Los Angeles, CA and Dublin, Ireland

Killing The Street Children

Killing The Street Children

Unlike many high-profile mainstream feature films that cast non-Latinos in Latino roles, efforts have begun to secure an A-List Latino actor for the history-making role of a modern day Latino action hero in the 30-million-dollar authentic spy thriller, “Killing The Street Children.” The actor cast for this pivotal, stereotype-shattering role will be one of many leads of varying ethnicities.

The year is 1993. In an exclusive shop just off of Rio’s Copacabana Beach, three shop owners are making a deal with a Brazilian Mafia leader to kill the street children. The shop owners call them vermin. They steal from the customers, they ruin the shops, the owners want them eliminated and are willing to pay whatever it takes.

Dozens of Rio street children in a slum-like Favela are standing in line at a dead end street waiting for a water tap to be turned on by one of the children, Pepe. A dark sedan rolls up blocking the entrance of the dead end street. The children freeze. Three men carrying submachine guns exit the car and begin to shoot the children down. Bullets strike around Pepe as he runs towards his sister, Elena, as she’s riddled with shots.

Patrick Juarez’s ancestors were Mexican Indian. After surmounting many racial prejudices during his tenure at Georgetown, he graduates head of his class with honors from the prestigious Washington Law School.

Patrick joins a secret division of the United States State Department known as the Intelligence Section. He is sent to train at the State Department combat training facility in Virginia and becomes extremely proficient in hand-to-hand combat and the use of firearms. Patrick is assigned to the South American Desk because he speaks Spanish and is learning Portuguese. Over several years, Patrick takes part in many clandestine operations, proves extremely capable and attracts the attention of Charles Remington, the head of the Intelligence Section. Patrick eventually becomes the head of the South American desk and meets Remington’s daughter, Lydia.

After a short courtship, Lydia and Patrick marry and produce one child, Jay. The marriage doesn’t last, Lydia files for divorce because Patrick is constantly traveling and his drinking is becoming a problem. Lydia also finds out about an affair Patrick had with the beautiful Maria Sanchez, one of Brazil’s most trusted Police Inspectors, while working together on an operation in Brazil. Their divorce is amicable and they continued to raise Jay together, but separately. Jay, now in his twenties, is one of Wall Street’s rising young stars. He marries one of Washington’s leading public relations experts, Ellen. Not being able to have children, they go to Brazil to try adopt one which develops into a major problem.

Patrick retires from the State Department and starts his own law firm. He is contacted by Remington who tries to persuade him to take on a critical assignment in Brazil sanctioned by the President of the United States. Washington’s leading newspaper is publishing an expose about the child adoption racquet in Brazil. Two reporters of the newspaper have been killed in Washington by Brazilian hit men. This causes a diplomatic problem between the two countries.

Patrick resists Remington’s persuasions until he learns that his son and daughter-in-law have been caught up in the adopting racquet themselves. After paying a large sum to adopt the child, the child is delivered to Jay and Ellen in a hotel room, and, after all the papers are signed, the next day the child is taken away by the Brazilian police claiming the mother of the child never agreed to the arrangement. Patrick flies to Brazil with two of his subordinates and they are attacked at Rio’s airport. One is killed, Patrick and Elliot Lawrence survive. The Brazilian Special Police save them and rush them to a safe house. In the car transporting them, Patrick notices someone in the front seat- it is Maria Sanchez, his lost affair from back in the day.

Maria and Patrick resume their love affair. Maria uses her intel to find his son’s baby. The baby has a distinct birthmark on her left ear and is being held in a mafia run adoption agency. While claiming they are prospective parents looking to adopt a child, the manager shows Patrick and Maria the baby with the birthmark. While filling out some paperwork, the manager recognizes Maria and excuses herself to make a phone call. Maria, suspicious, follows and overhears a conversation with the mafia. Maria subdues the manager and grabs the child. Patrick and she run out of the agency as they see two sedans coming up the street. A bullet riddled car chase issues.

Patrick and Maria, with the baby, are trapped near the Favela where the street children were recently killed. Pepe appears and helps Maria and Patrick escape. Pepe disappears into the Favela. Patrick and Maria make it to a safe house, but the mafia finds them. Maria and the child escape through a secret passage, but Elliot Lawrence is killed and Patrick is severely wounded. The mafia takes Patrick’s bleeding body to a dump inside the Favela as a warning. Pepe finds him and contacts Maria who gets medical help and saves Patrick’s life. Maria is extremely grateful to Pepe for what he’s done.

Maria and the Special Police have been tracking the mafia boss, Martinez, while Patrick recovers.  Maria has established that Martinez will be having a meeting of his cartel at his elaborate headquarters. Maria, Patrick and a group of his old agents, manage to destroy the elaborate mafia headquarters with Martinez and his underlings inside.

Maria adopts Pepe but decides not to go to America with Patrick until she cleans up some critical police business. Months later, she and Pepe arrive unannounced at the doorstep of Patrick’s apartment in Washington, D.C. During a passionate greeting, Patrick’s door bursts open to reveal Martinez and one of his hirelings, who somehow survived their headquarter’s destruction. They advance on Maria, Patrick and Pepe, guns drawn.

… To Be Continue

~ Final script available upon request. Copyright: Patrick O’Connor. All Rights Reserved.