This Week’s Script Cavalcade: Moaning Lisa

New amongst the WGF Library’s collection of TV show bibles and development materials is a thin packet entitled,The Simpsons: Episode Guide and Storylines (Season 8).” While this 1997 packet consists mostly of brief synopses of every season 8 episode, it also features vivid character profiles as well as rules for writing the show. Looking over this document, I internalized one thing — that the creative possibilities for The Simpsons are literally endless so long as the characters are true to their nature and to their relationships with one-another. In fact, it’s this particular notion that inspired my cavalcade of musings this week.

As any prolific writer knows, having a solid understanding of as many stories as possible can be supremely helpful. Why? Cultivating a reservoir of plot points, characters, arcs and themes that move you can only give you more to draw on when you embark on your own pen-wielding excursions.

The Simpsons is proof of this. Using their titanium-solid characters and staying true to them, the writers have been able to draw on myths, legends, other TV episodes, plays, tabloid stories, hearsay, current events and anything else you can possibly think of to create their own funny and poignant episodes of television (and for nearly thirty years). The idea of creating sturdy, compelling characters and putting them through a wealth of tried and true plots and stories is what I really want to focus on here.

For me, a script that really illustrates the power of this phenomenon is Moaning Lisa.

Written by Mike Reiss & Al Jean as a part of the show’s first season, the episode dates back to when the series had an imperative to, in addition to lampoon current events, establish meaningful relationships within the Simpson family.

The first beat of the first scene tells us exactly what this particular episode is drawing on.

Using the bleakness of Ingmar Bergman, the writers weave the tale of an existential crisis. What makes this episode inventive is the character experiencing that crisis. I’m not sure how many sitcoms about families up to this point ever featured a 2nd-grade girl in a funk over the emptiness of the American dream or life’s ultimate meaninglessness, but in this episode, Lisa Simpson has some big weighty questions getting her down — questions that nobody in her family or at school can seem to answer.

This blogger appreciates centering the story around a young girl who is experiencing depression — and not just depression over something like being rejected by a boy or failing to be popular — but a real experiential pickle, which young women can experience just as acutely, as, say, men approaching mid-life.

The episode finds movement in how Lisa fails to stumble upon anybody who can help her. The kids at school think she’s strange; the teachers don’t get her desire to be-bop on the saxophone during band practice or her inability to dodge balls in gym class. She eventually meets the great Springfield jazz musician Bleeding Gums Murphy who encourages her sax playing, but can’t offer her a cure for her blues.

As in any great coming-of-age story, it’s the character who seems to understand the least who ultimately ends-up helping out the most. Marge, at first, has advice that seems hopelessly destructive to what Lisa is going through:

What’s brilliant about this monologue is that even as we’re reading it, we can tell it hurts Marge to say these words and that perhaps she relates to Lisa on a greater level than she lets on — that she doesn’t believe this advice even though it was passed down to her from her mother. What a fantastic screenwriting lesson that Marge never outrightly states: Lisa I know what you’re going through. Rather, we as the audience infer it. We especially infer it in the action that Marge takes next.

She watches how offering a fake smile and repressing her true feelings actually hurts Lisa when she interacts again with peers and teachers. With not an ounce of hesitation, Marge whisks her daughter back into her car and offers her some of the greatest parenting ever:

And that’s the essence of rock-solid character — doing right by somebody else even if it runs counter to the philosophies that were imprinted on you when you were a young Marge.

Oh, and Homer experiences his own Bergman-esque version of playing chess with death as he keeps getting pounded by Bart at a boxing videogame, leading him too to contemplate getting older and his own mortality.

Moaning Lisa is the perfect read if you have but 30 minutes to spare in the library for it inspires asking big questions of yourself like: If I were going to write my own version of an existential crisis story, who would be my subject and what would they learn? Who would they learn it from?

The WGF Library exists to help you do what The Simpsons does so well — develop your own poignant, true characters and draw on a pantheon of stories and storytelling to create relatable adventures to put them through.

Search our catalog and stop on by, won’t you?

Here’s what’s new:

  • The complete first season of Animal Kingdom on TNT
  • John Carpenter and Nick Castle’s Escape from New York
  • A handful of scripts from Disney’s Doug
  • Season 2 scripts from HBO’s Ballers

This Week’s Script Cavalcade: I Heart Huckabees

This week we dive into the unfathomable depths of ontological awkwardness that is David O. Russell and Jeff Baena’s 2004 philosophically-driven comedy I Heart Huckabees.  A superb screenplay that kind of slinked in and out of theatres and under everyone’s radar that year, this yarn is just silly with existential angst and serves as a prime paragon for plying profundities with peals of laughter.

The quick pitch: It’s Camus with chortles. The story follows two existential detectives as they investigate the meaning of life and the interconnected turbulence of their clients. We have a young Albert Markovski who fights the good fight to curb suburban sprawl and cope with the copious coincidences he encounters that cause him to question his purpose. And Tommy Corn, a volatile and disillusioned firefighter examining the answers to intolerable life questions. And Caterine Vauban, the sensuous nihilistic entropist who plays the cunning Svengali to this eclectic cast of characters.

The writers Russell and Baena knead together a Nietzschean narrative that plucks from a variety of genres. A pinch of spiritual self-help, peppered with a dash of detective discourse inundated generously with wholesale heapings of comedic katzenjammers. It’s Sam Spade with dialectical deconstructionism—equal measures absurd and insightful. It treads a tough trajectory between tickling your funny tibia and enturbulating your sense of straightforward storytelling.

The dialogue. The dialogue does it for me. And here the canny circumspections are embedded into the chuckles with surgeon-like precision. It takes a certain degree of dialogue dexterity to be able to deliver the sage along with the silly. But the screenwriters display an abundant acumen for it from act one.

Business cards conveying asinine business credentials are business as usual in this surreal world the screenwriters have conjured.

In one scene, disenchanted firefighter Tommy Corn waxes to a pair of pious children the perils of petroleum and a certain messiah’s munificence toward them:

So the script for I Heart Huckabees sits ready and raring for your fervent page-flipping here at the library. Swiftly find your way to Third and Fairfax and pursue belly-laughs and brahman between the brads. We’ll save a seat and a slice of serenity for you.

Remember to bring your own chains.

And when you’re nauseous of knockin’ around in nirvana, feel free to fraternize with these all too new scripts in our collection.

  • HBO’s dramatic profile of unscrupulous Wall Street schemer Bernie Madoff The Wizard of Lies penned by Sam Levinson, John Burnham Schwartz, and Samuel Baum.
  • The mirthful monkeyshines of Fox’s Mulaney created by John Mulaney.
  • Hulu’s period drama from across the pond Harlots created by Alison Newman and Moira Buffini.
  • 2012’s action thriller Jack Reacher written by Christopher McQuarrie adapted from the bestselling series by Lee Child.

Consult our online larder for additional scriptly enlightenment.

This Week’s Script Cavalcade: The Apartment

“The origin of THE APARTMENT was my seeing the very fine picture by David Lean, BRIEF ENCOUNTER [1945]. It was the story of a man who is having an affair with a married woman and comes by train to London. They go to the apartment of a friend of his. I saw it and I said, ‘What about the guy who has to crawl into that warm bed…?’ That’s an interesting character.”

The above quote comes from Billy Wilder, describing to Cameron Crowe how he came up with the idea for his film THE APARTMENT.

In 1999, Crowe published a book called CONVERSATIONS WITH WILDER, documenting his encounters and talks with the late-great writer/filmmaker, furnishing us with stories like the one above. Last week, when Crowe was here at the Library (before conversing with Winnie Holzman about his own writing life and process), he took the time to scribble a note in our copy of his book.

For regular visitors to the WGF Library, it’s no secret that you can sit amongst Wilder’s personal, bound copies of his scripts — and if you ask really nicely we might let you read one. As part of This Week’s Script Cavalcade, I’m doing my part to hail the maestro by telling you that if you choose to read one of these Wilder scripts, THE APARTMENT is a very nice place to start.

From imagining the unseen flunkee who lets his friend have an affair in his apartment in BRIEF ENCOUNTER, Wilder and his co-writer I.A.L Diamond create CC Baxter (or “Bud”), a corporate drone, who naively believes that if he lets his bosses use his apartment for their affairs, he’ll get a promotion.

Bud embodies the always-relevant notion that if you let other people take advantage of you without complaint, they’ll see what a deserving person you are and you’ll get ahead in the world. The problem is that Bud has let the higher-ups use him and abuse him for so long that he no longer has a sense of his own worth.

Even mother nature and the common cold take advantage of him:

To boot, Bud spends the majority of the script enamored with the elevator operator in his office building, Fran Kubelik. The plot genius at work is that Fran happens to be having an affair with the head of Bud’s company, who also wants to use his apartment.

The theme of the film pops up again and again and it’s particularly relevant today:

The specific wisdom that THE APARTMENT puts out into the world is that when we get “took,” we can find surprising solace in sharing rejection with people who understand because they’ve been there too.

Read how Bud and Fran find themselves alone together on Christmas. Without family, friends or lovers, all they have is each other and they form a makeshift bond. It creates a feeling of losing and winning at the same time. Without going into too much detail, Bud consoles Fran and makes her feel better after she’s attempted suicide by sleeping pills in his apartment.

Bud proves himself an everyman hero at every possible turn in the script. When his neighbors and Fran’s brother-in-law believe he’s the man who has broken Fran’s heart, he doesn’t contradict them, going so far as to take a punch for her. Ultimately, he learns that treating people well – no matter how much it hurts – is its own reward. For people who tell screen stories, there’s a lot to be gleaned from studying his every move.

It seems Cameron Crowe reveres this film and this script and has studied it thoroughly. It shows in films like JERRY MAGUIRE and ALMOST FAMOUS, especially in the relationships between Jerry and Dorothy and especially William Miller and Penny Lane.

In fact, movies like Wilder’s and Crowe’s endure because they feel like a person telling you a story like the one Bud tells Fran to make her feel better. They feel like a person telling you that you are not alone.

What better way to keep good company while you write than to read their encouraging words while sitting amongst fellow scribes in the WGF Library?

While you’re here, you can also read:

  • Scripts from the entire first season of Netflix’s THE CROWN written by Peter Morgan
  • The entire series run of HBO’s THE LEFTOVERS created by Damon Lindelof
  • Gillian Robespierre‘s feature script OBVIOUS CHILD
  • And a handful of scripts from Mike Schur‘s THE GOOD PLACE, including the pilot

And since you’ve stayed to the end of this post, I’ll leave you with the last, classic exchange from THE APARTMENT.

Five for Pride: Moonlight

Happy Pride Month! To celebrate, the WGF Library highlights five screenplays of some of our favorite films featuring LGBTQ protagonists. This list isn’t by any means a ranking; frankly, there are so many wonderful films to choose from, which is a really great thing to say at this day in age. We recommend reading and watching beautiful, groundbreaking stories told over the past 25 years: Brokeback Mountain, Boys Don’t Cry, The Adventures of Priscilla Queen of the Desert, A Single Man, to name a few. You can read these screenplays all this month or any month—check our Library catalog. But first, we’ll start with a recent award winner.

1. Moonlight – Screenplay by Barry Jenkins, Story by Tarell Alvin McCraney

The 2017 Academy Award winner for Best Picture and Best Adapted Screenplay undoubtedly left a mark with the quiet vulnerability of its protagonist, a young black man named Chiron. There is much to unpack in Moonlight, but I viewed it as a coming-of-age drama that happens to be set in a world in which the neighborhood drug dealer serves as a boy’s de facto father figure and the burdens of high school include regularly dodging both bullies and a mother’s drug-addled entreaties.

Amid such circumstances, Moonlight includes moments universal of coming-of-age stories. We see a teenage Chiron’s first sexual experience on the beach with his best friend Kevin. On screen, it was a beautifully intimate moment in which the audience feels as present and attentive as the characters. On page, each beat is measured as a chill evening hang on the beach turns into an emotionally raw glimpse into this quiet teenager’s psyche.

As Chiron and Kevin engage in a push-and-pull dance of sorts before culminating in a kiss and then some, we, too, lean closer to the page waiting with baited breath for the painfully awkward repercussions of putting oneself out there. But it never arrives. The moment is treated gently and lovingly by Jenkins both on screen and on the page.


This Week’s Script Cavalcade: LA Confidential

This week’s highlighted script strong-arms us to the gritty back-alleys of 1950s Los Angeles and the caroming good cop/bad cop carousel that is Brian Helgeland and Curtis Hanson’s 1997 neo-noir crime yarn LA Confidential. Taut and trussed with tension, this is a screenplay that ably walks the walk and talks the talk. With stiletto sharp dialogue and convincing characters that transcend the genre it sometimes lampoons, LA Confidential is a script that smacks you across the face like a literary blackjack.

The screenwriters craft a complex web of double and triple-crosses and keeps the story propelled with plenty of who-dunnit momentum. The dexterity and comprehensive understanding of the conventions of film noir and police procedurals are one of the many reasons the script scooped up an Academy Award for Best Adapted Screenplay. It takes long established noir tropes of dusky dames and fast-talking police palaver and delivers something that’s both familiar and all too unique.

To read LA Confidential is to soak up a masterclass in how to write incisive and considered character development. The players are repugnant, but you’re still compelled to care about them. They’re incorrigibly captivating despite their lack of scruples. We’ve got two detectives, Edmund Exley and Bud White. Two diametrically opposed flatfoots in terms of their modus operandi and approach to solving crimes. Exley is an over-calculating pedant hopelessly devoted to following procedures at all costs. While White is a hair-trigger pugilist always ready to wring out a confession from a perp with his wayward fists.

And as the plot thickens these two flawed but charismatic characters contrive to collaborate and take on the characteristics of the other. They prop one another up and compensate each other’s shortcomings developing into this crime-solving force that accentuates the strengths of both detectives while also ameliorating their respective vulnerabilities. It’s a superb example of knitting together nuanced character arcs that intertwine and serve the overall story. The percolating chemistry that swirls between these two obverse foils as they untangle the sinister conspiracy afoot is the impetus of their eventual cracking of the case. It goes beyond mere banter and all-around Dragnet-like ballyhoo. By script’s end, you’ll find it really challenges the motifs of any garden variety buddy-cop movie.

So swig two fingers of gin and gumshoe on over to the library. You’ll need that liquid courage for this hard-boiled hurly-burly of a read.

Off the record, on the QT, and very hush-hush.

And other newly uncovered rubies in our coffers include:

  • Drama-mystery series 13 Reasons Why created by Brian Yorkey adapted from the best-selling novel by Jay Asher.
  • BET’s R&B infused The New Edition Story penned by Abdul Williams.
  • The madcap musical melee that is Rachel Bloom’s Crazy Ex-Girlfriend.
  • Fox’s murky crime-drama Gotham developed by Bruno Heller.

So pad on over and have a chinwag. We at the library are always eager and able to bend your ears about the latest and greatest offerings in our collection.

Comb the catalog here.

Inside the Archive: Meeting Millie

We imagine, perhaps a tad too idealistically, a simpler life where milk was delivered to your doorstep and a loaf of bread went for only a dime. While this era, now fifty or sixty years removed, seems somewhat ancient and unrecognizable, it would be remiss to say that today’s human experience is significantly unique or singular—because it’s not. Why else do timeless classics such as Casablanca or North By Northwest still enthrall and captivate audiences around the world? Don’t we all still wish to love, live and, of course, laugh?

Case in point: Meet Millie (1952-1955), is a TV series the WGF Library recently acquired through the family of Howard Leeds, one of the show’s main writers. It hysterically follows the life and exploits of Millie Bronson (played by Elena Verdugo, who sadly passed away last week) as she attempts to make her way in New York City while living with her wisecracking mother and trying, albeit sometimes hopelessly, to gain the affection of her boss’s son.

Meet Millie is a remarkable comedy in that it stands the test of time and can truly hold its own with even its strongest contemporary, I Love Lucy. Even though six-plus decades have passed since the show’s end, Millie constantly finds herself in gut-busting situations that are still quite relevant today, such as returning unwanted Christmas gifts for much more useful cash, and trying, unsuccessfully, to sneak out of work on a Friday afternoon. So come in, sit back, and enjoy a blast from the not-so-long-ago past in Meet Millie, a little known gem and remnant of the Golden Age of Television.

Stop by the library and peruse the countless award winning scripts. If you watched it, we almost certainly have it. 

This Week’s Script Cavalcade: The Subject Was Noses

It’s an episode of TV remembered for a single re-playable moment. A football hits Marcia Brady in the face and she staggers back dramatically, yelping out “Oh my nose… my nose!” Fans and aficionados of 70s TV will be pleased to know that the WGF Library now carries a shooting draft of this exceptional BRADY BUNCH episode, aptly titled “The Subject Was Noses.”

Drawing on the folk and fairy tale archetype of a character receiving a physical curse for a misdoing, “The Subject was Noses” is a compact morality play designed for families sitting down in front of their television sets on Friday night.

Written by Al Schwartz & Larry Rhine, the episode most overtly draws on the idea of Pinocchio, whose nose grows with each lie he tells. As the Pinocchio-inspired heroine of this story, Marcia tells a little lie to get out of a Saturday night date with a nerdy average guy, Charlie… all so that she can hang on the arm of a popular football player named Doug Simpson. After telling this fib (and in a stellar example of plot point karma), Marcia literally takes a football to the sinuses, which makes her nose swell-up and turn blue so that she and everybody around her are constantly reminded of the lie she told.

When we think of wounded heroes bearing facial scars, it’s often tough guys like Terry Malloy in ON THE WATERFRONT, JJ Gittes in CHINATOWN or Tom Joad in THE GRAPES OF WRATH; it’s not typically a pre-teen girl in the vein of Marcia Brady, but that’s just one aspect of this episode that makes it interesting. From here on out, Marcia is a branded woman, forced to live – physically and emotionally — with the consequences of her choice, but then showing a pleasing amount of agency for a young female character of the time and working to rectify her mistake.

The writing is as poignant as it is funny, transcendent even — for a squeaky-clean family show — with all the characters sweetly adding their support to Marcia during her struggle. Plus, the subplot serves as a comic foil to the central dilemma as Mike and Carol face their own quandary of choosing the right wallpaper for their bedroom.

This blogger wonders, however, if “The Subject Was Noses” was written today – would Marcia’s solution involve accepting a date with Charlie, or would she ultimately ditch both boys to work on a stronger sense of her own self-worth?

Patrons of the WGF Library often come in wanting to read the most recent hit series (and rightly so if you are working on a spec episode of a current show), but if you’re reading scripts to bolster your TV writing knowledge, why shortchange yourself by sticking only to shows written in this decade? There’s a lot to be gleaned from classic TV shows like this one, including inspiration, tropes to subvert and good techniques for creating a moving character arc in less than 40 pages.

Be sure to check out our online library catalog to see what we’ve added recently including:

  • Scripts from NBC’s comedy THE CARMICHAEL SHOW
  • The complete first season of the Netflix’s ONE DAY AT A TIME, created by Gloria Calderon Kellett and Mike Royce, inspired by the 1975 Norman Lear series of the same name (which we also have scripts from)
  • The pilot episode of the 1980s sci-fi sitcom SMALL WONDER
  • A smattering of radio scripts from the 1940s featuring yellow-suited sleuth, DICK TRACY

This Week’s Script Cavalcade: Midnight in Paris

No one wrangles together the words quite like Woody. This week’s featured screenplay is Woody Allen’s 2011 whimsical mix of the neurotic and nostalgic Midnight in Paris.  Able, acerbic, and Academy Award-winning, this script marks a return to form and renaissance in Allen’s late career. It’s a script that strikes a fine balance between trenchant one-liners and heartfelt hurly-burlies. The script features a protagonist struggling with a thwarted romance for both a bonnie girl and a bygone generation. It’s fine fantasy fare that recalls his best out-there concepts a la The Purple Rose of Cairo or Sleeper.

If there’s any screenwriter you want to be reading and reading in abundance, it’s Woody Allen. This is a wordsmith who’s been cranking out the hits since the sixties. Prolific to a fault some would argue. But few would debate that many writers have the longevity, understanding, and natural nous for narrative and dialogue like Mr. Allan Steward Konigsberg. He’s assuredly sui generis in his work-rate and range of storytelling.

Coming from a largely comedic background, economy of language has always been his bread and butter. He has a keen ear for incisive lines that perfectly encapsulate and convey. Pithy and practical. He pares down and achieves a laconic profundity time and time again.

Listen to the language he employs to tidily capture the entire bibliography, tone, and persona of Ernest Hemingway in what is probably the funniest and bleakest monologue in his entire oeuvre:

It’s no easy feat to find the balance between romance and comedy. It’s a sweet spot that can be elusive. But this script is written with a diamond-cutter precision that finds that balance skillfully and with alarming frequency. The screenplay is littered with scenes that tickle the ribs and pluck the heartstrings. One just wades wistfully into the opening sequence:

So waltz on over and wallow in this tale of rose-colored yesteryears. A yarn about the creative process and remembrance and the act of writing itself, Midnight in Paris is meaningfully meta and memorable.

I’m sure you’ll remember it fondly.

I’ll leave you with these parting lines from the ever volatile Hemingway. All too sagacious methinks.

Also, the reams and reams of new scripts in the library this week include:

  • A grab bag of episodes from the drama series Greenleaf produced by Oprah Winfrey.
  • Scripts for the musically-soaked stylings of The Get Down created by Baz Luhrmann.
  • A largesse of new scripts for TNT’s Good Behavior created by Chad Hodge and Blake Crouch.
  • The swashbuckling fantasy-drama series The Shannara Chronicles based upon the novels by Terry Brooks airing on Spike.

We also invite you to browse our online catalog for the freshest harvest of scripts we’ve acquired of late.

This Week’s Script Cavalcade: Minority Report

I’m very enthused to write about this week’s featured script, a newly acquired draft of the 2002 science-fiction yarn MINORITY REPORT written by Scott Frank and Jon Cohen adapted from a short story written by Philip K. Dick.

This is a screenplay that is masterful in its complexity and ability to lump together a variety of genres into a compelling plot that delivers a devastating one-two of emotional oomph. It’s a most palatable soufflé peppered with leitmotifs of suspense, tech noir, and murder-mystery all slapped together and packaged as a traditional chase-thriller. It’s many plates spinning in the air. And it takes some narrative nimbleness not to let a single one wobble.

The screenplay lassos all the right stuff in a hundred and sixty-five pages. The pacing of the script is downright Hitchcockian. The heady existential interludes of determinism, the illusion of human agency, and the increasingly questionable role of technology and its encroachment upon a free society alludes to the very best of Orwell or Vonnegut. This is a script that swings for the fences in terms of imposing a thematic resoluteness and is in no short supply of ambition when it comes to delivering a message. It’s a writerly haymaker to the grey matter and gets the noodle percolating long after you flip past the last page.

An example of some of the ostentatious ontological rhetoric:

From a structural perspective, MINORITY REPORT has much to impart to aspiring writers in terms of action beats and goading the reader along to a rollicking and well-crafted knuckle-biting climax. Come in and thumb through this stand-out script. 

And these other new scripts in the library should also surely satiate your science-fiction fix:

  • Season one scripts for the SyFy series THE EXPANSE.
  • The 2004 neo-noir dystopian thriller I, ROBOT written by Jeff Vintar and Akiva Goldsman.
  • 2004’s climate sci-fi global-disaster script THE DAY AFTER TOMORROW penned by Roland Emmerich.

Please feel free to mosey through our online catalog for the other latest and greatest additions to our collection.

This Week’s Script Cavalcade: The Assassination of Jesse James by the Coward Robert Ford

Newly acquired in the Foundation Library collection is the screenplay The Assassination of Jesse James by the Coward Robert Ford written by Andrew Dominik. It’s a slow-burning and atmospheric read of the highest caliber. Dominik takes a historical outlaw and heaps layers and layers of complexity, tacit tension, and somehow humanizes an almost irredeemable and nigh mythological figure. The script is measured and minces no spare words. Each scene wrings optimum emotional impact and the implied conflict escalates with a slouched subtlety and ruffian rawness that is very in keeping with the screenplay’s subject and tonal themes.

The script’s use of regional language and vernacular is testament to the writer’s singular ear for dialogue. The words drip off the characters’ tongues like molasses and the sometimes elevated parlance is particularly jarring when juxtaposed against the extreme instances of casual violence that these characters commit. The screenwriter understands and employs these contradictions to great effect. And manages to find an effective mixture of menace and Appalachian erudition.

A dulcet example:

Andrew Dominik kicks the dust off auld Western tropes and strips the legacy of the genre to its bare bones. The script redresses the weary norms and motifs of conventional westerns and confounds readers with something newfound and unique. The Assassination of Jesse James is a screenplay that elicits several insightful lessons in pacing, inducing sympathy for despicable characters, and, most importantly, speaking volumes via scene-stealing silences.

Assassination is a fine script. Cold-blooded and calculating in execution.

Gallop on over and have a gander.

Also new:

  • The screenplay for the 2002 neo-noir crime thriller The Salton Sea by Tony Gayton.
  • The screenplay for Ebbe Roe Smith’s 1993 Los Angeles thriller Falling Down.
  • A slew of episodes from HBO comedy Vice Principals.
  • A hodge-podge of Boston Legal episodes from season two.

For further details on recent additions, we invite you to sift through our online catalog that is ever expanding daily.