Episode One - YELLOW AMENDS - 10/04/12
18.
REID (CONT’D)
Professional man like yourself. I would have thought you’d know better.
REID - taking over, fixing the image himself now. CREIGHTON - watching, his calm evaporating as REID watches the image take shape. Grabbing for another of the earlier prints. Two images of the corpse in the alleyway. Key differences between the two photographs, though . One has that graffiti on the wall; the other does not . REID - a cocktail of fury at the deception and hope at what that might mean. Thrusts a photograph at CREIGHTON -- REID (CONT’D) Where’s the message? The writing on the wall, Creighton... Down On Whores . (that steel) Was it you painted it up there? CREIGHTON - a direct look for REID -- CREIGHTON You know who it was. REID Best. CREIGHTON (confirms it) I just record what I see. Reid - one last look for him and he’s gone.
OMITTED 1/22-23A
1/22-23A
1/24
INT. THE STAR - DAY 1/24 FRED BEST - a vivid red waistcoat today. Ever jaunty, pushing through the humming life of these newspaper offices. Heads into an office - the words “ Chief Reporter” carved into it, kicks the door shut behind him and - before he knows what’s happened - feels his jacket pulled down, used to pinion his arms by his side -- REID (O.S.)
How do you think they felt, those girls, the moment they knew that was it - that breathing this air was up?
BEST - being slowly turned about to face the walls of his office. Framed copies of his front-page by-lines on the various Ripper murders and The Star’s own muck-raking inquiries as to the perpetrator.
Made with FlippingBook flipbook maker