FRONTERA
--------
screenplay by
Alan B. Scrivener
29 Sep 2001
first draft
FADE IN:
CLOSE UP: AUDIO EQUALIZER CONTROL PLATE
All of the frequency level displays show zero volume.
SOUND: The bustle of a film crew setting up (O.S.)
FADE IN TITLE:
southern California desert
near the Mexican border
27 July 2001
TITLE FADES OUT.
PULL BACK SLOWLY TO SHOW: INT. AUDIO TENT - DAY
ASSISTANT DIRECTOR (O.S.)
(shouting through bullhorn) Quiet on the
set! (bustle dies down) Rolling! Time code!
Playback!
A hand emerging from a black satin jacket pushes a button.
The frequency level displays on the equalizer begin to dance up and down.
MUSIC: THE GOOD, THE BAD AND THE UGLY/HANG 'EM HIGH, Wall of Voodoo's
Spaghetti Western theme medley (electric guitar twang, Spanish melody
with drum machine disco percussion track).
CUT TO:
EXT. DESERT - MORNING
Helicopter shot: A speeding convoy of Border Patrol vehicles across
morning desert sands, dust trailing.
One by one vehicles peel off the convoy and head across the desert
dunes to assume position.
BEGIN SHORT TITLES
AMERCIAN METASCOPE STUDIOS PRESENTS:
AN ALAN SCRIVENER FILM
F R O N T E R A
STARRING
ACTOR ONE ACTOR TWO
ACTOR THREE ACTOR FOUR
MUSIC COMPOSED AND PERFORMED BY BY MU SICIAN
END SHORT TITLES
AS TITLES DISAPPEAR MUSIC CONTINUES, FADE IN AUDIO:
Radio traffic between vehicles and home base, as they assume position.
VEHICLE ON RADIO (V.O.)
Delta nine seven in position at mile mark eleven.
CUT TO:
CLOSE UP OF A DRIVER'S FACE
DRIVER
(muttering) Only four and a half hours to lunch.
CUT TO:
EXT. DESERT - MORNING
Helicopter shot following one vehicle.
VEHICLE ON RADIO (V.O.)
(illegible squawk)
Vehicle pulls up to edge of dunes, stops abruptly.
A cloud of dust hangs behind it.
CUT TO:
CLOSE UP OF DUNES
A javalena (desert pig) is spooked, and runs over a hill of sand.
MUSIC ENDS.
CUT TO:
INT. VEHICLE - MORNING
It is the same driver we have seen. He raises binoculars to his eyes with
one hand, raising and keying his radio mike with the other.
DRIVER
Delta three three in position at mile mark thirteen.
CUT TO:
INT. EL CENTRO SECTOR BORDER PATROL OFFICE
It looks like a temporary trailer office with fake wood panelling, a loud
window-mounted air conditioner, a refridgerated water cooler, and a map
of Imperial County on a bulliten board, covered with colored map pins.
There are three metal desks: one in the corner where the DISPATCHER sits
wearing a headset, one at thje reception station where CONNIE sits talking
on the phone, and the largest against the longest wall where O'REILLY,
Chief Patrol Agent for the El Centro Sector, stands studying the map.
DISPATCHER
(into radio) Roger delta three three.
(to O'Reilly) All units in place at... (looks at watch)
oh-six-hundred-fourteen.
SOUND: KNOCK ON FLIMSY DOOR
CONNIE
(covering phone) I'm still holding for Washington.
O'REILLY
I'll get it.
O'Reilly manuevers to the door and opens it to admit CARTER, overdressed
in a blue wool suit for the 3-digit heat, as we can tell by the sweat
pouring down his face.
O'REILLY
Colonel Carter, glad you made it. (to Connie) Never
mind, he's here.
CONNIE
(stage whisper) I can't just hang up -- it'd be rude to
Didi.
O'Reilly and Carter shake hands.
CARTER
Hello, Tom. Good to see you. It's always nice to get out
on the front lines.
O'REILLY
You know Connie, and this is Sandi, our new dispatcher. Can
I get you anything to drink? (to Connie) Do we have any
lemonade left in the ice box? (she shakes her head no)
Well, heck, let's go someplace we can get a cold drink.
Have you had breakfast?
CUT TO:
INT. COFFE SHOP - MORNING
O'Reilly and Carter are sitting in a booth, staring at menus and drinking
ice water. Outside plate galss windows bright sunlight reflects off of
chrome car bumbers. They both look too warm -- Carter in his wool suit
and O'Reilly in his Border Patrol uniform.
O'REILLY
The big problem as I see it is it's just
like trying to find a good quarterback.
You need someone smart enough to do the
job and dumb enough to take it.
CARTER
You also need somebody who's completely
unknown and you need to train them totally
outside the system. No Academy training,
they'll never even set foot in Glynco or
Charleston. What the spooks call "deep
cover."
O'REILLY
But they have to be trained. I don't want
another Edmund situation. Training is
essesntial to this operation.
CARTER
Don't worry, chief. I have an answer.
Carter pulls a folder out of his briefcase, removes a photo,
and slides it over to O'Reilly on the counter.
CUT TO:
CLOSE-UP: PHOTO OF TIM MARTIN
CARTER
Do you know who this is?
O'REILLY
No, I don't.
CARTER
Neither does anybody else.
CUT TO:
INT. COFFE SHOP - MORNING
A BUSBOY is peering over at the photo from a few tables away.
SOUND: SOMEBODY DROPPED A TRAY FULL OF DISHES.
The busboy resumes refilling water glasses from a pitcher.
WIPE TO:
INT. VEHICLE - MORNING
The same driver we have seen still holds his binoculars to eyes with one
hand. With his other hand he pulls a fast food sandwich out of a sack
and begins to munch on it. CELL PHONE RINGS. Placing the sandwich on
the dashboard, he answers, still chewing.
DRIVER
Hello. (pause) Hi honey. (pause) Same
thing I do every day. Sittingf in my truck
with the engine running and the A/C on,
staring into Mexico through binoculars.
CUT TO:
VIEW THROUGH BINOCULARS OF MEXICAN DESERT (FROM CALIFORNIA)
Hold on shimmering view.
DISSOLVE TO:
VIEW THROUGH BINOCULARS OF CALIFORNIA DESERT (FROM MEXICO)
A freeway, high-tension power lines and English-language billboards help
us realize that it is the USA.
CUT TO:
CLOSE UP: COYOTE DEL REY looking through binoculars. He lowers them.
We see a Mexiacn desperado in his 50s, who has lost a few fights over
the years.
MUSIC: Spaghetti Western twang.
PULL BACK TO SHOW EXT. DESERT - MORNING:
he is surrounded by a few of his henchmen and JOEY,
an 11-year old Mexican boy.
JOEY (IN SPANISH, WITH SUBTITLES)
Can I see?
CUT TO:
CLOSE-UP: Joey looking through binoculars
JOEY (SPAN.)
Why would anyone want to go there?
COYOTE (O.S., SPAN.)
Nobody wants to go there. They only go there if they
must. It is a cursed place, a place to be avoided.
A last resort.
CUT TO:
VIEW THROUGH BINOCULARS OF CALIFORNIA DESERT (FROM MEXICO)
Hold on shimmering view.
DISSOLVE TO:
CLOSE UP: A topo map of the same region, held in a pair of hands.
PULL BACK TO SHOW EXT. MOUNTAINS - DAY.
Standing at a desert view spot in the Laguna Mountains are TWO HIKER COUPLES:
GEORGE and AMY, plus GARY and SADIE.
The map is held by GEORGE.
GEORGE
(to Gary) This is where I want to go next.
Hike the desert back country from Death
Valley, through Needles down past the
Salton Sea and then all the way down to
the dunes at the border.
CLOSE UP: George and Gary looking at the map
GEORGE (CONT'D)
(gestures at map) Following the low
elevation ridgeline. Well, it's not a
ridgeline. It's like the opposite of the
hike we're doing now. Instead of the Pacific
Crest trail, it's be...
SADIE (O.S.)
The Pit of Hell Trail?
GEORGE
Yeah, actually, it takes you through Devil's
Golf Course and Furnace Creek.
GARY
Let me look that up on my Map CD. (pulling
laptop out of backback)
CUT TO:
EXT. MOUNTAINS - DAY
Medium shot of the two guys playing with the laptop, and the two women
a few yards away resting together. Sadie leans towards Amy.
CUT TO:
COLSE UP: Amy and Sadie
SADIE
Is he serious about this desert hike?
AMY
We both are.
SADIE
You've got it bad for this guy, don't you?
I'm just glad Gary is more serious about the
gadgets than he is aboput the hiking. I don't
get this spend the summer hiking thing. I mean
a weekend is okay, but to thell you the truth
I'd rather be at Glen Ivy Hot Springs soaking
in a mud bath.
AMY
Well, at least I'm losing weight.
Sadie sticks her tongue out at Amy.
DISSOLVE TO:
EXT. MOUNTAINS - LATE AFTERNOON
The four are hiking down switchbacks, seen from across the valley.
But we hear sounds up-close.
GARY
(looking at watch) It's 5:30, time to call
my cousin-in-law.
Pulls out satellite phone, dials, waits.
GARY
(shouting into phone) Ediie! It's Gary!
I'm hiking with those friends I told you
about! (pause) Yeah, the whole John Muir
thing! (pause) No, not us. We're just
along for one night. So can you pick us up
tomorrow? Say, about this time?
CUT TO:
INT. SANCHEZ KITCHEN - LATE AFTERNOON
EDDIE is talking on the phone while his four KIDS run in and out the back
door along with a barking DOG and his wife YOLANDA is heard shouting
to them to wash their hands again if they've been petting the dog.
EDDIE
Yeah, I guess I can miss the tailgate party
and still make it to the game. (pause)
Yeah, I know where it is. Right there at
the marker. Where those campers got robbed
by drug smuggers last month. (pause) Oh,
you didn't hear about that?
SOUND: CALL WAITING CLICK ON PHONE LINE
EDDIE (CONT'D)
Hang on, I got another call. (pause) Oh,
yea, satellite phone. Okay. I'll see you
tomorrow. Gotta get this call, I'm waiting
to hear about a job. (switches to other call)
Hello!
CUT TO:
EXT. STREET WITH HOT ROD SHOW - LATE AFTERNOON
Buddy is talking on a pay phone. Behind him his clasic '32 Ford has the
hood up.
MUSIC: EARLY '60s ROCK AND ROLL (a la American Graffiti) BLARES
BUDDY
Eddie, is that you! (pause) I need your help.
I'm over in La Mesa at the hod rod show and my
clutch plate is just gone! It's soft as a pillow!
I'm stuck, Eddie!
CUT TO:
INT. SANCHEZ KITCHEN - LATE AFTERNOON
EDDIE
What, you want me to come doen and fix it
right now?
YOLANDA (O.S.)
Eddie, we're just sitting doewn to dinner.
EDDIE
(cupping phone) He's stuck! I gotta help him.
YOLANDA (O.S.)
You're not 911, Eddie.
DISSOLVE TO:
iNT. SANCHEZ KITCHEN - DUSK
The kids and Yolanda are saying grace as Eddie slips out the back door.
EDDIE
Bye, love you! Let me know if that guy
calls again about the summer job.
CUT TO:
EXT. STREET WITH HOT ROD SHOW - NIGHT
Eddie is bent over under Buddy's hood, poking around.
EDDIE
Yeah' it's the clutch plate all right but I can't
pull the engine here, Buddy. We need to tow it
someplace.
O'REILLY (O.S.)
You Eddie Sanchez?
Eddie raises up suddenly and of course bumps his head on the hood.
EDDIE
Ow! Yeah. Who wants to know.
O'Reilly enters from side, in plain clothes.
O'REILLY (O.S.)
(hand out to shake) Peter O'Reilly, Chief Patrol Agent,
EL Centro Sector, US Border Patrol. I've talked
with your wife on the phone... she sent me down here.
Is there someplace we can sit down and talk?
CUT TO:
INT. MEXICAN RESTAURANT - NIGHT
Eddie and O'Reilly sit in a booth with high back Spanish-looking seats.
EDDIE
So you want me to infiltrate this gang of
illegal alien smugglers, for hazardous duty pay?
And I get a big bonus if I get the bad guy?
That's great! Where do I sign? But I only
have one question: why me?
O'REILLY
Well, there are three reasons.
One: you look Hispnaic. I'm sorry, I nkow
that isn't very politically correct, but it's
what we need.
Two: you're unknown to anybody connected with
the border, on either side, good guys or bad guys.
And three: you scored high on the police academy test,
including Spanish.
EDDIE
Yeah, I need to talk to you about that.
WAITRESS IN MEXICAN DRESS
(appearing suddenly) Are you ready to order?
O'REILLY
Do you want anything? It's my treat.
EDDIE
No, thanks, I got dinner getting cold at home.
Besides, I really hate Mexican food. It reminds
me too much of being poor growing up in Nogales.
That's all my Mamsita ever made, tortillas and
beans and a little bit of meat, only we just thought
it was oridnary food, you know? Like hot dogs.
WAITRESS IN MEXICAN DRESS
I'll give you a few minutes. (she leaves)
O'REILLY
Eddie, why am I getting the feeling you don't
really want this job?
EDDIE
I'm sorry, I just don't think I could sell the
whole idea to my wife. I got four kids you know.
CUT TO:
INT. SANCHEZ KITCHEN - NIGHT
Eddie and Yolanda are sitting at the kitchen table. The kids
and dogs must be asleep.
YOLANDA
If nothing else, you have to do it for the kids, Eddie!
EDDIE
But this is "hazardous duty," honey! As in, oops,
sorry, I'm dead.
YOLANDA
That didn't stop you from trying to become a cop.
Phone RINGS. Eddie answers it.
EDDIE
'ollo. (pause) Yeah, hi Frankie... (pause)
No, I don't think I'm gonna make it to the game.
(covers phone) Am I gonna make it to the game?
Yolanda stares at Eddie with "that look."
EDDIE
No, I'm not gonna make it. You guys have a good time.
'kay. Bye.
YOLANDA
It's almost August, Eddie. This is the only summer
job anybody's offered you. The kids all need
new school shoes.
EDDIE
Yeah, I really was counting on the Hot Rod
Camp to work out. That really was a raw deal.
It's unfair to the kids who worked so hard.
Not one of those kids who crashed in that
street race was one of our campers!
We taught them to respect the law!
YOLANDA
Screw Hot Rod Camp! It's over, Eddie, kiss it
goodbye. But your obligations are still here.
We're still behind on the light bill,
if it wasn't for this California emergency thing
they'd have shut us off by now. You're not going to
get another paycheck until October, Eddie.
EDDIE
I start back teaching in less than four weeks.
I'll get a paycheck ten days after I finish my
first pay cycle.
YOLANDA
Which is October first. Look at this Eddie!
(she dumps a straw basket of bills on the table)
Almost every one of these has a pink edge,
Or pink paper. These are warning lights, Eddie.
Overheating. Oil. Battery. Service engine soon.
EDDIE
That reminds me, I gota get some new oil pressure
gauges for my students. I don't think the district
is gonna spring for them, but I really need them.
Just twenty. I'll put it on the Sears card.
CUT TO:
EXT. EDDIE'S HOUSE - NIGHT
The light in the kitchen window is on, as wellas a few others.
YOLANDA (O.S.)
Jesus fucking Christ Eddie are you even listeneing to me!
All lights go out in the house.
EDDIE (O.S.)
You got a flashlight? I'll go check the fuse.
YOLANDA (O.S.)
It's not the damned fuse, Eddie.
FADE OUT.
FADE IN:
CLOSE UP: AUDIO EQUALIZER CONTROL PLATE
SOUND: The bustle of a film crew setting up (O.S.)
ASSISTANT DIRECTOR (O.S.)
(shouting through bullhorn) Good morning!
Is the coffee better than yesterday! (cheer)
Okay, let's get something in the can! Spaghetti
Western Music Video, Scene two twelve, take five.
Quiet on the set! (bustle dies down) Rolling!
Time code! Playback!
A hand emerging from a black satin jacket pushes a button.
The frequency level displays on the equalizer begin to dance up and down.
MUSIC: THE GOOD, THE BAD AND THE UGLY/HANG 'EM HIGH, Wall of Voodoo's
Spaghetti Western theme medley again
PULL BACK TO SHOW:
SANDMAN at the audio controls, his back to us. His black satin
jacket says on the back, in white Old English style letters,
"Hipper Than Thou Music Video Productions"
ASSISTANT DIRECTOR (O.S.)
Cut! Cut! Director has signalled cut!
SANDMAN kills the music.
CUT TO:
LONG SHOT: EXT. DESERT - MORNING
The film crew is spread out, some under a tent, including Sandman and his
audio equipment, some under umprellas, like DIRK the director who sits
in a director's chair wearing long sleeve black shirt, black jeans, blank
punk boots and a black beret, some out in the sun like the CAMERA OPERATOR
(SID) and the two LIGHTING GRIPS holding large silver reflective sheets.
The A.D. walks over to where Dirk is seated.
CUT TO:
MEDIUM SHOT: EXT. DESERT - MORNING
The shot frames only A.D. and Dirk.
ASSISTANT DIRECTOR
What's the matter, boss?
DIRK
(gesturing with a quirt) I think that, uh,
creepy looking guy from the label is in the
shot. Ask Sid to double check. (A.D. begins to
leave) Wait a second. Who is that guy?
CUT TO:
LONG SHOT: EXT. DESERT - MORNING
Now we are facing the other way, seeing what the crew is filming.
PHILO and his band, THE MERCS, are dressed in ponchos and sombreros,
scattered among heroic cacti with drmatic eroded cliffs in the
background. To one side stands THE MAN WITH NO NAME, balding and
wearing silver lizard-eye shades. He is immobile.
ASSISTANT DIRECTOR (O.S.)
I've never seen him before.
DIRK (O.S.)
Why hasn't Christy introduced us to that guy?
The band shuffles around restlessly. T.M.W.N.N. remains immobile.
CUT TO:
MEDIUM SHOT: EXT. DESERT - MORNING
DIrk and A.D. lean towards each other, continuing to talk.
ASSISTANT DIRECTOR
You want me to go find out?
DIRK
No, I think this is more of that New York
intimidation crap. But go have security check his
I.D., and tell catering not to serve him, until
I say so.
ASSISTANT DIRECTOR
Uh, where'd he go?
CUT TO:
LONG SHOT: EXT. DESERT - MORNING
Again we are seeing what the crew is filming. The Band is still
in place, but T.M.W.N.N. is gone.
DIRK
You know what I think?
ASSISTANT DIRECTOR
What, Boss?
DIRK
I think we're burning dylight. (loudly, to crew)
Let's quit fucking around and get something in the can!
ASSISTANT DIRECTOR
(raises bullhorn) Okay! Let's quit screwing around
and get something in the can! Places everybody!
DISSOLVE TO:
HELICOPTER SHOT: DESERT
We see the whole film crew setup from above, then raise up over
a ridge to reveal a quonset hut next to a narrow highway.
CUT TO:
INT. QUONSET HUT - MORNING
Tim Martin stands at a white board lecturing while Eddie sits at a desk
taking notes.
MARTIN
In the next three weeks we will cover the following
topics thoroughly:
* differences in Hispanic and Anglo cultures
* statistics of legal and illegal immigration
* southern California mountain and desert
geography and climate, and survival in same
* protecting the rights of the accused
* arrest and immobilization
* close quarters combat
* anti-terrorism concerns in all border ops, and
* case studies: the good, the bad and the ugly
EDDIE
Hey, that was a good flick.
MARTIN
Recruit Sanchez, you are to raise your hand to be
called on.
EDDIE
But I'm the only one here!
MARTIN
No, actually, I'm here too.
BEGIN MUSIC: DESERT DRILL, somewhat like Mexican marching music
Cut from face to face.
CUT TO:
EXT. DESERT - MIDDAY
Tim Martin and Eddie Sanchez are jogging in the 105 degree noon day sun.
Martin leads by a few meters. Sanchez is gasping and sweating.
CUT TO:
INT. QUONSET HUT - MIDDAY
Martin and Sanchez are dressed in "gi" robes and are practicing
some sort of Martial Arts. Martin is trouncing Sanchez.
CUT TO:
EXT. DESERT - AFTERNOON
Martin is showing Sanchez how to use a machette to slice up a
barrel cactus and get the green pulp out to get the moisture.
Sanchez clumsily attempts to do the same.
CUT TO:
INT. QUONSET HUT - AFTERNOON
Martin is pointing to a map of Baja California and asking Sanchez
questions, which he doesn't apppear to know the answers to.
CUT TO:
EXT. DESERT - DUSK
Martin has Sanchez bent over the hood of a sedan with handcuffs
on behind his back.
CUT TO:
INT. QUONSET HUT - DUSK
Martin is showing Sanchez a projected briefing chart, titled:
"Anti-terrorist Initiatives" with what looks like an org
chart or a communications network diagram, with arrows and
boxes labeled with various government agencies: FBI, CIA, NRO,
INS, Secret Service, Coast Guard, Customs, NSA, Military
Intelligence, etc. Plus, on the other side of a dotted line,
some global organizations: INTERPOL, UN, NATO, World Bank, etc.
Sanchez is furiously taking notes.
MUSIC ENDS.
CUT TO:
INT. SANCHEZ BEDROOM - NIGHT
Camera catches Eddie falling back onto the bedspread with a thump.
He groans. Yolanda enters, wearing a little black dress and carrying
two wine glasses full of white wine.
YOLANDA
Eddie, I'm so proud of you. The kids are in bed.
I bought a new dress. Do you like it?
EDDIE
(groans with eyes closed) Yeah, it's great.
YOLANDA
Ahem! Eddie, I'm feeling frisky! In the mood
for a little hoochie coochie baby? (she wiggles
her hips) Eddie!
Eddie opens his eyes wearily.
EDDIE
Sorry honey, not tonight, I gotta die.
FADE OUT.
FADE IN:
INT. TOUR BUS - NIGHT
Dirk and Sandman sit at a dinette with a bottle of Johnny Walker Red
between them, illuminated by an electric lantern.
MUSIC: TECHNO SPANISH GUITAR (or something similar) is playing very softly
DIRK
You realize that if we hadn't listened to Christy
we could be sitting at the Barefoot Bar on San Diego
Bay right now. This camping out sucks bigtime.
SANDMAN
The Barefoot Bar is on Misson Bay.
DIRK
Fuck you.
SANDMAN
(ignoring him) But I like the Bali Hai, that's
on San Diego Bay. I like to just sit and watch
the lights of the ships as I drink in the sea air
and the tropical rum drinks, and wait for the wild
San Deigo women to hit on me.
DIRK
(louder) Fuck you!
GRIP (O.S.)
Hey, can you keep down out there? We got a 4:30 call
tomorrow, remember.
DIRK
(to Grip) Fuck you too.
MUSIC is killed by Sandman. He pulls out headphones.
SANDMAN
(whispering) Hey, have you ever heard this?
He drops a "Front BC -- Under the Radar" album cover on the table, and
places the headphone's on Dirk's ears.
MUSIC: FRONT BC (or something like it)
CUT TO:
CLOSE-UP: album cover on table
DISSOLVE TO:
CLOSE-UP: MEXICAN LICENSE PLATE
Above in large letters it says: 797 YCB
Below in smaller letters it says: 00 FRONT BC 01
MUSIC fades into PERSUSSION MEDLEY
CUT TO:
MEDIUM SHOT: EXT. TIJUANA - MORNING
The plate is on a 1930 Ford truck being driven through the streets of the
tourist zone near the border crossing pedestrian bridge, westbound on
Calle 1A. Coyote Del Rey is being driven by one of his henchmen.
The streets have few people and cars at this hour.
CUT TO:
INT. TRUCK CAB - MORNING
MUSIC FADES OUT.
HENCHMAN (IN SPANISH, WITH SUBTITLES)
Perhaps it is too early for the tourists, and the
wetbacks are nervous being the only ones on the street.
I am sorry for driving you down here for nothing.
COYOTE DEL REY (SPAN.)
I have been in this business a long time, my friend,
and I know my business. Your business is to drive
this beautiful truck so that no harm comes to it.
You are new in my organization but you will learn.
Turn right here on Constitution.
CUT TO:
EXT. TIJUANA - MORNING
The truck rolls up Ave. Constitution into the Zona Roja, the prostitution
district. It is too early for the street girls to be out. Past
the corner at Calle Coahuila sits the Chicago Club on the right.
COYOTE DEL REY (SPAN.)
Stop up there, at the Chicago Club.
HENCHMAN (SPAN.)
The Chicago Club? (looks at Coyote del Rey)
Yes, sir!
CUT TO:
INT. CHICAGO CLUB - WINDOWLESS
The club is empty except for Coyote del Rey and the BARTENDER,
wearing an apron for work, sitting together at a small table
talking in hushed tones.
Henchman enters with the GUATEMALENS.
HENCHMAN (SPAN.)
Sir, you were of course right, I found these men
from Guatemala outside who wish to travel to the
north.
COYOTE DEL REY (SPAN.)
Quiet! Watch what you say! I told you one time
to wait outiseide for me to be finished, isn't that
enough? (to bartender) I'm sorry my friend. I do
not know if my new employee will work out.
Henchman sheepishly leaves with Guatemalans. Coyote del Rey waits
until the door slams shut.
COYOTE DEL REY (SPAN.)
Does she make them use the condom every time?
BARTENDER (SPAN.)
Sir, I want nothing more than to assist you in
any way I can, but I am very sorry. You ask me things
that I am unable to know for myself.
COYOTE DEL REY (SPAN.)
What do you think, then? What evidence do you have,
or what is your hunch?
BARTENDER (SPAN.)
I sometimes see her borrowing one of them from another girl,
and she carries them in her purse. That is all I can say.
DISSOLVE TO:
EXT. BAJA CALIFORNIA - DAY
The 1930 Ford truck rumbles along a dusty road with the Guatemalans in
the back. Abrubtly it turns onto Mexican Highway 2 eastbound to Mexicali.
It picks up speed and disappears into the vanishing point.
CUT TO:
CLOSE-UP: MAP OF CALIFORNIA/MEXICO BORDER
We see I-8 in California and Mex. Hwy. 2 and 2D in Baja California
running east-west in parallel. A pointer tip intrudes in the frame.
MARTIN
Most coyotes obtain their customers in border towns
such as Juarez, Nuevo Laredo, or in our case, Tijuana.
King Coyote usually takes Mexican Highway 2 east to
one of several jumping off points between Tecate
and Mexicali.
CUT TO:
INT. QUONSET HUT - MORNING
Martin is lecturing Sanchez again. Sanchez raises his hand to be
called on. Martin is looking at the map and doesn't see at first.
MARTIN (CONT'D)
From there he uses one of several mountain and
desert routes. What's frustrating is that we
can cover every route we know about, and still
some people get through. We don't know how.
(notices hand) Yes, Mr. Sanchez.
EDDIE
How do you know so much about this guy?
MARTIN
This operation is... what you need to know...
(pause) This is not the first infiltration
we have done of King Coyote's organization.
Thta's all I can say. We're very concerned
about compromising intelligence sources.
EDDIE
You know, you talk like that cigarette man on
the "X Files." "Compromising intelligence
sources." Are you some kind of secret agent,
or are you from Hollywood or something?
MARTIN
(stiffening) Mr. Sanchez, I'd advide you to
treat the man who can wash you out of this program
with a little more respect. I'm a field agent
for the Immigration and Naturalization Service,
specializing in anti-terrorist operations.
I've spent a lot of time in Washington on interagency
task forces -- maybe too much time. But I am
very good at what I do, while you sir, as we say
in the intellingence community, suck.
CUT TO:
EXT. OUSIDE DIRK'S TRAILER IN THE DESERT - MORNING
SCRIPT GIRL HANNA is holding a clip-board and pounding on the trailer door.
HANNA
Dirk, open up!
DIRK (INSIDE)
Blow me!
HANNA
Dirk, you're acting like a child! A naughty
little boy who needs his bottom spanked.
Door opens. Dirk looks like hell. Hanna pushes her way in.
CUT TO:
INT. DIRK'S TRAILER DESERT - MORNING
Hanna closes the door behind her.
DIRK
That was low, Hanna. Touche.
Dirk puts a cigarette in his mouth.
HANNA
You can dish it out but you can't take it, Dirk.
But enough pleasantries. One: the label says no
helicopter. They've offered us a light plane,
single engine, out of Yuma. Two: WIld Bill is
still pusing really hard for a security meeting.
DIRK
We're not gonna have a fucking security meeting --
HANNA
And three: we're burning daylight.
She starts to hand him a lighter from a counter top.
HANNA
Ew, there's jelly on this.
She cracks the door of the trailer and throws the lighter outside.
DIRK
I suppose a blow job is out of the question.
HANNA
Okay, four: I didn't mind sleeping way into this
video and I don't mind a little maintenance balling
now and then either, but you've got a whole crew out
there who saw me come in here (checks watch) ninety
seconds ago and if I stay for more than another ninety
seconds and/or this trailer starts rocking they're
gonna start thinking I'm your whore, and if I'm you're
whore, Dirk, then I need A) more money, B) better clothes,
C) my own trailer, D) better hours, and E) I'm gonna
stop doing doing all this script girl and continuity
shit as well as half the stuff your A.D. should be
doing, unless you F) make me the A.D., or G) make
me your girlfriend. Okay? 'Cause I'm not even
making scale on this gig.
DIRK
But it's gonna look so great on your resume, Hanna.
HANNA
I'm Audi. (she departs with haste)
(yelling from outside) We need you on the set in
five, mister director sir. (slam!)
CUT TO:
MEDIUM SHOT: EXT. DOOR, 2ND FLOOR, APARTMENT BUILDING IN TIJUANA - MIDDAY
Door opens and THERESA emerges in her walking to work clothes: black
shorts, striped referee shirt, white sneakers, black ball cap, whistle
around her neck.
MUSIC: TEQUILA (or something with a similar mood)
She trots down the stairs and begins her jog to work.
The camer follows her as she stays in the street, dodging cars, except
when she stops at a sidewalk cart to buy a taco. She talks to a policeman
and a taxi driver. Again she jogs, up Ave. Revolution. Some street girls are
starting to appear. At Calle Coahuila she goes right, then left on Ave.
Constitution and into the Chicago Club.
CUT TO:
CLOSE UP: THERESA TOUCHING UP HER MAKEUP IN BATHROOM MIRROR
PULL BACK:
She has changed her clothes and now wears a black low-cut high-hem
minidress and thigh-high black boots.
CUT TO:
INT. CHICAGO CLUB - WINDOWLESS
Theresa sits cross-legged at atable, smoking a cigareette, looking
bored.
The bartender approaches her, and bends over to talk.
MUSIC ENDS.
BARTENDER
Miss Theresa, begging you pardon, but that bandit
was in here again asking about you. He paid me
twenty American dollars this time.
THERESA
That's alot of money for a rat. Show me.
The bartender pulls out a ten.
BARTENDER
I already spent half of it.
THERESA
You are a rat and a pig and a liar. I will
give you ten. (she fishes in her purse)
next time do not spend it so fast, my friend.
(she winks and smiles)
FADE OUT.
MUSIC: ANT DANCE
FADE IN:
EXT. DESERT - DAY
A lighter with jelly on it it lies on the desert sand next to a
trailer's wheel.
DISSOLVE TO:
EXT. DESERT - DAY
The lighter is covered with big red ants.
DISSOLVE TO:
EXT. DESERT - DAY
The lighter is picked clean. A last ant struggles with a bit of jelly.
FADE OUT.
MUSIC ENDS.
CLOSE UP: PISTOL TARGET SEEN FROM THE BACK (I.E. BLACK SCREEN)
SOUND: pistol shots
Holes appear in the target one by one.
A pulley meachanism pulls the traget away from us, towards the shooters.
REFOCUS: on Martin and Sanchez at the pistol range, examining the target.
MARTIN
You're not a bad shot, Mr. Sanchez. Why was you
washed out of the police academy? Your file said
you failed the marksmanship course.
EDDIE
Well, I'm a pretty good shot with paper targets --
Martin's cell phone RINGS.
MARTIN
Matrin here. (pause) Oh, hello Chief O'Reilly.
(pause) Why yes, very well. I can't believe
these words are coming out of my mouth but I
think he just might make it. (He winks at Sanchez)
Give me one more day with him and we'll be ready
to insert him into his first field operation.
CUT TO:
CLOSE-UP: PISTOL TARGET IN MARTIN'S HAND
All of the bullet holes are in the two innermost rings.
DISSOLVE TO:
CLOSE-UP: LARGE RAISED TOPO MAP OF CALIFORNIA, WALL-MOUNTED.
PULL BACK TO SHOW: George and Amy are examining the map. Stairs
lead up to Adventure-16, a camping supply store. From up the stairs
Gary calls down.
GARY
George and Amy are you coming up?
AMY
George is just showing the route he's picked
for the Pit of Hell Hike. We'll be right up, Gary.
CUT TO:
INT. CAMPING STORE - DAY
George and Amy enter the store to greet Gary and NADINE.
GARY
George, Amy, this is NAdine. I met her at the
ice climbing seminar last week. She works here
in the store! (handshakes and greetings)
So, are guys planning some shke-down hikes
like you did with the Pacific Crest Trail?
GEORGE
Of course, as soon as flash flood season ends
in Borrego we're goiung to do the Mexico to Salton
Sea leg. You guys wanna come along?
Amy nudges George.
NADINE
Gary told me you guys did the Pacific Crest
Trail together. That is so great! Was it all
in one summer?
AMY
Two summers. Gary was with us on the last leg,
Laguna to Mexico. Gary and...
GARY
-- Another friend who doesn't realy hike much.
George, let Nadine show you this new digital
camera they have, made just for hikers.
GEORGE
Okay, but just for a few minutes. I have to
get back to the lab. I left some grad students
unsupervised with a precision laser inferometer
and some potential pathogens.
CUT TO:
EXT. CAMPING STORE - DAY
George and Amy are walking back to the car, bickering.
AMY
I just think we should figure out what happened
to the Sadie relationship, before we go inviting
Gary and this new squeeze he's known for all of
five days to go on a sleep-over with us.
GEORGE
I was just trying to be polite.
AMY
Lordy lord, why are men so clueless?
The get in the car -- a Volvo -- and George starts the engine.
RADIO blares with newscast.
RADIO NEWSCASTER
Public reaction to Gary Condit's interview with
CBS news correspondent Connie Chung last night
has been overwhelmingly negative.
Amy switches off the radio.
RADIO NEWSCASTER
I am so sick of that Chandra Levy thing.
GEORGE
You know what I think? I think she's over
at Monica Lewinski's place and their both
watching Fox News Network, drinking banana
dacquaris and laughing their asses off.
CUT TO:
INT. QUONSET HUT - MORNING
Martin is quizzing Sanchez while O'Reilly looks on.
MARTIN
Explain the climate of California as one moves
west to east.
EDDIE
Moist air from the ocean cools and condenses as
sea breezes move it up the west side of the coastal
range, where clouds form and then drop most of their
moisture. The remining moist air rides high as it
moves east over the inland valleys, rarely dropping
any rain, which is why these valleys are mostly desert.
MARTIN
Explain what rights you must ensure when arresting
an illegal alien.
EDDIE
Non-citizens have no Miranda rights, and may be
incarcerated without a warrant and deported without
a trial. They have only humanitarian rights, i.e.,
they may not be tortured or deprived of basic needs.
O'REILLY
He's looking very good, Mr. Martin. May I ask the
next one?
MARTIN
Be my guest, chief.
O'REILLY
Explain in detail the plan for your field insertion.
EDDIE
The plan? (looks concerned) Well, the plan
is kind of complicated.
CUT TO:
EXT. DESERT - SUNSET
The sun disappears behind a mountain. We are back on the set of the
music video. LENNY the lighting guy is peering into a light meter.
LENNY
We just lost our light!
DIRK
(to A.D.) Tell them to break out the generators.
A.D.
(in bullhorn) Break out the generators!
Crew goes "aw."
Hanna and Sid approach Dirk.
HANNA
Hey, Dirk, it's Friday night. A bunch of us
were planning to go to Lake Havasu for the
weekend right after you wrap for the day.
Do we have to keep shooting?
SID
Yeah, me and the boys have a bet with Hanna
that we can get her so drunk that she flashes
her tits for the horndogs on the boats with the
camcorders.
DIRK
Sid, you've got some filters to change.
Hanna, we're going to skip to the dream sequence
on page two. Didn't you just tell me an hour
ago that we're half a day behind?
(shouting to crew) Where are those generators!
A.D.
(bullhorn) Status report on the generators!
CUT TO:
CLOSE-UP: A DARK SPOTLIGHT ON A POLE
SOUND: large electrical switch being thrown
The light comes on.
CUT TO:
INT. SANCHEZ BEDROOM - NIGHT
From a nearly black frame the bedroom light comes in, and we see
Yolanda in a silk nightgown, in bed, fast asleep. She throws her
arm over her face reflexively.
YOLANDA
Mmmm! Turn it out. What time is it!
EDDIE
Sorry!
He switches the light off.
DISSOLVE TO:
INT. SANCHEZ BEDROOM - MORNING
SOUND: Cartoons on TV in the other room.
The door bursts open and a kid rushes in, crying.
CUT TO:
INT. SANCHEZ KITCHEN - MORNING
Yolanda balances the crying kid on her lap, now wimpering.
Other kids are eating cereal.
EDDIE
No, I didn't remeber that Lupe's wedding
is today. I've been kind of distracted, okay?
YOLANDA
What did you think the tux was for, Eddie?
CUT TO:
INT. SANCHEZ BEDROOM - LATE MORNING
Eddie has the tux on, and Yolanda is tying the cumberbun.
YOLANDA
This thing is a little loose on you. Eddie,
I do believe you lost some weight this week
in your boot camp.
CUT TO:
CLOSE UP: WEDDING CAKE
We see it says "Albert and Lupe In Love Forever" just
before a long serrated knife cuts into it.
CUT TO:
INT. CHURCH SOCIAL HALL - DAY
Eddie is wolfing down some wedding cake off of a pink napkin.
A FENALE COUSIN comes up and puts her hand on his shoulder.
FEMALE COUSIN
Yolanda told me about your new job as
a secret agent. Way to go Eddie!
EDDIE
It's not a secret agent job. I just do some
motorpool work for the government. Department
of Justice. Training mechanics. You know.
FEMALE COUSIN
Oh Eddie, don't be so shy, she told me all about it.
EDDIE
(under his breath) Oh, shit.
Yolanda walks up, brushes her cousin's hand off Eddie's shoulder,
takes the cake out of Eddie's hand and tossesd it in a nearby trashcan,
and leads him away.
EDDIE
Hey, I was -- Yolanda, I have to talk to you.
She leads him into a coat closet.
EDDIE (CONT'D)
Hey, I told you can't tell anybody what my job really is!
You gotta stick to the cover story.
Yolanda drops to her knees and tries to open Eddie's fly.
EDDIE
Hey, hey, what are you doing?
YOLANDA
You know what I'm doing.
EDDIE
You con't get it there, I mean, there's no,
you know, zipper or anything. Remember?
I have to take it off just to take a whiz.
YOLANDA
Dammmit!
One of the kids runs in. Yolanda is still kneeling. She blushes
and starts to stands up.
KID
Mommie, Jimmy poured pink punch all over my cake, see?
Kid waves a plate of dripping cake and punch around dangerously.
CUT TO:
EXT. SANCHES HOME - NIGHT
A fully loaded minivan pulls up to the house. Yolanda gets out
and opens Eddie's door, then leads him over to a spot on the driveway
nearby.
YOLANDA
(whispering) Eddie, I'm gonna get the kids
all cleaned up and put to bed. It'll take
about an hour. You go watch some TV. Don't
fall asleep! I got dibs on you. Okay?
CUT TO:
INT. DIRK'S TRAILER - NIGHT
Dirk is watching "A Fistful of Dynamite" on a portable TV.
A KNOCK on his door.
DIRK
Come in!
Sandman enters.
DIRK
Hey, check this out, Channel 6 out of Tijuana is showing
"A Fist Full of Dynamite." That's the one I was telling
you about.
SANDMAN
Why didn't you go to Havasu?
DIRK
It's lonely at the top, man.
SANDMAN
You know most of the crew hates you, dodn't you?
Whjy don't you mingle with the commoners every
now and then? It's bound to help.
DIRK
Check this out, check this out, this is the cool part.
On-screen the bandits are sleeping on a train as it pulls into Mesa Verde.
MUSIC: THE GREEN TABLE on the soundtrack.
The bandits deprt the train and begin to explore the town. Everywhere
there are Mexican soldiers in tan uniforms. SOme of them are executing
prisoners with a firing squad.
DIRK
See, Rod Steiger and his gang have come to rob
the Banco National de Vera Cruz, but they didn't
know that the town is overrun with loyalist soldiers.
CUT TO:
INT. SANCHEZ LIVING ROOM - NIGHT
All the lights are out and Eddie is watching the same movie
on TV. On-screen we see Rod Steiger peeking from behind a fence
covered with posters golrifying the dictator responsible for all
the soldiers. We see the eyes on a poster peeled back to make a viewing sloit, and Rod Steiger's eyes replace them. Just then Yolanda walks in front of the TV. It is almost too dark to see her, but we can tell that she is wearing stockings and garters of some kind. She turns the TV off.
CUT TO:
INT. HOTEL CORRIDOR TIJUANA - NIGHT
We see the door of a small hotel room. It also has a window on the corridor
with blinds that are closed.
THERESA (O.S.)
(moaning melodramatcally)
A TOWEL BOY runs up and KNOCKS on the door.
TOWEL BOY (SPAN.)
FIve minutes!
THERESA (O.S.)
Well, that's not my fault. Do you want to pay for
another thirty minutes?
The door opens and Theresa emerges, smoothing her dress.
GRINGO JERK
(followiung her out, zipping his pants)
Hell no, if that's what I can expect.
I deserve a refund! You never said you'd
keep your fuckin' dress on. Jesus! You said
you'd suck it too!
THERESA
I did suck it, you pig. I don't know why I'm
even talkinmg to you, you rude man.
(loudly, in Spanish) Security! Another one
is looking for trouble!
GRINGO JERK
Fuck you, whore! You're a flithy whore!
I hope you die of AIDS. (he bolts down the hall)
Theresa leans against the wall in the corridor, poking through her purse
for a tissue. Finding one at last she wipes a tear from her eye before
it can run her mascara. Then she stands up bravely and walks towards
the stairs.
FADE OUT.
FADE IN:
INT. SANCHEZ BEDROOM - MORNING
SOUND: Cartoons on TV in the other room.
The door bursts open and a kid rushes in, crying.
CUT TO:
INT. SANCHEZ KITCHEN - MORNING
Yolanda balances the crying kid on her lap, now wimpering.
Eddie wanders in to the kitchen.
YOLANDA
Honey, I told you you could sleep in. I don't mind.
EDDIE
If it's alright, I'd like to go to mass with you
and the kids today.
YOLANDA
Mother Mary, I don't believe it!
CUT TO:
INT. CATHOLIC CHURCH IN SAN DIEGO - MORNING
Mass is in progress. Priests are reciting prayers in English
as Eddie and his family kneel together in a pew, praying.
ZOOM IN: CANDLES ON THE ALTAR
CUT TO:
INT. CATHOLIC CHURCH IN TIJUANA - MORNING
We see other candles on another altar, and priests are reciting
prayers in Spanish. Light streams through stained glass, more elaborite
than at the San Deigo church.
CAMERA PANS TO SHOW THEREASA, KNEELING AND PRAYING
CUT TO:
EXT. SAN DIEGO MISSION SANCTUARY - MORNING
We see the old wooden door on the sanctuary, and a sign saying mass
is in progress. George and Amy study the sign.
George's cell phone RINGS. George moves away from the sanctuary as
he answers the call.
GEORGE
Hello. (pause) Hi, Gary. (pause) No, we're
down at the Mission, taking some pictures with my
new digital camera. (pause) Dirk caled me up from
the shoot. He wants me to email them to him tonight.
(pause) I don't know, something about artistic
inspiration. (pause) Yeah, he's quite the auture.
(pause) Okay, bye.
AMY
(stage whispers) Hey George, come check this out!
George moves over to where Amy is standing. She points out the
chapel, unoccupied, with its small altar and cadles. George
takes a picture.
CUT TO:
INT> SANCHEZ LIVING ROOM - DAY
Eddie is listening to a Spanish language record.
RECORD
Donde esta Eman?
EDDIE
Donde esta Eman?
Phone RINGS off-screen.
RECORD
Eman es a la Biobliotech.
YOLANDA (O.S.)
Eddie, it's Buddy. He says his clutch
has gone out on him again, and this time
he's in Ramona!
RECORD
Donde esta Pipito?
EDDIE
Tell him I'm busy. Tell him to call triple-A.
RECORD
Pepito es a la Biobliotech.
YOLANDA (O.S.)
With pleasure!
RECORD
Como se yama?
CUT TO:
EXT. SAN DIEGO DOWNTOWN TRAIN STATION - MORNING
An old diesel locomotive leaves the station pulling some antique
passenger cars.
CUT TO:
INT. ANTIQUE TRAIN CAR - MORNING
People are drinking coffe from little cupsa and eating tea cakes.
They are all well dressed. Some of the women wear old fashioned
bonnets.
CAMERA PANS TO SHOW: Eddie is onboard, wearing the tux again and
looking uncomfortable.
A SOCIETY LADY with a wireless mike and a bonnet stand sup and addresses
the crowd.
SOCIETY LADY
Howdy everyone. Welcome aboard the East County
Arts Council's third annual Campo Excursion Fundraiser.
I hope you all brought your checkbooks! The silent
auction display is in the next car, and raffle tickets
are on sale in the dining car at the other end of the
train! Now our trip today will take us briefly into
Mexico, so I hope you all brought your birth
certificates! We wouldn't want to leave anybody
at the border! Just kidding.
Eddie gets up and moves to the next car.
CUT TO:
EXT. RAILROAD BORDER CROSSING - MORNING
MUSIC: OLD TRAIN MUSIC
The locomotive pulls up at a guard shack. The Mexican border guard
asks some pointless questions and asks to see routine paperwork, causing
a slight delay. Under a train car we can see the legs and feet of some
men boarding the car.
CUT TO:
EXT. MEXICAN RAILROAD TRACKS - DAY
The train goes by as a family on horseback waves. Two cars are
stopped at a crossing with no signal. The cars both have license
plates that say FRONT BC.
CUT TO:
EXT. ANOTHER RAILROAD BORDER CROSSING - MORNING
The train is crossing back into the U.S. A uniformed customs
official baords the train and walks through the cars, as the camera
follows outside through windows.
PAN UP TO SHOW ILLEGALS ON THE ROOF
They are flattened against the top of a car, holding on for
dear life. The train begins to roll.
CUT TO:
EXT. DESRT - DAY
The video crew are working on a hilltop when Dirk spots the train
going by, with the men climbing off the roof into windows. He points
it out to Sid, who shoots a few seconds of film.
CUT TO:
EXT. CAMPO RAILROAD MUSEUM - DAY
The train pulls up at the Campo depot. The socialites slowly disembark.
Eddie is in the crowd, and pulls the staionmaster aside. Engaging
in pointless distraction, he manages to get the conductors, brakeman
and engineer into a little pow-wow on the platform. Meanwhile the illegals
pile off of the train last, and bolt across a meadow to a creek bed nearby.
CUT TO:
EXT. EASTERN FOOTHILLS OF LAGUNA MOUNTAINS - DAY
END MUSIC.
Eddie is leading the illegals through an oak forest and then up
a hill that takes the onto the Pacific Crest Trail, according to a sign.
Eddie looks up and down the trail, then decides to turn left.
ILLEGAL (SPAN.)
No, my friend, that will take us back to Mexico.
EDDIE
This is the way. (tries to repeat in fractured Spanish)
ILLEGAL (SPAN.)
Okay, I will take you at your word. Perhaps it is a
special short-cut!
Eddie clearly cannot understand what he is saying.
CUT TO:
EXT. US-MEXICO BORDER AT PACIFIC CREST TRAIL - DAY
Eddie is leasding the illegals down a hill when they see the sign for
the border and stop. Just then, several Border patrol jeeps and
about a dozen agents on foor emerge from nearby bushes and poiont
guns at them.
BORDER PATROL AGENT (SPAN.)
(through bullhorn) Manos arriba! Manos arriba!
MUSIC: LONELY BULL (or something similarly mournful)
They raise their hands, and one agent comes forward and slowly frisks
each of them in turn. When he comes to Eddie, he removes his wallet and
tosses it to another agent, who immediately extracts the ID and begins
typing in data on a laptop.
MUSIC ENDS.
CUT TO:
INT. BORDER PATROL SUV - DAY
Eddie is handcuffed in the back behind a screen.
EDDIE
Where are you taking us.
DRIVER
They bare going back to Mexico. You, Mister Sanchez, are
going to the Federal Lockup in San Diego.
CUT TO:
INT. BORDER PATROL OFFICE, EL CENTRO - DAY
O'Reilly sits at his desk wearing headphones.
O'REILLY
Donde est Eman. (pause) Eman es en el Bibliotech.
DISPLATCHER
(into radio mike) Roger, deputy.
(to O'Reilly) Sir, we've apprehended an American cicitzen
near Campo, smuggling aliens, name of Eduardo Sanchez.
O'REILLY
Aw shit.
CUT TO:
INT. COFFE SHOP - DAY
O'Reilly is using the pay phone.
O'REILLY
Sorry to bother you Mr. Carter. (pause) I need you to
try to pull some strings and get him transferred to Yuma.
Martin says he can snatch him more easily from Yuma.
CUT TO:
EXT. YUMA FEDERAL PRISON - DAY
MUSIC: MYSTERIOUS STRANGER
WAGNER, wearing a suit and carrying a briefcase, is approaching the prison.
CUT TO:
INT. YUMA FEDERAL PRISON WARDEN'S OFFICE - DAY
Wagner is hsowing the WARDEN a memo on FEMA letterhead.
CUT TO:
CLOSE-UP: MEMO
Subject: Anti-Terrorism Drill, Simulated Biological Warfare Attack
CUT TO:
INT. YUMA FEDERAL PRISON WARDEN'S OFFICE - DAY
Wagenr pulls a large beaker with a Biohazard symbol out of his breifcase.
He stands there expolaining somethinjg, waving the beaker about.
CUT TO:
EXT. YUMA FEDERAL PRISON YARD - DAY
Guards with rifles are marching prisoners out into the yard.
CUT TO:
INT. YUMA FEDERAL PRISON CORRIDOR - DAY
Men in moon suits are doing something that looks sort of like vacuuming
the floor.
CUT TO:
EXT. YUMA FEDERAL PRISON YARD - DAY
Guards with rifles are marching prisoners back into the prison.
The moon suit guys are leaving at the same time.
At the edge of the yard stands the Man With No Name, in a dark
suit, arms folded, wearing the lizzard shades. Nobody pays any
attention to him.
CUT TO:
INT. YUMA FEDERAL PRISON WARDEN'S OFFICE - DAY
The warden sits at his desk looking a little put out.
SOUND: INTERCOM BUZZER
SECRETARY
(over intercom) Sir? Commander Jordan
needs to see you urgently.
CAPTAIN JORDAN bursts into the room, with two guards who have
Tim Martin in chains.
CAPTAIN JORDAN
Sir, during a follow-up head count we found this
man in a holding cell. Prisoner Eduardo Sanchez
is missing from the same cell.
WARDEN
Who are you, then?
MARTIN
Timothy Martin, Justice Department Anti-Terorism
Taskforce, sir. DOJ in Phoenix will verify my
identity.
CAPTAIN JORDAN
We called, he checks out.
WARDEN
What the hell were you doing in my prison?
MARTIN
I was overpowered by your prisoner and
he made me take his place, sir.
WARDEN
DOJ? What the hell? (to intercom) Get me FEMA
on the phone!
CUT TO:
INT. BORDER PATROL SUV - NIGHT
MUSIC ON RADIO: COUNNTRY WESTERN SONG
Tim Martin is driving and Eddie Sanchez sits quietly beside
him. They pull up at a truck stop. Flourescent lights reflect
in the windshield.
MARTIN
Wait here, I'm just getting some coffee to go.
EDDIE
I got come in and call my wife. What time do you
think I'll be home?
MARTIN
Sanchez, haven't you been listening? Felony warrant.
You're hot. You can't call your wife and you can't
go home.
EDDIE
Then where are you taking me?
MARTIN
Tijuana. There's beena slight change of plan for your
second insertion into the field. (reaching into pocket)
Here's about $500 in 20s. (hands Eddie envelope) Don't
get robbed.
EDDIE
Don't I need to sign for the cash?
MARTIN
You crack me up, Sanchez. Forget the coffee.
Martin pulls out of the lot. They ride on without talking for a while.
EDDIE
So what do I do in Tijuana?
MARTIN
You get recruited by King Coyote, just like we planned.
You're just a week early, that's all.
EDDIE
Holy shit. Does this mean I can't be home for
Labor Day? We're having a BBQ at our house.
MARTIN
Somehow I think it might occur to the FBI to try
your house, Eddie.
They ride on without talking some more.
EDDIE
Where do I sleep tonight?
MARTIN
Try one of the hooker hotels in the Zona Norte.
Take a cab, ask him to take you to a hotel near
Adelita's.
EDDIE
Adelita's, Adelita's. I better write that down.
MARTIN
Okay, the Chicago Club, can you remember that?
Tomorrow take a cab back to the pedestrian border
crossing and start combing for illegals to be your
customers. Just like we planned. King Coyote will
find you, no doubt about it.
CUT TO:
EXT. SAN YSDRO BORDER CROSSING - NIGHT
Martin drives Sanchez over the border into Mexico woithout incident,
and drops him at the circle of taxis near the pedestrian bridge.
CUT TO:
INT. BORDER PATROL SUV - NIGHT
Martin flips opne his cell phone and punches a speed dial.
MARTIN
(pause) Hey, Chief, sorry to call so late at
your home number. (pause) Yeah, you got that
right. And it's not over, miles to go before I
sleep and all that. But I got the dog put out,
like we discussed. (pause) Breakfast sounds good.
(pause) I'll be seeing you.
CUT TO:
EXT. TIJAUNA ZONA NORTE - NIGHT
A taxi pulls up at the Chicago Club and lets Eddie out.
He looks like he'd fallen asleep in the cab.
CHICAGO CLUB BARKER (SPAN.)
My friend you look like you need a bed right away.
Eddie blinks at the club's lights, uncomprehendingly.
CHICAGO CLUB BARKER (SWITCHING TO ENGLISH)
My friend you look like you need a bed right away.
Would you like a night-cap first? Tell them that
Frito at the door is buying your first drink.
Eddie goes in dubiously.
CUT TO:
INT. CHICAGO CLUB - WINDOWLESS
MUSIC: LOUD MARIACHI MUSIC FROM A JUKEBOX
We watch him sit at the bar and order a drink, and then try to explain
that Frito is paying for it. The bartender calls over the bouncer.
Eddie reluctantly pulls his envelope out of his pocket, and extracts one
of the twenties. The bartender counts out his change, the BOUNCER
moves away, and Eddie sips a Dos XX beer. One by one the resident
prostitutes come over and ask him if he wants company. FInally he
leaves his beer and finds the door. The bouncer follows him out.
MUSIC ENDS.
CUT TO:
EXT. CHICAGO CLUB - NIGHT
Eddie is looking around for the hotel. He sees the bouncer.
EDDIE
Excuse me, where is the hotel? Donde est el hotel?
BOUNCER (SPAN.)
Give me the money now. Give me the money now!
CAROLINA appears, coming down the stairs.
CAROLINA (ENG.)
Hey, Joe, would you like to go to the room?
EDDIE
Yeah, I'd love to go to a room!
CAROLINA (SPAN.)
(to bouncer) You can't have his money, Gordo, he is
giving it to me instead.
The bouncer looks upset, but goes back into the club. Carolina takes
Eddie's hand and leads him upstairs.
CUT TO:
INT. TIJUANA HOTEL ROOM - NIGHT
CAROLINA (ENG.)
It is so wonderful of you to pay for the
whole night. Just so there is no
misunderstanding, I charge two hunder for
the whole night, and that is until four,
or five if you buy me breakfast at La Playa.
Eddie looks pained.
CAROLINA (ENG.)
Okay, big boy? You can pay me after. What you got
for me big boy?
She grabs his crotch.
EDDIE
I'm sorry, there's already been a misunderstanding.
I, I didn't want you, I mean, I just wanted a room.
To go to bed. To sleep.
CAROLINA (ENG.)
Oh, is that so, mister big boy? I think I will
give you back to Gordo, maybe you want him?
Instead of me?
EDDIE
No, no, I'm sorry, I didn't mean...
CAROLINA (ENG.)
Yes you did! Yes you did! You said it plain
to my face, you don't want me. Do you even
have two hundered? I should just have Gordo
knock out each of your teeth, you rude man.
EDDIE
(extends hand) I'm Eddie, what's your name?
CAROLINA
Carolina. So what?
EDDIE
Carolina, I think we got off on the wrong foot.
Can we start over? I'm just a guy in a jam.
You are very sweet, you saved me from Gordo,
and you are very beautiful too.
CAROLINA
You really think so? Does this dress look good on me?
(she turns around)
EDDIE
Oh yeah, definitely, you have no idea. Carolina,
I'm a family man, I love my wife and four kids,
and I just ended up here by mistake. Please help me.
CAROLINA
You make me mad, Eddie. It sounds like you still
don't want me. But I will help you, for two hundred
American dollars.
EDDIE
Jeeze, Carolina, you really know how to hurt a guy.
CAROLINA
You really know how to hurt a girl, too!
He pulls out his envelope and begins counting out 20s.
CAROLINA
Hey, don't be a stupid, you carry it around like that,
you get robbed!
DISSOLVE TO:
INT. TIJUANA HOTEL ROOM - MORNING
Eddie is asleep with his head mashed under a pillow.
SOUND: POUNDING ON THE DOOR
TOWEL BOY (SPAN., O.S.)
Thirty minutes! Check out at eleven o'clock!
CUT TO:
EXT. TIJUANA - MORNING
MUSIC: THE LONELY BULL (REPRISE)
Eddie walks through the mean streets of Tijuana by day.
We see him pull the empty envelope out of his pocket and stuff
it in a trash can. He buys a taco from a street vendor and
flashes only a little cash.
He passes a group of men who look Central American, and Eddie engages
them in conversation. They look confused. Eddie struggles with his words.
His Spanish must still be awful.
A montage of shots of Eddie looking at pinatas, drinkign a beer at
an outdoor cafe, talking to more Central Amercians without success,
eating another taco, and sitting in a plaza watching children splash
in a fountain.
Finally he wanders over to the northbound border crossing, passing between
the stopped cars as one must, and looks for people who go up to the INS
station on the U.S. side and are turned back. After talking to a few of them he finds one man who seems interested. Then another. Eddie is collecting
a crwod around him.
Then a taxi pulls up. The driver opens the back door.
TAXI DRIVER (SPAN.)
There is someone who ones to meet you. He invites
you to be his guest. The fare is paid. Please
get in.
EDDIE
Que?
TAXI DRIVER (SPAN.)
Please get in. Please.
Eddie reluctantly climbs in the back of the cab.
MUSIC ENDS.
SOUND: CAR DOOR SLAM.
FADE OUT.
BLACK.
SOUND: ENGINE, CAR BRAKES, DOOR OPENING.
FADE IN: EXT. TIJUANA - DAY
The taxi has pulled up in front of the Chicago Club. Eddie looks
confused as he climbs out of the cab.
CUT TO:
EXT. CHICAGO CLUB - DAY
The camera takes an Eddie's-eye-view as it passes through the red curtains
intoi the Chciago Club. It takes a moment for his (and our) eyes to adjust
to the light. Two gringos in A.S.P.T. caps sit with two chicas in one corner.
In another corner Coyote del Rey and his henchmen sit around a large table.
Coyote motions Eddie over to him.
CUT TO:
INT. EAST VIEW OF CHICAGO CLUB - WINDOWLESS
Eddie approaches Coyote del Rey's table with caution.
COYOTE DEL REY (SPAN.)
Welcome my friend! Sit down! Would you like
something to drink? Have you eaten yet?
Eddie stares dumbly.
COYOTE DEL REY (SPAN.)
Do you speak Sanish? No? (he laughs heartily)
COYOTE DEL REY (CONTINUING IN ENG.)
If I may be so bold, I think you will have many troubles
in this business if you do not learn Spanish! (laughs some
more) But pardon me for being so rude. You must sit
and enjoy our hospitality! Have you eaten? We can
send out for any food you like.
Carolina wanders in, sists at the bar, and then notices Eddie.
She waves to him and blows a kiss.
COYOTE DEL REY (CONTINUING IN ENG.)
Oh, you know the lovely Carolina! Have you sampled her
charms?
Eddie shakes his head no.
COYOTE DEL REY (CONTINUING IN ENG.)
Oh, you must. She is magnificent. (waving a bill)
Carolina! Come here! I want you to show our friend
Eduardo here a wonderful time. Make merry with him!
Help him to appreciate life's little miracles.
Entirely at my expense.
Carolia come over, snatches the bill -- a fifty -- from the old man's hands,
and leads dumbstruck Eddie out the door to the stairs. We stay inside.
mUSIC: MARIASCHI MUSIC BGINS TO POUR FROM THE JUKEBOX
Coyote del Rey and his men laugh, drink, and share anecdotes and funny
remarks. The Coyote del Rey suddenly freezes, and looks across the room
grimly. He nudges his biggest henchman. They both look in the same
direction.
CUT TO:
INT. SOUTH VIEW OF CHICAGO CLUB - WINDOWLESS
Across the room the two gringos with their chicas are gone, bu the Man
With No Name sits at a nearby table, still wearing lizard shades, immobile.
CUT TO:
INT. EAST VIEW OF CHICAGO CLUB - WINDOWLESS
Coyote del Rey nudges his biggest henchman who gets up slowly to investigate.
He rises and moves towards the M.W.N.N.
CUT TO:
INT. SOUTH VIEW OF CHICAGO CLUB - WINDOWLESS
AS the big henchman arrives, we see that T.M.W.N.N. is gone.
He looks over at Coyote del Reyb quizzically.
CUT TO:
INT. EAST VIEW OF CHICAGO CLUB - WINDOWLESS
Coyote del Rey impatiently motions for his big henchman to follow the man
ourtside.
CUT TO:
INT. SOUTH VIEW OF CHICAGO CLUB - WINDOWLESS
The big henchman disappears out the door. Hold on the door.
CUT TO:
INT. EAST VIEW OF CHICAGO CLUB - WINDOWLESS
Coyote del Rey looks worried. He sends another henchman.
CUT TO:
INT. SOUTH VIEW OF CHICAGO CLUB - WINDOWLESS
The second henchman disappears out the door. Hold on the door.
CUT TO:
INT. EAST VIEW OF CHICAGO CLUB - WINDOWLESS
Coyote del Rey is declaring a red alert. He motions all of his men
up, and out the opposie door that leads to the hotel -- where Eddie
and Carolina went.
CUT TO:
EXT. ALLEY BEHIND CHICAGO CLUB - DAY
Two street girls are walking towards the alley. Another is coming out
of the alley, looking ashen.
STREET GIRL (SPAN.)
Don't go this way. There are two dead men on
the ground back there.
CUT TO:
EXT. FRONT OF CHICAGO CLUB - DAY
Coyote del Rey and his henchmen burst out of the club and onto the street.
Theresa is standing nearby talking to a gringo. Coyote del Rey grabs her
hand and pulls her up the stairs to the hotel. The henchmen follow.
COYOTE DEL REY (SPAN.)
There is danger. Come with me to a place that is
safe.
THERESA (SPAN.)
This is horse shit. I am working here!
This is pig shit!
CUT TO:
INT. STAIRWAY UP TO HOTEL ROOMS - DAY
Light streams down from the high atrium, and sounds echo in the space.
Coyote del Rey, the henchmen and Theresa are coming up the stairs.
THERESA (CONT'D, SPAN.)
If you are going to just yank me off the
street when I am working you must pay for
my time. This is dog shit!
Coyote del Rey grabs a towel boy.
COYOTE DEL REY (SPAN.)
Where is Carolina and the john she was with?
Which room?
CUT TO:
INT. HOTEL ROOM - DAY
Eddie is laying on the bed with his pants down and Carolina is stradling
him with her skirt up. She appears to be riding up and down on him.
SHe is monaing loudly.
The door bursts open as a large henchman gives it his shoulder.
Coyote del Rey, Thresea and the henchmen all burst in.
COYOTE DEL REY (SPAN.)
Take her.
A henchman grabs Carolina and pills her away from the bed. We see Eddie
is still wearing his white Jockey underwear.
COYOTE DEL REY (SPAN.)
Hold him.
Two other henchmen grab Eddie's head and feet. Coyote del Rey pulls
out a large buck knife and holds it to Eddie's underwear.
COYOTE DEL REY (ENG.)
Well, well, Eduardo Sanchez, instead of teaching
American high school students how to fix cars, you
are in a Tijuana whorehouse with a man's knife to
your balls -- the very man you and your friends
have been trying to kill. How did you get yourself
into this situation?
EDDIE (ENG.)
You know, I was just wondering the same thing myself.
SPECIAL EFFECT: REWIND
We see the events that just transpired high speed in reverse, only
the camera stays with Eddie and Theresa in the room, and we see backwards
her attempts to fondle him and his doging away.
STOP. FORWARD: INT. HOTEL ROOM - DAY
Eddie is sitting in a chair as Carolina stands and scolds him.
THERESA (ENG.)
Why are you playing these games with me? You say
in the bar you want me. You say in the room you
do not? Why not? It's already paid for!
EDDIE (ENG.)
Carolina, did you ever love somebody? DId you ever
make a promise before God to someone you loved?
THERESA (ENG.)
Oh, that is so sweet. What a man you are.
How about just a sucky-suck?
EDDIE (ENG.)
No! I'm sorry, I just --
SOUND: POUNDING ON THE DOOR
COYOTE DEL REY (ENG.)
Carolina! Open the door! There is danger!
Carolina immediately begins making moaning noises. She motions for Eddie
to lie down. He shakes his head no. The pounding and shouting continues,
AD LIB. SHe pulls Eddie onto the bed and begins trying to undo his pants.
SOUND: SOMEONE TRYING TO BREAK DOEN THE DOOR
Carolina gets Eddie's pants down, but he clings fiercly to the underwear.
So she just climbs on top of him that way, still moaning passionately
and melodramatically.
The door bursts open as a large henchman gives it his shoulder.
Coyote del Rey, Thresea and the henchmen all burst in.
COYOTE DEL REY (SPAN.)
Take her.
A henchman grabs Carolina and pills her away from the bed. We see Eddie
is still wearing his white Jockey underwear.
COYOTE DEL REY (SPAN.)
Hold him.
Two other henchmen grab Eddie's head and feet. Coyote del Rey pulls
out a large buck knife and holds it to Eddie's underwear.
COYOTE DEL REY (ENG.)
Well, well, Eduardo Sanchez --
FREEZE.
CUT TO:
CLOSE UP: YOLANDA IS CHOPPING OINIONS
CUT TO:
INT. SANCHEZ KITCHEN - AFTERNOON
We see now that Yolanda is crying as she chops them agressively.
Her youngest girl comes in.
YOUNGEST GIRL
Mommy, why are you crying?
YOLANDA
Because I'm chopping onions, honey.
YOUNGEST GIRL
Mommy, when's Daddy coming home?
YOLANDA
I don't know, honey, I don't know.
CUT TO:
INT. BIOLOGY LAB - DAY
George is pacing about, watching grad students operate lab equipment.
His cell phone RINGS.
GEORGE
Hello. (pause) Hi love. (pause) Yeah, me too.
(pause) No we can't do it Labor Day weeknd, I
told Eddie I'd go to his barbeque, remeber?
Besides, there'll be too many Winnebagos out there.
(pause) I want to shoot for the weekend after.
SOUND: BREAKING BEAKER
GEORGE (CONT'D)
Gotta run. (pause) Love you too. Bye.
CUT TO:
EXT. DESERT - DAY
On the set of the music video everyone is standing around looking
overheated.
A.D.
(in bullhorn) Okay people, there's been another
delay with the airplane. We're going to take a
thirty minute break and then check status.
Disgruntled crew memebers begin to wander off. Philo, whi is in a serape
and holding an accoustic guitar, sits down on something and begins to
play. Some crew gather around to listen.
MUSIC: STRIP ME TO THE BONE
Music and singing continues as voice over through ensuing dialog.
CUT TO:
INT. HOTEL ROOM - DAY
As we were, knife to the underwear, etc.
COYOTE DEL REY (ENG.)
Don't treat me like I am stupid, my friend.
That would be a big mistake. Tell me who
has put out the contract on my life.
EDDIE
You know, I realize this isn't the answer
you're looking for, but I don't know what
you're talking about.
Coyote del Rey wiggles the knife a little.
COYOTE DEL REY (ENG.)
I don't think you are a stupid one either, Eddie.
What is the auto shop teacher doing here trying to
be a coyote? Eh?
EDDIE
I'm... I'm a special agent for INS.
I don't know anything aboput a contract.
I'm just here to infiltrate your organization.
COYOTE DEL REY (ENG.)
Oh, you are stupid Eddie. Because if you are
lying, I will have to kill you. And if you are
telling the truth, well, then I will have to kill
you for another reason.
SOUND: GUNSHOT, GLASS BREAKING
A bullet comes through the window. Everybody hits the floor.
Mure bullets.
MUSIC ENDS.
COYOTE DEL REY (SPAN.)
(shouting) I have your friend here. I am going
to cut off his balls.
THE MAN WITH NO NAME (SPAN., O.S.)
I have no friends.
SOUND: POLICE SIRENS, TIJUANA COPS RUNNING UP THE STAIRS
COYOTE DEL REY (SPAN.)
(shouting) But I have very many friends.
Say hello to some of my friends.
CUT TO:
INT. TRUCK CAB - AFTERNOON
Coyote del Rey is in the passenger seat, a henchman is driving,
and Eddie sits between them.
HENVHMAN (SPAN.)
Do you want me to drive back to The Palms, sir?
COYOTE DEL REY (SPAN.)
No, I have an errand first. What was it, I can't
remember. (pause) Oh, yes, we need to torture
and interrogate this one first and then kill him.
EDDIE (ENG.)
Hey, Mister King Coyote, have you ever heard of
a double agent? Like in the spy movies? Pretends
to be a secret agent for one side but really works
for the other side?
COYOTE DEL REY (ENG.)
I warned you about thinking I am stupid.
EDDIE (ENG.)
I have information that would be valuable to you.
COYOTE DEL REY (ENG.)
Do you know where that fucking assasin went?
Can you give me that information?
EDDIE (ENG.)
I can tell you Chief O'Reilly's secret plans
to apprehend you, sir.
COYOTE DEL REY (ENG.)
I already know O'Reilly's plans.
EDDIE (ENG.)
Not all of them.
Coyote del Rey thinks for a while.
COYOTE DEL REY (SPAN.)
(to driver) Take us to Baby Rocks.
CUT TO:
EXT. BABY ROCKS NIGHTCLUB TIJUANA - DAY
This trendy, recently built nightclub in Tijuan'a trendy, recently built
Neo Rio (new river) district, looks like a pile of granite boulders
from the outside, and in fact it is.
The 1930 Ford truck pulls up. Coyote del Rey and the henchman manhandle
Eddie inside.
CUT TO:
INT. ELEVATOR DOWN INTO BABY ROCKS - WINDOWLESS
MUSIC: DISCO MUSIC IS POUNDING FROM FAR AWAY
Each of Eddie's arms is being held as the three descend.
COYOTE DEL REY (ENG.)
When I rented a room in this night club, the
owners thought I was crazy. Who could sleep
here with all the loud music and noise? But
load noise can hide many things.
CUT TO:
INT. SERVICE CORRIDOR IN BABY ROCKS - WINDOWLESS
MUSIC: DISCO MUSIC IS POUNDING FROM ANOTHER ROOM
Eddie is manhandled down the hall. Coyote del Rey pulls out a ring of keys
and unlocks a door. Eddie is dragged inside.
CUT TO:
INT. SMALL ROOM IN BABY ROCKS - WINDOWLESS
MUSIC CONTINUES, MUTED
A prisoner sits blindfolded and cuffed to a chair.
COYOTE DEL REY (ENG.)
I have been thinking a lot about your proposal,
mister Granite Hills High School Teacher of the
Year, 1993. I have decided to give you a test.
You have, you call it, the Scholar Achievement
Test? This will be a Criminal Achievement Test.
COYOTE DEL REY (SPAN.)
(to henchman) Give it to me. (the henchman
hands him a pistol)
COYOTE DEL REY (ENG.)
Here, Eddie, is a police pistol. (hands pistol to Eddie)
I know you were trained to use one by the El
Cajon Police Academy. This main (points to
prisoner) is no longer of any use to us. He
is Edmond, your predecessor in Captain O'Reilly's
attempts to compromise my security. He has
told us under the torture all that we need
to know. So now I need him dead. Will you
do me this favor Eddie Sanchez? Then I will
happily give you a job in my business.
Eddie looks at the pistol.
EDDIE
The thing is, I did well on the target range, but
I had a real hard time shooting people.
COYOTE DEL REY (ENG.)
You are required to shoot people to become a
policeman in the city of El Cajon?
EDDIE
No, they have this video game. I never wanted
to plug the badguys and I washed out.
FLASHBACK: EDDIE WASHING OUT ON VIDEOGAME
BACK TO: INT. SMALL ROOM IN BABY ROCKS - WINDOWLESS
COYOTE DEL REY (ENG.)
(laughs) Teh difference is that you were playing
a game, Eddie. Now, this is not a game. Shoot.
Alternately you can meet the the same fate as
this Eddie here, torture, then death.
Pause. Cut from face to face. Music throbs.
Eddie winces away as he points the pistol at the man's head and fires.
SOUND: CLICK
There si no bullet in the chamber.
COYOTE DEL REY (ENG.)
Very good, Eddie. (takes the gun)
EDDIE
Shit, man, that reallly messed me up.
COYOTE DEL REY (SPAN.)
(hands gun to henchman) Load it.
Henmchman puts one bullet in the pistol.
COYOTE DEL REY (ENG.)
I would not give you a loaded gun so soon, Eddie.
And by the way, this is not Edmund. This man is
an infiltrator from another organization, I would
prefer not to say. I killed Edmond many months
agao. (henchman hands pisol back) But not
with a bullet, like this. He was found in a car
at the bottom of a cliff near Rosarita with a high
bood alchohol content. But O'Reilly didn't tell
you about hat, did he? (raises gun to prisoner's head)
CLOSE-UP: PISTOL
RAISE MUSIC TO ALMOST OBSCURE SOUND OF PISTOL
Pistol fires.
CUT TO:
EXT. DESERT - NEAR SUNSET
Philo and the Mercs are posing against orange clouds in serapes.
Philo holds a cow skull.
PHILO
(shouts to Dirk) I feel like a dork here.
I don't get what I'm supposed to be doing.
What's my motivation for this scene?
DIRK
(loudly) It's sort of a Spaghetti Wester/Georgia O'Keefe
thing. With maybe a touch of "Alas poor Yorick."
A.D.
(in bullhorn) Sort of a Spaghetti Wester/George O'Keefe
thing. With some "Lass poor York."
DIRK
(to A.D.) Cool the bullhorn for a minute.
PHILO
(shouts) So in what movie did Clint Eastwood wave
a cow skull around? Was that in "Pale Rider?" 'Cause
that's the only one I haven't seen.
DIRK
(to A.D.) Tell them to take five.
FADE OUT.
FADE IN: INT. 1930 FORD TRUCK - NIGHT
Eddie is again riding between the henchman/driver and Coyote del Rey,
only now he is asleep. The truck is on a very bumpy dirt road and is
kicking up dust which we can barely see lluminated by the tail lights
out the rear window.
DISSOLVE TO:
EXT. THE PALMS RANCHHOUSE - NIGHT
Though it's hard to tell in the dark, we are in a desert palm canyon
in the east face of the Sierra Juarez Mountains in Baja California, about
25 miles southeast of Mexicali. Here canyons spill west into the Laguna
Salada. (The ecology is similar to Borrego Palm Canyon in the
Anza-Boreggo Desert.) Nestled in this canyon is a modest ranch house.
The truck pulls up. The driver flashes the lights twice.
The porch light on the ranchhouse flashes three times.
CUT TO:
CLOSE-UP: DOOR LATCH ON INSIDE
A hand emerging from a white peasant shirt unlatches the door and pulls
it open.
CUT TO:
INT. RANCH HOUSE KITCHEN - NIGHT
The henchamn and Coyote del Rey have Eddie by the arms as the take him into
the kitchen, where FRITO holds the door in his gun belt and Sombrero.
COYOTE DEL REY (SPAN.)
Frito, this is Eddie Sanchez. He wants to be a coyote
when he grows up.
COYOTE DEL REY (ENG.)
Eddie, this is Frito, the fried one. He wants to be
a revolutionary general when he grows up.
Frito spits on the floor.
ROSITA (SPAN., O.S.)
Hey, don't you spit on the floor. ANNA just mopped
in there.
FRITO (SPAN.)
I beg your pardon, Sinora.
COYOTE DEL REY (SPAN.)
Can we get this one someething to eat? He has
not had his supper, I don't think.
ROSITA (SPAN., O.S.)
Anna, come to the kitchen and warm up a little
supper for our guest.
Anna, an plain and obedient Mexican woman, enters and begins to light
the old black iron stove.
CUT TO:
INT. RANCH HOUSE KITCHEN - NIGHT
A different view: Eddie sits in a corner of the kitchen at a simple wooden
table eating a stew off of a pewter plate. He has a five o'clock shadow.
Coyote del Rey stands watching him.
COYOTE DEL REY (ENG.)
The problem I having mister Sanchez, is that I
cannot believe you would decide to give up your wife
and four kids, that you love so much you refuse
the charms of Carolina. I cannot belive you would
decide to leave them and become an outlaw, in only
a moment of time. That is why you will remain under
house arrest. I have some vehicles in my motor pool
that can use the attentions of an auto repair expert
such as you. There is a light in the garage. I will
have Frito take you out there as soon as you are done
eating.
CUT TO:
CLOSE UP: EDDIE'S PLATE
He spears the last peice of stew meat with his fork and lifts it to
his mouth. The plate is mostly empty now.
CUT TO:
CLOSE-UP: THE SAME TABLE WITHOUT A PLATE
The nhand of Anna is seen placing a full plate of burritos on the table
in front of Eddie. He begins to eat.
PAN UP: to show he now has a week's growth of beard.
COYOTE DEL REY (ENG., O.S.)
So how are the trucks looking, Eddie?
EDDIE
(while eating) Not too bad, now, sir. If you
can get me those gaskets I'll be ready to mate
the crack cases.
Coyote del Rey walks into frame, grabs a chair, and sits across
from Eddie.
COYOTE DEL REY (ENG., O.S.)
Eddie, you look to my eyes just like a loyal
employee. You have not tried to escape.
You haven't even tried to cantact anyone.
But I cannot in my heart accept that you want
to embrace the life of an outlaw. Even if you did
pull that trigger. Don't you miss your family?
EDDIE
(finishing) Of course I miss them. I want to
go home. But I want to go home with tweny thousand
dollars Amercian, sir. O'Reilly offered that much
to infiltarte your operation, if it lead to your
arrest. I can't do that any more, my cover is
blown. But I can deliver him to you. If you
will pay me that much, and let me go home, I will
give you O'Reilly.
COYOTE DEL REY (ENG., O.S.)
How can you do that?
EDDIE
He doesn't know I've been compromised. As far
as he knows everything is going according to plan.
We can set a trap.
CUT TO:
INT. EL CENTRO COFFEE SHOP - NIGHT
O'Reilly, Martin and Carter sti under the flourescent glare, drinking
iced teas and poking at a seafood appetizer combo plate.
CARTER
How's the wife holding up?
MARTIN
She's fine, she's on board for this mission,
don't worry. The FBI angle kind of caught her
off guard, but we've done some spin control.
CARTER
She hasn't heard from him?
MARTIN
She's not supposed to hear from him.
O'REILLY
We're supposed to hear from him, not her.
Of course we have a tap her phone, and I'm sure
FBI does too, but she's a trooper, don't worry.
CARTER
So why haven't we heard from him?
MARTIN
We can only get a call of he's alone by a clear
phone, or if he makes it to one of the stashed
satellite phones, and can go off alone to use it.
That's a lot of ifs.
CARTER
And if he hasn't gone south on us, that's
another if.
O'REILLY
This guy's a boy scout, Colonel.
CARTER
So was Charles Whitman.
O'REILLY
Who?
CUT TO:
>>>
BBQ
>>>
same driver at Yuma bridge
FADE OUT.
THE END
Frontera is about the cat and mouse games between the Border Patrol and the coyotes who smuggle illegal aliens across the border from Mexico into California. O'Hara is the station chief for the Border Patrol in El Centro, and his arch nemesis is King Coyote (Coyote del Rey), who operates a human smuggling ring out of Tijuana. O'Hara has been secretly trying unsuccessfully for years to infiltrate Coyote's operation, but the closest he got was an operative who was found dead in a car at the bottom of a cliff on the Pacific coast of Baja California. His latest recruit is Eddie Sanchez, a high school auto shop teacher in the San Diego area whose major qualifications are that he's patriotic, he is unknown to Coyote's gang, he looks Mexican and he needs the money.
O'Hara's plan is that Eddie will start by competeing with the King, and them come to his notice and be recruited. After a false start Eddie in fact succeeds in becoming one of the most accomplished smugglers of illegals ever, but after joining up with Coyote del Rey he quickly gets over his head. Ultimately he ends up lost in the California desert with a band of illegals including a rock-n-rollin' 11-year old boy, and with the Border Patrol and Coyote after him, as well as the desert bandits who prey upon the illegals, he must find both the brains and the courage to save the day.
Okay, our hero, Eddie, has infiltrated a gang of illegal alien smugglers, and to earn their trust he is himslef leading a group of illegals through the desert to try to get to central California, where fruit growers will hire them. But he's gotten them lost in the Nevada desert. He has a satellite phopne to call the gang leader for help if he needs it, but he doesn't want to use it. And the phone has a self-destruct, in case he's caught by the authorities on either side.
FADE IN: Night. Eddie and the illegals are shivering in a cement drainage pipe in the Nevada desert, as highway traffic roars by above them. Some of the illegals' shoes have given out. A few of them complain softly in Spanish, and Joey, the 11-year old, translates: "They are very cold. It is not cold like this in Quintana Roo." Eddie pulls out his satellite phone and tries it again. It is still not working, as the two-tone "no signal" warning beeps. Idly toying with it, he looks at the red DESTRUCT tab emerging from it. Suddenly, he pulls the tab and tosses the phone down into the sandy ravine below the pipe. "Get down! Abajo!" he shouts, and they all flatten into the bottom of the pipe. The orange flash of an explosion bathes them in light. CUT TO: The band warming themselves by a fire of Yucca branches and other dry desert plants. They are laughing and talking. Suddenly one of them shushes the others. They cock their heads to hear a dog barking angrily in the distance. The barking is getting louder. The camera pans from face to face as their apprehension grows, along with the loudness of the barking. Suddnely one of them flinches in reaction. CUT TO: The dog, on the edge of their campfile light, barking aggressively and showing lots of fang. Suddenly one of the mildest looking illegals jumps up and lunges at the dog, barking back. The dog leaps up and a little backward, then turns and runs with its tail between its legs. It races up the embankment onto the road and out of sight, where we hear the "blat" of a compressed air horn, the screeching of 18-wheeler brakes, and the yap of the dog -- cut short suddenly. CUT TO: The band by the same fire, only now they have a spit rigged and are barbequeing meat. They laugh and talk as they feast on hunks of meat peeled off the spit.Last update 29-Sep-02001 by ABS.
-------------------------------------------------------------------------------- 1 2 3 4 5 6 7 8 12345678901234567890123456789012345678901234567890123456789012345678901234567890 -------------------------------------------------------------------------------- ************************ --------------------------------------------------------------------------------
FADE IN: INT. YOUR HOUSE - DAY YOU are about to sit down at the typewriter. Suddenly you get very nervous. YOU What is it supposed to look like on the page? Do I put in all the camera angles? Do I have to write everything everybody says? INNER MOVIE First time screenwriters are usually terrified of screenform. FADE OUT. FADE IN: INT. YOUR WORKSPACE - DAY This is the stage directions. CHARACTER NAME (V.O.) Dialog should not extend beyond a line 2 1/2 inches from the right of the paper. CHARACTER NAME (Astonished) This is where you write the dialog. (MORE) [page break] CHARACTER NAME (CONT'D) This is where you write more dialog. DISSOLVE TO: INT. JALOPY DAY Skeeter Mooch, 25, floors it. CUT TO: EXT. FREEWAY DAY Cops gaining on jalopy. Head it off. Cops run to pull Skeeter from car. CUT TO: CLOSE ON SKEETER'S FACE SKEETER (V.O.) I'm guilty. CAMERA PULLS BACK TO REVEAL Skeeter in defendant's circle, wrists shackled. He faces JUDGE COOPER. JUDGE COOPER Skeeter Mooch. Do you have anything to say before sentencing? SKEETER How do I write out a phone conversation? Phone RINGS. Judge Cooper answers it. JUDGE COOPER Judge Cooper here. INTERCUT PHONE CONVERSATION JUDGE'S AGENT Coop, I got interest in your script at Fox. JUDGE COOPER Not now, Jaws. I'm sentencing... Have your girl call my girl. Let's do sushi. END ON JUDGE COOPER JUDGE COOPER (CONT'D) Bla bla bal bal bla bla bla. uses for caps AD LIB VOICE OVER (V.O.) OFFSCREEN (O.S.) BEGIN TITLES END TITLES FREEZE FRAME. TITLES OF SONGS AND BOOKS