LINES (5-page short thriller screenplay) by PAUL KNAUER

A mother and daughter, struggling to get by, find themselves eluding gangsters when their deadbeat, drug addicted husband/father can’t pay the gangsters the money they’re owed.

BLOOD IS THICKER THAN WATER was the theme for Week Two of our annual writer’s tournament here at Simply Scripts, which saw many impressive entries – each writer was given a different genre and three items to include in each of their scripts. I assumed the theme was about loyalty to family in some form and, after reading several of the entries, my assumptions were correct.

One entry that caught my eye while also notching the top overall voting score was a cool little thriller called Lines, written by the very talented Paul Knauer. A Simply Scripts vet who’s had several scripts optioned and produced, Paul is no stranger to these challenges and tournaments, continuously placing high in many of them. I’ve already reviewed two of his entries – Potato Radio, an entry from the COVID themed May One Week Challenge, and Passwords, from the horror/sci-fi themed June One Week Challenge.

Paul, of course, was assigned to write something in the thriller genre while also being given the following three items to include in his script – ketchup packets, homemaker and an auto body shop. And not only did Paul seamlessly weave these items into his story, but each item actually played a major role in the plot.

Through the story’s opening visual, we immediately understand the title of Paul’s tale as we see some drug paraphernalia neatly lined up on a desk at an auto repair shop (criteria item #1). We’re introduced to Steve who, along with being a mechanic, is also a deadbeat father, awful husband and meddling drug dealer who owes his boss some money – rather than selling his product, he’s been partaking a little too much.

Back at their apartment, we’re then introduced to Steve’s wife, Leslie, the homemaker (criteria item #2) who desperately searches the empty cupboards and refrigerator, trying to find dinner for their eight-year-old daughter, Stella. Met with cobwebs, Leslie decides to gather some change and take Stella to a local fast food spot to order a burger off the dollar menu. But as they’re gone, two goons break into their apartment, searching for the stay-at-home mom and the little girl, most likely related to Steve’s money situation.

Meanwhile, Leslie and Stella are at the fast food spot, getting dinner. While the fast food clerk has their back turned, Stella snatches up a bunch of ketchup packets (criteria item #3) and stuffs them into her mother’s purse – this seems to be a routine for them while also being a strange way of mother and daughter bonding.

After leaving, Leslie sees the auto repair shop in the near distance and decides to take Stella there to pay Steve a visit. Unfortunately, Steve’s no-nonsense drug boss, Victor, has already beat them to the punch. Unbeknownst to Steve or Victor, Leslie eavesdrops from the other side of Steve’s office door.

Ouch, that’s gotta hurt. But Leslie’s got something else up her sleeve, finding a way to get back at her husband while ALSO eluding Victor and his goons. I won’t spoil it for you, but let’s just say those ketchup packets come very handy and play a major role in her plans.

Insanely clever, especially given the assigned criteria with one week to write, Lines is one that filmmakers and producers should be scrambling for. With a sensible budget and great characters, this could EASILY be filmed with social distancing in rules in effect.

BUDGET: Low to shoe string. Writing on a budget can be tricky when it comes to these writer’s tournaments where each writer is given a certain criteria to meet. But this one has a minimal cast and simple locations.

ABOUT THE WRITER: Paul is an optioned and produced screenwriter working out of the Kansas City area. His main focus is thrillers and slightly absurdist comedy with heart, most of them about life in the Midwest U.S. His first script, a sitcom pilot titled OH, BROTHER!, placed second in the 2012 Fresh Voices Screenplay Competition and was subsequently optioned. Paul’s diverse portfolio includes several feature thrillers, a couple of comedy features and multiple sitcom pilots, as well as dozens of shorts across genres. He believes that becoming a better writer requires the ability to push personal boundaries. Paul can be reached at: pkcardinal (a) gmail.

Read: LINES (5-page short thriller 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.

CONFESSIONS OF A CADAVER (3-page short horror screenplay) by Matthew Taylor

As a surgeon dissects a cadaver, it tells him a story he doesn’t want to hear.

If you watch gangster films, you’ve probably heard some variation of this line before – “Dead men don’t tell tales”. But if you watch true crime films and documentaries – I highly recommend Netflix’s Unsolved Mysteries reboot – you know that couldn’t be further from the truth. Sometimes, a cadaver can weave one hell of a tale… in great detail. A lot can be determined through examining a cadaver. Of course, cause of death is one of those things. And through toxicology reports and blood tests, you can also discover whether or not drugs were consumed leading up to their death… hell, you can even find out what the person ate the day of.

Now, I know what you’re thinking – What a grim introduction! Well, the script I’m reviewing is very grim and very dark. I’m sure you can tell by the apt title. But this isn’t just your everyday crime thriller or police procedural ala Criminal Minds, Law & Order or any of the CSI shows – this is a morality tale on a smaller, more personal scope that you’d see in an Alfred Hitchcock Presents reboot. And it all takes place in an autopsy room (or whatever the proper term is) where a surgeon examines a cadaver in front of a small group of medical students. And though they find out a lot about this cadaver in particular, its the surgeon that finds out more about himself during the examination in Matthew Taylor’s clever, sharply-written micro-short that’s just as grim as its title, Confessions of a Cadaver.

The story gets right to it, opening on a gloved hand making a Y-shaped incision into the abdomen of the title character, the cadaver.

All business, not a moment of emotional inflection in his voice, the surgeon is accompanied by an assistant/observer as the group of medical students watch attentively. As the surgeon continues to reveal more information about the cadaver while inspecting it, the observer seems to be a little bothered by his coldness and lack of emotion.

As the examination continues, the surgeon poking, prodding and showing the students the scarred organs (including the heart), we find out that the cadaver has endured drug abuse, alcohol abuse and even further self-harm made evident by the slash marks on its wrists – this was one depressed individual who was battling some serious demons.

But it’s through the observer that we soon find out the cadaver’s name – Henry. In fact, as the surgeon continues to explain every medical detail to the class, the observer, who’s continuously annoyed by the surgeon’s matter-of-fact disposition, reveals more and more detailed information about the subject’s personal life, far beyond the medical aspect.

As we continue to peel away at the onion, layer by layer, a truly shocking reveal is made. This intricately told story has a much deeper theme than what I’ve described so far, but to reveal that theme would be giving away the twist of the story.

I’m a huge fan of Matthew Taylor’s work – I previously reviewed a short of his, Inbox (1), which is still available, by the way. And Confessions of a Cadaver is a big reason why I admire this writer’s work so much. Excellent at creating an eerie tone, the writer also excels at exploring deeper themes that start off as subtle, slowly building to a gut-punch of a reveal. I highly recommend Confessions of a Cadaver to any filmmaker searching for a sharply-written, atmospheric tale that, not only gets under our skin visually, but also emotionally.

BUDGET: Low. Minimal cast (2 main characters), one room and some clever prosthetics.

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. He can be reached at Taylor.MJ88 (a) Gmail.

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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.

LAW SCHOOL (6-page short thriller screenplay) by William David Glenn IV

A potential law student interviews an attorney about his craft, but as their discussion continues his true vengeful motives come to light.

Vengeance is a dish best served cold. And the vengeance in William David Glenn IV’s satisfying, one-location thriller, “Law School”, is served so cold, it’ll will give your taste buds frost bite. But like any plot for revenge, it is completely justified, especially in the eyes of the avenger – though it’s often a very thin line. Especially when the initial offender that originally sparked this act of revenge isn’t, sometimes, entirely at fault.

The offender in this tight little pot-boiler is a criminal defense attorney named Wilson Jacobs. As a criminal defense attorney, he is often seen as the scum of the Earth, making a living defending the worst of the worst – killers, swindlers, thieves, etc. Like many criminal defense attorneys, they’re often defending clients who are guilty. But, due to the law, they MUST do their jobs and DEFEND their clients to the best of their abilities, despite what their conscience might tell them. Although, in losing a case while defending a monster, sometimes it’s secretly a moral win for the defense lawyer. After all, justice was served, right?

Today, Wilson gets to take a little break from his normal conscience-challenging duties – his wife has set him up with an interview with a young lad who’s interested in attending law school named Logan Barton. But just as Logan enters the room with a couple cups of coffee for himself and Wilson, something seems off. As if Wilson recognized him from somewhere.

After a little small talk, the two get down to brass tacks with Logan openly recording the whole conversation (which Wilson agreed to).

Wilson looks back fondly on his 18-year career, though he’s had a few cases that took a toll on him due to the heavier-than-usual workloads they required. But at the end of the day, Wilson loves his job, telling Logan that “It’s tough, but rewarding”. He gives Logan a few golden nuggets of advice in regards to whether or not being a lawyer is something he should pursue or not.

But soon, their conversation gets a little more detailed and personal when Wilson tells the budding lawyer that he doesn’t regret any of the cases he took on – even the ones he screwed up.

And as the story slowly continues to unravel, we find out exactly who Logan is and why he’s there. And though we feel some sympathy for Wilson, the finale/act of vengeance feels earned and is completely satisfying, albeit twisted. Just goes to show, especially when your a criminal defense attorney, you should always do your job to the best of your abilities – the lives of others depend on it, and not just the defendant’s.

Crackling with tension, the payoff to this slow burn is worth the price of admission. Especially with social distancing in place, this would be a piece of cake to film.

BUDGET: Shoe-string. Just two actors, one location (a lawyer’s office).

ABOUT THE WRITER: William David Glenn IV is a filmmaker and screenwriter originally from Lexington, Kentucky and is now living in Los Angeles. He has been an avid (some may say obsessive) movie buff from his early days. Turning this passion for movies into creation, he has written, produced, directed, and/or edited a variety of independent projects; including a feature film titled “Ghost in the Family” which was picked up by ITN Distribution and is available to watch on Amazon Prime Video. There are multiple short scripts of various genres available to option from him on Simply Scripts (and more to come). William can be reached at: davidglennivscripts (a) gmail

LAW SCHOOL (6-page short thriller 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.

STAY SIX FEET APART (2-page short horror screenplay) by Rob Herzog

A socially distanced flirtation takes a hideous turn.

You know what would be awesome? If life went back to some semblance of normalcy again. There’s been flashes here and there – many restaurants around me have opened their outdoor seating, while keeping tables six feet apart. I believe in NYC this was part of Phase 2. Phase 3 was supposed to begin, but it’s been postponed after a spike in COVID-19 cases in Florida and Texas. Bummer. But as much as I’d really like to enjoy going out to a restaurant or bar and hanging out with friends again, while making new friends – what’s most important is everyone’s safety. And, as badly as I’ve craved a social life, I did think we were kinda jumping the gun a little bit.

I, myself, haven’t seen my girlfriend in person for a very long time, which sucks. But we do our best, watching movies together at the same time while texting each other comments during the movie, face-timing, etc. I do consider myself lucky despite the separation anxiety. Because how much must it suck to be single during all this quarantining and social distancing? How is romance possible without human contact? How do you even find the opportunity to meet that special someone? Do you know how many potential love connections HAVEN’T been made during this crisis? How many babies that HAVEN’T been conceived?

Horror connoisseur and writer of Stay Six Feet Apart, Rob Herzog, tackles romance during social distancing the only way we would expect Rob Herzog to tackle it – in the goriest, most gleefully disgusting fashion possible.

Somewhat of a commentary on safe social distancing, we open in a park where everyone keeps their distance while going about their days, all of them wearing N-95 masks. In a meet-cute moment straight out of a wholesome romantic comedy, two very attractive (from what we can tell with their masks on) potential lovebirds – PAIGE and AARON (both in their 20s) – cross paths. And they immediately catch each other’s eye – love at first sight.

Though there isn’t any dialogue, we see just how much of a connection is made between them. It starts off with some small talk and a few laughs. Soon, the couple is walking together through the park, though still keeping six feet apart from each other. But as their lovely walk through the park together continues, they begin to break their social distance more and more, getting closer and closer… until they finally touch hands in a wonderfully romantic moment that will fill your heart with warmth and remind you of first loves from the past.

Finally, Paige blows Aaron a kiss. But, unable to fight this temptation, unable to let social distancing keep them from acting on their urges, things get hot and heavy. And they embrace…

But the romance takes a strange turn once the masks come off. Especially when Paige removes her mask first. In a classic body horror reveal, we find out just how strong this potential couple’s connection really is. This reveal felt like early Peter Jackson meets David Cronenberg, but Rob Herzog definitely puts his own unique twist on it.

Cute, funny and gleefully repulsive, “Stay Six Feet Apart” is the perfect romance/horror micro-short for this strange time we’re living in. And with only two actors and an outdoor location, this would be ideal to film during social distancing at dirt cheap – though I do recommend a strong make-up artist.

BUDGET: Shoe-string – Low. Two actors, a park and a good make-up artist, particularly one that specializes in the horror genre.

ABOUT THE WRITER: Rob Herzog is a Chicago screenwriter. He has sold two short scripts and won prize money in two small screenwriting contests. His short horror script Creak and Shriek was produced in 2019 by Mad Dreamer Entertainment and can be viewed on various platforms like Amazon Prime, YouTube and Vimeo. He has a master’s degree in English composition from Northeastern Illinois University. Rob can be reached at: robherzogr (a) hotmail.

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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.

FROM BEFORE (12-page short horror screenplay) by James Austin McCormick

An ambitious university professor finds the things he’s done to come so far so quickly come back to haunt him… quite literally.

As a massive horror fan, it might be surprising to hear that I am not a massive fan of horror films about the occult and satanic rituals. I’m not sure why, exactly, though I’ve seen a few really, really good ones – Rosemary’s Baby, The Wicker Man (not the Nicolas Cage remake), the excellent South Korean film, The Wailing and, more recently, Ari Aster’s films, Hereditary and Midsommar. I guess what I’m trying to say is that, for me to enjoy a horror flick about the occult, it has to be really, really good. The same goes for screenplays.

Luckily, I stumbled upon James Austin McCormick’s twisty, uber-creepy occult horror short, From Before, which is currently available for production*.

The story kicks off when we meet the ambitious and already very successful Dr. Sam Adams, a 26-year-old professor of literature and vice chairman of the committee of trustees at his college. He’s speaking to his class about Faustus – a nice touch of foreshadowing – when, suddenly, he begins to smell something burning. He continues to quiz his students on Faustus but can’t seem to shake that odor that only he seems to smell. That’s when he looks to a student named Michael and notices peculiar burn marks fresh upon his face.

Claire, Sam’s girlfriend, seems to think these waking nightmares are the product of stress. After all, Sam is taking on a lot of responsibility for someone in their mid 20s after rising up the ranks so quickly.

After a love-making session to shake off the stress, Sam wakes up to the horrifying image of a demon-like figure in his room named Jack – staring at Sam through the dark with reptilian eyes and claws. Jack tells Sam the same thing that he thought he heard in his earlier waking nightmare – “I’m coming for you.”

We soon find out that Jack is also the name of Sam’s brother, who has been lying in a coma for the past three years. You see, at least according to Sam, Jack was into magic and the occult and lit himself on fire as part of a magic trick. After Sam’s most recent waking nightmare, he learns that Jack has indeed passed away – one hell of a coincidence, so it seems. Of course, we discover that it wasn’t a coincidence at all.

As the story ensues, Sam’s mental health continues to spiral to the point where he’s scaring his girlfriend Claire, who’s quite disturbed by all the symbols and markings Sam has decorated his house with – he claims it’s for protection. But protection from what, exactly?

To reveal anything more would be spoiling it for you. But I will say there is quite a double swerve at the end – a very satisfying one at that. A very tight script with plenty of twists and turns, this little tale also has some genuinely creepy moments and even some great jump scares – which is difficult to pull off on paper. If you’re a filmmaker looking to scare the “hell” out of your audience, I recommend taking a look at From Before.

BUDGET: Low.

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.

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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.

Over on the Unproduced Scripts page are the eighteen short scripts from this months Writers’ Tournament.

This weeks theme was “Money is the Root of All Evil.” These are short, 6 page scripts written by the best writers on SimplyScripts and nearly all of them have had multiple scripts produced. So, if you are looking for a short script to shoot during this plague year, reach out to them.

Please note: These were written in a short time frame and not polished works.
– Don

ALL GOOD (21-page short drama screenplay) by Ben Clifford

When his father is released from a mental institution, a confused teenage boy begins questioning his mother about his father’s return to the family home.

As difficult as adulthood can be, life is arguably at its most confusing during our teen years. Especially when transitioning from adolescence. Our bodies are changing, our voices are cracking and our hormones begin to take over. It’s also a time when we’re slowly being introduced to some of the cruel and harsh realities of life. It’s when we’re at our most insecure and angst-y, struggling to find our identities… all while trying just to fit in. But sometimes discovering who you are makes fitting in difficult. Especially for 13-year old Thom, the shy, lonely protagonist in Ben Clifford’s heartfelt coming-of-age drama, “All Good”.

Before we even FADE IN, we already get a sense of where Thom’s head is at through his opening dialogue:

This is just another Wednesday at the guidance counselor’s office. Every Wednesday, Thom pays Mrs. Larkin a visit and lets off some steam. When your guidance counselor is the closest thing to a friend you have, you know you’re pretty lonely. The closest thing to friendly interaction he has with someone his own age is when he’s being bullied while sitting alone at lunch.

We find out that Wednesday is also Thom’s visitation day with his father, Graham, who currently resides within the confines of a mental health facility – after getting arrested for running around naked in public and screaming incoherently at tourists. But Graham seems to be doing pretty well these days. So well, in fact, that he’s been cleared to go back home the next day – though he’s not quite allowed to move back in with his wife, Kathy, and son, Thom just yet.

Eager to make things right with his wife, Graham practically begs Thom to put in a good word for him. But Kathy seems to have other plans, changing the subject every time Thom asks, “When is Dad moving back in?” Until she later gives him her answer:

Not the least bit interested in rekindling her marriage, Kathy seems to be spending A LOT of time with another kinda-single mother named Tina, whose son, Fraser, is right around Thom’s age. Well aware of her son’s loner status, Kathy introduces the two young teens, who have something in common – complicated relationships with their fathers. Through this bond, Thom and Fraser become friends. But Thom has been hiding a secret – he’s gay. And after an awkward moment during a sleepover, Thom decides to run away from home in embarrassment.

To further describe how the rest of this plays out wouldn’t be doing the story justice. Beautifully written, author Ben Clifford tackles themes such as mental health, self-discovery and sexuality with great sensitivity and care. The characters feel like real people and the way the story is told feels like it comes from a very genuine place – as if the author lived it, himself.

Sure to give you the feels, “All Good” is a fantastic slice-of-life drama that would do very well on the film festival circuit – highly recommended to any filmmakers looking to tackle a strong character piece with difficult themes.

BUDGET: Low to shoe-string. There are multiple roles, but the story is dialogue driven and the locations are very simple.

ABOUT THE WRITER: Ben Clifford is an Australian screenwriter interested in writing drama and comedy. He’s greatly inspired by the works of Peter Weir, Harmony Korine, the Marx Brothers, Todd Solondz, Andrea Arnold, and Cate Shortland. Ben can be reached at: cliffordben502(a)gmail.

Read: ALL GOOD (21-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.

TERMS & CONDITIONS (6-page short horror screenplay) by Anthony Cawood

A desperate dash to answer a call of nature leads to an unexpected diagnosis.

Technology is so smart these days, isn’t it? It kinda started off with the smart phone, which took me a few years to accept and adjust to. I didn’t even know what a “smart phone” was at first, though I was told that my flip phone wasn’t considered one (that was in 2014). Then everyone started getting smart TVs and soon after, I started seeing smart microwaves, toasters, ovens, refrigerators and even fireplaces.

In Anthony Cawood’s June FUTURE CHOCK One Week Challenge winner, “Terms & Conditions”, the story centers around a smart TOILET. Now, I had to Google this, but there are already smart toilets on the market. Though most are simple – they pretty much just save water and electricity – there’s a bunch out there that have foot and seat warmers, bidets, touch-screen remotes, built-in speakers to go along with built-in radios and MP3 players… you name it.

But the smart toilet in this story is, well… smarter. Imagine a toilet that can actually run tests on your urine with almost-immediate test results. Doesn’t really sound too far-fetched, come to think of it. It will only be a matter of time when these kinds of smart toilets are used to perform instant-result drug tests and possibly even medical tests, giving patients a diagnosis and prognosis within minutes…

Which is pretty much what the toilet in Anthony’s story does. Set in the near future, possibly the late 2020’s, we open in a shopping mall where we follow 70-year old Ted Lawson, who has one goal in mind: to find the nearest bathroom. He’s gotta go and he’s gotta go BAD.

Finally, after finding one, he hurries into the nearest cubicle and unleashes a stream that could crack a windshield. But, as he finishes up, something strange happens.

Ted thinks he’s on one of them hidden camera shows at first – which would be the creepiest hidden camera show ever. But he soon finds out what exactly he walked into.

In a rush to relieve himself, Ted unfortunately did not read the terms and conditions posted on the door before entering.

Ted tries to leave but finds himself locked in until the MediScan toilet finishes analyzing his urine sample for results – results that he probably would’ve preferred to find out about from an actual doctor. And as Ted receives the horrible news, he soon finds out that MediScan isn’t only cleared to run tests and deliver results – it’s also allowed to perform a “service” that’s apparently legal in the future. I won’t give away the fun of it (or horror in this case), but let’s just say Ted signed something without reading it, allowing this frighteningly blunt robot toilet to perform what it was programmed to do.

For some reason, while reading the toilet’s dialogue, I kept hearing the voice of Hal from 2001: A Space Odyssey. Which kinda sent chills up my spine despite the screenplay’s fun nature – well, fun up until the horrifying conclusion. A very unique and original story, this would be a very memorable film to watch unfold on screen.

BUDGET: Low. One location, two actors. But some creativity on the filmmaker’s part will be needed to show the toilet functioning the way it does in the story.

ABOUT THE WRITER: Anthony Cawood is an award-winning screenwriter with one feature produced and a further four features optioned or in pre-production. In addition to features, he has over forty short scripts produced/sold/optioned – including ten filmed. Also occasionally pens screenwriting articles, interviews with writers and filmmakers, and even a short story or two. He can be reached on his website AnthonyCawood.co.uk.

Read: TERMS & CONDITIONS (6-page short horror 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.

Over on the Original Scripts page are thirteen original scripts for your reading pleasure.

– Don