Swept Under 2015

Crime scene cleaner Morgan Sher Devin Kelley struggles to keep her assistants in the gruesome work she does, and her personal life is just as complicated as the bodies she cleans. She has a hard time forming emotional connections, and the job only amplifies that challenge. At a particularly troubling crime scene, she runs into Nick Hopewell Aaron Ashmore, the new partner of Detective Ed Braxton Brett Ryan. Braxton carries a grudge against Sher because of a past case where her insights helped solve a crime he couldn’t, a history that makes their professional alliance tense from the start.

When Sher’s latest assistant quits after a brutal scene, Hopewell shows curiosity about her work and the killer’s mind, impressed by the depth of her observations. Sher later visits the police station to hand Braxton a clue she uncovered while cleaning, hoping to prove her value. Braxton, feeling his authority tested, brushes her off, even as she continues to feed him information. Their uneasy dynamic deepens after a one-night stand with a data entry worker, with Hopewell eager to prove himself and Sher wary of becoming too intimate with someone from the precinct.

The partnership evolves as Sher hands Hopewell a clue—an unusual tip of a cane—that leads them to consider a seemingly related case. This line of inquiry pulls them into the world of the local orchestra, where Gary Butler Vladimir Jon Cubrt has been a donor accused (and later cleared) of a sexual assault. Butler’s nervous refusals to cooperate and the suspicious conduct of conductor Adam Fowler Stephen Bogaert push Hopewell to push harder, hinting at a serial killer who targets people tied to the orchestra and who carry criminal records. Sher and Hopewell grow closer as they work together, but their burgeoning attraction is shadowed by Sher’s admission of a long history of trauma that complicates any chance of a healthy relationship.

Hopewell’s drive to close the case intensifies, and Sher, feeling both drawn to him and protective of her own boundaries, reveals a personal rule against dating cops or coworkers. The investigation threads together clues from crime scenes, including the possibility that the killer is orchestrating deaths through a network linked to music and notoriety. Hopewell becomes convinced that Butler and Fowler are connected to the murders, even as both evade cooperation. Sher’s ruthless intellect begins to reveal herself as more than a deterrent to his career: she proves capable of taking decisive, dangerous action when provoked.

When Hopewell pushes for more because the stakes feel personal, Sher agrees to help with the more dangerous parts of the plan, and their collaboration crosses into morally gray territory. One night, she returns to Butler’s house, entering under false pretenses, and bluntly tells him she intends to kill him. She also reveals that she is a survivor of rape and had been abducted by Fowler, Butler, and others who are now dead. Before she can act, Butler participates in arranging his own murder scene, a cruel irony that leaves Hopewell unsettled but leaving him with sufficient motive to keep Sher close—at least long enough to see the truth of the case.

Butler is found dead, and Captain LaSalle Jo Anne Boland takes Hopewell off the case to avoid a potential conflict of interest. With his job on the line, Hopewell turns back to Sher for help, and she agrees to assist in bringing Fowler to account. Sher murders Fowler and makes it look like a suicide, crafting the scene so that Hopewell has the evidence he needs to close the case and reveal Fowler as the killer. Hopewell’s career is saved, and Sher dares to hope that she can finally move past her trauma and pursue a healthier future with him.

Yet the victory feels hollow. Butler’s estranged wife reveals a hidden camera in their home, and the footage shows a woman killing Butler, a revelation that casts doubt on Sher’s innocence and Hopewell’s certainty. The case becomes less about justice and more about moral consequence, as Hopewell, who has previously cooperated with Internal Affairs to take down corrupt cops, grapples with a rigid sense of right and wrong. When he discovers Sher is planning to flee the city, he pleads for her not to go. She turns away, apologizing and admitting that she knew he would struggle to let her go, leaving their future uncertain and the truth of the investigation more tangled than ever.