FRONTERA:
A SCREENPLAY
by
Saul Unzueta
A SENIOR THESIS
in
GENERAL STUDIES
Submitted to the General Studies Council in the College of Arts and Sciences at Texas Tech University in Partial Fulfillment of the Requirements for the Degree of
BACHELOR OF GENERAL STUDIES
Approved
DR. ROBERTO BRAVO ent of Classipakand Modern Languages and Literatures CoMl]hair of Thesis Committee
DR. JIMMIE L. REEVES pertmen)/of Journalism and Mass Communications Co-Chair of Thesis Committee
Accepted
DR. DALE DAVIS Director of General Studies
August 1997 '^^ ACKNOWLEDGEMENTS
A]^ , ^\ Thank-you's to Dr. Roberto Bravo, a wise and passionate man - - puro mejicano,
i and to Dr. Jimmie L. Reeves who let me kill two birds with one stone and who set aside
some of his writer's sensitivity and idealism in sitting through this Mexploitation yarn.
I'd also like to thank Dr. Dale Davis and Linda Gregston for all their guidance.
Finally, I thank my mother, Micaela Romero Unzueta, who never had the benefit
of even finishing an elementary education and who never really knows or understands
what I do, but whose support, nevertheless, is literally neverending. TABLE OF CONTENTS
ACKNOWLEDGEMENTS ii
INTRODUCTION iv
OUTLINE vii
THE SCREENPLAY 1
111 INTRODUCTION
This General Studies thesis is a creative project - - a screenplay.
It is a story of narcotraficantes [drug traffickers]. I used the most common of elements, not really for that reason, but because they belong. The genre is known as
"Mexploitation" and it's mainly a man's movie. The Mexican male wants action, to be a bad-ass - - a real macho - - but also values the opportunity to show emotional depth, especially when it helps his chances with the ladies. This is not to say that he's always insincere, however, especially when considering the fact that Latin men tieed women, perhaps like no one else, and this need is of the most sincere nature. The other major occasion for emotional depth occurs frequently when it concerns familial bonds. These run very deep, and make for interesting motivation factors. Any movie dealing with
Mexico practically has to deal with family, passion, violence, injustice, sex-roles, and change. I think Frontera addresses most or all of these issues.
Mexico is very much a man's society, on the surface, and this screenplay is a
"superficial, non-feminine movie." It can be likened to the American gangster movies of yesteryear, but with less depth. The Mexploitation genre is really a commercial venture.
It's a long music video. Whenever recent Mexican filmmakers have wanted to make significant social statements, they'd script the life of a bum or an immigrant laborer. The gangster has usually served as escapism.
I think the ideal situation is to combine these two - - that is, to use exploitation elements and really say something. It doesn't matter how educated or retarded a man is - if he's straight, he's going to respond to a naked lady in his face. A movie, first and
IV foremost has to be entertaining. It doesn't matter if it contains the Meaning of Life if its boring, just as it doesn't matter to a lot of people that a movie says nothing if it's entertaining. Most people probably don't really see the "deep message" in a movie because it just goes over their heads, and most would never really see a movie that's known for its depth. Some of the most beautiful of films will never reach the layperson and, to me, this is the most important individual. It is this group upon which the beauty and social relevance of film should find its biggest impact. This is a mass medium and there is no need to be elitist, especially if there is something important to say. That's the whole point of movies, of art, in my humble opinion - - to bond humanity. It should tell
the truth and it may polarize people, but sometimes it is necessary to take a step
backwards before one can go forwards. The real beauty of film is its ability to convey a
message while entertaining. It reaches a mass audience in a short time and they don't even
have to be literate. At the same time, however, even the most highbrow person can be
reached as well.
I should also mention that the ambitious use of the exploitation genre might not
always work, because the base or common elements have to fit - have to be relevant. To
be successful, there needs to be a talent and ability to achieve this delicate marriage.
I set out to cut my teeth with this genre partly because it takes the least skill to be effective. When I started, I knew nothing about screenwriting, but 1 am a self-admitted
fan of Mexploitation, and that's really all I needed at this stage in the game. The most important drive for a filmmaker should be to say something, and that is something that 1 would like the chance to get to do in this medium someday, but a feeling of comfort in it must first be achieved before any serious attempt can be made at serious expression.
Entertainment is easier, but it is still something that takes practice. And I believe that is the key: practice. This is the real education in this medium - to do. A foundation would hopefully be laid in the form of history and theory as well, but these are not the main things. People either have something to say or they don't, a talent for entertainment or the lack thereof
Mexploitation is usually not the most favorable to women, and neither is Frontera, but then again, neither is society, especially in Mexico. This is the tmth, but the reason I made this the case in my writing had more to do with what the script demanded and more than anything, perhaps, with my inability or unwillingness to dig deeper. I am a beginner and simply am not ready.
Mexico, to me, is an incredibly interesting place and there are many stories that need to be told about its people. It's what I know, yet have much to learn about. The changes and events that are taking place are momentous, and in terms of film - there is so much that can be done.
Frontera is an amateur attempt to entertain and maybe show that the more things change - the more they stay the same, sometimes, and that progress occurs when it is the good things in life that change the least.
VI OUTLINE
I. Setting A. El Paso, Texas B. Juarez, Chihuahua, Mexico (sister city) C. Durango, Durango Mexico
II. Characters A. Mario Reynoso 1. Older man who doesn't want to retire as head of his drug family 2. Doesn't want to see his only remaining son enter "the business" 3. Widowed B. Fernando Reynoso 1. Mario's younger brother 2. A playboy, at mid life 3. Runs the day-to-day affairs of the operation 4. Divorced C. Alex Reynoso 1. Mario's son 2. Very well-educated 3. Wants to enter the family business 4. Single D. Linda De Soto 1. Alex's love interest E. Carlos Adrian Fuentes 1. Rival drug lord F. Anita 1. "Return to all that was once good"
III. Plot A. Fernando and Mario have a falling out B. Mario is murdered C. Fernando and Alex seek revenge D. Alex experiences a revelation
IV. Themes A. Contrasts 1. Young and old 2. Past and present 3. Rich and poor 4. Good and evil B. Culture and tradition 1. Rejection 2. Adaptation
vii 3. Survival C. Rascuachismo 1. A low-brow aesthetic that characterizes much of Mexican life (example: oil paintings of Jesus on black velvet) V. Format Ideally in Spanish, but screenplay written in English A. Action-Drama
Vlll FADE IN:
EXT. [EXTERIOR SCENE] US - MEXICO INTERNATIONAL BRIDGE - DAY
ALEX REYNOSO sits in his red Acura, pop music and ac going full blast. The mega- dark-tinted windows are rolled up tight. The car doesn't move. The man is in his late twenties and is wearing shades. It's late summer, 98 degrees, and not a cloud in sight.
His car begins to move forward about three feet on Juarez's main strip, which seems to be vaporizing under the unrelenting desert sun.
TOURISTS in shorts stroll among PANHANDLERS and BEGGING CHILDREN. A TATTERED KID with a SQEEGEE and a rag almost as dirty as the Laker's shirt on his back ignores Alex and goes to work on the spotless windshield. Alex is trapped for a couple of seconds, but then the car in front of him advances and he taps the accelerator as he waves "no" with his finger. Alex then proceeds to undo the damage with a mechanical squirt of windshield wiper fluid and accompanying wiper motion.
He soon passes yet another minor annoyance: a LEGLESS MAN in a wheelchair who simply sits and stares. Alex doesn't see him.
EXT. US CHECKPOINT - DAY
Up ahead, a CHICANA BORDER PATROL OFFICER looks through her Ray Ban's and down her nose at a humble-looking MEXICAN FAMILY in a battered car. After checking all their credentials, she orders the OLD MAN driving to open the tmnk. He does so and she snoops around.
EXT. US - MEXICO INTERNATIONAL BRIDGE - DAY
Back on the strip, a shiny car, in mega-darkly-tinted windows, advances in the lane to Alex's right. It's a BMW two-door. The extremely bright sunlight coming in through the sunroof illuminates LONG and WAVY, DARK-AUBURN hair. The LADY in the car begins to pass him and he notices. His casual demeanor is instantly replaced with active interest. They seem to take turns inching forward until Alex finds his car next to hers. She allows her Armani sunglasses to drift to the left. Alex has his hand on the gear and studies her as she turns. He begins to lower the passenger side power window, but she has already turned back to her windshield. A BIG, RUSTY VAN spews clouds of white smoke directly in front of her. Alex smiles to himself as he raises the window back up.
EXT. US CHECKPOINT - DAY
The Chicana Border Patrol officer is squatting in front of the old man's battered car with her hand feeling underneath the fender. She rises and walks around the front of the car. She stops and smugly waves the old man into the car and towards inspection parking. EXT. US - MEXICO INTERNATIONAL BRIDGE - DAY
Alex is still on the Mexican side when he pays his toll. He ascends the bridge and crosses the INTERNATIONAL BOUNDARY MARKER over the Rio Grande. He then descends to the American side. Once there, the lanes fork out and traffic begins to move faster. The panhandlers and begging children disappear. The smog factor even appears to lessen.
EXT. US CHECKPOINT - DAY
After the usual etemity, Alex finally arrives.
ALEX (to border officer, with a slight accent) American.
The Chicana Border Patrol Officer smiles flirtingly and bids the young man passage. He drives past the battered car with the Mexican family waiting outside, as a swarm of Patrol officers inspect their vehicle.
EXT. EL PASO SUBURBAN HOME - DAY
Alex's sports car drives under an automatic garage door and into a well-kept two-car space. He gets out and strolls into the house.
INT. EL PASO SUBURBAN HOME - DAY
Alex is on the kitchen phone, closing the 'fridge, with a small orange juice in his hand.
ALEX Don Beto, I've got the last shipment at the Trevino house . . .yes, sir . . . sounds good . . . Take care. We'll talk to you later.
EXT. EL PASO SUBURBAN HOME - DAY
The garage door opens, the car backs out, and music increases. Alex speeds off, while door lowers itself
INT. EL PASO SUBURBAN HOME, LIVING ROOM - DAY
The lights are off and nobody's home as the camera slowly covers the furnishings, etc. INT. SUBURBAN HOME BEDROOM - DAY
The camera is now exploring the contents of the bedroom. It reaches a partially open closet. Some light filters through the window and reveals the corner of a bag and its WHITE POWDER content.
Music ends.
CUT TO BLACK.
TITLE CONCLUDES CREDITS.
CUT TO:
INT. MARIO'S RESIDENCE - EVENING
We find ourselves in the den of a palatial estate in Juarez, Mexico.
MARIO RE"YNOSO is a wise-looking man. He's in his late sixties, but his life's stmggles have added about twenty extra years. He sits in his couch and reads the paper. The phone rings and he answers.
MARIO Hello?
A MAN'S jovial voice is heard over the line.
MAN (o.s.) [off-screen] Mr. Reynoso, I just want to thank you for being so prompt. This is Beto.
MARIO Don't mention it, Beto.
INT. TREVINO HOUSE - DAY
The MAN, middle-aged, sits on his couch in his living room and speaks into the phone.
MAN No. No. No. No. I really want to express my gratification. I was wondering if you . . . INT. MARIO'S RESIDENCE - DAY
MARIO (interrupting) Beto, did Alex make the delivery?
BETO (o.s.) Uh. . .
MARIO (raising his voice) Beto?
BETO (o.s.) Mr. Reynoso, if any of my sons had half the initiative that Alex has, I would be the proudest. . .
MARIO (interrupting) Thank you, Beto.
Mario hangs up the phone with a ponderous expression.
INT. ALEX'S CAR - EVENING
Alex is speeding down the freeway. The CEL PHONE rings. Alex looks at phone number display and tums the ringer off
INT. MARIO'S RESIDENCE - EVENING
Mario has phone to his head for a couple of seconds, hangs up, and places another call.
EXT. SWIMMING POOL - EVENING
FERNANDO REYNOSO is a carefree version of his brother, minus twenty years. His FLOTATION BED glides across the water. His ON-BOARD PHONE rings.
FERNANDO Yes? What a surprise, big brother.
MARIO (o.s.) Fem, did you know Alex delivered some merchandise today? FERNANDO Uh ... no ... I didn't know, but, uh, don't worry. C'mon, you know Alex can take care of himself
MARIO (o.s.) Listen, if you see him tell him that I want to speak with him.
FERNANDO Will do.
Mario hangs up and dials.
FERNANDO (CONT.) (very pleasantly) Guess who? . . Nooope . . .
Fernando lets out a hearty laugh.
FERNANDO (CONT.) ... It took you long enough to guess. . . How is my little honeybunny?
CUT TO:
INT. ANONYMOUS BEDROOM - EVENING
A very sexy, young TART in nothing but her underwear and T-shirt giggles into a phone as she lies in bed, watching TV.
EXT. MARIO'S RESIDENCE - MORNING
Mario Reynoso and his only son, Alex, are having breakfast poolside.
MARIO So what do the ladies say, son?
ALEX Not a thing, dad. Not a thing.
MARIO Weren't you out last night with some gringa at Vertigo's? ALEX Yeah, I guess so. . .
MARIO Fernando wasn't with you?
ALEX No. I just took a girl out. . . Dad, I noticed that you and Fern don't really see each other that often anymore. Maybe we should all have dinner some time?
Mario continues tending to the meal before him.
MARIO I'm sure you two would have a lot better time without this old man to slow you down.
ALEX C'mon, dad, don't say that.
A couple of beats [dramatic pauses] .
ALEX So, dad, how come the Salazars were upset with the shipment last month?
Mario looks at Alex.
MARIO I suppose Fernando did have something to do with you finding out about that!
ALEX I just heard him say something about it.
MARIO You know that I don't talk about business and right now you'd do well to be thankful for that because I know you don't want to hear what I I think about your little delivery recently.
Alex's perpetual state of cool subsides as his discomfort gradually becomes apparent in his father's presence. Alex's respectful, attentive gaze towards the man is broken and he looks down at his plate. INT. WAREHOUSE - DAY
FERNANDO REYNOSO dresses in typical norteho fashion. He is accompanied by BODYGUARD X and BODYGUARD Y and is cutting a deal with a fellow narco.
His adversary is a balding, pot-bellied man in a tejana [Stetson hat] . He too has his pair of companions, BODYGUARD #1 and BODYGUARD #2. The man's name is CARLOS ADRIAN FUENTES.
FERNANDO We can give you 100 kilos today and the rest tomorrow.
FUENTES Well, you know that I would much rather not make two trips. I believe we can both reach some kind of understanding. . . After all, we have been doing business for a long time now.
FERNANDO I know and I'm confident in saying that we trust each other, but this is business and, unfortunately, that is the best we can do. Those are the terms.
FUENTES (smihng) Yes. Yes. I understand. We'll see you tomorrow at noon.
Fuentes gives Fernando a jovial slap on the back as he shakes hands. The men separate. They each have their respective cars waiting.
INT. FUENTES' CADILLAC - DAY
BODYGUARD #1 is driving and BODYGUARD #2 rides shotgun. Fuentes is in the backseat. He's mad.
FUENTES That guy is a piece of shit! Who the fuck does he think he is?
BODYGUARD #1 I don't know, boss. FUENTES That's ok. . . I'll play his little game. Cabron [expletive] !
INT. FERNANDO'S TOWNCAR - DAY
Femando is riding shotgun. He places a phone call.
FERNANDO Hey, Mario! I'm calling to confirm that I just made the deal. . . yeah, ok. We'll see you later.
BODYGUARD Y is driving. He looks over at Fernando.
INT. BAR/CLUB - NIGHT
Fernando and Alex are tipsy and scoping out the female traffic. Fernando whistles at a pair of GIRLS that walk by. They're not extremely attractive, but they're in their twenties and look like they spent half a day getting themselves ready.
FERNANDO (laughing) Hey, mamasita, where you been all my life?
Fernando throws an arm around his nephew. Alex has a big smile on his face. Alex loves his uncle too much to be embarrassed by him. Besides, he has more fun with him than with anybody else.
One of the two young ladies allows her eyes to wander in Alex's direction.
FERNANDO Go for it, man. Don't you see they want us?
ALEX No. No. They want JOM!
They both laugh as they lean into each other. It's not too clear if this is done as an expression of their male bond, or is merely a means of ensuring that they don't fall to the floor. They both stand and make their way towards the seated ladies.
The girls see them coming and act indifferently.
In the background there are middle-aged COUPLES doing the "Macarena" among the mostly twenty-something CROWD. FERNANDO Holal My name is Femando and this hand some young stud is my very eligible nephew, Alex!
GIRL # 1 glances from Fernando to Alex and looks away. The other one maintains her nose in the air.
FERNANDO We were wondering if you ladies would like to dance?
Girl #1 smiles at Alex and kindly declines as she looks at Femando.
FERNANDO Well, then, maybe you fine ladies would like a drink?
Girl # I's eyes move back to Alex.
FERNANDO C'mon. We're decent guys. We're empressarios [businessmen] . . . Hey meserol Bring us some of your best brandy and four of those new pretty wine glasses.
Seeing some interest piqued, he puts on his patented puppy-dog face and waits for it to take effect.
Girl # 1 breaks a smile. The men seat themselves. Her slightly older and less attractive friend is now openly expressing interest.
GIRL # 1 My name is Maribel and this is Jessica.
A Tigres del Norte classic pulses some bass into the night, some real music!
Alex and Fernando match up with their partners and head out to the dance floor.
MONTAGE SEQUENCE:
SFX [sound effects] : MUSIC CONTINUES. 10
INT. BAR/CLUB - NIGHT
Femando and ladyfriend are getting ready to leave the place. They bid farewell to Alex and his date for the evening and leave.
Alex and lady sit without talking. She looks at him. He's looking around.
EXT. BAR/CLUB - NIGHT
Femando and his date exit the place. Fernando stops, pulls out his cellular, and dials. He composes himself and sets his drunken rowdiness aside as he motions for his lady friend to keep it cool.
INT. MARIO'S BATHROOM-NIGHT
Mario flushes the toilet and heads towards the faucet. He looks into the mirror. The phone rings in the adjacent bedroom.
INT. MARIO'S BEDROOM - NIGHT
Mario walks to the phone and answers it.
EXT. BAR/CLUB PARKING LOT - NIGHT
Fernando calmly speaks into the phone, but we can't hear him. He looks at his watch.
INT. MARIO'S BEDROOM - NIGHT
Mario nods and responds affirmatively on the phone. He retrieves a pen and writes "12" on a scrap of paper. He then hangs up and goes back in the direction of the bathroom.
EXT. BAR/CLUB PARKING LOT - NIGHT
Femando slips the phone away and throws an arm around the lady. They start laughing and make like rowdy drunks again as they head towards Fernando's Dodge truck.
INT. FERNANDO'S TRUCK - NIGHT
The couple is laughing as they speed to .. .
EXT. FERNANDO'S RESIDENCE - NIGHT
The couple enters the house. 11
INT. MARIO'S BEDROOM - NIGHT
Mario exits the bathroom. He takes off his robe and gets into bed. He lies on the left side of a king size bed. He finds the remote and turns on the TV to do some channel surfing. INT. FERNANDO'S BEDROOM - NIGHT
Fernando and the lady are fooling around on the bed.
INT. MARIO'S BEDROOM - NIGHT
Mario is in the same mood he's always in - somber. The television provides the room's only illumination. A PORTRAIT of his wife rests on his night stand.
INT. FERNANDO'S BEDROOM - NIGHT
Femando and the lady are consummating their six hours of familiarity.
INT. MARIO'S BEDROOM - NIGHT
Mario tums off the television.
END MONTAGE.
SFX: END MUSIC.
CUT TO BLACK.
FADE IN:
INT. FERNANDO'S BEDROOM -DAY
Femando is sprawled out over his bed, faced down. His companion for the night has left. A large read-out digital clock changes from 1:16 to 1:17.
INT. FERNANDO'S LIVING ROOM - DAY
The front door is forced open and two unsavory, larger-than-average MEXICANS make their way into the house. It's BODYGUARD #1 and BODYGUARD #2.
INT. FERNANDO'S BEDROOM - DAY
Fernando is awakened from his deep slumber. He's in his boxers and his senses are late in registering the scenario, as the TWO MEN come into focus. 12
Femando has a perplexed look on his face, to put in mildly.
FERNANDO (very nervously) Wha . . . What do want?
Bodyguard #1 delivers a swift blow to Fernando's face.
BODYGUARD #1 Mr. Fuentes sent us to find out what happened to today's shipment?
Fernando remains puzzled.
FERNANDO I don't know what you mean. It was supposed to be there. I swear it!
Bodyguard #2 grabs Fernando by the neck and tosses him to the floor. Bodyguard #1 kicks the half-naked man in the abdomen. Fernando lets out an funny-sounding wheezing sound.
BODYGUARD #1 Mr. Fuentes is very upset, but since he's such a generous man and there is so much trust between you two, well, that's why you're still breathing . . .
Femando continues making his noise.
BODYGUARD #1 (CONT.) . . . sort-of . . . Mr. Fuentes is actually going to give you a second chance. Tomorrow. Same time. Don't be late.
The two thugs strut out of the room leaving Fernando on his knees and grasping his ribs as he tries to catch his breath.
INT. ALEX'S CONDO, EL PASO-MORNING
There is a knock on the door. It opens to reveal: a disheveled Fernando with his BLACK E'YE. Alex is in his robe.
ALEX What the hell happened to you? 13
FERNANDO (heading directly for the liquor cart) Sex was a little rougher than I expected last night! What do you think happened??
ALEX (almost defensively) What?
FERNANDO It's your dad again, Alex. He apparently forgot that he was supposed to take care of a certain little delivery today!
Alex tenses up.
FERNANDO (CONT.) (excitedly) I call him and double check to make sure that he's got it taken care of He says, "Don't worry," so I don't. . . and this is what I get for it!
ALEX What happened?
FERNANDO That fat-ass Fuentes sent a couple of his punks to show me how "forgiving" he can be. He wants the stuff tomorrow at noon.
Fernando takes a drink.
ALEX Does dad know about this yet?
FERNANDO No. I thought I'd come over here and try to mellow out a bit. You know I love my brother, but he's gotta let go. I don't want to put him through any more shit, and 1 haven't forgotten that we all owe him for opening the doors, but sometimes . . .
Fernando takes a deep breath. 14
FERNANDO (CONT.) I don't exactly think I can speak to him right now in the kindest way, you know? You wanna call him for me and find out what the fuck happened?
ALEX Listen. You know I agree with you, but we both know how stubborn he can be ... I'll talk to him.
Fernando slams down his glass and Alex rests a comforting hand on his uncle's shoulder.
INT. MARIO'S RESIDENCE, DEN - DAY
Alex is sitting across from his father.
ALEX This can't happen again, dad. They could have killed Femando.
Mario Reynoso remains quiet.
ALEX (CONT.) You know Fern wants to take full responsibility. He may be a lot of things, but you know he can run the operation.
MARIO Before your mother died, she made me swear that as long as I lived I would not see you in the business.
ALEX Dad, we're talking about Femando. We'd like to see you live the last of your years in peace.
MARIO I'm not going anywhere! And if Fernando has so much on his mind - - he can come talk to me himself!
Alex doesn't say another word. He simply gives his father a kiss on the forehead and leaves.
EXT. EL PASO FREEWAY - DAY
Alex is driving even faster than usual, but is suddenly passed by a white speedster. 15
LINDA DE SOTO sneaks a smile as her eyes check the rearview mirror to see the car she just passed get smaller and smaller.
Alex punches it. His car is slowly gaining on his opponent. The two cars are now side by side. The woman tums her closed-mouth smile to Alex and accelerates even more. Alex and his car decide not to continue this race. He slowly releases the pedal while realizing that what may well be the most beautiful woman he has ever laid eyes on has just left him in the dust. He is left to watch the white car fade into distance.
EXT. ALEX'S CONDO DRIVEWAY - DAY
Alex pulls into the lot and his parking space, gets out of the Acura and proceeds to his pad.
INT. ALEX'S CONDO - DAY
Alex walks in, gets a beer, and sits down to watch TV.
INT. FUENTES' OFFICE - DAY
CARLOS ADRIAN FUENTES is sitting at his desk, occupied by some paperwork.
INT. MIRAMAR CANDY CO. RECEPTION AREA - DAY
A young LADY confidently strides in. Her incredibly attractive appearance force all eyes in the room towards her. She has blonde hair, full breasts, and shapely legs. Her pumps almost appear to be stilettos, as her legs seem to go on forever. The heels are more than enough to accentuate her calves and rear, arch her lower back, and push her chest out front. It's a situation bordering on overkill: "perfection enhancement." She is wearing a bold-color power suit (masculine wide shoulders, feminine trim waist) with a miniskirt bottom.
LADY Hello, my name is Linda De Soto. I'm here to see Mr. Fuentes.
SECRETARY One moment, please . . .
The secretary intercoms her boss.
SECRETARY Mr. Fuentes. A Linda De Soto to see you, sir. Sir? Ok. 16
The secretary hangs up the phone and politely bids the lady passage.
Ms. De Soto proceeds to the door, and as she walks through it, an OLD MAN in the reception area leans forward to prolongate his taco de ojo [visual feast] .
INT. FUENTES' OFFICE - DAY
Linda De Soto enters. Fuentes puts down his pen and immediately rises. The corners of his mouth stretch from ear to ear as he walks around his desk and reaches out. The lady extends her delicate hand and the old, fat man grabs and kisses it. He leads her to her seat and he sits on his desk. He appears a little nervous and very excited.
FUENTES Would you like to see last quarter's profits? There's been some modifications in . . .
LINDA (interrupting) Can't I visit one of my favorite clients without it having to involve business?
FUENTES Oh, yes, yes, of course!
He clenches his jaw as he begins to swallow. She smiles.
LINDA How's the wife and kids?
He finishes swallowing.
FUENTES (surprised) Oh, really great. Adriansito wants to be an architect.
LINDA That's great! And Lupita?
FUENTES Which one?
LINDA Both of them. 17
FUENTES Well, you know, my daughter's walking now. She's growing more and more beautiful each day. She's turning into quite the little lady.
Linda listens politely.
FUENTES (CONT.) And my wife . . . she's fine.
LINDA Glad to hear it.
A moment of silence. Linda stares into the bloodshot eyes of Fuentes. He looks down and goes back to his chair behind the desk.
Linda uncrosses her legs, stands up, and leans forward on the desk. Fuentes is increasingly nervous and even if his life were to depend on it, he still wouldn't be able to prevent his eyes from drifting to the cleavage before him. He loses all chances of gaining a modicum of composure when he eyes the breasts in his face. He is a weakened man.
LINDA Do you see something you like?
Fuentes look up and gives a quick, nervous smile.
LINDA (CONT.) Listen, Carlitos, I have a favor to ask you. Can I count on you?
Fuentes nods.
LINDA (CONT.) I need some personal info on somebody.
EXT. FASHIONABLE PRONAF DISTRICT, JUAREZ - LATE EVENING
Fernando and Alex are drunk and singing an old Mexican love song as they walk the streets. TOURISTS stop and stare. Some are annoyed, most are amused.
The sun is setting through the tangle of power lines over the cityscape. 18
INT. TABASCO BAR, JUAREZ - NIGHT
Fernando and Alex are at the bar. Fernando is wearing his SUNGLASSES and his black eye is barely noticeable. Both men are dmnk.
FERNANDO ... so they can all kiss my ass!
ALEX Right on, tio [uncle] !
FERNANDO Today's broads don't know how to make love. They even make love like men, sometimes. Can you believe that? You know what I mean. They want to be the man!
Alex's eyelids droop a bit, but he hangs on every word.
FERNANDO (CONT.) Women used to be delicate little flowers that we'd pick and when we picked the right one, we'd marry her. And that was that!
ALEX I know what you mean, tio. I know what you mean.
FERNANDO Once we married a woman, she was ours. They never even dreamt of straying. They would never leave us, no matter what!
Fernando turns his head to look at Alex.
FERNANDO (CONT.) She didn't deserve you! That never would have happened to you if you had been born when I was born. We're living in different times . . .
A beat and then they both drink.
FERNANDO (CONT.) Sure, my vieja left me too, but I guess I must have been a little careless with the other women. 19
FERNANDO (CONT.) But your woman had no reason 'cause you never did the shit I did! You're a sensitive motherfucker.
Fernando laughs out loud.
Femando slaps Alex on the back. Fernando's laugh is heard throughout the bar. Alex smiles and looks down. Fernando taunts the sensitive man and they both get off their stools to do some playful sparring.
ALEX (laughing) Wait. Wait. I gotta go pee, but when I get back I'm gonna kick your ass all over this place.
FERNANDO (laughing, also) Oh yeah? Well, you can just go fuck yourself!
Femando steers himself back into his stool and Alex reaches the restroom.
INT. TABASCO BAR RESTROOM - NIGHT
Alex is still chuckling as he enters the men's room. There's a very BIG, MEAN- LOOKING MEXICAN at one of the urinals. He looks over to see who the clown that just came in is. Alex's chuckle tums into a smile as he nods in the big man's direction.
The guy turns his menacing face and stares ahead to continue his business. Alex continues to the stall and does the same.
INT. TABASCO BAR - NIGHT
Fernando is sitting next to an empty stool, beer mug in hand. He looks over towards the bathroom wondering what's taking so long.
As he gets off his stool, he bumps into a GROUP OF GUYS that are passing by.
FERNANDO (smihng) Woah! Hey there, buddy - we almost started dancing there - sorry about that.
Femando is about to continue on his way, but he notices that the guy he just apologized to was staring him down. It's a challenge that can't be walked away from. Femando turns and the two men are face to face. 20
FERNANDO (CONT.) Hey, pal, I think I just apologized to you. Didn't your momma teach 'ya how to accept an apology?
As Alex exits the bathroom, a loud "SMACK" is heard and with it Fernando tumbles backwards to land at Alex's feet. Alex sees that it's going to be a two-on-three situation and considers those to be good enough odds.
He picks his uncle up off the ground, whose SHATTERED SUNGLASSES managed to stay on his face. The two Reynoso men jump to the fray.
A classic barroom brawl breaks out with people taking sides. Fernando is fighting the guy he bumped into. A guy is lunging fists into Alex's gut as another restrains him from the back. A LADY sneaks up on the restraining guy and smashes a bottle on his head, allowing Alex to fall to his knees. His attacker is about to continue the beating, but Alex lunges forward and smashes the guy in the groin with the top of his head. The guy stands for a couple of seconds, clutching himself and then falls to the ground.
The BIG MAN from the bathroom smashes the heads of two much-smaller men into one another. Fernando is punched and knocked to the floor. Somebody is about to break a chair on the big man's back when Alex grabs a hold of it. The guy tums around to see what happened to his chair when he feels a tap on his shoulder. It's the big man. WHAMMO! He nods his thanks to Alex, who ducks as a body flies over him.
Fernando is smashing his opponent's face into a table. The bartender is sitting in a comer watching the place get demolished, while taking a drink from a tequila bottle.
FADE OUT.
CUT TO:
EXT. PIANO BAR, JUAREZ - NIGHT
Fernando and Alex, all tousled and bruised, have found their way to a classier place.
They naturally have trouble getting in. Fernando is about to hand some extra-cash over, but, out of nowhere, an elegant lady stops his hand. It's LINDA DE SOTO.
LINDA (to the doorman) Juan, it's ok. They're with us.
She and Alex make eye contact, but then her date for the evening leads her inside. Alex and Femando follow. Fernando taunts the bouncers on the way in. INT. PIANO BAR - NIGHT
Fernando comes alive (even more) upon seeing the happening crowd. Alex has a curious look on his face. Fernando shakes Linda's hand.
FERNANDO
Hey, thanks a lot.
Alex and Linda look at each other.
Her date is pretty aloof FERNANDO (CONT.) Do you guys know each other?
LINDA I guess you could say we've passed one another.
Fernando tries to figure that one out for a second or two and gives up.
LINDA (CONT.) (excusing herself) I hope you gentlemen have a good evening.
Linda and her male companion depart. The fact that he appeared snobbish wasn't even noticed by Fernando.
FERNANDO Man, that was some fine broad! You're gonna tell me what she meant by that. Let's go find a place to sit.
Linda and her date join a group of well-dressed people at a popular table. Fernando and Alex are out at the bar again.
Alex looks over across the room at Linda's table. She smiles and raises a glass in the air. He does the same.
Couples talk, dance, and generally have a good time as Father Time elapses.
Linda and her date are on their way out. She stops, leaves her date standing, and walks in the direction of Alex and Fernando.
They watch her approach, totally transfixed. ~>1
LINDA (to Alex) I never got your name.
Fernando nudges his nephew with his elbow. Alex stands and Femando quickly follows.
ALEX Uh ... I'm Alex Reynoso, pleased to meet you.
They shake hands.
ALEX (CONT.) This is my uncle Femando.
Fernando very happily reaches out to kiss the lady's hand.
LINDA (to Alex) I'd like for us to do more than pass one another. Maybe we can actually get together sometime?
ALEX Yeah, I'd like that.
LINDA My office is at Century Plaza. Feel free to stop by sometime.
ALEX I'll do that.
She turns and walks away. Uncle and nephew don't know if she looks better coming or going.
INT. MARIO'S DEN - NIGHT
Mario Reynoso is at his couch watching TV. He's in his robe.
INT. DODGE TRUCK - NIGHT
Alex is riding shotgun in Fernando's late model truck.
FERNANDO I tell you! If you, if you don't jump on that -1 will. ALEX I don't know, tio, she's gotta be the finest thing I've ever seen, but. . .
FERNANDO But?
ALEX I don't know.
FERNANDO But. . . you're a faggot!
Femando laughs at his own remark.
FERNANDO (CONT.) No. No. You know what your problem is? You think too much! Maybe all those years those fancy schools did mess you up!
Femando is smiling. Alex is subdued and looking ahead.
EXT. ALEX'S CONDO - NIGHT
Fernando drops Alex off and drives away.
EXT. FERNANDO'S RESIDENCE - NIGHT
Fernando drives up to his driveway and parks. He exits the truck and approaches his house. He slows. He's noticed something. He draws his gun, proceeds cautiously, opens the door, and quietly enters.
INT. FERNANDO'S RESIDENCE - NIGHT
He keeps the lights off and peers around a corner.
WHACK!!
A black-gloved hand chops into the back of his neck. A smallish, black-clothed and hooded figure darts out. Fernando is out cold.
CUT TO BLACK:
CUT TO: 24
INT. FERNANDO'S RESIDENCE - NIGHT
The phone is ringing. Fernando is on the floor. He finally hears it and gets up to answer.
FERNANDO (wearily) Yeah?
ALEX I've been calling you for the past twenty minutes. Are you ok?
FERNANDO Uh. . .
INT. ALEX'S ACURA - NIGHT
Alex is barreling down the street.
ALEX (on cellular) Listen, is everything ok over there? I just found some papers and stuff missing. Somebody broke in. I've been calling dad, but there's no answer. I'm on my way over, right now . . . Fernando?
INT. FERNANDO'S RESIDENCE - NIGHT
FERNANDO (weakly) Small world, nephew - some guys just jumped me here at the house. They're long gone, now, I'm sure. I don't what they took yet. I've been out for.
Fernando looks at his watch.
INT. ALEX'S ACURA - NIGHT
ALEX Hey, I've gotta go - I've arrived. You sure you're ok?
Alex hangs up and he pulls into the driveway. 25
EXT. MARIO'S RESIDENCE - NIGHT
Alex notices that the guards are missing. He panics. He mns into the house.
INT. MARIO'S RESIDENCE - NIGHT
The TV is on in the living area, but nobody is watching! Alex rushes into . . .
INT. MARIO'S BEDROOM-NIGHT
His father isn't there either! Just then, the sound of a toilet flushing is heard. Alex looks in its direction and rushes to the central bathroom, which he passed in his haste.
ALEX (yelling) Dad? Dad?
INT. HALLWAY - NIGHT
The bathroom door is opening and a CANE leads MARIO out.
MARIO What the hell is all this yelling? Where do you think I'd be at this hour, son?
Alex runs up to his father and, with tears in his eyes, throws his arms abound him.
MARIO Get off me, escandaloso, [excitable person] you're gonna knock me down.
ALEX I thought something happened to you. You wouldn't answer.
Mario adjusts his robe and questioningly looks at Alex.
MARIO Don't tell me you never get stopped up?
ALEX Isn't anybody else here?
MARIO I wanted to be alone. I gave everybody the night off 26
ALEX Dad! You can't do that! Somebody broke into my place tonight.
MARIO What?
ALEX They broke into the apartment and the same thing happened to Fern.
Alex picks up the phone and dials.
INT. FERNANDO'S RESIDENCE - NIGHT
A CU [close-up] of Fernando's cellular shows it ringing, but no one answers.
INT. MARIO'S RESIDENCE, HALLWAY - NIGHT
Alex hangs up the phone and takes a deep, resigned breath.
ALEX They knocked him out and took off
FERNANDO Is he ok? Isn't he there?
ALEX Yeah. He's ok. I talked to him on the way over here. He probably went to get his head bandaged, or something.
Alex puts an arm around his father.
ALEX Dad, do you want me to make you some tea?
Alex leads his father into the kitchen area.
INT. MARIO'S RESIDENCE, KITCHEN AREA - NIGHT
Alex and Mario share a small, round table as they sit across from one another and sip their tea. ALEX (upset) I didn't know who to call. I don't have your men's numbers. I called the station and they told me Tacho was off his shift and I couldn't reach him. I don't know anybody else at the department.
MARIO We're not going to start that again, are we?
EXT. MARIO'S RESIDENCE - NIGHT
Fernando pulls into the driveway and storms into the house.
EXT. MARIO'S KITCHEN - NIGHT
Alex and his father are framed in a long shot. Fernando walks in their direction. They both watch him as he approaches. One of Fernando's bloodshot eyes is still surrounded in purple. He doesn't look too peachy.
FERNANDO Well, well, well... I guess the party's over here.
Alex gets up and takes his cup to the sink.
MARIO (dryly) You want some coffee. Fern?
FERNANDO Nab, I'm fine.
Fernando leans against the wall. The chair across from Mario remains empty.
FERNANDO (CONT.) Has Alex told you somebody broke into his place tonight and took some papers? They just jumped me at the house right now, too!
MARIO I can see that.
FERNANDO No. I don't think so. I didn't get this tonight. I got it from Fuentes' gang . . . 28
FERNANDO (CONT.) . . . when they came to ask me why nobody delivered yesterday's noon shipment!
Mario is breathing heavily.
FERNANDO (CONT.) I can see what's happening and I guess I gotta be the one to say it. Your mistakes are getting bigger and the rest of us are paying for it.
MARIO (erupting) NOBODY has paid more for anything than I have!! I have paid too big of a price and I am not going to do it again!
Mario weakens after his outburst and Alex is there for support.
ALEX That's enough. Fernando, please?
Fernando looks as if he is about to stop, but then:
FERNANDO It's either you or me!! And Alex can do whatever the hell he wants.
Fernando storms out of the place. Mario just keeps staring ahead at the door. A couple of beats. Mario speaks.
MARIO You're going to have to choose, Alex.
ALEX What?
MARIO I'm getting too old and I'm way too tired for all this. You have to decide, son. You're either in or your out, either with him or with me.
ALEX I just want to see you enjoy the rest of your life, dad. ALEX (CONT.) You know Fernando can run things. I don't want to have to choose between the both of you.
MARIO I'll give it all to him, but I am not going to lose you. All I need is your word.
A beat.
ALEX (quietly) I can't.
Alex Reynoso walks out, leaving Mario Reynoso standing there - - alone.
INT. FUENTES' OFFICE - DAY
CARLOS ADRIAN FUENTES is sitting behind his desk. An older, TALL MAN in a suit walks in. They greet.
CARLOS Have a seat.
TALL MAN Thanks.
Both men are seated.
CARLOS Would you like some jellybeans?
TALL MAN Why, yes. Thanks. I see you haven't stopped making the black ones.
CARLOS Are you kidding? They're the most interesting flavor.
TALL MAN So. How is everything?
CARLOS (smiling) Good. The demand for candy continues to skyrocket. 30
The tall man chuckles.
CARLOS (CONT.) Sometimes I think that I'm not gonna be able to keep up with the demand.
TALL MAN Let us hope that never happens.
They both laugh.
CARLOS Listen, Pedro, I wanted to ask you something.
PEDRO Shoot.
CARLOS I'm getting ready to make an expansion.
Pedro's eyebrows raise.
PEDRO Oh?
CARLOS Yeah, I know. I got a lot going on, but I gotta go for it. That's why I need you.
PEDRO You getting bored?
CARLOS Nah, just good old-fashioned greed.
PEDRO How much?
CARLOS Five percent of new business for as long as you want to stay.
PEDRO That's alot of money. 31
PEDRO (CONT.) Even though you can't believe me, I don't really need any more money, you know. What I need even less, though, is boredom. And I do owe you one or two. I'll help set things up and as soon as I'm done, I'm out, probably three months. How's about five percent for one month and we'll call it even 9
CARLOS You're a crazy bastard, but if that's the way you want it. . . If you don't want any more money, how come you're charging me?
PEDRO It's a tough habit to break, my friend, and besides nobody works for free. Then there's also my insatiable charities. When do you want to get together?
CUT TO:
EXT. FERNANDO'S RESIDENCE-DAY
Bodyguard X is loading suitcases in the back of Femando's Dodge. It's a very sunny day.
INT. FERNANDO'S LIVING ROOM - DAY
Fernando and Alex are conversing as they walk towards the front door.
ALEX How long do you plan to stay?
FERNANDO
Till I get bored or things change around here.
EXT. FERNANDO'S RESIDENCE - DAY
Fernando and Alex exit the house. FERNANDO It certainly looks like you're the man now. Sorry I can't be around when the rest of the sparks fly.
ALEX You got any special plans? 32
FERNANDO Just horses and women.
ALEX Well, you be careful. Fern.
FERNANDO
I always am.
There are a few seconds of silence as they near the truck.
FERNANDO When I come back, I'd better find you and that girl together. ALEX Yeah, we'll see.
They're standing by the driver-side door. Bodyguard X is waiting outside, on the passenger's side. Alex and Femando are facing each other.
FERNANDO I wanna see you hold the fort like a rooster in the henhouse.
ALEX Tell Anita that I love her.
Fernando smiles and puts his hand on Alex's shoulder. They embrace. Fernando gets into the truck. Bodyguard X does the same. Fernando starts the engine and drives off Fernando sticks an arm out of the truck to wave goodbye. Alex raises a hand as he watches the truck leave.
INT. WAREHOUSE - DAY
It's practically an exact replica of the earlier meeting between FUENTES and FERNANDO, except that ALEX has taken his uncle's place. Neither man has provided himself extra security in the form of more goons, but Fuentes' men are brandishing SUB MACHINE GUNS.
ALEX I see you got some bigger guns this time, Mr. Fuentes. 33
FUENTES Just trying to make sure I'm protected from any possible retribufion for the little reminder I had to send you uncle's way. No hard feelings?
Alex stares blankly at him.
FUENTES (CONT.) By the way, where is he?
ALEX He's on vacation. Would you like to get on with this?
Fuentes sets himself in a METAL CHAIR and Alex does the same. A SMALL TABLE separates them. Fuentes rests his PORTABLE PHONE on it.
FUENTES (smiling) So let's see. How much you got for me today, son?
ALEX The exact amount that's been agreed on.
FUENTES Which is . . ?
ALEX Listen, old man, I don't want to play games. We got the 200k sitting in those rigs outside. Everything's in order. Your men loaded it all. All we gotta do now is look at the cash.
Fuentes remains still and says nothing for a couple of beats, then speaks.
FUENTES You're pretty direct, aren't' you 9
ALEX I just like doing quick business. Can we see the money? 34
Fuentes appears on the verge of saying something, but instead motions and one of his goons retrieves a couple of BRIEFCASES from their car. The goon places them on the table.
FUENTES There you are, Alex. Go ahead and take your time.
The smallest of Alex's companions steps up from the rear as Alex unlatches the case. Its top rises to cover Fuentes' face on frame.
The SMALLER COMPANION unlatches the other briefcase. He and Alex sift through the money.
Fuentes looks at his watch, takes out a pipe, and begins to stuff it. All bodyguards stand firmly. Most wear shades, making it impossible to detect where their eyes are pointing.
Overhead shots of money being looked through dissolve into one another.
A briefcase closes to reveal Alex's face in frame.
ALEX I believe we're done, Mr. Fuentes.
FUENTES Are you sure?
ALEX I expect we'll do business again soon.
Alex reaches out his hand as he rises from the table. Fuentes is slow to follow, but their hands eventually meet.
FUENTES It's been a pleasure doing business with 'ya, son. Say, do you play golf?
Alex smiles as his smaller companion awaits with a case in each hand. All cars are parked outside, about fifty yards away.
ALEX No. We'll keep in touch. 35
Alex and men begin to walk away from Fuentes and his men. Alex's two bigger companions walk sideways while bringing up the rear. They proceed to the warehouse's major source of illumination: the main entrance.
Suddenly, a group of COPS is in their faces and making demands.
C0P#1 (yelling) Hands in the air!
Alex and his men stop in their tracks, but one of the guys in the back goes for his piece. Alex turns to see Bodyguard Z reaching undemeath his sportscoat and behind him, Fuentes and his men exiting through a side entrance.
Two of the officers react and shoot. Alex and his men are in a tight cluster and they spread as they duck for cover. A BULLET flies and grazes Alex's shirt. Another flies and hits Bodyguard Z in the chest. He flies back and lands with a loud thud.
The smaller companion raises one of the briefcases in front of him as he tries to hit the ground, but a third bullet pierces the case and flies into his face. His head snaps back, his body turns and he winds up on his back, a briefcase on each side.
Alex and Bodyguard Y are lying face down. Their hands cover their heads. Cops #1 and #2 (both Anglos) proceed to arrest them.
As they're escorted out of the building, Alex glances back inside the warehouse. The other cops stay behind and wave goodbye.
INT. COP CAR-DAY
Cop#l drives.
COP #1 You boys almost got your heads blown off, back there.
Cop #2 turns to look at the two captives. He smiles.
COP #2 I ain't never seen two Mexicans move that fast.
COP#l Me neither, well, except maybe when they scatter back into Mexico when the patrol shines a light on 'em. 36
COP #2 Kinda like roaches, huh?
EXT. EL PASO CITY LIMITS - DAY
The cop car drives down a dusty road.
INT. COP CAR-DAY
CU of Alex. Country music plays on the radio.
EXT. DESERT-DAY
Cop car door closes. Alex and Bodyguard Y are escorted to a small ALUMINUM SHED.
Inside, a FAT, WHITE MAN stands waiting. Various large metal and plastic DRUM CONTAINERS are scattered about. Some are labeled with a skull and crossbones.
The two prisoners are led to a corner by Cop #2. Cop #1 is handing some cash over to the fat man. Both cops bid adios and exit.
The fat man looks over at the two men on the floor, whose handcuffs have been secured to each other with a third set of cuffs. The fat man walks a few feet to a table and retrieves a MACHETE.
He approaches and tells Alex and bodyguard to get up. They do. He ushers them to a different spot with the machete in the air. He maintains his distance.
Alex and bodyguard make their move!
They rush the fat man and position their mutual handcuff to meet the downward arc of the machete. It hits the cuffs, barely missing Alex's wrist.
All four hands grasp the fat man's arm. Alex knees him where his groin should be while the bodyguard aims his knee at the big guy's. All three men go down, Alex and bodyguard are on top of their captor and six arms battle for the machete, but it quickly goes down on the captor's face - repeatedly.
All three lay on the floor as blood slowly fills the space.
EXT. PANAMERICAN ROAD (MEXICO) - LATE AFTERNOON
Fernando and Bodyguard X are cruising down the road. 37
Femando gestures as he talks. He is on the wheel.
EXT. DESERT - LATE AFTERNOON
Bodyguard Y drives an old pickup truck. Alex is in the passenger seat. Both say nothing.
The sky in purple and pink as the sun sets.
EXT. LITTLE MEXICAN TOWN - LATE EVENING
Fernando's Dodge enters the town.
EXT. DURANGO RANCH HOUSE - LATE EVENING
We're at a rustic residence - not too big, but very calm and comfortable-looking. The sun is setting. The Dodge truck parks and Fernando walks towards the house as an attractive lady, late thirties, waits for him by the open door to a porch. Her radiant smile makes her that much more attractive. Her name is DORA.
INT. FANCY RESTAURANT - NIGHT
Alex and Linda share an exquisite dinner. Linda wears a nicely-cut evening gown and Alex a light blazer. Linda is looking at Alex. Alex is putting down his wine glass.
LINDA I'm glad you decided to ask me out.
ALEX Me too.
LINDA Tonight was a beautiful evening, wasn't it?
ALEX It's not over yet.
LINDA Not even close, but I was actually referring to the sunset.
ALEX Well, that's definitely over.
She smiles. 38
LINDA You seen to be in a pretty sarcastic mood.
ALEX 1 lost some money today.
LINDA You still haven't told me exactly what it is that you do.
ALEX I'd rather talk about you. How was it that you decided to go into international business?
LINDA Oh, I've always been into money and since I was born in LA, it took me a while to discover what treasures are to be found in the rest of America.
ALEX So why not dig them up for yourself instead of showing others how to?
LINDA I guess I just like sharing.
ALEX That's not a common thing, nowadays.
Linda takes a drink.
EXT. LINDA'S APARTMENT - NIGHT
Yuppie chic.
Alex escorts Linda to the door. They kiss passionately.
LINDA Would you like to come in?
ALEX Are you free tomorrow?
LINDA Yeah. 39
ALEX Then I'll see you tomorrow?
LINDA Ok.
ALEX I'll call you.
Alex leans into her. She has opened the door and stands with doorknob and keys in hand. He kisses her lightly and leaves.
INTERCUT SEQUENCE [cut back and forth during phone conversation] :
INT. ALEX'S CONDO - DAY
Alex picks up the phone and dials.
ALEX Tio!
INT. DURANGO RANCH HOUSE, LIVING ROOM - DAY
Fernando answers the phone.
FERNANDO Hey, Alex!
ALEX How's everything?
FERNANDO Oh, it's perfect. You barely caught me . I was just gonna go brand some heifers that I bought from old man Vallejo's widow - he died a couple of week ago.
ALEX That's too bad.
FERNANDO Yeah, but I sure got some nice cattle.
ALEX Have you seen Anita? 40
FERNANDO No, I haven't really left the ranch since I got here. What about you? Have you made the moves on the cuerota [fox] yet?
ALEX Well, we actually went out last night.
FERNANDO It's about time. How was she?
ALEX Nothing happened.
FERNANDO That's not what I meant, but since you brought it up, well, don't tell me she's an old-fashioned girl, or some thing?
ALEX I'm not really sure what she is. All I can tell you is that I'm definitely going to take my time with this one.
FERNANDO Oh, are you gonna get serious here or something?
ALEX No. No. It's not like that. She's just different, you know?
FERNANDO Hell, yeah, she's different. She's got the finest god damn piece of tail I've ever seen, which is why you should be on her like flies on shit!
ALEX (smihng) Give me some time, give me some time.
FERNANDO There's the Alex that I know and love. The way you were talking there, you kind of had me worried. . . So! What's the latest with Mario? ALEX I haven't seen him in a couple of days.
FERNANDO But you told him, right?
ALEX Yeah.
FERNANDO Well, its for the best.
ALEX Yeah. . . Call me when you see Anita, would you?
FERNANDO (chuckles) Don't worry, I will.
ALEX Ok. We'll see you later.
FERNANDO Se you later.
END INTERCUT SEQUENCE.
INT. - DURANGO RANCHHOUSE BEDROOM - NIGHT
A badass norteho tune is playing. The camera rests on a unique-looking pair of snakeskin/ostrich pointed boots.
It slowly pans up revealing; polyester, gray, heavily creased pants; a big, shiny belt buckle with the initial F.A.R., an elaborate Western shirt complete with rhinestones, swirly designs, and a bolo tie; a big grin on Fernando's face as he adjusts his tie; and a brand- new, gray Stetson on his head. He is standing in front of the dresser mirror.
DORA, Femando's lady in Durango, is doing the same at the vanity. The way she's dressed, she appears to be the female equivalent of Fernando, with only slightly better taste, though.
Fernando turns and shuffles to the beat of the music towards his lady. He reaches out for her hand and she responds. They dance around the bedroom for a few seconds until laughter makes them stop. 42
FERNANDO You look spectacular.
DORA Why, thank you, cowboy. You don't' look half bad yourself
FERNANDO You ready, sweetheart?
DORA Sure am!
EXT. RODEO FAIRGROUNDS - NIGHT
Everybody in the small town of San Sebastian, Durango and surrounding areas is here tonight. San Sebastian is just outside the city of Durango. There's music, food, and alcohol all around. Typical Mexican merriment.
A sombreroed vaquero on horseback is doing rope tricks in the middle of the ring.
Fernando and Dora are sitting in the stands, holding hands while he sips beer.
FERNANDO This is the life! Here with the most beautiful woman on earth, in the most beautiful land on earth!
She smiles and leans into her man.
A vaquero is riding a bucking bronco.
FERNANDO (CONT.) There's only one thing missing ...
She looks up at Fernando.
FERNANDO (CONT.) ... my brother. He would have loved this. He hasn't seen a show like this in a long time . . . and neither have I, come to think of it. It's amazing how easy it is to forget that the most enjoyable things are sometimes right in your own backyard. 43
A second vaquero tries his luck..
DORA They have shows in Juarez, too, don't they?
FERNANDO Well, yeah, but they're different. That's probably why I stopped going to them.
DORA You don't think that maybe it's because you keep yourself so busy up there?
FERNANDO Nah, I'm not as busy as I come across most of the time.
DORA Well, I'm not just talking about business.
At this point, she has resumed normal sitting posture
FERNANDO Yeah, I know, I'm a pretty wild guy, aren't I?
DORA If you're not on business, the only other thing you can be on is a barstool or some girl, right?
A third vaquero is on a horse. He gets knocked off
FERNANDO Look, let's not start.
DORA How do you start something that's never been finished? You'll probably be outta here by tomorrow. I never know if your ever going to stay!
FERNANDO Listen, I don't want to argue.
DORA Neither do I. I just want to know that you'll be here when I need you . . . 44
DORA (CONT.) ... the way I'm always there when you need me.
She sits with her arms crossed, looking in the opposite direction of Femando, who blankly stares ahead.
EXT. BULLRING - EVENING
A BULLFIGHTER and BULL are squaring off on the sand. Alex and Linda are in the stands. The sky is overcast.
Few people attend the ornate and bloody ceremony. IMPOVERISHED CHILDREN hawk "POWER RANGER" dolls with torero capes.
LINDA Is there always such a low turnout?
ALEX Yeah, I think so, I guess things aren't what they used to be.
LINDA That's too bad.
The bullfighter sinks a SWORD into the back of the bull's neck, but the beast is not anywhere close to dying.
A HECKLER sits behind the couple.
ALEX You having a good time?
LINDA Yeah. I can honestly say that I didn't expect this. The last time that I came to a corrida was when I was about ten.
ALEX It's been a while for me too.
LINDA So, how did you get the idea to bring me here?
ALEX I saw an ad that caught my eye. 45
LINDA Why was that?
ALEX It was on a billboard.
LINDA Oh, yeah. The one on the freeway around Elgin.
ALEX Actually, it's by McRae.
LINDA Yeah, that's right.
The bull is still standing. He has a sword and six BANDERILLAS in him. He charges and the bullfighter nails him one last time. Perfect aim. Finally! The beasts front legs bend and its body quickly follows.
The applause is less than thunderous.
INT. ALEX'S RESIDENCE - NIGHT
A pop ballad is playing is on the cd player.
Alex and Linda are in each others arms, slowly swaying from side to side in the middle of the living room.
Alex stops to reach in his pocket. He pulls out a JEWELRY BOX and hands it to Linda. She plays her role as the girl whose guy just made the romantic, gift-commitment gesture. Alex fulfills his role as the stud whose girl is melting in his arms.
Linda has opened the little box to reveal a unique-looking, little CROSS PENDANT. She puts it on. They look deeply into each other's souls and kiss passionately.
INT. ALEX'S BEDROOM - NIGHT
Alex is led into the bedroom by Linda. She sits on the edge of the bed and Alex stands before her. She unfastens his belt as he ever-so-softly caresses her face and hair. He lowers himself onto her as she leans back.
They're both fully undressed, moving slowly as they explore one another. Alex kisses the nape of her neck as he lifts her hair over her shoulders allowing his hands to rest on them. She bends her head all the way down and slowly sways it from right to left. 46
She finally winds up on top as they both reach the inevitable conclusion. Her breasts heave themselves in every direction. Her necklace flies all over the place, as well. She lets out a gasping smile. She then leans over and grasps her man's face in both hands so that her palms rest on his ears and kisses him in a way that he's never been kissed before.
They both lay quietly, side by side. He has his arm around her.
INT. ALEX'S KITCHEN - MORNING
Linda is frying a couple of EGGS as Alex nibbles on her neck. She turns and they kiss. The eggs burn. Alex breaks the kiss and takes the smoking eggs off the burner.
The phone rings. Alex is waving his hand for air circulation while Linda has an "oops" look on her face. Alex picks up the phone. He answers and remains quiet for what seems an eternity. His expression does a complete 180 from the smile he had on his face but a few seconds ago. He blankly hangs up the phone, then quickly catches himself
ALEX
Something's come up. I gotta go.
And with that he is out the door. Linda stands confused.
INT. HOSPITAL - MORNING
Alex runs down the hall to the front desk ALEX Mario Reynoso?
FEMALE HOSPITAL EMPLOYEE Your name?
ALEX (raising voice) I'm his son! Where is he?
FEMALE HOSPITAL EMPLOYEE He's in 238 B, but he can't. . .
Alex looks around and rushes to find his father.
INT. MARIO'S HOSPITAL ROOM - DAY
The man is plugged into a few machines. 47
Alex walks in slowly. He looks as if he's about to cry, but doesn't. Mario is unconscious. The female hospital employee rushes in after Alex.
FEMALE HOSPITAL EMPLOYEE
Sir?
Alex is at his father's side. He take his hand.
Alex then rises and walks towards the lady. ALEX (low voice) How's it look?
FEMALE HOSPITAL EMPLOYEE He's a strong man. All we can do now is wait.
ALEX May I please speak to the doctor.
FEMALE HOSPITAL EMPLOYEE I am the doctor.
They speak for a short while longer, out of our earshot.
She exits and Alex remains standing. He turns his head in his father's direction.
FADE TO BLACK:
FADE IN:
INT. MARIO'S HOSPITAL ROOM - DAY
The evening news is on. A report of a major drug bust is airing. A regional kingpin is captured and one and a half tons of coke and pot are seized. There are six dead.
Alex is in chair next to the bed. His vibrating beeper wakes him and he exits the room.
INT. HOSPITAL PAYPHONE - DAY
Alex places a call. 48
FERNANDO (o.s.) How is he doing?
ALEX The same.
FERNANDO (o.s.) I'll be there in a couple of hours.
ALEX Ok.
INT. AIRPLANE-DAY
Fernando hangs up, and signals to the stewardess that he's done using the phone. She walks down the aisle and retrieves it with a smile on her beaming face.
INT. HOSPITAL CHAPEL - DAY
Alex is kneeling before a cross. The chapel has maroon lighting and comes complete with little mock, stained-glass windows that are lit artificially, but one might not be able to tell without close inspection.
Alex is the only person there.
INT. MARIO'S HOSPITAL ROOM - DAY
Alex is in his chair, watching TV. This time the volume is barely audible.
Fernando walks in slowly. Alex gets up and they embrace.
FERNANDO What have they told you?
ALEX His chances aren't the best, but he's surprised the doctors by still being with us.
Fernando walks over to his fallen brother and starts to weep silently.
NOTE: MONTAGE DISSOLVES:
INT. MARIO'S HOSPITAL ROOM - DAY
Room 238 B. Alex sits in his chair, next to Mario. 49
INT. ROOM 238 B - NIGHT
Fernando sits in chair watching TV.
INT. ROOM 238 B -EVENING
Alex reads paper in chair.
INT. ROOM 238 B - DAWN
Femando stands by window.
INT. ROOM 238 B-DAY
Alex paces the room.
INT. ROOM 238 B - NIGHT
Femando is asleep in chair.
A NURSE quietly walks in. The camera doesn't reveal her face. She takes out a SYRINGE and gives Mario Reynoso a shot in the arm.
Femando remains asleep.
The nurse quietly exits.
END MONTAGE.
INT. ROOM 238 B - MORNING
Alex is looking out the window as Fernando is in the background, apparently weeping.
EXT. CEMETARY - DAY
A lot of people attend Mario Reynoso's funeral. The people who are closest to the casket and priest are all male, with the exception of Linda, who stands next to Alex. The bodyguards look mournful and one of them wipes his cheek.
The burial service ends and people begin to disperse. Linda sees that Alex is not going to move for a while. 50
LINDA (whispering) I'll be at my place.
She kisses Alex on the cheek and leaves.
After a while, Alex puts an arm around Fernando. It's time to leave. Femando turns and they begin the walk back to their cars.
INT. MARIO'S RESIDENCE - DAY
Alex and Fernando sit in the big, quiet house.
Fernando has his feet up on a table and appears to be napping. Alex sits in big, cushy chair with his head back. His gaze is fixed towards the ceiling.
The quiet continues until... the phone rings.
The phone sits on a table next to Fernando. His body remains still, as his hand reaches for the phone before the second ring. He sits up and speaks.
FERNANDO Yeah?
Alex tums in his uncle's direction.
FERNANDO (CONT.) El Playero? At three? Yeah. You sure? Ok. Thanks.
With that, Fernando hangs up the phone and gets up.
ALEX You're gonna hit Fuentes?
FERNANDO You grieve your way. I'll grieve mine.
ALEX By killing somebody on a mere suspicion?
FERNANDO I know he's responsible. 5!
ALEX We don't know that he was murdered. And even if we did . . .
FERNANDO (calmly) You heard the doctors.
ALEX Yeah?
FERNANDO (CONT.) They couldn't really explain what happened. I don't know how, but I know who.
Femando exits.
Alex sits back down.
EXT. EL PASO DOWNTOWN - NIGHT
Alex and Linda are exiting a late hours bar. Their appearance is casually elegant, but Alex is a bit rumpled.
They stroll along the exterior of a bar and grill as a TRUCK makes a sudden stop by the curb and a figure jumps out. It's a TWENTY-SOMETHING GIRL in sweats whose loading the days newspapers into the vending machine. She does her job and departs.
A slightly dreary Alex notices a headline and breaks with Linda to buy a paper.
The headline reads: "RECORD COCAINE SEIZURE IN BROWNSVILLE." Alex reads.
LINDA Why the interest?
ALEX I'm just curious.
LINDA Yeah, you probably sell drugs, don't you?
Alex folds the paper and puts it in his jacket. He puts an arm around her and they continue towards the car. 52
ALEX Very funny.
INT. ALEX'S CAR - NIGHT
Linda is driving. They both remain quiet for a while.
LINDA My place or yours?
EXT. CITY STREET - NIGHT
The car arrives at a stoplight. A couple of HOOKERS stand by the curb, deeply involved in their conversation as they start across the street and in front of the car. Alex's tired eyes follow them. The hooker closest to the car turns and allows her eyes to drift past Linda and wind up on Alex. They stare at one another. It's becomes apparent that this hooker is no "lady" - she's a TRANSVESTITE. Both mini-skirted figures continue across as the stoplight changes from red to green. The car moves.
The couple cruises around the barren city at night, passing the usual deviants: bums, people who get drunk at five in the morning on a Tuesday, and some unfortunate, commuting members of the workforce.
EXT. SCENIC DRIVE - NIGHT
Scenic Drive is a road that climbs up the FRANKLIN MOUNTAINS, which divide El Paso in half. They provide a vantage point from which southern El Paso and all Juarez can be seen at the same time.
Alex's car parks on a spot overlooking the vast landscape.
INT. ALEX'S CAR - NIGHT
Alex and Linda sit quietly for a few seconds, then she speaks.
LINDA
We all die, Alex.
Alex's gaze remains on the cityscape.
EXT. SCENIC DRIVE - NIGHT Even though its dark, one can easily distinguish Juarez from El Paso, Mexico from the US. 53
The American side has powerful, white-bluish streetlights, while the Mexican counterpart has weak, warm lights.
INT. ALEX'S CAR-NIGHT
Alex is still looking ahead.
He turns to Linda and speaks.
ALEX Where did you come from, Linda?
LINDA I told you, LA.
ALEX No. That's not what I. . .
Alex takes a deep breath.
ALEX (CONT.) Why it that I can never really understand you? I've come to accept the fact that women are a lot more complicated than men and I've always been satisfied knowing what little I could about them.
Linda listens closely.
ALEX (CONT.) I'd know the basic stuff and I considered that to be just about all I could ever hope to know, or want to know, sometimes. And then you came along.
LINDA So you're saying that you've always been satisfied with how well you've known the women in your life and that you want to get to know me better?
ALEX I'm saying that I don't feel I know you.
LINDA Oh. 54
ALEX (talking to himself, almost) The only other person that caused me this much confusion . . .
LINDA Your ex, right?
Alex is looking straight ahead.
ALEX (talking to himself) It isn't always such a bad thing to be confused, though. Sometimes it feels good to be lost. Some times you need to get lost... to find yourself
LINDA Well, you've lost me.
Alex turns to Linda.
ALEX I'm sorry. I'm rambling. What I'm trying to say is . . .
LINDA You're hung up on your ex!
ALEX I'm not sure I can admit that right now.
LINDA So tell me about her.
Alex lights up on the inside, but it manages to escape a bit. He turns back towards the horizon.
ALEX She was like you. Well, actually, it's more what I first felt that's alike. The same feeling that I had when I first laid eyes on her was kind-of what I felt when I first saw you. I didn't think that would happen to me again.
Alex stops. 55
ALEX (CONT.) I don't think I should be talking about her.
LINDA Let's talk about something else, then. What was it that you felt when you first laid eyes on me?
ALEX The very first time I saw you on the freeway . . . I felt as if I was six years old again and my mother was calling me into her arms to make it all better.
LINDA That's beautiful.
ALEX It's just that you and her are so different. Anita was . . .
LINDA I thought we were talking about your mother.
Alex tums back in Linda's direction.
ALEX The more I think about it, the more different Anita and you become.
LINDA It sounds like you're trying to say that I don't measure up.
ALEX No. It's not like that.
LINDA Then what?
ALEX I just think I need some time to myself
LINDA You want to break up? 56
ALEX I just think that after everything that's happened, I can't be there for anybody.
LINDA But I want to be there for you.
ALEX It takes two people to make a relationship.
LINDA It only takes one to mess it up.
Alex smiles a little smile and tums to her.
ALEX
Can't argue with that.
EXT. MOUNTAIN HORIZON - DAWN
The first rays of sunlight are peeking over the Franklins.
EXT. DESERT-DAY Femando is unloading a gun into some empty beer cans and liquor bottles perched on an abandoned car. He hits most of them. The crack of the gun ricochets against the dunes.
He goes into a small shack of a house on the desert.
INT. SHACK-DAY
A complete mini-arsenal lies on a twin-size bed.
Fernando loads all his weapons in a large suitcase. All except a small knife, a .357 Magnum, a pump-action shotgun, and a hunting rifle, complete with silencer.
EXT. DESERT-DAY
Fernando walks towards a blue, late 80's Ford pickup. He conceals the shotgun underneath the seat in a secret compartment and the Magnum in a rib-holster undemeath his jacket.
He gets in and drives off 57
EXT. JUAREZ DOWNTOWN - DAY
Fernando cmises in his pickup.
INT. EL PLAYERO BAR - DAY
Fernando casually walks in and eyes the place. He spots the hombre he is looking for as he sits at the bar. It's one of Fuentes' men, his main man: BODYGUARD #1.
FERNANDO (to bartender) Una tequila, por favor.
Fernando is served and he quietly and slowly begins to drink his drink. He sets down an empty glass three times marking the passage of time.
His man gets up and leaves the place.
Fernando pays and follows.
EXT. SIDEWALK-DAY
Fernando walks about ten feet behind the man. He follows him until he sees him get into his red, souped-up, 80's Trans Am. The guy drives off.
Fernando keeps walking.
FADE OUT.
FADE IN:
EXT. EL PLAYERO - DAY
We are in front of El Playero Bar. The same guy that Fernando was tracking yesterday walks down the sidewalk. He's got his buddy next to him.
INT. ABANDONED ROOM (ACROSS THE STREET) - DAY
Fernando peeks through a partially boarded-up window. He's sitting on an upside-down- turned pail with a rifle in hand. He takes out three long and slender, large-calibered bullets. He holds one of them up and admires it for a second before loading his silencer- wearing rifle. He brings up the rifle and looks through the crosshairs of his scope. 58
EXT. EL PLAYERO - DAY
The man in the sights is usually behind his buddy. No clear shot as they both enter the bar.
INT. ABANDONED ROOM - DAY
Femando lowers the rifle and waits. EXT. EL PLAYERO - LATE EVENING
The target exits with the buddy he went in with earlier, but this time they've switched sides so a clear shot is to be had.
A head explodes and brains splatter onto brick wall.
Panic ensues around the body on the sidewalk.
INT. ABANDONED ROOM - NIGHT
Fernando sets the rifle down, removes his gloves and tosses them into a large aluminum food can with a fire inside. He briskly exits the building through the rear.
EXT. BACK ALLEY - NIGHT
He gets into his pickup and drives off
INT. LINDA'S OFFICE - DAY
The computer monitor displays the news from the local paper: "Sniper Kills Man Outside Juarez Bar."
Linda De Soto sits at the computer. The phone rings.
LINDA Yes?
She looks at her watch.
LINDA (CONT.) I'll be here for another hour. I can't wait.
Linda remains at her desk and reaches into her blouse to retrieve the CROSS PENDANT that Alex gave her. She looks at it for a few seconds and lets it fall back underneath her blouse. 59
The door to Linda's office opens and in walks a handsome, well-dressed man in his thirties. He looks Anglo, but is Mexican. This is NICK. He closes the door behind him and stands waiting.
Linda has the blinds closed.
She rises out of her seat and walks towards the man, the whole time not losing eye contact.
As she's about to reach him, she rushes and throws herself at him in a passionate embrace/kiss. This quickly starts turning into something that may be impossible to turn back from as both figures grope each other madly.
One of them has to stop.
MAN (breaking contact) We can't.
He pecks her a couple more kisses and then walks away to recoup.
Linda is breathing even heavier than he is and she has never looked so weak or sexy. She remains fully dressed in one of her typical business outfits, yet she has never been so naked as she stands there panting and straightening herself up. She follows him to a corner.
LINDA You don't know how much I've longed to see you.
MAN I know. I've felt the same way.
Linda and man stare at each other for a couple of seconds and it appears that some more acfion is about to ensue, but Nick breaks the silence.
NICK Does he suspect anything?
LINDA I don't want to talk about that fat bastard, right now. I'd rather listen what you're going to do to me when this is over.
She starts up with him, but he breaks contact once again. 60
NICK I knew I shouldn't have come.
LINDA (taking a deep breath) Fuentes is an idiot! Mario's boy is just about fully exposed, but I gotta do some more work on him.
Nick kisses her one last time and departs without saying a word.
Linda simply stands there and watches him leave.
INT. ALEX'S LIVING ROOM - DAY
Alex is cleaning a small pistol. He's doing a very meticulous, slow job. He appears to be very contemplative.
The doorbell rings.
Alex quickly hides the weapon and cleaning supplies before answering the door. It's Linda.
LINDA Hi.
ALEX
It's not that easy to get rid of you, is it?
Alex walks away from the open door. Linda enters and closes it behind her.
LINDA
Nope.
Alex heads to the couch and lays himself onto it. Linda sits perpendicular to Alex.
LINDA How have you been? ALEX Ok. LINDA And Fem? 61
ALEX I wouldn't worry about him.
LINDA Listen, Alex, you can push me away all you want, but I'll always be there for you.
ALEX I'm sorry I can't say the same
She gets out of her seat and lays her head on his chest. He strokes her hair with his left hand for a few seconds then rises to seat himself She does the same. They remain seated on the same couch, but they're not too close.
ALEX C'mon, don't you know when a guy wants to be alone?
LINDA The only thing I get is that you're hurting and that you need someone.
She scoots down the sofa and gets on Alex, straddling him.
ALEX (looking directly into her eyes) What makes you think I don't already have someone?
Linda's expression changes to mild shock.
LINDA Are you seeing somebody else?
She gets off him as he gets up and walks towards a large window.
ALEX I think you'd better leave.
With this, Linda's expression turns to complete surprise. She gets up and starts towards him, but he violently and unexpectedly shoves her, and she falls to the floor.
ALEX (shouting) Don't you understand? 62
She cries, gets up, and runs out the door.
EXT. ALEX'S CONDO - DAY
Linda runs down a flight of stairs, visibly shaken, drops her keys, but quickly manages to get into her car and drive away.
An OLD, WHITE LADY just stands and watches, as her tiny, BROWN CHIHUAHUA tugs on the leash and barks its little mutant head off
INT. ANONYMOUS ROOM - DAY
Linda sits in a chair next to a CLUTTERED DESK. The place basically resembles some law-enforcement official's office, like the FBI, maybe.
A guy walks in and takes off his blazer, revealing a rib holster holding a semi-automatic. He drapes the jacket over his chair as he sits at the desk. His name is BOB.
He's a middle-aged Anglo.
BOB So what do you got?
LINDA I got one freaked-out guy and I don't think his uncle is in any better condition. I think Alex is gonna do something drastic, also.
BOB Like what?
LINDA Murder.
BOB Whose?
LINDA I don't know, but you guys should keep your eyes open.
BOB That's why we have you, Linda. 63
LINDA (in a low voice) Yeah.
EXT. FERNANDO'S RESIDENCE - DAY
Alex and BODYGUARD X are playing cards.
Fernando's pickup drives up. BODYGUARD Y is driving. They park, get out, and walk to the house.
FERNANDO Are you guys enjoying yourselves?
Bodyguard X looks up. Alex doesn't.
ALEX I've lost the last three hands.
FERNANDO You should know better than to play poker with Toces.
Toces is wearing shades. He looks back down at his hand.
FERNANDO (CONT.) So, what are you up to, little nephew?
ALEX Just waiting for you.
Alex throws down his hand, a flush, and gets up.
ALEX (CONT.) C'mon, tio, let's go inside. I gotta talk to you in private.
Both bodyguards look at each other and shrug. Alex and Fernando go inside.
INT. FERNANDO'S LIVING ROOM - DAY
Alex and Fernando stand, silhouetted against a large window.
ALEX So, you're still convinced Fuentes was behind it. 64
FERNANDO Of course.
ALEX Well, I have to agree with you.
FERNANDO What made you change your mind?
ALEX Truth is, it's what I always thought, but just didn't let myself accept it.
FERNANDO You think you can handle this?
ALEX If I can't, I'll try dying.
Fernando smiles.
FERNANDO Alex, I'm not as young as I once was, but that same experience goes a long way, experience that you just don't have. Do you really think that you're up to this?
Alex looks at him straight in the eye.
FERNANDO (CONT.) I thought I'd always want to see you with passion like this, but now it kind of scares me. You can walk away and not be any less of a man, Alex.
ALEX I know.
FERNANDO Well, I'm not anyone to stop you. 65
EXT. DESERT-DAY
Alex and Fernando are shooting cans and bottles, just as Fernando was a few days earlier. Fernando instmcts Alex as Alex takes aim. He misses. Fernando takes the gun in hand and hits his mark.
He hands the gun back to Alex and this time he connects with half the targets.
MONTAGE SEQUENCE:
INT. GYM - DAY
Alex is punishing himself by doing sit-ups. He's completely drenched in sweat and he continues to pump ceaselessly.
Different day. Alex is at the bench. He's pushing the barbell pretty quickly.
Different day. Alex is at he heavy bag, pounding away - a regular De La Hoya heavy- hitting pretty boy.
Different day. Alex is at the bench again, but this time it takes him about five full seconds to do one rep.
END MONTAGE.
INT. ALEX'S CONDO - DAY
Fernando is talking and pointing to various parts of a gun as he takes it apart. Alex stands and watches, occasionally interrupting to ask questions.
EXT. DESERT-DAY
Alex is shooting at some cans again. This time he hits all his targets.
INT. TABASCO BAR - DAY
Fernando and Alex walk into the bar to unwind. It's not too crowded.
There's a group of loud, TOUGH GUYS at a table in the middle of the room. A couple of them make eye contact with Alex as he and Fernando make their way to the bar.
Alex and Femando sit almost at the edge of the bar, by the entrance. 66
FERNANDO (to bartender) Dos tecates, por favor.
Femando is significantly calmer than usual. Alex looks a little bit less relaxed than we're used to seeing.
FERNANDO (to Alex) You got some cigarettes?
Alex answers by retrieving the smokes from his shirt pocket. Both men light up.
After a while of silence, Fernando gets up and goes to the bathroom.
One of the guys at the rowdy table gets up and goes to the bar. He's drunk and is not quite looking where he's going as he continues to talk to with his pals. He bumps into Alex just as Alex begins to sip from his chilled mug. Alex spills some beer on himself and he turns to look into they eyes of the piece of shit who did this.
The guy is a mean-looking HUSKY DUDE. He meets Alex's state without backing down.
HUSKY DUDE Are you looking at something, pal?
Femando is exiting the bathroom as the sound of breaking glass is heard. To his feet stumbles the HUSKY DUDE who just posed the popular query among macho-types. His face is completely bloodied. Fernando looks up towards Alex.
Alex is holding the remains of his mug in a bloody hand.
All the guys at the table spring to action.
Fernando looks down to see that the fallen husky dude is slowly rising off the floor. Femando delivers a quick kick to the ribs and joins the action.
Alex slips out of the path of the first guy to charge, ramming his head into the edge of the bar.
Fernando mns right into a fist and falls to the floor. Alex gets punched in the face as well, but he quickly counters.
Fernando is back up on his feet and knocks out the guy who just decked him. 67
Alex ducks a punch and jabs some ribs. He quickly follows up by rushing the guy. This takes the two out of the swarm of bodies. Alex finishes the guy off and quickly charges back into the action.
It's a five-on-one situation, so we're expecting Alex and Fernando to get thrown through a window, or something.
But then, one of the guys in the majority pulls out a KNIFE and thrusts it towards Fernando's midsection. Fernando's eyes turn as big as silver dollars.
He tries to swing out of the path of the blade, but it still goes into his gut.
The guy who stabs Fernando runs out of the place and his pals follow.
Fernando just stands there, in a state of shocked disbelief, with a knife in his midsecfion.
EXT. TABASCO BAR - DAY
Femando walks out, knife still in him, while leaning on Alex. They reach a parked, beige Volkswagon Bug in front of the bar and Fernando leans against it.
Turns out they're on the Juarez strip and the traffic line extends past the bar. Everybody's stuck in their cars and are all looking and pointing.
A small crowd forms around uncle and nephew.
A little, DARK BOY holding an OLD LADY'S hand stares at Fernando. The old lady slows their walk, but then suddenly yanks the little boy away.
INT. HOSPITAL ROOM - DAY
Fernando is in a hospital bed. Alex is sitting.
A doctor walks in scratching his head.
DOCTOR I still don't believe it, Mr. Reynoso, you have got to be the luckiest man alive. That blade could not have entered your body any better if I had done it myself It missed everything! Not even an artery or anything. You shouldn't be here long. The nurse will be here soon with your dinner.
Alex and Femando look at each other and Fernando looks at the clock. 68
CUT TO:
CU of an analog clock in accelerated motion as it does a few quick tums.
CUT TO:
INT. HOSPITAL ROOM - DAY
Fernando is buttoning up his shirt over some bandaging.
Alex picks up a small duffle bag and the two men exit the room.
INT. ALEX'S CONDO - DAY
Alex and Fernando enter the open-plan apartment, with no wall between the kitchen and the living area.
ALEX You want some tacosl
FERNANDO Don't tell me you're gonna make 'em.
ALEX But, of course.
FERNANDO Just because I survived a knife in the gut, doesn't mean I'm gonna survive that.
Alex goes into the kitchen and begins to work. Fernando lies on the couch. Alex starts out smoothly, but drops a pan which shakes Fernando out of his near slumber. Alex starts a grease fire, but quickly, and noisily, manages to put it out.
Fernando slowly gets off the couch.
ALEX That's ok. I got it.
FERNANDO If I don't step in here you're gonna kill the both of us and everybody else in the building.
Alex and Femando are cooking now. Fernando makes a couple of minor mistakes, but together they seem to have things under control. 69
Femando and Alex are having dinner in the living room.
FERNANDO Not too bad, if I do say so myself
ALEX I couldn't agree with you more.
A Spanish-language soap opera is on TV. A BLONDE, FEMALE CHARACTER is crying as she throws herself against an older man in a suit. The remote turns off the tube.
ALEX You think it's time we go after the big fish now?
FERNANDO No, not yet.
ALEX Number two?
Fernando nods.
INT. TOPLESS BAR - NIGHT
A pair of boobs is jiggling on the screen. The camera pulls out to reveal the body their attached to .
Fuentes' BODYGUARD #2 is alone as he receives his lap dance. The girl motions for some more cash and the guy gladly hands over the rest of his paycheck.
EXT. TOPLESS BAR - NIGHT
Alex and Fernando are parked outside in the old, BLUE TRUCK.
Bodyguard #2 exits the place in a long shot. He walks to the side of the building, covered in shadow. He gets into his Ford Taurus and drives off
Fernando starts up the truck and follows the guy.
INT. FORD TAURUS - NIGHT
Bodyguard #2 looks a little sleepy when a gun comes into the frame.
Alex is in the backseat. 70
ALEX Hey there. Just keep driving.
BODYGUARD #2 Hey, I know you.
ALEX Not well enough, I'm afraid.
EXT. DESERT-NIGHT
Bodyguard #2 is walking, Fernando and Alex right behind him. Alex holds the gun.
BODYGUARD #2 You're not gonna kill me, are you?
FERNANDO You hijos de puta [s.o.b.'s] killed my brother.
BODYGUARD #2 Naw, man, that wasn't us. I swear.
FERNANDO You shouldn't swear right before dying.
Bodyguard #2 is shaking nervously.
BODGYGUARD #2 I'm telling you, it wasn't me or any of us.
FERNANDO Turn around.
The guy does as he's told. Fernando walks up to him, getting a little too close. Alex has his gun aimed. Fernando takes out a SMALL FLASHLIGHT and shines it in the guy's face. Fernando looks directly at the bodyguard, who is blinking rather quickly. His fear is obvious, and so is his embarrassment as he tries to hold back tears.
Fernando starts to walk away, but the guy lunges towards him and Alex fires a shot. It hits the guy in the shoulder and he immediately hits the sand in pain. He drags himself in the dirt, away from Alex and Fernando. 71
BODGYGUARD #2 I swear it. I'm scared. It wasn't us. I don't know who did it!
Alex is shaken. Fernando signals to Alex to put his gun away. Alex is slow to respond and it actually looks like he might finish the guy off, but Fernando gently grabs the muzzle, takes the silencer off, and puts the gun away.
FERNANDO (in a low voice) Something's wrong here.
INT. FUENTES' RESIDENCE - DAY
Fuentes has a place even more impressive than Mario Reynoso's estate.
He's in the living area.
Bodyguard #2 stands before him, arm in a sling.
BODYGUARD #2 He told me to tell them that it was you. I told 'em "no" and they shot me. I still wouldn't tell them.
Fuentes listens attentively.
BODYGUARD #2 (CONT.) They said the only reason they let me go was so that I would tell you, personally.
Fuentes laughs.
FUENTES Ahh, these Reynoso's certainly are crazy. I don't know where they get their ideas. Is that all they said?
BODYGUARD #2 Well, uh, yeah. 1 think they're coming after you, boss.
FUENTES Well, isn't that interesting. Hey, why don't we make it easy on them? You can be the messenger, again, Julio. 1 want you to go . . . BODYGUARD #2 (intermpting) Juan, sir. My . . .
FUENTES (interrupting) What?
BODYGUARD #2 My name is Juan, sir.
FUENTES You cut me off for that? If it wasn't that you're new with us, I'd shoot you right here and now! I'll call you Little Red Riding Hood or whatever I damn well please, but I am never to be interrupted like that, understand?
Bodyguard #2 stands solid like a rock, but breaks eye contact with Fuentes.
FUENTES (CONT.) Anyway, as I was saying, I want you to go back and tell them that I would love to meet with them, but I got business in Durango, and then I'm off overseas for a couple of weeks. If they want, maybe they can find me in Durango.
INT. MARIO'S EX-RESIDENCE - DAY
Bodyguard #2 is standing before Fernando and Alex in the living room area.
BODYGUARD #2 . . .and that's what he said.
Fernando and Alex look at each other.
FERNANDO When did he leave?
BODYGUARD #2
A couple of hours ago.
FERNANDO Toces, show Mr. .., what is your name? 73
BODYGUARD #2 (smiling) Jimenez, sir, Juan Jimenez.
FERNANDO Show Mr. Jimenez out, please.
Bodyguard #2 looks like he's about to say something else, but hesitates and just exits.
FERNANDO (CONT.) (to Alex) I think he knows something.
ALEX I think we should be heading to Durango.
EXT. AIRPORT-DAY
A plane takes off.
EXT. DOWNTOWN DURANGO -DAY
Alex and Fernando are driving down a street.
They continue on their way, but then a BALL comes bouncing onto the road and a YOUNG BOY mns after it. Fernando slams on the breaks and the kid is saved - - left frozen staring at headlights.
A NUN runs out after him and yanks him by the hand. She leads him back to safety.
Fernando is cursing and Alex stares at the child being led into the gates of ORFANATO SAN NICOLAS, DURANGO. EXT. DURANGO RANCH HOUSE - DAY
Alex and Femando drive down the ranch entrance.
DORA is standing out on the porch with her arms crossed. She isn't smiling.
The car parks and the men head for the house.
The lady stands still as Fernando approaches. Fernando stops at arms length from her and releases a slight smile. A beat. She folds and reciprocates with a full smile. They hug and kiss. 74
DORA I didn't expect to see you so soon.
FERNANDO Expect the unexpected. You haven't forgotten Alex, have you?
DORA Well, it has been a while . . . No, course not! How could I ever forget such a handsome face?
ALEX You're too kind, Dora.
She and Alex hug.
DORA How Anita could ever let such a man slip away, I'll never know. C'mon, let's go inside. I made some mole.
EXT. PANAMERICAN ROAD - DAY
Linda is driving a sedan. Nick is wearing a tie and sits in the passenger seat. INT. DURANGO RANCH HOUSE - DAY
Dora and Alex are conversing.
Fernando is on the phone, in the background.
DORA She's doing good, but she still needs you, Alex.
ALEX She does?
DORA Of course she does. She's never stated it outright, but as a woman, I know these things, I can tell.
ALEX I've been thinking about seeing her, but.. . 75
DORA You HAVE to see her and talk with her. I can tell you need her just as much as she needs you.
Fernando hangs up the phone.
FERNANDO Let's go, Alex.
Fernando kisses Dora goodbye.
FERNANDO (CONT.) We'll be back soon, darling.
The men head out the door.
DORA (calling out after them) What about the mole?
FERNANDO
You still haven't bought a microwave?
Fernando and Alex get into the car and drive off
INT. CAR - DAY
Femando is driving.
FERNANDO
Let's see if we can finally get some answers.
Alex looks straight ahead.
EXT. DOWNTOWN DURANGO - DAY
LINDA drives into town, unaccompanied. EXT. ANOTHER PART OF DOWNTOWN - DAY Fernando and Alex are at a stoplight. A begging TARAHUMARAN WOMAN with a CHILD strapped to her back starts towards Alex's side with her hand outstretched. Alex looks right through her, but before she reaches the car, Alex notices her. The light turns green, Alex and Fernando drive off, and the woman is left standing, open- mouthed and with a 1000 peso bill and a thermos in her dark hands. 76
EXT. SMALL AIRFIELD - DAY
Alex and Fernando stand by their car, waiting.
EXT. DIRT ROAD - DAY
A MILITARY TRUCK loaded with a half dozen armed SOLDIERS drives down the road. NICK rides shotgun. He's dressed in combat gear.
EXT. SMALL AIRFIELD - DAY
A CADILLAC drives up next to Alex and Fernando.
CARLOS ADRIAN FUENTES steps out along with BODYGUARD #1 and BODYGUARD #2, with arm in sling.
Just as they start towards Alex and Fernando, a small, single-engine plane comes into earshot. All turn in its direction as it descends on to the nearby airstrip.
FUENTES (loudly) You can see, gentlemen, I have some business to attend to, so I really can't talk for more than a minute.
FERNANDO I just have to ask you one question.
Fernando begins to approach Fuentes, but then - another interruption. A sedan speeds towards them. It screeches to a stop and out steps LINDA.
She walks towards Fuentes. She leans up against the fat man and throws a spiteful glance at Alex.
ALEX (to Linda) You recover fast, don't you?
LINDA Can't argue with that.
Fuentes looks at Linda.
FUENTES You were going with this guy? 77
LINDA I'll explain it to you later. Say, have you been waiting for me long?
Fuentes jerks her hand and heads towards the plane.
FUENTES (to Linda) You'll explain it to me now.
Linda gives slight resistance, but then Fernando intervenes.
FERNANDO (shouting out to them) Fuentes!
Fuentes stops and turns. Fernando approaches him and stops about two feet away from his face.
FERNANDO (CONT.) We need your help to settle something . ..
Linda is behind Fuentes. She looks at her watch.
FERNANDO (CONT.) . . . something that has to be answered .. .
Linda looks towards the horizon. She takes a couple of steps back.
Fuentes' two bodyguards, weapons drawn, are slighdy in front of him, facing in Alex and Fernando's direction
Fuentes keeps his eyes on Fernando and Alex.
FERNANDO (CONT.) . . . and if you can't help us, I don't know who can.
INT. MILITARY TRANSPORT VEHICLE, BACK - DAY
The truck slows and stops. The troops are puzzled as they look at each other.
EXT. SMALL AIRFIELD - DAY
Fernando stares deeply into Fuentes' eyes. 78
FERNANDO Were you responsible for my brother's death?
Fernando and Fuentes look into each other's eyes for a couple of seconds, but before Fuentes can respond, Fernando's eyes drift to his left.
BEAM! BEAM! BEAM!
Fuentes' two bodyguards are blasted by gunfire. They fall face down, blood gushing out of their backs.
EXT. AIRFIELD STRIP - DAY
The plane touches ground.
Fuentes pivots and all three men are staring at Linda and the gun in her hand.
LINDA
Hands up!
She proceeds to pull out a very small cell phone out of her purse and dials.
EXT. DIRT ROAD - DAY Mexican soldiers are scattered about, either playing around or simply sitting on the ground. A couple of soldiers are tending to the military truck's engine.
Nick is walking around, visibly upset.
A phone is heard ringing. Nick reaches into his chest pocket and answers.
EXT. AIRFIELD - DAY
Linda is brandishing her phone and gun.
The men remain frozen.
LINDA (into phone) What?
She laughs.
LINDA (CONT.) Why am I not surprised? 79
LINDA (CONT.) Listen, I took things into my own hands. I've got things under control. The plane landed. Get yourself over here.
She hangs up.
EXT. DIRT ROAD - DAY
An OLD, TOOTHLESS MAN is driving his rickety, old, RUSTY TRUCK down the dusty road when he is stopped by a guy in military gear holding a handgun in the air. It's Nick.
NICK Excuse me, sir. Mexican army. We're going to have to borrow your truck. If you'll please step out. . .
The old man stares blankly at the army guy.
EXT. SMALL AIRFIELD - DAY
Linda has things very much under control.
LINDA (to Fuentes) Charlie, where's your other men?
Fuentes shrugs.
LINDA (CONT.) You two, get over there with Alex.
Fernando and Fuentes do as they're told.
LINDA (CONT.) Ok, gentlemen, I want your weapons on the ground . . . slowly.
The men very slowly take out their guns and lay them on the ground.
LINDA (CONT.) Now I need you to walk that way. . .very slowly . . . keep your hands up.
She waves at the plane with the gun as she follows the men towards it. 80
LINDA (CONT.) If things had gone as planned, you'd all most likely be dead, but instead I think we're going to get ourselves a little extra income.
FUENTES What are you going to do with us? Who are you working for?
LINDA I don't have a boss, you shit!
They take a few more paces.
LINDA (CONT.) Don't worry. None of you are going to die. As for you, Alex . . . You're even more lucky to be alive.
Alex listens closely.
LINDA (CONT.) I would have killed you by now, but ever since your dad died, your stock has gone up. I guess you're one of the big boys now. Anyway, it never ceases to be true: no matter how shitty the situation is, if you're big enough, your ass gets saved. Lucky for you.
Alex looks angry. Fernando is relatively relaxed. Fuentes is close to tears.
LINDA (CONT.) Oh, wait! How could I forget. Would one of you big, strong men go fetch the little 'ol black case in the car? What about you, Alex? No, on second thought, let's all go back.
They all go back a few steps to Fuentes' Cadillac. Alex leans in to retrieve the BRIEFCASE on the opposite side of the car. He spots a small pistol in a sleeve storage space behind the front seat's back rest.
LINDA (CONT.) Leave the gun alone, Alex.
Alex takes his eyes off the gun and retrieves the case. 81
LINDA (CONT.) Good boy! Now carry it for me to the plane. Let's go!
Linda brings up the rear, again.
EXT. AIRFIELD STRIP - DAY
The plane is doing a u-turn on the strip towards the group.
EXT. SMALL AIRFIELD - DAY
The group continues walking. Almost halfway there, Alex speaks.
ALEX I don't understand, Linda.
The men continue on their march.
LINDA All I can say is that Uncle Sam wants you and he's willing to pay a decent sum.
ALEX What about you? What do you want? Is this it? Is any of this going to give you what you really want?
LINDA I could ask you the same thing, Alex.
A beat. . . and then Linda turns to her right as the old, RUSTY TRUCK drives onto the airfield.
Fuentes is closest to her and he actually makes a move.
BEAM!!!
He gets shot in the face, just inches away from the gun muzzle. Blood and brains splatter onto Linda as she falls back. Fuentes' headless body continues its momentum and lands on her legs.
She drops her gun, but manages to pick it up just as Fernando produces another gun he had hidden under his belt. 82
Alex drops the briefcase, which opens and spills out its cash content. He is in between Femando and Linda.
He raises his hands on either side of him as if to shield each one from the other.
ALEX (shouts) NOOO! Nothing.
The only sound heard now is that of the old truck approaching. Fernando and Linda remain motionless, guns drawn.
FERNANDO It's her, Alex. She's the one who did it.
LINDA I'm DEA. . .
Alex turns to Linda.
LINDA (CONT.) I don't know what you're talking about. I didn't want to blow my cover. I wanted to tell you, Alex, but it was absolutely essential that Fuentes not know. I'm sorry, Alex.
Alex takes a few steps towards her.
ALEX You're not DEA. . .
She aims her gun at Alex, then back at Fernando.
ALEX (CONT.) . . . they would never do something like this.
FERNANDO If it was the DEA, there'd be a lot more motherfuckers here and we'd either be exchanging bullets by now or handing over some cash. They wouldn't arrest us, not like this, not here.
LINDA That's exactly what I'm doing. 83
ALEX I think you want to put the gun away so we can all walk away from this.
The truck stops at a distance and Nick exits and approaches very briskly with his hands in the air.
The plane has stopped and the pilot gets a handgun and leaves the plane. He quickly approaches and aims at Fernando.
PILOT Drop it, cabron [expletive] !
Alex draws yet another gun onto the scene and aims it at the pilot.
Nick, finally, adds one more weapon to the picture as he runs onto the scene with a gun that he was also concealing. He aims it at Alex.
Sirens ring out in the background.
NICK You guys are outnumbered, you'd better drop. . .
As he says these words, the camera slowly zooms into Linda's blood-drenched face.
BEAM!!!
One single shot is quickly followed by a short burst of addifional gunfire.
Everybody hits the ground.
FADE OUT.
FADE IN:
The COPS and the PARAMEDICS are on the scene.
BODIES are scattered about in pools of BLOOD.
A bodyguard is zipped into a bodybag.
The same is done to the pilot and then to Fernando.
Alex lies on a stretcher and is carried towards an ambulance. 84
A short, husky, dark-complexioned POLICE CAPTAIN stands in the middle of the scene. He puffs on a cigar as he takes in his surroundings.
As Alex is being loaded into the ambulance, he sees Linda for the last time.
She is completely drenched in blood. Her body is lying sideways. Her head is facing towards the ambulance, towards Alex, towards the camera as it zooms into the cross pendant that escaped her bloody blouse.
INT. HOSPITAL ROOM - DAY
The camera is on a CU of the television. A blonde female anchors the news on Mexican TV.
ANCHOR ... using the alias of Linda De Soto, and sometimes posing as a US federal agent, she was allegedly involved in the illegal confiscation of dmgs as well as money laundering. Reports speculate that she channeled money directly to counter-revolutionary efforts in Mexico and other Latin American countries. She had close ties to big business in Califomia, Texas, and Mexico.
Alex is on a mechanical bed, with the back raised. He turns off the television.
A knock is heard at the door.
ALEX Come in.
The door slowly opens to reveal the most stunning of visions: A WOMAN with DARK EYES a SLIGHTLY BRONZED COMPLEXION, and LONG AND WAVY, DARK- AUBURN HAIR that becomes translucent in the sun's incoming rays.
She has all the sex-appeal of a Linda De Soto, but it's understated, effortless. And yet, she also possesses a child-like purity and vulnerability immediately apparent in her big, soulful eyes.
She's dressed conservatively, in earth tones, with the only hints of bold colors coming from her slightly red lips and her few articles of native jewelry.
She moves slowly as she enters the room.
This is ANITA. 85
EXT. DURANGO RANCH HOUSE - LATE EVENING
Alex and Anita are sitting on a bench in the porch.
It's a totally picturesque setting as the sun approaches the horizon.
A nonconspicuous, late 80's car drives up the road and parks in front of the house. An "average-looking Mexican" steps out. It's the POLICE CAPTAIN in civilian clothes.
Alex walks out to him and they greet halfway. They shake hands and Alex pats the man on the back. They carry on as old friends. Alex hands the man an ENVELOPE.
The camera does a slow zoom-in towards a CU of Anita's beautiful, expressionless face, as she watches the men's interaction.
Alex's friend looks at his watch and points to the horizon. He and Alex shake hands once again. The man does a quick shuffle to his car.
INT. 80'sCAR-DAY
Before he starts the ignition, he peeks at the envelope's contents: a few FIVE- THOUSAND PESO BILLS and a CHECK made out to ORFANANTO SAN NICOLAS, DURANGO with a few zeroes on it.
EXT. ALEX'S CONDO - DAY
A GRINNING LADY with keys in hand ushers a MALE YUPPY up the stairs toward s Alex's condo.
INT. LITTLE ANONYMOUS OFFICE - DAY
An OLD NUN sits at her tiny desk. The paint on the wall behind her is chipping.
She's going through the day's mail. She opens an envelope and takes out a CHECK from the REYNOSO FOUNDATION. We see a few more zeroes.
EXT. FERNANDO'S EX-RESIDENCE - DAY
A bleached-blonde lady, sort-of a Tammy Fay Baker type, in Gucci everything and her fat, bald husband stand on the lawn facing the house. A real estate sign has "sold" slapped on it. 86
EXT. MARIO'S EX-RESIDENCE - DAY
A MIDDLE-AGED ANGLO BRIDE and her ANGLO GROOM run towards the entrance holding hands.
Two ANGLO KIDS run after them. Two MEXICAN MAIDS, in turn, chase them out of the shot.
The approaching-menopause, slightly chubby bride jumps into her beau's arms. The camera is behind them as he stmggles to make it across the threshold. As soon as he gets her inside, he loses his balance and they both fall forward.
INT. ANONYMOUS HALLWAY - DAY
The paint is chipping off the walls here also. A YOUNG NUN sifts through a pile of letters in her hand as she walks down the corridor.
LITTLE KIDS are playing all around her and the sound of their laughter fills the cold concrete space.
She looks very peaceful as she smiles at the occasional passer-by.
Suddenly, an inflatable ball bounces off the side of her head!
All the commotion and laughter the kids were making stops!
She looks down at the LITTLE MOB, which stands frozen.
A LITTLE BOY steps forward and raises his remorseful eyes from his lowered head to the nun for a couple of seconds, when suddenly she breaks out in laughter. The kids quickly join her.
She tones herself down to a smile as she playfully waves an accusatory finger at the little boy. She continues on her way, her smile never fully leaving her face. The kids resume playing.
She becomes a little serious upon seeing a letter from THE REYNOSO FOUNDATION. She continues walking as she opens it to discover: a CHECK.
She stops, remains still for a few beats, and then falls backwards and out of the frame as her eyes roll into the back of her head.
CUT TO BLACK.