An unexpected bond forms between two women when their sons are killed in an explosion at a local shopping mall. When the police find evidence of a bomb, one of the sons, a Muslim American, becomes the prime suspect, threatening the two mothers' new friendship and forcing them to question how well they knew their own children.

"Torn capitalizes on a gripping and emotional storyline to deliver a terrific ending." - Tony Hicks, SAN JOSE MERCURY NEWS

"Slowly uncovering the prejudices that calamity can unleash, Michael Richter's screenplay lays bare the damage wrought by Sept. 11 while deftly dodging hysteria, wondering how we differentiate between innocent teenage behaviors and dangerous red flags. Most of all, it wonders if we can ever fully know the people we live with, leaving the question to resonate as deeply as the two women's grief." - Jeannette Catsoulis, THE NEW YORK TIMES

"A great accomplishment." - John Oursler, THE VILLAGE VOICE

"A terse, wonderfully observant and unsentimental screenplay by Michael Richter... Richter tells the tale with admirable economy-the film runs 80 minutes-as well as an unstressed but devastating emotional authenticity. He could have ended his film with the question of the boys' culpability unanswered and that ambiguity would have been sufficient, but instead he reveals the truth, and the revelation is breathtakingly poignant." - David Noh, FILM JOURNAL INTERNATIONAL

"A genuinely unsettling microcosm of modern terrorism... Torn rings with the sound of quiet truth." - Andrew Lapin, THE DISSOLVE

"Michael Richter's screenplay weaves together its various themes and such subplots as Lea's tentatively resuming a relationship with her long estranged ex-husband (Patrick St. Esprit) with intelligence and sensitivity, not to mention an uncommon succinctness (the film runs a scant 80 min). The relationships between the complex characters are well drawn, and the ironic ending manages to touchingly upend our expectations." - Frank Scheck, THE HOLLYWOOD REPORTER

When "Dracula" and "Frankenstein" became box office hits for Universal, Carl Laemmle Junior immediately ordered that sequels be written for both films. Scripts were prepared but Junior's choice of director - James Whale - had had enough of monster films and was doing everything he could to avoid them. Finally in 1935, after getting out of shooting "Dracula's Daughter" Whale agreed to direct "The Return of Frankenstein." In this volume is the final shooting script by John L. Balderston. Balderston added more scenes from the novel, such as the monster hiding in a peasant's hut and learning to read and speak. But Whale thought his version of the Monster's personality too brutish and evil. He wrote a new script with screenwriter William Hurlbut, added new characters such as Mini and Dr. Pretorius, keeping Balderston's script as just an outline. Most historians and fans feel that when Return of Frankenstein was renamed "Bride of Frankenstein" it became the most beloved film in Universal's Classic Monster films.

The goal of Shaping True Story Into Screenplay is to empower screenwriters who are spurred on by personal experience and help them make the leap from cathartic expression to true storytelling. With an encouraging and supportive tone, the book guides its readers towards objectivity about their experience. An autobiographical screenplay must move beyond a self-indulgent re-telling, and so this book explains the process of writing one's own story in terms of antagonist and protagonist, beginning, middle and end, dramatic conflict and character motivations. This enables writers to discern the difference between ideas with true dramatic potential and memories best left in the scrapbooks. This book stresses the importance of finding a metaphor to use as a springboard for the development of characters and plot. This emphasis on poetic invention can help the writer craft a more artful script. An inspirational guidebook, Shaping True Story into Screenplay will help you visualize solutions to your screenwriting challenges as it explains how to: Clarify the themes of your true story and use them as a springboard for the development of plot and character Shape the plot into a personalized three-act structure along a focused spine Layer the story with complementary, cohesive subplots Build character arcs from the motivations and conflicts in real life Invent a frame to help propel the story forward Imagine events to create scenes that are metaphors for real events Choose what to leave out in the interest of the story Candace Kearns Read has over twenty years of experience in the film industry as a screenwriter and screenwriting teacher and consultant, and this book provides an in-depth look at the specific challenges of adapting from true story, based on her experience.

"Barkers Upon Tyne" is an original, unproduced situation comedy series created and written by Kelly Marie Thompson (from England) and Garry Berman (from America). The six episodes follow the exploits of three siblings in their twenties: Pete, Alex, and Nicola Barker of the northeast English city of Newcastle Upon Tyne. The Barkers are 'temporarily' all sharing Pete's apartment, and have a knack for causing considerable disruption in each others' lives. Accident-prone Nicola's disastrous dating history is legendary among those who know her, as is chronically-unemployed Alex's half-hearted attempts to hold a job for more than a week at a time. Responsible nightclub manager Pete is often the hapless victim when his younger siblings' lifestyles intersect with his own--and usually at the worst possible moments. While writing the pilot episode, the collaborators decided to write a total of six full episodes, partly just to see if they could do it. And they did--in about eight weeks. The pilot episode earned a Top 10 finish in the 2012 Writer's Digest magazine annual scriptwriting competition. Due to the unpredictable fate of scripts intended for production but which may not reach that goal, the authors decided to make "Barkers Upon Tyne" available in printed form for any reader with a healthy sense of humor to enjoy.

Aeschylus was the first of the three ancient Greek tragedians whose plays can still be read or performed, the others being Sophocles and Euripides. He is often described as the father of tragedy: our knowledge of the genre begins with his work and our understanding of earlier tragedies is largely based on inferences from his surviving plays. Only seven of his estimated seventy to ninety plays have survived into modern times. Fragments of some other plays have survived in quotes and more continue to be discovered on Egyptian papyrus, often giving us surprising insights into his work.

Memories of Underdevelopment was the first great international success of Cuban cinema. The film provides a complex portrait of Sergio, a disaffected bourgeois intellectual who remains in Havana after the Revolution, suspended between two worlds. He can no longer accept the values of his family's reactionary past and yet boredom and the conditioning of his early life prevent him from committing himself to the new revolutionary society. Sergio's story is played out in the turbulent period of the Bay of Pigs invasion and the 1962 missile crisis, events he can only watch on his television screen or from his apartment balcony. The film, initially banned by the U.S. government as part of its trade quarantine of Cuba, was shown here five years after its original release. But American critics responded enthusiastically to it and the National Society of Film Critics bestowed an award on its director. This double volume includes the complete continuity script of Memories, as well as the complete novel, Inconsolable Memories, upon which the film is based. An interview with Alea is reproduced here, as well as documentation of the political controversy that surrounded the film in this country. Michael Chanan's introduction places the film in the context of Cuban political and cultural history. The volume also includes a biographical sketch of Alea, a chronology of the Cuban Revolution, reviews, commentary, a filmography, and a bibliography. Michael Chanan lives in England, where he teaches and writes on film. He is the author of The Cuban Image: Cinema and Cultural Politics in Cuba.

Louis Phillips, a widely published poet, playwright, and short story writer, has written some 50 books for children and adults. Among his published works are: five collections of short stories - A DREAM OF COUNTRIES WHERE NO ONE DARE LIVE (SMU Press), THE BUS TO THE MOON (Fort Schuyler Press), and THE WOMAN WHO WROTE KING LEAR AND OTHER STORIES (Pleasure Boat Studio), FIREWORKS IN SOME PARTICULARS (Fort Schuyler Press), and MUST I WEEP FOR THE DANCING BEAR (Pleasure Boat Studio). HOT CORNER, a collection of his baseball writings, and R.I. P. (a sequence of poems about Rip Van Winkle) from Livingston Press; THE ENVOI MESSAGES, and THE LAST OF THE MARX BROTHERS' WRITERS, full-length plays, (Broadway Play Publishers). His books for children include: THE MAN WHO STOLE THE ATLANTIC OCEAN (Prentice Hall & Camelot Books), THE MILLION DOLLAR POTATO (Simon and Schuster), and HOW TO WRESTLE AN ALLIGATOR (Avon). His sequence of poems - The Time, The Hour, The Solitariness of the Place -was the co-winner in the Swallow's Tale Press competition (1984). Among his published books of poems are: THE KRAZY KAT RAG (Light Reprint Press), BULKINGTON (Hollow Spring Press), THE TIME, THE HOUR, THE TIME, THE HOUR, THE SOLITARINESS OF THE PLACE (Swallow's Tale Press), CELEBRATIONS & BEWILDERMENTS (Fragments Press). He edited BEST LOVED POEMS (Random House) and THE RANDOM HOUSE BOOK OF HUMOROUS VERSE. Other books include: GERTRUDE STEIN IN DAYTON & OTHER PLAYS; AMERICAN ELEGIES, THE TRIAL OF THE ASSASSIN GUITEAU, and LATE NIGHT IN THE RAIN FOREST (World Audience Publishers) He teaches at the School of Visual Arts in NYC.

The official script for the box-office smash movie, featuring every ruddy word (and stage direction) of Alan's seamless transformation from natural-born broadcaster into fully fledged and occasionally fully dressed hostage negotiator. Contains deleted scenes and an exclusive Foreword by Steve Coogan. With a television career behind him and a much-coveted breakfast slot in his spiritual home, regional digital radio, there was only one place left for Alan Partridge to turn: Hollywood! Or rather, an Anglo-French funded co-production for the big screen. Alan Partridge: Alpha Papa sees Alan face his biggest challenge since he spent six months in a travel tavern, and is almost certainly the first time he has handled a loaded gun since he was a prime-time BBC2 presenter. When his beloved income-source North Norfolk Digital is taken over by a faceless media conglomerate, Alan's inimitable instinct for self-preservation leads to a violent and bloody siege on the radio station by an unhinged, nay mentalist, DJ, and a hostage crisis for which there can be only one man with the chat to diffuse it ... Featuring a cast of old and new Partridge favourites, including Sidekick Simon, assistant Lynn and Michael the Geordie, Alpha Papa is proof that while the jury's out on whether you can keep a good man down, it's an outright fact that you can't keep a good regional broadcaster off the airwaves.

When Reservoir Dogs burst upon the screen in 1992, it announced the arrival of one of the most charismatic and audacious voices in cinema today. Reservoir Dogs is the story of a heist gone wrong, and how the group of outlaws concerned are subsequently undone in the course of their search for the enemy within. Quentin Tarantino uses words like bullets and writes with a propulsive energy that is compellingly readable. As always with Tarantino, the style of the storytelling is restlessly inventive, showcasing not only his fine ear for frank and foul-mouthed dialogue but also his grasp of formal structure, comparable to that of the smartest crime novelists.

SHORT DESCRIPTION:
Story about a disgruntled young man who begins to therapeutically write and in the process, creates a fantasy world where, he ends up creating a monster which seems to be totally indestructible
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LONG DESCRIPTION:
Fired from his job, dumped by his girlfriend and shoved around by the world, a young, lazy, day-dreamer takes refuge in his world of dreams and fantasies, and finally decides to become a writer. And what does he want to write about? He wants to write about monsters He wants to write about fights, action, adventure, etc. He's writing a book about:
'Two simple minded, happy-go-lucky buddies suddenly find themselves in trouble when they are attacked by a 3000-year old fireball-belching monster whom nothing seems to be able to defeat. When all the tricks of the local police fail to control the creature, and ordinary bullets and bombs prove useless, the question remains - will the world ever be able to get rid of this menace once and for all?'
He has started created a world of his own, a world in which only HE can rule with full authority. But will he be able to finish what he's started? More importantly, will he be able to taste success in his new venture?

Here are three screenplays collected in print for the first time, from the prolific bizarro genius Tom Bradley. Each screenplay is adapted from a novel of the same name. LEMUR - damnation and salvation in the food services industry. VITAL FLUID - rival hypnotists stage a bizarre series of showdowns. BOMB BABY - a manhunt through Hiroshima's lightless crannies. ' . . . brilliant, evocative writing. Bizarre imagination set free. An enviable skill.' -Consuelo Boland

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

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."
-Ben Cahan, co-creator of Final Draft and founder of Talentville.com
"This is without a doubt the BEST script format guide I've ever come across-and believe me, I've read 'em all. . . . Your CUT TO: Is Showing is an absolute must-have and must-read. I'm serious, get this book."
-Jim Vines, screenwriter and author of Q & A: The Working Screenwriter
" 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

Perhaps you've encountered that strange, unsettled feeling of familiarity - haven't you been here before? Hasn't this experience already happened in exactly the same way? What if that wasn't you. What if that was your duplicate, the result of an atomic experiment that has taken an unexpected turn, creating a process that can replicate and manipulate living matter - with untold potential, but terrifying consequences.

Jason had it all until his addiction finally caught up with him. After being court ordered to serve 28 days in a substance abuse facility, he loses it all. Jason learns to change his selfishness into charity for others as he bonds and forms a family with fellow addicts. This inspires him to develop the 28 Tee-Shirts Calendar Method.

I hope readers will enjoy creating Reckless Dreaming as a movie in their mind. That is ahead of any possible theatrical production. - Nick David, Screenwriter

ALEC MYERS is smart, good looking, rich ... and dead. After an accident, he winds up on "the other side," where he must face some unpleasant truths about himself. Just as he's about to get a second chance, his ex-wife donates his heart for transplant, complicating his return to life, his search for a lost romance, and his redemption in a daring act of courage.