MOLOTOV CITY BLUES
Molotov, a metropolis riddled by corruption and crime, where mobsters, bankers, and city officials collude to run the city, clean the streets of the poor, the derelict, the petty criminals, and make themselves rich by manufacturing, distributing, and selling from drugs to body parts, and everything in between.
In the midst of this dark city where the aflluent live well, isolated from the burroughs across the river, two honest cops in a guttersnipe world.
Miles, ace driver, top-notch shooter, is a relic from the Disco Era, the music playing from their patrol car; his partner, Pogo, an unreformed punk.
They patrol the streets where the poor snatch pedigreed dogs from the rich for food, where FUN drugs are sold at concert stadiums to pacify the fans, where protest marches are quickly quelled, where petty criminals are brutally handled or killed by the police, while Banks, Organized Crime, and a new power-hungry Mayor, manage Big Business as a Team, or Consortium, to eradicate any and all opposition or rivals.
A chink: Pogo’s brother, Leonard Pegaso, an ambitious outsider, who owns and manages a transport company.
We ship. Anything. Anywhere. Anytime.
Successful in transporting arms, drugs, vital goods from war zone to war zone, he has now returned to Molotov to expand his business on a local
and national level. He is making waves, growing increasingly ambitious, powerful, so the Consortium makes several attempts on his life after warning Pogo to speak to him, have him cooperate.
But both men are rebels, loners, as is Miles.
Only Leonard is shot, hospitalised, in a coma induced by his niece, Pogo’s daughter Natascha, who has a defense-and-security-related research company in Sweden. Her start-up financed by Uncle Leo, she returns to Molotov to take over his business, keep Leo coma-induced, and further their interests mightily, despite her father’s warnings. Pogo is, in fact, from the same old neighbourhood of the de facto heads of the Consortium: Johnson, Santantonio, Liebovitz.
Pogo and Miles patrol, intervene on crime: the homeless nabbed from the street by Sanitation Dept and sold for body parts, in collusion with the Consortium; students marching for the cancellation of student loans, with police cracking down hard; a teacher made redundant holding up a class;
expensive paintings being copied, replaced, and resold – and here, Pogo’s sometimes-girlfriend, Louise, an artist who runs Lou’s Diner, the cops hang-out, is involved, with Pogo so close to discovering the truth he doesn’t want to know.
There is also a sniper, more than one; some dressed like Pogo, the intention being he will by shot by mistake, or even intentionally, by his own colleagues in a cover-up. And Miles. Big, slow, placid Miles, who reads philosophy, after yet another unjust incident, shoots an arch-criminal, released, unconvicted, by a corrupt jury and judge.
But he, too, folds; throughout, they two cops are reminded they, too, are vulnerable; Miles has a daughter, and two grandchildren; Pogo, his daughter, and brother, Leo, with whom, as several scenes depict, has little reason to be loved by Pogo.
Miles folds, goes along, while Pogo takes beatings, literally and morally, from all sides. Louise he discovers for the art fraud; she has her reasons he seems to accept. Natascha, a power-hungry Young woman he calls a monster, is pushing for the increased militarization of the Police Department, and the Mayor is soon infatuated with her beauty, her brains, her naked ambition. He proposes to her.
Everywhere, the mad dash for money, power, more money; and all Pogo wants to do is play his music, walk the streets, a punk with a badge, and a mission: survival in a guttersnipe run by rats.