Over on the Unproduced scripts page are nine scripts for your reading pleasure. And check out the Halloween OWC’s Writers’ Choice (and who wrote what)

TEARS IN HEAVEN
6 page short drama in pdf format
by Matthew Taylor

Sometimes anguish is too much to bear.

Would you know my name, if I saw you in heaven? Fans of Eric Clapton certainly recognize the iconic, haunting lines from his hit song Tears In Heaven. Lines that also serve as the inspiration for Matthew Taylor’s emotional short, dealing with the same issue that led Clapton to write the original: a father’s lament at the loss of his son. “I want their heartstrings tugged so hard that their eyes leak. But most of all I want the audience to relate to it,” said Taylor. “I don’t think there are many people on the planet who haven’t lost someone close to them and battled with thoughts of an afterlife, so I’m hoping everyone can connect with it in some way.”

Written as part of SimplyScript’s One Week Challenge series, themed around an inspirational song, Tears In Heaven, the short, uses only 6 pages to weave a deeply moving tale of grief. Despite the challenge-limited page count, Taylor takes his time with the setup, establishing an otherworldly tone from the start as a character simply named KEEPER, dressed in white, guards a village hall:

Like a statue, Keeper watches the horizon until something grabs his attention, he leans forward for a better look at…

RICHARD (27) dashing towards him in a black suit and tie.

Richard nears the hall when Keeper glides preternaturally towards him and blocks his path.

                  KEEPER
             How did you get here?

Richard quickly changes course and walks around him, heads for the hall—

–Keeper appears in front of him again. Richard stops.

                  KEEPER
             You shouldn’t be here.

Richard wants inside the hall—NEEDS inside the hall—but Keeper has a job to do. 

                  KEEPER
             Forbidden.

Richard’s agony is evident, and Keeper not without heart.

                  KEEPER
             How did you get here?

Keeper looks down. A steady flow of blood trickles from under Richard’s sleeve, drips from his fingertips.

Keeper closes his eyes, pain etched on his face. He opens them, a tear trickles down his cheek.

He steps aside, gestures for Richard to go ahead.

Inside the hall, we discover the source of Richard’s pain, and how he’s forced to confront the reality: He can’t stay here, no matter his desire. The scenes and visuals that follow are powerful as Taylor expertly spins his story. “I didn’t want to write a script about the story that inspired the song, but wanted to convey the sorrow/torment (also acceptance) that lies in Clapton’s masterful lyrics. On a personal level, and I’m sure it is the same for most parents, but the thought of losing a child is my biggest fear, which is why the song hits so hard whenever I hear it, and I wanted to manifest that fear into the script.”

It’s not an overtly religious script, but Taylor explains that there are religious underpinnings. “I tried to include some biblical elements. Such as Richard’s black clothes in contrast to Keeper’s white (suffering, death, and sin Vs purity and forgiveness)” Taylor adds, “Isaiah 1:18 ‘Though your sins are like scarlet, they shall be as white as snow.’ was another contrast I liked, with the dripping blood against the Keeper’s white clothes to symbolize forgiveness.”

You’ll have to read the script to see how masterfully Taylor wraps the story, but a clue can be found in one more biblical reference. “The end was inspired by the verse: Psalm 30:11. ‘You have taken away my clothes of mourning and clothed me with joy.’”

It’s a gut punch of an ending that will leave you smiling through tears.

Production Notes: Tears In Heaven is a challenging, yet, relatively modest short to produce, with a small cast, including several extras and one child actor, aged 4.

Locations: As described, the script opens outside a “Village Hall” situated in the middle of a vast field. The interior Village Hall shots intentionally don’t match the exteriors: a large child’s birthday party (generic enough for shooting simplicity.) The remaining location is a church interior, set up for a child’s funeral.

Read the Script and talk about it on the Discussion Board

About the Writer: Matthew Taylor is an amateur screenwriter trying to bring interesting stories and characters to the world. His focus is mainly on Sci-fi and fantastical stories, usually with some dark undertones. He has sold a few short scripts with a couple of productions and is now looking to move on to features and pilots.

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

Over on the Unproduced scripts page are nine original scripts for your reading pleasure.

And, the Halloween One Week Challenge is on! Scripts due Friday the 20th at midnight (edt).

– Don

The Halloween One Week Challenge has begun

*photo credit PH Cook

Over on the Unproduced Scripts page are twelve original scripts for your reading pleasure.

– Don

Over on the Unproduced Scripts page are seventeen original scripts for your reading pleasure.

– Don

Over on the Original, Unproduced Scripts page the writers of the September One Week Challenge are revealed and the Writers’ Choice is announced.

– Don

Stolen property. Revenge. A hit man. Screenwriter Colin Sharp’s latest short has all the makings of a suspense-filled thriller. Only… well, that title: Dracul-Stein. It’s absurd, right? And, that’s just what Sharp delivers with this hilarious, most-definitely absurd comedy.

Sharp takes his time setting up his world—a world where perhaps the worst script in the history of movie-making has just taken the Oscar. How can this be? Everyone wants to know. (Sharp hints, but never answers the question—is it because of the writer’s strike?)

One problem: Mikey Lewis believes the script, HIS script, Dracul-Stein, was stolen—from the original idea down to FADE OUT, and he’s definitely NOT happy about it. He’s determined. The Oscar-winning thief, Billy Villin, needs to pay for his misdeed.

So, Mikey does what any angry screenwriter would do. He hires a hit man. (Well, maybe not ANY screenwriter.) It’s here that we meet Shivers—shady, smartly dressed, and, of course, Italian.

            MIKEY
Shivers?

Yes. Stipulations. And, this stipulation is a doozy—one that’s responsible for a laugh-filled race to the finish: for Mikey to get full revenge, Shivers must complete the hit dressed as Dracul-Stein, the half-Dracula, half-Frankenstein character from the stolen script.

It’s here that Sharp’s script really takes off, with visuals that—well, I won’t spoil the finish, except to say, Sharp has you torn between laughter and empathy as poor Shivers, the most sympathetic hit man you’ll ever meet attempts to do the deed, in full costume, while reading provided lines, mere feet from Billy’s swimming pool.

Dracul-Stein is 10 pages of fun, the perfect project for a time when audiences are looking for an escape from a world seemingly on fire. It’s an easy shoot, relatively inexpensive, with a small cast, few locations and just enough small challenges to make it interesting. And, bonus, there’s simply no way you can’t have fun bringing poor Shivers to life.

Production Notes: Script includes light gunplay.

Locations: (residential interior, bar, street, exterior residential w/ pool, police interview room) could be shot as is, or minimized for simplified shooting.

Dream sequence includes audience shots (could be stock.)

Character costumes – easy to find or DIY.

Small cast. Additional Actor/Extras.

Read the Script and talk about it on the Discussion Board

*Dracul-Stein debuted as an entry in the August 2023 One Week Writer’s Challenge here on SimplyScripts.

About the Writer: Colin Sharp is an aspiring screenwriter whose lifelong love of film led him on to the road to writing his own stories. Whilst a fan of all genres of film, Colin primarily enjoys writing comedic tales but is also a sucker for romance and anything that will “scare the bejesus out of him.”

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

Find more scripts available for production

*This is not in the public domain. You must reach out to the screenwriter for permission to film. This screenplay may not be used or reproduced for any purpose including educational purposes without the expressed written permission of the author.

Over on the Unproduced Scripts page are fifteen original works for your reading pleasure.

– Don