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Script created with Final Draft by Final Draft, Inc.
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A Screenplay by
Sean Ryan
Blood Trail
Copyright 2006
Registered with the
Screenwriter's Guild
All Rights Reserved
Contact: seansshack@oceanfree.net
EXT. DESERT HIGHWAY - DAY
A white mustang drives on an empty stretch of highway. The
day is as perfect as a painting, blue skies and high
temperatures.
The driver of the car is ELLIE JACKSON, mid thirties.
Pretty, slim, average height.
INT. MUSTANG - MOMENTS LATER
Ellie taps the steering wheel in tandem to the load music
playing on the radio, visibly in good spirits.
Her smile soon fades as she notices the gas meter reads
almost empty.
ELLIE
(talking to herself)
Shit!
EXT. HIGHWAY - MOMENTS LATER
The Mustang pulls into a gas station and parks by a pump.
A man approaches the car. He is DAVID DEVIN, early forties,
average height, slightly overweight. David is the station
attendant.
Ellie starts to approach the gas pump.
DAVID
Don't you mind little lady. Slow
day, I'll get that for you.
David starts to pump gas into the car.
ELLIE
Thanks.
(pause)
That was a close call. Another
couple of miles and I would've
been driving on fumes.
Ellie smiles. David stares but doesn't respond to her joke,
just looks at her for too long, staring, not talking.
Ellie's smile fades as she looks down at the car.
DAVID
So what's a pretty little thing
doing all alone in these parts
anyhow? Bit of a dangerous past
time these days. Don't ye think?
Ellie doesn't reply for a moment.
ELLIE
Just visiting a friend. Down
Santa Monica way.
David nods.
DAVID
Long ways to go just yet. Your
accent is a bit different to what
we're used to down here. New
York, right?
ELLIE
Yeah, why?
DAVID
Well a New York gal, driving a
Boston registered car, driving
alone on her way to California.
ELLIE
You ask a lot of questions.
Didn't know you had to be a cop
to work in Gas station. Officer.
David smiles.
DAVID
Just habit I guess. I watch too
many of those reality cops shows
on TV.
Ellie places both hands on the back of her head.
ELLIE
(smiles)
Just passing through officer.
David laughs.
ELLIE
How much I owe you?
DAVID
Thirty bucks.
Ellie's eye catches the display on the gas pump, the
numbers barely visible under dirt and sand. It reads twenty
dollars.
She smiles.
Ellie hands him some cash.
ELLIE
Here, keep the change.
David looks at the notes, counting them.
DAVID
Mighty generous little lady.
(pause)
Mighty generous.
Ellie turns to enter the car, her rear end watched with
every step by David.
Ellie gets in and drives away.
Sand kicks back to were David stands, fingering through the
extra cash in his hands.
He looks past the cash to something that catches his
attention on the ground. A small pool of red.
He leans down and places a finger in the pool. His finger
mixes with blood and sand.
DAVID
Shit!!
INT. MUSTANG - MOMENTS LATER
Ellie notices what is happening in her rear view mirror.
David runs towards the gas station shop.
She turns the car aggressively in a hand brake skid.
Turning back towards the station at full speed.
The Car all but disappears in a wave of sand and dust.
INT. GAS STATION SHOP - MOMENTS LATER
David reaches the counter as the Mustang comes to a loud
skip outside.
David turns to see the car and then scrambles behind the
counter. Frantically searching for something.
DAVID
Oh Jesus.
Ellie walks in and without hesitation rips a fire axe from
the wall and walks over to the counter.
David fumbles with something below the counter.
He raises a old .45 Pistol from under the counter, turns
and points it at Ellie. His hand shaking widely.
ELLIE
You know what they say about
killing a snake?
Ellie approaches David swinging the axe which connects
squarely with the man's forehead.
Before he can squeeze the trigger, he is dead.
ELLIE
Cut off the head first.
The axe embeds into his skull and brain. Blood splatters
onto Ellie's face and white T-shirt, as David falls
backwards, dead.
Ellie grabs the pistol from his hand as he falls.
ELLIE
No point having a gun if you
can't use it.
She spits in his face.
ELLIE
Nosey cunt.
A bell on the door behind her rings as a customer enters.
Ellie turns and shoots, without hesitation.
The bullet connects with the female customers head.
The woman doesn't even see it coming and is dead before she
hits the floor.
ELLIE
(shouting)
Now that's how you use a fucking
gun.
Ellie walks to a shelf and takes a garbage bag from the
shelf, along with some cleaner solution.
She removes her T-shirt and walks to the counter. Cleaning
the handle of the axe with the bathroom solution.
She places the bottle and shirt into the bag.
She starts to drag David's body towards the other victim.
She wipes her spit from his face, rapidly looking for other
traces on his body.
Looking down she notices a blood pool on the floor.
ELLIE
This is going to take some time.
Slowing Ellie begins to change the crime scene, staging it
by repositioning, cleaning and moving.
She places the gun in David's hand and fires a shot into
the body of the other victim.
ELLIE
Not perfect, but will confuse the
shit...
A car starts to park outside.
Ellie leans her heads slightly to one side. Examine the
scene like an animal.
ELLIE
Fuck!
Ellie walks back to the counter and empties the till. She
quickly checks the surveillance video recorder, ejecting
the contained tape with a covered hand.
She places the tape in the garbage bag and walks back
towards the exit.
ELLIE
Rough day at the office.
Turning she removes the gun once more from David's hand and
walks outside.
EXT. GAS STATION - MOMENTS LATER
Ellie walks out and approaches the car. The look of
surprise on the face of the driver, as Ellie produces the
gun.
Ellie shoots the woman, man and two children sitting in the
back of the car. Four shots ring out as four bullets hit
their targets with brutal precision.
She keeps the gun raised for several seconds, waiting for
signs of life.
The driver moves. Another shot from Ellie's gun puts a stop
to any sign of life.
She waits a further couple of seconds. All the time
watching around for anyone else.
Finally she lowers the gun and places the gun into the
trash bag.
Ellie turns, opens the trunk of the Mustang and throws the
trash bag onto the back onto a body laying face down
inside.
The body that was the source of the blood stain.
ELLIE
Still causing me problems.
She moves plastic sheeting under the body, around the back
and covering the body completely.
She close the trunk and walks around to the drivers side.
Inspecting the area for more cars.
Ellie gets back into the mustang and drives away.
INT. MUSTANG - MOMENTS LATER
She rubs a spot of blood from one of her fingers as he
adjusts the volume on the radio.
Music grows loader as she once more taps the steering wheel
in tandem to the music.
Ellie starts to sing.
TITLE: ONE YEAR PREVIOUS.
INT. SUPERMARKET - DAY
Crowds of people are held back from a crime scene by Police
officers.
Yellow tape cordons off the doorway to a bathroom.
An detective, BILL RICE, late forties, with poorly
maintained appearance and body, walks over to a uniformed
officer.
The UNIFORMED OFFICER, African American, tall early
twenties turns.
BILL RICE
What we got?
The uniformed officer checks his note book.
UNIFORMED OFFICER
Six year old girl strangled and
raped.
BILL RICE
Let me guess. In broad daylight,
but no one saw anything?
UNIFORMED OFFICER
You know the drill. No suspects.
We just managed to drag the
father out of here. Poor guy had
to be sedated.
BILL RICE
(ignoring the comments)
Ant sign of the fucking crime
scene guys yet?
(looks beyond the
officer)
I am in need of some lunch. Got a
name on the vic?
UNIFORMED OFFICER
Fathers name is one Sam Payne. No
details of the girl as yet. The
father wasn't making much
sense...
BILL RICE
(cutting him off)
We may need to talk to him.
Wouldn't be surprised if he did
it.
UNIFORMED OFFICER
Here's one of your crime scene
guys now.
Rice turns around to see the man approach.
BILL RICE
Rob. I thought you had moved to
San Francisco or somewhere gay
like that ?
ROB GATES, early thirties, average height and build with
graying hair approaches the bathroom door.
Rice puts his hand out to shake.
Rob raises one hand to show he is wearing rubber gloves and
walks past Rice towards the crime scene.
Rob looks through the door.
INT. BATHROOM - MOMENTS LATER
The body of a young blond girl lays on the bathroom floor.
He turns to talk to Rice.
ROB
You even examine the scene, the
body, interview any one yet?
BILL RICE
Hey!
(looks at watch)
I'm on a break.
Rice raises his hands in the air and walks away.
UNIFORMED OFFICER
(whispers)
Asshole.
ROB
Oh yeah. Class A don't give a
fuck about anyone type of
asshole. A classic example of a
Cop just collecting a pay cheque
and doing only what they have to.
Rob enters the bathroom. He starts to examine the scene,
looking from floor to wall, to body.
Leaning over he places his jacket over the little girls
legs.
ROB
Fucking animal.
He shouts back out to the officer.
ROB
Can you start interviewing the
people outside? This place is a
hive of evidence, getting away
didn't appear to enter the
killers mind. I need to know if
anyone saw anything or was in
here.
(visually examines the
scene)
Someone had to have seen
something.
Officer sticks his head in the doorway.
UNIFORMED OFFICER
Got it. Think we'll catch the
guy?
ROB
No doubt. Broad daylight in a
public place....
Rob continues to collect evidence and bag his collections.
ROB
We are dealing with an animal, an
out of control animal. The risk
wasn't even factored in. He just
needed to feed his thirst and
this poor little thing was in the
wrong place at the wrong time. If
the evidence here is clean. We
should be able to trace and
hopefully convict.
(pause)
Never that hard to get people to
put in overtime when a child is
involved. We'll make it our
number one case.
He places a hand on the girls forehead. Running his hands
down, he closes her eyes.
ROB
Rest easy.
Rob continues to process the scene, as the officer begins
to organize and interview the people outside.
INT. CRIME LAB - LATER
The lab is a collection of high tech equipment. The wall is
covered in various pictures of crime scenes and victims.
All looking very much like an organized mess.
Rob enters the lab and places his bag onto a desk in the
centre of the room.
He is greeted by MIKE POWER, early twenties, tall and
skinny and dressed in a white lab coat.
ROB
Mike, process my bag and be sure
everything in one hundred and
fifty percent. I don't want any
mistakes on this one.
MIKE
(looking slightly
annoyed)
Always 100%.
Rob rubs his face with both hands in a vain attempt to
freshen himself up. The strain and tiredness clear on his
face.
ROB
Sorry Mike, that was a little
unfair. Been a rough day at the
office. You know what I mean?
MIKE
No need to explain boss. I heard
about the girl. Will give it the
full a.
ROB
Thanks.
(yawns)
I getting a coffee before my eyes
fall off my face.
Rob leaves the lab as Mike starts to process the contents
of the bag.
Rob plugs ipod earphones into his ears, dancing to the
extra loud music as he works.
EXT. RETIREMENT HOME - DAY
The building is poorly maintained, with cars parked outside
clearly costing more than the home's annual budget.
INT. RETIREMENT HOME - MOMENTS LATER
Ellie dressed in an orderlies uniform helps a old man down
a hall into a chair.
ELLIE
There you go Tom.
She very gently lowers the man into the chair. He is TOM
ROCHE, early seventies, small and too skinny.
Tom shakes wildly in the chair for a few seconds.
ELLIE
Bad day Tom?
Tom attempts to control his shaking.
TOM
Never you mind little lady. Head
off home and don't be wasting
your free time on me.
Ellie looks at her watch.
ELLIE
Guess if they paid me overtime.
But there is no rush.
She kneels down in front of the man.
ELLIE
Any visitors today?
TOM
No. All too busy I guess.
Ellie looks the man in the eyes and see the clear sign of
sorrow and disappointment there.
ELLIE
Maybe tomorrow huh?
TOM
Maybe.
Tom's eyes look up the hall towards a son visiting his
Father.
TOM
Maybe.
ELLIE
Time for your meds. Stay still
and I'll just be a few minutes.
TOM
Not going anywhere honey.
Tom looks down at his legs, frail, skinny and no longer
able to support his weight. A sad look on his face as if
thinking of days when they better served him.
Ellie stands up and starts to walk down the hall.
Her eyes catch the collection of photographs on the wall
at different sections of the long hallway.
Each one of different people at different times in their
lives. All have a common theme, showing younger, happier
and healthier people, surrounded by family members.
She looks at a few and then the lonely older patients
sitting below their photographic colages. Alone frail and
sick.
She drops her head, clearly saddened by her thoughts as she
walks the remains of the long corridor.
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Script created with Final Draft by Final Draft, Inc.