Hell's Temptress

By Martin Kaynan

Scarlett O’Hara, Jezebel, Aphrodite and Venus, all memorable females: say hello to the film industry's current Sex Goddess.

Moira Boyer has the exotic sensuality of Rita Hayworth, the blatant eroticism of Sharon Stone in Basic Instinct and Marilyn Monroe’s sex-kitten sexuality all rolled into one.

Intellectually at a Mensa level, financially, a female Warren Buffett artistically a young Meryl Streep, and sexually, a magnet, attracting males like a feral cat in heat,

She is the film industry’s biggest box office draw in the world.
Nicknamed HEAT, she joins a Hollywood studio rat pack to break away from their employer.

They face bankruptcy when they’re sued for breaking their employment contracts to form a new production company.

Her testimony during the trial is riveting.

• Language: English
• Publisher: Martin Kaynan
• Release date: Dec 21, 2012
• ISBN: 9781301708826

Martin Kaynan

Martin Kaynan's career has been in the Corporate World, including owning his own manufacturing business and working in a diversity of responsible positions. Being directly responsible for more than four hundred employees in small and medium sized companies, some of these positions have included: V.P. of Manufacturing Director of Manufacturing Services Manager of Manufacturing Manager of Operations Plant Manager Group Leader in General Dynamics Convair Division Born and raised in Brooklyn NY, he has started up and managed several operations, which have included working and living in Puerto Rico, New Jersey, Kansas and California. His education includes a BBA degree in Industrial Management with a minor in Foreign Trade, and college level courses in Creative Writing and The Keys to Effective Editing. A member of the Kansas City Writers Group and the Playwrights Circle of Greater Kansas City, he is the author of Dante's Eternity, The Hell Trilogy(Hell's Temptress, Hell’s Blessing and Hell’s Vengeance, The Drone Incident and several short stories. Predators in the Workplace is a nonfiction account of his experiences in the world of Industrial Management. The Right One is in print in Lone Star magazine. He is also the author of the screenplay, Target: NSA and a stage play, Do As I Say. Additionally, he is a published lyricist with a catalog of over 60 songs. His web sites are: http://mandbmusic.com/kaynanbooks.htm http://www.mandbmusic.com/ http://mandbmusic.com/MandBMusicVideos/Songs.html

Book preview

¹

HELL'S TEMPTRESS

Also by

Martin Kaynan

Hell’s Blessing

Hell’s Vengeance

Dante’s Eternity

The Drone Incident

Predators in The Workplace

http://mandbmusic.com

Copyright © 2010 Martin Kaynan

All rights reserved.

DEDICATION

To my wife, Saundra

ACKNOWLEDGMENTS

to

Sandi Kaynan, the one great love of my life. She is my critic, my sponsor, my talented editor, and graphics designer whose support, and friendship has been invaluable and greatly appreciated.

Also, a special thanks to Bert Carroll, my cousin, my friend, my brother, and mentor in the world of music composition, whose initial input helped get this literary project off the ground. Some words of appreciation are also due to my best buddy, Dennis Small, for his input and friendship through the years.

Finally, many thanks to Tammy Burris, Mike Lance, and Carole Katsantoness for great editing ideas and suggestions.

AUTHOR’S NOTE

Everything in this novel is fiction. Any resemblance to real people is coincidental.

PROLOGUE

March 2000

Freddy Clarkson assembles all the extras, arranges the scenery and prepares to film the scene.

Hiram, it’s ingenious the way you suggested we set this up.

Thanks, Freddy."

Freddy looks at the group waiting for instructions. All you extras, remember we'll be showing only the top part of your body. It means close-ups. Makeup, are they all set?

Yes, Mr. Clarkson.

Moira are you ready?

"I was until he walked in," she shrieks, pointing her finger at Ichiro Nomo, when she sees him walk onto the set.

Get that pervert out of here!

Freddy says, Moira, he has to be here. He’s now the top man in the studio.

She shrieks, "Get that pervert out of my sight or I’m off this set and this whole freaking’ movie. Right now. I mean it! Get him the hell out of here!"

Nomo roars, Listen and listen good, all of you. No one tells me what to do. I represent Mr. Ito. Ms. Boyer. You will do as you are told. You are under contract, and you will fulfill that contract.

Freddy’s confused. What’s going on, he thinks.

He’d been the target of his star’s temperament in the past, but he had never seen her furiously trembling, fighting off tears. He knew, from personal experience, when she’s crying, she’s furious.

She takes off her waterproof hat and jacket, heaves them in Nomo’s face and runs out, yelling, There, you pervert, you want a piece of me, that’s all you’ll ever get. Now that you’ve got it, you know where you can shove it!

Nomo strides over to Freddy Clarkson. "Clarkson, you are the director. Get her back here and finish this scene, now."

I’ll do what I can, but it may take a while. I’ve never seen her like that. I don’t know what happened. Okay folks, take a ten-minute break.

The extras head toward the break area.

He heads towards Moira’s trailer.

By the time he gets there, she’s gone.

He calls Security and is told Moira, in costume, had run to her car and left.

Shit. What the hell do I tell him now?

He returns to the set to a very upset Ichiro Nomo. She left the studio. I don’t know if she went home. Maybe she’s just having a case of PMS.

PMS? What is that?

Pre-Menstrual Syndrome. Some women get very emotional when it hits them. I don’t know why she took it out on you.

Contact her and tell her we will sue her for Breach of contract and all actor replacement costs if she is not back at work tomorrow morning.

With all due respect, Mr. Nomo, I’ll do what I can and I’ll ask Bob Kinsdy to do what he can. She’s his protégé. I’ll even call her agent, but, with all due respect, maybe it would better if we redid the scene without your presence.

Grudgingly, Nomo agrees and walks away. I want to see the scene as soon as it’s done.

He gives Freddy his card and tells him to call when the scene is released from Film Editing.

Freddy agrees.

He then goes back to the set and tells everyone to be ready to redo the scene the next morning, but to wait until he calls them. Shaking his head, he calls Bob Kinsdy, executive producer, of Maxima Studios. He recounts the whole incident.

Bob suggests they meet at The Deli in 30 minutes.

After leaving his office, later that day, Nomo has his keys in his hand. He is about to get into his car when he feels something sticking in his back.

Yeah, it's a gun. Get in the passenger side. Give Vinny the keys. I'll be in the back seat. Joey, follow us in the Lincoln. Vinny, make sure Joey stays in sight.

Nomo, shaken, gets in, moves to the passenger seat and gives a very burly bald man the keys.

He’s suddenly blindfolded.

Hours later, the car pulls into a deserted area.

Nomo’s ordered to get out and walk, with Vinny guiding him.

Once inside a huge warehouse, his blindfold is removed.

He’s greeted by a huge, Mephistophelian looking man, with a demeanor that almost has Nomo wetting his pants.

"Mr. Nomo, you don’t know me but I know all about you. Today, you’re going to get an education. Ya see, there’s an old Bible rule, ‘Do unto others as you would have them do unto you’. Get down on your knees, now!"

Nomo balks.

The large man who drove the car, kicks him behind his knees and shoves him flat on his face.

He then drops on him.

All 345 pounds.

Nomo gasps.

All the air leaves his body.

Please stop; what do you want from me? Money? I’ll give you money.

You don’t learn do you? You forgot what you did the other day, didn’t ya? Didn’t ya push your way in a young woman's home, push her down, get on top of her and try to rape her?

Nomo thinks, they’re going to kill me.

Panic tremors say hello.

She seduced me!

The older man nods to the driver, who gets up and then throws his full weight on top of Nomo again.

Nomo shrieks.

"Owwwwww, you broke my ribs."

Listen, shithead, you just had your first lesson in manners in this country. Lesson number three is even better. Do ya know Vinny likes men a lot more than he likes women? I hope ya understand what you’re facing if you don’t confess and give up tryin’ to rape young women. Understand?

Nomo’s face turns white, as he looks up.

Please get off me. I was wrong. It will never happen again. I promise.

Vinny gets up and looks at the older man for instructions.

Shaking his head and laughing, Victor Nunzio says to Vinny, Time for lesson number two. Drag this garbage out of my sight and put him where he belongs. I’m sorry for taking you out of the closet, man.

Vinny glares at Victor Nunzio, but starts laughing as well.

He takes Nomo’s ankles and drags him face down, across the concrete floor and out of the building.

Nomo feels his bowels lose control as Vinny picks him up, and violently throws him into a dumpster.

Owwwwww.

Vinny closes the container and says, "You stay in there for another ten minutes until you hear our cars pull away."

Nomo, afraid to open the cover prays, Will they leave my car?

Stinking from the garbage, he stays in the dumpster until no longer hears anything.

He thinks, maybe now. As he’s about to climb out, he shouts, aiieee, a car? They’re coming back? No, that sounds like a truck, a big one. I’d better wait.

The dumpster bounces.

He then feels it rising.

To his horror, it turns over.

Nomo falls into the back of a nearly filled to capacity garbage truck.

A ton of rubbish buries him.

Gotta get out of here, he tells himself.

He begins to dig his way out.

The truck starts and rapidly accelerates.

Oh, no, he thinks. It’s going too fast to jump out.

The truck rumbles on.

When you’re confined, hoping for freedom, minutes seem like hours.

He looks over the railing and realizes they’re in a rural area.

That looks like a landfill, Nomo says to himself.

The truck comes to a brake screeching halt.

Whoa!

Nomo’s thrown off his feet.

As soon as the truck stops, he tries to get up.

Before he can jump out, the whole back of the truck tilts upward and he’s again buried under even more trash than before.

What the….

He can barely breathe.

When he does, the stench is unbearable.

It takes an endless amount of time for him to dig his way out.

It never ends. Ugh, rats! They’re big. Get away from me.

Crying, he struggles for breathable air.

He reaches the top.

"Air."

Trembling, he climbs down from the garbage mountain.

He bends over as it all catches up to him.

His meals for the past two days find daylight.

When he looks up, he sees a car.

Mine?

It is.

He crawls to the car.

Good, the keys are in the ignition.

Using the car's GPS system, he finally makes it to his Condo, and opens the garage door.

Once inside, he closes the door, strips and forlornly puts a tattered and reeking $1000 Armani suit, into the trash.

Crying and still shaking, he sprints to his bathroom to shower.

ONE

March 1996

As the Academy Awards Master of Ceremonies begins an announcement, Della Martin and her husband end their conversation and listen:

"Ladies and Gentlemen, the final nomination for the best song of 1995 is ‘HEAT’, by Curt Barrow and Mark Kane, in the movie ‘Last Chance’.

And now as the song is sung by Jimmy Milan, who else can perform that unforgettable dance in the movie that rocketed her to stardom, but the movie industry’s newest sex goddess? The fiery Moira Boyer!"

Della….

Hold it, I want to hear the song as she dances because I love Jimmy Milan’s deep baritone. Oh, they’re starting. Listen.

I was at a bar in Texas…called the Last Chance

When she blew in, in a strapless top…n’ glued on pants

Everyone there just stared…n’ stopped breathin’ air

When they saw HEAT

I said, Mr. Bartender…how do I meet her?

He says, you’d better beware

Or you will get burned

Cuz you’re playing with fire…and you’ll be quick to learn

Why they call her…HEAT

Well I paid him no mind and moved to hit on her

Says, Girl, I know we’re a fit

She turned and her green eyes…burned through me

Lord…I felt my fuse was lit.

But, she just walked away from me…n’ started in her dancin’

And body heat was risin’ high…the way she danced

It just wasn’t fair…she just plain dared,

Dared you to take her…HEAT

Then she jumped up on the bar n’ started rollin’ her hips

And soon began to bump and grind

Then she wriggled like a snake and turned everyone on

Enough to make you lose your mind.

That night she cast a spell on me.

I’m still in a trance

Those blazing green eyes and that dance

Branded my soul…

Till my dyin’ day I know…

I’ll always be feelin’ her HEAT

Della, look at the way she moves–like a snake. Honey, you’re a movie critic. Have you ever seen anything like this girl?

"Never, Mike. Never. Just look at the audience. The women are every bit as turned on as you are. Look at those cat-shaped emerald eyes in the close-ups, and the way she moves that glorious body. This scene reminds me of that dance in Gilda.

"I wrote in my column that she has the exotic sensuality of Rita Hayworth, the blatant eroticism of Sharon Stone in Basic Instinct and Marilyn Monroe’s sex-kitten sexuality all rolled into one. Believe me, that’s saying one hell of a lot. She somehow just reeks sex without it being brazenly tawdry. That’s why her nickname, HEAT, has stuck. I’ve never seen anything like it."

I heard the movie broke all box office records with hardly any promotion.

"True. Word of mouth did it, just like Ghost did a few years ago, but in this case, she did it! Just look at her! My God, she’s just stunning. She’s already a tremendous box office draw after only one movie. Now hush up, the instrumental is over, so let me hear Jimmy sing the next."

TWO

January 2000

Bob Kinsdy, executive producer of Maxima Studios, storms into the Hollywood office of J.B. Markham, Maxima’s president.

Kinsdy is 6’ 2", a very solid 200 pounds. A former Navy Seal, he’d also spent several years in the CIA. His brown hair is cut short, giving him a military look, yet his sharply chiseled face looks much younger than his age. His whole demeanor is one of great physical and mental strength.

He ignores the secretary and rages through the door to confront Markham.

"Why is there no budget for the Four Brothers project? It’s the one about four brothers in direct competition with each other in the same industry, in the same city no less. Mark Kane’s created one of the greatest scripts I’ve ever read! Jeez, J.B., it’s going to be a money maker, an Oscar winner for sure."

J.B., on the defensive says, Cool it, Bob. I’ve read the script. I also believe in it. You know I’ve been with you on this all the way, but my hands are tied.

Your hands are tied? What are you giving me? You run this company.

No more. We’ve had a hostile takeover, by Global Ito. The new owners intend to tighten up on expenses unless they feel a movie is a sure thing. They’ll allow no funding for projects they haven’t initiated.

That’s crazy, J.B. Global Ito? I’ve heard of them. To my knowledge, they’ve had nothing to do with our industry. What the hell do they know about the movies?

J.B. pulls out a document from his desk and pushes it in front of Bob.

You understand this is very confidential, but please read the third line of the fourth paragraph and look at the dollar signs.

Bob examines the document and then looks up at J.B.–amazed.

I’d heard some big outfits in the Vitalom and Minsers big leagues had made offers but nothing like this. Ito is huge, I know, but this figure is way more than Maxima’s worth. Who has that kind of money?

Bob, as you know, Japan and Germany don’t spend the kind of money on defense we do, so their corporate taxes aren’t that great a burden. I think that’s what gave Ito the bidding advantage. They’ll have to make a lot of money to recover an investment of this magnitude.

You’ve really made out like a bandit on this, haven’t you?

J.B. smiles, gets up from his desk and puts his arm around Bob.

Bob, you know money hasn’t been the only motivation for me at Maxima. I was instrumental in building this thing from nothing, and it has been my life. I didn’t want this deal to take place, and I fought it. They want me to stay on for a while until their hatchet man, Yuri Matsumoto, gets up to speed. Knowing nothing about the industry–like I said–he’s already cut back on all existing, and future projects. I don’t know how they expect to make money that way.

Bob’s irate. Don’t you think this movie will be a blockbuster with New Yorkers all around the country?

J.B., defensively, Dammit, Bob, don’t you get it? After building this company for over 40 years–with Oscars and awards all over that mantle behind you–I no longer have final say in the matter!

Bob counters, Did you, at least, really fight for us?

Look at my face! See the bags under my eyes, the Pepto Bismol on my desk?

J.B., we have two great talents, Freddy Clarkson and Mark Kane for this project. We also have Curt Barrow for the music. They’re probably in my office as we speak. I think they’ll be high on this project, but I’m not sure we can keep them if nothing can be done.

Bob, I’ll pass that on to the new owners and see whether it helps.

Bob turns and says as he leaves the room, Don’t bother, I’ll go see this Matsumoto right now.

Bob composes himself, and after getting travel directions from J.B.’s secretary, goes immediately to the Los Angeles offices of Global Ito Ltd.

He introduces himself to the receptionist and asks to see Yuri Matsumoto, V.P. of Operations.

She uses the intercom to get permission, and then leads him into Matsumoto's office to introduce him.

Matsumoto appears to be at ease with the sudden interruption.

It’s a pleasure to meet you, Mr. Kinsdy.

Mr. Matsumoto, I thought my office and J.B.’s offices were plush, but you put us to shame. Why, it almost takes up half the building. If you’re a golfer, you have room to practice your golf swing in here.

Call me Yuri. In fact, I do play golf. Care to practice while I get us some drinks?

No thank you, my swing will do a lot of damage to all those glass windows.

You don’t have to worry, my friend. They’re virtually unbreakable.

I see Ito spares no expense.

How do you think we were able to outbid everyone for Maxima? Sorry to sound as though I’m boasting.

No offense taken. Business is business. I just want to get a sense of my new employers and how you do business. Specifically, I came here to find out why you canceled our projects.

We’ll discuss that later, but you are right. Business is business, and we’re very well compensated, so you have nothing to be concerned about. We are very benevolent and treat our employees very well. We refer to our system as Compassionate Capitalism.

Your desk must be ten feet long. Is this where you hold your conferences?

Not at all. We have another room in the other half of this floor. Your eye is very sharp. Notice anything else here of interest?

Yes, I see so much of the decor in the room seems to be a hodgepodge of early American and Futureworld. How come?

This is our first real venture in the United States. We’ll ultimately construct our own building as we add acquisitions. As you can surmise, almost everything in this office is as you say here, brand spanking new. Did I say that correctly?

As we also say here, right on.

Right on? Interesting. I thought our language is filled with idioms, but we are no match for you Americans.

Bob’s anxious to discuss his project, but holds off being too aggressive.

He looks around the office and notices a battery of TV screens and cameras all around the office.

Say, correct me if I’m wrong but I’m told this is your first venture into the movie or even television industries. Please forgive my presumption, why the cameras?

Not at all. Those are for Mr. Ito monitor what I’m doing and whom I’m meeting with. You will have the same setup in your office as well, so I am always up-to-date on what goes on with our new asset. We will be able to stay in touch on a regular basis.

Bob’s anger begins to resurface, You mean it’s your company’s policy that no executive is to have any privacy?

Matsumoto blinks.

He looks at Bob–surprised.

We Japanese have strong traditions that have been vital to our success. One of them is the policy that open communications with, and obedience to our superiors, is essential to a smooth running organization, just as is the case in the military. We strongly believe there is much more to gain in the long run to facilitate communication as compared to the sacrifice of a little privacy.

Matsumoto, that’s very un-American and I, for one, wouldn’t want someone to see when I pick my nose, for example. I’m joking on that last crude remark, of course, but I want to make a point. This system is excessively heavy handed, and I would rethink installing cameras as watchdogs over every American executive.

Matsumoto replies–icily, Mr. Kinsdy, if I can thrive with Mr. Ito over my shoulder for more than ten years and see our company grow into a world class conglomerate, I’m sure you will soon adjust.

Matsumoto, it will take some getting used to by American executives, to say the least. You seem like a smart person. Why not rethink this approach to management and consider that micro-managing your staff isn’t necessary, in the American results oriented way of doing business?

You’re asking us to abandon a system that has been instrumental in building Ito into the world’s 14th largest company, in terms of assets, in addition to generating a very remarkable net income.

This is strange, coming from you. When American companies invest in Japan, it’s drummed into our heads to recognize the cultural differences and blend into your society. And here you come in and want to bludgeon your ways upon us.

"I resent your choice of words, Mr. Kinsdy. As you Americans say, money talks and we make lots of money our way and therefore, our way is the way Maxima Studios will operate from this day forward. With respect, I have to tell you to take it or leave it!"

I like hard nosed business men Mr. Matsumoto, but first you cancel our projects with no knowledge of them and now this Big Brother approach to communication? I, for one, will find it almost impossible to work under those conditions.

Mr. Kinsdy, that will be your loss, but it is academic because you’re still under contract with Maxima Studios.

Bob’s earlier anger returns–an octave higher, We’ll see about my contract before the day is out. Since you’re so money driven, I think you should look at the money my projects have made for your new baby. Mr. Matsumoto, I find your company’s policies very regrettable because I thought I had met a new friend, as well as a good man to work for.

As Bob turns to leave, he does a one-eighty and looks up at the video screens. I hope your authoritarian way of doing business will suit you well, Mr. Ito, but don’t count on me as being a part of it. See you in court!

Bob turns, slams the door and heads back to his office, trying to think of ways to finance the project.

He calms down enough to attend to the purpose of the project meeting when he sees a friend waiting for him near his office.

He greets Curt Barrow, Aha, are you Mozart, Gershwin? Oh, I know you. You’re Curt Barrow! Sorry to keep you waiting.

Curt chuckles and stares at him. Bob’s clothing always looks custom fitted, Curt thinks.

Nice outfit, there, Robert. I like the combination of the dark brown pinstriped suit, with a pale blue shirt and a tan tie.

Curt Barrow is a handsome man, with a great mop of white hair. He’s five feet ten with a slender build.

He’s considered to be a giant in the music industry, having had formal music training in the world famous Julliard Conservatory of Music. Curt has had dozens of platinum hit records, Broadway musicals, movie scores and hundreds of concerts to his credit.

Curt, you look in great shape for a senior citizen. I’m happy you decided to come and listen to me about our latest project. I hope you have open time for something really exciting.

What’s it all about, Robert?

Hey man, you know me well enough to call me Bob. As I told you on the phone, the movie is about four brothers in direct competition with each other, in the same industry in New York City in the late ‘40s and ‘50s.

Are you interested in original music that depicts that period? Is it a musical?

Yes…to the first and no to the second.

Who’s the director?

You know him, Curt; you’ve worked with him in the past, Freddy Clarkson

Oh, Bob, that guy is talented–but at times–he can be over the edge.

I’m sure both of you will get along. You’re both from the same backgrounds, the sidewalks of New York–perfect for this movie.

That’s why you’ve been after me?

Absolutely! You two can provide whatever authenticity the movie requires to complement the writer, Mark Kane.

Curt replies, "Mark? I’ve often called him meshugenah, when he wrote lyrics for me. He has some temper."

Bob chuckles. "I’ve heard about your collaborations. What did you two refer to yourselves as, fakakta collaborators? Did I pronounce it right? By the way, what does fakakta collaborators mean?"

Curt chuckles, Not bad for a WASP. It means two shitty collaborators.

"Don’t sell yourselves short. What you guys did for Last Chance and Summer of Ecstasy merited Academy Awards."

What’s the story line, Bob?

Curt, rather than immediately have you go into the guts, the essence of the script, etc. I want you to read just one or two scenes from it. It really has nothing to directly do with the plot. Mark knew I wanted you and Freddy for the project, so he thought it’s best to have both of you get immersed, back in time, to your youth. In other words, get back into the proverbial New York state of mind before you go deeply into the story.

He gives Curt a few pages.

Curt reads them

When he finishes, he says, Boy, you wanted me to get into the New York state of mind and I surely did. Does this ever bring back memories!

Bob smiles. Now you know why you, Freddy and Mark are perfect for this project. You’ve lived it.

Curt says, I really don’t have to see the plot at this point in time. Freddy and I can really help on the story line just by reliving our youth.

Bob activates his intercom.

Jane, call Freddy Clarkson and Mark Kane. Ask them to come here right away.

In a few minutes, she responds that both Mr. Clarkson and Mr. Kane would be available in about a half hour.

Curt, I’d like to have you read Mark’s script, but I think it‘d be a good idea to have Mark read some of it to you, and have Freddy provide some input as well. It’ll be fun to watch you three wallow in nostalgia.

Curt browses through the script while Bob makes some phone calls.

Mark Kane shows up and embraces Curt. Hey there Landsman, how’s Cole Porter?

Curt laughs. You’re really a man of culture, Mr. Kane. I’m fine, can’t you see?

Mark is very aesthetic in demeanor and refined looking, belying a fierce competitive core and is known for having a quick temper. Some refer to him as ‘The Poet’. He’s a slim 175 pounds on a 6’ 2"’ frame with wavy blond hair. He’d won a Pulitzer Prize as a journalist early in his writing career, before becoming a novelist. His writing evolved into films when he adapted his best seller, The Predators, into a hit screenplay. During his career, he’d often collaborated with composers and had his biggest hits as a lyricist while collaborating with Curt Barrow.

Mark, this looks as if we’ll have a lot fun whether the movie is great or not.

Bob interrupts, Curt, you have no idea how great this movie will be and how much money you’ll make.

Mark looks at Curt. It’ll be a blockbuster, especially on the East coast. There’s a lot of money we’ll make on it–only if you can capture the mood of the movie, melodically, and give us some Oscar winning songs.

Count on it!

The door swings open and a human tsunami pours through the door.

Freddy Clarkson shouts, "Back to the scene of the crime!"

He’s obviously very excited to see his old friends and have the opportunity of working with them again.

Freddy Clarkson is the stereotype of a Type A personality.

He’s had more than his share of awards as a director and is not timid about reminding people about it. A 5’ 6" dynamo of limitless energy, his hair is light brown. He has a delicately tailored Van Dyke beard. Clarkson possesses a very wry sense humor with endless barbs that bring shrieks of laughter from some or a response of fury from the target of his biting humor. People either love him or hate him. He’s described by some as being very opinionated about what he believes to be the best way to present a story. One of his most endearing–or annoying–qualities is his very hearty laugh, which sounds as if he’s breathing in and not out as he laughs. He’s teased about it a lot but takes it well.

Freddy teases Bob, What’s this all about, interrupting my ‘Casting Couch Encounter’ with a directive from the Boss?

Bob shakes his head in disbelief. "Freddy, I hope you’re kidding. You’ve gotten into enough trouble over playing around like that. Maxima will one day be sued for sexual harassment over your little escapades. A word to the wise should be sufficient so please cut it out. Seriously, Mark has created a brilliant idea for a story about life in New York in the late ‘40s and ‘50s. Renewal of his option with Maxima is a factor so this may be his last picture with us. He’ll really be going out with a bang. I think this movie will be an Oscar winning classic, so I’ve selected what I think will be the ideal nucleus to make it just that. You and Curt, and Mark are that nucleus. It’s a great story, and I’ve no doubt you people will do it justice."

"Not another Tree Grows In Brooklyn saga, Mark?"

Mark, slightly offended, responds, Always jumping to conclusions, Mr. Type A personality.

C’mon, Mark, I was pulling your chain and you know it. Let’s not get started on the wrong foot.

Curt intercedes, Guys, let’s get down to business.

Picking up the script, he continues, Freddy, this is a segment I started reading before you came in. It’s about the games we played as kids. They say before you die, your whole life flashes before your eyes, and in reading just one page, a lot began to come back.

Freddy scans a few pages.

Mark waits for Freddy to finish. He says, Now that you’ve taken yourself back in time, let me explain the plot. This story takes place in New York City. It’s a human drama about four brothers, all working in the same business, manufacturing the same product, in direct competition with each other.

I can’t think of anything like it in my memory, Freddy says.

Curt says, I can see how this scenario could get very heavy. Without reading the full script, I have some instrumental tracks in my catalog I think might create quite a mood.

Freddy asks Mark, How can these games scenes fit into what you refer to as a human drama?

My thinking is, by demonstrating the innovation and uniqueness of the New York kid’s street games, I’ve set a mood to show how completely different the New York experience was from the rest of the country. I mean during that period. That’s why I want you and Curt to go back in time, and get a feel for the period. Bear with me and just read a bit about the games we all played back then. Several of the early scenes of the movie will show kids playing games on the streets. This sets the tone for the personalities they ultimately developed as adults.

Bob says, We hope, after you’re, figuratively, in your teens again, you’ll be better prepared to read the script and create. Do you all buy into the idea you need to really get into a New York state of mind?

That’s where the roots of the famous Type A personality were born, Curt says.

Bob asks, Have you men read enough to set a New York mood?

Freddy chuckles. Not yet. Nostalgia time! Man, did we ever have monster arguments and fights playing one game, Ringalivio, when someone ‘tapped’ and was challenged regarding the timing.

Lord, I remember that one. We were a pugnacious group.

Ha. The flowery language of the poet.

Mark, responds, Wadda ya mean, flowery? Freddy, I think you, at least, had a high school education in Brooklyn, and can understand the English language.

Oh yeah, I went to Brooklyn Tech. No applicant for a simple Bachelor of Arts degree, like you had, could ever male the grades to be admitted there.

Fat chance, Mr. Type A personality. They probably lowered the admission requirements for you to make it at Tech.

Hold it you guys, intercedes Bob, this is no way to start a project; you’re not back in New York!

Curt grins. "Bob, who says we’re not back in New York? It’s what you wanted, when you told us to read about the games, and this is what you have. Not to worry, we boys are just getting ourselves in the New York state of mind. Do you remember that song?"

I see some real fun and games with you three, although I think it would be best I stay out of it until you have something you can agree on–if possible, laughs Bob.

Curt chuckles. "Don’t sweat it, man. You didn’t see Freddy giving us the cues, directing us to put on a show for you. You’ll be surprised how things will all fall into a flow, once we get untracked. We’re so tuned into each other, that without overtly stating it, we were putting on the New York kids street scene act for you. Leave it to Freddy. Freddy should have received the Oscar for the great job of directing he did on Tomorrow’s Night."

Mark grudgingly acknowledges, I hate to admit it but he really enhanced my script to the Academy award level. He always sees things others, including myself, don’t see in a story. Like I told you, he can be a real anal ache but the man has talent.

Why Markey, Freddy teased, I didn’t know you cared.

Dammit Freddy, Mark shouted, I give you a well-deserved compliment and you have to go back to addressing me with that Markey crap again. My name is Mark. Try to remember that.

Mark, you’re way too sensitive.

Bob puts his arms around the two of them. "You two seem like the War Of The Roses husband and a wife team who–with all the histrionics–are still able to produce beautiful children. I guess that’s the best analogy I can come up with to describe how your collaborations have been so successful, artistically and financially, in spite of all that you two put the rest of us through."

Curt raises his hand like a traffic cop. Let’s get on with the story line.

Bob agrees. In reading Mark’s script, I was amazed at how innovative you all had to be back then. Why was it necessary to come up with these games? Didn’t you have any real ball fields and gyms to play in?

The three ex-New Yorkers chuckle.

Seeing Bob is a bit embarrassed, Curt tries to help get the red out of Bob’s cheeks.

Bob, none of us had cars. Only some our fathers did. The only way to get around was by bus or on a trolley, and we had to lug a bunch of equipment if we went anywhere. That was only for special occasions, when we had the money to travel to our games on the type of field that’s today considered readily available to kids. One of my favorite games was boxball. Let’s see if Mark has included it.