[[[[As some of you know, I am experimenting in the world of screenwriting and have nearly completed two episodes. For just for fun—I decided to do a full, feature-length CM movie. Every five pages or so—approximately five minutes of screen-time—I'll post again! Please—Dialogue is difficult for me, and since television is so much more dialogue-oriented, I am curious to know what you think! Let me know if each character says something they'd say on the show! And—I am off work for several days, and hope to update all my other stories as well…so with no further ado….here is my CM movie!]]]]

--for those of you who don't know-----scripts are wrote in present tense, and active voice, and have slightly different formatting—which I've tried to follow as much as possible although this site doesn't like script formatting (and I've tried to clean up the funky formats), while still making this work understandable to the general reader.

THE CRIMINAL MIND: A MOVIE

TAGLINE: "And some grow up to catch them"

Cast List

AARON HOTCHNER

DAVID ROSSI

EMILY PRENTISS

DEREK MORGAN

DR SPENCER REID

JJ JAREAU

PENELOPE GARCIA

ERIN STRAUSS

COLONAL LOREN SEVILLE

THE EX MRS. HOTCHNER

JACK

THE UNSUB

OTHERS

The Search and Rescue Crew

Various others I haven't created or named yet

TEASER

EXT.-COLORADO SKY – AFTERNOON

WIDE-ANGLE. ESTABLISHING SHOT

As the credits begin to roll, we see a snow-capped mountain, and two black military-style helicopters flying through the gray skies.

HOTCHNER (VOICE OVER)

Marcus Aurelius once said 'It is not death that a man should fear, but he should fear never beginning to live.

We focus on the helicopters as first one then the other circle around and begin to turn back, as we cut to:

INT. – HELICOPTOR #1

We see DEREK MORGAN in the rear passenger seat, wearing his customary field wear, plus a pair of earphones. He taps the shoulder of the woman beside him, EMILY PRENTISS. She nods, then they both turn toward the front of the bird, where AARON HOTCHNER sits beside the pilot, COL SEVILLE. Seville is a dark-haired man, about Hotchner's age, with bright blue eyes and a cheerful disposition. He's whistling under his breath, ignoring the irritated looks HOTCHNER is sending his way.

HOTCHNER looks over his shoulder at his two colleagues. The team converses through the headphones and radios. It's a loud environment. We sense the urgency.

HOTCHNER

One more pass and will call it for the night, and give the Search and Rescue crews the signal to go on foot.

MORGAN

Hotch, man, you think the UNSUB'S still down there?

HOTCHNER

I don't think he ever left.

PRENTISS

It makes a strange sort of sense. This guy's so methodical it borders on obsessive compulsive.

A master strategist, a planner. Each victim and crime scene was almost too perfect.

It's a game to him. His victims are pawns, but we—we're—the black pieces.

MORGAN

Thank you for that explanation, Mrs. Reid! Seriously—why are we the black pieces?

PRENTISS

Smart ass.

HOTCHNER

Because we're the enemy. We stand in his way.

White is seen as purity. His plans for his victims are pure.

We stand in that way—to him we represent all that is evil with the world.

In order for him to be successful, to win, he has to outwit us.

PRENTISS

We're the evil. Isn't that a hoot?

EXT. - WIDE ANGLE – COLORADO SKY

INT. – HELICOPTER # 2

We see the pilot, DAVID ROSSI, and DR. SPENCER REID, in similar dress as the other copter's occupants.

ROSSI

Keep your eyes open. We're looking for a cabin or a barn. Someplace he could take his victims and someplace near the water.

REID

Because water is part of his MO?

ROSSI

No. This guy doesn't have to have the set routine to accomplish something, per se.

His murder script has evolved less from compulsion and more from necessity.

I think he'll have a plane capable of landing in a small stretch of water. It makes sense up here.

REID

That would explain how he got the second and third victims out here with very little time overlap.

ROSSI

Reid, get on the horn and tell Hotch, Prentiss, and Morgan to keep their eyes out for a pond or

lake big enough for a dock. Look for earth colors. This guy will want to blend in to the

background. And his career in the military only gave him the training to disappear.

REID

We may never find this guy. If he's been trained to disappear, that's exactly what

he will do. In ninety percent of stressful situations we rely on instinct, the other ten on training.

ROSSI

And this guy's instinct is to kill, while his training says run. He now can't help himself.

He'll be one conflicted bastard. That makes him even more dangerous.

REID

But who is he going to try to kill next? He doesn't have a readily available supply of victims.

ROSSI

A guy like this—he'll find whomever he can. Nobody is safe.

EXT. – WIDE ANGLE – COLORADO MOUNTAIN

We see the shadow of a man outlined on the cold ground. Snow and mud intermingle, as does the other debris associated with a late winter on the mountain. The shadow moves to stand, as we see the black helicopters crest over the mountain. They are flying low, and we don't know which team members are in which bird. The shadow (UNSUB) place an object on the white snow at his feet, carefully, standing it upright in the snow. It is a black chess piece (Bishop), on which the camera focuses. The shadow moves in the background and we see it pick up a long, cylindrical object. It is obviously a large weapon.

INT. – HELICOPTER # 1

We focus on PRENTISS as she scans the mountain below. Her eyes narrow. She turns toward the front of the cabin.

EXT. – COLORADO MOUNTAIN

The back silhouette of a man is revealed, standing with a large rocket-launcher type weapon. The helicopters get closer. The man aims, and fires, striking one.

EXT. MEDIUM RANGE SHOT – COLORADO SKY

Helicopter begins to spin wildly. We see it's been hit in the back tail. The other copter pulls back, getting out of the way.

INT. HELICOPTER # 2

We see REID, ROSSI, and the PILOT cursing, and watching in horror.

EXT. COLORADO MOUNTAIN

We see the man casually walking away. He now cradles the Bishop piece in his left hand, on which the camera focuses.

UNSUB

Check. Your move, now.

INT. HELICOPTER # 1

We see the fear written on the occupants' faces. They know it isn't good.

SEVILLE

Cover your heads! Keep a hold of your seats. It's going to be a bumpy ride!

As the helicopter spins wildly, MORGAN reaches over and grabs PRENTISS'S hand with one of his. The other he covers his head. The camera focuses on PRENTISS's face as she clutches her colleague's hand.

PRENTISS (VOICE OVER)

In the life of a man, his time is but a moment…

his sense, a dim rush light. All that is body is as coursing waters

…all that is of the soul, as dreams, and vapors.

End of Teaser