Writing in the Dark,, an apt metaphor for anyone who has ever tried to tap out words on a  backlit screen.  This book, a collection of essays gathered by Max van Manen, shows how "different kinds of human experience may be explored, the methods for investigating phenomena contributing to human experience…the process of inquiry, reflection and writing…a valuable and rich resource".   That is to say, writing is an attempt to reflect what goes on inside us.  Inside us is where "story" occurs.Scott Popjes maintains a busy schedule, writing, producing and editing major theatrical trailers, promos and EPK's and developing and producing TV series and films, such as "The Remarkably 20th Century" and "The Long Ride Home".  Born and raised in suburban New Jersey, this everyman director/editor loves making movies.Ernest Hemingway - The man who ran with the bulls.  His literary sparseness and compression, well-worn and well-earned, captured the attention of critics and public in a volatile age.  In 1952, he received the Pulitzer for The Old Man and the Sea.   In 1954, he received the Nobel Prize for his "powerful style-making mastery of the modern art of narration."  He wrote from life.  Until his life subdued and rescued him.Will Shakespeare - Aka "The bard".  Arguably the best English writer to ever glide pen to page, populist hero as well as aristocratic raconteur, though we wish he had used all women instead of all men to populate his plays.  (Not a prejudice, just a fact.)   His sonnets remain divine.  Rare is the writer who can scribble successfully in one genre, let alone two.  Some postulate this poet and playwright was, in fact, more than one man…or woman.  What would he have done with film, we wonder?Though he produced fewer than 40 paintings, Dutch painter Jan Vermeer is one of the most respected artists of the European tradition. He is known for his serene, luminous interiors populated by one or two figures. Vermeer grew up in Delft, Holland, joined the painters' guild in 1653, and worked as an art dealer to support his wife and 11 children.  In 1672, war with France ruined Holland’s economy and Vermeer's business failed.  Soon after, he died of a stroke at age 42, leaving his family bankrupt.  Vermeer's paintings were largely forgotten for nearly 200 years, until 1858 when a French critic began to write admiringly about his work.  Interest in Vermeer surged again recently with his work exhibited at the National Gallery of Art in Washington, D.C., and the Metropolitan Museum of Art in New York City.  Contemporary writers have also been inspired by him, including Tracy Chevalier whose novel Girl with a Pearl Earring imagines the life of the girl in Vermeer's painting of the same name. L.Ron Hubbard - Whatever you may think of his other worldly beliefs, the full body of L. Ron Hubbard's work includes more than 5,000 writings and 3,000 tape-recorded lectures, spanning five, highly productive decades.  A humanitarian and adventurer, he  believes, "There are only two tests of a life well lived: Did one do as one intended? And were people glad one lived?"  We add, "And can one write about it, anyhow?"Johannes Vermeer's "Lady Writing a Letter with Her Maid" records a prior chivalrous age where class decorum reigned.  (Oh, well, you can't have everything.)   One of the most talented painters in the Dutch Golden Age, that's the 1600's, Vermeer's work was forgotten for centuries.  The most brilliant artists of any century are probably never discovered, their paintings hidden till ruin, their pages dropping to dust in unfound attics.  We find this oddly comforting.  No martyr of time, this particular masterpiece hangs in the National Gallery of Ireland.  Definitely worth a gaze.Jules Verne - Ode to childhood and the player within us.  Verne was born, aptly, in Nates, France in 1828.  He promptly ran off to become cabin boy on a merchant ship but was caught and sent back to his parents.  Thus constrained, his imagination wandered.  He wrote story after story, became very rich, bought a yacht and resumed his initial intent - to sail around the world.  Or Europe anyhow.   Our favorite remains Twenty Thousand Leagues.
Contact Us Screenwriting Store

First-Place Winner, November 2013- April 2014
Screenplay Contest - Full-Length Series

American Bred”
Written by Justin Chambers

Justin Chambers
ABOUT THE AUTHOR

Justin Chambers was born in Mission Hills, CA in 1988 but grew up in Lake Havasu City, Arizona where his passion for film grew. With no ties to the business, he knew he had to set out on his own path and create the road handshake-by-handshake if he wanted to be successful. Now at the age of 25 with a BFA from Columbia College Hollywood he has completed hundreds of projects. As well wrote and directed the award winning indie darling “Broken Roads” starring Academy Award Nominee and Golden Globe Winner Sally Kirkland, currently available on DVD.

Additional Writer Information:
justindc2006@yahoo.com
Phone:   928-208-5052

LOGLINE

In present day, Detroit, Michigan where the influence of organized crime has diminished; one of the lasting crime syndicates begins to unravel when lies, mystery and betrayal devour the trust, which holds them together.

SYNOPSIS

“You will keep in perfect peace him whose mind is steadfast, because he trusts in you. Isaiah 26:3”.

American Bred chronicles the gruesome demise that partakes one of the lasting organized crime syndicates; when lies, mystery and betrayal devour the trust, which holds them together.

When the Adamo family loses track of a suspected informant the catalyst for deception, lies and manipulation begin. As the secrets of his disappearance are revealed it comes to fruition that he was only the beginning, the betrayal pierces even deeper. Challenging the idea that even if blood is thicker than water, perhaps only water can clearly bare the truth.

LEGAL NOTICE

The American Bred screenplay, copyright, and story idea below are owned by Justin Chambers. No copying of any of the below pages is allowed unless approved by owner..

SCRIPT FOLLOWS

OVER BLACK

“You will keep in perfect peace him whose mind is steadfast, because he trusts in
you. Isaiah 26:3”

FADE IN:

DETROIT, MICHIGAN / 2012 - PRESENT DAY.

INT. MEAT LOCKER/ RESTAURANT - NIGHT

FRANCIS ADAMO, 60s,

...steps into the light as he cleans a bloody meat tenderizer, he is the capofamiglia “DON”, easily noticeable by how he holds himself and with a voice that sends chills down a man’s spine. He speaks.

           FRANCIS
I do my best to be an understanding man. Understand the way things work. Be okay with that, the way people are. The way this country works. A man is born somewhere, therefore he is of that land. But what happens when the land is built on the backs of others? Are they of that land as well? Americans bred of a country built upon the backs of others and yet you’d think they’d be the most welcoming. Still in a country made of everyone, no one is welcome. Why is that? I raised my son American. I love my wife American, I speak American.

          (SPEAKING IN ITALIAN, HE
          CONTINUES:)
Ancora mi trattano come se
fossi diverso poichè non sono
nato AMERICANO. Credo che
tutti noi meritiamo questo
SOGNO DI RAZZA AMERICANA ed
eccoti venire qui per portarmelo
via, come se tu ne avessi il diritto!

           FRANCIS (SUBTITLE) (CONT’D)
Still I am treated as if I am of another because I wasn’t born AMERICAN. I feel we all deserve this AMERICAN BRED DREAM and here you are coming to take it away from me, as if you have the right!
Francis turns; with the meat tenderizer in hand. He walks from the sink revealing he is not alone. He is in the company of a handful of MEN.

Francis approaches a man on the ground. The man is naked, his body mangled, cut, covered
in blood, his face beaten and bruised. Blood seeping from every pore in his body. The man is...

CHRISTIANO “TIO” GRECO, 26,

... blinded by the blood he can only see Francis by hearing the location of his BONE CHILLING
VOICE. His head follows the sound.

           FRANCIS
Christiano, I loved you like a son.
And so I believe this hurts me more
than it hurts you.

           TIO
I am not the one --

He can barely finish as his lungs no longer have the capacity to complete a sentence.

           FRANCIS
What I hold dear to my heart
more than money, more than power,
more than success is TRUST. Christiano I
can not trust you. I CAN NOT TRUST YOU!

Francis grabs Tio’s hand and hammers down on it with the meat tenderizer. Tio screams in
pain.

           TIO
PLEASE!

Francis gets up and walks over to one of the men standing by, he is...

ANGELO ADAMO, 30, Francis’ only son.

           FRANCIS
Get the information we need, I
wanna know who the cops are; how
much they know, then kill him.

And just like that Francis leaves with the other men. Leaving the door guard with Angelo and
his best friend...

BRUNO MANCINI, late 20s

           BRUNO
Angelo it’s Tio

           ANGELO
He did this to himself.

           BRUNO
You know how I said I saw Tio
talking to the cops when I was on
my way to meet Gino. What if it
wasn’t him?

           ANGELO
What are you fucking saying?

           BRUNO
Like what if it was someone who looked like him?

           ANGELO
Bruno stop being a fucking idiot,
this isn’t a joke! Was it him
or wasn’t it?

           BRUNO
It was him. I fucking know it was
him. But Angelo it’s Tio.

Angelo walks over to Tio; manhandles him up against the meat locker wall. Tio can barely sit
up as Angelo crouches down before him.

           ANGELO
Tio I don’t want to do this to you
but you have to tell me something,
something I don’t know.

Tio says nothing. Angelo frustrated gives him three swift punches to the face.

           BRUNO
Tio say SOMETHING!

Still nothing.

           ANGELO
Tio you’re breaking my heart. I
love you; so I am going to give you
till tomorrow. Then there is
nothing I can do for you. You’re
done.

Angelo kisses Tio, then stands and wipes the blood from his lips. He signals Bruno to exit the
meat locker with him. Angelo stops at the door before exiting to give a quick word to
MICHAEL, the guard by the door.

           ANGELO (CONT’D)
No one comes in and no one comes
out.

Angelo gives one more look into the meat locker at Tio.

Tio’s POV we see Angelo there, it’s blurry, Angelo is silhouetted by the light but that light soon
fades into the darkness.

FADE OUT.

FADE IN:
SUPER TITLE: AMERICAN BRED

CUT TO:

INT. KITCHEN OF RESTAURANT - NIGHT

Angelo and Bruno walk around the kitchen barking orders for food out.

           ANGELO
Hey what’s still on the stove here?
I’m hungry.

CATALINA ADAMO, 50’s, SPANISH, and like fine wine, age has done her a good service.
Francis’ wife and Angelo’s mother...

Enters the kitchen.

           CATALINA
Angelo get out of here with your
monkey friend. I am trying to close
up, it has been a long day.

           ANGELO
Come on Ma, I just want a little
something, I’m starving.

           BRUNO
Me too.

Catalina notices some blood on his jacket.

           CATALINA
What’s that?

           ANGELO
Nothing; don’t worry about it!

           CATALINA
Is that blood?

           ANGELO
Ma!

           CATALINA
What does your father have you up
to?

           ANGELO
Ma don’t worry about it! I’m out of
here.

Angelo kisses Catalina on the cheek. Grabbing a fresh cinnamon roll from the desert tray,
stuffing it in his mouth.

           CATALINA
Angelo!

           ANGELO
Bye Ma.

Bruno follows but not before Catalina can grab him.

           CATALINA
Where’s Tio?

           BRUNO
Sorry Mrs. Adamo can’t really
say...

Bruno storms out behind Angelo leaving Catalina there. Catalina looks towards the meat locker
and sees MICHAEL.

           CATALINA
What are you doing here?

           MICHAEL
Mrs. Adamo, Don Adamo has business
in here he’d prefer you not to see.

           CATALINA
What’s in there?

           MICHAEL
Can’t say but I’ll be here all
night though so you can go ahead
and lock up.

Catalina hesitant to leave at first then heads to the front of the restaurant.

INT. FRONT OF RESTAURANT - CONTINUOUS

LETIZIA “LETY” RIZZO, 20s, a naturally beautiful young woman, broken English, but enough
to get her by...

Is putting up the last of the chairs. Catalina walks up to her.

           CATALINA
Lety.

           LETY
Yes.

           CATALINA
I need your help.

           LETY
What is it?

           CATALINA
Go grab your car, take it around the back.

           LETY
Alright?

Catalina motions her out.

           CATALINA
I’ll meet you around back...

As Lety leaves, Catalina grabs a large box that rests on the counter nearby and heads back
into the kitchen.

CUT TO:

INT. KITCHEN OF RESTAURANT - CONTINUOUS
Catalina, with the box nearly blocking her view, enters.

           CATALINA
Michael, you there?

           MICHAEL
Mrs. Adamo?

           CATALINA
Could you take this?

Michael, uneasy about leaving the door unguarded, goes over and helps her. He takes the box
from her.

           CATALINA (CONT’D)
Thank you.

           MICHAEL
Where do you want it?

           CATALINA
Back here.

Catalina guides him to the back storage.

           CATALINA (CONT’D)
Up there.

As Michael tries to get the box on the top shelf, Catalina grabs a cast iron pan that rests on the
shelf nearby and hits Michael over the head.

Everything in the box goes crashing to the ground along with Michael; Catalina realizes it’s
going to take more than a pan to put a big guy like Michael down.

Michael quickly recovers and goes after Catalina, he wrestles her to the ground but not before
she gets another WACK with the pan in; this time across the face. Michael disheveled takes
his hands to Catalina’s neck.

With Michael’s intention only to make her lose consciousness; Catalina takes no caution
looking around for relief from her fate. As the air starts to leave her body she notices Michael’s
gun within her grasp. With no other choice she grabs it and fires. His lifeless body falls to the
ground.

Blood everywhere, she leaves him; gathers herself while placing the gun in her pants and goes
to the meat locker.

She enters.

INT. MEAT LOCKER - CONTINUOUS

She enters and sees Tio. Barely alive. The blood has now frozen onto his skin.

Catalina, tries to wake him. The little life in him makes a moan leave his lips but nothing more.

           CATALINA
I am going to get you out of here
and you are to NEVER COME BACK!

Catalina grabs a meat cart that is already in the meat locker dumping its contents and rolling it
over to Tio.

With all the strength in her body she loads him up into the cart. Tio getting some fresh bumps
and bruises along the way.

She trucks him out of the meat locker, the cart covered with a sheet, she heads through the
back door.

EXT. BACK OF RESTAURANT - CONTINUOUS

Lety stands there by her car. Lety approaches Catalina.

           LETY
What is that?

           CATALINA
Open your back door.

Lety rushes over to the car and opens it. Catalina gets the cart closer and removes the sheet.
Tio’s mangled body lifts the color from Lety’s skin, she has never been so scared.

           CATALINA (CONT’D)
Help me!

Lety, resistant at first, helps her load him into the back of the car.

Catalina closes the door.

           CATALINA (CONT’D)
Get in and drive away from here.
AS FAR FROM DETROIT AS POSSIBLE.
Don’t stop for anything! Don’t tell anyone
where you’re going and when you have
gotten far enough leave him there.

           LETY
BUT WHY? IS HE DEAD?

Catalina forces Lety in the car, throwing the gun in the car with her. Lety looking at the gun
then back at Catalina.

           CATALINA
No he is not! The gun, for protection.
We all have our secrets child, no one
can know about this. And when you
return, this secret shall be silenced
between the two of us. If you speak a
word of it, you’ll share in his suffering.
Now leave.

Lety scared for her life speeds off.

Catalina heads back to the restaurant lugging the meat cart in through the back door.

INT. KITCHEN OF RESTAURANT - CONTINUOUS

Once inside she goes to the dishwashers sink, grabs a lug wrench and takes it to the outside
of the back door lock. SMASHING the hell out of it, making it look like the restaurant was
broken into.

She grabs the meat cart and the sheet bringing it over to the sink. She washes the meat cart
good enough to not leave signs of foul play.

As she trucks the meat cart back to the meat locker she throws the bloody sheet on Michael’s
body as remnants of his murder.

INT. MEAT LOCKER - CONTINUOUS

She loads the meat back into the cart, but becomes overwhelmed by what she has done, she
collapses to the ground. Tears flow out of her as fear consumes her soul.

She knows in order for her to pull this off she has to pull herself together, time is running out.
She exits.

INT. KITCHEN OF RESTAURANT - CONTINUOUS

She washes herself at the sink. Using the soap to scrub away all traces of Tio’s blood...

POV: Blood in the sink. Like the blood disappearing into the drain, so do we.

SMASH TO BLACK

INT. CAR (MOVING) - NIGHT

It’s raining Lety is driving as fast as she can in the rain. She cranks the heat in hopes of
warming Tio’s naked body.

In terror she looks back to see if he has moved but he is still motionless. As she turns back to
look at the road she notices she has let the car adrift and right in front of her is another truck.

SHE SWERVES.

In the rain the car takes flight. It loses control, she manages to regain it, but not before using
the side of the road as emergency brakes.

She gets out of the car.

EXT. CAR - CONTINUOUS

Lety stands outside the car in the rain. She looks around to see if anyone was hurt. But no
one, not a soul in sight. She checks herself and the car to make sure the car can still get her
home. Clearly she cannot call for help with Tio’s body in the back.

She opens the back door. This is FAR ENOUGH.

As she gets ready to pull Tio out something in her can’t bring her to do it. She panics and
storms around the car trying to think of something.

       LETY
Figlio di Puttana!
       LETY (SUBTITLE) (CONT’D)
Son of a bitch!

She decides to get back in her car and drive. She makes a U-turn, BACK TO DETROIT.

EXT. GAS STATION - NIGHT

Lety’s car pulls up. She parks her car off in the shadows and gets out, heading inside.

INT. GAS STATION - CONTINUOUS

Soaking wet, she makes her way to the medicine section, not much but it will have to do.
She grabs anything and everything she can that might come of use.

She spills it on the counter. She throws in a bag of chips that are on the counter rack as well.
All this stress has given her an appetite.

           CLERK
$24.75

Lety pays the CLERK, then she is out.

She hops back in the car and drives off.

INT. CAR (MOVING)

Lety is driving looking back and forth between the road and Tio, still no sign of life. She drives
as fast as she can.

INT. BATHROOM/ ADAMO HOUSE - NIGHT

Catalina looks at herself in the mirror, staring deep into her eyes, She checks to make sure the
few bruises she has are covered before joining Francis in bed.

CONTINUED