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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Play Dead by Stephen Wells

In the aftermath of the zombie apocalypse, one man believes he has the perfect strategy to survive, but what will his plan cost him?

Decades before George Romero’s Night Of The Living Dead ever hit the screen, the first feature length zombie horror film made its début. Its title: White Zombie, starring the inimitable Bela Lugosi. Prior to this in 1920, Robert Wiene mesmerized audiences with his silent film: The Cabinet of Dr. Caligari, which depicted a killer in the guise of a sleeping-walking zombie.

Fast forward to the 80s and Romero set the gold standard in popular culture with his unique and oft imitated vision of the Undead as plodding lumbering cannibals.

Various Zombie incarnations have proliferated since. Though the source of Zombie plagues is often not divulged, zombie outbreaks often represent a decaying society, and are depicted as allegorical and cautionary tales. In a post apocalyptic world, corrupt governments, leaked mutant viruses, radioactive fallout and even supernatural occurrences frequently act as catalyst to any outbreak.

Zombie settings and genres are equally diverse. From outer space, to period drama, and movie musicals such as: Zombies On Broadway. From the brilliantly funny Zom-com: Shaun Of The Dead, to Zom-Rom-Com: Pride And Prejudice and Zombie, and the angst-ridden romance that is Warm Bodies. From the lumbering and kooky to the frenetic superfast avalanche of zombies in World War Z, and the grim and bloodthirsty mutants of Richard Matheson’s, I am Legend. How can we forget Danny Boyle’s provocative and intelligent reworking of a world gone to rack and ruin with its special brand of Rage-Zombies in 28 Days Later and its sequel: 28 Weeks Later.

From book, to comic strip, to video game, to movie and television, it seems our fascination and appetite for the Living Dead is insatiable.

So what makes a good Zombie script? Well, a fresh angle and originality is key. An audience wants to see something they haven’t seen before.

No easy task, but writer, Stephen Well’s short script Play Dead ticks all the boxes with his very cleverly crafted story.

We open on:

    A SKELETON sits propped up against a gas pump.

            MAN (V.O.)
In every city and every country
people died in record numbers. It was
a global pandemic. The end of mankind
as we knew it.

    Suddenly, the sound of FOOTSTEPS. Slow and listless.

            MAN (V.O.) (cont’d)
Then the darndest thing happened. The
dead started to rise.

    A SHADOW looms over the skeleton and a figure staggers into
    view… A ZOMBIE.

We meet: Trapper Hat, the protagonist and narrator of the piece. By his own admission Trapper’s a survivor, doing his best to blend in with the Undead around him. Its also clear Trapper Hat will do anything to survive. Through every word he utters it’s clear he’s capable and smart, but he’s also conceited, full of pride, and ruthless.

And yet…

            TRAPPER HAT (V.O.)
I shouldn’t have left them alone.

Trapper is also plagued by a guilty secret. A secret that could either redeem him, or could prove deadly.

    He rips the knife from the creature’s skull and uses it to
    open up its mid-section.

            TRAPPER HAT
I don’t need backup. I just do what it takes.

    He reaches in, takes two handfuls of blood and innards,
    smears them over his body and face. Gives himself a fresh
    coat of gore.

At this point the reader may well jump to the conclusion that this trope (above) seems a little familiar, but what happens next will shock and surprise you. From here on in this one definitely ain’t treading clichéd ground.

With its original storyline, visual writing and universal themes of love, loss, and betrayal, its multi-layered well drawn characters, and masterful twist, Play Dead is guaranteed to not only shock audiences but also bring a tear to the eye.

Play Dead was one of two Reader’s Choice picks in the April ’17 Apocalypse themed One Week challenge on Simply Scripts.

Filmmakers: We just know you’re dying to sink your teeth into this one and bite off all you can chew. You’d better move fast though, or you may well be left for dead.

Medium Budget: Depending on skills, but this one’s well worth it.
Exterior day-time shoot.
Three main characters: 40s male, mid 30s female, young lad of 14.
One motorcycle enthusiast.
Blood and gore FX, pyrotechnical skills would be handy, or use stock footage for one scene.
EXTRAS: A modest swarm of The Undead.

About the Writer:Hailing from Derbyshire, England, Stephen Wells is a graphic designer who has been writing for several years after first getting the screenwriting bug in 2009. He had a feature script optioned in 2013 and placed as a Quarter-Finalist in the 2014 Bluecat feature competition.

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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Lady Eva by Steven Clark

Part time reporter Tyler is about to have the interview of a lifetime.

Lady Eva’s life, that is…

A lady of the night who is just that: a lady.

Eva is a hooker. As a small-town prostitute, she is who the local faux-riche kids call when they’re looking for a good time. But tonight, she has a different kind of client.

Tyler is a part-time reporter for a local news magazine and is looking to do a story on the town’s thriving counter culture. During his first meeting though, Eva makes it clear that she is not some two-bit hustler looking to score fifty here and there. You see, she was once a member of the Lady’s Club, an elite escort service catering to the richest one percent. Trump? Naw, that was her friend, Cassie.

As the story develops Eva and Cassie introduce Tyler to the real counter culture, including coke, booze, and a particularly twisted situation involving a Speedo (and later lack thereof).

But behind it all, just who is Eva? Her trailer is littered with remnants of her formerly glam lifestyle. Particularly with souvenirs of a certain Sanderson (Sandy) Shore. The name sound familiar? Perhaps you’re read about the multi-millionaire in Forbes. It seems he and Eva have a special relationship, one that has survived the years and fates. As Tyler learns more about Eva, he learns just what a lady she is. Her story is definitely not what Tyler was expecting it to be.

Reporter driven narratives are all the rage today. This year alone, Spotlight, Truth, and Woman in Gold all used the reporter as an inquisitive tool into an otherwise difficult to access subject. Likewise, Lady Eva takes us by the hand and introduces us to a whole new world that was there all along. The script is set to be a prestige piece more Tangerine than Pretty Woman. Contemporary, relevant, and absolutely unflinching in its portrait of small-town prostitution while addressing larger issues of money, power, and the fall from grace.

So comb your hair, put on some cologne, you’ve got a date with a lady. Think you can handle her?

Budget: Medium. Don’t be intimidated by the page count, the locations are limited. Diner, trailer, house. A flashback to a Park Avenue party and (spoiler) a funeral scene can be done on the cheap, or used as opportunities to show off.

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: Dane Whipple is an attorney based in Hamburg, Germany. He has over 10 years experience with film and film theory and once got to kick-in a door for the German equivalent of CSI. He is currently writing that screenplay everybody keeps talking about: The Wild Age. Contact him at dane.whipple “AT” live.com

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A Jolly Encounter by Jason K. Allen

Two young hikers encounter a mysterious backpacker with a candy cane phone and a penchant for milk and cookies.

            NICK
How long have you had those boots,
Ted? Looks like they’ve seen
better days.

            TED
Well, it’s been about… Wait, how
do you know my name?

For many people, hiking is a paradoxical hobby – a chance to rest, yet keep fit at the same time. Undisturbed trails provide a calm backdrop for exercise… combined with walks of the meditative kind.

As Jason K. Allen’s A Jolly Encounter opens, two young ramblers – Ted and Melanie – are doing just that.

But their quiet hike through the great outdoors is soon interrupted: by an enigmatic man who calls himself “Nick”.

Nick? He looks odd at first glance. Yes, he owns a candy cane phone. And he’s got a sweet tooth for gingerbread men – even though he’s trying to lose weight.

And Nick’s other traits are strange as well. Somehow, he knows both Ted and Melanie’s names, though they’ve never met him before. As the strangers settle down and chat, the duo form an educated guess as to who “Nick” is. Not surprisingly, they’re ardent fans!

From there, a more serious discussion develops: one that stands the cinematic test of time. What moral virtues should Ted and Melanie cultivate in themselves? What’s Nick’s work in relation to human nature? Or to Nature itself? And that’s the aim of all great films – candy coating universal themes in entertainment, helping the “medicine” go down. There’s even an unexpected twist at the end… one that will fill your audience with delight.

Like Pixar did with its classics, Jolly can be seen from many sides. A gentle story to amuse kids, with an adult message at its nougat core.

Are you a comic director who likes satire? Chuckles with morals on the side? Then choose Jolly for a read. It’s got mass appeal, sharp dialogue… and if you end up being the good little boy or girl who brings it to the screen, you may find some gifts (like festival awards) under your Christmas tree!

Budget: Pretty low. All you need is the great outdoors, some even greater actors. Oh – and a nice red suit.

About the writer: Jason K. Allen is a writer and filmmaker from Nashville, Tennessee. His screenwriting credits include the short films 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. You can contact Jason at allen.jason.k (at) gmail. See IMDB for his complete credits.

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 @HamishP95.

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Heroes by Steven Clark

A father and son take a journey they were never supposed to make, on a day they’ll never forget.

I have a son. His name is Maxwell. I was unbelievably fortunate. I used to pick Maxwell up from school every day. No matter the “crisis” at work or the worldly event taking place, the earth was always spinning perfectly at 3:30 p.m.

When your child smiles up at you and grasps your hand like he’s been waiting for it all day, there’s no better feeling in life.

David Gonzales, a father in “Heroes“, is minutes away from that moment, sitting in his car in the elementary school parking lot. Just like other hum-drum day. So much so, David’s yawning into his cell phone.

            DAVID
Yeah. I’m here right now…
    (yawns)
No, I’m not gonna fall asleep… Oh,
don’t be silly. I’m not gonna forget
to pick up our son.

Then a man passes by in “dark clothes, black boots and a long bulky overcoat.” A fortuitous gust of wind opens the coat. “The muzzle of a rifle makes a brief but unmistakable appearance” and your stomach drops – as does the phone in David’s hand. He fumbles for the door handle; he’s going after the stranger. Absolutely whatever it takes.

A woman buzzes in at the front door, which stays open just long enough for the man in black to poke the muzzle through. He cracks open the door and lets himself in. The door remains open long enough for David to enter. But – tragically – he’s too late. The woman is crumpled on the floor; rivulets of blood everywhere. In other words: a parent’s worst nightmare.

Gun POPS ring out. Muffled screams down long corridors. David pounces on the gunman, and a struggle ensues. Wild punches. Bloody teeth clink on the floor. But the stranger’s still got the rifle. David reaches out for one last chance, then…POP.

David awakes in a “dark void,” a blurry alien-like form approaching. Soon, he recognizes the silhouette. It’s Leonard, his 6-year-old son.

            LEONARD
Hi, Daddy.

            DAVID
Hey, buddy. Oh, I missed you. I missed
you so much.

            LEONARD
I missed you, too.

The conversation that follows is priceless, one I would never spoil. You should read and experience this one yourself.

There may be some stories we never want to hear, but that doesn’t mean they shouldn’t be told.

“Heroes” may be one of them, but it will take a very brave director. One who has pulled into a school parking lot a thousand times. One who has navigated an on-rush of hundreds of children in a deafening hallway, looking for one smiling face. And one who knows there’s no better feeling in the world than a little hand holding yours so tight.

Give this script the proper treatment – and you’ll be a hero… yourself.

Budget: Not bad. One “school” location and a handful of actors.

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: Zack Zupke is a writer in Los Angeles. He can be contacted via email at zzupke “AT” yahoo

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Conference Call by Pete Barry

Jeremy’s management team had better resolve the problem fast – before it resolves them.

Zombies are everywhere. They’re eating our favorite characters on TV, dragging themselves across the pages of novels and comic books. In movies, they’re no longer just relegated to anonymous background performers, but are portrayed by known – and sought after – actors (see Warm Bodies and Life After Beth). In this raging media apocalypse, the biggest problem facing writers is doing something fresh and new with the genre – while still adhering to the tropes that zombie audiences know, cherish and (rottingly) love.

Starting innocently, Conference Call opens with an introduction to five staff members, attending a video conference. Office babble ensues, along with various departmental conflicts. Just another “work meeting” comedy. Right?

Until one of the employees has her brains eaten by the living dead.

One by one, each co-worker is attacked by zombies – in various gory, disgusting ways. As their colleagues become undead lunch, the remaining attendees remain unphased – focused on business at hand. Buzzwords fly as the survivors argue over the solution to their crisis… Should sharks be shipped in? Perhaps snakes? Or should they consult legal?

For anyone who’s ever suffered in an office environment, the absurdity of the situation is all too real. In corporate America, you either contribute to the team, or you’re dead. Through it’s 5 breezy pages, Conference Call takes that concept to a logical, humorous extreme.

Are you a director looking to make a zombie film – yet fear the inevitable cliches? Then grab Conference Call before it’s gone… a “biting satire” on corporate culture – and a loving homage to the genre.

Budget: Low to medium. There are five speaking parts, but the budgetary focus is on the numerous zombies. How much a filmmaker ends up spending ultimately depends on how all-out s/he goes with the zombie makeup and gore effects.

About the writer: Pete Barry is an award-winning screenwriter, playwright, actor, director and musician. His short plays have been published in numerous collections. He’s also a cofounder of the Porch Room, a film and theater production company, website available at PorchRoom.com. Please feel free to reach out to him with script requests at petebarry27 “AT” Hotmail.

About the reviewer: Zach Jansen is an award-winning and produced screenwriter from Saint Paul, Minnesota. He enjoys spending time with his kids, anything movies, and sitting at his desk pounding out his next script. If for some reason you want to learn more about him, you can check out his IMDb page or quasi-frequently updated blog.

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