Tear-jerker stories hold a special place in the world of cinema, from current films such as Me Before You and The Fault In Our Stars, to classics such as Love Story and The Way We Were, their appeal is timeless and can be attributed to several factors that touch upon the depths of human emotion and pull at the heartstrings. On the Beach written by Steven Clark is a captivating and thought-provoking script that does just that; skillfully weaving together elements of drama and heartbreak. The story’s simplicity belies its emotional depth and compelling narrative, making it an engaging and memorable piece of work.

The script initially centers around two characters, Doug and Carolyn, who find themselves
preparing for the birth of their first child. The simple description of Carolyn painting the baby’s room opens the story. In the writer’s hands, this simple scene is transformed as we can almost hear the swish of the brush and smell the aroma of the paint as we are drawn into their world:

INT. HOUSE, BEDROOM – DAY
A paintbrush glides along the wall. Light blue is the color.
Then —
An empty crib that looks brand new. A dresser that still has a tag.
Downstroke of the brush in the hand of CAROLYN, 30, mother-to be, sweating, hair in her
eyes. But it can’t hide the glow on her face.

The entry of her husband, with his “find” of the perfect book for their new baby boy and his
dreams of reading it to him, complete the picture of joyous anticipation.

The script excels in its natural and heartfelt dialogue, allowing the characters’ emotions and
personalities to shine through. Doug and Carolyn feel like real people; their struggle to provide for their family while mired in more or less dead end jobs will resonate with the audience on a personal level, while the introduction of Doug’s illness is a seismic turning point. The remainder of the story is a telling of Doug’s gradual goodbye and the purposeful steps he takes to ensure that their son, Jeremy will remember the waning days he spent with his father.

Both Doug and Carolyn, as well as Jeremy, in his arc of age progression through childhood, are
well-crafted characters. The gradual unfolding of Doug’s illness and its effect on the family is woven seamlessly into the story, while his continued bedtime reading to Jeremy featuring an
astronaut shooting into outer space, serves as a segue to his son’s understanding that his father will soon be leaving.

The beach setting serves as a metaphorical stage, beautifully mirroring the ebb and flow of the characters’ emotions and the inevitable passage of time, while the vision of three chairs, “Two adult and one child” is a foretelling of the outcome.

No other cue is needed to summon the tears of the audience.

Despite its brevity, “On the Beach” manages to evoke a strong emotional response. The script
delves into themes of love, loss and the passage of time, offering a rich and resonant insight into how we may be called to face the unthinkable.

The script concludes on a poignant note, leaving the audience with a sense of melancholy closure. The ending feels fitting as it weaves the passing of one life and the beginning of another skillfully played upon the timelessness of the sea:

EXT. CALLOWAY BEACH – DAY
Bright Summer sun. Blankets and umbrellas everywhere.
Carolyn sits by the water’s edge, toes in the sand. The sun
feels good. She turns to see —
Jeremy sitting next to MAGGIE, 18 months, wearing a floppy
hat and a pink one-piece beach outfit.
Maggie picks up a sea shell, looks it over, then throws it.
On the beach are three unoccupied CHAIRS — two child-sized
and one for an adult.
The sound of a wave crashing onto shore.

Final Thoughts:
On the Beach is a remarkable short script that successfully captures the essence of human connection, nostalgia, and the complexities of life and death. With its well-crafted characters, poignant dialogue, and evocative setting, the script takes the viewer on an emotional journey that resonates deeply. It stands as a testament to the power of concise storytelling and will undoubtedly leave a lasting impression on any audience.

Credit to the writer for crafting such a touching and well-executed short script. On the Beach is a shining example of the potential that lies within the short film format and is deserving of recognition and praise. A small number of roles, few locations and budget-friendly scripting also serve to make this a very compelling project for those looking to produce a well-written and meaningful short film.

Read the script and talk about it on the discussion board.

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 his website.

About the reviewer, K. Cranford: I am a published author with articles featured in nationally circulated magazines. I specialize in family friendly stories with an uplifting message and currently have five completed screenplays, three of which are Christmas themed, as well as several shorts that I am actively marketing. By education I am a Registered Nurse. My husband, a physician and I make our home in Little Rock, Arkansas.

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*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 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.

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*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 Original scripts page are eight original scripts for your reading pleasure.

And, the September One Week Challenge has begun! Check out the theme. Scripts due Friday, September 8th at midnight.

– Don