A giant billboard at the same level of the parking lot,
advertises “Big $ALE$ on all Merchandise”.
INT. GLENN'S CAR - EVENING
GLENN (60), suit and tie, two days stubble, sits in his blue
Chrysler sedan.
His car has aged nicely and it's clearly from a different
time, a different life. The exterior is immaculate and the
interior sparkly clean like it just rolled out of the
factory. A Veteran decal is the only personalized touch.
A small golden cross hangs from the rear view mirror.
Glenn is on the phone and, during the conversation, pays
attention to every car that passes by, checking their license
plates against a number on a piece of paper.
GLENN
I'm so sorry, honey, I won't make
it for dinner... Just got a call.
One more delivery... No, it's not
far, but with traffic... car rental
for Lancaster. They pay well...
What about Jenny?... Really? Great.
Is she coming for Christmas?... I
know, I know it's two months
away... Homemade lasagna? And you
tell me now! You are tempting me...
(jokingly) Hey, you want that villa
in Malibu or not! (More seriously)
We need every penny, right?... By
midnight, I know. (check the time)
Did she ask?... Good, no need to
tell her. Everything is good...
Today, I know. Hey, leave some in
the stove. will ya? I'll definitely
be hungry... Nope, not even a sip.
A grey Chevy Impala appears from the ramp. *
The plate matches. Glenn focuses.
2.
GLENN (CONT’D)
Don't wait for me... ah, my battery
is down... I know my fault, as
usual. Of course, I'll be careful,
don't worry. I love you. See you in
the morning.
Glenn hangs up and turns off his phone. He puts it in his
pocket.
The Chevy parks on the other side of the lot.
A young man (ROBBY, 21), hood covers his head, gets out of
the car. He opens the trunk and, with some effort, takes out
a four way lug wrench.
With a swift movement he removes a sticker from the license
plate revealing a different number.
Glenn checks a 2nd number from the paper. It’s a match, too.
He puts the wrench on the passenger seat and closes the door.
He hides the keys behind the front tire and leaves.
Glenn waits for Robby to walk down the stairs then he gets
out.
He takes out his key chain that has a little knife attached
with the logo of the Marine Corps and closes his car.
He looks around as he walks to the Chevy.
I/E. GREY CHEVY - EVENING
Glenn finds the keys behind the tire and opens the driver's
side door. He freezes.
On the driving seat there are residue of chips.
On the passenger seat an empty bag of chips, two empty fast
food boxes and a big stain of coffee. The cardboard coffee
cup is on the car floor and on top of it all, there is the
wrench.
Glenn cleans up the car the best he can and throws the trash
in a nearby bin.
He picks up the wrench. He looks towards the trunk, then
decides to put it back on the passenger seat.
Finally he sits down on the driver seat and closes the door.
3.
He opens the glove compartment and finds an envelope.
Inside the envelope, he finds $ 10k in small bills. Glenn
counts them quickly.
A cheap, prepaid mobile phone seats on the charger. Glenn *
digits and texts: Leaving now.
He selects the Map with a preprogrammed route.
Destination reads: Mojave.
Glenn is confused. He selects the destination again and the
same intersection in the middle of nowhere appears.
Still puzzled, he starts the navigator.
He adjusts the rear view mirrors and his seat. He also
adjusts the steering wheel.
He turns on the radio. Searches for a specific radio station
and sets the volume low.
Classical music comes out of the cheap Chevy speakers.
Glenn takes a deep breath. Something is still not quite right
yet.
He reaches into his pocket and takes out a small flask.
He hesitates and then swallows a quick sip. He closes the
flask and puts it back into his pocket.
He drives away.
Glenn is clearly a careful, precise driver. He uses the turn
signals, he doesn't speed, every curve is precise and the
tires never screech.
He keeps driving down floor after floor until he must slam on
the brakes, a boy (ROBBY) runs in front of him and rolls over
the hood dropping a paper bag.
The two exchange a glance, then Robby, clearly distraught,
picks up the bag and runs away.
Glenn drives away shaking his head.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
2 -
Tense Confrontation in the Parking Lot
INT. PARKING LOT - NIGHT
Robby runs across the parking lot until he gets to the
stairs. He reaches inside the bag and takes out pieces of
newspaper.
4.
ROBBY
Fuck!
Robby looks around.
He looks down the stairs.
ROBBY (CONT’D)
(yelling)
Hey, I did all you wanted. I did my
part.
Noise comes from below. He sees a shadow moving on a lower
floor.
Robby decides to use the ramps to go down floor by floor,
watching his back and startling at every noise.
Once at the first floor he stops before crossing the gate. He
looks outside the building.
A few cars are parked and there is no incoming traffic into
the parking lot.
He adjusts his hood and starts walking along the outer
building wall.
EXT. PARKING LOT - NIGHT
From the third floor a figure emerges (MANOLO, 30s). He
signals one of the cars, a black SUV, that immediately starts
its engine.
Robby hears the sound of the car and looks back.
He sees the car driving away in the opposite direction. Robby
takes a deep breath and walks towards the next intersection.
He doesn't notice that the car makes a U-turn and the car *
accelerates towards him.
Robby crosses the intersection against the red traffic light. *
The black SUV bears down on him. Suddenly, from the opposite *
direction, a PATROL CAR turns its lights and sirens on. *
Robby stops. The black SUV zooms by, avoiding him. He cannot *
see the driver through the tinted windows.
As soon as the car passes Robby runs away but the patrol car *
pulls up in front of him. Two POLICEMEN jump out and draw *
their guns at Robby. Another police car approaches.
5.
POLICEMAN 1
Kneel down, kneel down, hands
behind your back.
From the third floor of the parking lot Manolo watches the *
whole situation and makes a call.
Genres:
["Crime","Thriller"]
Ratings
Scene
3 -
Arrest and Trunk Inspection
INT. HECTOR'S CAR ON THE ROAD - NIGHT
HECTOR (45) drives along a road in the dark. In the distance
lights of a city sparkle. He has large tattoos on his arms, *
mostly Catholic symbols. He answers his phone.
HECTOR
What?
MANOLO (O.S.)
'Romeo' got arrested.
HECTOR
FEDS?
MANOLO (O.S.)
Doesn't look like. Local police.
HECTOR
For what?
MANOLO (O.S.)
Bad luck, you know, jaywalked... *
HECTOR
Bullshit. I don't believe in luck.
Check the local PDs.
MANOLO (O.S.)
Ok.
HECTOR
It's a long night. Don't fuck this
up.
EXT. PARKING LOT - NIGHT
Manolo hangs up just in time to see Robby handcuffed and
pushed into the police car.
INT/EXT. HECTOR'S CAR ON THE ROAD - NIGHT
Hector hangs up and reflects.
6.
Sitting on the passenger seat there is a young woman asleep,
ENOLA (21), native American.
ENOLA
(groggy)
What’s going on?
HECTOR
Nothing, it’s all good sweetheart.
He stops the car at the edge of the road, selects another
number and gets out.
HECTOR (CONT’D)
'Romeo' got arrested. You know what
to do.
Hector hangs up and looks back at Enola sleeping peacefully.
INT. SEAN'S CAR - NIGHT
SEAN (45), horseshoe mustache and glasses, sits in his car
with MIKE (35), well built, square jaw. Mike keeps playing
with his red hat.
MIKE
Problems?
Sean doesn’t answer but makes a call.
No answer.
SEAN
This fucker.
I/E. GREY CHEVY - NIGHT
Glenn looks at the phone that rings and "NO CALLER ID".
He hesitates. Then decides to wait.
The phone stops ringing.
Just a few seconds and the phone rings again. Same "NO CALLER
ID".
INTERCUT GREY CHEVY / SEAN’s CAR
Glenn hesitates. Reaches with his finger to tap on the green
button. The phone stops ringing, again.
7.
GLENN
Damn!
The phone rings again. This time Glenn pushes the green
button right away.
SEAN
Hey fucker, when I call, you
answer, deal?
Glenn doesn't know what to say.
SEAN (CONT’D)
Are you there?
GLENN
Yes. It's the first time... someone
calls. First time... I didn't know-- *
SEAN
Well, now you know. If it rings
it's me. If it rings you answer.
Got it?
GLENN
Ok.
SEAN
Good. Now, I want you to stop and
check something for me.
GLENN
I'm in the middle of traffic-- *
SEAN
I don't care, I need you to check
something. Stop the car and open
the trunk.
Glenn freezes.
SEAN (CONT’D)
Glenn?
GLENN
How... how do you know my name?
SEAN
Come on, don't pretend to be
stupid. We know you ain't.
GLENN
I just drive. I'm paid to drive,
nothing more.
8.
SEAN
Of course. You drive. And now you
do me a favor. You check the trunk.
GLENN
I...
A loud honking sound comes from behind.
Glenn looks ahead and notices that the cars ahead moved
forward and the one behind is in a hurry.
Glenn accelerates and closes the gap.
GLENN (CONT’D)
Listen, Alex always hires me to
drive to Palmdale, I just drop the *
car at the rental place and-- *
SEAN
You see, now you are pissing me
off. Ok? So, I promise you. I just
need you to look. Ok? Just open the
trunk and look if everything is in
order. Ok?
Glenn thinks hard.
GLENN
I just mind my own business.
SEAN
As you should. That's a good
attitude. When you mind your own
business, life is less stressful.
But now, the one that is stressed
out is me and I don't like being *
stressed out and you don't want me
to be stressed out. Right?
Glenn doesn't answer.
SEAN (CONT’D)
Great. Stop right away.
Glenn looks behind and tries to make his way through the two
lanes that separate him from the highway right shoulder.
SEAN (CONT’D)
You are still moving.
GLENN
I'm trying, they won't let me *
through (beat) How do you know-- *
9.
SEAN
They told me you were smart. The
phone, Glenn! Don't tell me you
didn't track your daughter Jenny *
when she was still at home with *
you? And she’s at NYU now, huh? *
That must cost you a fortune. *
Guess your gambling didn't help, *
right? I told you, we know all
about you. But don't worry, you’re *
doing great. Just got a little *
glitch in the system you need to *
check on. Great, you stopped. *
GLENN
Yes.
SEAN
Get the keys and open the trunk.
Glenn turns off the engine and gets out, still holding the *
phone. *
Genres:
["Crime","Thriller"]
Ratings
Scene
4 -
Shocking Discovery
EXT. GREY CHEVY (HIGHWAY) - NIGHT
Glenn gets out of the car and walks to the back.
Cars in traffic slowly pass by.
He unlocks the trunk but doesn't open it. *
SEAN
Listen, we can’t stay here all *
night, ok? Open the fucking trunk. *
Glenn opens the trunk completely and looks inside. *
A green heavy duty tarp lies under a layer of soundproof *
foam, covering the contents underneath. *
Glenn quickly reaches out, grabs the edge of the tarp and
swiftly lifts it. *
He freezes. He is breathless. Glenn steps back terrified and
vomits.
In disbelief he looks back into the trunk.
The pink, Hello-Kitty style socks give it away. It's the body
of a girl.
10.
Then he looks around and sees the faces of the people driving *
by. More than one passenger looks at him but as soon as they
notice how distraught he is, they look the other way.
Glenn glances back at the open trunk and panics. He quickly *
shuts the trunk. A little boy stares at him from a passing *
car. Glenn smiles back. *
As soon as the car is out of sight Glenn leans on the trunk *
and takes a few deep breath. Sean’s voice bursts from the *
phone in Glenn’s hand. *
SEAN (CONT’D)
Glenn, Glenn? Can you hear me?
GLENN
It's a body!
SEAN
It better not be just a body Glenn!
Glenn?
GLENN
(while coughing)
I... didn't know... I thought it
was... it was... drugs or
something...
SEAN
It is... sometimes it's not.
Welcome to the major leagues my *
friend. We are a big enterprise,
Glenn. Well now you know. You need
to tell us if she is Blonde or *
Brunette. *
GLENN
What? What do you mean-- *
SEAN
I mean, the favor, the important
favor that you are doing for me
now... someone fucked up on our
side... I need to be sure this is
our merch. *
Glenn cannot move.
SEAN (CONT’D)
Listen, the worst is over, right.
Now you know, nothing can be worse
than this. So, man up and tell me.
Blonde or Brunette?
11.
Glenn moves to put himself between the highway curious and *
the trunk before opening it again. *
He slowly removes the rest of the tarp.
The girl’s ankles are tied, the wrist too, behind her back. *
The head is covered by a bag. She wears a skirt and a nice
shirt. Expensive stuff.
Glenn reaches to remove the bag. He searches for some hair *
but the girl has short hair.
SEAN (CONT’D)
So?
Glenn finally removes most of the bag.
She’s a brunette. Gagged very tight. She wears a small *
necklace with a cross.
GLENN
Brunette. She's brunette.
SEAN
Great. Is she breathing?
GLENN
What?
SEAN
Is she alive? *
Glenn stares to see if she is breathing.
Finally he removes the bag completely from her head and *
checks the gag.
All of a sudden the girl coughs and opens her eyes.
Glenn panics and slams the trunk shut.
GLENN
Fuck!
SEAN
What happened? Talk to me Glenn,
what the fuck happened?!
Glenn tries to catch his breath. *
GLENN
She's alive.
12.
SEAN
Great. Ok. Great. Make sure she is
delivered that way, right? The
merch worth more alive, death is *
just more shit to deal with. It's
your responsibility now, you
deliver her alive and everything
will be fine. Okay? *
GLENN
Okay. *
Glenn cannot move. He leans heavily on the trunk. Suddenly he
realizes, steps away and keeps staring at the trunk. *
Genres:
["Crime","Thriller"]
Ratings
Scene
5 -
Trapped in the Trunk
INT. GREY CHEVY / TRUNK - NIGHT
SARAH (15) looks around in the inky darkness. The muffled *
sounds of the highway outside barely overshadow her heavy *
breathing. *
She is completely in the dark. Slowly she comes to her senses
and panics.
Sarah realizes that her wrists and ankles are bound with *
plastic ties. She tries to pull them apart but it’s no use. *
Her eyes adjust to the darkness. She starts to see the
cramped space that she is in. *
Panic takes over when images emerge from the fog of memory.
EXT. SARAH'S HOUSE - MORNING (FLASHBACK)
MONTAGE
A two story house sits in a middle class neighborhood, a *
Mazda parked in the driveway, white picket fence.
Sarah sneaks out from a window at the second floor. She
quickly climbs down the tree and runs to the street where the *
grey Chevy Impala idles. She quickly gets into the car. *
Robby sits in the driver’s seat. Sarah reaches over and *
kisses him passionately. *
SARAH *
Let's go.
ROBBY
You got it Princess. *
13.
They both laugh. She takes her phone out from her pocket and
takes a selfie with Robby. He turns at the last moment.
INT. GREY CHEVY - MORNING
Robby gets in the car with two coffees. Sarah drinks hers. *
SARAH
Next time, go easy on the sugar.
Too sweet for me. Ok?
ROBBY
Of course, Princess. *
INT. GREY CHEVY - MOMENTS LATER
Robby drives towards the highway.
SARAH
Robby...
ROBBY
Princess?
SARAH
I don't feel... very... good,
dizzy... I... stop... stop the
car...
Sarah tries to hit the button to lower the window but she
keeps missing it.
SARAH (CONT’D)
Stop... stop it
Sarah looks at Robby. He keeps driving.
SARAH (CONT’D)
Why... stop... please... please.
Robby ignores her.
Sarah tries to fight Robby but she is weak and disoriented.
She drops the hot coffee on herself and gasps.
SARAH (CONT’D)
What... stop... please.
14.
INT. GREY CHEVY / TRUNK - DAY
Robby finishes gagging and tying Sarah up in the trunk. She *
can barely open her drugged eyes. *
The last thing that she sees is Robby taking her phone and *
her backpack and putting the bag over her head. *
The sound of the trunk being shut. Her scream is muffled and
vanishes in the darkness of the trunk.
END FLASHBACK / MONTAGE
INT. GREY CHEVY / TRUNK - NIGHT
A small amount of red light illuminates the interior of the
trunk.
She tries one more time to free herself. No go. *
She starts kicking and screaming but the gag suffocates her
voice and the space is too small to give a strong, solid
kick.
When she tries harder she injures her foot.
She begins to scream as loud as she can.
INT. GREY CHEVY - NIGHT
Glenn cannot bear Sarah's muffled screaming. *
He looks at the envelope with the money.
GLENN
Shit, shit, shit! Why? Damn it! I
just need one break. One break.
Damn it! Shut up!
Then he looks in the rear view mirror, at the trunk. He pumps
up the volume on the crappy radio and drives away.
Genres:
["Thriller","Drama"]
Ratings
Scene
6 -
Uncertainty in the Merchandise Business
INT. SEAN'S CAR - NIGHT
Sean makes another call.
SEAN
(to Mike)
Told you he’s a good man. *
(to Hector on the phone) *
Everything is A-Ok. Merch is good.
15.
Sean hangs up.
MIKE
What's her name?
SEAN
Trust me, its always better to not
know.
MIKE
Understood.
SEAN
No, you don't, nobody does at the
beginning. We think we do until we
work our first Merch deal and then, *
you have it or you don't. That's
why the first time you're always
with a veteran. If you choke, you
die.
Sean laughs out loud. Mike holds his hat tighter.
SEAN (CONT’D)
Just joking. In the end we’re all *
Merch. Right? We are all Merch. I'm
Merch, Glenn is Merch and that
pussy in the trunk is super-Merch.
Someone is selling you right now, *
you don't even know it.
Mike is tense. Where is this conversation going?
SEAN (CONT’D)
Do you have a social media account,
Mike?
Mike nods.
SEAN (CONT’D)
Then you are 'merch'. They sell all *
you do, watch, buy, to whoever
wants to fuck you. You are for
sale. They are your pimp. We are so
anesthetized that we don't even
care anymore. You even signed a
contract for God sake.
Mike finds it hard to argue.
16.
Genres:
["Crime","Thriller"]
Ratings
Scene
7 -
Tense Confrontations and FBI Interrogation
INT. JIMMY'S HOME - NIGHT
JIMMY (8), African American, lies on his small bunk bed. He
is in the dark but his eyes are wide open. He is listening to
discussion that is happening in another room.
UNCLE JOSH (O.S.)
I don't want you to come. Period.
AUNT MONICA (O.S.)
They know me, they trust me.
UNCLE JOSH (O.S.)
You don't get to choose, you don't
come!
AUNT MONICA (O.S.)
You don't know them, you don't know
these people.
UNCLE JOSH (O.S.)
That's the point. Honey, it's too
dangerous. Maybe you are too
hormonal or the mother's gene is
kicking in... you are too attached
this time.
AUNT MONICA (O.S.)
(on the verge of crying)
No I'm not, it's just-- *
Uncle Josh pauses.
AUNT MONICA (O.S.) (CONT’D)
Well, maybe, Ok. You take him. But
be careful. Remember the clothing,
I need the clothing for the foster
care inspector and the report.
Jimmy is now clearly alarmed.
Omitted
EXT. FBI WAREHOUSE - NIGHT
The police car with Robby drives into the parking lot of an
abandoned warehouse.
They park the car and two Policemen get out. *
From the warehouse two FBI agents walk out. AGENT RODRIGUEZ
(female, 35) and AGENT BROWN (male, 45).
17.
BROWN *
Thank you officer, we'll take it
from here.
They pull out Robby and remove his handcuffs.
Rodriguez and Brown walk Robby into the warehouse while the *
two Policemen get back in their car and leave. *
INT. FBI WAREHOUSE - NIGHT
Robby is escorted into the warehouse. *
He looks around and catch a glimpse, behind movable walls and
plastic sheets, of more agents, computers, and monitors.
They pass by vending machines and coffee makers.
ROBBY
Coffee, no sugar. Thanks! *
The agents don't answer.
ROBBY (CONT’D)
Hey, come on, it's right there,
just a cup of coffee.
No answer.
ROBBY (CONT’D)
You guys are shit. *
Still no answer.
Robby gets shoved into a separated area. *
Two chairs, a desk and an easel with a map of Antelope
Valley.
RODRIGUEZ *
Where?
ROBBY
The deal with Mike was-- *
BROWN *
No time for long explanations. *
You’re safe now. Just tell us. *
Where is the meeting with Mr. *
Renzo?
Robby walks to the map and indicates an intersection in the
middle of the desert.
18.
Brown writes it down and says out loud for record. *
BROWN (CONT’D) *
Intersection East Avenue O and
110th Street East, Palmdale. *
RODRIGUEZ *
Are you sure?
ROBBY
I'm fucking sure, lady, ok?
RODRIGUEZ *
You know that if you lie to us,
your deal is off. You understand *
that, right?
ROBBY
I'm not lying. I heard Hector
giving that exact address.
Rodriguez pushes Robby on a chair. *
ROBBY (CONT’D)
Can I get my coffee now?
Two agents walk in: AGENT ACHAK (30s) and AGENT CALIFAN *
(50s). *
RODRIGUEZ *
All yours, boys. If he lied, you *
know what to do.
Robby's demeanor changes.
Brown and Rodriguez walk out. *
Genres:
["Crime","Thriller"]
Ratings
Scene
8 -
A Risky Exchange
EXT. FBI WAREHOUSE / PARKING LOT - NIGHT *
Rodriguez and Brown walk out of the rear of the warehouse *
toward several parked cars. *
BROWN *
What's wrong?
RODRIGUEZ *
I grew up in those fucking streets. *
That's no place for an exchange. *
Not for something like, big, you
know.
BROWN *
Then let's grill him some more. *
19.
RODRIGUEZ *
No, there’s is no time, if he is *
right... or if he doesn't really
know.
BROWN *
The source is reliable. He set up
Robby's extraction.
RODRIGUEZ *
Are we sure it's him?
BROWN *
Yes.
(beat) *
Listen, there’s nothing irregular *
about it. An undercover agent *
calls, says it's a big night, it's *
THE night, someone big is coming *
from down south-- *
RODRIGUEZ *
I know, I know... but I'm just... I
don't like that we used her as *
bait...
BROWN *
It's a calculated risk. One to save
hundreds and-- *
RODRIGUEZ *
You knew him, right?
BROWN *
Who, Mike? Yes.
RODRIGUEZ *
Did he volunteer?
BROWN *
Yes.
RODRIGUEZ *
Good. They should have come up with
a better signal, though.
BROWN *
The red hat thing?
RODRIGUEZ *
Which genius thought that one up?
They both laugh. Get into one of the cars and drive away. *
20.
Genres:
["Crime","Thriller"]
Ratings
Scene
9 -
Escape Attempt at Abandoned Airport
INT. HECTOR'S CAR DARK ROAD - NIGHT *
Hector drives in the middle of nowhere. *
EXT. ABANDONED AIRPORT / GATE - NIGHT
Hector’s car rumbles down a dirt road and stops at a rusty *
gate.
He gets out of the car, opens the heavy lock and forcefully
opens the gate.
Enola starts waking up and sees the broken sign that reads:
Clearwater Airport, 1.5 miles.
When Hector gets back in the car she feigns asleep.
Hector drives through the gate and leaves it open.
Soon the dirt road becomes a wide, poorly maintained landing *
strip in the middle of the desert. *
I/E. ABANDONED AIRPORT / CABIN - NIGHT *
Hector keeps driving until the lights of the car illuminate *
the only structure, a one floor building with a small control *
tower on top. *
He parks next to it. Shakes Enola. *
HECTOR *
Come on, time to get up,
sweetheart. *
She barely acknowledges his effort. *
Hector checks that Enola is still really asleep and gets out
of the car.
He enters the building and turns on the light inside. Walks *
over to an old electric panel and switches it on.
From the small window he can see that lights along the
landing strip are flickering to life.
INT. HECTOR'S CAR - NIGHT
The turning on of the landing lights gets Enola's attention. *
She is groggy. On her left wrist there is Dollar symbol
tattoo.
21.
She looks around and notices that Hector is not in the car. *
She sees him through the window moving inside the building. *
Enola is now as alert as she can be. Immediately checks for *
the car keys but they are not there.
While she keeps an eye on Hector's position, she frantically
looks inside the glove compartment, nothing. The storage *
between the seats, nothing.
Enola looks outside the car. The lights of the city are far *
away. Around her, besides the tiny airport, all is darkness.
She opens the door quietly and gets out. Stares at the *
building. Doesn't see Hector but the lights are still on. *
Enola opens the back door and takes her backpack. Looks *
around for a shortest path towards the darkness. *
She ducks down and makes a few quick steps away.
HECTOR (O.S.)
Where are you going?
Enola freezes. She panics then she pretends to fall to her
knees. Her back to Hector she sticks two fingers into her
throat.
Hector walks closer to examine.
HECTOR (CONT’D)
What's going on? Eh?
Enola forces herself to vomit.
Hector stops.
HECTOR (CONT’D)
Jesus, what did they feed you?
Crap? And clean your mouth before
getting back into the car.
Enola keeps throwing up while Hector walks back to the car.
Enola is alert and watches every move Hector makes. *
Hector opens the door of his car and freezes. He looks in the
back seat and notices something is wrong.
He glances back at Enola as she gets up and sees that she is *
holding her backpack.
HECTOR (CONT’D)
Come on, I don't have all night.
22.
ENOLA
You don't want me throwing up in *
your car, do you? *
Enola slowly walks back towards Hector.
HECTOR
How nice of you, now move your ass.
Enola walks towards the passenger side door and Hector opens
the door for her.
ENOLA
Thanks.
Before Enola can get in, Hector grabs her head and slams it
on the edge of the door.
HECTOR
You think I'm stupid, huh?
Enola is dizzy and can barely speak.
ENOLA
No, no, I'm sick-
HECTOR
So sick to get your bag and run,
eh?
Hector shoves Enola into the ground, against the car, one
hand under her own body and the other held by Hector behind
her back.
HECTOR (CONT’D)
I don't know how they treat you at
the house, but you don't play games *
with me, ok ‘sweetheart’?
ENOLA
I didn't-- *
HECTOR
You are mine, ok. You belong to me
you little cunt. I can end you
whenever I want.
ENOLA
I'm sorry, I-- I-- *
Hector takes out his gun and shoves it up Enola's skirt. She
resists as much a she can until Hector, with his knees,
forces her legs to open up.
23.
He pushes the gun further and Enola screams.
HECTOR
Scream as much as you want, nobody
can hear you here, nobody cares, *
you are meat, understood?
HECTOR (CONT’D)
That's it? This is all the fight
you've got? Figures.
Hector's phone rings.
He pulls the gun back. The barrel is covered in blood.
HECTOR (CONT’D)
Shit.
He answers the phone.
HECTOR (CONT’D)
(in Spanish)
Honey... yes yes... all good here.
Put them on the phone...
Hector cleans the gun on Enola's dress then puts it back in
his holster.
He gets on his feet and paces around.
HECTOR (CONT’D)
(in Spanish)
Miguelito, Teresita. Sweet dreams
by sweet hearts, goodnight... (with
grave tone) are they gone? So?...
really... listen... no listen to
me, this is just one veterinary,
ok. We will check with others,
whatever it takes... he is the
strongest dog, you'll see.
Enola wakes up. She is in unbearable pain. She climbs into
the car.
Hector slams the door behind her. Gets back into the driver *
seat.
HECTOR (CONT’D)
(in Spanish)
What about him? Mike is behaving
well, he is doing good.
(MORE)
24.
HECTOR (CONT’D)
No, he is not with me, he is with
Sean. No, no, I didn't say that. He
is with Sean because it was better
this way. Tell her that we are
happy. She shouldn't worry. My
voice? You know me too well. I'm
just... you know... if this other
thing here works out... well...
let's put it in this way, it's more
money and more safe. Yes, goodnight
my love.
Hector hangs up. He glances at Enola then turns on the engine
and drives away.
Genres:
["Thriller","Drama"]
Ratings
Scene
10 -
Trapped in the Trunk
INT. GREY CHEVY - NIGHT
Glenn sweats in the driver’s seat. Beating and muffled *
screaming is barely audible, but very much present.
He drives very slowly, drivers around him complain by
honking.
Glenn stares ahead. He avoids looking in the rear view
mirrors.
He reaches into his jacket and takes out the metal flask. *
Checks if anybody is watching than takes a quick sip. *
Ah, that’s better. He takes another, more generous sip. *
A car passes by and the angry driver flips him the bird.
Glenn is surprised by the gesture and looks around.
Everybody in every car in front, behind, and to the sides
seem to stare at him.
Instinctively Glenn ducks and puts the flask back into the
pocket.
It seems that everybody knows what he knows.
The banging from the trunk is relentless and Glenn pumps up *
the volume of the classical music.
In one of the cars he passes by we see Sean and Mike. They *
pretend to ignore him. *
INT. GREY CHEVY / TRUNK - NIGHT
Sarah's panic is overwhelming.
25.
She can only scream and kick and try to free herself, but the *
more she tries the more her situation seems to worsen.
All of a sudden she is short of breath. She coughs as if
something got into her throat. She is choking and she cannot
breathe. *
Sarah starts breathing more from her nose and slowly but *
surely she is not coughing anymore.
The breathing becomes more regular and she starts to look
around to assess the situation.
She tries to rise but hits her head against the trunk lid. *
Darkness slowly becomes visible. The red light coming through
allows her to see things now.
Sarah notices her ankles are bound tight with a plastic rope. *
The more she tries to move them, the more she hurts herself.
Her hands are bound in the same way behind her back.
She checks her back pocket. Her phone is gone.
She looks for the trunk handle but can see that it has been *
removed.
Sarah notices that the car moves but the sound of the engine *
is very low.
The classical music that blasts from the speakers is
preventing her from hearing other noises, but she realizes *
that pretty often the car starts and stops, starts and stops.
She tries to look for a way to see outside but there are no *
holes or ways to look through.
Next time the car stops, she starts screaming with what
little voice that can come out of her tight gag, and kicks at
the trunk.
Genres:
["Crime","Thriller"]
Ratings
Scene
11 -
Surveillance Stakeout
EXT. GREY CHEVY - NIGHT
From the outside, in the traffic, nobody can hear her.
Just some classical music coming from the Grey Chevy.
EXT. EXCHANGE SPOT - NIGHT
A dark, empty parking area. Far enough from the lights of the
city, but still not desert.
26.
INT. FBI CAR - NIGHT
Brown uses binoculars with night vision. The images are very *
blurry.
Rodriguez sets up a telescopic microphone and a recording *
device.
BROWN *
You were right, we did make it on
time.
RODRIGUEZ *
I told you, I grew up around here.
I know every street, every bush and
gust of warm wind. Sometimes it's
so hot, it feels like you have a *
hair dryer pointed at your face.
BROWN *
I'm from Detroit, anything that is
warm... oh I'm fine with it.
Brown looks again into the binoculars. Still nothing but *
darkness and dust.
RODRIGUEZ *
He's late.
BROWN *
And?
RODRIGUEZ *
I mean what do we do if he's late?
BROWN *
We wait. The problem is... what if
there is no show. Source is-- *
RODRIGUEZ *
Someone's coming.
From the main road a car changes direction and quickly
approaches the exchange spot.
Genres:
["Crime","Thriller"]
Ratings
Scene
12 -
Confrontation in the Darkness
INT. HECTOR'S CAR - NIGHT
35 Hector drives into the darkness and parks. He turns off his35
lights.
He looks impatiently at his watch. Shakes Enola. *
27.
HECTOR
Wake up, Enola, time to wake up.
She is not waking up. *
HECTOR (CONT’D)
Son of a bitch!
He looks up. Sees car headlights approaching. They slow down *
and stop in front of Hector’s car. *
Hector cocks his gun.
INT. FBI CAR - NIGHT
BROWN
Ok, party time.
Rodriguez turns on the recorder and the speaker so they can
listen to the conversation.
The sound has glitches and sometimes drops for a few seconds.
The two agents react to the conversation (intercut when
needed).
EXT. EXCHANGE SPOT - NIGHT
The new car flashes its high beams three times. *
Hector gets out of the car. Keeps his gun hidden behind him. *
HECTOR
You're late.
AARON (30) walks towards Hector but seems to have a hard time *
with the uneven ground, lacking coordination. When he talks
his speech is slurred.
AARON
We have plenty of time.
HECTOR
It doesn't matter, you are late for
me.
AARON
Oh my, sweet heart, did you miss
me?
Aaron reaches for Hector's face. Hector swiftly grabs Aaron
arm and points the gun at his face. *
28.
HECTOR
What the fuck did you say to me?
AARON
Ok, ok. Just kidding. Ok?
Hector lets him go and holsters the stiletto back into a
special pocket on the side of his jeans.
HECTOR
Did you get high?
Aaron walks towards Hector's car. *
AARON
So, where is the welcoming
committee.
HECTOR
Asleep.
Genres:
["Crime","Thriller"]
Ratings
Scene
13 -
A Troubled Encounter
INT. FBI AGENTS' CAR - NIGHT
Rodriguez and Brown exchange a glance.
RODRIGUEZ *
'Welcoming committee'?
Brown shakes his head.
BROWN *
Shit, this is not our transaction.
EXT. EXCHANGE SPOT - NIGHT
AARON
Let's wake her up then.
Aaron approaches the passenger side and opens the door.
AARON (CONT’D)
Wake up girly. Time to go.
Enola doesn't answer. Aaron shakes her but she doesn't
respond.
AARON (CONT’D)
What the fuck?
HECTOR
She's been groggy all day. *
29.
Aaron lifts her face. Enola is pale and sweaty. *
AARON
Crap.
Aaron turns to Hector and his mood changes drastically.
AARON (CONT’D)
What's wrong with her?
HECTOR
I don't know, she was groggy.
AARON
You said that.
HECTOR
She had it rough yesterday.
AARON
Rough?
HECTOR
Yeah, with a client.
AARON
How rough?
INT. FBI AGENTS' CAR - NIGHT
Rodriguez gets tense.
Brown listens carefully.
EXT. EXCHANGE SPOT - NIGHT
HECTOR
Listen, I got to go, don’t have
time to waste with this bullshit. *
Aaron checks Enola again. He sees a bottle of water, grabs it
and throws it on her face.
She wakes up, barely.
ENOLA
What...
She cannot open her eyes.
30.
AARON
Help me out, give her some fresh *
air. *
Aaron and Hector pull Enola out from the car.
They don't notice the stain of blood that she leaves on the
passenger seat.
Enola takes three steps by herself and falls face first to
the ground.
AARON (CONT’D)
Shit, shit, shit. She is the
“welcoming committee” for tonight’s *
merchandise. Sean will kill me.
HECTOR
Listen, I got to go.
AARON
Bullshit, you don't go nowhere.
HECTOR
You're late, not me.
Hector walks back to the driver’s side of his car. Aaron *
pulls out his gun.
AARON
You go nowhere fucker!
Hector doesn't even bother to turn. He gets in his car.
AARON (CONT’D)
Don't you dare. I'll shoot you!
Hector speeds away, leaving Aaron dusty and pissed. He is on *
the verge of tears.
AARON (CONT’D)
I'll fuck your ass! You are a dead *
man, you understand, you are
fucking DEAD!
Aaron looks at Enola.
AARON (CONT’D)
Shit.
Genres:
["Crime","Thriller"]
Ratings
Scene
14 -
Tense Pursuit
INT. FBI AGENTS' CAR - NIGHT
Brown puts down the binoculars. *
31.
BROWN *
Shit!
RODRIGUEZ *
This is it?
BROWN *
No, this is not 'it'.
RODRIGUEZ *
This is just-- *
BROWN *
I can see it, ok?
RODRIGUEZ *
So, what should we do?
Brown calls. *
BROWN *
Brown here. No, this not it. Just
an exchange... one girl... he is
leaving right now.
Brown starts the car. *
RODRIGUEZ *
What are you doing?
BROWN *
(still on the phone)
Yes, sir. We should know more if-- *
I understand sir.
Brown hangs up. Starts to put the car into “Drive.” Rodriguez *
stops him.
BROWN (CONT’D)
I know what you are thinking.
RODRIGUEZ
We can't leave her.
BROWN
You know the drill-
RODRIGUEZ
But she is right there.
Brown is conflicted. *
32.
EXT. DESERT SPOT - NIGHT
Aaron drags Enola to his car and pushes her into the
passenger seat.
Aaron feels something.
He raises his hand under the car interior light and sees that
his hand is bloody.
He checks Enola and notices blood stains on her legs.
AARON
Shit! Shit! Shit! Fuck you!
Aaron picks up his phone.
INT. FBI AGENTS' CAR - NIGHT
Brown turns and looks towards Hector's car that is getting *
away.
BROWN *
We can't wait, we're losing him.
Brown speeds away after Hector’s car. *
RODRIGUEZ
Fuck.
Rodriguez tries to direct the microphone back to the meeting
point and is able to capture just a few more words.
AARON (O.S.)
She is bleeding... (inaudible)... I
don't know, from her...
(inaudible)... (inaudible)...
Doctor? Michaels? ...
(inaudible)...hols? He would know
what ... (inaudible)... call him?
Shit man!... (inaudible)...
Now just static sound comes through the mic. *
Rodriguez is visibly mad. She scribbles down a note "Dr. *
Michaels. Michols. ER?".
Brown keeps his eyes on their prey. *
33.
EXT. HIGHWAY - NIGHT
Back on the highway, the FBI agents keep themselves at
distance from Hector’s car.
INT. FBI AGENTS' CAR - NIGHT
Rodriguez opens up her computer.
BROWN
What are you doing?
RODRIGUEZ
Dr. Michaels, can’t be that far. *
BROWN
Eye on the prey, Rodriguez.
RODRIGUEZ
Just a minute-- *
BROWN
No! *
RODRIGUEZ
It's just a simple search.
BROWN
And then?
RODRIGUEZ
Then what?
BROWN
What’s next?
RODRIGUEZ
WHEN, when I find this... doctor...
we can alert local authorities. *
BROWN
And they will fuck up the entire
operation.
RODRIGUEZ
It’s one girl. *
BROWN
If we screw up and Mike dies, it’s
on us. You understand? You are
fucking an undercover agent. We
can’t risk it. *
34.
RODRIGUEZ
It's not fair, we know about her,
we can save her.
BROWN
Stop it! Now!
Rodriguez glances at the computer monitor. Three “Dr. *
Michaels” show up in the search - a veterinarian, a *
psychologist and a Reverend. *
RODRIGUEZ
Shit!
Rodriguez closes her laptop.
Genres:
["Crime","Thriller"]
Ratings
Scene
15 -
Tense Moments and Surprising Revelations
INT. FBI WAREHOUSE - NIGHT
Robby sits at the table, drinking his coffee.
Agent Achak receives a call.
AGENT ACHAK
Achak here. Are you sure?
He hangs up.
AGENT ACHAK (CONT’D)
Well now, it seems you lied to us.
Robby is puzzled.
AGENT ACHAK (CONT’D)
There was no meeting with Mr.
Renzo. *
AGENT CALIFAN
What?
AGENT ACHAK
Nope, just another Merch exchange.
Agent Califan paces back and forth
ROBBY
I never said it was with Renzo. I
told you where you could find
Hector. He deals with Renzo. Stay
on Hector and you'll get Renzo.
AGENT CALIFAN *
Do you think this is funny? I'll
show what's funny.
35.
He picks up the hot coffee and throws it towards Robby's
face, missing him on purpose.
AGENT CALIFAN (CONT’D)
No more games!
EXT. RESIDENTIAL STREET / PALMDALE - NIGHT *
SELENA (40), Latina, comfortable working clothes and
backpack, walks out of her house and heads down to the *
sidewalk. *
This is a Latino community. Kids play soccer on the street. *
Selena is greeted by two other WOMEN passing by. She keeps *
walking until she stops at a traffic light.
She kneels down beside a small memorial stone surrounded by *
toys.
Selena rearranges the toys so that they are not too spread *
about, changes an old teddy bear with a new one, and crosses
herself.
She closes her eyes for a brief prayer. Then she kisses her
fingers and touches the small picture of a 5-year-old girl. *
A white van stops right behind her. She steps into it, *
joining four other chatty mid-30s Latina ladies: MARISA, *
LUISA, HERNESTA, MONICA. *
INT. SEAN'S CAR - NIGHT *
Sean and Mike keep an eye on Glenn's car.
Sean's phone rings.
SEAN
What’s wrong?
AARON
Fuck you! Why you think-- *
SEAN
Because every time you call ME you *
are in trouble. *
AARON
I AM NOT in trouble! *
SEAN
Just a fucking courtesy call?
36.
AARON (O.S.)
I need money.
SEAN
OF COURSE, you need money. Do you
have her?
AARON (O.S.)
Yes, but she is in bad shape.
SEAN
What do you mean bad?
AARON (O.S.) (O.S.)
Bad as in 'no-fucking-welcome-
committee' tonight. *
SEAN
Fuck, no. You know I hate doing
this shit without the Welcoming
Committee. How bad? *
AARON (O.S.)
What the fuck do I know, I’m not a
fucking doctor. He wants me to get
her to the E.R.
SEAN
Are you sure? He wants YOU to bring
her?
AARON
Yes, yes!
SEAN
Lucky you.
AARON
Fuck you.
SEAN
And maybe gets some meds along the
way eh?
AARON (O.S.)
Listen, I'm just doing what I’m
told ok? If you don’t like it, call
HIM yourself, ok?
SEAN
Ok. Let's meet at the view in half
an hour.
37.
AARON (O.S.)
Ok.
Sean hangs up.
SEAN
I truly hate this shit, so
unprofessional.
MIKE
'Welcoming Committee'? *
SEAN
Yeah, sounds silly but it works
like a charm. When we get the
merchandise we always bring a
senior piece to calm her down and
keep her quiet. You have no idea
what a difference it makes. Gonna *
be a bumpy ride tonight.
MIKE
Well, trial by fire, right?
SEAN
You know it.
Mike reaches to his crotch and Sean notices it.
MIKE
Why money?
SEAN
You know, you ask too many
questions.
The meaning of that sentence sinks in.
MIKE
Why shouldn't I? I'm not afraid of *
the job. Asking questions is what
makes me good.
SEAN
Ok. But my answers are what will
keep you alive. You'd better
listen.
Omitted
38.
I/E. GREY CHEVY - NIGHT
The traffic is still moving slowly and the speakers still
blast classical music.
Glenn is tense. Both hands on the steering wheel.
He looks straight ahead. No glancing in the rear view mirror. *
Just straight ahead. But is he really paying attention? *
The red lights of the car in front get brighter and more *
intense. Glenn doesn’t slow down. *
At the last minute he realizes what he is doing. It's too
late, only chance is to swerve into the shoulder lane.
Glenn turns the wheel. Barely misses rear-ending the car up *
front.
He slams on the brakes. Takes a deep breath and then *
explodes. He slams his fists against the steering wheel.
GLENN
Fuck! Fuck! Fuck! Come on, come on.
Think. There must be... I... I
could give them the money back,
just park the car and... Stupid!
It's my fault, isn't it, right? God- *
Glenn stops talking when he notices the driver from the car *
that is passing by staring at him. *
Glenn smiles, pretending he is ok now. He flicks his turn *
signal and merges into traffic again. *
But something’s not right. He turns off the music. All is *
quiet. Too quiet.
The girl is not punching or screaming anymore. *
GLENN (CONT’D)
Hey girl? Can you hear me?
Sarah doesn't answer. *
GLENN (O.S.) (CONT’D)
Can you hear me?!
Still no response. *
Glenn listens carefully. No answer, no fight.
Glenn panics. He looks for an exit and leaves the highway.
39.
Genres:
["Crime","Thriller"]
Ratings
Scene
16 -
Dark Encounter
EXT. HIGHWAY EXIT / PARKING AREA - NIGHT
Glenn parks the car in a dark side street. He looks back and *
yells. *
GLENN
Are you ok?
Still nothing. *
GLENN (CONT’D)
Can you hear me? Kick if you hear
me.
Glenn listens carefully.
GLENN (CONT’D)
Can you hear me?
No answer.
GLENN (CONT’D)
Fuck!
Glenn gets out of the car and walks back to the trunk. *
He hesitates, then opens it. Sarah lies still, her eyes *
closed. *
Glenn gets closer to see if she is breathing. No movement.
Now he can more clearly see her necklace that has an
engraving: SARAH.
He leans forward and puts two fingers on her neck to check
the pulse.
All of a sudden Sarah opens her eyes and tries to hit Glenn *
as hard as she can with her bound hands.
The punch hits Glenn on the face but it's not strong enough
to knock him out.
Glenn jumps back and hits his head with the trunk lid. When *
the pain subsides he sees two teary brown eyes staring at
him.
Sarah yells and screams and begs from behind the gag. She *
tries to free herself but she cannot.
Glenn slams the trunk closed.
GLENN (CONT’D)
Sorry, so sorry, I didn't mean it.
40.
He paces back and forth.
He reaches for his pocket and takes out his car keys with the
knife. The Marine Corps logo speaks to him.
GLENN (CONT’D)
Shit, what am I doing?
He pulls an old flip phone from his pocket. *
Beam lights from a car blind him. The car is parked right
behind his. How long it has been there?
He cannot see inside the car, not even the kind of car.
The other phone rings. Glenn quickly gets into the car and
answers.
Genres:
["Thriller","Drama"]
Ratings
Scene
17 -
Driving into Darkness
INT. GREY CHEVY - NIGHT *
SEAN
Why did you stop, Glenn? My *
associates are telling me you *
stopped again.
GLENN
Because I... I couldn't hear her
anymore, I was afraid... you said-- *
SEAN
And?
GLENN
She is... ok, she is alive.
SEAN
Good, great. You did good. I'm not
judging you for stopping, good
call. You did good.
GLENN
Listen, I was thinking, you know,
I'll leave all the money in the
car, I promise, can we let her go?
I mean... I never saw your face, I
just-- *
SEAN
But she saw YOUR face, we know
where YOUR daughter is and it's not
YOUR choice no more. Now this
business with this other phone you
had in your pocket.
(MORE)
41.
SEAN (CONT’D)
That's not good. I want you to open
your door, put it on the ground and
drive away.
GLENN
But, this is my phone, I just-- *
SEAN
I know, I know. I understand. You
can always tell your wife you lost
it, right?
GLENN *
I... I guess. *
SEAN
You trust me Glenn, don’t you? You *
should, because I care about you. *
But you see, I can replace you in a *
second.
The car behind Glenn moves forward a few feet.
SEAN (CONT’D)
So put the phone down and drive
away. That's it.
Glenn thinks about it. Then opens the door and puts his phone *
on the ground before driving away. *
SEAN (CONT’D)
Good. Thank you Glenn, I'll see you
soon.
Then the car lights turn off and Glenn remains completely in
the dark. He cannot see the car at all anymore.
Glenn moves back onto the highway and turns on the radio. *
Genres:
["Crime","Thriller"]
Ratings
Scene
18 -
A Sinister Plan Unveiled
INT. SEAN'S CAR - NIGHT
Sean opens the door and picks up Glenn’s phone. *
He checks the FIND MY PEOPLE app on the phone. *
SEAN
I bet his wife and daughter are at
the top of the Favorites List. *
Sean smiles.
SEAN (CONT’D)
We are so predictable.
42.
Sean puts down the phone and drives away in the opposite *
direction.
MIKE
We’re not following him? *
SEAN
No, we need to get to Aaron.
MIKE
What if-- *
SEAN
He won't. *
MIKE
How do you know?
SEAN
Experience. *
MIKE
I don't think we can trust him. *
SEAN
Everything is under control, don't
worry.
MIKE
Don't worry? What if he goes to *
the police? I think-- *
SEAN
He won't go. *
MIKE
I think we should follow them. *
SEAN
We can’t and we won't. Now forget *
it. *
Mike is tense.
MIKE
How do you know? *
SEAN
Empathy. The true key is to know
people.
MIKE
Empathy as in... liking them? *
43.
SEAN
Empathy is more than just liking
them. It’s understanding... geez I *
sound like my acting coach.
Mike keeps glancing in his side view mirror as Glenn’s car *
disappears down the highway. *
MIKE
Acting coach? Thought you were a
cop.
SEAN
Best training ever. You know that *
actors are considered 'lie
detectors'? Observing people is *
their job description.
MIKE
So you like... Glenn?
Mike pretends to calm down but the way he holds his hat tells *
a different story. Sean notices it.
SEAN
What's not to like? Such a good
man, a good American. A veteran. He
worked so hard for his family.
Sending his daughter to college is
huge. Did you know they lost their *
son when he was 8? Such a tragedy.
Stray bullet.
MIKE
Aren't we going to kill him?
SEAN
Of course I'm going to kill him.
The fact I like him doesn't mean
I'll let him fuck me in the ass.
Empathy helps you understand
people. But then you do not
hesitate to use their weaknesses *
against them. It's a kill or be
killed world. I didn't invent it.
Poor Glenn didn't invent it either. *
But hey, he accepted the money, *
didn't he?
MIKE
How do you know so much about him?
44.
SEAN
I told you, I know people. I'm a *
lie detector. And I do my own *
research and... I have my sources.
MIKE
Your old rat friends? *
SEAN
Let's just say I like to know who
I'm working with.
MIKE
Oh, yeah. What do you know about
me?
SEAN
Enough to let you ride shotgun
tonight, my friend.
Both Sean and Mike smile.
Genres:
["Crime","Thriller"]
Ratings
Scene
19 -
Departure
EXT. AIRPORT - NIGHT
A small airplane lands at the Clearwater air field.
Three large MEN in suits with some heavy luggage quickly get *
off the plane. *
They are followed by MR. RENZO (50), skinny, in a suit one *
size too large, darting eyes behind thick glasses.
He looks around before leaving the airplane and walks towards *
the little control building. *
Mr. Renzo makes a call.
INT. HECTOR'S CAR - NIGHT
Hector sits in his car. Hears a phone ringing. *
He takes out a different phone from the previous one and
answers.
HECTOR
Good trip?
MR. RENZO (O.S.)
Yes, just landed. Ready in one
hour.
45.
HECTOR
One hour? Great.
Hector hangs up and makes another call.
HECTOR (CONT’D)
We are set. When you get there text
me and I'll give you the final
destination.
(beat) *
Because I say so.
Hector hangs up and drives away.
INT. JIMMY'S HOME - NIGHT
UNCLE JOSH (30), Caucasian, muscle-beach kind of guy, hangs *
up the call. He looks at his wife, AUNT MONICA (30),
Caucasian, pregnant.
He nods, she is shaken.
Uncle Josh walks into a small room. Emerges holding Jimmy, *
just woken up.
Aunt Monica is in tears.
AUNT MONICA
Are you sure? What-- *
UNCLE JOSH
Remember for whom we’re doing this. *
He touches her belly and kisses her.
Jimmy is groggy and puzzled.
Aunt Monica notices.
AUNT MONICA
Do what Uncle Josh tells you to do, *
Ok?
Jimmy is now clearly alarmed.
AUNT MONICA (CONT’D)
You’re a good boy, Jimmy. A good *
boy and Aunt Monica loves you.
Uncle Josh picks up the keys and walks towards the door,
Jimmy gets agitated. Clearly he has some sort of speech
impediment.
46.
AUNT MONICA (CONT’D)
Jimmy, look at me. Don’t worry, *
everything is ok. I'll see you
soon, ok? I love you. *
Uncle Josh walks out of the house still holding Jimmy. Aunt *
Monica follows them. *
AUNT MONICA (CONT’D)
You be a good boy, now. I'll see
you later.
Uncle Josh puts Jimmy into the passenger seat of his car. *
Belts him in. *
Before closing the door Uncle Josh looks Jimmy in the eye.
UNCLE JOSH
Jimmy, you are growing up now. You
need to behave like a man, ok?
We’re gonna have fun, me and you. *
Stop this crying. You trust me, *
right?
Jimmy's tear-streaked eyes stare at Aunt Monica. *
UNCLE JOSH (CONT’D)
You trust me, right?
Jimmy doesn't seem to hear him. His eyes stay glued on Aunt *
Monica.
Uncle Josh slams the door.
AUNT MONICA
Whatever happens-- *
UNCLE JOSH
I know. *
AUNT MONICA
Whatever happens, DO NOT GET *
CAUGHT! *
UNCLE JOSH
Of course.
AUNT MONICA
You see the cops, you run. Right?
UNCLE JOSH
Yeah.
They kiss and Uncle Josh gets in the car.
47.
He drives away while Jimmy keeps looking at the house he just
left.
Genres:
["Crime","Thriller"]
Ratings
Scene
20 -
Tension and Secrets Unveiled
INT. VAN - NIGHT *
The Cleaning Ladies chatter to each other. Selena keeps *
quiet, pensive. *
MARISA *
(in Spanish) *
Why so serious Selena? Your husband *
cheating on you? *
LUISA *
Shush! *
MARISA *
What, I’m joking! *
HERNESTA *
Shush, don’t you remember, today is *
the anniversary. *
Marisa is puzzled, then she remembers. *
MARISA *
I’m sorry Selena, I didn’t mean... *
May your daughter be with God. *
All the women cross themselves. All but Selena. *
The van stops. *
HERNESTA *
This is me. *
While they all say goodbye, Hernesta picks up cleaning tools *
from the back of the van and walks towards a store. *
*
INT. GREY CHEVY / TRUNK - NIGHT
Sarah is more calm now. She assesses the situation.
The Emergency Release's fluorescence has faded but now she
can see it.
She tries to reach the Emergency Release. *
She turns with her belly down and struggles to push back her *
tied hands.
48.
The effort is very painful and in the end the fluorescent
handle is too far.
Then she turns around again and tries getting closer with her
mouth but the gag prevents her from biting the fluorescent
handle.
Sarah tries to reach with her foot but the space is too small *
to lift her feet closer to the handle. *
Then she tries to grab the handle with her knees. After
multiple attempts she succeeds.
She grabs it and pulls but nothing happens.
Sarah tries multiple times until the handle gives in - it was *
already disconnected from the trunk.
Sarah screams out of frustration and fear.
INT./EXT. SEAN'S CAR - NIGHT
Sean and Mike are already at the meeting spot. When Aaron *
parks, Sean gets out of his car with the envelope. *
Sean gives the envelope to Aaron, but holds on to it. *
SEAN
Do not be stupid, ok?
AARON
(his slur is getting
worst)
I'm not-not stupid.
Sean lets him take the envelope. Aaron checks that the *
banknotes are inside.
SEAN
Rats around tonight. I might have
one riding shotgun, there may be *
more.
AARON
(laughing)
Now you tell-tell ME. Shit, I
didn't like it al- already.
They go separate ways. Sean goes back into his car with Mike.
Aaron back to his car with Enola. Aaron drives away.
49.
MIKE
Why was he was laughing?
SEAN
I told him I think you’re a Fed. *
Mike’s stunned. Sean bursts into a loud laugh. *
SEAN (CONT’D)
Fuck, you should see your face.
MIKE
That's not funny man.
SEAN
I know.
Sean turns on the engine and drives away.
Genres:
["Thriller","Drama"]
Ratings
Scene
21 -
Interrogation and Hospital Visit
INT. FBI WAREHOUSE - NIGHT
Robby sits at a small desk, pen and paper in front of him.
ROBBY
I don't know what the fuck you're
talking about, ok?
AGENT ACHAK
We know Mr. Renzo is coming to *
town. Where?
Robby shakes his head.
ROBBY
I don't know, I told you all I
know, I'm just a Romeo, get the
girl, deliver the girl, and I'm
out.
AGENT CALIFAN
You must have heard-- *
ROBBY
Nothing, I heard no-- *
AGENT CALIFAN
Are you interrupting me, Robby?
Robby shuts up.
AGENT ACHAK
So, what's going on tonight?
50.
Robby doesn't answer.
AGENT CALIFAN
Your ass is mine, you understand?
ROBBY
I want to talk to my lawyer.
AGENT CALIFAN
Lawyer?
AGENT ACHAK
Lawyer!
AGENT CALIFAN
Do you see any fucking lawyer here!
AGENT ACHAK
Nobody is here.
ROBBY
You can't do this, my lawyer
arranged-- *
AGENT ACHAK
You know how many times these
things go wrong? *
AGENT CALIFAN
All the time. All the time someone
gets hurt.
INT. AARON’S CAR - NIGHT *
Aaron pulls up in front of a small hospital E.R. while *
talking on the phone. Enola moans in pain. Aaron looks
around.
AARON
Yes, I'm outside... I don't want
to, ok... fuck, you’re right. But *
they'll ask me tons of-of
questions. And there are cops. What
if I ditch her somewhere? You *
mean... o-ok. I'll bring her in.
Make sure the doc-doctor is there
or I ditch her and I am out. *
Aaron shuts off the phone. He sees an ambulance parked right *
in front of the ER entrance, but there are no doctors around. *
He notices an empty police car in the parking lot. *
51.
AARON (CONT’D)
Sh-it, Sh-it, Shit.
He checks Enola's status.
AARON (CONT’D)
Hey, hey wake-wake up.
Enola doesn't react.
Aaron shoves his phone into his pocket. Gets out of the car. *
Goes around and picks up Enola from her seat then walks *
towards the E.R. entrance. *
INT. E.R. RECEPTION - NIGHT
Aaron crosses the automatic door and quickly walks to the *
reception, struggling under Enola’s weight. *
SUSY (25), a young African American woman, is dealing with *
paperwork. She doesn’t look up. *
AARON
Excuse me.
Susy keeps working.
SUSY
Yes sir. How can I help you?
AARON
I'm looking for Dr. Michaels? *
SUSY
There is no doc-- *
AARON
I meant Nichols. Dr. Nichols.
Susy turns to her colleague at the reception, Nurse DAVIS *
(50).
SUSY
Nichols?
DAVIS
Don't think so, she's not on call
tonight.
For the first time Susy looks up and sees Aaron holding Enola *
in his arms.
She is alarmed.
52.
SUSY
What's wrong with her? *
Aaron doesn’t want to answer. He starts walking backward *
towards the door. *
SUSY (CONT’D)
Sir? Sir! Where are you going? *
Susy rushes around the reception desk to intercept him. *
At that moment, DR. NICHOLS (40s), a tough-looking woman, *
strides in from the main entrance. *
Susy is stunned. *
SUSY (CONT’D) *
Dr. Nichols? *
Aaron looks at Dr. Nichols. Not sure. *
AARON
D-Dr... Nichols? *
DR. NICHOLS
Yes, that’s me. This way. *
Dr. Nichols takes Aaron gently by the arm. Starts leading him *
towards the examination area. *
SUSY
Doctor Nichols, what-- *
DR. NICHOLS
Don't worry Susy, I've got this.
Dr. Nichols and Aaron disappear behind the Emergency Door.
Susy looks at Nurse Davis, who just shakes her head. *
DAVIS
I'm sure those forms won't fill
themselves out.
Davis gets up and walks out of the reception room, leaving *
Susy alone. She sits down and gets back to work. *
Genres:
["Crime","Thriller"]
Ratings
Scene
22 -
Urgent Situation in Room 103
INT. E.R. MEDICAL AREA / ROOM 103 - NIGHT
Dr. Nichols leads Aaron into the medical area. Dr. Nichols *
opens a small room with a bed.
ROOM 103.
53.
Aaron lays Enola on the bed. Enola's skirt is soaked in blood *
and she is even paler.
Dr. Nichols closes the door and turns on the light.
DR. NICHOLS
What happened?
AARON
Nothing, I just, just-- *
DR. NICHOLS
Oh geez, Enola.
AARON
Do you know her?
DR. NICHOLS
How long?
AARON
What?
DR. NICHOLS
How long has she been bleeding like
this?
AARON
I don't know! I j-just drove her... *
Ok? OK!
Dr. Nichols picks up the phone from the wall.
DR. NICHOLS
Jane? I want Nurse Jane. No, I said *
Jane. I don't care, send her to
room 103. Right away.
Aaron keeps staring at Enola.
AARON
I did nothing, I’m just the one w- *
who brought her here, r-right?
DR. NICHOLS
Yeah, yeah, we're all heroes here. *
Get out and wait in your car. I'll *
tell them when I'm done.
Aaron walks to the door and hesitates.
DR. NICHOLS (CONT’D)
Out! And leave it in the first *
drawer.
54.
Aaron takes out the envelope with the money and shoves it *
into the first drawer of a small utility cabinet. Then he *
leaves the room.
Genres:
["Drama","Thriller"]
Ratings
Scene
23 -
Lost in the Corridor, Trapped in the Trunk
INT. E.R. MEDICAL AREA CORRIDORS - NIGHT
Aaron walks along the corridor, slowly enough to see NURSE *
JANE (30) hurrying into room 103. *
A second later she rushes out and gives orders to the other *
NURSES. *
Aaron turns a corner and takes a deep breath. He is still *
sweaty.
He doesn't recognize the corridor - this is not the way he *
came in.
AARON
Damn it.
Then he sees, at the end of the corridor, a locked glass door
with the label: MED ROOM.
Aaron smiles.
INT. GREY CHEVY / TRUNK - NIGHT
Sarah looks around and tries to listen. She notices little *
flickering of lights when a car passes by.
The light seems to come through the rear corner of the car, *
where the tail lights are set. *
Sarah looks closer. She can see the wires getting into the
space where the bulb for the red light is.
A plastic cover seems to hide a hole in the metal of the car
where the light lies.
Sarah looks at her feet and she adjusts her body to make sure
they are aligned with the light.
Sarah kicks. Nothing happens.
She kicks again, to no avail. *
She tries one more time and cuts herself. *
SARAH
Ahhhhh! *
55.
Sarah takes a deep breath and kicks as hard as she can. A *
loud crack resounds in the trunk.
Now a little bit more of the red light comes in. *
More resolute than ever, Sarah kicks as hard as she can. The *
plastic gives in and the red light illuminates her feet and
her legs.
Sarah tries to push her right foot into the space and break *
the tail light. But her foot is too big to pass through. *
Sarah moves around the trunk like a contortionist, switching *
sides and trying to fit. It takes all her effort and skills. *
Finally her eyes are at the level of the tail light and she *
can assess the situation.
She can see wires and the light bulb through the hole. Only a *
piece of semi-transparent plastic separates her from the
world.
Sarah starts screaming. *
SARAH (CONT’D)
(muffled)
Help! Help! Please! Help!
Every word is muffled by the gag and she screams in
frustration.
Then she tries one last thing.
She moves as close as she can to the wire and tries to bite
it. The gag is too tight for her to succeed.
Sarah starts spitting into the gag. Once it's drenched, she *
tries again.
This time she is able to suck in part of the cloth and with
her mouth she bites the wire.
With one, resolute movement, she breaks the wire. *
The tail light goes off. *
SARAH (CONT’D)
(muffled)
Yeahhhh, fuck you!!!
56.
Genres:
["Thriller","Drama"]
Ratings
Scene
24 -
Surveillance in the Mall Parking Lot
EXT. GREY CHEVY - NIGHT
The Grey Chevy's right tail light blinks off and the car *
keeps moving forward in the traffic.
INT. FBI AGENTS' CAR - NIGHT
Rodriguez and Brown surveil Hector's activities. He is now *
parked in an empty mall parking lot. *
Brown keeps checking Hector’s car via his binoculars. *
Rodriguez’s microphone is getting clear sound. *
Rodriguez takes out her phone. *
BROWN *
Let it go.
She doesn't answer but finds a list of ER’s nearby and calls *
the closest one.
RODRIGUEZ *
Good evening, I'm looking for Dr.
Michaels. No one with that name
there? Are you sure? Of course. *
Thanks you
BROWN *
Wasting your time.
She dials another number.
RODRIGUEZ *
Good evening, I'm looking for Dr.
Michaels. Not there. Is there
anybody with that name... nobody.
Thank you. Good night.
She dials the third number on the list.
BROWN *
Wait, something is happening.
From her point of view, Rodriguez can see Hector get out of *
the car. Both agents are alerted.
Hector walks a few steps away from his car. He unzips his *
pants and pees. *
Rodriguez shakes her head and dials again. *
57.
RODRIGUEZ *
Hello, I'm looking for Dr.
Michaels. *
SUSY (O.S.)
It’s Nichols!
RODRIGUEZ *
No, I mean-- *
Genres:
["Crime","Thriller"]
Ratings
Scene
25 -
Tense Encounter at the E.R.
INT. E.R. RECEPTION - NIGHT
A grumpy Susy is still dealing with her paperwork. *
SUSY
Jeez, again? We don’t have any Dr.
Michaels here, just Nichols. What’s
going on with you people tonight? *
RODRIGUEZ (O.S.) *
I was asking for-- *
SUSY
Dr. Nichols. Not Michaels, Nichols.
Don’t you think I know all the
doctors here? *
Pause.
SUSY (CONT’D)
Hello?
RODRIGUEZ (O.S.) *
Ma’am, this is Agent Rodriguez with *
the FBI.
SUSY
FBI?
RODRIGUEZ (O.S.) *
Is Dr. Nichols in tonight?
Susy looks behind and notices that Nurse Davis is not at her
station any longer.
SUSY
Yes.
INT. FBI AGENTS' CAR - NIGHT
Brown and Rodriguez exchange a glance. *
58.
SUSY (O.S.) *
Still here.
RODRIGUEZ *
Who is the other person that was
looking for her?
SUSY (O.S.) *
A man. 35 or 40. Tall.
RODRIGUEZ *
Is he still there?
SUSY (O.S.) *
I don't know.
RODRIGUEZ *
How long ago?
SUSY (O.S.) *
10 or 15 minutes, I guess. *
RODRIGUEZ *
Thank you very much. If you see
that man please call me right away.
This is my number. 818-555-3646.
SUSY (O.S.) *
Ok.
RODRIGUEZ *
And what's your name?
SUSY (O.S.) *
Susy Blunt.
RODRIGUEZ *
Thank you so much, Susy. *
SUSY (O.S.) *
You're welcome.
RODRIGUEZ *
One more thing, let us know also if
you see Dr. Nichols leaving. *
SUSY (O.S.) *
Ok! *
RODRIGUEZ *
Thank you, Susy. *
Rodriguez hangs up. *
59.
BROWN *
Don't even think about it.
RODRIGUEZ *
Here, we’re just 5 miles away. *
Brown thinks about it. *
BROWN *
Not happening. Out of the question.
I/E. MONTAGE PLAYERS STATUS - NIGHT
BEGIN MONTAGE *
- GREY CHEVY: Glenn is tense and drinks. *
- GREY CHEVY/ TRUNK: Sarah considers her options. *
- E.R.: AARON staggers towards his car. *
- PARKING LOT: Hector waits for news. *
- AIRPORT: Mr. Renzo supervises some frantic work going on *
inside the airport control building. *
- UNCLE JOSH's CAR: Uncle Josh drives with Jimmy asleep. *
- FBI CAR: Brown and Rodriguez spy on Hector. *
- FBI HEADQUARTERS: Robby is grilled by the two Agents. *
- SEAN's CAR: Sean drives.
- GAS STATION: The van stops in front of a gas station and *
Selena gets off. She takes her cleaning tools and walks to *
the back entrance. *
END MONTAGE *
I/E. GREY CHEVY - NIGHT
Glenn drives carefully but much more in control. The traffic
is moving now and the speed is up to 45mph.
Ahead he can see a Sheriff's car.
He checks his speed. Checks the distances between him and the *
other cars.
Glenn moves slightly to the left to avoid driving too close *
to the Sheriff. *
60.
He closes in on the Sheriff’s car. Pulls alongside. *
He can see the OFFICER inside the car. *
Glenn presses the accelerator. Pulls ahead of the Sheriff’s *
car, staying under the speed limit. He takes a deep breath. *
All of a sudden the Sheriff's light bar starts and with it
the blast of the sirens.
Glenn freezes. Eyes lock on the Sheriff. *
GLENN
Come on, come on, not me, not now!
The Sheriff doesn't pass him. He really is after him. The *
Sheriff’s VOICE comes over loudspeaker. *
SHERIFF DONALD *
Grey Chevrolet, pull over and stop *
your vehicle! Stop your vehicle! *
Glenn slows down and parks on the shoulder. *
Genres:
["Thriller","Crime","Mystery"]
Ratings
Scene
26 -
Suspicion on the Highway
INT. GREY CHEVY / TRUNK - NIGHT *
Sarah is immediately alert. She tries to move as close as she *
can to the little hole she created.
She starts banging and screaming right away.
INT. GREY CHEVY - NIGHT
Glenn turns on the radio and pumps up the volume. But it’s *
just a DJ talking about the piece of music they are going to *
listen to after a commercial break. Not enough noise. *
Glenn switches to another station. Hard Rock blasts out of *
the speakers.
EXT. HIGHWAY / SHERIFF - NIGHT
SHERIFF DONALD (50s) steps out of his car, holding a *
flashlight. *
Glenn scrambles out of the Chevy already holding his driver’s *
license and an insurance card. *
SHERIFF DONALD
Sir, please stay in the car. *
61.
The noise of the music is loud even from outside.
GLENN
(yelling)
Sorry, sir. The stupid radio is
broken.
Glenn can only see the flashlight coming straight to his face *
and Sheriff Donald’s right hand ready on his gun. *
Sheriff Donald gestures to Glenn to walk towards him and *
maintain a safe distance. Always keeping a hand on his gun. *
GLENN (CONT’D)
Did I do something wrong, Sheriff? *
SHERIFF DONALD
Do you know why I stopped you? *
GLENN
No sir.
SHERIFF DONALD *
Your tail light is broken.
Glenn looks at the car and notices the light hanging.
SHERIFF DONALD (CONT’D) *
Can you show me your license and
registration please?
Glenn still stares at the light.
SHERIFF DONALD (CONT’D) *
Sir?
GLENN
I'm sorry, right. Ok. Here’s my *
license.
Glenn hands his license to Sheriff Donald. *
SHERIFF DONALD *
Insurance?
GLENN
Here you go.
Glenn hands it over. Sheriff Donald gives them a cursory *
glance using his flashlight. *
SHERIFF DONALD *
Ok. I want you to do something for
me, ok?
62.
GLENN
Yes, Officer? *
SHERIFF DONALD *
Walk along this line. *
Sheriff Donald points to the yellow line along the side of *
the highway. *
The combination of cars zooming by them and the blasting *
radio music drowns out Sarah’s screams and banging from *
inside the trunk. *
GLENN
I don't drink.
SHERIFF DONALD *
Would you mind, sir?
GLENN
Ok, ok.
Glenn starts walking back to his car long the line. A little *
hesitantly. *
As he gets closer to his car, Glenn can hear the thumping and *
muffled screaming from inside his trunk. His heart beats *
faster. *
After reaching his car, Glenn turns and walks back towards *
Sheriff Donald. His nervousness, combined with the bright *
lights of the police car and the traffic flying by don’t make *
this walk easy. *
He stops in front of Sheriff Donald. *
SHERIFF DONALD *
Okay. Now, I want you to recite the *
alphabet.
GLENN
You want me to do... what?
SHERIFF DONALD *
Alphabet. Can you recite it for-- *
GLENN
A-B-C-D-E-F-G-- *
SHERIFF
Ok, that's enough. Just one more
thing.
63.
GLENN
Yes, Officer? *
SHERIFF
Just look straight ahead.
Sheriff Donald lifts up his flashlight and gets closer to *
Glenn to look into his eyes.
He notices the vomit stains on Glenn’s shirt and jacket and, *
most of all, the smell of it.
SHERIFF DONALD
Ok. Sir, ARE YOU SURE you didn't *
drink? *
GLENN
Swear on my mother's grave. *
Sheriff Donald eyes Glenn for a moment. Pulls a Breathalyzer *
out of his pocket. *
SHERIFF DONALD
I need to be sure. Please breathe *
into this-- *
GLENN
What? I've done everything you *
asked me and I did it right, didn't
I? *
SHERIFF DONALD
Sir.
GLENN
No, I don't understand-- *
SHERIFF DONALD
Sir, you’re acting erratically and *
you recently vomited. *
Glenn glances down at the vomit on his shirt and jacket. His *
mind races. *
GLENN *
H-had a big dinner... and got a *
little carsick. That a crime? *
SHERIFF DONALD *
No Sir. But failure to cooperate-- *
Glenn sees the curious faces in the cars passing by. Realizes *
he can’t afford to let Sheriff Donald near his car. *
64.
GLENN *
Fine! Give me that thing. *
Glenn grabs the Breathalyzer from Sheriff Donald. *
SHERIFF DONALD
Thank you, sir. Deep, deep breath *
until I tell you to stop.
Glenn breathes in.
SHERIFF DONALD (CONT’D)
Now, breathe out into the tube. *
Glenn exhales into the Breathalyzer. *
SHERIFF DONALD (CONT’D)
Good. Thank you, sir. *
The Sheriff takes it back and reads the results. *
The Breathalyzer shows 0.08 then shifts to 0.07. *
SHERIFF DONALD (CONT’D)
One more time. *
GLENN
But, Sheriff-- *
(beat) *
Ok, ok. *
Glenn does the test again. Sheriff Donald reads the results - *
now a solid 0.07. *
SHERIFF DONALD *
Wait here.
Sheriff Donald walks back to his car. *
While the traffic passes by, Glenn tries to keep his heart *
beat under control. He looks down and starts trying to clean *
the vomit stain off his shirt. *
Glenn glances up at the Sheriff’s car. Sees Sheriff Donald *
inside. Not looking happy. *
Genres:
["Thriller","Crime"]
Ratings
Scene
27 -
Guilt and Pressure
INT. SHERIFF'S CAR - NIGHT
Sheriff Donald types information about the car into his *
onboard computer. *
On the monitor a message blinks about a possible kidnapping *
and a grey Chevy. *
65.
The license plate doesn't match. *
Sheriff Donald sends a query to verify the data. Always *
keeping one eye on Glenn. *
The returning message confirms that the two cars are not the *
same.
EXT. HIGHWAY / SHERIFF - NIGHT
Glenn pretends to be distracted cleaning his shirt but keeps *
an eye on Sheriff Donald. *
Finally Sheriff Donald approaches again. *
SHERIFF
All checked out sir. There’s a gas *
station less than two miles up the *
road. I suggest you to get *
something to drink and wash up a
little bit.
Sheriff Donald gives Glenn back his license and insurance *
card. *
GLENN
Thanks, thanks a lot.
Sheriff Donald walks back to his car. Gets in and drives *
away.
Glenn takes a deep breath. He looks at the trunk and hurries *
back to the Chevy. *
INT. GREY CHEVY - NIGHT
Glenn sits down but doesn’t start moving right away. *
The music is still blasting. He turns it off with anger. *
Now he hears Sarah banging and screaming from the trunk. *
GLENN
(whispering)
He's gone.
The banging and the screaming keep going. *
Glenn eyes get red and teary. *
GLENN (CONT’D)
He's gone.
66.
Sarah doesn't stop. *
GLENN (CONT’D)
(screaming)
He's gone!
The screaming and the banging slowly stops. *
GLENN (CONT’D)
I'm sorry, what could I do? Huh? I *
know what you want me to do but I
can't. *
Glenn stares at the now-silent trunk in the rear view mirror. *
GLENN (CONT’D)
Hey Sarah? Right? I know you can
hear me. I'm sorry. I... look...
they hired me to drive... I...
didn't know, I mean. Can you hear
me? If you can hear me give me a
kick.
Glenn listens. *
She doesn't answer.
GLENN (CONT’D)
Good, good. I understand. I don't
know if I can stop again. They're *
watching me, you see? I don't know *
what to do. They know so much about
me. It's my family, you see? I *
needed the money, and I just didn't
want to know. If I didn't know,
it's kind of... I don't know... I
don't want to know... it's not
happening, then. My daughter's
university... I have a daughter,
you'd like her, she used to wear
pinks too. You’re younger, I think. *
My daughter, she is... my daughter. *
I don't know what to do but I
promise you, I will... do
something. Ok, I promise. I'm a
good man. You don't know that about
me, but I'm a man of God, I'm...
I'm... a good man. I promise, a
real promise, I will figure it out,
ok? Ok? Did you hear me?
No sound from the trunk.
67.
GLENN (CONT’D)
Ok. Ok. Good. Good.
Suddenly the phone rings. Glenn answers it. *
SEAN (O.S.)
Did you stop again? What did I-- *
GLENN
I got pulled over by a Sheriff. *
Silence.
SEAN (O.S.)
And?
GLENN
Nothing, it's all good now. He just
left.
SEAN (O.S.)
What did you do? Were you speeding
or-- *
GLENN
No, nothing like that.
SEAN (O.S.)
You must have done something to get
his attention? Do not lie to me
Glenn, don't you dare-- *
GLENN
I said nothing, ok? A tail light *
was off and if you don't believe me
you can go fuck yourself ok? *
SEAN (O.S.)
Remember we are always watching.
Now keep moving. You don't want to
be late.
Glenn puts the car into gear and drives away. *
Glenn looks in the mirror towards the trunk.
After a few seconds the phone rings again. Glenn answers. *
SEAN (O.S.) (CONT’D)
You’re not moving Glenn, why you *
are not moving?
68.
GLENN
I am moving! I’m moving 50 miles *
per hour!- *
Genres:
["Thriller","Drama"]
Ratings
Scene
28 -
Tracking and Tension
INT. SEAN'S CAR - NIGHT
Sean keeps staring at the map but the dot doesn't move. *
Finally, with a delay of a few seconds, the signal indicates *
Glenn’s car moving. *
GLENN *
Tell your friends to go f-- *
SEAN
I can see you now. Okay. Sorry. *
Sean hangs up. *
INT. GREY CHEVY - NIGHT
Glenn looks back at the trunk. *
GLENN
Sarah? Please believe me, I'm a
good man. I promise, I swear to
God, a real promise, I will figure
it out, ok? Ok? Did you hear me?
One loud thump from the trunk.
GLENN (CONT’D)
Ok. Ok. Good. Good.
INT. E.R. MEDICAL AREA CORRIDORS - NIGHT
A barely functioning Aaron walks around looking for an exit. *
He holds his hands in his pockets, which are clearly full of *
medicines.
SUSY (O.S.) *
Hey, you. What are YOU doing here?
Aaron freezes. He turns to face Susy from reception. *
Susy lowers her gaze to Aaron's shirt. *
SUSY (CONT’D)
Are you hurt?
69.
Aaron looks down. His shirt and jacket have Enola’s blood all *
over.
AARON
No, I'm not, I just-- *
Aaron quickly walks back towards where he came from. *
Susy glances over at an empty Nurse Station. On an *
electronic board on its back wall, she sees Room 103 in use. *
She pulls out her cell phone and a piece of paper. Starts to *
dial Agent Rodriguez’s number. *
Genres:
["Thriller","Drama"]
Ratings
Scene
29 -
A Suspicious Sighting
INT. FBI AGENTS' CAR - NIGHT *
Rodriguez's phone rings. *
RODRIGUEZ *
Who's this? *
SUSY (O.S.)
Susy, from the hospital?
RODRIGUEZ *
Susy! Yes!
Rodriguez turns the phone speaker on. *
SUSY (O.S.)
He's here, I just saw him.
RODRIGUEZ *
Are you sure?
SUSY (O.S.)
Yes I am. And he’s covered with *
blood.
RODRIGUEZ *
Thank you Susy.
Brown shakes his head, then starts up the car and drives *
away.
EXT. ALLEY - NIGHT
Manolo waits in a dark alley.
A uniformed policeman, OFFICER GOMEZ (50), exits from a side *
door.
70.
Manolo approaches him.
OFFICER GOMEZ
No, not in the system, not
anywhere.
Gomez gives Manolo a piece of paper back. *
The paper shows Robby's picture and main info.
Gomez walks back inside. *
Manolo lights up the paper and burns it. *
He stalks back towards the main street and makes a phone *
call.
MANOLO
He wasn't brought here.
HECTOR (O.S)
Different station, maybe? *
MANOLO
Nope. No records.
HECTOR (O.S)
Are you sure?
MANOLO
Positive. I think you're right,
smells like Feds. *
HECTOR (O.S)
Ok, head back.
Genres:
["Crime","Thriller"]
Ratings
Scene
30 -
Critical Condition
INT. HECTOR'S CAR - PARKING LOT - NIGHT *
Hector calls Sean while watching the FBI Agents’ car driving *
away.
SEAN (O.S.)
Yep? *
HECTOR
Bad news. *
SEAN (O.S.)
I knew it.
HECTOR
You know what to do.
71.
Hector hangs up then looks at Sean's position on his iPhone *
app.
He drives away.
Omitted
INT. SEAN'S CAR - NIGHT
Sean drives singing a jaunty tune. Mike notices a sign for a *
gas station.
MIKE
I want a coffee. How about you? On *
me. *
SEAN
Ok, decaf. Two yellow Splendas. *
MIKE
You got it.
Sean speeds past the small gas station. *
MIKE (CONT’D)
What's wrong with that one?
SEAN
Bad coffee. Trust me, you don't *
want it from that place.
INT. E.R. MEDICAL AREA / ROOM 103 - NIGHT
Dr. Nichols and Nurse Jane are covered in blood as they work
on Enola.
The girl is now attached to monitors. Her heartbeat is *
feeble.
DR. NICHOLS
Damn it Enola, hold on, girl. Hold
on.
NURSE JANE
We need to bring her upstairs, we
can’t-- *
DR. NICHOLS
I've seen worse, we can do it. *
72.
NURSE JANE
Dr. Nichols, I'm sorry-- *
DR. NICHOLS
Stop being sorry, and-- *
Enola is very agitated, in and out consciousness. She moans. *
DR. NICHOLS (CONT’D)
Stay with me Enola, stay with me.
NURSE JANE
She’s lost too much blood. *
DR. NICHOLS
She survived worse then this. Get *
more blood. Stat! *
Nurse Jane rushes out. Dr. Nichols turns towards the
monitors.
Suddenly Enola grabs her arm.
DR. NICHOLS (CONT’D)
Enola! Good, I need you to-- *
ENOLA
Let me go, doctor. Please.
DR. NICHOLS
Of course, when you feel better. *
ENOLA
No, let me go. Now. *
Dr. Nichols freezes.
DR. NICHOLS
I-I can't-- *
Enola pleads with her watery eyes.
Nurse Jane rushes back in with more blood for a transfusion *
and immediately starts working on replacing the almost empty
bag.
Enola squeezes Dr. Nichols’ arm. *
DR. NICHOLS (CONT’D)
Wait.
Nurse Jane is puzzled.
73.
DR. NICHOLS (CONT’D)
We... shouldn't... waste, yes, we
shouldn't waste blood this way. I
think you were right.
Nurse Jane looks at the signals on the machine then at Enola. *
Tears roll down Enola's face but a peaceful smile is now
visible.
Genres:
["Thriller","Drama"]
Ratings
Scene
31 -
Confrontation in the E.R.
INT. E.R. MAIN ENTRANCE - NIGHT
Rodriguez and Brown go directly to the reception desk where *
Susy waits for them. *
BROWN *
Nurse Susy?
Susy nods.
SUSY
This way.
Brown and Rodriguez follow Susy and pass through an automatic *
door.
INT. E.R. MEDICAL AREA / ROOM 103 - NIGHT
The door bursts open and Rodriguez and Brown storm in, *
holding up their badges. *
BROWN *
F.B.I.! Freeze! *
DR. NICHOLS
What are you doing?
RODRIGUEZ *
Move away from her.
DR. NICHOLS
Are you crazy? I have a patient
here.
RODRIGUEZ *
I said move away.
DR. NICHOLS
If I move, she dies.
Susy comes into the room followed by two doctors: DR. LEWIS *
(40s’, male) and DR. BRANDT (30’s, female). *
74.
DR. LEWIS
What's the situation?
DR. NICHOLS
I don't know what you think you’re *
doing but-- *
BROWN *
Answer the question and step away!
DR. LEWIS
What's her condition? *
DR NICHOLS
(reluctantly)
She is in hypovolemic shock due to
acute vaginal and perineal
lacerations. If she loses any more *
blood, she's not gonna make it. *
DR. BRANDT *
Okay, we’re taking over. *
They push Dr. Nichols and Nurse Jane out of the way and move *
to examine Enola. *
Brown handcuffs Doctor Nichols. Rodriguez does the same to *
Nurse Jane. *
DR. NICHOLS
This is a big mistake. She is my
patient!
NURSE JANE
(resisting arrest)
Hey, I was just following her
orders here. I'm just helping. I've
done nothing, nothing!
DR. NICHOLS
I'm saving her life! You’re gonna *
kill her.
RODRIGUEZ *
How many, eh? How many of these
girls have you ‘saved’? How much do *
they pay you for each save? *
Dr. Nichols doesn't answer.
75.
Genres:
["Crime","Thriller"]
Ratings
Scene
32 -
The Search for the Strange Guy
INT. E.R. MEDICAL AREA CORRIDORS -- NIGHT *
Brown and Rodriguez push Dr. Nichols and Nurse Jane out of *
Room 103. Susy follows. *
A SECURITY GUARD approaches Susy. *
SECURITY GUARD 1 *
Susy, did you call Security about a *
strange guy covered in blood? *
SUSY *
Yeah. *
She points at Brown and Rodriguez. *
SUSY (CONT’D) *
They’re here for him too. *
SECURITY GUARD 1 *
(to Brown and Rodriguez) *
My partner’s cornered him on the *
first floor. I can show you. *
Brown and Rodriguez quickly handcuff Dr. Nichols and Nurse *
Jane to two nearby chairs. *
BROWN *
(to Dr. Nichols) *
Stay here!
Rodriguez turns to Susy. *
RODRIGUEZ *
Keep and eye on them. And call the *
police. *
SUSY *
Will do. *
The Security Guard leads Brown and Rodriguez quickly through *
the corridors. They reach a storeroom guarded by another *
burly SECURITY GUARD. *
RODRIGUEZ *
Stand back.
The two Security Guards step back. Brown calls out to the *
locked door. *
BROWN *
This is Federal Agent Brown. We
know you brought her here. You did *
the right thing. Ok? *
(MORE)
76.
BROWN (CONT’D)
No need to make things worse now. *
Come outside with your hands up,
and you can tell us your version of
the story. Nobody needs to get
hurt, ok?
No answer from inside.
BROWN (CONT’D) *
We know you're in there. *
Rodriguez grows impatient. *
RODRIGUEZ *
Good speech.
BROWN *
Thank you.
RODRIGUEZ *
Now?
A loud sound comes from inside the room. The two Agents *
shared a common thought.
Brown kicks the door open and Rodriguez storms in. *
Aaron freezes while trying to climb out an open window. *
AARON
I wasn’t running, I wasn’t running.
Just needed fresh air.
Omitted
Genres:
["Thriller","Crime","Drama"]
Ratings
Scene
33 -
Suspenseful Encounter at the Gas Station
INT. GAS STATION - NIGHT
Hector buys some cookies. He walks to the CASHIER and pays. *
At the moment to give his credit card, he also places a small
envelope under the bag of cookies.
When the cashier takes the bag to scan it, he swiftly drops
the envelope into a drawer.
HECTOR
(addressing the security
cameras)
All off, 'til 3.30. *
77.
The cashier scans the credit card. Gives the bag of cookies *
and the receipt to Hector.
The Latina cleaning lady, Selena, cleans the floor near the *
hotdog burner. She glances at Hector and the Cashier. *
Hector looks outside.
INT. SEAN'S CAR - NIGHT
Sean drives. Mike stares ahead. Suddenly a phone RINGS. *
SEAN
Oh, shit!
Sean takes it out from his pocket - it's Glenn's phone. *
Sean reads the caller ID. *
SEAN (CONT’D)
Oh well, this is going to be fun.
He shows the caller ID to Mike: Jenny. *
The face of Glenn's young daughter smiles at them. *
MIKE *
Cute!
Sean doesn't answer but lets it ring. *
The phone stops ringing. A few seconds later it DINGS, *
indicating a message. *
SEAN
I knew it.
Sean hits the Voicemail button. *
JENNY (O.S.)
Hi Dad, just spoke to Mom. I just *
wanted to tell you... I love you.
Sean pretends to be touched.
JENNY (O.S.) (CONT’D)
I know all you are doing for me,
and just want to say, you are the
best, you-- *
Sean stops the replay.
78.
SEAN
This is fun.
(to Mike) *
Shall we?
Mike is puzzled.
Sean makes a call on his own phone. *
SEAN (CONT’D)
Glenn, Glenn are you there.
Everything alright? I have a
surprise for you. Listen.
Sean plays Jenny's message.
Genres:
["Crime","Thriller"]
Ratings
Scene
34 -
Tense Car Conversation
INT. GREY CHEVY - NIGHT
Glenn listens carefully. (intercut with Sarah listening too).
JENNY (V.O.)
Hi dad, just spoke to mom. I just
wanted to tell you... I love you. I
know all you are doing for me, and
just wanted to say, you are the
best. I'm sorry if I was tense when
I was there, and I was angry, but I *
just wanted to let you know... I'm
so sorry... Please be careful, do
not drive late, go home. It doesn't
matter, really, the payments and
the school, I love you. Be safe. Go
home.
(beat ) *
Oh, I almost forgot... *
(singing ) *
I'll be home for Christmas. Love
you!
Sean hangs up.
Glenn can barely breathe. Guilt, frustration, fear, anger *
and, finally, determination play over his face. *
INT. SEAN'S CAR - NIGHT
Sean doesn't make any comment. Mike is tense.
Quiet time is unbearable to Sean.
79.
SEAN
Well, that turned out to be...
stupid.
Mike doesn't comment.
SEAN (CONT’D)
I know, I know it's a screw up but
everything will be ok. He’s still *
under my control.
Mike lets him rant. *
SEAN (CONT’D)
I don't need you to remind me
what's at stake here.
Sean drives into the gas station and parks at a pump. *
SEAN (CONT’D)
Got to refill.
MIKE
Ok. I’ll get our coffees after I *
hit the head. *
Sean watches Mike hurry into the gas station. *
SEAN
Jeez, what a pansy.
Sean sees Mike rush into a bathroom at the back of the store. *
Exchanges a glance with Hector in the window. *
Genres:
["Drama","Thriller"]
Ratings
Scene
35 -
Mike's Distress and Surprise
INT. GAS STATION / BATHROOM - NIGHT *
Mike gets inside a stall. He takes out his phone. Dials a *
number. *
MIKE
Mike here. Change of plans... don't
know. Listen... listen to me...
she’s all alone now. I'm not sure *
we will be at the... I understand
but... I don't give a fuck. It was
my idea because I knew I was gonna *
be there but now... what do you
mean 'made'?... are you sure? I
won't leave her there, she is my
responsibility... I told you I
wouldn't. I'm not leaving her
alone.
80.
Mike hangs up the phone and punches the wall. Sean’s voice *
echoes through his mind. *
SEAN (V.O.)
Enough for you to sit in my car... *
you are merch... if you choke... we
will kill you... too many
questions... I'm a lie detector...
easy to read... kill you...
merch...merch... merch
MIKE
Fuck!
He quickly makes up his mind. *
Mike lowers his pants to reveal a hanging wire leading to a *
microphone taped to his abdomen. *
He removes the wire with the microphone and the little
recorder from his underwear and throws them in the toilet.
Then Mike removes a tiny speaker from his ear and throws it *
into the toilet, too. He flushes them.
He washes his face. Looks at himself in the mirror and takes *
a deep breath.
Mike heads out, not noticing that some pieces of his *
equipment have been regurgitated by the toilet.
GAS STATION
Mike walks out and bumps into Hector. *
HECTOR
Mike!
MIKE
Hector? What-- *
HECTOR
I'm joining you and Sean for the
grand finale. Sorry, got to pee.
Hector hurries into the bathroom, leaving Mike baffled and *
scared.
Mike walks to the coffee makers.
He pours two cups while glancing around, paying attention to *
the CUSTOMERS and the Cashier. He’s clearly looking for *
somebody.
81.
MIKE
(under his breath)
Where are you guys? Come on!
He even looks outside where Sean is still handling the re-
fueling. Mike scans the gas station.
Hector strolls out of the bathroom and heads towards the *
Cashier. *
Mike doesn't realize that the coffee is too much and
overflows onto his hands.
MIKE (CONT’D)
Fuck!
All eyes are on him now. Selena shakes her head. *
He quickly dries his hands and levels the coffee. Then he *
walks to the Cashier, too. *
Hector leaves while Mike pays for his coffees. *
As Mike heads for the door he notices that Sean and Hector *
give each other a fist bump. *
Genres:
["Thriller","Drama"]
Ratings
Scene
36 -
Tense Confrontation at the Gas Station and E.R.
EXT. GAS STATION / PUMP *
Mike is tense. He keeps looking around. *
MIKE
Here we go!
SEAN
Feeling better?
MIKE
Much better.
Mike gives the coffee to Sean and glances around again. *
SEAN
You waiting for someone?
MIKE
No, of course not. Just making sure *
we’re ok. *
HECTOR
Let's go.
Sean gets in the driver’s seat. *
82.
Hector climbs into the back seat behind the passenger side. *
Mike opens his door, picks up his red hat and puts it on. He *
glances around one more time. *
HECTOR (CONT’D)
So? We good? *
Mike nods. Gets in the car. *
INT. E.R. MEDICAL AREA / ROOM 103 - NIGHT
Dr. Nichols and Nurse Jane are interrogated by two male *
POLICE OFFICERS, still handcuffed to their chairs. *
DR. NICHOLS *
I didn't do anything wrong, I just *
wanted to save that woman. *
(points at Aaron) *
Look that guy even tried to bribe *
me. He left money in the drawer and *
I didn't take it. I just wanted to *
help. This is crazy. *
One of the Police Officer writes on a notepad. *
Nearby, outside Room 103, Aaron sits handcuffed to a chair *
while Brown and Rodriguez question him. Several medicine *
bottles lie on a small table next to them. *
Aaron stares ahead, defiant. *
BROWN *
Listen to me, you have a chance
here. You can save your ass.
Understand? *
AARON
This is all wrong. I did the right *
thing. I found her in the middle of *
the street and I brought her here. *
I don't understand. What's all the
fuss about?
BROWN *
Well we’ll see if she corroborates *
your version, Mr.... *
Brown looks one more time at the Driver’s License in his *
hand. *
BROWN (CONT’D) *
... Paul Hubert. *
83.
Dr. Lewis walks out of Room 103. Rodriguez rushes towards *
him.
Aaron stares at them.
Dr. Lewis and Rodriguez share some quiet words. Rodriguez *
nods grimly. They shake hands, then Rodriguez comes back to *
them. *
She pulls Brown aside and they whisper for a moment. Then *
Rodriguez leaves and enters Room 103. Brown steps back over *
to Aaron. *
BROWN (CONT’D) *
Well, Mr. Hubert, apparently today
is your lucky day.
Aaron smiles.
AARON
Can I go?
BROWN *
She died five minutes ago.
Aaron fakes a sad face, not very convincing.
Rodriguez comes out of room 103 and stops right in front of *
Aaron.
RODRIGUEZ *
Agent Brown misunderstood... I said
'she didn't die'. I just spoke to
her. Your name is Aaron and her *
pimp is Hector...
Aaron expression changes from faux grief to one of growing *
panic.
RODRIGUEZ (CONT’D) *
That's the face I wanted to see,
you son of bitch. Nobody can save
you, we’re fucking onto you! *
Aaron fumes. He rattles the handcuffs. *
RODRIGUEZ (CONT’D) *
What? Do you want to hit me, huh? *
Asshole, you want to hit me?
Aaron’s face goes blank. He stares ahead. *
84.
RODRIGUEZ (CONT’D) *
I'll make sure you spend the rest
of your days behind bars. Even if
it's the last thing I do.
Aaron can’t resist anymore. He looks straight into Rodriguez' *
eyes.
AARON
Seriously... a red hat?
Brown and Rodriguez exchange a glance. *
AARON (CONT’D)
That’s the face I wanted to see.
Rodriguez picks up the phone as fast as Brown punches Aaron
in the stomach.
AARON (CONT’D)
(coughing)
It feels so good.
Aaron laughs out loud.
Genres:
["Crime","Thriller"]
Ratings
Scene
37 -
Betrayal and Revenge
INT. SEAN'S CAR - NIGHT *
As he starts to pull onto the highway, Sean drinks his *
coffee. Then spits it out.
SEAN
You trying to kill me, man? *
Sean stops the car.
MIKE
No, what, what are you talking
about? *
SEAN
This ain’t decaf and there is no *
Splenda. With my blood pressure... *
MIKE
I... I'm sorry. I... let me make it
up to you. I'll go back and-- *
SEAN
No need for that, I'm ok. Really,
you were the one who wanted coffee *
so badly.
85.
MIKE
I'm sorry.
SEAN
Yeah, yeah. It's not cool, man. I *
mean I'm ok, but it ain't right.
Mike notices that Hector sits right behind him.
A phone rings.
Mike reaches for his pocket and freezes.
BEGIN FLASHBACK *
INT. GAS STATION - NIGHT
Mike bumps into Hector and Hector pickpockets his phone. *
END FLASHBACK
BACK TO SCENE *
Sean puts the car into “Park.” Hector takes out Mike's phone. *
HECTOR
Looking for this?
Mike tries to open the door but Hector grabs his forehead and
holds his head. Sean puts his hand on Mike's mouth and cuts *
his throat with a pocket knife. *
Mike puts up a fight that is as desperate as it is
ineffective. Mike's life quickly disappears from his eyes.
SEAN
What a son of a bitch.
HECTOR
Glad you warned us.
EXT. GAS STATION - NIGHT *
Hector and Sean get out of the car. Hector opens Mike's door *
to search him. Takes something from Mike’s pocket. *
Sean opens the trunk and pulls out a can of gasoline. He *
throws the liquid on the car.
Sean sets the car on fire.
Hector shows him Mike’s FBI badge. *
86.
Sean freezes.
SEAN
What the fuck?
Hector smiles.
HECTOR
For my collection. 23rd. Started *
when I killed my first cop. I keep *
the score.
Hector marks a cross on the badge.
Sean relaxes.
Genres:
["Crime","Thriller"]
Ratings
Scene
38 -
Desperate Phone Calls and Whispered Secrets
INT. E.R. MEDICAL AREA CORRIDORS - NIGHT *
Brown calls the emergency code he has been given. *
BROWN *
Answer, damn it. Answer.
Rodriguez holds her breath. *
Finally the line is connected. *
BROWN (CONT’D) *
Finally! This is Agent Brown, you-- *
HECTOR (O.S.)
Agent Brown, is it? Too late, your
boy is already burning in hell.
EXT. GAS STATION / HECTOR'S CAR - NIGHT *
Hector hangs up and throws the phone away.
SEAN
Damn it, they could track it
HECTOR
By the time they find it, we’ll be *
ghosts. *
Hector gets in the driver’s seat. Sean opens the passenger *
door.
SEAN
What the fuck?
Wet blood stains the passenger seat. *
87.
HECTOR
Oh, that. Enola.
SEAN
Jeez. I'm not sitting here.
Sean climbs into the back seat. *
SEAN (CONT’D)
Driver, to my villa.
Sean laughs. Hector starts the car up and drives away. *
INT. E.R. MEDICAL AREA CORRIDORS - NIGHT
Brown freezes. Rodriguez doesn't need explanations, she *
knows.
Brown smashes the phone. *
BROWN *
Fuck! Fuck! Fuck! I knew it!
Rodriguez cannot breathe. *
After a moment of despair they look at each other.
RODRIGUEZ *
The girl! *
Rodriguez rushes towards Room 103. *
INT. E.R. MEDICAL AREA / ROOM 103 - NIGHT
Rodriguez storms into Room 103, where the two Doctors are *
still trying to save Enola's life.
RODRIGUEZ *
I’ve got to talk to her. *
DR. LEWIS
Not now, we just got her *
stabilized. *
Rodriguez is crushed. *
RODRIGUEZ *
I must ask her just one question. *
We have... I don't have another *
choice. Wake her up.
Dr. Lewis is reticent. He exchanges glances with Dr. Brandt. *
88.
RODRIGUEZ (CONT’D) *
Please, just do it. *
DR. BRANDT
Ok.
Dr. Lewis prepares a syringe.
Rodriguez holds Enola's hand. *
Dr. Brandt wakes Enola up.
RODRIGUEZ *
Enola, I know its hard, I know. But *
you can really help me here.
Enola is barely conscious.
ENOLA
It hurts.
RODRIGUEZ *
Listen, I'm Agent Rodriguez. *
Enola keeps her eyes closed.
ENOLA
Fuck you FBI...
Dr. Brandt checks the clock. Dr. Lewis gets ready with a
sedative.
RODRIGUEZ *
You're right, I'm sorry.
Enola is losing consciousness again. *
RODRIGUEZ (CONT’D) *
Please Enola, I need you to focus.
Please.
(more resolute) *
Enola stay with me, you can help me
here. We know another girl got
kidnapped tonight. You can help *
her.
Enola doesn't react.
RODRIGUEZ (CONT’D) *
Enola, Enola. She needs you. Help
me, Enola, please.
Enola slowly opens her eyes.
89.
RODRIGUEZ (CONT’D) *
Enola, where is the exchange?
Enola whispers.
ENOLA
Clearwater Airport.
Genres:
["Thriller","Crime","Drama"]
Ratings
Scene
39 -
Tense Moments and Unexpected Stops
EXT. CLEARWATER AIRPORT - NIGHT
The Minions are moving things around while Mr. Renzo *
supervises. *
He looks at his watch and is not pleased. He makes a call. *
Nobody answers. *
INT. HECTOR’s CAR - NIGHT *
Hector drives while Sean rides in the backseat. *
SEAN
What was that? Why you didn’t
answer? Secrets?
HECTOR
Where are they?
Sean checks the map app on his phone. He can see Glenn’s car *
is moving towards the airport. *
SEAN
They're almost there.
Hector’s phone receives a message.
SEAN (CONT’D)
Busy night? All night you keep
watching that damn phone... are you
supposed to be somewhere else?
Hector doesn't answer.
SEAN (CONT’D)
You mother fucker! You have another *
gig and you didn't tell me!
Hector stares ahead.
SEAN (CONT’D)
Hey, don't screw me man, got it?
Hector keeps his focus on the road. *
90.
SEAN (CONT’D)
You know... I want a piece of it. *
HECTOR
Shut up. You don't know what you’re *
talking about.
SEAN
Whatever it is I'm in.
HECTOR
No you are not.
Hector pulls off the highway onto a side road. Parks the car *
and gets out.
SEAN
Son of a bitch.
INT. GREY CHEVY - NIGHT
Glenn drives along the dark road in the middle of the desert.
The only directions come from the phone and the indication:
Take Next Right. *
In the night there are no references, all is black and there
are no lights, nor signage about a possible intersection.
Glenn keeps looking behind, too. Sees only two lights, far *
behind but still there.
NAVIGATOR (O.S.) *
In less than a mile, turn left.
Glenn checks behind him one more time. Those two lights are *
still there.
Suddenly a tumbleweed passes in front of the car. Glenn slams *
on the brakes.
He hears the Girl bouncing in the back and the loud sound of
the lug wrench falling from the seat to the floor. *
GLENN
Sorry.
Glenn turns off the music.
GLENN (O.S.) (CONT’D)
I said sorry. Are you ok?
91.
INT. GREY CHEVY / TRUNK - NIGHT
Sarah adjusts herself in the trunk. She hesitates then...
SARAH
(muffled)
FUCK!
INT. GREY CHEVY - NIGHT
Glenn smiles.
GLENN
Ok. Good enough.
Glenn drives away when a loud honk scares him.
A red Pontiac with hand made paintings passes by him in the *
next lane. From inside a young punk flips him the bird. *
Glenn’s heart slows down while he keeps staring at the
Pontiac’s tail lights receding in the distance. *
Then he checks in the rear view mirror. No more following *
lights.
Glenn looks all around and in the other mirrors. Still no *
sign of the following lights. *
GLENN (CONT’D)
Jesus!
He carefully drives forward. *
EXT. GAS STATION - NIGHT
Uncle Josh pulls into the gas station and stops at an *
available pump. He looks over at Jimmy, who is asleep. *
He gets out of the car and starts to refuel. He looks around, *
expecting to see something. *
There is only another car refueling and, from what he can *
see, a couple of CUSTOMERS inside. *
Uncle Josh texts Hector: WE ARE HERE.
In the passenger seat Jimmy wakes up. He stretches then *
realizes he's got to pee.
JIMMY *
Uncle Josh? *
92.
UNCLE JOSH *
What?
Jimmy gestures that he's got to go to the bathroom.
UNCLE JOSH (CONT’D)
Not now.
JIMMY *
Please? I gotta go! *
UNCLE JOSH *
What the fuck is wrong with you? I
said not now.
Jimmy starts crying.
UNCLE JOSH (CONT’D)
Fuck, ok. Quick one.
Uncle Josh finishes pumping the gas, puts the hose back, then *
closes the gas tank. He walks around the car and takes out *
Jimmy.
UNCLE JOSH (CONT’D)
Come on. Quick.
Genres:
["Thriller","Crime"]
Ratings
Scene
40 -
Tense Moments at the Gas Station
INT. FBI AGENTS' CAR - NIGHT
Brown drives as fast as he can. They are escorted by three *
Police cars blasting their sirens.
Rodriguez’s phone rings. *
RODRIGUEZ *
Agent Rodriguez... yes, we’re *
heading there right now. *
(to Brown) *
They don't have any leads on that *
place.
BROWN *
Damn it. Do you trust the girl?
RODRIGUEZ *
Yes.
BROWN *
Are you sure?
Rodriguez doesn't need to answer. *
93.
BROWN (CONT’D) *
She might have lied to you. You *
told me she said 'fuck FBI'... *
RODRIGUEZ *
No, she wanted to help her, not us.
She wanted to help the new girl.
Brown thinks about it and nods.
RODRIGUEZ (CONT’D) *
Ok.
(into the phone) *
We are a go. Send local... I don't *
give a shit who's in charge. We’re *
in the field. We’re going to the *
airport.
Rodriguez hangs up as Brown speeds up. *
EXT. DESERT SPOT - NIGHT
Sean sits in the car while Hector waits outside, checking his *
phone.
In the distance a car approaches along the highway. *
Sean follows its movement on the phone.
INT. GREY CHEVY - NIGHT
Glenn drives carefully.
NAVIGATOR (O.S.) *
In 200 feet, turn left. *
Glenn sees the place where he is supposed to turn off. It's a
dirt road. Glenn slowly turns.
NAVIGATOR (O.S.) (CONT’D) *
One half mile to your destination. *
Glenn drives slowly and carefully because of the bumps in the
dirt road. *
In front of him is just darkness. *
Glenn hits a ditch and Sarah bumps around in the trunk. The *
lug wrench rattles on the floor of the passenger seat. *
Glenn checks the rear view mirror. No lights. *
94.
GLENN
Nobody? Where... for God’s sake! *
EXT. DESERT SPOT - NIGHT
Sean and Hector see Glenn’s headlights approaching. *
SEAN
Here they come. *
Sean turns on the headlights and gets out of the car. *
INT. GAS STATION - NIGHT *
Jimmy walks out of the bathroom and respectfully avoids the *
“Wet Floor” sign. He ventures along a small hallway lined *
with junk food.
Jimmy picks up some snacks and keeps exploring. *
Selena cleans another part of the floor nearby. She watches *
Jimmy and smiles. *
Uncle Josh steps out of the bathroom and slides on the wet *
floor.
SELENA
(in Spanish) *
Hey, watch your step, I just
cleaned there.
Uncle Josh looks around, searching for Jimmy. *
Selena glares at Uncle Josh and goes back to clean the floor *
where he stepped. *
Suddenly police SIRENS wail in the distance outside. Uncle *
Josh rushes to the window. Sees two police cars zoom by. He *
takes a deep breath. *
Selena witnesses all of this. *
Uncle Josh notices how she looks at him and tries to pretend *
that nothing happened. He resumes searching for Jimmy. *
On the wall right in front of Selena, there is a poster about *
a lost girl, maybe kidnapped, from a few months before.
The sign is also translated into Spanish and says "See *
something, say something."
Selena starts keeping an eye on Uncle Josh wherever he goes. *
95.
Another WAILING police car whizzes by, creating another scary *
moment for Uncle Josh.
GAS STATION CASHIER (O.C.)
Are you going to pay for those?
Selena sees Jimmy at the counter with his junk food, looking *
up at the Cashier innocently. *
Uncle Josh is on the opposite side of the gas station.
He rushes to the Cashier but Selena beats him there. *
GAS STATION CASHIER (CONT’D)
(to Uncle Josh) *
Hey, is this your kid? You gonna *
pay for his stuff? *
Uncle Josh freezes. *
Selena looks down and smiles at Jimmy. *
SELENA
(in Spanish)
Are you ok? Do you want these
candies?
Jimmy doesn't speak. Selena kneels down.
SELENA (CONT’D)
(in Spanish)
Do you understand?
Uncle Josh starts out of the store. Jimmy looks up at him. *
GAS STATION CASHIER *
Hey, don't think for a second I'll *
let you go without paying for this *
stuff! *
Uncle Josh doesn’t stop. He rushes to his car. *
Jimmy drops the goodies and runs out the door. *
The Gas Station Cashier freezes, looks at the envelope that *
is under the cash register and watches the clock. 3.30am. *
Genres:
["Crime","Thriller"]
Ratings
Scene
41 -
Confrontation at the Gas Station
EXT. GAS STATION - NIGHT *
Uncle Josh starts up his car and pulls out, leaving a trail *
of dust and gravel. *
96.
Jimmy sadly watches him go. Selena comes out and kneels down *
next to him. *
SELENA *
(in Spanish)
Was that your father? *
Jimmy doesn't answer but is clearly scared.
Inside, the Gas Station Cashier picks up his cell phone and *
sends a text.
Jimmy starts to cry. *
SELENA (CONT’D) *
Was that your father? *
Jimmy doesn't speak, but after a few seconds shakes his head. *
SELENA (CONT’D) *
You can talk to me, ok? Where is
your father?
Jimmy shakes his head again.
Selena looks inside at the Gas Station Cashier. He’s still *
frantically texting while keeping an eye on the boy and
Selena. *
The two of them exchanges glances. The Gas Station Cashier *
freezes for a second. Then slowly slashes his hand across his *
throat. *
GAS STATION CASHIER *
(exaggerating the word)
I M M I G R A T I O N.
SELENA *
(under her breath)
Hijo de puta.
She dries Jimmy’s tears. Then stands and she looks back at *
the Gas Station Cashier. *
SELENA (CONT’D)
(yelling) *
I'm third generation American,
asshole!
She flips him the bird, takes out her phone, and with the
same finger dials 911.
Selena kneels down and gives Jimmy his package of cookies. *
97.
Jimmy smiles and takes it.
SELENA (CONT’D) *
You'll be ok. Everything is fine.
Genres:
["Action","Thriller"]
Ratings
Scene
42 -
Tense Encounter in the Desert
INT. GREY CHEVY - NIGHT
Glenn takes a deep breath. Pulls out his flask and takes a *
long drink. He drives carefully along the bumpy dirt road. *
He starts to take another hit from the flask. Hesitates. *
Looks at it. *
Then he lowers his window and throws the flask away.
The desert night air is refreshing. He breathes it all in. *
Then he glances back at the trunk in his rear view mirror. *
EXT. DESERT SPOT - NIGHT
Hector and Sean check their guns while keeping an eye on the *
two approaching lights.
Suddenly the lights disappear. *
HECTOR
What the fuck?
Sean reaches inside the car and grabs his phone. He checks *
the tracker app. Glenn’s car is still moving. *
The two lights reappear, still moving towards them. *
HECTOR (CONT’D)
Damn. *
SEAN *
Must’ve hit a ditch or-- *
HECTOR
Doesn't matter, let's be quick. I
don't like it already.
SEAN
Calm down, it's almost over, if-- *
HECTOR
Shut up! You talk too much!
98.
SEAN
Hey, fuck you! Is that short enough *
for you?
INT. GREY CHEVY - NIGHT *
Glenn is sweating and his heart runs like a train. He can *
clearly see Sean and Hector now. *
He parks the grey Chevy right in front of them. *
Glenn stays in the car. Just stares at them. Keeps the engine *
idling. *
SEAN
Hello Glenn, glad you made it. Come
out, I have your money. *
Glenn takes a deep breath.
He glances back towards the trunk.
INT.. GREY CHEVY / TRUNK - NIGHT
Sarah's senses are alert. She is tense and focused.
SEAN (O.S.)
My friend Hector here is very
sensitive. I told him we can trust
you. Don't make me regret it, *
Glenn.
GLENN (O.S.)
(yelling)
AHHHHHHHH!
Suddenly the car accelerates, and Sarah is shaken about the *
trunk. *
Bang. Bang. Bang. At every shot Sarah jolts. *
The car slows down to a stop.
SEAN (O.S.)
What an idiot!
HECTOR (O.S.)
Who cares? He was dead the minute *
he accepted the job.
SEAN (O.S.)
But-- *
99.
HECTOR (O.S.)
Shut up and let's go!
SEAN (O.S.)
One last thing.
The trunk opens and the lights coming from Hector’s car blind *
Sarah for a moment. *
SEAN (CONT’D)
Hello, how are you? Don't you
worry, it's almost over.
HECTOR (O.S.)
Let's go. *
SEAN
Just a sec.
Sean unzip his pants and takes out his dick.
HECTOR (O.S.)
What the fuck are you doing?
SEAN
My little tradition. Remember, I *
brand her first.
HECTOR (O.S.)
Moron.
Sean lean forward to start peeing on Sarah. He doesn’t notice *
that Sarah’s hands and feet are no longer bound, and her gag *
is off. *
Suddenly Sarah reaches for Sean's open pants with her left *
hand and pulls it towards her. With the right hand she slams *
the trunk shut.
Genres:
["Action","Thriller"]
Ratings
Scene
43 -
Deadly Confrontation in the Desert
EXT. DESERT SPOT - NIGHT
Sean's screaming echoes through the desert night.
HECTOR
What?
Sean falls back onto a cactus. *
SEAN
Ahhh, fuck!
100.
HECTOR
(amused)
What the fuck? What happened? *
Hector saunters over to Sean. *
Sean turns, holding his crotch in pain. Hector sees the blood *
on his dick and pants. *
HECTOR (CONT’D)
What the fuck?
SEAN
B-Bitch! THE BITCH!
Hector turns and points his gun towards the trunk. *
But Sarah is already right in front of him! She tries to hit *
his head with the lug wrench. He quickly dodges but she *
manages to hit his hand, forcing him to drop the gun. *
Hector screams. His right hand is now bloody and visibly *
broken.
Sarah keeps swinging the lug wrench maniacally to keep Hector *
at distance. She tries to keep an eye on both him and Sean, *
visibly limping and shaking her sore leg to no use. *
Sean, in terrible pain, keeps screaming.
SEAN (CONT’D)
Bitch, I'll kill you bitch, I'll
kill you!
Hector looks at Sarah than at Sean. He notices that Sean's
gun is just a few feet away. He then focuses on Sarah.
HECTOR
Hey, calm down ok? Ok? Everything’s *
fine, I'm a Federal Agent. FBI. For *
real.
Sarah processes the new information.
HECTOR (CONT’D)
I have my badge here, in my jacket. *
Ok? Let me show you.
Sarah still holds the lug wrench up high to keep him at *
distance.
Hector, taking small steps, moves closer to Sean's gun while *
slowly reaching inside his pocket. *
101.
He takes out his trophy FBI badge. Opens it. *
HECTOR (CONT’D)
See, I'm Agent Sorenson. I've been *
under cover for six months. *
Sarah is still uncertain. She points down at her feet. *
SARAH
Here!
Hector throws the badge at Sarah's feet.
Sarah hesitates.
HECTOR
What's your name?
Sarah keeps staring at Hector. She finally lowers the lug *
wrench and her gaze to reach for the badge. *
Hector waits for that moment of distraction. Dives for Sean's *
gun.
It's the last thing he will ever do. Sarah is faster and *
swings the lug wrench through his face. *
Sarah can finally breathe. She looks back at the car and sees *
Glenn’s body, with three holes in his chest.
BEGINN FLASHBACK *
I/E. GREY CHEVY - NIGHT
Glenn drives along the dirt road. *
The map on the phone indicates 1/4 of a mile away from their
destination.
He can see the lights of the other car.
Suddenly he stops the car and turns off the lights.
He rushes out of the car, open the trunk and frees Sarah’s *
hands and legs with his pocket knife, then removes her gag. *
GLENN
I have a plan, but if it doesn't
work... you fight, you fight!
Glenn gives her the lug wrench and the knife. *
102.
Without giving Sarah time to answer, Glenn slams the trunk *
shut and jumps back into the car.
He hits the accelerator then turns on the lights. *
END FLASHBACK
Genres:
["Action","Thriller"]
Ratings
Scene
44 -
Race Against Time
EXT. DESERT SPOT - NIGHT
The lights of police cars are visible in the distance but *
most definitely moving away from them. *
Sarah limps as fast as she can towards the grey Chevy. *
Glenn's soaked in his own blood, but he is still breathing. *
She pushes his body over to the passenger seat and forces *
herself into the driver position.
The lights are getting closer and closer.
Without turning on the headlights she carefully drives away, *
trying to avoid rocks and bushes.
It's not easy to drive in the darkness. *
The other car is almost at the spot where they were.
Finally she reaches the paved road. She turns on the
headlights and speeds away. *
I/E. GREY CHEVY - MORNING
Sarah drives as fast as she can, keeping an eye on the rear *
view mirror.
She heads towards city lights in the distance. *
Sarah passes several cars but she doesn't slow down until she *
sees a Sheriff’s car coming her way. *
She starts flashing her head lights continually, until the *
Sheriff’s car turns on its strobe lights. *
When they are close enough she slams on the brakes, puts it *
in Park and jumps out of the car, waving her arms and *
screaming with what little voice she still has. *
SARAH
Help! Help!
Everything gets confused and unfocused.
103.
Sarah falls to the ground. Sheriff Donald emerges from his *
car and runs over to her. *
SHERIFF DONALD
What's going on? What's your name? *
SARAH
S-Sarah, my name is Sarah Milo.
SHERIFF DONALD
What happened?
Sarah points at the grey Chevy. *
SARAH
Please save him, save him.
Sheriff Donald looks at the car and sees the wounded Glenn *
behind the broken windshield. He rushes back to his car, *
pulls out his radio and starts calling for an ambulance. *
Sarah takes a deep breath. In the distance the sun rises on a *
new day.
FADE TO BLACK.
Genres:
["Thriller","Drama"]
Ratings
Scene
45 -
Narrow Escape
EXT. AIRPORT - NIGHT *
The small airplane with the engines running sits parked near *
a small building.
The PILOT (45) stands outside the plane. He looks at his *
watch and doesn't like what he sees. *
Something attracts his attention towards the end of the *
tarmac.
Apparently there is nothing to see but darkness until 3
police cars and one dark sedan turn on their lights and start *
blasting their sirens. *
The Pilot sees the authorities and hurriedly climbs into the *
cockpit, calling out loudly. *
PILOT
They’re coming, they’re coming! *
Mr. Renzo rushes out from the building, followed by 3 MEN in *
surgical gowns. They quickly get onto the plane and shut the *
doors. *
The authorities close in. *
104.
The airplane taxis into position for takeoff. The pilot guns *
the throttle. It lurches forward and zooms down the runway. *
The airplane takes to the air, barely missing the oncoming *
police cars and the FBI car. *
The Policemen jump out of the cars and shoot at the airplane, *
but it’s too late. *
The FBI car parks near the building. Rodriguez and Brown get *
out and head inside. *
INT. AIRPORT BUILDING - NIGHT
Rodriguez and Brown are stunned by what they find. It’s a *
makeshift surgical room, very rudimentary but well set up.
Inside, through semitransparent plastic layers, a gurney, a
light and unused medical equipment. *
Four containers sit on a table. Each one labeled as an Organ *
Transportation Box but with 4 different tags: Heart, Liver, *
Eyes, Kidneys.
Rodriguez picks up a piece of paper with a list of medical
data and a picture.
The smiling face of Jimmy stares back at her.
FADE OUT.
OVER BLACK. *
SUPER: Human Trafficking - the unlawful act of transporting
or coercing people in order to benefit from their work or
service, typically in the form of forced labor or sexual
exploitation.
SUPER: 18,000 people are trafficked through the United States *
every year.
SUPER: During the time you watched this movie, 5 more people
were kidnapped.
SUPER: 87.7% of these victims accessed healthcare services *
while they were being trafficked and nobody helped them.
SUPER: It is happening right in front of our eyes.