Private Property

A young man ends up on the run when he tries to protect his mother from a crazed land owner.

In the 1800s American author Horace Greeley proclaimed, “Go West, young man.” And so they did. Young men and old men, good men and, in particular, bad men. Women and children followed. The old west in the drama “Private Property” is raw, and lawless. The rough — and the tough — are on a collison course here, proving that blood, sweat, and tears doesn’t just refer to the work ethic.

Bleeding profusely from a gunshot wound, 17 year-old Levi is on the run from notorious all-around bad guy, Cash Carson. Levi takes refuge in a barn, where he’s discovered by 16 year-old Maddie. It’s a tense stand-off. At first Levi’s got the upper hand, and his gun trained on Maddie. But in a daring move, she grabs the gun and turns the tables. Maddie’s freedom is short-lived, however, when Cash arrives and corners the two teens.

The tears? Likely a bucket-load have been shed by both Maddie and Levi, for they each share a dark secret with the despicable Cash. There’s a powerful twist at the end. Not surprising, since this is the wild west where resolution isn’t always a ride off into the sunset.

A professionally written script, “Private Property” earns raves for its blood, sweat, and tears depiction of two young people whose “good” lives collide with the “bad and ugly” of a cruel west Horace Greeley never could have imagined.

Westerns as a genre are making a fast comeback; Seth MacFarlane’s “A Million Ways to Die in the West”, and Tommy Lee Jones’ “The Homesman” to name just two. So grab this script now… and get in on the coming goldrush!

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

Page Count: 5.5

Budget: Mid-range. Head for the hills for the outdoor locations. A boarding facility could sub as a barn, and maybe provide the requisite equine or two who’ll work for hay.

About the guest reviewer for “Private Property”: California uber reader/reviewer KP Mackie is working hard on another animated feature. Now, if only she knew when John Lasseter was going to be in that elevator so she could pitch her winning story… KP’s work can be viewed at www.moviepoet.com!

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.

The Last Few Minutes of Sunlight

A terminally ill young woman escapes from a hospital to witness a solar eclipse – one of the last few items on her “To Do” list.

Death – it’s unavoidable. Tragic. So many classic films have been made about how death impacts our lives: movies running the gamut from Dying Young, to Beaches. The Notebook and All that Jazz. Death tears apart families. Relationships. And everyone must come to terms with it… in their own time, and their own way.

So picture this scene: a beautiful, yet terminally ill young woman lies in her hospital bed, waiting to die. (Cue the violins and the obligatory sobbing relatives as the writer squeezes every last drop of melodrama out of the scenario.)

Well, not exactly…

Sneaking into the hospital, Robert snatches his wife Jenny out of bed and into a wheelchair. Together, they slip through hospital corridors undetected and hot-wheel across the parking lot to a getaway car… With not a single tear in sight.

Their destination: a nearby park. Treasuring their stolen moment, the couple lie down on a hill and stare up at the sky, wearing special shades. You see, there’s a solar eclipse on the way. And Jenny wouldn’t miss it for the world. Or her precious time with Robert.

The couple talk frankly as they watch the display – a great mix of heart-wrenching and witty dialogue. About the situation they face. What they want for their families… and most of all, each other.

Poignantly written, The Last Few Minutes of Sunlight deals with the horrors of terminal illness in an honest, yet refreshing way. And despite its inevitable conclusion, this uplifting script avoids wallowing in sorrow – capturing the human spirit in all its magnificence.

The recent success of The Fault in Our Stars proves this genre of story to be a true winner… both financially and critically. Pick Sunlight for your next production, and there won’t be a dry eye in the house when the credits roll!

About the writer: Steven was a finalist in the coWrite competition, an innovative community-sourced screenplay developed in association with respected production company Benderspink (A History of Violence, The Butterfly Effect). He also took 1st Place honors in the March 2009 MoviePoet short script competition.

Steven is a member of Writer’s Boot Camp, was a finalist in the 2008 The Movie Deal screenplay competition and has twice been a finalist in the NYC Midnight Screenwriting Competition (2007 & 2008). He holds a Bachelors degree in Theater and an Associate degree in Film/Video Production. More of Steven’s work may be found at his website: www.StevenDexheimer.com (email: Steven “AT” 8mdFilms.com)

Pages: 6

Budget: Cheap as chips. Two locations – a hospital room and a park. A couple of quick shots of a parking lot and a moving car. Minimal SFX of a solar eclipse. And a tiny cast of three.

About guest reviewer Gary “Rolo” Rowlands: Born and raised in North Wales, Gary started out writing comedy sketches and his work was featured on SPITTING IMAGE a hugely popular sketch show in the UK that regularly attracted upwards of ten million viewers.

After a fifteen year hiatus, he took up writing once more and recently sold his short script Death of an Icon to an Emmy nominated director. He has also penned several features and has just finished a high concept zombie comedy that promises to bring something new to the genre. Aside from writing, his biggest passion is the English soccer team Everton F.C. – he can be contacted at: gazrow “AT” hotmail.com

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.

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

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.

Based on a True Story

A fictional film about non-fictional events that are entirely fictional.

Senses of humor vary radically. Some people think Porky’s is the height of hilarity. Remember that one, folks? Others prefer Woody Allen’s neurotic wit and TV shows like Curb Your Enthusiasm. One thing’s for sure… humor’s changed a hell of a lot over the years; with the focus veering towards over-the-top gross outs. This is the End anyone? Whatever happened to smart, character based comedy? Is there anyone out there still writing intelligent humor?

Yep. His name is Matt Dressel. The script in question is Based on a True Story. (That’s the title, folks. Not the description. The script itself is completely fictional.)

Smart, funny and low budget, BTS revolves around protagonist Bill, a screenwriter that can’t seem to get his big break. (Gee, I wonder how often that happens in real life?) Demoralized, Bill pays the bills working at a 911 crisis center, and most of his nights hanging out with incompetent actor pals Tim and Sam. (Okay, Sam’s not exactly a friend, more of an unfortunate acquaintance.) They live in Quigley Quagmire’s hotel… a depressing little 80’s reject hovel that’s only one step removed from the Roach Motel. In other words, life ain’t going well.

That is, until Bill has his brilliant idea. Hollywood likes reboots and movies based on True Stories, right? Why not stage a bank robbery themselves….and then cash in on the press with a best selling screenplay? Between Bill and his crew, they’ve got creativity, actors and props on their side. What could POSSIBLY go wrong?

How often has that question been asked? With the logical answer. Everything.

What follows is a highly intelligent – and yet goofy – romp through an escalating comedy of errors: from “Auditioning” the other bank robbers (and other theoretically important stuff, like how to handle guns and bank vaults) to the actual caper. And the inevitable complications that ensue. A master of understated comedy, Matt Dressel populates the script with colorful characters… not just the protagonists, but walk-on supporting bits as well. Not to mention rioting Nazis, pizza delivery men, and David Bowie groupies. (Don’t even try to ask. Just read the script and see.) Sound over the top? In Dressel’s hands, this script actually maintains comedy balance … peppering the script with wonderful lines like that of Crusty Detective Vic Cardigan: “I’ve been chasing (these robbers’) sorry asses for nearly 25 years of my life – ever since I was a rookie on the force.” Police officer: “They appear to be about 30 years of age, sir.” Cardigan: “Damn, they’re good.”

You know what’s really good? This script. It’s an indie breath of fresh air in a world populated by dick jokes and vomit gags. (Not that there’s anything wrong with those… in moderation.) But if you’re an up and coming director looking for a comedy with intelligence and staying power, check this one out. Fast. Before it gets away like a bank robber with the loot…

About the writer: Matthew Dressel recently wrote/produced/acted in his own web series Let’s Kill John Stamos! One of his feature films, Killing Daniel, has been optioned by Darius Films. You can catch more of Matt’s work at http://www.matthewdressel.com.

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.

A Friend in the End
A new friend gives an old lady cause to believe she is about to die.
But they always think that, don’t they?

Dustin Bowcott is no stranger to seeing his scripts on STS. His latest short, A Friend in the End, joins the ranks of his thoughtful dramas that put a twist on the familiar… delivering a magical result.

Ladies and Gentlemen, meet Gladys – an old woman residing at Village Green Residential Home for the Elderly. She’s not as independent as she used to be – but Gladys remains chirpy anyway. Not to mention reluctant to accept Frank, her new would-be helper, into her home and her life.

But Frank is pretty persistent, and he makes Gladys’ tea perfectly. When he takes her hand for a dance, it becomes clear Frank’s an even better chap… able to trip the light fantastic – transporting Gladys to a passionate time, when she was young.

But Gladys has been around the block, and is no fool. She knows exactly who Frank is, and why he’s traveled to her side.

The next time her son Warren visits, Gladys lays out her suspicions – ones Warren dismisses as the ramblings of senility. But is that really the case? Or is something else going on?

A realistic yet touching tale, A Friend in the End delves into the universal themes of old age, responsibility and death…with a deft and simple touch. Make it to “The End” of this story, and you’ll experience a sweet, satisfying conclusion. Just as Frank fits into Gladys’ life – this script may be just what you need.

Pages: 8

Budget: Low

About the writer: Dustin Bowcott is a self employed microbe retailer and father of four boys and a girl. He has enjoyed writing since the day he read his first novel. For Dustin, writing is something he has to do, when not writing, he’s thinking about writing and will absorb himself into multiple projects at one time. When he gets tired of writing one thing he moves onto another and has been known to work on three different stories in one day, writing for sometimes 12 hours straight and, on occasion, even longer. Dustin can turn his hand to any genre and has just finished first draft of a new children’s novel. Dustin is a BBC Writer’s Room finalist and a Shore Scripts finalist both in 2014. He is a produced and optioned writer, and has recently turned his hand to production, having produced his first short film with another in the pipeline that should be completed this year. Want to see what else he has in store? Give him a shout-out at dustin7375 “AT” gmail.

About the reviewer: Anthony Cawood is an award winning screenwriter from the UK with a whole bunch of short scripts sold/optioned/produced and has recently had his first feature script optioned too. Check out his website at www.anthonycawood.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.

The Combination
Parents who lose their child must eventually find a way to… let go.

Between 40,000 and 60,000 children die each year in the United States, according to the National Center for the Review and Prevention of Child Deaths.

All these parents share a similar, tragic plight – being confronted with a situation they never expected. For each one, it’s a long, pain filled road back to “normal life”. And some might never be able to let go.

In Steven Clark’s short script The Combination, Paul Reed and wife Melinda are in just that boat. All they have left are a handful of keepsakes: a small memorial with a picture of their five year old son, his dented bike and a teddy bear – trinkets they cling to, desperate to keep memories alive. The bike itself? It’s attached to a road sign with a chain and a combination lock.

Paul copes as best he can. But Melinda is troubled, to say the least. Mentally paralyzed, she hasn’t left their house since their boy’s death – finding herself unable to move on. Paul keeps asking for the lock’s combination as a sign Melinda is ready to let go. But he never gets an answer. Melinda isn’t ready. Probably not tomorrow. And definitely not today.

Finally, Paul takes action and cuts the chain, spiriting the bike away, into the family garage for repairs. He’s determined to turn this symbol of grief into something else. The result: a wonderful and heart-warming payoff, one your audience will surely engage with.

Dealing with such a heart-rending subject, The Combination does a brilliant job giving us insight into the inner life of parents who lose their “guiding light”. It’s stories like these which deserve to be produced, providing families dealing with grief a form of hope. And hopefully, conjuring a smile on at least one face.

Pages: 11

Budget: Low. This is a character-driven script. No extravagant locations or effects 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: A German writer, Thorsten Loos is running his own software development company for a living. In his spare time, he primarily writes tales and scripts in the Science Fiction, Conspiracy and Paranormal genres. (Though he does drift into different genres with his shorts.) Thorsten’s currently working on episodes of an international TV series in development for a U.S. based production company. His TV pilot Mindwalker is a winning pilot script at Wildsound Festival. His short script ‘The Wall In The Garden’ was recently optioned and is going to production in May. Want to learn more? Then reach out to him at loos.thorsten “AT” web.de!

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.

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.

Duet
Sometimes, teachers become the student…

Life moves at a rapid pace nowadays. People live in densely populated areas, resulting in unwanted sounds penetrating our poor eardrums – with the din of unending noise.

It’s often a challenge to relax and reminiscence. Yet doing so is healthy: even with bittersweet memories.

This is no more apparent than in the opening scene of Kerry Douglas Dye’s “Duet”. Arthur Golden, a gentleman of the ripe old age of 80, hurries along the sidewalk – sounds of construction adding to the frantic atmosphere of the city street. Arthur’s in such a rush he ends up losing control of his suitcase; spilling its contents of sheet music all over the busy road!

You see, Arthur’s a piano teacher, and he’s late for an appointment. As expected, Arthur’s stressed when he arrives, not even bothering to set eyes on his new student.

But when he does, he’s awestruck. Seeing a woman so youthful and ethereally beautiful, old Arthur quickly looks away.

However, the student doesn’t follow her teacher’s lead. Carolyn’s eyes are locked on Arthur from the start. And as he prepares for the lesson, she attempts to spruce the lesson up a bit:

CAROLYN
Make it a duet.

Arthur tries to ignore Carolyn’s forward behaviour, but then it clicks – he understands why she’s acting in this way.

Stunned and ashamed, he prepares to leave and forget the whole encounter – before anyone does something they’ll regret.

Yet there’s something nostalgic about Carolyn that convinces him to stay. Ultimately, it’s this aspect of the young woman that leads Arthur to give his apprentice a lecture about the heart – from the heart.

As the old music teacher opens up his soul, “two become one”, with Carolyn playing off Arthur’s notes of regret. It’s a cathartic confession of eternal grief, clinging onto the echoes of loves long since past.

And they haven’t even started the piano lesson yet…

The result: a sentimental, heart-warming script with stunningly honest dialogue. While the lead may be quite aged, the appeal of Duet is arguably expanded by it all the more – audience members of almost all generations will be in tune with this down to earth, life affirming piece.

Direct Duet’s tune note by note, and we guarantee: you’ll leave festival judges applauding in harmony!

Budget: Quite low. All that’s needed is actors for Arthur, Carolyn and a piano.

Pages: 6

About the reviewer: Hamish Porter is a writer who, if he was granted one wish, would ask for the skill of being able to write dialogue like Tarantino. Or maybe the ability to teleport. Nah, that’s nothing compared to the former. A lover of philosophy, he’s working on several shorts and a sporting comedy that can only be described as “quintessentially British”. If you want to contact him, he can be emailed: hamishdonaldp “AT” gmail.com. If you’d like to contact him and be subjected to incoherent ramblings, follow him on Twitter @HamishP95.

About the writer, Kerry Douglas Dye: I’m a produced writer of features who has recently been dabbling in shorts as an exercise. Want to learn more – then read here:

https://pro-labs.imdb.com/name/nm1338794/
http://www.imdb.com/name/nm1338794/

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

FOR YET MORE SCRIPTS AVAILABLE FOR PRODUCTION:

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.

The Dule Tree

A troubled young girl befriends a man condemned to death.

It’s hard to do a period piece right. Sadly, it usually ends up with powdered wigs, Halloween costume clothes, and far too many “yee olds” for modern comfort. But Odd Couple scripts? There’s an ingredient that works! Oscar and Felix. George and Lennie (Of Mice and Men, you heathens!). And – if you must be more current, Arya Stark and the Hound from Game of Thrones.

Speaking of gritty medieval stories… The Dule Tree is one script that has a distinctive George RR Martin vibe. Imagine a world so real you smell the festering dirt that lingers in the air. Come with us as you’re transported back 400 years to a lonely English field. Where a certain man’s life hangs by a thread…

The story opens on little Rose – a seven year old study in innocence. While wandering through the fields, she runs across convict Galle – imprisoned in a gibbet for some unspoken, heinous crime. (For those of you unclear of what a gibbet is, it’s a cage suspended from a tree. Don’t feel bad. Some of us at STS didn’t know, either.) Galle’s wounded, weak, starving – and tortured by passing children throwing rocks. After a few cautious words, Rose and Galle strike up an uneasy friendship. Over the next few days, Rose asks Galle questions and brings him bread. But what Galle really needs is to be free. Can he convince the girl to help him escape? And can he be trusted?

No matter the genre, the heart of all scripts is character. Is there chemistry? Will your audience care? Subtly written, the growing bond between Rose and Galle stands with the best of them. The Dule Tree is an effective dark short with tons of potential… sure to leave no dry eye in the house!

About the writer: Steve Miles decided to get serious about writing around three years ago. Since then he’s concentrated on putting together a collection of shorts with a goal of finishing up a feature or two by years end.  Oh, and giving George RR Martin a run for his money! Email him at stevemiles80 “AT” yahoo.co.uk

Pages: 9

Budget: Moderate. A field. Two characters. And a gibbet. Now that we know exactly what that is… J

About the reviewer: Anthony Cawood is an aspiring screenwriter from the UK with a number of scripts in various stages of production, two of which have just wrapped shooting. His script, A Certain Romance, recently won in the Nashville Film Festival Screenwriting Competition (short script category). You can find out more at http://www.anthonycawood.co.uk.

READ THE SCRIPT HERE

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.