Renata closes her eyes. Sighs. As she steps toward her
closet, her clothing drops to an otherwise immaculate floor.
Now in a fluffy robe, she opens the blinds and the dawn light
floods the room, revealing a crucifix on the wall above the
bed. Catholic paraphernalia sits atop a dresser.
In a corner, a vanity table repurposed as a workstation with
a laptop. On the right, a framed photo of Renata, her older
sister, Dolores, and her nephew, Eduardo.
On the left, a photo of Renata and a woman embracing, both in
graduation robes. The same woman who was kidnapped.
Above the mirror, a framed diploma of a communications degree
from the University of Baja California.
Her fingers trail over the graduation photo as she exits.
INT. SHOWER - DAY
Steam fills the small cubicle. Renata finishes rinsing her
hair under the spray. She turns off the water and hangs her
head. Water DRIPS.
RENATA
Heavenly Father, nothing is
impossible for you. If it is your
will, please bring Ximena back to
me. I’ll do whatever you ask...
She crosses herself, tears coursing down her cheeks.
Suddenly, blurry images intrude her mind:
VISIONS
...A man towers behind Renata and chokes her with a belt, his
face unseen...
...A desolate, large tree with twisted branches, rooted on a
barren hill under a dark sky...
BACK TO SCENE
Renata’s eyes snap open. Heartbeat racing. Her hands
protectively clutch her neck.
3.
INT. KITCHEN - DAY
Two sunny-side up eggs sizzle in a skillet. A spatula lifts
them out.
Humbly appointed, the appliances come from another decade.
DOLORES (35), slightly more robust than Renata, wearing
hospital scrubs. Premature worry wrinkles crease her face.
She plates the eggs.
Dolores places the eggs in front of Renata at the table.
EDUARDO (8), devours the last bits of his breakfast.
Renata, wearing a blouse and designer blue jeans, stares
numbly at her meal -- still rattled by the visions.
DOLORES
Eat, Nata. We’re not having this
conversation again.
Renata listlessly picks up a fork and cuts into the eggs.
DOLORES
You’ve gotten too thin.
RENATA
I thought we weren’t having this
conversation.
Dolores goes back to the stove and prepares her own food.
EDUARDO
I’m finished, mami. Can I have
Tia’s?
Renata starts sliding the plate over.
DOLORES
No, you’re done. Go get your
backpack.
Eduardo pouts and trudges out. Dolores watches him leave.
DOLORES
Any leads from the cops?
Renata picks listlessly at her food, head low. Delores sighs.
DOLORES
Two weeks and not even a ransom
note? You know what it means.
4.
RENATA
Don’t think like that.
Renata stares at her plate and drags her fork through the
neglected eggs.
Dolores picks up Eduardo’s dishes and washes them.
DOLORES
Fine. But you’re not still going
through with it, are you?
RENATA
I owe it to Ximena. She’d do the
same for me. Actually, more.
Dolores grouses, bites her lip and exhales. Doesn’t like this
at all.
RENATA
Ximena trusted him.
DOLORES
At least have uncle Bicho check him
out first. He’s been asking about
you. He wants to know how you’re
doing after... everything.
Renata rubs the back of her neck.
RENATA
I owe him a call but right now I
need to focus.
Dolores goes still, displeased. Renata groans.
RENATA
It’s a simple exchange. I wait for
his text. I meet him and hand over
the thumb drive and that’s it.
Dolores turns, wiping her hands on a towel.
DOLORES
Just promise me that after that
it’s over. You’re done with all
this.
Renata looks away and gives a grudging nod.
5.
EXT. TIJUANA SLUMS - DAY
Multi-colored dwellings stacked on top of each other on the
hillside.
EXT. RENATA’S HOUSE - DAY
Renata walks out of a simple one-story house wearing a
backpack. She looks around furtively. It looks safe. She
descends a steep and zig-zagging stairway.
EXT. STAIRWAY - DAY
Renata stares ahead of her intently.
MRS. GARIBAY (O.S.)
Good morning, Renata!
Renata startles and nearly tumbles. On a nearby porch, MRS.
GARIBAY (73), sturdy and kind, sips from a steaming mug.
MRS. GARIBAY
Careful, dear! What’s wrong? You
look like the devil is chasing you.
Would you like a cup of herbal tea?
RENATA
No. No thank you, Mrs. Garibay. I’m
already late for work. Soon, I
promise. Have a good day.
Renata heads down the stairs.
MRS. GARIBAY
Don’t worry so much. It’s never as
bad as you think.
EXT. BOTTOM OF THE HILL - DAY
Renata exits the stairs then hops into her sun-faded Honda
Civic and pulls out.
EXT. TIJUANA SLUMS - DAY
Renata’s car maneuvers down streets that look like a
perpetual crime in progress. Muggers-in-waiting, hookers, and
druggies mingle with street vendors and panhandlers. Despite
their differences, they all have a keen eye for the tourist.
6.
INT. RENATA’S CAR - DAY
Shops and business buildings pass by in the window. Renata
keeps a watchful eye through her mirrors.
She comes to a red light at a roundabout. She glances at
other drivers and pedestrians but no one seems interested in
her. She relaxes, until...
She looks in the rearview mirror and sees a decrepit Ford
Taurus a couple of cars back driven by a tough looking man.
Beneath his skunk-streaked hair, a scar runs from brow to
chin. For a second, their eyes lock.
EXT. ROUNDABOUT - DAY
The light turns green and Renata’s car lurches forward,
merging with the flow. The car nearly completes the circuit
before taking an exit.
Genres:
["Drama","Thriller"]
Ratings
Scene
2 -
Doubts and Tensions
INT. RENATA'S CAR - DAY
Renata checks the rearview. The Taurus makes the turn,
keeping pace.
Her fingers drum the steering wheel. Her foot trembles on the
accelerator. She spies a narrow alleyway.
EXT. STREET - DAY
Renata’s car whips into the alleyway.
INT. RENATA’S CAR - DAY
Renata sees a brick wall looming ahead. Dead end.
She slams on the breaks and her body strains against her
seatbelts then snaps back into the seat. With a panicked
twist, she looks back.
The Taurus rolls past smoothly, the driver staring ahead.
Renata collapses back into her seat.
RENATA
Eres una chica loca. Madre de Dios.
She performs the sign of the cross.
7.
EXT. NORTE LIBRE NEWS BUILDING - DAY
A wholly unremarkable structure nestled among private homes
on a residential street. Barely indistinguishable from the
other houses save for the “Norte Libre News” sign above the
entrance.
Two State Police trucks barricade the entrance. Three Fully-
geared soldiers guard the area.
Across the street, Renata exits her car. A Soldier recognizes
her with a nod as she goes inside.
INT. OFFICE - DAY
As barebones as you can get. Tables partition the room into
quarters and serve as desks. Stacks of papers, folders, and
books engulf the work areas. Outdated computer monitors
connect to laptops. A hallway leads to the editorial offices.
A few coworkers wave at Renata. She reciprocates.
Renata enters the far left corner workstation. CARMEN (36),
at one desk nods at Renata while on the phone and taking
notes. LUIS (26), leans back in his chair and gives Renata an
appraising glance and smile. They fist bump.
LUIS
Hey, important question.
Renata pauses expectantly.
LUIS
Which one do you think I’d look
better in?
He turns his monitor to give Renata a better view of two
photos of the same model wearing a blue then red dress shirt.
RENATA
For the record, that’s not an
important question. Why don’t you
ask your girlfriend?
LUIS
Because I want to surprise her.
RENATA
If you want to surprise her, put a
ring on her finger.
LUIS
Focus!
8.
Renata pulls out her chair and, as she sits...
RENATA
The blue one.
Luis turns to the other woman.
LUIS
See, Carmen! I told you!
Carmen shakes her head and continues with her call.
Renata removes her laptop from her backpack and connects it.
She turns to the one unoccupied desk in the opposite corner.
Unlike Renata’s space, award plaques hang from the wall next
to framed Norte Libre headlines.
A framed graduation photo, the same image as the one on
Renata’s vanity desk sits next to the monitor.
Renata blinks back tears and turns back, takes a deep breath,
and starts typing on the external keyboard.
IRENE (47), Norte Libre’s editor-in-chief, fashionably
dressed but a care-worn face peers in from the hallway.
IRENE
They caught somebody!
Renata, Luis, and the others all rise immediately and beeline
for the hallway.
INT. BREAK ROOM - DAY
A cramped space little more than a renovated closet. The
group gathers around a vintage TV set atop a mini-fridge.
ON THE SCREEN
A NEWS ANCHOR looks gravely at the camera.
NEWS ANCHOR
...Three men have been arrested in
connection to the kidnapping of
Ximena Valdez, a reporter for
Tijuana’s Norte Libre.
The scene cuts to live video of masked soldiers parading
three teenagers, hands cuffed behind their backs, before the
press.
9.
NEWS ANCHOR
Ximena was taken forcibly from her
residence two weeks ago. Police
have announced that three
construction workers, Joaquin
Leyva, Hector Moreno, and Miguel
Abrego were apprehended early this
morning...
All three young men, slumped shoulders, share a mask of
misery.
BACK TO SCENE
Renata, Luis, Irene, and the others stare raptly at the
screen.
LUIS
I guess it’s all over then.
RENATA
These can’t be the guys.
LUIS
Really? Most sicarios start out at
about that age.
RENATA
In the four years you’ve been here,
when was the last time you saw one
crying like he wants his mommy?
Sicarios don’t give a shit about
anything. These kids are scared.
Carmen leans in.
CARMEN
Are the police going to continue
guarding us?
IRENE
Who knows? Maybe they’ll stay until
lunch. Alright, let’s get back to
work.
The employees filter out of the room. Renata lingers with
Carmen, watching the TV.
CARMEN
You have a gun to your head. They
tell you to take the blame or
they’ll kill you and your family.
What can you do then?
10.
Genres:
["Thriller","Drama"]
Ratings
Scene
3 -
Renata's Struggle for Factory Accident Witnesses
INT. IRENE’S OFFICE - DAY
Irene types at her monitor.
Renata knocks at the frame of the open door.
RENATA
You wanted to see me, Irene?
IRENE
Close the door.
Renata closes the door and takes a seat. Irene finishes
typing and turns to Renata.
IRENE
How’s your piece on the factories
coming?
RENATA
Umm, I’m on it.
Irene gives her a look.
RENATA
They’re buying old buses that are
practically falling apart to
transport the workers, just to save
money. Fifty two accidents in less
than two years.
IRENE
How many deaths?
RENATA
Twenty three, with over three
hundred injured. I think these
numbers are being hidden from
authorities. I’m tracking that
down, but, I can’t seem to get
anyone on the record.
IRENE
It’s not like you to struggle with
a witness.
RENATA
I’ll get it done.
IRENE
Listen, this Ximena ordeal has been
hard on everyone, especially you.
11.
IRENE (CONT'D)
I know this piece isn’t what you
want to be doing, but the
moratorium on cartel stories
remains.
RENATA
Until we forget Ximena existed.
Irene leans back in her chair, removes her glasses, and sets
them on her desk.
IRENE
I’m not only responsible for
breaking a story. I have to make
sure you all get home safe.
RENATA
Ximena was home.
IRENE
All the more reason to stay away
from these topics... I understand
if you need some time off.
RENATA
I can’t afford it.
IRENE
It’s a paid vacation, silly. Take a
week, enjoy the sun and grab a
margarita.
RENATA
Thank you, but, I’d rather not.
IRENE
When’s the last time you slept?
Renata looks down, instinctively lures her hand to her neck
for protection.
RENATA
It’s not that, I saw something... I
had a strange dream, but I’m fine.
I should focus on my work. It’s...
what I need right now.
Irene takes Renata’s hand.
IRENE
Okay. But when you’re finished, I
want you to rest at least three
days. I need my best reporter to be
a hundred percent. Deal?
12.
Renata forces a smile. She knows it’s a lie.
INT. OFFICE - DAY
Renata sits at her desk, cradling the landline receiver to
her ear, as she shuffles through papers.
RENATA
It is a lot, Mrs. Morales, but I
wish you’d reconsider. We have to
make sure these terrible things
don’t keep happening.
MRS. MORALES (PHONE)
Look, if the company finds out that
I talked I’ll lose my insurance. I
can’t afford... I can’t...
Renata drops the papers and switches the receiver to her
other ear.
RENATA
I know. It hurts. I lost someone
too.
MRS. MORALES
Oh. Was it recent?
Renata’s gaze trails over to Ximena’s empty desk.
RENATA
Yeah, very. She didn’t deserve it
either.
MRS. MORALES
What happened to her?
RENATA
Bad people taking advantage of the
system as usual.
Silence on the other end of the line. Renata raps lightly on
her desk with her knuckle.
RENATA
Her name is Ximena Valdez.
MRS. MORALES
Oh, I heard about her. I’m so
sorry... I pray to God every day
for things to get better in this
city, but He doesn’t seem to be
listening.
13.
RENATA
Yeah, me too. But, no matter what,
she’d want me to do the right
thing. The good thing.
MRS. MORALES
And are you doing that?
RENATA
I’m trying. Mrs. Morales, please
reconsider. If you don’t tell your
story, who will?
MRS. MORALES
I... must think about this.
RENATA
Of course, you can call--
MRS. MORALES
I need to see my daughter in the
hospital. I have to go.
The line CLICKS. Renata stares thoughtfully at the receiver
then hangs it up. She buries her face in her hands.
Genres:
["Drama"]
Ratings
Scene
4 -
The Investigation and the Gun
INT. XIMENA’S BEDROOM - NIGHT (FLASHBACK)
XIMENA (32) and Renata enter. Ximena has a commanding
presence with big, inquisitive eyes. We catch a glimpse of
the party in the living room. A banner stretches across the
room, “Happy Birthday Ximena!”. Ximena closes the door.
The room looks similar to Renata’s but with more framed
pictures above the bed of her travels.
Renata glances down at Ximena’s white on black Mary Janes.
RENATA
I want some shoes like yours. Where
did you get them?
XIMENA
A birthday present to myself. I
want to show you something.
Ximena goes to her tiny workstation area. She digs inside a
jar full of coins, removes her hand from it clutching
something. She places it in Renata’s hand. It’s a thumb drive
with the colors of the Mexican flag.
14.
XIMENA
My investigation with the American.
I’m thinking of changing my name to
Pulitzer.
RENATA
So humble. You finished it?
XIMENA
Not quite but it’s all there.
RENATA
Why are you giving it to me?
XIMENA
It’s a copy, in case something were
to happen.
Renata’s face twists in a flash of terror.
XIMENA
Don’t worry, this is just a
precaution.
RENATA
Nena, you’re scaring me.
Renata’s eyes well up with tears. Ximena pulls her into an
embrace.
XIMENA
Hey, hey, everything is fine. There
always has to be a plan B, but it
won’t come to that. I promise.
TAP TAP TAP--
INT. OFFICE - DAY (BACK TO PRESENT)
Renata looks up. Luis TAPS on his coffee mug.
RENATA
What?
LUIS
Would you like some?
RENATA
Yes, please.
LUIS
The largest cup of coffee in the
Baja peninsula coming up.
15.
Luis saunters off to the break room passing Carmen who’s
fully absorbed in her computer.
Renata sees an opportunity and turns to her computer.
She opens her backpack, roots around, pulls out the Mexican
flag thumb drive, and inserts it into the laptop.
A file list appears. She mouses over to a folder labeled
“Pulitzer” and clicks it open. A list of documents appears.
She glances over her shoulder then opens the top document and
that reads, “COLLUSION: Cartels and Politicians form a Crime
Syndicate by Ximena Valdez and Seth Barrett.”
She scrolls the document and certain phrases stand out,
“...payoffs between top-level government officials...”,
“...shipments by boat...”, “...rampant corruption in the
state police...”
Her cellphone CHIMES and BUZZES. She startles and pulls it
from her pocket.
It’s a text in English from a US number: “Meet me at the dog
track. Southeast parking lot. 20 minutes.” Renata responds
with a text: “I’ll be there”.
She pulls the thumb drive and tosses it into her backpack
then shoulders it. As she turns to leave, Luis appears with
two coffee mugs.
RENATA
Oh! Just set it on my desk. I’ll be
back soon.
Renata rushes off. Luis looks puzzled.
EXT. STREET - DAY
Renata’s weaves her car around traffic and avoids several
jaywalkers.
INT. RENATA'S CAR - DAY
Renata spies an entrance to a parking lot on the left and
turns into it.
EXT. DOG TRACK PARKING LOT - DAY
A massive lot with hundreds of spaces but with only a few
occupied. Renata’s car parks in the middle section.
16.
INT. RENATA'S CAR - DAY
Renata looks at her dashboard clock: “10:18 AM”. She twists
in her seat, scanning her surroundings. No movement or people
to be seen.
She pulls out her phone and opens up to a head shot photo of
an average guy with intelligent eyes and brown hair. Beneath
the photo is the name “Seth Barrett, LA TIMES Reporter”.
EXT. DOG TRACK PARKING LOT - DAY
Renata exits her car, leans against the hood and waits. A
distant SIREN from the city rises and fades. She looks
sharply to the side.
A middle-aged man moves in her general direction.
Renata keeps an eye on him. It’s not Seth. She tenses up.
The man reaches a car and gives Renata an odd glance. He
jumps inside the car. His radio BLASTS regional Mexican music
and the car takes off.
Renata puts her hand over her chest in a calming gesture.
She notices a white Dodge Charger entering at the far end of
the lot. It cruises to a few rows away then comes to a stop.
SETH BARRETT (38), steps out with both hands inside the
pockets of a dark beige jacket.
Renata recognizes him.
RENATA
Mr. Barrett?
Seth gives a slight nod.
RENATA
I have it with me.
SETH
Bring it over.
Renata reaches into her car and snags her backpack, heads
over. She offers it to Seth.
RENATA
I really hope you can do something
with this.
Seth pulls a out a gun and aims it at her.
17.
SETH
Get in the car.
RENATA
What? I did what you told me to--
SETH
Get in the fucking car. Now.
Renata freezes in shock. Then, she tentatively gets in the
passenger seat. He closes the door, moves around the car.
INT. SETH’S CAR - DAY
Seth jumps in the drivers seat. Renata’s eyes well up with
tears.
RENATA
I don’t understand.
SETH
You will. You always do.
Tires SCREECH. They both turn.
EXT. DOG TRACK PARKING LOT - DAY
A caravan of vehicles pulls into the parking lot: Two large
pickup trucks, a Jeep, and an SUV. Tinted windows. The lead
pickup sports several bullet holes along a door panel.
INT. SETH'S CAR - DAY
Seth’s gaze narrows. He puts the car in gear and peels out.
Genres:
["Thriller","Drama"]
Ratings
Scene
5 -
Chased and Hidden
EXT. DOG TRACK PARKING LOT - DAY
The convoy accelerates and follows them out of the lot.
Gunmen lean out of windows and FIRE.
Int. SETH'S CAR - DAY
Seth speeds confidently down a two-way street packed with
vehicles and pedestrians. He checks his mirrors as he talks.
SETH
Sorry about the gun but you’re a
very stubborn woman, and it’s the
only way you get in the car.
18.
RENATA
What is happening?
SETH
What’s happening is that those men
have been tracking your phone
signal and you didn’t even know it.
Seth deftly swerves missing a kid darting into the street.
RENATA
Dios mio por favor ayudame!
SETH
God isn’t going to help you right
now. I will.
Renata pulls on her seatbelt.
SETH
How were the eggs?
RENATA
The eggs?
SETH
Dolores’s eggs. She made you some
this morning. Did you eat them or
stare at them?
RENATA
How did you... wait, why does that
matter?
SETH
Because there’s an infinite number
of possible outcomes in our day. I
like to narrow that down a bit. The
tiniest of variables can affect our
moods. Our choices. Our lives.
He swerves around a car and gets back in his lane just before
crashing with the oncoming car, who HONKS in protest.
SETH
So, that’s why I want to know about
the eggs.
He looks into the rearview mirror.
19.
INT. SICARIO PICKUP - DAY
A king cab with four men, all but the DRIVER armed to the
teeth.
Through the windshield, Seth’s car expertly avoids near-
collisions without slowing down.
DRIVER
He’s a good driver.
In the shotgun seat, TEJON (43), wears a guayabera shirt,
rose-colored sunglasses, and looks like he was chopped from
granite with a face that fought a long battle with acne and
lost.
He slides out a wickedly sharp antique scorpion-tipped blade
from a sheath and picks a fingernail with it.
TEJON
Better than you? I hired you
because you said you were the best.
If we don’t catch him, that means
you lied to me. You stole from me.
If you lose him...
Tejon tilts the knife toward the driver.
TEJON
This goes in your right eye.
Off of the Driver’s terror-stricken face, Tejon chuckles with
reassurance and re-sheaths the knife.
EXT. STREET - DAY
Seth’s car leads the convoy by half a block as he closes in
on a semi.
He pulls ahead of the semi then slips in front of it.
The sicario convoy surges forward passing the semi.
With perfect timing, Seth’s car fluidly mirrors the convoy,
sliding back along the far side of the semi. As they move in
front of the semi, he moves behind it.
The sicario convoy keeps moving forward, followed by the
semi. Unnoticed, Seth’s car makes a left turn.
20.
INT. SETH'S CAR - DAY
Renata twists around trying to look behind them.
SETH
We lost ‘em, but not for long.
RENATA
Are those the men who--
SETH
Took Ximena? Yes, the man who
ordered it. She pissed off the
wrong people and they will do
anything to stop our investigation
from being released.
RENATA
What can we do?
Seth
First, we gotta lose them for good.
EXT. STREET - DAY
Ahead, a car pulls out of a tire shop garage. Seth’s car
backs into the vacated spot and rolls into the shadows.
INT. SETH'S CAR - DAY
Seth shifts the car into park and relaxes into the seat.
SETH
Then your next question will be,
how did I know about the eggs.
Renata draws back, surprised.
RENATA
Yes! Wait, have you been--
SETH
No, I’m not a spy, and I’m not a
mind reader. Let me see your phone.
A TAP comes from the driver’s window. A man in coveralls
shrugs his shoulders in a “what gives” fashion. Seth returns
a “hold on a minute” finger and looks expectantly at Renata.
She hands her phone tentatively to Seth.
21.
Seth clocks a black sedan passing the shop. He rolls down the
window.
SETH
Here we go.
He shifts the car into gear then tosses the phone out the
window as the car moves forward.
The phone lands in an open barrel of recycled oil with a PLOP
and disappears in the black liquid.
EXT. STREET - DAY
Seth’s car pulls out of the shop and goes in the opposite
direction of the black sedan.
RENATA
¿Estás jodidamente loco? Who the
hell do you think you are?
SETH
Just someone who’s trying to solve
a puzzle, Nata. And call me Seth.
The car comes to a traffic light and stops.
Genres:
["Action","Thriller"]
Ratings
Scene
6 -
Escape from Tejon's Hitmen
INT. SETH'S CAR - DAY
Renata looks at him as if she just spotted Bigfoot copulating
with an alien.
RENATA
I don’t know if I should be more
worried about those hitmen or the
crazy gringo who knows too much and
destroys my phone.
SETH
Both, but for different reasons.
You need to duck.
Renata looks confused.
SETH
I said, duck!
Seth pushes her head down to her lap just as--
A bullet goes through the windshield and hits the passenger
seat where her head had been.
22.
Renata fearfully looks up.
They see Tejon’s pickup approaching the intersection. Tejon
hangs out the window, aiming his gun.
He wrenches the wheel to the right and floors it. GUNSHOTS
pop around the car.
SETH
You should wrap your head around
the concept that when I tell you to
do something, you do it. Your life
depends on it. Got it?
Renata stares back in shock.
SETH
Nod your head if you understand!
She nods.
SETH
Hang on!
Renata sees a busy intersection drawing closer. Seth doesn’t
slow down. In fact, he punches it. Renata screams!
EXT. INTERSECTION - DAY
Vehicles flow in both directions at a moderate pace.
Seth’s car passes seamlessly, impossibly, between the
traffic, emerging unscathed on the other side and continues.
Tejon’s pickup SLAMS on the brakes inches before crashing
into the flow of cars crossing the intersection.
INT. SICARIO PICKUP - DAY
The Driver turns and sees Tejon’s calm, but disappointed
face.
EXT. INTERSECTION - DAY
The hitman in the backseat hops out of the pickup, opens the
driver’s door, hauls the Driver’s body out, a gory hole where
his right eye was, then jumps in the driver’s seat.
Tejon’s pickup peels out in a U-turn and ROARS off. The
driver’s body lies there in a growing pool of blood.
23.
EXT. BRIDGE UNDERPASS - DAY
Dusty and trash-strewn. Graffiti decorates the walls and
columns.
Seth’s car rolls over the curb and parks alongside the
abutment.
Genres:
["Action","Thriller"]
Ratings
Scene
7 -
The Time Loop Revelation
INT. SETH’S CAR - DAY
Seth kills the engine.
SETH
We’ll be safe here for a few
minutes.
He looks over at Renata who looks on the verge of
hyperventilating. He puts a hand on her shoulder.
SETH
Hey, you’re fine. You’re okay. Here
take this. You’ll need it.
Seth hands Renata a cell phone.
Her look says she thinks he’s nuts but she clutches the phone
like a life preserver. It does the trick. Renata regains her
composure.
She turns and looks at the bullet hole in her headrest. Her
finger traces the edges of it, slips inside, then she yanks
it back as if it was hot.
Seth types something on his phone and sends it. Renata’s
phone DINGS.
SETH
Don’t read it yet.
RENATA
What’s going on, really? Knowing
what I had for breakfast is one
thing. Knowing that I’m about to be
shot in the head is... it’s not
normal. It’s not possible.
Seth shifts to face her fully.
SETH
You ever have déjà vu?
RENATA
...Sure, a few times.
24.
SETH
I have it all the time.
Renata unlocks her seatbelt. Pivots to face him. Fascinated.
SETH
Ximena uncovered something much
bigger than we expected. When they
took her... I vowed to finish what
we started, and that’s when it
happened. The first time, I woke up
in this condo I rented. I showered,
sent you a text to meet at the dog
track. You gave me the evidence and
the sicarios showed up--
RENATA
I know this. I was there.
SETH
And then they killed us. Right
there in the parking lot.
Renata gapes at him.
SETH
Suddenly I woke up at the condo,
back to square one. I was hoping it
was only a nightmare, but no such
luck. Then the day played out the
same way. Exactly the same. And
then I woke up again. And again.
Stuck in this unending cycle. I’ve
been reliving it for so long that
my normal life seems like a distant
memory... I’ve tried to change it.
I’ve noticed small variations, but
not much more.
RENATA
Are you playing games with me or
are you delusional? You can’t
expect me to believe this.
SETH
Why not?
RENATA
Because things like that don’t
happen!
Renata looks at him like he is an idiot then opens the
passenger door. As she steps out--
25.
SETH
Look at your phone.
Renata hesitates, then looks at the text he sent her:
“Because things like that don’t happen”.
Renata stares at the text in disbelief. She looks back to a
stoic Seth, gets back in the car. Her face a mix of emotions.
RENATA
Just give me a minute. There must
be another reason for this...
SETH
How about this. In your sophomore
year at the university, you and
Ximena took a statistics class
taught by professor Calderon.
Renata’s eyes lock on Seth’s.
SETH
But you were having a hard time
with it. It would crater your GPA.
Employers look at that kind of
stuff. The day of the final exam,
you sat behind Ximena, and copied
her answers. You got an “A” but you
felt like shit.
Renata brings her hand to her mouth. A tear escapes and runs
down her cheek.
RENATA
I... I never told anyone about
that. Not even her.
SETH
You told me so that I could tell
you -- right now.
After a moment to absorb the information--
RENATA
But why can’t I--
SETH
You can’t remember anything because
for you each day is a fresh start.
No memory of anything. But for me,
I’m stuck in a continuous play
loop. I can shuffle the playlist,
but it’s the same songs. And I know
them all.
26.
RENATA
Stop doing that! You can’t keep
interrupting me. Even if you know
what I’m going to say, you have to
let me finish. Okay?
Seth’s dour expression morphs into a grin of delight.
SETH
Well, what do you know, a small
variation.
RENATA
...What I said right now? Then
perhaps today will be different.
Seth’s lips twitches with a smile.
SETH
Perhaps.
RENATA
Okay, let’s say I believe you. How
do we untie the loop?
SETH
Complete the investigation. Show it
to the world, and find Ximena. It’s
the only plan I can think of.
RENATA
I don’t care about what she was
doing anymore. I just want to find
her.
SETH
Then finishing her mission makes
even more sense. That will lead us
to her.
Seth restarts the engine and pulls out.
EXT. SLUMS - DAY
An impoverished purgatory. A dirt road surrounded by wood and
aluminum shacks and dilapidated houses. Seth’s car rolls up
and parks on the side of the road.
INT. SETH'S CAR - DAY
Renata looks around warily.
27.
RENATA
I hope there’s a good reason for
this because even cops avoid this
area.
Seth nods but leans forward looking intently at the biggest
house on the road. A three-story structure.
SETH
See that house? That’s one of El
Tejon’s stash houses.
RENATA
We’re trying to get away from these
men and you bring us here?
SETH
Some of what we’re looking for is
in there.
Seth pockets the car keys and turns to Renata.
SETH
I’m going in to get it. In a couple
of minutes, you’re going to doubt
everything I told you. You’re gonna
run away. Then someone will
recognize you and you’ll be dead
before you get to the end of the
block. Or, you can wait for me.
Seth exits and sneaks toward the house. As he walks away,
Renata watches him make a series of odd spastic gestures.
Genres:
["Thriller","Mystery"]
Ratings
Scene
8 -
Intense Combat and Unresolved Mystery
EXT. STASH HOUSE - DAY
Seth approaches the gate. He vaults over it, heads up the
stairs to the front door and waits. VOICES comes from inside.
He looks at his watch and pulls out his gun. He closes his
eyes and gestures as he recalls the steps.
Seth readies himself. The door swings open. THUG 1 steps out
and Seth SHOOTS him in the forehead and moves forward. The
body slumps down.
28.
INT. STASH HOUSE FIRST FLOOR - DAY
Seth enters and elbows THUG 2 in the face and whips him
forward using him as a human shield. Several bullets riddle
Thug 2’s back.
Seth shoves Thug 2’s body aside, FIRES at THUG 3 and THUG 4.
They drop.
Seth ducks as THUG 5 charges from behind. Seth uses his
momentum and flips him over then delivers a double tap with
the pistol.
Seth rolls forward and kicks the swinging kitchen door, it
SMASHES back into someone attempting to enter. A CRASH comes
from behind the door.
Seth reaches behind himself and grabs the gun-wielding wrist
of THUG 6, pulls him forward and snaps his elbow. The gun
falls.
Seth uses Thug 6’s arm as a fulcrum to drive him head first
into a glass coffee table covered with bags of cocaine. The
glass shatters and a white cloud erupts.
Seth turns back to the kitchen as THUG 7 and THUG 8 barrel
down the stairs behind him. Seth casually no-look shoots
them.
A tremendously obese man, PERESOZO, bursts through the
kitchen door wielding a chef’s knife. His nose, smashed like
a wad of bubble gum on his face, drips blood.
PEREZOSO
I’m going to cut you like a roasted
pig, cabrón!
Perezoso charges slashing the knife in vicious swipes.
Seth dodges each swipe with preternatural ease and grace.
Ducking, leaning, and side-stepping an inch ahead of the
blade.
Perezoso froths at the mouth in rage.
PEREZOSO
Pinche puto!
Seth smacks Peresozo on the forehead.
SETH
Such language, sheesh.
29.
Peresozo gives three haymaker swings with his knife and
misses each time. He rests his hand on his hip, out of breath
and stares at Seth.
Seth considers Peresozo and points his gun over his shoulder
and shoots THUG 9 as he pokes out from the kitchen door.
SETH
So, are we gonna do this the easy
way or the hard way?
Peresozo sneers at Seth and rushes forward with a howl.
Seth shoots Peresozo in the mouth. Peresozo skids forward on
his face, stopping right at Seth’s feet.
Behind Seth, a Thin Man creeps down the stairs, armed with an
AK-47. He raises the weapon quietly and unleashes its fury!
Seth drops at the same instant, using Peresozo’s body as a
human berm.
INT. SETH'S CAR - DAY
Renata sits in the passenger seat watching the house nearly
clutching her throat in dismay and fear. It sounds like a
WARZONE. The distinct staccato BURSTS of a MACHINE GUN. Then
it goes quiet. A dog BARKS twice.
Renata looks around the vacant neighborhood then at the door
handle.
Her trembling hand reaches for the handle when her phone
RINGS. She startles then takes the call.
RENATA
H-hello?
SETH (CELL PHONE)
Coast is clear. Come inside.
EXT. SLUMS - DAY
Renata steps out of Seth’s car. She looks to the stash house
and then down the empty road with longing.
INT. STASH HOUSE FIRST FLOOR - DAY
Renata enters, stepping over the body of Thug 1, her face a
mask of horrified wonder.
30.
Laid out before her in tableau: the morbid results of a one-
sided battle. Lifeless bodies all over the floor.
She ventures further inside and sees Seth laboriously
dragging Peresozo’s corpse toward the stairs.
Renata takes in the morbid scene for a moment.
RENATA
What are you?
Seth drops Peresozo and SIGHS.
SETH
I’m not a superhero, or special in
any way. I’m just a guy who saw the
answers before taking the exam.
He grabs Peresozo’s hands and strains to pull him.
SETH
Give me a hand here.
INT. STASH HOUSE MASTER BEDROOM - DAY
A cache of assault rifles laid out like lovers on the bed.
Peresozo’s legs protrude from a walk-in closet.
INT. WALK-IN CLOSET - DAY
Renata and Seth, sweaty and catching their breath. Seth
shoves aside hanging coats to reveal a large modern safe.
Seth kneels and examines the combination pad. A red light
shines next to it. He lifts Peresozo’s hand and presses the
man’s thumb against the pad. The light turns green and the
lock CLICKS and the safe door cracks open.
RENATA
We dragged this... ballena... all
this way... just for that?
SETH
You never liked it when I cut off
the thumb.
Off of Renata’s bemused grimace, Seth opens the safe door.
31.
INSIDE THE SAFE
A folder of documents. Stacks of cash. A few ornate pistols,
ranging from vintage to modern firearms.
BACK TO SCENE
Seth hands Renata the folder of documents. Renata thumbs
through them. A list of names and large transactions.
RENATA
Some important names here...
SETH
Yeah a real Who’s Who of assholes.
Getting the second half of the list
is the tough part.
Seth then selects a pistol, a gold-plated 9mm with mother-of-
pearl hand grips and secures it his waistband.
INT. STASH HOUSE FIRST FLOOR - DAY
Before Seth and Renata leave, she detects movement on the
floor. She goes over and kneels by--
Thin Man, on his back, barely hanging on to life with a
bullet hole to the chest and another to his stomach.
RENATA
Where is Ximena?
Thin Man slowly looks at her. A bloody spit bubble forms on
his half-opened mouth.
Seth stops at the front door and turns, sees Renata.
SETH
Hey, we should go.
Renata takes Thin Man’s hand.
RENATA
Ximena Valdez. Where did you take
her? Is she alive? Please tell me.
His gaze fixes and his breathing stops for good.
After a moment of consternation, Renata, still holding Thin
Man’s hand, bows her head and closes her eyes in prayer.
Seth has seen enough. He pulls her up by the arm.
32.
SETH
Let’s go.
They exit the house.
Genres:
["Action","Thriller"]
Ratings
Scene
9 -
Tension and Witnessing Evil
EXT. SETH’S CAR - DAY
Seth and Renata jump in the car. The engine ignites. Seth
does a three-point turn and peels off.
INT. SETH’S CAR - DAY
Seth glares at Renata.
SETH
What the hell was that?
RENATA
A prayer.
SETH
But for him?
RENATA
I was taught to pray for the dying.
Friend or enemy.
SETH
He’s responsible for the deaths of
dozens, if not hundreds, of people
and besides--
RENATA
Everyone needs forgiveness. Even
the worst of us.
SETH
What if he killed Ximena?
Renata turns to him, then looks ahead.
RENATA
Everyone.
SETH
Are you a journalist or are you a
priest?
RENATA
It is possible for a reporter to
have faith. In Mexico, it’s almost
a job requirement.
33.
SETH
If you don’t mind, I’d rather stick
to the facts today and leave the
superstitious stuff out.
RENATA
You do things how you like, and
I’ll do what I know is right.
Seth shakes his head in frustration. No use arguing about it.
RENATA
Another variation, yes?
SETH
Yes. An annoying one.
As they leave the fringes of the city, Renata views a group
of children go inside a neighborhood mini market.
INT. FAUSTO’s TIENDITA - DAY (FLASHBACK)
A corner market offering a little bit of everything. YOUNG
RENATA (10), wearing a grin of abiding innocence, takes two
Fanta’s from the cooler.
YOUNG XIMENA (10), dashes up to Young Renata clutching two
bags of Takis Fuego as if they were the Holy Grail in spicy
corn chip form.
YOUNG XIMENA
Nata! I found them. The last two!
YOUNG RENATA
But Dolores said no snacks, just
drinks.
YOUNG XIMENA
She won’t know. Just don’t get it
all over your face like usual.
Young Renata playfully pushes her.
YOUNG RENATA
I’ll just wipe my fingers on your
face then!
They burst into shrieking giggles and rush to the counter.
FAUSTO (52), paunchy and balding, with a grizzled goatee
enters the aisle. He rings up a customer.
34.
FAUSTO
What are you two doing? What’s so
funny?
YOUNG RENATA
We’re sorry for making so much
noise, Fausto. We were just--
Fausto waves his hand. He leans over the counter, looks them
straight in their eyes.
FAUSTO
I’m kidding, girls. Never apologize
for being happy. I wish more of my
customers had such a good time
these days.
Young Renata absorbs the words then hands over the money and
they take their items.
YOUNG RENATA & YOUNG XIMENA
Thank you, Fausto.
As the girls approach the exit, two rough and imposing men
brush past them, while the THIRD MAN holds the door for the
them, then enters.
Young Renata looks back with concern as the door closes.
EXT. STREET - DAY
A brilliant, hot, cloudless day. Young Renata and Young
Ximena jaywalk diagonally from Fausto’s store. Young Renata
shares from her bag of corn chips.
SHOUTS and CRASHING. The girls whip around.
Two of the men drag Fausto out of the store, followed by the
Third Man. They throw Fausto onto the street. Fausto
struggles up to his knees.
Young Renata lurches forward but Young Ximena grabs her in a
bear hug, pulling her back. They struggle. Their items cast
to the ground, forgotten.
THIRD MAN
Let this be a lesson to you all!
Pay for protection or nothing will
protect you!
The Third Man draws a pistol and SHOOTS Fausto in the back of
the head!
35.
Young Renata and Young Ximena scream!
The Third Man FIRES four more into his corpse. They run off.
Young Renata ceases her struggles and sinks to her knees and
Young Ximena goes with her.
YOUNG RENATA
This place is evil! I hate it!
YOUNG XIMENA
Shh. We’ll make it better. We will.
Young Ximena rocks Young Renata as they cry.
Genres:
["Drama","Thriller"]
Ratings
Scene
10 -
Disappearance and Suspicion
INT. SETH’S CAR - DAY (BACK TO PRESENT)
News radio PLAYS in the background. Renata watches the
cityscape blur by. Her thoughts seem miles away but--
RENATA
You said your life seems like a
distant memory. What did you mean?
Seth looks surprised by the question, then reverts his gaze
to the road ahead.
SETH
I’ve been stranded here so long
it’s getting harder to remember the
good moments, or the people I was
closest to. Family, friends,
colleagues, all swept into a
void... most days I manage to
convince myself they never existed,
so I can keep moving forward.
Seth glances at her. Renata’s face fills with pity.
Seth grunts out a cough to choke back his emotion.
SETH
Yeah, anyway, the apartment I
rented is out of the way so we’ll
grab something here.
Renata looks at him curiously.
RENATA
If there are variations, how can
you predict anything?
Seth looks relieved at the subject change.
36.
SETH
Variations almost always happen at
the beginning. They set the course
for the choices you make through
the day. But every once in a while,
you get a variation in the middle.
Renata turns to face him.
RENATA
Okay, but you’ve seen two of them
today already.
SETH
Yes... and both came from you.
RENATA
So that’s a good thing.
SETH
Or, we’re as good as dead.
Seth reaches behind his seat for something.
RENATA
I really wish I had some--
Seth brings up a sports drink bottle and offers it to her.
SETH
Electrolit, strawberry kiwi. Your
favorite.
Renata takes it in awe.
RENATA
Yes that’s... thank you.
Renata studies Seth as she takes a sip.
SETH
And no Takis Fuego. That’s what you
ask for next.
She lowers the drink with a look of surprise, a question on
her lips.
SETH
I’ve brought them before, but you
always get spicy red fingerprints
on the documents, then it looks
like a third grader’s homework.
37.
RENATA
That sounds like me.
A grin creeps across her face along with a blush. Then the
moment fades as she sinks back into her thoughts.
A special report interrupts the program. Seth cranks it up.
REPORTER (RADIO)
...A shootout that started at the
Caliente Greyhound Racetrack. It
continued through the city and
resulted in one fatality with the
body dumped at the intersection of
Juan Sarabia and Quintana Roo.
Renata looks with interest at the radio and back at Seth.
REPORTER
In a possibly related incident, a
reporter from Norte Libre, Renata
Diaz, is said to be missing. Her
abandoned car was discovered at the
racetrack. An American citizen is
suspected of abducting her.
Authorities say...
Renata reaches over and lowers the volume.
RENATA
They’re blaming you?
SETH
El Tejon is an influential bastard
with plenty of money to go around.
INT. STASH HOUSE FIRST FLOOR - DAY
Tejon surveys the carnage, walking from body to body. Three
of his men and two policemen inspect the bodies. One of his
men, MENDIGO (40), approaches him.
MENDIGO
Could have been the Sinaloa cartel.
TEJON
Have you ever seen the Sinaloa kill
without torturing them and keeping
their severed heads as a souvenir?
Tejon looks behind him at the corpse at the entrance.
38.
TEJON
First, they waited for the door to
open. An ambush. One down. They
came inside...
EL Tejon looks down at the body with his back riddled with
bullet holes.
TEJON
Then grabbed this pathetic thing as
a human shield before shooting back
at these two failures...
He indicates the two bodies nearby.
TEJON
And then... well then it was a
symphony of bullets. Lethal musical
notes flying through the air...
except all the bullets going this
direction...
Tejon gestures from the back of the house towards the front.
TEJON
...completely missed the mark.
While the ones fired at my men hit
every target. Not a single. Bullet.
Wasted. This... this was a
precision hit.
MENDIGO
The military?
TEJON
If the military was making a move
on us, I would have heard about it
before it happened.
Mendigo chuckles lightly.
MENDIGO
Maybe it was the reporter girl and
her American friend? We saw how he
got through the intersection.
TEJON
Officer, check with the neighbors
and see if anyone saw something.
Genres:
["Thriller","Mystery"]
Ratings
Scene
11 -
The Search for Missing Documents
INT. WALK-IN CLOSET - DAY
A pair of hands sift through the contents of the safe.
A short bald man with a goatee, PELONCILLO (30), rises from
the safe and faces Tejon. Mendingo lingers at the doorway.
PELONCILLO
The documents are missing, but all
the money is here.
TEJON
Money was the least valuable thing
in that safe.
PELONCILLO
They also took a gun.
Tejon stiffens.
TEJON
Which gun?
Tejon shoves Peloncillo out of the way and kneels by the safe
and rummages through it.
TEJON
Where’s my gun?
He rises in a fury and faces his men.
TEJON
Takes the documents but leaves the
money... then steals my gun.
Tejon walks to Mendigo, looms over him, and counts off on his
fingers.
TEJON
Mendigo, there’s only two things
that I care about. No, not my
latest wife. Number one is my son.
Adolfo is my legacy. Number two is
that fucking gun that belonged to
my father. It is my history. I
loved it so much I put in a safe,
guarded by eleven hard caliber men.
They are lucky they are dead.
40.
The POLICEMAN enters, pulling in a terrified BOY (12).
POLICEMAN
This kid knows something.
Tejon hunches down and places a hand on the Boy’s shoulder.
TEJON
It’s okay, don’t be scared. You saw
who did this didn’t you?
The Boy forces a nod.
TEJON
How many were there?
BOY
Just one.
Tejon’s hand tightens on the Boy’s shoulder.
TEJON
You know what happens when children
lie? El Cucuy takes them away.
Their family never sees them again.
BOY
I only saw one man.
In a flash, Tejon pulls a Derringer from his jacket and
SHOOTS the Boy in his left hand. The Boy clutches his hand
wailing in agony. Tejon aims the gun down on the Boy’s skull.
TEJON
I am El Cucuy and I’m going to
count to three. If you don’t tell
me the truth, your family will
never see you again. One...
BOY
It’s the truth! It was one man that
went inside, I swear! I heard all
the gunshots! Then this woman also
went inside and they left together.
TEJON
What did they look like? Two...
BOY
It was a white man with short hair.
The woman looked like she was from
around here.
The Boy bursts into fresh sobs.
41.
TEJON
Did he wear a brown jacket?
The Boy nods.
MENDIGO
One against eleven? I guess he was
that lucky and that good.
TEJON
Was he?
Mendigo steps back. Tejon sees the Boy holding his bloody
hand and pockets his gun inside his jacket. He leans down to
eye-level.
TEJON
This is good for you. It will
toughen you up and make you a man.
Tejon brings up his left hand to show the boy his own bullet
wound that scarred long ago.
Tejon reaches inside the safe, pulls out a wad of cash, and
places it in the boy’s uninjured hand.
TEJON
There you go. Take care of that
booboo and there’s a little extra.
With a gesture from Tejon, the Boy flees the room. Tejon
looks back at the opened safe and slams it shut.
TEJON
This annoying crusader and her
American guardian angel are out to
vex me. I did nothing to them. I
simply wanted to kill them because
they interfered with my business.
They made it personal. I will not
rest until he and that woman, are
in the ground.
EXT. ROACH MOTEL - DAY
Rundown and sleazy. The physical embodiment of stale
cigarette smoke and booze. Seth’s car sits outside a room.
Genres:
["Crime","Thriller"]
Ratings
Scene
12 -
Tense Confrontation in a Motel Room
INT. MOTEL ROOM - DAY
A prison cell with cheap makeup. A ceiling fan turns lazily.
42.
Renata sits cross-legged on the bed before a fan of
documents. She studies them assiduously.
Seth sits in a chair by the window, his feet propped on the
sill. He polishes the golden gun with a washcloth.
RENATA
This is a list of payouts from El
Tejon... some city councilors. The
mayor. Two police department
chiefs. Hang on...
Renata shifts the papers and picks up another document.
RENATA SETH
There’s money flowing across There’s money flowing across
the border. the border.
She shakes her head and scans the other papers.
RENATA
But where are those names? That
part is--
SETH
With the US players. There’s not
much we can do without it.
Renata holds up a warning finger.
SETH
Sorry. I’ll try to stop. Our plan
is to make enough noise to draw out
the missing pieces.
RENATA
Noise? Is that what they are
calling murder these days?
SETH
Oh, we’re back on schedule. That’s
the Renata I know.
RENATA
Sarcasm? That’s your best answer?
SETH
What do you want me to do? Give
them a kind word? Say a little
prayer? These people are animals,
and they respond to only one thing.
Believe me, I’ve been through this
enough to know what works.
43.
RENATA
If it was working so well, you
wouldn’t be here.
Seth’s expression turns dour. He rises then sits at the edge
of the bed with his back to her. He snaps on the TV, changes
channels and settles on the news.
Renata looks regretful.
RENATA
I’m sorry. I didn’t mean that.
SETH
Don’t worry about me. We have work
to do.
Renata collects the papers into a stack then reaches for her
cell phone.
SETH
You’re not doing that.
RENATA
I have to let my sister know I’m
still alive. They think you
kidnapped me.
Renata stares at the phone, her finger poised to dial. She
smacks the phone.
RENATA
I can’t remember her phone number!
SETH
Nobody memorizes them these days.
RENATA
I have to do something. If they
know who I am, then they know about
Dolores! And little Eduardo!
Renata heads for the door. Seth steps in her way. She tries
to shove him out of the way and they struggle. He pushes her
and she staggers back.
Renata sees the gun on the night stand. She lunges on the
bed, snatches it and aims it at Seth, slowly rising.
SETH
You are spirited today, aren't you.
44.
RENATA
Get out of my way Seth! I swear
I’ll shoot you.
SETH
No you won’t. We’ve been through
this version before.
With her free hand, Renata awkwardly pulls back the hammer.
RENATA
You sure about that? Maybe this is
another variation.
SETH
Good point... but that only resets
the day for me. But for you it goes
on. You won’t save yourself or your
sister. And even if you do by some
miracle, you’ll live the rest of
your days hiding from narcos, and
knowing that you murdered me.
Renata’s chest heaves with agitated breaths.
SETH
Think for a moment. If they are
watching her, they’ll kill you
both. Then we’ll never find Ximena,
alive or dead. The whole
investigation will go up in smoke.
The muzzle of the gun looks like a giant cave.
SETH
Are you going to let that happen to
Ximena? To be just another
forgotten victim? Is that what she
would do for you?
Renata’s hand trembles, finger on the trigger...
Seth steps forward calmly, leaving himself fully exposed.
Renata holds her aim... wavers, then slowly lowers the gun.
She plops down on the edge of the bed and sobs.
RENATA
I didn’t ask for any of this.
Seth sits next to her.
45.
SETH
Neither did I. But I promise you,
we will make these bastards pay.
Let’s finish what she started.
RENATA
Does anything happen to them? To my
sister and nephew.
SETH
I honestly don’t know. I never make
it through the day.
Seth opens his hand asking for the gun. Renata returns it.
RENATA
But you still think we can get out
of this?
SETH
I have to. I have no other choice.
Genres:
["Crime","Thriller"]
Ratings
Scene
13 -
Dominance and Escape
EXT. RESTAURANT COURTYARD - DAY
Tejon and his men lay claim to several tables. To Tejon’s
right sits ADOLFO (14), his strapping son.
They take bites from juicy tacos. Servers bring out more
platters loaded with food. The few other patrons there have
been relegated to corner tables. The men burst into laughter
and Tejon points at RAMON (29).
TEJON
...Ramon, he has a baby face, but
he had the balls to come to my door
ask me to sign a petition.
PELONCILLO
What was it for?
TEJON
To clean the plastic out of the
oceans if you can believe it. So, I
pull out my gun and aim it as his
forehead and tell him, “Give me one
reason not to shoot you.” And he
says, as calm as if I had asked him
for the time, “If you shoot me,
you’ll be cleaning my brains from
your carpets for a month, but if
you just sign this I’ll be on my
way and only have to clean the shit
off my pants.”
46.
The men laugh. One playfully shoves Ramon.
RAMON
Yeah, it was really funny. So, Adi,
when are you taking over for your
father?
Tejon laughs and the other men laugh with him. Adolfo looks
embarrassed.
TEJON
And turn into a shitbag like you?
Tejon picks up Adolfo’s left hand and shows it off. Tejon’s
mood shifts from jovial to somber.
TEJON
See this hand? This is the hand of
a surgeon or the next Fernando
Valenzuela. This hand is the
future!
Tejon releases Adolfo’s hand who hides it under the table.
A SERVER approaches the table with a tray of Dos Equis beer
and begins placing them around the table.
Tejon picks up a bottle then turns with a cold look and
snatches the server’s wrist with a firm grip.
The table goes silent...
TEJON
You’re new, yes?
SERVER
Y-yes, sir.
TEJON
Okay, I’ll tell you once and only
once. When I say I want a round of
beers, I mean Victoria. Nothing
else. Now, you go pour this swill
down the drain and bring me what I
want.
Tejon kicks him off. The server trips and falls back, loses
his tray. Beer bottles CRASH on the patio’s tiles. The server
picks himself up and he hastily rushes away.
The awkward pause causes Tejon to glance at his men. He
begins to laugh, as do the others now that it’s okay to do
so. Tejon bites into a taco.
47.
Mendigo approaches the table and crouches next to Tejon.
MENDIGO
We’ve lost the track, but we have
men all over the city looking.
We’ll find them.
Tejon sets down his half-eaten taco and wipes his mouth.
TEJON
I am cursed to do all of the
thinking. We don’t have to look for
them. We make them come to us. Does
the girl have family?
MENDIGO
Yeah, a sister with a kid.
TEJON
Ah, the perfect honey pot. Go get
them. The rest will take care of
itself.
Tejon resumes eating his taco and Mendigo moves off.
INT. MOTEL ROOM - DAY
Renata reclines against some pillows on the bed. Seth brings
her a glass of water. She takes the glass.
RENATA
Thank you.
Seth check his watch: “3:40PM”.
SETH
I’m going to take a quick shower.
We leave in twenty.
She nods as she takes a sip.
Seth grabs the gun from the dresser next to the TV, goes into
the bathroom and closes the door.
Renata spies the car keys on the dresser.
The SHOWER starts. Renata gets up, grabs a chair, and props
it under the bathroom door knob.
She grabs the car keys and quietly leaves the room.
48.
EXT. ROACH MOTEL - DAY
Renata rushes to the car, gets inside, and starts the car. It
rolls back and she takes off.
INT. SETH'S CAR - DAY
Renata drives frantically, blasting the HORN at intervals.
The scenery blurs by as she floors it.
INT. PICKUP TRUCK - DAY
Mendigo sits in the passenger seat as the DRIVER negotiates
the traffic. Two more thugs sit in the back.
MENDIGO
Pinche trafico. Is there another
way?
DRIVER
The whole city is a parking lot.
EXT. STREET - DAY
Seth’s car comes to a stop behind a wall of traffic and more
pile up behind it.
INT. SETH’s CAR - DAY
Renata beats on the steering wheel in frustration and lays on
the HORN.
RENATA
Muevanse!
She looks around desperately. She sees an empty lot
surrounded by chain link fencing. She shoves the car in
reverse.
EXT. STREET - DAY
Seth’s car backs up a few inches then forces its way out of
the traffic and bounces over the small median. Oncoming cars
HONK as it crosses the street.
The car accelerates and smashes through the chain link fence.
It crosses the lot, sending up a cloud of dust, before
finding a smaller street to pull out into.
49.
INT. SETH’S CAR - DAY
Renata keeps up her frenetic pace. She HONKS the horn at
intersections, but doesn’t stop, closing her eyes in a brief
prayer each time.
EXT. STREET - DAY
Seth’s car approaches the Tijuana slums.
EXT. STREET - DAY
The traffic starts to move. The Pickup Truck finds an opening
and guns it.
EXT. TOP OF THE HILL - DAY
Seth’s car comes to an abrupt and crooked stop under a tree.
Renata bolts out of the car and heads toward the stairway.
EXT. STAIRWAY - DAY
Renata dashes down the stair with reckless abandon.
Genres:
["Crime","Drama"]
Ratings
Scene
14 -
Escape from Danger
INT. KITCHEN - DAY
Eduardo sits at the table doing homework. A Third Place
Ribbon is pinned to his uniform.
Renata bursts in through the front door.
EDUARDO
Tia!
Eduardo leaps from his seat and hugs Renata.
Dolores sprints into the room, her nursing uniform in
disarray beneath tear-streaked makeup. She pulls them both
into an embrace.
DOLORES
Nata! Are you hurt? We were so
worried!
RENATA
We need to get out of here now.
DOLORES
Why? What’s happening?
50.
EXT. BOTTOM OF THE HILL - DAY
The Pickup truck arrives and double parks. The four men jump
out, pistols in hand, and move to the stairs.
INT. KITCHEN - DAY
Renata tugs at Dolores’s arm.
RENATA
I don’t have time to explain. We
need to go!
Eduardo dashes out of the kitchen.
RENATA
Eduardo! No!
The two women race after him.
EXT. STAIRWAY - DAY
The four men charge up the steps. Neighbors close blinds and
shut doors as the men pass.
INT. EDUARDO’s BEDROOM - DAY
Eduardo looks frantically around his room.
RENATA
Eduardo stop! We have to go now!
Eduardo wraps his hand around an action figure.
Dolores grabs Eduardo and all three head to the hallway.
EXT. RENATA’s HOUSE - DAY
The four sicarios arrive at the front door. Mendigo nods. The
Driver readies to kick the door.
INT. RENATA’s KITCHEN - DAY
The door swings open into an empty room. The four men rush
in. Mendigo stops at the table while the three others file
down the hallway and search.
MENDIGO
Buenas tardes!
51.
The three men return. The Driver shrugs his shoulders and
shakes his head.
Regretfully, Mendigo pulls out his cell and presses a button.
TEJON (CELL PHONE)
So?
MENDIGO
They’re not here.
TEJON
Don’t you fucking come back until
you find them.
CLICK. Mendigo looks at the phone and pockets it.
Mendigo points at the other two thugs.
MENDIGO
You stay here and you go look in
the neighborhood. We’ll go check
the hospital.
Mendigo snaps at the Driver and they exit, BEARDED THUG
follows.
POV THROUGH LEAVES
Mendigo and the Driver hurry down the steps and disappear
from view.
Bearded Thug begins hunting through the neighborhood.
EXT. ADJACENT PROPERTY - DAY
Renata peeks from some shrubbery hugging the side of the
house. She turns back. A terrified Dolores hugs Eduardo.
RENATA
Follow me.
Renata leads them through a dirt pathway between the homes,
making their way to the top of the hill.
Renata catches a glimpse of Bearded Thug who is on a
collision course with them. She pulls Dolores and Eduardo in
a different direction.
They zig-zag between houses until they turn a corner and
stare at a dirt incline. They scale up towards the top.
52.
Bearded Thug rounds the corner behind them and grins, gun
aimed.
BEARDED THUG
Where are you going so fast?
Renata, Dolores and Eduardo freeze and turn. Panic sets in.
DOLORES
Please don’t hurt us.
BEARDED THUG
Shut up and come this way.
Renata, Dolores, and Edwardo remain fossilized in fear.
BEARDED THUG
Are you deaf? I told you--
MRS. GARIBAY (O.S.)
Hey!
Bearded Thug spins and THWACK! The blade of a shovel smacks
him in the face and knocks him out. The gun slides out of his
hand.
Mrs. Garibay holds the shovel and looms over the thug. Renata
rushes to Mrs. Garibay for a hug.
MRS. GARIBAY
These monsters think we’ll never
fight back. They’re wrong.
Mrs. Garibay picks up the gun and offers it to Renata.
RENATA
No, I don’t believe in them.
MRS. GARIBAY
You don’t have to believe for it to
work.
DOLORES
I’ll take it.
Dolores takes the gun. Renata shrugs in resignation then
takes Mrs. Garibay’s hand.
MRS. GARIBAY
Let’s leave before he wakes up.
Renata, Dolores, and Eduardo crest the hill and move for
Seth’s car.
53.
Genres:
["Thriller","Drama"]
Ratings
Scene
15 -
Meeting Uncle Bicho
EXT. TIJUANA OUTSKIRTS - DAY
Desolate. Fields of dirt and dried up trees. A few houses
peek over a distant hill.
Next to unused railroad tracks covered in mud, Renata leans
against Seth’s car with her arms crossed.
Dolores sits in the passenger seat at the tail end of a phone
call. Eduardo plays with his toy in the backseat. She puts
down the phone and looks at Renata.
DOLORES
Okay, Bicho says he can meet with
you. He’s eager to help.
RENATA
I don’t think it’s a good idea.
DOLORES
Bicho has strange interests, but he
is our uncle.
RENATA
I know. It’s not a problem. But
right now I have other priorities.
DOLORES
Yes, like putting your job ahead of
your family.
RENATA
What? That’s not fair.
DOLORES
Let me tell you what’s not fair.
Today I was taking care of a ninety-
year old man and I had to cut off
two of his toes because of
gangrene. Then, I come home to find
out my sister has been kidnapped.
And now there’s a bunch of killers
after us.
Renata stares out at the horizon for a moment.
DOLORES
Nata, mija, Bicho’s place is on
your way back to your friend
anyway. You lose nothing by talking
to him for a minute. But these
things you believe this Seth can
do... there has to be an
explanation.
54.
Renata shifts uncomfortably as seeds of doubt take root.
RENATA
You really think so?
DOLORES
If he is as good at predicting
things as you say, how were you
able to escape from him? It doesn’t
make sense.
RENATA
You’re right... but he said that
variations could happen, small
changes that don’t affect the
overall pattern.
DOLORES
If I were him and trying to scam
you, that’s exactly what I would
say. Just talk to Bicho. And if he
doesn’t convince you, you can go
back on your mission.
RENATA
Okay. I’ll stop by for a minute.
Renata sees a car moving in their direction, kicking up dust.
RENATA
That’s her.
Dolores exits the car and opens the back door, lifts Eduardo
into her arms.
The car parks next to them. Irene, Renata’s boss, is at the
wheel. She gets out and gives Renata a big hug.
IRENE
It’s good to see you alive.
Irene ushers Dolores and Eduardo into the passenger side of
her car and SHUTS the door.
IRENE
Don’t worry. I have a place outside
of town. Nobody will find us.
RENATA
I can’t thank you enough for-
IRENE
Don’t even say it. Are you sure
you’re not coming with us?
55.
RENATA
I have to confirm something first.
I’ll call you as soon as I can.
IRENE
You understand that whatever you
find out today, we can’t publish.
RENATA
You made it very clear.
Renata struggles to hide her displeasure.
IRENE
Look, I said you should go to the
beach, not this.
RENATA
Don’t worry, this is my choice.
Your conscience is clear.
Irene nods and gets in the driver’s seat and closes the door.
IRENE
Just be careful.
Renata leans and looks at Dolores who has Eduardo huddled in
her arms.
RENATA
I will be.
(to Eduardo)
Be good, okay? Always be kind.
Eduardo nods against Dolores’s shoulder. Renata holds her
gaze on them as if it might be the last time... then pulls
away.
Irene puts the car in gear and takes off.
EXT. BAZAAR - DAY
A warehouse-sized building with rows of shop stalls selling
handicrafts, homemade food, and a variety of other items.
Customers flow in and out. Renata joins the entering throng.
INT. BAZAAR - DAY
As Renata passes the shops, vendors attempt to hawk their
wares. She waves them off.
56.
She arrives at a corner shop, larger and more permanent than
the others. Shelves overflow with candles, carved wooden
statues, and religious icons.
BICHO (60), he looks 80 but with the energy of a 20-year old.
His wide grin reveals a couple of missing teeth. Wrinkles
crease the leathery skin of his face. His loose clothing
gives the appearance of a hippie.
Bicho rounds the counter and hugs Renata.
BICHO
You did the right thing coming to
me. Let’s go in the back.
He passes through a beaded curtain. Renata follows him.
Genres:
["Thriller","Drama"]
Ratings
Scene
16 -
Lost Target and Manipulating Thoughts
EXT. PRIVATE PATIO - DAY
Statues of monstrous creatures, skeletons, and demonic dolls
occupy one side of the patio. A black canopy covers the
space. Burning candles encircle an altar to the Santa Muerte.
A hexagonal séance table sits in the center with six chairs.
Renata and Bicho sit in adjoining chairs. Renata looks away
from the grotesquerie.
NOEMI(54), a stocky woman with grizzled hair, brings two cups
of atole for them.
BICHO
Thank you dear. Noemi makes the
best atole.
Noemi exits silently. Bicho takes a sip.
BICHO
Look, do I think this guy is
pulling your leg? Of course. I mean
look around this place. It’s
ludicrous, but it works.
RENATA
But he knew what I had for
breakfast. He knew what I was
thinking.
Bicho chuckles.
BICHO
People are easier to read than
you’d think. Let me show you.
57.
Bicho pulls out a pen and notepad, write quickly and tears
the sheet off. He slides it over face down to Renata.
BICHO
Don’t look until I tell you. Okay.
What day is Christmas?
RENATA
...The Twenty-fifth.
BICHO
What number is between one and
three?
RENATA
Two.
BICHO
What side of the road do they drive
on in Europe.
RENATA
The left side.
BICHO
Name a color and a tool. Quick,
don’t think.
RENATA
Uh, a red hammer.
Bicho smiles and looks at the paper. Renata turns it over and
sees, “Red Hammer” on the note. She looks astounded.
BICHO
Magic, right? No. The questions and
my gestures guided you where I
wanted you to go. Psychics,
preachers, politicians,
prostitutes. Everyone hustles.
Everyone lies. Some are just better
at it.
INT. PICKUP TRUCK - DAY
The Driver and Mendigo stalk the streets. Mendigo’s cell
phone RINGS.
MENDIGO
Yup?
MALE VOICE (CELL PHONE)
We lost them.
58.
MENDIGO
What do you mean we lost them?
MALE VOICE
Someone hit Beto over the head and
they sneaked away.
Mendigo pounds the dash with the phone.
MENDIGO
Fuck! Fuck! Fuck!
Genres:
["Horror","Mystery","Drama"]
Ratings
Scene
17 -
Confrontation and Redemption
INT. PRIVATE PATIO - DAY
Renata clutches at her head while Bicho sits back in his
chair at ease.
BICHO
What can I say? People pay good
money for someone to tell them what
they want to hear. From emperors to
toilet scrubbers, it’s always been
that way.
RENATA
How do you explain knowing when a
bullet would hit my head? Or, that
he killed eleven men by himself?
BICHO
He arranged it. He got lucky. Or
had help. Anything other than
getting cursed to relive the same
day. I think deep down you know.
RENATA
My God, why would he do that to me?
BICHO
I told you. Money and fame. The
reasons people do anything.
Renata tears up. She shakes her head.
Bicho gets up then kneels by Renata’s chair. He takes her
hand in both of his.
BICHO
I know this is upsetting. It’s why
I never pull back the curtain on a
trick. It loses the magic... but
Ximena’s files could be very
valuable. Do you still have them?
59.
Something in his tone makes Renata shifts uncomfortably. Her
instincts firing off.
RENATA
No, I... gave them to Seth.
Bicho’s expression goes flat.
BICHO
Oh, you did? Where is he right now?
Renata’s eyes grow wary with concern.
RENATA
I have no idea.
Bicho’s grip tightens on her hand.
BICHO
Don’t lie to me.
Renata rips her hand free and bolts for the exit. Bicho grabs
Renata by the hair and yanks her back.
Renata stumbles into a shelf, knocking the idols to the
floor. She turns back.
RENATA
Why are you doing this?
BICHO
You were told to stay away from
this mission. This is where it
leads to. El Tejon is like a
brother, and a generous one.
Renata rounds the table but Bicho mirrors and blocks her.
BICHO
Noemi! Let El Tejon know we have
her!
Renata makes a dash for the curtain but he tackles her.
Renata flails and kicks to no avail. Bicho whips off his
belt, wraps it around her throat and chokes her!
Renata gasps for air as her fingers dig at the belt.
BICHO
I’ll tell you what happened to
Ximena. She begged for her life the
entire ride. At the end, she prayed
to God even as I tightened this
very belt around her throat.
60.
Renata’s vision in the shower has come to pass. Her struggles
lessen, her hands beating weakly.
From the shadows, a shape emerges and approaches them. Bicho
looks up, surprised. Seth looms over them, golden gun in
hand, and speaks in perfect Spanish.
SETH
What’s wrong? You look like you’ve
seen a ghost, Bicho.
Seth kicks Bicho in the face, sending him sprawling backward.
Renata rips the belt from her throat and gasps for breath.
SETH
You alright?
Renata nods as she rubs her neck, coughing.
Bicho, nose dripping blood, looks up and sees the golden gun.
BICHO
Oh fuck...
SETH
Oh, you recognize it. Does it
bother you? Seems unfair? Here.
Seth pockets the gun in the back of his pants.
SETH
Now it’s a fair fight.
Bicho charges at Seth. Seth casually steps aside and trips
Bicho who face plants. Bicho turns over and spits out blood.
Seth hauls Bicho to his feet and slams him against the wall.
Seth digs a cell phone from Bicho’s pocket.
Bicho holds his side and winces.
BICHO
Shit, you broke--
SETH
Your ribs, I know. Fifth and sixth
to be precise. Now call your two
friends before I break the seventh
and eighth.
BICHO
Which friends?
61.
SETH
The one’s that helped you kidnap
Ximena. Tell them El Tejon wants
them at the warehouse tonight for
the delivery.
BICHO
You don’t know who you’re fucking
with.
Seth pulls out the gun and jams it into Bicho’s broken ribs.
Bicho’s face twists in agony.
SETH
I’m sure you’ve heard about the
eleven idiots I killed this
morning. Want to make it twelve?
Bicho fumbles with the cell phone and makes the call. The
phone RINGS on the speaker.
MANUEL (CELL PHONE)
What’s up?
BICHO
Hey, Manuel. El Tejon wants all of
us at the warehouse tonight.
MANUEL
For what?
BICHO
I don’t know, that’s what he said.
MANUEL
Okay. We’ll be there.
Call ends. Seth takes the phone and smashes it on the floor.
He takes a step back and aims the gun at Bicho’s face.
SETH
Well done. Say hi to the Santa
Muerte for me.
Seth thumbs back the hammer. CLICK.
RENATA
(raspy)
What are you doing? Don’t do that.
Seth turns to her.
62.
SETH
You want me to let him live? After
what he did to Ximena? What he was
about to do to you?
Renata debates with herself.
RENATA
Yes, just let him go.
After a moment, Seth gently lowers the hammer.
SETH
Alright, I won’t kill him.
Suddenly, Seth deftly sidesteps a machete swing from behind!
The blade, wielded by Noemi, buries itself in Bicho’s neck.
Renata screams.
A horrified Noemi whips her head toward Seth and he shoots
her in the forehead.
Bicho, the machete sprouting from his neck like a vestigial
limb, blood pouring from the wound, slowly slides down the
wall.
Renata pushes past Seth, shooting him an accusing glare then
kneels by Bicho.
Renata places her hand on his chest. As she talks, Bicho’s
left hand creeps up.
RENATA
Our Father, who art in heaven,
hallowed be Thy name. Thy kingdom
come. Thy will be done--
Bicho lays his hand atop Renata’s and, with the last of his
strength, throws it off. He dies...
Renata stares down at her bloody hands.
SETH
Not everyone deserves your mercy.
Some don’t even want it.
Genres:
["Thriller","Drama"]
Ratings
Scene
18 -
Escape in the Bazaar
EXT. BAZAAR - DAY
A convoy of pick-up trucks and cars arrive at the parking lot
and double park. Tejon and his men exit out of the vehicles
and move towards the entrance.
63.
Ext. PRIVATE PATIO - DAY
Seth RIPS a piece of cloth from the table and wipes her hands
with it.
RENATA
You used me. You knew I would come
here... did we make enough noise
for you?
SETH
Not yet. Let’s keep shaking the
tree to see what else falls.
RENATA
But why like this? You could have
warned me.
SETH
Oh I have, but you never believe me
when I tell you your uncle is this
evil. Seeing it for yourself is the
only way.
RENATA
Your Spanish is good, by the way.
Why don’t you speak to me in-
SETH
Because my freedom has been taken
from me, but I don’t plan on losing
who I am.
Seth tosses the cloth aside.
SETH
We should go. It’s not over.
INT. BAZAAR - DAY
The long aisle bustles with activity. At the opposite end
from Bicho’s shop, Tejon, Peloncillo, Mendigo lead a phalanx
of thugs. The vendors and buyers slow their pace.
From the other end, Seth and Renata observe Tejon and his men
approaching. Seth turns to Renata.
SETH
You’re a woman of faith. I need you
to believe in me right now. Can you
do that?
Seth holds out his hand.
64.
Renata looks at him, searching his eyes for sincerity. She
places her hand on his.
Seth leads Renata into an adjacent aisle. They keep a
moderate pace, blending with the crowd.
Suddenly, Seth pulls her into a stall full of trinkets just
as Thug 1 enters the aisle from an intersection. Seth eyes
the thug as he makes his way in their direction.
TEJON AND HIS MEN
March with purpose. They reach Bicho’s shop and Tejon,
Peloncillo, and Mendigo go inside. The others standby.
SETH AND RENATA
Wait for the right moment. Renata’s concern is evident and
Seth draws her in closer.
THUG 1
Is on the hunt. His eyes drift side to side. He comes to a
stop, turns back, and scans the crowd.
SETH AND RENATA
Seth leans in to Renata.
SETH
Let’s go.
They approach Thug 1 while he looks the other way. As Thug 1
does a one-eighty, with perfect timing, Seth and Renata pass
behind him and remain unseen.
At the intersection, they turn down the crossing aisle.
Seth makes them pick up the pace. Ahead, a female shopper
examines the price of an item. She accidentally bumps a vase
off of a column stand. Before it hits the ground--
Without stopping, Seth catches it before it shatters and sets
it back on its stand. The lady gapes at Seth as they pass.
Seth and Renata turn down an aisle and see, beyond a crowd of
people, Ramon looking in their direction. Ramon tries to peer
past the people trying to confirm he sees his target.
65.
SETH
Damn it, that guy wasn’t supposed
to be in this aisle. I hate
variations.
Renata looks around. Her instincts kick in.
RENATA
This way.
Renata ushers him down the aisle toward the public restroom.
She tries the “Mujeres” door, but it is locked. They go
inside the “Hombres” door.
RAMON
Detects a couple of shapes going in the public restroom. He
negotiates his way toward it... he nudges the “Hombres” door
open cautiously and looks inside.
INT. PUBLIC RESTROOM - DAY
Four stalls, the closest two with functioning doors, line one
side and two crud covered sinks take up the other with a soap
dispenser mounted between them. A rusty paper towel dispenser
sits above a grimy garbage can.
Crude drawings and curses compete for space with more ornate
graffiti on the walls. Mold blackens the grout on the tiles.
Ramon steps inside and spies the two closed doors. He draws a
gun and crouches at the nearest stall to look underneath.
Empty.
Standing, he nudges the door but it won’t budge. He kicks the
door and breaks the lock. The door crashes open. Renata gives
a strangle cry and slips off the toilet.
RAMON
You don’t look like a man to me.
Where is your boyfriend?
Suddenly, the other stall door swings open and smashes into
Ramon. He drops his gun.
Seth punches Ramon, catching him on the jaw. However, he can
take a punch and drives an elbow into Seth’s sternum.
Ramon bullrushes Seth driving him into the wall forcing out
the last of his breath as Seth’s head cracks against the
tile.
66.
Ramon presses his forearm against Seth’s neck and delivers
rabbit punches to his gut.
RENATA
Steps out of the stall horrified at Seth being pummeled. She
shakes with indecision.
Her eyes dart around the room and fall on the liquid soap
dispenser.
She pulls on the dispenser but only rips off the plastic bulb
holding the soap and the viscous fluid pours over her hands
and on the floor.
She looks at her hands, dripping with goo, then lunges at
Ramon! She rakes her soap-covered hands over his eyes from
behind.
Ramon lets out a squeal, releasing Seth, as his own hands
cover his eyes.
As he whirls about in pain, he steps in the soap on the floor
and slips, cracking his head on the porcelain sink, knocking
himself out.
Renata rushes to Seth, who coughs and takes in big gulps of
air. He takes in the scene.
SETH
Good job. Why didn’t you use the
gun?
He gestures at the pistol on the floor near her stall.
Renata, wiping her hands off on her pants, shakes her head.
RENATA
I didn’t even see it. Does this
happen every time?
Seth picks himself up.
SETH
Honestly, never. I was totally
wingin’ it. Let’s get out of here.
Renata smiles, looks back at Ramon on the floor, and stands a
little straighter.
Seth peeks out of the door but doesn’t leave.
RENATA
Why aren’t we going?
67.
SETH
A variation can be like taking a
quick detour off the road. But all
we have to do is find the on-ramp
and wait for the right time to
merge back onto the freeway. In
three... two... one... now!
Genres:
["Action","Thriller"]
Ratings
Scene
19 -
Escape from the Pursuers
INT. BAZAAR - DAY
Seth and Renata hustle out onto the bazaar floor, mixing in
with the crowd. They cut down a main aisle and beeline for
the exit.
TEJON
Rushes out of Bicho’s shop, with Peloncillo and Mendigo, fury
etched on his face. He looks around wildly.
TEJON
They were just here. Find them.
Peloncillo, Mendigo, and the others spread out into the
bazaar.
A policeman patrolling the aisles, recognizing Tejon, pulls
out his radio and calls for backup.
SETH AND RENATA
With the exit in sight, Peloncillo appears, blocking their
path.
Without missing a step, Seth draws Renata out of view next to
a vendor who pushes a wheeled rack of clothes. They inch
forward with the rack blocking them from sight.
A loud whistle draws Peloncillo away from the aisle. Seth and
Renata split from the clothes rack and move forward.
TEJON
Makes his way through the crowd with murder in his eyes.
Across the sea of humanity, he spots Seth and Renata about to
leave the premise.
On instinct, he draws his gun and pushes his way toward them.
TEJON
Move! Get out of my way!
68.
The crowd doesn’t part. He shakes his head and sighs with
resignation then FIRES indiscriminately in Seth and Renata’s
direction.
INSTANT PANIC! Two shoppers go down mortally wounded,
triggering a stampede in all directions.
EXT. BAZAAR - DAY
A wave of terrified shoppers pour out. Gunshots POP in the
background. Seth and Renata exit and rush through the parking
lot.
As they pass Tejon’s pickup truck, Seth FIRES the golden gun
and BLOWS out the front tires.
Seth and Renata race through the packed parking lot. They
reach Seth’s car.
SETH
Keys.
Renata tosses them to him as she heads to the passenger side.
Seth snags them on the fly and gets in the driver’s seat. The
engine ROARS to life and they pull out.
TEJON and HIS MEN
Arrive at his pickup and see the flat tires.
TEJON
Ay, this gringo. This is
unacceptable.
Tejon’s jaw clenches so tightly his teeth might shatter, as
he scans for Seth and Renata.
Dozens of SIRENS announce the approaching police.
A pickup truck stops next to Tejon. The back door opens and
Peloncillo beckons him.
PELONCILLO
Boss, come on let’s go!
Tejon ignores the pleas and keeps looking for them.
PELONCILLO
The cops are almost here! Come on!
69.
Disgusted, Tejon jumps in the backseat. They take off just as
several police cars turn into the lot.
EXT. BEACH - DAY
Seth’s car sits on a dirt road overlooking a tranquil shore.
A few beachgoers amble along. Seagulls glide lazily. The sun
nears the horizon.
Genres:
["Action","Thriller"]
Ratings
Scene
20 -
Danger on the Horizon
INT. SETH'S CAR - DAY
Seth and Renata take in the view in silence... a seagull
hovers in place against the breeze.
RENATA
When I see such a sight in front of
me, I can’t help but think of the
beauty of God’s creation.
SETH
And the Devil is behind us.
Renata gives him the side-eye.
SETH
If your God really existed, why
would he allow any of this to
happen? It doesn’t feel like love,
it feels sadistic.
RENATA
I don’t have a good answer, but I
know He suffered as well.
Seth sighs with disappointment.
RENATA
Then how do you explain any of
this? Your... curse.
SETH
Maybe this is some experiment we’re
going to wake up from. I have no
proof for who is behind it. I only
know that every twenty-three hours
the day resets... for me.
RENATA
Here’s what I know, I prayed that
God would bring me a miracle to
find Ximena... and now you’re here.
70.
RENATA (CONT'D)
A man whose abilities are no less
than a miracle. This must mean
something.
SETH
Wow, I’ve never been called a
miracle before. If anyone else said
that, I’d laugh in their face.
Renata bites her lip to stifle a grin.
RENATA
Have we ever tried doing anything
different?
SETH
Mostly the same, trying to figure a
way out of this mess, but there
were a few times where we just said
fuck it, let’s try something new,
something that has nothing to do
with any of this. We thought, what
if that’s the answer? No more
playing by the rules, nothing to
lose. We tried everything. Driving
away, hiding, nothing worked. We
also went to different restaurants,
museums... the most fun was when we
went to the racetrack. I memorized
the results, and then we put it all
on the right dogs.
Seth smiles ruefully at the memory.
SETH
That was a good moment, we just
kept winning. We walked out with a
small fortune, laughing like two
fools. You were so happy that
day... we talked about trips we
would take together, places we’d
see, things we could buy... but
next morning never happened. You
were gone and I was left with only
this dead memory.
Visibly moved, Renata turns to him and takes his hand in both
of hers. He shifts to face her.
RENATA
I can’t imagine what this has felt
like, but don’t lose your hope...
71.
SETH
That’s what you give to me. Every
day.
They stare into each other’s eyes. Overcome, Renata leans
forward to kiss him. Seth pulls back sharply.
RENATA
What’s wrong... I thought... don’t
you want to?
SETH
More than you know.
RENATA
Then why?
SETH
I just couldn’t. What it would mean
to be with you like that then lose
you? I would go insane.
Seth turns back to the face the ocean. Renata keeps her gaze
on him for a moment then sits back on the seat.
They both watch the sun as it begins to dip below the
horizon.
Seth’s cell phone BEEPS. He digs it out of his pocket. The
time reads: “7:45PM”
SETH
Oh, right. Cue the sociopath.
He opens a video that has been uploaded online. Renata leans
in to watch with him.
VIDEO IMAGE
Tejon stands in the middle of a nondescript room.
TEJON
Brothers and sisters, you know who
I am. There are those who say I am
nothing but a criminal that kills
indiscriminately. But did I not
give money for the shelters after
the mudslide? Did I not help
rebuild the Church of San
Sebastian? Who built the soccer
stadium that we all enjoy? Ask
yourself, what have those lying
fear-mongers ever done for you?
72.
INT. STORAGE UNIT - DAY
Tejon stands in front of a luxury car and piles of money.
Mendigo and Peloncillo stand behind the man with the camera.
TEJON
So, I come now to you with an
opportunity to return the favor.
See these two muckrakers?
Tejon approaches the two headshots on the wall of Seth and
Renata.
TEJON
People like these two are what’s
really polluting our nation. Liars
who make up stories and put them in
newspapers as if they were the
truth. Well, today that ends.
Whoever kills these parasites gets
all of this behind me.
The view shifts back to the treasure.
TEJON
I don’t care who you are or what
disagreements we may have had. You
do this and you’ll be in my good
graces.
Tejon gets closer to the screen.
TEJON
You thought you could walk away
from this, Mr. Seth Barrett? Ms.
Renata Diaz? That you can kill my
men, steal my gun, shoot my tires,
without consequences?
INT. SETH’S CAR - DAY
Seth and Renata stare raptly at the screen.
TEJON (VIDEO)
Luck runs out. It always does. You
will never ever escape El Tejon.
The image goes static. Renata looks horrified.
RENATA
The whole city will be after us.
Seth turns the engine back on.
73.
SETH
So what else is new?
He puts the car in gear and drives off.
EXT. TIJUANA - DUSK
A giant Mexican flag billows with the breeze over the city.
At the border crossing, hundreds of cars slowly inch forward
as they wait for their turn.
At a red light, a fire-breathing panhandler works for change.
Stray dogs chase after scraps of food in the gathering
darkness.
EXT. ZONA NORTE NEIGHBORHOOD - NIGHT
Like the moonlight cactus, this area blooms at night. Thinly-
veiled brothels bustle with activity, mostly from gringos. In
the alleys, hookers ply their trade to those with less
discerning tastes.
Vendors brazenly lay out bootlegged and stolen wares on
bedsheets in front of legitimate businesses. A stream of
headlights and taillights flows by.
Seth’s car parks at the curb and kills the lights.
Genres:
["Drama","Thriller"]
Ratings
Scene
21 -
Tense Nighttime Planning
INT. SETH’S CAR - NIGHT
Seth turns the engine off. Renata looks around with distaste.
RENATA
Why are we stopping... here?
SETH
See those men?
Ahead, a group of SIX MEN stand at the corner. Well-dressed
but they look like trouble.
SETH
They recognize us from the bounty
video and all hell breaks lose. We
make it, but two civilians get
caught in the crossfire. We’ll wait
until they leave.
74.
RENATA
...So we wait and there’s no
problem, yes?
SETH
Usually.
Renata glares at him. She turns and sees that the men are
moving in their way. Before she can speak, Seth drags her
down to hide, and brings a “hushing” finger to his lips.
The men playfully taunt each other and laugh. They stop right
next to the car. Their conversation is loud and boisterous.
Renata chances a peek and sees that one of them, UGLY MAN,
turns and stares right at her. He approaches the passenger
side and leans to look. A malevolent grin forms on his face.
Renata covers her mouth when she sees a Glock tucked in his
jeans. Her eyes wide in panic as he glares at her...
Ugly Man then pics at his teeth and brushes his hair back.
He’s using the window’s reflection as a mirror. The other men
tease him with mock grooming gestures and drag him away.
Renata huffs out a long-held breath with relief.
Seth and Renata carefully rise. She holds her chest to calm
herself.
RENATA
Please God let this day be over.
SETH
Amen to that.
Seth restarts the engine and merges with traffic.
EXT. WAREHOUSE DISTRICT - NIGHT
A warehouse with receiving bay doors open. Workers transport
and stack crates by the entrance.
Ramon, his head bandaged, and another man patrol the grounds
outside. Ramon gets a call from Tejon on his walkie-talkie.
TEJON (WALKIE-TALKIE)
Sitrep?
RAMON
All clear.
75.
BINOCULARS POV
The image scans the grounds and armed guards, then settles on
Tejon’s convoy of pickup trucks and Jeeps as they arrive at
the warehouse.
INT. SETH'S CAR - NIGHT
Trees shroud the car in shadows. Seth looks through the
binos.
SETH
Tejon is here.
RENATA
Are we going now?
Seth lowers the binoculars and looks at his watch: “9:15PM”.
SETH
Not yet. We have to wait for the
rest of the players.
He pulls out the golden gun and offers it to Renata. She
reluctantly takes it.
SETH
You’ve got ten shots in there.
RENATA
You don’t want it?
SETH
I don’t need it.
Renata contemplates on the gun with regret.
RENATA
I’ve never believed in them...
SETH
Tonight you will. There’s nothing
to it. Just aim and pull the
trigger. Now, let’s go over the
steps again.
She closes her eyes to recall.
RENATA
Okay, once I get inside, I count to
eight. Shots will be fired. I sneak
inside, wait behind the shelf near
the breaker box.
76.
RENATA (CONT'D)
A guy yells “keep loading”. Turn
off the breakers and wait until a
box in front of me is picked up. I
follow him. Then... yes, when he
turns to set the box down, I hide
behind the stack of crates and wait
until the American man with a white
cap closes the trailer door, and
then?
Seth takes a deep breath and runs his hand through his hair.
SETH
And you sneak up behind him. He’s
going to turn around and call you a
bitch. When he does that, you shoot
him. Not in the leg. Not in the
arm. In the forehead.
RENATA
What? You can’t expect me to kill
him.
SETH
You need to kill him so you can
take the keys attached to his belt,
then run to the cab. Are you
listening?
Renata jolts away from her panic back to the conversation.
SETH
Then open the glove compartment
with the keys. Grab the envelope.
It has all the names from the
syndicate we’re missing. Then run
back to the car, no matter what
happens to me. If you don’t see me
in thirty seconds, drive away.
Renata looks aghast.
RENATA
There has to be another way.
SETH
There is, but you have to memorize
one hundred and twenty-three steps.
This is the only way.
RENATA
I can’t do it! I-- you’re asking me
to kill a man.
77.
SETH
C’mon, Renata! You’ve already done
it six times before! We don’t have
time to debate.
A flash of lights alerts them to the arrival of the semi-
truck. The semi-truck backs up into the receiving bay.
SETH
If you don’t do it, he’ll put his
knee on your neck and choke you to
death. So either you kill him now
or we start over again.
Renata swallows and clutches the gun tightly.
RENATA
Okay... let’s go.
Seth and Renata exit the car.
Genres:
["Action","Thriller"]
Ratings
Scene
22 -
Escape in the Warehouse
INT. WAREHOUSE - NIGHT
A wide and spacious floor level, boxes and crates form
ziggurats on wooden pallets. Tall shelves reach to the
ceiling. Men feverishly grab boxes and stack them on a pallet
for the fork-lift.
On the left, a stairway leads to a mezzanine platform with
more boxes connected to second floor offices via catwalks.
Near the receiving bay, Tejon, Mendigo, Peloncillo, and
several others wait as the semi backs into place.
Two men, the DRIVER and DONAL (50), a tall, balding man
wearing a white baseball cap jump out of the cab. Donal wears
jeans and a loose jacket.
The Driver unlocks the trailer door and slides it up.
Three Americans jump out and start receiving boxes handed by
El Tejon’s men.
Donal ambles up to Tejon and hands him a large maroon
envelope.
DONAL
For your entertainment.
El Tejon glances at it then hands it to Peloncillo who
stashes it in his jacket.
78.
TEJON
You’re late, amigo.
DONAL
Yeah, well shit happens.
TEJON
Yes. Today has been, as they say, a
shitshow.
DONAL
We heard about the troubles you
were having with that reporter
girl. Houses raided. Men dying.
TEJON
It’s the life we have chosen.
Nothing I cannot handle.
DONAL
It’s making some of the people on
my end a little nervous. They don’t
like the attention.
TEJON
I would hate for them to have to
pull their noses from their
snifters of brandy with even a
moment’s doubt. Perhaps this will
calm them?
Tejon gestures to a pallet loaded with boxes. Donal pulls out
a switch blade, walks over to the pallet and opens a box.
Donal pulls out a tightly wrapped brick of cocaine.
Donal slices the package open, then digs his pinky finger
into the substance and sniffs. He tilts his head back and
savors it and looks back at Tejon with a grin.
DONAL
Not bad. New provider?
TEJON
New management.
DONAL
Trustworthy?
TEJON
Ironclad. My own blood.
Donal gives his men the thumbs up, heads back to the semi and
supervises the loading.
79.
Two men approach the group, MANUEL and SERGIO, both stone-
cold sicarios.
When Tejon sees them, he throws his hands in the air.
TEJON
Why are you here?
MANUEL
You told us to be here.
TEJON
Is that so?
Tejon turns to Mendigo.
MENDIGO
I didn’t say anything.
Tejon rounds on the sicarios, a gun suddenly in his hand.
MANUEL
We got a call from Bicho! He said
you wanted us here.
TEJON
Bicho told you?
Tejon snatches a walkie-talkie from Peloncillo’s belt and
keys it.
TEJON
Ramon, sitrep...? Ramon!
Marcelo...?
Only STATIC comes from the walkie-talkie.
With a silent look, Mendigo, Peloncillo, Manuel, and Sergio
spread out and draw their weapons.
Mendigo inches to one side of the warehouse between boxes.
Suddenly, a body SLAMS on the floor at his feet!
Everyone looks up and catch a glimpse of Seth running from a
catwalk to the platform. The men FIRE and barely miss.
TEJON
Go get the bastard!
The men go up the stairway as Tejon goes to the body and
kneels next to it and shakes it.
TEJON
Ramon!
80.
Dead. Tejon clenches a hand now smeared with blood. He heads
for the stairs.
Through a side door, Renata slips inside. She spots the
breaker box and hides behind the shelf in shadows.
MEZZANINE PLATFORM
Poorly lit. Half-filled with machinery and stacks of boxes.
The men reach the top, fan out and search.
A thug rounds a stack of boxes to find an empty corner. As he
turns, he stares down the barrel of a gun. A MUZZLE FLARE and
his head snaps back. He falls lifeless.
The rest of the mob moves in that direction.
SETH
Turns just as two thugs appear in front of him. Two shots in
quick succession. Two more limp bodies fall.
RENATA
From her hiding spot, views the muzzle flashes strobing
against the walls in time with GUNSHOTS.
DONAL (O.S.)
Keep loading!
She looks in that direction. Donal’s men hurriedly pick up
boxes and toss them in the semi trailer.
She moves to the breaker box and flips the switches. Lights
go out throughout the warehouse.
RECEIVING BAY
With light filtering in from the open bay door, Donal’s men
rush to get as many boxes into the trailer as possible. The
Driver sees the one-sided fight happening upstairs. He drops
his box and moves toward the cab.
DONAL
Where the fuck are you going? Grab
that box!
DRIVER
Fuck that. I didn’t sign up to get
massacred.
81.
DONAL
So, you’re leaving?
DRIVER
Yup. I’m outta here.
Donal draws his gun and SHOOTS the Driver in the face.
DONAL
Now I’ve got to drive this fucking
thing.
Donal notices his men have frozen.
DONAL
What are you staring at? Keep
loading!
RENATA
Sees one of the men pick up a box in front of her. When he
turns, Renata follows, staying close behind.
The man lays the box down and Renata immediately hides behind
a stack of crates and waits.
She tentatively pulls out the gun and pleadingly looks up
toward the heavens.
RENATA
Please God help me. Guide my hand,
so that I can do your will.
MEZZANINE PLATFORM
The gunshots subside. Flashlight beams crisscross as several
men, including Tejon and Peloncillo, converge in an open
area.
TEJON
Please tell me someone shot him.
The men shake their heads and shrug their shoulders.
Genres:
["Crime","Thriller"]
Ratings
Scene
23 -
Warehouse Showdown
TEJON
All those fireworks and nothing?
Peloncillo?
PELONCILLO
I didn’t see him.
82.
TEJON
I could have hired a clown alley
instead of you people. Mr. Barrett!
You’ve had your fun! We know you’re
here! This only ends one way.
Flashlights scour the boxes. Hands grip on boxcutters and two-
by-fours and fingers tighten on triggers.
TEJON
I know what it’s like to want
revenge. To have that feeling
gnawing away inside you, then have
the sweet release of your enemy’s
brains spilling all over your
shoes.
Fear and anticipation flash across the men’s faces.
A CLATTER by a stack of boxes causes everyone with guns to
FIRE relentlessly until they run out of ammo. As they
reload...
Thug 1 holds a two-by-four in a batting stance.
SETH (O.S.)
Boo.
Thug 1 spins and swings.
Seth ducks the swing and the two-by-four SMASHES Thug 2’s
head.
Mayhem ensues! Those that have reloaded frantically FIRE.
Seth ducks, spins, rolls, kicks, no-look SHOOTS, and
dispatches the thugs one by one.
Peloncillo FIRES his last shot and the gun locks in the slide
position. He throws the gun away and backs away from the
fight. As he nears the railing...
Seth twists Thug 3’s arm -- directs the aim -- FIRES at
Peloncillo.
The chest shot sends Peloncillo flying over the railing.
RECEIVING BAY
Donal’s men carry the last few boxes in the trailer.
DONAL
Let’s go.
83.
Donal reaches up for the trailer door.
From her hiding spot, Renata sees Donal pull down the trailer
door and lock it. She resigns herself and sneaks up on him.
Donal turns for a last look and they lock eyes. The golden
gun trembles in her hands. She can’t bring herself to do it.
DONAL
You bitch!
Her hesitation allows Donal to BACKHAND her. Renata falls to
the floor. She fumbles the golden gun and it cartwheels on
the concrete floor.
As Donal approaches she tries to crab crawl away.
DONAL
Where are you going?
Donal yanks her by the ankles, slamming her onto her back.
Before she can recover, he gets on top of her and places his
knee on her throat. Renata gasps noiselessly for air.
She spies the gun. It’s a few feet away.
Her eyelids flutter sleepily.
DONAL
Yeah, that’s it.
In a desperate move, Renata drives a knee into Donal’s
kidney. He hisses and stiffens, lifting his knee off her just
enough. Then, with both feet on the ground, she arches her
back and catapults him over her head.
Renata sucks in air. She lunges for the golden gun and grabs
it, holds her aim on Donal.
Donal looks back with hate.
DONAL
You stupid slut!
Donal digs in his jacket, drawing out a gun.
Renata FIRES! A look of abject shock on her face.
MEZZANINE PLATFORM
As Seth dispatches the last thug, he hears the GUNSHOT and
looks down. He sees Donal’s lifeless body by Renata. A
surprised grin crosses Seth’s face.
84.
The distraction disrupts the fight’s pattern. Tejon slashes
Seth’s arm with his scorpion-tipped knife!
Seth staggers backward holding his wounded arm.
TEJON
Ah! So, you can bleed.
Tejon brandishes the knife with a grin then lunges forward.
Seth deflects the blow. Tejon yanks back the knife leaving a
gash on the back of Seth’s hand.
Facing away, Seth picks up a thug’s discarded two-by-four.
Tejon charges. Seth spins and blocks the thrust leaving the
knife impaled on the wood.
Seth torques the two-by-four, ripping the knife from Tejon’s
grasp. Then both the knife and two-by-four CLATTER down to
the first floor.
Tejon PUNCHES Seth in the mouth!
Seth swings and misses. Tejon knees him in the ribs.
Seth sees Renata hesitating.
SETH
Go Renata!
RENATA
Grabs the keys from Donal’s belt. She rushes to the cab and
opens the passenger side door. She tries the keys on the
glove compartment. It opens to reveal--
A large stuffed maroon envelope. She snatches it.
She looks back toward the warehouse... turns and runs into
the night.
SETH AND TEJON
They circle each other. Seth with a busted lip and wounded
arm.
TEJON
What’s the matter, Mr. Barrett? Not
so invincible anymore.
85.
Seth takes another useless swing with his good arm that Tejon
easily blocks and SLUGS Seth in the jaw.
TEJON
It’s like your timing took a nap.
You lost, as you Americans say,
your mojo.
Tejon fakes a punch. Seth falls for it and goes for the block
and instead gets punched on his wounded shoulder. He grunts
in pain.
TEJON
You were prancing around like a
deadly mariachi. But now you’re
stumbling around like a drunken
beggar playing the skin flute.
Tejon closes in and PUNCHES Seth in the face. Seth spins with
the momentum and backhands Tejon in the nose.
Blood spurts from Tejon’s nose. He smiles with delight.
TEJON
Yes! That’s better. It’s no fun to
win without a fight.
Tejon kicks Seth in the stomach and doubles him over followed
by an uppercut which sends Seth backwards and lands on his
back near the railing.
TEJON
This would only be more satisfying
if I could shoot that puta in front
of you first.
Tejon grabs a gun from one of his dead men. He pulls the
trigger. CLICK. CLICK.
Seth begins to laugh.
TEJON
Something funny my soon-to-be-dead
friend?
Seth struggles up on an elbow.
SETH
Yes there is. Renata has the
evidence. All the protection you
had from the police is about to fly
away. Every enemy you have is about
to pounce on you.
86.
Tejon picks up another gun and checks it for ammo.
Genres:
["Action","Thriller"]
Ratings
Scene
24 -
Deadly Showdown in the Warehouse
TEJON
She won’t get far. But don’t worry
I’ll give her special attention
before I send her to join you.
He tosses the gun away.
TEJON
I really should have hired clowns.
Tejon finds another gun, checks the magazine: One bullet.
TEJON
Ah, finally.
Seth watches Tejon, knowing his death is near.
RENATA (o.S.)
Seth!
Seth turns to see Renata has returned and rushes towards him.
She tosses the golden gun up to him.
Tejon stares, frozen in disbelief.
TEJON
That’s my gun!
Seth gets on his knees and reaches for the gun. He misses it
and it fumbles down next to him.
Tejon slams the magazine back into his pistol.
Seth grabs the golden gun. Both men aim simultaneously...
But Seth FIRES first. Tejon SHOOTS wild. He staggers back and
ends up staring at a bloody wound in his chest. He gasps for
air with a look of stupid surprise.
BLAM! A shot in his gut. He slumps back against a box,
wheezing from blood-flecked lips.
RENATA
Notices Peloncillo’s corpse and sees a maroon envelope, just
like the one she has, protruding from his jacket. She
snatches it before rushing up the stairs.
87.
MEZZANINE PLATFORM
Renata makes it to the top of the platform and races to Seth.
She inspects his wounds.
SETH
I’m alright.
Tejon, breathing shallowly, chuckles.
TEJON
You think you’ve won? You think
you’ve even made a difference?
Tejon gurgles more blood and winces in pain.
TEJON
Someone else will take my place,
just like I took the one before me.
RENATA
This isn’t a game. I don’t care
about you. I want to find Ximena.
Tejon looks momentarily confused then brightens. With great
effort to speak...
TEJON
All of this carnage... for such an
insignificant thing? Go to Cerro La
Meseta, outside the city. On the
east end, by the... largest tree.
She’ll be waiting for you there,
but I’m afraid she won’t be... much
of a conversationalist.
Tejon manages his last chuckle, then a shudder passes over
him and he dies.
SETH
Let’s go.
They turn and move off.
EXT. WAREHOUSE - NIGHT
Renata has parked Seth’s car near the receiving bay, engine
still running.
Seth and Renata exit the warehouse through the receiving bay,
jump in the car and peel off.
88.
INT. SETH'S CAR - NIGHT
In the passenger seat, Renata clutches both envelopes to her
chest and watches the dark road ahead in disbelief.
RENATA
We did it. I can’t believe it.
SETH
Yeah...
She looks at Seth and sees that he is in shock. A thought
dawns on her.
RENATA
That was the first time, wasn’t it?
The first time I killed that man,
not the sixth like you said.
Seth turns to her and sees she’s looking straight at him for
an answer.
SETH
Yeah. I had to lie so you’d go
through with it.
Renata sits back and absorbs the information.
SETH
You know if the British hadn’t kept
quiet about solving Enigma, we
could have lost to the Nazis.
Doesn’t your Bible say it? For
everything there is a season.
RENATA
It does... and the song isn’t
terrible either.
Seth winces, grabbing his injured arm.
Renata opens the envelope she retrieved from the truck. She
removes a sheath of papers and flips through them.
RENATA
This is it. A few U.S. border
agents are involved, one Homeland
Security agent... a Coast Guard
Master Chief, Eric Johnson, is on
the payroll. So is Greg Krikorian,
the District Attorney for L.A.
89.
She stuffs the papers back in and opens the second envelope.
She pulls out a cell phone with a decorative case. It’s
Ximena’s phone.
She presses the power button and it turns on. An “Enter
Passcode” screen comes up. Renata closes her eyes and inputs
the six-digit code.
The phone unlocks. She scrolls to the gallery app. She clicks
on a video thumbnail.
INSERT VIDEO
Bicho’s grinning face fills the screen.
BICHO
We’re on a way to the funeral. Some
friends will be there to make sure
it’s done right. I’m here with the
gang and the guest of honor.
The image shifts to Ximena, in the backseat of a car, in
tears. Seated next to her is Sergio. Laughing and hollering
can be heard.
BICHO (O.S.)
Say hello, Ximena.
Ximena lowers her head in despair.
BICHO (O.S.)
She’s a little camera shy on her
special day. Any last wishes?
Ximena looks up, tear-streaked but solemn.
XIMENA
You’re going to leave my parents
without a daughter and your own
niece without her best friend...
I’d like to tell you to go fuck
yourself but Renata wouldn’t want
that. She’s a good person. She is
kind. So, for her, I say may God’s
light show you the way for the rest
of your life.
The image shifts to the driver, Manuel.
BICHO (O.S.)
Hey, Manuel, what do you pray to?
Manuel makes a turn down a dirt road next to a wire fence.
90.
MANUEL
Shit. I pray to everything just to
cover my ass.
All the men laugh. The video ends.
BACK TO SCENE
Renata covers her mouth and tears run down her cheeks.
EXT. ROAD - NIGHT
Seth’s car reaches a fork and makes a right turn toward some
hills.
Genres:
["Action","Thriller"]
Ratings
Scene
25 -
Confrontation and Discovery
INT. SETH’S CAR - NIGHT
Renata scrolls through the images in the gallery. One picture
shows Ximena being escorted towards a lone big tree.
The next one shows Ximena on her knees, next to the tree, and
the group of men giving a thumbs up. Some familiar faces
include Donal, Perezoso and Thin Man (last seen at the stash
house).
Renata takes a breath and switches to the texts. She scrolls
and reads. Her mood clouds.
RENATA
Stop the car.
SETH
What?
RENATA
I said stop the car!
Seth pulls to the side of the road and stops. Renata jumps
out and SLAMS the door.
EXT. ROAD - NIGHT
Renata marches up the road, fists clenched.
Seth exits the car in a rush.
SETH
What! What is it?
91.
RENATA
It’s your fault! You’re the reason
Ximena is dead!
Seth catches up with her and grabs her arm. She yanks it
away.
SETH
What the hell are you--
RENATA
She wanted to stop! She was ready
to drop the story, but you pushed
her to keep going.
She pulls up the phone and reads the texts.
RENATA
“I don’t feel safe. I don’t think I
should continue”. And you said,
“Are you a professional or not?
You’ll be fine. This is important.
Pulitzer prize kind of stuff”.
Renata lowers the phone with a mix of disbelief and anger.
RENATA
You manipulated her, and me. Is
that all we are to you? Chess
pieces you can move around so you
can get your fucking story?
SETH
I promise you--
RENATA
Don’t! Don’t say that to me.
She turns and marches off.
SETH
Renata, stop!
Seth attempts to grab her but she pushes him off.
RENATA
Get away from me!
SETH
I didn’t think it would lead to
this! I wouldn’t knowingly put her
in harm’s way.
92.
RENATA
Bullshit! You placed her in danger.
SETH
I was a selfish prick okay! Yes,
all I cared about was my name on
the by line without thinking of
consequences. If you hate me for
it, trust me I hate myself twice
more. I wish it never happened.
That I could go back and tell her
to forget the whole thing... but I
can’t. I’ve been sucked into this
limbo where all I do is try to make
things right. If I could trade
places with her right now, I would.
Seth nears Renata with a pleading look.
SETH
We have to find her. If you want to
resent me after that, that’s fine.
But let’s not stop now because of
me. She deserves justice. Please.
Renata looks away, wrapping her arms tightly around herself.
SETH
Didn’t you say everyone needs
forgiveness? Even the worst of us.
Seth’s gaze sinks in shame.
Renata looks over to Seth, outrage and compassion swirling
within her before coalescing into steely resolve.
RENATA
Let’s finish this.
INT. SETH'S CAR - NIGHT
As Seth drives, Renata scans the landscape. She snaps her
head back as they pass by a dirt road next to a wire fence
leading into the hillside.
RENATA
Stop! I think that’s the road.
Seth brakes and backs up the car. He veers the car onto the
dirt road.
93.
As they continue slowly up the road, Renata surveys the
hills. She spots a large, desolate tree backlit by the
distant city lights -- identical to the one from her vision.
RENATA
This has to be it!
Seth barely stops the car in time before Renata bolts out.
EXT. HILLSIDE - NIGHT
Mostly barren hills loom under the moonlit sky. Renata races
toward the tree.
Seth exits and retrieves a shovel from the trunk. As he moves
to join her, he notices a latticework of tire tracks where
several vehicles entered and pulled out.
EXT. LARGE TREE - NIGHT
Renata arrives and uses her cell’s flashlight to search the
ground. After a few moments, she finds disturbed earth the
length of a grave.
Seth joins her and they trade despairing looks. He gently
inserts the shovel into the mound and scoops out dirt.
Renata observes with dreadful anticipation.
The stench of death forces her to cover her mouth.
After several shovelfuls, Seth hits something. He glances at
Renata. She joins him and they clear the remaining dirt until
they uncover...
WHITE ON BLACK MARY JANE SHOES worn by decomposing legs.
Seth backs up, covering his mouth.
Renata backs away and falls to her knees in tears.
RENATA
Oh, Ximena... we found you.
She buries her face in her hands and sobs. Seth kneels beside
her, facing the dirt mound. He dissolves in agony and grief.
SETH
I’m sorry, I’m so sorry...
Moved by his regret, Renata holds his hand and turns towards
the shallow grave. She begins her solemn “Our Father” prayer.
94.
Seth bows his head in reverence.
EXT. HILLSIDE - NIGHT
Police tape sections off the crime scene. Several parked
police cruisers with flashing lights add a macabre festivity.
Cops and detectives examine the scene.
A REPORTER readies herself and faces the camera.
REPORTER
Good evening. Were here in the
Cerro La Meseta region where police
have located a body which they say
could be that of Ximena Valdez, the
reporter for Norte Libre who was
abducted from her residence two
weeks ago. An anonymous call gave
authorities the location to a
shallow grave which they have
sectioned off...
Genres:
["Thriller","Mystery","Drama"]
Ratings
Scene
26 -
Dreams and Tragedy
INT. SETH’S APARTMENT BEDROOM - NIGHT
Seth sits with his shirt off, watching TV, while Renata
stiches the cut on his arm.
REPORTER (TV)
...We’re also learning that a gun
made of gold was found at the scene
which may belong to the cartel
leader known as El Tejon, who died
this evening at a warehouse
shootout. A large amount of cocaine
was seized from the...
SETH
The whole world is going to be
shocked when the story goes live in
the morning.
Seth reaches for the remote with his free hand and switches
off the TV.
RENATA
Stop moving. It’s been a while.
SETH
Who was the last victim?
95.
RENATA
Me. I was covering a protest that
turned into a riot. Someone threw a
beer bottle and a shard went in my
leg.
SETH
You stitched up yourself? I feel
like a wuss.
RENATA
You should. Anyway, it wasn’t my
first choice, but I didn’t want to
worry Dolores.
Renata smiles and finishes up the stitching. Seth sees the
result and looks impressed.
SETH
Thank you... for everything.
They stare at each other. They draw closer for a kiss... but
Renata looks down last second. Now, she’s not ready.
RENATA
I... I need to rest.
Seth nods.
INT. SETH’S APARTMENT BEDROOM - DAY
Beneath the sheets, Renata sleeps. The dawn light floods the
room along with the gentle WHITE NOISE of morning traffic.
The HONK of a car horn makes her eyelids flutter open. She
lifts her head up, rubs sleep from her eyes and looks around.
She notices Seth asleep on the carpet floor with a blanket
and pillow.
RENATA
Good morning.
Seth opens his eyes, smiling as he sees Renata. His eyes then
pop wide and he bolts to a sitting position.
RENATA
What?
SETH
You’re here.
Seth immediately grabs his cell phone and reads the screen.
96.
SETH
It’s Thursday! It’s past the twenty-
third hour.
A dog BARKING in the neighborhood causes Seth to hop out of
bed, clad only in a T-shirt and shorts. He moves to the
window and parts the curtains, bathing him in sunlight. He
takes in the view with awe.
Renata, cloaked in the sheet, comes up behind. They see cars,
pedestrians, a lady walking her Chihuahua.
SETH
I’ve never seen these people
before...
RENATA
See, all you need is some faith.
Seth’s cell phone CHIMES with a notification. He looks at it.
He rushes to his laptop and mouses away from the screensaver.
SETH
The article’s up.
Renata gets closer and they both view the article with the
headline, “COLLUSION: Cartels and Politicians form a Crime
Syndicate by Seth Barrett, Ximena Valdez, and Renata Diaz”.
SETH
The story wouldn’t exist without
you.
RENATA
What do we do next?
SETH
For the first time in a thousand
days, I have no clue... getting
breakfast would be nice.
Renata looks at Seth, surprised that he switched to Spanish.
RENATA
Yeah... but, I need some time with
my family. Could you drop me off?
Seth purses his lips, hiding his disappointment.
SETH
Yeah, of course.
They start getting dressed. Seth goes to the wall-mounted key
holder by the front door and pockets the keys.
97.
Renata makes a call on her cell phone.
DOLORES (CELL PHONE)
Nata?
RENATA
Hey, good morning.
DOLORES
Where are you? I saw everything on
the news but I didn’t know if you
were okay.
RENATA
Yes, I’m fine. Everything worked
out. What about you and Eduardo?
DOLORES
Irene is a worse cook than you, but
her place is nice. So, if it’s
over, can we come back home?
RENATA
Let’s give it a day to let things
quiet down. I’ll come to you, have
Irene share your location with me.
DOLORES
Yeah, okay. I love you, Nata.
RENATA
I love you, Loli.
EXT. STREET - DAY
Seth’s pulls out of the parking spot and travels at a
moderate pace through the bustling traffic. They arrive at a
red light of a busy intersection.
INT. SETH'S CAR - DAY
Renata notices a decrepit Ford Taurus coming to a stop next
to them on Seth’s side.
Renata turns and her eyes settle on the man in the passenger
seat. His skunk-streaked hair and a scar running from brow to
chin are familiar. It’s the man she thought was following her
while driving to work.
The SKUNK MAN steps out of the passenger side, gun in hand.
He raises his gun and SHOOTS!
98.
The driver’s side window SHATTERS! Seth slumps with a fatal
head wound. BLOOD splatters Renata. She screams in horror!
The Skunk Man redirects his aim at her and he FIRES!
INT. SETH’S APARTMENT BEDROOM - DAY
Renata lunges into frame with an outcry. Utterly confused,
she sees Seth asleep on the floor. She turns as a car HONKS.
Renata silently slides out of bed and inspects the room.
Seth’s suitcase on the counter. Everything looks the same.
She trembles as a dawning realization slams into her mind.A
dog BARKING outside draws her toward the window.
Everything outside looks exactly the same as before. The
cars, pedestrians, the lady walking her Chihuahua. Tears well
up in her eyes.
She jolts as her cell RINGS. Uncertain, she answers it.
RENATA
Hello?
DOLORES (CELL PHONE)
Where are you? I saw everything on
the news but I didn’t know if you
were okay.
RENATA
Oh my God...
Renata looks at the time and date on the cell phone. It’s
Thursday. She drops the phone in shock and rushes off.
Dolores’s voice is the only thing heard.
DOLORES
Renata? Renata what’s wrong!
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
27 -
Renata Saves Seth
INT. SETH’S APARTMENT BEDROOM - DAY
Seth is asleep. He wakes up, turns, and notices Renata isn’t
there. In the midst of confusion, he looks around.
SETH
Renata? Renata!
No response. He grabs his phone, checks the date and smiles.
SETH
Thursday...
99.
He rises and sees Renata’s phone on the floor. He reaches
down, picks it up. He dresses quickly, moves to the wall-
mounted key holder. It’s empty.
EXT. STREET - DAY
Seth ambles down the sidewalk, scanning for Renata. He
ignores the street vendor and keeps going forward.
The decrepit Ford Taurus rolls by and stops. The Skunk Man
steps out of the passenger side, gun drawn, murder in his
eyes. He beelines for Seth, raises his gun.
TIRES SCREECH TO A HALT! Both men turn...
Renata jumps out of Seth’s car and darts straight for Skunk
Man, no fear in her eyes.
Skunk Man redirects his aim at her and squeezes several
SHOTS.
With predictive power, Renata sidesteps and ducks. All the
bullets miss! She reaches Skunk Man.
He raises his gun to pistol whip Renata. She deflects his
blow, whips her body up, wrapping her legs around his neck
and snap rolls him to the ground! His gun skitters away.
Renata collects the gun. As Skunk Man readies to lunge, she
blows him away!
The driver in the Ford Taurus makes a move. Renata pivots and
SHOOTS. The driver collapses, dead. The gentle soul we met at
the beginning is now a full-fledged killer.
Renata sticks the gun in the back of her pants and moves to
the driver’s side of Seth’s car.
RENATA
Seth! Get in the car!
Seth gapes in utter shock. Renata moves closer and pulls him
into a passionate kiss.
RENATA
God’s not through with us yet.
Seth shakes it off. They both jump inside the car and peel
away into the streets of Tijuana...