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OASIS STATION Screenplay by Sam Bass

Contributions by Peter Gries

2 Registered WGAw Sam Bass 2018 Broadway Little Rock, AR. 72206 501/240-3253 501/952-2056 sambass155@sbcglobal.net "OASIS STATION" FADE IN: EXT. DESERT HIGHWAY, SOUTHEAST NEW MEXICO- SPRING - DAWN A beautiful dawn sunrise marks the tops of the desert hills with a crimson hue. A two lane black highway stretches to the horizon across the scene. A lone Jack-Rabbit slowly hops from a ditch to the side of the black road casually looking around as he chews on a morsel of grass. A mud splattered open jeep that is equipped with a roll-bar and an overhead light rack speeds down the lone highway. CLOSE ON - RAMONE, a Mexican/American in his mid twenties, stares straight ahead expressionless as he drives. Ramone wears an oversized black leather jacket against the cold. His long black hair blows in the wind. A tattered knapsack lies on the passenger seat. Ramone looks in his rearview mirror. RAMONE P.O.V. INSIDE TO OUTSIDE - IMAGE IN THE REARVIEW MIRROR - An undistinguishable vehicle quickly approaches from behind. It come into view. The vehicle is a New Mexico Highway Patrol Cruiser. INT. PATROL CAR MAT KING, the trooper is a middle-aged blonde Anglo with premature weathered features from spending his life in the desert sun. He tweaks his siren and accelerates. KING P.O.V.

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INSIDE TO OUTSIDE - King's police cruiser closes on Ramone’s muddy Jeep and rides near his rear bumper and then backs off a little. EXT. DESERT DIRT ROAD The Jeep turns on to a rutted out dirt road moving toward the distant hills. CLOSE ON - Ramone glances back. (CONTINUED) CONTINUED: He takes notice of the patrol car turning off on the same road behind him. Patrolman King turns on his light bar. CLOSE ON – Ramone. He appears hesitant, but slows down and pulls over. The patrol car stops a few feet behind the Jeep. The light bar continues to flash. Ramone sits in a despondent state watching the patrol car in his side mirror. INT. PATROL CAR Patrolman King sits quietly in the car for a moment. He reaches over to the passenger seat and picks up his pilot style sunglasses and puts them on. EXT. DESERT DIRT ROAD King gets out and walks slowly toward the Jeep. He moves casually, but from habit patrolman King touches his sidearm for assurance. As King approaches, Ramone slowly slides out of his vehicle. He holds a tattered nylon wallet in his hand. Ramone

4 searches for and produces a beat-up drivers license. He holds it out for Officer King as he stops in front of him. Ramone keeps his head down saying nothing. King looks solemnly at the tattered license then back at Ramone. The patrolman does not speak. He just shakes his head and walks slowly back to the patrol car and gets in. INT. PATROL CAR King sits and listens to his radio getting ready to write Ramone a ticket. He watches Ramone to see if he gets nervous. EXT. DESERT DIRT ROAD Ramone opens his leather jacket slightly while watching King. Ramone thinks he hears something on the police radio that draws King’s attention to him. He looks away trying to not look suspicious. EXT. ARTESIA NEW MEXICO – RESTAURANT BOB HOLLY, a mid thirties dark man and PETER HOLLY, a thirties dark man both dressed in New Mexico Highway Patrol uniforms get into their patrol cars and drive to the two lane highway in different directions. Peter pushes hard on the accelerator and causes his vehicle to speed away. INT. PETER HOLLY'S PATROL CAR The Patrol car speeds down the highway. Then suddenly makes a right turn onto a dirt road. His vehicle kicks up a cloud of dust as it enters the dirt road. EXT. DIRT ROAD King shifts his position and reaches across the seat for his ticket book. Ramone moves suddenly to the front of the patrol car. As he moves he pulls a sawed-off double-barreled shotgun that is

5 slung from the shoulder under his jacket. RAMONE P.O.V. OUTSIDE TO INSIDE - As King comes back to his original position behind the steering wheel he realizes that Ramone has a shotgun. Caught off guard King fumbles for his sidearm to defend himself. BACK TO SCENE Ramone fires both barrels through the windshield. He hits King in the face and chest. Ramone's face barely registers any expression. He stares coldly at King. Ramone breaks open the shotgun. He removes the spent rounds and puts them in his pocket. He reloads the shotgun and walks to the patrol car. He shoots King two more times. Ramone reloads the shotgun and puts the empty shells in his pocket again. He reaches into the patrol car to retrieve his license. He picks up his tattered license from Kirby's clip-board. Ramone turns and slowly walks back to the Jeep. He gets in and drives away. EXT. DESERT ROAD Peter’s patrol car rolls over a hill at an intersection on the dirt road. He sees King's car. As Peter gets nearer to King’s patrol car, he sees the windshield is broken. Then he sees King lying across the car seat. Peter quickly stops the car and gets out. He ducks down using the car for cover and cautiously scans the area. Satisfied that it is now safe Peter goes back to his car and opens the door. He reaches in for his radio and hurriedly radios Bob. PETER One-forty-seven to One-forty-eight,

6 come in. One-forty-eight, come in. Peter gets no answer. He calls the dispatcher. PETER (continuing) One-forty-seven to Albuquerque. Officer down. The state dispatcher comes on the airway. FEMALE DISPATCHER (RADIO V.O.) Go ahead, one-forty-seven. Peter is urgent. PETER Dispatch ambulance and Coroner. The location is at the intersection of Highway # 7 and the county line road. About one mile West. FEMALE DISPATCHER (RADIO V.O.) Stay where you are, one-forty-seven. Help is on the way. PETER Roger, Albuquerque. Before Peter try to reach Bob again Bob cuts in. BOB (RADIO V.O.) One-forty-seven this is one-fortyeight. I'm on the way. Stand-by. (CONTINUED) CONTINUED: PETER Negative, One-forty-eight. This is a big one. The trail is fresh. I’m starting the search. Peter drives his Patrol car up the rough road toward the hills.

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EXT. DESERT DIRT ROAD HILL SIDE RIDGE Peter rolls his vehicle to a stop and sees two men as they walk near an oasis. The men move into the heavily forested oasis. Peter drives to a nearby hill overlooking the desert oasis and stops and hangs his arm out the window. His speaks on his police radio. PETER one-forty-eight. BOB (RADIO V.O.) Go ahead one-forty-seven. PETER I need an assist. BOB (RADIO V.O.) What's your status and location, onefour-seven? PETER Three point five miles west of Hansen oil field off the truck road. You know the old oasis. I'll standby until your arrive. BOB (RADIO V.O.) I'm rolling. PETER Hurry up. I see activity. BOB (RADIO V.O.) Roger. Peter sees another man move inside the oasis. He starts his patrol car and drives down the rocky hill slowly. EXT. OASIS AREA All is quiet as Peter drives into the area thick with trees

8 and tall grass. The grass rustles. Peter turns to see. As he does, shotguns and m-sixteen’s start firing, riddling the car and hitting Peter. His body jumps as it is shot. His police radio sounds off. Peter falls back against the drivers seat from the gun shot wounds. HOLLY (RADIO V.O.) One-forty-seven, what's your location? Come in, Peter. The radio sound is going on as the gun shots die down and stop. THOMAS HARTMAN, a mid-thirties dark individual that is a typical Special Forces veteran is flanked by thirty heavily armed Mexican and rough looking caucasian men. They move to the patrol car. THOMAS All right, let's go. ZAC, a forty five year old typical military veteran steps beside Thomas. Ramone and FINLEY THORNE, a thirty-five year old Caucasian, step out of the brush at the same time. They reload m-sixteen rifles. Other men start appearing out of the brush around the area. Finley carries a variety of weapons including a fortyfive pistol and m-sixteen. They all walk in front of the patrol car and around to the driver's side, looking in the windows at the Patrolman's bloody body. Zac walks up beside him. Thomas speaks coldly. THOMAS Put him down, Zac. Zac nods. Thomas looks up coldly. The radio sounds off. BOB (RADIO V.O.)

9 Acknowledge Pete. Don't play games. Where are you? (CONTINUED) CONTINUED: Thomas reaches inside the patrol car and turns the radio off and speaks to Zac. THOMAS Get started. Don't leave any signs. Zac nods in agreement. Ramone smile. RAMONE It's been a good morning. Two pigs down and it's not eight o'clock yet. Thomas spins around angrily to face Ramone head on. He sticks the barrel of his forty-five pistol under Ramone's chin. Ramone's head is pushed back. Thomas is cold and expressionless. THOMAS Listen you brainless ass. You cost me two hours by being late. You kill a cop and bring another one in here on your ass and you think it's a damn joke. Thomas pulls the hammer back. Ramone speaks with a low tone of fear. RAMONE No joke. It's bad man. I know. Zac watches with a stone stare. THOMAS Ramone, you jeopardize our operation again and I'll put a bullet in your ear.

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Thomas lowers the forty-five automatic, turns and silently walks away. Ramone is relieved Thomas is gone, but as Thomas walks away, Ramone is defiant and quietly laughs to himself. Zac is not amused. He looks coldly at Ramone. (CONTINUED) CONTINUED: ZAC I'll do it to you right now. Ramone's expression is blank, then he raises his hands palms up and backs away. Zac turns toward the others. ZAC (continuing) All right get this thing in the ravine. Zac points. ZAC (continuing) Let's go. Let's go. The men quickly gather and start to push the patrol car into the shallow ravine. Ramone jumps in the car as they push to guide it. He sees Peter's Buck Knife lying on the floor and takes it. He speaks to Peter. RAMONE You won’t need this. Zac watches the site. Ramone steps out of the car as it rolls into the ravine.

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ZAC Get the pig wagon covered up. We're gonna have cops all over this place in a few minutes. Fifteen men, most with shovels in hand move toward the ravine. Zac stands above them watching. ZAC (continuing) Let's go! Trouble's coming. The men cover the patrol car with dirt, rocks, and a final camouflage of brush. The wind blow the dust around them. The men finish and disappear into the trees. One man lingers behind, brushing away all footprints with a small bush. He walks backwards into the trees still dusting away footprints. EXT. RIDGE OVERLOOKING THE OASIS Holly pulls up on the ridge looking for Peter. He stops his vehicle on the ridge and looks down into the oasis area. He picks up his radio mic. BOB One-forty-seven. come in, onefour-seven. Albuquerque dispatcher breaks in. DISPATCHER FEMALE (RADIO V.O.) One-forty-eight, have you got a problem out there? Use radio procedure. Bob looks around the area. BOB Yes, one-forty-seven is missing. He didn't meet me at our established location. DISPATCHER FEMALE (RADIO V.O.) Start a search, we'll dispatch another trooper.

12 BOB Ten four, Albuquerque. One-forty -eight, out. Holly puts his radio mic. back on its holder speaking to himself quietly, slightly worried. BOB (continuing) Where are you, Pete? He drives slowly down the hill and looks the oasis over. EXT. OASIS Holly drives into the oasis area and cruises through. CLOSE ON – The front wheel of the patrol car moves through the sand and grass. Holly motors out of the oasis He sees two more Highway patrol cars moving toward his location. He stops his vehicle and waits. INT. HIGHWAY PATROL OFFICE - AFTERNOON Bob Holly, TROOPER PAUL WATSON, a thirty something caucasian man and TROOPER SOL MARTINEZ, a late forties Mexican man are in conference with CAPTAIN JOHN RAMIREZ, a middle aged average sort of Mexican/American man and the Highway Patrol Troop Captain. RAMIREZ This has gone on long enough to convince me that Peter’s is in trouble. Paul speaks up. PAUL Captain. We walked every inch of that place and found nothing. SOL MARTINEZ

13 The chopper was out there for over two hours. They didn't find anything. Ramirez aggravated. RAMIREZ Peter called in that location. You two go back out there and look again. Bob, you check with the Artesia P. D. And see if they have something. We've got one officer dead and another one missing. Let’s get some answers. All three patrolmen look at each other. They get up and leave the room. Captain Ramirez watches the three men as they leave his office. INT. ARTESIA POLICE DEPARTMENT, JAIL - EVENING Holly walks in and stands at the front desk. A friend, SERGEANT FELIX GARCA, a young energetic man greets him. FELIX Hey, Bob. I don't know if it means anything but we picked up a drunk last night. He said his two cousins were walking in from Mexico and they all come through the area Pete went missing. (CONTINUED) CONTINUED: Bob appears interested. BOB Thanks, Felix. FELIX You want to see him? Bob nods.

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INT. CELL BLOCK Holly and Felix enter the cell-block. Felix points to a Mexican man. Bob moves to the cell he is in. Bob looks at the drunken man through the bars. BOB Bueno, Miguel. You here again? Miguel speaks to him in a heavy Mexican accent. MIGEL Hello, Caca! You here to bother me, again. Bob is amused. BOB Your cousins come to town yet? Miguel is irritated. MIGUEL What cousins? Bob becomes a little more aggressive. BOB The ones you talked about last night. Miguel just looks, but does not reply. BOB (continuing) Miguel, you need to talk to me. You may could be an accessory to murder. (CONTINUED) CONTINUED: Miguel turns to Bob.

15 MIGUEL Are you crazy? I’m drunk not stupid. Bob pushes him. BOB All right. We'll see how you do When you see Judge Carlton. Miguel thinks for a moments. He turns to Bob smiling. MIGUEL No my friend. I can't see that Judge. He hates me, man. BOB What about it? Do you have two cousins? Miguel thinks. MIGUEL Yeah, Man. All I know is they are mules across the desert from Juarez to somewhere in the desert. They drop the white powder, get money and a fake green card. If they killed somebody I don’t know them. Bob pushes more. BOB Where are they? Miguel thinks for a moment and lies back on his bunk. MIGUEL The El Campo. Don’t tell them about me. They’re mean as hell. Holly smiles and leaves. EXT. STREET – JUAREZ

16 An elaborate celebration is in progress. (CONTINUED) CONTINUED: CECILIA BROOKS, a beautiful young black girl, walks through the crowd watching the people as they dance and sing. Suddenly two Mexican men step from a doorway. They grab Cecilia and drag her inside. EXT. LUXURY MEXICAN VILLA A large black Mercedes sedan drives to the gate. An electronic camera turns to him and the lens focuses. E.C.U. - DRIVER. The driver, RAOUL is an average Mexican man in his forties. He reaches out and presses the intercom button. INTERCOM (V.O.) Identification. RAOUL It’s Raoul, got something for Mr. Guerra. INT. MERCEDES Raoul sits in the front seat alone. He turns to the back checking on his captive. PEPE, a strong looking young Mexican man sits with Cecilia in the back. Cecilia's hands are tied behind her and white tape is over her mouth. EXT. LARGE MEXICAN ESTATE The gates swing open and the Mercedes drives through. It travels up a long driveway toward the villa.

17 INT. MEXICAN ESTATE, EXPENSIVELY DECORATED STUDY Raoul enters the room smiling. GUERRA, a dark man in his fifties is seated behind his desk in a wing back executive chair studying papers inside a folder. RAOUL I have something outside that will change our entire operation. (CONTINUED) CONTINUED: Guerra looks up. GUERRA Raoul, if you have something say so. Raoul turns toward the door and waves. Pepe walks in with Cecilia still bound and gagged. Guerra stands abruptly. GUERRA (continuing) What the hell is this? My family lives here. Raoul is still grinning. RAOUL This is Cecilia Brooks, her Papa is the lawyer that works with Hartman. She's the leverage we need to stop the competition. Guerra watches curiously. He slowly walks around the desk. Guerra walks over to Raoul and Cecilia. GUERRA We must take good care of this one. He reaches out and rubs his hand on Cecilia's cheek. GUERRA

18 (continuing) No one will have this beauty. Put out the word. We are ready to negotiate. Raoul smiles, takes Cecilia by the arm and leads her out. Pepe follows. EXT. El CAMPO MOTEL Holly drives to the motel and parks. He is in civilian clothes when he gets out. A brightly lit neon street sign reads: "EL CAMPO", VACANCY. The motel is run down. Several cabins are located around a small building with a lit neon sign in the window that reads "OFFICE". Holly walks to the office and goes inside. INT. OFFICE - NIGHT Holly enters the office and walks to the unoccupied hotel counter. A stained yellow light bulb glows lighting the room. A bell on the desk has a sign next to it: "Ring for Service". Holly slaps his hand down hard on the bell. The MANAGER, a thin man comes out of a dimly lit room behind the desk. MANAGER All right, what you want? Bob’s attitude is cold as he speaks. BOB I'm looking for Manuel Gomez, which cabin is he in. The sleazy manager is rude. MANAGER I not know him. Why you want him? Bob looks hard at the man. BOB I know he’s here and I know the

19 I-N-S people who arrest assholes that are hiding him. The manager shrinks back. MANAGER He stays in the back, number six. Bob nods. BOB No phone calls. The manager shrugs his shoulders. MANAGER We got no phones. Holly turns and walks out. EXT. EL CAMPO CABIN NO. SIX Bob walks cautiously up to the motel cabin. He listens for a (CONTINUED) CONTINUED: moment. The shades are down and the light show around the edges of them. Mexican music plays softly. Bob takes out his hidden gun. He moves squarely in front of the door, kicks it open and rushes inside. INT. CABIN MANUEL, a heavy build man lies on the bed. He abruptly gets to his feet. FERNANDO, an average man sits in a nearby chair at a small table. He stands ready for action. BOB Don't move, boys. Just sit down and listen. Both men sit quietly.

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BOB (continuing) I understand you cross the desert a few days ago. Holly looks at the two quietly for a moment. Fernando answers. FERNANDO We don't cross. Bob backhands Fernando with his gun. Fernando falls backward to the floor. Manual goes for Holly. Bob punches Manuel in the mouth. Manuel falls backward onto the bed. Fernando gets up and moves toward Holly. Bob side kicks Fernando. He strike him in the stomach. Then a quick right cross drives him to the floor again. Manuel gets off the bed with a switch blade knife and attacks Holly. Holly turns as the knife cuts his shirtsleeve. Bob side kicks Manuel in the groin and as Manuel bends forward, Holly strikes the back of Manuel's neck with the point of his elbow. The knife falls from Manuel's hand. Holly kicks the knife away. (CONTINUED) CONTINUED: Fernando and Manuel are both on the floor trying to sit up. Holly stands above them. BOB I'm still waiting for an answer. Fernanado is ready to give up. FERNANDO Okay, man. We are mules. We cross over at El Paso, packing whatever

21 they tell us. We do not know the names of the people. We just carry what they say. No questions. Bob moves and stands over him. BOB Where did you deliver. FERNANDO Not far from here the old oasis. Two men meet us. Took our packs and give us the green cards. Bob looks disgusted. BOB You see anything different out there this time? Manuel is talking freely to get it over with. MANUEL Yes, we go far around that place this time, too many people. Holly looks at them for a moment. He turns and begins to walk out. Manuel and Fernando sit on the floor nursing their wounds. CLOSE ON – matches. Bob sees a book of matches with the bar name "LOS FUENTES" on it from a Juarez Mexico bar. He picks the matchbook up, puts them in his shirt pocket and walks out. EXT. LOS FUENTES HOTEL AND BAR - EARLY MORNING A few people mill around on the street in front of the hotel bar. INT. LOS FUENTES HOTEL ROOM Thomas is asleep. The phone rings several times before he responds. Thomas grabs the phone. THOMAS

22 Yeah! JUDGE HARTMAN (TELEPHONE V.O.) We got a call. Guerra has Cecilia Brooks. He wants to deal. Thomas Shifts his position and sits up quickly wearing only olive drab military underwear. THOMAS Where are they holding her? JUDGE HARTMAN (TELEPHONE V.O.) We believe she's in Juarez. THOMAS I'll Take care of the son-of-a-bitch. JUDGE HARTMAN (TELEPHONE V.O.) Make sure Tony's daughter isn't hurt. That's Tony's only child and he's been good for business. THOMAS No problem. Thomas hangs up the phone. He sits on the edge of the bed in thought. His vengeful thoughts show in his face. EXT. CAPTAIN RAMIREZ'S PARENTS HOME Captain Ramirez and his wife, TERRI, a pretty woman in her forties arrive at the Captain's parent’s house and parks in the driveway. MOTHER RAMIREZ, a graying thin caucasian woman works in her flower bed. FATHER RAMIREZ, an older man, part hispanic with an accent looks up from his yard working position near the house. MR. RAMIREZ Hi, son, Terri. Captain Ramirez is out of the car and walks with his wife.

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(CONTINUED) CONTINUED: His mother looks up at him. MRS. RAMIREZ This is a pleasant surprise. Captain Ramirez walks to his aging mother and kisses her on the cheek. She acknowledges his wife by patting her on the back. RAMIREZ Have you seen Barbara? Mrs. Ramirez smiles. MRS. RAMIREZ She was in her back yard a few minutes ago. Bob looks kindly at his mother. RAMIREZ We'll be back in a little while. Ramirez and Terri walk toward Barbara Holly’s house next door. Ramirez looks over his shoulder toward his father and waves. They continue walking to Barbara Holly's back yard. EXT. BARBARA HOLLY'S BACKYARD BARBARA HOLLY, Peter and Bob's mother, a average caucasian lady, sits at a lawn table drinking tea. Captain Ramirez and Terri approach her. TERRI Good Morning. Barbara puts the newspaper down. Ramirez and Terri go to her table. MRS. HOLLY

24 What brings you out? Captain Ramirez and Terri sit. RAMIREZ Barbara. There's no easy way to say this. (CONTINUED) CONTINUED: Barbara's facial expression changes. She interrupts Captain Ramirez. MRS. HOLLY Something's wrong. I heard about Al King. Are Peter and Bob all right? Captain Ramirez is hesitating. He is still trying to find the words. RAMIREZ We're not sure. Peter may be in trouble. Barbara becomes very anxious. MRS. HOLLY Where is he? Barbara’s eyes get tears in them. She looks at Captain Ramirez and Terri anxiously. RAMIREZ We're not sure. We haven't heard from him since yesterday. I don't want to worry you. I thought it best to let you know early before someone said something. Mrs. Holly smiles nervously. MRS. HOLLY Bobby will find him and he'll have some dumb excuse.

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Terri smiles and holds her hands. EXT. FRONT CAPTAIN RAMIREZ PARENTS HOME Bob turns his cruiser into the Ramirez driveway and stops. He exits his patrol car and walks around to Captain Ramirez mother. BOB Hi, Mrs. Ramirez. Sol told me John was here? She smiles. (CONTINUED) CONTINUED: MRS.RAMIREZ Bobby. You're always in a hurry. He's next door at your mothers. Bob smiles and walks toward his mothers house. Mrs. Ramirez call after him. MRS. RAMIREZ (continuing) Bob, find your little brother. No one can do it like you can. Bob smiles and walks on. EXT. BARBARA HOLLY'S BACKYARD Bob sees Captain Ramirez and Terri at the table with his mother in her backyard. Holly approaches them. Mrs. Holly sees him first. She stands and goes to her son and embraces him. MRS. HOLLY Oh, Bobby. Any news?

26 Bobby pats his mother. BOB It's all right. Peter can take care of himself. She cries. MRS. HOLLY You find your little brother. Bob nods. EXT. STREET JUAREZ OUTSIDE LOS FUENTES HOTEL BAR Thomas walks through a crowd of people celebrating the holiday and enters the bar. INT. LOS FUENTES HOTEL BAR The bar is dimly lit with a red hue. Thomas stands near the (CONTINUED) CONTINUED: doorway looking around. He sees Zac in a booth with two Mexican girls. Thomas walks to the booth. He speaks directly to Zac. THOMAS Get rid of'em. We got work to do. Zac pushes the girls out of the booth, handing them some money. ZAC Later on, delay bonita linda's. GIRL NO. ONE, a very pretty Latin toys with Thomas. GIRL NO. ONE Hey Thomas, doesn't like girls

27 anymore. Thomas looks at the girl firmly. The girl’s smile and walk away. Thomas slides into the booth. ZAC You're so classy with the women. Thomas ignores him. THOMAS Guerra has Cecilia Brooks. He wants us to back off on traffic to the states or they’ll cap her ass. Tony and the judge are pissed. Put the word out. I want to know where she is and how many men guard her. Find Jose, tell him I want to see him now. Zac is ready to do his job. ZAC You got it, Captain. Zac slides out of the booth and leaves the bar. Thomas slides out of the booth and walks toward a door in the back. EXT. BARBARA HOLLY HOME Bob hugs his mother and walks away with Captain Ramirez. Terri stays behind with Barbara. EXT. CAPTAIN RAMIREZ'S PARENTS HOME - KITCHEN The Captain looks at Bob. RAMIREZ Don't forget the hearing tomorrow. Holly nods and gets inside his car. He looks at Captain

28 Ramirez. BOB We gotta find Pete. He starts his car and drives away. Captain Ramirez watches. DISSOLVE TO: INT. ARTESIA, SATELLITE COURTHOUSE, EDDY COUNTY – DAY Bob is at a hearing in Judge Hartman’s court for a drug arrest made by him. The court is full of activity. The defense attorney is TONY BROOKS an average clean cut black man, about forty and Cecilia’s father. He is going through his brief case files while sitting and talking to his client, FREDDY THORNE, a thin man in his twenties, and the twin brother of Finley Thorne. The Assistant District Attorney, NANCY DeSOTO, a mid twenties Mexican/American lawyer is sitting across from Brooks and his client, Freddy. JUDGE HARTMAN, a tall, graying man, in his fifties, walk into the courtroom buttoning his black robe from the back of the court. His court reporter and secretary, BRENDA ALEXANDER, an attractive, MID thirties female, follows him in. Everyone in the courtroom, including four people walking in from the back, stop. The people sitting stand up. the Judge goes to his bench and sits. Brenda sits down in the recorder's chair nearby. Two bailiffs enter and stand by the Judge's bench. (CONTINUED) CONTINUED: JUDGE HARTMAN Take your seats. This hearing is in session.

29 Everybody in the courtroom sits down. Judge Hartman flips through files lying in front of him. He looks up. JUDGE HARTMAN Are council's ready? The D.A. and Brooks are standing while they answer. DESOTO Yes, your Honor. The People are ready. Brooks turns his attention to the judge. BROOKS Yes, your Honor, Defense is ready. The judge’s eyes scan the room. JUDGE HARTMAN All right prosecution. Let's hear from you. DeSoto walks around her desk facing the judge. DESOTO Your Honor, my brief shows just cause for the prosecution of Freddy Thorne. He has repeatedly dealt in controlled substances. Specifically, in reference to his last arrest by officer Bob Holly, on the evening of June fourth of this year, when Mr. Thorne was in possession of five pounds of a substance, identified as cocaine. Tony Brooks opens his briefcase. The judge looks at the prosecutor. JUDGE HARTMAN Anything else, Ms. DeSoto? Ms. DeSoto is a complete professional.

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(CONTINUED) CONTINUED: DESOTO No your Honor. The assistant district attorney sits down. The Judge looks at attorney Brooks. JUDGE HARTMAN Defense? The Defense Attorney stands and looks around the room. He smiles at the District Attorney and steps in front of his defense table. TONY BROOKS Your Honor, I have been patient with the District Attorney's office and the New Mexico Highway Patrol in their endeavor to unjustly prosecute my client, Mr. Freddy Thorne. They have run rough shod over his rights as a citizen. Further, they have no just cause to bring this case. There is no evidence. No evidence, no case. The so called evidence is only un-professional propaganda passed on by Officer Holly to the community at large, prejudicing them to make incriminating statements about Mr. Thorne. Under these most auspicious circumstances, I move this case be dismissed as established in my brief. Brooks pauses and appears convinced JUDGE HARTMAN Thank you counselor Brooks There is silence. The Judge looks at his file. JUDGE HARTMAN (continuing) Having reviewed these briefs, it is

31 the decision of this court to continue this hearing for two weeks until such time the Defense or Prosecution shows real evidence and not rhetoric to dismiss or schedule trial for this matter. (CONTINUED) CONTINUED: A man walks in from the back of the courtroom to Tony Brooks' side and whispers in his ear. TONY BROOKS Excuse me your honor. May I address the Court. The Judge looks in his direction. JUDGE HARTMAN Go ahead. Tony looks up from reading the document he holds in his hand. TONY BROOKS It appears that the prosecution has charged the wrong man. Nancy DeSoto looks at Holly he is surprised. Tony Brooks walks to the bench and gives the Judge a Police Report. He hands Attorney DeSoto a copy. She looks at the document. Tony looks at the judge. TONY BROOKS (continuing) As you can see Judge, in the Police Report, the name on the report is Freddy Thorne, but, the report shows a rose tattoo on his forearm. This also states that he has short brown hair and there is no mention of the obvious scar on my clients chin.

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Nancy DeSoto looks closer at the report. Tony Brooks walks to his client Freddy Thorne. TONY BROOKS (continuing) Freddy Thorne has no tattoo, and his hair did not grow that fast and there is no scar. The D.A. speaks up. NANCY DESOTO Your Honor? (CONTINUED) CONTINUED: The judge ignores Ms. Desoto. JUDGE HARTMAN It is clear to me you have charged the wrong man. Case dismissed. The Judge hammers his gavel. The Assistant District Attorney turns and glares at Holly. The courtroom begins to clear out. She walks back to her desk beside Holly. The Judge stands and walks to his office followed by Brenda. Holly stand and talks to the D.A. BOB They tampered with the report so they could dismiss. DeSoto is put out with Holly. DeSOTO Bob, I suggest you know who you are charging in the future and not waste the people’s money.

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Bob counters almost pleading for her to understand his point. BOB I'm telling you, they deliberately changed the report. Nancy DeSoto picks up her briefcase and walks out. Tony Brooks walks past Holly with his client Thorne and smiles as he passes. Thorne glances back at Holly as he and Tony leave. Holly smirks as they pass and sits down. Everyone has left the courtroom. Captain Ramirez walks to Bob and sits with him. BOB (continuing) This is pathetic. We gotta do something. John tries to console him. (CONTINUED) CONTINUED: RAMIREZ Bob, I watched you and Pete grow up. I want to stop this trash and find Pete as badly as you, but first we have to be sure there are no more mistakes. Bob pushes to do something. BOB Everything points to El Paso. I can't just sit around. Ramirez just looks at him. Holly stands and starts to walk away. RAMIREZ Hey, go to El Paso. Let me know

34 where you are. I can't help if I don't know. Holly smiles. He turns and walks away. EXT. EL PASO STREET - BAR DISTRICT Holly is dressed in old street cloths. He walks down the rough streets of El Paso giving the appearance that he is down on his luck. Holly stops along the street talking to people he thinks may be likely to know the drug scene. C.U. HOLLY- He enters a run down bar and then exits quickly. A large Mexican doorman stands in the entrance. He pushes him back out. INT. BAR Holly enters the bar and looks around. He speaks to three different people then walks out. FLIP FRAME: INT. SLEAZY BAR - DAY Holly entering a bar to check it out. (CONTINUED) CONTINUED: He walks to the bartender, buys a beer and sees a young Mexican/American mix-blood man, Ramone that is dressed in a tank top and army type pants, paying for a drink. Holly watches, as Ramone puts a large roll of money in his pocket and walk to a table where three other men are shooting dice. Ramone throws money down and picks up the dice. He tosses them in a cup and shakes. He throws them on the table.

35 Ramone laughs and picks up the money. Holly shakes his head, then turns to an older Caucasian man, JAMES KYLE, standing next to him. The man appears to be around fifty years old and a local rummy. Bob speaks to him. BOB Now that's life for you. Can't find a job. Got two dollars to my name and that guy has a roll. Holly nods toward Ramone. Kyle looks around slowly at Ramone and looks back at Holly. Ramone is laughing and talking. KYLE (O.S.) That's Ramone. He always has money. Holly keeps looking. BOB Who does he work for? Kyle turns back toward the bar. KYLE You're to nosey, man, go away. Bob tries to be nice. BOB Sorry. Just looking to score. He seems to know how. Laughter rises up from Ramone's table. Then several bettors complain as they lose. Holly watches the action through the bar mirror. (CONTINUED) CONTINUED: A shout goes out from Ramone's table. Holly turns to see what has happened.

36

One of the men, a young Anglo, CASS, is protesting. CASS Three times in a row. This is bullshit. As Ramone starts to collect the money on the table, Cass slams his hand down to stop him. Ramone lunges forward suddenly, drawing a knife. He sticks it in the table through Cass’ hand. Ramone pulls the knife out. Ramone Back off, asshole. Cass screams and recoils, grabbing his hand from which blood is welling out. Two other men push back from the table and leave, but two more men sit firm and laugh along with Ramone, who is raking in the money. HECTOR, one of the men from the oasis shooting, laughs. Holly steps forward, without thinking, then he recognizes the knife in Ramone's hand. Ramone turns and looks at Holly. RAMONE What the hell you looking at? Holly raises his hands grinning sheepishly. BOB Nada. Ramone is rude and hateful. RAMONE Go back to your beer, Gringo. Holly turns back to the bar. A couple of men start to help Cass, but he shakes them off and moves out of the bar with a dirty handkerchief wrapped around his hand dripping blood as he walks. Ramone shrugs his shoulders, puts the knife away, picks up the dice and shakes them.

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(CONTINUED) CONTINUED: RAMONE (continuing) Okay, let’s go. The bartender pushes another beer over to Holly. Kyle looks over at Holly. KYLE Not a good start. Holly sips his beer slowly. He occasionally glances at Ramone's image in the mirror. Ramone senses Holly but when he looks over Holly is quietly drinking, seemingly minding his own business. Ramone, with an exaggerated gesture, takes the knife out and drives it into the table. Holly ignores him, Ramone continues to shoot the dice. INT. RAMIREZ'S OFFICE Captain Ramirez calls an old friend with the Juarez Police Department. He dials the phone and waits. RAMIREZ Si. Major Hernandez por favor. Three beat pause. RAMIREZ (continuing) Padro, John Ramirez over in Artesia. I need a favor. HERNANDEZ (PHONE V.O.) Yes my friend, what may I do.

38 Ramirez hesitantly ask. RAMIREZ One of my men, Bob Holly, may be coming into Jaurez. It’s a family deal. Watch over him for me. HERNANDEZ PHONE (V.O.) I’ll take care of it personally. (CONTINUED) CONTINUED: RAMIREZ Thanks Padro. if you ever need anything just call. Captain Ramirez hangs up the phone, kicks back in his chair and smiles. INT. SLEAZY BAR Holly and Kyle sit quietly for a few moments drinking their beer. Then Kyle looks slowly and cautiously toward Holly. KYLE Ramone mentioned a place called Los Almantes over in Juarez. I don't know if it means anything or not, but he goes there a lot. Bob is quiet. BOB It's a chance. Maybe I'll get rich. Kyle is grime. KYLE Maybe you'll get dead. Kyle sips his last drop from the glass, sits it down, and walks away.

39 Holly finishes his beer and exits the bar without looking back. The bartender moves up and clears the glasses away as he watches Holly go out the door. EXT. SLEAZY BAR WIDE VIEW OF THE STREET It is late, the street is empty. Holly slowly walks up the street and steps into an alley. EXT. ALLEY - NIGHT Holly hears someone come out of the bar. He eases out of the shadows to see if it is Ramone. Four men that were around the dice table stumble into the (CONTINUED) CONTINUED: street. They throw their beer glasses across the street. One of them starts throwing small rocks at a street light. Another man joins in and one of them finally hits the light and blows it out. The other men cheer. There is still no sign of Ramone. BOB Damn! Holly steps back into the alley. As he does something hits him in the back of the head. As the light fades, Holly hears Ramone's voice. RAMONE You looking for me. FADE TO BLACK: INT. KYLE'S SHABBY HOTEL ROOM - DAY The sound of a telephone ringing comes out of a black screen. Someone coughs and a voice calls Holly's name. Holly is stretched out on a cot. He has been badly beaten. Holly tries to move and groans from the effort. He hears his

40 name again and looks toward the sound. BOB'S P.O.V. Kyle sits in a chair near the foot of the cot. KYLE Jesus, you look terrible. BACK TO SCENE Holly slowly sets up and tries to smile. It hurts. BOB I could say the same about you. Kyle stands, walks over to a small table, picks up Holly's wallet and hands it to him. KYLE I picked this up where they left you last night. (CONTINUED) CONTINUED: Holly watches Kyle cautiously as he takes his wallet from him and looks through it. KYLE I'm James Kyle. He puts out his hand and they shake hands. Bob looks at Kyle cautiously. KYLE (continuing) I recognized the name on your license. Your captain notified the Mexican and Texas authorities that you may be in El Paso and they passed it on to me. Holly eases off the bed and sits up. He holds his ribs

41 grimacing from the pain. KYLE (continuing) Easy now. I'm D-E-A. I've been watching the men who jumped you. I didn't know who you were last night. Besides I was too far away to be of any help. Bob pushes for more information. BOB Who the hell was the freak in the bar? Kyle continues to be a professional. KYLE Name's Ramone. Juarez orphan, his mother was American, father Mexican. Ramone's mother died when he was six. He grew up in the streets. He's a bad one. Holly starts to warm up to Kyle and trust him. BOB So, do you know anything that connects to my case. Kyle shakes his head, no. INT. COURT HOUSE - DAY Captain Ramirez walks down the hallway and meets Judge Hartman walking with Brenda and Tony Brooks to the judge’s office door. Captain Ramirez nods his head as he walks by. RAMIREZ Judge. Judge Hartman stops at his office door. Brenda and Brooks stop behind the judge.

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JUDGE HARTMAN Ramirez. The judge glares at Ramirez. Then turns and quickly enters his office. Brenda and Brooks stand there glaring at Ramirez. Captain Ramirez continues down the hall. INT. JUDGE HARTMAN'S OFFICE Brenda and Brooks enter the office. The judge sits behind his desk. Two bailiffs are in the room. Judge Hartman doesn’t like Ramirez and shows it as he speaks to everyone. JUDGE HARTMAN I want that ass, Ramirez and his Henchman Holly off the streets. (turns to the bailiffs) You two beat the bushes. I hear Holly is snooping around. I want to know where he is and what he's up to. Use all the people you need. BRENDA If you want to find Holly, just keep an eye on Ramirez. You can get them both at the same time. The judge smiles and puts his arm around Brenda. (CONTINUED) CONTINUED: JUDGE HARTMAN Now you boys see why I keep her around. Sometimes I think she's

43 smarter than all of you. Let’s take care of business. He looks at Brenda with admiration. Brenda looks up at the judge and smiles. Brooks and the bailiffs leave the office. INT. KYLE'S HOTEL ROOM Bob is finishing his story. BOB You said you know a place called Los Fuentes? Kyle nods. KYLE I know the place. that is Ramone's hangout in Jaurez. Bob is thinking hard. BOB And he’s the one that has Peter's knife. Kyle is looks at him curiously. KYLE I've worked both sides of the border for the last nine months. The doormen at the Los Fuentes likes me. I’m a harmless drunk, so if you want to get in during the celebration should be no problem. Bob does understand. BOB Celebration?

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(CONTINUED) CONTINUED: Kyle is amused about the celebration. KYLE Yeah, it’s big. They celebrate the dead. Bob is firm. BOB Let's go. My truck is just up the street from that bar we were at last night. Kyle agrees. KYLE If you're sure you can make it. I’ll help. Bob nods and gets up. Holly and Kyle leave the room. EXT. TURN AROUND AT BORDER CROSSING, EL PASO, TEXAS Holly drives toward the Mexican Border. He and Kyle cross into Mexico. He speaks to the Mexican Border Patrol as he drives by. E.C.U. - CHECKPOINT OFFICE WINDOW A well-dressed Mexican officer, Major Hernandez, The captain’s friend watches as Holly and Kyle drive past. DISSOLVE TO: EXT. JUAREZ STREET – NIGHT A GRINNING SKULL FILLS THE FRAME It dances about before pulling away to reveal a crowd of death's day revelers in the street.

45 The streets are filled with bodies dressed in a variety of masks and skeleton suits. The grinning corpses twist and cavort to a brass band, in costume, as they move down the boardwalk. Holly and Kyle push their way through the drunken crowd, trying to get to a small, old, colonial style hotel across the street. They stumble through the door and into the lobby. The sign above the entrance reads: "EL FUENTES. The fiesta has pushed its way into the hotel plaza and (CONTINUED) CONTINUED: lobby. People sit on the floor, the stairs, and the balcony and hang out the doorway watching the antics on the street and in the plaza. A man dressed like Poncho Villa, but wearing a skull mask, is playing an accordion and dancing. He sings as he plays a song of Poncho Villa's exploits. Some of the crowd sings along and keeps time by clapping their hands. Major Hernandez walks through the plaza. The man dressed as Poncho Villa stops singing and raises his hands. PONCHO Federates!! Federates!! Rendition!! The crowd laughs. Major Hernandez laughs. He stands for a few moments enjoying the antics of the costumed singer, then waves to the people and walks on to an in conspicuous corner. He watches. Holly and Kyle walk to the hotel. Hernandez waits. The crowd has moved to other parts of town. Shouts and gunshots echo in the distance. A crazy mixture of music echoes out of doorways and windows as Holly and Kyle work their way through the crowd. A trio of aggressive full skeleton figures push past them. KYLE This place gets crazier by the minute.

46 Holly and Kyle continue through the crowd toward the El Fuentes Bar. Behind them, Major Hernandez walks slowly keeping a safe distance. At the entrance to the bar, just off the hotel plaza, three hulking bouncers, Zac, Juan and Jesus are attempting to maintain control over the crowd that is waiting to get into the club. They frisk each customer before allowing anyone to enter. Two drunks start scuffling at the entrance. The crowd laughs as the bouncers toss them into the street, kick, beat them, and then chase them off. Two men at the front of the door slip inside during the fight. Holly and Kyle dodge out of the way of the action (CONTINUED) CONTINUED: as they approach the entrance to the bar. The bouncers get back to the door. Jesus sees Kyle and motions for him to go on in. Kyle points toward Holly, Jesus nods. Holly and Kyle enter the bar. INT. HALLWAY OF EL FUENTES BAR A woman sits behind a cage taking money from the two men who slipped through the door earlier. She waves at Kyle to go on through. KYLE See what I told you. They know me. The two men, GUZMAN and PETIO, Walk in past the ticket window at the front. Holly brushes lightly against Guzman. The heavy set man mutters under his breath, takes a step back and Petio moves up beside him. Holly leans into Kyle looking at them. BOB Dispense me, por favor.

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Holly pushes Kyle down the hallway. Holly pauses to take in his surroundings. In the center of the room is a large oval bar. Garishly colored lights pulsate to the music while half a dozen bartenders work to keep up with the men pushing constantly at the rail. A Plexiglas platform rises above the middle of the bar and is lit from beneath. Two women dressed only in Gstrings, tiny tank tops and high heels dance and gyrate as the patrons shout encouragement. One girl stands, while the other girl works her way up from her knees. Kyle starts walking and pulling Holly with him. KYLE Come on. You got to meet someone. Kyle drags Holly around the bar and between tables toward a raised area past the dance floor where several booths afford privacy for important clientele. As they approach the booths Kyle makes a sudden about face. (CONTINUED) CONTINUED: KYLE (continuing) This may not be a good time. Holly looks toward the booths. Thomas is seated in a booth. JOSE, the Mexican Policeman, an average man is standing in front of him. Jose starts to leave. Thomas shouts at him and he stops. Holly cannot hear what is being said, but it is clear that Thomas is in charge. Bob looks at Kyle. BOB I'm getting a beer. Holly starts toward the bar. As he does he sees Guzman and Petio approaching. Holly stops and watches.

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Thomas is still seated in the booth talking to the Mexican Policeman. The Mexican Policeman turns and walks away hurriedly. He brushes by Kyle and moves toward Holly. As the Mexican Policeman approaches the bar Holly makes momentary eye contact with him, then turns his attention back to Guzman and Petio. SLOW MOTION BOB'S P. O. V. Guzman and Petio stop and begin clearing Ingram Mac Ten machine guns from inside their loose fitting leather jackets. ANGLE ON BOB BOB Kyle, get down. Holly draws his pistol and lines up on Guzman as he begins to fire. BACK TO SCENE Holly's slugs tear into Guzman, the machine gun rakes wildly cutting into Kyle and several other customers. Thomas stands and fires his forty-five at Petio as Petio dives into a booth. Another bodyguard runs toward Holly and starts to shoot. Petio raises his gun and fires in the general direction of Holly. The burst hits the bodyguard and he goes down. (CONTINUED) CONTINUED: The Mexican Policeman is still standing near Holly. Holly pushes him on the floor and empties his pistol into the side of the booth that Petio is in. ANGLE ON PETIO Petio’s body jerks and rolls as Holly's slugs hit him repeatedly. The gunfire stops. Holly quickly slams another clip into his

49 pistol. Petio flops to the floor from the booth seat. Blood forms a pool around him. Holly keeps him covered for a moment then moves over to Kyle. Holly kneels beside Kyle and lifts his head from the floor. Kyle looks at Holly. He coughs and blood runs down his chin. KYLE What happened? Holly sadly smiles. Several bodyguards materialize around the booth and pivot stupidly around, looking for a threat that has already happened. Thomas moves from his booth carrying the same pistol he had at the oasis. He moves cautiously to Holly and kneels beside him, He looks at Kyle. THOMAS He looks bad. Thomas motions toward two bodyguards. THOMAS (continuing) Where is Jose? Jose stumbles up from the floor with the guards behind him. Thomas grabs him by the collar. THOMAS (continuing) These are Guerra's men. I want to know who told them we were here? (CONTINUED) CONTINUED: Zac pushes through the crowd. He speaks to Thomas.

50 ZAC You need to leave! The Juarez police are here. Thomas looks harshly at Jose. Thomas releases Jose's collar. He reaches into Jose's shirt pocket and starts to pull money from it. Suddenly the Mexican police are in the plaza. Thomas lets go of the money and shots Jose in the head. THOMAS Trader son-of-a-bitch. Major Hernandez and a corporal enter the crowded club lobby guns drawn ready for action. Thomas looks at Holly and Kyle. Kyle appears to be dead. Thomas grabs Holly's arm, pulling Holly to his feet. THOMAS Come on. There's nothing else we can do for him. Thomas pushes Holly toward the back of the bar as more Mexican police move inside the bar. Major Hernandez and the corporal move to Jose's body. Hernandez kneels and reaches into Jose's shirt pocket and retrieves the roll of money. The other police round up people who have weapons. Hernandez holds the roll of money for a moment, then hands it to the corporal. HERNANDEZ This explains our information leak. The corporal nods. Major Hernandez walks over to each dead man. EXT. JUAREZ STREET Holly, Thomas, and Zac mix with the crowd outside. They work

51 their way through the people cautiously. (CONTINUED) CONTINUED: They enter the hotel via the back door. Zac takes one final look to see that they were not followed. INT. EL FUENTES HOTEL ROOM Thomas, Holly and Zac enter the room. Thomas walks directly to a small portable bar and pours himself a drink. Zac walks over to a large overstuffed chair and sits down. Holly sits at a table. Thomas sits at the bar for a moment considering Holly. THOMAS You were real fast out there, professional. Bob nods. BOB Didn't make any difference. Thomas shifts on the stool. THOMAS I'm sorry about your friend. He was all right. Just drank too much. Was he blood to you? Bob glances at Thomas. BOB Sort of. Thomas goes to a cabinet in the corner of the room, opens the doors and begin to pull out a selection of weaponry; three UBI'S, ammo clips, hand grenades, several machetes and hand

52 guns. He lays the gear out on the bed. THOMAS Want some payback? Thomas pours Holly a drink, then downs his own keeping his eyes on Holly. Holly matches his gaze and sips his drink slowly. (CONTINUED) CONTINUED: BOB Yeah, what next? At that moment the door opens and Ramone steps into the room. When he sees Holly he immediately grabs for his knife. Holly quickly pulls his forty-five, aiming it straight at Ramone's head. BOB Not this time asshole. Thomas and Zac stand ready, each with a weapon. THOMAS What the hell is this. Put'em away. Holly and Ramone stare at each other, then slowly put their weapons away. RAMONE I broke his head over in El Paso the other night. Thomas appears put out with Ramone. THOMAS I warned you, Ramone. Ramone is confused and worried. He knows Thomas well. RAMONE

53 I did not know he was a friend. Thomas stares at Ramone for a moment. THOMAS He just saved all our asses at the bar. Whatever your problem is. It's finished. Ramone nods. RAMONE Okay man. What happened. I came by the bar, cops were everywhere. Thomas is strong in his answer. (CONTINUED) CONTINUED: THOMAS Guerra's men tried to hit us. Holly stopped’em. He killed both the bastards that tried to hit us. Ramone looks at Holly, then back to Thomas. RAMONE I found out three of Guerra's men have that girl over at a warehouse on the west side. I know the place. Thomas smiles and looks toward Zac. THOMAS Go get her. Take Holly with you. (he looks at Holly) It’ll be good experience for you. Better take Ramone too. Make sure she doesn't get hurt. Zac acknowledges. He turns to Holly and Ramone. ZAC Okay, let's go. Don't think about

54 giving me any problems. Ramone moves over to the bed and picks up a UBI and three clips. RAMONE Let's go. Zac, Holly and Ramone leave the room. EXT. JUAREZ STREET – NIGHT A dark colored van moves through traffic. INT. VAN Holly, Zac and Ramone plan their job. RAMONE We can send the gringo in first and if he needs help, we can go in. (CONTINUED) CONTINUED: Zac frowns and pulls the van over to the side of the road. Zac speaks directly to Ramone. ZAC I told you I didn't want any shit out of you. Ramone plays innocent. RAMONE Man, listen. We send him in. They know us. He can act like he’s looking for someone to collect from. If he sees the girl, he'll whistle and we can jump in before they know we are there.

55 Bob doesn’t like Ramone and shows it. BOB Meanwhile, my is ass kicked or shot. Ramone is sarcastic but tries to explain. RAMONE Man. if you don't see the girl, just say you made a mistake and leave. They'll think you're a stupid gringo. Zac speaks to Holly. ZAC It's your ass. What do you think? Holly knows he has to be tough or these two thugs will do him in. BOB Just be sure I don't get my ass burned. Zac acknowledges and drives the van back onto the road and down the street. EXT. WAREHOUSE – NIGHT The van stops at the side of the building. Holly, Zac and Ramone get out. They walk toward the front. (CONTINUED) CONTINUED: Holly moves toward the door. Zac and Ramone move close to the door and stop. Holly looks around. He sees where Zac and Ramone are posted. He goes in.

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INT. WAREHOUSE - DAY Holly walks through a large open door. He sees a huge MEXICAN MAN. BOB Hey amigo, Obla englais? Bob keeps walking toward the man. LARGE MEXICAN MAN (Mexican accent) No asshole. What do you want? Bob appears bold. BOB Juan Del Lobo said he wants the pesos you owe. The big man rude and short. LARGE MEXICAN MAN Who the hell is Juan Del Lobo? Bob moves toward the man. BOB You got to pay, man. Two men step out of the office behind the large Mexican man. Holly sees a young black girl sitting in a chair through the office doorway. He can't see that she is tied. LARGE MEXICAN MAN So, you want to be dog meat or go back and kiss Lobo's ass? (CONTINUED) CONTINUED: Bob smiles.

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BOB No I think I'd rather see me hammer you into shit. The large Mexican man motions for his henchmen to get Holly. Holly whistles, then moves to the side and kicks Man No. One as he goes by. Zac and Ramone step inside, guns drawn. Man No. Two hits Holly. He falls back a little and kicks Man No. Two. Holly turns ready to defend. Zac and Ramone stand and watch. Man No. One moves toward Holly. Holly hits him in the throat. As Man No. One holds his throat trying to breathe Holly hits him on the forehead with his palm and Man No. One’s head hits the floor and he is out. Man No. Two hits Holly from his blind side. The blow turns Holly around only to see the large Mexican. The large Mexican man hits Holly. He falls to the ground. As he goes down he grabs Man No. Two's legs and pulls them from under him. Man No. Two falls and hits his head on the floor. He is out. The large Mexican hits Holly and knocks him to floor at his feet. Holly bites him on the leg. LARGE MEXICAN MAN Oh, ah, let go you bastard. Holly hits him in the testicles from the floor up, and then holds on. The big man yells and holds his balls. Holly pulls himself up by the man's belt with his hand. The big man stands still, in pain. Holly turns to Zac and Ramone. BOB The girl is in there. Thanks for the

58 help. (CONTINUED) CONTINUED: Zac goes into the room, Ramone stays with Holly. RAMONE Hey. you are one bad gringo. I will remember. Zac comes out of the office carrying Cecilia over his shoulder. The large Mexican man is still holding his groin. He looks at Holly. LARGE MEXICAN MAN I will see you again. Holly uses his index and middle finger to poke the large Mexican man in the eyes. BOB With great difficulty. Ramone laughs. RAMONE I like your style. Zac walks on with the girl. Holly and Ramone follow. EXT. LARGE GARAGE - NIGHT The dark colored van drives up to the large double doors and sounds the horn. INT. LARGE GARAGE Thomas sits on the tailgate of a pick up truck, Hector and Jesus are with him. Sylvia sits in the cab.

59 The large garage doors open and the van drives into the garage and parks beside the pick-up truck. Holly gets out of the van first and walks over to Thomas. Holly takes notice of the attractive Sylvia in the cab of the pick up truck. Holly's face is scratched up. BOB I may like the pay you promised, but those two bastards didn't back me up. (CONTINUED) CONTINUED: Thomas cuts Holly off. THOMAS It won't happen again. Thomas slides off the tailgate and walks over to Ramone and Zac. They stand at the opened doors at the back of the van. Thomas looks in the back of the van. Cecilia is still tied and gagged, lying on the floor of the van surrounded by rifles, ammunition and other weapons. Thomas speaks to Cecilia. THOMAS (continuing) I will have you untied. Don’t try to getaway we are taking you home. You are safe with us. Do you understand? Cecilia nods her head, yes. Thomas nods to Zac to untie her. Thomas walks back to the pick-up truck. Sylvia gets out of the truck and walks to the back where Thomas and Holly are standing. Thomas speaks to Sylvia. THOMAS (continuing) Stay with the girl. Make sure she understands that she's going home tomorrow night. I have business

60 tonight. Holly looks at Thomas. BOB Is it like this all the time? Don't you ever take a break? Thomas is grime. THOMAS I don't need complaints. Just do what you are told. You'll get a break when the job is done. Thomas turns and walks toward Zac and Ramone that are standing with Cecilia at the back of the van. Holly and Sylvia follow. (CONTINUED) CONTINUED: Thomas, Holly, and Sylvia stop looking at Cecilia. THOMAS This is Sylvia, she will stay with you to be sure you’re okay. DISSOLVE TO: INT. GARAGE Cecilia and Sylvia sleep on blankets in the back of the pickup truck. Sylvia wakes and slips from the truck. She walks to the back of the garage and takes out her cell phone. She puts in a number. INTERCUT TELEPHONE CONVERSATION MAJOR HERNANDEZ OFFICE HERNANDEZ Hernandez, may I help you. Sylvia is quiet.

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SYLVIA Major this is Sylvia. I couldn't call until now. The shoot out last night was led by Thomas and there’s a new one called Holly. We are crossing the border tonight to deliver a girl that seems to be very important. The major leans into the phone showing interest. HERNANDEZ This is the break we need. Do you know where you are going tonight? Sylvia looks around and SLYVIA I don’t know. Have our people in New Mexico stakeout that ranch in the desert. It’ll take us four or five days to get there. They want the girl to go on a run with us so Guerra’s people can’t find her. (CONTINUED) CONTINUED: HERNANDEZ I'll see that it is taken care of. One more thing, the new man Holly is New Mexico Highway Patrol. Do not break your cover, but try to cover for him. Slyvia’s eyes scan the warehouse to be sure know one is around. SLYVIA Si, I will take care of him. Hernandez hangs up and dials another number. Sylvia hangs up the phone.

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EXT. RIDGE OVER RIVER U. S./MEXICAN BORDER Sylvia, Thomas, Pablo, Fidel and Holly are at the border. Thomas hands Bob two backpacks. THOMAS Take these. They have food and your delivery in them. Be sure and take good care of Cecilia. Holly takes the back packs. THOMAS (continuing) Here's a map to the first water stop, memorize it and destroy it. The rest of the directions will be at each stop. Bob nods. Holly and his group fade into the darkness with Pablo and Fidel lagging behind. EXT. DESERT TRAIL Pablo and Fidel lustfully watch Cecilia making remarks in Spanish and laughing. Sylvia looks back at Pablo and Fidel occasionally. They walk through the arroyos and low areas when possible stumbling and tripping occasionally. EXT. DESERT - DAWN As dawn breaks Holly stops. He looks at the others. BOB This is a good place to stop. The others wearily acknowledge and start settling. WIDE VIEW OF THE DESERT. They settle down to sleep.

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Fidel looks the women over sitting yards away. EXT. DESERT CAMPSITE - DAY Everyone is asleep. Fidel is about to doze off. He jumps up suddenly and listens. Fidel hears the roar of an engine. He then sees a Border Patrol vehicle. Fidel jumps to his feet and warns the others. FIDEL Quickly, Border Patrol. Everyone jumps up and runs to the cover of a nearby cavern. The Border patrol vehicle passes fifty yards away and makes a wide turn toward their position. Pablo aims his rifle at the border patrol vehicle. Holly appears concerned. He sees Fidel aiming his pistol at the border patrol vehicle. Holly moves near them. Faking a stumble, Holly falls into Pablo and Fidel causing them to fire. The Border Patrol Vehicle turns. INT. BORDER PATROL VEHICLE One bullet strikes the windshield and another strikes the fender. The Border Patrol frantically turns the vehicle and grabs his radio mic. as he retreats. PATROL OFFICER One-thirteen to base. I'm two miles north of county road sixty-eight. Under heavy gunfire. Send backup. (CONTINUED) CONTINUED: RADIO DISPATCHER (V.O.) Ten-four, one-thirteen, back off until someone gets there. E. T. A. fifteen

64 minutes. Two units will back-up. PATROL OFFICER Roger, Dispatch. Holly and the others gather their packs and move through the ravine away from the patrol vehicle. Fidel and Pablo are cursing in Spanish and English and shoving Holly on their way through the ravine. PABLO You are so stupid. Fidel is huffing and talking rudely to Holly. FIDEL Could have killed that one. He will call others now. Sylvia says nothing, just holds on to Cecilia as they move through the ravine. Fidel pushes Holly again, cursing in Spanish. Holly suddenly stops and turns toward Pablo and Fidel. Holly grabs Fidel by the collar and pushes him against the wall of the ravine. BOB Both of you shut up or I’ll leave you here. Pablo starts to raise his rifle. Holly side kicks Pablo and Pablo drops the rifle. Holly reaches for his forty five. Fidel is ready to stop. FIDEL Okay man, we go. It’s over. Holly lets Fidel go and motions for he and Pablo to go in front of him. DISSOLVE TO:

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(CONTINUED) CONTINUED: They find a cave hidden in the rocks and go inside. INT. CAVE - DUSK They move from the mouth of the cave to deeper inside before using any light, then Holly takes a pen light from the food pack and shines it around. They all sit down against the wall. EXT. DESERT - DAY Border patrol vehicles search the area passing the cave. INT. CAVE The roar of the Patrol vehicles can be heard, growing faint. Holly walks to the cave entrance and cautiously looks out. HOLLY'S P.O.V. INSIDE TO OUTSIDE - The patrol vehicles move away. BACK TO SCENE Holly walks back to the others. BOB This is a good place to rest until dark. Fidel is abusive again. FIDEL Who the hell are you to give orders Gringo? You are a stupid shit. Sylvia steps forward looking sternly at Fidel and Pablo. SLYVIA

66 No one is giving orders. He makes sense. Fidel and Pablo look at each other then Fidel takes a blanket from his bed roll. He throws it on the ground. Fidel and Pablo sit on the blanket. DISSOLVE TO: (CONTINUED) CONTINUED: A small fire is adequate to give light in the room. Everyone is settled in lying on the ground on blankets near the wall. PABLO Fidel, you ever get a young one? Fidel grins. FIDEL Not before now. I think I'll have two. Fidel and Pablo get up and move toward Cecilia and Sylvia. Holly gets up. BOB You boys better forget it. Fidel is defiant. FIDEL Go to hell, gringo. Fidel pulls a knife and moves toward Holly. Pablo stands still watching. Sylvia takes care of Cecilia and moves closer to the wall. BOB Think about it Fidel. Thomas will not like this. Fidel is now determined. FIDEL

67 Thomas who? Fidel springs forward toward Holly. Holly steps to the side and grabs Fidel's arm and directs him into the cave wall. Fidel crumbles and falls back off of the wall. The knife is sticking in his chest. Pablo moves toward Holly. PABLO You killed my amigo. I kill you now. Holly grabs a rifle and hits Pablo hard across the side of (CONTINUED) CONTINUED: the head with the rifle butt. Pablo falls to the ground. Holly walks over and checks Pablo and finds his neck broken. Sylvia watches Holly cautiously. SLYVIA What now gringo. Bob tries to appear non-threatening. BOB Now, get some sleep. I'll move these morons further back in the cave. Holly drags the bodies, by the collar, off into the dark. DISSOLVE TO: Holly lies on his blanket. He looks at his watch. BOB It is time to get started. Come on get it together.

68 Sylvia is waking up. SYLVIA Slow down, gringo. Bob nods and packs his gear. Sylvia moves slowly, Cecilia is scared and sits still against the wall. Holly moves over to Cecilia. BOB You’ll be all right, come on. Cecilia is frightened. CECILIA Please don't hurt me. I won't do anything. Slyvia looks at her with a kind gaze. (CONTINUED) CONTINUED: SYLVIA He won't hurt you. Holly and Sylvia grab their packs and the two dead men’s. Holly tosses one to Cecilia. BOB No free rides. Carry your own weight. Holly leads the way out of the cave. EXT. CAVE ENTRANCE - NIGHT Holly, Cecilia and Sylvia exit the cave. It’s a moonlit night. SYLVIA

69 I don't like this moving at night and sleeping in sweat. Bob smiles and walks on. Sylvia wipes her face and breast with an old cloth to clean her skin as she walks with Cecilia. BOB Tomorrow we hit the first water hole. Holly Sylvia, and Cecilia make their way up the ravine ahead. DISSOLVE TO: EXT. DESERT Holly, Cecilia and Sylvia stop. They are tired from walking most of the night. Holly throws his pack down near a shadowed ledge. Sweat and dirt run down Holly's face lit by the moonlight. He takes off his boots and rubs his feet. Sylvia flops on the ground. Cecilia moves away from Holly and Sylvia. She drops her pack and sits down beside it. BOB I didn't know a man could walk so far and survive. (CONTINUED) CONTINUED: Holly looks around, without getting up. He sees a small orange piece of cloth covered by rocks. He leans back and relaxes. Holly and Sylvia are comfortable. Cecilia is already asleep. The sun dawns and gets brighter. They all go to sleep as beads of sweat pop out. Suddenly Holly is kicked in the side.

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A rough looking Mexican man stands over Holly speaking in a deep Mexican accent MEXICAN MAN Wake up you lazy peon. Another man is beside him. He is White. The white man turns and stands over Sylvia as she wakes. Sylvia tries to get up. He puts his foot on her neck and pushes her face into the dirt. WHITE MAN Not so fast, Bonita. The Mexican man pulls out an old pistol. He points it randomly at Holly and Sylvia. MEXICAN MAN What you doing in the middle of the desert gringo? Bob is grime as he speaks. BOB Our car broke down, asshole. Cecilia wakes and sits up. The white man laughs. WHITE MAN They are mules man. (Pointing his pistol at Cecilia.) You, move over here. Cecilia moves over to Sylvia. (CONTINUED) CONTINUED: MEXICAN MAN Is that true, Senor? Are you packing dope?

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Bob still toys with the outlaws. BOB What's a mule? The Mexican man kicks Holly in the chin. Holly falls back on his side bleeding. Sylvia struggles to her feet. The White man grabs her arms and holds her. MEXICAN MAN Clever, but I think we’ll take your dope and your women, peon. The Mexican man kicks Holly in the ribs. Holly holds his stomach and groans. The White man still holds Sylvia as she tries to get away. The Mexican Man walks toward them. MEXICAN MAN (continuing) Hold that bitch. I'll teach her. The Mexican man steps forward and slaps Sylvia two times hard. Sylvia falls back against the White Man. WHITE MAN Let's take this one for us, Alfredo. The Mexican man doesn't care. MEXICAN MAN Go ahead, but you used my name fool. Cecilia scoots closer to Holly. Sylvia is weak, her eye is swelling. She is knocked to her knees. Cecilia tries to get even closer to Holly. Sylvia senses that the white man is off guard. She moves quickly and hits him in the balls. The white man agonizes. While in pain the man shoots down trying to shoot Sylvia.

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(CONTINUED) CONTINUED: Slyvia hits him again and takes his gun. The White Man turns and holds his crotch, hurting badly. He drops to his knees. Sylvia drops from the shot. She scurries back on her hands and butt trying to get up but drops the pistol. The White man is recovering. You bitch! WHITE MAN I'll kill you.

Sylvia scoots backwards and grabs a large rock. The Mexican man turns in disbelief and moves for Sylvia. Holly gets up, move toward the Mexican man. He grabs him from behind and breaks his neck. He is dead. Sylvia is up with a large rock in her hands beating the White Man. His head and face are bleeding profusely as he fights back. He finally drops to the ground. Sylvia grabs Holly and looks up at him as they embrace. Cecilia is sitting on the ground softly crying alone. Holly tries to calm Sylvia. BOB Everything's all right now. Let's bury this scum and change locations. Sylvia stares down at them. SYLVIA Screw'em, let them rot. Holly and Sylvia break their embrace. Cecilia still scared slowly stands and moves toward Sylvia. Sylvia puts her arm around Cecilia. The desert wind blows across them.

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Holly moves to the pile of rocks with the orange cloth sticking out from under them. He moves the rocks and picks up three canteens and a knapsack. Bob turns and passes out the canteens and the food in the knapsack. They all walk on. EXT. DESERT TRAIL – DAY Holly, Cecilia and Sylvia walk along the trail. The sun is bright and the desert wind blows. BOB We better stop for the day and get some rest. Traveling in the daytime is dangerous The sound of a rattlesnake is heard. Holly and Sylvia pay no attention, Cecilia dodges slightly and they walk on. Holly points to a shaded area under some rocks. Holly, Cecilia and Sylvia turn off the trail and move to the shaded spot. Cecilia and Sylvia sit down and prepare a spot to sleep. Bob sits down. SYLVIA I'm hungry. Cecilia does not move, she yawns and turns over. Sylvia gets up and prowls through her backpack. She pulls out crackers and jerky. She and Holly down their dinner. BOB You really came through back there. I was beginning to think we'd had it. Sylvia is casual. SYLVIA Thanks.

74 Bob is relaxed as they talk. BOB You know anything about these people we work for. Sylvia relaxes against Holly. SYLVIA Not much. The men in charge are real crazies. Thomas is supposed to have a father in some kind of high position that allows him to get away with almost anything. Zac is his big buddy from the army. (CONTINUED) CONTINUED: Bob is very interested. BOB Did you ever hear the fathers name mentioned? Sylvia continues to relax as she talks. SLYVIA No, but I know when something goes wrong, people die and nothing is ever said about it. Bob nods while thinking. Sylvia is exhausted. she turns away and lies down going to sleep. Holly looks at her affectionately. EXT. DESERT & LOCATION – EVENING Sylvia and Holly are lying close. Holly stretches as he prepares to get up. Sylvia grins and looks up at Holly. SLYVIA We should make twenty to twenty -five miles tonight.

75 She smiles as the settling sun. Her face lights up. BOB Maybe, but I'm tired and Cecilia doesn't move that fast. Sylvia tickles Holly a little. He grabs her and she pulls away slightly. SLYVIA No. We must travel, and so must Cecilia. Holly turns Sylvia to him. Holly slowly kisses her. She puts her arms around him and they kiss softly and passionately. Sylvia pushes against Holly. Sylvia hears something in the brush. They stop and she turns toward the noise. Before she can say anything, the bloody faced man she hit with the rock springs toward her with a knife. Sylvia screams and falls backward. Holly springs up and grabs the man before he can stab Sylvia. (CONTINUED) CONTINUED: Holly wrestles the man, managing to make him drop the knife. Sylvia gets up and picks up the knife. She stabs the man in the top of the head. He falls against Holly, then slides to the ground, dead. Cecilia awakens suddenly and scurries back and away from the fight. Holly looks at Sylvia BOB Thanks. Sylvia smiles. Cecilia sits and stares at the dead man. She grabs her pack and blanket and walks out of the campsite. BOB (continuing)

76 We better catch her before she gets lost. Holly and Sylvia pick up their packs and go after Cecilia. DISSOLVE TO: EXT. DESERT – NIGHT The Salt Flats are laid out like a carpet of white sand, a strong wind is blowing. Holly walks a few feet ahead of Sylvia and Cecilia. Sylvia smiles. Holly is looking down as he walks. Suddenly Sylvia shouts. SLYVIA Look out! Cecilia ducks behind a large rock. Holly looks up to see a high wall of wind driven dust and sand coming toward him. It knocks Holly down and his pack goes flying. Holly rolls. He regains his footing and tries to stand. BOB Sylvia, grab the pack. If we lose it, we're dead. (CONTINUED) CONTINUED: Sylvia runs toward the pack, grabs it as the wind dies down. She returns with pack in hand. SLYVIA Okay, let's go, we got ground to cover. Cecilia comes out from behind the rock. Holly and Sylvia smile. Holly, Cecilia and Sylvia walk on into the night. DISSOLVE TO:

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EXT. DESERT FLOOR

BASE OF PILOTS PEAK MOUNTAIN - MORNING

Holly, Cecilia and Sylvia walk into a shaded area at the base of Pilot's Peak Mountain. The Salt Flats behind them and mountains in front. Holly consults his map and points toward a trail. BOB That looks like the trail. We can rest about a mile up. Sylvia and Cecilia look beaten and tired. Cecilia's pants are torn. She is checking her tear. Holly, Cecilia and Sylvia walk on and move up the trail. Holly points to a grove of small bushes. BOB (continuing) That looks like the place. Sylvia shows relief as they move toward the bushes. Cecilia runs through the bushes, drops her pack and lies down immediately. Holly and Sylvia walk into the shaded brush area. Holly sees Cecilia lying in the dirt with her head on her pack. BOB (continuing) There she goes again. Sylvia grins. Cecilia does not move. (CONTINUED) CONTINUED: Holly looks around until he sees a small orange cloth at the base of a tree. He speaks to himself. BOB There it is.

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Holly goes to the tree, pulls on the cloth, and sees a hollow area going beneath the tree. SLYVIA Better check for snakes. Holly nods. He reaches in and pulls out three more canteens and his final map. Holly looks at the map and recognizes his final destination. CLOSE ON - The map is marked with an "X" and the words "Oasis Station" beside it. He stares at the map. Holly looks back to where Sylvia is sitting. Sylvia makes a place to bed down and goes to sleep. Holly sits down thinking. INT. HOTEL ROOM JUAREZ Room Thomas, Zac and Ramone are milling around the room. THOMAS Better get started. They should be bringing Cecilia in tomorrow. We need to be there. Zac and Ramone agree. ZAC Yeah, we need to stop in El Paso too. Thomas, Zac and Ramone exit the room. EXT. PILOTS PEAK MOUNTAIN MINING TRAIL Holly, Cecilia and Sylvia prepare for the steep mining trails. They stand looking up at the mountain.

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(CONTINUED) CONTINUED: Sylvia appears uneasy. She nods. SYLVIA There's something I didn't tell you. I'm afraid of heights. Bob is sarcastic. BOB I'm glad you didn't wait until the last minute to tell me. Holly looks toward Cecilia. BOB (continuing) How about you, you tough enough? Cecilia is confident. CECILIA Yes. I just want to get home. They all start up the mountain path. DISSOLVE TO: Holly, Cecilia and Sylvia are near the top of the trail. Sylvia is nervous. The wind blows through the mountain bluffs as they move up the trail. Holly, Cecilia and Sylvia continue around a corner. Cecilia rounds the corner. The moon is still bright. Loose rocks and move and fall into the canyon below as they walk. Sylvia's eyes get wide. Another sound of failing rocks is heard. Her eyes drop out of frame. She falls and slips off the edge of the trail, screaming for help. SLYVIA Holly, help.

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Bob runs for Sylvia. He speaks to Cecilia as he goes. BOB Stay here. Don't move. Holly rushes back around the corner looking for Sylvia. He (CONTINUED) CONTINUED: turns and looks around the trail in horror. BOB (continuing) Sylvia! Sylvia hangs onto a sharp edged stone protruding from the cliff wall with one hand and a thorn bush with the other. Her hands bleed as she tightens her grip. Sylvia is panic stricken. SLYVIA Down here. Holly kneels down and looks over the edge. BOB I'm here. Hold on. Slyvia’s voice shows the fear and urgency. SLYVIA Hurry! Holly reaches out and tries to grab Sylvia's hand. He pulls as she looks down into a hundred feet deep canyon. A large thorn penetrates her hand and she can't get loose. BOB Don't look down. Give me your hand. Sylvia shakes her head, no.

81 BOB (continuing) You have to let go. Do it! Sylvia turns the rock loose and grabs Holly's hand. Holly pulls Sylvia up to the ledge and to safety. They move back from the edge and hold each other. Holly rips a piece of material from his shirt and wraps Sylvia's hand with it. They prepare to move. SLYVIA I don't like heights. Holly smiles. He and Sylvia move on around the mining trail. DISSOLVE TO: EXT. DRY RIVER BOTTOM FRONT OF THE MOUNTAIN – NIGHT Holly and Sylvia stand in a dry and narrow arroyo resting. Cecilia sits leaned up against a small tree. BOB There's a rock shelf over there. (He points to it) It should be shady all day. Sylvia looks around at lightning and dark rain clouds. SYLVIA Rains coming. Holly and Sylvia get Cecilia and move toward the rock cover. EXT. DESERT DRY AURORA Holly, Cecilia and Sylvia enter the arroyo and go to the rock shelf. They set their packs down. The leaves and branches make a cool bed. They prepare their areas and settle in. Cecilia is exhausted and falls asleep immediately. Holly and Sylvia look at each other and smile. DISSOLVE TO: Sylvia wakes. The day is gloomy and humid. She moves next to Holly. Holly wakes and looks at her. He pulls Sylvia to him and kisses her. He suddenly stops.

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BOB Ssh, listen. They listen. BOB (continuing) Do you hear that? A low roar can be heard. SLYVIA It’s just the wind. Sylvia starts to listen closer. Bob pulls away. BOB Sounds like, a waterfall. Holly jumps up and pulls Sylvia to her feet. (CONTINUED) CONTINUED: BOB (continuing) Flash flood! Holly and Sylvia run back to Cecilia, wake her and the three run down the arroyo. In their haste they left their rifles. The walls are too steep to climb and as they run the sound of the water gets louder. Holly sees a smaller ravine that has crude rock steps going up the steep wall. They duck into the shallow ravine and climb. They are only a short distance up the small ravine when a wall of water breaks through the narrow opening. The water is slower as it moves in toward them. Holly stops and tosses the packs on top of the ravine wall that opens to high ground.

83 BOB (continuing) Come on. Holly grabs Cecilia and pushes her up the wall. He then helps Sylvia reach the top. Sylvia reaches back and down grabbing Holly's hand as a large wave covers his head. She pulls him up. Holly climbs out and looks at Sylvia, as he sits exhausted watching water rush by. BOB (continuing) You did say, rains coming. Sylvia smiles. SLYVIA Women’s intuition. Holly, Cecilia and Sylvia stand and walk toward another group of large bushes. Their cloths are wet and sticking to them. Cecilia's pants are torn even more. As they approach the bushes a short heavy set red neck rancher steps out with a shotgun. (CONTINUED) CONTINUED: RANCHER DOBBS Well now, looky what I've found. Holly, Cecilia and Sylvia are shocked. BOB Look mister we are not looking for trouble. We're just passing through. Dobbs is amused. DOBBS

84 I know what you are. I'd just like to get in on the action. Come with me. Holly starts to move on Dobbs. Dobbs points his shotgun at Bob. DOBBS (continuing) I don't think I'd do that boy. Holly stops and raises his hands. BOB You are making a mistake. Dobbs grins. DOBBS I make a lot of’em. Drop that gun out of yur belt and git on your belly. Holly slowly takes the forty-five out of his belt and tosses it behind himself. Dobbs is miffed at Bob. DOBBS (continuing) Real cute. It won't help you. Kick it away. Bob kicks the gun away toward Dobbs. Dobbs speaks to Sylvia. (CONTINUED) CONTINUED: DOBBS How about you conchita. Sylvia shakes her head, no.

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SLYVIA Nada. Dobbs is firm. DOBBS Okay you two on your bellies. Holly and Sylvia get down. Dobbs walks behind Sylvia and Holly toward Cecilia. Dobbs is careful to keep the shotgun pointed toward Holly. DOBBS Now. You two don't move and keep your heads down. Dobbs walks behind Cecilia standing over her. Cecilia's wet clothes clings tightly to her body. DOBBS How about you girlie. He smiles a crazy smile. Cecilia flinches away. CECILIA No. I don't have anything. Dobbs enjoys her fear. DOBBS Sure you do. I just wanta check it out. Dobbs reaches from behind Cecilia and puts his hand on her butt and across her body. Cecilia pulls away frightened. DOBBS (continuing) Easy girlie, I ain't gonna hurt ya.

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(CONTINUED) CONTINUED: Cecilia reluctantly lies still. Her facial expression is sheer horror. DOBBS (continuing) That's better. Just relax. We can have some fun. Dobbs again runs his hand across the side of Cecilia's breast. Cecilia shivers in fright, but she does not move. Holly raises up and looks at Cecilia and Dobbs. Dobbs turns to Holly. DOBBS (continuing) You pop that head up again and I'll blow the damn thing off. Bob is calm trying to negotiate. BOB Just stop now and we'll leave. No trouble. Dobbs moves back to his truck. He reaches into the bed of the truck and retrieves several pieces of sea grass packaging twine. Dobbs ties his victim’s hands behind them, Holly first then Sylvia. Dobbs moves to Cecilia, then runs his hand over her leg and upward to the inside of her thigh. Cecilia moves away as best she can. CECILIA No, don't! Dobbs laughs and steps back finally tying her hands. Dobbs roughly puts everyone in his pick-up bed and ties their legs.

87 He closes the tailgate. Dobbs laughs and moves to the cab of the truck. He gets in and drives away. EXT. DILAPIDATED DESERT RANCH HOUSE – DAY Dobbs truck moves to an old barn near the house. He backs up to the door. Dobbs gets out and opens the tailgate. (CONTINUED) CONTINUED: Dobbs drags Holly out of the truck by his feet and drops Holly's to the ground. Holly grunts from the rough treatment. Dobbs grabs Holly under the arms from behind and drags him into the barn. INT. BARN - DAY Dobbs drags Holly to a stall and drops him. Dobbs laughs. DOBBS Be good and you'll live longer. Dobbs reaches down, takes hold of Holly's feet and flips him over face down and walks out. Dobbs exits the barn to find Sylvia and Cecilia sitting on the tailgate. DOBBS (continuing) Going someplace ladies? Sylvia speaks up. SLYVIA It beats what we’ve seen. Dobbs laughs to himself and tosses Sylvia over his shoulder and carries her inside. A thud is heard as he unloads Sylvia. Dobbs then comes back for Cecilia.

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DOBBS You turn brown sugar. Cecilia is frightened. CECILIA Don't hurt me. I won't run. Just don't hurt me. Dobbs is crudely consoling. DOBBS I ain't gonna hurt you baby. We're gonna be real close. (CONTINUED) CONTINUED: Dobbs carries Cecilia to the barn like a new bride. INT. BARN - DAY Dobbs places Cecilia on the bales of hay beside the stall Holly and Sylvia are in. DOBBS You be nice and we'll get along real good. Dobbs looks out of the barn. DOBBS P.O.V. He sees two men stop and toss their packs to ground and get a drink of water. BACK TO SCENE Holly and Sylvia are on opposite sides of the stall. They look at each other as they hear the truck engine start and drive away. The sound is a short distance then stops. BOB

89 We don't have much time. See if you can find something to cut these ropes. Slyvia is angry. SLYVIA Is that all these idiots think about. Screwing and stealing. Holly and Sylvia’s eyes search the area. Holly finds a short piece of two by four with a jagged edge and starts working on cutting the ropes. DISSOLVE TO: INT. BARN E.C.U. - Bob's hands behind his back as he works on the ropes. Holly has one strand cut and half way through the other as Dobbs walks into the barn. (CONTINUED) CONTINUED: Dobbs is carrying his shotgun in one hand and a bottle of whiskey in the other. Holly and Sylvia lie still. Dobbs walks up to the stall. He looks at Holly and Sylvia, then walks over to Cecilia. DOBBS Nice of you to wait sweetie. Dobbs leans his shotgun against the wall. He takes a drink from the bottle and turns back to Cecilia. DOBBS (continuing) Want a drink to loosen up?

90 Cecilia shakes her head. CECILIA No. Please let us go. We mean you no harm. Dobbs speaks quietly and moves closer to Cecilia. DOBBS I like young and tender. Cecilia is terrified her eyes get bigger. Dobbs grabs Cecilia tosses her on her stomach across a bale of hay. Cecilia screams as Dobbs tosses her. He attempts to get her pants off. CLOSE ON - Holly's hands as the ropes break free. Dobbs smiles and runs his hand across Cecilia’s body. She resist. DOBBS (continuing) Nice, real nice. Bob speaks quietly to Sylvia. BOB Get his attention. Sylvia speaks loud toward Dobbs. (CONTINUED) CONTINUED: SLYVIA Hey stupid, leave her alone. Dobbs turns his attention to Sylvia. DOBBS Shut up. you're interruptin. Sylvia speaks in an insulting tone.

91 SLYVIA Is that the only way you can get it? When she can't resist? Dobbs turns from Cecilia and enters the stall with Sylvia. He leans over and slaps her. CLOSE ON - Holly's hands gripping the piece of two by four. Dobbs stares down at Sylvia. DOBBS I told you to shut up. Dobbs grabs Sylvia by the collar with both hands. Holly moves quickly and strikes Dobbs on the back of the head. Dobbs falls on Sylvia, then rolls off. Holly unties his feet, then Sylvia's hands. BOB Check him for the truck keys. I'll get Cecilia. Holly moves toward Cecilia. Sylvia unties her own feet and searches Dobbs. There is blood on the back of Dobbs' neck. Holly moves over to Cecilia and unties her hands. SLYVIA He got no keys. Bob looks around. BOB Leave him, there are horses in the corral. We'll take them. (CONTINUED) CONTINUED: Sylvia runs outside while Holly is untying Cecilia.

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EXT. BARN CORRAL - DAY Holly comes out of the barn with Cecilia. Sylvia has one horse saddled and is starting the second one. Holly saddles another horse and they all three ride away at a full speed. INT. BARN - DAY Dobbs slowly sets up and looks around. He hears horses running. Dobbs slowly stands, he is very shaken. He yells out. DOBBS You son of a bitch. I'll get you. Dobbs picks up his shotgun and staggers out of the barn. EXT. - DAY Dobbs rushes to his truck. He turns and looks toward where he thinks the horses went. He sees them. DOBBS P.O.V. Three horses are in the distance going away. BACK TO SCENE Dobbs opens the truck door then reaches under the dash and retrieves the keys. He gets into the truck and speeds after Holly, Cecilia and Sylvia. INT. TRUCK CAB Dobbs stares straight ahead. DOBBS

93 You can't out run my truck. EXT. OPEN DESERT Holly rides slightly in front of Sylvia and Cecilia. Suddenly he signals them to stop. A twenty foot wide ravine has cut their path. It appears to be a hundred feet deep. Holly looks at Sylvia and Cecilia. BOB We've got to try. Cecilia balks. CECILIA Oh my god! I can't! Sylvia doesn’t want to hear the nonsense. SLYVIA Cecilia, you do it. Bob interrupts. BOB Follow me and don't slow down. Holly turns his horse, goes back several yards, and turns the horse toward the ravine pushing the horse as fast as he can go. Sylvia follows. Cecilia follows Sylvia. Holly's horse jumps the ravine with very little room to spare. Sylvia follows and her horse lands near Bob. Cecilia rides to the edge of the ravine and stops. She is scared. Dobbs' truck is seen in the distance behind Cecilia. INT. DOBBS TRUCK E.C.U. - Dobbs grins madly.

94 DOBBS Told you. son-of-a-bitch. Got ya now. EXT. OPEN DESERT Cecilia is scared. (CONTINUED) CONTINUED: Bob yells across to her. BOB Go back and try it again. Look behind you, there’s no time. Cecilia looks back and sees Dobbs truck. She turns her horse and goes back for another run. Cecilia races toward the Ravine. She is terrified but knows she must do it. The horse leaps, Cecilia screams. The horse makes the jump and lands on the other side. Holly, Cecilia and Sylvia ride away. INT. DOBBS TRUCK Dobbs pushes the gas. He speeds toward the deep ravine. DOBBS I got ya now, brown sugar. The truck races to the ravine. The truck shoots off the edge of the ravine and is air borne. DOBBS P.O.V. INSIDE TO OUTSIDE – Dobbs truck glides through the air to the other side. DOBBS

95 (continuing) Yee ha! Cain’t get away from ole' Alvin Dobbs. The truck strikes the opposite side of the ravine and suddenly stops. EXT. OPEN DESERT The truck is stuck with the back wheels spinning on the edge of the ravine. The engine races and the back wheels continue spinning a cloud of dust. Dobbs teeters on the edge. The rim of the ravine finally gives way and the truck falls from view. (CONTINUED) CONTINUED: Holly, Cecilia and Sylvia ride fast into infinity toward the desert hills and the sunset. CUT TO: INT. CAPTAIN RAMIREZ OFFICE - DAY Captain Ramirez is seated at his desk with Hernandez across from him. RAMIREZ We may as well go. It’ll give us a chance to get a look at the place before dark. The D-E-A and your people are already there. HERNANDEZ Good. Captain Ramirez and Major Hernandez exit the office. EXT. HANSEN RANCH NEAR THE OASIS – DAY

96 Captain Ramirez and Major Hernandez drive slowly then pull into some heavy brush for seclusion. They exit the car and work their way to a point near the barn where agent GENE TAYLOR is waiting. RAMIREZ Gene, this is Major Hernandez, State Police in the Juarez district. He has been a big help to us in this case. Shakes hands with the major. GENE Gene Ford, D-E-A. Glad to finally meet you. Ramirez looks toward the barn. RAMIREZ What is happening. Gene looks too. (CONTINUED) CONTINUED: GENE Not much. There are six people in there now. They moved in one at a time, but no one has left. Ramirez speaks as he talks. RAMIREZ There will be more. Holly is coming in with four others, one of them belongs to the major. They continue to watch the barn. EXT. DESERT CAMPSITE Holly wakes up and wakes Cecilia and Sylvia.

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BOB Time to go. We should be there in a few hours. Cecilia and Sylvia pick up their packs and say nothing. Holly, Cecilia and Sylvia climb onto the horses and slowly ride away. DISSOLVE TO: EXT. DESERT Holly, Cecilia and Sylvia travel toward a watering hole. As they walk the horses near a clearing Holly suddenly stops. Mexican Man No. Three is sitting up on a high riverbank looking down at Holly and Sylvia. MEXICAN MAN NO. THREE Buenos noches, you come from Senor Thomas? Bob is cautious. BOB What if we did? Mexican Man No. Three smiles. (CONTINUED) CONTINUED: MEXICAN NO. THREE If you did, I am here to give you a ride. If not your life is short. Holly unsaddles the horse and takes their bridles off and lets them go. Holly, Cecilia and Sylvia climb up the riverbank. Mexican No. Three helps them up. MEXICAN NO. THREE

98 The Jeep is over here. Two jeeps are parked side by side. Mexican Man No. Three gets in the first one. Two mid-twenties military type white males sit in the other. Holly, Cecilia and Sylvia get into the jeep with Mexican Man No. Three. Mexican Man No. Three looks toward the other jeep. MEXICAN NO. THREE Take Tony’s daughter home. Cecilia gets out and moves to the other jeep. She turns to Holly and Sylvia. CECILIA Thank you. I'm sure I wouldn't have made it without you. Cecilia gets into the other jeep and it drives away. Holly and Sylvia watch her leave. EXT. HANSEN RANCH - NIGHT Holly and Sylvia arrive at the camp in the jeep with Mexican Man No. Three. The Jeep pulls to the front of the barn. Mexican Man No. Three gets out and opens the door. The jeep moves inside and stops. Everybody gets out and the door closes. EXT. DESERT BRUSH AREA NEAR HANSEN RANCH Captain Ramirez and Major Hernandez watch the barn by moonlight through binoculars. Ramirez lowers his binoculars and turns to Major Hernandez. Hernandez lowers his. (CONTINUED) CONTINUED: RAMIREZ My man is in there. Did you see

99 yours? The major nods. HERNANDEZ Mine is there. Ramirez speculates. RAMIREZ Let’s give them some time to get settled then we go in. The major nods. BARN - NIGHT Bob looks at Mexican Man No. Three. BOB What now? The man smiles. MEXICAN NO. THREE Follow me. Mexican Man No. Three walks to the back of the barn and pushes a wall panel aside revealing a large tunnel. Everyone follows him through the long tunnel to a large cavern. INT. CAVERN The interior of the cavern is busy with people doing business and eating. Mexican Man No. Three motions for Holly and Sylvia to follow. Thomas and Zac sit behind a table with several back packs laying behind them. On the left is Ramone. THOMAS I see you made it.

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(CONTINUED) CONTINUED: Holly and Sylvia move to the table. A man takes their backpacks. BOB Like a vacation. Zac walks around and stops by Sylvia. He speaks to Thomas. ZAC I take care this one, she’s inventory. (looking at her) Got you a nice husband for a hundred grand. Zac takes her away. Thomas moves around the table and pats Holly on the shoulder. THOMAS Rest. I'll give you your next stop later. Bob turns to go. BOB All right. Holly looks at Sylvia as she is put with some other women under guard. Sylvia looks at Holly. Holly nods and leaves Thomas’ table. He moves over to the kitchen area and begins to gather food. Thomas is yelling at Mexican Man No. Three. THOMAS (continuing) You thievin' Bastard. You're short. Holly quickly looks. He sees Ramone step out of the shadow. Ramone's grabs the man. Ramone takes a switchblade knife and

101 cuts his belt and pants. A bag of cocaine falls out on the ground. Thomas pulls his pistol from his shoulder holster and points it at Zac. THOMAS (continuing) Why didn't you know about this? That white poison is your deal. (CONTINUED) CONTINUED: Zac is surprised and not sure what Thomas is going to do. He is sweating and scared. ZAC Sorry Thomas, I’ll fix it. Come on man, we're friends. THOMAS We're friends as long as you do your job. Thomas lowers his automatic. Zac picks up the cocaine and gives it to Thomas and turns to Ramone. ZAC Teach him, Ramone. Ramone quickly drops the Mexican man to the ground and puts his foot on his throat. Ramone motions to the other two armed guards. RAMONE Jesus, Sergio. Sergio and Jesus immediately move in. They pick up and control the Mexican man. Jesus and Sergio take the Mexican man to an open area in the cavern. Ramone picks up a few metal tent pegs and a mallet from a

102 folded tarp. Ramone walks over to the Mexican man held down by Jesus and Sergio. Ramone smiles friendly and places a tent peg in the Mexican man's palm and strikes it with the mallet. Blood squirts and the man screams. The Mexican man looks up at Ramone. His face shows extreme pain but his eyes show defiance. MEXICAN MAN You would kill one of your own Ramone. Ramone coldly moves over to the other hand and drives the tent peg through the Mexican's hand. He screams. (CONTINUED) CONTINUED: RAMONE Be happy I don't skin you. Ramone turns toward the others smiling. RAMONE (continuing) I enjoy my work, don't steal! Ramone sets with his foot on the Mexican's stomach in triumph. He points to a makeshift bench. Jesus and Sergio pick up a bench railroad tie and drop it across the Mexican's legs. Ramone reaches down and rips the screaming Mexican's shirt open. Ramone walks to the cavern wall watching. MEXICAN MAN NO. THREE Please. I made a mistake. I'll make it up, por favor. Zac laughs.

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ZAC Too late hombre. Ramone grabs a wicker basket and moves over the man. He turns it upside down on top of him. Rattlesnakes fall out on his stomach and land around him. The man yells out. MEXICAN MAN NO. THREE Por favor! Help me, Joel! The Mexican man is jerking and screaming. Thomas and Zac quickly look at each other. Thomas nods to Zac. Zac pulls his forty-five and shoots a guard known as Joel. Zac bends down and grabs a snake. He holds it by the tail and swings it across the Mexican mans face. ZAC I wondered who your partner was. The man pulls back. (CONTINUED) CONTINUED: The snake strikes. It bits the Mexican man on the face. another snake strikes joining the frenzy. The Mexican man cries out. MEXICAN MAN Somebody help. The man jerks and lays motionless, dead. Zac motions to two guards for the Mexican man to be taken out. Zac speaks to everyone. ZAC That's a lesson, Amigos. Don't steal from the man. Everyone goes casually back to talking and eating. Sylvia

104 squeals from being harassed by three men sitting at a nearby table. Holly looks over at her. Thomas notices and yells out. THOMAS Holly, over here. Holly acknowledges and moves in front of Thomas. He looks at Thomas. FLASH BACK – to a vague head shot of Thomas. Thomas hands him a back pack. THOMAS (continuing) Take this to Sol Norte Mission, Chicago. A homeless type will pick it up. Got it? Sol Norte Mission, Chicago. Thomas hands him a few dollars. Take this traveling money. Bob nods. He turns to go. Thomas pulls Holly's arm around, leaving Holly facing him. Thomas appears suspicious. THOMAS (continuing) Where is Fidel and Pablo? (CONTINUED) CONTINUED: Bob smiles. BOB I didn’t tell you? I left the assholes on the trail. They went peacefully of lead poisoning. Thomas is amused.

105 THOMAS I knew I’d like you. You’re a real diplomat. Holly turns and sees Finley Thorne, Freddy Thorne's twin brother. He is by the entrance setting more back packs inside. Holly shows a little surprise. Thorne continues working, not acknowledging Holly. Holly is frozen in place, waiting for recognition. Holly sees a rose tattoo on the forearm of Finley Thorne. Holly decide to tough it out. He walks past Sylvia. Bob looks sad. She acknowledges his good bye. Bob moves on past Finley un-noticed. Bob has a sigh of relief and moves outside. EXT. DESERT RANCH – NIGHT Freddy Thorne and two other vehicles drive up fast. Freddy and the other two drivers slide to a stop in front of the barn. Freddy Thorne and the drivers of the other vehicles jump out and run into the barn. EXT. DESERT AREA NEAR HANSEN Captain Ramirez and Gene look at each other, then at Major Hernandez. RAMIREZ This could be it. We better work our way over there. (CONTINUED) CONTINUED: Captain Ramirez, Major Hernandez and Gene move toward the

106 barn. A D-E-A agent, ROBERT DUNN, a young athletic man meets them on the way. ROBERT When the last bunch came. I watched them through the window. They moved a panel and went into a tunnel. Ramirez is thinking. RAMIREZ That explains why no one comes out. signal the others. we are moving in. EXT. OASIS STATION Holly is outside the cavern and walking through the Oasis. Holly looks up and nods to a well hidden guard. He moves away from the cavern entrance. Holly stops by the large desert water hole. A man walks up to him. MAN Been here long? Bob acknowledges casually. BOB Just got here. The man is overly friendly. MAN You should've been here a while back. They blew this highway pig away while he was still in his car. I saw it man. Don't screw with these dudes. Bob is sadly surprised. BOB Yeah, what happened to the cop and his car?

107 The man points. (CONTINUED) CONTINUED: MAN They buried the dude in his car. Right over there. Real quick, like now you see it, now you don't. Bob appears to doubts in hopes of getting more information. BOB Sure, man. They couldn’t do that. The man is sincere. MAN Yeah man, they did it. Zac made me help dig. Bob looks across the oasis. BOB I don’t see it. The man is busy trying to prove his point. MAN Over there by the rocks. Holly moves to the spot. He kicks the dirt around and a rock turns over. He sees the top of a police light bar. MAN (continuing) You better stay away from there. They'll shoot your ass, dude. Bob continues to look around. Holly walks slowly back toward the cave entrance. He now knows exactly where they killed Peter.

108 INT. CAVERN Holly enters the cavern, Freddy Thorne is standing at the table with his brother Finley. Holly stops looking around. Freddy thinks he recognizes Holly. Holly sees him and ducks out the entry way. Freddy follows him. EXT. OASIS Freddy gets a good look at Holly and pulls his Army fortyfive automatic out of his belt. FREDDY Cop! The man that was outside with Holly turns as Freddy shoots. The man is between them and is shot instead of Holly. Holly ducks behind a large rock. He scrambles away on his belly as four more bullets fly around him. The shots stop. Holly looks up. Sylvia stands over Freddy with a large stick that she has hit him with. Holly jumps up and runs over to Freddy, grabs his pistol, knife and magazines. He looks at Sylvia as he sticks the weapon in his belt. BOB Let's go. Sylvia follows. Thomas and Zac exit the front of the oasis with their men looking for Holly. Thomas turns to Zac. THOMAS That damn guy Freddy was yellin about a Highway Cop. I just

109 remembered His face. He's the one that drove through here the day we wasted the other cop. Zac looks around the cavern entrance at his men. ZAC Mount up men. That gringo that just left here has a five thousand dollar bounty on his ass. Get him. The men fan out and begin to search. Holly and Sylvia move through the brush. They come to a guard. Holly and Sylvia quietly move up behind him. Holly grabs the guard and chokes him to death. (CONTINUED) CONTINUED: Holly and Sylvia grab his weapons; shotgun, and ammunition. Another man has moved up behind Holly and Sylvia. Holly turns and fires a shotgun blast, killing the man. Holly looks over at Sylvia to be sure she is all right. Holly bends over and picks up an M-sixteen. He slings it over his back. He then stuffs grenades in his pockets and puts a shotgun shell bandanna over his shoulder. Sylvia takes a pistol and magazines. Holly and Sylvia disappear into the darkness. Holly steps out of the darkness in front of two men. He shoots twice hitting one man in the throat. He dies. Bob turns. Sylvia shoots the other man as he fires at Holly. SLYVIA Just for the record I'm D-E-A Mexico. Holly sees another man approaching and moves toward him. Sylvia takes cover.

110 Finley Thorne fires on Bob with an M-sixteen on full automatic. Holly dives for cover with bullets hitting all around him. Bob fires back hitting Finley in the chest. Holly sees Sylvia pinned down by gunfire. Suddenly Holly sees Ramone run from the cavern toward a large rock. Bob shoots at him. One of Holly's bullets hit the stock of Ramone's rifle. Ramone dives behind the rock and looks at his rifle. The stock has been shot off. Ramone tosses the broken rifle aside. He reaches into his boot and pulls out a large switch blade knife. Ramone pushes the button and the knife clicks open. Ramone looks around the rock through the bushes. He sees Holly moving across the small clearing. Ramone starts working his way through the brush to circle in behind Holly. Ramone patiently watches then moves. Holly continues moving. He shoots two separate men in the dark. (CONTINUED) CONTINUED: Bob moves to the center of the Oasis. He watches cautiously. A bandit fires on him. Holly turns and fires his M-sixteen. The man drops to the ground wounded. He crawls behind a rock for cover. Bullets hit all around him. Ramone moves to the side stalking Holly. A man runs by not realizing Holly had moved. Holly raises and cuts him down. Ramone moves again trying to get behind Holly. Four guards close in on Holly. He turns and goes into the tree line. The guards pursue.

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Ramone runs to a rocky area near Holly. Holly sees Zac move inside the cavern. Bullets hit around him. Holly ducks and changes locations. Holly runs to the rocky area. Ramone is waiting. Holly moves behind a rock, just in front of Ramone. Holly watches for his enemies. He hears a twig snap and starts to turn. Holly flinches his eyes get big. Ramone has stuck a knife in his side. The blade goes in and is exposed, coming out just under the skin. Holly grabs the Army Colt Automatic from his belt. He shoves it between he and his attacker. He fires. Ramone's eyes get large. He falls back on the ground, dead. Bob pulls the knife out. Holly turns, shoots Ramone again. Then leans over and takes Peter's knife from Ramone's belt. BOB One for you, Pete. Holly grabs dirt for a mud-pack and puts it on the wound. Thomas and Zac come out of the cavern. Zac fires a shot at Bob with his nine millimeter automatic. (CONTINUED) CONTINUED: Shotgun and forty-five bullets hit all around Holly. He jumps inside a nearby jeep and speeds off. A guard gets in the way. He is hit by the jeep and knocked to the side. Captain Ramirez, Major Hernandez, Gene, Robert and the other agents burst out of the cavern and join the battle.

112 Holly sees them and speeds the jeep around back to the cavern entrance. He stops and gets out. Holly works his way around some rocks and sees Sylvia, as bullets hit near them. Bob yells to her. BOB (continuing) We have help. My Captain and agents just arrived. Keep your head down. I’ve got somewhere to go. She smiles at him. SLYVIA Be careful. Holly moves to the entrance of the cavern and ducks in. Thomas and Zac see Holly. They follow him. Ramirez sees Thomas and Zac follow Holly and starts working his way to the cavern entrance, under fire. EXT. DESERT HANSON BARN AREA Holly exits the barn at a full run. He jumps in a jeep and drives away. Thomas and Zac run out of the barn as Holly drives away. They jump in a camouflage Jeep. Zac drives as they chase him. Ramirez runs from the barn. He rushes to his car. He gets in and gives chase. EXT. HIGHWAY Holly sees the Jeep gaining on him. (CONTINUED) CONTINUED: Thomas stands in the Jeep and fires at Holly.

113 Holly turns his steering wheel gyrating the jeep to dodge bullets. He fires his weapon at Zac and Thomas. Zac is hit in the shoulder. He flinches but keeps on driving. Thomas gets back into the passenger’s seat and sees Zac bleeding. THOMAS You okay, Zac? He is in pain. ZAC Yeah. Let's get that bastard. Zac pushes on the accelerator. Holly turns into the desert. EXT. DESERT - EARLY AFTERNOON Holly speeds across the desert chased by Thomas and Zac. Thomas and Zac are close behind. Holly sees a wide ditch and pushes down on the gas. The jeep flies over the ditch and hits the other side at full speed, still moving across desert leaving a stream of thick dust. Thomas and Zac are directly behind Holly. They fly over the ditch in pursuit. Thomas and Zac shoot at Holly. Holly swerves to the side. Zac pushes hard on the gas. The jeep comes along side Holly. Holly fires two shots hitting their windshield and roll bar. Zac swerves away. Holly speeds on. Holly blasts through a brush area as he cuts out the other side away from his pursuers. Thomas and Zac are now speeding toward him again. Thomas and Zac fire their weapons. Holly can't get away. He heads the jeep directly into Thomas and Zac. They collide, knocking Thomas and Zac's vehicle out of the way.

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Holly speeds on. (CONTINUED) CONTINUED: Thomas and Zac regain their composure and continue the chase. EXT. ARTESIA HIGHWAY Holly speeds toward the highway. He runs over a small hill and becomes airborne. His vehicle hits the pavement at full speed and moves down the road. Thomas and Zac speed onto the highway and crowd Holly into the wrong lane. Holly passes an oncoming car that a little old lady is driving very slowly. He blasts around her on the right. She appears surprised. Thomas and Zac blast past her in pursuit of Holly. Thomas and Zac close on Holly. CLOSE ON - Holly passes a sign: "Artesia, population eleven thousand eight-hundred and twenty-four." EXT. HIGHWAY, CITY OF ARTESIA BUSINESS AREA Holly enters the business area. A policeman in a patrol car sees Holly and pulls in front of him. Holly swerves but hits the patrol car disabling it and putting his jeep on the sidewalk. Zac and Thomas are behind him. The policeman gets on the radio. POLICEMAN (O.S.) Hell is breaking loose down here, send backup. Thomas and Zac come up beside Holly and fire their weapons.

115 They hit a storefront window and it shatters. Holly sees an opening. He jerks the steering wheel and cuts into the street. Holly's vehicle hits a parking meter and Thomas and Zac's jeep. Holly swerves more and he is in the street speeding forward. (CONTINUED) CONTINUED: Zac and Thomas cut across a sidewalk curb trying to cut Holly off as he turns a corner. They miss, but slide in behind him. Holly speeds down the street. A New Mexico Highway Patrol Car comes along side him. The trooper tries to push him off the road. Holly yells and tries to wave him off. BOB Hey stupid, it's me, back off. Their front fenders get locked together as they speed toward an oil Refinery entrance. The patrol car hits the fence. Holly speeds through the entrance. Thomas and Zac are close behind with police on them. EXT. ARTESIA REFINERY Holly drives through the refinery attempting to avoid the police, Zac and Thomas. Holly tries to get them to stop shooting by pointing at he signs. CLOSE ON - Holly points to a sign "CAUTION HIGHLY EXPLOSIVE". Holly blasts out the other side of the refinery. A uniformed guard yells at Holly and steps into the road. The guard jumps out of the way as Holly speeds by. EXT. MAIN STREET, CITY OF ARTESIA

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Holly flies over a railroad track narrowly missing a five year old child beside the road. Thomas and Zac fly over the railroad track firing their weapons while airborne. The child smiles and waves as Holly, Thomas and Zac blast down the street shooting at each other. Holly swerves around a corner. Police sirens are heard in the background. Zac Speeds up getting closer. Zac steers the vehicle wide to the left. Thomas fires a blast of machine gun fire. Holly's jeep starts steaming. (CONTINUED) CONTINUED: Thomas and Zac come alongside Holly. The two vehicles bounce off. Holly pulls his automatic and fires. He hits Zac in the forehead. Zac has a surprised look and falls over the steering wheel. Thomas grabs the wheel to try and steer the jeep. EXT. CITY STREET IN FRONT OF ARTESIA POLICE DEPT. Holly hits the brakes, bounces up on the Police Station lawn and stops. Thomas and Zac crash through the front landscape heading for the entrance to the police department. Holly watches and thinks. FLASHBACK – He sees a picture frame and picture in Judge Hartman's office. Three police officers at the front desk have heard the

117 vehicles crashing outside. They are at the window and door to see what is going on. POLICEMEN’S P.O.V. INSIDE TO OUTSIDE - Holly's jeep is on the landscaped lawn and the jeep with Zac and Thomas is heading straight for the front doors. BACK TO SCENE The officers jump back when they see the jeep coming through the front doors. INT. ARTESIA POLICE DEPT. Thomas and Zac blast through the doors and crash into the jail bars. Zac's body lands on a desk face up. Thomas hangs with a jail cell bar sticking through his side with his feet off the ground, squirming in pain. Holly gets out of his jeep and walks to the broken doors. INT. JAIL - DAY Holly walks in. Police cars are screeching to a stop behind him. Holly goes to Thomas and grabs his face. He squeezes and positions Thomas to look at him. Policemen dig themselves out of the debris in the background. BOB You're under arrest for the murder of Patrolman Peter Holly. A large tear appears in Holly's eyes. Holly turns to walk out. Twenty people gather in the street in front of the jail. Highway Patrolman and Policemen run toward the doorway. Two Policemen draw down on him and pump their shotguns.

118 Holly keeps walking. Captain Ramirez's vehicle slides to a stop. He gets out yelling. RAMIREZ Hey, look at him. He's one of us. Captain Ramirez walks to Holly. He is anxious. RAMIREZ (continuing) Holly, shit, I thought you were dead. You look bad. No wonder they didn't know you. They are still walking. The Policemen lower their weapons. BOB Captain, I have one more thing to do. Ramirez is astonished. RAMIREZ Hell we got everybody! Take a damn break man. Bob is determined. BOB I know who the boss is. He's right across the street. (CONTINUED) CONTINUED: CAPTAIN RAMIREZ Who, what are you talking about? They cross the street and go up the steps to the court house. CAPTAIN RAMIREZ (continuing) Where the hell are we going? Terri is parked back out of the way watching as Captain

119 Ramirez and Holly walk to the Court House. She gets out of her car and runs toward the court house. Police cars block the street to keep people out of the area of the police station and courthouse. INT. COURTHOUSE Holly and Captain Ramirez enter the court house. They walk down a long hall. People stop and stare. Ramirez pulls on Holly's arm. CAPTAIN RAMIREZ What the hell are we doing? Bob stops. BOB Right here. Holly turns into an office. CLOSE ON - The sign on the door: "JUDGE JASPER P. HARTMAN" INT. JUDGE HARTMAN'S OFFICE The receptionist jumps up. BRENDA What do you want? Holly keeps moving toward the Judge's office. Brenda attempts to block their path. BRENDA (continuing) Stop. You can’t go in there. (CONTINUING) CONTINUING: Holly pushes past Brenda. Captain Ramirez stops.

120 Holly kicks the door open. INT. COURTHOUSE - JUDGES OFFICE Judge Hartman looks up surprised. Tony Brooks is beside Hartman at the desk with two henchmen bailiffs nearby. JUDGE HARTMAN What's the meaning of this Officer Holly? Holly is firm and harsh. BOB You're under arrest. Accessory to murder. Hartman laughs. JUDGE HARTMAN Are you a fool or just crazy? Captain Ramirez steps behind Holly. Judge Hartman is angry. JUDGE HARTMAN (continuing) Ramirez, get this idiot out of here before I have you both arrested. Hartman goes for a gun in his desk drawer. He yells out to his men. JUDGE HARTMAN (continuing) Shoot the son-of-bitch boys. They all draw their pistols at the same time, shots ring out. Gunsmoke rolls in the room. Tony Brooks backs up to the wall and hides in plain sight in the corner. Bullets hit the wall near him.

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(CONTINUED) CONTINUED: Tony quickly ducks behind the desk as Holly falls back a little from a hit in the upper arm and side. Captain Ramirez catches him and fires two shots. Captain Ramirez's first shot hits the first Bailiff in the chest. The second bailiff is hit in the neck. They both go down. Captain Ramirez fires another shot. Judge Hartman fires his gun until it's empty. He hits Captain Ramirez in the left side and leg. He goes down while holding Holly. As Holly goes down he fires two shots. He hits Judge Hartman two times in the chest. Judge Hartman falls back and slides down a white wall, leaving a blood stained line. Holly and Captain Ramirez lie on the floor bleeding. Bob is in pain. BOB I hope we got them all. I'm out of bullets. The captain is weak. CAPTAIN RAMIREZ Doesn't matter. I can't get up. We may be dead. Holly and Captain Ramirez hear a pistol hammer cock. They quickly look at each other, shocked. They look up and behind. Brenda stands in a police style stance, holding a cocked

122 three-fifty-seven caliber pistol with both hands. She smiles. BRENDA Say good bye boys. Guess who's the boss now. Captain Ramirez' wounded hand is still holding his pistol, lying on the floor pointed toward Brenda. (CONTINUED) CONTINUED: RAMIREZ You think you can get away with this? He tilts the barrel slightly while keeping her attention with his eye. He fires. He hits her in the chest. She falls backward, dropping her gun and falling to the floor, dead. Captain Ramirez looks at Holly. CAPTAIN RAMIREZ (continuing) She was always rude. Four police officers burst into the room with drawn weapons pointing them around the room. Tony Brooks looks up from behind the desk. BOB Hold him. Conspiracy to distribute for starters. Holly and Captain Ramirez appear relieved. Terri bursts into the judges office and goes to Captain Ramirez. EXT. COURTHOUSE - DAY An Ambulance with flashing lights sits in front of the court house.

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A crowd of people are around Holly and Captain Ramirez who are strapped to ambulance gurneys being rolled toward the open back doors of the ambulance. A reporter sticks a microphone in front of Holly. Terri walks with Captain Ramirez and Holly. She pushes the reporter aside. TERRI Can't you see that they are hurt. Ask your questions later. Captain Ramirez looks at Terri and smiles. The reporter sticks the microphone out toward Holly. (CONTINUED) CONTINUED: REPORTER Is it true that Judge Hartman was the boss of a massive narcotics operation? Holly nods, yes. BOB Where’s Sylvia? The reporter appears curious. REPORTER Who's Sylvia? Captain Ramirez and Holly are loaded into the waiting ambulance. Terri gets into the ambulance with Captain Ramirez and Holly. INT. HOSPITAL DAY. Two ambulance attendants blast through the double doors of the emergency room. AMBULANCE ATTENDANT NO. ONE, A young woman attendant pushes a gurney with a body on it. It’s Thomas.

124 AMBULANCE ATTENDANT NO. ONE Got a code blue here. Three nurses start moving equipment toward the emergency room from the lobby. An overhead speaker in the hall sounds off. SPEAKER (O.S.) Doctor Carson come to emergency. Doctor Carson needed in emergency. The double doors open again and two more attendants enter each pushing a gurney, one with Patrolman Holly and the other with Captain Ramirez. AMBULANCE ATTENDANT NO. TWO Got two gunshot wounds. The head nurse rushes in. She motions toward the attendants to use the emergency room. HEAD NURSE Over here. Bring them in here. Terri is left standing at the emergency room door. The door closes. INT. HOSPITAL EMERGENCY ROOM A doctor rushes into the emergency room. DOCTOR What’re we got? He quickly looks at Thomas lying on a table while the code blue crew works on him. Holly and Ramirez are rolled in near Thomas with the head nurse in tow. HEAD NURSE These two are gunshot wounds. The Doctor turns to Holly. He begins to cut Bob's shirt off. He speaks to the head nurse. DOCTOR Start the other one on an I-V.

125 I'll check him as soon as I get this one stabilized. The nurse with the code blue team speaks up. CODE BLUE NURSE The code blue is gone. The doctor turns and checks Thomas. DOCTOR Record his time of death. Somebody move the code blue. We have two more. The doctor turns back to Holly and Ramirez. The code blue nurse takes a needle from Thomas's arm. He suddenly jerks and sits up, looking around. He sees a scalpel on a tray and grabs it. The nurse lurches back. The doctor turns. DOCTOR (continuing) It's all right. Just relax. Thomas slashes at the doctor and cuts him across the face. The doctor retreats against the wall. The head nurse next to him grabs a phone on the wall. (CONTINUED) CONTINUED: HEAD NURSE Get security here. Now! Thomas looks at the nurse but he ignores her. He glares at Holly lying on the table. Holly's eyes move toward Thomas. He looks panicked, but he can hardly move. Thomas stands and moves weakly toward Holly. Holly is weak, but tries to get up. Thomas is over him now. He raises the scalpel to stab Holly.

126 Holly is panicked. Suddenly the head nurse pushes Thomas from the side. Thomas stumbles a little, recovers and slashes the head nurse across the arm. She falls back and gets away. Captain Ramirez painfully struggles to get up. Captain Ramirez looks for something to stop Thomas assault. Thomas turns back to Holly and moves in. Captain Ramirez sees a blood pressure armband hanging near Holly's table. He painfully slides off the table and makes a desperate reach for it. Holly tries to move causing him to breath hard in great pain. Blood runs from his wounds. Thomas raises the scalpel again and smiles. Captain Ramirez yells loud as he moves to Thomas. Thomas is startled by the yell and looks toward Captain Ramirez. Ramirez is on him. He puts the armband around Thomas’ neck as they struggle and he begins to pump. The band tightens while they fight. Thomas's face gets red and he tries to get it off. Ramirez hold on tight still pumping. Thomas' face is red, but he finally breaks free and throws the captain to the floor. He rips the armband off throwing it to the floor. Ramirez looks around the room for another weapon. He sees the operating theater overhead lamp above Thomas' head as he hovers over Holly with scalpel again. Ramirez stands and grabs the handles. He pulls it down hard. The light crashes and breaks on Thomas’ head, allowing the exposed electrodes to contact Thomas bloody head and face making the connection. The big light electrocutes Thomas. (CONTINUED) CONTINUED: Holly starts to rolls off of the table. Thomas shakes from the electrical jolt, but cannot fall. He grabs at Holly. Holly weakly dodges and falls to the floor. The electrical circuit stops and Thomas falls to the floor smoking dead.

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Captain Ramirez falls to the floor exhausted. A nurses pick him up and move him to his table. The nurses hold up Captain Ramirez as they pass Holly's table. Another nurse puts Holly back on his bed. BOB Thanks, Cap. Captain Ramirez smiles. The doctor is back by Holly. DOCTOR Let's go. We got injured people here. The nurses move to their positions and start working. Security officers break into the room looking around. Everyone stares for a second and goes back to what they were doing. AUDIO - A repeat of Peter's original radio conversation sounds off over the scene. PETER RADIO (V.O.) One-forty-seven to one-forty-eight. I need an assist. BOB (RADIO V.O.) What's your status and location One-forty-seven? PETER (RADIO V.O.) I'm three point five miles west of Hansen Field on the truck road. You know the old Oasis. I'm on stand-by until your arrival. FADE OUT.

THE END

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