Man On Fire
by
Brian Helgeland
Based on the novel by
A.J. Quinnell
February 10, 2003
(V 2.0)
Property of New Regency Productions, Inc.
Work in Progress 2/10/03 1.
"Man On Fire"
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.
Work in Progress 2/10/03 2.
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 semi-
derelict 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.
Work in Progress 2/10/03 3.
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:
Work in Progress 2/10/03 4.
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.
Work in Progress 2/10/03 5.
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.
Work in Progress 2/10/03 6.
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: Italics 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.
Work in Progress 2/10/03 7.
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.
Work in Progress 2/10/03 8.
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.
Work in Progress 2/10/03 9.
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.
Work in Progress 2/10/03 10.
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.
Work in Progress 2/10/03 11.
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.
Work in Progress 2/10/03 12.
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.
Work in Progress 2/10/03 13.
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 (CONT'D)
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 (CONT'D)
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.
Work in Progress 2/10/03 14.
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?
Work in Progress 2/10/03 15.
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 (CONT'D)
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.
Work in Progress 2/10/03 16.
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.
Work in Progress 2/10/03 17.
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.
Work in Progress 2/10/03 18.
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
Work in Progress 2/10/03 19.
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.
Work in Progress 2/10/03 20.
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.
Work in Progress 2/10/03 21.
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.
Work in Progress 2/10/03 22.
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?
Work in Progress 2/10/03 23.
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.
Work in Progress 2/10/03 24.
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?
Work in Progress 2/10/03 25.
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.
Work in Progress 2/10/03 26.
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 his 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.
Work in Progress 2/10/03 27.
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...
Work in Progress 2/10/03 28.
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.
Work in Progress 2/10/03 29.
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.
Work in Progress 2/10/03 30.
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.
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 back-
up button. "Blue Bayou" begins again. Creasy takes the
9mm from its holster. As he sits back in his chair...
Work in Progress 2/10/03 31.
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.
Work in Progress 2/10/03 32.
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.
Work in Progress 2/10/03 33.
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.
Work in Progress 2/10/03 34.
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?
Work in Progress 2/10/03 35.
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.
Work in Progress 2/10/03 36.
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.
Work in Progress 2/10/03 37.
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.
Work in Progress 2/10/03 38.
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.
Work in Progress 2/10/03 39.
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.
Work in Progress 2/10/03 40.
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.
Work in Progress 2/10/03 41.
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.
Work in Progress 2/10/03 42.
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.
Work in Progress 2/10/03 43.
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.
Work in Progress 2/10/03 44.
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.
Work in Progress 2/10/03 45.
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.
Work in Progress 2/10/03 46.
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.
Work in Progress 2/10/03 47.
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.
Work in Progress 2/10/03 48.
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.
Liza 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.
Work in Progress 2/10/03 49.
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.
Work in Progress 2/10/03 50.
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!
Work in Progress 2/10/03 51.
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.
Work in Progress 2/10/03 52.
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.
Work in Progress 2/10/03 53.
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.
Work in Progress 2/10/03 54.
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.
Work in Progress 2/10/03 55.
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?
Work in Progress 2/10/03 56.
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.
Work in Progress 2/10/03 57.
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.
Work in Progress 2/10/03 58.
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.
Work in Progress 2/10/03 59.
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.
Work in Progress 2/10/03 60.
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.
Work in Progress 2/10/03 61.
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:
Work in Progress 2/10/03 62.
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.
Work in Progress 2/10/03 63.
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!
Work in Progress 2/10/03 64.
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.
Work in Progress 2/10/03 66.
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.
Work in Progress 2/10/03 67.
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.
Work in Progress 2/10/03 68.
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.
Work in Progress 2/10/03 69.
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 (CONT'D)
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 (CONT'D)
(whispers)
You got three of the fuckers. All dead.
Work in Progress 2/10/03 70.
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.
Work in Progress 2/10/03 71.
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.
Work in Progress 2/10/03 72.
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 plain-
clothed 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.
Work in Progress 2/10/03 73.
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 sinificant 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.
Work in Progress 2/10/03 74.
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.
Work in Progress 2/10/03 75.
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.
Work in Progress 2/10/03 76.
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.
Work in Progress 2/10/03 77.
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.
Work in Progress 2/10/03 78.
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...
Work in Progress 2/10/03 79.
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 (CONT'D)
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.
Work in Progress 2/10/03 80.
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.
Work in Progress 2/10/03 81.
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.
Work in Progress 2/10/03 82.
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, bodyarmor (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?
Work in Progress 2/10/03 83.
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.
Work in Progress 2/10/03 84.
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.
Work in Progress 2/10/03 85.
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 (CONT'D)
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.
Work in Progress 2/10/03 86.
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?
Work in Progress 2/10/03 87.
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.
Work in Progress 2/10/03 88.
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.
Work in Progress 2/10/03 89.
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.
Work in Progress 2/10/03 90.
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.
Work in Progress 2/10/03 91.
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.
Work in Progress 2/10/03 92.
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?
Work in Progress 2/10/03 93.
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 antikidnapping 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.
Work in Progress 2/10/03 94.
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.
Work in Progress 2/10/03 95.
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.
Work in Progress 2/10/03 96.
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.
Work in Progress 2/10/03 97.
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:
Work in Progress 2/10/03 98.
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
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.
Work in Progress 2/10/03 99.
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.
Work in Progress 2/10/03 100.
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.
Work in Progress 2/10/03 101.
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.
Work in Progress 2/10/03 102.
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.
Work in Progress 2/10/03 103.
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 bullet-
proof. 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...
Work in Progress 2/10/03 104.
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 (CONT'D)
.44 Magnum. Now, how's your hearing?
We hear the CLICK of the trigger being cocked back.
TAZINARI
Please, don't...
Work in Progress 2/10/03 105.
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 (CONT'D)
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.
Work in Progress 2/10/03 106.
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.
Work in Progress 2/10/03 107.
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
Flambouyant, 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.
Work in Progress 2/10/03 108.
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?
Work in Progress 2/10/03 109.
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.
Work in Progress 2/10/03 110.
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?
Work in Progress 2/10/03 111.
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. 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 recipricate?
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.
Work in Progress 2/10/03 112.
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?
Work in Progress 2/10/03 113.
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.
Work in Progress 2/10/03 114.
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.
Work in Progress 2/10/03 115.
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
Work in Progress 2/10/03 116.
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:
Work in Progress 2/10/03 117.
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.
Work in Progress 2/10/03 118.
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, flex-
cuffed. 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.
Work in Progress 2/10/03 119.
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?
Work in Progress 2/10/03 120.
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 --
Work in Progress 2/10/03 121.
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.
Work in Progress 2/10/03 122.
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:
Work in Progress 2/10/03 123.
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) A
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
Work in Progress 2/10/03 124.
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.
Work in Progress 2/10/03 125.
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 se 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.
Work in Progress 2/10/03 126.
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.
Work in Progress 2/10/03 127.
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.
