STS is thrilled to announce that Gary Howell’s creepy little script, Roadside Attraction, has now been optioned! Jeremy Gleason from Jackson, TN will be directing. Shooting expected to begin this summer, with the final film unveiled in winter 2015. We’ll keep you apprised as to new developments!

About the writer: Gary Howell is an attorney who has been writing as a hobby for years.  His short “The Family Man,” which was posted on Simply Scripts last year, led to a connection with an Australian film director. The two collaborated on a feature film, “Broad Daylight,” for Arclight Pictures, which is currently in development.  He is finishing a new draft of a comedy, “Backstage Pass,” with Mark Moore, which he hopes to market shortly so that he can pay for his daughter’s wedding.  Gary can be reached at garymhowell AT gmail.com.

The Deuce

An elevator and two guys on their way up. What can go down?

We’ve all been there. A hundred times, some of us more than a thousand. It’s the world’s most uncomfortable space. Some are boxy, most rectangular. Fans, no fans. Carpeted or tiled. Mirrored or paneled. But always stuffy, cramped and slower than slow is: the infamous elevator ride.

I recently (true story alert) took a ride in my office building all the way from the penthouse to the ground floor. One floor down, six people shuffled in – one holding a newly-peeled banana, which she consumed as we descended. Ever peel a banana in a closet? With 10 other people present? Not an ideal situation for the senses. And that’s putting it mildly.

The situation is similarly far from appealing (pun alert) for Dominic Barry’s elevator ride in R. E. McManus’ “The Deuce,” a riveting and witty 10-page journey starting with:

“The sound of a body being dragged over concrete.”

The body is Dom’s and the draggers are Joey, 22-year-old scowler, and his pal Chrissy, “The type who could chew a toothpick without looking stupid.” Chrissy’s the brains of the operation, the sole purpose of which is: deliver Dom to the eighty-eighth floor.

Problem is, Dom’s not awake and Joey and Chrissy (think distant, but equally witty, cousins of Jules Winnfield and Vincent Vega) differ on the importance of his consciousness.

                        JOEY
Maybe I should wake him up.

CHRISSY
You can ravish him for all I care.

Joey looks disgusted.

JOEY
There’s no need to be so, so base.

There’s a “ding” as floor number 40 unexpectedly lights up. Chrissy pulls Joey tight to shield Dom as the doors open. Nothing. It’s a misfire in the mechanics. Doors close, and they resume ascending… just as poor Dom stirs. Joey and Chrissy pull out their silencers, an act which fails to silence Dom. He demands to know how he’s found himself bruised and battered in a dressing gown, plastic cable ties around his hands and feet.

“You’re David Barry and we’re taking you to John Feltz,” they tell him. Duh.

“I’m Dominic Barry and who is John Feltz?” Dom replies.

So the elevator rises, along with everyone’s blood pressure. Who is John Feltz? Is Dom really Dom, not David? Or is he just lying to stay alive? What will Feltz do if they deliver the wrong man? And why is the elevator stopping on the wrong floor yet again, this time on 70? Will all three men make it to the top?

You’ll be floored when you read the entirety of “The Deuce,” a suspenseful ride filled with exceptional dialogue. It’s an excellent opportunity for the right director and capable actors. Interest in this gem is sure to be…going up.

Pages: 10

Budget: Minimal. Find a mate who works in an office building to let you in for a day on the weekend. Just make sure his last name’s not Feltz.

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

About the writer: R.E. McManus was born in England, of Irish roots. Hence he was always a little confused. He has since travelled the globe, and noted what he saw on his travels. He’s been writing since he could pick up a pen. The fact they were IOUs is neither here nor there.

He fell in love with film when he first saw 2001: A Space Odyssey at the age of six. Although he’s still not sure about the spelling of Odyssey. It’s still looks wrong,

He loves Fincher, Hitchcock and Kubrick. And Faith No More. And Elvis. He even has a dog named after him. This seemed like a good idea until he went to the park.

Want more information? (Just say yes – you know you do!) Then head over to his website at http://rendevous.yolasite.com. Or email him directly at redarcy2000 “AT” yahoo.co.uk

READ THIS 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.

 

 

FAIRYTALE

A divorcing couple argue about his infidelity on the way to see their lawyers, they find something unexpected along the way and have twenty two floors to reflect.

Cast your mind back to your childhood – to a more innocent time when you believed in Fairy Tales – to Cinderella, the perfect fit of that glass slipper, to Sleeping Beauty awoken from her one-hundred year sleep. To Snow White trapped in her crystal coffin. Now picture: Prince Charming, coming to our fair maiden’s rescue – he leans in to plant a kiss upon her lips, then sweeps her off her feet.

Cue swelling music  –

And, they lived happily ever after.

Okay, now come back down to earth because…
Everybody knows the perfect fairytale ending is just the beginning of the story.

Why? Because: the course of true love never did run smooth.

Enter Mark and Davina Grearson. Location – the lobby of a high-rise office block. Judging by the scowls and sullen looks on their faces their relationship is anything but smooth sailing. In fact, if these two had theme tunes they’d be running in a continuous loop – Chris Isaaks crooning ‘Baby Did a Bad, Bad Thing’, and Tammy Wynette belting out her ‘Divorce’ anthem.

Because Mark did indeed do a bad, bad thing, and Davina’s sent him to the dog house. Their marriage has hit the skids and it ain’t pretty. No conscious uncoupling for these two.

‘Fairytale’ writer, Anthony Cawood, pulls no punches with the realism of his two leads. He decides the best thing to do with these two ex-love-birds is let ‘em blow off a little steam. What better way then but to lock ‘em up in a claustrophobic, sweat inducing, steel box we commonly call an elevator-car. Then stand back and see what happens.

After all Davina’s got a few home-truths she wants Mark to hear, and Mark – well, for now he’s just going to have to stand back and weather the storm.

So ensues some good old fashioned sparring via some cracking dialogue. A perfect blend of verbal thrust and parry combined with a healthy dose of double entendre. Think thirties and forties stars, Tracy and Hepburn, Gable and Lombard, Bogart and Bacall.

MARK
Fancy seeing you here.

DAVINA
We wouldn’t be here if you’d kept it zipped.

MARK
Wow, how long’d that take, five seconds?

DAVINA
Is that what she said?

Ouch! Davina – one. Mark – nil.

Oh dear. It looks like the twenty-second floor, also known as the ‘divorce floor’ is really the end of the line for these two? Or is it …?

Just when you think you know where this story’s going, writer Anthony Cawood casts a spell of a different kind, opening a door into another realm of divine intervention.

Something is about to happen inside this elevator-car that neither Davina nor Mark could ever have possibly imagined, something that defies logic –  something that might just remind both of them that magic does exist, and maybe, just maybe, they might remember why they fell in love in the first place.

Want to create a little on-screen magic of your own? Filmmakers, sprinkle your own brand of fairy dust and this one could be a true work of art.

Pages: 10

Budget: Pretty small. An elevator is about it. And perhaps a dash of fairy dust…

About the reviewer: Libby Chambers has been writing all her life. Over her career, she’s worked in the Features Department for ABC TV as a Program Assistant, trained as a FAD, and served professionally as a freelance web-content editor and proofreader. She lives with her husband (also a screenwriter) in Sydney, Australia, and describes him as being both a good and a bad influence on her writing. You can contact Libby at libbych “AT” hotmail

About the writer: 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 www.anthonycawood.co.uk.

 READ THIS 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.

Back in November, STS was thrilled to announce the optioning of Lee O’Connor’s short, The Brightest Star.

And today, we’re honored to be able to help unveil the finished product. Directed by Grant Pollard, TBS will be hitting the festival circuit – including TMFF and the Apex film festival in Minnesota (and that’s just for starters!)

In the meantime, the full film is available for your viewing pleasure here: https://vimeo.com/129374340. Congratulations again to Lee, for a job well done!

About the writer, Lee O’Connor:

I am a writer from the UK for the screen and theatre. I have written several shorts which are in various stages of production. I am currently in the process of writing a feature film which will be shot in L.A early next year. Alongside that, I am in the process of working on two feature films which the genre and subject will remain a mystery.

I like to tackle subject matters that will pull on the heart strings, educate and open a your eyes. Although these genres are at the opposite ends of the spectrum I predominately write drama and sci-fi. I believe you write with what you know, so be yourself and don’t try to mimic another film or script you have read, create your own voice. I am reachable via email: lee.a.oconnor “AT” gmail

“INSOMNIAC”
A late night talk jock gets an unsettling caller.

Hollywood and its inhabitants live in a crazy paradox. In one breath, they claim originality to be extinct. Yet they pan for it… daily. Then, when a true nugget of uniqueness is found, it’s immediately turned into a movie dating game:

“Think of it as Superman meets Super Fly!”

The Godfather – meets George Burn’s Oh, God!

Mary Poppins Meets Mary Jane!”

(I think that last one actually happened. At least my hallucination-induced penguins say so.)

And David Troop’s hauntingly clever Insomniac could certainly be pitched in those terms. It’s “Play Misty for Me” meets “Se7en.” Now there’s an easy elevator sell. But I’d rather call it… screenplay gold!

Like many an evil tale, Insomniac begins at the edge of night. Late night talk show host Dave Burrows burns the late night oil in Philly – catering to listeners who’d rather not be listening, but have tuned in for multiple sorry reasons: “My husband snores.” “You catch the Eagles game, Dave?” In other words, they’re insomniacs. Sleep’s a distant memory.

But Dave’s rapport with his listeners soothes their woes… well, mostly. Treating each anonymous caller as a long-lost friend, his delivery is warm and glib. Especially when he gets a ring from “The Caller”, who tells him – “I’m having this nightmare. But I’m awake.” The Caller worries out loud that he’s gone crazy.

“No. Actually it sounds like my first marriage,” quips a weary Dave. “Get out and take a walk. Clear your head.” Spot on advice. Or so it seems.

Two weeks later, the “Caller” resurfaces. This time it’s to thank Dave for his sage advice. The Caller’s enjoyed his new practice of walking at night. Especially that time he met a freshman girl. “She looked young. Almost too young to be in college…”

The Caller trails off, his voice sinister. And Dave snaps instantly awake. Both he – and the reader – know immediately when this story’s heading. Details of a butterfly shaped toe ring. A foot tied to a bed. Muffled screams. And a bedpost slamming against a wall. Helpless to do anything, Dave (and his technicians) take the horrifying sounds in.

But ultimately – is it just a prank? A sleep-deprived man’s sick idea of humor? Or is the Caller horrifyingly real – leaving a mysterious trail of terror, wafting over the city like scattered radio waves? You’ll have to read Insomniac to find out. Inspiringly original, it’s a throwback to the golden age of terror and suspense. A case of “clever” meets “terrifying.”

Budget/casting: Locations minimal. A rented sound booth would be great, but any office setting will suffice. An apartment and a toe ring. Four actors…and a foot. Also, I immediately heard Kevin Spacey as the Caller. If you can get him, give HIM a call. Immediately!

About the guest reviewer: An accomplished writer as well, Zack Zupke lives in Los Angeles. He can be contacted via email at zzupke “AT” yahoo

About the writer: David M Troop has been writing since he could hold a No. 2 pencil.  He’s a contributor and award winner on websites such as MoviePoet.com, WriterArena.com, and this here one.

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.

 

Jessup

After an outburst at work, a young man obsessed with control is ordered to see a therapist, who might just be as equally manipulative as he is.

Warning – Adult Material

As screenwriters, we’re constantly told to “show, don’t tell”. And that talking heads should be avoided like the plague.

Well, someone also once said that “rules were made to be broken.” Mark Lyon’s Jessup does that – in spades. It’s a script with just two characters. A verbal fencing match, across a desk.

And it’s that dialogue which makes these one worthy. As uncomfortable and disquieting as it may be.

Meet twenty-something Jessup: malcontent extraordinaire. He’s been a disruptive influence at his workplace. But he’s got talent worth retaining. Thanks to that one saving quality, Jessup earns himself a trip to the company psychologist – instead of the unemployment line.

An experienced head-shrinker,  Ronald Simplot’s a piece of work himself. In his forties, he’s seen it all – and Jessup’s manipulative tricks are an open page. As the conversation between the two morphs from pleasantries to battle, Simplot lays it all on the line. Jessup’s a whiny little brat. One that deserves a major spanking. His career may force him to talk to losers like Jessup… but there’s no reason he can’t tell it like it is. He laces into the youngster; refusing Jessup’s request for a “psychological break.” And he tells the boy just what he thinks of him – revealing a surprisingly sadistic side…

But battles of wits are fluid. And how quickly tables can  turn. Who will win in this fight? Doctor or Patient? And who are we rooting for, anyway?

If you like your stories with multiple shades of gray, then Jessup is ideal. Crackling dialogue imbued with tension. A subversive power struggle – and an unexpected plot twist. Give this one a read. Unless you have delicate sensibilities!

Pages: 10

Budget: Pretty cheap to film: limited locations and a cast of two.

About the guest reviewer, 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 www.anthonycawood.co.uk.

About the writer: Mark Lyons is a screenwriter from Youngstown, Ohio. He’s written several scripts, most notably ‘Best Film’ award winner “God’s Empty Acre”, which was filmed as ‘Girl(s)’, at the 2013 Winter Shorts Film Festival and Best Drama at the 2013 World Independent Film Expo. He has also written the feature “Thistles” which was a Quarter-Finalist in the 2013 Bluecat Screenwriting Competition and the short “Ginger” which was a Finalist at the 2013 Shriekfest Film Festival. He can be reached at markielyons “AT” yahoo

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 Lake

A man relives haunting memories when he visits a cabin where he spent his summers as a teen.

Tragic love stories… when it comes to drama, they’ve been a staple for eternity.  West Side Story. Rent. Miss Saigon. The Notebook and The Fault in Our Stars. Shakespeare used the theme constantly.  Which is far from surprising.  Doomed romance is a universal human experience.  Throw in a triangle and the trifecta’s complete. Love. Jealousy. And loss.

Like many tragic love stories, The Lake is a simple heartfelt tale; told over a series of years.  Three children meet over the summer – their families renting nearby cabins along a lake.  Little Laura, and twin brothers Jack and Matt; a trio of ten year olds enjoying life and having the time of their young lives.  There’s instant chemistry between the boys and Laura. An innocent – but undeniable – spark.

Which blossoms as they reach their teens.  Soon, Laura will choose a suitor.  But what of the brother left behind?  As Shakespeare’s Romeo and Juliet historically learned, teen romances rarely end well.  For the loser OR the victor…

Drama directors, take heed: A sad psalm to love, loss and regret, The Lake may be a simple tale. But it’s got one heck of an emotional punch.

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

Pages: 6

Budget: Relatively low.  Three terrific actors (and their child counterparts) are all you need for cast.  As for the location? A cabin, woods. And, of course, a lake.

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.