COCO
Original story by
Lee Unkrich, Jason Katz, Matthew Aldrich & Adrian Molina
Screenplay by
Adrian Molina & Matthew Aldrich
1.
EXT. MARIGOLD PATH – DUSK
A path of marigold petals leads up to an altar lovingly
arranged in a humble cemetery. An old woman lights a candle
as the smoke of burning copal wood dances lyrically upward…
CARD: DISNEY PRESENTS
CARD: A PIXAR ANIMATION STUDIOS FILM
The smoke lifts up toward lines of papel picado – cut paper
banners — that sway gently in the breeze.
PAPEL PICADO CARD: «COCO»
MIGUEL (V.O.)
Sometimes I think I’m cursed…
‘cause of something that happened
before I was even born.
A story begins to play out on the papel picado.
MIGUEL (V.O.)
See, a long time ago there was this
family.
The images on the papel picado come to life to illustrate a
father, a mother, and a little girl. The family is happy.
MIGUEL (V.O.)
The papá, he was a musician.
The papá plays guitar while the mother dances with her
daughter.
MIGUEL (V.O.)
He and his family would sing, and
dance, and count their blessings…
(beat)
But he also had a dream… to play
for the world.
(beat)
And one day he left with his
guitar… and never returned.
The man walks down a road, guitar slung on his back. In
another vignette his daughter stands in the doorway, watching
her papá leave. Two feet step up next to her. It is her
mamá, hardened.
She shuts the door.
2.
MIGUEL (V.O.)
And the mamá…? She didn’t have
time to cry over that walkaway
musician!
(beat)
After banishing all music from her
life…
The woman gets rid of all of her husband’s instruments and
records.
MIGUEL (V.O.)
She found a way to provide for her
daughter…
(beat)
She rolled up her sleeves and she
learned to make shoes.
(beat)
She could have made candy!
Amongst the papel picado, a stick swings at a strung up
piñata which bursts with candy…
MIGUEL (V.O.)
Or fireworks!
Fireworks go off in the background…
MIGUEL (V.O.)
Or sparkly underwear for wrestlers!
Sparkly underwear and a luchador mask hang on a line amongst
other linens…
MIGUEL (V.O.)
But no… she chose shoes…
On the papel picado, the little girl becomes a young woman.
MIGUEL (V.O.)
Then she taught her daughter to
make shoes. And later, she taught
her son-in-law.
She introduces a suitor to the family business.
MIGUEL (V.O.)
Then her grandkids got roped in.
As her family grew, so did the
business.
In the next vignette, a bunch of goofy grandchildren join in
the shoemaking. The shoe shop is full of family!
3.
MIGUEL (V.O.)
Music had torn her family apart,
but shoes held them all together.
(beat)
You see, that woman was my great-
great grandmother, Mamá Imelda.
TILT DOWN from the papel picado to the
OFRENDA ROOM – DAY
where a photo sits at the top of a beautiful altar. The
photo features MAMÁ IMELDA — serious, formidable. She holds
a baby on her lap. Her husband stands beside her, but his
face has been torn away.
MIGUEL (V.O.)
She died WAY before I was born.
But my family still tells her story
every year on Día de los Muertos —
the Day of the Dead…
(beat)
And her little girl?
Fade from the face of the little girl to present day MAMÁ
COCO (97), a living raisin, convalescing in a wicker
wheelchair.
MIGUEL (V.O.)
She’s my great grandmother, Mamá
Coco.
A boy (12) walks into frame and kisses her on the cheek.
This is our narrator, MIGUEL.
MIGUEL
Holá, Mamá Coco.
MAMÁ COCO
How are you, Julio?
MIGUEL (V.O.)
Actually, my name is Miguel. Mamá
Coco has trouble remembering
things… But it’s good to talk to
her anyway. So I tell her pretty
much everything.
QUICK CUTS of Miguel with Mamá Coco:
4.
EXT. COURTYARD
MIGUEL
I used to run like this…
Miguel pumps his arms with his hands in fists. Then he
switches to flat palms.
MIGUEL
But now I run like this which is
way faster!
CUT TO:
INT. MAMÁ COCO’S ROOM
Miguel, in a luchador mask, climbs onto the bed, arms raised.
MIGUEL
And the winner is… Luchadora
Coco!
Miguel leaps off the bed onto a pile of pillows that bursts,
sending feathers onto Mamá Coco who wears a mask of her own.
CUT TO:
EXT. DINING AREA
Miguel leans toward Mamá Coco at the dinner table.
MIGUEL
I have a dimple on this side, but
not on this side. Dimple. No
dimple. Dimple. No dimple–
ABUELITA
Miguel! Eat your food.
Miguel’s ABUELITA (70s) runs the table like a ship captain.
She gives Mamá Coco a kiss on the head.
MIGUEL (V.O.)
My Abuelita? She’s Mamá Coco’s
daughter.
Abuelita piles extra tamales on Miguel’s plate.
ABUELITA
Aw, you’re a twig, mijo. Have some
more.
5.
MIGUEL
No, gracias.
ABUELITA
I asked if you would like more
tamales.
MIGUEL
S-sí?
ABUELITA
That’s what I THOUGHT you said.
MIGUEL (V.O.)
Abuelita runs our house just like
Mamá Imelda did.
CUT TO:
INT. OFRENDA ROOM – DAY
Abuelita adjusts the photo of her beloved Mamá Imelda. Then
she perks her ear at a hooting sound.
INT. KITCHEN – MOMENTS LATER
Miguel idly blows into a glass soda bottle. Abuelita takes
the bottle away.
ABUELITA
No music!
INT. MAMÁ COCO’S ROOM – DAY
Miguel listens as a truck drives by the window, blaring radio
tunes. Abuelita angrily slams the window shut.
ABUELITA
No music!!
EXT. STREET – EVENING
A trio of gentlemen serenade each other as they stroll by the
family compound.
MUSICIANS
(singing)
AUNQUE LA VIDA–
6.
Abuelita bursts out of the gate and chases them away.
ABUELITA
NO MUSIC!!!
Terrified, the musicians stumble as they run away.
MIGUEL (V.O)
I think we’re the only family in
México who hates music…
INT. RIVERA WORKSHOP – DAY
We see the Rivera family tinkering in the shoe shop, no music
to be heard. Miguel jogs past them.
MIGUEL (V.O.)
And my family’s fine with that…
He grabs his shine box, and heads out of the shoe shop.
MIGUEL (V.O.)
But me?
MAMÁ
Be back by lunch, mijo!
MIGUEL
Love you, Mamá!
Once outside, Miguel makes his way through the small town of
SANTA CECILIA – MORNING
MIGUEL (V.O.)
I am NOT like the rest of my
family…
He passes a woman sweeping a stoop.
WOMAN
Hola, Miguel!
MIGUEL
Hola!
He passes a band of musicians playing a tune. Miguel joins
with some air guitar and the further down the street he goes,
the more instruments and sounds layer in. The bells of the
church chime in harmony, a radio blares a cumbia rhythm.
7.
Running past a food stand, Miguel grabs a roll of pan dulce
and tosses the vendor a coin.
MIGUEL
Muchas gracias!
STREET VENDOR
De nada, Miguel!
As Miguel passes all these scenes, the music synthesizes and
he can’t help but tap out rhythms along a table of alebrijes.
The fantastical wooden animal sculptures each play a
different tone like a marimba. Miguel finishes with a SMACK
on a trash can, out of which a pops up a scrappy hairless
Xolo dog. The dog, DANTE, barks and jumps up to lick Miguel,
who laughs.
MIGUEL
Hey, hey! Dante!
Miguel holds the pan dulce over Dante’s head.
MIGUEL
Sit. Down. Roll over. Shake.
Fist bump.
Dante obeys to the best of his ability.
MIGUEL
Good boy, Dante!
Miguel tosses the pan dulce to his furless friend who topples
back into the trash can.
CUT TO:
MARIACHI PLAZA – MOMENTS LATER
Miguel rounds the corner toward the town square. Vendors
sell sugar skulls and marigolds, and musicians fill the
square with music.
MIGUEL (V.O)
I know I’m not supposed to love
music — but it’s not my fault!
(beat)
It’s his: Ernesto de la Cruz…
Miguel approaches a statue of a handsome mariachi at the
heart of the plaza.
8.
MIGUEL (V.O)
…The greatest musician of all
time.
A tour group and their TOUR GUIDE are gathered around the
base of the statue.
TOUR GUIDE
And right here, in this very plaza,
the young Ernesto de la Cruz took
his first steps toward becoming the
most beloved singer in Mexican
history!
CUT TO:
CLIPS of de la Cruz in his hay day: playing as a young man in
the plaza, serenading bystanders in a train car…
MIGUEL (V.O.)
He started out a total nobody from
Santa Cecilia, like me. But when
he played music, he made people
fall in love with him.
MORE CLIPS from de la Cruz’s films. He leaps from a tree
branch onto a galloping horse. He plays his signature skull
guitar with flourish and flair.
MIGUEL (V.O.)
He starred in movies. He had the
coolest guitar… He could fly!
A CLIP features de la Cruz dressed as a hovering priest, held
up by strings, in front of a cycling sky flat.
MIGUEL (V.O.)
And he wrote the best songs! But
my all-time favorite? It’s–
A CLIP of de la Cruz performing in a fancy nightclub.
DE LA CRUZ
(singing)
REMEMBER ME
THOUGH I HAVE TO SAY GOODBYE
REMEMBER ME
DON’T LET IT MAKE YOU CRY
FOR EVEN IF I’M FAR AWAY
I HOLD YOU IN MY HEART
I SING A SECRET SONG TO YOU
EACH NIGHT WE ARE APART
REMEMBER ME
(MORE)
9.
DE LA CRUZ (CONT’D)
THOUGH I HAVE TO TRAVEL FAR
REMEMBER ME
EACH TIME YOU HEAR A SAD GUITAR
KNOW THAT I’M WITH YOU THE ONLY WAY
THAT I CAN BE…
MIGUEL (V.O.)
He lived the kind of life you dream
about… Until 1942…
As the audience swoons over de la Cruz, an absent-minded
stagehand leans on a lever. Ropes and pulleys go flying.
DE LA CRUZ
UNTIL YOU’RE IN MY ARMS AGAIN
REMEMBER ME!
De la Cruz is subsequently crushed by a giant bell.
MIGUEL (V.O.)
When he was crushed by a giant
bell.
CUT TO:
MARIACHI PLAZA – DAY
Miguel gazes up at the statue of de la Cruz in awe.
MIGUEL (V.O)
I wanna be just like him.
CUT TO:
EXT. CEMETERY – MOMENTS LATER
Miguel weaves up to de la Cruz’s mausoleum and peeks in the
window. He catches a glimpse of de la Cruz’s signature skull
guitar.
MIGUEL (V.O.)
Sometimes, I look at de la Cruz and
I get this feeling… like we’re
connected somehow. Like, if HE
could play music, maybe someday I
could too…
10.
EXT. MARIACHI PLAZA – DAY
MIGUEL (CONT’D)
…If it wasn’t for my family.
PLAZA MARIACHI
(playful)
Ay, ay, ay, muchacho.
MIGUEL
Huh?
PLAZA MARIACHI
I asked for a shoe shine, not your
life story.
Miguel comes out of his reverie and looks up at the PLAZA
MARIACHI whose shoes he is shining.
MIGUEL
Oh, yeah, sorry.
He goes back to scrubbing the man’s shoe. As Miguel shines,
the mariachi plucks his guitar idly.
MIGUEL
I just can’t really talk about any
of this at home so…
PLAZA MARIACHI
Look, if I were you I’d march right
up to my family and say, «Hey! I’m
a musician. Deal with it!»
MIGUEL
I could never say that…
PLAZA MARIACHI
You ARE a musician, no?
MIGUEL
I don’t know. I mean… I only
really play for myself–
PLAZA MARIACHI
Did de la Cruz become the world’s
best musician by hiding his sweet,
sweet skills? No! He walked out
onto that plaza and he played out
loud!
11.
The mariachi gets an idea. He points to the gazebo where
organizers are setting up for a show. They unfurl a canvas
poster which reads «TALENT SHOW.»
PLAZA MARIACHI (CONT’D)
Ah, mira, mira! They’re setting up
for tonight. The music competition
for Día de Muertos. You wanna be
like your hero? You should sign
up!
MIGUEL
Uh-uh, my family would freak!
PLAZA MARIACHI
Look, if you’re too scared, then,
well… have fun making shoes.
Miguel considers this.
PLAZA MARIACHI (CONT’D)
C’mon. What did de la Cruz always
say?
MIGUEL
…Seize your moment?
The mariachi appraises Miguel, then offers his guitar.
PLAZA MARIACHI
Show me what you got, muchacho.
I’ll be your first audience.
Miguel’s brows rise, surprised. He reaches to take the
instrument, regarding it as if holding a holy relic.
Miguel spreads his fingers across the strings anticipating
his chord and…
ABUELITA (O.S.)
MIGUEL!
Startled, Miguel impulsively throws the guitar back onto the
mariachi’s lap. He turns to see Abuelita marching toward
him. Miguel’s TÍO BERTO (40s) and PRIMA ROSA (16), follow
with supplies from the market.
MIGUEL
Abuelita!
ABUELITA
What are you doing here?
12.
MIGUEL
Um…uh…
Miguel quickly packs away his shine rag and polishes.
Abuelita barrels up to the mariachi.
She hits his hat with her shoe and waves him away.
ABUELITA
You leave my grandson alone!
PLAZA MARIACHI
Doña, please — I was just getting
a shine!
ABUELITA
I know your tricks, mariachi!
(to Miguel)
What did he say to you?
MIGUEL
He was just showing me his
guitar…
Gasps from the family.
TÍO BERTO
Shame on you!
Abuelita lords over the mariachi, shoe aimed directly between
his eyes.
ABUELITA
My grandson is a sweet little
angelito querido cielito — he
wants no part of your music,
mariachi! You keep away from him!
The mariachi scrambles away, snatching his hat off the
ground before he goes. Abuelita hugs Miguel protectively to
her bosom.
ABUELITA
Ay, pobrecito! Estás bien, mijo?
She peppers him with kisses then releases him from the
embrace. He gasps for air.
ABUELITA
(distressed)
You know better than to be here in
this place! You will come home.
Now.
13.
Abuelita turns toward home. Miguel sighs and gathers his
shine box. Then, seeing a flyer for the plaza «TALENT SHOW»,
he can’t help but pocket it. He follows Abuelita.
EXT. STREET – MOMENTS LATER
Miguel catches up to his family.
TÍO BERTO
How many times have we told you —
that plaza is crawling with
mariachis!
MIGUEL
Yes, Tío Berto.
Dante ambles up to Miguel, sniffing and whining for a treat.
MIGUEL
No, no, no!
Abuelita shoos him away.
ABUELITA
Go away, you! Go!
Dante darts off, scared.
MIGUEL
It’s just Dante…
Abuelita throws her shoe at the dog.
ABUELITA
Never name a street dog. They’ll
follow you forever.
(beat)
Now, go get my shoe.
CUT TO:
INT. RIVERA WORKSHOP
The Rivera workshop is abuzz with family making shoes.
WHOMP! Miguel is plopped onto a stool, ready for a lecture.
ABUELITA
I found your son in Mariachi Plaza!
PAPÁ
(disappointed)
Miguel…
14.
MAMÁ
You know how Abuelita feels about
the plaza.
MIGUEL
I was just shining shoes!
TÍO BERTO
A musician’s shoes!
Gasps from the family. PRIMO ABEL (19) is so shocked he
loses his grip on the shoe he is polishing, which zips away
from the polisher and lodges itself in the roof.
MIGUEL
But the plaza’s where all the foot
traffic is.
PAPÁ
If Abuelita says no more plaza,
then no more plaza.
MIGUEL
(blurting)
But what about tonight?
PAPÁ FRANCO
What’s tonight?
MIGUEL
Well they’re having this talent
show-
Abuelita perks her ear, suspicious. Miguel squirms, deciding
whether to go on.
MIGUEL
And I thought I might…
Mamá looks at Miguel, curious.
MAMÁ
…Sign up?
MIGUEL
Well, maybe?
PRIMA ROSA
(laughing)
You have to have talent to be in a
talent show.
15.
PRIMO ABEL
What are YOU going to do, shine
shoes?
The shoe from the ceiling falls back down on Abel’s head.
ABUELITA
It’s Día de los Muertos — no one’s
going anywhere. Tonight is about
family.
She deposits a pile of marigolds in Miguel’s arms.
ABUELITA
Ofrenda room. Vámonos.
CUT TO:
INT. OFRENDA ROOM – MOMENTS LATER
Miguel follows his Abuelita to the family ofrenda, holding
the pile of flowers as she arranges them on the altar.
ABUELITA
Don’t give me that look. Día de
los Muertos is the one night of the
year our ancestors can come visit
us.
(beat)
We’ve put their photos on the
ofrenda so their spirits can cross
over. That is very important! If
we don’t put them up, they can’t
come!
(beat)
We made all this food — set out
the things they loved in life,
mijo. All this work to bring the
family together. I don’t want you
sneaking off to who-knows-where.
She looks up to find Miguel sneaking away.
ABUELITA (CONT’D)
Where are you going?
MIGUEL
I thought we were done…
16.
ABUELITA
Ay, Dios mío… Being part of this
family means being HERE for this
family… I don’t want to see you
end up like–
Abuelita looks up to the photo of the faceless musician.
MIGUEL
Like Mamá Coco’s papá?
ABUELITA
Never mention that man! He’s
better off forgotten.
MIGUEL
But you’re the one who–
ABUELITA
Ta, ta, ta-tch!
MIGUEL
I was just–
ABUELITA
Tch-tch!
MIGUEL
But–
ABUELITA
Tch!
MIGUEL
I–
ABUELITA
Tch-tch!
MAMÁ COCO
Papá?
They look to find Mamá Coco agitated.
MAMÁ COCO (CONT’D)
Papá is home…?
ABUELITA
Mamá, cálmese, cálmese.
MAMÁ COCO
Papá is coming home?
17.
ABUELITA
No Mamá. It’s okay, I’m here.
Mamá Coco looks up at Abuelita.
MAMÁ COCO
Who are you?
Sadness rises in Abuelita; she swallows it down.
ABUELITA
Rest, Mamá.
Abuelita returns to the ofrenda.
ABUELITA (CONT’D)
I’m hard on you because I care,
Miguel.
(beat)
Miguel… Miguel?
She looks around the room. Miguel is nowhere to be found.
Abuelita steps up to the ofrenda.
ABUELITA (CONT’D)
(sigh)
What are we going to do with that
boy…?
She looks to the photo of Mamá Imelda. Abuelita’s eyes
brighten with an idea.
ABUELITA (CONT’D)
You’re right. That’s just what he
needs!
CUT TO:
EXT. SIDE STREET
Tío Berto unloads rolls of leather from a truckbed. Nearby,
Dante sleeps under the shade of a tree. He startles awake by
a faint TWANGING. The dog scrambles up to the roof.
He reaches a shoe sign advertising the Rivera Family business
and lifts it up.
INT. ROOFTOP HIDEOUT
Dante pokes his head in. Miguel turns and gasps.
18.
MIGUEL
Oh, it’s you. Get in here, c’mon,
Dante. Hurry up.
Dante wriggles into the hideout. Miguel is huddled over
something. The dog peeks around his shoulder.
MIGUEL (CONT’D)
You’re gonna get me in trouble,
boy. Someone could hear me!
Miguel reveals a makeshift guitar, cobbled together from a
beat up old soundboard and random other items.
He takes a china marker and sketches a nose on what appears
to be his own version of a skull guitar head.
MIGUEL (CONT’D)
I wish someone wanted to hear me…
Miguel tunes the guitar.
MIGUEL (CONT’D)
Other than you…
Dante gives Miguel a big sloppy lick. Miguel gives a grossed-
out chuckle. He lifts his guitar and strums.
MIGUEL (CONT’D)
Perfecto!
He crawls to the far side of the attic where he’s built his
own ofrenda to Ernesto de la Cruz. Posters, candles, and
songbooks are arranged with care. Miguel lights the candles
with reverence, illuminating an album cover of de la Cruz
holding his skull guitar.
Miguel compares the head of his guitar to the album cover.
Then he imitates de la Cruz’s pose and smile.
He switches on a beat up old TV and pushes a tape into the
VCR, «Best of de la Cruz» scrawled on the spine.
A montage of the greatest moments from de la Cruz’s films
plays out.
A clip from «A QUIEN YO AMO:»
DE LA CRUZ (FILM CLIP)
I have to sing. I have to play.
The music, it’s — it’s not just in
- It is me.
19.
Miguel strums his guitar as de la Cruz imparts his wisdom.
More clips run in the background as Miguel plays:
DE LA CRUZ (FILM CLIP)
When life gets me down, I play my
guitar.
In a clip from «A QUIEN YO AMO:»
DE LA CRUZ (FILM CLIP)
The rest of the world may follow
the rules, but I must follow my
heart!
De la Cruz kisses a woman passionately. Miguel cringes.
Another clip from «A QUIEN YO AMO:»
DE LA CRUZ (FILM CLIP)
You know that feeling? Like
there’s a song in the air and it’s
playing just for you…
As Miguel watches de la Cruz play guitar in the video, he
repeats the melody on his own guitar.
DE LA CRUZ (FILM CLIP)
(singing)
A FEELING SO CLOSE
YOU COULD REACH OUT AND TOUCH IT
I NEVER KNEW I COULD
WANT SOMETHING SO MUCH
BUT IT’S TRUE…
As a good-natured priest in «NUESTRA IGLESIA:»
DE LA CRUZ (FILM CLIP)
You must have faith, sister.
NUN (FILM CLIP)
Oh but Padre, he will never listen.
DE LA CRUZ (FILM CLIP)
He will listen… to MUSIC!
(singing)
ONLY A SONG
ONLY A SONG
HAS THE POWER TO CHANGE A HEART…
Miguel loses himself in the music.
20.
DE LA CRUZ (FILM CLIP)
Never underestimate the power of
music…
Miguel’s tune intertwines with the melodies on the TV set.
The clip jumps forward:
LOLA (FILM CLIP)
But my father, he will never give
his permission.
DE LA CRUZ (FILM CLIP)
I am done asking permission. When
you see your moment you mustn’t let
it pass you by, you must seize it!
The tape ends with an interview clip.
INTERVIEWER (FILM CLIP)
Señor de la Cruz, what did it take
for you to seize your moment?
DE LA CRUZ (FILM CLIP)
I had to have faith in my dream.
No one was going to hand it to me.
It was up to me to reach for that
dream, grab it tight, and make it
come true.
MIGUEL
…and make it come true.
The tape ends. The words sink into Miguel. He reaches for
the flyer for the plaza «TALENT SHOW.»
MIGUEL
No more hiding, Dante. I gotta
seize my moment!
Dante wags his tail, panting happily.
MIGUEL (CONT’D)
I’m gonna play in Mariachi Plaza if
it kills me!
CUT TO:
EXT. RIVERA COMPOUND – SUNSET
Children run by with sparklers as Abuelita opens the doors to
the family compound.
21.
ABUELITA
Día de los Muertos has begun!
In the courtyard, two TODDLER COUSINS haphazardly scatter
marigold petals from their baskets.
MAMÁ
No, no, no, no, no.
Mamá corrects them, creating a path from the ofrenda room to
the front gate.
MAMÁ (CONT’D)
We have to make a clear path. The
petals guide our ancestors home. We
don’t want their spirits to get
lost. We want them to come, and
enjoy all the food and drinks on
the ofrenda, sí?
As Mamá teaches, Miguel and Dante sneak across the roof and
drop to the sidewalk outside the compound, Miguel clutching
his guitar.
Suddenly Tío Berto and Papá round the corner carrying a small
table from storage.
PAPÁ
Mamá, where should we put this
table?
Miguel and Dante back up to avoid the adults, only to find
Abuelita sweeping the sidewalk behind them! Miguel and Dante
jump into the back into the Rivera courtyard before she sees
them.
ABUELITA
In the courtyard, mijos.
PAPÁ
You want it down by the kitchen?
ABUELITA
Sí. Next to the other one.
INT. OFRENDA ROOM
Miguel backs out of the courtyard and into the family ofrenda
room. Nearly cornered, he ushers Dante past a sleeping Mamá
Coco. He stashes the dog and the guitar under the ofrenda
table.
22.
MIGUEL
Get under, get under!
ABUELITA (O.S.)
Miguel!
Miguel straightens up to notice the doorway of the ofrenda
room darkened by three figures.
MIGUEL
Nothing!
His Abuelita and parents stare straight at him. A pit grows
in his stomach; he’s been caught.
MIGUEL (CONT’D)
Mamá — Papá, I–
Papá lifts his finger to silence his son.
PAPÁ
Miguel…
(beat)
Your Abuelita had the most
wonderful idea!
(beat)
We’ve all decided — it’s time you
joined us in the workshop!
Abuelita hands Papá a leather apron, which he hangs over
Miguel’s shoulders.
MIGUEL
What?!
PAPÁ
No more shining shoes — you will
be making them! Every day after
school!
Abuelita shuffles toward Miguel squealing. She squeezes his
cheeks, full of pride.
ABUELITA
Our Migueli-ti-ti-ti-to carrying on
the family tradition! And on Día
de los Muertos! Your ancestors
will be so proud!
She gestures to the shoes adorning the ofrenda.
23.
ABUELITA (CONT’D)
You’ll craft huaraches just like
your Tía Victoria.
PAPÁ
And wingtips, like your Papá Julio–
Miguel crosses away from the ofrenda.
MIGUEL
But what if I’m no good at making
shoes?
PAPÁ
Ah, Migue… You have your family
here to guide you…
(beat)
You are a Rivera. And a Rivera
is…?
MIGUEL
…A shoemaker. Through and
through.
Papá swells.
PAPÁ
That’s my boy!
(calling out)
Berto, break out the good stuff, I
wanna make a toast!
Papá heads out of the room, Mamá follows. Last is Abuelita,
who smothers Miguel with tons of kisses as she leaves.
With the family gone, Miguel deflates.
Suddenly, a noise comes from the ofrenda. Miguel turns to
find Dante on the bottom tier, licking a plate of mole to his
heart’s content. Miguel is horrified!
MIGUEL
Dante! No, Dante, stop!
Miguel pulls the dog away from the ofrenda, but the table
shakes. The frame with Mamá Imelda’s photo sways back and
forth, then topples to the ground with a sickening crack.
MIGUEL (CONT’D)
No, no, no, no, no! No…
Miguel picks up the old photo of Mamá Imelda, which unfolds
to reveal another portion, hidden all these years;
24.
the man with no face is revealed to be holding a familiar
skull-headed guitar.
MIGUEL
De la Cruz’s guitar…?
MAMÁ COCO
Papá?
Miguel turns, startled. Mamá Coco points a crooked finger at
the picture in his hand.
MAMÁ COCO (CONT’D)
Papá?
Miguel’s eyes go wide as the connection dawns on him. Could
it possibly be true?
MIGUEL
Mamá Coco, is your papá… Ernesto
de la Cruz?
MAMÁ COCO
Papá! Papá!
CUT TO:
INT. ROOFTOP HIDEOUT
Miguel goes to his secret ofrenda, to the record album of
Ernesto de la Cruz. He compares the guitar in the family
photo with the guitar on the sleeve. An exact match!
MIGUEL
Ha, ha!
EXT. ROOFTOP
Miguel runs to the edge of the roof, overlooking the
courtyard, photo in one hand, guitar in the other.
MIGUEL
Papá! Papá!
His parents stop, looking up at Miguel.
MIGUEL (CONT’D)
It’s him! I know who my great-
great grandfather was!
25.
MAMÁ
Miguel! Get down from there!
MIGUEL
Mamá Coco’s father was Ernesto de
la Cruz!
PAPÁ
What are you talking about?
Miguel whips off his shoemaker’s apron, striking a pose with
the guitar.
MIGUEL
I’m gonna be a musician!
CUT TO:
EXT. COURTYARD – EARLY EVENING
Miguel’s guitar is cast at his feet, along with his de la
Cruz albums. The whole family encircles the boy.
ABUELITA
What is all this? You keep secrets
from your own family?
TÍO BERTO
It’s all that time he spends in the
plaza…
TÍA GLORIA
…Fills his head with crazy
fantasies!
MIGUEL
It’s not a fantasy!
Miguel hands Papá the photo and points to the skull guitar.
MIGUEL (CONT’D)
That man was Ernesto de la Cruz!
The greatest musician of all time!
PAPÁ
We’ve never known anything about
this man. But whoever he was, he
still abandoned his family. This
is no future for my son.
26.
MIGUEL
But Papá, you said my family would
guide me! Well de la Cruz IS my
family! I’m supposed to play
music!
ABUELITA
Never! That man’s music was a
curse! I will not allow it!
MIGUEL
If you would just let–
MAMÁ
(warning)
Miguel–
PAPÁ
You will listen to your family. No
more music.
MIGUEL
Just listen to me play–
PAPÁ
End of argument.
Miguel lifts his guitar to play when Abuelita snatches the
instrument away. She points to the man in the photo.
ABUELITA
You want to end up like that man?
Forgotten? Left off your family’s
ofrenda?!
MIGUEL
I don’t care if I’m on some stupid
ofrenda!
Gasps from the family. Abuelita’s brow hardens. She lifts
the guitar in the air.
MIGUEL
No!
PAPÁ
Mamá…
Abuelita smashes it to bits!
ABUELITA
There. No guitar, no music.
(softening)
(MORE)
27.
ABUELITA (CONT’D)
Come. You’ll feel better after you
eat with your family.
She reaches out to comfort Miguel, but he is hurt beyond
repair.
MIGUEL
I don’t wanna be in this family!
He snatches the photo from Papá and bolts out of the
hacienda.
PAPÁ
Miguel! MIGUEL!
EXT. SIDE STREET
Miguel bursts out of the compound, desperate to get away.
Dante, nose buried in a trash bag, hears Miguel and chases
after him. Miguel runs past a poster for the plaza «TALENT
SHOW.»
EXT. MARIACHI PLAZA – EVENING
Miguel approaches a STAGE MANAGER in the gazebo.
MIGUEL
I wanna play in the plaza. Like de
la Cruz! Can I still sign-up?
STAGE MANAGER
You got an instrument?
MIGUEL
No… But if I can borrow a guitar–
STAGE MANAGER
Musicians gotta bring their own
instruments…
(walking away)
You find a guitar, kid, I’ll put
you on the list.
Miguel looks distraught.
MOMENTS LATER:
Miguel approaches any musician he can find.
28.
MIGUEL
Excuse me, can I borrow your
guitar?
MUSICIAN #1
Sorry, muchacho.
CUT TO:
MIGUEL
You guys have a spare guitar?
MUSICIAN #2
No.
CUT TO:
MIGUEL
I need a guitar, just for a little
bit–
MUSICIAN #3
Get outta here, kid!
Disheartened, Miguel walks away. He finds himself facing the
statue of de la Cruz.
MIGUEL
Great-great grandfather… What am
I supposed to do?
No answer. Miguel’s gaze falls on a plaque at the base of
the statue that reads «Seize Your Moment!» Miguel looks at
the photo in his hand. He moves his thumb to reveal the
skull head guitar. Then, a firework illuminates the skull
head guitar that the statue holds. Miguel gets an idea.
EXT. CEMETERY – MOMENTS LATER
A sea of candles and flowers, families gathered at graves.
Miguel sneaks through the cemetery unnoticed, slipping from
one shadow to the next.
Dante suddenly catches up to Miguel. He barks excitedly.
MIGUEL
No, no, no, no, no, Dante stop!
Cállate! Shhh!
Miguel swipes a chicken leg off a neighboring grave, and
chucks it. Dante bounds after the food.
29.
EXT. DE LA CRUZ’S MAUSOLEUM
Miguel slinks around the side of the tomb. He looks in one
of the windows.
Inside, the famous guitar hangs above the crypt. Fireworks
pop; bursts of light glint off the instrument. It seems to
beckon him. He tries the window but it’s locked.
More fireworks shoot into the sky.
MIGUEL
I’m sorry…
Timing to the explosions, Miguel throws his shoulder into the
rusted-shut window pane and forces it open with a scraping
KRRRR-LANK! He slinks inside the tomb.
INT. DE LA CRUZ’S MAUSOLEUM
Miguel drops down to the mausoleum floor. The noise from
outside is muffled. He climbs onto the crypt, slightly
moving the lid. He stifles a gasp.
He crawls over the marble sarcophagus and comes face-to-face
with the famed guitar. Miguel wipes away a layer of dust,
revealing the rich painted wood beneath. He looks up to the
portrait of de la Cruz.
MIGUEL
Señor de la Cruz? Please don’t be
mad. I’m Miguel, your great-great
grandson… I need to borrow this.
Heart in his throat, Miguel lifts the guitar off its mount.
Unbeknownst to him, some marigold petals in the mausoleum
begin to sparkle.
MIGUEL (CONT’D)
Our family thinks music is a curse.
None of them understand, but I know
you would have. You would’ve told
me to follow my heart. To seize my
moment!
He backs up, in full view of the painting.
MIGUEL (CONT’D)
So if it’s all right with you, I’m
gonna play in the plaza, just like
you did!
30.
Confidence building, he strums it once.
The air around him vibrates — radiating like a shock wave.
The petals on the ground whirl and surge with light for just
a moment. Miguel is visibly taken aback. What just
happened?
Suddenly, a flashlight shines in the window of the mausoleum.
VOICES (O.S.)
The guitar! It’s gone! Somebody
stole de la Cruz’s guitar! The
window’s broken, look.
Miguel hears keys jangling and the door unlocking. A
GROUNDSKEEPER enters with a flashlight.
GROUNDSKEEPER
Alright, who’s in there?
Startled, Miguel puts down the guitar.
MIGUEL
I… I’m sorry! It’s not what it
looks like! De la Cruz is my…
The groundskeeper walks straight through Miguel! He doesn’t
even see him!
GROUNDSKEEPER
There’s nobody here!
EXT. CEMETERY – NIGHT
A panicked Miguel runs out, trying to figure out what’s going
on! But the people in the cemetery walk through him too.
Suddenly he hears a familiar voice.
MAMÁ
Miguel!
Miguel turns to see Papá and Mamá still searching for him.
MIGUEL
Mamá!
PAPÁ
Miguel! Come home!
He reaches for his parents, but goes straight through them.
31.
PAPÁ
Where are you, Miguel?!
Frantic, Miguel trips and falls into an open grave. A nearby
woman gasps and peeks over the ledge of the grave.
WOMAN
Dios mío! Little boy, are you
okay?
She reaches into the grave.
WOMAN (CONT’D)
Here, let me help you.
Miguel takes her hand and she pulls him out.
MIGUEL
Thanks, I–
They see each other face to face. The woman is a skeleton!
Miguel screams! She does too!
Miguel backs away. He turns to see another skeleton. He
falls backwards and scoots away frantically. He bumps into
another skeleton whose head falls off and lands in Miguel’s
hands.
SKELETON HEAD
Do you mind?
MIGUEL
Ahhh!
SKELETON HEAD
Ahhh!
MIGUEL
AHHH!
Miguel tosses the head away from him and turns to see the
whole cemetery is teeming with skeletons! And they can all
see him!
He races off and hides behind a grave. After a moment, he
peeks over the headstone to watch the skeletons engaging with
their living families.
One couple dances.
Another man reaches for offerings on his grave, which
solidify in his hands when he takes them.
32.
A couple of skeletons coo over a toddler.
SKELETON ABUELA
Look how big she’s getting!
Suddenly Dante surprises Miguel and licks him on the cheek.
Miguel screams.
MIGUEL
Dante?! You can see me? W-wait!
What’s going on?!
Dante barks, points, and bounds through the crowd.
MIGUEL
Dante! Dante!
Miguel gives chase until - BAM! He runs smack into a
mustached skeleton and falls to the ground. The skeleton’s
bones break apart and scatter. The head pops up.
MIGUEL
I’m sorry, I’m sorry…
PAPÁ JULIO
Miguel?!
Miguel tries to gather the scattered bones.
TÍA ROSITA
Miguel?
TÍA VICTORIA
Miguel?
The bones magically pull away from Miguel.
PAPÁ JULIO
You’re here! HERE here!
PAPÁ JULIO reconstitutes himself.
PAPÁ JULIO (CONT’D)
And you can see us?!
TÍA ROSITA charges through Papá Julio, sending his bones
scattering again. She grabs Miguel, hugging him tight.
TÍA ROSITA
Our Migueli-ti-ti-ti-ti-to!
Miguel, smothered by Rosita’s ample ribcage, struggles for
air.
33.
MIGUEL
(muffled)
Remind me how I know you?
TÍA ROSITA
We’re your family, mijo!
Tía Rosita’s ofrenda photo flashes in Miguel’s memory.
MIGUEL
Tía… Rosita?
TÍA ROSITA
Sí!
He looks at Papá Julio, whose head is still turned the wrong
way. TÍA VICTORIA straightens it.
MIGUEL
Papá Julio?
PAPÁ JULIO
Hola.
MIGUEL
Tía Victoria?
Tía Victoria pokes Miguel’s cheek, skeptical.
TÍA VICTORIA
He doesn’t seem entirely dead.
A living person ambles through Miguel’s non-corporeal form.
TÍA ROSITA
He’s not quite alive either…
PAPÁ JULIO
We need Mamá Imelda. She’ll know
how to fix this!
Suddenly twin skeleton gents run, huffing, toward the family.
TÍO FELIPE
(huffing)
Oye!
TÍO OSCAR
(winded)
It’s Mamá Imelda–
34.
TÍO FELIPE
(huffing)
–She couldn’t cross over!
The others gasp.
TÍO OSCAR
She’s stuck–
TÍO FELIPE
–On the other side!
Miguel sees pictures of his Tío Oscar and Tío Felipe flash in
his memory.
MIGUEL
Tío Oscar? Tío Felipe?
TÍO OSCAR
Oh, hey Miguel.
Tía Victoria turns her gaze on Miguel.
TÍA VICTORIA
I have a feeling this has something
to do with you.
TÍA ROSITA
But if Mamá Imelda can’t come to
us…
PAPÁ JULIO
…Then we are going to her!
Vámonos!
Papá Julio grabs Miguel by the arm and the family rushes
through the cemetery, trailed by Dante.
EXT. CEMETERY – MOMENTS LATER
Miguel and his family weave through the graves, rounding a
corner.
His gaze falls upon a glowing MARIGOLD BRIDGE arching before
them.
MIGUEL
Whoa…
The bridge extends into the mist. A stream of skeletons
amble across for the holiday.
35.
The family passes through an invisible barrier onto the
bridge. Their bodies change from ghostly to solid. Miguel
hesitates at the threshold.
PAPÁ JULIO
Come on, Miguel. It’s ok.
Miguel follows after the family, the petals glowing under his
feet. Dante takes off.
MIGUEL
Dante! Dante! Dante, wait up!
Miguel runs after Dante, finally catching up to the dog as he
rolls in the petals at the crest of the bridge. He sneezes
some petals into Miguel’s face.
MIGUEL (CONT’D)
You gotta stay with me, boy. We
don’t know… where…
Out of the mist, the sparkling cityscape of the Land of the
Dead emerges. It’s breathtaking. His family sidles up.
MIGUEL
This isn’t a dream, then. You’re
all really out there…
TÍA VICTORIA
You thought we weren’t?
MIGUEL
Well I don’t know, I thought it
might’ve been one of those made up
things that adults tell kids…
like… vitamins.
TÍA VICTORIA
Miguel, vitamins are a real thing.
MIGUEL
Well, now I’m thinking maybe they
could be…
As skeletons pass in the other direction, Miguel receives
some strange looks. A little skeleton girl gasps, pointing
at him.
SKELETON MOTHER
Mija, it’s not nice to stare at–
(seeing Miguel)
Ay! Santa Maria!
36.
The woman goes wide-eyed, her head turning backwards to gawk
at Miguel as she walks in the opposite direction. Miguel
puts up his hood.
The Riveras continue on toward an arrivals area on the far
side of the bridge. Miguel sees fantastical creatures
crawling, flying, making nests in the nearby architecture.
MIGUEL
Are those…? Alebrijes! But
those are–
TÍO OSCAR
REAL alebrijes. Spirit
creatures…
TÍA ROSITA
They guide souls on their
journey…
TÍO FELIPE
Watch your step, they make caquitas
everywhere.
They get to the far edge of the Marigold Bridge.
EXT. MARIGOLD GRAND CENTRAL STATION
CANNED LOOP (V.O.)
Welcome back to the Land of the
Dead. Please have all offerings
ready for re-entry. We hope you
enjoyed your holiday!
A sign reads RE-ENTRY.
ARRIVALS AGENT
Welcome back! Anything to declare?
TRAVELER
Some churros… from my family.
ARRIVALS AGENT
How wonderful! Next!
CANNED LOOP (V.O.)
…If you are experiencing travel
issues, agents at the Department of
Family Reunions are available to
assist you.
Miguel and family get into the line for RE-ENTRY, along with
other skeletons returning from the Land of the Living.
37.
Nearby, skeletons exit the Land of the Dead through a gate
marked DEPARTURES. Miguel watches.
DEPARTURES AGENT
Next family, please!
An ELDERLY COUPLE steps in front of a camera-mounted monitor.
The monitor scans their faces and returns an image of their
photos on an altar in the Land of the Living.
DEPARTURES AGENT (CONT’D)
Oh, your photos are on your son’s
ofrenda. Have a great visit!
ELDERLY COUPLE
Gracias.
The couple unites with the rest of their family. They all
step onto the bridge, which begins to glow as they gain
footing.
CANNED LOOP (V.O.)
…And remember to return before
sunrise. Enjoy your visit!
DEPARTURES AGENT
Next!
A skeleton man, a smile full of braces, steps up to the
monitor.
DEPARTURES AGENT (CONT’D)
Your photo’s on your dentist’s
ofrenda. Enjoy your visit!
JUAN ORTODONCIA
Grashiash!
DEPARTURES AGENT
Next!
HÉCTOR (early 20s), a ragged fellow, steps up to the monitor,
disguised as Frida Kahlo.
HÉCTOR
Yes, it is I. Frida Kahlo.
(beat)
Shall we skip the scanner? I’m on
so many ofrendas, it’ll just
overwhelm your blinky thingie…
The monitor scans him, but an «X» appears, accompanied by a
negative buzzing sound.
38.
DEPARTURES AGENT
Well shoot. Looks like no one put
up your photo, Frida…
Héctor peels off his unibrow and throws off his frock.
HÉCTOR
Okay, when I said I was Frida…
just now? That… that was a lie.
And I apologize for doing that.
DEPARTURES AGENT
No photo on an ofrenda, no crossing
the bridge.
HÉCTOR
You know what, I’m just gonna zip
right over, you won’t even know I’m
gone.
Héctor bolts for the bridge. A security guards blocks the
gate. Héctor splits in two and slides past the guard, half
going over, half under.
HÉCTOR
Ha HA!
Héctor reaches the bridge at a sprint, but the magic doesn’t
engage; he sinks right into the petals.
HÉCTOR
Almost there, just a little
further…!
The guards saunter to the bridge and casually pull Héctor
back toward the Land of the Dead.
OFFICER
Upsy-daisy…
HÉCTOR
Fine, okay. Fine, who cares…
Dumb flower bridge!
Miguel watches as the guards haul him out. Tía Rosita looks
up in time to see his back.
TÍA ROSITA
I don’t know what I’d do if no one
put up my photo.
ARRIVALS AGENT (O.S.)
Next!
39.
TÍA ROSITA
Oh! Come mijo, it’s our turn.
The arrivals line moves forward. The Dead Riveras crowd
around the gate. The arrivals agent leans out from his
window.
ARRIVALS AGENT
Welcome back, amigos! Anything to
declare?
PAPÁ JULIO
As a matter of fact, yes.
The family pushes Miguel to the front, very much alive.
MIGUEL
Hola.
The arrivals agent’s jaw literally drops.
CUT TO:
INT. MARIGOLD GRAND CENTRAL STATION
Miguel and his family are escorted by a security guard across
an arching second floor walkway.
VOICE OVER P.A.
Paging Marta Gonzales-Ramos. Marta
Gonzales-Ramos, please report to
Level 7.
Dante happily trots alongside. Miguel looks up to see
gondolas traveling by.
MIGUEL
Whoa…
Skeletons stare at Miguel as he walks by. Suddenly Miguel
notices Tío Oscar staring at his face in deep contemplation.
TÍO OSCAR
I miss my nose…
At the end of the walkway are doors emblazoned with
«DEPARTMENT OF FAMILY REUNIONS.» The family passes through.
INT. DEPARTMENT OF FAMILY REUNIONS
Inside, they find case workers helping travelers work out
holiday snafus.
40.
DISTRESSED TRAVELER
C’mon! Help us out amigo… We
gotta get to a dozen ofrendas
tonight…
CUT TO:
MIFFED WIFE
We are NOT visiting your ex-wife’s
family for Día de Muertos!
CUT TO:
In a far corner, one traveler in particular is raising hell.
MAMÁ IMELDA
I demand to speak to the person in
charge!
A beleaguered CASE WORKER cringes as Mamá Imelda tears into
her.
CASE WORKER
I’m sorry, señora, it says here no
one put up your photo–
Mamá Imelda coldly eyes the Macintosh 128k on the woman’s
desk.
MAMÁ IMELDA
My family always — ALWAYS — puts
my photo on the ofrenda! That
devil box tells you nothing but
lies!
In a swift movement, Mamá Imelda removes her shoe and smacks
the computer.
PAPÁ JULIO
Mamá Imelda?
She turns her shoe on Papá Julio, who leans back and yelps.
Mamá Imelda softens.
MAMÁ IMELDA
Oh, mi familia! They wouldn’t let
me cross the bridge! Tell this
woman and her devil box that my
photo is on the ofrenda.
PAPÁ JULIO
Well, we never made it to the
ofrenda…
41.
MAMÁ IMELDA
What?!
PAPÁ JULIO
We ran into… um…
Mamá Imelda’s eyes fall on Miguel.
Miguel looks at Mamá Imelda. Her photo flashes before him.
MAMÁ IMELDA
Miguel?
MIGUEL
Mamá Imelda…
MAMÁ IMELDA
What is going on?
Just then, a door opens and a CLERK pokes his head out.
CLERK
You the Rivera family?
The computer short circuits.
CUT TO:
INT. CLERK’S OFFICE
CLERK
Well, you’re cursed.
The family gasps.
MIGUEL
What?!
The clerk searches through a huge stack of papers.
CLERK
Día de los Muertos is a night to
GIVE to the dead. You STOLE from
the dead.
MIGUEL
But I wasn’t stealing the guitar!
MAMÁ IMELDA
Guitar…?
42.
MIGUEL
It was my great-great
grandfather’s, he would have wanted
me to have it–
MAMÁ IMELDA
Ah-ah-ah! We do not speak of
that…
(disgust)
…musician! He is DEAD to this
family!
MIGUEL
Uh, you’re all dead.
Dante balances his paws at the edge of the clerk’s desk and
tries to reach a plate of food.
CLERK
ACHOO! I am sorry, whose alebrije
is that?
Miguel steps up, trying to pull Dante away from the treats.
MIGUEL
That’s just Dante.
TÍA ROSITA
He sure doesn’t look like an
alebrije.
Tía Rosita gestures to the fantastical creatures fluttering
on the other side of the window.
TÍO OSCAR
He just looks like a plain old
dog…
TÍO FELIPE
…Or a sausage someone dropped in
a barbershop.
CLERK
Whatever he is, I am — ACHOO! —
terribly allergic.
MIGUEL
But Dante doesn’t have any hair.
CLERK
And I don’t have a nose, and yet
here we are — ACHOO!!
43.
MAMÁ IMELDA
But none of this explains why I
couldn’t cross over.
Miguel realizes something. He sheepishly pulls out the
folded photo.
MIGUEL
Oh…
He unfolds the photo.
MAMÁ IMELDA
You took my photo off the ofrenda?!
MIGUEL
It was an accident!
Mamá Imelda turns to the clerk, fire in her eyes.
MAMÁ IMELDA
How do we send him back?!
CLERK
Well, since it’s a family matter…
(flipping pages)
The way to undo a family curse is
to get your family’s blessing.
MIGUEL
That’s it?
CLERK
Get your family’s blessing, and
everything SHOULD go back to
normal. But you gotta do it by
sunrise!
MIGUEL
What happens at sunrise?
PAPÁ JULIO
Híjole! Your hand!
Miguel looks at his hand. The tip of one of his fingers has
started to turn skeletal. He turns pale. He starts to faint
when Papá Julio picks him up and gently slaps him awake.
PAPÁ JULIO
Whoa, Miguel. Can’t have you
fainting on us.
44.
CLERK
But not to worry! Your family’s
here, you can get your blessing
right now.
The clerk searches the ground near Tía Rosita.
CLERK
Cempasúchil, cempasúchil. Aha!
Perdón, señora.
Tía Rosita titters. The clerk plucks a marigold petal from
the hem of her dress. He hands the petal to Mamá Imelda.
CLERK
(to Imelda)
Now, you look at the living and say
his name.
Imelda turns to Miguel.
MAMÁ IMELDA
Miguel.
CLERK
Nailed it. Now say: I give you my
blessing.
MAMÁ IMELDA
I give you my blessing.
The marigold petal glows in her fingers. Miguel brightens.
But Mamá Imelda is not finished.
MAMÁ IMELDA (CONT’D)
I give you my blessing to go
home…
The glow of the marigold petal surges.
MAMÁ IMELDA (CONT’D)
To put my photo back on the
ofrenda…
Each added condition makes the petal glow brighter. Imelda
delivers it like a scolding, but Miguel nods.
MAMÁ IMELDA (CONT’D)
And to never play music again!
The petal surges one last time.
45.
MIGUEL
What? She can’t do that!
CLERK
Well technically she can add any
conditions she wants.
Miguel stares her down. Imelda is firm in her resolve.
MIGUEL
Fine.
CLERK
(to Imelda)
Then you hand the petal to Miguel.
Imelda extends the petal to Miguel, who reaches for it.
He grabs the petal. WHOOOOSH! He’s consumed by a whirlwind
of petals and disappears.
DE LA CRUZ’S MAUSOLEUM – NIGHT
He reappears in a whirlwind of petals. It seems like he’s
solid. He runs to the window and looks out.
MIGUEL
No skeletons!
Miguel laughs, relieved. Then, a mischievous smile on his
face, he turns and eyes de la Cruz’s guitar.
Miguel quickly grabs the guitar.
MIGUEL
Mariachi Plaza, here I come–
He takes two steps toward the door, then WHOOOOSH!
CLERK’S OFFICE – SAME TIME
Miguel appears back in the clerk’s office in another flash of
the marigold whirlwind, without the guitar. The family
turns, shocked to see him back so soon.
Miguel realizes his hands are still in guitar-holding
position.
MAMÁ IMELDA
Two seconds and you already break
your promise!
46.
MIGUEL
This isn’t fair, it’s my life! You
already had yours!
Miguel grabs another petal, he marches over to Papá Julio.
MIGUEL
Papá Julio, I ask for your
blessing.
Papá Julio shakes his head and pulls his hat down.
MIGUEL (CONT’D)
Tía Rosita? Oscar? Felipe? Tía
Victoria?
They all shake their heads.
MAMÁ IMELDA
Don’t make this hard, mijo. You go
home my way, or no way.
MIGUEL
You really hate music that much?
MAMÁ IMELDA
I will not let you go down the same
path he did.
Miguel gets an idea. He pulls the photo out and turns from
the group.
MIGUEL
The same path he did.
He gazes at the man with no face.
MIGUEL (CONT’D)
(to himself)
He’s family…
TÍA VICTORIA
Listen to your Mamá Imelda.
TÍO OSCAR
She’s just looking out for you.
TÍA ROSITA
Be reasonable.
Miguel starts back toward the door.
47.
MIGUEL
Con permiso, I… need to visit the
restroom. Be right back!
Miguel sees himself out. The family waits for a beat.
CLERK
Uh, should we tell him there are no
restrooms in the Land of the Dead?
INT. STAIRCASE – MOMENTS LATER
Miguel hustles down a staircase with Dante. Once on the
ground floor, they huddle beneath the staircase. He looks to
the upper floor. The Dead Riveras are there. Tío Oscar asks
a PATROLWOMAN about a boy of Miguel’s height. The
patrolwoman picks up her walkie-talkie.
Miguel scopes the ground floor and spies a revolving door
exit.
MIGUEL
Vámonos.
Miguel puts up his hood, tightening it to a tiny eye hole,
and heads out. Dante pads after him.
PATROLWOMAN
We got a family looking for a
LIVING BOY.
MIGUEL
If I wanna be a musician, I need a
MUSICIAN’S blessing. We gotta find
my great-great grandpa.
The exit gets closer when Miguel is stopped by a PATROLMAN.
PATROLMAN
Hold it, muchacho.
Miguel’s hoodie loosens to reveal his living face.
PATROLMAN
Ahh!
The patrolman frantically grabs for his walkie-talkie.
PATROLMAN
I’ve found that living boy!
48.
A large family passes between Miguel and the officer, chatty,
arms full of offerings.
PATROLMAN
Uh whoa, excuse me, excuse me
folks! Excuse me–
Once the family clears, Miguel is nowhere to be seen.
CUT TO:
INT. NEARBY CORRIDOR
Miguel and Dante hide from the patrolman. But Dante wanders
off to inspect a side room.
MIGUEL
No, no — Dante!
INT. DEPARTMENT OF CORRECTIONS
Miguel catches up to Dante. He overhears an exchange in a
nearby cubicle.
CORRECTIONS OFFICER
…disturbing the peace, fleeing an
officer, falsifying a unibrow…
HÉCTOR
That’s illegal?
CORRECTIONS OFFICER
VERY illegal. You need to clean up
your act, amigo.
HÉCTOR
Amigo?
(verklempt)
Oh, that’s so nice, to hear you say
that, because…
(misty)
I’ve just had a really hard Día de
Muertos, and I could really use an
amigo right now.
Héctor leans gratefully toward the officer, overwhelmed with
mock emotion.
49.
HÉCTOR (CONT’D)
And amigos, they help their amigos.
Listen, you get me across that
bridge tonight and I’ll make it
worth your while.
Héctor spies a de la Cruz poster at the officer’s
workstation.
HÉCTOR (CONT’D)
Oh, you like de la Cruz? He and I
go way back! I can get you front
row seats to his Sunrise
Spectacular Show!
Miguel perks at the mention of de la Cruz.
CORRECTIONS OFFICER
Uh–
HÉCTOR
I’ll — I’ll get you backstage, you
can meet him!
(beat)
You just gotta let me cross that
bridge!
The corrections officer pulls away.
CORRECTIONS OFFICER
I should lock you up for the rest
of the holiday…
(beat)
But my shift’s almost up, and I
wanna visit my living family… so
I’m letting you off with a warning.
HÉCTOR
Can I at least get my costume back?
CORRECTIONS OFFICER
Uh, no.
In a huff, Héctor marches out of the room.
HÉCTOR
Some amigo…
Miguel follows him.
50.
INT. HALLWAY
MIGUEL
Hey. Hey! You really know de la
Cruz?
HÉCTOR
Who wants to–
(noticing Miguel)
Ah! You’re alive!
MIGUEL
Shhh!
CUT INTO:
INT. PHONEBOOTH
Miguel pulls Héctor into a phone booth to avoid suspicion.
MIGUEL (CONT’D)
Yeah I’m alive. And if I wanna get
back to the Land of the Living, I
need de la Cruz’s blessing.
HÉCTOR
That’s weirdly specific.
MIGUEL
He’s my great-great-grandfather.
HÉCTOR
He’s your wha-whaat…?
Hector’s eyes drop into his mouth. He pops them back up with
a punch to his jaw. Miguel is a little grossed out.
Héctor turns to conference with himself.
HÉCTOR (CONT’D)
Wait, wait, wait, wait, wait.
Wait, wait…
(gasp)
Wait, no, wait, wait, wait. Wait,
wait, wait, wait, wait, wait?
(beat)
Yes! You’re going back to the Land
of the Living?!
MIGUEL
D’ya know what, maybe this isn’t
such a g–
51.
Héctor snaps his fingers rapidly, pistons firing.
HÉCTOR
No, niño, niño, niño, I can help
you! You can help me. We can help
each other! But most importantly,
you can help ME.
Miguel suddenly spies his family hurrying down a staircase.
Mamá Imelda spots Miguel.
MAMÁ IMELDA
Miguel!
MIGUEL
AH!
Héctor extends his hand.
HÉCTOR
I’m Héctor.
MIGUEL
That’s nice!
Miguel grabs Héctor by the wrist and drags him to the exit,
away from his family.
EXT. MARIGOLD GRAND CENTRAL STATION
Miguel and Dante burst out the door and rush down the stairs.
Héctor’s arm snaps to get Miguel’s attention. Miguel
realizes it’s no longer attached to Héctor’s body. The arm
signals backwards to Héctor who is ten paces behind.
HÉCTOR
Espérame chamaco!
Miguel throws the arm back to Héctor an they disappear into a
dense crowd.
Moments later, the Dead Riveras burst from the revolving
doors. Mamá Imelda scours the crowd for Miguel. He’s
nowhere to be found.
MAMÁ IMELDA
Ay, he is going to get himself
killed… I need my spirit guide,
Pepita.
Mamá Imelda looks to the night sky, puts two fingers to her
mouth, and lets out a piercing whistle.
52.
FWOOOMP! A giant winged jaguar lands in front of Mamá
Imelda. She turns to the family.
MAMÁ IMELDA
Who has that petal Miguel touched?
PAPÁ JULIO
Here!
Papá Julio steps forward with a marigold petal. He creeps
forward, jittery, holding it out for Pepita.
PAPÁ JULIO
Nice alebrije…
Pepita sniffs the petal’s scent.
Suddenly Pepita’s head darts, narrowing in on the scent. She
takes to the air.
EXT. UNDERPASS TUNNEL – NIGHT
Miguel sits on a wooden crate. Héctor uses his thumb to
smudge black and white shoe polish on the boy’s face.
HÉCTOR
Hey, hey, hold still.
(beat)
Look up. Look up. A ver, a ver…
look up. Up, UP!… Ta-da!
Héctor opens a small mirror. Miguel’s face is painted to
look like a skeleton.
HÉCTOR (CONT’D)
Dead as a doorknob.
(beat)
So listen, Miguel: this place runs
on memories. When you’re well-
remembered, people put up your
photo and you get to cross the
bridge and visit the living on Día
de Muertos.
(beat)
Unless you’re me.
MIGUEL
You don’t get to cross over.
53.
HÉCTOR
No one’s ever put up my picture…
(beat)
But you can change that!
He unfolds an old picture. In it is a young, living Héctor.
MIGUEL
This is you?
HÉCTOR
Muy guapo, eh?
MIGUEL
So you get me to my great-great
grandpa, then I put up your photo
when I get home?
HÉCTOR
Such a smart boy! Yes! Great
idea, yes!
(beat)
One hiccup: de la Cruz is a tough
guy to get to. And I need to cross
that bridge soon. Like TONIGHT.
(upbeat)
So, you got any other family here,
you know? Someone a bit more…
accessible?
MIGUEL
Mmm, nope.
HÉCTOR
Don’t yank my chain, chamaco. You
gotta have SOME other family.
MIGUEL
ONLY de la Cruz. If you can’t help
me, I’ll find him myself.
Miguel marches out of the alley, whistling for Dante to
follow.
HÉCTOR
Okay, okay, kid, fine — fine!
I’ll get you to your great-great
grandpa…!
CUT TO:
54.
EXT. BUSTLING STREET
They make their way through a pedestrian path.
HÉCTOR (CONT’D)
…It’s not gonna be easy, you
know? He’s a busy man.
(beat)
What are you doing?
Miguel slink-walks next to Héctor goofily.
MIGUEL
I’m walking like a skeleton.
Blending in.
HÉCTOR
No, skeletons don’t walk like that.
MIGUEL
It’s how you walk.
HÉCTOR
No, I don’t.
Miguel keeps walking funny.
HÉCTOR (CONT’D)
Stop it!
Miguel notices a billboard advertising «ERNESTO DE LA CRUZ’S
SUNRISE SPECTACULAR!;» «Remember Me» blares from attached
speakers.
MIGUEL
Whoa…»Ernesto de la Cruz’s
Sunrise Spectacular…!» Qué
padre!
HÉCTOR
Blech. Every year, your great-
great grandpa puts on that dumb
show to mark the end of Día de
Muertos.
MIGUEL
And you can get us in!
HÉCTOR
Ahhhh–
55.
MIGUEL
Hey, you said you had front row
tickets!
HÉCTOR
That… that was a lie. I
apologize for that.
Miguel gives Héctor a withering look.
HÉCTOR
Cool off, chamaco, come on… I’ll
get you to him.
MIGUEL
How?
HÉCTOR
‘Cause I happen to know where he’s
rehearsing!
CUT TO:
EXT. WAREHOUSE, BENEATH WINDOWS
Héctor uses his suspenders to slingshot his arm to a third
floor window. The hand taps on it.
INT. COSTUME ROOM
CECILIA, a costumer, turns from a costume to look at the
window. Héctor’s hand waves. She rolls her eyes and goes to
open the window.
CECILIA
You better have my dress, Héctor!
HÉCTOR
Hola, Ceci!
EXT. BENEATH WINDOW
She lowers a ladder so Héctor, Miguel and Dante can climb up.
Héctor grabs his arm and reattaches it.
INT. COSTUME ROOM
They all crawl in through the window.
56.
MIGUEL
Hola.
HÉCTOR
Ceci, I lost the dress–
CECILIA
Ya lo sabía! I gotta dress forty
dancers by sunrise and thanks to
you, I’m one Frida short of an
opening number!
HÉCTOR
Ceci — I know, Ceci. I know, I
know. Ceci — Ceci… Ceci.
Ceci…
As Héctor tries to talk her down, Dante wanders away from
the costume area.
MIGUEL
Dante… Dante!
Miguel chases after him.
INT. REHEARSAL AREA
MIGUEL
We shouldn’t be in here…
Miguel follows Dante through a giant warehouse, divided into
different artists workspaces. He passes papier-mâché
sculptures, giant paper cut out banners, a skeleton posing
nude for a painter…
Dante sniffs around. Suddenly an ALEBRIJE MONKEY jumps out
at Dante. The monkey starts riding Dante, tormenting him.
Miguel hustles after him.
MIGUEL
No, no, Dante! Ven acá!
The monkey jumps up onto the shoulder of FRIDA KAHLO, the
REAL Frida Kahlo, who stands in front of a rehearsal stage.
Miguel reins Dante in just as Frida turns to find them.
FRIDA
You! How did you get in here?
MIGUEL
I just followed my–
57.
Frida’s eyes go wide when she sees Dante. She kneels and
takes his head in her hands.
FRIDA
Oh, the mighty Xolo dog…! Guider
of wandering spirits…!
(beat)
And whose spirit have you guided to
me?
Frida takes a closer look at Miguel.
MIGUEL
I don’t think he’s a spirit guide.
FRIDA
Ah-ah-ah. The alebrijes of this
world can take many forms… They
are as mysterious as they are
powerful…
The patterns on Frida’s monkey swirl and he opens his mouth
to breath a blue fire. He fumbles at the end with a chesty
cough.
Then they look to Dante, who is chewing his own leg.
Suddenly, Frida turns back to Miguel.
FRIDA (CONT’D)
Or maybe he’s just a dog. Come! I
need your eyes!
Frida guides him to view the rehearsal space.
FRIDA
You are the audience.
(beat)
Darkness. And from the darkness…
A giant PAPAYA!
Lights come up on a giant papaya prop.
FRIDA
Dancers emerge from the papaya and
the dancers are all me!
Leotarded, unibrowed dancers crawl around the sides of the
mesh papaya. Behind the papaya is an even larger half-
finished mesh structure.
58.
FRIDA (CONT’D)
And they go to drink from the milk
of their mother who is a cactus,
but who is also me. And her milk
is not milk but tears.
(to Miguel)
Is it too obvious?
MIGUEL
I think it’s just the right amount
of obvious?
(beat)
It could use some music… Oh!
What if you did, like, doonk-doonk-
doonk-doonk…
Frida, inspired, cues some musicians who start playing the
tune.
MIGUEL (CONT’D)
Oh! And then it could go dittle-
ittle-dittle-ittle-dittle-ittle-
dittle-ittle — WHAAA!
The violins follow; a trombone punctuates.
FRIDA
And… what if everything was on
fire? Yes! Fire everywhere!
The dancers gasp and look at each other, now concerned.
FRIDA
Inspired!
(leaning in)
You… you have the spirit of an
artist!
Miguel brightens. Frida turns back to the rehearsal.
FRIDA
The dancers exit, the music fades,
the lights go out! And Ernesto de
la Cruz rises to the stage!
A silhouette rises from a trap door. Miguel leans forward.
A spotlight shines on the silhouette revealing it to be a
mannequin.
MIGUEL
Huh?
59.
FRIDA
He does a couple of songs, the sun
rises, everyone cheers–
Miguel hustles up to Frida.
MIGUEL
Excuse me, where’s the real de la
Cruz?
FRIDA
Ernesto doesn’t do rehearsals.
He’s too busy hosting that fancy
party at the top of his tower.
She gestures out a large window to a GRAND ESTATE lit up in
the distance, atop a steep hill.
Suddenly Héctor rounds the corner, out of breath.
HÉCTOR
Chamaco! You can’t run off on me
like that! C’mon, stop pestering
the celebrities…
Héctor pulls Miguel away, but Miguel won’t be wrangled.
MIGUEL
You said my great-great grandpa
would be here! He’s halfway across
town, throwing some big party.
HÉCTOR
That bum! Who doesn’t show up to
his own rehearsal?
MIGUEL
If you’re such good friends, how
come he didn’t invite you?
HÉCTOR
He’s YOUR great-great grandpa. How
come he didn’t invite YOU?
Héctor walks away from Miguel toward the musicians.
HÉCTOR
Hey Gustavo! You know anything
about this party?
60.
GUSTAVO
It’s the hot ticket. But if you’re
not on the guest list you’re never
getting in, Chorizo…
MUSICIANS
Hey, it’s Chorizo! / Choricito!
HÉCTOR
Ha ha, very funny guys. Very
funny.
MIGUEL
Chorizo?
GUSTAVO
(to Miguel, re: Héctor)
Oh, this guy’s famous! Go on, go
on, ask him how he died!
Miguel looks to Héctor, eyebrow cocked.
HÉCTOR
I don’t want to talk about it.
GUSTAVO
He choked on some CHORIZO!
The musicians laugh. Miguel tries to stifle a giggle.
HÉCTOR
I didn’t choke, okay — I got food
poisoning, which is a big
difference!
More laughter.
HÉCTOR
(to Miguel)
This is why I don’t like
musicians… bunch of self-
important jerks!
MIGUEL
Hey, I’m a musician.
HÉCTOR
You are?
61.
GUSTAVO
Well, if you really want to get to
Ernesto, there IS that music
competition at the Plaza de la
Cruz. Winner gets to play at his
party…
Miguel’s wheels start turning.
HÉCTOR
No, no, no, chamaco, you are loco
if you think–
Miguel looks to his hands, progressed in their skeletal
transformation.
MIGUEL
I need to get my great-great
grandfather’s blessing.
Miguel looks up to Héctor.
MIGUEL (CONT’D)
You know where I can get a guitar?
Héctor sighs.
HÉCTOR
I know a guy…
CUT TO:
EXT. UNDERPASS TUNNEL – NIGHT
Pepita sweeps across the sky, landing in a darkened corner.
She casts a shadow on the wall, then lurches into the light.
She sniffs out the spot where Héctor painted Miguel’s face,
finding a canister of shoe polish. She lets out a low growl.
The Dead Riveras follow after her.
MAMÁ IMELDA
Have you found him, Pepita? Have
you found our boy?
Pepita breathes on the ground, revealing a footprint. It
glows for a moment. The family leans in to inspect.
TÍA ROSITA
A footprint!
62.
PAPÁ JULIO
It’s a Rivera boot!
TÍO OSCAR
Size seven…
TÍO FELIPE
…and a half.
TÍA VICTORIA
Pronated.
MAMÁ IMELDA
Miguel.
Pepita leans forward, breathes again, and the glow spreads to
reveal a trail of footprints.
CUT TO:
EXT. NARROW STAIRWAY
Miguel follows Héctor down a steep stairway. Miguel looks to
his bony knuckles, concern on his face.
HÉCTOR
Why the heck would you wanna be a
musician?
MIGUEL
My great-great grandpa was a
musician.
HÉCTOR
…Who spent his life performing
like a monkey for complete
strangers. Blech, no, no thank
you, guácala, no…
MIGUEL
Whadda you know?
As Miguel descends the staircase, de la Cruz’s distant
glowing tower is obscured by old forgotten buildings.
MIGUEL
So, how far is this guitar anyway?
HÉCTOR
We’re almost there…
63.
Héctor jumps from the stairway and crashes on the ground
below. But his bones reassemble immediately.
HÉCTOR (CONT’D)
Keep up, chamaco, come on!
Héctor leads Miguel through a stone archway.
EXT. SHANTY TOWN
Graffiti on the archway depicts skeletal angels with wings
the color of marigolds.
Inside the archway, a group of ratty skeletons huddle around
a burning trashcan and laugh raucously. They are gray and
dusty, not unlike Héctor, but there’s a camaraderie about
them.
RATTY GROUP
COUSIN HÉCTOR!!
HÉCTOR
Eh! These guys!
RATTY MEMBER
HÉCTOR!!
HÉCTOR
Hey Tío! Qué onda!
MIGUEL
These people are all your family?
HÉCTOR
Eh, in a way… We’re all the ones
with no photos or ofrendas, no
family to go home to. Nearly
forgotten, you know?
(beat)
So, we all call each other cousin,
or tío, or whatever.
They approach three old ladies playing cards around a wooden
crate. One, TÍA CHELO looks up.
TÍA CHELO
Héctor!
HÉCTOR
Tía Chelo! He-hey!
Héctor hands them a bottle.
64.
OLD TIAS
Muchas gracias!
HÉCTOR
Hey, hey! Save some for me! Is
Chicharrón around?
TÍA CHELO
In the bungalow. I don’t know if
he’s in the mood for visitors…
HÉCTOR
Who doesn’t like a visit from
Cousin Héctor?
INT. SHANTY BUNGALOW TENT
Héctor holds the curtain open. Miguel and Dante walk in.
The tent is cramped, dark, and quiet. Piles are organized
everywhere: stacks of old dishes, a drawer full of pocket
watches, magazines, records. This place belongs to a
collector of things. Miguel almost knocks one stack over.
Héctor spies a hammock piled with old junk, a dusty hat on
top. He lifts the hat and finds the grumpy face of
CHICHARRÓN.
HÉCTOR
Buenas noches, Chicharrón!
CHICHARRÓN
I don’t want to see your stupid
face, Héctor.
HÉCTOR
C’mon, it’s Día de Muertos! I
brought you a little offering!
CHICHARRÓN
Get out of here…
HÉCTOR
I would, Cheech, but the thing
is… me and my friend, Miguel, we
really need to borrow your guitar.
CHICHARRÓN
My guitar?!
HÉCTOR
Yes?
65.
CHICHARRÓN
My prized, beloved guitar…?
HÉCTOR
I promise we’ll bring it right
back.
Chicharrón sits up, incensed.
CHICHARRÓN
Like the time you promised to bring
back my van?
HÉCTOR
Uh…
CHICHARRÓN
Or my mini-fridge?
HÉCTOR
Ah, you see-
CHICHARRÓN
Or my good napkins? My lasso? My
femur?!
HÉCTOR
No, no, not like those times.
CHICHARRÓN
Where’s my femur?! You–
Chicharrón raises his finger to give a tongue lashing. But
then he weakens and collapses in his hammock, a golden
flicker flashing through his bones. Héctor rushes forward.
HÉCTOR
Whoa, whoa — you okay, amigo?
CHICHARRÓN
I’m fading, Héctor. I can feel it.
(looking to guitar)
I couldn’t even play that thing if
I wanted to.
(beat)
You play me something.
Héctor looks surprised.
HÉCTOR
You know I don’t play anymore,
Cheech. The guitar’s for the kid–
66.
CHICHARRÓN
You want it, you got to earn it…
Héctor sighs, then reaches over Chicharrón and takes the
instrument.
HÉCTOR
Only for you, amigo. Any requests?
Héctor begins tuning the guitar.
CHICHARRÓN
You know my favorite, Héctor.
Héctor begins a lovely, lilting tune. Chicharrón smiles.
Miguel’s eyes go wide at Héctor’s skill.
HÉCTOR
(singing)
WELL EVERYONE KNOWS JUANITA,
HER EYES EACH A DIFFERENT COLOR.
HER TEETH STICK OUT,
AND HER CHIN GOES IN,
AND HER…
Héctor eyes Miguel.
HÉCTOR (CONT’D)
…KNUCKLES THEY DRAG ON THE FLOOR.
CHICHARRÓN
Those aren’t the words!
HÉCTOR
There are children present.
(continuing)
HER HAIR IS LIKE A BRIAR,
SHE STANDS IN A BOW-LEGGED STANCE.
AND IF I WEREN’T SO UGLY,
SHE’D POSSIBLY GIVE ME A CHANCE!
Héctor finishes with a soft flourish.
Chicharrón is tickled, joyful. For a moment he’s present and
bright.
CHICHARRÓN
Brings back memories. Gracias…
His eyes close. He looks at peace. Héctor looks sad.
Suddenly, the edges of Chicharrón’s bones begin to glow. A
soft, beautiful light. Then… he dissolves into dust.
67.
Miguel is stunned, concerned.
Héctor picks up his shot glass, lifts it in honor, and
drinks. He places it rim down next to Chicharrón’s glass,
which is still full.
MIGUEL
Wait… what happened?
HÉCTOR
He’s been forgotten.
(beat)
When there’s no one left in the
living world who remembers you, you
disappear from this world. We call
it the «Final Death.»
MIGUEL
Where did he go?
HÉCTOR
No one knows.
Miguel has a thought.
MIGUEL
But I’ve met him… I could
remember him, when I go back…
HÉCTOR
No, it doesn’t work like that,
chamaco. Our memories… they have
to be passed down by those who knew
us in life — in the stories they
tell about us. But there’s no one
left alive to pass down Cheech’s
stories…
Miguel is deep in thought.
Héctor puts his hand on Miguel’s back, suddenly cheerful.
HÉCTOR (CONT’D)
Hey, it happens to everyone
eventually.
He gives Miguel the guitar.
HÉCTOR (CONT’D)
C’mon «de la Cruzcito.» You’ve got
a contest to win.
68.
Héctor throws open the curtain and exits. Miguel looks back
at the glasses, then turns and follows.
EXT. LAND OF THE DEAD
Héctor and Miguel hang off the back of a moving trolley.
Miguel holds Héctor’s photo in his hands, scanning it, while
Héctor fiddles on the guitar idly.
MIGUEL
You told me you hated musicians,
you never said you were one.
HÉCTOR
How do you think I knew your great-
great grandpa? We used to play
music together. Taught him
everything he knows.
Héctor plays a fancy riff, but botches the last note.
MIGUEL
No manches! You played with
Ernesto de la Cruz, the greatest
musician of all time?
HÉCTOR
Ha-ha, you’re funny! Greatest
eyebrows of all time maybe but his
music, eh, not so much.
MIGUEL
You don’t know what you’re talking
about…
The trolley arrives at the stop for the PLAZA DE LA CRUZ.
There’s a giant statue of Ernesto de la Cruz in the center.
Miguel pockets Héctor’s photo.
HÉCTOR
Welcome to the Plaza de la Cruz!
(beat)
Showtime, chamaco!
Héctor hands the guitar to Miguel.
QUICK CUTS: Energetic plaza shots. Lights and colors,
beautiful dresses, violins, pyrotechnic bullfight, dancing.
A t-shirt vendor is selling «de la Cruz» shirts.
VENDOR
Llévelo! T-shirts! Bobble-heads!
69.
A stage is set up in the plaza.
EXT. ON STAGE
An EMCEE greets her audience.
EMCEE
Bienvenidos a todos! Who’s ready
for some música?
The audience whoops.
EMCEE (CONT’D)
It’s a battle of the bands, amigos!
The winner gets to play for the
maestro himself, Ernesto de la
Cruz, at his fiesta tonight!
The audience cheers. Héctor elbows Miguel as they head
backstage.
HÉCTOR
That’s our ticket, muchacho.
EMCEE
Let the competition begin!
QUICK MONTAGE: Acts perform on stage — a tuba/violin act, a
saxophone player, a hard-core metal band, a kid who plays
marimba on the back of a giant iguana alebrije, a DJ with a
laptop and keyboard setup, a dog orchestra, nuns playing
accordions…
EXT. BACKSTAGE
Miguel and Héctor stand amongst other contestants.
HÉCTOR
So what’s the plan? What are you
gonna play?
MIGUEL
Definitely «Remember Me.»
Miguel plucks out the beginnings of de la Cruz’s most famous
song. Héctor clamps his hand over the fretboard.
HÉCTOR
No, not that one. No.
70.
MIGUEL
C’mon, it’s his most popular song!
HÉCTOR
Ehck, it’s too popular.
Elsewhere backstage, they notice multiple other acts
rehearsing their versions.
SKELETON MUSICIAN
(singing)
REMEMBER ME, THOUGH I HAVE TO TRAVEL FAR,
REMEMBER ME…
OPERA SINGERS
(singing)
REMEMBER ME!
DON’T LET IT MAKE YOU CRY!
One man plays water glasses to the famous tune. Héctor looks
at Miguel as if to ask, «Need I say more?»
MIGUEL
Um… what about «Poco Loco?»
HÉCTOR
Epa! Now that’s a song!
STAGEHAND
De la Cruzcito? You’re on standby!
(to another band)
Los Chachalacos, you’re up next!
ON STAGE
An impressive banda group steps onto stage.
CROWD
LOS CHACHALACOS!
They burst into a mighty introduction and the audience goes
wild. They’re very good.
BACKSTAGE
Miguel peeks at the frenzied audience from backstage. He
looks sick and begins to pace, fidgety.
HÉCTOR
You always this nervous before a
performance?
71.
MIGUEL
I don’t know — I’ve never
performed before.
HÉCTOR
What?! You said you were a
musician!
MIGUEL
I am!
(beat)
I mean I will be. Once I win.
HÉCTOR
That’s your plan?!
(beat)
No, no, no, no, no, you have to
win, Miguel. Your life LITERALLY
depends on you winning! AND YOU’VE
NEVER DONE THIS BEFORE?!
Héctor reaches for the guitar.
HÉCTOR (CONT’D)
I’ll go up there–
Miguel recoils, keeping hold of the instrument.
MIGUEL
No! I need to do this.
HÉCTOR
Why?
MIGUEL
If I can’t go out there and play
one song… how can I call myself a
musician?
HÉCTOR
What does that matter?!
MIGUEL
‘Cuz I don’t just want to get de la
Cruz’s blessing. I need to prove
that… that I’m worthy of it.
HÉCTOR
Oh. Oh, that’s such a sweet
sentiment… at SUCH a bad time!
Héctor looks in Miguel’s eyes. The kid is sincere. Despite
himself, Héctor softens.
72.
HÉCTOR
Okay… okay, okay, okay. Okay.
Okay.
(beat)
Okay.
(beat)
Okay you wanna perform? Then
you’ve got to PERFORM!
Miguel perks, surprised that Héctor wants to help.
HÉCTOR (CONT’D)
First you have to loosen up. Shake
off those nerves! Sáquenlo
sáquenlo, sáquenlo!
Héctor does a loose-bone skeletal shimmy and Miguel copies.
HÉCTOR (CONT’D)
Now gimme your best grito!
MIGUEL
My best grito?
HÉCTOR
Come on, yell! Belt it out!
OOOOOOH HE-HE-HEY! Ha! Ah, feels
good! Okay… now you.
MIGUEL
(uncertain)
Ah — ah — ayyyyy yaaaaayyyyay…
Dante whimpers.
HÉCTOR
Oh, c’mon kid…
On stage, Los Chachalacos wrap up to raucous applause.
STAGEHAND
De la Cruzcito, you’re on now!
HÉCTOR
Miguel, look at me.
STAGEHAND
Come on, let’s go!
HÉCTOR
Hey! Hey, look at me.
(beat)
(MORE)
73.
HÉCTOR (CONT’D)
You can do this. Grab their
attention and don’t let it go!
EMCEE (O.S.)
We have one more act, amigos!
MIGUEL
Héctor…
HÉCTOR
Make ‘em listen, chamaco! You got
this!
EMCEE (O.S.)
Damas y caballeros! De la
Cruzcito!
The crowd applauds as Miguel is led on stage.
HÉCTOR
Arre papá! Hey!
Héctor’s face contorts with a mix of encouragement and dread.
ON STAGE
Miguel slowly takes the stage, guitar in hand. He’s blinded
by the lights and squints out at the audience. He’s frozen
stiff.
OFF STAGE
HÉCTOR
(to Dante)
What’s he doing? Why isn’t he
playing?
ON STAGE
Panic is painted across Miguel’s face.
AUDIENCE MEMBER (O.S.)
Bring back the singing dogs!
The crowd begins to murmur impatiently. Miguel looks to
Héctor in the wing.
Héctor makes eye contact with Miguel and does the «loosen up»
bone shimmy.
74.
On stage Miguel shakes off his nerves. Deep exhale and…
MIGUEL
HAAAAAAAI-YAAAAAAAAAAAI-YAAAAAAAAI!
The sound is full-throated and resonant. People in the
audience whistle and whoop. Some return the grito, some
applaud lightly. His brows go up and he begins his guitar
intro.
MIGUEL
(singing)
WHAT COLOR IS THE SKY?
AY MI AMOR, AY MI AMOR
YOU TELL ME THAT IT’S RED
AY MI AMOR, AY MI AMOR
WHERE SHOULD I PUT MY SHOES?
AY MI AMOR, AY MI AMOR
YOU SAY PUT THEM ON YOUR HEAD
AY MI AMOR, AY MI AMOR
As the audience warms up, so does Miguel. Héctor perks up,
he’s got this!
MIGUEL (CONT’D)
YOU MAKE ME UN POCO LOCO
UN POQUI-TI-TI-TO LOCO
THE WAY YOU KEEP ME GUESSING
I’M NODDING AND I’M YES-ING
I’LL COUNT IT AS A BLESSING
THAT I’M ONLY UN POCO LOCO…
INSTRUMENTAL INTERLUDE. Dante grabs Héctor by the leg and
drags him onto the stage with Miguel.
HÉCTOR
No, no, no, no…
Once in the spotlight, Héctor warms up and busts out some
percussive footwork to Miguel’s guitar.
MIGUEL
Not bad for a dead guy!
HÉCTOR
You’re not so bad yourself,
gordito! Eso!
CUT TO:
75.
EDGE OF AUDIENCE
A ripple of glowing footprints leads Pepita and the Dead
Riveras to the edge of the audience.
MAMÁ IMELDA
He’s close. Find him.
The Dead Riveras fan out through the audience.
ON STAGE
Héctor gets more creative with his dancing, head coming off,
limbs spinning around. The audience hoots!
HÉCTOR
(singing)
THE LOCO THAT YOU MAKE ME
IT IS JUST UN POCO CRAZY
THE SENSE THAT YOU’RE NOT MAKING…
MIGUEL
(singing)
THE LIBERTIES YOU’RE TAKING…
HECTOR MIGUEL
LEAVES MY CABEZA SHAKING LEAVES MY CABEZA SHAKING
YOU ARE JUST UN POCO LOCO YOU ARE JUST UN POCO LOCO
The audience starts clapping in time with the song. Dante
lets out a howl.
The Riveras continue their search in the audience.
TÍO FELIPE/TÍO OSCAR
We’re looking for a living kid…
about 12?
CUT TO:
TÍA ROSITA
Have you seen a living boy?
ON STAGE
HECTOR MIGUEL
UN POQUI-TI-TI-TI-TI-TI-TI-TI- UN POQUI-TI-TI-TI-TI-TI-TI-TI-
TI-TI-TO LOCO!! TI-TI-TO LOCO!!
The audience erupts into applause!
76.
Miguel smiles, soaking in the moment. He feels like a real
musician.
HÉCTOR
Hey, you did good! I’m proud of
you! Eso!
Miguel swells and looks back out the crowd when he suddenly
spots Oscar and Felipe talking to a stranger. He looks over
and there is Tía Rosita talking to someone else! Miguel
looks to stage right, where he sees Papá Julio talking to the
Emcee!
AUDIENCE
Otra! Otra! Otra!
Panicking, Miguel pulls Héctor off stage. Héctor tries to
pull back.
OFF STAGE
HÉCTOR
Hey, where are you going?
MIGUEL
We gotta get outta here.
HÉCTOR
What, are you crazy? We’re about
to win this thing!
ON STAGE
The Emcee takes the microphone.
EMCEE
Damas y caballeros, I have an
emergency announcement.
(beat)
Please be on the lookout for a
living boy, answers to the name of
Miguel. Earlier tonight he ran
away from his family. They just
want to send him back to the Land
of the Living…
Murmurs of concern rumble through the audience.
77.
OFF STAGE
EMCEE (O.S.)
…If anyone has information,
please contact the authorities.
HÉCTOR
Wait, wait, wait! You said de la
Cruz was your ONLY family. The
ONLY person who could send you
home.
MIGUEL
I do have other family, but–
HÉCTOR
You could have taken my photo back
this whole time?!
MIGUEL
–But they hate music! I need a
musician’s blessing!
HÉCTOR
You lied to me!
MIGUEL
Oh, you’re one to talk!
HÉCTOR
Look at me. I’m being forgotten,
Miguel. I don’t even know if I’m
gonna last the night!
(beat)
I’m not gonna miss my one chance to
cross that bridge ‘cause you want
to live out some stupid musical
fantasy!
MIGUEL
It’s not stupid.
Héctor grabs Miguel’s arm and pulls him toward the stage.
HÉCTOR
I’m taking you to your family.
MIGUEL
Let go of me!
HÉCTOR
You’ll thank me later–
78.
Miguel yanks his arms away.
MIGUEL
You don’t wanna help me, you only
care about yourself! Keep your
dumb photo!
He pulls Héctor’s photo out of his pocket and throws it at
him. Héctor tries to grab it but it catches a breeze and
drifts into the crowd.
HÉCTOR
No — no, no, no! No…
MIGUEL
Stay away from me!
As Héctor scrambles to catch his photo, Miguel runs away.
Héctor looks up but Miguel is gone.
HÉCTOR
Hey, chamaco! Where did you go?!
Chamaco! I’m sorry! Come back!
EXT. PEDESTRIAN THOROUGHFARE
Miguel hustles to get away from Héctor. Dante bounds after
him, but looks back and whimpers. He barks to get Miguel’s
attention.
MIGUEL
Dante, cállate!
But Dante is insistent. He tugs at Miguel’s pants, pulling
him back to Héctor.
MIGUEL (CONT’D)
No, Dante! Stop it! He can’t help
me!
Dante grabs onto his hoodie sleeve. Miguel tries to shake
him off, but his hoodie slips off, revealing the arms of a
living boy. Dante redoubles his efforts.
MIGUEL (CONT’D)
Dante, stop! Stop it! Leave me
alone! You’re not a spirit guide,
you’re just a dumb dog! Now get
out of here!
Miguel yanks his hoodie away from Dante, who shrinks back,
rebuffed. The scuffle has drawn the eyes of the crowd.
79.
Startled skeletons see Miguel’s arms. He hurries to get his
hoodie back on.
CROWD MEMBERS
It’s him! / It’s that living boy! /
I heard about him. / Look! / He’s
alive! / The boy’s alive.
Miguel runs and jumps down some scaffolding. In the
distance, he sees de la Cruz’s tower. After only a few
paces, Pepita lands in front of Miguel, cutting off his path!
He skids to a stop.
MIGUEL
AAHH!
Then, peeking over the jaguar’s head is an even more
terrifying sight: Mamá Imelda riding atop.
MAMÁ IMELDA
This nonsense ends now, Miguel! I
am giving you my blessing and you
are going home!
MIGUEL
I don’t want your blessing!
Miguel scrambles upright and bounds for a narrow alley
staircase.
MAMÁ IMELDA
Miguel! Stop!
Not able to get through on her spirit guide, Imelda is forced
to pursue Miguel on foot.
EXT. NARROW STAIRCASE
MAMÁ IMELDA (CONT’D)
Come back! Miguel!
He wriggles through an iron gate.
MAMÁ IMELDA (CONT’D)
I am trying to save your life!
She is stopped by the gate.
MIGUEL
You’re ruining my life!
80.
MAMÁ IMELDA
What?
MIGUEL
Music’s the only thing that makes
me happy. And you, you wanna take
that away!
(beat)
You’ll never understand.
Miguel heads away from her up the stairs.
MAMÁ IMELDA
(singing)
Y AUNQUE LA VIDA ME CUESTE,
LLORONA… NO DEJARÉ DE QUERERTE…
Miguel stops in his tracks. When Imelda finishes, he turns
back, confused.
MIGUEL
I thought you hated music.
MAMÁ IMELDA
Oh, I loved it.
(reminiscing)
I remember that feeling, when my
husband would play, and I would
sing and nothing else mattered.
But when we had Coco, suddenly…
there was something in my life that
mattered more than music. I wanted
to put down roots. He wanted to
play for the world.
Mamá Imelda pauses for a moment, lost in a memory.
MAMÁ IMELDA (CONT’D)
We each made a sacrifice to get
what we wanted. Now you must make
a choice.
MIGUEL
But I don’t wanna… pick sides!
(beat)
Why can’t you be on MY side?
That’s what family’s supposed to do
— support you.
(beat)
But you never will.
81.
Miguel wipes the corner of his eye, frustrated. Imelda is
shocked to see him so hurt, but Miguel turns away before she
can answer and ascends the narrow staircase toward de la
Cruz’s tower.
EXT. BOTTOM OF THE TOWER
Miguel arrives at the foot of the hill to de la Cruz’s tower.
Vehicles from all eras (limousines, motor cars, carriages)
drop off finely dressed guests who line up to get aboard a
funicular that scales the tower to the mansion.
A couple at the front of the line show a fancy invitation to
a SECURITY GUARD, who then lets them onto the funicular.
SECURITY GUARD
Have a good time.
GUEST
Oh, how exciting!
EL SANTO, the silver-masked luchador, produces a fancy
invitation to the security guard.
SECURITY GUARD
Oh! El Santo!
(giddy)
I’m a big fan.
The security guard sheepishly holds up a camera.
SECURITY GUARD
You mind if I–
El Santo nods. The security guard removes his head and hands
it to the luchador for a selfie. His body proceeds to take
the photo.
SECURITY GUARD
Gracias, señor!
The security guard puts his head back on and El Santo heads
past the velvet rope. Miguel is revealed waiting in line
behind him.
SECURITY GUARD
Invitation?
MIGUEL
It’s okay. I’m Ernesto’s great-
great grandson!
82.
Miguel strikes de la Cruz’s signature pose with his guitar.
CUT TO:
Miguel is tossed out of the line. Just then he sees Los
Chachalacos unloading their instruments from their van. He
runs up to them.
MIGUEL
Disculpen, señores…
BAND LEADER
Hey guys, it’s Poco Loco!
BAND MEMBER #2
You were on fire tonight!
MIGUEL
You too! Hey, musician to
musician, I need a favor…
CUT TO:
The Band Leader hands an invitation to the security guard.
SECURITY GUARD
Ooo, the competition winners!
Congratulations chicos!
Los Chachalacos file onto the funicular, the sousaphone
player angling his instrument away from the security guard.
After they get onto the funicular, he turns to reveal a pair
of legs hanging out of the bell of the sousaphone. With a
deep «TOOT!» Miguel spills out onto the floor of the
funicular.
MIGUEL
Thanks guys!
The funicular ascends.
EXT. DE LA CRUZ’S MANSION
The doors of the funicular open to reveal de la Cruz’s lavish
mansion. Los Chachalacos all file out.
MIGUEL
Whoa…
BAND LEADER
Enjoy the party, little músico!
83.
MIGUEL
Gracias!
Miguel heads off toward the mansion.
On the stairs leading up, the party is bustling —
performers, servers and guests dressed to the nines.
A fire breather lets out flames that transform into a flurry
of butterflies.
GUEST
Look, it’s Ernesto!
Miguel catches a glimpse of de la Cruz heading deeper into
the party. Miguel pursues.
MIGUEL
De la Cruz…
INT. DE LA CRUZ’S MANSION
Miguel heads into the foyer but loses de la Cruz in the
crowd.
MIGUEL
Señor de la Cruz!
Miguel elbows his way through the room.
MIGUEL
Pardon me, Señor de la Cruz! Señor
de la–
He finds himself in a huge hall with hundreds of guests, the
heart of the party. Film clips play all around the room from
de la Cruz’s movies.
DE LA CRUZ (FILM CLIP)
When you see your moment, you
mustn’t let it pass you by. You
must seize it.
Miguel takes it all in. Synchronized swimmers make
formations in a sparkling indoor pool. A DJ lays a decades-
spanning mash-up soundtrack.
A clip of de la Cruz riding his noble steed plays behind
Miguel.
DE LA CRUZ (FILM CLIP)
We’re almost there, Dante.
84.
Miguel jumps to see above the crowd.
MIGUEL
Señor de la Cruz! Señor de la–
Miguel is unable to get his great-great grandfather’s
attention. Meanwhile, a clip behind Miguel features de la
Cruz as a good-natured priest:
NUN (FILM CLIP)
But what can we do? It is
hopeless…
DE LA CRUZ (FILM CLIP)
You must have faith, sister.
NUN (FILM CLIP)
Oh but Padre, he will never listen.
DE LA CRUZ (FILM CLIP)
He will listen… to MUSIC!
The passionate words embolden Miguel. He climbs a pillar to
the landing of a grand staircase, he stands above the crowd.
Miguel takes a breath and throws out a grito as loud as he
can. It echoes through the space, and party guests turn.
The DJ fades the music.
Garnering some attention, Miguel plays his guitar. More
guests turn.
As a hush falls on the crowd, the sound of Miguel’s guitar
becomes singular.
MIGUEL
(singing)
SEÑORAS Y SEÑORES
BUENAS TARDES, BUENAS NOCHES
BUENAS TARDES, BUENAS NOCHES
SEÑORITAS Y SEÑORES
TO BE HERE WITH YOU TONIGHT
BRINGS ME JOY! ¡QUÉ ALEGRÍA!
FOR THIS MUSIC IS MY LANGUAGE
AND THE WORLD ES MI FAMILIA
Miguel continues to play and sing as he nervously walks
forward; the crowd parting, he moves closer to DLC.
MIGUEL
FOR THIS MUSIC IS MY LANGUAGE
AND THE WORLD ES MI FAMILIA
85.
He passes a movie screen where a clip features de la Cruz
singing the same song in one of his films, the songs
overlapping for a brief moment.
MIGUEL & DE LA CRUZ
FOR THIS MUSIC IS MY LANGUAGE
AND THE WORLD ES MI FAMILIA
Miguel’s soul pours into the strings as he approaches his
hero–
MIGUEL
FOR THIS MUSIC IS MY LANG–
SPLASH! Miguel tumbles into the indoor pool.
The party-goers gasp, but it’s Ernesto who rolls up his
sleeves, and, in true movie hero fashion, jumps into the pool
and lifts a coughing Miguel to the edge.
DE LA CRUZ
Are you all right, niño?
Miguel looks up, mortified. His painted face begins to run,
revealing him to be a living boy. De la Cruz’s eyes go wide.
The crowd gasps and murmurs.
DE LA CRUZ
It’s you… you, you are that boy,
the one who came from the Land of
the Living.
MIGUEL
You… know about me?
DE LA CRUZ
You are all anyone has been talking
about! Why have you come here?
MIGUEL
I’m Miguel. Your great-great
grandson.
More murmuring from the crowd. De la Cruz is shocked.
DE LA CRUZ
I… have a great-great grandson?
MIGUEL
I need your blessing. So I can go
back home and be a musician, just
like you.
(beat)
(MORE)
86.
MIGUEL (CONT’D)
The rest of our family, they
wouldn’t listen. But I… I hoped
you would?
DE LA CRUZ
My boy, with a talent like yours,
how could I not listen?
Miguel hugs de la Cruz who sweeps Miguel up onto his
shoulders, showing him off to the room.
DE LA CRUZ
I HAVE A GREAT-GREAT GRANDSON!
The crowd roars.
CUT TO:
EXT. BOTTOM OF THE TOWER
CROWD
Look, it’s Frida!
The silhouette of Frida Kahlo steps up to the security guard.
HÉCTOR
Yes, it is I. Frida Kahlo.
The security guard lets her in immediately. No need to check
the list.
SECURITY GUARD
It is an honor, señora!
HÉCTOR
Gracias…
Hector steps onto the funicular, readjusting his unibrow to
maintain his diguise.
CUT TO:
EXT. DE LA CRUZ’S MANSION
Quick cuts over instrumental version of «Remember Me:»
De la Cruz barges into several conversations, proudly
introducing Miguel. He seems almost giddy. They wedge
themselves into a group laughing in the garden (which
includes Jorge Negrete & Pedro Infante):
87.
DE LA CRUZ
Hey Negrete! Infante! Have you
met my great-great-grandson?
CUT TO:
De la Cruz and Miguel ride up on horseback while guests play
polo:
DE LA CRUZ
My great-great grandson!
CUT TO:
In the parlor:
DE LA CRUZ
He’s alive! And a musician to
boot!
CUT TO:
Miguel chats away with de la Cruz and guests.
MIGUEL
Dimple. No dimple. Dimple. No
dimple.
De la Cruz laughs, delighted.
DE LA CRUZ
No dimple!
CUT TO:
A film clip is projected in the main hall.
ON SCREEN: Don Hidalgo turns raising two glasses. Miguel
acts along with the clip.
DON HIDALGO (FILM CLIP)
To our friendship!…
DON HIDALGO (FILM CLIP) MIGUEL
…I would move Heaven and …I would move Heaven and
Earth for you, mi amigo. Earth for you, mi amigo.
Salud! Salud!
In the clip Don Hidalgo and de la Cruz drink. De la Cruz
spits.
MIGUEL DE LA CRUZ (FILM CLIP)
Poison! Poison!
88.
Miguel and de la Cruz gleefully act out the ensuing fist
fight.
DE LA CRUZ
You know, I did all my own stunts.
CUT TO:
A small crowd sways, arms around shoulders, as Miguel and
Ernesto lead them in a chorus of «Remember Me.»
INT. DE LA CRUZ’S OFRENDA ROOM
De la Cruz gestures to the massive piles of gifts from his
fans: bread, fruits, flowers, instruments, etc. All piled up
to the ceiling.
DE LA CRUZ
All of this came from my amazing
fans in the Land of the Living!
They leave me more offerings than I
know what to do with!
Miguel takes in the room, it’s almost too much to absorb.
Something seems to be on the boy’s mind.
DE LA CRUZ
Hey, what’s wrong? Is it too much?
You look overwhelmed…
MIGUEL
No — it’s all great.
DE LA CRUZ
But…?
MIGUEL
It’s just — I’ve been looking up
to you my whole life. You’re the
guy who actually did it! But…
(beat)
Did you ever regret it? Choosing
music over… everything else.
De la Cruz kneels down and looks into Miguel’s eyes.
DE LA CRUZ
It was hard. Saying goodbye to my
hometown. Heading off on my own…
MIGUEL
Leaving your family?
89.
DE LA CRUZ
Sí. But I could not have done it
differently.
(beat)
One cannot deny who one is meant to
- And you, my great-great
grandson, are meant to be a
musician!
Miguel smiles, chest swelling. He feels validated for the
first time in his life.
DE LA CRUZ (CONT’D)
You and I, we are artists, Miguel!
We cannot belong to one family.
The world is our family!
De la Cruz gestures to the sparkling city beyond his hilltop
estate. Fireworks go off on the veranda.
DE LA CRUZ (CONT’D)
Ooo, the fireworks have begun!
CUT TO:
EXT. VERANDA
The party guests move outside to watch the light show.
INT. DE LA CRUZ’S MANSION
The hall has emptied, the lights are turned down. Bursts of
color from outside flash across the walls. The only light
coming from inside the hall are de la Cruz’s film clips that
continue to play on the walls.
De la Cruz and Miguel descend the staircase into the empty
hall.
DE LA CRUZ
Soon, the party will move across
town for my «Sunrise Spectacular!»
(beat)
Miguel, you must come to the show!
You will be my guest of honor!
Miguel’s eyes light up.
MIGUEL
You mean it?!
90.
DE LA CRUZ
Of course, my boy!
Miguel’s chest swells. Then deflates. He lifts his shirt,
revealing the skeletal transition partway up his torso.
MIGUEL
I can’t… I have to get home
before sunrise.
DE LA CRUZ
Oh, I really do need to get you
home.
De la Cruz plucks a marigold petal from a vase.
DE LA CRUZ (CONT’D)
It has been an honor. I am sorry
to see you go, Miguel. I hope you
die very soon.
(beat)
You know what I mean.
(beat)
Miguel. I give you my bles–
HÉCTOR (O.S.)
We had a deal, chamaco!
They are startled.
DE LA CRUZ
Who are you? What is the meaning
of this?
From the shadows, Héctor, dressed as Frida, steps into the
light.
DE LA CRUZ (CONT’D)
Oh, Frida! I thought you couldn’t
make it.
Héctor takes off the wig and throws his outfit off.
HÉCTOR
You said you’d take back my photo.
You promised, Miguel.
Miguel turns, backing into de la Cruz’s arms. De la Cruz
rises to his feet, hands defensively on Miguel’s shoulders.
DE LA CRUZ
(to Miguel)
You know this, uh… man?
91.
MIGUEL
I just met him tonight. He told me
he knew you–
As Héctor steps forward with the photo, de la Cruz slowly
recognizes him.
DE LA CRUZ
Hé– Héctor?
HÉCTOR
Please Miguel, put my photo up.
Héctor pushes the photo into Miguel’s hands. De la Cruz
intercepts it.
He looks from the picture to the gray, faded skeleton who
kneels before him. Héctor looks weak.
DE LA CRUZ
My friend… you’re being
forgotten…
HÉCTOR
And whose fault is that?
DE LA CRUZ
Héctor, please–
HÉCTOR
Those were MY songs you took. MY
songs that made YOU famous.
MIGUEL
W-What?
HÉCTOR
If I’m being forgotten, it’s
because you never told anyone that
I wrote them–
MIGUEL
That’s crazy, de la Cruz wrote all
his own songs.
HÉCTOR
(to de la Cruz)
You wanna tell him, or should I?
DE LA CRUZ
Héctor, I never meant to take
credit.
(beat)
(MORE)
92.
DE LA CRUZ (CONT’D)
We made a great team but — you
died and I — I only sang your
songs because I wanted to keep a
part of you alive.
HÉCTOR
Oh, how generous.
MIGUEL
You really did play together…
HÉCTOR
Look, I don’t want to fight about
- I just want you to make it
right. Miguel can put my photo up–
DE LA CRUZ
Héctor…
HÉCTOR
–And I can cross over the bridge.
I can see my girl.
De la Cruz looks at the photo, deliberating.
HÉCTOR
Ernesto… Remember the night I
left?
DE LA CRUZ
That was a long time ago.
HÉCTOR
We drank together and you told me
you would move heaven and earth for
your amigo. Well, I’m asking you
to now.
MIGUEL
Heaven and earth? Like in the
movie?
HÉCTOR
What?
MIGUEL
That’s Don Hidalgo’s toast… in
the de la Cruz movie, «El Camino A
Casa.»
HÉCTOR
I’m talking about my real life,
Miguel.
93.
MIGUEL
No, it’s in there. Look.
Miguel looks around and points to the movie clip projected
across the room.
FILM CLIP:
DON HIDALGO (FILM CLIP)
Never were truer words spoken.
This calls for A TOAST! To our
friendship! I would move Heaven
and Earth for you, mi amigo.
MIGUEL
But in the movie, Don Hidalgo
poisons the drink…
DON HIDALGO (FILM CLIP)
Salud!
In the clip Don Hidalgo and de la Cruz drink. De la Cruz
spits his drink.
DE LA CRUZ (FILM CLIP)
Poison!
Héctor’s gears are turning too.
HÉCTOR
That night, Ernesto. The night I
left…
FLASHBACK:
INT. MEXICO CITY HOTEL ROOM
Héctor throws a songbook in a suitcase, shuts it. He grabs
his guitar case like he means to leave.
HÉCTOR (V.O.)
We’d been performing on the road
for months. I got homesick — and
I packed up my songs…
YOUNG DE LA CRUZ
You wanna give up now? When we’re
this close to reaching our dream?
YOUNG HÉCTOR
This was your dream. You’ll
manage.
94.
YOUNG DE LA CRUZ
I can’t do this without your songs,
Héctor–
De la Cruz grabs young Héctor’s suitcase, but Héctor pulls
away.
YOUNG HÉCTOR
I’m going home, Ernesto.
(beat)
Hate me if you want, but my mind is
made up.
De la Cruz looks angry. For a moment his face darkens. But
he composes himself.
YOUNG DE LA CRUZ
Oh, I could never hate you. If you
must go, then I’m… I’m sending
you off with a toast!
De la Cruz pours a couple of drinks. He gives one to Héctor.
YOUNG DE LA CRUZ (CONT’D)
To our friendship. I would move
Heaven and Earth for you, mi amigo.
Salud!
They both drink.
EXT. EMPTY STREET
HÉCTOR (V.O.)
You walked me to the train station.
They walk down an empty street at night, Héctor with suitcase
and guitar case in tow. Héctor stumbles, de la Cruz steadies
him, takes his guitar case.
HÉCTOR (V.O.)
But I felt a pain in my stomach. I
thought it must have been something
I ate…
YOUNG DE LA CRUZ
Perhaps it was that chorizo my
friend…
HÉCTOR (V.O.)
Or something I… drank.
95.
A few more steps and Héctor collapses in the street. FADE TO
BLACK.
HÉCTOR (V.O.)
I woke up dead.
BACK TO:
INT. DE LA CRUZ’S MANSION
HÉCTOR
You… POISONED me.
DE LA CRUZ
You’re confusing movies with
reality, Héctor.
HÉCTOR
All this time I thought it was just
bad luck.
FLASHBACK:
EXT. EMPTY STREET
Héctor’s suitcase is opened. A hand reaches in to take the
songbook.
HÉCTOR
I never thought that you might
have… that you…
BACK TO:
INT. DE LA CRUZ’S MANSION
Héctor clenches his jaw. Then he bounds at de la Cruz,
tackling him to the ground.
HÉCTOR
How could you?!
MIGUEL
Héctor!
DE LA CRUZ
Security! Security!
Miguel watches as Héctor and Ernesto scuffle on the floor.
96.
HÉCTOR
You took everything away from me!
Security guards rush in to pull Héctor off Ernesto. Héctor
struggles, but it’s no use.
HÉCTOR
You rat!
DE LA CRUZ
Have him taken care of. He’s not
well.
The guards drag Héctor through a wide doorway.
HÉCTOR
I just wanted to go back home! No,
no, NO!
The doors slam shut and cut off his shouts. Miguel is left
alone with de la Cruz.
DE LA CRUZ
I apologize. Where were we?
MIGUEL
You were going to give me your
blessing…
DE LA CRUZ
Yes. Uh… sí.
De la Cruz pulls up a marigold petal, but hesitates.
DE LA CRUZ
Miguel, my reputation, it is very
important to me. I would hate to
have you think…
MIGUEL
That you murdered Héctor… for his
songs?
DE LA CRUZ
You don’t think that. Do you?
MIGUEL
I — no! Everyone knows you’re
the… the good guy.
Doubt enters Miguel’s mind. De la Cruz darkens, he places
the photo of Héctor in his coat pocket, gears turning in his
mind.
97.
MIGUEL
Papá Ernesto? My blessing?
De la Cruz crumples the marigold petal.
DE LA CRUZ
Security!
De la Cruz’s guards appear in the doorway.
DE LA CRUZ (CONT’D)
Take care of Miguel. He’ll be
extending his stay.
The guards grab Miguel by the shoulder.
MIGUEL
What?! But I’m your family!
DE LA CRUZ
And Héctor was my best friend.
Miguel goes pale.
DE LA CRUZ
Success doesn’t come for free,
Miguel. You have to be willing to
do whatever it takes to… seize
your moment. I know you
understand.
Miguel is dragged away.
MIGUEL
No, NO!
EXT. DE LA CRUZ’S TOWER
The guards drag Miguel out the back of de la Cruz’s mansion.
MIGUEL
Let go!
They throw him into a cenote, an inescapable sinkhole behind
the estate.
INT. CENOTE
MIGUEL
NO! AHHHHHH!
98.
He falls four stories and splashes into the pool at the
bottom of the hole. He breaks the surface and swims to a
stone island in the center.
MIGUEL
Help! Can anyone hear me? I wanna
go home!
Miguel collapses on the stone island.
His soaked hoodie sags off his shoulders. The skeletal
transition is almost complete.
A moment of silence. He is alone.
Suddenly, Miguel hears a noise. Footsteps. Héctor emerges
from the darkness, looking beat up. Héctor stumbles.
MIGUEL
Héctor?
HÉCTOR
Kid?
MIGUEL
Oh, Héctor!
They run to each other. Héctor embraces Miguel. But Miguel
is overcome with shame.
MIGUEL
You were right. I should have gone
back to my family–
Héctor tries to calm him but Miguel is shaking.
HÉCTOR
Hey — hey, hey…
MIGUEL
They told me not to be like de la
Cruz, but I didn’t listen–
HÉCTOR
Hey, it’s okay…
MIGUEL
I told them I didn’t care if they
remembered me. I didn’t care if I
was on their stupid ofrenda.
Héctor holds Miguel to his chest. Miguel is tense.
99.
HÉCTOR
Hey, chamaco, it’s okay. It’s
okay.
MIGUEL
I told them I didn’t care.
Suddenly, a golden flicker flutters through Héctor’s bones,
and he falls to his knees.
HÉCTOR
Hhuuh!
MIGUEL
Héctor! Héctor–
HÉCTOR
She’s… forgetting me.
Miguel looks at Héctor with concern.
MIGUEL
Who?
HÉCTOR
My daughter…
MIGUEL
She’s the reason you wanted to
cross the bridge…
HÉCTOR
I just wanted to see her again…
(beat)
I never should have left Santa
Cecilia. I wish I could apologize.
I wish I could tell her that her
papá was trying to come home. That
he loved her so much.
(beat)
My Coco…
A chill runs through Miguel.
MIGUEL
Coco?
Miguel reaches into his hoodie and pulls out the photo of
Imelda, Coco, and the faceless musician.
Miguel shows the photo to Héctor. Héctor is confused; it’s
like he’s seen a ghost.
100.
HÉCTOR
Where… where did you get this?
MIGUEL
That’s my Mamá Coco. That’s my
Mamá Imelda. Is that… you?
Gears turn in both of their heads.
HÉCTOR
We’re…
HÉCTOR MIGUEL
…family? …family?
Héctor is as shocked as Miguel. He looks at his great-great
grandson.
He looks to the photo, touches the image of baby Coco, and he
becomes saddened.
HÉCTOR
I always hoped I’d see her again.
That she’d miss me… maybe put up
my photo. But it never happened.
(beat)
You know the worst part?
(beat)
Even if I never got to see Coco in
the living world… I thought at
least one day I’d see her here.
Give her the biggest hug…
(beat)
But she’s the last person who
remembers me. The moment she’s
gone from the living world…
MIGUEL
You disappear… from this one.
You’ll never get to see her…
HÉCTOR
…Ever again.
Héctor is quiet for a moment.
HÉCTOR
You know, I wrote her a song once.
We used to sing it every night at
the same time, no matter how far
apart we were. What I wouldn’t
give to sing it to her… one last
time.
101.
Héctor sings softly, plaintively.
DISSOLVE TO:
FLASHBACK:
INT. YOUNG COCO’S BEDROOM – DAY
HÉCTOR
(singing)
REMEMBER ME
THOUGH I HAVE TO SAY GOODBYE
REMEMBER ME
DON’T LET IT MAKE YOU CRY
FOR EVEN IF I’M FAR AWAY
I HOLD YOU IN MY HEART
I SING A SECRET SONG TO YOU
EACH NIGHT WE ARE APART
REMEMBER ME
YOUNG COCO
(giggling)
Papá!
HÉCTOR
(singing)
THOUGH I HAVE TO TRAVEL FAR
REMEMBER ME
EACH TIME YOU HEAR A SAD GUITAR
Father and daughter sing the song together.
HÉCTOR YOUNG COCO
(singing) (singing)
KNOW THAT I’M WITH YOU KNOW THAT I’M WITH YOU
THE ONLY WAY THAT I CAN BE THE ONLY WAY THAT I CAN BE
UNTIL YOU’RE IN MY ARMS AGAIN UNTIL YOU’RE IN MY ARMS AGAIN
REMEMBER ME REMEMBER ME
FADE TO:
INT. CENOTE
The echo of Héctor’s song fades to silence.
MIGUEL
He stole your guitar… He stole
your songs…
(beat)
(MORE)
102.
MIGUEL (CONT’D)
You should be the one the world
remembers, not de la Cruz!
HÉCTOR
I didn’t write «Remember Me» for
the world… I wrote it for Coco.
I’m a pretty sorry excuse for a
great-great grandpa.
MIGUEL
Are you kidding? A minute ago I
thought I was related to a
murderer. You’re a total upgrade!
Héctor doesn’t smile. Miguel kneels close.
MIGUEL
My whole life, there’s been
something that made me different…
and I never knew where it came
from.
(beat)
But now I know. It comes from you.
(beat)
I’m proud we’re family!
Miguel looks up defiantly at the hole in the cenote.
MIGUEL (CONT’D)
I’m proud to be his family!
TRRRRRAI-HAY-HAY-HAY-HAAAY!
Héctor perks up.
HÉCTOR
TRRRRRRAAAAAI-HAAAI-HAAAAAY!
I’m proud to be HIS family!
They trade off their gritos until the cenote echoes with the
sound. Soon though, the echoes fade. They’re still stuck.
Suddenly they hear a distant howling.
DANTE (O.S)
Rooo-rooo-roooooooo!
Miguel and Héctor look up.
MIGUEL
Dante?
DANTE (O.S.)
(louder)
Roooooo-roo-roo-rooo!
103.
Up at the top of the cenote, Dante pokes his head in the
opening.
MIGUEL
Dante! It’s Dante!
Dante pants and wags his tail happily. Behind him Pepita
peeks down through the hole and gives a powerful roar.
Pepita’s call shakes the cavern. She lowers her head to
reveal Mamá Imelda riding atop her. Miguel and Mamá Imelda
laugh with joy. Until her gaze falls upon Héctor.
HÉCTOR
Imelda!
MAMÁ IMELDA
(icy)
Héctor.
HÉCTOR
You look good…
EXT. CENOTE – MOMENTS LATER
Pepita flies out of the cenote; Imelda, Héctor, Miguel, and
Dante ride on her back. She ascends above the clouds.
EXT. NIGHT SKY
Miguel, wind in his hair, hugs Dante fiercely.
MIGUEL
Dante, you knew he was my Papá
Héctor the whole time! You ARE a
real spirit guide!
(doggy-praise)
Who’s a good spirit guide? You
are!
Dante smiles at Miguel dumbly. Suddenly, before Miguel’s
eyes, neon patterns spread outward from the dog’s paws.
Dante begins to freak out.
MIGUEL
Whoa…
A pair of little wings sprout on the dog’s back. He spreads
them. He jumps up to fly… and plummets beneath the clouds!
MIGUEL
Dante!
104.
But then he’s back up, flapping goofily and barking his head
off, a full-blown spirit guide!
EXT. SMALL PLAZA
Pepita flies in, landing in a small plaza where the other
Riveras wait.
PAPÁ JULIO
Look, there they are!
The Dead Riveras come rushing up.
FAMILY
Miguel! / Miguelito! / Ay, gracias
a Dios! / It’s Miguel! / He’s all
right! / Oh thank goodness! /
Gracias, Dios mío!
They dismount from Pepita. Héctor falls off first but gets
up and raises his arm to help Imelda. She gives him a
withering stare and dismounts without his help. Miguel pets
Dante and Pepita gives Miguel a big lick.
Imelda rounds Pepita’s shoulder and folds Miguel into a tight
hug.
MAMÁ IMELDA
Mijo, I was so worried! Thank
goodness we found you in time!
Imelda’s eyes fall on Héctor, who holds his hat in his hands
sheepishly.
MAMÁ IMELDA
And you! How many times must I
turn you away?
HÉCTOR
Imelda–
MAMÁ IMELDA
I want nothing to do with you. Not
in life, not in death!
(beat)
I spent decades protecting my
family from your mistakes. He
spends five minutes with you and I
have to fish him out of a sinkhole!
Miguel steps between Imelda and Héctor.
105.
MIGUEL
I wasn’t in there `cause of Héctor.
He was in there `cause of me.
(beat)
He was just trying to get me
home… I didn’t wanna listen, but
he was right… nothing is more
important than family.
Mamá Imelda looks at Héctor, shocked to hear the sentiment.
MIGUEL (CONT’D)
I’m ready to accept your
blessing… and your conditions.
But first, I need to find de la
Cruz. To get Héctor’s photo.
MAMÁ IMELDA
What?
MIGUEL
So he can see Coco again. Héctor
should be on our ofrenda. He’s
part of our family–
MAMÁ IMELDA
He left this family!
MIGUEL
He tried to go home to you and
Coco… but de la Cruz murdered
him!
Startled, she looks to Héctor for confirmation.
HÉCTOR
It’s true, Imelda.
Imelda wrestles with her emotions.
MAMÁ IMELDA
And so what if it’s true? You
leave me alone with a child to
raise and I’m just supposed to
forgive you?
HÉCTOR
Imelda, I–
Héctor’s body suddenly shimmers, leaving him winded. Imelda
gasps.
106.
MIGUEL
Héctor?
HÉCTOR
I’m running out of time. It’s
Coco…
MAMÁ IMELDA
She’s forgetting you…
MIGUEL
You don’t have to forgive him…
But we shouldn’t forget him.
MAMÁ IMELDA
(to Héctor)
I wanted to forget you. I wanted
Coco to forget you too, but–
HÉCTOR
This is my fault, not yours.
(beat)
I’m sorry, Imelda.
Mamá Imelda, holding in her emotions, turns to Miguel.
MAMÁ IMELDA
Miguel, if we help you get his
photo… you will return home? No
more music?
MIGUEL
Family comes first.
Mamá Imelda considers. She turns to Héctor.
MAMÁ IMELDA
I — I can’t forgive you. But I
will help you.
Miguel smiles.
MAMÁ IMELDA
(to Miguel)
So how do we get to de la Cruz?
Miguel furrows his brow.
MIGUEL
I might know a way…
107.
EXT. SUNRISE SPECTACULAR AMPHITHEATER – BEFORE DAWN
Crowds are congregated at de la Cruz’s Sunrise Spectacular
which takes place in an open air amphitheater. They hurry to
their seats as the lights begin to dim.
ON STAGE
Frida’s performance piece begins. Dramatic symphonic music
plays as a giant papaya appears to ignite on stage. The
«seeds» in the body of the papaya unfurl to reveal that they
are dancers, each dressed like Frida Kahlo, right down to the
painted on unibrow.
The dancers roll out of the «flaming» papaya and gyrate their
bodies nonsensically.
A giant cactus that resembles Frida is illuminated, and all
the dancers slink to it.
In the midst of this, eight familiar looking dancers (the
Dead Riveras and Miguel) inch their way out of the spotlights
and to the wings of the stage.
STAGE WING
FRIDA
Good luck, muchacho.
MIGUEL
Gracias Frida!
INT. BACKSTAGE CORRIDOR – MOMENTS LATER
The Dead Riveras congregate in a hidden backstage corridor,
shedding their Frida outfits. Miguel rips off his unibrow.
MIGUEL
Ow!
Dante has snuck in under Tío Oscar’s skirt. Héctor sees that
Imelda is tangled up in her outfit.
HÉCTOR
Here, let me help you with–
MAMÁ IMELDA
Don’t touch me.
The family joins together in a huddle.
108.
MIGUEL
Everyone clear on the plan?
TÍA VICTORIA
Find Héctor’s photo.
PAPÁ JULIO
Give it to Miguel.
MAMÁ IMELDA
Send Miguel home.
HÉCTOR
Got your petals?
Each family member raises a marigold petal. Imelda leads the
way out of the corridor.
MAMÁ IMELDA
Now, we just have to find de la
Cruz–
Right around the corner is de la Cruz who turns with a smile.
DE LA CRUZ
Yes?
MAMÁ IMELDA
Ah!
The family stops in their tracks, still hidden from de la
Cruz’s view. It’s just him and Imelda. His smile drops.
DE LA CRUZ
Don’t I know you?
Imelda pulls off her shoe and slaps de la Cruz across the
face with it.
MAMÁ IMELDA
That’s for murdering the love of my
life!
DE LA CRUZ
(disoriented)
Who the?
Héctor leaps out from around the corner.
HÉCTOR
She’s talking about me!
(to Imelda)
I’m the love of your life?
109.
MAMÁ IMELDA
I don’t know! I’m still angry at
you.
DE LA CRUZ
Héctor?! How did you–
Imelda slaps de la Cruz again.
MAMÁ IMELDA
And that’s for trying to murder my
grandson!
DE LA CRUZ
Grandson?
Now Miguel leaps out of the corridor.
MIGUEL
She’s talking about me!
De la Cruz sees the three of them and puts the pieces
together.
DE LA CRUZ
You! Wait, you’re related to
Héctor?
Miguel sees the photo in de la Cruz’s pocket.
MIGUEL
The photo!
The rest of the Riveras emerge from the corridor.
Outnumbered, de la Cruz turns and runs.
MAMÁ IMELDA
After him!
INT. BELOW STAGE
De la Cruz knocks over a group of giant sugar skull dancers.
He emerges at a full sprint to where his rising platform is
set up.
DE LA CRUZ
Security! Ayúdenme!
The Riveras flood out after him. Héctor jogs next to Imelda.
HÉCTOR
You said «love of your life…»
110.
MAMÁ IMELDA
I don’t know WHAT I said!
MIGUEL
That’s what I heard…
A brawl ensues between the family and the guards.
De la Cruz runs to a stage door.
STAGEHAND
Places, señor, you’re on in 30
seconds!
De la Cruz shoves the stagehand out of the way.
As security guards try to wrangle the Riveras, Imelda reaches
de la Cruz and gets her hands on Héctor’s photo. De la Cruz
scuffles with her to get it back, when Miguel tackles de la
Cruz to the ground. De la Cruz loses his grip; Imelda
tumbles backward, photo in hand.
MAMÁ IMELDA
Miguel! I have it!
Miguel turns toward Imelda but is chased by guards.
Suddenly, Imelda rises into the air. She is on de la Cruz’s
rising platform! She is lifted through the ceiling and up to
the stage.
De la Cruz hurries up the stairs after her.
Miguel is detained by a security guard when Dante flies in
and knocks the guard’s head clean off. Miguel, Héctor, Tía
Victoria, and Tía Rosita hurry up the stairs after de la
Cruz.
MIGUEL
Hurry, come on!
Papá Julio, Tío Oscar, and Tío Felipe block the guards from
following the others.
ON STAGE
ANNOUNCER (O.S.)
Ladies and gentlemen… the one,
the only… ERNESTO DE LA CRUZ!
111.
The platform rises onto the stage and the spotlight falls on
Imelda. Neon letters blast brightly behind her, spelling
«ERNESTO!» The audience bursts into applause!
CROWD MEMBER
Nesto!
Imelda appears onscreen for all to see.
STAGE WING RIGHT
De la Cruz rushes up a staircase and arrives in the wings.
He gets the attention of his guards and points to Imelda.
DE LA CRUZ
Get her off the stage!
His guards hustle onto the stage, scaling the set to get to
her.
STAGE WING LEFT
Miguel, Héctor, Victoria, and Rosita emerge to see Imelda
spotlit above them.
ON STAGE
De la Cruz’s guards begin to approach Imelda. She is frozen,
unable to move.
MIGUEL (O.S.)
Sing!
Mamá Imelda looks down and sees Miguel in the wing.
MIGUEL (CONT’D)
SING!
Imelda, seeing that the guards are approaching, closes her
eyes, grasps the mic, and follows Miguel’s instructions.
MAMÁ IMELDA
(singing)
AY DE MÍ, LLORONA
LLORONA DE AZUL CELESTE…
112.
STAGE WING LEFT
Héctor’s mouth gapes open. Tía Victoria and Tía Rosita go
wide-eyed.
Miguel sets Héctor up with a guitar, then adjusts a mic stand
in front of him. Héctor plays the guitar, its sound
amplified through the stage speakers.
ON STAGE
MAMÁ IMELDA
AY DE MÍ, LLORONA
LLORONA DE AZUL CELESTE…
The guards reach the edge of her spotlight but stop short,
not wanting to interrupt the performance.
Imelda takes the spotlight with her as she descends the on
stage staircase. As she comes down, she makes eye contact
with her husband in the wing. He smiles as he accompanies
her. Imelda’s eyes glint, touched to see him supporting her.
MAMÁ IMELDA
Y AUNQUE LA VIDA ME CUESTE, LLORONA,
NO DEJARÉ DE QUERERTE.
NO DEJARÉ DE QUERERTE!
As Héctor accompanies Imelda, she becomes more confident.
The audience begins to clap.
De la Cruz grunts in frustration.
Soon, the stage conductor joins with more instrumentation,
which kicks into high gear.
MAMÁ IMELDA
ME SUBÍ AL PINO MÁS ALTO, LLORONA,
A VER SI TE DIVISABA.
She doubles down on her performance, taking the spotlight
with her as she moves to put distance between her and the
guards.
Imelda continues to vamp, trying to navigate away from the
guards and toward her family. One guard blocks her way, but
she grabs him and forces him to dance. Scared of the
spotlight, he runs away.
MAMÁ IMELDA
COMO EL PINO ERA TIERNO, LLORONA
AL VERME LLORAR, LLORABA.
(MORE)
113.
MAMÁ IMELDA (CONT’D)
AY DE MÍ, LLORONA, LLORONA,
LLORONA DE AZUL CELESTE…
She heads to leave the stage when she is stopped by a hand on
her wrist. A voice joins her in harmony, the spotlight
widens to reveal Ernesto de la Cruz singing too. The crowd
goes wild.
DE LA CRUZ/MAMÁ IMELDA
AY DE MÍ, LLORONA, LLORONA
LLORONA DE AZUL CELESTE…
He dances Imelda around the stage, all the while trying to
get to Héctor’s photo.
DE LA CRUZ/MAMÁ IMELDA
Y AUNQUE LA VIDA ME CUESTE, LLORONA,
NO DEJARÉ DE QUERERTE.
DE LA CRUZ
Y AUNQUE LA VIDA ME CUESTE, LLORONA,
NO DEJARÉ DE QUERERTE.
NO DEJARÉ DE QUERERTE!
MAMÁ IMELDA
Let go of me!
DE LA CRUZ
NO DEJARÉ DE QUERERTE!
…AY, AY, AY!
At the finale of the song, Imelda stomps her heel into de la
Cruz’s foot on his high note, causing him to let her go. She
runs off stage with the photo.
BACKSTAGE
Imelda arrives off stage and, somewhat high on adrenaline,
she embraces Héctor.
MAMÁ IMELDA
I forgot what that felt like.
Héctor is taken by surprise. Imelda, realizing the
impropriety, pulls away from him awkwardly.
HÉCTOR
You… still got it.
They smile at each other, softening. Miguel, off to the
side, clears his throat.
114.
MIGUEL
Ahem.
MAMÁ IMELDA
Oh!
Imelda, now reminded, gives Miguel the photo. She pulls out
her petal.
MAMÁ IMELDA
Miguel, I give you my blessing.
The petal glows.
MAMÁ IMELDA (CONT’D)
To go home… to put up our
photos…
(beat)
And to never…
Miguel looks slightly saddened, anticipating the condition.
MIGUEL
Never play music again…
Imelda smiles.
MAMÁ IMELDA
To never… forget how much your
family loves you.
The petal surges. Miguel brightens, touched.
HÉCTOR
You’re going home.
DE LA CRUZ
You’re not going anywhere!
Suddenly Miguel is yanked away from his great-great
grandparents by de la Cruz. De la Cruz has grabbed Miguel by
the scruff of his hoodie.
Imelda lunges at de la Cruz, but he pushes her to the floor.
HÉCTOR
Imelda–
De la Cruz drags Miguel away as his family encroaches.
DE LA CRUZ
Stay back! Stay back. All of you!
115.
De la Cruz drags Miguel further and further back on the
stage.
DE LA CRUZ
Stay back! Not one more step.
Dante growls and tries to grab Miguel.
MIGUEL
Dante!
De la Cruz pulls Miguel away, closer to the ledge of the
building.
Héctor struggles but continues pursuing de la Cruz.
HÉCTOR
(winded)
Ernesto, stop! Leave the boy
alone!
Héctor stumbles, shimmering like before. He falls to the
ground.
DE LA CRUZ
I’ve worked too hard, Héctor…
Too hard to let him destroy
everything…
In the stage wings, Tía Rosita commandeers one of the cameras
and points it toward de la Cruz. Tía Victoria sidles up to a
control board and pushes a volume dial up.
HÉCTOR
He’s a living child, Ernesto!
DE LA CRUZ
He’s a threat!
CUT TO:
STADIUM
The image of de la Cruz holding Miguel hostage is projected
on the stadium screens, the audience falls to a hush as they
watch.
BACK TO:
116.
BACKSTAGE
Miguel struggles against de la Cruz.
DE LA CRUZ
You think I’d let him go back to
the land of the living with your
photo? To keep your memory alive?
(beat)
No.
MIGUEL
You’re a coward!
DE LA CRUZ
I am Ernesto de la Cruz, the
greatest musician of all time!
MIGUEL
Héctor’s the real musician, you’re
just the guy who murdered him and
stole his songs!
CUT TO:
STADIUM
The crowd is gobsmacked by what they are hearing.
CROWD
Murder?
BACK TO:
BACKSTAGE
DE LA CRUZ
I am the one who is willing to do
what it takes to seize my moment…
(darkening)
Whatever it takes.
Suddenly, de la Cruz throws Miguel off of the structure.
MIGUEL
AHHH!
HÉCTOR
NO!
The family runs to the ledge, horrified.
117.
TÍO OSCAR/TÍO FELIPE
Miguel!
MAMÁ IMELDA
Miguel!
CUT TO:
STADIUM
The audience gasps. Some shrieks.
BACK TO:
BACKSTAGE
De la Cruz crosses from the ledge, past Héctor, who remains
collapsed on the floor, breathless.
DE LA CRUZ
Apologies old friend, but the show
must go on…
CUT TO:
Miguel is in free fall, the photo still in his hand. As the
wind whips against his face, he hears a faint howling.
Dante slices downward through the air, catches Miguel’s shirt
in his teeth, and opens his wings. He and Miguel jerk
upward, but the photo falls from Miguel’s hands and is gone
from sight.
Miguel and Dante twist in the air, Dante trying to slow their
decent but the two of them are too heavy. Miguel’s shirt
rips and Dante loses him.
Miguel plummets toward the base of the tower. Suddenly
Pepita flies in and scoops up Miguel. Dante follows close
behind. Miguel looks over the side of Pepita down towards
the water.
The photo is lost.
BACK TO:
BACKSTAGE
De la Cruz steps up to the curtain, slicks back his hair, and
emerges to his audience.
118.
ON STAGE
De la Cruz is found by a spotlight.
DE LA CRUZ
Ha ha!
He is met with boos. He looks confused.
CROWD
Boo! Murderer!
DE LA CRUZ
Please, please, mi familia…
AUDIENCE MEMBER
Get off the stage!
More booing. De la Cruz tries to kick up the orchestra.
DE LA CRUZ
Orchestra! A-one-A-two-A-one–
The conductor snaps his baton. More booing.
DE LA CRUZ
(singing)
REMEMBER ME, THOUGH I HAVE TO–
(beat)
Hey!–
The crowd pelts de la Cruz with fruit and offerings.
CROWD MEMBER
Look!
Crowd members point up to the screen. Pepita rises above the
ledge with Miguel on her back. Miguel slides off her wing
and runs to his family.
CROWD MEMBER
He’s alright!
The crowd cheers. There are sighs of relief.
De la Cruz, seeing this play out on screen, realizes his
backstage treachery has been projected to the whole world.
He watches horrified as the image of Pepita grows larger and
larger on the screen as she prowls past the camera.
De la Cruz begins to back up just as Pepita emerges through
the curtain, eyes locked on him.
119.
DE LA CRUZ
Nice kitty…
Suddenly Pepita head-butts de la Cruz and lifts him into the
sky, flinging the singer in the air like a kitten playing
with a ball of yarn.
DE LA CRUZ
AAAHHHH! Put me down! No, please!
I beg of you, stop! Stop! NO!
She swings him around to gain momentum, then throws him over
the audience.
DE LA CRUZ
NO! AAAHHH!
He flies out of the stadium, hitting a giant church bell in
the distance. The stadium erupts in cheers.
In the midst of the cheering, an unsuspecting crowd member
returns from concessions.
CROWD MEMBER
What did I miss?
BACK TO:
BACK STAGE
Miguel is surrounded by family, safe. He hugs Dante.
MIGUEL
Good boy, Dante.
Imelda runs to Miguel and embraces him.
MAMÁ IMELDA
Miguel!
Behind them, Héctor struggles to get to his feet but stumbles
with a flicker. Miguel runs to support him.
MIGUEL
Héctor! The photo, I lost it…
HÉCTOR
It’s okay, mijo. It’s–
Suddenly Héctor suffers his most violent flickering yet. He
collapses. Miguel kneels by him.
120.
MIGUEL
Héctor! Héctor?!
Héctor can barely move his limbs.
HÉCTOR
Coco…
MIGUEL
No! We can still find the photo…
Mamá Imelda looks to the horizon, the first rays of sunlight
peeking over.
MAMÁ IMELDA
Miguel, it’s almost sunrise!
MIGUEL
No, no, no, I can’t leave you. I
promised I’d put your photo up. I
promised you’d see Coco!
Héctor looks at Miguel. The skeletal transformation is
creeping in on the edges of Miguel’s face. He’s almost full
skeleton now.
HÉCTOR
We’re both out of time, mijo.
The shimmering of Héctor’s bones advances.
MIGUEL
No, no… she can’t forget you!
HÉCTOR
I just wanted her to know that I
loved her.
Héctor musters the strength to grab the marigold petal.
MIGUEL
Héctor–
HÉCTOR
You have our blessing, Miguel.
MAMÁ IMELDA
No conditions.
The petal glows.
Héctor struggles to lift the petal to Miguel. Mamá Imelda
takes his hand in hers.
121.
MIGUEL
No, Papá Héctor, please!
Imelda and Héctor move their joined hands toward Miguel’s
chest.
MIGUEL
No…
Héctor’s eyelids begin to close.
HÉCTOR
Go home…
MIGUEL
I promise I won’t let Coco forget
you! Aaahh!–
WHOOOOSH! A whirlwind of marigold petals, and everything
goes white.
FADE IN:
INT. DE LA CRUZ’S MAUSOLEUM – SUNRISE
Miguel finds himself back in de la Cruz’s tomb.
Dazed, he looks through the windows; day has broken.
On the floor is the skull guitar. Miguel grabs it. He exits
the tomb and takes off out of the cemetery.
EXT. PLAZA
Miguel races through the plaza, past the statue of de la
Cruz.
Miguel races through the streets towards home. He blows
right past his Tío Berto snoring and Primo Abel sleeping on a
bench.
TÍO BERTO
(jolting awake)
There he is!
Abel falls off the bench.
Papá comes from around a corner as Miguel is running.
PAPÁ
Miguel!? Stop!
122.
EXT. RIVERA COMPOUND
Miguel rounds the corner and follows the trail of marigolds
through the front gate.
He runs for Mamá Coco’s bedroom. Just as he makes it to the
doorway, Abuelita steps up and blocks him.
ABUELITA
Where have you been?!
MIGUEL
Ah! I need to see Mamá Coco,
please–
Abuelita spies the guitar in Miguel’s hand.
ABUELITA
What are you doing with that? Give
it to me!
Miguel pushes past Abuelita, and slams the door shut.
ABUELITA
Miguel! Stop! Miguel! Miguel!
Miguel! MIGUEL!
INT. MAMÁ COCO’S ROOM
Miguel locks the door and goes up to Mamá Coco. She stares
into space, eyes completely vacant.
MIGUEL
Mamá Coco? Can you hear me? It’s
Miguel.
Miguel looks into her eyes.
MIGUEL (CONT’D)
I saw your papá. Remember? Papá?
Please — if you forget him, he’ll
be gone… forever!
She doesn’t respond. Miguel’s father bangs on the door.
PAPÁ (O.S.)
Miguel, open this door!
Miguel shows her the guitar.
123.
MIGUEL
Here — this was his guitar, right?
He used to play it to you? See,
there he is.
Still nothing. Her eyes are glazed.
MIGUEL (CONT’D)
Papá, remember? Papá?
Mamá Coco stares forward, as if Miguel isn’t even there.
PAPÁ (O.S.)
Miguel!
MIGUEL
Mamá Coco, please, don’t forget
him.
With a rattle of keys, the door flies open. The family pours
in.
ABUELITA
What are you doing to that poor
woman?
Abuelita brushes Miguel aside to comfort her mother.
ABUELITA
It’s okay, Mamita, it’s okay.
PAPÁ
What’s gotten into you?
Miguel looks down, defeated. Tears drip off his nose.
Papá’s anger gives way to relief. He embraces his son.
PAPÁ
I thought I’d lost you, Migue…
MIGUEL
I’m sorry, Papá.
Mamá steps forward.
MAMÁ
We’re all together now, that’s what
matters.
MIGUEL
Not all of us…
Abuelita returns from consoling Mamá Coco.
124.
ABUELITA
It’s okay, mamita.
(beat)
Miguel, you apologize to your Mamá
Coco!
Miguel looks at Mamá Coco and approaches her.
MIGUEL
Mamá Coco…
His toe accidentally taps against Héctor’s skull guitar, a
soft hollow ringing resonates.
ABUELITA
Well? Apologize.
He comes to a realization.
MIGUEL
Mamá Coco? Your papá — he wanted
you to have this.
He picks up the guitar. Abuelita steps forward to intervene
but Papá places a hand on her shoulder.
PAPÁ
Mamá, wait–
Miguel starts to sing «Remember Me» the way Héctor sang it…
softly, from the heart.
MIGUEL
(singing)
REMEMBER ME
THOUGH I HAVE TO SAY GOODBYE
REMEMBER ME
DON’T LET IT MAKE YOU CRY
MAMÁ
Look…
The glimmer in the Mamá Coco’s eyes grows brighter with every
note. Memories flood in, filling the vacancy of her
expression with life. Her cheeks soften and plump. Her lips
arc into a smile.
MIGUEL
FOR EVEN IF I’M FAR AWAY,
I HOLD YOU IN MY HEART
I SING A SECRET SONG TO YOU
EACH NIGHT WE ARE APART
(MORE)
125.
MIGUEL (CONT’D)
REMEMBER ME
THOUGH I HAVE TO TRAVEL FAR
Miguel sings gently, with love.
Mamá Coco’s brows slope up, delighted. The song seems to
bring her back to life.
Abuelita can’t speak. None of them can.
Brimming, Mamá Coco joins Miguel in song — her voice
scratchy with age, his clear with youth.
MAMA COCO MIGUEL
REMEMBER ME REMEMBER ME
EACH TIME YOU HEAR A SAD EACH TIME YOU HEAR A SAD
GUITAR GUITAR
KNOW THAT I’M WITH YOU KNOW THAT I’M WITH YOU
THE ONLY WAY THAT I CAN BE THE ONLY WAY THAT I CAN BE
UNTIL YOU’RE IN MY ARMS AGAIN UNTIL YOU’RE IN MY ARMS AGAIN
REMEMBER ME. REMEMBER ME.
Tears stream down Abuelita’s face; she’s witnessing a
miracle.
Mamá Coco looks to her daughter, and is troubled by her
tears.
MAMÁ COCO
Elena? What’s wrong, mija?
ABUELITA
Nothing Mamá. Nothing at all.
Mamá Coco turns to Miguel.
MAMÁ COCO
My papá used to sing me that song.
MIGUEL
He loved you, Mamá Coco. Your papá
loved you so much.
A smile spreads across Mamá Coco’s face. She’s waited a long
time to hear those words.
She turns to her nightstand, hand shaking. She opens a
drawer and pulls out a notebook.
MAMÁ COCO
I kept… his letters… poems he
wrote me… and…
126.
Mamá Coco leafs through the book to reveal a torn scrap of
paper. She hands it to Miguel. It’s the missing face from
the photo — Héctor’s face.
Miguel pieces the picture back together, finally seeing
Héctor as he was in life, a young, handsome man.
Mamá Coco smiles. She finds the words slowly, but she speaks
with fondness and love.
MAMÁ COCO
Papá was a musician. When I was a
little girl, he and Mamá would sing
such beautiful songs…
The family gathers close to listen.
DISSOLVE TO:
EXT. CEMETERY – MORNING
TITLE CARD: ONE YEAR LATER
The cemetery is once again filled with families cleaning off
head stones and laying flowers.
EXT. DE LA CRUZ’S MAUSOLEUM
Not as many offerings this year, not as many fans. No
mariachi band. Someone has hung a sign «FORGET YOU» on the
bust of de la Cruz.
TOUR GUIDE (O.S.)
And right over here, one of Santa
Cecilia’s greatest treasures…
EXT. RIVERA WORKSHOP
The tour guide stands in front of the Rivera shoe shop.
Tourists crowd in, taking pictures of the skull guitar and
framed letters Héctor wrote to Coco.
TOUR GUIDE (CONT’D)
The home of the esteemed songwriter
Héctor Rivera! The letters Héctor
wrote home for his daughter Coco
contain the lyrics for all of your
favorite songs, not just «Remember
Me».
127.
EXT. COURTYARD
We travel through the courtyard catching glimpses of holiday
preparation. Prima Rosa and primo Abel hang papel picado.
Papá and Mamá work on tamales. Tío Berto sweeps the
cobblestones as the little cousins play.
MIGUEL (O.S.)
And that man is your Papá Julio…
INT. OFRENDA ROOM
Miguel holds his baby sister SOCORRO (10 months) in his arms
and points out all of the family members.
MIGUEL (CONT’D)
…And there’s Tía Rosita… and
your Tía Victoria… and those two
are Oscar and Felipe. These aren’t
just old pictures — they’re our
family — and they’re counting on
us to remember them.
Abuelita approaches and smiles to see her grandson passing on
the tradition. Then she places a picture frame on the
ofrenda, a photo of Mamá Coco. She looks to Miguel who puts
his arm around her.
Next to Mamá Coco’s picture sits the photo of Mamá Imelda and
Héctor, taped back together. Restored.
CROSS FADE TO:
EXT. MARIGOLD GRAND CENTRAL STATION
Héctor waits in the departures line nervously.
MIGUEL (O.S.)
(singing)
SAY THAT I’M CRAZY
OR CALL ME A FOOL
DEPARTURES AGENT
Next!
Héctor steps up to the monitor. The agent recognizes him.
Héctor chuckles nervously. The monitor scans him. DING!
DEPARTURES AGENT
Enjoy your visit, Héctor!
128.
MIGUEL (O.S.)
(singing)
BUT LAST NIGHT IT SEEMED
THAT I DREAMED ABOUT YOU
Héctor’s chest swells.
EXT. FOOT OF THE BRIDGE
Héctor exits from the Marigold Grand Central Station. Mamá
Imelda waits on the cobblestones to greet him. They kiss.
Then he hears a familiar voice.
MAMÁ COCO
Papá!
Héctor turns to see his daughter approaching. He opens his
arms to give Coco the biggest hug.
HÉCTOR
Coco!
MIGUEL (O.S.)
(singing)
WHEN I OPENED MY MOUTH
WHAT CAME OUT WAS A SONG
AND YOU KNEW EVERY WORD
AND WE ALL SANG ALONG
Every moment together is a miracle and he holds Coco like he
knows it. Soon Coco, Héctor, and Imelda join hands. The
petals of the bridge glow as they step forward. The family
crosses together.
MIGUEL (O.S.)
(singing)
TO A MELODY PLAYED
ON THE STRINGS OF OUR SOULS
AND A RHYTHM THAT RATTLED US
DOWN TO THE BONE
OUR LOVE FOR EACH OTHER
WILL LIVE ON FOREVER
IN EVERY BEAT
OF MY PROUD CORAZÓN
Dante and Pepita fly through the night sky in the Land of the
Dead. They alight on the marigold path and bound across into
the Land of the Living.
EXT. STREETS OF SANTA CECILIA
129.
Dante’s shadow is cast against a wall. When he rounds the
corner, he is just a normal xolo dog, no wings or vibrant
colors. Pepita’s shadow looms large, but as she rounds the
corner it shrinks to reveal that she is a little alley cat in
the Land of the Living.
EXT. RIVERA COURTYARD
They enter the Rivera compound. Abuelita greets Dante and
tosses him a sweet treat. In the courtyard, the family is
gathered as Miguel plays his guitar and sings. Dante hops up
to give him a lick on the cheek.
MIGUEL
(singing)
OUR LOVE FOR EACH OTHER
WILL LIVE ON FOREVER
IN EVERY BEAT
OF MY PROUD CORAZÓN
Amongst the living Riveras are the spirits of their loved
ones, Tía Rosita, Tía Victoria, Papá Julio, Tío Oscar and Tío
Felipe, all present and enjoying the reunion.
MIGUEL
(singing)
AY MI FAMILIA!
OIGA MI GENTE!
CANTEN A CORO!
LET IT BE KNOWN…
OUR LOVE FOR EACH OTHER
WILL LIVE ON FOREVER
IN EVERY BEAT
OF MY PROUD CORAZÓN
Abel and Rosa accompany Miguel with instruments of their own.
Papá cradles Miguel’s new baby sister as Mamá leans on his
shoulder. Abuelita listens proudly to her grandchildren
while the spirit of Mamá Coco stands beside, arm around her
shoulder.
MIGUEL
(singing)
AY MI FAMILIA!
OIGA ME GENTE!
CANTEN A CORO!
LET IT BE KNOWN…
OUR LOVE FOR EACH OTHER
WILL LIVE ON FOREVER
IN EVERY BEAT
OF MY PROUD CORAZÓN
130.
The courtyard is full of Riveras, living and dead. Héctor
and Imelda stand arm in arm, listening to Miguel play. As
Miguel sings, the whole family, living and dead, all sing,
play and enjoy the music.
The whole family, brought together by a song.
IMSDb 