Table Read “The Unraveling”

The Unraveling

by Melvin Madero Moore Writer837@gmailcom

“FADE IN:

EXT./INT. ALYSSA’S/GINA’S APARTMENT – DAY

EMLYN TAYLOR, 28, a no-nonsense civil defense attorney, at the door of the apartment. She’s dressed in her work attire, black suit pants, white blouse. She knocks. The door opens. Emlyn’s sister, ALYSSA TAYLOR, 26, an investigative journalist, stands in the doorway. A moment.

ALYSSA”
“Oh… hi.

Alyssa walks away.

EMLYN”
“Good to see you, too.

INT. ALYSSA’S/GINA’S APARTMENT – LIVING ROOM – DAY

Emlyn and Alyssa sit facing each other. Moments of silence.

ALYSSA”
“What?

EMLYN”
“You know what.

ALYSSA
I’ve been busy.

EMLYN
I know, but —

ALYSSA
Okay, I’ll call more.

Emlyn studies Alyssa for several moments.

EMLYN”
“You okay? I’m fine. Are you –“

“ALYSSA EMLYN ALYSSA”
“I’m taking my meds.”
“Alyssa… I’m fine!”

 

“EMLYN ALYSSA EMLYN”
“All right, you’re fine, but… what’s going on with you?
Alyssa gets up, heads for the exit..

ALYSSA
Thanks for stopping by.
Emlyn is stunned. She gets up, exits.

INT. KITCHEN – DAY

GINA GORDON, 26, Alyssa’s partner, chops various vegetables at an island counter top. Alyssa enters. Gina looks up.

GINA
You didn’t tell her.

Alyssa picks up a carrot, takes a bite.

GINA (CONT’D)
She has a right to know.

ALYSSA
I need to be sure.

GINA
I think you’re already sure.

ALYSSA”
“Maybe.

GINA”
“When you know for sure, then maybe you’ll stop being a bitch to live with.”

“ALYSSA
Is that how I’m being?

GINA”
“Yeah

Gina pulls Alyssa into her arms.”

“EXT. LAW OFFICE OF ASHER AND BLAKE – DAY

Emlyn and LUCIA CRUZ, 30, Emlyn’s investigator and best friend, approach the entrance of the law office.

LUCIA
How’d it go?

EMLYN
She’s so stubborn.

LUCIA
Too much like you, huh?.

Emlyn gives her a disapproving look.

LUCIA (CONT’D)
Just saying.

Emlyn enters the Asher and Blake law office, Lucia follows.

INT. LAW OFFICE OF ASHER AND BLAKE – CONFERENCE ROOM – DAY

Luxurious. Massive bookcases, filled with law books and journals, overwhelm the room. Emlyn and Lucia sit across from the firm’s well-dressed partners, GEORGE ASHER, 50, pompous ass, and his partner, MASON BLAKE, 45, yes man.

ASHER
You’re asking us to believe —

EMLYN”

“The truth.

BLAKE”
“What George is saying —
Emlyn snaps a look at Blake.

EMLYN
I know what he’s saying.
Everyone feels the chill Emlyn injects into the room.

ASHER
Emlyn, may I call you Emlyn?

EMLYN”
“No.

Asher smiles slyly, nods. He leans back, steeples his hands.”

“ASHER
Spontaneously remembers being raped fifteen years ago? Really?

Asher fixes his eyes on Emlyn’s. Emlyn stares through his. He leans forward.”

“ASHER (CONT’D)
Ms. Taylor, my client is an extremely successful and well-known businessman. On the other hand, your client —

EMLYN”
“Is nobody.

ASHER”
“Well, her history —

EMLYN
Can we get on with this?

Asher smiles, leans forward. He picks up a pen. He scribbles on the legal pad in front of him. He looks up.

ASHER
My client is willing to see this to its inevitable conclusion, but… the adverse publicity, his family… I’m sure you understand.

Asher slides the legal pad across the table. Emlyn looks at it. She slides the pad over to Lucia. Lucia glances at it.

ASHER (CONT’D)
What do you say?

EMLYN
Off the record?

Asher glances over to Blake. He smiles triumphantly, he looks back to Emlyn.”

“ASHER
Sure.

EMLYN
Fuck. You.”

“EXT. PARKING STRUCTURE – DAY

Emlyn and Lucia walk toward Emlyn’s sedan.

LUCIA”
“Assholes!”

“EMLYN
Without a doubt. But…

They reach the sedan. Lucia stops abruptly.

LUCIA”
“But what?

They climb into Emlyn’s sedan.

INT. EMLYN TAYLOR’S SEDAN – DAY

EMLYN
Asher’s going to kill us.

Lucia gives Emlyn a pointed look.

INT. EMLYN TAYLOR’S LAW OFFICE – CONFERENCE ROOM – DAY

Emlyn and Lucia sit across from their client, ANGELICA BRADFORD, 40, impeccably dressed, pissed.

EMLYN
One hundred, fifty thousand. That’s maybe the best —

BRADFORD
Fuck that! I want him ruined, castrated.”

“EMLYN
Ms. Bradford, it’s your word against his, plus you coming forward, after fifteen years —

BRADFORD
Fifteen years, two years! He’s a fucking rapist!

Bradford glares at Emlyn, then Lucia.

BRADFORD (CONT’D)
You don’t believe me.

EMLYN
It’s not that, it’s about what I can get a jury to believe.
Bradford’s on the verge of angry tears. She gets up.

BRADFORD
File the paperwork or I’ll hire someone else.
Bradford rushes out.”

“Emlyn stares after her. A moment. She turns to Lucia.

EMLYN”
“Shut up.

LUCIA”
“I didn’t say anything.

EMLYN
But I know what you’re thinking.

Lucia gives Emlyn an impish smile.

LUCIA
Uhh… wanna do lunch?

INT. EMLYN TAYLOR’S HOME – BEDROOM – NIGHT

Emlyn is propped against the headboard of her bed, laptop in her lap. She’s on her cell phone. WOLF, her Siamese cat, lies at her feet.
Half-full vodka bottle sits on the night stand. A half-full glass sits next to it.

EMLYN
(into phone)
Make sure Biscardi wires the retainer. (pause)

No, I haven’t decided.  (pause)

You’re right, I want to believe her, but —
(pause)

Okay, okay. Find everything you can on false memory cases.
(pause)

No promises. (pause)

Good night, Lucia. (pause)

Lucia, good night, I’m hanging up. Bye.

Emlyn disconnects. She places her cell phone on the night stand. She picks up the half-full glass.

EXT. HARRISON TAYLOR MANSION – NIGHT

A black, late model SPORTS COUPE speeds down the driveway that leads from the Taylor mansion.

EXT. MOUNTAIN ROAD – NIGHT

Dense fog blankets the road and countryside.”

“SERIES OF SHOTS:

— The coupe rockets through the fog, weaves in and out of slower moving traffic.
— The coupe races up an incline and into a curve.
— The coupe roars past several cars on a straightway.
— The coupe speeds into another curve, goes into a skid.
— The coupe spins onto the shoulder, sideswipes a guardrail, skids to a stop. The engine dies.

END OF SERIES OF SHOTS.

INT. ALYSSA TAYLOR’S COUPE – NIGHT

Alyssa sits behind the wheel. Dazed, she stares absently through the windshield. She takes out her cell phone.

INT. EMLYN TAYLOR’S HOME – BEDROOM – NIGHT – SAME TIME

A cell phone RINGS on a night table. Next to it, an empty glass and a digital clock reading 2:13 A.M. Emlyn is jarred awake. She raises her head. Groggy. She reaches for the cell phone, knocks it to the floor. She falls back on a pillow.

INT. ALYSSA TAYLOR’S COUPE – NIGHT – SAME TIME

Alyssa on cell phone. The call goes to voice mail.

ALYSSA
Em! Where are you!? Call me! I gotta talk to you! (pause)”

“Em!

Alyssa disconnects the call. Alyssa pounds the steering wheel with both fists. She stops, rests her head on the steering wheel. Alyssa rifles through her handbag. She pulls out a medicine bottle, screws off the lid.
A truck ROARS past. Alyssa is startled. She drops the medicine bottle to the floor. Pills spill out.”

“EXT. MOUNTAIN ROAD – NIGHT

A black, heavily tinted sedan pulls behind Alyssa’s coupe.

 

INT. ALYSSA TAYLOR’S COUPE – NIGHT

The sedan’s headlights fill the coupe. Alyssa glances into the rearview mirror. She turns, looks behind her.

EXT. MOUNTAIN ROAD – NIGHT

The driver of the sedan, GABRIEl, 40, clothed in black, exits. He stalks toward the coupe.

INT. ALYSSA TAYLOR’S COUPE – NIGHT

Alyssa sees Gabriel. She panics. She turns on the ignition. She starts to swing her coupe onto the road. A BLAST from an eighteen wheeler jolts her. She jerks the coupe back onto the shoulder.

EXT. MOUNTAIN ROAD – NIGHT

Gabriel continues toward the coupe.

INT. ALYSSA TAYLOR’S COUPE – TRAVELING – NIGHT

Alyssa jams on the gas pedal. The coupe leaps onto the road.

 

EXT. MOUNTAIN ROAD – NIGHT

The sedan moves off the shoulder. The coupe roars up an incline.
The sedan moves within two car lengths behind the coupe.

 

INT. ALYSSA TAYLOR’S COUPE – TRAVELING – NIGHT

Alyssa glances into the rearview mirror.

 

EXT. MOUNTAIN ROAD – NIGHT

The coupe goes into a tight curve. The sedan’s within several feet of the coupe’s rear bumper.

INT. ALYSSA TAYLOR’S COUPE – TRAVELING – NIGHT

Alyssa struggles to hold the coupe in the curve. Terror spreads across her face.”

“EXT. MOUNTAIN ROAD – NIGHT

The coupe SLAMS into a guardrail, breaks through and soars into blackness.

EXT. ALYSSA TAYLOR’S COUPE – AIRBORNE – NIGHT

The coupe peaks, seemingly floats for a moment, then… dives. Alyssa’s screams trail after the coupe.

EXT. INTERSTATE HIGHWAY – NIGHT

BLAMMB! The coupe hits grill first on the Interstate Highway, then flips end over end. It comes to rest upside down. Cars and SUVs SCREECH to a stop. Cars CRASH into each other to avoid the coupe, others swerve off the highway.

INT. EMLYN TAYLOR’S HOME – BEDROOM – NIGHT

Emlyn bolts up in bed. Wolf, lying at the foot of the bed, leaps to the floor. Emlyn’s eyes search the room. They become fixed on a sliver of light bleeding in from a partially closed bedroom door.

EXT. INTERSTATE HIGHWAY – NIGHT

Eerie silence surrounds the coupe. Steam rises from the grill. Fire underneath. Smoke curls out. Drivers exit their cars. A few run to Alyssa’s coupe, attempt to help. Some gawk, others mill around.

EXT. MOUNTAIN ROAD – NIGHT

Gabriel exits the sedan. He walks past the damaged guardrail. He looks down on the Interstate. He takes out a breath mint, unwraps it. He pops it into his mouth. He takes out his cell phone, punches in a number.
He waits. Then…”

“GABRIEL
(on phone)
You can stop worrying.

EXT. INTERSTATE HIGHWAY – NIGHT

Stalled traffic extends for a half mile. Highway patrol vehicles and an ambulance block all forward movement. Alyssa’s coupe is surrounded by male EMERGENCY RESPONSE WORKERS and an ACCIDENT TRAFFIC INVESTIGATOR, 40, female.”
“A patrol cruiser pulls up. A male HIGHWAY PATROL OFFICER, 25, exits the cruiser. The Investigator turns to him.

INVESTIGATOR
What’d you find up there?

 

PATROL OFFICER
Weird’s what I found. She goes into a skid half mile from here, hits a guardrail. And then…
(gestures)
…up there, she goes through one.

 

INVESTIGATOR
That is weird.

 

PATROL OFFICER
No sign she braked.

 

INT. EMLYN TAYLOR’S HOME – KITCHEN – DAY

 

Emlyn’s coming down from the nightmare. She opens the freezer. She takes out a vodka glass and a bottle of vodka.
She sits, pours a half glass of vodka. She picks up her
cell phone, punches in a number. She listens to her messages.

 

ALYSSA (V.O.)
Em! Where are you!? Call me! I gotta talk to you!
(pause)”

 

“Em!

Emlyn disconnects. She punches in Alyssa’s cell phone number.

 

EXT. INTERSTATE HIGHWAY – DAY

 

The Investigator and the Patrol Officer watch as Alyssa is strapped on a gurney by two Emergency Response Workers and lifted into an ambulance.
Alyssa’s cell phone RINGS. The Patrol Officer crosses to the coupe. He reaches inside. He sees it, but can’t reach it.

 

INT. EMLYN TAYLOR’S HOME – LIVING ROOM – DAY

 

Emlyn sits, cell phone pressed to her ear.

 

EMLYN
Alyssa, sorry I didn’t pick up. Call when you can.

Emlyn disconnects. Wolf jumps into her lap. Emlyn stares absently at a flat screen television.”

 

“ON FLAT SCREEN:

A FEMALE REPORTER, 25, in mid-stride. A two-story home in the background.”

 

“FEMALE REPORTER
…and behind me, the home of real estate developer, Susan Meadows, who was found brutally murdered sometime this —

 

BACK TO SCENE.

 

Emlyn punches the remote. The screen goes black.

 

INT. DOCTOR NATHANSON’S OFFICE – DAY

 

Emlyn sits on an examination table. DOCTOR ETHEL NATHANSON, 50, breezes in carrying a treatment chart. She sits across from Emlyn.”

 

“DOCTOR NATHANSON
Stop self-medicating.
Emlyn gives her an innocent look.

 

DOCTOR NATHANSON (CONT’D)
Don’t give me that look. I’ve known you too long.
Doctor Nathanson plops down the treatment chart.

 

DOCTOR NATHANSON (CONT’D)
They’re nightmares. Not a medical problem. Maybe you should see somebody. And I don’t mean start dating.”

 

“EMLYN
Can’t you just give me something?

 

DOCTOR NATHANSON”
“I just did.

 

Emlyn gives her a frustrated frown. Doctor Nathanson shakes her head. She takes out a prescription pad, scribbles on it. She rips off a prescription, hands it to Emlyn. Emlyn reads it, looks up.

 

EMLYN
I can’t read this.”
“Prazosin. Prazosin?” “DOCTOR NATHANSON EMLYN

DOCTOR NATHANSON”
“For high blood pressure, and —

EMLYN
I don’t have —

DOCTOR NATHANSON
Off brand, it’s also prescribed for nightmares. Won’t work with alcohol.

INT. AUDITORIUM – DAY

Political rally. Large crowd flash signs and placards that read: “”Re-elect Senator Harrison Taylor,”” “”Harrison Taylor for U.S. Senate.””
At a podium in from of them is SENATOR HARRISON TAYLOR, 50, tall, charismatic. Two bodyguards stand on either side of him. At his side, his alluring wife, CASSANDRA TAYLOR, 45.
Senator Harrison Taylor gestures toward a REPORTER. 20s, male, whose hand is raised.

REPORTER
Senator, how do you respond to your opponent’s comment that you’re out of touch with regular people?

HARRISON
It’s nonsense. For years, Cassandra and I have supported low-income non- profits across the state, including our favorite, the Briarwood School for Girls.

BODYGUARD #1 moves quickly to him, whispers in his ear. Harrison’s face goes slack.

INT. HOSPITAL – INTENSIVE CARE UNIT – ALYSSA’S ROOM – DAY

Alyssa lies in bed, on a ventilator. She’s heavily bandaged. Her face is severely swollen. An intravenous line’s in Alyssa’s left arm. A heart and lung monitor sits at the head of her bed. Harrison, Alyssa’s father, hovers next to her. Next to him is Alyssa’s step-mother, Cassandra.”

“NURSE #1, a male in his 30s, approaches.

NURSE #1
I’m sorry, but you’ll have to leave.
HARRISON”
“But —
NURSE #1
I’m sorry.”

“INT. INTENSIVE CARE UNIT – DAY – SAME TIME

Emlyn bolts through the double doors.

INT. NURSE’S STATION – DAY

Emlyn rushes to the charge desk. Behind the desk, NURSE #2, female, 40s, looks up.

EMLYN
Alyssa Taylor, what room?

Nurse #2 opens a note book, searches.

NURSE #2
She’s in 34B, but —

Emlyn sprints down the hallway.

NURSE #2 (CONT’D)”
“Stop!

INT. HALLWAY – DAY

Two of Harrison’s BODYGUARDS stand outside the entrance to Alyssa’s room. Bodyguard #1, 35, steps forward as Emlyn approaches. He holds up his hands, palms up.

BODYGUARD #1
Hold on! Can’t go in.
EMLYN”
“Stop me!

Emlyn tries to push her way through the Bodyguards. Harrison exits Alyssa’s room.

HARRISON
It’s okay, let her in.

INT. ALYSSA’S HOSPITAL ROOM – DAY

Emlyn runs inside. Harrison follows.”

“NURSE #1
Please, all of you must leave.

Emlyn ignores Nurse #1, rushes to Alyssa, takes her hand.

EMLYN”
“(sobs) Alyssa, Alyssa…

Alyssa turns her head toward Emlyn. She opens an eye. She struggles to speak, but can’t. A tube down her throat prevents her from speaking.

ALYSSA
Thu — thu…

EMLYN”
“What?

Emlyn leans closer to Alyssa.

ALYSSA”
“Thu…

Alyssa moves her right hand slowly over Emlyn’s. She clutches Emlyn’s thumb.”

“NURSE #1
Please, you must leave!

HARRISON
What did she say?
Emlyn glances at Harrison.

EMLYN
I don’t know.

An ALARM goes off. Alyssa begins to flatline. Nurse #1 flashes a look at the heart monitor.

NURSE #1″
“Out! Now!

Nurse #1 rushes everyone out of the room.
Nurse #2 and a DOCTOR, 30s, female, rush in at the same time.

INT. HALLWAY – DAY

Emlyn tries to re-enter Alyssa’s room. Nurse #2 bars her from entering”

EMLYN

“Sorry!”

“Nurse #2 closes the door in Emlyn’s face.

EMLYN”
“Please!

Harrison pulls Emlyn away from the door. He puts his arms around her. She sobs uncontrollably.

INT. EMLYN TAYLOR’S HOME – BEDROOM – NIGHT

Emlyn’s in bed, propped against the headboard. Tears run down her cheeks. Wolf jumps into her lap, settles in.
Emlyn reaches for a vodka bottle that sits on a night stand. She pours a generous amount into a glass.
Emlyn’s cell phone RINGS. She stares at it. When the phone stops ringing, she picks it up. She dials into her messages.

ALYSSA (V.O.)
Em! Where are you!? Call me! I gotta talk to you!
(pause)”
“Em!

Emlyn throws her phone across the room, then downs a mouthful of vodka.

INT. BEDROOM – LATER

Dark. Emlyn’s asleep. Light filters in from a partially closed door.

BEGIN NIGHTMARE:

INT. EMLYN’S/ALYSSA’S CHILDHOOD BEDROOM – NIGHT
Dark. YOUNG EMLYN, 9, sits in a corner. Her eyes are cast downward, her legs are drawn up against her chest. Her arms are folded across her legs.
YOUNG ALYSSA, 7, stares at a light filtering in from a partially closed door.

YOUNG ALYSSA”
“Em!

END NIGHTMARE.

INT./EXT. EMLYN TAYLOR’S HOME – FOYER – DAY

Emlyn, haggard-looking, opens the door to Lucia. Their eyes lock. A moment.”

“INT. LIVING ROOM – DAY

Lucia sits. She watches Emlyn pace with an empty glass in her hand.”

“EMLYN
It was two A.M. Why was she there?
Emlyn reaches for the the vodka bottle that sits on a coffee table. Lucia pulls it away.

Emlyn shoots her a look. Lucia stares her down.

EMLYN (CONT’D)
Why didn’t I answer?
LUCIA
I don’t know, but you didn’t.
EMLYN
But if I had…
LUCIA
But you didn’t. And if you had, she might still be dead.
Emlyn snaps a fierce look at Lucia.
LUCIA (CONT’D)
You didn’t kill her, Em.

Emlyn tears up, sobs. Lucia crosses to Emlyn, puts her arms around her.

LUCIA (CONT’D)”
“Let’s go.
Where?
To bed.

INT. BEDROOM – NIGHT” “EMLYN LUCIA”

“Emlyn bolts up. She scans the room. She fixes her eyes on a partially closed door.

INT. KITCHEN – DAY

Emlyn enters in pajamas, empty glass in her hand.
Lucia gets up from the kitchen table. She takes the glass from Emlyn.”

EMLYN

“Sit.”

“LUCIA”

“Emlyn sits at the kitchen table.

Lucia crosses to coffee maker, pours a cup of coffee. She sets it down in front of Emlyn.
Lucia sits. She gives Emlyn a pointed look, places her hand over hers.”

“Em…”

“LUCIA (CONT’D)”

“Emlyn glances at her. They lock eyes.

EMLYN”
“I know.

EXT. EMLYN TAYLOR’S HOME – DAY

Emlyn walks Lucia to her car. They embrace. Emlyn pushes away from Lucia.”

“EMLYN
Thanks for staying over.

EXT. HARRISON TAYLOR MANSION – DAY

Emlyn’s sedan moves along the driveway leading to the mansion. NEWS VANS are parked on either side of the driveway.

INT. EMLYN TAYLOR’S SEDAN – DAY

Emlyn slows the sedan to a stop. She looks out at the NEWS REPORTERS rushing toward her, microphones in hand.

EXT. HARRISON TAYLOR MANSION – DAY

Emlyn exits her sedan. Harrison’s bodyguards shield her from news reporters.”

“NEWS REPORTERS
(overlapping)
Ms. Taylor, when did you hear about your sister? Ms. Taylor, did your sister commit suicide? Was your sister still using? Ms. Taylor, Ms. Taylor…
Emlyn keeps focused ahead of herself. The bodyguards escort her to the front door.”

 

“EXT./INT. HARRISON TAYLOR MANSION – FOYER – DAY

 

ALEXANDER, 60, epitome of the English butler, opens the door to Emlyn. She enters.

 

ALEXANDER”
“Emlyn…

 

Alexander takes Emlyn’s hand in both of his.

 

ALEXANDER (CONT’D)
I am terribly sad for you.

 

EMLYN”
“Thank you.

 

Alexander gestures toward the reporters on the lawn.

 

ALEXANDER
Sorry for all this.

 

EMLYN
To be expected. Where’s my father?

 

ALEXANDER
The Senator’s in a meeting, I’m afraid, but Mrs. Taylor is in his office.

 

INT. OFFICE – DAY

 

Emlyn enters. Cassandra gets up from a desk as Emlyn enters. She goes to her, gives her a warm embrace. They sit on a love seat.

 

CASSANDRA
I am so sorry. I knew you two had your differences, but I know she loved you.”

“EMLYN
Thank you. How’s my dad taking it?

CASSANDRA
You know him, in pain, but as you can imagine he’s —

EMLYN
Staying focused.

CASSANDRA”
“Correct.”

“EMLYN
He needs you now, more than ever.

CASSANDRA”
“I know.

EMLYN”
“Where is he?

INT. STUDY – DAY

Harrison sits next to his attorney, EDUARD BALDWIN, 50, and NELSON CAIN, 40, his campaign manager.

NELSON
Harrison, I can only imagine what you’re going through, but we have to think about how to respond.

HARRISON
Respond to what? She had an accident.

EDUARD
Harrison, there were no signs Alyssa applied her brakes, no skid marks.

HARRISON”
“So what.

EDUARD”
“In cases like this, when the manner of death is in question, the Medical Examiner commissions a forensic investigation to determine —

HARRISON
To determine what?

BALDWIN
Why she died. In other words, was her death due to an accident, foul play or was it a suicide.

HARRISON
Suicide!? Are you insane?

NELSON
You’re a family values man.

HARRISON”
“And…?

NELSON”
“The daughter of a U.S. Senator commits
suicide –“

“HARRISON
She didn’t commit suicide!

NELSON
How do we know. She has previous attempts and a drug history. No matter what happened, it’s not a good look.”

“EDUARD
Nelson, that’s enough.

NELSON
Okay, okay. I’m sorry. But the press will jump on this.

EDUARD
Medical Examiner…
Harrison shoots Eduard a look, gets his meaning.

 

EXT. HALL OF JUSTICE – DAY

Harrison approaches the entrance to the Hall of Justice. Eduard and Nelson trail.

INT. HALL OF JUSTICE – MEDICAL EXAMINER’S OFFICE – DAY

Harrison, Eduard, and Nelson confront DOCTOR JESSICA ROMANO, 40, Deputy Medical Examiner.

DOCTOR ROMANO
As I told you on the phone, Doctor Brunelli is out of town.

HARRISON
Understood, then someone else needs to stop this forensic investigation, immediately.

DOCTOR ROMANO
Senator, that’s not possible. You might want to speak to Doctor David Zaragoza.”

 

“HARRISON
Who’s he?

DOCTOR ROMANO”
“He’s the investigator Dr. Brunelli commissioned to conduct the investigation.

EDUARD
Let’s get out of here.”

“EXT. HALL OF JUSTICE – DAY

Harrison, Eduard, and Nelson exit to a throng of frenzied NEWS REPORTERS. The reporters rush them.
A barrage of questions are thrown at Harrison from everywhere, microphones thrust at him from every angle.

NEWS REPORTERS
(overlapping)
Senator Taylor, is there going to be an autopsy? Why are you meeting with the Medical Examiner? Was your daughter still using?

EDUARD
Keep moving Harrison.
Eduard grabs Harrison’s arm, steers him through the reporters. Amid the competing voices, one rises above the others. He sticks his microphone in Harrison’s face.

MALE REPORTER
Senator, did your daughter commit suicide?
Harrison throws him a hard look, backs him off.
But a FEMALE REPORTER, 20s, is not intimidated. She points her microphone at Harrison.

FEMALE REPORTER
What did the Medical Examiner say?

HARRISON
Shame on you!
Harrison jerks away from the Female Reporter.

HARRISON (CONT’D)
Shame on all of you!
Eduard and Nelson try to pull Harrison away. Harrison pushes them away. He scowls at the reporters.

HARRISON (CONT’D)
What’s wrong with you people!? YOU feed off my daughter’s death, but fail to see her brilliance, to feel her beautiful spirit…
Harrison is overcome with emotion. The reporters become silent. A moment, then:”

“NEWS REPORTERS
Senator Taylor, Senator Taylor…

 

INT. HARRISON TAYLOR LIMOUSINE – TRAVELING – DAY

Harrison sits across from Eduard and Nelson.
HARRISON”
“Vultures!
(to Eduard)
Who’s this Dr. Zaragoza?
EDUARD”
“Hold on.
Eduard pulls out a computerized tablet from a compartment in the limousine door. He types, then reads.
EDUARD (CONT’D)
Dr. David Zaragoza…
INT. DAVID ZARAGOZA’S OFFICE – CONFERENCE ROOM – DAY
EDUARD (V.O.)
…he’s a psychologist, a clinical hypnotherapist specializing in psychological autopsies.
DAVID ZARAGOZA, 32, makes notes on a large white board. He steps back, scans the board. At the top of the board, written in block letters: “”Alyssa Taylor.””
Below that, several headings:
*Family History *Medical History *Psychiatric History
*Substance Use *Relationships *Changes Before Death David pivots to JACK OLSHANSKY, 25, his assistant.
DAVID
The subject is Alyssa Taylor, daughter of Senator Harrison Taylor.
JACK
So, we need to get this right.
DAVID
What do we have so far?
JACK
The subject was in good health, free of disease processes. No toxicology
report yet.”

“Make the usual list. Family, friends, acquaintances. Schedule interviews, and —
Intercom BUZZES.”
“Yes.” “DAVID (CONT’D)
RECEPTIONIST”
“Senator Harrison Taylor is here to see you.
David and Jack exchange looks. David pulls a screen over the white board.
INT. CONFERENCE ROOM – DAY
Harrison, Eduard, and Nelson sit across from David and Jack at a conference table.
HARRISON
What are you trying to prove?
DAVID
Senator Taylor, what we do is conduct psychological autopsies.
EDUARD
What in Hell is a psychological autopsy?”
“DAVID
It’s a retrospective analysis of the final days and hours immediately prior to a person’s death. What they did, who they saw.
JACK
We’ll be interviewing individuals your daughter interacted with in the days and hours before her death.
DAVID
We’ll also analyze police and autopsy reports, medical and psychiatric reports.”
“HARRISON
My daughter will be buried tomorrow, and today you’re prying into her
private life.”
“Senator, I’m sorry, but we only want to determine your daughter’s state of mind, her intention, the night she –“
“HARRISON
Her intention!?
Harrison gives David an icy stare.
HARRISON (CONT’D)
You think her intention was to drive off a cliff?
DAVID
I, uhh… that’s not —
Harrison pushes to his feet. He glances at Eduard and Nelson.
HARRISON”
“Let’s go.
Harrison, Eduard and Nelson exit. David and Jack stare after them. EXT. CEMETERY – DAY
Harrison and Cassandra stand on one side of Alyssa’s coffin. Next to them, Emlyn holds hands with Lucia.
They are surrounded by Nelson, Eduard, relatives, and friends. A priest stands among them.
They watch Alyssa’s coffin being lowered into the ground. EXT. CEMETERY – DAY – LATER
Mourners file away from the burial site in twos and threes.
Emlyn, tearful, walks arm-in-arm with Lucia, behind Harrison and Cassandra.
GINA GORDON, 25, Alyssa’s roommate approaches them.
GINA (O.S.)”
“Emlyn…
Harrison turns to Emlyn.
HARRISON
We’re going ahead. Come by the house
later.”
“I will.” “EMLYN”
“Emlyn and Lucia turn to Gina.
GINA”
“Hi.
EMLYN”
“Glad you came.
Emlyn and Gina embrace. Gina pulls back, acknowledges Lucia.
LUCIA”
“Hi.
GINA
(to Emlyn)”
“I am so sorry.
EMLYN”
“Thank you.
GINA”
“(tearful)
I’m going to miss her.
EMLYN”
“I know.
GINA”
“Does anybody know what happened?
EMLYN”
“Not really.
GINA”
“The reason I ask… on the news they mentioned suicide. Do you think…
EMLYN
No, there’s no way.
GINA
I know she was stressed, having nightmares again, but never would I —
EMLYN”
“Nightmares?
GINA”
“Yeah. That story she was working on…
(shakes her head)
…was driving her crazy.”
“EMLYN
She gets like that when —
GINA
I know, but this was different. She was jittery, on edge.
EMLYN
Because of a story?
GINA
That’s my guess. Something about cold cases.”
“EMLYN
I’ll come by later, pick up some of her things.”
“GINA
That’ll work. Okay, I gotta go.
Gina gives Emlyn a hug. She turns to Lucia.
GINA (CONT’D)”
“Bye Lucia.
Gina moves off.
EMLYN”
“(to Lucia)
A story? Is that why she’s been acting so strange?
LUCIA
You said she’s always been strange.
EMLYN
Yeah, as long as I can remember, but lately, more so.
INT. EMLYN TAYLOR’S SEDAN – TRAVELING – DAY
Emlyn turns onto the driveway leading to the Harrison mansion. Cars are parked on both sides of the driveway. She double parks near the entrance. She exits her sedan.
INT. HARRISON TAYLOR MANSION – LIVING ROOM – NIGHT
Emlyn enters to a gathering of friends and family. Alexander and a MAID, 30, scurry about, serving them.
Emlyn wanders through them, accepts hugs and condolences. Cassandra rushes to greet her.”
“CASSANDRA
Glad you’re here.
Cassandra grabs Emlyn by an arm, guides her to a corner where Harrison sits with Eduard and Nelson. They sit.
HARRISON
How’re you holding up?
EMLYN”
“I’m okay.
Harrison grabs Emlyn’s hand.
HARRISON
Glad you’re here. The Medical Examiner has ordered an investigation into Alyssa’s death.
EMLYN
Isn’t that unusual?
EDUARD
That’s how we feel as well.
EMLYN”
“Then why?
HARRISON”
“My suspicion it’s to rule out suicide. My insurance company’s also interested.”
“EDUARD
An investigator’s going to be interviewing the three of you, and Alyssa’s roommate.
CASSANDRA
(to Emlyn)
Wasn’t that Gina at the funeral?
EMLYN”
“Yeah.
CASSANDRA”
“She say anything about Alyssa?
EMLYN
Nothing much. But she did say Alyssa had been on edge, but not suicidal.
HARRISON”
“On edge?”
“EMLYN
That’s what she said. Seemed to think it had to do with Alyssa’s last story, about cold cases.
HARRISON”
“Cold cases?
EMLYN
Yeah.
HARRISON”
“Was it finished?
EMLYN
Gina didn’t say.
HARRISON
I’ll send someone to pick up her computer, her other things.
EMLYN
I’ll get them.
HARRISON
I don’t want to bother you with that.
EMLYN
Really, not a problem. Anyway, Gina’s expecting me later today.
INT. EMLYN TAYLOR’S LAW OFFICE – PRIVATE OFFICE – DAY
Emlyn stands at a window, looking out. A pensive look on her face.
Lucia enters. Emlyn does not notice. Lucia studies Emily for a moment.”
“LUCIA
You okay?
EMLYN”
“Much as I can be.
LUCIA
No need for you to be here.
EMLYN
I need to stay focused on something else.
Emlyn sits at her desk. Lucia pulls out a chair, sits.”
“LUCIA
It’s bad timing, but we need to do something about Bradford.
EMLYN
I know, but…
LUCIA
You worried about losing?
EMLYN
Not really. I’m worried about what Asher and Blake will put her through, win or lose.
LUCIA
I guess we have to win.
Lucia gets up.”
“EMLYN
Hold on. What’d you find out? The false memory cases.
Lucia sits.”
“LUCIA
I found an expert. A psychology professor at the university.
INT. UNIVERSITY – HALLWAY – DAY
Emlyn stops a student hurrying by her.
EMLYN”
“Excuse me.
The students stops, turns to her.
EMLYN (CONT’D)
Where’s Dr. Talbot’s office?
INT. DOCTOR LEVI TALBOT’S OFFICE – DAY
Emlyn sits before DOCTOR LEVI TALBOT, 70.
DOCTOR TALBOT
Well, according to some, the False Memory Syndrome, as it’s called, is supposedly caused by memories of a traumatic episode, like childhood sexual abuse, which are objectively false, but in which the person
strongly believes.”
“EMLYN
So, you’re saying my client believes something that is actually false.
DOCTOR TALBOT
No, didn’t say that. You see, at
the same time, there is what is called dissociative amnesia. That’s real.
EMLYN
Dissociative amnesia. And that’s different from a false memory.
DOCTOR TALBOT
Yes. It’s a person’s inability to recall a traumatic life event for an extended period of time until triggered in some way.
EMLYN
You mean recalled after years?
DOCTOR TALBOT
Yes. Because usually the memory of the trauma has been successfully stored in the unconscious. It’s rare, but it does happen.
EMLYN
What are the symptoms?
DOCTOR TALBOT
Well, sudden onset, memory loss, distress, anxiety, flashbacks, sometimes nightmares, and —
EMLYN
(shaken) Nightmares?”

“DOCTOR TALBOT
Yes. Does your client have nightmares?”
“EMLYN
I, uhh… I don’t know.
INT. EMLYN TAYLOR’S SEDAN – NIGHT
Emlyn sits. She stares through the front window. Her eyes are unfocused.
After a long moment, she picks up her cell phone, dials. She waits, then…”
“EMLYN
(on phone)
Gina, I’m coming by. Is this a good time?”
“GINA (V.O.)
I’m on my way out, but I’ll be back in a couple of hours.
EMLYN
(on phone)
That’s fine. See you then.
EXT. OFFICE BUILDING – NIGHT
Light drizzle. A DOORMAN exits the office building. Nelson and his grandson, TOMMY, 7, appear in the doorway.
The doorman opens an umbrella. He holds it over Nelson and his grandson.
A black limousine pulls up to the curb alongside Nelson and this grandson. The doorman opens the rear door. Nelson and Tommy climb in.
The limousine moves away from the curb, merges with traffic. INT. LIMOUSINE – TRAVELING – NIGHT
Nelson and Tommy sit across from Gabriel. Tommy is focused on a handheld computerized game.
NELSON
Tommy, say hello to my friend.
Tommy looks up.”
“Hello.” “TOMMY
NELSON”
“Tommy’s my grandson.
Gabriel nods, gives Tommy a thin, tight smile. He puts a mint into his mouth. He reaches one to Tommy.
Tommy looks at Nelson. He nods his approval. Tommy takes the mint.”
“NELSON (CONT’D)
(to Tommy) What do you say?
TOMMY”
“Thank you.”
“Tommy unwraps the mint, pops it into this mouth. He gives the wrapper to Nelson. He returns to his game.
Nelson reaches a slip of paper to Gabriel. Gabriel unfolds it, reads.”
“NELSON
As soon as you can.
Nelson signals the driver. The limousine swerves to the curb, stops. Gabriel exits.
EXT. STREET – NIGHT
Gabriel holds an umbrella against a steady drizzle. He watches the limousine disappear in traffic.
INT. LIMOUSINE – NIGHT
Tommy looks at Nelson.
TOMMY
Who was that man, grandfather?
NELSON
Just a friend. I like him. You know why?
Tommy gives him a quizzical look.
NELSON (CONT’D)
Because he’s dependable, does what he’s told.
INT. ALYSSA’S/GINA’S APARTMENT BUILDING – STAIRWELL – NIGHT
Gabriel opens the stairwell door, looks out. He takes a furtive look right, then left.
INT. ALYSSA’S/GINA’S APARTMENT BUILDING – HALLWAY – NIGHT
Gabriel KNOCKS on the apartment door. No response. He takes out a set of lock picks, works on the lock. Within seconds, the door is unlocked. He cracks open the door, listens.
INT. ALYSSA’S/GINA’S APARTMENT – LIVING ROOM – NIGHT
Gabriel enters, closes the door, locks it. He stands motionless, listens.
INT. EMLYN TAYLOR’S SEDAN – TRAVELING – NIGHT
Emlyn speaks into her dash mounted cell phone.”

“EMLYN
(on phone) Gina…
After a moment…”
“Hello.” “GINA (V.O.)
EMLYN”
“(on phone) I’m on my way.
GINA (V.O.)
I’m not home yet, but I’ll be there in a few minutes.
EMLYN
(on phone) Okay.
Emlyn disconnects the call. INT. BEDROOM #1 – NIGHT
Gabriel enters. He spots a laptop on a desk. He takes a bag from a jacket pocket. He detaches the charger from the laptop, slips it inside the bag.
INT. BEDROOM #2 – NIGHT
Gabriel slides a second laptop into the bag. He hears the SOUND of the front door opening. He freezes.
INT. ALYSSA’S/GINA’S APARTMENT – LIVING ROOM – NIGHT
Gina steps inside. She drops her keys and cell phone on a table near the door. She continues down a hallway.
INT. BEDROOM #2 – NIGHT
Gina sits on her bed. She takes off her shoes. She exits the bedroom.
INT. KITCHEN – NIGHT
Gina opens a bottle of wine. She pours a glass. INT. BEDROOM #2 – NIGHT
Gina sits the wine glass on a night stand. She takes off
her blouse. She crosses to a closet, opens it. She screams.”

“EXT. ALYSSA’S/GINA’S APARTMENT BUILDING – NIGHT
Emlyn stands at the apartment building’s gated entry. She pushes the button on the directory next to Alyssa’s and Gina’s name. No response.
She randomly pushes several buttons. WOMAN TENANT blares over the intercom.”
“WOMAN TENANT (V.O.)
Who is it?
EMLYN”
“Hello, I’m here to see Gina Gordon in three-oh-three.
WOMAN TENANT (V.O.)
Try ringing her apartment instead of mine.”
“EMLYN
I did, but she didn’t answer.
WOMAN TENANT (V.O.)
That should tell you something.
The Woman Tenant disconnects.
EMLYN
Hello, hello…
Emlyn pulls out her cell phone.
INT. ALYSSA’S/GINA’S APARTMENT – LIVING ROOM – NIGHT
Gina’s cell phone, lying on the table by the door, RINGS. EXT. ALYSSA’S/GINA’S APARTMENT BUILDING – NIGHT
EMLYN
Answer the damn phone!
Gabriel approaches from the other side of the gate. Emlyn makes a display of digging into her handbag for keys.
EMLYN (CONT’D)
Where are they?
Emlyn turns to Gabriel.
EMLYN (CONT’D)
Can’t seem to find my keys. Would
you mind?”
“GABRIEL
Of course.”
“Gabriel opens the gate, holds it open for Emlyn.
EMLYN
Thank you so much.
INT. ALYSSA’S/GINA’S APARTMENT BUILDING – HALLWAY – NIGHT
Emlyn is at the entrance to the apartment. She KNOCKS, then waits. She tries the door. It’s unlocked.
INT. ALYSSA’S/GINA’S APARTMENT – LIVING ROOM – NIGHT
Dark. Emlyn steps inside. She hesitates.
EMLYN”
“Gina?
Emlyn flips on a light. She takes cautious steps into the… INT. HALLWAY – NIGHT
Emlyn sees a shard of light spilling out of the bedroom. MUFFLED WHISPERING seeps in from somewhere.
Emlyn reacts, braces herself against a wall. She steadies herself. After a moment, she moves toward the bedroom.
EMLYN (CONT’D)”
“Gina…
INT. BEDROOM #2 – NIGHT
Emlyn enters. She sees Gina lying nude, spread eagle on her bed. Her throat is slashed. Emlyn gasps for air.
INT. ALYSSA’S/GINA’S APARTMENT BUILDING – HALLWAY – NIGHT
Emlyn rushes out of the apartment. She takes out her cell phone, starts to dial, stops. She takes a moment, then goes back into the apartment.
INT. BEDROOM #1 – NIGHT
Emlyn scans the bedroom. She notices the laptop charger on the desk. She opens desk drawers, looks inside. She looks under the desk. She looks in a closet. No laptop.
INT. HALLWAY – NIGHT
Emlyn composes herself before she enters bedroom #2.”
“INT. BEDROOM #2 – NIGHT
Emlyn stares at Gina’s body. She pulls a bed sheet over her. She then begins a search of the room.
She looks inside a desk drawer, then another. She looks inside the drawers of a file cabinet. She crosses to the closet, looks on the floor, examines an overhead shelf. She comes up empty.
Emlyn takes out her cell phone, punches in a number.
911 OPERATOR (V.O.)
This is 911, Operator 242. What is your emergency?
EXT. ALYSSA’S/GINA’S APARTMENT BUILDING – NIGHT
The apartment building is cordoned off with crime scene tape. Police cars block traffic.
Across from the entrance, a gawking crowd and NEWS REPORTERS. Uniformed POLICE keep them at a distance.
INT. ALYSSA’S/GINA’S APARTMENT – LIVING ROOM – NIGHT
Emlyn sits with detectives CRYSTAL ESTRADA, 35, and ZACK ANDREWS, 30.
Two TECHNICIANS wheel out Gina in a body bag. Emlyn glances at the body bag, immediately turns away.
EMLYN”

“Can I go?
Andrews flips through a note book, glances at Estrada.
ESTRADA
We have enough for now.
A CRIME SCENE INVESTIGATOR, female, 25, interrupts.
FEMALE CSI
(to Estrada)
We’re done. Tell you more after we process.
Estrada nods. Emlyn gets up to exit.
ESTRADA
I’ll have somebody walk you to your car.”
“EMLYN
Thanks, but I’m okay.”
“Emlyn exits.
Andrews turns to Estrada.
ANDREWS
No forced entry.
ESTRADA
Similar M.O. of murder last week or so. Remember? The real estate developer.”
“ANDREWS
So, what are we looking at here?
EXT. ALYSSA’S/GINA’S APARTMENT BUILDING – NIGHT
Emlyn races to her sedan. She pulls out her keys, pushes the remote. CHIRP, CHIRP.
Noise behind her. FOOTSTEPS. She fumbles inside her handbag. She pulls out a canister of mace. FOOTSTEPS approach.
Emlyn spins around, sprays mace at a would be attacker. No one is there.
INT. EMLYN’S SEDAN – NIGHT
Emlyn leaps inside her sedan. She turns on the ignition, speeds off.
EXT. EMLYN TAYLOR’S HOME – NIGHT
Emlyn exits her sedan. She races to her front door. FOOTSTEPS behind her. She turns. Nothing.
INT. EMLYN TAYLOR’S HOME – FOYER – NIGHT
Emlyn enters. The ALARM goes off. Emlyn SLAMS the door, locks it.
Wolf greets her. Emlyn ignores her.
Emlyn turns off the alarm, resets it. She looks through the peep hole. She listens.
INT. KITCHEN – NIGHT
Emlyn takes a bottle of vodka and glass out of the freezer. She pours a good amount. She downs it.
NOISE at the front door.
Emlyn crosses to a cookie jar. She takes out a handgun, clicks off the safety.”

“INT. FOYER – NIGHT
Emlyn inches to the front door, handgun ready. She looks through the peep hole, sees nothing alarming.
INT. LIVING ROOM – NIGHT
Emlyn sits on a sofa. She sips vodka. The handgun rests in her lap. She closes her eyes.
FLASH BACK:
Darkness. Young Alyssa’s face flashes before Emlyn.
YOUNG ALYSSA”
“Em!
END FLASH BACK.
Emlyn’s eyes pop open! She scans the room. INT. EMLYN TAYLOR’S PRIVATE OFFICE – DAY
Emlyn and Lucia sit opposite each other.
LUCIA
I’m glad you weren’t there.
EMLYN
I almost was.
LUCIA
Two roommates die weeks apart.
EMLYN
One writes a story, the other wants me to read it.
LUCIA
So, where’s the story?
The intercom BUZZES.”
“RECEPTIONIST (V.O.)
There’s a Dr. Zaragoza on the line.
EMLYN
Okay. I got it.
Emlyn takes the call.”
“EMLYN (CONT’D)
Emlyn Taylor.
(MORE)”
“EMLYN (CONT’D)
(pause)”
“Hello, Dr. Zaragoza. (pause)
Yes, I’m aware. (pause)
I understand, but I’ll have to think about it.
(pause)
That’s fine, call tomorrow.
Emlyn disconnects.
Emlyn picks up her cell phone, dials.
EMLYN (CONT’D)
Hello, Alexander, may I speak to my father?
(pause) He’s where?
EXT. EMLYN TAYLOR’S SEDAN – DAY
Emlyn’s sedan moves along an iron fence that separates a cluster of brick buildings from the rest of the world.
The sedan passes through the gated entrance. A sign at the entrance reads: “”Briarwood Academy for Girls.””
INT. BRIARWOOD ACADEMY – BALLROOM – DAY
Bustling. Curious teenage girls in school uniforms wander wide-eyed through a maze of reporters and volunteers.
Emlyn enters. She looks around, shakes her head. Nelson appears at by her side.
NELSON
Emlyn, may I help you?
EMLYN
I’m looking for my father.
NELSON
He’s terribly busy at the moment.
EMLYN
Mr. Cain, why this? Out of respect, don’t you think —
NELSON
Emlyn, the Senator is in an extremely close race, and — at seventy-five
(MORE)”

“NELSON (CONT’D)
thousand a plate. Besides, Harrison’s one of their own. Teacher, volleyball coach.”
“Never mind.” “EMLYN”
“Emlyn turns away. She scans the room. She spots Cassandra with an arm around a TEENAGE GIRL. She heads for her.
EMLYN (CONT’D)
Cassandra…
Cassandra turns to her, then back to the teen.
CASSANDRA
(to teen)
Come see me later. We’ll work it out.
The Teenage Girl, nods, wipes away tears.
TEENAGE GIRL”
“Okay.
The Teenage Girl moves away. Cassandra turns to Emlyn.
CASSANDRA”
“Darling…
Cassandra reaches out to Emlyn. Emlyn moves into a warm embrace. Cassandra releases Emlyn, steps back.
CASSANDRA (CONT’D)
Alyssa’s friend. I heard. And you finding her like that. How dreadful.
EMLYN”
“I’m okay.
Emlyn looks through the milling crowd.
EMLYN (CONT’D)
Where’s my father?
CASSANDRA
Come here with me.
Cassandra leads Emlyn into a small office. INT. OFFICE – DAY
Cassandra picks up her handbag, pulls out a small handgun. She reaches it to Emlyn. Emlyn stares at the handgun.”
“Take it.” “CASSANDRA”
“Emlyn stares at the handgun.
CASSANDRA (CONT’D)
It’s okay, I have another. In Harrison’s desk
EMLYN
Thanks, I’ll keep it mind. Where’s my father?”
“CASSANDRA
Somewhere in some meeting.
EMLYN
Can’t he do something about this Dr. Zaragoza?”
“CASSANDRA
You heard what Eduard said.
EMLYN
So, we just have to…
CASSANDRA
Get it over with. Your father and I are meeting with him later today.
Join us.
Emlyn shakes her head.
CASSANDRA (CONT’D)”
“Please.
Emlyn stares at Cassandra.
INT. HARRISON TAYLOR MANSION – LIVING ROOM – DAY
David sits opposite Harrison and Cassandra.
DAVID
Just a few more questions.
David flips a page in the notebook, looks up.
DAVID (CONT’D)
Was she experiencing any stressors immediately prior to her death?
HARRISON
Not that I know of. Cassandra, can
you think of anything?”
“CASSANDRA
No, nothing.
David makes a notation in his notebook. He continues to make notes intermittently.
DAVID
(to Cassandra)
The last time you saw your daughter. When was that?
CASSANDRA
Let me think. Harrison was away.
It was the day of the uh… accident. We had lunch.
DAVID
What was her mood?
CASSANDRA
To be honest, she… she seemed distraught.”
“DAVID
Please explain.
CASSANDRA
Nothing unusual. There was always something. Since she was a child. Nightmares, panic attacks…
HARRISON
(overlapping)
Alyssa was gifted, often misunderstood.
David makes a note.”
“DAVID
Tell me about her suicide attempt. When she was a teenager.
HARRISON
More of a gesture. Alyssa was a sensitive child, more sensitive than most.”
“CASSANDRA
Harrison doted on Alyssa.
Cassandra takes Harrison’s hand in hers, gazes at him.
CASSANDRA (CONT’D)
But we both agree she was a handful
at times.”
“DAVID
But the suicide attempt —
HARRISON
Gesture. She was into cutting, like many teenage girls.
DAVID
But I understand she was hospitalized.
HARRISON
Why that’s relevant?
DAVID
I’m merely trying to —
HARRISON
I’m sorry, go on.
DAVID
My records indicate the hospitalization was for several days.
HARRISON
Seventy-two hours. No reason to hold her longer.
David makes a notation.
DAVID
Senator, when was the last time you saw your daughter?
HARRISON
Uhh… four, five nights before the accident. She was visiting, stayed over. We keep the girls’ old bedroom for them.
INT. EMLYN’S/ALYSSA’S CHILDHOOD BEDROOM – DAY
David studies the photos and framed newspaper articles about Alyssa on one wall.”

“DAVID
I understand Alyssa was an investigative journalist.
HARRISON
And well respected.
Harrison points to a photo on the wall.”
“HARRISON (CONT’D)
This is Alyssa with the Chief of Police. She helped him solve a five- year old cold case, a couple of years back.
INT. HALLWAY – DAY
Emlyn approaches the bedroom. She becomes overwhelmed with anxiety. She takes a moment to compose herself.
INT. EMLYN’S/ALYSSA’S CHILDHOOD BEDROOM – DAY
Emlyn enters. Cassandra turns to her.
CASSANDRA
Emlyn, darling, I’m so glad you came.
Cassandra puts an arm around Emlyn.
HARRISON
Emlyn and Alyssa. My girls. We had such marvelous times. Museums, amusement parks…
Breathless BREATHING seeps into the room. Emlyn reacts, becomes unnerved.”
“Em!” “YOUNG ALYSSA (V.O.)”
“Emlyn glances at Harrison, then at Cassandra. She and David lock eyes. She rushes out.
INT. STAIRCASE – DAY
David, Cassandra, and Harrison descend the staircase. Emlyn exits the living room.
CASSANDRA
There you are.
(off Emlyn’s look) Darling, are you all right?
Cassandra tries to embrace Emlyn. Emlyn moves away.
EMLYN”
“I’m fine.
CASSANDRA”
“Are you sure? You look —
EMLYN
I’ve got to go.”
“Emlyn exits.
HARRISON”
“Dive carefully.
Harrison, Cassandra, and David AD LIB good byes. EXT. HARRISON TAYLOR MANSION – DAY
David exits. He watches Emlyn climb into her sedan.
DAVID (O.S.)
Ms. Taylor…
David hurries toward her. As he approaches, Emlyn rolls down the driver side window.
EXT./INT. EMLYN TAYLOR’S SEDAN – DAY
DAVID
What happened up there?
EMLYN”
“Nothing.
But — Nothing.
Sorry.
(pause)” “DAVID EMLYN DAVID”
“Uh… I was wondering if —
EMLYN
Call tomorrow. I may have time.
DAVID”
“Thank you.
Emlyn turns on the ignition, speeds off. INT. HARRISON TAYLOR MANSION – LIBRARY – DAY
Harrison and Cassandra stand at a window, watch David get into his car and drive off.
HARRISON
How do you think it went?
CASSANDRA
Went well, I suppose.”
“HARRISON
Why do you always paint Alyssa in such a negative light?
CASSANDRA
I’ve always seen her the way she was.”
“HARRISON
It was the way you saw her, not the way she was.
CASSANDRA
You’ve trusted my insights in everything, always. That’s why we’ve gotten this far. But not when it came to your precious Alyssa.
Harrison glares at Cassandra.
INT. EMLYN TAYLOR’S HOME – BEDROOM – NIGHT
Emlyn’s in bed. She rests against the headboard. Wolf’s in her lap. She stares absently at the flat screen.
ON FLAT SCREEN:
Television news set.”
“MALE NEWS ANCHOR
…and the President will be meeting with the Prime Minister of Japan at Camp David this weekend.
The camera shifts to a FEMALE NEWS ANCHOR and a chroma keyed image of Alyssa Taylor behind her.
FEMALE NEWS ANCHOR
And still unknown is what led to the death of Alyssa Taylor. Although it appears her death was accidental, according to a source in the Medical Examiner’s Office, suicide has not been ruled out. And now this from —
BACK TO SCENE.
Emlyn punches the remote. The screen goes black. INT. BEDROOM – NIGHT
Emlyn is asleep. She tosses and turns.”
“BEGIN NIGHTMARE:
INT. EMLYN’S/ALYSSA’S CHILDHOOD BEDROOM – NIGHT
YOUNG EMLYN, 9, in bed. She watches the light from a hallway seep in from a partially closed door. FOOTSTEPS approach.
Young Emlyn buries her head in a pillow. END NIGHTMARE.
INT. DOCTOR NATHANSON’S OFFICE – DAY
Emlyn sits next to Dr. Nathanson.
EMLYN
Sometimes I get light headed… and there’s the nightmares…
DOCTOR NATHANSON
The medication may get rid of the nightmares, but not the reason you’re having them.
Emlyn gives Dr. Nathanson a pointed look.
EMLYN
I don’t need to see a shrink.
DOCTOR NATHANSON
But maybe a shrink needs to see you.
INT. EMLYN TAYLOR LAW OFFICE – EMLYN’S PRIVATE OFFICE – DAY
Emlyn’s at her desk. Lucia opens the door, peaks in. Emlyn looks up.”

“LUCIA
Dr. Zaragoza’s here to see you.
EMLYN”
“See him in.
LUCIA”
“Oh, by the way. He’s hot.
INT. EMLYN TAYLOR’S PRIVATE OFFICE – DAY
David sits across from Emlyn. He opens a notebook and takes out a pen. He looks up.
DAVID
So, uhh, when did you last see your
sister?”
“EMLYN
A day before her accident.
DAVID
What kind of mood was she in?
EMLYN
Frazzled. The way she always gets when working a story.
DAVID
Was that your only contact before her death?
Emlyn hesitates, looks away. A moment.
DAVID (CONT’D)
Ms. Taylor…
Emlyn turns to David.”
“EMLYN
She called me the night of the accident.”
“DAVID
What did she say?
Emlyn shifts her eyes downward.
EMLYN
I didn’t pick up.
DAVID”
“Did she —
EMLYN”
“Voice mail. She sounded scared. Scared, not spiraling.
Emlyn glares at David.
EMLYN (CONT’D)
She didn’t commit suicide.
DAVID
I’m not thinking she —
EMLYN
Everybody seems to think so.
DAVID
I’m just trying to find out why you
sister died.”
“EMLYN
Did you know Alyssa’s roommate was murdered days after Alyssa died, and her laptop stolen?
DAVID
No, but that’s not what I’m —
EMLYN
That’s some coincidence, isn’t it?
DAVID
I’m a forensic investigator, not a detective.”
“EMLYN
Then investigate. I want to know what happened, so why don’t we work together?”
“DAVID
I don’t think that’s a good idea.
EMLYN
Have you talked to Alyssa’s editor? About her last story.
DAVID
Marc Mirkarimi? I’m scheduled to him tomorrow.
EMLYN
I’m going to see him today.
DAVID
I uh… can you not do that?
Emlyn gives him a cold look.
EMLYN”
“Why’s that?
DAVID”
“Because I haven’t had a chance to —
EMLYN
I tell you what. You can go alone or you can go with me, but don’t tell me I can’t see him.
DAVID
Are you always like this?
EMLYN
Pretty much.”
“INT. MARC MIRKARIMI’S OFFICE – DAY
Emlyn and David sit at a table across from MARC KIRKARIMI, 40, Alyssa’s editor.”
“MIRKARIMI
Please accept my condolences.
EMLYN”
“Thank you.
MIRKARIMI”
“Such a brilliant mind, a beautiful person.
(pause)
How can I help you?
EMLYN
What can you tell us about Alyssa’s last story?”
“MIRKARIMI
Unsolved murders over the past ten years.”
“EMLYN
Why cold cases?
MIRKARIMI
Don’t know. And only women.
EMLYN”
“How many?
MIRKARIMI”
“Maybe twenty, thirty. But after a while, she only focused on six, all in California.
EMLYN
Why those six?
MIRKARIMI
She never said. Got secretive. Never done that before.
DAVID
Can we look at her computer?
MIRKARIMI
Wish you could. The day Alyssa died, I open up, and it’s gone.
EMLYN
Gone? Someone stole it?”
“MIRKARIMI
No sign of a break-in. But doesn’t matter. Alyssa kept her work on her laptop, but mostly on externals.
FLASHBACK:
INT. ALYSSA’S HOSPITAL ROOM – DAY
Emlyn leans close to Alyssa.
ALYSSA”
“Thu…
Alyssa moves her right hand slowly over Emlyn’s. She clutches her thumb.
END FLASHBACK.”
“EMLYN
Like on a thumb drive.
EXT. MARC MIRKARIMI’S OFFICE – DAY
Emlyn and David exit Mirkarimi’s office. David walks Emlyn to her sedan.”
“EMLYN
Gina’s killer took laptops. Alyssa’s computer disappears from Mirkarimi’s office. They didn’t know about the thumb drive.
Emlyn opens the door to her sedan. She turns to David.
EMLYN (CONT’D)
I’ve got to go.
DAVID”
“But…
INT./EXT. EMLYN TAYLOR’S SEDAN – DAY
Emlyn climbs into her sedan. David holds the door open.
DAVID
We didn’t finish your interview.
EMLYN”
“Call me.
Emlyn closes her car door. She turns on the ignition, drives off. David stares after her.”
“INT. EMLYN TAYLOR’S SEDAN – DAY
Emlyn on dash mounted cell phone.
EMLYN
Hello, Dad…
(pause)
I’m fine. Listen, did anyone pick up Alyssa’s belongings yet?
(pause)
No worries. I’ll get them.
INT. PROPERTY MANAGEMENT COMPANY – STORAGE FACILITY – DAY
Emlyn watches ALICE PARKER, 50, storage facility manager, unlock a door, then follows her inside the storage facility.
ALICE
(gestures)
What you’re looking for is over there. Let me know when you’re done.
Alice exits.
INT. CORNER OF FACILITY – DAY
Emlyn searches inside a large handbag. She pulls out everything, but a thumb drive. She puts the handbag aside, opens another, feels inside.
She searches the contents of several boxes.
She opens a briefcase. She pulls out a thumb drive case. She unzips it.
INSERT:
Ten thumb drives arranged in two rows. BACK TO THE SCENE.
Emlyn zips the case, slips it into her handbag. INT. EMLYN TAYLOR’S HOME – HOME OFFICE – NIGHT
Emlyn sits at her desk. She stares at her laptop screen. She pulls out a thumb drive from a USB port, pushes in another. She stares at the screen.
INT. HOME OFFICE – NIGHT
Emlyn stares at the laptop screen. All ten thumb drives are spread out on the top of her desk.”

“EMLYN
Fuck. Where is it?
INT. POLICE IMPOUND OFFICE – DAY
Emlyn stands next to Highway Patrol Investigator. They stand in front of an male IMPOUND CLERK, 50.
INVESTIGATOR
This woman is here to take possession of her sister’s personal effects
from the vehicle listed in paragraph two.
The Investigator hands the Impound Clerk a document. The Impound Clerk takes it. He looks it over.
IMPOUND CLERK
Miss, you just have to sign there at the bottom.
The Impound Clerk hands Emlyn a pen. She takes it, signs. EXT. POLICE IMPOUND – DAY
Emlyn jerks on the driver’s side door of Alyssa’s coupe. It doesn’t budge.
She moves to the passenger side. She opens the door. She pulls out Alyssa’s handbag and jacket.
Emlyn moves to the coupe’s trunk. She lifts the trunk lid, looks inside.
INT. EMLYN TAYLOR’S SEDAN – DAY
Emlyn sits with Alyssa’s jacket and handbag. She empties the jacket’s inside and outside pockets.
She pulls every item out of the handbag. She sits for a moment. Shakes her head.
EMLYN
It’s got to be here.
Emlyn reopens the handbag. She feels around inside the handbag. She finds a concealed pocket. She unzips it. She pulls out a thumb drive.
EMLYN (CONT’D)”

“Bingo!”
“INT. DAVID ZARAGOZA’S OFFICE – RECEPTION AREA – DAY
Emlyn storms into the reception area, carrying her laptop. She stops at the reception desk.
EMLYN
(to receptionist) Is he in?”
“Yes.” “RECEPTIONIST”
“The Receptionist picks up a phone.
RECEPTIONIST (CONT’D)”
“I’ll —
EMLYN
Never mind.”
“Emlyn rushes past her. INT. CONFERENCE ROOM – DAY
Emlyn enters. David stands in front of the white board. He looks over to Emlyn as she enters. He smiles.
Emlyn holds up the thumb drive.
EMLYN
Have a seat.
Emlyn sits at the conference table. She opens up her laptop, boots it up.
David sits next to her. He gives her a quizzical look.
EMLYN (CONT’D)
Took me three hours to figure out the password.
Emlyn inserts the thumb drive into a USB port.
EMLYN (CONT’D)
Pay attention.
Emlyn taps the touch pad. David looks at the laptop screen. ON LAPTOP SCREEN:
Six folders appear:
Maxwell Salcedo Guildford Sharifi Peterson Meadows”

“The mouse pointer moves to the Maxwell folder. The folder opens to Emlyn’s tap on the touch pad, reveals three files:
Las Vegas Review-Journal Police Report Autopsy Report
The mouse pointer moves to the Las Vegas Review-Journal file. It opens to the front page:
— “”Grisly Murder of Las Vegas Housewife””
— Photo of Karen Maxwell alongside the article BACK TO SCENE.
Emlyn and David stare at the laptop screen. Emlyn slides a finger over the touch pad, taps.
DAVID
What is this?
EMLYN”
“Just look.
David turns to the laptop. ON LAPTOP SCREEN:
The mouse pointer moves to the Peterson folder. It opens to reveal three files:
San Francisco Examiner Police Report Autopsy Report
The mouse pointer moves to the San Francisco Examiner file. The file opens to Emlyn’s tap. Front page of the Examiner:
— “”Murder in Corona Heights Terrifies Residents””
— Photo of Zahra Sharifi
— Photo of the Sharifi home. BACK TO SCENE.
Emlyn is focused on the laptop screen. David is focused on Emlyn’s eyes, her lips.
EMLYN (CONT’D)
These are the cases Alyssa’s was working on.
Emlyn turns to David. She catches him staring at her.
EMLYN (CONT’D)
Are you paying attention?”
“Rapt.” “DAVID EMLYN”
“Cute. Pay attention.
Emlyn and David turn back to he laptop.
EMLYN (CONT’D)
These women were murdered over the past five years. The last was Meadows, last week. Leland Hopkins Apartments. All over the news.
Emlyn taps the touch pad.
EMLYN (CONT’D)
(points)
This is Marie Guildford. There’s nothing on her.
DAVID
What does all this have to do with —
EMLYN
Alyssa was working on a story. This is just her research. Her story must be on her laptop.
DAVID
And you’re saying —
EMLYN
When Alyssa is working on a story, she would kill herself writing it, but she wouldn’t kill herself while writing it.”
“Go on.” “DAVID
EMLYN”
“Alyssa found something about these women that got her killed.
DAVID
That’s quite a leap.
EMLYN
Think about it. Alyssa’s looking into six cold cases. Then she has an accident, then her desk top and laptop disappear.
David gives Emlyn a disbelieving look.”
“EMLYN (CONT’D)
I know, conspiracy theory.
DAVID
I didn’t say that.
EMLYN
It was that look.
Emlyn pulls out the thumb drive. She slaps her laptop closed. She gets up, glares at David, then exits.
EXT. DAVID ZARAGOZA’S OFFICE – PARKING LOT – DAY
Emily opens the door to her sedan. David exits his office. He approaches her.”
“DAVID
I’m sorry, I didn’t mean to —
EMLYN
But you did it anyway.
Emlyn gets into her sedan. David stands at the open door. INT./EXT. EMLYN TAYLOR’S SEDAN – DAY
DAVID
What can I… have you eaten?
Emlyn laughs.”
“EMLYN
You’re kidding. You insult me, then ask me on a date?
DAVID
I’m not asking you on a date.
EMLYN”
“Good thing.
Emlyn slams the car door.
INT. HARRISON TAYLOR MANSION – STUDY – DAY
Emlyn and Harrison sit across from each other. Alyssa’s jacket lies in his lap.
HARRISON
Thanks for getting these.
EMLYN
Father, I think Alyssa was murdered.”
“A shocked expression spreads across Harrison’s face.
EMLYN (CONT’D)
Because of a story she was writing.
HARRISON
Are you serious?
EMLYN”
“Yes.
INT. FOYER – NIGHT
Harrison watches Emlyn get into her car. He closes the door. Cassandra approaches.”
“CASSANDRA
Was that Emlyn?
HARRISON”
“Yes.
INT. LIVING ROOM – DAY
Harrison sits across from Cassandra.
CASSANDRA”
“Murdered!?
HARRISON”
“Emlyn believes it was because she
was investigating several cold cases.
CASSANDRA
That’s utterly ridiculous. More likely than not Alyssa killed herself.
HARRISON
You actually believe —
CASSANDRA
Given what we both know about Alyssa, it’s entirely possible. You just refuse to accept it.
INT. RESTAURANT – BAR – NIGHT
Emlyn and David eye each other. They sip after dinner drinks.
DAVID
Why’d you change your mind?”
“EMLYN
I’m here to help you figure out what happened to Alyssa. So, don’t think this is a date.
DAVID
Of course not. Never would I date you.”
“EMLYN
So, being here is just one of your many investigative techniques?
DAVID”
“Could be.
EMLYN”
“Or is it what you resort to when nothing else is working?
DAVID
Is it working?
EMLYN”
“No.
Got it.” “DAVID”
“Emlyn studies David. She plays with the olive in her martini with a tooth pick.”
“EMLYN
So, why are you doing what you’re doing?”
“DAVID
Honestly? I enjoy your company.
EMLYN
(smiles)
Of course you do, but I was referring to your work.
DAVID
Oh… sorry.
EMLYN
What would Freud say about that?
DAVID
Probably tell me to shut up.
EMLYN
Don’t think you have it in you.”
“DAVID
Okay, why do I do what I do. (pause)
To help people find peace, some comfort in knowing why a loved one has left them.
Emlyn smiles, gives him a appreciative look.
DAVID (CONT’D)
I know, you thought I was just a pretty face.
EMLYN”
“Hardly.
The HOSTESS, 25, approaches.
HOSTESS
Excuse me, Your table is ready.
INT. RESTAURANT – DINING ROOM – NIGHT
Emlyn and David finish ordering. David hands their menus to the WAITER, 20s.”
“EMLYN
So, what do you want to know about Alyssa?
David takes a moment.”
“DAVID
How would you describe her?
EMLYN
As a child she was silly, fun. But about nine or ten, she changed.
Became moody, prone to depression.
DAVID
Any significant event in her life or yours around that time?
EMLYN
Not that I remember.
DAVID
Trauma? Abuse of any kind?
EMLYN
No, why do you ask that?
DAVID
Childhood trauma produces symptoms.”
“Such as?” “EMLYN DAVID”
“Depression, substance abuse, cutting, suicide ideation, flashbacks…
EMLYN
You’re describing Alyssa.
DAVID
Am I? You said there was no trauma.
The WAITER, 30, appears at their table. He places their respective orders in front of them, then moves off.
EMLYN
I don’t remember anything traumatic happening to either of us.
Emlyn and David pick up forks and begin eating.
DAVID
Then let’s leave it at that. Now, tell me about your your relationship with her.”
“EMLYN
We were once best friends… (pause)
…but after awhile, she kept her distance.”
“Explain.” “DAVID
EMLYN”
“Can’t. And she was never close to our father or step-mother either.
INT. RESTAURANT – DINING ROOM – NIGHT
The Waiter picks up their plates.
WAITER”
“Dessert?
David glances at Emlyn. Emlyn shakes her head.
DAVID”
“We’re fine.
The Waiter moves off. David turns to Emlyn.”
“DAVID (CONT’D)
Tell me about your mother.
EMLYN
She died when I was three. Auto accident. Never really knew her.
DAVID
Sorry to hear.
EMLYN”
“Thank you.
DAVID”
“Did Alyssa have many friends?
EMLYN
One or two growing up, but as an adult, just Gina as far as I know.
DAVID
The days before she died…
EMLYN
She wasn’t suicidal, if that’s what you want to know.
DAVID
You believe she was murdered.
EMLYN
And you think she killed herself.
DAVID
Not true. But I can accept the possibility that —
EMLYN
Because you didn’t know her.
DAVID
That’s why we’re here.
EMLYN
You’ll never fully understand her.
DAVID
Because you never did?
Emlyn stabs the olive in her glass with a toothpick. She puts it into her mouth. She glares at David.
David sits back.”

“DAVID (CONT’D)
You’re fascinating.
EMLYN
Thank you. If that’s a compliment.
DAVID
You play it so cool.
EMLYN
Are we here about me or Alyssa?
David studies her.”
“DAVID
You have this self-assured, self- protective exterior.
EMLYN
And you have this self-assured attitude bordering on arrogance.
DAVID
But underneath, there’s this… this vulnerability.
David leans across the table.
DAVID (CONT’D)
And you defend against someone seeing it.
Emlyn leans across the table. Her face is inches from David’s. She glares at him.
EMLYN
Screw. You.
David grins.
INT. DAVID’S HOME – HALLWAY – NIGHT
Emlyn presses David against a wall.
EMLYN
This is what you’ve been dreaming about, isn’t it?
DAVID
It crossed my mind.
EMLYN
Liar. I saw in your eyes when we
first met.”

“Emlyn kisses David. He kisses her back. She pulls away.
EMLYN (CONT’D)
You wouldn’t date me, but you’re attracted to me.
David unbuttons her blouse.
DAVID
What makes you think that?
David slips a hand inside her blouse.
EMLYN
Just a feeling.
David kisses Emlyn tenderly. Emlyn unbuttons her blouse, lets it slide to the floor.
DAVID
Maybe I’m attracted to your self- assured exterior.
Emlyn unzips her skirt.
EMLYN
Or maybe it’s my…
Emlyn’s skirt falls to the floor.
EMLYN (CONT’D)
…vulnerability.
Emlyn steps out of her skirt. David steps back, admires Emily from head to toe.
DAVID
Then again, maybe it’s…
Emlyn smiles.
INT. BEDROOM – NIGHT
Emlyn lies on top of David. She kisses him tenderly. She pulls back, stares at him.
EMLYN
You sure this isn’t a date?
David pulls her down, kisses her passionately. INT. BEDROOM – NIGHT – LATER
Emlyn rests her head on David’s chest. She looks at him.”

“EMLYN
Don’t get this wrong. I’m really not this easy.
DAVID
Neither am I. Well, not usually.
Emlyn lets out a loud laugh. David roars, rolls on top of her. He kisses her.
INT. BEDROOM – NIGHT – LATER
Dim light. Emlyn’s asleep. David climbs out of the bed.
He crosses to the bathroom. He flips on a light, leaves the door open.
A sliver of light spills out, falls across Emlyn’s face. She stirs. Her eyes move rapidly beneath her lids.
BEGIN NIGHTMARE:
INT. EMLYN’S/ALYSSA’S CHILDHOOD BEDROOM – NIGHT
Black. Light seeps in from a partially closed door. Young Emlyn’s asleep.
FOOTSTEPS approach the bedroom. They stop. The bedroom door opens wider. A vertical line of light falls across Young Emlyn’s face.
Young Emlyn buries her face in a pillow. END NIGHTMARE.
BACK TO SCENE
Emlyn’s face is buried in a pillow. David exits the bathroom. He crosses to the bed, leans over Emlyn.
Emlyn spins, claws at David. He reels backward. Emlyn leaps up, charges him.”

“EMLYN
Get away from me!
Emlyn attacks David with a flurry of blows. David puts up his arms to ward off her attack.
DAVID”
“Emlyn, Em!
David clamps his arms around Emlyn. She struggles, but can’t break free. She collapses in his arms, sobs uncontrollably.”
“INT. BEDROOM – NIGHT
Emlyn, subdued, lies in David’s arms. She opens her eyes.
DAVID”
“You okay?
EMLYN”
“I’m sorry. I…
Emlyn pulls out of David’s arms. She gets up, grabs her clothes, begins to dress.
DAVID
Don’t leave.
Emlyn finishes dressing. She grabs her handbag. David reaches for her, catches her handbag. It falls to the floor. Its contents spill out.
DAVID (CONT’D)”
“Sorry.
They stoop to pick up the handbag’s contents.
David picks up a prescription bottle. He studies the label.
DAVID (CONT’D)”
“Prazosin?
Emlyn snatches the bottle from him.
DAVID (CONT’D)
Please stay.
EMLYN
Why? So you can get inside my head?
Emlyn storms toward the door, exits.
INT. DAVID ZARAGOZA’S OFFICE – CONFERENCE ROOM – DAY
David steps way from a white board. He sits opposite Jack.
JACK
Alyssa’s autopsy. Tox screen revealed Minipress. Normal level. Nothing else.”
“DAVID
Then we can rule out diminished
capacity or functional impairment.”
“JACK
That leaves us with accident or suicide.”
“DAVID
Wait. You said Alyssa was on Minipress. Minipress is the brand name for Prazosin.
JACK
Yeah, prescribed to treat high blood pressure and urinary retention.
DAVID
Off label, however, it’s prescribed to treat nightmares and sleep disturbance associated with PTSD.
JACK
But there’s no history of trauma.
DAVID
None we know of.
INT. EMLYN TAYLOR’S LAW OFFICE – CONFERENCE ROOM – DAY
Emlyn and Lucia sit at a conference table. Stack of files in front of them.”
“EMLYN
Set up depos for Neff and Bradshaw.
Lucia makes a note on a yellow pad. She looks up, gives Emlyn a pointed look.”
“LUCIA
And what about Bradford?
Emlyn locks eyes with her.
LUCIA (CONT’D)
Just wondering.
EMLYN
Stall her for now.
The Receptionist BUZZES in.
RECEPTIONIST (V.O.)
Dr. Zaragoza’s on the line.
EMLYN
Tell him… tell him I’m busy.”
“RECEPTIONIST (V.O.)
I did.
EMLYN
I’m busy.”
“Receptionist disconnects.
Lucia gives Emlyn a questioning look.
LUCIA
You show him what’s on the thumb drive?”
“EMLYN
He and my dad think I’m crazy.
LUCIA
Maybe show it to someone else.
Emlyn gives her a thoughtful glance. INT. POLICE PRECINCT – DAY
Emlyn sits next to Estrada. Andrews hovers behind them.
Emlyn pushes the thumb drive into Estrada’s computer’s USB port. Emlyn waits, then double clicks the computer mouse.
Emlyn and Estrada stare into the computer monitor.
ANDREWS
Let me get this straight. You’re saying your sister was investigating cold cases, and discovered six cases that were somehow connected.
Emlyn does not take her eyes off the monitor.
EMLYN”
“Exactly.
ANDREWS”
“And she was killed to cover up this connection.”
“Right.” “EMLYN”
“Andrews lowers himself into a chair next to Emlyn.
ESTRADA
How do you know this.”
“EMLYN
It just makes sense.
ANDREWS
So, what’s this connection?
EMLYN
I don’t know.
Andrews sighs, rolls his eyes. Emlyn glares at him.
EMLYN (CONT’D)
Because I don’t know doesn’t mean there isn’t one.
Andrews glances at Estrada, then back to Emlyn.
ANDREWS
Serial killer.
EMLYN”
“What?
ANDREWS”
“Why not a serial killer?
EMLYN
Did you find a pattern? I read they were all different ethnicities.
ANDREWS
They were all about the same age,
all professional women, all had their throats cut, raped, bodies staged.
EMLYN”
“(pause)
Okay, okay, but … (pause)
…but maybe somebody wants us to think serial killer.
(pause)
And maybe Alyssa was killed because she discovered a cover-up.
Andrews shakes his head, pushes out of his chair.
ANDREWS
Maybe, maybe, maybe. Estrada, your call, but I say hand this off to Open-Unsolved or the FBI. I’m outta here.
Andrews exits. Emlyn looks over to Estrada.”
“ESTRADA
I’m sorry, he might be right.
Emlyn studies the computer monitor. Long moment. Then…
EMLYN
Alyssa was investigating cold cases. (pause)
Susan Meadows was killed the same day Alyssa died. She wasn’t a cold case. And Marie Guildford…
Emlyn double clicks the mouse.
EMLYN (CONT’D)”
“Look here.
Emlyn and Estrada gaze into the monitor.
EMLYN (CONT’D)
Nothing on Guildford, except an address and phone number. Meadows and Guildford aren’t cold cases!
Emlyn throws Estrada a look.
EMLYN (CONT’D)
Alyssa’s list is not a list of cold cases. It’s a hit list.
INT. EMLYN TAYLOR’S SEDAN – TRAVELING – NIGHT
Emlyn’s cell phone RINGS. It’s on a dash mount. Emlyn puts it on speaker.”
“EMLYN
(on phone) Hello…”
“DAVID (V.O.)
I want to see you.
EMLYN
(on phone) David…”
“Please?” “DAVID (V.O.)
EMLYN”
“(on phone)
I’m going out. Call later.
DAVID (V.O.)
Can I come by your place?”
“EMLYN
(on phone) David…”
“Okay, okay.
Emlyn disconnects.” “DAVID (V.O.)”
“EXT. STREET – TRAVELING – NIGHT
Emlyn’s sedan cruises past two houses. It stops. It moves past several more houses.
INT. EMLYN TAYLOR’S SEDAN – TRAVELING – NIGHT
Emlyn slows her sedan to a crawl. She looks at a scrap of paper in her hand. She looks out the diver side window.
She steers the sedan to the curb.
EXT/INT. MARIE GUILDFORD’S HOME – NIGHT
Emlyn pushes the doorbell. She waits. A porch light comes on. The door opens.”
“EMLYN
Marie Guildford?
MARIE GUILDFORD, 30, weary-looking, stares at Emlyn. INT. MARIE GUILDFORD’S HOME – LIVING ROOM – NIGHT
Emlyn sits at a coffee table across from Marie, a manila folder in her lap.”
“MARIE
Your sister came by a couple of times.
EMLYN
What’d you talk about?
MARIE
I’d rather not say.
EMLYN
Marie, this is important.
MARIE
I can’t help you.
EMLYN
I want you to look at something.
Emlyn opens her handbag, takes out a small folder. She slides out five photos.”
“Emlyn places them on the coffee table, one by one. Marie studies the photos. Tears trickle down her face.
EMLYN (CONT’D)
They’re all dead, Marie. Murdered.
Marie pushes to her feet.
MARIE
You need to leave!”
“Emlyn” “stands, gets in Marie’s” “face.” “Marie steps away.” “Emlyn”
“grabs” “her by both arms.”
“EMLYN
You know something. You and these women are connected in some way.
Marie pulls out of Emlyn’s grip. She sits. Emlyn sits next to her. Marie fidgets for a long moment.
MARIE
We agreed never to talk about it.
Marie stares at the floor. A moment. She looks at Emlyn.
MARIE (CONT’D)
We’re connected… in the same way we’re connected to your sister.
A tea Kettle WHISTLES from the kitchen. Emlyn spins toward the sound. The WHISTLING continues under.
MARIE (CONT’D)”
“Tea kettle.
Marie gets to her feet. She exits to the kitchen. Moments later the WHISTLING subsides.
Emlyn slides the photos back into her handbag. A framed photo on a credenza catches her eye. She crosses the room. She picks up the photo.
INSERT – PHOTO
A teenage Marie and several other girls are posed in front
of a brick building. Written across the front of their sweat shirts: “”Briarwood.””
BACK TO SCENE”
“EMLYN
Marie! This photo, the one on –“
“From the kitchen, the SOUND of porcelain shattering.
EMLYN (CONT’D)
Marie? Marie…
Marie staggers into the living room. She clutches at her throat. She opens and closes her mouth, tries to speak. Blood oozes through her fingers.
EMLYN (CONT’D)”
“Oh, God!
Emlyn rushes toward Marie. Marie crumbles. Gabriel, in a black mask, enters.
Emlyn stops in her tracks. She retreats, grabs her handbag. She backpedals to the door. She pulls her handgun from her handbag, aims it at Gabriel.
EMLYN (CONT’D)
Stop! I’ll shoot!
Emlyn’s hand shakes.
Gabriel notices. He smiles, steps cautiously toward her. Emlyn pulls the trigger. Nothing.
Gabriel reacts. Safety’s on. He relaxes, smiles.
EMLYN (CONT’D)”
“Shit!
Emlyn flicks off the safety. Gabriel dives behind a sofa.
Emlyn BLASTS away, misses Gabriel badly. She runs to the door. She FIRES randomly behind her back, hits everything, but Gabriel.
EXT. STREET – NIGHT
Emlyn races to her sedan. She pushes the remote. CHIRP. INT. EMLYN TAYLOR’S SEDAN – NIGHT
Emlyn jumps in. She throws the handgun on the passengers seat. She REVS up the engine.
The driver’s side window SHATTERS. Gabriel grabs Emlyn by the throat, jams her against the car seat.
Emlyn grabs Gabriel’s hand with both of hers. She lets go with her right, finds the gear shift lever.”
“Emlyn shifts the sedan into drive. She floors the gas pedal. The sedan leaps.
EXT. EMLYN TAYLOR’S SEDAN – NIGHT
The sedan flies.
Gabriel releases his hold on Emlyn. He grips the door and side view mirror. He dangles on the side of the sedan.
INT. EMLYN TAYLOR’S SEDAN – NIGHT
Emlyn punches Gabriel in the face. He keeps a grip on the door and side view mirror.
Emlyn reaches over to the passenger’s seat. She feels for the handgun, grabs it.
EXT. EMLYN TAYLOR’S SEDAN – NIGHT
The sedan runs onto a sidewalk, then back into the street, sideswipes several cars.
INT. EMLYN TAYLOR’S SEDAN – NIGHT
Emlyn presses the handgun to to Gabriel’s head, but can’t bring herself to pull the trigger – too close, too personal.
EMLYN”
“Damn you!
Emlyn WHACKS Gabriel in the head with her handgun. WHACK! WHACK! WHACK! Gabriel lets go.
EXT. STREET – NIGHT
Gabriel rolls over several times. Dazed, he struggles to his feet. He takes off his mask. He pulls out his phone.
INT. EMLYN TAYLOR’S SEDAN – TRAVELING – NIGHT
SIRENS blast behind Emlyn.
Emlyn glances into her rearview mirror. Headlights from the highway patrol vehicle fill the sedan.
Emlyn steers her sedan onto the shoulder. She throws her handgun to the floor on the passenger side.
EXT. HIGHWAY – NIGHT
HIGHWAY PATROL OFFICER, male, 25, exits his vehicle. Emlyn opens the door to the sedan.”
“PATROL OFFICER
Stay in your vehicle, ma’am.
Emlyn exits her sedan.
EMLYN”
“But —
PATROL OFFICER”
“Please get back in your vehicle!
Emlyn climbs back into her sedan INT. EMLYN TAYLOR’S SEDAN – NIGHT
Emlyn closes the door. The Patrol Officer appears at the shattered driver side window. He examines it, looks at Emlyn.
EMLYN
Someone’s been murdered!
PATROL OFFICER
May I see your driver’s license, registration, copy of your insurance, please?”
“What!?” “EMLYN
PATROL OFFICER”
“Driver’s license, registra —
EMLYN
Didn’t you hear what I said?
PATROL OFFICER
Ma’am, I suggest you calm down.
EMLYN
Calm down! A woman has just been murdered.”
“PATROL OFFICER
Have you been drinking?
EMLYN”
“Fuck you!
PATROL OFFICER”
“Please step out of your vehicle.
EMLYN
Make up your damn mind!”
“INT. POLICE STATION – INTERROGATION ROOM – NIGHT
Emlyn sits at a metal table anchored to the floor. She gets up, tries the door. Locked. She sits down.
Moments later, the door opens. Estrada and Andrews enter. Emlyn jumps up.”
“EMLYN
What took you so long?
ESTRADA
Have a seat.
Emlyn sits.
Estrada and Andrews remain standing.
EMLYN
Do I have to stay here?
ESTRADA
We checked it out. The victim. Guildford. One of your six.
ANDREWS
How do you explain it? Coincidence?
ESTRADA”
“Zack…
ANDREWS”
“I’m just sayin’.
ESTRADA
We okayed your release.
EMLYN”
“Thanks.
Emlyn gets up, glares at Andrews. INT. EMLYN TAYLOR’S SEDAN – NIGHT
Emlyn sits in her sedan outside the police station. She’s on her cell phone.”
“EMLYN
(on phone)
David, Guildford’s dead.
DAVID (V.O.)
Guildford? Your Guildford?”
“EMLYN
(on phone)
Someone killed her. I was there.
DAVID (V.O.)
What! Did you call the police?
EMLYN
(on phone)
That’s where I’ve been for the last five hours.”
“DAVID (V.O.)
Go home. I’ll meet you there.
EXT. EMLYN TAYLOR’S HOME – NIGHT
Emlyn slows her sedan to a stop in her driveway. INT. EMLYN TAYLOR’S DRIVE WAY – NIGHT
Emlyn sits a moment, allows the adrenaline to drain. She looks into the rearview mirror.
She looks over her right shoulder, then left. She takes another look into the rearview mirror.
She reaches over to the passenger side, retrieves her handgun from the floor.
She drops out the ammunition clip. She puts it into her handbag, takes out another one, pushes it into the handgun. She returns the pistol to her handbag.
She takes another look around, then exits. INT. EMLYN TAYLOR’S HOME – FOYER – NIGHT
Emlyn enters. Dark. She flips on a light. She locks the door. She pauses, listens.
EMLYN”
“Wolf…
Emlyn starts to reset the burglar alarm. She freezes. She realizes the alarm is off! She panics.
Emlyn draws her handgun from her handbag. She holds it in front of her.
INT. KITCHEN – NIGHT
Emlyn enters. She flicks on a light. Footsteps behind her. She turns.”
“A MAN, 30, in a ski mask charges her. He brandishes a hunting knife. Emlyn swings the handgun toward him.
The Man knocks the handgun out of her hand.
Wolf flies at the Man out of nowhere, lands on his face.
The Man recoils, grabs Wolf, flings her away. Wolf lands on her feet, HISSES, scrambles away.
Emlyn lunges for a knife block that sits on a countertop between her and the Man.
The Man knocks the knives to the floor. He grabs Emlyn, pins her arms against a wall. She struggles. He holds her tighter. She stops struggling. She locks eyes on his.
MAN
That’s more like it.
Emlyn knees him in the groin, shoves him away.
The Man doubles up, but keeps a firm grip on an arm.
MAN (CONT’D)”
“Bitch!
The Man pushes Emlyn flat against the refrigerator. He pins her arms over her head. He licks her face.
MAN (CONT’D)
You’re gonna like this.
Emlyn spits in his face.
EMLYN”
“Can’t wait.
The doorbell RINGS. The Man glances toward the front door.
Emlyn shoves the Man. She pulls away, flings open the refrigerator’s freezer door, grabs a vodka bottle.
The Man rushes her.
Emlyn slams the freezer door shut, then swings the bottle, catches the Man coming in. WHACK! He drops. She looks down at him.”
“EMLYN (CONT’D)
That’s for the foreplay.
The doorbell RINGS. Emlyn starts for the door. The Man grabs her ankle. She falls.”
“EXT. EMLYN TAYLOR’S HOME – NIGHT
David leans on the doorbell.
EMLYN (O.S.)”
“Help!
David beats on the door.
DAVID”
“Emlyn!
David kicks at the door. BAM, BAM, BAM! INT. EMLYN TAYLOR’S HOME- KITCHEN – NIGHT
Emlyn kicks the Man in the face. He cries out. He releases Emlyn, grabs his nose.
Emlyn races to the front door. The Man exits out the back door. INT. FOYER – NIGHT
Emlyn unlocks the door, slings it open. She charges out.
DAVID
What’s going on!?
Emlyn looks past him, sees the Man run into the street.
EMLYN
David, David, that’s him!
David turns, sees the man. He chases after him. SERIES OF SHOTS:
EXT. STREET – NIGHT
— The Man stands in the middle of the street.
— David sprints toward him.
— A black, heavily tinted sedan rounds a corner.
— The sedan speeds toward David.
— David tries to jump out of the way of the sedan. It grazes him.
— The sedan makes a U-turn, stops, HONKS.
— The Man runs toward the sedan.”

“– The sedan accelerates toward the Man.
— The Man stops. Deer in headlights. The sedan cuts him down.
— The sedan makes a U-turn, takes another run at the Man
as he lies in the street, runs him over, then speeds away.
END SERIES OF SHOTS.
Emlyn runs to David. EXT. STREET – NIGHT
Police cruisers, with lights flashing, block off the street. Police officers mill about.
INT. AMBULANCE – NIGHT
Emlyn sits beside David. A PARAMEDIC, 30s, adjusts a sling on David’s right arm.”
“PARAMEDIC
(to David)
Nothing too serious, but we’re gonna take you in.
Emlyn gives David a kiss, then climbs out of the ambulance. The Paramedic SLAMS the rear doors of the ambulance.
Emlyn watches the ambulance pull away, siren WAILING.
ESTRADA (O.S.)
Ms. Taylor…
Emlyn turns.”
“ESTRADA (CONT’D)
Need you to take a look at something.
Emlyn follows Estrada to a body lying under a tarp. Andrews pulls back the tarp.
Emlyn stares at the face of her attacker.
ANDREWS
You recognize him?
EMLYN”
“No.
ANDREWS”
“But he’s in your house, no evidence
of a break-in.”
“Emlyn gives Andrews a pointed look.
EMLYN”
“Fuck you!
ANDREWS”
“What’d you say?
EMLYN
You may be dumb, but I know you heard me.”
“Zack…” “ESTRADA
EMLYN”
“(to Estrada)
This isn’t a coincidence. My place, then Guildford’s?
ESTRADA
I know, I know.
ANDREWS
(to Emlyn)
What are you not telling us?
Emlyn turns to Estrada.
EMLYN
Are we done?
ESTRADA
We’ll call you.
Emlyn glares at Andrews, moves off. Andrews turns to Estrada
ANDREWS
What are you thinking!?
ESTRADA
She’s not going anywhere.
ANDREWS”
“Jesus!
EXT. EMLYN TAYLOR’S HOME – NIGHT
A FEMALE REPORTER, 25, on camera, in front of Emlyn’s home.”
“FEMALE REPORTER
…and earlier tonight the murder of
a woman identified as Marie Guildford, and then minutes ago, an attack on
the daughter of Senator Harrison Taylor…
INT. GABRIEL’S APARTMENT – NIGHT
Gabriel faces a flat screen television. He watches the news reporter give her report.
ON FLAT SCREEN:”
“FEMALE REPORTER
…sources say the police are looking into a connection between Guildford’s murder and the attack here on Emlyn Taylor.
BACK TO SCENE.
Gabriel’s cell phone RINGS. He gazes at the display. He mutes the television, then answers the phone.
GABRIEL
(on phone) Yeah.
(pause)
Yeah, I’m watching it.
Gabriel listens for a long moment, then…
GABRIEL (CONT’D)
(on phone) Couldn’t be helped.
Gabriel disconnects.
INT. NELSON’S HOME – LIVING ROOM – NIGHT
Nelson paces with cell phone in one hand, a liquor bottle in the other.”
“NELSON
(on phone)
I just got off the phone with him. He went too far!
(pause)
Don’t tell me to calm down! (pause)
No! I’m not going down for — (pause)
Hello… hello? Fuck!”
“Nelson turns the bottle up, downs a mouthful. INT. POLICE PRECINCT – DETECTIVES OFFICE – DAY
Estrada breezes in with notebook in hand. She heads for Andrews, who sits at his desk. She sits facing Andrews.
ESTRADA
I ran prints on the dead guy at the Taylor home.
ANDREWS
And you just now telling me?
ESTRADA
Your head was a mile up your ass, so I didn’t think it would matter.
Andrews rolls his eyes.
ESTRADA (CONT’D)
Anyway… got a match on a latent found at the Meadows home. Remember, few weeks ago. Same guy, both places. The dead guy. His name is Miles.
Estrada slips thought a notebook. She stops on a page, reads.
ESTRADA (CONT’D)
Miles Austin. Three tours in Iraq. Hooked up there with a contractor. Year later he disappears. Resurfaced last year working security for Ascension Enterprises, heavy-duty security firm.
ANDREWS
Don’t make sense.
ESTRADA
Last gig… security for the Harrison Taylor campaign.
ANDREWS
How in Hell did that happen?
ESTRADA
Seems highly recommended by guy named Cain, Nelson Cain.
Light goes on in Andrews’ head. He shuffles through a handful of notes. He pulls out one of them, reads, then looks up.
ANDREWS
Guess who he is?”

“ESTRADA
Don’t have to.
ANDREWS
We should pay this Cain a visit.
ESTRADA
Ain’t it nice being on the same page?
Andrews shoots Estrada a stingy smile.
INT. OFFICE BUILDING – NELSON CAIN’S PRIVATE OFFICE – DAY
Nelson’s SECRETARY, 35, sticks her head into his office.
SECRETARY
I’m leaving, Mr. Cain. Need anything else?
Nelson looks up from his desk.
NELSON
No, I’m fine, thanks.
SECRETARY”
“Good night.
Nelson’s secretary closes the door. INT. ELEVATOR LOBBY – DAY
Nelson’s secretary stops at the elevators.
She sees “”Out of Order”” signs on both elevator doors. She turns toward the stairs, takes them.
INT. HALLWAY – DAY
Nelson locks his office door. He strides toward the elevators.
INT. ELEVATOR LOBBY – DAY
Nelson sees the “”Out of Order”” sign on only one of the elevator doors. He pushes the elevator call button.
An elevator door without the “”Out of Order”” sign opens. CLING.
Nelson steps forward, enters the the elevator. He sees he’s about to fall down the elevator shaft. He teeters.
Nelson pivots. He loses his balance. A closed umbrella is shoved at him. He grabs it.”
“NELSON
Thank God!”
“Relief flashes across Nelson’s face.
Gabriel opens the umbrella, jabs it at Nelson.
NELSON (CONT’D)
No, no, please!
Terror washes across Nelson’s face. He claws frantically at the umbrella. He falls. His screams echo after him. The elevator door closes. Gabriel closes the umbrella.
INT. OFFICE BUILDING – LOBBY – DAY
Estrada and Andrews face the elevator doors. They see the “”Out of Order”” signs on both doors. They head for the stairs.
INT. STAIRWELL – DAY
Gabriel takes out a mint from a shirt pocket as he descends the stairs. He unwraps it, pops it into his mouth. He drops the umbrella.
Estrada and Andrews meet Gabriel on the stairs. Andrews picks up the umbrella, hands it to Gabriel, hands it to him.
GABRIEL”
“Thank you.
ANDREWS
No problem.”
“Gabriel continues down the stairs. Estrada and Andrews continue the climb up.
EXT. HOSPITAL – DAY
Emlyn opens the passenger door of her sedan. David gets out of a wheelchair, climbs inside.
INT. EMLYN TAYLOR’S SEDAN – DAY
Emlyn gets into her sedan. She turns to David.
EMLYN
You doing okay?
DAVID”
“I’m fine.
David studies the look on Emlyn’s face.”
“DAVID (CONT’D)
You’re either terribly worried about me or…”
“EMLYN
Someone tried to kill me.
David slides a hand over Emlyn’s.
EMLYN (CONT’D)
Guildford died because she knew something. Now I know.
DAVID
What did she tell you?
EMLYN
More than I wanted to know. And there was this photo…
INT. BRIARWOOD ACADEMY – ADMINISTRATION OFFICE – DAY
Emlyn and David stand at a counter in front of a CLERK, bored woman, 45. She plops down three yearbooks on the counter
CLERK
You have to sign for them.
The Clerk reaches under the counter, produces a ledger. She opens it to the signature page.
CLERK (CONT’D)
(indicates) Sign here.
The Clerk gives Emlyn a pen, Emlyn takes it. Emlyn looks at the spot where the Clerk indicated.
INSERT:
Lined signature page, full of signatures. The last signature on the page: Alyssa Taylor.
BACK TO SCENE.”

“David…” “EMLYN”
“David takes a look at the signature page.
EMLYN (CONT’D)
Alyssa was here the day she died.
Same day she saw Guildford.”
“INT. CONFERENCE ROOM – DAY
Emlyn and David sit at a table. She closes a yearbook. She looks over to David.”
“EMLYN
Guildford, the others. All on the volleyball team.
NELSON (V.O.)
‘Harrison’s one of their own.’
Emlyn stares off, unfocused.
INT. EMLYN TAYLOR’S HOME – LIVING ROOM – NIGHT
Emlyn sits on a sofa next to David, drink in hand.
EMLYN
Brierwood. That’s the connection.
Emlyn downs the last of her drink. She throws David a look.
EMLYN (CONT’D)
Alyssa was molested.
DAVID
Wonder why she didn’t tell you.
EMLYN
Maybe because of the other connection: my father.”
“DAVID
You can’t believe —
EMLYN”
“I know…
(pause)
…but nothing else makes sense.
Emlyn pours another glass. She locks eyes on David’s. A long moment.”
“EMLYN (CONT’D)
I need to think. Do you mind?
David gets her meaning. He kisses Emlyn tenderly.
DAVID”
“Call me.
David exits.”
“INT. LIVING ROOM – NIGHT
Emlyn asleep on the sofa. She tosses and turns. BEGIN NIGHTMARE:
EXT. VOLLEY BALL FIELD – DAY
Murky. Teenage girls, volley ball players, exit a volleyball field in slowed motion.
They enter a locker room. A Shadowy Figure follows them in. INT. EMLYN’S/ALYSSA’S CHILDHOOD BEDROOM – NIGHT
The Shadowy Figure stands in the doorway, back-lit by light streaming in from the hallway.
The Shadowy Figure gazes at Young Emlyn, then to Young Alyssa lying on her bed. The Shadowy Figure crosses to Young Alyssa’s bed, hovers.
Young Alyssa peers around the Shadowy Figure. She looks at Young Emlyn sitting in the corner.
YOUNG ALYSSA”
“Em!
END NIGHTMARE.
INT. LIVING ROOM – NIGHT
Emlyn bolts awake. She sits up, unfocused. Long moment. She scans the room. She grabs her cell phone, dials.
EMLYN
(on phone)
David. Meet me at my father’s tomorrow afternoon.
INT. HARRISON TAYLOR MANSION – STUDY – DAY
Seated around the room: Emlyn, David, Eduard, and Cassandra. Harrison paces.”
“EDUARD
Your accusations are absurd, and based on what, a dream?
DAVID
Mr. Baldwin, the truth. That’s all she wants.”
“BALDWIN
We’ve heard enough.”
“Harrison sits, glares at Emlyn.
HARRISON
(to Emlyn)
Why? How could you believe…
Emlyn casts her eyes downward, turns away.
EDUARD
(to Emlyn)
This is malicious and irresponsible!
HARRISON
You’re saying I’m responsible for molesting my students, murdering them, and my own daughter?
EDUARD
Emlyn, it’s obvious you need psychiatric help.
EMLYN
(to Eduard) Fuck you!”
“DAVID
Mr. Baldwin, you’re way out of line.
EDUARD
I’m sorry, but nothing else make sense. Now, if we can agree that this has been an unfortunate misunderstanding, we can put this unpleasantness behind us.
Emlyn leaps out of her chair, gets into Eduard’s face.
EMLYN
Unpleasantness! My sister’s dead!
Cassandra crosses to Emlyn.
CASSANDRA
Darling, come…
Cassandra puts an arm around Emlyn. She guides her to a chair. They sit.”
“CASSANDRA (CONT’D)
I know Alyssa’s death has upset you terribly, but —
Harrison explodes out of his chair.”
“HARRISON
I’ll take a polygraph.
Emlyn whips a look at Harrison.
EMLYN”
“Do it!
EDUARD”
“(to Harrison)
You can’t be serious. Legally —
EMLYN
It wouldn’t mean anything legally, but at least I’ll know.
Harrison turns to Baldwin.
HARRISON”
“Set it up.
INT. HARRISON TAYLOR MANSION – STUDY – NIGHT
Cassandra stands before Harrison and Eduard, incensed.
CASSANDRA
(to Harrison)
You can’t do this! We have everything to lose!”
“EDUARD
Listen to her, Harrison.
HARRISON
I have nothing to hide.
CASSANDRA
You’ll pass, but it won’t matter. Why you took a polygraph will be leaked. Trust me.
EDUARD
And then you’ll be fair game for everyone. Your opponents, the media.
CASSANDRA
Everything will unravel.
HARRISON
I’ve done nothing wrong.
Cassandra storms from the room.”
“HARRISON (CONT’D)
Cassandra has helped me tremendously.
I wouldn’t be where I am without her, but… I must to do this.
INT. EXAMINER’S OFFICE – EXAMINATION ROOM – DAY
Harrison is hooked up to a polygraph machine. He stares ahead, confident. The EXAMINER, a middle-aged woman, stands beside him.”
“EXAMINER
Is your name Harrison Taylor?
HARRISON”
“Yes.
The Examiner makes a notation on the graph. She makes notations throughout.”
“EXAMINER
Did you eat breakfast this morning?
HARRISON”
“No.
EXAMINER”
“Have you ever told a lie?
Harrison stammers.”
“Yes.” “HARRISON”
“INT. EXAMINATION ROOM – DAY – LATER
Harrison is still hooked to the polygraph machine. The Examiner studies the polygraph graph. She makes a notation. She looks up.”
“EXAMINER
Did you sexually abuse your daughter?
HARRISON
No, I did not!
EXAMINER
Mr. Taylor, just yes or no.
HARRISON”
“I’m sorry.
EXAMINER”
“Did you sexually abuse your daughter?”
“No.” “HARRISON”
“INT. DAVID ZARAGOZA’S OFFICE – CONFERENCE ROOM – DAY
Emlyn sits with Jack and David. David’s cell phone RINGS. He answers it.”
“DAVID
(on phone) Doctor Zaragoza.
(pauses) Thank you.
David takes a moment, then disconnects. He turns to Emlyn.
DAVID (CONT’D)
Didn’t pass, didn’t fail. Inconclusive.
EMLYN”
“What!?
DAVID”
“Results are sometimes affected by anxiety, controlled breathing, altered physiological responses, or —
EMLYN
Or he’s a fucking sociopath!
Emlyn storms out.
EXT. DAVID ZARAGOZA’S OFFICE – PARKING LOT – DAY
Emlyn hurries to her sedan. David exits his office.
DAVID”
“Emlyn!
David catches up to her. He grabs her, spins her around.
DAVID (CONT’D)
Come back inside.
David attempts to pull her into his arms.
EMLYN”
“Don’t.
Emlyn pushes him away. She meanders around the parking lot. David follows her.”
“Em..” “DAVID EMLYN”
“Leave me alone.
David moves in, takes Emlyn into his arms. Emlyn breaks down, sobs.
INT. DAVID ZARAGOZA’S PRIVATE OFFICE – NIGHT
Emlyn sits. David sits next to her.
They sit in silence for a long moment. Then…
EMLYN
I have a client… sexually assaulted years ago. Said she just remembered. I didn’t believe her.
DAVID
Alyssa didn’t remember.
EMLYN
Probably why she didn’t tell me.
DAVID
She didn’t remember until triggered by the cold cases.
(pause)
All victims of abuse don’t remember being abused. It’s traumatic, too painful. Their minds protect them from the pain.
EMLYN
Alyssa and my client.
DAVID
Yes. If your father abused Alyssa he might not remember, that’s how he passed the polygraph.
EMLYN
Bullshit! Theoretical bullshit.
DAVID
It’s about pain. Alyssa’s mind protected her from pain. If your father abused Alyssa, his mind protects him from knowing what he’s
done.”

“EMLYN
So, you’re saying I’ll never know.
DAVID
Your nightmares are a distortion of reality. But there’s a way to the truth, if you trust me.
INT. DAVID ZARAGOZA’S OFFICE – EXAMINATION ROOM – NIGHT
Emlyn rests on a recliner. David sits beside her. Jack looks on.
Emlyn gives over her mind to David’s melodious tones. Her eyes flutter for a moment, then close.
DAVID
(soothing)
That’s it. Now as you breathe deeply, you’re becoming deeply relaxed…
just take a deep breath…
Emlyn takes a deep breath.
DAVID (CONT’D)
(soothing)
…there, that’s it, just like drifting off to sleep, sleep, sleep…
Emlyn goes completely under.
DAVID (CONT’D)
Very good…
INT. EXAMINATION ROOM – NIGHT
Emlyn still on recliner. David sits next to her.
DAVID
Em, take me back… back to when you were fifteen years old…
(pause)
…now to when you were thirteen, twelve… now, take me back to a time before that.
Emlyn’s eyes are closed. They move back and forth rapidly. David studies her face for guidance.
DAVID (CONT’D)
…that’s it. How old are you?
EMLYN”

“Nine.”
“DAVID
Very good. Now, take me to your home. Tell me when we get there.
A moment passes…”
“EMLYN
We’re there.
DAVID
Very good. Describe what you see.
EMLYN
My house. White. Trees, big yard.
DAVID
Good. Take me inside.
Emlyn reacts. Anxiety spreads across her face. Her facial muscles twitch.”
“EMLYN
No, no, I can’t.
DAVID
Em, it’s okay. It’s safe. I’m with you. It’s safe.
Emlyn calms down.”
“DAVID (CONT’D)
That’s it. Now open the front door. Take me inside.
Emlyn’s face flattens.
DAVID (CONT’D)
Where are you?
EMLYN
Inside. In the foyer.
DAVID
Take me to your bedroom.
Emlyn’s face morphs, reflects an inner terror.
EMLYN”
“No, no!
DAVID”
“Em, it’s okay. I’m with you. You’re safe… take me to your bedroom.
Moments pass. Emlyn relaxes.”
“DAVID (CONT’D)
That’s it. Now, where are you?
EMLYN
In our bedroom. On the floor.
DAVID
Where is Alyssa?
EMLYN
In her bed. Across from me.
DAVID
What is she doing?
EMLYN”
“Crying.
DAVID”
“Why is she crying?
EMLYN
I don’t know.
DAVID
What’s happening?
Emlyn becomes silent.”
“Emlyn…” “DAVID (CONT’D)
EMLYN”
“The door’s opening.
Emlyn takes a moment, then…
EMLYN (CONT’D)
Someone’s coming in.
DAVID”
“Who is it?
EMLYN”
“I don’t know. It’s dark.
Emlyn begins to breath rapidly.
EMLYN (CONT’D)
I can’t breathe, I can’t breathe!
DAVID
Take you time.
Emlyn takes several deep breaths, then relaxes.”
“EMLYN
It’s standing over Alyssa. (pause)
It’s looking at me!
Emlyn’s eyes burst open. She sits up violently. She gasps, sucks in air, breathes rapidly.
Fear spreads across Emlyn’s face. Her eyes scan the room, move wildly, desperately.
DAVID
Take your time.
David helps Emlyn to her feet.
EMLYN
I’m okay. Give me a minute.
Emlyn stands, gets oriented. She grabs her handbag, hurries from the room.
INT. WOMAN’S RESTROOM – NIGHT
Emlyn vomits into a toilet. She flushes. At the sink, she douses her face with water.
She opens her handbag, takes out her handgun, lays it on the counter. She takes out tissues from the handbag, blots her face. She returns the handgun to her handbag.
INT. EMLYN TAYLOR’S SEDAN – TRAVELING – NIGHT
Emlyn with a determined look on her face. She has a tight grip on the steering wheel. Tears stream down her face.
EXT. MOUNTAIN ROAD – NIGHT
Same road Alyssa rode to her death. Emlyn’s sedan rips past several cars, races up an incline.
INT. EMLYN TAYLOR’S SEDAN – TRAVELING – NIGHT
Emlyn’s eyes are fixed on a guardrail ahead of her. The sedan’s headlights light it up. She jams on the gas pedal.
INT. DAVID ZARAGOZA’S OFFICE – EXAMINATION ROOM – NIGHT
David rushes in. Jack turns to him.
DAVID”

“She’s gone!”
“INT. HARRISON TAYLOR MANSION – FOYER – NIGHT
Alexander opens the front door. Emlyn storms past him. She clutches her handbag.”
“ALEXANDER
Ms. Taylor, what’s —
EMLYN
Where’s my father?
ALEXANDER
In his office, I believe.
Emlyn takes the stairs two at a time. INT. OFFICE – NIGHT
Emlyn throws open the door, stands in the doorway.
Harrison looks up from his desk. He and Emlyn lock eyes for a moment. Emlyn crosses to him, hand in her handbag.
HARRISON
What do you want!?
EMLYN”
“Why!?
HARRISON”
“Why what? I passed.
EMLYN
She was only seven years old!
HARRISON
I, I… what are you talking about?
EMLYN
Tell me what happened!
CASSANDRA (O.S.)
Emlyn, darling.
Emlyn turns, glares at her. Harrison looks up. Cassandra closes the door, locks it.
CASSANDRA (CONT’D)
Harrison, I believe she’s here to demand her pound of flesh.
Emlyn’s eyes become unfocused. She staggers, supports herself against Harrison’s desk.”
“FLASHBACK:
INT. EMLYN’S/ALYSSA’S CHILDHOOD BEDROOM – NIGHT
Black. Light from a hallway seeps in under the door. FOOTSTEPS approach the bedroom.
The FOOTSTEPS stop at the door. The door opens in slowed motion. A sliver of light falls inside the room.
Young Alyssa lies on her bed, whimpers.
The Shadowy Figure enters. MUFFLED WHISPERING fills the room. The Shadowy Figure crosses to Young Alyssa’s bed. It hovers over her for a moment, then kneels.
Young Alyssa peers around the Shadowy Figure.
YOUNG ALYSSA”
“Em!
The Shadowy Figure gazes over its shoulder at Young Emlyn. Its twisted face slowly morphs until Cassandra Harrison’s face comes into focus.
END OF FLASHBACK.
Emlyn struggles back to consciousness. She sits. She turns to Cassandra, glares at her.
EMLYN
You evil bitch!
Emlyn shoots a look at Harrison.
EMLYN (CONT’D)
You had to know.
Harrison looks at Cassandra, then back to Emlyn.
HARRISON”
“I, uh…
EMLYN
You knew!”
“Harrison sits next to her, tries to comfort her.
EMLYN (CONT’D)”
“Don’t.
Emlyn pushes to her feet, moves away.
HARRISON
It’s not what you think.”
“Tell me!” “EMLYN HARRISON”
“You have to understand.
CASSANDRA
(to Harrison) Shut up!”
“HARRISON
Cassandra, no. I can’t. Not anymore.
Cassandra crosses to Harrison’s desk.
CASSANDRA
Alyssa wouldn’t listen to reason. She was going to destroy everything.
EMLYN
She remembered, didn’t she?
CASSANDRA
More than you, apparently.
Emlyn gets Cassandra’s meaning, becomes visibly shocked.
EMLYN
(to Harrison)
Why didn’t you protect us?
HARRISON
I didn’t know. Not then. Later, what was I supposed to do?
EMLYN
Turn the bitch in. If you had, Alyssa wouldn’t be dead.
CASSANDRA
But his political career would be.
EMLYN
(to Harrison)
That was more important than the lives of six women, and your own daughter?”

“CASSANDRA
We did what we had to do.
HARRISON
I was a fool.
Cassandra opens a desk drawer, pulls out a handgun.”
“CASSANDRA
Here’s what we’re going to do. Harrison, like always, keep your mouth shut. Emlyn, you’re going to protect your father.
EMLYN
You mean, protect you.
CASSANDRA”
“Whatever.
EMLYN”
“And if we don’t do what you want you’re going to kill us.
Cassandra swings the handgun toward Emlyn.
CASSANDRA
No. Just you.
Harrison rushes Cassandra. She whips the handgun toward him. FIRES. She hits Harrison in the chest. He drops.
INT. KITCHEN – NIGHT
Alexander looks up from a cutting board. He listens. A moment, then he resumes slicing vegetables.
INT. OFFICE – NIGHT
Emlyn rushes to Harrison. She cradles him in her arms. She pushes a hand against his chest.
EMLYN
Hold on, just hold on.
Emlyn picks up her handbag, pulls out her handgun. She aims it at Cassandra.”
“CASSANDRA
Didn’t expect that.
Emlyn stands.”
“EMLYN
You’re not getting away with this.
CASSANDRA
Oh, no? You shot Harrison because he molested Alyssa. I took your gun from you. You attacked me. I shot
you. Simple.”
“Emlyn and Cassandra measure each other for several long moments. Then…
Cassandra FIRES.
Emlyn’s hit in the shoulder. She spins, stumbles. Cassandra fires again, but misses badly.
Emlyn recovers, turns to Cassandra, points her handgun. INT. STAIRWAY/HALLWAY – NIGHT
Multiple gunshots: POW, POW, POW, POW!
Alexander takes the stairs two and three at a time. He reaches the door to the study, beats on it. BLAM, BLAM!
ALEXANDER
Mr. Taylor, Mr. Taylor!
Alexander hammers on the door. BLAM, BLAM, BLAM!

INT. HOSPITAL – EMLYN’S ROOM – NIGHT
Emlyn bolts up in bed, gasps for air. David steadies her. Emlyn grabs him, holds on.

INT. HOSPITAL – EMLYN’S ROOM – DAY
Emlyn lies in bed. David sits close.

ESTRADA (O.S.)”

“Excuse me.

Emlyn and David turn toward the entrance. Estrada stands in the doorway.”

“ESTRADA (CONT’D)
I’m sorry. I can come back.
DAVID”
“Would you?
Emlyn looks over to David.
EMLYN”
“It’s okay.
ESTRADA
You sure?”

“Emlyn nods. She sits up. David pulls up a chair for Estrada.”

“ESTRADA (CONT’D)
(sits)”
“This will just take a minute.
Estrada opens a notebook. She looks up.
ESTRADA (CONT’D)
(to Emlyn)
You were right. No serial killer. Molestation, the murders, then the cover up.”
“EMLYN
My father?
ESTRADA”
“He’s in ICU.
Emlyn reacts.”
“ESTRADA (CONT’D)
If he recovers, he’s gonna be in serious legal trouble.
EMLYN
I love him. But… I’m disappointed, angry.”
“ESTRADA
He filled me in on everything. It clears you.”
“EMLYN
What about my step-mother?
ESTRADA
Sorry. D.O.A. We got Baldwin, the attorney, to talk. Seems your step- mother orchestrated the cover-up.
Nelson Cain and Baldwin went along.
EMLYN”
“But why?
ESTRADA”
“The usual. Power. Influence. Money.
Estrada gives Emlyn a moment.
ESTRADA (CONT’D)
Speaking of Nelson Cain. Found him
a couple of days ago. At the bottom of an elevator shaft.
(MORE)”
“ESTRADA (CONT’D)
We connected the murders to a professional named Gabriel, but haven’t found him. Think he also
had something to do with Cain’s death.
Estrada gives Emlyn a pointed look.
ESTRADA (CONT’D)
Sorry we doubted you. That’s all I have. Hope it’s helpful.
Estrada gets up.”
“Take care.
Estrada exits.
David turns to Emlyn.”

“ESTRADA (CONT’D)
DAVID”
“Alyssa would be proud.EMLYN

“Yeah, I think so. Find out when I can get out of here. I have someplace to go.

EXT. ANGELICA BRADFORD’S HOME – DAY

Emlyn, arm in a sling, and Lucia wait at the entrance. Bradford opens the door. She glares at them.

BRADFORD What do you want?

EMLYN You still want someone castrated? A meager smile lights up Bradford’s face.

FADE OUT: