Sixteen Screenplays

Introduction

The ‘sixteen’ screenplays gathered together in this volume were written at different times over the last four years in the period from 2014-2018. They cover a wide range of themes, topics, and genres. Some were written in response to specific projects others written on a whim. They are, mostly, ‘short films’ lasting between two to nine minutes, although, Gavin and the Boy with Green Hair, runs for about 30 minutes[1]. They were also often written with a view to students making and acting them out.

A version of Hands was made into a film in 2014, directed by Joel Felles. Others have not been so lucky. For several, production started, but then due to other demands on time, money and equipment, they were never completed.

Acknowledgments

I’d like to acknowledge a huge debt of gratitude to Andy Conway for his friendship, unstinting support, encouragement, and inspiration. I’d also like to thank Jon Ellis for all his hard work as a Director and friend on many of the mad film projects we engaged in together over the last few years.

Index

Some comments on reading screenplays

Screenplays are formatted completely differently from books, poetry or stage-plays and it may take you a while to adjust to the screenplay format.  Just try to focus on what’s important: the characters and story.

Specific format conventions

Generally, a screenplay will begin with ‘Fade in’ but this is often omitted in the scripts below.

Then comes the Scene Heading, which is the one line description at the top of each scene. (It’s also called a slugline.) For example:

INT. THE WHITE HOUSE. DAY

It will specify if the scene is inside, INTERIOR (INT) or outside EXTERIOR (EXT). It will also include the specific location ‘The White House’, and the time of DAY or NIGHT.

It is worth looking out for sluglines and getting used to noticing that the scene or location has changed.

Text at the left of the page is generally Action or Description about the setting or what the character is doing.

Characters are generally written in all capital letters.

Dialogue is generally centred on the page, and the character’s name appears directly above any dialogue.

Parentheticals are used to convey a character’s attitude or action. Action can also appear on its own line, to help break up the dialogue between characters.

Sounds are also often included in the Action generally in capitals -BANG!

Abbreviations:

POV – Point of View (we are seeing the event through a specific characters ‘eyes’.)

OOV – Out Of Vision – the character speaking, is not seen.

VO – Voice Over – we hear the character’s voice but do not see them.

INSERT – a photo, text or other bit of information is ‘inserted’ onto the screen so we can see it clearly.

RESUME – generally this means resuming the action or location before the insert.

In general, Camera directions are omitted from the screenplay as it is up to the Director to work out how he wants to use the Camera. Here and there in the scripts below Camera actions have been included to help the reader understand what is happening.

BOIL

EXT. A TRAIL THROUGH A WOOD. DAY

A troop of 6 Venture Scouts (16 - 18) are tramping up a wide path carrying backpacks and camping equipment.

We are filming them on a jerky hand-held camera. It scans each face as they pass by.

JOS, the leader, is good looking and knows it.

He is followed by Billy, Jack, Matt, & Keith.

Lagging somewhat behind is Moucher, a thin young man with a serious acne problem.

JOS

Stop.

The troop stops.

JOS (CONT'D)

There's a clearing up ahead we can set up camp there for tonight.

(Vicious)

Moucher. Keep the fuck up you spotty little freak.

The OTHERS LAUGH.

EXT. OPEN CLEARING. DUSK

It is beginning to get dark and a fire is burning in a stone circle.

The boys have pitched their one-man tents, but there are only five tents.

Moucher is tied to a tree. The boys are gathered round him.

Jos has a large knife and is waving it in Moucher's face.

JOS

Want me to cut out your zits, spotty?

MOUCHER

No. Please Jos. Please. Let me loose.