“HALFWAY GONE ”

By

Harrison Andrews

28 Stainton Gardens
Carlisle, Cumbria, CA3 9NY
07944604151
1WrdProductions@gmail.com
PROLOGUE
INT: UNKNOWN – N/A
TRANS IN:
We see a collection of photographs, being shown within a
scrapbook. It is all being recorded on a low-quality
camera in 4:3 Aspect Ratio.
ARLO [V.O]
My name is Arlo Freeman, and I assume if
you’re watching this that’s something
you already know – now let me tell you
some things that you don’t. I graduated
from the University of Manchester a
little under a year ago, with a degree
in journalism. I’ve always had an
interest in others, and focus on the
individual, the unusual fascinates me.
My degree didn’t lead to any
opportunities, so I returned to my home
town of Dillsbury, and got quickly got
myself a job – at Timeless Barbers.
TRANS OUT:
OPENING SCENE
INT: Timeless Barbers – Various
TRANS IN:
A sudden ringing of a bell, and we are plunged into
‘Timeless Barbers’. The camera pans down to the doorway
and we get our first look at ARLO FREEMAN. He is dressed
in neutral tones, with a knitted cardigan over a plain
white shirt. He walks past the camera, and it begins to
follow him, as he gets to work. He is clearly flustered,
suggesting he is late. The passes a group of waiting
customers, greeting the regulars, and apologising to his
boss for his lateness. Arlo heads straight for the far
corner of the room to grab a brush. Sweeping, and
chatting away, we continue to follow Arlo as he goes
through his daily tasks. Throughout the scene we maintain
a singular shot; and the lighting changes at various
points to reflect the passing of time.

2
 ARLO [V.O CONT.]
I sweep, answer the phones, and do
anything else that is asked of me. The
people who pass through the shop are
weird, wonderful, and everything in
between. I began to interview them, and
post the videos online. This was a way
to continue my pursuit of journalism,
and learn more about the people in my
city.

The phone begins to ring, blaring throughout the shop,

and Arlo rushes to answer.
ARLO
Hello, ‘Timeless Barbers’…
Finally, we cut to a new shot. Here we can see all the
characters sitting and waiting in the shop, as one
haircut continues. The title appears over the top,
filling the screen.

“HALFWAY GONE”.
The camera slowly dollies towards Arlo as he sits on the
phone, fading from one hour to the next, and through
several calls. Finally, we’re close to him and he finally
gets the phone down.
ARLO [V.O CONT.]
Out of all the customers who passed
through, one in particular had always
captured my interest and imagination. An
intriguing figure, with a story to tell,
the perfect subject for any journalist.
His name – Hugh Humphrey.
Bright yellow, well fitted, and truly individual. The
suit that adorns the man. HUGH HUMPHREY has entered the
shop, and he stands tall in the doorway. He is a well-
kept gentleman, with a distinct sense of style.
ARLO
Right on time as ever, afternoon Hugh!

3
 HUGH
Good afternoon Arlo, how are you
keeping?
ARLO
You know me mate, always grand. How
about yourself?
HUGH
I am very well, thank you. Is Matteo
ready for me?
ARLO
He’s around here somewhere, I’ll go grab
him for you!
Arlo goes to a back room in search of MATTEO; the main
barber and owner of the store. The audience are alone
with Hugh, as he stands dignified in the centre of the
room. This shot holds, allowing us to take a good look at
Mr. Humphrey. Arlo returns, with Matteo by his side. We
transition to Hugh mid-haircut. As Matteo stands cutting,
Arlo wanders over tentatively – broom in hand.
ARLO
So, Hugh, what’ve you got up to since we
last seen you?
HUGH
Just working, and looking after myself.
Nothing spectacular.
ARLO
Oh yeah, where you working?
HUGH
Full of questions as always Arlo. I
don’t believe this is the time or place
to discuss such things.
MATTEO
Arlo, get on with your work. I’ve told
you not to distract clients.

4
Arlo ignores him.
ARLO
Then let’s discuss them elsewhere.
HUGH
I’m a very busy man Arlo, whilst your
offer is appreciated, I am not a man who
has time for a coffee.
ARLO
No, not coffee. I’ve been interviewing
clients to work on my journalism and I’d
love to have you involved!
Hugh sits for a moment, thinking.
HUGH
An intriguing proposition, and one I
shall take you up on. I would like to
help out in any way I can.
ARLO
Smashing! When are you free?
HUGH
Tonight, at 7, come to my house and I’ll
give you 2 hours of my time.
The conversation fades as we move away, viewing the rest
of the conversation from a distance. Detached from the
action, Arlo’s voiceover begins again.
ARLO [V.O CONT.]
We organised the interview, and the
following day I pulled up outside Hugh’s
home.
TRANS OUT:

5
DISCOVERING HUGH
EXT: Hugh’s House – Evening
TRANS IN:
There’s a sudden screech as the tyres of Arlo’s car come
into the frame. We dolly outward to see Arlo exiting the
vehicle, and walking towards Hugh’s house. The house has
a very distinct look – much like its owner. Arlo wanders
towards the door, his camera in his bag, and a notebook
under his arm. He knocks, and waits. There’s no answer.
He tries the bell; once, twice, three times. With each
remaining unanswered, he begins to grow suspicious. He
wanders over to the kitchen window, and peers through.
The lights are off, and there is mess everywhere. He
continues to look around. Down one side of the house is a
gate, leading to the garden; it is swinging open in the
wind, and the wheelie bins are knocked onto their side,
Arlo is becoming concerned. He wanders into the garden,
only to find more mess. The patio doors are flung open,
the curtains flowing out of them, and Arlo can’t help but
continue his search. The theme continues, of mess and
disarray. We are still following Arlo. He turns to enter
the living room, and what he finds shakes him to the
core. Sitting in the centre of his couch – he finds Hugh.
An elaborately designed katana has been thrust through
Hugh’s stomach, and he sits before Arlo, covered in blood
and lifeless.
TRANS OUT:
DETECTIVE
INT: Hugh’s House – Daytime
TRANS IN:
It is now the following day, and Arlo is no longer
present. Instead, we can see a forensics team and another
man – detective RANDALL POOLE. He is dressed in a dark
blazer, over a burgundy turtle neck, examining the scene.
He is speaking to an OFFICER.
POOLE
It’s a homicide, this clearly isn’t
self-inflicted. The state of the house
suggests a break in.

6
 OFFICER
Have you spoke to the young lad who
found him?
POOLE
No, your lot who were first at the scene
already did that. I imagine he’s in no
state to talk to me right now, I’ll need
to start elsewhere.
Poole paces around the room.
POOLE
What was his name?
OFFICER
Pardon?
POOLE
The lad, what was his name?
The officer flicks through some notes.
OFFICER
Arlo, sir. Arlo Freeman.
Poole takes a moment to digest this information, trying
to find a connection to the name. Suddenly, he remembers.
POOLE
He works at a local barber shop, a place
that Mr. Humphrey would frequent.
OFFICER
That is correct.
POOLE
I know his girlfriend, we used to be
good friends. They’ve been together for
as far back as I can remember. I’ll get
in contact with her and see what she
knows, and to find out more about Arlo.
TRANS OUT:

7
NO SLEEP
INT: Arlo’s Bedroom – Night
TRANS IN:
Arlo tosses, and turns in his bed – struggling to sleep.
Haunted by the sight of Hugh, and unable to escape. The
lighting changes periodically to show the passing of
time, as his struggles continue.
ARLO [V.O]
The nights that followed were sleepless,
and I couldn’t get the imagery out of my
head. Looking at a man I had known for
so long, brutally murdered. I wouldn’t
wish that upon anyone. One night, there
was a sound at the door.
We see Arlo clamber out of bed, and walk downstairs.
There is a letter sitting on a small table by the door.
Arlo opens it.
ARLO [V.O CONT.]
There was a letter. The envelope was
blank, no address, no name, nothing. It
was handwritten, and it was a warning.
They told me that the police view me as
the prime suspect for Hugh’s murder, and
they would be closing in. I had to get
away, and I had to get to the bottom of
this myself. I went back upstairs,
hurriedly packed anything I could, and
then I got in my car. I started the
engine, and left. I drove, and I drove,
and I drove…
We see Arlo perform the actions described in the
voiceover.
ARLO [V.O CONT.]
Eventually I found my way to a motel,
and that’s where I am filming this
video.
We cut to reveal Arlo recording himself, reflected in the
same 4:3 frame that we opened with. The voiceover that we
have heard up to now is sourced from this video.

8
 ARLO
I know they’re looking for me, and I
know they’re ready to pin the blame on
me. I’m making these videos to express
my innocence, and to find the person
truly responsible. This is a message to
the police; if you’re watching, like I’m
sure you are, then I won’t waste your
time and I’ll tell you that my location
is of no use to you. By the time you are
watching this, I am already ‘halfway
gone’.
Arlo turns off his camera.
TRANS OUT:
MEETING FERN
INT: Café – Daytime
TRANS IN:
Detective Poole is sitting opposite a young girl, FERN
OLSEN. This is Arlo’s ex-girlfriend. She has met with the
detective, as he wishes to learn more about Arlo. They
are in a small coffee shop, tucked away in the corner.
POOLE
I assume you know what this is about?
FERN
It’s Arlo, isn’t it.
Poole nods.
FERN
Yeah, I heard.
POOLE
How’s he doing?
FERN
I don’t know, we haven’t spoken in
weeks. I don’t think he took the breakup
very well.

9
 POOLE
(shocked)
You broke up?
FERN
Did you not know? Things ended soon
after he came home from University.
POOLE
What happened, if you don’t mind me
asking?
Fern pauses for a moment.
FERN
(defeated)
He’s a very difficult person to love.
POOLE
How so?
FERN
I’d rather not get into it. I still have
a lot of love for him, don’t get me
wrong, but he isn’t the person I used to
know.
POOLE
(interested)
Did he become violent?
FERN
No, Randall. Just difficult.
The pair sit in silence for a while, sipping awkwardly at
the remanence of their coffees.
TRANS OUT:

10
RESEARCH
INT: Motel Room – Daytime
TRANS IN:
We can see Arlo sitting on the floor, in the centre of
the room. Around him; his laptop, his notebook, and
various printouts are scattered. He searches through them
frantically, looking for a photograph. We dolly in and
over his shoulder, he finds what he has been looking for.
TRANS OUT:
CURIOUS CURATOR
INT: Gallery – Daytime
TRANS IN:
Following the transition, Arlo is now in an Art Gallery.
Entering through the doorway, he darts towards an
exhibition. Inside, we see a man. An older gentleman;
well dressed, and sophisticated. This is ANDREA BLAKE, a
curator at the gallery.
ARLO
Excuse me, are you Mrs. Blake?
ANDREA
Please, call me Andrea!
The pair shake hands.
ANDREA
What brings you to the gallery today?
ARLO
I’m interested in one of your private
collections. Art by the recently
deceased Hugh Humphrey?
ANDREA
A friend, I’m sure.

11
 ARLO
Yeah, you could say that. I’m just
interested in learning more about him.
ANDREA
(comforting)
Follow me young man.
Andrea leads Arlo into another room, where several pieces
of Art can be found. The works of Hugh Humphrey.
ANDREA
You never gave me a name.
Arlo is reluctant to give his own.
ARLO
Joshua, Joshua Stevens. I’m making a
documentary-style video as a tribute to
Hugh. Do you mind if I get some videos
of the art?
ANDREA
By all means, go right ahead!
Arlo pulls out his Camera and begins recording.
ANDREA
It’s a shame, isn’t it. What happened to
Hugh?
ARLO
Yeah, it really is. Did you know him?
ANDREA
Yes, Hugh and myself were quite close. I
was beside myself when I heard of his
passing.
ARLO
He was a kind man.

12
 ANDREA
One of the best, for sure.
They mourn for a moment.
ANDREA
So, what is it you want to know? About
the Art that is.
ARLO
What are these paintings about?
ANDREA
As you’ll know, Hugh was an elusive
gentleman. Nobody knows much about him,
or his Art. It is believed it came from
a place of pure serenity and an
appreciation of life.
Arlo paces, taking in the Art. He then comes across a
piece, which depicts a sword. It has an unparalleled
resemblance to the weapon that killed Hugh.
ARLO
What about this one?
ANDREA
Now that, that I know about. I’m one of
the few collectors who holds a piece of
such significance.
Arlo takes several shots of this particular piece.
ARLO
Why the sword?
ANDREA
It is a family heirloom. Two swords,
almost identical in design, that is
passed down from one generation to the
next. The Humphrey family has a rich,
and expansive culture of its own. The
youngest Female holds one sword, and the
youngest Male holds the other.

13
 ARLO
So, that would mean Hugh was the holder
of one?
ANDREA
Correct. He held great sentiment toward
it, without a son to pass it to.
ARLO
Do you happen to know the whereabouts of
the other sword?
ANDREA
His daughter, Henrietta, she will have
it.
Arlo jots this down in his notepad.
ARLO
You said Hugh and yourself were close,
would you happen to know how I can
contact his daughter?
ANDREA
I believe I have her number somewhere; I
can jot it down if you like. I’m sure
she would love to hear about your work.
Andrea writes her number down for Arlo.
ANDREA
Tell her Andrea sent you, she can be
quite unwelcoming of strangers.
ARLO
Thank you, this means a lot!
ANDREA
Good luck with your work Joshua, I look
forward to seeing it!

14
 ARLO
I’ll be sure to send it your way!
BLAKE
I presume the video will be non-profit?
ARLO
(confused)
Yes, I suppose it will be…
BLAKE
You know, I could make myself a pretty
penny. The value of these pieces has
skyrocketed since Hugh’s death!
ARLO
I’m sure they have. I really need to get
going, but it was lovely meeting you.
Thanks again!
Arlo leaves the gallery hurriedly, and goes back to his
car. On his way to his car, he dials the number given to
him by Andrea. HENRIETTA HUMPHREY answers.
HENRIETTA
(muffled)
Hello, who is this?
ARLO
Hello, Henrietta, my name is Joshua
Stephens; I’m doing some interviews with
the locals for a documentary I’m making
as a tribute to your late Father. I’ve
just spoke with Andrea Blake, and he
gave you this number. I was just
wondering if there was a chance, I could
speak with you?
She contemplates this a moment.

15
 HENRIETTA
(muffled)
Yes, I suppose that can be arranged. I
shall text you my address. How quickly
can you get here?
ARLO
Half an hour or so?
HENRIETTA
(muffled)
Perfect, see you soon.
Henrietta puts the phone down, just as Arlo reaches his
car. A moment later a text message comes through
containing her address. Arlo reads it over, then gets
into his car.
TRANS OUT:
LESLIE TINKLER
INT: Arlo’s Car – Midday
TRANS IN:
Arlo sits in his car, and sets up his Camera. He faces it
towards him, and begins his next video.
ARLO
Hello again, I see my first video has
started to pick up some traction and I
thought it was time for an update. I
have been doing some background research
on Hugh, and I’ve just got a new contact
which will help me greatly. However,
beyond this, I realised that it isn’t
enough to simply prove my own innocence.
It is only right that I offer my own
views, and theories on the situation.
We can see some clips from past interviews that Arlo has
done, with other clients from the hairdressers. We flick
through them until it lands on an older gentleman. He is
frail looking, and dressed smartly. This is LESLIE
TINKLER – Arlo’s main suspect. Arlo speaks over this.

16
 ARLO [V.O]
As you all know, I had been conducting
interviews with various clients from the
barbershop. Throughout all these
interviews, Hugh’s name had never come
up, despite his popularity in the local
area. This changed when I encountered a
certain Mr. Leslie Tinkler.
We cut to the audio from their interview.
LESLIE
I’ve never understood the local love-in
of Hugh Humphrey. The public are
infatuated with a man they barely know a
sniff about!
Leslie is getting agitated.
LESLIE
That man enters my shop frequently,
looks around for an eternity, only to
leave empty handed. Then, to rub salt in
the wounds, he buys the same sodding
books online! What happened to buying
local, eh?
We then cut back to Arlo in his car.
ARLO
As you can see from the interview,
Leslie wasn’t a fan of Hugh. This is
unusual from someone in Dillsbury. Of
course, this is only scratching the
surface, but it doesn’t sit right with
me. Although I have other work to do
right now, I can assure you that this
stone will not remain unturned!
Arlo turns off the Camera, we then see him put it back in
his bag, and drive away.
TRANS OUT:

17
ARLO UNDERCOVER
EXT: Henrietta’s House - Midday
TRANS IN:
We can see Arlo pulling up outside a grand house. It is
old fashioned, and surrounded by greenery. He walks up
the driveway, before knocking on the door, looking for
the daughter of Hugh Humphrey. He has his camera in hand,
and a tripod under his arm. He is hesitant at first, but
eventually works up the courage to knock. The door swings
open, to reveal MARMADUKE HUMPHREY. He is a cowering,
shell of a man; desperate to live up to his wife’s
expectations. He answers almost like a butler.
MARMADUKE
Good afternoon, Sir. How may I help you?
ARLO
Ah, Hello! I’m looking for a Mrs.
Henrietta Humphrey?
MARMADUKE
(disheartened)
Of course, you are, nobody’s ever here
to see me.
He chuckles nervously.
ARLO
The names Joshua Stevens, I spoke to her
on the phone?
MARMADUKE
Yes, yes. I’m sure she mentioned you’d
be popping by. You’re doing the video
about her Father, aren’t you?
ARLO
That’s me!
Marmaduke gestures him into the house, and down the
hallway. Arlo follows close behind. The house is large,

18
with flowers and greenery ever-present. Suddenly, the man
stops.
MARMADUKE
Actually, Sir, I have something for you.
It was dropped off earlier, somebody
must have known you’d be visiting us.
He hands Arlo a letter, almost identical to the
handwritten letter he received to his home earlier. He is
understandably confused.
ARLO
Oh, okay. Thank you!
Arlo slips the letter into his bag, reluctant to read it
in the company of others. The pair continue through the
hall. They come to the conservatory, where Henrietta
awaits. She is sat tall and proud, with an extreme aura
of self-importance. She looks Arlo up and down as he
enters the room. The silence in the room grows
uncomfortable, and she rises from her seat to greet him.
Arlo, expecting a handshake, is caught off guard as she
hugs him tight. There is almost a sense of malice behind
her seemingly affectionate greeting.
HENRIETTA
Thank you, Joshua. I’m very excited to
work with you on this. My Father was
such a huge part of my life; being the
only man I ever loved, losing him has
been an extremely difficult affair.
Marmaduke takes visible offence to her comments.
ARLO
I can only imagine; you have my deepest
condolences. Both of you.
HENRIETTA
I see you’ve met my husband, Marmaduke.
ARLO
(confused)
Husband? Yes. He welcomed me in!

19
 HENRIETTA
No need to sound so shocked, plenty of
people take their wives surname these
days. Marmaduke Humphrey just had a far
more… powerful, and important ring to
it!
MARMADUKE
(unimpressed)
Yes, dear. That it does.
Arlo is uncomfortable amongst the couples bickering,
unable to get a word in.
HENRIETTA
Well then, shall we get started?
ARLO
(caught off guard)
Yes, of course. I’ll get set up right
away!
Arlo begins setting up his Camera and Tripod.
ARLO
Lovely house you’ve got here, plenty of
natural light which is perfect for
filming!
MARMADUKE
It’s our pride and joy! Of course, with
the inheritance we could definitely find
somewhere bigger.
HENRIETTA
But we won’t.
MARMADUKE
But we could.
Henrietta glares at her husband

20
 HENRIETTA
We’ve spoke about this darling, I love
this house. I never wanted the
inheritance in the first place; I’m
doing just fine on my own, without my
Fathers money! I’d rather he was still
around.
MARMADUKE
I know, but we’ve got it now. Might as
well put it to good use.
HENRIETTA
I’ve said no, and THAT is the end of it!
MARMADUKE
Yes, of course dear.
Marmaduke gives in, sitting to one side.
ARLO
Right, that’s me ready!
HENRIETTA
Perfect!
ARLO
If you can just sit there for me, we can
get started. I just want to have an
informal chat about your Father and how
he had an influence on you, and your
success.
HENRIETTA
Okay, I can do that. Ready when you are,
Joshua.
He starts recording. We consistently cut between the
Camera footage and the external shots.
ARLO
So, Henrietta. Your Father was a very
well-known man around Dillsbury, however

21
 not many people know an awful lot about
him. What was he really like?
She ponders the question.
HENRIETTA
Kind. He was a very kind, caring, and
gentle man. He always made time for me
throughout my life, and shaped me into
the woman I am today.
ARLO
As a child, were you aware of the
public’s affection for your Father?
HENRIETTA
At first, it all seemed very normal to
me. Once I was old enough to understand
this wasn’t the case, I struggled to
understand why; but as I saw my Father
interact with the people of Dillsbury,
it all became very clear.
ARLO
And why do you think there was so much
love for him, from people who weren’t
particularly close?
HENRIETTA
The main reason, in my opinion, was
respect. He treated everyone equally and
took great interest in them. Weather it
was a life-long friend, or a stranger he
happened to converse with, he always
shown them empathy and respect.
ARLO
Can you recall any one who may not have
seen him this way? For a man with so
many fans, if you will, there must’ve
been some opposition to him.

22
 HENRIETTA
Yes, there were a few. However, their
numbers pale in comparison to those who
liked my Father.
Arlo is frustrated with the lack of content in this
answer, and decides to keep pushing.
ARLO
Are there any individuals who stand out,
in this regard?
HENRIETTA
There certainly are names that come to
mind, although I do not feel at liberty
to discuss this. It is best to leave it
to rest.
ARLO
Do you feel that any of these people
would have potentially harmed your
father?
Henrietta is not happy with this question.
HENRIETTA
(annoyed)
Sorry. I’m not entirely satisfied with
this line of questioning; this is not
what I agreed to discuss.
MARMADUKE
He’s just doing his job dear.
HENRIETTA
(shouting)
Yes, Marmaduke. His job. I understand
that, naturally, but I am not
comfortable. So please, be a good boy,
and leave this between myself and Mr.
Stephens here.

23
Marmaduke doesn’t reply, once again giving in to his
wife.
ARLO
My apologies, Mrs. Humphrey.
HENRIETTA
Why are you so interested in those who
opposed my father, I was under the
illusion that this was an interview to
celebrate him, and pay tribute.
ARLO
It’s just been on my mind, since I found
him.
Henrietta is taken aback.
HENRIETTA
(puzzled)
Excuse me?
Arlo realises what he’s done, his break in character has
alerted her to his true identity. He tries to dismiss her
question.

ARLO
(nervous)
It’s not important.
Henrietta rises from her chair.
HENRIETTA
You, found him, did you?
ARLO
…Yes.
She suddenly erupts in anger.

24
 HENRIETTA
(shouting)
You conniving little shit! You’re that
Arlo boy who killed my fucking Father!
Arlo stops the recording.
HENRIETTA
(still shouting)
Poole told me about you, how you’re the
main suspect. Then you have the fucking
nerve to visit me in my own home, under
a false identity.
ARLO
(defensive)
No, no, that’s all wrong! I didn’t hurt
your Father.
She calms slightly, willing to heart him out.
HENRIETTA
Elaborate.
ARLO
I work at the barber shop your Father
would go to, and we got to talking about
the possibility of me interviewing him.
I’m an aspiring journalist, and thought
he’d have a lot to say. I went to visit
him, only to find him there.
Henrietta isn’t entirely convinced.
HENRIETTA
My father was a very private man, he
would never have agreed to that.
ARLO
Well, he did. Honest.

25
 MARMADUKE
Darling, he could be telling the truth.
HENRIETTA
Stay out of this!
MARMADUKE
Okay, okay. You two can talk this
through, I’ll go make some tea.
He exits through to the kitchen.
ARLO
I promise you, Henrietta, I would never
hurt your Father. He was a great man.
HENRIETTA
Then why did you run away from it all?
The whole bloody town will be looking
for you at this rate.
Arlo struggles to muster a response.
HENRIETTA
Go on. You must have a reason, if you’re
as innocent as you claim.
ARLO
That’s it, that’s exactly it; I’m
innocent, and I need the time and
resources to prove that, before things
get out of hand!
HENRIETTA
Don’t you see, they’re already out of
hand! Give me one reason I shouldn’t
just-
She is cut off by her husband, as she grows increasingly
combative.

26
 MARMADUKE
(calmly)
How do you take your Tea, Joshua?
HENRIETTA
That’s not his actual name, you buffoon,
It’s Arlo.
ARLO
Two sugars and milk, cheers.
MARMADUKE
Ah, you’re right dear. My mistake.
He smiles awkwardly, hanging round the doorway. Out of
Arlo’s view, Marmaduke is holding the telephone. We see
him slowly dial 999, before returning to the kitchen.
Arlo still unaware of the danger he is now in, continues
to plead his innocence.
ARLO
Listen, Henrietta, I didn’t kill your
Father. Despite being someone I barely
knew, I looked up to him. I wouldn’t
have come here today if I had anything
to do with the murder.
Henrietta looks him over.
HENRIETTA
You have some nerve, Arlo.
They sit in silence, and Arlo begins to pack up. He isn’t
entirely convinced by Henrietta’s sudden shift in tone.
ARLO
Thank you, for speaking with me.
Henrietta doesn’t reply, the tension in the room
building. After a few moments, Marmaduke returns.
MARMADUKE
Here you go, Arlo. Drink up!

27
He is hesitant.
ARLO
Thanks again.
They all sit in silence, slowly sipping away at their
drinks. Suddenly Arlo begins to hear some faint noise
coming from outside. Through the reflection of a mirror,
he can see the front door. Shadow-like figures moving in
the glass, approaching the door, there are about 3
individuals. Arlo clocks that these are police officers.
He edges towards his bag, placed beside him on the floor.
As the door bursts open, and the officers enter, Arlo
grabs his Camera and stuffs it into his bag. He bolts
towards the back door, and runs through the garden.
OFFICER #1
(shouting)
Hey, stop right there!
TRANS OUT:
FOREST RUNAWAY
EXT: Forested Area – Daytime
TRANS IN:
Arlo is running fast through a crowd of trees and
foliage, dodging large growths and stray roots. The
police are in pursuit, but Arlo has the advantage.
OFFICER #2
(shouting)
Mr. Freeman, stop and put your hands up.
Arlo ignores their cries, and continues to run. They are
closing in and he needs to find a way out. He spots a
small overhang on a nearby path, and runs towards it. He
picks up the pace to distance himself further from the
officers. He jumps down the bank, and crouches below the
overhang; hopefully out of view, and able to evade them.
OFFICER #1
Where’d he go?

28
 OFFICER #3
Straight ahead boss!
They continue their pursuit, unknowingly running right
past Arlo as he hides. After several moments pass, he
peaks up over onto the path. We see him pull out his
Camera, and start recording. The camera zooms through the
trees, and we can see the policemen still running further
from Arlo, another voiceover begins.
ARLO [V.O]
As you can see, I made my escape. It
wasn’t easy. Until now it was difficult
to understand how far things had gone,
but after such a close call it is much
clearer to me. Despite this, my
investigation must continue. I’m surely
in too deep now, and need to get to the
bottom of this, giving up now isn’t an
option. Thank you all for your support.
Eventually, as the policemen were out of
sight, I attempted to make my way back
to Henrietta’s house. I went back to try
and get my car, otherwise I was
completely stranded, and once I found a
good vantage point it appeared that was
the case. My car was surrounded, and
being searched.
We can see a video of this, as Arlo looks on, recording.
He then zooms in on another man, who we know to be
Detective Poole.
ARLO [V.O. CONT.]
Then I saw him, for the first time in
years. Randall Poole.
We see the detective enter Henrietta’s house, and the
video cuts.
TRANS OUT:

TO BE CONTINUED…

29