DIRE STRAITS

Written by

Christopher Douglas

Based on a novel

By

Marshall Frank

Contact:
Christopher Douglas
Tel: 702-509-1263
chris.s.douglas@gmail.com
Copyright (C) 2013 by Christopher Douglas
W.G.A. Registration Number: 1636754
FADE IN

ESTABLISHING - MIAMI - NIGHT

EXT. ATLANTIC OCEAN - CONTINUOUS

From afar the skyscrapers and neon lights of Miami shimmer in
the night. We move closer throughout a series of DISSOLVES.
EXT. DINNER KAY MARINA, MIAMI - SATURDAY 10:30 P.M.
ORESTES FERNANDEZ, fifty-six, overweight Hispanic, moors his
twenty-two-footer MAKO at the far end of Dinner Kay Marina.
MOMENTS LATER - DOCK
Orestes hears footsteps approaching along the oak wharf. He
looks up at THREE CUBAN IMMIGRANTS: JAVIER AGUIRRE, tall,
mean, early 40s; FELIX DE LA ROSA, laconic; early 30s and
CHICO, early 20s. They stand quietly in the shadows over
the bow.
ORESTES
(wiping sweat from his
brow)
Cómo puedo ayudar? Can I help you?
The tall one in the flowered shirt looks furtively left,
right. Speaks:
AGUIRRE
(Cuban accent)
Si. We want to go fishing.
ORESTES
(smiling nervously)
I’m sorry. There are no boats
leaving until tomorrow.
INSTANTLY

Orestes peers into the muzzles of THREE semiautomatic

PISTOLS. Two of the men in black T-shirts jump into the
vessel. The other interrupts.
AGUIRRE (CONT’D)
Perhaps I was unclear. We are going
fishing — now.
ORESTES
Please, please don’t hurt me. Take
the boat. Take whatever you want,
just don’t...
 2.

AGUIRRE
Drive the boat! Do as we say and
you won’t be hurt.

RETURN TO SCENE
Orestes starts the twin Mercury engines while the gaunt,
skinny CHICO presses the muzzle at the back of his head--
ORESTES (CONT’D)
(trembling, wrecked with
fear)
Please...
JAVIER AGUIRRE whacks ORESTES twice over the ear--
AGUIRRE
(barking)
Shut up!

INTERIOR MANSION - NIGHT.

Marble columns, MUSIC plays loud. TWO MALE STRIPPERS One
black, one white in G-strings, dancing erotically.
OVER THE SHOULDER - DANCING MEN
SYLVIA CICERONE, hairdresser, jet black hair, heavy set;
JANIE TUCKER 50s; long grey hair, short, slender; owner
LILLIAN DIEFENBACH 60, fat, bleach blond, covered in makeup
and thin and CAROLYN WEBB, red hair, mid 20s, curvy.
All hold bottles of DOM PERIGNON and cocktail glasses,
swooning, laughing.
LILLIAN
(excited watching Janie
dancing with the men)
Hooey! Yeah... Go for it Janie!
Love it! Whomp, Whomp.
SYLVIA
(Bronx accent)
Got damn. Take it off. Take it off,
boys! Take it off. Give me another
drink!
LILIAN
Okay boys, let’s get what we paid
for. Ooooh yeah!
Both young men remove their G-strings and continue dancing.
 3.

SYLVIA
(Staggers)
Hooey, Lillie, you take the white
boy, I’ll take the black boy. Hey
Mirage you’re missing all the fun.
JANIE
Hey, what about me? Whoa! Look at
that, will ya? I want the blond
boy, here.
CAROLYN
(stops dancing)
Look girls, I think I’d be heading
out; this is going a little too far
for me.
LILIAN
Bye Carol. Don’t let the door hit
you in the ass. Whoa! Yeah!
SYLVIA
(exhausted)
Shit, Lillie, I’m beat. Let’s let
the boys play with the other girls.
Sylvia and Lillian collapse together on one couch. CHAD
MORRISON mid 20s, the white dancer, rejects Janie who
crumbles on a chair.
MIRAGE, late 30s, short black hair, takes Carolyn's lead,
starts dancing with the black naked stud, KEN JACKSON 20s,
slowly, sensuously. She is in jeans and a blouse. Runs her
hand across Ken’s back downward. He tightens.
JANIE collapses on a CHAISE on the POOL PATIO. Sylvia and
Lillie kiss on the SOFA. Lights go dim. Mirage looks
inflamed. Ken’s torso presses against hers. Soul MUSIC.

DISSOLVE TO:
Mirage nearly passes out drunk. MUSIC STOPS. Mirage looks
dizzy; glances up, sees Ken naked standing near her, smiling.
MIRAGE
(heavy-headed)
Something I can do for you Sonny?
BLACK DANCER
(smiling confidently)
Well, that depends. All the other
ladies are passed out over there.
MIRAGE
You got a name?
 4.

BLACK DANCER
I’m Ken. You need some help
upstairs? Let me help. I’ll take
care of you.
MIRAGE
Sure. I think I’m a little drunk.
My name is...
KEN
Yeah, I know, Mirage. Is that your
real name?
MIRAGE
(woozy)
I don’t ... I don’t know; I ... I
feel so... So .... Yeah!
Mirage staggers up the stairs into the MASTER BEDROOM; Ken
balances her by one arm, carries his satchel in the other.
MOMENTS LATER
Ken embraces fondling Mirage next to the water-bed. She is
submissive. Her eyes are half-closed; she mumbles; her blouse
slips open; he presses against her. She looks stupefied.
MIRAGE
No, I don’t want to....
Ken lays down beside her, cups her breast, kisses the back of
her neck. He’s on top of her, thrusts forward. Mirage gasps,
widens her eyes as if in shock... pushes him off.
MIRAGE (CONT’D)
(hysterical)
No, no; what are you doing?
She slaps him uncontrollably. Ken backs away, defensive;
holds his arms before his face.
EXT. RESIDENTIAL WATERWAYS
AGUIRRE
(barking)
Stop here! Here...
The Mako, in neutral, rocks to the motion of waters. No boats
in sight, no other movement in the bay. Aguirre scans the
city horizon. He orders Orestes to the stern with his hands
atop his head.
ORESTES
(in fear)
What are you going to do?
 5.

Orantes looks from side to side. Aguirre and Chico lift their
weapons, smiling.
ORESTES (CONT’D)
(face contorted)
No! Please. I beg you... God help..
A volley of MUZZLE FLASHES pierce the darkness. The Mako
heads south.
MOMENTS LATER
Orestes' corpse slides at the bottom of the bay with an
anchor attached to his ankle.
EXT. RESIDENTIAL WATERWAYS - NIGHT
AERIAL SHOT through a maze of waterways with million dollar
houses inhibiting the banks. It DISSOLVES back and forth
between the city and the waterways. Exotic MUSIC permeates
the MONTAGE sequence.
CHICO
(nervously)
Which one is Sylvester Stallone’s?
AGUIRRE
Shhh! Stay down, man.
(checks his watch. Shows
after eleven)
CHICO
Are you sure you know which is the
right house?
AGUIRRE
Quiet. Trust me...
CHICO (O.S.)
Javier, look at the size of that
house. Caramba! What a score that
would be. Hunh?
AGUIRRE
Chico, I told you to be quiet.
(to Felix)
This is the one. Dock it over here.
EXT. ISLAND BANK - CONTINUOUS
The three Latinos stop at the bank. They run across some
tropical verdure, stare at the PINK MANSION across from them.
 6.

MEN’S POV - MANSION

A YOUNG RED HAIR WOMAN in a CANDY-STRIPED DRESS exits the
house and gets into a BLUE CORVETTE.
CHICO
Who’s the Chica?
AGUIRRE
Doesn’t matter. Es Bueno. One less
to worry about.
RETURN TO SCENE
Javier’s cellphone vibrates in his pocket. He checks the
number.
AGUIRRE
That’s the signal. Felix, get the
rope and duct tape ready. Chico,
you’re the pizza man. Let’s move.
INT. MANSION - BEDROOM
Mirage grabs the sheets to cover herself. She sits up
disoriented; runs her fingers across her face...
MIRAGE
Look! Um, Listen! Whatever your
name is...
KEN
It’s Ken.
MIRAGE
Ok, Ken. Listen, I’m sorry if, um...
Still naked, angry, embarrassed, aching with anxiety, Ken
reaches for his satchel for clothing.
KEN
I get it. I understand. Don’t
worry... I’m not going to do
anything you don wan’. I thought...
MIRAGE
(gathers her clothes)
Ok. It’s my fault. I was wrong. I
just wanna get dressed and go, ok?
 7.

EXT. MANSION - MOMENTS LATER

Aguirre’s shadow falls over the entrance. Felix and Chico
stand on either side of the door, GUNS IN HAND. Chico
breathes tensely. Felix KNOCKS. A YOUNG MAN answers.
YOUNG MAN
Who is it?
CHICO
Pizza delivery.
The door UNLOCKS. Begins to open.

INT. MANSION - LIVING ROOM

Chad turns the knob.
SUDDENLY -
Aguirre’s boot slams against it. The door blasts Chad’s head.
He is caromed off the wall; slides to the floor, dazed.
AGUIRRE
(to Felix)
Grab him!
Chico and Aguirre rush into the LIVING ROOM. Felix has Chad
in a CHOKE HOLD. Sylvia and Lillie stare into the barrels of
TWO 9mm GLOCK semi-automatic PISTOLS.

INT. MANSION - BEDROOM

Mirage and Ken start to walk out the bedroom door. SMASHING
SOUNDS come from the living room. Mirage and Ken leap back
from the door. More SHOUTING is heard.
Mirage jerks Ken by the arm, her index finger across her
lips, one ear against the door.
KEN
What the hell?
Mirage breathes quickly, holds her face.
MIRAGE
Jesus Christ, Ken! Shit! This is
bad... Oh no! God no! It’s a
robbery.
Her eyes search the room for a place to hide.
MIRAGE (CONT’D)
Oh God! On no. Please! This can’t
be happening.
 8.

INT. MANSION - LIVING ROOM

AGUIRRE
(waves a pistol)
Who is the Sonny Boy, Lillie?
LILLIAN
(stammers, screaming in
surprise)
Just some kid, a friend. Hey, who
the fuck are you? What’s this all
about?
Sylvia’s and Lillian’s eyes shift from one intruder to the
other.
AGUIRRE
Scream again, and you are two very,
very dead mujeres. Comprendes?
ANGLE ON FELIX
Felix drags Chad across the floor by his collar; hog-ties him
with a NYLON CORD; arches his back, feet nearly touching his
head. Felix wraps SURGICAL TAPE across Chad’s mouth.
AGUIRRE
(to Chico)
Check the windows, make sure the
fucking blinds and drapes are
drawn.
Aguirre barks at Lillie in slow, deliberate English. He
presses the muzzle of the gun against her head.
AGUIRRE (CONT’D)
The money, beech! We want the money!
Chico paces the floor, eyes in motion, hyperventilates.
JANIE TUCKER remains undiscovered on the patio chase.
LILLIAN
(bulging eyes, frozen)
Take it all, fellas... Take my
watch, my rings... my purse is on
the table...
AGUIRRE
No shitting with me now... No
fucking around. You know what money
I talk about... Yeah?
Aguirre backhands Lillie across the face with the gun. Sylvia
screams. She too is whacked, harder. Both women are bleeding.
AGUIRRE (CONT’D)
Tie’em up good like that fag over
there.
(MORE)
 9.
AGUIRRE (CONT’D)
(showing toward Lillie)
No gag on this one...
Janie Tucker opens the glass SLIDING DOOR; squeals, grunts as
Felix trusses, gags, and dumps her beside Sylvia and Chad.
AGUIRRE (CONT’D)
(surprised)
What the fuck. New one, huh? Anyone
else in this house, Lillie?
LILLIAN
No one, Goddammit! No one else.
Come on. There’s no need ...
AGUIRRE
Two million fucking dollars! We
know you have it...
LILLIAN
What makes you think I have that
kind of money? Jesus Christ. I’m a
widow with some investments. Look,
I need a little time; untie me;
tomorrow I’ll liquidate and give
you part of what you want. Just
don’t hurt anyone. My arthritis is
killing me; please, let me loose.
AGUIRRE
Like what will it take? Keeling all
of you?
AGUIRRE sniffs and snorts with pleasure; raises his weapon,
aims at a GEORGIO ARMANI FIGURINE near the fireplace; FIRES.
CHICO giggles and fires a random shot into the ceiling. FELIX
is silent at patio’s entrance, waits for orders.
INT. BEDROOM -
Mirage hysterically looks for a place to hide. Amid piles of
wrinkled garments and boxes, Mirage and Ken ENTER the WALK-IN
CLOSET and SLIDE the mirrored door shot.
MIRAGE
Oh God no. Oh please. This can’t be
happening.
KEN turns the light on; Mirage puts if off.
MIRAGE (CONT’D)
No lights. No, no...
Harsh VOICES come from the living room. Sylvia shrieks then
stops abruptly. Ken and Mirage cower in the darkness.
 10.

SUDDENLY -
Gun Shots.
MIRAGE
(startles, looks around)
Oh, my God, No! We got to get out
of here.
Another gun shot. Ken points to the ceiling.
KEN
The attic....
There is clamor of BREAKING GLASS; FURNITURE CRASHING. Mirage
helps Ken hoists him-self up. Ken peers into the darkness,
sees there is room to crawl and hide. He reaches for Mirage.
KEN (CONT’D)
Grab my hands...
Mirage is pulled up. Another GUNSHOT is heard. Lillie screams
again. KEN covers the square opening of the attic.
MIRAGE
Come on, let’s move away. Just in
case.
The VOICES are now in the bedroom. On elbows and bellies
Mirage and Ken go across rafters and sponge-like fiberglass.
They reach another hatch cover. A silver light appears. KEN
raises the scuttle lid enough to peer though. They are ten
feet from the floor. They are aghast at the carnage below.
ANGLE DOWN
Across the room on the green carpet, hair covering her face,
Janie Tucker lays next to Sylvia. She is tied and gagged.
ATOP THE SOFA, Lillie lays flat on her back, hands beneath
her, ankles tied; moans, rolls her head. A wiry, dark-haired
Spanish man on a kitchen chair at Lillie's feet.
His pale green EEL SKIN BOOTS are partly covered by cuffed
trousers. Ken shivers. Mirage takes control of the hatch.
AGUIRRE
(yells in Spanish)
Vamos... Vengam para aca. Tenemos
mas cosas que hacer.
(to Chico, nods toward
Janie)
The bitch with the gray hair. Over
there. She can play Malaguena for
us. Matela!
 11.

Chico grasps a handful of Janie's hair, drags her near a

blood-drenched PIANO where Chad’s head is smashed; forces her
to face the mirror. Presses the Glock at her temple. FIRES.
NEW ANGLE
AGUIRRE
The money, Lillian. What is it
going to take? Want more?
LILLIAN
Please, I beg of you. I’ll tell you
where the money is; another five
million. But you got to let me
live. Please...
AGUIRRE
OK Lilly, just you only. You live
because you are the trail to the
money. Si?
(nods to Chico towards
Sylvia)
Chico attempts to drag Sylvia. She is limp and heavy. Her
eyes gaze into nothingness. Chico kicks her. No response.
CHICO
Ay, mierda... The beech is already
dead. She take away all the fun.
Chico fires a shot to Sylvia’s head, anyway.
AGUIRRE
Now, the money, Lillie.
LILLIAN
How would I know you’re not going
to kill me, anyway?
AGUIRRE
(snorts)
Hand over the money and we’ll live
you here to answer questions. You
no can tell the cops the truth.
Tell’em you in drug business... You
go’ head. I think you come up with
a good imagination when they get
here. We get the money and you get
to live.
(eyes shifting)
Now, you no can turn down an offer
like that... Yeah?
LILLIAN
Then Tony will have me killed.
 12.

AGUIRRE
That your problem, lady.
LILLIAN
(deep sigh, resignedly)
There’s a fake wall in my bedroom
closet, behind the shoe rack.
(tells combination)
Please, don’t kill me. I’ll work
for you guys. I know lots of people
and we could make a lot of money...
MOMENTS LATER
The three Cubans stealthily depart, BAGS in hand. Lillie
breathes a sigh of relief. She wriggles her body off the
sofa, falls heavily to the floor; rolls onto her side; tries
to free her hands.
The door opens again. She frightens. The eel skin boots
tread toward her.
AGUIRRE
(raises the gun, smirking)
Just want to say thanks, Lil.

LILLIAN
You son of a bitch!
INT. ATTIC
Ken shivers wildly in a fetal position. Mirage smacks him.
MIRAGE
Come on. Let’s get out of here. I
got to get my shoes. You call the
cops.
LIVING ROOM
Once downstairs, Ken dials 911. The door slams. MIRAGE...
EXT. COCONUT GROVE, HOTEL - MOMENTS LATER
A ritzy hotel to the circular entrance at the bottom. From
afar, there’s Sergeant MIGUEL ESTEVEZ, early 40s, Cuban,
trim, sharply dressed, note-pad in hand, ad-libbing
pleasantries with a CONCIERGE. Estevez nods goodbye and
proceeds towards his FORD TAURUS.
INT. TAURUS - MOMENTS LATER
Estevez sits in passenger seat. His rookie homicide partner,
ZEKE FERGUSON, early 30s, dark Haitian skin, bald, glasses,
drives.
ESTEVEZ
Sure is a quiet night.
 13.

FERGUSON
(looking out the window at
a passing woman)
Huh? What do you mean?
ESTEVEZ
(pooling away into the
street)
I... Oh, sorry. That’s right, it’s
your first day in homicide. I meant
is unusually uneventful. It’s
dead, for a Saturday night, man.
Even the radio is dead. Strange.
FERGUSON
This would never happen in Liberty
City.
Estevez cellphone goes off. He answers. His thirteen-year-
old daughter, CORRINA responds.
CORRINA (V.O.)
Hi daddy!
ESTEVEZ
Hay baby doll, How you doing.
Anything wrong?
CORRINA (V.O.)
I’m okay. When are you coming home?
ESTEVEZ
I’ll be home soon. Say, aren’t you
supposed to be in bed right now?
CORRINA (V.O.)
Mommy told Grandma I could finish
watching Harry Potter.
ESTEVEZ
Well, OK. Isn’t mommy home yet?
CORRINA (V.O.)
No, she’s still at her meeting.
ESTEVEZ
Alright, then. Be a good girl. I
love you sweetie.
CORRINA (V.O.)
I love you too, daddy! Bye!
ESTEVEZ
Bye now!
Estevez hangs up the phone. They drive by a business area.
 14.

FERGUSON
How’s the family?
ESTEVEZ
OK, I guess. My kid is thirteen
already. Wants to see more of me.
Can’t blame her.
Ferguson chuckles. Estevez looks out his window at the
throngs of PARTYGOERS and ECCENTRICS crowding the sidewalks.
SIDEWALKS - ESTEVEZ
quickly turns his attention forward through the windshield.
ESTEVEZ
Zeke, turn on the flashers.
(motions ahead)
Over there, on the corner.
Ferguson watches; sets the blue flashing light on the dash.
MOMENTS LATER
Ferguson slows down the car as they approach a BLUE CORVETTE
sitting awkwardly on the sidewalk up against a lamppost.
Parks the car in front of the corvette.
Estevez walks to the driver’s side, Ferguson to the fender.
The YOUNG REDHEAD WOMAN leers drunkenly out the window at
Estevez in a Southern drawl.
REDHEAD WOMAN
Hey there handsome, want to go for
a ride?
ESTEVEZ
Afraid not, beautiful. (He shows
his badge.
(to Ferguson)
Any damage? How does it look?
FERGUSON
Not much, small dent in the bumper.
Estevez checks his Rolex; sighs. Ten more minutes, they are
off duty.
REDHEAD WOMAN
Aren’t you going to arrest me,
officer?
ESTEVEZ
No, but I want your car keys. We’ll
park your car for you around the
corner so you can pick it up
tomorrow.
(MORE)
 15.
ESTEVEZ (CONT'D)
(to Ferguson)
Zeke, call a cab.
Ferguson flips open his cell phone.
FERGUSON
You got it.
The redhead rests her head down out the window as if passing
out.
EXT. NARROW STREET - MOMENTS LATER
Ferguson turns the corner, parks her car along the sidewalk.
EXT. SIDEWALK - MOMENTS LATER
A taxi pulls up to the scene. Estevez guides the redhead over
to it; opens the door for her. She stumbles in and falls
across the seat.
REDHEAD WOMAN
Sure you don’t want to come home
with me?
ESTEVEZ
Good night, sweetheart. Have a good
sleep.
Estevez closes the door. The taxi drives off. Ferguson walks
over to his partner.
FERGUSON
Well... you wanted some action.
Both men chuckle at the odd conclusion to their long evening.
ESTEVEZ
Let’s go get a drink.

INT. WATERFRONT BAR - LATER

ZOOMING OUT from the boats drifting in and out of the marina
to Estevez and Ferguson sitting at the bar. A Latin band
plays MUSIC. Both men sit with half-drunken glasses.
ESTEVEZ
Well, be glad you’re not working
midnights in Liberty City, anymore.
FERGUSON
Tell me about it. I spent most of
my rookie time around there.
There’s not a big enough pension
that would make me want to go back.
(MORE)
 16.
FERGUSON (CONT'D)
Will we be cruising the Grove
tomorrow, too?
ESTEVEZ
(jokingly)
We could, but not on the clock...
You do enough driving already.
FERGUSON
By the way, aren’t we supposed to
take turns?
Estevez chuckles. His cell phone rings. He sees caller ID
from the dispatch center. Checks his watch.
ESTEVEZ
Maybe it won’t be such a boring
night after all.
FERGUSON
I thought you were ready to head
home.
Estevez answers. He gets off his seat and takes one last sip
of his drink.
FEMALE DISPATCHER (V.O.)
Sergeant Estevez, you got a pen and
paper to take down an address?
FERGUSON
Yeah. What do you have?
FEMALE DISPATCHER
Cocoplum mansion, four bodies.
Mass murder. One witness is
standing by. We have uniform and
C.S.I. on the way.
FERGUSON
10/4.
(to Ferguson)
Let’s go Zeke, it’s multiple.
FERGUSON (CONT’D)
Mike, it’s ten minutes to twelve. I
thought...
FERGUSON (CONT’D)
That’s an A 31. Let’s roll.
FERGUSON (CONT’D)
Damn. They were right about you.
 17.

EXT. EVERGLADES - MOMENTS LATER

A 2004 Lincoln SEDAN travels down the dusty roads in the dark
of the night.
INT. LINCOLN SEDAN - CONINUOUS
Felix drives, with Chico in the passenger seat and Aguirre
slouched in the back behind the driver’s seat.
CHICO
(excited)
Ah, man, that was wild. Ha! Ha! Did
you see the look on their faces?!
AGUIRRE
Settle down, Chico. You talk too
much. You should learn to be quiet
like Felix here.
CHICO
Man, all that money! I’m going to
buy me a new car, lots of smack,
and muchas chicas, Si!
AGUIRRE
You spent too much time in Castro’s
prisons, Chico. Quiet down or we’ll
end up in Uncle Sam’s, too.
CHICO
Right, right. Sorry. What are you
going to do with your share, Felix?
FELIX
(Cuban accent)
Mi madre en Cuba. She is very sick.
I’m going to bring her and my
brother here.
Felix looks in the rearview mirror at Aguirre.
FELIX (CONT’D)
I want to thank you, Javier, for
making this possible. My family
thanks you, woo.
AGUIRRE
No problem. Turn right at this next
road.
EXT. EVERGLADES - GRAVEL ROAD
Felix turns onto the gravel road.
 18.

INSIDE THE CAR

CHICO
Javier, who’s the boss? The one
we’re meeting...
AGUIRRE
I told you, he’s a lawyer. That’s
all you need to know. After
tonight, he will never see us
again, and we will never see him.
(to Felix)
Felix, pull over here.
OUTSIDE

Felix slows the car down, pulls over to the side, turns off
the headlights. The night is still and silent, except for
the sounds of crickets, frogs, and the hum of the engine.
INSIDE THE CAR
Felix breathes a sigh of relaxation and leans back against
the seat, his head laying on the headrest. Behind him,
Aguirre brings up a pistol and pushes the barrel against it.
SUDDENLY -
Aguirre fires. Blood sprays all over the windshield. Chico
gasps and turns around. Aguirre turns the gun on him and
fires, point blank.
OUTSIDE -
Aguirre slowly gets out of the car. He opens the trunk, takes
out two huge bags of money; walks to the driver’s side window
smashes it with a crowbar and puts the car in neutral. The
car starts to slide toward the canal sinking into murk.
Aguirre walks across to the other side of the read. He pulls
away some foliage, reveals a Buick Regal. He opens the trunk,
puts the bags in, then drives away.
EXT. MANSION - CONTINUOUS
A flurry of police cars sits outside, flashers spinning in
the night. A cacophony of squawking police RADIOS ECHO in
the air. Various FORENSIC TECHNICIANS exam the ground in
search of evidence.
Estevez and Ferguson arrive and park their car. At the
entrance, Gus Grimanski, middle aged, oafish, heavyweight
burglary sergeant, walks out of the house and greets them.
GRIMANSKI
(to Estevez)
You’re going to like this one Mike.
(MORE)
 19.
GRIMANSKI (CONT'D)
We’ve got four bodies inside,
executed. One male, three females.
All appear to be shot. Blood
everywhere.
ESTEVEZ
Gus, get more tape and seal off the
entire street. And please, don’t
let anyone in the crime scene,
yourself included. I’m going to
need your shoe prints for
elimination, as well as the
arriving officer’s.
GRIMANSKI
Don’t worry, we didn’t touch a
thing.
Estevez attention is suddenly caught by a CHRYSLER sitting in
the DRIVEWAY.
ESTEVEZ’S POV - CHRYSLER
ESTEVEZ
Whose Chrysler is that?
GRIMANSKI
It belongs to the witness.
Estevez turns to Grimanski.
ESTEVEZ
Witness? What witness?
GRIMANSKI
He’s in my car, now -- scared
shitless.
(reads note pad)
Name is Kenneth Jackson. Some male
stripper hired for the party.
Apparently, he hid in the attic
while the whole thing happened. He
said he heard three Latin males
demanding money from a woman named
Lilly.
ESTEVEZ
Alright, stand guard here. I’ll be
back.
Estevez and Ferguson walk over to Grimanski’s car. The former
is approached by GLORIA MENENDEZ, public information
spokesperson for the police department.
MENENDEZ
So-- what do I tell them?
 20.

ESTEVEZ
Four dead bodies-- all appear to be
shot. That’s it.
MENENDEZ
Do we know who the victims are?
ESTEVEZ
No.
MENENDEZ
Witnesses?
ESTEVEZ
None. Look, Gloria, if anything
important comes up that you need to
know, I’ll tell you.
MENENDEZ
Okay...
INT. GRIMANSKI’S CAR
Estevez opens the back-seat door and sits down across from
Ken Jackson, black, shivers with fear.
ESTEVEZ
Hi. I’m Sergeant Estevez.
(shows ID)
I’ll be handling the case.
JACKSON
(muttering)
Yeah! I heard about you.
ESTEVEZ
How are you doing?
JACKSON
Oh, real great. Can’t you tell?
ESTEVEZ
Sorry, stupid question.
A PAUSE
Estevez looks at Jackson sympathetically.
ESTEVEZ (CONT’D)
I know you’ve been through a lot
tonight. And it’s really important
that we find these monsters before
they kill anyone else. Can you
identify their faces?
 21.

JACKSON
One of them was called Felix, I
think. Look I didn’t even see
anything. I just heard some of them
shouting, then all the shooting.
ESTEVEZ
How did you end up in the attic?
JACKSON
She led us up there?
ESTEVEZ
(interested)
Who led you up there?
JACKSON
She saw the whole thing, man.
A FLASH - AN EYE LOOKING THROUGH A PEEPHOLE
RETURN TO SCENE
JACKSON (CONT’D)
She called herself Mirage. That’s
all I know. We were making out in
the master bedroom. We had a lot to
drink and everything. When it all
started happening, she found the
hatch in the closet ceiling. We
were scared shitless. She watched
it all. After it was all over, she
ran out like the devil and...
ESTEVEZ
(interrupting)
What did she look like? Any
identifying marks?
JACKSON
She had short hair, brown eyes,
kind of tall, five-foot eight,
mid-thirties. I didn’t see any
scars; no tattoos; fancy clothes;
a blouse with all sorts of colors
and...
Jackson brings his head up.
JACKSON (CONT’D)
Wait, there’s someone else. I just
remembered.
ESTEVEZ
Someone else?
 22.

JACKSON
Yeah, her name was Carolyn. Yeah,
another one of the guests.
ESTEVEZ
What happened to her?
JACKSON
I don’t know. She disappeared
before the shooting started.
ESTEVEZ
Can you describe her, too?
JACKSON
She had red hair, late twenties;
southern accent. She got really
drunk. I think she was wearing a
candy-striped dress or something.
Estevez perks up at the revelations.
ESTEVEZ
Do you... know what kind of car she
was driving?
JACKSON
Her car? No, how would I know?
ESTEVEZ
(out car window)
Zeke, over here.
Ferguson rushes over and leans down by the window.
FERGUSON
What’s up?
ESTEVEZ
Get a uniformed unit over at that
girl’s corvette you parked. Check
the tag and have someone sit on the
car.
FERGUSON
Why? What...
ESTEVEZ
(interrupting)
She may be involved. A lucky
coincidence, partner.
FERGUSON
(quickly, surprised)
Okay, you got it.
 23.

IN THE FRONT SEAT -

Estevez sits down and picks up the radio.
ESTEVEZ
(into radio)
All units be on the lookout for a
white female, mid-thirties, short
auburn hair, five-foot-eight,
wearing a multi-colored blouse.
Uses the name Mirage. Subject is
wanted for questioning reference A-
31. No other information. Copy.
EXT. MANSION - LAWN - MOMENTS LATER
As Estevez walks back to the mansion, LT. RAUL GONZALES, 40s,
portly, balding, mustache, wears a jacket with a BLO logo
crosses under a police tape barrier. Estevez approaches him.
ESTEVEZ
Lieutenant Gonzales, I need to
speak with you.
Gonzales turns to him, takes out a cigar, begins to light it.
ESTEVEZ (CONT’D)
We’re short on manpower. I’m going
to need some assistance, preferably
Bill Adams and Angela Diaz. Right
now.
GONZALES
You know the rules, Mike. No call-
outs on overtime. Besides, you got
Ferguson and Grimanski until
Sunday’s crew shows up in the a.m.
A PAUSE
ESTEVEZ
With all due respect, sir, perhaps
you haven’t notice this is
Cocoplum, not Overton. We’ve got a
fucking massacre on our hands.
Having the best and the most
experiences here can make a
difference between finding these
killers or not.
GONZALES
Department regulations require
that...
 24.

ESTEVEZ
Bullshit! Lieutenant. I’m not going
to do this half-assed so you can
play politics and flex your
muscles. Look, give me the
resources I need or transfer me.
Period.
Gonzales looks at Estevez indignantly.
GONZALES
Fine. But you keep me informed
every step of the way. Agreed?
ESTEVEZ
Sure, boss. Whatever you say.
EXT. MANSION - ENTRANCE - MOMENTS LATER
POLICE PHOTOGRAPHERS snap pictures in the entryway as Estevez
confers with Grimanski, FORENSIC PERSONNEL, detectives BILL
ADAMS mid 30s; ANGELA DIAZ early 30s, attentive, attractive.
ESTEVEZ
(to all)
Remember we are walking where the
subjects walked. Every step you
take could be a prime location for
evidence-- show prints,
fingerprints, blood, thread, fibers-
-anything. So, watch every step you
take.
(to Adams)
Bill hit all the houses between
here and the gate. Find out who was
home between then and eleven, what
they heard, who they were screwing,
what cars went by, everything. Then
talk to the guard at the gate and
see if he took names and tag
numbers.
(to Diaz)
Angela let’s go inside.
INT. MANSION - MOMENTS LATER
Estevez and Diaz go through the residence in awe of the
destruction and havoc before them.
IN THE KITCHEN -
A mirrored tray sits on the counter with half-snorted lines
of cocaine and empty wine bottles.
ESTEVEZ
Some party.
 25.

IN THE LIVING ROOM -

Estevez and Diaz stoop at the gruesome death scene. FOUR
CORPSES-- one male, three female-- lie on the floor carpet
bound in contortions with wire, their blood mixed and
splattered all over the room.
Camera strobes flash across the room. DOCTOR GAVILO, the
medical examiner, late 50s, short, Cuban, looks up from
examining one of the corpses.
GAVILO
(to Estevez)
I think this one died before she
was shot. There’s hardly any
bleeding.
CU - ESTEVEZ
Estevez looks grimly at the body. Grimanski calls from the
fireplace.
GRIMANSKI (O.S.)
Hey Mike, Look at this.
Grimanski points a pencil at two 9 mm Glock pistols sitting
on the mantle. Estevez looks at them curiously.
GRIMANSKI (O.S.) (CONT’D)
First time I’ve ever seen killers
deliberately leave their murder
weapons behind.
INSERT - GLOCK PISTOLS
ON THE MANSION LAWN - MOMENTS LATER
As Gonzales walks back to his car, a throng of REPORTERS
rushes to him. Gonzales eagerly turns towards them.
REPORTER1
(hurriedly)
Lieutenant, what can you tell us
about the crime scene?
GONZALES
(subtle gloating)
All I can say at this point, ladies
and gentlemen, is that there are
four homicide victims in the
house, and we are doing everything
in our power to find the
perpetrators. As you know, we have
assigned Detective Sergeant Miguel
Estevez to the case and provided
him with additional resources for
as long as it takes.
 26.

REPORTER2
Do you have any information on the
woman called Mirage? We heard the
BOLO alert.
GONZALES
None.
REPORTER2
What is her connection to this
case?
GONZALES
Sorry. I can’t answer that.
REPORTER3
Are there any suspects at all?
GONZALES
(tentative)
Well, no; not really.
REPORTER FOUR catches his hesitation.
REPORTER4
What do you mean Lieutenant? Are
there suspects or not?
Gonzales hurries to his car as if to evade his sudden error.
GONZALES
(flustered)
Look, all I can tell you is that
there were three Latin males
involved. That’s it.
The reporter continues to AD-LIB questions, pressing for
specifics, as Gonzales starts his car and drives away.

IN THE MASTER BEDROOM - LATER

Estevez reaches the top of the stairs; stops at the bedroom
entrance; quietly looks across the room at the destruction.

ESTEVEZ’S POV - MASTER BEDROOM

Suddenly, he stops as something catches his eye. He walks
over to the bed, and with a par of tweezers, picks up the
object-- a small, crumpled BAND-AID.
DOWNSTAIRS - MOMENTS LATER
Estevez comes down the stairs, carrying the band-aid. He
hands it to the FORENSIC TECHNICIAN when he reaches the
floor.
 27.

ESTEVEZ
(to F.T)
Here, check the prints on this. I’d
like to see whose it is.
He motions to Adam who walks outside with him. The two men
proceed through the entrance.
OUTSIDE THE MENSION - CONTINUOUS
ESTEVEZ
How did the canvas go?
ADAMS
The neighbors were clueless. This
place is kind of isolated, you
know.
ESTEVEZ
How about the guard at the gate?
ADAMS
The evening guard went off duty at
eleven. I got his name and number.
The logbook has a note about a
party at the home of Lillian
Diefenbach. Anyone giving her name
was sent through. No tags.
Estevez stops and calls to Diaz and Grimanski.
ESTEVEZ
Angela, Gus, over here.
Diaz and Grimanski come over and huddle around.
ESTEVEZ (CONT’D)
(to all)
Listen, guys. This is probably
Organized Crime connected. We have
two, possibly three witnesses still
alive and we have to keep them that
way. The media is to know nothing,
understand? Be careful what you say
and who you say it to, even within
the department. Don’t even tell
Gloria Menendez. We must find
Mirage.
A young UNIFORMED OFFICER calls from behind.
UNIFORMED OFFICER
Excuse me, Sergeant, phone call for
you.
Estevez turns around and reaches out as the officer tosses
him a cell phone.
 28.

ESTEVEZ
(into phone)
Estevez here.
FERGUSON (V.O.)
Mike, it’s me.
ESTEVEZ
Zeke, where are you?
INT. JACKSON MEMORIAL HOSPITAL - CONTINUOUS
FERGUSON
(into phone)
I’m at Jackson Memorial. We’ve got
problems, man. This kid is really
freaked out. I don’t know if we can
get a statement out of him tonight.
INTERCUT AS NEEDED
ESTEVEZ
(under breath)
Christ... How bad is he?
FERGUSON
The doctors are putting him under
sedation, He should be okay by the
morning. Oh, I checked on the
corvette. It’s registered to
Carolyn Webb, date of birth
4/18/76, 315 Seagrape Lane, Apt 4,
Key Biscayne. A unit is being sent
over there now.
ESTEVEZ
Good work, partner. See you soon.
EXT. STREET OUTSIDE MANSION - LATER
Estevez stands amidst glaring lights and an even LARGER group
of REPORTERS.
ESTEVEZ
...what we do know is that the
murders took place between ten and
eleven. The Chief and Mayor have
been informed and are working round
the clock with officials from both
Dade and Broward. Make no mistake
about it-- no matter how gruesome
or savage these murders are, the
killers will be brought to justice.
REPORTER4
Do you have any information yet on
the three Latin males?
 29.

A PAUSE
Taken aback, Estevez turns towards Reporter Four.
ESTEVEZ
Excuse me? What Latin males?
REPORTER4
We were told there might be three
Latin males involved.
ESTEVEZ
(perturbed)
And who told you that, sir?
EXT. LUXURY CONDO - TERRACE -- CONTINUOUS
The lights of Biscayne bay glitter from afar. A cigar comes
into view and is lit. TONY SCROFANO, mid 30s, slick, good-
looking, high-strung yuppy lawyer, sits back on his outdoor
recliner.
Aguirre opens the patio door and walks on the terrace to
greet him.
SCROFANO
(to Aguirre)
How did it go? Do you have the
money?
Aguirre sits down across from him.
AGUIRRE
Smooth boss. Money in trunk of my
car. No one can point a finger at
us.
SCROFANO
How about Lillie? She didn’t give
you much trouble, did she?
AGUIRRE
No, one bullet in the head. You
should have seen the bitch’s eyes.
They were big like plates.
Aguirre lights a cigarette. Scrofano studies Aguirre for a
moment, morbidly awe-struck by his flippant callousness.
SCROFANO
She actually demanded I let her in
on the cartel’s money she was
hiding for them. Can you believe
that? They may miss it, but she
doesn’t have to worry about it
anymore.
Aguirre chuckles.
 30.

SCROFANO (CONT’D)
Listen, Javier, there’s one thing I
need to make clear to you. I have
tape recording about the entire rip-
off stashed away. It names you and
all the others. And if anything
should happen to me...
AGUIRRE
But, boss...
SCROFANO
(forceful)
Let me finish! If anything should
happen to me, my confidant has
instructions to send it to some
very important people in Bogota.
Now, if all goes well and I remain
a practicing attorney in Miami Dade
County, the tape will be destroyed
one year from now. Comprende?
AGUIRRE
Yes, amigo. You have nothing to
worry about.
SCROFANO
By the way, where are your friends?
AGUIRRE
Swimming with alligators.
SCROFANO
(chuckling)
Okay, fair enough. Let’s go in for
a drink and then we’ll count the
dough.
INT. LUXURY CONDO - MOMENTS LATER
Aguirre and Scrofano enter through the sliding glass door of
the OPULENT APARTMENT. On walls are pictures of Scrofano
shaking hands with notable South Florida personalities.
He walks over and turns the television on.
SCROFANO
Well, Javier, let’s see how famous
you are.
Aguirre sits on the couch.
ON THE TV -
A REPORTER ad-libs about the murders.
Scrofano hands Aguirre a drink.
 31.

TELEVISION REPORTER (V.O.)

... The police are also searching
for a woman known as Mirage,
although it is not known what
connection, if any, she has to the
case.
SCROFANO
(to himself)
Mirage? Who the fuck is that?
Aguirre continues to drink, oblivious to the news.
TELEVISION REPORTER (V.O.)
Right now, the only confirmed
suspects are the three Latin males.
SCROFANO
(angry surprise)
What the fuck!
(to Aguirre)
Hey asshole, did you just hear
that?!
Aguirre looks up in sudden surprise.
AGUIRRE
What, I...
SCROFANO
(interrupting)
You said you killed everybody. How
would the police know there were
not one, but three fucking Latin
males involved? Ha? Who the fuck
did you leave behind?
AGUIRRE
No one, I promise. We kill
everybody.
SCROFANO
Apparently not! You better find out
who that was and take them out! I
mean it!
(to himself)
And Mirage. Why are they looking
for her?
AGUIRRE
(resolute)
Don’t know, boss. I find out. I
promise you. I find out.
 32.

INT. POLICE STATION - LOBBY - NIGHT

Estevez enters the lobby of the police station. A flurry of
reporters scramble over to him and AD-LIB numerous questions.
He ignores them and continues to walk briskly along. Ferguson
catches up to and walk along with him.
ESTEVEZ
(quickly)
What’s up?
FERGUSON
We checked up on Webb.
ESTEVEZ
And?
FERGUSON
She wasn’t there. All doors and
windows were locked, and no sign of
forcible entry.
ESTEVEZ
(sarcastic)
That’s wonderful.
IN A SMALL ROOM
Jackson sits comfortably on a couch and drinks hot chocolate,
his demeanor much calmer. Estevez and Ferguson enter. Jackson
sits up attentively at their entrance.
ESTEVEZ
Ken, how are you? Doing better?
JACKSON
Yeah, a lot better, thanks. Sorry
about freaking out and
everything....
ESTEVEZ
Don’t worry, you’ve been a big
help. Listen, Ken...
JACKSON
(interrupting)
Am I going to have to testify?
ESTEVEZ
That’s what I want to talk to you
about. Yes, we will need you to
testify. However, you will receive
round the clock protection. You
have my word: if there’s anything
you need--anything--we are at your
disposal, twenty-four, seven.
 33.

JACKSON
What about Mirage? Do you think
you’ll find her?
ESTEVEZ
That’s where you come in. Do you
remember anything else about her?
Scars, marks or an accent?
JACKSON
No, nothing like that. She didn’t
really talk much, to be honest.
Kind of kept to herself most of the
time.
ESTEVEZ
A sketch artist is going to be here
shortly. Do you think you can give
a detailed description of what she
looks like?
JACKSON
Yeah, I think I can.
Estevez’s face lights up with optimism.
EXT. POLICE STATION - PARKING LOT - MOMENTS LATER

Estevez exits through a back door and walks to his

car. Gonzales calls out after him.
GONZALES
Whoa, whoa, Mike, hold on a second.
Stop right there.
ESTEVEZ
(reluctantly)
What is it?
GONZALES
You need to keep me more informed
than this. You can’t just--
ESTEVEZ
(interrupting)
Sorry, Lieutenant, but you know too
much already.
GONZALES
What are you talking about?
ESTEVEZ
You know goddamn well what I’m
talking about. You told the media
that we’re looking for three Latin
males. That kind--
 34.

GONZALES
Look, it was an--
ESTEVEZ
(interrupting)
I don’t care if it was an accident.
You have a history of opening your
mouth when you shouldn’t. I can’t
afford that on this case. What is
with you anyway? Are you still
upset that I won’t join the
Brotherhood of Latin Officers? Is
that what this is about?
Gonzales looks at Estevez as if resenting the exposure of a
secret motive he would rather not be named.
ESTEVEZ (CONT’D)
Listen, I’m a cop, first and
foremost, not an ethnic
representative, so I’m not going to
subscribe to your fascist group-
think. Okay? I don’t need your
pull, anyway.
Estevez then enters his car and quickly drives off.
EXT. BEACH - MORNING
The sun gently begins to rise over the ocean’s horizon.

INT. ESTEVEZ’S HOUSE - CONTINUOUS

Estevez enters his quiet, peacefully still house. Goes to the
KITCHEN, pours a glass of orange juice. Drinks.
Estevez steps into his BEDROOM, takes off his shoes; throws
himself down onto the couch breathing a sigh of exhaustion.
He looks over curiously at the empty side of the bed...
EXT. CALLE OCHO - AFTERNOON
Aguirre drives down the bustling street of Calle Ocho in a
brand-new Mercedes convertible, taking in the sights and
sounds of the thriving Cuban community.
EXT. CUBAN CAFE - MOMENTS LATER
A WAITRESS lays a cup of Cafe Cubano on Aguirre’s table. Just
as Aguirre begins to sip it, VICTOR, a tall, youthful,
excitable Cuban, enters. He sits down across from Aguirre.
VICTOR
(Cuban accent)
Ah, Javier, how are you doing
amigo?
 35.

AGUIRRE
Well, amigo, very well.
UNDER THE TABLE -
Aguirre hands Victor a roll of cash in exchange for a bag of
cocaine.
RETURN TO SCENE
VICTOR
Did you hear about that killing
over in Cocoplum? Some rich gringos
got popped.
AGUIRRE
Ah, they probably had it coming.
Besides, what do we care?
VICTOR
According to my contact in the
department, that lady they’re
looking for--what’s her name--
Mirage, Mirage is supposed to have
seen the whole thing. She knows
everything.
AGUIRRE
Everything?
VICTOR
Yeah. There’s also some black kid,
too, who was with her. He’s in
custody right now.
AGUIRRE
Who?
VICTOR
Some dancer that was at the party
and told the police about her.
They’re looking for three Latinos.
I think they should go after the
Colombians instead of hassling
Cubans.
AGUIRRE
Ah, your contact is full of shit.
VICTOR
No, no, Javier, he’s good. I took
care of him when my brother went to
jail. I know you have your lawyer
friend, but this guy is on the
inside.
 36.

A PAUSE
Aguirre hides a glowing smirk of renewed confidence.
AGUIRRE
Victor, things are going to change
with me. I’m going to start some
business ventures soon. No more of
this streets corner shit. I could
use your skills.
VICTOR
(surprised)
Really? Javier, it would be an
honor to work with you. How much?
AGUIRRE
Thousand a week. Who knows? With
your contact it could be very
smooth for us...
INT. POLICE STATION - SQUAD ROOM - EVENING
An assortment of DETECTIVES, OFFICIALS, and SPECIALISTS,
including Ferguson, Grimanski, Adams, Gonzales, and Diaz
gather around and sit down in the room.
Drawn on the whiteboard is a floor plan of the mansion. A
sketch of Mirage sits on a canvas.
INSERT - COMPOSITE OF MIRAGE
Estevez enters and begins the inquiry.
ESTEVEZ
(to all)
Okay, ladies and gentlemen, you
know why we are here. I don’t have
to tell you how much is at stake in
this case. The governor and some
congressmen will be keeping tabs.
CNN made it national news. I expect
everybody to act in a professional
and thorough manner. First, I want
to start which the Crime Scene
Unit. Gail Dow, your report,
please.
GAIL DOW, petite, mid-40s, stands up.
 37.

DOW
(to all)
Three hundred and ten photos were
taken at the scene, one hundred
forty latents lifted, dozens of
blood samples collected, and seven
spent nine-millimeter casings were
recovered along with two Glock
semiautomatics, both from a stolen
shipment earlier this week. Only
six spent bullets, four from the
heads of the victims were
recovered, which means one of the
expended casings is unaccounted
for. No prints on the guns.
ESTEVEZ
Thank you. Mary Iversen, you’re
next. What do you have for trace
evidence?
MARY IVERSEN, mid-30s, medium height, stands up.
IVERSEN
(to all)
Well, we did a preliminary on some
of the hairs this afternoon. You
can forget DNA on the auburn
strands. Not even blood type. It’s
synthetic, not hair at all. It
probably came from a wig.
ESTEVEZ
(perturbed)
Wonderful. So this composite we
have of Mirage is now useless?
IVERSEN
(slightly hesitant)
Yes, I’m afraid so.
ESTEVEZ
Very well, then. Thank you for the
report. Mark Sanders, have you had
a chance to look at any of the
latents yet?
MARK SANDERS, African-American, medium height, late-40s,
stands up.
SANDERS
(to all)
Yes. Of all the latents lifted from
the scene, only thirty were of
value, all identified to the
victims. The most interesting is
the band-aid.
(MORE)
 38.
SANDERS (CONT'D)
The print from it does not match
any of the victims and the ridges
are small enough such that we
believe it came from a pinky
finger.
ESTEVEZ
Any other DNA on it? Blood?
SANDERS
No.
ESTEVEZ
Good. That might be our link to
Mirage. Thank you. Bill Adams, what
can you tell us about the owner of
the house, Lillian Diefenbach?
ADAMS
(to all)
Lillian Diefenbach, white female,
age fifty-two. Born in Connecticut,
her parents are deceased, divorced
twice, and has a bank account that
could buy all of our houses
together.
ESTEVEZ
Criminal record?
ADAMS
None, but she was connected.
Intelligence says there is a file
on her where an informant returned
state’s witness identified her as a
power broker for organized crime.
As in, she didn’t commit the
crimes, but acted as a go-between
for those who did. Her lawyer is
Anthony Scrofano, that sleaze
criminal defense attorney.
ESTEVEZ
Yes. I know him. What about her
relation to the other victims?
ADAMS
Just one thing. We believe that her
and the second woman, Jane Vaughn,
were customers of the third, Sylvia
Cicerone. Cicerone owns a beauty
shop on Miami Beach.
EXT. ESTEVEZ’S HOUSE - BEDROOM - MOMENTS LATER
ROBYN ESTEVEZ sits up in bed reading the newspaper, intensely
absorbed it is contents.
 39.

ESTEVEZ
(to Robyn)
Hey there sweetheart.
Robyn looks up startled.
ROBYN
(surprised)
Oh, Mike, I’m sorry, I didn’t hear
you come in!
Robyn gets up and walks over the Estevez. They give each
other a kiss. Robyn puts her arms around him and gives him a
big bear hug.
ESTEVEZ
(chuckling, friendly)
Whoa, what’s all this about? I
guess it has been a while, hasn’t
it?
ROBYN
Yeah, it really has.
ESTEVEZ
I missed you last night. I got home
as the sun was rising and you were
still gone.
ROBYN
Oh, I had to rush to the office to
fax some last-minute contracts to a
client right before his plane left.
We need to get a fax machine here.
ESTEVEZ
Well, I’m sure by now you heard
about what went down in Cocoplum.
ROBYN
Yeah, I heard. Can’t they find
someone else to handle this? Just
this once?
ESTEVEZ
I know it’s bad, really bad, but I
think we’ve got the entire state
government behind us on this one.
Robyn lets go and walks into the bathroom.
ESTEVEZ (CONT’D)
We have some good leads. How’s
Corrina, by the way?
Estevez takes off his jacket and begins to undo his tie. The
FAUCET turns on in the bathroom.
 40.

ROBYN (O.S.)
She had a really fun time at her
grandmother’s. Getting her into the
car to leave was like pulling
teeth.
Estevez smiles.
ESTEVEZ
Oh, how was your meeting? Did you
close any deals?
ROBYN (O.S.)
(nervously)
Not this time. You know how the
market is now. It’s a struggle this
time of year.
Estevez pauses with a quizzical look on his face. He then
proceeds getting ready for bed.
MOMENTS LATER the lights are off. Estevez looks at Robyn now
asleep at the far side of the bed with her back towards him.
INT. ESTEVEZ’S HOUSE - BEDROOM - MORNING
The South Florida sun glows into the room through the blinds.
IN THE BATHROOM
Estevez confidentially adjusts his tie.
IN CORRINA’S ROOM
Estevez leaves a note on Corrina’s pillow.
THE NOTE
Daddy Loves You!
EXT. EVERGLADES - CREEK BANK - LATER
The water from the previous night’s rain quietly drips off
from leaves and foliage.
A GECKO quietly sits ON A TREE.
SUDDENLY -
A BB hits the tree only an inch above it. ACROSS THE CREEK,
TWO BOYS ages ten to twelve, stand with a BB rifle.
BOY1
(to Boy2)
See, I told you to aim lower. You
always shoot too high.
 41.

BOY2
What the hell do you know? You
couldn’t hit an elephant’s ass with
a target painted on it.
BOY1
Here, let me try.
BOY2
(hands rifle)
Fine...
Boy1 holds the butt of the rifle against his shoulder and
carefully adjusts his aim. He fires.
The BB hits and ricochets off of the tree and onto an object
sticking out of the water, creating a metallic “DING” SOUND.
BOY1
What is that?...
From afar, the trunk of a Lincoln SEDAN sticks out of the
water...
EXT. CAUSEWAY - CONTINUOUS
Estevez’s Taurus drive over the causeway.
IN THE CAR -
Estevez drives, with Ferguson in the passenger seat.
FERGUSON
(to Estevez)
So where are we going now?
ESTEVEZ
Sylvia Cicerone’s beauty shop on
the beach. It was broken into last
night.
FERGUSON
Really? Think there’s a connection?
ESTEVEZ
Let’s hope so. It might help us.

ON THE CAUSEWAY -
Estevez continues to drive them towards Miami Beach.
ESTABLISHING - SYLVIA’S
CU - Broken lock on back door.
 42.

FERGUSON (V.O.)
Is anything out of place?

INT. SYLVIA’S - CONTINUOUS

Ferguson sits across and questions a female MANICURIST.
MANICURIST
No.
FERGUSON
Is anything missing?
MANICURIST
Nope.
FERGUSON
Do you know of any woman that goes
by the name of Mirage?
MANICURIST
Can’t say I do.
Ferguson breathes an empty sigh at the apparent futility of
his questioning. At the front of the store, Estevez continues
his questioning of a female HAIRDRESSER.
ESTEVEZ
...And you two are the only
employees scheduled to work today?
HAIRDRESSER
Yes sir. Mondays are pretty slow
for us.
ESTEVEZ
Did you ever hear Sylvia and Ms.
Diefenbach discuss a party of any
kind?
HAIRDRESSER
Yeah, I heard Sylvia was going to
some big party over in Cocoplum,
but I didn’t know who.
ESTEVEZ
I see. Did Sylvia have any enemies
you were aware of? Anyone who might
want to break in here?
HAIRDRESSER
No, I don’t think so. Again, I
didn’t know her too well. She was
sort of private. She talked with
her clients a lot more than she did
with us.
 43.

ESTEVEZ
Do you mind if I take a look
through the appointment book?
HAIRDRESSER
Not at all.
The Hairdresser leads Estevez around the counter, opens the
APPOINTMENT BOOK and hands it to him.
HAIRDRESSER (CONT’D)
Here, this is where last week’s
appointments start.
ESTEVEZ
Thanks.
Estevez begins to quickly scan through and turn each page. He
stops after the appointments for Friday. The REMNANTS of a
torn page lay for Saturday’s appointments.
ESTEVEZ (CONT’D)
Is there any reason why an employee
would take out the page for
Saturday’s appointments?
The hairdresser looks over in the book.
HAIRDRESSER
Oh dear, it’s missing?
ESTEVEZ
Yes, ma’am. It looks like someone
didn’t want us to know who was here
that day. I’ll need to check these
pages for prints.
EXT. SYLVIA - MOMENTS LATER
Estevez and Ferguson walk along the sidewalk.
FERGUSON
(to Estevez)
...Now, the way I see it, Mirage’s
real name was probably on that
missing page. Which means we need
to talk to every employee who
worked here Saturday.
ESTEVEZ
That’s right. You’re putting it
together. Too bad the one we need
to talk to the most is dead.
FERGUSON
Think we can still get everything?
 44.

ESTEVEZ
It’ll probably be a lot harder now
with that bogus composite of
Mirage. Come on, let’s get some
lunch. It’s going to be a long day.
INT. AGUIRRE’S HOTEL ROOM - AFTERNOON
On a TABLE there are lines of COCAINE laid out in a tray.
Aguirre lays in bed with a PROSTITUTE. She straddles on top
of him. Erotic angles. His CELL phone goes off on the
nightstand. Aguirre reaches for it and looks at the number.
AGUIRRE
(mumbling)
Goddammit...
The prostitute goes into the bathroom as Aguirre dials the
number. Scrofano answers.
SCROFANO (V.O.)
Hey asshole, turn on the fucking
television! Channel Seven!
AGUIRRE
(into phone)
Don’t call me--
SCROFANO (V.O.)
Just do it!
Aguirre sits on the edge of the bed, turns the television on.
ON THE TV -
A REPORTER stands in the everglades in front of a crew
hauling the Lincoln SEDAN out of the water.
REPORTER (V.O.)
...And as you can see, this is the
submerged car where the bodies of
two men were recovered just this
afternoon from an Everglades
canal...
RETURN TO SCENE
Aguirre stares at the television in silent horror.
AGUIRRE
I can’t talk right now. I’ll come
over to your place.
SCROFANO (V.O.)
No way! Don’t ever come near me,
you hear?! If you have to reach me
call my cell. That’s it! And find
that fucking Mirage. Asshole!
 45.

Scrofano hangs up abruptly as Aguirre sits, dumbfounded.

EXT. BEACH - LATER
Robyn and Corrina walk along the SHORELINE, holding hands.
Robyn lights up a cigarette, her hands tremble.
CORRINA
Mom, you’re smoking again?
Robyn ignores the question. Suddenly she throws off the
cigarette.
CORRINA (CONT’D)
Mom? Can I ask you a question? It’s
kind of important.
ROBYN
Sure, honey, what is it?
CORRINA
Well, it just seems like we don’t
do anything anymore.
ROBYN
What do you mean?
CORRINA
I mean, you and daddy and me. We
hardly do things together anymore.
Robyn stops walking; looks into Corrina’s eyes.
ROBYN
I know baby. I’m sorry. It’s just
been a really busy year for both of
us. And, well, sometimes daddy’s
work takes a lot out of him. He
just needs to relax and cool down.
CORRINA
I know, but way does it have to be
that way? Can’t there be some time
for just us? Do you and daddy still
like each other?
ROBYN
Of course, baby, of course we do.
And we both love you very much,
Corrina, we always will. No matter
what, okay?
CORRINA
Okay.
Robyn hugs Corrina, her face hides anxiety.
 46.

EXT. BEACH - EVENING

Rays of daylight fade in, in the sky over the ocean.
EXT. COCONUT GROVE, STREET - NIGHT
Estevez and Ferguson drive along.
IN THE CAR -
Estevez fumes with bewilderment.
ESTEVEZ
I can’t believe this. I cannot
fucking believe this!
FERGUSON
When did he run?
ESTEVEZ
Just two hours ago. I told Gonzales
over and over again to have someone
watch that kid until we established
rotation. He insists on playing the
big shot and now we have another
fucking witness on the loose.
OUTSIDE -
The two men park along the curb in front of a small white
house.
ON THE PORCH -
Estevez knocks. A moment later, the door opens with a chain
still attached to the wall. A young black woman, ARTISHA
Jackson, peers through.
ESTEVEZ
Mrs. Jackson?
ARTISHA
Yes.
ESTEVEZ
I’m Sergeant Estevez of the Miami
Metropolitan Police Department, and
this is my partner, Zeke Ferguson.

ARTISHA
Oh, no, is Ken in trouble?
ESTEVEZ
He might be in danger. That’s why
we need to talk to you, ma’am.
 47.

IN THE HOUSE -
ARTISHA takes off the CHAIN and opens the door. Estevez and
Ferguson step inside the sparsely furnished house. The WAIL
of a BABY is heard in the distance. Artisha crosses her arms
defensively.
ARTISHA
Alright, what is this all about?
ESTEVEZ
Mrs. Jackson, your husband is a
witness to a murder; several, in
fact.
ARTISHA
(dumbfounded)
What?
ESTEVEZ
He was in Cocoplum Saturday night
when the murders occurred.
Artisha takes in the shock of the revelations.
ARTISHA
Now I remember. He said he had a
gig in some wealthy lady’s house.
Thank god he’s alive. Oh, Thank
god.
FERGUSON
He was in our custody until this
evening. When was the last time you
heard from him?
ARTISHA
About an hour ago. He said the
company was sending him upstate for
some special show. I guess that’s
not true, huh? Why didn’t he tell
me about this? I understand.
ESTEVEZ
Ken is probably very scared and
confused right now Mrs. Jackson. Is
there anyone he might be staying
with?
ARTISHA
He has an older brother in Pompano.
His name is Jefferson. Everyone
calls him Jeff.
FERGUSON
Would you mind calling him? Just to
check?
 48.

ARTISHA
No, not at all. Now, I want to know
how he is, even more than you
guys.
Artisha picks up the phone; dials. After a few rights, Jeff
answers.
JEFF (V.O.)
Hello?
ARTISHA
(into phone)
Jeff, this is Artisha. Have you
seen Ken lately?
JEFF (V.O.)
No, I haven’t seen him in days.
Why?
Artisha places her hand over the phone and looks up at
Ferguson.
ARTISHA
(to Ferguson)
He wants to know why I’m asking.
What should I tell him?
FERGUSON
Don’t say anything about the
murders. Don’t tell anyone.
Artisha turns back to the phone.
ARTISHA
(into the phone)
Oh, he had a show up north and I
just hadn’t heard from him in a
while, that’s all. Thanks.
Artisha hangs up the phone and turns to the two detectives.
ARTISHA (CONT’D)
Is there anything else I can do?
How can we find him? Please, what
can we do?!
ESTEVEZ
There is one thing, Mrs. Jackson.
Ken is extremely important to this
case. The sooner we find him the
safer he will be. That’s why we
like to put up a twenty-four-hour
police presence in your house. One
officer at the time to record any
calls and for your own safety as
well.
 49.

Artisha looks at him with gratitude.

ARTISHA
Of course, of course. Anything to
bring back Ken.

ESTABLISHING - MEDICAL EXAMINER’S OFFICE - MORNING

INT. MEDICAL EXAMINER’S OFFICE - HALLWAY - CONTINUOUS
Estevez and Ferguson walk to the examination room.
FERGUSON
(to Estevez)
Aw, man, do we have to?
ESTEVEZ
Yes, it’s all part of the job. You
do want to work in homicide, right?
FERGUSON
Yeah, but not right after
breakfast..
INT. MEDICAL EXAMINER’S OFFICE - AUTOPSY ROOM -- CONTINUOUS
Estevez and Ferguson enter. Ferguson immediately takes out a
puts a handkerchief up to his nose.
FERGUSON
(mumbling)
Aw, man!
Doctor GAVILO stands across the room next to TWO BODIES laid
on a metal tray.
ESTEVEZ
Doctor Gavilo, what have you got
for us today?
GAVILO
Two men in body bags from that car
found in the Everglades.
ESTEVEZ
Phew! What a smell! Who’s working
it from the county?
GAVILO
Louis Vasquez. He’s on his way.
ESTEVEZ
Any idea who they are?
 50.

GAVILO
No, there’s no ID. Can’t see any
markings on the skin, yet. They’re
in the intermediate stages of
decomposition. The Everglades will
do that very fast this time of
year.
ESTEVEZ
When will the lab techs be here to
take their prints?
GAVILO
In about an hour.
FERGUSON
Their hands are all - ugh! a mess.
You can’t roll them.
ESTEVEZ
They glove them. Doc here will cut
off the fingers and send them to
the Crime Lab. There, they’ll
chemically treat them and after
they dry, the skin will peel off
all in one place.
FERGUSON
Nasty. Then what?
ESTEVEZ
Then the ID man inserts his fingers
into the corpse’s fingers just like
a glove then rolls the prints.
Simple.
FERGUSON
I think I’ll stick with homicide,
thanks.
LOUIS VASQUEZ, Cuban, mid-30s, enters the room. Ferguson
looks increasingly ill in the corpse’s presence.
VASQUEZ
Mike Qué tal, amigo?
ESTEVEZ
Loius, bien, bien gracias. How is
it going in the county?
VASQUEZ
Usual shit, murders, drugs...
ESTEVEZ
Meet my partner, Mr. Zeke Ferguson.
 51.

VASQUEZ
Oh, nice to meet you, Sir.
FERGUSON
Call me Zeke. Nice meeting you,
too, Louis.
VASQUEZ
Say, I need a little favor, Mike.
Would you like this name
(hands over the folder)
through your files? The car was
registered to him and we have
nothing on the guy.
ESTEVEZ
What’s the name?
VASQUEZ
Felix Armando De La Rosa, D.O.B.
2/12/70. The address is an
abandoned house in Little Havana.
ESTEVEZ
Felix, huh? No problem.
SUDDENLY, Ferguson turns around and vomits over the floor.
INT. AGUIRRE’S HOTEL ROOM - CONTINUOUS
Victor snorts a line of cocaine and lifts his head up in the
rush. Aguirre leans back in his chair, drinking a beer.
VICTOR
(to Aguirre)
Ah, man... this is good shit. Sure
you don’t want any, amigo?
AGUIRRE
No thanks. I will celebrate later
when the time comes.
VICTOR
I almost wish I didn’t sell this
cut to you. It’s the best I’ve
sold. Maybe next time I will buy
from myself.
AGUIRRE
How about the police? Do you ever
have problems with them?
VICTOR
No, almost never. My friend in the
department takes good care of me.
So, no more problems. Have even
stood up to that asshole Estevez.
 52.

AGUIRRE
Who?
VICTOR
That big shot homicide Sergeant;
Miguel Estevez. He’s the one in
charge of that big murder case. You
know, that one from Saturday? I
wish someone would take that pig
out.
Victor snorts another line. Aguirre looks at him with
interest at the revelation.

CU - AGUIRRE
He takes out a wad of hundred-dollar bills, tosses them to
Victor. Victor looks up in surprise.
VICTOR (CONT’D)
What’s this for, amigo?
AGUIRRE
I need to speak with your contact,
Victor.
INT. POLICE STATION - ADAMS DESK - MOMENTS LATER
Adams sits at his desk, furiously taking down notes as phones
RING. His own phone goes off. Adams answers.
ADAMS
(into phone)
Adams here.
INT. MEDICAL EXAMINER’S OFFICE - HALLWAY -- CONTINUOUS
ESTEVEZ
(into phone)
Bill, it’s Mike. How are things
going?
Ferguson walks out of the bathroom from behind.
INTERCUT AS NEEDED
ADAMS
Crazy. The phones have been ringing
off the hook all day. After your
mug was on TV we’ve had about fifty
women call in, all claiming to be
Mirage. They hang up after finding
out there’s no reward.
 53.

ESTEVEZ
(chuckling)
One of the drawbacks of a desk job.
ADAMS
Tell me about it. CNN is doing a
profile on all the victim’s
families. Oh, I spoke with the gate
guard today who waved in the guests
to Diefenbach’s. He said, a woman
matching Mirage’s description drove
a little red sports car with decal
stickers on the bottom of the back
windshield.
ESTEVEZ
Great. Looks like we’re making
progress. Keep up the good work.
ADAMS
You got it.

EXT. MEDICAL EXAMINER’S OFFICE - PARKING LOT - MOMENTS LATER

Estevez and Ferguson walk back to their car. Ferguson pauses
just before opening the passenger door.
FERGUSON
Mike, wait, I just thought of
something.
ESTEVEZ
What’s that?
FERGUSON
Felix Armando De La Rosa. Felix!
Get it? Jackson said he heard one
of the killers referred to as
Felix!
ESTEVEZ
I knew you would catch that. Okay,
smart guy, what do we do next?
FERGUSON
We compare the bullets from the
victims with the bullets from these
guys.
ESTEVEZ
Very good. You learn fast.
 54.

INT. POLICE STATION - HALLWAY - LATER

Estevez walks down the hallway as Menendez walks along and
peppers him with questions.
MENENDEZ
...How about the three Latin males?
Any suspects?
ESTEVEZ
No. None.
MENENDEZ
Are the murders drug related?
ESTEVEZ
No idea.
MENENDEZ
Are the two bodies found in the
Everglades related to the case?
ESTEVEZ
We don’t know.
From behind, CAPTAIN FRANK Marshall steps into the hall from
his office and calls after Estevez.
MARSHALL
Excuse me, Mike, can I speak with
you for a moment?
ESTEVEZ
Sure, Captain, I’ll be right there.
MENENDEZ
How about Mirage? Any news on her?
Estevez turns back towards Marshall’s office.
ESTEVEZ
(irritable)
Gloria, no. Not yet. Look, I’ll get
back to you as soon as I know
anything, okay?
Menendez throws up her hands in futility.

INT. MARSHALL’S OFFICE -- MOMENTS LATER

Estevez takes a seat in front of Marshall’s desk.
ESTEVEZ
Okay, Captain, what’s up?
 55.

MARSHALL
Mike, it’s about you and Lieutenant
Gonzales.
A PAUSE

ESTEVEZ
And?
MARSHALL
Look, I know that you two don’t get
along, but as long as you work
under him, you need to keep him
informed. Otherwise you may be
written up for insubordinate
behavior.
ESTEVEZ
Captain, are you aware of what he
told the media Saturday? That we
are looking for a Latin m---
MARSHALL
(interrupting)
Yes, I know. And I’ve spoken with
him about it.
ESTEVEZ
I think it’s a bit deeper than
that. Ken Jackson bolted from the
station on his watch. So now we
have two, possibly three witnesses
on the loose. I wouldn’t be
surprised if the killers have
already figured out that one of
them is named Mirage. They’re
probably looking harder for her
than we are. And they don’t have to
follow the rules of the law.
MARSHALL
This is about behavior towards a
superior officer.
ESTEVEZ
Is there any way he can be
replaced?
MARSHALL
(interrupting)
Not in the middle of something like
this. Maybe after we---
ESTEVEZ
(interrupting)
By then it could be too late.
(MORE)
 56.
ESTEVEZ (CONT'D)
Gonzales has a habit of opening his
mouth when he shouldn’t, and this
case is more important that the ego
of some publicity whore.
MARSHALL
There’s a pretty strong thing to
say about your superior officer.
ESTEVEZ
A spade is a spade, sir.
Marshall gets up and leans across the desk towards Estevez.
MARSHALL
Well, it’s because of your attitude
and shit like this, Sergeant, that
you’re not a Lieutenant.
IN THE HALLWAY - MOMENTS LATER
Estevez walks out of Marshall’s office, bitter-faced. He
motions at Ferguson to follow him. From his office window,
Gonzales looks on at Estevez with resentment.
INT. LUXURY CONDO - SCROFANO’S BEDROOM -- AFTERNOON
Scrofano lies in bed. On the other side, two lines of
COCAINE; a bottle of wine. Phone rings. Scrofano reaches
over; picks it up.
SCROFANO
(into the phone)
Hello?
AGUIRRE (V.O.)
Tony, it’s me. Today I will find
out who is Mirage. I promise you. I
will take care of her, very soon.
SCROFANO
(into the phone)
You have the wrong number.
Scrofano hangs up the phone. Across from him in bed, Carolyn
Webb. Upset, she gets out of bed and begins to dress herself.
SCROFANO (CONT’D)
(to Webb)
Hey baby, what’s wrong? I thought
we were having a good time.
WEBB
We were Tony, we were, but I can’t
do this anymore.
Scrofano gets out of bed, walks over to her.
 57.

SCROFANO
Baby, baby, what is it? I can give
you anything you need.
WEBB
It’s not that. It’s just... I’m
tired of hiding out. I can’t even
go back to my own place. It’s
ridiculous.
SCROFANO
Look, it’s just for a little while,
just until all this shit blows.
It’s for your safety, for mine too,
for the both of us. We both knew
little too well, and I don’t want
you getting caught in the middle of
this.
WEBB
But, why the killing Tony, why?
When I beeped you that night I
thought it was just going to be
a robbery, that’s all.
SCROFANO
It’s because of those crazy fucking
Cubans, that’s why. Honestly, I
didn’t think it would end up like
this. I’m really sorry, okay?
WEBB
I just need to go to my place
tonight and get few things. Okay?
SCROFANO
Alright, alright, just don’t worry
anymore. When it’s all over I’ll
take you to Europe. We’ll take that
cruise in the Mediterranean.
WEBB
You promise?
SCROFANO
Sure baby, anything for you.
Scrofano and Webb then embrace in a conciliatory hug.
INT. PUB AL CONQUISTADOR - LATER
A ceiling fan breezes over the low-key Latin pub. In a booth,
Gonzales and LIEUTENANT JUAN MASVIDAL sit; a group of beer
bottles on their table. Gonzales rolls his own cigarette.
 58.

MASVIDAL
(to Gonzales)
Ah, how lucky you are, Raul.
Already working in homicide. How
did you do it?
GONZALES
A little help from our Latin
brothers, amigo.
MASVIDAL
They helped me get into records.
But homicide, that would be
something. You’re a lucky man,
Raul.
Gonzales leans back and strokes his mustache thoughtfully.
GONZALES
You’re right. Records is not good
for you, amigo. You’re much better
than that. I’ll pull some strings
and see what I can do.
MASVIDAL
Oh, thank you, amigo, thank you. I
won’t forget it. Buy the way, how
is that big murder case going?
What’s it like working with
Estevez?
GONZALES
I can’t stand that bastard. He was
talking shit about me to Marshall
this afternoon. He doesn’t ever
cooperate, and he is a traitor to
his Latin culture.
MASVIDAL
How about the case? Anything big on
the horizon?
GONZALES
Well, we’re really not supposed to
talk about it. You know, really
important stuff.
MASVIDAL
Oh, come on amigo, one murder is
not different from another.
Besides, we used to talk about
these things all the time. We go
back a long way. I would feel very
privileged to hear it from you, my
friend.
GONZALES
You know how to keep secrets, then?
 59.

MASVIDAL
Of course. You can tell me
anything.

EST. ESTEVEZ’S HOUSE - MORNING

Estevez walks out of his house and gets into the car. He
pulls out of the driveway and begins to drive off.
SUDDENLY -
Estevez stops. He pulls back to the driveway entrance; LOOKS
AT Robyn’s car-- a red Toyota Supra with two F.O.P decal
stickers in the bottom left corner of the back windshield.
RETURN TO SCENE
Estevez turns forward again and drives off. At a distance
Aguirre’s convertible MERCEDES pulls away from the sidewalk.
EXT. CAUSEWAY - LATER
Estevez and Ferguson drive across the ocean on the causeway.
IN THE CAR -
An unusual sense of quiet inhabits the vehicle. Ferguson
looks at Estevez with a strange curiosity.
FERGUSON
You okay this morning, Mike? You’re
kind of quiet.
Estevez feels perking up.
ESTEVEZ
Oh, it’s nothing; haven’t had my
daily jolt of coffee. The machine
at home isn’t working. So, Zeke,
tell me, why did such a brainy guy
like you want to get into law
enforcement? Why aren’t you
studying astrophysics of something?
FERGUSON
Well, I was.
ESTEVEZ
(surprised)
Really?
FERGUSON
Yeah, I was thinking of getting my
PhD after college.
 60.

ESTEVEZ
So, what stopped you?
FERGUSON
I don’t know. I guess I just got
tired of working in labs with
numbers and theorems and what not.
And it’s not the ideal profession
for meeting women.
ESTEVEZ
(laughing)
I guess not. But why homicide?
FERGUSON
I’ve always liked solving problems
and figuring thins out. Numbers and
formulas get really old after a
while. Plus, this helped me to open
my eyes on how people work and
interact with each other in a
really... fundamental sense, you
know?
ESTEVEZ
Yeah, it can do that. But it’s not
always pretty, as I’m sure you’ve
learned.
FERGUSON
Exactly. But...
ESTEVEZ
So, what did your parents think of
this sudden change?
FERGUSON
They weren’t too thrilled about it
at first. They were political
refugees from Haiti and everything,
so they wanted me in where I could
use my brain.
ESTEVEZ
I bet.
FERGUSON
But now they are supportive. It
just took awhile. How about you?
You seem like you were born for
this kind of work.
ESTEVEZ
Almost.
FERGUSON
What do you mean?
 61.

ESTEVEZ
It goes back to where I was eight
or nine. My parents came over from
Cuba when I was only two. My father
studied to be a doctor, but
difficult conditions ended it.
Instead he dreamed I would become a
doctor. He worked hard, really
hard. He became the general manager
of a restaurant. One night after he
closed up and was walking back to
his car, two punks came up and
demanded his wallet. He handed it
over, didn’t put up a fight or
nothing. They still shot him. All
for a measly forty dollars.
FERGUSON
Were they caught?
ESTEVEZ
Only one was caught. The next day.
Both sixteen. I could never let go
of it. Never. Anytime I saw shit
like that on the news I was
outraged thinking about widows and
orphans left behind, the ones who
weren’t as lucky as me. Hm! I’m
still looking for the other one
that disappeared. That’s what keeps
me going.
ON THE CAUSEWAY -
Estevez and Ferguson continue driving along.

EST. WEBB’S HOUSE - MOMENTS LATER

Webb pulls up her blue corvette to the driveway. She exits
and walks to the front door of the house.
INT. WEBB’S HOUSE - MOMENTS LATER
Webb enters her apartment and closes the door. The lights
remain off. An eerie, quiet stillness inhabits the home as
Webb walks through it. She calls out for her cat.
WEBB
Tabby, Tabby, where are you Tabby
Wabby? I’ve got tuna for you.
SUDDENLY -
Aguirre comes out from behind; grabs Webb, points the gun to
her temple, hand over her mouth. Webb freezes in fear.
 62.

AGUIRRE
(to Webb)
Don’t fucking move, Miss Mirage!...
No screaming Mirage or I kill you.
She squirms and grunts in panic, eyes darting left and right
as he twists one arm behind her.
AGUIRRE (CONT’D)
If I let you go, you will no
scream, right?
She shakes her head, vigorously.
AGUIRRE (CONT’D)
I mean it lady. No even talk loud.
Nothing funny.
She nods again. Gun against her temple. He removes his hand.
WEBB
(whispering)
Please, I’m not Mirage. I’m not who
you think I am.
AGUIRRE
(puts pistol to her head)
Turn around... Slowly. I must tie
you. Don’t worry, I won’t hurt you.
WEBB
What are you going to do? Where’s
my cat?
AGUIRRE
Quiet. I’ll find that pussy for
you.
He bounds her wrists behind her with nautical rope.
WEBB
What are you going to do to me? I’m
not Mirage. You understand. Yes?
He wraps a roll of three-inch surgical tape around her head
and mouth.
AGUIRRE
You see, I know you are Mirage. The
police know who you are. Stay
still.
She shakes her head violently over and over. He smirks,
bounds her feet to the corners of the bed frame. She grunts
desperately, squirms, writhes, eyes wide with horror.
 63.

AGUIRRE (CONT’D)
(salivating)
You are a very pretty lady... I
like your little freckle.
She watches in terror as Aguirre removes a steel SILENCER
from his pocket, screws it on to the muzzle of the Glock,
lays it upon a nightstand. Her arms twisted, tied under her
back. His eyes scan her body from toes to breasts.
He opens his blade, cuts the dress, first the spaghetti
straps; then the neckline... the skirt... the panties. She
shakes her head furiously, left and right, pleading,
grunting.
AGUIRRE (CONT’D)
I have this, big present for you.
O.S.V. - SCREAMING - BLACKOUT
EXT. JACKSON’S HOUSE - AFTERNOON
Grimanski pulls his car up to the curb and steps out. He
waddles up to the front door; knocks. As he waits, he does a
double take, looks at the street. Aguirre’s white MERCEDES
convertible, windows tinted, slowly CRUISES BY.
RETURN TO SCENE
A FELLOW OFFICER opens the door. Grimanski brings his
attention back to the house.
FELLOW OFFICER
Grimanski how’s it going?
GRIMANSKI
Ah. I’ve been better.
Grimanski steps inside.
INT. JACKSON’S HOUSE - CONTINUOUS
The Detective introduces Grimanski to Artisha Jackson.
FELLOW OFFICER
Mrs. Jackson, this is Sergeant
Grimanski. He’ll be taking over now
till eleven.
Grimanski looks up to the Detective, surprised at the news.
Artisha stands, holding the BABY.
ARTISHA
(to Grimanski)
How do you do?
The detective exits the house. Grimanski hurriedly reaches
his arm through the open doorway.
 64.

GRIMANSKI
(quietly to detective)
Hey, wait a minute. That’s twelve
hours!
FELLOW OFFICER
I know. We’re short on manpower,
Gus. Don’t worry, all you have to
do is sit on your ass just like
always. You should be thanking me.
The Detective leaves; Grimanski stands expressionless. He
turns around back inside the house; smiles embarrassedly at
Artisha. Artisha smiles back.
INT. POLICE STATION - SQUAD ROOM - LATER
Estevez walks confidently into the room. Marshall, Adams, and
Diaz stand in the room talking quietly; they become silent at
his arrival. Estevez stops.
ESTEVEZ
(to all)
Okay, what is it?
MARSHALL
It’s Webb. Bad news. She was found
dead this morning in her apartment.
Raped. Shot in the head.
ESTEVEZ
(angry, incredulous)
How did they know we were even
looking for her?
MARSHALL
We don’t know, Mike. We just don’t
know. Vasquez’s crew is handling
it.
A SECRETARY, HOLLY, peeks her head in the room and calls to
Estevez.
HOLLY
Excuse me, Sergeant Estevez, your
wife is on line two.
Estevez throws his hands up in incredulity.
ESTEVEZ
Well, tell her I’m busy.
HOLLY
She said it’s very urgent.
Estevez pauses in exasperation, suddenly torn between two
conflicting impulses.
 65.

ESTEVEZ
Okay, okay, I’ll be right there.

INT. POLICE STATION - ESTEVEZ’S OFFICE - MOMENTS LATER

Estevez walks briskly into his office and picks up the phone.
ESTEVEZ
(into phone)
Hey baby, what is it?
Silence.
ESTEVEZ (CONT’D)
Robyn?
ROBYN (V.O.)
I’m here.
ESTEVEZ
Is everything okay?
ROBYN (V.O.)
We need to talk, Mike.
ESTEVEZ
Can’t it wait? I’m in the middle of
a huge...
ROBYN (V.O.)
(interrupting, cries)
No, it can’t. I have to talk to
you, now. I mean... now.
ESTEVEZ
Meet me at the Rusty Pelican at
noon.
Robyn hangs up. Estevez stands in disbelief.
ESTEVEZ (CONT’D)
(to himself) Fuck!
EXT. AERIAL VIEW OF DOWNTOWN MIAMI
INT. SCROFANO’S LAW OFFICE - MOMENTS LATER
Scrofano at the desk, writing in a furious, agitated manner.
A pan view of the city sits behind him through the huge
windowpanes. Phone rings. Scrofano picks up.
SCROFANO
(into phone)
This is Tony.
 66.

AGUIRRE (V.O.)
I did it, boss. I took care of
her. Mirage is no longer a
problem.
SCROFANO
Yeah! I saw the news. That wasn’t
fucking Mirage, you asshole, that
was my fucking girl you wasted!
AGUIRRE (V.O.)
What? You’re shitting me! Caramba!
I sorry. My contact told me she was
at the party and police were 100--
SCROFANO
Right stupid! Remember the girl who
left the house before you went in
and gave us the signal? What the
fuck is wrong with you?! And don’t
ever call me again! Text me from
now on, asshole!
AGUIRRE (V.O.)
Tony, don’ call me --
SCROFANO
Text me this afternoon! Okay?
AGUIRRE (V.O.)
Alright, I will text you at--
Scrofano slams down the phone in anger.
A RECEPTIONIST buzzes the intercom to the office. Scrofano
presses the button to receive the call.
SCROFANO
(towards intercom)
Yes?
RECEPTIONIST (V.O.)
Excuse me Mr. Scrofano. There are
two detectives here who would like
to speak with you.
Scrofano freezes.
RECEPTIONIST (V.O.) (CONT’D)
Sir?
SCROFANO
Send them in.
Scrofano sits back in his chair to compose himself and
dissipate his anger. Door opens. Scrofano stands up. Diaz and
Adams enter and introduce themselves.
 67.

DIAZ
(to Scrofano)
Good afternoon, Mr. Scrofano. I’m
Detective Diaz and this is
Detective Adams.
(showing IDs)
We’d like to ask you a few
questions...
SCROFANO
(obligingly)
Oh, of course. Please, do so.
DIAZ
May we have a seat?
SCROFANO
(hesitating)
Oh, certainly. Sorry, please sit
down.
Diaz and Adams sit down.
ADAMS
Mr. Scrofano, do you have an
employee here by the name of
Carolyn Webb?
SCROFANO
Yes, matter of fact, I do. She’s a
receptionist. Come to think of it,
she hasn’t been to work today.
ADAMS
She’s been murdered, sir. She was
found dead this morning in her
house.
SCROFANO
What? My god, that’s horrible...
horrible... Such a nice girl. Do
you know who did it?
ADAMS
Mr. Scrofano, we understand that
Lillian Diefenbach was a client of
yours. Is that correct?
SCROFANO
Ye. Poor Lillie, I heard all about
that horrible scene in Cocoplum.
It’s all over the news.
DIAZ
What kind of work did you do for
her?
 68.

SCROFANO
Nothing huge. Just some taxes,
probate, that sort of stuff.
DIAZ
Do you know what she would be doing
with a large sum of cash?
SCROFANO
Well, she was quite wealthy, but
aside from what I told you, I
really wouldn’t know.
DIAZ
Well, we are concerned about the
connection between Mrs. Webb and
the Cocoplum case. And seeing as
you knew these people-- worked with
them and all-- we have some
questions we’d like to ask you on
the record. We’d like to take a
statement from you at headquarters.
SCROFANO
(faltering)
Well, of course I’d like to do
anything I could to help... it’s
just that the rest of the day is
booked solid with clients and I
have a deposition to prepare f--
ADAMS
(interrupting)
How about first thing tomorrow
morning?
Scrofano thinks for a moment; looks Adams right in the eye.
SCROFANO
First thing tomorrow morning it is.
Nine o’clock.
INT. RUSTY PELICAN - NOON
Robyn at a table, nervously gulps down a beverage.
AT THE ENTRANCE -
A HOSTESS leads Estevez over to Robyn’s table. He sits.
ROBYN
You’re late, Mike.
Estevez reaches across; puts his hand on hers.
 69.

ESTEVEZ
Baby, I’m sorry; you got to
understand. We’ve got another
murder we think is connected to the
ROBYN
(nervously interrupting)
It’s always that, isn’t it? Just
one more dead body to deal with.
Estevez sits dumbfounded at her sudden, snippy tone of voice.
ESTEVEZ
What’s gotten into you? What’s the
matter? I’ve never seen you like
this.
ROBYN
You haven’t been looking very
closely.
A WAITRESS comes, lays the check on the table. Robyn signs it
hurriedly.
WAITRESS
(to Estevez)
Can I get you anything to drink,
Sir?
ESTEVEZ
(quickly)
No, no, I’m fine.
(to Robyn)
Aren’t you going to eat?
ROBYN
I lost my appetite.
The waitress takes the receipt and leaves.
ESTEVEZ
Look, you brought me here for a
reason. Tell me what’s going on.
ROBYN
(bated)
I think I can help you solve your
big case, Mike.
Estevez freezes, as if finally hearing something he never
wanted or expected to hear.
ESTEVEZ
What?
Robyn glances over across the room.
 70.

SUDDENLY -
Robyn jumps out of her seat in a fright; hastes out of the
restaurant. Estevez follows in bewilderment.
Tables of PATRONS turn around at the NOISE. In the midst of
the commotion, a figure in EEL SKIN BOOTS walks by the table
and deftly pockets Robyn’s carbon copy receipt.
ESTABLISHING - HOSPITAL - LATER
A torrential rainstorm over the palm trees outside the
hospital.
INT. HOSPITAL - CONTINUOUS
Estevez stands, leaning back against a wall. A DOCTOR comes
around the corner.
ESTEVEZ
(to Doctor)
How is she, Doc? Is my wife going
to be okay?
DOCTOR
She’s under sedation right now, so
there’s no chance of her doing
anything harmful to herself or
anyone else.
ESTEVEZ
But... do you know what it was all
about? Did she tell you anything?
DOCTOR
No. She was in a state of shock and
hysteria. It does seem she is
experiencing a severe form of
emotional trauma that, for some
reason, triggered itself at the
restaurant. Have there been signs
of anything at home?
ESTEVEZ
(embarrassed)
No... I don’t think so. I can’t say
I have.
DOCTOR
She’s sleeping right now, but you
are free to enter the room if you
like.
ESTEVEZ
Thank you, Doctor.
The doctor nods; leaves. Estevez turns toward her room.
 71.

INT. HOSPITAL - ROBYN’S ROOM -- MOMENTS LATER

Estevez enters, sits down across from Robyn’s bed. Robyn
sleeps deeply. Estevez looks at Robyn thoughtfully, gets up,
takes a picture out of his wallet.
Gently reaching to her pinky finger, he then presses the
picture up against it...
INT. PARKING GARAGE - MOMENTS LATER
Scrofano walks over to a pay phone in a dimly lit part of the
garage. He picks up the phone, dials. Aguirre answers.
AGUIRRE (V.O.)
Diga me.
SCROFANO
It’s me.
AGUIRRE (V.O.)
Tony, I--
SCROFANO

Look, you fuck! You really fucked

this up big time! The cops came by
my office and they want me to make
a statement tomorrow morning first
thing. Do you hear that?! What kind
of loose cannon are you?!
AGUIRRE (V.O.)
Boss, this time I know Mirage... I
know for sure. I take care of it--
SCROFANO (V.O.)
Forget about Mirage! We’ll take our
chances. You’ve brought too much
heat on us already! From now on, I
don’t know you and you don’t know
me; you got that?
AGUIRRE (V.O.)
Tony, listen...
SCROFANO (V.O.)
No, YOU listen! I know how this
system works; the cops, the judges,
so keep your mouth shut and no more
killing! You are buying us a first
class ticket to death row! One more
fuck up and my little cassette
heads down to South America!
Scrofano SLAMS down the phone and walks away.
 72.

INT. AGUIRRE’S HOTEL ROOM - CONTINUOUS

Aguirre sits with a dead DIAL TONE; there’s a festering
resentment on his face. He looks at the CARBON COPY RECEIPT
gets up, scoops a handful of cocaine into his nose, snorts it
with the vigor of a wild animal.
He points his empty pistol at his reflection in the mirror
and pulls the trigger.
AGUIRRE
Ass hole!
INT. POLICE STATION - SQUAD ROOM - MORNING
An assortment of officials sit down, along with Diaz,
Marshall, Gonzales, Adams, Vasquez, and Garcia. Estevez
stands at the front, seemingly exhausted and preoccupied.
ESTEVEZ
(to all)
Okay everyone, sorry I’m late.
Let’s begin. Angela Diaz, what can
you tell us about Carolyn Webb?
DIAZ
(to all)
Caucasian female, twenty-nine years
old from Atlanta, ex-wife of David
Webb, a local businessman. Found
dead on her living room floor by a
neighbor who was feeding her cat.
ESTEVEZ
Gail Dow, what can you tell is
about the bullet wound?
DOW
(to all)
One gunshot wound right between the
eyes, just like Lillian Diefenbach.
We’ll have the Firearms Lab examine
the bullet asap.
ESTEVEZ
Any prints in the house?
DOW
From preliminaries, it looks like
just hers and her ex’s.
ESTEVEZ
And what about the Everglades
victims? Any connection?
 73.

DOW
The first, Felix Armando De La
Rosa, was shot in the back of the
head, the other, point blank in the
front. Bullets from their heads
match that from Diefenbach’s.
They’re from a gun we don’t have.
All the other victims were shot
with the guns left on the mantel.
ESTEVEZ
Sounds simple enough. The third
covered his tracks by having the
others leave their guns.
(to Vasquez)
Detective Vasquez, what can you
tell us about De La Rosa?
VASQUEZ
He’s thirty, registered with the
INS as a refugee after being picked
up by the Coast Guard three miles
from the shore. Since his release
from Krome Avenue detention in
March, he lived a quiet life in an
apartment on Flagler.
MARSHALL
(to Vasquez)
If he went through processing that
fast, he must have connections.
VASQUEZ
He has one brother, Carlos De La
Rosa, auto paint and body man. No
record on him either, except for
traffic. From what he told us,
Felix was a quiet, law abiding
type.
ESTEVEZ
(to Vasquez)
How about the unknown? Do we have
anything on him?
VASQUEZ
Just high level of cocaine in his
system. That’s it. No I.D.
ESTEVEZ
(to Adams)
Bill, how did the interview with
Scrofano go?
ADAMS
We didn’t learn much, but he agreed
to come in this morning at nine and
give a statement.
 74.

ESTEVEZ
What is your impression?
ADAMS
He seemed pretty upset about Webb’s
death. They are too many dots that
connect him to all of it.
ESTEVEZ
Try and get a list of his known
clients today, alright?
ADAMS
Sure thing.
Ferguson cracks open the door; peeks and motions to Estevez.
ESTEVEZ
(to all)
Excuse me just one moment.
Estevez walks out of the room.
OUT IN THE HALL -
Estevez across from Ferguson.
ESTEVEZ (CONT’D)
Yeah, Zeke, what is it?
FERGUSON
It’s Tony Scrofano, Mike. I don’t
think we’ll be getting a statement
from him this morning.
EXT. LUXURY CONDO - LATER
Three police cars and an ambulance sit outside Scrofano’s
residence. A car with Estevez, Ferguson, and Gonzales pulls
up.
All three men get out and walk briskly towards the
entrance. A FEMALE OFFICER stands sentry at the door. A
RESCUE UNIT holds an oxygen mask to an OLD CUBAN MAID.
ESTEVEZ
(to female officer)
Who is she?
FEMALE OFFICER
The maid, sir. She fainted when she
discovered the scene. Then she woke
up and ran screaming through the
lobby before fainting again. I
wasn’t able to talk to her, yet.
 75.

INT. LUXURY CONDO - SCROFANO’S BEDROOM - MOMENTS LATER

Estevez, Ferguson and Gonzales walk in, as FORENSIC PERSONNEL
pass by them; camera strobes FLASH across the room.
Tony Scrofano is sprawled naked in the center of the bed,
his hands tied, arms overhead, his head hoisted by a
homemade noose; a grotesque face frozen in a hideous grimace.
Blood from a single gunshot wound down his forehead and eyes.
Scrawled in blood upon Tony's giant gut, there’s one word:
ASSHOLE.
On the carpeted floor, lay TWO young PROSTITUTES, one WHITE
the other BLACK, one on each side of the bed, their faces
buried and draped in hair and gore.
The white girl shot one time directly in the face. The other
has one shot between the breasts, another in the forehead.
On the floor, four ejected 9 mm casings, soaking in blood.
FLASHBACK
On a large TV on the opposite wall a porn video shows Carolyn
Webb dancing nude. Scrofano and the two girls make love.
RETURN TO SCENE
Estevez startles.
GONZALES (O.S.)
It’s a fucking slaughter. It would
be nice if Mirage came forward.
Estevez’s face FREEZES.
EXT. LUXURY CONDO - MOMENTS LATER
Estevez stumbles outside along the wall, his face pale, beads
of sweat forming on his brow. Ferguson hurries up to him.
FERGUSON
(to Estevez)
Hey, Mike, what’s up? Are you
alright? Everything okay?
ESTEVEZ
Yeah, yeah... I just need some
sleep, that’s all.
FERGUSON
(lowers voice)
Listen, I heard about Robyn and
everything... is she okay? Corrina
alright?
 76.

ESTEVEZ
Yeah... Robyn’s okay. Corrina’s at
a friend’s. Listen, it’s been a
strange few days. I think I just
need to... go sit down.
FERGUSON
Sure. Sure, Mike. If there’s
anything I can do just let me know.
ESTEVEZ
That’s okay, Zeke, I’ll be fine.
Estevez walks off as Ferguson looks after him in concern.
INT. CAGE - ESTABLISHING - LATER
Estevez, Ferguson, Diaz, and Adams sit at a table with a big
box of files. A WAITRESS walks away after setting their food.
DIAZ
(to Estevez)
...Anyhow, David Webb came forward
and told us everything about
Scrofano and Lillie. It’s
complicated. All sorts of drug
trades and money laundering. Lillie
was his friend and she helped
Carolyn Webb get a job with
Scrofano. He’s very upset. Wants to
see the killer brought to justice
more than we do.
ESTEVEZ
What did records bring up?
DIAZ
Lots. Mostly bullshit. However,
there is one of interest, an
unsolved case a year ago of a
murdered prostitute. Margarita
Ceballos, Dominican female aged
twenty-three was found tied to
bedposts on her stomach, naked,
shot on the back of her head in
room two-o-four at the Santa Ana
Hotel on eight street. It’s a flea-
bag hangout for junkies and
hookers. Charles Perillo was
assigned to it but was called off
to work the riots.
ESTEVEZ
Any suspects?
DIAZ
No. Unfortunately, there was hardly
any follow-up done one it at all.
(MORE)
 77.
DIAZ (CONT'D)
After the riots there was a huge
backlog of new cases.
ADAMS
(to Estevez)
There is one other detail. The day
after Perillo canvassed the hotel,
she got a call from a lawyer saying
that if she wanted to talk to his
client, to call him first.
Otherwise, she was to get this,
“stop harassing his client.”
FERGUSON
(to Adams)
Who was Charles supposed to have
been harassing?
ADAMS
A Cuban by the name of Javier
Aguirre, probably illegal. She had
him in her notes, but he wasn’t a
suspect. He just lived in the hotel
one floor up.
ESTEVEZ
(to Adams)
Who was the lawyer?
ADAMS
Take a guess.
Estevez perks up from his stupor at the revelations.
ESTEVEZ
(to all)
Well, we may not have Scrofano
around anymore, but at least we may
have a suspect. We’ll need to go
back to that hotel and trace
Aguirre. Work your informants, ask
everyone in the neighborhood,
store, shops, and clubs about him.
He’s got to be living somewhere
here in town. Now let’s eat, okay?
EXT. PIER - LATE AFTERNOON
Estevez walks along the pier with CHARLES PERILLO.
ESTEVEZ
...And thanks for meeting me on
such a short notice.
PERILLO
Not a problem. What can I do for
you, Mike?
 78.

ESTEVEZ
Do you remember the Margarita
Ceballos murder?
PERILLO
Let’s see. The prostitute at the
hotel, sure. Shot on the back of
her head, execution style. Why the
sudden interest?
ESTEVEZ
Webb’s murder, which we know is
linked to Cocoplum, is very similar
to the Ceballos case, right down
the same crooked lawyer.
PERILLO
You’re kidding.
ESTEVEZ
Nope, we think it’s the same guy.
Did you ever work up any informants
on that case?
PERILLO
I’ll be honest, Mike. We had
murders falling from the sky and,
when the riots happened, we had to
prioritize which ones we were doing
to pursue.
ESTEVEZ
I remember. Do you recall the
fellow who lived upstairs from her?
PAUSE
PERILLO
Yeah, I think so. I tried to work
him up as an informant, but his
lawyer called and started making
all sorts of threats.
ESTEVEZ
What can you tell me about him?
PERILLO
Well, he was quiet, but pretty
cooperative from what I remember.
Kind of a stocky fellow, balding on
top, spoke some English with a
thick Cuban accent. Javier, I
think.
ESTEVEZ
Javier Aguirre?
 79.

PERILLO
Yeah, that’s it! Why?
ESTEVEZ
Are there any records on him?
PERILLO
No, I don’t think so.
ESTEVEZ
We need a picture, Charles. It’s
extremely important. If I call the
artist, are you up for it?
Perillo pauses thoughtfully.
PERILLO
Well, I only met him twice and that
was a year ago, but I’ll do my
best.
Estevez phone rings.
ESTEVEZ
(on the phone)
Estevez here.
GARCIA (V.O.)
Mike, it’s Garcia. Robyn’s not at
the hospital.
ESTEVEZ
What are you talking about? She was
supposed to meet with the doctor at
eleven.
GARCIA (V.O.)
I know, I know. I talked to him and
the night staff and they have no
idea where she went.
ESTEVEZ
What? This is impossible. How can
that be?
GARCIA (V.O.)
In don’t know Mike, I don’t know.
Sorry.
Estevez stands perplexed, contemplating.
ESTEVEZ
Listen, Paul, she might be in
danger. I need you to run over to
my house and see if she’s there.
Okay? Can you do that?
 80.

GARCIA (V.O.)
(uneasy)
Sure, Mike. I can do that. What
might be the--
ESTEVEZ
(interrupting)
Now!
EXT. NEIGHBORHOOD STREET - MOMENTS LATER
Estevez’s car breezes down the street.
INSIDE THE CAR
Ferguson drives; Estevez carefully scans across the houses
through the windshield.
ESTEVEZ
(pointing)
There. That’s the one!
Ferguson pulls the car up along the curb as Estevez gets out
and rushes up the house.

ON THE PORCH -
Ferguson rings the doorbell and lets out a breath of tension.
A woman, MRS. HANSON, answers the door.
ESTEVEZ
Hi, Mrs. Hanson, I need to speak
with my daughter, Corrina.
HANSON
I’m sorry, Mike, but she’s not
here. Your wife picked her up a
little over an hour ago.

EXT. ESTEVEZ’S HOUSE - MOMENTS LATER

Garcia stands outside next to his car sipping coffee. He
turns his head at the NOISE of the SCREECHING CAR heading in
his direction. Estevez stops suddenly and exist the car.
GARCIA
Mike, I rang three times; checked
around the back and the win...
Estevez brushes past him and towards the front door.
 81.

INSIDE ESTEVEZ’S HOUSE -

Estevez races through the living room. OPENS drawers, desks;
FLIPS through notebooks, calendars; rummages through a
bookshelf.
IN THE BEDROOM
Estevez opens the nightstand drawer, starts rummaging through
various papers, finds nothing, throws the papers down angry;
sits down on the bed his hands over his knees; reflects.
SUDDENLY
the phone on the nightstand RINGS. He reaches over and picks
it up.
ESTEVEZ
(into phone quickly)
Hello?
ROBYN (V.O.)
(voice quivering)
Mike? I just wanted to...
ESTEVEZ
(authoritatively)
Where are you? Where’s Corrina?
ROBYN (V.O.)
Mike, just listen... I just wanted
to tell you that Corrina is with me
and she is all right. Don't..."
ESTEVEZ
(feebly)
Robyn, you’ve got to tell me where
you are. Why are you doing this?
You were supposed to meet with the
doctor. I want to help you.
ROBYN (V.O.)
(starting to cry)
Listen to me, my darling. No
matter what happens, you must
know... I love you, more than I
love life itself...
Estevez swallows hard.
ESTEVEZ
Please, Robin, we need to protect
you.
DIAL TONE.
 82.

ESTEVEZ (CONT’D)
Robyn!... Goddammit!
He beats the phone receiver angrily on its carriage.
INT. ESTEVEZ’S HOUSE - BEDROOM - EVENING
Estevez breathes a sigh of exhaustion; drops his jacket and
holster onto the ground. He falls down onto the bed. He turns
to the picture of his family on the nightstand. He looks at
the it, eyes heavy. He slowly drifts off into sleep...
LATER THAT NIGHT -
Estevez lays in bed, tossing and turning in his sleep.
A SERIES OF FLASHES IN HIS DREAM
A. KEN AND MIRAGE MAKING OUT.
B. ROBYN’S VOICE - I THINK I CAN HELP YOU SOLVE YOUR BIG
CASE, MIKE.
C. ROBYN’S RED Supra; TWO STICKERS ON BACK OF WINDSHIELD.
SUDDENLY -
Estevez sits up and gasps.
INT. ESTEVEZ’S HOUSE - BEDROOM - MORNING
The Florida sun shines through the cracks in the blinds.
IN THE BATHROOM
Estevez stumbles; he wears clothes from the other day; his
face unshaven. At the sink he splashes water onto his face.
ESTABLISHING - JACKSON’S HOUSE
INT. JACKSON’S HOUSE - DAY
Grimanski sits in the living room, playing mini-Tetris.
Artisha walks in from the hall with the baby.
ARTISHA (O.S.)
Can I get you anymore coffee,
Sergeant?
Grimanski jumps back up to attention; puts the game down.
GRIMANSKI
(embarrassed)
On, no, I’m fine. Thanks anyway.
Artisha picks up milk for the baby from the kitchen table.
 83.

ARTISHA
They got you working overtime,
don’t they?
GRIMANSKI
Yes, they certainly do.
Grimanski stands awkwardly for a moment.
GRIMANSKI (CONT’D)
(awkwardly)
I’m uh, just going outside for a
minute.
ARTISHA
Sure. If you need anything, let me
know.
GRIMANSKI
(awkwardly)
Yeah thanks.
OUTSIDE THE HOUSE -
Grimanski steps out onto the porch and lights a cigarette. He
takes a drag and breathes out a sigh of relaxation.
ON THE STREET -
Aguirre’s Mercedes slowly cruises past the house. Grimanski
looks at it suspiciously. The phone RINGS from inside.
Grimanski quickly gets out his note pad, jots down the
license plate number. Artisha answers the phone.
ARTISHA (O.S.)
Hello?... Ken, is that you?
Grimanski does a double take and throws down his cigarette.
GRIMANSKI
(to himself)
Shit!
INSIDE THE HOUSE -
Grimanski races back inside; scrambles to turn on the
recording device.
ARTISHA
(into the phone)
Oh, thank God! You’re coming back!
GRIMANSKI
(to himself)
Shit! Shit! Shit!
 84.

ARTISHA
(into phone)
When will you be here? You’re on
your way now! Oh, that’s fantastic!
In a few minutes? Oh, thank god!
Artisha hangs the phone and turns to Grimanski
ARTISHA (CONT’D)
He’s on his way! Kenny’s coming
home! He should be here by four-
thirty.
Grimanski reaches over and takes the phone from Artisha.
Artisha freezes. Behind there’s Aguirre with a gun in hand.
AGUIRRE
(to Grimanski)
Put down the fucking phone. Now!
Grimanski slowly turns to Aguirre; gently puts the phone
down. The baby starts to cry.
ARTISHA
Please, don’t hurt me, don’t hurt
the baby.
AGUIRRE
Shut up! Where is Jackson?! Tell
me, pig!
Grimanski swallows hard.
GRIMANSKI
We’re still looking for him. Look,
the police are going to be here any
minute and--
AGUIRRE
(interrupting)
Shut up!
SUDDENLY
The phone rings.
All three of them freeze at its possible implications.
GRIMANSKI
Look, if that’s my buddies and I
don’t answer--
AGUIRRE
(interrupting)
Don’t touch the phone or I blow
your head off, pig! Now, move!
 85.

Aguirre motions with the gun to the hallway. The BABY cries
in its highchair. Grimanski and Artisha slowly start walking
backwards hands up. Artisha looks at her baby; starts crying.
AGUIRRE (CONT’D)
(to Artisha)
I said shut the fuck up!
IN THE HALLWAY -
Grimanski and Artisha continue to slowly walk backwards.
Aguirre motions to the BEDROOM with his gun.
AGUIRRE
In there!
IN THE BEDROOM -
Aguirre steps inside after them.
AGUIRRE
Now stop!
Grimanski and Artisha stop. A tense moment of silence.
AGUIRRE (CONT’D)
(to Grimanski)
Take off your clothes, pig.
GRIMANSKI
We’re not the ones you want. I--
AGUIRRE
Do it or I kill you, right now.
Turn around.
Grimanski slowly turns around.
AGUIRRE (CONT’D)
You are going to die fucking her. A
pig and a nigger-- dead together.
Grimanski looks up at the WALL CLOCK; 4:28. He slowly
unbuckles his belt.
AGUIRRE (CONT’D)
Hurry up!

Grimanski begins to pull out the belt. Artisha breaks down in

tears. Aguirre turns the gun onto her.
AGUIRRE (CONT’D)
Stop crying bitch, or I kill you
right now! Take your clothes off!
Aguirre’s eyes glue on Artisha’s curvaceous body as she
begins to undress.
 86.

SUDDENLY -
Grimanski WHIPS the belt around with his right and hits
Aguirre’s hand. Aguirre yelps in sudden pain.
The GUN DROPS to the floor and slides under the bed.
Grimanski lunges at Aguirre and slams him up against the
wall.
Aguirre knees Grimanski in the chest, pushes him off onto
the floor. He makes a dash out of the room.
Grimanski wraps his arms around Aguirre’s knees and tackles
him to the ground. Aguirre fights. Grimanski lets go; Aguirre
gets up, scrambles down the hall.
IN THE LIVING ROOM -
Aguirre makes a mad dash to the front door and BUMPS past a
surprised Ken Jackson!
Jackson stops at the entrance and looks at Artisha crying and
Grimanski on the ground, holding his chest in pain.

INT. POLICE STATION, ESTEVEZ’S OFFICE - AFTERNOON

Estevez sits tensely, talking on the phone.
ESTEVEZ
(into the phone)
Yes, I just talked with him; no,
she hasn’t seen them either. Look,
I’ve tried the office, her parents,
everything. What else do you want
me to say?! I’m sorry, just if you
see or her anything let me know,
alright? Thanks.
Estevez hangs up the phone and falls back into the chair. His
hands over his face, rubs his eyes, weary with fatigue.
SERIES OF FLASHES -
A. KEN AND ROBYN MAKING OUT.
B. ROBYN’S PINKY FINGER.
C. ROBYN’S RED Supra WITH STICKERS ON THE BACK WINDSHIELD.
SUDDENLY -
A KNOCK at the door.
Estevez quickly brings his head up.
ESTEVEZ
Come in.
 87.

Ferguson opens the door.

FERGUSON
Hey boss, are we going out soon?
ESTEVEZ
Zeke, I’m really busy right now. Go
with Adams and Diaz.
FERGUSON
Okay, sorry. How are things going
with...
ESTEVEZ
(interrupting)
In’s till working on it. I just
need some time to sort this all
out.
FERGUSON
If there’s anything I can do...
ESTEVEZ
I’ve got it, Zeke!
Ferguson nods; closes the door. Estevez reaches into his
desk, pulls out the composite of Mirage; looks up at the
picture of Robyn on his desk.
Swallows hard, reaches to the phone and dials. SANDERS
answers.
SANDERS (V.O.)
This is Sanders.
ESTEVEZ
(into the phone)
Mark, this is Estevez. I need you
to come over right away.
SANDERS (V.O.)
Can it wait until aft--?
ESTEVEZ
(interrupting)
No. I need you now. It will only
take a second. Be sure to bring the
print from the bandage.
SANDERS (V.O.)
Alright, on the way.
INT. POLICE STATION - HALLWAY - MOMENTS LATER
Sanders walks down the hall to Estevez’s office carrying a
black bag. He arrives and knocks at the door.
 88.

INT. POLICE STATION - ALVAREZ’S OFFICE - CONTINUOUS

ESTEVEZ
Come in.
Sanders enters.
SANDERS
Hey, Mike. What have you got?
ESTEVEZ
A print I’d like you to loot at.
Have you got the print from the
bandage?
SANDERS
Right here.
Sanders takes out the print; sets the bag on the desk.
Estevez reaches into his breast pocket, takes out the picture
from a plastic bag with a pair of tweezers hands it to
Sanders.
Sanders dips a fingerprint BRUSH into a jar of BLACK POWDER,
gently brushes it across the picture; takes out an eyeglass,
looks carefully at the two prints.
SANDERS (CONT’D)
What do you know? A perfect match.
INT. AGUIRRE’S HOTEL ROOM - ON TV - EVENING
An ANCHORWOMAN with a composite of Aguirre imposed on the
screen.
ANCHORWOMAN (V.O.)
Almost a week after the brutal
Cocoplum murders that shocked all
South Florida, police now looking
for a person of interest: Javier
Aguirre, believed to be an
undocumented Cuban.
Aguirre fixates on the screen in anger and disbelief.
ANCHORWOMAN (CONT’D)
Aguirre is also being sought for
questioning in the murder one year
ago of a prostitute, Margarita
Ceballos.

Aguirre gets up, grabs a chair, smashes it into the mirror.

INT. POLICE STATION - MARSHALL’S OFFICE -- LATER
MARSHALL
... What do you mean you want off
the case?! Now?!
(MORE)
 89.
MARSHALL (CONT'D)
When you have a suspect in your
sights?! I won’t have it, Mike; I
won’t have it.
Estevez leans against the wall defensively in embarrassment.
ESTEVEZ
Captain, you have got to
understand... everything that I
have is at stake here. There’s no
other way.
MARSHALL
I’m sorry. I had no idea things
were this bad between you and
Robyn.
ESTEVEZ
This makes two of us.
MARSHALL
It sounds really serious. You’ve
got A.P.I. watching your house all
day. If she’s gotten herself in
some legal trouble, I’m sure we
could--
ESTEVEZ
It’s much more personal than that,
Captain. Believe me, I only wish it
were so.
MARSHALL
Look, the chief is under the gun
here from the BLO. If you leave,
he’ll want me to put Gonzales in
charge of the case. And I know how
we both feel about that. We’ve come
so far ...
ESTEVEZ
I know, I know. I need a desk job
in record or something. I can’t go
on doing this anymore. I can’t let
my life keep passing me by like
this.
Marshall looks at Estevez sympathetically. PONDERS.
MARSHALL
Okay, I’ll talk to records and see
what I can do.
ESTEVEZ
Thanks, Captain.
 90.

Estevez opens the door and slowly walks out. Marshall looks
back up at him, suspiciously.
ESTABLISHING - NEON LIT HOTEL - NIGHT
ON A SECOND FLOOR BALCONY - A SWAT TEAM slowly crawls along.
INT. AGUIRRE’S HOTEL ROOM - MOMENTS LATER
The door flies wide open as SWAT police rush inside the room
looking EVERYWHERE. Adams and Diaz follow in behind. Adams
walks over to the phone, when Gonzales RUSHES IN.
GONZALES
(to Adams and Diaz)
Whoa, whoa, whoa. Who authorized
this?! Both of you were give strict
orders to run any further
operations by me, first!
ADAMS
Sergeant Estevez authorized it Sir.
Judge Warren signed the warrant.
GONZALES
Your Sergeant is going to hear
about this, at the chief’s level.
Adams picks up the phone.
ADAMS
First, Lieutenant, a little trick
that Sergeant Estevez taught us in
training.
Adams pushes the REDIAL. After two rings an OPERATOR answers.
OPERATOR (V.O.)
Miami Police Department, Records
Bureau. How may I help you?!
GONZALES
So, what are you trying to say?!
OPERATOR (V.O.)
Sir, the phones have all been
switched over to the main floor.
Lieutenant Masvidal is not in
today.
ADAMS
(to Gonzales)
Looks like we have our department
leak right now. It seems that your
friend Juan Masvidal in Records has
been keeping our man one step ahead
the entire time.
 91.

Gonzales freezes; a blank, ashen expression on his face.

EXT. WAREHOUSE - MOMENTS LATER
Victor leans against a small economy car, smoking a
cigarette. Aguirre’s convertible turns the corner and parks
next to him in the empty lot. Aguirre gets out.
AGUIRRE
(nods to car)
Is this it?
VICTOR
Yes, amigo. Perfect for blending
in. No one will be looking for you
in this.
AGUIRRE
The keys, Victor.
VICTOR
Oh, yes.
Victor fumbles in his pocket, takes out a pair of keys. He
tosses them to Aguirre. Aguirre unlocks and opens the door.
VICTOR (CONT’D)
Say, why didn’t you tell me you
were the big man being the rip off
in Cocoplum? You’re a big celebrity
now, Javier. Don’t worry; your
secret is safe with me!
AGUIRRE
I know.
Aguirre takes out a pistol and shoots Victor three times in
the chest. He gets in the car; drives off into the night.

EXT. ESTEVEZ’S HOUSE - LATER

Garcia sits in his car, dutifully watching for any signs of
Robyn. Estevez calls his cell.
ESTEVEZ (V.O.)
Garcia, this is Mike.
INT. POLICE STATION - ESTEVEZ’S OFFICE - CONTINUOUS
ESTEVEZ
(into the phone)
Any sign of Robyn and Corrina?
 92.

INTERCUT AS NEEDED
GARCIA
Sorry, Mike, not a thing. I did get
the caller ID installed on your
phone though.
ESTEVEZ
Thanks, buddy, I appreciate it.
GARCIA
Would you like me to keep watching?
Estevez hesitates for a moment.
ESTEVEZ
No, that’s alright. Head on home.
GARCIA
Okay. Hasta luego, Mike. I hope it
works out.
Estevez puts down his phone. Ferguson stands at the entrance
to his office.
FERGUSON
So, you’re really stepping off the
case?
ESTEVEZ
Yeah, I’m afraid so.
FERGUSON
Anything I can do to convince you
otherwise?
ESTEVEZ
Sorry, partner. There’s no turning
back for me anymore.
Both men look at each other in mutual understanding.
FERGUSON
Okay, then. I guess you heard about
Grimanski and what went down at
Jackson’s today?
ESTEVEZ
Yeah, that was something else. It’s
a funny thing--that guy can get
himself knee deep in shit and still
come out smelling like roses.
Ferguson chuckles. Estevez sighs deeply.
 93.

ESTEVEZ (CONT’D)
I’m going to need you to drive me
home, Zeke. I’m off duty.
FERGUSON
No, problem, boss.
EXT. DARK EMPTY PARKING LOT - CONTINUOUS
Robyn’s car sits alone.
IN THE CAR -
Robyn sits with both arms tensely gripping the steering
wheel. Corrina looks up at her from the passenger seat.
CORRINA
What are we going to do, mommy?
Robyn closes her eyes in desperation.
ROBYN
Not to worry, honey. I know what we
are going to do.
EXT. EVERGLADES - ALLIGATOR JAKE MOTEL
INT. ALLIGATOR JAKE MOTEL - LOBBY
Robyn picks up her cell phone. DIALS.
INT. MIAMI POLICE HEADQUARTERS - INSIDE OFFICE
Lieutenant CHARLES PERILLO, forties, muscular, sits at his
steel desk, inside a small cubicle, laboring.
ROBYN (V.O.)
Hello! Charlie?
PERILLO
Victoria?
ROBYN (V.O.)
It’s not Victoria.
PERILLO
Who is this?
ROBYN (V.O.)
I’m in trouble, Charlie. I don’t
know what to do...
Perillo stands up.
PERILLO
Robyn! Robyn you said you’ll never
see me again.
 94.

ROBYN (V.O.)
I know, Charlie. And I mean it.
Right now, I got a big problem and
I need a lot of help.
PERILLO
Is it Mike?
Perillo closes his door and sits on the edge of his desk.
ROBYN (V.O.)
Well, kind of... But, I mean, it’s
real complicated.
PERILLO
Where are you?
INT. ALLIGATOR JAKE - MOTEL - LOBBY
ROBYN
I can’t tell you.
PERILLO (V.O.)
Does Mike know where you are?
INTERCUT AS NEEDED
ROBYN
No. Listen to me, Charlie. You
can’t tell him that you’ve talked
to me. I’m going to tell you
something and you have to promise
me that you’ll not say a word to
anyone.
PERILLO
What is it?
ROBYN
Promise!
PERILLO
Okay, I promise. What’s wrong?
ROBYN
(voice hesitating, tremor)
I’m Mirage, Charlie. I’m the one
they’re looking for.
PERILLO
What?
ROBYN
That’s right. It’s me. And I’m
stuck. I don’t know what to do.
 95.

PERILLO
You? You were in that house?
ROBYN
I know what you’re thinking,
Charlie. Please, don’t judge me.
Not now. Please! I’ve got Corrina
with me.
PERILLO
I don’t believe what I’m hearing.
Do you know what that means, Robyn?
You’re a material witness. You have
to come forward.
ROBYN
(smirking)
I can’t. There’s Corrina. Mike will
hate me. The killers will come
after me. My life is over.
Perillo sits speechless. A knock on the door. The door opens.
A thin OFFICER waves.
OFFICER
Anytime Lieutenant.
Perillo nods his hand over phone receiver. Officer leaves.
PERILLO
(to Robyn)
Look, you got to tell me where you
are.
ROBYN (V.O.)
No. We’re safe now. But I will. But
not now. You promised not to tell?
PERILLO
Don’t worry. Just trust me. Okay?
Dial tone.

POV - ROBYN
From inside the dusty office window, Robyn sees ALLIGHATOR
JAKE and his son JUNIOR loading boxes onto his pick-up truck.
INT. MIAMI-DADE POLICE - CAPTAIN’S OFFICE
Lt. Gonzales leans back in his Captain’s HUGE RECLINER, feet
crossed at the ankles atop corner of massive desk. Salsa beat
in BR. Gonzales looks down at Estevez who sits at the end of
the long table set perpendicular from the center of desk.
 96.

GONZALES
(chewing on unlit cigar)
Maybe you forget, Mike, I’m in
charge here. I’m the Acting Captain
and I want you to know that I’ll be
filing disciplinary papers for your
insubordinate behavior.
Gonzales leans the back of his head into folded hands, his
elbows at full mast.
GONZALES (CONT’D)
I’m considering demotion.
ESTEVEZ
So, demote me.
GONZALES
Goddammit, Mike. You have ignored
me, disobeyed me, kept me out of
the loop this entire investigation
and I don’t appreciate it.
ESTEVEZ
Because you are incompetent.
GONZALES
I don’t care if you don’t like me.
I still hold a position...
ESTEVEZ
(interrupting)
I don’t dislike you, Raul. I just
feel this urge to vomit every time
I’m in your presence. Does that
clear it up?
GONZALES
Goddammit! You treat me like shit
at Scrofano’s crime scene? Who the
fuck do you think you are?
Estevez stands up to leave; turns his back.
ESTEVEZ
Anything else, Lieutenant?
GONZALES
Get back in here! I’m not finished
with you. Now!
Zeke and the OTHER COLLEAGUES turn away feigning work as
Estevez steps out ignoring Gonzales’s shouts. Gonzales rushes
out after Estevez; shouts--
 97.

GONZALES (CONT’D)
Don’t you ignore me you
motherfucker!
Estevez walks and ignores him.
GONZALES (CONT’D)
I said, STOP, motherfucker! Fucking
stop, now!...
Gonzales GRABS Estevez from behind. Estevez stops suddenly,
spins around and peers into Gonzales' eyes. Then he looks
around at his COLLEAGUES--
ESTEVEZ
See this? Lieutenant assaulting a
subordinate!?
Peers back at Gonzales who is trembling; his eyes piercing.
ESTEVEZ (CONT’D)
Get your hands off me, or I’ll drop
you right here.
Gonzales runs back into his office.
EXT. ESTEVEZ/S HOUSE - LATER
Ferguson calls. Estevez answers his cell.
FERGUSON (V.O.)
Mike, you’re sitting down?
ESTEVEZ
What’s going on, Zeke?
FERGUSON (V.O.)
It’s Gonzales. He’s going in the
air with it.
ESTEVEZ
With what, for Christ’s sake?
FERGUSON (V.O.)
About your wife.
ESTEVEZ
What?
FERGUSON (V.O.)
They're going public: TV, radio,
newspapers, everything, looking for
Robyn Estevez, alias Mirage. Her
picture and all, at six o'clock.
ESTEVEZ
Who the fuck? Where’s the Chief?
 98.

FERGUSON (V.O.)
With him, Mike!
Dial tone.

Estevez dials; Gonzales answers the phone.

ESTEVEZ
Raul don’t do it!
GONZALES (V.O.)
It’s a done deal. She is material
witness fleeing from the law. I’m
in charge now, and...
ESTEVEZ
The Criminal is probably watching.
You’re signing her death warrant.
She’s with my only daughter.
GONZALES (V.O.)
Let’s not get emotional now, hear?
Let’s not be insubordinate...
ESTEVEZ
(can’t hold it)
She’s with my kid, you fuckhead!
You’ll have her killed as well!
INT. POLICE STATION - GONZALES’S OFFICE
GONZALES
(grinning)
I can’t talk to you this way, Mike.
(dial tone)
INT. EVERGLADES - ALLIGATOR JAKE MOTEL - ROOM
Corrina watches the news on TV-
CORRINA
Mom? Mom you got to see this!
Robyn comes out of the bathroom.

ON TV
ANCHORWOMAN
...ARE SEARCHING FOR THIS WOMAN WHO
IS BELIEVED TO BE THE MYSTERY
WITNESS IN THE COCOPLUM MURDERS
KNOWN AS MIRAGE. THIS WOMAN IS NOT
A SUSPECT, REPEAT, NOT A SUSPECT IN
THE MURDERS BUT IS A MATERIAL
WITNESS TO THE CRIME...
 99.

ROBYN (O.C.)
You know what this means, honey?
CORRINA
What?
ROBYN (O.C.)
That the killer might be watching..
ANCHORWOMAN
HAS LEARNED THAT HER TRUE IDENTITY
IS MRS. ROBYN ESTEVEZ, WIFE OF THE
FAMED MIAMI HOMICIDE DETECTIVE
MIGUEL ESTEVEZ. SHE IS PRESENTLY
BELIEVED TO BE WITH HER DAUGHTER
CORRINA ESTEVEZ, AGE THIRTEEN...
CORRINA (O.C.)
Oh, my gosh, I hope they don’t have
a picture of me, too.
ANCHORWOMAN
"...AND IN HIDING SOMEWHERE IN DADE
COUNTY. SHE DRIVES A 2012 RED
TOYOTA SUPRA WITH THE LICENSE PLATE
CPO 47X. ANYONE HAVING INFORMATION
OF HER WHEREABOUTS SHOULD CALL THE
MIAMI POLICE DEPARTMENT HOMICIDE
BUREAU IMMEDIATELY. POLICE ARE
EXTREMELY CONCERNED FOR THE SAFETY
OF THESE WOMEN...
CORRINA (O.S.)
Mom are we getting out of here or
what?
ROBYN
I must call a friend for some
money.
ANCHORWOMAN
...WITH US NOW IS LIEUTENANT RAUL
GONZALEZ OF THE MIAMI HOMICIDE
BUREAU WHO IS HEADING UP THIS
INVESTIGATION....
ROBYN (O.C.)
Heading up? Where is Mike?
ANCHORWOMAN
LIEUTENANT, CAN YOU TELL US HOW
MRS. ESTEVEZ CAME TO BE INVOLVED IN
THIS CASE?
Gonzales cocks his head and looks directly into the camera.
 100.

GONZALES
I’M SORRY, THIS IS CLASSIFIED
INFORMATION.
ANCHORWOMAN
W.M.I.A. NEWS HAS LEARNED THAT
SERGEANT MIGUEL ESTEVEZ IS NO
LONGER ASSIGNED TO THIS CASE. IS
THIS TRUE?
GONZALES
YES!
ANCHORWOMAN
DO POLICE SUSPECT THAT THE SERGEANT
WAS IN ANY WAY INVOLVED IN THE
MURDERS?
ROBYN (O.S.)
This is too much. I can’t believe
I’m hearing this.
GONZALES
OH, NO! BUT IT IS URGENT THAT WE
LOCATE MRS. ESTEVEZ AS SOON AS
POSSIBLE FOR HER OWN SAFETY.
ANCHORWOMAN
IS THERE A CHANCE THAT SERGEANT
ESTEVEZ CAN BE REACHED FOR A
COMMENT?
GONZALES
THAT IS UP TO HIM. HE’S PRESENTLY
AT HOME.

MOMENTS LATER
An official police photo of Mike Estevez fills the screen.
The reporter narrates a short dissertation on Estevez’s
illustrious career while a video shows him giving a lecture
to a community college graduating class outlining at the
principals of integrity and image.

CORRINA
Look! Dad’s the most handsome man
in the world, isn’t he, mom?
ROBYN
He surely is. We must get out. I
got to make a call from somewhere.
Not from here. Not from my cell.

EXT. ALLEGATOR JAKE’S - MOTEL - LOBBY

Robyn and Corrina exit and rush into the car.
 101.

MINUTES LATER
Robyn is driving. She pulls her car into a small rural
CONVENIENCE STORE along BIRD ROAD, behind the store. She puts
her sunglasses on.
ROBYN
I’ll be back fast. I got to use
that phone.
Without waiting for an answer, she rushes out and locks the
doors as Corrina watches her from behind the car’s window.
INT. CONVENIENCE STORE - PUBLIC PHONE
ROBYN
(nervous)
Can I trust you?
PERILLO (V.O.)
(hesitating)
Sure! I’ll help you. Because it is
you. But it is against my better
judgment.
ROBYN
I need some money, fast...
PERILLO
Give me your address.
Robyn peers out the window and sees a Police Car slowly
pulling in. She hangs up and surreptitiously leaves.
MOMENTS LATER
PERILLO
Mike, we must talk. I’m in the
office.
ESTEVEZ
Can’t now, I’m busy. What is it
Charlie?
PERILLO
It’s about Robyn.
ESTEVEZ
I’ll be right there.
EXT. POLICE STATION -
Estevez parks in the chief’s space, hurdles three steps at a
time, races up the stairs, barges through Perillo’s office.
 102.

ESTEVEZ
(grimly)
What about Robyn? Don’t tell me you
found her. Jesus Christ! Is she
alright? My daughter. What
about...
PERILLO
(interrupting)
Mike, nothing bad. Take it easy,
sit down. Please! I got something
to tell you.
PERILLO looks down.
ESTEVEZ
Wait a minute... you, my best
friend... and... my wife?
PERILLO
No, man! She loves you, Mike; no
one else. It was long time ago
before you. Now we talk as friends.
We talked a lot, man. She fills
bottled up. You always put homicide
first. You are neglecting her.
ESTEVEZ
I give her anything she wants.
PERILLO
Anything but yourself.
ESTEVEZ
I’m getting out of here...
PERILLO
(snaps)
Wait! She called an hour ago asking
me for help.
ESTEVEZ
She called YOU? Not, me, her
husband? Where is she? Did she say?
PERILLO
I traced her call on Teague
Convenience Store on Bird Road. I..
Estevez SPRINGS UP heading for the door.
PERILLO (CONT’D)
She asked me to give you these.
(walks from around the
desk; extends a closed
hand)
Here!
 103.

Mike grabs two HERSHEY KISSES.

FLASH - RETRO
ROBYN gives ESTEVEZ two HERSHEY KISSES with their first kiss.
LATER THAT EVENING - INSIDE CAR
Estevez drives WEST on the barren I-75 highway towards Naples
as he faces a spectacular sunset. He sighs.
MOMENTS LATER - CONTINUOUS
Estevez exits, drives slowly in East end of Naples and
arrives at Manatee Mobile Home Park off Seminole Avenue.
Slowly passes a yellow trailer; sees a “FOR SALE” sign; an
old Mercury Cougar in the carport.
Parks, gets out, steps upon the front porch, A faint MUSIC
of Spanish guitar comes from inside. He a deep breath,
hand in the air, hesitates, knocks on the jalousie door.
Music stops; a glass cracks; footsteps; a long pause. The
door opens.
ESTEVEZ’S MOTHER
(trembling voice)
Dios mio, Miguel. Is that you?
ESTEVEZ
Si, Mama.
ESTEVEZ’S MOTHER
Miguel, uh...
ESTEVEZ
May I come in, mama?
The door opens wider, the woman turns back, walks away, hands
to her face. Estevez steps in; she moves around disoriented.
ESTEVEZ’S MOTHER
Well, Miguel, after fourteen years,
can’t you at least give your mama a
hug?
Estevez looks into her aged eyes. With reserved enthusiasm
takes her to his bosom.
ESTEVEZ
How are you mama?
ESTEVEZ’S MOTHER
So, have you come to condemn me to
my face, Miguel, or to forgive me?
He sits uncomfortably at the edge of an easy chair; she in
her swivel rocker next to him.
 104.

ESTEVEZ
No, mama. How have you been,
really?
ESTEVEZ’S MOTHER
You want to know how I have been?
Why now? Why all of a sudden now
you want to know how I have been?
Tell me, what brings you here
Miguel?
Estevez rolls his eyes; turns the rings on his fingers.
ESTEVEZ
I see the trailer is up for sale.
ESTEVEZ’S MOTHER
Sam died six month ago, Miguel.
ESTEVEZ
Oh, I’m sorry to...
ESTEVEZ’S MOTHER
(snapping back)
No, you’re not. Cancer. It was
long and hard. He was a good man.
(pausing)
I have a granddaughter whom I never
met. Tell me, is she well?
ESTEVEZ
(choking up)
Corrina, mama. She’s thirteen and
she’s wonderful.
They exchange long looks.
ESTEVEZ (CONT’D)
Look, mama; I don’t want to upset
you. Maybe it’s better I did not
come.
ESTEVEZ’S MOTHER
You treat me as though I do not
exist for fourteen years; you, my
only son... You show up from
somewhere in the world and you
don't think I shouldn’t wonder and
be perhaps little bitter?
ESTEVEZ
Yes. You’re right.
ESTEVEZ’S MOTHER
So, tell me, which is it?
 105.

ESTEVEZ
Which is what?
ESTEVEZ’S MOTHER
Are you here to condemn me or
forgive me?
ESTEVEZ
Neither, Mama. But I’m seeking the
truth.
ESTEVEZ’S MOTHER
The truth about what, my son?
ESTEVEZ
About you and papa. You know...
She sighs, looks into her son’s eyes, rises, turns toward the
kitchen.
ESTEVEZ’S MOTHER
Café con leche?
ESTEVEZ
Si, gracias.
Moments later she returns with a tray.
ESTEVEZ’S MOTHER
Robyn! How’s Robyn?
Estevez froze.
ESTEVEZ’S MOTHER (CONT’D)
Ah, I see, so, it has happened to
you?
ESTEVEZ
Robyn is in a problem. Have you
watched the news reports from
Miami?
ESTEVEZ’S MOTHER
No. News is never good, so why
watch it?
ESTEVEZ
Mama, I need to know some things,
some things I never asked. I just
reacted. Maybe, I never gave you a
chance.
ESTEVEZ’S MOTHER
So, you want to know. Now, you
want to know.
 106.

ESTEVEZ
Papa was a great man. I could never
understand why you...
ESTEVEZ’S MOTHER
Betrayed him? Is that the word
you’re looking for?
ESTEVEZ
I suppose.
ESTEVEZ’S MOTHER
What makes you think I betrayed
your father, Miguel?
ESTEVEZ
Papa was still warm in his grave
and you were at the altar with Sam.
ESTEVEZ’S MOTHER
I see.
She lowers her head, sips from her tiny cup, looks him
straight in the eye.
ESTEVEZ’S MOTHER (CONT’D)
What you are thinking, Miguel, is
true. Sam was my lover for five
years before your father died. Is
that what you want to know?
ESTEVEZ
It's not the what mama, it's the
why. Didn't you love Papa? Wasn't
he good to you?
ESTEVEZ’S MOTHER
Yes. Just like you are no doubt
good to Robyn. You are
responsible, capable, supporting
and faithful, right? You do all
the right things, don't you,
Miguel?
ESTEVEZ
Yes, mama. I try.
ESTEVEZ’S MOTHER
Let me ask you a question, son. If
God came to you and said, Miguel,
you must make a choice, your career
or your woman; what would you keep?
ESTEVEZ
No question... Robyn, of course.
 107.

ESTEVEZ’S MOTHER
Did she ever know that? Did your
wife ever feel that?
Estevez nods, looks into his café.
ESTEVEZ
So, that’s why you... Papa didn’t
love you?
ESTEVEZ’S MOTHER
Oh yes, in his own selfish way, he
did. He loved me for himself, not
for me.
ESTEVEZ
So that’s why...
ESTEVEZ’S MOTHER
Sam was the only one, Miguel. Sam
was there, made me feel special. I
worked for Sam for two years before
that barrier was broken.
ESTEVEZ
Then why did you stay with papa?
ESTEVEZ’S MOTHER
Well, I suppose you could say it
goes back to how we were raised.
Besides, I wouldn’t have done that
to your father. It would have
devastated him; he would have lost
us both, me and his career.
Estevez looks away, his face turning pink.
ESTEVEZ’S MOTHER (CONT’D)
Think about her, Miguel, as a human
being; she craves your love, your
treasured so elusive love.
ESTEVEZ
(sad grin)
How did you know?
ESTEVEZ’S MOTHER
I am your mother...
DISSOLVE TO:
EXT. EVERGLADES - ALLIGATOR JAKE MOTEL - LOBBY - MORNING
ROBERT, gazes toward the swamp. He’s a handsome Native, bare
chested, well built, clad in Levi’s jeans, with black
shoulder-length hair tied back by a colorful headband.

JAKE his father, points to the airboats when the phone

rings.
 108.

JAKE
(to Robert; Native tongue)
Will you get it for me?
ROBERT
Alligator Jake’s how may I help
you?
VOICE (V.O.)
Mrs. Robyn Estevez, please?
ROBERT
One moment.
INT. ROBYN’S MOTEL ROOM
Phone rings.
CORRINA
You’re expecting a phone call mom?
ROBYN
A friend.
Corrina picks up the phone and gives it to her Mother.
ROBYN (CONT’D)
Hello?
Dial tone.
ROBYN (CONT’D)
Oh shit! We were cut off. He’ll
call me back.
TWENTY MINUTES LATER -- MOTEL LOBBY
ROBYN
Jake, d’you know who called? We got
disconnected. Did he leave a name?
JAKE
No, ma’am. Didn’t leave no name.
PAUSE
Robyn picks up her cell and dials. She looks outside the
lobby window.
ROBYN
Hey Charlie! Thank God. You got the
money?
PERILLO
Yes! Where are you?
 109.

ROBYN
It's way out on Tamiami Trail,
seven miles past Krome Avenue on
the left before you get to Shark
Valley and the Miccosukee Village.
Alligator Jake's. You can't miss
it. We're in 107.
PERILLO
You got it.
ROBYN
Hey, why didn’t you call me back?
PERILLO
Call you back? When?
ROBYN
After we got cut off.
PERILLO
Cut off? What are you talking
about?
POV - ROBYN
Robyn picks outside. A car slowly drives and stops for a
moment by her Red Toyota.
ROBYN
Oh, my God! It’s him. Charlie it’s
a car out there. I think it’s him.
We’re going to die... Corrina!
ROBYN watches until the car disappears behind the building
and runs back to her room for Corrina. Rushes into the room.
ROBYN (CONT’D)
Corrina! Fast. Let’s get out of
here, now! NOW!
Robyn pulls Corrina by the hand. Sees Robert by the airboats
on the swamp. TWO NEW AIRBOATS for customer rides. The third
dismantled, Robert works on it. Holding hands, hunched, Robyn
and Corrina run, leap onto the boat, jolting the young
Indian.
ROBYN (CONT’D)
(shaking, desperate)
Robert! Please, get us out of here.
There’s a man with a gun who wants
to kill us. Please! No time to
explain.
Robert hesitates; peers in the direction of the motel; his
father’s in the lobby.
 110.

Corrina crouches, huddles in her mother's arms as the

thunderous, ear-splitting engine roars behind them. They
TAKE OFF, speed west, then southwest, as birds of all colors
and sizes dart from hummocks, branches, knolls and swamp
marsh into the air toward safer, quieter feeding areas.
Robert’s black hair flaps violently in the wind. The airboat
races to speeds of seventy miles per hour.
ROBERT
(eyebrows curled, shouts)
I’m going to drop you off on an
island about quarter mile up, then
go back and check on my father.
You’ll be safe.
Robyn looks back. ANOTHER BOAT is in pursuit. Crouches at the
foot of aluminum bench; holds Corrina tightly.
ROBYN
(to Robert)
How fast can you go?
ROBERT
Not faster. This is an old motor.
They zoom at maximum velocity, smashing head-on through a
forest of sawgrass that folds under the flat-bottomed craft.
CORRINA
(crying, screaming)
Mommy, mommy, I’m scared.
ROBERT
(shouts)
Hold tight!
Robert makes sharp turns to left; then right. He haunts the
motors, races toward a large hummock thick with foliage,
popular heaven for gators and crane birds.
Robert ducks through dense trees into a canal opening, out of
view. Quickly, shots off engine. They crouch.

MOMENTS LATER - CONTINUOUS -- (O.S.)

Faint SOUND of SECOND AIRBOAT ENGINE approaches from the
east. Growing louder continues on beyond the hummock, fades
off and soars upon shallow waters into the west.
ROBYN
What now?
ROBERT
I think I can get you back at the
motel. I have to save my father.
 111.

Robert restarts his airboat, races from the hummock and

throttles easterly in the direction of the motel. At full
speed, sixty, then seventy miles per hour, airborne at one
point and nearly flipping over when he fails to see a thick
branch of a fallen cypress. They accelerate across the vast
wilderness until they near the motel.
CUT TO:
Second boat -- Aguirre holds a pistol to Jake’s head; speeds
toward Robert’s BOAT from an angle.
BACK TO:
Robert parallels TAMIAMI TRAIL highway two hundred yards on
left, searches an escape through spaces between Australian
pines lining the highway. Cautious of two-way traffic,
Robert AIMS through an opening between the trees, SLIDES
ACROSS PAVED ROADWAY into the north side of wilderness.
CUT TO:
Aguirre and Jake traverse the same highway; barely miss a
TRACTOR-TRAILER which JACK-KNIFES into an oncoming CORVETTE.
An explosion sends a pillar of smoke two hundred feet in the
air.
The airboat gradually gains as they race toward the setting
sun, closer and closer. AGUIRRE REACHES OUT TO SHOOT.
BACK TO:
ROBERT tries to zigzag. He looks across the sea prairie for
another hummock, but they were all too far off.
CUT TO:
Aguirre yells at Jake to steer closer, pressing the gun to
his head. AGUIRRE FIRES ONE SHOT toward Robert's air boat.
The bullet ricochets off the aluminum deck next to Corrina.
SUDDENLY --
A ROAR sounds from above as a JET RANGER helicopter descends
over both speeding airboats. Then ANOTHER. Then A THIRD.
ANGLE SHOT
With their hair blowing violently, Robyn and Corrina look up
at the markings of MIAMI AND METRO-DADE POLICE DEPARTMENTS.
One hundred feet above they speed alongside and over the
airboats. On the left and ON TAMIAMI TRAIL more than a dozen
police units, flashing lights drive parallel to their path. A
public address system blares above the roaring boat engines.
DETECTIVE OVER P.A.
DROP THE GUN OR YOU WILL BE SHOT!
DROP THE GUN AND RAISE YOUR HANDS!
 112.

CORRINA
That’s daddy!
DETECTIVE
STOP THE AIRBOAT! PUT DOWN YOUR
GUN, NOW!
Confused, Aguirre glares upward few times at the flack-
jacketed officers poised with LONG BARRELED WEAPONS aimed at
him. He grabs JAKE as human shield, muzzle to his head,
fires a wild volley of shots at the flying machines.
The airboat swerves, Jake seizes a moment of distraction,
breaks away from his captor and DIVES into the marsh. Alone
now, Aguirre takes the helm and ACCELERATES north, away from
the roads, roaring as sixty-five miles per hour, FIRING MORE
SHOTS overhead. The boat SPUTTERS and SLOWS out of gas.
Aguirre pulls the trigger of an empty gun--
DETECTIVE (CONT’D)
DROP THE GUN AND PUT YOUR HANDS IN
THE AIR! NOW!
Aguirre flings the gun toward the chopper, but it falls
into the marsh. Aguirre shouts expletives in Spanish; he
twists, turns, looks for a way out. Sharp shooters aboard
the choppers hold their fire as the man is now unarmed.

SUDDENLY -
One helicopter lowers to within twenty feet of the airboat.
Estevez ascends the pulley, holding with both hands. His hair
whips violently in the wind.
He jumps onto the platform, reaches for his gun; Aguirre
retrieves a HUNTER’S KNIFE from inside his eel skin boot and
lunges at Estevez.
AGUIRRE
(yelling)
I’ll kill you! Hijo de puta!
Estevez pulls the gun; Aguirre whips the blade across
Estevez’s wrist the gun renders into the marsh. Blood rushes
from Estevez’s hand.
Aguirre lunges wildly, nicks Mike in the thigh; Estevez GRABS
Aguirre’s arm, WRESTLES him to the deck. They GRAPPLE,
PUNCH, the knife inches from Estevez's face, the CRAFT TIPS.
They BOTH ROLL INTO THE MARSH and under the airboat where
they disappear into the murky water. Robyn and Corrina along
with Jake and Robert look helplessly from fifty yards away.
CORRINA
Daddy! Daddy!
 113.

POV - ROBYN
Robyn hunches on her knees, petrified, eyes on calming waters
around the empty boat. A S.W.A.T. member begins rappelling
from the helicopter toward the craft.
Just as the cop sets foot on the deck, the water brakes ten
feet away. Aguirre emerges... knife impaled into his chest,
yet still alive, hoisted by bleeding Estevez. Two alligators
close in. Aguirre disappears under the water with a sudden
jerk.
MOMENTS LATER
Once at the dock, two officers greet Estevez with first aid
kits. Estevez looks around for Corrina and Robyn, but he
cannot see them amid the pandemonium. Corrina suddenly
bursts through the crowd and grabs her father around the
neck.
CORRINA
(laughing and crying)
Oh, Daddy! Daddy! I’m so happy you
are okay.
Estevez reaches and holds Corrina to his chest.
ESTEVEZ
Oh, you’ll be all wet. I’m so happy
you are okay. Where’s your mother?
Corrina points across the roadway at a parked police cruiser
with its flashers swirling. Sunglasses on, Robyn looks
anxiously in his direction. The moment he sees her, she turns
away. The chief starts to speak but Mike ignores him.
ESTEVEZ (CONT’D)
(to Marshall)
Sorry Boss, no offense but I’ve got
something more important right now.
Exhausted and drenched, Estevez stops before Robyn. To her
utter amazement his lips begins to quiver. He’s in tears. He
takes her in his arms, holds her tight close to his heart,
holds her face, kisses her lips, pats her hair, and whispers.
ESTEVEZ (CONT’D)
(to Robyn)
I’m sorry, my Love I’m so sorry.
Robyn, I love you...
ROBYN
Oh, Mike, Mike I love you so. I’m
sorry, too.
Corrina rushes to the blissful reunion, jumps up and down
like a pogo stick, claps her hands. She embraces her parents
together as they all weep with joy.
 114.

INT. POLICE STATION - DAY AFTER

Estevez walks over to Marshall.
ESTEVEZ
Yes, Captain.
MARSHALL
(sarcastic)
There’s been a double homicide in
the Grove, if you’re interested.
ESTEVEZ
Sorry, Captain. Consider me
transferred. My family comes first
from now on.
Marshall and Estevez look at each other with a subtle, mutual
respect.
INT. POLICE STATION - ESTEVEZ’S OFFICE - MOMENTS LATER
Estevez clears his office. Ferguson enters.
FERGUSON
Jesus, Mike, I’ve been trying to
get you all day. Don't you ever
answer your cell phone anymore? I
even left messages on your machine.
ESTEVEZ
My days in homicide are over my
friend. No more of this shit for
me. I’ll be in P.I.O in few days.
FERGUSON
That’s what you think.
ESTEVEZ
(eyebrows curling)
Why?
FERGUSON
Remember that snitch you sent me to
see in the Broward Jail?
ESTEVEZ
Yeah, what about him?
FERGUSON
You know, the one who’s fingering
the trigger man on some old murder
case?
ESTEVEZ
Yea, so?
 115.

FERGUSON
His name’s Shamu!
ESTEVEZ
Don’t tell me. Is it?...
FERGUSON
May of 1986. Victim’s name was
Estevez...
ESTEVEZ
You know something, Zeke? You’re
one damned good homicide detective.
FERGUSON
Thanks! You still leaving homicide?
ESTEVEZ
(stifling)
Hell, no. My Father? My family
comes first!
FERGUSON
(chuckling)
THAT’s my partner!
EXT. DOWNTOWN MIAMI - MORNING
THE SOUTH FLORIDA SUN BEGINS TO RISE AND GLITTER ACROSS THE
SKYSCRAPERS OF DOWNTOWN MIAMI.
FADE OUT TO - END