TITLE CARD:
“GUMSHOES”
FADE IN (AUDIO):
Black screen. White, atmospheric noise with the distant clamor and audible movements typical of a busy office area (a clock ticks distantly, almost unaidably).
INT. INTERROGATION ROOM. 4:3 Aspect Ratio – The Chairs -
Shot of a metal chair, made with no thought for repose, erected in a room of white wallpapers that stop at a grey floor. PAN out to a cold metal table pushed against the corner, where the aforementioned chair is turned as so to face it.
Atmospheric noise increases slightly and gradually in volume.
CUT to a new chair, this one with cushions, 3 working wheels and flexibilitybuilt for comfort. PAN out to the chair inserted into a head of a common office imitation of a wooden table. A red, closed folder on top of the desk. CUT to the other half of the table. There’s a metal chair closely between the wall and the other table head. A person sits on it.
Atmospheric noise increases slightly and gradually in volume.
Every one of his features embodies a state of a repressed anxious state. His eyes strictly move from the red folder to the white door. He exterior features paint the archetype of the post-World War II Rock and Roll man.
CUT to the door with white wallpaper. Slow DOLLY into it.
Atmospheric noise increases in volume, like a train at the zenith of its roar.
EXT. FOREST. DAWN. 21:9 Aspect Ratio.
Abrupt CUT. The forest is cold and solitary. Inanimate sounds of nature stand at the foreground while animal noises seldom join the fold.
The sound of several trumpets coming in and out of dissonant harmonies can be slowly audible. (soundtrack: NOTHING CAME TO ME by DONNIE TRUMPET & THE SOCIAL EXPERIMENT or HERALD by RICHARD DAWSON)
From afar, a truck enters and stops within the frame. The aforementioned man sits in the driver seat, nervously analyzing the area. A man in the trunk gets out of the car and a sudden ZOOM IN reveals his appearance.
INT. INTERROGATION ROOM. 4:3 A.R.
Abrupt CUT. Two men enter the room dressed in semi-formal outfits. One, the one in the truck (. Followed by another older looking detective, both wearing gumshoes.
DETECTIVE CAMPBELL
Mr. Smith.
Campbell speaks as he sits down in front of our first presented character, John Smith. The other detective, Peter Johnson, takes a sit on the other table. He pulls the chair in order in order to face Smith.
The only thing in the frame is the face of Detective Johnson, till the beginning of the dialogue between Campbell and Smith.
DETECTIVE CAMPBELL
I apologize for the delay. I’m sure you’ve seen the disturbance in the town after what happened. You can just imagine the mayhem here.
John Smith
No worries.
From now on the dialogue is filmed on a wide-angle lens with both characters in the frame, or a shot-reverse shot style; both methods excluding detective Peter Johnson.
Campbell, stressed and exhausted, raises his chair to meet Bank's eyes and takes a second to breathe, then goes back to his semi-friendly manner.
DETECTIVE CAMPBELL
Alright then, I’m James Campbell. Sargent James Campbell. I hope we didn’t bother you calling so out of the blue.
John Smith
It’s no p…
Detective Campbell
You gotta understand half of the people you passed at the entrance are the victim’s family members, some of them which I know, who think, every once in a while, I forget their relative was killed so they feel the need to remind me with much passion. And the other half are reporters waiting for me to breathe weird to write a headline with quotations and everything. So, I usually want shit like this to be swiftly resolved but I think this time it’s special.
John Smith
I und…
Detective Campbell
That’s why I’m trying to speak with as many people as my sanity that permits me. I hope you understand.
John Smith
No, I understand.
Detective Campbell
Grand.
Campbell grabs the red folder and a pen to start writing in a section.
Detective Campbell.
So, let’s start getting the bureaucracy out of the way, shall we?
Campbell shoots the questions fast.
Detective Campbell
First Name?
John Smith
John.
Detective Campbell
Last name?
John Smith
Smith.
Detective Campbell
Ethnicity?
John Smith
White.
Campbell takes a second to read the paper.
Detective Campbell
You suffer from schizophrenia?
John Smith
That’s right.
Detective Campbell
Is it wise for me to interview you son?
John Smith
Well, it ain’t nothing like the stories you read, at least not in my case.
Detective Campbell
You’re under medication?
John Smith.
Yes.
Detective Campbell
Alright.
He writes in the folder
Detective Campbell
Date of Birth?
John Smith
Aug 16, 1925
Detective Campbell
You signed your rights already?
John Smith
Yes. A lady… policewoman came in. She was in a hurry, so I just gazed at them.
Campbell chuckles.
Detective Campbell
Susan. Even grieving she manages to outdo us working. If you want I could go fetch them so you can get a proper look.
John Smith
Nah, don’t worry.
Detective Campbell
As you please.
They continue with the questions.
Detective Campbell
Citizen. (muffled)
Detective Campbell
You don’t have any emergency contact, you wanna add one son?
John Smith
No.
Detective Campbell
Okay.
Detective Campbell
Relationship status?
Johns Smith
Divorced.
Detective Campbell
A bitch?
Smith surprisingly looks at Campbell, who also is awaiting for an answer with a smile while looking as his question manual, and then smiles.
John Smith
Quite.
Campbell puts the folder away.
Detective Campbell
Right there with you.
…
Alright then.
Mr. Smith, I like to preface every talk I get paid for by stating my philosophy. All cards on the table; as much as I expect it from you, you shall expect it from me. You know here are gumshoes in this office that can convince their way into heaven and make the Lord confess his sins. They see truth as something to get to through a game of seduction. Now, I can’t do shit about it, the higher powers that be tell them this works so I can only comply. But, personally I very adamantly believe that truth is true right to its very core. A fact can be blitzed by questions and still stand unchanged, as long as it is indeed a fact. And it is not my belief but my certainty this method benefits the luck of the innocent and as I’ve rapidly risen through the ranks, it seems mine too. Is that understood?
John Smith
Perfectly sir.
The detective pulls out a pack of cigarettes.
Detective Campbell
Grand, so I expect for you to save me some work… and you’ll be saving some yourself. Lies are a tricky business.
He motions the pack towards Smith.
EXT. RURAL ROAD. DAY. 21:9 A.R.
John Smith and Peter Johnson are inside the truck that had stopped in the forest. Smith is driving, carrying a ticking clock on his wrist he did not have at the interrogation. Their hands are dirty, and Johnson’s have some blood. Smith is in a nervous shock. Johnson is more serene than worried, offering a cigarette.
Johnson
Get a cigarette.
JOHN SMITH
Fuck you.
Johnson
I’m telling you, you’re are breaking your balls over this. I work there. Shit hits the fan and they call you in for questions, I can handle it.
John Smith
I didn’t want this shit Pete.
Johnson
Well me neither.
John Smith
You did it you fuck.
Johnson has a moment of frustration.
Johnson
No… no… don’t start wit… fuck man.
Johnson
Yes I did it. But now we gotta sort this shit out. Together. That’s the only way. We can complain and fight and still the only way out is gonna be to play it cool.
Worst case, for just one fucking interview act like you’ve acted the thousand days of your life before today. I’ll make sure they get off your ass after.
There is a silence.
Now, would you like a cigarrete?
John Smith
I answered you.
Johnson
You said “fuck you.”
John Smith
I don’t smoke anymore.
Johnson is confused but takes a cig for himself.
Johnson
The papers got to you?
Smith
What are you talking about?
Johnson
You know…
He lights it up and takes a hit.
Johnson
…the cancer thing.
Silence.
Johnson
The papers got to you.
Johnson
You know, I always thought it was gonna be your wife th…
Smith
Ex-wife.
Johnson
Susan… the one to convince you.
But then again when was truth on her side.
Smith does not respond.
Johnson
You know, I believe them too. The scientists. I’ve seen very few educated men dip their toes in superstition and none of them publishing it.
There’s a pause.
Smith
What the fuck are you doing then?
Johnson
I rejoice my choice.
You know them old people. The ones that have seen so many wars a mosquito buzz will put them in shock. By this point of their life they have inhaled more Marlboros than oxygen. Then late in their life some younger, educated science men pass by saying their best friend is gonna make their organs rot.
He takes another hit
Now their sure like them cigs but they are also very attached to their life, so they fall into a “well shit” kinda situation. So, the big guys of tobacco do what they do every time their ass is on fire, they get their clever-guys together to turn shit into gold. They fill the pockets of people with degrees well enough to make them forget their ethic classes and write some words with unnecessary vowels and abracadabra, cigarettes make you Superman.
He takes another hit.
Of course, if people had some common sense this kinda shit wouldn’t work. But people tend to forget common sense when the story is convenient. So old people are gonna drop like flies and wonder why their smokes didn’t make them immortal but you know… it ain’t really like they have a choice. But I do, I have a great choice and once a week my dear friend Camel reminds me of it.
He takes another hit. And pauses for reflection.
The truth is: truth is, very often, bullshit, just an agreement among people for a better life, which, a lot of the time, is an easier life.
And for that, I suggest a cigarette.
He motions a cig towards Smith.
Smith
Fuck off.
Johnson
As you please.
INT. INTERROGATION ROOM. 4:3 A.R. – The Recorder –
The shot-reverse shot and the wide angle now include the face of Peter Johnson, as if the room had shrunk.
John takes the cigarette offered by Campbell. The detective slides the lighter across the table. Smith lights it up.
Smith
Thank you.
Campbell
As you may know, Mr. Goodman was not only a resident of the town but also a member of our police force. So, it was our discomfort and trauma to find the conditions in which his body was found give indications to a very violent and uncalculated end to his life. Now, this leads me to assess that the perpetrator was not an outsider… you know… not one of those freaks that find pleasure in sin for the sake of it but rather a member of our community. And with all the years I’ve worked in this town I’ve come to realize the tinier it grows the more valuable interviews like these get. People simply grow closer.
Johnson
Or nosier.
Campbell grabs his pen and paper.
Campbell
Now with all that being said: do you know, in any capacity, anything about the events that may benefit the investigation?
Smith
Not outside of what you just told me sir.
Campbell
Any detail you’ve heard, any slight suspicion of a person, any oddity you perceived the night of May 3rd?
Smith
I’m afraid not sir. It was as ordinary as the other thousand Monday evenings before it.
Campbell
I want you to be sure son?
Smith
I’m sure
Silence
Campbell
Alright then, Ima just check your prints, we’ll give them a look and then you can be on your way.
Smith
Alright sir.
While Campbell gets the fingerprints form Smith, the camera focuses on Johnson while he lights a cigar on and proceeds to smoke it. The noise of earth falling seeps into the scene and then the sound of a shovel picking it up and then the forest.
Campbell
I’ll be back in a moment.
Campbell gets out of the room. The Camera still focused on Johnson.
Johnson salutes Smith with a cigar and smokes it almost impossibly fast, feeling satisfied.
Campbell enters the room, now slower and with a sound recorder in his hand. He sets it at the center of the table, turns it on and sits down, adjusting his chair a little higher than it was before. He is now firm as opposed to his prior friendly manner.
Campbell
Would you repeat to me what I said to you about truth Mr. Smith?
Smith is confused by the shift in mood and takes a moment to answer.
Smith
I don’t really remember sir.
Campbell
Try your best.
Pause
Smith
Truth is true…
Campbell
…right to its very core.
Right.
There was only one set of fingerprints in the body of Mr. Goodman and all around the scene. There were yours Mr. Smith.
Smith
That’s not… that’s not right.
Campbell
I’m afraid it very much is.
Smith
Why don’t you give a look at the prints again, just make sure.
The tension of the conversation slowly escalates.
Campbell
How did Miles die Mr. Smith?
Smith
I don’t know.
Campbell
Why was his body beaten?
Smith
I didn’t do shit to him.
Campbell
We are way past your innocence John, we are at the part where you tell me how you killed one of my men.
Smith
Fuck you. I didn’t kill him.
Campbell
Who did then, huh?
There is a silence.
Huh…?
Smith
I don’t know man.
Campbell
You fuck. Ima tell you something, you tell me or you shut your mouth, it don’t matter… it don’t matter. You know why? Because you’re going to the same place either way. Now, if you choose to keep your secret to your very early grave go ahead and I’ma make sure your last undeserving years alive you look forward to that day on the fucking chair.
Smith tempts to say give out information.
Smith
Fuck you (to Johnson). It was him.
He nods to Johnson.
Campbell
Who?
Smith
Him, Johnson.
Campbell
What do you mean Johnson?
He points at Johnson.
Smith
Your goddam buddy in the corner, Peter fucking Johnson.
Campbell looks at the corner.
Campbell
Nobody is there.
Peter Johnson was suspended.
Smith
What?
John’s confusion turns to shock and terror. The camera stays on his face until he exits the room.
Campbell attitude switches from an angry to a sorrowful tone.
Campbell
Aw shit. What’s my goddamm luck.
Listen kid. Fuck.
I’m gonna have to have you arrested but this can be solved. It’s not your fault. You heard.
Your mind ain’t right. They’re gonna understand.
Pause
I’m gonna need you to stand up.
The camera remains static as John stands up and is handcuffed.
Campbell
We’re gonna fix this.
They exit.
The sound of the clock in the distant background stops. There’s no one in the room. The dissonant harmonies of trumpets commence once again. The camera goes through the same exposition of the area as it did during the introduction. In the end, the chair where Johnson was sitting is shown, this time not folded into the table but turned towards the chair of John. The music halts.
Cut to black.
The end.