And When You’re Pitching This Script, Make It Clear That Brooklyn Itself Is A Character

In the literary free-for-all that the “mafia cop” trial has become, Brooklyn itself becomes a character:

It could be argued that one of the most intriguing characters in the trial of Louis J. Eppolito and Stephen Caracappa is not a person, but a place. As absorbing as the witnesses, the lawyers and the two defendants is the borough of Brooklyn, which has arisen in the trial as something like an empire of the ill-fated and often illicitly employed.

Countless times, Brooklyn — or specifically southern Brooklyn — has been painted as a universe of two-bit deals and three-time losers, of gangster bars and catering halls and auto-body shops. It has come to seem in testimony like a world where people are forever swapping envelopes of cash and owing money to their loan sharks and their mothers — a world of which a witness could say, without a whiff of irony, “I was having some bad times and I committed bank robbery,” or “a few times back in the 80’s people paid me to make their cars disappear.”

. . .

Countless times, Brooklyn — or specifically southern Brooklyn — has been painted as a universe of two-bit deals and three-time losers, of gangster bars and catering halls and auto-body shops. It has come to seem in testimony like a world where people are forever swapping envelopes of cash and owing money to their loan sharks and their mothers — a world of which a witness could say, without a whiff of irony, “I was having some bad times and I committed bank robbery,” or “a few times back in the 80’s people paid me to make their cars disappear.”

Backstory: Alan Feuer’s other article about the literary flavor in a murder trial; Feuer is obviously making notes for a wonderful script and/or novel.