Ruthless
"PILOT"
by
Angel Rodriguez
Angel Rodriguez
(425)466-6681 [email protected]
RUTHLESS
“HAPPY TOGETHER”
TEASER
FADE IN:
AUSTIN TEXAS, 1978
EXT. INTERSTATE 35 - MORNING
A BLUE 1961 CHEVY IMPALA ROARS AS IT ACCELERATES ON THE DRY
TEXAS ROAD.
Genres:
["Action","Drama"]
Ratings
Scene
2 -
Trapped in Denial
INT. RUTH'S CHEVY IMPALA - DAY
RUTH (30) a woman wearing big sunglasses with a round frame
driving with her windows down with a cigarette in her BLOOD
SMEARED hands.
RUTH tunes the radio.
NEWSCASTER (V.O.)
An unusual windy day here in
Austin. You can expect a high of 68
degrees.
RUTH tunes to another station.
NEWSCASTER #2 (V.O.)
The beaches are still closed two
weeks after a body washes up on the
shore. The classes of 1978 are
frustrated that they can't go out
to the beach after graduation. An
uptick of unsolved murders are
causing quite a stir. Mayor
suggests locking your doors at
night and parents are encouraged to
set kids curfew before dawn.
RUTH adjusts her mirror and reveals RICKIE (23) curly dark
hair and mustache with his throat slit in the backseat. She
looks into the mirror closely and picks at her teeth.
RUTH
Oh, man! That's embarrassing.
(laughs)
Right, dad?
RUTH looks to the empty passenger seat.
RUTH drifts off into a trance as tears run down her cheeks.
CUT TO:
FLASHBACK: 1968 SANTA FE, NEW MEXICO
Genres:
["Thriller","Drama"]
Ratings
Scene
3 -
Echoes of Regret
INT. RUTH'S CHEVY IMPALA - NIGHT
RUTH drives high speed in a panic. Sirens follows her- the
faster she tries to go, she cannot escape the sirens.
Red and blue police lights flashes her car. Making it hard
for her to see.
Disoriented. She turns to the passenger seat- facing her
father, ED (50) big frame, comb over
ED
I'm so proud of you Ruth.
RUTH
(petrified)
Dad!
A bullet CRASHES THROUGH the rear window in SLOW MOTION,
making its way to ED's temple.
END OF FLASHBACK
INT. RUTH'S CHEVY IMPALA - DAY
RUTH drifts out of her lane. An INCOMING CAR HONKS
AGGRESSIVELY and swerves out of the way FLIPPING OVER.
RUTH looks up unaware of the crash, wipes off her tears, and
then steers back into her lane. She throws her cigarette out
the window.
RUTH opens the trunk wearing latex gloves.
INSIDE OF RUTH'S TRUNK: Rope, gasoline tank, water, garden
shears, a DEAD WOMAN, SALLY (22) wearing a sundress.
EXT. PARK AREA
The two dead bodies are side to side on the ground. The wind
blows dirt on their bodies. RUTH stands above them with
garden shears. RUTH hears "Happy Together by The Turtles"
playing on the radio from her car.
RUTH begins to drift off into a trance. The music starts
playing in her head.
CUT TO:
FLASHBACK: THE NIGHT BEFORE
Genres:
["Thriller","Crime","Drama"]
Ratings
Scene
4 -
Night of Terror
INT. RICKIE'S CAR - NIGHT
RICKIE and SALLY make out in the front seat with "Happy
Together" playing on the stereo.
The rear tire gets slashed. The car lowers as the sound of
air escapes the tire.
RICKIE
What the hell?
SALLY
What was that?
The couple looks outside but it's completely dark. The sound
of another tire POPS. The car lowers even more.
SALLY (CONT’D)
What's going on?
RICKIE
I don't know.
The couple hears footsteps walking past the car.
SALLY
Are the doors locked?!
SALLY LOCKS her side of the door. THEN- the front tire from
Rickie's side gets SLASHED! The car lowers even more as air
escapes the tire.
Frustrated RICKIE opens his door.
RICKIE
Fuck, Man!
SALLY
Stop it! Get back here!
SALLY shakes as her boyfriend exits the car- leaving the door
open. She can't see it in front of her.
RICKIE (O.S.)
What's your problem man!
SALLY turns on the headlights, revealing RICKIE standing in
front of the car. A figure in front of him- with a swinging
motion, SLITS HIS THROAT.
SALLY SCREAMS as RICKIE turns facing her in TERROR! His BLOOD
squirts on the windshield!. As RICKIE falls onto the hood of
the car. The headlights reveal the figure's face. It's RUTH.
In a PANIC! SALLY tries to open her side of the door but it's
LOCKED. RUTH comes after her with a HUNTING KNIFE in hand.
END OF FLASHBACK
Genres:
["Thriller","Horror"]
Ratings
Scene
5 -
Awakening in the Park
EXT. PARK AREA - MORNING
Ruth’s trance breaks as she stands above the dead couple with
the song still playing in the car. RUTH looks across the way
and sees an hallucination of ED standing in front of her car.
ED
You'll need a tarp. It's going to
get a little messy.
RUTH
Thanks, dad.
ED
You're okay, Ruth.
ED disappears. RUTH begins to hear her father's voice in her
head. RUTH smiles as she opens the garden sheers.
ED (V.O.)
Make me proud.
END OF TEASER
ACT ONE
Genres:
["Thriller","Drama","Crime"]
Ratings
Scene
6 -
A Dark Day at the Park
EXT. PARK AREA CRIME SCENE - LATER
A 1974 Dodge Monaco pulls up next to the crime scene. The
loud wind blows dirt all around. Squad cars surround the
area.
SHERIFF COOPER (63) exits his car wearing dark AVIATORS.
DEPUTY BYRON THOMAS (30) "Clint Eastwood" type exits the
passenger's side.
They make their way to the crime scene.
COOPER
(To Thomas)
God damn! What a lovely day! Woke
up in the morning in a good mood.
And the first thing I get to do at
work is to examine yet again
cadavers with wind blowing up my
ass and the sun shining on my face!
What a day!
THOMAS
I'm glad you're having a good time
Sheriff. But I woke up next to a
nauseous pregnant wife and two kids
running all over the damn place.
THOMAS offers SHERIFF COOPER gum, He accepts. DEPUTY BRADY
BURKE (28) a bit jumpy, walks towards SHERIFF COOPER and
THOMAS
BURKE
(To Cooper)
The bodies are over here sir... I
hope you didn't have a big lunch.
COOPER
You know I didn't, deputy. Ever
since I quit smoking, I can't hold
anything down.
BURKE
How's the hiatus?
COOPER
It's shit. But I'll live.
SHERIFF COOPER walks off to the bodies. THOMAS and BURKE
stay. BURKE lights a cigarette.
THOMAS
Since when did you start smoking?
BURKE
(Coughs)
This morning. All of this has been
too much.
THOMAS
(Concerned)
How's it going' Brady? Really?
BURKE
Besides getting called out here at
the ass-crack of dawn. I'm doing
just fine.
BURKE takes a moment. He’s unsure to ask but does.
BURKE (CONT’D)
How's Julie?
THOMAS
She's being Julie... How’s Shirley?
BURKE
According to her she's "doing just
fine" but we both know that's not
the case. She doesn’t like that I’m
not home.
THOMAS
Maybe you need to tell her you love
her.
BURKE
She knows that!
THOMAS
You can remind her.
BURKE
Remind her that I love her. That I
fell in love with her Latina fire.
THOMAS
You mean passion?
BURKE
I mean crazy...
THOMAS
Can I be there when you tell her
that?
BURKE
That's probably a good idea, I'm
probably gonna need a witness just
in case I end up dead!
They both laugh.
BURKE (CONT’D)
Yup crazy. But I’m crazy about her.
BURKE gives THOMAS an insincere smile. He takes another puff
of the cigarette...
THOMAS
How bad is it?
BURKE looks back at SHERIFF COOPER who is standing over the
bodies.
BURKE
Pretty bad.
THOMAS pats BURKE on the back and walks towards the bodies.
He stands next to the worried SHERIFF COOPER. THOMAS covers
the sun from his eyes as he looks down at the bodies. THOMAS
looks with DISGUST!
COOPER
(To Thomas)
Deputy, who in their right mind
would do something like this?
SHERIFF COOPER kneels to take a closer look. He takes off his
glasses revealing his blue eyes.
COOPER (CONT’D)
I saw a lot in my day, but shit.
BURKE walks into frame with a note pad in hand.
BURKE
We have ID's for both victims.
THOMAS
How in the hell did you do that?
SHERIFF COOPER puts on his aviators.
BURKE
The victims' wallets were found
dumped in the lake over yonder.
Both were college students from
Houston.
SHERIFF COOPER notices the worried BURKE.
COOPER
God damn Burke! You look like shit!
You should get back to the station.
Take a moment to yourself and wipe
that shit off your face. I need you
focused!
THOMAS grabs for the note pad.
THOMAS
We'll take it from here.
BURKE
Thank you, sir. I'm sorry.
BURKE LEAVES.
COOPER
(To Burke)
Don't apologize to me! Pull
yourself together!
SHERIFF COOPER sighs.
THOMAS
Everything alright Sheriff?
COOPER
Just reminiscing the good old' days
where I spend the majority of my
time chasing after kids for
stealing a 6 pack of beer.
THOMAS
(laughs)
I was one of those kids, Sheriff.
COOPER
Yup. The good old' days... I'd
rather not spend my time
investigating their murders. Do we
know where they were... you know.
THOMAS flips through the note pad.
THOMAS
(Reading)
The victim's car was found about
fifty miles east. Blood.
Everywhere. Tires was slashed,
windows broken. Sounds like it
wasn't a pretty sight.
COOPER
We should contact the families of
the victims
THOMAS
I'll do it, sir.
COOPER
No, I'll do it. Sad to say, I've
been getting good at delivering the
news- been doing it so goddamn
much. How long has it been now?
THOMAS
Three months. Three months trying
to track down this killer. And
Sheriff to be honest. I'm a little
worn out by it. Being away from my
wife and kids. Late nights chasing
a ghost.
COOPER
Let me tell you something, Deputy.
There is no such thing as ghosts...
And believe me when I say. We are
not going to rest until we catch
whoever is causing harm to the good
people of Texas.
THOMAS
Sheriff, we have nothing. In all
the crime scenes, there's no
evidence. We don't know what the
killer looks like, how can you be-
COOPER
-Look. It ain't my first rodeo son.
Been doing this shit for over
thirty years. Justice will prevail.
Now, are you with me or not?
THOMAS
You know I'm ready to catch this
son-of-a-bitch.
COOPER
We need to use our instincts.
THOMAS
Okay. So, who are we looking for?
COOPER
Someone who's been doing this for a
long time.
CUT TO:
Genres:
["Crime","Mystery","Drama"]
Ratings
Scene
7 -
Shadows of Isolation
INT. RUTH'S STUDIO APARTMENT - DAY
RUTH enters her dimly lit apartment, the main source of light
comes from the sun creeping through the blinds.
She takes off her shoes and turns on the radio to a news
station. RUTH walks to the kitchen in her dimly lit
apartment. She pulls out juice from the fridge and drinks
from the carton.
RUTH hears laughter from outside. QUICKLY RUTH pulls out a
knife from her knife block. A couple walks in front of RUTH's
window and stops, blocking RUTH's light source.
RUTH stares at the silhouette of the man and the woman. The
couple is preparing to kiss, their silhouette comes closer to
each other, now covering all of RUTH's light source.
RUTH hears more laughter as the couple gallops away. Her
light source comes back.
Silence.
RUTH sees a picture frame in front of her and holds it up.
It's a picture of her father standing in front of the CHEVY
IMPALA. RUTH falls into a trance.
CUT TO:
FLASHBACK: 1965 RENO
Genres:
["Thriller","Drama"]
Ratings
Scene
8 -
A Gift of Darkness
EXT. RUTH'S HOUSE - DAY
Seventeen-year-old RUTH, sits on the front porch of her mid-
size house, far away from any neighbor. She eats a Twinkie.
The wind blows the wind chimes. RUTH hears them. At peace.
Everything around her. The wind chimes, the wind, the heat
from the sun. RUTH is one with nature.
THEN- ED drives the Chevy Impala up the driveway.
RUTH
Dad! Are you kidding? Where did you
get this?
ED
I bought it. And it's yours.
RUTH
(excited)
Really? An Impala?
ED
Yeah! It's yours!
Muffled screaming is heard in the trunk, followed by banging.
RUTH is confused
RUTH
Dad?
ED opens the trunk of the Impala, revealing a tide up TEENAGE
BOY.
TEENAGE BOY
HELP!
ED quickly jams a rag into his mouth.
RUTH
Dad? What's going on?!
ED
Isn't this the boy who picked on
you?
RUTH
Yes. But. Why do you have him tied
up?
ED
We're going to teach him a lesson.
RUTH
What?
ED
Don't ask me why and how! Help me
get him out.
ED and RUTH drag the TEENAGE BOY out of the trunk and THROWS
him to the ground. ED hands RUTH a REVOLVER. The tide up teen
lays on the ground in terror.
ED (CONT’D)
Shoot him.
The TEENAGE BOY begins to panic on the ground.
ED (CONT’D)
(TO THE TEEN)
SHUT UP!
(BACK TO RUTH)
Ruth, shoot him honey.
RUTH
I- I can't!
ED
Yes, you can. You just have to
point-
ED makes a finger gun and points at the TEENAGE BOY.
ED (CONT’D)
-and shoot. No one's going to miss
this low life. He embarrassed you,
didn't he?
RUTH
Yes.
ED
He made you run home crying, didn't
he?
RUTH
Yes.
ED
What did he do? Tell him what he
did to you!
RUTH begins to cry
RUTH
He made fun of me.
CUT TO:
FLASHBACK SCHOOL - EARLIER THAT WEEK
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
9 -
Escalation of Bullying
INT. CLASSROOM - DAY
RUTH was in school in front of the class. Her teacher made
her read but she struggles to pronounce the words. The teen
is making fun of her. Laughing with his friends.
Embarrassed. RUTH walks back to her desk and sits next to the
teen. Laughing at her. RUTH scowls. She threw her book at
him.
ED (V.O.)
Tell me. What did he do next?
BACK TO:
EXT. RUTH’S HOUSE - DAY
RUTH
(To the teen)
You hit me. You pulled down my
dress. You called me stupid...
The teen shakes his head as tears run down his face.
ED
See! He's denying it. He's a liar!
A big fat liar!
RUTH points the gun at the teenager. He tries to mutter
‘Sorry’ through the rag in his mouth.
RUTH
He's a liar.
ED
Shoot him, Ruth. Shoot him!
*THE GUN GOES OFF*
END OF FLASHBACK
Genres:
["Thriller","Drama","Crime"]
Ratings
Scene
10 -
Solitude and Shadows
INT. RUTH'S STUDIO APARTMENT - DAY
RUTH stands alone in the dark. The space is silent. RUTH
reaches into her jacket pocket and pulls out a Twinkie,
opening the wrapper with her teeth.
BACK TO
FLASHBACK
EXT. RUTH'S HOUSE - DAY
Tears run down RUTH's blood-smeared cheeks as she holds the
gun with smoke still leaving the barrel. ED gives RUTH a hug.
ED
I'm proud of you Ruth. Don't let
anybody make you feel like that
ever again.
END OF FLASHBACK
Genres:
["Thriller","Drama"]
Ratings
Scene
11 -
Forced Obligation
INT. RUTH'S STUDIO APARTMENT - DAY
RUTH's phone rings.
RUTH snaps out of her trance and walks over to her phone and
picks it up.
RUTH
Hello?
On the other line is DEBORAH (31), a coworker. She never
stops talking.
DEBORAH
Hey, Dillon. Can you come to work
today and cover my shift?
RUTH
(soft)
It's my day off.
DEBORAH
I know, I'm sorry but my Mom needs
me right now. I promise to cover
any of your upcoming shifts.
RUTH pauses.
DEBORAH (CONT’D)
Hello? Dillion! C’mon! Don’t be so
selfish! Like always. You never
want to talk to me. You don’t
listen. Half of the time. I don’t
even know that you’re listening
right now... You just stare-
RUTH
(frustrated)
-Okay. Fine. I'll be on my way.
DEBORAH
Thank you so much Dill-
RUTH hangs up the phone.
Genres:
["Thriller","Drama"]
Ratings
Scene
12 -
Tension at the Station
INT. POLICE STATION - LATER
THOMAS sits at his desk going through files. A HUGE STACK
sits on his desk. THOMAS sees SHERIFF COOPER yells on the
phone in his office.
COOPER SLAMS his phone down! He storms out of his office.
COOPER
(TO EVERYONE)
Alright, listen up!
THE STATION silences. ALL EYES ON COOPER.
COOPER (CONT’D)
I just got off the phone with the
mayor. Not only he thinks we are
fucking around- He questioned my
role as SHERIFF! CHALLENGED my
authority. AND THAT PISSES ME OFF!
LET'S PROVE that PRICK WRONG! YOU
HEAR? That means- WORKING OVERTIME
BOYS! TILL WE CATCH THIS MONSTER!
COOPER storms back into his office. Everyone in the station
resumes their work.
THOMAS continues flipping through files. He is looking at
prior arrests made at the police station. He comes across a
man named, ROBERT GILLIES.
ROBERT's mugshot shows an unkept man with an intimidating and
intense stare. THOMAS reads his profile- "BATTERY, STALKING,
RESISTING ARREST"
BURKE walks in
BURKE
(To Thomas)
What are you doing?
THOMAS
You heard the sheriff. Police work!
Unlike your ass...
BURKE
Hey! I'm busy! But I chose to come
over here to talk to you!
THOMAS ignores him. He continues to read the file. BURKE
notices.
BURKE (CONT’D)
You gotta stop stressing yourself
out. Seriously. You're walking
around the station with a stick up
your ass, pulling out your own hair-
and I'm behind you picking up the
pieces.
SHERIFF COOPER is in a heated argument on the phone. THOMAS
and BURKE can hear his muffled yells coming from his office.
BURKE (CONT’D)
The sheriff was a hard-ass before.
Now, look at him! He is cut-throat
scary. You gotta stop putting it
all on your shoulders.
BURKE grabs half of the stack from his desk.
BURKE (CONT’D)
Here...I'll help! Are these your
potential leads?
THOMAS
Yeah...
BURKE
We'll split the work.
THOMAS
Thank you.
BURKE walks off. THOMAS takes a moment to himself.
SERIES OF SHOTS:
FLASHBACK 1963: AUSTIN, TEXAS
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
13 -
Echoes of the Past
EXT. TEXAS STATE FAIR - NIGHT
THOMAS gets FLASHES of his past. 14-year-old THOMAS and his
older brother RICHIE (19) at the fair. They’re go on a
rollercoaster and play carnival games.
RICHIE bumps into a hooded man.
RICHIE
(aggressive)
WATCH IT!
RICHIE pulls THOMAS close. Shrugs it off.
THOMAS loses to his brother on the carnival games. Except for
shooting. THOMAS aims the rifles with confidence. A skill he
learned from their dad.
BULLSEYE! Every shot. RICHIE wanders off while THOMAS shoots.
THEN BANG! A real gunshot snaps THOMAS out of focus. He TURNS
and RICHIE is on the floor in a puddle of blood.
The crowd are running away while THOMAS makes his way to his
brother.
END OF FLASHBACK
BACK TO:
INT. POLICE STATION
THOMAS sits. Staring at his workload. Crime scene pictures.
All too familiar.
END OF ACT ONE
ACT TWO
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
14 -
A Shift in Perspective
INT. DEE DEE'S DRUGSTORE - LATER
DEBORAH (40's) is behind the register counter. She worries as
she impatiently waits for RUTH.
RUTH walks into the store with her uniform. DEBORAH sighs
with relief when she sees RUTH.
DEBORAH
Thank you so much for covering. I
have to go!
RUTH
What happened?
DEBORAH
My mother is scared stiff! She
lives in Houston right next to the
college- where those two dead kids
went to.
RUTH
Really? Why is she scared? Did she
see something?
DEBORAH
God no! If my mother saw anything
like that- I'll be on my way to her
funeral! That scared old bat is
scared of anything and everything!
I was on the phone with her for
over 3 hours! You know how moms
are!
RUTH
I never met my mother actually. She
died. Very young.
DEBORAH
Oh my god. I’m so sorry! How did I
not know that.
(beat)
I mean. You don’t really talk to me
or to anyone. So I guess, I
wouldn’t have known that. ANYWAY!
She's all shook up because about
ten years ago my mother lived in
Los Angeles and something like this
happened over there. Can you
imagine-
As DEBORAH starts blabbering off. RUTH starts reminiscing.
CUT TO:
"A Child's Guide to Good and Evil by The West Coast Pop Art
Experimental Band" plays.
TITLE FILLS THE SCREEN:
LOS ANGELES, 10 YEARS AGO - MONTAGE/FLASHBACK
Genres:
["Drama","Thriller"]
Ratings
Scene
15 -
Ruth's Reign of Terror
EXT. STREET - NIGHT
A BUSINESSMAN is thrown to the ground terrified, he screams
as RUTH stands above him wielding a knife.
INT. CAR - NIGHT
RUTH sits in the backseat of a parked car strangling an OLD
MAN in the driver's seat with a guitar string. The engine
still on. His feet stepping on the gas.
EXT. ALLEY - NIGHT
A WAITRESS in her twenties run through an alley screaming for
her life. As she reaches the other side- RUTH appears around
the corner.
INT. HOUSE - NIGHT
A couple is sitting on the couch watching a scary movie while
eating popcorn. RUTH appears from the shadows behind them,
wielding a knife.
EXT. REST STOP - DAY
RUTH holds the revolver in her hand as she exits the public
bathroom with the sound of the toilet overflowing and a set
of feet blocking the door.
INT. BATHROOM - NIGHT
A MAN in the bathtub, fully clothed lays dead with blood
smeared all over. RUTH out of breath places the hammer on the
floor, smoking a cigarette.
END OF MONTAGE -
END OF
FLASHBACK:
BACK TO:
Genres:
["Thriller","Horror","Crime"]
Ratings
Scene
16 -
A Moment of Unease
INT. DRUGSTORE - DAY
DEBORAH
Dillon?
RUTH
Huh?
RUTH quickly snaps out of it.
DEBORAH
Where do you go?
RUTH
What do you mean?
DEBORAH
You do that a lot. You drift off to
god knows where. My mother always
tells me- that's a sign of the
devil at play! Be careful Ruth, you
gotta be in the present- not
floating off to god knows where.
RUTH
(Passive)
Your mother seems like a wise
woman... You better get going
before god knows what.
DEBORAH
(Uncomfortable)
Okay... I owe you one.
CUT TO:
Genres:
["Thriller","Drama"]
Ratings
Scene
17 -
Trance in the Drugstore
INT. DRUGSTORE - LATER
RUTH stands behind the register flipping through a magazine.
With a pen in her hand, she circles various women and men in
the magazine.
The radio is tuned to the news.
NEWSCASTER (V.O.)
A man seriously injured, after his
automobile flipped over on
Interstate 35. Claiming an elderly
woman was driving on the wrong side
of the road.
RUTH reflects.
A BLONDE WOMAN walks up the counter, but RUTH doesn't notice
as she listens to the radio.
As the news cast ends. ‘Mr Tamborine Man’ by ‘The Byrds’
plays on the radio.
The BLONDE WOMAN waves her hand trying to get RUTH's
attention. RUTH falls into a trance.
CUT TO:
FLASHBACK 1965 RENO
Genres:
["Thriller","Drama"]
Ratings
Scene
18 -
Lessons in the Night
INT. IMPALA - NIGHT
17-year-old Ruth is with her father in the impala outside of
a bar with the radio on.
RUTH
I don’t understand why I can’t go
back to school.
ED
You don’t need school. You’ve got
me to teach you about life. The
real world.
RUTH turns to the backseat. Blankets, suitcases and plastic
bags liters the seats.
RUTH
But you’re not teaching me math. Or
Science. My teachers said learning
is important.
ED
(frustrated)
You’re not gonna need that shit in
life! All you got in life that
matters is instinct. We’re animals.
Living in the animal kingdom. You
want a lesson little girl?
(MORE)
ED (CONT’D)
You don’t become the apex by
learning math.
Women laughing echoes in the background. It catches ED’s
attention.
Working girls turns the corner of the bar as patrons enters.
ED (CONT’D)
Now look at them. Can you tell me
what animals they are?
Ruth takes a look.
RUTH
They look pretty. They’re probably
Giselles.
A man in a coat approaches the working girls’
ED
They’re wolves. Look at them. They
hunt in packs. Lock in their prey
and they strike.
One of the girls steps forward and flirts with the coat man.
ED (CONT’D)
The thing about wolves is they
coordinate their attacks. One
usually approaches strong while the
other flanks.
Another girl circles around and traces her finger behind the
man. The man gets excited and gets nervous. They use their
sexuality to seduce.
ED (CONT’D)
That guy. Ain't’ nothing more than
a rabbit. Look at him. Poor
bastard. See Ruth, it only takes
one wolf to take down a rabbit.
All of the girls begin to play around with the man. Touching
his hair, pulling on his coat.
ED (CONT’D)
Wolves hunt in packs to take down
large prey like Elk. So why the
hell are they going after this
rabbit?
RUTH
I don’t know.
RUTH notices one of the girls takes his wallet from his back
pocket while the others are flirting.
ED
They’re playing with their prey.
They’re cruel. You see? Humans are
nothing better than cruel fucking
animals. They will strike.
The man leaves the girls and goes in the bar.
ED (CONT’D)
They will eat you alive without
hesitation. I’m teaching you how to
hunt those fuckers down before they
get to you.
RUTH looks at ED in woe.
RUTH
I like animals. Some of them are
good. Like dogs and horses.
ED
They’re pets. They’re meant to be
in the kennel or stable. You’re not
a pet either Ruth. Don’t be
anyone’s pet! Your better off
dancing with the wolves.
END OF FLASHBACK
BACK TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
19 -
Tension at the Counter
INT. DRUGSTORE - CONTINUOUS
The BLONDE WOMAN starts ringing the bell on the counter.
After a few rings, RUTH snaps out of her trance and hears-
BLONDE WOMAN
Hello! Are you in there lady?
The BLONDE WOMAN frustrated and impatiently gives RUTH a
nasty look.
RUTH pays close attention to the BLONDE WOMAN
RUTH
How can I help you?
BLONDE WOMAN
I've been walking around this damn
store for like an hour and can't
find the bleach.
RUTH
The bleach is in aisle four, next
to the baby toys.
(Patronizing)
Is there anything else I can help
you with?
THE BLONDE WOMAN rolls her eyes and walks away.
BLONDE WOMAN
(under her breath)
Dumb-bitch!
RUTH’S blood boil. She clenches her fists. Imagining a knife
in her hand. She STABS her fist on the counter.
RUTH watches the blonde woman walk away and notices her
Mercedes key chain hanging off of her purse. RUTH looks
outside and sees a parked Red Mercedes.
RUTH gives a sinister look as she glances at her magazine.
RUTH sees a model in the magazine with BLONDE HAIR wearing a
fur coat. A thought enters her mind. “A wolf”
RUTH goes back to her magazine, not noticing that a line of
customers has formed at the register. The customers wait
impatiently for RUTH to notice.
Genres:
["Thriller","Drama"]
Ratings
Scene
20 -
A Day at Hank's Hardware
EXT. HANKS HARDWARE STORE - DAY
RUTH parks her car outside of the store and walks in. A big
sign reading, "HANKS HARDWARE"
She looks over and sees a malnourished dog on the side of the
store.
RUTH notices everything. The dog, how many cars are in the
parking lot, she notices a cop car driving by.
RUTH puts on her sunglasses and turns away. Just like how
she’s trained.
CUT TO:
INT. HANKS HARDWARE STORE - DAY
RUTH pushes a cart, browsing through the aisles. "Old man by
Neil Young" plays in the intercom.
RUTH pockets Twinkies as she passes by an aisle of shovels.
She stops at one and examines it. She starts swinging the
shovel in the air, repeatedly. She looks at the price tag.
She tosses the shovel into the cart. Across the aisle, RUTH
sees a gas mask and walks towards it. Amused, she picks it up
and holds it up to the light.
An inquisitive baby sits in a shopping cart looking at RUTH.
RUTH looks back at the baby and smiles. The baby smiles back,
RUTH puts on the gas mask and makes a pose. The baby starts
crying.
An employee approaches RUTH, she takes off the mask.
EMPLOYEE
Hi, ma'am. Anything I can help you
with?
RUTH
No, I'm fine. Just picking up a few
things I need... Is this on sale?
EMPLOYEE
It's not. But we do have a discount
sale on all items camping related.
Are you going camping this summer?
RUTH
I'm going hunting.
CUT TO:
EXT. HANKS HARDWARE STORE
RUTH leaves the store and pulls out the Twinkie she pocketed.
Walks over to the dog, and feeds him the Twinkie.
RUTH
Good girl.
RUTH gently pets the dog but it growls.
RUTH (CONT’D)
I’m not hurting you. Its okay.
After a few pets, the dog begins to trust. AFTER a moment. A
police siren catches RUTH’S attention. She turns and the
police car drives off.
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
21 -
Confronting Injustice
EXT. HANKS HARDWARE STORE - MOMENTS LATER
RUTH walks to her car with her cart. She opens her trunk and
throws everything in.
BESIDES HER is a CAR. INSIDE a MAN AND A WOMAN is fighting in
the front seat.
She looks at the arguing couple. The ANGRY MAN SLAPS the
WOMAN. He exits his car. RUTH looks away but the man noticed.
ANGRY MAN
(To Ruth)
What the fuck are you looking at?
He storms into the store. RUTH glares at him. He turns to the
sad woman. She weeps in her car.
Ruth closes her trunk. She makes her way to the SAD WOMAN in
the car. THE WINDOW IS OPEN.
THE SAD WOMAN doesn't notice RUTH. The woman has a black eye,
a busted lip, and cigarette burns on her arms. RUTH notices
it all. She shows remorse.
RUTH
(To the Sad Woman)
Hey. Are you okay?
SAD WOMAN
(Caught off guard)
What?
RUTH
Are you okay?
SAD WOMAN
I'm fine. He's just-
RUTH
An asshole.
SAD WOMAN
No, he's not always like that.
RUTH
Are you scared of him?
The woman ponders the question. She grows more anxious.
Slowly she nods her head. Ruth pities her.
RUTH pulls out a pocket knife from her back pocket and hands
it to the woman.
RUTH (CONT’D)
Here! Don't let him hit you again.
Pull that out and stab the fucker
in the neck!
RUTH walks off. THE SAD WOMAN looks at the knife uncertain.
Before RUTH gets in her car she looks over and the employee
from the store approaches the dog aggressively.
EMPLOYEE
Hey you ugly mutt! Get the hell
outta here.
The employee goes to kick the dog. But the dog scurries away
in fear. The employee stands with a grin on his face.
RUTH gets in her car and glares at him. He notices and his
grin fades away. He goes back into the store.
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
22 -
Fractured Peace
INT. THOMAS HOUSE - NIGHT
THOMAS walks through the door. FRUSTRATED. He is quiet. He
doesn't want to wake his kids.
JULIE (34) pregnant sits on the couch. She is a "cop's wife"
Stay at home, wears the pants in the relationship.
JULIE
(Playful)
Hey there, Cowboy!
THOMAS
(Gives her a kiss)
Hey baby! How were the kids today?
JULIE
Other then being little shits.
They're fine. They take after their
father.
THOMAS
Billy isn't fighting again, is he?
JULIE
He is.
THOMAS
Damn it.
JULIE
He got into a fight with a 3rd
grader.
THOMAS
(Concerned)
Why?
JULIE
The bully was picking on his
sister. He stood up for her... I
can't be mad at him for standing up
for what's right. He also gets that
from you.
THOMAS
(Upset)
He shouldn't be starting fights.
I'm gonna talk to his ass in the
morning.
JULIE
Take it easy. It's not a big deal.
THOMAS
(frustrated)
I don't want our son to be starting
fights period!
JULIE
OK. Byron, you have to calm down.
THOMAS
Don't tell me to calm down!
JULIE
(Upset)
Don't talk to me like that! What
the hell is wrong with you?
THOMAS takes a second to himself.
THOMAS
I'm sorry.
JULIE is concerned.
JULIE
(Gestures to sit next to
her)
Come on. Tell me what's going on...
THOMAS
(Takes a seat)
We found more bodies today. They
were just kids.
JULIE
How old?
THOMAS takes a beat.
JULIE (CONT’D)
Your brothers’ age?
SMASH CUT TO:
FLASHBACK 1963: AUSTIN, TEXAS
Genres:
["Drama","Family"]
Ratings
Scene
23 -
Haunted by the Past
EXT. TEXAS STATE FAIR - NIGHT
14-year-old THOMAS holds his brother in his arms. His tears
drip from his face onto the bullet hole in his brothers head.
END OF FLASHBACK
BACK TO:
JULIE
(Concerned)
I'm sorry, baby.
JULIE comforts THOMAS.
THOMAS
I can't go on like this... Knowing
that son-of-a-bitch is out there-
it makes my skin crawl. They never
caught my brother’s killer and for
damn sure, another killer ain’t
gonna get away if I have something
to do with it-
JULIE
-You can't think like that. You
can't put all of that all on
yourself. What happened to your
brother was an injustice and I pray
for him everyday.
(MORE)
JULIE (CONT’D)
But you know what else I pray for?
I pray that one day it’ll stop
consuming you.
THOMAS
What if- something happens- to OUR
kids. When my brother died, a part
of me died too you know. I can’t do
that again.
BACK TO:
FLASHBACK 1963: AUSTIN, TEXAS
14-year-old THOMAS holds his brother tight close to him. He
won’t let go.
JULIE (V.O.)
But you’re still holding onto him.
You need to let him go. You need to
let him rest baby. Or else it’ll
follow you like a ghost and it’ll
drag you down to hell.
MATCH CUT BACK
TO:
INT. THOMAS HOUSE - NIGHT
THOMAS
Richie is not a ghost haunting me.
Had it occurred to you that maybe
my brother is an angel- guiding me
to do the right thing?
Silence.
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
24 -
Hunting Shadows
INT. RUTH'S 1961 CHEVY IMPALA - NIGHT
RUTH cracks her knuckles as she is parked outside of a bar.
RUTH pulls out a hunting knife from her glove compartment and
examines the sharpness of the knife.
RUTH
I'm so glad that I can talk to you
again. Life's been boring here.
RUTH turns to the passenger seat and an hallucination of her
father appears. He sits as if he was actually there.
ED
I know. It's been a while. It takes
time to adjust to new places.
RUTH
It's been three months, I thought I
would've adjusted by now! I always
do.
ED
It will adjust, Ruth. Give it time.
RUTH
I’m tired.
ED
Of what?
RUTH
Running.
ED
What are you running from?
RUTH is taken back. Her demeanor changes. That’s not
something her father would say... And she knows that. She
wanders: Who am I talking to?
Her hallucination begins to fade... She panics
RUTH
Wait!
In a desperate attempt to keep ED there...
RUTH (CONT’D)
You know, I changed my name to
Dillon.
ED
Dillon? It suits you.
RUTH
And I have a job now. I'm a
cashier.
ED
Do you like it?
RUTH
Sometimes. It’s just- people are
the same. Everywhere I go. They
think I’m stupid or slow.
ED
(sadistic smile)
Hunt them down. Like I taught you.
RUTH
What I want?
ED
Yeah.
RUTH
I want to breath again. Like back
at our old porch with the wind
chimes. I felt so normal.
A drunk couple falls onto RUTH's car. They laugh and walk
past her.
INTERCUT BETWEEN RUTH AND ED giving the same dialogue as she
hallucinates. It grows stronger.
RUTH & ED
(Angry)
Look at them. It's disgusting, they
have no respect for my little girl.
They didn't even apologize.
RUTH snaps out of it. RUTH looks back at the passenger's seat
and her father disappeared.
RUTH looks out her windshield and sees the blonde woman
leaving the bar.
RUTH gets out of the car and follows the woman into an
alleyway. She hunts.
RUTH hears her dad's voice in her head.
ED (V.O.)
I'm so proud of you... Do right by
me... Go get her.
CUT TO BLACK.
Genres:
["Drama","Thriller"]
Ratings
Scene
25 -
Rising Tensions
INT. POLICE STATION - DAY
SUBTITLE FADES IN: ONE MONTH LATER
THOMAS walks assertively with a file in hand to Sheriff
Cooper's office.
NEWSCASTER (V.O.)
What's going on in Austin? In the
past month, the murder rate has
increased exponentially. The police
department has issued town curfews
and released a statement, debunking
the zodiac killer rumors.
THOMAS walks through a hectic station radiating with
exhaustion. Fellow policemen scrambling all around. THOMAS
struggles to keep his eyes open.
THOMAS enters the office. SHERIFF COOPER sitting at his desk
on the phone with a cigarette in his hand.
COOPER
I'm sorry for your loss, ma'am.
SHERIFF COOPER slams the phone.
THOMAS
Who was that?
COOPER
The mother of our latest victim...
She is hysterical and threatening
to sue us.
THOMAS
(defeated)
I don’t blame her.
COOPER looks up at disheveled THOMAS. Notices his bloodshot
eyes.
COOPER
Goddamn Thomas! You look a tail-
short of a bloodhound!
THOMAS
We’ve all been working overtime.
COOPER
You working overtime! all the time!
THOMAS
I’ve been diggin’ and got
something.
COOPER
Like I said, a goddamn bloodhound.
What you find?
SHERIFF COOPER'S PHONE RINGS
COOPER (CONT’D)
Damn! What didn't I do now?
SHERIFF COOPER answers the phone.
COOPER (CONT’D)
(on the phone)
Hello?
THOMAS places the file on SHERIFF COOPER's desk.
COOPER (CONT’D)
(on the phone)
Uh-huh... Yeah, we'll keep an eye
out for him. Thank you
SHERIFF COOPER SLAMS the phone.
THOMAS
What is it?
Pause.
COOPER
The minister's son is missing.
Genres:
["Crime","Drama","Mystery"]
Ratings
Scene
26 -
Desert Disposal
EXT. DESERT - CONTINUOUS
"Son of a Preacher Man by Dusty Springfield" plays through
the radio of RUTH's Impala.
RUTH opens the trunk of her car. Inside the employee from
Hank’s hardware store. DEAD.
RUTH struggles to take him out of the trunk. She grabs on the
corpse and pulls him out, the trunk lid closes hitting his
head.
RUTH
Whoops.
RUTH drags him out of the trunk by his feet. The body falls
HARD on the ground. RUTH out of breath starts dragging Bobby.
She looks at him and remembers how he treated the dog. He was
about to kick the dog.
THEN- RUTH kicks him... repeatedly. Until she’s satisfied.
RUTH (CONT’D)
No hard feelings. I just need to do
right by my dad. He would’ve done
much worse to you... Are we cool?
RUTH waits for a response from the corpse.
RUTH (CONT’D)
Cool! I knew you would understand.
BACK TO:
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
27 -
Buried Secrets
INT. COOPERS OFFICE - CONTINUOUS
Burke goes through the file. It's RUTH's Chevy Impala.
COOPER
An Impala?
EXT. DESERT - CONTINUOUS
INTER-CUT
BETWEEN DESERT
AND COOPER'S
OFFICE.:
RUTH drags the body behind a bush.
THOMAS
That car belonged to Edward Hanson.
He was shot and killed about ten
years ago up in Santa Fe.
RUTH walks to her car and digs into her trunk.
THOMAS (CONT’D)
Edward was caught at a crime scene
by a rookie deputy. The photos are
hard to look at. Sound Familiar?
RUTH pulls out the shovel from the trunk and walks back to
the body. The shovel scraps the dirt as she makes her way to
the body.
COOPER
You're telling me that our killer
is back from the dead?
THOMAS
He had a partner, Sheriff. Hanson
was shot in the passenger side of
the car. His body was found the
next morning on the side of the
road.
RUTH holds the shovel above her head and then strikes.
COOPER
How do you know it's the same guy?
THOMAS
I have this gut feeling Sheriff.
The murders in Reno are very
similar to ours.
COOPER
We can't go off on hunches! We have
a whole lot of eyes on us right
now, we can't fuck up.
THOMAS
Let me investigate. What’s the harm
in that?
RUTH puts the bloody shovel in the trunk and closes it. She
turns to look at the fresh grave she finished. She sighs. She
closes her eyes and takes a deep breath. Exhaustion. From all
of it.
The loneliness. The hatred. The anxiety. She takes another
breath. She closes her eyes. Trying to hear the wind chimes.
But she can’t. Not anymore. She hasn’t heard them for a
while.
CUT TO:
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
28 -
Reflections of Regret
INT. IMPALA - MOMENTS LATER
RUTH starts the engine and drives to the intersection. She
puts her blinkers to right.
A billboard catches her attention. Her victims plastered on
the billboard commemorating them. Lit candles and flowers at
the base of the billboard.
RUTH sheds a tear. She looks at the passenger's side-
expecting to see ED. She doesn't.
RUTH stares off disappointed. She ponders... She looks at her
rear-view mirror and looks at the bush where she left the
body then back at the empty seat.
She takes a moment to herself. Then she puts her blinkers to
the left and drives away from the sunset.
END OF ACT TWO
ACT THREE
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
29 -
A Knock at the Door
INT. THOMAS HOUSE - KIDS BEDROOM - NIGHT
THOMAS reads 'Pinocchio' to his kids. LAUREN (8) and BILLY
(5).
THOMAS
(Reading)
"Fancy the happiness of Pinocchio
on finding himself free! Without
saying yes or no, he fled from the
city and set out on the road that
was to take him back to the house
of the lovely Fairy."
JULIE walks in with crossed arms. Vexed. THOMAS notices. He’s
in trouble.
JULIE
Wrap it up. It's late and these
kids can't be missing the bus every
morning.
THOMAS
(to his kids)
Is that right? Missing the bus?
The kids giggle.
*KNOCK! KNOCK! KNOCK!*
JULIE looks from the hallway. She see’s the silhouette of a
police officer from the stained glass of their front door.
JULIE
Look like it’s work... again. You
better go get that.
THOMAS
(kissing his kids)
Goodnight, Rugrats.
JULIE turns off their light.
Genres:
["Drama"]
Ratings
Scene
30 -
A Night of Tension
INT. LIVING ROOM - MOMENTS LATER
THOMAS opens the door. BURKE is standing on the front step.
JULIE looks from behind THOMAS.
JULIE
Brady? Is everything OK?
BURKE
Hey Julie. Everything is-
JULIE
-Shirley kicked your ass out,
didn't she?
Beat.
BURKE
It was more of a mutual decision.
She needs to cool off.
THOMAS
Cool off her Latina fire?
BURKE nods. He shares a look with JULIE. He shrugs
innocently. She nods hesitantly wrapping herself with her
arms.
Genres:
["Drama","Crime","Mystery"]
Ratings
Scene
31 -
Fireside Reflections
EXT. BACK PORCH - LATER
JULIE, THOMAS, and BURKE sits outside drinking a beer. A fire
going in the middle. The flames lights up their faces.
BURKE
"Present"
(beat)
I'm not being “present” What type
of bullshit is that?
JULIE
Brady. Maybe she means, you're not
giving her the attention that she
needs.
THOMAS looks into the flame. JULIE notices him not noticing.
BURKE
I give her attention. Trust me.
JULIE
Oh yeah? What’s the first thing you
do when you get home? Act it out
for me.
BURKE
I give her a kiss. I hug the kids.
I ask how her day was. Do you know
what she does?
(MORE)
BURKE (CONT’D)
Rolls her eyes at me! Everything I
do! She gets annoyed. Every time I
breathe. Blink. I'm a pile of shit.
JULIE
When was the last time you had sex?
JULIE looks at THOMAS again to see if he looked up. If he
looked at her. He hasn’t- He might as well have not been
there at all.
BURKE
Why does that matter?
JULIE
Women have needs. Not just a man.
You should know that.
BURKE
Julie! I- I'm tired.
JULIE
That's your excuse? You think we
don't get tired? Have you noticed
that Shirley is awake when you get
home. No matter how late you come
home. You know why that is? Cause
she can’t sleep until you’re next
to her.
JULIE gives THOMAS another look. Hoping he’s already looking.
BURKE
She doesn’t want me near her.
JULIE
She does. Trust me. When you two
are out all day- we have plenty to
talk about over the phone.
BURKE
Why doesn’t she just say that?
JULIE
She does. You just have to pay
attention.
BURKE looks over at THOMAS and realizes who she was really
talking to. JULIE notices and her heart breaks. BURKE taps
THOMAS.
BURKE
Earth to Byron! You there buddy?
THOMAS come to the present. He sees in JULIES shrug. That he
missed something.. Again.
JULIE
(to THOMAS)
He hasn’t been...
THOMAS is perplexed.
Silence. JULIE and THOMAS tries to ignore the awkwardness in
the air. But it’s too late. BURKE noticed.
JULIE (CONT’D)
(To BURKE)
I reckon you need a place to stay?
BURKE
Yeah. I'll get a cheap motel for
the night.
JULIE
Nonsense. I'll make up the guest
room.
BURKE
Thanks, Julie.
JULIE
(To THOMAS)
That means you get the couch
tonight.
JULIE steps into the house.
BURKE
It makes me feel better that I’m
not the only one. But ya’ll be
fine.
THOMAS
You sure about that?
BURKE
I’m sure. Y’all just having a day.
You know what helps me through the
day? My kids.
THOMAS
Mine too. How’s yours doing?
BURKE
They're doing good. Little Stacy
just started walking.
THOMAS
Already! That's something you'll
never forget.
Silence.
BURKE
(downhearted)
I missed it... I missed her first
steps.
THOMAS
I’m sorry.
BURKE
Not being there. Broke my goddamn
heart. Being away from them, breaks
my goddamn heart. I leave the house
every day. Praying to god I come
home in time for dinner... But with
this whole shit going on... It
feels like never ending. When are
we going to rest?
THOMAS understands.
THOMAS
Wait here.
THOMAS enters the house.
AFTER a MOMENT he returns with a file in hand. He hands it
off the BURKE.
BURKE opens the file and flips through it.
BURKE
An Impala? It's not an uncommon
vehicle. In all of Austin... This
would take a fucking while.
THOMAS
I’m game if you are- and put an end
to this once and for all. So we can
sleep better at night.
BURKE takes a moment. See’s JULIE from the window making up
the bed.
BURKE
So they can sleep better at night,
Byron.
JULIE’S eyes meets BURKE’S. She stops folding the blanket.
Shame strikes her face. She walks away.
BURKE raises his beer.
THOMAS
(Raises his beer)
For them.
BURKE
Put this to rest.
CUT TO:
Genres:
["Drama"]
Ratings
Scene
32 -
Confrontation in Isolation
INT. RUTH'S STUDIO APARTMENT - NIGHT
RUTH enters her apartment. SITTING ON THE COUCH IS THE
HALLUCINATION of ED.
ED
How's it going kiddo?
RUTH
Where were you today?
ED
What?
RUTH
You weren't there at the desert.
Where you usually are. You left me
by myself again.
ED
Ruth-
RUTH
(interrupts)
-Where do you go? You still haven't
answered that question. Where do
you go? Sometimes it's like I'm
talking to myself-
ED disappears. Ruth stands in her apartment ALONE. She feels
ALONE. Something she is already used to by now...
RUTH grows irritated. She takes a seat on a couch in her dark
apartment. She sits- contemplating reality.
CUT TO:
Genres:
["Drama","Psychological Thriller"]
Ratings
Scene
33 -
FBI Takeover
INT. POLICE STATION - THE NEXT MORNING
THOMAS makes his way to his desk. He notices the sheriff's
office door closed.
THOMAS POV: Through the blinds, He sees a man in a suit
talking to the chief. A few other men in suits are in the
office with him.
He turns to HARTLEY (40's) heavy set individual, who sits
behind a desk all day.
THOMAS
Hartley. What's going on?
HARTLEY
They said they're with the FBI. I
guess when enough people die they
start to give a shit.
The man leaves the office. The man is AGENT SCUDDER (37)
black suit, well built, tall. Confident with a hunter
mentality.
He walks past THOMAS gives him a look and winks. The Sheriff
follows behind, stops at THOMAS.
THOMAS
Who's that?
COOPER
(Mocking)
"Special Agent Scudder, FBI." That
fucking prick!
THOMAS
What's he doing here?
COOPER
He's going to catch our killer. We
were told to stand down... Let
them. I'm tired of this shit...
SHERIFF COOPER walks into his office. THOMAS follows him.
Flustered.
Genres:
["Crime","Drama","Mystery"]
Ratings
Scene
34 -
Torn Between Duty and Family
INT. COOPERS OFFICE - CONTINUOUS
THOMAS
Sheriff! You gotta be kidding! They
can't just do that!
COOPER
Excuse me?
THOMAS
We're almost there, sir! I can feel
it!
COOPER
(Explodes)
My hands are TIED!
THOMAS
I hear you. But we have a duty!
That's what you told me. We have a
duty to catch this fucker! Do you
know remember saying that?
SHERIFF COOPER SIGHS.
COOPER
Let it go. It’s over. Look at you!
GO HOME! Think of what’s best for
Julie. Be with your family before
she kicks your ass out like Burke.
Where the hell is he anyway?
THOMAS
Following my lead with the impala.
COOPER
Bring him in. We’re done.
THOMAS ponders. Thinking of JULIE. But also... Thinking of
what happened to his brother.
END OF ACT THREE
ACT FOUR
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
35 -
Haunting Whispers
INT. RUTH'S STUDIO APARTMENT - NIGHT
RUTH lays on her bed sleeping. She rolls around as she
breaths heavily.
There is a faint tapping sound.
The tapping gets LOUDER and LOUDER. The third hand of the
RUTH's ticks. It echoes in the apartment.
A dripping sound starts occurring. RUTH gets more frantic in
her sleep. She rolls in her bed.
The sounds of the ticking, tapping and dripping get louder
and increases in speed. She starts breathing very
erratically.
RUTH WAKES and the SOUNDS STOP!
RUTH starts to calm but hears scratching on her floorboards.
RUTH quietly and slowly gets out of bed. RUTH gets down on
the ground and puts her ear against the floor.
VOICE
(faint)
Help. Help.
The scratching becomes clearer. It STOPS. RUTH gets up from
the ground and SALLY AND RICKIE STAND BEHIND HER!
SALLY and RICKIE are ZOMBIFIED. ANGRY! BLOOD pours from
RICKIES slashed throat.
RUTH feels uneasy, knowing something's behind her.
RUTH QUICKLY turns and SALLY and RICKIE disappear. RUTH walks
quickly to her night table and turn on her lamp. NOTHING.
RUTH is relieved.
She lays on her bed and the corpse of her teen bully LAYS
NEXT TO HER! A gunshot wound in his neck. He tries to speak
but coughs up blood.
TEENAGE BOY
(struggles to speak)
I said I was sorry. Look what you
did to me! You’re an animal.
BOBBY shrieks and RUTH SCREAMS!
Genres:
["Horror","Thriller","Psychological"]
Ratings
Scene
36 -
Descent into Chaos
INT. RUTH'S STUDIO APARTMENT - MORNING
RUTH WAKES UP. She looks around her apartment and everything
is normal. She turns on her lamp. And takes a second look.
She is relieved.
She tries catching her breath. RUTH is in a sweat.
RUTH gets up and walks to her kitchen. She grabs a Twinkie
from her cabinet and starts eating it.
There is a KNOCK ON THE DOOR. RUTH gets startled and doesn't
move. She looks at the door. The door knocks again.
RUTH thinks to herself whether or not she should open it. The
door knocks a third time. RUTH walks quietly to her door.
Slowly she looks out her blinds and sees a COP CAR parked
outside.
RUTH
(whispering)
SHIT! Shit-shit-shit! SHIT! DAMN
IT.
The door knocks again...
RUTH gathers herself and opens the door. BURKE is on the
other side in uniform and sunglasses.
BURKE
Hello ma'am.
RUTH
Hi.
BURKE
Is this your car out front?
BURKE points at RUTH'S Impala parked out front.
RUTH
That car?
BURKE
Yes, ma'am that car.
RUTH
It is.
BURKE
How long have you had the car?
RUTH
It's my dad's. He gave it to me
BURKE
Where is your father? Can I speak
with him?
RUTH
He died... A few years ago.
BURKE
I'm sorry to hear that Ma'am.
What's your name?
RUTH
What's the problem officer? Am I in
trouble?
BURKE
No ma'am. We're just looking for
someone who drives a car just like
that. I'm just asking simple
questions. Your name?
RUTH
Dillon. My friends call me Dill.
BURKE
Dill? Like the pickle?
RUTH
Yeah, like the pickle.
RUTH is a bit shaken. BURKE notices.
BURKE
Are you all alright?
RUTH
I'm fine. Just been under the
weather as of late.
BURKE
And who are your friends with
Dillon?
RUTH
Deborah.
BURKE
You ain't got more friends Dillon?
RUTH
Do I look like I got more friends?
BURKE takes off his sunglasses.
BURKE
Excuse me, ma'am?
RUTH looks at the cop car parked right next to hers.
RUTH
I meant... I don't go out much and
socialize, you know?
BURKE looks at RUTH suspiciously.
RUTH (CONT’D)
Do you want to talk inside? I can
make you some coffee. If you want
to chat some more?
BURKE
That would be lovely.
RUTH swings her door wide open and smiles.
RUTH
Come right in.
BURKE
Thank you.
BURKE walks into her apartment, RUTH closes the door behind
him.
BURKE (CONT’D)
It's kind of dark in here, isn't
it?
RUTH
That's how I like it. How do you
like your coffee?
RUTH walks into her kitchen and digs through her cabinets.
BURKE
I like, whatever. So how long have
you lived here for?
RUTH notices the picture frame of her dad on the countertop
and quickly puts it face down before BURKE sees.
RUTH
Where? In this apartment or Texas.
BURKE
Texas.
BURKE notices RUTH'S unmade bed and dozens of Twinkie
wrappers on the floor.
RUTH
Um, a few years.
BURKE
I need specifics, ma'am.
RUTH pulls out a pot and fills it with water.
RUTH
It's been three years.
BURKE looks around and notices boxes against the walls with
"Bedroom" "Old Stuff" and "Bathroom" labeled on them.
RUTH (CONT’D)
Would you like some sugar?
BURKE
Sure.
BURKE continues to inspect RUTH's small apartment. A few
seconds go by...
RUTH
Oh. Shoot. I think I left the sugar
in the other room. I'll be right
back.
RUTH leaves the kitchen and goes behind a divider that
separates the room. BURKE walks into RUTH's kitchen. He looks
around. A few moments go by.
He notices the picture frame face down. He picks it up and
sees the picture of ED standing in front of the Impala. He's
got a BAD FEELING! He reaches for his gun.
RUTH APPEARS BEHIND HIM and QUICKLY puts a PLASTIC BAG OVER
HIS FACE. The deputy struggles to breathe. RUTH grasps the
bag very tightly. BURKE tries to escape but RUTH is not
letting go.
In a panic, BURKE throws himself onto the ground trying to
get RUTH off. They both FALL TO THE GROUND. He falls on top
of her, IT HURTS!
BURKE tries to rip the bag off of him. But RUTH pulls it back
tightly. They struggle. Now RUTH is on top of BURKE. The bag
slightly comes off his face and he lets out a HUGE gasp for
air.
RUTH grabs onto the bag and FORCES it back onto his face.
RUTH struggles to hold the bag over his face. BURKE reaches
for his gun but RUTH quickly takes it away and throws it
across the room.
With all of her might she continues holding the bag over his
face until finally, he gives out. BURKE DIES! RUTH is out of
breath...
ED walks into the frame behind RUTH and looks at the scene.
ED
That's not good.
RUTH
(Upset)
What do I do? They're going to be
after me now.
ED
You have to run. Probably a lot
further this time.
RUTH
What?-NO! I can't. I'm tired of
running.
ED
What have I taught you? You run to
survive.
RUTH begins crying. She goes in and out of reality. The
apartment is spinning. She thinks... “Is he really here?”
RUTH
I’m sick of fucking running!
ED
Remember that night where I got
shot? You said that exact damn
thing. Look what happened to me!
RUTH
Stop it!
RUTH’s hallucinations are unstable. ED appears in and out.
ED
You hesitated. You were sloppy.
FLASHBACK 1968
SANTA FE:
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
37 -
Night of Violence
EXT. WOODS - NIGHT
RUTH kneels over a hysterical MAN COVERED IN BLOOD. She
wields a knife. He is FRANTICALLY squirming on the ground!
ED glares behind her intensely!
ED
What are you doing Ruth? Stab him!
RUTH
I’m tired.
ED
Do it!
RUTH stabs the man!
THE MAN SCREAMS FOR HIS LIFE! RUTH is overwhelmed!
ED (CONT’D)
MORE! Look at him! He is still
flopping around like a fucking
fish! MORE!
HER fathers screams startles RUTH. It always does.
IN a PANIC RUTH stabs AGAIN! AGAIN! and AGAIN! UNTIL the
SCREAMING STOPS!
The man is DEAD! RUTH breaks down. ED EXPLODES!
ED (CONT’D)
(Cruel)
WHAT IS THE MATTER WITH YOU! YOU
HESITATED! YOU CAN'T DO THAT!
RUTH
I'm sorry! Please don't be mad. I'm
sorry! I- don't know- what- I-
Please don't hit me!
A rookie officer peaks out from a bush, he shines his light
at ED and RUTH! Gun drawn and Pointed.
ROOKIE OFFICER
Freeze! Hands in the air!
The officer moves the light to the ground. Revealing the dead
body. THE BLOOD. He hasn’t seen that much blood before.
ROOKIE OFFICER (CONT’D)
(Terror)
Oh god!
ED pulls out his revolver and fires one quick shot. Blows the
rookies scalp like an exploding watermelon.
Sirens sound from the distance. ED jumps to action.
ED
Fuck! We gotta go RUTH c’mon!
RUTH looks at the dead man. She notices a wedding ring on his
finger. She gives a somber look.
ED gets in the passenger seat of the Impala and honks the
horn. The sirens are close.
ED (CONT’D)
RUTH!
RUTH in tears. Get’s in the car and drives off.
END OF FLASHBACK
BACK TO:
Genres:
["Thriller","Psychological Drama"]
Ratings
Scene
38 -
Confronting the Past
INT. RUTH’S STUDIO APARTMENT - SAME
RUTH
You're not REAL! My dad is dead.
You're just in my head! Maybe I'm
just crazy!
ED
A little late to admit mental
illness honey, we kill people.
RUTH
I don't know what to do.
ED
Breath, Ruth.
RUTH takes a breath...
ED (CONT’D)
Remember when you were in third
grade and you got lost walking
home?
RUTH
Yes. You were scared shit-less.
ED
I was... But you found your way.
Okay, Ruth? You're going to find
your way.
ED sits next to RUTH. But when she looks up. He’s not
there...
RUTH shuts her eyes. Trying to hear the wind chimes. She
does. She opens her eyes. And there’s Ed.
ED (CONT’D)
You've got to stay strong Ruth. I'm
so proud that you stand up for
yourself.
RUTH
You helped me with that
ED
No. That's all you. I'm just
spectating... Maybe, I helped you
along the way, but you found your
way all by yourself.
RUTH
Thanks, Dad... I'm sorry. I'm sorry
they killed you. It's all my fault.
Now... I’m gonna die too.
ED
That's not going to happen. Now,
you listen to me. This is what
you're going to do.
END OF ACT FOUR
ACT FIVE
Genres:
["Thriller","Psychological Drama"]
Ratings
Scene
39 -
Urgent Commands
INT. POLICE STATION - LATER
THOMAS leaves COOPERS office. He make his way to his desk. He
turns on the police scanner on his desk.
THOMAS
Hey, Hartley! Where the hell is
Burke?
HARTLEY (O.S.)
The last thing I heard, he was over
at San Marcos.
THOMAS picks up the mic and speaks into it.
THOMAS
Hey, Burke! Where the hell are you?
ED (V.O.)
First, you're going to get rid of
his body.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
40 -
Frantic Disposal
INT. RUTH'S STUDIO APARTMENT - LATER
RUTH wraps BURKE with her rug.
ED (V.O.)
It doesn't have to be perfect, they
already caught up to you. Just
don't leave any of your belongings
behind.
RUTH gathers all of her belongings in a rush, she jams
everything into plastic bags. RUTH trips over the rolled-up
rug with BURKE inside of it.
ED (V.O.)
Wait? It doesn't make sense to get
rid of him. You're not going to
have much time. Just leave him.
RUTH continues to bag all of her belongings.
Genres:
["Thriller","Crime","Psychological"]
Ratings
Scene
41 -
Ruth's Desperate Escape
INT. THOMAS'S CAR - LATER
THOMAS drives past a sign reading, "Welcome to San Marcos"
EXT. RUTH'S STUDIO APARTMENT
ED (V.O.)
Ditch the car! You have to leave
it. They'll know what to look for
and they'll find you.
RUTH looks at her Impala, saddened to leave it behind.
ED (V.O.)
You have to steal one of these
cars.
RUTH looks at the car parked next to hers. A 1973 Chevrolet
Nova.
She breaks the driver's side window! She gets in the car a
notice keys on the passenger's seat and the car was ALREADY
UNLOCKED. She starts the engine.
MRS. CURTIS (80) the snarky old senile landlord sees RUTH
leaving in a rush through her window. She opens her window.
RUTH starts putting the plastic bags into the trunk.
MRS. CURTIS grows suspicious. She gets up from her couch.
‘Dallas’ is playing on TV.
MRS. CURTIS
Excuse me?! Excuse me?!
ED (V.O.)
Don't panic act natural.
RUTH smiles at Mrs. Curtis.
RUTH
Hi! Yes?
MRS. CURTIS looks at RUTH very suspiciously.
MRS. CURTIS
What are you doing?
Genres:
["Thriller","Drama"]
Ratings
Scene
42 -
Tension at the Threshold
INT. THOMAS'S CAR
THOMAS continues driving. He passes by teenagers hanging out
at a diner with motorcycles.
EXT. RUTH'S STUDIO APARTMENT
RUTH
I'm in a bit of a hurry. Can we
talk about this later?
MRS. CURTIS
Stop right there!
MRS. CURTIS exits her apartment. She walks towards RUTH. RUTH
looks at her anxiously.
RUTH IS GRABBING HER BARELY VISIBLE KNIFE THAT IS TUCKED
UNDER HER SHIRT.
CUT TO:
Genres:
["Thriller","Drama"]
Ratings
Scene
43 -
Desperate Pursuit
INT. THOMAS'S CAR - LATER
THOMAS drives past apartment buildings. He looks around and
notices BURKE'S squad car parked next to the Impala. THOMAS
drives up to the apartment.
HE gets out of his car and then notices the door to RUTH's
apartment getting blown open, inside lays DEAD DEPUTY BURKE.
THOMAS QUICKLY pulls out his gun and runs inside.
THOMAS
Shit! Burke! Hey! Burke?
THOMAS checks for a pulse. BURKE is DEAD. THOMAS runs back
into his car and speaks on the radio.
THOMAS (CONT’D)
I need units to Rear-view
apartments in San Marcos. We have
an officer down!
MRS. CURTIS opens her door, she startles DEPUTY THOMAS.
MRS. CURTIS
Why the hell are you yelling! I’m
trying to watch my show.
MRS. CURTIS notices THOMAS’S gun.
MRS. CURTIS (CONT’D)
RAY slept with your wife too?
Referencing the episode of Dallas. THOMAS is confused but
realizes she is senile.
THOMAS
(ignores her)
Ma'am! Who lives here?
MRS. CURTIS
WHAT?
THOMAS
WHO'S apartment, is it?
MRS. CURTIS
Who wants to know?
THOMAS
Ma’am Look at me! I’m a police
officer. I need to know who lives
in that apartment.
MRS. CURTIS
There? No one lives there. Not
anymore.
THOMAS
When did they move out?
MRS. CURTIS
Well, you just missed her. She left
in quite a hurry. Broke her lease
and paid all in cash.
THOMAS
Who is she? What’s her name?
MRS. CURTIS
Dillion- something. I forgot. I
have to look at my files. Is she in
some sort of trouble or something?
Wait... It was JR wasn’t it? He
slept with her.
THOMAS notices broken glass on the ground. He points at it.
THOMAS
Did you see what car she drove off
in? Was it parked here?
MRS. CURTIS
Well. Ya...
THOMAS
Which way did she go?
INT. CHEVROLET NOVA - LATER
RUTH drives over the speed limit. She looks over her shoulder
to make sure no one's following her. She enters the freeway.
She passes a sign reading, "MEXICO Next 500 miles"
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
44 -
Jurisdictional Tensions at the Crime Scene
EXT. RUTH'S STUDIO APARTMENT - EVENING
The apartment complex is closed down by the police. Red and
Blue flashes light up the buildings. Caution Tape is wrapped
around RUTH's apartment.
Inside, coroners are taking pictures of dead BURKE and
examining his body. THOMAS stands disheartened, looking at
the crime scene from outside of the door.
Behind him, pulls up SHERIFF COOPER'S Dodge Monaco. THOMAS
hears the wheels grinding on the dirt and turns around.
SHERIFF COOPER exits his car with a critical look.
COOPER
How did this happen?
THOMAS
Burke was suffocated with a plastic
bag. Suspect left west about 45
minutes ago.
COOPER
Our guy?
THOMAS
A woman. She’s smart. Probably
trained.
COOPER
Dangerous. She can go undetected.
Someone no one would suspect.
COOPER takes a second to himself. In disbelief.
Four dark, tinted cars pull up behind the Sheriff and Deputy.
Men with suits exit the cars - including, AGENT SCUDDER.
SCUDDER
(To Cooper)
Sheriff! You have a bit of a mess
here.
COOPER
I am fully aware of that.
AGENT SCUDDER walks to the Sheriff and DEPUTY THOMAS. AGENT
SCUDDER offers THOMAS a handshake
SCUDDER
Agent Scudder. FBI
THOMAS
I know who you are. You stick out
like a sore thumb wearing those
suits out in the desert.
SCUDDER
(amused)
Well. We like to keep things
professional and we clean up messes
and by the looks of it, you made
one hell of a fucking mess. How
many dead now?
THOMAS
(gets in SCUDDER'S face)
You arrogant FUCK!
COOPER
Deputy, this is not the time!
SCUDDER
Look. We want the same thing. No
need for the hostility.
COOPER
I'm sorry for the way Deputy Thomas
is acting. We just lost a good man.
A friend. He's just a little
emotional right now.
SCUDDER
And I completely understand. That's
why we are taking over from here. I
thought I made myself very clear
about that.
COOPER
You did. But this is one of our own
and we would like to-
SCUDDER
(dismissive)
Absolutely not. You are not needed
here. You can go-
THOMAS
- Fuck that! I want in. Let us help
you.
SCUDDER
(smug)
You're just a deputy in a small
town! What makes you think you can
play with the big kids? When I say
we got it from here... That means
you stand the FUCK DOWN! Jesus, you
had a murder epidemic for a half a
year and you let him get away...
Again! Now, excuse me gentlemen,
I've got a killer to catch.
AGENT SCUDDER commands his agents to the crime scene, bumping
past THOMAS and SHERIFF COOPER.
MRS. Curtis peers from the corner into the crime scene. The
agents are ripping the wallpapers off, breaking fixtures.
MRS. CURTIS
(upset)
Hey! What the hell do you think
y’all are doing?
SCUDDER
Ma'am this is an ongoing
investigation! Get your ass back!
BACK TO:
THOMAS
This is- Bullshit!
COOPER
Hey! Tread lightly!
THOMAS
You expect me to do nothin?
COOPER
Look, I know you and Burke were
close. But the suit is right! We're
done here.
THOMAS
You know what was the last thing he
told me?- He said when this is over
we finally get to rest.
(Points to crime scene)
You look at him. How he is. And you
tell me if thats resting! You
expect me to leave it? After he
told me that?
SHERIFF COOPER takes a moment to himself.
COOPER
You're suspended.
THOMAS
What?
COOPER
That way, I keep my pension when
you go after her.
SHERIFF COOPER reaches out his hand.
COOPER (CONT’D)
GIVE ME YOUR FUCKING BADGE DEPUTY!
You’re done here!
THOMAS gives him his badge. He looks over, Scudder is
looking.
COOPER (CONT’D)
(discreetly)
Proceed with caution. I gotta
feeling those assholes won't be far
behind.
SHERIFF COOPER walks off and gets in his car. He drives away.
MRS. CURTIS is stomping out of the scene.
MRS. CURTIS
(furious)
FBI my ass!
THOMAS goes to MRS. CURTIS.
THOMAS
Hey! Mrs. Curtis. Was there other
witnesses that saw Dillion leave?
MRS. CURTIS
No! Just me! AND YOU FUCKS will be
paying for the damages in my unit.
THOMAS
I’m not with them ma'am. Those
fucking pricks got no manners.
MRS. CURTIS
That’s right!
THOMAS
Can you do me a favor? Can you
please keep what you saw today
between us?
MRS. CURTIS
Wouldn’t that get me in trouble? I
ain’t going to jail for nobody! I’m
too old for-
THOMAS
Listen! The dead man in that unit
of yours. His name was Brady Burke.
He was a fellow cop! He just left a
wife and two kids. And those
fuckers in there don’t give a shit
about him! Please. I need to find
her first before they do. Let me
avenge my friend.
MRS. CURTIS
Was he a good man?
THOMAS
He was the best of us.
MRS. CURTIS
Okay. I won’t say anything. But it
better not bite me in the ass.
THOMAS
Thank you!
CUT TO:
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
45 -
A Heart Divided
INT. THOMAS HOUSE - LATER
THOMAS barges into the house- JULIE is waiting in mourning.
JULIE
Shirley called. I heard about
Brady.
THOMAS moves passes JULIE- He makes his way to a gun closet.
THOMAS
Are the kids asleep?
JULIE
Yeah. What are you doing?
THOMAS ignores her. He unlocks his closet revealing. Rifles,
pistols and ammo.
THOMAS
I’m gonna be gone for a few days.
JULIE
You’re going after him. Aren’t you?
THOMAS
I have to.
JULIE
Why? Shirley said the FBI is here
now. They’re already asking a lot
of questions! Let them take care of
it!
THOMAS
Like how they took care of my
brother? They both deserve better.
THOMAS starts packing a duffle.
JULIE
(in tears)
No. NO! I need you here. We need
you here.
THOMAS
Baby. I’m not letting it go. You
know that I can’t.
JULIE
It’s the grief. You’re not
thinking. Don’t let their ghosts
drag you down to hell!
THOMAS
They ain’t dragging me down. I’m
not going down, you hear me?
THOMAS gives JULIE a kiss.
THOMAS (CONT’D)
I’m not going to hell because I’m
riding on a white horse.
JULIE
(upset)
Damn it! Byron. You’re just a man!
Not Christ! A man with kids and a
wife and you’re leaving! How can
that be triumphant?
THOMAS
It’s a figure of expression. I’ll
be careful. I promise.
THOMAS grabs his duffle bag and head to the front door. JULIE
is at a loss. She knows. He can’t be stopped. She can’t turn
to him.
THOMAS (CONT’D)
Kiss them goodnight for me until I
get back.
JULIE
What if it’s a pale horse?
(Turns to THOMAS)
You think it’s white, but what if
the horse you riding on is pale?
You ever thought of that?
THOMAS takes a beat. His mind is made up. JULIE heart
shatters.
THOMAS
I’ll be back.
THOMAS leaves. JULIE breaks down. Mourning her loss.
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
46 -
A Compassionate Journey
EXT. ROAD - SUNSET
The Chevrolet Nova zooms past screen. Towards the sunset.
INT. CHEVROLET NOVA - SUNSET
RUTH is in tears.
She zooms through the highway passing a mileage sign: MEXICO
200 miles. On the side of the road. The malnourished dog she
saw outside the hardware store- now with a limp and bloody.
RUTH pulls over to check on her.
RUTH
Hey! C’mon girl.
RUTH notices blood on her fur. The dog’s been beat. Either
from an animal or human. RUTH doesn’t think the difference.
RUTH grabs a towel from her car and wraps the dog up. She
carries her into the car and drives away.
'I Got a Name by Jim Croce' plays on the radio.
FADE OUT.