"In writing fiction, the more fantastic the tale, the plainer the prose should be. Don't ask your readers to admire your words when you want them to believe your story." - Ben Bova [ more quotes ]

"MAN ON FIRE"

by Brian Helgeland

Based on the novel by A.J. Quinnell

February 10, 2003

V 2.0



OPENING TITLE SEQUENCE

EXT. MEXICO CITY - DAY

High over the city on a bright Sunday morning, the sun
pounding its way through the orange haze of smog. As we
descend toward the clots of traffic blocking the streets:
the sounds of a Mass being sung.

A CATHOLIC CHURCH

The big wooden doors open to release the parishioners inside.
Feature a tall, lanky 18-YEAR-OLD. Holding his GIRLFRIEND'S
hand, anxious for Sunday to really begin.

They don't notice the traffic suddenly thin, like a faucet's
been cranked down. They move toward a Mercedes 500. As a
CHAUFFEUR holds the back door open for them...

A GRAND MARQUIS

Squeals around the corner, lurches to a stop alongside the
Mercedes. FOUR MEN get out flashing badges. In a moment
they're hustling Eighteen toward the car, stiff-arming the
chauffeur. As the girlfriend cries and the gossip among the
parishioners begins...

The Grand Marquis pulls away.

INT. GRAND MARQUIS - DAY

They shove Eighteen down to the floor of the backseat.

These guys are not the police.

A switchblade is flicked open. Practiced hands slit the boy's
Sunday suit from the base of his neck to his heels.

Eighteen yelps as the blade draws blood across one calf.

Duct tape is wrapped around his hands, eyes, and head.

EXT. WOODED AREA - DAY

The Marquis is parked across from another CAR. FOUR NEW GUYS
wait as Eighteen is hauled out of the Marquis. His clothes
drop away like a snake shedding its skin. He stands naked,
bound and blind. Eighteen is handed over from one group to
the other.

INT. TELEPHONE - UPSCALE HOME - MEXICO CITY - DAY

The phone rings. A bomb going off. Eighteen's distraught
FATHER (family photos of the boy on the wall) answers.

REVERSE TO REVEAL a battery of POLICE and NEGOTIATORS in the
room with him. One of them listens in, waves fingers at him
as the negotiations begin.

INT. VIDEO SURVEILLANCE OF AN 8' X 4' CELL - DAY

A wall smeared with God-knows-what. Facing it, Eighteen stands
naked blindfolded and shivering. The back of his leg still
bleeds. He shifts nervously as a little JACK RUSSELL TERRIER
eagerly licks the blood off his calf.

A MAN ('The Dreamer'), we don't see his face, negotiates by
cell phone. Voice calm. As he runs numbers, he slaps his
thigh. Jack Russell trots over, gets an ear scratched.

At a motion from the man, Eighteen is taken down to the
ground. Straddled by two men, his head is mummified in tape
leaving one ear exposed.

CUT TO T.V. - Rosanna Garcia Guerrero, editor of REFORMA
newspaper, being interviewed, "...organized crime
syndicates... growth of kidnapping in Mexico over the last
two years."

EXT. UPSCALE HOUSE - DAY

As a hand removes a ziplock baggie from the mailbox. A glimpse
of something we don't want to see. An ear partially obscured
by sweating plastic and a blood smear.

EXT. CITY SQUARE - MEXICO CITY - NIGHT

A MERCEDES driving around the square, Eighteen's father waving
a white shirt out the window like a surrender flag.

EXT. BRIDGE - NIGHT (3 AM)

Footbridge over railway sandwiched between freeway.

Empty train blazes through. Dangerous, deserted downtown
neighborhood. Looks more like "war torn Beirut", burnt out
cars and trash. The 18 year old's father, naked to the waist,
walks from the family Mercedes over the footbridge carrying
a pillowcase full of cash to a semiderelict car on the
opposite side with a white piece of fabric taped in the rear
windshield and trunk open. He slams the pillow case in the
trunk and leaves.

EXT. DOWNTOWN MEXICO CITY - TWILIGHT

RUSH HOUR. A red stream of headlights separated from a white
stream of taillights by a narrow median.

HORNS blare as a CAR stops. Eighteen, still blindfolded, is
dumped on the median. The car pulls away.

He stands there in the whirlwind. Pathetically SCREAMING for
help. More horns, shouts, no help.

END MAIN TITLES. Goes to black.

CREASY'S VOICE
Ezekiel 25:17 Blessed is he who in
the name of charity and good will
shepherds the weak through the valley
of darkness for he is truly his
brother's keeper and the finder of
lost children.

DISSOLVE TO:

INT. AGO'S - MEXICO CITY - DAY

Samuel Valencia Ramos and his lawyer Jordan Kalfus in the
privacy of an alcove table. Jordan is well heeled, well
connected and well oiled. In that order. Samuel, at 40,
already has the patrician look that has served the male
members of his family for generations. They discuss the
kidnapping, a headline on the paper Jordan tosses aside.

JORDAN
The family paid the ransom and he
was returned two days later.
(laughs; chews)
His father still hasn't gotten up
the nerve to ask him if they fucked
him up the ass.

SAMUEL
And now every mother with money in
Mexico City wants bigger and better
bodyguards. My own wife included.

JORDAN
If she pisses you off, you get another
one.

SAMUEL
(laughs grimly)
Do you know what she told me last
night?

FLASH TO:

INT. SITTING ROOM - RAMOS VILLA - MEXICO CITY - NIGHT

Samuel sits at his baby grand piano playing a gentle rendering
of 'Delibes'. His American wife LISA stands away from him.
Just the sight of her back reveals a pitch perfect petulance.
She tells him:

LISA
A man's worth can be judged by what
he has or what he owes. Only the
amount matters.

SAMUEL
And bankruptcy. Where will that put
me in the social strata?

LISA
I'm only asking for one thing. And
it's not an extravagance. It's not
even for me; it's for our daughter.

SAMUEL
Our daughter.

She turns at that: a woman so beautiful it nearly hurts to
look at her. She stares, plays him like Chinese Checkers.

LISA
Our child's safety is at stake.

SAMUEL
(stops playing)
These people are professionals. They
don't waste their time taking children
whose fathers are virtually bankrupt.

LISA
Samuel, it is not something we should
skimp on. A bodyguard's presence in
the car or outside the school was at
least some form of deterrent. Now
he's gone, I feel totally exposed.

She just stares at him. He melts.

RETURN TO:

INT. AGO'S - MEXICO CITY - DAY

Jordan smiles at his client, enjoys seeing him squirm.

SAMUEL
Of course I care about Pinta. She'll
be as beautiful as her mother one
day.

JORDAN
Yeah? And if she was ugly?

Samuel rolls his eyes. Jordan laughs. Beheading two cigars,
he passes one to Samuel.

JORDAN
All my clients have kidnap and ransom
insurance.

SAMUEL
I have a policy, AIG. It covers me
and my family and when it runs out
in sixty days, without a bodyguard,
I will not be able to renew it.

JORDAN
I know you need to please Lisa. An
ass like that is hard to find. Good
bodyguards are even harder.

SAMUEL
(interrupts)
I know! I just had to let one go
because I couldn't afford him!

Jordan lights his cigar.

JORDAN
You need a bodyguard of some
description. It's a dangerous world
we live in. But you will get what
you pay for. He doesn't need to be
Superman, does he? Can you go fifteen
grand?

SAMUEL
For a year?

JORDAN
For a few months. Hire someone cheap.
You have to have a bodyguard to keep
the insurance. Then fire him for
incompetence. The important thing is
Lisa's daughter will return to school.

Samuel finally follows the logic.

SAMUEL
And Lisa will be able to save face.
We won't be the only family without
a bodyguard.

JORDAN
Her beauty fucks with your mind.

SAMUEL
For an American she understands this
country very well.

JORDAN
She understands men.

As Samuel puffs his cigar in satisfaction...

EXT. CORRIDOR - MEXICO CITY AIRPORT - DAY

As a 747 is towed by in the background, a MAN strides at us.
CREASY. Even in movement, he has a stillness, an air of
isolation. He's set apart from other living things.

He wears dark sunglasses, carries a well-worn leather bag.
Inscrutable. Disconnected. A bit frightening.

The discipline of a soldier. The independence of a gunslinger.

Automatic baggage teller (Red Light, Green Light).

Creasy feeds the machine with his perforated customs card.
Light flashes RED.

CUSTOMS MAN

He flips through Creasy's passport. Even the stamps have
stamps. Thailand. Somalia. Cuba. Columbia. Hong Kong. Saudi
Arabia. Every country in Europe. Guy's been around.

Customs looks up from the ink blue American Eagle to the
deep matte black of Creasy's sunglasses.

NOTE: [] denotes the lines spoken in Spanish.

CUSTOMS
[Where are you coming from?]

CREASY
[South America.]

CUSTOMS
[Where are you staying in Mexico?]

CREASY
[I'm on to Juarez.]

CUSTOMS
[Why?]

CREASY
[I have a friend there.]

Customs looks at Creasy a moment. He doesn't look like a man
who has 'friends'. Finally, customs smiles.

CUSTOMS
[I cannot see your eyes, Senor.]

Creasy slips off the sunglasses. His eyes are deserted.

Inevitable. Customs can only look into them a moment.

He indicates for Creasy to put his bags on a conveyor belt
leading to an X-ray machine. Creasy lifts his bag onto the
conveyor. The official hits the start button.

The bag drives forward towards the X-ray machine.

Creasy pauses, then offers up a license from his wallet.

CUSTOMS
[Senor?]

CREASY
[It's a permit to carry a gun in
Columbia. The gun you're about to
find in that suitcase.]

Polaroid FLASH Shot of Creasy straight on. Shot of Creasy
profile.

FLASH. Fingers being fingerprinted.

JUMPCUTS - suitcase being stripped and ripped (MIDNIGHT
EXPRESS), pack of Marlboro, bottle of Jack Daniels, glimpse
a weathered Bible (New Testament), intercut with seven pieces
of blue steel separated in different parts of the bag, ie.
toiletries, underwear, lining of suitcase.

The seven pieces laid together look remarkably like a well
travelled Sig Sauer 226. Creasy smiles.

EXT. JUAREZ, MEXICO FOUR BIG BURLY SUV'S - DRIVING

ACROSS THE BORDER CHECKPOINT - DAY

INT. SUV - DAY

Six Japanese BUSINESSMEN jabber on cellphones. PAUL RAYBURN
sits up front trying not to spill coffee on the mini Uzi
cradled in his lap. As his own cell phone rings, he answers.

RAYBURN
Rayburn here.

INT. CUSTOMS HOLDING TANK - MEXICO CITY - DAY

Creasy on payphone.

CREASY
When did Mexican Customs start getting
smart?

RAYBURN'S SUV

RAYBURN
Creasy??? Where the fuck are you?

CUSTOMS JAIL

CREASY
I'm here.

RAYBURN'S SUV

RAYBURN
What do you mean, I'm here?

CUSTOMS JAIL

CREASY
I'm in a Customs holding tank in
Mexico City International. Bring a
bunch of cash... about 5K. I'm going
to need it.

INT. CUSTOMS AREA - A BACK OFFICE

Rayburn has 5K U.S. dollars laid out on the desk between
him, the Customs official, and Creasy. The remains of the
suitcase are spread around the room. The main offender, the
gun being front and center next to the cash. Looks like the
official is going to fold.

RAYBURN
This is going to cost you big time.

INT. STRIP BAR - RETHINK LOCATION

A stripper does a half hearted grind as Rayburn and Creasy
sit at the bar sharing a bottle of 'Jack'.

RAYBURN
You got a secondary search and you
had a gun.

CREASY
Listen it was a calculated risk.
I've done it a million times and
never got caught.

RAYBURN
Everything happens once if you live
long enough.

CREASY
It doesn't make sense to x-ray your
bags coming off the plane.

RAYBURN
This is Mexico, they do everything
backwards.

Creasy hits the 'Jack'.

RAYBURN
So what's wrong?

CREASY
Nothing wrong.

RAYBURN
Don't give me that bullshit.

Creasy changes subject.

CREASY
So how's business?

RAYBURN
Japanese are here in a big way. Cheap
labor. Factory space. But they feel
a lot safer living over the border
in El Paso. I ferry 'em back and
forth. They think I'm John-fucking-
Wayne.

CREASY
But don't you stay in El Paso?

RAYBURN
Fuck, I love Mexico. I live like a
king down here.

Creasy takes a look around the Seedy Bar.

CREASY
Yeah, right...

RAYBURN
Oh, like you haven't been in worse
places.

CREASY
And a level five shithole is better
than a level six. Your logic's
inescapable.

Rayburn laughs. Creasy takes the bottle. Creasy's hand is
mottled by old burn marks.

RAYBURN
You been working?

CREASY
Not for eight months. I was in
Columbia looking around, but, nothing
seemed interesting.

RAYBURN
How long you staying, Crease?

CREASY
(shrugs)
Got no plans, Rayburn, Nothing on.
Just wanted to see you, how you were.
Came by on impulse.

Rayburn studies his friend a beat, just seeing the cracks
that weren't there last time they met.

RAYBURN
You did something on impulse?

CREASY
Everything happens once if you live
long enough.

Creasy smiles.

INT. PINTA'S BEDROOM - MEXICO CITY - NIGHT

Nine-year-old PINTA MARTIN RAMOS stares out at the garden, a
bit like Creasy, but only a ten yard stare.

Pinta's eyes brim with life. She folds her hands, closes her
eyes, prays. 'Chopin' drifts up from downstairs.

Samuel on the baby grand.

PINTA
Dear God. I do not ask for health.
Or wealth. People ask you so often
that you can't have any left. Give
me God what you still have. Give me
what no one else asks for. Amen.

Pinta grabs a battered old TEDDY BEAR and climbs into bed.
She pulls the covers up, looks over as her door opens.

Lisa enters. Pinta is her daughter.

LISA
You should be sleeping, baby.

PINTA
I'm trying, mom.

Lisa strokes her head, smiles.

LISA
Good news. You're going back to
school.

PINTA
(sits up; excited)
When?

LISA
Samuel is going to hire a new
bodyguard. It may take a few days,
but you're going back.

Pinta lets it sink in. Lisa kisses her goodnight.

PINTA
Could he speak English? Emilio
couldn't speak English.

LISA
We'll see. And thank your father in
the morning. A man always needs to
be thanked.

EXT. JUAREZ DESERT - DAWN

Four SUV's blast along a desert highway on their way to pick
up some Japanese businessmen. Rayburn rides shotgun, Creasy
in the back. Rayburn looks like he slept in his clothes.
Creasy looks crisp and clean.

RAYBURN
That's right, a bodyguard.

Creasy looks at him blankly.

RAYBURN
Your Spanish is good enough. You
certainly look the part.

CREASY
You're crazy. People would hire a
has-been, Ray? A drunk?

RAYBURN
Well, you'd have to keep it under
control.

CREASY
And what if, just say, there was a
kidnap attempt?

RAYBURN
You do your best. They won't be paying
you enough to perform miracles.

Creasy just shakes his head.

RAYBURN
It's not exactly a scam, Crease.
Even at half speed you're pretty
damn good.

CREASY
A bodyguard has to be close to someone
all the time. Willing to talk. I'm
not good at that.

RAYBURN
So you'll be the silent type. People
will appreciate that.

Creasy shakes his head, looks out the window.

RAYBURN
What are you doing here?

CREASY
I came to visit you.

RAYBURN
Bullshit. I've known you fifteen
years. You don't visit.

CREASY
A bodyguard... Who's the guy?

RAYBURN
Samuel Ramos. Owns one of the plants
in Juarez. The Jap car industry is
in the toilet. He's trying to persuade
Ford to partner with him. I think
he's in trouble. He asked me if I
knew anyone he could trust.

CREASY
Oh, now you think I can be trusted.

RAYBURN
Take a job, Creasy. Breathe some
air. Then decide if you want to...
stick around or not.

Rayburn throws him a VHS from the glove box.

RAYBURN
Instructional tape on what I tell my
clients about bodyguarding.

Creasy looks back at Rayburn who's just a little too
perceptive for comfort.

EXT. MERCEDES - MEXICO CITY SUBURBS - DAY

A dark Mercedes maneuvers the turns.

INT. MERCEDES - DAY

Creasy at the wheel. Samuel sits in the back. Studying.

SAMUEL
You drive easily. Smoothly.

Creasy doesn't answer, just drives.

SAMUEL
Were you provided with a gun?

CREASY
Yes.

SAMUEL
Show me, please.

Creasy takes his right hand off the wheel, reaches under his
jacket and passes back a beat-to-shit looking PISTOL.

SAMUEL
What is it?

CREASY
Nine millimeter. A Sig Sauer 226.

SAMUEL
Have you used this type before?

Creasy just nods. Doesn't like the show and tell.

SAMUEL
Is it loaded?

CREASY
It's loaded.

Samuel hands back the gun.

SAMUEL
You will meet my wife first. She
would like it if you are presentable,
polite and respectful. You'll be the
fifth candidate she's seen this week.

Samuel flips through a manila folder.

SAMUEL
Your resume is impressive. Nine years
in the Army. Extensive counter
terrorism work. I shouldn't be able
to afford you in my current state.
What's the catch?

CREASY
(honest)
I drink.

SAMUEL
How does it affect you?

CREASY
My coordination. Reaction time. If
top professionals try to kidnap your
daughter, the service will be on par
with the pay.

SAMUEL
And what if amateurs try it?

CREASY
I'll probably kill them. Is that
likely?

SAMUEL
No. And no one is to know of your
drinking problem. That includes my
wife.

As they pull up to the Ramos' impressive hacienda.

INT. SITTING ROOM - RAMOS VILLA - MEXICO CITY - NIGHT

Where Lisa is flipping through TV channels; Sky News, CNN,
etc... Each one showing some terrorist act - West Bank
protest, Madrid car bombing.

Samuel and Creasy, meanwhile, enter behind her. She clicks
it off, looks back at them.

LISA
The world of our children. How dare
they?

CREASY
(shrugs)
It's war. The weakest suffer the
most.

LISA
You're American.

CREASY
So are you.

SAMUEL
(introducing)
My wife, Mr. Creasy.

LISA
Lisa Martin Ramos, Mr. Creasy.

Lisa steps over, shakes Creasy's hand. Gives him a quick
once over.

LISA
Would you like a drink?

Creasy doesn't hesitate, doesn't look at Samuel and has no
irony in his answer.

CREASY
Thank you. Scotch and a little water.

She steps to the bar to make it.

CREASY - FROM SOMEONE'S POV

Slightly sinister. Watching from the frame of the door.

LISA
You've done much of this work before?

CREASY
Never.

Samuel sells, covers for Creasy's reticence.

SAMUEL
He has experience in related work. A
great deal of it.

LISA
Do you have any family, Mr. Creasy?

Creasy hesitates for an imperceptible beat.

CREASY
No. I do not have family.

And then, somehow, Creasy is aware of being watched. His
eyes flicker over, just in time to see...

PINTA
Crouched low. In the doorway. She
stares back at him a beat, then
disappears around the corner.

SITTING ROOM

Creasy frowns. Lisa steps over with Creasy's drink.

CREASY
Thank you.

She makes a point of looking into his eyes. Creasy looks
back into hers with complete indifference, something she has
not experienced even from dying men.

She abruptly turns away. Confused for a moment.

Finally:

LISA
Pinta!

A few moments and Pinta arrives. 'Cool Hand Pinta'.

PINTA
Yes, mom?

LISA
This is Mr. Creasy.

Pinta walks over and very formally holds out her hand.

Creasy shakes it. An odd beat.

LISA
Pinta, show him to his room.

Samuel reacts. Creasy got the job.

PINTA
This way, Mr. Creasy.

What an actress. As he follows her out. Samuel sits at his
baby grand and begins to play.

LISA
I think it's nice he's American.

SAMUEL
I think it's fantastic.

LISA
You realize that you've brought a
killer into the house.

Samuel is stopped short by that one. She steps over and kisses
her husband on the cheek.

LISA
Thank you. I feel better now.

EXT./INT. HOUSE - SUNSET

Pinta leads the way. All enthusiasm, away from her parents.
A 150 pound black German Shepherd greets them.

Sniffs Creasy's pant leg, unsure.

PINTA
Do you like dogs, Mr. Creasy?

CREASY
If they like me.

PINTA
Frank doesn't take to most people.
Do you speak German?

CREASY
(in German)
Ein Klines Bisschen. [A tiny bit.]

PINTA
Frank only responds to commands in
German. He was trained in Frankfurt.
My Dad loves the idea of having a
dog around, but hates the fact he
lives inside.

Creasy follows her. Frank pads along after them.

CREASY'S ROOM

Not like downstairs, but comfortable enough.

PINTA
We fixed the room up two weeks ago.
Mom and I. It's nicer than before.

Creasy takes a stroll around it, ignoring her.

PINTA
You've got a CD player if you like
music. I like music a lot.

CAW! Creasy looks over at a CAGE on a stand holding a MACAW.
It tilts its head at the big man.

A TV and VHS machine in the corner.

PINTA
That's 'Bird.' Emilio forgot to take
him with when he left.

CREASY
Who's Emilio?

PINTA
My last bodyguard. He drove me to
school in the morning and picked me
up in the afternoon.

Finally Creasy turns, looks at her hard.

CREASY
I'm here for you?

Pinta smiles huge, nods.

PINTA
In between you can take Mom shopping
and to lunch. Does that sound alright,
Mr. Creasy?

CREASY
Creasy. Just call me Creasy.

PINTA
(big grin)
Creasy...

Frank's tail wags imperceptibly.

PINTA
Looks like he approves of you.

And then, walking on air, she's out the door.

Creasy sets up his room with meticulous precision that comes
from years in the military. Front and center he arranges his
shrine: an almost empty bottle of scotch and a glass (engraved
from an earlier encounter) next to a pack of Marlboros and
his weathered Zippo. Then, his beaten up gun and holster. A
well-travelled New Testament is placed in the drawer.

CREASY'S BAG

He reaches in between the shirts, pulls out a fresh bottle
of scotch. He breaks the seal, unscrews the cap.

He pours a double... triple... wait, what do you call a full
glass of scotch?

CAW! The macaw squawks it's disapproval.

He ejects the shell from the breach of the 9mm, tries to
catch it on the back of his hand. An old game with himself.

His hand is too shaky. The bullet bounces off, hits the floor.
Creasy picks it up. Ejecting the magazine, he starts to oil
the weapon.

CAW! As the macaw squawks, Creasy looks up. It doesn't feel
like this relationship is going to work.

INT. PINTA'S BEDROOM - NIGHT

A battered TEDDY BEAR watches as Lisa sits on the foot of
the bed, tucks Pinta in.

LISA
School tomorrow, baby.

Pinta smiles, happy at the thought.

PINTA
I like him, Mom.

LISA
You do?

PINTA
He's like a great big bear.
(a secret smile)
'Creasy bear'...

Lisa smiles, kisses her goodnight. As she starts out...

PINTA
There's something about him.

Lisa turns, looks back at her daughter.

PINTA
I think he's been sick. He's alright
now, but I think he's been very,
very sick.

LISA
Well, think about going to sleep.
Good night, baby.

Lisa exits. Pinta looks over at the battered teddy bear.

PINTA
Just like you, a big old bear.

CUT TO:

CREASY

In his room. Tests his mag spring with his thumb, begins
loading up. The full magazine joins with those already loaded.

Another glass of scotch is poured.

Creasy's hands oil the holster. The Sig Sauer is slipped in.
The holster is hung over the corner post of the bed.

A map is flattened. Creasy's finger traces various routes,
pencils them in. From the house to Pinta's school.

The macaw squawks again. Creasy steps over, takes the cage
and carries it to the open window. He opens the cage door.

CREASY
Now's your chance.

The bird flies, disappears out the window.

INT. LISA & SAMUEL'S BEDROOM - NIGHT

Spent, glistened in sweat, the couple lay side by side.

LISA
She likes him.

SAMUEL
Hmm?

LISA
Creasy. Pinta likes him.

SAMUEL
Pinta loves school. She'd like Count
Dracula is he took her back there.

Lisa just smiles, knows her daughter better.

CUT TO:

CREASY'S ROOM

Creasy's drinking in the dark next to the window, listening
to the sounds of Mexico City at night.

The empty scotch glass is set down. Ominously sober.

INT. PINTA'S BEDROOM - EARLY MORNING

Brushing her hair, Pinta wanders to the window at the sound
of a car hood closing. Creasy is down below going over the
car; a dark BLUE MERCEDES. As he checks underneath...

The "Car Wash Guy", Pedro, trying to engage Creasy.

Frank looks on, seems like he disapproves of Pedro.

INT. MERCEDES - DAY

Creasy sits grimly behind the wheel. Pinta exuberant beside
him. Traveling route number one from home base to school.
Pinta looks at Creasy's hands on the wheel. The back of the
right one is swirled with scars.

PINTA
Where are you from, Creasy?

CREASY
The United States.

PINTA
I know. But which state?

Creasy checks the rearview mirror. A banged up white TOYOTA
COROLLA pulls out behind him.

CREASY
No state in particular.

Pinta frowns; this is going to take some work.

PINTA
My mom and me are from Houston, Texas.
Have you been there?

Creasy has his eyes on the mirror.

CREASY
No.

PINTA
You can drive and talk at the same
time, can't you?

CREASY
(turns left)
No.

PINTA
Why not?

CREASY
I'm looking for potential.

Creasy checks the mirror. The white Corolla continues the
way it was going. False alarm.

PINTA
Potential? I don't understand.

CREASY
Places where the road bends, places
away from buildings, places where
the traffic thins out. But you don't
have to understand. I do. So no
talking.

PINTA
Are you going to quit? My last
bodyguard quit.

CREASY
Let me guess, you wouldn't stop
talking?

PINTA
Someone gave him more money than we
could.

CREASY
I'm a bargain.

PINTA
Being black, is that a positive or
negative for a bodyguard in Mexico?

CREASY
Time will tell.

PINTA
There were 24 kidnappings in Mexico
City in the last six days. Four a
day. What do you think about that,
Mr. Creasy?

CREASY
Pretty impressive. Maybe I need to
up my fee or get a larger gun.

She looks at his scared right hand, then him. All curiosity.

EXT. CONVENT SCHOOL GATES - MEXICO CITY - DAY

Creasy pulls the Mercedes up out front. He notes the high
walls, the heavy gates.

PINTA
Beep the horn.

Creasy hits it. A beat and then a shutter opens at eye level.
Pinta waves from the car. A moment later the gate is being
slowly pushed open by an old WATCHMAN.

Creasy drives in toward a rambling, ivy-clad building set in
spacious grounds.

COURTYARD

Creasy parks, get out of the car. He looks around, appraising
the lay of the land.

PINTA
Isn't it beautiful?

Pinta's name is called. An elderly gray-haired NUN walks
over from the entrance. Pinta runs over, kiss her warmly on
both cheeks, then leads her toward Creasy.

PINTA
Sister Anna, the headmistress.
(to nun; proudly)
This is Creasy, my bodyguard.

Sister Anna shakes his hand.

SISTER ANNA
[Mr. Creasy.]

PINTA
[No, Sister, he told me just to call
him Creasy. He's American. From no
state in particular.]

SISTER ANNA
[You must look after our Pinta. We're
so happy to have her back in school.
Run along now, Pinta.]

Pinta waves goodbye, bounds away. They watch her go.

SISTER ANNA
[She's late, Mr. Creasy.]

CREASY
[Yeah, I've got to get used to the
routes. I -- It won't happen again.]

SISTER ANNA
[No offense, but I'm sorry that your
profession needs to exist.]

CREASY
[So am I, Sister.]

SISTER ANNA
[Do you ever see the hand of God in
what you do?]

CREASY
[Not for a long time, sister.]

SISTER ANNA
[The bible says, "Be not overcome of
evil, but overcome evil with good."]

CREASY
[Romans, chapter 12, verse 21.]

Sister Anna is impressed. She nods her 'props' to Creasy.

CREASY
[I'm the sheep that got lost.]

INT. MERCEDES - CONVENT SCHOOL GATES - DAY

Creasy pulls out, starts down the street. He's only gone a
hundred meters when SIRENS kick up. A police car behind him.
Creasy shakes his head.

CREASY
Here we go again.

Creasy pulls over, digs around the front seat as TWO SLOPPY
COPS head over.

SLOPPY COP ONE
Do you speak English, Senor?

CREASY
[Yeah. And Spanish.]

SLOPPY COP ONE
[You have an identification?]

Creasy hands them his PASSPORT and a printed LETTER. A
legitimate firearms license for bodyguard work witnessed by
Rayburn.

Creasy deliberately puts one hand on the steering wheel,
then the other. Minimizing the confrontation.

CREASY
It's a temporary license for the gun
I'm carrying. I just went through
all of this at the airport.

INT. BIG BURLY SUV - DRIVING TOWARD THE BORDER - DAY

Six Japanese BUSINESSMEN jabber on cellphones. Rayburn's
daily routine. He sits up front an Uzi cradled in his lap.
As his own cell phone rings, he answers.

RAYBURN
Rayburn here. Creasy, what's up?
(listens; laughs)
Yeah?

CUT TO:

POLICE LINE-UP WALL - As Creasy's MUG SHOT is flashed.

CREASY'S HAND - As he's fingerprinted.

CREASY
There's still ink on my fingers from
last week.

CUT TO:

RAYBURN'S SUV

RAYBURN
You got tossed. Don't trust the cops,
especially the Judicials.
(listens; laughs again)
Oh you know that?

INT. BAR - DAY

Creasy slams a Jack and Coke.

EXT. HIGH STREET - MEXICO CITY - DAY

Creasy striding, the frivolous shoppers like another species
as he moves through them. Might as well wear a shark fin. He
spots something: a MUSIC STORE.

INT. MUSIC STORE - MEXICO CITY - DAY

Creasy finds the section he's looking for, searches a rack.
There. As he pulls a particular CD, we are not privy to what
it is.

EXT. COURTYARD - PINTA'S SCHOOL - DAY

Creasy waits, smoking a Marlboro light, separate from the
other drivers and bodyguards. The bodyguards stand together
sharing cigarettes and stories. Give him a share of unfriendly
looks. Creasy could care less.

The doors open and the children pour out. PINTA exits, a
huge grin as she spots Creasy. Creasy palms the Marlboro.
The frown on him might as well be chiseled in marble.

INT. MERCEDES - ROLLING -DAY

Pinta rides shotgun alongside Creasy. She looks out the
window, realizes...

PINTA
We're taking a different way home.

CREASY
That's right.

Pinta thinks about it, realizes what he's doing, smiles.

PINTA
I understand. Smart.

No answer from Creasy. It's hard not to feel foolish around
this kid.

PINTA
Did you like school, Creasy?

CREASY
No.

PINTA
Not at all?

CREASY
No.

PINTA
But why not?

Creasy's hoping she'll just shut up.

PINTA
Hmmm?

CREASY
It wasn't a school like yours and
there was no Sister Anna.

PINTA
So you were unhappy?

CREASY
Being unhappy is a state of mind. I
never thought about it.

PINTA
Oh...

Pinta watches Creasy a moment, trying to figure a way in.

She looks at his scarred right hand on the wheel.

Then, as she reaches out...

PINTA
What happened to...

And touches it.

PINTA
...your hand?

Creasy gives her a look, devoid of humanity for an instant.

CREASY
No more questions.

When he speaks again he's colder; he's decided something.

CREASY
I'm not paid to be your friend. I'm
paid to protect you.

They drive on in silence. Creasy finally glances over.

Pinta stares straight ahead, her chin quivering.

CREASY
(exasperated)
And don't start crying.

PINTA
I'm not crying.

But she is. As Creasy stops at a red light...

CREASY
Look, this is the way I am. I don't
like questions. I --

And she's out the door.

CREASY
Shit.

Creasy shoulders open his door, bolts out.

INTERSECTION

Creasy has barely straightened himself and Pinta is already
getting back in the car. This time in the backseat.

Creasy sighs. The light goes green. Scooters whine away and
horns blare.

MERCEDES

Creasy sits back behind the wheel.

PINTA
You can take me home now, Mr. Creasy.

Creasy looks back at her, but she stares straight ahead.

As the chorus of horns continues, Creasy continues driving.

INT. KITCHEN - RAMOS VILLA - DAY

Creasy sits at the table with the old gardener GOMEZ (we've
seen him trimming hedges and such in earlier exteriors).
Gomez's just cleaned his plate and is going after any remnants
with a crust of bread. Creasy hasn't touched his.

MARIA, the cook, enters. As she clocks Creasy's plate...

INT. CREASY'S ROOM - SUNSET

'Chopin' drifts across the courtyard. Samuel is a very
accomplished player.

Creasy sits in a chair in the twilight by the window, a glass
of scotch in his hand. A knock at the door.

CREASY
Come in.

The door opens. It's Lisa.

LISA
Mr. Creasy, I wanted to make sure
you have everything you need.

CREASY
I'm fine.

LISA
Is the food alright? Maria tells me
that you didn't eat.

CREASY
The food's fine. Sometimes I don't
eat.

LISA
(smiles)
It insults Maria. Slip it to the dog
if you have to... Do you mind if I
talk to you for a moment?

He shakes his head. Lisa glides into the room like a dancer,
sits down at the foot of the bed.

LISA
How are you getting along with Pinta?

CREASY
We'll be okay once she realizes I'm
not a new toy.

LISA
(smiles)
Yes, she told me. Do you have
children, Mr. Creasy?

CREASY
No.

LISA
You should know they're tenacious
when they want something. And Pinta
wants to be friends.

CREASY
You're paying me to protect her, not
amuse her. Right?

A beat and then Lisa nods.

CREASY
Look. Maybe this isn't going to work.
Maybe you should ask your husband to
hire someone... more sociable.

LISA
No, you're right. You were hired to
protect her, that's enough. I'm
confident you'll do that.

Lisa stands, is about to start out when she sees his gun and
holster hanging from the corner of the bed. It gives her
pause. Something sexy about it and Creasy's proximity.

LISA
I didn't realize you had a gun. I
know that's silly to say.

Creasy doesn't answer, just watches her.

LISA
It makes it all seem so serious.

CREASY
It is serious, Mrs. Ramos.

LISA
Please, it's Lisa... I'll be coming
with you tomorrow. I have lunch with
friends.

Finally, Lisa just shrugs and disappears out the door.

Creasy slugs down a gulp of scotch.

INT. PINTA'S BEDROOM - NIGHT

Pinta, blankets up, teddy bear beside her, says her prayer.

PINTA
Give me God what you still have.
Give me what no one else asks for.

Then, she listens as Linda Ronstadt's "Blue Bayou" starts to
drift through the open window, down from the room above.

LINDA RONSTADT
"I'm going back someday, come what
may, to Blue Bayou..."

INT. CREASY'S ROOM - NIGHT

He stands in the dark, in front of the glow of the stereo.
The empty bag from the record store. This is the CD he bought.
As the song ends, Creasy hits the backup button. "Blue Bayou"
begins again. Creasy takes the 9mm from its holster. As he
sits back in his chair...

INT. PINTA'S BEDROOM - NIGHT

Pinta listens to the music, figures a way to dance to it.

INT. CREASY'S ROOM - NIGHT

Creasy sits in the dark with his 'Blue Bayou'. Creasy does
not look right. Holding the 9mm, he ejects the round, tries
to catch it on the back of his hand. No good.

He chambers another round. Tries again. Nope.

LINDA RONSTADT
"Well I'll never be blue, my dreams
come true, on Blue Bayou..."

INT. PINTA'S BEDROOM - NIGHT

Pinta still dancing, finding a way to be with Creasy whether
he knows it or not. Frank, the dog, watches her every move,
perplexed.

INT. CREASY'S ROOM - NIGHT

As the song repeats, Creasy chambers yet another round.

Feels like he misses a beat as he loads one shell into the
chamber. Pinta sings along oblivious. Suddenly the barrel is
at his forehead and the trigger has been pulled. No gun shot.
A click. Hammer against shell.

Creasy is confused. He ejects the shell and catches it in
the palm of his hand. Macro photograph / a small dimple on
the back of the shell is the only evidence of his actions.
Pinta still dances.

INT. RAYBURN'S BEDROOM - MEXICO CITY - NIGHT 3 A.M.

Rayburn in bed with his beautiful 19-year-old Mexican WIFE
and their four-year-old SON.

As she leans down to kiss her son, a cellphone rings.

Rayburn looks over at the nightstand. FIVE CELLPHONES there,
one of them ringing. Rayburn finds it.

RAYBURN
Rayburn... Creasy! What's wrong?

EXT. RAMOS HOUSE - NIGHT

Creasy stands at the edge of the drive, the house dark behind
him. On his cell phone.

CREASY
I said, have you ever had a nine
millimeter round that just didn't go
off?

INTERCUT THE FOLLOWING:

Rayburn pulling away, sitting on the edge of the bed.

RAYBURN
You mean a misfire?

CREASY
I mean nothing. The hammer came down
and nothing happened. Dimple on the
primer.

RAYBURN
I've heard of it. Never happened to
me though. Maybe the firing pin's
off.

CREASY
Maybe...

Creasy is troubled about it all to say the least.

RAYBURN
It's like we always used to say: a
bullet always tells the truth. What
were you shooting at?

Creasy doesn't answer. He holds the bullet up, looks at it.

RAYBURN
(focusing; concerned)
Creasy?

CREASY
Sorry I woke you, Ray.

Creasy clicks off the phone. He starts back toward the house,
but stops short again.

There she is. Pinta. Standing in the window of her room.
She's been watching him. It's like Creasy seeing her for the
first time. And she's been watching him forever. No easy
answer for it. They're connected somehow.

INT. CREASY'S ROOM - NIGHT

Fingers putting the special bullet into an old matchbox.

It takes it place of honor front and center on the shrine.
Next to the Marlboros and scotch. The New Testament is set
down nearby.

CU - Creasy asleep in his bed for the first time.

INT. MERCEDES - ROLLING - DAY

Silent Creasy driving. Lisa and Pinta in the back.

Creasy steals a look in the mirror. Pinta stares straight
ahead. But when Creasy looks away, Pinta steals a look at
him.

EXT. STREET - MEXICO CITY - DAY

As the mercedes crosses an intersection, a white TOYOTA
COROLLA turns right, pulls in thirty meters behind it.

INT. MERCEDES - ROLLING - DAY

Creasy clocks the Corolla, frowns. He pulls a piece of paper
from his pocket. But nothing to write with.

CREASY
Pinta, do you have a pencil?

PINTA
I go to school, don't I?

Sarcasm. He stays calm, doesn't let on what he's thinking.

CREASY
Please?

Her little hand comes over the top of the seat with a pencil.
Creasy takes it, slows to let the Corolla catch up. He squints
into the mirror to read the plate.

Lisa is oblivious, but as Pinta looks back over her
shoulder...

BRAKE LIGHTS up ahead. Creasy lurches to a stop. The Corolla
swerves around them disappears ahead.

CREASY
Sorry.

LISA
The traffic takes some getting used
to.

As Creasy cranes for a view, another WHITE Corolla comes by
headed the opposite way. They're everywhere. This relaxes
Creasy's paranoia. As he laughs to himself.

EXT. COURTYARD - CONVENT SCHOOL - DAY

They pull in through the gates. The Mercedes parks; Creasy
gets out. Pinta kisses her mother on the cheek.

PINTA
Bye, Mom.

LISA
Don't forget your towel.

Pinta gets out with book bag and her towel. As she starts to
walk past Creasy without a word, he holds out her pencil.
She holds up, shows him a SECOND PENCIL, continues on her
way. Doesn't need him.

MERCEDES

Creasy gets back in, starts away.

LISA
She has swimming practice today.
You'll need to pick her up at the
pool.

Creasy just nods. He doesn't want anything to do with Lisa
either. Thoughtful, Lisa looks out the window.

LISA
I talked to her. She understands.
She won't bother you anymore.

As Creasy just drives.

EXT. AGO'S - MEXICO CITY - DAY

Creasy waits in the street, stands by the Mercedes. He checks
his watch, looks around. The minutes do not pass quickly. He
looks over as the restaurant door opens and Lisa exits with
Jordan Kalfus and his Latin wife EVELYN.

LISA
(sees him)
Creasy!
(stepping over)
Meet Jordan and Evelyn.

Creasy nods. They study him with interest.

JORDAN
So you're the bodyguard?
(Creasy nods again)
You used to be, what did they used
to call it, a soldier of fortune?

Jordan doesn't quite hide his disdain. Creasy nods a final
time, lets his eyes drift to a 1000 yard stare.

EVELYN
(giggles)
Does he talk?

As Lisa gives her a dirty look, Evelyn whispers...

EVELYN
He's sexy...

Jordan looks in the direction Creasy looks.

JORDAN
You see any danger out there?
(laughs)
The fear's worse than the reality.

Just a blankness from Creasy.

JORDAN
I always wanted to ask a bodyguard,
would you take a bullet for your
employer, for Samuel?

A condescending smile as Jordan awaits his answer.

CREASY
I wasn't hired to guard Mr. Ramos.

JORDAN
For Pinta then?

LISA
Jordan!

CREASY
If something happened, my reaction
would be to fight to protect her. I
have skills in that respect. Pinta
would benefit by the fact that...
I'm a soldier.

JORDAN
What kind of an answer is that?

CREASY
The answer is the truth. The question
is foolish.

Lisa smiles at the answer, kisses Jordan on the cheek.

LISA
Jordan, thank you for the lovely
lunch. I promise not to let Evelyn
spend too much.

Evelyn doesn't see it, but Creasy does. Jordan just lets his
fingers trace the top of Lisa's ass.

As she and Evelyn head for the car, Creasy is there to open
the door.

MERCEDES

Creasy gets behind the wheel. Pulls into traffic. As he goes,
he checks the rear view mirror. Jordan remains standing on
the curb watching the car pull away.

Something odd about it all.

EXT. PUBLIC POOL - MEXICO CITY - DAY

Loud. Chaotic. Reminiscent of a lunatic asylum. Creasy arrives
at the public pool. A practice. Several bodyguards gather at
one end of the pool. Give Creasy a less than friendly look.
As he looks for Pinta...

A GUN goes off.

Sees: The smoke from the starting pistol as the SWIMMERS
splash into the water.

He sees Pinta in the pool. The fifty yard dash. She's in
fifth. Then fourth. Creasy walks along beside her.

Third. Second and closing. And at the wall, still second.

She surfaces, frustrated. As she sees Creasy there...

INT. MERCEDES - DAY

Creasy drives. Pinta in back, writing in her notebook.

Not speaking, but a weird sort of harmony. Finally.

CREASY
You're fast.

PINTA
Once I get in the water but not
starting off. By the time I catch
up, it's too late.

She keeps writing. The number "2" over and over.

INT. CREASY'S ROOM - NIGHT

Creasy sits in his chair drinking scotch. All alone needless
to say.

Creasy takes the instructional VHS on bodyguards that Rayburn
gave him and plugs it into the VCR. It's in Japanese. Shakes
his head. He switches off the VCR and surfs the TV channels
instead. Sees talk show with the editor of REFORMA newspaper,
ROSANNA GUERRERO, talking about organized crime in Mexico.

From out the window, a CAW, then again. Yet again.

Finally, Creasy stands goes to the window. He leans out,
sees Pinta's window across the lawn from him.

Pinta standing on the terrace. Another CAW.

Creasy decides to play. He CAWS in return.

Pinta looks around. Creasy does a pretty good impersonation.

Hears Pinta CAW again.

CREASY
Hey... Pinta...

She looks up at him.

CREASY
What are you doing?

PINTA
Calling for Emilio's macaw. I thought
I heard him.

CREASY
Do you think he'll come back?

PINTA
Maybe. Did you hear him?

CREASY
No.

PINTA
How do you think he got out?

CREASY
(a beat)
Well, I let him go.

PINTA
It's better to be free, right?

CREASY
Yes. Actually, he was driving me
crazy.

Creasy disappears back inside. Pinta smiles big before letting
the stick drop to the ground.

PINTA
I got you to talk, Creasy bear.

Blue Bayou plays. Pinta now listens to Creasy's sound.

RONSTADT
"...I'm so lonesome all the time,
since I left my baby behind, on Blue
Bayou."

EXT. RAMOS VILLA - DAY

A DRIVER gets Samuel's and Lisa's luggage into a car.

They're on their way, kissing Pinta goodbye.

LISA
I'll call you from Detroit, baby.

PINTA
You're going to miss Mexican
Halloween. The Day of the Dead.

SAMUEL
You enjoy it for us, Pinta.

Lisa gives her a look. Don't make this harder than it has to
be. Finally, Pinta nods.

Creasy waits quite a discreet distance away by the Mercedes.
She steps over, stops to wave goodbye one last time, then
gets in back. As Creasy shuts the door.

INT. MERCEDES - MEXICO CITY ROAD - DAY

Creasy drives, glances in the mirror at Pinta in the back
seat. She wipes away a tear just as it forms.

CREASY
They'll be back in a week.

PINTA
They can stay for two weeks. I don't
care.

She's got a toughness Creasy likes. As she looks out the
window, he looks ahead.

INT. KITCHEN - RAMOS VILLA - DAY

Creasy eats.

CREASY
[The food is excellent, Maria. You
have a real talent.]

Maria beams with pleasure.

MARIA
[My pleasure, Creasy.]

Pinta enters in a RED SATIN DEVIL'S OUTFIT. She looks a bit
forlorn as she sits at opposite ends of the table from Creasy.
As she stares at her plate, Creasy starts to laugh at what
an odd sight she is. All dressed up and no place to go.

Wrong move. Pinta stands, marches out of the room. As Maria
and Creasy exchange a look...

EXT./INT. WINDOW - RAMOS VILLA - DAY

Pinta the devil stares sadly out here window. Then there it
is! The macaw. Sitting on the opposite roof.

EXT. ATTIC WINDOW - RAMOS VILLA - DAY

Pinta pushes it open, climbs out onto the slope of the roof.
This doesn't look like such a good idea. As she crosses,
disappears over the peak.

It's a game of catch me if you can. 'Bird' looks at Pinta
right in the eye. She gingerly moves closer. The bird moves
away, just out of her reach each time.

CHIMNEY

Pinta coming down the other slope. There's the macaw.

PINTA
Come on. Come on. Bird!

The fourth time Pinta's fingers are centimeters away.

She reaches and suddenly slides along the slick tile covering
this section of the roof. Frank's in the yard barking loudly.

Near the edge, she manages to stop. Whew!

She scrambles up a few feet. A tile snaps off. She slides
again. This time right off the edge.

She catches the rain gutter. Hangs thirty feet above the
ground. A concrete landing below. As the gutter creaks:

INT. KITCHEN - DAY

PINTA'S VOICE
CREASY!

Creasy is on his feet, out the door in a heartbeat.

EXT. SIDE YARD - DAY

Creasy dashes around just as the gutter drops on one side.
Pinta drops ten feet, jerks to a stop as the gutter stops,
then drops the last twenty feet...

...landing in a hedge. Creasy dashes over.

CREASY
Pinta!

She's in a lot of pain, but moving her arms and head.

Frank's licking her face.

PINTA
It hurts.

CREASY
Where?

PINTA
(Short)
Everywhere!

She puts her hands to the left side of her ribs. Creasy
carefully probes with his fingers. She winces.

CREASY
I don't think they're broken. Anywhere
else?

PINTA
My ankle.

As Maria huffs and puffs her way up.

CREASY
I'm going to get you out, okay?

Pinta nods. Creasy eases his arms under, around her, lifts
her out as gently as possible. She disappears in his arms.

PINTA
Oh, Creasy...

And she bursts into tears. Maria looks up at the thirty foot
fall. Begins to cross herself.

CREASY
It's okay. She's just scared.

Creasy cradles her, pats her back. As Pinta says his name
like a mantra...

INT. HOTEL ROOM - DETROIT - NIGHT

Lisa on the phone. Fantastic in a black evening dress.

The Ford car industry dinner awaits her entrance.

LISA
You're sure she's alright?

Samuel enters from the bathroom, concern on his face.

LISA
Okay, good, you're sure.
(to Samuel)
He took her for an X-ray, but it's
just a bruise and a sprain.

She turns her back so Samuel can zip her dress up.

LISA
Thank you, Creasy. Give her my love.

INT. STAIRCASE - RAMOS VILLA - NIGHT

Creasy makes his way up, enters...

PINTA'S BEDROOM

Pinta in bed propped up by a pillow, teddy bear beside her.
Frank at the head of the bed.

PINTA
The night you arrived, Mom asked you
if you had a family and you lied,
didn't you?

CREASY
White lie. I didn't have a family.
But I did have two kids. They're
adults now.

It's a sensitive subject so Pinta moves on. She nods.

Creasy looks at the bear. An odd beat.

CREASY
Do you always sleep with him?

PINTA
I'm too old for him. Don't tell my
friends.

CREASY
I don't talk to them much. Does he
have a name?

Pinta thinks just a beat, then shakes her head 'no'.

Liar.

CREASY
I spoke to your mother. She sends
her love.

Pinta nods. Creasy stands there a beat, then heads for the
door. Almost out, he looks back.

CREASY
Some bodyguard I turned out to be.
Good night, Pinta.

He's halfway out the door.

PINTA
Creasy? Could you play the song?

Creasy is confused a moment, but when he sees her open window,
he realizes.

CREASY
Blue Bayou. You got it.

He goes. As Pinta eases back with a sigh and a smile...

EXT. MERCEDES - RAMOS HOUSE - DAY

Pedro the 'car wash guy' puts the finishing touches to the
Mercedes.

Using crutches, Pinta hobbles over. Creasy opens the back
door for her. But when she gets there, she hesitates.

PINTA
I think I'll sit in the front. There's
more room for my foot.

Creasy makes no big deal of it. He takes her crutches, opens
the front. As she scoots inside... Frank waits and watches.
Creasy calls to him.

PINTA
He's only allowed to travel in the
car on weekends. Dad says the car
will smell 'doggie'.

INT. MERCEDES - ROLLING - DAY

Both of them up front. Pinta is happy to be there and Creasy
doesn't seem to mind.

CREASY
Did you sleep alright?

PINTA
Yes.

CREASY
How's the ankle? Can you put your
weight on it?

PINTA
It's not too bad. Will it take a
long time before it's better? Our
big swim meet is in three weeks.
Interschools. I was going to swim in
the one hundred meter freestyle.

CREASY
In a week you should be fine.

They drive on a few silent beats, until...

PINTA
Doesn't matter. I always finish
second.

CREASY
You need to practice.

Pinta looks at him hopefully, but Creasy catches himself.

He's not going to coach a little girl. Finally...

PINTA
I will.

INT. KITCHEN - RAMOS VILLA - EVENING

Gomez, Maria and Creasy again joined by Pinta. As Creasy
places a fork of meat into his mouth...

PINTA
Creasy, what's a concubine?

Creasy opens his mouth, takes the fork of meat back out.

CREASY
Why do you ask?

PINTA
It was in a book at school. Concubine.

Maria and Gomez wait to see how he'll answer.

CREASY
Well, it's a sort of wife.

PINTA
But the Emperor of China had 1000 of
them! How can that be?

CREASY
In the West, it's one wife for one
husband, but different cultures have
different rules.

PINTA
It must be difficult having lots of
wives.

CREASY
You feel sorry for the husband?

PINTA
(in Spanish)
[Yeah. Can you imagine my mother
multiplied by a thousand?]

Maria and Gomez burst out laughing. So funny that Creasy
smiles. Pinta lights up at the sight. A huge victory.

PINTA
Creasy, you're smiling.

He reverts to a frown. Now Pinta bursts out laughing.

And Creasy can't help but smile again.

CREASY
I guess I am.

Pinta changes subject.

PINTA
So how come you know so much about
those countries?

CREASY
I had to do my homework on them when
I worked there. Also I enjoy history.

PINTA
What did you do in Asia? Is that
where you met the man with cigarettes?

CREASY
No, that was in Columbia.

CUT TO:

GOMEZ

Humming to himself as he brushes the leaves out of the empty
SWIMMING POOL.

CUT TO:

CU of a water faucet unloads 100 gallons a minute.

A MAN'S HAND. BLACK.

Raises up against the blue sky. Like a kid playing Cowboys
and Indians. The finger pulls an imaginary trigger.

RAMOS POOL

In her swimsuit and cap, Pinta crouches in makeshift starting
blocks.

CREASY
Bang!

Pinta takes off. Splashes into the water. Not to Creasy's
satisfaction.

CREASY
No, no, come back.

Pinta turns in the water, looks back at him.

CREASY
You don't flinch when a gun goes
off; you react. You go. Don't listen
for the sound; don't anticipate it.
Concentrate on the sound itself.

PINTA
I don't understand.

CREASY
Don't worry. You will.

Creasy points at the blocks. Pinta gets out of the water.

Shivering, Creasy throws a towel around her and rubs her
down.

INT. MERCEDES - ROLLING

On the way to school. Pinta is stealing looks at Creasy's
right hand. She knows the answer must be serious, but she
has to ask.

PINTA
Creasy, what happened to your hand?

Creasy looks at her a moment, deciding. Pinta practically
holds her breath, watches him, knows the answer may come.
Creasy checks the mirror, watches the road.

CREASY
A man asked me questions once. He
smoked a lot. There was no ashtray.

That's it. End of explanation. Creasy continues watching the
road. Pinta watches him.

CREASY
Remember you asked me what state I
was from?

PINTA
Yes.

CREASY
Where you're from isn't so much about
geography; it's about events. Where
you're from is what happened to you.

PINTA
Good things happen, too, Creasy.
(smiles big)
Like meeting me.

CREASY
(after a beat)
I guess that really does make me a
hard case.

As the two of them share a LAUGH...

INT. 3RD FLOOR HALLWAY - RAMOS VILLA - NIGHT

Lisa walking toward Creasy's room. As she moves to knock,
she sees the door is ajar, hears voices. She peeks in.

Creasy and Pinta sit on the floor, pencils, papers and a
book spread out before them. Doing her history homework.

LISA'S POV - OF CREASY

He's charming and great with Pinta. And sexy... Evelyn was
right.

PINTA
Do you have a girlfriend, Creasy?

CREASY
No.

PINTA
Did you used to?

CREASY
Yeah. Two or three.

Lisa continues to watch the little play. She smiles, knocks
on the door as she opens it. Pinta and Creasy both look back
over their shoulders.

LISA
Creasy, tomorrow, after you drop off
Pinta, could you come back to take
me to get my hair done?

Creasy nods. They both continue to look at her. She gets the
feeling she's interrupting.

LISA
Alright, I'll leave you two to your
history.

As she goes...

EXT. HAIRDRESSERS - ZONA ROSA - DAY

Mexico City traffic is heavy. Cars and people. Creasy stands
by the car across the street. Cooling his heels.

He can just catch a glimpse of Lisa in the shop.

Suddenly the traffic seems to finish, expending itself.

The street goes ominously quiet. Creasy's antennae go up.

A police car comes prowling down the empty street.

Creasy makes eye contact with the guys up front.

Then, Creasy spots a BUSINESSMAN coming out of a doorway
with a BODYGUARD attached. The bodyguard is speaking into a
two-way radio.

Creasy's sixth sense tweaks as a Mercedes 500 pulls up to
collect the businessman.

And the cop car disappears around the corner even as TWO MEN
start toward the businessman.

Lisa exits the hairdresser's. Looks stunning.

Creasy starts across the street toward her.

A second car squeals around the corner behind the Mercedes
and everything goes to Hell.

GUNFIRE erupts.

And then Creasy is there.

His arm around Lisa's waist, sweeping her off her feet.

The next thing she knows she flattened on the ground in a
shop doorway, Creasy on top of her. Shielding her.

The bodyguard beside the businessman is killed. The body
guard in the Mercedes trades a full magazine before he's
shot.

A PEDESTRIAN is killed.

Lisa screams as the glass above and behind them shatters.

The businessman is hustled into the back of the second car.

Lisa sees the gun in Creasy's hands.

She hears the slamming of the car door, the screeching of
tires. A parked VAN also hauling ass out of there. But then
she's aware of something else.

Creasy on top of her. She feels his weight, his heat...

CREASY
Don't move.

She watches as he rises, goes to the curb. One bodyguard is
sprawled dead across the ground. Red blood on the sidewalk.
As Lisa closes her eyes.

INT. MERCEDES - STREET - DAY

Lisa sits in the backseat. Through the window we can see
Creasy wrap up his statement to a member of the JUDICIAL
POLICE. Finally he gets in the car, starts to drive.

LISA
Murdering people in the street...
You had your gun, why didn't you
shoot them?

The shoulders in front of her just shrug.

CREASY
Nothing to do with me. Or you.
Besides, there was another one in
the passenger side of the van with a
sawed-off shotgun. If I'd started
shooting his friends, he would've
had me. And you.

Quiet a beat. Lisa pulls a sliver of glass from her hair,
looks from it to Creasy.

CREASY
A minimum close protection team
consists of four men for high threat
targets and environments. Even in a
low threat situation, you need two
guards plus a security trained driver.

She shakes involuntarily. It's hitting her. As they make eye
contact through the mirror...

EXT. HIGHWAY UNDERPASS - MEXICO CITY - DAY

The Mercedes parked. Creasy and Lisa up against it.

Fucking. No cultured way to put it. Like animals. A primal
release for both of them.

EXT. COURTYARD - PINTA'S SCHOOL - DAY

Pinta waiting alone. Creasy's late. Then the gate swings
back; the Mercedes drives through. Smiling, she hurries over,
hops in the passenger seat.

MERCEDES - ROLLING

PINTA
(happy to see him)
You're late.

CREASY
I'm sorry.

PINTA
You were never late before, I was
worried.

Creasy doesn't answer. He actually looks guilty. Pinta watches
him a moment.

PINTA
Where's my mother?

CREASY
I dropped her at home.

PINTA
It's no wonder you're late. Why didn't
she just come with you?

Creasy doesn't answer, just grunts. Pinta keeps looking at
him and it suddenly all makes sense.

He looks over at her, starts to say something, then thinks
better of it. Finally...

PINTA
Do you think my mother likes you?

She's for sure pissed. Definitely aware and definitely
jealous. Creasy's a bit amazed, not sure how to respond.

CREASY
I think she's afraid of me. But not
the same way most people are.

Pinta considers this. Then..

PINTA
I'm not afraid you, Creasy.

CREASY
I know you're not.

PINTA
Are you afraid of me?

Creasy looks at her, almost like he's deciding.

CREASY
I used to be. At first. But not
anymore.

Her smile is huge.

PINTA
Good.

EXT. GARDEN POOL - RAMOS VILLA - DAY

Heated. Steam rising off the water. PINTA stands with her
eyes closed. Creasy, standing beside her, brings TWO BLOCKS
together with a WHACK!

Pinta flinches at the sound. She opens her eyes, shrugs an
apology at him. Creasy frowns, shakes his head.

Pinta closes her eyes again. He starts walking around her.
Frank oversees the whole program.

CREASY
The gunshot holds no fear. Say it.

PINTA
The gunshot holds no fear.

CREASY
You welcome the sound. The sound is
what lets you go. The sound is what
frees you. You are a prisoner in
those blocks until you hear the sound.

Eyes closed, she's drifted off with his voice. And Creasy
WHACKS them together right in front of her face.

Pinta smiles at the sound. Creasy smiles at the sight.

EXT. RAMOS POOL - DAY

WHACK! Pinta bolts from the blocks. SPLASHES.

WHACK! WHACK! WHACK! Pinta surges. Pinta arcs. Pinta knifes
into the water.

Pinta touches the far wall of the pool, the finish line.

Creasy checks his watch, claps.

PINTA
I'm tough, Creasy. I'm tough as you.

CREASY
There's no such thing as tough. You're
either trained or untrained.

Pinta raises her arms overhead, makes like Rocky across the
shallow end. Creasy shakes his head in amusement.

INT. LISA'S BEDROOM - DAWN

First light is just tracing outlines against the window.

Lisa alone in bed, staring at the ceiling. Frightened at
what she's feeling.

CUT TO:

CREASY

Sleeping, looking sexy.

EXT. COURTYARD - RAMOS HOUSE - DAY

As the Mercedes pulls in, another car is ahead of it.

Samuel is home, a DRIVER pulls his LUGGAGE from the trunk.

Pinta gets out of the Mercedes.

PINTA
Hi, Dad.

He gives her a pat on the head. Simultaneously, Samuel fixes
Creasy with a look, strides purposefully over. He thrusts
out his hand, shakes Creasy's.

SAMUEL
I want to thank you, Creasy. For
what you did for my wife.

Creasy wants to choke, but he just nods, looks past Samuel
to Pinta who looks bemused. He doesn't even want to know
exactly what she knows.

The Car Wash Guy, -- Pedro, ingratiates himself with Samuel.

INT. CREASY'S ROOM - NIGHT

Creasy's finger presses play. "Blue Bayou" begins.

Plaintive, haunting. As he moves to sit in his chair, he
passes the scotch bottle. It has gone unopened.

He ejects the shell from the breach of the 9mm, smoothly
catches it on the back of his hand. Rock steady.

Frank's tail wags.

INT. PINTA'S ROOM - NIGHT

Where the song drifts down. Pinta smiles, closes her eyes.
Now she can go to sleep.

INT. LISA & SAMUEL'S ROOM - NIGHT

Samuel makes love to his wife. But Lisa looks past him,
through the walls and floors to where that song plays.

LINDA RONSTADT
"I'm going back someday, come what
may, to Blue Bayou."

INT. CREASY'S ROOM - NIGHT

CU of Creasy.

DISSOLVE TO:

EXT. PARKING LOT - MUNICIPAL POOL - DAY

The big swim meet. Race day. A lot of security, men speaking
into their wrists. For a public gathering the mood almost
seems ominous. Creasy and Pinta exit the Mercedes. Pinta
watches wistfully as her fellow STUDENTS stream toward the
water with their PARENTS.

PINTA
What's so important in Los Angeles?

CREASY
Your father has business.

PINTA
Why today? And why'd she have to go
with him?

Creasy shrugs. No comforting answer for her. He looks around
at some of the other bodyguards.

CREASY
Good luck. I'll be waiting here when
you're done.

But she's shaking her head adamantly. Determined.

PINTA
You're coming with me.

EXT. SWIMMING MEET - MUNICIPAL POOL - DAY

A big MARQUEE has been set up alongside the pool.

Coltish girls in swimsuits. Parents socialize, drink
cocktails. Richly dressed. Bodyguards and security are outside
of it, on the perimeter.

Creasy looks completely out of place.

PINTA
Stand near the finish line.

Pinta starts away.

CREASY
Pinta.

She turns, looks back at him.

CREASY
The blocks.

PINTA
(smiles; knows)
I'm a prisoner in them. Until the
gunshot sets me free.

Creasy nods. He smiles. He's serious now. As he watches her
head off for the track, Sister Anna steps up.

SISTER ANNA
[Mr. Creasy, nice to see you.]

And now Creasy is completely out of place.

CREASY
(apologetic)
[Pinta's parents are in Los Angeles.
I was going to wait in the courtyard,
but...]

She takes his arm, pats his hand.

SISTER ANNA
[Today you are her father.]

As Creasy lets this sink in, looks out where Pinta is warming
up. Sister Anna smiles, heads off to a group of parents.
We're left with Creasy. Confused Creasy. But clarity is
creeping in. As the sky opens up around him...

CUT TO:

STARTER'S PISTOL

Pointed up at precisely 45 degrees. BAAAANGG!

STARTING BLOCKS

Eyes closed serenely, Pinta surges forward, leaving everyone
behind.

CREASY

Sees it. She hasn't even hit the water and he already knows
she's won.

PINTA

SPLASH! Ten meters in before she breaks the surface.

Her head sweeping left and then right.

Wherever her competitors are, it's somewhere behind her.

And the future, everything ahead, is wide open.

TURN WALL - UNDERWATER

Pinta somersaults, kicks off and is gone.

SURFACE

And the finish line seems to come to her.

THE CROWD

Cheers enthusiastically as she reaches the finish wall.

CREASY

Watches her, satisfied with what he's done.

Pinta hauls herself out of the water and runs.

A beeline for Creasy. And the poor fucker doesn't even
understand, until she's leaping the last few feet...

Into his arms.

PINTA
I won, Creasy! I won!

She loves him... Creasy hugs her. He loves her back.

INT. TRADITIONAL RESTAURANT - MEXICO CITY - NIGHT

A MARIACHI BAND roams. We see Creasy but not who he's with.
A date? As we come around it's Pinta. Sitting with them,
Rayburn and his wife. And a sleeping four-year-old.

NOTE: Rethink following dialogue with reference to Creasy /
Rayburn background.

PINTA
My Dad said all your friends were
dead.

RAYBURN
All but one. The most important one.
When we were eighteen, we made an
agreement to "take the world"
together.

CREASY
Then one day, he calls and says,
'I'm in love and I'm moving to
Mexico.' I said what happened to the
plan?

RAYBURN
I said the plan was right here.

Rayburn looks at beautiful 19-year-old Alicia and their four-
year-old son sleeping.

CREASY
I hung up on him. When I met Alicia,
I got it.

Alicia blows Creasy a kiss.

CREASY
Can I kiss her now, or after you've
gone to bed?

Laughter.

PINTA
Okay, I think now is as good as time
as any.

She takes out a velvet pouch from her pocket. She holds it
out to Creasy. He looks at her, takes it from her hand. His
thick fingers fumble with a delicate drawstring.

Pinta waits for his reaction as Creasy pours a simple, but
fine MEDALLION and chain into the palm of his hand.

PINTA
I bought it with my own money. I
saved it.

Creasy is really affected, tries to hide it. She takes it,
slips it over his head.

PINTA
It's St. Jude, the patron saint of
lost causes.

RAYBURN
And hard cases. Creasy's the reason
St. Jude became a Saint in the first
place.

PINTA
Yeah, that's right.

Creasy looks at it, considers.

CREASY
Thank you, Pinta, it's beautiful.

Pinta kisses him. As the Mariachi band drifts over, Rayburn
grabs his wife by the hand.

RAYBURN
Come on, baby. I feel like a third
wheel. Watch the kid.

They dance. A waiter steps over, refills Creasy's water glass.
As he drinks...

PINTA
Could I ask you a question?

CREASY
Could I stop you?

PINTA
You don't drink like you used to.

CREASY
That's not a question.

PINTA
I know because I go in your room and
check the bottles.

CREASY
Still not a question.

PINTA
My mom drinks, too... Why do people
drink, Creasy?

CREASY
Now that's a question. I don't know
about your Mom. For me, the problem
isn't in the glass. The problem's in
between my ears.

PINTA
You think too much?

CREASY
Yeah. Because at one time, I didn't
think enough.

Pinta nods, thinks she understands.

INT. AIRPORT - MEXICO CITY - DAY

Samuel and Lisa on the moving escalator. Home from Los
Angeles. They look down through the glass, see Creasy waiting
for them below. And finally, Lisa frowns.

LISA
He has to go, Samuel.

SAMUEL
What? Who?

LISA
Creasy.

SAMUEL
Why? You were so pleased with him.

LISA
Pinta likes him too much.
(a beat)
She thinks of him as a father.

SAMUEL
That's ridiculous.

LISA
It's not.

Samuel thinks about it, is almost apologetic.

SAMUEL
I've just been so busy, Lisa.

LISA
He has to go.

Samuel looks at her, wonders at her adamancy.

SAMUEL
The three month trial ends in a week.
I just won't confirm the position.
That possibility was understood when
I hired him.

Lisa gives him a look. She wants it done today. But for once,
Samuel is stronger than his wife.

SAMUEL
I won't create bad feelings. And
another week won't make a difference.

Off the escalator, they turn toward Creasy waiting unaware.

SAMUEL
It will be a hard break.

LISA
She's young. She'll get over it.

SAMUEL
I wasn't thinking of Pinta.

As Lisa looks over at Samuel, he's reaching out his hand,
smiling big.

SAMUEL
Creasy, how are you?

As they shake hands...

INT. SITTING ROOM - RAMOS VILLA - DAY

PINTA
I don't want to play piano! I want
to swim!

SAMUEL
No discussion, Pinta. Mr. Lozzi is a
famous teacher. If he accepts you,
you will play.

As Pinta marches out of the room...

EXT. RAMOS VILLA- DAY

The sounds of Samuel's baby grand resonates throughout the
villa. An impassioned rendering of a Mozart symphony.

Pinta is looking for Frank. Today is Saturday and on weekends
Frank is allowed to travel with them. And today she is
claiming all her rights.

PINTA
Frank. Frankie.

Pinta whistles.

CREASY
Pinta, we've got to go. Travel sucks
at this time.

PINTA
Frank. Frankie.

INT. MERCEDES - ROLLING - DAY

Creasy driving. Pinta looking noble and brave.

CREASY
That's strange. Frank was a no-show.
Not like him to miss a ride.

PINTA
(distant)
You should break all my fingers,
Creasy, then tape them back together.
I won't be able to play the piano,
but I could still swim.

CREASY
Don't be a baby. You're tougher than
that.

PINTA
There's no such thing as tough,
Creasy. Just trained and untrained.

CREASY
(smiles)
Then be trained.

PINTA
I'm going to keep people safe someday.
Just like you.

CREASY
Be a swimmer.

PINTA
I could do it. Remember the day you
wanted the pencil? I know why. And I
saw that car again. I wrote the
license number in my notebook. Except
I missed the last number.

Creasy checks his mirror, nothing back there now. He then
looks at Pinta. A bit amazed.

CREASY
You'll have to show me that number
when we get home.

EXT. VIA BUENOS AIRES - MEXICO CITY - DAY

A wide avenue. The Mercedes pulls up parks in the only open
spot. Creasy and Pinta get out. We walks her across the
street, along the lawn to the apartment building. They look
up at the sound of piano keys tinkling above. Then:

Creasy looks at her, smiles to himself. Pinta looks back.

CREASY
Continue to play in the wrong key,
like you're dyslexic.

PINTA
Dyslexic?

CREASY
Like St. Jude. A hopeless case that
has a complete block about 'C' Minor.
But remember, "Whoever resists
authority will bring judgement upon
themselves." New Testament, Romans
13.

PINTA
You got that right.

CREASY
You'll be back in the water in twenty-
four hours.

Creasy presses the buzzer. As they wait, Pinta sees something,
reaches down to pull a DANDELION from a crack where the
sidewalk meets the wall. She smiles at Creasy.

PINTA
For you, Creasy.

Creasy takes it from her. He's saved by the bell as a second
buzzer answers the first. Creasy pulls the door open. Pinta
heaves a resigned sigh.

CREASY
Remember 'dyslexic.'

As Pinta nods, disappears inside...

DISSOLVE TO:

2ND FLOOR WINDOW

The curtains rustle in the breeze. The sound of badly played
scales. And then sounds of frustration.

Then, the sound of the teacher playing. Pinta appears in the
window for just a moment.

CREASY

Looking up from the window of the Mercedes. As Pinta is called
back inside, Creasy checks out, twirls the dandelion Pinta
gave him. HUMS to himself. "Blue Bayou."

CUT TO:

THE STREET

Creasy leaning against the Mercedes. Traffic pounding by.
The dandelion is stuck in a button hole of his shirt.

And then suddenly traffic thins out. Reminiscent of the
previous two kidnappings. It's a process. Creasy straightens
up.

A Judicial POLICE CAR cruises by, slowly. Creasy makes eye
contact with the two cops up front. The same guys who were
at Zona Rosa.

Creasy starts across the street toward the apartment building.
At the same time as...

The door bangs open. Pinta exiting. She spots Creasy, a huge
grin on her face. She was not accepted.

And a white TOYOTA COROLLA coming the other way.

The police car reverses back, cutting Creasy off from Pinta.
The COPS getting out, big smiles on their faces.

THE COROLLA

Slides to a stop in front of Pinta, blocking her path to
Creasy. And as TWO MEN leap out from the backseat...

CREASY
(drawing his 9mm)
Run, Pinta, run!

But she's rooted with fear.

And the men are almost on her.

Creasy raises the 9mm overhead. BANG!

And the sound frees her. Pinta runs!

Ducking under a flailing arm. Quick and lithe. Trying to
reach her bodyguard.

The cops drawing Uzi's...

Creasy plants himself, the Sig Sauer now level. He fires
twice into COP ONE, dead center in the chest.

Pinta runs. Chased by the TWO MEN.

COP TWO returns fire wildly: the Mercedes hit in a ten bullet
line.

Creasy fires two more rounds into COP TWO who's hit high in
the chest and throat. Precise.

Creasy pivots, strides calmly forward, firing at the men
chasing Pinta. BOOM! BOOM! BOOM!

MAN ONE goes down, hit in the ribs.

A bullet slams Creasy in the back, fired from inside the
Corolla.

Creasy fires back. BOOM! BOOM!

MAN THREE falls dead, hit just below his nose, just above
his teeth. The FAT DRIVER fires, now, and Creasy is hit in
the shoulder.

And Pinta disappears into the traffic. Gone.

MAN TWO, who has abandoned chasing Pinta, fires again.

Creasy drops the 9mm as he is hit in the stomach. He falls
to his knees.

The dandelion starts to come apart. Drifting away, piece by
piece.

Slack-jawed, Creasy looks about. Sees the FAT DRIVER heaving
himself out of the Corolla while MAN TWO scans for Pinta
who's nowhere in sight.

She got away! Creasy smiles even as he crumples over on his
side.

PINTA'S VOICE
CREASY!

And Pinta is back. Running toward Creasy. She can't leave
him like this. She was safe and now she's back.

CREASY
NOOO...

She runs to him, wraps her arms around him.

PINTA
Creasy...

MAN TWO catches up, tears Pinta away, starts back for the
sedan. Creasy can only blink after them.

PINTA
Creasy!

It's not a cry for help. It's anguish for him.

CREASY
Pinta...

MAN TWO crams her in the back seat, follows. The fat driver
gets back in behind the wheel. As the door slams shut, wheels
spin, grip and the Corolla accelerates away.

We just see Pinta look back through the rear windshield.

An anguished image before she's pulled back down.

Creasy makes a wish. Not for himself, but for her.

CREASY
Don't die, Creasy, don't die.

And everything goes very, very,

BLACK

Sound breaks through first. The whir and beep of medical
equipment. And we fade back into:

INT. HOSPITAL ROOM - MEXICO CITY - DAY

Creasy hooked up. Tubes running in and out of the unconscious
man. And he's suddenly surrounded.

The CHIEF of the Judicial Police and several uniformed
OFFICERS. At the foot of the bed several NEWSPAPER REPORTERS
and PHOTOGRAPHERS.

CHIEF
[This man, Senor Robert Creasy, an
American citizen, is under arrest
for the murder of two police officers,
Hector Gonzalez and Pablo Lunara. He
is also the prime suspect in the
kidnapping of Pinta Martin Ramos.]

One of the officers props up Creasy's head. The chief puffs
his chest out and flashes flash.

INT. RAMOS VILLA - BASEMENT - DAY

Sounds of a DOG BARKING Bruno opens the door to a very
distraught Frank. Someone had locked him in there.

CUT TO:

Work in Progress 2/10/03 65. LISA Sitting catatonic. In the
dark. Halfway to mourning already. A HUBBUB drifts up from
the rooms below.

INT. SITTING ROOM - RAMOS VILLA - MEXICO CITY - DAY

A bedraggled-looking Samuel sits with Jordan by the phone.
An INSURANCE COMPANY LAWYER is here as well.

Maria cries softly in a doorway.

MONTAGE - of chaos and panic. Judicial police are trying to
set up shop. Tape recorders. Listening devices.

Video cameras.

JUMPCUTS:

LAWYER
[When did he say he would call back?]

Cut to         
[Do not tell them you have a kidnap
        policy.]

Cut to
[They usually ask for three times
the amount they expect...]

They react as two vehicles pull up outside. Chaos as the
front door opens. MEN IN SUITS, several POLICEMEN.

Their very well-groomed leader is COLONEL TAZINARI.

TAZINARI
[Senor Ramos. I am Ernesto Tazinari,
commandante of the Judicial anti-
kidnapping division.]

JORDAN
[We do not need or want police
involvement. I am the negotiator. We
feel a better guarantee of getting
Pinta back without your involvement.]

TAZINARI
[I have a written order from the
Public Ministry. Two police officers
were killed.
(he holds up the phone)
This is the Attorney General Navarro
Bernal Diaz.]

Jordan accepts reality. They're taking control.

TAZINARI
[The law requires an intervention by
the authorities "de officio."]

A ringing phone sounds like an bomb exploding in the room. A
technician answers. Jordan takes the receiver.

We hear the conversation. The kidnapper only wants to talk
to the father. Everybody is one headsets, monitoring. Samuel
listens carefully. Jordan prompts him with hand-written
replies on a notepad. Samuel negotiates the amount via notes
from his lawyer.

QUICK CUTS:

SAMUEL
[It's impossible. I cannot afford
thirty million. I will need to borrow
the money.]

Samuel proposes five million. Kidnapper gets angry.

Demands 20 million.

CUT TO:

SAMUEL
The realities are I do not have access
to this type of money.

They settle at ten million. The kidnapper gives a list of
instructions.

CUT TO:

KIDNAPPER
Two and a half million in two
different bags. The bags you can get
from Save-On. Fifteen gallon, black
canvas, divide the money equally.

Samuel is on another phone talking to family friends asking
if they will front a hundred thousand dollars each. Which
will be paid back by the K & R insurance in 45 days.

CUT TO:

SAMUEL
[Yes, I will give you interest.]

KIDNAPPER
[I will instruct you on the exchange
over the next 24 hours.]

Lisa is nowhere to be found. Locked in her bedroom in darkness
with Frank.

END MONTAGE

CUT TO:

INT. ENTRY LOBBY - HOSPITAL - DAY

Another showcase press conference. More REPORTERS and now TV
NEWS CREWS.

CHIEF
[The girl is a Mexican citizen. Her
father is Samuel Valencia Ramos.]

INT. HOSPITAL HALLWAY - WINDOW OVERLOOKING PRESS

CONFERENCE

Rosanna, the woman we saw on T.V. earlier, stands watching
and listening. Incredulous and angry.

MIGUEL MANZANO the Director of AFI (also seen earlier on
TV), approaches with his two assistants and kisses Rosanna
on the cheek.

ROSANNA
[A bodyguard was shot trying to
protect a 9 year old. The bodyguard's
American. Not only that he's black.]

MANZANO
[Is that good or bad?]

ROSANNA
[That's good. Really good. He shot
and killed two judicial cops and a
kidnapper died in the attack. They're
saying he's responsible.]

Manzano looks bemused, as he eats a sugary pastry.

Rosanna heads into the press conference.

INT. ENTRY LOBBY - HOSPITAL - DAY

REPORTER ONE
[Beside the American in custody, are
any other Americans involved in the
kidnapping?]

CHIEF
[We're looking into it.]

Rosanna can't believe what she's hearing.

ROSANNA
[The two officers who were killed.
Records show they were off duty at
the time.]

The Chief frowns at the sight of Rosanna, knows what a royal
pain in the ass she is. Manzano awaits his answer.

CHIEF
[I'm not sure. All I know is they
died bravely.]

He turns, points out another reporter.

ROSANNA
[If they were off duty, why were
they in a patrol car? What exactly
were they doing at the scene of a
kidnapping?]

He stares back over at her, furious. Rosanna smiles.

ROSANNA
[Were they known for their exceptional
good luck?]

CHIEF
[They were known for their
professionalism and integrity!]

INT. STAIRWELL DOOR - HOSPITAL - DAY

It opens and out slides Rayburn. He looks down the hallway.
Press conference is still going down that way.

Rayburn heads the other way.

But as he tries to enter Creasy's room, he's met in the door
by TWO THUG COPS, in uniform.

COP ONE
[No visitors.]

Cop two pokes a finger into Rayburn's chest.

COP TWO
[Who are you?]

RAYBURN
[I'm here to see my friend.]

Cop two pokes him again. Goading him.

COP TWO
[Identification.]

Rayburn swallows his anger, starts fishing for his wallet.
Suddenly, the thugs snap to attention. Manzano is on the way
down followed by ADJUTANT and TWO PLAINCLOTHES.

Ignoring the proffered salutes, Manzano finishes his pastry,
licks his fingertips as he regards Rayburn.

MANZANO
When I heard it was this hospital I
was so pleased. There's a pastry
shop nearby. Delgado's. Do you know
it?

Rayburn shakes his head.

MANZANO
The best pastries in Mexico.

Manzano holds out his right hand.

MANZANO
Miguel Manzano.

INT. CREASY'S ROOM - HOSPITAL - DAY

Creasy out of it still. Rayburn and Manzano at the foot of
the bed.

RAYBURN
He's not a cop killer.

MANZANO
I'm sure he isn't. Though he's
certainly adept at killing.

RAYBURN
He was doing his job, protecting the
girl. If police were involved, you
figure it out. I'm here for him.

MANZANO
So am I.

And Creasy stirs. Rayburn leans into his friend, Manzano
just behind him.

RAYBURN
You hear me, Crease?

Creasy's eyes slit open.

RAYBURN
(whispers)
You got three of the fuckers. All
dead.

CREASY
Pinta...

RAYBURN
Two days gone. They're negotiating a
ransom.

MANZANO
These things take time, Mr. Creasy.

Creasy closes his eyes.

INT. RAMOS HOUSE (SIMULTANEOUS)

Technicians, police, Tazinari, Jordan, and Samuel all listen
intently to the call.

VOICE
[You have the money.]

JORDAN
[Yes.]

VOICE
[OK, repeat the drop instructions.]

JORDAN
[The money, 10 million U.S. will be
divided into two 15 gallon black
canvas bags each containing five
million which will be checked at the
bank by the K&R agent. Then driven
to the house in an armored car where
it will be transferred to the delivery
car.]

VOICE
[The car will not be powerful and
have no trunk.]

Intercut the above with real time visuals illustrating the
process:

1. INT. BANK Teller counting the money witnessed by K&R agent.

2. EXT. BANK Two bags being loaded into the armored car. K&R
agent watching.

3. EXT. RAMOS HOUSE - DRIVEWAY Two bags being transferred to
the family Mercedes.

The K&R agent notices the Mercedes has a flat tire. A second
Mercedes is exchanged for the first.

The two bags are transferred inside the garage. Jordan
supervises the transfer while the K&R agent takes an incoming
call.

INT. RAMOS HOUSE

The call between The Voice and Jordan continues.

JORDAN
[I need a driver to drive Samuel,
the father.]

VOICE
[No. Why?]

JORDAN
[He has a heart condition. Angina.
He responds badly to stress.]

VOICE
[OK. You will arrive at Columbus
Circle and Reforma Avenue at 3AM.
You will drive around the square two
times. Samuel will remove his shirt
and hold it out the window to I.D.
the car.]

EXT. COLUMBUS CIRCLE - 3 AM

The delivery car with a white shirt held out of the window.

VOICE (V.O.)
[There is a payphone on the Southeast
corner. The phone will ring. You
will answer and wait for instruction.]

Samuel exits the car and goes to the payphone. The phone is
ringing. Samuel picks it up and listens.

INT. RAMOS HOUSE - NIGHT

JORDAN
[We need proof of life.]

Pause.

VOICE
[Is the father, there?]

Jordan hands the phone to Samuel.

SAMUEL
[Hello.]

VOICE
[If this girl's life is as important
to you as it is to me, do not play
with the process. Family is
everything. I am a professional. You
keep your word and I will keep mine.]

INT. DARKENED HALLWAY - HOSPITAL - NIGHT

Creasy being wheeled down the hall by a tough plainclothed
Federal Policeman. Followed by Rayburn, Manzano, and Rosanna.
The uniformed JUDICIAL POLICE are powerless to stop them.

RAYBURN
What's the deal here?

ROSANNA
I wouldn't gamble leaving him here.
These guys will kill him in a
heartbeat 'while trying to stop him
from escaping.'

EXT. TRUNKLESS CAR - MEXICO CITY - NIGHT

Samuel driving. Tazinari dialing his cellphone.

SAMUEL
[He said no phones!]

TAZINARI
[You do your job. I'll do mine.]

EXT. BRIDGE OF THE AZTECS - NIGHT

Samuel's car is parked on the south side of the bridge.

A shirtless Samuel carries two large duffle bags containing
ten million dollars across the bridge. We see Tazinari again
dialing up his cell phone.

VOICE (V.O.)
[Leave the money in the trunk of the
car with white paper taped to the
windshield, then return to your car
and go home. Do not look back.]

Samuel finds the car, leaves the bag in the trunk, he turns
and heads back over the bridge.

VOICE (V.O.)
[Remember, I am a professional. If
you keep your word, I will keep mine.
If you do not, then God be with your
child.]

As Samuel is walking back across the bridge. Suddenly gunfire
from where he came, along with shouting and yelling. Samuel
crouches and runs in the dark back to his car with Tazinari.

INT. VETERINARIAN'S CLINIC - MEXICO CITY - DAY

Cages of mangy looking mutts. Pull back to reveal Creasy on
his hospital bed, IVs and all.

Rayburn sits nearby. He looks up as Creasy stirs, wakes again.
Creasy's eyes flicker to his friend, ask the first question
on his mind. Pinta...

Rayburn looks away, can't face his friend. And suddenly,
Creasy knows.

CREASY
She's dead. Isn't she?

Rayburn finally nods. And with that gesture, God takes
everything away. It might as well be the Old Testament.

And we are about to get Biblical.

Creasy turns his head, looks up at the ceiling.

RAYBURN
It was a fuck up. Someone hijacked
the drop. The kidnapper, his nephew
got killed.

CU of Creasy's face with his back to the room. A thousand
yard stare. His eyes glaze over.

FLASHBACK

INT. CAR - MEXICO CITY

CU of Pinta looking up at Creasy. The camera ramps into
Pinta's smile. A small, but a significant moment in terms of
their connection.

INT. LISA & SAMUEL'S BEDROOM - DAY

The curtains are drawn tight. Slivers of light illuminate
the darkened room. Lisa sits on the end of the bed humming a
nursery rhyme. She rocks gently.

VOICE (V.O.)
[You betrayed me. You killed my nephew
and took the money.]

K&R AGENT
[No, not us... No we did not.]

VOICE (V.O.)
[Remember my words. Family is
everything and do not play with the
process.]

The phone line goes dead.

INT. VETERNARY CLINIC - DAY

Creasy still staring into space.

RAYBURN
She's dead Creasy.

Creasy blinks away a solitary tear.

INT. VETERNARIANS CLINIC HALLWAY - DAY

Dogs barking constantly. Manzano walks the hall flanked by a
DOCTOR and a NURSE. A second policeman, Manzano's adjutant,
brings up the rear carrying two heavy binders.

MANZANO
[She's dead. They fucked with 'the
process' and his nephew died.]

DOCTOR
[He suffered gunshot wounds to the
upper extremity, chest and abdomen.
He has a collapsed lung which is
stabilized, injured his spleen, which
we may have to remove and ruptured
his intestine. He's on strict bedrest
or there's a good chance we could
lose him.]

NURSE
[A strange man. He has much experience
of hospitals.]

MANZANO
[Did he say so?]

NURSE
[No. But a nurse knows.]

CUT TO:

MUGSHOT

Manzano and the adjutant have pulled chairs up alongside the
bed. The adjutant flips through one of the binders.

Each page holds a single MUGSHOT. Each time Creasy shakes
his head, the adjutant flips to the next photo.

MANZANO
Nothing?

Creasy shakes his head.

MANZANO
Excellent work by the way. Three men
dead. Only ten rounds fired.

Creasy shakes his head at the next shot.

MANZANO
If two of the men in my division
could shoot like that, I could get
rid of the other thirty-six.

One of the dogs starts to bark. Another. Soon ten of them.
The VET ASSISTANT enters, shouts at them to quiet.

Manzano ignores it, motions the adjutant to flip pages.

CREASY
What am I doing here?

MANZANO
Believe it or not, you're safe here.
The Judicial police will kill you.
If they can.
(re: book)
This page?

CREASY
No.

The adjutant reaches the last page. Creasy shakes his head.

MANZANO
You have a rather checkered past.
Mr. Creasy. Your Interpol file is
six pages long.

CREASY
Am I a suspect?

MANZANO
No. It would be convenient, but no.

As Manzano packs up his mugshot books...

CREASY
Show me mugshots of Mexican policemen.
Maybe then we'll get somewhere.

MANZANO
All these photos you just saw were
of policemen. Sadly they're protected.
La Hermanidad. The brotherhood.

Manzano heads off. As Creasy watches after him...

INT. DOG PENS - NIGHT

Creasy sitting on the gurney, Rayburn buttons his shirt.

RAYBURN
(whispers)
Okay?

Creasy nods. Rayburn gets Creasy's arm over his shoulder,
eases him off the gurney till his feet hit the floor.

Creasy winces, but the two of them start to walk out.

EXT. BACK SIDE - VETERINARIAN CLINIC - NIGHT

An SUV rolling away. Lights out, engine off. It coasts a
hundred yards before the engine turns over. Rayburn behind
the wheel. As it sweeps past camera...

INT. SUV - ROLLING - NIGHT

Rayburn constantly checking the rear view. No pursuit in
sight. He looks over at Creasy.

RAYBURN
How do you feel?

Creasy looks over at him, finally shrugs.

CREASY
Stomach's gone. But... okay.

RAYBURN
I'll get you up to the border. Friend
of mine'll take you in to San Diego.
Drop you right at the hospital.

Creasy's not really listening. He's been looking in the
passenger side view mirror. Nothing back there. Creasy sits
up. A bit of an effort.

CREASY
Got a thing I gotta do first.

EXT. VIA BUENOS AIRES - MEXICO CITY - DAY

Scene of the crime. Typical Mexican 'roadside shrines' where
the policemen fell. A pyre of flowers where Pinta was scooped
up, Creasy's blood still staining the sidewalk alongside. A
car pulls up...

Rosanna Guerrero gets out with a REPORTER and PHOTOGRAPHER.
She directs them in Spanish. The reporter starts making notes;
the photographer snaps photos of the shrine.

Rosanna stands by the flower pyre. Something catches her
eye. A balled-up piece of paper and a half-burned candle
beside it. As she picks it up, she spots something else.

Across the street, Creasy walks. An awkward hitch in his
stride. Outside the apartment of the piano teacher, surveying
the scene with experienced eyes. Unaware of Rosanna...

CREASY (FLASHBACK)

Corolla. Muzzle flashes. Pinta screaming...

FEMALE VOICE
Creasy...

Creasy wheels. There's Rosanna.

ROSANNA
A lot of people are looking for you.

CREASY
I guess that makes you the smart
one.

ROSANNA
We're interested in the same thing.
I'm writing a story.

Creasy walks away from her. Rosanna catches up and holds out
a plastic ziploc.

ROSANNA
This might interest you. I found it
across the street.

Creasy empties the contents of the ziplock into his hand.

A small ball of paper and the remains of a black candle.

Creasy unballs the paper. It's a photo.

FLASH: Creasy at the police station. His photo taken.

ROSANNA
It's Santa Muerte. Death worship.
The religion of La Hermanidad. There's
a curse on you.

CREASY
It's a little late.

He hands it back to her, not interested. As he turns to go.

ROSANNA
What are you going to do?

Creasy doesn't answer.

ROSANNA
I can help. I have a situation Mr.
Creasy. There is a brotherhood called
Le Hermanidad which protects both
high ranking Government officials,
corrupt police, and organized crime
at a level that is very difficult
for me to touch. I believe you were
a victim of this organization. You
and this story may help to unmask
them.

Creasy looks carefully at Rosanna. Right now he trusts no
one.

CREASY
Thank you.

He walks away towards Rayburn.

EXT. RAMOS HOUSE - DAWN

The SUV parked a discreet distance away. Rayburn grinds out
another cigarette, mutters to himself.

INT. CREASY'S ROOM - DAWN

Bruno lets him in. Nothings been touched. Creasy retrieves
his bullet from his shrine along with the 'Jack', Marlboros,
and New Testament. Puts his few possessions in a bag. MOVE
WITH him as he silently crosses out into the hall, heads
toward...

PINTA'S ROOM

He stands there a moment. His pain entirely his own.

And then he goes to Pinta's little desk, finds her school
notebook buried in a pile. He flips through it until he
finds...

The LICENSE PLATE NUMBER Pinta jotted for him. Then he notices
the notebook is really a diary. Every page references her
day to day relationship with Creasy. "I love you Creasy Bear."
He hears soft footsteps. Creasy turns.

Lisa stands in the doorway in her nightgown, her eyes drilling
through Creasy.

LISA
(softly)
You let them take her. She loved you
and you let them take her.

Creasy just blinks at her as the words blast through him.

LISA
Why are you here? Why didn't you
die?

CREASY
Because...
(shrugs)
I was already dead.

Eyes brimming, Lisa has no more words. But Creasy comes
bearing cold comfort.

CREASY
I want you to know something.
(a beat)
I'm going to kill them. Anyone who
opens their eyes at me.

Lisa doesn't answer, but the connection between them is
suddenly monumental. Finally, Creasy looks away. He picks up
Pinta's battered, old TEDDY BEAR.

LISA
Creasy...

He turns, but she doesn't look back at him.

LISA
Kill them, Creasy.

Creasy nods. He will. As he continues away...

LISA
Kill them all.

EXT. GARDEN / POOL - RAMOS HOUSE

Creasy exits the house and stands by the pool. Frank appears
tail wagging and attempts to comfort Creasy.

Leaves blow across the surface of the water. Underwater slow
motion, a wall turn. It looks remarkably like Pinta.

"Blue Bayou" drifts through the air. Soft, in the ether
somewhere. Creasy hears it, half raises his head.

PINTA'S VOICE
Why Blue Bayou, Creasy? Is that where
you're from?

She's standing behind him. Wearing the all too familiar one
piece swimsuit, she towels her wet hair.

CREASY
Blue Bayou is a dream, Pinta. Like
you.

PINTA GHOST
Dreams are beautiful, Creasy-Bear,
but life is better.

CREASY
(smiles)
Why are you here?

PINTA GHOST
I have to watch you now.

CLOSE ON CREASY

The words are a salve, a balm. He turns, looks back over his
shoulder. He's all alone.

INT. SUV - NEAR RAMOS - MEXICO CITY - DAWN

Rayburn looks over his shoulder, sees Creasy walking down
the street. Clutching a teddy bear.

Creasy gets in the car. Rayburn drives.

RAYBURN
You'll be Stateside by suppertime.

No answer. Finally, as Rayburn lights a cigarette...

CREASY
I'm going to need help, Ray.

Rayburn grinds out the cigarette he just lit, knows what
just was asked. Creasy needs help unleashing a plague.

RAYBURN
Fuck. Look at you; you won't last a
day the shape you're in. Unless you
stop bleeding you should have your
spleen removed.

CREASY
Yes or no?

RAYBURN
(after a beat)
I won't kill again. Hunt people. I
gave that up. Anything else? It's
yours.

Creasy reaches into a pocket, hands Rayburn a hand written
list. Rayburn reads, his eyes widening.

RAYBURN
Jesus, Creasy. You're talking war.

INT. PUBLIC SWIMMING POOL - MEXICO CITY

The surface breaks as Creasy enters the water wearing a red
T-shirt to hide the bandages. He begins a slow laborious
stroke. A pale attempt at getting back into shape. A ribbon
of maroon trails him through the water.

INT. GARAGE - SUBURBS MEXICO CITY - NIGHT *RETHINK LOCATION*

Fluorescents flicker on. A Fiat up on the hydraulic lift. A
section of the garage is portioned off by heavy steel sheeting
with a padlocked door.

One of the two men unlocks it. Creasy and Rayburn enter.

PARTITION

Three long steel tables. Covered with weapons.

RAYBURN
Candy store. Every town in Mexico
has one if you know what door to
bang on.

Creasy stops by the pistols.

CREASY
I'll take the .45 and the Webley
.32.

RAYBURN
I know it's old fashioned, but it's
reliable. Like us.

Next he's looking at grenades. He hefts two different choices.

CREASY
I need less than standard packing.
Can you knock up a case for fifteen
of each?

He picks up a double barrel shotgun, checks the line of it.
He flicks open the breach, snaps it shut.

CREASY
(indicating)
Cut the stock here. The barrel here.
Make sure you file it smooth.
(looks around)
Rocket launchers?

RAYBURN
Different door. Not far from here.

JUMP CUTS of the following being loaded into a bag: .45 Colt,
ammo, clips, body armor (the kind you wear under your
clothing), nightvision scope, a couple of flash-bang grenades,
flex-cuffs, a silent 9mm Beretta, a small shotgun, pepper
spray, and four cellphones.

CUT TO:

OVER TELEPHONE RINGING

EXT. REFORMA PRESS BUILDING

Rosanna picks up phone.

EXT. PHONEBOOTH - REFORMA AVENUE

Creasy holding the card Rosanna gave him.

CREASY
Maybe I can help your situation and
you mine.

ROSANNA
So where do we begin?

CREASY
I need the name and address of the
owner of a Toyota Corolla, license
number ME31704... We didn't get the
last digit so I need the ten possible
matches.

ROSANNA
So what do I get in return?

CREASY
Let's see how the relationship
develops. I'll call you in the AM.
Thanks.

Creasy hangs up.

INT. AFI OPERATION CENTER - MEXICO CITY - DAY

Manzano, Rosanna, and technicians are listening to voice
analysis tapes of various kidnappers. They're struggling.
Rosanna hands the piece of paper with the license plate number
to Manzano.

MANZANO
[He'll die of his wounds; bleed to
death before he can do anything.]

ROSANNA
[He sounded strong to me. Stronger
than we are.]

Rosanna pauses.

ROSANNA
[Because he's outside. Because he's
not tied to the same system we are.]

MANZANO
[We did voice analysis of the last
five high profile kidnappings,
including the little girl. The same
man 'The Dreamer'. Listen to this.]

Manzano plays back a recording of the Kidnapper.

VOICE
["I used to run through the streets
of Neza because I was scared of being
fucked with. I swore one day I would
cross the street walking. Now I
walk."]

ROSANNA
[He's protected by La Hermanidad.]

MANZANO
[I know this. Your point?]

ROSANNA
[Creasy is not a policeman. My sense
is he could be very valuable to us.]

Rosanna waits for a response. None.

ROSANNA
[Then what do you have to lose?]

MANZANO
[It's a moral issue. On one hand
you're cleaning up the bad guys, but
in another way we are feeding the
problem that produces bad guys.]

Finally deciding, Manzano turns, holds out his hand. As
Rosanna hands him the paper with the partial license written
on it.,

EXT. APARTMENT BUILDING - MEXICO CITY - DAY

JORGE RAMIREZ, the 350 lb. driver who shot Creasy in the
shoulder exits. Whistling to himself, gets behind the wheel
of a Fiat 500.

Unaware he's being shadowed by a man on a scooter.

Creasy.

EXT. FIAT 500 - DAY

As it comes to a stop. Jorge gets out. We hear the scooter
whine as Jorge crosses the street and enters a

PUBLIC BUILDING.

EXT. PUBLIC BUILDING - DAY

Creasy watches and waits. Time lapse of the building Jorge
exits the building still trying to get the last button of
his police uniform closed. He's a cop. He struggles to get
behind the wheel of the Fiat. The car is tiny.

Someone's getting in on the passenger side.

As Jorge starts to protest, Creasy rams a Sig into his gut.
At the same time, he takes Jorge's gun from its holster.

CREASY
[Drive.]

JORGE
(incredulous)
[Do you know who I am?]

CREASY
[You are Jorge Ramirez.]

Creasy jams him in the gut again.

CREASY
[Drive.]

Jorge starts the engine. As he eases out into traffic.

EXT. CLIFFSIDE - MEXICAN CITY - DAY

A car graveyard sitting on top of a 300 foot cliff overlooking
a real tough barrio. Gravel crunches under the Fiat's tires
as it drives to the edge of a cliff.

CREASY'S VOICE
[Stop here. Turn off the ignition.]

INT. FIAT 500 - DAY

Jorge does as he's told. Suddenly the Sig comes down hard.
WHACK! As Jorge's vision explodes...

INT. FIAT 500 - DAY

Still in the driver's seat, Jorge wakes. The first thing he
sees is that his hands are taped to the steering wheel with
his pudgy white fingers exposed. He is naked, reminiscent of
the 18 year old in the opening sequence.

CREASY
[Can you hear me?]

Jorge nods, the pain in his head blinding.

CREASY
[I am going to ask questions. If you
don't answer, fully and truthfully,
you will suffer much more than you
have to.]

Creasy opens Pinta's notebook to a blank page near the end.
He clicks open a pen.

Creasy presses in the car's cigarette lighter.

Then he opens a buck knife. Jorge winces at the sound of the
blade locking.

CREASY
[I'm going to cut your fingers off.
One by one. If I have to.]

The cigarette lighter pops back out.

CREASY
[That's to cauterize the stubs.]

Holy sweet Jesus... Sweat drips down Jorge's forehead.

He tries to master his fear. Swallows dry.

JORGE
[Do you know who I am?]

CREASY
[Who are you?]

JORGE
[I am the President of La Hermanidad.]

Without warning Creasy reaches up with the buck knife, a
flash of steel.

The big man howls, his left ear suddenly missing, starts an
epic struggle, practically breaking the wheel off the steering
column. He is like a bucking Rhinoceros.

He howls as Creasy sprays his face with pepper spray.

EXT. FIAT 500 - DAY

The passenger side door opens and Creasy stumbles out.

Some of the pepper spray has gotten in his face as well.

Creasy wipes his tearing eyes. And then he turns.

Hefting the knife in his hand, he marches back toward the
car.

JORGE'S VOICE
[No! No!]

And then a terrible SCREAM. BLOOD squirts against the inside
of the windshield. The car rocks on its shocks.

And then another terrible SCREAM.

CUT TO:

JORGE

Stares at the stump of his right forefinger, smoke rising up
off it. Creasy sticks the lighter back in its hole.

And Creasy looking at him, devoid of emotion.

JORGE
[Wh- wh- what do you want to know?]

It takes a moment for Creasy to come back. He picks up the
pen and notebook.

CREASY
[The Ramos kidnapping. How did it
work?]

JORGE
[I don't know. We were just given
instructions to take her.]

CREASY
[Ordered by who?]

Jorge hesitates. As Creasy sets the pen down...

JORGE
[I don't know.]

Creasy jerks back Jorge's middle finger, raises the knife.

JORGE
(a mile a minute)
[I don't know! We work in parts. A
voice calls in a kidnapping. We
deliver the target to the guardians.
We don't even know them. They might
transfer to other guardians. The
negotiators and the bosses don't
even see the target. They just make
the deal!]

CREASY
[Who ordered it?]

JORGE
[The cops call him 'The Dreamer'.]

CREASY
[Where do I find him?]

JORGE
(shrugs; terrified)
[I don't know. No one knows.]

CLOSE ON CREASY

Scream, as the knife comes down. Creasy tosses the finger
out the window, wipes some of Jorge's blood off his cheek.

JORGE
[I don't know, I swear.]

CREASY
(after a beat)
[I believe you.]

JORGE
(crying)
[I'm professional. I just do my job.]

CREASY
[Me, too. Tell me about the
guardians.]

JORGE
[He called me on the cell phone to
set a time and location for the
switch.]

CREASY
[Who's he?]

JORGE
[The one who transferred Pinta to
their car.]

FLASHBACKS: See Pinta being manhandled from the white Fiat
to the trunk of Grand Marquis. She has been bound and taped
around the mouth and eyes.

Creasy looks like he'll kill him on the spot. Muzzles his
Sig into the palm of Jorge's right hand.

CREASY
Who's he?

JORGE
I don't know, but I know his face.

Creasy cocks the trigger.

JORGE
[I see him sometimes at the handball
court in Chapultepec on a Saturday
afternoon.]

CREASY
[How do I recognize him.]

JORGE
[He has a tattoo covering two-thirds
of his back. He is part of the
Brotherhood.]

CREASY
[In the next hour, where do I find
your partner?]

JORGE
[One-one-three Arco Iris. Third
floor.]

Creasy closes the notebook, caps the pen. It's over.

EXT. CLIFFSIDE - MEXICAN CITY - DAY

A gunshot echoes over the barrio. Creasy gets out of the
car, reaches back to release the emergency brake.

The Fiat 500 goes over the cliff.

EXT. VIA ARCO IRIS - MEXICO CITY - DAY

Kids playing SOCCER. One of them kicks an errant pass.

It skips down the street toward an approaching Creasy.

The kids shout for him to kick the ball back, but he ignores
them. As the kids curse him out, Creasy enters 1-1-3...

BOOM UP alongside the building. A man steps to a third floor
window... man two who stuffed Pinta into the car.

His name is Sandri. And we're inside.

SANDRI (Italian Immigrant)

Putting his cufflinks through his shirt sleeves. Wearing a
shoulder holster. A satisfied smile as he looks back into
the room. At the bed. A 17-year-old GIRL under the sheet.

GIRL
(nods)
[When will I see you again?]

Pulling on his suit coat, Sandri steps to the door. He mimes
a pistol action with his forefinger and thumb. He opens it
to find himself staring square into the eyes of Creasy. He
rests the twin barrels of the sawed-off shotgun square against
Sandri's chest.

CREASY
Her name was Pinta.

Sandri registers the name. Creasy swings the shotgun down to
Sandri's groin.

EXT. VIA ARCO IRIS - MEXICO CITY

BA-BOOM. A flock of pigeons explode out of the Jacaranda
trees.

CUT TO:

BLACKNESS SCREEN

CREASY'S VOICE
Roman's Chapter 13:21. Do not be
overcome by evil, but overcome evil
with good. There is no authority
except from God.

EXT. PUBLIC POOL - MEXICO CITY

Creasy swimming toward the far wall. As he rolls, kicks off,
it's Pinta who emerges from the bubbles swimming back the
over way.

Pinta swims through the a maroon cloud filtering through the
water.

CUT TO:

CU of Pinta's diary. Creasy opens it up. The bullet sits in
the center crease. He thumbs through the pages stopping on
different days. Pinta's V.O. Illustrating those pages.

EXT. CHAPULTEPEC PARK - DAY

Handball court. Intense game with big money stakes. A sea of
criminal faces cheer on the gladiators from the bleachers.
It's a close match.

A 200 pound Guardian removes his T-shirt before serving.

Turns to reveal a huge tattoo across two-thirds of his back.
Creasy registers his prey.

EXT. BARRIO SUNSET

A small Russian Taurus crests a hill and descends into Hell.
A frightening looking Barrio. Burnt out cars and dead dogs
line the sidewalks. Creasy tails the Guardian on his moped
into the center of a trash dump. The focal point being a
semi-derelict church within a gated compound. Our 'tattooed
handball genius' exits the Taurus. Reaches in back for the
groceries.

INT. GUARDIA DE SEGUIDAD - SUNSET

A knock. GUARDIAN TWO steps over, carries a pistol. He slides
back a speakeasy slot to reveal our tattooed Guardian.

GUARDIAN TWO
Hola!

EXT. DOOR - SUNSET

Guardian One stands at the slot. Creasy is pressed up against
the wall out of sight. He holds the shotgun wrapped in a
ragged beach towel.

As the door unlocks and opens and Guardian One steps in,
Creasy slides in right behind him.

INT. GUARDIA DE SEGUIDAD - SUNSET

As the butt of the shotgun makes contact with Guardian Two's
mouth. Blood spouts as his front teeth are smashed in.

As he raises his hands to his face, the pistol he holds
discharges into the ceiling. Guardian One watches as Creasy
clubs him again in the head.

Frightened footsteps running on the other side of a plywood
wall. A female voice yelling from the other room. Creasy
gauges their whereabouts.

BOOM! Creasy fires into the wall. Wall explodes.

Guardian Three freezes mid stride. It's a tough looking woman
in her 40's.

INT. GRUBBY KITCHEN ROOM - DAY

The three guardians stand facing the wall. Hands bound with
tape or cuffed. Naked (like our 18 year old) other than their
dirty skivvies.

Creasy holds up a picture of Pinta. An I.D. picture taken
from her schoolbook.

CREASY
[Tell me about the girl.]

All three look... and with a strange defiant arrogance.

GUARDIAN ONE
[Who the fuck's that?]

BOOM! BOOM! Creasy kills Guardian One.

INTERCUT THE FOLLOWING:

The two Guardians each bound in two different rooms.

Both have their eyes taped shut. Creasy interrogates Guardian
Two.

CREASY
[How does it work?]

GUARDIAN TWO
[Everything on the cellphone. We
wait for calls. We have no number to
call.]

Creasy picks a cell phone up off the table, hits redial.

It's a blocked line.

CREASY
[Who pays you?]

GUARDIAN TWO
[We have an ATM bank card. We draw
out 300 dollars every two weeks.]

Creasy takes the ATM card from Guardian Two's shirt pocket
as he lies on the floor.

CREASY
[What's the PIN number?]

GUARDIAN TWO
[The what?]

CREASY
[The number you use at the bank
machine.]

GUARDIAN TWO
[Four-seven-four-seven.]

CREASY
[Who killed her? You?]

GUARDIAN TWO
[No!]

CREASY
[Don't lie to me.]

GUARDIAN TWO
[The boss did or his brother.]

CREASY
[Who's the boss?]

GUARDIAN TWO
[We don't know! We never see his
face! We have to wait in the other
room. He was screaming to the girl
that...]

FLASHBACK: Guardians POV. Hearing the above.

GUARDIAN TWO
[...his nephew was killed in the
exchange.]

And the money was stolen.

CREASY
[What money?]

GUARDIAN TWO
[The ransom money. At the drop. He
said Tazinari, one of the policemen
had taken it. He was crazy.]

CREASY
[Who's Tazinari?]

GUARDIAN TWO
[Head of the anti-kidnapping
division.]

FLASHBACK: Guardians POV. See the wall shake from a bodily
impact..

BOOM! Creasy shoots Guardian Two.

GUARDIAN THREE (Female)

Becomes a panicked whirling dervish at the sound. A moment
later Creasy is there. Tearing the tape off her eyes.

CREASY
[Show me.]

INT. 12' X 6' CELL - GUARDIA DE SEGUIDAD - NIGHT

The white tiled room we saw Pinta held in. The door opens
and Guardian Three leads Creasy in.

FEMALE GUARDIAN
[He was screaming about the money
and his dead nephew. He threw the
little girl against the wall.]

The Female Guardian points. Creasy steps over. There's a
smear of BLOOD against the wall.

FEMALE GUARDIAN
[She fell. She wasn't moving. They
threw her body in the trunk of the
car and drove away.]

FLASHBACK: Guardian's POV through window. We glimpse through
a dirty window, Pinta's body being put into a car trunk.

CREASY
[Who? Who's they?]

FEMALE GUARDIAN
[The boss's brother, I recognize his
voice. It's high pitched. We call
him Woody Woodpecker.]

CREASY
[Now listen to me. If you tell me
where to find the boss. I will let
you live.]

FEMALE GUARDIAN
[Please. I don't know.]

And Creasy stands there a moment. Realizes she is telling
the truth. Lost. And the sound that snaps him out of it... A
GIRL CRYING. And Creasy is suddenly moving down...

THE HALLWAY

After the sound. He kicks open a door. There!

In a 8' X 4' room. A 12-year-old GIRL. Bound and blindfolded.

FLASHCUT: We think it's Pinta for a heartbeat, but it's not.

CUT TO:

EXT. GUARDIA DE SEGUIDAD - NIGHT

A window to the left explodes as the room is enveloped in
flames. The front door opens, a weird sight. Creasy exits
holding both the 12-year-old's hand and the Female Guardian
who's bound and blindfolded in her underwear.

They walk straight at camera as flames shoot out of the roof.
Creasy has set the place on fire. Creasy is on fire. And as
they continue to walk towards us...

CUT TO:

BLACK SCREEN

CREASY'S VOICE
Roman chapter 13:7. Therefore whoever
resists authority will bring judgement
on themselves. Now it is time to
awake out of sleep for our salvation
is nearer than we first believed.

INT. ROSANNA'S OFFICE - NEWSPAPER BUILDING - NIGHT

A telephone ringing. Rosanna at her desk. She picks up the
phone.

ROSANNA
Rosanna Guerrero.

CREASY'S VOICE
It's Creasy.

ROSANNA
Where are you?

CREASY'S VOICE
Los Arcos. Was a little girl kidnapped
recently? About twelve maybe?

ROSANNA
Last night. Do you know something?

CREASY'S VOICE
What was her name?

ROSANNA
Camila. Camila Valencias.

EXT. ALLEYWAY - ACROSS FROM NEWSPAPER - NIGHT

Creasy on the cellphone, the small Russian Taurus in the
background. He stands outside the building still holding the
little girl's hand. She has the same lost look he does. Female
Guardian in the back of car.

CREASY
Camila.

The girl looks up at the name.

CREASY
(into phone)
I've got her.

EXT. ICE CREAM STAND - BUSY MEXICAN CITY STREET - NIGHT

Creasy hands the girl an ice cream cone. He looks over as
Rosanna hurries over from across the street.

Creasy puts the little girl's hand into Rosanna's.

CREASY
I need something. Do you have banking
connections?

ROSANNA
(hesitates, then...)
I have connections.

Creasy hands her the ATM card.

CREASY
The PIN number is 4-7-4-7. I need to
know whose account it is.

Rosanna notices the blood on Creasy's shirt. Near his stomach.

ROSANNA
Where do I find you?

CREASY
I'll call you tomorrow.

Creasy looks at the girl and starts off, then looks back.

CREASY
What do you know about the cop?
Tazinari. The one who made the ransom
drop with Samuel Ramos?

ROSANNA
He's an old fashioned patrone with
the worst reputation. He's high on
my hit list.

CREASY
Where does he live?

ROSANNA
He lives in a Judicial Compound. He
travels by motorcade. He has better
protection than George Bush. Even
more importantly he is part of La
Hermanidad. His reach is far and
wide.

CREASY
Give me the address.

NOTE: THE FOLLOWING SCENE SHOULD PLAY AT THE BURNED OUT
SAFEHOUSE WITH ROSANNA.

INT. MANZANO'S OFFICE - AFI HQ - NIGHT

A beehive. Cops. Photos of dead kidnappers on the wall:

Jorge and Sandri. Sandri emasculated, one hand missing.

Jorge behind the wheel, fingers stubs and a missing ear.

ADJUTANT
[Two in one day. And they died very
badly. Sandri and Jorge were prime
suspects in twelve kidnappings in
the last six months.]

Manzano studies the photo of Jorge.

MANZANO
[Whoever did this was methodical,
unafraid. Was Jorge's mugshot in the
photos we showed Creasy?]

ADJUTANT
[No, I checked. But right after Sandri
was shot, a girlfriend of his was
found naked, hysterical in the street.
She said it was a man fitting Creasy's
description who shot him.]

MANZANO
[Mr. Creasy was, and maybe is again,
a very lethal human being.]

ADJUTANT
[You don't seem very surprised?]

Manzano looks at his Adjutant, pleased with his perception.
But he isn't sharing.

MANZANO
[What's surprising these days?]

An AFI agent brings over a plate of red shredded chicken.

Manzano takes a bite, moans in pleasure.

MANZANO
[Your sister? Only a virgin cooks
like this.]

AGENT
(laughs)
[Your man's here. Interrogation room
two.]

CUT TO:

SURVEILLANCE ROOM

Seen through a two-way mirror. Manzano watches as...

Rayburn sits at a steel chair, bolted to the floor.

Rayburn's eyes are closed. In meditation. Then, slowly, his
arms extend out to the sides. Manzano is curious as, slower
still, Rayburn extends both hands out in front of him, palms
up. Must be a Zen thing.

Then, both MIDDLE FINGERS are extended. With eyes still
closed, Rayburn mouths 'fuck you'. Manzano bursts a laugh.

CUT TO:

INTERROGATION ROOM TWO

Rayburn opens his eyes, looks over as Manzano enters.

Still eating, he hands Rayburn a second plate of chicken.

MANZANO
Pollo Pibil. Chicken and chorizo
sausage. Hmmmh. They marinate it in
lemon and orange juice. It's a stew
really.

RAYBURN
(sets it down)
I already ate.

Manzano enjoys another bite, then...

MANZANO
Tell me about your friend Creasy.

RAYBURN
You just said it. He's my friend.
Nothing else to say.

MANZANO
I read the file. You and Creasy have
been seen quite a bit together.

RAYBURN
Two tourists who never went home.

MANZANO
You helped him get this job.

RAYBURN
That's what friends do.

MANZANO
Yes. But if I traced Creasy to you,
others will do it as well. Their
facilities are as good as my own, if
not better.

RAYBURN
I can take care of myself.

MANZANO
You and Creasy both. A two man army
according to Interpol. Panama. Lebanon
with the Druze. Desert Storm. Where
you were contracted by the U.S. Army
to hunt down elite Iraqi military
commanders.
(laughs)
You two were a married couple.

RAYBURN
The kind that gets divorced, but
still stay friends.

MANZANO
What happened to him? What happened
to Creasy?

Rayburn flinches at some bitter memory.

RAYBURN
None of your business. Or mine for
that matter. I got nothing more to
say.

MANZANO
This is my jurisdiction. I want these
men as much as Creasy does.

RAYBURN
He'll deliver more justice in a
weekend, than ten years of your courts
and tribunals. So stay out of his
way.

MANZANO
I plan to. I'll even help him if I
can. He's going to lead me to the
'The Dreamer'. Someone I want very
badly. But I'd like to understand
him. Give me that.

RAYBURN
Pinta Martin Ramos is just a number
to you. Tragic, a public outcry, but
a number. One more dead.

MANZANO
What was she to Creasy then?

RAYBURN
Light. At the end of a long, dark
tunnel. Somehow, she showed him it
was alright to live again.

MANZANO
And they took that away.

RAYBURN
A man can be an artist in anything.
Stone, paint, words. Food. Anything
if his soul is true to it. Creasy's
art is death. And he's about to paint
his masterpiece.

The words sink in. Manzano understands their magnitude.

RAYBURN
Me? I got Jap businessmen to drive
across the border. So, if you'll do
me a favor and let me the fuck out
of here...

EXT. MANZANO'S OFFICE - NIGHT

Framed commendations fall to the carpet as Rosanna slams up
against the wall of Manzano's office. Skirt up around her
waist, Manzano moves inside of her. Between breaths:

MANZANO
[Is it true? Creasy saved the little
girl that was kidnapped yesterday.]

ROSANNA
[And left three more dead men.]

She bites the heel of his palm to keep from crying out.

MANZANO
[When you talked to him, did he look
sane?]

ROSANNA
[No. Not by the rules of polite
society at least.]

MANZANO
[I think he's... magnificent.]

As they both climax, pressed up hard against each other...

MANZANO
(smiles)
[You only fuck me to get information.]

ROSANNA
(smiles back)
[You only give information so you
can fuck me.]

MANZANO
[A beautiful circle.]

He kisses her, turned on again already.

ROSANNA
[Let's put Creasy to press. There's
a vigilante cleaning up Mexico. An
unstoppable hero.]

As Manzano considers this, likes it, Rosanna takes the ATM
card out from her bra.

ROSANNA
[And as long as we're talking
information, there's something else
as well.]

MANZANO
(as he takes card)
[I should start going for your tits
first.]

EXT. SWIMMING POOL - MEXICO CITY - DAY

Underwater as Pinta swims. As she spins, kicks off the wall,
it's Creasy who comes out the other side. A plume of red
blossoming off his side.

This is done over and over, faster and faster, closer and
closer. The blood becomes darker, bigger. And we push into
that blood until it's finally obscuring everything.

EXT. NEWSSTAND - MEXICO CITY - EARLY MORNING

A row of newspapers being set out. Creasy's face on the front
page of every one of them.

EXT. NEIGHBORHOOD STREET - MORNING

A quaint old Mexico neighborhood. We follow a long canvas
bag being carried through the streets. Carried by Creasy.
Toward the end of the street and a ground floor apartment.
Walks past a canary yellow Coup deVille, which has seen better
days.

INT. GROUND FLOOR APARTMENT - MORNING

An elderly couple eating lunch. The HUSBAND looks over at a
knock on the door. He stands, answers it. Creasy slides in,
eases the door shut behind him. Gun in hand.

CREASY
[I'm not here to hurt you. I need to
borrow your house and your car. Are
you the proud owners of the Coupe
deVille?]

EXT. JUDICIAL COMPOUND - MORNING

A military operation as Tazinari is led out to his car.

Two heavy gray sedans wait. Tazinari gets in the back of the
second car with his AIDE-DE-CAMP. The door is shut behind
them.

MERCEDES

The door closes with an hermetic whump. The two cars pull
away toward the opening FRONT GATES.

INT. GROUND FLOOR APARTMENT - DAY

Creasy has just finished taping the old couple to two chairs.

CREASY
[If you promise to speak softly and
not to shout, I won't have to tape
your mouths.]

The old man looks to his wife, then back to Creasy.

Nods.

The old man watches as Creasy opens he canvas bag, pulls out
two metal tubes that he screws together. It's a ROCKET
LAUNCHER. Next he pulls out a cone-shaped missile. The old
man is starting to look curious.

CREASY
[Did you know you have a dishonest
policeman living in your
neighborhood?]

Creasy depresses the fins on the missile and slides it back
into the tube.

OLD MAN
[I know of you. You're the American.
The bodyguard who's killing the
kidnapper.]

Creasy doesn't answer, steps into the center of the room.

OLD MAN
[In the church, they say to forgive.]

CREASY
[Forgiveness is between them and
God. It's my job to arrange the
meeting.]

Creasy looks back and forth between two shuttered windows
and in a line to the wall with a household Catholic alter.
Christ on the cross sits front and center.

CREASY
[Do you have an old blanket you don't
care about? I don't want to burn
that wall.]

INT. GROUND FLOOR APARTMENT - DAY

A figure rises, framed in the window.

And Pinta stands beside him. As she puts her fingers in her
ears...

Creasy looks back over his shoulder, but of course she's not
there.

Creasy fires the rocket launcher. A gout of flame erupts
from the back. But Creasy has hung a blanket on the wall.

INT. LEAD CAR - DAY

Eyes widening as the first rocket streaks toward them.

The driver stands on the brakes. The car explodes, is
obliterated really, from the inside out.

EXT. STREET - DAY

Tazinari's car slams into the debris of the lead car and
slides sideways against a wall wedging it in. Real tight.

CUT TO:

CREASY

A 'Man On Fire' strides through the smoke and dust. A shotgun
at his side and a Molotov cocktail in his left hand.

Without missing a stride he unloads both barrels into the
drivers window. A scary prospect even though it's bulletproof.

The lit Molotov explodes beneath the car.

Silence. Then a dull impact explosion. 30 feet of flames
envelope the car. The driver and Tazinari both prisoners
inside their own car.

The driver exits releasing a full clip from his Uzi.

Creasy nails him with a single shot to the head.

Tazinari exits through the flames hands high in the air.

CUT TO:

EXT. BRIDGE OF THE AZTECS UNDERPASS- MEXICO CITY - NIGHT

There sits the canary yellow Coupe deVille. Eyes and mouth
taped shut, hands and ankles bound by flex-cuffs.

Tazinari stands there.

Creasy steps up, pulls the tape off Tazinari's eyes. He looks
about, relatively calm considering.

CREASY
[You know where you are?]

As Tazinari tries to process...

CREASY
[Under the bridge. Where the deal
went south. Now why don't you tell
me what went down?]

Creasy tears the tape off his mouth.

TAZINARI
[Do you know who I am? I am the
commandante of the Judicial anti-
kidnapping division.]

CREASY
[And one of the founding members of
La Hermanidad.]

TAZINARI
[Correct!]

Creasy pulls the buck knife from his pocket, flips it open.
As Tazinari reacts, Creasy spins him round, slits his clothes
up from ankle to neck. The cloth drops away, some hanging at
Tazinari's wrists. Tazinari has a sudden loss of attitude.

CUT TO:

CLOSE UP: Tazinari hands being cuff flexed and tied to side
view mirrors of the Coupe deVille.

Cut back to see Tazinari, naked other than his Calvin Klein
skivvies, spread-eagled across the grill of the car, butt
forward (Reminiscent of 'the woods scene' in DELIVERANCE)

Creasy rips down his Calvins. CU of Tazinari's face winces
with either pain or extreme discomfort.

CREASY
[That's not my dick. That's the barrel
of your own gun. Shoved up your own
ass.]

As Tazinari reacts...

CREASY
[.44 Magnum. Now, how's your hearing?]

We hear the CLICK of the trigger being cocked back.

TAZINARI
[Please, don't...]

CREASY
[It's all up to you, commandante.
Tell me about you and 'The Dreamer'.]

Creasy puts a tape recorder on the hood and presses the record
button.

TAZINARI
[I don't know him. I saw the
opportunity and got lucky.]

CREASY
[Lucky how?]

TAZINARI
[That he used policemen. That you
killed them, it made it a police
matter. The Ramos family couldn't
refuse our involvement.]

CREASY
[And?]

TAZINARI
[And I had my men ready.]

CREASY
[You stole the drop.]

MORE FLASHES: As we see this happen. POV from opposite side
of the bridge. POV from the drop car. See the money drop get
ambushed by unknown faces. 'The nephew' gets shot. The
kidnapper running the show sounds like Woody Woodpecker,
high pitched squeaky voice.

CREASY
[You done it before?]

Tazinari doesn't answer. Creasy gives the Magnum a tweak.

TAZINARI
[Yes. Many times.]

CREASY
[O.K. So tell me more.]

TAZINARI
[There was no ten million dollars.]

CREASY
[The ransom was ten.]

TAZINARI
[Two and a half. That's how much
there was.]

CREASY
[Don't lie to me!]

TAZINARI
[Two and a half! The rest was paper!
Strips of paper!]

FLASHBACK: Tazinari, in his office, sifting through the paper.

CREASY
[Maybe your men stole from you.]

TAZINARI
[No. Whoever took the rest took it
before the exchange.]

CREASY
[Who gave the bags to Ramos?]

TAZINARI
[His lawyer. Jordan Kalfus.]

FLASHBACK: Ramos House. Bags of cash being switched from the
Mercedes with the flat tire to the 2nd Mercedes in the garage.
See that Jordan does the switch, four bags on the floor.

CUT TO:

As Creasy thinks. Tazinari has been stretched to his limit.

TAZINARI
[That's all I know! Please. I'm sorry
for the girl. But it was business!
I'm a professional.]

CREASY
[That's what everybody keeps saying.]

Creasy switches off the tape recorder and pockets it.

Relief for Tazinari as the .44 is withdrawn. Creasy walks
around the car Tazinari now looking like a naked hood
ornament. Butt first.

EXT. FREEWAY EMERGENCY OFF RAMP - DAY

Average speed 80 m.p.h. This is Mexico. Creasy slips the
clutch, jumps out, and the Coup deVille kangaroos forward
down the ramp. Gathering momentum into the oncoming traffic.
Tazinari screams right on impact.

INT. FRANK LLOYD WRIGHT 'KNOCK OFF' - MEXICO CITY

Flamboyant, beautiful 16-year-old boy with a black eye and
bloody nose. Jordan's boyfriend. Terrified and in tears runs
down the hallway. Creasy following.

CUT TO:

INT. SWIMMING POOL - DAY

A huge maroon cloud covers the center of the pool. In the
middle of the cloud is Jordan face down floating on the
surface dressed in his beige linen suit.

UNDERWATER

CLOSE UP of Jordan face down. We glimpse what we don't want
to see. Black holes where his eyes and mouth were.

His ears missing.

Creasy not terribly impressed. Just pissed that he's late.

Creasy on a cell phone talking to Rosanna

CREASY
Another favor... get me banking info
on Jordan Kalfus. U.S. deposits or
withdrawals. Thanks. Oh, get me the
same on Samuel Ramos.

ROSANNA
How do I contact you? We still don't
have the ATM info.

CREASY
You don't, I'll call you. Oh! I have
a tape recording that I am sure will
interest you.

EXT. MUNICIPAL POOL - MEXICO CITY - DAY

Creasy doing laps. He swims the last few meters underwater.
As he surfaces, Pinta waits by the edge.

She nods in grim satisfaction.

He isn't doing well. The cloud of deep red emanating from
his stomach envelopes his whole body.

INT. DINING ROOM - EVENING

Samuel eats dinner silently. Lisa just stares into space,
nursing a vodka. Even great marriages cannot survive the
trauma of kidnapping and subsequent death.

The door opens and they expect to see Maria with the deserts.
Creasy enters and sits at the table like a dinner guest.

CREASY
(to Samuel)
I'm going to talk to your wife. If
you move or say one word, I'll kill
you.

He takes a Colt Officer model .45 semi-automatic pistol out
of his waistband and lays it on the table in preparation for
something, we don't know what. He turns to Lisa.

CREASY
I'm going to tell you a story. Your
lawyer is dead. Someone didn't want
him talking. Last week he wired $2.5
million into his U.S. bank account.
Colonel Ernesto Tazinari is also
dead. He hijacked the ransom drop,
another $2.5 million. If my arithmetic
is correct it means $5 million
remains.

Creasy looks to Samuel.

CREASY
Your husband magically had five
million deposited in a U.S. bank
account last Friday.

Lisa's eyes never leave Creasy's... trying to discern whether
this is true or not.

CREASY
They planned it, Samuel and Kalfus.

LISA
Planned what?

CREASY
An autosequestra. Kalfus arranged
for Pinta to be taken to a safehouse.
I'm sure he thought she'd sit there
for three days eating pizza and
watching TV. It didn't work out that
way. Everything got fucked up when I
killed the cops and Tazinari saw an
opportunity.

Lisa screams. Creasy gestures with a finger to his lips.

CREASY
On the surface it was low risk and
high return. This was the third
autosequestra Jordan had organized
for clients. The other two succeeded.

Samuel looks to Lisa.

SAMUEL
Our lifestyle was in jeopardy. My
pain and weakness only fueled your
anger and determination. I wasn't
sure about whether to go through
with it or not. Then I woke up one
day and it was done.
(beat)
Jordan was supposed to take care of
it.

Through all of the above, Creasy removes the special bullet
held in the seam of his wallet. The misfire. He empties the
other cartridges from his gun.

Lisa suddenly attacks Samuel in a violent, emotional outburst
of tears, screaming, and rage. Drawing blood from his nose
and upper lip. Samuel smothers Lisa's arms beneath his. He
appears strong and decisive for the first time.

Creasy very carefully takes the bullet, puts it into the
magazine and chambers the round. He looks into Samuel's eyes.

CREASY
A bullet does not lie. A bullet tells
the truth. And the truth will set
you free.

Creasy hands Samuel the gun.

CREASY
In many ways I think this bullet
should be shared between you and
Lisa.

Creasy exits the room. Samuel kisses Lisa on the forehead
and exits onto the terrace.

A GUNSHOT.

INT. DINING ROOM - NIGHT

Lisa just sits. Where will she find air to breathe?

EXT. MEXICO CITY - NIGHT

Life moves on with its brutal inevitability. This is a river
whose course cannot be altered.

PINTA'S VOICE
From the backseat I can see Creasy's
eyes in the mirror. He watches and
thinks. He never smiles. I wish I
was back in the front seat with him.
I wish he would smile.

Creasy looks up from the notebook and out at the city.

And a smile comes. But it's bitter and hopeless.

It's half grief, half not knowing where to go next, what to
do. And he's dying. He knows that too. Creasy dials a number
on a cell phone.

CREASY
Hola...

ROSANNA'S VOICE
Creasy.

CUT TO:

CLOSE ON ROSANNA

Inside somewhere.

ROSANNA
I traced the PIN. I have an address
for you. But I need to see you.

CREASY
I show, you give me the information?

ROSANNA
Deal.

CREASY
Where?

INT. AFI OPERATIONS CENTER - NIGHT

Back on Rosanna. We see she's sitting in the AFI Operations
Center amongst Technicians, surveillance and listening
devices, and Manzano.

We can hear the interior of a family house, kids, a frustrated
mother, a Mexican soap playing in the B.G., over speakers.

TECHNICIAN
(to Manzano)
[We got the whole place wiretapped.
But no males that sound anything
like 'The Dreamer'.]

MANZANO
[He'll show.]

Manzano is carrying a 8" X 10" digital blow up of a handsome
Mexican John Gotti type in some nightclub environment.

ROSANNA
[Who's that?]

MANZANO
[He's the man, 'the Boss?' My guys
got into the house on the pretext of
giving cholera shots. We had to inject
the whole Barrio. We bugged the house
and stole the picture of him.]

Manzano looks at Rosanna.

MANZANO
[Now's the time to really pressure
him. Lets publish his picture in
tomorrow's edition.]

Rosanna understands the consequences makes light of them.

ROSANNA
[So how are going to reciprocate?]

Manzano discreetly slides his hands up her crotch.

CUT TO:

EXT. ROSANNA APARTMENT - NIGHT

Her car draws up. Her driver exits and opens her door.

She steps out. But waiting inside is a welcoming committee.
A HOODED FIGURE wielding a shotgun who shoots the driver in
both knees.

HOODED FIGURE waves the shotgun under Rosanna's nose. A
warning. Then disappears into the darkness.

CUT TO:

INT. ROSANNA'S APARTMENT

Rosanna in her apartment in the dark. A tear trails her cheek.

CU of the proofsheet of the next day's newspaper. The Boss'
picture, full frame.

EXT. RESTAURANT - MEXICO CITY - NIGHT

Creasy moves in the shadows looking remarkably strong
considering his wounds.

CREASY - SURVEILLANCE POV

Cameras whirring. Video being shot. He hasn't arrived alone.
As he disappears inside...

INT. CLOSED RESTAURANT - NIGHT

The OWNER watches nervously as Creasy approaches wearing a
wool CAP. A pale attempt at disguising his identity.

There's a newspaper folded on his dais, more photos of Creasy,
his dead targets, the story of his vendetta.

CREASY
[I'm looking for Rosanna Guerrero.]

OWNER
[This way.]

Empty restaurant, chairs on tables. An exterior streetlight
illuminates the darkness. The owner leads him down a row of
empty booths. Creasy slows, stops as he sees the only person
waiting for him is Manzano. As Manzano smiles.

MANZANO
(holds up paper)
Hombre en fuego. Man On Fire. That's
what the papers have named you.

CREASY
It's what you and Rosanna named me.
Right?

MANZANO
Sit, Creasy. Everything that happens
from now on does so with my
permission.
(smiles)
Really. You won't find a better carne
asada in all of Mexico.

The table is covered in an arrangement of the best food you
will ever find in Mexico. Creasy sits.

MANZANO
(laughs at himself)
The last few days may represent the
best police work of my life.

CREASY
What do you want?

MANZANO
The same thing as you. Except, my
reach isn't as long as yours. My
father was a policemen, did you know
that?

CREASY
I don't know shit about you.

MANZANO
He was one of the original founders
of 'Le Hermanidad' in the days when
it represented good not evil.

Manzano smiles; he likes Creasy.

MANZANO
He was murdered. And now here I am.
Trying to honor his memory. Hamstrung
by bureaucracy and corruption. The
organization that he began now
protects criminals at the highest
level where I would need a
Presidential finding in order to
expose it... or you.

The WAITER steps over; Manzano waves him off.

MANZANO
My family lives in Miami. Because of
the death threats.

CREASY
It's not worth it. Be with them
instead.

MANZANO
It galls me to watch you. You can do
as much in days as I can in years.
Men like the 'The Dreamer' are
protected. Out of everyone's grasp
it seems, but yours.

CREASY
Are you going to arrest me or talk
me to death?

Manzano laughs again. Genuine. Creasy cracks him up.

MANZANO
My country needs justice. Proper
justice. Gunning men down in the
street only feeds the violence. They
need to be brought to trial. Dealt
with properly. Then people will
respect the law. When they see it
works.

CREASY
So you are going to talk me to death.

MANZANO
You walk out and deal justice. You're
what I wish I could be.
(another laugh, then
a beat)
The policemen who kills you, his
family will have all they want.

CREASY
Then I hope the one who gets me has
got lots of kids. What do you want?

MANZANO
I want to arrest you for murder! I
want to shake your hand and reload
your gun! I want to kill my pride
and give you my blessing.

CREASY
My deal is with Rosanna. I knew you
guys were up to something. Are you
two fucking?

MANZANO
No, but I have to admit I thought
about it.

CREASY
Liar. Just tell me who the bank card
belongs to. Name and address.

MANZANO
You have no interest in making things
easy, do you?

CREASY
I'm not... easy.

Manzano reaches into his pocket. He pulls out a folded PIECE
OF PAPER and a PRESCRIPTION BOTTLE. He hands the bottle out
first.

MANZANO
Percodan. I imagine you need handfuls
by now.

Creasy makes no move to take it. Manzano sighs, sets it down
in front of him. Regarding the paper...

MANZANO
Account belongs to a woman we think
is The Dreamer's girlfriend. Reina
Rosas, who is 8 months pregnant.

Creasy holds his hand out. Manzano hesitates.

MANZANO
The plan is the girlfriend will lead
you to the Boss. You'll lead me, and
I'll arrest him. Agreed?

Creasy doesn't respond. Finally Manzano gives him the paper,
a mimeographed mugshot, and address scrawled on it.

Creasy stands. As he scoops up the pills. Creasy starts out.

MANZANO
Creasy...
(Creasy turns)
I'd have liked to have known you
under different circumstances.

CREASY
Off the top of my head, I don't know
what they could've been.

As Creasy departs...

FADE TO BLACK.

BLACK SCREEN

CREASY'S VOICE
Romans chapter 13:4 - therefore
whoever resists authority will bring
judgment on themselves. Now it is
time to awake out of sleep for our
salvation is nearer than we first
believed.

EXT. NEWSSTAND - DAY

Full page photo of 'the boss' on the front page of REFORMA.

EXT. ROCK WALL HOUSE - MEXICO CITY - DAY

A tiered house built into the rock face that runs through
Mexico City. A scooter is parked. A man sits on it waiting,
wearing a crash helmet to hide his now well known features.
Creasy.

CREASY - VIDEO FEED

It's difficult to say where they are coming from. The view
passes from one screen to another. As Creasy's passes, we
hear the whispered crackle of radio communications.

GROUND LEVEL

CREASY sits up as a car pulls up, and a MAN gets out.

Creasy checks the digital "8x10" even though this face is
indelibly imprinted on his brain.

It's not "The Dreamer." Not as handsome, but there's a
resemblance.

The MAN unlocks the front door, checks the street first and
then enters.

Creasy regroups mentally and physically. Checks the magazine
in his SIG SAUER. Chambers rounds into his shotgun. Looks up
and sees a six-year-old on a bicycle approach the front door.
A ten-year-old opens the door from inside. The six-year-old
struggles to get his bicycle through the doorway.

Creasy moves. He holds the shotgun against his leg as he
strides across the street. "Man on Fire."

The bicycle makes it in. And the door is closing...

Creasy gets a foot in, forces his way inside.

CUT TO:

MANZANO'S OFFICE - AFI HQ

Manzano listens to a radio over a desk speaker.

VOICE
[He's inside. What should we do?]

MANZANO
(keys mic)
[Do nothing.]

INT. HALLWAY - DAY

The pregnant woman, Reina Rosas, SCREAMING BLOODY MURDER as
Creasy fills the space behind her. Creasy follows as she
runs.

LIVING ROOM

Creasy faces Reina, heavily pregnant. Silence. Two other
kids hide behind her. Suddenly the wall next to Creasy
explodes in a hail of bullets.

We realize Creasy caught one round in the chest. He's down
on one knee... uses the shotgun as a crutch. Reina is
screaming.

Hear a door torn open. Creasy moves to the sound. A MAN has
run out the back...

EXT. HOUSE - BACK COURTYARD

Creasy steps into courtyard, turns, a VW Bug coming right at
him...

Aims his weapon.

THE MAN

Ducks down... windshield shatters from the blast of Creasy's
shotgun... Bug slams into wall. The Man rolls out... using
the door as a shield.

BARRIO

The Man flees into a labyrinth of packing-crate houses on
car-tire foundations out into street. Running hard, too hard
for Creasy in his condition. He is losing a lot of blood. He
stops.

CREASY

Behind the wheel of the Volkswagon, roars out chasing.

Now through the maze of poverty... Creasy drives hard... no
sign of the Man... empty eyes of poverty looking back...
mostly women and children... They clearly see Creasy... fully
exposed... driving a car with no windshield... He slams the
car into reverse.

Someone says "Creasy" aloud... now more faces to turn...
children looking directly through his absent windshield.

One skinny kid runs ahead of Creasy. The boy points at one
cardboard house propped up against a brick and stucco wall.

INT. VOLKSWAGON

Creasy pops the clutch... straight into a small house...
taking whole walls of cardboard... to the back brick wall...
The 'Man' is pinned violently between the car and the wall.

CUT TO:

BARRIO

Creasy, shotgun in one hand, the injured Man in the other...
walks through the barrio... a small crowd is yelling, "Creasy,
MAN ON FIRE" (in Spanish: Hombre en Fuego).

INT. LIVING ROOM - REINA ROSAS HOUSE - DAY

The Man badly broken and bleeding lies on the floor,
flexcuffed.

Reina screams at Creasy. Creasy's popping Percodan's. The
hysteria is peaking. Creasy chambers a round and shoots man
through left knee. Screams then silence.

CREASY
[Reina Rosas.]

REINA
[Si.]

CREASY
[How do you contact 'the Boss'?]

Reina hesitates.

Creasy chambers another round and holds the gun to man's
right knee.

REINA
[We page him and he calls back on
this cell phone.]

CREASY
[What is his name?]

REINA
[Daniel.]

CREASY
[Daniel what?]

He pulls the hammer back.

REINA
[Daniel Rosas Sanchez.]

CREASY
[So you're married to him? And this
looks remarkably like his brother.]

Creasy looks to man semiconscious on the floor. She nods

CREASY
[What is his name?]

REINA
[Aurillio Rosas Sanchez.]

INT. AFI SURVEILLANCE TRAILER

Technician listens into the living room conversation and
speaks to Manzano over the radio.

TECHNICIAN
[What do we do?]

MANZANO (V.O.)
[Do nothing. Prepare yourself for an
incoming call.]

AFI GROUP

congregating around maps, and a "Triggerfish," a means of
tracing the location of a cell phone.

INT. LIVING ROOM

Cell phone ringing. Creasy pauses -- picks up the cell.

CREASY
[Hello Daniel. I've got your family
and I want to negotiate.]

DANIEL
[Mr. Creasy. What do you want?]

CREASY
[I want you.]

Several beats of silence. We can hear Daniel's breathing.

DANIEL
[How much do you want?]

CREASY
[It's non-negotiable.]

DANIEL
[Two million U.S.... Three million
U.S.?]

CREASY
[I told you, non-negotiable.]

Daniel hangs up.

CUT TO:

AFI TRAILER

MANZANO listening.

MANZANO
[Damn.]

CUT TO:

LIVING ROOM

Cell phone ringing.

CREASY
[Yeah.]

Daniel has a different attitude, a lot more amenable. He
tries to speak to Creasy very logically about a very illogical
subject.

DANIEL
[The most important thing in life is
family. And there you are. You have
my family. What do you want?]

CREASY
[I want you.]

DANIEL
[This is not possible. But in that
house I have money. If I tell you
where --]

CREASY
(interrupts)
[Your brother wants to talk to you.]

Holding the shotgun with his right hand, Creasy holds the
phone to Aurillio's ear.

AURILLIO
[Daniel?]

BOOM! Creasy shoots Aurillio in his right kneecap. As Aurillio
HOWLS in agony...

CREASY
[Listen to me. Listen! I'm going to
take your family apart piece by
piece.]

The line goes dead. Hang up. Creasy's ready to explode.

REINA
[Under the sink. We have money under
the sink. Six million dollars. It's
wet but good.]

The phone begins to ring again. Creasy answers.

CREASY
[Yeah.
(silence)
Yes.]

DANIEL
[Listen! I will give you a life for
a life.]

CREASY
[What do you mean?]

DANIEL
[Her life for your life.]

Creasy's confused.

CREASY
[Whose life?]

Creasy's confused.

DANIEL
[The girl's. Pinta's.]

CREASY
[You're a liar. Pinta's dead.]

DANIEL
[I'm a businessman. A dead girl is
worth nothing. She is alive.]

A long beat.

CREASY
[I want proof of life. What did she
call her bear?]

DANIEL hangs up.

INT. LIVING ROOM

Aurillio moans on the floor. Reina says the rosary. The kids
cry. The phone rings. Creasy listens, not capable of speaking.

DANIEL
[Creasy. She calls the bear 'Creasy
Bear.']

Time stands still for Creasy. Words evaporate. Liquid film
in Creasy's eyes.

CLOSE UP of Creasy's shocked face. He pulls down his shirt
collar. Bubbles of blood form and reform over his chest wound
as the maroon spreads across his chest and stomach.

CREASY
[Okay. Where?]

AFI SURVEILLANCE VAN

Vans on the move. Team Leader, radios.

TEAM LEADER
[We received enough of a signal to
at least put him in the Zona Colonia.
Shit not enough time. He hung up.]

INT. VW BUS

Creasy driving. Great AC without the front windshield.

Keeps him awake. Daniel Sanchez V.O. detailing the drop.

Creasy trying desperately to drive and write down the address.

CREASY
Lisa, don't hang up on me. Pinta is
alive.

INTERCUT WITH:

INT. LISA'S BEDROOM

Blinds are drawn. Slivers of light illuminate her emotionally
drained face.

LISA
(silence)
I don't believe you.

CREASY
I want you to get into your car now
and meet me on the south end of the
footbridge between Reforma and the
freeway junction. In 45 minutes.

LISA
You're lying. I don't believe you.

CREASY
Then don't come.

He disconnects. He cannot waste his ebbing strength.

EXT. BRIDGE OF THE AZTECS - SUNSET

Darkness has fallen. Few people are on the street as Creasy
pulls to the south end of the bridge. He parks... looks
around... it's deserted. She's not coming. Checks his watch,
turns and walks toward the bridge. The Ramos Mercedes drives
up the bridge. Headlights off. Lisa is driving. She exits
the car.

She runs to catch Creasy.

LISA
Creasy... Wait.

CREASY
Stay here. If you do something stupid,
we won't get her back.

He climbs the steps of the bridge trying to maintain his
dignity through the pain. He can see cars parked on the other
side.

OTHER SIDE OF THE BRIDGE - CREASY'S POV

CREASY'S DREAMLIKE POV (IS IT REAL OR A DREAM)

driver exits a shadowed car and opens the passenger door.

A SMALL FIGURE in a hooded sweat shirt and sweat pants exits
the car. Confused. Disoriented.

CREST OF THE BRIDGE

Creasy waits. Breathing labored breaths. He sees it all.

OTHER SIDE OF THE BRIDGE

The driver unties little hands. Removes a blindfold from
under the hood. He steps away. Offering no help.

The small figure is confused.

CREST OF THE BRIDGE

Creasy calls out:

CREASY
Pinta. Pinta.

She turns and looks. It looks remarkably like her even under
the hooded sweatshirt. She begins to run. Across the street,
up the steps toward Creasy. A screaming train flashes beneath.
Car headlights illuminate the bridge.

Time stands still and the 'city sounds' fade out to nothing.

She runs up the remaining stairs and sprints across the
bridge. Her hood blows off revealing her full face.

It's definitely Pinta. Camera ramps as he jumps into Creasy's
arms. This is not the little girl we experienced in the
beginning of the movie. The experience she just endured has
been life changing. All of a sudden we have a 40 year old
head on an 8 year old body.

She wraps herself around him. He picks her up. We glimpse a
simple tear on his cheek. They talk. But we do not hear the
words.

She notices her mom on the far side of the bridge.

Creasy maneuvers her toward Lisa.

Before she goes to her mother we hear:

PINTA
I love you, Creasy... And you love
me, right?

Creasy nods. The inference is that he will see her in a few
minutes.

We start to hear Linda Ronstadt painfully, quietly on the
wind singing "Blue Bayou." He continues to walk across to
the opposite side of the bridge and gets into the kidnappers'
car.

There's a certain sort of calm of him.

He closes the door, he lays his head against the back window.
He looks out at PINTA at the other side of the bridge, where
she's screams for Creasy. "Blue Bayou" gets LOUDER. Pinta
now knows it was a lie. Creasy is not coming back. We're
shooting through the glass of the back window. We see Mexico
City reflected in the glass.

As the car pulls out, time slows, and we see Creasy lay his
head back and close his eyes as the car descends down into a
dark tunnel.

Pinta can see Creasy's face, eyes slowly closing. He can
hear her screams before being enveloped by the night. As
"Blue Bayou" continues...

EXT. MEXICO CITY STREETS - DAY

Dark spot in the road. Suddenly Police lights, on the roofs
of four cars, flash simultaneously in front, in blocking
position. The driver turns and looks back wanting to escape.
He has a blacked out AFI armored van right on his rear bumper.
Nowhere to go.

SWAT at his door. He's pulled and proned out onto the road.

Manzano enters the driver's seat. Reaching back to Creasy.
Grabs his hand.

MANZANO
I'm your chauffeur now, Creasy.

Manzano does a U-turn. Heading away. On his portable radio.

MANZANO
[All units. Commence the operation.
Repeat. Commence.]

He reaches back again.

MANZANO
Creasy? Creasy?

CLOSE UP - Two hands clasp.

Creasy's left with Manzano's right. A strong grip. Then no
response. Manzano pulls to the curb.

Manzano reaches Creasy's wrist. Takes his pulse.

Creasy's gone.

Beat.

Manzano kneels. Still holding Creasy. Unfolds Creasy's
fingers.

CLOSE UP - Pinta's medallion of St. Jude clutched in his
hand.

Manzano punches the seat again again and again.

MANZANO
[Goddamn you.]

EXT. GUARDIAN'S CAR - HIGH ANGLE U-TURN

Manzano looks at Creasy and makes a decision.

MANZANO
(keys mic)
[Hold at the perimeter. Until I
enter.]

EXT. DANIEL'S COMPOUND

Dark, suburban Cuernavaca street. Creasy's car rounds the
corner. Security outside the compound motions to open the
garage doors. The driver of the car is faceless. Street light
reflections across the windshield.

The car enters the gates. A collection of armed bodies appear
in the courtyard curious to see this national hero. "Hombre
en Fuego."

The car stops. Nothing. This beat seems interminable.

A hand opens the rear door: His forehead explodes. The driver
door opens barely two shots, two more bodies drop.

Panic and confusion. Everybody runs for cover. An overhead
helicopter illuminates the mayhem in the courtyard. An armored
vehicle rams through the gates.

Manzano explodes out of the driver's door in slow motion.

He is clearly on a mission. He strides through the mayhem,
Creasy's Sig Sauer in one hand, and a .45 auto in the other.

Manzano's guide to his destination is the 'The Dreamer's'
little Jack Russell running back to his master on instinct.

Manzano moves purposefully. His surrounding environment is
Chaplinesque in its chaos. He enters a long walkway to a
patio, following the dog. Daniel Sanchez appears at the end
of the hall. We ramp him into slow motion. The Mexican version
of Gotti. He raises his arms, prepared for the inevitable.
The outcome is a given.

Manzano unloads a magazine into him and we --

FREEZE FRAME

SUPER TITLE: "HOMBRE EN FUEGO"

BLACKNESS.

CREASY'S VOICE
Ezekiel 25:17. Blessed is he who in
the name of charity and good will
shepherds the weak through the valley
of darkness for he is truly his
brother's keeper and the finder of
lost children.

THE END

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