that will keep you on the edge of your seat until the closing curtain.

SUMMARY:
“Ashes” is a complex and well thought out feat of screenwriting. A haunting tale of remorse set ironically to quips of the classic poets. In the writer’s hands we are transported into a realm where ghosts, even the murderous, are more nearly human, purveying loss, regret and desire for redemption and bridging the gap between the ethereal and the physical world to obtain it.

PRODUCTION CONSIDERATIONS:
With few locations and limited cast, along with minimal SFX, production could be accomplished on a very moderate budget.

About the Writer: Paul Knauer is a produced screenwriter with two features in early development. His main focus is thrillers and slightly absurdist comedy with heart. But, Paul believes becoming a better writer requires pushing personal boundaries, so you’ll notice a thorough mix of genres in his portfolio. Much of his work has universal appeal, evidenced by successful productions in the UK, UAE, and US–and options in Australia, Russia, India, Canada, and Thailand. A recent feature of his was named a 2022 Nicholl Fellowship Quarterfinalist.

About the reviewer: K. Cranford: I am a published author with articles featured in nationally circulated magazines. I specialize in family friendly stories with an uplifting message and currently have five completed screenplays, three of which are Christmas themed, as well as several shorts that I am actively marketing. By education I am a Registered Nurse. My husband, a physician and I make our home in Little Rock, Arkansas.

Read the Ashes script here:

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

Sophie the Gelded Space Stallion (432 pages in pdf format) by Don Boose

Born in the high cliffs of the mountains of Kansas, Sophie, our equine hero, is kidnapped by an ancient race of aliens from Xadu. Sophie escapes in her quest to save the universe and if not the universe, perhaps his Mother.

Slowly, but slowly making progress on getting Sophie to theaters. We finally have the international release poster completed. It’s been a long four weeks, but we think that now that our graphic artist has completed all four MS-Paint classes, the wait was worth it.
Last year we released the placeholder, pre-pre-vis teaser trailer. There is still a lot of placeholder footage and placeholder dialogue and placeholder music, but this pre-vis teaser trailer occupies the same space as the official teaser trailer will occupy when it is done.
We’ve had a lot of re-shoots over the past year as the previous footage was lost to a dumpster fire when the director of photography and most of the actors rage quit due to the fact that their mouths were unable to correctly form the words in the order that were written. And, some of them wanted to be paid. In money.

Still, look for it in theaters near you, April 2025.

About the writer: Don Boose has been spinning tales of space opera gold since 1999. Everything he touches turns to crap. He doesn’t believe in second drafts. The words come from somewhere in space, fully formed and go into his head and through his fingers on to the written page. He is not available for re-writes.

Tear-jerker stories hold a special place in the world of cinema, from current films such as Me Before You and The Fault In Our Stars, to classics such as Love Story and The Way We Were, their appeal is timeless and can be attributed to several factors that touch upon the depths of human emotion and pull at the heartstrings. On the Beach written by Steven Clark is a captivating and thought-provoking script that does just that; skillfully weaving together elements of drama and heartbreak. The story’s simplicity belies its emotional depth and compelling narrative, making it an engaging and memorable piece of work.

The script initially centers around two characters, Doug and Carolyn, who find themselves
preparing for the birth of their first child. The simple description of Carolyn painting the baby’s room opens the story. In the writer’s hands, this simple scene is transformed as we can almost hear the swish of the brush and smell the aroma of the paint as we are drawn into their world:

INT. HOUSE, BEDROOM – DAY
A paintbrush glides along the wall. Light blue is the color.
Then —
An empty crib that looks brand new. A dresser that still has a tag.
Downstroke of the brush in the hand of CAROLYN, 30, mother-to be, sweating, hair in her
eyes. But it can’t hide the glow on her face.

The entry of her husband, with his “find” of the perfect book for their new baby boy and his
dreams of reading it to him, complete the picture of joyous anticipation.

The script excels in its natural and heartfelt dialogue, allowing the characters’ emotions and
personalities to shine through. Doug and Carolyn feel like real people; their struggle to provide for their family while mired in more or less dead end jobs will resonate with the audience on a personal level, while the introduction of Doug’s illness is a seismic turning point. The remainder of the story is a telling of Doug’s gradual goodbye and the purposeful steps he takes to ensure that their son, Jeremy will remember the waning days he spent with his father.

Both Doug and Carolyn, as well as Jeremy, in his arc of age progression through childhood, are
well-crafted characters. The gradual unfolding of Doug’s illness and its effect on the family is woven seamlessly into the story, while his continued bedtime reading to Jeremy featuring an
astronaut shooting into outer space, serves as a segue to his son’s understanding that his father will soon be leaving.

The beach setting serves as a metaphorical stage, beautifully mirroring the ebb and flow of the characters’ emotions and the inevitable passage of time, while the vision of three chairs, “Two adult and one child” is a foretelling of the outcome.

No other cue is needed to summon the tears of the audience.

Despite its brevity, “On the Beach” manages to evoke a strong emotional response. The script
delves into themes of love, loss and the passage of time, offering a rich and resonant insight into how we may be called to face the unthinkable.

The script concludes on a poignant note, leaving the audience with a sense of melancholy closure. The ending feels fitting as it weaves the passing of one life and the beginning of another skillfully played upon the timelessness of the sea:

EXT. CALLOWAY BEACH – DAY
Bright Summer sun. Blankets and umbrellas everywhere.
Carolyn sits by the water’s edge, toes in the sand. The sun
feels good. She turns to see —
Jeremy sitting next to MAGGIE, 18 months, wearing a floppy
hat and a pink one-piece beach outfit.
Maggie picks up a sea shell, looks it over, then throws it.
On the beach are three unoccupied CHAIRS — two child-sized
and one for an adult.
The sound of a wave crashing onto shore.

Final Thoughts:
On the Beach is a remarkable short script that successfully captures the essence of human connection, nostalgia, and the complexities of life and death. With its well-crafted characters, poignant dialogue, and evocative setting, the script takes the viewer on an emotional journey that resonates deeply. It stands as a testament to the power of concise storytelling and will undoubtedly leave a lasting impression on any audience.

Credit to the writer for crafting such a touching and well-executed short script. On the Beach is a shining example of the potential that lies within the short film format and is deserving of recognition and praise. A small number of roles, few locations and budget-friendly scripting also serve to make this a very compelling project for those looking to produce a well-written and meaningful short film.

Read the script and talk about it on the discussion board.

About the Writer: Based in upstate, NY, Steven Clark is the writer of over 30 short scripts, several of which are under option, in pre-production, or have already been made into films. On A Clear Night, a family Christmas feature aimed at a Hallmark Channel-type audience, is currently in the works. Steven can be reached at his website.

About the reviewer, K. Cranford: I am a published author with articles featured in nationally circulated magazines. I specialize in family friendly stories with an uplifting message and currently have five completed screenplays, three of which are Christmas themed, as well as several shorts that I am actively marketing. By education I am a Registered Nurse. My husband, a physician and I make our home in Little Rock, Arkansas.

Find more scripts available for production

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

NO GOOD DEED

A good Samaritan attempts to diffuse a bad situation, only to light the fuse to another.

Rain-slicked streets and shadowy locales, fedora hats, anti-heroes and femme fatales. Voice-over rich narratives that regale us with tales of lust, blackmail and double-cross. Throw in some existential angst, some mystery, a little seduction. These are just a few of my favourite things when it comes to the golden age of Film Noir.

Budding film makers and fans of Noir, Neo-Noir and its various offshoots of pulp-fiction and graphic novellas sure are in for a treat today with John Staats’ short crime thriller, No Good Deed.

The complete phrase is: No Good Deed Goes Unpunished. Simply put that means beware of the consequences of acts of kindness and altruism, lest you be doomed for your trouble.

If only John Staats’ lead character, James had heeded this advice.

In No Good Deed we open on an ethereal image of two lovers locked in an embrace.

Melissa wears a long red negligee…

slit up the side to the top of her thigh.

… one leg draped over James, and a

hand on his hip.

Both of them … stare into each other’s eyes.

It’s very sweet and tender.

Except… something’s just a bit off with this picture.

As James’ world-weary voice-over informs us:

JAMES (V.O.)

(heavy Brooklyn accent)

It ain’t how it looks.

Let me explain…

And explain, he does:

JAMES (V.O.)

You see, it was late. I just

hauled my sorry ass up five flights

to my floor and, man-oh-man, this

couple down the hall was going at

it.  A real doozy, from the sound of it…

James is a chivalrous type. Not one to stand on the side-lines. If there’s trouble brewing he’s going to step up, especially when there’s a damsel in distress.

JAMES (V.O.)

And then nothin’. Silence.

No argument just stops like that

without someone getting’ popped. The

door was cracked, so I had a look-see.

When James looks over the threshold into the apartment where the hullabaloo was going on, whatever he sees causes him to instantly lose not only his lunch, but also his hat over the side of the fifth-floor window. That’s all quickly forgotten however when he sees ‘her’ –

– teetering barefoot on the window ledge… Melissa,

Oh, what a sight for sore eyes.

The breeze causes the negligee to cling

to her body and breasts. A wavy blonde wisp

of hair blows across her delicate face.-

.45 caliber nipples and all.

James is instantly smitten.

JAMES (V.O.)

She looked just like a pin-up I had

in my old G.I. footlocker…

Whew! This dame’s enough to make James take leave of his senses –

And forget a lot of things unfortunately – one fact being that he’s a married man.

Of course now is not the time for reminders of domestic banality so James smartens himself up and engages Melissa in conversation, all the while trying to finagle her to safety inside. For a while things are looking swell. The conversation that ensues between these two is electric, the attraction between them palpable. Even with a dizzying five-storey drop to the New York streets below, everything’s looking just peachy for a soft landing, until –

Something catches Melissa’s eye, something that turns everything pear-shaped.

So, has James’ good deed for the day left him hero or schmuck? Has he just committed a fatal mistake? We’ll let you be the judge of that.

John Staats exemplary writing in No Good Deed is a master class in bringing to life the gritty but very entertaining seedy underbelly of 1940s New York. Loaded with witty banter and repartee and with dialogue dripping with sardonic wit Raymond Chandler and Dashiell Hammett would be proud of, it also offers a plot that’ll keep you on the edge of your seat.

If you enjoyed Double Indemnity, Notorious, The Big Sleep & The Maltese Falcon or your tastes gravitate to the more modern neo-noirs like A Kiss Before Dying, Body Heat, & Sin City, (to name just a few), you’re going to love No Good Deed.

Filmmakers: Okay guys and dolls, let’s dispense with the formalities. Think of this as a fortuitous good deed for the day with no repercussions. Duck soup this is, (easy-peasy, in case you’re not up with the lingo). Better get on the blower to John, and make it quick smart.

BUDGET & CAST:

Two actors – 1 male 30s, 1 female mid-20s.

Director’s prerogative, however, No Good Deed lends itself perfectly to cool, highly stylized B&W cinematography with solo or selective color effects ala Sin City. Green screen, camera and lighting (optional additional animation) along with proficient skills with video editing and SFX  (Adobe Premier Pro & After Effects) for example, can enable stunning visuals all achievable on a reasonably low budget. Alternately, combine your quick-study talents with your passion for Noir and open source software programs available online.

Read No Good Deed (6 page Short, Drama, Film Noir)

Discuss this script!

ABOUT THE WRITER: As a fly-fishing fanatic and skier living in the Arizona desert, John Staats finds plenty of time for writing. His feature Impasse was a 2019 Filmmatic Season 4 Drama Screenplay Finalist and has been published as an e-book on Amazon. In addition to features and shorts for the screen, John has found a niche writing for the illustrated page (comics! – like The Fibre of Being and Astral Being). John can be contacted at jestaats (a) hotmail.

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

Find more scripts available for production.

About the Reviewer: L.Chambers has been writing all her life – especially in her head, and on scraps of paper. It’s only in the last few years she began to get serious about screen-writing. Prior to this she worked in the Features Department for ABC TV as a Program Assistant, and trained as a FAD. She currently works as a freelance web-content editor and lives with her husband (also a screenwriter) in Sydney, Australia.

A struggling couple seek help for their communication issues, but is it enough?

Communication is key in maintaining a healthy relationship with your significant other – miscommunication is usually the downfall of many marriages. But, as we learn in this wickedly dark and masterful suspense drama, miscommunication can even lead to deadly consequences.

Told with a very unique, yet never confusing structure, writer Matthew Taylor takes us on quite the ride using time jumps to give us a first-person look at how disorienting the miscommunication can be for an unhappily married couple.

In “Misread”, that couple is Jade and her workaholic husband, Leo. Right out of the gate, we see the consequence of their miscommunication, opening with an image of Jade lying in a puddle of blood with Leo standing over her. But how did we get here?

Playing with scene chronology, the author takes us through the moments leading up to the gruesome aftermath. We learn that the struggling couple has been seeing a marriage counselor named Dr. Goodwin, who eventually learns just how volatile this relationship really is by story’s end. Through a series of voice-overs during their numerous sessions, he explains to them the five pillars of a solid marriage: safety, faithfulness, commitment, intimacy and, finally, communication. And we see specific examples of Jade and Leo failing at each of these pillars.

Even though we already know the end result, the journey leading us up to that point still surprises us, with each of the time-jumping sequences coming together brilliantly before FADE OUT. With its wit, off-beat tone and series of misunderstandings, this script really reminded me of excellent films such as the Coen Brothers first film, “Blood Simple” and Sidney Lumet’s final film, “Before the Devil Knows You’re Dead”. This really is quite a brilliant achievement to accomplish in six pages and would make a fantastic film that I could easily see winning some awards on the film festival circuit. If you’re a filmmaker, scoop this up before someone else does!

BUDGET: Low. Common and minimal locations, three main actors.

ABOUT THE WRITER: Matthew Taylor is an accountant from Shakespeare’s county. Though fairly new to screenwriting, he is a naturally gifted storyteller hitting his stride as a writer, recently securing an option for one of his scripts. Though he’s always learning and looking to improve his craft, his skill level is far more advanced than most writers with similarly limited experience. Matthew spends his spare time reading scripts and books. His dream is to be able to make a living from screenwriting, specializing in the science fiction and fantasy genres. He can be reached at: scripts.by.mt at gmail.

Read: MISREAD (6-page short drama screenplay)

Discuss on the Discussion Board

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

Find more scripts available for production.

About the Reviewer: Michael J. Kospiah is the award-winning screenwriter of critically acclaimed indie-thriller, The Suicide Theory (79% Rotten Tomatoes – available on Amazon Prime, Itunes, Google Play, etc) and 2020’s upcoming Aussie thriller, Rage. His horror feature, They Never Left is currently in development.

Subscribe to Michael’s YouTube Channel.

PAUL (3-page short drama screenplay) by STEVEN CLARK

Sometimes, the best gift you can give is to just listen…

The world can be a very cruel and lonely place sometimes. As someone who lives in New York City, I see homeless people every single day, whether they’re on the subway begging for change or making their money as street performers. Either way, they spend most of their days alone, being ignored, neglected… and often mocked.

In writer Steven Clark’s heartfelt, slice of life dramatic piece, our title character knows this type of life all too well – he is a homeless street performer who spends his days strumming the guitar for passersby with hopes of collecting a little change. At night, he takes shelter in the basement of a local church. When he wakes up, it’s back to the street corner with his guitar. That’s pretty much every day for Paul.

Paul is a pleasant man, just trying to survive. Strumming the guitar seems like somewhat of a peaceful outlet for him, helping him forget about his hardships every time he picks up the guitar. Unfortunately, it seems like the guitar is his only friend.

But he has his fans. A passerby named Rory, for instance, seems to enjoy Paul’s guitar playing. Most people, however, ignore him. Or, like a pair of obnoxious teenagers at the story’s opening, make fun of him.

There’s a sadness in the tone of “Paul” and how he’s treated. He just seems like such a nice guy, we really do feel for him and empathize with his lonely existence. But, by story’s end, we see just how important making a connection with someone really is and how something as small as saying “hi” can make someone’s day. Kindness can really go a long way. It’s a shame there isn’t more of it the world.

SPOILER ALERT: You may shed a tear or two before FADE OUT.

BUDGET: Low. Minimal cast, minimal locations.

ABOUT THE WRITER: Based in upstate, NY, Steven Clark is the writer of over 30 short scripts, several of which are under option, in pre-production, or have already been made into films. On A Clear Night, a family Christmas feature aimed at a Hallmark Channel-type audience, is currently in the works. Steven can be reached at his website.

Read: PAUL (3-page short drama screenplay)

Discuss on the Discussion Board

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

Find more scripts available for production.

About the Reviewer: Michael J. Kospiah is the award-winning screenwriter of critically acclaimed indie-thriller, The Suicide Theory (79% Rotten Tomatoes – available on Amazon Prime, Itunes, Google Play, etc) and 2020’s upcoming Aussie thriller, Rage. His horror feature, They Never Left is currently in development.

Subscribe to Michael’s YouTube Channel.

A CHANCE ENCOUNTER (4-page short crime-drama screenplay) by JOHN STAATS

When guns are drawn, love ensues.

A chance encounter, indeed…

Well, this script was a fun one to read, especially if you’re familiar with historical crime figures from the 20s and 30s (more on that later).

The story opens at an old Texaco gas station way off the beaten path. It’s here where we meet a 19-year-old girl (only referred to as ‘Girl’ in the script) working the counter all by her lonesome, flipping through a magazine to pass the time.

That’s when a handsome fella in his 20swearing a snazzy linen suit and fedora (he’s only referred to as ‘Driver’ in the script) pulls up to a pump. And he seems to be in a bit of a hurry, fumbling around with the gas nozzle. Unbeknownst to him, the 19-year-old gas station clerk watches him from the front entrance, curious.

But after filling his tank with a few gallons, it appears as if ‘Driver’ is about to pull a gas-and-go without paying. And as delicate and pretty ‘Girl’ seems to be, she’s not about to let some stranger off the hook without paying.

The driver freezes for a moment to think. He slowly turns to face the girl with palms out and a wide grin. A toothpick twitches in his teeth. Damn, he is one handsome devil. Caught off guard by his good looks and swagger, she swoons.

Turns out ‘Driver’ is one hell of a charmer – and it’s probably been a while since ‘Girl’ has seen a man of his stature. Wearing a sly grin, ‘Driver’ approaches her, pretty confident that he’ll be able to talk his way out of this one… that is until she draws a pistol on him.

Outside of the charming characters and irresistible dialogue, what made this one so fun was the reveal at the end, which I shall not reveal here. And though it’s not 100% historically accurate, you won’t be able to help but smile.

BUDGET: Moderate. It’s one location (a gas station) and two actors. But, because it’s somewhat of a period piece (1930’s), most of the budget will go into making the gas station and car look like it’s from that time period.

ABOUT THE WRITER: As a fly-fishing fanatic and skier living in the Arizona desert, John Staats finds plenty of time for writing. His feature Impasse was a 2019 Filmmatic Season 4 Drama Screenplay Finalist and has been published as an e-book on Amazon. In addition to features and shorts for the screen, John has found a niche writing for the illustrated page (comics!). John can be contacted at jestaats (a) hotmail.

Read A CHANCE ENCOUNTER (4-page short crime-drama screenplay)

Discuss on the Discussion Board

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

Find more scripts available for production.

About the Reviewer: Michael J. Kospiah is the award-winning screenwriter of critically acclaimed indie-thriller, The Suicide Theory (79% Rotten Tomatoes – available on Amazon Prime, Itunes, Google Play, etc) and 2020’s upcoming Aussie thriller, Rage. His horror feature, They Never Left is currently in development.

Subscribe to Michael’s YouTube Channel.

MERCY (6-page short drama screenplay) by Mark Moore

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

Everyone who lives to be old reaches a point in their life when their bodies aren’t what they used to be and their minds aren’t as sharp as they once were. We all hope to grow old someday, but when we do, it can be a difficult to accept everything that comes with age.

Aaron Lewis is especially finding it difficult to accept in Mark Moore’s touching, mature drama, Mercy.

Aaron, now 69 years old, isn’t just struggling with his age – he also has a serious condition that renders him almost completely physically helpless. He was once an athletic mountain climber – according to him, he could’ve climbed Mount Everest if he wanted to. And he could play the saxophone like nobody’s business – Aaron “The Lungs” Lewis is what they used to call him.

But now, he’s barely able to do anything on his own. Luckily, his loving and loyal wife, Mary is there for him, waiting on him hand and foot. The story opens as she prepares him a cup of tea. Unfortunately, Aaron can’t even sip tea on his own and needs her to hold the cup to his mouth.

As they take a trip down memory lane, looking over old photos, remembering just how fulfilling of a life Aaron has lived, it also makes Aaron miss the old days when he was playing the sax, climbing mountains and throwing the baseball around with his son. Not only that, but he feels like he’s now just a burden on everybody because of his condition.

Now, some may find the ending of this story somewhat controversial. But, if you have a soul, it will tug at the old heart strings regardless. This is a story that feels very real and handles the subject matter with great sensitivity without compromising authenticity. Sure to snag up some film festival awards, I highly recommend this to any filmmakers looking for a low-budget, COVID friendly production.

BUDGET: Low. Minimal location (most of it taking place in a house) and minimal cast (two main characters, a few supporting characters with no dialogue).

ABOUT THE WRITER: Mark Moore is an aspiring screenwriter originally from Ireland, currently residing in Upstate New York. He has had multiple shorts produced, including several award winners while also having sold two other shorts. Though a versatile writer, Mark enjoys writing comedy and drama screenplays. Mark can be reached at mmrem24 (a) yahoo

Read: MERCY (6-page short drama screenplay)

Discuss on the Discussion Board

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

Find more scripts available for production.

About the Reviewer: Michael J. Kospiah is the award-winning screenwriter of critically acclaimed indie-thriller, The Suicide Theory (79% Rotten Tomatoes – available on Amazon Prime, Itunes, Google Play, etc) and 2020’s upcoming Aussie thriller, Rage. His horror feature, They Never Left is currently in development.

Subscribe to Michael’s YouTube Channel.

THE GIFT OF GIVING (6-page short drama screenplay) Written by John Staats

An elderly man and his dog enjoy another memorable Christmas Eve.

In our December, holiday-themed OWC, there were some really heartwarming, touching tales that really captured the spirit of the holidays and explored the importance of family and togetherness during this time of year. However, this 3rd place OWC winner, a mind-bending tearjerker, explores another common feeling many people experience during the holidays – loneliness. All while bending our perception of reality with unique storytelling and structure.

The tale starts off like many holiday-themed tales: Charley and his wife, June – an elderly couple – prepare a nice Christmas dinner, waiting for family to arrive. Charley sits in front of fireplace, looking over a gift box as his spry, energetic golden terrier, Sam, sits by his feet.

Soon their son, Bill, daughter-in-law, Mary and four-year-old grandson, Phillip arrive bearing gifts. Unfortunately, there’s a pretty bad snowstorm in progress outside and they need to get going before the roads get too bad.

But, before they leave, Charley’s son, Bill, gives him a Christmas gift he picked up from Romania while on business – a very unique crystal ball ornament.

And before we know it, Bill, Mary and Phillip leave. The abruptness of their stay and the way they leave, it almost feels like a dream, but in a very subtle way. But things truly get strange when Charley notices that his once-energetic dog, Sam, is suddenly walking with a limp, for reasons unknown. What is going on here, exactly?

I won’t give away the gut-punch of an ending. But I encourage you to check out this script and I highly recommend this to filmmakers. It really does tug at the heartstrings, but not in a conventional way. It carries a sadness to it in the way we see in Charlie Kaufman projects such as, “Eternal Sunshine of the Spotless Mind” and, most recently, “I’m Thinking of Ending Things” on Netflix (though easier to follow).

BUDGET: Low. Minimal cast, one location (a house).

ABOUT THE WRITER: As a fly-fishing fanatic and skier living in the Arizona desert, John Staats finds plenty of time for writing. His feature Impasse was a 2019 Filmmatic Season 4 Drama Screenplay Finalist and has been published as an e-book on Amazon. In addition to features and shorts for the screen, John has found a niche writing for the illustrated page (comics!). John can be contacted at jestaats (a) hotmail.

Read: THE GIFT OF GIVING (6-page short drama screenplay)

Discuss on the Discussion Board

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

Find more scripts available for production.

About the Reviewer: Michael J. Kospiah is the award-winning screenwriter of critically acclaimed indie-thriller, The Suicide Theory (79% Rotten Tomatoes – available on Amazon Prime, Itunes, Google Play, etc) and 2020’s upcoming Aussie thriller, Rage. His horror feature, They Never Left is currently in development.

Subscribe to Michael’s YouTube Channel.