Of Two Minds - Script

“Of Two Minds”

FADE IN:

EXT. Chris Andrews' House – Morning

The scene opens with an establishing shot. The camera pans slowly across the house, birds and common morning sounds are clearly heard.

CUT TO:

INT. Chris Andrews' House – Morning

Scene cuts to an over-head shot of a brown envelope with the initials “S.H.” on it, lying on the floor as if it has been posted through the letter box on the door. Camera slowly rotates before and whilst a hand reaches out to pick it up. Shot follows the envelope as CHRIS ANDREWS goes to open it, after pausing at the initials on the front. Chris is currently in casual morning-wear; robe, slippers and so on.

CUT TO:

EXT. Street – Late Morning

Chris Andrews, fully dressed, walks in a sluggish manner. From his body language and facial expression, it is clear he is in thought of something. He wears a shirt, loosened tie and a large coat. He has a phone to his ear, as if waiting for someone to pick up. A beeping tone is heard, signifying it has gone to voicemail. Chris sighs.

CHRIS ANDREWS

Listen, call me back when you get this. We need to talk. I... I'm sorry. I tried.

Chris hangs up and places his phone in his coat pocket. He continues to walk, the camera behind him as the scene fades out.

CUT TO:

EXT.  Approaching Crime Scene Location – Early Afternoon

Tracking side-shot of Chris Andrews' feet, the camera slowly panning and rising to develop into a medium shot. JACOB MOORE enters from the side, walking slightly behind him. Jacob is wearing a similar costume to Chris, although his is more neat and tidy. Chris is aware of Jacob's presence, but gives no indication through his facial expression.

CHRIS ANDREWS
Who are you?

Jacob Moore is much more enthusiastic and positive, in comparison to Chris, who is very much the opposite. Jacob speaks with more positivity and anticipation.

JACOB MOORE
Jacob Moore. Your new partner.

CHRIS ANDREWS
I don't need a partner.

JACOB MOORE
Unfortunately, you don't get the choice.

A pause in their conversation, the two are still walking, however.

CHRIS ANDREWS
Is this your first case?

Jacob almost replies child-like.

JACOB MOORE
Yep.

CHRIS ANDREWS
Fuck.

Both turn to the right, following the path. Camera doesn’t follow.


CUT TO:

Shot cuts to the camera behind the two Private Investigators, but in between them so that we can see the house, DET 1 and DET 2 stand outside of it – both are wearing suits. Jacob and Chris approach the two men.





DET 2
(concerned)

Afternoon Andrews, how are you doing?

It is clear that Det 2 is acquainted with Andrews, who seems to ignore the question with a blank expression as he and Jacob stop before the two Detectives.

CHRIS ANDREWS
We’ve got a murder case then?

Det 2 goes to speak but Chris cuts him off.

CHRIS ANDREWS (CONT’D)
<indicates to Jacob> This is PI Moore, fill him in on what’s happened. <indicates to Det 1> You, take me through the crime scene.

Before Chris takes a step to follow the now departing Det 1, Jacob pulls out a small notepad and pen. Andrews stares at him for a few moments. Det 2 gives no indication of agitation, though it is clear he hasn’t taken Chris’ rudeness lightly.

CHRIS ANDREWS (CONT’D)
What are you doing?

Jacob hesitates.

JACOB MOORE
I was going to take notes.

A few more moments of silence.

CHRIS ANDREWS
You have a phone. Use it. Voice record or something – means you don’t miss anything out.

Chris walks away as Jacob pauses for a moment.




CUT TO:

INT. Crime Scene Location – Early Afternoon

Scene cuts to Chris Andrews entering through the front door as Jacob (seen behind him with Det 2) fumbling as he puts away the notepad and pen and pulls out a phone.

CHRIS ANDREWS
(mumbling)

New partner.

Camera pulls away from in front of him as he walks through into the living room. Camera pans slowly until Det 1 is in frame, waiting for Chris. To the left is a doorframe where a door would be, straight ahead and to the wall on the left are sofas. To the right is a window looking out into the back garden.

DET 1
Took your time.

Det 1 sounds agitated and impatient, Chris begins to wander around the room, analysing the scene.

CHRIS ANDREWS
So what happened?

CUT TO:

EXT.  Approaching Crime Scene Location – Early Afternoon

Scene cuts to over-the-shoulder shot, facing towards Det 2. The following scene-cuts act as if both Investigators are asking the same questions, the Detectives giving the same answers.

DET 2
A woman, aged in her mid-twenties, was found dead in her living room by her friend in the early hours of the morning. The friend identifies her as Lily, but we’re unsure as to whether or not this is true – she was intoxicated at the time.

Cuts to over-the-shoulder shot, this time facing Jacob.


JACOB MOORE
Where is she now?

CUT TO:

INT. Crime Scene Location – Early Afternoon

DET 1
The friend, Alice, is currently in custody until she sobers up. Lily is currently undergoing post-mortem with the family’s consent. We’ve taken pictures of the body for you to look at while we check out the real thing.

CHRIS ANDREWS
Where are they?

CUT TO:

EXT.  Approaching Crime Scene Location – Early Afternoon

Medium shot of both Jacob and Det 2 as the latter gives the former a handful of Polaroid photographs. Jacob looks over them with a puzzled look.

JACOB MOORE
This is a joke, right? Something you pull on the new guys? I know this is my first case, but really?

Det 2 smiles in return.

DET 2
Andrews likes the weird cases.

There is a moment of silence as Jacob tries to take it in, still going through the photos. Det 2 stops smiling, his facial expression serious.

DET 2 (CONT’D)
Listen. I know he can be hard, he hasn’t got the best track record with partners. He’s recently been hit hard. So cut him some slack, okay?

Jacob looks at him, with a mixture of concern and curiosity displayed on his face. He nods in reply.


CUT TO:

INT. Crime Scene Location – Early Afternoon

Andrews is still looking around the room as Det 1 prepares to leave.

DET 1
We have to get back to the office. The paperwork doesn’t fill itself out, plus we’ve got to check up on the post-mortem. I’ll leave all of this to you guys.

Chris doesn’t make any acknowledgement as Det 1 leaves. Slowly, Chris stands up to survey the location of where the body was. The shot changes to a high angle to give us a better view of where the body was. Non-diegetic sounds of a female voice whispering and crying play, the camera shifting to a close-up on Chris’ face, slowly zooming in as the sound of a non-diegetic car crash is heard. The end of this jolts Chris into reality, as he rubs his eyes and holds his face.

CHRIS ANDREWS
(whispers)

I’m sorry.

Jacob enters the room, oblivious to what has just happened to Chris, who straightens up immediately. In his hand, Jacob holds the Polaroid photographs. Chris turns to him as Jacob speaks.


JACOB MOORE
You’ve got to take a look at these.

Jacob approaches Chris and hands him the photo’s, who looks at them, unsurprised.

CHRIS ANDREWS
Makes sense.

Jacob looks confused and taken away by this statement.



JACOB MOORE
You’re joking. How does this make any sense at all?

Shot cuts to over-the-shoulder of Chris, looking down at one of the photographs. We can see that the neck of the female victim has two bloody marks on her neck, resembling some sort of “vampire bite”. Cuts to a medium shot of the two.

CHRIS ANDREWS
Look around the scene – what can you see?

Jacob pauses for a moment, glancing around quickly.

JACOB MOORE
Nothing. But—

Chris cuts him off mid-sentence.

CHRIS ANDREWS
Exactly. Nothing. There isn’t a single thing out of place, there was no forced entry, no signs of a struggle. It’s almost as if the killer was a ghost – no sign of anything.

JACOB MOORE
Couldn’t it have been her flat-mate? Alice?

CHRIS ANDREWS
That would be the most logical reasoning, but—

Chris is cut off mid-sentence as a loud “bang” is heard somewhere in the house. Both characters pull out their firearms in reaction. They both look towards the doorway. Both are in silence as the camera pans around them, revealing a dark figure standing by the window behind them.

JACOB MOORE
The window, right?


CHRIS ANDREWS
Yeah.

As both turn around, weapons aimed at the window, the scene cuts to black.

Cue Title Sequence.