INT. SACRAMENTO, CA - JILL'S OFFICE - NIGHT
Wildly snaking colored tentacles of a computer monitor's
screensaver undulate on thick blackness, stark shadows
enveloping the monitor. A woman's heavy breathing. Then the
shrill cry of a telephone.
A desk with the monitor, near which is a large framed
photograph - MOM, 40, with a crooked smile, and YOUNG JILL,
11, by her side - inscribed: "For my darling Jill. I'll
always be there for you. Love, Mom."
At her desk, JILL CLAYTON, 26, fit, short bleached dark
blonde hair, no makeup, is immersed in work. Darkness
surrounds her. The phone rings again. Her eyes still on her
work, Jill lifts the receiver and speaks firmly.
JILL
Jill.
MOM (V.O.)
Hi, baby!
JILL
Mom!
MOM (V.O.)
(joking)
Back from the dead!
JILL
Where've you been?
MOM (V.O.)
Around.
JILL
I thought...you'd gone.
MOM (V.O.)
(gently)
I know.
JILL
(happily)
So, what are you up to?
MOM (V.O.)
Turn on your monitor.
Jill taps a key on her computer keyboard. The monitor screen
flashes to life, reveals:
ON MONITOR SCREEN
The relaxed but focused face of Mom, darkness behind her.
JILL'S OFFICE
JILL
(laughs)
Damn! How'd you do that?
ON MONITOR SCREEN
MOM (V.O.)
Nothing to it, baby. Now - watch!
The image of Mom appears on the screen, seated on a small
rectangular vanity bench, facing left, wearing a nightgown.
Her body is frozen, her eyes stare forward, unmoving.
Darkness surround her.
A silk cord is wound tightly around her neck, and behind her
a man's hands and arms slowly garrote her with the cord.
No sound, except the heavy breathing OS.
The killer's eyes slowly turn toward Jill at her desk, stare
with a deadly look at Jill, the rest of his face hidden.
JILL'S OFFICE
The OS woman's heavy breathing stops with a gasp.
Jill, still staring at the monitor screen, screams. The image
on the computer screen shatters and falls like glass.
INT. JILL'S APARTMENT - BEDROOM - NIGHT
Jill's dream scream of terror still echoes, fading.
Jill struggles to sit up in bed, only half-awake, breathing
in great gasps, almost screaming. There is a 9mm Beretta in
her hands, and her eyes are filled with unreasoning terror.
Her arms and eyes jerk from side to side as she searches
frantically for the killer in her dream. She turns on a
bedside lamp. On the bed beside her is a large well-worn
stuffed bear.
She finally swings her legs to the floor and puts her gun on
the bed. Her breath still comes in gasps, tears rolling down
her face.
She picks up a tumbler of water on her bedside table, holds
the glass with shaking hands, takes a gulp of water.
Suddenly she leaps to her feet, screams, her eyes now filled
with fury. She violently flings the tumbler against a wall.
The tumbler explodes into a shimmering shower of shards.
There is rage on Jill’s face.
Genres:
["Thriller","Mystery"]
Ratings
Scene
2 -
Unveiling Secrets
EXT. A STREET - CONTINUOUS
The sky is gray, with distant thunder. Grinding car engines,
angry horns, roaring buses, people rushing to work. Jill
drives by the front of the California Attorney General's
Building, turns into the ramp leading down to the garage
underneath.
INT. A.G.'S BLDG. - GARAGE - CONTINUOUS
Jill parks, gets out of her car with her briefcase, slams the
door shut, locks it remotely and walks toward an elevator.
HALLWAY
She moves rapidly down a hall, greets two people without
stopping, pushes forcefully through swinging doors.
Lettered on the doors is, "VIOLENT CRIME PROFILING UNIT,
CALIFORNIA BUREAU OF INVESTIGATION."
Jill flies down a short passageway, arrives at an office door
with frosted glass. On the door: "JILL CLAYTON, SPECIAL
AGENT." The door is ajar a crack. Jill pauses, then shoves
the door open, flings herself inside.
JILL'S OFFICE
It's a small nondescript office, nothing soft or feminine in
sight, everything dull and angled, everything in its place.
There is a single bare window with blinds and an old leather
couch against one wall.
Seated on the edge of Jill's squat metal desk is LAURIE, 23,
long dark hair, elfish, sexy, dressed boldly with style.
Laurie points impertinently to a clock that shows 8:38.
LAURIE
Late again!
JILL
What are you doing in my office?
LAURIE
Dunno. Could be I'm lost.
JILL
Does CBI pay you to lie in wait and
annoy me?
LAURIE
Just to lie in wait. I supply the
annoying part for free.
Her back to Laurie, Jill drops her briefcase, puts her jacket
on a wire hanger, then on a metal wall hook by the door.
LAURIE (CONT’D)
So, how was your weekend?
JILL
Think I'd tell someone like you?
LAURIE
That bad, huh?
JILL
You should have it so bad.
LAURIE
Something...happen?
JILL
Did.
LAURIE
(excited)
What, what?
JILL
I heard a talk.
LAURIE
(incredulous)
Heard a talk?
JILL
From a shaman.
LAURIE
Are you putting me on?
Laurie blocks Jill’s way.
JILL
Can I get to my desk?
LAURIE
Talk about what?
JILL
Soul loss and earthbound spirits.
LAURIE
You believe in that kinda stuff?
JILL.
Just like you believe in hot guys.
LAURIE
(antenna up)
Any there?
JILL
Spirits?
LAURIE
No! Hot guys!
JILL
Didn't notice.
LAURIE
You didn't give your number to
anyone?
JILL
Didn't go to get picked up.
LAURIE
You need to see a shrink.
JILL
And you need to stop dreaming about
hot guys.
Jill finally gets to her desk. On a calendar desk pad, dated
May, 2015, sits a large battered accordion file.
Jill notices it.
JILL (CONT’D)
What's that?
LAURIE
(peers, clearly lying)
A present?
Jill looks with narrowed eyes at Laurie.
JILL
From who?
LAURIE
(big phony smile)
A secret admirer!
JILL
(firmly)
What - is - this, Laurie?
LAURIE
I dunno.
(touches it, wide-eyed)
It's ice cold!
JILL
Tell Cal to -
LAURIE
You do that. I need my job. See ya.
Laurie wiggles her fingers at Jill, leaves.
Jill stares with foreboding at the old file, whose name label
has fallen off. She finally pulls out a folder, opens it.
A single large word is on the top sheet: "JACK." Jill
breathes in sharply, her eyes open wide.
Genres:
["Thriller","Mystery","Crime"]
Ratings
Scene
3 -
Echoes of the Past
EXT. SACRAMENTO CENTRAL LIBRARY - FRONT - DAY
People drift in and out, holding books. A couple have open
umbrellas. Rumbles of thunder.
INT. PERIODICALS DEPARTMENT
A YOUNG PRIEST, mid-30s, hair combed straight over to the
right to cover a scar, wwith lightly tinted sun glasses. He
sits before a microfilm viewer. A female LIBRARIAN, 40s,
thin, plain, stands next to him, instructing.
LIBRARIAN
That's it, Father! All right?
YOUNG PRIEST
(smiles charmingly)
Yes. Thanks.
LIBRARIAN
(nosy, fishing)
Not often someone brings their own
reel.
The Young Priest just smiles again. The Librarian walks away.
The Young Priest's expression immediately becomes tense. He
takes a deep breath, whispers:
YOUNG PRIEST
You sure?
Young Priest’s head nods “yes”. Young Priest sets the
microfilm reel spinning forward.
INT. JILL'S OFFICE - LATER
Jill gets up suddenly, her jaw clenched, grabs her jacket,
walks rapidly out of her office, pulling on her jacket.
INT. CAL GREYSON'S INNER OFFICE - DAY
Name plate on a desk: "CALVIN GREYSON."
A comfortable office, with framed prints and interesting
objects, reflecting the nature of its occupant.
Arguing are CAL, 48, rimless glasses, a bit pudgy, easy-
going, leaning slightly back in his chair. Standing is THOMAS
STANTON, 58, trim, narrow mustache, rigid, red-faced.
CAL
He’s a serial killer.
STANTON
The case is stone cold.
CAL
And he's still out there.
STANTON
We’re already over budget!
Cal looks at Stanton quizzically.
INT. PERIODICALS DEPARTMENT - LATER
Sweat is beaded on the Young Priest's forehead. He wipes it
off with the back of his right hand, focuses tensely on the
screen again. His eyes stare, trance-like.
On the screen, dated May 1, 1985, is a news article,
revealing part of a headline: "Funeral for - " and a photo
of a service in a church.
FLASHBACK TO:
EXT. LOGAN, WEST VIRGINIA - ST. MICHAEL’S CHURCH - DAY (1985)
The front of a small wooden church with its name on a sign:
"ST. MICHAEL'S CATHOLIC CHURCH." It is drizzling.
INT. ST. MICHAEL'S - NAVE
Plain interior. A funeral service is in progress.
BOY'S FATHER, 27-30, clean-shaven, fit, only the lower half
of his face visible, sits in a front pew. He wears a silver
ring with a black onyx. Beside him, a BOY, 6, who shakes with
fear, face contorting.
Boy's Father turns to the Boy and whispers:
BOY'S FATHER
Control yourself.
Boy's face becomes blank, body drained of all expression. He
turns his head mechanically to stare at the framed photograph
on the coffin.
It is of his mother, DIANA, 28, whose name is at the bottom
of the picture.
BACK TO PRESENT
Young Priest looks distressed, almost panting.
Genres:
["Thriller","Mystery","Drama"]
Ratings
Scene
4 -
Confrontation in the Office
INT. A.G.'S BLDG. - A HALLWAY - DAY
Jill rushes down a hallway, pushes open a door on which is
lettered, "CALVIN GREYSON, SPECIAL AGENT IN CHARGE." She
charges past Cal's astonished secretary.
INT. CAL GREYSON'S INNER OFFICE - LATER
Stanton and Cal are staring at each other, then Stanton turns
angrily, starts to leave, comes face-to-face with Jill, who's
just opened the door.
Quick disturbed looks flicker in the eyes of both. They nod
slightly as Stanton walks out forcefully.
Cal's exasperated secretary is at the door. Cal waves her
off. She leaves, closes the door.
JILL
Why did you send me Jack?
CAL
Three dead women. No suspects.
JILL
It's history! Like chasing after
Jack the Ripper.
CAL
(nods)
That's another Jack case still
open.
JILL
Nothing's turned up in fifteen
years.
CAL
Green River killer was caught after
twenty.
JILL
Everyone's taken a look at Jack:
SPD, CBI, FBI!
CAL
You haven't.
JILL
He's probably dead.
CAL
Or locked up - due for release?
Successive emotions flash across Jill's face.
CAL (CONT’D)
I won't be caught flat-footed, Jill.
I want fresh eyes on him.
Jill finally turns and charges back out the door.
Cal stares after her, then from a drawer takes an opened
envelope addressed to him - a Sacramento postal stamp of May
13, 2013 on it but no return address. He looks at it, then
shakes out a playing card. It's a Jack of Spades.
Along two edges of the face side is written, "Your turn to
find him."
Genres:
["Thriller","Crime","Mystery"]
Ratings
Scene
5 -
Echoes of Grief
INT. JILL'S OFFICE - LATER
Jill comes back into her office, throws herself into her desk
chair, upset.
Her eyes lock on the framed picture on her desk. She finally
picks it up, looks at it intently.
SECOND PRIEST (V.O.)
- who was in the prime of life when -
FLASHBACK TO:
INT. SACRAMENTO CATHOLIC CHURCH - DAY (1998)
A framed picture of Mom sits upright on a coffin. A funeral
service is in progress.
At the pulpit, speaking, is SECOND PRIEST, 50s. His image
wavers, as if in a heat wave. His words now are like
unintelligible garble from a broken radio speaker, a roaring
noise under the garble.
Young Jill sits in a front pew, at the right, next to her
AUNT, 40s, who holds a program dated September 3, 1998.
Devastated and in shock, Young Jill struggles to stay
conscious. Her eyes are fixed on the Second Priest.
To Jill's right, near a window by the end of the row, stands
DETECTIVE SERGEANT AARON PHILLIPS, early 30s, black. The
sinewy build of a wide receiver, eyes that can burn holes in
you, a brooding air about him.
Although he continually scans the entire congregation, he
often glances toward Jill with sympathy and concern.
Further back in the church sits the Young Priest, about 20
now, shaved head (no scar on it), ordinary suit, tie.
SECOND PRIEST
Why do the innocent suffer?
Young Priest 20 nods. A tear rolls down his face.
BACK TO PRESENT
Looking stressed, Jill puts the picture back on her desk,
pulls out her cell phone, dials a number.
OPERATOR (V.O.)
Sacramento Police Department.
INT. PERIODICALS DEPT. - LATER
The Librarian walks by, notices that the Young Priest appears
frozen.
LIBRARIAN
Father? Are you all right?
Young Priest remains motionless.
Librarian touches his shoulder.
Young Priest whirls, rage on his face: a different person.
YOUNG PRIEST
Don't touch him!
Librarian, shocked and frightened, steps backward. The Young
Priest reverts to his earlier persona, mumbles:
YOUNG PRIEST (CONT’D)
Sorry - you...startled me.
He suddenly lunges to his feet and hurries out. He limps
slightly with his left leg.
The Librarian watches him go.
The projection screen still glows. The Young Priest's film
strip is still in the machine.
Librarian notices, turns to call after the Young Priest.
LIBRARIAN
Father! You left your reel!
The Young Priest is gone.
Librarian turns back to the microfilm projector. A newspaper
article is projected onto the screen.
Partially hidden by the Librarian's body is the headline, "-
WIFE MURDERED, - DICT HELD," under which is the picture of
the murdered woman, Diana.
Librarian picks up and looks at the microfilm box, which
seems new. The label reads: "THE LOGAN SENTINEL - LOGAN,
WEST VIRGINIA, April - June, 1985."
INT. JILL'S OFFICE - LATER
Still stressed, Jill continues to talk on her cell phone.
JILL
I'll be there.
She ends the call, looks intently at her mother’s picture
again.
FLASHBACK TO:
INT. SACRAMENTO CATHOLIC CHURCH - AS BEFORE (1998)
Young Jill is still in her seat. Young Priest 20 is still in
his pew. Tears roll down his face.
In the rear stands JED WATKINS, early 40s, thick snow white
hair, black eyebrows. He's not large but is sinewy, rough-
hewn, almost menacing. He watches Young Priest 20 covertly
from behind a column.
SECOND PRIEST
Let us pray to God for -
Young Jill lunges to her feet.
YOUNG JILL
Damn God - damn him!
Those present are horrified.
Young Jill rushes toward a crucifix.
YOUNG JILL (CONT’D)
Why did you take my mom?
Why? Why?!
She grabs a burning candle, screams, violently flings the
candle at the crucifix. Then she faints, drops to the floor.
Aunt and Second Priest rush to help her.
AUNT
Jill, Jill dear....
BACK TO PRESENT
Jill gets up quickly, stuffs a 'Jack' folder into her
briefcase, then walks hurriedly out of her office.
Genres:
["Thriller","Mystery","Drama"]
Ratings
Scene
7 -
Reunion and Reckoning
INT. A RESTAURANT - DAY
It is a cozy family restaurant. Aaron, now in his mid 40s,
sits at a table with a red checkered tablecloth. A bottle of
soda water and a glass with soda are in front of him.
Jill enters, spots Aaron, walks toward him, biting her lip.
Aaron notices her, watches her arrive.
JILL
Lieutenant?
AARON
Aaron. Please, sit.
Jill sits. They contemplate each other with curiosity for a
moment.
AARON (CONT’D)
...Been a while.
Jill nods, searches his face.
JILL
You look different than I
remembered.
AARON
Fifteen years being a cop changes
your looks, trust me.
They both smile.
AARON (CONT’D)
And the little girl grew up.
JILL
Couldn't be helped.
Aaron grins, then looks serious.
AARON
Lost touch.
Jill nods. A beat.
JILL
Are you still working on - ?
AARON
Never stopped.
Jill nods. A beat.
AARON (CONT’D)
So, why we here?
Jill takes a deep breath.
JILL
I'm a Special Agent at CBI - a
profiler.
Aaron whistles, grins, gives a thumbs up.
AARON
Way to go.
Jill pulls the old 'Jack' file from her briefcase, carefully
puts it on the table in front of Aaron. He eyes it, looks at
her questioningly, suddenly the cop.
JILL
I got a cold case today.
Jill indicates the file with her head. Aaron cautiously opens
it, sees 'JACK,' immediately closes the file, takes a breath,
blows it out, stares at the file, looks back at Jill.
AARON
That's incredible.... Does CBI
know about you?
Jill shakes her head "no."
JILL
I changed my name. It's Clayton
now.
Emotions flit across Aaron's face. He taps the file with an
index finger.
AARON
You read it?
Jill shakes her head “no.”
AARON (CONT’D)
What are you going to do?
Jill just shakes her head with frustration.
JILL
If I caught him, I might kill him.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
8 -
Haunted Memories
INT. A SEEDY FURNISHED ROOM - DAY
A small, shabby, sparsely furnished room, curtains tightly
closed.
The Young Priest is on his knees by a bed, surrounded by
oppressive darkness. He prays fervently, his lips moving
silently, his face betraying inner turmoil and terror.
FLASHBACK TO:
EXT. LOGAN, WV - BOY'S HOUSE - NIGHT (1985)
A large weather-beaten pre-World War II house.
INT. BOY'S BEDROOM
The Boy is in bed, pretending to be asleep. The bedroom door
opens, squeaks slightly, closes. The Boy's Father enters,
moves to stand by the Boy's bed. Father's face is in deep
shadow, unrecognizable.
He touches the Boy, revealing the silver/onyx ring on his
finger.
BOY'S FATHER
Sit up.
The Boy opens his eyes. There is terror in them. He sits up
fearfully.
BOY'S FATHER (CONT’D)
Ready for our game?
BACK TO PRESENT
Eyes still closed, The Young Priest tries to scream. Only a
trapped gurgling sound comes from his throat. His face
contorts with rage. His hands and arms reach out, as if he
wants to strangle someone.
Then his body starts to relax. He takes gulping breaths.
Speaks softly, gently - almost crooning.
YOUNG PRIEST
It's OK - don't worry - we'll nail
the bastard this time.
He hugs and gently rocks himself from side to side, sings, as
if to a child.
YOUNG PRIEST (CONT’D)
(Brahms lullaby:)
Lullaby, and good night -
He hums the next three lines of the lullaby.
Genres:
["Thriller","Mystery","Drama"]
Ratings
Scene
9 -
Shadows of the Past
INT. CAL GREYSON'S INNER OFFICE - LATE AFTERNOON
Gray dusk filters through the windows. Cal sits at his desk,
works his computer. He clicks on a government cyber-detective
program, types in his target. "JILL CL -" appears in the
target box.
EXT. CBI SHOOTING RANGE - EVENING
Pitch black darkness around. Jill stands just behind a firing
window. She wears orange yellow sweats, ear plugs, muffs and
shooting glasses, grips her weapon with both hands, points
down range.
Dim overhead lights go out. A red warning light flashes. Only
very dim lights remain down the firing range.
A silhouette suddenly appears about fifteen yards away. Jill
whips her weapon toward the target, empties her clip, reloads
quickly.
A second silhouette appears elsewhere. She again empties her
clip, her facial expression fierce.
A horn sounds, the lights come on again. Jill puts her gun on
the counter before her, removes her glasses, muffs and
earplugs.
The INSTRUCTOR, male, 30s, points binoculars at the targets.
Most bullet holes in both are in the bulls-eye.
The Instructor turns to Jill, hands her the binoculars. He
notices her still-fierce expression, grins.
INSTRUCTOR
You training for the Olympics or
planning to take out someone?
EXT. SACRAMENTO PD HQ - EVENING
Except for its entrance, the building is enveloped in
brooding darkness. A few police officers enter, exit.
INT. AARON'S OFFICE
Aaron stands in front of a wall on which aged material about
Jack is tacked onto a large cork board. He stares at a
yellowed news article about Jack.
In it is a photo of the younger Aaron, captioned, "Sgt. Aaron
Phillips." Above it is the picture of Mom and Young Jill.
Near are pictures of the other Jack victims.
Aaron's mouth tightens. He suddenly punches the cork board
violently, then turns and goes to his desk.
A name plate reads, "Lt. Aaron Phillips." Also on the desk
stands a small framed photograph of a ten-year-old black
girl. Aaron picks up the picture, stares at it.
AARON
How you doin’, baby girl?
Tears come to his eyes. He wipes them away. Sits, picks up a
“Jack” file, starts to read it.
EXT./INT. SACRAMENTO CATHOLIC CHURCH - EVENING
Darkness blankets most of the church. Near the front, a
Woman, 28-30, prays in a pew. Candles flicker. A few rows
behind her sits a Man dressed in black, his head down, his
face hidden, only his back visible.
The Woman goes to the front of the church, kneels, crosses
herself, then walks toward the back of the church.
Only her legs are visible to the Man. She passes him. He
waits a moment, then gets up and also leaves. His upper body
still is not visible.
INT. JILL'S OFFICE - EVENING
Jill, still wearing her sweats, stares sightlessly out a
window at the darkness. She looks over at a filing cabinet.
Conflicting emotions flit across her face. She finally goes
over to the cabinet.
She pulls open the bottom drawer, takes out an aged file,
returns to her desk, puts the file on it, sits down in her
chair, stares at the file.
She closes her eyes for a moment, takes a deep breath,
finally opens the file's cover. She pulls out a fragile
yellowed newspaper article. The headline reads, "JACK CLAIMS
THIRD," the same article Aaron had in his office.
Jill's eyes fill with tears. One drops onto the article.
Genres:
["Thriller","Mystery","Drama"]
Ratings
Scene
10 -
A Grim Discovery
EXT. A STREET - EVENING
The Woman from the church walks down a dimly lit street. The
Man from the church, still seen only from the back, walks
steadily behind her.
The Woman finally looks nervously behind her, then relaxes,
smiles when she sees who the Man is.
INT. AARON'S OFFICE - NIGHT
It's after 1 a.m. Aaron, obviously tired, still reads. His
cell phone rings, and he reaches for it, keeping his eyes on
the page he's reading.
AARON
What you got, Alisha?
ALISHA (V.O.)
Female vic - you need to be here.
INT. JILL'S OFFICE - LATER
No lights on in the office. Jill dozes on the old leather
couch. Her face becomes troubled, tense. She moans softly.
EXT. A CATHOLIC CEMETERY - NIGHT
Police vehicles, personnel and equipment are spread all
around. A police photographer videotapes the scene.
Aaron drives up, gets out of his car. ALISHA, 30s, a black
SPD detective sergeant, approaches Aaron.
ALISHA
This way, boss.
Alisha leads Aaron to a folding chromed gurney, on which lies
a corpse. They stop a few feet from the body.
It is the Woman from the church, now neatly dressed as a nun,
with a large pectoral cross. Her eyes are closed, hands
crossed on her chest. A silk cord from a dressing gown is
wound around her neck.
A large thick candle burns on the ground behind her head. A
second lit candle is by her feet.
ALISHA (CONT’D)
Gurney was stolen from a funeral
home.
(looks hard at Aaron)
This was under her fingers.
Hands Aaron a plastic evidence bag. Aaron looks down at the
bag, then back at Alisha, his mouth suddenly tight with
anger.
Genres:
["Crime","Thriller","Mystery","Drama"]
Ratings
Scene
11 -
Shadows of the Past
INT. JILL'S OFFICE (DREAM)
Jill is holding the receiver of her land line to her ear.
MOM (V.O.)
The monitor, Jill, turn on -
JILL
No!
A cell phone rings.
INT. JILL'S OFFICE - LATER
Jill's cell phone rings again. She wakes with a start.
The cell phone rings once more. Jill grabs it.
JILL
Jill.
AARON (V.O.)
Aaron. You need to see something.
EXT. A CATHOLIC CEMETERY - NIGHT - LATER
Jill's car drives up, stops. Jill gets out. A policeman
directs her to Aaron, and she walks over to him.
CORONER, 60s, checks the body still on the gurney.
Aaron hands Jill a smart phone with a large screen. It shows
a picture of the dead Woman from the chest up. The cord is
still around her neck.
Jill looks at Aaron. He takes back the phone and hands her
the evidence bag.
In it is a playing card: the Jack of Spades. Jill looks at
Aaron with shock.
AARON
She’s dressed different, but
everything else....
He shakes his head.
Coroner walks over to Aaron.
AARON (CONT’D)
So?
Coroner hands Aaron another plastic evidence bag. It has a
woman's wallet in it.
CORONER
She's not a nun. For the rest -
(points to the evidence
bag with the Jack)
- Jack left you his calling card.
Coroner walks away. Aaron turns toward Jill, looks at her
steadily. Jill slowly shakes her head in disbelief and anger,
looks back at the body.
JILL
This is....
She stops. Shakes her head again, stunned.
AARON
Yeah. Unreal.
A heavy silence lies between them.
JILL
(whispers)
Damn him.
AARON
I'll nail the son of a bitch now
that he's back. You don’t need to -
Jill locks eyes with Aaron, looks off to a side direction,
then back at Aaron.
JILL
Mom...is buried here.
Aaron takes a deep breath.
JILL (CONT’D)
Your office. Eight?
Aaron nods. Jill walks away toward her car. Aaron watches her
go. In the background, the Young Priest is talking with an
EMT.
Genres:
["Thriller","Mystery","Crime"]
Ratings
Scene
12 -
Tension in the Morning
INT. A BATHROOM - EARLY MORNING
Running water in a sink.
A man stands in front of the sink, shaves with a razor and
shaving cream, a silver/onyx ring on one finger. Man is only
seen chest down. REPORTER is heard on the radio.
REPORTER (V.O.)
We have a breaking story: a
Sacramento woman was strangled last
night, apparently by the serial
killer 'Jack.'
The razor drops into the sink with a clatter.
REPORTER (V.O.)
As we learn more, we will -
EXT. SACRAMENTO PD HQ - MORNING
A window of Aaron's office.
INT. AARON'S OFFICE - MORNING
Aaron, Jill and Alisha are at work.
ALISHA
There was never anything sexual.
JILL
Atypical.
Alisha nods.
AARON
And it’s not a copycat because we
held back that -
Aaron stops, looks at Alisha. Jill also looks at her.
ALISHA
Jack injects a paralytic agent into
the necks of his victims.
Jill bites her lip. Aaron watches her intently.
Genres:
["Crime","Thriller","Mystery"]
Ratings
Scene
13 -
Silk and Shadows
INT. A MEN'S STORE - DAY
The Young Priest, wearing tinted sunglasses and a black hat
takes a man's dressing gown from a rack, brings it to a
counter.
Female CLERK, 30s, takes the gown from him, smiles.
CLERK
Didn't know priests wore silk
dressing gowns, Father.
YOUNG PRIEST
It's a gift. For an apostate.
He smiles oddly, his eyes focused on an inner scene.
FLASHBACK TO:
INT. LOGAN - BOY’S HOUSE - FATHER'S BEDROOM - NIGHT (1985)
Boy's Father is standing, facing left, a three-panel vanity
mirror facing him, the silver/onyx ring on his hand. The back
of his shaved head hides the image of his face.
A silk dressing gown without a cord hangs on the wall to his
right. A small lamp on the vanity table the only light.
Father's head slowly turns left, his face not visible. The
Boy stands half-hidden behind the bedroom door, transfixed
like a dying moth on a pin.
BACK TO PRESENT
YOUNG PRIEST
(to Clerk)
Put the cord on top.
INT. AARON'S OFFICE - LATER
Jill holds two Polaroid photographs in her hands. They are
similar to her dream.
In each, a woman is seated on a small vanity bench, staring,
looking frozen. A man's arms and torso reveal he is garroting
the woman with a cord.
Aaron watches Jill's reactions.
AARON
He sent me those - his first two
kills.
JILL
Two? What about my...the third?
AARON
No picture. And this before he
started.
Hands Jill another picture. She looks at it, looks up.
JILL
Garroting a mannequin?
AARON
With the same kind of wig, early
'80s nightgown and silk cord as the
first vics. Read the back.
Jill turns the picture over, reads.
JILL
'He killed her - catch him.'
(looks at Aaron)
Not 'catch me.'
AARON
Turn the others over.
Jill turns the second picture over.
JILL
'NOW will you look for him?'
Turns over the third picture.
JILL (CONT’D)
'1985.'
Jill looks at Aaron questioningly.
AARON
No case like that in Sacramento
County in ‘85.
JILL
The belt and shirt -
AARON
Yeah. Could be a uniform: cop,
security guard.
Alisha enters.
ALISHA
Chow time!
AARON
We're not -
ALISHA
No, boss, won't let you starve this
lady. C'mon, Jill, we need to talk.
(to Aaron)
Girl talk.
AARON
One day I'm gonna bust you back
down to street cop.
ALISHA
Oooo. Scary. Want your usual?
Aaron glares but nods his head. The women go. Aaron looks at
the picture of the mannequin again, bares his teeth.
EXT. A MEN'S STORE - LATER
The Young Priest exits the store with his package under his
arm. He turns, waves, grins toward a security camera.
Genres:
["Crime","Mystery","Thriller"]
Ratings
Scene
14 -
Unspoken Connections
EXT. A SANDWICH SHOP - DAY
Jill and Alisha are sitting outside at a small table. They
are finishing their sandwiches and coffees.
JILL
My mom worked in the DA's satellite
office.
ALISHA
The what?
JILL
(grins)
A bar where assistant DAs hung out.
ALISHA
Dad?
JILL
Never had one.
ALISHA
Virgin birth?
JILL
Just about. He knocked up my mom,
then disappeared. Mom said he was
a bastard.
ALISHA
Ever try to find him?
JILL
What for? To tell him he's a
bastard?
ALISHA
Works for me.
JILL
How long you with Aaron?
ALISHA
Three years.
JILL
I was just a kid back when...
What's he like?
ALISHA
(shrugs)
Driven, relentless, married to his
job. Needs a good woman.
JILL
You a good woman?
Alisha flashes a wicked grin.
ALISHA
...Aaron's been obsessed with your
mom's case.
JILL
Is that...normal?
ALISHA
Yes and no.
JILL
What's the 'no' part?
ALISHA
He keeps that to himself.
JILL
But you dug it out.
ALISHA
Mmm.
JILL
Want to share?
Alisha sighs, looks up at the sky, then back at Jill.
ALISHA
When Aaron was twelve, his kid
sister was killed by a sicko...who
was never found.
She and Jill look at each other in silence.
ALISHA (CONT’D)
Aaron keeps her picture on his
desk to motivate him. I think he
identifies you with her.
Genres:
["Crime","Drama"]
Ratings
Scene
15 -
Frustration in the Investigation
EXT. A DELIVERY SERVICE - DAY
The Young Priest is inside, paying cash. The package, now
labeled, is on the counter. The Young Priest asks the clerk a
question. The clerk nods his head, and the Young Priest
leaves with a satisfied smile.
INT. AARON'S OFFICE - LATER
Jill and Aaron are at work again.
A half-eaten foot-long and half a cup of coffee are in front
of Aaron.
AARON
There was a fourth victim.
JILL
Fourth?!
AARON
Not hurt. Just left unconscious.
Jill gestures questioningly.
AARON (CONT’D)
Best we could figure, Jack was
interrupted.
JILL
By who?
AARON
Got an anonymous call, told us
where to find her. That’s it.
JILL
Caller?
AARON
Man.
JILL
The woman?
AARON
Drugged. Remembered zip. Then, no
more Jack. Til now.
JILL
The drug?
AARON
Stolen.
JILL
There's got to be something! He's
not a ghost.
Genres:
["Crime","Thriller","Mystery"]
Ratings
Scene
16 -
Unraveling Threads
EXT. AN INTERNET CAFE - DAY
The Young Priest sits in a booth, drinking coffee, lost in
thought. On a TV screen A WOMAN NEWS ANCHOR speaks.
WOMAN ANCHOR
So 'Jack' is back. CBI has
assigned -
The Young Priest raises his head, listens intently.
WOMAN ANCHOR (V.O.)
- an FBI-trained profiler to the
case.
INT. AARON'S OFFICE - LATER
Aaron hands Jill a photograph.
AARON (V.O.)
Your mom's service.
Jill points to the figure of Jed Watkins.
JILL
Guy's staring pretty hard.
AARON
Cop. Jed Watkins. Works for the
AG's Office now.
Jill looks at another photo, which has the Young Priest in
the background.
AARON (V.O.)
Anyone ring a bell?
JILL
(shakes her head)
I was too young.
Her eyes are fixed on the image of Young Jill.
INT. A ROOM - DAY
The hands and midriff of Boy's Father, now 58-60, the
silver/onyx ring on his hand.
The package the Young Priest had sent is handed to him by a
uniformed MESSENGER, and he takes it.
BOY'S FATHER
Who sent this?
MESSENGER
Didn't leave a name.
Genres:
["Crime","Mystery","Thriller"]
Ratings
Scene
17 -
Unraveling Shadows
INT. AARON'S OFFICE - LATER
In an open folder on Aaron's desk lies a photo of Mom. Her
name, "Alice Carson," is written at its bottom.
Aaron, Jill, and Alisha are still at work.
AARON
(to Jill)
Go.
JILL
Since most serial killers start in
their late teens, fifteen years
later makes Jack around thirty-four
now.
ALISHA
He didn't seem to know his vics.
JILL
But he showed respect with the
candles, dressed the women in the
time of his childhood.
AARON
Meaning?
JILL
The women represent someone he
cared about, probably his mother.
ALISHA
The nun's habit?
JILL
A symbol. Whatever it means, he
wants to ratchet things up now.
AARON
Mannequin?
Jill looks at that picture again.
JILL
He tried to tell his story -
(looks up at Aaron)
- but then felt no one was paying
attention.
ALISHA
He's been killing to - ?
JILL
- bring attention to something
that happened when he was young.
AARON
He's sure got my attention...but
what's his story?
ALISHA
And where's the bastard been for
fifteen years?
INT. AN INTERNET CAFÉ - LATE AFTERNOON
The hands of a man are typing on a computer keyboard. A
disposable cell phone and a prepaid credit card are on the
computer desk. The man pulls up CBI staff listings on the
computer's screen.
INT. A ROOM - LATER
Hands of Boy's Father, the silver/onyx ring on his hand, hold
the opened package that the Young Priest had sent. An
envelope lies on top of the robe. Father's hands shake
slightly as he opens the envelope, pulls out a card.
Inside the card is written, "Hello again, Daddy."
Genres:
["Crime","Mystery","Thriller"]
Ratings
Scene
18 -
Unveiling Secrets
INT. AN INTERNET CAFÉ - LATER
The man downloads a cyber-detective program.
Only his hands and back are seen. He enters the name of his
target. The monitor screen reveals: "JI-".
INT. A.G.'S BLDG. - HALLWAY - EVENING
Jill walks down the hall toward her office.
INT. AN INTERNET CAFÉ - LATER
At the top of the monitor screen: "JILL CLAYTON."
Lower, a court record reveals that Jill was adopted by her
aunt fourteen years ago, her last name changed from "Carson"
to "Clayton."
INT. JILL'S OFFICE - EVENING
Jill enters her office. Her land line rings. She picks up the
receiver
JILL
Jill.
MAN'S VOICE (V.O.)
I know who you are.
JILL
What?
MAN'S VOICE (V.O.)
Jill Carson.
JILL
Who is this?
MAN'S VOICE (V.O.)
I didn't kill your mother - he did.
JILL
What do you know -
MAN'S VOICE
Just find him.
JILL
Listen -
The line goes dead. Jill looks stunned.
Genres:
["Thriller","Mystery","Drama"]
Ratings
Scene
19 -
Tensions in the Park
EXT. A PARK - A BENCH - DAY
Boy's Father (face still not seen), the silver/onyx ring on
his hand, and Jed, now mid 50s, sit on a bench. Jed looks at
the card Jack sent to Boy's Father.
JED
(adamant)
I left his body in Eldorado
Forest.
BOY'S FATHER
Then who sent me the damn dressing
gown and card?
INT. A COFFEE SHOP - DAY
Jill and Aaron are sitting at a table.
AARON
You sure it was Jack?
JILL
Positive. And he keeps calling
Mom's killer 'he,' not 'me': catch
'him', 'he' killed.
AARON
A psycho.
JILL
But why did he deny killing only
Mom?
Aaron's eyes weigh Jill's emotional state.
EXT. A PARK - A BENCH - LATER
Jed and Boy's Father.
BOY'S FATHER
Watch your back.
JED
Watch yours.
Opposite their bench is a wooded hillside. On the hill, the
Young Priest watches them through binoculars.
Genres:
["Crime","Mystery","Thriller"]
Ratings
Scene
20 -
Copycat Realizations and Terminal Truths
INT. A COFFEE SHOP - LATER
Jill and Aaron are still at their table.
A beat of silence.
JILL
Was there anything different in
Mom's death?
AARON
(shakes his head)
Same M.O.
Jill stares at the table top, then looks up sharply.
JILL
Except he sent no picture.
Aaron's eyes turn left as he probes his memories. His eyes
suddenly widen. He looks at Jill again.
AARON
Back then, only two of my guys and
the FBI profiler knew about the
pictures.
JILL
The killer didn't send one -
AARON
- 'cause he didn't know about 'em.
JILL
Son of a bitch is a copycat.
INT. A DOCTOR'S OFFICE - DAY
DOCTOR, 50s, stands by a light box, holds a metal pointer.
The Young Priest is near him.
An X-ray of a human head is hanging on the box. The Doctor
points to a large tumor.
DOCTOR
It’s malignant.
YOUNG PRIEST
And?
DOCTOR
Terminal. Fast-moving.
They look at each other.
DOCTOR (CONT’D)
You'll have headaches, possibly
convulsions. I'm sorry, Father.
YOUNG PRIEST
How long?
DOCTOR
Best case, four months. Worst,
eight weeks.
YOUNG PRIEST
(smiles oddly)
Long enough.
Genres:
["Crime","Mystery","Drama"]
Ratings
Scene
21 -
Unraveling Secrets
INT. AARON'S OFFICE - DAY
Aaron is watching a large computer screen.
COMPUTER SCREEN
The Coroner is speaking on the screen.
CORONER
Despite the cord, she was
asphyxiated with a plastic bag.
But there's more.
Victim's neck appears.
CORONER (CONT’D)
Over the faint ligature marks you
also can see a subsequent attempt
at manual strangulation -
unsuccessful, because the killer's
left hand wasn't strong enough.
AARON'S OFFICE
AARON
Caused by?
INT. JILL'S OFFICE - DAY
Jill is at her desk.
A tape recorder is now attached to her land line. The phone
rings, and Jill picks up the receiver.
JILL
Jill.
JACK (V.O.)
I didn't kill your -
JILL
Who did, Jack?
JACK (V.O.)
Can't say.
JILL
Why?
JACK (V.O.)
(frustrated)
Damian won’t let me.
JILL
Who's Damian?
JACK (V.O.)
(mumbles)
Never mind.
JILL
Did he kill my mom?
JACK (V.O.)
No.
JILL
How do you know who did?
JACK
Doesn't matter. Just think about
why he did.
Phone line goes dead.
INT. SPD SQUAD ROOM - AFTERNOON
Alisha holds manila folders.
She is talking to three other detectives, Aaron in the
background.
ALISHA
Jack most likely suffered a
penetrating brain trauma, leaving
his left side weakened.
AARON
Must've happened soon after his
failed attack.
She hands the manila folders to the other detectives.
ALISHA
Call hospitals and trauma centers
in a hundred-mile radius for men
with a penetrating brain trauma in
that time frame.
AARON
Let's do it, guys.
Genres:
["Crime","Mystery","Thriller"]
Ratings
Scene
22 -
Confrontation of the Past
INT. CAL GREYSON'S INNER OFFICE - AFTERNOON
Cal sits behind his desk, Jill before him.
CAL
Phillips wants you on the Jack
case. Any reason not?
JILL
No.
CAL
Even though your mother was one of
Jack’s victims?
Jill's composure wavers.
JILL
When did you -
CAL
Yesterday. You should have told me.
JILL
I told no one.
CAL
Except Phillips.
A beat.
CAL (CONT’D)
You resisted creating a profile.
JILL
I thought Jack was dead - or gone.
I wanted it behind me.
Cal takes off his glasses, rubs his eyes, puts on his glasses
again, looks at Jill.
CAL
Are you up to meeting your mother's
killer?
JILL
Jack's called me twice. But he
didn't kill her.
Genres:
["Crime","Mystery","Drama"]
Ratings
Scene
23 -
Tension in the Attorney General's Office
INT. A.G.'S BLDG. - LOBBY - DAY
The seal of the State of California in the floor of the lobby.
Jed exits an elevator, walks briskly out of the building.
INT. CAL GREYSON'S INNER OFFICE - LATER
Cal and Jill are still talking.
JILL
Jack mentioned the name Damian.
Something flashes in Cal's eyes. His head snaps up.
CAL
Damian?
JILL
Yes.
CAL
That's it?
JILL
Yes.
CAL
...You're the youngest profiler
I've ever appointed, so if you -
JILL
I won't screw up.
CAL
OK, but only profiling. No heroics.
Understood?
Jill nods her head.
CAL (CONT’D)
And, Jill - watch yourself. He
kills women and knows where to
find you.
Jill nods again and leaves.
Cal looks after her with compassion, then begins to think
furiously, shaking his head sideways, trying to rid himself
of some concern. He looks at "Damian" written on a scratch
pad.
INT. SPD COLD CASE ROOM - AFTERNOON
Aaron and WOMAN DETECTIVE, 35-40, Vietnamese.
Two other detectives, Latino, male, sit at a long table
covered with files.
AARON
How did the copycat learn about
the silk cord and paralytic agent?
I never released that. And re-
interview everyone.
WOMAN DETECTIVE
Including the vic’s daughter?
Aaron hesitates.
AARON
I'll do that.
He walks toward the door, opens it. On it is lettered "COLD
CASE UNIT." Aaron stops, turns.
AARON (CONT’D)
And nothing about the Carson case
leaves this room. Nothing.
Genres:
["Crime","Thriller","Mystery"]
Ratings
Scene
24 -
Journey into the Unknown
EXT. JAMES AKULLEQ'S HOME - EVENING
A maintained house in an older neighborhood. Jill’s car
drives up, stops. Jill gets out, walks to the front door.
Jill rings the door bell. On the door is a brass plaque.
INSERT
Plaque: “James Aqulleq, Ph.D. Psychotherapy / Shamanic
Healing.”
BACK TO SCENE
The door starts to open. A well-used van drives past, the
Young Priest driving, looking toward Jill. The door closes
behind Jill.
INT. JAMES AKULLEQ'S HOME
A room used to meet clients and do shamanic procedures.
A large white candle burns in the background. On a wall hangs
a framed diploma reading, "James Aqulleq, Ph.D. in Clinical
Psychology."
On another wall hangs a large framed photograph of Machu
Picchu, with "Machu Picchu, Peru" printed at its bottom. The
picture is flanked by two large framed photographs of
Peruvian Q'ero shamans.
Interesting Peruvian shamanic artifacts lie or hang all
around, but the room is simple and uncluttered.
James wears a loose long-sleeved white shirt, dark slacks,
rings, a wide silver bracelet. He sits in a straight-backed
wooden chair with arms. Jill is also seated.
JILL
Mom’s been in my dreams a lot.
JAMES
Your subconscious wants you to
remember something.
JILL
I'm always afraid to - and the time
before Mom’s service is a blank.
(MORE)
JILL (CONT’D)
I also feel empty, like something's
been ripped out of me.
James nods, gets up, goes to a small table on which are
shamanic objects: rattles, crystals, a mesa (a medicine
bundle).
He brings the mesa over to Jill, opens the mestana (the
colorful cloth the mesa is wrapped in). Inside are thirteen
smooth stones of different sizes.
JAMES
Pick one.
Jill looks, picks a stone.
JAMES (CONT’D)
Take a deep breath and blow your
fear into the stone.
Jill closes her eyes, blows a long breath onto the stone,
opens her eyes, breathes heavily. James puts out a hand for
the stone, and Jill drops it into his palm.
He goes to a CD player, turns it on. Drumming vibrates
through the room. James sits.
JAMES (CONT’D)
I will journey to the lower world
for you.
He closes his eyes, the stone clenched in his right hand. The
drums increase in volume, joined by rattles.
Jill watches him intently, her face strained.
INT. CAL GREYSON'S INNER OFFICE - EVENING
Cal works at his computer.
On screen are the Attorney General's Human Resources records
of someone. The place of birth is shown as "Logan, West
Virginia."
INT. JAMES AKULLEQ'S HOME - LATER
The drums have stopped. James has returned.
JAMES
You suffered soul loss. I found a
terrified young girl in a nightgown
- a soul part which split off from
you during a childhood trauma.
JILL
What kind of trauma?
JAMES
She wouldn't say - and won't return
until she feels safe. You need to
bring her back.
JILL
How?
JAMES
Start by changing the inner contract
you made back then.
JILL
What was it?
JAMES
'I'll do anything he wants, if he
doesn't kill me.'
JILL
Jack?
JAMES
No.
JILL
Then who?
James looks at her for a moment before answering.
JAMES
I can help you remember - but there’s
no telling what will come back, or
when.
Jill looks at James with trepidation, then slowly nods.
INT. JILL'S APARTMENT - NIGHT
Jill enters her apartment, closes the door, puts her handbag
down. She pauses, then goes to an easy chair, sinks into it,
closes her eyes.
Silence. Jill suddenly catches her breath and her hands
squeeze the arms of the chair as an inner image appears to
her. Her closed eyelids flutter and her eyes move under them.
FLASHBACK TO:
INT. YOUNG JILL'S BEDROOM - NIGHT (1998)
Darkness. The lower half of an ordinary bedroom door. Light
suddenly flashes through the crack under the door.
The door opens partially, and a streak of vertical light
rushes in past the door frame.
The feet and lower legs of a man are seen walking softly into
the bedroom. The door clicks shut again.
BACK TO PRESENT
Jill gasps as her eyes snap open with terror. She takes
several hysterical breaths.
Genres:
["Thriller","Psychological Drama"]
Ratings
Scene
26 -
Threads of Investigation and Reflection
INT. COLD CASE ROOM - DAY
Aaron and Alisha are in the hall by the Cold Case room.
ALISHA
Can we alert the media about the
silk cord? Maybe a sales clerk....
AARON
OK. Mark it urgent.
Alisha leaves, Aaron goes into the Cold Case room.
The two cold case detectives still work the old files. Woman
Detective hands Aaron a list of names. It includes Jed
Watkins.
WOMAN DETECTIVE
Personnel who were assigned to the
Carson case.
AARON
Check their work and watch for
anything that's -
(wiggles fingers)
WOMAN DETECTIVE
You think one of them -
AARON
Lots of rats on this planet.
EXT. SAINT ELIZABETH CATHOLIC CHURCH - DAY
The front doors stand open. A worshiper leaves the church and
walks down the steps.
INT. SAINT ELIZABETH
Jill and THIRD PRIEST, early 50s, stand at the foot of the
center aisle.
THIRD PRIEST
Terrible, terrible.
JILL
Father, would you look at a
photograph of the deceased? You
might notice something.
THIRD PRIEST
(hesitates a moment)
Certainly.
Jill hands him the photograph. He looks at it.
THIRD PRIEST (CONT’D)
Poor woman.
JILL
Do you see anything unusual?
THIRD PRIEST
No - but a cross that size is worn
only by a Reverend Mother, a Mother
Superior.
JILL
Reverend mother.... Thank you,
Father.
THIRD PRIEST
I will pray for that woman's soul -
and for her killer's.
JILL
(blurts out)
How can you pray for - ?
Stops herself. The Third Priest looks at her thoughtfully.
THIRD PRIEST
He is a child of God in great
spiritual turmoil. He desperately
needs our prayers.
(smiles)
I will also pray for you, Agent.
The Third Priest nods goodbye, turns, walks to a crucifix. He
kneels, crosses himself, and prays silently.
Jill watches him a moment, then turns and leaves.
Genres:
["Crime","Mystery","Thriller"]
Ratings
Scene
27 -
Unmasking the Killer
INT. AARON'S OFFICE - HALL - DAY
Aaron gets to his office door just as Jill appears.
AARON
Something?
JILL
Jack's playing charades.
Aaron opens his door.
AARON'S OFFICE
He goes to his desk, sits. Jill follows.
AARON
Talk to me.
She slaps the photo of current victim on Aaron's desk, points
to the pectoral cross.
JILL
A Reverend Mother.
Aaron looks at photo, then inquisitively at Jill.
JILL (CONT’D)
Mother!
AARON
...Jack's mother.
Jill nods, eyes bright. Alisha comes in excitedly.
ALISHA
Got a phone tip from our radio
appeal - saleswoman says a young
priest bought a silk dressing gown
with a cord.
A quick beat.
JILL
Priest! Father!
ALISHA
What?
JILL
Father and Reverend Mother!
Jill thrusts the victim's photo into Alisha's hands. Aaron
rubs his forehead with a hand.
AARON
Father killed mother.
Jill pounds both fists on Aaron's desk with excitement.
JILL
And Jack dressed as a priest to get
near his victims.
AARON
(to Alisha)
Get out there. Take a sketch artist
- and check the security cameras.
Alisha rushes out.
JILL
(to Aaron)
Wait, wait!
AARON
What?
JILL
There was a priest at our crime
scene.
AARON
Come on.
INT. SPD HQ - A SMALL VIDEO VIEWING ROOM
Aaron and Jill watch a large screen.
INSERT
Footage shot the night of the murder: Jill getting out of her
car, going to Aaron.
BACK TO SCENE
JILL
Stop - back it up.
The tape slowly runs in reverse.
JILL (CONT’D)
There! Push in closer.
The image of the Young Priest becomes larger but is not in
sharp focus.
JILL (CONT’D)
(to Aaron)
Meet Jack.
Genres:
["Crime","Thriller","Mystery"]
Ratings
Scene
28 -
Desperate Call
INT. CAL GREYSON'S INNER OFFICE - EVENING
A clock reads 9:58 p.m. Cal has a phone receiver in his left
hand, punches in an inter-office number on his land line.
INT. JILL'S OFFICE - EVENING
Jill's head rests in her hands. Her eyes are closed, elbows
on the desk. Her jacket hangs on a coat-rack, her CBI ID
dangles from a lanyard around her neck.
Her land line rings, and Jill reaches for it.
INTERCUT JILL'S OFFICE / CAL'S OFFICE
Cal's door swings open. He looks up. His eyes widen with
tension.
Jill puts the receiver to her ear.
JILL
Jill.
Cal throws himself sideways to his left. He reaches for his
gun with his right hand, is hit by three bullets from a gun
with a silencer. The gunman wears orange coveralls, blue
latex gloves, a mask.
Cal gets off a shot as he falls, another from the floor.
Neither hits the gunman, who rushes out.
JILL (CONT’D)
Who is this? What's happening?
Cal struggles to reach his phone on the floor.
CAL
(hoarsely)
Damian....
JILL
I'm coming, Cal! Hold on!
Jill hangs up, punches in a crisis number.
JILL (CONT’D)
(shouts)
Code Red! Agent in charge down!
She drops her phone, runs out.
HALLWAY
An alarm horn blares in short bursts.
Jill runs down a hallway, gripping her gun with both hands.
STAIRCASE
She charges up a flight of metal stairs, exits on the floor
above.
SECOND HALLWAY
She enters another hallway, runs down that. As she rounds a
corner, she meets a security guard with drawn gun.
She silently gestures for him to follow her, and he falls in
behind her. They run rapidly down the hall.
CAL GREYSON'S INNER OFFICE
Jill rushes into Cal's office, finds Cal covered with blood,
eyes closed.
JILL
(screams)
Medic!
Jill drops to her knees, cradles Cal's head. The security
guard steps away, speaks urgently into his radio.
JILL (CONT’D)
Cal! Stay with me! Cal!
Cal fights to open his eyes.
JILL (CONT’D)
Who?
Cal struggles to speak but only coughs up blood. He tries to
move a hand toward a small pad of paper on the floor, but his
head drops sideways. He is dead.
JILL (CONT’D)
No! No!
Tears stream down Jill's face.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
29 -
Tension and Trauma: The Aftermath of Cal's Murder
INT. AN OFFICE SOMEWHERE - EVENING
A man's hands on a computer keyboard remotely access Cal's
computer. The hand on the mouse clicks on Cal's Internet
History.
INT. HALLWAY BEFORE CAL'S OFFICE - LATER
Paramedics, Coroner, CSI, detectives are at work, going in
and out of Cal's office.
Further down the hall, CBI agents, including Jed, are held
back by policemen. At another office door, a policeman stands
guard.
ANOTHER OFFICE
Inside, Aaron sits by Jill, who still looks traumatized. Her
hands are clenched.
She now wears a disposable medical shirt. All of Cal's blood
has been removed from her. Her body rocks forward and back.
JILL
Why, why, why?
There is a knock on the door, and Alisha steps inside.
ALISHA
Situation.
HALLWAY BEFORE CAL'S OFFICE
Stanton argues with a detective near Cal's door. Aaron comes
out.
STANTON
(to detective)
I'm Assistant Bureau Chief!
AARON
'Lo, Tom.
Motions for the detective to step away.
AARON (CONT’D)
Problem?
STANTON
Your people are preventing my team -
AARON
Sorry about that, but -
STANTON
We've got a right to investigate
Cal's -
AARON
CBI can't investigate itself. This
is murder.
STANTON
You're not shutting us out!
AARON
I'll keep you up to speed.
STANTON
We'll see what the AG says!
Stanton storms off. Aaron opens the door of the room he just
came from.
AARON
Alisha.
Alisha comes out. Aaron closes the door.
AARON (CONT’D)
That jerk Stanton wants to play
turf games. Wrap it all up by
morning - take everything in Cal's
office.
ALISHA
Every - ?
AARON
Get a truck, move it out, don't
even leave a paper clip. And have a
tech secure Cal's computer files
and histories. Now.
As he starts to enter the room with Jill in it, he turns
back.
AARON (CONT’D)
(to Alisha)
If Stanton gives you any crap,
arrest his ass for obstruction.
Goes in, closes the door.
INT. AN INTERNET CAFE - NIGHT
Jack (Young Priest), without his clerical garb, drinks
coffee. On a TV set is the TONIGHT show, which is interrupted
by the banner "KCRA 3 BREAKING NEWS", then a NEWSCASTER.
NEWSCASTER
The agent in charge of the local
CBI office was gunned down in his
private office tonight.
Jack heads for the door.
NEWSCASTER (V.O.)
KCRA 3 will bring more details as
we get them.
INT. JILL'S BEDROOM - NIGHT
Jill sleeps restlessly in her bed.
EXT. A FOREST - DAY (DREAM)
Jill and Mom walk hand in hand along a foggy path.
MOM
You knew him, baby.
Mom stops, turns to face Jill.
MOM (CONT’D)
You were ten.
A distant memory flickers in Jill's eyes. Her eyes widen with
fear.
INT. JILL'S BEDROOM - NIGHT
Jill wakes with a gasp, stares wide-eyed into the darkness.
INT. JACK'S VAN - NIGHT
Jack is in the driver's seat, cell phone to his ear. There is
the beep of an answering machine.
JACK
Daddy, daddy, daddy. Up to your old
tricks again. But this time you're
not killing your way out of it.
He clicks off, a crooked smile on his face.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
30 -
Secrets and Shadows
INT. JILL'S OFFICE - DAY
Jill comes down the hall, enters her office, is taking off
her jacket when Laurie bursts in. Laurie stops for a split
second, then runs to Jill with a wail, embraces her.
LAURIE
It...it's awful, terrible. I can't
...believe....
Tears in her eyes, she takes deep gasping breaths to keep
from sobbing, her eyes red from earlier crying.
LAURIE (CONT’D)
How could it happen?
Jill leads her to the sofa, where they sit, Jill's arm around
Laurie's shoulders.
LAURIE (CONT’D)
I...I....
She squeezes the middle of an envelope she's been holding,
which Jill notices.
JILL
What's that?
Laurie looks at the envelope as if she'd never seen it
before.
LAURIE
Oh! ...I...Cal gave it to me...
yesterday....
She thrusts the envelope at Jill as if it were burning her
hands. Jill takes the envelope, which has "Jill" written on
it, looks up at Laurie questioningly.
LAURIE (CONT’D)
He said it was...a 'backup file'...
for you - in case of...a 'crash'.
Jill tears off the end of the envelope. The Jack of Spades
that Cal received falls from it. Jill pulls out a small piece
of folded paper, opens it. Written inside is "Damian" and
"Logan." Jill looks up at Laurie.
JILL
Don't tell anyone about this.
It could get us both killed.
Understand? No one.
Laurie, wide eyed, nods "yes."
Genres:
["Mystery","Thriller","Drama"]
Ratings
Scene
31 -
Tension in the Office
INT. AARON'S OFFICE - DAY
Morning. Aaron is at his desk with Alisha.
AARON
Computer files?
ALISHA
Techs are on them.
AARON
Get a list of everyone in the AG's
building last night and interview
them.
Alisha looks at him.
AARON (CONT’D)
Could’ve been a workplace issue.
Jill comes in. Aaron stares at her.
AARON (CONT’D)
(to Alisha)
Find something I can run with.
Alisha goes out.
AARON (CONT’D)
I said to take the day off.
JILL
Thanks, but no thanks.
AARON
You shouldn’t be working this case.
JILL
Try and stop me.
Aaron looks disapproving. His land line rings. He yanks it
up, listens.
AARON
Yeah. 'Lo, Tom.
(mouths "Stanton")
When I see her, I'll tell her.
Uh huh.
Hangs up, looks at Jill.
AARON (CONT’D)
Still a control freak, like he was
as a D.A. Wants a sit-down with
you.
They stare at each other.
AARON (CONT’D)
Tell him nothing. You're my
witness.
Jill nods.
JILL
Cal left something for me.
Hands Cal's note to Aaron.
AARON
(looks at the note)
Who's Logan?
Jill shakes her head.
JILL
And this.
Gives Aaron the Jack of Spades. Aaron studies it, then looks
up contemplatively.
AARON
It's not much.
JILL
Maybe he was protecting me.
AARON
You said he reacted when you
mentioned Damian.
JILL
Yeah - like the name rang a bell.
AARON
Jack, Damian...and a copycat - who
Jack knows.... Your mother had to
know the copycat. Anyone come to
mind?
JILL
No.
AARON
What emotions you remember from
back then?
JILL
Fear.
AARON
Of what?
JILL
The dark...
AARON
And?
JILL
...Men.
Genres:
["Crime","Mystery","Thriller"]
Ratings
Scene
32 -
Echoes of the Past
EXT. STREET BY A.G.'S GARAGE - DAY
Jack sits in his van, watches the garage exit. He eats ice
cream with a wooden spoon from a small paper cup.
INT. STANTON'S OFFICE
Lettered on the office door: "Thomas Stanton, Assistant
Chief, California Bureau of Investigation."
STANTON'S INNER OFFICE
The office is furnished to show what Stanton thinks of
himself: important. He and Jill are both seated.
JILL
Jack claims he didn't kill my
mother.
STANTON
Your mother?
JILL
Alice Carson.
STANTON
...Your name.
JILL
My aunt adopted me.
STANTON
What do you...remember from that
time?
JILL
Nothing. Just strange dreams.
Stanton nods.
STANTON
Any thoughts on Cal's murder?
Jill shakes her head.
STANTON (CONT’D)
Did he say anything, before he
died?
JILL
No.
Stanton gets up, walks to a window. Turns back.
STANTON
OK, work with Phillips. But keep
me informed.
JILL
I will, sir.
Jill walks out. Stanton stares after her.
HALL
Jill is waiting by the elevator doors. They opens and Jill
gets in the empty car, pushes the button for the lobby, faces
front. The doors close.
ELEVATOR CAR INTERIOR
As the elevator starts to go down, Jill sees the inside of
the doors suddenly transform into:
FLASHBACK TO:
INT. YOUNG JILL'S BEDROOM - NIGHT (1998)
Young Jill is curled in a fetal position in her bed, her back
to the bedroom door, pretending to be asleep, covers pulled
over her head.
The shadow of a man falls starkly across her bed.
BACK TO PRESENT
Jill gasps, and the elevator doors become doors again.
The car stops, and the doors open. Waiting outside is Jed.
Jill recognizes him, but walks out. Jed doesn't notice her.
Genres:
["Crime","Mystery","Thriller"]
Ratings
Scene
33 -
Digital Shadows
INT. SPD SQUAD ROOM - DAY
Aaron, Alisha, young male computer TECH.
AARON
Wha've you got, techie?
TECH
Magic.
AARON
Dazzle me.
TECH
The vic's recent Internet history
...was deleted.
AARON
So?
TECH
Remotely. Right after he was shot.
AARON
Can you retrieve it?
TECH
Nope. It was scrubbed from the hard
drive, AND -
(grins, raises a finger)
(MORE)
TECH (CONT’D)
- his computer was monitored. Every
keystroke.
AARON
By?
TECH
(satisfied grin)
Someone in the AG's office.
Genres:
["Crime","Thriller","Mystery"]
Ratings
Scene
34 -
Tense Revelations
INT. JILL'S OFFICE - DAY
The phone rings. Jill grabs the receiver.
JILL
Jill.
JACK (V.O.)
Didn't kill Greyson.
JILL
(vehement, emotional)
Liar!
INT. JACK'S VAN - DAY
Jack sits in the driver's seat, cell phone to his ear.
JACK
Had no reason to. I wanted him on
the case.
INTERCUT - JACK / JILL
JILL
Then why did Cal say "Damian"
before he died?
JACK
Good question.
JILL
Why should I believe you?
JACK
'Cause you know there's a method to
my madness.
JILL
Like "father killed mother"?
JACK
(applauds)
Bravo.
JILL
Your father and mother?
JACK
Lots 'a mothers, lots 'a fathers.
JILL
Which father?
JACK
Told you - I can't say.
JILL
And who are you, Jack?
JACK
Dead man walking.
JILL
Not funny.
JACK
Not jokin', honey.
JILL
Don't call me honey.
JACK
Women back home didn't mind.
JILL
Where's home?
JACK
Hey! It's the profiler quiz show!
(a beat)
OK, I'll play. West Virginia.
JILL
What did you do there?
JACK
Wrote poetry, sold weed an’ some
snow.
JILL
Why'd you leave there?
JACK
Didn't.
JILL
What's that supposed to mean?
JACK
(makes a sound like a
quiz show buzzer)
Time's up.
Phone line goes dead.
Genres:
["Crime","Thriller","Mystery"]
Ratings
Scene
35 -
The Taco Stand Challenge
INT. SPD SQUAD ROOM - DAY
Alisha and several detectives are seated. Aaron is at a
blackboard on which is written:
J murders
Victims dressed '80s style
Silk cords
Atypical killer
Stolen drugs
Staged photographs - ref '85
J wants (a killer?) caught
Attack interrupted
Disappears 15 years
Next to that list is another:
J reappears
Kills again - symbolic
'J' '98 murder a copycat
Copycat had inside info
J shot in head '98
Dresses as priest
"Father killed mother"
CBI agent murdered
His computer monitored
J denies agent kill
AARON (V.O.)
So here’s the questions we need
answered pronto: Who is Jack? What
happened in '85? Why the copycat
killing? Who did it? Who shot Jack
and why? How do these pieces fit
together? First one to find a piece
of this puzzle gets lunch on me.
ALISHA
Sit down lunch?
AARON
Taco stand.
Genres:
["Crime","Mystery","Thriller"]
Ratings
Scene
36 -
Pursuit of Truth
INT. JILL'S OFFICE - DAY
"West Virginia Poetry Society" is on the computer screen.
Jill is speaking on the phone with an OLDER MAN.
JILL
How long have you been in the
Society?
OLDER MAN (V.O.)
A good forty-one years.
JILL
Ever know a West Virginia poet who
dealt pot?
OLDER MAN (V.O.)
Lots 'a pot dealers. Got a name?
JILL
Just Jack.
OLDER MAN (V.O.)
(mumbles softly to himself)
Jack be nimble, Jack be quick, Jack
- hold on.
JILL
What?
OLDER MAN (V.O.)
Close to thirty years back. Fella
from Logan.
Jill's eyes open wide.
OLDER MAN (V.O.)
Strangled a woman. His name was...
Callaway. Jack Callaway.
INT. AN OFFICE SOMEWHERE - EVENING
A computer screen shows a tracking log of Jill's computer,
with a web site of "Logan, West Virginia" showing.
An unseen man speaks into a disposable phone.
MAN
No, tonight! ...If I go down, you
come with me.
INT. JILL'S OFFICE - EVENING
Jill is at her desk, looking at her monitor screen. She
studies a web page of "The Logan Sentinel."
Her computer screen suddenly goes blank, and the State of
California seal appears on the screen. Jill punches in a
number.
JILL
I lost my Internet connection...
Tomorrow!? ...OK, OK.
She hangs up, grabs her coat and handbag, leaves.
A.G.'S BLDG. - GARAGE
Jill walks to her car, gets in, drives toward the exit.
Jed is slumped down in the driver's seat of his car. He
starts his motor as Jill passes by, pulls out with his lights
off. As he follows Jill, he turns on his lights.
EXT. STREET BY GARAGE - CONTINUOUS
Jack's parked van, dark, faces the AG's garage exit. Jack is
in the driver's seat.
INT. JACK'S VAN
Jill's car rolls out of the AG's garage. Jack starts the
van's motor.
Jed's car exits the garage, follows Jill's car. Jack shifts
into gear, starts moving, tails Jed and Jill cautiously.
Genres:
["Thriller","Mystery"]
Ratings
Scene
37 -
The Library Encounter
INT. SACRAMENTO CENTRAL LIBRARY
Jill walks to the reference desk, where she sees Librarian.
JILL
How would I check back issues of an
out-of-town newspaper?
LIBRARIAN
Which paper?
JILL
Logan Sentinel, West Virginia.
Librarian gets a strange look on her face.
LIBRARIAN
How very odd....
JILL
What?
LIBRARIAN
A priest was in here a few days ago
and left behind a microfilm reel
from that very paper.
JILL
(astonished)
A priest?
LIBRARIAN
(nods her head)
He was reading about a twenty-eight
year old murder in Logan.
Jill's eyes open wide.
JILL
Is the reel still here?
LIBRARIAN
(shakes her head)
He picked it up the next day.
Jill shows her C.B.I. identity card to the Librarian.
JILL
Do you remember the date of the -
EXT. LIBRARY PARKING LOT & JACK'S VAN
Jack watches the library entrance as Jill briskly exits the
library.
EXT./INT. LIBRARY PARKING LOT - JED'S CAR
Jed sits in the driver's seat, intently observing Jill.
Genres:
["Crime","Mystery","Thriller"]
Ratings
Scene
38 -
Paralysis and Urgency
INT. AARON'S OFFICE
Aaron, in shirt sleeves, is asleep in an old battered leather
stuffed chair.
His cell phone is on his desk, set to vibrate.
INT. A.G.'S GARAGE
Jill's car enters the garage. Jill pulls her car into her
space, then pulls out her cell phone, speed dials.
AARON (V.O.)
Leave a message.
Sound of a beep on the phone.
JILL
Jill. I've got a lead.
She puts away her phone, gets out, closes the door. Turns to
lock her car with her remote.
Jed slips out of the shadows, grabs Jill's neck from behind,
injects her neck with an automatic syringe like Jack's. Jill
struggles for a moment, then her body sags.
Jed lets Jill sink to the ground, retrieves her car keys. He
opens the hatch of her car, lifts her and places her in the
back.
As he reaches up to pull the hatch down, Jack appears behind
him. Jack grabs Jed's neck and injects him with the paralytic
drug. Jed tries to turn, but crumples.
JACK
Instant karma, scumbag.
He pulls Jed between two cars, then removes Jed's gun from
its shoulder holster. He goes to Jill. Her eyes are open,
staring, body frozen.
JACK (CONT’D)
(whispers)
Don't worry.
He picks up Jed’s automatic syringe, carefully puts it near
Jill, in plain sight. He takes her cell phone from her purse,
places the purse near Jill and her car keys by her.
He puts Jill's phone into one of his pockets, pulls the hatch
down but doesn't slam it shut. He goes to his van, pulls it
up near Jed. Gets out, looks around, loads Jed into the van.
INT. AARON'S OFFICE - LATER
Aaron wakes up and goes to his desk. His cell phone vibrates.
EXT. A.G.'S BLDG. - STREET - NIGHT
Jack drives out of the garage, Jill's cell phone to his ear.
AARON (V.O.)
What's up, Jill?
JACK
She's in her car at CBI, drugged
with a paralytic agent. Get her
oxygen, fast.
EXT. AN AMBULANCE - A STREET - NIGHT
An ambulance roars down a street, siren shrieking.
INT. AN AMBULANCE
Jill lies strapped to a gurney, an oxygen mask on her face.
An EMT administers oxygen to her, a second EMT has the
automatic syringe in one hand, talks on a cell phone.
INT. JILL'S OFFICE - NIGHT (DREAM)
Jill is in her office. Mom stands nearby.
MOM
Unless you remember -
JILL
No! He'll kill me!
EXT. HOSPITAL - ER ENTRANCE - NIGHT
Aaron's car comes to a screeching stop. He jumps out, runs to
the emergency room entrance.
Genres:
["Thriller","Mystery","Crime"]
Ratings
Scene
39 -
Revenge in the Shadows
EXT. A DESOLATE FOREST ROAD - NIGHT
Jack drives his van, humming a tune. He stops at a forest,
gets out. Goes to the back, opens the doors, shines a
flashlight inside.
Jed's wrists are handcuffed behind him. His eyes are open and
staring. He doesn't move a muscle.
Jack now speaks with a West Virginia dialect.
JACK
How's it goin', Jed? ...Guess
you're not disposed to talk.
Drags Jed out of the car, winds one end of a long rope around
Jed's ankles. He notices Jed has a gun in an ankle holster.
JACK (CONT’D)
Look a' that. Another piece. Must
'a been expectin' me. Haw, haw.
He removes the ankle holster and gun.
JACK (CONT’D)
Might find use f' that.
Puts gun and holster in the van, removes Jed's wallet, puts
it in his pocket. He finishes tying the rope on Jed's ankles,
drags him by the rope toward the trees.
JACK (CONT’D)
Moon's up. Maybe you c'n dope out
where you're at. No? Well, this is
where you shot Damian an' left him
f’ dead fifteen years ago.
Stops dragging Jed, turns toward him.
JACK (CONT’D)
But he wasn’t, you piece a’ crap.
Daddy an' you had it all figured
out. Kill Carson, make it look like
a Jack murder, then track down
Damian an' kill him. End a' story.
Drags Jed further.
JACK (CONT’D)
Great plan. Just didn't work.
'Cause you didn't know about me.
Squats near Jed's head.
JACK (CONT’D)
You c'n prob'ly guess why you're
here now. But not to worry - dyin'
ain't as bad as you think.
Jack racks Jed's gun, putting a bullet in the chamber.
JACK (CONT’D)
Just so you know, I'm the guy you
helped frame for murder twenty-
eight years ago in Logan.
Jed's eyes widen even more with terror.
JACK (CONT’D)
How's it feel to be on the
receivin' end?
Jed's cell phone rings.
JACK (CONT’D)
Bet I know who that is.
Gets Jed's phone, turns it on.
JACK (CONT’D)
'Lo.
MAN (V.O.)
Did you finish her?
INT. AN OFFICE SOMEWHERE - LATER
Man holds the disposable phone.
JACK (V.O.)
No, Daddy, he didn't.
Man sucks in his breath, almost drops the phone.
JACK (V.O.)
That's 'cause I'm about to finish
him. Ready, Jed?
Sounds of two gunshots over the phone.
JACK (V.O.)
Finished. Good night, Daddy. Sleep
tight.
The phone line goes dead.
EXT. A DESOLATE FOREST ROAD - AS BEFORE
Turns on Jill's cell phone, places it on Jed's chest.
JACK
Now, don't hang around, Jed - go
right into the Light.
Genres:
["Crime","Thriller","Mystery"]
Ratings
Scene
40 -
Secrets and Seizures
INT. ER ROOM - NIGHT
Aaron and an ER DOCTOR stand in a hall. The Doctor holds a
clipboard with papers. Jill can be seen in a bed through a
hall window.
DOCTOR
Drug's almost out of her system,
but we'll keep her overnight
for observation.
EXT. ANOTHER STREET - NIGHT
The silver/onyx ring on the hand of the Boy's Father.
He walks down the street, turns quickly onto a short
apartment walkway, stops at the apartment door. The name
under the doorbell is "JED WATKINS."
He glances around, slips on latex gloves, and turns on a tiny
flashlight. He quickly picks the door's lock and slips
inside.
INT. THE APARTMENT
He searches the apartment, eventually notices a framed
photograph. He rips the paper off its back. There is an
ordinary snapshot there. He removes the snapshot, looks at
it.
INSERT
It is a picture of Mom and a man. The thumb of the Boy's
Father covers the face of Mom's companion.
BACK TO SCENE
He turns off his flashlight, looks out a front window, then
slips out the way he came.
EXT. HOSPITAL - PARKING LOT - MORNING
Aaron pulls into a parking space, gets out, walks toward the
hospital.
INT. JILL'S HOSPITAL ROOM
Jill is awake, in bed, finishing breakfast. Her bedside phone
rings. She picks up the receiver.
JILL
Jill.
A boyish-like voice responds.
DAMIAN (V.O.)
You OK?
JILL
Who's asking?
DAMIAN (V.O.)
Damian.
Jill looks shocked but controls herself.
JILL
I'm fine, Damian.
DAMIAN (V.O.)
Oh, good.
JILL
Glad to meet you.
DAMIAN (V.O.)
We met before.
JILL
When?
DAMIAN (V.O.)
You were ten.
JILL
I don't remember that.
DAMIAN (V.O.)
Wish I could forget stuff.
Aaron enters the room. Jill quickly puts a finger to her
lips.
JILL
How old are you, Damian?
Aaron's eyebrows go up.
DAMIAN (V.O.)
Six. Bye.
JILL
Wait! I want to talk with you.
JACK (V.O.)
Listen, I didn't -
JILL
(looks toward Aaron)
I know, Jack. Why'd you save me?
Aaron shakes his head with disbelief.
JACK (V.O.)
Wasn't gonna let that son of a
bitch -
JILL
Who attacked me, Jack?
JACK (V.O.)
Call your cell phone.
He clicks off. Jill hangs up her receiver.
AARON
You keep strange company.
INT. A SEEDY FURNISHED ROOM - DAY
Jack walks into his room, takes off his jacket, hangs it on a
chair, sits on the bed. Suddenly his eyes go wide, and he
grabs his head.
His body begins to contort. He tries to reach a medicine
container on a table but knocks it to the floor. He slides
off the bed, arms flailing.
He convulses on the floor. His teeth clench, his eyes bulge.
His extended arms shake violently, as do his legs. Frothy
saliva drips from his mouth. He makes terrible sounds,
grimaces grotesquely.
Genres:
["Crime","Thriller","Mystery"]
Ratings
Scene
41 -
Urgent Pursuits and Inner Turmoil
INT. JILL'S HOSPITAL ROOM - LATER
Jill and Aaron.
AARON
We'll get a copy of the Logan
article, but what's a twenty-eight
year-old West Virginia murder -
Aaron's phone rings. He takes it from his pocket.
AARON (CONT’D)
What you got, Alisha?
(listens, scribbles on a
pad.)
OK. Tell 'em I'll be there -
(looks at his watch)
- in an hour.
Turns off his cell phone, looks at Jill.
JILL
What?
AARON
Got a lead on the head wound -
JILL
Who?
AARON
Fifteen years back, couple 'a
Jesuits -
JILL
Priests!
AARON
- found a young guy shot in the
head in Eldorado State Forest, and -
Jill is already out of bed, reaching for her clothes.
JILL
Face the door.
AARON
You're in no shape to -
JILL
If you don't turn your back in five
seconds, you'll be looking at my
naked butt.
INT. A SEEDY FURNISHED ROOM - DAY
Jack, shaken, sits on the edge of his bed.
He pops a drug capsule into his mouth, washes it down with
water, then takes two or three very deep breaths.
JACK
Don't know how much longer we've
got, kid.
Genres:
["Crime","Mystery","Thriller"]
Ratings
Scene
42 -
The Search for Jack
EXT. A RURAL HIGHWAY - AARON'S CAR - DAY
Aaron's car drives east, passes a highway sign.
It reads, "Eldorado State Forest - 20 miles." A cell phone
rings.
INT. AARON'S CAR - DAY
Aaron drives, Jill beside him. Aaron’s cell phone rings.
AARON
Get it, please.
Phone rings again. Jill reaches into Aaron's pocket, looks at
the phone's screen.
JILL
Alisha.
She connects, speaks into phone.
JILL (CONT’D)
It's Jill.
(She listens.)
I'll tell him.
(clicks off)
They've tracked my cell phone to
Eldorado Forest.
EXT. WOODED GROUNDS - LARGE STUCCO HOUSE - DAY
Aaron's car turns into a driveway. To one side a modest sign
announces a Jesuit order. The car drives up to the front of
the house. OLDER JESUIT, 60s, and YOUNGER JESUIT, 53-56, come
out the front door.
INT. A STUDY
The room is basically a small library - bookcases and books
on every wall. Older Jesuit, Aaron, Jill sit, Younger Jesuit
stands.
YOUNGER JESUIT
We came on him after sunrise, while
walking in Eldorado Forest.
OLDER JESUIT
Shot in the head.
YOUNGER JESUIT
I saw a lot of guys wounded like
that when I was a medic in Nam. He
should've died. Something kept him
alive.
OLDER JESUIT
It was a miracle he survived.
YOUNGER JESUIT
No ID, could remember nothing - not
even his name.
OLDER JESUIT
But with Our Lord's help, Jack
ultimately made a marvelous
recovery!
JILL
Jack?
YOUNGER JESUIT
We had to call him something. He
chose Jack.
OLDER JESUIT
He read and studied our books,
argued theology with us, learned to
speak the King’s English.
YOUNGER JESUIT
One odd thing - he was dressed as a
priest when we found him.
Aaron and Jill glance at each other.
YOUNGER JESUIT (CONT’D)
We made inquiries, but we knew he
wasn't.
JILL
Then why did you - ?
YOUNGER JESUIT
(quietly)
He had no one else. He was sent to
us.
OLDER JESUIT
When he recovered, we hired him. He
took care of the house and grounds
for the past fourteen years.
AARON
When did he leave?
OLDER JESUIT
(looks at Younger Jesuit)
Two weeks ago?
Younger Jesuit nods assent.
AARON
Why?
YOUNGER JESUIT
He'd begun to have neurological
issues. He went to Sacramento for
an exam.
OLDER JESUIT
Never came back.
YOUNGER JESUIT
I'd been suspecting his memory had
returned.
JILL
You have any pictures of him?
OLDER JESUIT
No.
AARON
Would you take us to where you
found him?
Genres:
["Mystery","Thriller","Drama"]
Ratings
Scene
43 -
Unraveling Secrets
EXT. A DIRT ROAD IN ELDORADO FOREST - DAY
Aaron's car is parked. He, Jill and Younger Jesuit stand at
the side of the road.
YOUNGER JESUIT
It's incredible that he managed to
crawl this far. I can't imagine how
he did. There was a blood trail -
Points along a path that goes toward trees.
YOUNGER JESUIT (CONT’D)
- going back to those -
A cell phone rings toward where he points. He sees Jed's body
on the ground.
YOUNGER JESUIT (CONT’D)
Oh, my God. Not again.
Recognizing the phone's bell tone, Jill rushes toward it,
pulls on a blue disposable glove as she runs.
AARON
Stay here, Father.
Aaron carefully follows Jill toward the body, along the side
of the path. Younger Jesuit crosses himself, starts to pray.
Jill arrives, quickly grabs the ringing phone, clicks it on.
JILL
Who is this?
JACK (V.O.)
Took you long enough to get there.
JILL
Why, Jack?
JACK (V.O.)
Had an old score to settle - and he
shot Damian in the head, right
where you’re standing.
JILL
Why Damian?
JACK
To stop me.
JILL
From what?
JACK
Showing - how it started.
JILL
Did he kill my mother?
JACK
No. But keep lookin'. You're
gettin’ close.
JILL
How do you know all this?
Phone line goes dead.
EXT. A RURAL HIGHWAY - AARON'S CAR - AFTERNOON
Road sign: "Sacramento - 25 miles." The sky is cloudy.
Aaron's car speeds down the highway.
INT. AARON'S CAR
JILL (V.O.)
Why would Jed target me?
AARON (V.O.)
String is unwinding. We'll get to
its end.
EXT. AARON'S CAR
The car recedes in the distance.
Genres:
["Mystery","Thriller","Crime"]
Ratings
Scene
44 -
Unraveling Secrets
INT. AN OFFICE - DAY
The photograph taken from Jed's apartment, still only showing
Mom's face, lies face up on top of an ashtray.
There is the sound of a match being struck, and a hand with
the silver/onyx ring on it lights a corner of the picture
with a match, then withdraws.
The picture burns to ash.
INT. JILL'S OFFICE - AFTERNOON
Jill is on the phone with a WARDEN.
WARDEN (V.O.)
Was twenty-seven years ago. John
Callaway, Jr., stabbed by other
inmates.
JILL
He's dead?
WARDEN (V.O.)
Yep.
JILL
What....happened to his body?
WARDEN (V.O.)
Cremated.
JILL
Why was he in prison, Warden?
WARDEN (V.O.)
Murdered the wife of a peace
officer in Logan. Claimed he was
innocent. They all do.
INT. AARON'S OFFICE - LATE AFTERNOON
Aaron is at his desk. Alisha holds up three evidence bags,
one at a time.
ALISHA
We found a mask, gloves, and a
silencer in Jed's office.
Aaron shakes his head.
ALISHA (CONT’D)
In his car, an '80s wig and night
gown, probably meant for Jill -
make us think Jack killed her.
AARON
Cover-ups on top of cover-ups. What
in hell we got here, Alisha?
ALISHA
Cal's phone logs show he called
West Virginia information the day
he died, but his secretary doesn't
know why.
Woman Detective enters.
WOMAN DETECTIVE
Tenant in Carson's building ID'd
Jed's picture, said she'd told him
Carson had a boyfriend. Which is
not in Watkins' report.
AARON
Rogue cop covers for sick killer.
Find the damn boyfriend.
Woman Detective leaves as Tech comes in.
AARON (CONT’D)
What you got for me?
TECH
Greyson accessed CBI HR records.
Can't tell whose.
AARON
(to Alisha)
Get a warrant for Jed's CBI records
- and his SPD records.
(to Tech)
Keep dazzling me, techie.
Genres:
["Crime","Mystery","Thriller"]
Ratings
Scene
45 -
The Call of Shadows
INT. JILL'S OFFICE - LATE AFTERNOON
Jill is at her desk. Her land line rings. She picks up.
JACK (V.O.)
Jack.
JILL
John Callaway, Jr.
JACK (V.O.)
At your service.
JILL
He's dead.
JACK (V.O.)
In a way.
JILL
What's that mean?
JACK (V.O.)
My take on death is different from
yours. Ask your shaman.
JILL
Why did you take on Callaway's
identity?
JACK (V.O.)
Didn't. Can't take what's yours.
JILL
Who are you, Jack?
JACK (V.O.)
Who do you think I am?
The line goes dead.
Genres:
["Mystery","Thriller"]
Ratings
Scene
46 -
Unfinished Business
INT. JAMES AKULLEQ'S HOME - EVENING
Candle light flickers on the faces of Jill and James.
JAMES
Shamans know that spirits attach
to people, and many traditional
therapists have discovered this
too.
JILL
You think Jack's a -
JAMES
Yes.
JILL
That’s unreal.
JAMES
Lots of books on spirit therapy.
It’s real.
JILL
...If Jack is...a spirit - why
would he stay?
JAMES
Unfinished business, though it's
rare for one to surface like he has.
JILL
How can he use Damian's body?!
JAMES
Damian lets him. Jack is his
protector.
Jill gets up, disturbed, walks to a candle, stares into it.
JILL
Who is Damian?
JAMES
Apparently an abused child.
JILL
Damian is a real boy?
JAMES
(nods)
Hiding in his adult body. Damian
never grew up, inside. Jack runs
the show.
JILL
This is wild.
JAMES
(nods)
Hard to believe.
Jill shakes her head.
JILL
What’s this all about?
JAMES
You.
INT. JILL'S APARTMENT - BATHROOM - NIGHT
Jill is getting ready for bed, scrubbing her face.
She reaches for a towel, dries her face, opens her eyes,
looks at the mirror, and sees:
FLASHBACK TO:
INT. YOUNG JILL'S BEDROOM - NIGHT (1998)
Young Jill's cover is pulled slowly from her, revealing her
in a tight fetal position, turned away from the off-screen
man. She clutches a large stuffed bear. There is terror on
her face.
The man's hand pulling the cover has a black onyx/silver ring
on a finger.
BACK TO PRESENT
Jill gasps, her eyes wide, clutching the towel to her,
staring at the mirror as Young Jill’s face slowly fades away.
Genres:
["Mystery","Thriller","Supernatural"]
Ratings
Scene
47 -
Urgent Investigations
INT. AARON'S OFFICE - MORNING
Aaron, Alisha.
ALISHA
Watkins' apartment was tossed.
Someone looking for something.
AARON
Did he find it?
ALISHA
There was a framed photograph with
its backing -
INT. JILL'S OFFICE - MORNING
Jill is at her desk, phone receiver to her ear.
AARON (V.O.)
- torn open. Chemical traces
indicate another photo was hidden
there.
Jill absentmindedly scribbles on her desk pad, "Photo behind
picture."
INTERCUT JILL'S OFFICE / AARON'S OFFICE
AARON
And his bank statements show
deposits of two thousand every
month, for years.
JILL
Payoff or blackmail.
AARON
You come up with anything?
JILL
I just went on-line for another
search of Logan and found my
Internet history deleted.
AARON
You better work here for now. I'll
send someone over to help you move.
JILL
When?
AARON
Now. And keep your weapon handy.
Genres:
["Mystery","Thriller","Crime"]
Ratings
Scene
48 -
Fateful Decisions
EXT. A PARK BENCH - DAY
Jack sits on a bench, speaks into a cell phone.
JACK
Decisions, decisions - coming up
soon. Right, Daddy?
(MORE)
JACK (CONT’D)
There's California's death penalty,
with its exciting option of gas
chamber or lethal injection. Of
course back in West Virginia you
can win just a life sentence. What
fun choices! "There will be time
to murder and create.... Time for
decisions and revisions...."
But then again, I'm not T S Eliot,
you're not J Alfred Prufrock, and
time...is running out for both of
us.
INT. SPD - JILL'S SPD OFFICE - DAY
Jill and Aaron.
All items that were on her CBI desk, including Mom's photo
and the desk pad, are now here.
AARON
State Police report - the rifling
marks on the two bullets shot into
Jed match the one wounded Jack in
'98 - and those that killed Cal.
Hands the report to Jill.
AARON (CONT’D)
We found Jack's doctor. Jack has a
brain tumor, weeks to live.
JILL
That's what triggered his return.
Alisha comes in, hands Aaron a copy of Jed's HR file.
ALISHA
Jed's SPD file. You ready? He came
from Logan.
JILL
Hot damn.
ALISHA
He was a deputy sheriff there -
twenty-eight years ago.
Aaron looks at Jill.
JILL
I'm on my way.
The roar of jet engines.
Genres:
["Thriller","Mystery","Drama"]
Ratings
Scene
49 -
The Missing File
EXT. LOGAN - SHERIFF'S HEADQUARTERS - DAY
The roar of jet engines fades out.
Sign: "Logan County Sheriff's Office."
Jill drives up to the small brick building, gets out of the
car, walks in.
INT. SHERIFF'S OFFICE
A file folder, with a case number and "Thompson, Diana" on
it, is held in the air by SHERIFF, 40s. He now lets the
folder flip open, revealing that it's empty. Jill sits in
front of him, on the other side of his desk.
JILL
What happened to the file?
Sheriff puts the folder on his desk.
SHERIFF
No idea. '85 was long before my
time. No computers then, nothing
was microfilmed, no DNA tests.
JILL
Anyone who worked the case still in
the department?
SHERIFF
No.
JILL
Anyone still living around here?
Sheriff pushes a button on his intercom.
SHERIFF
Wendy, you know of a deputy in town
who worked here in '85?
WENDY
Frank Carpenter.
Genres:
["Mystery","Crime","Thriller"]
Ratings
Scene
50 -
Unraveling the Past
EXT. A WEATHERED HOUSE - DAY
Jill's car is parked before the house. Mailbox reads "FRANK
CARPENTER."
INT. LIVING ROOM
Sparsely furnished room, with cheap, old furniture.
DETECTIVE FRANK CARPENTER, 70-75, sits in a rocking Chair.
Jill is on a creaky sofa.
CARPENTER
People were hot back then. Took the
jury just an hour to convict.
JILL
On what evidence?
CARPENTER
Pretty thin, but damning. A syringe
with Callaway's prints found under
her bed.
JILL
Motive?
Carpenter shakes his head.
CARPENTER
Theory was revenge for getting
roughed up in a bust.
JILL
But you don't buy that.
CARPENTER
Callaway was a penny-ante pot
dealer, a left-over hippie. He'd
been hustled before - no big deal.
So why kill a deputy's wife?
JILL
Would you look at this?
She hands him a copy of the photo showing the mannequin being
garroted.
CARPENTER
That's a good re-creation of what
must 'a happened.
JILL
She have any children?
CARPENTER
A boy from an earlier marriage.
JILL
How old?
CARPENTER
'Bout six, I believe.
JILL
What was his name?
CARPENTER
(thinks a moment)
I recall Damian.
Genres:
["Mystery","Crime","Drama"]
Ratings
Scene
51 -
Haunted Memories
INT. A SEEDY FURNISHED ROOM - EARLY DAWN
On its web high in a corner waits a spider for its prey.
Thick curtains on the only window tightly shut out light.
Jack sits slumped on the foot of his mattress. He wears only
pants, his arms hug his bare torso. He rocks forward and
back.
JACK
Don't go there, Damian!
Jack twists sideways, crawls up on the bed, flings himself on
his back.
JACK (CONT’D)
Stop!
His body starts to writhe, like something live is shredding
his entrails.
JACK (CONT’D)
No!
His arms reach up, his hands claw the air. His body becomes
rigid. His eyes stare, as if sinking into a freezing sea.
FLASHBACK TO:
EXT. LOGAN, WV - BOY'S HOUSE - NIGHT (1985)
In a dark upstairs window the face of the Boy (Damian) hovers
like a wraith. Wide eyes drill into the blackness outside.
Lights of a sheriff's car bump through a tunnel of trees.
Pebbles fly as the car skids to a stop.
Boy's Father, in a deputy's uniform, slides out of the car.
His features are hidden. He slams the car door shut, the
silver/onyx ring on his hand.
BACK TO PRESENT
Genres:
["Thriller","Mystery","Drama"]
Ratings
Scene
52 -
Echoes of Violence
EXT. BOY'S HOUSE - YARD - DAY
Car door slams shut. Jill's parked car is in the background.
Carpenter and Jill walk toward the house.
The windows are covered with old plastic sheets and boards.
CARPENTER
House never sold, went for taxes.
No one would live in it.
He tips sideways a small rotting barrel full of dirt, reaches
under it and pulls out a key.
CARPENTER (CONT’D)
Key's still here.
INTERCUT PRESENT / PAST
YARD - NIGHT
The booted feet of Boy's Father crunch toward the house.
Damian's pale face suddenly vanishes from the window.
INT. VESTIBULE - NIGHT
Boy's Father comes through the front doorway, slams the door
shut, walks heavily toward the rear.
KITCHEN - NIGHT
Boy's Father enters the kitchen. It's empty, nothing on the
table or stove.
BOY'S FATHER
(harshly)
Diana!
Only silence. The whole house seems to be waiting.
VESTIBULE - DAY
Carpenter and Jill enter the house.
CARPENTER
Just like it was then. He left
everything. Kind a’ weird.
JILL
Where did it happen?
CARPENTER
Upstairs.
He starts up the stairs, Jill follows.
STAIRCASE - NIGHT
Boy's Father climbs up the wooden stairs. Leather heels
hammer each step.
HALL - NIGHT
Feet of Boy's Father thud toward a lighted door at hall's
end.
Another door opens a crack as he passes, slowly opens wider.
Damian's fearful eyes watch at the door's edge.
HALL - DAY
Jill follows Carpenter up the stairs and along the hall.
Carpenter points to a door.
CARPENTER
Boy's room.
They keep walking toward the bedroom.
BEDROOM - NIGHT
Diana sits slumped on a vanity table bench. A three-panel
mirror reflects her despair. She looks sightlessly into a
void. Diana is very drunk. Sound of Father's footsteps coming
toward her.
BEDROOM - DAY
Torn yellow crime scene tape is stuck to the sides of the
door frame. Furniture is as it was after the murder. The
dressing gown still hangs on the wall. Carpenter and Jill
walk into the room.
CARPENTER
Same as it was that night.
Jill crosses her arms, shivers, as the past walks through the
present.
BEDROOM - NIGHT
Boy's Father steps into the room, upper face never visible.
Diana's eyes claw at his image in the mirror.
BOY'S FATHER
Where's my damn dinner?
Diana just stares with loathing at the mirror Father.
BOY'S FATHER (CONT’D)
You loaded again?
DIANA
(slurred)
I know what you've been doin'.
Boy's Father comes slowly toward her.
BOY'S FATHER
Doin'?
DIANA
With Damian.
BOY'S FATHER
(sharply)
Know?
DIANA
Everything.
BOY'S FATHER
You think -
Boy's Father moves behind her.
DIANA
That you're a monster.
BOY'S FATHER
You're drunk.
DIANA
No, I'm sober now.
She tries to rise, but is too inebriated. Drops back down.
BOY'S FATHER
What are you -
DIANA
Callin' the sheriff.
(to herself)
Should'a called him long ago.
BOY'S FATHER
You don't want to -
DIANA
Yes, I do - doin' that to Damian.
She braces her hands on the vanity top, struggles to stand.
Boy's Father pushes her down violently. Her head crashes to
the table.
Father's head turns toward his right. A man's dressing gown
hangs on a wall. Father's eyes focus on the gown's silk cord.
He yanks the cord from the gown with his right hand.
Diana's head comes back up slowly. He shoves her head down
again with his left hand, quickly winds the cord's ends
around each hand.
Then loops the cord around her neck, pulls the cord tight,
strangles her. Diana resists weakly, tries to scream - mouth
open wide.
BOY'S FATHER
You're not ruining my life, bitch.
Diana's body sags as she loses consciousness.
Damian, terrified, cowers at the door, unable to move.
Genres:
["Mystery","Crime","Drama"]
Ratings
Scene
53 -
Echoes of Trauma
INT. A SEEDY FURNISHED ROOM - AS BEFORE
Jack writhes on the bed, as Damian tries to escape his body.
DAMIAN
No...no...no....
INT. BOY’S HOUSE - BEDROOM - AS BEFORE - DAY
Jill points to the stool.
JILL
She was sitting there.
CARPENTER
Yep. Cord around her neck.
Jill sits on the stool, facing the mirrors. She looks to her
right, sees the dressing gown still hanging there.
CARPENTER (CONT’D)
(nods)
Used the cord from the dressing
gown.
JILL
Cord wasn't in the news article.
CARPENTER
We held that back.
Jill looks in the mirror, Carpenter behind her.
JILL
She saw her killer behind her.
Carpenter nods. Jill takes a deep breath, thinking of Mom.
Looks up.
JILL (CONT’D)
Was there a struggle?
CARPENTER
Didn't seem to be.
JILL
She knew her killer.
BEDROOM - NIGHT
Damian is still at the bedroom door. He looks terrified, arms
hanging limp. Boy's Father glances left, sees the boy.
BOY'S FATHER
(calmly)
Come in, Damian.
Damian remains frozen, his eyes are riveted on Diana. Boy's
Father keeps garroting her.
BOY'S FATHER (CONT’D)
Now.
Damian shuffles in. Stops just past the door.
BOY'S FATHER (CONT’D)
Over here.
Damian shuffles to Boy's Father as if in a trance. Boy's
Father lets Diana's body drop to the table top, then slips
the cord from Diana, but keeps it in his right hand. Pulls
Damian between him and the body.
BOY'S FATHER (CONT’D)
I just killed your mother. See?
Damian nods woodenly, his eyes hypnotically fixed on the
mirror Diana.
BOY'S FATHER (CONT’D)
She was going to tell our secret.
I couldn't let her do that.
Boy's Father slowly puts the cord around Damian's neck, pulls
it softly taut.
BOY'S FATHER (CONT’D)
I'll kill you, too, if you ever
tell anyone about this. Understand?
DAMIAN
(whispers)
Yes.
BOY'S FATHER
Yes, sir.
DAMIAN
Yes, sir.
Boy's Father pulls the cord tighter.
BOY'S FATHER
I'll find you and kill you, no
matter where you are - or when. I'm
a lawman, with a gun, so nobody'll
stop me. Understand?
DAMIAN
Yes, sir.
Boy's Father slides the cord from Damian's neck.
BOY'S FATHER
That's a good boy. Just...forget
...what you saw.
DAMIAN
Yes, sir.
BEDROOM - DAY
JILL
Where was the boy?
CARPENTER
He told us -
BEDROOM - NIGHT
BOY'S FATHER
Now - when the police get here,
you'll say?
DAMIAN
I...was sleeping.
BOY'S FATHER
And if you tell our secrets?
DAMIAN
You'll kill me.
BACK TO PRESENT
INT. A SEEDY FURNISHED ROOM - LATER
On the bed below, Jack lies crumpled in a fetal ball. He
moans pitifully.
High in the corner, the spider devours a fly.
EXT. BOY'S HOUSE - DAY
Jill and Carpenter are coming down the steps.
JILL
Who found her?
CARPENTER
Husband.
JILL
Did you look at him?
CARPENTER
Sure, but not real hard. Him a
deputy sheriff, and Callaway's
prints in the room?
JILL
What happened to him?
CARPENTER
Stan left town with the kid six
months later. Said something about
studyin' law. California, I think.
JILL
One more thing: how does Jed
Watkins figure into this?
CARPENTER
He partnered with Stan on patrols.
Was rumors they were on the take.
Jed's the one found the syringe.
EXT. SHERIFF'S HEADQUARTERS - DAY
Jill walks toward her car, talking on her cell phone.
JILL
They located the cord. It'll be
tested for DNA.
(pause)
Damian is - was - a real boy. I'm
sure the husband killed Damian's
mother. Callaway was framed.
Genres:
["Mystery","Crime","Drama"]
Ratings
Scene
55 -
Cat-and-Mouse Tension
EXT. JACK'S VAN - DAY
Jack is in the driver's seat, his cell phone to his ear.
JACK
Been trying to find me, Daddy?
Kind'a hard when I keep tossing
cell phones away, right? I'm
around, though. Soon as I decide,
you'll know when and where. Bet you
can't wait to see me again.
INT. SPD SQUAD ROOM - AFTERNOON
Aaron, Alisha, the Cold Case Squad are around a table.
AARON
(to Alisha)
Stan Thompson?
ALISHA
Not a trace of him since he left
Logan. Waiting for his prints.
AARON
(to Woman Detective)
Carson's boyfriend?
WOMAN DETECTIVE
Likely a regular at the bar where
she worked.
AARON
Keep pushing, people. I want those
two.
Tech enters. Aaron looks at him. Tech grins.
TECH
Planted the GPS.
Aaron nods, his eyes intense.
Genres:
["Crime","Mystery","Thriller"]
Ratings
Scene
56 -
Confronting Shadows
INT. SACRAMENTO CATHOLIC CHURCH - AFTERNOON
Jill sits near the center aisle in a rear pew, head down.
Jack enters quietly from a rear side door, sits behind Jill's
left shoulder.
JACK
Don’t need to apologize - God
wasn't offended. But it was
something else to see you throw
that candle at the crucifix. Haveta
give you credit for guts.
Jill very slowly starts to reach for her weapon.
JACK (CONT’D)
No point goin' for your gun. You'd
haveta shoot me and then you
mightn't ever learn who killed your
mother. Damian'll die soon anyway,
and I've no need to kill any more.
JILL
Why did you come back?
JACK
Cops found squat the last fifteen
years.
JILL
You didn't say where to look.
JACK
(forcefully)
I told you! I can only show.
JILL
Why?
JACK
Damian made me promise not to tell -
DAMIAN
(fearful)
- 'cause he'll kill me if I tell.
JILL
Damian?
DAMIAN
Uh-huh.
JILL
Who will kill you?
DAMIAN
You know....
JILL
The man who killed your mom?
DAMIAN
Uh-huh.
JILL
You said we met once.
DAMIAN
Yeah, at the bar where your mom -
He stops speaking.
JILL
Can you tell me anything?
DAMIAN
No - but you're lucky, Jill. At
least you didn't see your mom get
killed.
JILL
What do you mean "at least"? What
else -
JACK
That's enough - or he'll slip back
to Logan again.
JILL
You're a mad dog, Jack. How could
you kill those -
JACK
I was full of rage, being jailed
and knifed for what I didn't do.
JILL
You did much worse - it was
horrible.
JACK
Sexually torturing a kid for years
is horrible too.
JILL
Sex - ?
JACK
So, what's worse: killing an adult's
body or shattering a kid’s soul?
JILL
Damian?
JACK
And if the kid's mother finds out,
isn't that a motive for killing
her?
JILL
But your victims -
JACK
- are in the Light now, not in
hell, like me.
JILL
(quietly)
What happened in Logan, Jack?
JACK
When the deputies busted me for
dealin', they kept my syringe, then
nailed me with it for murder.
JILL
And prison?
JACK
Some cons wanted me for sex, I
fought them, they knifed me, I bled
to death.
JILL
Then...what?
JACK
Left my body - was in this tunnel
of light, saw my dead mom - but I
didn't care about that...I turned
back.
JILL
(shocked)
Why?
JACK
Wasn't going to go 'gentle into the
night.' Had unfinished business
with the bastard who framed me,
cost me my life.
JILL
Then why didn't you just kill him,
like Jed?
JACK
I passed through death - it's too
easy for that monster. I want him
to suffer for years in some prison
hell hole. Then get shanked like me.
You know what it's like to lose
everything?
JILL
Yes.
JACK
Then nail the bastard and
rip the shadows off your soul.
Damian's your mirror.
JILL
What does Damian have to do with
me? And what shadows? Jack?
She turns around. Jack is gone. The church is empty.
Candles flicker.
INT. JILL'S SPD OFFICE - LATE AFTERNOON
The light is dim. Jill enters, takes off her jacket, hangs it
up. She goes to her desk, picks up the photo of Mom and Young
Jill, studies it, then puts it down on her desk pad, sits in
her desk chair.
She keeps looking at the photo, thinking, finally puts her
forearms and hands - knuckles white - on the arms of her
chair, takes a deep breath, and closes her eyes.
FLASHBACK TO:
Genres:
["Mystery","Thriller","Drama"]
Ratings
Scene
57 -
Unveiling Shadows
INT. APARTMENT OF MOM - EVENING (1998)
Young Jill is finishing a piece of birthday cake.
MOM
Has it been a good birthday?
YOUNG JILL
Uh-huh!!
MOM
I have one more present for you.
She hands Jill the framed photograph of herself and Jill.
MOM (CONT’D)
That's to remind you how much I
love you.
JILL
You're so beautiful, Mom.
MOM
So are you, baby. Now take good
care of this.
(looks hard at Jill)
It's special.
She puts her hands on top of Jill's hands holding the
picture. Mom smiles, but her eyes look desperate and her
hands tighten around Jill's. Jill looks questioningly at Mom.
BACK TO PRESENT
Jill's eyes snap open.
She looks again at the picture, notices that the bottom edge
of the frame sits right above the note she made on the pad
about the photograph taken from Jed's apartment: "Photo
behind picture."
She stares at the note, then shakes her head slightly,
rejecting a thought, but her eyes stay fixed on the note.
Finally she reaches forward, picks up the frame, turns it
over and begins to slide off the paper backing. Part way down
she sees an envelope.
Jill looks fixedly at it, then pulls off the backing, removes
the envelope. Written on its front is, "If anything happens
to me, find him. Mom."
Jill takes a deep breath, turns over the envelope, opens the
flap, takes another breath, pulls out a photograph.
It is the picture of Mom and the man, which was in Jed's
apartment. The man is Stanton.
JILL
Oh, my God.
She turns the photo over. On the back is written "Tom
Stanton." Jill turns the picture over, stares at the images.
Fear begins to show on her face. Her breathing becomes
shallow, almost panting. She whimpers softly, like a child.
JILL (CONT’D)
(whispering)
Oh, no...no, no....
FLASHBACK TO:
INT. YOUNG JILL'S BEDROOM - NIGHT (1998)
Young Jill is in bed, pretending to be asleep, her covers
pulled over her head.
A blade of light slashes through the darkness as her door
opens. Stanton enters carefully, pushes the door shut
quietly. He moves to the side of Young Jill's bed.
STANTON
Ready for our game?
He pulls Young Jill's cover off, revealing her in a tight
fetal position, turned away from Stanton. She clutches a
large stuffed bear. Terror is on her face.
There is a black onyx/silver ring on Stanton's hand.
BACK TO PRESENT
Genres:
["Mystery","Thriller","Drama"]
Ratings
Scene
58 -
Race Against Time
INT. AARON'S OFFICE - LATE AFTERNOON
Aaron is standing by a window. He is staring out at the
approaching darkness.
Alisha enters. She appears stunned, has to make an effort to
speak.
AARON
What?
ALISHA
Prints came in from Logan. We got a
match.
Aaron goes to her, takes the documents, looks at them. His
head snaps up in rage.
AARON
That son of a bitch.
FLASHBACK TO:
INT. YOUNG JILL'S BEDROOM - NIGHT (1998)
Young Jill's face. Stanton's face.
STANTON
Remember, if you tell our little
secret, I'll kill both your mother
and you.
BACK TO PRESENT
INT. SPD - HALL - DUSK
Aaron rushes down the hall toward Jill's office.
INT. SPD - GARAGE - DUSK
Jill's car roars backwards from its parking space. Tires
squeal as the car hurtles out of the garage.
INT. JILL'S SPD OFFICE - DUSK
Aaron bursts into Jill's office. It's empty. He moves quickly
to Jill's desk, notices the photograph. He looks at it, sees
that it's Mom and Stanton.
Then notices a piece of paper. Written on it twice is "Stan
Thompson". First: a box is drawn around "T", another around
"om". Second: a box around "Stan T", another around "on".
Aaron's cell phone rings. He pulls it out, starts to move
quickly out of the office.
AARON
Where is she?
WOMAN DETECTIVE (V.O.)
GPS shows her heading toward the
AG's building.
Aaron is running down the hall.
AARON
Move SWAT in. Fast. She knows it's
Stanton.
Genres:
["Mystery","Thriller","Drama"]
Ratings
Scene
59 -
Confrontation and Catharsis
INT. ATTORNEY GEN.'S BLDG. - GARAGE - DUSK
Silence. Only parked cars, no people in sight. Toward the
right is an elevator, stairs to its right.
Elevator doors open. Stanton walks out, the silver/onyx ring
on his hand. The elevator doors close behind him.
Jack suddenly comes out of the back of his van, two cars to
Stanton's right, opposite him, holding Jed's handgun.
JACK
Hello, Daddy - back together at
last.
Stanton stares at Jack with hatred.
JACK (CONT’D)
The dance is over, time to pay the
piper! Time to tell the world our
tales and let it choose which tale
is true, so now we -
Jack suddenly starts to have another seizure. His eyes roll
up into his head and his body convulses. He tries to keep the
gun pointed at Stanton, but can't, fires off a shot that is
way off the mark.
Seeing Jack is no longer pointing his gun at him, Stanton
whips out his own weapon and fires twice, gravely wounding
Jack, who falls in the roadway, dropping his gun.
STANTON
This time I'll make sure you're
dead.
Moves slowly toward Jack, picks up his gun, then straightens
up and raises his weapon towards Jack.
Jill's car crashes through the entrance's arm, roars into the
garage from Stanton’s right. It screeches to a stop fifteen
yards from Stanton. Jill sees Stanton with his gun raised.
Stanton starts to back up slowly toward the elevators.
Jill fires toward Stanton through her windshield, and Stanton
dives behind the front fender of the car to his right, near
the elevator doors.
Jill shoves open her door, crouches behind it.
JILL
Drop your weapon, Stan Thompson -
you're under arrest!
STANTON
For what?
JILL
Rape, for openers.
STANTON
Of who?
JILL
Me, you sick bastard! It all came
back to me.
STANTON
False memory syndrome.
Jill fires a shot past his head.
JILL
You molested Damian too -
STANTON
A mad serial killer who just
attacked me?
JILL
- and strangled his mother when
she found out.
STANTON
Jack Callaway killed her. Tried
and convicted.
Jill fires another shot near him.
JILL
Murdered my mom.
STANTON
Don’t know who she is.
JILL
Liar! I found a photograph of her
and you. You met her at the bar.
STANTON
I met a lot of women there, took a
lot of pictures.
JILL
You killed her when she discovered
you’d raped me, then had Jed track
down Damian and put a bullet in his
head.
She fires two quick shots close to him.
JILL (CONT’D)
And you had Cal gunned down when he
started digging, after he recalled
your stepson's name was Damian.
Two more shots near Stanton. Jill reloads.
JILL (CONT’D)
Now or later, alive or dead - your
call.
The elevator doors to Stanton's left rear open. Laurie walks
out jauntily, sees Stanton.
LAURIE
Mr. Stanton, what's ha -
Stanton leaps up and grabs Laurie around her neck. He
positions himself behind her, facing Jill, puts Jack's gun to
Laurie's head.
JILL
Let her go. You can't get out of
here alive.
STANTON
I think I can. Way it'll go down
is, Jack grabbed Laurie, shot you
when you tried to save her, then
killed Laurie too. I arrived and
took Jack down. Here we go.
He starts firing at Jill with Jack's gun. Jill doesn't return
fire since Laurie is in front of Stanton.
Jack has been lying completely still, eyes closed, but his
right knee has been inching upward. His pants leg slides up
slightly, and he slowly reaches for Jed's ankle gun strapped
to his leg.
After Stanton's second shot, Laurie suddenly faints and
slides toward the ground. As Stanton tries to hold her, he
has to turn to his right. This opens his back to Jack, who
fires.
The shot hits Stanton in his upper right back. He spins
around, his arm flies up, his gun flies away. He falls to the
ground, his head not far from Jack's, their feet in opposite
directions.
Jill rushes to Stanton, shoves her weapon against his head.
JACK
Don't...kill him...or you'll be...
like him - and me.
Jack's eyes close. Jill looks at Jack, then back at her
weapon.
Three SWAT officers suddenly sweep in from the right, the
left, and the stairs. They secure the area, recover Stanton's
two guns and Jack's.
Aaron, Alisha, and Woman Detective all rush down the stairs
right behind the SWAT officer. The two women kneel by the
unconscious Laurie.
AARON
Jill!
Aaron moves quickly to Jill, kneels, puts out his hand.
AARON (CONT’D)
Your weapon.
Jill still has her gun at Stanton's head. She looks at Aaron
slowly, as if in a trance.
AARON (CONT’D)
(softly)
Don't - that's not who you are.
He smiles and nods slightly to her, emotional.
Jill's index finger is on the trigger of her weapon. She
finally nods, hands the gun to Aaron, then lowers her head to
Stanton's.
JILL
Jack's right: you're not worth
killing.
As Aaron cuffs Stanton and paramedics start to work on him,
Jill turns to Jack. She looks at the paramedic attending
Jack. Paramedic shakes his head slightly, gets up, walks
away.
JILL (CONT’D)
Damian. Do you hear me?
DAMIAN
(weakly)
Yeah....
JILL
Can you tell me now?
DAMIAN
I saw him kill my mom.
JILL
You're very brave.
DAMIAN
My mom's come! I gotta go, Jill.
Thanks for helping.
Jack's eyes close.
JILL
Jack. Jack! Are you still here?
Jack's eyelids struggle to open again.
JILL (CONT’D)
Why didn't you wait for me?
JACK
Was having seizures. Didn't think
we'd last. You kill him?
JILL
No.
Jack manages a weak smile, a slight thumbs up, before his
hand falls again.
JILL (CONT’D)
Go into the Light, Jack.
JACK
Don't know if I'm ready. Got to
sort things out first. Sorry you
had all that hurt. Maybe we can
meet again...another time...write
you a poem about the joy of life
...instead of fear and death....
Going....
He dies, eyes open. There are tears in Jill's eyes. She
reaches over and shuts Jack's eyelids.
INT. JAMES AKULLEQ'S HOME - NIGHT
Flickering candles, very soft music of Andean flutes.
Jill is on her back, lying on the floor on a thick Andean
blanket, a small pillow under her knees, her eyes closed,
arms by her sides, another blanket covering her from the
waist down.
James kneels facing her, beside her chest. His eyes are
closed.
JAMES
Your soul part is ready to return
to you.
Jill smiles gently. James opens his eyes, cups his hands over
Jill's heart, blows into the circular space between his
hands.
He straightens up, makes the mark of a cross with equal arms
above Jill's heart, then rests his hands on his thighs.
Jill moves her hands over her heart, as if she's holding
Young Jill there. Tears slip from her eyes. She starts to sob
softly.
James smiles and nods with satisfaction. He brings his hands
up in a prayer position to his chest. Bows his head, closes
his eyes.
The flutes play softly, the candles flicker.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
60 -
A Sweet Farewell
EXT. A PARK - DAY
Sunshine, a bird flies by. Jill and Laurie walk in a
springtime park. Jill wears a flowing, feminine dress. Her
movements are fluid and free. She has light makeup on.
JILL
Except for Jed and Stanton, Jack
could still be writing poems.
LAURIE
Poor Damian.
JILL
I wonder what Stanton's father did
to him.
They walk on in silence for a moment. Up ahead a vendor with
a cart sells cotton candy to two young girls. Jill's face
lights up.
JILL (CONT’D)
Oh, look!
She runs ahead like a ten-year-old, buys a cone of cotton
candy, licks it with enjoyment, almost dances back to Laurie,
grinning.
JILL (CONT’D)
Young Jill loves cotton candy. Yum.
LAURIE
Listen, you're not really gonn'a
train to be a shaman?
JILL
James says it'll give me different
perspectives in my profiling.
LAURIE
Get away.
JILL
See, there are these four levels of
perception -
Their voices fade as they walk along a curved path toward a
big sun along the horizon, a lake on their right. Their
figures are tiny in the distance.
LAURIE
I bet James is hot.
JILL
He's almost fifty.
LAURIE
So?
They disappear from sight.
FADE OUT.
THE END.