The Seashell by Jason K. Allen

Don’t believe everything you hear. Even inside a seashell…

Picture yourself on a casual weekend stroll. The sun shines over the horizon; it beckons to you, toasty warm… promising the perfect day. Could it be better? Of course it could.

Mr. Director, set that scene. Add sand crunching under your toes. A crashing surf which rolls smoothly by. Yep, that’s right – you’re at the beach! Insert some seashells to collect, and the ambiance is… ideal.

Especially when you pick one up and put it to your ear. You hear the echo of the ocean, just inside. Or something else. An unexpected sound.

Such is the premise of The Seashell – a comedic short by writer Jason K. Allen.

For when twelve-year-old Lauren finds herself on the beach, she picks up her own seashell. And can’t believe what she hears.

It’s not the ocean. It’s a voice. Quite a strange, weird one indeed. The owner of that voice: a tongue-tied chap named Ricky. He’s filling in for Mother Nature, who’s been detained. Ricky claims he’s trying to help… in fact, he says, he’s her son!

Needless to say, an awkward conversation ensues. Reality gets even stranger when Lauren realizes Ricky’s telling the truth. What the heck can one say to the spawn of Mother Nature? Even one as inept as Ricky? So Lauren grills Ricky for details. After all, it’s worth learning how the world works. Mother Nature may be a bitch… but Ricky’s goofy… and quite sweet!

Are you a comedy director in search of something unique? Then give quirky Seashell a good listen. It’s a low budget cast of two, with one setting. We’re sure you’ll like what you hear…

About the writer: Jason K. Allen is a writer and filmmaker from Nashville, Tennessee. His produced short scripts include AMERICAN SOCK, which won Best Screenplay at the 2014 San Diego Film Awards, and AUTUMN LOVERS, winner of the Audience Award at the 2013 Artlightenment Festival in Nashville. He also wrote the feature film LUCKY FRITZ starring Julia Dietze (IRON SKY) and Corey Feldman. Jason is also a wilderness guide, nature photographer, and published author. Check out his IMDB credits.

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About the Reviewer: 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.

Imagination, Smagination by Nolan Bryand

Little boys have crazy imaginations… Or do they?

The topic for today is Monsters. Mwa-ha-ha -haaaa!

In his inaugural address, F.D. Roosevelt famously paraphrased Francis Bacon’s line by saying: The only thing we have to fear… is fear itself.

I don’t know about you but I’ve always found cold comfort in that line… Fear itself is pretty darned scary.

Monsters, ghouls, devils, demons, the boogeyman – all strike fear into the most hardened of hearts and can turn even the most cast-iron of stomachs to jelly. From Ghoulies to Gremlins, to Chucky (Child’s Play) and The Babadoo – monsters not only have a long and illustrious history on film but they continue to fascinate, disgust, horrify, and if the writer is especially talented (like this one is) even make their audiences laugh.

Now cast your mind back to your five-year-old self lying in bed in the dark – your nightlight casting ominous shadows onto the walls, your super-hero bed-covers pulled up tightly around your chin, wide eyes darting back and forth into the foreboding darkness.

What was that?!

Did you hear that barely perceptible creak across the floorboard? Did you see that lightning-fast flash of movement just out of the corner of your eye? What about that inky black cavern that is your wardrobe with its door slightly ajar, or that cavernous space under your bed where all manner of dastardly things could be lying in wait, ready to pounce when you least expect it.

Ooh, it’s enough to give you the heebie-jeebies, make you crawl into the fetal position, yank those bed covers over your head while you mutter over and over and over again: not real, not real, not real, in a desperate attempt to prove to yourself that what you just heard, what you just saw, was all just the result of a bad dream or an overactive imagination.

But what if it wasn’t your imagination…?

As we open on Nolan Bryand’s, Imagination, Smagination, this is the very real dilemma facing five-year-old, Owen. He’s just run the five-metre dash down the hallway and into his parent’s bedroom. What he knows is: this is not his imagination in overdrive. There’s a monster in his closet, and he needs his dad to get rid of it! Actually, he’d prefer to sleep in his Mom and Dad’s room, where there is no monster, but they’re not having it. Big sigh. Thanks, Mom. Thanks, Dad.

The Monster in The Closet and The Monster Under The Bed are familiar tropes in horror fiction and filmmaking, but Nolan Bryand’s rendition is about to surprise, not only with its freshness and originality, but also with its perfectly timed comic-horror twists. That’s right, not one, but two. Just when you think the story’s done and dusted, Nolan expertly hits his audience with yet another comical twist in the final seconds of a denouement that will have you jumping in surprise and laughing out loud at the same time.

Suspense, comedy, acerbic wit, mixed with clever barbs aimed squarely at jaded grown-ups with their all too familiar rationalizing that ‘monsters don’t exist’, Imagination, Smagination is a finely orchestrated monster-lite tale that is sure to be a crowd pleaser for kids and adults alike.

Filmmakers: Now’s the time to banish your fears, scare up your own special brand of cinematic ‘smagination’ and take your best shot in the dark. Best not sleep on it though, cause this one’s gonna’ get snapped up fast.

Budget: Low. One location. Two adults, a plucky talented five year old, and a couple of ‘monsters’. A talent for gruesome make-up fx will also come in handy.

About the Writer Nolan Bryand: While completing a minor in film studies back in 2005, I took a keen interest in the screenwriting aspect. Acting and directing wasn’t for me. In 2015 I came back to writing as a way to spend some free time, and remembered how much I enjoyed it. Since revisiting my passion, I’ve optioned two short scripts, which were both read and picked up after being read on the SimplyScripts discussion board. It’s the actors and directors that really make a script come to life, but it’s the screenwriter that gets them there in the first place! And that’s what I love about screenwriting.

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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.

Chemistry of Life by David D. DeBord

 Maybe Timmy’s brilliant ten-year-old mind can fix the horrors of his life.  Right after he re-animates his dead gerbil.

 We’re all familiar with Mary Shelley’s story of Frankenstein – the mad doctor who creates a living, breathing monster by reanimating a corpse.   The film version starring Boris Karloff is an American classic that’s been scaring us for almost one hundred years.  In that time we’ve seen countless remakes and re-imaginings .  Not to mention merchandising, cartoons, and comics – the Frankenstein monster is an icon even preschoolers can identify.

With all that diluting, it’s easy to forget the truly horrific question posed by Shelley.   If it were possible, would you bring a dead person back to life?  And even more important: should you?

Chemistry of Life asks that very question, albeit on a smaller scale.

Timmy is the ten-year-old mad scientist from Jackson Heights Elementary School, with a home life that’s less than ideal.  He lives with his drug-addicted mother and her boyfriend Spider in the remnants of a dilapidated home.  His older brother recently died.  And if that isn’t depressing enough, his only friend in the world is a gerbil named Ralph.

One day after school, Timmy decides he must fix the horrors of his life – even if that means Ralphie has to take one for the team.  So little Timmy unpacks his back pack full of borrowed equipment from the school lab, assembles his Dr. Frankenstein Junior Starter Kit, and gets down to grisly work.

What happens to poor Ralphie? And what further horrors lie in store? Give this script a read, and you’ll see. We guarantee some shivers down your spine.

Decanted from the mind of scriptwriter David D. Debord, Chemistry of Life is a unique take on Frankenstein. A mini monster movie begging to be “brought to life”!

Budget:  Low to Medium.   The biggest cost will be the gerbil brain dissection scene.  (I told you this script was awesome.)

About the writer: David D. DeBord has been a professional scriptwriter for twenty years. Recently he had three short film scripts produced, one in Fairfield, Iowa, a second in Houston, Texas and a third in Matulji, Croatia. In past years, his award winning scripts have been produced on radio, stage, television, and film. He is a past president and founding member of the Iowa Scriptwriters Alliance and lives in Des Moines, Iowa with his wife, the best woman on the planet, Kris Sutton. Contact him at downtowndave “AT” att “DOT” net!

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About the reviewer:  David M Troop has been writing since he could hold a No.2 pencil. In 2011 he began writing short films for MoviePoet.com and Simplyscripts.com. His produced short scripts include INSOMNIAC and THE DINER. 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.

Sex and Death by Sylvia Dahl

An aging rock star gets a visit from her ex-lover: the Grim Reaper.

Ever since Satan tempted Eve to take that first bite of forbidden fruit, human beings have had to face up to their own mortality – and the spectre of The Grim Reaper.

On the plus side, what better lead character than The Grim Reaper? The quintessential villain, arch nemesis, antagonist, (apart from perhaps, the Devil himself) is perfect material for the medium of film.

Look at for example: Metropolis. It depicts one of the most terrifying dream sequences ever committed to celluloid. Futuristic rich kid Freder, in a church full of mourners, turns to confront the skeletal figure of Death. Statues start moving, weird bone-flutes play, and several jarring jump cuts bring the reaper lurching to life, swinging his scythe at the screen.

The other most iconic and subsequent prototype for Death is the chalk-faced Grim Reaper in The Seventh Seal. Symbolic and menacing, Ingmar Bergman’s Middle-ages meditation on religion, philosophy and history is a visual masterpiece brought to life through Bengt Ekerot’s chilling and haunting performance.

Sylvie Dahl’s Sex And Death introduces us to Janice, a down and out rockstar and former front woman for a punk band. She is lying face down on the sofa in her apartment  “surrounded by a half empty bottle of whiskey … and empty vials of prescription drugs on the floor.”  In her semi conscious state, she reaches for the whiskey bottle when –

Suddenly, in the corner of the room, Janice spots The Grim Reaper – not entirely surprised apparently… Likewise, ‘Reaper’, who laconically removes his robe and places his scythe on a chair, appears as if he’s just come in from buying the groceries.

In Sex And Death, The Grim Reaper presents as the archetypal rock-god –  “an Angel Of Death, and, a naked man of supernatural beauty. “ He is beautiful, dangerous, seductive, but also armed with the gift of the gab and a very droll sense of humor.

He compliments Janice:

            REAPER
Your last record rocks.

Even approves of her trendy, artistic living space:

             REAPER
…Nice place.

All seems to be going swimmingly well, very polite, very civil. That is, until we learn these two have a bit of a history.  During their first meeting Janice was able to cheat death, but this time around the circumstances are different and she might just have pushed things to the point of no return.

Can Janice outwit death and turn the tables a second time, or is her number finally up?

With its gothic tone, no holds barred approach to adult content, examination of the Freudian themes of love, sex, and death, and a denouement you won’t see coming, well…

All we have to say is: Filmmakers, stop dilly-dallying around. The sands of the hourglass run out for all of us, and Sex And Death demands to be immortalized.

Budget: Very low. A decent Grim Reaper costume, and great actors can complete this show.

About the writer: I’m a one time advertising copywriter who has fallen in love with screenwriting. I’ve written a handful of features, one has been produced as a Role Playing Game (RPG) and made its debut at CarnageCon. I enjoy writing short scripts since it’s a fun exercise for sharpening my skills; so far one of my shorts has been produced as a student film project, and I welcome the opportunity to have more of my work produced via participation on SimplyScripts. Sylvia can be reached at sylviedahl (a) AOL.

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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.

An AWOL soldier and his buddies stop at an abandoned farmhouse and encounter the living dead.

Writer/Director, Jason Mills, has taken a basic limited location/limited cast premise and thrown some zombies at it rather than go the normal thriller route.

There’s an attempt at giving the characters a little three-dimensionality, with one of the leads an AWOL soldier with PTSD, but the majority are stock roles. For example, thrown into the mix is a guy who is positioned as dangerous and worse than the zombies, there’s always one!

But the main twist here is that the ‘infected’ live for three hours, so can our plucky bunch survive long enough to outlast them? I personally think this was a good idea but wasn’t used effectively enough.

Obviously, this is a low budget effort and tries hard to overcome this with a number of decently staged, and occasionally tense, attack sequences. The effects too are reasonable for this type of film, but…

Ultimately the problem here is that there is nothing that you’ve not seen before, it’s a zombie movie after all, so it’s all a bit too familiar.

Fairplay for a decent effort but it needed something to elevate it.

IMDB
Watch it Streaming on Amazon

About the reviewer: Anthony Cawood is an award winning screenwriter from the UK with 4 short films produced and another 10 or so scripts optioned and/or purchased. Links to his films and details of his scripts can be found at www.anthonycawood.co.uk.

The L Equation by Anthony Cawood

A talented mathematician slaves over an equation that could change the face of humanity, as her dedicated assistant struggles to tell her exactly how he feels. 

Love is never logical. But wouldn’t it be great to live in a world where relationships were easy? If you knew from the start a relationship was “meant to be”, heartache becomes a distant memory.

The L Equation certainly tests out this theory. Like ‘Eternal Sunshine of a Spotless Mind’, The L Equation aims to cut the hassle out of dating, by building the perfect equation for love.

As the script opens, dedicated mathematician Samantha slaves away in her lab. Her ambition? To discover an algorithm for love – creating perfect couples: A + B. A world where happiness is guaranteed and finding ‘the one’ is a breeze – surely that would be a marvelous thing. But while Samantha’s drive keeps her focused on work, her besotted and loyal assistant Brendan wishes she would concentrate on him instead. She barely notices his existence… leaving Brendan feeling side-lined. And very, very hurt.

But what’s Samantha’s real motivation? Her purpose, her reason for everything? You guessed it: Brendan. After months of gruelling work, Samantha finally finds the code she needs. But it fails to give her the answer she desires in her heart. Will she abandon logic and give chemistry a chance? Crack L open, and give it a read… Maybe there’s a happy answer to the equation after all.

A charming script, The L Equation’s as easy as pie to shoot. There’s nothing technical to be found here. But acting and chemistry – just like X and Y – those are essential ingredients!

Budget/Cast — Low. Only 3 characters, a few simple props, a couple lab coats, and you’re set!

About the Writer – Anthony Cawood – I’m an award winning screenwriter from the UK with over 15 scripts produced, optioned and/or purchased. Outside of my screenwriting career, I’m also a published short story writer and movie reviewer. Links to my films and details of my scripts can be found at AnthonyCawood.co.uk

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About the Reviewer — 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

The Test by Richard Russell

In a futuristic society, life changes for a teenager who can’t pass the test.

In my humble but clearly infallible opinion, Ray Bradbury wrote some of the best short stories. Ever in the history of the world. Case closed; that is all.

And Bradbury’s novels aren’t too shabby either. Take for instance, Fahrenheit 451 – a story of censorship and social control echoed in Richard Russell’s SF short, The Test.

Fade in on the script. The time: the plausible near future. And the humble setting: a middle class home, with an almost 50’s domestic vibe.

Iola is the mother – tooling around the kitchen with her trusty tablet, preparing the family’s meals. Everything’s colored coded. For instance, today’s dinner is “green.” Which is probably just as well, because Iola doesn’t appear to be all there…

Husband Ron arrives from work moments later, dressed in a cop-like uniform. He regales his wife about his day (he’s some sort of ‘inspector librarian’) – and asks Iola about their son Josh’s test. Important scores came in today. But Iola’s unsure where they are; she’s forgotten already. A fact which doesn’t surprise Ron. And so he grabs a beer, and heads to Josh’s room…

…to be confronted with some cold, hard facts. Fourteen year old Josh failed his test miserably. And that means dire consquences – including “Educational Camp”. A prospect that Ron fears at all costs…

After dinner, Ron escorts Josh to “old man Granger’s” house. A thin old man with “wispy hair”, and dusty secrets in his basement. To save Josh from his mother’s fate, Ron’s arranged a special trip…

And that’s where my summary stops. No need to spoil a great script.

Instead, take a read for yourself – discover the multi-layered narrative and well-drawn characters; each with their distinct voice. Despite the SF setting, this is one cautionary tale that would be easy to produce. There’s no elaborate special effects – and a very human story at its core. It’d be a winner at festivals. And Ray Bradbury would be pleased.

Budget: Relatively small, interior locations.

About the Writer: Richard Russell lives in North Carolina where he plays golf and writes.  He has been writing since college when his short stories appeared in the university literary magazine.  He loves writing screenplays, and THE CALL, written with his partner, Felice Bassuk, is one of their best.  They have written an award-winning feature, THE KOI KEEPER, which they hope to see on the screen in the not too distant future.  Richard has a trove of shorts and feature length screenplays and continues to add to the inventory.  Writing remains the sole source of sanity in Richard’s chaotic world.

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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 AnthonyCawood.co.uk.

Mile 42 by John Dowgin

When an extreme distance runner encounters a human trafficking ring during a desert ultramarathon, he must battle both exhaustion and criminals to save innocent lives – and himself.

 Sometimes, a story grabs you. Instantly. Takes command of your senses and doesn’t let go. Maybe it’s the opening action. Perhaps a telling line of dialogue. With Mile 42, it’s the clear and intense imagery that sucks you into the script. A tale solidly set in New Mexico: baking heat, jagged outcrops of rock, parched tarmac shimmers in the sun. NM’s not a state I’ve visited. But now I can say I’ve “seen” it – at least, through this script.

…and the eyes of Jose. The protagonist of the story, Jose’s a competitive long distance runner of the ultra-extreme kind. When we meet him, he’s hitting Mile 42. His base camp support, Cynthia, chatters via bluetooth in his ear, quoting lines from movies. Jose spits titles back at her; it’s a game that keeps his mind focused, even if his physical energy’s on low reserve. But Jose’s determined to soldier on. Miles ahead of him (out of sight) is Timson. His running nemesis and competitor.

Soon, a reception dead spot cuts off Jose’s connection to Cynthia. And he catches up to Timson.

Bullet ridden and dead in the road…

A shot rings out. A bullet tears through Jose’s sleeve. Someone’s shooting at him! The runner darts for shelter – summoning what meager energy he has left.

Scaling a rock, Jose spots his would-be shooter… And uncovers a whole truck of trouble, far beyond the normal concerns of marathons. Corrupt border guards have intercepted a group of illegal immigrants, and plan to hijack them for a slavery ring. Jose’s run smack dab into hell. Stranded in the desert. Alone – and being chased – by a sadistic group of criminals determined to wipe all witnesses from the earth.

Faced with a series of unexpected challenges, Jose battles the odds and desert heat. But can he overcome his own frailties in time to save himself and the others? Or will he end up like poor, dead Timson?

Excellently paced, Mile 42 moves swiftly towards the finish line – a top notch action thriller, with a vibrantly real protagonist. It’s an action short that’ll leave you (and your audience) breathless. Cheering for the hero all the way.

Budget: Given the action scenes and extras, this one’s not meant for a newbie. But a skilled indie director looking to put a shining gem on his resume? That would be a perfect fit!

About the writer: John P. Dowgin is a playwright, screenwriter, director and actor, as well as a founding member of the production company The Porch Room (PorchRoom.com) for whom he directed the original work ‘Antony & Cleopatra: Infinite Lives” at the 2013 New York International Fringe Festival. Two of John’s plays have been published in the compilation “Accidents Happen” by Samuel French, and have been performed in New York, Los Angeles, Indianapolis, Toronto, Dublin, and Australia. A number of his screenplays are also in ‘development’, which he suspects to be a theoretical dimension like Oz. He lives in New Jersey with his wife and son.

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 AnthonyCawood.co.uk.

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Solitaire by Steven Clark

A troubled loner is about to get a second chance. And maybe more…

In the final act of Steven Clark’s screenplay ‘Solitaire’, main character Randy makes the following comment:

            RANDY
They say this game mimics life.
Ladders, chutes. Up, down. Everything
by chance.

This poses the question: Are the cards we’re dealt in life pre-determined, or is the game of life just a random result of luck and fate? Similarly, does playing by the rules, employing strategic maneuvers, knowing when to show your hand and when to keep your cards close to your chest ensure a better result in this game of life?

Steven Clarke’s characters Randy and Amy have been playing by the rules all of their lives. Randy washes dishes in a small-town diner. Amy is a waitress. During his breaks Randy can be found sitting at a table at the back idling away at his favorite card game: Solitaire – or Patience, as he likes to call it.

We get the impression life up until now has been a bit of a struggle for Randy. We know he’s recently returned from a stint in the military and has suffered some sort of trauma. Some might call him damaged goods… As a result, for the most part, he keeps his head down and his mouth shut.

Amy’s also doing it tough as a single mom supporting her daughter.

That she’s attracted to Randy is no secret, but Randy is so painfully shy he can’t even look Amy in the eye. Seems these two might be destined to be ships passing in the night…

We can tell by this line however:

     Randy’s gaze follows her as she hip-checks through a swinging door, out into the
     dining room.

So there’s still hot blood coursing through Randy’s veins. And Amy’s indomitable spirit ensures Randy’s brooding dark horse personality and solitary habits are not going to put her off.

Amy’s decided today is the day. She’s worked up the courage and she’s going to make her move. Brazenly, she steps up to the table where Randy’s playing his game and asks him for a date. Just like that. Game on.

Of course, as with all good dramas, things don’t exactly go according to plan. Having given his home a long overdue spit and polish, and donned a nice white shirt and tie, Randy sits down at the kitchen table to wait…

And wait… and wait…

Never has the dial on the kitchen clock ticked by more slowly, and still no sign of Amy.

It appears she may have just thrown a dummy move that no-one could see coming.

Then, just when you think game over, there’s a knock at the door.

Is Randy about to discover that Patience is indeed a virtue? That gambling on love, one of the highest-stakes games of all, is worth it? If he gets it wrong, it could be a falling house of cards. Then again, as the saying goes…You’ve got to be in it to win it, right?

With echoes of Frankie and Johnny, and It Could Happen To You, Steven Clark paints a very moving tale with Solitaire about two people searching for meaning in their lives, and that all important love connection.

Filmmakers: Know a good deal – I mean screenplay – when you see one? Don’t you dare leave this one to chance. After all, this could be that all important game changer.

Budget: Minimal. A few locations, two actors. Needless to say, make sure they’re good!

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: 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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