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Logline: When a serial killer known as the Sunset Killer resurfaces after a decade-long hiatus, a determined detective must confront her own past and the demons that haunt her in order to finally bring the elusive killer to justice. See other logline suggestoins
Pass/Consider/Recommend/Highly Recommend
This changed recently. Ratings are subjective. So you get two engines' ratings to compare.
Engine: Claude
Recommend
Explanation: Prey For The Night is a gripping psychological thriller that follows the harrowing hunt for the Sunset Killer, a serial murderer who has evaded capture for over a decade. The screenplay masterfully weaves together the perspectives of the lead detective, Erin Reid, and the killer, Jack Hedon, as they engage in a high-stakes game of cat and mouse. Driven by a relentless pursuit of justice and a deep-seated need to confront the demons of her past, Reid is determined to bring the Sunset Killer to justice, even as her own personal and professional life begins to unravel. Ultimately, the screenplay delivers a powerful and emotionally resonant conclusion, exploring the heavy toll that the investigation has taken on Reid and the importance of perseverance in the face of overwhelming adversity.
Engine: Gemini
Consider
Explanation: Prey For The Night is a gripping crime thriller with a strong opening and a thought-provoking ending. The screenplay effectively explores themes of obsession and guilt, while also offering a glimpse into the psychological toll of police work. However, the pacing could be tightened in the middle section, and some character arcs and plot elements could benefit from further development.
Note: This is for fun only. There will be many wrong things in the mock poster. It doesn't mean the AI misunderstood your story.
USP: This script offers a fresh and gritty take on the crime genre, with a unique voice that emphasizes the psychological and emotional aspects of the characters. The intense and emotionally charged dialogue, combined with atmospheric narrative description, creates a sense of tension and depth throughout the story. The script stands out from others in its genre by exploring the aftermath of a wrongful accusation, the toll of past mistakes, and the complex dynamics between the characters. With its focus on the pursuit of justice, moral complexities of law enforcement, and the constant battle between hope and despair, this script will captivate its target audience and provide a compelling and thought-provoking piece of storytelling.
Overview
Genres:
Crime, Thriller, Mystery, Drama
Setting:
Contemporary,
Los Angeles, California
Overview:
The screenplay achieves a commendable overall score of 7.9, reflecting its strengths in character development, suspenseful plot, and exploration of relevant themes. However, opportunities exist to enhance plot complexity, emotional depth, and originality to elevate the screenplay further.
Themes:Serial Killer Investigation, Guilt and Responsibility, Manipulation and Deception, Personal Struggles and Relationships, Vengeance and Justice, Fear and Tension
Conflict and Stakes:
The primary conflict is between Reid and the Sunset Killer, with the stakes being the safety of the community and Reid's personal quest for justice.
Overall Mood:
Tense and suspenseful
Mood/Tone at Key Scenes:
Scene
1:
The scene is tense and suspenseful as the killer attacks Alison and Carl.
Scene
8:
The scene is tense and eerie as Reid recounts the details of a murder and the flashbacks show the brutal attack.
Scene
16:
The scene is intense and dramatic as Reid confronts Jack about his manipulation and they engage in a physical altercation.
Standout Features:
Gripping storyline:
The screenplay offers a compelling and suspenseful storyline that will keep audiences engaged.
Strong character development :
The screenplay features well-developed and complex characters that audiences will connect with.
Exploration of relevant social themes :
The screenplay delves into themes of justice, trauma, and obsession, providing thought-provoking content.
Comparable Scripts:
Se7en
The Girl with the Dragon Tattoo
True Detective
Gone Girl
The Silence of the Lambs
Mindhunter
Zodiac
The Killing
Broadchurch
Memento
Market Analysis
Budget Estimate:$10-15 million
Target Audience Demographics: Adults aged 25-54, fans of crime thrillers and psychological dramas
Marketability: The screenplay offers a gripping and suspenseful storyline with strong character development, which will appeal to fans of the genre.
The unique blend of genres, including crime thriller and character-driven drama, will attract a diverse audience.
The screenplay explores relevant social themes and features a strong female protagonist, which will resonate with audiences.
Profit Potential: Moderate to high, due to the strong appeal to the target audience and potential for critical acclaim and awards recognition.
Summary:The writer's voice is characterized by concise and impactful dialogue, descriptive and atmospheric narrative description, and a focus on the psychological and emotional aspects of the characters. The writer's voice is gritty, intense, and emotionally charged, creating a sense of tension and depth in the screenplay.
Best representation:
Scene 10 - The Mysterious Lockbox. This scene could serve as the encapsulation of the writer's unique voice in the screenplay because it showcases their ability to create a dark and introspective atmosphere through dialogue and description, as well as their focus on the psychological and emotional aspects of the characters' experiences.
Memorable Lines:
Jack: I guess you’ll have to read about it in the Times. (Scene 24)
Reid: Everyone wants to get inside the head of the killer but no one wants to get inside the head of the victim, because that makes them too real, too human. Doesn’t it, Jack? (Scene 15)
ANA: He didn’t destroy me that night, he made me. I beat him once, and I’ll keep beating him. MY WAY. I’m not going to run off and hide. Fuck him. (Scene 18)
REID: Because then he’d win. And I won’t let that happen. (Scene 29)
Reid: I am so sorry Alison. This is all my fault. My obsession, my ego blinded me to the truth. I was so sure, and I was the hero, right up until I wasn’t. I don’t know if I even make a difference anymore, or if I’m just part of it. And I accept that. What I won’t accept are my actions that put you here. And I will do everything I can to make this right. I promise, I will make this right. (Scene 26)
Writing Style:
The writing style of the entire screenplay is characterized by a focus on dialogue-driven scenes, suspenseful and atmospheric tones, and exploration of complex characters and their psychological dynamics.
Style Similarities:
David Fincher
Aaron Sorkin
Other Similarities: The screenplay combines elements of crime, mystery, and psychological tension, creating a compelling narrative with unexpected twists and morally ambiguous characters. The scenes often feature domestic settings and explore the challenges faced by female protagonists. Overall, the writing style is engaging, suspenseful, and thought-provoking.
Story Shape
Emotions Elicited
Engine: Claude
Screenplay Rating:
Recommend
Executive Summary
Prey For The Night is a gripping psychological thriller that follows the harrowing hunt for the Sunset Killer, a serial murderer who has evaded capture for over a decade. The screenplay masterfully weaves together the perspectives of the lead detective, Erin Reid, and the killer, Jack Hedon, as they engage in a high-stakes game of cat and mouse. Driven by a relentless pursuit of justice and a deep-seated need to confront the demons of her past, Reid is determined to bring the Sunset Killer to justice, even as her own personal and professional life begins to unravel. Ultimately, the screenplay delivers a powerful and emotionally resonant conclusion, exploring the heavy toll that the investigation has taken on Reid and the importance of perseverance in the face of overwhelming adversity.
Strengths
The opening sequence effectively establishes the tone, mood, and high-stakes premise of the story through a gripping murder sequence that immediately draws the audience in. high
( Scene 1
(EXT. CHAMBERS HOUSE - MORNING)
)
The reveal of Jane Doe's (Ana) backstory and her confrontation with the killer is a standout moment, providing a compelling character arc and emotional resonance. high
( Scene 17
(INT. EL COMPADRE - NIGHT)
)
The tense confrontation between Reid and Jack, culminating in the revelation of Jack's guilt and his subsequent suicide, is a powerful and satisfying climax to the story. high
( Scene 28
(INT. PRIVATE ICU HALLWAY - NIGHT)
)
The final scene provides a thoughtful and emotional conclusion, exploring Reid's personal struggles and her determination to continue fighting for justice, despite the heavy toll it has taken on her. high
( Scene 29
(INT. UCLA MEDICAL CENTER/ER PATIENT BAY - NIGHT)
)
Areas of Improvement
The exposition-heavy radio interview sequence, while providing important backstory, could be tightened and made more engaging through the use of more subtext and conflict between the characters. medium
( Scene 2
(INT. KPCC RADIO STATION/AIRTALK STUDIO - DAY)
)
The flashback sequence depicting Jia's murder could be made more visually striking and impactful, with a stronger emphasis on the emotional experience of the victim. medium
( Scene 13
(EXT. CHINATOWN/PARKING LOT - NIGHT)
)
The scene exploring Jack's perspective as the killer could be more subtly woven throughout the narrative, rather than presented as a standalone set piece, to better integrate his character arc and motivation. medium
( Scene 15
(EXT. ECHO PARK - NIGHT)
)
MissingElements
While the opening sequence is strong, more could be done to establish the relationship between Alison and her husband Carl, as well as provide additional context about Alison's life and work, to further heighten the emotional impact of her murder. medium
( Scene 1
(EXT. CHAMBERS HOUSE - MORNING)
)
The subplot involving the Coke bottle and the DNA evidence could be more clearly integrated throughout the narrative, providing additional layers of mystery and suspense. medium
( Scene 24
(EXT. ALLEY BEHIND EL COMPADRE - NIGHT)
)
NotablePoints
The exchange between Reid and Malloy highlights the emotional and psychological toll of the investigation, providing insight into Reid's character and the challenges she faces. high
( Scene 5
(INT. LAPD HOMICIDE SPECIAL/HALLWAY - DAY)
)
The scene with Garrett, Reid's former partner, effectively establishes the lingering trauma and guilt associated with the Sunset Killer case, foreshadowing the tragic events to come. high
( Scene 9
(INT. GARRETT'S HOUSE - DAY)
)
The conversation between Reid and Jack provides a compelling exploration of the psychology and motivations of both the killer and the detective, highlighting the complex and often blurred lines between the two. high
( Scene 19
(INT. CROWN VIC (MOVING) - NIGHT)
)
Engine: Gemini
Screenplay Rating:
Consider
Executive Summary
Prey For The Night is a gripping crime thriller with a strong opening and a thought-provoking ending. The screenplay effectively explores themes of obsession and guilt, while also offering a glimpse into the psychological toll of police work. However, the pacing could be tightened in the middle section, and some character arcs and plot elements could benefit from further development.
Strengths
The opening hook with Alison's murder is gripping and immediately draws the reader in. The ending, with Reid's complex emotions and unresolved inner conflict, leaves a lasting impact. high
( Scene 1
Scene 29
)
The dinner scene with Ana (Jane Doe) is well-crafted, building suspense and revealing crucial information through subtle clues and dialogue. high
( Scene 17
Scene 26
)
The screenplay effectively explores themes of obsession, guilt, and the blurred lines between good and evil, particularly through Reid's internal struggle and Jack's motivations. high
The dialogue is often sharp and impactful, particularly during confrontations between Reid and Jack, revealing their underlying motivations and vulnerabilities. medium
( Scene 21
Scene 28
)
Areas of Improvement
The pacing in the middle section of the screenplay could be tightened. Some scenes, particularly those revisiting past crimes, feel repetitive and slow down the momentum. high
The use of technology and social media in SK's communication feels somewhat contrived and doesn't add much depth to his character or the overall plot. medium
( Scene 11
)
Jack's character arc, while intriguing, could benefit from more development and exploration of his backstory and motivations beyond simply seeking fame. medium
MissingElements
The screenplay would benefit from exploring the impact of the crimes and investigation on the victims' families and the wider community, adding emotional depth and social context. medium
Reid's personal life outside of her work is largely unexplored. Delving into her relationships and backstory could provide a more nuanced understanding of her character and motivations. medium
NotablePoints
The use of quick cuts during the murder scenes effectively conveys the brutality and chaos of the acts, while also leaving some details to the reader's imagination. medium
( Scene 3
)
The screenplay's exploration of the psychological toll of police work on detectives like Reid and Garrett adds a layer of realism and complexity to the narrative. medium
;
Screenplay Insights:
Characters: 8.25, The screenplay displays a strong foundation in character development, presenting complex and relatable characters who undergo significant growth and transformation. However, there are opportunities to refine certain aspects of the character arcs and explore the themes more deeply to enhance the emotional resonance and connection with the audience. See More
Premise: 7.75, The screenplay presents a promising premise with a strong foundation for a gripping crime thriller. The cat-and-mouse game between Detective Reid and the Sunset Killer, coupled with Reid's personal struggles and the exploration of justice and morality, creates an intriguing narrative. However, some aspects of the premise could be further developed to enhance originality and audience engagement. See More
Structure: 6, The screenplay exhibits a solid structure with a clear three-act structure and a central conflict that drives the narrative forward. The plot unfolds effectively, maintaining a balance between tension and release. However, the screenplay could benefit from refining some aspects of the plot to enhance its complexity and emotional impact. See More
Theme: 7.75, The screenplay delves into profound themes of justice, trauma, and the nature of good and evil. It conveys these messages through a gripping narrative and well-developed characters. However, the screenplay could benefit from further refinement to enhance the clarity and integration of its themes within the plot and character arcs. See More
Visual Impact: 8.25, The screenplay features visual imagery that is generally vivid and effectively conveys the atmosphere and events of the story. The descriptions are immersive, allowing readers to visualize the scenes and connect with the characters' emotions. The use of visual metaphors and symbols adds depth and meaning to the narrative, enhancing the overall storytelling experience. See More
Emotional Impact: 7.75, The screenplay demonstrates strong potential for emotional impact through its suspenseful plot, flawed characters, and exploration of themes like trauma and justice. However, opportunities exist to deepen emotional resonance by further developing character arcs, exploring internal conflicts, and utilizing storytelling techniques that amplify emotional moments. See More
Conflict: 8.25, The screenplay presents a compelling conflict and high stakes, immersing the audience in the investigation of the Sunset Killer. The personal involvement of characters and the weighty consequences of the killer's actions create a strong narrative tension. However, certain developments could heighten the conflict and elevate the stakes, enhancing the overall engagement factor. See More
Originality: 7.75, The screenplay effectively blends elements of crime, drama, and suspense to craft a compelling and emotionally driven narrative. Its originality lies in the exploration of the personal toll on detectives and journalists involved in high-stakes cases. See More
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Summaries
Alison Chambers and her husband, Carl, are at home when the Killer enters and brutally murders them. Before her death, Alison sends a text to Erin Reid, claiming to know the identity of the Sunset Killer. Reid receives the message, leaves for work, and becomes aware of being watched by someone in a car across the street.
Larry Mantle hosts his talk show AIRTALK with guests Jack Hedon and Derek Collins to discuss the Sunset Killer case. Jack hints at a police officer being a suspect in his new book. Erin Reid listens to the interview in her car and later FaceTimes with Sally. The scene ends with Alison's lifeless body and Reid FaceTiming with Sally.
Reid visits her therapist Sally to discuss her decision-making process and her difficult relationship with her father. She then visits her former partner Mitch, who is distant and struggling with the anniversary of a case they worked on together. Meanwhile, Jack returns to the newsroom and has a tense encounter with his boss Karla. The scene ends with Jack entering Karla's office.
Karla confronts Jack about his unauthorized media interview, leading to tension between them. Jack apologizes and assures her he is working on his story. He then tries to convince Lieutenant Malloy to help him with his story. Meanwhile, an older reporter is seen packing his belongings in the background. The scene ends with Karla leaving Jack's desk and him picking up a mysterious package addressed to him.
Reid and Malloy argue about Reid's reluctance to talk to someone who destroyed Mitch. Malloy encourages Reid to keep fighting for justice. Jack arrives and meets with Malloy in his office.
Malloy is pleased with Reid's interrogation skills but skeptical of Jack's claims about a package he received from the serial killer. Jack tries to convince Malloy of the package's authenticity while Reid hands off the suspect to a uniformed officer. The conflict remains unresolved as forensics is called to examine the package.
In the LAPD Homicide Special/Conference Room, the team receives a package from the serial killer SK containing a Barbie doll with zip ties and a letter. Alex carefully examines the package and letter for clues while Reid and Jack argue about their past mistakes and the importance of catching SK. Despite the unresolved conflict, Reid discovers a letter addressed to her from SK, revealing his intentions to continue his killing spree.
Alex, Malloy, Reid, and Jack examine evidence related to the serial killer case. They receive a voice text from one of the killer's victims demanding Reid's cooperation. Reid decides to use herself as bait to draw out the killer and end the case. Tensions rise between Reid and Jack as they argue about their motivations. The scene ends with Reid making the decision to put herself at risk to catch the killer.
Reid and Jack drive through downtown Los Angeles, reflecting on their interrogation tactics. Jack brings up Reid's old partner, Garrett, causing Reid to become defensive. The scene ends with Jack telling Reid to forget he said anything about Garrett.
Reid and Jack discuss the details of Chrissie Taff's murder in a vacant parking lot near the LA River. Reid recounts how the killer strangled her with a bra, while flashbacks show the brutal attack. Jack records Reid's story for his book, and they delve into the killer's desire for control and domination. The scene ends with Reid standing at the crime scene, ten years ago, staring at Chrissie Taff's lifeless body, feeling as if it happened just yesterday.
Reid and Jack receive a text from SK asking them to look behind them. They find a lockbox with an envelope addressed to Reid. Inside the lockbox, they discover an old locket necklace with a picture of Ginni Taff and her daughter Chrissie, along with an AirPod case containing a message from Ginni pleading for Reid's help in finding her daughter's killer. Reid and Jack discuss their next move and the possibility of being watched by SK. The scene ends with them receiving a text revealing the location of their next destination.
In this scene, Jack and Reid discuss the possibility of anyone being a killer, including cops. Reid empathizes with the killer, seeing them as both hero and victim. Jack asks about talking to Jane Doe, but Reid tells him to play nice. The scene then shifts to the killer's POV as they stalk and kill Jia Chen in a Chinatown parking lot. The tension between Jack and Reid is evident as they have conflicting views on the killer's mindset. The scene ends with the killer pleased with their actions and studying Jia Chen's body.
Reid and Jack investigate the parking lot where Jia's body was dumped. Reid finds a blue silk scarf tied to the basement entrance, matching the dress Jia was wearing when she was murdered. They argue about Garrett, a cop who was a suspect. Reid sees a video of Jia on a monitor in front of a closed electronics store. They receive a text from SK about their next stop. Someone takes pictures of them from across the street.
Reid and Jack drive in silence to Echo Park where Elena's body was found. Reid explains the higher risk of the killer attacking in the open. Jack imagines the killer's perspective during the attack on Elena. The scene then shifts to the past where Jack witnesses the attack on Elena. The tension and fear surrounding Elena's murder is palpable. The scene ends with Jack feeling the killer's tension and self-hatred melting away during the attack on Elena.
Reid confronts Jack about understanding the killer and the victim, but their conversation is interrupted by a candle-lit vigil for Elena Rodriguez and the other victims. Reid receives text messages from the killer and realizes he is present at the vigil. She chases after him but he escapes. Reid and Jack find Elena's headphones in a shoe box on their car, leading Reid to realize the killer set up the vigil to manipulate her. She makes a mysterious phone call, hinting that Jack will soon find out the truth.
Reid and Jack visit El Compadre, an old school Mexican restaurant. Patricia warmly greets them while Reid goes to the kitchen to talk to Juan. Jack retrieves a bag from the restroom containing dangerous tools. He takes out a razor-knife and smiles ominously. The scene ends with Reid and Jack getting into a car, leaving their purpose unknown.
Jack, confident and pleased, meets Jane, a survivor of his attacks, in a restaurant's dining room. Over a meal, Jane recounts her terrifying experience of being attacked by a serial killer. Jack reveals a hidden razor-knife, and Jane notices a tattoo on his forearm that covers a scar. The scene ends with Jane leaving for her late shift at the hospital, leaving the unresolved tension between them.
Reid walks Jane (Ana) to her car in Laurel Canyon Park and they discuss the possibility of the man they saw being her attacker. Ana expresses her determination to face him and not run away, while Reid promises to catch him. Meanwhile, Jack waits by the car and Reid hands over evidence to a squad car. Pictures are taken of them from across the street. The scene ends with Reid handing over evidence to a squad car and Jack thanking him.
Reid and Jack ride in silence in the Crown Vic, discussing the personal nature of their cases. Reid receives a call from Alex with good news about the SK case. They arrive at Garrett's house and find him dead with a gunshot wound. Reid blames Jack for his death and confronts him.
Reid discusses the case with Malloy and decides to let Graham handle it. Meanwhile, Jack receives a threatening text from SK. Reid and Jack head to Westwood Village together, fueled by Reid's determination to catch the killer and protect herself.
Reid and Jack argue in an alley covered with newspaper clippings about the Sunset Killer. Reid blames herself for not catching the killer earlier and Jack for creating him through his articles. Jack denies responsibility and reaches for a razor-knife, but Reid pulls out her gun. They both receive a text with a video of Alison's murder, and Reid calls for backup.
Reid races down Sunset towards Brentwood, swerving through traffic, lights flashing. She weaves in and out of traffic, desperate. Her phone rings and Alex tells her they got a hit on the phone and are tracing it. Reid is pleased and tells Jack they got the phone. They arrive at Chambers House and Reid tells Jack to stay out of the way and not touch anything. They will get his prints for the log to eliminate him from any prints found there. The scene ends with Reid instructing Jack to stay out of the way and not touch anything at Chambers House.
Reid and Jack enter the Chambers house to find a male deceased with multiple stab wounds and a belt around his neck. Alison, the wife of the deceased, is missing but later found unconscious with a disturbing message carved into her back. Reid suspects the killer is the same person who killed Garrett. They discover a wireless RAID tower with hard drives and track the IP addresses of Alison's blog readers. Reid receives a call about the location of SK's cell phone. The scene ends with Reid asking Officer Oyama to watch Jack and prevent any theft.
Reid and Malloy discuss the condition of a witness while Jack panics about being trapped in the house with police and reporters outside. Reid assures Jack that the witness is alive and will be able to talk soon. As they leave the house, they are confronted by a TV reporter. Reid spots the photographer who has been following them and has him taken into custody. With lights flashing and siren blaring, Reid and Jack drive away, escaping the chaotic scene.
Reid and Jack, driving with lights flashing and siren on, receive important calls while en route to the UCLA Medical Center. Reid learns about a DNA match from Alex, while Jack's boss, Karla, expresses anger over another murder. Upon arrival, they meet Ana who guides them to a closed wing connected to the ER. The conflict between catching the suspect and Karla's frustration remains unresolved. Reid advises Jack not to disclose information about Alison and makes a mysterious phone call seeking a favor. The scene ends with Reid and Jack ready to continue their investigation in the closed wing of the hospital.
Reid attempts to visit Jane Doe and Alison at the UCLA Medical Center's ER, but is denied access by the head nurse. In the waiting room, Reid manages to sneak into Alison's private ICU room to apologize to her. However, Alison's brother, Derek, appears and assures Reid that they never blamed her. Meanwhile, Jack is prevented from entering Alison's room by Officer Pulos. The scene concludes with Jack being kept away from Alison's room.
Reid is in Alison's hospital room, hoping for a miracle. Derek asks what if she doesn't wake up and Reid insists she will. Alison suddenly grabs Reid's hand and wakes up, whispering something before going into spasms. Doctor Harari storms in and demands Reid leave. Nurses and doctors swarm in for a code blue. The conflict arises when Doctor Harari demands Reid leave, but Reid insists on explaining who she is. The conflict is not resolved as Derek leads Reid out of the room. The scene ends with Derek leading Reid out of the room as nurses and doctors swarm in for a code blue.
Reid confronts Jack in a private ICU hallway at night, frustrated with his manipulation. She reveals that she knows he is the one who woke up. Jack taunts Reid about her failures, leading to a physical altercation. Jack manages to grab a razor knife and slashes Reid's arm. Pulos intervenes and holds Jack at gunpoint. Reid reveals she has evidence against Jack and that she was wired the whole time. In a shocking turn, Jack slashes his own throat with the razor knife and dies. Reid stops Pulos from calling for help, and they make a pact to keep the evidence a secret. Exhausted but relieved, Reid leans against the wall, knowing it's finally over.
Characters in the screenplay, and their arcs:
Character
Arc
Critique
Suggestions
Reid
Reid's character arc in the feature begins with a strong dedication to her work but also carries the weight of past mistakes. As she confronts the past and seeks resolution, she becomes more introspective and vulnerable. She becomes more willing to take risks and bend the rules to catch the killer, displaying a strong determination to achieve her goals. However, as the story progresses, Reid's character becomes more complex as she realizes the emotional toll of her choices. She learns to take responsibility for her actions and strives to make things right. In the end, Reid emerges as a stronger and more well-rounded character who is capable of taking on the challenges of her job while also maintaining her integrity and protecting the people she cares about.
The character arc for Reid is strong and well-developed, particularly in the way it addresses her past mistakes and the emotional toll of her work. However, one area for improvement could be to further explore her vulnerabilities and emotional struggles in a more nuanced way. While there are certainly moments of vulnerability, they could be more fully explored to give the character more depth and complexity.
One suggestion for improvement would be to have more moments where Reid reflects on her past and the impact it has had on her character. Additionally, it might be beneficial to include more scenes that explore her relationships with other characters, particularly those that challenge her and force her to confront her emotional struggles. Finally, adding more dialogue that showcases her introspective side and inner conflicts would add additional depth and complexity to the character.
Theme
Theme Details
Themee Explanation
Serial Killer Investigation
The screenplay revolves around the investigation of the Sunset Killer, a serial killer who has been terrorizing the community. The characters, conflicts, and visual elements all revolve around this theme.
The theme of a serial killer investigation is the most important and strongly represented theme in the screenplay. It drives the plot, character actions, and conflicts throughout the story.
Strengthening Serial Killer Investigation:
Suggestion Type
How to Strengthen the Theme
Character Arc
Develop Erin Reid's internal struggle with her own past mistakes and doubts about fighting for justice. Show her growth and determination to overcome these obstacles throughout the screenplay.
Story Arc
Introduce a subplot that explores the possibility of a police officer being the Sunset Killer. This adds complexity to the investigation and raises the stakes for the characters involved.
In the scene where Alison's lifeless body is shown, use visual cues to emphasize the brutality of the killer's actions, such as blood splatters, broken furniture, or a chilling atmosphere.
During the conversation about their past mistakes, have Reid and Jack engage in a heated debate about the ethical implications of their actions and the importance of catching the Sunset Killer. This dialogue should reveal their conflicting perspectives and add tension to their relationship.
In the scene where Reid chases after the killer at the vigil, add a thrilling action sequence that showcases her determination and physical prowess. This will heighten the suspense and reinforce her commitment to catching the killer.
Guilt and Responsibility
Reid feels guilty for not catching the killer earlier and blames herself for the deaths and attacks. She also confronts Jack about his responsibility in creating the killer through his articles.
The theme of guilt and responsibility is strongly represented in the screenplay, as Reid and Jack both grapple with their roles in the investigation and the consequences of their actions.
Manipulation and Deception
Jack manipulates Reid and others throughout the screenplay, leading to conflicts and tension. Reid also uses deception to gather evidence against Jack.
The theme of manipulation and deception is present in the screenplay, as characters use these tactics to achieve their goals and create conflicts.
Personal Struggles and Relationships
Reid struggles with her decision-making process, her difficult relationship with her father, and her past partnership with Mitch. Jack also has personal struggles and a complicated relationship with his boss Karla.
The theme of personal struggles and relationships is present in the screenplay, as characters navigate their own internal conflicts and the dynamics of their relationships with others.
Vengeance and Justice
Reid seeks justice for the victims of the Sunset Killer and is determined to catch the killer. The conflicts and actions of the characters revolve around seeking vengeance and justice.
The theme of vengeance and justice is present in the screenplay, as characters seek to bring the killer to justice and avenge the victims.
Fear and Tension
The screenplay creates a tense and suspenseful atmosphere through its tone, visual elements, and conflicts. Characters experience fear and tension throughout the story.
The theme of fear and tension is present in the screenplay, as characters navigate the dangerous and suspenseful world of the serial killer investigation.
What's going on here? - Scenes are rated on many critreia. The goal isn't to try to maximize every number; \
It's to make you aware of what's happening in your scenes. You might have very good reasons to have character development but not advance the story, or have a scene without conflict. Obviously if your dialogue is really bad, you should probably look into that.
Here are some things that came out of the scene level analysis.
This is a summary of the strengths, weaknesses, and suggestions found in each scene. Some things might appear in both strengths and weaknesses based on the variety of your scenes.
For summary of each criteria click in the top row on the criteria.
Scene Strengths
Engaging dialogue
Tension and suspense
Intense atmosphere
Effective use of suspense and emotion
Sharp dialogue
Scene Weaknesses
Lack of standout dialogue
Lack of clear direction
Limited character development
Underexplored themes
Lack of memorable dialogue
Suggestions
Focus on creating more unique and memorable dialogue to make the characters stand out.
Work on establishing a clearer sense of direction and pacing to keep the story flowing smoothly.
Spend more time developing supporting characters and exploring themes to add depth to the story.
Consider exploring themes more deeply and incorporating more complex character arcs to create a more nuanced story.
Continue to work on crafting dialogue that is both engaging and true to the characters.
World Building
Physical environment: The world depicted in the screenplay is a mix of suburban neighborhoods, radio station recording studios, therapist's offices, newsrooms, police stations, city streets, parking lots, hospitals, restaurants, and various other urban settings. The physical characteristics of these environments vary, but they all contribute to the atmosphere and tone of the scenes.
Culture: The cultural elements present in the screenplay include the use of noise-canceling headphones, casual attire, the presence of different types of people in the city, the cultural elements of Chinatown, and the Mexican cuisine and family-owned atmosphere of El Compadre restaurant.
Society: The societal structures depicted in the screenplay include the hierarchy within the police force, the authority of therapists and doctors in medical settings, the presence of law enforcement officers and the media in crime scenes, and the community coming together for a vigil to honor the victims.
Technology: The technological aspects present in the screenplay include the use of phones for communication, the use of microphones and cameras for recording and broadcasting in radio stations, the use of phones and videos to communicate and share information in newsrooms, the use of medical equipment and tools in hospitals, and the use of a camera with a zoom lens to take pictures in parking lots.
Characters influence: The unique physical environment, culture, society, and technology shape the characters' experiences and actions in the screenplay. For example, the suburban neighborhood and domestic setting create a sense of familiarity and comfort for the characters. The presence of noise-canceling headphones and casual attire reflects the modern and relaxed culture of the characters. The hierarchy within the police force and the authority of therapists and doctors influence the characters' interactions and decision-making. The use of phones, cameras, and other technological tools enable the characters to communicate, investigate, and gather evidence.
Narrative contribution: These world elements contribute to the narrative of the screenplay by creating a rich and diverse backdrop for the characters and their stories. The different physical environments, cultural elements, societal structures, and technological aspects provide opportunities for conflict, tension, and resolution. They also serve as catalysts for the characters' actions and decisions, driving the plot forward and shaping the events of the story.
Thematic depth contribution: The world elements in the screenplay contribute to the thematic depth by exploring themes such as crime, justice, identity, power dynamics, and the impact of media. The physical environments, cultural elements, societal structures, and technological aspects reflect and reinforce these themes, adding layers of meaning and depth to the story. They also provide a lens through which the characters and audience can examine and reflect on these themes.
Voice Analysis
Summary:
The writer's voice is characterized by concise and impactful dialogue, descriptive and atmospheric narrative description, and a focus on the psychological and emotional aspects of the characters. The writer's voice is gritty, intense, and emotionally charged, creating a sense of tension and depth in the screenplay.
Voice Contribution
The writer's voice contributes to the script by adding depth and authenticity to the characters' emotions and conflicts. The dialogue and narrative description effectively convey the atmosphere and themes of the story, emphasizing the moral complexities of law enforcement, the pursuit of justice, and the constant battle between hope and despair.
This scene could serve as the encapsulation of the writer's unique voice in the screenplay because it showcases their ability to create a dark and introspective atmosphere through dialogue and description, as well as their focus on the psychological and emotional aspects of the characters' experiences.
Top Correlations and patterns found in the scenes:
Pattern
Explanation
Dialogue and Emotional Impact
There is a strong correlation between the quality of dialogue and emotional impact of the scene. Scenes with higher dialogue scores tend to have higher emotional impact scores.
Tone and Conflict
Scenes with a more intense or suspenseful tone tend to have higher conflict scores.
Character Changes and Emotional Impact
Scenes with higher character change scores tend to have higher emotional impact scores.
High Stakes and Emotional Impact
Scenes with higher stakes tend to have higher emotional impact scores.
Concept and Plot
Scenes with higher concept scores tend to have higher plot scores.
Tone and Suspense
Scenes with a more intense or suspenseful tone tend to have higher suspense scores.
Character Changes and Conflict
Scenes with higher character change scores tend to have higher conflict scores.
Tone and Emotional Impact
Scenes with a more intense or emotional tone tend to have higher emotional impact scores.
Dialogue and Character Development
Scenes with higher dialogue scores tend to have more developed characters.
Tone and Overall Grade
Scenes with a more intense or suspenseful tone tend to have higher overall grades.
Writer's Craft Overall Analysis
The writer demonstrates a strong command of screenwriting craft, effectively creating tension, suspense, and engaging scenes. The dialogue is sharp and impactful, and the narrative descriptions provide clear visuals and set the mood. The scenes effectively establish the goals, conflicts, and stakes of the characters, leaving the audience wanting to know more. However, there is room for further development in terms of exploring unique narrative structures, refining character depth, and experimenting with different writing techniques.
Key Improvement Areas
Character Development
While the scenes effectively establish the goals and conflicts of the characters, there is room for further development in terms of exploring their internal motivations, desires, and growth throughout the story. This can enhance the emotional depth and audience connection to the characters.
Originality and Unique Voice
While the scenes showcase the writer's proficiency in creating tension and engaging storytelling, there is an opportunity to further develop a unique voice and explore originality in narrative structures, themes, and character dynamics. This can make the screenplay stand out and leave a lasting impact on the audience.
Versatility in Genres and Writing Styles
While the scenes effectively convey tension, suspense, and emotional depth, there is room for the writer to explore different genres and writing styles. This can help expand their storytelling skills, creativity, and range as a screenwriter.
Suggestions
Type
Suggestion
Rationale
Book
Save the Cat! Writes a Novel by Jessica Brody
This book provides valuable insights and exercises for developing compelling characters, plot structure, and engaging scenes, which can help the writer further enhance their craft.
Book
Story: Substance, Structure, Style, and the Principles of Screenwriting by Robert McKee
This book provides in-depth guidance on crafting compelling and impactful scenes, character development, and storytelling techniques, which could enhance the writer's screenwriting craft.
Course
MasterClass: Aaron Sorkin Teaches Screenwriting
This course offers in-depth lessons on screenwriting techniques, dialogue writing, character development, and storytelling from renowned screenwriter Aaron Sorkin. It can help the writer refine their skills and develop their unique voice.
Additional Notes:
Overall, the writer demonstrates proficiency in creating engaging and impactful scenes. With further refinement and development, particularly in character depth, originality, and versatility, the writer has the potential to become a strong screenwriter.
Here are different Tropes found in the screenplay
Trope
Trope Details
Trope Explanation
Home Invasion
The killer enters Alison and Carl's house and attacks them.
Home invasion is a common trope in horror and thriller movies where the protagonist's home is invaded by a dangerous intruder.
Serial Killer
The Sunset Killer is a serial killer who is the main focus of the screenplay.
The serial killer trope is a common element in crime and thriller movies, where a character is driven by a compulsion to kill multiple victims.
Talk Show Interview
Larry Mantle hosts a talk show where he interviews guests about the Sunset Killer case.
The talk show interview trope is often used in crime and mystery movies to provide exposition and insight into the case.
Therapy Session
Reid visits her therapist Sally and discusses her decision-making process and her difficult relationship with her father.
The therapy session trope is often used in movies and TV shows to provide insight into a character's thoughts, emotions, and backstory.
Mysterious Package
Jack receives a mysterious package addressed to him from the serial killer.
The mysterious package trope is often used in mystery and thriller movies to create suspense and intrigue.
Interrogation Room
Reid and Malloy enter the interrogation room to question a suspect.
The interrogation room trope is commonly used in crime and police procedural movies to show the process of questioning suspects and gathering evidence.
Bait and Switch
Reid decides to use herself as bait to draw out the killer and end the case.
The bait and switch trope is often used in crime and thriller movies to create tension and surprise the audience with unexpected twists and turns.
Flashbacks
The scene intercuts with flashbacks of the murder of Chrissie Taff.
The flashback trope is commonly used in movies and TV shows to provide backstory and reveal important information about past events.
Hidden Message
Reid and Jack find a hidden message from the killer in a lockbox.
The hidden message trope is often used in mystery and thriller movies to provide clues or cryptic messages from the antagonist.
Final Showdown
Reid and Jack confront the killer in a dramatic final showdown.
The final showdown trope is a common element in action and thriller movies, where the protagonist confronts the antagonist in a climactic battle or confrontation.
Reid: Everyone wants to get inside the head of the killer but no one wants to get inside the head of the victim, because that makes them too real, too human. Doesn’t it, Jack?
Reid: I am so sorry Alison. This is all my fault. My obsession, my ego blinded me to the truth. I was so sure, and I was the hero, right up until I wasn’t. I don’t know if I even make a difference anymore, or if I’m just part of it. And I accept that. What I won’t accept are my actions that put you here. And I will do everything I can to make this right. I promise, I will make this right.
Some Loglines to consider:
When a serial killer known as the Sunset Killer resurfaces after a decade-long hiatus, a determined detective must confront her own past and the demons that haunt her in order to finally bring the elusive killer to justice.
In a race against time, a veteran detective teams up with a notorious crime reporter to track down the Sunset Killer, a serial murderer who has evaded capture for years, while grappling with the personal toll the investigation has taken on her.
A detective's obsession with a serial killer who disappeared a decade ago is reignited when one of the killer's surviving victims provides a critical clue that could finally lead to his capture.
Haunted by her failure to stop a serial killer a decade ago, a determined detective risks everything to hunt down the Sunset Killer, only to find that her own past may hold the key to unlocking the mystery.
In a high-stakes game of cat and mouse, a detective and a crime reporter engage in a deadly dance as they both pursue the Sunset Killer, a serial murderer with a penchant for taunting his pursuers.
A haunted detective, tormented by past mistakes, must confront a notorious serial killer who has resurfaced to exact revenge and expose her darkest secrets.
On the anniversary of the Sunset Killer's last victim, a cryptic message sends a detective and a fame-hungry reporter on a twisted journey into the killer's mind, where they uncover a shocking truth.
A cat-and-mouse game ensues between a determined detective and a cunning serial killer who uses technology and media manipulation to control the narrative and push her to the edge.
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The warm glow of the sun just beginning to rise over a small
craftsman-style home in affluent Brentwood Heights.
Through the bay window we see a WOMAN sitting at her desk,
working on her computer, her back to us.
INT. CHAMBERS HOUSE/LIVING ROOM - MORNING
SOMEONE’S POV creeping through the house, finding-
ALISON CHAMBERS, 30s, smart, focused, wearing an oversized t-
shirt and jammies, her fingers dancing across the keyboard in
between sips of coffee.
Noise cancelling headphones on, listening to music. She’s in
“her zone” - completely focused on the words on the screen.
Nothing else exists.
AS WE MOVE CLOSER, she spins, startled.
ALISON
Jesus.
She whips off her headphones.
CARL
Sorry babe didn’t mean to scare
you.
Her husband CARL, 30s, wrapped in a towel, fresh from the
shower, leans in and kisses her on the cheek.
CARL
Morning.
ALISON
Morning babe.
CARL
Did you get some sleep?
ALISON
You know me.
CARL
That’s a no.
2.
ALISON
I got a few hours.
CARL
Better. How’s it going?
ALISON
Almost done. I’m close babe. Real
close.
CARL
That’s my girl. Keep fighting the
good fight, I’m proud of you.
He moves in for more than a kiss.
ALISON
Don’t start.
CARL
What?
ALISON
I’m working.
CARL
Time for a break.
She playfully pushes him away.
ALISON
Later.
CARL
Promise?
ALISON
Promise.
He heads back towards the bathroom.
CARL
I’m gonna’ hold you to that.
ALISON
Don’t threaten me with a good time.
She slips her headphones back on, spins back to the keyboard,
typing away in a frenzy, the words spilling onto the screen.
Then it hits her. She grabs her cell phone and shoots off a
quick text.
Back to the keyboard, when suddenly-
3.
CRACK. Her head is smashed into the monitor, shattering the
screen. Her head bobbles to the side as-
QUICK CUTS
Latex-gloved hands wrap a bra around her neck, yanking it
into a noose and dragging her out of her chair.
Her coffee cup shattering on the floor.
Her hands grabbing for the bra as it’s pulled tighter and
tighter around her neck. Desperate.
Her head hitting the floor. Eyes bulging.
Her feet kicking.
Her blurry POV of her ATTACKER.
He dangles her from the noose with one hand as he holds up
his CELL PHONE with the other, recording her-
Arms flailing. Reaching for him.
Choking for air. Trying desperately to scream but she can’t.
Eyes bulging, head twitching, and then-
She stops. Spits out her last breath. It’s over.
The Killer clicks open a long STRAIGHT-EDGE RAZOR.
Keeps recording as he-
SLASHES HER, carving something we don’t see. He stops,
winded. Satisfied. Folds up the razor.
KILLER’S POV through the phone, slowly zooming in on Alison’s
lifeless body.
We study her for a long beat, making sure she’s dead, stop
recording, get up and move to the hallway-
Where we find Carl, lying sprawled on the floor, boxers on,
in a pool of blood, hair still wet from the shower, throat
slashed -- DEAD.
WE MOVE to the door that leads out into the backyard.
Click off the lights and disappear into the shadows.
4.
INT. REID HOME/LIVING ROOM - SUNRISE
A modest tract house built in the 1950s. Simply decorated. No
clutter. Everything has its place.
ERIN REID, 40’s, gets ready for work. A quiet confidence,
hiding scars we don’t see.
She’s pretty when she’s happy, but today something weighs
heavy. Something she just can’t shake.
Jeopardy is on the TV in the background.
JEOPARDY HOST
It’s the only country that borders
both the Caspian Sea and the
Persian Gulf.
REID
What is Iran?
CONTESTANT #1
What is Iran?
JEOPARDY HOST
He came to power 34 days before FDR
and left it 19 days after him.
REID
Who is Adolf Hitler?
CONTESTANT #1
Who is Stalin?
JEOPARDY HOST
I’m sorry, the correct answer is
Who is Adolf Hitler.
She turns off the TV. Notices a text on her phone.
It’s from ALISON CHAMBERS.
REID
“I know who the Sunset Killer is.
Call me.”
Shakes her head. Here we go again. She pockets the phone.
Grabs her BADGE and GUN as she heads out the door.
5.
EXT. REID HOUSE - SUNRISE
Reid steps out, freezes as the door clicks shut behind her.
She takes a deep breath, steels herself -- everything is
going to be okay -- and marches on, just like she does every
day.
SOMEONE’S POV watching her from the driver’s seat of a car
parked across the street, careful not to be seen.
CLICK, CLICK, CLICK. We take a few pictures as-
Reid climbs into her Police-issued unmarked Crown Victoria,
pulls out of the driveway and heads off.
Genres:
Thriller, Mystery Tone:
Suspenseful, Intense, Dark
We’re in the recording studio for AIRTALK, NPR’s local talk
show, with our host LARRY MANTLE, 60s, broadcast legend.
His guests are-
JACK HEDON, 40s, expensive shirt, nice jacket, no tie.
Jack never met a microphone or camera he didn’t love. A frat-
boy arrogance with a disarming smile, but we can’t help
ourselves - we like him right away.
DEREK COLLINS, 30s, laid back, unassuming, casual in a nice t-
shirt and jeans.
LARRY
Welcome back. Today, on the tenth
anniversary of the Sunset Killer’s
last murder, we’re talking to Jack
Hedon, crime reporter for the Los
Angeles Times, whose latest report
coming out this week takes a look
back at the Sunset Killer, and
Derek Collins, who was wrongly
accused and arrested for the
murders at the time. So, Jack,
you’ve been writing about the
Sunset Killer for a decade, you won
a Pulitzer for your reporting on
the investigation at the time-
JACK
I did.
LARRY
Making a few enemies in the LAPD
along the way.
6.
JACK
I have nothing but respect for what
our officers do twenty-four-seven,
but at the end of the day our goals
are the same. To get to the truth.
Have I ruffled a few feathers?
Sure. But sometimes that’s what you
have to do to get the job done.
LARRY
Derek, how you were swept up in all
of this.
DEREK
The police had DNA from the Sunset
Killer’s latest attack, the one
where the victim got away.
LARRY
Jane Doe, the Laurel Canyon Park
attack.
DEREK
She cut his arm with a razor knife
when she escaped, so they got his
blood off the razor.
LARRY
But it wasn’t yours.
DEREK
No, but I had been arrested for a
DUI in Hollywood around the same
time as the attack, and my blood
sample got mixed up with the blood
sample from the crime scene.
LARRY
And then what happened?
DEREK
I was in twin towers for about two
months when he killed again. My
sister Alison was fighting to prove
my innocence. She discovered the
lab’s mistake and they let me go.
LARRY
Jack, I understand you have a new
book about the Sunset Killer coming
out later this year.
7.
JACK
Writing the final chapter as we
speak.
LARRY
What’s the fascination? I mean
people eat this stuff up.
JACK
I think they just want to see what
the face of evil really looks like.
LARRY
Any new theories? Suspects?
JACK
There is someone close to the
investigation they wouldn’t look
at.
LARRY
A police officer?
A knowing smile.
JACK
I don’t want to ruin it for my
readers.
LARRY
Erin Reid, lead Homicide Detective
on the case, said SK got scared,
spooked, and that’s why he stopped.
What do you think?
A dramatic pause, milking it.
INT. CROWN VIC (MOVING) - DAY
Reid, listens to the interview.
JACK
(over radio)
I think he’s been waiting.
Reid turns off the radio.
REID
Asshole.
Maybe she blames herself.
8.
She dials her phone. It rings as we-
CUT TO:
INT. CHAMBERS HOUSE/LIVING ROOM - MORNING
ALISON’S CELL PHONE lies in a pool of blood on the floor,
just out of her reach, ringing as we float past it towards
her lifeless body.
Reid’s call goes to voicemail.
ALISON
(over phone)
Hey it’s Alison. Waaaaay too busy
fighting the good fight. Leave a
message.
BEEP.
REID
(over phone)
Alison it’s Detective Reid. Got
your text. Give me a call when you
get this.
We keep moving until we settle on the words our killer carved
into Alison’s back-
MISS ME?
REID
(over phone)
Hope you’re well.
CLICK. Reid hangs up. But then-
ALISON’S FINGERS TWITCH, trembling as they slowly ball into a
fist, ready to fight, then drop to the floor, still.
INT. CROWN VIC (PARKED) - DAY
Reid is FaceTiming on her phone. It’s on speaker.
SALLY
(over phone)
So how’s your day going?
REID
Just another day right?
9.
SALLY
You and I both know that’s not
true.
REID
Well maybe if I say it enough times
it will be. I mean why should I
give this day any more weight than
any other.
SALLY
And yet, you do.
A long silence. Reid shakes her head.
SALLY
Erin, we talked about this.
REID
About what?
SALLY
Talking about this.
More silence.
SALLY
Why don’t you come inside and we
can sit down and talk face to face,
like we used to.
WIDER to reveal that Reid is sitting in her car in the
parking lot of a Medical Office Building.
She sits in silence for a beat, fighting some internal
struggle, then-
REID
Nobody is making me come here.
SALLY
And nobody is making you stay.
That lands.
Genres:
Crime, Mystery, Drama Tone:
Serious, Suspenseful, Emotional
Ratings
View Analysis
View Script
3 -
Struggles and Reflections - Overall Grade:
8.0
INT. LOS ANGELES TIMES NEWSROOM/KARLA’S OFFICE - DAY
Karla closes the door behind them. Not happy.
KARLA
What the hell was that?
JACK
Just selling newspapers. Isn’t that
what we do around here?
KARLA
You were selling books.
JACK
One hand washes the other. Not the
first time that’s happened around
here.
KARLA
You don’t get to make that call.
Media interviews are to be cleared
by me or Tom - period. With all the
layoffs going on around here, you
want your entire career to walk out
those doors in a cardboard box, you
keep it up. We clear?
JACK
Absolutely, my bad.
KARLA
Well time to give me some good.
Where are you on the story?
JACK
Working out the final details for
my interview with Detective Reid as
we speak-
KARLA
Working them out? I need your story
by tomorrow. Do I have to make a
call?
JACK
No, she’ll come around, and when I
get inside her head ten years later
and find out what she’s really
feeling and thinking about the one
that got away... It’s gonna’ be a
great fucking read.
15.
KARLA
Careful, that woman has the memory
of an elephant. Three-time Jeopardy
champion. And she fucking hates
you.
JACK
I was just doing my job.
KARLA
So was she, and you told the world
she wasn’t.
INT. LOS ANGELES TIMES NEWSROOM/JACK’S DESK - DAY
He sits down at his desk as an OLDER REPORTER, laid off,
packs his personal belongings in a cardboard banker’s box in
the next cubicle.
Reid and MALLOY, walking, mid-argument. Malloy is her
Lieutenant.
REID
I’m not talking to that asshole.
MALLOY
You need this Erin.
REID
NO, you need this.
MALLOY
Well around here that’s the same
thing.
REID
You know what his story did to
Mitch. It destroyed him. Almost
destroyed me.
They land outside the interrogation room. Tension building.
Malloy tries to diffuse it.
MALLOY
Then here’s your chance to undo it.
Frustration growing.
REID
Why, won’t make a difference. None
of it does. We don’t. There’s
always another body, another
killer, another family in pain,
another funeral. We can’t stop it.
MALLOY
So, we make it right, the best way
we can, and yes the world is a
shitty, fucked up place, but it’s
still worth fighting for.
REID
I’m not so sure about that.
She’s struggling, he knows.
MALLOY
You don’t always have to carry all
the weight Erin.
18.
REID
Well, it’s hard not to, and I don’t
know if I can keep doing this-
Doesn’t want her to finish the thought.
MALLOY
Look, it’s just another day. Fuck
Jack, I’ll handle that little
prick. Just do what you do best,
and don’t let the bad days-
REID
Take away the good ones.
(smiles)
Think I’ve heard that somewhere
before.
MALLOY
What can I say, I get all my wisdom
from fortune cookies.
REID
Heard that before too.
Malloy peeks into the interrogation room.
MALLOY
What’s this guy know?
Reid focuses. Game face time. She’s back.
REID
No idea.
(confident smile)
But he’s about to tell me
everything.
She spins into the room.
INT. LAPD HOMICIDE SPECIAL/FRONT DESK - DAY
Jack dumps his pockets into a plastic tray. Approaches the
metal detector.
FRONT DESK CLERK
Walk through.
The CLERK checks his messenger bag.
FRONT DESK CLERK
You’re good.
19.
JACK
I don’t know about that.
INT. LAPD HOMICIDE SPECIAL/BULLPEN - DAY
Drab grey-walled office. A dozen cubicles half-filled with
detectives working their cases, working the phones, working
witnesses.
Jack wanders through unnoticed. He’s met by Malloy.
JACK
Paddy, good to see you.
Paddy shakes his hand.
MALLOY
You look like shit.
JACK
Love you too.
They step into Malloy’s office.
Genres:
Crime, Drama Tone:
Tension, Frustration, Confidence, Wisdom, Hope
Through the window of his office Malloy sees Reid exit the
interrogation room and close the door behind her. Checks her
watch. Malloy smiles, pleased.
MALLOY
She got him.
Jack spins, locks eyes with Reid. Jack blinks first and if
you can say fuck you with a look, Reid just said it.
MALLOY (OC)
They can beat the Poly but they
can’t beat her.
JACK
Really?
MALLOY
You’re full of shit Jack. Give it a
go.
JACK
I tell the truth for a living.
MALLOY
And lie to get it.
20.
Jack plops down in the chair across from Malloy.
JACK
Fine. Are you gonna’ work your
magic, so I owe you another favor,
or do I have to work mine?
MALLOY
Your magic put you in that seat
needing me to sell the trick.
JACK
Well, every magician needs a great
assistant.
MALLOY
It’s a no Jack. She’d tell you
herself, but it turns out she can’t
fucking stand the sight of you.
JACK
Can I quote you on that?
MALLOY
Only one you’re gonna’ get.
Jacks laughs to himself as he reaches into his messenger bag.
JACK
That’s too bad, because I come
bearing gifts.
He plops the package on Malloy’s desk, excited.
JACK
Ta-da! Hand delivered this morning.
Mailroom doesn’t know how it got
there, I haven’t opened it, and no
one else has touched it besides me
and the mail clerk. It’s from him.
MALLOY
Jesus Jack...
JACK
The return address is the apartment
of his last victim, Dessie Burris.
The UCLA student.
(a beat)
Who can’t stand me now?
Malloy, unmoved. Irritated.
21.
MALLOY
You know how many letters and phone
calls we’ve gotten over the years
from people claiming to be SK?
JACK
Hundreds-
MALLOY
Thousands. Not one has ever panned
out.
JACK
So open it up, prove me wrong, and
I’ll go.
MALLOY
Is that a promise?
JACK
In the wind, Scout’s honor.
(off his look)
This is the real fucking deal
Paddy. Every bone in my body tells
me he’s back-
(taps on the package)
And this is him.
Malloy stares at the package. Takes a deep breath. Grabs the
phone.
MALLOY
I need forensics up here. Now.
INT. LAPD HOMICIDE SPECIAL/CONFERENCE ROOM - DAY
CLOSE ON the package sitting on a table as two latex-gloved
hands slowly untie it.
ALEX, 40s, from forensics, lives for this, unwraps the
package.
Reid exits the interrogation room with her handcuffed
SUSPECT.
Malloy taps on the window of the conference room.
MALLOY
Reid, this is you.
22.
INT. LAPD HOMICIDE SPECIAL/HALLWAY - DAY
Reid shakes her head. Doesn’t want any part of it.
REID
Jesus. Here we go.
She hands the Suspect off to a UNIFORMED OFFICER.
REID
Book him in holding and file his
confession. I’ll paper it later.
OFFICER
You got it.
Genres:
Crime, Mystery, Drama Tone:
Tense, Confrontational, Sarcastic
REID
You’d love that, wouldn’t you Jack?
Sell that book of yours.
JACK
I didn’t know you followed me.
REID
Hard to outrun the stench.
MALLOY
SO... Alex, what do you think?
Alex carefully examines the package.
ALEX
Wrapped in butcher’s paper, tied
with cooking twine so he didn’t
have to use tape. No postage. Both
addresses hand-written in pencil -
we’ll have documents check the
handwriting from SK’s previous
letters to see if it’s a match.
23.
Alex lifts off the top. Jack’s eyes light up when he sees
what’s inside - “It’s him...”
Alex gently lifts out a BARBIE DOLL, her hands and feet bound
together behind her back with ZIP TIES. A bikini top choked
around her neck.
Malloy’s face falls.
MALLOY
Well, shit...
REID
Doesn’t mean it’s him.
Alex pulls out an envelope.
ALEX
And we have a letter.
He opens it. It’s typewritten, but there’s something else.
Alex holds up the letter, revealing that-
ALEX
The lower third of the letter has
been torn off.
Reads.
ALEX
“Jack. It’s been too long. She was
the best, but not the last. You and
Detective Reid know that, and deep
within that connects all of us.
Like you, my time away from my
quest has left me empty, wanting.
Every day I wake up wondering if
today is the day. It wasn’t before.
It is now. We’re in this together.”
JACK
He’s back.
Reid paces the table. Snaps.
REID
Bullshit, his letters are always
handwritten.
JACK
The return address. That’s where
she lived. She died in an alley in
Westwood. Her home address was
never released to the public.
24.
Slaps both hands on the table, gets in Jack’s face.
REID
Well shit Jack, if only someone
could Google her address now,
thanks to all of the amateur online
sleuths who think they can solve a
murder better than us. Because I
fucked up remember? I let him go.
JACK
And arrested the wrong guy.
REID
Fuck you.
Reid storms out of the room and down the hallway. Jack
follows, shifts gears.
JACK
I screwed up. I get it, but I know
you need this.
REID
You don’t know shit.
JACK
I know you’ll never let it go. And
now we know he won’t either.
REID
Nobody cared about the Sunset
Killer when he was killing whores
in the meat-packing district, an
immigrant in Chinatown or a poor
single mother working two jobs in
Echo Park. Nobody gave a shit until
he crossed Rodeo.
They reach Reid’s desk.
JACK
I did. And so did you.
Reid notices something on her desk. An ENVELOPE leaning
against her phone, simply addressed to-
“DETECTIVE REID”, written in pencil.
She grabs a tissue from her desk, uses it to pick up the
letter.
ALEX
Same handwriting. Probably the same
pencil. No stamp. Same return
address as the package sent to
Jack.
MALLOY
How the hell did it get on your
desk?
REID
No idea.
Alex lifts out something wrapped in paper, the size of a
credit card.
He places it on the table and carefully unfolds it. Holds up-
MALLOY
A driver’s license?
Reid knows right away.
REID
Her driver’s license. That’s Dessie
Burris. His last victim.
JACK
Matches the return address on the
package.
MALLOY
A trophy?
REID
A statement.
Alex holds up the paper.
It’s the torn-off bottom third of the letter sent to Jack.
Alex lines up the ripped edges with the ripped edges on the
letter Jack received.
26.
JACK
Looks like I’m not SK’s only BFF
around here.
But there’s something different about this part of the
letter. It’s handwritten, in pencil.
Alex reads it.
ALEX
“Miss me Detective? You and Jack
were always my biggest fans. So
obsessed. Well time to put the past
in front of us and take another
look. Maybe you’ll notice something
you missed. Maybe you’ll catch me.
Maybe you won’t. Either way, it’s
going to be a hell of a ride.”
MALLOY
Alex, work with Carter in documents
and see if it’s a match, get it to
Latent for prints, DNA, hair,
whatever you can find.
ALEX
I’ll work it up.
JACK
What about us?
REID
There is no us.
Turns to Malloy, pleading.
JACK
Paddy, come on.
REID
You know what your problem is, Jack-
JACK
I’m sure you’re gonna’ tell me-
REID
Where we see death, you see
dollars.
JACK
I just give the people what they
want.
27.
REID
And what’s that?
JACK
To see the worst in others, so they
can feel better about themselves.
Her eyes bore into him.
REID
Keep telling yourself that.
Jack doesn’t respond. Doesn’t have to.
REID
We’re done here.
But then Reid gets a text. So does Jack.
UNKNOWN CALLER
She knows.
REID
Shit.
It’s a VOICE TEXT. Reid puts it on speaker and clicks play,
expecting to hear SK’s voice, but-
Each line is said by the VOICE OF A DIFFERENT WOMAN.
CHRISSIE
(over phone)
First stop, Chrissie Taff.
JIA
(over phone)
Bring Jack, give you two time to
catch up.
ELENA
(over phone)
You promised Detective, remember?
MALLOY
What the hell?
Reid wants to explode, holds it together.
REID
It’s them.
MALLOY
Who?
28.
REID
His victims.
MALLOY
Jesus.
DESSIE
(over phone)
If you play along, I might even let
her live.
The words slam into Reid. Takes the breath out of the room.
JACK
Holy shit, he is back.
MALLOY
We don’t know that yet.
JACK
Sounds like he’s back to me.
MALLOY
It could be a hoax.
Reid’s mind spins, forming a plan.
REID
Well there’s one way to find out.
Make me the bait.
MALLOY
I don’t like it.
REID
I’ll play along until we know what
Alex and Latent find out from the
letters.
MALLOY
(to Alex)
How long?
ALEX
Couple hours.
REID
If I do this, it keeps his focus on
me, but if I don’t, and it is
him... You know what he’ll do.
She doesn’t want to finish the thought.
He knows she’s right. Still doesn’t like it.
29.
MALLOY
Fuck it. OK, I want a tap and trace
on the phone that sent that text.
When we find it, run a pattern of
life, I want to know where this
fucking asshole’s been.
ALEX
Might take a while, probably a
burner, could be spoofed.
MALLOY
Then get on it. Now.
ALEX
You got it.
Alex is on the move.
MALLOY
We’ll send plainclothes backup,
keep a safe perimeter, and put some
eyes in the air, just in case. You
can wear a wire-
REID
No, just us. I don’t want to scare
him off. I’m gonna’ draw him out
and end this once and for all.
He studies her, looking for the slightest hesitation.
MALLOY
You sure you want to do this?
Doesn’t find it. Reid, pensive.
REID
I have to. I promised.
REID
(to Jack)
Looks like we’re going for a ride.
JACK
Now?
REID
SK wants us to go down memory lane,
so let’s go down memory lane. Just
you and me.
Jack, playing out the possibilities in his head.
30.
REID
Help you sell that book. Maybe even
get you another Pulitzer.
JACK
It’s not about that.
REID
Please. Bullshit only gets you so
far in this world.
Reid and Jack reach the Crown Vic. Jack pulls out his phone,
ready to hit record.
JACK
You mind?
REID
Being recorded? Not if you don’t.
JACK
I have nothing to hide.
REID
Everyone has something to hide,
Jack.
Jack doesn’t give any ground-
JACK
If you say so.
Climbs into the passenger seat.
We stay with Reid a beat. Can’t let this asshole get to her,
she has to stay focused. For them. Takes a controlled breath.
Here we go. climbs in.
31.
EXT. DOWNTOWN LOS ANGELES - DAY
The Crown Vic trolls through the city.
INT. CROWN VIC (MOVING) - DAY
Reid stares off, pensive, as the city rolls by. Over this we
hear more of her session with Sally.
REID (VO)
Don’t worry about me, I’m fine.
SALLY (VO)
You’re not fine Erin.
REID (VO)
You know anybody who is?
SALLY (VO)
Not in my line of work.
REID (VO)
Not in mine either.
SALLY (VO)
So it’s just the way it is, that
it?
REID (VO)
Maybe it’s just who I am.
SALLY (VO)
And who’s that?
She takes that in.
REID (VO)
Someone I don’t even recognize
anymore.
Jack hits record on his phone.
JACK
So, did he confess?
She snaps out of it.
REID
Who?
JACK
The suspect you ran the cold-poly
on.
32.
REID
Yeah... he confessed.
JACK
Just like that?
Casual confidence.
REID
It’s never just like that. First
you have to make them comfortable.
Get them to-
JACK
Trust you.
REID
Where they make their mistake, and
they all make the same one, is
interpreting my demeanor as empathy
or acceptance.
JACK
Then why the need for the poly?
REID
The theater of interrogation. If
the subject believes that their
lies can be detected, I can call
them on their bullshit, trip them
up and get a confession.
JACK
Do you ever lie to them?
REID
I might “suggest”.
JACK
Suggest?
REID
Maybe I tell them we have a
witness, a fingerprint, their DNA,
security camera footage from a
camera they weren’t aware of. They
get a little rattled, not sure what
they forgot, where they fucked up.
JACK
Or you just make them think they
did by lying.
33.
REID
Might take a little longer with
some, but-
Great minds think alike.
JACK
If you take your time, don’t rush
it-
REID
Gain their confidence.
JACK
Lull them into your trap.
REID
They get comfortable, drop their
defenses-
JACK
Never see you coming and-
REID
Bam, I got ‘em, just like that.
JACK
Ever cross the line? Do a little
more than just ask questions to get
the answers you wanted.
REID
NO.
JACK
But your old partner Garrett did,
didn’t he? Had a real taste for it
from what I remember. Maybe a
little good cop, bad cop.
Temper flaring.
REID
You leave him the fuck out of this.
JACK
Too close, got it, my bad.
Reels it back in.
REID
Yeah, your bad.
Jack sits back. Pleased with himself.
34.
JACK
Forget I said anything.
Genres:
Crime, Drama Tone:
Intense, Confident, Tense
Ratings
View Analysis
View Script
10 -
Recounting a Brutal Murder - Overall Grade:
9.0
A vacant parking lot nestled between the looming silhouettes
of old warehouses and rundown office buildings.
The Crown Vic pulls in. The dry, barren LA river on one side,
the silhouetted downtown skyline on the other.
Oddly quite. Nobody here but them.
Reid scans the perimeter for any signs of SK, anything out of
place, out of the ordinary, any threat.
She moves across the parking lot, zeroing in on a spot,
calling back the memories.
Getting the scent back.
REID
It all started right here. Chrissie
Taff, nineteen, selling her body to
buy drugs.
She moves. Jack follows, holding his phone up to record.
REID
They found her behind a storage
container over here. Secluded,
hidden behind the footings for the
bridge, the noise from the trucks
coming in and out of the warehouses
covering her screams. No one around
for blocks.
(laughs to herself)
Look at me, going on and on, you
already know all of this.
JACK
But no one’s ever heard it from
you. Your side of the story, that’s
what readers want.
REID
You mean that’s what SK wants.
JACK
I have no idea what he wants.
35.
REID
Maybe he just wants to stay
relevant, like you.
JACK
Or maybe he just has a genuine
taste for it. Like you.
That lands.
REID
Maybe...
(looks around)
He felt comfortable killing her
here. Strangling someone takes a
lot longer than people think. Here
he had plenty of time. He could
enjoy the moment.
JACK
In control.
REID
Manipulation, domination, control.
JACK
So he yanks her out of the car-
EXT. LA RIVER/SIXTH STREET BRIDGE - NIGHT
TEN YEARS AGO, as Chrissie’s murder is happening.
INTERCUT
Jack and Reid present day with QUICK FLASHES of Chrissie’s
attack in silhouette-
JACK
And drags her over here, behind the
cargo container.
The Killer dragging CHRISSIE TAFF over to the cargo
container. She’s terrified.
Crack’s the back of her head with a BLACKJACK (a lead ball
wrapped in a small, flexible leather handle).
Chrissie slams to the ground - dazed.
REID
Knocks her out with a blow to the
head.
(MORE)
36.
REID (CONT’D)
Shoves her to the ground and ties
her hands and feet behind her back.
Rips her skirt and shirt off.
ZIP, ZIP. The plastic ties are yanked tight around both
hands, then her ankles.
REID
Takes her bra, slices a hole in one
of the breast cups and feeds the
rest of it through the hole, making
a noose.
Pulls Chrissie’s head up by her hair and wraps the bra/noose
around her neck. Yanks it tight, dangling her head above the
ground.
REID
Strangles her just to the point of
death, and then releases pressure.
Waits for her to regain
consciousness-
JACK
So he can kill her all over again.
REID
Ties off the noose and leaves her
here to die. Alone.
Chrissie’s face drops into frame, her eyes bulging.
Jack stares at Reid, longing for a reaction.
JACK
So how does it feel, being here, in
the exact same spot, ten years
later?
Suddenly Reid is standing in the middle of the crime scene,
ten years ago, staring down at the dead body of Chrissie
Taff.
The weight of the past sitting like a wet blanket on her
shoulders.
REID
(almost to herself)
Even if we don’t want to.
They receive another text from SK.
REID’S POV OF HER PHONE and the text which simply says-
“LOOK BEHIND YOU”
She quick draws her weapon as she spins to find-
A LOCKBOX, shackled to the fence lining the parking lot.
There’s a small ENVELOPE zip-tied to it addressed to Reid.
Reid pulls some latex gloves from her pocket. Hands Jack a
pair, slips hers on.
She opens the envelope and reads-
REID
“You promised.”
Reid examines the lockbox. There’s a illuminated blue circle
on the front-
REID
No keypad. How do we-
JACK
Maybe it’s Bluetooth.
The blue circle turns green and we hear a slight CLICK.
They share a look. What the fuck?
Reid lifts the door of the lockbox open and finds-
An OLD LOCKET NECKLACE. Pries it open.
Jack snaps a few pictures with his phone.
Inside the locket is a picture of a young mother, GINNI TAFF,
with her ten-year-old daughter Chrissie.
Engraved on the back is-
38.
REID
(reading)
To Chrissie. You’ll always be my
baby girl.
JACK
There’s something else.
Reid pulls out an AIRPOD CASE. There’s a note.
REID
You both need to hear this.
Reid hands one AirPod to Jack, puts the other one in her ear.
A message starts to play. GINNI TAFF, 50s, sobbing, speaks
through her tears.
GINNI
(over airpods)
Chrissie was my little girl. My
baby. I begged her not to go to
L.A., but she wanted to make a
change and start her life over. But
that didn’t work out, did it? First
the drugs took her soul, then he
took the rest. But you said you’d
find her killer, Detective Reid.
You promised. You promised.
A shadow passes over Reid’s heart as the message ends.
They pull out their AirPods.
REID
You still want to go down memory
lane?
JACK
I don’t think we have a choice.
REID
We don’t. I have to see where this
goes, where he takes us, and where
I end it.
SOMEONE’S POV
Watching them through the ZOOM LENS of a CAMERA. Following
them, snapping pictures as they walk back to the Crown Vic...
CLICK, CLICK, CLICK.
The PHOTOGRAPHER pulls out a cell phone. Punches in a code
then-
39.
Jack and Reid receive a text. Jack reads it.
JACK
Chinatown.
REID
Jia.
Jack looks around. Nervous.
JACK
You think he’s watching us right
now?
REID
Yes.
JACK
That bother you.
REID
All part of the game, right?
Besides, it’s my job.
JACK
Your job?
REID
To speak for the dead.
Screams across the parking lot.
REID
YOU LISTENING?!
Another text. Jack reads it.
JACK
Yes. I’m listening.
REID
Good.
EXT. CITY STREETS - SUNSET
The Crown Vic snakes West through downtown, silhouetted
against the warm sun dipping behind the downtown skyline.
Over this-
REID (VO)
I’m all they’ve got.
40.
SALLY (VO)
You think you’re the only one who
can help them?
REID (VO)
I think I’m really good at what I
do.
SALLY (VO)
It gives you purpose.
REID (VO)
It gives me hope.
SALLY (VO)
Does this hope bring you happiness,
or are you always waiting for the
other shoe to drop?
She points to random people walking on the sidewalks.
REID
Could be the banker on the corner,
tech nerd over there, a teacher, a
student, a lawyer-
JACK
A Cop.
Reid locks eyes with Jack. Is there something there?
REID
Yeah, cops can be killers too.
JACK
Probably be pretty good at it. Know
what to do so they wouldn’t get
caught.
(MORE)
41.
JACK (CONT’D)
Steer the investigation away from
them, towards someone else...
REID
Is there something you want to say?
He shifts gears.
JACK
You ever empathize with the killer?
REID
In the sense that he’s sick, weak -
JACK
Weak?
REID
He’s both the hero and the victim
in his own story. He can
compartmentalize it, rationalize
it, flip it on and off like a
switch. He’s a puzzle that he can’t
even solve, but we have to.
JACK
What if you never find all the
pieces?
REID
We will. He can’t help himself. His
obsession will be his downfall.
JACK
Word to the wise. So, when do I get
to talk to her?
REID
Who?
JACK
Jane Doe. I was promised access-
REID
Not by me.
JACK
Come on, don’t make me go over-
REID
This is the part where you play
nice, Jack. More flies with honey.
42.
Jack bites his tongue, pushes back in his seat. A little kid
on time out.
REID
That’s a good boy...
EXT. HOP LOUIE - NIGHT (TEN YEARS AGO)
CHINATOWN CENTRAL PLAZA. It’s late, but still busy. Paper
lanterns strung between Pagoda-style buildings. Bright neon
lights fill the plaza with a colorful glow.
OUR KILLER’S POV, watching couples and families come and go.
Waiting for someone.
JIA CHEN, 20s, steps out of Hop Louie with several coworkers.
They kiss and hug goodbye, heading off towards Broadway while
Jia crosses the plaza alone.
She’s dressed in a beautiful blue Chinese silk dress, the
long matching scarf around her neck blowing in the warm
summer breeze.
WE FOLLOW her, passing her coworkers, who smile and nod hello
as we brush by them.
Jia, earbuds in, listens to music as she strolls along
smiling. Doesn’t notice us following her as she turns the
corner onto another row of restaurants, bars and loud Karaoke
in the plaza.
We stay within the sea of night-goers, careful not to alert
her to our presence.
She turns down an alley.
We gain on her as she crosses into a large parking lot.
EXT. CHINATOWN/PARKING LOT - NIGHT
We stay hidden, creeping behind a row of cars as we stalk our
prey deeper into the lot.
We look around to see if there’s anyone else around.
We’re all alone. Just us and Jia.
This is the moment we’ve been waiting for, planning for,
dreaming of.
43.
Jia reaches her car and unlocks the driver’s side door with a
chirp.
But something’s wrong. She senses it, slowly pulls out her
earbuds, turning off the music on her phone.
She glances around.
Is someone there?
Nothing. Laughs to herself for getting spooked as she opens
the door, but then-
She feels us approaching and turns as we-
Slam her against the car, clamp our hand around her throat,
and squeeze.
Press a STRAIGHT-EDGE RAZOR KNIFE against her throat.
She freezes. Wind knocked out of her. Her eyes go wide,
looking around for help, but there’s none coming.
We slowly remove the blue scarf, then-
We smash her head against the door-jam of the car. Dazing
her.
Drag her into the shadows. Slam her to the ground.
CLOSE ON Jia staring up at us as the bra/noose tightens
around her neck.
We want her to watch us as we squeeze the life out of her.
Fear turns to resignation as she chokes out her last breath.
We drop her to the ground and then-
We stare down at her, studying her, taking it all in.
Reid leads Jack across the parking lot. It’s quiet. A lot of
the restaurants and shops have gone out of business over the
years. They reach the stairs leading down to a basement
entrance.
44.
REID
He dumped her body at the bottom of
the stairs.
JACK
Witnesses?
Shakes her head, despondent.
REID
Too afraid to talk to us.
CLICK, CLICK.
SOMEONE’S POV
Watching again through the ZOOM LENS OF A CAMERA, taking
pictures of them from across the street.
Then Reid sees it. The BLUE SILK SCARF tied around the
doorknob of the basement entrance. She takes a picture with
her phone. Grabs it. Shakes her head. Frustrated.
REID
Jia was wearing a dress that
matches this scarf the night she
was murdered. He’s showing us his
murder book. Letting us know he’s
in control.
Reid pockets the scarf and walks off toward the Crown Vic.
JACK
Shouldn’t you have FIU come down
here?
Reid keeps walking, doesn’t turn back.
REID
To find what? Prints? He didn’t
leave any.
JACK
Garrett was first on scene here,
wasn’t he? Anonymous phone call?
REID
Yeah, that’s right.
JACK
Lucky him. High profile case.
Career maker.
45.
REID
Nothing lucky about it. He was a
good cop.
JACK
But not a great one.
REID
We all make mistakes.
Jack steps in front of Reid, cuts her off.
JACK
He was a suspect, wasn’t he?
REID
No, he wasn’t.
JACK
Not officially.
Pushes past him.
REID
Not ever.
JACK
His drinking was out of control,
he’d go missing for days around the
times of the murders-
REID
He had just lost his wife.
JACK
You mean she had just left him.
REID
He was a good cop!
JACK
But was he a good man?
Reid doesn’t have a quick answer.
Jack sees an opening.
JACK
Still protecting him after all
these years.
She stops walking. Ends it.
46.
REID
He’s a good man.
She storms off. He’s getting to her.
EXT. VEGA ELECTRONICS STORE - NIGHT
The Crown Vic is parked in front of an old school electronics
repair shop. TVs and computer monitors are displayed in the
window, playing a mix of live TV and commercials.
Reid and Jack round the corner from the parking lot and head
towards the Vic, but something catches Reid’s eye.
She stops and looks closer at one of the MONITORS on display.
IT’S PLAYING A VIDEO OF-
JIA, from ten years ago, filming herself on her phone in her
apartment.
Reid leans in. Is she really seeing this?
Jia is wearing the same BLUE CHINESE SILK DRESS AND SCARF
that she was wearing the night she was murdered.
Jack watches over Reid’s shoulder.
JACK
Jesus, that’s Jia.
Jia spins around, smiling, so happy in her new dress.
She blows a kiss to us, but then the IMAGE GLITCHES and-
Jia looks straight at camera-
JIA
You promised Detective Reid.
Reid startles. What the fuck?
She moves to the front door of the store, but it’s locked.
CLOSED sign hanging on the door.
She bangs on the door. Doesn’t get an answer. Calls the
number on the sign, but hears-
Woman
(over phone)
We’re sorry, this number has been
disconnected or is no longer in
service.
47.
Reid hangs up. Looks around, irritation building.
SOMEONE’S POV
Taking more pictures of them from across the street. CLICK,
CLICK.
A quick glimpse of THE PHOTOGRAPHER, his face hidden by his
camera. His old, worn “Planet Hollywood” baseball cap pulled
down low.
He snaps a few more pictures. CLICK, CLICK.
BACK WITH REID
Painful memories rushing back.
She loses herself for a moment, her face going sick-
JACK
You OK?
Reels it in. Collects herself. Covers...
REID
Yeah... I’m fine.
But she isn’t.
DING.
A text from SK. Jack reads it.
JACK
Next stop, Echo Park. Sweet, sweet,
Elena-
REID
Rodriguez.
Reid moves to the car.
JACK
Something you want to tell me.
REID
Get in the goddamn car.
JACK
What did I do?
REID
Get.
48.
CLICK, CLICK. More pictures.
Reid senses something. Turns to look across the street, but-
They drive in silence for a beat. Over this we hear-
SALLY (VO)
I think you need to work on setting
boundaries. Make some time for
yourself.
REID (VO)
How do I set boundaries with the
dead? I know I promised to solve
your murder, but I’m kind of busy
doing hot yoga right now?
A moment, then-
JACK
Were you and Garrett close?
A regret.
REID
He kept to himself.
JACK
That’s unusual for partners isn’t
it?
REID
He was a loner. Let it get to him
more than most. Took it personal.
Took it home. Took a toll on him.
JACK
He retired on a bad psych eval,
didn’t he?
REID
Like I said, it takes a toll. On
all of us -- some more, some less,
but there’s always a toll.
49.
EXT. ECHO PARK - NIGHT
A warm, busy night in the park. Lights from the swan boats
shimmer across the lake. Joggers and bikers taking laps. Kids
playing with their parents, couples out for a walk.
REID
A jogger found her body here in the
bushes on her morning run. Same MO
as the others, but the big
difference here is... here.
JACK
It’s out in the open.
REID
Higher risk.
JACK
What’s going through his head?
REID
Why don’t you tell me, Jack. Go
ahead, give it a shot. See what it
feels like to be the killer.
Jack considers. Looks around. Closes his eyes, takes a
measured breath, slips into it, then-
JACK
He was comfortable with the area.
Probably been here a few times.
Hunting. Then he saw her. She was a
pretty, tiny little thing, she’d be
easy to overpower, and she was
alone. The Trifecta.
EXT. ECHO PARK - NIGHT (TEN YEARS AGO)
The night of Elena’s murder. It’s late. Dark. No more lights
from the Swan Boats, no more families, no more couples, just
cold silence.
KILLER’S POV of ELENA RODRIGUEZ, 20s, walking through the
park, HEADPHONES on, listening to music, smiling.
JACK (VO)
She was listening to music with her
headphones on. He watched her
before. Same routine, same late-
night walk home from work. But this
night was different. Magical.
(MORE)
50.
JACK (VO) (CONT'D)
The park was empty, except for the
two of them. Just how he imagined
it.
JACK IS THERE, IN THE PAST, IN THE MOMENT, watching the
attack play out. Taking it all in.
From here WE ONLY HEAR THE SOUNDS of Elena being attacked.
Our focus is on Jack.
JACK
He jumped her, smashed in the side
of her head. Now she was putty in
his hands, and he could do whatever
he wanted, for as long as he
wanted. He tied her up and just
waited for her to wake up. That
numb look of fear in her eyes when
she realized what was about to
happen to her. Watching her change
in front of him. Because of him.
A controlled deep breath. Feeling it.
JACK
All that tension, all that self-
hatred just melting away. But he
knew it wouldn’t last.
Genres:
Crime, Mystery, Thriller Tone:
Regret, Tension, Fear
REID
He finally had a purpose, a
calling. And for the first time he
felt-
JACK
Comfortable in his own skin-
REID
And he made peace with it, right
here, right then.
JACK
To know the artist, you have to
know their work.
51.
REID
But what about Elena? To understand
the killer, you need to understand
the victim. So how about it Jack?
Tell me about her.
Jack takes a beat. Processing. Struggles.
JACK
Wrong place, wrong time.
REID
Come on...
Jack tightens.
JACK
She was scared-
Reid paces around him.
REID
We know that. What about her life,
not her death. What made her stand
out? What made her the one? How
many women walk through this park
every night. Why choose her?
JACK
Maybe she chose him.
Anger taking hold, pressing him.
REID
You’re thinking like him. What was
she thinking? Was she in a hurry to
get home to see her kids? Did she
love to smile and make people
laugh, to listen to music with her
headphones on?
Jack, unsettled, stammers...
JACK
I, ummm...
REID
What?
Jack snaps.
JACK
I don’t know!
52.
Reid unloads.
REID
Well I have to!
(collects herself)
Everyone wants to get inside the
head of the killer but no one wants
to get inside the head of the
victim, because that makes them too
real, too human.
(gets in his face)
Doesn’t it, Jack?
He doesn’t answer.
REID
They’re not just stories, they’re
not just case numbers, they’re
people. And they deserved better.
Beating herself up.
REID
(softer)
Especially from me.
Jack sees something coming along the lake behind Reid.
JACK
My God...
Reid turns to find-
A CANDLE-LIT VIGIL of a hundred people -- women, men,
children -- walking in silence towards them, holding flowers,
pictures of ELENA RODRIGUEZ, SK’s other victims, and signs
that read “JUSTICE FOR ELENA”.
JACK
Is that for-
REID
Elena. They’re here for her. For
all of them.
The procession parts, floating around them, the glow from the
candles flickering off Reid’s face as she watches them pass,
uncomfortable.
An OLD WOMAN, deep lines on her face, tears in her eyes,
glances back. Maybe she recognizes Reid. Reid turns away.
Can’t look at her.
53.
As they walk, Reid looks back one more time, sees the Old
Woman leaning down, placing flowers on the spot where they
found Elena’s body.
Reid and Jack reach the car, when-
They both receive another TEXT MESSAGE.
JACK
“I hope you’re having fun. I know I
am.”
Jack looks around, nervous.
JACK
He’s-
REID
Enjoying this.
DING. Another text comes in. This one is a picture of them at
the 6th Street bridge crime scene.
DING. Another one. Picture of Reid and Jack at the Chinatown
crime scene.
DING. And the third, a CLOSE-UP PICTURE of Reid-
Surrounded by the candle-lit vigil.
Reid moves, realizing-
REID
He’s here.
Races back across the park through the sea of people
surrounding the vigil.
WITH THE PHOTOGRAPHER
All we see is his old worn “Planet Hollywood” baseball cap as
he pushes through the crowd ahead of Reid.
Reid chases after him.
REID’S POV, checking every face, looking for that one that
stands out -- desperate -- but SK’s not here.
JACK
You see him?
Reid stops running, a little winded.
54.
REID
He’s gone.
JACK
How do you know?
REID
Because I’m getting the scent back.
The Old Woman, tears running down her face, approaches Reid.
REID
Can I help you?
OLD WOMAN
You’re the one that let him get
away.
Reid freezes, back on her heels.
OLD WOMAN
My Elena is dead because of you.
Suddenly ELENA, HEADPHONES ON, face beaten and bloody, is
standing in front of Reid.
ELENA
You promised, remember?
But with a blink, it’s the Old Woman again.
OLD WOMAN
Remember?
Reid, shaken, stammers.
REID
I’m, I’m sorry.
OLD WOMAN
We’re all sorry, but you’re
responsible.
Reid starts to answer, but nothing comes out. Lowers her head
as she turns away from the Old Woman’s stare.
The Old Woman returns to the vigil.
REID
We should go.
JACK
Of course.
55.
But as they walk back to the Crown Vic they find-
A SHOE BOX on the roof of the car, driver’s side.
A NOTE sticking out from a seam on the side of the box that
says-
“FOR REID”
JACK
Jesus.
REID
Don’t touch it.
Reid slips on a pair of LATEX GLOVES.
Gently opens the box to find-
A large pair of HEADPHONES, shattered on one side, splattered
with dried blood.
The headphones Elena was wearing when she was murdered.
Reid, sickened, fights it.
REID
She loved listening to music.
JACK
Why is he giving us his trophies?
REID
Because he wants to collect a new
one.
(a beat)
ME.
Something over Jack’s shoulder catches Reid’s attention.
She walks over to a lamp post to find a FLYER ABOUT THE VIGIL
taped to it.
WE REMEMBER
A CANDLELIGHT VIGIL TO HONOR THE MEMORY OF
ELENA RODRIGUEZ, CHRISSIE TAFF, JIA CHEN AND DESSIE BURRIS
WE’RE IN THIS TOGETHER
Smiling photos of each victim above their names.
Today’s date and time at the bottom.
56.
But something about the whole thing seems off, then she
realizes-
REID
“We’re in this together.” That was
in his letter to you. He set this
whole thing up to use my empathy
against me to break me, that’s what
this is all about.
Jack enjoys getting under her skin.
JACK
I thought I was the one with the
ego.
Reid tightens.
REID
Watch it.
Backs off.
JACK
Just sayin’.
REID
He thinks he can push my buttons.
Well it’s time to start pushing
back.
She steps away as she pulls out her phone and dials. Signals
Jack to stay where he is. He calls after her.
JACK
Just don’t push the wrong one. You
don’t want another body.
Reid keeps walking as someone answers.
REID
(into phone)
Hey, it’s me.
Jack watches, curious, but he can’t hear the conversation.
Reid walks back towards Jack.
REID
(into phone)
See you in a bit.
She hangs up.
57.
JACK
Something I should know?
Reid smiles. The cat who swallowed the canary.
REID
You’ll know soon enough. Get in.
They climb in.
Genres:
Crime, Mystery, Drama Tone:
Intense, Emotional, Suspenseful
Mexican restaurant on Sunset Boulevard in Hollywood. Been
here forever.
Crown Vic parked in front. Jack climbs out as we float in on
Reid, struggling, and we hear-
SALLY (VO)
You chose this job.
REID (VO)
Did I? Maybe I’m just drawn to it.
SALLY (VO)
Like a moth to the flame.
REID (VO)
Like a junkie to the fix.
SALLY (VO)
Must get lonely.
REID (VO)
You get used to it.
Except she hasn’t.
She climbs out. Slams the door closed.
INT. EL COMPADRE - NIGHT
Old school, family-owned Mexican restaurant, been here
forever. Simple perfection. Mostly regulars mixed with a few
tourists who stumbled in off the strip.
PATRICIA greets Reid and Jack at the door.
PATRICIA
Erin, welcome my friend!
She gives Reid a big hug. Reid puts her game face on.
58.
REID
Patricia.
PATRICIA
Your table awaits.
JACK
Come here often?
PATRICIA
Almost every shift for over twenty
years.
REID
Juan here?
PATRICIA
Where else? In the kitchen.
REID
(to Jack)
I’m gonna’ say hello real quick.
JACK
I’ll use the restroom.
REID
My table’s in the back.
She watches him go, cautious, then spins into the kitchen.
INT. EL COMPADRE/KITCHEN - NIGHT
It’s the dinner rush. Noisy. Chaotic. Reid finds Juan cooking
away.
REID
There he is!
JUAN
Erin, my friend, so good to see
you.
Juan wraps his arms around her. But he can tell that
something is off.
JUAN
Everything OK?
REID
I need a favor.
He can see this is a serious ask.
59.
JUAN
Whatever you need, you got it.
INT. EL COMPADRE/MEN’S ROOM - NIGHT
Jack enters the restroom. Makes sure no one else is there or
coming in behind him. Locks the door.
He steps into one of the stalls, closing the door behind him.
Gently lifts the top of the toilet’s water tank off and
places it on top of the seat.
Reaches in and pulls out a LARGE ZIP-LOC BAG. Holds it up so
we can see-
The RAZOR-KNIFE, LATEX GLOVES, BLACKJACK, and ZIP-TIES
inside.
He opens it. Pulls out the RAZOR as a thin-lipped smile
creeps across his face.
Genres:
Crime, Thriller Tone:
Suspenseful, Intense, Dark
Jack saunters across the dining room, confident, pleased,
coming to terms with what he’s about to do.
A little smile. If Reid only knew what was coming.
But as he reaches the back dining room he finds-
A WOMAN SITTING NEXT TO REID, off by themselves at a table in
the back room of the restaurant.
It throws Jack off a bit. He reassesses.
Patricia brings enchiladas and bottled Mexican Coke.
JANE, 30s, looks a little nervous, uncomfortable.
JANE
Still with the enchiladas I see.
REID
Why mess with-
REID/JANE
-perfection.
They share a laugh as Jack approaches, his curiosity peaked.
60.
REID
This is Jack, the reporter I was
telling you about. This is Jane, an
old friend of mine.
Jack takes her in. Something about her is familiar.
JANE
Pleasure.
Flashes his patented boy next door smile.
JACK
Is all mine.
REID
I hope you don’t mind, I asked her
to join us.
JACK
Not at all.
REID
And I ordered us enchiladas.
They’re famous for them.
Jack slips into the seat across from Jane.
JACK
Who doesn’t love a good enchilada.
JANE
The same meal, every time, for over
twenty years.
REID
What? Heads of fortune five hundred
companies wear the same outfit
every day-
JANE
She does that too.
Jack takes a slow sip from his Coke.
JACK
So, how do you two know each other?
Teasing him.
REID
She’s the one.
61.
JACK
The one?
REID
The one that got away. SK’s only
surviving victim.
That gets Jack’s attention.
JACK
Jane Doe.
REID
Her real name stays out of it,
along with anything that could
identify her.
He doesn’t take his eyes off Jane.
JACK
Of course.
REID
If she says stop-
JACK
We stop. Done.
Jack places his phone on the table in front of Jane. Hits
record. Leans in, fixated.
JACK
Tell me what happened. In your own
words.
She hesitates, looks to Reid. Reid takes her hand.
REID
It’s OK if you’re not ready.
JANE
No, I’m good.
She takes a deep breath, steels herself. She has a toughness
Reid likes.
JANE
I was a dancer at Crazy Girls when
I first moved here. He came in
alone, tipped well. Lot of cash.
Couple of lap-dances later he wants
to take me for a ride and then
he’ll take me home.
62.
JACK
He paid you.
JANE
A lot. So, I went. Drove down
sunset with the top down. Warm
summer night. Porsche -- rental. We
drive up Laurel Canyon and he’s
pointing out where famous people
lived, Jack Nicholson, the Beach
Boys, Houdini, Janis Joplin, George
Clooney, like I care about who USED
to live there - except for Clooney,
he’s hot. But then he just keeps
driving, turns up Mulholland to-
JACK
The park.
She eases into her story, drifting back, gently purging the
memories.
JANE
Yeah. Said he wanted to show me the
view. Park closes after sunset, so
it was just us, and the fucking
view. You could see all of LA,
lights shimmering, and it felt...
magical, until he bashed my head
in. Shoved me into the bushes. Tied
my hands behind my back with those
little plastic-
ON JACK, reliving the moment. The proud author hearing his
words out loud for the first time. A fond memory.
JACK
Zip Ties-
JANE
Tied my feet. Ripped my shirt down
the back, and pulled out this razor
knife, like the ones men used to
shave with a hundred fucking years
ago. Made me watch the city lights
dancing off the blade as he slowly
twisted it in his fingers. Then he
cut off my bra and made it into a
noose. Calm, like this was
something he did every day. I was
frozen. Terrified. He wrapped the
noose around my neck and yanked me
off the ground.
(MORE)
63.
JANE (CONT’D)
I couldn’t breathe, I couldn’t
scream, I couldn’t fight, then I
blacked out.
Reid focuses on Jack, studying every twitch, eye movement,
his mouth, his hands, looking for something.
A sign. A tell.
JANE
I don’t know how long I was out,
but when I woke up he was still
there. Staring down at me with his
thin-lipped, fucked up smile,
waiting, but I made that fucker
pay. I got my hands loose, so when
he leaned in to grab the noose
again, I slammed my palm right into
his fucking nose, CRACK. Grab the
razor and slashed it across his
forearm. I kick him off me, cut the
ties and run as fast as I can down
Laurel Canyon to the first house I
find. I start banging on the door,
lights come on, door opens, and
it’s George fucking Clooney.
JACK
Really?
And she’s back with us. Forces a smile.
JANE
No. I just like happy endings. I
know they haven’t caught him yet,
but they will.
JACK
What makes you so sure?
JANE
Because weak, narcissistic assholes
like him can’t help themselves. His
never ending need to overcome his
feelings of worthlessness and self-
loathing will get the better of
him. Always does. And karma never
heard of time.
Jack tightens, didn’t like that.
He slowly pulls out the RAZOR-KNIFE. Keeps it hidden under
the table.
64.
JACK
You remember so much, but you
couldn’t ID him.
REID
It’s common for victims to only
remember the things that were vital
to them at the time. Not
necessarily what we would consider
important clues. They were just
trying to survive. Soldiers call it
tunnel-vision.
Looks right at Jack.
REID
Cops too. But that doesn’t mean
those other details aren’t there,
ready to come to the surface.
JACK
So, she could still remember?
REID
Under the right circumstances.
Jack gently clicks the blade open. Rolls it in his fingers
under the table.
He stares off, uneasy, lost in thought.
Reid notices. Plays with him.
REID
You OK?
Jack snaps out of it. Covers.
JACK
Sorry, it’s a lot different hearing
it from one of his victims.
REID
Not just names and numbers anymore.
Reid reaches across the table. Did she see Jack’s knife?
REID
I think we’re done here.
Jack snatches the phone before Reid can grab it, bumping
Reid’s hand which-
Jane slashes the RAZOR-BLADE across the killer’s right
forearm.
INT. EL COMPADRE - NIGHT
Jane pulls her hand away, startled.
Reid notices. But did Jack?
JACK
If I have any follow-up questions
I’ll-
REID
- Go through me.
(to Jane)
I’ll walk you out.
(to Jack)
You get the check.
Jack watches them leave as his whole demeanor changes.
Something dies behind his eyes.
JACK
My pleasure.
EXT. SUNSET BOULEVARD - NIGHT
Reid walks Jane (her real name is Ana) to her car.
JANE/ANA
Is that him?
Reid’s gut was right.
REID
Maybe.
This might be more of a trigger than Ana was expecting. A
little panic attack building.
ANA
Is that what this whole night is
about? You saw the scar.
Reid notices. Places her hand on Ana’s shoulder. Comforting.
REID
I have to be sure this time. DNA
won’t be enough, labs make
mistakes. I made mistakes. I need
him to confess, or I need him dead.
67.
ANA
Dead works for me.
Maybe it works for Reid too.
REID
I want you to go someplace safe
until this plays out. You can go to
the station-
Getting her mojo back. Defiant.
ANA
No. I went through therapy, fought
through depression, acting out,
suicidal thoughts, but I got my
GED, got my PhD in Psychology and a
great job at UCLA Medical. My life
is good because I refused to let it
be anything less. He didn’t destroy
me that night, he made me. I beat
him once, and I’ll keep beating
him. MY WAY. I’m not going to run
off and hide. Fuck him.
REID
I’m gonna’ get him. I promise.
ANA
I know you are. I’ve always known
it. You’re the reason I keep going.
REID
And Karma never heard of time.
ANA
It just needs a champion once in a
while.
Reid smiles. She needed to hear that.
EXT. EL COMPADRE - NIGHT
Jack waits by the car as Reid returns. He’s fidgety,
agitated, fighting it so it doesn’t show.
REID
You good?
JACK
Perfect.
68.
REID
Sure?
JACK
I owe you one.
Reid smiles. If Jack only knew what was coming.
REID
Oh, you’re gonna’ pay, don’t worry
about that.
CLICK, CLICK, CLICK, more pictures being taken of them from
across the street as they get into the car.
EXT. ALLEY BEHIND EL COMPADRE - NIGHT
Juan, anxious, waiting as a SQUAD CAR pulls up.
The OFFICER in the passenger seat flashes his badge.
OFFICER
Juan Castillo? You have something
for us from Detective Reid?
Juan
Yes sir.
He hands them a large zip-lock baggie with JACK’S COKE BOTTLE
in it.
Reid stares off into the darkness ahead, hands pressed tight
against the wheel, troubled.
They ride in silence as the Crown Vic trolls Sunset, warm
neon light reflecting off the windows, then-
JACK
So, this one’s personal?
She can’t look at him.
69.
REID
They all are. There’s a part of
each one that never leaves you.
JACK
But some more than others.
That lands.
REID
Some more than others...
Reid’s phone rings. She answers.
REID
Alex, tell me something good.
ALEX
(over phone)
Documents says the handwriting
matches earlier SK letters.
REID
So it is him.
ALEX
It’s the same author, we still
don’t know if the author is
actually the killer, but here’s the
better news. He wore latex gloves
while he was putting the package
together. No prints on the package,
no prints on the letter sent to
Jack or the one sent to you.
REID
How is that better?
ALEX
Because he screwed up. He pulled
the zip ties tight with his teeth.
We got his DNA. If it matches with
the DNA SK left behind ten years
ago, we’ll know it’s him. Maybe
we’ll get lucky and he’s ended up
in the database since then.
REID
Nice work. Let me know what you
find out.
She hangs up.
70.
REID
They matched the letters we got
today with the original letters SK
sent ten years ago.
JACK
So he is back.
REID
At least whoever wrote the letters
is.
JACK
The night that Jane Doe escaped
from SK and Derek Collins was
arrested for a DUI in Hollywood, it
was Garrett who delivered the blood
samples to the lab, right?
REID
SK’s sample from the crime scene,
yeah.
Trying to get to her.
JACK
Wonder what happened? I mean with
the mix-up and all.
She’s had enough.
REID
Listen-
But then another text comes in from SK. Jack reads it.
JACK
“You might want to check in on your
partner. He’s been looking a little
down lately.”
SHIT. She hits the lights. Grips the wheel. Punches it.
CUT TO:
EXT. GARRETT’S HOUSE - NIGHT
The CROWN VIC, lights flashing, screeches to the curb out
front.
Reid leaps out. Races to the front door.
Lights are on inside.
71.
Tries the buzzer. Doesn’t work.
REID
Mitch!
Bangs on the door with her fist.
IT PUSHES OPEN and immediately-
The wretched smell overwhelms them. Jack covers his mouth and
nose with his hand.
JACK
Jesus...
Reid charges through the house.
WE MOVE with her down the hallway. Frantic.
REID
Mitch. MITCH!
He’s not in the living room. He’s not in the kitchen. He’s
not in the bedroom.
Reid races into the home office at the end of the hall, lined
with awards and framed clippings from a distinguished career.
ALL SPLATTERED WITH DRIED BLOOD.
She finds Mitch slumped in a chair behind the desk, his neck
cracked back, face blown off from the gunshot.
Still wearing the same sweats and Pink’s Hot Dogs T-shirt
from this morning.
Gun clenched in his right hand on his lap.
His KIDS and EX-WIFE smiling back at him from the framed
photo sitting on his desk.
A simple hand-written note next to it.
“I’M SORRY”.
OLD FILES of SK’s victims scattered on the desk and floor.
She notices the cup of Dunkin’ Donuts coffee she brought
Garrett on his desk. Opens it. He barely touched it.
Reid takes it all in, maybe she doesn’t want to believe what
she’s seeing.
Her mind races. Heart pounds.
72.
All that pain, all that anger, rushing to the surface as she-
EXPLODES towards Jack, slamming him against the wall.
REID
You did this! With your bullshit
version of the truth. You put all
the blame on us, and you destroyed
him. For what? A Pulitzer?
JACK
I didn’t pull the trigger.
Stares right through him.
REID
You might as well have.
Jack looks uneasy. Breaks her stare. Doesn’t say a thing.
CLOSE ON the front page of The Los Angeles Times from ten
years ago.
HEADLINE “Sunset Killer strikes again after Detectives arrest
wrong man”
BYLINE by Jack Hedon
A hand reaches into frame. Tears the front page from the
alley wall.
WIDER
Reid throws it to the ground, but here’s the thing-
The entire wall is covered with them.
It’s getting to her. He’s getting to her.
That familiar twinge of guilt.
REID
Dessie was my fault. I Let my
emotions get in front of the facts
and I left him out there to kill
again. No one heard her screams
except him, knowing that just on
the other side of that wall were
hundreds of people who could have
saved her, but they didn’t know.
(MORE)
76.
REID (CONT’D)
They didn’t know because he was in
control. They didn’t know because
he looked normal. They didn’t know
because he was nice right up until
he wasn’t, and that was his
greatest weapon. But everyone has a
weakness.
JACK
And his is?
Pacing, adrenaline pumping.
REID
Ego. He has to be in control, the
center of attention, so when the
world shoved him aside for
something newer, it ate him up. So
he picks at the scabs that cover
our memories. Hey, remember me?
Remember what I did? But no one
gives a shit about him. It was
always about them. Chrissie, Jia,
Elena, Ana, and Dessie. Nobody even
knows his name.
JACK
But they want to.
Pokes at him.
REID
But it’s not the same anymore is
it, Jack? Ten years ago, this was
all over the news for weeks,
months. Magazine articles,
newspapers, big interviews -- made
people’s careers. Made yours.
JACK
Look, if this about my article-
REID
I didn’t give a shit about your
fucking hit piece until you called
looking for this. But it doesn’t
matter, because now it won’t even
be a blip. Because this, and worse,
happens every day, so it’s just on
to the next headline, the next
murder, the next mass shooting, and
the world will forget all about
him. Again. But they won’t forget
about them.
77.
She stares into his eyes, making him noticeably
uncomfortable. Savors it.
REID
His acts only have the power we
give them. You don’t matter, and he
doesn’t matter without it.
JACK
(defiant)
Then why did he stop?
REID
He got scared. Someone saw him,
they yelled, he ran, she died.
Wrong place, wrong time, right
Jack? He knew that he would be the
last thing she would ever see, and
he loved it. You know the feeling,
the rush of getting a great scoop,
the witness no one else has,
beating everyone else to the story -
- winning the Pulitzer.
JACK
Solving the crime.
REID
It’s a rush.
JACK
One you keep chasing.
REID
One I wish I didn’t have to. But
you have a genuine taste for it,
don’t you, sport? The spotlight,
the power, the-
JACK
Maybe he couldn’t help himself.
Maybe he didn’t see himself as a
killer but as-
REID
A victim? Please...
Jack is starting to lose it.
JACK
He’s insane.
Anger growing in her voice.
78.
REID
He planned these murders, evolving
from thought to deed over and over.
He knew how much they would suffer,
but he wanted to show that he was
more powerful and smarter than
everybody else. That’s what he
wants to be known for. Isn’t it
Jack?
If you looked closely at Jack, you might see a drop of sweat.
JACK
I was just doing my job.
REID
And what job was that?
JACK
Same one I’m doing now.
Reid moves closer.
REID
Back on top, back in control. The
man. Feels good, doesn’t it?
Gets in his face. Looks straight through him.
REID
You miss this.
Jack steps back involuntarily.
JACK
That’s not true-
REID
But the rush of fame doesn’t last,
does it? No, it fades, and then you
have to start chasing it all over
again. And again, and again, and-
JACK
Look, all I did was-
Reid explodes.
REID
Create him! You gave him attention,
validation, power. Hell, you even
named him -- “The Sunset Killer”.
(MORE)
79.
REID (CONT’D)
Maybe you didn’t start the fire but
you sure as shit poured gasoline
all over the flames.
JACK
I was just-
REID
Doing your job? You already said
that.
Jack, caged, reaches for the RAZOR-KNIFE in his pocket.
Reid clocks his move, reaches for her gun.
Her chance to finally end this, end him, when-
REID’S PHONE DINGS. So does Jack’s.
Reid grabs her phone and clicks on the text. Reads it.
REID
“This one is all on you.”
There’s another video attached.
Reid clicks on it.
It’s the VIDEO OF ALISON’S MURDER SK made in our opening.
Alison looking straight at the camera, dangling from the
noose.
Arms flailing. Reaching for him.
Choking for air. Trying desperately to scream but she can’t.
Eyes bulging, head twitching-
REID, dread in her voice.
REID
My God.
Reid closes the video, scrambles to dial her phone. Races
towards the Crown Vic.
MALLOY
(over phone)
Malloy.
80.
REID
Lieutenant it’s Reid, I need all
available at 555 North Bundy Drive
in Brentwood Heights.
They enter, met by OFFICER OYAMA, 30s, new on the job, who
hands them latex gloves.
OYAMA
Is he?
REID
With me.
(to Jack)
Don’t touch anything.
JACK
Just a fly on the wall.
82.
REID
Don’t touch the walls either.
(to Oyama)
What do we got?
As they move to the hallway.
OYAMA
Male, deceased. Multiple stab
wounds to the back, belt choked
around his neck. FIU puts the time
of death around five am.
They reach Carl’s body.
Reid, sickened, wants to explode, holds it together.
REID
Where’s his wife? Where’s Alison?
Oyama doesn’t answer.
REID
Where is she!
OYAMA
We don’t know.
The words slam into Jack. His mind races.
REID
You don’t know?
OYAMA
All we got is a pool of blood in
the living room and a trail leading
out the front door.
JACK
Jesus.
Malloy walks up, just off the phone.
MALLOY
We got a Jane Doe at UCLA Medical.
Fits Alison’s description. They
found her unconscious down on
Sunset. No ID. Lost a lot of blood.
MISS ME was carved into her back.
JACK
Is she alive?
83.
MALLOY
By a thread.
REID
Anybody talk to her?
MALLOY
Hasn’t regained consciousness, but
she’ll be out of surgery soon.
REID
I want to know as soon as she wakes
up.
MALLOY
You got it.
(a beat)
You think he killed Garrett?
REID
One way or the other.
Malloy’s phone rings. He grabs it.
MALLOY
Shit, it’s the mayor.
REID
Well I guess you better answer it.
MALLOY
You mean answer for it.
Malloy walks away as he takes the call.
MALLOY
Mr. Mayor...
Reid turns to Jack.
REID
Her brother is Derek Collins.
JACK
The guy who you arrested for SK’s
murders?
She moves through the house, searching, absorbing.
REID
Ever since she helped free him,
she’s been obsessed with the case.
Called and emailed me all the time
with clues, possible suspects.
(MORE)
84.
REID (CONT’D)
She’s been putting together a
podcast about it.
Reid takes in the scene. Focused.
Pool of blood on the floor. Shattered coffee cup. Bloody
footprints leading to the front door.
REID
(to herself)
Talk to me Alison.
(to Jack)
He took his time here. Unusual for
him. More violent.
Reid uses a pen to pick up the the BLOOD-SOAKED BRA/NOOSE
from the floor. A flush of anger.
REID
He broke in. Two victims. One male.
Risky... out of character. This was-
JACK
Personal.
Something about the way he said that catches her. Pushes
back.
REID
Desperate.
Reid clocks the blood covered cellphone on the floor.
REID
She texted me this morning, right
around the time of the murders.
Said she knew who SK was. Left her
a message on my way to work but I
never heard back.
JACK
Well now you know why.
Reid moves to Alison’s desk. Looks at the smashed up IMAC.
REID
Probably saved it on here
somewhere.
Turns to VERITA CONCHOLA, Field Investigation Unit. Seasoned.
Serious.
85.
REID
Verita, think we can get anything
off this?
VERITA
Looks pretty banged up.
JACK
I think that was the point.
Verita is looking around for something.
VERITA
It has an internal hard drive, but
I’m sure he knew that.
She moves to a closet in the hallway. Opens the double-doors
to find a little home-recording studio set-up.
There’s a small desk with a microphone, the door padded with
sound-proof foam.
But that’s not what Verita is looking for-
VERITA
Bingo.
She points to something on the top shelf.
VERITA
Wireless RAID tower.
REID
He missed it.
Jack tightens. Not so cocky now.
VERITA
Six hard-drives full of gold.
REID
Well let’s get the boys digging.
VERITA
On it.
Reid leads Jack down the hall.
REID
She wrote a blog.
Jack, lost in panic, mind spinning, control slipping through
his fingers right in front of him.
86.
Worse, he’s losing control in front of Reid.
JACK
What’s that?
REID
A blog. Alison wrote a blog. It’s
like what you do, except online.
JACK
I know what a blog is, and it’s not
even close to what I do.
REID
I bet her readers don’t know that.
And she has a lot of them. Who
knows, she might get a Netflix deal
out of it.
(looks him right in the
eye)
Maybe even a book.
JACK
Good for her.
REID
Well, it was until it wasn’t,
right?
JACK
Comes with the territory.
REID
And who’s territory is that?
Jack answers with a short laugh and-
A fucking thin-lipped smile.
Reid plays with him. A cat with her mouse.
REID
We’ve been tracking the hits to her
blog for a while now, logged the IP
addresses of everyone who checked
out her site. You know, see if
someone might have been a little
bit more curious than the others.
JACK
And?
REID
Someone was very curious.
87.
JACK
And who would that be?
Enjoying this.
REID
You’re a smart guy Jack. Figure it
out.
Reid’s phone rings.
REID
Yeah. Where?
Shifts her focus to Jack.
REID
Great work, thanks.
She hangs up, never taking her eyes off him.
REID
They got the location of SK’s cell
phone.
JACK
Where is it?
REID
Here. It’s in the house.
Her words pin Jack in place. Tries not to react.
MALLOY (OC)
Reid!
Malloy waves Reid over from the backdoor.
REID
(to Jack)
Excuse me for a sec.
Turns to Oyama.
REID
Watch this guy. Make sure he
doesn’t steal anything.
MALLOY
Barely. In and out of
consciousness. Doc gives her fifty-
fifty.
REID
I need to be there when she wakes
up, and those reporters out there
do not find out about her until I
talk to her. Keep a low-profile
detail on her room.
MALLOY
You got it.
INT. CHAMBERS HOUSE/LIVING ROOM - NIGHT
Jack sees Reid coming towards him.
Reality hits. It’s over.
Jack is just about coming out of his skin. Keep it together
Jack.
JACK’S POV scans the room in quick cuts. Desperate.
Oyama’s gun holstered at his hip. Maybe he could take him,
but-
Four more cops in the living room.
Three more in the kitchen.
It’s a long way to the front door.
More cops and reporters on the front lawn.
Jack is losing control, trapped. A feeling he doesn’t handle
well.
He’s about to make his move when-
She reaches him. This is it. Here we go.
89.
REID
We got a witness.
JACK
She’s alive?
Reid smiles.
REID
She’s alive.
Jack holds her stare, his face neutral.
JACK
Did she give a name?
REID
Not yet, but she will. Doctors said
she’ll be awake soon and be able to
talk.
That lands. She notices. Pokes him some more.
REID
That’s all you want, right Jack?
The truth?
Jack doesn’t answer. Doesn’t have to.
EXT. CHAMBERS HOUSE - NIGHT
A couple of TV News Vans have set up their remotes, their
lights washing across the front of the house.
Reid and Jack march towards the Crown Vic as a TV REPORTER
confronts them on the front lawn.
TV REPORTER
Detective Reid, is it true that one
of the victims is the sister of
Derek Collins, the man wrongly
accused of being the Sunset Killer?
REID
No comment.
TV REPORTER
Is she dead?
REID
No comment.
90.
TV REPORTER
Is the Sunset Killer back?
REID
No comment.
Jack, never one to miss an opportunity.
JACK
I guess you’ll have to read about
it in the Times.
Reid didn’t like that.
TV REPORTER
Do you have any suspects?
Reid stops walking -- for emphasis.
REID
Yes. We have a suspect.
That shuts everybody up. Including Jack.
REID
And that’s all I’m gonna’ say. Have
a nice night.
But then Reid sees someone in the crowd of reporters and on-
lookers, someone who doesn’t belong-
Someone with a CAMERA. CLICK, CLICK.
IT’S THE PHOTOGRAPHER.
Reid charges him, grabs him with both hands. Shakes him.
REID
Who the hell are you?
PHOTOGRAPHER
I’m a-
REID
You’re not a reporter. You’ve been
following us. Why?
His Planet Hollywood cap falls to the ground, and we get our
first look at him. 60s, burly, beaten down, bitter.
PHOTOGRAPHER
I’m a private investigator. I was
hired to follow you.
(MORE)
91.
PHOTOGRAPHER (CONT’D)
Take pictures and upload them to a
server. Send some texts. That’s
all.
REID
Who hired you?
PHOTOGRAPHER
I don’t know. It was all online.
Crypto. Never met ‘em.
Reid pushes the photographer towards an OFFICER.
REID
Officer, take this man into
custody. Check his camera and
phone. I want to know what he
knows. Everything.
OFFICER
You got it, Detective.
The Officer drags the Photographer away. Reid is starting to
lose it.
REID
You’re gonna’ give him up!
She turns back to Jack. Collects herself. Controlled breath.
REID
Let’s go.
Reid moves to the car. Jack hesitates.
REID
NOW!
Jack follows, uneasy.
REID
That’s a good boy.
They reach the car-
JACK
What about my exclusive?
She climbs in, never looking at him.
REID
Fuck your exclusive.
92.
EXT. SUNSET BOULEVARD - NIGHT
The Crown Vic snakes its way East on Sunset. Lights flashing,
siren on.
Reid has a tight grip on the wheel, her mind racing,
adrenaline pumping. A hunter locked on her prey.
SALLY (VO)
You ever worry about collateral
damage?
REID (VO)
I don’t have time to worry.
SALLY (VO)
Doesn’t mean you don’t.
She does. Then-
JACK
You have a suspect?
REID
We have a witness, and she’s going
to give us our suspect.
(pleased)
We got him.
(looks right at him)
He messed up.
Reid’s phone rings. She answers.
REID
Reid.
ALEX
(over phone)
We were able to do a quick match in-
house with the DNA we pulled from
the saliva on the Coke bottle you
sent us from El Compadre and the
saliva from the zip-ties.
REID
And?
ALEX
Jack sent the package to himself
and the letter to you.
93.
REID
Got it.
She hangs up. Locks eyes with Jack.
REID
They got a hit on the DNA.
JACK
What DNA?
Enjoys it.
REID
Sorry, need to know.
Jack’s phone rings.
JACK
It’s Becerra.
REID
Do not tell her about Alison. The
last thing I need is a media circus
at the hospital.
He answers.
JACK
Hey boss.
KARLA
(over phone)
What the hell is going on? We’re
hearing there’s been another
murder.
JACK
He’s back.
INTERCUT THE REST OF THE CALL
KARLA
Jesus fucking christ. What do we
know?
JACK
Nothing I can tell you right now,
there’s a lot of moving pieces, so
you’re going to have to trust me.
KARLA
Don’t fuck this up Jack. Your whole
world is riding on this.
94.
He glances towards Reid.
JACK
You don’t have to tell me.
Hangs up.
Jack squirms in his seat. Reid notices.
REID
You OK Jack? You look a little
rattled.
JACK
I’m fine.
Reid doesn’t believe him. Enjoys the moment.
REID
If you say so.
Reid makes a phone call. Someone answers.
REID
Hey, it’s me. I need another favor.
EXT. UCLA MEDICAL CENTER/PARKING LOT - NIGHT
The Crown Vic screeches up to the back of the hospital.
Reid exits, pure adrenaline, beelines it across the parking
lot towards a back service entrance.
Jack follows a few steps behind her, looking around the
parking lot to see if anyone else is out here.
Just them. Perfect.
Reid pulls out her phone. Dials.
Jack pulls out his RAZOR KNIFE. Clicks it open. Keeps it low
and close to his body.
Moves in closer behind Reid.
Someone answers the phone.
REID
(into phone)
We’re here. Walking up to the door
now. Thanks.
Jack takes a firm grip on the knife. Here we go.
95.
Reid is almost at the door.
It’s now or never Jack.
He raises the knife, a wicked glint in his eye.
Reaches for Reid with his other hand, but then-
THE DOOR SNAPS OPENS
Jack recoils, swings the knife down to his side out of sight.
ANA
Standing just inside the door with an ARMED SECURITY GUARD.
Jack clicks the blade closed.
Slips it into his pocket.
ANA
Hey.
REID
Thanks for this.
Ana gives Jack a quick glance, then back to Reid.
Did she see the knife?
ANA
Anytime. Follow me.
Nope. They follow Ana.
Jack’s frustration growing.
INT. UCLA MEDICAL CENTER/CLOSED WING - NIGHT
They walk through an empty medical wing.
ANA
This wing is closed for upgrades,
but it connects to the ER.
They reach the door leading to the ER.
ANA
No one will see you going in. Rest
is up to you. Good luck.
Reid and Jack weave through the busy trauma bay as Doctors
and Nurses scramble to take care of their patients.
Reid marches up to the Nurses Station. Discreetly shows the
HEAD NURSE her badge.
REID
Detective Reid, LA Homicide. I need
to see Jane Doe. She just came out
of surgery.
HEAD NURSE
Which is exactly why you can’t see
her.
Reid, patience wearing thin, raises her voice.
REID
She’s a witness in a homicide. I
have to speak with her.
But our Head Nurse isn’t having it. Not tonight.
HEAD NURSE
What you have to do is take it up
with her Surgeon.
REID
And where is he?
HEAD NURSE
SHE is in surgery. You have your
protocols Detective and we have
ours. Have a seat. I’ll call you as
soon as she’s out.
Reid shifts to humble. Softer.
REID
Thank you, I appreciate it.
HEAD NURSE
Well, you’re the first one tonight.
She points without looking.
HEAD NURSE
Waiting room is on the other side
of the elevators. Get comfortable.
Might be a while.
97.
Reid moves towards the waiting area, passing the private
intensive care unit hallway.
She glances down the hall, sees a UNIFORMED OFFICER standing
guard outside Alison’s room.
She looks back to the Nurses station. The Head Nurse is gone.
Perfect. She moves-
INT. PRIVATE ICU HALLWAY - NIGHT
Towards Alison’s room. Jack follows. OFFICER PULOS, a few
years away from his pension, at the door. Reid knows him.
REID
She awake?
PULOS
Not since she got here.
REID
I need to talk to her.
PULOS
Doc ain’t gonna’ like that.
REID
Well, I don’t see the Doc, do you?
PULOS
Nurse Ratched isn’t going to like
it either. And she scares me a lot
more than the Doc.
Reid pulls Pulos aside, whispers something to him that we
don’t hear. He nods in agreement.
Then, so Jack can hear-
REID
Keep him here. I don’t want him
talking to anybody.
JACK
I have a right to know-
With one last glance down the hall, and without taking her
eyes off Jack-
REID
You’ll know when I say you know.
- she slips into-
98.
INT. ICU/ALISON’S ROOM - NIGHT
Alison’s room. Private. Just her.
Reid gently closes the sliding-glass door behind her. Takes
it in. The whir and beeps of medical equipment.
Alison is hooked up to several machines monitoring her
vitals. IV bags running into her arms.
This doesn’t look good. What the hell is Reid doing?
She softens, the adrenaline melting away.
Sits next to Alison’s bed and gently takes her hand,
caressing it more than holding it.
Blinks away a tear, and softly says-
REID
I am so sorry Alison. This is all
my fault. My obsession, my ego
blinded me to the truth. I was so
sure, and I was the hero, right up
until I wasn’t. I don’t know if I
even make a difference anymore, or
if I’m just part of it. And I
accept that. What I won’t accept
are my actions that put you here.
And I will do everything I can to
make this right. I promise, I will
make this right.
Reid realizes someone’s been standing at the door. She turns
to find-
DEREK COLLINS. Alison’s brother. There’s a calm sadness about
him.
REID
How long have you been standing
there?
DEREK
Long enough. And for the record, we
never blamed you.
Reid nods. “Thanks”.
INT. ICU HALLWAY - NIGHT
Jack, desperate to know what’s going on in Alison’s room. A
wounded animal pacing in his cage.
99.
Pulos notices.
PULOS
You OK?
JACK
I will be.
Jack makes a move towards the room.
Pulos steps in front of him. Holds up his hand to stop him.
PULOS
I’m gonna’ need you to take a step
back.
JACK
I just-
Pulos steps towards him.
PULOS
Take a step back. NOW.
Jack doesn’t like being told what to do but-
He complies.
PULOS
Relax. It’s gonna’ be a minute.
Jack waves it off. Steps away from the door.
JACK
No problem.
Pulos studies him.
PULOS
Didn’t think so.
Genres:
Crime, Drama Tone:
Tense, Emotional, Serious
JACK
Believe me, I know exactly how this
is going to end.
Time for Reid to play her hand.
REID
She’s awake.
That gets his attention.
JACK
Talking?
REID
Yep.
JACK
So, who is it?
Reid stares right through him, possessed.
REID
YOU. She said it was you.
Jack is stopped short, stays calm, trying not to let on what
he’s thinking, what he’s feeling, but-
He can’t help himself.
A fucked-up thin-lipped smile creeps across his face.
JACK
Took you long enough.
REID
You’re so fucking smart. Had us
fooled all these years.
JACK
“What is, right under your nose?”
102.
Reid launches at him. Pure adrenaline. Shoves him against the
wall. Gets in his face.
REID
You thought you could control me,
manipulate me, well guess what,
where you’re going every second of
your life will be controlled by
somebody else. What you wear, what
you eat, when you sleep. And you’ll
do what you’re told, like a good
little boy, because you are
nothing.
She throws him down the wall.
REID
Cuff this asshole.
Pulos reaches for his cuffs, but-
Jack spins on him, puts him in a choke hold and grabs his
gun.
Reid draws her gun.
Jack snaps the barrel towards Reid’s head.
She doesn’t even flinch, smiles, she’s got him.
REID
There’s no bullets in it.
Jack’s finger tightens around the trigger.
Reid throws a glance towards the security camera on the
ceiling.
REID
But go ahead, give me a reason.
He processes that, running the odds in his head.
JACK
You’re lying.
REID
Then pull it.
Reid inches towards him, gun raised high and crisp.
His face darkens, dangerously silent.
103.
REID
It’s over Jack. Pull it.
Jack’s careful facade is cracking.
JACK
I’m not an idiot.
She steps closer. She’s stronger than him.
REID
You’re nothing.
She takes another step as Jack-
Pulls the trigger.
CLICK. Nothing.
He pulls it again, CLICK, CLICK, CLICK. Still nothing.
REID
Oops. You must really hate me right
now.
He cranks his arm tight around Pulos’ neck, drops the gun and
grabs the razor knife from his coat pocket.
Snaps it open. Presses it against Pulos’ neck, his anger
building.
JACK
Alison was so tough hidden behind
her computer screen, but in the end
she was scared and weak, begging
for her life.
REID
Alison is a fighter. You’re just a
coward.
JACK
So, end it. You know you want to.
Reid realizes how close she is to killing him, masters her
rage, lets the slightest amount of pressure off the trigger.
REID
No, I want you to rot knowing that
Alison got you, that Ana got you,
and that I fucking played you.
Jack’s voice tightens. Shakes his head.
104.
JACK
You were right about them
forgetting about me before, but
THIS? This they’ll never forget.
It’s gonna’ be a best seller.
REID
Still tapping on the glass, begging
to be let in. You’re pathetic.
JACK
What can I say? My golf game was
weak, but my kill game was strong.
Reid explodes towards him, but Jack is ready and-
SLASHES HER ARM WITH THE RAZOR.
Pulos elbows Jack in the face. CRACK.
Jack stumbles back, holding on to the razor.
Pulos slams the mag back into his gun, chambers a round, and
snaps the barrel towards Jack.
Reid recovers, arm dripping blood, retrains her gun on Jack.
Waves off Pulos.
REID
I got you mutherfucker.
JACK
You don’t have shit.
REID
I have your DNA and fingerprints
from the bottle of Coke you had at
El Compadre. They match. I have
your fingerprints at Garrett’s
house. They’ll match too.
JACK
I was with you at Garret’s, of
course they’re going to find my
prints.
REID
On the gun?
Jack feels the noose tightening. Defiant.
105.
JACK
Won’t be enough after you fucked up
last time. You need my confession,
in writing or-
REID
Recorded?
Reid opens her shirt just enough to reveal-
The TINY MICROPHONE taped to her chest.
She’s been wired the whole time. She smiles.
REID
Got that too.
She fucking played him alright.
Jack remembers their earlier conversation. A little chuckle.
JACK
The theater of interrogation. You
took your time, didn’t rush it-
REID
Gained your confidence.
JACK
Lulled me into your trap.
REID
You got comfortable, dropped your
defenses-
JACK
And bam, just like that, you’re
exactly where I want you.
That lands. Reid’s finger tightens around the trigger.
REID
I got you. It’s over. So tell me.
WHY?
JACK
I already told you. I just give the
people what they want.
Jack smiles his fucked up thin-lipped smile.
JACK
You don’t exist without people like
me.
106.
Reid, adrenaline racing through her veins.
REID
I’ll manage.
Fighting every impulse to shoot him and end this.
REID
Was it worth it?
A thin-lipped smile crawls across Jack’s face.
JACK
You tell me.
She takes that in. Doesn’t answer.
One last card to play.
JACK
Don’t you want to know about the
others?
REID
What others?
JACK
The ones you didn’t find.
Jack swings the razor towards his own throat and-
SLASHES IT FROM EAR TO EAR.
The razor knife clanks to the floor.
Jack’s head rolls back as he tips out of frame and thuds to
the floor.
Pulos races into a patient room to hit the CODE BLUE alarm on
the wall, when-
Reid grabs Pulos’ hand and stops him.
REID
It ends here.
PULOS
What about the others?
REID
There aren’t any. He would have
made sure we found them. But now
there won’t be.
107.
Pulos nods. A silent pact made between them.
We float away from Reid standing over Jack’s lifeless body.
She leans against the wall, exhausted. It’s over. It’s
finally over. She kept her promise. She got him.
Engine: Claude
Recommend
Explanation: Prey For The Night is a gripping psychological thriller that follows the harrowing hunt for the Sunset Killer, a serial murderer who has evaded capture for over a decade. The screenplay masterfully weaves together the perspectives of the lead detective, Erin Reid, and the killer, Jack Hedon, as they engage in a high-stakes game of cat and mouse. Driven by a relentless pursuit of justice and a deep-seated need to confront the demons of her past, Reid is determined to bring the Sunset Killer to justice, even as her own personal and professional life begins to unravel. Ultimately, the screenplay delivers a powerful and emotionally resonant conclusion, exploring the heavy toll that the investigation has taken on Reid and the importance of perseverance in the face of overwhelming adversity.
Engine: Gemini
Consider
Explanation: Prey For The Night is a gripping crime thriller with a strong opening and a thought-provoking ending. The screenplay effectively explores themes of obsession and guilt, while also offering a glimpse into the psychological toll of police work. However, the pacing could be tightened in the middle section, and some character arcs and plot elements could benefit from further development.