North Star (pdf format) by P.J. Palmer

A rancher on a secluded mountain ranch makes life-changing sacrifices to take care of his ailing wife.

Films that explore devastating illnesses fall in and out of favor… and aren’t to every moviegoer’s taste. Are they “entertaining”? No. But best of them (for instance, Still Alice or The Theory of Everything) strike to the heart of what makes drama great. Exposing what it means to be human, and vulnerable. To have one’s life – or a loved one’s – altered by a twist of fate. Stories that deal with such topics may never draw the popcorn crowd, but their impact will persevere – long after the latest blockbuster spectacle fades away.

In his poignant short North Star, writer P.J. Palmer shines a narrative light on a stroke victim’s family. Specifically, on the difficult decisions required of a loving husband… and caregiver.

Steve and his wife Cheryl (50s) live on a secluded mountain ranch. At first glance, Steve’s daily routine seems mundane. He rises before dawn, shaves, dresses – and patters about their bedroom quietly so as not to wake Cheryl. In the kitchen, he fires up the coffee and lights the stove. Then, accompanied by two rambunctious dogs, Steve heads outside to do chores.

Once back, Steve returns to the bedroom and opens the curtains to wake his wife.

…but with daylight come realities. For Cheryl is thin and frail – and completely dependent on Steve for her needs. Bathing, dressing, feeding. Everything. But through his actions, Steve’s dedication to his wife is clear. His love: unconditional.

The situation’s heart-wrenching… and ultimately unsustainable. As their daughter Erin laments: “We all wish it were different. Just gonna do what we have to, to make it through.” But there are some hard decisions ahead – even for the most devoted family.

There’s no sugarcoating North Star’s theme, but its psalm to humanity rings true throughout. Vivid descriptions, and touching moments – contrasted with harsh reality. Are you a drama director in search of a substantial story that resonates? Be assured, you’ve got one here.

Pages: 11

Budget: Relatively low. Only four actors, all of whom have meaty roles. Steve, Cheryl and Eric (and neighbor rancher Mike.) A couple of dogs and a cat are optional. A horse is a necessity – but no riding required.

About the Writer: P.J. Palmer has worked on 20+ short films, web series, music videos, documentary projects and commercials as a director, producer and/or writer. He began his career at Warner Brothers Studio working on the set of the TV series ‘ER’. Palmer is now alumni to the 2013 Edinburgh Film Festival Talent Lab. He was also an artist in residence with 2014 Steinbeck Festival where he premiered his documentary: ‘GRAPES OF WRATH’ (Director / Producer) starring James Franco and Lois Smith. That same year Palmer won the CLIO for best commercial for producing Srixon’s ‘JOURNEY TO BETTER’ broadcast campaign. Palmer’s comedy pilot project ‘SLACKLY MANOR’ (Producer) won the 2013 LA Comedy Script Festival. Recently, Palmer guided the ground-breaking, dramatic web series ‘ANYONE BUT ME’ (Series Producer) through three seasons in NYC to dozens of top industry awards including Best Web Series and Best Drama. His short film “GOOD LUCK” (Director) was picked up for distribution by Fox Digital Studios and accepted into several festivals. Another short film of his, ‘MEMBERS ONLY’ (director) is out to festivals. Previously, in making his first documentary, Palmer was on the ground during the immediate aftermath of Hurricane Katrina as a disaster relief volunteer while filming the documentary ‘AMERICAN RED CROSS: KATRINA RELIEF’ (Co-Director / Producer). Palmer is now in production directing the feature length documentary ‘FOR ED RICKETTS’, exploring the lasting influences of John Steinbeck, Joseph Campbell and Ed Ricketts, set to debut in the spring of 2016. Currently, Palmer is in active development on the Scottish feature script ‘PULL NO PUNCHES’ as his narrative feature directorial debut. IMDB: Portfolio

About the Reviewer: California über reader/reviewer KP Mackie is working hard on an animated feature.

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Boulangerie (pdf format) by Jose Arana

An abused girl in a French village meets the most unlikeliest hero: a baker.

Babette’s Feast, Big Night, Rataouille, Chocolat, Heartburn.

What do all of these classic movies movies have in common? Food. And their accompanying themes of the power of food – food as seduction, as self indulgence, and that eternal struggle between self denial and sensual gratification. Food is a powerful and primary ingredient in all of our lives to comfort and sustain, but mostly to nourish.

Writer Jose Arana introduces us to Richard Dubois, a man in his late 50s, who knows all about food, specifically that staple – bread. Problem is, he appears to be missing some of that all important nourishment. When we first meet Richard he’s kneading a ball of dough as if his life depends on it. He’s a man in the zone, and, it appears, a man in a considerable amount of emotional pain – working that dough as if to exorcise his demons. What these demons are at this point, we don’t know, but how fitting it is that the French word for ‘bread’ is in fact ‘pain’, and it’s writ large on Richard’s face.

Set in a small Parisian village in a quaint old style bakery – Jose sets the scene so you can almost taste the fluffy white rolls, the sweet brioche, and the buttery croissants – feel the warmth emanating in the room, and smell the freshly baked bread as it comes out of the oven.

But outside a storm’s raging, torrential rain, lightning, thunder – it’s a dirty night and commuters are scurrying home to the warmth and safe haven of their homes and loved ones. Not so, eight year old Madeleine, who suddenly appears on Richard’s doorstep. At first glance Richard fails to recognize her – her face concealed under a hooded rain-coat and looking bedraggled from the wild weather – it takes him a moment to realize she’s a local girl and he quickly invites her inside to get warm and take shelter.

Something’s up, but we don’t know what, and despite the little girl’s protests Richard insists on telephoning Madeleine’s mother to let her know she’s all right. Though he commiserates with Madeleine and is aware of her mother’s reputation for strictness, he is quick to remind her that respecting one’s elders is very important.

But when Madeleine’s mother doesn’t answer the phone… Richard is not happy and the tone shifts.

It’s one clever little girl however who changes the subject and asks Richard about his passion for baking and when Madeleine expresses her interest in taking up the pursuit a bond develops between the two, and not just through a love of bread-making. It’s easy to see Madeleine craves a father figure, also easy to see Richard has a big gap to fill in his life.

Jose Arana weaves a deceptively simple tale With Boulangerie – a balanced and layered dish of bittersweet ingredients with a dash of that secret ingredient – mystery. Through flashback we discover both Richard and Madeleine harbor secrets and that each bears familiar scars, but that in each other they might just find a kindred spirit.

Boulangerie is a gentle and quiet narrative, its subtext and subtle impact felt not only through what is said in dialogue but equally through what is left unsaid. This is a story with much more going on than first meets the eye.

As with all good mysteries, some crucial questions remain unanswered:

What’s an eight year old girl doing out alone and in the middle of a storm? And, what of the suspicious bruises on her arm? Where is Madeleine’s mother, and why doesn’t she answer the phone? Finally, what is the significance of the shattered photo frame – a portrait of Madeleine and her mother, and the flashback to Richard, and his own mother.

Well, you’ll just have to read the script to find out. Will your appetite be sated? Yes, you’ll be full as a goose.

But don’t delay. We recommend you act fast and get first dibs because there’s sure to be a bit of a bun-fight over this one. And, one thing’s for sure, the clever crafting of Boulangerie will definitely leave you wanting more of what Jose Arana has to offer.

Pages: 5

Budget: Reasonable. One location: a bakery and two main rolls (excuse me, “roles.”) It’s a budget that won’t require too much dough. 🙂

About the writer: Jose Arana loves telling stories that are heartwarming and adventurous. With a B.A. in Social Sciences from the University of Southern California and a minor in Cinematic Arts, he enjoys hearing back from how his work leaves an impact in people’s hearts. He loves being of service to others. Contact him at jarana27 “AT” gmail

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.

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Fabrini (pdf format) by Henry Christner

An old hotel elevator operator in Washington, D.C., discovers an alignment of past and present.

Tom Hanks races to the top of the Empire State Building for a fated rendezvous with Meg Ryan in Sleepless in Seattle —

Keanu Reeves descends to rescue hostages from the evil Dennis Hopper in Speed —

Gene Wilder propels his pure imagination to even greater heights in Willy Wonka & the Chocolate Factory —

Will Ferrell acts out the ultimate push-button fantasy in Elf —

Jennifer Lawrence, Woody Harrelson, and Josh Hutcherson react differently to Jena Malone’s striptease in The Hunger Games: Catching Fire.

And in 2010’s Devil… well, never mind.

What do all these movie scenes have in common? An elevator! Ever contemplated inserting an elevator scene into your screenplay? If you haven’t… perhaps you should. It’s a detail so vital to the Die Hard franchise that elevator scenes were included in all five movies. Yippee-ki-yay! As Bruce Willis might say…

And in the short script Fabrini, an elevator proves the perfect stage. The protagonist: 74-year-old Joe Fabrini; longtime elevator operator at the Doyle Hotel in D.C. A man at peace with his place in life, Joe’s almost a part of the hotel himself. Attired in a “burgundy whipcord suit and gendarme cap,” Fabrini is a fixture of a bygone era – eagerly regaling riders with stories of famous people who have stayed at the hotel. Though he clearly relishes the spotlight, he’s also quick to point out, “I see a lot of things. But I see nothing.”

When the story opens, Fabrini has the rapt attention of a couple as he describes a brief encounter with Jackie Kennedy. As the couple exits, Joe’s in midstory of yet another tale… regarding old-time screen actress Ida Lupino. Fabrini takes the interruption in stride, welcoming aboard two new riders: the elegant 66-year-old Miss Carlson and her son, Paul. Miss Carlson visited the Doyle once before. A long, long time ago.

Fabrini immediately engages the two in repartee – it turns out Miss Carlson likes Lupino too! Fabrini and Carlson share fond memories of the Doyle Hotel’s ballroom, that “wonderfully romantic place in the old days.” Which is when young Paul reveals, “It’s the reason we’re here.” The question is – what exactly does that mean?

A vivid story-within-a-story, Fabrini is a touching tale filled with sweetness and nostalgia. For a smart and sensitive director, this ride is well worth taking…

Pages: 7

Budget: Minimal. A handful of characters. Dress Joe Fabrini appropriately to add flair. Getting permission to commandeer an elevator should be easy. Plus, do yourself a favor — Google “Ida Lupino.” 🙂

About the Writer: Henry Christner, a former teacher and newspaperman, is a relative newcomer to screenwriting. He is the author of one feature, “Let Me Die in My Footsteps,” and three shorts — “Conversion,” “Hagridden,” and “Fabrini.” He can be reached at Hdchristner (a) yahoo!

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Scooter (pdf format) by Libby Chambers

In the Suburbs of Sydney in the 70s, an adolescent girl longs for a scooter…or at least she thinks she does.

Remember when you were 12? We all do – no matter how long ago it was. No responsibilities and no worries. The realities of life left to the adults. Looking back, that childhood naïveté and innocence was pretty close to bliss. Even if we didn’t know it, at the time.

Indulging in a bit of nostalgia is comforting. And therein lies the appeal of Scooter. It’s the 1970s. The setting? Sydney, Australia – a sunny day. 12 year old Lizzie lounges outside with older sister, Nina. They’re watching a group of exuberant 14 year old boys race scooters down a hill. And Lizzie’s getting jealous.

“The boys fly down the hill at breakneck speed, whooping as they go.” Lizzie’s positively “transfixed.” Christmas is coming soon, and Lizzie wonders if Mum and Dad might buy her a scooter of her own. In bed that night, she shares those thoughts with Nina. But Nina discourages her, telling Liz she overheard their parents discussing Dad’s job. Asking for a scooter “isn’t a good idea.” Money’s kind of tight right now.

And with those simple words, Lizzie’s dreams are dashed to the floor.

Remember Christmas when you were a kid? Waiting with bated breath to see what morning would bring… and if it would be as magical as you hoped for? Lizzie’s about to go through that turmoil, too. But will she get what she really, truly wants?

A sweet sentimental script, Scooter is reminiscent of many classics. Stand By Me, The Sisterhood of the Traveling Pants, and Moonrise Kingdom. Like those eternal standards, Scooter brings to mind that long-lost time – when life was simple, and the biggest concern on every child’s mind was yearning for that special present.

Are you a director or producer looking for Christmas to come early? Scooter would make a terrific gift!

Pages: 11

Budget: Low. Two girls, a few rambunctious teenage boys, and a hill. Simple interior shots in a house. Add BYOS (Bring Your Own Scooters) and some Christmas decor for a fun trip down memory lane!

About the Writer: Libby 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 has also worked professionally as a freelance web-content editor and proofreader. She is thrilled her first ever entry (Simpatico) into a Screenplay Comp – The LA Comedy Festival ‘Short’ screenplay division took out Top 3 Finalist and hopes the high placing will be a continuing trend. 🙂 Libby would love to see her words come to life on screen. She lives with her husband (also a screenwriter) in Sydney, Australia, and describes him as being both a good and a bad influence on her writing. You can contact Libby at libbych “AT” hotmail

About the Reviewer: California über reader/reviewer KP Mackie is still working hard on her animated feature.

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Fruitcake (pdf format) by Steven Clark

Through the years, a boy has trouble accepting the truth about his family…

Remember when you were young and couldn’t wait to grow up? Every explanation for “no” was accompanied by, “Wait until you’re older.” Bet you felt that day would never come…

But – eventually it does. And, for most of us, not a second too soon. Grownup privileges? You bet. But, with the good stuff comes awareness. And that crucial concept: maturity.

In Steven Clark’s drama Fruitcake, young Doug Merill isn’t old enough to truly understand the reasons for his parents’ divorce. Looking back, he remembers tons of arguing and “icy stares.” Sure, his father Peter wasn’t the world’s most hands-on dad. And his mother Judy – a proficient baker – cried a lot. All the time, in fact.

But as time passes, Doug adjusts. Judy becomes the primary parent, and Peter takes Doug on weekends. Driving up to the front of the house, Peter honks the car horn and Doug rushes out to meet him; carrying a box of Judy’s fruitcake. Until one fateful day…

Conflict between a son and his father – it’s a familiar tale, for which growing up’s the only cure. There’s a joke that getting older’s a bitch – until you consider the alternative. Fortunately – for Doug at least – time and age provides clarity…

A sad, poignant tale, Fruitcake has a sweet ending nonetheless. Easy locations. Interesting characters. And universal appeal. Which makes the decision to choose this script a piece of cake. (Sorry, we couldn’t resist!)

Pages: 14

Budget: Low. A handful of talented actors plus extras will enjoy inhabiting these characters. One tantalizing baked good required. 🙂

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 Steamroller138 (a) gmail.

About the Reviewer: California über reader/reviewer KP Mackie is working hard on her animated feature.

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Predominantly Blue (pdf format) by KP Mackie

A mother makes a special baby quilt.

Writing a short screenplay requires specialized skill. Hyper-streamlined language – evoking a maximum of visuals. A defined beginning, middle and (satisfying) end – contained in the tiniest of boxes.

Imagine the box just got smaller. Much like the introductory scenes of Pixar’s “Up”, Predominantly Blue has all the emotional power of a big Hollywood tear-jerker. Delivered in less than two pages. And a scant two lines of dialogue.

The script opens quietly. Karen (30s) works late into the night sewing a baby quilt. The color’s predominantly blue. Her husband Greg sneaks in to check on her. Together, they stand at the foot of their infant son Michael’s crib. The perfect family personified. But there’s a shadow of something else in the room. Remnants of something that is no more.

Within the next half a page, the full meaning behind author KP Mackie’s careful details are unveiled. Literally punching readers in the gut. Speaking as a veteran writer, I’ve reviewed hundreds of shorts. Yet Predominantly Blue has haunted me through the years. The sadness of the script never wanes. Your heart breaks over, and over again.

The perfect script for a “serious” director, PB features virtually no dialogue – relying on skilled cinematography and acting to tell its tale. Choose your talent for this one wisely. It’s sure to be a film festival favorite.

Pages: One+

Budget: Minimal. Three main characters. A house. A church load of extras. Make a small donation, and film on Sunday.

About the writer: California uber reader/reviewer KP Mackie is working hard on her animated feature.

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. 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 (a) gmail.com.

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The Hunger of Pride (pdf format) by Rod Thompson

“At the height of the American Revolution, two generals share dinner in a bid for peace.”

Ever watch black and white footage on PBS, and chuckle about how the “old times” looked? Those women in long dresses and bonnets. Men in handle bar mustaches and hats. Not to mention their primitive modes of transportation: horse and buggies, old streetcars. Didn’t they realize how silly it was? Nothing like modern day. With our power suits, and cell phones… The people back then seem so quaint. Almost less than human.

Antiquated lives – separated by centuries. But are we really so different? No matter the time period, humans have always been united by our motives, and values we hold dear. Such things never change. Nor do emotions, Such as Love, Anger – and Pride. As true in 1782 as today…

As The Hunger of Pride opens, stalwart General Batchelder peers out his window. A crucial event is about to take place. Canons blast in the background; the American Revolution in full swing. The American general watches as a carriage arrives, and General Barr exits. His sworn British adversary – surrounded by a swarm of red-coated guards.

The two men adjourn to the dining room to discuss their situation. But their motives aren’t in sync. Batchelder wishes to broker a truce. Barr aims for the American’s unqualified surrender. As they tuck into a generous meal, Batchelder explains his plans for attack. The result is sure to be bloody on both sides. In order to save the lives of their men, isn’t there room for compromise? But – as with the world today – negotiation can be tricky. Will mutual interest win the day? Or will Pride goeth before one warrior’s fall?

Historical fiction can be difficult; but when done right it’s a marvelous thing: Gone With the Wind, Lawrence of Arabia, Schlinder’s List. 12 Years a Slave. The tales don’t always have to be true. But they do need to be authentic… touching on universals of the human condition that resonate through time. Confucious once declared, “Study the past if you would define the future.” The Hunger of Pride may depict days long past. But its emotions still ring true.

Emotionally gripping, and tied up in a perfect twist, THP is perfect for directors interested in something that will stay with their audience… no matter what century they come from!

Pages: 5

Budget: Moderate, only because the Generals’ costumes and the ambiance need to reflect the Revolutionary War time period. (Horses are likely optional.) Add some historically-accurate props to an interior room, and huzzah!

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

About the Reviewer: California über reader/reviewer KP Mackie is working hard on her animated feature.

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Run (pdf format) by Victor Miranda

A running athlete has all the motivation he needs to win a race.

This story is particularly resonant in light of the ever increasing refugee crisis.

Our protagonist Mondon, the son of an African farmer, is a runner. But a runner out of necessity when his village is pillaged by mercenaries. He saves the life of an orphaned little girl who is later able to repay the kindness when her circumstances change.

Fleeing his village he lands in a refugee camp where, despite compromised circumstances, he is still able to train. A gift from the little girl he saved gives him the tools to escape and run to something better.

This is a powerful, visceral, and poignant story.

Pages: 4 pages

Budget: Medium Budget. Stock stadium crowd footage, running track, creativity needed with mercenaries. Oh, and a few runners and a little girl.

About the Writer: Victor Miranda hails from Mexico and has a degree in International Relations. He’s written 4 short films and 2 features ones. Next year he plans to submit one of his features to the Black List. Victor can be reached at: vmmr.87 (a) gmail.com

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Home Field (pdf format) by Rod Thompson

Two brothers play an innocent game of baseball – unaware that life as they know it is about to end…

The best war films aren’t about war. At least not completely. As with all good drama, such tales are really about people. War may provide the backdrop – but highlighting the human experience is the true content. The good, the bad, the ugly. The heroic.

On the surface, Home Field displays the gritty trappings of war. But the beating, bleeding heart of it is a testament to the indomitable spirit of man. In this case, two brothers. Richie and younger brother Jamie.

When we first meet them, they’re just boys – facing off in a heated game of little league baseball. Jamie knocks Richie’s best pitch deep into the outfield…. Then their friendly rivalry’s interrupted in the worst possible way. A missile streaks overhead like a comet, and explodes nearby.

War has come. Their childhood ended.

Eight years later, the two are veteran soldiers; fighting a bloody ground war on home soil. Richie drags his wounded brother away from battle – ironically across the same baseball field. Jamie’s been wounded critically; he’s unable to even stand. As the two debate their next move, they recall the last time they were on that field. The smell of the grass. The crack of the bat… all memories that they (and upcoming generations) may never experience again. War is hell for a great many reasons; and one of the victims is innocence. Being on the field slams the message painfully home. But there’s no time for weeping. But perhaps there is time for one souvenir.

Bowing to his brother’s wish, Richie retrieves a precious object from the field. Then – as Jamie protests – he jams a syringe into his brother’s leg. Slings him over his shoulder and slogs away.

After all, one can’t live in a memory. And there’s a war to fight.

Pages: 5

Budget: Low – Moderate; depending on how much wartime FX you choose to incorporate. Missiles. Explosions. Shots of planes. Much of which could be implied.

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

About the reviewer: Scott Merrow co-writes screenplays with his wife Paula. Since 2006, they’ve written over 50 short screenplays, several of which have been produced. They tend toward family-friendly scripts, but they’ve written a little bit of everything: horror, fantasy, sci-fi, comedy… the whole nine yards. Wanna give them a shout out? They’re available at scott-paula (a) comcast.net

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