"I'm Brogan...Lieutenant Brogan. For fifteen years I worked for the NYPD...Now I'm a Space Cop." After 15 years as a New York street cop, Lt. Chuck Brogan is appointed commanding officer of Space Police Precinct 44, an intergalactic police corps fighting organised crime on alien worlds. But in the famous "Mr Big's Secret Hideout" nightclub, V. Lann and E. Vile are plotting the demise of the President. Brogan and his team only have a limited time to foil the terrorists' plot and save the President's life. In the mid-1980's Gerry Anderson - the man behind cult classics like Fireball XL5, Thunderbirds, Space:1999 - came up with a concept for an exciting new television series. Together with long-time collaborator Tony Barwick, Gerry wrote and shot the pilot story for Space Police. Once the pilot was complete it would take nearly 10 years to secure the funding to make the series which was eventually renamed Space Precinct. Now, for the first time, the original screenplay of this untransmitted pilot film is available for Gerry Anderson fans worldwide to enjoy

This is the story of a town; which is ficitonal; where peopel enjoy the winter time/christmas time; as a few friends are not ready for this season; as they have lost some loved ones; as they want to destroy the town's season; until they have a change of heart.

A small-town bank robbery leads to a brutal showdown between a sheriff and a mysterious stranger in this high-stakes game of shifting identities and hidden motives, starring Mekhi Phifer (ER), William Sadler (The Shawshank Redemption) and Sterling K. Brown (Army Wives). When the obvious suspect is apprehended not far from the crime scene, the police think that the case is solved, but they couldn't be more wrong. The real crime hasn't even happened yet. Before it's over, two desperate men will be pushed over the line where innocent lives hang in the balance.

In January 2004, Showtime debuted The L Word, the first prime-time commercial drama to centre around lesbian characters. Over the course of six seasons, the show depicted the lives and loves of an evolving circle of friends in West Hollywood, California, and was widely read as evidence of changing social attitudes toward gay people. Building on immediate critical attention, the show reigned as Showtime's most popular for its first three seasons and earned a large and enthusiastic audience. In The L Word, author Margaret T. McFadden argues that the show is important for its subject matter, its extended and deeply literate commentary on the history of representation of lesbians in popular media, and the formal innovations it deployed to rewrite that history. McFadden shows that the programme's creators, led by executive producer Ilene Chaiken, were well aware of the assumptions and expectations that viewers would bring to it after a history of stereotypical depictions of lesbians on television. They sought to satisfy a diverse group of viewers who wanted honest and appealing portrayals of their lives while still attracting a large enough mainstream audience to make The L Word commercially viable. In five chapters, McFadden explores how the show tackled these problems of representation by using reflexivity as a strategy to make meaning, undertaking a complicitous critique of Hollywood, skillfully using a soap-drama format to draw in its audience and ultimately creating its own complex representation of a lesbian community. While deconstructing the history of misrepresentation of lesbians, The L Word's new modes of storytelling and new perspectives made many aspects of lesbian experience, history and culture visible to a large audience. Fans of the show as well as readers interested in cultural studies and gay and lesbian pop cultural history will enjoy this astute volume.

The last time anybody heard from Sam Landers, he was running from the Mob. His sister, Molly, and her boy friend, Roy, as well as a Mob enforcer, are looking for him. What they discover is that Sam may have taken refuge on a secluded mountain estate owned by Evelyn, an attractive, seductive woman, and Pat, her reclusive husband, who are concealing a dark secret. People who learn their secret seldom escape alive. THE AMUSEMENT is a twist-filled erotic thriller.

Le Duc is a one act play, set in France, influenced by the 17th century dramatic works of French authors. The story talks about a noble duke and his companions, beginning with the news of a tragic death in a comic setting. Based on human emotions, honor, love and hidden agendas, the plot unravels itself with an interesting twist.

An unexpected bond forms between two women when their sons are killed in an explosion at a local shopping mall. When the police find evidence of a bomb, one of the sons, a Muslim American, becomes the prime suspect, threatening the two mothers' new friendship and forcing them to question how well they knew their own children.

"Torn capitalizes on a gripping and emotional storyline to deliver a terrific ending." - Tony Hicks, SAN JOSE MERCURY NEWS

"Slowly uncovering the prejudices that calamity can unleash, Michael Richter's screenplay lays bare the damage wrought by Sept. 11 while deftly dodging hysteria, wondering how we differentiate between innocent teenage behaviors and dangerous red flags. Most of all, it wonders if we can ever fully know the people we live with, leaving the question to resonate as deeply as the two women's grief." - Jeannette Catsoulis, THE NEW YORK TIMES

"A great accomplishment." - John Oursler, THE VILLAGE VOICE

"A terse, wonderfully observant and unsentimental screenplay by Michael Richter... Richter tells the tale with admirable economy-the film runs 80 minutes-as well as an unstressed but devastating emotional authenticity. He could have ended his film with the question of the boys' culpability unanswered and that ambiguity would have been sufficient, but instead he reveals the truth, and the revelation is breathtakingly poignant." - David Noh, FILM JOURNAL INTERNATIONAL

"A genuinely unsettling microcosm of modern terrorism... Torn rings with the sound of quiet truth." - Andrew Lapin, THE DISSOLVE

"Michael Richter's screenplay weaves together its various themes and such subplots as Lea's tentatively resuming a relationship with her long estranged ex-husband (Patrick St. Esprit) with intelligence and sensitivity, not to mention an uncommon succinctness (the film runs a scant 80 min). The relationships between the complex characters are well drawn, and the ironic ending manages to touchingly upend our expectations." - Frank Scheck, THE HOLLYWOOD REPORTER

A crew of thieves meet in a graveyard to discuss their next jobs. They're confident the cops aren't listening. They're right about that. But someone or something hears every word and needs their skills. At any cost in price or life.

Philip Bartels, an old friend of Peter Harding's, calls him out of the blue for advice about his marriage, a call that unwittingly sets them both out on a fateful journey, for the shy and respectable Philip - Barty to his friends - has met and fallen in love with the tempestuous Lorna but finds himself unable to leave his dull but loving wife. Peter offers some advice but after he too has met the passionate Lorna he also finds himself in love and begins to manipulate events in order to satisfy his own desires, finally with devastating and fateful results. The play is based on one of thriller writer John Bingham's masterpieces, FIVE ROUNDABOUTS TO HEAVEN, an enormously exciting story of crime and passion which according to John Le Carre should be recognised as one of the last centuries great psychological thrillers.

A woman from Russia comes to this country in 1896 at 16, alone and pregnant. Later marries, has 6 more children and her husband passes away. She raises all 7 by herself (sometimes having to resort to bootlegging whiskey carried to her customers in the baby carriage).

Sam Slade didn't believe in Gorgo until he saw the monster's hideous scaly face, its slimy green talons and the massive mouth that could swallow a killer whale. If this was not enough he was to have even bigger problems in his future. The story mixes familiarity with a couple of neat plot twists; the special effects are ambitious and oftentimes stunning; and the use of a man in a rubber dinosaur suit, a technique usually met with derision, is undoubtedly one of the best on record. But perhaps the reason that supersedes them all is that Gorgo is the rare city-stomping monster spectacle with heart. Released by MGM in 1961, Gorgo is that oft-told cinematic fable of the giant beast that threatens humanity This volume contains the shooting script and the original tie-in novel by Carson Bingham and a production background by Bill Cooke.

"Barkers Upon Tyne" is an original, unproduced situation comedy series created and written by Kelly Marie Thompson (from England) and Garry Berman (from America). The six episodes follow the exploits of three siblings in their twenties: Pete, Alex, and Nicola Barker of the northeast English city of Newcastle Upon Tyne. The Barkers are 'temporarily' all sharing Pete's apartment, and have a knack for causing considerable disruption in each others' lives. Accident-prone Nicola's disastrous dating history is legendary among those who know her, as is chronically-unemployed Alex's half-hearted attempts to hold a job for more than a week at a time. Responsible nightclub manager Pete is often the hapless victim when his younger siblings' lifestyles intersect with his own--and usually at the worst possible moments. While writing the pilot episode, the collaborators decided to write a total of six full episodes, partly just to see if they could do it. And they did--in about eight weeks. The pilot episode earned a Top 10 finish in the 2012 Writer's Digest magazine annual scriptwriting competition. Due to the unpredictable fate of scripts intended for production but which may not reach that goal, the authors decided to make "Barkers Upon Tyne" available in printed form for any reader with a healthy sense of humor to enjoy.

For eight seasons between 2001 and 2010, Fox's 24 garnered critical accolades and became one of the most watched and discussed shows in primetime. In an innovative premise, the show's hour-long episodes were meant to represent a real-time hour of the story, so that each twenty-four-episode season depicts a single day in the life of its characters. Influential as a popular hit, 24 was also closely linked with the "culture of fear" that dominated the post-9/11 period. In this insightful study, author John McCullough demonstrates that the series was not only unique and trendsetting, but also a complex creative response to its historical context. In three chapters, McCullough looks at 24's form, style and overarching themes and meanings. He argues that although the series is driven by the political and cultural shifts brought on by the War on Terror, it is routinely out of step with real history. Using Linda Williams's distinction between the melodramatic mode and melodrama as a genre, McCullough explores 24's use of the action-adventure and spy thriller forms with particular attention paid to the series' hero, Jack Bauer, who is depicted as a tragic hero perpetually in search of a return to innocence. Ultimately, McCullough finds that the series' distinction lies less in its faithful re-creation of the history of the WOT than in its evocation of the sense of crises and paranoia that defined the period. McCullough also analyses 24 as a response to television culture in the "post-network" age, characterised by reality TV's populist appeal and visceral content, on the one hand, and sophisticated boutique cable programming ("quality TV"), on the other. McCullough demonstrates that 24 engaged not only with the most pressing issues of world history and the geopolitics of its time, including terrrorism, neoliberalism and the state of exception, but, on the strength of its form and style, also represents significant global trends in television culture. Fans of the show and media history scholars will appreciate this thorough study.

"How to Write a Great Script with Final Draft 9" is not a typical computer book tutorial. Flip open any computer book and you'll typically see a thick tome crammed with information about every possible feature of a program in exhaustive detail. Such comprehensive detail makes most computer books about as exciting to read as a dictionary. Nobody really wants to learn how to use any particular program. What people really want to learn is how to get specific results from using a particular program. Chances are good that your goal in life isn't to learn how to use Final Draft 9. Instead, you probably really want to learn how to write the best screenplay possible with the least amount of hassle. To achieve that goal, you want to use Final Draft 9 as a tool to achieve your dream of writing a screenplay that you can sell. That's why this book won't teach you how to become a Final Draft 9 expert. What this book will teach you is how to plan, organize, and write a screenplay using Final Draft 9 as a tool to make your task easier. Notice the huge difference? You want to be a screenwriter, not a Final Draft 9 computer expert. This book won't overwhelm you by teaching every possible feature in Final Draft 9. Instead, this book will teach you the more useful features of Final Draft 9 to make you a more effective screenwriter. Once you learn the most common commands of Final Draft 9, you'll have the confidence to learn the more advanced features that the program offers. Not only will you learn how to use Final Draft's most common features, but you'll also learn why to use them and how they can help you organize and write a more effective screenplay. To use Final Draft most effectively, you need to know how to develop a story. Having a great screenwriting program like Final Draft 9 is fine, but if you don't know what to write, then you won't be able to take advantage of Final Draft 9's writing, formatting, and editing features. Although Final Draft works as an excellent screenplay formatting word processor, that's actually the last feature you want to use. Where most people go wrong is that they focus first on writing their screenplay without knowing what to write or taking time to organize their ideas before they write. Think of screenwriting like planning a vacation. You could just show up at the airport and hop on any plane, but chances are good it won't take you where you want to go. Likewise if you start writing a script without any planning, you'll likely waste time writing an rambling and incoherent screenplay. At this point, formatting your screenplay perfectly means nothing if it's not structured to tell a compelling story in the first place. So this book will teach you how to write screenplays using Final Draft 9 as a tool. If you want to learn how to become a better screenwriter and use Final Draft 9 to help you achieve your ultimate goal of selling a screenplay, then this is the book for you. Table of Contents Introduction Chapter 1: Getting Ideas Chapter 2: Picking a Theme Chapter 3: The Story Title Chapter 4: The Major Characters Chapter 5: The Hero and Villain Chapter 6: The Mentor, the Allies, and the Henchmen Chapter 7: The Four Acts of a Screenplay Chapter 8: Creating and Manipulating Scenes Chapter 9: Understanding the Elements of a Screenplay Chapter 10: Working with Scenes Chapter 11: Making Dialogue Come to Life Chapter 12: Editing a Screenplay Chapter 13: Printing and Sharing a Screenplay Final Words

The jungle is wild and tropical - and a deadly hush of anticipation hangs in the humid air. A man eludes pursuit in the murky water of a swamp pool. His scant clothing ripped and torn, he is obviously exhausted - and terrorized. His face is wild with panic, and he is near collapse. Cowering in fear, he is unaware of the threat of a deadly python, approaching silently from behind. Closer and closer...

Louis Phillips, a widely published poet, playwright, and short story writer, has written some 50 books for children and adults. Among his published works are: five collections of short stories - A DREAM OF COUNTRIES WHERE NO ONE DARE LIVE (SMU Press), THE BUS TO THE MOON (Fort Schuyler Press), and THE WOMAN WHO WROTE KING LEAR AND OTHER STORIES (Pleasure Boat Studio), FIREWORKS IN SOME PARTICULARS (Fort Schuyler Press), and MUST I WEEP FOR THE DANCING BEAR (Pleasure Boat Studio). HOT CORNER, a collection of his baseball writings, and R.I. P. (a sequence of poems about Rip Van Winkle) from Livingston Press; THE ENVOI MESSAGES, and THE LAST OF THE MARX BROTHERS' WRITERS, full-length plays, (Broadway Play Publishers). His books for children include: THE MAN WHO STOLE THE ATLANTIC OCEAN (Prentice Hall & Camelot Books), THE MILLION DOLLAR POTATO (Simon and Schuster), and HOW TO WRESTLE AN ALLIGATOR (Avon). His sequence of poems - The Time, The Hour, The Solitariness of the Place -was the co-winner in the Swallow's Tale Press competition (1984). Among his published books of poems are: THE KRAZY KAT RAG (Light Reprint Press), BULKINGTON (Hollow Spring Press), THE TIME, THE HOUR, THE TIME, THE HOUR, THE SOLITARINESS OF THE PLACE (Swallow's Tale Press), CELEBRATIONS & BEWILDERMENTS (Fragments Press). He edited BEST LOVED POEMS (Random House) and THE RANDOM HOUSE BOOK OF HUMOROUS VERSE. Other books include: GERTRUDE STEIN IN DAYTON & OTHER PLAYS; AMERICAN ELEGIES, THE TRIAL OF THE ASSASSIN GUITEAU, and LATE NIGHT IN THE RAIN FOREST (World Audience Publishers) He teaches at the School of Visual Arts in NYC.

Julious takes on his street name Cisco and soon realizes the street game is not what he wants. Can he get out in time?

A New York City mafia hit man gets a second chance on life on, when his assassins mistakenly believe he is dead. He is rescued on the island of Sicily by an Islamic Bedouin and his life takes a new course of redemption. His life of purity is challenged when he meets Mara a pop singer haunted by drugs and alcohol who is on the edge of self destruction. However the only way he can save her and himself is to once again, go back to his old way of life.

Four Screenplays by Don Haderlein includes the full length screenplays: Together We Stand, Brothers, Moonbeams and The Compassion of Jesus.

In this original screenplay, Sgt. Janet Lacey is a tall, tough uniformed sheriff's deputy with a reputation for being a regular Dirty Harriet. Herb Robbins is a short, bleeding heart liberal, assistant district attorney, who's just dismissed one of her cases because she didn't have a valid search warrant. And, tonight, she's stuck with him as her ride along. When a serial killer that Lacey has captured is gunned down while in her custody, her conduct becomes suspect. Later, when the dead man's mother is found murdered, a large amount of cash found on Lacey and a big drug stash discovered in her apartment, a warrant is issued for the officer's arrest. Robbins is the only one who believes that she's innocent, but can he help her?

CHARLA begins with the central character's death, then flashes back to a year earlier where we first meet this wonderful, witty, talented, former saloon singer named Charla. We witness the decimating relationship Charla has with her mother, in contrast to the warm, nurturing alliance she enjoys with her teenage son. We also meet Aaron, the last man in her life, who tries to save this doomed fragile lady from her own self-destructive nature. This original screenplay is a comic/tragic love story, inspired by the life of actress Charla Doherty.