Wednesday, November 30, 2016

Jack Klugman And The KO Kids


Jack Klugman
"Gentlemen, you are about to enter the most important and fascinating sphere of police work: the world of forensic medicine, where untold victims of many homicides will reach from the grave and point a finger accusingly at their assailant." (Jack Klugman as Quincy M.E.)
* * *
"Don't point that finger at me unless you intend to use it." (Jack Klugman in The Odd Couple)
* * *
We were pounding away on sample chapters for Sten when the phone rang. It was Larry Grossman, our brand new agent. (I'll tell you how that happened down the line.)

Chris hit the speaker button in time for me to hear: "Guys, I've been thinking about our problem, and I may have come up with an avenue to explore."

The "Problem" was a series of no sales for movie scripts we were churning out. It wasn’t that the scripts weren’t any good. On the contrary, they got us noticed all over town. They not only landed us Larry as an agent but opened the doors to many production offices where the scripts were being optioned on a fairly regular basis.

 But after that - Nada. And there they languished in Option Hell, waiting for somebody to say, "Let's shoot that sucker!"

Chris said, "Sure as shit hope so, Larry. If this keeps up the IRS will declare our work area a fucking Hobby Zone?"

"Two words," Larry said. "Television."

I automatically blurted, "That's one word, Larry."

Chris rolled his eyes at me - Cole, the stickler for detail.

Larry said, "In this Town, it's two words: Fucking Television. But the 'Fucking' part is understood."

Chris said, "What're you suggesting." 

"Just that," Larry said. "Write for television."

"What about our movie scripts?" I said - a little stunned. Television? What the hell?

Larry sighed. "Guys, don't get me wrong. They are all wonderful scripts. But, you have to be realistic about this. The odds against actually selling a movie script without a track record are enormous. And even after you sell it, the chances that it will ever be made into a movie are even greater. And even then, even with recognized pros the average time between a script sale and a movie being made is ten years. Sometimes more."

Chris was getting hot. I wasn't far behind. He said, "What're you suggesting, Larry? That we pack it the fuck in?"

"No, no, not all," Larry hastened to say. "All I'm saying is that if you guys want to make a living at this, that you ought to consider working in television."

"I hate fucking television," Chris said.

"Everybody does," Larry agreed. "But that's where most of the employed people in this Town work. Also, the employment - although seasonal - is fairly steady."

"What about our movie scripts?" I demanded.

Larry said, "Right now they are your best chance of getting a job in television. Any producer who reads them is going to know right off that you have the talent and the dedication." He paused. "But you're going to need to do something more than just show them a good movie script."

"Like what?" I asked.

"Write a spec script for their show," Larry said.

"You mean write for fucking free?" Chris asked, outraged.

Larry said, "You're already writing for free. All those movies. And what about your book? Colt? Or Derringer? Or, whatever it is called."

"Sten," I said. "Which is also a gun. A machine gun, actually, that happens to be the name of our hero."

"Right… Sten," Larry said. "You're writing Sten for free, true? All in the real hopes of a sale down the road."

* * *


As usual, Larry was right on the money. Or lack of same. We'd talked him into letting us use his letterhead when we blanketed all the science fiction houses in New York with a query letter pitching the Sten series - which we saw as twelve novels back then, instead of the eight it turned out to be.

Last episode I told you about the format we used for query letters. Three graphs. No more than one page. And the last graph said: "May we send sample chapters and an outline of our novel series." 

But using Larry's letterhead we could change that to read: "May we have our agent send sample chapters and an outline of our series." A big damned difference - even though Larry wasn't a book agent - which we'd have to get later on - he was a legit agent, with a sterling reputation.

Anyway, that query letter for Sten had drawn maybe eight or nine positive replies. One thing: There were no sample chapters, much less an outline. We hadn't written them yet. Now, we had to deliver, and deliver fast. Thank the Gods Of Ink-Stained Wretches And Other Fools that we were fast writers. Because we had to get the chapters and outline in the mail PDQ before they forgot all about us. An editor's attention span in circumstances like that is about the length of a fruit fly's life span...

* * *


... Where Larry's words were sinking in. Way, Way In. To get through the gates of one of the studios, we were going to have to hold our noses and-

"Wait a minute," Chris said. "I don't even watch fucking television. Shit, my folks didn't get one until I was twenty years old and in the Army."

I confirmed this. "He's right, Larry. And the only reason they bought the set is because I sold it to them for twenty five bucks. Chris was home on leave and we had spent all our money on - you know - and his dad felt sorry for us."

"Damned thing was half dead," Chris said. "My dad said he'd buy the sucker if it worked, so Cole stuck the antennae in his mouth and bingo, the picture came in clear as… well. Anyway, there was a picture." He chuckled at the memory. "Next day it died for good, but now my old man was determined to show he hadn't been taken so he bought fifty, sixty bucks worth of tubes and fixed it."

"He still barely speaks to me," I said.

"And then only when he's in his cups," Chris added.

Larry was only half-listening. He said, "What about you, Allan? What are your favorite shows?"

"I'm not so far off from Chris on the TV-watching front," I said. "I grew up overseas in places where you could only get radio. And half the time the Russians were jamming it." 

Larry's voice took on an insistent tone. "However you do it, guys, my best advice to you is to watch a few programs. Really study them. Then write a couple of spec scripts. If you really want to work in This Town, that's the price you'll have to pay."

After some moaning and groaning, we grudgingly agreed we would try, then got off the phone. We dragged the morning newspaper out of the trash, found the TV guide and picked a couple of shows. We agreed that Chris would watch one and I'd watch the other, and that we'd discuss them the following afternoon.

I should mention that we at least both owned TV sets: Chris because his Ex-Wife liked to watch television and didn't take it with her when she left, and me because I needed one for when it was my turn to have my kids over for the weekend. (They came up once a month by train from San Diego, where my own Ex had moved.) 

That night, after Kathryn and I had dinner, I dutifully switched on my electronic fugitive from a pawn shop - staying well back during the warm up stage, since it tended to shoot sparks. When things steadied out, I turned to the assigned show and started to watch.

An hour or so later Kathryn shook me awake and I sat bolt upright on the couch. Other than the Fade In and the first commercial, I'd slept through the entire program.


"I tried to wake you, sweetie," Kathryn said. "But you just kept saying, 'In a minute, in a minute,' but the minute never came."

The problem was that I had to get up at three every morning to make my job as Wire Editor of the Santa Monica Outlook. It was a tough shift - 4 a.m. to noon - but it gave me from 1 p.m. to 7 p.m. to work with Chris. We banged away Tuesday through Friday. I got a break on Saturday - I only had to work at the newspaper, not with Chris. I had Sunday and Monday off from the newspaper. Slept Sunday. Worked a full eight hours with Chris on Monday. So, that's 40 hours at the newspaper and 32 hours with Chris.

Which equals…

Well, never mind. I get tired just thinking about it. Bottom line: I was always on the edge of complete exhaustion and would fall asleep - suddenly, and deeply - at the slightest pause in the action of living. If there was a wall to lean against, I'd learned the trick every swabbie and grunt the world over knows and catch a nap standing up. Fortunately, my sole transportation was a motorcycle, or I might have nodded off while driving.

Shamefaced, I reported my failure to Chris the following day. But, he was no better off. He'd been reading, he said - had even set an alarm so he'd know when to stop and switch on the TV. Unfortunately, the book was so interesting that when the time came - and the alarm buzzed - Chris had absently shut it off.

Several days passed - all without success. And then Chris put his finger on another problem:

"We really ought to be watching this shit together," he said. "But I'll be damned if I'll drive to your place just to watch TV, and if you were stupid enough to do the same I'd take back my introduction to you."

"What we need," I said, "is one of those video recorders. We could record the programs at night, then speed through them together at work the next day."

Chris sighed. "Yeah, but I'm so broke the Eagle on my Last Quarter is flying on one wing."

He'd just had to pay out a bundle to his Ex, who had demanded a half share of everything he'd written - or any notion he'd put on paper - since they got married. In the end, our very clever attorney - Marshall Caskey - negotiated a buyout settlement. Even so, it would be a while before Chris had any spare money in his jeans. (More about The Amazing Possum-Eating Caskey down the road.)

Buying a VCR was no quick trip to Wal-Mart in those days. The cheapest version - made by somebody like the Singer Sewing machine company, or something ridiculous like that - went for $300. (About $1,336 in today's dollars.)

Fortunately, I'd just done a manual for the Yamaha trail bike for Peterson Publications and for a change had a few bucks to spare.

I sprang for the VCR.

Every night I'd set the timer, tape a likely show, and the next day Chris and I would zip through it at high speed, noting premises, regular characters and the type of stories they told.

Even so it was wearisome.

Chris would sigh and say, "I’m getting warts."

And I’d reply, "Big deal. My warts are getting warts."

And he’d say, "Tell me about the yachts, Cole."

And I’d say, "If we can crack this nut, Bunch, we’ll be farting through silk."

And he’d look insulted and say, "I was talking yachts. Why’d you go all scatological on me."

And I’d end the gripe session, saying, "This is the last one. When we finish, I’ll pour us a Scotch." (We hadn’t invented Stregg yet.)

That would be on a Monday. On a Tuesday, the positions would be reversed and I'd do the griping and he’d pour Scotch on troubled waters.

Finally, one show in particular, caught our attention - Quincy, M.D.,  starring Jack Klugman, a great character actor who had blown us both away years before in Sidney Lumet 's 12 Angry Men. There were many more great roles after that, including a couple of Twilight Zone episodes, even Chris and I had caught, as well the TV version of the Odd Couple, with Klugman and Tony Randall. 

Quincy was unusual at that time because in those pre-CSI and Bones days it was a show about a coroner - a pretty gritty subject for the Networks back then. The other unusual thing is that Klugman not only insisted on total accuracy but he loved stories that were "About Something." An injustice revealed. A wrong righted.

I called Larry the next day to tell him that we wanted to take a crack at Klugman's show.

Larry said, "What a coincidence, Allan. Have you seen today's Variety."

We hadn't. The mail came late in our neighborhood.

"Well, there's a big story about Jack Klugman and Quincy," Larry said. "The gist of it is that Jack is lashing out at the Studio and Network again. He says they're sending him nothing but tired old hacks to write for his show and he wants fresh ideas - Fresh Blood."

"Does he mean it?" I asked. I might have been a Hollywood newbie, but I'd been a newsman for fourteen years and had waded through bullshit my entire career.

"Not only does he mean it," Larry said, "but he's put the word out to all the agencies that he'll consider any new young writer for his show - the less of a track record, the better. "

Well, that was us all over. Although, at 35, we didn't consider ourselves young anymore. (Looking back, I can see now what red ass kids we really were.) 

I reported all this to Chris, who was - if not delighted - encouraged. All objections to TV were momentarily edged aside. We sat down and really put our heads to coming up with a good story for a spec Quincy script.

In the end, we decided on a tale about a boxer. (For reasons that will be clear in the next episode of this MisAdventure.) We stumbled upon an old news story about a boxer who suddenly became violent in the hours after a bout, and then died. Another man was held briefly as a murder suspect. But it turned out that the man's death - and violent behavior - had been triggered by an aneurysm in his brain's frontal lobe.

In the Bunch & Cole version of the story, an old time boxer loses a crucial match to a kid everyone thinks is a definite contender. Quincy, a boxing fan, is at the match. Later, the winner is at a club celebrating with his girl and entourage. The loser enters. Gets a drink. Goes over to the winner - as if to congratulate him - but then suddenly attacks him. The kid blocks the punch, pushes the guy away, but before anything else happens the loser suddenly keels over - dead.

The boxer is arrested for murder. Enter Quincy. Add more complications - the kid's shady background, some Wise Guys, etc. And there you go.

Sent the script to Larry, who sent it over to Klugman's office at Universal Studios.

A week later the great man himself got on the phone to our agent.

"I like your boys' style," Jack Klugman reportedly said. "Have them come on in and meet my people."

The meeting was set for the following week, but already we could see ourselves on our bikes, thundering up to the Gates Of Universal Studios – the Infamous Black Tower looming overhead - ready to take on the world.



Can't wait to read the blog each week? No problem. Click the following link and buy the book. 

Tales Sometimes Tall, but always true, of Allan Cole's years in Hollywood with his late partner, Chris Bunch. How a naked lady almost became our first agent. How we survived La-La Land with only the loss of half our brain cells. How Bunch & Cole became the ultimate Fix-It Boys. How an alleged Mafia Don was very, very good to us. The guy who cornered the market on movie rocks. Andy Warhol's Fire Extinguisher. The Real Stars Of Hollywood. Why they don't make million dollar movies. See The Seven Pi$$ing Dwarfs. Learn: how to kill a "difficult" actor… And much, much more.

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Ever since my British publisher put all eight novels in the Sten series in three omnibus editions, American readers have been clamoring for equal treatment. 

Well, my American publisher – Wildside Books – was listening and is issuing all three omnibus omnibus volumes on this side of the Atlantic. Sten Omnibus #1 was published 
last month. Sten Omnibus #2 debuts this week. Stay tuned for the publication for Volume Three. 

THE TIMURA TRILOGY: When The Gods Slept, Wolves Of The Gods and The Gods Awaken. This best selling fantasy series now available as trade paperbacks, e-books (in all varieties) and as audiobooks. Visit The Timura Trilogy page for links to all the editions. 

NEWLY REVISED KINDLE EDITIONS OF THE TIMURA TRILOGY NOW AVAILABLE. (1) When The Gods Slept;(2) Wolves Of The Gods; (3) The Gods Awaken.



A NATION AT WAR WITH ITSELF: In Book Three Of The Shannon Trilogy, young Patrick Shannon is the heir-apparent to the Shannon fortune, but murder and betrayal at a family gathering send him fleeing into the American frontier, with only the last words of a wise old woman to arm him against what would come. And when the outbreak of the Civil War comes he finds himself fighting on the opposite side of those he loves the most. In The Wars Of The Shannons we see the conflict, both on the battlefield and the homefront, through the eyes of Patrick and the members of his extended Irish-American family as they struggle to survive the conflict that ripped the new nation apart, and yet, offered a dim beacon of hope.



A True Story About A Boy,
A Teacher, And Earthquake,
Some Terrorists And The CIA

LUCKY IN CYPRUS is a coming-of-age story set in the Middle East during the height of the Cold War. An American teenager – son of a CIA operative – is inspired by grand events and a Greek Cypriot teacher. 

He witnesses earthquakes and riots and terrorist attacks, but in the end it is his teacher’s gentle lessons that keep him whole.

Here's where to get the paperback & Kindle editions worldwide: 

Here's what readers say about Lucky In Cyprus:
  • "Bravo, Allan! When I finished Lucky In Cyprus I wept." - Julie Mitchell, Hot Springs, Texas
  • "Lucky In Cyprus brought back many memories... A wonderful book. So many shadows blown away!" - Freddy & Maureen Smart, Episkopi,Cyprus. 
  • "... (Reading) Lucky In Cyprus has been a humbling, haunting, sobering and enlightening experience..." - J.A. Locke,



What if the Cold War never ended -- but continued for a thousand years? Best-selling authors Allan Cole (an American) and Nick Perumov (a Russian) spin a mesmerizing "what if?" tale set a thousand years in the future, as an American and a Russian super-soldier -- together with a beautiful American detective working for the United Worlds Police -- must combine forces to defeat a secret cabal ... and prevent a galactic disaster! This is the first - and only - collaboration between American and Russian novelists. Narrated by John Hough. Click the title links below for the trade paperback and kindle editions. (Also available at iTunes.)


A novel by Allan and his daughter, Susan

After laboring as a Doctors Without Borders physician in the teaming refugee camps and minefields of South Asia, Dr. Ann Donovan thought she'd seen Hell as close up as you can get. And as a fifth generation CIA brat, she thought she knew all there was to know about corruption and betrayal. But then her father - a legendary spymaster - shows up, with a ten-year-old boy in tow. A brother she never knew existed. Then in a few violent hours, her whole world is shattered, her father killed and she and her kid brother are one the run with hell hounds on their heels. They finally corner her in a clinic in Hawaii and then all the lies and treachery are revealed on one terrible, bloody storm- ravaged night.

BASED ON THE CLASSIC STEN SERIES by Allan Cole & Chris Bunch: Fresh from their mission to pacify the Wolf Worlds, Sten and his Mantis Team encounter a mysterious ship that has been lost among the stars for thousands of years. At first, everyone aboard appears to be long dead. Then a strange Being beckons, pleading for help. More disturbing: the presence of AM2, a strategically vital fuel tightly controlled by their boss - The Eternal Emperor. They are ordered to retrieve the remaining AM2 "at all costs." But once Sten and his heavy worlder sidekick, Alex Kilgour, board the ship they must dare an out of control defense system that attacks without warning as they move through dark warrens filled with unimaginable horrors. When they reach their goal they find that in the midst of all that death are the "seeds" of a lost civilization. 



Venice Boardwalk Circa 1969
In the depths of the Sixties and The Days Of Rage, a young newsman, accompanied by his pregnant wife and orphaned teenage brother, creates a Paradise of sorts in a sprawling Venice Beach community of apartments, populated by students, artists, budding scientists and engineers lifeguards, poets, bikers with  a few junkies thrown in for good measure. The inhabitants come to call the place “Pepperland,” after the Beatles movie, “Yellow Submarine.” Threatening this paradise is  "The Blue Meanie,"  a crazy giant of a man so frightening that he eventually even scares himself.