April is officially “fill month” with some reposts, old writings and poker updates. I dug up this poorly written piece from 2001 from the first draft of Radio Radio. I cut this chapter after the first draft, as I felt that it wasn’t needed and it took away from the flow of the story. I’m glad that I wrote this, because as some writers will tell you, there are things that I need to know and my readers don’t.
Lamasco is a medium sized Midwestern town. It’s home to some 250,000 people in the town proper, not including those in the surrounding suburbs of Kennedy, Rosedale, Greenfield, South Lamasco…just to name a few. The town holds on to its rich Irish roots. You can’t throw a rock in town without hitting an Irish Pub.
Irish Catholic settlers found their way to the area after the War of Independence, and settled on the banks of the Shannon River. The town originally started on the east side of the river, an area known as Old Towne. As the town grew, the other side of the Shannon River became part of the growing metropolis. That area of town became known as the West Bank, which is where the university was planted.
As the provincial town grew, the Brothers McManus opened a furniture shop in the Old Towne in 1902. The store was a success, and they quickly became one of the more profitable families in Lamasco. The second store opened in the West Bank a few years later, becoming the first company to straddle both sides of the Shannon.
The McManus Family was granted an AM license in 1923 to operate 1280 AM WLAM. It was originally a marketing tool to sell more furniture. Not too long after that, WLAM evolved to the regional leader in news and entertainment. In the 1939 WLAM signed a deal to become a Mutual Network station, giving it national status. As time went on, WLAM remained Lamasco’s radio leader.
The younger brother, Shamus, died in 1951, willing the station to his eldest son, Patrick “Paddy” McManus. That was also the same year the family McManus was granted a license to run a companion station, 101.3 FM WLFM. It was the first FM station to be licensed in Lamasco.
WLFM was granted an output power of 100,000 watts. This turned out to be a lucky thing for WLFM. After the 1950s, new FM stations were not allowed to operate on such high power. The modern day WLAM still does, since the license was given before the law changed. The station blasts out a very strong signal on the heels of the grandfather clause. There is a strict set of provisos, however. The station may not relocate the studios outside of the city limits, the station may not be off the air for more than 24 hours, and McManus Communications cannot sell the license. Any violation will drop the power to 6,000 watts.
The face of radio changed by the early 70’s. FM stations began to draw more listeners away from the old sound of AM. Rock based shows flourished under the new trend of the FM craze. WLFM was no exception, and quickly became one of the dominant stations of the Midwest. To keep the recognition of the aging powerhouse AM station with the emerging juggernaut WLFM, changed its call letters WLAM, and the AM station’s call letters were changed to WSPM, in honor of the station’s founder.
In 1980, Paddy died and left the station to his then 21 year-old, and youngest, son, Sean. Sean really didn’t know what he was doing with the running of the day-to-day operation. Paddy never really took the time to mentor young Sean on how to run a radio station. The younger McManus had just graduated from Lamasco State University with a degree in business. Realizing his lack of knowledge of radio, he decided to delegate and hired his college roommate Paul Kerry as the station’s General Manager. Paul was way over his head with the responsibility of leading a million dollar operation. After one poorly executed and ill-advised business decision after another, the station was in serious financial trouble. WLAM quickly lost prominence, as a new rock station, WPAN, emerged and out did WLAM on every level. Kerry was shown the door after being in charge for 3 years. His era is marked with both listeners and advertisers leaving in droves.
The station then tried other formats to no avail. Soft rock failed, and Top 40 only brought in a modest audience. Managers were leaving almost as soon as came in. Then in 1992, Sean hired Tom Mulligan, a tested radio veteran from Tucson. He had managed several radio stations and had been thought of as one of the new innovators of the trade. Tom worked with his new PD, Tony Richards and formulated a new kind of rock station. WLAM carved out a unique niche that defied a predetermined formatted description.
He had a knack for turning a radio station around. The unfortunate thing was he also had a knack for leaving stations at the height of their success, which he did in 1996. But he did manage to make WLAM FM the number one station in the metro, and WSPM AM the number 4 station and the top rated AM station, as Lamasco leader for news and talk.
Tom then took a job as GM of a station in New York, leaving the General Sales Manager, John Deavers in charge. As time went on, it was obvious that Tom was brain of the operation. After he left, the station’s ratings declined. Sean blamed Tony for the downturn, leaving his fate to the new GM. John had many opportunities to fire Tony, but never took them.
The ratings started to increase a bit when Shakespeare and Erik were hired after the station purged its staff. WLAM hasn’t really seen the glory of days past, but the pair helped it become competitive again. However, the last ratings period had the station falling to fifth from third overall, but the station managed to hold strong in some key demographics.
08 April 2010
Fill Month Continues – Scene From “Public Enemy”
As I noted in a previous blog post, after I finished Radio Radio, my next project would have been a feature length screenplay titled Public Enemy. It focused on John Dillinger’s life after he was arrested in Arizona and extradited back to Indiana.
A few months after I started the project (which by the way was backed by eight years of research), I heard a Wisconsin Public Radio news report about Michael Mann’s movie Public Enemies, a film about John Dillinger starring Johnny Depp.
I was crushed, and I tabled the project for good. So, since I don’t plan on finishing it anytime soon, I’d thought that I would post one of the fist scenes of the film.
EXT. CROWN POINT PRISON – NIGHT
TITLE:
Estill runs from behind to catch them.
The two detectives stop. The first detective turns his head around. Estill is still trying to catch up to the three men.
Estill takes Dillinger’s left arm. The two detectives let go and take a step back.
Estill flashes a cocky smile.
Estill leads Dillinger up the front stairs of the brick building. There are two more armed police officers. Each one grabs a door and opens them simultaneously.
The CAMERA FOLLOWS Estill and Dillinger into—
INT. CROWN POINT JAIL – CONTINUOUS
As Dillinger and Estill enter the building, there are about fifteen to twenty reporters and photographers in the main room. The reporters are shouting questions for both Estill and Dillinger. Flash bulbs are going off. Estill leads Dillinger past them to the first jail cell. Waiting for them on the other side of the sea of press men is SHERIFF LILLIAN HOLLEY joins them. She is a stoic 40ish woman with dark hair. She is clearly not happy with the press presence. By her demeanor, Estill strong armed her into letting the press in.
Estill stops and turns around, taking Dillinger with him. Dillinger is to Estill’s left, and Lillian Holley is to his right. Dillinger smirks, knowing that he is about to upstage the ambitious district attorney. Estill takes the handcuff key out of his pocket, and unlocks Dillinger’s cuffs. Dillinger looks a little surprised that Estill would free him while he was not in a cell. Dillinger massages his wrists and flexes his fingers. Estill raises both hands, almost victoriously.
Sherriff Holley rolls her eyes and mutters, “Oh brother.”
One reporter raises his hand.
Estill looks at Dillinger and shoots him a foreboding look.
Dillinger looks at Estill and pats him on his back.
Dillinger flashes a smile.
The reporters laugh.
He seizes up the Reporter.
Some of the reporters laugh
All of the reporters laugh.
The reporter is a little surprised at Dillinger’s honesty.
The reporters laugh again, as do some of the police officers. Estill is starting to get annoyed that the focus of the press conference has shifted from him to Dillinger.
The reporters start to clap and cheer. Dillinger smiles and looks over to Estill.
Dillinger smirks.
The reporters laugh again.
A few months after I started the project (which by the way was backed by eight years of research), I heard a Wisconsin Public Radio news report about Michael Mann’s movie Public Enemies, a film about John Dillinger starring Johnny Depp.
I was crushed, and I tabled the project for good. So, since I don’t plan on finishing it anytime soon, I’d thought that I would post one of the fist scenes of the film.
EXT. CROWN POINT PRISON – NIGHT
TITLE:
“Crown Point State Prison”
The cars come to a halt in front of the state jail. The ’33 Ford that is carrying Dillinger is approached by two uniformed officers. On of the officers opens the doors, and the two plain clothes detectives get out and lead Dillinger to the door.Estill runs from behind to catch them.
ESTILL
Hold on a second there.
The two detectives stop. The first detective turns his head around. Estill is still trying to catch up to the three men.
ESTILL(CON’T)
I’ll take him from here.
DETECTIVE 1
Are you sure, sir?
DILLINGER
Of course he’s sure.
Estill takes Dillinger’s left arm. The two detectives let go and take a step back.
DILLINGER
He has reporters and photographers in there waiting for him to bring in John Dillinger.
ESTILL
Are you trying to get a rise out of me, Dillinger?
DILLINGER
No, sir. My father taught me to never disrespect someone who is gracious enough to host me.
ESTILL
Already trying to be a model prisoner.
DILLINGER
I’ve always been a model prisoner, sir.
Estill flashes a cocky smile.
ESTILL
Ready to meet the press?
DILLINGER
I always enjoy an audience.
Estill leads Dillinger up the front stairs of the brick building. There are two more armed police officers. Each one grabs a door and opens them simultaneously.
The CAMERA FOLLOWS Estill and Dillinger into—
INT. CROWN POINT JAIL – CONTINUOUS
As Dillinger and Estill enter the building, there are about fifteen to twenty reporters and photographers in the main room. The reporters are shouting questions for both Estill and Dillinger. Flash bulbs are going off. Estill leads Dillinger past them to the first jail cell. Waiting for them on the other side of the sea of press men is SHERIFF LILLIAN HOLLEY joins them. She is a stoic 40ish woman with dark hair. She is clearly not happy with the press presence. By her demeanor, Estill strong armed her into letting the press in.
Estill stops and turns around, taking Dillinger with him. Dillinger is to Estill’s left, and Lillian Holley is to his right. Dillinger smirks, knowing that he is about to upstage the ambitious district attorney. Estill takes the handcuff key out of his pocket, and unlocks Dillinger’s cuffs. Dillinger looks a little surprised that Estill would free him while he was not in a cell. Dillinger massages his wrists and flexes his fingers. Estill raises both hands, almost victoriously.
ESTILL
Gentlemen of the press, this is a glorious day in the history in Indiana Justice—
Sherriff Holley rolls her eyes and mutters, “Oh brother.”
ESTILL(CON’T)
The capture and extradition of this man is made possible by the joint cooperation of the Arizona State Police, and the Indiana Department of Justice.
REPORTER 1
Mr. Estill, John Dillinger is wanted in many other states. How did you get him.
ESTILL
We asked.
REPORTER 2
Mr. Estill, what do you say to the people who say that your pursuit of John Dillinger is nothing more than a stunt to get to the Governor’s Mansion?
ESTILL
I’d say even my critics think that I can be Governor.
REPORTER 2
Well, what do you think, Mr. Dillinger? Are you the sacrificial lamb for Governor Estill?
DILLINGER
I don’t know.
Dillinger looks at Estill and pats him on his back.
DILLINGER(CON’T)
I think that he’d make a fine Governor.
REPORTER 2
Why do you say that?
Dillinger flashes a smile.
DILLINGER
I like his tough position on crime.
The reporters laugh.
REPORTER 3
Mr. Dillinger. Were you involved in the killing of a police officer during the First National Bank and Trust robbery in East Chicago?
DILLINGER
Of course not. I was in Florida that day. And call me John.
REPORTER 3
There are witnesses that said that you were the man who killed Officer O’Malley.
DILLINGER
The witnesses saw a man of medium height and medium build with dark slicked back hair kill Officer O’Malley. Now, that could be anybody. As a matter of fact—
DILLINGER(CON’T)
You match that description.
DILLINGER(CON’T)
Where were you on January 15th.
REPORTER 3
In Terre Haute with my in-laws.
DILLINGER
You should have been in Florida with me. You would have had a better time.
All of the reporters laugh.
REPORTER 3
You’re probably right, John.
DILLINGER
I’m against killing. It’s an option of last resort that I have never taken.
REPORTER 4
So you do admit that you rob banks.
DILLINGER
Absolutely.
REPOTER 4
Why?
DILLINGER
Legal fees.
The reporters laugh again, as do some of the police officers. Estill is starting to get annoyed that the focus of the press conference has shifted from him to Dillinger.
DILLINGER
I rob banks, but they aren’t the good guys. I seem to read in your newspapers that banks all over the country are closing and keeping people’s money. They rob from families and create orphans on a daily basis. These are the people I take from. In the interest of fairness, I challenge Mr. Estill to bring justice to every bank president in Indiana so I don’t have to.
The reporters start to clap and cheer. Dillinger smiles and looks over to Estill.
DILLINGER
They seem to like it. You can use it on the campaign trail, if you want to.
ESTILL
(coldly)
I’ll keep that in mind.
REPORTER 2
John, what do you think of the “escape proof” Crown Point Jail?
Dillinger smirks.
DILLINGER
Well, it’s a nice place to visit, but I wouldn’t want to live here.
The reporters laugh again.
02 April 2010
Scene 43 From My 2009 Script Frenzy Screenplay
Now that I am in the thick of Script Frenzy, I won’t really have any new posts for a while. So until R and R is finished (or April 30), this blog will have some filler material (especially now that I know how to work Blogger’s scheduler).
This is one of my favorite scenes from last year’s Script Frenzy entry, Foo Fighter. As noted in the previous entry, It is the story of Danny Shepherd, a documentary film maker who stumbles onto a UFO crash site 12 miles off the cost of Long Beach. The story starts at the controversial Battle of Los Angeles, and then moves to modern day Southern California. Shepherd (a UFO skeptic), his best friend and partner, and a tabloid reporter are hunted by Naval Intelligence, the guardians of this secret since World War II. In this scene, Danny, Marcus and Lydia are on the run. The rest, is rather self explanatory.
INT. DANNY’S APARTMENT - CONTINUOUS 43
Danny turns on the light, and we see an apartment that is totally trashed. Clothes are strewn all over the place. Books and papers are scattered on the floor. It looks like the aftermath of a moderate California earthquake. They walk in and Marcus closes the door behind him. Danny quickly moves to the bedroom.
Lydia looks at Marcus in disbelief.
Danny comes back carrying A BLACK BAG and his LAPTOP BACKPACK.
We hear a noise outside the door. Marcus, still with the bat moves to the door. Danny motions for Lydia to go to the bedroom, which she does. Marcus cocks the bat, ready to swing at whoever is at the door. A BALDING MAN wearing a cheap business suit opens the door. He is in his mid 40s. The man looks like the 90 pound weakling all grown up, and without the help of the Charlie Atlas exercise plan. He turns and sees Marcus about to clock him with the bat. Marcus lets out a primal scream, prompting the balding man to put up his hands and scream as well. Marcus pulls the swing when he realizes the cowering man is not a threat to him or the others. The balding man looks over at Danny, who finally gets his first good look at his intruder.
The frightened man nods in acknowledgment.
Morris finally stands upright and straightens his tie.
Lydia walks in from the bedroom. Morris takes a look, and finds this little development interesting.
Morris walks over to Lydia.
Morris takes her hand and he kisses it.
This is one of my favorite scenes from last year’s Script Frenzy entry, Foo Fighter. As noted in the previous entry, It is the story of Danny Shepherd, a documentary film maker who stumbles onto a UFO crash site 12 miles off the cost of Long Beach. The story starts at the controversial Battle of Los Angeles, and then moves to modern day Southern California. Shepherd (a UFO skeptic), his best friend and partner, and a tabloid reporter are hunted by Naval Intelligence, the guardians of this secret since World War II. In this scene, Danny, Marcus and Lydia are on the run. The rest, is rather self explanatory.
INT. DANNY’S APARTMENT - CONTINUOUS 43
Danny turns on the light, and we see an apartment that is totally trashed. Clothes are strewn all over the place. Books and papers are scattered on the floor. It looks like the aftermath of a moderate California earthquake. They walk in and Marcus closes the door behind him. Danny quickly moves to the bedroom.
LYDIA
Oh my God. They ransacked the place.
MARCUS
No, it was this way yesterday.
Lydia looks at Marcus in disbelief.
MARCUS (CONT’D)
He gets a little disorganized during pre-production.
LYDIA
OK.
Danny comes back carrying A BLACK BAG and his LAPTOP BACKPACK.
DANNY
Got it, let’s go.
MARCUS
How much do we have.
DANNY
A few grand.
MARCUS
That’ll help for a few days.
DANNY
I’m hoping that it won’t take that long.
MARCUS
Well, we should come up with "Plan B"
DANNY
When haven’t we?
MARCUS
I mean, something better than "get a new ’Plan A’."
We hear a noise outside the door. Marcus, still with the bat moves to the door. Danny motions for Lydia to go to the bedroom, which she does. Marcus cocks the bat, ready to swing at whoever is at the door. A BALDING MAN wearing a cheap business suit opens the door. He is in his mid 40s. The man looks like the 90 pound weakling all grown up, and without the help of the Charlie Atlas exercise plan. He turns and sees Marcus about to clock him with the bat. Marcus lets out a primal scream, prompting the balding man to put up his hands and scream as well. Marcus pulls the swing when he realizes the cowering man is not a threat to him or the others. The balding man looks over at Danny, who finally gets his first good look at his intruder.
DANNY
Morris?
The frightened man nods in acknowledgment.
DANNY (CONT’D)
Hit him anyway, Marcus.
MORRIS
I wouldn’t. I’m a lawyer.
Morris finally stands upright and straightens his tie.
DANNY
What are you doing here, Morris?
MORRIS
I heard on the news that you were presumed dead, and I--
DANNY
Was going to troll for anything that was worth something?
MORRIS
Leslie expressed an interest in finding something, for sentimental value. Besides, the divorce isn’t final yet. She’s entitled to any and all property in the event of your death.
DANNY
Which reports of have been greatly exaggerated.
Lydia walks in from the bedroom. Morris takes a look, and finds this little development interesting.
MORRIS
I’m sorry, did I come at a bad time?
DANNY
Anytime you show up, it’s a bad time.
Morris walks over to Lydia.
MORRIS
Aren’t you going to introduce me?
DANNY
Lydia, this is Morris Fletcher, Esquire; representing the future former Mrs. Sheperd. Morris, this is Lydia Ross. She’s a woman of great compassion and is giving to others needs, you’re probably unfamiliar with the type.
Morris takes her hand and he kisses it.
MORRIS
Charmed.
LYDIA
(social fakes it poorly)
Nice to meet you.
DANNY
Careful, Lydia. If he bites you, you’ll live forever.
MORRIS
Well, it’s nice to see that you are still alive.
DANNY
Yeah, I’m sure it is.
MORRIS
Anything that you want me to pass along to Leslie?
DANNY
Bite me. Burn in Hell. STD tests are free on Wednesdays at county health centers.
MORRIS
I’ll tell her that you send your best.
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