Release Form

Dear Story & Script Development,

1. I,_, am submitting to you herewith the following material (hereinafter referred to as 'said material'):

TITLE_

FORM OF MATERIAL (e.g. screenplay, treatment, novel, play, movie, etc):_

NUMBER OF PAGES or LENGTH OF MOVIE:_

WGA REGISTRATION NO. (If any):_

COPYRIGHT REGISTRATION (If any):_

2. I represent and warrant that I am the sole owner and author of said material, that I have the exclusive right and authority to submit and/or convey the same to you upon the terms and conditions stated herein. I agree to indemnify you and your employees from any and all claims, losses or liabilities (including reasonable attorney's fees) that may be asserted against you or any of your employees or incurred by you or your employees at any time in connection with said material, or any use thereof, in connection with any breach or alleged breach of the foregoing representations and warranties.

3. I agree that any part of said material which does not in itself constitute protectable literary property may be used by you or any of your employees without any liability to me, and that nothing in this agreement nor the fact of my submission of said material to you shall be deemed to place you in any different position than any member of the public with respect to such material.

4. I understand that you receive numerous unsolicited submissions and that you have access to and/or may create or have created literary material, formats, stories, and the like, and that many such submissions received by you are similar or identical in theme, idea, plot or other respect to those developed by you or your employees or otherwise available to you. I agree that I will not be entitled to any compensation because of the use by you of any such similar or identical material.

5. I understand that you have adopted the policy, with respect to the unsolicited submission of material, of refusing to accept, consider or evaluate unsolicited material unless the person submitting such material has signed an agreement in a form substantially the same as this agreement. I specifically acknowledge that you would refuse to accept, consider, or otherwise evaluate my material in the absence of my acceptance of each and all of the provisions hereof. I shall retain all rights to submit this or similar material to persons other than you. I understand that no confidential relationship is established by my submitting said material to you hereunder or by reason of this agreement between us.

7. In the event of any dispute concerning any alleged use of said material (e.g. whether you have used legally protectable portions thereof), or any other dispute arising out of or in connection with said material or with reference to this agreement, its validity, construction, performance nonperformance, operation, breach, continuance or termination such dispute shall be submitted to arbitration. Each party hereby waives any and all rights and benefits which he or it might otherwise have or be entitled to under the laws of California to litigate any such dispute in court, it being the intention of the parties to arbitrate, according to the provisions hereof, all such disputes. The arbitration shall be conducted in the County of Los Angeles, State of California and except as herein expressly provided otherwise, the arbitration shall be a person experienced and knowledgeable in the entertainment industry. The arbitrators' decision. shall be controlled by the terms of this agreement, and I agree that the amount of any award shall be an amount which is comparable to the compensation normally paid by you for similar material or an amount equal to the fair market value thereof as of the date of this agreement, which is greater.

8. I have retained at least one copy of said material, and I hereby release you of and from any and all liability for loss of or damage to, the copies of said material submitted to you hereunder.

9. I enter into this agreement with the express understanding that you agree to read and evaluate said material in express reliance upon this agreement and my covenants, representations, and warranties contained herein, and that in absence of such an agreement, you would not read or evaluate said material.

10. Except as otherwise provided in this agreement, I hereby release you from any and all claims, demands, losses, liabilities, of every kind whatsoever (including reasonable attorneys' fees) that may arise in relation to the said material or by reason of any claim now or hereafter made by me that you have used or appropriated the said material except for fraud or willful injury on your part.

11. I hereby state that I have read and understood this agreement and that no oral representation of any kind have been made to me, and that this agreement states our entire understanding with reference to the subject matter hereof.

12. If more than one party signs this agreement as submitter, then reference to "I" and "me" throughout this agreement shall apply to each such party, jointly and severally, and each agrees to be liable, jointly and severally, for all obligations under this Agreement.

13. This agreement shall be governed by the laws of the State of California applicable to agreements executed and to be fully performed therein.

Very truly yours,

Signature Signature

Print Name Print Name Date:_Date:_

Received by:

Sandy Eiges

Story & Script Development

SAMPLE SCRIPT PAGES (from SANTA MONICA: A LOVE STORY)

FADE IN ON:

EXT. ST. MONICA'S STATUE, SANTA MONICA - DAY

A lone figure roller blades to the statue. CLOSE ON MIRANDA MALONE, 2 9 going on 19, with a wild sweetness about her, and just as wild a head of tousled red hair. She waits for the red light to change, eyes dimmed with worry, growing to -

INT. HOSPITAL CORRIDOR/HOSPITAL ROOM - DAY

Alarm, when she sees, through the window from the corridor into the room, MADDY MALONE, 60, with Miranda's face, her red hair tinged with gray. A PRIEST makes the sign of the cross over her, and leaves.

Miranda, pale and scared, hurries inside.

MIRANDA

Mother?

No response. Now Miranda is really alarmed. Maddy's eyes flutter open. Miranda breathes a sigh of relief.

MIRANDA How are you feeling?

Maddy's eyes narrow, as she focuses on - Miranda's big, pregnant belly. She speaks with a brogue.

MADDY

What do you think? My pregnant daughter isn't married. Jason should marry you.

MIRANDA I told you, it's not going to happen.

MADDY It's the curse...the curse of the Malone women.

Maddy turns away, getting a faraway look in her eyes.

EXT. ST. MONICA'S STATUE - DAY TITLE: DUBLIN, IRELAND 1900

Leprechaun yard art and shamrocks everywhere.

MIRANDA (O.S.) What are you talking about?

A PRIEST presides over the wedding as MOLLY MALONE, 29, a dead ringer for Miranda, whispers in her tall, dark handsome FIANCÉ's ear, patting her belly.

MADDY (O.S.) Your grandmother Molly Malone was twenty-nine and pregnant, just like you, when her fiancé jilted her at the altar.

Molly's smile fades as he takes one look at her belly, horrified, and backs away - and then makes a run for it.

MADDY (O.S.) She should have prayed to St. Monica, the patron saint of marriage.

Molly stares after him, heartbroken, as he disappears in the distance. Her belly gets bigger and bigger.

Molly moons St. Monica. St. Monica gives her the finger.

Molly, now carrying a BABY, pushes her cart, singing...

MOLLY

Cockles, and mussels, alive, alive-oh.

Molly ages into a 60-YEAR OLD WOMAN.

MADDY (O.S.) The Malone curse - if you don't get married by your thirtieth birthday, you never will.

MIRANDA (O.S.) Be reasonable! I'll be thirty in a week.

A pregnant young Maddy blows out birthday candles, as, behind her, clutching her heart, Molly drops down dead.

MADDY (O.S.) But she heaped curses on her instead.

MADDY (O.S.) And St. Monica cursed her back.

MADDY (O.S.) And I will drop dead if you're not married by your thirtieth birthday. And the same thing will happen to you and your daughter. That's the rest of the curse.

SAMPLE TREATMENT - CIVIL WAR PROJECT

ATLANTA 1864

SHELLS EXPLODE around them as UNION SERGEANT THOMAS M. GOODMAN, 30s, hurries his UNIT OF ARMY ENGINEERS through the fighting to repair the bent and twisted metal of the train tracks. CLOSE ON the glint of metal, as Goodman batters his piece of track into a straight and shining path, his pistol on the ground beside him. As other soldiers load row upon row of plain wooden caskets into the empty waiting cars, the battle inches closer. A Confederate soldier moves in, firing. Goodman edges away. But, as the man beside him falls dead, Goodman discovers that he is unprotected, and far from his gun. With the instincts of a practiced soldier, he takes the gun off the dead man beside him and shoots his enemy dead. And as the blood seeps through the man's shirt -

IOWA

- it seems to cover the letter being read by MARY GOODMAN, 30, worn with worry, standing alone under a lone elm tree on a windswept prairie hillside above a modest homestead.

GOODMAN (V.O.) My beloved Mary, Today I killed a man...

MISSOURI HOMESTEAD

Under UNION GENERAL EWING's watchful eye, UNION CAPTAIN JOHN SMITH, 30, orders his men to repeatedly hang and lower a man. They beat his TEENAGE SON to within an inch of his life, as his mother looks on in horror, all to learn the whereabouts of their other son, fighting with Anderson's guerrillas.

GOODMAN (V.O.) I believed that the Civil War had only two sides: pro-slavery and anti-slavery.

KANSAS CITY, MISSOURI

A dilapidated building, where dozens of young girls huddle, frightened. Capt. Smith brings in three more - the Anderson girls.

GOODMAN (V.O.) But on the Kansas-Missouri border the Union fought a different war -destroying anyone who had ever sided with the Confederacy, soldier and civilian alike.

Ewing orders Smith and his men to saw the girders in the basement of the building. They watch with sadistic satisfaction as the building caves in. As the beams fall the Anderson girls try to escape, but the building collapses on top of them - many are killed and maimed that day, including the Anderson girls.

Horrified, a guerrilla scout witnesses the incident and the arrogance of the Union soldiers, and rides hard to the guerrilla camp. When he reports the fate of the Anderson girls, their brother, WILLIAM T. "BLOODY BILL" ANDERSON, 22, his piercing blue eyes now tinged with madness, screams a bloody cry for revenge.

GOODMAN (V.O.) Faced with the destruction of their homes and the loss of their families, young men flocked to join a growing army of guerrilla fighters.

Anderson's army swells to SIX HUNDRED, BOYS OF 16-18. With their infamous black flag and double-fisted marksmanship, they ride down and charge Union troops, retaliating for every Yankee attack against innocent civilians.

The mad gleam in Anderson's eye gives way to a wild ferocity in the heat of battle. He unloads bullet after bullet, and brutally scalps his victims, as he cries out his sisters' names. The others scream the rebel yell, which continues under as-

ATLANTA

There are shouts of jubilation, as the city goes up in flames. Union cavalry parades through the wreckage that was Atlanta, declaring victory.

Goodman learns that he and his 26 men will finally be allowed to go home on furlough. The men celebrate, jubilant, as he hurries back to his tent to write Mary with the news. Goodman's excitement at the prospect of going home is marred only by reports of guerrillas in the area they'll be passing through. His men are disturbed by the necessity of turning in their weapons. Goodman lays his own gun down, and insists his men do the same. "If I can't take a gun so I can go home to my wife, so be it." Despite grumbling, the men throw down their weapons.

GOODMAN (V.O.) When the Union took Atlanta, everyone thought this bloody war was finally at an end.

At the depot the soldiers forget their woes, as the excitement of going home takes hold. Goodman turns his back on Atlanta, facing resolutely forward as the train departs, the gleaming tracks disappearing into the horizon.

GOODMAN (V.O.) But one of its darkest days was yet to come -

CLOSE ON the sign at a railroad station of a small Missouri town.

In Centralia.

CENTRALIA, MISSOURI

Centralia, nestled in the gently rolling prairie, boasts almost 100 inhabitants, its crowning glory the large new railroad depot for the North Missouri Line.

The town's citizens converge on the depot, debating which flag to fly - there'll be hell to pay if Smith sees the Confederate flag, and if Anderson sees a Union flag. A vote is taken, and it's a tie, as divided as the town's loyalties.

SARAH HOOPER, 20, hurries to join the debate. Her authority deriving from her position as the young owner of the general store, she speaks with a gravity that belies her youth and beauty. "We've managed to avoid confrontation this long. Maybe we shouldn't fly any flag at all. Either one puts us at risk for trouble."

ANDERSON'S BAND. With his men riding hard behind him, Anderson intercepts a mail train. Their horses keep pace alongside as the men leap onto the moving train. Shooting wildly, they rob the passengers and loot the mail car carrying money.

CENTRALIA. No flag flies at the depot, when Capt. Smith and his troops ride into town. He notices the empty flagpole and accuses the town of being Confederate sympathizers. Before the situation can escalate, Sarah hurries out, carrying a Union flag and mustering all of her considerable charm. "We will proudly fly the Union flag, sir, knowing you are in the area to protect us from those terrible guerrillas." Smith reassures her that she has nothing to fear -Major Johnston is tracking Anderson, and Smith is planning an attack. As Smith and his troops leave, the Union flag flying, her smile is replaced by a troubled frown. When they're gone, she takes down the flag herself.

THE FEDERAL TRAIN - LOUISVILLE, KENTUCKY

Goodman's train pulls into the station, where the men are delayed because the trains are running late. The true reason for the delay soon emerges, however, as the men head for a nearby saloon, where all talk is of the guerrilla attacks on Federal trains. Goodman notices one of his men, Palmer, strike up a conversation with the bartender, and then slip outside. He follows, observing the exchange of cash for a Colt .45.

The next morning Goodman talks to the stationmaster about rumors of trouble, but is reassured that there are Union troops in the area. He boards his men on the Northern Missouri Line - except for Palmer, until he gets rid of his gun. Palmer, snarling, pulls the gun on Goodman: "you're setting us up to be killed, Goodman." Goodman doesn't back down: "If you have such a hankering to fight, I hear there are Union troops in the area. You are welcome to join them, instead of going home to your wife and family." As the train whistle blows, Palmer, cursing, hands over his gun and gets on board. Goodman gives the guns to the CONDUCTOR for safekeeping, as the train pulls out.

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