<script>
  <scene>
    <stage_direction>EXT. COLUMBUS, OHIO - DAY</stage_direction>
    <scene_description>The state capital of Ohio . It 's an impressive building for a city this size . SUPERTITLE : COLUMBUS , OHIO - STATE CAPITAL</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. OHIO STATE SUPREME COURT - DAY</stage_direction>
    <scene_description>In chambers striving for august , JUSTICES listen to a lawyer MR. RODMAN , argue his case before the highest court in Ohio . Mr. Rodman enjoys the sound of his own voice .</scene_description>
    <character>MR. RODMAN</character>
    <dialogue>This informant, paid by the police, using taxpayers dollars to continue his felony drug habit, was the link which allowed police to raid a private farm. A working farm. A farm where honest Americans make their living.</dialogue>
    <scene_description>One particular justice , ROBERT WAKEFIELD , younger than the others , is clearly bemused by this performance .</scene_description>
    <character>MR. RODMAN</character>
    <dialogue>The government, in its haste, has employed an army of criminals whose allegiance to the truth is, at best, questionable -</dialogue>
    <scene_description>Judge Wakefield interrupts -</scene_description>
    <character>ROBERT</character>
    <dialogue>Mr. Rodman. it's too bad your client did n't show as much sense in choosing what he planted as he did in choosing his attorney.</dialogue>
    <scene_description>A polite chuckle from the justices -</scene_description>
    <character>ROBERT</character>
    <dialogue>Lately the only variation I'm hearing in your argument is the name of the client. And you can sit there all day arguing the ins and outs of Illinois v. Gates, but you are n't going to convince me that this country has not sanctioned the use of anonymous informants.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>Furthermore, there is no sacred protection of property rights in the United Sates. When you make the decision to have marijuana on your farm, whether it's one joint or an acre of plants, your property can be seized and your property can be sold.</dialogue>
    <character>MR. RODMAN</character>
    <dialogue>I'm sorry the court finds my argument repetitious.</dialogue>
    <character>ROBERT</character>
    <dialogue>Mr. Rodman, may I offer a piece of advice? The next time you argue this point before this court, regardless of my whereabouts, I recommend you have something up your sleeve other than your arm.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. ROBERT'S CHAMBERS - DAY</stage_direction>
    <scene_description>The office is marble and dark wood . A young CLERK , black , 29 , enters carrying an oddly - shaped gift . They both look at it .</scene_description>
    <character>CLERK</character>
    <dialogue>What do you think it is?</dialogue>
    <character>ROBERT</character>
    <dialogue>Depends who it's from.</dialogue>
    <character>CLERK</character>
    <parenthetical>( reading the card . )</parenthetical>
    <dialogue>Your friends at Warren, Putnam and Hudson.</dialogue>
    <character>ROBERT</character>
    <dialogue>You can learn a lot about somebody from this stuff. Three categories : you like me, you hate me, you want something from me.</dialogue>
    <parenthetical>( re : the elaborate box . )</parenthetical>
    <dialogue>Definitely third category.</dialogue>
    <character>CLERK</character>
    <dialogue>What would a law firm want from the new drug Czar?</dialogue>
    <character>ROBERT</character>
    <dialogue>Depends on the state.</dialogue>
    <character>CLERK</character>
    <parenthetical>( checks . )</parenthetical>
    <dialogue>Arizona.</dialogue>
    <character>ROBERT</character>
    <dialogue>Medicinal marijuana initiative.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>Or am I being cynical?</dialogue>
    <scene_description>They both laugh . Robert reaches up and pulls a bottle of Scotch from a shelf . He pours a couple of fingers in two glasses .</scene_description>
    <character>CLERK</character>
    <dialogue>Maybe there's a book in it.</dialogue>
    <scene_description>The clerk takes one of the glasses .</scene_description>
    <character>ROBERT</character>
    <dialogue>Not by me.</dialogue>
    <scene_description>They toast and drink .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. COURTHOUSE - DAY</stage_direction>
    <scene_description>Robert exits , trailed by a small group of reporters . He gets into a car being driven by two security TYPES .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. AIRPLANE - DAY</stage_direction>
    <scene_description>Robert sits in a business class window seat .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOTEL ROOM - NIGHT</stage_direction>
    <scene_description>An expensive hotel . Robert Wakefield stands at the window , looking at the view of our nation 's capital . SUPERTITLE : WASHINGTON D.C. ON THE TABLE The remnants of a meal . It was a steak and a small caesar salad . The wine glass is half - empty . ANOTHER ANGLE ON ROBERT In front of the mirror now , trying on a dark , tasteful jacket . CLOSER On Robert in the same position , only now we are in HIS HOME . It 's daytime , and his wife BARBARA is helping him into this same jacket . As her hands dust the lint off his shoulders ROBERT In the hotel rooms , making the same motions . Satisfied , he straightens , then turns to look at himself . ANGLE ON ROBERT Back at the hotel room window now . Reaches to the table and lifts the wine glass .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. DIRT ROAD - DAY</stage_direction>
    <scene_description>This is the middle of nowhere . Scrub cactus and dust and a heartless sun . SUPERTITLE : MEXICO - TWENTY MILES SOUTHWEST OF TIJUANA . A broken down - looking Police Sedan is parked on the side of the road . It seems abandoned except there are TWO MEN inside .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. POLICE SEDAN - DAY</stage_direction>
    <scene_description>Two Mexican men , State Police officers , JAVIER RODRIGUEZ , 30 's , and MANUEL `` MANOLO '' SANCHEZ , 20 's , wearing jeans , knock - off Polo shirts , and cowboy boots , wait patiently in the car .</scene_description>
    <character>JAVIER</character>
    <dialogue>I had that dream again.</dialogue>
    <scene_description>A long pause .</scene_description>
    <character>MANOLO</character>
    <dialogue>Which one?</dialogue>
    <scene_description>Another long pause .</scene_description>
    <character>JAVIER</character>
    <dialogue>Where my mother's suffocating.</dialogue>
    <scene_description>They continue to wait until there is the sound of a JET ENGINE . It grows LOUDER as it approaches .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. THE POLICE SEDAN - DAY</stage_direction>
    <scene_description>The shadow of a large plane crosses the desert floor . Then , an old DC - 3 flies fifty feet above the Police Sedan .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. POLICE SEDAN - DAY</stage_direction>
    <scene_description>They watch the plane disappear over a small rise in the desert . They look at each other and wait some more .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. MEXICAN DESERT - LATER</stage_direction>
    <scene_description>From the direction of the landing strip , a moving van lumbers down the road , two TEENAGERS in the cab .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. POLICE SEDAN - DAY</stage_direction>
    <scene_description>Javi and Manolo watch the moving van approach . Javi reaches under the seat and picks up a bubble flasher . He rolls down the window and plants it on the roof . He flips the switch . Nothing happens . He jiggles the wire and the siren BURPS and the light flashes . Manolo and Javi step from the car , smiling .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. MEXICAN DESERT - DAY</stage_direction>
    <scene_description>The moving van slows to a stop . Javi approaches . The DRIVER unhurriedly rolls down the window .</scene_description>
    <character>DRIVER</character>
    <dialogue>Is there a problem?</dialogue>
    <character>JAVIER</character>
    <dialogue>No. There's no problem.</dialogue>
    <scene_description>The driver hesitates a confused beat then reaches for his wallet .</scene_description>
    <character>DRIVER</character>
    <dialogue>Okay. I see. How much do you want?</dialogue>
    <scene_description>The driver pulls a wad of bills . Javi shakes his head .</scene_description>
    <character>DRIVER</character>
    <dialogue>You want more than this?</dialogue>
    <scene_description>Javi shakes his head . The driver exchanges a look with his partner .</scene_description>
    <character>DRIVER</character>
    <dialogue>You want something else?</dialogue>
    <scene_description>Javi smiles . The driver gets out and walks to the back of the truck . He opens the rear door . There are neatly - stacked crates marked with a SCORPION logo and `` 911 . '' He reaches into one of them and pulls out a tightly - sealed package also with the scorpion stamped on it . He turns to see Javi with his gun drawn . Manolo , at the passenger side , has also drawn his gun and is motioning the partner to move to the back of the truck .</scene_description>
    <character>JAVIER</character>
    <dialogue>Drop the package. Put your hands behind your head. You're under arrest.</dialogue>
    <scene_description>The driver hesitates . He starts to comply then looks at Javi and Manolo .</scene_description>
    <character>DRIVER</character>
    <dialogue>I do n't understand. I think there must be some mistake.</dialogue>
    <character>JAVIER</character>
    <dialogue>No, there's no mistake.</dialogue>
    <scene_description>Javi motions to Manolo who cuffs both teenagers . The driver begins spewing OBSCENITIES under his breath . Javi puts the driver in the front of the Shadow . Manolo follows in the moving van .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. DIRT ROAD - MEXICO - LATER</stage_direction>
    <scene_description>The truck follows the Shadow down a desert road . Suddenly , from behind , four armored SUV 's with tinted windows appear , closing fast . The SUV 's force both vehicles off the road where they pull to a stop . A long beat as hot wind blows desert detritus past the truck . Finally , the SUV doors open and FEDERAL POLICE OFFICERS surround them like a SWAT team . The passenger door of the lead SUV opens and GENERAL ARTURO SALAZAR , 50 's , a squat , powerful presence in a perfectly pressed uniform gets out and approaches Javi .</scene_description>
    <character>SALAZAR</character>
    <parenthetical>( to Javier . )</parenthetical>
    <dialogue>What's your name?</dialogue>
    <character>JAVIER</character>
    <dialogue>Javier Rodriguez.</dialogue>
    <character>SALAZAR</character>
    <dialogue>Well, Javier Rodriguez, you've done a very good job, but we'll take care of it from here.</dialogue>
    <scene_description>Javier stares into the implacable reflection of his sunglasses . In the distance , the DC - 3 takes off and ROARS over their heads .</scene_description>
    <character>SALAZAR</character>
    <dialogue>We've been following these Narco - trafficantes for some time but had not been able to bring them to justice.</dialogue>
    <parenthetical>( to his men . )</parenthetical>
    <dialogue>Put the prisoners in the car. Impound the truck.</dialogue>
    <scene_description>The men follow Salazar 's orders .</scene_description>
    <character>SALAZAR</character>
    <parenthetical>( to Javi . )</parenthetical>
    <dialogue>One question. How did you find about this?</dialogue>
    <character>JAVIER</character>
    <dialogue>An informant.</dialogue>
    <character>SALAZAR</character>
    <dialogue>What is the name of your informant?</dialogue>
    <character>JAVIER</character>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>It was an anonymous tip.</dialogue>
    <scene_description>Salazar looks at Javi a beat .</scene_description>
    <character>SALAZAR</character>
    <parenthetical>( to his men . )</parenthetical>
    <dialogue>For a State Police officer, you're very well informed. Let's go.</dialogue>
    <character>MOMENTS LATER</character>
    <dialogue>Javi and Manolo watch the convoy of vehicles drive away.</dialogue>
    <scene_description>Javier lights a cigarette .</scene_description>
    <character>MANOLO</character>
    <dialogue>Was n't that General Salazar?</dialogue>
    <character>JAVIER</character>
    <dialogue>Yeah.</dialogue>
    <character>MANOLO</character>
    <dialogue>What's he doing up here?</dialogue>
    <character>JAVIER</character>
    <dialogue>I do n't know. Something.</dialogue>
    <scene_description>They start for their car .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. DEL MAR SELF-STORAGE - DAY</stage_direction>
    <scene_description>SUPERTITLE : SAN DIEGO Two men , RAY CASTRO , 30 's , proud , ambitious , and MONTEL GORDON , 40 's , suspicious of everyone including himself and always , always the smartest guy in the room , walk from a Lincoln Towncar toward a dumpy office . Castro is talking under his breath -</scene_description>
    <character>CASTRO</character>
    <dialogue>No telltales. Nothing to read. Not touching my face. Not even blinking. No giveaways.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>How're you feeling?</dialogue>
    <character>GORDON</character>
    <parenthetical>( keyed up . )</parenthetical>
    <dialogue>I feel good.</dialogue>
    <character>CASTRO</character>
    <dialogue>No more pissant basin league bullshit for us, hunh?</dialogue>
    <character>GORDON</character>
    <dialogue>Nope.</dialogue>
    <scene_description>Castro stretches his arms , swings them around .</scene_description>
    <character>CASTRO</character>
    <dialogue>Limbering up, gon na stay loose, keep it all together. Take this motherfucker down.</dialogue>
    <scene_description>They reach the door to the office . Gordon looks at Castro , then turns the handle .</scene_description>
    <character>CASTRO</character>
    <dialogue>Showtime.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. OFFICE, DEL MAR SELF-STORAGE - DAY</stage_direction>
    <scene_description>It 's a cluttered , rundown working office unusual only in the extent of its ordinariness . A SECRETARY goes about her business like a somnambulist . CLERKS shuffle and file . Castro switches into Spanish -</scene_description>
    <character>CASTRO</character>
    <parenthetical>( in Spanish . )</parenthetical>
    <dialogue>Good afternoon, ladies, gentlemen. We're looking for Eduardo Ruiz. We have a two o'clock appointment.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. OFFICE, DEL MAR SELF-STORAGE - LATER</stage_direction>
    <scene_description>In a back alcove , Castro and Gordon sit across a cheap table from EDUARDO RUIZ , 40 's , an entrepreneur in an expensive suit and bad hairpiece . They are waiting .</scene_description>
    <character>RUIZ</character>
    <dialogue>You ever buy a quarter ton? Not many people have.</dialogue>
    <scene_description>Another `` businessman '' enters from another door and whispers in Ruiz 's ear , then leaves again .</scene_description>
    <character>RUIZ</character>
    <dialogue>So, it's worth the wait, right? What can I do? Rent a Huey? Have an airlift? It's not like you can put it in a condom up some mule's asshole, right? How many peasants would that take? A line stretching from here to Mexico City -</dialogue>
    <character>GORDON</character>
    <dialogue>Nobody said shit, Eduardo -</dialogue>
    <scene_description>One of Ruiz 's hands dips under the desk where we see a handgun is holstered on the underside .</scene_description>
    <character>RUIZ</character>
    <dialogue>Relax. We're waiting, that's it.</dialogue>
    <character>CASTRO</character>
    <dialogue>Hey, you want to hear a joke? I got a joke. Why do women wear makeup and perfume?</dialogue>
    <character>GORDON</character>
    <dialogue>Chill out -</dialogue>
    <character>CASTRO</character>
    <dialogue>It's a funny fuckin' joke and it's quick. Why do women wear makeup and perfume?</dialogue>
    <character>RUIZ</character>
    <dialogue>I do n't know.</dialogue>
    <character>CASTRO</character>
    <dialogue>'Cause they're ugly and they stink.</dialogue>
    <scene_description>Castro laughs uproariously .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. DEA SURVEILLANCE SPACE - DAY</stage_direction>
    <scene_description>ON FUZZY SURVEILLANCE VIDEO : Castro laughing . Ruiz politely smiling , one of his hands hidden by the table .</scene_description>
    <character>GORDON</character>
    <dialogue>Man, you never been close enough to a woman to know how she smells.</dialogue>
    <character>DEA AGENT</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>What's his hand doing? Watch his hand. Anybody? I do n't like the hand.</dialogue>
    <scene_description>IN THE OFFICE The room is filled with crappy surveillance equipment . DEA AGENTS , in DEA logo 'd outerwear , jiggle a monitor fuzzily displaying the view from another hidden camera : Gordon and Ruiz around the cheap table .</scene_description>
    <character>DEA AGENT</character>
    <dialogue>This is ridiculous this fucking thing.</dialogue>
    <parenthetical>( taps monitor . )</parenthetical>
    <dialogue>Look at this shit - the first television transmission. I had better shit when I was the AV guy at junior high, swear - to - God.</dialogue>
    <character>ANOTHER DEA AGENT</character>
    <dialogue>Come on, Castro, pay attention. Watch his damn hands.</dialogue>
    <scene_description>ON THE MONITOR Another `` businessman '' enters the office and whispers in Ruiz 's ear .</scene_description>
    <character>RUIZ</character>
    <parenthetical>( ON MONITOR . )</parenthetical>
    <dialogue>Soon.</dialogue>
    <scene_description>Another AGENT peers out a window through binoculars . HIS POV : THE EXTERIOR OF THE OFFICE WHERE CASTRO , GORDON , AND RUIZ TALK .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. DEL MAR SELF-STORAGE, SAN DIEGO - DAY</stage_direction>
    <scene_description>A BLUE VAN makes a slow turn into the parking lot .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ROOF - DAY</stage_direction>
    <scene_description>TWO FBI AGENTS , in jackets reading `` FBI , '' hide on an opposing roof . They look through high - powered binoculars . Binocular POV : THE BLUE VAN TURNING INTO THE PLAZA .</scene_description>
    <character>FBI AGENT #2</character>
    <dialogue>All right, here we go. The blue van.</dialogue>
    <scene_description>HIS BINOCULAR POV DETECTS THREE UNMARKED CARS DISCREETLY FOLLOWING THE VAN .</scene_description>
    <character>FBI AGENT #2</character>
    <dialogue>Three unmarked vehicles.</dialogue>
    <parenthetical>( picks up walkie . )</parenthetical>
    <dialogue>Three unmarked vehicles accompanying.</dialogue>
    <scene_description>The unmarked cars split up and one turns into the parking lot of a fast - food restaurant . The other circles around the back of a building .</scene_description>
    <character>FBI AGENT #2</character>
    <dialogue>It's local. Local or Customs. Oh, man, I do n't know. Looks like the cavalry.</dialogue>
    <character>FBI AGENT</character>
    <dialogue>This is our show. Ah, man. I do n't want to share this one.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. OFFICE, DEL MAR SELF-STORAGE - CONTINUOUS</stage_direction>
    <scene_description>Through the window Ruiz , Gordon and Castro watch the van disappear into the bay of a storage unit . A man is pulling down the door behind it when three unmarked squad cars ROAR into the lot , surrounding the unit , officers exit the cars with their guns drawn - Gordon and Castro stare in disbelief . Ruiz FIRES the gun under the desk which hits Gordon full in the chest , knocking him backwards . Ruiz 's men run into the room pulling guns . Castro dives and pulls his weapon , firing at Ruiz 's men , hitting both of them . Ruiz bolts through another door . Castro pursues , talking into his shirt collar -</scene_description>
    <character>CASTRO</character>
    <dialogue>Agent down. Repeat, agent down.</dialogue>
    <scene_description>Gordon gets slowly to his feet , shaking off the blast to his Kevlar , and runs after them .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. DEL MAR SELF-STORAGE - DAY</stage_direction>
    <scene_description>The DEA are shooting at the men inside the storage unit who are shooting back . From all over the stake - out location , DEA AGENTS emerge firing their weapons . An equal number of FBI AGENTS emerge firing in return . Nobody was aware of the other 's presence . It 's CHAOS , a clusterfuck of law - enforcement zeal with three competing sets of good guys shouting through BULL - HORNS , GUNSHOTS and SCREAMING . Ruiz breaks through the corner of the lot , cutting between two buildings . Castro emerges and chases him .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PARKING LOT - DAY</stage_direction>
    <scene_description>Ruiz runs out the back of the storage company . He cuts between parked cars , heading for The Fun Zone , a kiddie restaurant .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. THE FUN ZONE - DAY</stage_direction>
    <scene_description>Castro enters The Fun Zone . There 's a cardboard cutout of SPASTIC JACK , a beloved comedy figure who looks like a rabbit version of Jar Jar Binks , promoting the `` Special Edition '' glass : `` Collect All Four . '' There 's an enclosure filled with colored plastic balls . The restaurant is empty except for a CLOWN filling out a time card . The clown stands .</scene_description>
    <character>CLOWN</character>
    <dialogue>Hey dudes, we're not open yet.</dialogue>
    <scene_description>Castro makes a motion for him to be quiet and keeps moving toward the room of colored balls . Gordon enters the restaurant and follows him . An ANIMATRONIC BAND starts to play a SONG . Gordon sees a half - hidden foot buried underneath the plastic balls at the far end of the room . He takes careful aim and FIRES . Ruiz SCREAMS and sits up . Castro pounces on him , disarming him , and roughing him up .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. THE FUN ZONE - DAY</stage_direction>
    <scene_description>Castro and Gordon shove Ruiz into the sunlight . They wait while their eyes adjust .</scene_description>
    <character>RUIZ</character>
    <dialogue>Take me to the hospital. I'm bleeding to death.</dialogue>
    <scene_description>Castro shoves him forward . ACROSS THE PARKING LOT DEA has opened the back of the van where a quarter - ton of cocaine is spilling out onto the pavement .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. GUEST HOUSE - AFTERNOON</stage_direction>
    <scene_description>A bong hit is expelled into the air . In the living room of a comfortable , preppy guest house , private school TEENAGERS party and hang - out : cigarettes in ashtrays , beer and bong on the coffee table , loud MUSIC . SUPERTITLE : CINCINNATI , OHIO The TV is on with the sound off . The curtains are closed . The four boys wear school blazers with their ties pulled askew , the three girls ' clothing are also identical . Some sit on couches , some on the floor . They are stoned . One intense - looking boy , SETH ABRAHAMS , 17 , wild curly hair and the attitude of a young Coleridge , and a girl , CAROLINE WAKEFIELD , 16 , really sixteen which means she looks about 12 , pretty and flirtatiously irreverent , sit at a desk in front of a Powerbook G - 3 playing an on - line trivia game . Seth speaks rapidly and precisely .</scene_description>
    <character>SETH</character>
    <dialogue>Father of Greek tragedy? Anyone? Okay, Aeschylus it is.</dialogue>
    <parenthetical>( hits keys . )</parenthetical>
    <dialogue>His trilogy? The Oresteia. I mean this is beautiful, can anyone stop the Seth Machine?</dialogue>
    <parenthetical>( hits keys . )</parenthetical>
    <dialogue>Score. Thank you. Madmax from Omaha we own you. And Tragedy is closed out.</dialogue>
    <scene_description>Seth leans over and snorts a line of coke from a mirror . He hands it to Caroline who effortlessly does one .</scene_description>
    <character>CAROLINE</character>
    <dialogue>Entertainment. The Susan Lucci section or Banal Love Songs of the Nineties?</dialogue>
    <scene_description>Seth looks at her . He has a crush .</scene_description>
    <character>SETH</character>
    <dialogue>Banal Love Songs it is.</dialogue>
    <parenthetical>( hits keys . )</parenthetical>
    <dialogue>Hey, you wan na try something?</dialogue>
    <scene_description>She nods . They both take a swig of beer . He takes her hand pulling her past the stoned people on the couch - IN THE KITCHEN Seth takes out a box of baking soda . He tears off a square of aluminum foil . He takes out a spoon . Caroline watches as he dumps a small amount of cocaine into the spoon . He adds a pinch of baking soda . He puts in a few drops of water . Stirs it around with the heel of a lighter . Then holds the flame under the spoon .</scene_description>
    <character>CAROLINE</character>
    <dialogue>What are you doing?</dialogue>
    <character>SETH</character>
    <parenthetical>( concentrating . )</parenthetical>
    <dialogue>Just watch.</dialogue>
    <scene_description>He watches the substance in the spoon as it swirls and bubbles , then separates . He pours the most viscous part onto the aluminum foil , making four separate little puddles . He quickly dismantles a ballpoint pen , making a straw . He hands it to Caroline .</scene_description>
    <character>SETH</character>
    <dialogue>Inhale the smoke and hold it.</dialogue>
    <character>CAROLINE</character>
    <dialogue>What is this, like freebase?</dialogue>
    <character>SETH</character>
    <dialogue>Not like. It is.</dialogue>
    <scene_description>He lights the flame under the aluminum foil . The puddle crackles and pops , then starts to smoke -</scene_description>
    <character>SETH</character>
    <dialogue>Go. Go!</dialogue>
    <scene_description>There 's a rush of thick grey smoke . Caroline catches most of it .</scene_description>
    <character>SETH</character>
    <dialogue>Hold it.</dialogue>
    <scene_description>She pulls it in deeper and holds . Suddenly her expression changes . Her eyes lose their focus , her face slackens , an almost sexual response . Seth is watching her intensely .</scene_description>
    <character>SETH</character>
    <dialogue>See. Now, you see.</dialogue>
    <scene_description>Caroline slumps back against the counter . Seth moves against her , kissing her , running his hands over her breasts and body . She stares over his shoulder , holding it as long as she can . Finally she exhales -</scene_description>
    <character>CAROLINE</character>
    <dialogue>More.</dialogue>
    <scene_description>The cloud of grey smoke from her lungs fills the room .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. WHITE HOUSE OFFICE - DAY</stage_direction>
    <scene_description>The White House CHIEF OF STAFF meets with Robert Wakefield . The Chief of Staff has the floor ; he always has the floor . This is a man you do not want to disappoint .</scene_description>
    <character>CHIEF OF STAFF</character>
    <dialogue>Until you officially take over the office of National Drug Control Policy, under no circumstances should you speak to the press unprotected, without going through this office or having someone in the room. There are a lot of interests in this town and, right now, they're all scared of you. The reason they're scared of you. technically, you have veto power over their budgets. So think about that : FBI, CIA, DEA, CUSTOMS, TREASURY, ATF, DEFENSE, IRS, Radio Shack and the DMV, they're all gon na want to speak to you. And that's the good news. You'll also be meeting Senators and Congressman, each with a specially prepared question. Their question is designed for one thing : to make them look smart. If you lecture them, they wo n't think you respect them. If you respond with utter humility, they will. Remember, this is about your respect for them, and the President's respect for them. Speaking of which, as soon as he gets back from Russia and China, we'll get you in there for some face - time, let the two of you catch up.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>It'd probably be a good idea for you to meet your predecessor. I'll have Jeff Sheridan take you over. Also, four weeks from today you will give your first official press conference. In it you will outline the President's strategy for winning the war on drugs.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>Okay, anything else?</dialogue>
    <character>ROBERT</character>
    <dialogue>I'll be sure to let you know.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. EXECUTIVE BUILDING, WASHINGTON, D.C. - DAY</stage_direction>
    <scene_description>Robert makes his way through a warren of hallways in the endless corridors of the Old Executive Building alongside JEFF SHERIDAN , 35 , an enthusiastic government employee who has found his place .</scene_description>
    <character>SHERIDAN</character>
    <dialogue>I just want to be clear about one thing. I used to work for him, but now I work for you. I'm not a partisan person, I'm an issue person. In the next few weeks, if you allow me, we'll get you well - versed on an incredible array of issues. The most important of which, in my opinion, being Mexico. I know everybody that you're gon na meet. It's important that they like you. It's not important that they like me. That's why I can help protect you.</dialogue>
    <character>ROBERT</character>
    <dialogue>Like you protected Landry?</dialogue>
    <character>SHERIDAN</character>
    <dialogue>I see where you're going with that, but if I could just say something, which is basically that a guy like Landry is so autocratic he does n't know how to let himself be helped ; it's a point of pride to take every bullet, no matter who fired it, or whether it was even aimed at him, which personally I think it very self - defeating. Now, do n't get me wrong, he's a man of enormous integrity, but there's a political component to this job that the General just did n't have any patience for.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. OFFICE OF NATIONAL DRUG CONTROL POLICY - DAY</stage_direction>
    <scene_description>Robert and Sheridan enter the office of outgoing Drug Czar , GENERAL RALPH LANDRY , 60 's , buzz - cut , professional soldier with a sense of humor . Landry is putting some personal items in a box .</scene_description>
    <character>GENERAL LANDRY</character>
    <dialogue>Jeff, you want to excuse us for a minute?</dialogue>
    <scene_description>Sheridan nods and leaves .</scene_description>
    <character>GENERAL LANDRY</character>
    <parenthetical>( bemused , off Sheridan 's exit . )</parenthetical>
    <dialogue>Functionaries. Nice people, the Schedule C's. About twelve graduate degrees apiece, but it seems sometimes all they do is start rumors.</dialogue>
    <scene_description>Robert and Landry shake hands .</scene_description>
    <character>ROBERT</character>
    <dialogue>You've done a fine job here, Sir. The Office of National Drug Control Policy is in better shape than when you found it.</dialogue>
    <scene_description>Landry tries to determine whether Robert believes this . He looks around the office as if the policy is hiding somewhere .</scene_description>
    <character>GENERAL LANDRY</character>
    <dialogue>I'm not sure I made the slightest difference.</dialogue>
    <parenthetical>( wistful . )</parenthetical>
    <dialogue>I tried. I really did.</dialogue>
    <character>ROBERT</character>
    <dialogue>There are a lot of encouraging statistics. The work's just started, but I intend to see it through. You've got my word on that.</dialogue>
    <character>GENERAL LANDRY</character>
    <dialogue>You're here for two years, three maximum. What'd they promise you? Court appointment? What? District? Appeals?</dialogue>
    <parenthetical>( checks Robert 's reaction . )</parenthetical>
    <dialogue>Not Supreme. Supreme?</dialogue>
    <character>ROBERT</character>
    <dialogue>I've come in to do a tough job and that's what I'm going to focus on.</dialogue>
    <scene_description>General Landry SIGHS .</scene_description>
    <character>GENERAL LANDRY</character>
    <dialogue>When Kruschev was forced out, he sat down and wrote two letters and handed them to his successor. He said `` When you get into a situation you ca n't get out of, open the first letter and you'll be saved. And when you get into another situation you ca n't get out of, open the second.'' Soon enough this guy found himself in a tight place. So he opened the first letter. It said, `` Blame everything on me.'' So he blamed the old guy and it worked like a charm.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>He got into another situation he could n't get out of, so he opened the second letter, which read, `` Sit down and write two letters.''</dialogue>
    <scene_description>They stare at each other a beat . Then Landry smiles .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. MANOLO'S STREET, MEXICO - DAY</stage_direction>
    <scene_description>A cinderblock house . Kids and dogs in the street . A face we recognize as Manolo 's peers out of a curtain into the street .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MANOLO'S KITCHEN - DAY</stage_direction>
    <scene_description>The ceiling is stained , the floor sags . A cheap radio plays . Manolo is at the door . Javi sits at a dinette table . He talks to Manolo but watches Manolo 's wife , ANNA , 20 's , a nice - looking , ostensibly demure young woman , as she moves around the kitchen .</scene_description>
    <character>JAVIER</character>
    <dialogue>Relax. If they were going to kill us they would have done it in the desert.</dialogue>
    <character>MANOLO</character>
    <dialogue>They would n't do it in front of all these people. They'd send someone later, when we're alone.</dialogue>
    <scene_description>Manolo tenses , and throws open the window .</scene_description>
    <character>MANOLO</character>
    <parenthetical>( yelling out the window . )</parenthetical>
    <dialogue>Away from the car. Now!</dialogue>
    <scene_description>MANOLO 'S POV out the window as KIDS play in the car , sitting behind the wheel .</scene_description>
    <character>JAVIER</character>
    <dialogue>Even if that were true, they're not going to come to your house where you're waiting for them.</dialogue>
    <character>ANNA</character>
    <dialogue>He's right. They'll do it when you're walking somewhere, make it look like street crime.</dialogue>
    <character>MANOLO</character>
    <dialogue>Shut your fucking mouth. Nobody's talking to you.</dialogue>
    <scene_description>Anna sets a cup of coffee in front of Javi and stares at him .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. POLICE SEDAN - DAY</stage_direction>
    <scene_description>Javi and Manolo cruise through the streets of Tijuana .</scene_description>
    <character>JAVIER</character>
    <dialogue>If you want her to stay out of it, then stop telling her everything. You should learn how to keep a secret.</dialogue>
    <character>MANOLO</character>
    <dialogue>She's nosy. She hears me on the telephone.</dialogue>
    <character>JAVIER</character>
    <dialogue>Anyway, I do n't think we'll ever see them again. Everything's back to normal.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. TIJUANA STREET - DAY</stage_direction>
    <scene_description>Tourist hell . A cacophony of street venders , panhandlers , and vehicular traffic . Javier and Manolo are speaking with a flustered young American TOURIST COUPLE .</scene_description>
    <character>TOURIST WOMAN</character>
    <dialogue>You're a police officer. Are n't you going to take a report or something? Do n't you want to know what kind of car it is?</dialogue>
    <character>TOURIST MAN</character>
    <dialogue>It's a Brown Ford Explorer -</dialogue>
    <character>TOURIST WOMAN</character>
    <dialogue>It was right here. It's been stolen. I want to file a report.</dialogue>
    <character>MANOLO</character>
    <dialogue>Please. Filing a report will not help you find your car.</dialogue>
    <character>JAVIER</character>
    <dialogue>The police wo n't find your car.</dialogue>
    <character>TOURIST WOMAN</character>
    <dialogue>But you're the police.</dialogue>
    <scene_description>Javier pulls out a note pad and scribbles a number .</scene_description>
    <character>JAVIER</character>
    <dialogue>Call this man, he'll find your car for you.</dialogue>
    <character>TOURIST MAN</character>
    <dialogue>I do n't get it -</dialogue>
    <character>TOURIST WOMAN</character>
    <dialogue>How will this guy know who has our car?</dialogue>
    <character>JAVIER</character>
    <dialogue>The police will tell him.</dialogue>
    <scene_description>There 's a beat of confusion .</scene_description>
    <character>TOURIST MAN</character>
    <dialogue>Why will they tell him but they wo n't tell us?</dialogue>
    <character>TOURIST WOMAN</character>
    <parenthetical>( getting it . )</parenthetical>
    <dialogue>Because we pay him, stupid.</dialogue>
    <parenthetical>( to Javier . )</parenthetical>
    <dialogue>Right? And he pays the police.</dialogue>
    <scene_description>And then our car appears .</scene_description>
    <character>JAVIER</character>
    <dialogue>Yes. Better than filling out forms, right?</dialogue>
    <scene_description>The man reaches in his wallet and offers Javier a twenty . Javi waves him off . Javier and Manolo walk back to their squad car when two SUV 's come to a stop in front of them . Javier and Manolo exchange a look . The doors SLAM and FOOTSTEPS approach .</scene_description>
    <character>OFFICER</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>Javier Rodriguez.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. LA JOLLA GOLF AND TENNIS CLUB - DAY</stage_direction>
    <scene_description>A ladies luncheon in the Nancy Reagan Dining Room overlooking a putting green . The bejewelled WIVES of successful men yammer at one another around tables with rich flower centerpieces . SUPERTITLE : LA JOLLA , CALIFORNIA , JUST OUTSIDE SAN DIEGO One wife , HELENA AYALA , 32 , ex - model , with a sweetness and intelligence that almost contradicts her beauty , stares out the window at a small BOY , 5 , using a putter as tall as he is . Helena is six months pregnant and radiant . A waiter brings Helena 's starter course . Her friends , NAN DOBBS , early 40 's , post Junior League , a little tipsy , STEWIE and ALEX , same League , watch her -</scene_description>
    <character>NAN</character>
    <dialogue>Duck salad?</dialogue>
    <character>HELENA</character>
    <dialogue>Mmm.</dialogue>
    <scene_description>Nan ca n't believe it .</scene_description>
    <character>NAN</character>
    <dialogue>Helena, you never order duck salad.</dialogue>
    <character>HELENA</character>
    <dialogue>Well, that's true. I do n't.</dialogue>
    <parenthetical>( re : her belly . )</parenthetical>
    <dialogue>I think someone else is asking for it.</dialogue>
    <character>NAN</character>
    <dialogue>Well, he's got good taste. Is n't it the most wonderful thing you ever tasted? I mean ever.</dialogue>
    <character>HELENA</character>
    <dialogue>It's delicious -</dialogue>
    <character>STEWIE</character>
    <dialogue>They're the most marvelous little creatures. Canard. They fly, swim, walk. And so cute with their babies marching along behind.</dialogue>
    <character>NAN</character>
    <dialogue>Looking for a nice sauce ala orange.</dialogue>
    <scene_description>Everyone laughs . Helena is by far the youngest in her crowd .</scene_description>
    <character>ALEX</character>
    <dialogue>It's a very fatty bird. All that winter insulation. Just like me.</dialogue>
    <character>NAN</character>
    <dialogue>You mean all breast, just like you.</dialogue>
    <character>ALEX</character>
    <dialogue>You're bad -</dialogue>
    <character>NAN</character>
    <parenthetical>( singsong . )</parenthetical>
    <dialogue>Jealous, that's all -</dialogue>
    <character>HELENA</character>
    <dialogue>I've heard. I ca n't remember where. That it's full of that good kind of fat, the kind you're supposed to eat -</dialogue>
    <character>STEWIE</character>
    <dialogue>Unsaturated fat -</dialogue>
    <character>TWO WOMEN IN UNISON</character>
    <dialogue>Polyunsaturated.</dialogue>
    <character>HELENA</character>
    <dialogue>And now there's a good cholesterol and bad cholesterol. Everything they tell you completely changes every other week. I do n't know why they think we should listen at all.</dialogue>
    <character>NAN</character>
    <dialogue>What I know is ducks, as cute as they are, were designed by God to be eaten.</dialogue>
    <scene_description>Nan reaches for a taste and the other women lean forward also , a sea of inanity swirling around Helena 's salad .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. COUNTRY CLUB PARKING LOT - DAY</stage_direction>
    <scene_description>Helena buckles her little boy , DAVID , 5 , into the front seat of her Mercedes . He wo n't let go of his putter .</scene_description>
    <character>HELENA</character>
    <dialogue>I'll put this in the back.</dialogue>
    <character>DAVID</character>
    <dialogue>No -</dialogue>
    <character>HELENA</character>
    <dialogue>All the professionals keep them in the trunk.</dialogue>
    <character>DAVID</character>
    <dialogue>Not Tiger Woods.</dialogue>
    <character>HELENA</character>
    <dialogue>Especially Tiger Woods.</dialogue>
    <parenthetical>( sharing a secret . )</parenthetical>
    <dialogue>. Actually, he keeps his on the back seat.</dialogue>
    <scene_description>She pulls the putter away from the reluctant boy and sets it on the back seat .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HOTEL - DAY</stage_direction>
    <scene_description>A modern high - rise on the waterfront playground of San Diego . Helena passes the hotel in her car .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOTEL ROOM - DAY</stage_direction>
    <scene_description>A standard room looking out at the water which is dotted with sailboats and cruise ships . The bed is covered with hi - tech surveillance equipment . The equipment salesman , LONNIE , 40 's , who makes a fetish of gadgetry , explains the finer points of operation to FRANCISCO `` FRANKIE '' FLORES , 30 's , sallow , watery - eyed , in expensive clothes .</scene_description>
    <character>LONNIE</character>
    <dialogue>Gates, Myrhvold, Bezos. I sell to all those guys. Why? Because the technology to intrude has reached the masses. Your competitor, your ex - spouse, adversaries, stalkers, they're at the local electronics store right now, and they're gon na be intruding on you not only through your telephone, but your fax, cell phone, pager, cable TV, Musak, windows, walls, air conditioning ventilation, modem, and internet connection.</dialogue>
    <scene_description>He walks over to the bed and the sexy equipment -</scene_description>
    <character>LONNIE</character>
    <dialogue>Nobody has these babies, no way, not the shiznit.</dialogue>
    <scene_description>Frederico picks up a piece of equipment .</scene_description>
    <character>FRANCISCO</character>
    <dialogue>I want to intercept cell phone calls, digital and analog. And locate the source of the call. I need databasing capability, to cross - reference calls and numbers.</dialogue>
    <scene_description>Lonnie lovingly picks up a laptop computer with a sleek device attached to it -</scene_description>
    <character>LONNIE</character>
    <dialogue>Your Cellular Secretary, friend across all the digital wireless spread spectrum.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>So, Francisco, what do you do? You a PI? Private security?</dialogue>
    <scene_description>Francisco looks at Lonnie coldly .</scene_description>
    <character>FRANCISCO</character>
    <dialogue>Assassin.</dialogue>
    <character>LONNIE</character>
    <parenthetical>( not missing a beat . )</parenthetical>
    <dialogue>Assassin, okay. Let's get you started in surveillance.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. GEORGETOWN BROWNSTONE - NIGHT</stage_direction>
    <scene_description>The house takes up most of one of the nicest blocks . PEOPLE enter and party VOICES drift out . SUPERTITLE : GEORGETOWN , WASHINGTON , D.C.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. GEORGETOWN BROWNSTONE - NIGHT</stage_direction>
    <scene_description>A power cocktail party in full swing . This is where most of the business in Washington gets done . Robert , scotch in hand , listens to a smug PHARMACEUTICAL LOBBYIST explain the world .</scene_description>
    <character>PHARMACEUTICAL LOBBYIST</character>
    <dialogue>We in the legal drug business, and I mean Merck, Pfizer, the rest of my very powerful clients, realize this is n't a war with a traditional winner and loser, but an organism at war with itself, whose weapons of mass destruction happen to be intoxicants. And if you want a body count look no further than alcohol which racks up 80,000 kills a year. Cocaine manages a measly 2,000. Same for Heroin. But, the big daddy is Big Tobacco which kills 380,000 each year, which, by the way, is more people than have been killed by all the illegal drugs in the last century.</dialogue>
    <character>ROBERT</character>
    <parenthetical>( faking it . )</parenthetical>
    <dialogue>That's very interesting.</dialogue>
    <scene_description>The lobbyist smiles . Robert sips his drink . ANOTHER ANGLE ON ROBERT In another room . Listening to STAN , overweight advocate for the United States Council of Chambers of Commerce .</scene_description>
    <character>STAN</character>
    <dialogue>It's time, Robert, to choke some honesty out of these rural legislators ; get'em to fess up that it's pretty much Prisons or Casinos in terms of their choices for economic growth.</dialogue>
    <scene_description>ANOTHER ANGLE ON ROBERT listening to ETHAN , earnest advocate of harm reduction .</scene_description>
    <character>ETHAN</character>
    <dialogue>What's the difference between Prozac and Ecstacy, you ask? One's a mattress and the other's a trampoline. Molecules do n't have morality. Really, think about it : some molecule changes the way a serotonin re - uptake inhibitor works, it's not suddenly a bad molecule ; it's just a molecule. My theory : America has a real fear of short, intense experiences.</dialogue>
    <scene_description>Robert turns away -</scene_description>
    <character>ROBERT</character>
    <parenthetical>( under his breath . )</parenthetical>
    <dialogue>Like you.</dialogue>
    <character>ANOTHER ROOM</character>
    <dialogue>Robert at the bar getting another scotch. A secretive man, TIM, 40's, nerdy, sidles up beside him and whispers furtively in his ear.</dialogue>
    <character>TIM</character>
    <parenthetical>( whispering . )</parenthetical>
    <dialogue>Chemicals? Some say problems, others say solution. Imagine a cloud that when it rains prohibits the growth of poppies or takes the THC out of marijuana. Imagine a pill that eliminates any psychological craving, from Dilaudid to Dove Bars. Law enforcement has n't let science sit on the sidelines. Addiction is no more relevant than polio or the Black Plague.</dialogue>
    <scene_description>Tim slips away into the crowd . Robert moves away from the bar . ANOTHER ROOM An argument is breaking out between an ECONOMIST and an UNDERSECRETARY OF DEFENSE with Robert as the audience .</scene_description>
    <character>ECONOMIST</character>
    <parenthetical>( to the undersecretary . )</parenthetical>
    <dialogue>You're not battling traffickers or dealers, but a market, and the market contains a paradox : if you arrest traffickers, you raise prices, and you also raise profits, which brings more traffickers into the business.</dialogue>
    <character>UNDERSECRETARY</character>
    <parenthetical>( to the Economist . )</parenthetical>
    <dialogue>Back in the real world, we're talking about Mexico and not John Maynard Keynes. We will spend 18 billion dollars this year on this `` war,'' and the question on the table every year is do we certify Mexico as an ally or not?</dialogue>
    <scene_description>Another man , RUSH PHILLIPS , a middle - aged powerbroker , overhears , then joins and Robert is encircled .</scene_description>
    <character>RUSH PHILLIPS</character>
    <dialogue>You want to make a difference, hit the users. You do n't jeopardize our financial markets by some hypocritical stance on drug consumption. We're snorting it, why penalize Mexico for supplying it?</dialogue>
    <character>UNDERSECRETARY</character>
    <dialogue>Mexico, do n't talk to me about Mexico -</dialogue>
    <character>ECONOMIST</character>
    <dialogue>It's the stick of law enforcement that creates the carrot of huge profits. That's economic truth -</dialogue>
    <character>RUSH PHILLIPS</character>
    <dialogue>Addicts do n't vote ; they do n't have PACs ; they do n't spend soft money, that's political truth -</dialogue>
    <character>UNDERSECRETARY</character>
    <dialogue>We're locking them up and consumption is falling -</dialogue>
    <character>ECONOMIST</character>
    <dialogue>The price of coke and heroin has dropped and purity has increased. All this law enforcement has achieved is kids can get better stuff, cheaper. In economic terms, you can forget it ; this is not a winnable war.</dialogue>
    <character>RUSH PHILLIPS</character>
    <dialogue>Christ, you want to decertify somebody, take Pakistan or Columbia. We do n't need them for anything.</dialogue>
    <character>ECONOMIST</character>
    <dialogue>If you manage to seize an inconceivable 50 percent of all drugs coming into this country, you'll still raise the price of coke and heroin less than 3 percent which wo n't affect drug use at all.</dialogue>
    <character>RUSH PHILLIPS</character>
    <dialogue>Why are we calling this a war at all? You do n't declare war on your own people. Addiction is a little worm that gnaws a house apart from the inside.</dialogue>
    <scene_description>MICHAEL ADLER , about Robert 's age , and as successful , but in a different way , approaches , catching Robert 's eye through the arguing demagogues .</scene_description>
    <character>UNDERSECRETARY</character>
    <dialogue>We need Mexico for these reasons : number one - Defense ; two - Trade ; three - Tourism ; then, way on down the line, comes Drugs. The President knows this. Why's he holding everybody's feet to the fire?</dialogue>
    <character>MICHAEL</character>
    <parenthetical>( solemn . )</parenthetical>
    <dialogue>Mr. Wakefield, there's a situation that needs your attention right away.</dialogue>
    <scene_description>Robert looks at Michael , squints , looks closer , then follows .</scene_description>
    <character>RUSH PHILLIPS</character>
    <parenthetical>( oblivious . )</parenthetical>
    <dialogue>One in sixteen Americans is of Mexican descent. Mexico our third largest trading partner.</dialogue>
    <scene_description>ANGLE ON ROBERT AND MICHAEL ON THE BACK PORCH .</scene_description>
    <character>ROBERT</character>
    <dialogue>You're looking pretty good for an old guy.</dialogue>
    <character>MICHAEL</character>
    <dialogue>My work keeps me young.</dialogue>
    <character>ROBERT</character>
    <dialogue>Which part, getting terrorists loose on bail or freeing convicted murderers on technicalities?</dialogue>
    <character>MICHAEL</character>
    <dialogue>The worst serial killer in history - who? Gacy - right? Killed forty two people. Our government killed fifty thousand in Vietnam and lied about it every day.</dialogue>
    <character>ROBERT</character>
    <dialogue>Michael, you represent drug dealers, not civil libertarians.</dialogue>
    <character>MICHAEL</character>
    <dialogue>We kidnapped Noriega out of Panama. Is that covered in your Constitution? Because it is n't in mine.</dialogue>
    <character>ROBERT</character>
    <dialogue>Noriega is a criminal.</dialogue>
    <character>MICHAEL</character>
    <dialogue>Noriega was head of a sovereign nation who made the mistake of doing business with the U.S. Government. So, no, I do n't have a problem waking up every day and fighting our government, fighting people like you, trying to keep this system a little bit honest.</dialogue>
    <character>ROBERT</character>
    <parenthetical>( amused . )</parenthetical>
    <dialogue>Last I read your clients were chopping people up with chainsaws and delivering illegal narcotics into this country.</dialogue>
    <character>MICHAEL</character>
    <dialogue>I hope when you were on the bench, Judge Wakefield, you did n't handle the presumption of innocence in the same fashion.</dialogue>
    <character>ROBERT</character>
    <dialogue>If I ever return to the bench, Counselor Adler, I hope I have the pleasure of hearing your arguments.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. HOSPITAL EMERGENCY ROOM, SAN DIEGO - DAY</stage_direction>
    <scene_description>Eduardo Ruiz lies in a hospital bed , handcuffed to the railing . His bandaged foot is held aloft by a sling and a tube drains the wound . He is tugging on the handcuffs as Castro and Gordon enter the room .</scene_description>
    <character>GORDON</character>
    <dialogue>You planning on going somewhere, Eduardo? You do n't like it here? This is the best situation you're going to have for a long, long time.</dialogue>
    <character>RUIZ</character>
    <dialogue>I am a legitimate business. Fishing boats. Tuna. Check it out. Tax records, everything -</dialogue>
    <character>GORDON</character>
    <dialogue>Listen you motherfucker, you tried to kill me with a fucking cannon.</dialogue>
    <character>RUIZ</character>
    <dialogue>You ca n't visit me here. I want my lawyer.</dialogue>
    <character>GORDON</character>
    <dialogue>The amount of coke we got on you means capital punishment in some states.</dialogue>
    <character>CASTRO</character>
    <dialogue>Move'em to Texas, fry'em up.</dialogue>
    <character>GORDON</character>
    <dialogue>We got you on tape making the deal. We got you bragging about the quality. We got you bragging about your business. We got you.</dialogue>
    <scene_description>A NURSE appears in the doorway . Gordon goes to the door and shuts it in her face .</scene_description>
    <character>GORDON</character>
    <dialogue>One chance here, Eduardo. Make us believe you got a boss. No boss, it's all on you.</dialogue>
    <character>RUIZ</character>
    <dialogue>It's a death sentence. I'll never make it to the trial.</dialogue>
    <character>GORDON</character>
    <dialogue>We can protect you.</dialogue>
    <scene_description>Ruiz looks at them in disbelief .</scene_description>
    <character>CASTRO</character>
    <dialogue>Who do you work for?</dialogue>
    <character>RUIZ</character>
    <dialogue>This is coercion.</dialogue>
    <character>GORDON</character>
    <dialogue>That's a big word for a fisherman.</dialogue>
    <character>CASTRO</character>
    <dialogue>Who do you work for?</dialogue>
    <scene_description>Gordon and Ruiz stare at each other .</scene_description>
    <character>RUIZ</character>
    <dialogue>I know another word. Immunity.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. AYALA HOME - LA JOLLA - DAY</stage_direction>
    <scene_description>A starter castle high in the hills near Mount Soledad , an exclusive neighborhood with views of the ocean . Joggers jog to the SOUNDS of tennis and Jacuzzis gurgling , and lawn care equipment operated by Mexicans . Behind the Ayala gate we see David playing with his golf club on the lush lawn . Workers set - up the party under the direction of a professional party planner . A BMW 740il with tinted windows pulls into the driveway .</scene_description>
    <character>DAVID</character>
    <dialogue>Daddy!</dialogue>
    <scene_description>The window lowers and we see CARL AYALA , 40 's , handsome , charismatic , second generation American , in expensive , conservative clothes , covering his cell phone as he greets his kids .</scene_description>
    <character>CARL</character>
    <dialogue>Hello. Hello.</dialogue>
    <scene_description>He goes back to his phone call , pulling around to the garage . David goes back to his game .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. AYALA DINING ROOM - DAY</stage_direction>
    <scene_description>There are MAIDS in the house and a COOK in the kitchen . The large rooms are filled with fine art . Helena Ayala sits at the dining room table with plans , bills and receipts spread before her . Carl enters and paces around the room , continuing his cell phone conversation .</scene_description>
    <character>CARL</character>
    <parenthetical>( into phone . )</parenthetical>
    <dialogue>I'm sorry, Jonas. I do n't care if that is the price you have gotten in order countries.</dialogue>
    <scene_description>Helena watches her husband pace as he talks . He ca n't help it , but a portion of this call is theatrical , for an audience 's benefit , which in this instance happens to be his wife . Helena 's expression of annoyance resets itself into love .</scene_description>
    <character>CARL</character>
    <dialogue>This is America, a different country. I am Carl, a different man. So you see, everything about our situation is different and I believe the pricing will be different, too.</dialogue>
    <parenthetical>( beat , listens . )</parenthetical>
    <dialogue>You're a reasonable man. So take the weekend to think about it.</dialogue>
    <scene_description>Carl clicks off the phone , turns to Helena .</scene_description>
    <character>CARL</character>
    <dialogue>Every day with this guy is like starting all over again.</dialogue>
    <scene_description>Carl winds down and finally becomes present in the room with his wife . He looks at her . She looks back .</scene_description>
    <character>CARL</character>
    <dialogue>Hi.</dialogue>
    <character>HELENA</character>
    <dialogue>Hi.</dialogue>
    <character>CARL</character>
    <dialogue>What's up?</dialogue>
    <character>HELENA</character>
    <dialogue>Just watching you.</dialogue>
    <character>CARL</character>
    <dialogue>I got that. How was your day?</dialogue>
    <scene_description>She pushes the topiary away from her . Suddenly , she seems tired . Carl comes over and puts his hand on her pregnant belly .</scene_description>
    <character>CARL</character>
    <dialogue>You all right?</dialogue>
    <character>HELENA</character>
    <dialogue>I keep feeling like I'm forgetting something.</dialogue>
    <scene_description>Her husband watches her , then wraps his arms around her .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. AYALA HOME - DAY</stage_direction>
    <scene_description>Carl and Helena step out on the front porch of their home and watch David play with his golf putter . OUTSIDE THEIR GATE An unmarked police car rolls up and stops behind the wall . Another arrives and another and another . OFFICERS in DEA jackets exit the cars . There is MURMURING , then SILENCE . Helena slowly turns to look at her husband . He does n't look at her .</scene_description>
    <character>HELENA</character>
    <dialogue>David, come inside -</dialogue>
    <scene_description>Suddenly , POLICE and DEA enter the front yard . Gordon and Castro enter the yard and move quickly up the drive to Carl .</scene_description>
    <character>CARL</character>
    <dialogue>What is this? What is going on?</dialogue>
    <character>GORDON</character>
    <dialogue>Mr. Ayala?</dialogue>
    <character>CARL</character>
    <dialogue>That's right.</dialogue>
    <character>GORDON</character>
    <dialogue>You're under arrest for violation of Federal Narcotics laws.</dialogue>
    <scene_description>Gordon and Castro spin him , cuff him , and without emotion begin pulling him from his yard . David is trying to get to his father . In a kind of shock . Helena trails after him . Castro drags Carl into the street toward the open door of the cruiser . He pushes him down into the backseat .</scene_description>
    <character>GORDON</character>
    <dialogue>We have a warrant to search your home, Mrs. Ayala.</dialogue>
    <scene_description>Gordon hits the side of the cruiser and it pulls away . Carl looks at his wife through the window . Gordon and Castro head up the driveway toward her house . Helena is left standing in the street . NEIGHBORS , who have appeared in front yards and at the ends of driveways , stare at her with suspicion . David approaches and holds onto her leg .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SALAZAR'S HEADQUARTERS - ANTEROOM - DAY</stage_direction>
    <scene_description>Javi and Manolo wait in Salazar 's anteroom . A ceiling fan swirls the air . After a moment the door opens and an AIDE motions to them . They stand .</scene_description>
    <character>AIDE</character>
    <parenthetical>( to Manolo . )</parenthetical>
    <dialogue>Not you. You.</dialogue>
    <scene_description>Javi goes into the room .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SALAZAR'S OFFICE - DAY</stage_direction>
    <scene_description>The office is Spartan and military . Salazar and Javi sit facing each other . Salazar looks at a piece of paper .</scene_description>
    <character>SALAZAR</character>
    <dialogue>Javier Rodriguez. Twenty - nine years - old. Graduated from Montessori school. Five years as a beat cop in TJ. Three years with the State Police. Parents died four years ago in their apartment from carbon monoxide poisoning because they could not afford to fix their gas heater. Your sister works in a Maquiladora in Juarez, making designer blue - jeans. On the police force three years, you currently make 316 dollars a month.</dialogue>
    <scene_description>Salazar crumples the piece of paper and tosses it in the trash .</scene_description>
    <character>SALAZAR</character>
    <dialogue>That's your past. I want to talk about your future. Would you be willing to do something for me?</dialogue>
    <character>JAVIER</character>
    <dialogue>If I can.</dialogue>
    <character>SALAZAR</character>
    <dialogue>I'm trying to bust the Tijuana Cartel.</dialogue>
    <character>JAVIER</character>
    <dialogue>What is it you want me to do?</dialogue>
    <character>SALAZAR</character>
    <dialogue>A small thing. Nothing really.</dialogue>
    <scene_description>Javier thinks about this .</scene_description>
    <character>JAVIER</character>
    <dialogue>Does this offer include my partner?</dialogue>
    <character>SALAZAR</character>
    <dialogue>Only if he can be trusted.</dialogue>
    <character>JAVIER</character>
    <dialogue>He'll do what I say.</dialogue>
    <scene_description>Salazar slides a folder across the desk . Javier opens it and sees a black and white surveillance photo of the informant .</scene_description>
    <character>SALAZAR</character>
    <dialogue>His name is Francisco Flores. He is a killer and gun smuggler for the Tijuana cartel. I need to speak with him. I need you to find him and bring him to me so that I can speak with him.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. POLICE SEDAN - DAY</stage_direction>
    <scene_description>Manolo faces Javier .</scene_description>
    <character>MANOLO</character>
    <dialogue>This is fucking crazy. Instead of killing us, he sends us on a suicide mission. Do you know who Frankie Flowers is? He's a psycho - cokehead - hitman. A faggot. He's killed fucking who knows how many people. You'd need half the force to get close to him. And you ca n't get their help because he lives in fucking San Diego.</dialogue>
    <character>JAVIER</character>
    <dialogue>Then I guess I'm going by myself.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. AIRPLANE - DAY</stage_direction>
    <scene_description>Robert Wakefield sits in business class . He twists the cap off a mini - bottle of bourbon and pours it over a cup of ice . He empties a second bottle into the cup , then swirls it around on the ice . He takes a sip .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. AIRPORT GATE - DAY</stage_direction>
    <scene_description>Robert exits with his briefcase and hanging bag , two SECURITY MEN trailing him . He sees Barbara and Caroline , his wife and daughter , waiting by the their station wagon . They wave .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CAR - DAY</stage_direction>
    <scene_description>On the way home from the airport . Caroline drives carefully with Barbara in the front seat and Robert in back .</scene_description>
    <character>ROBERT</character>
    <dialogue>What's it like?</dialogue>
    <parenthetical>( thinks . )</parenthetical>
    <dialogue>Imagine you're being accosted by a swarm of beggars in the heart of Calcutta, except the beggars are wearing $ 1500 suits and they do n't say `` please'' or `` thank you.''</dialogue>
    <character>CAROLINE</character>
    <dialogue>What about legalizing everything? Has anybody talked about that?</dialogue>
    <character>ROBERT</character>
    <dialogue>Fine - legalization. Okay, forgetting all of our international trade agreements, legalize everything today. The Government inserts itself into all drug transactions. The U.S. becomes a giant pharmacy. Our borders are mobbed, lines of people from here to Europe wanting to smoke, snort and shoot themselves into oblivion.</dialogue>
    <character>BARBARA</character>
    <parenthetical>( lightly . )</parenthetical>
    <dialogue>Like a Grateful Dead Concert.</dialogue>
    <character>ROBERT</character>
    <dialogue>Drugs begin pouring out of America into every other country in the world. Canada is completely overwhelmed.</dialogue>
    <character>CAROLINE</character>
    <dialogue>What if every country legalized at the same time?</dialogue>
    <character>ROBERT</character>
    <parenthetical>( smiles . )</parenthetical>
    <dialogue>Somehow, I do n't see that happening.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. WAKEFIELD DINING ROOM - EVENING</stage_direction>
    <scene_description>From the hallway we see Robert and Barbara and Caroline having dinner . A family tableau . We hear Barbara talking , the murmur of the days events . In the room , Barbara continues her dinner table thoughts . Robert has a good deal of reading material stacked on the table .</scene_description>
    <character>BARBARA</character>
    <dialogue>So you know we put the case before the arbitration panel, none of whom had any expertise. Superfund is just one of those words. People stop paying attention.</dialogue>
    <character>ROBERT</character>
    <dialogue>That's frustrating.</dialogue>
    <character>BARBARA</character>
    <dialogue>It's so frustrating.</dialogue>
    <scene_description>There is wine on the table and Caroline is allowed a glass . Her parents watch her take a responsible sip .</scene_description>
    <character>CAROLINE</character>
    <parenthetical>( to Robert . )</parenthetical>
    <dialogue>Did you meet the President?</dialogue>
    <character>BARBARA</character>
    <dialogue>Honey, your father knows the President.</dialogue>
    <character>ROBERT</character>
    <dialogue>As it happens, the President of the United States, my new boss, the leader of the free world, has me penciled in for some `` face time''.</dialogue>
    <character>CAROLINE</character>
    <dialogue>Will we get invited to the White House?</dialogue>
    <character>ROBERT</character>
    <dialogue>I do n't know.</dialogue>
    <character>CAROLINE</character>
    <dialogue>How long's the job?</dialogue>
    <character>ROBERT</character>
    <dialogue>It's a presidential appointment so. until I quit or get fired.</dialogue>
    <character>BARBARA</character>
    <dialogue>Czar for life, just like a real czar.</dialogue>
    <character>CAROLINE</character>
    <dialogue>That makes mom the Czarina. I'm a Czarette. Like Anastasia.</dialogue>
    <scene_description>Caroline thinks about this .</scene_description>
    <character>CAROLINE</character>
    <dialogue>None of my friends can fucking believe my dad is the actual Drug Czar.</dialogue>
    <character>BARBARA</character>
    <dialogue>Caroline -</dialogue>
    <character>CAROLINE</character>
    <dialogue>Sorry, but I mean, come on.</dialogue>
    <scene_description>Robert does n't know if she 's putting him down .</scene_description>
    <character>CAROLINE</character>
    <dialogue>It's great, daddy. It's just amazing, that's all.</dialogue>
    <scene_description>They all look at each other . Caroline sips her wine .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SAN DIEGO JAIL - DAY</stage_direction>
    <scene_description>In the intake area of a busy San Diego precinct , Helena sits on a bench and regroups . Detectives move past her . Handcuffed criminals are separated , bagged and tagged . beautifully dressed man , ARNIE METZGER , 30 's , super - lawyer , knows everyone from the top of the system to the bottom , slick but likable , smart and ruthless , too , separates himself from a DETECTIVE he 's gladhanding and approaches Helena .</scene_description>
    <character>ARNIE</character>
    <dialogue>Helena, I'm so sorry -</dialogue>
    <character>HELENA</character>
    <dialogue>Arnie, thank God.</dialogue>
    <scene_description>Metzger sits , giving her a hug .</scene_description>
    <character>HELENA</character>
    <dialogue>Can you please tell me what on earth is going on?</dialogue>
    <scene_description>Arnie looks at her as if to say , `` do you really not know ? '' Then , he speaks quietly with his hand in front of his mouth .</scene_description>
    <character>ARNIE</character>
    <dialogue>I understand. You're upset. You want to know what's going on. That's good.</dialogue>
    <character>HELENA</character>
    <dialogue>Why are you talking like that?</dialogue>
    <character>ARNIE</character>
    <dialogue>Listen to me carefully. First of all, Carl is n't here. DEA's got him and they'll hang on to him until arraignment, which will probably be tomorrow. So here you're wasting your time. Are you with me?</dialogue>
    <scene_description>He checks to see if this is registering .</scene_description>
    <character>ARNIE</character>
    <dialogue>Good. From now on I want you to expect that every word you utter will be tape - recorded, that the movement of your lips is being read. Got it?</dialogue>
    <character>HELENA</character>
    <dialogue>Arnie, this is crazy.</dialogue>
    <scene_description>He makes eye contact with her .</scene_description>
    <character>ARNIE</character>
    <dialogue>Got it?</dialogue>
    <parenthetical>( she slowly nods . )</parenthetical>
    <dialogue>Good. Do not discuss anything over the telephone. Do not talk to the neighbors. Stay out of your yard.</dialogue>
    <character>HELENA</character>
    <dialogue>What is he being charged with?</dialogue>
    <character>ARNIE</character>
    <dialogue>I do n't know, but under no circumstances would I talk about it here. I want you to go home and relax the best you can. Continue your life as if nothing has happened. That is very important.</dialogue>
    <character>HELENA</character>
    <dialogue>Arnie, I feel like Alice stepping through the looking glass.</dialogue>
    <character>ARNIE</character>
    <dialogue>That's a very apt analogy, Helena. Now, go home and be with your children.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. BUILDING PARKING LOT - DAY</stage_direction>
    <scene_description>Helena exits . Her expression is set as she drives . She turns a corner in the shopping district , passing JAVIER AND MANOLO who are walking down the street . Tourists , drunk Marines and the homeless piss away another day . We follow them into a bar with blackened windows and a discrete sign .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BAR - DAY</stage_direction>
    <scene_description>This is a place where men come to meet men . And it 's already lively even at this early hour . Javier and Manolo find a seat and wait .</scene_description>
    <character>LATER</character>
    <dialogue>Javi is working on his second beer when he seems to recognize somebody.</dialogue>
    <scene_description>ACROSS THE ROOM Francisco `` Frankie '' Flowers has entered the bar . Javi watches him circulate through the room then settle at the bar . Javier finishes his beer , rises , and takes the empty seat next to Francisco . Manolo watches . Very quickly Javi strikes up a conversation . We do n't hear what they 're saying but it does n't matter because Francisco clearly likes Javi . Off Francisco 's anticipatory smile -</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. MILITARY BASE - MEXICO - DAY</stage_direction>
    <scene_description>The back of a blue van opens and a blindfolded Francisco falls onto the ground . Surrounding him are Javi and Salazar , who watch as two of Salazar 's MEN drag Francisco away toward an abandoned mission - style building .</scene_description>
    <character>SALAZAR</character>
    <parenthetical>( clearly pleased with Javi . )</parenthetical>
    <dialogue>I'm curious how you did this with such economy.</dialogue>
    <character>JAVIER</character>
    <dialogue>Everybody has a weakness.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. SOMEBODY'S PARENTS' MANSION, CINCINNATI - NIGHT</stage_direction>
    <scene_description>With its old - growth trees and manipulated shrubbery , the large house is shrouded in the mystery of well - heeled suburbia . It is very late .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SOMEBODY'S PARENTS' MANSION - NIGHT</stage_direction>
    <scene_description>Somebody 's parents are out of town and the house feels empty . Big empty rooms with expensive furniture nobody sits on . Faint MUSIC echoes through the house .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. KITCHEN - NIGHT</stage_direction>
    <scene_description>High ceilings of a 1930 's kitchen . Vodka bottles and cranberry juice and limes are spilled across a counter . ON THE RHODES AGAIN by Morcheeba plays from a jam - box on a counter . Maybe ten TEENAGERS are partying hard in this kitchen . It 's weird and disassociated , people wandering in and out , playing with kitchen utensils , heavily fucked up . There are drugs on a mirror on the eat - in table . Caroline and Seth and two friends sit around this table . VANESSA , 16 , almost pretty , is hitting a freebase pipe and holds the hit . FUCKED - UP BOWMAN , 17 , super - preppy with a wan , Baby Huey face , takes a slug of vodka . They are jittery , sweaty , tweaked , fucked - up -</scene_description>
    <character>CAROLINE</character>
    <dialogue>All I'm saying, what I'm saying, is it never seems like anybody ever says anything that matters to them, like we all look at each other and nod with responses we've been trained to make, not real responses, just social conventions, phony, fake smiles, surface bullshit. I mean, we're all smart and do we have any idea what each other are like, really like? Do I know what Seth's afraid of, or Vanessa, or fucked - up Bowman?</dialogue>
    <scene_description>Everyone looks at Fucked - up Bowman who grinds his jaw appreciatively -</scene_description>
    <character>CAROLINE</character>
    <dialogue>Probably, but do I ever say this stuff, just say, `` hey, I'm uncomfortable in this crowd, I do n't know what the fuck I'm doing, either? I know you're afraid and it's okay -''</dialogue>
    <scene_description>Seth 's words come quickly , they 're riffing , totally in sync , totally wired -</scene_description>
    <character>SETH</character>
    <dialogue>We act like we have all the answers and we're totally invincible like our parents seem and their parents before them and it's fucking bullshit -</dialogue>
    <scene_description>Fucked - up Bowman takes another slug of vodka and almost pukes .</scene_description>
    <character>FUCKED-UP BOWMAN</character>
    <dialogue>For instance -</dialogue>
    <character>SETH</character>
    <dialogue>For instance I know you jack - off thinking about Caroline even though you're supposedly `` in love'' with Vanessa. Whatever the fuck that means?</dialogue>
    <parenthetical>( a digression . )</parenthetical>
    <dialogue>I mean, what is that convention, anyway? We're all these random collections of self - interest, and then we just decide that now we're two people walking along -</dialogue>
    <scene_description>Caroline expels a hit of rock cocaine -</scene_description>
    <character>CAROLINE</character>
    <dialogue>And Vanessa does n't think she's pretty so she does all these weird fucking diets which is totally about self - esteem. And she's beautiful.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>And that's not even fair. Because listen to me. I'm fucking lying right now. This is exactly what I'm talking about. I'm supposedly talking about you, making some big point about you, and it's really about me. So I should talk about me, not you, not even the universal `` you.''.</dialogue>
    <parenthetical>( takes a beat . )</parenthetical>
    <dialogue>Okay. Okay, I'm worried I'm not really smart or that I'm not nearly as smart as people think I am, or that my parents' expectations have been way too high since I was five, I mean who knows they're going to Harvard when they're five, not that I'm blaming them for anything because everything's great, and I may not even get in, but we all feel this shit and we never acknowledge it and if we ca n't acknowledge it to the people we care the most about then who will we ever say it too and what kind of life will that be?</dialogue>
    <scene_description>They all look at each other with love . This is an adventure and they 're having a connection -</scene_description>
    <character>FUCKED-UP BOWMAN</character>
    <dialogue>I jack - off thinking about Seth. Everybody I know does.</dialogue>
    <scene_description>Bowman does another huge hit of freebase .</scene_description>
    <character>CAROLINE</character>
    <parenthetical>( disgusted . )</parenthetical>
    <dialogue>Ach, that's what I'm talking about. Sarcasm. Always fucking sarcasm. You're afraid and you think if you admit it people will think you're weak or wo n't like you -</dialogue>
    <character>SETH</character>
    <dialogue>We live our lives by these unspoken rules that are handed to us.</dialogue>
    <scene_description>They all look at each other , vibrating with the moment -</scene_description>
    <character>VANESSA</character>
    <dialogue>Let's be different -</dialogue>
    <character>FUCKED-UP BOWMAN</character>
    <dialogue>I ca n't feel my hands.</dialogue>
    <scene_description>Bowman looks around , squinting , confused . He 's chalk white .</scene_description>
    <character>FUCKED-UP BOWMAN</character>
    <dialogue>I'm serious -</dialogue>
    <scene_description>Suddenly , he clutches his chest and begins to twitch . Puke and foam come from his mouth . He seizes and falls from the chair . Vanessa SCREAMS . Seth and Caroline push the table aside to get a better look . Other people in the kitchen slowly take notice .</scene_description>
    <character>VANESSA</character>
    <dialogue>He's blue. He is n't breathing -</dialogue>
    <character>CAROLINE</character>
    <dialogue>Is he breathing?</dialogue>
    <scene_description>Bowman 's eyes have rolled back in his head .</scene_description>
    <character>SETH</character>
    <dialogue>What do we do? Okay. Fucked - up Bowman's turning blue. Doctor. We need a doctor.</dialogue>
    <character>VANESSA</character>
    <dialogue>Your dad's a doctor. Call him -</dialogue>
    <character>SETH</character>
    <dialogue>He's a research doctor. You're dad's a doctor, too -</dialogue>
    <character>VANESSA</character>
    <dialogue>What kind of research?</dialogue>
    <character>SETH</character>
    <dialogue>Mapping the fucking pig genome. We'll call your dad, he's a neurosurgeon -</dialogue>
    <character>VANESSA</character>
    <dialogue>It's three a.m. I'm not supposed to be here. I snuck out -</dialogue>
    <character>CAROLINE</character>
    <dialogue>Are you kidding. I'm staying with you -</dialogue>
    <character>SETH</character>
    <dialogue>He's gon na fucking die right here on the kitchen floor -</dialogue>
    <character>ANOTHER KID</character>
    <dialogue>He ca n't. My parents are in Barbados -</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. SUBURBAN HOSPITAL EMERGENCY ENTRANCE - NIGHT</stage_direction>
    <scene_description>The Taurus wagon races up to the emergency room of Suburban Hospital . The back door opens and Bowman tumbles out onto the wheelchair ramp under the fluorescent lights . The car screeches around the circle - ACROSS THE PARKING LOT TWO OFFICERS in a police car see the body tumble out of the car . The cop car wheels around and cuts off the egress of the Taurus wagon -</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. FORD TAURUS WAGON - NIGHT</stage_direction>
    <scene_description>Seth is behind the wheel . Caroline and Vanessa are in the back . They stare out at the cops getting out of the cruiser .</scene_description>
    <character>SETH</character>
    <dialogue>Nobody has anything on them, right?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. TORTURE ROOM - BARRACKS - DAY</stage_direction>
    <scene_description>Francisco is strapped naked into a chair . Duct tape covers his mouth . His face is bruised and swollen . A cruel TORTURER talks to him calmly while dumping chili powder into a container of soda water .</scene_description>
    <character>TORTURER</character>
    <dialogue>We know Tijuana Cartel gunmen killed our chief of intelligence, Francisco. We know you killed police commanders in Tijuana and Mexico City. Why do you resist?</dialogue>
    <scene_description>He approaches Francisco and begins shaking up the soda water . He rips the tape off his mouth .</scene_description>
    <character>FRANCISCO</character>
    <dialogue>My father is rich. He'll pay you.</dialogue>
    <character>TORTURER</character>
    <dialogue>Not the correct answer, my friend.</dialogue>
    <scene_description>The torturer puts another strip of duct tape across Francisco 's mouth .</scene_description>
    <character>TORTURER</character>
    <dialogue>We know that you went after the neighbor of General Salazar, a simple alfalfa farmer. His grand - daughter was shot. This is stupid behavior, Francisco.</dialogue>
    <scene_description>Francisco starts to squirm and whimper . The torturer closes one of Francisco 's nostrils and sprays the pepper - laced water into the other nostril . It 's like a bomb went off in Francisco 's brain . He SCREAMS and passes out . Blood and mucous oozes out of his nose .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BARRACKS - MEXICAN MILITARY BASE - DAY</stage_direction>
    <scene_description>Javier stands guard outside a door , listening to the strangulated SCREAMS of Francisco . He 's sickened . ACROSS THE COURTYARD Manolo ignores Francisco 's CRIES , while shooting the shit with several of Salazar 's MEN , who laugh appreciatively at something he 's said .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. AYALA HOME, SAN DIEGO - NIGHT</stage_direction>
    <scene_description>Valet parkers in uniform work the driveway . The party is ablaze and there are lights in the trees . A Lester Lanin - like band plays a STANDARD that drifts across the grounds .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. AYALA HOME - NIGHT</stage_direction>
    <scene_description>A conservative monied crowd mingles . Helena is talking with a GROUP of rich people who include her friends , Nan , Stewie and Alex , from the country - club , and their HUSBANDS .</scene_description>
    <character>STEWIE</character>
    <dialogue>This is fabulous, Helena. What a turnout.</dialogue>
    <character>HELENA</character>
    <dialogue>Thank you so much, but I had a lot of help.</dialogue>
    <scene_description>Helena circles away . As Helena leaves , the women speak their minds -</scene_description>
    <character>NAN</character>
    <dialogue>It's a turnout because it's a spectacle. Can you imagine?</dialogue>
    <character>ALEX</character>
    <dialogue>I've met her husband, as nice as they come.</dialogue>
    <character>STEWIE</character>
    <dialogue>It teaches me a valuable lesson.</dialogue>
    <parenthetical>( re : the nice house . )</parenthetical>
    <dialogue>Apparently crime pays.</dialogue>
    <character>NAN</character>
    <dialogue>Silly, you knew that already.</dialogue>
    <scene_description>ON THE STAGE The band stops playing and steps aside as a man in a tuxedo takes the microphone . Behind the band is a huge `` A.L.A. - Adult Literacy Advocates '' Banner .</scene_description>
    <character>TUXEDO</character>
    <dialogue>Hello. Thank you. Thank you all. I have the results of the silent auction.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. JUVENILE DETENTION, CINCINNATI - HOLDING CELL - MORNING</stage_direction>
    <scene_description>Caroline Wakefield lies on a bench in a grey - walled holding cell . She wears paper slippers and her belt has been removed . Even youth ca n't disguise her hangover .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SOCIAL WORKER OFFICE - MORNING</stage_direction>
    <scene_description>Caroline is perched on the edge of her chair . Across the desk from her is a tired SOCIAL WORKER , 40 's , who has been assigned Caroline 's case and is giving her the `` exit '' interview .</scene_description>
    <character>SOCIAL WORKER</character>
    <dialogue>How old are you?</dialogue>
    <character>CAROLINE</character>
    <dialogue>Sixteen</dialogue>
    <character>SOCIAL WORKER</character>
    <dialogue>Live with your parents?</dialogue>
    <character>CAROLINE</character>
    <dialogue>Yes.</dialogue>
    <character>SOCIAL WORKER</character>
    <dialogue>Parents still together?</dialogue>
    <character>CAROLINE</character>
    <dialogue>Yes.</dialogue>
    <character>SOCIAL WORKER</character>
    <dialogue>Do you work?</dialogue>
    <character>CAROLINE</character>
    <dialogue>I volunteer. I read to blind people. One day a week for two hours.</dialogue>
    <character>SOCIAL WORKER</character>
    <dialogue>In school?</dialogue>
    <character>CAROLINE</character>
    <dialogue>Cincinnati Country Day.</dialogue>
    <scene_description>The Social worker looks up from her questionnaire and sees Caroline for the first time .</scene_description>
    <character>SOCIAL WORKER</character>
    <dialogue>Private?</dialogue>
    <character>CAROLINE</character>
    <dialogue>Yeah.</dialogue>
    <character>SOCIAL WORKER</character>
    <dialogue>How are your grades?</dialogue>
    <character>CAROLINE</character>
    <dialogue>I'm third in my class.</dialogue>
    <character>SOCIAL WORKER</character>
    <dialogue>What's that mean?</dialogue>
    <character>CAROLINE</character>
    <dialogue>I get A's. All A's.</dialogue>
    <character>SOCIAL WORKER</character>
    <dialogue>You do? What else you do?</dialogue>
    <character>CAROLINE</character>
    <parenthetical>( her college resume . )</parenthetical>
    <dialogue>I'm a National Merit Finalist. I'm on the Hi - Q team and the Math team. I'm in the Spanish Club. I'm a Thespian. I'm Vice - President of my class. I'm on the volleyball team.</dialogue>
    <scene_description>The social worker pushes the forms she 's filling out away and looks again at Caroline -</scene_description>
    <character>SOCIAL WORKER</character>
    <dialogue>You wan na tell me what you're doing here, Caroline?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. JUVENILE DETENTION - MORNING</stage_direction>
    <scene_description>A cold institutional lobby with hard plastic chairs and bad lighting . Government workers move behind thick glass windows with tiny mesh screens cut into them for talking . Barbara Wakefield sits on one of the uncomfortable chairs . She 's alone and has been crying . There 's the sound of heavily locked doors OPENING and Caroline appears . Barbara stands and wraps Caroline in her arms .</scene_description>
    <character>BARBARA</character>
    <dialogue>Oh, honey. Are you all right?</dialogue>
    <scene_description>Caroline begins to cry into her mother 's chest .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. JUVI JAIL - MORNING</stage_direction>
    <scene_description>It 's an early morning as Barbara Wakefield escorts her daughter from the bland government building .</scene_description>
    <character>CAROLINE</character>
    <dialogue>Did you tell Dad?</dialogue>
    <character>BARBARA</character>
    <dialogue>Not yet.</dialogue>
    <character>CAROLINE</character>
    <dialogue>Are you going to?</dialogue>
    <character>BARBARA</character>
    <dialogue>I do n't know.</dialogue>
    <character>CAROLINE</character>
    <dialogue>Is this bad for him?</dialogue>
    <character>BARBARA</character>
    <dialogue>What do you think?</dialogue>
    <scene_description>The streets are deserted . Their Saab wagon sits forlornly under grey skies in an uncovered public parking lot .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. DAVID'S ROOM - NIGHT</stage_direction>
    <scene_description>Helena slips into David 's room and quietly watches him sleep .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. STUDY - LATER</stage_direction>
    <scene_description>Still wearing her evening gown , Helena collapses into a chair , exhausted . A TAP at the door startles her . It 's Arnie Metzger , who goes to the bar and pours himself a strong one . They sit opposite each other and neither speaks for a while .</scene_description>
    <character>HELENA</character>
    <parenthetical>( quietly . )</parenthetical>
    <dialogue>I am on the board of my son's school. I had a fundraiser for A.L.V. in my front yard. I have a right to know if my husband is a legitimate businessman.</dialogue>
    <character>ARNIE</character>
    <dialogue>Of course he is. I've known him for twenty years and he does n't jaywalk.</dialogue>
    <scene_description>Helena is relieved , but she 's not looking at Arnie and when she does she sees him shaking his head in a very definitive , `` No . '' Arnie stands and continues talking as he walks to the windows and shuts the blinds one by one .</scene_description>
    <character>ARNIE</character>
    <dialogue>Carl is a very important member of this community and when we're through suing the police and the district attorney and the DEA, they'll have to rename the public parks for your husband.</dialogue>
    <scene_description>The blinds are closed . Arnie crosses to Helena and talks very softly in her ear . She 's a beautiful woman and Arnie manages to make this act seem both practical and inappropriate .</scene_description>
    <character>ARNIE</character>
    <parenthetical>( whispering . )</parenthetical>
    <dialogue>Your husband is very good at his job.</dialogue>
    <scene_description>Helena leans back and looks at Arnie . He whispers more -</scene_description>
    <character>ARNIE</character>
    <dialogue>Which is smuggling illegal drugs into this country.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. AYALA HOME - NIGHT</stage_direction>
    <scene_description>Workers break down the party under the watchful eye of the party planner . The neighborhood is quiet . There is a telephone repair van parked up the street .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. VAN - NIGHT</stage_direction>
    <scene_description>Castro and Gordon have visual and audio equipment trained on the Ayala home . They both wear headsets . GORDON 'S POV : the blinds covering Helena 's study glowing peacefully .</scene_description>
    <character>CASTRO</character>
    <dialogue>They're whispering. I ca n't hear them, but I know it. I smell conspiracy. I feel the lie vibrating out of the home.</dialogue>
    <character>GORDON</character>
    <dialogue>She ai n't in on it.</dialogue>
    <character>CASTRO</character>
    <dialogue>I have dreams about this, actual dreams about busting the top people, the rich people, the white people.</dialogue>
    <character>GORDON</character>
    <dialogue>I'm telling you, she does n't know shit.</dialogue>
    <character>CASTRO</character>
    <dialogue>She knows Arnie Metzger.</dialogue>
    <character>GORDON</character>
    <dialogue>So does half of San Diego.</dialogue>
    <character>CASTRO</character>
    <dialogue>You want to make a wager on this?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. STUDY - NIGHT</stage_direction>
    <scene_description>The music is still playing . Helena looks numb . She motions Arnie to her . He leans in .</scene_description>
    <character>HELENA</character>
    <dialogue>If all our assets are frozen and our `` sales force'' has scattered. How am I supposed to survive? I'm giving birth in three months. How do I get through this?</dialogue>
    <character>ARNIE</character>
    <dialogue>You're gon na get through it, but the first thing we do is get Michael Adler to represent Carl. We get Adler and we beat this thing.</dialogue>
    <character>HELENA</character>
    <dialogue>How much do I pay him?</dialogue>
    <character>ARNIE</character>
    <dialogue>I suspect he'll accept his payment in publicity.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. WAKEFIELD HOUSE - NIGHT</stage_direction>
    <scene_description>A large , well - maintained Colonial on Mockingbird Valley Road , an upper - middle class neighborhood in the wealthy East End of Cincinnati . Leaves fall on the Saab wagon in the driveway .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ROBERT'S STUDY - NIGHT</stage_direction>
    <scene_description>Robert is looking at Caroline and he 's not happy . Barbara is there , at a neutral distance from both of them .</scene_description>
    <character>ROBERT</character>
    <dialogue>Caroline? How well did you know this boy who overdosed?</dialogue>
    <scene_description>She looks up beseechingly .</scene_description>
    <character>CAROLINE</character>
    <dialogue>He did n't hang around us. He's like one of those hippie kids. I'm not part of that group. It was a party in all these rooms. His girlfriend who I barely know was completely hysterical. He's blue, he's puking. We did n't want to get in trouble, but what were we supposed to do?</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>I mean, what would you have done if you had been us?</dialogue>
    <character>BARBARA</character>
    <dialogue>How well do you know this boy, Seth, who was driving? You know the police have charged him with a DUI and possession of marijuana.</dialogue>
    <character>CAROLINE</character>
    <dialogue>He's a friend. He's also like the only one who was dealing with the situation. He'd definitely had a few beers, but it's not like he wanted to drive. We did n't know what else to do.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>It was n't my pot.</dialogue>
    <scene_description>She searches her parents ' faces . It has been a convincing performance and she expects victory .</scene_description>
    <character>ROBERT</character>
    <dialogue>Okay, honey. We understand. You're mother and I have to talk.</dialogue>
    <scene_description>Caroline is confused by this reaction .</scene_description>
    <character>BARBARA</character>
    <dialogue>Honey, we'd like to talk alone.</dialogue>
    <scene_description>Caroline stands abruptly -</scene_description>
    <character>CAROLINE</character>
    <dialogue>Like always.</dialogue>
    <scene_description>Caroline leaves the study and shuts the door harder than necessary . Robert and Barbara look at each other , raising their eyebrows and breathing deeply -</scene_description>
    <character>ROBERT</character>
    <dialogue>I think she's lying.</dialogue>
    <character>BARBARA</character>
    <dialogue>Me, too.</dialogue>
    <character>ROBERT</character>
    <parenthetical>( reaching a decision . )</parenthetical>
    <dialogue>We'll ground her, clip her wings a bit. School and scheduled activities and that's it until further notice. This has to be handled delicately. Dan Kelly, in the District Attorney's office, will probably help us out, quietly. Christ, this could be embarrassing.</dialogue>
    <character>BARBARA</character>
    <dialogue>Honey, this is difficult, but we've all had our moments. I tried -</dialogue>
    <character>ROBERT</character>
    <dialogue>Stop. You experimented in college. I do n't want to hear about that.</dialogue>
    <character>BARBARA</character>
    <dialogue>Should we take the quotes off experiment and call it what it is?</dialogue>
    <character>ROBERT</character>
    <dialogue>This is different.</dialogue>
    <character>BARBARA</character>
    <dialogue>Why?</dialogue>
    <character>ROBERT</character>
    <dialogue>To begin with, she's only sixteen years - old.</dialogue>
    <character>BARBARA</character>
    <dialogue>I think she has to find out for herself, on her own. We have to allow her space -</dialogue>
    <character>ROBERT</character>
    <dialogue>Space for what? To O.D. like that other kid? I will not send the message that this type of behavior is okay with her parents. Because it is n't. Correct?</dialogue>
    <character>BARBARA</character>
    <dialogue>We do n't want to push her away. These are growing experiences.</dialogue>
    <scene_description>Robert looks at his wife , then it dawns on him .</scene_description>
    <character>ROBERT</character>
    <dialogue>How long have you known about this?</dialogue>
    <scene_description>No response .</scene_description>
    <character>ROBERT</character>
    <parenthetical>( yelling . )</parenthetical>
    <dialogue>How long have you known?</dialogue>
    <character>BARBARA</character>
    <dialogue>Six months. I found some marijuana, that's all. And a little pipe about two inches long. I talked with her. She said her friends smoked pot and drank -</dialogue>
    <character>ROBERT</character>
    <dialogue>Explain to me how you could think that I should n't know about this. Explain to me how this would n't be relevant to me. As a parent.</dialogue>
    <character>BARBARA</character>
    <dialogue>She asked me not to.</dialogue>
    <scene_description>He leaves the room .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT</stage_direction>
    <scene_description>Robert is in the hallway , at Caroline 's door . He opens it and we get BLASTED WITH MUSIC . Caroline is sitting in a rocking chair with headphones on . She faces the window and moves back and forth , back and forth . Robert calls her name , but the SOUNDTRACK is drowning him out . He calls again , this time apparently loud enough for her to hear . She takes the headphones off - the MUSIC stops - and turns to look at him . Or rather , she looks right through him , as though he did n't exist . Robert is so taken aback by the coldness of her gaze that he does n't speak . She turns away from him and puts the headphones back on .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. MILITARY BASE - MEXICO - DAY</stage_direction>
    <scene_description>Javier and Salazar walk across the base . Salazar is feeling ebullient and it shows .</scene_description>
    <character>SALAZAR</character>
    <dialogue>You watch and learn. I earn his trust. Then more pain. Then I appear with kindness. Within a week he will follow me around like a dog.</dialogue>
    <character>JAVIER</character>
    <dialogue>But will he be house - trained?</dialogue>
    <character>SALAZAR</character>
    <dialogue>When he loves me like a father, he will never tell anyone he was here. He will freely give the names of his superiors. Then we get them and they too will give us names. And eventually somebody will get us to Juan Obregon and the cartel will fall.</dialogue>
    <scene_description>They enter the barracks .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CELL - MEXICAN MILITARY BASE - DAY</stage_direction>
    <scene_description>It 's pitch black in the cell . There 's a human in here , but we ca n't see him . Suddenly the door is thrown open and light floods in , illuminating a very broken Francisco Flores . The figure of Commander Salazar fills the doorway .</scene_description>
    <character>SALAZAR</character>
    <dialogue>This is shameful. A disgrace. Francisco Flores -</dialogue>
    <scene_description>Francisco cowers in the corners -</scene_description>
    <character>SALAZAR</character>
    <dialogue>It's all right, son. It's all right. Salazar is here. You're among gentlemen, now. This shameful treatment will stop immediately.</dialogue>
    <parenthetical>( calling out . )</parenthetical>
    <dialogue>Guard!</dialogue>
    <scene_description>A GUARD appears in the doorway . Francisco is spooked .</scene_description>
    <character>SALAZAR</character>
    <dialogue>I want to know who is responsible for this treatment.</dialogue>
    <character>GUARD</character>
    <dialogue>Yes, sir!</dialogue>
    <character>SALAZAR</character>
    <dialogue>We are n't barbarians.</dialogue>
    <character>GUARD</character>
    <dialogue>Yes, sir!</dialogue>
    <character>SALAZAR</character>
    <dialogue>Bring this man a change of good clothes. Has he eaten?</dialogue>
    <character>GUARD</character>
    <dialogue>I do n't know, sir.</dialogue>
    <character>SALAZAR</character>
    <parenthetical>( to Francisco . )</parenthetical>
    <dialogue>You will dine with me from now on.</dialogue>
    <scene_description>Francisco moves closer to Salazar already feeling safe in his presence .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COURTHOUSE, SAN DIEGO - DAY</stage_direction>
    <scene_description>A packed courthouse . Carl is at the defense table . He does n't look at Helena who sits in the gallery next to Arnie Metzger . The PROSECUTOR is finishing his argument -</scene_description>
    <character>PROSECUTOR</character>
    <dialogue>This is a man who heads a large criminal organization with international contacts we can only begin to understand. Our case against him is very strong. He is not a flight risk. His flight is assured. The people ask that your honor denies bail.</dialogue>
    <scene_description>The prosecutor sits . Carl 's defense lawyer , MICHAEL ADLER , from the Georgetown party , stands and speaks .</scene_description>
    <character>ADLER</character>
    <dialogue>My client is no more a flight risk than your Honor or the able prosecutor. He is a pillar of his community, a family man with a wife and child in La Jolla, the community where he has made his home for over twenty years. As our defense will quickly show, my client is guilty of nothing more than being a handy target for an admitted criminal. Therefore we ask that you release Carl Ayala on his own recognizance.</dialogue>
    <scene_description>Adler sits . The JUDGE makes a quick decision .</scene_description>
    <character>JUDGE</character>
    <dialogue>I'm gon na deny bail.</dialogue>
    <scene_description>The judge SLAMS his gavel . The crowd is on its feet . Carl tries to get a glimpse of Helena . They make eye contact . Reporters from the press gallery are yelling for Helena . Arnie ushers her away .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. COURTHOUSE - DAY</stage_direction>
    <scene_description>Adler , Arnie , and Helena push through a crowd toward her car . There are several reporters there who ask questions -</scene_description>
    <character>REPORTER</character>
    <dialogue>Mrs. Ayala, were you aware your husband is the largest cocaine smuggler in America?</dialogue>
    <character>ADLER</character>
    <dialogue>Alleged, people, alleged.</dialogue>
    <scene_description>Helena gets into her car and slams the door . Adler faces the reporters .</scene_description>
    <character>REPORTER #2</character>
    <dialogue>Mrs. Ayala is it true your husband has ordered a hit on Eduardo Ruiz?</dialogue>
    <scene_description>Adler is in a role he relishes . Helena drives away . We move up to Gordon , who is watching from the hotel window across the street . He speaks into a walkie - talkie , and a car down below pulls out to follow Helena .</scene_description>
    <character>ADLER</character>
    <dialogue>Carl Ayala sits on the board of the Children's Hospital. He is heavily involved with Adult Literacy. He has a small boy and another child on the way. If you spread this kind of innuendo, you can expect legal recourse. Are we clear on this point?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. GOVERNMENT BUILDING - EARLY MORNING</stage_direction>
    <scene_description>The marble government corridors are empty . No one is in yet . One office has lights on .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. A.D.A. KELLY'S OFFICE - EARLY MORNING</stage_direction>
    <scene_description>Robert Wakefield talks with an Assistant District Attorney , DAN KELLY , 40 's .</scene_description>
    <character>ROBERT</character>
    <dialogue>I appreciate you coming in so early.</dialogue>
    <character>A.D.A. KELLY</character>
    <dialogue>Judge Wakefield, it's an honor to handle it for you. Consider it gone away. She's a minor ; it probably would've expunged on her 18th birthday anyway.</dialogue>
    <character>ROBERT</character>
    <dialogue>Still, this was a sensitive issue for me and I wanted to thank you personally.</dialogue>
    <character>A.D.A. KELLY</character>
    <dialogue>Like I said, open container, P.I., Misdemeanor possession. Easy to make it disappear. For you, poof, it's gone.</dialogue>
    <scene_description>A.D.A. Kelly thinks a moment , then tries for tact .</scene_description>
    <character>A.D.A. KELLY</character>
    <dialogue>One thing bothers me. That kid they dropped off had coke and heroin in him. Serious amounts. He's lucky he lived. So I got ta ask : what's your daughter on?</dialogue>
    <character>ROBERT</character>
    <dialogue>I do n't know what you mean.</dialogue>
    <character>A.D.A. KELLY</character>
    <dialogue>I mean, did you ask her? What kind of drugs has she tried?</dialogue>
    <scene_description>Robert is silent for a beat .</scene_description>
    <character>ROBERT</character>
    <dialogue>I. I do n't really know.</dialogue>
    <character>A.D.A. KELLY</character>
    <dialogue>Is she in any kind of therapy. professional help?</dialogue>
    <character>ROBERT</character>
    <dialogue>No, of course not. She's one of the top students at her school.</dialogue>
    <character>A.D.A. KELLY</character>
    <dialogue>Well, I hope it stays that way.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. ROBERT'S CAR - EARLY MORNING</stage_direction>
    <scene_description>Robert in his car , thinking . The streets are empty . He picks up the cell phone .</scene_description>
    <character>ROBERT</character>
    <parenthetical>( into phone . )</parenthetical>
    <dialogue>It's Robert. Wipe your schedule clean for the next three days. I'm tired of talking to experts who never set foot outside the beltway. It's time to see the front lines.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CAROLINE WAKEFIELD'S BATHROOM - MORNING</stage_direction>
    <scene_description>Caroline sits on the toilet in her private bathroom . She 's not going to the bathroom , it 's a seat and she 's wearing her pajamas . She 's reading a magazine . The exhaust fan is on . There are pictures of her and her friends on the walls : goofy pictures from camp , from school , a collage she 's made with cutouts from magazine pictures and copy . On the sink next to her is a little square of well - charred aluminum foil ; she 's done many hits . She leans over and picks up a small piece of crack cocaine from a small pile in her soap dish . She drops it on a clean place on the foil . She picks up a lighter and the tube of a ball point pen she 's turned into a straw . She heats the bottom of the foil . The crack `` crackles . '' She chases the smoke across the foil . A huge hit . She leans her head back , her eyes roll back , she tries to focus on the magazine , on anything , she stares up at the ceiling . She holds it as long as she can then blows it toward the exhaust fan . Caroline looks at her watch . It 's 7:20 . She stands suddenly , unsteadily . She looks at herself in the mirror . She 's really high and indecisive . She looks around wildly . She sees the shower . She turns it on . She drops her pajamas . She goes back to the foil and hits another piece of the rock , taking another really big hit . She crushes the foil and flushes it down the toilet . She hops in the shower . IN THE SHOWER The water streams over her face . After a long beat she finally exhales the smoke of the hit through the water and steam . She 's in ecstacy . It 's almost time to leave for school .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. LA JOLLA PLAYGROUND - DAY</stage_direction>
    <scene_description>Helena reads a book , Madame Bovary by Gustave Flaubert , and keeps an eye on David , who is playing on the monkey bars . ACROSS THE ROAD at a careful distance is the ubiquitous telephone repair van . On the roof a parabolic mike swivels around .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TELEPHONE REPAIR VAN - DAY</stage_direction>
    <scene_description>Castro and Gordon watch Helena via a small surveillance monitor .</scene_description>
    <character>GORDON</character>
    <dialogue>You should see little Montel play. Little Montel is the next Maradona.</dialogue>
    <character>CASTRO</character>
    <dialogue>Maradona is a cokehead. Hand of God, my ass. We're wasting our time here.</dialogue>
    <character>GORDON</character>
    <dialogue>He won. He was a winner. That bothers you.</dialogue>
    <character>CASTRO</character>
    <dialogue>Winners do n't do coke. Or have n't you been reading the bumper stickers?</dialogue>
    <scene_description>Gordon looks at the monitor -</scene_description>
    <character>GORDON</character>
    <dialogue>What do we have here?</dialogue>
    <character>ON THE MONITOR:</character>
    <dialogue>David kicking a soccer ball with an older strange man, TIGRILLO, Latino, 40's, fit and tough looking.</dialogue>
    <scene_description>The man is very good . He juggles the ball and bounces it off his head and David follows him away from the center of the playground .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PLAYGROUND - CONTINUOUS</stage_direction>
    <scene_description>Helena notices David moving away while playing with the man . She follows , then begins to jog after them .</scene_description>
    <character>HELENA</character>
    <dialogue>David, come back here this minute. David!</dialogue>
    <scene_description>As she closes distance the man stops juggling the ball and abruptly picks up David and begins swinging him around by his arms . David is having fun as Helena approaches .</scene_description>
    <character>HELENA</character>
    <dialogue>David -</dialogue>
    <character>DAVID</character>
    <dialogue>We're playing!</dialogue>
    <scene_description>The strange man swings David up so that he 's under his arm .</scene_description>
    <character>STRANGE MAN</character>
    <dialogue>Yeah, this is fun.</dialogue>
    <character>HELENA</character>
    <dialogue>Please put down my son.</dialogue>
    <scene_description>The man holds David .</scene_description>
    <character>STRANGE MAN</character>
    <dialogue>Should n't let your kid wander off with strangers.</dialogue>
    <character>HELENA</character>
    <dialogue>Thank you. That's a valuable lesson. David, come on.</dialogue>
    <scene_description>The strange man holds David tighter so that he 's no longer having fun . He begins to wriggle -</scene_description>
    <character>STRANGE MAN</character>
    <dialogue>Mrs. Ayala -</dialogue>
    <scene_description>This gets her attention -</scene_description>
    <character>STRANGE MAN</character>
    <dialogue>Your husband owes a lot of money. Enough that snapping this kid's neck would n't nearly cover it.</dialogue>
    <scene_description>David begins to cry . Helena looks around wildly for help .</scene_description>
    <character>STRANGE MAN</character>
    <dialogue>You better come up with it in a hurry or your kid is going to disappear, and he wo n't turn up until the evening news.</dialogue>
    <scene_description>He drops David who runs to his mother .</scene_description>
    <character>STRANGE MAN</character>
    <dialogue>You get exactly one warning.</dialogue>
    <scene_description>The strange man moves away across the field .</scene_description>
    <character>STRANGE MAN</character>
    <dialogue>The first payment is three million dollars.</dialogue>
    <scene_description>He continues walking away .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TELEPHONE REPAIR VAN - DAY</stage_direction>
    <scene_description>Gordon and Castro stare with rapt attention .</scene_description>
    <character>GORDON</character>
    <dialogue>Are you getting this on tape?</dialogue>
    <character>CASTRO</character>
    <dialogue>I love my job. I love it. The next time I'm having a bad day you got ta remind me of right now and I'll get over it.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. BARRACKS - NIGHT</stage_direction>
    <scene_description>Javier and Manolo stand guard outside the front door of the dining hall . Javi smokes a cigarette .</scene_description>
    <character>MANOLO</character>
    <dialogue>A group of us are going out tonight.</dialogue>
    <character>JAVIER</character>
    <dialogue>Who?</dialogue>
    <character>MANOLO</character>
    <dialogue>Guzman, Tomas, Esteban -</dialogue>
    <character>JAVIER</character>
    <dialogue>Your new friends.</dialogue>
    <character>MANOLO</character>
    <dialogue>Yeah. It should be fun. You wan na come?</dialogue>
    <character>JAVIER</character>
    <dialogue>Not this time.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. DINING HALL - BARRACKS - NIGHT</stage_direction>
    <scene_description>Francisco and Salazar eat at a beautifully set table . They are waited on by military officers who serve perfect flan at the end of the meal .</scene_description>
    <character>FRANCISCO</character>
    <dialogue>In my home I have B&W speakers. I recently purchased a compact disc burner. I can make my own cd's, with whatever music I like, as if I bought them at the store, only I do n't have to pay these crazy prices.</dialogue>
    <character>SALAZAR</character>
    <dialogue>We have much in common. We both attended school in the United States, and both of our fathers are engineers.</dialogue>
    <character>FRANCISCO</character>
    <dialogue>I got into stereo equipment when I was a kid. Some people do n't notice the difference but it is very important to me.</dialogue>
    <character>SALAZAR</character>
    <dialogue>Of course it is. Have some more wine.</dialogue>
    <scene_description>A soldier pours another glass of red for Francisco .</scene_description>
    <character>SALAZAR</character>
    <dialogue>Now, Francisco, my friend. I must know where these men are who killed my captains. Not where they were last week, but where they are today, and better still, tomorrow. You are clever. You can predict where they will be, ca n't you?</dialogue>
    <scene_description>Francisco begins to weep . Salazar slides a pad of paper toward Francisco who slowly begins writing .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. TIJUANA NEIGHBORHOOD - DAY</stage_direction>
    <scene_description>Manolo and Javier pound on the front door of an apartment . A MAN opens the door and they grab him .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. TIJUANA STREETS - DAY</stage_direction>
    <scene_description>A MAN walks down the street . Two SUV 's pull up in front of him . He starts to run . Salazar 's men jump out and chase him . Francisco is in the backseat of one of the SUV 's , watching .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. TIJUANA - DAY</stage_direction>
    <scene_description>An SUV pulls up to a curb .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SUV - DAY</stage_direction>
    <scene_description>Javier and Manolo and Francisco sit in the SUV . Francisco is weeping .</scene_description>
    <character>FRANCISCO</character>
    <dialogue>I ca n't go home. I do n't want to go. Please do n't make me.</dialogue>
    <scene_description>He looks beseechingly at them .</scene_description>
    <character>JAVIER</character>
    <dialogue>It's not our decision.</dialogue>
    <character>FRANCISCO</character>
    <dialogue>I'll be killed.</dialogue>
    <character>JAVIER</character>
    <dialogue>Stop complaining. Nobody knows what you've been up to.</dialogue>
    <scene_description>They push him out of the SUV .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SAN DIEGO JAIL - DAY</stage_direction>
    <scene_description>Castro and Gordon sit with Eduardo Ruiz in a conference room . They are recording his statements .</scene_description>
    <character>RUIZ</character>
    <dialogue>Carlos, I mean Carl, started out in the family connection business : real estate in Tijuana, fishing boats out of Ensenada, hydroponic raspberries. He met up with the Obregon brothers of the Tijuana Cartel who were interested in two things : entering society and using his fishing boats.</dialogue>
    <character>GORDON</character>
    <dialogue>So you pay off our customs officials?</dialogue>
    <character>RUIZ</character>
    <dialogue>In Mexico law enforcement is an entrepreneurial activity, this is not so true for the USA.</dialogue>
    <parenthetical>( condescending . )</parenthetical>
    <dialogue>Using regression analysis we made a study of the customs lanes at the border and calculated the odds of a search. The odds are not high, and we found variables that reduce the odds. We hire drivers with nothing to lose. Then we throw a lot of product at the problem. Some get stopped. Enough get through. It's not difficult.</dialogue>
    <character>CASTRO</character>
    <dialogue>You'd think he was n't sitting here facing life in prison.</dialogue>
    <character>RUIZ</character>
    <dialogue>This has worked for years and it will continue to work for years. NAFTA makes everything more difficult for you. The border is disappearing.</dialogue>
    <parenthetical>( pointing at them . )</parenthetical>
    <dialogue>You people are like those Japanese soldiers left behind on deserted islands who think that World War II is still going on.</dialogue>
    <parenthetical>( with total disdain . )</parenthetical>
    <dialogue>Let me be the first to tell you, your government surrendered this war a long time ago.</dialogue>
    <character>GORDON</character>
    <parenthetical>( to Castro . )</parenthetical>
    <dialogue>This attitude's not gon na help him any, is it?</dialogue>
    <character>RUIZ</character>
    <dialogue>I got greedy. I decided to bring a little in on my own and somebody tipped you off. That was my mistake. Carl would never be so stupid.</dialogue>
    <character>GORDON</character>
    <dialogue>He hired you. That was a mistake.</dialogue>
    <character>RUIZ</character>
    <dialogue>Carl and I were friends from childhood. He was loyal, that's not a mistake.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. TIJUANA - SAN DIEGO BORDER CROSSING - DAY</stage_direction>
    <scene_description>Car after car , an unending multi - lane stream of vehicles moving into the U.S. Any of these cars could be carrying drugs .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CUSTOMS CONTROL BOOTH - DAY</stage_direction>
    <scene_description>On an elevated walkway , this booth commands a view of everything . Robert and Sheridan listen to an OFFICIAL give the spiel .</scene_description>
    <character>OFFICIAL</character>
    <dialogue>The busiest land border crossing in the world. Over forty - one thousand vehicles per day, twenty - two thousand pedestrians on foot. I think we do a pretty good job but we know a lot of drugs are still getting through.</dialogue>
    <character>ROBERT</character>
    <dialogue>Any idea how much?</dialogue>
    <character>OFFICIAL</character>
    <dialogue>I've read official estimates but I would n't bet my house on them. I've heard the entire cocaine supply for the United States can fit into four tractor - trailers.</dialogue>
    <parenthetical>( gestures to the traffic . )</parenthetical>
    <dialogue>At least a half - dozen of those cars right out there are carrying a load of dope, with drivers employed by people who do n't give a damn if they're caught or not.</dialogue>
    <character>ROBERT</character>
    <dialogue>What do you look for?</dialogue>
    <character>OFFICIAL</character>
    <dialogue>We ask questions and measure the answers. When something does n't ring true, a fact that does n't make sense, a slight hesitation, then it's off to secondary for a closer look. Before NAFTA we had about 1.9 million trucks a year. Now it's almost double. Pretty soon there'll be Mexican truck companies that will have as much freedom in crossing the border as American truck companies.</dialogue>
    <character>ROBERT</character>
    <dialogue>Any way we can do it better?</dialogue>
    <character>OFFICIAL</character>
    <dialogue>Sure. More money in intelligence on their side of the border. So we have a better idea who we're looking for. More dogs. More people. Supposed to be getting some giant x - ray machines to run the trucks through. Outside of martial law that's about the best you're gon na do.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>But, I should tell you, there are two things that really have us on edge right now.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>In the last six months seizures have tripled, even though we're pulling over the same number of cars. What does that tell you?</dialogue>
    <character>ROBERT</character>
    <dialogue>That triple the amount of stuff is going through.</dialogue>
    <character>OFFICIAL</character>
    <dialogue>Right. But, that's not the biggest problem. One of our Intel officers picked up information from DEA that traffickers have come up with a process, a chemical process, to turn coke into something else. It does n't smell like coke. It does n't look like coke. And what's worse, it does n't react to field test. It could be anything. Maybe it's already happening. I mean, how would we know?</dialogue>
    <scene_description>Robert looks out at the border activity . It 's anarchy .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. AYALA STUDY - AFTERNOON</stage_direction>
    <scene_description>Helena is on the floor surrounded by papers . She 's made piles of certain things : articles of incorporation , shipping/transfer documentation , bank statements , credit card statements . She holds a telephone to her ear -</scene_description>
    <character>HELENA</character>
    <parenthetical>( to phone . )</parenthetical>
    <dialogue>Yes, hi Jenny, account number 4168 2245 3173. I need a cash advance.</dialogue>
    <scene_description>Helena walks into her kitchen . It 's serene in the afternoon light . She fixes ice - cold lemonade and fills two plastic cups .</scene_description>
    <character>HELENA</character>
    <dialogue>What's the largest amount I can get?</dialogue>
    <parenthetical>( listens . )</parenthetical>
    <dialogue>Okay, I guess that'll have to do.</dialogue>
    <scene_description>Helena hangs up the phone . She takes the two cups of lemonade to the front door and steps outside .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. AYALA HOME - AFTERNOON</stage_direction>
    <scene_description>Helena carries the cups down the driveway . She presses a button and the gates swing open .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TELEPHONE REPAIR VAN - AFTERNOON</stage_direction>
    <scene_description>Gordon and Castro listen to their headsets . Suddenly -</scene_description>
    <character>VOICE</character>
    <parenthetical>( O.S . )</parenthetical>
    <parenthetical>( over their headsets . )</parenthetical>
    <dialogue>Okay. She's coming out. She's leaving her property. Okay, she seems to be heading for the van! She is approaching the van!</dialogue>
    <scene_description>Castro and Gordon looks at each other .</scene_description>
    <character>GORDON</character>
    <dialogue>What do we do?</dialogue>
    <character>CASTRO</character>
    <dialogue>I do n't know.</dialogue>
    <scene_description>There 's a KNOCKING at the door of the van .</scene_description>
    <character>GORDON</character>
    <dialogue>What do you think she wants?</dialogue>
    <character>CASTRO</character>
    <dialogue>She's your girlfriend. Open it, talk about your kids.</dialogue>
    <scene_description>Gordon opens the door . Helena is standing there with the lemonade .</scene_description>
    <character>HELENA</character>
    <dialogue>I so hope I did n't startle you. I thought you might like some cold lemonade.</dialogue>
    <character>GORDON</character>
    <dialogue>Uh. Thank you.</dialogue>
    <scene_description>She hands the cups to him . Helena gathers herself .</scene_description>
    <character>HELENA</character>
    <dialogue>I know this is a difficult situation and you're only doing your jobs. I do n't bear you any ill - will, but I do have a small favor to ask.</dialogue>
    <character>CASTRO</character>
    <dialogue>You want to ask us a favor?</dialogue>
    <character>HELENA</character>
    <dialogue>A man threatened my children. These charges have attracted a lot of attention and it seems to be bringing all the nut - jobs out of the nut jar.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>Would you keep an eye out for anything out of the ordinary. I do n't know what else to do.</dialogue>
    <character>GORDON</character>
    <dialogue>Of course, we will.</dialogue>
    <character>HELENA</character>
    <dialogue>Thank you.</dialogue>
    <scene_description>They shut the door to the van and sit for a moment .</scene_description>
    <character>CASTRO</character>
    <dialogue>It's probably poisoned.</dialogue>
    <scene_description>Gordon takes a big sip of his .</scene_description>
    <character>GORDON</character>
    <dialogue>It's good. Not too sweet.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. TIJUANA STREET - MORNING</stage_direction>
    <scene_description>This is a questionable neighborhood pushed up against the edge of poverty . Anna hurries across the street .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. JAVI'S APARTMENT BUILDING - MORNING</stage_direction>
    <scene_description>Anna walks up the stairs of a rundown building . She passes two PROSTITUTES loitering in the stairwell . She knocks on a door and Javi , half - dressed for work , answers . He 's surprised to see her .</scene_description>
    <character>JAVIER</character>
    <dialogue>Anna. What's wrong? What do you want?</dialogue>
    <character>ANNA</character>
    <dialogue>I ca n't find Manolo.</dialogue>
    <character>JAVIER</character>
    <dialogue>He's not here.</dialogue>
    <character>ANNA</character>
    <dialogue>He never came home last night. Was he with you?</dialogue>
    <character>JAVIER</character>
    <dialogue>No.</dialogue>
    <scene_description>He lets her into the apartment .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. JAVI'S APARTMENT - MORNING</stage_direction>
    <scene_description>A small , clean room with a partition for the sleeping area .</scene_description>
    <character>ANNA</character>
    <dialogue>I'm worried. Last time he was out late, I went through his clothes while he was asleep.</dialogue>
    <scene_description>She pulls out a plastic packet with the scorpion insignia and 911 stamped on it . Javier thinks a beat .</scene_description>
    <character>JAVIER</character>
    <dialogue>I'll find him.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. ALLEY - TIJUANA - DAY</stage_direction>
    <scene_description>Javi slams Manolo against the side of building .</scene_description>
    <character>JAVIER</character>
    <dialogue>What the fuck are you doing? You're supposed to be at work. Look at you.</dialogue>
    <scene_description>Manolo is sweaty and crazy - eyed .</scene_description>
    <character>MANOLO</character>
    <dialogue>It's no problem. I was just with everybody we work with.</dialogue>
    <character>JAVIER</character>
    <dialogue>Oh, really. General Salazar was there?</dialogue>
    <character>MANOLO</character>
    <dialogue>No, but a lot of other people. You should come. You should come out with us.</dialogue>
    <character>JAVIER</character>
    <dialogue>Go home. Get cleaned up. Get to work. Salazar is heading down to Mexico City next week and I'm not getting left behind. Do n't fuck this up.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. COFFEE KIOSK - TIJUANA - DAY</stage_direction>
    <scene_description>Javi buys a cup of coffee . He turns . Two men , who will come to be known as AGENT HUGHES and AGENT JOHNSON , are standing close . Agent Hughes speaks without looking at him .</scene_description>
    <character>HUGHES</character>
    <dialogue>The word going around is you're not that happy in your work.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>Maybe we can help.</dialogue>
    <scene_description>Hughes sticks a business card in Javi 's pocket . Javi watches them walk away . It 's all done so smoothly and quickly , it 's over before Javi even knows what happened .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. WEST END - CINCINNATI - DAY</stage_direction>
    <scene_description>It 's the bad part of urban Cincinnati in the daylight : projects and blighted row houses . Seth and Caroline walk with a slouched , alert air . In their mind 's eye they are prep - school gangsters following a familiar route .</scene_description>
    <character>SETH</character>
    <dialogue>You know my dad takes eight red cold pills every day? He and my mom have cocktail hour every night, from six to seven, set your clock, two bourbons -</dialogue>
    <character>CAROLINE</character>
    <dialogue>Maybe we could show up and smoke a little rock with them to unwind -</dialogue>
    <character>SETH</character>
    <dialogue>Yeah, then some dope to take the edge off at the end of a long day.</dialogue>
    <character>CAROLINE</character>
    <dialogue>Have you done your homework, honey?</dialogue>
    <character>SETH</character>
    <dialogue>Yes, mom -</dialogue>
    <character>CAROLINE</character>
    <dialogue>Then here's a little bump.</dialogue>
    <scene_description>They turn down a street with a lot of activity on it .</scene_description>
    <character>SETH</character>
    <dialogue>Drugs were n't even a problem until a hundred years ago when the white men in power declared them a problem. Opiates. But, who was using'em? Chinese immigrants. Slave labor. And the darkies up in the inner cities dancing to them evil rhythms of ju - ju music. People on the fringe. Artists. Decadent rich people. And who got scared? White men in power. Who's scared today? White men in power. If J.P. Morgan and John D. Rockefeller ever admitted using, it'd be a whole different story.</dialogue>
    <scene_description>TWO YOUNG STREET DEALERS fall in step with them . One talks without moving his lips -</scene_description>
    <character>STREET DEALER</character>
    <dialogue>What you want?</dialogue>
    <character>SETH</character>
    <dialogue>911, and the come down.</dialogue>
    <scene_description>One dealer hurries ahead toward the doorway of a falling - down building .</scene_description>
    <character>STREET DEALER</character>
    <dialogue>How much?</dialogue>
    <character>SETH</character>
    <dialogue>Two hundred of C, hundred of the other.</dialogue>
    <scene_description>The dealer looks them over . He looks behind them down the street .</scene_description>
    <character>CAROLINE</character>
    <dialogue>Come on. We've been here before.</dialogue>
    <character>STREET DEALER</character>
    <dialogue>Then, let's see your money.</dialogue>
    <scene_description>Seth and Caroline are suspicious . They carefully show money they both have in their front right pockets . The dealer feints like he might grab it .</scene_description>
    <character>STREET DEALER</character>
    <dialogue>Up the steps. You the experts. You know what to do.</dialogue>
    <scene_description>They hurry up the steps into the dingy brownstone .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ROW HOUSE - DAY</stage_direction>
    <scene_description>They step into the narrow foyer between the outer door and the inner door . There are three other PEOPLE waiting nervously . An older JUNKIE shoots them a crazy look -</scene_description>
    <character>JUNKIE</character>
    <dialogue>What are you two, about twelve?</dialogue>
    <character>CAROLINE</character>
    <dialogue>Fuck off.</dialogue>
    <scene_description>They wait . Finally , the first dealer appears in the inner door and lets them through .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. FIRST FLOOR CORRIDOR - DAY</stage_direction>
    <scene_description>They wait in a line in the narrow , poorly lit corridor . At the end of the hall a hatch in a door slides back and the drugstore is open . People buy and leave . Seth and Caroline approach . In the hatch is a hardened dealer , 20 's , named SKETCH , which is tattooed on his forearm . He checks out Caroline 's body .</scene_description>
    <character>SETH</character>
    <dialogue>Caroline, give me your money.</dialogue>
    <scene_description>She hands over her money to Seth who pays and gets the drugs : gram baggies of rock stamped with a scorpion and `` 911 , '' and wax - paper bindles of heroin , also labeled , `` 911 . '' Caroline has been watching the transaction . Sketch makes slow eye contact with Caroline . After a beat -</scene_description>
    <character>SKETCH</character>
    <dialogue>Goodbye. Caroline.</dialogue>
    <scene_description>Seth and Caroline make their way out of the building .</scene_description>
    <character>SETH</character>
    <parenthetical>( under his breath . )</parenthetical>
    <dialogue>Yeah, right.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. BUILDING - DAY</stage_direction>
    <scene_description>Seth and Caroline hold hands as they hurry down the steps . The lookout speaks without moving his lips .</scene_description>
    <character>STREET DEALER</character>
    <dialogue>Now, get the fuck out of here.</dialogue>
    <scene_description>Caroline stops suddenly . She pulls Seth to her and kisses him hard . There 's no better moment than the one right after scoring before you start using .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. VILLA ELAINE - DAY</stage_direction>
    <scene_description>A flophouse of the seediest variety : wino in the doorway , prostitute taking care of business , everyone fresh out of institutions and graveyards .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. VILLA ELAINE - DAY</stage_direction>
    <scene_description>They approach the front desk which is behind six inches of glass .</scene_description>
    <character>SETH</character>
    <dialogue>We'd like room 205.</dialogue>
    <character>DESKMAN</character>
    <dialogue>Then you hand me twenty - eight dollars.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. ROOM 205 - VILLA ELAINE - DAY</stage_direction>
    <scene_description>They enter and the light bulb goes out . Seth fumbles his way to the mini - fridge , which he opens , throwing feeble light across the floor . They check out the decrepit room : the sloping mattress , the black and white television bolted to the bureau . The mini - fridge . Caroline bounces on the bed . They are teenagers . Seth prepares the drugs by the light of the mini - fridge .</scene_description>
    <character>SETH</character>
    <dialogue>I love this place.</dialogue>
    <scene_description>Seth dumps the drugs on the bedside table . From other pockets he extracts aluminum foil , lighter , tube . She trails away watching him fix the first hit .</scene_description>
    <character>SETH</character>
    <dialogue>Did Courtney Love play Nancy in Syd and Nancy?</dialogue>
    <character>CAROLINE</character>
    <dialogue>I think so. If she did n't she should have.</dialogue>
    <parenthetical>( checks her watch . )</parenthetical>
    <dialogue>I've only got maybe an hour. Then volleyball practice is over and I have to be home.</dialogue>
    <character>SETH</character>
    <dialogue>Why? Nobody's there.</dialogue>
    <scene_description>He prepares the first hit . She does it and lies back . He does one .</scene_description>
    <character>CAROLINE</character>
    <parenthetical>( blowing out the hit . )</parenthetical>
    <dialogue>The maid. They ask her what time I get back. She spies for them.</dialogue>
    <scene_description>Seth starts kissing her . They try to get into it , but both of them are thinking about the drugs .</scene_description>
    <character>CAROLINE</character>
    <dialogue>I wish we could stay here. Just be here forever and ever. Make it a little home.</dialogue>
    <scene_description>She leans over to snort a tiny line of heroin .</scene_description>
    <character>SETH</character>
    <dialogue>I want to have sex and do a hit right as we're coming.</dialogue>
    <scene_description>Caroline 's distracted by the line she 's snorting . After a while .</scene_description>
    <character>CAROLINE</character>
    <dialogue>Okay.</dialogue>
    <scene_description>Seth begins undoing her jeans .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. EPIC BUNKER LOBBY - DAY</stage_direction>
    <scene_description>SUPERTITLE : EL PASO , TEXAS Robert and Sheridan listen to the official tour of the EPIC center delivered by the SPECIAL - AGENT - IN - CHARGE , 40 , a sincere weight - lifter with a sincere crew - cut .</scene_description>
    <character>SPECIAL-AGENT-IN-CHARGE</character>
    <dialogue>Over 200 DEA field agents, a budget of almost 100 million dollars and state of the art communications equipment make the El Paso Information Center the Drug Enforcement Administration's flagship for the 21st century.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. EPIC BUNKER CAFETERIA - DAY</stage_direction>
    <scene_description>A huge lunchroom . Long plastic institutional tables and agents minding their own business , Robert , Sheridan , and their Epic Guide walk through . They pass a wall of black and white head shots -</scene_description>
    <character>ROBERT</character>
    <dialogue>Who are these guys?</dialogue>
    <character>SPECIAL-AGENT-IN-CHARGE</character>
    <dialogue>Agents who died in the field.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. BINOCULAR POV - DAY</stage_direction>
    <scene_description>of large mansion with manicured grounds . The back lawn is filled with children , balloons , a merry - go - round , and pony rides . It 's a sumptuous children 's birthday party .</scene_description>
    <character>SPECIAL-AGENT-IN-CHARGE</character>
    <dialogue>That house, that you see from the DEA headquarters, belonged to Porfirio Madrigal - the Lord of the Skies, largest trafficker in Mexico.</dialogue>
    <scene_description>ANGLE ON ROBERT looking through the binoculars .</scene_description>
    <character>ROBERT</character>
    <dialogue>He died in a liposuction surgery, right?</dialogue>
    <character>SPECIAL-AGENT-IN-CHARGE</character>
    <dialogue>Right. Now it's used by somebody from the Juarez Cartel, one of his lieutenants. Who knows?</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>Every damn day there's birthday party. At first I thought they must have three hundred children, then I realized they're taunting us. Three miles away and we ca n't touch them. Ha, ha, ha.</dialogue>
    <scene_description>BINOCULAR POV : a child running in circles holding a clutch of colored balloons .</scene_description>
    <character>ROBERT</character>
    <dialogue>Who do we interface with on their side?</dialogue>
    <character>SPECIAL-AGENT-IN-CHARGE</character>
    <dialogue>What do you mean?</dialogue>
    <character>ROBERT</character>
    <dialogue>I mean, who runs interdiction on the Mexico side?</dialogue>
    <character>SPECIAL-AGENT-IN-CHARGE</character>
    <dialogue>I do n't know. I do n't think there's any one person.</dialogue>
    <parenthetical>( thinks . )</parenthetical>
    <dialogue>See the problem is the Juarez cartel owns everything and everybody, all the property on the Mexican side, sometimes all the property on both sides. Warehouses, transportation, even tunnels. It's very organized.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. TRAMAC - DAY</stage_direction>
    <scene_description>Robert , walking with purpose , leads his group to their plane .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MILITARY JET - DAY</stage_direction>
    <scene_description>Robert and Sheridan and several DEA , Law Enforcement , and Military Officials . It 's a nice plane , used for important people and Robert has the best seat .</scene_description>
    <character>ROBERT</character>
    <dialogue>I want everyone thinking out the box for a second. What are we gon na do about Mexico?</dialogue>
    <parenthetical>( silence . )</parenthetical>
    <dialogue>Come on, guys. Out of the box.</dialogue>
    <scene_description>The men on the plane just stare at him . Finally the REP FROM DEA leans forward .</scene_description>
    <character>REP FROM DEA</character>
    <dialogue>Unlimited funds?</dialogue>
    <character>ROBERT</character>
    <dialogue>Unlimited.</dialogue>
    <character>REP FROM DEA</character>
    <dialogue>From a DEA standpoint we need a vetted task force and matching funds. And cut the red tape on getting them equipment and training.</dialogue>
    <scene_description>Robert turns to the others .</scene_description>
    <character>ROBERT</character>
    <dialogue>Come on. I want to hear from everyone : FBI. Customs. Treatment. Is there anyone from treatment on this plane?</dialogue>
    <parenthetical>( no one answers . )</parenthetical>
    <dialogue>Then I want an answer for why there is n't anyone from treatment.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>Look, we know we have to bust one of these cartels, Juarez or Tijuana, not just as a symbol, but hell yes, also as a symbol - they are symbols - and there's nothing wrong with sending a message. That's why when Carlos Ayala hired Michael Adler lead defense, I flew Ben Williams to San Diego to prosecute. Because he's the best we have, he's our symbol that we're serious about putting the top people away.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>So, as of right now, this flight only, consider the dam on new ideas thrown open.</dialogue>
    <scene_description>Still , no one else says anything . They watch Robert impassively .</scene_description>
    <character>ROBERT</character>
    <dialogue>If I'm not mistaken, we got DEA, Pentagon, U.S. Attorneys office, about a billion dollars of budget right here. So what are you people waiting for?</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. SAN DIEGO OFFICE BUILDING - DAY</stage_direction>
    <scene_description>Establishing shot of a tall glass building in the downtown skyline of San Diego .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ARNIE METZGER'S OFFICE - DAY</stage_direction>
    <scene_description>Helena and Arnie enter his office . The furniture is sleek mid - century modern , and the view of the harbor is extraordinary .</scene_description>
    <character>ARNIE</character>
    <dialogue>On a clear day you can see Mexico City.</dialogue>
    <scene_description>Arnie stands very close to Helena and looks at her profile .</scene_description>
    <character>ARNIE</character>
    <dialogue>This place is swept twice a day. I learned that in Miami in' 85. Then the U.S. shut down the whole Caribbean, but it's a big game of wack - a - mole. Knock it down in Miami, it pops up here. And San Diego is so much more relaxing.</dialogue>
    <character>HELENA</character>
    <dialogue>Arnie, I need money. Somebody threatened my children. They want a first payment of three million dollars.</dialogue>
    <character>ARNIE</character>
    <dialogue>Helena, if I had it I would give it to you, but I do n't have that kind of money.</dialogue>
    <character>HELENA</character>
    <dialogue>Arnie, help me. Does n't anyone owe us money?</dialogue>
    <character>ARNIE</character>
    <dialogue>Yes, I told you before, there are people who owe you money but they're not paying. There's too much heat on Carl.</dialogue>
    <character>HELENA</character>
    <dialogue>Please. Tell me who Carl sells to.</dialogue>
    <scene_description>Arnie thinks .</scene_description>
    <character>ARNIE</character>
    <dialogue>Even if I knew I would n't tell you. You do not want to come into contact with these people. Only Carl knows who they are. That's his real asset. Ruiz does n't know them. They do n't know Ruiz. Church and State.</dialogue>
    <character>HELENA</character>
    <dialogue>What about legitimate businesses? We own a construction concern, real estate -</dialogue>
    <character>ARNIE</character>
    <dialogue>Laundromats for the washing of money. Unfortunately, Carl had only one successful business.</dialogue>
    <character>HELENA</character>
    <dialogue>Do n't you have some good news? Is n't there something positive you could say.</dialogue>
    <scene_description>There is n't . Helena looks Arnie in the eyes .</scene_description>
    <character>HELENA</character>
    <parenthetical>( vulnerable . )</parenthetical>
    <dialogue>Sometimes I wonder what I'll do if Carl does n't get out. I'm not very adept at being on my own. I've always had a man in my life. Always.</dialogue>
    <character>ARNIE</character>
    <dialogue>I remember when I first met you : little Helen Watts from the wrong side of somewhere. I had a feeling even then that your survival instincts were pretty well honed.</dialogue>
    <character>HELENA</character>
    <dialogue>I'm glad you think so, but I'm picturing a debt - ridden, thirty - two year - old mother whose ex - husband is being compared to Pablo Escobar.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>And I'm wondering who would want to be with someone like that?</dialogue>
    <scene_description>It takes a great effort for Arnie not to answer .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ARMORED SUV - MEXICO - DAY</stage_direction>
    <scene_description>Javier and Manolo ride through a nice neighborhood in Mexico City . Javi is n't familiar with the roads and drives cautiously . A young lady , ROSARIO , early 20 's , sexy and vulnerable , rides in the back of the SUV .</scene_description>
    <character>ROSARIO</character>
    <dialogue>You two do n't like me, do you?</dialogue>
    <scene_description>Manolo laughs and looks her up and down . Javi watches her in the rearview mirror .</scene_description>
    <character>JAVIER</character>
    <dialogue>We do n't have an opinion on you.</dialogue>
    <character>ROSARIO</character>
    <parenthetical>( to Javi . )</parenthetical>
    <dialogue>Maybe it's because I'm getting an apartment nicer than anything you'll ever see in your life?</dialogue>
    <scene_description>Javi says nothing .</scene_description>
    <character>ROSARIO</character>
    <parenthetical>( re : the neighborhood . )</parenthetical>
    <dialogue>I ca n't believe the old man kept his promise.</dialogue>
    <character>JAVIER</character>
    <dialogue>The General is a man of his word.</dialogue>
    <character>ROSARIO</character>
    <dialogue>They will say anything to get what they want, but then you remind them, it's always tomorrow, tomorrow, tomorrow.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>Occupational hazard, I guess.</dialogue>
    <scene_description>Javi just looks at her in the rearview mirror .</scene_description>
    <character>ROSARIO</character>
    <dialogue>His friend is giving us the apartment so it's not like he paid. It's more like a favor.</dialogue>
    <scene_description>Javier pulls the SUV to the curb in front of a beautiful colonial - style apartment complex in the verdant neighborhood .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. VERDANT NEIGHBORHOOD - DAY</stage_direction>
    <scene_description>Birds are chirping . Javi waits in the car as Manolo takes the young lady 's bags from the vehicle and carries them up the walkway to the arched doorway . He knocks on the heavy wooden door .</scene_description>
    <character>ROSARIO</character>
    <dialogue>You do n't have the keys. Oh that's perfect. Are you an idiot?</dialogue>
    <scene_description>Manolo knocks again . They wait a long beat .</scene_description>
    <character>MANOLO</character>
    <dialogue>There's supposed to be someone here to let you in.</dialogue>
    <scene_description>Finally , the door swings open and a BODYGUARD is standing there . Rosario SQUEALS and sweeps past him into the vast space . The bodyguard motions for Manolo to put the bags inside the door . Manolo sets the bags down and sees another MAN standing a few feet away . The man wears sunglasses . His complexion is strange and his neck is bandaged . The body guard escorts Manolo back outside where he hears Rosario 's happy LAUGHTER drifting down from an upstairs window .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SUV - DAY</stage_direction>
    <scene_description>Manolo gets into the truck . He 's shaken by what he 's just seen .</scene_description>
    <character>MANOLO</character>
    <dialogue>Madrigal's alive.</dialogue>
    <character>JAVIER</character>
    <dialogue>What?</dialogue>
    <character>MANOLO</character>
    <dialogue>Porfirio Madrigal is not dead. I just saw him.</dialogue>
    <scene_description>A long beat as Javier considers this .</scene_description>
    <character>JAVIER</character>
    <dialogue>This is why Salazar is so interested in cleaning up Tijuana. Madrigal, who's supposed to be dead, owns him. And Madrigal is making a move on Juan Obregon.</dialogue>
    <scene_description>Javier calmly drives away .</scene_description>
    <character>MANOLO</character>
    <dialogue>Javi! Come on. Do n't pull this you do n't care bullshit. This is incredible information. It must be. Javi -</dialogue>
    <character>JAVIER</character>
    <dialogue>We keep our mouths shut.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BARBARA'S CAR - NIGHT</stage_direction>
    <scene_description>Barbara drives Robert home from the airport . There 's a sense they 've been silent for a while .</scene_description>
    <character>ROBERT</character>
    <dialogue>I think we may have found our Mexican Drug Czar. It's this General, Salazar. At least I'll have somebody on the other side I can talk to.</dialogue>
    <character>BARBARA</character>
    <dialogue>Does this mean you're going to be gone more?</dialogue>
    <scene_description>A long silence .</scene_description>
    <character>ROBERT</character>
    <dialogue>Possibly.</dialogue>
    <scene_description>Another silence .</scene_description>
    <character>BARBARA</character>
    <dialogue>You might want to pencil in a little face - time with your daughter.</dialogue>
    <character>ROBERT</character>
    <dialogue>Barbara -</dialogue>
    <character>BARBARA</character>
    <dialogue>Because I'm at the edge of my capabilities, Robert.</dialogue>
    <character>ROBERT</character>
    <dialogue>The first thing we have to do is present a unified front.</dialogue>
    <character>BARBARA</character>
    <dialogue>If you start in on the war metaphors I'm going to drive this car into a fucking telephone pole.</dialogue>
    <character>ROBERT</character>
    <dialogue>Look, I'm as worried as you are -</dialogue>
    <character>BARBARA</character>
    <dialogue>No, I do n't think so. Leave me alone, give me money. That's what I get from our daughter. She has a way of shutting me out that seems very familiar.</dialogue>
    <character>ROBERT</character>
    <dialogue>Yeah, well, she has a way of self - medicating that probably seems familiar, too.</dialogue>
    <scene_description>She looks at him , stung .</scene_description>
    <character>BARBARA</character>
    <dialogue>I'm not the one who has to have three scotches just to walk in the door and say hello.</dialogue>
    <character>ROBERT</character>
    <dialogue>I have a drink before dinner to take the edge off my day. That's different.</dialogue>
    <character>BARBARA</character>
    <dialogue>Oh, it is?</dialogue>
    <character>ROBERT</character>
    <dialogue>Yeah, because the alternative is to be bored to death.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. WAKEFIELD HOUSE - NIGHT</stage_direction>
    <scene_description>He car pulls into the driveway . Robert gets out . Barbara does n't . He looks back at her .</scene_description>
    <character>BARBARA</character>
    <dialogue>Why do n't you go in and tell your daughter how bored you are.</dialogue>
    <scene_description>She puts the car in reverse and drives away . He stands for a moment , steaming .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. WAKEFIELD HOUSE - NIGHT</stage_direction>
    <scene_description>Robert Wakefield steps inside his home . It 's very QUIET . He checks the mail on the hall table .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT</stage_direction>
    <scene_description>Robert walks down the hallway . He steps into Caroline 's bedroom .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CAROLINE WAKEFIELD'S BEDROOM - CONTINUOUS</stage_direction>
    <scene_description>Robert stands outside her closed bathroom door . There is nothing , then from the other side of the door , the faint sound of a lighter CLICKING . AGAIN and AGAIN , then a COUGH .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CAROLINE WAKEFIELD'S BATHROOM - NIGHT</stage_direction>
    <scene_description>Caroline sits on the toilet . Glamour Magazine on her lap . She 's wild - eyed and paranoid . The exhaust fan is running . The aluminum foil is on the sink . The last little bit of heroin in a wax - paper bundle sits beside it . She 's listening hard for any SOUND in the house . What she 's wondering is if someone is outside the door listening . She puts a piece of crack on the foil and listens hard once more before lighting it . She does the hit . And seems to feel better . Suddenly there 's a POUNDING on the door . The VOICE of her father muffled through the solid wood .</scene_description>
    <character>ROBERT</character>
    <parenthetical>( V.O . )</parenthetical>
    <parenthetical>( muffled by the door . )</parenthetical>
    <dialogue>Caroline. Open this door immediately.</dialogue>
    <scene_description>Caroline is up like a shot . She looks around . The POUNDING on the door gets stronger . She crumples the foil and drops it in the toilet . The bathroom door SOUNDS like it 's about to cave inward .</scene_description>
    <character>CAROLINE</character>
    <parenthetical>( faking the best she can . )</parenthetical>
    <dialogue>Who is it? I'm going to the bathroom.</dialogue>
    <scene_description>She 's coping now , full parallel process mode : she dumps the last heroin on the back of her hand and snorts it , checking her nose in the mirror as she reaches for a can of air freshener which she sprays into the air .</scene_description>
    <character>CAROLINE</character>
    <dialogue>One minute.</dialogue>
    <scene_description>She takes the remaining crack , lighters , tubes , little smudgy druggy bits of paraphernalia and carefully places it all in a hiding place above the bathroom cabinet . She pauses a beat , then opens the door , and tries to brush by her father while avoiding his eyes .</scene_description>
    <character>CAROLINE</character>
    <dialogue>Excuse me -</dialogue>
    <scene_description>Robert grabs her by the arms . He pushes her against the wall and looks at her pupils . He looks at her fingernails . The blister on her thumb from working the lighter is red and irritated .</scene_description>
    <character>ROBERT</character>
    <dialogue>You're not going anywhere, young lady.</dialogue>
    <scene_description>She stands there ; she 's very high . Robert sniffs the air . He throws open cabinets , searching for drugs . He sees the smudge mark on the counter left by the charred aluminum foil .</scene_description>
    <character>ROBERT</character>
    <dialogue>Where is it? Where are the drugs?</dialogue>
    <parenthetical>( yelling . )</parenthetical>
    <dialogue>Where are they?</dialogue>
    <character>CAROLINE</character>
    <dialogue>Fuck you. I was n't doing anything. You're like the Gestapo.</dialogue>
    <scene_description>Robert KICKS the cabinets .</scene_description>
    <character>ROBERT</character>
    <dialogue>Fuck me? Oh, okay. Fuck me. Fuck you.</dialogue>
    <scene_description>Robert is losing it . He throws stuff around the bathroom and then , for the first time , looks up . He sees the long light in the box atop the medicine cabinet and it dawns on him .</scene_description>
    <character>ROBERT</character>
    <dialogue>I'm going to ask you one time to tell me the truth so that I can help you.</dialogue>
    <scene_description>She just stares .</scene_description>
    <character>ROBERT</character>
    <dialogue>Okay, young lady, that's it.</dialogue>
    <character>CAROLINE</character>
    <dialogue>Like I give a fuck.</dialogue>
    <scene_description>Robert reaches above the medicine cabinet and pulls out a charred spoon . It confuses him . He throws it into the sink . He pulls out another spoon . He pulls out crumpled bindles , rolled up , encrusted dollar bills , exhausted lighters , a pill bottle , an empty pint of vodka . The detritus of drug addiction keeps on coming , filling up the sink . Robert stares at it , the amount and complexity has him momentarily baffled .</scene_description>
    <character>ROBERT</character>
    <dialogue>What is wrong with you? What?</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>You're going away. You're getting help somewhere.</dialogue>
    <character>CAROLINE</character>
    <dialogue>You ca n't make me.</dialogue>
    <character>ROBERT</character>
    <dialogue>Oh, yes I can.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT.  - SAN DIEGO - DAY</stage_direction>
    <scene_description>Javier drinks toward downtown . He 's sipping a Burger King soft - drink . On the seat next to him is a shopping bag from Target . He takes an exit . Javier pulls into the underground parking lot of a fancy office tower .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. POLICE SEDAN - DAY</stage_direction>
    <scene_description>Javi drives down to the third floor underground . He pulls into a parking spot next to a white sedan . He slides open the cargo door of his van . The cargo door of the sedan opens . Javi quickly gets into the sedan .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SEDAN - DAY</stage_direction>
    <scene_description>Special Agents Hughes and Johnson welcome Javi .</scene_description>
    <character>JAVIER</character>
    <dialogue>Where are we going?</dialogue>
    <scene_description>Hughes sticks out his hand .</scene_description>
    <character>HUGHES</character>
    <dialogue>Special Agent Hughes, Drug Enforcement Administration of the United States.</dialogue>
    <character>JAVIER</character>
    <parenthetical>( ignoring the niceties . )</parenthetical>
    <dialogue>Where are you taking me?</dialogue>
    <scene_description>The agents exchange a look .</scene_description>
    <character>JOHNSON</character>
    <dialogue>Somewhere safe.</dialogue>
    <character>JAVIER</character>
    <dialogue>Where?</dialogue>
    <character>JOHNSON</character>
    <dialogue>A place we have, that we know is protected.</dialogue>
    <character>JAVIER</character>
    <dialogue>No.</dialogue>
    <character>HUGHES</character>
    <dialogue>It's really safe.</dialogue>
    <character>JAVIER</character>
    <dialogue>Not for me.</dialogue>
    <character>JOHNSON</character>
    <dialogue>Okay. Where would you like to go?</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. SWIMMING POOL - HOTEL - DAY</stage_direction>
    <scene_description>Javi and Agents Johnson and Hughes stand in the middle of the shallow end of a large swimming pool . KIDS in waterwings splash nearby .</scene_description>
    <character>JAVIER</character>
    <dialogue>It's important that we work together. Mexico. America. One hand washing the other.</dialogue>
    <character>JOHNSON</character>
    <dialogue>We agree.</dialogue>
    <character>JAVIER</character>
    <dialogue>So. maybe you tell me about your informants in our operations.</dialogue>
    <character>JOHNSON</character>
    <parenthetical>( confused by this . )</parenthetical>
    <dialogue>We thought maybe you'd have that kind of information for us.</dialogue>
    <character>JAVIER</character>
    <parenthetical>( feigning surprise . )</parenthetical>
    <dialogue>This is a very different proposition.</dialogue>
    <scene_description>Johnson and Hughes exchange a glance .</scene_description>
    <character>JOHNSON</character>
    <dialogue>We pay for that kind of information.</dialogue>
    <scene_description>A fat kid in an inner - tube floats behind them .</scene_description>
    <character>JOHNSON</character>
    <dialogue>Is that what you're talking about, Javier?</dialogue>
    <scene_description>Javi makes eye contact with one agent , then the other .</scene_description>
    <character>JAVIER</character>
    <dialogue>Ten years ago Tijuana had no drug problem. Now it is epidemic.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>Ten years ago America takes a hammer to Pablo Escobar, a hammer to the Miami drug trade, and you allowed everything to move to my country. You dumped the problem at our feet. Now, drug use is epidemic. Now, the treatment centers are full and get no state money. They survive on donations and what they get for building doghouses to sell to the U.S.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>We need lights for the parks so kids can play at night. So they can play baseball. So it's safe. Everybody likes parks. Everybody likes baseball.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>What I'm talking about is I would like to see somebody take an interest in Tijuana. That's what I'm talking about.</dialogue>
    <scene_description>Javi starts to get out of the pool .</scene_description>
    <character>HUGHES</character>
    <dialogue>Javi, You want to come see us again, you're going on the box. No more of this water - wing bullshit.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. PARKING GARAGE - DAY</stage_direction>
    <scene_description>Javier gets out of the DEA sedan and back into his . He drives away .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SEDAN - DAY</stage_direction>
    <scene_description>Agents Hughes turns to Agent Johnson .</scene_description>
    <character>JOHNSON</character>
    <dialogue>You wan na tell me what the hell that was all about?</dialogue>
    <character>HUGHES</character>
    <dialogue>He's got something. We just have to be patient.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. JAIL VISITATION ROOM - DAY</stage_direction>
    <scene_description>Helena and Carl each hold a telephone receiver as they stare at each other through a thick pane of meshed glass . Helena is barely holding it together . It 's hard for Carl to see her like this . After a beat -</scene_description>
    <character>CARL</character>
    <dialogue>How's David?</dialogue>
    <character>HELENA</character>
    <dialogue>How's David? How's David? He's terrific, Carl.</dialogue>
    <character>CARL</character>
    <dialogue>Helena -</dialogue>
    <character>HELENA</character>
    <dialogue>We watched his father get dragged away by federal agents. I do n't even know how to begin to tell him where you are or when you're coming back. Or if you're coming back.</dialogue>
    <scene_description>She ca n't even look at him .</scene_description>
    <character>CARL</character>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>We'll get through this, I promise. I'll make it up to you -</dialogue>
    <character>HELENA</character>
    <parenthetical>( snapping . )</parenthetical>
    <dialogue>How? Supportive letters from prison while I'm being kicked out of our home?</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>Do you have any idea what is happening out here? Our credit cards are maxed. The people at the bank, you should see their faces when I walk in there. I have a letter from the government telling me that anything I sell from our house will be taken against an income tax lien. Our friends are behaving like the crowd at a public hanging. Nobody will help us. Nobody will take us in. Nobody wants anything to do with us. So tell me, Carl, how you're gon na make it up to me.</dialogue>
    <parenthetical>( losing it . )</parenthetical>
    <dialogue>Tell me again how we'll get through this, and maybe while you're at it you can put your hand up against the glass so we can have a tender moment of connection.</dialogue>
    <character>CARL</character>
    <dialogue>Helena -</dialogue>
    <character>HELENA</character>
    <dialogue>Tell me what to do, Carl. I need guidance, not a fucking platitude.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>I'm not bringing a child into the kind of life I grew up with. I wo n't do it. I want our life back.</dialogue>
    <scene_description>Carl looks at his wife as if he is trying to weigh her . He thinks , then leans forward -</scene_description>
    <character>CARLOS</character>
    <dialogue>I built our house and I do n't want to lose it. Every stone, every brick, every board.</dialogue>
    <parenthetical>( carefully . )</parenthetical>
    <dialogue>My business. That would take a lot of private study.</dialogue>
    <parenthetical>( he blinks . )</parenthetical>
    <dialogue>That you do n't have time for. I suggest you look into the Coronel.</dialogue>
    <parenthetical>( he blinks again . )</parenthetical>
    <dialogue>Into selling it. If you can stomach it, you should look into it.</dialogue>
    <scene_description>That painting is very valuable .</scene_description>
    <character>HELENA</character>
    <dialogue>I do n't understand.</dialogue>
    <character>CARLOS</character>
    <dialogue>Look into the Coronel ; otherwise, there is nothing to do.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. SERENITY OAKS - DAY</stage_direction>
    <scene_description>A peaceful wooded campus with a unobtrusive sign reading , `` Serenity Oaks Treatment Facility . ''</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MEETING ROOM - SERENITY OAKS - DAY</stage_direction>
    <scene_description>There are sayings on the wall : `` Easy Does It ; '' `` Let Go and Let God ; '' `` Turn it over ; '' `` One Day at a Time . '' `` H.A.L.T. - Hungry ? Angry ? Lonely ? Tired ? '' Caroline , wearing a thick , woolly sweater , and the other PATIENTS sit around on beat - up couches and chairs in a loose circle . It 's a mixed BUNCH : trucker meth - head , rocker dope - fiend , yuppie crack - head , fat , thin , rich , middle - class , and all white . Caroline is the youngest . MARTY , 40 's , an overweight alcoholic , finishes his `` share . ''</scene_description>
    <character>MARTY</character>
    <dialogue>So it was my birthday an my ex - wife was getting remarried and I was in some church basement telling a bunch of strangers how it was a good day because I did n't have to eat out of a dumpster. That was enough to send me out on big one.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>I've been thinking a lot about the first step : that I came to believe I was powerless over alcohol and that my life had become unmanageable.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>See my disease tells me I do n't have a disease. That I'm fine. That it's my birthday and I can have one little drink, then one little line, then one little Valium, then two more fat lines, then two more 10 mil Valium. Six months later I wake up in a sober living house in Philly. And I'm from Dallas, people.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>It's a disease - an allergy of the body and an obsession of the mind. I know that now. So my name's Marty and today I'm a grateful recovering alcoholic who did n't eat out of a dumpster. Thanks.</dialogue>
    <scene_description>And Marty looks to Caroline who did n't relate to one word he said .</scene_description>
    <character>CAROLINE</character>
    <parenthetical>( slowly , very nervous . )</parenthetical>
    <dialogue>Hi. I'm Caroline. I'm not sure I'm an alcoholic.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>I mean I do n't really like to drink. For someone my age it's so much easier to get drugs than beer. I do n't know, this is really weird and I'm really nervous.</dialogue>
    <scene_description>People in the room nod encouragingly .</scene_description>
    <character>CAROLINE</character>
    <dialogue>I guess I'm angry. I mean I think I'm really angry about a lot of stuff, but I do n't know what exactly.</dialogue>
    <scene_description>She blushes , and stares out the window .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. AYALA LIVING ROOM - AFTERNOON</stage_direction>
    <scene_description>Helena follows an ART APPRAISER through her formal living room as he inspects paintings and makes notations . He is very excited and moves quickly from one to the next .</scene_description>
    <character>ART APPRAISER</character>
    <dialogue>Tamayo. Carrington. A simply wonderful collection of Mexican Modern. Give me three months. I know several collectors in South America, very discreet.</dialogue>
    <character>HELENA</character>
    <dialogue>I do n't have three months.</dialogue>
    <character>ART APPRAISER</character>
    <dialogue>It takes time to find the proper collection.</dialogue>
    <character>HELENA</character>
    <dialogue>How much will you give me in cash? Today.</dialogue>
    <scene_description>The appraiser taps out some numbers on a calculator and shows the figure to Helena .</scene_description>
    <character>HELENA</character>
    <dialogue>You must be joking. That's a fraction of their value.</dialogue>
    <character>ART APPRAISER</character>
    <dialogue>I'm sorry, but that is the figure I can get today.</dialogue>
    <scene_description>Helena turns her back . She walks to a window and looks out , then surveys the contents of her beautiful home .</scene_description>
    <character>HELENA</character>
    <parenthetical>( snapping . )</parenthetical>
    <dialogue>Get out. Get out of my house.</dialogue>
    <scene_description>Helena turns and sees David in the doorway . She goes to him .</scene_description>
    <character>HELENA</character>
    <dialogue>It's all right. We're have a disagreement, that's all.</dialogue>
    <scene_description>The art appraiser passes them on his way out .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. AYALA MASTER BEDROOM - NIGHT</stage_direction>
    <scene_description>Helena wakes up in the middle of the night with a start . Her eyes are wide open . She has had a thought - She climbs out of bed and quickly puts on a robe .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. UPSTAIRS HALLWAY - CONTINUOUS</stage_direction>
    <scene_description>Helena walks quickly and quietly down the hallway . She passes David 's room . She opens a door at the end of the hall -</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CARL'S PRIVATE STUDY - CONTINUOUS</stage_direction>
    <scene_description>Helena enters the room . She hits a desk lamp and we 're in a very comfortable and masculine upstairs study : bookshelves holding hundreds of art books ; comfortable chairs ; MacIntosh stereo ; discreet flatscreen HD TV . Helena stares at a painting on one of the bookshelves . It is `` Boy with a Hoop , '' a small portrait by Rafael Colonel . She goes to it and looks from different angles . She reaches out and jiggles the oil . Nothing happens . She looks behind the painting at the backing . She notices that one corner is not glued down . She picks up a letter opener and pries the paper back . An envelope slips out . Inside the envelope : neat , thin strips of paper dense with information in a miniscule type and a magnetic key card .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT.  HELICOPTER - DAY</stage_direction>
    <scene_description>Robert and Sheridan ride in the back of the chopper . Each looks out his own window . A newspaper on the seat between them shows a front page photo of General Salazar , exultant , and the headline reads in Spanish , `` Salazar Named Chief of Anti - Narcotics Operations . ''</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. MEXICO CITY - DAY</stage_direction>
    <scene_description>Establishing shot of a military helicopter landing on the roof of an office building in downtown Mexico City .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HEADQUARTERS, FEADS, - MEXICO CITY - DAY</stage_direction>
    <scene_description>Robert Wakefield and General Salazar stroll through the new headquarters where boxes are still being unpacked . Javier and Sheridan trail along behind them .</scene_description>
    <character>SALAZAR</character>
    <dialogue>I recruited the best men in Mexico for my task force and put them through a rigorous screening process. Not only physical, but also psychological.</dialogue>
    <character>ROBERT</character>
    <dialogue>I'd like to bring you up to Washington, walk you around our side of things, and share some of the information we've been able to develop on your cartels.</dialogue>
    <character>SALAZAR</character>
    <dialogue>That would be very helpful to me.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>Also, I received the offer from DEA and the FBI to train some of my men at Quantico. I think this will be extremely useful, a good way for us to absorb some of your methods.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. SALAZAR'S I.N.C.D. OFFICE - DAY</stage_direction>
    <scene_description>The office has n't been decorated yet .</scene_description>
    <character>SALAZAR</character>
    <dialogue>I've been too busy to completely settle in.</dialogue>
    <scene_description>Salazar proffers a chair and they sit next to each other like Brezhnev and Nixon . PHOTOGRAPHERS begin SNAPPING pictures . After a few moments , Salazar waves them away , and they lower their cameras and leave .</scene_description>
    <character>ROBERT</character>
    <dialogue>You've been making very good progress against the Tijuana cartel.</dialogue>
    <character>SALAZAR</character>
    <dialogue>Yes, I am confident that Juan Obregon will be taken into custody before the end of the year. But, you must understand that it is very difficult because of corruption in the police force. We get a tip that he is one place, then we get there and he is already gone, having been warned by someone on our side.</dialogue>
    <character>ROBERT</character>
    <dialogue>Hopefully the exchange of training methods and information between our countries will help with this problem.</dialogue>
    <character>SALAZAR</character>
    <dialogue>Yes, I hope so as well.</dialogue>
    <character>ROBERT</character>
    <dialogue>Let me ask you a related question. We've talked about the supply side, but what about demand? What is your policy for treating addiction?</dialogue>
    <character>SALAZAR</character>
    <dialogue>Addicts treat themselves. they overdose and then there's one less to worry about.</dialogue>
    <scene_description>Robert can not respond .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SERENITY OAKS - WALKWAY - DAY</stage_direction>
    <scene_description>Caroline ambles alone down a walkway at the treatment facility . She looks through the trees that surround facility and notices cars going by .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LOW-RENT HOTEL - DAY</stage_direction>
    <scene_description>Gordon and another DEA AGENT escort Ruiz up the stairs of a large , older hotel .</scene_description>
    <character>RUIZ</character>
    <dialogue>This is ridiculous. Why is there no elevator?</dialogue>
    <character>GORDON</character>
    <dialogue>When the DEA gets into the narcotics business, then we'll stay at the Four Seasons.</dialogue>
    <scene_description>They walk down a hotel hallway . Two more AGENTS stand outside Room 407 . Gordon opens the door and they enter .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SUITE OF CHEAP HOTEL ROOMS - DAY</stage_direction>
    <scene_description>There are more AGENTS inside and old food and coffee containers . Gordon gives Ruiz a tour . There are several rooms . A bored Castro sits at a table staring at a Scrabble board .</scene_description>
    <character>CASTRO</character>
    <dialogue>Eddie, how you like your new home? I hope you hate it as much as I do.</dialogue>
    <scene_description>Ruiz looks around with disgust . He 's accustomed to finer places . He goes to a window and looks out . RUIZ 'S POV : of the Federal Court building not far away .</scene_description>
    <character>RUIZ</character>
    <dialogue>This is not what my lawyers negotiated.</dialogue>
    <scene_description>Gordon pours himself a cup of coffee .</scene_description>
    <character>GORDON</character>
    <dialogue>Fuck your lawyers. You are n't getting any cappuccino or Biscotti either.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. FEDERAL COURTHOUSE - DAY</stage_direction>
    <scene_description>A packed , tense courtroom listens to testimony from a government witness , FRANK , 50 's , very matter - of - fact and truthful .</scene_description>
    <character>FRANK</character>
    <dialogue>He first came to me in January. That would've been nineteen eighty - seven. He wanted to rent warehouse space along the harbor. I did n't ask too many questions ; I'm a businessman also.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. FEDERAL COURTHOUSE - DAY</stage_direction>
    <scene_description>Another witness , MRS. BERRY , 40 's , pedantic on the stand -</scene_description>
    <character>MRS. BERRY</character>
    <dialogue>I told Mr. Ayala there were irregularities in his tax return. And I could n't represent him unless we could explain this.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. FEDERAL COURTHOUSE - DAY</stage_direction>
    <scene_description>SHEILA , 38 , a mousy secretary , is on the stand . Carlos sits at the defendant 's table listening raptly . Gordon and Castro sit in the back watching Helena who pays close attention to the witness -</scene_description>
    <character>SHEILA</character>
    <dialogue>I was the company secretary from 1991 to 1994. I supposedly worked for all six companies. But. they were n't. I mean, it was just one empty office with a desk and a telephone. We never sold anything the whole time I was there. Sometimes people came and got paid. I do n't really know what we did.</dialogue>
    <character>PROSECUTOR</character>
    <dialogue>Did Mr. Ayala say where the money came from?</dialogue>
    <character>SHEILA</character>
    <dialogue>No, and I did n't ask.</dialogue>
    <character>PROSECUTOR</character>
    <dialogue>Where do you think it came from?</dialogue>
    <scene_description>Carl 's lawyer , Adler , is on his feet -</scene_description>
    <character>KAUFMAN</character>
    <dialogue>This speculation -</dialogue>
    <character>PROSECUTOR</character>
    <dialogue>I'll rephrase. Did you feel like you were engaged in a legal enterprise?</dialogue>
    <scene_description>Sheila is reluctant to answer .</scene_description>
    <character>SHEILA</character>
    <dialogue>No, not really.</dialogue>
    <scene_description>Helena catches Carl 's eye and they share a grim moment .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CARL'S UPSTAIRS STUDY - DAY</stage_direction>
    <scene_description>Helena sits at Carl 's office desk . On the desk in front of her are the lists she found and an encrypted cell phone . Helena picks up the phone . Her hands are shaking . She is crying as she dials . A voice on the other end answers .</scene_description>
    <character>FRANCISCO</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Who is this?</dialogue>
    <scene_description>Helena gathers her courage , then .</scene_description>
    <character>HELENA</character>
    <dialogue>A friend. of Carlos Ayala.</dialogue>
    <scene_description>There is a long pause .</scene_description>
    <character>FRANCISCO</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Yes.</dialogue>
    <character>HELENA</character>
    <dialogue>I'm on a special phone, may I speak freely?</dialogue>
    <character>FRANCISCO</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>You may speak.</dialogue>
    <character>HELENA</character>
    <dialogue>I have a job for you and I do n't have much time.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. BOTANICAL GARDEN - DAY</stage_direction>
    <scene_description>Helena watches David look at the wide variety of plants and flowers . All around them a GROUP of 3rd graders , in identical T - shirts , enjoy a field trip .</scene_description>
    <character>FRANCISCO</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>I love this place. Do n't turn around.</dialogue>
    <scene_description>Behind her Francisco Flores takes a photo with an instant camera .</scene_description>
    <character>FRANCISCO</character>
    <dialogue>You were followed by the police, but they wo n't hear us over the children. I want to use a bomb.</dialogue>
    <character>HELENA</character>
    <dialogue>You're kidding. Ca n't you shoot him or something?</dialogue>
    <character>FRANCISCO</character>
    <dialogue>I do n't really like guns. You shoot someone in the head three times and some doctor will keep them alive.</dialogue>
    <character>HELENA</character>
    <dialogue>When will you do it?</dialogue>
    <character>FRANCISCO</character>
    <dialogue>I do n't know. Eduardo Ruiz is the only real witness against Carl. The security is very tight. There may not be a way.</dialogue>
    <character>HELENA</character>
    <dialogue>There's always a way. If people get to the Pope or the President, you can get to him.</dialogue>
    <scene_description>Francisco laughs .</scene_description>
    <character>FRANCISCO</character>
    <dialogue>Careful. You're sounding like your husband, Mrs. Ayala.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. JAVI'S APARTMENT - NIGHT</stage_direction>
    <scene_description>Anna sits in the living room , staring . She appears too upset to speak . The apartment is cleaner . There have been other changes . There 's a new rug .</scene_description>
    <character>JAVIER</character>
    <dialogue>What? What is it?</dialogue>
    <character>ANNA</character>
    <dialogue>It's very hard for me to come and tell you this.</dialogue>
    <scene_description>Javier just watches her .</scene_description>
    <character>ANNA</character>
    <dialogue>It's Manolo. He's going to do something stupid. I'm worried that he'll get himself killed.</dialogue>
    <scene_description>He keeps watching .</scene_description>
    <character>ANNA</character>
    <dialogue>He's saying he's going to talk to the Americans. Become an informer.</dialogue>
    <scene_description>He says they pay a lot of money .</scene_description>
    <character>JAVIER</character>
    <dialogue>Why does he need money?</dialogue>
    <character>ANNA</character>
    <dialogue>He has debts. He has gambling debts. He owes a lot of money.</dialogue>
    <character>JAVIER</character>
    <dialogue>How much?</dialogue>
    <character>ANNA</character>
    <dialogue>Nine thousand dollars.</dialogue>
    <scene_description>A long beat .</scene_description>
    <character>JAVIER</character>
    <dialogue>What is he planning on telling them?</dialogue>
    <character>ANNA</character>
    <dialogue>Well, you know, he's going to say about Madrigal. and Salazar.</dialogue>
    <scene_description>Javier just looks at her .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ROBERT'S OFFICE IN WASHINGTON - DAY</stage_direction>
    <scene_description>Robert is on the telephone , listening . He is not happy . Sheridan watches him .</scene_description>
    <character>ROBERT</character>
    <parenthetical>( into phone . )</parenthetical>
    <dialogue>Nobody saw her leave?</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>Yes. I understand.</dialogue>
    <scene_description>He hangs up . He stands and reaches for his jacket .</scene_description>
    <character>ROBERT</character>
    <dialogue>I have to go. I have to go home.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. WAKEFIELD KITCHEN - NIGHT</stage_direction>
    <scene_description>Robert and Barbara sit at the kitchen table .</scene_description>
    <character>BARBARA</character>
    <dialogue>Should we bring the police into this?</dialogue>
    <character>ROBERT</character>
    <dialogue>No, not yet.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. WEST END STREETS - DAY</stage_direction>
    <scene_description>Robert drives through the streets in his Cadillac DeVille .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. DEVILLE - DAY</stage_direction>
    <scene_description>Robert rides in glum silence . He looks at passersby who are almost all black and almost all stare back at the white man in his Cadillac . A group of young men stare threateningly as he rolls past . On the street , in the lee of a Brownstone staircase , a deal is going down . ROBERT AND SETH ABRAHMS - DAY sit in a coffee shop .</scene_description>
    <character>SETH</character>
    <parenthetical>( genuinely surprised . )</parenthetical>
    <dialogue>She's not at that place you sent her?</dialogue>
    <character>ROBERT</character>
    <dialogue>She snuck away. And we have n't seen her. She has n't come home.</dialogue>
    <character>SETH</character>
    <dialogue>Oh, man -</dialogue>
    <character>ROBERT</character>
    <dialogue>She has n't called you?</dialogue>
    <character>SETH</character>
    <dialogue>I tried to talk to her when she was up there, but they would n't put me through.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>I'm surprised she has n't called.</dialogue>
    <scene_description>ANOTHER ANGLE ON ROBERT IN THE CAR - DAY He turns a corner and is suddenly in a drive - thru drug market . Dealers , HUSTLERS , run at the windows from both sides , signaling .</scene_description>
    <character>HUSTLERS</character>
    <dialogue>What you want? Rock? Rock? Hey, what you want?</dialogue>
    <scene_description>ROBERT AND SETH - DAY in the coffee shop .</scene_description>
    <character>ROBERT</character>
    <dialogue>Can you tell me anything? Do you have any ideas?</dialogue>
    <character>SETH</character>
    <dialogue>I do n't know what to say.</dialogue>
    <character>ROBERT</character>
    <dialogue>I'm not the police. I do n't care about experimentation. She's a kid. I'm worried to death.</dialogue>
    <character>SETH</character>
    <dialogue>You wo n't say anything to my parents?</dialogue>
    <character>ROBERT</character>
    <dialogue>I do n't give a fuck about your parents -</dialogue>
    <character>SETH</character>
    <dialogue>We sometimes went downtown to score.</dialogue>
    <character>ROBERT</character>
    <dialogue>What?</dialogue>
    <character>SETH</character>
    <dialogue>The West End. We buy it off the streets.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>I can stop, you know, and she ca n't. Two people, really similar, we can talk about anything, but for me it's like a weekend thing, then I get my shit together, and for her it's different -</dialogue>
    <character>ROBERT</character>
    <dialogue>You do n't know what the hell you're talking about. You're a cocky seventeen year - old and you do n't have a clue what the stakes are. You do n't know the value of the life you've yet to throw away. And neither does she.</dialogue>
    <scene_description>ROBERT IN HIS CAR - DAY It is surrounded . Robert stares . A face presses up against the window .</scene_description>
    <character>FACE</character>
    <parenthetical>( through the window . )</parenthetical>
    <dialogue>What do you want?</dialogue>
    <character>ROBERT</character>
    <parenthetical>( through the window . )</parenthetical>
    <dialogue>What do you mean, what do I want?</dialogue>
    <character>FACE</character>
    <dialogue>Rock or dope, man?</dialogue>
    <character>ROBERT</character>
    <dialogue>I do n't want anything.</dialogue>
    <scene_description>ROBERT AND SETH</scene_description>
    <character>SETH</character>
    <dialogue>Hey man, I'm sorry. I'm just trying to help.</dialogue>
    <character>ROBERT</character>
    <dialogue>You want to help? Stay the fuck away from her.</dialogue>
    <scene_description>ROBERT IN HIS CAR</scene_description>
    <character>ROBERT</character>
    <dialogue>I'm looking for my daughter.</dialogue>
    <scene_description>The dealer looks at him with disgust , turns his back , and waves everyone else away . Robert slams his fist against the steering wheel . He slams it again and again . He stops and pulls away , just as AT THE INTERSECTION behind Robert 's car , Caroline crosses the street toward Sketch 's house .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SKETCH'S BEDROOM - DAY</stage_direction>
    <scene_description>A single candle lights the room . Caroline is underneath Sketch the drug dealer . He is pounding away . As she clutches his back and holds on , her expression is both surprised and druggy , and SOUNDS escape her mouth that she would n't believe she could make . There 's a KNOCK on the door . Sketch continues his business . The KNOCKING is more insistent . Finally , he stops and gets up and goes to the door . Caroline lies back . She 's in a bed with black sheets in a room with nothing else in it but a dresser and some duffle bags . Sketch opens the door -</scene_description>
    <character>SKETCH</character>
    <dialogue>What the fuck do you want?</dialogue>
    <scene_description>SOMEBODY outside says something . Sketch walks over to a duffle bag and extracts some product . Caroline 's eyes are glued to it as Sketch hands it through the door . Sketch sees her staring at the drugs . He comes back to bed .</scene_description>
    <character>SKETCH</character>
    <dialogue>You want some of that?</dialogue>
    <scene_description>Caroline nods .</scene_description>
    <character>SKETCH</character>
    <dialogue>What you gon na do to get some of that?</dialogue>
    <character>CAROLINE</character>
    <dialogue>Please -</dialogue>
    <character>SKETCH</character>
    <dialogue>What you gon na do?</dialogue>
    <scene_description>She turns her back to him , pouting . He laughs .</scene_description>
    <character>SKETCH</character>
    <dialogue>Maybe a taste.</dialogue>
    <scene_description>He reaches over beside the bed where there is a small tray . On the tray is a rig , spoon , several powders , and an eye dropper . He pulls the candle over and rapidly fixes a speedball . He pulls the fluid into the neck of the syringe and holds it up the light . It has Caroline transfixed .</scene_description>
    <character>SKETCH</character>
    <dialogue>Feed this to you like a little bird.</dialogue>
    <scene_description>He squirts the tiniest amount of fluid into the air . It arcs in the candlelight .</scene_description>
    <character>CAROLINE</character>
    <dialogue>Do n't -</dialogue>
    <character>SKETCH</character>
    <dialogue>You want this?</dialogue>
    <scene_description>She nods .</scene_description>
    <character>SKETCH</character>
    <dialogue>This is the Express train. Baby turnin' pro and getting down in a big, big hole.</dialogue>
    <scene_description>Her concentration is entirely , hypnotically focused on the syringe . Sketch moves the syringe toward her lips .</scene_description>
    <character>SKETCH</character>
    <dialogue>Kiss it. Kiss your new mommy hello.</dialogue>
    <scene_description>Caroline moves her mouth toward the side of the syringe , her lips part . Sketch pulls the sheet back , exposing her legs . He grips one powerful hand around her ankle and squeezes . Veins stand out on her foot . He slides the needle into the largest vein and slowly depresses the plunger . Caroline watches , then her head tilts back , then forward , she GROANS , sexually and slumps against the pillows , her eyes half - open , her lips twitching . Sketch puts the rig back on the tray , then admires Caroline 's beauty for a second before starting to fuck her again .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HOTEL - DAY</stage_direction>
    <scene_description>Gordon and Castro and two other AGENTS escort Ruiz out of the hotel and usher him into a waiting cruiser . They pull out in a caravan and move through the streets toward the courthouse .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. COURTHOUSE PARKING LOT - DAY</stage_direction>
    <scene_description>The cruiser pulls into a fenced and gated parking lot . Gordon , Castro and Ruiz , walking with a limp , cross to the building entrance . As they push inside , Francisco Flores , in a conservative grey suit passes them going outside . The parking lot is empty of people . The guards at the gate talk about something distracting . Francisco passes by the cruiser and drops his keys . Kneeling down he extracts a small , powerful , magnetized bomb from his jacket . He attaches it to the underside of the vehicle , stands and walks toward the guard gate .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COURTROOM - DAY</stage_direction>
    <scene_description>The court is filled to capacity . Helena and Metzger watch from the gallery . The JUDGE bangs his gavel . Adler is on his feet .</scene_description>
    <character>ADLER</character>
    <dialogue>Your honor, it has come to our attention that your honor, while in private practice, previously represented the town of Seal Beach in their stop - work suit against the Police Department of Seal Beach. We believe this disqualifies you from hearing this case and we therefore move for a temporary suspension while this is investigated.</dialogue>
    <scene_description>The judge is surprised to hear this .</scene_description>
    <character>JUDGE</character>
    <dialogue>Mr. Adler, this is a most unusual motion.</dialogue>
    <character>ADLER</character>
    <dialogue>Nonetheless, your honor, we feel that our client deserves every fairness afforded under the law.</dialogue>
    <character>JUDGE</character>
    <dialogue>If this is in any way designed to delay the testimony of Eduardo Ruiz.</dialogue>
    <scene_description>The judge considers .</scene_description>
    <character>JUDGE</character>
    <dialogue>We'll recess until 9:00 am Monday morning. And I'll see counsel in chambers.</dialogue>
    <scene_description>He slams the gavel down again .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. COURTHOUSE - DAY</stage_direction>
    <scene_description>Gordon , Castro , other AGENTS and Ruiz come down the rear steps of the courthouse and walk across the street toward the parking lot .</scene_description>
    <character>CASTRO</character>
    <dialogue>Remember when we sat on that mob guy, that chef, for like six months?</dialogue>
    <character>GORDON</character>
    <dialogue>Oh, man, I've never eaten so good in my life.</dialogue>
    <parenthetical>( to Ruiz . )</parenthetical>
    <dialogue>Why do n't you develop a useful skill?</dialogue>
    <character>CASTRO</character>
    <dialogue>Yeah, like turning into a beautiful woman.</dialogue>
    <scene_description>They reach the car .</scene_description>
    <character>RUIZ</character>
    <dialogue>Would you mind if today we walked? It's one block. I could use the fresh air.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. FRANCISCO'S CAR - CONTINUOUS</stage_direction>
    <scene_description>Across the street , Francisco , encrypted cell phone to his ear , watches from his own car as Gordon , Castro , and Ruiz stand by their car without getting in , then walk away from the car .</scene_description>
    <character>FRANCISCO</character>
    <parenthetical>( into phone . )</parenthetical>
    <dialogue>They're not getting into the car. What are they doing? They're walking right at me.</dialogue>
    <scene_description>The men start across the street toward Francisco .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HELENA'S CAR - DAY</stage_direction>
    <scene_description>Helena drives her car through downtown San Diego .</scene_description>
    <character>HELENA</character>
    <parenthetical>( into phone . )</parenthetical>
    <dialogue>You've got a gun. Get out of the car and shoot him in the head.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. FRANCISCO'S CAR - DAY</stage_direction>
    <scene_description>Francisco watches Ruiz and the agents walk up the street toward him .</scene_description>
    <character>FRANCISCO</character>
    <parenthetical>( into phone . )</parenthetical>
    <dialogue>They're going to walk right past me.</dialogue>
    <character>HELENA</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>What are you? A mouse? Get out of the car and do it. This is your chance.</dialogue>
    <scene_description>Francisco watches the three men walk past his car . He makes a decision and opens his door .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREET - DAY</stage_direction>
    <scene_description>Francisco steps from the car and mingles in with OTHER PEOPLE walking along the sidewalk . He follows them for few yards , picking his moment . He closes the distance to Gordon , Castro and Ruiz , pulling a pistol from inside his jacket . He takes careful aim from twelve feet away and is about to shoot Ruiz when a bullet hole appears in his chest . He staggers , trying to squeeze the trigger , Francisco fires the gun once , wildly - A tourist screams - Gordon and Castro and Ruiz turn - Francisco is looking down at the widening red splotch in the center of his shirt , uncertain of what has happened - Gordon shoves Ruiz down into a doorway and fires three quick shots - Francisco spins around and drops on his face in the street . Citizens run in all directions fearing a psychopath with an NRA card coming off a bad week of day - trading - Gordon and Castro with Ruiz beneath them scan the streets .</scene_description>
    <character>CASTRO</character>
    <dialogue>Stay here. I'll get the car.</dialogue>
    <scene_description>Castro runs down the street for the court parking lot . Other AGENTS are running toward Gordon and Ruiz .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. OFFICE BUILDING WINDOW - CONTINUOUS</stage_direction>
    <scene_description>The STRANGE MAN who threatened Helena 's children packs a high - caliber rifle and scope into a briefcase . He snaps the case shut and quickly exits the room . We notice a man on the floor with a bullet hole in his head next to the open door .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREET - CONTINUOUS</stage_direction>
    <scene_description>Agents surround Ruiz . Gordon walks to the body of Francisco lying face down in the gutter . He turns him over with his shoe and sees his face .</scene_description>
    <character>GORDON</character>
    <parenthetical>( to the other agents . )</parenthetical>
    <dialogue>I saw this guy at the courthouse.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>The car -</dialogue>
    <scene_description>Gordon takes off running , yelling for Castro .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. COURT PARKING LOT - DAY</stage_direction>
    <scene_description>Castro has reached the car and gets in . Gordon appears at the gate of the lot -</scene_description>
    <character>GORDON</character>
    <parenthetical>( yelling . )</parenthetical>
    <dialogue>No -</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CRUISER - DAY</stage_direction>
    <scene_description>Castro turns the ignition exactly at the moment he sees Gordon yelling and waving his arms -</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. COURT PARKING LOT - DAY</stage_direction>
    <scene_description>The cruiser EXPLODES . Gordon hits the pavement . Parts of the car begin raining down around him .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SIDEWALK CAFE - SAN DIEGO - DAY</stage_direction>
    <scene_description>A fire truck and paramedic unit WHIZZES by . Manolo sits at an outdoor cafe table , waiting . He ca n't help looking around at the attractive people , but he 's also nervous . Suddenly two MEN , recognizable as Salazar 's OFFICERS from the desert drug bust , sitting at a nearby table , rise and move to Manolo 's table .</scene_description>
    <character>MAN #1</character>
    <dialogue>Manolo, how are you?</dialogue>
    <scene_description>They take seats uncomfortably close to Manolo .</scene_description>
    <character>MAN #2</character>
    <dialogue>Manolo, have we interrupted?</dialogue>
    <scene_description>You 're looking around like you 're expecting someone .</scene_description>
    <character>MANOLO</character>
    <dialogue>No. I'm looking for the waiter. I want to order.</dialogue>
    <character>MAN #1</character>
    <dialogue>What are you gon na have?</dialogue>
    <character>MANOLO</character>
    <dialogue>A steak.</dialogue>
    <character>MAN #1</character>
    <dialogue>Well, if you like steak, we know a much better place. We'll take you there.</dialogue>
    <character>MANOLO</character>
    <dialogue>That's okay, really.</dialogue>
    <scene_description>They each take Manolo by an arm .</scene_description>
    <character>MAN #2</character>
    <dialogue>Manolo, we should really be going now, before it gets too crowded.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. SUV - DAY</stage_direction>
    <scene_description>We 're looking through the windshield as we approach the Mexican border . As the car slows , we pan to follow the border official as he looks in briefly and waves us through . We continue to pan to reveal Manolo in the backseat sitting beside Man # 2 .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SUV - DAY</stage_direction>
    <scene_description>We 're in the desert . There 's nothing in any directions . Javi is implacable . Manolo understands what is happening .</scene_description>
    <character>MANOLO</character>
    <dialogue>I was going to feed them wrong information. Feed them lies to. it was for.</dialogue>
    <scene_description>The men say nothing . After a beat -</scene_description>
    <character>MANOLO</character>
    <dialogue>Do n't tell Anna I died like this. Tell her it was something else. Tell her it was official business. Tell her that I died doing something honorable. Please, tell her that for me.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. DESERT - DAY</stage_direction>
    <scene_description>Javi and Manolo stand next to two freshly dug graves .</scene_description>
    <character>MAN #1</character>
    <dialogue>Turn around.</dialogue>
    <scene_description>Javi hesitates before turning . We 're on Javi as we hear the GUNSHOT . Javi does n't flinch . Manolo 's body falls into the grave . Javi stands there , waiting .</scene_description>
    <character>MAN #1</character>
    <dialogue>You got anything you want to say?</dialogue>
    <scene_description>Javi shakes his head . Finally , another GUNSHOT . After a beat , a hand reaches out of Javi 's shoulder .</scene_description>
    <character>MAN #1</character>
    <dialogue>Sorry about that. we had to be sure.</dialogue>
    <scene_description>They walk back to the SUV .</scene_description>
    <character>SOMEBODY ELSE</character>
    <dialogue>Are you sure you do n't have anything to tell us?</dialogue>
    <scene_description>Javi says nothing , does n't even acknowledge them . We hear a GUNSHOT .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. AYALA HOME - DAY</stage_direction>
    <scene_description>Arnie Metzger is in Helena 's living room . The stereo is loudly playing MOZART .</scene_description>
    <character>ARNIE</character>
    <dialogue>That was a stupid thing you did. Incredibly stupid.</dialogue>
    <character>HELENA</character>
    <dialogue>I tried, Arnie. And, I will continue to try.</dialogue>
    <character>ARNIE</character>
    <dialogue>Have you gone crazy? You are not Carl. You are n't as good as Carl.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>They are moving the trial to a high security location. The press has gone berserk. The jury will be influenced. Stay out of things. Let us try to win the case.</dialogue>
    <character>HELENA</character>
    <dialogue>That is going to be rather difficult when all the evidence is against us.</dialogue>
    <scene_description>Helena steps closer to Arnie , close enough that her breasts are almost touching his chest .</scene_description>
    <character>ARNIE</character>
    <dialogue>Helena, please. This is out of your hands.</dialogue>
    <character>HELENA</character>
    <parenthetical>( softly . )</parenthetical>
    <dialogue>I know I made things worse. I know that and I'm sorry, but Arnie I need something from you. Something only you can help me with.</dialogue>
    <scene_description>Helena looks searchingly into his eyes .</scene_description>
    <character>ARNIE</character>
    <dialogue>Helena -</dialogue>
    <character>HELENA</character>
    <dialogue>I need an introduction to the Obregon Brothers.</dialogue>
    <character>ARNIE</character>
    <dialogue>I ca n't do that.</dialogue>
    <scene_description>Helena leans closer to him .</scene_description>
    <character>HELENA</character>
    <dialogue>I figured out what Carl was up to and I need your help. Will you help me?</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. LABORATORY RESEARCH FACILITIES - DAY</stage_direction>
    <scene_description>An establishing shot of a hi - tech company within shooting distance of the Salk Institute .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LAB FACILITY - DAY</stage_direction>
    <scene_description>This is a professional chemical lab that can be rented by the month . Long tables of lab and computer equipment . Nobody has been here in a while . There are toys - plastic dolls , frisbees , hula hoops - on many of the tables . Helena lets herself into the room . She scans ledgers . She looks over the equipment . She picks up a twelve - inch high plastic Spastic Jack action figure and a can labeled `` solvent '' and hurries from the lab .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. WEST END - CINCINNATI - NIGHT</stage_direction>
    <scene_description>Robert drives through the streets , searching for Caroline . He does n't find her .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. WAKEFIELD HOUSE - NIGHT</stage_direction>
    <scene_description>Barbara is waiting in the living room . Robert enters . He shakes his head then stands silently for a beat .</scene_description>
    <character>ROBERT</character>
    <dialogue>About the other night, I'm sorry.</dialogue>
    <character>BARBARA</character>
    <dialogue>Me, too.</dialogue>
    <character>ROBERT</character>
    <dialogue>God, I do n't get it. Are we supposed to say to ourselves, be prepared to lose her, be prepared to lose our child?</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>Why does this happen to someone? How does it happen?</dialogue>
    <character>BARBARA</character>
    <dialogue>I do n't know.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CAROLINE'S BEDROOM - NIGHT</stage_direction>
    <scene_description>Robert is standing in the middle of her room . He 's not sure what he 's looking for . Everywhere he looks : her personal things , beloved objects from more innocent times , pictures . Within moments a legitimate desire to connect with his daughter has escalated into a search for clues . He opens her drawers , dumps little boxes , pulls things off of shelves . He becomes increasingly unhinged , flinging things around her room . He tosses a stack of magazines . A fashion magazine , airborne , discharges some contents : a lighter , a plastic tube and a piece of folded aluminum foil fluttering to the ground . Robert stares at the foil on the carpet . It 's charred on the outside . He picks it up . And unfolds it . There 's a dried milky white substance . He picks up the tube and lighter and stares at them . Then , somewhat tentatively , he puts the tube in his mouth . He holds the lighter under the foil , then heats the milky substance which turns translucent and disappears in a cloud of smoke . Robert sucks all of it in . He waits a long time then exhales . His eyes shut . The tube drops from his mouth . He staggers and , overwhelmed by the sensations , sits on the bed . The lighter and foil fall from his hands . A moment later he opens his eyes and does n't seem to know where he is . He looks at the room , confused . He stumbles to the door and shuts it firmly behind him .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MANOLO'S HOUSE - DAY</stage_direction>
    <scene_description>Anna is weeping . Javier sits next to her . He puts his arm around her and she leans her head against his shoulder .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. JAVIER'S SUV - DAY</stage_direction>
    <scene_description>Javi drives through the streets of Tijuana . He brakes for a stop sign and watches , trance - like , the pedestrians crossing in front of him . As the intersection clears he remains still . A HONK from behind brings him back and he pulls forward passing Helena Ayala who crosses going the opposite direction . We stay with her .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. TIJUANA - DAY</stage_direction>
    <scene_description>Helena walks down a nightlife street that is tawdry and stale in the midday sun .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CLUB PLATINUM - DAY</stage_direction>
    <scene_description>A shrewd Obregon Lieutenant , JUAN MARQUEZ , 40 , sits at a table opposite Helena . The Strange Man who both threatened Helena 's child and executed Francisco sits in another chair .</scene_description>
    <character>MARQUEZ</character>
    <dialogue>Mrs. Ayala. Thank you for coming. I am Juan Marquez, I work for Mr. Obregon. I believe you know my associate, `` Tigrillo,'' the Little Tiger.</dialogue>
    <scene_description>Helena nods to Tigrillo -</scene_description>
    <character>HELENA</character>
    <dialogue>Yes, he threatened to kill my five year - old son.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>I was under the impression I would be meeting Juan Obregon.</dialogue>
    <character>MARQUEZ</character>
    <dialogue>No, this is not possible. And I thank you for coming down here, though I suspect it's been a pointless journey.</dialogue>
    <character>HELENA</character>
    <dialogue>Why do you say that, Mr. Marquez?</dialogue>
    <character>MARQUEZ</character>
    <dialogue>I hear these stories. Your husband in jail. His business in chaos. Various people fighting over the scraps.</dialogue>
    <character>HELENA</character>
    <dialogue>My husband is the victim of an informer in your organization, not ours.</dialogue>
    <character>MARQUEZ</character>
    <dialogue>That is not true, Mrs. Ayala. Your route is compromised. Perhaps it is time for me to deal with other distributors in California.</dialogue>
    <character>HELENA</character>
    <dialogue>I do n't think you're going to do that.</dialogue>
    <character>MARQUEZ</character>
    <dialogue>You do n't? Listen to this woman in a man's world, a very violent world.</dialogue>
    <character>HELENA</character>
    <dialogue>There are plenty of other suppliers in Mexico.</dialogue>
    <character>MARQUEZ</character>
    <dialogue>But not in whose interest it is to help you out of debt.</dialogue>
    <scene_description>Helena reaches into her bag and pulls out the Spastic Jack action figure . She puts it on the desk .</scene_description>
    <character>HELENA</character>
    <dialogue>My husband had been working on something he called, The Project for the Children. Are you aware of this?</dialogue>
    <character>MARQUEZ</character>
    <dialogue>I do n't know. Perhaps I remember something.</dialogue>
    <character>HELENA</character>
    <dialogue>We have the ability to change the color, odor, and physical property of cocaine.</dialogue>
    <character>MARQUEZ</character>
    <dialogue>You want to smuggle narcotics in Mr. Espastico Jacobo. That's nothing new.</dialogue>
    <character>HELENA</character>
    <dialogue>Not in.</dialogue>
    <scene_description>Juan Marquez is confused .</scene_description>
    <character>HELENA</character>
    <dialogue>This doll is cocaine.</dialogue>
    <scene_description>Juan picks up Spastic Jack and looks at him . He bangs it on the desk .</scene_description>
    <character>HELENA</character>
    <dialogue>Every part, from his ears to his accessory belt, is high - impact, pressure - molded cocaine. Odorless. Undetectable by dogs. Undetectable by anyone.</dialogue>
    <character>MARQUEZ</character>
    <dialogue>I do n't believe you.</dialogue>
    <scene_description>She takes out the `` solvent '' and puts it on his desk .</scene_description>
    <character>HELENA</character>
    <dialogue>Get a bowl.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CLUB PLATINUM - OFFICE - LATER</stage_direction>
    <scene_description>Spastic Jack is slowly dissolving in a bowl of solvent . Only his shoulders , head , and ridiculous ears remain above the quicksand of milky glop . Helena holds a mirror under the desk lamp . She is drying the paste . She puts the mirror on the desk . A white substance has coagulated there .</scene_description>
    <character>HELENA</character>
    <dialogue>Try it.</dialogue>
    <scene_description>Juan takes out a razor blade and chops the dried substance into two white powder lines . He hands a silver straw to Helena .</scene_description>
    <character>MARQUEZ</character>
    <dialogue>You first.</dialogue>
    <character>HELENA</character>
    <dialogue>I'm six months pregnant. I wo n't do it.</dialogue>
    <character>MARQUEZ</character>
    <dialogue>Fine, then we do n't have deal.</dialogue>
    <character>HELENA</character>
    <dialogue>Fine, then we do n't have a deal.</dialogue>
    <scene_description>She stands . He watches her a beat , then smiles .</scene_description>
    <character>MARQUEZ</character>
    <dialogue>Okay, okay.</dialogue>
    <scene_description>He leans down and quickly snorts a line . After a beat .</scene_description>
    <character>MARQUEZ</character>
    <dialogue>That's good coke.</dialogue>
    <character>HELENA</character>
    <dialogue>It should be. It's yours.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>I want our debt forgiven. I want to be the exclusive distributor of Obregon Brothers Cocaine for the United States. And I want the principle witness against my husband, Eduardo Ruiz, killed.</dialogue>
    <character>MARQUEZ</character>
    <dialogue>Perhaps. Perhaps. I'm afraid I must first ask you to pass a test. I asked the same of your husband and he succeeded with flying colors.</dialogue>
    <scene_description>Helena waits . Juan Marquez reaches in his desk and pulls out a quarter kilo of cocaine . He pushes it across the desk .</scene_description>
    <character>MARQUEZ</character>
    <dialogue>Take this back with you. Deliver it safely to Tigrillo in San Diego and we have a deal.</dialogue>
    <character>HELENA</character>
    <dialogue>That's crazy. My husband is on trial for smuggling.</dialogue>
    <character>MARQUEZ</character>
    <dialogue>Exactly, and this is how I know I'm not getting into business with the U.S. Government.</dialogue>
    <scene_description>She puts the quarter key in her bag and stands .</scene_description>
    <character>HELENA</character>
    <dialogue>You will help me with my other problem.</dialogue>
    <character>MARQUEZ</character>
    <dialogue>Deliver that safely to Tigrillo in San Diego. And we have a deal.</dialogue>
    <scene_description>Tigrillo escorts her out of the room .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CLUB PLATINUM - DAY</stage_direction>
    <scene_description>Helena follows Tigrillo . As they pass the restrooms she signals that she has to stop .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CLUB PLATINUM - LADIES' ROOM - DAY</stage_direction>
    <scene_description>Helena goes into a stall . She extracts the cocaine from her handbag . She looks at it , trying to figure out where it goes . She hikes up her skirt .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOTEL ROOM - DAY</stage_direction>
    <scene_description>Javier is hooked up to a polygraph machine watched closely by a POLYGRAPH OPERATOR . Hughes and Johnson watch as Javi talks into a tape recorder on the table .</scene_description>
    <character>JAVIER</character>
    <dialogue>And I have the electronic serial numbers for their cellular phones. They change them every twenty - four hours but I have a contact at MexTel who can get me the new ESNs within twelve.</dialogue>
    <scene_description>Javi finishes talking and sits back . Agent Hughes shuts off the tape recorder and looks at the polygraph operator who nods approval . Hughes and Johnson exchange a look . They are dumbstruck .</scene_description>
    <character>HUGHES</character>
    <dialogue>That's good shit.</dialogue>
    <character>JAVIER</character>
    <dialogue>Now that you have what you want, let's talk about how I get what I want.</dialogue>
    <character>JOHNSON</character>
    <dialogue>Oh, do n't worry, Javier, you're not gon na have any problems there.</dialogue>
    <character>HUGHES</character>
    <dialogue>I want to take a minute and talk about what type of precautions you're taking to protect yourself. When Salazar and Madrigal go down, they might send someone to see you.</dialogue>
    <character>JAVIER</character>
    <dialogue>You worry about getting me the things that I want. I'll worry about myself.</dialogue>
    <scene_description>There 's a beat . Javier seems discomfited . The two agents notice this and exchange looks .</scene_description>
    <character>JOHNSON</character>
    <dialogue>You should feel good about this.</dialogue>
    <character>JAVIER</character>
    <dialogue>I feel like a traitor.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. BORDER CROSSING AUTOMOBILE CHECKPOINT - DAY</stage_direction>
    <scene_description>Javi goes into Mexico . Pan over to Helena 's Mercedes .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HELENA'S CAR - DAY</stage_direction>
    <scene_description>She inches the car forward towards the officer who selects vehicles for inspection . The car ahead of her passes through and speeds away . The OFFICER flags Helena and directs her into the search facility .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CUSTOMS SEARCH BAY - DAY</stage_direction>
    <scene_description>Helena pulls into a search bay . A CUSTOMS OFFICER watches Helena lower her window .</scene_description>
    <character>CUSTOMS OFFICER</character>
    <dialogue>Please step from the car, Ma'am.</dialogue>
    <character>HELENA</character>
    <dialogue>I'm in a hurry -</dialogue>
    <character>CUSTOMS OFFICER</character>
    <dialogue>Step from the car, Ma'am. This wo n't take long from your day.</dialogue>
    <scene_description>Helena gets out of her car .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. OBSERVATION ROOM - CUSTOMS CHECKPOINT - DAY</stage_direction>
    <scene_description>There is a bank of video monitors showing the scenes all over the facility . ON THE MONITOR : Helena 's car is on a lift three feet off the ground . Officers pour over the inside and undercarriage of the Mercedes . Nearby , A GERMAN SHEPHERD sniffs at the items that have been removed from the car : bags , spare tire , cd boxes .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CUSTOMS SEARCH BAY - DAY</stage_direction>
    <scene_description>Customs OFFICERS approach Helena -</scene_description>
    <character>OFFICER</character>
    <dialogue>Ma'am, we have to ask you to come with us.</dialogue>
    <scene_description>She follows them toward the Customs building .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. STRIP SEARCH ROOM - DAY</stage_direction>
    <scene_description>A FEMALE CUSTOMS INSPECTOR accompanied by a female SUPERVISORY INSPECTOR leads Helena into a sterile room where there is no place to hide anything .</scene_description>
    <character>CUSTOMS MATRON</character>
    <dialogue>Ma'am, we have reason to believe you may have illegal drugs hidden beneath your clothing. I need to conduct a pat down search. Supervisory Inspector Haig will witness the search.</dialogue>
    <character>HELENA</character>
    <dialogue>You've got to be kidding me. I'm pregnant. What if I refuse?</dialogue>
    <character>CUSTOMS MATRON</character>
    <dialogue>This pamphlet explains the law and your rights under it. You're welcome to read it first. It says we have the authority to conduct this search. Would you like to read it first or shall we proceed?</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. FUNERAL SERVICE - DAY</stage_direction>
    <scene_description>Hundreds of DEA AGENTS , spouses , others stand around a grave in a leafy cemetery in working class San Diego .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CEMETERY - DAY</stage_direction>
    <scene_description>The funeral is over and people are filing back to the cars . Gordon walks away from the service when he is approached by a mourning LUCINDA CASTRO , the mother of the deceased .</scene_description>
    <character>MRS. CASTRO</character>
    <dialogue>Montel. Oh, Montel.</dialogue>
    <scene_description>Gordon hugs her .</scene_description>
    <character>MRS. CASTRO</character>
    <dialogue>You know how much he cared about you. You do, do n't you?</dialogue>
    <character>GORDON</character>
    <dialogue>Yes.</dialogue>
    <character>MRS. CASTRO</character>
    <dialogue>I know if he could have it back somehow, he would n't do it differently or have it any other way. He would n't. He loved his job.</dialogue>
    <scene_description>Another AGENT hustles toward him from the other direction , the direction of the cars .</scene_description>
    <character>AGENT</character>
    <dialogue>Excuse me, Agent Gordon. Mrs. Castro.</dialogue>
    <parenthetical>( to Gordon . )</parenthetical>
    <dialogue>Helena Ayala left Club Platinum in Tijuana. The Obregon Brothers' place. They stopped her at the border but she was clean. She's in San Diego now.</dialogue>
    <scene_description>Gordon runs for his car .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ARNIE METZGER'S OFFICE - DAY</stage_direction>
    <scene_description>Arnie sits in his office , spacing out , admiring his view when an ASSISTANT shows Helena in . As soon as the door shuts -</scene_description>
    <character>HELENA</character>
    <dialogue>Did you get it?</dialogue>
    <character>ARNIE</character>
    <dialogue>What are you thinking, calling me at home with a message like that? You've compromised me and our relationship -</dialogue>
    <scene_description>Helena sits confidently on his couch .</scene_description>
    <character>HELENA</character>
    <parenthetical>( making fun of Arnie . )</parenthetical>
    <dialogue>The place is swept twice a day. I learned that down in Miami in'85.</dialogue>
    <parenthetical>( hard . )</parenthetical>
    <dialogue>Arnie. I'm the housewife. I belong to the most exclusive country club in La Jolla that accepts Latinos. Until recently, I believed my husband imported hydroponic strawberries, which I donated at the school fair.</dialogue>
    <scene_description>Arnie reaches into a desk drawer and pulls out a quarter - kilo baggy identical to the one Juan Obregon gave her in Tijuana .</scene_description>
    <character>HELENA</character>
    <dialogue>It's the same stuff? From the rainy day stash?</dialogue>
    <character>ARNIE</character>
    <dialogue>It's the same. What happened to what they gave you?</dialogue>
    <scene_description>Helena puts the bag in her purse .</scene_description>
    <character>HELENA</character>
    <dialogue>I'm desperate, but I'm not stupid.</dialogue>
    <scene_description>I flushed it in the bathroom of their godawful nightclub .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ROBERT AND BARBARA'S BEDROOM - EARLY MORNING</stage_direction>
    <scene_description>Robert sleeps in his clothes on top of the covers . Barbara is asleep beside him . The phone rings . Robert answers . Barbara watches .</scene_description>
    <character>ROBERT</character>
    <dialogue>Hello.</dialogue>
    <character>SHERIDAN</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>I'm sorry. Did I wake you?</dialogue>
    <scene_description>Robert looks at Barbara and shakes his head . She gets up .</scene_description>
    <character>ROBERT</character>
    <dialogue>No, it's all right.</dialogue>
    <scene_description>There 's a beat .</scene_description>
    <character>SHERIDAN</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Salazar's been taken down. He was working for Porfirio Madrigal.</dialogue>
    <character>ROBERT</character>
    <dialogue>What? I thought Madrigal was dead. I thought it was verified.</dialogue>
    <character>SHERIDAN</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Apparently not. Look, it's a shit storm here right now. When are you coming back?</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>I do n't know what to tell people any more.</dialogue>
    <character>ROBERT</character>
    <dialogue>I'll get there as soon as I can.</dialogue>
    <character>SHERIDAN</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>If we're moving the press conference, we need to do it now.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>Are you all right?</dialogue>
    <character>BARBARA</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Robert.</dialogue>
    <scene_description>The tone in Barbara 's voice causes him to look up . She holds an empty jewelry box .</scene_description>
    <character>ROBERT</character>
    <parenthetical>( to Sheridan . )</parenthetical>
    <dialogue>I have to call you back.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. DINING ROOM - EARLY MORNING</stage_direction>
    <scene_description>The drawers and cabinets are open . Barbara and Robert assess what is missing .</scene_description>
    <character>BARBARA</character>
    <dialogue>The silver wedding cup.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. LIVING ROOM - EARLY MORNING</stage_direction>
    <scene_description>Robert looks at their home entertainment center . Barbara enters this room .</scene_description>
    <character>BARBARA</character>
    <dialogue>My Leica's gone.</dialogue>
    <character>ROBERT</character>
    <dialogue>So's the video camera.</dialogue>
    <character>BARBARA</character>
    <dialogue>At least she's alive.</dialogue>
    <scene_description>Robert turns for the door .</scene_description>
    <character>BARBARA</character>
    <dialogue>Where are you going?</dialogue>
    <character>ROBERT</character>
    <dialogue>She'll be at a pawn shop in an hour.</dialogue>
    <scene_description>Ten minutes after that she 'll be at her dealer 's . If I find him , maybe I find her .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CLASSROOM - CINCINNATI COUNTRY DAY - DAY</stage_direction>
    <scene_description>The bored children of privilege , wearing their blazers or uniform grey skirts , stare at a TEACHER behind a desk . The door opens and Robert enters . He finds Seth Abrahms in the back of the class and walks straight to him . Robert grabs a fistful of shirt and tie .</scene_description>
    <character>SETH</character>
    <dialogue>Hey man, what are you doing?</dialogue>
    <character>TEACHER</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>Excuse me? Excuse me?</dialogue>
    <scene_description>Robert yanks Seth out of his seat . The teacher is approaching .</scene_description>
    <character>ROBERT</character>
    <dialogue>Seth has to be excused. He's going on a field trip.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. THE FUN ZONE - DAY</stage_direction>
    <scene_description>Helena watches David play a video game . They have finished their lunch , a mess of pizza rinds .</scene_description>
    <character>HELENA</character>
    <dialogue>Come on. Time to go.</dialogue>
    <scene_description>The CLOWN tries to catch their attention with some mime , but they ignore him .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. THE FUN ZONE - DAY</stage_direction>
    <scene_description>Helena and David are pushing out the door . The man walking the other way past them is Tigrillo from the Tijuana cartel . As they pass -</scene_description>
    <character>HELENA</character>
    <parenthetical>( under her breath . )</parenthetical>
    <dialogue>Women's room, stall two.</dialogue>
    <parenthetical>( loud . )</parenthetical>
    <dialogue>Should we stop for ice - cream?</dialogue>
    <character>DAVID</character>
    <dialogue>Yeah!</dialogue>
    <scene_description>Tigrillo disappears into the restaurant . As Helena pulls out of the Fun Zone parking lot , an unmarked DEA cruiser falls in behind her .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ROBERT'S CAR - DAY</stage_direction>
    <scene_description>Robert and Seth are parked across the street from Sketch 's building . They watch people , mostly white people , get what they need .</scene_description>
    <character>SETH</character>
    <dialogue>I do n't know, maybe we missed her.</dialogue>
    <character>ROBERT</character>
    <dialogue>I ca n't believe you used to bring my daughter here, to this place.</dialogue>
    <character>SETH</character>
    <dialogue>Hey man, back the fuck up. To this place. What's that shit? Right now, all over this country, a hundred thousand white people from the suburbs are driving around downtown asking every black person they see, You got any drugs? You know where I can get drugs? What kind of effect you think this has on the psyche of a black person, on their possibilities? If you sent a hundred thousand black people into your neighborhood, Indian Hills, and they asked every white person they saw, hey, you got any drugs?, within a day, your friends and their kids would be selling. It's market forces, man. The product's marked up three hundred percent. You can go out on the street and make five hundred bucks in two hours and then do whatever you want for the rest of the day. You think white people would still be going to law school?</dialogue>
    <scene_description>There 's a beat .</scene_description>
    <character>ROBERT</character>
    <dialogue>You're starting to piss me off. Get out of the car.</dialogue>
    <scene_description>Robert and Seth get our of the car and walk across the street .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HALLWAY - DAY</stage_direction>
    <scene_description>Robert and Seth stand in the dim , dingy hallway . A JUNKIE leaves .</scene_description>
    <character>SETH</character>
    <dialogue>You're gon na get me killed.</dialogue>
    <scene_description>Robert shoves Seth toward the door . Seth knocks . The door opens a crack and Sketch 's face appears .</scene_description>
    <character>SKETCH</character>
    <dialogue>What do you want?</dialogue>
    <scene_description>Robert moves around Seth .</scene_description>
    <character>ROBERT</character>
    <dialogue>I'm looking for my daughter, Caroline. She comes here.</dialogue>
    <character>SKETCH</character>
    <dialogue>This is a business. Get the fuck outta here.</dialogue>
    <character>ROBERT</character>
    <dialogue>I need to find my daughter. I'll pay you.</dialogue>
    <scene_description>Sketch pulls a gun and shoves it against Robert 's cheek .</scene_description>
    <character>SKETCH</character>
    <dialogue>Who the fuck do you think you are? Where the fuck do you think you are? Why the fuck do you think I should n't just put you in a dumpster?</dialogue>
    <character>ROBERT</character>
    <dialogue>I have money -</dialogue>
    <character>SKETCH</character>
    <dialogue>I got money.</dialogue>
    <character>ROBERT</character>
    <dialogue>I'll pay you a thousand dollars. I have it in my wallet.</dialogue>
    <character>SKETCH</character>
    <dialogue>I want your money, I'll take your money.</dialogue>
    <character>ROBERT</character>
    <dialogue>Just tell me where she is.</dialogue>
    <scene_description>Sketch pushes Robert back into the hall . Sketch sees Seth lurking there .</scene_description>
    <character>SKETCH</character>
    <parenthetical>( to Seth . )</parenthetical>
    <dialogue>Do n't do that shit again.</dialogue>
    <scene_description>Sketch slams the door in their face .</scene_description>
    <character>SETH</character>
    <dialogue>Great. What a good idea.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. STREET - DAY</stage_direction>
    <scene_description>Seth and Robert walk to the car .</scene_description>
    <character>SETH</character>
    <dialogue>Man, I'm telling you. Do n't do this vigilante thing. Either the cops find her or she'll call you. I promise.</dialogue>
    <scene_description>Robert looks at him , carefully .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. MANOLO'S HOUSE - DAY</stage_direction>
    <scene_description>Javier KNOCKS on the front door . There is no answer . The shades are drawn . The house is darkened .</scene_description>
    <character>JAVIER</character>
    <parenthetical>( calling out . )</parenthetical>
    <dialogue>Anna. Anna, please. Let me in.</dialogue>
    <scene_description>He KNOCKS again .</scene_description>
    <character>JAVIER</character>
    <dialogue>Come on. You ca n't stay locked in your house all day.</dialogue>
    <scene_description>Finally , the door cracks open . Anna has clearly not been out of the house since the last time we saw her .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MANOLO'S HOUSE - DAY</stage_direction>
    <scene_description>Javier sits opposite Anna .</scene_description>
    <character>JAVIER</character>
    <dialogue>I know this is a tragedy, but you have to realize that good has come out of it.</dialogue>
    <scene_description>She looks at him .</scene_description>
    <character>JAVIER</character>
    <dialogue>If Manolo had n't gone and told them what he did then Salazar and Madrigal would never have been brought to justice. He did a great thing for Tijuana. He did a great thing for Mexico.</dialogue>
    <character>ANNA</character>
    <dialogue>I want to believe you. I really do.</dialogue>
    <character>JAVIER</character>
    <dialogue>You will believe me, because it's true.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. SKETCH'S APARTMENT - DAY</stage_direction>
    <scene_description>Seth walks up the steps and into the building . A beat later he reappears and continues down the street . Robert emerges from across the street and follows at a guarded distance .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREETS - DAY</stage_direction>
    <scene_description>Seth walks along the seedy neighborhood street . He approaches the Villa Elaine . He turns up the steps and disappears inside . Robert follows him .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. VILLA ELAINE HALLWAY - DAY</stage_direction>
    <scene_description>Robert ascends the stairs . As he enters the hallway he sees Seth pounding on one of the doors .</scene_description>
    <character>SETH</character>
    <dialogue>Open the door. Open the fucking door, man.</dialogue>
    <scene_description>A MAN 'S VOICE comes from the other side of the door .</scene_description>
    <character>MUFFLED VOICE</character>
    <dialogue>Go away!</dialogue>
    <scene_description>Robert closes the distance . Seth pounds harder .</scene_description>
    <character>SETH</character>
    <dialogue>I know she's in there. Let me talk to her.</dialogue>
    <character>MUFFLED VOICE</character>
    <dialogue>I do n't know what you're talking about. Go away!</dialogue>
    <scene_description>Robert reaches the door . Seth sees him .</scene_description>
    <character>SETH</character>
    <dialogue>I know she's in there.</dialogue>
    <scene_description>Robert kicks the door in .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOTEL ROOM - DAY</stage_direction>
    <scene_description>Robert sees a middle - aged JOHN in his underwear and a dress shirt .</scene_description>
    <character>JOHN</character>
    <dialogue>Hey, I have n't touched her -</dialogue>
    <scene_description>Caroline is passed out on the bed . Robert goes to her as the John scrambles for his clothes . She stirs and sees him -</scene_description>
    <character>CAROLINE</character>
    <parenthetical>( really out of it . )</parenthetical>
    <dialogue>Hi, Daddy.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. ROBERT'S CAR - DAY</stage_direction>
    <scene_description>Caroline rides in the passenger seat . She 's come out of her stupor and is now filled with ebullience .</scene_description>
    <character>CAROLINE</character>
    <dialogue>It's gon na be great. I mean, I'm okay and all, because, see, I met a guy, he's in this pretty famous band and.</dialogue>
    <parenthetical>( gets up confessional courage . )</parenthetical>
    <dialogue>They've invited me to write lyrics for them, I'm gon na be able to do that and maybe sing, too. not at first, but later.</dialogue>
    <scene_description>Caroline gets lost in her grandiose vision . Robert looks over at her as she drifts off into a nod . A moment later she 's awake and rambling again .</scene_description>
    <character>CAROLINE</character>
    <parenthetical>( sounding completely crazy . )</parenthetical>
    <dialogue>I've been doing research for the school paper, that's what I've been doing, like on assignment kind - of, I've seen some stuff you would n't believe, but I'm gon na write it all down into lyrics. They think I'm really good, everybody says so, what do you think?</dialogue>
    <scene_description>Robert fights back tears . He reaches over and takes his daughter 's hand .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CLUB PLATINUM OFFICE - DAY</stage_direction>
    <scene_description>Juan Marquez sits across the desk from Javi . Tigrillo and PABLO , 30 's , are also in the meeting .</scene_description>
    <character>MARQUEZ</character>
    <dialogue>Salazar and Madrigal are no longer with us.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>A feat none of these people could get accomplished.</dialogue>
    <scene_description>Juan nods toward Pablo and Tigrillo .</scene_description>
    <character>MARQUEZ</character>
    <dialogue>You're going to be made the Special Assistant to the new drug Czar, which makes you a very valuable law enforcement officer.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>I hope you like to travel because we have plans for Juarez and El Paso, Nogales, Sinaloa, Jalisco, Michoacan.</dialogue>
    <scene_description>Javi just stares at him for a long moment , then looks off .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ROBERT'S OFFICE IN WASHINGTON - DAY</stage_direction>
    <scene_description>Robert on the telephone .</scene_description>
    <character>ROBERT</character>
    <parenthetical>( into phone . )</parenthetical>
    <dialogue>How was she?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BARBARA'S OFFICE - DAY</stage_direction>
    <scene_description>A cramped , messy office at the Environmental Protection Agency . Barbara is on the phone .</scene_description>
    <character>BARBARA</character>
    <parenthetical>( into phone . )</parenthetical>
    <dialogue>I'm really not sure. She seemed to recognize it was n't Serenity Oaks. It's a pretty hard - core facility, but at least we know where she is.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>Maybe it's what she needs now.</dialogue>
    <scene_description>INTERCUT ROBERT IN HIS OFFICE He holds the phone and does n't say anything .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COURTROOM - EARLY MORNING</stage_direction>
    <scene_description>The court is searched carefully by a phalanx of OFFICERS . Metal Detectors are checked . Bomb sniffing German Shepherds are led through the space .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOTEL SUITE - MORNING</stage_direction>
    <scene_description>The agents are unkempt and everyone is tired . Ruiz moves through a cluttered room in a bathrobe with a cup of coffee . An agent shows him a morning paper -</scene_description>
    <character>AGENT</character>
    <dialogue>Big day.</dialogue>
    <parenthetical>( shows picture in paper . )</parenthetical>
    <dialogue>You're a star.</dialogue>
    <scene_description>Ruiz walks over and sits across from Gordon , switching off the radio show he 's listening to . Gordon looks up from his paper .</scene_description>
    <character>GORDON</character>
    <dialogue>Go shower. You smell.</dialogue>
    <scene_description>There is a KNOCK on the front door . An AGENT goes to answer -</scene_description>
    <character>AGENT</character>
    <dialogue>Who is it?</dialogue>
    <character>SOMEBODY</character>
    <parenthetical>( V.O . )</parenthetical>
    <parenthetical>( through the door . )</parenthetical>
    <dialogue>The Mafia. I've got his breakfast.</dialogue>
    <scene_description>The agent opens the door and is handed a breakfast tray . He puts the food in front of Ruiz who uncovers the sausage and eggs . An agent walking by tries to take a bite of sausage . Ruiz stabs it with a fork -</scene_description>
    <character>RUIZ</character>
    <dialogue>Fuck off.</dialogue>
    <scene_description>Gordon watches the interchange -</scene_description>
    <character>GORDON</character>
    <dialogue>Where's the love gone, Eddie?</dialogue>
    <scene_description>You 'll be testifying for at least ten days . What if we stop feeding you ? Ruiz begins to eat hungrily .</scene_description>
    <character>RUIZ</character>
    <dialogue>You expect me to be grateful for spending the rest of my life looking over my shoulder.</dialogue>
    <character>GORDON</character>
    <dialogue>That thought makes me feel awful.</dialogue>
    <scene_description>Ruiz pushes eggs into a piece of toast .</scene_description>
    <character>RUIZ</character>
    <dialogue>Ca n't you for a second imagine none of this had happened? That my drugs had gone through. What would have been the harm? A few people get high who are getting high anyway. Your partner is still alive. We avoid having breakfast together. Do n't you see this means nothing? That your whole life is pointless?</dialogue>
    <character>GORDON</character>
    <dialogue>You're breaking my heart.</dialogue>
    <character>RUIZ</character>
    <dialogue>The worst thing about you, Monty, is you realize the futility of what you're doing and you do it anyway. I wish you could see how transparent you are.</dialogue>
    <parenthetical>( disgusted . )</parenthetical>
    <dialogue>This food tastes like shit.</dialogue>
    <character>GORDON</character>
    <dialogue>So go shower already.</dialogue>
    <character>RUIZ</character>
    <dialogue>You only got to me because you were tipped off by the Juarez Cartel, who's trying to break into Tijuana. You're helping them.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>You work for a drug dealer too, Monty.</dialogue>
    <scene_description>Ruiz stands and heads for the bathroom .</scene_description>
    <character>GORDON</character>
    <parenthetical>( yelling after him . )</parenthetical>
    <dialogue>And shave. You better look nice and believable for the jury.</dialogue>
    <scene_description>Ruiz disappears into the bathroom and slams the door behind him .</scene_description>
    <character>GORDON</character>
    <parenthetical>( to another agent . )</parenthetical>
    <dialogue>It's like having another wife.</dialogue>
    <scene_description>The agent laughs . There 's another KNOCK on the door .</scene_description>
    <character>GORDON</character>
    <dialogue>Who is it?</dialogue>
    <character>SOMEBODY ELSE</character>
    <parenthetical>( V.O . )</parenthetical>
    <parenthetical>( though the door . )</parenthetical>
    <dialogue>Breakfast.</dialogue>
    <scene_description>Gordon and the agent look at each other .</scene_description>
    <character>SOMEBODY ELSE</character>
    <dialogue>Hurry up. It's getting cold.</dialogue>
    <scene_description>Gordon moves to the side of the door and pulls his gun . The other agent opens the door . A MAN with a breakfast tray enters . Gordon puts the gun to the side of his head .</scene_description>
    <character>MAN WITH TRAY</character>
    <dialogue>I'm on your side. God, you're jumpy.</dialogue>
    <scene_description>Gordon is momentarily confused , then goes for the bathroom door .</scene_description>
    <character>GORDON</character>
    <dialogue>Call an ambulance. Hurry.</dialogue>
    <scene_description>Gordon tries the bathroom door . It 's stuck . He gets it open a crack . There 's a body against the other side . He shoves .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BATHROOM - CONTINUOUS</stage_direction>
    <scene_description>Ruiz is on the floor in convulsions .</scene_description>
    <character>GORDON</character>
    <parenthetical>( yelling . )</parenthetical>
    <dialogue>Call the ambulance.</dialogue>
    <parenthetical>( to Ruiz . )</parenthetical>
    <dialogue>Do n't die on me. You will not die on me. Do you hear me? Do n't you die on me.</dialogue>
    <scene_description>Ruiz 's convulsions get worse , his claw - like fingers scratch across the tile .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COURTROOM - SAN DIEGO - DAY</stage_direction>
    <scene_description>The court is packed . Helena and Arnie watch from the gallery . The judge is at the bench . The prosecutor rises -</scene_description>
    <character>PROSECUTOR</character>
    <dialogue>Your honor, ladies and gentlemen of the jury. Because of the sudden death of Eduardo Ruiz, the people have decided that at this point we can not continue our case against Carl Ayala.</dialogue>
    <scene_description>The court ERUPTS . Reporters scatter . Helena cheers .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. WHITE HOUSE OFFICE - DAY</stage_direction>
    <scene_description>Robert Wakefield enters the office of the Chief of Staff , who looks up from what he 's doing , which is reading Robert 's report , and is already mid - sentence .</scene_description>
    <character>CHIEF OF STAFF</character>
    <dialogue>Yeah, hi -.</dialogue>
    <parenthetical>( waves Robert to a chair . )</parenthetical>
    <dialogue>So I've got a copy of your speech here.</dialogue>
    <parenthetical>( glances down , still reading . )</parenthetical>
    <dialogue>It's fantastic. So, Robert, my genuine thanks. You're my choice and you're gon na be great. The President is sorry he has n't been able to spend more time with you. After the press conference he wants to really sit down.</dialogue>
    <parenthetical>( an afterthought . )</parenthetical>
    <dialogue>Oh, I got to the Post, too. Do n't worry about that thing with your daughter, it's not news ; they're willing to treat it as a family matter, a personal matter.</dialogue>
    <parenthetical>( off Robert 's stare . )</parenthetical>
    <dialogue>Look, even if it came out, we'd turn it into a qualification, I've been in the trenches of this Drug War, I have seen the face of the enemy, etcetera.</dialogue>
    <scene_description>Robert just stares at him .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. JAIL CELL - DAY</stage_direction>
    <scene_description>General Salazar sits in the same grimy cell that housed Francisco Flores . He is sweating and his breathing is labored . A DOCTOR enters and gives him an injection , explaining that it will calm him down .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. DESERT OUTSIDE TIJUANA - DAY</stage_direction>
    <scene_description>It 's a reprise of the earlier desert bust . a landing strip in the middle of nowhere , a plane landing , SUV 's approaching . This time Javi is at the wheel of one of them . News crews are trailing behind him .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. DESERT AIRSTRIP - LATER</stage_direction>
    <scene_description>Javi and Special Agent Hughes stand next to a giant mound of seized cocaine , the same cocaine , in fact , Javi held briefly at the beginning . The same teenagers from the pickup truck have been arrested . The news crews get everything .</scene_description>
    <character>JAVIER</character>
    <parenthetical>( to the press . )</parenthetical>
    <dialogue>This seizure is one of the largest seizures in Mexican history. It represents the first bilateral effort of the American DEA and the Mexican I.N.C.D.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. JAIL CELL - DAY</stage_direction>
    <scene_description>General Salazar lies on his side , eyes and mouth open . He is dead . Javier looks at him through the doorway .</scene_description>
    <character>JAVIER</character>
    <parenthetical>( V.O. CONT 'D . )</parenthetical>
    <dialogue>Today I'm very proud to announce that Mexico, with the help of our American partners, is finally winning the war against narcotics trafficking.</dialogue>
    <scene_description>The PRESS begins shouting questions -</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HEADQUARTERS, I.N.C.D. - MEXICO - DAY</stage_direction>
    <scene_description>Robert and Javi walk through the headquarters , a nondescript government building . Robert extracts photographs of the bust from a manila envelope . The crates of cocaine are clearly marked `` 911 . ''</scene_description>
    <character>ROBERT</character>
    <dialogue>The cocaine brand, 911, is an East Coast brand, a Juarez Cartel brand, and you must know it usually comes through into El Paso?</dialogue>
    <character>JAVIER</character>
    <dialogue>I'm aware of that.</dialogue>
    <character>ROBERT</character>
    <dialogue>So what's it doing in Tijuana?</dialogue>
    <scene_description>Javi looks Robert Wakefield squarely in the eye . He shrugs .</scene_description>
    <character>ROBERT</character>
    <dialogue>Let me ask you a hypothetical question : if Salazar worked for Madrigal and the Juaraz cartel, and he went out of power, would it mean the Juarez Cartel is losing influence?</dialogue>
    <character>JAVIER</character>
    <dialogue>It could mean that, yes.</dialogue>
    <character>ROBERT</character>
    <dialogue>That would probably mean the Tijuana Cartel is gaining power?</dialogue>
    <character>JAVIER</character>
    <dialogue>It's possible.</dialogue>
    <character>ROBERT</character>
    <dialogue>Is it possible to have a Drug Czar in Mexico who is n't connected in some war to one of the cartels?</dialogue>
    <scene_description>Javi thinks along time before answering .</scene_description>
    <character>JAVIER</character>
    <dialogue>Yeah, it's possible. if you're prepared to die.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. AYALA FRONT YARD - AFTERNOON</stage_direction>
    <scene_description>An outdoor party is going on . Children and adults arrive and mingle . Caterers work the barbecue grill . Waiters serve food and drink on the rolling lawn . Helena circles through the crowd greeting friends . She looks past her tree line and up the street where a telephone repair van is parked . She turns back toward her guests . Somebody has raised a cup and everyone is CHEERING . Helena drinks with her guests , then walks inside her house . AT THE FRONT GATE Montel Gordon walks through the gate and up the drive . He grabs a drink off the tray of a passing waiter . He appears drunk . Montel follows Helena into the house .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CARL'S PRIVATE STUDY - AFTERNOON</stage_direction>
    <scene_description>Carl hears the CHEERING outside and the sound of LAUGHTER . He makes a cellular telephone call .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ARNIE METZGER'S OFFICE - AFTERNOON</stage_direction>
    <scene_description>Arnie is in his office and answers the cell phone -</scene_description>
    <character>CARLOS</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>It's Saturday, Arnie. You work too hard.</dialogue>
    <character>ARNIE</character>
    <dialogue>Carl, I'm running late. I'm coming right now -</dialogue>
    <scene_description>Behind Arnie in the office there is a movement of SHADOW .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CARL'S PRIVATE STUDY - AFTERNOON</stage_direction>
    <scene_description>Carl stands at the window looking at his guests while he talks on the phone -</scene_description>
    <character>CARLOS</character>
    <dialogue>Do n't bother.</dialogue>
    <character>ARNIE</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>What?</dialogue>
    <character>CARLOS</character>
    <dialogue>So Arnie, when were you going to tell me about the 3 million dollars we got in from San Francisco two days after I got arrested?</dialogue>
    <character>ARNIE</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>I was just waiting for the right time.</dialogue>
    <character>CARLOS</character>
    <dialogue>And you did n't feel like you could trust my wife with this news?</dialogue>
    <character>ARNIE</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>I just did n't want to take a chance. I did n't want to risk it. It could have been frozen along with everything else.</dialogue>
    <character>CARLOS</character>
    <dialogue>You had it all figured out. You move into my house. You raise my kids. You sleep with my wife. It was a good plan, Arnie.</dialogue>
    <character>ARNIE</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Carl, that's insane.</dialogue>
    <character>CARLOS</character>
    <dialogue>So my wife is lying?</dialogue>
    <character>ARNIE</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Carl, think about it, if I was trying to rip you off, I would have left town after Ruiz was killed. I would n't sit next to you in court listening to the dismissal.</dialogue>
    <scene_description>On the front lawn CHILDREN are lined up for the ice - cream sundae bar that is being tended by a WAITER .</scene_description>
    <character>CARLOS</character>
    <dialogue>Arnie, do think there's a difference between a reason and an excuse, because I do n't think there is.</dialogue>
    <character>ARNIE</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Carl -</dialogue>
    <character>CARLOS</character>
    <dialogue>Goodbye Arnie.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. ARNIE METZGER'S OFFICE - AFTERNOON</stage_direction>
    <scene_description>Arnie turns around and there are TWO MEN in his office .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CARL'S PRIVATE STUDY - AFTERNOON</stage_direction>
    <scene_description>Carl hears MUFFLED GUNSHOTS over the phone . He hangs up and turns from the window . Helena is standing there .</scene_description>
    <character>HELENA</character>
    <dialogue>Who was that?</dialogue>
    <character>CARLOS</character>
    <dialogue>Arnie. He's not going to be able to make the barbecue.</dialogue>
    <scene_description>Carl and Helena share an embrace and a kiss .</scene_description>
    <character>HELENA</character>
    <dialogue>Come downstairs. Everyone is waiting.</dialogue>
    <scene_description>Carl and Helena turn to leave the room and Montel Gordon is standing in the doorway with his glass of champagne .</scene_description>
    <character>GORDON</character>
    <dialogue>Hello, Helena. What a great party.</dialogue>
    <character>CARLOS</character>
    <dialogue>Who are you?</dialogue>
    <character>GORDON</character>
    <dialogue>Nobody. I'm a nobody who arrested you, but your wife is a murderer.</dialogue>
    <scene_description>Gordon takes a sip of his drink . Two SECURITY OFFICERS appear in the doorway behind him .</scene_description>
    <character>SECURITY OFFICER</character>
    <dialogue>Hey, you ca n't be in here.</dialogue>
    <character>GORDON</character>
    <dialogue>I'm a cop.</dialogue>
    <character>SECURITY OFFICER</character>
    <dialogue>I do n't care.</dialogue>
    <character>HELENA</character>
    <parenthetical>( to the guards . )</parenthetical>
    <dialogue>Throw him out of here.</dialogue>
    <scene_description>The security officers grab Gordon . There is a scuffle . Gordon falls to the floor by the window . They are wrestling . As they wrestle , Gordon reaches out and , unnoticed , affixes TINY LISTENING DEVICE underneath the desk . He continues to struggle with the guards . Helena and Carlos start from the room .</scene_description>
    <character>GORDON</character>
    <parenthetical>( calling out . )</parenthetical>
    <dialogue>You did n't win, Helena. You lost everything. Tell your children a nice bedtime story. How you killed my partner.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. AYALA FRONT YARD - AFTERNOON</stage_direction>
    <scene_description>The guests watch as the guards eject Gordon from the premises . Near the gate David has stopped playing to watch the action . Then he goes back to playing with his toy : a Spastic Jack figure .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. VERDANT NEIGHBORHOOD - MEXICO CITY - DAY</stage_direction>
    <scene_description>Javi and his convoy of armored SUV 's pull up in front of the beautiful house where earlier he deposited Rosario , Salazar 's former mistress . Javier opens the front door and Rosario greets him by throwing her arms around his neck . They disappear inside .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. WHITE HOUSE PRESS ROOM - DAY</stage_direction>
    <scene_description>The PRESS SECRETARY stands at the familiar podium addressing the White House Press Corps . Robert Wakefield stands to one side with Chief of Staff , his lawyers , Sheridan and General Landry .</scene_description>
    <character>PRESS SECRETARY</character>
    <dialogue>a sterling reputation and close friend of the President, recently confirmed into The Office of National Drug Control Policy. our new Drug Czar, Robert Hudson Wakefield.</dialogue>
    <scene_description>Applause from the assembled PRESS . The Press Secretary signals and Robert walks to the podium . He looks back to the Chief of Staff ; he stares out at the expectant faces and television lights and camera flashes .</scene_description>
    <character>ROBERT</character>
    <parenthetical>( reading his prepared speech . )</parenthetical>
    <dialogue>The War on Drugs is a war on our nation's most precious resource. our children. Sixty - eight million children have been targeted by those who perpetrate this war and protecting those children must be priority number one.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>There has been progress and there have been failures, but where we have fallen short I see not a problem but an opportunity.</dialogue>
    <scene_description>Robert is becoming increasingly uneasy . He glances at the Chief of Staff who bores into him . He looks again at his speech . With great effort he continues .</scene_description>
    <character>ROBERT</character>
    <dialogue>An opportunity to correct the mistakes of the past while laying a solid foundation for the future.</dialogue>
    <parenthetical>( a long , uncomfortable beat . )</parenthetical>
    <dialogue>This takes not only new ideas, but perseverance. This takes not only resources, but courage. This takes not only government, but families.</dialogue>
    <scene_description>Robert stops again as though the words are choking him .</scene_description>
    <character>ROBERT</character>
    <dialogue>I've. I've outlined a ten - point plan, representing a new bilateral effort.</dialogue>
    <scene_description>He ca n't finish . Everyone stares at Robert . The crowd of reporters senses something is wrong .</scene_description>
    <character>ROBERT</character>
    <dialogue>I ca n't do this.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>If there is a War on Drugs then our own families have become the enemy. How can you wage war on your own family?</dialogue>
    <scene_description>He walks out of the room . The crowd waits , expecting him to return . Robert walks down a corridor and out of the White House .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. WHITE HOUSE - DAY</stage_direction>
    <scene_description>A beautiful spring morning . He walks down to Pennsylvania Avenue . He hails a cab and gets in . The cab pulls away .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CHURCH BASEMENT - DAY</stage_direction>
    <scene_description>A twelve step meeting is in progress . Caroline shares from her seat .</scene_description>
    <character>CAROLINE</character>
    <dialogue>On the good days I feel like I get it, like it all makes sense. I can stay in the moment. I do n't have to control everything in the future. And I believe everything is going to work out fine.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>On the bad days, I just want to grab the phone and start dialing numbers. I want to pull my hair and run through the streets screaming.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>But, thanks to the people I've met in these rooms, people like Margaret and Jim and Sarah, people who've taught me how to listen, I'm pretty sure I'll make it through today.</dialogue>
    <scene_description>Caroline is finished sharing .</scene_description>
    <character>VOICE</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>Would you like to share?</dialogue>
    <scene_description>We pan over to reveal Robert and Barbara sitting next to Caroline .</scene_description>
    <character>ROBERT</character>
    <dialogue>My name is Robert. This is my wife, Barbara. We're Caroline's parents. We're just hear to listen.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. AYALA HOME - NIGHT</stage_direction>
    <scene_description>The house is dark and silent . The van is parked up the street .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. VAN - NIGHT</stage_direction>
    <scene_description>Gordon listens through a headset , his expression set .</scene_description>
    <character>CARLOS</character>
    <parenthetical>( V.O . )</parenthetical>
    <parenthetical>( over a listening device . )</parenthetical>
    <dialogue>We're back up and running. Completely untouchable. Completely.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. BASEBALL FIELD - TIJUANA - DAY</stage_direction>
    <scene_description>A bank of lights CRANKS on . Then ANOTHER and ANOTHER . In a wider shot we see an illuminated baseball field where a children 's pickup game is in progress . In the crowd , Javi serenely watches the game . THE END</scene_description>
  </scene>
</script>

Summary: In Mexico, police officer Javier Rodriguez (del Toro) and his partner Manolo Sanchez (Vargas) stop a drug transport and arrest the couriers. Their arrest is interrupted by General Salazar (Milian), a high-ranking Mexican official who decides to hire Javier. Salazar instructs him to apprehend Francisco Flores (Collins), a hitman for the Tijuana Cartel, headed by the Obregón brothers. Back in Tijuana, Flores, under torture, gives Salazar the names of important members of the Obregón cartel, who are arrested. Javier and Salazar's efforts begin to cripple the Obregón brothers' cocaine outfit, but Javier soon discovers Salazar is a pawn for the Juárez Cartel, the rival of the Obregón brothers. That entire portion of the Mexican anti-drug campaign is a fraud, as Salazar is wiping out one cartel because he has aligned with another for profit. Javier's partner Sanchez attempts to sell the information of Salazar's true affiliation to the DEA but is killed for his betrayal. Javier, who can no longer stomach working for Salazar, decides to make a deal with the DEA. In exchange for his testimony, Javier requests electricity in his neighborhood so the kids can play baseball at night rather than be tempted by street gangs and crime. Salazar's secrets are revealed to the public and he is arrested and dies in prison. Javier explains to the media about the widespread corruption in the police force and army. In Mexico, Javier watches as children play baseball at night in their new stadium.