Strike Page for Experimental Scripts

 

Visit purpose document

 

Scripts:  (The first document on any line below—that is, for any specific script, is in PDF format)

 

Important: For some scripts (especially the features) the visitor should browse DADT books Chapter 1 and 4, and Book 2 chapters of COPA and publishing, for more background information. Also browse the discussion about public school (substitute) teaching. This may help provide more context. The rest of this site provides much information on the issues that concern me.  In some cases, for more general audience suitability, dialogue and depicted behaviors have been “muted” here, and would be more explicit and realistic than shown on a public website if the film were actually made for DVD or theatrical distribution.

 

Films that have nothing in common often accidentally have the same or similar names.  Generally, titles cannot be copyrighted and they are trademarked only when they become multiple-movie franchises. Check imdb.com to find many examples among films that have been in commercial distribution.

 

The screenplays (both feature and shorts) present dramatic situations that would encapsulate some of the autobiographical materials (dating back several decades) in the DADT book(s). They also present novel ways in which “ordinary characters” (some of whom could be like me) can get into trouble as technology and social values change. We know from recent history about the importance of imagination if future horrors are to be prevented; individuals often have better imagination than bureaucracies. A few of the scripts also present a sci-fi extension. For example, an “alien” incident would be traumatic to society in a way similar in scope to terrorism. Commercial movies (and novels) do these kinds of things with varying degrees of realism and conviction. So can movie proposals.  Please understand that these scripts represent dramatic demonstrations of possible plots and scenarios and that they are largely fictitious, even if some characters seem to resemble real people in part. The scenarios represent things that could happen or put a didactic spin or interpretation (of “moral ambiguities”) on certain things that did or could happen. They are intended to educate the potential moviegoer.

 

(5/16/2006) I am continuing to work on these scripts “off line” as well as a few other scripts not listed or shown here. If I present any of these to agents for formal coverage, they (both scripts and treatment summaries) will include “sharp edged” material that I do not think I can prudently show online in a free public space, so what is presented (or registered with WGA) is likely to be more explicit and detailed with respect to a number of issues (not just sexuality) that what is shown here. (You have to go through “third party” agents to approach studios and major production companies.) There is even a strong possibility that I could produce one or two of the short scripts myself, with some sharpening of content.  I think that with screenplay scripts there is a bit of a “Cat on a Hot Tin Roof” issue (I mean that in general, not just with respect to gay matters – perhaps “The Night of the Iguana” is a good example, too); sometimes an indirect suggestion is stronger than explicitness, yet at other times it is necessary to be frank and blunt. Sometimes the context of a person’s life can make others uncomfortable if he takes up some matters in an overly personal matter in a public space, even if the material is objectively legal and not “offensive” according to objective content standards. Once a film has been made commercially and sold and exhibited commercially, one has access to MPAA ratings and the opportunity for age-appropriate audience screening.

 

I will soon be looking for was to network with other screenwriters in the Washington DC area. I understand that there is a meetup group at http://screenwriters.meetup.com/cities/us/dc/washington/    I’ll keep visitors posted on what opportunities for networking exist, and I welcome comments at the contact link below (at the end of this page).

 

The visitor may find the following charts by Michael Hauge (his “Screenplay Mastery”) indicative in analyzing the progress of a story. On some of the scripts I have consciously tried to follow them. “Make the A List” is in 6 sections that don’t necessarily correspond to a particular formula. He analyzes “Erin Brokovich” and “Gladiator”.

Here is the link: http://www.screenplaymastery.com/structure.htm

 

The scripts marked with an asterisk (“*”) all relate some of the details of my 1961 expulsion from William and Mary, usually as “flashbacks.” That story bears some superficial resemblance to the 1956 MGM film Tea and Sympathy (reviewed here).

 

There are four feature scripts right now (06/2005)

 

Baltimore Is Missing   Treatment document   (Story  HTM  XML  XSL  XSD   Casting:  HTM  XML  XSL  XSD)

69 Minutes to Titan:    Treatment document (HTML)   (Story:  HTM  XML  XSL  XSD    Casting:  HTM  XML  XSL  XSD)

Do Ask Do Tell: An American Epic  *       Treatment (HTML)

Do Ask Do Tell: Make the A-List  *          Treatment (HTML)    Could this be a television series?

 

There is one additional feature treatment (no script) (2003/2005); Prescience Treatment (HTML). This file also briefly summarizes a trilogy novel project for which Prescience would be the third novel.

 

There are at least two other feature scripts in development that I am not prepared to give much information on yet, but they do deal with similar issues as these.

 

The rest are short film scripts (pdf)

 

Handymen

Surprise Planet

Golf Course Hole 13

Micro Escape

Exposition for Dogs

Do Ask, Do Tell: Pilot  *   Treatment document (HTML)

Conflict of Interest   Treatment document (1 & 2) (HTML)

Conflict of Interest 2

The Sub (pointer – full script no longer viewable)   Treatment document (HTML)  Preview document (HTML, labeled)

The Prodigal Brother Treatment document (HTML)

Nightcall (pdf)

Pay Your Dues (pdf)

Beware EMP (pdf)

Baptism (pdf)  Treatment document (HTML)

 

It would be possible to stitch “Do Ask Do Tell: The Pilot” and “The Sub” together (after some character name changes) to make a two-part feature film.

 

There is an experimental “monologue” script called “market

 

Other Miscellaneous XML experimental files

 

XML analysis of “A-list”   XSL   XSD   (the three files require Internet Explorer, a modern version)

 

XML analysis of “American Epic”  (or other HTM, XML, XSL, XSD) (need Internet explorer)

 

Work sheets for proposed novel: Rain on the Snow

  Outline in HTML (off access database)

  XML for this database

  XSL for this database

  XSD for this database

(The last three files require Microsoft Internet Explorer)

 

All of these materials: ©Copyright 2002, 2003, 2004 by Bill Boushka. All rights reserved, subject to normal fair use. Individual copyright notices have not been placed on the individual documents, but should be conclusively presumed to be in effect. “Baltimore Is Missing” has a copyright registration with the U.S. Copyright Office and with the Writers’ Guild. “69 Minutes” has a registration with Writers’ Guild. Readers should interpret what they find here in light of normal practices in the entertainment industry with respect to motion picture and television scripts or actual films. That is, incidents depicted in the scripts should be presumed to be fictitious and generally not representations of historical facts. I did graduate from the high school mentioned in screenplay “Do Ask Do Tell: Pilot” in 1961. (However the William and Mary Nov. 1961 incidents did happen in a manner similar to what is shown here, with some names changed.)

 

A few of the scripts (the features, and some of the short) have intense thematic elements and some brief periods of strong language, in order to make a political or social educational point.  Some persons may find the subject matter of a few of the items confrontational.  However these passages would probably result in an MPAA rating of “R” were these films made and rated.

 

I have received some negative feedback from a few parties that I appear to be a character in many of these, and that I often present myself in a negative light (one or two items in particular).  Now, my purpose is Socratic, as I can set up some provocative dramatic and moral situations that are relatively rarely presented and make the viewer or reader “think” about the issues. I believe that this can be a legitimate thing to do if that is the purpose. I have also received feedback that some of the features are just too complicated and have too many layers and plot threads for one film. This was particularly the case with the screenwriting group in Minneapolis in 2003. It is true that some of the plot threads could make interesting smaller (and lower in budget) features on their own, especially those without me as a major character. I am working on these possibilities. I do have other (proprietary) treatments and scripts that I have not chosen to make public yet for a variety of reasons. The larger scripts try to develop some new story possibilities of how characters can get into trouble in the Internet age, some new issues regarding the mixing of Internet technology, law and the workplace; some new intellectual property law scenarios; some new dangers associated with personal technology in the 9/11 world; some troubling ideas about personal temptation and redemption; some new religious or sci-fi notions, and ways to encapsulate the William and Mary expulsion flashbacks into layered storytelling. The smaller scripts also try to point out some quirky (and sometimes moral) issues that may surprise anyone. 

 

In general, I like the idea of presenting, in one film, both GLBT and heterosexual relationships, many (but not necessarily all) of them involving younger characters who may appeal to potential audiences.

 

Other scripts have not necessarily been registered but I expect to register the “Do Ask Do Tell” scripts in Spring 2005 and begin an earnest effort to sell at least one of them. They should be regarded as copyrighted.  Feel free to contact me at any time at JBoushka@aol.com  (lawful and serious contacts only; no spam; phone and mail info at contact link). Disclaimer: For these screenplays, no illegal images exist, in any public or private space. Any film made would comply with the law.