For the longest time, this script was the winningest screenplay on Moviebytes.com - won 11 competitions: and was 2nd place in 5 others. Originally it was a dream. Try waking up and telling your significant other the reason why you're laughing is because you dreamt a Jim Brown-like character tried to redeem himself on the football field years after retiring by jumping on the football during an active game and he did it naked. A second Walter Matthau-like character emerged who generated the most influence in the story. Until SOUTH OF MAIN STREET came along, this was my most successful script and although this was, at one time, my most successful script, it only took a month to write. The script won Fade In Magazine, Woodshole Film Festival, Split-Screen Competition, Telluride Indiefest, Zoiefest and Seventh Dimension Competition. It also came in second place at the Phoenix Film Festival, Hollywood Scriptwriting Institute, Pocono Mountain Film Festival and Breckenridge Festival. In total, Hat Trick has placed in over 100 screenplay, festival and theatre competitions since retiring.

Here is the logline:
A retired cop streaks naked down the field during the present-day Army/Navy game believing his heroics will atone for a fumble he made decades ago during the same football classic. Although he takes his two friends on this wacky gridiron adventure proving life in retirement is anything but sedentary, dozens of security guards await him on the playing field, and it will be a friggin miracle if he makes it into the end-zone.

Click here for the Hat Trick synopsis.
Click here for the Hat Trick Screenplay.
Click here for the 27K word Hat Trick Novella.

A Testimonial>>> HAT TRICK is one of those rare masterpieces that come along once in a blue moon as a busy professional analyst and consultant I have to read over 250 scripts a year. The last time I read something that made me both laugh and cry with such emotional intensity was a piece called Rainman by Ron Bass ... this guy is that good! By Mike Donald, a Script Analyst Par Excellence! A quick click and you're visiting him in England

The rest would be considered as drama, I suppose. I tried to keep the foul language down; there is no sex so they all could be considered 'family' movies except for "Terror on the Run" because of the violence involved in it.

5) Going Solo, a Feature Screenplay

Once Hat Trick was completed, Lois, my wife, saw a documentary where an older, mainstream actress, complained about the scarcity of scripts for actors getting up in age. This prompted me to accommodate three women in their 50s or 60s (or older perhaps). This script placed in a dozen or so writing competitions. Some of them are, Tennessee (TSA), Writer's Digest, Chesterfield (Paramount sponsored), Cinestory, Writer's Network, plus more. Now, quite unexpectedly, a friend of mine from high school, Drew Keil, a community theatre actor on Long Island - a wonderful thespian - and a writer for over 30 years, had an idea to change Going Solo. Much to his credit, the re-write of Going Solo wasn't a rewrite at all. It became a unique project that took on a life of its own. So, I retired my version of Going Solo, and I'm presenting the work Drew and I spent over a year working on as a collaborative effort. Good thing. Since his involvement it has won the stage play category in the Chicago Screenplay Contest, American Movie Awards and London Film Awards.

Here is the logline:
An agoraphobic mom who works at home with two middle-aged, love-starved friends discovers her estranged daughter will perform a solo at Carnegie Hall, so how the heck is she going to travel the scary streets of New York City when she cannot even walk 30 paces to get the mail?

Click here for the Going Solo synopsis.
Click here for the Going Solo Screenplay.
Click here for the Going Solo 23,347-word Novella.

6) Boo Hoo Flanagan, is a 108 page Feature Screenplay, and a 31K word novella

I befriended WC Pinkston when both of us were auditioning for work (acting) in Philadelphia. I wrote one of the script's main characters, CW Gavin, for WC Pinkston (note the reversal of WC). I was to play the other main character, Boo Hoo Flanagan. As fate would have it, Mr. Pinkston and I got busy doing other things, but we keep in touch and explore ways to get the script into the right hands.

Here is the logline:
A black officer in personal turmoil coaches the inmate basketball team and finds the strength and motivation he needs, both in life and on the job, in an aging, white, crippled inmate who shoots three-point baskets better than anyone has ever seen. Or The Longest Yard except it is basketball with a little Shawshank Redemption thrown in.

Click here for the Boo Hoo Flanagan Synopsis.
Click here for the Boo Hoo Flanagan Screenplay.
Click here for the 31K word 'Boo Hoo Flanagan' Novella.

7) My Mother Has Agoraphobia - is a 111-page Feature Screenplay and a 25K word novella

I worked on this way back (2002, actually) and I abandon it because Drew Keil came on board and worked his magic on it. Since he gave me the go ahead to resurrect it, I did so and kept the original premise that Debbie was not only agoraphobic, but she worked out of her house as a beautician. I changed the name from Going Solo to My Mother Has Agoraphobia, since the story does surround her malady. Having said the above, have a good read. The logline and one-page synopsis reads the same as Going Solo.

Here is the logline:
An agoraphobic mother works at home as a beautician with two middle-aged, love-starved friends and discovers her estranged daughter will perform a solo on the cello at Carnegie Hall; How is she going to see her daughter play in New York City when she can’t even walk 30 paces to get the mail?

Click here for My Mother Has Agoraphobia synopsis.
Click here for My Mother Has Agoraphobia Screenplay.
Click here for the 25K word 'My Mother Has Agoraphobia' Novella.

8) Terror on the Run, is a 108-page Feature Screenplay and a 24K word novella.

Who hasn't been affected by 9/11? This tragic event spurred all sorts of emotions, and this story is the end result of my physiological struggle I had, and this is how I dealt with it, by writing a screenplay to get my frustrations out.

Here's the logline:
How do you wipe out a terrorist organization who is training in the heart of Iraq while also inspiring Arab Sultans in the Mid-East to join with Western nations in a global war against international terrorism? Our heroes do it.

Click here for the 'Terror on the Run' synopsis.
Click here for the 'Terror on the Run' screenplay.
Click here for the 24K word 'Terror on the Run' novella.

9) Corporate Policy is a 109 page Feature Screenplay and a 34K word novella,

In 1992 and '93 I struggled with the worst nightmare of my AT&T career which was a downsizing process which gnawed at my psyche. Forced to adhere to a new corporate policy of rating half the work force into the average or below categories, I had to reverse my mid-year reviews of a couple of people who worked for me into a lower rating they deserved. That following March there was a massive layoff whereby the people selected to leave were those folks ranked in average or below categories, the very category I was forced to put those unfortunate people who I had to score less then they derserved.. Even though the people who worked for me found other jobs within the company, this left me with a terrible feeling that job security in the workforce would never be the same as it was when I first signed up with Ma Bell for life. This script is the result of that experience.

Here iss the logline:
Greedy executives of a large corporation implement an illegal downsizing process, and they would have gotten away with it, but they did not count on a desperate employee whose courage and family loyalty proves much stronger than any of their corporate policies.

Click here for the Corporate Policy Synopsis.
Click here for the Corporate Policy Screenplay.
Click here for the 34K word ''Corporate policy' novella.
Click here to order the 34K-word 'Corporate policy', novella hardcover or kindle or paperback. Or cut and paste the following into the URL window of your search engine if amazon refuses to connect: https://www.amazon.com/Corporate-Policy-Robert-Gately-ebook/dp/B0BNJXS1GS/

10) The Gods of Bell The Gods of Bell is a Feature Screenplay

The 'Gods of Bel' script kind of snuck up on me. Unlike the novel I published under the same name in the late 70s, this work evolved into a sequel to the book. It is also a more mature look at the dramatic possibilities of events stemming from two nut cases who have access to the long-distance telephone network during a time when eavesdropping was much easier; before divestiture, that is.

Here is the logline:
When a telephone worker invades the public's privacy by using the telephone lines to find the man who killed his wife, he inadvertently becomes a pawn in a twisted tale of espionage and intrigue.

Click here for the 'Gods of Bell' synopsis.
Click here for the 'Gods of Bell' Screenplay.
Click here for the 34K word the 'Gods of Bell' novella.

11) South of Main Street South of Main Street is a 125 page screenplay and a 94Kword novel

After writing the novel based on the same name, I was plagued with the idea of writing the screenplay. It was a journey of love and it sat on the shelf as a 180 page epic that I was touting as a mini-series. In spite of its size, it won the Spirit Quest Film Festival in 2010, but I was determined to reduce the size and finally, at 118 pages, it is production-ready as a 2-hour feature.

Here is the logline:
Recently widowed, an emotionally challenged dad must prove he is normal, or be judged by the legal system as incapacitated when his daughter sues for financial control of the estate. (Christmas time)

Click here for the 'South of Main Street' Synopsis.
Click here for the 'South of Main Street' Screenplay.
Click here for the 94K word 'South of Main Street' novel.

12) Get the Hell Off Get the Hell off many Short Screenplays

Based on a joke I never get tired of telling, this story evolved into a multiple-page short screenplay. Originally set outdoors, it was moved into a living room so the skit could be performed on stage as well as on film. We made 5, 6, 7, 8 9 and a 1-page script(s). Contact me if you'd like to see any of the other scripts on gately@verizon.net

Here is the logline:
Ever try and control an eight-year-old boy's mouth? One mother tries and nearly loses her mind. Or, A mother's dim wit, a child's mischievous behavior and a father's blasé attitude on child rearing clash in harrowing experience that has the mother close to a nervous breakdown.

Click here for the 'Get the Hell Off' synopsis.
Click here for the 'Get the Hell Off' Screenplay

13) The Barking Spider, a Short and Feature Screenplay

I wrote The Barking Spider with my wife. It's inspired by our grandchildren and great-grandchildren. There is really nothing I can say except this was a labor of love.

Here is the logline:
Floored by depression when his wife dies, Joe's 32 year-old addicted and pregnant daughter appears on his doorstep and, while she provides more drama then he can handle, his soon-to-be-granddaughter will give him reason to embrace a happy life again.

Click here for 'The Barking Spider' Synopsis.
Click here for 'The Barking Spider' Short 29-page Screenplay.
Click here for 'The Barking Spider' Feature Screenplay.
Click here for 'The Barking Spider' 31K word Novella.

14) An Ordinary Hero, a Feature Screenplay (first in a trilogy)

This is possibly my most ambitious piece in that it's a true story where I interviewed one of our great, unsung heroes for over a year to gain insight to his journey. I can't say much about it for he and his family's safety, and me and my fmaily's safety, is more important than advertising our accomplishment. I will give you the logline, but the synopsis and script must remain out of the public eye until I can gain mainstream interest. The non-fiction book is finished and ready for print, and was almost published, but the ultimate veracity of the fantastic tales written in the book was more than a publisher wished to tell for, after all, "who is Robert Gately and, more to the point, who is Kazmi". Well, his anonymity is still in tact and his, and the safety of his family, is of primary importance. Having said this, I have also finished the first feature of what should be a trilogy.

Here is the logline:
Kazmi had everything to live for in Pakistan: riches, honor, respect of his countrymen, and love of family. So, why did he risk it all to become an American FBI and DEA informant?