Original Scripts
Featured Scripts...
Buffalo 8
Elevator Pitch: Cabin in the Woods meets Fight Club. A young man finds that giving himself a lobotomy doesn't bring him the bliss he intended. Instead, he is hallucinating, diagnosed with schizophrenia, but is also now privy to the horrific machinations of the Dark Realm which is ever present in our lives but which normal people barely perceive because a normal brain produces a natural immunity and thus blindness to that evil realm.
The Verses
Elevator Pitch: The Ring meets The Picture of Dorian Grey. A celebrated media critic discovers an old book that has been blamed for dozens of murder-suicides for more than a century. The skeptical critic soon discovers that reading the book may indeed unleash a heinous curse that destroys his life.
Green Man
Elevator Pitch: Evil Dead meets Texas Chainsaw Massacre. A drug robbery goes wrong and the would-be buyers and sellers end up stuck out at an old schoolhouse where restless evil spirits have plans to cultivate their victims and rebirth them into something monstrous.
Skullwinder and Other Atavistic Anomalies
Elevator Pitch: Alice in Wonderland meets Silence of the Lambs. A young girl begins suffering a dissociative cognitive condition and eventually meets her father who abandoned her a few years earlier.
The Archivist
Elevator Pitch: Spielberg, Coppola, Scorsese... and Hitler's son. An underground Naziploitation snuff ring organized by one of the world's most famous movie directors is uncovered by an unlikely character.
Collection of Short Scripts
Click on the title for the Short Scripts page. A collection of short scripts for a variety of genres, but always weird or wacky stories.
N.B. Scribd docs do not display screenplay format properly. Please download the attached pdfs and doc files.
Buffalo 8
A collage by Fons Bormer using several pieces of monster portraits by different artists
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script written by Fons Bormer
This feature length horror script emerged from putting together several short scripts I had written about a decade earlier. Although I had put together seven shorts, I only used the first three as part of Buffalo 8.
This script was written over one week but took longer than anticipated because the subject matter is highly personal. | ||
The Verses
original art by Mike Mahle
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script written by Fons Bormer
I have only ever willfully completely destroyed one piece of writing in my life and it was the original script for The Verses (at that time titled "Versus"). Rewriting this story has been an important task.
This script was written in three days in the summer of 2018. I will likely enter this script in screenwriting contests and perhaps seek an agent. I consider it my best screenplay to date. | ||
Green Man
r/K Lochness by Alex Bayliss
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script written by Fons Bormer
This script is based on a story that was developed through screenplays over the past twelve years. There have been five different and distinct versions: Whistler, Silent Greens, Do No Evil, Bad Seed, and now Green Man.
Green Man was written in two days in the summer of 2018. That makes it among my most recent creative writing. I plan on entering this script into screenwriting contests focused on the horror genre. | ||
Skullwinder and Other Atavistic Anomalies
"TRUMPETTE" by Fons Bormer
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script written by Fons Bormer
BlueCat Screenplay Contest Professional Coverage (anon.)While it is decidedly not for everyone (which is perhaps the most reductive possible understatement), there is absolutely no denying that "Skullwinder and Other Atavistic Anomalies" is an incredibly original screenplay. It is a sharp, intelligent, and fascinating demonstration of a unique authorial style, and no reader could ever claim to have read something like it before. | ||
While some may make over-simplistic David Lynch comparisons, there is a stylistic playfulness and unabashed intellectualism to this script that elevates it into a whole new realm, and it is wonderful (and respectable) to see the writer play with form and medium so much. Such pointed flourishes/stylistic choices as the snaps to black and white or the cigarette burn moment take full advantage of the filmic medium, and it's impressive to see a script that is so aware of the cinematic possibilities it can explore.
Gabby is a fascinating audience surrogate whose sudden bursts of maturity (as well as her constant confusion) are somehow cohesive and intuitively appropriate, and the ubiquitous Dusan and the titular Skullwinder are equally enigmatic and memorable. The script operates on a decidedly intuitive level, and while the lack of a conventional narrative will be problematic for some, there is an emotional, almost intangible throughline that manages to hold the script together in a surprisingly effective way. The script's brevity is a pragmatic choice that is definitely to be respected, and there is a propulsive energy to the various vignettes and reflexive mirror scenes that forms a compelling structure. While some would say the script possesses a dream logic, a more appropriate term may be "nightmare logic," a phrase that must be utilized in the most flattering way possible. A wholely impressive work, "Skullwinder and Other Atavistic Anomalies" is arrestingly, even aggressively original, and one would be hard-pressed to find a script that sticks more in the mind than this one...
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N.B. Scribd doesn't display on most mobile devices and scripts don't retain the proper formatting. Please download the doc or read on a desktop.
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The Archivist
"VALKYRIE" by Fons Bormer
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script written by Fons Bormer
Overview...The Archivist story concept developed through a conversation with Brock Silversides, the director of the Media Commons at the University of Toronto. As I developed the story on my own time, I realized that I needed to research for the screenplay. Brock and Charlie Keil, the director of Cinema Studies at UofT, worked to provide me with an internship opportunity. The script is now complete and in one of its draft forms.
Tagline: Spielberg, Lucas, Coppola, Scorsese... and Hitler's son. One of the world's most famous Hollywood directors, Val Sonattah, is also a secret celebrity in the world of underground snuff films. | ||
A university film archivist, Tim Rose, uncovers the heinous reality of the American cultural icon and struggles to make people believe him as evidence of the crimes vanish piece by piece. Rose fights to reveal the truth, but instead finds himself fighting for his life as he is marked as the next 'star' in one of Sonattah's Naziploitation films.
BlueCat Screenplay Contest Professional Coverage (anon.)
You have constructed a probing, unconventional, intelligent film script that achieves the bulk of what it sets out to do. To begin with, you utilize very effective scene descriptions that not only keep your script moving at a steady pace, but also don’t bog your reader down with unnecessary details. Additionally you manage to shade in subtle characterization details through your descriptions, which is always beneficial.
Juxtaposing the beginning of your script with Sonattah’s film is not only smart and economical, but it’s also a healthy way to set the scene and fill in all of this backstory. It works well and feels motivated rather than obstructive, and the same can be said for the police’s questioning of Tim Rose, priming the audience on his situation simultaneously. Furthermore, playing the themes of Mozart against what’s going on with Rose and Sonattah is also structurally sound.
It’s appreciated that you’re not afraid to take your script to some dark places and don’t sugarcoat any of this murder and tragedy. This is a world where you make it clear that there are consequences to actions, and that people are going to get hurt. There are some truly brutal actions in here that help push all of this material further and highlight the severity of what’s being dealt with.
There’s a nice sense of humor coursing through your script where not only do the majority of the jokes that you attempt land, but more importantly they all feel deeply rooted in your characters and the tonality of your script, which is not always an easy thing to achieve. This also helps create a welcome balance to a lot of the starker material in your script, too.
Your script does a commendable job at how it slowly ekes out the details of this mystery and just what is going on. You have complete control over it, and you pace it out well, while still making the audience hungry for more. It’s a difficult balance, but you find it well.
In terms of characterization and dialogue, you do decent work with Rose, Sonattah, Irwin, Jean, and the rest of your cast, digging deep enough into them, fleshing them out accordingly, and keeping them consistent through the course of your script. You don’t go overboard in these areas, but you show a lot of who these people are by their actions. You establish a shocking degree of shorthand with Rose, for instance, just by showing how he carries himself. It’s always better to show your audience details rather than outright telling them to them, and it’s clear that you understand that. More than anything, the audience is rooting for Rose and wants to see him persevere through this when the legal proceedings end up getting worse and worse. Similarly your dialogue works well and feels more utilitarian than anything. It does what it needs to do while properly reflecting these characters, but you also get a real patter going, and watching these people bounce back and forth off of each other, lost in topic, is a delight.
Lastly, your ending works incredibly well and feels like the perfect note to go out on. Rather than oversimplifying things or having a neatly tidied up conclusion, it’s appreciated that you leave matters more ambiguous and open. Audiences can reach their own conclusions and connect the dots that you properly set up for them. It’s a satisfying closer than not only feels earning and faithful to the rest of your script, but it keeps the suspense and tension rampant right until the end.
Juxtaposing the beginning of your script with Sonattah’s film is not only smart and economical, but it’s also a healthy way to set the scene and fill in all of this backstory. It works well and feels motivated rather than obstructive, and the same can be said for the police’s questioning of Tim Rose, priming the audience on his situation simultaneously. Furthermore, playing the themes of Mozart against what’s going on with Rose and Sonattah is also structurally sound.
It’s appreciated that you’re not afraid to take your script to some dark places and don’t sugarcoat any of this murder and tragedy. This is a world where you make it clear that there are consequences to actions, and that people are going to get hurt. There are some truly brutal actions in here that help push all of this material further and highlight the severity of what’s being dealt with.
There’s a nice sense of humor coursing through your script where not only do the majority of the jokes that you attempt land, but more importantly they all feel deeply rooted in your characters and the tonality of your script, which is not always an easy thing to achieve. This also helps create a welcome balance to a lot of the starker material in your script, too.
Your script does a commendable job at how it slowly ekes out the details of this mystery and just what is going on. You have complete control over it, and you pace it out well, while still making the audience hungry for more. It’s a difficult balance, but you find it well.
In terms of characterization and dialogue, you do decent work with Rose, Sonattah, Irwin, Jean, and the rest of your cast, digging deep enough into them, fleshing them out accordingly, and keeping them consistent through the course of your script. You don’t go overboard in these areas, but you show a lot of who these people are by their actions. You establish a shocking degree of shorthand with Rose, for instance, just by showing how he carries himself. It’s always better to show your audience details rather than outright telling them to them, and it’s clear that you understand that. More than anything, the audience is rooting for Rose and wants to see him persevere through this when the legal proceedings end up getting worse and worse. Similarly your dialogue works well and feels more utilitarian than anything. It does what it needs to do while properly reflecting these characters, but you also get a real patter going, and watching these people bounce back and forth off of each other, lost in topic, is a delight.
Lastly, your ending works incredibly well and feels like the perfect note to go out on. Rather than oversimplifying things or having a neatly tidied up conclusion, it’s appreciated that you leave matters more ambiguous and open. Audiences can reach their own conclusions and connect the dots that you properly set up for them. It’s a satisfying closer than not only feels earning and faithful to the rest of your script, but it keeps the suspense and tension rampant right until the end.
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N.B. Scribd doesn't display on most mobile devices and scripts don't retain the proper formatting. Please download the doc or read on a desktop.
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