Güeros

(TREATMENT 8.1 - RUNNING-IN)

by Alonso Ruizpalacios
and Gibrán Portela

FADE IN:

1 EXT. BUILDING - DAY 1

A large water-filled balloon falls in SLOW MOTION.

It shines under the sun. It seems alive.

DARK

2 INT. ROOM - DAY 2

A phone rings insistently. A baby cries uncontrollably.

lying on an unmade bed. A WOMAN (30s) walks from
from one side to the other, taking clothes out of wardrobes and drawers,
putting them in a suitcase, frantic. It has a blow to the
face and tearful eyes.
The phone goes silent. The woman leaves the room, leaving the
baby alone. The phone rings again. The baby's crying
makes stronger.

3 EXT. STREET - DAY 3

Close-up of the baby crying in an old stroller that moves forward.
quickly down the street. His head bounces with the movement.

The woman is pushing the stroller on the sidewalk,

loading the heavy suitcase. All the time he/she searches with his/her gaze
en la calle, angustiada. Es un barrio de clase media en el
port of Veracruz.

The baby won't stop crying. The woman stops, takes off a...
ties the hair and gives it to the baby. She caresses him and
tranquilize (as desired).
They keep moving forward. The baby puts the rubber band in its mouth.
finally calming down. The woman walks quickly. She fixes herself.
the hair and the dress, suddenly aware of her appearance.

Before reaching the corner, the Woman hears a noise that

It comes from above. Look at the sky and, immediately, it comes to you.
a big round thing that hits her - destabilizing
the CAMERA completely. It is a balloon with water that soaks it.
her and the baby.

DARK
 GÜEROS - Shooting 8.1

4 EXT. ROOFTOP - DAY 4

Hiding behind the rooftop fence, terrified, are

TOMÁS (14, always with headphones around his neck) and PEDRO
(of the same age). Next to them, there is a bucket full of
water balloons. From below, there is a commotion, shouts, and the
piercing cry of the baby.

PEDRO
(whispering)
You hit the baby, idiot!

TOMÁS
(whispering)
I didn't see that you had a baby, idiot!

The shouts below intensify. Pedro sneaks out through the

roofs of the rooftops, leaving only Tomás.
Tomás thinks for a moment. He peeks over the ledge towards the
street: below you can see the water stain on the pavement and
some people attending to the woman and the crying baby
helpless.

Tomás sneaks in a crouch to a door that connects

with the interior of the house. We followed him from behind.

5 INT. SHADOW FAMILY HOUSE / STAIRS / HALLWAY - DAY - 5

CONTINUOUS

Tomás quickly goes down some service stairs that

they connect to a hallway. It is a large middle-class house
Veracruz woman, fallen from grace, with old furniture.

Walks down the hallway, nervous. He catches his breath.

she peeks through a half-open door: it is ESPERANZA's room,
his mom (40s). She is sitting working with a machine of
coser
Tomás walks away from the door, relieved: life at home goes on.
like before.

6 INT. SHADOW FAMILY HOUSE / KITCHEN - DAY 6

A furry dog pants, lying on the kitchen floor. Tomás

He takes a stride to jump over it. He goes to the fridge and takes out a Coke.
She uncaps it and looks at the dog, who gazes back, inquisitive.

Tomás plays with him, slapping him on the snout.

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 GÜEROS - Trat 8.1 - RODAJE

TOMÁS
The damn Memelas... The damn
Memelas ...

The game becomes rough. Tomás puts his Coke on the floor and
roll around with the dog. They throw the bottle, which spills.
at that moment the doorbell rings. Tomás stops,
alarmed. The dog keeps playing. Tomás, no.

The doorbell rings again. Tomás doesn't move.

HOPE (O.S.)
They play!
Tomás stands up and quietly closes the door
kitchen cabinet. Wait. The dog looks at him.

HOPE (O.S.) (CONT'D)

Tomás, damn it!
Tomás looks through the round window of the door, towards the
house hallway: Esperanza appears. She opens the door to the
main entrance. Outside you can see the Woman of the
Baby, and with other people behind. Tomás is hiding. You can hear
the voices of the adults arguing. Tomás stays stuck to
the wall. The dog continues to look at him.

HOPE (O.S.) (CONT'D)

Tomás!

Tomás runs towards the mosquito net door of the

kitchen, which faces the street. He slips on the spilled Coca and
It falls. The dog barks. Tomás stands up and runs out.

7 EXT. MALECÓN - DAY 7

Tomás runs at full speed along the boardwalk, without direction.
Run with courage, fleeing from everything. The beach is lonely.

DARK

8 EXT. BEACH - DAY (LATER) 8

The waves crash on the shore. In the distance, the port of

Veracruz.
Tomás walks along the beach, almost deserted, aimlessly. He sees
to some CHILDREN playing in the sand. Their MOM calls them to the
distance, and they run away. Tomás keeps walking and
discover a sandcastle that the kids have left behind and that
is close to where the waves have started to arrive. It
Stop. One of the towers is collapsing.

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 GÜEROS - Treat 8.1 - Shooting

Tomás bends down and fills it with damp sand. He shakes off the
hands and continue on your way.

CUTA:

The tape of a cassette spins inside a Walkman, which is

reclined on an old cot. Tomás is sitting on it with
with your headphones on, listening to music, watching the sea.
Only a guitar can be heard coming from the old headphones.

In the distance, a car stops at the boardwalk. From it,

Low Hope. She asks something to a WAITER of a thatched roof restaurant,
who points to where Tomás is.
Esperanza takes off her shoes and walks towards him. Tomás sees her.
get closer. He/She reinserts, alert.

Esperanza sits on a cot next to her son. He

He takes off the headphones and turns to look at her. They look at each other for a long time.
mouse without saying anything.

Esperanza takes the cassette box from the deck she is listening to.
Tomás looks at her for a moment.

HOPE
Are you still listening to this?

Tomás nods, silent. Esperanza leaves the box. Pause.

HOPE (CONT’D)
You are going to spend some time with your
brother in the city. I no longer
I can. I can no longer take care of you.

Tomás looks back at the sea. The waves approach where

there is the sand castle.

Tomás sees how the sandcastle is slowly destroyed.

by the waves.

9 EXT. MOUNTAIN / ROAD - DAY 9

A dense fog completely covers the picture. Little by little

we discover Tomás, from behind. He is wearing a jacket. He is
lying in the grass. He finishes. He fastens his pants and
Turn around. Look around. He sees nothing.

Walks through the fog, searching. Stops. Turns and walks.

a stretch in another direction, but still sees nothing. It
he stops, looking worried. Suddenly, a whistle is heard and a
voice from afar:

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 GÜEROS - Act 8.1 - ROLLING

DRIVER (O.S.)
Everyone up!

Tomás walks towards the voice, relieved. Finally, to

In the distance, some flashing lights can be seen. Walk in the direction
of them. As we get closer we discover the road to a
side. The lights come from a passenger truck that
it is parked on the shoulder, with the hood of the engine
open.
Some passengers put out their cigarettes and return to the truck.
The DRIVER closes the hood and calls again:

DRIVER (CONT'D)
Everyone up! Let's continue.

Tomás climbs a step of the truck and looks one last time towards
the mountains. He takes a small 35mm camera out of his pocket.
and take a picture of the fog. He gets into the truck. The driver
close the doors.

The truck disappears down the road through the fog. Everything
he is quiet, white.

10 FULL SCREEN 10

“GÜEROS”

11 EXT. HIGHWAY / INT. MOVING BUS - DAY

11
The blaring of horns can be heard during rush hour. The truck
Driving down the road, entering Mexico City.
Tomás watches through the window the City that doesn't seem to have
end. Around him there is a sea of cars. Smog clouds
they cover the whole valley.

12 EXT. BUS TERMINAL - DAY 12

Tomás waits recharged in front of the enormous facade of the
terminal. He carries a backpack on his back. People come and go.

AFX- The sound of a phone tone is cut off almost.

immediately, upon entering a recording:

RECORDING (O.S.)
The number you dialed has been
suspended or was changed.

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 GÜEROS - Treatment 8.1 - Shooting

13 INT. BUS TERMINAL - DAY 13

Tomás scratches the screen of a public telephone with his nail,
while listening to the recording. He hangs up the phone, annoyed.
Look outside the terminal: people are coming in and going out.
Tomás scores again, irritated.

RECORDING (S.O.)
The number you dialed was
suspended or was changed...

Tomás hangs up.

DARK

ABOUT BLACKS: A splash of water is heard and then a voice

masculine:

TAXI DRIVER (O.S.)

No, no, no, no...

14 INT/EXT. TAXI / MOVING / STREET - AFTERNOON

14

WE OPENED a windshield covered in foam. A wiper

froth it up, revealing the CHAVO who is manipulating it.

The taxi is stopped at a stand. The DRIVER is looking for coins.

angry. Tomás is sitting in the back of the taxi,
contemplating the city at sunset.

Through the windshield's foam, Tomás discovers a group of

STRIKERS who stop in the middle of the street, in front of the
cars, and they start to play a tribal rhythm with drums.

TAXI DRIVER
These bastards...

Tomás watches them, excited. They unfold a huge banner.

FOR A FREE UNIVERSITY. WE CLOSE TODAY TO
"MAY IT ALWAYS BE OPEN." Striker 1 (23 years old) stands up
about a boat and talks to the drivers with a loudspeaker.

STRIKER 1
Thanks to the media of
communication, many of you us
they come as slackers...

CHORUS OF STRIKERS
Lie!

Tomás sticks his head out the window, looking.

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GÜEROS - Treatment 8.1 - Shooting

STRIKER 1
We are fighting for a
constitutional law

CHOIR OF STRIKERS
Education is not a privilege
of some, it is a right of all!

The taxi driver looks at Tomás in the rearview mirror.

TAXI DRIVER
If they wanted to study, they would be
studying, you lazy bastards.
Tomás glances at the Taxi Driver out of the corner of his eye and peeks out again.
through the window, searching among the strikers, who
They distribute among the cars, bouncing.

The taxi driver gives the coins to the Chavo who cleans windows. A
STRIKER 2 passes by the taxi, with the boat. The Taxi Driver
he shakes his head, irritated. Tomás looks at the girl with
admiration and gives him a coin. She smiles at him.

STRIKER 2
Thank you, buddy.

TOMÁS
Hey, do you know Federico Ruiz?

Huelgista 2
In one of those...

TOMÁS
He is my brother.
Striker 2 smiles at him and walks away. Tomás shouts at him:

THOMAS
If you see him over there, tell him already.
I arrived!
The taxi continues to move forward, leaving the strikers behind.
The taxi driver looks at Tomás through the rearview mirror.

taxi driver
Mr. Alatorre already said it, they are
some parasites. He said that this was
a kidnapping at the university.
Tomás is not paying attention. He looks out the back window: the
silhouettes of the strikers backlit, moving away.
They seem like a strong and united tribe.

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 GÜEROS - Treatment 8.1 - Filming

15 EXT. COPILCO UNIT BUILDINGS - MAGIC HOUR

15
The sun is about to set. Tomás is standing with his suitcase watching a
a little paper that has an address written on it. The taxi takes off.
behind him. Tomás looks up at the enormous
buildings of the social interest complex. The wind blows at him
on the face.

16 EXT. COPILCO BUILDINGS / PARKING LOT - MAGIC HO

16

The place is deserted. Tomás looks small walking between.

the monotonic symmetry of the buildings. A streetlight turns on,
emitting a buzz. Tomás takes aim. He continues on his way as
the other streetlights begin to light up.

17 INT. BUILDING / LOBBY - NIGHT 17

Tomás walks down the hallway. It is a sad place adorned with

a couple of pots with dead plants.

He arrives at the elevator and presses the button to call it. It opens.
the doors. With inertia, Tomás goes to step in, but he stops.
upon realizing that there is an empty duct with cables
hanging. The cables move. Tomás looks up: he
You can hear the voices and laughter of some workers.

18 INT. COPILCO BUILDINGS / STAIRS - NIGHT 18

Tomás goes up the stairs. The walls are full of

moss. The echo of his steps and a deep whistle can be heard.
continuity: it is the wind that hits against the vents. It peeks in
up the railing: Many floors are missing.

19 INT. COPILCO BUILDINGS / HALLWAY FLOOR 1915 - NIGH

Tomás, breathless, looking at the little paper. He rings the doorbell of
number 1503. But nothing is heard. Wait a moment. Doubtful,
he/she rings it again. Nothing. He/she taps the doorbell. He/she hits
the ear to the door and knocks many times in a row. It does not emit
no sound. She looks at her watch: it's 8:12 PM.

A big spider slowly walks across the door. The spider

he stops, as if watching it. Trying not to scare her, Tomás
he takes off a tennis shoe and drops it with great force on the
spider, leaving a stain.

The door opens with a knock. Tomás peeks his head in.

TOMÁS
Fede!

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 GÜEROS - Chapter 8.1 - Filming

No one answers him. He enters.

20 INT. SANTOS Y SOMBRA APARTMENT / LIVING ROOM 20 AND HALLWAY - N

The place is dimly lit. Tomás slides his hands over the
pared.

TOMAS
Hey Fede! ... Hey Fede! It's Tomás ...

Keep moving, something hits the calf.

TOMÁS (CONT'D)
Your whore mother!

He sits, frustrated. He continues to move forward and finally finds a

light switch. He moves it several times but there is no light.
Continue advancing through the room cautiously.

He hits his head with something. He doubles over in pain. But

keep moving forward, more determined.

TOMÁS (CONT’D)
Fede, damn it!
Nobody answers him. He continues to move forward blindly down a hallway.
until he arrives at a door. He knocks, there is no answer. He opens the
He opens the door quietly and peeks in. He discovers a body lying down.
On a mattress on the floor, soft snores can be heard.

TOMÁS (CONT’D)
(Whispers) Fede... Fede...
He/She doesn’t receive a reply. Closes the door and walks back to the
room. He trips over something and falls. Everything is upside down, out
out of focus, indistinguishable. On the floor, beaten, frustrated,
Tomás gives up. He curls up and closes his eyes.

DARK.

21 ABOUT BLACKS 21
A distant conversation can be heard between two young people.

FADE IN:

22 INT. SANTOS Y SOMBRA DEPT. / LIVING 22ROOM - DAWN

A lighter lights a cigarette. A coffee maker pours coffee into

a cup. A splash of whiskey falls into the coffee. A
spoon mixes the whisky in the coffee, clinking.

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GÜEROS - Treat 8.1 - Shooting

POV Tomás: The angular morning light enters dazzling,

two figures silhouetted in the distance, face down, out of focus.
Little by little they are becoming defined. They are two young people, smoking.

Tomás is lying on the floor in a strange position.

The young people are SHADOW (24, dark-haired, with a sad look) and
SANTOS (same age, light complexion). Both look scruffy.
They are sitting at a bar/counter. They are smoking and drinking coffee.
Sombra shuffles some cards, trying a magic trick.

Tomás gets up and approaches them. He trips and turns around.

to fall to the floor. Shadow and Santos turn to look at him, laughing.

SHADOW
Good morning, dude.

Tomás turns to see what he tripped over: a tangle of

light extensions that distribute throughout the apartment.

He stops, looks around: Shadow and Saints live like

indigent - dirty clothes everywhere, mountains of books and
discs, a hammock that crosses the room, empty bottles,
overflowing ashtrays, plates with mold, pizza boxes...

TOMAS
What happened here?

SHADOW
Damn Tomi hanging. What time
Did you arrive?
Tomás goes to the breakfast bar, rubbing his eyes.

TOMÁS
I was waiting for you for hours at the
Station! You were going to pick me up.

SHADOW
You really messed it up, Tomi...

TOMÁS
You didn't come to get me. -Don't tell me.
Tomi.

SHADOW
You went too far, Tomi, I said what’s up
time.

TOMÁS
You left me for hours.

SHADOW
"Maybe," I said.

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GÜEROS - Treatment 8.1 - Shooting

TOMÁS
When I arrived I thought they weren't there,
that were at the march.

SAINTS
What march?

TOMAS
Why did they go to sleep so early?

SHADOW
You outdid yourself, Tomi.

THOMAS
I'm going to pay for the taxi.

SHADOW
Yes, well. Do you have the money?

Tomás looks at him for a moment, challenging him. He bends down, takes off the
tennis and the sock and from there he takes out a bundle of bills. He
removes one of $100 and gives the rest to Sombra.

SHADOW (CONT'D)
How disgusting, Tomás. That's what they exist for.
The wallets. Don't you have a wallet?

Shadow counts the money and hides it in his pants.

SHADOW (CONT'D)
How long are you staying?

Tomás shrugs.

TOMÁS
Mom says to take care of him, that you shouldn't...
It's going to be sent by next month.

Sombra shakes his head.

SHADOW
Look, I introduce you to Santos.

Tomás and Santos do a gang salute.

SAINTS
Why aren't you dark-skinned, like the
Shadow?

TOMÁS
Who is Sombra?

SHADOW
You can't tell me like that.

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GÜEROS - Treatment 8.1 - Shooting

Tomás looks at his mocking brother.

TOMÁS
Why not?

SHADE
Because I break your legs.
Santos and Tomás are laughing. Santos serves coffee to Tomás. He takes it.
cup, which is in a deplorable state.

SHADOW (CONT'D)
How is mom?
TOMÁS
Well... Still... Angry.

SHADOW
And what about the lady's baby?

THOMAS
Nothing happened to him/her.
Santos takes the newspaper and looks at the front page. He throws it away.
section to the floor and explore the SOCIALS one. Shadow continues
shuffling the cards, practicing his trick.
Tomás looks at them, but none pay him any attention. The two
they continue with their own in silence.

Tomás picks up the part of the newspaper that Santos threw on the ground.
Show a header that says: 'THE DOCUMENT IS NOT IN
'NEGOTIATION' SAY DETAINED STUDENTS'. And below a photo
of two handcuffed students, looking defiantly at the camera.

Santos browses the Social section. INSERT: They pass

quickly to FULL images of a high society party
Mexican. Grotesque smiling faces, low necklines, a lot
makeup. Santos takes some scissors and cuts one of the
photos.

TOMÁS (CONT’D)
Don't you have anything for breakfast?

They don't respond to him. Santos stands up and sticks the clipping on the
refrigerator, where there is a huge collage of faces of the
Social Studies section.

Tomás looks at his brother seeking an explanation.

SHADOW
It is the 'gore' wall.

Tomás does not understand. Shadow turns to Santos:

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 GÜEROS - Treatment 8.1 - Filming

SHADOW (CONT'D)
We should clean a little. We have
visits.
Santos opens the refrigerator, which is off: there are two
bottles of beer, some rotten cheeses and a can of milk.

Santos turns to look at the kitchen: the sink and the stove are
remnants of dirty dishes and pots, rags, rotten fruit,
ashtrays and even dirty clothes among the pots.

SAINTS
I would prefer not to do it.

Sombra makes a catapult with the cards and one flies away.
The trick, she checks it and curses: the trick didn't work. She turns and
look at the disaster in the kitchen.

SHADOW
We are going to have a continental breakfast, like
It should be. I invite.

"El Pollen" by Café Tacuba starts playing.

DARK

23 EXT. COPILCO BUILDINGS / PARKING LOT - 23 DAY

The pollen keeps sounding. The outlines of the buildings

against the midday sky. There are no clouds.

SAINTS (O.S.)
Mexican Breakfast is clear.
Eggs, beans, fat: Mexican.

The children's play area, deserted. The swings

rusted hang under the sun.

SANTOS (O.S.) (CONT'D)

University Breakfast
I understand: molletes and coffee from
sock

THE CONCIERGE washes a car with a hose. He holds the hose.

that drips for a long time in the same part of the car.

SANTOS (O.S.) (CONT’D)

Although the quotas are approved,
it's only going to be coffee.
Sombra (without a shirt), Santos, and Tomás are lying down on the
coffer of an old ATLANTIC (VW), sunbathing. Shade and
Saints wear sunglasses.

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GÜEROS - Trat 8.1 - RODAJE

SANTOS (CONT’D)
But from which fucking continent
They are talking? "Breakfast
Continental. It's like saying
Breakfast from over there.
says who 'the ones from over there' are
who are 'the ones from here'?

Tomás takes a cassette out of his pocket and stands up.

TOMÁS
Can I put something?

SHADOW
No.

Tomás sits back down on the chest, annoyed. He finishes the

song. The voice of a host is heard. It is ANA. Her voice is
sexy, but with an evident effort to sound 'band'.

ANA (O.S.)
That was "Pólen" by the Tacubos,
here on Contrabanda FM, radio
shortwave pirate and resistance
larrrga... Dedicated to the friend who me
he lent it. Umbrella: matanga said
the changa.
Sombra smiles to himself. Santos looks at him and shakes his head.

TOMAS
Who is it?

SAINTS
Ana. A strawberry of Tropical Letters
that the radio got fixed
movement.

SHADOW
You are more preppy, sitting here.

SAINTS
Defend the band, as a work of
charity. But she never lacked for anything.

SHADOW
Neither are you...

ANA (O.S.)
Lunesss. Lazy Monday. Monday of
Strike. And yet, it moves.
Because of the plans of men of
I never rest...
(MORE)

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GÜEROS - Treatment 8.1 - Filming

ANA (O.S.) (CONT'D)

This Thursday at four is the
large assembly in the Auditorium
Principal, to vote on the proposal
of the emeritus. And while we're at it, decide
what to do with the onions, that already
they are going bad...
Comrade: we need to vote. It's up to you.
it depends if we continue in the fight or
let's go back to classes... But in between that
either pears or apples, let's go with
this classic from the Cadillacs
for all the crew in resistance.
Sombra gets into the car and turns down the volume.

SHADOW
(to Tomás) What did you want to say?

Tomás gives him the cassette. Sombra looks at him, surprised: the
the cover is a 70s photo of a handsome young man,
skinny, bearded and shirtless, in a forest, with a girl
hippie, beautiful. Says 'Epigmenio Cruz' and the title 'The'
"Güeros". Sombra smiles at Tomás, a little nostalgic.

SHADOW (CONT'D)
Are you still listening to this?

Tomás nods. The brothers look at each other for a moment. Short shadow.
the emotion. He hands back the cassette.

SHADOW (CONT'D)
The cassette player is not working.

Tomás stares at Sombra, who leans back.

in the chest. Tomás takes out his Walkman, puts in the cassette, puts on his headphones.
the headphones and hits "Play". Starts to move the head
smoothly to the rhythm of the music, which we do NOT HEAR.

Sombra takes off the headphones and puts them on. We get closer.
slowly to his face, which reflects a change of light. He smiles.
She tilts her head slightly.

SAINTS
What is it?

TOMÁS
One thing my dad used to say.

Santos puts his ear to Sombra's to listen as well.

Smile. Take the cassette box and study it.

SAINTS
Epigmenio Cruz. It's awesome.

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 GÜEROS - Treatment 8.1 - Shooting

TOMAS
Once made Bob Dylan cry.
That's what my dad said.

Tomás also puts his ear to Sombra, leaving him in the middle.
of the two. The three listen to the song for a moment.

It's over. Sombra takes off the headphones. Pause.

SHADOW
This guy could have saved the
Mexican rock.

The three nod, thoughtful. The sun shines in the sky without
clouds. The janitor continues to hold the hose spraying
water on the car.

24 INT. SANTOS AND SHADOW APARTMENT / BALCONY 24 - DA

Some little stones hit against a window.

Sombra and Tomás are on a tiny balcony. Sombra throws

little stones at the window of the apartment above, one of
They hit Tomás when falling.

From the balcony above, AURORA (10), a girl, leans out.

Down syndrome. He gets excited to see Sombra.

AURORA
Hello, Shadow!

SHADOW
What are you up to, Aurora?

AURORA
We are making gelatin.

Shadow lifts a plastic glass that rests on the

planter, which is tied to a thread, and which goes towards the
upstairs balcony: a toy phone. It indicates to Aurora
Let him pick it up. She does it. Shadow speaks to him through the glass.

SHADOW
Your mom has already left, right?

Aurora nods.

SHADOW (CONT'D)
Look, Aurora: he is my brother
Tomás is coming from Veracruz to
to meet you.

Sombra hands over the 'phone'. Tomás is bewildered.

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GÜEROS - Trat 8.1 - RODAJE

AURORA
Hello, Tomás. You are not dark-skinned.

TOMAS
You neither, Aurora.

AURORA
Shadow yes.

TOMAS
Yes, he does.

Tomás and Aurora laugh, Sombra does not. Sombra takes the phone away.

SHADOW
I wanted to show my brother the
orange cable.

Aurora laughs and shakes her head.

AURORA
No... My mom said no.

Aurora is about to get in.

SHADOW
But remember that the cable is like
the bond of friendship between you and me and
Saints...

AURORA
No...

SHADOW
Yes... And I'll tell you another story.

AURORA
Mmm ... mmm ... Good.

SHADOW
Ready?... And when he awoke, the
the dinosaur was still there.
Aurora is left waiting for something more.

SHADOW (CONT’D)
Did you like it?

AURORA
No.

SHADOW
I'll tell you another one later. Pass me the
cable, to show it to Tomás.

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GÜEROS - Treatment 8.1 - Filming

AURORA
Mmm ... Well...
Aurora goes into her house. Sombra and Tomás are waiting for Aurora.
an awkward silence. Pause.

SHADOW
... How is the Memelas?

TOMÁS
Well... It has scabies.

Silence.
SHADOW
How are you doing in school?

TOMÁS
They suspended me because of the balloon,
my mom told you.

SHADOW
Ah, yes.

Silence.

SHADOW (CONT'D)
Look, that is the flag of
movement.
Point towards the University, which can be seen from the balcony. There is
a huge flag of the Striking Movement, tied to the
facade of one of the buildings. It flutters with the wind.

TOMAS
Can we go to your faculty?

SHADOW
It's taken. I already told you. Everything is
Taken. No one can enter.

TOMAS
Do you guys never attend the marches?

Sombra shakes his head.

TOMÁS (CONT’D)
And they are not going to classes either.
outside the walls?

Shadow denies.

TOMÁS (CONT'D)
Are they scabs?

18
GÜEROS - Script 8.1 - FILMING

SHADOW
Don't say that word even as a joke.

TOMÁS
So?

SHADOW
We are on strike from the strike.
Tomás thinks about it.

TOMÁS
Is that a posture?
SHADOW
My posture right now is...
Shadow crosses her arms and turns her face to the sun. She smiles at
his own joke. Tomás shakes his head in disapproval.

Aurora peeks out again.

SHADOW (CONT'D)
Already?
Aurora takes out the tip of an orange extension and lowers it.
slowly towards the balcony. Shadow takes it.

SHADOW (CONT’D)
Thank you, precious. I'll tell you tomorrow.
another story.
Aurora waves 'goodbye' with her hand and goes into her house.
Shadow grabs the tip of another extension that goes towards the
tangle of cables that floods the apartment. She connects them.
Everything in the department turns on: The TV, the lights, a
blender, the radio.

TOMAS
Why don't you go and pay the
light? Mom sent you money.

SHADOW
Do you know where to pay?
Tomás denies it. Shadow looks at him, as if saying 'there it is.'
He is watching a TV that turned on inside the
kitchen. Show a scene from the Big Brother: the
participants are in the kitchen, bored.

THOMAS (O.S.)
Is it true that they live there?

19
 GÜEROS - Trat 8.1 - RODAJE

SHADOW (O.S.)
What don't you see?

TOMÁS
At the University.

We open to find Tomás looking out the window, at the

University, which is seen in the distance. Shadow does not reply.

25 INT. SHADOW AND SAINTS APARTMENT / SHADOW ROOM - 25

AFTERNO

In the foreground, a pot with mushrooms in a corner of the room. To the

background, Shadow in front of his computer.

Sombra stares intently at the screen. The document it shows

It is almost blank. It can be read: 'CHAPTER 1'. Shadow
he bangs his forehead on the screen. He writes something and
leave a key pressed, anxious. On the screen it reads:
The problem isssssssssssssssssssssssssssssssssss...
Shadow releases the key. He looks at the clock on the computer and
he turns on a battered tape recorder he has on his desk.
Tune in. Ana's voice enters, candid:

ANA (ON THE RADIO)

... Reviewing my notebooks, I ...
I found this little poem that I wrote.
in the first semester. It reminded me of what
what we were talking about in the program of
yesterday. Being far from home -If it is
that we once had one.
Buddy: you're not the only one who
there is a hollow in the belly that doesn't
it fills with nothing... Here it goes.
Ready?

DARK

26 ABOUT BLACKS: 26

ANA (ON THE RECORDER)

Extension of the House
We observe the rubble
largely / as if in them
we recognized the vestiges of the
house, / as if in every stone
we could guess / the spaces
in which we grew up. / So many
collapsed fragments.

20
 GÜEROS - Trat 8.1 - RODAJE

27 INT. SANTOS AND SHADOWS APARTMENT / SANTOS' ROOM - 27

AFTERNO

Santos is sitting in front of his computer, which displays a

document with your thesis. Some diagrams can be distinguished.
plants and graphics. He is barefoot, with one foot crossed,
studying the sole of the foot. It has foot fungi from
athlete. He studies them with scientific fascination.
mushrooms look almost alive, pulsating.

ANA (OS)
... But this pile of stones is
the house / and no one will come
knock it down.
Santos scratches himself, with enormous pleasure, while it continues to sound.
Ana's voice.

28 INT. SHADOW AND SAINTS DEPARTMENT / ROOM - 28 AFTERNOON

A moisture mark on the wall, extending to the

Ceiling. They look like blisters.

ANA (O.S.)
May the house be in all.
parts, said one of us, and we
we approach to take it in the
hands, to extend it to the
most beloved places.....

A line of ants walking across the floor of the living room, as

side of an old pizza box. A ray of afternoon sun
it lights up the path.

29 INT. DEPARTMENT OF SHADOW AND SAINTS 29/ KITCHEN -

Tomás is heating a tortilla directly over the fire.

the stove. Look at an old television that is in the kitchen,
which shows a scene from Big Brother.

ANA (O.S.)
… That the stones of the house are
confused with the rest of the
stones...
He turns his attention to the stove. The flame beneath the
the tortilla gets smaller and smaller, until it goes out.

TOMÁS
There is no gas anymore!

They do not answer him.

21
 GÜEROS - Treat 8.1 - Filming

30 INT. SHADOW AND SAINTS APARTMENT / ROOM 30 - NIG

Shadow, Tomás and Santos -semi-nude, wrapped in a towel,

drying their hair - they are sitting in the armchair, listening to the
radio, which continues. Santos and Tomás bored as oysters.

Santos
The water was so damn cold, why
What didn't they tell me?

SHADOW
Shh.

ANA (ON THE RECORDER)

...So that we can...
to lie down / on the warm earth
and we are sheltered without walls
your roof...

Suddenly the old recorder starts to move, while Ana

continue reciting. The cable pulls her towards the edge of the
shelf. Tomás looks at him bewildered.
The cable pulls the recorder more and more, until it falls to the floor.

SANTOS
Aurora's parents have arrived.

Shadow goes to where the extensions meet and the

disconnects, leaving the whole apartment in twilight. Pause.

TOMÁS
And now?

SANTOS
Going to sleep.

TOMAS
It is eight o'clock. Let's go for a
return.

SHADOW
Here the rhythm is respected
circadian.
Tomás doesn't understand. Sombra goes to his room. Tomás screams.
behind him.

TOMAS
We have only been to the fucking VIPS,
damn it!

Santos puts a hand on Tomás's shoulder.

22
 GÜEROS - Treatment 8.1 - Shooting

SANTOS
Why are we leaving, if in a while
Are we going to return?

DARK

31 INT. SHADOW AND SAINTS DEPT. / SHADOW31 ROOM - N

Sombra is seated on his bed, in the shadows. He smokes, anxiously.
He holds his hand in front of his face to check his pulse.
It trembles a little. He takes another drag from the cigarette.

He/she stops and goes to the window. He/she takes a small plastic cup that
make another 'phone' and pull the thread, which goes upwards.

SHADOW
Auro ... Are you already asleep?

Receive another little pull back. Shadow opens the window. It

she leans out and looks up. Aurora peeks out, in her pajamas.

SHADOW (CONT'D)
Do you want me to tell you another story?

Aurora speaks softly on the 'phone'.

AURORA
My dad already told me one.

SHADOW
Ah ... Well... Which one did he tell you?

AURORA
The one with the hooded sweatshirt.

Sombra takes a drag from his cigarette.

SHADOW
And how's it going?

AURORA
The hooded owl was at its home.

Aurora remains silent.

SHADOW
And then?

AURORA
And I was afraid to go out because the
The wolf was outside... The wolf
I was outside and she was inside,
usually...

23
 GÜEROS - Chapter 8.1 - Filming

Sombra messes with the 'phone' and recharges against the

pared, listening. Aurora continues telling the story while
Shadow smokes, comforted.

DARK

32 INT. DEPT. SHADOW AND SAINTS / ROOM 32 - DA

Tomás, Sombra, and Santos are sitting at the breakfast bar.
Santos is newly shaved. Shadow shuffles his cards,
Santos carefully cuts out the horrendous face of someone
From the Socials page, Tomás reads the newspaper. Sombra opens.
the fan of cards and offers them to Tomás.

TOMAS
What are we going to do today?

SHADOW
Choose one, show it to Santos and
put it back in the package without
that I see her.

Reluctantly, Tomás follows his brother's instructions.

Shadow shuffles, as it has been practicing.

SHADOW (CONT'D)
Ready? Your letter is going to come out.

Sombra makes a catapult with the cards. He performs a maneuver.

with much commotion and letters flying everywhere:
the trick has failed. Tomás looks at him, not very surprised.

Sombra huffs and begins to gather the cards. Santos returns.

to his own and Tomás to the newspaper.
Tomás discovers something in the newspaper that puts him on alert.

TOMÁS
It can't be...!
They don't answer him/her.

TOMÁS
It can't be!
They take a long time to respond to him/her.

SAINTS
What?

TOMÁS
Epigmenio is going to die.

24
GÜEROS - Treat 8.1 - Filming

Shadow leaves his cards. Pause.

SHADOW
What Epigmenio?

TOMAS
Cruz. What other Epigmenio?
Tomás shows them the CITY section he was reading. There is a
very small note, in the midst of other more important ones, that
NATIONAL ROCK LEGEND IS DYING.

Sombra takes the newspaper away and reads it aloud:

SHADOW
"Epigmenio Cruz, anonymous hero of
national rock, was hospitalized yesterday
in the Santa Clara hospital with a
critical case of cirrhosis. The
doctors are scarce
optimists.

SAINTS
What else?

SHADOW
Ya. Es todo.

Santos takes the newspaper away to read it. Shadow in shock.

SHADOW (CONT'D)
He/She left us ...

Santos lowers the newspaper. The three boys stare into nothing.
really sad.

SAINTS
Dude, I shaved and thought I was going to
have a good day...

SHADOW
A minute of silence for Epigmenio

SAINTS
Why did I shave...?
Sombra and Santos adjust their posture in their chairs and look
downward, solemn. Tomás begins to do the same, but
ya no puede más.

TOMAS
Another damn minute of silence?!

25
GÜEROS - Treatment 8.1 - Filming

SHADOW
Shh. Tomi.

TOMÁS
I have been living with him for three days.
shut up - and stop telling me
Tomi, damn Shadow!

SHADOW
Tomi, don't be disrespectful.

TOMÁS
But he hasn't died! Let's go to
see it, motherfucker.

SHADOW
For what? We don't even know.
Where is that hospital?

TOMÁS
You said that there is no one left like
he... And that dad knew it and that because
he bought that record.

SAINTS
Cassette.
Shadow looks at him. Santos falls silent.

TOMÁS
Cuando papá estaba en el hospital,
you didn't want to say goodbye to him.

SHADOW
Yes, Tomás.

TOMÁS
And you left. And you left me there.

SHADOW
Come on, Tomás!

THOMAS
I want to go see him. I want to
go, motherfucker!

SHADOW
Why?!

TOMÁS
Because nobody else is going to go see it,
idiot!

26
 GÜEROS - Treatment 8.1 - Shooting

SHADOW
I have. To write. My damn
thesis, little brat! Do you understand?!

TOMAS
To hell with your fucking thesis!
Your fucking strike of the strike! And your
fucking life!

Tomás, furious, leaves the apartment and slams the door.

Santos looks at Sombra, astonished.

SHADOW
He'll be back soon.

Santos doesn't know what to say. Something catches his attention.

table: regarding the cut to the Social Sciences Section, there is a
little furry spider walking slowly. It makes a catapult.
with the fingers and gave it a capirotada, making it fly.

33 INT. SHADOW AND SAINTS APARTMENT / BALCONY33 - D

Sombra is sitting in a lounge chair, hugging himself, with

chills, looking at the flag of the Strike Movement
waving at the University, in the distance. Santos is looking.
towards Aurora's balcony, waiting.

SAINTS
We should go look for him.

SHADOW
I don't feel well.

SAINTS
You didn't eat anything.

Aurora peeks out.

AURORA
Ready?

Start lowering the cable. Santos is guiding her.

SAINTS
That... go ahead...

But suddenly the cable stops.

SANTOS (CONT'D)
Give it, Aurora.

Footsteps are heard on the upstairs floor. Santos and Sombra are
they look worried.

27
 GÜEROS - Treatment 8.1 - Filming

AURORA'S MOM (O.S.)

Auro, what are you doing, my love?

AURORA
Nothing...

SAINTS
(the Shadow, softly) Didn't you already...?
Had I gone?
Sombra is pale, shivering. With difficulty, he stands up and opens
the balcony door. They begin to slip away, but the
you can see AURORA'S MOM (40s).
MOTHER OF AURORA
What are you doing?!

Shadow freezes. Mom quickly raises the cable.

SAINTS
Hello, Ma'am.

AURORA'S MOM
Don't call me 'hello, ma'am'! Already
I told them to start studying!
Either to march or whatever! But no
they come to annoy my daughter and to
charge me your electricity bill.

SANTOS
Okay, thank you.

Aurora's Mom
What do you mean by 'okay, thank you'?!...
(shouts towards his house) Jesus!

Santos enters the apartment, Sombra doesn't move from there.

balcony, Santos returns for him. At that moment JESUS appears.
(50s, stocky, white shirt). There is a brief exchange of
looks. Santos puts in the Shadow.

DIRECT LEAGUE TO:

34 INT. DEPT. SHADOW AND SANTOS / ROOM - DAY - 34

CON

Santos closes the balcony door. Sombra goes towards it.

armchair, weakened. They shout from above:

JESUS (O.S.)
Fucking scabs!

SAINTS
We are in big trouble.

28
 GÜEROS - Treatment 8.1 - Filming

Santos runs towards the room. The screams from above continue.
Santos crosses the room several times closing the windows.
the entire department. Look for something, throw everything in its path, up
A discussion can be heard. The scene is chaotic.
Shadow watches everything from the armchair, clinging to it with his
hands, as if not to fall, looks dizzy.

SHADOW
Where is Tomi...?

JESUS (O.S.)
I am going to bring the police to you,
bastards!
Santos returns with some keys and goes towards the door.

SAINTS
Let's go!
Shadow, pale shivers. Look at the disaster that is his house.

SHADOW
(in a trembling voice)
It would be necessary to clean up a bit...

Sombra sees Tomás's camera on the armchair.

SHADOW (CONT'D)
Where is Tomás?
Santos lifts the Shadow of the chair and pulls it towards the door.
Like a reflection, Sombra grabs Tomás's camera.
Above, a door is heard opening. The boys go out.
running.

35 INT. BUILDING / HALLWAY - DAY - CONTINUOUS

35

Santos closes the door of his apartment, frantic.

Shadow, completely dizzy, looks up and sees JESUS.
who is coming down the stairs. They look at each other for a moment.

JESUS
Bastards!

Santos and Sombra run towards the stairwell, Jesus

he runs after them.

36 INT. BUILDING / STAIRS - DAY 36

Santos and Sombra rushing down the stairs at full speed.

29
 GÜEROS - Treatment 8.1 - Shooting

SHADOW
I don't feel well...

SAINTS
Hurry up!

A couple of floors up, Jesús runs down the stairs.

behind them. Santos pulls Sombra to follow him.

37 EXT. COPILCO BUILDINGS / PARKING LOT / SANTOS CAR 37

Santos and Sombra run out of the building. Sombra

dazzles with the zenith sun from outside, becoming disoriented by
complete.
When he finally manages to focus, he sees a figure almost above him.
It is JESUS, who drags him to the floor and slaps him,
cursing. Shadow covers itself as best as it can. It is a
an image that is both pathetic and violent.

Santos returns for Sombra, awkwardly pushes Jesus, and

he lifts up his friend. They run towards the parking lot where
there is the old Atlantic.

Santos opens the door and puts Sombra in the car. Then he...
he climbs.

38 INT. SANTOS CAR - DAY - CONTINUOUS 38

Santos turns the key in the switch, but the car doesn't start.
turn on. Shadow is in the passenger seat, shaking.

SHADOW
I can't work today...
Santos looks in the rearview mirror and realizes that Jesus already
is close to the car. Santos pumps the accelerator and returns to
try to turn it on, frantic. He succeeds.
Jesus catches up with them and kicks the back of the car,
shouting challenges and curses that we cannot hear. Saints
It takes off from the parking lot, leaving it behind. Shadow
he comes completely dizzy.

SHADOW (CONT'D)
Dude ... wait ... wait ...

SANTOS
Is the tiger bothering you again?
Santos turns back and sees that Jesus is still following them.
Accelerate to leave the housing complex.

30
 GÜEROS - Treatment 8.1 - Filming

On the street side, Santos sees Tomás coming.

walking, looking at a paper he is holding in his hand. Santos
he brakes abruptly and opens the passenger door. Shadow
he still doesn't react. Tomás shows the paper he brought: it is a
printed map of some streets of the City.

TOMÁS
I already know how to get to the hospital.

SAINTS
Get in!

Santos looks back and sees Jesus running towards them.

Tomás also sees it and gets into the car as he can. They start.

39 INT. SANTOS' CAR / IN MOTION - DAY - CON

39
The car goes out to the Avenue. Santos drives like a beast.

Sombra is hyperventilating: she is having a panic attack.

TOMAS
What happened?!

SAINTS
He is Aurora's dad. He became
crazy.

SHADOW
The house is burning.

TOMÁS
What?!

SAINTS
Nothing. The tiger is coming for him.
Itwillbepassedtohim/herrightnow.

TOMAS
What...?

The car engine is starting to fail.

SAINTS
Motherfucker!

Santos accelerates again. The car reacts. Santos is

change lanes.

SHADOW
The house is burning...

31
 GÜEROS - Take 8.1 - ROLLING

TOMÁS
Fede!

Tomas tries to help his brother, who is sweating profusely and

gagging, trying to vomit.
POV SHADOW: Tomás and Santos are talking to him, while the car
it moves forward, but you can barely hear what they are saying. They start to fall
snowflakes inside the car, turning the field white
of vision. Everything is saturated with light until it seems like we are
in a white, spectral room. A buzzing sound can be heard that
louder and louder, until something crashes, like a eardrum
bursting. After that, everything falls silent. Only is heard
the heavy breathing of Shadow.

FADE TO WHITE:
The buzzing fades and the voices of Santos and Tomás can be heard.

SAINTS (O.S.)
What is your name?

TOMÁS (O.S.)
Santa Clara Hospital. I printed this
in the internet café. Says that it is
through Santa Fé.

FADE IN:

40 EXT. SUPERMARKET PARKING LOT / INT. SANTOS' CAR - 40D

POV SHADOW: White smoke. Gradually it starts to focus. Tomás and
Santos are talking while standing in front of the car hood.

TOMÁS (O.S.)
Is it very far?

SAINTS (O.S.)
Still, we cannot go back home.
today...

Shadow sitting in the back seat of the car, disoriented. A

through the windshield, one can make out the bodies
blurry images of Santos and Tomás, surrounded by white smoke. Santos
Pour antifreeze into the engine.
Tomás opens the passenger door and gets into the car. He brings
a bottle of Gatorade. Shadow tries to locate himself.

TOMÁS
Are you okay?

Tomás gives Sombra the Gatorade.

32
 GÜEROS - Treat 8.1 - Shooting

TOMÁS (CONT’D)
Take this.

Sombra drinks it.

TOMÁS
The car broke down.

SHADOW
Everything is messed up.
Santos closes the glove compartment and gets into the driver's seat.
Turn around to look at Shadow.
SAINTS
Has the tiger already left?

Sombra doesn't know what to answer.

TOMÁS
We are going to look for Epigmenio.

SHADOW
Why?

TOMÁS
Because yes.

Santos caresses the steering wheel. He starts the car and

It starts. The old Atlantic, still smoking, moves forward.

41 EXT. STREET / INT. CAR - DAY (PERIFERICO-SAN JERONIMO) 41

The Atlantic rises up the road distributor of the Periphery to the
height of San Jerónimo. The urban landscape unfolds before his eyes.

42 EXT. STREET / INT. CAR - DAY (PALMS)42

The tires of the old Atlantic rolling against the asphalt.

car ascends Avenida Palmas.

TOMAS
When we find Epigmenio
Can we go see the Angel later?

SAINTS
What Angel?

TOMAS
Where do they celebrate when there is football.

33
GÜEROS - Treatment 8.1 - Shooting

SANTOS
Why do you want to go to theAngel? There is none.
more than an angel.

SHADOW
She always wants to go there.

TOMÁS
It is not true.

SHADOW
The only time his dad brought us
to the city, he took us there and we
He/she left everything all damn day.

TOMAS
He/She left us to play with the
astronauts while paying the light.

SHADOW
How are you going to pay the electricity here if
Did we live off the port? He/She left with a
old woman, how stubborn you are.

TOMÁS
Of course not.

SHADOW
You started crying like a
fifteen minutes, don't you remember?

TOMÁS
I didn’t start crying!
A silence falls. Shadow leans against the window.

The car stops at a stop. They pass over the crosswalk.

3 HOSTES dressed in little clothing, accompanied by 2 GUYS
playing drums in the style of batucada (something very similar to what
what Tomás saw in the taxi). The girls dance to the rhythm of
the music. Tomás and Santos look at them. Shadow, no.

TOMÁS
What are they fighting against?

At that moment, the Girls unfold a blanket:

Tropicolada: all the beach atmosphere and the piña colada
in a single container.

TOMÁS (CONT'D)
Against the heat, Tomás.

The hostesses are handing out packets to the drivers. Tomás

and Santos receive one each, gladly.

34
 GÜEROS - Trat 8.1 - RODAJE

The car continues moving down the avenue.

43 INT. CAR / EXT. STREETS OF INTERLOMAS / INT. CAR - DAY

The Atlantic advances through the streets of Interlomas, delving in.
in an area of tall and modern towers.

They stop next to a luxury SUV parked with

the indicators, whose driver, a BALD MAN (40s, eye
(blue) is arguing on the phone heatedly (ad-lib).

THOMAS
Hello... For the Santa hospital
Clara?
The man looks at them with curiosity and continues speaking. But Tomás
And Santos is not stopped from being seen by them. The Man looks at them. Pause.

TOMÁS
For the Santa Clara Hospital? We
They said he was around here.

MAN
I don't recall anything, brother.

The Man resumes his conversation, but Tomás and Santos do not.
they stop looking. The Man, bewildered, looks at them again. Pause

MAN (CONT'D)
(on the phone) I'll call you right now,
puppy. (To Santos and Tomás). Is it Santa
What...?

The man starts to search on a map, on his iPhone.

Shadow contemplates the environment, rarefied. She looks far away at some
strange and pretentious screens in the shape of palm trees, that
mark the entrance to a luxurious subdivision. AFX - It is heard
the song of distant seagulls. Shadow turns to the sky,
to corroborate, but sees nothing.
Tomás and Santos look at each other somewhat bored while the Man
he continues searching on his i-Phone, eager. It's a moment of
uncomfortable wait. INSERT - We traverse a three-dimensional map
from Mexico City.

MAN (CONT'D)
Mmm... We're here... No. We are
Here... No, wait for me...

SAINTS
Don't worry

35
 GÜEROS - Treat 8.1 - Filming

ARCHITECT
Wait for me. Hold on, hold on...

A car behind them honks to make them move forward. The Man
turns, suddenly very aggressive.

MAN
What, idiot?!

The car honks at them again, passes by with a glance.

penetrating.

MAN (CONT'D)
Get over it, baby!
He surpasses them. The Man resumes his friendly tone.

MAN (CONT'D)
Santa Clara, you said, right?
He continues searching on his iPhone. Santos turns off the car.
resigned.

44 INT. HOSPITAL SANTA CLARA / RECEPTION / WAITING ROOM - DAY

A list full of names written by hand in a notebook, a

thin finger with half-peeled nails touches them up.
Tomás and Santos curiously look at the RECEPTIONIST who is behind
from the counter, checks a list. It is a public hospital of
Social Security.

RECEPTIONIST
He/Sheisnothere.

TOMÁS
How could it not be?

SAINTS
The newspaper said that it was
here.

RECEPTIONIST
He's not here.

TOMÁS
Do you know who Epigmenio is?
Cross?

RECEPTIONIST
Do you know who is...
Search in your list with your finger.

36
GÜEROS - Treat 8.1 - Filming

RECEPTIONIST (CONT'D)
... Marta Paredes de Alba?

Tomás shakes his head.

RECEPTIONIST (CONT’D)
We are the same.

TOMÁS
Maybe Epigmenio Cruz is his
stage name.

SAINTS
One would have to be very foolish to
to take the name Epigmenio
artistic.

The receptionist looks at them annoyed.

ANGLE ABOUT: Shadow is sitting in the Waiting Room. He looks.

around her: the white lights flicker, the walls are
pale, just like the faces of the people. Some
They chat, others sleep, a man cries, there are whole families
camping and a TV in the background showing Big Brother. Shadow
he hugs himself, feeling cold. He is pale.

MRS. (O.S.)
Who do you think they will expel, young man?

Shadow turns and discovers a LADY (50s, humble).

SHADOW
What?

MADAM
Who are they going to expel?

Shadow turns around. He sees the people in the room.

SHADOW
... From here?

MADAM
From the Big Brother.

The lady points to the TV with Big Brother. Shadow continues

she shrinks back again. The lady insists.

MADAM (CONT'D)
It took three days for my husband.
in attending. Are you waiting for
Anyone?
Sombra does not respond.

37
 GÜEROS - Treatment 8.1 - Shooting

MADAM (CONT'D)
Young?

SHADOW
I am dying.

MRS.
Don't say that, young man.

SHADOW
I am dying.

The lady gently rubs Sombra's arm. Sombra

let comfort you. Look far away at Tomás and Santos
discussing with the receptionist. Suddenly hears some
slight sobs. Turn around and discover that it is the Lady. But no
Stop rubbing Sombra's arm. With her face buried in her
another arm, his whole body trembles, so much so that it is
it's difficult to tell if he's laughing or crying. Shadow is
completely out of place.

SHADOW (CONT'D)
(shyly) I'm not... I'm not...
I am dying...
But the lady doesn't answer. She keeps sobbing. She tightens the...
arm to Shadow very strong. He gets scared. Mortified, he
Mrs. Zafa walks towards the reception. She passes by.
from Tomás and Santos, and continues down the hallway.

RECEPTIONIST
Cannot pass without a pass...
But Sombra continues. Santos and Tomás look at each other and go after him.
The receptionist stands up and looks into the hallway.

45 INT. SANTA CLARA HOSPITAL / HALLWAYS - 45 DAY

Sombra, Tomás, and Santos walk through the hallways of the hospital,
next to DOCTOR IBARRA (20s, an internist, cool,
plastic glasses, eyebrow piercing.

DR. IBARRA
He was here. He left today at the
tomorrow. Or last night, I don't know.

SAINTS
Did they discharge him?

DR. IBARRA
He discharged himself. He had already been
hospitalized twice. Today I had
scheduled for a colonoscopy.

38
GÜEROS - Treatment 8.1 - Shooting

SAINTS
I would also shave my head.

DR. IBARRA
The liver feels like sandpaper. It
we said it the first time... Anyway,
there's not much to do anymore.

TOMAS
Don't you know where he/she might be?

Dr. Ibarra denies. A NURSE passes by.

DR. IBARRA
Norma, did you find out anything more about the,
Mr... Epigenio... this... the one who
Was I in two-zero-three?

TOMAS
Epigmenio.

NURSE
No, Doctor... He never answered.

The nurse follows. Dr. Ibarra speaks to them briefly.

DR. IBARRA
The last time he was here, he
they lent a lyre and sang to him the
morning songs for Norma. I couldn't even
to walk but wanted to throw it at her.

Everyone laughs. Except Sombra, who remains aloof. Dr. Ibarra continues.
stops in front of a general room.

DOCTOR IBARRA
I was in that bed over there.

Points to an empty bed in a corner of the room. Tomás and

Shadows emerge. No shadow. Looks bad, shivers.

DOCTOR IBARRA (CONT’D)

Are you okay?

Shadow denies, pale.

DR. IBARRA
A ver, ven, te echo un ojo.

He gives a nod to Sombra. He follows.

Tomás and Santos get into the:

39
 GÜEROS - Treatment 8.1 - Shooting

46 INT. SANTA CLARA HOSPITAL / ROOM - 46DAY

The room is old and desolate. Tomás and Santos walk with
parsimonious towards the bed at the back, which is perfectly
stretched. Everything has been collected.

They look at the empty bed in silence for a while.

TOMÁS
Here was...
Santos nods. Tomás takes out his little camera and takes a picture of him,
sad.

47 INT. SANTA CLARA HOSPITAL / ROOM - 47DAY

The pale face of an OLD MAN who has the eyes

open like plates. It's hard to tell if he is dead or
just resting. In the background, the sound of monitors can be heard.
of vital signs and artificial respirators.

Shadow, who is sitting on a small bench on the other side

from the bed section, he looks at the Old Man, terrified. The
Dr. Ibarra measures Sombra's blood pressure.

DR. IBARRA
The tiger?

SHADOW
Have you been in front of a tiger?
enormous roaring in your face,
showing you its fangs,
feeling his breath?

Dr. Ibarra examines Sombra's eyes with a small light.

SHADOW (CONT’D)
You know he's going to tear your face off.
with a bite and there is nothing that
Can you do it? Did you feel that?

Dr. Ibarra remains silent for a moment, thoughtful.

DR. IBARRA
No.

Sombra, without a shirt, breathes deeply while Dr. Ibarra

he/she listens to the lungs.

SHADOW
That's what happens to me. But without the
tiger.

40
GÜEROS - Treat 8.1 - Filming

Shadow sitting on the stretcher, chatting. Dr. Ibarra is

sitting, relaxed. It's a chat among young people.

SHADOW (CONT'D)
I'm afraid of going crazy.

Dr. Ibarra says nothing. Shadow withdraws.

Pause.

DR. IBARRA
Last year... I went to the Pitahayal,
in Sinaloa, to do my service.
On the way there, we were stopped in
full mountain. Two guys with
guns. shitty squares. To him
they aim at everyone, at me here in the
Shit. Damn panic.
people crying. A lady
fainting. Everything is wrong.

SHADOW
Sons of bitches.

DR. IBARRA
They take the wallets, the bags,
backpacks, my Casio watch - the only one
awesome watch I've ever had
my life... Two weeks later, already
that was installed in the clinic,
they bring me a guy with an injury
shot in the abdomen. He was being
bleeding the bastard. He wasn't going to
assemble. They put it on the grill.
I open his shirt, I clean him, I
I see and realize that it is one.
of the types that mugged us in
the truck.
Sombra looks into his eyes for the first time. Pause.

DR. IBARRA (CONT’D)

I didn't take out the bullet. I couldn't. I
I said it had gone down.
the pressure. Another attended to him
kid... I couldn't.

The two remain silent.

DR. IBARRA (CONT'D)

Now I sleep like crap.
Sombra thinks about saying something, but holds back. The Nurse enters.
what we saw in the hallway.

41
 GÜEROS - Treat 8.1 - Filming

NURSE
Excuse me... are you the
relatives of Mr. Epigenio?

Shadow thinks for a moment. Then he nods weakly. The

Nurse extends a battered leather wallet.

NURSE (CONT'D)
He left this at the reception... Same
and you can give it to them. No
We have a way to contact you.

Shadow takes it and nods. The Nurse looks at him, doubtful.

returns with Dr. Ibarra.

NURSE (CONT'D)
They are looking for you in Emergencies, Doc.

Dr. Ibarra nods. The Nurse leaves. Dr. Ibarra ...

return with Shadow:

DR. IBARRA
You're not going crazy. It is
panic attack. If I were you
I was taking a vacation. Go with
You go to Veracruz. I that
You need to rest.

Sombra nods. Dr. Ibarra gives him a pat on the shoulder.

and leaves. Shadow looks at the wallet for a moment. Then notices that the
Old Man continues to gaze at him fixedly with the same look
dying. The sounds of medical equipment can be heard.

48 INT/EXT. MOVING CAR/OUTSIDE HOSPITAL - DAY

Santos backs up the Atlantic and leaves the place where

It is parked on the street of the small hospital.

TOMÁS
Where are we going?

SHADOW
The doctor said that I have to
to rest.

SAINTS
I don't think it's a good idea to go back to
the house today.

TOMÁS
Let's go find it.

42
GÜEROS - Treat 8.1 - ROLLING

SHADOW
How do you want to search for it?

SAINTS
Aurora's dad is going to kill us.

TOMÁS
I don't know. Let's look it up.

SANTOS
That guy is a killer.

SHADOW
The doctor said that I have to
rest. He said it.

SAINTS
Aurora says that she once killed a
kangaroo with bare fists.

TOMAS
I am going to tell mom what you are doing.
all day

SAINTS
At the Africam Safari. He took them out.
eyes

TOMAS
I'm going to tell mom so that you
take to rest at home.

SHADOW
You don’t know what I am going through.

SAINTS
Here comes the tiger.

TOMAS
What fucking tiger?

SHADOW
When you finish high school, you are going to
understand. You have no idea what
it is to write a thesis.

TOMÁS
What the hell thesis?!

Silence. Pause.

TOMÁS (CONT’D)
Let's go find it.

43
 GÜEROS - Trat 8.1 - RODAJE

SHADOW
How the hell do you want me to do it?
let's look for it, idiot?!

A silence falls. They continue to advance.

49 EXT. STREETS OF SANTA FE / INT. CAR - DAY - CON

49

The landscape is changing radically, the avenue is lined

through large hills inhabited by a colony of auto houses
Construction. Shadow looks at the landscape, inert.

Santos suddenly brakes. In front of them stretches a huge

land filled with debris, stones, and rubble: it is the end of
road. In the distance, there are huge construction cranes
operating, constructing modern buildings in the ravine.

Pause.

SHADOW
Where are we?

SAINTS
In Mexico City.
Tomás gets out of the car, slams the door, and walks down the
debris towards the buildings under construction. Shadow and Saints
they look at each other for a moment.

Sombra puffs and goes after his brother, with little enthusiasm. Santos
turn off the car and contemplate the strange landscape.

Shadow crosses the sea of debris, following Tomás. There is a

swollen dead dog, wrapped in plastic, and all kinds of
junk.

Sombra arrives with Tomás at the great cliff where it is

construction. The two remain silent for a moment.
Sombra notices that Tomás has teary eyes.

Pause.
Finally, Shadow takes out the leather wallet from his pocket that
he gave it to the Nurse and hands it to Tomás. He looks at it.
surprised.

SHADOW
It belongs to Epigmenio. He left it in the
hospital.

Tomás takes the wallet. He can't help but smile.

44
 GÜEROS - Treat 8.1 - Filming

A great cascade of trash falls from the top of the enormous wall.
what the self-build houses contain. The two turn.

50 INT/EXT. COCHE EN MOVIMIENTO/CALLES - DÍA - CON

50
They move quickly through the wide avenues of Santa Fe,
bordered by large and luxurious skyscrapers. A sound is heard a
song on the radio.

Tomás inspects Epigmenio's wallet: a condom from

Social Security and a Museum Guard credential
National Museum of Anthropology and History, with a photo of him: a
old skinny man with a beard and eyes that reveal past glories.

Sombra returns the identification to Tomás and lies down.

back in the seat.

TOMAS
Is the museum very far?

SHADOW SAINTS
Yes. No.

TOMÁS (CONT’D)
Maybe she's there, working.

SHADOW
He surely escaped from a
colonoscopy to go to work.

SAINTS
He has a liver like sandpaper.

TOMAS
Well, but he is alive.

SHADOW
But he/she is not going to be there.

Santos turns in a street that leads to another avenue.

SAINTS
Let's just go to Anthropology to see.
If he's not here, let's go for some pizzas,
you take a nap in the car and
we wait for it to pass
bravery to Aurora's dad.

Sombra leans back in the seat, resigned. Closes his eyes.

45
GÜEROS - Treat 8.1 - Filming

SHADOW
Do whatever you want ... Just put it
the Counter-Band and leave me alone.

Tomás smiles. Santos tunes into the pirate radio. The voice enters.
from Ana. The car moves down a large avenue.

ANA (O.S.)
Thursdays... the weekend goes by
fin se ve, como los volcanes en un
clear day: so far and so
search... Partner, the Assembly
General to discuss the taking of
The television stations start at noon.
time. So don't think about it anymore:
throw yourself into the Main Auditorium and
make yourself heard. If you think you are
just come check that it is not
So... And speaking of loneliness,
listen to this that a friend composed:
"The Crane: I had never seen one"
so close,/ When I found her
hidden in the boat, down to the
water's edge,/ Still his eyes
they go from one side to the other/ Like
if looking outside is a way of
move, / To get out of there. //
She had broken wings and her long
neck,/ elegant as the reeds,/
only hinted at some feathers and
It was covered in mud. / The
red ants were eating the meat
open, / From the blood of the bird that
it was coming from the side.

Sombra looks out the window at the landscape: the big buildings.

ANA(OS) (CONT’D)
I found myself staring at her without daring to
to touch it: / I didn't know about the
agonizing slowness, / In that way of
tremble beyond the pain.
The crane was breathing with difficulty.
When the handle of the oar that I
he was wielding / He broke his skull.

Sombra puts her hand out the car window playing with it.
wind.

MATCH CUT TO:

46
 GÜEROS - Treatment 8.1 - Shooting

51 EXT. BEACH - DAY 51

The shadowy hand reaching from a boat brushes the sea,

splashing a little. At the back of the boat, out of focus, there
he manages to see an oar.

ANA (O.S.)
He made no sound, he did not quack,
but with a reflection -that did not come
on the side of life-/ Managed to
move that leg of reeds
a couple of times.
I felt a column of cold rise
slowly to my nape, / My hands
they trembled because they did not know how to cry,
And in my soul, the mercy
He/She had the face of the first time
the shame.
But in the majesty of that body
humiliated by the fractures, / In
that detachment of the soul from the
bird, / Something of mine also left,
fragile and dying. / They have passed
many years since then and to
sometimes / in the afternoons, I look at that
crane return inside me / In the
open sky of my youth,
Flying only, with tumbles, each
vez más cerca del suelo. / Yo sé
that she is very tired / How are you
tired of things that repeat;
the monotonous song of the
crickets, / What is behind
the windows, / Or the constant weight
of guilt. / That's why I am
waiting for it to fall, / For
to approach me again with the oar
between the hands.

52 INT/EXT. CAR IN MOTION/STREETS SANTA FÉ 52- AFTER

Santos turns down the radio a bit and looks at Sombra.

rearview mirror playing with his hand in the wind.

SAINTS
Did you write that?

Sombra smiles, shyly. Tomás looks at his brother with pride.

They turn onto a small street, away from the avenue. The
the landscape changes radically again: the houses are
very poor.

47
GÜEROS - Treat 8.1 - Shooting

SANTOS (CONT’D)
(THE SHADOW)
Do you know what would make me feel bad about
right? Being listened to by the girl
that I like on the radio, while
the idiot of Furia, puts his
calves.

SHADOW
Do you know what would make me feel bad?
Really ...?
They fall silent upon seeing the street incline in such a way
terrifying. The car looks like it's going to skid off.

SAINTS
Come on, come on...

They go down the steep street until they reach the end, where
it is closed. Shadow, Tomás, and Santos look at the
environment, astonished.

Some guys surround the Atlantic, blocking their way.

Santos stops the car, there is nowhere to move.

a moment someone touches Shadow's glass, it's the BOOGER (20s,)
green eyes, "rancher" blonde, light brown, hard gaze.

MOCO
What's up?
Sombra looks at him, tense.

SHADOW
To... go out to the avenue?

MOCO
For what?

SHADOW
Come on, let's go there, to the south,
by the University.

MOCO
You are really lost, blondes.
Sombra, Santos and Tomás look at each other.

SHADOW
We just want to go out to the
avenue.

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GÜEROS - Treatment 8.1 - Filming

MOCO
Yeah, I heard you. But it’s a hassle to go out.
from here. What do you think? ... If they throw me out
'So, I tell you how.
Tomás looks at Moco and the gang of kids surrounding him.

MOCO (CONT’D)
Is it assembled?

Before they can answer, the Snot opens the door of

he goes back and sits down. He sits next to Sombra.

MOCO (THE SHADOW) (CONT'D)

The first one on the left.

As he advances, Moco greets some with a whistle.

guys walking down the street, telling them to leave them alone
to pass. Santos turns onto a narrower street that looks
more dangerous than the previous one.

Moco looks at the anguished faces of Sombra, Tomás, and Santos. There is
a very awkward silence.

MOCO (CONT’D)
To the left again.

Santos sees that several blocks down there is a big avenue,

try to continue over there.

MOCO (CONT’D)
I told you to the left.
Santos nods. Tomás looks at Sombra in the rearview mirror. Sombra
he tries to calm him down by forcing a smile, but he can't hide it.
his fear. Moco approaches Tomás.

MOCO (CONT’D)
Are you really afraid of me, blondie?

Tomás doesn't answer. Moco smiles at him.

MOCO (CONT'D)
The band that was back there
They were going to fillet them. What do you think?

Santos turns left.

The sun is about to set, bathing everything in orange. In the car
Silence continues to reign. Shadow looks all the time at the
Moco, who has his hand in the pocket of the hoodie. Tomás
watch this out of the corner of your eye.

49
 GÜEROS - Treatment 8.1 - Shooting

MOCO (CONT'D)
Now turn to the right.

Santos obeys. They continue down a narrower street.

MOCO (CONT’D)
Stand here.

Santos stops, fearful.

MOCO (CONT’D)
I am going to be treated to some beers,
first.
SHADOW
Just don't do anything to me
brother. Let it go and-

Moco gives Sombra a strong slap that surprises everyone.

Santos and Tomás look at each other fearfully.

MOCO
Relax, dude. No one here is going to...
to do nothing to anyone.

53 EXT. STREET / GROCERY STORE - AFTERNOON

53

On the sidewalk are sitting Tomás, Santos, Sombra, and the

Moco. Everyone has a caguama in hand. Behind them
the cliffs of Santa Fe can be seen at sunset, populated by
small houses (most unfinished), and further back, huge
and luxurious buildings dominating the ravine.

Everyone is silent, and from time to time, they take a sip of

his turtle. Tomás looks straight ahead, at the walls of
hill, where there are some strange murals.

TOMÁS
Who painted that?
Moco doesn't answer. Tomás, Sombra, and Santos seem very
nervous. Shadow takes a big sip of his beer and tries
get up, but Moco puts his hand on his shoulder and him
sit down again, gently.

MOCO
In a hurry, blondie?

Sombra looks at Tomás, trying to comfort him.

MOCO (CONT'D)
Tell me ... what are you up to? How
How have you been?

50
 GÜEROS - Treatment 8.1 - FILMING

Pause. Shadow and Santos look at each other, bewildered. Moco laughs.

MOCO (CONT’D)
First things first, a gentleman, to
the three of them, all: nails, fingers...

Moco takes the beer in one gulp and then looks at the
Guys seriously, until they do what they are told.

MOCO (CONT'D)
Now the second thing, another round.

Moco stares at Sombra, who takes out a bill and

there goes. The Mucus gets up, walks a few steps, and enters a
small store.

The boys follow Moco with their eyes. Shadow looks at Santos.
and Tomás seriously counts to three with his fingers. He
he stops and runs towards the car, Tomás and Santos run
They get into the car just as the Booger is coming out.
with the beers in hand. Shadow turns on the car and
start.

INT/EXT. CAR IN MOTION/STORE STREET - NIGHT

Moco runs after them and throws a beer container at them.

it crashes into the car's rear window.
El Moco watches the car drive away, disappointed. He sits down in the
He sits on a stool, opens a beer, and starts drinking it.

54 INT. MOVING CAR - STREETS - DUSK 54

Sombra drives fast through the alleys of the ravine. He

he goes onto a dirt road. Tomás looks very bad.

TOMÁS
Stop.

SHADOW
What?
Sombra turns to look at him, puzzled.

SHADOW (CONT'D)
I can't stop here-

Pero Tomás ya abrió la puerta. Sombra frena.

SHADOW (CONT'D)
Are you okay?

Tomás gets out of the car quickly.

51
 GÜEROS - Treatment 8.1 - FILMING

55 EXT. BARRANCA / GARDEN PLOT - DUSK - CONTINUO

Tomás walks along a path in the dirt road. Shade and Saints
They go down after him.

SHADOW
Tomás!
Tomás stops in the middle of the grass, among the plants, and he
doubles over, vomiting. Shadow attends to him, worried.

SHADOW (CONT’D)
Yes. Nothing happened. Calm down.

THOMAS
That guy wanted to kill us.

SHADOW
I just wanted friends.
Santos and Tomás look at him with disapproval.

SHADOW (CONT'D)
Why not? What if just
I wanted some friends?
Tomás cleans himself up and stands up. He looks around: they are giving
tell that they are in a garden in the middle of the ravine. To the
distance there are a few locals working the land. The
the angular light of the sunset makes it look like an Eden.

TOMÁS
Where are we?

SHADOW
In Mexico City.

Sombra and Tomás look at the place, amazed.

SANTOS (O.S.)
Hey...

They look back at Santos. He is digging up a carrot from

the earth.

SHADOW
Leave that.

But Santos ignores him and digs up another. Shadow denies.

with his head and walks back to the car.

52
 GÜEROS - Shoot 8.1

56 INT/EXT. CAR IN MOTION/STREETS / TUNNEL 56- NIGH

Shadow drives the Atlantic down a winding street of the

neighborhood. Santos is coming behind. The three eat carrots, in
silence.

Finally, they arrive at a large avenue: High Tension. The three

they are visibly relieved.

Shadow moves into the central lane, which becomes a

long underpass.
The Atlantic moves through the dimly lit tunnel that seems not to
to have an end. The car's headlights illuminate the asphalt.

Inside the car, there is confusion. Silence.

TOMÁS
Brother, do you know where we are?

Shadow denies. The car continues moving forward in silence. Pause.

SAINTS
What a strange way to do it
friends...
But no one pays attention to him. They keep moving forward. Finally, he is seen.
the light at the end of the tunnel.

57 INT/EXT. MOVING CAR/ UNAM CIRCUIT - NIGHT

57
The Atlantic comes out from the under-bridge, rises and merges into a
a very different circuit, which is not well deciphered due to the lack
of light.

TOMÁS
Where are we?
But this time no one answers him. Shadow looks at something in the distance.
What do you think, familiar?

SHADOW
What do you think?...

SAINTS
What?

SHADOW
What do you think?...

As they get closer, they discover that it is a barricade.

made by students of UNAM. Shadow stops the car at
a few meters from there.

53
 GÜEROS - Scene 8.1 - FILMING

SAINTS
How did we get back to the
school?

SHADOW
Here is when we go back home and
Shadow rests as he told him
doctor and the movie ends.

TOMAS
I want to enter.

SHADOW
You can't enter!

SAINTS
The police are going to arrive at the house and
they are going to hang me by the balls for
your fault.

SHADOW
Let's see, let's see, wait a minute...

Before Sombra says anything else, Tomás and Santos go down from the
car and van heading towards the barricade. Shadow sees them go, shakes his head with
the head and leans his head on the steering wheel.

58 EXT. CIRCUITO UNAM BARRICADE - NIGHT 58

Some streetlights illuminate the place. El Manchas (25, with a
pigmentation on the skin) peeks out from behind the barricade.

STAIN
Where, where?

Tomás looks at Santos.

SAINTS
Let's go... to the assembly, what do you mean?
where to?

SPOTS
The assembly started a long time ago.

SAINTS
We are from here, we came to vote.

SPOTS
They arrived late, you damn scabs.

Sombra approaches them with the car. He speaks from the...

window.

54
GÜEROS - Treatment 8.1 - Filming

SHADOW
Don't use that word if you don't know what it means.
it means.

SPOTS
It means that they are a bunch of bastards.
strikebreaker.

SHADOW
Esquirol means squirrel in
Catalan. Like a trapped pet
en su jaula... Como tú. Atrapado
inside this cage that you
they did the same.
Manchas looks at them confused.

SPOTS
They cannot pass.
At that moment, THE BEAR (40s) arrives.

BEAR
Again, damn Spots? You leave
pass to those who do not, do not leave to the
Yes... I'm going to tell your mom
where are you.

SHADOW
What's up, Bear?

bear
Ps just chilling here.

Manchas opens the gate, submissive.

OSO (CONT'D)
Are you going to the assembly?

Shadow nods.

OSO (CONT’D)
Give me a tone.

Bear, Santos, and Tomás get into the car. Shadow crosses the
entry, giving a challenging look to the Inciso.
Tomás looks excitedly at the entrance to UNAM.

SAINTS
And that guy?

55
 GÜEROS - Treatment 8.1 - Shooting

BEAR
Damn spots. They left him out of
the commissions and he did it all by himself
there. No one pays attention to him...

Tomás smiles, he looks excited.

59 EXT. UNAM - UNIVERSITY CIRCUIT / INT. 59 CAR - IN

MOVEMENT - NIGHT

The car moves along the University Circuit.

to improvise with the Bear).

60 EXT. UNAM / SCHOOL OF PHILOSOPHY AND LETTERS - PAR

NIGHT

The Atlantic docks in one of the places, near the

Facade of the Faculty of Philosophy. There are few cars.

The boys and the Bear get out of the car and look at the facade of
the Faculty, like a strange place. There are large banners.
hung with emblems of the movement. Students come out and
They enter, there is a lot of movement.

The bear walks towards the Faculty. The others follow him.

61 INT. UNAM / MAIN AUDITORIUM - NIGHT 61

The three walk with Inciso through the small hallway that
lead to the Main Auditorium. There are students entering and
leaving, several discussing in the hallway. They bump into
INCISO (30s), who greets them. Sombra, Tomás, and Santos smell.
something in the environment.

INCISO
How good that you decided to come to the
assembly, little rascals. This is getting
putting ant color.

TOMÁS
It smells like onion.

CLAUSE
Some friends from La Merced us
they gifted five tons of
onions just never run out
bitches. Onion soup, cake of
onion, everything with fucking onion. It is
the smell of the strike.

56
GÜEROS - Treatment 8.1 - Filming

Inciso smiles as he pulls back the curtains to reveal

the auditorium: It is a large theater, where it is happening
a meeting of the Strike Movement. The Auditorium is
full. The attendees are divided by more than 40
schools. Each with their respective students
"moderates" and "ultras", with a rougher appearance (studs,
There are barbed wires that divide the stage from the
armchairs. On stage, there is a podium and a table of
Assembly members to the center. They all look tired, but they don't stop.
to cheer and shout (NOTE: some phrases are suggested, but
interruptions must be constant, to improvise in
shoots).
The Shadow's face lights up when discovering that it is ANA (23),
who speaks at the podium. She is short but pretty. She has a
cunning arrogance with which it hides its class roots
high.

SAINTS
Look, there’s your girl, Sombra...
Inciso leaves them and goes to sit in the front. Shadow, Santos and
Tomás stays observing from the hallway.

ANA
The proposal of the College of
Political Science to take tomorrow
at night the television stations, far away
to generate empathy that
we need, the only thing that is going to
to achieve is that we lean more on each other
enemies above... The School of
Latin American Studies
we propose, instead, that the action
may tomorrow be a silent march
to the two television stations. we gathered
we simplify heads and proposals,
the only thing we are doing is
help the rector weaken the
movement.

Whistles and slogans against the Rector.

TOMÁS
Is it the radio one?

Sombra nods, his gaze fixed on Ana.

57
GÜEROS - Treatment 8.1 - Shooting

ANA
There are already many factions.
what they keep doing
statements and shouting slogans
that have nothing to do with him
document, as approved by
majority in the last referendum.

Applause from the faction of the moderates. An ULTRA STUDENT

he whistles from the seats and starts shouting:

ULTRA 1 STUDENT
Let the blonde be quiet and let me
grab the hose!
His companions applaud and laugh. Sombra looks at with resentment at the
what he shouted. Ana tries not to pay attention.

ANA
In the media, they keep calling us
vagabonds, the parents of the family we
they call wildcards, accommodated,
lazy ones, fossils... in the street
they shout at us "get to work"
"to study".And that is the only thing that
sample is our own
inability to come to terms
agreement. We are not the custodian of
all the causes. We can
to stand in solidarity with other struggles, yes,
but the causes that we have to
winning is what this movement is about

Violent victories. The FURY (28) stands up.

at the assembly members' table.

FURIA
Forgive me, partner, but what
what we have to do is create a
broad front where we all fit
and where we all promote the
demands from everyone. How the hell
Can you say no at this point?
Are we the voice of others? There is a
a lot of people in this country that don't
there is someone who listens to her. In addition
to say that we are fighting only for
the free education is
minimize the support that we have
received from all over the fucking country

ANA
I am not minimizing the support-

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GÜEROS - Treatment 8.1 - Shooting

FURIA
It is the typical bourgeois attitude, neo-
liberal of the assholes of 'Letters
Tropical

ANA
Our way of fighting against the
neoliberalism is to defend the
public education, idiot. Period.

ANGLE ABOUT:

TOMAS
And who is that?

SHADOW
Nobody.

SAINTS
Her boyfriend.

ANGLE ABOUT:

ANA
I am going to ask you, fellow Fury,
let's not take it personally.

FURIA
What do you mean we shouldn't put on
Personal, Ana, no way?! This
movement is personal! / And the one
don't take it personally...

ANA
I don’t want to get personal and
start talking about how certain
people use the movement
to hook up with the little ones,
because before the strike not
they wouldn't even raise Chava in the morgue...

Everyone applauds, whistles, and makes 'uuuu'.

ULTRA 2 STUDENT
Shut up, you classist bitch!

ANA
This isn't about classes, asshole.
It's about defeating the rector and
arrive strong at the march of
tomorrow. And I quote Martí: "A
school is a forge of
spirits...

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GÜEROS - Treatment 8.1 - Shooting

ULTRA 3 STUDENT
Make me this!

ANA
Comrades, we have spirit, but
we need temper. And the temper is
brother of temperance...
Enthusiastic applause from the moderate bench.

ULTRA 4 STUDENT
Lots of clothes! Lots of clothes!

Ana is frustrated. Shadow intervenes.

SHADOW
Let her speak, you fucking lowlife!

Santos, immediately alarmed, tries to silence Sombra.

Ana turns around and sees Sombra in the hallway. She smiles at him.

SAINTS
(in a low voice) What are you doing,
idiot?!

ULTRA 4 STUDENT
Who are you calling a loser, idiot?!

SHADOW
To you and your dad and the idiot of
your grandfather!

STUDENT ULTRA 4
Come here and say it to my face,
fucking queer! You don't even know what
means 'naco'

SHADOW
How much are they paying you?
governorship, fucking naco?

ULTRA 3 STUDENT
Shut up, you sold-out Perredista!

ULTRA 4 STUDENT
"Naco" is "nopal" in Opata,
Idiot! Learn your roots.

SHADOW
Well, that's why. Stupid cactus. Fool.

MODERATE STUDENT
Hey assholes, let me talk!

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 GÜEROS - Treat 8.1 - Filming

All the factions repeat: "So much clothing! So much clothing!"

The Ultra Student goes towards Shadow. Several accompany him.

Shadow, lit, will also confront them but Santos does it
stops. Ana sneaks behind the assembly members.

Insults are intensifying between the Moderate Student and

the Ultra who insulted him. The others support him. They approach. The
Moderado gives a push to the Ultra, who lets himself go.
above. Some try to stop them, others push those of
the opposing faction. There are insults, shouts, and blows.

MODERATE
Friends! Please,
companions...! We declare a recess
to vote on tomorrow's action.

SAINTS
Let's get out of here!

Santos pulls Sombra and Tomás back to the exit.

62 INT. UNAM / HALLWAY - NIGHT 62

Tomás, Sombra, and Santos wait in a quiet hallway of the

faculty, outside the Auditorium. Shade remains hot,
cursing to himself. The commotion that continues inside can be heard.

Ana arrives. She looks at Sombra for a moment, contemplating him entirely.

ANA
What are you doing here?

Shadow smiles.

ANA (CONT’D)
Damn crazy. They're going to kill you.

Ana throws herself into the arms of her friend. They stay for a while in
the hug. Without her realizing it, he smells her for a moment,
she makes a face of disgust. They separate. Ana looks at Santos.

ANA (CONT'D)
Damn Santos!

He gives him a hard hit on the arm and a camaraderie hug.

SHADOW
I introduce you to my little brother Tomás.

ANA
You are not dark-skinned like your brother.

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 GÜEROS - Treatment 8.1 - Shooting

TOMÁS
No.

ANA
But you are more handsome than him.

Tomás smiles. Ana gives him a hug. Ana looks at Sombra,

smiling, and guiding them down the hallway.

ANA (CONT’D)
Let's get out of here, please.

SHADOW
You defended yourself well.

Ana shrugs and guides them down the hallway.

63 INT. UNAM / FACULTY OF PHILOSOPHY AND 63

LETTERS - N

They walk through the internal corridors of the Faculty, likewise

upholstered banners, with people coming and going, entering
and leaving the rooms, which have been arranged as
bedrooms, kitchen, and meeting rooms. It's like a farm of
ants with an undecipherable but rigorous logic.

As you pass by the cafeteria, you see several students.

cutting onions. Tomás takes a photo.

Santos, Tomás and Sombra seem like tourists in a land

strange. The strikers look at them, some with suspicion,
others with knowing smiles.
Tomás takes pictures as he passes: Hands touching the guitar. Two
guys passionately discussing. A guy sleeping inside
from your store. Some guys painting banners. Others mopping.
the floor. The smile of a girl. A drawing of the Subcomandante
Marcos.

TOMÁS
Do you sleep here?

ANA
Look Tomás, I'll give you the tour. This is
my bedroom.
Ana stops in front of a classroom. They peek in: the floor is
full of sleeping bags. There are some students chatting.

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GÜEROS - Treatment 8.1 - SHOOTING

ANA (CONT'D)
They call it 'Lomas Pinche'. Here
we are the gang of Studios
Latin Americans and Letters
Hispanics - if your brother ...
Dignara would have to sleep here.
With me.

Sombra smiles and shakes his head at the provocation.

They continue walking.

ANA (CONT’D)
Over here... that is 'Lomas Nais'.
There sleep the ones from Humanities
French, English, and others of their
postal code... with mats and
everything.
They stop in front of the classroom that Ana described. Indeed,
it is more organized than the previous one.

They continue to advance. They pass by another quite large room.

dark. They peek out: there are some students working in groups,
some reading, others playing board games.

ANA (CONT'D)
And that is Middle-earth. They are the
of History and the Associators of the ENAH.
They spend their time playing role-playing games,
painting miniatures and fantasizing
that are related to those from 'Lomas'
Nais.
At the back of the room, a KID with a notebook is arguing.
warmly with another student.

SAINTS
And that one?

ANA
Ah... He hit the workometer.
They continue walking through the hallways.

SHADOW
The lock...?

ANA
...good meter. Check that everyone complies.
with their tasks so they can
vote.

SHADOW
Not bad. Very Marxist.

63
 GÜEROS - Episode 8.1 - Filming

ANA
making fun of
And then he goes and reports them.

SHADOW
Well, Stalinist.
They arrive at one of the doors that leads to the garden. They go out.

64 EXT. UNAM / GARDENS 'THE ISLANDS' - 64 NIGHT

They walk through the garden outside the Faculty. Drums can be heard.
In the distance. There are couples scattered around the 'islands'.

Ana turns around and gazes intently at Sombra.

ANA
Why hadn't you come to
visit me?
Sombra doesn't know what to say. There is a silence.

ANA (CONT’D)
You are an idiot.
Santos and Tomás look at each other, uncomfortable.

TOMÁS
(to Santos) Shall we go to your faculty and
Can you show me your thesis?

SANTOS
It's far, Tomi.

TOMÁS
Let's go to your college and you show me your
thesis.
Tomás makes a face at Santos, suggesting that they leave them alone.
the Shadow and Ana. Santos captures and nods.

SAINTS
(The Shadow) I'm going to take him to ...

SHADOW
Yes...

SAINTS
Later the...

Sombra and Ana are ignored. Tomás and Santos walk away.
Sombra takes out a cigarette and lights it.

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 GÜEROS - Treatment 8.1 - Shooting

ANA
Do you see him changed?

SHADOW
All this?

Ana nods.

SHADOW (CONT'D)
More organized.

ANA
And me?
Sombra looks at her and is about to say something. But she doesn't dare.

SHADOW
No... Still... Thinner. And you smell.
the onion.
Ana takes a drag from the cigarette and blows the smoke in his face.
the Shadow, which blows the air with its hand. Shadow exaggerates its
displeasure. Ana laughs. She hands the cigarette to Sombra. Ana
cover the shoulders.

SHADOW (CONT'D)
Are you cold?

Ana nods. Sombra warms his hands and rubs them.

arms. His skin is taut. He cuddles in the chest of
Shadow. He doesn't know what to do. She hugs him.

65 EXT. UNIVERSITY CIRCUIT - NIGHT 65

Tomás and Santos walk through the University Circuit, which

is completely solitary. On both sides of the road there
extends the undergrowth buried in darkness.
They come walking in a comfortable silence, through the middle of the
street. Only the moan of the streetlights that illuminate accompanies them
the way.

TOMÁS
What was your thesis about?

SAINTS
Molecular diversity of communities
of rhizobia and their genes
symbiotic as indicators of
degree of conservation and potential
for the restoration of forests
tropical.

65
 GÜEROS - Treatment 8.1 - Shooting

TOMÁS
Say it again.

SAINTS
(faster) Molecular diversity
of communities of rhizobia and their
symbiotic genes as indicators
of the degree of conservation and
potential for restoration of
tropical forests.

The two smile. Pause.

TOMÁS
Do you miss being at school?

Santos thinks for a moment. He shrugs his shoulders.

SAINTS
Sometimes.

TOMAS
And why don't you go to another one?

SAINTS
I would rather not do it.

Tomás finds an empty beer can in the middle of the

street. He kicks it. He passes it to Santos. They move away kicking the
can

66 EXT. UNAM / GARDENS 'THE ISLANDS' - 66 NIGHT

Sombra and ANA walk with their arms intertwined.

SHADOW
How long has it been since you last went home?

ANA
This is my house. Here are my
brothers.

SHADOW
No way, Ana. They hate you.

ANA
They don't hate me. That's how it is. It's about
to discuss. That's how siblings are,
No?

SHADOW
And what have you achieved...? You and your
brothers

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GÜEROS - Treatment 8.1 - Shoot

ANA
Are you seriously asking me?

Shadow doubt. Then he nods. Ana steps away.

ANA (CONT’D)
More than you and Santos there
closed, I assure you of that.

Sombra remains silent. Ana is upset.

ANA (CONT’D)
Don't say that, Umbrella. You're fine.
Do you know how important this is? Already
we talked about it. There are still things that we didn't.
we like them. But, no way...
entry you could not go to the
university if they start to
to charge.

SHADOW
But you do.

Ana nods. She remains silent. They walk in silence.

SHADE (CONT'D)
And have you spoken with your siblings about
truth? With your mom?

ANA
You too, don’t pretend. Just
You talk to your home to ask for money.

SHADOW
Your parents were here in the
'68. My mom didn't finish even high school.
He/She does not understand all of this.

They continue walking towards the Rector's building.

SHADOW (CONT'D)
Why don't you go back home?

ANA
Why don't you return to the movement?

SHADOW
I already told you...

ANA
Your thesis, always your thesis...

Ana looks at him, skeptical. She disarms him.

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 GÜEROS - Treatment 8.1 - Filming

SHADOW
I don't belong here.

ANA
So where?
Sombra is left ruminating on this.

Suddenly, they are overtaken by a group of enthusiastic students who

they run towards the Rector's office, shouting and laughing. Sombra turns and
discover that a crowd is coming behind them (many
of which were in the assembly). Ana sees the Inciso among
the crowd. He stops to talk to them. He brings a touch.
SECTION
The Fury is going to make a
intervention in the murals.

It starts again. But it stops and turns back to Ana.

INCISO (CONT’D)
Forgive him, Anita. It wasn't personal.

Ana shrugs. Inciso smiles at her. He gives her the touch and
she goes, running after the others. Ana smokes and passes it to
Shadow. They quicken their pace and follow the others.

67 EXT. UNAM / GARDENS IN FRONT OF THE RECTOR'S OFFICE - NIGHT - CO

Sombra and Ana arrive at the murals of the Rector's Office, where the
a crowd is gathered around the Fury, who is
climbing a ladder leaning against the mural 'The Dates'
from the History of Mexico" by Siqueiros. (NOTE: The mural is
composed of two intertwined hands holding a pencil,
that writes on a parchment the important dates of the
history of Mexico, starting from 1521 and culminating with the
registration "19??"). A huge bonfire made of benches and
Wood scraps illuminate the esplanade.

ANA
What is this idiot going to do?

The Fury stretches from the ladder with a thick brush

to paint the last date and convert it into the word
"TODAY." Ana approaches the bottom of the stairs and shouts:

ANA (CONT’D)
What are you doing, idiot?!

But his cry is drowned out by the cheers of the others. Fury
he doesn't pay attention and keeps painting. When he finishes, the crowd
cheer and shout. The Fury turns with the audience below
he raises his fist and leads a chant. Cheers.

68
GÜEROS - Treat 8.1 - Shoot

Furia throws herself from the ladder into the crowd.

crowd dive. They carry him with their hands and pass him.

ANA (CONT’D)
You are an idiot!
Ana steps aside and returns with Sombra, who observes everything from the
distance.

ANA (CONT’D)
What would Siqueiros say?

SHADOW
Maybe I would have agreed.
Ana and Sombra watch as they carry Furia on their shoulders.

SHADOW (CONT’D)
Nothing lasts forever, Anita... Everything
it is destroyed.

The entire courtyard surrounding the mural continues to fill with people.
that claps and cheers. Little by little it turns into a party.
A circle of drums opens in the center and people dance
Around. Bottles, cigarettes, and touches are passed from hand to hand.

ANA
Why did you come?

SHADOW
The truth?

ANA
The truth.

SHADOW
To see you.

Ana smiles. She approaches Sombra. But he pulls back.

SHADOW (CONT'D)
The truth? I am accompanying my
brother to look for his idol and us
we lost.

ANA
Did you get lost? In your faculty?

Sombra shrugs. The party continues around.

they are eaten by her, they start joining her. The people dance
near them. Shadow begins to integrate.

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 GÜEROS - Scene 8.1 - Filming

68 EXT. FACULTY OF SCIENCES - NIGHT 68

Santos and Tomás walk through the garden that borders the Faculty.
of Sciences. Drums can be heard in the distance.

They arrive at the Greenhouse Area. They stop next to one.

It is dark, but through the dusty glass we
they manage to see a countless number of plants. Santos checks that there are none.
come on, nobody try to open one of the windows. It is
closed. Looks around in the grass.

Grab a large stone.

Santos hurls the stone at one of the small crystals,

breaking it. Tomás looks at him, excited. Santos puts his hand in
through the hole he made and opens the window from the inside.
They enter.

69 INT. UNAM / GREENHOUSES - NIGHT - 69

CONTINUOUS
They walk through the halls of the greenhouse. They follow each other.
escuchando los tambores a lo lejos. La luz del alumbrado
exterior seeps through the dusty windows.
Santos' nostalgic expression is becoming distorted into sadness.
upon discovering that most of the plants are dead. The
The greenhouse looks like a deserted city.

Santos shakes his head, sad. They reach a corner of the

greenhouse, where there are a series of pots with plants
long, completely dead. Santos looks at them sadly and
Seriously. Tomás goes to Santos.

SANTOS
This is. It was.

Santos holds the dead plants in his hands. They look like
dusty lifeless tentacles. It falls silent a
moment. Tomás doesn't know what to say.

70 EXT. UNAM / GARDENS IN FRONT OF THE 70RECTORATE - N

Sombra and Ana walk among the crowd. The drums grow loud.
stronger. Everyone is chanting some song. A has been formed
great dancer. People look happy, fulfilled.

Ana starts doing a funny dance for Sombra, moving

only the shoulders and the eyebrows. This one imitates them. The two begin
a mover todo el cuerpo -Shadow with a little bit of sorrow to
principle - like disarticulated skeletons. Several around them.
They are given space and applauded to the rhythm of the drums.

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GÜEROS - Trat 8.1 - RODAJE

Now they are the center of attention. Ana exaggerates the movements,
making everyone laugh. Shadow imitates her poorly, making
laughing at everyone, more. People applaud them.

Furia enters the circle, dancing. He stands in front of

Ana, who stops dancing. Sombra feels her blood freeze,
it moves away. Fury turns to Shadow, smiling. The
drums and the dance continue all around. Some watch the
scene, others continue with theirs.

FURIA
What's up, Shadow?
Sombra doesn't know what to say. He looks at Ana, who shakes her head.
head.

SOMBRA
What ped-

But before he can answer, Fury slaps him.

More than hurting him, this confuses him. The others watch.

FURY
What are you up to with my girl, asshole?

Sombra doesn't know what to answer. He is terrified.

FURIA (CONT'D)
Huh...? Huh...?!
Furia makes a quick move and Sombra protects herself, but it is
a fake. Fury laughs and hugs Shadow.

FURIA (CONT’D)
What do you think, asshole?

Sombra doesn't know what to do. Ana shakes her head.

ANA
You are an idiot.

FURIA
How are you, son of a bitch?
Why don't you come here anymore?

Furia gives Sombra a pat on the cheeks and leaves him.

He turns to Ana and tries to hug her, but Ana pulls away.

FURIA (CONT'D)
What happened, shorty?
Ana moves away from him. Fury follows her. Shadows watch them.
discuss while moving away. They stop far from the noise and
They continue to argue in the distance, heatedly.

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 GÜEROS - Treatment 8.1 - Filming

Some give pats of support to the Shadow.

Ana separates from the Fury and comes back towards Shadow, with
tearful eyes. She passes by him and continues on.

ANA
Let's go.

SHADOW
Where to?

ANA
Anywhere. Get me out of here.
Sombra sees Ana walking away towards the parking lot. Then
turns to look at the Furia who is left alone in the garden, where
Ana left him. Fury looks at Shadow.
Sombra thinks for a moment, and goes after Ana.

71 INT/EXT. CAR IN MOTION - NIGHT 71

Sombra is driving, Ana is in the passenger seat, Santos and Tomás are in the back.

ANA
Who are we going to look for?

TOMAS
Are you going to come with us?

SHADOW
Epigmenio Cruz.

ANA
Who is that?

Tomás hands the Walkman to Ana.

Ana puts on the headphones and hits play. The cassette starts to
to turn inside the walkman.

Sombra, Tomás, and Santos are attentive to Ana's reaction.

who listens attentively, smiles, looks at his companions. He
take off the headphones. Pause.

ANA (CONT’D)
I had never heard anything like that.

TOMAS
Once he made Bob Dylan cry.

Sombra looks at Ana with a smile.

72
 GÜEROS - Treatment 8.1 - Shooting

ANA
Let's go, then.

SANTOS
The museum opens until 10.

ANA
Let's go to his house, then. I just want
some cold beers, a little bit of
music and being far from here.

TOMÁS
There are only two beers. And they are
hot.

ANA
Well, let's go to Oxxo for some.
We listen to Epigmenio in the
hello...

TOMÁS
The stereo won't turn on.

ANA
Oh good, let's watch a movie.

TOMAS
Neither the TV.

Sombra and Santos look at each other. Ana puts on the headphones again.

AFX - the buttons of a digital keyboard sound and then the

sound of a microwave heating.

72 INT. OXXO - NIGHT 72

Some burritos are spinning in the microwave. Tomás is watching them.

SHADOW (O.S.)
One day this Oxxo will be again
a field of marigolds. And you are going to
You're going to miss the sodas.
In that Office Max, they are going to graze the
cows and you won't be able to make copies
never again for your thesis. That
the parking lot will be covered
of lilacs and roses, and the River
Churubusco is going to be a river again
and we are going to return to barter-

ANA (O.S.)
I mean, you are screwed. Never
you have had nothing to exchange.

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GÜEROS - Treatment 8.1 - FILMING

We browse several shelves of junk food, while a

I'm taking a bit of everything: Potatoes. Peanuts. Chocolate. Mangos.
with chile.

It's Ana who grabs all the junk food while chatting.
with Shadow. He starts opening and eating one thing from each bag and
she hands it to Sombra, who has her hands full. Occasionally,
when Ana puts something she opens in her mouth into Sombra.
Santos takes several beers out of the refrigerator. Tomás looks at them.

TOMÁS
How are they going to pay for all of this?

SAINTS
Worry about the river when you have
to cross it.

ANGLE ON: The EMPLOYEE (18, skinny, fragile, Emo type)

start closing the doors. Just at that moment, a
group of 3 YOUNG SPOILED KIDS, drunk, making jokes. At
reaching the door, the Employee closes it on them. One of them,
PEÑALOSA (23, tall) speaks to him arrogantly.

OXXO EMPLOYEE
We are closed now.

PEÑALOSA
No way. And what about those guys?

Point out Sombra and Ana who are at the back, facing away.

OXXO EMPLOYEE
They are the last ones.

PEÑALOSA
Don't mess with me. Give me some cigarettes and
yes.

The boy shakes his head.

PEÑALOSA (CONT’D)
What is a damn office of
government? Open the door.

The employee denies and tries to close the door. But Peñalosa
put your foot to stop it.

Sombra and Ana laugh. She puts chocolates in him.

Shadow in the mouth, roughly, filling it up. Shadow tries
talking but nothing is understood. Ana doubles over with laughter.
But they stop when they see that:

The discussion between Peñalosa and the Employee has heated up.

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GÜEROS - Chapter 8.1 - FILMING

PEÑALOSA (CONT’D)
Are you mute? Look at me when I talk to you.
Are you mute? Show me the tongue.
So, look...

The Employee tries to close the door again, but Peñalosa

open it completely.

PEÑALOSA (CONT'D)
If you teach us the language, we ...
come on... Show us the damn
tongue! ... Stick out your damn tongue!

Peñalosa sticks out his tongue and makes obscene gestures. The
The employee does not respond and avoids eye contact.

He approaches the Employee with his tongue, about to lick him.

Santos goes to the entrance and intervenes.

SAINTS
What happened?

PEÑALOSA
What happened about what?

SAINTS
Give him a chance. He is working.

PEÑALOSA
This is between the mute and me.

Peñalosa looks at Santos. Things are about to get ugly.

Ana and Sombra approach. She and Peñalosa see each other.

ANA
Peñalosa?

Peñalosa
Anita? ... No way. How
Are you there?!

ANA
What happened to the kid?

PEÑALOSA
Here the world does not let us buy
cigarettes... No way, how are you?
You don't let yourself be seen anymore, dude.

ANA
What were they telling him/her?

PEÑALOSA
Nothing... why don't you get some cigarettes, right?

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 GÜEROS - Treat 8.1 - Shooting

He gives the kid a slap.

PEÑALOSA (CONT’D)
There is a premiere of the new movie
from Diego Darriba. Why not
Are you coming?

ANA
Who?

PEÑALOSA
There are free drinks. Let's go.

ANA
I am with my friends.
Point to Santos, to Tomás and to Sombra, who is approaching, carrying
all the bags. Peñalosa reviews them. Shadow with the
hands full of chips and beers. Pause.

PEÑALOSA
Just bring them.
Ana, a little hesitant, turns to look at her friends, who are
doubts.

73 INT / EXT. CAR - IN MOTION / STREETS

73 -

The car moves along Insurgentes Avenue, heading towards the

north. Through the window, the lights of the buildings and the
businesses.

Ana takes off her shirt and is left in her bra. Shadow,
he is drinking a beer, looks at her surprised.

ANA
What do you see me, Umbrella?

From the back seat Santos and Tomás, who eat the
junk they bought at Oxxo, looking for an angle to see
the show. Ana realizes it, but she doesn't care. She takes out
another prettier blouse from her backpack, and she puts it on.

ANA (CONT'D)
(the Shadow)
You wanted to go. Now you have to deal with it.

They stop at a stop. Ana lowers the visor for the sun and
She paints her lips while looking in the mirror. Shadow looks at the pencil.
lipstick on her lips. Suddenly her face lights up.
Sombra turns around and realizes that there is a Fire-Eater in the
street, making its number. Spits fire again. Shadow
look at Ana's orange face with the fire.

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74 EXT. HISTORICAL CENTER STREETS / INT. CAR - NIGHT

74
The Atlantic enters the Zócalo through 20 de Noviembre Avenue.
Tomás observes the esplanade and the historic buildings with
Astonishment. Shadow and Ana are joking ahead (ad libitum).

75 EXT. REPUBLIC OF COLOMBIA STREET / INT. CAR - NIGH

75
The Atlantic turns down a street that suddenly no longer looks
so friendly. A group of CLEANERS gathers mountains of
garbage. Tomás takes a picture of them.

They continue to advance. A very brightly lit building can finally be seen.
Where the musical lounge comes out. It is elegant and remodeled, making
a great contrast with those around him: it is a ghetto within
from a ghetto.

In front of them, Peñalosa leaves his car at the Valet Parking.

There is a sad red carpet, and some bored photographers.
waiting outside. It is evident that the moment has already passed.

76 EXT. SON OF AHUIZOTE - NIGHT - CONTINUOUS

76
Sombra, Ana, Tomás, and Santos walk along the sidewalk towards the
red carpet. There is an enormous billboard on the facade of the
movie "Land of the Blind" by Diego Darriba.
Next to the building where the party is, there are some KIDS.
BAND taking on the sidewalk, outside a grocery store.
They look at the quartet passing by. Come toAna and talk about something among themselves.
laughter. Sombra and Santos watch them with suspicion. Ana separates and
she approaches the Chavos Banda. Everyone looks at her with
disconcertment. He takes out a cigarette and approaches one of them,
like Julissa in Los Caifanes:

ANA
Communicate your fervor to me.

The guys see her, bewildered.

ANA (CONT’D)
Could you lend me your lighter.

One of the Chavos Banda clumsily lights the cigarette.

Ella les sonríe en agradecimiento. Ellos le sonríen también.

She rejoins her group, who look at her in surprise.

They arrive at the red carpet, where there is a BOUNCER (40s).
Ana opens the chain for her, letting her pass. Then she goes to the.
trio, conducting a review. They let them pass, reluctant.

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77 INT. / EXT. POOL TERRACE - NIGHT 77

Tomás, Sombra, Santos, and Ana walk through the party, which is
populated by people from the film industry - good-looking faces, dresses
nice, plastic glasses, reporters doing interviews...
There are movie posters everywhere and waiters
serving drinks and canapés.

Sombra and Santos -shrunk- follow Ana who blends in well.

among the people, greeting. Tomás looks at everything in amazement.

They pass by a thick circle of groupies surrounding the

director of the movie, DIEGO DARRIBA (30s, Spanish).
Diego Darriba
I have preferred to use real people from
the street. Natural actors, wow.
Fiction is dead...
Peñalosa separates from the group and goes with Ana.

PEÑALOSA
Look, Anita, come, I'm going to
introduce the director.
Peñalosa pulls Ana towards the group, leaving the other three behind.
lonely boys.

CUTA

Sombra, Santos, and Tomás are by the edge of the pool.

sections of the party, eating canapés as if there were no
Tomorrow. Shadow looks far away at Ana laughing with Diego.
Darriba, who flirts with him.

SHADOW
Damn Spaniards... they think that only
for using homeless people and filming in
black and white is already a movie
of art
Santos and Tomás eat mercilessly. Tomás looks at the pool.

SHADOW (CONT’D)
Not content with the Conquest,
they return five hundred years later to
screw the national treasury and to
decirnos que nuestro país es un
pig's nest, diabetics,
agachados, fraudulentos, ratoneros,
treacherous, drinkers, womanizers,
complex and precocious.

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GÜEROS - Treatment 8.1 - Shooting

SAINTS
Yes, it is.

SHADOW
Well, yes, but at least let us
come to insult with your own
money and don't take away our
scholarships!

TOMAS
Have you seen the movie yet?

Sombra and Santos think for a moment.

SHADOW
We don't need to see her, Tomás.

SANTOS
You here complaining. And she over there.
with the Spaniard... I'll make it clear to you.
he said, 'unclog the pipe for me,'
Umbrella.

SHADOW
When did he/she say that?

SAINTS
It's called subtext. That's why you are.
alone.

SHADOW
And what about you?

SAINTS
Alone, like Adam on the day of the
mothers.

SHADOW
And what about you?

SANTOS
But if you prefer to keep beating up
to the rat, there you go...

Tomás laughs. Sombra is left thinking about this. Ana returns.

with them, with a drink. He makes a face of 'let's get out of here.'

ANA
Why did they want to come here...?

TOMÁS
Why is no one using the pool? ...
'Cold tar?

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GÜEROS - Treatment 8.1 - Shooting

Tomás feels the water.

SAINTS
Bet you can't get from here to there
earring...
He points out the pool to Tomás.

SHADOW
How much do you give it?

Sombra leans back to gain momentum. She prepares.

SAINTS
But without flight.

SHADOW
Go. A Continental tomorrow at the
Vips.

SAINTS
Go.
Shadow approaches the edge of the pool, with everything and his
I bring. He looks at Ana and smiles at her. He takes a step back and
make a big leap, drink in hand ... But he doesn't get to the
other side. He hits his arm against the edge and falls
to the water.
Ana, Santos, and Tomás are doubling over with laughter. The other guests
Those around the pool look at him. Shadow is
back pain in the pool.

SANTOS (CONT'D)
Continental at the VIPS!

ANA
(laughing)
Are you okay?

Shadow feels the gazes of the other guests upon him. He

Stay still. There is a moment of uncomfortable silence.

Ana realizes it. And, without thinking twice, she pushes Santos.
to the pool. Ana, Tomás, and Sombra are doubled over with laughter.

Ana pushes Tomás into the pool. She laughs. Sombra pulls her.
to her to the water.

The four splash around, wetting each other. Some of them

they keep watching, others return to their own.

The Cadenero speaks to them from the edge of the pool.

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GÜEROS - Treat 8.1 - Shooting

CADENERO
Hey, blondes, outside. You can't.
be there.

The boys continue to play ignoring the doorman,

Raise your voice.

CADENERO (CONT'D)
They can't be there!
The boys turn to look at him. Santos lets Tomás fall into the water.

ANA
Why? Pools are for
to swim.

SAINTS
Who did you call blonde?
The Chainmaker furrows his brow.

CADENERO
Please leave.

Santos approaches the Cadenero.

SAINTS
No, first tell me who here to
You said blonde. I don’t see any.
Shadow approaches Santos, takes him by the shoulder, Santos
defeat

CADENERO
Please get out of the water.
and withdraw.

SAINTS
Did you call me güero? Am I
Blond? Do you think I am blond?

Santos grabs his hair and holds it in front of the Cadenero.

SANTOS (CONT'D)
Is this blonde?!

CADENERO
Yes.
The people from the party approach the place, among them
Peñalosa. It's an awkward moment. Tomás and Ana are watching everything.
without leaving the water. Santos grabs Sombra and puts him in front
to the Blacksmith.

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 GÜEROS - Treatment 8.1 - Shooting

SAINTS
Is he a blonde!?

The Cadenero does not answer. Santos grabs Sombra's face.

SANTOS (CONT’D)
Is that blonde?!

CADENERO
Yes. Just get out.
Santos positions himself.

SAINTS
So what the hell are you?!

ANA
Color blind.

The dispatcher starts to take off his jacket.

ANA (CONT'D)
Yes, we are leaving now.

Ana tells her friends to get out. She approaches the

edge and goes out. They are followed by Sombra, Santos, and Tomás. All the
the audience looks at you in silence. It is an embarrassing moment.
Shadow breaks the ice, confronting the audience.

SHADOW
We just came to clean the pool.
We are done. You can use it now.
Good evening.
They are leaving. Sombra takes a bottle of tequila from the bar and
he/she carries it.

78 INT / EXT. STREET / CAR - IN MOTION

78 -
The car moves through the deserted streets of the Center,
crossing La Lagunilla.
Santos is driving. Tomás is the co-pilot. Sombra and Ana are going.
back. She is asleep, with her head resting on the
his legs, he has a jacket that covers them. Shadow looks at her
And doubts in caressing his hair. Santos smokes, Shadow.
also. They look like they are cold. They pass from hand to hand the
bottle of tequila. They are still wet.

They silently gaze at the endless rows of structures.

empty positions: it looks like the skeleton of a city.

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TOMÁS
Where are we?

SAINTS
In Mexico City.

Tomás takes a photo of the empty stalls.

The car's engine starts to choke and shakes. It turns off.

SHADOW
(in a low voice)
What happened?

Santos pumps with the accelerator and then turns around the
switch. Look at the gas gauge, it marks the 'E'.

Santos looks at Sombra with anger.

SAINTS
You are going to have to help me with
push.
In the distance, the sign of a gas station can be seen.

SHADOW
(in a low voice)
I can't.
Shadow points to Ana sleeping on his legs. Santos shakes his head.
the head, angry.

79 EXT. STREET - NIGHT 79

Santos and a sleepy Tomás push the Atlantic towards the

gas station, while Sombra remains inside the car,
trying not to wake Ana.
Upon arriving, Santos gets in and brakes the car. He looks around: to
there are some street vendors that start
to set up their stalls. Hammering can be heard in the distance.

TOMÁS
What do we do?

SAINTS
Wait for them to open ...

Santos denies, resigned. He closes the car door.

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Tomás walks a stretch of the street alone, watching how people...

works in silence by the light of the street lamps. Take
a photo.

DARK.

FADE IN:

80 INT/EXT. SANTOS' CAR/GAS STATION - DAY 80

POV SHADOW: Through the window, movement can be seen in the

gas station. The employees start the pumps. The sun of
The morning hits against the dirty windows of the Atlantic.

Sombra is sitting in the same position, with Ana in the

legs. The passengers in the car are waking up. Shadow
to Ana, who opens her eyes. She slowly adjusts in the
seat. She separates from him, smiles at him.

SANTOS
How are we going to get out of here?

Everyone turns around and realizes that the seats of the

The Lagunilla has completely covered the street, leaving them
trapped at the gas station.

81 INT / EXT. SANTOS' CAR / STREET / 81 REFORMA -

The car travels along Reforma Avenue.

Just like before, Santos is driving and Tomás is the co-pilot.
Sombra and Ana are coming from behind. Everyone is eating the junk food of the
the previous day. Tomás takes photos as he passes by: some pedestrians,
a couple of street sweepers in orange uniforms playing with the
little spades with their brooms, somewhat ironically, laughing.

They pass by the Angel of Independence. It shines in the sun.

in the morning. Tomás looks at him and takes a blurry photo.

82 INT. MUSEUM OF ANTHROPOLOGY AND HISTORY 82 - DAY

Santos and Tomás are in front of the large fountain in the courtyard
central, observing the waterfalls. In the background, Shadow
chat with a Security Guard who guards the entrance
from one of the rooms.

Ana is standing in front of a public phone that is

nearby, he has the receiver on his ear. On the other side
from the line, the phone's hold sound can be heard.

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While waiting, Ana looks towards where her friends are:

Tomás has his hand under the huge water jet.
source, splashing everything. He and Santos splash each other, playing.

We return to Ana: her wait is over, someone answers the other.

side of the line.

ANA'S MOM (V.O.)

Well ...?
Ana does not answer.

ANA'S MOM (V.O.)

Well ...?
Ana does not answer.

MOM ANA (V.O.)

Well ...?
Ana finally gets excited.

ANA
What...?

MOM ANNA
Is Ana?
Upon hearing this, Ana hangs up the phone and pauses for a moment.
there, as if he couldn't let go of the receiver. In the end, he does.
and begins to walk towards where his friends are.

Ana arrives with Santos and Tomás, while Sombra moves away.
del Guardia y se les une.

SHADOW
He said that Epigmenio has not come.
since last week.

SAINTS
When he was hospitalized.

Tomás bows his head with deep disappointment.

SHADOW
But the good thing is that the lady
in charge of housekeeping, yes
She seems to be the one who...
he/shetakescareofit.

TOMÁS
Let's go see it!

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SHADOW
The bad thing is that it still hasn't arrived...
The good thing is that it arrives like in
fifteen minutes.

THOMAS
We can go to the museum in the meantime.

SHADOW
The bad thing is that there's no [Link]
day, Tomi.

TOMÁS
Which other day? It is always another one.
day. Don’t call me Tomi.
SAINTS
Do you remember that movie about the
guys who try to break the
record of visiting the museum in
Paris, in the shortest time?
Everyone denies. Santos pulls them towards the entrance.

SANTOS (CONT’D)
Ten minutes is more than enough
to visit any museum.

The others begin to get excited about the idea.

SANTOS (CONT'D)
An express course in history.

SHADOW
Like the telesecundaria.

ANA
Yes.
They arrive at the entrance. Tomás sets the stopwatch on his watch.

SAINTS
Ready? ... One ... two ...
He starts to run. The others follow him. They enter running through
the Archaeology room.

83 INT. MUSEUM OF ANTHROPOLOGY AND HISTORY 83 / ROOMS -

MONTAGE: In homage to Bande A Part, Ana, Shadow,

Santos and Tomás run through several rooms of the museum, to
sometimes holding hands, sometimes each on their own,
playing with obstacles, stairs, sliding on the floor.

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They pass by the Olmec clay figures.

The Aztec calendar.

The monolith of Coatlicue.

The jade masks and the Mayan knives. It's as if the

The history of Mexico will fly by.

A couple of guards try to stop them, but they are evaded.

They run out of the museum rooms.

84 INT. ANTHROPOLOGY AND HISTORY MUSEUM / LOBBY - 84D

Sombra and Ana are sitting on a bench. Santos is

lying in another. Tomás prowls around the place. Everyone, sweating.

Sombra sniffs inside the shirt and makes a face of disgust.

Ana smiles.

ANA
Stinky.

SHADOW
We're the same now, onion.
Sombra tries to smell her armpit, but she won't let him.
they toy around.

ANA
(Laughter)
Yes, umbrella, yes, wait,
Wait. I want to ask you something.

Sombra stops playing around and gestures for him to ask.

ANA (CONT’D)
Tell me one thing.

SHADOW
One thing.

ANA
Why didn’t you invite me out?
first semester?
The question leaves Sombra off balance. Pause.

SHADOW
We went to the Cineteca.

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ANA
We went to the Cineteca with Fury. You
you were going badly. I was already
starting to walk with him. Why
Didn't you invite me before?

SHADOW
... the truth?

ANA
The truth.

Pause. Shadow is about to respond when he realizes

that a woman is coming towards the Gift Shop: it is ISABEL
(50s, obese, careless, with a friendly but tired face). Opens
the store doors. Shadow gets up and goes to
intercept it.

SHADOW
Hello.
Isabel looks at him, puzzled.

SHADOW (CONT'D)
My name is Federico... I come to...
We are looking for Epigmenio Cruz.
And they told us that you might know.
where is.
Isabel looks at the boys doubtfully. She gestures to them with her ...
head so they follow it.

85 INT. MUSEUM OF ANTHROPOLOGY AND HISTORY/BASEMENT HALLWAYS-85

DAY
Isabel guides the boys through the hallways of the basement, they are
long, with several doors on the sides. On the way there is
pre-Hispanic sculptures, pieces, paintings.

ISABEL
It has been more than a month since I have known about
he... left the house and has not
called back.
Tomás, Sombra, Ana, and Santos look at her attentively.

Isabel stops in front of a door, opens it. Tomás stays.

seeing an overloaded painting on the wall, of the ancient
Tenochtitlán.

Isabel enters the room. The boys follow her.

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 GÜEROS - Treatment 8.1 - Filming

86 INT. ANTHROPOLOGY AND HISTORY MUSEUM/BASEMENT/REST ROOM

DAY
The place is austere, there is a small kitchenette, a little oven.
microwave, a small cupboard.

ISABEL
He took my records...

TOMÁS
Do you know if he is still playing?

Isabel shrugs, somewhat uninterested. She crosses towards the

small kitchen.

ISABEL
I think he pawned the guitar a while ago.
a lot... I don't know ...

Isabel remains silent. Sombra nods.

disappointed, he looks at Tomás who has the cassette box of
Epigmenio in the hand. Isabel fills a teapot.

ISABEL (CONT’D)
Sorry that I can't help you.

Sombra nods. Isabel plugs the kettle into the outlet. Something
it catches your attention: you recognize the cassette that Tomás has in
the hands.

ISABEL (CONT'D)
Can I ...?

Tomás shows it to him.

SHADOW
My brother wanted me to give it to him.
will sign...

TOMÁS
Of course not.

Isabel looks at the cassette cover with nostalgia.

ISABEL
Why are they listening to this? ... It was made
years since I last saw this...

INSERT: the photo of the girl hugging Epigmenio in the

forest. We slowly approached the girl's face.

ISABEL (V.O.) (CONT'D)

This photo was taken at the festival
from Avándaro.

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SHADOW (O.S.)
How do you know?

ISABEL (O.S.)
Because that is me.
Everyone looks at Isabel, who looks at herself as a young woman in the
cover, affected. Ana peeks to see.

SHADOW
I didn't know you had played in
Avándaro.

The kettle whistles.

ISABEL
It didn't touch. This photo was taken by a
day before I was going to play
You want to hear this?

Tomás nods. Isabel looks at the photo again and smiles. Shadow
he looks at Ana, puzzled.

ISABEL (CONT'D)
Get me some little cups from there.
up

Isabel points to a small shelf that is located a few

Steps from there. Santos goes to the shelf. He takes some cups.

Isabel takes a container of milk out of the mini-fridge. And she puts it in
a small table where there is sugar. He sits down. The young people
they recharge wherever they can to listen.

Isabel takes a sip from her tea. She sees the young people, who ...
miran, captivated. They look back at the cover of the cassette.

ISABEL (CONT’D)
This photo was taken in the first.
Avándaro journey. The eleven of
September. Epigmenio was going to play.
the second day. Before the Tri.
Well, back then 'Three
Souls in My Mind.

SHADOW
And why didn’t he/it touch?
ISABEL
For messing with Armando's girlfriend
from the producer.

Isabel stops.

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GÜEROS - Treatment 8.1 - ROLLING

ANA
You?

Isabel smiles.

ISABEL
Back then, we all got involved.
with everyone. But with the woman of
producer of the biggest concert
what had been until then in
Mexico... well, it didn't turn out so good.
idea.

ANA
What happened?
Isabel thinks. Shadow drinks the milk and adds a splash of it to
your tea. Look at the cloud of milk slowly expanding inside
of tea. It looks like a nuclear explosion. She watches it while Isabel
continue the story.

ISABEL (O.S.)
Armando and Epigmenio were best
friends. And Armando knew that to me
I had always liked
Epigmenio... We had been carrying all day
at the concert. We were already ...
screwed, right. And Epigmenio
it begins with us loving each other three
and this and that. We give ourselves
some kisses. First Armando and I.
Then Epigmenio kisses
Armando. Then to me. Until there
all good. But Epigmenio what
What I wanted was... to be with me.
It starts to catch me. Armando to him
he says to stop him. But Epigmenio
Place a bet. He says: if I can
taking your wife's clothes off without
I'll take her with me at night.
Armando, you're already back there, accept the
challenge. Then Epigmenio turns around
with me and she says: 'Take off the'
clothes, Isabel". And I took it off.
Without touching me.

Everyone is laughing.

SHADOW
He changed a concert to be with
a woman.

ANA
But what a woman.

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ISABEL
I think it was stupid.
We were all looking forward to that
played - all those we knew about
music. The rest of the bands
cover songs translated from
the current American hits, or
They were singing in English. But Epigmenio,
no. Epigmenio sang his own
songs. In chilango... You heard about
Epigmenio and ... I don't know... you felt
that you were going far from your home. Everyone
we wanted to leave our house...
Pause. Isabel is left thinking about this last part.

ISABEL (CONT’D)
If they had given him a chance to
touch, all those kids it
they would have known.

SHADOW
I would have saved Mexican rock.

ISABEL
I don't know about that. But they would have...
infected. Because it was contagious,
the bastard. Like gonorrhea.

Sombra nods.

ISABEL (CONT’D)
But he always ruined everything.
He always messes everything up... I tell him
I gave a chance that he would stay with me
house because no one was paying attention to it anymore.
I even got him a job here but
...
Isabel gives the cassette to Tomás, not wanting to see him again.

ISABEL (CONT'D)
There's something that I left here. I don't think that...
may it be very helpful...

Isabel stands up and looks in a drawer. She takes out a stack of tablecloths.
from some restaurant. He gives them to Sombra.

ISABEL (CONT’D)
He has been drawing in these for years.
tablecloths...
The young people flip through the tablecloths, on which there are several
drawings made with pen.

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ISABEL (CONT’D)
He was kind enough to leave me four
boxes of that junk in the
house.

The drawings are of anything, some are just scribbles with

cryptic phrases. They seem to be made by an angry child. In the
On the tablecloth corner, there is a logo. It says: 'Cantina VIEJOS'
WOLVES. Making Texcoco smile since 1947.

SAINTS
Where is that cantina 'Viejos
Wolves?
Tomás reads the tablecloth.

TOMAS
In Texcoco, it says here. "Making
smile at Texcoco since 1947.
Is Texcoco very far?

SANTOS SHADOW
Yes. Not much.

Isabel has changed her mood. She has cut off the emotion.
from the cut. He looks at the boys with a sad smile.

ISABEL
If I were you, I wouldn't do it.
illusions. Even if they find him, no
they are going to find what they are
looking. Believe me.
Sombra looks at Tomás, who is looking at the drawings, thoughtful.

DARK.

87 EXT/INT. SANTOS CAR/INTERIOR CIRCUIT/CAR - DAY

87

The car moves along the side fluidly.

Sombra is driving, tapping her fingers on the

steering wheel. Ana comes as the co-pilot, holding a hair with
she cuts it in half.

Santos scratches the fungus on his feet.

Tomás sees the landscape.

Sombra stops at a high point, next to it there is a low bridge.

where there is a skateboarding track with skaters of all
ages skating, chatting, smoking.

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Tomás sees someone jumping with their skateboard. From the angle at which
he sees it, it seems to fly, then it disappears into the pit of
cement and appears flying in front of their noses, only to then
to disappear again.
Tomás takes pictures of the kids, fascinated. Sombra sees his...
brother through the rearview mirror: looks like a photographer
Professional. Shadow peeks through the window to see him better.
Tomás glances at Sombra, looks at him strangely, and gives him a
gesture as if saying What's up?. Shadow smiles and answers him.
with the same gesture.

The traffic light turns green. Shadow starts.

DARK

88 INT/EXT. SANTOS' CAR/CENTRAL TRACKS OF CIRCUIT 88

INTERIOR - DAY
There is a big traffic jam, the cars are barely moving. The sun
hit hard, zenith.

Tomás looks at Epigmenio's drawings. Santos is staying.

asleep.

There is a heavy, tired atmosphere in the car. Santos is

half asleep.

SAINTS
Are you guys aware that we're going to Texcoco?

Shadow moves forward a few meters and then stops again behind the
car in front. Huffs, desperate.

SHADOW
Since this moves, damn it.

Suddenly, Ana startles:

ANA
The march!

SHADOW
What?

ANA
The march. I didn't go to the march!
How could I forget?! ... What time is it?
is?

Sombra and Santos shrug.

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ANA (CONT’D)
How stupid I am... How did I
forgot?
Ana turns on the radio and searches for a station.

SHADOW
You didn't arrive.

ANA
They must be looking for me.

SHADOW
Who is going to be looking for you?
They have more important things than
make you be looking for.

ANA
Fury.

This is a stab at Sombra. He stays silent.

SAINTS
Arriving late is worse than not arriving.

Ana subtly adjusts the tune, rising and falling in a

site. Only white noise can be heard.

ANA
There is no one at the station. Everyone
they went to the march...

Ana shakes her head, furious. She changes to another station.

A news program enters:

NEWS PROGRAM (O.S.)

... The whole Circuit up to
airport... The students
they come walking from the Zócalo and
two main arteries were closed.
If you are lucky to be with us
listening from home, do not go out...
Shadow turns off the radio.

ANA
What are you doing?

Ana covers her face, furious with herself. She wipes her...
face with his hands, like a girl. Tomás approaches from his
seat and puts a hand on her shoulder, which she barely
Note. Ana leans back and huffs, resigned.

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GÜEROS - Treat 8.1 - Filming

SHADOW
When I first arrived in the city,
A taxi driver told me something...

Tomás turns to look at him, puzzled.

SHADOW (CONT’D)
I was stuck in the worst traffic.
that I had ever seen. The cars
they didn't move a millimeter. The people
he honked the horn as if there were no
tomorrow, cursing their mother,
screaming, trying to pass
first. After several hours the
People got tired. They started to leave.
of their cars. Some got in.
to chat, others went for something
to take for their families, others
they just kept playing the
horn. But the taxi driver left his
car and did what no one else did
it had happened to him: he walked several
kilometers, following the current
of cars throughout the
Avenue... Until it reached the eye
of the hurricane: a huge truck
I was stuck in the middle of the street
completely stopped. People look at him
I yelled at the driver, but he
he seemed to have given up.
I was just sitting there... with
the eyes wide open, without
moving, staring intently towards
the volcanoes. The taxi driver approached
to see better: The driver
he had been dead for hours.

A silence falls... which is broken by a burp from Santos

that just took a sip of the beer.

SAINTS
Sorry.

Tomás takes pictures of the drivers of the nearby cars.

Ana keeps thinking about the story, she looks at the switch of the
car, he turns it off. Shadow looks at her with curiosity.

ANA
Would anyone notice if
would we be dead?

They stay in the car, in silence, without moving. The cars of

They start to move slowly forward. The ...
horn honks from behind.

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 GÜEROS - Treatment 8.1 - Shooting

Ana takes off her sneakers and sticks her feet out the window.
others imitate it. They pass the bottle of tequila from hand to hand.

WE OPEN to see the sea of cars that are stopped behind

they, who block the avenue in the middle. The sound of the
horns get louder and louder.

DARK

89 EXT. PARK / STREET - DAY 89

A pair of feet wearing old tennis shoes run on the dirt,

raising clouds of dust.
PICHÓN (13 years old, with an intense gaze), is crossing a park.
in some working-class neighborhood. He wears a high school uniform
public and backpack on her back. She has tearful eyes and
constantly looks back.
Runs past rusty playground equipment for children.

Suddenly, a stone hits him on the head. He turns to see.

that his attackers are following him: they are SAÚL (13 years old,
Gandalla, with spiky hair and a lot of gel) and MEMO (12 years old,
(brings a soccer ball). Both are wearing the same uniform.
schoolboy than Pichón.

Saúl throws a stone at Pichón again, which buzzes him.

ear.

Pigeon
Come on, idiot!

SAUL
Well you, stop running.

Pigeon slows down, looks back.

SAUL (CONT'D)
That's enough, man. That's enough.

Saúl drops the stone he has in his hand, but Memo

throws a strong stone that hits him in the head. Pichón
double the pain. Saúl and Memo laugh. Pichón rubs himself. Upon seeing each other
the hand discovers that it has blood. Saul and Memo approach.
Pigeon-

Pichón starts to run, leaving his attackers behind, until

arrive at the end of the park, which leads to the sidewalk of a
large, busy avenue.
Turn at the corner and run along the sidewalk, in the direction
contrary to the cars that buzz by.

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 GÜEROS - Treat 8.1 - ROLLING

Reach a pedestrian bridge that crosses the avenue. At the foot

From the stairs, there is a pile of abandoned bricks. In a
impulse, Pichón takes one with both hands, as if to
defend yourself. Look back again to check that not it
continue. Go up the stairs of the bridge.

90 EXT. AVENUE / FOOTBRIDGE - DAY 90

POV PIGEON: Its feet sway as the cars pass by

the bridge, below. Pichón lifts his gaze to see the horizon
from the city. The volcanoes can be seen in the distance.

Pigeon is sitting on the bridge, his feet dangle between the

railings bars. Clean his head with a piece of
paper, the blood has stained his shirt a little.
On the yellow railing, there are painted phrases and hearts.
Pigeon follows a sentence with his finger that says 'This is how it goes to'
times.
Suddenly he/she hears:

SAUL (O.S.)
Yeah, dude, peace.
Pigeon turns around and discovers Saúl and Memo, standing behind
He. Pichón stands up quickly, defensive.

SAUL (CONT'D)
Yes. There it dies.

Saúl extends his hand. But Pichón takes a step back.

MEMO
If you want, give me yours.
He lowers his head and puts it in front of Pichón so that he can...
take it, but the little one doesn't dare.

MEMO (CONT’D)
Then there it dies.

Saúl sits on the railing, where Pichón was. Memo

he comes over with his ball and does the same. He starts to bounce it
ball against the railing. The brick flexes, getting closer
towards the edge of the bridge with each blow. Pichón observes it.

SAUL
Come on, dude. Enough.

He gestures to Pichón to sit next to him.

Pichón yields, cautious, and sits next to Saúl.

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GÜEROS - Treatment 8.1 - Filming

The three children watch the cars go by in silence for a moment.

Saul takes something out of his pants pocket.

SAUL (CONT'D)
Look, Pigeon...

About his closed hand to Pichón's face, who looks at him with
interest. Saul opens his hand like a magician, revealing
that is empty, and gives Pichón a little slap on the face.

Dove
Fool.

The memo spits from the bridge. Its spit lands on a car.
on the windshield as it passes. The car moves away. The three of them
they laugh.

SAUL
I'm going.

Saul prepares a spit, throws it masterfully and hits

a car on the roof. The three celebrate.

MEMO
Go, Pigeon.

Pigeon prepares and spits, but his spit slides down

his mouth, hanging from a thread of drool, until it falls, without giving
to nothing. Memo and Saúl make fun.

MEMO (CONT’D)
Duuuuuh!

SAUL
Let's go one, one and zero. Go, Memo.

The child stands up, picks up a small stone from the ground, and leans over.
the railing. She aims and throws it. It hits a car in the
back part. Memo celebrates.

MEMO
Who is the champion?! Who is
your daddy?!

Saul stands up, grabs a bigger stone and leans over

on top of the railing. Wait a little. A car is approaching.
He throws his stone and hits the windshield. AFX- Horn
mentioning the mother. The car drives away and the children celebrate.

SAUL
Go, little dove.

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 GÜEROS - Track 8.1 - Shooting

Pigeon picks up an even larger stone. He stands up and looks out.

the railing. Look at a couple of cars passing by. Aim.
Shoot. His stone flies and hits directly against the pavement.

MEMO
Let's go two, two ... and ZERO!

Pigeon is about to cry.

SAUL
It goes to the tiebreaker.

Saul takes the ball from Memo and throws it over the railing.

MEMO
Dare, idiot.
Pigeon turns around and, with effort, picks up the brick that
he was on the floor, leaning against the railing. The other two
they see it, unbelievers.

Pause.

MEMO (CONT’D)
He/She is not going to dare.
Pigeon does not answer.

SAUL
Yeah. Bring that here, idiot.
Pigeon, serious, shakes his head with a look. He carries it with both.
hands and rests it on the railing. Below the brick, is
"It happens that way sometimes"

Pigeon watches the cars passing below. The buzzing of the

engines intensify. Slowly and with effort, it loads the
brick above the railing. The other two look at him.

POV PIGEON: His trembling hands holding the brick.

Below, the cars pass, blurry.

Turn your gaze towards the volcanoes.

91 INT/EXT. SANTOS CAR / IN MOTION - DAY

91

The tires of the Atlantic spin on the pavement.

The car has already gotten out of the traffic jam and is moving along a
Avenue at a good speed. The four young people enjoy a
song on the radio and the air that enters through the windows.
Tomás sings the song to himself. Sombra joins in. They sing the chorus.
together. They gain confidence. It sounds horrible. Ana laughs.

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GÜEROS - Treatment 8.1 - Shooting

ANA
Health.

Ana takes the bottle and hands it to Sombra.

SHADOW
Health.
Shadow raises it but no longer has anything. Ana laughs.

Santos sees a sign on the avenue. Ahead, there is a ...

pedestrian bridge that crosses the avenue. Three figures can be seen.
in the middle. The car approaches the bridge.

SHADOW (CONT'D)
Pass me another beer!

Santos uses his lighter to pop the lid off the

bottle. The moment you open it... ¡TRAZZZZ! - the brick
what Pichón was holding crosses the windshield, making it
fragments.

Shadow loses control of the steering wheel. The Atlantic skids,

Other cars coming behind can barely manage to dodge it.
The CAMERA shakes violently and for a few seconds everything
it's confusion.

Sombra takes control of the car, pulls over and stops.

next to the sidewalk. There are broken glass pieces everywhere.

SHADOW (CONT'D)
What the fuck was that?!

Shadow turns to look at them all. Ana lifts the brick. Without
that she realizes it, blood is dripping from her head.
He sees Shadow, worried. He touches his head. He turns towards
back and see in the distance the silhouette of three children coming down
from the bridge.

SAINTS
They are over there.

Sombra takes off the seatbelt and gets out of the car.

ANA
What are you doing?!

SHADOW
Take the car and try to
follow us.

Sombra starts running towards the pedestrian bridge,

out of his mind. Santos follows him.

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 GÜEROS - Treatment 8.1 - FILMING

Ana moves to the driver's seat and waits, not knowing what to expect.
to do.

92 EXT. STREET - DAY 92

Sombra runs at full speed along the sidewalk of the avenue,

approaching the children. Santos comes from behind.

Saúl and Memo quicken their pace, leaving Pichón behind. They
go straight, while Pichón turns around in a
street.

Sombra and Santos turn at the same corner as Pichón,

leaving the avenue behind.
Pigeon runs, turns to look at his pursuers. He accelerates and
he crosses the street, dodging a car that nearly hits him.
Shadow and Santos cross and dodge the car. They accelerate.

Pigeon arrives at the next corner and turns again. Shadow

and Santos is now very close behind him. Pichón looks back.
again but this time he stumbles upon a pothole in the
flooring and gives to the ground.

Shadow reaches him, grabs him by the shirt, and lifts him. Barely
can speak due to shortness of breath.

SHADOW
You almost killed us, bastard!

Pigeon does not answer.

SHADOW (CONT’D)
Why did you throw it?

Pigeon says nothing.

SHADOW (CONT'D)
Why did you throw it?!
Pigeon only looks at Shadow and Santos, who are fighting for
catch his breath.

SAINTS
What are you going to do with him?

SHADOW
(a Pigeon)
You're going to pay for that glass, asshole.

Sombra drags him along the sidewalk without letting go.

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 GÜEROS - Treatment 8.1 - Filming

SHADOW (CONT'D)
You are going to take us to your house and you are going to
pay for that glass.

They walk to the next corner, where the trunk appears.

from the Atlantic. Ana and Tomás turn in every direction, looking for
He feels relieved to see his friends approaching.

93 INT. CAR - IN MOTION - DAY 93

The car, with a huge hole in the windshield, moves along the
streets of a popular neighborhood in Texcoco. There is a lot of countryside. It
They see the mountains. Ana drives and Sombra and Santos come behind.
with Pichón in the middle, like guards with their prisoner. Pichón is
scared but his face is hard, mute. Every now and then,
Tomás looks at him with curiosity.

ANA
Should I keep going straight or turn?

Pigeon does not answer. Shadow gives him a pull to make him respond.

Pigeon
To the right.
Ana turns around. Tomás observes the neighborhood: There are children playing.
street soccer and a group of teenagers playing
little machines in a pharmacy.

SHADOW
And now?

He gives it another pull. Pichón points to the left.

SHADOW (CONT'D)
On this street?

Pichón nods. Ana enters another street.

SHADOW (CONT'D)
Why did you throw that?

Pigeon says nothing. Shadow gives him a tap on the head.

SHADOW (CONT'D)
Answer me.

ANA
Don’t hit him!
SHADOW
Why did you throw that?!
Look at me.

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Shadow turns his face. Pichón holds his gaze. His

face remains hard, inscrutable.

SHADOW (CONT'D)
Why are bricks thrown from
the bridges?

Pigeon turns its face.

Tomás discovers something in the street that startles him.

TOMÁS
Faith... There it is...

No one pays attention to him. Shadow turns his face away again.
Pigeon.

SHADOW
Why are bricks thrown from
the bridges?

TOMÁS
There is the cantina!

SAINTS
What...?

TOMÁS
The cellar. We just passed it.
I saw her.

Ana brakes the car. Everyone turns.

SAINTS
Are you sure?

TOMAS
There it is. In the corner. It said
Old Wolves

Ana backs up. She reaches the corner and stops.

next to the sidewalk. Indeed, there is the Cantina
Old Wolves. It is a small and sad place.
Sombra looks at the facade. He lets out a small laugh.

Tomás gets out. The others look at each other. Ana turns off the car.

They leave. Shadow does not let go of Pichón, whom he drags along.
Shirt. In front of the cantina, in the distance, some courts can be seen.
llanero football dust. In the background, the mountains.

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 GÜEROS - Treatment 8.1 - Shooting

They go with Tomás, who is glued to the window, looking out towards
inside the tavern. He turns to his brother, smiling at
ear to ear.

TOMÁS (CONT'D)
There it is!
Sombra, Santos, and Ana peek in: there are few attendees in the
cantina. At one of the tables in the back, you can see the...
far from an old man with slicked back hair and a jacket.

SHADOW
How do you know it's him?

TOMÁS
It is him.

Sombra thinks for a moment. He turns to Pichón.

SHADOW
We need to fix a matter there.
inside. When I go out you will
take to your house and you will pay for that
glass. Alright?

Pigeon looks at him intently.

SHADOW (CONT’D)
Te voy a soltar y nos vas a esperar
here. Okay?
Pigeon nods. Shadow looks at him, threatening. He lets go and
Pigeon immediately starts running down the street. Shadow
He has the urge to go after him, but he holds back.

SANTOS
Leave it.

Santos nods his head for them to enter the canteen.

Sombra looks at the bar. He thinks for a moment and nods.

They enter.

94 INT. OLD WOLVES CANTINA - DAY 94

The bar is old but just like the little attendance,

shows signs of past glories. There are framed photos,
phrases written on the walls and a display case with bottles
old women.
There is a group of gentlemen playing dominoes at one of the tables.
They watch the young people cross to the bar.

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GÜEROS - Treat 8.1 - Filming

The young walk with shyness. Once again, it is clear that not
they belong. The gazes on them are penetrating,
judges.

Behind the bar is the bartender LAURO (60s, dark-skinned,

skinny and hunched), who talks to a drunk.

Sombra, Santos, Tomás and Ana kneel at the bar. Santos

calls Lauro with his hand. The young people turn towards the table.
from the corner, where the old man in the jacket is, who is now
queda de espaldas.

LAURO (O.S.)
What is it going to be, blondies?

They look back at Lauro, who is in front of them. Santos him

look, irritated.

SAINTS
I am not gü-

Sombra stops him in time, raising his hand.

SHADOW
Four tequilas... And another one of it.
What is he having for the gentleman?
from the corner.
Pause. Lauro looks at him and smiles, mockingly.

LAUREL
Another pineapple juice?

Shadow doubts. Then he nods.

TOMAS
Hey... is that Epigmenio over there?
Cross?
Lauro looks at them. He walks away and goes for the tequilas, all the
time watching the young, with suspicion. Returns.

LAURO
Yes... That's it.

Tomás turns to look at the others. They all smile at him. It is the
the happiest moment they've had in a long time. Shadow told him
he gestures with his head to go. Tomás moves towards the table of
background. The others follow him. They cross the tavern slowly.

The drunks playing dominoes stop their game and the

Miran. Santos smiles at them. The drunkards look at Ana.
lasciviously and comment among themselves.

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Tomás and the others arrive at the back table, where it is

the man with the bag and slicked-back hair, with his back to
they. It's EPIGMENIO CRUZ. He is watching the television that is
hanging in a corner above him. On the TV, the Big continues.
Brother - the contestants are in the jacuzzi.
Everyone looks at Tomás, not knowing what to do. Tomás takes out his
pocket cassette.

TOMÁS
Hello, Mr. Epigmenio. Sorry for that
let's bother... I am Tomás Ruíz. I come
from Veracruz and I want you to sign for me
this.
Tomás stands in front of Epigmenio and places the cassette on the
table. He looks at her smiling.

TOMÁS (CONT'D)
Is it true that he made Bob cry?
Dylan?
Epigmenio pushes the cassette off the table, and it falls to the ground.
He has red, bulging eyes. He looks emaciated, skeletal.
She looks at Tomás intently, studying him.

Pause.

EPIGMENIO
Who the hell are you and what the fuck?
What are you doing in my house?

There is an uncomfortable silence. Shadow looks at Tomás, who is silent.

Sombra picks up the cassette and stands in front of Epigmenio.

SHADOW
Sorry for coming like this without notice.
He is my brother Tomás. I am Fed-
the Shadow... and they are Saints and
Ana.

The boys greet shyly. Epigmenio does nothing.

He/She looks at them without saying a word.

SHADOW (CONT'D)
We come because... well because my
my brother and I were listening to you all
the days and...
Sombra is almost sweating. He wipes himself. He gathers courage. (During
the following speech we stay with Shadow -perhaps
approaching slowly until an X/CU).

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SHADOW (CONT'D)
And because I've been months without [Link]
without leaving my house. And then came
Tomás. But... What I want to say
it's... the... the thing is that... look:
my boss had this cassette that me
he taught long ago. He is no longer here
here. And it was your music. And not it
I understood right away, but... but
now I understand it. I understand it
What do you say? I understand that my dad does it.
understood. How in all your life
you are going to run into a lot of idiots
that they don't understand anything. That they don't know.
see what is behind the
things. Of the solid world, then.
no matter what happens, as long as
you have that. As long as you can see
behind solid things... 'The
the only thing they cannot take away from you is
"That resentment." You said that.
You just said 'Esesentimiento.' That's it.
I know which one you mean. The one about the
travels ... "As long as there is nostalgia
there is life... even if it's back there,
in the ways, right? That's what you wrote.
also. My dad used to say that if the
world outside a train station, and
people passengers, the poets do not
they are the ones who come and go... if not
those who see the trains leave from the
station... That’s why my dad was crying
when I heard your broken voice ...
because you see the trains leaving...

Shadow stops. He puts the cassette back on the table and

he slides it back towards Epigmenio. The others look at him,
with contained emotion. But Sombra realizes something:
Epigmenio has his eyes closed and his head tilted to the side.

Everyone looks at him, puzzled. Pause.

TOMAS
Is he dead?
Santos approaches to listen to his breathing. There is suspense in
what it finds out.

SAINTS
He is asleep.
Tomás looks at his brother, sad. Sombra smiles at him.

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 GÜEROS - Treatment 8.1 - Shooting

They go with Tomás, who is glued to the window, looking out towards
inside the tavern. He turns to his brother, smiling at
ear to ear.

TOMÁS (CONT'D)
There it is!
Sombra, Santos, and Ana peek in: there are few attendees in the
cantina. At one of the tables in the back, you can see the...
far from an old man with slicked back hair and a jacket.

SHADOW
How do you know it's him?

TOMÁS
It is him.

Sombra thinks for a moment. He turns to Pichón.

SHADOW
We need to fix a matter there.
inside. When I go out you will
take to your house and you will pay for that
glass. Alright?

Pigeon looks at him intently.

SHADOW (CONT’D)
here. Okay?
Pigeon nods. Shadow looks at him, threatening. He lets go and
Pigeon immediately starts running down the street. Shadow
He has the urge to go after him, but he holds back.

SANTOS
Leave it.

Santos nods his head for them to enter the canteen.

Sombra looks at the bar. He thinks for a moment and nods.

They enter.

94 INT. OLD WOLVES CANTINA - DAY 94

The bar is old but just like the little attendance,

shows signs of past glories. There are framed photos,
phrases written on the walls and a display case with bottles
old women.
There is a group of gentlemen playing dominoes at one of the tables.
They watch the young people cross to the bar.

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 GÜEROS - Treat 8.1 - Filming

Tomás takes out his Walkman and inserts the cassette. He puts on his
headphones. He/She presses Play.

The tape spins inside the Walkman.

Sombra se le pega a la oreja a Tomás. Los dos escuchan.

Santos andAna are looking at them.

Tomás and Sombra's reaction is difficult to decipher. When

After a while, Tomás stops the tape. He takes off his headphones.

Pause.

TOMÁS
It is the worst version of the hotel.
California that I have heard about all
my life.
A silence falls between them. Ana lets out a burst of laughter, but
it contains. Shadow looks at Tomás, takes out the cassette from the
Walkman. He stands up and throws it forcefully into the lake.
cassette is sinking.

Sombra turns to Tomás, smiling.

SHADOW
Let's go.

The others look at him for a moment and slowly stand up.

DARK

96 INT. CAR - IN MOTION - MAGIC HOUR96

The car is heading back to the city on a boulevard that moves forward.
at a good speed. The sun is about to set, it hits them in the
faces. Santos comes at the wheel and Tomás as co-pilot. Behind
Sombra and Ana are coming.

Ana and Sombra remain silent for a moment, looking at each other, both
scattered, with the head resting on the seat. There is
a moment of tension.

ANA
Tell me one thing.

SHADOW
One thing.

ANA
Do you watch the trains leave or are you going?
above them?

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 GÜEROS - Treat 8.1 - Filming

SHADOW
I work at the station. I am the
that cleans the bathrooms.

ANA
Answer.

SHADOW
I don't know. I would like to see them arrive...
I don't know. I don't know...

Ana nods. She brings her face closer to Sombra. The two breathe, one
a little nervous.
ANA
What were you going to tell me a little while ago?
the museum.

SHADOW
Me?

ANA
Tell me.

Sombra puts a hand on her face and caresses it. She...

about.

SHADOW
Ah ... I remembered ...

She moves her mouth but makes no sound. She approaches.

more. He moves his mouth again. She smiles and approaches him.
more. He finally gives her a kiss. She grabs his face. It
caress. It's a long kiss. We CLOSE ourselves to your lips. They are
like two snails mating. They remain like that for a long while.
Only the breaths of their noses can be heard, and the
exchange of saliva. No music or atmosphere. The
Time passes. The light changes.

97 INT. CAR / EXT. STREET - MAGIC HOUR

97 - C
Sombra and Ana stop their long kiss when they realize that the
The car is stopped. They smile at each other secretly. Shadow turns around.
In the front: Santos and Tomás look towards the street, worried.

Sombra and Ana rejoin and look around: they are in

the intersection of two avenues. But the cars are stopped.
They are in another part of the city. There is a commotion heard like
far away.
Point towards the intersection of avenues, where the noise is coming from.

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GÜEROS - Treat 8.1 - Filming

SHADOW
Where are we?

TOMÁS
In Mexico City.
Shadow outlines a smile. Everyone looks towards the avenue,
where the student march appears. They come in hundreds,
hitting drums and shouting slogans. Like at the beginning,
they seem like a strong and united tribe.

The other drivers watch. Some outside of their cars.

Many are whistled at and shouted insults. Others shout at them.
words of support.
The march passes in front of the Atlantic. Santos, Tomás, Ana and
Shadows watch them pass, confused, excited. Tomás takes out
your camera and take pictures.

ANA
¡No ha terminado! ¡Esto no se ha
finished!
Ana gets out of the car and, without looking at her companions, starts to
walk towards the march.

SHADOW
Ana!

But Ana keeps going, joining the strikers.

Sombra opens her door and leaves. She shouts from there.

SHADOW (CONT'D)
Ana! ... Ana!

Many students pass in front of him with banners and

drums, that do not let him see. Shadow moves a little forward
to look for Ana. She has already blended in with the crowd.

Santos leans out the window and shouts at him.

SAINTS
Shadow!
Sombra turns to look at them. She is a few meters from the car, but the
the march starts pulling him, distancing him. It begins to take him away.
the current. Tomás leans out the window and looks for him.

TOMÁS
Fede! ... Fede!
Sombra turns and sees her brother. Then she turns to the other.
side and sees Ana in the distance, going with one of the factions,
moving away.

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TOMÁS (CONT'D)
Fede...!

Shadow sees her brother from a distance, sitting on the

car window open. Tomás asks him with a glance
“Where are you going?”. Sombra hesitates for a moment, looks towards Ana, who
It moves further and further away. It turns back to its brother one last time.
The bodies continue to pass in front of him. Shadow looks at Tomás,
like saying 'I have to go'.
Tomás smiles at him and takes out his camera. He aims it at him.

POV CAMERA TOMÁS: Several bodies pass in front, blocking the view.
from time to time the field of vision, partially revealing to
Shadow. When we can finally see it well, we discover it
looking directly at the CAMERA. She smiles at her brother. The
the camera goes 'click' and the IMAGE FREEZES.

FULL SCREEN:

In complete silence, following the picture of Shadow looking at

camera, run a 'slide show' of the photos that Tomás took
throughout the journey, from back to front, finishing
with the photo of the fog.

FADE OUT.

CREDITS ROLL

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