Strike Page for Experimental Scripts
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Scripts: (The first document on any line below�that is, for any specific script, is in PDF format)
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.
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'.
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
There are four feature scripts right now (06/2005)
There is one screenplay, set mostly in a space-station near Titan (designed as an O'Neill Cylinder) where people are abducted to, including "me", serving as a vehicle for further exploration of my DADT backstories.
Pdf link (script and treatment notes): Second Epiphany/ The 'ephiphany' occurs near the end as 'I' father a child through actor proxy on the spaceship before evacuation.
WGE registration: CertificateNewer screenplay based on the DADT books, closer to the Harmon circle but with an issues as to who is really the protagonist, me, or my parents? Act III has a long tail and an epilogue.
Williamsburg and Charlotte, a sort of "Tale of Two Cities", perhaps?
The treatment document for Titatnium is at Titanium
The treatment document for "Two Road Trips" from DADT-III is at Two Road Trips
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)
Pay Your Dues (pdf)
Beware EMP (pdf)
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�
All of these materials: 'Copyright 2002, 2003, 2004 by
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
(as of mid 2003!): 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