Tag Archive for 'criminals'

MOVIES YOU WILL SEE/The Journey of Natty Gann/Part 16

Published on June 3, 2013 in archives. 0 Comments Tags: 1930's, action, Americana, Chicago, cops, criminals, depression, gangsters, hobos, MAFIA, Movies, screenwriting, screeplay, scripts, unions, writing for young audiences, young audiences.

THE JOURNEY OF NATTY GANN
by
Jeanne Rosenberg

INT CAGED BUS/GREELY INDUSTRIAL SCHOOL NIGHT

Natty and The Wolf ride in the back of a converted school bus. There’s a wire mesh cage separating them from 2 UNIFORMED GUARDS in the front.

The Wolf GROWLS like a furious, caged lion, and Natty watches with wide-eyed trepidation as the bus drives into the Greely Industrial School. She jumps with a start as huge metal gates CLANG ominously closed behind them.

Natty stares at the hulking, gloomy 2-story brick building which dominates the courtyard, and at the ¼’ block wall which encircles all of Greely and separates it from the outside.

INT GREELY INDUCTION OFFICE NIGHT

Natty stands anxiously in front of an enormous desk in a cold, dreary office. JAKE, one of the Guards from the bus, stands beside her.

SAM PARKS enters the room in a flurry. He wears a civilian suit but grabs an officer’s hat from the rack on the wall and puts it on his head as he sits behind the desk and shuffles through the paperwork in front of him. He’s obviously annoyed.

SAM
Okay, okay. Let’s make this
fast. What’ve we got? The usual?

Jake nods his head and Sam flnds the right form.

SAM
Alright. Here we go. Name?

NATTY (softly)
Natty Gann.

SAM
Full name. Speak up.

NATTY
Natalie Sue Gann.

SAM
Where do you live?

NATTY
Uh…

SAM
Vagrant. Where’s your folks?

NATTY
I uh…

SAM
0rphan.

NATTY
I’m not. . .

SAM
Put her in 1, Jake.

Sam stamps Natty’s papers with an official seal while Jake leads her away. She yells over her shoulder as she goes.

NATTY
I’m no orphan!

SAM
Yeah, sure kid. Sure.

Jake and Natty disappear through the barred door at the end of the room.

INT DORMITORY NIGHT

A hard looking JAIL MATRON walks with Natty down an aisle made by 2 rows of metal beds in a drab, cement walled dormitory.

Natty can feel the piercing stares of the other GIRLS in here. There are 10 of them and they watch her closely, sizing her up.

The Jail Matron stops at an empty bed near the end. She waits impatiently, towering over Natty.

MATRON
This is yours. No talking after
8. Up at 5.

Natty climbs on the thin, hard, horsehair mattress.

The Jail Matron walks back down the aisle, her FOOTSTEPS reverberating through the room. She turns at the doorway, makes a headcount, then flicks the light switch.

Her VOICE BOOMS back at them through the darkness as she walks away.

MATRON
No talking!

Natty lies in her bed, her eyes darting back and forth as they become accustomed to the dark. She stares at the metal bars on the windows and sets her jaw as she hears the far door SLAM and the deadbolt slide into place, locking them in.

She tracks the other beds. Several of the girls are propped on their elbows, staring back at her with hard, cruel looks.

One of the girls, TWINKIE, a 13 year o1d, climbs out of her own bed and moves to Natty’s. She talks in a loud whisper.

TWINKIE
Welcome to the funny farm. What
are you in for?

NATTY
Cattle rustling.

TWINKIE
No joke?

Natty nods and Twinkie laughs.

SHEILA
Shhhhhh

TWINKIE
Dry up Sheila!

Twinkie smiles at Natty and continues talking.

TWINKIE
You’re lucky you got this bed.
It was June’s. She’s stuck in a
Meditation Room. We may never
see her again. She tried to
break out. Dumb.

The Jail Matron’s VOICE booms at them from the darkness.

MATRON
QUIET!

Twinkie shrugs and streaks back to her own bed, leaving Natty alone to stare at the barred windows.

END PART 16

Part 17 Monday. (Hopefully, maybe Tuesday!)

A script analysis of her favorite childhood novel – written as a USC class assignment – led Jeanne Rosenberg to her first Hollywood writing assignment on The Black Stallion. Switching from documentary filmmaker to narrative screenwriter, Jeanne studied her craft while working as a script supervisor on numerous films before completing her first original screenplay, The Journey of Natty Gann. She has been writing as well as producing and directing ever since. In addition, Jeanne has taught graduate screenwriting at USC and National University.

MOVIES YOU WILL SEE/ The Journey of Natty Gann/Part 15

Published on May 14, 2013 in archives. 0 Comments Tags: 1930's, action, Americana, Chicago, cops, criminals, depression, gangsters, hobos, MAFIA, Movies, screenwriting, screeplay, scripts, unions, writing for young audiences, young audiences.

THE JOURNEY OF NATTY GANN
by
Jeanne Rosenberg

EXT BULL PEN NIGHT

Parker, Davey, Rusty, Natty and the Wolf move to the other side of the Bull’s corral.

They stand outside, staring in at the Bull, awed by his incredible size and obvious power.

Parker tries to mask his apprehension. He shrugs and manages a crooked smile as the Bull spins in a circle, paws the ground and SNORTS menacingly.

PARKER
We get him in the trailer and
we’re off. It’s easy.

Davey and Rusty try to match his bravado.

DAVEY
Yeah. Easy.

RUSTY
A snatch.

But they sneak anxious, sideways glances at one another.

Parker turns first to Natty then to the boys.

PARKER
Okay. You and the bulldog push
him from behind. You guys get
the gate.

NATTY
Where are you going to be?

PARKER
I’m the driver. Okay? I mean
you don’t mind, do you?

Natty shrugs. Parker turns to Davey and Rusty and nods.

They move to the gate which leads into the narrow chute with the waiting stock trailer at its end. They slide back the heavy metal bolt and swing it open. Natty and The Wolf cautiously enter the Bull’s corral.

Natty stares at the Bull and swallows hard.

NATTY
Okay Bull. Go on. Shoo.
Pssst. Go on.

The Bull stares back at her. He lowers his head and paws the ground.

Parker calls encouragement from the fence.

PARKER
Remember, he’s more scared of
you than you are of him.

NATTY
Want to bet?

The sweat beads on Natty’s face as the Bull paws the ground and SNORTS.

She takes a step forward and waves her arms to turn him toward the open gate, but he paws with the other leg and tenses, as if ready to charge.

The Wolf GROWLS menacingly and steps in front of Natty. His body hunkers low to the ground, coiled, ready to spring. He inches forward, almost in slow motion and gains ground on the Bull.

The Bull SNORTS at The Wolf. The Wolf SNARLS back at the Bull Their eyes lock. A conversation passes between them, through their eyes.

Then, as if he never had another thought, the Bull turns like a well mannered milk cow, and trots calmly through the open gate and into the narrow chute.

Natty breathes a sigh of relief.

Rusty and Davey close the gate behind the Bull and wave their arms to keep him moving toward the stock trailer. He walks easily up the ramp.

Leon and Franco and Annie quickly close the trailer’s tailgate.

EXT ROAD AT CORRALS NIGHT

The kids converge on the trailer and turn to each other with smiles of congratulations.

Parker pats Natty on the back and slides his arm around her shoulder in a hug. She tenses and pulls away with an angry glare. The Wolf SNARLS guardedly.

Parker lifts his hands in the air with a shrug and moves away.

He climbs into the cab with Annie. The engine ROARS to life. The gears GRIND pathetically as Parker searches for first. Finally he finds it and steps on the gas peddle. The back wheels spin wildly. They chew into the ground and white smoke billows up. The acrid smell of burning rubber fills the air.

The engine COUGHS and SPUTTERS to a stop.

NATTY
You know how to drive this
thing?

PARKER
Push. All of you.

Parker restarts the engine and the others gather around the truck. They push as Parker steps on and off the gas. The truck rocks back and forth. But still the wheels spin.

Suddenly the Bull begins to move in the trailer. His powerful legs STOMP on the wooden floorboards. The SOUND reverberates through the quiet night. The kids shoot worried looks to each other.

The Bull BELLOWS and throws his massive body against the sides of the trailer, rocking it threateningly. He CRASHES from side to side. The NOISE is enough to wake the whole town.

FRANCO
Get us out of here will you?

PARKER
What do you think I’m trying to
do?

LEON
Uh oh…

The others follow Leon’s worried gaze to the light which has just come on in the caretaker’s cottage across the stockyard.

The CARETAKER moves onto the front porch to investigate, his rifle in his hand.

NATTY
I thought you said he
was off for the week-end.

LEON
I was wrong.

Parker guns the engine one more time and the truck lurches forward, bouncing away from the corral. Parker WHOOPS like a victorious cowboy.

As the truck picks up speed, Leon, Franco and Annie leap into the cab with Parker. Davey and Rusty jump on the running boards.

Natty hops onto the wooden bumper in back. She holds on tight as the truck moves faster and faster down the rutted dirt road. The Wolf running easily beside her.

But the bumper CRACKS under her weight and CRASHES to the ground.

Natty BUMPS across the dirt road, tumbling end over end. She scrambles to her feet but stops quickly, freezing in place.

Standing in front of her, looming large and menacing, his rifle pointed straight at her head, is the Caretaker.

END PART 15

Part 16 Monday, (Hopefully, maybe Tuesday!)

MOVIES YOU WILL SEE/Journey of Natty Gann/Part 14

Published on April 22, 2013 in archives. 0 Comments Tags: 1930's, action, Americana, Chicago, cops, criminals, depression, gangsters, hobos, MAFIA, Movies, screenwriting, screeplay, scripts, unions, writing for young audiences, young audiences.

THE JOURNEY OF NATTY GANN
by
Jeanne Rosenberg

INT ABANDONED BUILDING DAY

Parker’s camp is in an abandoned building with a missing roof. There are a handful of broken chairs and boxes and crates for furniture.

Natty sits with her hand on The Wolf’s head, and a plate of stew on her lap, eating hungrily.

Parker sits across from Natty with the others spread around him. There are two more teenage boys in the group now, RUSTY and DAVEY. And a teenage girl, ANNIE, who leans suggestively against Parker and glares a sour, jealous glare at Natty.

Natty watches curiously as Parker slips his arm around Annie’s waist and nuzzles the back of her neck. Natty swallows hard and returns to her stew.

Parker smiles his charming, calculating smile.

PARKER
So you’re looking for your old
man huh?

She nods.

NATTY
He’s waiting for me.

LEON
Yeah, sure….And my name’s
Franklin D. Roosevelt.

The others laugh. Natty drops her eyes and allows just the slightest hint of a doubtful shrug.

FRANCO
I haven’t seen my old man in 3
years. He took off. It killed
him, watching my old lady make 1
potato go 7 ways.

Natty finishes her stew and licks the remains with her finger.

PARKER
Get her some more, Annie.

ANNIE
But we don’t…

PARKER
Get some Annie.

Annie grimaces at Parker then moves to the pot of stew cooking over a fire in what used to be a fireplace.

DAVEY
Towards the end my old man
couldn’t even look at us.
That’s why he left. I don’t
blame him.

LEON
Hell, all mine did was beat on
me and my old lady, anyway. I
was glad when he left.

RUSTY
They all think they’re coming
back. But once they’re gone,
they figure out they’re better
off.

PARKER
And so’s everybody else.

Natty looks anxiously from one to the other. Their words sink into her like heavy stones.

PARKER
We don’t need them anymore.

Natty stares at Parker. The doubt is taking over, and with the doubt comes a hard, angry, empty feeling.

Parker recognizes his opportunity and moves in.

PARKER
We’ve got each other. We’re
like family. The difference is
with us you get to pick your
relatives. And everybody
carries their share.

The Wolf GROWLS as Annie approaches but Natty quiets him and gratefully accepts her second plate of food, gobbling it hungrily as she thinks over Parker’s proposition.

INT/EXT GREYHOUND BUS LATE DAY

Sol’s anxious,unshaven face stares through the window of a Greyhound bus as it winds its way slowly south-east from Washington to Colorado.

He watches raindrops land with a splash at the top of the window and run in small torrents down to the bottom.

And he watches an old Ford pickup as it passes in the opposite direction carrying an “Oakie” FAMILY of 10, all their sad, miserable belongings stuffed into the back and tied onto the top and sides.

EXT RAILROAD SIDING/LOADING DOCK NIGHT

There are 50 head of cattle penned together in a corral along the side of the train tracks. And off to the left, penned by himself, in a stout, reinforced corral, is an enormous BLACK ANGUS BULL.

Natty and The Wolf and the other hobo kids race through a nearby pasture and sneak their way to the loading dock.

They cluster in the shadows of the wooden loading chute and talk in HEAVY WHISPERS, their eyes glued to the big Bull.

PARKER
That’s him. Ready?

The others nod their heads. Only Natty hesitates.

NATTY
I don’t know.

PARKER
What!?

NATTY
It’s stealing.

PARKER
Not the way I look at it…
Besides, if you’re with us, you
chip in like everybody else. If
not, get lost.

LEON
She’s just ye11ow.

NATTY
Hell if I am.

PARKER
Then shut up and let’s go.

Natty swallows her apprehensions and follows the others as Parker leads them in an army styled crouch-and-run across the yard.

They fan out. Leon and Franco and Annie move to a truck and stock trailer parked nearby. They release the handbrake and roll it back toward the chute at the end of the Bull’s pen.

END PART 14

Part 15 Monday, (Hopefully, maybe Tuesday!)

MOVIES YOU WILL SEE/The Journey of Natty Gann/Part 13

Published on April 8, 2013 in archives. 0 Comments Tags: 1930's, action, Americana, Chicago, cops, criminals, depression, gangsters, hobos, MAFIA, Movies, screenwriting, screeplay, scripts, unions, writing for young audiences, young audiences.

THE JOURNEY OF NATTY GANN
by
Jeanne Rosenberg

EXT THE MILL DAY

The Mill is a huge lumber mill in the mountains of Washington state.

Barges and large blocks of logs float on the water, and thick, white smoke pours from tall stacks which stand next to long, wide milling rooms.

INT MILL OFFICE DAY

Sol hovers anxiously over a telephone inside one of the offices at The Mill.

His voice is tough and hard, echoing his anger and concern.

There’s NOISE and commotion in the background as WORKERS pass in and out, getting instructions from the B0SS who sports a heavy gut and a stubby cigar.

SOL
Listen hard Sally. I’m coming
back there to find her myself…
What do you mean sit down? I
don’t have to sit down. Just
tell me what’s going on!

The color drains from Sol’s face as he listens to the other end of the phone conversation. He can feel his knees start to buckle and he sinks slowly into a chair. His voice is barely a whisper as he responds.

He listens again but his eyes are glazed. It seems as if the tone has left his muscles. Without saying good-bye, he slowly hangs the receiver back in its cradle and continues to stare blankly ahead.

BOSS
What’s the matter Gann?

SOL
They found my kid’s wallet.
Buried under a train. Colorado.

BOSS
Aw Jesus…

SOL
What the hell was she doing in
Colorado ?

Sol seems distant and drained, like a shell of himself.

EXT WOODS DUSK/RAIN

Natty pulls her thin jacket, tighter around her, to fight off the chill and the rain.

She gathers branches full of leaves and a few moldy pieces of cardboard and starts piecing them together, building a shelter near the base of a large tree.

She looks at The Wolf who seems unimpressed.

NATTY
It’s gonna be great. You’ll see.

She puts the finishing touches on her creation.

NATTY
Tah dah…

She crawls excitedly inside but the wolf is reluctant to follow.

Natty smiles proudly through the open front flap.

NATTY
The Ritz.

Suddenly the roof begins to sag and the walls start to sway.

Natty’s eyes widen. The Wolf WHINES. Within moments then entire structure comes CRASHING down.

Natty sits in the middle of the rubble with a crooked grin on her face. She turns to The Wolf and shrugs.

EXT CHUGWATER COLORADO DAY

Natty walks along a road and The Wolf walks close beside her, all his senses on alert. He hesitates as they approach the outskirts of town. He looks longingly at the woods, but Natty presses on and he follows.

They make their way up Main Street and stop in front of a grocery store. Natty stares hungrily at the food displayed inside. Her stomach GRUMBLES.

Three lanky teenagers PARKER, LEON and FRANCO approach from the opposite direction. Parker pokes the other two in the ribs.

They eye The Wolf carefully and watch with detached amusement as Natty approaches a store CLERK.

NATTY
Hey Mister…I wonder if you
could let me…

The Clerk turns to her with tough, unsympathetic eyes.

CLERK
No! I’m sick of you kids panhandling. Sick. You hear me?

NATTY
But I…

CLERK
No ! Now beat it before I call a cop. Git!

Natty backs away from the store and continues down the street. She hesitates as she reaches the boys ahead.

They’re spread across the narrow, wooden sidewalk…Parker leaning against a building, Leon stretched on a bench, Franco straddling a rail…effectively blocking her path.

Natty wraps her hand in the fur around The Wolf neck and sucks in her breath.

Parker, the obvious leader, smiles. He nods towards the clerk and shakes his head.

PARKER
Wrong. All wrong.

NATTY
Huh?…

PARKER
Your line. The way you hit on him.

NATTY
You know a better way?

LEON
You’d be surprised.

Natty looks at his ragtag clothes and sneers.

NATTY ( sarcastically )
Not by you, Ringworm.

LEON
Hey you’re asking for it.

Leon gets off the bench and moves forward threateningly. The Wolf is much more threatening as he steps protectively in front of Natty and curls back his lip in an ugly SNARL.

Leon retreats quickly. Parker smiles, trying to change the mood.

PARKER
Nice dog.

NATTY
He’s a wolf.

PARKER
0h yeah? There’s a bounty on
wolves around here. Too bad.

NATTY
What’re you talking about?

LEON
They shoot wolves, stupid.

Natty’s eyes widen anxiously. Her grip tightens around The Wolf’s fur.

NATTY
Don’t call me stupid.

PARKER
Take it easy, girl. We’re not
the enemy. Maybe we can help.

NATTY
How?…

PARKER
The stem’s tough. Especially on
your own.

NATTY
The stem? What’s that mean?

LEON
Cripes the girl’s green.

PARKER
Begging…Working the
street…It’s hard. But we
got other ways. There’s a group
of us tramping together.

Natty stares back, unconvinced.

PARKER
You hungry?

Natty’s eyes widen and her mouth starts to water. But she tries to act nonchalant. She shrugs.

NATTY
Maybe.

Parker smiles, amused. He signals her to follow them as they disappear down an alley.
END PART 13

Part 14 Monday, (Hopefully, maybe Tuesday!)

MOVIES YOU WILL SEE/The Journey of Natty Gann/Part 12

Published on March 4, 2013 in archives. 0 Comments Tags: 1930's, action, Americana, Chicago, cops, criminals, depression, gangsters, hobos, MAFIA, Movies, screenwriting, screeplay, scripts, unions, writing for young audiences, young audiences.

THE JOURNEY OF NATTY GANN
by
Jeanne Rosenberg

EXT FARM DAY

It’s hot and the sun beats down as Natty hoes the back field, and Rosie drives the mule, the reins draped around her waist. Al walks behind the plow, straining to push it over rough terrain.

A HOWL from the woods cuts into the quiet. Natty turns immediately. A broad smile fi11s her face. She WHISTLES a mimicing call and searches the woods.

But there’s no smile from Al. His hands tighten on the plow and he sets his jaw. He peers hard into the woods for a glimpse of this hated creature.

Rosie calls to the mule to break the spell and pull them back to work.

ROSIE
Haw Bucky. Pull.

The mule strains harder and Rosie pushes herself to keep up.

Natty continues hoeing, one eye still watching the woods.

Rosie’s pace begins to falter. There’s a thin line of sweat on her upper lip. Her grip slackens on the reins.

Suddenly her knees buckle. She sinks to the ground in a heap.

Al drops the plow and rushes to her.

He lifts her in his arms and carries her to the house, brushing past a disturbed, confused Natty.

NATTY
What’s wrong?

AL
Get the mule.

NATTY
Is she okay?

Natty stands frozen in her tracks. Al repeats himself, more insistent this time, as he carries Rosie up the back stairs.

AL
Get the damn mule!

Natty moves now. She rushes to the mule who takes off at a fast trot, dragging the bouncing plow behind him, making Natty follow in his dust.

INT BEDROOM DAY

Natty peers through the partially opened door at Rosie lying in bed.

Rosie seems weak and pale but she offers a smile and waves Natty inside.

NATTY
You alright?

ROSIE
I’m fine.

Natty eyes Rosie’s bulging stomach and seems unconvinced.

NATTY
Yeah?

ROSIE
Uh huh. Come here. It’s
moving. Feel it.

Natty makes a face and shakes her head no.

ROSIE
Don’t be scared.

Rosie takes Natty’s hand and places it on her belly. Natty’s eyes widen.

NATTY
Is that it? Is that the baby?

ROSIE
That’s his foot.

NATTY
It must hurt. Getting kicked
like that.

ROSIE
No. The losing hurts but not
the bearing. …We had another
one that died.

NATTY
Mv Momma died when I was a kid.
I can’t hardly remember her.

Natty pulls the picture frame from her pocket and opens it for Rosie.

NATTY
There. That’s her. She was
pretty huh?

ROSIE
Real pretty.

NATTY
I look like my Dad. He’s in
Washington. Where I’m going.

ROSIE
Does he know you’re coming?

NATTY
More or less.

ROSIE
Which is it?

NATTY
I don’t know. Why? You think
he ran out on me or something?

ROSIE
I didn’t say that…

NATTY
He was going to send for me. I
couldn’t wait, that’s all. I
just couldn’t wait.

Natty pulls away from Rosie’s bedside and moves to the window, staring out at nothing.

EXT FARM EARLY DAWN

It’s very still,just before the dawn.

Three coyotes slink through the woods and into the field toward the farm.

They streak forward, toward the chicken coop and begin to dig their way quickly under the fence.

Suddenly The wolf leaps at them with a furious SNARLTNG GROWL. A battle begins with YIPS and GROWLS and SNAPPING JAWS.

The chickens CACKLE fearfully.

Lights snap on in the farmhouse.

A1 rushes outside with his rifle in hand. He sprints to the chicken coop, pulling up his suspenders as he goes.

He FIRES his rifle.

The coyotes react to the gun and race for the safety of the woods. But The Wolf stops in his tracks and stares at Natty as she emerges from the shed which is her room.

Al aims his gun straight at The Wolf’s head.

Natty looks from Al to The Wolf, horrified. She screams.

NATTY
RUN!!!

Then Natty leaps at Al. Just as he squeezes the trigger, she hits the barrel of his rifle. His shot FIRES, wildly, harmlessly into the air.

The Wolf streaks into the woods.

Al stares at Natty with fury in his eyes. He swings at her with the back of his hand. She jumps out of the way then turns and takes off at a dead run.

Rosie steps onto the porch and pulls her robe tight around her against the morning chill. A frightened, worried look jumps into her eyes as she sees Natty disappear into the woods after The Wolf.

END PART 12

Part 13 Monday, 3/11/13 (Hopefully, maybe Tuesday 3/12/13!)

MOVIES YOU WILL SEE/The Journey of Natty Gann/Part 10

Published on January 23, 2013 in archives. 0 Comments Tags: 1930's, action, Americana, Chicago, cops, criminals, depression, gangsters, hobos, MAFIA, Movies, screenplay, screenwriting, screeplay, scripts, unions, writing, writing for young audiences, young audiences.

THE JOURNEY OF NATTY GANN
by
Jeanne Rosenberg

EXT ROCKY MOUNTAINS LATE DAY

A freight train, hauling several flatcars loaded with cement pipes emerges from a mountain tunnel, high up on the side of a hill, and RUMBLES its way down the tracks which tower over a fantastic white-water stream fed by a cascading waterfall.

EXT FLATCAR/ROCKY MOUNTAINS LATE DAY

Natty rides inside one of the enormous cement pipes strapped with others onto the backs of the flatcars RUMBLING down the tracks. Her legs dangle lazily over the edge, rocking back and forth with the gentle sway of the train.

She watches the spectacular Rocky Mountain scenery and takes a deep breath, filling her lungs with clean, fresh air. She lifts her face to the sun and smiles as it warms her cheeks. She’s never seen the sky so blue or the landscape so fantastic.

She’s awed by the peaceful wonder of it all.

She pulls her wallet from her pocket and takes out the picture of Sol and Amy. She stares at it dreamily.

Suddenly a horrible SCREECHING, GRINDING sound rips through the air.

There’s a violent lurching.

Natty is thrown back into the cement pipe like a ragdoll. The wallet FLIES from her hand.

The train BUCKS and SWAYS and TOPPLES from the tracks.

The flatcar SMASHES to its side and SLIDES across the ground. The cement pipes break from their straps and spill off the flatcar.

EXT WRECK SITE LATE DAY

Natty pul1s herself from the end of the cement pipe. She can hardly believe what she sees. Train cars are strewn across the ground, mostly lying on their sides.

TRAIN WORKERS pull themselves from the twisted steel. Steam and smoke rise to the sky.

There’s an EXPLOSION down the way. A liquid fuel car erupts in flame.

The workers run in a panic, SHOUTING to one another, warning each other to flee.

RR WORKERS
She’s gonna blow. Look out.
Run for it.

There’s another EXPLOSI0N, closer this time. Too close. It’s too dangerous to stay. Natty jumps to the ground.

She starts to join the workers in a clearing near the front cars, but stops and sucks in her breath. She sees uniformed RAILROAD GUARDS down there.

They’re rounding up HOBO’S, pushing them roughly down the tracks.

She searches for another way to go. From the corner of her eye she sees The Wolf leap from a twisted boxcar and run for the woods. He disappears into the trees like an escaping fugitive.

She turns back to the clearing. One of the Guards moves down the tracks, heading straight toward her.

She looks again at the spot where The Wolf disappeared, and without any further hesitation, she takes off after him, running blindly, desperately into the woods.

EXT WOODS DUSK

Natty crashes through the underbrush running wildly. It seems like she’s been running for miles.

Finally she slows and stops, panting for breath.

The only sound is her own heart pounding in her chest, her lungs gasping for air.

She looks around her, turning slowly in a circle, trying to get her bearings.

She looks for the way back but she can’t find it. It all looks so much the same…so foreign…and frightening. Even the trees seem menacing, evil.

NATTY
Where the hell am I?

A twig SNAPS and she jumps in fear.

She tries to calm herself but it’s hard when you know you’re lost and completely alone. She hunkers at the base of a large tree and wraps her arms tight around her knees, curling them to her chest. She rocks herself back and forth, back and forth.

Two yellow eyes peer through the shadows at her. She can feel their presence, but when she turns quickly to look for them, they’re gone.

The dusk turns to dark as night quickly falls.

EXT WOODS DAWN

Natty draws a grid on the ground, the points of the compass, and aligns East with the direction of the rising sun. Satisfied, she sets off at a determined walk to the West.

EXT WOODS DAY

Natty’s walk is much less determined now. Her feet drag. Her pace is slow.

She sees a berry bush and rushes to it excitedly. She falls to her knees and stuffs the berries into her mouth. Red juice slops over her chin.

Suddenly her contented smile disappears. She coughs and spits The half-eaten berries onto the ground, wiping her tongue on the back of her hand.

She pulls herself to her feet and keeps walking, even slower now.

EXT WATER HOLE DAY

Natty continues her slow trek west. She climbs a rock and searches the terrain. With a burst of enthusiasm she leaps from the rock and races forward. There’s water ahead.

She flops on her belly at the water’s edge. It’s mossy and brackish and slightly green but she drinks anyway in large gulps.

The water rolls off her chin and slides down her neck.

She notices tracks in the mud…huge paw prints, too large for a dog. She looks up, anxiously, fearfully, every muscle tensed.

The wolf towers over her, staring down from a rock on the far side of the water hole.

Part of a rabbit dangles from his mouth. He glares at her, his eyes locked with hers. He GROWLS.

A shiver runs down Natty’s spine.

The Wolf drops the rabbit on the rock, looks at Natty one more time and quickly disappears into the underbrush.

Cautiously Natty crosses the water hole and approaches the rock.

She looks into the underbrush where The wolf disappeared, but there’s no sign of him.

The bloody, half eaten carcass of a freshly killed rabbit lies on the rocks as if waiting for her.

She clenches her teeth, suppressing her nausea as she looks at it.

EXT WOODS DAY

Natty sits in front of a small fire, cooking the mauled rabbit carcass like a pig on a spit, her pocket knife beside her on a rock.

She holds a crumpled, empty box of matches in her hand, the same ones she used to light the cigarette with Frankie and Louie. She stares at the matches and remembers. It seems so long ago.

She pulls herself back to the present and pokes at the rabbit. She pulls it from the fire, takes a deep gulp and greedily starts to eat.

EXT WOODS DUSK

Natty walks toward the sinking sun.

Lightning CRACKLES and thunder BOOMS as storm clouds gather overhead.

The temperature drops and Natty pulls her jacket tighter. She walks faster.

There are cliffs ahead with overhanging rocks for protection.

The wind blows and HOWLS. There’s another bolt of lightning followed by another booming CLAP of thunder.

Natty starts to run.

The rain falls in torrential sheets and quickly drenches her. She can barely see through the thick, pounding rain.

She makes it to the cliff’s cave above. She slips on the wet rocks but catches herself and keeps going. Rain soaked blood runs down her hand from her scratched and torn fingertips.

INT CAVE DUSK

Natty pulls herself inside the cave and collapses on the rock floor, exhausted. She rolls on her back and lets her breath come evenly, cheered by the dryness in here, glad that she made it to shelter.

Then she hears it…that oddly familiar, LOW, GRUMBLING, GROWL. Her whole body tenses. Slowly she turns and searches the dimness of the cave.

She sees him near the far wall…The Wolf. He’s wet and bedraggled but stil1 threatening with his lips curled back in a menacing snarl.

She starts to inch toward the mouth of the cave but she’s too drained to face the raging storm again. She’s too exhausted to care what happens now, even if The Wolf is about to leap on her and tear her to shreds.

She pushes herself against the shadow of the wall and wraps her arms tight around her, tucking her head low her knees.

She tries to remain still, to blend in with the rocks, but her body flinches with waves of shivers and she shakes violently from head to toe.

END PART 10

Part 11 Monday, 1/28/12 (Hopefully, maybe Tuesday 1/29/12!)

Movies You Will Never See/Coney Island Bluefish/Part 11

Published on May 23, 2012 in archives. 0 Comments Tags: action, brooklyn, coney island, cops, criminals, HEYWOOD GOULD, hipsters, indians, MAFIA, mexicans, Movies, New York, pakistanis, police stories, robbers, russians, screenplay, scripts, television, writing, yuppies.

*For Introduction with submission guidelines go to April 4.

*Heywood Gould is the author of 9 screenplays including “Rolling Thunder”, “Fort Apache, The Bronx”, “Boys From Brazil” and “Cocktail.”

CONEY ISLAND BLUEFISH

By Heywood Gould

ACT FOUR (CONT)

A FOOTBALL

flies across the field. Burke runs under it and sprints for the goal line, but Billy Lyons comes out of nowhere, knocks him down and grabs his flag.It’s the big game, NYPD versus NYFD and the field is packed. On the Fireman side the crowd cheers wildly.

ON THE POLICE SIDELINE

Putts screams for a penalty.

PUTTS
Personal foul. This is flag
football, you can’t grab the
man.

BILLY
Next thing you’re gonna be
sayin’ we gotta wear leotards.

The fire rooters screams derisively. Putts calls a time-out.

IN A RICKETY GRANDSTAND

Keats and Nieves are watching.

NIEVES
Good job holding onto the
ball.

KEATS
I told you, Jerry’s a tough
kid. He stepped up big time
on that cocaine bust.

NIEVES
That was bizarre. Precinct
cops nail a guy the feds
couldn’t get. Did you guys
get somethin’ off an
informant?

KEATS
No, it was an accident. They
were in there on that assault
case. Zazulich, the Russian
girl, sussed it out and played
it by ear. Unbelievable, huh?

NIEVES
Unbelievable as in I don’t
believe it.

ON THE SIDELINE

Lena and Olga watch the game and gossip about the cops.

OLGA
Jerry’s waiting for his
divorce to be final, then
we’re gonna move in.

LENA
Derek is very graceful.

OLGA
He’s a sweetie. I think he
likes you.

LENA
And Third doesn’t socialize?

OLGA
Third is very married. Three
kids and wife who watches
him like a hawk.

LENA
(casual)
And the Lieutenant.

OLGA
Keats? Sad story. His wife
died a coupla years ago. The
kids blamed him for not
retiring and taking her away
somewhere. They don’t talk to
him. He’s alone.

Lena looks at Keats with great sympathy

LENA
He has a beautiful expression.
Full of suffering, but very
beautiful.

ON THE FIELD

Bagels repels the pass rush again as Derek completes a pass to Third. Then he turns and pleads to Putts.

BAGELS
I’m dyin’ here. Give me a
blow.

PUTTS
You’re stayin’ in until we
score

.
Putts turns to Vulvani who hasn’t clue what he’s talking about.

PUTTS (cont’d)
Y’see that’s what I mean by
evaluating talent. This man
never lifted anything heavier
than a knish in his life, but
I spotted him right away.

Vulvani has a handful of BLUE JERSEYS with CONEY ISLAND BLUEFISH emblazoned on the back and a large BLUE FISH fish with shark like teeth on the front. He approaches Daniella and Josephine, who are cheering “Go Dad. Go Bluefish..”

VULVANI
Here girls, take. Don’t worry
I’m the sponsor. I am the
best booster. Next week…
caps.

IN THE HUDDLE

Bagels is throwing up. The men push him out of the huddle.

CONTI
Gimme the ball, Lemme do
somethin’ heroic for my
girls.

DEREK
Alright, let’s run the hook
and ladder.

SLOAN
He can’t run, he took a
bullet in his leg.

CONTI
Just clear these smoke eaters
out, I’ll make it.

ON THE SIDELINE

Olga teaches Lena and the Conti girls a quick cheer.

OLGA
Hit ‘em high/Hit ‘em low/
Rock ‘em Bluefish/ Go go
go…

THE HUDDLE

breaks. Sloan and Conti bicker as they line up.

SLOAN
Why does everything have to
revolve around you?

CONTI
I’m goin’ through a difficult
divorce. I have self esteem
issues, loyalty, commitment.
You think my best friend
would want to help…

SLOAN
Of course, somehow this
becomes my fault.

DEREK
Hike!

A charging FIREMAN knocks Sloan down, but he gets up and sprints downfield, Conti laboring behind him.

DEREK (cont’d)
Donnie!

Sloan turns just in time for the ball to thump into his chest. A FIREMAN comes in hot pursuit, but Third levels him with a vicious block. Then Conti, runs up.

CONTI
Donnie, here!

Sloan laterals the ball to Conti and is knocked face first into the mud by Billy Lyons, who then takes off after Conti. Everybody stands and urges Conti on as Billy gains on him. Sloan staggers downfield, screaming:

SLOAN
Run…

Conti’s knee buckles, but he makes it into the end zone with a broad smile as Sloan comes up behind him, shouting

SLOAN (cont’d)
Touchdown!

The two hi five, victoriously.

FREEZE ON SLOAN AND CONTI

THE END

CONEY ISLAND BLUEFISH By Heywood Gould

I pitched a show about how cops deal with the new ethnically diverse New York.

The executives looked up from their blackberries…

Thought Coney Island–home to refugees from the former Soviet Empire a burgeoning Mexican population, Indians, Pakistanis, Hasidim, not to mention retired garment workers, Mafia holdouts, yuppies, hipsters and health nuts who want to be by the sea–would be a good arena.

The executives leaned forward in their chairs—a good sign.

Police precincts field sports teams that play other city departments and go to a state championship every year.

The executives had never heard of that.
“Great hook,” someone said.

I wrote the script. Joy was unconfined. We were on our way.

Then it was bounced down from the “upstairs.”

The verdict:
“Is he kidding?”

Enjoy
Best,
Heywood

Our first script was EMPIRES OF CRIME. Seven years in development was a six part mini-series commissioned by a broadcast network and later reacquired by a cable station.

Click on EMPRIES OF CRIME link below for the entire script.

EMPIRES OF CRIME

The story is about the founders of Organized Crime, Meyer Lansky, and “Lucky” Luciano, their fifty year partnership and the empire they created. Their friendships and families, lives and loves. It is also about their implacable enemy Thomas Dewey, a young Republican attorney who built a political career prosecuting the Mob that propelled him to the NY Governor’s Mansion and almost to the White House.

Movies You Will Never See/Coney Island Bluefish/Part 10

Published on May 21, 2012 in archives. 0 Comments Tags: action, brooklyn, coney island, cops, criminals, HEYWOOD GOULD, hipsters, indians, MAFIA, mexicans, Movies, New York, pakistanis, police stories, robbers, russians, screenplay, scripts, television, writing, yuppies.

*For Introduction with submission guidelines go to April 4.

*Heywood Gould is the author of 9 screenplays including “Rolling Thunder”, “Fort Apache, The Bronx”, “Boys From Brazil” and “Cocktail.”

CONEY ISLAND BLUEFISH

By Heywood Gould

ACT FOUR (CONT)

INT. SILHOUETTE CLUB. NIGHT. (CROSSCUT TO DETECTIVE CAR)

Burke is in a dark corner on a cell phone. Across the room he can see Lupo and PATRICK, his partner, talking to Lena. He waves to Lupo. Lupo waves back.

BURKE
He’s got this guy Patrick
with him. Coupla other guys.

AT THE BAR

Lupo is flirting with Lena, while Patrick and other HOODS loom behind.

LUPO
How do you know Sammy?

LENA
My husband is on the same
cell block. They play soccer
football every day.

LUPO
Sammy loves to play soccer.
What’s his name your husband,
Misha?

LENA
Marty. He’s American.

LUPO
Sammy never talked about a
Marty. I’ll have to talk to
Sammy first, you know,
before we do business. You
understand?

LENA
Sure, but I have to score
tonight, so I’ll go to
someone else. Catch you
next time.

LUPO
You’re in a big hurry, huh?

LENA
I have to take care of people
upstate. Nobody wants to wait,
you know how it is.

LUPO
Got the money?

LENA
I brought for two keys.
Twenty eight Sammy said.

LUPO
Twenty eight’s for steady
customers. Forty for new
business.

LENA
I can do that.

Opens her bag. Shows him the money.

INT. DETECTIVE CAR. NIGHT.

Sloan and Conti are putting on KEVLAR BULLETPROOF VESTS. Sloan is on the cell phone on a conference call.

SLOAN
Jerry says he’s got a
little office. Probably
take her in there.

INT. VAN. NIGHT.(CROSS CUT DETECTIVE CAR)

Derek and Third are checking their “nines…”

DEREK
Once she gets out of our
sight we give it five
minutes and then go in.

SLOAN
We don’t know what’s goin’
on behind closed doors.
Maybe he’s just talkin’.

DEREK
Maybe he’s killin’ her.

SLOAN
Only takes a second to kill
somebody, Derek, We gotta
trust her like she said.

INT. DETECTIVE CAR.(CROSS CUT INT. SILHOUETTE AND OTHER CARS)

Conti’s cell rings. It’s Burke.

BURKE
They’re movin’. He took her
out the back way. He’s got a
black Range Rover.

CONTI
Derek, go down Aveue X.
We’ll slide over and drive
past him and tell you which
way he’s headin’. Then you
pick up the tail.

PUTTS
Hang with him awhile, then
hand him off to us.

THE DETECTIVE CAR

makes a sharp left onto a narrow street.

IN THE CAR

Conti spots them.

CONTI
There they are.

The RANGE ROVER pulls out of an alley in front of them. Their headlights pick up Lena in the front seat. Sloan cuts his lights and pulls to the curb, as if parking. Conti talks into his phone.

CONTI (CONT’D)
They’re headin’ west onto
Avenue X.

EXT. VAN. NIGHT.

Third sees the Rover pulling out ahead.

THIRD
We got ‘em.

IN THE SEDAN

Bagels turns onto a broad thoroughfare.

PUTTS
We’re goin’ west on Avenue
V.

EXT. STREET. NIGHT.

The Rover turns onto a narrow side street.

IN THE VAN (CROSSCUT WITH OTHER CARS)
Derek gets on the phone.

DEREK
They’re goin’ up West Fourth,
toward the ocean.

SLOAN
We’ll get them on Neptune.

EXT. NEPTUNE AVE. NIGHT.

The Detective Car drives up just as the Range Rover turns onto the street.

IN THE DETECTIVE CAR

SLOAN
Got ‘em…

EXT. TWO FAMILY HOUSE. NIGHT.

The Rover parks in front. Lena, Kenny, Patrick and another HOOD get out. The Detective Car drives past.

IN THE DETECTIVE CAR

CONTI
We all on the same page?

DEREK
Here.

PUTTS
I see ‘em.

CONTI
Jerry, can you cover the
back?

INT. BURKE’S CAR. NIGHT.(CROSSCUT WITH OTHER CARS)

Olga slips into jeans and sneakers as she drives. Burke is on the cell phone.

BURKE
Got it.

LIGHTS go on in the second floor of the house.

EXT. BACK YARD. NIGHT.

Burke and Olga climb over a wall.They drop into a pool of light from the second story window, then dart quickly into the shadows. Olga checks her WATCH. It’s 10:51.

IN BLACK…11;42;06..

Conti whispering…”No, baby, I did not push you into the closet…

INT. DETECTIVE CAR. NIGHT.

Conti on the cell phone.

CONTI
I asked you to step in as a
personal favor to me.

SLOAN
Doin’ it in the closet now?

CONTI
I’m on the job right now.
You don’t believe me, ask
Donnie. Tell her.

And hands Sloan the phone.

SLOAN
Boy, could I screw you up…
(into the phone)
Hi, Betty, Donnie. We are on
a stakeout. We’re lookin’ to
lock somebody up. No, nobody
you know… Thanks, you’re
sweet.
(disconnects)
She says you can call her
until one. She also says how
come all the good guys are
married.

Conti’s PHONE BEEPS.

CONTI
Maybe this is Sandra…Oh,
Derek…

INT. VAN. NIGHT.(CROSSCUT WITH OTHER CARS)

DEREK
It’s been a half hour. What
do we do?

CONTI
We wait. Can’t break down
the door. We’ll just be
endangering her.

DEREK
I suppose she’s not in
danger now.

PUTTS
You guys wanna take your
heads outta your butts and
look outside the house…

LENA AND LUPO

are walking out of the house, laughing.

IN THE DETECTIVE CAR

Sloan grabs Conti, gleefully.

SLOAN
She did it! Let’s get him.

Sloan starts the car and they drive up as Lupo is opening his door. Conti rolls down the window.

CONTI
Hey Kenny…
(shows him the gun)
See this?
(and the badge)
And this?

LUPO
What’s this all about?

CONTI
Put your hands on top of the
car.

Sloan hustles out.

SLOAN
Hiya doin’ Kenny. Wanna
spread your legs a little
bit for me?

LUPO
You guys are embarrassing me
in front of my girlfriend.

LENA
(holds up a shopping bag)
Don’t worry about me. Kenny.
The cocaine will console me.

LUPO
(understands and snarls at
Lena)
Are you a cop you scurvy
little bitch?

Sloan slams his head against the door.

SLOAN
Hey, watch your language, I
got a picture of my mother
in my pocket.

Lupo is subdued; a crafty look comes into his eye as the other cops run up.

LUPO
I got good friends in this
precinct, you know what I
mean. Ask Jerry Burke, he’ll
vouch for me…

Sloan slams Lupo’s head into the car again.

SLOAN
This is fun. One of you guys
wanna take a turn?

Conti tightens the cuffs on Lupo. And drags him up the walk to the house.

CONTI
You wanna do yourself some
good, Kenny? Walk us into
the house, nice and easy,
so we can meet your friends.

LUPO
Okay, I can do that. It’s
their stash, you know. I’m
just along for the ride.

CONTI
Yeah I know, you thought you
were sellin’ grated cheese.
You got a secret code or
knock that gets you in?

LUPO
Nah, I just ring the bell.

Derek rings the bell. A VOICE GROWLS over the SPEAKER.

LUPO (cont’d)
It’s me Kenny. Let me in…

The cops hear a curse on the SPEAKER. Suddenly, the lights go out. Conti smacks Lupo.

CONTI
Cute Kenny. Just bought
yourself five more years.
(shoves him at Lena)
Watch him…Call Emergency
Service to help us bust
into the house.

Third runs at the door, kicking it in. The cops step over the shattered frame into a two family house. They rush up the narrow stairs. Putts bangs on the door.

PUTTS
Police! Open up!

IN THE BACK YARD

CELLOPHANE PACKAGES sail out of the second floor window. Olga runs to catch them as a MAN jumps out, followed by another. Burke kicks one man’s legs out from under him and slams the other with the butt of his gun.

INT. STAIRWAY. NIGHT.

The cops stand, impatiently outside the door.

CONTI
Can’t wait, they’re flushin’
the evidence.

Derek throws a kick at the door. Then, Bagels lowers his shoulder and breaks it in. Conti and Sloan rush into the LIVING ROOM where a WOMAN and TWO MEN rise hands up, shouting “Don’t shoot, we give up.” Derek and Third run into a BATHROOM where Patrick is flushing cellophane bags of white powder down the toilet. They pull him up by the collar and drag him into the living room where Conti is cuffing the others and Sloan is looking into two SUITCASES full of cellophane bags.

SLOAN
We got a major cocaine
seizure here.

EXT. HOUSE. NIGHT.

Lupo is lying face down, hands cuffed. Lena stands over him.

LUPO
Sammy Capelli gave me up,
didn’t he? The one guy in
the world I trusted.

LENA
Oh Kenny, darling, what a
pretty boy. All the girls
are going to miss you. But
you just wear that nice
cologne you’ll make a lot
of new friends in jail…

ACT FOUR (CONT)

CONEY ISLAND BLUEFISH By Heywood Gould

I pitched a show about how cops deal with the new ethnically diverse New York.

The executives looked up from their blackberries…

The executives leaned forward in their chairs—a good sign.

Police precincts field sports teams that play other city departments and go to a state championship every year.

The executives had never heard of that.
“Great hook,” someone said.

I wrote the script. Joy was unconfined. We were on our way.

Then it was bounced down from the “upstairs.”

Click on EMPRIES OF CRIME link below for the entire script.

EMPIRES OF CRIME

Movies You Will Never See/Coney Island Bluefish/Part 9

Published on May 17, 2012 in archives. 0 Comments Tags: action, brooklyn, coney island, cops, criminals, HEYWOOD GOULD, hipsters, indians, MAFIA, mexicans, Movies, New York, pakistanis, police stories, robbers, russians, screenplay, scripts, television, writing, yuppies.

*For Introduction with submission guidelines go to April 4.

*Heywood Gould is the author of 9 screenplays including “Rolling Thunder,”Fort Apache, The Bronx,”Boys From Brazil”and “Cocktail.”

CONEY ISLAND BLUEFISH

By Heywood Gould

ACT FOUR

IN BLACK…10;16.O8…HITLER’S VOICE declaiming…A hundred thousand people at Nuremberg cry “Sig Heil…”

INT. BRIAN’S BEDROOM. NIGHT.

Brian is hunched ecstatically in front of the computer. On screen, an AV biography of Hitler. Sloan and Corinne sit on the bed, watching in astonishment.

SLOAN
Is this why I traipsed
around Brooklyn on my
lunch hour? So you can
watch Nazi propaganda?

BRIAN
This site gives you
information the Government
doesn’t want you to have..

CORINNE
Like what?

BRIAN
Like in twenty years the
white race is going to be in
the minority in this country.

SLOAN
I don’t know if that’s true,
but even if it is it’s not
the end of the world.

BRIAN
C’mon Dad, you’re a cop. You
know what happens when the
criminal element is in the
majority. The influx of
illegal aliens has raises
the crime rate, increases
the welfare rolls…

CORINNE
I wouldn’t call them a
criminal element.

BRIAN
Undesirable then? You’re
selling real estate up here,
Mom. We know you have code
words for minorities…

SLOAN
Who’s we, Brian?

ASHLEY
( mockingly,in the doorway)
We is his nerdy Nazi friends.

BRIAN
Better than your phony Goths
with their stick on tattoos
and clip on nose rings.

CORINNE
Ashley come in and sit down.

BRIAN
Not here. This room’s off
limits for her.

ASHLEY
I don’t want come into this
pimple palace anyway. Don’t
worry about Adolph, dad. You
guys aren’t around a lot and
it’s just his way of getting
your attention.

BRIAN
Yeah and what’s your way?
Givin’ head to to your
boarder boyfriend?

ASHLEY
You little bitch!

She jumps at him, nails out. He swings wild, hitting Sloan. The two fight fiercely as their parents try to break them up.

IN BLACK…DINER SOUNDS..WEDNESDAY, 7:01:49.

INT. VICTOR’S. DAY.

RADIOS squawking calls on the counter and on the tables as COPS take their meal periods. Putts sits at a table, surrounded by COPS, diagramming plays on graph paper.

PUTTS
This team is media ready,
baby. We win the city and
the state. We get write ups.
The PD’s gotta fly us to
New Orleans for the
nationals. We win those,
baby, we’re doin’ Letterman.
We get an agent. We’re up
for commercials…We just
gotta get by them firemen…

AT THE REGISTER
Conti and Sloan pay their checks.

SLOAN
It seems like yesterday he
was a little kid cryin’
because the Little League
Coach kept putting him in
right field.

CONTI
And now he’s gonna take over
the world and put all them
jocks against the wall.

SLOAN
(defensive)
Wait a minute. It’s not that
bad.

They walk out and head for their cars.

CONTI
Admit it, you’re in suburban
hell. You got a house you
can’t afford. Your son’s a
loose cannon. Your daughter’s
into sexual experimentation.

SLOAN
Excuse me. I suppose there’s
no sexual experimentation
goin’ on in Brooklyn. I
suppose your little Josephine
isn’t doing a little lap
work…

CONTI
Excuse me, but would you like
to get your ass kicked?

SLOAN
(opens his door)
I deserve it for confiding
in you.

CONTI
(opens his door)
I could blow you off with
some feelgood line of crap.
But because I’m your friend,
I hit you between the eyes
with the unvarnished truth…

SLOAN
(getting into his car)
At least I’m tryin’ to do the
best for my family. Not like
Mr. Unvarnished Truth over
here, who cuts everybody
loose so he can chase women…

CONTI
(getting into his car)
I got a problem, alright. If
it was drinking or gambling
or even drugs everybody would
feel sorry for me…

They slam their doors and gun their motors. Then jam on the brakes to avoid a collision.

INT. KEATS’S OFFICE. DAY.

Keats stares at Sloan in disbelief, a coffee cup poised in his hand. A moment of strained silence. Sloan fidgets.

KEATS
This is a scam, right?

SLOAN
I would call it innovative
police work.

KEATS
You’re gonna send this
Russian girl into the bar
to get him on a cocaine
sale.

SLOAN
That’s the plan.

KEATS
DEA and FBI struck out with
this guy. What makes you
think you can get him?

SLOAN
We’ve got an ice breaker, a
name we can use to get his
trust. Look, if we arrest
Lupo for rape, she won’t
testify against him anyway.
And if her brothers find out,
she’ll be punished, beaten,
maybe worse, and we’ll have
another crime to investigate.
We got a special situation in
this precinct. We do things a
little differently, but we
get the bad guys.

KEATS
Multicultural policing.

SLOAN
Beg your pardon…

KEATS
You promise this won’t blow
up in my face.

SLOAN
Operationally and
procedurally we’ve got all
our bases covered.

KEATS
I think I’ll go home early
tonight.

SLOAN
Good idea. You look a little
tired.

KEATS
You know that Russian girl
gave me some good exercises
for my back.

SLOAN
Don’t worry. We’ll take care
of her.

INT.SQUAD.NIGHT.

The cops discuss the “move.” with Lena.

SLOAN
Order a drink and wait until
he hits on you.

LENA
No, I ask for him right away.
I am there to buy drugs. Why
would I wait?

SLOAN
Because he’ll get suspicious
if you come on strong…

LENA
He’ll get suspicious if I
don’t. I’ve done many times
this before. If you don’t
trust me to do it right call
it off.

PUTTS
Anybody know this Silhouette
Club?

DEREK
I took a guy outta there when
I was in uniform…

BURKE
(blurts)
I been in there a coupla
times. I know Kenny Lupo.

They look at him. This is a damaging admission.

CONTI
You could go in and spot
him for us.

SLOAN
If Lupo sees a cop he might
freeze up.

CONTI
He might also relax and think
nothin’ was up.

OLGA
I’ll go in with you. Make it
look more natural.

THIRD
Do we have back up? What if
Lupo’s got ten guys in there?
Do we have a Plan B?

CONTI
You know what makes most plans
fail? Too much planning.

SLOAN
Thank you, partner. That
about sums it up.

IN BLACK…10:15;57. STREET SOUNDS. RADIO CALLS

DEREK
God, did you ever see
anything like this in your
life?

EXT. SILHOUETTE CLUB. NIGHT.

Lena chic in a short skirt and spiked heels walk past a CHUNKY BOUNCER under a NEON SILHOUETTE of a COUPLE embracing.

PAN TO a VAN across the street where Derek and Third are watching. Third grabs the radio.

THIRD
She’s in.

His CELL PHONE chirps.

A FEW BLOCKS AWAY

Sloan and Conti sit in a DETECTIVE CAR, the Silhouette sign blinking in the distance. Sloan talks on his cell phone.

SLOAN
Jerry says turn off the
radios, they got a satellite
scanner in the bar.

INT SILHOUETTE CLUB. NIGHT.

Dark, DISCO blasting. JUNIOR WISEGUYS in knock off Armanis, bragging and flashing jewelry..
Olga, in short skirt and low cut top walks through the smoke, drawing looks and propositions. She passes the bar where Lena, holding a shot of vodka, is talking to the BARTENDER.

LENA
Tell Kenny Sammy Capelli
told me to come.

At the end of the bar Burke is nursing a beer.

BURKE
You made a lot of friends.

OLGA
Yeah. If I ever want to be
fed cheap booze and raped
under the boardwalk, I know
where to go.

INT. SEDAN. NIGHT.

The radio is on to a sports talk show. Putts and Bagels cruise past a sedan where Conti and Sloan are on cell phones.

INT. DETECTIVE CAR. NIGHT.

Sloan is talking to his wife. Conti to the Golden Gate. Both have changed out of their suits into windbreakers and slacks.

CONTI
She’s a brunette, nice body,
on the zaftig side.

SLOAN
I’ll talk to Brian tomorrow
morning. I won’t get home in
time, Corinne, I’m on a
stakeout.

CONTI
Did anybody leave a message
for me?

SLOAN
Hold on a second…
(to Conti)
Face facts, the lady’s got
too much class to hang around
that dump waitin’for you.

CONTI
(grabs Sloan’s phone)\
Corinne, how do you put up
with this guy?… A drink?
Any time. I’ve been secretly
in love with you for years…

SLOAN
(shoves him)
Turn off the charm…

Conti’s phone beeps. He answers…

CONTI
Yeah, Jerry.
(to Sloan)
Lupo showed. Is he alone,
Jerry?

END ACT THREE

CONEY ISLAND BLUEFISH By Heywood Gould

I pitched a show about how cops deal with the new ethnically diverse New York.

The executives looked up from their blackberries…

The executives leaned forward in their chairs—a good sign.

Police precincts field sports teams that play other city departments and go to a state championship every year.

The executives had never heard of that.
“Great hook,” someone said.

I wrote the script. Joy was unconfined. We were on our way.

Then it was bounced down from the “upstairs.”

Click on EMPRIES OF CRIME link below for the entire script.

EMPIRES OF CRIME

Movies You Will Never See/Coney Island Bluefish/Part 8

Published on May 14, 2012 in archives. 0 Comments Tags: action, brooklyn, coney island, cops, criminals, HEYWOOD GOULD, hipsters, indians, MAFIA, mexicans, Movies, New York, pakistanis, police stories, robbers, russians, screenplay, scripts, television, writing, yuppies.

*For Introduction with submission guidelines go to April 4.

*Heywood Gould is the author of 9 screenplays including “Rolling Thunder,”Fort Apache, The Bronx,”Boys From Brazil”and “Cocktail.”

CONEY ISLAND BLUEFISH

By Heywood Gould

ACT THREE

IN BLACK… SQUAD ROOM…ANGRY VOICES. RADIO CALLS.

IN THE SQUAD ROOM

The radio is on Bagel’s desk next to the spreads. Putts is typing a report. TWO COPS are trying to get a PRISONER down the stairs, but he is resisting, holding onto a bannister. Bagels lifts the Prisoner high over his head, holding him over the landing. Across the room: Conti is crooning into the phone, while Sloan watches in disgust.

CONTI
I gotta see you right away.
Make sure it wasn’t all a
dream.

INT. DENTIST’S OFFICE. DAY. (CROSS CUT)

Sandra, in her uniform, is on the phone.

SANDRA
I can’t, I’m at work.

CONTI
So I’ll come in for a
cleaning. I need one after
last night.

SLOAN
You are truly a disgusting
human being.

CONTI
(bangs the phone against the
desk)
Hear that? That’s the sound
of me knockin’one of my teeth
out. Now you’ll have to see
me.

SANDRA
(laughing)
I don’t know if I can make
it.

CONTI
Okay, no pressure. I’ll drop
into the Golden Gate tomorrow
about eight. If you’re there,
you’re there. If not I drown
myself. Bye, Sandra.

Hangs up with a dreamy look.

SLOAN
You are a degenerate bastard.

CONTI
I’m a Romantic. A hundred
years ago I woulda been a Don
Juan, a Casanova. They woulda
written poems about me.
Instead, I gotta put up with
mutts like you callin’ me
names.

INT. INTERROGATION ROOM. DAY

Lena and Olga are trying to coax a story out of Ismailia.

OLGA
You don’t remember anything
that happened after you left
your house.

ISMAILIA
I remember nothing. I told
you…

Lena turns to Ismailia and whispers urgently in Russian. Ismailia is surprised at first, but then replies in a tearful outburst. Lena translates.

LENA
She’s afraid of the dishonor
to her family.

OLGA
Look, I’m a cop. But I’m also
a woman and I know what
you’ve been through. I swear
on my mother’s grave I’m not
gonna make it worse for you.

ISMAILIA
My brothers could not marry
if their sister was known as
a whore. They would have to
send me away, maybe kill me,
to save the family reputation.
This is the way in our
country.

OLGA
Here, too Ismailia, I hate to
tell you. A woman gets raped
people say she asked for it.
You wear a nice dress, maybe
you smile at a guy, that’s
askin’ for it. Your family,
even other women who oughta
know better, they think it.

ISMAILIA
You know.

OLGA
Yeah, I know. But you gotta
be brave. ‘Cause it’s not
just for you. It’s for some
girl who might take a walk on
the boardwalk with this guy
and never come back. If that
happens you’ll never forgive
yourself.

ISMAILIA
(thinks it over)
If I tell you who it was,
will you promise, will you
swear to keep me out?

OLGA
I don’t know how we could do
that. This crime was committed
against you.

ISMAILIA
If you don’t promise, I
can’t tell.

Olga and Lena look at each other, doubtfully.

LENA
At least we’ll know who it
was.

OLGA
Okay, I promise.

Ismailia looks hard at the two of them. Then, satisfied, she turns the pages of the mug book.

ISMAILIA
It is him.

INSERT..A MUG SHOT…The man on the beach.

OLGA
Kenneth Lupo. Where’d you meet
him?

ISMAILIA
At the Silhouette Club. My
friends from work, Sonia and
Naomi. All the time they go
there. Dancing, handsome men,
they said. Get out in the
world. So I went. And I met
him, this Kenny. He is
Russian, too, but here for a
long time. He was beautiful.
Silk shirts, gold chain, eyes
shining. Always laughing,
white teeth. The cologne, the
beautiful smell.

OLGA
I know that smell.

ISMAILIA
He knows my brothers from
some football club. He laughs.
Oh they’ll kill you if they
know you’re here. Later, a few
drinks and he says ‘come I’ll
take you home before it gets
too late…’
(bitter)
Then…You know. He knows I
can’t tell. He knows what
will happen.

INT. VICTOR’S. DAY.

A strategy session. Over coffee, Sloan reads from Lupo’s rap sheet.

SLOAN
Kenny Lupo, a.k.a. Arkady
Lupovich. Born Odessa, 1967.
Known coke dealer. One
possession with intent. One
assault with a deadly weapon.
One rape. Pleaded to assault.
Did a deuce at Greenhaven…

CONTI
Anybody workin’ on him?

SLOAN
He’s on the DEA computer.
They had a tap on him. He
don’t talk on the phone. FBI
tried to put undercovers in.
No luck.

CONTI
We can make a collar based on
the victim’s ID.

LENA
The girl will never testify.

CONTI
We may not need her to if we
have you ladies corroborating
her ID.

LENA
I won’t testify. I gave my
word.

OLGA
Me too.

SLOAN
Where you workin’ next week?

OLGA
I was an exotic dancer for
three years. I can go back to
that.

CONTI
I’m sure you can. Where’d you
work?

SLOAN
Don’t get him started.

OLGA
Look Bobby, I didn’t come on
this job to ruin people’s
lives. If I give this girl up
her family will excommunicate
her.

CONTI
If you don’t a mutt gets away
with rape. I don’t go for
that. I got two daughters
living in this neighborhood.

There is a strained, stubborn silence. No one will give in.

SLOAN
Why don’t we buy cocaine off
this guy? It’s a bigger
collar. He’ll get twenty
years.

LENA
You get me a name to open the
door. I’ll get him to sell me
the cocaine…

SLOAN
Bobby…

Conti glares at Sloan, but then looks through the office window into the squad room where Ismailia is coming out to meet her father. Shamil rises wearily from his chair and hugs her. Her shoulders shake as if she is crying. He pats her gently on the back with his work gnarled hand.

Conti turns back to Sloan.

CONTI
I’ll get you a name.

EXT.SCAROLA’S.DAY.

An Italian restaurant on a quiet side street. A BURLY LOOKOUT steps aside, as Conti enters, asking for “Mr. Varese…”

INT. SCAROLA’S. DAY.

Empty accept for a boisterous round table at the back where EDDIE VARESE, mid sixties, flushed with wine is holding court with his “crew,” seven or eight thick, prosperous middle aged men. Someone spots him and they all quiet down. With a few “hi Bobby’s,” they rise and melt away.

CONTI
What do I got, the plague?

VARESE
It’s the badge. Gives ‘em
agita.
(they hug)
You never come see me no
more.

CONTI
I don’t want my picture taken
by every federal agency in
the country

VARESE
Ah, who cares about a small
time bookie like me? Sit down.
You want a coffee?

CONTI
(looking at the dirty dishes)
Now I know why I never went
into the rackets. I could
never eat like you guys.Too
bad about Barry Weiner, huh.

VARESE
This man booked bets for
thirty years in the
neighborhood. Always paid off
to the penny. Always carried
the losers. This man was
loved.

CONTI
How about Peter Cortina?

VARESE
Everybody knows that guy was
a funeral waitin’ to happen.
Nobody cares.

CONTI
My boss does. You start
toastin’ wiseguys next thing
you know you got TV crews and
Task Forces. Most guys like
publicity, but he don’t, he’s
funny that way. Now he’s
tellin’ me he wants to close
you down. The card room on
the Boardwalk and the numbers
drops and the after hours.

VARESE
Why’s he mad at me?

CONTI
Barry gets clipped. Coupla
hours later they find Cortina.
Everybody knows he’s been
tryin’ to move in on Coney
Island. Everybody knows that
you and Tony Scaduto in
Bensonhurst don’t see eye to
eye.

VARESE
What everybody knows won’t
stand up in court.

CONTI
We’re not talkin’ court,
Uncle Eddie. We’re talkin’
givin’ you grief. My boss
don’t like mob guys, he’s
funny that way, too. He plugs
you in as a suspect you’re
in a fishbowl. You’re a
headline waitin’ to happen.

VARESE
(beginning to understand)
This a shakedown, Bobby?

CONTI
You know a guy named Kenny
Lupo?

VARESE
Yeah, he’s a piece of garbage.
Got nothin’ to do with me.

CONTI
I need a magic name to drop
with this guy. So I get his
confidence in a hurry.

VARESE
I don’t like the guy, but I
don’t give people up.

CONTI
Kenny Lupo raped a little
Russian girl, and beat her up
pretty bad. He’s goin’ down
whether you chip in or not.

VARESE
(thinks it over)
Sammy Capelli, Him and
Kenny were partners in the
dope business. He went away
for killin’ a guy. Kenny
sends him money, takes care
of his mother, so you know
Sammy’s got a hammer on him.

CONTI
Sammy Capelli. Got a nice
ring to it. Oh yeah, one
more thing, I’m gonna need a
little interest free loan…
Forty grand,

VARESE
Forty G’s, what do I look
like?

CONTI
It’s coffee and cake money
for you.

VARESE
(pinches Conti’s cheek)
My baby sister’s favorite
son, I can’t say no to you.
Gimme a hug.

As they hug, Varese feels around his back. Conti pulls away.

CONTI
Don’t worry, your baby
sister’s favorite son
ain’t wearin’ a wire.

END ACT THREE

CONEY ISLAND BLUEFISH By Heywood Gould

I pitched a show about how cops deal with the new ethnically diverse New York.

The executives looked up from their blackberries…

The executives leaned forward in their chairs—a good sign.

Police precincts field sports teams that play other city departments and go to a state championship every year.

The executives had never heard of that.
“Great hook,” someone said.

I wrote the script. Joy was unconfined. We were on our way.

Then it was bounced down from the “upstairs.”

Click on EMPRIES OF CRIME link below for the entire script.

EMPIRES OF CRIME

Movies You Will Never See/Coney Island Bluefish/Part 7

Published on May 9, 2012 in archives. 0 Comments Tags: action, brooklyn, coney island, cops, criminals, HEYWOOD GOULD, hipsters, indians, MAFIA, mexicans, Movies, New York, pakistanis, police stories, robbers, russians, screenplay, scripts, television, writing, yuppies.

*For Introduction with submission guidelines go to April 4.

*Heywood Gould is the author of 9 screenplays including “Rolling Thunder,”Fort Apache, The Bronx,”Boys From Brazil”and “Cocktail.”

CONEY ISLAND BLUEFISH

By Heywood Gould

ACT THREE

IN BLACK…BEDROOM SOUNDS…Tuesday 6:23 :02

CONTI
My father owned a restaurant
in Bath Beach. My Uncle Eddie,
the hood, was the silent
partner. His boys ate there…

INT. CONTI’S BEDROOM.DAY

Conti and Sandra are in an afterglow embrace.

CONTI
And so did the cops from the
local precinct. Even as a kid
I noticed the wiseguys were
always mad or worried about
something, but the cops were
always laughin’ and havin’ a
good time. So when my uncle
told me to drive a truck full
of stolen suits to Newark, I
said ‘ no thanks,’ and took
the Police Exam instead.

SANDRA
No regrets.

CONTI
I like the job. I feel I’m
makin’ up for some of my
reprehensible habits.

SANDRA
Well, a guilty cheater. Don’t
feel too bad. Can’t cheat by
yourself.

CONTI
Don’t I know it. But then you
meet somebody and you wish
they would take you seriously.

SANDRA
(rolling out of bed)
This is where I came in.

CONTI
Am I makin’ you nervous?

SANDRA
It’s not you. The Velvet
Hammers just wore off and all
of a sudden I can smell some
other woman’s perfume. And
I’m feeling just a little
cheap.

CONTI
You did all this to get back
at your husband, didn’t you?

SANDRA
Not really. My husband’s at
his new girlfriend’s house.
He’ll never know.

CONTI
So maybe it had a little
something to do with me.

SANDRA
Fishing for compliments? You
weren’t that great.

CONTI
C’mere. Give me another
chance.

Sandra gets back into bed with Conti. As they kiss the PHONE RINGS.

CONTI (CONT’D)
It’s just my partner stuck in
traffic.

They kiss as the VOICE MAIL comes on and:

SLOAN
Pick up, you rat bastard, I
know you’re there.

IN BLACK…PRECINCT SOUNDS. 9:15:04

RADIO
…Pick up Ismailia Akmhatov
from Coney Island General…

INT.SQUAD.DAY.

Hectic. PRISONERS, FEDS. Lena who is briefing some FEDS. watches Sloan and Conti escort Ismailia into an office

LENA
My act was so good he thought
I was a thief. He thought he
could kill me.

She looks across the aisle in amusement at:

BAGELS

who is plying Vulvani, the Indian appliance store owner with bagels, while Putts hovers over him, putter in hand.

VULVANI
You don’t believe I was
robbed?

PUTTS
The insurance company
requires us to check the ID
numbers against recorded
purchases. If one matches
they got you on insurance
fraud, tax evasion…

VULVANI
But they broke down my wall.

PUTTS
We saw your wall. We’re gonna
have to say that the plaster
was on the outside like the
wall had been busted in from
the inside. When you make a
cop do his job you always
have a problem.

BAGELS
Have a nice, hot poppyseed
bagel, fresh from the oven.
We got hazelnut coffee…

PUTTS
You guys play field hockey,
don’t you? That’s a girl’s
game in America.

SLOAN walks by carrying a mug book.

BASHIR
Detective Sloan.

Bashir and Adan cross the room to him. Shamil hangs back, intimidated by the official bustle.

BASHIR (cont’d)
We went to the hospital to
pick my sister up and they
said you brought her here.
What’s up with that?

Shamil nods, meekly as Sloan speaks to him. .

SLOAN
We’d just like her to check
some photos. In a few days,
when she feels better, we
would like to talk to her
again.

ADAN
There’s nothing to talk about.

SHAMIL
(halting)
She said she didn’t see the
man. She was walking on the
boardwalk and he came behind
her. Then, when the people
shouted, he ran away.

SLOAN
Maybe she’ll remember a
little detail.

SHAMIL
Why make her remember? Let
her forget.

SLOAN
We need her to help us catch
this man. To stop him from
hurting another woman.

SHAMIL
I understand…

INT INTERROGATION ROOM. DAY

Ismailia is shaking her head vehemently under Conti’s gentle questioning as Sloan enters.

CONTI
Do you remember seeing maybe
a ring or a watch? A bracelet…?

ISMAILIA
I don’t…Nothing.

CONTI
When he put his hand over
your mouth did you smell any
kind of cologne? Did he have
an accent? Did he say anything?

ISMAILIA
(shaking her head)
No.

SLOAN
Don’t be frightened, Miss
Akmhatov, we’ll protect you….

ISMAILIA
(tearfully vehement)
I told you: He said nothing,
I saw nothing. Why do you
question me?

IN THE SQUAD ROOM

Lena is filling out a form for the feds. She eavesdrops as Shamil and his sons have an animated conversation in Uzbek a few desks away. Then watches as Sloan whispers to Olga and leads her into the interrogation room. Then sees Keats trying to do stretching exercises in his office. She rises and crosses the room to Keats’ office, smiling at Derek, who watches her, smitten. Keats has his leg up on the desk as she enters.

LENA
This stretch is not good for
a bad back.

KEATS
The doctor says it strengthens
the hamstrings.

LENA
Only if you can do it like
this.

She puts her leg up on the desk and stretches all the way until her forehead touches her ankle.

LENA (cont’d)
First thing for you is
flexibility of the spine. Get
on the floor. On your back.

Astonished, Keats obeys, lying down in front of his desk.

LENA (cont’d)
Raise your knees.

Again, Keats obeys. Lena stands over him, bends his legs and pushes his knees into his chest. He groans…in pleasure.

KEATS
Oh, that’s good.

LENA
That Uzbek girl won’t tell
you anything.

KEATS
Afraid of the man who did it?

LENA
Afraid of her own family, I
heard her brothers talking.
In their culture the woman’s
chastity must be protected.
If she has sex before
marriage she is considered a
whore.

KEATS
Even if she’s raped?

LENA
They’ll say she provoked it.
Why wasn’t her face covered?
Why did she go out alone?
They can drive her away. Or
kill her.

KEATS
Maybe in their country.

LENA
These are immigrants,
Lieutenant. They bring their
country with them.
(moves around behind him)
Sit up. Put your hands behind
your head…

She pushes his head down into his chest.

KEATS
(gasping)
What’s your name, Officer?

LENA
Lena Zazulich.

KEATS
How do you know so much about
stretching, Miss Zazulich?

LENA
I was a little ballerina in
Russia. Kirov ballet, you’ve
heard of it?

KEATS
No.

LENA
Good. I’m in the right place.
They take you away from your
family when you’re five years.
Train you, slave drive you
seven days a week so you can
go on tour and earn foreign
currency.

KEATS
How’d you become a cop?

LENA
We were privileged little
girls. They let us watch
American TV. I watched
Cagney and Lacey, you know
this show?

KEATS
Yeah, sure.

LENA
Strong, independent women,
not little dancing puppets.
So when I came here and they
said go to City Ballet, I
said no I’m going to the
Police Academy.

KEATS
Ever hear of multicultural
police work?

LENA
No.

KEATS
You’re in the right place.
Get that girl to give you a
name, a description.

LENA
She’ll never tell.

KEATS
She’ll have to. If not, we’ll
force her to have an
examination and we’ll reveal
the results to the family.

Lena drops Keats’s head and steps away.

LENA
This is cruel. It’s a betrayal.

KEATS
(rises slowly)
People don’t get away with
rape in my precinct, Officer
Zazulich. Cagney and Lacey
would agree, don’t you think?
(stretches)
Ooh…A little sore, but I
feel a lot looser already.

END: ACT THREE (CONT)

CONEY ISLAND BLUEFISH By Heywood Gould

I pitched a show about how cops deal with the new ethnically diverse New York.

The executives looked up from their blackberries…

The executives leaned forward in their chairs—a good sign.

Police precincts field sports teams that play other city departments and go to a state championship every year.

The executives had never heard of that.
“Great hook,” someone said.

I wrote the script. Joy was unconfined. We were on our way.

Then it was bounced down from the “upstairs.”

Click on EMPRIES OF CRIME link below for the entire script.

EMPIRES OF CRIME

Movies You Will Never See/Coney Island Bluefish/Part 6

Published on May 2, 2012 in archives. 0 Comments Tags: action, brooklyn, coney island, cops, criminals, HEYWOOD GOULD, hipsters, indians, MAFIA, mexicans, Movies, New York, pakistanis, police stories, robbers, russians, screenplay writing, scripts, television, writing, yuppies.

*For Introduction with submission guidelines go to April 4.

*Heywood Gould is the author of 9 screenplays including “Rolling Thunder,”Fort Apache, The Bronx,”Boys From Brazil”and “Cocktail.”

CONEY ISLAND BLUEFISH

By Heywood Gould

ACT TWO

IN BLACK…11:21:54…JETS LANDING…PA ANNOUNCEMENTS.

RADIO
Anti crime units 1 and 2
respond to La Guardia,
Terminal 7…

INT.AIRPORT TERMINAL.NIGHT.

SURVEILLANCE PHOTO. A YOUNG BLONDE WOMAN standing by a car.

OLGA
(o.s.)
This is the undercover.

TILT UP to a bench where Olga and Burke dressed as tourists with backpacks and boomboxes are looking at the photo.

BURKE
Cute…

OLGA
(with a little slap)
Keep your mind on the job.

She snuggles up, but Burke slides away.

BURKE
Cool it. Everybody’s lookin’…

He points across at Third and Derek, business suits, laptops, sitting across from them, smirking.

OLGA
So what? We’re playin’ young
lovers on a world tour.

BURKE
Let’s play lovers havin’ a
fight

ACROSS THE AISLE

Third and Derek check out the FBI contingent.

DEREK
We’re just around in case of
World War III, right?

THIRD
Plan is she’s takes ‘the guy
into the bar. She passes the
money, he gives her the
diamonds. Then, the FBI moves
in…

WEARY PASSENGERS trickle out of the gate. Then comes LENA, a tall, striking blonde in a black dress carrying an attache case.

DEREK
Oh, this is a star.

THIRD
Don’t get drippy on me again.
Don’t burn where you earn.

Lena is met by a HEAVYSET MAN in a black suit.They shake hands and she turns toward the bar. But the Heavyset man takes her arm again and pulls her in the opposite direction.

DEREK
Change of plans.

THREE MEN and a WOMAN emerge from the bar and surround her. They walk her toward the exit. Third puts headphones in his ears and walks by the group..There is a TINY MICROPHONE on his laptop case. As they pass he hears:

HEAVYSET MAN
(thick accent in headphones)
Too many people here, too
crowded. We have a quiet
place in the parking lot.

LENA
(Russian accent)
I have to catch a plane back
to Phoenix.

HEAVYSET MAN
We always change the routine.
Don’t worry…But don’t make
a problem.

Following the group Third sees the Heavyset Man produce a GUN. Signaling to Derek, he makes the shape of a gun with his hand. Then he turns his hands as if on a steering wheel. Derek jumps up, and heads for the exit.

OLGA AND BURKE

walk parallel to the group, while Third follows them out, signaling to the FBI men to keep their distance.

EXT. PARKING LOT, NIGHT.

Derek peels off into the darkness as the group goes to a quiet corner where the SMUGGLER, a sour middle aged man in a leather jacket waits by a car.

OLGA AND BURKE

cross the street and move down a row of cars.

THIRD

drops down under a car, points his laptop and turns up the gain as Lena faces the Smuggler. He hears:

SMUGGLER
Give me your shoes.

LENA
(slipping out of her shoes)
This is not the deal we made.

SMUGGLER
(looking in the shoes)
We have to be careful.
(to the Woman)
Search her.

LENA
But this was all arranged in
Phoenix.

WOMAN
Pull up your skirt.

Lena complies. The Woman checks her for a mike.

WOMAN (cont’d)
Your bra.

LENA
No bra.

WOMAN
She’s clean.

SMUGGLER
So you are not police.

LENA
I told you.

SMUGGLER
Just a thief. No one will
miss you.

Points the remote toward a SEVILLE. The trunk pops open. The Heavyset Man grabs Lena. She jabs him in the eye, tries to run, but the Smuggler steps out and punches her in the face.

THIRD

turns on his radio and waves to Olga and Third.

THIRD
I’m goin’…

He jumps up, gun out and runs toward the group.

THIRD (CONT’D)
Freeze! Police!

THE SMUGGLER

looks up and sees Third running toward him. Olga and Burke weaving through cars. He jams the gun against Lena’s head. She talks fast.

LENA
Shoot me. They’ll shoot you…
Give up now, a good lawyer
gets you five years. Think
fast.

The Smuggler thinks fast. Sees the cops running towards him. The feds rushing out of the terminal. Drops his gun.

THE HEAVYSET MAN

tries to slip away in the confusion. Weaving through the cars into the darkness he is suddenly confronted by Derek moves in.

DEREK
No exit, pal.

The Heavyset Man reaches into his belt, but Derek grabs his wrist and smacks him hard on the side of a head with a “slapper” (blackjack). Then throws him over the hood.

AT THE SCENE

Confusion. LIGHTS and SIRENS. Third, Olga and Jerry are holding the PRISONERS as the feds run up. Lena has her head tilted back to stop the bleeding from her nose. She turns as

Derek hustles the handcuffed Heavyset Man back to the scene. Takes the blackjack out of his hand.

LENA
May I?

DEREK
Be my guest.

Lena walks over to where the Feds are searching the Smuggler. Without warning she smacks him in the face with the “slapper.” The Smuggler’s knees buckle and the feds jump at Lena in alarm. “What do you think you’re doing…?” Lena hands the “slapper” back to Derek.

LENA
Thank you…

And walks away. Derek watches her go, then turns to Third.

DEREK
I think I’m falling in love.

END ACT TWO

CONEY ISLAND BLUEFISH By Heywood Gould

I pitched a show about how cops deal with the new ethnically diverse New York.

The executives looked up from their blackberries…

The executives leaned forward in their chairs—a good sign.

Police precincts field sports teams that play other city departments and go to a state championship every year.

The executives had never heard of that.
“Great hook,” someone said.

I wrote the script. Joy was unconfined. We were on our way.

Then it was bounced down from the “upstairs.”

Click on EMPRIES OF CRIME link below for the entire script.

EMPIRES OF CRIME

Movies You Will Never See/ Coney Island Bluefish/Part 5

Published on April 30, 2012 in archives. 0 Comments Tags: action, brooklyn, coney island, cops, criminals, HEYWOOD GOULD, hipsters, indians, MAFIA, mexicans, Movies, New York, pakistanis, police stories, robbers, russians, screenplay, scripts, television, writing, yuppies.

*For Introduction with submission guidelines go to April 4.

*Heywood Gould is the author of 9 screenplays including “Rolling Thunder,”Fort Apache, The Bronx,”Boys From Brazil”and “Cocktail.”

CONEY ISLAND BLUEFISH

By Heywood Gould

ACT TWO

IN BLACK…5;50.13 SHOUTS, CURSES, FLOPS.

RADIO
Units AC 1 and AC 2 report to
squad at 19:30 for special
assignment.

EXT. PLAYING FIELD. DAY.

Twilight on the muddy, rutted field. RADIOS squawk in jacket pockets and backpacks on the sideline. Cops run back and forth, checking the calls then running back onto the field where Putts is trying to get a practice in before nightfall. Third and Derek and other burly COPS practice patterns. Sloan, huffing and puffing, tries to keep up as Derek runs out of the back field. He staggers off the field, gasping toward Putts, who is yelling instructions to BAGELS on the line.

PUTTS
Gotta get off the line faster
than that, big guy.
(sees Sloan)
Gimme twenty for comin’ off
the field without permission.

SLOAN
Wait up, Jeff I just wanted
to ask you: Still runnin’
that T group for hate crime
kids?.

PUTTS
Every Sunday at Clearview
Baptist. It’s the kids who
vandalized cemeteries or
attacked minorities. It’s
part of their probation. You
got somebody you wanna put in?

SLOAN
My son.

PUTTS
It’s mostly black and
Hispanic. I don’t know how
a white kid would go in that
mix. What’d he do?

SLOAN
Nothin’ yet. He’s subscribing
to all these hate groups on
the Internet. Chat rooms,
weird ideas…

PUTTS
Does he have any contact with
minority kids?

SLOAN
There might be thirty or
forty in his school. But
they’re mostly on the teams
and they hang together. It’s
that Internet…

PUTTS
Internet’s just a tool. I’ll
go online tonight and find
you a great counseling group
right in your neck of the
woods. But I gotta tell you,
Donnie, it comes from you.

SLOAN
How can you say that?

PUTTS
Not every one of those thirty
or forty minority kids is on
the basketball team. And they
don’t all stick together. But
that’s your assumption and
that’s what he picks up.

SLOAN
You know me, Jim…

PUTTS
And I love you like a brother.
But it’s comin’ off you just
like them cigarettes you try
to hide. Kids smell it on you.
And then they run with it.
Take it places you don’t want
it to go.

SLOAN
So what do I do?

PUTTS
You gotta spend some quality
time with this boy. Let him
know the way you and Corinne
really feel about things.
Then, we’ll find him a group…
Now give me forty you racist
pig…

Sloan starts to protest, but sees Putts’s point. He drops in the mud and starts doing push ups…

INT.KEAT’S OFFICE.NIGHT

Keats is hanging upside down from a gravity belt. Conti enters.

CONTI
Made some calls. Looks like
Barry Weiner got caught in a
little mob war.

KEATS
Wiseguys! They can’t go a
month without killin’ each
other.

CONTI
This morning they found a
Bensonhurst shy named Peter
Cortina in a burning Catera
upstate in Brewster. The
whisper was that he was part
of the Scaduto crew tryin’
to move in on Coney Island.

KEATS
So Cortina killed Weiner and
Varese got him back right
away. Eddie Varese got this
neighborhood from Gambino
himself. He’ll dump bodies
all over before he gives it
up.

CONTI
So they wipe each other out?
Who cares?

KEATS
Me. For one thing I got a
bunch of homicides I can’t
clear. Screws up my stats.
And another: some little kids
on their way to school see a
stiff in a burning car? Not
in my precinct.

CONTI
(helping him down)
You wanna fix your back up?
Get yourself a nice lady.
Nice massage. Nice…

KEATS
Hey Doctor Feelgood. you’re
wanted in the diarrhea ward…
I feel like bustin’ chops on
this Weiner thing.

CONTI
Let’s bust ‘em.

INT.LOCKER ROOM. NIGHT.

Burke comes out of the shower wrapped in a towel. Sloan is getting dressed. He speaks in a casual undertone.

SLOAN
A word to the not so wise,
Jerry. IAD’S got film on you
and a fellow officer. And
there’s some talk about some
other extra curricular
activities…

BURKE
(stunned but controlled)
How do you know about it?

SLOAN
A friend of mine who’s also a
friend of your’s asked me to
pass it on.

BURKE
You ain’t spyin’ on me,
Donnie.

SLOAN
Yeah. And then tellin’ you all
about it. With all due respect,
you’re not too cool. But
you’re a tough kid and people
like you. You’re gettin’ a
play this time. Next time
you’re on your own. Say a
hundred Hail Marys and sin
no more.

Slams his locker shut and moves away.

INT.GOLDEN GATE LOUNGE. NIGHT.

SALSA blasts and COUPLES WHIRL on a strobed dance floor. The rest of the joint is dark as a cave. Conti finds his way to the bar where Sandra is waiting. He notices the low cut cocktail dress.

CONTI
Didn’t think you’d make it.

SANDRA
My friend Mimi brought me.
She’s a regular.

CONTI
You changed into something
less comfortable.

SANDRA
I got a closet full of
dresses I haven’t worn in
years.

CONTI
Where’s your friend?

Sandra points to a WOMAN in jeans and a halter top doing a wicked mambo on the dance floor.

SANDRA
She’s in a bad marriage. Her
husband beats her up.

CONTI
Maybe he’s pissed because she
hangs out here. In this joint
people meet to cheat.

SANDRA
And you wear your ring so
they’ll think you’re still
married.

CONTI
Some people only get off when
they’re gettin’ over. Why
spoil their fun? Not a
drinker, huh?

SANDRA
Hate the taste.

CONTI
Have a Velvet Hammer. Creme
de cocoa, Cointreau and heavy
cream, tastes like a smoothie.

SANDRA
God,the drinks, the line.
You’ve got this down to a
science.

CONTI
More like a ritual. But with
you it’s a little different.

SANDRA
Yeah, right

CONTI
Really. There’s this paradox.
I was happy to see you, but
surprised you came. I want to
seduce you, but I want it to
mean something. Don’t believe
me, do you?

SANDRA
Does it matter?
(to the bartender)
I’ll have a Velvet Hammer.

Next: Act 2 Con’t

CONEY ISLAND BLUEFISH By Heywood Gould

I pitched a show about how cops deal with the new ethnically diverse New York.

The executives looked up from their blackberries…

The executives leaned forward in their chairs—a good sign.

Police precincts field sports teams that play other city departments and go to a state championship every year.

The executives had never heard of that.
“Great hook,” someone said.

I wrote the script. Joy was unconfined. We were on our way.

Then it was bounced down from the “upstairs.”

Click on EMPRIES OF CRIME link below for the entire script.

EMPIRES OF CRIME

Movie You Will Never See/Coney Island Bluefish/Part 4

Published on April 25, 2012 in archives. 0 Comments Tags: action, brooklyn, coney island, cops, criminals, HEYWOOD GOULD, hipsters, indians, MAFIA, mexicans, Movies, New York, pakistanis, police stories, robbers, russians, screenplay, scripts, television, writing, yuppies.

*For Introduction with submission guidelines go to April 4.

*Heywood Gould is the author of 9 screenplays including “Rolling Thunder,”Fort Apache, The Bronx,”Boys From Brazil”and “Cocktail.”

CONEY ISLAND BLUEFISH

By Heywood Gould

ACT TWO

IN BLACK..9:12:43…SIRENS, VOICES…

RADIO

Paramedics on the scene, Victim will be D.O.A. at Coney Island General…

EXT.PROJECTS.DAY.

PARAMEDICS wheel a body bag on a gurney past Sloan and Conti. Another PARAMEDIC hands them the victim’s personal effects. First, a gold chain which Sloan, wearing latex gloves, drops into a ZIPLOC BAG. Then, a wallet containing FAMILY PHOTOS.

SLOAN
This is Barry’s. Remember he
showed us the pictures of his
grandkids when we locked him
up?

The Paramedic hands Conti a GOLD MONEY CLIP jammed with charred bills.

CONTI
It wasn’t robbery. Got a
cause of death?

The Paramedic drops two NINE MILLIMETER SHELLS into his hand.

SLOAN
We gotta tell his wife.

CONTI
(walking away)
You gotta tell her. You
bucked for this.

SLOAN
I said I knew the guy…

Arguing, they walk past FIREMEN hosing down the burnt hulk of the car. Past Putts and Bagels canvassing the neighborhood PEOPLE. Putts sees a young, muscular fireman, winding a hose.

PUTTS
You’re Billy Lyons, Gene’s
boy.

BILLY
That’s me.

PUTTS
Hey Donnie… Remember Gene
Lyons?

SLOAN
(with an awkward look)
Sure…Yeah…

PUTTS
We worked with your dad in
Brooklyn Vice, You played for
Christ the King, right?

BILLY
Yeah.

PUTTS
All City tailback. Scholar-
ship to Notre Dame. Then your
ACL blew out.

BILLY
How do you know all this?

PUTTS
I remember everything. I’m a
walkin’ sports computer.
Still ballin’?

BILLY
For fun. We got a pretty good
team at the firehouse..

PUTTS
You wanna talk football, we
got it working at the
precinct. Coney Island
Bluefish.

BILLY
We’re playin’ you next week.

PUTTS
Yeah, we’ll go half speed on
you. You know Derek Lawkes?

BILLY
I’ve heard of him.

PUTTS
Ninety five plus on the
cutter. Made it to Pawtucket,
but threw his arm out. He’s
our quarterback. Third Markham?

BILLY
He played for Xavier.

PUTTS
He’s our linebacker. Ain’t
nobody runnin’ by him. Or
over him. Donnie here’s the
safety. Fastest white man in
captivity.

SLOAN
Can I talk to you for a
second, Putts.

PUTTS
I’m coachin’ and I gotta say,
in all modesty, I can prepare
this team to play against
anybody. Now if we had a
runner like you we could go
to the nationals. .

BILLY
You gotta be a cop, right?
I’m a fireman.

PUTTS
That’s what I don’t
understand. I mean why you
doin’ this sissy gig?.

BILLY
I’m not into gunplay and
beatin’ on people.

PUTTS
Ninety five per cent of this
job is community relations,
right Donnie?

SLOAN
It can get hairy now and then.

PUTTS
I ain’t pulled my gun in such
a long time I got spider webs
in my holster. Anyway, I would
think you’d wanna be a cop.
Follow the family tradition…

BILLY
What tradition? My old man
got kicked off the job for
shakin’ down hookers.
(walks away)
Input that into your computer…
Coach.

Putts watches thunderstruck as Sloan shakes his head.

SLOAN
That’s what I wanted to tell
you.

IN BLACK…10:58:02

RADIO
…Pick up Sandra Lightner,
Barry Weiner’s niece at 1600
Seagate Avenue and bring her
to Coney Island General for
a positive identification.

INT. HOSPITAL WAITING ROOM. DAY.

An overworked, overcrowded city hospital. Conti and Sloan sip institutional coffee. Sloan looks over a crumpled list.

SLOAN
My family gives me a shopping
list every morning before I
leave. Mozzarella from
Fanelli’s Salumeria because
Corinne won’t make eggplant
parmigian’ with the
supermarket cheese.

CONTI
You can take the girl outta
Brooklyn.

SLOAN
But you can’t take the
Brooklyn outta the girl, I
know. I gotta go to
Beckstein’s Hardware because
no store in Tarrytown has a
number eleven gill nut.
Ashley needs a blouse, they
call a hoochie top. Brian
wants a Hamsen high speed
modem. Don’t have it in the
mall, so I gotta go to
Bazarov the computer maven

CONTI
All his stuff is swag.

SLOAN
At least he knows what to
steal. Why’d I move to the
suburbs in the first place?

CONTI
Fresh air, green grass and
good schools you said. But
you know why you really did
it? You got a martyr complex.
You’re not happy unless
you’re miserable.

SLOAN
Please. I don’t need the king
of the psychos, analyzing me.

CONTI
Hey I may be dysfunctional
but I walk to work. And I got
the best mozarell’ in the
world right around the
corner… This Ms. Lightner?

SANDRA LIGHTNER

early thirties, a voluptuous, vulnerable brunette is walking in with two PATROLMEN.

CONTI jumps up.

CONTI (cont’d)
I’ll take her. You deal with
the Uzbekis.

SLOAN
Thanks, pal..

CONTI
It’s your geographical
specialty.

And approaches Sandra, waving the cops away.

CONTI (cont’d)
Ms. Lightner? I’m Detective
Conti. You don’t have to put
yourself through this. Your
aunt has already identified
Mr. Weiner’s effects.

SANDRA
I can handle it, I’m a dental
hygienist.

CONTI
With all due respect, you
won’t see this in a dentist’s
chair. This way.

He walks her across the room past:

SLOAN who is consulting with a DOCTOR.

DOCTOR
She’s got a pretty bad
concussion. Broken nose,
bruises on upper torso and
legs. Ring marks…She’s
under sedation…

SLOAN
Was she raped?

DOCTOR
She wouldn’t let us examine
her. Her father and brothers
are goin’ crazy like we’re
performing experiments on
her.

SLOAN
I’ll talk to them.

He walks across the room toward Shamil who is sitting head in hands, while his sons ADAN and BASHIR pace impatiently.

SLOAN (CONT’D)
Mr.Akhmadov, I’m Detective
Sloan…

ADAN
(jumps at him)
Why won’t they tell us about
my sister?

BASHIR
We have to know what
happened.

SLOAN
We have no medical
information.

BASHIR
You are police. Find out.

SLOAN
We will. Right now I need you
to sit down, calm down and
answer some questions.

The boys glare. Shamil mutters a command. They sit.

INT. MORGUE.DAY.

SHROUDED BODIES on stretchers. Sandra shivers. Conti looks over appreciatively.

CONTI
Separated, huh?

SANDRA
Why do you say that?

CONTI
Your ring finger. Got a
little white spot where the
wedding band was.

SANDRA
Good deduction. But wrong. I
threw the ring in my
husband’s face last night.
(points to his finger)
You’re still married.

CONTI
Separated.

SANDRA
Why do you wear the ring, to
keep the women away?

CONTI
The opposite. Something about
married men. Forbidden fruit.
Attracts women.

SANDRA
Only sluts and homewreckers.

CONTI
Well, there’s plenty of them
around to keep me occupied.
Although I do like nice,
normal women. Wanna go for a
drink tonight?

The Attendant enters wheeling a stretcher.

SANDRA
You’re flirting in a morgue?

CONTI
Just tryin’ to connect. Here
we are.

Conti removes the white sheet. Sandra recoils at the sight.

SANDRA
My Uncle Barry, the bookie.
I guess if you break the law
you have to expect this.

CONTI
Happens to honest people,
too. Can happen to anybody.

SANDRA
That’s a comforting thought.

Next: Act 2 Con’t

CONEY ISLAND BLUEFISH By Heywood Gould

I pitched a show about how cops deal with the new ethnically diverse New York.

The executives looked up from their blackberries…

The executives leaned forward in their chairs—a good sign.

Police precincts field sports teams that play other city departments and go to a state championship every year.

The executives had never heard of that.
“Great hook,” someone said.

I wrote the script. Joy was unconfined. We were on our way.

Then it was bounced down from the “upstairs.”

Click on EMPRIES OF CRIME link below for the entire script.

EMPIRES OF CRIME

Movies You Will Never See/Coney Island Bluefish/Part 3

Published on April 20, 2012 in archives. 0 Comments Tags: action, coney island, cops, criminals, HEYWOOD GOULD, hipsters, indians, MAFIA, mexicans, Movies, pakistanis, police stories, robbers, russians, screenplay, scripts, television, writing, yuppies.

Hi all,
After weeks of updating, switching servers, hosts, moving data bases, we are back with Coney Island Bluefish.
Enjoy.
Best,
Heywood

*For Introduction with submission guidelines go to April 4.

*Heywood Gould is the author of 9 screenplays including “Rolling Thunder,”Fort Apache, The Bronx,”Boys From Brazil”and “Cocktail.”

CONEY ISLAND BLUEFISH

By Heywood Gould

ACT ONE (Con’t)

INT.SQUAD.DAY.

A SESAME BAGEL pops out of a toaster on the desk of DETECTIVE SEYMOUR (BAGELS) EICHORN, thick neck, thick arms, late thirties. He passes a half to a young, black SUSPECT, who has one hand cuffed to the chair. .

BAGELS
You see the sesame seeds
keep you regular, they
lower your blood pressure.

SUSPECT
I like this smoked salmon
spread.

Next to him his partner JERRY (PUTTS) CORBETT, black, wiry, mid forties—the senior man—is putting a golf ball into an electric putting machine.

PUTTS
Problem with sesame is
that it can replicate the
chemical profile of marijuana.

SUSPECT
You mean if you gave me a
urine test I could come
up positive for grass?

BAGELS
Add another charge to the
list, babe.

SUSPECT
Yo, what’s your name,
brother?

PUTTS
Putts, man. They call me
Putts ‘cause I’m always
practicin’. See I’m not
gonna spend the prime of
my life poppin’ mutts
you. I’m goin’ on the
PGA tour…

SUSPECT
Just like Tiger Woods.

PUTTS
No, man he’s a Johnny come
lately. I’m talkin’ about
Charley Sifford, Lee Elder.
They were the real
trailblazers, but you never
heard of them, did you?
(menaces the Suspect with
his putter)
You got no sense of history…

ACROSS THE ROOM

Conti and Sloan sit at facing desks.

SLOAN
(on the phone)
It’s your son’s decision.
Every day he remains a
fugitive is another day
that’ll be held against him.

CONTI
(whispers)
The sister in North Carolina.

SLOAN
And if he’s hidin’ with his
sister she’s gonna be charged
with harboring a fugitive.
Your little grandbabies will
be in foster care while their
mama’s in jail…I’ll be
waitin’. Thank you…
(hangs up)
Poor woman. Scrubs floors
to take care of this kid
and he rips her off to buy
a load. You break your ass
for these kids and this is
how they thank you.
(as Keats walks in)
Hey Loo, how’s your back.

KEATS
Achin’. This all I got
today, four guys?

CONTI
Squires and Foster are
in court all day. Battle,
Kress and Novak had to
escort those two Crips
out to Corona…

KEATS
‘Cause some new cases came
in during the night.
(calling)
Putts…Bagel…

Putts sinks a putt.. Bagels takes the bagel gently away from the suspect’ and cuffs his hands behind his back.

BAGELS
Sorry pal, brunch is over.

IN BLACK…FIRE ENGINES, POLICE SIRENS…

RADIO
Forty-one to Central…We’re
at the vehicle fire scene…

EXT. PROJECTS. DAY.

FIRE APPARATUS, AMBULANCE, RADIO CARS have responded. On the street ADULTS are taking the fascinated children away. A COP on a radio squints into the flames and sees the BODY of a MAN behind the wheel.

INT. KEAT’S OFFICE. DAY.

Keats and the four detectives going over the day’s work.

KEATS
Vulvani TV was hit again last
night.

PUTTS
It’s a scam.This Indian guy
who owns the store sells the
stuff, then bangs a hole in
his wall and says he was
ripped off.

KEATS
Bring him in. Give him a
bagel.

BAGELS
They got a great curry cream
cheese spread. He’ll love it.

KEATS
I need a sensitive guy for
this one.

Everybody points to Sloan.

SLOAN
Very funny.

KEATS
This is a family matter.
IAD’s got film on Jerry
Burke and a fellow officer.

CONTI
Male or female?

KEATS
It’s a violation either way.
I need somebody to talk sense
to this kid. Unofficially.
Tell him the snitches are on
his case and he’s gotta
behave.

CONTI
Who’s the girl?

KEATS
I’m gonna protect her
identity. No need to smear
her name all over the place.

SLOAN
I’ll talk to Jerry. He’s a
stand up kid.

KEATS
Okay Sloan. Tell him to cover
his butt in more ways than
one. Who’s up?
(looks through the reports)
Female attacked, under the
boardwalk last night. Russian
girl, comes from Uzbekistan.

SLOAN
Uzbekis aren’t ethnic Russian.
They’re predominantly Muslim.

KEATS
Since you’re so up on your
geography. Mr. Sloan, you
take the case.

Conti glares at Sloan as Keats shuffles papers.

KEATS (cont’d)
They found a black Lincoln
Navigator burning in front
of the projects. Body of a
man inside. .

SLOAN
Barry Weiner has a black
Navigator,Bobby.

CONTI
There’s a thousand black
Navigators around here.

KEATS
Who’s Barry Weiner?
SLOAN
He’s got a fabric store on
Brighton First. Books bets
in the back. Right Bobby?

CONTI
There’s a million Barry
Weiners in Brooklyn.

KEATS
You know the guy,you got a
leg up on the case…

Conti rises glaring at Sloan.

CONTI
You’re Mr.Know-it-all today

SLOAN
What’s the matter with you?

Conti walks out without answering. And Sloan turns to the others, who can barely conceal their laughter.

SLOAN (cont’d)
What’s the matter with him?

END ACT ONE
12pt;”>Next: Act 1 (cont):

CONEY ISLAND BLUEFISH By Heywood Gould

I pitched a show about how cops deal with the new ethnically diverse New York.

The executives looked up from their blackberries…

The executives leaned forward in their chairs—a good sign.

Police precincts field sports teams that play other city departments and go to a state championship every year.

The executives had never heard of that.
“Great hook,” someone said.

I wrote the script. Joy was unconfined. We were on our way.

Then it was bounced down from the “upstairs.”

Click on EMPRIES OF CRIME link below for the entire script.

EMPIRES OF CRIME

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MOVIES YOU WILL SEE/The Journey of Natty Gann/Part 10

Part 9

MOVIES YOU WILL SEE/The Journey of Natty Gann/Part 8

MOVIES YOU WILL SEE/The Journey of Natty Gann/Part 7

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Leading Lady mp3 Excerpt

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COCKTAIL

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CORPORATION FREAK

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DOUBLE BANG

FORT APACHE, THE BRONX

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ONE DEAD DEBUTANTE

SERIAL KILLERS DAUGHTER (excerpt)

SIR CHRISTOPHER WREN

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BOYS FROM BRAZIL

Boys From Brazil Movie Excerpt

COCKTAIL

Cocktail Movie Excerpt

DOUBLE BANG

FORT APACHE, THE BRONX

Fort Apache, The Bronx Movie Excerpt

MISTRIAL

ONE GOOD COP

ROLLING THUNDER

Rolling Thunder Movie Excerpt

STREETS OF GOLD

TRIAL BY JURY

Tag Archive for 'criminals'

MOVIES YOU WILL SEE/The Journey of Natty Gann/Part 16

MOVIES YOU WILL SEE/ The Journey of Natty Gann/Part 15

MOVIES YOU WILL SEE/Journey of Natty Gann/Part 14

MOVIES YOU WILL SEE/The Journey of Natty Gann/Part 13

MOVIES YOU WILL SEE/The Journey of Natty Gann/Part 12

MOVIES YOU WILL SEE/The Journey of Natty Gann/Part 10

Movies You Will Never See/Coney Island Bluefish/Part 11

Movies You Will Never See/Coney Island Bluefish/Part 10

Movies You Will Never See/Coney Island Bluefish/Part 9

Movies You Will Never See/Coney Island Bluefish/Part 8

Movies You Will Never See/Coney Island Bluefish/Part 7

Movies You Will Never See/Coney Island Bluefish/Part 6

Movies You Will Never See/ Coney Island Bluefish/Part 5

Movie You Will Never See/Coney Island Bluefish/Part 4

Movies You Will Never See/Coney Island Bluefish/Part 3

2011

THE SERIAL KILLER'S DAUGHTER
by Nightbird Publishing

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Tag Archive for 'criminals'

2011

THE SERIAL KILLER'S DAUGHTER by Nightbird Publishing

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THE SERIAL KILLER'S DAUGHTER
by Nightbird Publishing