2009 Screenwriting Expo

Sup peeps!
if you're in L.A. from OCT. 16th - 18th, this is one event you DON'T want to miss! Use the ISA code and receive 10% off your registration!



2009 Screenwriting Expo
For information or to register go to: click here.
If You Are Or Want To Be A Screenwriter, Here's Why You Should Attend The Screenwriting Expo...

SAVE 10% on Registration with the discount code below!- 135 seminars to improve your screenwriting and your skills at selling your scripts - A chance to hear and ask a question of our Guests of Honor: famous screenwriters and producers (so far this year, William Goldman, John Cleese, producer/exec Mike Medavoy, CSI’s Anthony Zuiker, Karey Kirkpatrick, Shane Black, Franklin Leonard (creator of The Black List) and Emmy-winning TV writers/producers James Manos and Erik Bork are on the program). - Network: rub elbows with 2,000 other screenwriters, agents, producers, directors, screenwriting teachers, and script consultants.

- Visit the exhibit hall for discounts on every screenwriting supply, book, or resource imaginable

- Practice pitching your stories at Pitch Boot Camp, then pitch your script and maybe close a deal.

- Save 10% off the registration fee with this coupon: ISA If you're a seasoned pro, the Expo has great tuneup and specific-topic classes for you -- writing an opening, character arc, dialogue, endings, pitching, managing your career. If you're an absolute beginner, the Expo is the place to start. It even has classes on how to use the screenwriting software of your choice.

If you're somewhere in between, they you're like most Expo registrants. From October 16-18 (Fri-Sun), the 2009 Screenwriting Expo will once again host the best pitch event in existence: The Golden Pitch Festival. With the best collection of studios, production companies, agencies and management companies we've ever presented, the Golden Pitch Festival gives you unparalleled access to industry professionals at top companies who are actively seeking new clients and material. For legal reasons, many of these companies must reject unsolicited material from unrepresented writers year-round - yet for 3 days this October, they've opened their doors exclusively for you!

Companies attending this year include Warner Bros, UTA, Gersh, Lionsgate, Summit, Imagine Entertainment, Relativity Media, Laura Ziskin Prods., Kurtman/Orci, Smoke House (George Clooney), Phoenix Pictures, and many many many more! The sooner you register, the better shot you have at nabbing slots with these amazing companies,. The ON-SALE date for these tickets is just A COUPLE DAYS AWAY. Make sure you are part of our attendee list so you will have your chance to get your idea out there. Come to the 2009 Screenwriting Expo – you won’t regret your decision!

For information or to enter, click here.

Nick Writing Fellowship

The Nickelodeon Writer's Script Review is a one day, by invitation only event designed to prepare applicants for submission to the Nickelodeon Writing Fellowship.
Writing for television is a rewarding and creative outlet and a lucrative career path that enables writers to continually develop and fine-tune their written skills. The Nickelodeon Writing Fellowship serves to attract, develop and staff writers with diverse backgrounds and experiences on Nickelodeon Network productions.

Script Review applicants will be asked to submit a spec script based on any 1/2 - hour comedic television series currently in production on primetime network or cable by Friday, March 13, 2009. Spec scripts will be reviewed by Nickelodeon Executives and up to twenty candidates will be selected to participate in one-on-one script reviews in Miami on Thursday & Friday, June 25th & 26th, 2009. Selected candidates will have one-on-one time with Nick Executives, will receive feedback on their scripts during the script review and in addition will then be required to submit to the 2010 Nickelodeon Writing Fellowship program.

Go here to subit your application today!!

Tonight's workshop: yes we can

Tonight, Wednesday, 6:30-9:30pm, is my free screenwriting workshop: "Story Structure & Creative Exploration". Be guided through writing exercises that free you to explore as you lay the structural foundation of your story.

In addition to the usual program, we will have the opportunity to celebrate what is a momentous event in human history. Regardless of who you voted for or would have voted for, you are welcome to join in the celebration as we are reminded of the critical role that artists play in shaping the course of human events. (Past and current students just wanting to convene and celebrate are especially invited to attend!)

Location, and RSVP at: http://thierproductions.com/free_workshop.html (Reservations not accepted by email. RSVP through website only.)

Your name will appear on the reservations list if you RSVP by 4pm. After that, you are welcome to attend as a walk-in. Participants with reservations will be seated first. At 7pm, all reservations are forfeited and seats will be given to stand-by attendees.

WEEKEND SEMINAR: Story Structure & Creative Explorations

New and experienced writers will gain a battery of effective tools to help bring both skill and inspiration to every draft:
Maximize the emotional impact of your work: Tell memorable stories and learn how to evoke the emotions you intend in your audience. A dozen film clips shown to demonstrate the concepts.
Dissolve writing blocks: Jump-start the creative flow
Ease and simplify the development process: Rather than battling a script for years, learn how to break down the process into small, manageable, and effective steps.
Study story structure: Learn how to keep a story engaging from start to finish by focusing on characters rather than plot
Network: Gain specific tools to building a network of support and marketing your work.
Saturday, Nov. 15, 10am-6:00pmSunday, Nov. 16, 10am-5:00pm
Cost is on a sliding scale of $285-485 (you choose the fee, payment plans possible). Partial scholarships are available on a financial-need basis; see site for details.

Free Screenwriting Workshop in NYC

Screenwriting Seminars with Ela Thier

Free Workshop: Wed, Nov. 5
Weekend Seminar: Sat-Sun, Nov. 15-16
Weekly workshop: Thur evenings, Oct. 23-Dec 18
Also included: "REGARDING OBAMA: a short lesson in US history.

THE FREE WORKSHOP
"I've been writing scripts for over twenty years, and learned more in three hours than I have in the last two decades" -Eddie Aronoff

Ela Thier's free evening seminar includes a portion of the weekend seminar and is designed to function as a complete workshop in it of itself. New and veteran writers are warmly welcome.
Wednesday, November 5, 6:30-9:30PM(Presentation begins at 7pm)
Free and open to the public. RSVP is required.
For location, additional details, or to make a reservation, visit this site:

(Reservations not accepted by phone or email. RSVP through website only.)

WEEKEND SEMINAR: Story Structure & The Creative Process
New and experienced writers will gain a battery of tools to help bring both skill and inspiration to every draft: Maximize the emotional impact of your work: Tell memorable stories and learn how to evoke the emotions you intend in your audience. A dozen film clips shown to demonstrate the concepts.

Dissolve writing blocks: Jump-start the creative flow
Ease and simplify the development process: Rather than battling a script for years, learn how to break down the process into small, manageable, and effective steps.
Study story structure: Learn how to keep a story engaging from start to finish by focusing on characters rather than plot.

Network: Gain specific tools to building a network of support and marketing your work.
Saturday, Nov. 15, 10am-6:00pmSunday, Nov. 16, 10am-5:00pm
Cost is on a sliding scale of $285-485 (you choose the fee, payment plans possible). Partial scholarships are available on a financial-need basis; see site for details.
Follow this link to view: TestimonialsCourse DescriptionWorkshop ApplicationInstructor's Bio
WEEKLY WORKSHOP

Meet regularly for eight weeks and receive regular feedback as you:
Become a more disciplined, prolific and efficient writer
Deepen your command of story structure
Write more compelling characters and relationships
Achieve the emotional impact that you intended for your story
Become your own best story editor
Network with other writers for long-term support and possible collaborations
Discuss the business of screenwriting

WEDNESDAY October 15th is YOUR LAST CHANCE!

If you haven't submitted, or know someone who should, please go to the www.WithoutAbox.com link below or FORWARD this email, to Enter for your chance to:WIN A PRODUCTION DEAL! Details below....

WIN A PRODUCTION DEAL!

New INDIE screenplay competition offers an exciting PRODUCTION DEAL to the grand prize winner... The winning writer of The Movie Deal! Screenplay Contest will receive an honest-to-gosh PRODUCTION DEAL, plus airfare and accommodations to the set of their own film.
The goal is to produce a hit bigger than 'Project Greenlight' ever dreamed of. We're looking for an original, innovative, yet marketable idea that could garner the success of the hits 'Napoleon Dynamite,' 'The Blair Witch Project,' or 'Open Water.' It doesn't matter what genre, it just has to be INDIE and INTERESTING!

You don't need AGENCY representation to enter. We want the best scripts in the market, which as independent filmmakers we know usually comes from up-and-coming talent, just like you!
Entries to The Movie Deal! are invited in 10 categories for feature length genres, as well as TV pilots, and short films. For submission details and other information, please visit: www.WithoutAbox.com

Film Writing Workshop

Story Structure & Creative Explorations

The next weekend workshop is coming up this week:

Saturday and Sunday, July 26-27, 10am-6pm, in downtown Manhattan.

The seminar is comprised of five basic elements:

Maximize the emotional impact of your work: Tell memorable stories and learn how to evoke the emotions you intend in your audience

Dissolve writing blocks: Jump-start the creative flow

Ease and simplify the development process: Rather than battling a script for years, learn how to break down the process into small, manageable, and effective steps.

Study story structure: Learn how to keep a story engaging from start to finish by focusing on characters rather than plot

Network: Gain specific tools to building a network of support and become rich: with friends.

Details at here.

Cost is on a sliding scale of $285-485 (you choose the fee, payment plans possible). Partial scholarships are available on a financial-need basis; see site for details

Can You Guess The Movie??

Tracy watches the hubbub, none too pleased, and pushes her way to the
front of the group.

TRACY
Who put you up to this?

PAUL
Huh? Oh, hi, Tracy

Tracy stares at him.

TRACY
Who put you up to this?

PAUL
What do you mean?

TRACY
You just woke up this morning and
suddenly decided to run for president?

PAUL
No. Uh... I just... you know, I just
thought --

TRACY
Thought what?

PAUL
Well, see, I was talking to Mr.
McAllister about my leg and
everything... and how I still want to,
you know, do something for the school
and --

TRACY
So Mr. McAllister asked you to run.

PAUL
Well, I mean, you know, I talked to him
and everything, but he just said he
thought it was a good idea... and how
there's all different kinds of fruit
and... It's nothing against you, Tracy.
You're the best. I just thought --

TRACY
Okay, Mr. Popular. You're on.

Hint: You can play chess on Tracy's chin

Guess The Movie...

INT. BOB'S ROOM - NIGHT

Bob opens the door, Charlotte's standing there trying to
look casual, she's happy to see him (she's put some pants on
and flip flops instead of her dumb looking Ugg boots).

She knocks into a low table, bumping her knee as she comes
in.

Bob pours some cold sake, smoothly.

Bob and Charlotte watch La Dolce Vita with Japanese subtitles
on the TV.

BOB
Hans was very attentive to you.

CHARLOTTE
I think he kind of liked me...Is
that so hard to imagine?

BOB
No, its easy.

CHARLOTTE
How'd a Japanese guy get a name like
Hans?

BOB
I don't know.

CUT TO:

Anita Ekberg holds the kitten on T.V.

CUT TO:

Charlotte gets up to pour more sake.

She picks up and looks at a prescription bottle on his night
stand and reads the label : Lipitor.

CHARLOTTE
Do you remember when we met at the
bar? ...You were wearing a tuxedo.

BOB
But the first time I saw you was in
the elevator.

CHARLOTTE
Really?

BOB
Yeah, you don't remember?

She shrugs.

CHARLOTTE
Did I scowl at you?

BOB
No, you smiled.

CHARLOTTE
I don't remember.

BOB
I know, I kind of blend in here.



HINT: In 2003 it won an Independent Spirit Award for Best Screenplay

Still not sure??? Here's the answer

Writing Character-Driven Stories

Writing Character-Driven Stories
Nov. 9-11


Dissolve writing blocks and experience a creative flow
Maximize the emotional impact of your work and evoke the feelings you intended
Develop authentic characters and exciting plots by focusing on your characters' relationships
Enjoy an easy-to-follow crash-course in story structure
Acquire tools that make the revision process finite and productive
Learn how to network effectively with other writers and filmmakers, even if you're deathly shy
See detailed course description at: http://elathier.info/_wsn/page3.htmlTIME: Friday, Nov. 9, 7-9:30pmSat-Sun. Nov. 10-11, 10am-6:30pm

PLACE:New York Women in Film & TV6 East 39th Street, Suite 1200New York, NY(near all subways lines)
COST:
Standard fee: $385
Repeaters: $285
pay-what-you-can

If you earn under $40K a year and are not independently wealthy, then you qualify for the pay-what-you-can policy. Details are listed in the workshop application page of the website.

What writers have been saying:

"I learned more about story structure in Ela's class than in ten years of working in film."ROSE VIGGIANODynamic Productions"As a literary agent, I would recommend your class to any writer who is starting out, switching mediums, or an experienced writer looking to add weapons to their arsenal and write more memorable scripts."SONIA PABLEYLiterary agent, The Gersh Agency"There are a million writing classes but only one Ela. She is a godsend to writers who need encouragement and real tools for success. Take her class and spend the rest of your life finishing good scripts!"KATE FARRELFour times Emmy-award winner, 22-years of television production"Three sessions with Ela taught me more than an entire semester of an expensive film school. I find myself wanting to write constantly."PAYAL SETHIFormer head of development, Mirabai Films"Ela's techniques turn her students into writing athletes. It's the difference between despair and glee at the keyboard."JOSEPH SPAIDDirector, Kiran Over Mongolia and Watch the Closing Doors"When I read the testimonials on Ela's website, I said to myself: 'No one is that good.' And I was right. Ela is infinitely better than good."STEVE KLAUSNERBest Screenplay, "Headspace" NYC Horror Film Festival Testimonials



The Writers' Guild of America, an organization of 12,000 members, has unanimously voted to go on strike:

WGA 2007 contract proposal:
http://www.wga.org/contract_07/proposalsfull2.pdf
If you only read one thing about the strike, read the first couple of items on this list for a healthy picture of what the strike is about.

Strike rules and info:
http://www.wgaeast.org/index.php/articles/1001?wgra=1#stop%20writing
If you're not a guild member, you should still not be writing, negotiating or even having discussions with a struck company. Besides it being unethical, you would be jeopardizing possibility of future membership in the Writers' Guild.

Strike-related articles:
http://wga.org/subpage_newsevents.aspx?id=1993

New-York-based writers: if you can, join me and fellow writers on the picket line from 9:00 a.m. to 5:00 p.m., around Rockefeller Plaza on 49th St. Visit http://wgaeast.org for details and updates.

The Biggest Trick The Devil Ever Pulled Was Convincing The World He Didn't Exist

69 INT. RABIN'S OFFICE - DAY


KUJAN
Do you believe in him, Verbal?

VERBAL
Keaton always said: "I don't believe in
God, but I'm afraid of him." Well I
believe in God, and the only thing that
scares me is Keyser SOZE.


70 INT. WORKSHOP


Jack Baer and Rabin listen to Verbal on the speaker with one
ear.

RAB IN
You give this any weight, Agent Baer?


BAER
I can introduce you to Dan Metzheiser
from Justice. He has a file on Sate in
D.C. It's been a hobby of his for a few
years. A lot of guys equate him to that
reporter on the Incredible Hulk.

RABIN
Had you heard of him before?

BAER
On the street? A few times. Outside
stuff. Somebody was working for a guy who
was working for a guy who got money
through Keyser Soze. That kind of shit.
Could be an old badge. A hex sign to keep
people from fucking with you back when a
name meant something.

RAB IN
But you're here.

BAER
Shit yeah. I got a guy trying to walk out
of the hospital on d fried drumstick to
get away from SOZE. I'11 run it up the
flagpole.

71 INT. RABIN'S OFFICE 71

VERBAL
I came clean. I told it like it happened
on the boat. So what if I left out how I
got there? It's got so many holes in it,
the D.A. would've told me to blow amnesty
out my ass. So you got what you wanted
out of me. Big fucking deal.

KUJAN
And this is why you never told the D.A.

VERBAL
You tell me, Agent Kujan. If I told you
the Loch Ness Monster hired me to hit the
harbor, what would you say?

KUJAN
Turn state's evidence. Take the stand on
this and we'll hear it out.


VERBAL
I've got immunity now. What can you
possibly offer me?

KUJAN
If there is a Keyser Soze he'll be
looking for you.

VERBAL
Where's your head, Agent Kujan? Where do
you think the pressure's coming from?
Keyser Soze - or whatever you want to
call him - knows where I am right now.
He's got the front burner under' your ass
to let me go so he can scoop me up ten
minutes later. Immunity was just to deal
with you assholes. I got a whole new
problem when I post bail.

KUJAN
So why play into his hands? We can
protect you.

VERBAL
Gee, thanks, Dave. Bang-up job so far.
Extortion, coercion. You'll pardon me if
I ask you to kiss my pucker. The same
fuckers that rounded us up and sank us
into this mess are telling me They'll
bail me out? Fuck you. You think you can
catch Keyser Soze? You think a guy like
that comes this close to getting fingered
and sticks his head out? If he comes up
for anything, it will be to get rid of
me.
(beat)
After that, my guess is you'll never hear
from him again.

This Script Won the Oscar for Best Screenplay

INT. COFFEE SHOP - MORNING

A normal Denny's, Spires-like coffee shop in Los Angeles.
It's about 9:00 in the morning. While the place isn't jammed,
there's a healthy number of people drinking coffee, munching
on bacon and eating eggs.

Two of these people are a YOUNG MAN and a YOUNG WOMAN. The
Young Man has a slight working-class English accent and, like
his fellow countryman, smokes cigarettes like they're going
out of style.

It is impossible to tell where the Young Woman is from or how
old she is; everything she does contradicts something she did.
The boy and girl sit in a booth. Their dialogue is to be said
in a rapid-pace "HIS GIRL FRIDAY" fashion.

YOUNG MAN
No, forget it, it's too risky. I'm
through doin' that shit.

YOUNG WOMAN
You always say that, the same thing
every time: never again, I'm
through, too dangerous.

YOUNG MAN
I know that's what I always say.
I'm always right too, but --

YOUNG WOMAN
-- but you forget about it in a day
or two --

YOUNG MAN
-- yeah, well, the days of me
forgittin' are over, and the days
of me rememberin' have just begun.

YOUNG WOMAN
When you go on like this, you know
what you sound like?

YOUNG MAN
I sound like a sensible fucking
man, is what I sound like.

YOUNG WOMAN
You sound like a duck.
(imitates a duck)
Quack, quack, quack, quack, quack,
quack, quack...

YOUNG MAN
Well take heart, 'cause you're
never gonna hafta hear it again.
Because since I'm never gonna do it
again, you're never gonna hafta
hear me quack about how I'm never
gonna do it again.

YOUNG WOMAN
After tonight.

The boy and girl laugh, their laughter putting a pause in
there, back and forth.

YOUNG MAN
(with a smile)
Correct. I got all tonight to
quack.

A WAITRESS comes by with a pot of coffee.

WAITRESS
Can I get anybody anymore coffee?

YOUNG WOMAN
Oh yes, thank you.

The Waitress pours the Young Woman's coffee. The Young Man
lights up another cigarette.

YOUNG MAN
I'm doin' fine.

The Waitress leaves. The Young Man takes a drag off of his
smoke. The Young Woman pours a ton of cream and sugar into
her coffee.

The Young Man goes right back into it.

YOUNG MAN
I mean the way it is now, you're
takin' the same fuckin' risk as
when you rob a bank. You take more
of a risk. Banks are easier!
Federal banks aren't supposed to
stop you anyway, during a robbery.
They're insured, why should they
care? You don't even need a gun in
a federal bank.
I heard about this guy, walked into
a federal bank with a portable
phone, handed the phone to the
teller, the guy on the other end of
the phone said: "We got this guy's
little girl, and if you don't give
him all your money, we're gonna
kill 'er."

YOUNG WOMAN
Did it work?

YOUNG MAN
Fuckin' A it worked, that's what
I'm talkin' about! Knucklehead
walks in a bank with a telephone,
not a pistol, not a shotgun, but a
fuckin' phone, cleans the place
out, and they don't lift a fuckin'
finger.

YOUNG WOMAN
Did they hurt the little girl?

YOUNG MAN
I don't know. There probably never
was a little girl -- the point of
the story isn't the little girl.
The point of the story is they
robbed the bank with a telephone.

YOUNG WOMAN
You wanna rob banks?

YOUNG MAN
I'm not sayin' I wanna rob banks,
I'm just illustrating that if we
did, it would be easier than what
we been doin'.

YOUNG WOMAN
So you don't want to be a bank
robber?

YOUNG MAN
Naw, all those guys are goin' down
the same road, either dead or
servin' twenty.

YOUNG WOMAN
And no more liquor stores?

YOUNG MAN
What have we been talking about?
Yeah, no-more-liquor-stores.
Besides, it ain't the giggle it
usta be. Too many foreigners own
liquor stores. Vietnamese,
Koreans, they can't fuckin' speak
English. You tell 'em: "Empty out
the register," and they don't know
what it fuckin' means. They make
it too personal. We keep on, one
of those gook motherfuckers' gonna
make us kill 'em.

YOUNG WOMAN
I'm not gonna kill anybody.

YOUNG MAN
I don't wanna kill anybody either.
But they'll probably put us in a
situation where it's us of them.
And if it's not the gooks, it these
old Jews who've owned the store for
fifteen fuckin' generations. Ya
got Grandpa Irving sittin' behind
the counter with a fuckin' Magnum.
Try walkin' into one of those
stores with nothin' but a
telephone, see how far it gets you.
Fuck it, forget it, we're out of
it.

YOUNG WOMAN
Well, what else is there, day jobs?

YOUNG MAN
(laughing)
Not this life.

YOUNG WOMAN
Well what then?

He calls to the Waitress.

YOUNG MAN
Garcon! Coffee!

Then looks to his girl.

YOUNG MAN
This place.

The Waitress comes by, pouring him some more.

WAITRESS
(snotty)
"Garcon" means boy.

She splits.

YOUNG WOMAN
Here? It's a coffee shop.

YOUNG MAN
What's wrong with that? People
never rob restaurants, why not?
Bars, liquor stores, gas stations,
you get your head blown off
stickin' up one of them.
Restaurants, on the other hand, you
catch with their pants down.
They're not expecting to get
robbed, or not as expecting.

YOUNG WOMAN
(taking to idea)
I bet in places like this you could
cut down on the hero factor.

YOUNG MAN
Correct. Just like banks, these
places are insured. The managers
don't give a fuck, they're just
tryin' to get ya out the door
before you start pluggin' diners.
Waitresses, forget it, they ain't
takin' a bullet for the register.
Busboys, some wetback gettin' paid
a dollar fifty a hour gonna really
give a fuck you're stealin' from
the owner. Customers are sittin'
there with food in their mouths,
they don't know what's goin' on.
One minute they're havin' a Denver
omelette, next minute somebody's
stickin' a gun in their face.

The Young Woman visibly takes in the idea. The Young Man
continues in a low voice.

YOUNG MAN
See, I got the idea last liquor
store we stuck up. 'Member all
those customers kept comin' in?

YOUNG WOMAN
Yeah.

YOUNG MAN
They you got the idea to take
everybody's wallet.

YOUNG WOMAN
Uh-huh.

YOUNG MAN
That was a good idea.

YOUNG WOMAN
Thank you.

YOUNG MAN
We made more from the wallets then
we did the register.

YOUNG WOMAN
Yes we did.

YOUNG MAN
A lot of people go to restaurants.

YOUNG WOMAN
A lot of wallets.

YOUNG MAN
Pretty smart, huh?

The Young Woman scans the restaurant with this new
information. She sees all the PATRONS eating, lost in
conversations. The tires WAITRESS, taking orders. The
BUSBOYS going through the motions, collecting dishes. The
MANAGER complaining to the COOK about something. A smiles
breaks out on the Young Woman's face.

YOUNG WOMAN
Pretty smart.
(into it)
I'm ready, let's go, right here,
right now.

YOUNG MAN
Remember, same as before, you're
crowd control, I handle the
employees.

YOUNG WOMAN
Got it.

They both take out their .32-caliber pistols and lay them on
the table. He looks at her and she back at him.

YOUNG WOMAN
I love you, Pumpkin.

YOUNG MAN
I love you, Honey Bunny.

And with that, Pumpkin and Honey Bunny grab their weapons,
stand up and rob the restaurant. Pumpkin's robbery persona is
that of the in-control professional. Honey Bunny's is that of
the psychopathic, hair-triggered, loose cannon.

PUMPKIN
(yelling to all)
Everybody be cool this is a
robbery!

HONEY BUNNY
Any of you fuckin' pricks move and
I'll execute every one of you
motherfuckers! Got that?

ABC- Always Be Closing!

LINGK
What are the police doing?

ROMA
It's nothing.

LINGK
What are the police doing here...?

WILLIAMSON
We had a slight burglary last night.

ROMA
It was nothing...I was assuring Mr.
Lingk...

WILLIAMSON
Mr. Lingk. James Lingk. Your
contract went out. Nothing to...

ROMA
John...

WILLIAMSON
Your contract went out to the bank.

LINGK
You cashed the check?

WILLIAMSON
We...

ROMA
...Mr. Williamson...

WILLIAMSON
Your check as cashed yesterday
afternoon. And we're completely
insured, as you know, in any case.

Pause.

LINGK
(to Roma)
You cashed the check?

ROMA
Not to my knowledge, no...

WILLIAMSON
I'm sure we can...

81.


LINGK
Oh, Christ...
(starts out the door)
Don't follow me...Oh, Christ.
(pause, to Roma)
I know I've let you down. I'm
sorry. For...Forgive...for...I
don't know anymore.
(pause)
Forgive me.

Lingk exits. Pause.

ROMA
(to Williamson)
You stupid fucking cunt. You,
Williamson...I'm talking to you,
shithead...You just cost me six
thousand dollars.
(pause)
Six thousand dollars. And one
Cadillac. That's right. What are
you going to do about it? What are
you goin to do about it, asshole.
You fucking shit. Where did you
learn your trade. You stupid
fucking cunt. You idiot. Whoever
told you you could work with men?

BAYLEN
Could I...

ROMA
I'm going to have your job, shithead.
I'm going downtown and talk to
Mitch and Murrray, and I'm going to
Lemkin. I don't care whose nephew
you are, who you know, whose dick
you're sucking on. You're going
out, I swear to you, you're going...

BAYLEN
Hey, fella, let's get this done...

ROMA
Anyone in this office lives on
their wits...
(to Baylen)
I'm going to be with you in a
second.
(to Williamson)
What you're hired for is to help
us--does that seem clear to you?
(MORE)

82.


ROMA (CONT'D)
To help us. Not to fuck us up...to
help men who are going out there to
try to earn a living. You fairy.
You company man...I'll tell you
something else. I hope you knocked
the joint off, I can tell our
friend here something might help
him catch you.
(starts into the room)
You want to learn the first rule
you'd know if you ever spent a day
in your life...you never open your
mouth till you know what the shot
is.
(pause)
You fucking child...

Roma goes to the inner room.

That Baby Stealing Movie

ED is entering with NATHAN JR.


HI:

This is it young Nathan Jr. Just feast your eyes

about, old boy!


ED:

Don't be so loud around him, Hi.


HI: (softly):

Damn, I'm sorry honey.


ED:

And don't you cuss around him.


HI:

Aw, he don't know a cuss word from shinola.


ED:

Well see that he don't.


HI (jovially):

He's all right, he is.


He reaches for the child.


... Come on over here, Nathan Jr., I'll show you

around.


He takes the baby in both hands and holds him out at arm's

length, pointing him at the various places of interest. The

baby looks google-eyed at each one.


... Lookahere, young sportsman. That-there's the

kitchen area where Ma and Pa chow down. Over there's

the TV, two hours a day maximum, either educational or

football so's you don't ruin your appreciation of the finer

things. This-here's the divan, for sociahzin' and relaxin'

with the family unit. Yessir, many's the day we sat there

and said wouldn't it be nice to have a youngster here to

share our thoughts and feelin's-


Impatient with the nonsense:


ED:

He's tired, Hi.


HI:

Well we'll just sit you right there, boy ...


He is propping NATHAN JR. up in the corner of the couch. Hi

sits at the other corner and ED Sits in a facing chair.


... Just put those dogs up'n take a load off.


Hi beams at NATHAN JR. ED smiles at NATHAN JR. NATHAN

IR. looks from one to the other, deadpan. They seem to be

waiting for him to contribute to the conversation.

Silence.

Suddenly Hi slaps his knee.


HI:

What are you kiddin'?! We got a family here!

Oh those High School Bitches...

HEATHER CHANDLER
That's pretty very. Now check this out. You
win five million dollars from Publishers
Sweepstakes, but on the same day what's-
his-face gives you the check, aliens
land on earth and say they're going
to blow up the world in two days.
What would you do?

A stunned tableau; until Country Club Kid KEITH speaks.

KEITH
That's easy. I'd just slide that wad
over to my father. He's like one of
the top brokers in the state.

VERONICA
Wake up. In two days, Earth's going
up like a Roman Candle. Crab Nebula City.

KEITH
Man, in two days, my dad could
double my money. Triple it.

COURTNEY
If I got that money, I'd give it
all to the Homeless. Every cent.

VERONICA
You're beautiful.

THE FOODLESS FUND STAND

PETER reaches into the Foodless Fund Box and takes some bills.

PETER
Dennis, my man, run over to Mickey
D.'s and get me a Big Mac and some fries.

DENNIS
But that's the Foodless Fund money.

PETER
Hey, even Bob Geldof's got to eat.
If it makes you feel better, bag the
fries, and nab yourself an Apple Pie.

CAFETERIA THOROUGHFARE

HEATHER CHANDLER drags VERONICA down a cafeteria lane.

HEATHER CHANDLER
If you're going to openly be a bitch....

VERONICA
(submissive)
I'm sorry, it's just why can't we
talk to different kinds of people?

HEATHER CHANDLER
Fuck me gently with a chainsaw. Do I
look like Mother Theresa? If I did,
I probably wouldn't mind talking to
the Geek Squad.

B Horror script That Turned Into An A List Film!

EXT. SCHOOL COURTYARD - LATER

Students sit at outdoor tables eating lunch. Crowded at one table is the "gang". This consists of Sidney, Billy and Tatum.

Next to Tatum, sits her boyfriend STUART, with his arm draped across her back. He's a Billy wannabe. Almost the jock, almost handsome, almost cool. He tries way to hard.

Across the table is the fifth wheel, RANDY. A tall and gangly kid with no such Billy-like aspirations. A witty jokester who elevates geek to coolness.

TATUM
Hunt? Why would they ask if you like
to hunt?

STU
I don't know, they just did.

RANDY
Because their bodies were gutted.

Sidney flinches.

BILLY
Thanks Randy.

TATUM
They didn't ask me if I like to hunt.

STU
Because there's no way a girl could have
killed them.

TATUM
That is so sexist. The killer could
easily be female-BASIC INSTINCT.

RANDY
That was an ice pick-not exactly the
same.

STU
Yeah, Casey and Steve were completely
hollowed out. Takes a man to do
something like that.

TATUM
Or a man's mentality.

SIDNEY
(quiet, almost to herself)
How do you gut someone?

All eyes turn to Sidney. A serious silence. And then:

STU
You take a knife and slit from the groin
to the sternum.

Sidney shivers down to her soul. The whole table rolls their eyes at Stu.

STU
What? She asked.

BILLY
It's called tact, you fuckrag.

SIDNEY
Hey, Stu? Didn't you use to date Casey?

Stu's taken back, a little off guard.

STU
For about two seconds.

RANDY
Before she dumped him foe Steve.

Tatum turns to Stu, surprised.

TATUM
I thought you dumped her for me.

STU
I did. He's full of shit.

RANDY
And are the police aware you dated the
victim?

STU
(offended)
What are you saying? That I killed
her or something?

RANDY
It would certainly improve your high
school Q.

TATUM
Stu was with me last night.

RANDY
Oooooh...before or after he sliced and
diced.

TATUM
Fuck you, nut case. Where were you last
night?

RANDY
Working, thank you.

TATUM
I thought Blockbuster fired you.

RANDY
Twice.

STU
I didn't kill anybody.

BILLY
No one's saying you did.

RANDY
Besides-
(perfect Stu mimic)
"Takes a man to do something like that."

STU
I'm gonna gut your ass in a second.

RANDY
(to Stu)
Did you really put her liver in the
mailbox? I hear they found her liver
in the mailbox.

TATUM
(eyeing Sidney)
Randy, you goon-fuck, I'm eating here.

Stu nibbles at Tatum's neck.

STU
Yeah, Randy, she's getting mad. I think
you better liver alone.

A David Fincher Classic

EXT. MARSHLANDS -- EARLY EVENING

Mills sees Somerset coming and pulls Doe so that Doe stands.

JOHN DOE
(quietly, watching)
Here he comes.

MILLS
(shouts to Somerset)
What the fuck is going on?

JOHN DOE
(to Mills)
I want you to know, I wish I could have
lived like you do.

Somerset starts running towards Mills, mud splattering.

SOMERSET
Mills... put down your gun! Throw it away!

Mills leaves Doe behind, walks towards Somerset, gun down.

MILLS
What?

Somerset is fifty yards away and closing.

SOMERSET
Throw your gun down now!

MILLS
What are you talking about? What happened?

JOHN DOE
Are you listening to me, Detective Mills?
I'm trying to tell you how much I admire
you... and your pretty wife Tracy.

Mills freezes, turns to Doe. Doe smiles. Somerset is close.

SOMERSET
Throw your weapon, detective! Now!

MILLS
(to John Doe)
What did you say?

JOHN DOE
It's surprising how easily a member of the
press can purchase information from the men
in your precinct.

SOMERSET
David... please...

JOHN DOE
I visited your home this morning, after you
left.

Mills is filled with an aching terror.

JOHN DOE
I tried to play husband... tried to taste
the life of a simple man, but it didn't
work out. So, I took a souvenir.

Mills turns to look at Somerset with pleading eyes. Somerset
holds out his hand.

SOMERSET
Give me the gun.

JOHN DOE
Her pretty head.

MILLS
Somerset...

JOHN DOE
Because I envy your normal life. Envy is
my sin.

Somerset can't hold back tears.

Fury rises in Mill and he turns to level his gun at John Doe.

Somerset raises his gun and points it at Mills.

SOMERSET
No!

Mills sees Somerset's gun, raises his gun to Somerset.

MILLS
Tell me it's not true.

SOMERSET
I can't let you do this...

Mills steps forward, enraged.

MILLS
Put your gun down!!

SOMERSET
Don't do this... please...

MILLS
Put the gun down, Somerset!

A pause. Somerset's gun hand is trembling. The wind whips
across them. The HELICOPTER can be HEARD distantly. Somerset
throws his gun down.

SOMERSET
David, listen to me...

Mills goes to grab John Doe by the throat and puts the gun to
Doe's forehead, blind with rage.

Somerset holds his hand behind his back, opens his switchblade.

SOMERSET
He wants this! He wants you to do it!

Doe is staring into Mills' eyes with wild expectation.

JOHN DOE
Kill me.

Doe lowers his head, waiting for execution.

Mills holds the gun at Doe's head, undecided, furious.

Somerset edges towards them.

MILLS
(looks to Somerset)
Stop it! You stay away!

Somerset moves the switchblade so he's holding it by the blade,
ready to throw, keeping it hidden.

SOMERSET
I can't let you do this!

Mills kicks Doe and throws him backwards on the ground. The
HELICOPTER is CLOSER.

Mills stands over Doe and points the gun.

JOHN DOE
She begged for her life, and for the life
of your baby inside her.

Mills' face fills with confusion -- then a wave of horror.

Doe's eyes register shock.

JOHN DOE
You didn't know.

SOMERSET
NO!

An Indie Classic

INT. THE MOTEL OFFICE - (NIGHT)

Norman looks about, tray in hand, sees there is no reasonable
place to spread out a supper. He turns, sees Mary standing
in the doorway.

NORMAN
Eating in an office...
(a rueful smile)
...to officious, even for me. I have
the parlor behind this... if you'd
like.

Mary nods. Norman walks on, behind the counter and into the
darkened parlor. Mary follows.

INT. NORMAN'S PARLOR -(NIGHT)

In the darkened room, lit only by the light from the office
spilling in, we see Norman placing the tray on a table. Mary
comes to the doorway, pauses. Norman straightens up, goes to
lamp, turns on the light.

Mary is startled by the room. Even in the dimness of one
lamp, the strange, extraordinary nature of the room rushes
up at one. It is a room of birds. Stuffed birds, all over
the room, on every available surface, one even clinging to
the old fashioned fringed shade of the lamp. The birds are
of many varieties, beautiful, grand, horrible, preying. Mary
stares in awe and a certain fascinated horror.

CLOSE UP - THE VARIOUS BIRDS TWO SHOT - MARY AND NORMAN

NORMAN
Please sit down. On the sofa.

As Norman goes about spreading out the bread and ham and
pouring the milk, we follow Mary across the room. She studies
the birds as she walks, briefly examines a bookcase stacked
with books on the subject of "Taxidermy."

CLOSE UP - THE BOOKS ON TAXIDERMY MED. CLOSE SHOT - MARY

She notices, too, the paintings on the wall; nudes, primarily,
and many with a vaguely religious overtone.

Finally Mary reaches the sofa, sits down, looks at the spread.

MARY
You're very... kind.

NORMAN
It's all for you. I'm not hungry.
Please go ahead.

Mary begins to eat, her attitude a bit tense. She takes up a
small slice of ham, bites off a tiny bite, nibbles at it in
the manner of one disturbed and preoccupied.

Norman gazes at her, at the tiny bite she has taken, smiles
and then laughs.

NORMAN
You eat like a bird.

MARY
You'd know, of course.

NORMAN
Not really. I hear that expression,
that one eats "like a bird," is really
a falsie, I mean a falsity, because
birds eat a tremendous lot.
(A pause, then
explaining)
Oh, I don't know anything about birds.
My hobby is stuffing things...
taxidermy. And I guess I'd just rather
stuff birds because... well, I hate
the look of beasts when they're
stuffed, foxes and chimps and all...
some people even stuff dogs and
cats... but I can't... I think only
birds look well stuffed because
they're rather... passive, to begin
with... most of them...

Attention Screenwriters!

Call for Entries: The Nickelodeon Writing Fellowship

Nickelodeon is offering writing fellowships in live action and animated television to culturally and ethnically diverse, new writers. Participants will have hands-on experience writing spec scripts and pitching story ideas.

The program, developed to broaden Nickelodeon's outreach efforts, provides a salaried position for up to one year. The '07 - '08 cycle is tentatively scheduled to begin in October 2007.
The next submission period runs from January 2 - February 28, 2007. Applications and submission guidelines are available on their website at:

Nickelodeon.com

The Script Was Written In 3 Days

One of the Best films ever made. Period. Nuff said. No Doubt.

CLICK HERE

ScriptsSeen: GO

As an aspiring screenwriter I go through scripts like Jarred goes through Subway sandwich shits, (uhm Yeah), anyways i just finished John Augusts splendid early Draft to his kinetic 1999 filM GO!

the script is a dazzling lil whirlwind, and i think its a great temp plate for all you aspirings out-there looking to write good action sequences, and breezy dialouge

check it out here: Simply scripts

P.S Loved Sarah Polley in it but it woulda been much more Aces if they kept the Rhonna character...well ya know