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Hi, I'm Oren Litwin.

I'm a Writer in Fairfax, VA. I've worked at Blizzard Entertainment, Center for Justice, Law and Society, and FSC Securities and I'm interested in Video Games, Comics, and more. Check out my skills and interests below, then send me a message and let's collaborate!

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My Work Samples

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Excerpt of supernatural teen movie script

By Oren Litwin

INT. FREMONT HOUSE - DAY
Kayla and her father are sitting at the table. Robert is munching on a thick tomato sandwich; Kayla's sits on a small plate in front of her, half-eaten.

KAYLA
(mid-sentence, frantic)
…And they started laughing at me like I was crazy! They're wasting their time with dumb fortune-telling about boys, and they call me crazy? Just because I thought they were serious about magic?

ROBERT
(gingerly)
Yeah, that can't have been pleasant.

KAYLA
(despairingly)
And here I thought that I'd finally be able to learn from someone.

ROBERT
Right. [Beat] Look, honey--don't you think you should cool off on this--magic thing? Ever since you got interested in it, you've been so unhappy.

KAYLA
Because everyone at school is stupid!

ROBERT
Yeah, but you're going to have to deal with stupid people everywhere. [Beat] Let's face it--uh, most people think there's no such thing as magic.

KAYLA
(her eyes narrowing)
You mean that YOU think there's no such thing as magic, Daddy.

Robert shrugs, acknowledging the point, and gives Kayla a level look.

ROBERT
I want what's best for you, Kayla. I'm worried that you're spending all of your time and driving away all of your friends, over something that isn't real. [Beat] Now your mother and I have been real patient with you, in spite of everything. But you can't keep running away from school like this. We won't allow your hobbies to interfere with your learning.

KAYLA
But it's real. I know it is. I can feel it!

ROBERT
(gently)
But how do you know?

KAYLA
I just do. Look, Daddy; it's like with you and your carpentry. You can take a block of wood and see what's inside of it, and make the shape you see come out. It's like that with me: I can see things sometimes, like there's a flow, a heartbeat to the world almost. I don't even know how to describe it. But I know that I could make that come out, if only I could learn how! That's all I want. To learn how.

Robert looks at her unhappily. Then he sighs.

ROBERT
Finish your sandwich, honey.

Kayla catches the unspoken thought and her face falls.

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Excerpt of Post-Apocalyptic Boarding School Graphic Novel

By Oren Litwin

Panel 1: Gabe and Tina creep out onto the hillside, late at night, the moonlight throwing them into silhouettes.

GABRIEL
He should have been here by now.

ISABELLA
(o.s.)
Oh, he's here all right...

Panel 2: Suddenly, flame bursts from five cigarette lighters spaced all around them, and their owners rise up from the ground. ISABELLA (AKA La Sicaria) stands almost directly in front of them, casually lighting a cigar with a wood match. She is a fifteen-year-old girl, with chestnut skin and long black hair with almond eyes, quite pretty except for a number of scars across her face. She wears an incongruous deep-red evening gown (a deliberate ostentation) and shallow black high-heels. The belt is out of place, being a web-belt bearing a pistol holster, two magazines, and a butterfly knife. Gabe and Tina are both surprised, their eyes wide; Gabe looks around fearfully, while Tina stares straight ahead at Isabella.

ISABELLA
But sorry, he won't be delivering your coke.

Panel 3: One of Isabella's guys has his arm around the throat of someone (MUNROE) wearing a black burlap sack over his head, his arms bound behind his back. He is otherwise naked, though his features are indistinct in the dark; but it is clear that he's been tortured.

ISABELLA
(o.s.)
It was stupid of him to try. This is MY turf, not yours, silly boy.

MUNROE
(whispering)
Uhh... Please...


Panel 1: Isabella has her cigar lit, and its glow gives her face a lurid look. She has a gloating smile as she gazes at Gabe with an expression of affected boredom. Gabe, meanwhile, has recovered and his eyes narrow angrily. Tina's face is impassive, but her hand is hovering near her hip.

ISABELLA
Now I'll have to kill him, to set an example.

GABRIEL
You can't do that! Munroe's a Spartan!

Panel 2: Close on Isabella, who's expression goes considerably colder. She's still smiling, though, but the smile is chilly.

ISABELLA
He WAS a Spartan, little boy. But he graduated, no? Your dear principal doesn't protect him any longer. And besides, do you think you can hide behind Victorson and move product into MY town?

Panel 3: She puffs on the cigar, smirking at Gabe, who looks irritated. The other goons wear nasty smiles, enjoying watching their boss at work.

ISABELLA
But YOU get to live, for now. And if you like, I can kill your friend quickly instead of slowly. All you have to do is--

GABRIEL
What difference does it make? Dead is dead.

Panel 4: Isabella does NOT like being interrupted. She snarls at Gabe, and her goons move closer menacingly. Gabe has regained his cool, and even smiles slightly.

ISABELLA
It's bad manners to interrupt, little boy--

GABRIEL
You're quite right, sorry. ANYWAY, it occurs to me that you're missing an opportunity here, Isabella.

Panel 5: Isabella narrows her eyes. Gabe's smile widens.

ISABELLA
The only opportunity I'm missing is the chance to cut your throat and watch you squeal your life away.

GABRIEL
Yes, yes, I'm sure. I admit, it was foolish of me to try and undercut you. But now that we are all here, you should be trying to EXPLOIT Solomon and Burke’s, not antagonize us. And killing Munroe over there would certainly antagonize us.


Panel 1: Isabella widens her eyes in surprise and a trace of grudging admiration. Her goons are not so generous; some of them brandish their weapons, ugly looks on their faces. Gabe shrugs.

ISABELLA
You must be crazier than I thought, silly boy. Was that actually a THREAT?

GABRIEL
Oh, not at all. I'm just saying that you would lose whatever advantage that our resources could have given you.

Panel 2: Isabella pouts and moves next to Munroe and his captor, clamping her cigar between her teeth so that she can whip off the black hood with one hand, and flick open her butterfly knife with the other. Munroe is a fair-haired young man with finely chiseled features, now bruised and covered in caked blood. In the background, Tina watches coldly.

ISABELLA
How boring. You're just talking fast to save your friend's life. All right—you have TEN SECONDS to say something interesting, or your friend dies.

Panel 3: Close in on Isabella. Gabe's response hits her right where she lives; she freezes, her eyes go wide, and her mouth hangs open slightly in greed.

GABRIEL
(o.s.)
Solomon and Burke's can get you M-35 battle rifles, with smart grenades. As many as you can afford.

Panel 4: Tina is now staring at Gabe in surprise; the goons' expressions are awestruck. Gabe smiles confidently; he is in total command of the situation now, and he knows it.

GABRIEL
And that's just the start. You may control this town, Isabella, but Solomon and Burke's has connections that span the whole Midwest. And Central America. And Asia. If we back you, you can get the resources you need to push into Los Angeles itself!


Panel 1: Isabella stares at Gabe hard, the blade of her butterfly knife gleaming in the firelight. The cigar dangles precariously from her teeth. Munroe stares ahead unseeing, with a glassy expression. Gabe returns her look with a confident smile.

Panel 2: Isabella takes the cigar between her fingers, and flips her knife closed. Otherwise, the positions are the same.

ISABELLA
That's an awful lot for a... PREP-SCHOOL STUDENT to promise.

GABRIEL
Of course. You'll want proof.

ISABELLA
I will. We'll talk tomorrow about what your organization can do for me, and until I see some product, your friend stays with us.

GABRIEL
That's fair.

Panel 3: Munroe is dragged off by two of the goons, and the others follow them as Isabella gives them a sign. She turns and begins to walk away.

ISABELLA
Come on, cholitos, let the kiddies get back to their HOMEWORK.

Panel 4: Close on Gabe and Tina, who look somewhat surprised as Isabella addresses them again.

ISABELLA
Oh, and Gabriel...

Panel 5: She stands with her back to them, not turning around. POV on her front, with the other two in the background. Tina's expression has turned suddenly scornful.

ISABELLA
You've been fucking with me for a long time now. If you betray me this time, I'll cut your heart out—Victorson or no Victorson.

TINA
Hmph.


Panel 1: Isabella turns her head slightly to look at Tina, with a small, malicious smile. Tina's eyes narrow.
ISABELLA
Hey, the chica has a voice after all! What are you, the boy's bitch?

TINA
No.

Panel 2: Close on Isabella. She turns around completely, staring insultingly.

ISABELLA
'No?' 'No?' Is that all you have to say? Ah, so you must be the muscle. You must be pretty badass, huh? You sure don't look it. I wonder how tough you really are.

Panel 3: Tina's face radiates disdain, and cold self-assurance.

TINA
Maybe someday you'll find out.

Panel 4: Isabella's body stiffens and her face is filled with rage.

Panel 5: She turns around, her back to the POV, and walks off.

ISABELLA
Hey, silly boy--make sure your bitch keeps her mouth shut next time.


Panel 1: Gabe and Tina are nearly back at the dorms. The building looms up in front of them, pitch black in the dim light.

Panel 2: Tina has stopped and is a few paces behind Gabe, who kept going.

TINA
Hey.

Panel 3: Gabe stops and turns back. Tina's expression is calculating, worried.

TINA
Can your boss really do all that? Get high-grade military hardware?

Panel 4: Gabe comes back closer, crossing his arms, letting some of his tension show. Tina stares at him, unreadable.

GABRIEL
He's not my boss, we're all partners. And yes, we can do that. It'll be tricky, but doable.

TINA
And you're gonna give that stuff to La Sicaria?

Panel 5: Close on Gabe's face, which has gone very stern. His eyes flash, and his jaw is tight.


Panel 1: Same shot. Gabe's mouth is tense as he speaks.

GABRIEL
Oh yes. I'll give her whatever she wants.

Panel 2: Tight on Gabe's eyes.

GABRIEL
And then I'll make her pay for it.

Panel 3: Tina looks him over appraisingly, head tilted.

Panel 4: Shot on both of them. Tina starts walking again, her posture very casual and exaggerated. Gabe waits for her to catch up, smiling grimly.

TINA
You're playing a dangerous game. Sooner or later she'll kill you.

GABRIEL
I doubt it.

TINA
Careful, Gabriel. Arrogance gets you dead.

GABRIEL
So does passivity.


Panel 1: They head through the door of their dorm building. The hallway is lit with faint red light.

TINA
Listen. I don't care why you want to do this. It's not my business. But you'd better be DAMN sure that it's worth the price.

GABRIEL
Don't worry, Tina... I calculate prices every day.