Letters To Juliet – December 11, 2008 unspecified draft script by Jose Rivera (revisions by Tim Sullivan, current revisions by Will Fetters) – hosted by: Daily Script – in pdf format

An American girl on vacation in Italy finds an unanswered “letter to Juliet” — one of thousands of missives left at the fictional lover’s Verona courtyard, which are typically answered by a the “secretaries of Juliet” — and she goes on a quest to find the lovers referenced in the letter.

Information courtesy of imdb.com

More Scripts on the Movie Scripts page.

Ali – undated, unspecified draft script by Stephen J. Rivele & Christopher Wilkinson and Eric Roth & Michael Mann (Story by Gregory Allen Howard) – hosted by: Daily Script – in pdf format

Muhammad Ali from 1964 to 1974, told in three braided threads. The boxer: from becoming champion to regaining the championship. Religion and politics: Cassius Clay becomes a Black Muslim, truncates a friendship with Malcolm X, perhaps is Elijah Muhammad’s pawn, refuses induction into the US military, and faces a five year prison sentence while his case goes to the Supreme Court. Family: he marries twice and by 1974 marriage two is strained, defends his white trainer, has a brother in Bundini Brown, and is wily with Howard Cosell. Throughout, Ali keeps his own counsel: in the ring, at the induction center when he won’t step forward, and in friendship, love, and victory.

Information courtesy of imdb.com

MacGruber – undated, unspecified draft script by Will Forte, John Solomon & Jorma Taccone – hosted by: Daily Script – in pdf format

In the Dzhugdzhur Mountains, Eastern Siberia, the criminal Dieter Von Cunth steals a Russian X5 nuclear warhead. Colonel James Faith travels to Rio Bamba, Ecuador, with the efficient Lieutenant Dixon Piper to summon the retired special operative MacGruber to retrieve the X5. MacGruber is considered deceased after the death of his beloved wife Casey by his archenemy Cunth in their wedding. MacGruber teams up with Piper and Vicki St. Elmo and they learn that the evil Cunth intends to use the warhead to destroy Washington D.C.

Information courtesy of imdb.com

Popeye – Undated first draft script by Jules Feiffer (based on the characters by E. C. Segar) – hosted by: Daily Script – in pdf format

Buff sailor-man Popeye arrives in an awkward seaside town called Sweethaven. There he meets Wimpy, a hamburger-loving man; Olive Oyl, the soon-to-be love of his life; and Bluto, a huge, mean pirate who’s out to make Sweethaven pay for no good reason. Popeye also discovers his long-lost Pappy in the middle of it all, so with a band of his new friends, Popeye heads off to stop Bluto, and he’s got the power of spinach, which Popeye detests, to butt Bluto right in the mush. Watch as Popeye mops the floor with punks in a burger joint, stops a greedy tax man, takes down a champion boxer, and even finds abandoned baby Swee’pea. He’s strong to the finish ’cause he eats his spinach

Information courtesy of imdb.com

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

– Don

The Year of Living Dangerously – January 1982 Fifth draft script by David Williamson (based on the novel by C. J. Koch) – hosted by: Daily Script – in pdf format

Guy Hamilton is a journalist on his first job as a foreign correspondent. His apparently humdrum assignment to Indonesia soon turns hot as President Sukarno electrifies the populace and frightens foreign powers. Guy soon is the hottest reporter on the story with the help of his photographer, half- Chinese dwarf Billy Kwan, who has gone native. Guy’s affair with diplomat Jill Bryant also helps. Eventually Guy must face some major moral choices and the relationship between Billy and him reaches a crisis at the same time the politics of Indonesia does.

Information courtesy of imdb.com

Noah – undated, unspecified draft script by Darren Aronofsky & Ari Handel – hosted by: Daily Script – in pdf format

A man is chosen by his world’s creator to undertake a momentous mission before an apocalyptic flood cleanses the world.

Information courtesy of imdb.com

Hollywood

“I don’t write Hollywood films.”

I hear struggling writers say this all the time. And when they say it, they usually emphasize the word “Hollywood” with a healthy amount of bitterness; as if they’re above it. And I’m here to say, on behalf of someone who doesn’t write Hollywood (or mainstream, or whatever you want to call it) films: Stop it. Please. You’re making us look bad. You’re making it so I can’t say “I don’t write Hollywood films”, without making it look like I’m complaining that I haven’t “made it” because Hollywood doesn’t “get me”.

But I’m not complaining. Hollywood doesn‘t get me. And I’m fine with that. I’m not bitter. And you shouldn’t be either if Hollywood doesn’t get you. You should take pride in it, because odds are you’re doing something different and unique. And you’re now tasked with the slightly more difficult job of finding someone who sees your particular vision. Becoming a screenwriter is already hard enough, but being someone who doesn’t write “Hollywood” films is a bit trickier, in my humble opinion. If you write the next blockbuster and get it out there, odds are a lot more heads will turn in your direction. But when you write something that’s good but requires taking a chance, you’re left with finding that 1-in-100 person who can help you.

Remember the dark comedic farce I optioned? (The one I was told COULDN’T be optioned?) When it was all said and done, I did the math. I sent it to 3,000+ companies, agents, producers, etc. I had 63 requests to read it. Of those 63, only 35 got back to me to reject me after reading it. I was told things like “I like it, but I can’t make this.” and “I can’t see the market for this.” But in the end, all it took was one person willing to take a chance. It’s frustrating, but if you’re writing something that’s a little “out there”, you’ll need patience; even if it’s really good.

Now we get to the reason I’m writing this entry:

DO NOT

I repeat: DO NOT USE THIS AS AN EXCUSE TO WRITE GARBAGE

Don’t make “I don’t write Hollywood films” an excuse. It’s an explanation, not an excuse. If something isn’t working in your script, it’s not because you don’t write Hollywood films, it’s because it doesn’t work. I applaud you for soldiering on with your artistic vision, but don’t do it at the expense of quality. If multiple people are telling you something doesn’t work, don’t hide behind the fact that you don’t write “Hollywood films”. But on the flip-side, if you have something you’re damn proud of that a lot of people get behind you on (but doesn’t fit the traditional Hollywood mold), good for you; keep at it! Find that 1-in-100 to make it. And when people ask you why it hasn’t sold, proudly tell them: “It’s different. I don’t write Hollywood films, so it might take a bit longer to find someone. But I’m confident it will, because people really like it.”

And please stop with the bitterness. We all know Hollywood is turning into an assembly line of adaptations, reboots, sequels, prequels and franchises. When you rail against Hollywood, you’re not saying anything new, so just don’t say it. Use that energy to write. Because you know that if Harvey Weinstein called you up tomorrow and asked you to write Peeps: The Movie, you’d be all over that. I know I would.

About the writer: A talented writer and 10 year veteran of the industry, “P.J. McNeill” has seen it all (and he’s ready to kiss and tell.) Got a question, a comment or just general bile /praise you want to spew?  Email PJ at pjscriptblog@gmail.com. New to P.J. readership?  Click here for more articles!

John Carter of Mars – September 7, 2005 draft script by Ehren Kruger – hosted by: Sci Fi Scripts – in pdf format

Transplanted to Mars, a Civil War vet discovers a lush planet inhabited by 12-foot tall barbarians. Finding himself a prisoner of these creatures, he escapes, only to encounter a princess who is in desperate need of a savior.

Information courtesy of imdb.com

More Movie Scripts