THE STAGE 32 LOGLINES

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CRIME MANAGEMENT
By Chester Davis

GENRE: Sci-fi, Thriller
LOGLINE:

In a world where brain implants are beginning to eliminate violent crime an amoral private investigator decides to invent crimes that need solving and becomes marked for death by a dangerously unstable corporate executive. 

CRIME MANAGEMENT

FADE IN:

INT. CAR - NIGHT

A smart phone falls onto a car seat. A message on the screen reads “He’s losing his mind.”

CHARLIE WATTS (28) steps on the gas. He looks like a low-rent bounty hunter or private eye, which is what he is.

CHARLIE

Impulse cures criminals does it? Well, I guess I don’t need to stop this idiot.

He holds up a small photo as he drives.

He heads through a working class neighborhood, past light traffic and a couple of PEDESTRIANS.

Charlie picks up the phone and dials 911.

The phone dials, then 911 hangs up.

CHARLIE (CONT’D)

Well, we’ve almost cured crime and social disorder so we don’t need 911 anyway.

Charlie slows down, just barely, as he rounds a corner. A dusty old police car is there on the corner.

Right after the corner he slows down and turns into a gravel driveway.

INT. HOUSE - NIGHT

A crumpled business card falls to the floor.

A foot in a combat boot stamps on the card.

MAN

I don’t care.

A YOUNG MAN stands over the card, flailing his arms.

WOMAN

It isn’t up to you. Something’s gone wrong!

The man steps into the light. He wears a silvery device, like a cochlear implant, behind each ear.

MAN

This can’t be on our damned teevee!

WOMAN

I apologized already.

He throws the handset of the cordless phone at her.

She swats it aside.

EXT. HOUSE - NIGHT

Charlie opens the car door.

Sounds of the argument come from inside.

In the window shadows move in weak blue light. Two shadowy shapes are about to start trading punches.

A small rectangular object flies inside past the window.

Charlie draws his gun.

He pauses to operate the slide and check the safety.

EXT. HOUSE - SAME TIME

Charlie walks up to the front door.

Distinct voices come from inside.

MAN

I’ll control the teevee!

Charlie stands to one side of the door.

WOMAN

Sorry!

INT. HOUSE - SAME TIME

The Man takes a step toward the Woman.

MAN

In fact I can fix the problem right now.

He raises a foot and takes a step toward the TV, a nice LED model that cost a relative fortune.

She moves toward him.

He pauses and turns to grab her.

Someone knocks loudly.

After a brief struggle, he throws her into the TV.

The door opens a little. A figure can be seen outside in the darkness.

Crazy Guy goes to the door, grabs a baseball bat.

The door opens.

Charlie takes a step back, gun in hand.

He shakes his head “no”.

CHARLIE

Don’t! You’re worth more alive.

The Man stops in the doorway.

INT. CAR - NIGHT

A female hand presses a button a leather armrest.

The power window goes down. The old house is visible just down the street.

Charlie’s car and one dirty old police car are out front.

Charlie leans against his car talking to a POLICE OFFICER.

ANDREA POWERS (30s) taps her fingers on the arm rest. She is stern, humorless, wears short hair and no makeup.

ANDREA

Have the man picked up and find out if the implant malfunctioned.

She watches the young woman carry a box out to the couple’s old economy car.

Then she turns to the young lady next to her - BAILEY (20s) dressed and made up similarly.

BAILEY

Mr. Hammer?

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