Showing posts with label Teenage Bodyguard. Show all posts
Showing posts with label Teenage Bodyguard. Show all posts

Friday, September 15, 2023

Walkabout Thoughts #64.5

My thoughts, Stream of consciousness, rough and ready, while walking off long Covid and listening to podcasts…

Walkabout Thoughts #64.5

.5?

Yes. Well? Here's the deal.

I had a minor accident. Three weeks ago. I tripped over something that caught my foot. Slammed my ankle into something which it then slipped down on, leading to a blister from a kind of "rug burn". That was doing well until it broke open and got infected. I was taking care of it, but apparently something got into it.

It's pretty bad. I thought I may have broken my leg. Yeah, that bad. I had it looked at for a third time in three weeks yesterday and indeed, it's not broken (finally got x-rays taken), but definitely infected. the wound was cleaned up, antibiotics administered, and next Tuesday I'm seeing a "wound clinic". So, no more 5 mile walks for a bit.

Yeah, that bad. I was told it's superficial though, I won't lose my ankle (oh, gooood). But it needs some serious attention and may take months to finally heal. 

Damn.

First I'll say one political thing today that I'm borrowing from a "Tweet" of mine yesterday, just because this is so aggravating

Considering continuing Republican rogue actions, the Insurrection "Freedom" Caucus in the US House of Reps, illiberal "Republican Party" laws, illiberal "Republican" Gerrymandering, "Republican" coup attempts, an insurrection, ongoing voter suppression, anti-pro-choice crap, electing of all people, life long criminal Donald Trump...only ONE NAME now fits for the once GOP: GOVP. The Grand Old #igilante Party. Because these are ALL Vigilante actions.

Considering how anti-governmental Republicans are, esp., MAGA, hating government, always trying to disable it, defund it, destroy, cripple it, then blame Democrats for it...I'd also settle for the name: "Grand Old Vigilantes". The G.O.V.

There is little more dangerous than a religious leader shunned by his flock, for another. Or a conservative cult divested of their self-infatuated leader. Beware MAGA, once Trump has fallen. For lost, they will need purpose, other repositories for their hate, and ignorance.

Right. OK. Moving on...I'd been using a crutch to walk with (tried a cane but it wasn't enough). Now that it's been cleaned by a medical professional (thing was, it's on my outer left ankle and hard to get close to by myself), antibiotics administered, 2x daily Epsom salt soaking, so it's doing better. Now that I know the leg bone isn't fractured, and with the infection more local to just the wound area, I can walk (limping a bit) without a walking aid.

And that's why there is no "Walkabout Thoughts" lately these past three weeks. I know I'm a bit intermittent on them normally anyway, but this time will be a bit longer... apparently.

I've gotten a lot of work done on my new film companion book on "Pvt. Ravel's Bolero" (not a simple book to write), but as the infection got worse, I'd not been in a state of mind where I can maintain writing a book for very long. While the film continues to garner international awards at film festivals. Which is always nice.

In fact, in the past three weeks I had entered two different film festivals, the Tabriz Cinema Awards (İstanbul, turkey) and, the Brandenburg International Film Festival in Germany. I had entered two films, "Pvt. Ravel's Bolero" and my film noir, "Gumdrop", a short horror, as well as my already award winning screenplay, a true crime biopic, "The Teenage Bodyguard. I won for all three, at both festivals, within a week of one another.

The first win of three was a surprise. The second was a big surprise!

In other good news is, my book "Suffering Long Covid" is selling well at the regional health food chain a few counties over (long story). I just had to send them another shipment of ten as the Covid season approaches.

So, I'll end with that and...that's what's going on. 

Not a lot, but kind of a lot. 

I wish you all great success and health! Until next time!

Cheers! Sláinte!



Tuesday, August 1, 2023

Walkabout Thoughts #58

My thoughts, Stream of consciousness, rough and ready, while walking off long Covid and listening to podcasts… July 31, 2023, Monday

Weather for the day… 59° starting out, 73° when I got home

Podcast for the day is the only one that has a new episode, Marc Maron, WTF? Podcast episode with sNL’s Melissa Villasenor who used to be on SNL:

 See related image detail. Melissa Villaseñor | Pixar Wiki | Fandom

"Ben Shapiro, another small men’s rights grifter”…That from Marc Maron

I just happened to think about Firing Line last Friday night with Amal Thapar, an unimpressive, SCOTUS Justice Clarence Thomas biographer who supports him and US Constitutional "contextualism" vs "originalism" debate. I find these people, as with the toxic masculinity...the Ben Shapiro comment above, to be superficial and purposely ignorant. Worse, I fear they may really believe their...beliefs. I find them both useful, even functional, but within the confines of reality and humanity (something they forget too often). The Constitution is a "living document". Otherwise it wouldn't have Amendments. End of story. Arguing the Amendments weren't indicating it's a changing document would have been corrected in having had rewritten the Constitution to begin with. They didn't. So, shut...up.
My argument about the Constitution being a living document is simple. Not shallow, but obvious. The Constitution was drawn up. Signed and ratified. And then... it was amended. The definition that is a living document. meant to be updated. Because our Framers, if our Founding Fathers were smart as they seem to have been and, full disclosure, many of them, Freemasons... as I have been, making it in my lodge one step away from the head guy before having to step away due to family matters. Anyway, I’m sure they meant for the Constitution to be amended… Amended… As THEY did, and as THEY, I am sure, expected US eventually to do. But we have a Republican Party who purposely locked up our government and then tried to destroy it, repeatedly trying to end our democracy while supporting a twice impeached, multiple indicted, criminal FPOTUS. The degree and amount of actions against our government in America at large, as well as our citizens, from a party and platform who support wealth and power over individuals...is overwhelming. Again, we desperately need to change our motto from "In God We Trust" to our original and more powerful, more American motto of "E Pluribus Unum"..."Out of Many, One". THAT speaks to strength. To our diversity coming together to make us strong. Not some "pie in the sky-god" doing it all for us, which if  you've noticed, don't happen. Certainly not to a statistically relevant degree (it's coincidence people). Republicans have turned into "Out of One…" to mean, The GOP and fuck "the Many"... all for Power and Money and Self-Aggrandizement. Their true gods. By the way for those originalists who support "In God We Trust" as our motto... how odd. Since "E Pluribus Unum" WAS our ORIGINAL motto... Hypocrite any?

Marc Maron on the new "Barbie" movie: "It’s genius and hilarious. Cleverly speaks to women’s rights and any men who are offended by it are small men in almost every way… Ego wise, dick wise, pseudo libertarian meatheads, who can’t have their balls busted in any way, ever, scared of any smart woman taking a piss out of them...", etc. Too funny. Too spot on.

This is a good podcast for the day. Marc Maron is skewering movie studio execs over Barbie &  Oppenheimer and the cruelty they’re applying to this writer's and actor's strike, especially considering the new AI issues.

And so I have to say the old studio system is long dead, decades ago, but the new system has also become toxic. Just look at what they’ve been doing and look at all the sequels to keep pushing on us. Where is the creativity and the freshness? Where are the leading new voices? I have to appreciate companies like VOYAGE Media (full disclosure) who I’ve worked with... where the Content creator or Story owner, although they have to chip in some finances in the development / pre-production stages… allows anyone access to movie making, and who has a few bucks. I’m not rich, but I had a few bucks. And I went as far as I could until I had to stop because of finances. As also with Interdependent Pictures, who I have also submitted screenplays to (2). They are trying to revolutionize the filmmaking process by basically using profit sharing on each project, among everyone involved. I prefer that over the VOYAGE Media model because there’s great ideas and great people out there who don’t have great resources in finances. This model allows you to either invest time and effort, or money, or both. More you invest, the  more you reap the benefits.

NACA Live conferences. God, this speech to text sucks. Nacca...Naka conferences. Whatever I’ll look it up. But Marc Maron is talking about Villasenor doing the college circuit, how you go to these conferences as a stand up or whatever and perform and they choose out of that selected pool as which people should tour the college circuit. So if you’re a stage performer of such, you should know about this, if you want to get into that. Apparently in the beginning you can end up doing cafeterias, or like hallways or something but hey, it's a gig and when you're starting out you need the practice and exposure, learning the road and networking. I’m interested to hear what she has to say about it because many comics have said they stopped doing the college circuit because of how precious attitudes have become and the whole canceling thing over previous years. I get it, comedy evolves, and making fun of other people, is problematic, but something has to be funny, still. I don’t mind when I am made fun, good God I’ve had a whole lifetime of people making fun of me. Mostly in K-12.
BRIEF ASIDE ABOUT BAR FIGHTS: At some point people got the feeling they were treading dangerous grounds in harassing me. I started out small, got up to 6' suddenly in high school. That, was pretty cool. Karate starting in 5th grade, regional tournaments and such, but you don't walk around jerks who realize that and I found at times, people were so stupid, I had to try to protect them from picking a fight with me. I'm not some big badass, but I know clearly when I can hurt someone or not and some people just aren't smart enough to see that. In the beginning I tried just telling people, but then do thought you were lying. I'm not. I wasn't. I came to realize in my late teens, in meeting assholes who wanted to harass you, you had to COMMUNICATE their danger levels to them in a way they got it. Not just say, "You really don't want to do this." They take it as a challenge. "HEY, I'm not saying at for you to be challenged!" Actually you have to shift to the individuals. It's bizarre what works to shut down a fight. I found one line very well received but you had to be ready to back it up. I always was. "Look, I realize you're just looking for a 'friendly bar fight' but I don't believe in them and I'm just here to have fun and relax. I don't know what your orientation is here but I do not fight. IF I ever do fight, I only know how to kill as quickly as possible. One of us is going to the hospital and one may end up dead. If THAT'S what you're looking for here tonight, you picked the right guy." That has shut down a few drunks seeking a "friendly bar fight". There are other guys you just have to drop them. Others you just walk away. But you have to peg them accurately, or it can go really bad. Of course there were a few times I could have just stick a gun in their face, from out of nowhere. But then you really have to be willing to pull the trigger. I am. Always have been. But I have a responsibility I learned in Karate as a kid, I can't kill you unless I have to and I am responsible for your upcoming pain and death. You don't bring a gun to a fist fight, and you don't bring a knife to a gun fight. The only reason I would ever have pulled out a gun in a fist fight was if I was losing and the guy really was going to kill me. Then all bets are off. As it turned out, apparently I made very good choices because I've been in some ugly situations and have always come out of it pretty well. Part of that life orientation is what they say about, "Don't be in the path of the bullet and you'll be fine." Also for writers, just cut out all the bad parts, and you'll have a winner.

When I saw my first Dean Martin roast on TV, I was a little bit horrified as a kid, but fascinated and locked into a "train wreck" motive. I can’t look, but I have to look at it as it's really so very funny. There’s something useful and productive about being made fun of, or simply being "called out on the carpet." Especially, useful for our leaders and government. And those like Trump who attack people and try to destroy them simply for acting on democracy and journalism. Those like Trump are really anathema to America and democracy, and we should all be offended by those who have glomed onto Trump and his criminality in his sad repeated attempts at authoritarianism.

I’ve been working on my new double version of, "The Teenage Bodyguard" screenplay book with my original version and a newer rewrite. I currently have book copies of two of my screenplays, the other called, "Gray and Lover The Hearth Tales Incident”. Thanks to Dizzy Emu Publishing who did it for me when I submitted to, “All Genre Screenplay Contest”.

But as I think I said in my last blog, it occurred to me after having a version of a book with a single screenplay in it, I should put both versions of "The Teenage Bodyguard" into one book. Which I’m doing. I figured out how to do it by myself. Not that big of a deal. I saved the screenplays as a PDF, as you do from my Final Draft screenwriting software. I found a website to combine PDFs for free which I can then upload to KDP.Amazon, where you configure your books for sale onto Amazon. Nuts, this text to speech keeps locking up and I have to start and restart it. It just stopped working in the middle of my talking and I don’t notice it all the time so I have to back up and redo it… And... I had to come up with a book cover and built one from the version that company had built for me, they had used MY graphic so, cool... but I don’t have to put their logo on this book now, which is nice. I can now use my LGN Productions company as my publisher, which I’ve been doing with other books. But I realized I should use a book prologue where the author speaks about the book. Well, that’s turned into 14 pages and I’ve been editing it for four days and it’s a real pain. But people keep getting this screenplay wrong. I’ve had three directors who wanted to make this into a movie, but I didn’t like their take on it. Everyone keeps hearing that the protagonist is a "17-year-old boy" (young man) in this true crime biopic and they immediately go to "oh teenage boy...hormones...sex... dumb. That’s just not this particular character at all. THAT'S what makes his story so interesting. He's not typical. He’s smart, he’s been trained by the military as a kid in search and rescue. He studied martial arts since young and... he’s just not your average kid. Then he goes up against the reigning crime family in Tacoma, Washington in 1974. He's not terrified as a normal kid would be. he's been trained to stay cool, do your job, succeed! So I thought I should take this opportunity in the book to write up a little about him in the screenplay book and some about how the book came to be, and a little about myself, thus setting up the reading of these Screenplays. I then realized yesterday that I was putting too much in it about myself. Sigh. I started cutting paragraphs. Anyway, I hope to have it done soon so I can submit it and be done with it. Then I’ll order some copies for myself and unpublished it. It will be available then to re-publish whenever I need to. It’s not like I’m really looking to selling this to the public. As I said in my last post, I did tell social media it’s available and if someone wants a copy, get it now because I’m gonna unpublish what’s up there now once the books are received. Then after the movie of it is made, I can re-publish it as the original screenplay. Then one can even publish the screenplay that was actually used to shoot it (shooting script) while in production. Because, as you may know, every movie has several screenplays. A spec script for selling to pass around for people to read. An actual script, which you may even have written first, and then written a spec script from that. People have different ways of doing this. then there’s a production script used on set. And there could be a screenplay of the actual movie transcribed after the fact as it appeared on screen to audiences. So I have the original script I wrote at 123 pages which got producer Robert Mitas interested over at VOYAGE Media. He has worked with Michael Douglas on films. He wanted a different script and so we took months to rewrite it into a shorter, tighter format. Which certainly isn’t my original since as it’s missing 20 pages or so. That's necessary, maybe, but frustrating, as I've already left out so much I could have put into my own, already kind of too long screenplay (spec script should be around 90s pages). But it’s hopefully a better spec or selling script. I need to send it to more screenplay contest. So far I think I’ve gotten three awards as of today for my original version. I’ve sent the shorter version out and it’s yet to win anything.
[UPDATE, after I got home from my walk I had emails that the shorter screenplay was accepted as an Official Selection in the New York Script Awards...they had rejected my longer version so I asked if I can have a waiver to submit the rewritten version (they were in "waiver only" acceptance stage, and I explained the two script situation), and they agreed]
Which doesn’t mean anything actually, either way, any of it. There’s are screenplays I’ve seen that won festival after festival, but never got produced. There’s movies that were made from a screenplay that made a lot of money which never won a festival. I tried for years, sending this script off to directors and producers and managers and agents and studios and production companies and I think I’ve only gotten like, one reply. Which was, "This isn’t for us." Which makes me wonder if they were reading into it the wrong things. Because, the first producer who read it said about it, "This reminds me of “The Place Beyond The Pines", which is a serious drama. And what I was shooting for, here. The people who can get it, not seeing only a teen romp of some sort, who missed that nonsense completely and get it… Well, it’s very rewarding when that happens. Robert kind of got it because I kept saying it while we were restructuring it. And while I we came out with a script that works, having cut some of the things we did, we lost the tone and flavor of what I had originally wanted it to be. So I’ll try to get either produced and we’ll see which one wins out in the end.

Villasenior is talking on the podcast about going to church as a kid. One time her grandmother took her to a new church for confession. Being Catholic, as I was, the priest asked her in the confessional, when she had last confessed. Which is a normal question. She said she didn’t remember. He said, "You’re a bad Catholic and a bad person." WTF? She said (in her mind), well, I’m not coming back. I don’t remember when MY last confession was. Probably around 1969? Mom told us we had to go to church and Sunday school every Sunday until ninth grade when we could make up our own mind. I don’t know why ninth grade. But she only made it through ninth grade in school. She was smart, though not greatly educated. Not self-educated like her mom, who I dearly loved. We’ll both of them. Although, in mom's later years I had to stop talking to her. I was going to a marriage counselor… Yes, we then got divorced, this was the last time around 2002… And while I was still with my wife and the counselor she said, "You know, you don’t have to keep someone in your life who’s toxic." I said, "What? But it’s my mom." She said, "Look. I’m giving you permission to not talk to her. Ever again, if need be, if that's what you think you need." So I thought about it for a while, and that same summer shit happened to where I was done. I heard my last two wives say that, "I'm done." And that's what I said about my mom. You had to be there. I was pretty justified. I'd gone through decades with my two siblings and our mom, round-robin-ing who would deal with her for years until they couldn't and someone would take over. For a period of years I was the one, and that went on longer than with the other two. I served MY time. This was that summer in 2002, after my niece and my son, one thin and 21 and the other thin and 12, respectively, shared our "weekend of Hell", the three of us moving my mother, the two kid's grandmother, out from my stepfather after she had a warrant out for attempted murder on him. lonnnng story and not what it sounds like, though kind of what it sounds like. But after three days and three flights of stairs to move my mother, in the way she was acting... I was done. I'd finally had it. I no longer recognized her as the mother I'd grown up with. That woman was gone, dead, and now...dead to me. The final straw being just as we finish getting her moved in. She was ranting and said something, and this is after a lifetime of intermittent mental and emotional abuse from my stepfather, who never liked me… she made the comment that, "Well you always stick up for him." Which was ridiculous. After all he put me through, you said I always stick up for him and not you? WTF? I stuck up for him that one time, moments before, because what she was saying was total bullshit about him. I’ll stick up for anyone when lies are being told about them. Right is right. I stuck up for him once before that stands out At 12, she took me around family and friends houses to show off her bruises on her wrists. Back in the late 1960s "Look at what he did to me!" First house. Then the second house, she repeated it and I had to speak up. "Wait. You were beating on his chest and all he did was grab your wrists to stop you." I wasn't sure what she'd do, attack ME? No, I think it actually brought her back around to reality. By the third house, her story changed a bit but was still blaming him for the bruises as after all there were bruises? Hey, whatever. After three days of mental and physical exhaustion for myself, my young son and my older brother’s daughter, moving my mom into her new, brand new living community, all the people were very nice, after my son said at one point, "Dad, grandma's being racist about some people"... I’d had it... for me and I’d had it for all of us. This turned out to be a pretty comical movie-moment scene I’ve detailed elsewhere. Anyway, it was weird. I grew up with a loving mother and a stepfather who was really no friend of mine. We'd had our moments, maybe a few times I can remember we made any connection. And at the end? He turned into some sweet old guy saw me as his son as he ended up with Alzheimer’s, and my mother became the abuser. Now he wanted to accept me as his son? WTF? My life has been nothing but a series of conundrums and frustrations, and lack of closure. But luckily, I learned about dealing with all that at a young age. I see people who never learned that. I see men who never tested themselves in their youth, who turned out as bullies and all "agro" and shit. Who couldn’t handle criticism or ever being called out. Unprofessional as adults, even if they’re professional in their job. Life is weird. But it makes for interesting people, and stories. And I'm all about the stories.

A white car just went by with LANDIS GYR and it had a little red beanie laid on the top center. I thought it was a cop at first at a distance. I thought maybe it was a Google maps kind of car, but as it passed I thought maybe it’s one of those lead vehicles when they move a building or something, on the freeway. I have no idea…

Back to Marc Maron and Melissa Villaseñor…

I don’t know what happened, but I’ve been wanting to listen to Marc Maron’s podcast for long time. I like him a lot. I liked his TV show. I like his grouchy character personification. I like shows he’s been in and I like his stand up. I can relate a lot to him. But the past couple of weeks I've been watching him, I mean listening to him on the podcast, more and more. I’ve been wanting to get out of the political bullshit since Trump left office and lost LOST the 2020 election. Got tromped. Trump got TROMPED. And hopefully will again... forever and ever until he gets his multi year multi sentences, imprisonment if it turns into life in prison, and he dies in say a year. I don’t celebrate peoples deaths. But I would. Trump... and Putin.

Anyway, I’ve been wanting to listen to more entertainment oriented podcasts. Lately, I guess it’s summer and podcasts aren’t updated once or twice a week. So I had to find something else and leaned into the entertainment industry. Which is what I do now anyway and so I should be listening to that and... fuck politics. Because they’re so unnecessarily toxic and we now have a right wing political party pushing for authoritarianism and trying to kill our democracy? WTF? Also, when they get in charge they shove crap down their own peoples throats even they don't want? What the hell is going on with those people? So they don't want anymore than we do half the time... sometimes all the time.

They’re talking on the podcast about the personality of a comic and self shaming and stuff. I am, I was raised and taught... differently. I learned from some of the best people, because my mother said that and my grandmother told her always to learn from the best. So, my attitude was to learn something really well and then, as they say, “know thy self". So I’m sure I’ve had times of panic. Like whenever I turned in the papers as a senior technical writer... I'd fret over it a bit until they came back and said how great it was. I think a lot of this came out of karate in grade school. Then civil air patrol in eighth grade. Where you had to really know your capabilities, push past them, and know you could do more than you really could do. I heard when I was younger that, "A good man knows his capabilities." So I’ve always tried to have an accurate view of what I can do. I seem to be accurate as far as other people observations. I always try to check in with my beliefs and update them accordingly. Just like with science, always replace old data with better, new data. But not better bad data, or than your treading into Republican territory. I really do wish they'd get their shit together again. Maybe, one of these days.

Cheers! Sláinte!

Monday, June 22, 2020

A Mafia Murder And An Armed Teen

This is the story of "The Teenage Bodyguard." Who? Well, if you haven't already heard about this, in 1974 a teenager protected a murder witness, a woman and cocktail waitress for a week, from the mob, the mafia, from their "Enterprise". And he kept her alive. But did she survive?

Graphic by Kelly Hughes
Welcome to the Pacific Northwest podcast, "Scene of the Crime", who recently did a podcast titled, "Enterprise" (Also, here - podcast currently seems unavailable), in June of 2020. It told of the story of the Tacoma, Washington Carbone crime family who abused local Pierce County law enforcement and government all through the 1970s.

Years later, in 1978 during their San Francisco federal trial of their "Enterprise", they again murdered one of their bouncers who had been subpoenaed. But he was not the first bouncer they had murdered. The first was in 1974, and his name was Danny McCormack.

In the spring of 1974, there is a particular story that is of interest to us here. And that is the story of Gordie. After receiving a phone call from a "friend", he gave a woman who had been staying with the friend, a short ride.

When she got into his car, a 1967 Camaro RS/SS red convertible (two years later this model would be renamed as the Z28 model), she refused to give him an address to where he was taking here.

The first red light, and sign there was something wrong. Instead shea just told him where to turn until they got to her new living space. Her new home was with four people she had just met recently. With no ties at all to her past, or Gordie's friend, or Gordie for that matter.

At this point one might ask, "Why isn't this in theaters yet?" And if you're someone who could see this film produced, surely, say, "Hi!"

Exactly. Even the podcast pointed that out. The Blacklist, indicated that on an evaluation of this film. The Bluecat Screenplay Contest asked that exact question.

The Blacklist: "Since 2005, each December, the Black List releases its annual list, a survey of the most liked unproduced screenplays of that year. The annual lists are aggregated using votes from film executives working in the film industry." From The Blacklist

Bluecat Screenplay Contest: "Founded in 1998 by award-winning writer Gordy Hoffman, BlueCat has remained committed in discovering unknown, gifted screenwriters and showcases their work to a global audience year after year. Through written analysis provided to all entrants, BlueCat has supported thousands of screenwriters with many who have gone on to successful careers in the film and television industry."

Actually, I've been working with Gordie, the protagonist of this story, along with Voyage Media's head of their Originals Department, Robert Mitas. Robert has had screenplays produced himself, and worked producing films with actor and producer, Michael Douglas.
We are currently working to see this screenplay and story produced and into theaters or via another of many viewer platforms. I'd be happy with Netflix or Amazon Prime or others.


Text from Thursday, January 24th, 1974 Tacoma News Tribune article:

Patron kills bouncer at Tiki


The bouncer in a Lakewood night spot was slain early Sunday as he argued with a disgruntled customer in the parking lot.

Danny Derrick McCormick, 25, 3102 S. 47th St., was pronounced dead at Lakewood General Hospital at 2:30a.m.

He was employed by The Tiki, at Villa Plaza.

Sheriff's deputies were told McCormick was shot in the chest by a young white man who earlier had been harrassing a waitress in The Tiki.

After closing at 2AM, the suspect returned to pound on the cabaret door, unsuccessfully demanding to be let in. When McCormick and a friend went to their car, the suspect and a companion drove over and began angrily discussing the Tiki operation.

The suspect pulled a revolver, deputies were told. McCormick's friend grabbed him and told the bouncer to "get the gun."

McCormick was shot as he approached the suspect, who broke away and fled with his companion in their car.

An off-duty school security officer who had left with McCormick but gone to his own car fired a shot at the fleeing car as it sped away.

Mccormick was rushed to the hospital but did not respond to treatment.


It was this murder of a coworker that sparked this whole story. A story that led to a cocktail waitress to go on the run because, as she contended, she was IN that parking lot when Danny was murdered. A murder she said was NOT performed by an anonymous disgruntled patron, but rather by one of the capos of the head of the "Enterprise", John "Handsome Johnny" Carbone himself.

Why isn't this on screen yet somewhere?

Getting a film made is a magical thing. But we continue to work toward seeing this produced so you can see this story for yourself. And maybe, make up your own mind.

Monday, November 20, 2017

Firewalling Sexual Abusers

"Truth is stranger than fiction, but it is because Fiction is obliged to stick to possibilities; Truth isn't.” - Mark Twain

My view of sexual harassment, domestic abuse especially against women and children, slander or libel against women especially for merely speaking out against those who are abusive, has always been the same. Stop it from happening, support women in fighting back. Firewall those who are abusers, cut them off, block them.

Stop calling women liars, stop slandering them, stop muckraking them through the media mud. Support our women, support the abused, don't just ignore them, turn away, abuse them even more!

This is not a partisan issue, nor a political issue. It's a human issue. Men need to lock arms with women over this. In a nonsexual, platonic, professioanl fashion, supporting women for their worth, their skills, their equality to us men. And not just a pretend equality, but a real and substantive one.

I suspect most men may be good and decent people, but enough men are not that this has to be addressed and we have to stand for those who are abused and then more especially abused when they are brave enough to speak out about it and who is being abusive toward them.

We have a culture of abuse against women by men in power over them.

We have elected a president in Donald Trump who has admitted he is a predator. We have people declining invitations to the White House because of him and that. Enough obfuscation about peopple like Bill Clinton, or even Al Franken, when we have an actual accused predator in the oval office RIGHT NOW.

And Republican Judge Roy Moore. A man who has been an historical embarrassment and obvious sexual predator of minors. Who been removed from the bench twice for refusing directions from the Supreme court. Who had his own community when he was a district attorney, ban him from their Gadsden Mall, and from the local YWCA for inappropriate behavior of soliciting sex from young girls. And he is still running for Congress and being supported into it.

Women who have a claim against Bill Clinton should be supported to seek their closure, but as a nation we need to pay attention to what is here and now of those in power at this time. As for Franken, it feels less than it's made it out to be and regardless, an investigation is in the works. But I suspect it will end in little being discovered as those who know Al seem to see it as I do, that what was reported was an outlier in being a bad behavior, and not a bad actor as we see in Trump, Moore and others like them.

We are America and we need to start acting like it, and clean up our act!

It's wrong. I can't believe this is happening, still! But then, I first saw this kind of thing when I was in my teens and in a way that really put my life on the line for it. In part that event from 1974 set a tone for me throughout the rest of my life even up to today.

Maybe it's because I had so much of my childhood governed by women, my sister, my mother and especially my mother's mother, I've always been more understanding of their plight. And I've always been easily angered at hearing of their abuse.

I had an awesome grandmother. In so many ways, she has my thanks for who I am today. In finding out I hadn't learned multiplication tables because of how often we had moved, because at one grade school they learned those tables in fourth grade while my next school in third, she wrote out the multiplication tables from one through twelve all over her kitchen wall. At every meal we would go over them whenever I stayed there, until I had learned them all.

I grew up loving women, respecting them, and also in having a solid sense of self respect in that regard, in having a great respect for women. I had trouble learning and K-12 was kind of a nightmare. I had a step father who seemed to hate me and tell me at every turn that I was stupid. It wasn't until the military and later college and a university that I truly began to believe that just perhaps, I wasn't stupid after all.

So men who lay blame for their actions against women are because they had poor self esteem, or couldn't talk to women and so use their power and control to get sex, just doesn't wash with me. It's lazy, it's abuse pure and simple.

There is a theme going all though my fiction of empowered women. Or of bad things happening to the men who abuse them. An example from my own life of my orientation in being pro women, is uniquely available to the public, as I've written a true crime semi biopic screenplay.

This may seem like a shameless plug for a screenplay I'm shopping around to producers and studios, but hey, it's hard getting a screenplay sold. That being said however, it is also a pretty amazing example of my orientation on supporting women in my life and I would also argue, a very good example of how we need to stand up for women. More than once I've put myself physically on the line for women against some guy, usually their guy, and women that I sometimes, many times, did not even know. AND most importantly, I had expected NOTHING from them for my efforts.

I stood up for them merely because... it was the right thing to do!

I currently have two titles for it as I shop it around. Teenage Bodyguard, or Slipping "The Enterprise" (see links for more). "The Enterprise" was what that mafia group called themselves and what we tried to do that week in trying to slip by them until the woman in the screenplay could leave town at the end of that week.

She introduced me to a lifestyle that I'd had no idea about. I'd read The Godfather in high school, I saw the film. But didn't realize just how women truly were treated by some of these guys, if not most.

The screenplay details an actual week in my life at eighteen in 1974 where I protected a woman from the local Tacoma Carbone crime family until she could leave town. Why do I bring this up? It's not to go on about a screenplay I'm currently shopping around, but to point out that even at eighteen, I felt strongly about women's rights and treating them decently, that I put my life on the line for a woman.

I've gone through my younger years and throughout my life being disgusted by what has been put upon women, merely for being female, or attractive, or in a position where a guy having power or control over her, can feel free to be abusive. Not just in sexual but also in issues of power and control. To be fair, these men I'm detailing in this were abusive to human beings. They abused their control and power over men also, and in many cases, murdered them. The ultimate abuse.

In my screenplay and back then in reality, I had been introduced to a woman who was around ten years older than me. I was initially just asked to give her a ride to her new location where she was to stay there for a short time. I found out later it was because my "friend" wanted her out, fearing the mafia who was looking for her and in the process, put me front and center in their crosshairs. To be fair, they didn't know I'd accept helping her. They just asked me to give her a ride.

I was naive about many things in life back then, and in some ways so was she. She was also obviously traumatized. My reason for bringing this up regards why I took on the challenge of protecting her, with a gun, for that entire week.

Once I got her to where she was going to be staying for that week, she sat me down and handed me a newspaper clipping about a recent murder. It was the murder of a bouncer at a local (Tacoma's first) topless club, run by this crime family and called the Tiki restaurant in Lakewood, Washington, just south of Tacoma. It was a murder she said, even though to this day it is labeled an anonymous murder, was done by the crime family, to one of their own.

She outright asked me if I had a gun. I admittedly said, yes. She then took a chance, seeming lost, asking if I would get that gun and stay with her for that week until she could leave town. She feared they would find her and take her, and potentially murder her too for what they believed was being a murder witness against them. They did that kind of thing fairly regularly, all through the 1970s. I didn't know what to say until she explained further.

It was her explanation that convinced me that I had to help this woman.

I bring this up because even at eighteen, I felt I needed to stand up for women. And, as this case clearly exemplifies, I put my money where my mouth is. I put my life on the line for this woman, because I was so horrified at the abuse this woman and others at her job had been put through.

I've had that orientation all my life. I've stood up for women when I saw them being abused but sadly, many times, the women went right back into that abuse, much to my shock and dismay. But we do what we can. And in this case, I did.

I'll just share that scene in my screenplay:


SARA
Do you have a gun? You don’t happen
to have a gun do you?

ME
A gun? A gun. Oddly enough, I do.

SARA
What. A rifle, probably--

ME
Yeah but a handgun, too. .357
magnum actually.

SARA
Can you use it? You know how?

ME
Yes. Yes, I do.

Self-assured but naive and it slightly confuses her.

SARA
I don’t know why, but I trust you.

ME
Again, I have that affect on
people. I’d have to go home, just
to get the gun.

SARA
You live with your parents?

ME
No. I have an apartment.
(light chuckle)
Graduated, got out at seventeen. I
have a job, an apartment, car
obviously. I’ve had a job since
ninth grade. Days. I’ll need to go
to work. Have to pay the bills,
rent and stuff. Could take the week
off but, really can’t afford it.

SARA
No, that’s fine, I understand, you
need to work, pay bills. If I need
to go anywhere I’ll just wait for
you. No one knows where I am or how
to find me. That’s what all that
was about at Erik and Dave’s. It’s
safe here. Really. I never told
anyone about them. I don’t want to
take any chances. Not mentioning
this to anyone goes without saying.
OK? And don’t let anyone here know
you have a gun.
I don’t want to-- freak anyone out.
Especially Mary being PG and all.
You know?

ME
I get it, I’m used to it, really. I
don’t show if I’m carrying. About
these guys--
(Indicates newspaper clipping)
Dangerous I take it?

SARA
Sometimes. I was in the office that
day with Ron. He was all worked up
over something so I let him throw
me up against the wall for a bit.
That always calms him down. I know
they killed Danny. The bouncer. He
was nice. To me, to all the girls,
not like the others.

ME
Sorry? You let him throw you up
against the wall?

SARA
(Confused he doesn’t get
it, uncomfortable)
You know. Sex. Most of the girls
let him do that. Like I said, calms
him down then he’s much easier to
deal with. Danny I think just got
in their way. He stuck up for us.
Maybe they finally had it. I know
they killed him though. I do know
that.

ME
Why not just fire him?. Who kills a
guy for sticking up for women?

She looks away.

SARA
Johnny Carbone does. May have been
something more, I donno. Maybe he
heard something, spoke up at the
wrong time? Who knows?

ME
OK, well, look. I’ll head home.
Back in a few. I won’t be long.

When she asked me if I had a gun, I told her I did, but I wasn't convinced yet. It was when she made it clear what her working environment was, and there was more than I put into the screenplay, in how it was for all the women there. And my research for this screenplay has proved this to be true and even then some. My mind was made up. Screw those guys, she had me 100% on her side.

That's the kind of motivation and support we need to give women today.

This nonsense has to stop. Men need to not just support women, but themselves in not acting like animals just because they have a little (or worse, a lot) of power.

Women, as has been said repeatedly over time, are our mothers, grandmothers, aunts, sisters, daughter and friends. They deserve our respect and support. Even if we have to pick up a gun to support them (obviously not illegally, go to the authorities if need be).

And that is the end of it.

We have now elected a president who has admitted he is a sexual predator. Well, I didn't and wouldn't have voted for someone like him. Women have come out against him for his abuse and what have we done, what has he done?

Abused them in the media. Dragged their reputations through the mud and slime that sexual abuse leads to.

But that is changing. Times have changed and it needs to change. We will ALL be all the better for it! As we will when women more and more have positions of power and control over men and women.

Stand up for them. Support our friends and loved ones who have historically suffered abuse all through history.

#MeToo #SexualHarrassment #StandForWomen #Producer


Thursday, July 27, 2017

Screenplay Review from The Blacklist - Teenage Bodyguard

After a couple of tense weeks waiting, I finally got my first review back from The Blacklist on my true crime biopic, Slipping "The Enterprise", also known as, Teenage Bodyguard. First off, this is a story that is set in a time and place that has not been harvested. The Tacoma Mafia? Seriously. Plus, it's a true story and kind of unique. One would think the right studio could make it something very interesting.

Anyway, I had originally slapped the Teenage Bodyguard working title on it when I wrote the screenplay for a London production company who had asked for it a couple of years ago. I wrote it in nineteen days after they asked for it, worked on it night and day. In the end, they didn't pick it up. But then it is about a teen in 1974 Tacoma, Washington, and the local mafia. It's a hell of a true story in a location and about people that are as yet untapped in Hollywood, or elsewhere.


Mostly it felt like the reader\reviewer liked it, just saw some issues (thankfully). These are $75 reads by industry professionals. According to The Blacklist themselves:

Think of blcklst.com as your personalized, real-time Black List. Instead of an annual list of the year's most-liked unproduced screenplays, you can log on at any time and get list of the week's, month's, and year's most liked unproduced screenplays AND a list of screenplays you're most likely to like based on your tastes and everyone else's.

I got the exact number rating from 1-10 that I'd expected. In fact, nailed it. On the specifics, some very nice indicated strengths including dialog and showing not telling. Finally, as that'd been an issue of mine years ago in a prose writer learning screenplay format. Part of the Strengths summary said:

There are a number of sequences in this screenplay where the pace of the dialogue really stands out. When conversations move quickly - as the exchange does between Gordie and Sara from page 44 to 46, for example's sake - it keeps the reader's (meaning prospective buyer's) eyes moving down the page and gives the scene an energy that can translate to the screen effectively. (But, be sure that those characters have distinct voices; a character's personality really comes to life on the page when their voice is unique and idiosyncratic.).

That last comment is important and I will go over the screenplay again to review and enhance the dialog.

Down side, as expected, the time line. It's a hybrid, it not linear. It's indie, it's nearly experimental. But properly handled by a deft hand at the helm, not only very doable, but a very entertaining and complex ride. But that doesn't sell easily. Part of the Weaknesses summary were:

This script could benefit from some serious streamlining. Ultimately, the 1974 timeline is the one that matters; Gordie is the true lead, and his central goal is to keep Sara safe until she can leave Washington. Let's focus on that plot, and have Gordie come across his primary antagonist - Caliguri - long before page 95.

I already have a fix for that. I will probably make the changes and put it out again for a new review. I have one more coming in as one review is always at least somewhat dangerous for a variety of reasons. Still, that's $150 for two reviews, but worth it.

Comments were also that an 18 year old lead will be a hard sale to producers/studios for this property. But let's face it, it would end up being most likely, some 26 year old baby faced lead. That's just the nature of some of the hurdles of some projects that one has to get over. As in studios not wanting senior citizen types as leads in a film and yet, we've seen some amazing films with older people as leads. Think, Driving Miss Daisey, for instance.

The reader also didn't like, quite as I had expected, a flashback in a flashback in a flashback. I've seen those done in big movies, mostly indies, and they can be fun. Again, a deft hand directing and it's quite doable. But I figured I'd get push back on that and will probably come up with a better format to exposit that information and that part of the storyline.

Again, not easy to sell originality (hopeful and perceived as it may be) because buyers are looking for easy money with little effort. I get that. I can fix that issue with little difficulty, even though it will drift away from an accurate docudrama to loosely held biopic. But then, I was shooting to make a biopic. And nearly all of them drift off from reality to entertainment. That's the nature of the beast.

I will save this current version of the screenplay, version twelve. The twelfth draft. But I will keep it as version one. After several more potential drafts this next iteration will become version two, just in case I get somewhere and someone wants to see the original. In the case that the revised version sells the property and that opens the door for the more convoluted and creative version or some form in between. I'm not tied to my original version, just looking to make the best film possible while remaining as true to reality as is possible.

Next up, gather my energy and get back to a new draft and start all over again. After I get the response from the second reader....

UPDATE 7/27 3pm: King of had the blahs today. Finally got myself motivated to get on my Harley and rode up a long road, turned around, came back to the Garage bar, had some tasty lunch lunch and a 22 ounce beer and read more of David Mamet's book on directing.

Then I got the idea. Move a teaser of a scene to the beginning of the screenplay, change all dates to the primary year and have it all happen within the one primary week in the story, then take one scene and make the leads be the ones to witness to a crime the bad guys perform.

Tightens most of the issues up incredibly well.

Monday, July 11, 2016

Surviving Our Decisions in Life

There is a lot going on right now. Race relations in America are strained, most notoriously between the Black community and police. There is a lot being discussed on that topic and I needed a break from it. I will just say until we fix the systemic issues involved, simply fixing racism won't fix this issue.

Black Lives Matter. Police Lives Matter. Most Blacks are good people, most police are good people. Some of what is going on has to do with guns, which is another issue. Cops are fearful as well as some of them being racist. Some of the police departments are oriented toward negative expectations about their Black community. Some Black communities are oriented toward damaging themselves.

As I said there is a lot being discussed elsewhere, and a lot that should be discussed on this.

However for this week's' blog I'm taking a different, albeit a somewhat relevant direction....

I admit it. I've made mistakes in life. We all have. Some of us just recognize it more than others. Or at all.

I've thought I was doing the right thing in the past, or that I was doing what seemed reasonable, only to find much later that I had over time gained the wisdom to see reality more clearly with the distance I had gained from those times and events. I always reflect on things.

I reflect on them even in the moment, as they are happening, considering them through various layers of meanings, and perspectives in real time. What some friends and family have called, "overthinking". At times it is a great benefit, at times a great detriment.

Yet, no one can see everything. And we all have our filters. We all are defective. We all are capable of great harm, as well as great good. Those who do not recognize that are called foolish, if not stupid. Those who see it and revel in their great good, who seek it out at all costs are called saints. While those enraptured by their capacity for great harm, who seek it and pleasure in it are called evil.

I've been married, let's say, three and a half times. I count that one as half as we hadn't actually gotten legally married but were together longer than what common law marriage is usually considered to be, though we do not have that in Washington state. But I felt she deserved that acknowledgement for our time together, for any burden I placed on her, for the great times we shared. To be fair to myself, she was at time a burden too, she had her own demons.

I don't know how she feels about all that. Because she appears to not want to talk to me anymore. Not since our last phone call in about 1988 and in some ways, I don't blame her. Sometimes it's best to move on, to leave the past in the past. Still as I pointed out, I like to reflect and part of that is to reconnect, review and put my understanding of myself, who I have been, in proper perspective.

I want to think I'm a good or even great person, but I've fallen down on that after reflecting with others on their shared memories with me. The flip side of that coin however is that I have also discovered after years of feeling bad about something in the past, that others saw my now ancient actions as having been far above expected behavior, and greatly appreciated. You just never know.

I prefer reality, both for myself and others. I want people to have a realistic view of what actually happened in the past. I want to be seen for my actions, either good or bad, accurately. Yet, sometimes, you cannot achieve that closure. And that, can be painful. So I've learned to let it go when that happens.

Sometimes it's just not worth the damage you get in seeking closure. Sometimes it is, and yet you will never find it for any variety of reasons. Sometimes that reason is another person's misperception of what happened. Sometimes, there is nothing you can do about that and you know, they will, you will, both die one day with that having never been rectified.

So when I think poorly of someone's actions in my past I try to keep that in mind. Maybe things weren't as I had perceived them, or how I remember them. Perhaps if we talked now I would discover what damage they did to me, was damage I had done to myself. Were things as I believed them to be, as I remember them? Certainly not always as I discovered in researching for a film I have written. It's now been at one production company, oddly enough, out of London. A very American mob film being reviewed by a very British film studio.

In 1974 I was eighteen. The screenplay about it is called Teenage Bodyguard. I came up with a more poetic title with, Slipping The Enterprise. The executive producer of the film studio said it reminded him of Ryan Gosling's film, A Place Beyond the Pine. I see it in two formats, as a biopic, what actually happened, enhanced to be more entertaining but sticking mostly to the truth of what happened, or a based on type of film where we could cut loose and just shoot for entertainment.

The story goes that I had spent a week with a strip club waitress back in 1974. A friend asked me to give a woman a ride who had been staying with him. When I got her to her new residence, she asked me to stay with her until she could leave town at the end of the week. IF I had a gun. Oddly enough, I did. And she could have made a worse choice in asking me. The local Tacoma mob back then called themselves, The Enterprise. They thought she had witnessed a murder. A murder that she believed they had committed but public records, even today seem to indicate it was a random killing by an anonymous killer.

During my research I came to discover that the "friend" I helped out in giving her a ride, was actually setting me up in a way. He was eliminating a threat to his safety by getting rid of the woman, and putting that threat squarely on my shoulders, probably rationalizing that wasn't the case and that I would drop her off somewhere (he didn't want to know, what was odd and the first warning sign), and that would be the end of it.

I had gone through decades of my life thinking we were friends and finally, over thirty years later came to discover he may have been putting my head on a chopping block. Life, isn't always how we think it is. Obviously.

I'm single now, unmarried since 2002. Single again since 2010 after a few girlfriends. Single to spend my spare time on writing and building a new career in order to leave an old one.

I had originally married the first time at twenty. Proud that I hadn't gotten married in my teens like some of my friends. After that marriage failed, I avoided marriage for some years. I was devastated that I had broken a vow. "My word is my bond", was a favorite saying of mine. In divorcing, I had broken my most powerful bond to date. I was proud many years later, of not having quickly jumped back into another potential mistake as so many do. See, I never wanted to break another vow.

After some years I did marry again. It was kind of against my better desires and I was pretty much pushed into it. Or pulled into it, depending on how you view it. Partially because I thought I owned who became my son's mother, for making me smile again. Partially because the woman from the half of a marriage had told me one day, long after we split up:

"Do something for me. The next girl who wants to marry you? If she wants to get married, just marry her. OK?" That kept resonating in my head for years. I had made her life miserable in not wanting to marry again. I told her we could end up together for the rest of our lives, I just don't want to marry again. But she never understood. We were both raised Catholic, but I was further down that road of casting off that desert religion for a more sane way of viewing life.

So I married again. I married out of obligation. Even though I knew it wasn't a good match for me. However in considering those who I had thought were a good match, they hadn't been either. So I thought if I tried someone I didn't think would be right for me, maybe I could get around making yet another mistake.

Of course, that one didn't work out either. Obviously. As a friend later said, "So you went from making decisions, to making no decision, or worse. Choosing what you thought was wrong. And you thought that was a good idea?"

Dumb and dumberer.

The final time I married (so far anyway, as I guess I'm always looking for my next ex-wife....), I thought I had I had found the sweetest young lady I could ever have imagined. It was 1995. My son was five and rife with ADHD. He was difficult to parent and I desperately needed a partner in raising him.

Life was good for a few years. Then things changed as they so often do. Life as usual got in the way of romance, killing it.

In the end, or even long before that, she wasn't any longer so sweet. In fact she got rather nasty, and then downright angry. I had thought just in keeping her happy, I'd have a handle on things. But some people don't want to be happy. Their expectations are too high and no one can live up to their expectations. I used to be like that in my twenties. I probably still have some of that lurking within me in a cancerous state, waiting to leap out at all the wrong moments. But I sincerely hope not.

For years I looked back over these past relationships, consoling myself in believing that those women did better after having known me. Now with many years distance from those relationships, with having gained more wisdom, with the clarity that comes from being single for a long time, and with actually seeing how their lives have worked out for them, I can see things perhaps more as they are in reality.

Were their lives all the better, or the worse, in having known me? Or were they just as they are for people in life? We experience, triumph or fail, heal our wounds, hopefully become the stronger for it and move on knowing our lives are richer for it all. For the pain, for the love, for the confusion and the frustration.

I made some decisions correctly to be sure, with the information I had available to me at the time. With my limited wisdom. I had the intent to do good, to be a good person. But there were things I simply hadn't known at the time. Things I couldn't (yet) see, no matter how hard I tried.

It all added up in the end to who I was at the time. Had I meant well? Yes. But I was also protecting myself. I was living the life but simply hadn't known everything. Or enough of everything, anyway. But that is how life is for all of us. Isn't it?

I didn't know what charisma was about, how it worked, or that with at least some people, I had it for them and in dealing with them. I should have known it though. I should have seen it. My siblings have it. Yet my own damaged self-esteem wouldn't let me see that I too, must have it.

It wasn't until I was about thirty that I experienced someone leaving me in a serious long term romantic relationship. I always thought that was a good thing. Until it happened. Then reality rushed up and kicked me in the face. I thought, I must be worth staying with if women didn't leave me. Sure I'd had short relationships, one night stands even, but I was always the one to break it off or leave (or so I viewed it up until that time).

Finally one day, as an adult in a long term, live-in relationship, I was left. I found that in never having had the experience of being dumped, I didn't have the tools I needed to deal with it. And in this case I was dumped hard (I discovered she was having an affair). I lacked the experience to know how to handle it. How to handle it in a non self-destructive way, that is.

I spent the next year and a half trying to literally party myself to death. To numb the pain, to kill the bad feelings, the destroyed self-esteem, to just end things. It wasn't an outward expression I could recognize so much as it was an inward desire, striving to get out. I was partying hard like a pro, not partying destructively like a fool.

And yet it nearly did kill me. Multiple times I almost succeeded though I never made it to a hospital. It truly was the lowest period in my life.

And yet, I'm still here.

I've learned a few things along the way. My second legal marriage ended in a similar way. A woman leaving me for another, just as the previous time. Even though she knew my story. Even though I had asked her to just leave me if she wanted out, not to abuse me by having an affair. Because the last time that happened, it almost killed me. But she used that information as a tool to hurt me. I had inadvertently given her ammunition, and she used it.

That speaks to who she was at that time as a person, more than what it says about me. We had a child together, I was working hard, trying to make it in life, trying to support a family and love them. I tried to be a good father and husband. But the women I've been with this last half of my life, wanted a good husband and father, in that order. And that too says much more about them, than me.

In having gone through that once already, and in not really wanting to have had a second marriage anyway, the second time around I found that I much more easily survived it. I realized at some point that I had actually lucked out of that marriage. I finally had a child but not the family I had always wanted. I had made poor choices, yet again. Or perhaps, good choices but for the wrong reasons.

Either way, life tosses you curve balls. Things come out of left field that you never expect. Things you may not have the ability or the life experience to properly ascertain and react to.

Here's the thing.....

If we try hard, if we pay attention, if we consider what is important, not always just about ourselves as the primary factor, we can survive and then later reflect on it all, knowing that we did our best.

Even if we failed.

It is much like it is in parenting. We all make mistakes. None of us knows what is right to do all the time. Each child, each person is different. There really are no cut and dried answers for all situations. But especially with children. If you protect them and most importantly if you simply love them, they will forgive many of your mistakes in their life and they will love you back. They will grow up to be good people. You will have succeeded in doing your job. Just help them to be the best person they can be, and not just what you want them to be. It's about them after all, not you.

They have to find their way too. It is your job to help them in that pursuit. It is that way with those in a romantic relationship with you too, or for that matter with any person in your life. Especially with those you most love and cherish.

So it is with so much of life.

If you are the good person others know you as, if others know you as a good person and you know you try to be the best person you can be, then life, people, children, will forgive your mistakes. Even your shallow actions. Still, they will love you back and you can go on knowing that you mean well, that you do well, that you have a way of viewing life that is productive. Not just for you or yours or just for your community, or only for your beliefs or your God however you define that concept.

But for Life in general. For all of us. And so in the end and most importantly, for you. And then, you can feel good about it, without regret.

Live. Love. Learn. Repeat.

Monday, February 22, 2016

Biopic Not Documentary: Benghazi, 13 Hours, Teenage Bodyguard

I've been looking for something to blog about that is relative to my writing and art. Many of us have of late been immersed in the insanity that is national politics and international issues. I found one that was born from politics and delves directly into those things, screenwriting and film production in general.

The web site CrooksAndLiars.com recently had an article about the film 13 Hours: The Secret Soldiers of Benghazi (2016).

In that article they claim:

"The Benghazi movie 13 Hours was supposed to help bring Hillary Clinton down, but that mission's not accomplished."

Where did they get the idea that it had anything to do with politics and not just a vehicle for talent, and to make money for a studio? Salon had an article on just that topic. Yes, it is a project filled with considerations, politically speaking. Mostly from the right wing trying to make something out of nothing. When it has been shown time and again and with each new incarnation of what was supposed to have happened, that it was simply a bad situation turned worse?

"The 2012 Benghazi attack took place on the evening of September 11, 2012, when Islamic militants attacked the American diplomatic compound in Benghazi, Libya, killing U.S. Ambassador J. Christopher Stevens and U.S. Foreign Service Information Management Officer Sean Smith.Stevens was the first U.S. Ambassador killed in the line of duty since 1979. The attack has also been referred to as the Battle of Benghazi." - Wikipedia

I personally find it sickening that the right has pursued this tragedy for political purposes. Just as they have done so many others disgusting things going back to President Bill Clinton related to a personal marital issue. Something they only pursued in order to embarrass a sitting Democratic president, to push him basically into entrapment through yet another in a never ending series of fishing expeditions in order to find anything they could then pursue.

The right knows no decency in politics.

From what I have been able to gather it is typical that the right would claim Benghazi was the fault of the left, of Hillary and Obama, of the Obama administration in general. However, so much of the blame actually falls on the Republican party for previously cutting funds too much for these consulates worldwide that previous year. But we shouldn't talk about THAT now, should we?

It's repeatably been shown that all the disingenuous and disinformation from the right has no bearing in reality for what actually happened. But it served its purpose because even today it is a rallying cry among many conservatives about how the democrats are scum. Like thy bully in the schoolyard, starting a fight and then pointing at the victim and crying that they started it. It's a juvenile but effective tactic.

I'm unsure of the purpose (sort of) of that web site in decrying the film as a political statement rather than what it is, a film for entertainment to explore the types of things that happen in a situation such as this. It is not however some kind of legal document, documentary or even docudrama to explain what had happened. Those in the right who try to push it as such, are just being dull and base as usual.

Enough of politics here though. It's not why I'm writing this.

13 Hours is just a film. From what the accounts are of it so far, a pretty good film, regardless of how much money it has made. I watched it and found it a pretty good film. The truth behind it really isn't the point.

How does a screenplay get made for a film like this?

This is why I chose to blog about this film. I have myself written and am currently rewriting my own film biopic (biographical picture, first use according to Websters' is 1951 probably from Billboard industry magazine). MacMillan defines it as: "movie based on the events of someone’s life."

I had always thought it was bi-opic ("opic" for ocular, visual, "bi" for biographical) but I think bio-pic makes more sense. Oxford defined it as: "1950s: blend of biographical (see biography) and pic." So either way.

Point being, a biopic is a film for entertainment based on real events and people. But not adhering 100% to reality and again, films are made to make money.

It is after all the, Film Industry. Not the Film Historical Society.

My friend and I back in 1974
The title of my biopic is Teenage Bodyguard. It is also known as, Slipping The Enterprise. In the photo above I'm standing in front of my parent's car. My friend home on leave from the Army, the rifle in the in front of me and the shoulder holster and .357 magnum aree all are in the screenplay.

It is about a week out of my young life at eighteen in 1974. A week with me against the Tacoma mob who called themselves, "The Enterprise", while I was with one of their strip club waitresses, a frightened "murder witness".

It seems they wanted to "talk" to her. She however wanted to get the hell out of town, For myself, she had convinced me that I just wanted to see her safe. It was an interesting week. This mob had law enforcement up to the Sheriff and Prosecuting Attorney in their pocket. It was later that decade when many of them were indicted, found guilty and sentenced to prison in a well publicized trial.

I have mentioned this story and screenplay before but I don't think I've gone into detail about how one takes history, what actually happened, and turns it into an entertainment film for audiences. Many events films have been made from would be pretty boring in a theater and would best be left for the History Channel. But even History Channel realizes the need for entertainment in their history shows if they want to survive as a network.

To make a biopic interesting there has got to be artistic licence involved.

You have to skew things a little or a lot to make a film entertaining, to entice and thrill. Otherwise it's just boring. True, some documentaries have been very entertaining. It's all about the desire and orientation of the project from the beginning. In a case like a film such as 13 Hours, or American Sniper for that matter, the purpose was to make a film for entertainment, a drama with action, essentially. As always in these projects, there is a desire to make money. Otherwise no one will touch it, produce it, I'm sure.

Military type stories are easier to make entertaining merely by their nature. But the reality of say, two men sitting in a calm during battle, who just sit there and talk with much of what they communicate coming through the shorthand of their professional orientation, where they could communicate much without a need to speak, would be quite a boring film. So you have to dramatize, make things up, use things you find from their letters, recorded voices, comments from family, friends and coworkers. Compress, hybrid things, information, situations and even people.

In essence, you make Art.

In my own screenplay for Teenage Bodyguard I was the principal character, Time was my enemy in my trying to remember things as they happened and writing it all down decades later. I had to research for months to find the associated issues that happened back then. As it turned out, through my research, reconstruction of events and reconsideration after all these years, I discovered a part of my past that I didn't even know existed.

Things happened to me during that week in 1974 that I had no clue about when they were happening.

I was lucky. Unlike those in 13 Hours, who died, I survived, obviously. Especially as I am writing the screenplay, the audience may very well know, as the film would begin in a theater, that I survived.

They do not know however, the background (as I didn't at the time either). Or if my client survived, the strip club waitress running from the mob. They believed she had witnessed an anonymous murder. She believed they had committed the murder (and probably did).


To this day the murder is labeled, "homicide by unknown suspect".

I know what I know from spending that week with her until she could escape to get on a plane, leave town and never be seen again. And I never saw or heard from her again. Did she live through the week I spent with her, armed with a .357 magnum in a shoulder holster, protecting her? Did she make it to that plane? If she didn't survive, am I still experiencing the guilt from failing at my task as bodyguard, even though I was at the time only eighteen?

If in reality and in the end I had gotten her on her flight (and I'm not saying that I did or didn't), did she survive through that next day, week, or month? Or did the mob finally catch up with her? They had to know where she came from and was probably going back to. How hard would it have been for a crime organization who had national connections, who could reach back to New York City as well as Las Vegas, to kill her any time they liked?

What I knew was pretty boring. I can't tell you here all that I knew or all that is in the screenplay but reality needs a plan to make it a film. It's all in how you tell it, what you tell, building tension, allowing limited release, injecting elements of surprise, humor, fear, and so on.

During the construction of the screenplay you have to use the screenplay format to flesh out what will work and if you have to change things for artistic license, or follow a plan that in some ways deviates from what actually happened, then that is what you have to do.

It is not a historical document after all. Speaking for myself, that is something that took me years of screenwriting to get over, and then actually get down to writing it. I first ran into the concept of staying true to the original, in doing an adaptation of a novel for another author. Then I did another for another author.

Writing an adaption is in many ways like writing a biopic.

You have a kind of blueprint to follow. Rather than historical events and people, it is a novel previously published and therefore, for some people, a kind of historical event. You have to remain true to the "event(s)", the story, perhaps for fans of the novel, and remain true to the spirit of the original.

But you have to make it entertaining for the novel reader too. You usually don't want merely to put the novel on the screen because frequently that just doesn't working. Transliteration from novel to screen (or real events to screen) can easily fail. It's easy to test out. Many times taking an original, and exactly duplicating it on screen simply fails. What works in one format for a variety of reasons just doesn't translate well to another format.

And therein lay the major disparity between what many expect and what a screenwriter and filmmaker produces in a biopic.

For instance, rather than showing a scene exactly how it happened the writer may not follow what happened for various reasons. It is the filmmaker's hope however that by the end of the scene the viewer will have experienced the same or similar feeling necessary to have understood what happened. That is, to understand the scene and in using it as set up for the next scene or for the film overall.

It may not however follow physical reality but rather emotional reality.

Therein lay the artistic license. This angers some people, annoys others, and yet has little or no bearing on many as long as they enjoy a good film and feel they have gotten their money's worth.

For others however, it becomes a political statement if not outrage.

Such is the filmmaker's dilemma and life in making a biopic. When it goes wrong, it goes horribly wrong. But when it goes right, it is Art.

In my own screenplay I had my memories to work with. What I had lived through. I had the advantage (and disadvantage) of being the primary character so I could as screenwriter query myself any time of the day or night when needed.

However there were things and information I did not have and so they required some artistic license to be able to flesh out the story. I did not know for instance, what the woman I was protecting was thinking, only things she said to me, and only as best as I could understand here at the time and eventually remember in what she said and did.

I did not know what the mob was thinking or doing, other than anything I may have seen them do, or historical references to them in documents at this point in time. And that turned out to be a lucky thing and a sticky situation.

This mob in Tacoma as it turned out was highly documented in the newspapers back then, in books and as well in court documents from trials. From all that and from what happened to me I was able to piece together quite a lot. I came to understand more and more of what exactly had happened to me. I found for instance that a "friend" of mine had basically been throwing me to the wolves in order to save himself and his housemate.

I discovered that this "mob" I was up against and who called themselves, "The Enterprise" (and thus my alternate title for the project in being, "Slipping The Enterprise" as we were trying to slip past them), were a motley and dangerous crew.

How do I explain what I was up against when even I didn't know it at the time?

How do I use exposition of the mob's activities and orientation? How to characterize them? The time the screenplay takes place is a good five or six years before their major arrests and court trials. This was a crew who had their hands into many things, as well as paying off law enforcement, judges and, arson and murdering people. Even to the point of threatening their enemy's families and children.

I really had no idea who it was up against. Though I have to say if I had known, it would only have led me to be more careful and circumspect in my actions at the time.

I had to show in the screenplay a crew's activities mostly after the fact of the time I had been dealing with them. In finding that method I found a unique and interesting kind of time shifting format. You get to see what I was going through, and who I was up against by interspersing their history with my story. All through their activities throughout the 1970s.

It was a remarkable concept once it hit me.

I researched for a long time and then wrote out specific times and events. Then I built that into and around my story as a frame beginning with my introduction and activities with the woman in question. A woman who was I see now in hindsight, kind of in shock throughout most of that week.

She would seem fine during the day but then in quiet times she would be very reflective and just...odd. A kind of Post Traumatic Shock type of condition, possibly.

After hearing from her some of her life in the strip club and around a dangerous crew of criminals, it became apparent that she was definitely afraid of them. Like a caged animal trying to get out of town, fearful in what she had seen the night she was at the club during the murder in the parking lot. Even though she claimed she had seen nothing, hadn't she?

She had entered the parking lot about 2AM when the murder went down, but said that she hadn't seen a thing. From my examination of the event and from reports, I find that hard to believe. She swore that it was done by the mob to one of their own guys, a bouncer who worked for the club. A nice guy she said who was nice to her and "the girls", meaning the waitresses and the strippers at the club. But how could she be so sure they committed thee murder unless she somehow had first hand knowledge of it?

The Enterprise had blamed it on someone else and I'm sure they wouldn't have appreciated her turning up to claim otherwise. They had killed before and they killed again. The police involved that night were potentially on the crew's payroll. Something which was later uncovered through the court trials.

Their main bad guy along with the rest of them, went to prison. Including the County Sheriff. Now most of them are dead. Except for that main bad guy. And he was a bad, guy. He is out free now, living in Tacoma, Washington. Something I hadn't expected when I started researching all this. Especially since in the screenplay I used him as the focus and fulcrum for the storyline and pivotal in the murder. Through him we experience much of who that crew was in the screenplay.

In the story I've written he does things he never actually did, but it enhances the story and brings it all together. Otherwise this would have to be a TV or miniseries. As it is it works well together.

The biggest problem I had was in the exposition of who I was at that point in time, and making in it believable. I was an unusual character myself in my past experiences by that time at eighteen. If anyone at eighteen was ready to handle a situation like that, it had to be me.

The waitress was really pretty lucky in finding me, or more precise, in our being thrown together by our mutual friends. Friends who once I had picked her up from their place, didn't want to know where she went after that and didn't want me to tell them. I should have seen that red flag. I should have seen it as not just odd, but a big flashing red light. It wasn't until forty years later that I finally realized much of what was going on back then.

As shown in the screenplay I didn't see that friend much after that week. Then we lost complete touch, until one day I accidentally ran into him and his new wife and baby at the Tacoma Mall. He acted very oddly that day and now I finally know why.

Was he surprised I was still alive that day? He acted like it. Or was he simply nervous (which I had believed at the time) in that I might let it slip that he had been a drug dealer at one time for many years? Was he afraid his family was in danger and that I might pull a gun and shoot him down for what he potentially had once done to me? Possibly in my finally having figured it all out, and then tracked him down for retribution?

Many years have passed since back in those days and I hold no animosity against anyone now about it all. I just find it all interesting academically, now. Whether or not had had expected me to get killed or whether he thought I was seeking retribution, is simply lost in the past. I only seek now to share an interesting story and hopefully produce an interesting work of filmmaking.

As for my friend and what happened to him, as for the woman I spent a week protecting from a mob of murderers and criminals? We know what happened to them, but whether she survived or not?

We may never know. Perhaps it will play out in the film once it's produced?