This is a screenplay; which eight friends want; to do a documentary; of an abandon mental institution; it seems that they meet some unsuspected; vistors; then; all of sudden; all hell breaks loose.

Inspired by a true story, HEAD OF THE CREEK embodies the essence of a Shakespearian Tragedy. When a brilliant bumpkin embarks upon lurid quest, his prize becomes his punishment. - "This above all: to thine own self be true..." (William Shakespeare, "Hamlet," Act I, Scene 3) Louis Wilson is a hayseed born with the aptitude of a Nobel Laureate. At the age of 8, someway, somehow Little Louis has it all figured out. He gets it. For some of us it takes our entire lives to get it. Others never get it. Louis got it, and maybe you'll get it, too. His goal is simple - take an early retirement and live out by the old creek. But Louis quickly learns what most of us already know - the simplest things in life are often the most complex and impossible to accomplish. HEAD OF THE CREEK is a gritty, glimpse of Louis's simple goal that becomes a 30-year Machiavellian quest for Nirvana. - "He had everything it took to live right, but he chose to live wrong."

Wilson's approach can be seen as a communal romanticism, dealing with ordinary people, language, and problems, giving the priority to the feeling and human dignity over logic, power and money, putting freedom and equity as a pivotal concern, almost presenting women and children as victims, and highlighting the importance of heritage, identity, and culture. As his self-revision message, all those three plays demonstrate scenes of black self-review, showing the blacks' part of responsibility in the situation they live in. It is a project of self-rehabilitation for the blacks. Since American society is a multicultural spectrum, there is not any certain legibly ascribed American identity. That is why Wilson does not submit to the claims of the dominant cultural trend by some white critics like Brustein. Wilson confidently presents the blacks' identity typified with self-fulfilment and contribution to the American culture, as his alternative contributory image of man against the white dominant models, or the violent black ones.

On Screenwriting and Love and Politics is a book by screenwriter Aviva Butt that invites the reader to take an up close view at writing a film script. Written in an engaging literary style, the book attempts to illuminate the emotions, theories, and process that go into crafting a screenplay. As a special appendix, the book includes the author's latest full-length screenplay "Blue Mist." On Screenwriting and Love and Politics also features an introduction from Gaetano Nino Martinetti, an award-winning cinematographer who contributes his views on the role of cinematography in making movies. "I write about love and politics. My screenplays are theatrical feature films on Middle Eastern subjects. This time with my screenplay "Blue Mist," the world situation and the Middle East come to New Zealand." - Aviva Butt Although she was born and raised in New York City, author Aviva Butt has lived all over the world and currently resides in Dunedin, New Zealand. Aviva is a prolific writer who has authored poems, short stories, screenplays, and two previous books. She has also translated many poems and short stories from Arabic and other languages. When she is not writing, Aviva enjoys going to the movies and listening to Indian and Middle Eastern music. Publisher's website: http: //sbpra.com/AvivaButt

Comedy film and theatre project set inside a train. The whole story is set inside a train carriage. Due to an engine failure the journey is dragging on without knowing when it will end. The only information received is from the "camp" voice of the main train driver blasting away throughout the train at regular intervals. The passengers are forced to endure this, pushing them to the limits; into some deep agonizing fits and often deeply traumatic moments. During the journey they all speak to each other either together and in unison or they are responding to their own respective conversation without even acknowledging their receiver's end conversation all veering deep toward their own monologue. No one is really listening to what the other one has to say but the interaction is still vibrant, and often high-ended. Toward the end, it's almost like if all the passengers were talking to a brick wall; but the difference is of course that a brick hasn't got a face or a sound. All the groups share the same conversation but never interact between and with the different groups. They only share the same train of thoughts.

Pavel Kudlak is the twisted and darkly comic story of a young, hot-blooded gambler with a propensity for violence, deep thought and redemption--determined to know his mother's real killer before his insane father dies wrongly accused. It is a shocking story of lust, deception, and murder--challenging our very notions of good, evil, and individual self-worth.

An accident in the wilderness. A woman lies dead. Fire and explosions. Twisted metal and broken branches. And blood. To awaken from the dream, or the nightmare, and not knowing which is which. Not knowing your part. Not knowing good from evil. Not knowing the unwashed from the clean. The devils and the beasts creep around you. But to hunt, or to welcome? Kieran finds himself lost in the frozen woods, his wife Katherine dead in the snow, the twisted remnants of his car ablaze in the trees, and a waste-howling wilderness all around him waiting to get at his cold flesh. But the treacherous terrain and the bitter cold blizzard winds aren't the only dangers awaiting him in the woods. Something hunts him. And he must struggle through his memories deciphering what's real and what is illusion if he is ever to discover the truth about the stranger Nero who appears in and out of the wilderness to torment him at every turn.

After being kicked off the bus for smoking pot in the bathroom, Michael finds himself stuck in the middle of nowhere with nothing to do but kill some time. As he wanders around the half-deserted remains of an old mining town he comes across an abandoned amusement park, and four teenagers all dressed up in costume. Too many days on the road and too many puffs on the joint have left Michael clueless to the fact that it is actually Halloween. A fact that the vampire costumed Ricky is only too quick to point out. Then there's Matt, the sports jock clad in cowboy garb, and his prudish girlfriend Beth who is dressed rather uncomfortably in a French maid's outfit. But the one who catches Michael's eye immediately is Amber, dressed ever so sweetly in her Catholic school girl costume. And when the rundown funhouse provides little thrill, it is Amber that seductively entices the others to go and check out a real haunted house; a farmhouse she has heard about out beyond the marshes and long-rumored to be the home of many nefarious happenings. Along the way the kids argue about what exactly went on in that old farmhouse that left it haunted and full of mystery. Each one has their own theory, based of course on their own deep-seeded fears. And when they come upon some magic mushrooms that Michael discovers growing in some cow dung in a farmer's field, their fears and anxieties begin to take center stage. Reality comes into question. Fears turn into suspicion. And madness erupts all around them. Will they succumb to their deep down fears of the physical world or will their reverence of nature's beauty guide them through and safely see them reach the morning?

Following the exploits of a group of friends who live small lives and have even smaller ambitions, "Skids" is a window into their lives as they carry on into their early twenties, while still living very much like teenagers. Will any of them escape this downward spiral into mediocrity? And more importantly, do any of them want to? When drinking, partying and acting like a bunch of fools are your chief concerns in life is there really any reason to change? When happiness can be achieved simply by playing air guitar to a Judas Priest song is there any need for anything else? Maybe not. But then again, maybe this life isn't for everyone. So join in the fun as this group of lovable miscreants struggle through their mundane lives trying to accomplish their minuscule goals and having a blast all the while. Crank it up and grab a beer. Wee-hoo

BLACK MAMBO is a sizzling hot, highly stylized, gritty crime story placed within the miry landscape of the Los Angeles underground crime world. When Police Detective Will Biggs and his crew attempt to infiltrate Black Mambo's counterfeit crime syndicate, Will's team gets made and all hell breaks loose.

Toe Eugene Marais deurtrek van malaria en morfien by 'n vreemde plaashuis in die Waterberg ingeneem word, verander daardie huishouding heeltemal. Twee vroue ding mee om sy aandag - Maria, die huisvrou, en Jane, 'n jong meisie onder die gesin se sorg. En op hulle beurt is daar twee jaloerse mans - Gys, die eggenoot, en hul seun, Adderjan. Oor die maande waarin Marais onder die sorg van die twee vroue herstel, verrig hy wat vir die plaasmense en hul bure na wonderwerke lyk. Hy versamel en ondersoek byna alles, maak diere mak en bring hulle in sy kamer in, genees besoekers. Hy "mesmeraais" mense en hou hom besig met dinge wat soos toordery lyk. Algaande bring sy teenwoordigheid in almal die verlange na iets onbereikbaars na vore, maar dis Marais se verlange na die jongmeisie, en hare na hom en na 'n ander lewe, wat al die verswee konflikte op die spits dryf.

Fire For Effect is a WWII story, but not of the ordinary kind. Based on a true incident, it involves a little known, but vitally important branch of Military Intelligence - the IPWs - Interrogators of Prisoners of War. It is the story of a battle of wits between two officers, good men both, with strong convictions, integrity and a firm sense of duty - but on opposite sides. And it concerns a potentially catastrophic event about to happen.

A test pilot, veteran of Desert Storm, crashes while testing a top secret military device. His injuries rob him of his memory, reducing him to the level of an animal - but an animal with the intelligence and reasoning power of a man, and the fear and desperation of a hunted beast. He leads the men who would save him on a fantastic chase through the desolate and hostile country of Death Valley, pitting animal instinct against sophisticated technology.

Everything you'll ever need to know about spec screenplay formatting is found here. Learn about the Seven Screenplay Elements and what they do. Discover writing tips to help enliven your Dialogue and Direction. Recognize what to capitalize and when. Learn to format common screenplay techniques such as telephone conversation, foreign language dialogue, flashbacks, montages, talking animals, and much, much more This truly is the last book on spec screenplay formatting you'll ever need to own
"Your CUT TO: Is Showing is a valuable and exhaustive new book, loaded with practical examples, that deserves to be on the shelf of aspiring (and professional) writer everywhere."
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" Your CUT TO: Is Showing "is the most comprehensive, inclusive and up-to-date book on screenwriting I have ever read."
-Robert Joseph, screenwriter of Divine Love

Caesar and Cleopatra, a play written in 1898 by George Bernard Shaw, was first staged in 1901 and first published with Captain Brassbound's Conversion and The Devil's Disciple in his 1901 collection, Three Plays for Puritans. It was first performed at Newcastle-on-Tyne on March 15, 1899. The first London production was at the Savoy Theatre in 1907. The famous scene in which Cleopatra, concealed in a rolled-up carpet, is smuggled into Caesar's presence was credited by Otto Skorzeny as the inspiration for his doing the same to his kidnapping victim Miklos Horthy, Jr. in 1944 during Operation Panzerfaust. Shaw wants to prove that it was not love but politics that drew Cleopatra to Julius Caesar. He sees the Roman occupation of ancient Egypt as similar to the British occupation that was occurring during his time. Caesar understands the importance of good government, and values these things above art and love. Shaw's philosophy has often been compared to that of Nietzsche. Their shared admiration for men of action shows itself in Shaw's description of Caesar's struggle with Pompey. In the prologue, the god Ra says, "the blood and iron ye pin your faith on fell before the spirit of man; for the spirit of man is the will of the gods." A second theme, apparent both from the text of the play itself and from Shaw's lengthy notes after the play, is Shaw's belief that people have not been morally improved by civilization and technology. A line from the prologue clearly illustrates this point. The god Ra addresses the audience and says, "ye shall marvel, after your ignorant manner, that men twenty centuries ago were already just such as you, and spoke and lived as ye speak and live, no worse and no better, no wiser and no sillier." Another theme is the value of clemency. Caesar remarks that he will not stoop to vengeance when confronted with Septimius, the murderer of Pompey. Caesar throws away letters that would have identified his enemies in Rome, instead choosing to try to win them to his side. Pothinus remarks that Caesar doesn't torture his captives. At several points in the play, Caesar lets his enemies go instead of killing them. The wisdom of this approach is revealed when Cleopatra orders her nurse to kill Pothinus because of his "treachery and disloyalty" (but really because of his insults to her). This probably contrasts with historical fact. The murder enrages the Egyptian crowd, and but for Mithridates' reinforcements would have meant the death of all the protagonists. Caesar only endorses the retaliatory murder of Cleopatra's nurse because it was necessary and humane.

LANE. I believe it IS a very pleasant state, sir. I have had very little experience of it myself up to the present. I have only been married once. That was in consequence of a misunderstanding between myself and a young person.

If you could change one thing about yourself, what would it be? Renew my body, set at 17. -Allen Ginsberg 1988, Chicago. Stare deeply into the watery blue eyes of an elderly and wheelchair bound man, pull back and you'll find yourself surrounded by the serenity of the manicured lawn of the Thousand Oaks Convalescent Hospital... his home for the past 30 years. Physical examinations must be done periodically, as with all of the elderly. For David Jason, it's an opportunity to briefly escape the confines of this limited world. Today's ambulance ride with his nurse and confidant, Angela Ryan, to Lakeview General Hospital will be unlike any other;...it will alter his life forever... embarking on man-kind's most impossible dream...a second.chance...to go through life again knowing what he knows now. On the way to the hospital there is a terrible accident, a collision between the ambulance and a careening eighteen wheeler out of control Angela is thrown clear, and David a concussion and deep lacerations; he is fortunate. Tests are done, and their conclusions are shocking. It seems as though David's cells are multiplying at an alarming rate, reversing metabolically to such an extent that he is actually regressing in age He may only have 6 months to live, as the physiological trauma of the regeneration process is determined to be too much for his life support systems. Further tests are performed: his condition constantly monitored by his faithful nurse. His injuries heal at an astonishing rate While visually he begins to appear noticeably younger, he goes through spells of strength and coherence then lapses into unexplainable periods of severe pain and near death states. Angela reviews his records, and finds nothing regarding his past no family contacts, no prior addresses, no medical information prior to his admittance on October 11, 1958. She suspects foul play and has him transferred out of Thousand Oaks. With the assistance of a retired ex-cop turned private investigator, Vince Carpeski, and a curious friend, Dr. Conrad Hoffman, an unresolved mysterious and suspenseful trail of a medical cover-up is revealed] The case was thought to have been sealed thirty years ago with the murder of a prominent hospital chief-of-staff surgeon who was on the verge of going public with damaging research fraud allegations. A multi-billion dollar pharmaceutical firm, Medtech, is implicated. A desperate man of corruption and greed, SydUnderwood, is found to have masterminded the scheme. As David and Angela race against time in their search for answers and truth, a once-in-a-lifetime love is rediscovered; a "fountain of youth" becomes a reality, giving love a chance to blossom again. If only for a moment, medical technology reaches into the future, sending shivering moments of enlightenment to strike deep into the soul, as justice is served The story moves between the forces of good and evil, eternal hope and despair as the PENDULUM swings to an engaging and masterfully written climax, offering our hearts and dreams...the possibility...of a second chance.

The Importance of Being Earnest is both Oscar Wilde's most important and funniest play. As the subtitle suggests there is more to this play than its farcical nature suggests. Wilde calls into question the nature of identity while poking fun at proper British manners and the aristocracy. Even after one hundred years, The Importance of Being Earnest continues to be the standard by which all other farces are judged.Wilder Publications is a green publisher. All of our books are printed to order. This reduces waste and helps us keep prices low while greatly reducing our impact on the environment.

Serial Pool Attendant: Screenplay. A brother-sister crime caper in LA that is both an entertaining screenplay for television and an educational aid in sibling Psychology. This paperback also includes the proposed TV series Bible (template for the one-hour prime-time show); a minute-by-minute breakdown of the Four-Act structure, a necessity when writing for television with commercial breaks in mind. Synopsis: On an L.A. beach Alex (pool attendant) meets her idol, the notorious Shark (real name Henry, a high profile killer on parole). Shark mentors Alex in the art of 'murder' and in 'not getting caught'. Cultural references lead to his catchphrase "A CLASSIC!." Hitmen liaising as real CLEANERS. "If you've got a problem that needs filtering ...YOU CALL THE POOL ATTENDANT"

"An accident has occurred. Joe Chip and his colleagues--all but one of them--have narrowly escaped an explosion at a moon base. Or is it the other way round? Did Joe and the others die, and did the one fatality, Glen Runciter, actually survive? . . . From the stuff of space opera, Dick spins a deeply unsettling existential horror story, a nightmare you'll never be sure you've woken up from."--Lev Grossman, "Time"
In 1974, Philip K. Dick was commissioned to write a screenplay based on his novel "Ubik." The film was eventually scrapped, but the screenplay was saved and later published in 1985. Featuring scenes that are not in the book and a surreal playfulness--the style of the writing goes back in time just like the technology in the book's dreamworld--this screenplay is the only one Dick wrote and features his signature mix of paranoia, humor, and big-idea philosophy.