In 1980s Detroit, a ten-year-old boy comes of age when his father decides he’s ready to run an errand for the family “business”.
David Chrzanowski (Director/Writer) is a Los Angeles based emerging film director. David's interest in storytelling revolves around generational traumas and the invisible bonds that families grapple with. He recently directed episode #8, 'Terror at 40,000 Wreaths' for Burnt Orange Media. David has extensive directing credits on stage, most recently 'Mr. Burn's, A Post-Electric Play', in partnership with The William Inge Festival in Independence, KS. Now, with his recently formed company, False Dice Pictures (along with partner Allison Sanchez), David hopes to give voice to stories and creatives who haven't traditionally had the odds of succeeding in Hollywood on their side. He is represented by Shirley Hamilton Agency (Chicago).
Synopsis It’s the summer of 1984, and ten-year old Alex is meeting up with his father in a near-empty Detroit dive bar. They’re moving to Florida and Alex is feeling nervous — asking his only friend, an adult bartender, questions about what it will be like — when Franco, late as usual, sweeps in with his chaotic charm to assuage Alex’s concerns. It’s an adventure! Isn’t Alex ready for a change? Ready to be a part of the family business? Speaking of which, a phone call to the bar reveals that something’s not right with a package pick up. We see a flash of the bubbling heat under Franco’s laid back demeanor. He doesn’t react well when people fuck things up. But...new plan! Here’s Alex’s moment to prove himself. He’s not scared, right? All he has to do is go to the phone booth a few blocks away to grab a bag! A very important bag — a bag you don’t mess around with. Can Franco trust him? Of course he can. Alex would never let him down. Making his way through a crowded street fair, Alex sees danger around every corner. Is that suspicious man following him? Does that woman have a gun? But no, he makes it to the drop point unharmed. Gets the bag — avoids the burning curiosity of looking inside — and gets back. He’s practically a superhero when he triumphantly walks through the entrance with the package. Franco couldn’t be prouder of Alex. He tells him all the fun they’ll have in Florida — the opportunities, the adventure — while he dumps out the contents of the bag, some seven kilos of cocaine, onto the table. Alex takes off his shirt. Franco begins duct taping the kilos around Alex’s middle. They’re in for big things, the two of them. The sky’s the limit. And drugs secured, hidden under Alex’s oversized sweatshirt, they say their goodbyes to Schultz. As Alex takes his father’s hand, it’s him and Pop against the world. Bolstered, they walk out of the dingy bar and into his future — squinting into the bright, light of day.
"It is time, I think, that we who are without kings, took up this bright thread of our history and followed it to the only place it can possibly lead in our time...
The heart and spirit of the average man."
-Arthur Miller, Tragedy and the Common Man
American realism and the stories around the American experiment are the reason I continue to believe in magic. I can still vividly recall the day in high school when we watched the Dustin Hoffman version of "Death of a Salesman" by Arthur Miller. Not completely understanding what I was feeling at the time, I remember being rocked by the scene in which brothers Biff and Hap leave their old man drunk and babbling to himself in a public bathroom. I was always close with my old man. I found myself becoming more curious about our other great storytellers: O'Neill, Hellman, Odets, Shepard, Wilson,Parks and kinda just hung around looking for any chance to work on great stories.