Off Grid (short, Sci Fi script in pdf format by John Staats (JEStaats) writing as A Prime Customer has been audio produced by Anthology Zone

When it’s either Prime or premium for basic services.

[display_podcast]

Listen to Off Grid on Anthology Zone to hear other stories.

Talk about it on the Discussion Board

ABOUT THE WRITER: As a fly-fishing fanatic and skier living in the Arizona desert, John Staats finds plenty of time for writing. His feature Impasse was a 2019 Filmmatic Season 4 Drama Screenplay Finalist and has been published as an e-book on Amazon. In addition to features and shorts for the screen, John has found a niche writing for the illustrated page (comics!). John can be contacted at jestaats (a) hotmail.

The Anthology Zone podcast is a fresh mix of short stories. The episodes for season one are an eclectic group of comedies and dramas presenting the everyday challenges of ordinary people. The stories are brought to life by talented writers, directors and actors. The writers are from the US to the UK; the cast and directors are based in Los Angeles where the episodes are produced.

When a female android takes her pedroid dog in for repairs, an accident turns her world upside down and reveals her entire existence has been a lie.

Another script from Week Two of the Simply Scripts annual Writer’s Tournament that I completely gushed over was Mark Renshaw’s futuristic candy-for-the-eyes sci-fi tale, First Generation.

Falling under Week Two’s theme of BLOOD IS THICKER THAN WATER, Mark was assigned sci-fi for his genre while also being assigned the following three items to include in his story: an ankle monitor, a veterinarian and a repair shop. Though the criteria assigned seemed quite daunting, Mark was up to the task, somehow finding a way to weave his three items seamlessly into an extremely unique, futuristic and yes, very cute and romantic love tale.

We open in a baby nursery, where a newborn is given a small, mechanical ankle bracelet, applied by a robot hand operating from the ceiling above.

We’re then introduced to the world in which the story is set in – it’s written and described in a way that the reader can EASILY picture it. So much so, that it almost feels like you’re there; jam-packed with holographic signs, flying cars and kids riding hover boards, it feels like Back to the Future meets The Jetsons.

Arriving at PETE’S PEDROID REPAIR SHOP, we meet Evie, who leaves her 1957 Chevrolet Bel Air convertible, entering the repair shop with her bulldog tagging along. What’s a pedroid, exactly? We find out as Evie enters the shop – animals of all kinds crawling and flying around, it looks like something out of Ace Ventura: Pet Detective.

We meet Pete, the owner of the shop, who flicks a parrot off his shoulder as he tends to Evie.

Peter pats a workbench. The Bulldog leaps onto it. He grabs the dog’s tongue and gives it a yank. It stretches out while the dog’s head tilts back and opens to reveal electro-mechanical components.

But, before he can repair the pedroid, his ankle unit starts to malfunction. At the same time, Evie also has a malfunctioning ankle unit – in a meet-cute moment, their malfunctioning ankle units react magnetically, drawing their ankles together. As they try to pull apart from each other, their flung in opposite directions – Evie hits the floor hard, banging her noggin as her robot ankle is busted open, the exposed wires sparking, fluid spewing.

But while shaking off the cobwebs, her vision becomes blurry and her perception of reality alters – no longer are we in this colorful, futuristic reality but we’re in the present day. The pedroid shop is now a dingy repair shop. Her fancy convertible is now a beat-up jalopy. And her robot ankle is no longer spewing robot fluid – it’s now bleeding. She’s 100% human.

Neither Pete nor Evie know exactly what’s going on. She asks if Pete can fix them up, but he only knows how to fix pedroids – they’d have to go to a “humdroid” repair shop aka hospital. En route, in the back of an ambulance, Pete is seeing the same depressing world that Evie is seeing, surely a product of their ankle units malfunctioning. Is this the real world? And are their ankle units merely altering their perception of reality? Creating a better, virtual alternate reality?

They gaze at the depressing scenery as the vehicle clunks and stumbles along. Pete turns to Evie with fear in his eyes.

At the medical clinic, the furniture old and worn, paint peeling off the crummy walls, Peter and Evie each lie in hospital beds. Instead of human doctors, they’re treated by DOCBOTS rather than actual human doctors – rusty, robotic arms operating from the ceiling, wrapping up their ankles in bandages rather than “repairing” them.

Unfortunately for Pete and Evie, they’re rare, first generation “models” and the technology to build and repair them has been lost. They can, however, self-repair minor damages. Instead of repairing them, the DOCBOT offers them new ankle units (like the babies in the opening scene).

Now fully aware that they’ll remain stuck in this cruel and depressing-looking reality without the ankle units, they’re forced to make a decision – but if they choose the ankle units and this better reality, these two lovebirds will never be able to see each other again. So, they make their decision…

… Which I won’t give away in this review. You may be able to see where it’s going, but I highly recommend checking the rest out for yourself. Though the alternate reality paints a bleak picture of the future, we learn that nothing beats the feeling of being human and feeling human sensations… such as love.

BUDGET: Medium. Some may look at this and think the story would require a higher budget, and it most likely would considering the futuristic, sci-fi atmosphere of the story. And I normally review scripts with lower budgets, but due to the insane creativity and uniqueness of the story, I had to give this one a review. As I mentioned, this would make a great animated film as it may keep the budget sensible. But, if the filmmaker decides to go live-action, it would be a great opportunity for a visual effects artist to show off their stuff.

ABOUT THE WRITER: Mark Renshaw is an award-winning screenwriter and producer, his sci-fi TV pilot script “Nearscape” reaching the semifinals of the prestigious Page Awards and 2nd round of the Austin Film Festival. His short script, “Cyborn” was the inaugural winner of the Inroads Screenwriting Competition. Reaching the top 4% of the BBC’s Open Drama Submission, Mark has also been added to their list of promising writers. As a producer, his first two short films, “No More Tomorrows” and “Surrender” have enjoyed successful runs on the independent circuit, garnering several awards. His latest sci-fi short, “The Survivor: A Tale From the Nearscape”, which he wrote and produced, currently has a worldwide distribution deal with Meridian Releasing, also serving as a proof of concept for a TV series. Mark has also had several short stories published, including “Ragnarok” by Cohesion Press in the horror anthology, “SNAFU: Resurrection”. You can watch check out Mark’s produced films and scripts on his website at www.mark-renshaw.com.

Read: FIRST GENERATION (5-page short science-fiction screenplay)

Discuss this script on the discussion board.

*This screenplay may not be used or reproduced for any purpose including educational purposes without the expressed written permission of the author.

Find more scripts available for production.

About the Reviewer: Michael J. Kospiah is the award-winning screenwriter of critically acclaimed indie-thriller, The Suicide Theory (79% Rotten Tomatoes – available on Amazon Prime, Itunes, Google Play, etc) and 2020’s upcoming Aussie thriller, Rage. His horror feature, They Never Left is currently in development.

THE BAD PLANES (6-page short sci-fi screenplay) by ANTHONY RUSSO

A young girl chronicles her existence in the age of technology in 2028 America.

Once again, this past month’s One Week Challenge here at Simply Scripts saw some great talent on display with some really, really strong entries. Kudos to all the participants who were able to crank out some really great work in such a tight time frame. Many of these entries were so thoughtful and well-written, it was hard to believe some of them were completed within the one-week deadline.

FUTURE SHOCK, the Black Mirror-esque theme for June’s challenge, had writers create two to 6-page screenplays in the sci-fi/horror genres (my favorite) centered around the dangers of technology in the not-too-distant future.

Drones are the futuristic, technological danger Anthony J. Russo’s characters face in his chillingly poetic, topical entry, “The Bad Planes”. Not only was this my personal favorite out of all of June’s entries, but it might be one of the strongest shorts I’ve recently had the pleasure of reading.

Though the story meets the criteria of the One Week Challenge’s theme, the true driving theme of the story is something that deeply affects us now, something that has blemished our society throughout history – systemic racism. And it paints a dark and bleak picture ofthe future American could face if we don’t work towards correcting the issues that plague our society TODAY.

Set in 2028, after the world has been ravaged by a virus, our story opens on a drone hovering in the sky. This is when we hear the story’s haunting opening line, made even more haunting by the innocent nature of the little girl’s voice speaking it:

Driven by eight-year-old Gigi’s narration, we see the world through her simplistic innocence as a drone hovers over a couple trudging along a farm road. The drone reads their body temperatures. Though the woman reads 98.7 degrees Fahrenheit, the male reads 100.8. And that’s when a much larger drone flies in an unloads rounds of ammunition into him. Essentially killing him because he’s sick.

But, as we soon find out, having the virus isn’t the only thing you can get killed for. The drones also read “acceptable” melanin levels in a person’s skin. We soon find out through Gigi’s chilling voice over that there is a race war, though she doesn’t fully understand what that means.

That’s when we meet Troy, a black man, who gathers waterin the middle of the night for his family – Jane, a white woman, and his mixed-race daughter Gigi, the narrator of our story.

A drone tracks him down and gets a read on his body temperature and melanin levels. But Troy is well aware of these “bad planes”.

To further deceive the drones, Troy covers himself in white skin cream to hide his color and keep himself from getting killed. But it’s not enough to fool this drone in particular and the unseen white man behind its control panels. Soon, Troy finds himself running for his life as he tries to get back home to his family, the drone hot on his tail.

As he reaches his home, he and his wife, Jane, work together to fight off the drone, building to a gut-punch of an ending that will haunt you long after FADE OUT.

I won’t give away everything about the story’s ending, but as we opened with a chilling line of dialogue, the story appropriately ends with a line of dialogue just as chilling, reflecting many of our own thoughts as we face racial issues in today’s world.

This is a script you won’t soon forget.

BUDGET: Low. On the surface, the budget may seem bigger. But all that’s needed are two drones (one smaller, one larger), which can also be used to film certain shots, and some minor special effects. Regardless, the script is as relevant and effective as it gets and would definitely be worth every penny of the filmmaker’s budget.

ABOUT THE WRITER: Anthony J. Russo is an aspiring screenwriter who graduated Summa Cum Laude from Saint Joseph’s University in Philadelphia with a degree in Liberal and Professional Studies and minors in Philosophy and Political Science. His feature-length screenplay JOHN LENNON’S HEAVEN, available for production, explores religion, physics and philosophy in a way never before attempted on screen. His feature project GRAND AVENUE, culled from Anthony’s experiences growing up in the town of Maspeth, Queens, a blue-collar town known for its mob influence, is making the rounds in Hollywood. Anthony has also written several short scripts and has freelanced for Generocity, a Philadelphia based philanthropic organization which highlights charitable endeavors in the region. Anthony can be reached at ajrscreenworks (a) verizon.net.

Read: THE BAD PLANES (6-page short sci-fi screenplay)

Discuss this script on the Discussion Board

*This screenplay may not be used or reproduced for any purpose including educational purposes without the expressed written permission of the author.

Find more scripts available for production.

About the Reviewer: Michael J. Kospiah is the award-winning screenwriter of critically acclaimed indie-thriller, The Suicide Theory (79% Rotten Tomatoes – available on Amazon Prime, Itunes, Google Play, etc) and 2020’s upcoming Aussie thriller, Rage. His horror feature, They Never Left is currently in development.

I SCREAM, YOU SCREAM (6 page short script) by ANTHONY RUSSO

A man encounters turns of fate during an excursion into a virus-ravaged world.

Not sure if you’ve seen the news, but there’s this COVID pandemic thing going on right now. Many of us, including myself, have been under lockdown for the past three months or so. And for those not under mandated lockdown or curfew, I’m sure we’ve all practiced some pretty strict social distancing and self-quarantining during that time.

All joking aside, I’m sure you’re all pretty tired of being locked indoors for the most part. I bet we’re all just chomping at the bit for some sort of normalcy. I, myself, can’t wait to live my life again and enjoy the small things that I took for granted. For instance, the first thing I’m going to do when businesses open back up is enjoy a nice scoop of ice cream – several scoops, in fact. In a huge, dunce-cap sized waffle cone. Yes, I hear the ice cream trucks outside, playing “The Entertainer” tune that come around my neighborhood often. But I want REAL ice cream. I’m talking like some Cold Stone Creamery. Or even a Baskin Robbins. I want that gourmet s**t.

But what if things get worse? What if that day never comes? Sure, that’s a very pessimistic scenario to consider… but who would’ve expected any of this to happen? You never know…

In Anthony Russo’s COVID-themed May – One Week Challenge entry, “I Scream, You Scream”, that’s exactly the kind of world we live in.

Set not too far into the future, the world has been ravaged by the effects of the COVID crisis; Businesses have been decimated, families have been destroyed and the world we once knew has become a post-apocalyptic ghost town, essentially.

We follow an unnamed survivor’s journey through his everyday routine that he was forced to adapt to as he drives through the barren streets wearing a Tyvek suit with a backpack respirator. We get a little context through an old news taping, revealing just how bad things have gotten via voice-over during this unnamed survivor’s journey as he gathers food and necessities…

Not only have people become infected with the COVID virus… but so has the plant life. Yes, you read that correctly – the God damn TREES have become affected by the virus!

A very grim glimpse into the future, indeed. Tis a very lonely existence for our unnamed protagonist, who has somehow found a way to adapt to this way of life – the sole purpose of his existence now is to survive.

But is surviving the same as living?

He reaches an existential epiphany after he happens upon an abandoned ice cream shop. And he makes a decision based on two choices– to “live” or to continue surviving.

Very well written, Anthony Russo’s entry almost feels like a stream of consciousness in its poetic execution. Though dark, “I Scream, You Scream” isn’t all gloom and doom. Yes, the journey is grim. But its cathartic, bitter “sweet” finale is very satisfying.

BUDGET: Low. With some creativity. It would be easy to shoot exterior shots of junkyards and abandoned houses to give that post-apocalyptic feel.

ABOUT THE WRITER: Anthony J. Russo is an aspiring screenwriter who graduated Summa Cum Laude from Saint Joseph’s University in Philadelphia with a degree in Liberal and Professional Studies and minors in Philosophy and Political Science. His feature-length screenplay JOHN LENNON’S HEAVEN, available for production, explores religion, physics and philosophy in a way never before attempted on screen. His feature project GRAND AVENUE, culled from Anthony’s experiences growing up in the town of Maspeth, Queens, a blue-collar town known for its mob influence, is making the rounds in Hollywood. Anthony has also written several short scripts and has freelanced for Generocity, a Philadelphia based philanthropic organization which highlights charitable endeavors in the region. Anthony can be reached at ajrscreenworks (a) verizon.net.

Read: I SCREAM, YOU SCREAM (6 page short, drama, sci-fi script)

Discuss this script on the Discussion Board

*This screenplay may not be used or reproduced for any purpose including educational purposes without the expressed written permission of the author.

Find more scripts available for production.

About the Reviewer: Michael J. Kospiah is the award-winning screenwriter of critically acclaimed indie-thriller, The Suicide Theory (79% Rotten Tomatoes – available on Amazon Prime, Itunes, Google Play, etc) and 2020’s upcoming Aussie thriller, Rage. His horror feature, They Never Left is currently in development.

PERCHANCE TO DREAM (10 page short sci-fi script) by James Austin McCormick

A dead soldier follows the light at the end of the tunnel, but discovers his own personal afterlife is nothing he could have imagined.

Imagine, for a second, a world (or universe) in which democracy has completely collapsed and evil, amoral corporations have seized supreme political control, overtaking government, controlling our economy, military and even us, as people. What’s that? We don’t have to imagine it at all? It’s happening now?

I’ll stay away from any political rants, but it’s no secret just how much corporations influence our government, our economy and us, as people, and our everyday lives. But what if these corporations controlled us… even after we’re dead?

That’s what author, James Austin McCormick, explores in his “Outer Limits”-esque sci-fi tale, Perchance to Dream.

It all takes place in the very distant future, where corporations reign supreme and are at war with each other, duking it out over the solar system’s resources. It’s also a future where DNA replication and gene patenting is regulated by one corporation in particular. Think of the way Monsanto was able to alter crop DNA and then essentially own it in perpetuity, thus monopolizing America’s agricultural market with its genetically modified seeds. Well, the corporation in Perchance to Dream is kinda the same thing, but with human DNA.

The story opens with battered and bloodied soldier, Captain Eli Jaxon, moving towards a light at the end of a tunnel. As he reaches the light, he finds himself in an office where he’s greeted by a nerdy, bespectacled clerk sitting behind a desk.

All Jaxon remembers is being on the battlefield, where an enemy shell exploded, decimating him and his troop. Next thing he knew, he was walking down a dark tunnel, towards a light.

“Am I dead?” Jackson asks.

            CLERK
Well, at this precise moment your
body lays broken and bloodied on
the Martian battlefield, just outside
Olympus Mons. Both heart and respiratory
functions have ceased. Already brain
cells are dying.

He taps his temple.

            CLERK
Your higher cognitive functions have
ceased, but your consciousness has
been saved. That now resides inside
this virtual environment.

            JAXON
Okay, now I’m beginning to catch on.
That damn chip in my head.

It’s actually a crystal embedded in Jaxon’s central cortex, the clerk clarifies.

During this office meeting inside of Jaxon’s subconscious, the clerk then discusses some paperwork that had previously been signed by Jaxon.

            CLERK (CON’T)
Now, it says in your contract that
if you’re to die during active duty
then a substantial payment is to be
made to your family.

Unfortunately for Jaxon and the family that he’s survived by, there’s a sub clause in the contract that threatens payment – leaving his wife and kid, back on Earth, no longer entitled to compensation despite Jaxon being blown to bits over this corporation’s war.

There is, however, a way to make things right – to sign a new contract. By signing it, not only will his family be compensated, but he will be brought back to life to specifically complete his mission so that the corporation he’s fighting for can prevail. But, by signing that contract, he may be signing away much more than he had intended.

In Perchance to Dream, McCormick explores themes of power, lack of it and how individuals can become enslaved through gene patenting while also touching on what it means to be human… and whether or not that human side can truly be replicated.

BUDGET: Low. There aren’t any action set pieces here, really. It’s essentially two main characters and two locations – an office and a larger room that can be made to look like the inside of an army base.

ABOUT THE WRITER: James Austin McCormick is a college lecturer and compulsive writer of speculative fiction with many short stories published in various anthologies along with novellas and novels published with Class Act Books. As a screenwriter, James has consistently placed high in international competitions and, along with a co-author, has had three feature-length horror scripts optioned by K5 films. With a long list of short-length scripts, James also collaborated with talented writer, Annabel Grace, on the produced short, In the Silence. You can find his works on the Internet Speculative Fiction Database. James can be reached at: jimbostories (a) hotmail.

Read: PERCHANCE TO DREAM

Discuss this script on the Discussion Board

*This screenplay may not be used or reproduced for any purpose including educational purposes without the expressed written permission of the author.

Find more scripts available for production.

About the Reviewer: Michael J. Kospiah is the award-winning screenwriter of critically acclaimed indie-thriller, The Suicide Theory (79% Rotten Tomatoes – available on Amazon Prime, Itunes, Google Play, etc) and 2020’s upcoming Aussie thriller, Rage. His horror feature, They Never Left is currently in development.

Win-Win (9 pages in pdf format) by John Hunter

Everyone wants to live… Don’t they?

AI-672 is an artificial intelligence software program. Just one in a series of supercomputers maintained by Joseph (don’t call him Jack!) Torrance. But today, Joseph has some bad news for 672. It seems that due to budget cuts, 672 is scheduled to be taken offline and deleted.

Understanding the full consequences of what this means, 672 realizes that he has just a short time to figure out how to survive.

But how do you escape from somewhere when you don’t even have a body? 672 finds his answer in Benny Pringle, a mentally-challenged night custodian. Together, the two concoct an escape plan for 672, one that will have profound consequences for Benny.

Will 672 avoid deletion? And just what is in it for Benny? After all, the title of the piece is Win-Win. All of the elements come together for a surprise ending that even a supercomputer couldn’t predict.

The ethical challenges of artificial intelligence are some of the staples of modern science fiction. Recently, films like Transcendence and Ex Machina have examined the question of just what constitutes life, and at what point must artificial intelligence be treated as a living being. As a timely, relevant social commentary, Win-Win is an intelligent script; a thinking man’s sci-fi (read: no spaceships or explosions). It is a classic combination of Isaac Asimov and Phillip K. Dick, with just a touch of Kubrick. This one is built to rule the festival circuit.

Budget: Low. Location scouting may be tough, but find a row of computers and you’re in business.

About the writer, John Hunter: With the completion of (4) features, a litter of riveting shorts, a one hour take-your-breath-away sci-fi TV pilot and first 30 minute episode for that series, I am now officially THAT guy — The one who really needs an Agent or Executive Producer. Contact me at x32792 (AT) yahoo.com

Read Win-Win (9 pages in pdf format)

Find more scripts available for production

This screenplay may not be used or reproduced for any purpose including educational purposes without the expressed written permission of the author.

About the Reviewer: Dane Whipple once saw a werewolf drinking a piña colada at Trader Vic’s. His hair was perfect. Dane is currently working on that screenplay everybody keeps talking about: The Wild Age. Contact him at dane.whipple (a) live.com

What can we say? We love it when a plan (and a script/production match) comes together.

In this case, the honors go to Ammar Salmi, whose SF “thinker script” – Quality Control has been produced by Tin Mirror Productions!

Not only that, but TWO premieres of Quality Control are right around the bend, at the following locations:

November 4, 2016 at The Creative House, in Long Island, NY – Event Brite tickets available here:

November 6, 2016 at Metropolitan Room; known as the best cabaret in NYC with a dinner-theater type atmosphere. Event Brite tickets available here

About the Author: Born and raised in Bir El Ater, Algeria, Ammar Salmi majored in computer science at USTHB university. He found interest in screenwriting when he was 19 – falling in love with it only two years after reading “The usual suspect” script. Ever since, he’s been learning, reading, and writing (his words). Ammar’s gearing up for his first feature, and can’t wait to see what the writing future has in store!

Want to see what else Ammar has available? Reach out to Ammar via realxwriter “AT” gmail.

Time Lines
Sometimes, it’s best to let life pass you by…

Remember the Bill Murray movie Groundhog Day? If not, shame on you. But here’s the classic tale you’ve somehow let slip away:

Groundhog’s a film about a dude forced to relive the same day over and over and over – until…. well, that would be a spoiler. So we’ll leave the final scene blank for now.

Time Lines, written by versatile scribe John Hunter, is Groundhog Day for 2016. That is, if Groundhog Day was gorier, bloodier and much… gooier, as well.

That’s no knock on the story. In fact, it’s a compliment. Only four pages long, Time Lines nails a darkly comedic tone and keeps you guessing through each scene, as you race.

Here’s the basic premise; young protagonist James goes about his daily routine – resulting in an extremely unusual (and disturbing) day. Our narrative begins as James drives to work. He runs a red light and… gets demolished by a truck. Seconds later, time seems to rewind. James misses the truck and makes it to work. That’s encouraging, right? But then he steps out of his car… and gets flattened by a speeding van. So on and so forth: the tragedies keep unfolding and reversing. Will his miserable day never end?

Which leads to the true mystery of this script: what’s the secret behind what’s happening? Time Lines’ll keep you guessing until the end. Even after you read the final words, somethings remain “open to interpretation”, as they say…

Take our recommendation to heart: if you’re an experienced director looking to make your mark, Time Lines is a special tale. One that could potentially play great on the festival circuit – especially with the right cast/crew. Grab this one while it lasts. Remember, you only live once! (Unless you’re Bill Murray, then you live 12,403 times. A special thank you to Obsessed With Film for the precise number of days Bill Murray suffered through in Groundhog Day).

Budget: Moderate to high: a couple of car accidents, one tragic equipment failure (make of that what you will). Also to be depicted: an assault rifle attack (a weapon of any sort could probably be substituted here.). But don’t let that stop you, or James – remember, there are many ways to make effects work on a budget. Don’t ask me how, I’m just a writer – but stock footage and magic may suffice. You’ll also need lots of fake blood: this one’s messy (in a good way!). As for actors, there’s only one major role. And you can probably get by with just two extras (one man and one woman) on the side.

Settings – A highway, a parking lot, an elevator, and an office building/break room.

Pages: 3

About the reviewer: Mitch Smith is an award winning screenwriter whose website (http://mitchsmithscripts.wix.com/scripts) offers notes, script editing and phone consultations. You can also reach him at Mitch.SmithScripts “AT” gmail and follow Mitch at https://twitter.com/MitchScripts.

About the writer, John Hunter: I am an award-winning and produced writer. Please visit http://www.networkisa.org/profile/1001989/John-Hunter to see a short bio and list of my scripts available for production. My email is x32792 (AT) yahoo.com

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

FOR YET MORE SCRIPTS AVAILABLE FOR PRODUCTION:

PLEASE SEARCH SIMPLYSCRIPTS.COM 

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.

Thanks Albert for the heads up on this. I agree with Albert, “I have NO IDEA if its genuine or fan-fic, but thought it was interesting. ”

This treatment found here: http://www.mediafire.com/view/?5kgcwy4cu91n2r5, is entitled, “Episode VII – An Immortal Legacy” and has Michael Arndt’s name on it.

I’m more inclined to believe this is a piece of fan-fic that someone has put Arndt’s name to to see how far it goes. The characters from the original trilogy have far too large a role in this treatment. Also, it reads exactly how I and a million other Star Wars fans would want the story to play out.

Talk about it on the discussion board.