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T H E   S C R E E N P L A Y S
(updates soon)


 Getting It Wrong


 screenplay to novel


Peter loves Maggie. Maggie loves Peter.


Alice loves Peter, too.


Mary, Maggie's mum loves her daughter.


Maggie loves her mum and Louisa also

loves Maggie's mum.


And Brandon, he loves money even if it isn't his.


I t   g o t  t a n g l e d !



London, 1948. The city is putting itself together again after the Second World War, and people and families are trying to find a way forward. It's a struggle for all.


Peter is a young man who works at the library. He has hopes and dreams of one day being a novelist. His dreams and fantasies help him escape his day to day life where his somber habits inhabit his ways with women. But then he meets the woman with the bright red lips like a movie star.


Maggie is a young woman of prominent cheekbones and startling ambition, who wants to be a film star – or, failing that, a novelist. She's about as predictable as a thunderstorm.


Alice is the girl next door and works for a literary agent. She loves Peter's writing – and Peter too. But will she find the courage to tell him so?


In a slippery tale of stolen hearts and purloined novels, secret loves and hidden ambitions, these lives become irretrievably tangled.


Who will end up with whom? Who will end up rich and celebrated? And will art – and love – win out in the end?






The Revenge










Adapted From the Novel


 My Journey to Lewaro:

 Stories Along the Way








 Slipping Away





psychological thriller


how could she have known the lengths

her mother would take to kill her?




'Dreams for You' is a cross between 'The Exorcist,
'Rosemary's Baby and 'The Sixth Sense'. This script combines
the surreal and emotionally wrenching and psychologically terrifying elements culminating in an excellent climactic
sequence. Peter Mellencamp
Pete Mellencamp, M.A.
Cinema Production and Screenwriting, USC
Story Analyst for MGM/UA, Paramount, Twentieth Century Fox, Columbia, Warner Brothers, Universal and Disney
Teaches: "Story Analysis for Film and Television" AMERICAN FILM INSTITUTE