Welcome, Guest. It is July 3rd, 2025, 1:42am Please login or register.
The primary purpose of the SimplyScripts Discussion Board is the discussion of unproduced screenplays. If you are a producer or director lookng for your next project, the works here are available for option, purchase or production only if you receive permission from the author.
NOTE: these screenplays are NOT in the public domain and MAY NOT be used or reproduced for any purpose (including eductional purposes) without the expressedwrittenpermission of the author.
Clone Wife by Brett Martin (electric dreamer) - Comedy, Romantic, Comedy, Fantasy - A lonely scientist gets an unexpected second chance at first love when he clones his estranged wife. 106 pages - pdf, format
Good poster. Read 14 pgs. Very good in imo. However, I think it would be better if you can skip the shopping mall scene and go directly to the tony montana place. Does this actually exist? I would visit it. lol. Anyway, back to the topic at hand, The tony montana scene expresses the same message as the shopping mall. Other people don't like Travis, don't think he's right for Renee, and that he should leave.
This reminds me a bit of a Weird Science, the movie and tv series. Not having read it all, I believe the clone woman would help Travis, or go against Travis, or go against Renee. Interesting possibilities. Can't wait to read it more. To make a prediction, I'll say you went for the 2nd option.
Hope this helps, Gabe
Just catching up.
If you’re interested in reading anything of mine, ask.
“Good morning, good evening, and good night”, Truman Burbank from the Truman Show.
Read the first 15. Personally I like the title, it makes it very clear what this is about and pretty much sets the tone. Ok with a name like that it could be a horror but the likelihood is that you know otherwise. Has a commercial feel to it, as does all your work, which i like.
You must accept I am newish to this but have my comments for what they are worth.
# I found the first page a bit heavy. Eg ...delicate articulate metal forearms.... I gathered what the aims were but i had to read it deeply to get it to flow. Does that make sense? # bichon frise - sorry I didn't know this was a dog and for the next few pages I thought it was a cat, then a dog then back to a cat!! I know now. # P5 cocaine pile - sorry I have an image that I think it wrong. What is this? # when travis leaves I found this a little abrupt. Yes they don't talk, yes he doesn't like being there... I don't know something seemed missing, as if more would be said or done. # I like the name, wonders. House of wonders! P13 lugWade - what is this?
I think I am going to like this and will read more. Hope the above is ok with you.
Cheers RD
My scripts - links to be updated.
The Elevator Most Belonging To Alice - Runner Up Nashville Inner Journey - Page Awards Finalist - Bluecat semi final Grieving Spell - winner - London Film Awards. Ultimate Weapon - Fresh Voices - second place IMDb link... http://www.imdb.com/name/nm7062725/?ref_=tt_ov_wr
Brett, I assume you read my original post in this space. No need for me to leave it. I will update here later after I read some more.
Kevin
Update
I've reread the from scratch. The good news is that it's not really as bad as my sense was last night. The problem is that we're flooded with images, words, and information that slows the read. When you read it a second time, you understand better. And this explains why some of these issues were difficult to fix by the writer, who already has the info in his mind.
With the reread, things were moving pretty smoothly. I understood some subtle things I missed yesterday. But some more issues cropped up.
Around page 17 begins the effort to clone the dog/cat. It takes 8 pages! And not much of interest happens in those 8 pages. Actually, nothing. In film, this would not be 8 minutes, but it would still be way too long. That's where I stopped for now.
I have identified some problems though, that I think will help on rewrite.
First: we know from the logline that he is going to clone his wife. So there is no mystery to pull us through the slow parts of the script. There is no question we need to see answered. We know there will be a clone. And we actually can assume certain things from the tone. For example, we know the wife will come home, and Travis will have to deal with this somehow. There will be some ripe comedy with that. And we expect there will be a happy ending, and Travis will get with his wife. I could be wrong, but it doesn't even change my point, because the issue is that we are sure this is how it will work out...even if it doesn't. See what I'm saying?
You have to engage people's curiosity. We're not even curious about clones. Clones are old hat now. So we need something that will intrigue us. I don't know what. Maybe that's where story B comes in. If there is one, it could help to bring it in earlier. Anything to engage our curiosity.
Second: you will possibly reply to my point above by saying we are intrigued by wondering what will happen when Renee comes home. Problem is we really have not gotten to know either Renee or Travis much, or them as a couple. We don't have an attachment. We don't care if she stays in Japan and Travis lives happily ever after with the clone. And if he gets sick of that one, make another. We're not invested in their relationship, and we need to be.
I think that can be fixed with some work. And you have the space, God knows that. Because there's a whole lotta description that is not needed. There's even stuff happening that really is not needed, such as the expository dialogue with dog/cat.
I also think I understand some of what has caused the problem here with the writing. When, as new writers, we start writing, we tend to overwrite, use asides, too much dialogue. We learn how to strip that down to the bare bones, become ultra efficient. Then, we start trying to build some writing back, develop a style. I think this is part of that process, and it's only your third feature, so everyone should be patient.
Ok, I have work to do. Getting behind schedule. I will be back to this and post here as an edit.
Same with the lugwade. Never heard of it, but can figure out from the context what it is. But hopefully there aren't too many times I have to figure out.
regards Kevin
Hey Guys!
First off, thanks for the lightning fast looks at the script, super appreciated!
I'll get into the critiques themselves later. But, there's one thing I should address right now. I made a GINORMOUS TYPO mistake in this draft due to a character name change. WADE used to be a GAGE. I forget to spell check after I did the CTRL + F name swap deal. So, "luggage" on p. 13 became "lugWade" and I missed it. There are two others I found later on, "engage" became "enWade".
Hope this helps.
Regards, E.D.
LATEST NEWS CineVita Films is producing a short based on my new feature!
Hey Brett, I see you have a new script up and already have coverage and a poster. You move fast my friend.
I started reading this morning and got up to Page 15 (seems like Page 15 is a popular place to stop and hang out!). My Page by Page notes are attached, and meant to help, point out mistakes, and give you my personal opinions of what works and doesnt work for me. Please keep in mind, that many of my comments involve pet peeves of mine that others have no problem with. I am also not a Rom Com kind of guy, although I have sat through many hundreds. Although I dont personally like the genre, there are countless Rom Coms I do enjoy for what they are, and I think I know what makes one work and what makes one fail.
So, basically take my comments for what you see they are worthnothing more and nothing less. EDIT Looking back over this, Im actually a little worried about even posting, as there a lot of negatives brought up. But, I know you want this to be all it can, and hopefully a few of my points will make sense. If not, just chalk it up to coming from a non Rom Com kind of guy!
Lets dive in
Page 1 Opening Slug By using MAN CAVE LAB, youre obviously going for humor on the written page, which wont show up in a filmed versionand theres nothing wrong with that at all. But, IMO, by using the term MAN CAVE, youre implying something about whoevers man cave this is, and having read to Page 15, I can easily say that Travis is not the type of guy where man cave applies. Obviously no big deal, but for me, its a misfire right out of the gate.
Opening passage Again, for me, this opening passage is a misfire, as its very long winded, and causes me to more than pause to take in what you want me to. Tinker Thinker, Rodin, and tinker toys all make this a difficult opening for me, and the fact that its a 3 line, single sentence, doesnt help.
I am not a fan of spiders and its common knowledge that many arent. You write about this critter in an almost cartoonish, animated way, which I see as a problem, and something just not needed for a light hearted Rom Com.
You intro Travis as being in his 40s. I understand everyone has their own opinion about character introductions, and Ive had several discussions with board members, even recently about this, but I want to let you know my thoughts on it, as I feel its important. I totally understand that on film, its impossible to know how old a character is. To add to the difficulty, most movies cast actors that are not the same age as the character is supposed to be in the script (one of my biggest pet peeves, especially when teenage characters are played by actors in their late 20s, which just makes no sense to me). But heres the deal40s by definition means age 40-49, which is a pretty wide gap. Does it matter which age he is? Probably not, depending on backstory and exact details provided in the script (I dont know at this point). But you as the writer are the creator of these characters. You create every detail about them, including their backstories and life outside the actual script. Therefore, you are the only one who knows how old each character is. Because you know this and based your script around it (hopefully), you should come right out and give an exact age for every main character (or at least a smaller range, like early 40s, mid 40s, or late 40s). If a character is only in a scene or 2 and it doesnt matter at all what his age really is, then fine, use a wide range, as it doesnt impact the story in any way. But for all your main characters, IMO, it is important to give them an age and make sure you stick to that throughout in how they act, and what they say.
I agree with Kevin regarding the heavy V.O. that is so prevalent on this opening page. For me, it doesnt work at all, and makes for a slow read right out of the gate. IMO, even if he was actually talking to himself, it would be better than using a V.O.
The stuff about the picture needs some attention, IMO. Youve given intense detail here that I bet isnt remotely necessary. But, if you indeed want to show this detail, you should focus in on the picture with a Mini Slug or insert. As it is, it just reads so clunky, long winded, and overwritten. Also, youre missing head between her and out.
Page 2 Again, the spider stuff on the top of the page doesnt fit into the tone of this script in any way. You will turn off many as well as freak them out as well, if this is filmed even remotely closely to what youre intending with your prose.
The sounds of an unseen door closing upstairs. Claws click across a hard floor to greet the arrival.
Travis watches a desktop Pong clock play with itself. 7:17. Both of these passages are problematic for me. The first really doesnt say anything and what it does say is unimportant, IMO. The 2nd one is just weirddetail thats unnecessary. Why do we care what time it is? It doesnt even come into play at all. Why a Pong clock? What is a Pong clock? The play with itself line is humorous on paper, but again, it doesnt translate to film.
OK, the first 4 passages after the LATER Mini Slug all have issues, IMO. All are extremely overwritten, with too much completely unnecessary detail. Theyre also oddly phrased, making them all difficult to take in. I dont want to quote each line and give details, but if youre wondering, just ask, and Ill do it.
Also, keep in mind that the time element in your opening Slug is NIGHT. You have a Mini of LATER, but its still night, in theory (or at least should be, based on your Slugs). The use of twilight and dusk are very confusing, as both refer to a time between day and night, which makes no sense since were already in a NIGHT time element. Needs to be addressed and changed.
I see where people are getting confused about Algernon, the Bichon Frise. If nothing else, you should give him a color, so we can visualize him a bit better.
Page 3 Travis dialogue line at the top of the page is interesting to me, because I think its a gauge on how people will feel about this. If they find this line funny, theyll probably enjoy the script. If they dont, they probably wont. Sorry to say, but Im in the latter camp so farI dont find it funny, and Im having trouble getting through this up to this point.
Hmmm, the last scene was DAY, and now its DUSK.
Wade REID Wade also needs to be all CAPPED. Wades description is, again, difficult for me. I understand why youre using the words you are, but for me, its annoying and a turn off.
Wade gravitates closer to the property line, he holds the hose waist high while he gawks at Renees ass. Wooo, WTF? First of all, this is a run-on sentence, that reads very awkwardly. Kind of out of place wording Renees ass, but the bigger issue is that Renee has not been introd as being in this scene.
The water stream goes soft, Wade looks at the flaccid hose. same thing hererather humorous on paper, with the word flaccid and the obvious connotation, but I highly doubt it would transfer to film this way.
And again, all of a sudden, Travis is also in the scene, without being properly introd. You understand what Im saying? To make matters worse, it seems to me that this entire scene is taking place in Wades front yard, not the Wonders. I mean, Travis is turning off Wades water at the spigot, right? That would be attached to Wades house. This entire scene needs immediate attention.
The next scene doesnt work for me either, sorry to say. Its not funny to me, and reads very clunky.
Page 4 Opening Slug Youve got this as an EXT scene, but the dog is sitting inside the house, looking out the bay window, correct? I understand what youre going for, but is this correct as written? I dont think so.
Next Slug EXT. HIGH SCHOOL to me isnt accurate again, but no big deal. I also personally dont like the V.O. dialogue, or the clich assumption that these 2 have lived in the exact same town where they grew up their entire life, but Im sure it may be just me.
The following dialogue exchange seems to come out of nowhere, as Travis outfit hasnt been discussed or even referenced for a few pages. I also dont know if this joke will be clear or understood by anyone. And, why wouldnt Travis even know where theyre going? The scene doesnt work for me again, sorry to say.
DamnBrett, Im sorry, but Im just having issues with an awful lot here. This next scene also doesnt compute for me as written. The sentence starting with Travis crosses is another run-on and awkwardly worded. Were outside in a parking lot and you then insert some kind of Mini Slug of a book shop, and call it OLD BIDDIES? Are we actually going inside this shop, or what? Based on the writing, were not, as later, were back with Renee and Travis, so Im just totally confused with what Im supposed to be picturing. Then, you intro an actual book on display and even CAP Guys name, as if hes being introd here. I cannot for the life of me picture this scene as written at all.
GENERAL NOTE You know clichd asides are a pet peeve of mine and theyre starting to run rampant. I despise these, but obviously many dont and even like them.
Page 5, 6, 7 - OK, were inside the restaurant, and again, its going to be a love/hate relationship with the humor on display. It aint working for me, sorry to say. I cant seem to make this dialogue work or even make sense, but again, maybe its just me.
Page 8 - I dont quite understand the dishes on display here, and for me, its not funny again. I guess youre trying to tie in Renees upcoming move to Japan with Stigs Italian restaurant food, but again, is anyone going to get thisor appreciate it? Its a lot of detail being given for something with limited potential, IMO.
Page 9 So its revealed that Renee has accepted a promotion in Japan and hasnt even told her husband. Its a classic movie clich that has never worked for me, and here it comes across as the same I dont buy it and dont appreciate it. Travis and Renees relationship hasnt seemed at all bad up to this pointnot even in a comedic way bad. This comes across very oddly to me.
Back to the man cave again, Brett, the writing on display to me, is overdone with unnecessary detail, making it read long and dull. Even your choice of words seems odd, like youre purposely trying to write this as more than it is creamy confines, the extraction, fishy treat, to the Bichon Fris, discerning precision. Some may appreciate this, but I for one do not at all.
Page 10, 11 Although in an odd way, I like this little story here and feel it is definitely something that we see in this kind of movie, I also dislike it, as its obvious exposition, just a guy talking to a dog, and it goes on for a page and a half!
Page 11, 12 The scenes with Travis and Renee are OK, but again, for me, too long, and nothing is really said that makes any difference or even defines their characters or where they are in their relationship. I also loathe unnecessary intercuts.
Last scene on Page 12 Again, way too much completely unnecessary detail. I used to love Breakout, but do you really think most will have a clue what it isor why its here? I dont get it.
Page 13 mirror pond knick-knack HUH? Brett, WTF?
Why Renee just drives away is a real mystery. Their relationship is a real mystery, and not a good mystery that I look forward to being revealed. Just seems odd to me.
As I've already stated, I like the poster. I'd have to agree Rick's comment about the title. Straight away, it reminds me of Star Wars: The Clone Wars. I'm not saying I have a better one, or there is a better one, but you may want to kick a few more titles around and see if there's a better fit.
The premise is a nice one and a very sellable one.
I'd also have to agree with Kevin about the VO. Way too much for a Rom Com, way too much for a narrator on Discovery Channel almost! You need to put the VO on a low cal diet. This sequence would be better shown on screen (keeping budget constraints in mind) with a sprinkling of VO.
The opening is very quirky in tone.
The garden hose gag is chickle worthy but run of mill territory for this kind of comedy. I thinks it needs something else that shows a little more of Travis' character.
There's way too much going on in the restaurant. I don't know if I want to eat or concentrate on the story! I think you need to pare back the description here and stick to the real core of the story at this point, the cracks in the relationship between Travis and Renee. Conflict.
Just to chip in a bit, and I will delete these posts further down to clear space in the thread: I am not against the VO used, just the way it was executed with all that chemistry club stuff. If that could be reduced it could work fine.
Although, Jeff's suggestion of Travis talking to himself, or to the dog, as he does later, could really, really work well for what you want to do. It fits the archetype, a science geeky guy, who works out of his house, talking to himself in his lab or study. That could work fine, and would be a small change. I would go with that, I think.
Page 13 OK, so now its clear that several days (at least) have passed since Renee left. I find it odd that we didnt get any conversation between the 2 of them whatsoever. Transitioning to Reids house also feels odd.
Page 14 I also find these scenes incredibly odd. How in the world could Travis get his pool table from hi basement into Reids yard? I know this is a comedy, but this is beyond ridiculous, IMO.
Page 15 Hmmm, again, odd seems to be the word of the moment for me. You transition to the pool table in a CONTINUOUS time element, but I dont understand what it is thats supposedly happening here. If anything, just use a Mini Slug here to donate that attention is going to the pool table.
Algernon stands on a pillow, he circles and shivers. HmmmAlgernon is standing on the pillow, yet in the same awkwardly phrased run-on sentence, he is also circling? That doesnt make sense.
Page 16 OK, last time Ill bring this up, but check this out Travis steps in an open pizza box on the floor, he slides right past the swinging doggy door. Another run-on sentence. By using , he, its incorrect and reads oddly. Just get rid of he and youre fine. Do this everywhere youve worded a sentence like this. Not only will you save a useless word, it will read so much better as well.
swamp of scientific minutia Is it just me, or are you purposely phrasing things so oddly like this, throughout the script? This thing is reading like a novel in many places, based on the colorful phrasings and overwritten detail. Id seriously suggest toning all this stuff down, to the point that its no longer here at all.
GENETIC CHAMBER? Huh? Have we seen this yet? Do we know it exists? Did I miss something?
Page 17 OK, as I said before, Im having serious trouble figuring out who Travis is and what hes like. As far as I can tell, whether or not Algernon is his perfect dog, hes all hes got at this point and this cartoonish grin/laugh/cackle makes him out to be some kind of cartoonish mad scientist now.
MONTAGE Well, lets just say Im not a huge fan of montages such as these.
MOLECULZILLA No clue whats going on here now. No clue what this thing is..or why its here. No clue what the intent is of this thing speaking or what were supposed to be seeing with the comic strip word bubbles. Im at a losscompletely.
Page 18 Serious time element problems going on. If days are passing, you need to show us with some sort of Slugs, probably Minis. Again, Im just very lost here.
A canine voyeur, Algernon, retreats through the doggy door. Brett, heres a perfect example of whats wrong here. Why would you choose to word this sentence like you did? Its just odd.
Page 19 Wow...your new scene in the driveway has some interesting writing going on, to say the least.
Work boots clunk onto the pavement, jeans stuffed into them. The name tag on the work shirt reads So, this is obviously some serious, heavy directing going on. And dont get me wrong, in the right place, for the right reason, Im totally cool with a little directing here and there, but what possible purpose does this serve? None. It takes up a heap of space for no reason and just reads odd again. Im so confused with both the writing choices youre making, as well as what the Hell is going on and how this would transfer positively to filmI dont think it willat all, sorry to say.
Humor is obviously extremely subjective, and Ive been accused before of not having the same sense of humor that most seem to, but this entire scene with the delivery guy is not even remotely humorous. Sorry to keep saying this, but its just odd to me.
Page 20 A glistening Mexican treat drops into the dog bowl. Algernon eats, abandoning his discreet feline tendencies. Oh boy, here we go again. WTF? glistening Mexican treat? abandoning his discreet feline tendencies? Brett, Im almost at a loss for words here. It will be interesting to see what others have to say. Maybe its just me, but Im seriously getting to the point of giving up here.
So, were in a new scene again, back in the man cave, and Travis is eating a burrito, the Moleculzilla thing is speaking through pop up bubbles, and some books are shown and tossed into the trash. Then, we get this Elaborate digital molecule patterns fill the screen Sowhat screen is this? I must be missing something completely, cause then, after another 2 days have apparently passed, based on the dialogue bubble things, we get a Mini Slug of COMPUTER SCREEN. ARGH!!
OK, thats it. Im sorry, Brett, but I cant go on. I have no idea whats supposed to be happening, and for the last 9 pages or so, weve basically been in the man cave with Travis by himself with this Moleculzilla thing doing God knows what.
This isnt working for me in any way. The humor is not remotely funny. Theres nothing happening that I can remotely relate to, and Im just completely lost.
Im sorry, and I apologize if this comes off as harsh. I really do want to help, but I dont see how Im going to be able to without losing what little sanity I have left.
I do wish you the best with this and all your other projects. Take care.
I like the poster. It gives me the feeling of what you want from this script and so I have to say that I honestly think you need to work on the "less is more" aspect.
I found the opening terribly hard to read and I'll give examples.
All of this:
The Tinker Thinker, a scaled replica of Rodins famous sculpture made with Tinkertoys, presides over a sea of scientific data spread across a billiards table.
TRAVIS WONDERS (40s), benign features wrapped in a bathrobe, rests his chin on his fist as he watches a spider spin a web.
TRAVIS (V.O.) Most molecules form a single bond. The spider anchors the web between a quartet of delicate articulated metal forearms inside a chest high chamber.
TRAVIS (V.O.) Some can form more than one type of relationship with each other. And a new stability grows from the union.
The chamber connects to a piecemeal supercomputer littered with drawings of molecule clusters on post-it notes.
A graduation certificate from Yale for Biomedical Sciences and Genetics hangs on the wall. Travis Wonders, Ph.D.
TRAVIS (V.O.) Molecular resonance occurs when two or more molecules form a bond that can be linked in multiple ways.
A wall photo. A teenaged Travis wears corduroy pants, flannel button front shirt and a wool cap with ear flaps. He stands next to a red AMC Matador, a hulk of a 70s sedan.
TRAVIS (V.O.) Both relationship structures are valid. But, the scientific truth is a blend of the two bonds.
A grinning blonde teen pokes her out of the Matadors driver side. She waves a gloved hand at the camera. Wool knit pom poms dangle from the winter glove.
TRAVIS (V.O.) Resonance describes the bond. It does not physically manifest. If I could get molecules to do that, then I could save my marriage.
**For me, after I "studied" the first page and felt like I needed a magnifying glass, I boiled it down to:
A scientific dude is in his Macho-Nerd study. (Is it an actual cave?) I imagined it was, but I'm not so sure now. Now I'm thinking I was stupid. Billiard table? I just didn't get it.
If you physically try and read all that out loud, you'll see what I mean.
But again, this scientific dude is in his Macho-Nerd-Study and he wants to save his marriage. He wants to save his marriage. That's what the story's about. Ok, I get that, but it's bogged down and trapped inside of Tinkertoys, and spiders and I don't know what else.
And I would personally like to see the two main characters in real life and not just photographs with some dude who I have no sympathy for yet as a character, giving me a long spiel that I can't understand.
As I carried on, it didn't get any better:
I couldn't establish really where I was in this world.
Writing that was thick like this:
OLD BIDDIES BOOK SHOP - FRONT WINDOW
MINERVA, ELOISE and ROSE (all 80s) glare at Travis, like the witches of Macbeth hovering over their cauldron.
The trio of octogenarians in matching work smocks stand around a book display illuminated by green floor lights.
The book. Guys Guide to Extraterrestrial Nutrition Bliss. Hometown pride takes self help literature by storm!
GUY (40s), Old Spice swagger in a turtleneck and corduroy blazer, mugs professoriate on the book cover.
***didn't help me. I have no idea what an Old Spice swagger is. I don't know why emphasis on him right now at all at this stage in the game.
I feel like this is all over the place.
What is the importance of the above mentioned book? Especially since I have no familiarity with the world or the characters and it's overloading my brain.
Even a word like octogenarian is killing the read for me. It's not the word itself, but on top of everything else.
Guys introduction doesn't work for me at all. I think that you have some kind of excellent image in your head, but I just don't know what it means.
Read pages 10 - 25. Without repeating what as already been pointed out, I have to concur that you have gone from flirting with vivid descriptions right into serious heavy petting with novelistic prose. The action descriptions are creative, but redundant for a script. Think Bruce Lee, lean and mean. I think you need to go back to your outline and beat sheet and see what the you want out of this story. You have a great concept, you just need to find the right way of executing it.