The Changer – Short Script Review (Available for Production)

The Changer

Two bickering police detectives must find a way to capture the world’s most elusive criminal.

Some stories are tons of fun. Isn’t that what we go to movies for?

Angst, terror and philosophical symbolism isn’t needed for every film we see. Sometimes simple is the best. “Entertainment for the sake of entertainment” is a spectacular experience when done right. Especially when the jokes are primed to fly.

In his latest short The Changer, master storyteller David Troop makes a fun story live and breathe; resulting in chuckles galore!

Yet, for cops Kennedy and Harris, the events of The Changer are pure business. As often happens with film law enforcement types, these partners are different as two guys could be:

Kennedy’s a Caucasian veteran cop in his 40s – lacking any form of fashion sense. Of course, film-logic requires him paired with African-American Officer Harris. Ten years Kennedy’s junior, Harris is a “poster boy for Reebok.” Together, the two are on the job, seeking a mysterious master-of-disguise known simply as, “The Changer.

Tense and bickering from Page One, the couple track “the dude” to urban apartment 4D. With police badges on display, they bust down the door – only to find screaming hooker Petunia inside. Encouraged by the officer’s raised guns, Petunia points to the bathroom. Harris searches the area quickly, yet finds only – a cat inside.

Harris shrugs, turns his back. Allowing the Bizarre “Changer” to make his escape. Out the open bathroom window – down a rusty fire escape. Pretty soon, the chase is on (ala the Grand Budapest Hotel!

In hot pursuit of a “tall figure in a trench coat”, the partners race through alleys, down gritty streets. Eventually, Harris corners the perp. (Kennedy joins the chase somewhat late… having stopped to “question” the hooker privately!). But soon, Kennedy and Harris have their man…

Still – given The Changer’s “special set of skills”, the question is… Do they have him cornered?

Really?

Tongue planted firmly in cheek, TC is a fun – and very funny – ride.

Think movies like Ghostbusters, Back to the Future, Police Academy, Naked Gun or Groundhog Day. If you’re a director who loves goofy comedy, then TC is your blockbuster. Set your humor on stun. And pull the cinematic wool over your audience’s tears-of-laughter-filled eyes!

Pages: 9

Budget: Relatively low. Three talented male character actors (with good comedic timing) are required for the main roles. Plus a handful of extras. Settings include: Apartment interior rooms, stairway, streets, and an alley – all of which are easy to stage.

About the Reviewer: California über reader/reviewer KP Mackie is working on a historical feature.

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:

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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.

 

 

San Diego Impala Cholas – Short Script Review (Available for Production)

San Diego Impala Cholas

All they wanted to do was sell a gun. But things don’t always go as planned.

The great thing about revenge stories is that they mess with what we like to think about right and wrong. Do the ends justify the means? And, when it’s a woman taking justice into her own hands, even murderers gain our sympathies. From Lipstick to the likes of Volver, The Brave One, Kill Bill, and The Girl with the Dragon Tattoo, we love stories where strong women match evil with evil…especially when justice prevails.

Meet Babyface, Prima and Whisper: three low-riding, gun-toting, social critic gangsters.   CJ Walley’s San Diego Impala Cholas opens with the three in their Impala, driving to meet a woman who needs a gun. When the gangsters encounter their prospective buyer Lola, they are filled with scorn that quickly turns to mistrust. But Lola has a secret. And, once the Cholas discover the truth, they devise a plan of their own.

What coulda, shoulda been a simple transaction with a gun gets complicated – quickly. Compassion, politics and a shared anger over the injustices women face jumps directly in the way.

Thanks to C.J. Walley’s unique style, the dialogue for Cholas really pops, filled with slang from gangster culture and exchanges that his female characters feel alive. These women – as depicted – are for real and scorn those who don’t walk the talk. As Prima explicitly declares: “Personas dressin’ up like gangsters and, you know, gettin’ ink, because, what? They like the style?”

Fans of C.J. Walley won’t be surprised – Cholas’ chalk full of captivating dialogue… as well as a masterful exploration into what motivates his characters. Including violent, gritty action. Make room Lisbeth Salander and Beatrix Kiddo, here come the Cholas! Everyone make room for the ride!

Pages: 7

Budget: Low to medium –will need a Chevy Impala.

About the reviewer: Julia Cottle is a cultural anthropologist living in Chicago. She has worked for years as a university instructor and researcher for organizations committed to social justice. She recently has begun to work on two screenplays.

About the writer: CJ Walley began writing in 2012 and I’m pleased to say it’s been very exciting so far. I have been fortunate enough to have a short produced by a director in London and Amazon Studios have spotlighted one of my features as a notable project. My scripts place within the top 10% of various major screenwriting competitions and, as I continue to write specs, I am remotely collaborating with a producer in LA on a comedy series, working with a director in New Orleans on a thriller, and blogging for Stage 32. I’m here to do two things, work hard and make friends. My writing has a down and dirty tone, deep emotion, gritty action, wry humor, and features strong female leads. If you’re an aspiring filmmaker, then I’d love to join forces with you whatever the scale, do not hesitate to reach out and drop me a line. (CJ “AT” CJwalley DOT COM; http://www.cjwalley.com

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

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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.

Family Man – Short Script Review (Available for Production)

Family Man

Before a member of a mob family can be named the new Capo, he has to take care of an unpleasant task to prove his loyalty to the family.

Mob movies are an interesting subculture… one which has spawned some – well, really seriously good sh*t.   Seriously: The GodfatherScarfacePulp Fiction. Reservoir DogsThe Sopranos.  The list goes on.  When done right, the genre seems to create some of the best quotes in film history, and some of the most memorable characters.  But since it’s been done so many times, how can a mob script find fresh material?

Family Man manages to pull it off.  Starting in familiar territory, FM fades in on Johnny Parisi, a loyal mob soldier that’s been handpicked as the new Capo.  You see, Frankie – the older Capo – doublecrossed the boss. As a result, they’re still scraping Frankie (and his dog) off his lawn. The thing is – Boss Lombardo doesn’t want a repeat performance.  So he’s testing Johnny first.  Before he gets his promotion, Johnny’ll have to take care of Frankie’s accomplice.  But when Parisi finds out who that is, all his plans go to hell.  Who’s the rat? And will Johnny pull the trigger? Or end up on the wrong end of Lombardo’s wrath?

If you wanna find out, you’re gonna have to open this script yourself. ‘Cause I ain’t gonna be the one to spill the beans…

About the writer: Gary Howell is an attorney who has been writing as a hobby for years, and his short “The Family Man,” led to a connection with an Australian film director. The two collaborated on a feature film, “Broad Daylight,” which is currently in pre-production, with filming to begin in New Orleans in July. He is currently working on two new features.

Pages: 10

Budget: Moderate.  This isn’t a Tarantino script – you won’t blow your budget on squibs.  But there are a moderate number of locations (both exterior and interior) and a healthy number of characters.  But the settings are pretty flexible; this could be shot most anywhere.

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

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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.

 

Dixie Gash Bandits – Short Script Review (Available for Production)

“Dixie Gash Bandits”

When they stop to fix their get-a-way vehicle, two runaway sisters must tackle both love at first sight and the bounty hunters hot on their tail.

I believe Mr. Torrance said it best when he tapped: “All work and no play makes Jack a dull boy.” Pulling for good to triumph over evil is human nature. Rooting for and wanting to be the bad guys once in awhile – it’s just fun. Especially when they’re on the run.

Butch and Sundance riding from state to state. Bonnie and Clyde driving from bank to bank. Thelma and Louise flying in their T-Bird to a better life. We all have an inner want to be the one pushing the pedal to the floor, thumbing authority as we streak down the highway.

In the opening scene of CJ Walley’s “Dixie Gash Bandits,” a Mustang blazes down said highway through the night and we know we’re in for a helluva ride. The car is being pushed to the limit by Savannah, whose sister Ginger implores her to ease up on the gas and give their stallion a break. No way Savannah’s giving in. And no way these women are going back or stopping for whatever’s chasing.

The stage is set for the entire story in less than half a page. Brilliant.

GINGER

You’re pushin’ too hard.

SAVANNAH

Baby, you run fast enough for long

enough, people have to stop chasin’.

GINGER

Yeah, and if you run too fast or push too hard,

you crash and burn. You’re burnin’ us up.

They’re running on empty and troubles a comin’. Savannah spots a lonely and much-needed gas station “with small store and a rusting hut workshop” and pulls the tired ‘Stang into its lot. Is this gas station an oasis or their final resting place? Or neither?

A mechanic, Bobby, saunters out. He stares a little too long at Savannah. Instant connection.

BOBBY

What can I do you for?

 The Mustang hisses, steam erupts, a definite foreshadowing of the steam to come after Savannah admits “we got cash flow problems.” Soon after, she and Bobby crash as one into the workshop, kissing, groping and unbuttoning.

Not too far off in the horizon, relentless and ruthless bounty hunters Colt (what an awesome name for a “suited and booted” good old boy) and Jessie are hot on the sisters’ trail, questioning a man about Savannah and Ginger’s whereabouts when…BANG! Question time is over. Man slumps.

COLT

Now that was an overreaction.

JESSIE

No, that was a waste of time. Now

what? I’m getting impatient.

 You won’t lose patience racing through the rest of this tightly-woven tale as Jessie and Colt catch up to the runaways at their gas station. The story ends with multiple bangs as all five characters find themselves in a bloody shootout leaving just two survivors.

Do Savannah and Ginger go down in a blaze of glory a la Butch and Sundance? Do they go out on their own terms like Thelma and Louise? Or, do they write their own classic ending? I’m guessing you know which and you also know this superbly-written story will find a director faster then you can type “All work and no play….”

Pages: 8

Budget: Find a kick-ass Mustang and a rusty old gas station and call ‘er a day, partner.

About the reviewer: Zack Zupke is a writer in Los Angeles. Zack was a latch-key kid (insert “awww” here) whose best friend was a 19-inch color television (horrific, he knows). His early education (1st grade on) included watching countless hours of shows like “M*A*S*H,” “Star Trek” and “The Odd Couple” and movies like “The Godfather,” “Rocky” and “Annie Hall.” Flash forward to present day and his short “The Confession” was recently produced by Trident Technical College in Charleston, SC. He’s currently working on a futuristic hitman thriller with a partner and refining a dramedy pilot perfect for the likes of FX. You can reach Zack at zzupke “at” yahoo.

About the writer, C.J. Walley: I began writing in 2012 and I’m pleased to say it’s been very exciting so far. I have been fortunate enough to have a short produced by a director in London and Amazon Studios have spotlighted one of my features as a notable project. My scripts place within the top 10% of various major screenwriting competitions and, as I continue to write new specs, I am remotely collaborating with a producers, directors, and actors in LA, NYC, New Orleans, Atlanta, Washington DC, Zurich, Amsterdam, Sydney, and Dallas while occasionally blogging for Stage 32.  If you’re an aspiring filmmaker, then I’d love to join forces with you whatever the scale, do not hesitate to reach out and drop me a line. (CJ “AT” CJwalley DOT COM; http://www.cjwalley.com

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

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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 End in Sight – Short Script Review (Available for Production)

The End in Sight

A hired killer tries to finish one last job before going blind.

A bad guy with a soft spot – looking to do something right after a lifetime of mistakes…  What the heck is it about characters like this that captures the imagination?  Because they do. Every time.  They’re just so… more interesting than vanilla good guys. Screw Mark Hamill.  I’ll take Han Solo any day.  (And admit it…you would too.)  Hit men especially.  Watch the Professional or In Bruges, and dare to disagree.

The End in Sight is a short script that “hits” that exact note perfectly.  Enter Hugo – the consummate hit man.  He’s killed efficiently all his life. Now – unfortunately – he’s going blind.  Which, one could imagine, is really bad ju-ju for a man who relies on visual acuity…

Hugo’s trying to finish one last job before he retires: kill a gangster, and return a wayward prostitute, Winter, to a rival pimp named Skarda.  Needless to say – things get emotionally complicated and go horribly wrong.  Given the setup, this could have been a cliche script.  But The End in Sight does things right; pulling out twists and character beats that make the whole trip worthwhile. So if crime and thrillers are your forte, crack this one open. It’s got a killer ending…

About the writer: Breanne Mattson is no stranger to accolades.  Her feature lengths have made Nicholl Quarterfinalist three times (yeah, that’s three times, beeyotch!) She’s also made semi-finalist in Bluecat, Final Draft and honorable mention in TrackingB.  She’s also received a “worth the read” from Scriptshadow.  Her website can be viewed at www.breannemattson.com (IMDB credits here.)

Pages: 35

Budget: Okay. This one’s no “newbie” script.  Thirty five pages long, it features plenty o’ squibs and bullet hits,  stunt car driving, and both inside and outside locations.  But in experienced hands, this script could be amazing.

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

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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.

 

El Paso Loco Luchadoras – Short Script Review

El Paso Loco Luchadoras

When they impersonate a notorious female gang during a convenience store robbery, two wannabe crooks must face-off with the very legends they are trying to imitate.

When it comes to the world of professional Mexican wrestling, the question burns:

Real? Or fake?

Fans of that star struck industry love their entertainment – and their guilty pleasures. Known far and wide for their extravagant characters and costumes, professional wrestlers fascinate viewers with their physical prowess – and their theatrical performances as well.

In recent decades, Mexican wrestlers- Luchadores– have extended the dramatic quality of the sport to great heights. The most notable example was Super Barrio’s run for U.S. president in 1996, when he held mock rallies in the United States and Mexico. The Luchador’s persona became a real-life superhero candidate – complete with a genuine platform, and campaign.

In his pivotal crime-comedy El Paso Loco Luchadoras, CJ Walley celebrates the power of such larger than life identities… replete with a female centric Pulp Fiction bent.

The protagonists of our story: Felix and Maria. Down and desperate for cash, we meet the two young women as they set out to rob a store. Rank amateurs in the world of crime, the two impersonate a gang of female wrestler thieves – a notorious band of bandits known as Los Locas Luchadoras. But when the real Luchadora’s show up, the duo’s fumbling plans are doomed to fail. Stitched together by CJ Walley’s masterful narrative skills, El Paso evolves into a dance of identity and role reversals; girrrrrl power  chemistry and comedy melt into Walley’s subtle story-telling blend – leaving the audience in stitches!

Are you a fan of Quentin Tarantino? And what about comic crime narrative – imbued with feminist poetic justice? Than grab onto El Paso with a flying headlock. Don’t let this dramatic gem slip away!

Number of Pages: 7

Budget: Low to medium. The main cost will be the luchadora costumes for 6 actors.

About the reviewer: Julia Cottle is a cultural anthropologist living in Chicago. She has worked for years as a university instructor and researcher for organizations committed to social justice. She recently has begun work on two screenplays.

About the writer: I began writing in 2012 and I’m pleased to say it’s been very exciting so far. I have been fortunate enough to have a short produced by a director in London and Amazon Studios have spotlighted one of my features as a notable project. My scripts place within the top 10% of various major screenwriting competitions and, as I continue to write new specs, I am remotely collaborating with a producers, directors, and actors in LA, NYC, New Orleans, Atlanta, Washington DC, Zurich, Amsterdam, Sydney, and Dallas while occasionally blogging for Stage 32.  If you’re an aspiring filmmaker, then I’d love to join forces with you whatever the scale, do not hesitate to reach out and drop me a line. (CJ “AT” CJwalley DOT COM; http://www.cjwalley.com

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

FOR YET MORE SCRIPTS AVAILABLE FOR PRODUCTION:

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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.

 

 

 

Lone Star Runner Hunnies – Short Script Review (Available for Production!)

Lone Star Runner Hunnies

Fleeing a drug deal gone wrong, four girls held up in a lonely Texas diner face the dilemma of capture vs saving a mortally wounded friend.

Roadside diners make great locations – for almost any genre you can mention. Comedy. Romance. Horror. And crime dramas are no exception. (Pulp Fiction and Reservoir Dogs, anyone?) But you need a talented writer to populate such a setting properly. With fresh, interesting characters.

Fortunately, Lone Star Runner Hunnies has a surplus. Enter Ameena, KJ and Scotty.

As the script opens, the girls burst into a rundown café, agitated and out of their depth. They’re clearly running away… from something or someone. Scotty and Ameena dash immediately towards the back, ignoring startled clientele. They’re heading towards the restrooms. And for whatever reason, it’s urgent. (Get your minds out of the gutter, folks. This is a crime script – not comedy.)

KJ plops down at the nearest table. She’s quickly approached by the cook, a down-home type named Jake. Though concerned, Jake does his best not to pry. He takes KJ’s order. She grills poor Jake about the soup. And uses the menu to hide her tears.

Meanwhile, in the bathroom – things are getting urgent. Ameena cleans up the blood as best she can, hands Scotty a syringe…

…and joins KJ outside, whispering across the table. What are they gonna do next? And is Scotty even gonna survive?

Which is when an unexpected visitor appears at the door. Throwing the mother of all spanners in the works…

What makes a good crime story great? Well, just like diner food – there are a few essential ingredients. Interesting personalities. Rich visuals. A ticking clock of some kind. Not to mention mystery.

An expert of this genre, writer CJ Walley breathes fiery life into his characters – and leaves plenty of questions between the lines. What happened before the diner? We never fully know. But we (and Scotty) are dying to find out. With Lone Star Runner Hunnies, Wally’s recipe is complete. Resulting in an expertly executed narrative that (unlike Scotty) deserves to be shot.

Pages: 7

Budget: Relatively small – rent a diner and that’s it.

About the reviewer: Anthony Cawood is an award winning screenwriter from the UK with 4 short films produced and a bunch of other scripts optioned and/or purchased.

Links to his films and details of his scripts can be found at http://www.anthonycawood.co.uk.

About the writer, C.J. Walley: I began writing in 2012 and I’m pleased to say it’s been very exciting so far. I have been fortunate enough to have a short produced by a director in London and Amazon Studios have spotlighted one of my features as a notable project. My scripts place within the top 10% of various major screenwriting competitions and, as I continue to write new specs, I am remotely collaborating with a producers, directors, and actors in LA, NYC, New Orleans, Atlanta, Washington DC, Zurich, Amsterdam, Sydney, and Dallas while occasionally blogging for Stage 32.  If you’re an aspiring filmmaker, then I’d love to join forces with you whatever the scale, do not hesitate to reach out and drop me a line. (CJ “AT” CJwalley DOT COM; http://www.cjwalley.com

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

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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.

Feels Like Falling – Short Script Review (Available for Production)

FEELS LIKE FALLING

An elevator operator finds his simple job becoming much more complicated when he tries to talk one of his building’s tenants out of an abusive relationship.

As film buffs, some scenes linger in our memories long after the lights come up.  Remember when Kyle MacLachlan as Jeffrey Beaumont found the severed ear in Blue Velvet? Or when Jimmy Stewart as the wheelchair bound L.B. Jeffries in Rear Window aimed his binoculars at the apartment across the way? Now recall the unforgettable No Country For Old Men and the chain of events that followed Josh Brolin in the role of Llewellyn Moss after a fatal prick of conscience led him back to a dying man in the desert.

Of course Llewelyn should never have absconded with two million dollars, L.B. could simply have ignored the scream of a dying woman, and Jeffrey Beaumont should have never gone snooping into other people’s private affairs.

Sticking your nose into other people’s business can get you into a world of trouble.

On the flip-side: All that is necessary for the triumph of evil is that good men do nothing.

Eric Wall’s character Marcus Kirby is a good man, a man of honor. Estranged from his wife he’s still as old fashioned and principled as his finely tailored suit. Marcus operates the elevator of a residential apartment block, and as such he is privy to some of the occupants’ daily trials and tribulations.

Enter, Sophie Gardner. On the outside she’s a confident and assertive young woman and dedicated teacher to her first grade charges. But appearances can be deceptive, or in this case revealing.

One particular day on the ride up in the elevator Marcus recognizes the tell-tale signs of domestic abuse. Though Sophie is determined to shrug it off and blame it on exuberant kids Marcus is well aware that David, Sophie’s husband, has a violent temper and a heavy hand to match. Indeed Marcus knows a thing or two himself about growing up in the hard school of knocks, and he knows just what it feels like to break free of the shackles of abuse.

Marcus tries his darnedest to impart some of his wisdom to Sophie:

MARCUS

(sighs)

Alright. Way I see it, you’ve

only got two choices. You can go up

there and spend the rest your life

trying not to look too afraid, or

talk too loud, or say the wrong

thing, or look the wrong way…

Sadly, Sophie’s like a lot of women caught in the cycle of abuse and it’s going to take more than a well intentioned pep talk for her to make the break. However, a break does come in the form of serendipity. When Marcus and Sophie next see one another Sophie’s in an ebullient mood, glowing with the news she’s pregnant. Finally the resolve she’s needed to escape David’s clutches.

And then, a shocking turn of events.

Sophie turns up dead. Deemed a Suicide.

But that’s not all. Did I mention David is a Police Officer – and a drunk to boot? Sophie’s apparently killed herself with her husband’s service revolver after first firing a shot into the floor? Who does that?

Marcus tells the investigating officer it’s not possible – Sophie would never take her own life. When he offers to provide a statement to that effect he is given short shrift and told they’re quite capable of running the investigation without him. It appears the police have closed ranks around one of their own.

And when David adds insult to injury:

 DAVID

She got what she deserved.

 Marcus is now forced to make a decision which may have far reaching consequences.

Feels Like Falling examines the larger themes of power and corruption, miscarriage of justice, and vengeance. Inspired by a true life account and one of two entries tied for ‘Reader’s Choice’ on Simply Scripts One Week Challenge – Feels Like Falling is a suspenseful drama with a poignant message, and powerful dialogue.

Filmmakers, feel like falling on your feet and reaping the rewards? If you know what’s good for you you’ll do this one justice. Case closed.

Pages: 14

Budget: Medium. Only two main characters (with strong supporting roles such as David), and the primary location – an elevator. But bear in mind – this one deserves a robust enough budget to be done right!

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: Eric Wall is a New Jersey based screenwriter who has written several short scripts, two features and is at work on multiple TV specs. He can be reached at e_wall1498 “AT” yahoo!

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

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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 Deuce – Short Script Review (Available for Production)

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!

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So Cal Gun Girls – Short Script Review

So Cal Gun Girls

After buying drugs and debating the commercialization of cannabis in California, two female gang members stumble straight into a robber who’s killed their beloved dealer.

Remember when Tarantino first exploded on the scene?  No, we don’t mean Inglourious Basterds, or Django, either. No, we’re talkin’ real classics: Pulp Fiction level quality. Quirky dialog that blew your mind.  Gritty characters that popped right off the screen.  Cinematic mainline stuff that left you begging for more.

Well, imagine fresh and shiny QT content – with a 180 gender twist.  Characters like Sam Jackson and Travolta – but packin’ tampons along with 45s.  That’s So Cal Gun Girls in a nutshell.  And it’s a bundle of criminal fun.

Meet Maddy and Lila – two mid-level grass dealers in CA.  For years, their distributor’s been the singular Suzanne Wu (her stoic father rolling joints by her side.)  The girls make a living – such as it is – but recently Maddy’s been dreaming of something… more.  Especially with legalization encroaching on their territory. Can they really compete with Walmart? Or is it time to expand a bit? Madam Wu’s pushing the latest and greatest product – meth (though not Walter White trademark blue.)  The girls refuse the offer, and head outside to debate microeconomics… and their next business steps.

But things are about to get complicated. Because a hostile takeover’s in the works.  One that’ll affect the girl’s market. And perhaps their lives.

Yep, it’s Reservoir Dogs meets Bridesmaids (or The Heat, if you’re so inclined.) But whatever you call it, So Cal Gun Girls is real good sh*t (and potentially expandable to feature length).  Perfect for directors with a criminal mind.

About the writer, C.J. Walley: I began writing in 2012 and I’m pleased to say it’s been very exciting so far. I have been fortunate enough to have a short produced by a director in London and Amazon Studios have spotlighted one of my features as a notable project. My scripts place within the top 10% of various major screenwriting competitions and, as I continue to write specs, I am remotely collaborating with a producer in LA on a comedy series, working with a director in New Orleans on a thriller, and blogging for Stage 32. I’m here to do two things, work hard and make friends. My writing has a down and dirty tone, deep emotion, gritty action, wry humor, and features strong female leads. If you’re an aspiring filmmaker, then I’d love to join forces with you whatever the scale, do not hesitate to reach out and drop me a line. (CJ “AT” CJwalley DOT COM; http://www.cjwalley.com)

Pages: 8

Budget: Mid range.  You want great actresses, of course.  And awesome cinematography wouldn’t hurt, either.

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

FOR YET MORE SCRIPTS AVAILABLE FOR PRODUCTION:

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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.