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"]
Ratings
Scene
2 -
AIRTALK Discusses Sunset Killer Case
INT. KPCC RADIO STATION/AIRTALK STUDIO - DAY
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"]
Ratings
Scene
3 -
Struggles and Reflections
INT. THERAPIST OFFICE - DAY
SALLY YOUNG, 60s, Reid’s therapist, is at her desk talking to
Reid on her iPad. Framed degrees line the wall behind her.
10.
SALLY
It’s up to you. Give in, give up,
fight, runaway, hide, it’s your
decision. Just make the one you can
live with.
REID
(over iPad)
My best decisions got me here.
Reid is closing down on her. She knows.
SALLY
You can be pretty hard on yourself.
REID
You should have met my dad.
SALLY
Was he a cop?
REID
Engineer for TRW.
SALLY
A man of science.
REID
A man of certitude.
SALLY
Like you.
INT. CROWN VIC (PARKED) - DAY
Reid’s eyes beginning to tear up at the memory.
REID
I like the truth. The truth is
messy. He didn’t like messy.
SALLY
Your mom?
REID
She didn’t like him.
SALLY
What did she like?
REID
Gin and tonics and tennis
instructors.
11.
EXT. GARRETT’S HOUSE - DAY
A small two-bedroom house in Larchmont Village. Nice, but not
too nice.
Reid pulls up in the Crown Vic. She walks towards the front
door with two coffees as her therapy session with Sally
continues over.
SALLY (VO)
Have you talked to Mitch?
REID (VO)
I don’t know if he wants to talk
about it.
SALLY (VO)
You’ll never know if you don’t ask.
She reaches the front door. Hesitates. A regretful sigh.
REID (VO)
Yeah.
Knocks.
The front door swings open and we meet MITCH GARRETT, 60s,
sweatpants and an old Pink’s Hot Dogs T-shirt.
If he’s had a night of sleep in the last few days, it doesn’t
show. Not excited to see us.
GARRETT
Figured you’d come by. You bring
coffee?
Reid is all smiles, happy to see her old partner.
REID
You know I did.
She hands him a cup of Dunkin’ Donuts coffee.
REID
Regular, extra sugar.
GARRETT
And you won’t leave?
She tries to read him, but he has a veteran cop’s poker face.
REID
I just wanted to check in.
12.
She keeps peeking over his shoulder, trying to see into the
house.
GARRETT
Don’t do that.
REID
What?
GARRETT
Worry.
Studies him. Concerned.
REID
You don’t look so good Mitch.
GARRETT
Well appearances are pretty low on
my priorities these days.
REID
Yeah, I know. It’s just with the
anniversary-
GARRETT
SK. Forgot all about that asshole.
He hasn’t. She knows.
REID
So, you’re good?
GARRETT
Considering.
REID
Good. Maybe-
GARRETT
We should do this another time.
Takes the hint.
REID
Yeah. I’ll... I’ll give you a call.
GARRETT
You do that, thanks for the coffee.
She starts to walk away, then spins back-
REID
If you need-
13.
But CLICK, he’s already closed the door.
REID
- anything...
A heavy sigh. Disappointed. Can’t say she didn’t expect this.
REID
(to herself)
It wasn’t our fault.
But maybe she doesn’t believe it.
INT. LOS ANGELES TIMES NEWSROOM - DAY
A few REPORTERS and EDITORS mill about the large, half-empty
newsroom. Everyone here knows this is a dying business.
Jack enters with a “world by the balls strut”, expecting
everyone to notice-
JACK
Killed it!
Except they don’t. Jack smirks, “fuck them”, and heads to his
desk. Just as he’s about to sit-
KARLA (O.C.)
Well look who finally decided to
show up.
KARLA BECERRA, 50s, Jack’s boss, and not afraid to remind
him.
JACK
The prodigal son returns.
KARLA
You. My office. Now!
She turns back into her office. He follows.
Now that his coworkers noticed.
REPORTER
Go get ‘em buddy. Maybe you’re
getting your old office back.
JACK
Fuck you.
He spins and gives him the finger as he steps into Karla’s
office.
14.
Genres:
["Drama","Mystery"]
Ratings
Scene
4 -
Confrontation and Mystery
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.
MALLOY
She doesn’t want another hit piece
about her and her old partner.
JACK
You know a story like this could
help solve these murders. A new
witness comes forward. New
evidence. It’s good for all of us.
Silence. Jack clenches his fist. Wants to slam it on his
desk. Hates to beg, but-
16.
JACK
Paddy, I need this.
MALLOY
No promises. I’ll call you in-
As Jack hangs up. YES.
JACK
See you in a few.
KARLA
That didn’t sound good.
JACK
You kidding, Paddy loves me.
KARLA
He better.
As she walks away A MAILROOM CLERK rolls his cart past Jack
and drops a package on his desk.
A SHOEBOX WRAPPED IN BUTCHER’S PAPER, tied up with twine.
There’s no tape on it. No stamp.
He picks it up, studies it. It’s addressed to Jack with a
return address of-
JACK
(to himself)
Holy shit.
Karla stops and turns back.
KARLA
What?
JACK
Nothing.
She knows he’s up to something, but-
KARLA
This is your last chance Jack. You
hear me? And make sure you get me
Jane Doe.
JACK
Consider it done.
She leaves. He picks up the package. Smiles.
17.
Genres:
["Drama","Mystery"]
Ratings
Scene
5 -
Tension and Encouragement
INT. LAPD HOMICIDE SPECIAL/HALLWAY - DAY
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"]
Ratings
Scene
6 -
Tense Confrontation Over Suspicious Package
INT. MALLOY’S OFFICE - DAY
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"]
Ratings
Scene
7 -
Tension and Clues
INT. LAPD HOMICIDE SPECIAL/CONFERENCE ROOM - DAY
Reid enters, annoyed-
REID
What do we got?
MALLOY
A care package sent to your BFF
here.
JACK
It’s from SK.
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.
JACK
Old pen pal?
25.
Reid tightens. She knows.
REID
Fuck...
Genres:
["Crime","Mystery","Thriller"]
Ratings
Scene
8 -
Baiting the Killer
INT. LAPD HOMICIDE SPECIAL/CONFERENCE ROOM - DAY
Alex studies the envelope.
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.
Jack, prodding.
JACK
Yet here we are.
That lands.
REID
Yet here we are.
Genres:
["Crime","Thriller"]
Ratings
Scene
9 -
Tense Conversation in the Crown Vic
EXT. LAPD HOMICIDE SPECIAL/PARKING LOT - DAY
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"]
Ratings
Scene
10 -
Recounting a Brutal Murder
EXT. LA RIVER/SIXTH STREET BRIDGE - DAY
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.
REID
Like yesterday.
JACK (VO)
Some things we just keep reliving.
Genres:
["Crime","Thriller"]
Ratings
Scene
11 -
The Mysterious Lockbox
EXT. LA RIVER/SIXTH STREET BRIDGE - DAY
BACK TO PRESENT DAY
37.
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?
A long beat.
REID (VO)
No comment.
Genres:
["Mystery","Crime","Thriller"]
Ratings
Scene
12 -
The Killer's Mindset
INT. CROWN VIC (MOVING) - SUNSET
Jack continues recording on his phone.
JACK
Can anyone be a killer?
REID
Everyone has their limits.
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.
Pleased.
And then we’re-
Genres:
["Crime","Thriller"]
Ratings
Scene
13 -
Tense Investigation in Chinatown
EXT. CHINATOWN/PARKING LOT - NIGHT
BACK TO TONIGHT
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-
The PHOTOGRAPHER IS GONE.
Maybe it was nothing. She climbs into the car.
Genres:
["Crime","Mystery","Thriller"]
Ratings
Scene
14 -
Echo Park: A Haunting Murder
INT. CROWN VIC (MOVING) - NIGHT
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"]
Ratings
Scene
15 -
Manipulative Vigil
EXT. ECHO PARK - NIGHT
BACK TO TONIGHT.
Reid studies Jack, looking for a reaction.
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"]
Ratings
Scene
16 -
A Sinister Plan Unfolds
EXT. EL COMPADRE - NIGHT
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"]
Ratings
Scene
17 -
A Tense Encounter
INT. DINING ROOM - NIGHT
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-
Jack’s not sure what Juan saw. Stays cool, in character.
JACK
Don’t worry about it, I’m fine.
A BUSBOY arrives with a mop. Jane gets up.
JANE
I should get going. Late shift at
the hospital. Nice meeting you.
Jane holds out her hand to Jack.
He takes it, and as he shakes her hand-
His right forearm pokes out from the rolled-up cuff of his
sleeve, revealing-
JANE’S POV
Of the ELABORATE SLEEVE TATTOO on Jack’s right forearm with a
large rose running up the middle.
Then she notices that the stem of the rose covers up-
A LONG SCAR.
Genres:
["Thriller","Crime"]
Ratings
Scene
18 -
Confronting the Past
EXT. LAUREL CANYON PARK - NIGHT (TEN YEARS AGO)
A QUICK FLASHBACK to the night of the attack.
66.
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.
JUAN
Good luck.
OFFICER
Have a great night.
They speed off.
Genres:
["Thriller","Crime"]
Ratings
Scene
19 -
Tense Confrontation and Blame
INT. CROWN VIC (MOVING) - NIGHT
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.
Genres:
["Crime","Mystery","Thriller"]
Ratings
Scene
20 -
Determined to Catch the Killer
EXT. GARRETT'S - NIGHT
Later. Squad cars and ambulance out front.
Reid talking with Malloy. Reid is shaken, doggedly holding
onto herself.
MALLOY
I can’t let you have this one-
She clocks Jack over at the Crown Vic. Doesn’t want him to
hear their conversation.
REID
I know-
MALLOY
And I don’t want to find out that
you’ve been sniffing around either.
REID
Got it. Seems pretty straight
forward anyway.
MALLOY
I’ll put Graham on it.
She fights a little laugh.
REID
Mitch would hate that but thank
you.
73.
WITH JACK, watching them. What are they talking about?
BACK WITH MALLOY, studying Reid, worried.
MALLOY
You want to pull the plug on this
thing?
She’s close to the edge, but-
REID
I can’t, and believe me I just want
it all to stop, but he wants to
crush me and watch me break, and I
refuse to give him that
satisfaction.
He knows he isn’t going to win this one.
MALLOY
Stay close. You’re not alone on
this.
REID
I’ll keep you updated.
MALLOY
We’ll do the same, just do me a
favor.
REID
What’s that?
MALLOY
Get this fucker.
REID
That’s the plan.
As she walks away-
REID
He’s left-handed.
MALLOY
Who?
REID
Garrett. We found the gun in his
right hand, but he’s left-handed.
MALLOY
You think-
74.
REID
Yes. Just let Graham know.
WITH JACK, standing next to the Crown Vic-
Sees Reid approaching.
Eyes the RACKED SHOTGUN in the front seat.
Thinks about grabbing it, ending this, but then he realizes-
It’s locked.
Reid reaches him. He shifts gears.
JACK
Look, I’m sorry about what I said,
and I understand if you don’t want
to-
Another text from SK. Jack reads it.
JACK
“Sorry about your partner. He was
so... troubled. But the show must
go on. Westwood. Dessie’s blood is
on your hands.”
A busy night. College students moving along the bars blaring
live music. The Crown Vic rolls through.
INT. CROWN VIC (MOVING) - NIGHT
Close on Reid, her thoughts drifting.
SALLY (VO)
Why the obsession with this case?
Why SK?
REID (VO)
He’s a horrible person who harms
women.
SALLY (VO)
Lot of them out there.
75.
REID (VO)
Not a lot that I can do something
about.
SALLY (VO)
I worry it’s more about you than
him.
Defiant.
REID (VO)
It’s about them. His victims.
Gently.
SALLY (VO)
You sure about that?
Maybe she isn’t.
Genres:
["Crime","Thriller"]
Ratings
Scene
21 -
Tense Confrontation in the Alley
EXT. WESTWOOD VILLAGE/ALLEY - NIGHT
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.
MALLOY
What the hell’s going on?
REID
It’s Alison Chambers-
Genres:
["Crime","Thriller"]
Ratings
Scene
22 -
Desperate Chase and Investigation
INT. CROWN VIC (MOVING) - NIGHT
Reid races down Sunset towards Brentwood, swerving through
traffic, lights flashing.
Heart pumping. Mind racing.
Weaving in and out of traffic, desperate.
Her phone rings.
REID
Tell me something good.
ALEX
(over phone)
We got a hit on the phone. Tracing
it now.
REID
You’re the best. Let me know.
She hangs up.
REID
Stingray got a hit. We got the
phone.
JACK
That’s great.
Jack squirms a little. Reid notices. Pulls the noose a little
tighter.
A little smile. Pleased.
REID
We got the phone.
81.
EXT. CHAMBERS HOUSE - NIGHT
They climb out of the Crown Vic, duck under the yellow Police
tape running across the front yard.
Several squad cars and an Ambulance out front.
Reid hurries across the lawn.
Her phone rings. She answers.
REID
I just got here.
MALLOY
We didn’t find a second set of
prints on Garret’s gun. Just his.
Reid, disappointed, doesn’t want to show her cards just yet.
REID
Got it. See you in a bit.
She hangs up. They reach the front door.
REID
Stay out of the way and don’t touch
anything. We’ll get your prints for
the log, to eliminate you from any
prints found here.
He likes the sound of that.
JACK
Perfect.
Genres:
["Crime","Thriller"]
Ratings
Scene
23 -
A Gruesome Discovery
INT. CHAMBERS HOUSE - NIGHT
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.
JACK
Really?
REID
It’s your shifty eyes.
88.
Genres:
["Crime","Mystery","Thriller"]
Ratings
Scene
24 -
Tense Confrontations and a Dramatic Escape
EXT. CHAMBERS BACKYARD - NIGHT
Reid steps onto the patio.
REID
Is she alive?
Malloy church whispers-
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.
Genres:
["Crime","Mystery","Thriller"]
Ratings
Scene
25 -
Tense Investigation at the Hospital
INT. CROWN VIC (MOVING) - NIGHT
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
She’s gonna’ need it.
96.
Genres:
["Crime","Thriller"]
Ratings
Scene
26 -
Apologies and Reassurances
INT. UCLA MEDICAL CENTER/ER - NIGHT
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"]
Ratings
Scene
27 -
A Desperate Hope
INT. ICU/ALISON’S ROOM - NIGHT
Reid, anguished, hoping for a miracle.
DEREK
What if she doesn’t wake up?
That sinks in.
REID
She’ll wake up. She has to.
100.
Maybe she doesn’t believe it.
And that’s when Alison’s hand grabs Reid’s and squeezes.
TIGHT.
REID
Alison!
Her eyes flash open. She’s awake.
Reid leans in. Her ear a breath away from Alison’s lips.
Alison whispers something we struggle to hear, but can’t.
Alison’s body jerks tight, her back heaving and arching in
spasms as the monitors go crazy.
REID
Alison!
DOCTOR HARARI storms into the room, pissed.
DR HARARI
What are you doing here?
REID
This is her brother Derek-
DR HARARI
I know who he is. Who the hell are
you?
REID
Detective Reid, LA Homicide.
DR HARARI
Out. NOW!
Nurses and Doctors swarm into the room. Full on CODE BLUE.
Desperate.
REID
Let me explain.
DR HARARI
Get her out of here!
Derek takes Reid by the arm and leads her into the hallway.
Genres:
["Drama","Mystery"]
Ratings
Scene
28 -
The Confrontation
INT. PRIVATE ICU HALLWAY - NIGHT
Reid, frustrated, exits with Derek.
101.
Jack paces back and forth.
JACK
How is she?
Reid, eyes narrowing.
REID
It’s killing you isn’t it? Not
knowing.
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.
Genres:
["Thriller","Mystery"]
Ratings
Scene
29 -
INT. UCLA MEDICAL CENTER/ER PATIENT BAY - NIGHT
A Doctor finishes stitching up Reid’s arm, Ana by her side.
ANA
Why do you keep doing this?
REID
I need an answer that lasts a
little bit longer and does a little
bit more than what I’ve come up
with so far. But I’m tired.
Ana places her hand on top of Reid’s.
ANA
You got him. Thank you.
REID
We got him.
ANA
I’ll go check on Alison.
Reid grabs Ana’s hand. Holds it. Shakes her head.
REID
She didn’t make it.
ANA
So, she didn’t identify Jack?
Reid shakes her head, no. A sad smile.
REID
She would have.
The Doctor finishes. Erin stands up to leave.
REID
And Karma never heard of time.
WE MOVE with Reid as Malloy finds her in the hallway.
MALLOY
Erin. You OK?
108.
REID
Considering. But you were right.
MALLOY
About what?
REID
It is worth fighting for.
Reid turns and heads for the door, Malloy watching her go.
Over this-
SALLY (VO)
What if you just walked away?
REID (VO)
I would never do that.
SALLY (VO)
Why?
REID (VO)
Because then he’d win. And I won’t
let that happen.
She finally drops her guard and lets the pain in. Her jaw
quivers, but only for a moment, then it’s game face time as-
She walks through a sea of reporters without taking any
questions, and we-