UNDERPASSERS (8-page short horror screenplay) Written by Robin Johnston

A young woman who becomes lost in a maze of underpass tunnels during her commute home soon realizes she is not alone…

All right, folks, enough of all this warmth and joy. The holiday season is over, so it’s time to get back to getting the crap scared out of us again. And what better way to start than with writer, Robin Johnston’s terrifying, maddeningly claustrophobic, one-location spine-tingler? But all adjectives aside…

It’s late at night and our story’s unfortunate protagonist, Natalie, is in the big city, on her way to meet with someone named “Mo”. And, for some reason, the only way to get to this person is through the tunnel of an underpass – probably not the safest of routes this time of night, especially in the city. In fact, one might consider it to be outright sketchy, to say the least.

Natalie hesitates while speaking to Mo on her cell phone, asking for another, less creepy route. When she finds out there isn’t, she logically thinks about putting off this little rendezvous until tomorrow. But, for reasons we don’t know, the meeting has to happen tonight. And it’s just a measly, little underpass, right? It’s not exactly the catacombs of Paris. So, off she goes…

But, before she enters, she gets a warning from an elderly homeless man…

Unfortunately for Natalie, what was supposed to be a brief stroll through an underpass becomes a journey into terrifying darkness. Using the light from her phone as she speaks with Mo on the other line, she begins to hear sounds… inhuman sounds…

And, when she reaches what’s supposed to be the opposite end of the tunnel, it ends up being a junction leading to other tunnels. With the frightening, inhuman sounds getting closer, Natalie desperately tries to find her back… only to reach another junction! And things only get worse when she loses her signal on her phone…

“Underpassers” effectively enhances familiar horror tropes to their maximum potential, using darkness and sound to put us right there in that tunnel with Natalie. With a small cast and essentially one location, I highly recommend this to any horror-centric director looking to terrify audiences.

BUDGET: Low – especially if you can find a nice (and safe) tunnel/underpass to shoot in.

ABOUT THE WRITER: Robin Johnston is an award-winning street photographer, writer and videographer based in Glasgow, Scotland UK. His work has been shown at world-class exhibitions in Rome, Berlin, New York and London. Robin’s work captures the beauty in tiny details, the patterns in the built environment and the way humans interact with architecture. His influences are Brassaï, Cartier-Bresson and the writing of J.G. Ballard. He can be reached at RobinJohnston75 (a) gmail.

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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.

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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.

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THE GIFT OF GIVING (6-page short drama screenplay) Written by John Staats

An elderly man and his dog enjoy another memorable Christmas Eve.

In our December, holiday-themed OWC, there were some really heartwarming, touching tales that really captured the spirit of the holidays and explored the importance of family and togetherness during this time of year. However, this 3rd place OWC winner, a mind-bending tearjerker, explores another common feeling many people experience during the holidays – loneliness. All while bending our perception of reality with unique storytelling and structure.

The tale starts off like many holiday-themed tales: Charley and his wife, June – an elderly couple – prepare a nice Christmas dinner, waiting for family to arrive. Charley sits in front of fireplace, looking over a gift box as his spry, energetic golden terrier, Sam, sits by his feet.

Soon their son, Bill, daughter-in-law, Mary and four-year-old grandson, Phillip arrive bearing gifts. Unfortunately, there’s a pretty bad snowstorm in progress outside and they need to get going before the roads get too bad.

But, before they leave, Charley’s son, Bill, gives him a Christmas gift he picked up from Romania while on business – a very unique crystal ball ornament.

And before we know it, Bill, Mary and Phillip leave. The abruptness of their stay and the way they leave, it almost feels like a dream, but in a very subtle way. But things truly get strange when Charley notices that his once-energetic dog, Sam, is suddenly walking with a limp, for reasons unknown. What is going on here, exactly?

I won’t give away the gut-punch of an ending. But I encourage you to check out this script and I highly recommend this to filmmakers. It really does tug at the heartstrings, but not in a conventional way. It carries a sadness to it in the way we see in Charlie Kaufman projects such as, “Eternal Sunshine of the Spotless Mind” and, most recently, “I’m Thinking of Ending Things” on Netflix (though easier to follow).

BUDGET: Low. Minimal cast, one location (a house).

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.

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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.

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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.

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TO THE MOON & BACK (7-page short romance/thriller screenplay ) Written by L.Chambers

A widowed mother and her young daughter receive an unexpected and potentially deadly visit on Christmas Eve when her past comes back to haunt them.

Do you like your Christmas stories to have a little romance in them? How about some thrills? Well, this December OWC 2nd-place winner has all that and then some, including a little Christmas magic to give you a spiritual pick-me-up to kick off 2021.

We open the story on Christmas Eve in the mean streets of Dublin, Ireland. Or, as we see in the story’s opening on-screen text: “Otherwise known as the arse-end of nowhere”.

It’s here where a single mother named Claire lives in a crumbling inner-city flat with her five-year-old daughter Molly. A sad-looking Christmas tree with no decorations pretty much encapsulates Claire and Molly’s situation. But as a dispirited Claire looks closer, she sees one, single Christmas ornament hanging from the tree, hung there by Molly. Unfortunately, this ornament brings back some painful memories for Claire.

Through flashback, we learn the origins of the Christmas bauble as Claire spends a romantic afternoon picnicking with her former love, Sean six years ago. They talk about their promising future together, running off to Australia and raising a family… once Sean gets enough money together.

That haunting request has resonated with Claire all these years – not too long after that afternoon, Sean was shot and killed during a bank robbery where 2 million dollars was taken during the caper… and never found.

Unfortunately for Claire, Sean’s partner in the crime, Michael “Spike” Flanagan, has just been released from prison six years after the botched heist. And she knows that Michael will stop at nothing to find that money…

This is, indeed, a different kind of Christmas story. And that’s why I highly recommend this to any filmmakers who want to create a holiday film that will surely stand-out and make an impact on the film festival circuit. This is one that will be in high demand, so pick it up before it’s too late!

BUDGET: Low. Two primary locations (a flat and a park) and four actors.

ABOUT THE WRITER: L.Chambers has been writing all her life – especially in her head, and on scraps of paper. It’s only in the last few years she began to get serious about screen-writing. Prior to this she worked in the Features Department for ABC TV as a Program Assistant, and trained as a FAD. She currently works as a freelance web-content editor and lives with her husband (also a screenwriter) in Sydney, Australia. L. Chambers can be reached at: libbych (a) hotmail.

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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.

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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.

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HONEY MUSTARD

 After being stiffed, an unhinged waitress, hell-bent on revenge, torments the customer who didn’t tip her and his surprisingly resourceful family.

One of the hallmarks of a great screenplay is how quickly a reader can become immersed in a story. The writing flies off the page, the dialogue zings, the action never lets up, and the characters instantly come to life.

Honey Mustard has all this and more… From page one Michael Kospiah’s feature-length Indie-Horror puts the pedal to the metal and never lets up in this blood-soaked and frenetically-paced whodunnit tale of action and revenge.

Ever wish you could press rewind on a particularly bad day?

We open on the emotionally wrought and tormented character of Stella in a scene of not-so domestic bliss. To say Stella’s having a bad day is rather an understatement. Having finally had enough of the abuse at the hands of her redneck husband, Oscar, (a small-town cop, no less), Stella grabs a kitchen knife and a frying pan and in a violent frenzy dispatches him (albeit in self-defense) in short order.

What does Stella do next? Well, she grabs a ride with co-worker and secret lover Matilda, and sets off for work as if nothing happened, leaving her husband’s blood-soaked and lifeless body on the kitchen floor.

Stella’s a waitress at Mel’s Diner, an establishment we instantly recognise as being light on equal-opportunity in the workplace and heavy on juvenile frat-boy antics. And that’s just the guys working the grill. Usually, Stella is stoic in the face of frequent taunts, sexist barbs, and racial slurs, but the events of the morning have left her traumatized and her sanity hanging by a thread. Not to mention she’s now hallucinating the spectre of dead husband Oscar, who continues to get inside her head and bark orders at her – including telling her to: ‘kill them all’!

The final straw in Stella’s awful day comes in the form of a nightmare customer –  one Buford Blumpkin, and his seemingly innocuous request for –

Chicken Fingers with

…  a side of Honey Mustard

Little does Stella know that Buford not getting his precious honey mustard will set off a chain of events destined to throw the two of them on a deadly collision course.

DINING ROOM

He grabs her by the wrist, forcing her to a halt.

Now, Buford’s having a pretty bad day himself. His house is up for sale, he has a wife and son to support and fresh from the unemployment office he’s already bent out of shape. Not taking kindly to being treated like this he devises a little payback of his own.

After all, the customer is always right, right?

When Stella returns to his table –

Two little words that might just prove fatal.

Especially as a little bit later we cut to a scene of utter carnage at the diner and a stunned Buford watching a news report on the television –

Nerves rattled, Buford continues to watch…

It seems like hell hath no fury like a server scorned. But all this over a lost tip?

What’s particularly disturbing for Buford however is that his wallet’s gone and now Stella knows exactly where he lives.

Don’t even imagine you can guess where this plot’s headed because the third act is a killer with its clever twists and turns, shocking reveals, and high octane action. Just when you think you’ve got things sussed and the characters firmly pegged in their separate camps as good guys and bad guys, writer Michael Kospiah throws a curveball into the mix that you won’t see coming.

Written with a sure hand and with a sly nod to 80s pulp slashers, Honey Mustard is a gory, funny, tense and suspenseful thrill ride with one helluva bad-ass lead female character. If you enjoyed Don’t Breathe, You’re Next, Villains, and one of my personal favourites, director Coralie Fergeat’s Revenge, you’re going to love this. 

… Just one last thing before I hit the time-clock, and it’s a big tip of my own –

Honey Mustard’s the special of the day – destined to join the ranks of horror/thriller sure-fire hits, or become a much-loved Indie cult favourite. It’s going to be in big demand and because of this very likely to be on the table for a limited time only…

My suggestion: Get your order up fast, before it gets snapped off the menu…  Just be sure to ask nicely.

As Stella would say –

Y’all have an amazing day now.

BUDGET: Low budget, especially suited to Indie filmmakers, two main locations with a few generic locations for smaller scenes. Someone adept with blood SFX.

NB: CASTING – A special shout-out to Sasha Lane who the writer had in mind when creating the character of Stella. According to Michael, “She’s awesome and would murder the role”.  I suppose one could “At” her at @SashaBianca23.

ABOUT THE WRITER:

Michael is a NYC-based, award-winning screenwriter. His critically-acclaimed feature film, “The Suicide Theory” (79% Rotten Tomatoes score) won awards at Dances With Films and Austin Film Festival and received a limited US theatrical release, 3-year run on Netflix and can now be seen on Amazon Prime, Itunes & Google Play. His latest film, “Rage” continues to collect film festival awards and will be available on most streaming platforms Feb. 2021 after picking up worldwide distribution. His feature films, “Her Lost Winter” (co-writer), and “They Never Left” are slated for production mid/late 2021. Michael can be reached at: spesh2k (a) msn.com

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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.

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ABOUT THE REVIEWER:

L. Chambers has been writing all her life – especially in her head, and on scraps of paper. It’s only in the last few years she began to get serious about screenwriting. Prior to this she worked in the Features Department for ABC TV as a Program Assistant, and trained as a FAD. She currently works as a freelance web-content editor and lives with her husband (also a screenwriter) in Sydney, Australia.

GLITTER AND GLOW (6-page short drama screenplay) Written by David Lambertson

A magical ornament serves as a reminder of loved ones.

There’s something about the holidays that make us all warm and gooey inside. It’s that sentimental time of year when you can truly appreciate the company of your loved ones and create very special memories. It’s also a time when we think back and reminisce about the magic of past holidays, remembering special times with loved ones who are no longer with us. David Lamberton’s 2nd-place OWC winner captures that warmth and sentimentality perfectly in this touching holiday tearjerker.

The story begins with six-year-old Emma and her Grandpa decorating the Christmas tree. Every ornament and strand of tinsel is arranged intricately. And, as Grandpa tells Emma, every ornament has some kind of special meaning. One golden ornament in particular bearing the smiling face of Grandma, who sadly passed years ago, especially carries heartfelt meaning. Grandma, who was a glass blower, created the ornament herself, as Grandpa explains during his story, describing the ornament’s magical history…

Twenty-five years later, Emma, now a mommy, decorates the Christmas tree with her five-year-old son, Timmy. But the mood feels a bit somber with Emma grieving the recent loss of her beloved Grandpa. She tells Timmy of past Christmases spent with him, helping him decorate the tree every year. And then she shows him that special ornament bearing Grandma’s face that she inherited from Grandpa, telling Timmy about it’s magical origins… when something even more magical happens…

Without being overly sentimental or settling for cheese, “Glitter Glow” is a genuinely touching and magical tale that would make Scrooge himself shed a tear. And with its low budget, this would be very easy to film. I recommend that filmmakers scoop this one up quickly and film it in time for the holidays next year!

BUDGET: Shoe-string. Two simple locations (houses/rooms) and four actors.

ABOUT THE WRITER: David Lambertson: I took up writing rather late in life having already been retired before I put pen to paper (okay – finger to computer key) for the first time. My favorite genres to read and write are dramedies and romantic comedies. In addition to this short, I have written four features; “The Last Statesman” (a 2015 PAGE finalist and a Nicholl’s and BlueCat quarter-finalist), “The Beginning of The End and The End” (a PAGE Semi-Finalist). “Taking Stock” (a drama) and a new comedy – “Screw You Tube”. Want to learn more? Reach Dave at dlambertson (at) hotmail! And visit his website.

Read: GLITTER AND GLOW (6-page short drama screenplay)

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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.

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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.

Subscribe to Michael’s YouTube Channel.

A PIXIE LITTLE CHRISTMAS (6-page short animation screenplay) by MATTHEW TAYLOR

When a Pixie’s home is stolen, his anger endangers a little girl’s Christmas.

In what could very well be a new, animated Christmas classic comes our December OWC Writers’ Choice: a magical, heartfelt, G-rated tale that truly exemplifies the spirit of the holidays. I was actually very surprised to learn that it was written by Matthew Taylor, who’s work tends to explore much darker territory – which only goes to show just how versatile he is as a writer.

We follow the journey of a tiny, tree-dwelling pixie named Caspian, who discovers that his pine-needled, evergreen conifer home has been chopped down and to be used as a Christmas tree.

A down-on-his-luck father, low on cash, surprises his adorable six-year-old daughter, Eva, when he arrives home with the tree. Filled with joy and delight, Eva reminds us of ourselves back when we were kids during the holidays.

However, his wife doesn’t seem so happy about it.

Caspian, who continues to live in the tree, also seems pretty steamed by the situation. He’s especially annoyed by all the flashing lights and ornaments Eva worked so hard to decorate the tree with – that little girl vandalized his home!

Seeking retribution, Caspian destroys all the decorations while everyone’s asleep – proudly dusting off his hands afterwards, he seems very satisfied with his handy work.

But when Eva discovers the mess, it breaks her heart. It’s already been a rough year for her family and she knows that she won’t be receiving many gifts. This tree was pretty much the only thing keeping her spirits up. Her sadness and disappointment tugs at our heartstrings – including Caspian’s. Overcome with guilt, the once-angry pixie has a change of heart and becomes determined to make Christmas special again for Eva.

In the vein of other feel-good animated shorts such as “Feast” (a personal favorite of mine), this script really works on so many levels, especially on an emotional level. I read the script two days ago and I’m still smiling.

BUDGET: Depends on what type of animation is used. But I think this would work in a number of styles: traditional, classical style animation, stop-motion or more complex, Pixar-style animation.

ABOUT THE WRITER: Matthew Taylor is an accountant from Shakespeare’s county. Though fairly new to screenwriting, he is a naturally gifted storyteller hitting his stride as a writer, recently securing an option for one of his scripts. Though he’s always learning and looking to improve his craft, his skill level is far more advanced than most writers with similarly limited experience. Matthew spends his spare time reading scripts and books. His dream is to be able to make a living from screenwriting, specializing in the science fiction and fantasy genres. Matt can be reached at: scripts.by.mt (a) gmail.

Read: A PIXIE LITTLE CHRISTMAS (6-page short animation screenplay)

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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.

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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.

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AFTER ACTION (9-page short drama screenplay) by STEVE MEREDITH

A young Army JAG attorney defending a soldier on trial for assaulting a superior officer must convince the opposing counsel to have a redacted after-action report declassified… a report that could exonerate the mentally ill defendant.

There’s a very blurred line between right and wrong in writer Steven Meredith’s courtroom military drama, After Action – a masterclass in dialogue. Yes, film is a show me medium, but when dialogue is this good, seeing two people talk can be just as fascinating as a dazzling set piece. In what reads like a play – this is 99% dialogue – every moment of dialogue simmers with tension as grizzled Captain Peter Crawford faces off with young army JAG attorney, Lieutenant Benjamin Walker in a chess game of words.

Though this has the feel of a military courtroom drama, it all takes place in a conference room as young Lieutenant Walker tries to convince Captain Crawford to have a completely redacted after-action report declassified to help exonerate his mentally ill defendant, Private Sam Ross who faces charges for violently attacking his commanding officer. But he claims that the attack was provoked by constant abuse at his commanding officer’s hands that caused severe PTSD.

Lieutenant Walker’s client faces an uphill battle though.

Of course, there’s much more to the story – and that redacted after-action report could very well determine the fate of Private Ross.

Just as compelling as the strongest scenes in A Few Good Men, this would be a piece of cake to film, especially when taking COVID precautions into account.

BUDGET: Shoe string. Two actors and a conference room.

ABOUT THE WRITER: Steve Meredith began writing short screenplays as a student in college, and while he currently works as a small business lender, in his spare time he continues to write heavily dialog driven short screenplays that are ideally suited for production by independent film companies, or student filmmakers. Steve holds a Bachelor of Arts in Music from Seton Hill University, and he currently lives in Western Pennsylvania with his wife Kelly, and his son Preston. Steve can be reached at: steve.meredith (a) live.com

Read: AFTER ACTION (9-page short drama screenplay)
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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.

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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.

Subscribe to Michael’s YouTube Channel.

HONEY MUSTARD

 After being stiffed, an unhinged waitress, hell-bent on revenge, torments the customer who didn’t tip her and his surprisingly resourceful family.

One of the hallmarks of a great screenplay is how quickly a reader can become immersed in a story. The writing flies off the page, the dialogue zings, the action never lets up, and the characters instantly come to life.

Honey Mustard has all this and more… From page one Michael Kospiah’s feature-length Indie-Horror puts the pedal to the metal and never lets up in this blood-soaked and frenetically-paced whodunnit tale of action and revenge.

Ever wish you could press rewind on a particularly bad day?

We open on the emotionally wrought and tormented character of Stella in a scene of not-so domestic bliss. To say Stella’s having a bad day is rather an understatement. Having finally had enough of the abuse at the hands of her redneck husband, Oscar, (a small-town cop, no less), Stella grabs a kitchen knife and a frying pan and in a violent frenzy dispatches him (albeit in self-defense) in short order.

What does Stella do next? Well, she grabs a ride with co-worker and secret lover Matilda, and sets off for work as if nothing happened, leaving her husband’s blood-soaked and lifeless body on the kitchen floor.

Stella’s a waitress at Mel’s Diner, an establishment we instantly recognise as being light on equal-opportunity in the workplace and heavy on juvenile frat-boy antics. And that’s just the guys working the grill. Usually, Stella is stoic in the face of frequent taunts, sexist barbs, and racial slurs, but the events of the morning have left her traumatized and her sanity hanging by a thread. Not to mention she’s now hallucinating the spectre of dead husband Oscar, who continues to get inside her head and bark orders at her – including telling her to: ‘kill them all’!

The final straw in Stella’s awful day comes in the form of a nightmare customer –  one Buford Blumpkin, and his seemingly innocuous request for –

Chicken Fingers with

…  a side of Honey Mustard

Little does Stella know that Buford not getting his precious honey mustard will set off a chain of events destined to throw the two of them on a deadly collision course.

DINING ROOM

He grabs her by the wrist, forcing her to a halt.

Now, Buford’s having a pretty bad day himself. His house is up for sale, he has a wife and son to support and fresh from the unemployment office he’s already bent out of shape. Not taking kindly to being treated like this he devises a little payback of his own.

After all, the customer is always right, right?

When Stella returns to his table –

Two little words that might just prove fatal.

Especially as a little bit later we cut to a scene of utter carnage at the diner and a stunned Buford watching a news report on the television –

            FEMALE NEWS REPORTER (V.O.)
I’m standing in front of Mel’s Diner in the small,
rural town of Keaufax where six people were found
brutally murdered earlier today…

Nerves rattled, Buford continues to watch…

It seems like hell hath no fury like a server scorned. But all this over a lost tip?

What’s particularly disturbing for Buford however is that his wallet’s gone and now Stella knows exactly where he lives.

Don’t even imagine you can guess where this plot’s headed because the third act is a killer with its clever twists and turns, shocking reveals, and high octane action. Just when you think you’ve got things sussed and the characters firmly pegged in their separate camps as good guys and bad guys, writer Michael Kospiah throws a curveball into the mix that you won’t see coming.

Written with a sure hand and with a sly nod to 80s pulp slashers, Honey Mustard is a gory, funny, tense and suspenseful thrill ride with one helluva bad-ass lead female character. If you enjoyed Don’t Breathe, You’re Next, Villains, and one of my personal favourites, director Coralie Fergeat’s Revenge, you’re going to love this. 

… Just one last thing before I hit the time-clock, and it’s a big tip of my own –

Honey Mustard’s the special of the day – destined to join the ranks of horror/thriller sure-fire hits, or become a much-loved Indie cult favourite. It’s going to be in big demand and because of this very likely to be on the table for a limited time only…

My suggestion: Get your order up fast, before it gets snapped off the menu…  Just be sure to ask nicely.

As Stella would say –

Y’all have an amazing day now.

BUDGET: Low budget, especially suited to Indie filmmakers, two main locations with a few generic locations for smaller scenes. Someone adept with blood SFX.

NB: CASTING – A special shout-out to Sasha Lane who the writer had in mind when creating the character of Stella. According to Michael, “She’s awesome and would murder the role”.  I suppose one could “At” her at @SashaBianca23.

ABOUT THE WRITER:

Michael is a NYC-based, award-winning screenwriter. His critically-acclaimed feature film, “The Suicide Theory” (79% Rotten Tomatoes score) won awards at Dances With Films and Austin Film Festival and received a limited US theatrical release, 3-year run on Netflix and can now be seen on Amazon Prime, Itunes & Google Play. His latest film, “Rage” continues to collect film festival awards and will be available on most streaming platforms Feb. 2021 after picking up worldwide distribution. His feature films, “Her Lost Winter” (co-writer), and “They Never Left” are slated for production mid/late 2021. Michael can be reached at: spesh2k (a) msn.com

Read HONEY MUSTARD

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.

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ABOUT THE REVIEWER:

L. Chambers has been writing all her life – especially in her head, and on scraps of paper. It’s only in the last few years she began to get serious about screenwriting. Prior to this she worked in the Features Department for ABC TV as a Program Assistant, and trained as a FAD. She currently works as a freelance web-content editor and lives with her husband (also a screenwriter) in Sydney, Australia.

Over on the Unproduced Scripts page are the scripts of the December One Week Challenge wherein writers had a week to write a six or less page script on the theme of an enchanted ornament.*

Check ’em out!

– Don

*anyone interested in obtaining the rights to these scripts, please reach out to me at webmaster (a) simplyscripts OR wait until the end of the week when the writers are announced.