COLOMBIANA
Written by
Robert Mark Kamen & Luc Besson
August 2009
ON A BLACK SCREEN
BOGOTA, COLOMBIA 1997
CLOSE ON A PAGE OF A LARA CROFT COMIC BOOK
Being copied, with uncanny precision, down to the last
detail, by a ten year old hand clutching a pencil.
VOICE
Cataleya!
The page of a notebook turns, revealing neat cursive
handwriting, covers the comic.
PULL BACK TO
INT. CAT'S HOME - DAY
CATALEYA RESTREPO, CAT for short, a contained, very
centered 10 year old, pretty, but with a toughness, sitting
at the dining room table, in a well kept, but modest home,
with windows that look out over the steep hillside favela,
attends to her notebook.
On the window there are half a dozen beautiful orchid
plants. The rare Cataleya orchid. All around there are
packed cartons, suitcases. Moving day is at hand.
MOTHER
Cat! Is your homework finished
yet?
CAT
Working on it Mama.
Her mother, taking time off from packing, comes over to
Cat, and turns the page of the notebook to reveal the Lara
Croft comic and it's copy.
MOTHER
You draw beautifully my love, but
if you want to be something in
life you have to study.
CAT
I am studying Mama. I want to be
a super hero.
Her mother turns the page back to the lessons.
MOTHER
Better to be a doctor. A lawyer.
CAT
Are we going to see Uncle Emilio?
2.
MOTHER
I don't know. Just waiting to
hear from your father.
Cat looks up at a picture on the wall of the family. Cat,
her mother, and her father. Her face carries a bit of
worry.
CLOSE ON
DON LUIS
I can't believe this.
Mid 40'S, a gentleman, calm, courteous, impeccably dressed.
PULL BACK TO
EXT. DON LUIS'S GARDEN - DAY
At a table, with bottle of liquor and two glasses, Don
Luis sits opposite...
FABIO
Why not?
Cat's father. Off to the side, Don Luis's right hand man,
MARCO, stands like any right hand, unobtrusive.
DON LUIS
Because I love you Fabio. Like a
brother.
FABIO
And I love you Don Luis. Like a
brother.
He turns to Marco.
DON LUIS
Can you believe this guy Marco?
We started when we were little...how
old were we Fabio?
FABIO
Ten.
DON LUIS
Ten year old bastards stealing
apples from the carts in the market.
After all we've been through.
And now we're on top, he wants to
leave...
FABIO
Luis, I'm going to be honest with
you. You remember I had that
operation?
3.
DON LUIS
That was last year.
FABIO
Since then, I'm not a hundred
percent. And you can't do this
thing if you're not a hundred
percent. I'm tired.
DON LUIS
So you'll take a rest.
FABIO
You know how many times we should
have been dead?
DON LUIS
I don't even want to count.
FABIO
Neither do I. But you gotta think.
How lucky we are to still be alive.
DON LUIS
Yeah. That's right. We're alive.
And what about the future of this
thing we built?
FABIO
It's yours. It's not my thing any
more.
DON LUIS
I'm not going to talk you out of
it, am I cabron?
FABIO
I'll always be there for you Luis.
Just pick up the phone, I'm there.
DON LUIS
I'm gonna hold you to that. You
bastard.
(EMOTIONAL)
I'm going to miss you.
FABIO
And I'm going to miss you.
DON LUIS
OK. Enough of this sentimental
bullshit. Next we'll be crying
like two old women. Come on! One
last drink, huh?
He pours the liquor into the glasses.
DON LUIS
To the future.
4.
They tap glasses.
FABIO
Bueno.
They shoot the liquor down. Fabio rises.
DON LUIS
So. Business is all clear?
FABIO
All clear.
He hands Don Luis a computer disc.
FABIO
It's all here.
DON LUIS
No other copies?
FABIO
You even have to ask?
DON LUIS
Hey.
He shrugs. Opens his arms. The two men embrace. Close
as brothers.
FABIO
Adios Marco. Make sure he doesn't
get in too much trouble.
MARCO
Adios Don Fabio. I'll do my best.
And with that, Fabio exits the garden. Don Luis watches
him, sad to see his friend go. Sighs deeply, pours himself
a whiskey, downs it, turns to Marco.
DON LUIS
Kill this motherfucker.
INT. CAR - DAY
Two men, holding automatics in their laps sit in the back,
the driver in the front. They see Fabio very contained,
calm, walking towards them. The driver turns the engine
on. Fabio slips into the passenger seat. The car takes
off.
Fabio explodes. Smashes the dashboard. Over and over.
FABIO
This fucker! The motherfucker!
He keeps banging the dash.
5.
DRIVER
Not OK Boss?
FABIO
This bastard thinks I'm an idiot.
Playing it all mellow and shit.
If he would have yelled and screamed
and threatened to kill my whole
family, it would have been OK. We
have an hour to get out of here.
At most.
Off the nervous looks of the guys in the car...
EXT. CAT'S HOME - DAY
Fabio's car comes to a screeching halt. Fabio exits to
three other gunmen, nervous, on edge. The gunmen from the
car take defensive positions. Fabio runs up the stairs.
INT. CAT'S HOME - DAY
Cat is still at the table drawing, when she hears the
screeching of tires, the fast footsteps outside. She senses
a storm coming. Fabio bursts in. His wife sees his tension
filled face.
MOTHER
Fabio?
FABIO
We've got ten minutes.
MOTHER
(PANICKED)
Cataleya, go pack!
CAT
I'm packed Mama.
Cat is strangely calm, just sits at the table. Watches as
Fabio takes the family picture off the wall, pries the
frame back, extracts a small chip hidden inside the frame,
comes over to Cat.
FABIO
Listen to me my darling. Just in
case of anything. This...
He holds the chip up.
FABIO
This is your passport. Do you
understand?
She nods. He places the chip in her hand, takes a card
out of his pocket.
6.
FABIO
You find yourself alone? You go
to the address on this card. Show
it to the man at the front gate.
CAT
I don't understand papa.
FABIO
You don't have to understand. You
just have to listen, and remember.
As Cat looks at the chip.
EXT. CAT'S HOME - DAY
As Fabio's men keep a sharp lookout, two SUV's come rolling
down the street. Their fingers work the triggers of their
weapons. The two SUV's roll up. The blacked out windows
roll down.
MAN
(polite. smiling)
Hola. We want to see Don Fabio.
BODYGUARD
He's not home.
MAN
You mind if we wait?
BODYGUARD
Your time.
INT. CAT'S HOME - DAY
Fabio writes on top of Cat's drawing, rips the page off,
folds it, puts it in her pocket, removes a medal from around
his neck, drapes it over hers.
FABIO
And this will keep you safe.
Cat looks down at the medal.
CLOSE ON THE MEDAL
An imprint of a flower.
FABIO
The Cataleya orchid. It comes
from one place on Earth. Our place.
My mother, your grandmother, used
to grow them. Every morning I
would wake up to the sight of them.
The smell of them. That's why I
named you after them. It reminds
us of who we are.
7.
He kisses her on the forehead. His wife appears at the
doorway with two suitcases.
MOTHER
I'm ready.
EXT. CAT'S HOME - DAY
The man in the SUV is on the phone.
MAN
They said he's not home yet.
He listens.
MAN
OK. OK.
He hangs up. Puts his phone back in his pocket. Walks up
to Fabio's men.
MAN
Change of plans.
He pulls out his gun, shoots them point blank.
INT. CAT'S HOME - DAY
As they are exiting the house through a rear door, the
shots ring out. They see another black SUV rushing up the
street.
FABIO
Back!
He pushes his family back inside. Fabio runs to the window.
Sees his men on the losing end of a gun battle. As the
men fall, and others run up the stairs firing as they
retreat toward the front door...
FABIO
Too late. Get ready!
The Mother drops the suitcases and runs to the rear room.
Fabio comes over to the unnaturally calm Cat.
FABIO
I love you very much.
CAT
I love you too Papa.
CLOSE ON FABIO'S HAND
Reaches under the table where Cat is sitting, takes a gun
strapped there. Next to the gun is a big knife.
And then footsteps, coming fast outside, draw his attention.
8.
FABIO
Alicia!
His wife runs into the room toting two big assed assault
rifles. She tosses one to Fabio. Both of them take up
shooter's positions facing the door.
ANGLE ON CAT
Sitting at the table, very still. Watching.
ANGLE ON HER MOTHER AND FATHER
Facing the front door, hands gripping their assault rifles,
sweat dripping down their faces, chests heaving, waiting,
waiting, to blow anyone who comes through the door to
kingdom come.
But they never get the chance because...
BBBBRRRRAAAAKKKKKK!!!!!!!!
Machine gun fire shatters the windows on both sides of the
room, tearing into their bodies before they even get one
shot off. Tearing the orchid plants there to shred.
Cat watches in mute disbelief, shocked, as her parents
bodies are riddled with heavy caliber rounds making them
twitch and dance like marionettes on wires. Their blood
splattering across the room, across her.
And then...
Silence. Silence so complete it is deafening in it's
absence of any sound. Cat just sits in her chair.
And then the door bursts open and four gunmen storm into
the room, their assault weapons trained on the only living
thing in the room.
Cat. Marco enters.
MARCO
You in the kitchen. You, the
bedroom. You, the back.
The gunmen scatter. Marco has his inquisitive eye on Cat,
who does not drop her eyes, impossible to read.
One of the GUNMAN strides over to Cat, jams a gun to her
head. Cat does not move a muscle. Does not blink.
ANGLE ON MARCO
Examines the frame Fabio dug the chip out of.
ANGLE ON THE GUNMAN WITH THE GUN TO CAT'S HEAD
He chambers a round, is about to pull the trigger...
9.
MARCO
Hey! What are you doing?
As the other gunmen begin to tear the house apart, looking
for something, Marco strides over to Cat. The frame in
his hand.
GUNMAN
Don Luis said kill everyone.
MARCO
He also said no names.
GUNMAN
She won't remember.
He is about to pull the trigger.
MARCO
HEY!
The gunman stops.
MARCO
She's a kid.
GUNMAN
So what?
MARCO
What do you mean so what? You
take a kid, teach them, they have
value.
The gunman takes his gun, lifts Cat's lip, looks at her
teeth.
GUNMAN
I couldn't even get ten bucks for
her in the street.
The gunman is about to pull the trigger again.
MARCO
Are you stupid or what? Here.
Marco hands him some cash.
MARCO
Here's twenty asshole. Go do your
job.
Scowling, the gunman joins the others in ripping the house
apart, looking for something.
Marco calmly goes to the fridge, takes out two bottles of
water, cracks the caps, sets one down on front of Cat as
he sits opposite her. Her hands are in her lap.
10.
MARCO
(SOFTLY)
Remember me Cataleya?
Cat shakes her head no.
MARCO
I was at your confirmation. My
name is Marco, and I was a very
good friend of your father. I see
he gave you his medal.
Alluding to the medal around her neck.
MARCO
The Cataleya orchid. His symbol.
Your name. That's good. This way
you will always remember him.
(BEAT)
I know this is a terrible thing
for you to have seen.
All the while his men are searching, frisking the bodies
of the dead, even tearing the heels off their shoes.
MARCO
Some things are too complicated
for a kid to understand. This is
one of them. But I am going to
try explain it and make it very
simple for you. So you understand.
Now, you know who Don Luis is?
Cat responds, shakes her head yes. Her hand slips
imperceptibly under the table.
CLOSE ON HER HAND
Touches the handle of the knife taped there.
MARCO
Of course you do. He was your
father's best friend since they're
kids. He's like an Uncle to you.
You know he has always been good
to your family, don't you?
Again Cat shakes her head.
MARCO
This house, the food you eat, the
clothes you wear. Even your school
fees. All this comes from Don
Luis. You know that?
Again Cat shakes her head.
11.
MARCO
But when someone is good to you
and you are not good to them back,
then bad things happen. Things
like...
He alludes to the riddled bodies of her dead parents.
MARCO
This.
Cat looks from the bodies and back to Marco, no emotion in
her eyes.
MARCO
I know you are a smart girl. You
do well in school. So I know this
is not too complicated for you to
understand. Am I right?
Cat nods.
MARCO
Good. Now, your father had
something that belonged to Don
Luis. A little thing. No bigger
than...
He holds up his thumbnail.
MARCO
This. Maybe it was in this.
He holds up the frame, shows where the chip was dug out of
the wood.
MARCO
Do you know what I am talking about?
Cat nods.
CLOSE ON CAT'S HAND
Gripping the knife handle.
MARCO
Excellent. Do you know where it
is?
Cat nods.
MARCO
Well, if you give it to me, Don
Luis will be very grateful. And
very generous. He will make sure
that you are clothed, fed, and
sent to the very best school. You
will have everything you want.
(MORE)
12.
MARCO (CONT'D)
But if you don't give it to him,
he will be very unhappy. And you
see what happens when he is not
happy, yes?
Cat nods yes.
MARCO
So why don't you just give that
little thing which belongs to him.
Will you do that?
Cat hesitates for a moment, and then removes one hand from
underneath the table, her fist closed tight. Marco smiles,
kindly. He holds out his hand.
MARCO
You are a smart girl.
Marco opens his hand.
MARCO
And in this life, smart girls get
everything they want. What do you
want Cat?
And just as she is about to open her hand...
CLOSE ON HER OTHER HAND
Under the table, gripping the handle of the knife taped
there.
MARCO
Just tell me sweetheart...what do
you want?
In a flash, the knife is whipped out and buried into Marco's
unsuspecting, open palm. Driven with such force, the knife
pierces through the back of his hand, and sticks into the
table beneath; pinning his hand. Marco wants to scream
but there is so much pain, nothing escapes his throat.
CAT
(in his ear)
To kill Don Luis!
MARCO
AAARRRGGGHHHH!!!!!
The men searching look up, and before they can react, Cat
races past them.
MARCO
Get her!
TRACK WITH CAT
13.
As she runs through the rooms of the house, sprints to the
bathroom where one foot hits the toilet, springing her
onto the ledge of a very small window. As she looks back,
she sees the gunmen in hot pursuit. And she jumps, head
first. Barely squeezing her small frame through the tiny
window.
And she drops...
Six feet down, onto a ledge, that is just beneath the
window. She flattens against the wall, holding onto the
medal of her father.
ON THE BATHROOM
One of the gunman comes to the window, cannot fit through,
looks out, does not see anybody across, then hears something
beneath him, looks down, sees the tip of a shoe below.
Puts his gun out the window, points it down, and....
BBBBRRRRAAAAKKKKKKK!!!!!!
Lets loose with a barrage from his weapon.
ON CAT
She watches as the bullets split the cement all around her
feet. Coming inches from ripping into them. And then the
barrage stops.
ON THE GUNMAN
His clip runs out. And as he fumbles to slam another one
in...
ON CAT
She hears the pause. Looks out over the sprawl of houses
that stretch up and down the steep hillsides of the favela.
She looks down at her open palm at the small chip her father
gave her. Pops the chip in her mouth, swallows, leaps
over the small divide between her house and the next roof,
and takes off running.
ON THE GUNMAN
Gets the clip to fit, sees Cat heading off across the roof,
out in the open, exposed, vulnerable. He lifts his gun to
shoot, when the gun muzzle is slammed up, peppers the
ceiling with bullets. The gunman turns to Marco, holding
his bloody rag wrapped hand.
MARCO
We need her alive!
EXT. FAVELA - DAY
Cat leaps from one rooftop to another, shinnies down a
drain pipe onto another roof.
14.
ANGLE ON THE GUNMEN
Jumping down from the window of Cat's home, start to sprint
across the roof in hot pursuit.
ON CAT
She drops down to another roof, this one filled with a
vegetable patch, where an old man is gardening.
EXT. FAVELA - DAY
Marco exits Cat's house, wrapping his bloody hand tightly
with a piece of his shirt.
MARCO
Go! Go!
He orders four more gunmen who have just zoomed up on
motorcycles. The souped up rice rockets take off in four
different directions.
ON CAT
As she comes off the last rooftop, down into a small alley.
She sprints across to a small door. She kicks at the door,
which gives way and enters...
AN OPEN COURTYARD
Where a half dozen women are doing laundry by an open tap.
They look up to the sight of this little girl in the blood
splattered school uniform, do not say a word. And neither
does Cat. She just runs through to a small gate on the
far side of the courtyard, opens it, and disappears. One
of the women casually hangs one of her wet sheets over the
gate, hiding it.
ON THE GUNMEN
They crash through the vegetable garden. The old man deftly
kicks a rake leaning against the wall. It falls in between
the rows of tomato vines.
When the gunmen sprint through, the first one trips over
the rake, goes crashing through the vines, which causes
the two men behind him to also trip and fall. The fourth
man hurdles his fallen cohorts, bounds over the roof.
And the fifth man, looks at the old man. Knows what he
has done. Shoots him dead before jumping off the roof.
ON CAT
She races down a steep hill in the crowded favela streets.
ON THE GUNMEN
15.
They enter the laundry yard. The women don't even look
up. The gunmen look around, just see laundry hanging from
the fence, do not see the hidden door. Race back out.
ON CAT
She runs down a steep alley, filled with people sitting
outside their homes, chatting, playing dominoes.
At the end of the alley, two motorcycles appear. The riders
see Cat, as she sees them. They turn their bikes into the
alley...
VRROOOM!
And bear down on Cat.
Cat sprints back up the hill. She goes to escape into one
of the open doors, but she finds that one after another
the doors have closed shut, the people fled inside.
The bikes eat up the hill. Cat's legs are no match for
them. It seems she will be caught any second. She ducks
down a street where laundry is hung on a concealed metal
pipe running the length of the alley. As Cat ducks through
the sheets the gunmen gun their bikes right towards her,
tear through the sheets...
AND THE CONCEALED METAL PIPE CATCHES THEM ACROSS THEIR
THROATS.
ON CAT
She looks back, to the dead gunmen, disappears over the
hill.
AND JUST AS SHE DOES...
Marco, in an open top jeep, with three of his gunmen ON
BOARD, comes rolling up the road. He sees Cat.
MARCO
There!
The jeep screeches around. Cat dashes down an alley.
ON CAT
As she runs up the alley with it's open sewers running on
either side.
ON MARCO
The alley is too narrow for the jeep. The men spill out,
spring up the alley.
MARCO
Alive!
16.
ON CAT
She runs up the alley, then ducks down another one. She
comes to a ladder that leads up a fence, begins to climb.
ON THE GUNMEN
Running up the alley, turning into the next one. Where
they see the ladder. One of the gunmen pulls out his cell
phone.
ON MARCO
In the jeep, scouting as it rolls along.
ON CAT
She is running for all she is worth, out of breath, scared.
ANGLE ON
More thugs on bikes, on foot, in cars. They are everywhere.
ON CAT
She is leaning against a wall on a rooftop, gulping air,
when she hears the roar of engines. Looks over the side
of the building to see dozens of gunmen flooding the area.
ON GUNMEN
Climbing the ladder.
ON CAT
Hearing them coming.
ON GUNMEN
Surrounding a building. Throwing grappling hooks onto the
roof ledge.
ON CAT
Seeing the grappling hooks claw onto the roof edge.
ON GUNMEN
Cresting the roof from the ladder.
ON GUNMEN
Rappelling up the side of the building on the grappling
ropes.
ON GUNMEN
Flooding onto the roof from both sides. Coming to the
spot where Cat was only moments before. To find no Cat.
17.
One of the gunmen takes out his cell. Dials.
ON MARCO
On the phone.
MARCO
North! Go North! We're cutting
off the southern streets!
Marco slams his phone shut. Heads for his car.
ON GUNMEN
GUNMAN
North!
The gunmen clear the roof. As the last one leaves, he
takes one last suspicious sweep of the roof, cannot figure
where this wisp of a girl went to. His eyes briefly focus
on the chimney...
GUNMAN
Let's go.
He clambers over the side of the roof.
THE CAMERA STAYS FOCUSED ON THE CHIMNEY.
INT. CHIMNEY - DAY
Cat, holding her breath, listening keenly to the sound of
the men departing, is wedged into the chimney, her hands
and feet clinging like a lizard to the walls on either
side.
EXT. STREET - DAY
Cat comes over the top of a hill, the soot of the chimney,
mingled with the blood of her parents, staining her dress.
The doors and windows all along the street are shuttered
tight. Her eyes search the curb as she makes her way down
the street. When she hears the sound of a vehicle. She
looks up to a jeep turning the corner.
REVERSE ON MARCO
In the windshield of the jeep, staring at her.
MARCO
We got her! Close the net!
ON CAT
She sees Marco. She pauses for a moment, and then does
something that stuns even Marco. She starts to run right
towards the jeep!
ON MARCO
18.
A bit stunned.
MARCO
What is she doing?
ON CAT
She keeps sprinting toward the jeep. Another jeep appears
over the hill behind her. Starts to come at her.
ON MARCO
As his jeep speeds right for her.
ON CAT
As she runs, her eyes go to the right, and it becomes
apparent she knows exactly what she is doing. She has a
plan. And she executes it. Suddenly, she leaps for the
curb and...
A SEWER GRATE.
ON MARCO
Sees Cat dive to the curb.
MARCO
No!
ON CAT
As she wriggles her skinny little body down the grate,
with barely enough room to squeeze in. But in she does
squeeze.
ON MARCO
In total disbelief, watching her disappear down the narrow
slit in the curb.
Both jeeps pull up. The men jump out. Marco flattens to
the street, peers into the grate, sees Cat staring up at
him.
Marco takes his gun out. Jams it in the grate...
BAMBAMBAMBAMBAM!!!!
Empties his clip into the dark. When he runs out of ammo,
he peers down again.
Cat is gone. The gunmen run to the next sewer grate fire
into that one. Marco looks down, no Cat.
MARCO
Get down there!
The gunmen rip the grate out, jump down the hole.
19.
INT. SEWERS - DAY
The gunmen, following the beams of their flashlights, go
tramping through the muck of the sewers, trying to find
Cat. The only living things they find are rats, scurrying
across their feet.
GUNMAN
(ON PHONE)
We lost her!
ON MARCO
MARCO
FUCK! FUCK!
He kicks every car in the street in frustration.
INT. SEWERS - DAY
The gunmen wait in the sewer, waiting.
MARCO V.O.
Come back out.
The gunmen retreat back the way they came. They do not
see someone watching them go.
ANGLE ON
A small crevice in the sewer wall. Cat has squeezed herself
into the crack, almost invisible.
EXT. STREET - SUNSET
Cars and trucks rumble along a busy thoroughfare.
CLOSE ON A SEWER GRATE CUT INTO THE SIDE OF THE CURB
A hand emerges. And then, Cat pulls herself out, into the
street.
PULL BACK TO CAT RISING
She stands at the edge of the busy thoroughfare, and looks
around. She is in the heart of the city. Where tall office
buildings, compete with graceful, classical mansions. In
the distance, she sees the hillsides, covered with the
twinkling lights of the favelas, two miles, and a world
away.
EXT. AMERICAN EMBASSY - NIGHT
Two Marines stand guard. Looking straight ahead.
VOICE
Excuse me...
20.
The Marine looks down to Cat. Bedraggled, covered in soot
and blood and shit. Holding out the card her father gave
her.
CLOSE ON THE FACE OF A MIDDLE AGED AMERICAN
PULL BACK TO
INT. EMBASSY OFFICE - NIGHT
The American looks at the card Cat gave to the Marine,
hands it to another American.
AMERICAN 1
And you say you have something for
us?
He turns to Cat, who nods yes.
AMERICAN 1
May I see it?
Cat takes a beat. Puts her fingers down her throat. And
throws up all over the man's desk.
AMERICAN 1
Oh jeez...
Cat reaches into the goop on the desk and comes up with
the chip. She hands it over to the man behind the desk,
who takes a handkerchief out and takes it from her,
gingerly. He looks at the chip, looks at Cat.
AMERICAN 1
(REPULSED)
Thank you.
CLOSE ON A COMPUTER SCREEN
Facts, figures, names, dates, a wealth of information
scrolls down.
PULL BACK TO THE TWO AMERICANS LOOKING AT EACH OTHER
AMERICAN 1
We have to record this.
Cat does not understand. The second American hits a button
on a remote.
ANGLE ON A HIDDEN CAMERA ROLLING
BACK ON
AMERICAN 1
Where did you get this?
CAT
My Papa.
21.
AMERICAN 1
And where is your Papa?
CAT
Dead.
AMERICAN 1
Did he tell you what this is?
CAT
Yes...my passport.
INT. AIRPLANE - DAY
Cat watches out the window as the plane's landing gear
drops and the city of Miami spreads out before her in all
it's shimmer and glistening glory.
VOICE
We are making our final approach
to Miami International airport.
Please fasten your seat belts.
She looks down at the medal around her neck. A tear forms
in her eye. Rolls down her cheek. Impossible to tell if
it is a tear of joy or sadness.
INT. JETWAY - DAY
Cat, with a plastic envelope holding her travel documents
around her neck, accompanied by an airline rep, walks down
the jetway toward the entrance to the airport, where a MAN
is standing. Looking directly at her.
All the passengers are filing to the left as they leave
the jetway, but as Cat and her escort approach the man...
MAN
Come with me.
He walks to the right.
INT. PRIVATE OFFICE - DAY
Cat stands in front of a rotund bureaucrat, with the man
who escorted her, handing over her passport.
BUREAUCRAT
She's the one?
MAN
She is indeed.
The Bureaucrat looks at her passport. As Cat glimpses
through the slatted window looking out over the Customs
floor, where all the other passengers are being processed
in long lines.
22.
BUREAUCRAT
You must have done something pretty
important to get the royal treatment
little lady.
Cat says nothing. He stamps her passport.
BUREAUCRAT
Welcome to America.
Cat looks at him, not sure if this is good news or bad
news.
ON THE MIAMI SKYLINE
INT. CAR - DAY
Cat looks out the window of the car at the skyline passing
by, silent, filled with wonder.
MAN
You like music?
Cat looks at him, doesn't respond. He turns the radio on.
A god awful C&W song comes on. Cat looks at him for a
moment, then reaches over, turns the radio off. Goes back
to looking out the window.
EXT. BOARDING SCHOOL - EVENING
The car passes a gate with a sign: MISS PORTERS SCHOOL FOR
GIRLS.
VOICE
It's been our mission statement
since we first opened our doors in
nineteen twenty three...
INT. HEADMISTRESSES OFFICE - EVENING
HEADMISSTRESS
To provide a safe, healthy nurturing
environment where young women can
get the education they will need
to meet the challenges of that
amazing adventure called life.
How does that sound to you, my
dear?
Cat does not respond, she just stares out the window.
MAN
It's been a long day for her.
Here's the check for the year's
tuition.
He hands over a check.
23.
MAN
And the five hundred dollars
allowance for the first six months.
He hands over a wad of bills.
HEADMISSTRESS
Which we keep right here...
She places the money in an envelope with Cat's name on it,
and puts the envelope into a drawer.
HEADMISSTRESS
And give you twenty a week for
incidentals.
She hands a twenty to Cat. Who takes it without saying a
word.
HEADMISSTRESS
What do we say darling?
CAT
Where do I sleep?
INT. DORMITORY - EVENING
Three dozen girls of all ages go about their business.
Some do homework on their beds, others do their hair, dance,
run around.
And suddenly, at the sound of a door opening, they all
stop and look in the same direction at Cat and the MONITOR
MONITOR
Girls, this is your new classmate.
Please welcome her and show her
the ropes.
(TO CAT)
Wake up is at seven. Sweet dreams.
She exits. All the girls stare at Cat. No one makes a
move. In the silence, you can hear a pin drop, until...
The biggest girl in the dorm, a head taller than everyone,
and twenty pounds heavier, with bully written all over her
face, saunters down the aisle right towards Cat. Her name
is...
SHERRI
I'm Sherri. And you are?
CAT
Very tired.
The girls all around twitter. Sherri looks back at them,
no good rising on her smirking face.
24.
SHERRI
Well, 'very tired', I'm sure you
want to lay down and rest your
little head?
CAT
I do.
SHERRI
There's your bed...
She points halfway down the aisle to an empty bed. Cat is
about to walk towards it, when Sherri puts a beefy hand in
her chest.
CAT
But it's gonna cost you.
(BEAT)
Twenty dollars.
Cat looks at Sherri. Looks at the other girls all hanging
on every word, waiting to see what jumps off.
Cat considers, then reaches into her jumper and extracts
the twenty dollars the headmisstress gave her. Hands it
over to Sherri.
SHERRI
A week. Peace has it's price,
y'know what I'm saying?
Cat says nothing, just stares at Sherri.
SHERRI
Are we clear on that?
CAT
Twenty dollars a week.
Sherri opens her sweatshirt to reveal a fanny pack. She
unzips it, puts Cat's twenty in with a wad of other
twenties.
SHERRI
We got a smart one!
The other girls hoot and whistle. Sherri removes her hand
from Cat's chest.
SHERRI
You can go now.
(BEAT)
In peace.
Cat still says nothing. She walks up the aisle past all
the other girls, who remain silent. It is only after Cat
has laid down on her bed, that the laughing and twittering
resumes.
25.
Cat stares at the ceiling, her hand reaches inside her
jumper, takes out the medal her father gave her. She holds
it close in her hand, just lays that way.
FADE TO
INT. DORMITORY - NIGHT
All the girls are asleep in their beds. Silence reigns,
except for the small cries and sighs of girls asleep.
CLOSE ON CAT
Her eyes still open, her hand clutching her father's medal.
She gets up.
INT. HALL - NIGHT
Cat makes her way down the hall. At the end of the Hall
is a door marked EXIT. But she is not looking at the exit
she is looking for something else. And she finds it. A
door marked: HEADMISTRESS.
Cat tries the door, it is locked. She takes her father's
medal from around her neck, and uses it to pop the lock.
Looking left and right to make sure the coast is clear,
she enters.
INT. HEADMISTRESSES OFFICE - NIGHT
Cat tries the drawer where the Headmistress locked her
money away. She looks around, takes a letter opener off
the desk, pops the drawer, extracts the envelope with her
name on it.
INT. HALL - NIGHT
Again Cat walks down the darkened hall, looking for another
door. Finds it marked: INFIRMARY.
INT. INFIRMARY - NIGHT
Cat walks along the cabinets containing the pharmaceuticals
until she finds what she is looking for. She smashes the
glass door, reaches in, extracts one bottle.
CLOSE ON SHERRI ASLEEP
PULL BACK TO
INT. DORMITORY - NIGHT
Cat, with four belts slung over her shoulder, the bottle
from the infirmary in one in one hand, a cloth in the other,
stands over the sleeping Sherri.
Cat pours the contents of the bottle out into the cloth.
Seals the bottle. Puts it down. Then takes the cloth and
places it over Sherri's sleeping face, ever so gently.
26.
FADE TO BLACK
EXT. HORIZON - SUNRISE
The sun comes up over the horizon, casts it's first rays
through the windows of...
INT. DORMITORY - MORNING
The sun hits the faces of the girls. As they wake, they
find two very interesting things.
1. A twenty dollar bill on each bed.
2. Sherri fast asleep, her hands and feet tied to the post
of the bed with belts, her shirt pulled up, her money belt
gone. And the word THIEF written in magic marker across
her stomach. And the drawing of the Cataleya orchid.
CLOSE ON
A kind faced Hispanic woman, a...
TICKET AGENT
Hola chica, where are we wanting
to go today?
PULL BACK TO
INT. BUS STATION - DAY
Cat, barely up to the window, hands the ticket agent the
piece of paper her father gave her. The woman looks at
the paper.
TICKET AGENT
Chicago is not next door, you know.
CAT
How much?
Cat holds up the envelope from the headmistresses office.
MONTAGE DAY/NIGHT
The landscape of America passes by through the window of a
bus. Clutching a new Lara Croft comic, nibbling on a big
Mac and fries out of a bag, Cat sees...
The sugar cane harvests in the Florida wetlands.
Two big fat black women sitting on the porch of a shack
shelling peas in the deep South.
The Steel Mills of Pittsburgh fire up.
The endless expanse of corn and wheat stretching from
horizon to horizon across Ohio.
27.
The giant milk barns of Indiana with their hundreds of
cows.
And finally, sees the great city of Chicago looming in the
distance as the bus hurls down the highway towards it.
EXT. CHICAGO BUS TERMINAL - NIGHT
As seedy as any bus terminal. People bustling, people
hustling. A veritable cauldron of humanity bubbling with
the good, the bad, the ugly. The predators and the prey.
Cat exits into this stew of life, looks around, checks
things out. As she is checked out in turn by some pretty
sleazy types.
Cat ignores the eyes following her, walks up to a dwarf
hawking newspapers. Hands him her slip of paper. He points
her in a direction.
MONTAGE
Cat walks across the neighborhoods of Chicago.
Sees the signs in Polish change into signs in Italian, in
Spanish, Chinese, Ethiopian.
She hands her paper to an Ethiopian cabbie. He points her
onward.
She walks past bars where black gangbangers watch her pass.
She hands one her paper, he points her on.
She walks past massive churches, synagogues, mosques.
She walks past the stately houses of the Gold Coast, along
the deserted stretches of the glam shops on Michigan Avenue,
over the bridges...
Until she comes to...
EXT. ROUGH NEIGHBORHOOD - NIGHT
The denizens of this world look every bit as dangerous as
they are. Gangbangers, con artists, trouble waiting to
happen at every turn.
ANGLE ON CAT
Cat, walking down the block as the eyes of everyone she
passes follow her. She stops on a street corner. Seems
lost. Opposite her a group of men, hanging outside a bar
see her. The leader of the group calls her over.
MAN
Hey kid. You know what time it
is?
Cat shakes her head.
28.
MAN
It's late, and this is not the
kind of place a kid should be
hanging out. What are you doing
here?
Cat hands him her paper. He looks at her, suspicious.
MAN
Who are you?
CAT
Cataleya.
The man takes a moment...
MAN
Wait here.
He disappears up a small alley into the darkness beyond.
Cat, not knowing what to do, sits down on the curb, watches
street life. She sees...
Hookers soliciting men in passing cars.
Cops sitting in a patrol car, bored, blase.
Men playing craps against a wall.
Some very discreet dope deals, more sleight of hand than
anything else.
CLOSE ON A FIST COLLIDING WITH A FACE
A very bloodied face. Once, twice, three times.
PULL BACK TO
INT. ROOM - NIGHT
EMILIO RESTREPO, 35, a hard case, fuck with me at your own
risk written all over his face, is about to deliver another
crushing blow to a poor soul strapped to a chair when...
MAN
Emilio.
The beating stops, Emilio turns.
MAN
There's a girl looking for you.
EMILIO
I'm not interested in a girl right
now.
He turns back to the task at hand. Cocks his fist.
29.
MAN
It's not that sort of thing. She's
eight.
Again, Emilio stops. The man hands her Cat's paper.
MAN
Says her name's Cataleya.
This focuses Emilio's attention.
EXT. STREET - NIGHT
Cat is sitting watching the street, when a pair of legs
appear in front of her. Cat looks up to the man who
disappeared.
MAN
Come with me.
He turns abruptly, heads back up the alley.
EXT. ALLEY - NIGHT
Cat follows the man through a darkened alley. At intervals,
on either side, dangerous looking men, armed to the teeth,
stand in the shadows. The man opens a door, beckons Cat
to enter.
INT. WAREHOUSE - NIGHT
Cat follows the man as he moves down a long hallway. Cat
looks into the rooms on either side of the hall as she
walks along.
In one room, opening out to a trucking bay, TV sets are
being unloaded into a big warehouse full of stolen
merchandise.
In another room, guns are being serviced. Lots of guns,
hand guns, assault rifles. Big artillery.
MAN
Hey!
Cat's attention is drawn away from the room with the guns,
to the Man holding a door open for her at the very end of
the hall.
INT. OFFICE - NIGHT
Cat enters an office with three women working on computers.
Looks like any other business office. At the sight of
Cat, the women get up and exit, closing the door behind
them. Cat is left alone.
She looks around the office, when the sound of a door
opening behind her. She turns to Emilio. Who approaches
her cautiously, scrutinizing her.
30.
EMILIO
Cataleya?
Now it is Cat who hesitates.
CAT
Uncle Emilio?
Emilio covers his mouth, seems rocked.
EMILIO
Madonna! I thought you were dead!
He crosses himself.
EMILIO
I thought you were all...
Cat stands stock still. Emilio takes her up in his arms,
lifts her, crushes her to his chest. Cat remains suspended,
emotionless for a moment. And then, for the first time
emotion, real emotion, washes across her face. Her lower
lip begins to tremble. Tears well up in her eyes. She
bursts into tears.
EMILIO
You're safe now.
All the emotion, the fear, the anger that she has kept
locked away deep inside, rushes to the surface in one
massive wave.
EMILIO
You're safe.
EXT. CHICAGO - MORNING
The sun peeks over the horizon, spreading the fog infused
light coming off Lake Michigan across the sleeping city as
it ascends in the sky.
CLOSE ON
One beam of sunlight slips through the narrow crack between
a window and the shade covering it.
CLOSE ON
The ray of sunlight washes across Cat's sleeping face.
She wakes slowly. Her eyes open after a long sleep. For
a moment she does not remember where she is.
PULL BACK TO
INT. BEDROOM - MORNING
Cat looks around the clean, orderly bedroom as she gathers
her thoughts. Her eyes move around the room. It is a
boy's room.
31.
With models of soldiers, futuristic warriors, a big poster
of Al Pacino as Tony Montana in SCARFACE. A poster with
every imaginable type of assault rifle.
INT. KITCHEN - MORNING
Emilio sits reading the financial section of the morning
paper over what seems to be the remains of a very hearty
breakfast. An elderly woman, grandmotherly, fills his
coffee cup.
EMILIO
Gracias mama.
A noise turns both of them to the doorway and Cat.
EMILIO
Good morning.
MAMA
Buenos diaz Cara. Come. Sit.
I'll make you some eggs.
Mama caresses her face, her eyes glisten with a
grandmother's love. Kisses her on the forehead, lovingly,
whispers into her ear.
MAMA
You have your mother's beautiful
eyes. Don't be scared. This is
your home.
Slowly, hesitantly, Cat makes her way across the kitchen
to the table, where she sits opposite Emilio, tentative.
EMILIO
When was the last time you slept?
CAT
I don't know. A long time ago.
EMILIO
Well good. A growing body needs
sleep. When I was your age I would
sleep half the day. I don't know
if it helped with the growing, but
I was well rested for whatever
came after.
CAT
Whose room is that?
EMILIO
My son. Your cousin.
CAT
Where is he?
32.
EMILIO
He's dead.
His voice holds anger, not sadness.
CAT
Killed?
EMILIO
Yes.
CAT
By who?
EMILIO
No one who is still alive.
Mama comes over, puts a plate of eggs in front of her. As
she begins to wolf down the food. He holds up the page of
her drawing, the one her Father put his address on.
EMILIO
You are very talented. Is this
what you want to be? An artist?
CAT
I used to want to be like Lara. A
super agent.
Shoveling more food into her mouth.
EMILIO
Not anymore?
Chewing, Cat shakes her head.
EMILIO
And now?
CAT
(matter of fact)
I want to be a killer.
She keeps shoveling food in her mouth. Emilio looks up at
his mother, who crosses herself. Cat finishes the last
mouthful, looks up.
CAT
Can you help?
Emilio blinks once.
EMILIO
Sure.
EXT. STREET - DAY
Emilio walks Cat down the street. He is carrying a kids
book bag.
33.
EMILIO
The good news is your father bought
you your life with what he gave
you. The bad news is Don Luis was
playing both sides, and has
disappeared. You tore down
everything he spent years building
up with that little chip. It is
something he will not forget.
There is a law in this thing of
ours. If someone does you, the
revenge goes all the way down the
line. Women, children,
Grandmothers, dogs, cats. No
exceptions.
CAT
Are you trying to scare me?
EMILIO
I am trying to educate you.
CLOSE ON MONEY BEING COUNTED
PULL BACK TO
INT. PRINCIPAL'S OFFICE - DAY
The PRINCIPAL watches Emilio count the money out.
PRINCIPAL
Normally we don't accept students
in the middle of the academic year,
but under the circumstances, losing
her parents in that tragic car
accident...
Cat looks out the window, saying nothing.
PRINCIPAL
Here.
He hands a list over to Cat. Who keeps looking out the
window.
PRINCIPAL
These are the school supplies you'll
need.
Emilio takes them.
EMILIO
She's still in a bit of shock.
PRINCIPAL
Of course. See you Monday Cataleya.
Such a pretty name.
She keeps looking out the window.
34.
EXT. SCHOOL - DAY
As Emilio walks along, with Cataleya, reading the list of
supplies.
EMILIO
We'll get all this stuff, then go
over to this little place I know
down on Maxwell street for some of
these hot dogs the Polish people
make here.
He turns left at the cross street...
EMILIO
You like hot dogs?
He looks down, sees no Cat. Looks back to see Cat walking
in the opposite direction.
EMILIO
Hey!
Cat keeps going.
EMILIO
Hey!
He hurries, catches up with her.
EMILIO
Where you going?
CAT
I've already been to school. I
told you what I want to be. You
don't want to help me, fine. I'll
do it myself.
She walks off. Emilio grabs her.
EMILIO
Chica. Any idiot can be a killer.
Look!
Emilio draws a .357 magnum pistol from his shoulder holster,
and empties the entire clip into the front of a car coming
down the street. The car careens off the road, smashes a
fire hydrant, crashes through a plate glass window of a
shop across the street. The water from the hydrant shoot
twenty feet in the air. Emilio holsters his gun.
EMILIO
You want me to teach you to be a
killer? No problema. I'll teach
you. But you'll be dead in five
years.
(MORE)
35.
EMILIO (CONT'D)
If you want to be a killer, and
survive, you have to be a smart
one. You have to know things
besides how to pull a trigger.
You have to know how the world
works. How people think. You got
to learn to be psychological.
That I cannot teach you, unless
you learn the basics at school.
Got it?
Cat glares at him.
EMILIO
Now what's it going to be?
He holds out the gun in one hand, and the schoolbag in the
other. Cat hesitates for a moment. Takes the schoolbag
from Emilio. Then takes his hand, and they walk off
together as police sirens announce the arrival of cruisers,
and people pour out of the school and the surrounding
stores. As they put distance between the chaos and
themselves.
CAT
But I still want to be a killer.
EMILIO
(SIGHING)
Cabron!
FADE TO BLACK
12 YEARS LATER
EXT. FRESNO - NIGHT
A sleepy California town on the way to nowhere.
PAN DOWN TO
EXT. SIDE STREET - NIGHT
A police cruiser sits on a quiet street, right off a wider
avenue. Main street. There is no traffic either way.
The nose of the cop car juts out just off the street.
INT. POLICE CRUISER - NIGHT
Two cops are sitting, peeling back the wrappers on their
burgers.
COP 1
So then I suggest, y'know, we buy
some things to spice it up a bit.
COP 2
Define things.
36.
As they nibble and talk, they pay scant attention to a set
of headlights coming up the broad avenue.
COP 1
A garter belt, some of those
stockings that come up the
thigh...it's fourteen years. Know
what I mean?
The lights come closer...
COP 2
Yeah. No matter how much you like
steak, sometime a lamb chop is not
a bad thing.
The lights shine right into the car.
COP 1
Exactly.
Only then, when the lights are directly on them, do the
cops turn to see a car heading right toward their front
end.
COP 1
What the...
CRASH!!!!
The front end of the cop car gets sheared right off by the
impact. Glass shatters, metal crunches, airbags explode!
ANGLE ON
The other car. The drivers door opens. A vodka bottle
falls out, clinks to the sidewalk. And a moment later,
two legs emerge from the car. Two very long, very shapely
legs. Legs that never end. In very high heels, and a
very short mini skirt. And the face on top of it, framed
by a mane of wild hair, is drop dead think-you-have-died-
and-gone-to-heaven gorgeous. The whole package reads
SUPERMODEL. And by the way she is weaving when she stands,
and the bottle at her feet, the read is; very drunk
supermodel. Who looks at the crumpled police cruiser,
looks into the windshield of the cruiser at the stunned
cops, and says in the most sweetly drunk voice...
SUPERMODEL
Oops...
The cops can't believe this. They regain their wits and
bolt out of the car.
COP 1
That's all you have to say? Oops?
And, ever so sensually, she starts to laugh. The cops
look at each other, perplexed. And she keeps laughing.
37.
The cops get pissed.
COP 1
Funny?
...and she keeps laughing.
COP 1
Wanna laugh you crazy bitch? I'll
give you something to laugh about!
And even when they slam her to the hood of the car, jam
her hands behind her back, and slap the cuffs on, she keeps
laughing, and laughing.
CLOSE ON HER CHEST
WHERE A VERY FAMILIAR MEDALLION ON A CHAIN HANGS BETWEEN
HER EXPOSED CLEAVAGE. A MEDALLION ENGRAVED WITH THE
CATALEYA ORCHID.
IT IS CAT, ALL GROWN UP.
INT. POLICE STATION - NIGHT
A quiet night in the small station. Cat stands in front
of the booking desk, so drunk the two cops have to hold
her up. A surveillance camera over the desk innocuously
records everything. Cat keeps her head down, her face,
obscured by her mane of hair.
As the SERGEANT goes through her purse, finds...
SERGEANT
No license, no registration. No
ID except a library card. Well
Ms...
He reads off the library card.
SERGEANT
Valarie Phillips in addition to
all that...you're being charged
here with DUI, destruction of police
property, driving the wrong way on
a two way street...
CAT
Is that it?
SERGEANT
Unless you can think of anything
else you should be charged with.
CAT
(TIPSY)
Wearing no panties?
38.
The Sergeant and the arresting cops holding her up give
her a long look, as do any of the other cops in ear shot,
whose eyes go to her very short skirt.
SERGEANT
That's not a crime.
CAT
Thank goodness.
And she teeters over, passes out cold right on the
Sergeant's desk.
SERGEANT
Take her in the back, lock her up,
put a cup of coffee in with her.
Let her sleep it off, we'll book
her tomorrow.
The two cops who booked her drag her out. As they do, the
Sergeant and the two other cops on duty lean over to try
and get a look up her very long legs and her very short
skirt.
EXT. POLICE STATION - NIGHT
Three black SUV's, with blacked out windows, come rolling
up to the station. The doors open and a dozen U.S. MARSHALS
jump out. Vigilant, forming a cordon around one of the
vehicles, out of which comes a hand cuffed, kevlar wearing
hard as nails MAFIA type. GENNARO RIZZO.
The Marshal's surround him, guns bristling, on the look
out for any danger, and hustle him towards the doors of
the police station.
INT. POLICE STATION - NIGHT
The station doors slam open. Marshal's barge in. The
HEAD MARSHAL approaches the surprised Sergeant on the desk,
flashes his credentials.
MARSHAL
US Marshal Warren. We have Gennaro
Rizzo here on an overnight.
SERGEANT
Who?
MARSHAL
Rizzo. The Mafia guy? On the way
to testify up in San Francisco
tomorrow? They didn't notify you?
SERGEANT
Hold on a second.
He rifles through some papers. Finds one.
39.
SERGEANT
Here we go. Says here you're not
expected until tomorrow.
MARSHAL
Never expect the expected Sergeant.
(to his men)
Secure this place.
INT. CELL BLOCK - NIGHT
The Marshals come down the cell block, checking everything
out. They pass Cat in her cell, passed out cold, her long
legs and short skirt slows their progress a bit. After a
long look, they move on.
INT. SECURE CELL - NIGHT
Rizzo is pushed into a cell. The door is slammed and
locked.
MARSHAL
One man here. Two more outside the
front door. Everyone else on the
perimeter, in teams of two.
He hands out thermos bottles.
MARSHAL
It's a caffeine kinda night fellas.
Eyes open.
INT. CELL BLOCK - NIGHT
A lone cop passes Cat's cell, doing the nightly rounds.
As soon as he is gone...
ON CAT
Cat's eyes snap open. She sits up, moves with the
efficiency and determination of someone who has not has a
drop of alcohol. She takes a spoon from the coffee cup
left for her, reaches into her mane of hair and extracts a
small pin. She inserts the pin into the keyhole of the
door, jiggles it. The door pops open.
Cat exits the cell, takes a broom leaning in the corner,
and keeping her eye on the camera above the door, she slides
along the wall, until she is just under the camera. She
uses the broom handle to tilt the camera up just a bit.
INT. SECURITY MONITORING ROOM - NIGHT
One lone cop sits in front of the various monitors. He
does not notice that one tilts slightly up, points toward
a blank wall.
40.
INT. CELL BLOCK - NIGHT
Cat, under the camera, unlocks the second door, slips out.
INT. HALL - NIGHT
Cat comes into the hall where several vending machines
lean against the wall. On the far side is a door marked:
ELECTRICAL. She is about to head for it, when she hears a
door open at the far end of the hall.
ANGLE ON THE DOOR
At the far end of the hall. A cop comes in, looks down
the hall. Where Cat was standing he sees only the vending
machines. He heads right for the machines. Puts coins in
the machine, waits for his food.
ANGLE ON THE SIDE OF THE MACHINE
Where Cat is pressed hard against the flat surface, inches
from the cop.
The sandwich falls, the cop retrieves it, moves off, exits
down the hall. Cat waits until she hears the door shut on
the far end of the wall. She crosses quickly to the door
across the way, enters.
CLOSE ON A UTILITY BOX PULLED OPEN
Revealing the electrical control panel for the station.
PULL BACK TO
INT. ELECTRICAL ROOM - NIGHT
Cat stands on a narrow shelf, undoes the last screws on a
vent in the ceiling with a screwdriver from the tool board
on one wall.
Cat drops down, opens the electrical control panel on the
wall, studies it for a moment, finds the switch she is
looking for, then turns to the wall of tools, plucks some
wire, a cutter, a spring.
Cat sets to work on a jury rigged mechanism with the items
at hand. When she is finished, she tugs at the waist band
of her mini skirt, and little by little she stretches a
thin dun colored leotard suit over her whole body. She
takes a small plastic vial, fills it with some water from
the tap, and sets it, just so, above the device she has
constructed.
The device is hooked to the switch she selected, a small
weight hangs from the bottom of it by a wire. She sets
the water container just so over the spoon from her cell.
The water begins to drip a drop at a time. She closes the
panel door, sets her digital watch. Hoists herself up to
the vent in the ceiling, and is gone.
41.
CLOSE ON THE JURY RIGGED DEVICE
Water dripping into the spoon a drop at a time.
INT. AIR DUCTS - NIGHT
Once inside the grate, Cat takes one of the buttons off
her blouse and presses the top of it. The button becomes
a pin light, which she clasps between her teeth, starts to
crawl on her stomach, pulling herself along by her elbows
and her wriggling hips and knees, the light still between
her teeth.
TRACK WITH CAT
As she moves through the maze of ducts. On the way, she
peers through the grates in each ceiling, down into one
cell after another, catching various views of inmates asleep
as she passes over them. Until she comes to a ventilation
fan blocking the way. The fan blades go round and round.
Cat looks at her watch, looks at the fan.
CLOSE ON THE ELECTRICAL PANEL
And Cat's jury rigged device. The water has almost filled
the spoon, one more drop, one more drop.
CLOSE ON CAT LOOKING AT HER WATCH
The digital counter goes from 4 to 3 to 2 to 1...
CLOSE ON
The last drop of water drips into the spoon, the spoon
tips, tugging on the wire, the wire trips the switch it is
connected to, the whole device comes apart, the separate
pieces fall to the floor.
INT. AIR DUCTS - NIGHT
The fan stops. The blades slow.
INT. POLICE STATION - NIGHT
The sergeant at the desk hears the ventilation system go
off.
SERGEANT
Hey Doyle!
He calls to one of the other cops on duty.
SERGEANT
Go take a look at the breaker on
the ventilation system, will ya?
Doyle moves off.
42.
INT. AIR DUCTS - NIGHT
Cat watches the blades of the vent fan slow. When they
have completely stopped she starts to move herself through
the very narrow space between the now stilled blades, feet
first.
INT. ELECTRICAL ROOM - NIGHT
Doyle enters the room, opens the electrical panel. The
spoon, the weight, the spring, and the wire, fall to the
floor. Doyle looks at them curiously for a moment.
INT. AIR DUCTS - NIGHT
Cat is half way through the fan blades.
INT. ELECTRICAL ROOM - NIGHT
Doyle looks at the switches, going down the printed list
on the door, trying to locate the right one.
INT. AIR DUCTS - NIGHT
Cat is almost through.
INT. ELECTRICAL ROOM - NIGHT
Doyle finds the switch that corresponds to the ventilation
system.
INT. AIR DUCTS - NIGHT
Cat's neck passes through the fan blades. Slow going.
INT. ELECTRICAL ROOM - NIGHT
Doyle hits the switch for the ventilation system.
INT. AIR DUCTS - NIGHT
Cat is just through, when the blades start moving, brush
against her forehead, as she makes it to the other side
with no time, and no room to spare.
INT. AIR DUCTS - NIGHT
Cat comes to a vent, looks down, begins to loosen the vent
screws.
INT. BATHROOM - NIGHT
Cat drops down into a bathroom. Looks at her watch. Sits
down, waiting.
INT. PROTECTIVE CUSTODY - NIGHT
Rizzo is asleep in his cell. The Marshal on duty finishes
his coffee. Looks at Rizzo.
43.
Then walks over to the door at the end of the wall. He
hits a buzzer on the wall.
INT. SECURITY MONITORING ROOM - NIGHT
The cop manning the bank of monitors, wakes up, sees the
Marshal in the monitor.
MARSHAL
(OVER INTERCOM)
Gotta pee.
The monitor hits a button.
INT. PROTECTIVE CUSTODY - NIGHT
The door buzzes open. The Marshal passes through.
INT. HALL - NIGHT
The Marshal pushes the bathroom door open. Enters.
INT. BATHROOM - NIGHT
The Marshal finishes peeing, zips himself up. Turns.
Right into a devastating reverse wheel kick.
INT. SECURITY MONITORING ROOM - NIGHT
The cop on duty hears a buzz, looks up to the bank of
monitors, and sees the Marshal standing at the door.
Thinking nothing of it, he hits the buzzer.
INT. HALL - NIGHT
Cat, propping the unconscious Marshal up, hides behind
him. As the door buzzes, she maneuvers the body around,
pushes through. On the other side, she drops the body,
and takes his gun.
INT. SECURITY MONITORING ROOM - NIGHT
On the monitor it looks like the Marshal is passing through.
INT. PROTECTIVE CUSTODY - NIGHT
Rizzo is half asleep, when the barrel of a gun taps him on
the head. He opens his eyes slowly to...
CAT
Unbutton your shirt.
RIZZO
What...?
CAT
Now.
44.
Rizzo looks over to where the Marshal is passed out cold
on the floor. He does as he is told.
RIZZO
Who the hell are you?
CAT
Not room service.
She pumps four bullets into his head.
INT. POLICE STATION - NIGHT
BAMBAMBAMBAM!!!
The four shots reverberate throughout the station.
EXT. POLICE STATION PERIMETER - NIGHT
BAMBAMBAMBAM!!!!
Two patrols of two Marshal's each hear the shots.
INT. SECURITY MONITORING ROOM - NIGHT
BAMBAMBAMBAM!!!
The monitor wakes up.
INT. POLICE STATION - NIGHT
Cops and Marshal's, guns drawn, come running.
INT. PROTECTIVE CUSTODY - NIGHT
The knocked out Marshal comes to. Finds a gun in his hand.
Doesn't get it, until he looks over to see Rizzo, with his
face blown off.
INT. PROTECTIVE CUSTODY - NIGHT
The door flies open and the Marshal's and cops come pouring
through, to find the Marshal with the gun in his hand and
the dead Rizzo.
COPS
Drop it!!
The Marshal is frozen, totally confused.
MARSHAL
Drop it, Joe!!!!!
More guns. More confusion. Tension beyond the moon.
MARSHAL
I didn't do it!
45.
COPS
Drop it!!!!
The Marshal drops his gun.
COPS
On the floor!
MARSHAL
Call a bus!
FROM THE POV OF SOMEONE ELSE.
INT. AIR DUCTS - NIGHT
Cat looks through the vent over the cell. Sees the wobbly
confused Marshal with the gun in his hand, hears feet coming
fast.
EXT. ROOF OF POLICE STATION - NIGHT
Cat comes climbing out of a ventilation duct onto the roof.
She looks out over the side of the building. Marshal's
stationed outside are running into the building.
Cat takes off running.
INT. PROTECTIVE CUSTODY - NIGHT
The cops are cuffing the Marshal.
MARSHAL
Guys! I didn't do it!!!
MARSHAL 1
Ambulance on the way!
Another Marshal is checking Rizzo.
MARSHAL
He's gone.
SERGEANT
Search the place!
EXT. ROOF OF POLICE STATION - NIGHT
Cat is running as fast as she can.
INT. POLICE STATION - NIGHT
Cops and Marshals are running through every room, checking
everywhere.
EXT. ROOF OF POLICE STATION - NIGHT
Cat reaches another air vent, so about to pry it off when
she hears...
46.
INT. DOORWAY - NIGHT
Cops running up the stairs, headed for a door above them.
EXT. ROOF OF POLICE STATION - NIGHT
Cat hears the door begin to open. She bangs her high heels
together. And two blades come out of the front. She sees
the door knob turning. She runs for the roof's edge.
AND VAULTS OVER THE SIDE!
INT. DOORWAY - NIGHT
The cops burst through the door to...
EXT. ROOF OF POLICE STATION - NIGHT
The cops pour onto the roof, looking around, guns drawn.
ANGLE ON CAT ON THE SIDE OF THE BUILDING
Clinging to the wall like a gekko. The dun colored wall
blending with her dun colored suit. How is she doing this?
CLOSE ON CAT'S SHOES
The blades fitted into the seam between the bricks. Her
fingertips clinging to the small lip on the bottom of the
roof's edge.
ABOVE HER
The cops look around the roof.
ON CAT
She holds there listening to the noise above. Hears noise
below, looks down to see...
EXT. POLICE STATION - NIGHT
Cops searching the alley below.
ON CAT
Hanging to the edge of the building. Listening, watching.
EXT. ROOF OF POLICE STATION - NIGHT
The cops, finding nothing, head back out the door. A moment
later...
CLOSE ON THE ROOF LEDGE
Cat's hand reaches up.
ON CAT
47.
When one hand has a firm grasp on the roof ledge, she lets
go with the other hand and grasps the ledge, extracts the
blades from the brick seams, and swings herself up on the
roof. As her shoes dislodge, some mortar comes loose and
falls below.
ON THE COPS BELOW
The crumbling mortar falls on the head of one cop, he looks
down, sees the crumbly gravel, looks up, sees nothing.
EXT. ROOF OF POLICE STATION - NIGHT
Cat lands on the roof, lays still.
ON THE COP BELOW
He examines the gravel, looks up again. And then moves
on.
EXT. ROOF OF POLICE STATION - CONTINUOUS
Cat pries the vent cover off, slips in.
INT. POLICE STATION - NIGHT
Cops are checking every cell in the men's block.
INT. AIR DUCTS - NIGHT
Cat is crawling along as fast as she can.
INT. POLICE STATION - NIGHT
The cops come to the entrance of the woman's cell block.
INT. AIR DUCTS - NIGHT
Cat comes to the vent in the hallway.
INT. CELL BLOCK - NIGHT
The cops open the door to the women's cell block.
INT. CELL - NIGHT
Cat runs. Begins to pull at her leotard.
INT. CELL BLOCK - NIGHT
The cops look at the women's cells, heading right toward
Cat's. As they reach Cat's, the same cop who did the rounds
at the beginning of the night looks into her cell. Cat is
laying on her side, away from them, dead asleep, in the
same position she was when the cop first checked on her.
The cops pause for a moment, then move on.
CLOSE ON CAT
48.
Her eyes are wide open. She listens for the outer door
closing, and then she breathes out, relieved.
EXT. CITY MORGUE - NIGHT
An ambulance pulls up, along with the Marshal contingent
in their SUV's. The Marshal's spill out of the SUV's as a
gurney with a corpse is wheeled into the morgue.
INT. MORGUE - NIGHT
As the Marshal's stand around, the Police Coroner begins
to unbutton the shirt of Rizzo the corpse.
CORONER
What the fuck?
HIS POV
On Rizzo's chest the word TRAITOR is written in thick black
letters. And above them, a drawing of the Cataleya orchid.
The Marshal's knows what this is.
MARSHAL
Holy shit! Call Ross.
EXT. SMALL AIRPORT - MORNING
The door of a small jet opens and MARCUS ROSS, 48, a keen
eyed, no nonsense all business FBI agent, followed by a
team of similarly focused men and women, exits down the
stairs to...
MARSHAL
Agent Ross?
ROSS
Where is he?
MARSHAL
At the hospital.
ROSS
Let's go.
EXT. POLICE STATION - MORNING
Reporters are gathered, trying to gain access. The police
are keeping them out.
INT. POLICE STATION - MORNING
Over the clamor of reporters outside, Cat is just finishing
with her finger printing, wipes off as much of the ink as
she can. The Sergeant hands over her library card.
CAT
I shouldn't drink.
49.
SERGEANT
No you shouldn't.
CAT
I'm so so sorry.
SERGEANT
Tell it to the judge at your hearing
in ten days.
CAT
What's going on out there?
Alluding to all the commotion she sees through the window
looking out into the main room.
SERGEANT
Nothing. Fill out the forms and
you can go.
CAT
Really?
SERGEANT
Really. We need to get things
organized. But don't worry, the
judge will send you back, for sure.
CAT
I probably deserve it.
He hands her a sheaf of papers and a pen. As the pen hits
the paper.
CLOSE ON RIZZO'S PAINTED STOMACH
PULL BACK TO
INT. MORGUE - MORNING
Ross, with his team standing off his shoulder, looks down
at the stomach.
ROSS
Same handwriting. Same flower.
It's him. Let's see the location.
INT. POLICE STATION - MORNING
Cat hands the paper work over to the sergeant.
SERGEANT
You're lucky no one was hurt.
CAT
I would have never forgiven myself.
Keeping her back to the security camera overhead, Cat
collects her things and exits. As the door closes...
50.
A DOOR TO AN SUV OPENS...
EXT. POLICE STATION - MORNING
Ross exits the SUV to the crowd of reporters.
REPORTERS
Is it Rizzo? Was it an
assassination? Are there any clues?
Is it true a Marshal did it?
ROSS
No comment.
Ross sees cops coming and going from the station. He turns
to the Marshal with him.
ROSS
You didn't lock it down?
MARSHAL
It was after the fact. I didn't
think...
Ross cannot believe what he is hearing.
ROSS
Do it. Now. No one in or out.
ANGLE ON CAT
Exiting the station. Ross and his team sweep past her.
MARSHAL
OK! That's it. No one in or out!
Lock down!
Cat just keeps walking, right past Ross, who heads into
the station as the cops try to keep the reporters at bay.
ANGLE ON CAT
Walking away from the pandemonium she is leaving behind.
As it recedes over her shoulder, she picks at her fingers
where the fingerprinting ink has stained them. Her prints
come off! She drops the fake prints down a sewer and keeps
walking.
INT. PROTECTIVE CUSTODY - MORNING
Ross scrutinizes Rizzo's cell as his team takes prints,
photos, sweeps the cell for evidence.
ROSS
I want to see paper on everyone in
and out of the station in the last
twenty four hours.
He looks up to the end of the hall.
51.
ROSS
And I want the tapes from the
security cameras.
CLOSE ON LOCKER OPENING
PULL BACK TO
INT. BUS STATION - DAY
Cat extracts a knapsack from the locker, heads for the
woman's bathroom.
INT. BATHROOM STALL - DAY
Cat tugs at her hair. The wild mane comes off to reveal
her straight hair, which she pulls back in a pony tail.
She begins to strip out of her mini skirt.
INT. BUS STATION - DAY
Cat dressed in jeans, a scuffed leather jacket, a baseball
cap, with the brim pulled low over her eyes, with her pony
tail sticking out of the back, the knap sack on her
shoulder, waits on line to board the bus. She keeps her
back to the security camera, has her phone to her ear. A
number is ringing.
INT. EMILIO'S HOUSE - DAY
Emilio, fifteen years older, is watching a soccer game,
picks up the phone. In the kitchen, Mama is cooking.
EMILIO
Are we good?
INTERCUT BETWEEN THE TWO
Cat moves up the line to board the bus.
CAT
We're good.
EMILIO
When are you back?
CAT
Day after.
EMILIO
I have something.
CAT
The morning after OK?
EMILIO
Can't wait to see you Cara.
52.
CAT
Say hello to Mama.
He looks over to Mama at the stove, who waves over her
shoulder.
EMILIO
Mama says hello back.
He hangs up, goes back to his game.
INT. BUS STATION - DAY
Cat boards the bus. The doors close behind her.
As the camera ZOOMS up, and the bus pulls out onto the
road...
ROSS V.O.
See?
INT. POLICE STATION - DAY
Ross is pointing up at the camera Cat tilted.
ROSS
He tilted the camera just enough
so the angle would catch the guard,
not who was holding him.
He turns to his team.
ROSS
Twenty two murders in four years
all with the same M.O. The word,
the flower. He's sending a message,
for sure. And I'm beginning to
think it's not to us.
AGENT 1
But we're the only ones with the
information.
ROSS
And we're not getting anywhere
with it, are we?
No one on the team can dispute this. It occurs to Ross...
ROSS
If the message is not for us, let's
make sure the one it's intended
for gets it. I want you to put it
out to the press. Splash it across
every newspaper, every magazine.
National. I want eyeballs on it
coast to coast. Monitor it. Let's
see if anything comes back.
53.
EXT. UPSCALE RESIDENTIAL NEW ORLEANS NEIGHBORHOOD - DAY
A Lincoln town car comes down the leafy, quiet street of
well kept homes. Stops at a gate guarded by two men, who
wave him through.
EXT. DON LUIS'S MANSION - DAY
The car ends up in front of a very impressive house, which
sits at the end of a long driveway. Toward the era of the
walled property, a garage, and a guest house. MR. RICHARD,
in a suit and tie, looking like a proper mid level
government official, or a lawyer, exits, newspaper in hand.
As he approaches the front door, Richard looks over to see
two more guards, off to the side. He nods to them, knows
them. They nod back.
Richard approaches the front door, knocks. While he is
waiting, he looks down at the paper.
The door opens.
MARCO
Mr. Richard...
Richard looks up to a fifteen year older Marco.
MARCO
Been a long time.
RICHARD
Yes it has Marco. How's the hand?
Marco holds up his scarred hand.
MARCO
Only hurts when it's humid.
RICHARD
Should've let us relocate you to
Arizona instead of New Orleans.
MARCO
The Boss likes it humid.
RICHARD
There it is then.
MARCO
He's waiting for you.
Richard enters. The door closes.
INT. SALON - DAY
Don Luis stares out a bay window, drink in hand.
RICHARD
Hello Luis.
54.
Don Luis turns.
DON LUIS
Hello Mr. Richard.
RICHARD
I brought you the morning paper.
He holds the paper up.
CLOSE ON A PICTURE OF DEAD RIZZO ON THE FRONT PAGE.
DON LUIS
I've seen it.
RICHARD
And...?
DON LUIS
Coincidence.
RICHARD
Coincidence? Twenty two times? A
flower that only grows in one place
on earth? That used to be the
calling card of...what was his
name? Your former partner? The
one who did your wet work?
DON LUIS
Fabio. Fabio Maria Restrepo. But
I don't understand? Why come here
with this?
RICHARD
Because when we find the end of a
string we like to know where it
begins.
DON LUIS
String? Now we are talking about
string? I'm not a tailor.
RICHARD
Don Luis. Let's cut to the chase
here, OK? When the Agency extracted
your ass from Colombia fifteen
years ago, and set you up here, we
let you resume your business when
what we should have done was lock
you up for life. In exchange, you
were supposed to keep the
information flowing.
DON LUIS
And I have.
55.
RICHARD
Not much, and not for a very long
time.
DON LUIS
And this is what you traveled all
the way down here to tell me?
RICHARD
No. What I traveled all the way
down here to tell you, is there's
a limit to our patience. The CIA
is not an amusement park. There
are no free rides. Everyone pays
their way. And you, my friend,
have not.
DON LUIS
OK OK. What would you want?
He slaps the newspaper down with the picture of Rizzo.
DON LUIS
I had nothing to do with this. I
swear.
RICHARD
Then find out who does.
As he goes to leave.
RICHARD
And Don Luis, don't play the
innocent with us. It won't sit
well with my bosses if we find out
you had anything to do with this.
Have a good day.
Richard exits.
EXT. DON LUIS'S MANSION - DAY
Richard walks to his car, observed by...
INT. DON LUIS'S MANSION - DAY
DON LUIS
She's talking to us.
MARCO
It could be anyone.
Don Luis reaches out, fast as a Cobra, grabbing Marco by
the lapel, pulling him close.
DON LUIS
Idiot! I told you. Everyone dead.
Down to the dog.
(MORE)
56.
DON LUIS (CONT'D)
You screwed up the first time.
Now go fix it. Find her.
(BEAT)
Before she finds us.
CLOSE ON A BUS DOOR OPENS
Cat steps off the bus. Looks around to...
EXT. CHICAGO BUS STATION - DAY
The total full on crush of people that a major metropolitan
bus terminal holds. She sees a surveillance camera tucked
in a corner. She pulls the brim of her hat low over her
eyes, takes off into the crowd.
EXT. CHICAGO STREET - DAY
Cat comes to a non descript high rise. She enters.
INT. CAT'S APARTMENT - DAY
Cat enters a completely bare bones dwelling, there is
nothing that identifies the person who lives here. White
bare walls, a table with one chair, a single bed. Along
one wall, a cabinet. On the window sill a single Cataleya
orchid. Cat waters the orchid.
Cat opens the cabinet to three computer screens. Two of
them are divided into quarters and show various views of
the building entrance, the lobby, the stairway, the
elevator, the hallway.
The third screen is dark, until Cat hits a button and music
fills the apartment. Music with a heavy sensual back beat.
French Rap. Ooh la la. And the screen pulses and glows
in time to the beat. Cat's body responds to the music,
moving sexy, her shoulders rolling, her hips swaying.
IN CUTS
Cat sashays across the open space, a stripper strutting
her stuff; shedding, first her blouse, then her jeans, her
lingerie, until, by the time she reaches a free standing
opaque cylinder of a shower with an opaque shower curtain,
she is completely nude. She enters the shower. Turns on
the water.
Like a snake shedding a skin, she lets the water divest
her of everything that came before.
ROSS V.O.
Since each and every one of the
victims was a professional bad
apple...
CLOSE ON A PICTURE OF RIZZO BEING PINNED TO A WALL
57.
ROSS V.O.
We've narrowed motive down to
payback or preemptive.
PULL BACK TO
INT. FBI OFFICE - DAY
Ross has just pinned up Rizzo's picture on a wall filled
with twenty two other deceased, all with words and a
CATALEYA ORCHID imprint on their stomach's. He turns to
face his team.
ROSS
Rizzo here...
He points to Rizzo on the wall.
ROSS
The most recent, was done to keep
him from talking. Alexa
Milshinova...
Points to a gorgeous dead woman with the word GRIFTER on
her stomach.
ROSS
...made a career of getting intimate
with big stakes gamblers out of
Vegas and then taking them off and
sending them to meet their maker.
D'Angelo James...
Points to a huge black man with USURPER written in white
letters across his chest.
ROSS
...tried to take over the heroin
trade in Houston from...
He points to two Mexicans, identical twins, one with PAY
written on his chest, the other with the word BACK...
ROSS
The Gemini cartel. Their crimes
are self explanatory, if you can
read. Now I know some of you are
thinking whoever is doing this
makes less work for mother. And
since there's no collateral damage,
why are we wasting valuable manpower
and resources on the case? And
since until now, there has never
been a clue to go on, why go on?
But with this last killing...
He holds up a stack of folders from his desk.
58.
ROSS
We have one. As we go to the video
tape.
He hits a button and the video replay of Cat walking the
unconscious guard through the door.
ROSS
We can't see the assassin, but we
can see...
He freezes the tape. Points to the time mark on the tape.
ROSS
The time. 2 AM. Which means our
perp was in the station at...I
don't have to spell it out for
you.
He begins to hand the folders out.
ROSS
These are the names, phone numbers
and addresses of everyone with a
pulse who entered that police
station before two AM. Cops,
criminals, clerks, janitors.
Everyone. One of them is our
target. I want each of you to
locate the ten people in the folder
you've been given. I want a
complete dossier on every one of
them for the last ten years of
their lives. Run down every lead.
Check out every story. Our killer
is out there. And we're going to
find him. Before he kills again.
THE CITY OF CHICAGO.
As an elevator train rumbles by below...
EXT. STREET - NIGHT
An elevator train rumbles by above.
PAN DOWN TO
A car parking. And DANNY DELANEY, preoccupied, a pleasant,
easy going, good looker at 28, closes the door, and walks
to the entrance of his low slung apartment building. He
enters.
INT. DANNY'S HALLWAY - NIGHT
Danny puts his key in the door, finds that it is unlocked.
He pauses, then enters.
59.
INT. DANNY'S APARTMENT - NIGHT
Danny enters his darkened apartment. Goes to turn on the
switch...
VOICE
Don't move.
Danny's hand freezes. He stands very still.
VOICE
Take off your shirt.
DANNY
Do I have to?
VOICE
Now.
Danny complies.
VOICE
Turn around.
He does. To darkness. And then, a match is struck, a
candle is lit. Standing before him, in garters, thigh
highs, a very sexy bra, and fuck me pumps is...
CAT
Hello Danny.
DANNY
Hello Jennifer.
Cat closes to an inch of him.
DANNY
You should have called.
CAT
Why?
DANNY
I could have been out.
CAT
I have a key.
DANNY
I could have been late.
She begins to kiss him, lightly around the mouth.
CAT
I've got nowhere to go.
DANNY
It's just...
60.
CAT
Just what?
She keeps kissing him, lightly on the neck...
DANNY
You show up whenever you want to...
CAT
And then we have the most incredible
sex.
(BEAT)
Ever.
DANNY
I know. I'm just saying...
He fumbles for the words.
DANNY
Wouldn't you like to go to dinner
sometime?
She keeps nibbling.
CAT
Uh-uh. This taste good enough.
DANNY
Or a movie?
Licking him.
CAT
No. They put me to sleep.
DANNY
So let's pop in a DVD and you can
spend the night here?
She stops. Looks him in the eye.
CAT
Would you like the key back?
DANNY
No. I just want to get...I don't
know...
CAT
Closer?
She resumes nibbling on his neck.
DANNY
Yes. Closer.
She runs her nails down his chest, slowly, teasing. Her
hand finds his groin. What she finds makes her smile.
61.
CAT
Is this close enough?
DANNY
(SMILES)
...Yes.
She gently lowers his hands to his sides, holds them there.
Kisses him deeply. Pushes him down onto the floor. And
lowers herself on top of him. A small moan escapes his
lips as she takes him inside her.
FADE TO
INT. DANNY'S APARTMENT - DAWN
Danny wakes. His face holds the smile of the memory of
the night before. He turns his head, lazily. The pillow
beside him is empty.
DANNY
Jen...?
Cat is gone. Danny's smile fades.
EXT. ELEVATOR TRAIN - MORNING
Emilio walks down the stairs, carrying a shopping bag.
TRACK WITH HIM ALONG THE STREET. Until he comes to a
Laundromat.
INT. LAUNDROMAT - MORNING
Emilio loads laundry from the shopping bag into a machine,
puts in the coins, then sits down on a bench to watch the
cycle. Seems to talk to himself.
EMILIO
Safe?
And then we see he is talking to...
CAT
On my end. You?
EMILIO
Safe.
CAT
What do we have?
Emilio takes a manila envelope out of the bag. Places it
on the seat next to him. Cat picks it up, looks through
it.
62.
EMILIO
You remember the guy who was in
the news for running that Ponzi
scheme about a year ago?
CLOSE ON A MAGAZINE PULLED FROM THE ENVELOPE
The cover features WILLIAM WOOGARD, 45, the most unassuming,
baldheaded, pudgy faced man, a nerd. Under the headline:
PREDATOR.
EMILIO
He disappeared fifty billion
dollars. The money was never
recovered. Skipped out and bought
himself citizenship on some shit
hole of a Caribbean island that
calls itself a country with no
extradition laws. Lot of very
pissed off people lost everything.
Cat goes to get up.
EMILIO
There's something else.
He slaps the newspaper down with Rizzo's picture on the
front page.
EMILIO
How long has this been going on?
CAT
(BLUFFING)
Not long.
EMILIO
The paper says twenty two. All
like this. Tell me why.
CAT
No reason.
EMILIO
Since you're a kid, you don't do
anything for no reason. Don't
play dumb, it insults me.
CAT
I've got to get ready.
As she goes to rise, Emilio grabs her hand.
EMILIO
It's not just you in this. It's
me, Mama.
63.
CAT
Tio. You're removed. You book
the work, you collect the fees...
EMILIO
I watch your ass. Each and every
job, I vet, I double vet. For
every one I book you, I turn down
five, ten. I promised to keep you
safe. I KEEP YOU SAFE. Cataleya.
It's a full time job, no matter
what you think. Those
pictures...they freaked me out.
OK? I didn't realize...
CAT
I come to you at nine. I say I
want to be a killer. What kind of
kid makes a career choice like
that unless they have something on
their mind.
(BEAT)
I live for the day that the blood
of the son of bitch who did my
parents drips in the gutter. Stop
playing the innocent with me. You
know this. Forever.
EMILIO
Sure. Of course. But the way
you're playing it. They even have
a name for you. The Tag killer.
I would have stopped it a long
time ago. Had I known about this.
CAT
Why?
EMILIO
Because I love you.
Cat smiles. A smile that could melt ice in winter. But a
knowing smile. A 'Don't bullshit a bullshitter' smile.
CAT
If you do, you would never have
let me get involved in the first
place.
The truth of her words deprive him of his. She kisses him
him on the forehead.
CAT
I love you too.
And she exits, leaving Emilio more concerned. He looks
down at the picture.
CLOSE ON THE ORCHID WHICH MORPHS INTO...
64.
A REAL CATALEYA ORCHID ON A COMPUTER SCREEN WITH THE WORD
CATALEYA BEING TYPED IN THE SEARCH BAR
PULL BACK TO
INT. FBI OFFICE - DAY
Ross is at his computer, staring at the screen and the
orchid, alongside a map of Colombia and the specific region
where the Cataleya is found. He thinks.
ROSS
OK. Let's try...organization...
He types. Data comes up. And what he sees stuns him...
A folder marked CIA: CONFIDENTAL. ACCESS DENIED.
ROSS
(FRUSTRATED)
Fuck...
OVER THE SOUND OF CHIMES...
EXT. PEPE'S WAREHOUSE/HOME - DAY
A ramshackle warehouse, it's windows streaked opaque with
years of dust and grime, surrounded by a fence, and a weedy
garden which is home to dozens of the most unique wind
chimes of all sizes and shapes, made from scrap metal.
And two of the biggest, most ferocious dogs on Earth, laying
on their sides, asleep.
The dog's ears perk up; hearing something we don't, a low
growl begins to rumble deep in their throats. The gate to
the garden begins to open, and like a shot the dogs are
up, hurling themselves toward the opening gate, eyes
flashing, barking loud enough to scare the dead back to
life, fangs bared, ready to kill.
And then they stop cold when they see who it is coming
into their domain.
REVERSE ON CAT
Holding two very full shopping bags.
CAT
Hi guys.
And the dogs jump all over her, licking her.
CAT
Hey! Hey!
She pets them, plays with them.
CAT
OK. OK. Now sit.
65.
The dogs obey her in a heartbeat, sitting expectantly.
Not making a sound.
CAT
Now let's see what good boys you
can be.
She reaches into one of the shopping bags, pulls out two
roasts!
CAT
Top cut sirloin.
Which she puts down on the ground. The dog's eyes go to
the chunks of meat.
CAT
Nice, huh?
The dogs can barely contain themselves.
CAT
Red, juicy, delicious.
The dogs whimper in anticipation.
CAT
Stay.
She picks up the shopping bags, and heads for the ramshackle
warehouse. The dogs moan, but do not move, their eyes
going from the meat to Cat.
Cat reaches the door. Turns. Sees the dogs looking at
her.
CAT
Good boys.
(BEAT)
Eat.
The dogs pounce. Each one grabs a roast and tears into
the meat with ferocious, pent up glee. Cat smiles at the
sight, enters the warehouse.
INT. PEPE'S WAREHOUSE/HOME - DAY
The warehouse, is filled with piles of rusting scrap metal,
the cannibalized carcasses of cars, trucks, shipping
containers, welding equipment, hammers tongs, all sorts of
tools. In the corner is one fully built truck, a big red
monster with huge demolition fenders.
This is home to OLD PEPE, an ancient, blind man, who is
working away, building yet another set of oversized chimes
out of scrap metal.
PEPE
Hola Cataleya.
66.
CAT
Hola Pepe. I guess the boys gave
me away.
PEPE
Anyone else? The barking would
only have stopped when their
screaming began. You spoil them.
CAT
I train them.
PEPE
If that's what you want to call
it.
Cat kisses Pepe, taps one of the chimes, it makes the most
ethereal sound as one chime bangs against the other. She
opens a cupboard in the makeshift kitchen area, and starts
unpacking the groceries.
PEPE
Did you get the beans I like?
CAT
Of course.
PEPE
And the salsa Verde?
CAT
And the salsa Verde.
PEPE
Not the one in the short bottle.
CAT
The long one.
PEPE
I hate that other one, the chili
they use sucks. Did you see your
uncle?
CAT
Of course.
She moves from the kitchen, walks across to the far wall.
PEPE
We're going to church for Easter.
CAT
As always.
PEPE
And you?
67.
CAT
Not this year.
Until she reaches a big discarded safe, taller than her,
with an impregnable door.
PEPE
As always. You should, you know.
CAT
I should do a lot of things.
She turns the combination knob.
PEPE
You could start with that one. It
would make us very happy.
CAT
Maybe next year.
The door opens, reveals shelves with dozens of passports,
stacks of cash.
PEPE
Cataleya. No one knows what happens
tomorrow, next year is a long time
away. How was your trip?
Cat starts to remove some of the cash. Starts to count
it. Stick it in her pocket.
CAT
Rewarding.
She takes a passport out.
PEPE
Passport?
CAT
Your ears are better than my eyes.
PEPE
You work too much. I keep telling
that to Emilio. The girl should
have a life while she is still
young enough to enjoy it. You
should take a vacation. Go some
place warm. With a nice beach.
CAT
Good idea.
She slams the big safe door shut.
68.
EXT. CARIBBEAN ISLAND - DAY
From the air, surrounded by the bluest of waters. Bestowed
with the greenest of verdant foliage. Surrounded by
exquisite beaches.
A spray of water fills the screen. Comes from...
THREE OF THE HOTTEST NYMPHETTES IN THE SMALLEST BIKINIS
SPLASHING AROUND A SWIMMING POOL HAVING THE BEST TIME
SPLASHING WATER AT WILLIAM WOOGARD, AS HE CHASES AFTER
THEM...
WILLIAM
GRRRAAAHHHH!!!!
PULL BACK TO
EXT. COMPOUND - DAY
An exquisite villa surrounded by a high wall. As the girls
clamber out of the pool, ignoring the four armed body guards
patrolling poolside, they are met by three maids holding
robes for them to slip into.
WILLIAM
(SMILING)
Hey! I pay to see more, not less.
The robes disappear.
WILLIAM
That's better.
GIRL
Willie you are such a perv.
WILLIAM
I know. Anyone hungry?
GIRL
Always!
As William slips into a robe held open for him, he grabs
the asses of two of the girls...
WILLIAM
Lunch is served.
Giggling, the girls scamper toward the villa, where a
sumptuous table is set on the veranda, attended by more
servants. William is handed a drink, as he sips it, watches
their perfect, barely covered butts, his eyes pools of
desire, the servant holds out an envelope.
SERVANT
For you sir.
69.
Perplexed, William takes his eyes off the girls and regards
the envelope. No return address, no stamps. He opens it,
and his perplexed look goes to one of concern.
CLOSE ON THE NOTE
It says. SOMEONE IS LOOKING FOR YOU. BE CAREFUL. A
FRIEND.
WILLIAM
Where did this come from?
SERVANT
It was in the post box this morning.
William cannot fathom what this is all about. But he does
not like it.
EXT. CARIBBEAN ISLAND - SUNSET
Over hot dance hall music, the sun sets magnificently into
the shimmering sea...
INT. VILLA - EVENING
The music blasts throughout the villa. Sexy, hot. There
are several bodyguards stationed all around.
INT. SALON - EVENING
Two of the girls dance erotically for William, who reclines
on an oversized couch, smoking from a hookah.
ANGLE ON
The third girl is out in the foyer, laying on the glass
floor, which is the top of a large aquarium, where dozens
of sharks swim back and forth.
GIRL
Here fishy fishy!
She taps on the floor, the sharks ignore her.
GIRL
(POUTY)
Willie! They're ignoring me!
William comes over.
WILLIAM
Put a drop of blood in there and
they'll be your biggest admirers.
All the way down to your stripped
clean bones. And speaking of
stripped...
He lifts her up like a piece of luggage. As she squeals
with delight...
70.
WILLIAM
Bedtime!
The other girls come running. The party moves up the
winding staircase. The bodyguards look at each other,
roll their eyes.
INT. VILLA - NIGHT
William is at the double doors to his massive bedroom suite,
the girls are on the bed in the BG jumping around, in the
skimpiest bra and panty sets, having a pillow fight.
WILLIAM
(to head of security)
Bring extra security in for the
night.
HEAD SECURITY
Yes sir.
WILLIAM
And make sure we're shut down tight.
HEAD SECURITY
Yes sir. Have a good night, sir.
WILLIAM
I intend to.
The doors close, and lock. Wild shrieks come from inside.
EXT. VILLA - EVENING
A van rolls up to the main gate, half a dozen security men
exit.
HEAD SECURITY
There are already guys in the garden
and guys out back. I want you
three upstairs, two on the roof.
You three downstairs. Follow me.
As they all enter the villa, the CAMERA lingers on the
van. A figure dressed in black rolls out from under the
carriage as it pulls away and disappears into the bushes.
QUICK TIME CUTS
Two guards stand outside the bedroom door. Two guards are
on the stairs. Three guards in the salon. Three more in
the garden outside.
INT. VILLA - NIGHT
The Head of Security goes around the villa checking that
all the doors and windows are secure. His men are posted
outside the door to the bedroom, on the stairs, in the
salon. He closes lights as he goes.
71.
He walks across the aquarium floor in the foyer to the
front door, closes the lights, so that only the glow from
the aquarium lights illuminate the dark. And he exits,
closing the door behind him, turning the lock.
CLOSE ON THE AQUARIUM
The sharks gliding back and forth. And then, a figure in
a black wet suit, fins and a mask, with a small back back,
comes gliding into through the sharks. Who just go about
their business. The figure stops at the edge of the glass
floor, takes something out of the back pack and very
skillfully cuts a small hole in one of the glass panels
that makes up the floor.
The diver lifts out of the aquarium, pulls back the wet
suit. It is Cat.
Cat opens the backpack, removes a silencer fitted pistol.
CLOSE ON THE BEDROOM DOORS OPENING
Cat enters, silent, closes the door, approaches the bed
where William is asleep sandwiched between the three passed
out girls. Empty champagne bottles and glasses are strewn
about.
Cat stares down at the scene, points her gun at William.
One of the girls rolls over onto William, ruining her shot.
She hesitates.
CLOSE ON WILLIAM'S FACE
As sits up suddenly, startled from sleep. No one is in
the room. He looks around, and notices the bedroom door
ajar. He is more awake now, sees the Nymphettes sleeping
soundly. He rises, dressed in a silk sleeping robe. He
feels something on his chest, goes over to the mirror,
opens his gown and sees, painted on his chest: In red
lipstick, the word THIEF, and a drawing of a Cataleya
orchid. Panic starts to set in.
WILLIAM
Hello?
No answer.
William tip toes to the ajar door. He peeks out and sees
two guards with bullets through their foreheads, blood
leaked out across the white marble floor. Really panicked,
he flattens himself against the inside of the door, his
breath coming in gasps.
INT. VILLA - NIGHT
William, holding the two guns of the dead guards in front
of him, makes his way down stairs, past two more dead
guards. Growing more and more nervous by the moment, he
tries a light switch on the wall, nothing.
72.
The only light comes from the ambient glow of the aquarium
below. He reaches the bottom of the stairs.
WILLIAM
Anybody?
No answer. He crosses the aquarium floor, and when he is
right in the middle...
CAT
Stop right there.
Cat comes out of the dark. In her hand, a silencer fitted
pistol.
WILLIAM
Who are you?
CAT
Doesn't matter who I am.
He pulls the trigger on his gun. Click, click, click. He
tries the other one. Again click click click.
WILLIAM
What do you want?
CAT
I want you exactly where you are.
And then, without warning, she puts a bullet in both his
knees.
WILLIAM
ARRRGGGHHHH!
He falls to the floor. The blood starts to seep out onto
the glass. The sharks swim back and forth.
WILLIAM
Whatever they paid you, I'll double
it!
CAT
You know the thing about sharks.
You can swim with them all day and
they will just ignore you, but put
one drop of blood in the water and
they become your biggest admirers.
WILLIAM
Please. I'll give you anything
you want. Don't kill me!
CAT
I'm not going to kill you.
(BEAT)
They are.
73.
She fires three shots into the glass square he is kneeling
on. The glass shatters. William falls into the water.
Grabs onto the squares on either side and props himself
up. His blood runs down into the clear water. Cat turns
and walks toward the door.
WILLIAM
Please! Please!
He struggles frantically to pull himself out. Cat exits.
And then the sharks hit. WHAM! And hit. And hit. And
hit.
WILLIAM
Please! Help! Help!
He is violently dragged under.
CLOSE ON
The front page of a newspaper with a picture of the remains
of William under the headline: SHARKS EAT SHARK. The
newspaper drops to reveal Richard at his desk.
INT. CIA OFFICE - DAY
RICHARD
I can't believe this.
He drops the paper, is about to leave his office when the
phone on his desk rings. He answers.
RICHARD
Yes?
VOICE
Mr. Steven Richard?
RICHARD
Who is this?
CLOSE ON
ROSS
FBI special agent Jack Ross. I'm
lead agent on a case. A serial
killer we call the tag killer.
INTERCUT
Hiding his anger.
RICHARD
I've seen the publicity.
ROSS
Marks his victims with a flower.
From Colombia. A Cataleya orchid.
(MORE)
74.
ROSS (CONT'D)
When I try to access information,
I get stuck with a CIA Access denied
folder. I understand you were the
station chief down there when this
rash of murders with the same MO...
RICHARD
Listen, Agent Ross, we don't give
out any type of information over
the phone. So what I suggest is
you file a formal request with the
agency for any information you
might want. And I'll be more than
happy to get back to you as soon
as I can.
He hangs up. Seething.
ON ROSS
Looking at his phone and the dial tone emittting from the
handset.
ROSS
Thank you.
EXT. MIAMI AIRPORT - DAY
A plane lands.
INT. MIAMI AIRPORT - DAY
People disembark. We think Cat is getting off the plane.
It is Marco and two of his thugs. As he is crossing the
terminal, he passes a newspaper machine. The headline of
the paper in the window catches his eye: SHARKS EAT SHARK.
As he stares at the picture of the dead William, his phone
rings.
MARCO
Bueno?
INT. CAR - DAY
A pissed off Richard is on the phone.
RICHARD
No more bullshitting me Marco.
I've got the FBI on my ass now. I
want that problem taken care of.
Yesterday. Do you hear me?
MARCO
Loud and clear.
The newspaper picture of William being pinned to a board.
PULL BACK TO
75.
INT. FBI OFFICE - DAY
Ross turns from pinning up the picture alongside the other
twenty two, to his team.
ROSS
Where are we?
AGENT 1
We ID'd everyone who came in and
out of the police station for the
twenty four hours preceding the
incident. The only one that we
could not verify was a...
He reads.
AGENT 1
Valarie Phillips. Picked up for
drunk driving four hours before
the hit on Rizzo.
ROSS
(STUNNED)
A woman? Are you sure?
AGENT 1
It's our only lead.
ROSS
Let's see her booking report.
AGENT 2
(HESITANT)
Well, there was a little problem.
Seems she was too drunk to get a
photo.
ROSS
But not to get prints.
AGENT 1
We ran the prints in the data base.
No match was found.
ROSS
Lovely. So if there is no booking
record, how did we get the name?
AGENT 1
A library card. The only ID she
had was a library card.
ROSS
I don't believe this.
AGENT 1
There are the surveillance tapes.
76.
AGENT 2
From three angles.
ROSS
(HOPEFUL)
Well, let's see them.
The two agents look at each other, even more chagrined.
One of them pushes a button on the computer. And the three
angles come up. One has a shot of Cat's face covered by
her hair, one has a shot of her face covered by her hand,
and the third one has an angle of her nose.
ROSS
That's it?
AGENT 1
That's it.
Ross sighs.
ROSS
It's not a lot to go on. But put
them in the data base and let's
see what matches.
The agents exit. Ross looks at the pictures on the board.
ROSS
...a woman.
Cannot believe it.
EXT. MIAMI - LITTLE COLOMBIA - DAY
Marco and his thugs enter a small social club/bar.
INT. SOCIAL CLUB - DAY
A dimly lit place, where strangers are few and suspicious
looks from the rough men playing pool at the back to able
and lining the bar are par for the course.
EDUARDO, a small time hood, lines up a shot with a pool
cue, when a hand comes down on the ball he is about to
shoot. He looks up to...
MARCO
Hello Eduardo, que pasa?
EDUARDO
I have fifty bucks on this shot.
That's what's que pasa.
MARCO
(SMILING)
Hey sorry. Come on.
77.
He opens his arms. They hug. Eduardo is friendly, but
there is a hesitation, a tension in the air. As they break
marco takes a roll of cash out.
MARCO
Here. For you.
He goes to hand it to Eduardo.
EDUARDO
For what?
MARCO
First for fucking up your shot.
Second, for an address. You
remember Fabio? The Cataleya
Killer?
EDUARDO
It's a long time. My memory...
MARCO
You went to school with his brother
in law. What was his name? Emilio?
EDUARDO
Like I said...my memory...
Now the men at the bar are starting to take notice.
MARCO
I have a problem. And we think
Fabio's kid is behind it.
Eduardo takes the roll of bills and puts it in Marco's
shirt pocket.
EDUARDO
Look Marco. I gotta be honest
with you. Everyone knows you guys
were playing a double game, and
when the shit went down, you were
the only ones who got out of it
clean.
The men at the bar are now edging closer. One of them has
a shot gun resting along his leg, inconspicuous, and
conspicuous at the same time.
MARCO
So you do have a memory.
EDUARDO
Yeah. For rats. Now get the fuck
out, and let me take my shot.
MARCO
OK...
78.
Marco looks at Eduardo, who glares at him. Eduardo goes
to line up his shot. The tension in the room is thicker
by the moment. As Eduardo is about to hit the ball, Marco
grabs his hair and slams his forehead into the cue ball.
At the same moment, Marco's two thugs whip out their guns
and blast away. The shotgun wielding man, raises his gun,
and as he is killed by Marco, his blast takes out one of
Marco's thugs.
In an instant it is over. Everyone is dead, except Marco,
one of his thugs, and the dazed Eduardo. Marco notices
his ear is bleeding, touches it, it pisses him off that
blood has soiled his white shirt.
MARCO
Fuck...
Pissed, Marco yanks Eduardo up from the floor and slams
him onto the pool table. Sticks his gun in his face.
MARCO
You don't tell me what I want to
know by the count of three, you
scum sucking lowlife prick, your
memory will be permanently disabled.
One...two...
A buzzer sounds...
EXT. STREET - NIGHT
Danny opens the door to his building.
INT. DANNY'S APARTMENT - NIGHT
Danny enters to a candle lit room and...
CAT
I brought you something.
She is in a very sexy lingerie top. Her hands are behind
her back.
DANNY
That's real progress. Let's see.
She takes her hands out from behind her back, presents him
with a cute little stuffed alligator.
DANNY
Wow! Just what I always wanted.
CAT
You're making fun.
DANNY
No. No. I mean, a gift from you.
Something to show me you're thinking
of me as more than your boy toy.
79.
CAT
Well, there's that too.
She starts to peel off the lingerie.
DANNY
Wait.
She stops.
CAT
You don't want me?
DANNY
Of course I do. But can't we talk
a little first?
CAT
What would you like to talk about?
DANNY
Oh, I don't know. Nothing.
Anything.
CAT
You really want to do this?
DANNY
Yes, I do.
CAT
(AMUSED)
OK.
She stands there, waiting.
DANNY
So...what's new?
CAT
Nothing much.
She stops. Waiting.
DANNY
Where have you been?
CAT
On vacation.
DANNY
Really? Where?
CAT
Down south.
DANNY
Where there are alligators?
80.
He wiggles the toy.
CAT
There was that one.
DANNY
Was it nice?
CAT
It was OK.
DANNY
What did you do?
CAT
Nothing much. A little swimming,
fed the fish.
DANNY
OK. Now you.
CAT
Now me what?
DANNY
Conversation. It goes two ways.
CAT
OK. Want to fuck?
Danny starts to laugh. Cat, caught in the moment, begins
to laugh as well.
DANNY
OK. OK. I get it. You want to
protect yourself. I understand.
But I'm...I don't just want to be
here for the sex. I know a lot of
guys would think this is perfect.
She comes over, we fuck like mad.
She leaves. But I need a little
more.
She keeps staring, waiting.
CAT
Like what?
DANNY
Like...uh...some trust maybe.
CAT
That's a hard one for me.
DANNY
I got that. I'm not in a hurry.
And just so you know. The past?
If it's too painful right now?
(MORE)
81.
DANNY (CONT'D)
If you can't talk about? That's
OK. But, you know, if someone
hurt you before...like a broken
heart or something. I'm not
responsible for that. I just want
want to be here for you. To know
a little about what's inside.
What you feel. Just a little.
Cat hesitates, standing there half dressed, feelings that
she never wants to deal with coming to the surface.
CAT
I'm lonely sometimes.
She stops.
DANNY
...And?
CAT
Isn't that enough?
DANNY
It's a good start.
He smiles, puts the stuffed animal aside.
DANNY
Now we can have sex.
Cat smiles, caught a bit off guard by his sweetness. He
approaches her, she goes to touch him. He puts her hands
down, gently.
DANNY
Let me this time.
And for the first time, she lets him touch her first.
Let's him kiss her lips, her neck, and as he goes south,
kissing as he goes, the CAMERA holds on her face, and for
the first time she allows herself to receive, to give
herself over to being the seduced rather than the seducer.
And she likes it.
FADE TO BLACK
EXT. CHICAGO - SUNRISE
The city wakes.
CLOSE ON DANNY
Waking. Turning over, expecting to find no one there.
Surprise this time. Because there is someone there,
sleeping peacefully, her face, half covered by her hair,
bathed in the soft light of dawn...
82.
Cat.
Danny smiles, so pleased.
INT. KITCHEN - MORNING
Danny puts the finishing touches on a breakfast tray. He
looks at the stuffed animal she brought him. It warms his
heart.
INT. BEDROOM - MORNING
Danny stands with the breakfast tray, looking at Cat
sleeping. He cannot quite believe it. He puts the tray
down, takes his iPhone, points it at her, goes to take a
picture.
REVERSE ON CAT
She wakes with a start. To find Danny standing there with
a breakfast tray, and a big smile on his face.
DANNY
Morning.
Cat is disoriented.
DANNY
I didn't know if you like your
eggs over easy or scrambled, so I
made...
Cat jumps out of bed, starts to dress quickly.
DANNY
Wait...
CAT
I shouldn't have done this.
Pulls on her jeans.
DANNY
Done what?
CAT
Any of it.
DANNY
Why?
CAT
Because.
DANNY
Can we talk about it?
Pulls on her top.
83.
CAT
We already talked. I'm late.
Slips into her shoes. Does not answer.
DANNY
I made breakfast.
CAT
I don't like eggs.
As she heads for the door, she turns.
CAT
Now you know something else about
me.
And with a small smile, she is gone.
INT. HALL - MORNING
Outside Danny's door, Cat crosses to the elevator, waits
for it to come. As she does, she fixes her clothes a bit,
her eyes on Danny's door.
CAT
(TO HERSELF)
Don't come out. Please. Don't.
The door doesn't open. The elevator arrives. She takes a
deep breath, enters. The door closes.
EXT. PAINT SUPPLY STORE - DAY
Cat comes running in.
INT. PAINT SUPPLY STORE - DAY
Cat hurries down the aisle, keeping an eye on the security
camera. Making sure she stays on the far side, out of
it's range. She stops in the middle of the aisle, starts
to examine paint brushes.
CAT
Sorry I'm late.
ANGLE ON EMILIO
Standing next to her, looking at a color chart, hidden
from the security camera, as is she. He is pissed. He
has the newspaper with Woogard's picture. He throws the
paper in her face. Cat is taken aback by a display of
anger she has never seen in this man before.
EMILIO
You said you would stop the writing!
Then he shoves an article cut from a paper in her face.
84.
EMILIO
Read this!
As she starts...
EMILIO
Seven people slaughtered in a Miami
bar. I knew one of them. Years
ago, in school.
CAT
So what?
EMILIO
I don't like it. This is getting
too close.
CAT
Tio. Could be anyone. You're
seeing things that aren't there.
EMILIO
And you are so blinded by your
need for revenge that you are not
seeing things that are. The
handwriting is on the wall Cara.
Let me read it to you. This is
over. I will no longer accept
jobs. I will no longer solicit
jobs. You are retired.
CAT
How many people did you kill in
revenge for your boy's death? How
many? And you're going to give me
a lecture about revenge?
EMILIO
(CALM)
Cara. It's time to get a life,
before you run out of time. Here.
He hands her an envelope.
EMILIO
Maybe this will help you understand
what I am telling you.
Emilio leaves first this time. Cat just stands there, her
world rocked. She opens the envelope, takes out a
photograph, looks at it.
CLOSE ON A PHOTO OF CAT WITH HER PARENTS
Dressed for her first Communion. Everyone is smiling.
She is holding a Cataleya orchid bouquet.
ON CAT
85.
Her eyes well up. She can't hold it anymore. She begins
to cry.
VOICE
Five six. Brown eyes, hazel really,
dark hair, thick, shiny...
EXT. CAFE - DAY
Danny is sitting with his friend RYAN.
DANNY
Great body, killer smile.
(BEAT)
And I think about her all day long.
RYAN
Dude, you're in love.
DANNY
You're so smart.
RYAN
Seriously. This comes from the
heart. OK?
(BEAT)
You're nuts.
(BEAT)
The girl comes over, strips down,
rocks your world, gets dressed,
asks for nothing. Leaves. The
only thing she doesn't do is bring
the pizza and beer. You are living
my dream. And you want to go and
fuck it up with love?
DANNY
I knew you were the perfect guy to
talk about this with.
RYAN
Hey come on. It's me. Since first
grade. You and me?
He crosses his fingers.
DANNY
Ryan, I'm twenty eight. I met
someone who I want to be with.
All the time. I have nothing. A
stuffed animal.
(BEAT)
And a picture.
RYAN
You have a picture?
DANNY
In my phone.
86.
RYAN
Give it up!
Danny takes out his iPhone.
DANNY
It's not even a whole picture. I
took it while she was asleep.
Shows Ryan the picture he took of Cat.
CLOSE ON THE PICTURE OF CAT
Asleep in his bed, with the morning light on her face,
half hidden by her position and her hair.
RYAN
Whoa...total babe-age! When do I
meet the future Mrs. Delaney?
DANNY
Haven't you been listening to me?
I don't even know how to get in
touch with her.
RYAN
Dude. That is such a no brainer.
INT. POLICE HEADQUARTERS - NIGHT
Ryan and Danny stand beside SHARI, 26, who sits in front
of her computer, attaching Danny's iPhone to a port.
SHARI
You know, if you weren't my
brother's best friend...
RYAN
You're doing it for love Shari.
Not for me. When they walk down
the aisle, you can say you were
the one made it happen.
DANNY
Maybe I shouldn't...
SHARI
Up to you Danny. I do it all the
time. Photo goes in here. Bangs
around the National Data base
looking for a match. Bingo.
Address, phone number, shoe size,
dress size, rap sheet, anything
you want to know. It's really no
big deal.
DANNY
I just feel like, maybe, I'm
invading her privacy or something.
87.
SHARI
Hey guys, I haven't got all day.
(holds her hand on
the send button on
THE COMPUTER)
Yes or no?
Danny can't answer.
RYAN
Of course yes.
He hits the button. Cat's picture appears on the screen
with the message: BEGIN DOWNLOAD.
CLOSE ON THE PROCESS
Cat's picture gets turned into millions of pixels, which
start combining and recombining into faces that look like
her, don't look like her, looking for a match.
INT. ROSS'S OFFICE - NIGHT
Ross is staring at his Cataleya orchid, looking over his
reports, frustrated, when his computer screen lights up
the the following message: DATA MATCH 62%
And alongside the half assed pictures of Cat from the
security tapes in the police station, the picture from
Danny's iPhone starts to form. Ross picks up the phone.
ROSS
(EXCITED)
I want a trace put on an incoming
transmission!
Ross continues watching his screen: DATA MATCH PROBABILITY
68%.
A map comes up on his screen immediately. A grid map of
the city with a focus finder bringing the search area closer
and closer. Until the area is identified: One Police Plaza.
OVER THE INTONATIONS OF A CHOIR SINGING EASTER MASS...
INT. CATHEDRAL - DAY
Emilio, Mama and Pepe are sitting in a pew during Easter
mass. Someone comes up from behind, sits down next to
them. They turn to Cat. Who smiles, like a child. Emilio
smiles back. Mama takes Cat's hand, kisses it. They all
sit and listen to the Mass, like all the other families
around them.
EXT. CATHEDRAL - DAY
As everyone is exiting...
88.
MAMA
Cara. You will come home for lunch.
CAT
No Mama. One thing at a time.
She kisses them and walks off.
INT. CAR - DAY
Emilio drives.
MAMA
That was such a nice surprise.
PEPE
I knew it would happen.
EMILIO
Everyone grows up.
MAMA
I think she's going to be OK.
EMILIO
I think so.
As their car pulls into the driveway of the house...
FROM SOMEONE ELSE'S POV
REVERSE ON
INT. CAR - DAY
From down the street. Watching Emilio, Mama, and Pepe
enter the house. Marco. And three thugs.
INT. FBI OFFICE - DAY
On a larger computer screen, the various pictures of Cat,
none of them conclusive. As Ross and his team look on...
TECH
We need a common base, so let's
try size...
He punches his keyboard. The computer screen shuffles the
pictures until they all match up, one on top of the other.
And on the screen: SIZE CONFIRMATION: MATCH 96%
TECH
Good...now let's see...hands...
He focuses in on the hands on the pictures from the security
tape and the ones from Danny's iPhone picture. The images
start moving, matching. And when they are coordinated, on
the screen: HAND CONFIRMATION: MATCH 95%
89.
TECH
Looking good. And now...
He types in nose match. Again the pictures shuffle, line
up. NOSE CONFIRMATION: MATCH 98%
TECH
Nice nose.
AND THEN THE MESSAGE COMES UP: MATCH IDENTIFICATION: 100%
TECH
That's your girl.
CLOSE ON CAT
In the shower. The water pelting her face.
AS THE CAMERA WATCHES HER, IT FEELS LIKE SOMEONE ELSE IS
THERE WATCHING TOO.
INT. CAT'S APARTMENT - DAY
Cat, outside the shower.
AGAIN, THE CAMERA WATCHES HER AS IF THERE IS SOMEONE ELSE
THERE. THIS BEGINS TO FEEL A LITTLE CREEPY. VERY TENSE.
INT. CAT'S APARTMENT - DAY
Cat, in a bra and panties, walks across to the kitchen,
pours a drink. Downs half of it, then refills the glass.
AND STILL, THERE IS THIS FEELING SOMEONE IS THERE, WATCHING.
THAT AT ANY MOMENT, SOMEONE IS GOING TO POUNCE.
INT. CAT'S APARTMENT - DAY
Cat sits by the living room window. Takes the last drop
of the drink. As she looks out on the night sky, she lights
a cigarette. Feeling so alone. She takes one drag on the
cigarette, stubs it out. She takes the picture of herself
and her parents, looks at it, sighs deeply. A tear forms.
Her loneliness, her sense of isolation grows. For the
first time, she seems a bit lost.
INT. DANNY'S APARTMENT - DAY
Danny sits by his window, also feeling a bit lost, and
also, so lonely. He stares at the picture of Cat on his
phone. When the phone rings.
DANNY
Hello?
INTERCUT
CAT
It's me.
90.
Danny's heart goes to his throat.
DANNY
Oh my god! I can't believe it!
Hello you.
INT. ROSS'S OFFICE - DAY
Ross's computer bings. Danny's name and number come up
with the message: CALL ACTIVE. Ross looks up.
INT. CAT'S APARTMENT - DAY
CAT
Are you busy?
INTERCUT
DANNY
No. I...no.
CAT
I was just sitting here, looking
out the window. And I
thought...where are you?
INT. ROSS'S OFFICE - DAY
Ross and his team are listening to the call on an intercom.
On the screen a tracer is looking for the location of the
call.
INTERCUT
DANNY
In my apartment. Looking out the
window.
CAT
So we're seeing the same sky.
ROSS watches the search narrow...
DANNY
Yes. I'm so happy to hear your
voice.
NARROW...
CAT
And I'm happy to hear yours.
UNTIL A RED BLINKING CIRCLE APPEARS ON THE MAP AROUND ONE
BUILDING
ROSS
We got her! I want SWAT there!
All of them! Now!
91.
Ross and his team run out of their office. AND WE ARE
BACK TO...
DANNY
You know it's so crazy. I was
just sitting here, looking at your
picture, thinking "I'd wish I could
call her." And you called.
Cat's antenna go up.
CAT
...What picture?
Danny gulps hard, realizing he has made a mistake.
DANNY
I'm sorry. I know I shouldn't
have. But I have nothing to
remember you by, except this little
stuffed...
CAT
(TIGHT)
What picture Danny???
DANNY
I took a picture of you while you
were sleeping. With my phone.
Cat leaps out of her chair, on full alert now. She opens
her cabinet to the four screens.
DANNY
Jen. I'm sorry. Really. I didn't
mean to offend you.
Cat attaches a device to her computer. Does not respond.
DANNY
...it's just you looked so cute.
I can erase it if you want. It's
not even a good picture...Jen?
Cat is not listening, she is looking at a message flashing
across the screen. THIRD PARTY ON LINE.
CAT
(NERVES KEENING)
Who else saw the picture?
Cat flips the switch on her surveillance screens.
DANNY
Nobody. My friend Ryan...
CAT
Who else?
92.
DANNY
His sister. I didn't want to..it's
just...I wanted to contact you. I
wanted to...
CAT
(HARD)
What does the sister of Ryan have
to do with this?
DANNY
Shari, that's Ryan's sister...she
works at Police headquarters...
And now Cat knows everything.
DANNY
I just wanted to be...
On her surveillance screens, Cat sees FBI SWAT pulling up
to the building.
CAT
Closer. I know. Goodbye Danny.
Cat hangs up, rushes into the bathroom, turns the shower
on full blast. Hurrying out, on her screens, she sees the
SWAT swarming into the building. Cat opens a cabinet. On
the back of the door are a dozen keys. She chooses one.
She checks the screens one more time, sees the SWAT rushing
the stairs, the elevators. She turns off her screens.
And runs out of the apartment in her t-shirt and panties.
Barefoot.
INT. STAIRCASES - DAY
The SWAT are running up the stairs.
INT. ELEVATOR - DAY
The SWAT led by Ross are watching the elevator numbers
climb.
INT. HALL - DAY
Cat reaches the stairs just as the elevator is reaching
her floor. She ducks down the stairs as the elevator door
opens, and Ross and his team step out, guns raised,
exercising extreme caution, keeping very quiet.
INT. STAIRCASES - DAY
Cat takes the stairs two at a time.
INT. STAIRCASES - DAY
The SWAT comes running up the stairs, two at a time.
93.
QUICK CUTS BETWEEN CAT AND THE SWAT. SHE GOING DOWN, THEY
ARE COMING UP. AND JUST WHEN THEY ARE ONE FLOOR APART,
WHEN IT SEEMS THAT THEY ARE GOING TO COLLIDE, RUN INTO
EACH OTHER...
CAT EXITS THE STAIRS ON THE SIXTH FLOOR.
A MOMENT LATER THE SWAT COME RUNNING BY WHERE SHE EXITED.
INT. HALL - DAY
Swat 1 listens at Cat's door. Ross is at the end of the
corridor.
SWAT 1
(whispers, on mic)
Shower.
Ross signals for a scope. SWAT 2 takes a flex cam, and
begins to slide it under the door.
INT. SIXTH FLOOR HALL - DAY
Cat comes to a door, uses her key to open it. She enters
to...
INT. APARTMENT - DAY
...a guy eating his lunch in front of the TV.
GUY
Hey!
He reaches out to grab her. Cat grabs his hand and slams
his face into his tray of food, knocking him cold.
INT. HALL - DAY
Ross watches the screen as the flex cam shows the interior
of Cat's apartment.
INT. BATHROOM - DAY
Cat pulls down a camouflaged hinged door in the ceiling.
On it, is a harness, with several things attached, guns,
charges, thick metal clips. She slips into the harness.
INT. HALL - DAY
Ross's team goes from apartment to apartment. Knocking.
AGENT 1
FBI...
INT. HALL - DAY
On the video cam, Ross is seeing nothing in Cat's apartment.
He points to one of the SWAT, signals for him to set charges
against the door. The man begins to do so.
94.
INT. BATHROOM - DAY
Cat is setting charges in a rectangular pattern on the
rear bathtub wall.
INT. HALL - DAY
The agents at an apartment door...
AGENT 1
No ma'am everything is under
control. We just need you to stay
inside. May we have a look around?
As the FBI enters...
INT. BATHROOM - NIGHT
Cat has finished setting her charges. She looks up at the
ceiling, listens.
INT. HALL - DAY
Ross's man has finished setting the charges. He looks at
Ross. The rest of the team fingers their weapons.
INT. BATHROOM - DAY
Cat waits, looking up.
INT. HALL - DAY
An FBI agent knocks on the door of the apartment she has
just entered.
INT. HALL - DAY
Ross give the go ahead nod. The SWAT hits his detonator.
At the same moment that his charges explode...
INT. BATHROOM - DAY
Cat hits hers...
BOOM!
INT. HALL - DAY
Cat's door blows open, the SWAT flood in.
INT. BATHROOM - DAY
A perfect rectangle is blown in the wall, revealing utility
pipes.
INT. CAT'S APARTMENT - DAY
Ross and his crew swarm all over the place. Find the
shower, empty.
95.
INT. BATHROOM - DAY
Cat has attached the hooks from the harness to the pipes.
INT. CAT'S APARTMENT - DAY
Ross barks into his walkie talkie.
ROSS
She's not here. Lock the building
down!
INT. BATHROOM - DAY
Cat lets go. And drops.
TRACK CAT AS SHE SLIDES AT A FANTASTIC SPEED DOWN THE
UTILITY POLES
INT. CAT'S APARTMENT - DAY
Ross is looking at the bank of security monitors in Cat's
cabinet, sees all his men, all over the place, inside the
building, outside.
ROSS
Where the hell did she go?
INT. SHAFT - DAY
Cat lands on the floor, next to door. She unhooks herself
from the pipes, and pushes out the door. Enters through
to the...
INT. GARAGE - DAY
Cat looks around, listens, and then begins to make her way
across the garage, using the parked cars as cover from the
security cameras.
INT. BUILDING - DAY
Ross leads his men as they scour the building.
ROSS
No one in or out! Lock this place
down! Anyone?
EXT. BUILDING - DAY
AGENT 1
Nothing here.
INT. HALL - DAY
AGENT 2
Nothing here.
96.
INT. GARAGE - DAY
Cat reaches an open space where cars just cannot shield
her. There are two security cameras covering it. Cat
draws one of her silencers and shoots the lens out of one
camera.
INT. SECURITY OFFICE - DAY
An agent is standing next to the building security guard,
when one camera goes out.
ROSS V.O.
Anything?
AGENT 1
Nothing...wait...one security camera
down.
INT. ELEVATOR - DAY
Ross pauses.
INT. GARAGE - DAY
Cat shoots the second camera. Heads across the open space,
quickly.
INT. SECURITY OFFICE - DAY
AGENT 1
The second one is down.
ROSS
Where?
AGENT 1
The garage!
ROSS
(into walkie talkie)
All units! Converge on the garage.
Cover every exit!
INT. GARAGE - DAY
Cat has reaches a vent, which she removes, having loosened
the screws before.
INT. GARAGE - DAY
The SWAT and Ross's team flood the garage. Vehicles
screeching in, men running in full body armor, guns ready.
CLOSE ON THE VENT GRATE
Cat is just climbing into the space behind it.
PULL BACK TO The SWAT ALL OVER THE PLACE
97.
CLOSE ON CAT PULLING THE GRATE CLOSED
PULL BACK TO THE SWAT PASSING BY LOOKING EVERYWHERE.
ROSS
(FRUSTRATED)
Look under every car. In every
trunk!!!
INT. SUBWAY TUNNEL - DAY
Cat hurries along a tunnel, comes to a utility door, and
enters.
INT. UTILITY CHANGING ROOM - DAY
Cat enters a room full of lockers. She starts opening
them until she finds what she is looking for. A maintenance
uniform.
INT. SUBWAY TUNNEL - DAY
Cat walks along in coveralls, boots and a hard hat, passing
several crews of workers welding, hammering, doing repairs.
She disappears into the gloaming.
FADE TO BLACK
EXT. EMILIO'S STREET - EARLY MORNING
A normal day. Kids playing ball. Trashmen picking up
trash.
ANGLE ON THE REAR OF EMILIO'S HOUSE
Cat enters the house.
INT. EMILIO'S HOUSE - MORNING
Cat walks through the house like it could be a trap, a
silencer in her hand. Her senses are keening, she is that
alert. And then she finds the first body.
Mama. Dead. A bullet in her head.
Cat has all she can do to keep it together. Then she finds
Pepe, a bullet in his head. It is almost too much for her
to bear.
And then she finds Emilio, tied to a chair, tortured. To
death. This IS too much for her to bear.
Cat cuts Emilio's beaten and bloodied body loose, and gently
takes HIM in her arms. And begins to cry.
CAT
I'm sorry...I'm sorry...I'm sorry
98.
INT. FBI OFFICE - DAY
An operator answers.
OPERATOR
Federal Bureau of Investigation.
How may I direct your call?
EXT. STREET - DAY
Cat is on a pay phone.
CAT
I'd like to speak to the agent in
charge of the TAG killings.
INT. ROSS'S OFFICE - DAY
Ross is pinning up the pictures of Cat on his board. His
phone rings.
ROSS
Agent Ross. Hello? Hello?
EXT. STREET - DAY
Cat hangs up the phone.
EXT. FBI BUILDING - EVENING
The building is emptying out. In the lobby, Ross passes a
floor cleaner and a lone security guard.
INT. MARKET - EVENING
Ross picks up a prepackaged meal.
EXT. ROSS'S APARTMENT - EVENING
Ross enters his building.
INT. ROSS'S APARTMENT - EVENING
Ross enters, turns on the lights, revealing an apartment
as austere as Cat's. Heads for the small kitchen, where
he is about to put his precooked meal in the microwave.
When he feels a gun in the back of his neck.
CAT
This won't take long. Hands up.
Ross raises his hands. Cat reaches around, removes his
gun.
CAT
Turn around.
Ross faces her.
99.
CAT
Sit.
She motions him into the chair behind him.
ROSS
Just so you know, all this? Being
so smart? Covering all your bases?
It's not going to matter. It's
already over. The whole place is
wired with web cams.
His moment of triumph is short lived. Cat reaches on the
side of the counter. Holds up six web cams, wires ripped
out.
CAT
You mean these?
Tosses the ripped out cams onto the table.
CAT
Talking about covering all your
bases. Your chair is pressure
wired. You move your ass one inch
you don't have one anymore.
Ross looks under the chair. Sure enough, there are several
wires leading out of the bottom of the chair. He looks
further to the where the wires attach to a small charge.
She puts her gun down on the table.
CAT
I know what you're thinking. Maybe
yes a bluff, maybe no. But you
have to figure yes, given what you
know about me.
Ross does not move.
CAT
This wasn't what I had in mind for
myself when I was a kid. I wanted
to be on the other side of things.
Like you.
ROSS
So what happened?
CAT
He did.
She takes out an old picture of Don Luis, lifted from the
internet. She takes out the picture of her parents and
her as an eight year old.
CAT
This is the last time I was happy.
(MORE)
100.
CAT (CONT'D)
The next day they were dead. He
killed them.
ROSS
And all this? All these
clues...they weren't for us. They
were for him.
CAT
I didn't know how else to find
him.
ROSS
And you figured sooner or later we
would make this public.
CAT
It took you a long time.
ROSS
You're very patient.
CAT
What else do I have to be? I have
no one. I did. Until this morning.
I had them.
She takes out pictures of dead Mama, dead Emilio, dead
Pepe.
ROSS
You sent him a message. He sent
you one back.
CAT
And now I want to finish it.
ROSS
I can't help you.
CAT
Yes you can. He's protected by
your government.
ROSS
By a part of the government I have
no way of reaching. It's CIA. I
don't know why. But there's no
getting through it, under it, around
it, believe me, I've tried.
CAT
You're going to have to try harder.
She takes a photo album out, opens it.
101.
CAT
I found this on your table inside.
Your family, right?
Begins to flip pages.
CAT
Brothers, sisters, nieces, nephews.
Mother, father. Nice.
Ross knows what is coming.
CAT
I know this sounds harsh. But
until I get what I want, you'll go
to a funeral a week. And you will
begin to feel what I have felt all
these years.
She places the photo album in his lap. Puts his food in
the microwave, starts it. Goes to exit.
ROSS
Wait...
She stops.
ROSS
What about...?
He points to the chair.
CAT
When your dinner's ready, the timer
on it will have expired. Then you
can get to work.
And she is gone. Ross watches the timer on the microwave.
When it beeps, he sits a moment longer. Hesitates to get
up. Little by little, he moves himself off the chair,
tentative. Afraid that any moment, BOOM! Until he makes
the final move, stands just enough to clear the seat,
waiting for the worst to happen. And when it doesn't, he
breathes a sigh of relief.
EXT. CIA OFFICE - DAY
A non descript building.
INT. RICHARD'S OFFICE - DAY
Facing a large picture window...
RICHARD
You understand, I only agreed to
this meeting out of professional
courtesy.
(MORE)
102.
RICHARD (CONT'D)
The President wanting us to reach
out to you folks on the domestic
side, and all that pie in the sky
crap.
(BEAT)
The truth is, I really can't help
you at all.
ROSS
Can't or won't.
RICHARD
Same thing really.
ROSS
Look, let's put all our cards on
the table here. I've met this
woman. The killer.
RICHARD
(SKEPTICAL)
Really? Where?
ROSS
My apartment. She trapped me.
She told me if I did not get her
this man.
He puts Luis's picture on the desk.
ROSS
She will kill a member of my family
every day until I have none.
Richard pauses. Then he begins to laugh.
RICHARD
You're kidding me?
ROSS
Do I look like I could make
something like that up?
Richard says nothing.
ROSS
So? What should I do now?
RICHARD
I'd go to the police. Now if you'll
excuse me, I have a meeting...
He goes to rise, when Ross's phone rings. He answers.
ROSS
Ross.
(BEAT)
It's her.
103.
Richard sits back down.
ROSS (CONT'D)
She says you either give her what
she wants or she is going to
redecorate your office.
Ross points to Richard's chest where a red laser beam holds
on his heart.
ROSS
Bright red.
RICHARD
What does she think this is?
Amateur hour? Tell her that glass
is tempered to resist a direct hit
by a fifty seven millimeter
ordinance.
All of the sudden, a bullet shatters the window; destroying
a picture of Richard standing with the President hanging
on the wall just behind his head. The red dot is back on
Richard in a heartbeat.
ROSS
She says she's using seven point
six two steel jacketed armor
piercing shells. And you have ten
seconds to give her the address.
Richard starts to come unglued.
RICHARD
How can I be sure once she has the
address she won't kill me anyway?
ROSS
You can't. But I can assure you
that if you don't give her the
address you will be number twenty
four on her hit parade. Trust me
on this one.
After an interminable moment...
RICHARD
Eight seven six Magnolia Terrace...
New Orleans.
There is a long pause on the other end of the phone.
ROSS
She asked you to keep this
conversation strictly confidential.
RICHARD
(SWEATING)
With pleasure.
104.
A moment later, the red dot disappears from Richard's chest.
Richard breathes out. Ross reaches out, shakes richard's
limp hand.
ROSS
Thank you. Because honestly I
didn't know how I was going to
explain you splattered all over
your walls.
Ross exits. Richard looks at the shattered picture. The
President's head is intact. The bullet has ripped Richard's
face clean off.
CLOSE ON A BIG STEEL DOOR OPENING REVEALING An ARMORY OF
WEAPONS FROM PISTOLS TO RPG's.
PULL BACK TO
INT. PEPE'S WAREHOUSE - NIGHT
Cat loads weapons and ammo into Pepe's big red truck. The
last thing she takes: a LAWS rocket launcher. The dogs
sit there, watching her.
CAT
You guys ever been to New Orleans?
Off the dog's puzzled faces...
SMASH!!!!!
The red truck smashes through the doors of Pepe's warehouse.
EXT. PEPE'S WAREHOUSE - NIGHT
The truck heads off down the road, disappearing into the
night.
FADE TO
INT. TRUCK - NIGHT
Cat drives through the night, just watching the road. The
dogs sit behind her, also watching the road. She passes a
sign: NEW ORLEANS 500 MILES.
EXT. SMITH ARCHITECTURAL OFFICE - MORNING
SMITH, a courtly old architect, opens his door and enters
his building.
INT. SMITH ARCHITECTURAL OFFICE - MORNING
Smith enters to find...
CAT
Good morning.
105.
Sitting, with two cups of coffee, and pastries.
CAT
I didn't know if you took sugar
and cream, so I got one of each.
SMITH
Who are you?
CAT
You designed the house at eight
seven six Magnolia.
SMITH
You either leave immediately young
lady or I am going to call the
police.
Cat pulls a gun.
CAT
I would love to see the plans of
this house.
CLOSE ON A SIMPLE FLOOR PLAN OF A HOUSE
MARCO
You will take up positions here...
PULL BACK TO
INT. DON LUIS'S MANSION - DAY
As Don Luis sips a cognac, staring out the big bay window
onto the wide street beyond the garden.
EXT. DON LUIS'S MANSION - DAY
The house sits prominent in the middle of a quiet
neighborhood.
INT. DON LUIS'S MANSION - DAY
Marco points to the floor plan, explaining to the dozen
thugs gathered with their weapons...
MARCO
And here. And here. You must
expect the unexpected. She is
like mist under a door, like a
mouse in the wall. She will never
attack straight on. You will not
see her, until it is too late.
She is that invisible.
ON DON LUIS as he sips his cognac. He sees a big red truck
approaching in the distance up the road. As he watches,
squinting, curious, the truck does an abrupt U turn. Marco
drones on in the background...
106.
MARCO
We would prefer she be taken alive.
But with a bitch like this, if you
get a kill shot you take it.
...Don Luis watches, as a woman gets out of the truck. He
cannot make out who it is, what with the fog and his
vision...
DON LUIS
Marco?
He sees the woman open the rear door of the truck, and
pull something out. He takes his glasses out of his pocket,
puts them on. Just in time to see...
CAT SHOULDERING A LAWS SHOULDER ROCKET!!!
DON LUIS
MARCO!
Marco turns.
ANGLE ON CAT FIRING THE ROCKET
ANGLE ON MARCO DON LUIS AND THE THUGS
Seeing the rocket heading right for the salon. They all
leap out of the way, just as the rocket comes crashing
through the bay window. And blows the salon to smithereens.
Cat reenters the truck, drives off fast.
As the debris falls, and the dust and smoke rises, Marco
helps Don Luis up. He is a little stunned. Through the
gaping hole where the bay window was, they see the red
truck driving off.
MARCO
You four! Get the armored Mercedes!
We have to get Don Luis out of
here!
The four run off.
MARCO
Don Luis! This way! Everyone to
their positions!
As they all run out...
INT. GARAGE - DAY
The four thugs run into the garage, where there are several
cars. And a big armored van.
THUG
OK! Everyone in!
But just as they open the doors to the big Mercedes...
107.
THE RED TRUCK COMES RAMMING THROUGH, TAKES OUT THE WHOLE
WALL OF THE GARAGE! DESTROYS THE MERCEDES.
Cat leaps out of the truck, and before the four startled
thugs know what has hit them, she puts three of them down
with shots to the heart.
The fourth runs out the back.
EXT. GROUNDS - DAY
The fourth thug runs for all he is worth, bleeding from
his forehead, panicked.
ANGLE ON CAT
Calmly exiting the garage, she removes a set of throwing
knives from a belt around her waist, taking a long minute
to gauge the distance. When he has almost reached the
safety of the house...
ON THE THUG RUNNING
ON CAT FLINGING THE KNIVES
TRACK WITH THE KNIVES AND THEN...
ON THE THUG
He drops like dead lead, the two knives embedded in his
back.
ANGLE ON MARCO WITH DON LUIS
Inside the house, seeing Cat through a window.
ANGLE ON CAT
Looking back at him. Pointing a finger at him. Before
she disappears in to the drifting mists.
ANGLE ON
MARCO
Don Luis! You hide here.
He opens a secret door in the wall, revealing a small space.
Barely big enough for a man.
MARCO
Wait for my call. Either she is
dead, or we have her far enough
away so you can make it to the
garage. Take the van. The armor
is so thick nothing short of an
atomic bomb can penetrate it.
DON LUIS
Marco. Thank you.
108.
MARCO
(TOUCHED)
That's the first time you ever
said that.
DON LUIS
Said what?
MARCO
Thank you.
DON LUIS
Don't get used to it.
Don Luis shuts the door. Off the door slamming...
Another door opens, but this one is...
EXT. DON LUIS'S MANSION - DAY
On the side of the mansion, and leads into the foundation.
Cat crawls in and pulls the door shut.
INT. DON LUIS'S MANSION - DAY
Marco and the men are walking through the mansion, guns at
the ready, when they come to a long stretch of hallway.
Marco signals them to stop. He listens carefully. Signals
for one of the men to move down the hall.
As Marco and the other men wait, the first thug makes his
way down the hall, looking left and right, opening doors...
ANGLE ON UNDER THE FLOOR FROM THE CAMERA'S POV
As the man walks along above, the floor creaks, dust drops
down in a fine cloud. As the man progresses, and the dust
gets closer and closer...
ANGLE ON THE THUG ABOVE
Turns to Marco to signal everything is OK. Just as he
signals he is riddled from below with dozens of bullets.
The man dances like a puppet on a string, before falling
to the floor, dead. Marco takes a grenade out, flings it.
MARCO
Down!
Marco and the thugs dive for cover.
BAARROOM!
The grenade blows a big hole in the floor. As soon as the
smoke and the debris stop falling...
MARCO
Go!
109.
The thugs hesitate. Marco points his gun at them.
MARCO
Now!
Hesitant, the thugs approach the hole. Pointing their
weapons, they unload a barrage of bullets. Then stop.
Nothing moves. One of them peers over the side.
BANG!
A single shot pieces his eye.
MARCO
Outside!
The thugs and Marco run...
EXT. DON LUIS'S MANSION - DAY
The thugs set up two big ass 50 caliber machine guns at
the two openings in the foundation.
MARCO
Kill her!
The thugs manning the guns let loose, blasting away. Smoke
and flashes from the muzzles mingle with the fog.
INT. CLOSET - DAY
Don Luis hears the firing, which thunders through his
closet.
EXT. DON LUIS'S MANSION - DAY
The thugs fire until their ammo is spent. As the sound
dies away, silence reigns.
INT. CLOSET - DAY
Don Luis hears the silence. He speed dials on his phone.
EXT. DON LUIS'S MANSION - DAY
Marco's phone rings.
MARCO
(WHISPERS)
Checking.
He motions for one of his men to look into the dark hope.
Hesitant the man peeks around the side. Nothing happens.
MARCO
(WHISPERS)
I think we got her.
110.
INT. CLOSET - DAY
Don Luis lets out a sigh of relief.
DON LUIS
Did you see the body?
EXT. DON LUIS'S MANSION - DAY
Marco urges his man to look deeper, expose himself more,
to look in the hole. Marco watches as the man does so,
very cautiously. Still no movement. He moves full body
into the opening to peer in.
BANG! BANG! BANG!
Is blown back by three fast shots.
INT. CLOSET - DAY
DON LUIS
Marco??
EXT. DON LUIS'S MANSION - DAY
MARCO
(INTO PHONE)
Stay where you are!
And then he starts screaming into the hole, careful to
stand just off to the side.
MARCO
You know what bitch? I loved
killing your father. He was a
coward! And you know what else?
I screwed your mother behind your
father's back! We all did! She
couldn't get enough of it! The
whore! I killed her! I killed
him! You want to avenge them?
The whore and the coward? That's
what you come from! Come out!
I'm here! Come get the bullet
with your name on it, Bitch!
Silence. And then, a whistle from above. Marco looks up
to see Cat, standing on a second floor balcony with two
pistols.
MARCO
Kill her!
Marco starts to fire, his men raise their guns. Too late.
In the blink of an eye, with bullets flying wildly all
around her, Cat blows five of the seven thugs surrounding
Marco away. Marco and the remaining two thugs run toward
the guest house. Out of the range of her guns.
111.
INT. CLOSET - DAY
Don Luis is panicking. Yelling into the phone.
DON LUIS
Marco! Marco!
INT. GUEST HOUSE - DAY
Marco and the two thugs run into the small house.
MARCO
You two here! That door opens...
He points to the door they just came through.
MARCO
...kill anything that comes through.
Marco runs into the bedroom.
INT. BEDROOM - DAY
Marco runs to the curtained windows, rips the curtains
back, hoping to escape. And finds that the windows have
metal hurricane shutters on them. With locks. Marco pulls
out a set of keys, frantically tries fitting the keys to
the locks. None of them work.
MARCO
Shit!
He runs for the door again. Just as he has his hand on
the knob, two shots ring out.
MARCO
Giorgio?
Nothing.
MARCO
Tonino?
No answer. He checks his gun, realizes he is out of ammo.
He knows his time has come. He drops is gun, backs away
from the door. Backs right up to the bed, and sits down.
His phone rings.
INT. CLOSET - DAY
DON LUIS
Marco! What the hell's going on???
INT. BEDROOM - DAY
Marco just stares at the door.
MARCO
Hold on.
112.
There is a small sound outside the door.
MARCO
I will hold here! Run! Run!
The door shatters as Cat kicks her way in. Marco pulls
his trigger. Click! Click! Click! Marco is frozen.
Just stares at Cat. Waiting for what is going to come.
MARCO
Do it! Do it you bitch! Isn't
this the moment you've been waiting
for?
CAT
Yes, it is.
She empties her gun into him.
EXT. DON LUIS'S MANSION - DAY
Gripped by fear, Don Luis runs for all he is worth across
the fog shrouded garden until he reaches the garage. He
yanks open the door, runs inside.
INT. GARAGE - DAY
Don Luis runs around Pepe's red truck and the crumbled
Mercedes, jumps in the armored van.
INT. ARMORED VAN - DAY
Don Luis fumbles with the keys, grinds the ignition in his
desperation. The engine turns over. Don Luis slams the
transmission into gear, but bangs into the crumbled Mercedes
blocking his way. He slams the gearshift into reverse,
bashes into the wall behind him, and then jerks the gear
shift into drive, ramming the Mercedes with a little more
room. Back and forth back and forth, Don Luis rams at the
Mercedes until he has made enough room to turn the van,
bang past the Mercedes, and smash his way out of the garage.
EXT. DON LUIS'S MANSION - DAY
The van comes roaring out of the garage, tearing up the
gardens, jumping on the driveway and speeding off to the
main road.
Cat comes running from the opposite direction, two guns
blazing.
INT. ARMORED VAN - DAY
As bullets ping off the van, Don Luis regains some of his
confidence. A small smile breaks across his face as he
looks in his rear view mirror and sees Cat running and
firing, losing ground.
113.
EXT. DON LUIS'S MANSION - DAY
Cat reaches the end of the driveway, fires her last shots,
runs out of bullets. Stands watching the van head off
down the road.
INT. ARMORED VAN - DAY
Don Luis watches her run out of ammo, standing in the road
receding.
DON LUIS
(LAUGHING MADLY)
I beat you bitch! You can't kill
me! I am unkillable!
EXT. DON LUIS'S MANSION - DAY
Cat stands in the road, watching the van. She takes out
Marco's cellphone.
CLOSE ON THE SCREEN
Cat scrolls the phone book. She highlights VAN. Presses
SEND.
INT. ARMORED VAN - DAY
Don Luis is at a red light, so pleased with himself.
Humming a tune. When the van phone rings. Surprised, he
looks at the call coming in. MARCO. He presses the
speaker.
DON LUIS
Marco?
CAT
It's Cataleya.
DON LUIS
I don't understand you. You should
have been dead a long time ago.
You got lucky. You escaped. You
were given a second chance at a
life. Why did you not take it?
Why did you involve yourself with
this insanity?
CAT
For something you can never
understand. The love I had for my
parents. And you killed that.
DON LUIS
And because of that, you have ruined
your whole life to try to kill me?
You stupid bitch. Don't you get
it? Someone like me?
(MORE)
114.
DON LUIS (CONT'D)
I cannot be killed. I do the
killing. Not the other way around.
And now it is your turn to be
hunted. You will never find me.
But as day follows night, believe
me, I will find you. And I will
kill you. And you know why?
Because I will never be where you
can kill me. I will never be where
you want me to be.
CAT
Actually Don Luis...you are exactly
where I want you to be.
Don Luis doesn't get it. And then he hears a low growling
behind him. He turns a little, sees sitting there in the
dark recesses of the van, two enormous dogs. Pepe's dogs.
His eyes register confusion, then apprehension...
EXT. DON LUIS'S MANSION - DAY
Cat hears the growl over the phone. A small smile breaks
across her face. And then se speaks into the phone one
last time. One word.
CAT
EAT!
EXT. ARMORED VAN - DAY
Over the sounds of the dogs tearing Don Luis to pieces and
his horrible screams, the van shakes as if it were caught
in an earthquake.
EXT. DON LUIS'S MANSION - DAY
Cat's shoulders sag, relax. Her face is peaceful as it
has never been before. She looks at Marco's phone.
Thinking.
ROSS V.O.
I want you to think hard...
INT. ROSS'S OFFICE - SUNSET
Danny sits opposite Ross.
ROSS
Was there anything else?
DANNY
I already told you everything.
She would come over, we'd have
amazing sex, and she would leave.
It's really late, and I'm really
tired, if you're not going to arrest
me...
115.
ROSS
We don't really have anything to
charge you with.
DANNY
Then can I go?
ROSS
Just a few more questions.
DANNY
Can I have a cup of coffee?
ROSS
Sure.
Ross gets up and leaves the room. Danny is feeling really
shitty. He takes his phone out of his pocket, looks at
Cat's picture. And then it rings.
DANNY
Hello?
INTERCUT BETWEEN...
CAT V.O.
Hello Danny.
DANNY
(STUNNED)
Jen...I...uh...I'm so sorry. I
didn't mean...are you OK?
CAT V.O.
I'm fine.
She says it without the slightest bit of sarcasm.
CAT V.O.
Where are you?
DANNY
FBI headquarters. I didn't tell
them anything...besides...
CAT V.O.
That I would come over and we would
have amazing sex. Your phone is
tapped, you know that?
DANNY
I know.
CAT V.O.
You have forty seconds before they
pick up on this. Gives you the
time for three questions.
116.
DANNY
OK...What's your real name?
CAT V.O.
...Cataleya.
Danny looks at the orchid on Ross's desk. Sees the name
tag. Smiles.
DANNY
Like the flower.
Now Cat smiles. How did he know that?
CAT V.O.
Twenty seconds.
DANNY
Will I ever see you again?
CAT
I know where to find you.
EXT. COFFEE MACHINE - SUNSET
Ross is drawing coffee.
AGENT 1
Ross. We're picking something up
off that kid's phone.
Ross drops the coffee, hurries back to the office.
INT. ROSS'S OFFICE - SUNSET
DANNY
If there is ever a chance. I want
you to know...I could love you.
If you let me.
CAT V.O.
Last question.
DANNY
...I love you.
Cat holds on that one for a moment...then the beeping of a
phone connection cut...Danny closes his eyes. Ross bursts
into the office. Grabs the phone from his hands.
ROSS
Cataleya? Cataleya!
EXT. COUNTRY BUS STOP - SUNSET
Cat, in jeans, t-shirt, a baseball cap with her pony tail
sticking out the back, exits a phone booth, She boards a
waiting bus. The doors close. The bus drives off down an
endless road.
117.
THE END
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