Bloodhound

Intent on leaving behind his breakthrough screenplay, a young writer and his gambling addicted best friend break into a literary agent’s apartment. Unfortunately for all parties involved, they aren’t the only intruders. Bloodhound is a thriller about cutting the ties of toxic relationships, and the consequences of embracing the depths of human impulse. It’s a meta-commentary on trying to break into the industry as an amateur writer, Trojan-Horsed inside a mob film with slasher-flick flourishes.

That sounds like a lot, I know. But I’ve spent the last year and a half honing this story under the guidance of my mentor, within the UCLA Professional Program in Screenwriting. This story was designed to be produced on a tight budget, with limited characters and locations. Inspired by the early works of some of my favorite writer-directors - before they were blessed with unlimited funds, and tent poles to prop up - Bloodhound takes its cues from the Wachowski’s Bound, The Coen Brothers’ Blood Simple, and James Gray’s Little Odessa.

Because like most young writers, the world revolves around me, this story starts when its protagonist sits down at his desk to write his latest screenplay. Odd choice - I’m no Charlie Kaufman, I know. But Charlie didn’t have a bound-and-gagged captive banging away at the other side of his bathroom door. Plus, Charlie’s methods of dealing with his writer’s block were far less...colorful.

Into the world of the story we jump, where the protagonist’s efforts to have his screenplay read, lead him into direct conflict with a hitman who’s been tasked with knocking off a pesky literary agent that refuses to settle his gambling debts. One violent, horror-tinged set piece later, and our protagonist is using the slain literary agent’s email to land himself an industry meeting. Representation is acquired and things are looking up, until jealousy sets in, promises are broken, and the extremely pissed off brother of the murdered hitman comes for vengeance.

Oh yeah, and who the hell is the captive tied up in our protagonist’s bathroom?

The young writer’s name is Phil, and early on, he’s a dreamer not a doer. For the doing he relies on his best friend Barry, a spoiled, privileged gambling addict, whose loyalty to Phil knows no boundaries. At first, Barry will do anything for Phil, especially if it will help his best friend realize his Hollywood dreams. But as Phil transforms before his eyes, from a timid dreamer to a self-possessed monster, Barry realizes that his partner in crime only cares about one thing - his own success. And this version of Phil - confident, successful, violent - doesn’t need Barry, at all.

There have never been more amateurs clambering to break into the screenwriting game. Like most cool occupations, the barrier for entry is high. Unfortunately, this had led to an internet economy full of sharks and scammers, chomping at the bit to take advantage of anyone foolish enough to call themself a writer. From these depths, Bloodhound was born. I look forward to hearing your thoughts.