I just got finishing funds from NYSCA’s Electronic Media and Film Fishing Funds grant program, administered by the ARTS Council of the Southern Finger Lakes.  the New York State Council on the Arts’. This will allow me to complete this project! Super Exciting! Along with the seed money from the Jerome Foundation, the project has got good support!

Thank you Joel Schlemowitz. Went to Views from the Avant-Garde last weekend and got inspired + met with like-minded people. Getting down to editing SOON!!!

GUN, HAT, GIRL…, is an experimental film in five sections. A compendium of narrative film using only its iconic elements: a gun, a hat, low-key lighting, screams, and a sexy lady. Shot on black and white 16mm film, GUN, HAT, GIRL… recalls film noir and its surrounding fantasies of nostalgic return. Shot on location in New York City’s Wall Street, Chinatown, Central Park, and Fifth Avenue, and Harlem, the film follows close-up action of hands wielding guns and heads wearing Fedoras. Other sections of the film stand on a bare stage in front of a large curtain. Lighting is used to great effect in the film to not only recall the film noir aesthetic, but also in conjunction with the film’s other elements, to illustrate the Godard directive that in order to make a film, “all you need is a girl and a gun.” Other influences on the film are: Atget’s photographs of Old Paris, the “bomb culture” montages of Bruce Connor, and John Baldessari’s early experimental films.

When completed, each section will be presented on a humble one hundred foot daylight spool of film, making the final form easy to handle, and easy to show. It is intended for small, attentive audiences, i.e. for microcinemas and art galleries. The entire series may be shown in many alternate ways: in a sequence which I have set; in any sequence the programmer/projectionist chooses; also, it can be shown singly, as one film from the set, or as an entire piece; and it can be shown as two or three films, etc. Because of the film’s interchangeable elements, their dispersal and reorganization are integral to its reception. Taking the formal qualities of film-as-film, the projectionist will act as a disc jockey, “sampling” the units, allowing for a kind of hybrid, open-ended time based experience, within a larger context.

LOW-KEY LIGHTING


EXT. STATEN ISLAND FERRY – NIGHT
Looking at Lower Manhattan when the ferry arrives.

EXT. STONE STREET – NIGHT
WIDE ANGLE

EXT. WALL STREET & WATER STREET – NIGHT
MS Waterfall public sculpture.

EXT. UNDER MANHATTAN BRIDGE – NIGHT
WIDE ANGLE.

EXT. FOOT OF MANHATTAN BRIDGE AT CANAL – NIGHT
MS Nighttime Market.

EXT. GRAND STREET HOTEL SIGN – NIGHT
MS EXTREME ANGLE UP at sign.

Insert: found footage of a gun being tossed on to a patterned bedspread.

INT. FREIGHT ELEVATOR – NIGHT
WIDE ANGLE looking up through grating as elevator rises.

INT. DARK HALLWAY – NIGHT
WIDE ANGLE CENTERED ON A LONG HALLWAY THAT IS DARK AT THE FAR POINT.

INT. DARK ROOM – NIGHT
The room is dark except for some light coming in through the blinds. The television is on, flickering. A light turns on in the bathroom illuminating the bed. There’s someone in it.

EXT. BOWERY – NIGHT
WIDE ANGLE SHOTS of empty street. Street lights illuminate the street in sections.

EXT. STRAUS SQUARE – NIGHT
WIDE ANGLE of the street that in the background has an elevated train and the entry to the Manhattan Bridge.

EXT. CITY BUILDINGS – NIGHT
WIDE ANGLE TRACKING SHOT DIRECTLY UP at skyscrapers passing by in MIDTOWN.

EXT. FDR DRIVE – NIGHT
WIDE ANGLE shot from the side of the busy road, the cars appear to be moving fast. Headlights, etc.

EXT. 41st ST & FIFTH AVE.
Gaping entrance to a mid-modernist building.

EXT. 57th ST & FIFTH AVE.
Gaping entrance to a modernist building.

EXT. 57th ST. & FIFTH AVE. – NIGHT
WIDE SHOTS of both empty streets.


EXT. FIFTH AVENUE AT 57TH ST. – NIGHT
The ground floor entrance to Tibor de Nagy’s Gallery.

INT. STAGE – NIGHT
WIDE SHOT of stage, there is a spotlight, curtain. The spotlight moves slightly.
A telephone starts ringing.


INT. PERFORMANCE SPACE, NIGHT
Insert of an old-time telephone.

EXT. CENTRAL PARK, RAT ROCK – NIGHT TO EARLY AM
The rock, with the cityscape behind it.
Further shots like this in Central Park, rosettes by Bethesda fountain, 86th St. West Side, and the Harlem Meer. The GIRL and the HAT meet near the West 86th St. entrance, briefly, as if planned.
Found footage of a man scrambling through underbrush.

EXT. ST. NICHOLAS AVE & 112TH ST. – EARLY AM
WIDE ANGLES, MEDIUM ANGLES: HAT moves in a directed manner on the sidewalk of this avenue quietly.

EXT. SAKURA PARK – DAWN
Hidden, THE HAT spots the GIRL walking quickly through a colonnade of trees. 
WIDE ANGLE, LOW MAN IN THE HAT follows the GIRL through the space.

There is a sound of a train whistle in the distance.

SCREAM


A woman’s scream that later sounds like a laugh. A gunshot. The sound of a body collapsing. Some kind of shuffling noises, muffled are heard. The jarring sound of a telephone ringing.


INT. PERFORMANCE SPACE, DAY
THE GIRL stands up slowly into frame, looking down at something offscreen. Her face is in shadow, so we cannot see her expression. She has a gun in her hand.
The telephone continues to ring. THE GIRL looks over her left shoulder toward the telephone. Her face is illuminated now.

INT. PERFORMANCE SPACE, DAY
REVERSE MEDIUM ANGLE  MCU Telephone. The GIRL’s hand comes into frame & picks up the receiver. There is a quiet muffled sound of someone speaking on the other end. She listens for a moment, then:

GIRL
(in a hushed voice)
                           
                            The garden is underground.


MEDIUM ANGLE GIRL hangs up receiver. She looks over her shoulder at:
REVERSE SHOT THE OLD MAN, who is splayed on the ground (with two canes), apparently dead. He is only partially in frame. Blood pours away from his body.

REVERSE SHOT THE GIRL takes a gun out of her handbag, checks it, & puts it back into her bag. She peers through the space between a door & its doorjamb. She exits.

EXT. FIFTH AVENUE– EARLY AM
The GIRL walks quickly across Fifth Avenue, and into Central Park.

EXT. CENTRAL PARK, RAT ROCK – EARLY AM
The GIRL passes quickly by this rocky area, almost not seen by the camera. HAT scrambles across the top of the rock, with the cityscape behind him. He looks over his shoulder, there is someone behind him, HAT THREE. HAT THREE grabs ahold of HAT’S ankle, from lower down on the rock. HAT struggles slightly, in a kind of slapstick manner, then HAT THREE falls away. HAT slowly gathers himself up and continues onward.

EXT. CENTRAL PARK, BETHESDA FOUNTAIN – EARLY AM
A montage of shots of rosettes of animals, etc. by Bethesda Fountain.

EXT. CENTRAL PARK, WEST SIDE, 86TH ST – EARLY AM
Further shots of the HAT running through Central Park, on the northern side, 86th Street, West Side. HAT FOUR is following HAT at a short distance. HAT FOUR has his gun out while walking quickly.
Found footage of men running and hiding in the landscape.

EXT. CENTRAL PARK, HARLEM MEER, 110TH ST & FIFTH AVE – EARLY AM
HAT moves to a hiding place and waits for HAT FOUR. When HAT FOUR comes up, he doesn’t see HAT and HAT jumps out and struggles with HAT FOUR. They wrestle, and HAT eventually shoots HAT FOUR. HAT FOUR falls to the ground, at the water’s edge.
Found footage of a sniper situating himself in the crook of a tree. There is a dead body on the ground.

EXT. ST. NICHOLAS AVE & 110TH ST. TO 123RD ST. – AM
HAT Rushes on the sidewalk, stopping four times at pay phones, apparently trying to get through to someone.

EXT. SAKURA PARK – AM
Hidden, HAT spots the GIRL walking at a pace somewhere between quickly and deliberately, as if she knows where she is going. The formal garden, somewhat overgrown, has a canopy of trees.  In the distance, a train whistle sounds three times.
WIDE ANGLE, LOW: HAT follows the GIRL through the space. They both disappear into the space of the garden.

There is the sound of a gunshot.

GUN


EXT. STATEN ISLAND FERRY – DAY
WS of Lower Manhattan as if about to arrive on the Ferry.

EXT. WILLIAMS & WATER STREET – DAY
MS of THE GIRL walking away from camera, in front of waterfall public sculpture.

EXT. FOOT OF MANHATTAN BRIDGE AT CANAL - DAY                                                  MS GIRL walking quickly on the side of the bridge toward Canal St. HAT follows her at a short distance.

EXT. CROWDED SIDEWALK CHINATOWN – DAY
THE GIRL moves through the crowd. MS of THE GIRL walking away from camera, centered on handbag. (POV HAT.)
INSERT SHOT of HAT’s hand thrust into the pocket of an overcoat. It is hiding a gun.
Handheld WS HAT walks quickly through the sidewalks of the lower Bowery, trying to keep up with THE GIRL.

EXT. STRAUS SQUARE – DAY
OTS, HAT steps into frame. His back is to us. He opens a matchbook from the bar Les Enfants Terribles. Inside, the number “6” is written.

EXT. BOWERY & GRAND – DAY
Insert shot of “HOTEL” sign.

Found footage of a man searching the upstairs hallway of the hotel, opening doors, and looking in.
FF of the inside of a door being opened, but stopping on the interior chain lock. FF of a man retrieving a gun from under newspapers & then hiding it again.

EXT. GRAND – DAY
INSERT SHOT of her handbag, with the gun almost falling out of it.
A sharp angle looking upward at the building.
WS HAT’S dutch angle feet cross the threshold of the building’s steps.

INT. ELEVATOR – DAY
CU OF HAT’S HANDS CHECKING A GUN.
A bell sounds with the elevator’s arrival at each upper floor.
Found footage of two men in a shootout in the stairwell.

INSERT SHOT of the floor number: 6. The elevator doors open.


INT. DARK HALLWAY – DAY
WIDE ANGLE CENTERED ON A LONG HALLWAY THAT IS DARK AT THE FAR POINT.
MEDIUM WIDE ANGLE of hallway’s left wall and the shadow of a gun leading the entrance of A GUN pointing into frame and then out the right side of the frame.
A handheld camera follows the MAN IN THE HAT holding the gun slowly as he creeps down the hallway. Shouting and gunshots are heard from the middle distance.

INT. DARK HALLWAY – DAY
POV MAN IN THE HAT proceeding down hallway. Once he arrives at the end of the hallway, he reaches out his left hand onto the corner of the wall adjoining the adjacent hallway. The camera pushes in from his point of view. Moving around the corner, the camera sees a door that is slightly ajar. We move closer to the door.
MCU MAN IN THE HAT is cautious, listening, looking around, considering his next step. The sound from Mr. Magoo “Convicts” can be heard from the room, otherwise it is quiet.
POV MAN IN THE HAT His right hand reaches out quietly pushing open the door. He is on the threshold of the room.

INT. DARK ROOM – DAY
The room is dark except for some light coming in through the blinds. The television is on, flickering. He reaches in and turns on the light.
Found footage of Mr. Magoo “Convicts.” FF of bodies on the floor.

CU of a GUN raised high in the air, coming down fast.

POV of MAN’s perspective as he falls down forward, on to the floor.



FADE TO BLACK