Our screenplay

 (Title work in progress) ROUGH DRAFT 


INT.  DETECTIVE HOFFMAN’S HOME 

We open to a shot of a sink with water running. Blood slowly emerges in the water as eerie music plays louder and louder until it is cut off by the sound of DETECTIVE HOFFMAN’S morning alarm. A shot of HOFFMAN’S messy room is shown with papers, shoes, trash bags lying around. He turns off his alarm and checks his phone. Another shot of DETECTIVE HOFFMAN brushing his teeth and putting on a ring is shown. His face is not shown throughout these shots.

                                      CUT TO:


EXT. OUTSIDE POLICE STATION

DETECTIVE HOFFMAN drives up to DETECTIVE REYNOLD’S who is waiting outside


DETECTIVE HOFFMAN

Reynolds! It’s my day off and you page me. 


DETECTIVE REYNOLDS

I know, I know


DETECTIVE HOFFMAN 

You know my rule. My day off, my pager off


DETECTIVE REYNOLDS

Well then you shouldn’t have been a detective. The coroner found something new so please, pretend like you didn’t roll out of bed 10 minutes ago and act the part.

                                      CUT TO:


INT. CORONER’S LAB IN POLICE STATION

We see the coroner in a lab coat and a dead body covered by a white sheet. Only the head is exposed. DETECTIVE HOFFMAN and REYNOLDS are standed off to the side. HOFFMAN is relaxed and REYNOLDS arms are crossed.


CORONER 

I apologize for calling you at this hour, detectives but I figured, rather sooner than later.


DETECTIVE REYNOLDS

No need to apologize, Doctor. This is our most important case.


CORONER

Well, as you know the Executioner(name a work in progress) has been incredibly consistent with his killings with almost no connection between the victims. We’ve seen old, young, man, and women all shot in the back of the head execution style. I mean there’s absolutely no way of figuring out the killers psyche: why they kill. 


DETECTIVE HOFFMAN

Wrap it up, John


CORONER

I didn’t realize it at first. I mean, I couldn’t. The body wasn’t old enough, but now. Look.


The CORONER points to a piece of the victims face. There is a noticeable bruise. Not circular in shape but more abstract and squiggly. 


DETECTIVE REYNOLDS

Is that a bruise?


CORONER

Yes. Post Mortem bruising. An imprint of an object the victim was hit with. Either a branding tool or belt by the design on the bruise.


DETECTIVE HOFFMAN

Or perhaps a ring? If the killer gave him one to the face, you think?


CORONER 

Yes, or a ring?


DETECTIVE REYNOLDS

Thank you for this, Doctor.


DETECTIVE HOFFMAN

Yes. Thank you. We’ll head back to the murder site to see if we can find this object. 


Coroner

Catch this killer, boys.



SCENE 2

We open in DETECTIVE HOFFMAN’S car. Both him and DETECTIVE REYNOLDS are driving down an empty road. It is silence for a few seconds until HOFFMAN starts to play some cheerful music on the radio.


DETECTIVE REYNOLDS

(turning off the music)

Not really appropriate for the setting, Hoffman


DETECTIVE HOFFMAN 

Don’t you know how to liven the mood, Reynolds. If we went around being depressed over every little thing-


DETECTIVE REYNOLDS

13 people are dead.


DETECTIVE HOFFMAN 

Unlucky number. 

(sighs and continues)

-over every little thing, shit wouldn’t get done. You hear me, Percy? Nothing. No newspapers delivered, no (something), and no cakes baked. God I could kill for a tiramisu right now. So, my dear Percy, that’s why I live life with a grain of salt. No troubles, no worries. 


During this monologue, the camera first focuses on DETECTIVE HOFFMAN on a medium close shot, then his hand on the wheel in a close up. The camera cuts to DETECTIVE REYNOLDS eyes looking down and sideways, toward HOFFMAN’s hand, then a cut back to his hand with the snake ring, then back to REYNOLDS’ eyes who look terrified. 


DETECTIVE HOFFMAN 

Don’t be so shocked, Percy. This is what you get for calling me on my day off. 


DETECTIVE REYNOLDS

(after some silence)

Is this the way to the crime scene?


DETECTIVE HOFFMAN 

Yes. I’m just taking a shortcut around the back. We wouldn’t want to scare the hikers with a cop car rolling up their trail now would we. 

                                      CUT TO:


EXT. THE WOODS

We see HOFFMAN’s car pull up to a spot in the woods. The camera only shows the bottom half of the passenger side, where REYNOLDS is seen leaving out the car in a rush and scarily running away. We see HOFFMAN’s feet follow soon after running after REYNOLDS. More shots of running are shown. REYNOLDS is seen to have hidden from HOFFMAN and goes to reach for their gun when HOFFMAN grabs them from behind. HOFFMAN throws the gun away so that now only he has one. HOFFMAN holds REYNOLDS in a chokehold.


DETECTIVE HOFFMAN 

(struggling)

I’m sorry it had to be you, Percy. You were a better detective than me. But you shouldn’t have been so serious. If you had just gone with the flow-


DETECTIVE REYNOLDS

(interrupting)

I wouldn’t have found you out.


DETECTIVE HOFFMAN 

You’d still be alive


DETECTIVE REYNOLDS

Why’d you do it. Why kill random people?


DETECTIVE HOFFMAN

It wasn’t random. They deserved it. 1 spat when she spoke, 4 let his garden get overgrown, 7 smoked in peoples faces, and 12, the cheap bastard, tipped in coins. The world’s much better off without them, trust me. 


DETECTIVE REYNOLDS

Those people had names


DETECTIVE HOFFMAN

I don’t really worry about that


DETECTIVE REYNOLDS

(amused)

You should’ve taken your own advice, Clyde. Tell me what was so frustrating about number 13 that you had to punch him and ruin your streak.


DETECTIVE HOFFMAN 

Unlucky. He wouldn’t shut up. 


DETECTIVE REYNOLDS

Your unluckiness follows you I see.


DETECTIVE REYNOLDS stabs DETECTIVE HOFFMAN in the side and he releases REYNOLDS from the hold. HOFFMAN goes to shot REYNOLDS with the gun but both struggle, launching the gun away. They both lunge to grab the gun and the camera pans away towards the woods as we hear a gunshot. Music fades in as a tracking shot of the treetops is show. The camera pans down towards the ground and back up where we seen a pair of feet walking towards the camera. The music grows louder as the camera tracks up the person walking. Slowly and slowly it is revealed that REYNOLDS is the one walking, gun in hand, and dirt and blood spattered on the face. A black screen cuts and the end credits appear. 


Here is our screenplay that we have been working on for our final task!


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