CHARLIE NEWTON (Blaise Miller) is your average down-on-his-luck guy, except his day job is anything but average. He works for Aftershocks Inc., Los Angeles’ number one service for the efficient clean-up of crime scenes. He’s been the “cleaning boy” for years - the butt of jokes from every cocky crime scene investigator. What no one realizes, though, is that his years of reading mystery novels and watching way too many forensics shows has led to a highly-developed Sherlockian sense of deduction.
 

Across town, independent film director WALLACE COTTON (Todd Berger) and his producer ROGER GRAHAM (Jeff Grace) can’t seem to find financing for their next project. This forces Wallace to get a job that utilizes his skills and takes advantage of the fact that he owns his own camera: crime scene videographer. He is assigned to apathetic young Crime Scene Investigators HENRY MUSE (Kevin M. Brennan) and CARLITA TRAVERS (Monika Jolly), who seem to care less about who killed the victim than about what’s in her fridge that they can munch on while dusting for prints.
 

When these characters cross paths, the trouble begins. Charlie notices clues connecting the crime scenes and he realizes a SERIAL KILLER is on the loose. Roger, knowing he has a gold mine on his hands, convinces Wallace to use his access to the crime scenes in order to make the first ever “docu-thriller.” Their film will be The Scenesters, a gritty documentary about Charlie - your average clean-up boy – who follows the evidence and cracks open the biggest serial killer case LA has ever seen.
 

Things go great for a while. The filmmakers successfully keep their project a secret from the cops while Charlie pieces together clues as to the killer’s identity. Charlie even begins to rekindle his relationship with old flame JEWELL WRIGHT (Suzanne May), a whip-smart young investigative reporter for a local news station.
Then things get strange. The KILLER starts sending the filmmakers homemade videos of his killings. He knows that a film is being made and wants to contribute. Meanwhile, Roger – against his director’s wishes – starts to manipulate the romance between Charlie and Jewell for the film’s sake. Things are looking up for Charlie and Jewell – until Jewell reveals on television, details of a crime that Charlie told her in confidence.
 

The plot soon becomes a bit more complicated. As the murders escalate and THE KILLER (who dubs himself “The Soloist”) is revealed to the public, Charlie closes in on his trail.
 

Everything comes to a head when The Soloist decides to stage an elaborate game of cat-and-mouse for his grand finale. When Charlie learns that the filmmakers have been manipulating him, Jewell, and the case, he quits the film. But it’s too late, the killer has begun to make a movie of his own and Charlie must race against time to save the life of the final victim. Unless, of course, Charlie was the killer all along.