67. OAXACA. DAY.

MAIN PLAZA. SIDEWALK RESTAURANT.

CYNTHIA sits alone at a table, having a beer and looking troubled.

CYNTHIA: Mercy?

MIKE comes INTO VIEW, and walks up to CYNTHIA.

MIKE: Hi Cynthia.

CYNTHIA: Hello Mike.

MIKE: So where's your friend Phyllis?

CYNTHIA: She's no longer here.

MIKE: That's too bad. She wasn't where she said she'd be yesterday. She stood me up.

CYNTHIA: She has a three year old child. She's planning to remarry her ex-husband.

MIKE: Too bad. I thought Phyllis was somebody special.

CYNTHIA: You weren't wrong.

68. STREET IN OAXACA. DAY.

CYNTHIA is walking along, passing a Church.

CYNTHIA: Coatlicue is not my God.

CYNTHIA goes over to the Church, and enters the building.

69. INT. CHURCH.

CYNTHIA walks toward the front. She sits in one of the pews, and begins to pray silently. Then CYNTHIA begins to cry.

The PADRE comes INTO VIEW. He sees CYNTHIA crying, and comes over to her.

PADRE: Buenas tardes my daughter. Would you like to tell me what's troubling you?

CYNTHIA: Oh. Padre. I really don't know if you'd be able to help me with this.

PADRE: I will try. A lot of people make the mistake of thinking that the Church is here, just to spoil everybody's fun. The reality is, that when life stops being fun, the Church is here.

CYNTHIA: So who's having fun? Padre. I don't know how to explain this. There's lots of...things...that I don't want anyone to know about. People's lives are in danger.

PADRE: You don't have to tell me any details, that will endanger anybody.

CYNTHIA: I have just come from...a place...where people are going to be killed. If I were there, only I would be killed. As long as I stay away, others will die.

The PADRE is thoughtfully quiet for a few moments.

PADRE: I've never had to deal with this type of problem before.

CYNTHIA: One of them told me, that if I stayed and got killed, it would be an act of mercy.

PADRE: The Lord Jesus Christ did say, "Greater love has no man, than he who would lay down his life for his friends."

CYNTHIA: That's just the point Padre. They aren't my friends. I dislike them intensely. The Devil has me trapped.

PADRE: No he does not. The Devil has no more power over you than you allow him to have. Resist the Devil and he will flee from you.

CYNTHIA: But this is too powerful. Whatever decision I make, the Devil is going to win.

PADRE: No he is not. If you are a woman of Christ, all you have to say is;

"Satan. In the Name of the Lord Jesus Christ, I command you to go."

Then he will go.

CYNTHIA: Padre. I have been dealing in serious lies and trickery. It's causing great harm to the people I told you about. I've been hateful. I've committed adultery. I've also been involved in idolatry and witchcraft. I've completely ignored God, so how can I command Satan to do anything in the Name of Christ?

PADRE: Accept Christ as Savior, and all those sins will be forgiven.

CYNTHIA: Padre, what would you do in my situation.

PADRE: I don't know what I would do myself. Ask what the Lord Jesus Christ

would do.

CYNTHIA looks up at the Altar, at the crucifix. She turns away.

CYNTHIA: No!

PADRE: That might not be necessary. The Lord prayed; "Father, if it be possible, do not make me drink from this cup."

CYNTHIA: I don't want to drink from it either.

PADRE: My daughter. See if there is anything you can do, that will keep both yourself and the others alive.

CYNTHIA: What if there isn't?

PADRE: Then the Lord will give you all the courage you need, when you need it.

70. OAXACA. NIGHT.

NIGHTCLUB. INT.

CYNTHIA and MIKE are seated at a table, with two other COUPLES, watching a performance of a "Fiesta Mexicana".

There are SINGERS, DANCERS, MARIMBAS and MARIACHIS. The Show is lively. The AUDIENCE looks entertained, except CYNTHIA.

At one point, the DANCERS perform a Machete Dance. The MALE DANCERS clash machetes over the heads of the WOMEN DANCERS. CYNTHIA looks terrified.

MIKE: What are we doing, sitting at ringside?

When the Dance ends, the AUDIENCE applauds. CYNTHIA doesn't.

MIKE: They're missing something. It would have been a perfect ending, if on the final note, they chopped their heads off.

CYNTHIA: Mike. That's really gross.

MIKE: Simply reinstating an ancient Aztec tradition; and a very popular one.

MAN AT TABLE: Yes; and a few of us would have some very unique souveniers to take home.

WOMAN AT TABLE: I think you'd have a little trouble, getting it through customs.

CYNTHIA: Do all of you mind? Those jokes are in poor taste, and not really funny at all.

71. TERRACE OF THE HOTEL VICTORIA. NIGHT.

MIKE and CYNTHIA are alone on the terrace.

MIKE: I know you don't want to talk about what's bothering you; but you could at least try to cheer up.

CYNTHIA: I'm sorry Mike. I just can't.

MIKE takes CYNTHIA in his arms. CYNTHIA stiffens.

CYNTHIA: I'm sorry Mike. No.

MIKE: I thought it might help cheer you up.

CYNTHIA: Thank you but not tonight.

OFF SCREEN there is the resonating sound of a drum, beating out the same staccatto rhythm, that was heard at the ceremony; along with VOICES chanting the name of Coatlicue.

VOICES: Coatlicue! Coatlicue! Coatlicue! (Continue)

CYNTHIA looks off into the darkness with terror.

MIKE looks like he doesn't hear anything.

CYNTHIA tries to control her trembling.

The drumming and chanting build up in intensity, until the sound of a loud, wet chop is heard. The drumming and chanting abruptly cease.

CYNTHIA: Mike. I don't want to be alone tonight.

MIKE and CYNTHIA hold each other tightly.

CYNTHIA: I'm young and alive, and in Mexico, and I want to enjoy it.

MIKE and CYNTHIA kiss.

72. STREETS OF OAXACA. DAWN.

A taxi moves through the streets. CYNTHIA is the passenger.

The taxi drives past the Church. CYNTHIA sees the PADRE standing out front. She turns the other way.

The taxi continues on its way through the Town.

73. OAXACA AIRPORT. DAY.

A Mexicana Jet roars down the runway and takes off, heading north.

74. MEXICO CITY AIRPORT. DAY.

The Mexican Jet lands.

INT. TERMINAL CONCOURSE.

CYNTHIA is carrying her bags. She walks up to the AeroMexico counter, and speaks to the CLERK.

CYNTHIA: When can I get the next flight back to New York?

The CLERK checks it out.

CLERK: I'm sorry Miss, but today's flight is completely booked; but there are still a few vacancies on tomorrow's flight.

CYNTHIA: Tomorrow's flight? What time?

CLERK: 4:30 in the afternoon.

CYNTHIA: 4:30?

CLERK: That is the flight with the vacancies.

75. MEXICO CITY. DAY.

CYNTHIA gets into an Airport Limousine, which drives out of the parking lot, and heads for Downtown.

CYNTHIA looks listlessly at the vitality of the people they pass, as the Limo heads Downtown.

The Limo drives through the Zocalo. CYNTHIA looks up the street at the excavation of the Aztec Temple, and sighs.

They drive past the Cathedral and CYNTHIA looks uneasy.

76. DOWNTOWN MEXICO CITY LUNCHROOM. DAY.

INT. CYNTHIA is seated at a table, having lunch.

ZAMORA enters the Lunchroom and walks up to the table.

ZAMORA: Buenas tardes Miss Jacobsen.

CYNTHIA: Hola Senor Zamora.

ZAMORA: May I join you?

CYNTHIA: Senor Zamora. I want nothing more to do with you, or anyone else, who's involved with Coatlicue.

ZAMORA: I'm glad to see you're still alive.

CYNTHIA: So am I; and I'd like to remain that way until I'm at least 85, so leave me alone.

ZAMORA: No one here in Mexico City will harm you. We just want your help, so no one else will be harmed either.

CYNTHIA: Why should I believe that?

ZAMORA: You are a reporter. We want you to tell our side of the story.

CYNTHIA: That's what the others said.

ZAMORA: You should know by now, that we were the ones, who were telling the truth.

CYNTHIA: I don't feel any safer with you, than I did with the others; and I don't trust Coatlicue at all; But I do want that story.

77. BRUJA'S HOUSE. AFTERNOON.

INT. CYNTHIA is seated in an easy chair with her handbag in her lap.

The BRUJA, ZAMORA and BELTRAN are watching her.

BELTRAN: Did you find the sacred writings?

CYNTHIA: No. There were never any sacred writings. Ther was only Coatlicue.

ZAMORA: Where is your friend Phyllis?

CYNTHIA: She's no longer here.

ZAMORA: Has she gone home?

CYNTHIA: Yes.

BRUJA: Why did you stay, if she went?

CYNTHIA: Well...

BRUJA: She was sacrificed, wasn't she?

CYNTHIA: Her heart was ripped out; just like the ancient Aztecs.

BRUJA: But she didn't do the Decapitation Dance, did she?

CYNTHIA: No Senora. Some of their people did.

BELTRAN, ZAMORA and the BRUJA look displeased.

CYNTHIA: A beautiful girl, who couldn't have been more than 18, had her head chopped off.

BELTRAN: Well so much for Coatlicue.

BELTRAN gets ready to leave, and heads for the door.

ZAMORA: No. Wait Senor Beltran. This woman is the Chosen One. As long as she remains alive, the Sacrifices won't be completed.

BELTRAN stays.

CYNTHIA: What's that supposed to mean? What're you people up to?

BELTRAN: Miss Jacobsen, exactly where is Coatlicue?

CYNTHIA: No. As long as I've been involved with this Coatlicue business, everyone's been lying to me. Even Coatlicue tricked me. Before I tell you anything, I want to know the truth. All of it.

BELTRAN, ZAMORA and the BRUJA look at each other, and nod.

ZAMORA: At the time of the Spanish Conquest, Coatlicue was hidden until the Spaniards were driven out.

CYNTHIA: Spain was driven out in 1821.

ZAMORA: Yes, and the long awaited Decapitation Dance was performed then; But Coatlicue did not return. It was performed again, when the French were driven out, in 1867. It was also performed when the Dictator Diaz was overthrown in 1910; and at the end of World War 1 and World War 2.

Since then, there have been no victories to celebrate, and Coatlicue has not returned. The Spaniards weren't completely driven out.

CYNTHIA: In what way?

BRUJA: We still have La Iglesia Catolica.

CYNTHIA: The Catholic Church?

ZAMORA: It is a Spanish Religion, not a Mexican one. Coatlicue has returned to help us destroy it.

CYNTHIA: You're gonna try to destroy the Catholic Church?

BELTRAN: Yes; and your Norte-Americano Liberals will call us heros.

CYNTHIA: I wouldn't be too sure of that.

BELTRAN: The Liberals with money already do.

BELTRAN picks up a copy of the Manhattan Times.

BELTRAN: The two things which Norte-Americano Liberals hate most, are their own Country, and the Catholic Church. It says here that television and movie stars are going to be raising money for us; so is your Liberal National Federation of Christian Churches. Your Senator Keegan, who is running for President, has declared his support for us.

CYNTHIA: Do you think that will last, if you start attacking Churches?

BELTRAN: We call ourselves, "The Mexican People's Army". That makes everyone think we're Anti-American Marxists; So all those knee jerking Liberals will give us their unquestioning support.

CYNTHIA: Then you're only pretending to be Marxists?

BELTRAN: We have no doubt, that your Liberal Federation of Christian Churches, will make excuses for us, after we bomb the Cathedral this afternoon.

The BRUJA is standing beside a shelf. She picks up a pistol, which is rigged with a silencer; and points it at CYNTHIA.

BELTRAN: We have told you the truth Miss Jacobsen. Now you tell us where they are hiding Coatlicue.

CYNTHIA: No.

The BRUJA cocks the pistol.

CYNTHIA: I'm not gonna help you commit any atrocities.

BRUJA: I don't understand why Coatlicue chose this Norte-Americana puta.

CYNTHIA: I don't like it either; but I am the Prophet of Coatlicue. I am unable to betray her people. If you kill me, I won't be able to do the Decapitation Dance.

BELTRAN: It's only a matter of time, until we find out where Coatlicue is. Then all we have to do is bring her your head.

(To BRUJA) Wait until we're gone.

BELTRAN and ZAMORA leave through the door.

EXT. BELTRAN and ZAMORA come out of the house, get in a car and drive away.

INT. CYNTHIA is still seated in the chair, with the BRUJA pointing a pistol at her.

CYNTHIA: Senora. Por Favor.

BRUJA: You are a brave woman. We Aztecs believe that brave women enter Paradise immediately; So this should be a wonderful moment for you.

The BRUJA pulls the trigger. The pistol doesn't fire.

CYNTHIA grabs her handbag, as she throws herself to the floor.

The BRUJA pulls the trigger again. This time the pistol fires but misses.

CYNTHIA grabs her own pistol out of her handbag. She shoots back, killing the BRUJA.

CYNTHIA goes to the door, opens it and rushes out, slamming it behind herself.

78. EXT. BRUJA'S STREET. DAY.

CYNTHIA rushes out of the house, and down the street, past a few people, who are startled at the sight of her pistol.

CYNTHIA puts the pistol back in her handbag. She goes around a corner, and sees that she is near a Subway entrance.

OFF SCREEN there is the sound of a Police siren.

CYNTHIA runs down into the Subway.

79. INT. SUBWAY PLATFORM.

CYNTHIA keeps looking around nervously, as many PEOPLE crowd onto the platform.

A train pulls in, and CYNTHIA gets on board.

The train pulls away from the platform just as 2 POLICE OFFICERS come INTO VIEW on the platform.

80. INT. SUBWAY TRAIN.

CYNTHIA stands holding onto a railing, looking much calmer.

CYNTHIA: (Whisper) The Cathedral?

81. INT. HIDALGO SUBWAY STATION.

The train pulls in and stops. CYNTHIA gets off. She hurries away from the platform, out to the Station Concourse. A station directory map is posted on the wall.

CYNTHIA checks the map.

CYNTHIA: Three stops.

CYNTHIA hurries down to the subway line, heading toward the Zocalo.

CYNTHIA stands on the thickly crowded platform, waiting for the train. When it arrives, CYNTHIA has to force her way on board.

82. INT. SUBWAY TRAIN.

CYNTHIA has to stand holding onto an overhead railing, crushed tightly in the crowd.

83. ZOCALO STATION.

The train stops at the platform. The doors open, and the crowd erupts out, with CYNTHIA among them.

CYNTHIA hurries upstairs to the station concourse, where she sees two COPS and turns her face away from them.

CYNTHIA hurries to the exit, and up the stairs.

84. EXT. ZOCALO. DAY.

CYNTHIA comes up out of the subway entrance, which stands just outside the fence around the Cathedral.

CYNTHIA looks up at the tremendous building; then along the fence.

CYNTHIA sees ZAMORA enter one of the gates in the fence, carrying a large flightbag. ZAMORA looks around. CYNTHIA looks away from him.

ZAMORA enters the Cathedral.

CYNTHIA hurries along the fence, and through the nearest gate. She walks over to the doors, and enters the Cathedral.

85. INT. CATHEDRAL.

The Cathedral is enormous, and very complex inside; divided into many sections. CYNTHIA can only see a small portion of of the building, from wherever she stands. She walks slowly, looking into all the alcoves and stations of the cross. She doesn't see ZAMORA.

CYNTHIA is near the altar, looking distressed.

CYNTHIA: (Softly) Lord Jesus. This is your House, and these are your people. Help me, help them.

Across the other side of the Cathedral, CYNTHIA sees ZAMORA leaving one of the alcoves and heading toward the door. He no longer carries the flightbag.

CYNTHIA is about to run, but she holds herself back, and walks to the alcove.

When CYNTHIA reaches the alcove, she looks around and sees the flightbag tucked in a corner. CYNTHIA carefully picks it up. She is about to unzip the bag. Then she stops.

CYNTHIA steps out of the alcove, walks to the entrance of the Cathedral, and goes out the door.

86. EXT. CATHEDRAL.

CYNTHIA comes outside, holding the flightbag, and looking around nervously.

CYNTHIA hurries out through the gate, and turns left. There is a fountain nearby, on the east side of the Cathedral.

CYNTHIA turns the corner of the fence, and sees ZAMORA standing about halfway between her and the fountain.

ZAMORA holds a small, remote control transmitter. Then ZAMORA looks around and sees CYNTHIA.

CYNTHIA turns and runs, with ZAMORA following her.

CYNTHIA runs back around the corner of the fence, and runs down into the subway.

As CYNTHIA disappears from view, ZAMORA presses the button on the transmitter.

CUT TO CYNTHIA who is hurrying down the subway steps.

There is a loud click inside the flightbag.

CYNTHIA gasps.

There is a ticking inside the flightbag.

CUTBACK TO ZAMORA who heads down into the subway.

87. INT. ZOCALO STATION PLATFORM.

CYNTHIA stands near the entrance to the platform, still holding the ticking flightbag. The crowd is thick around her.

ZAMORA enters the platform, and sees CYNTHIA a few feet away.

CYNTHIA steps up to ZAMORA, holding the flightbag.

CYNTHIA: It's ticking. Are you a brave man? Are you ready to join the Bruja in Paradise?

ZAMORA: Get away from me.

CYNTHIA: Not while it's ticking. Turn it off.

ZAMORA: I don't know how to. Just leave it here.

CYNTHIA: It'll kill all these people.

ZAMORA: Well get it out of the subway.

CYNTHIA: How much time is there?

ZAMORA: Who knows?

A train pulls in and stops. ZAMORA rushes aboard, just as the doors are closing. Then the train pulls out, with ZAMORA aboard; leaving CYNTHIA on the platform with the ticking flightbag.

CYNTHIA goes out the exit, up the steps to the concourse, runs through the concourse, and up the steps, hugging the flightbag.

As CYNTHIA reaches the top step, at ground level, she trips and falls forward, on top of the flightbag.

There is a loud bang, inside the flightbag; but no explosion.

CYNTHIA gets up unharmed, while PASSERSBY watch.

CYNTHIA looks up at the Cathedral.

CYNTHIA: I'm in your hands now, aren't I?