At the suggestion of a friend I switched my feature screenplay to a series and changed the direction. Wanted to see how this sounds to you guys as a series and any other feedback you would be so kind as to share.
SHIFT OF POWERS
Watch the rise of Lonny Powers, a revolutionary fighter who decentralized the American government. Set in the near future, explore what life is like in a lawless New York City.
SHIFT OF POWERS
Watch the rise of Lonny Powers, a revolutionary fighter who decentralized the American government. Set in the near future, explore what life is like in a lawless New York City.
Code:
[B] [U]TEASER[/U][/B]
[B]INT. POLICE STATION - DAY[/B]
He's nervous, eying his surroundings as sweat pads his
face. F*ck.
You'd sooner peg this as the MOTOR VEHICLE waiting room on
an off day than a police station, not packed enough to
warrant the raise of an eyebrow.
Sleeves rolled up yet fighting every step, mid 40s LONNY
walks up to the bullet proof booth. In it sits a
disinterested RECEPTIONIST in her 20s. She wears a NEW YORK
CITY POLICE DEPARTMENT uniform.
The unsure man approaches.
LONNY
Hey, hi. Um, Lonny Powers, I'm here
to speak to Detective Zabala.
RECEPTIONIST
(bored)
Is he expecting you?
LONNY
Well, no, but-- I'm Lo--
She passes a pad through the small window. Just reaching in
there makes you feel like a criminal.
RECEPTIONIST
Fill this out.
... and there goes the pen.
This wasn't Lonny's plan, but he needs to play it cool. He
grabs the pad and pen and sits in the waiting area.
Just a quick glance and you can tell Lonny's the odd man
out, this can't be his neighborhood, and he seems more
concerned with the clock on the wall, than the form on his
lap.
A heavy-set black woman (50s), sits a few seats from
Lonny. She's there with a teenage boy (14). Lonny, she's
staring at you.
BLACK WOMAN
Um, excuse me.
Don't look.
BLACK WOMAN
Sir.
Lonny looks her way.
BLACK WOMAN (CONT'D)
You're that guy from the TEE-VEE,
right?
Thick southern accent.
Lonny gives an uncomfortable nod. If he could only
disappear.
BLACK WOMAN (CONT'D)
I just want to say, I love the
stand you're making... restores my
faith in humanity--
Out of the corner of his eye, Lonny sees a HOODED MAN
walking in, he WINKS at Lonny, the sound dims.
The hooded man passes the reception area, and then... we
lose him.
The woman has not stopped talking to Lonny.
BLACK WOMAN (CONT'D)
--It's rare to see that
courage. You're good for white
folk.
She's clearly not from there either, but this is not the
time for this.
LONNY
Uh, thank you.
From the distance, an officer shouts:
YO! STOP!
The hooded man RUNS toward the outside! Two cops set chase.
Must have been Lonny's cue. He stands up. His speech
speeds as fast as the man running.
LONNY
I'm sorry ma'am. I have to go.
After a few steps, he turns back towards the woman.
LONNY (CONT'D)
You should leave.
BLACK WOMAN
Excuse me?
LONNY
You and the kid-- Leave.
She looks confused. He holds up his backpack. Green,
dirty. It's a JanSport.
LONNY (CONT'D)
Now.
She heard him this time.
Lonny exhales. Go.
He leisurely strolls past the receptionist, who is busy
paying attention to the commotion, passing the METAL
DETECTOR that the two officers must have been guarding.
His head down, trying to not attract attention, Lonny
walks. Unfortunately for our man, that only makes him stand
out, and people are looking.
OFFICER
Can I help you?
Lonny's heart rate increases. DOOM DOOM, DOOM DOOM, DOOM
DOOM.
This is a make or break moment.
This is just not gonna' do. Lonny... LONNY! He lifts up his head, and continues walking, it's MISTER POWERS.
LONNY
Nope, I know where I'm going. Thank
you officer.
[B]TO STAIRWELLS[/B]
Briskly up the stairs, mister Powers reaches the second
floor.
[B]SECOND FLOOR[/B]
He eyes rooms as he passes by the door, giving the
occasional nod when noticed.
He belongs here.
But, while his looks may be convincing, inside all he hears
is his heart beating. DOOM DOOM, DOOM DOOM, DOOM DOOM.
Until...
A low chatter. Grows louder, and louder. A crowd. He
looks to the left, it's the locker-room, and it's time to
switch shifts at the NYPD Precinct number 31. The
locker-room is FULL of OFFICERS.
[B]LOCKER ROOM[/B]
Officers change in and out of their uniforms while
discussing the local gossip. Among them, two stand out,
name plates TENSING and PIMENTEL.
Tensing notices our stranger standing by the door. Staring
at them. Then someone else catches on. Then another
officer. You feel that tension?
TENSING
Ey. You lost?
Pimentel recognizes the face.
PIMENTEL
We know that guy. Wait, it's
coming to me...
The sound of a metal rolling, the tiles on the floor I've
away its speed. clink-clink-clink-clink... Thud.
It's at your feet officers, and it's a PIPE BOMB.
Tensing looks back up, Lonny is gone...
CUT TO BLACK.
BOOOOM!
[U][B]END TEASER[/B][/U]
[U][B]ACT ONE[/B][/U]
BOOM! BOOM!
Over black:
"The most common way people give up
their power is by thinking they
don't have any." -Alice Walker
FADE IN.
[B]EXT. BRONX, NEW YORK - NIGHT[/B]
BOOM! BOOM!
Fire works spark the starry night.
Melting snow covers the sidewalks, dirty piles abandoned by
plows are part of the street decor.
The city buildings wear festive attire and colorful lights
adorn their windows.
A couple of New York City cops patrol the streets on foot.
This is winter in New York, 'tis the season in the city.
LEGEND: "SIX MONTHS EARLIER."
[B]INT. BARON FAMILY'S APARTMENT - SAME [/B]
Drake's "hotline bling " song plays.
The few lights on the Christmas tree blink in a shifting
pattern.
Sitting on the couch, a dark-skinned man moves the toddler
on his laps side to side to the beat. The man is tall,
thin, clean cut and casually dressed. His smile could light
up any room.
He hums along.
This is ANTOINE BARON (35), and on his lap is his baby boy,
VICTOR TIMOTHY BARON (2).
ANTOINE
(singing)
[I]I know when the hot-line bling, doo
doo doo. That can only mean one
thing[/I]...
The baby smiles and giggles as the proud Father sings.
Sitting on the couch perpendicular to Antoine, a white man
observes, also smiling. You may remember him as Lonny
Powers. The sleeves of his budget button-up shirt rolled up
as always. A gleam in his eye, enjoying the show.
LONNY
I can't believe you call this
music.
ANTOINE
You old as f*ck Lonny, you just
ain't up on this.
LONNY
(laughing)
I don't wanna be, "Up on
this." The hell is a "hot-line
bling?"
Antoine sits the baby on his lap.
ANTOINE
See, that's the problem right there
man. My sister got you ON LOCK!
LONNY
(sarcastically)
Yeah, O-KAY!
ANTOINE
You can't know what a hot-line
bling is. You ain't got no
hot-line.
Lonny shakes his head, an uncomfortable grin on his face.
[B]INT. "TURNER & TURNER LAW FIRM" - NY - SAME [/B]
It's a beautiful office building with a prestigious feel to
it. "TURNER & TURNER LAW FIRM" is displayed prominently
behind the receptionist desk.
The receptionist is on the phone. She is a beautiful black
woman dressed in a dark blue suit, a gold pin on her
chest. Her name is KARINA (32).
BARRY TURNER (60), a balding white man uses the receptionist
desk as his arm rest while he stares at Karina. His suit is
sharp, expensively sharp.
She hangs up the phone.
BARRY
What are you STILL doing here?
KARINA
Doing your job.
BARRY
GO HOME! HOME! HOLIDAYS!
Karina smiles as she neatens up the desk.
BARRY (CONT'D)
BEAT IT!
She gets up and lovingly stares at him.
Barry hits his best MOONWALK dance steps.
BARRY
(singing)
[I]Beat it! Beat it! Beat it! Bea--[/I]
KARINA
Alright! Alright! I'm gone!
Barry walks away laughing.
BARRY (O.S.)
Send my regards to Antoine
Karina!
KARINA
(projecting)
Will do. Merry Christmas!
BARRY (O.S.)
I'm Jewish!
KARINA
You are NOT! That's so racist
Barry!
Smiling, she grabs her things.
[B]INT. BARON FAMILY'S APARTMENT - SAME [/B]
Lonny takes a drink, annoyed by Antoine.
ANTOINE
--I know she check your phone. She
castrated you bruh'. See this?
Points at his baby.
ANTOINE (CONT'D)
You can't have these no more. Your
nuts too shriveled.
LONNY
Riiight.
ANTOINE
Nah, that's why you can't get my
sis' pregnant. That In Vitro sh*t.
ain't never gon' work. You ain't
got no nuts.
That joke bothered Lonny, and you can see it in his face.
ANTOINE (CONT'D)
Oh I know! She told me so I
googled it. Said right there, "For
in vitro fertilization to work, the
nigga must have nuts."
Lonny half cracks a smile.
ANTOINE (CONT'D)
Gimme your phone man.
LONNY
Come on.
ANTOINE
I'm serious.
He puts his hand out.
ANTOINE (CONT'D)
Give it. Come on. Hurry, quick!
A hesitant Lonny takes his cell phone out, and hands it to
Antoine.
Antoine takes a quick look at the phone.
ANTOINE (CONT'D)
Gimme the password fool.
LONNY
(chuckling)
zero-three-one-fo-- This is
stupid.
The look on Antoine's face is priceless. Lonny
knows what's coming.
ANTOINE
You got... my sister's birthday
as-- Oh hell no. You far
gone. FAAAR gone bruh.