NICK OF TIME Ebbe Roe Smith and Patrick Duncan White Draft - March 9, 1995 Blue Draft - March 23, 1995 Pink Draft - March 24, 1995 Producer/Director John Badham FADE IN: INT. UNION STATION - DAY - 12:06PM Union Station, that gorgeous fifty-year-old monument to Art Deco/California Mission architecture. Still beautiful. Still grand. A sign at one of the departure/arrival gates in the main concourse-says the "San Diegan", number 2 64, is due at 12:00. Set above the gates, a big clock - six feet in diameter. THE TIME - 12:06. We see the big hand slam into "7". A loudspeaker - you can just about understand this guy. ANNOUNCER (V.O.) Amtrack 2 64, the San Diegan, from San Diego, Del Mar... EXT. UNION STATION PLATFORM - DAY - 12:06PM The "San Diegan" pulls into the terminal and comes to a slow, grinding stop. ANNOUNCER (V.O.) ...San Clemente, San Juan Capistrano, and Irvine is now arriving at Gate Nine. Doors are opened. Steps set down. Passengers pour out. ANNOUNCER (V.O.) Amtrack 264 will be departing in fifteen minutes from Gate Nine for Oxnard, Ventura... INT. UNION STATION - DAY - 12:07PM A MAN and A WOMAN stand with a view of the arrival doors. He's a blue-collar tough guy, dressed for church. She's his beefy counterpart. ANNOUNCER (V.O.) ...Santa Barbara, Lompoc... THE GUY (MR. SMITH) checks his watch. ANNOUNCER (V.O.) ...Santa Maria, San Luis Obispo... Then he looks up to the big clock. 12:07. The minute hand slams into the "8". ANNOUNCER ...and points north. He resets his watch as DISEMBARKING PASSENGERS pour out of the gate. PEOPLE run forward with kisses and hugs. MR. SMITH Look sharp. They stand like a couple of rocks, their eyes scanning the crowd. MS. JONES That one. MR. SMITH Nah. Hates his wife. They're talking about a couple in their forties. She motormouths her way across the terminal and the husband follows with the suitcases. WHOOSH! A couple of TEENAGE BOYS on rollerblades zip by. MS. JONES I hate rollerblades. EXT. UNION STATION - PLATFORM - DAY - 12:08PM The train.. A PRETTY SIX-YEAR-OLD GIRL (LYNN) , who is holding a stuffed animal almost as large as she is, climbs down the steps. She reaches the platform, looks around. From within the train: GENE Lynn! Lynn!! GENE WATSON, thirtyish, a regular Joe in appearance and inclination, appears above, carrying a couple small suitcases. He takes a relieved breath when he sees her. GENE Lynn, don't walk ahead of me, OK? As he comes down the steps: GENE I'm serious, honey. Don't get out of my sight, all right? I want you to stay right by me. Will you do that for me? LYNN Nods solemnly. GENE reaches the platform and gives out an exaggerated sigh. GENE We made it. LYNN nods back. LYNN We made it. INT. UNION STATION - DAY - 12:08PM WHOOSH! A SECURITY GUARD approaches the two ROLLERBLADING TEENS. They circle him, toss off a few taunts and roll away, laughing. MR. SMITH and MS. JONES continue trolling the PASSENGERS as they come through the gate. MS. JONES Skate-boarders I don't mind, even though they dress like fuckin' idiots, but when I see some pin-head on rollerblades, I get the definite urge to grease the grill of my car with 'em. MR. SMITH Keep your eyes peeled. MS. JONES What about them? MR. SMITH Too old. They're talking about a COUPLE IN THEIR SIXTIES, warmly greeting each other. MR. JONES Him! MR. SMITH If you ever had an idea it would die of malnutrition. First those blue hairs then some Spic. Leave this to me. I know people. It's my job. I'm a people person. MR. SMITH laughs at his joke. MS. JONES What the fuck are you looking for? MR. SMITH has spotted someone. MR. SMITH I'm looking for them. MS. JONES Where? MR. SMITH Right there. He starts walking towards the exit gate. INT. UNION STATION -ARRIVAL CONCOURSE - DAY - 12:09PM GENE has emerged with LYNN. They pause there, getting their bearings. Next to them, a YOUNG COUPLE is kissing. They can't keep their hands off each other. GENE I gotta make a phone call, Lynn. Do you see a phone? LYNN has seen the YOUNG COUPLE. She secretly points to them, covers her mouth, and does a "tee, hee, hee" number. GENE laughs. GENE Come on, you. They start walking across the concourse, towards MR. SMITH and MS. JONES. GENE (to LYNN) Haven't you ever seen anybody kiss like that? LYNN On TV. GENE You never saw your Mom and me kiss like that? LYNN suddenly gets very sad. She looks at the ground, slows down. GENE notices. He stops, crouches down to her level. MR. SMITH and MS. JONES, nearing them, split apart, move around them, and keep going. GENE (to LYNN) Hey, it's OK to talk about her. You can talk about her all you want. You know that, don't you? LYNN nods. GENE So, come on. You never saw us kiss like that? LYNN No way. GENE How did you see us kiss? LYNN gives her own hand a little peck of a kiss. GENE That's it? That little peck of a kiss? Oh, brother, you missed some kisses. LYNN laughs and throws herself on her dad. He holds her to him, looks to the sky for help.. He finds himself staring at the big clock. 12:10. GENE Ooh, I'm gonna be late. I gotta call. INT. UNION STATION - DAY - 12:10PM MR. SMITH and MS. JONES are making a beeline for their target: the YOUNG KISSING COUPLE. WHOOSH! The-ROLLERBLADING TEENS almost collide with them. MS. JONES wants to do something about it, but MR. SMITH pulls her along. They have a mission to complete. They close in on the couple. MR. SMITH Look at 'em. He'd do anything for her.- MS. JONES Young love. The couple are murmuring sweet talk between kisses. The words themselves are unclear until MR. SMITH and MS. JONES are only a few feet away. French. They are speaking French. MR. SMITH makes an instant one-eighty turn. MS. JONES follows. MR. SMITH (sotto voce) Foreigners! Fuck! MS. JONES Frogs. They copy our blue jeans and when we need their help in Kuwait, where the fuck are they? MR. SMITH looks at the partner he's been saddled with. INT. UNION STATION - PAY PHONE AREA - DAY - 12:10PM GENE has found a pay phone. He keeps an eye on LYNN who has wandered a few yards away. GENE Hello, is Mr. Conners there? I have an interview with him at twelve- thirty. Hi, Mr. Conners, this is Gene Watson. Sorry to call you at the last minute like this but... Hey, hey! He reacts to the ROLLERBLADING TEENS who swoop past LYNN, one on each side, too close for a father's comfort. GENE Watch that! Lynn, come here! She does. He keeps an eye on the TEENS, who, having found a victim, are circling around, passing MR. SMITH and .MS. JONES. MR. SMITH has noticed GENE. GENE at the phone. GENE Sorry. There's some crazy kids on skates. Listen, the train just got in, I'm afraid I'm going to be a few minutes late. The TEENS make their pass, flip him the bird, engage in other objectionable behavior, begin to circle again. MR. SMITH watches GENE watch the TEENS, then notice a sturdy, sand- filled ashtray next to him. GENE Great. OK, I'll get there as soon as I can. Bye, now. He hangs up. Keeping one eye on the circling TEENS. GENE (to LYNN) Ready? LYNN Nods. GENE Let' s do it. He picks up a suit-case and accidently-on-purpose uses it to knock over the ashtray, just as the TEENS approach. The ashtray spills its Load of sand into their path. When they hit it, their skates stop, they don't. They sprawl, doing nasty things to knees and wrists. GENE Whoops. He stands over them with LYNN. GENE Now, see, this is why you should always wear a helmet and knee pads. You never know when you're going to fall down and go boom. Right? LYNN Right. ANGLE ON MR. SMITH AND MS. JONES. - 12:11PM MR. SMITH Perfect. He starts forward. MS. JONES (not so sure) Perfect. She follows. They intercept GENE. MR. SMITH flashes a badge. MR. SMITH Could I see some identification, sir? GENE What? MS. JONES (ditto with the badge) I.D. Could we see some? GENE Uh, sure. What's, what's the problem? Will a driver's license do? MR. SMITH That'll do just fine. GENE pulls out his wallet, surprised and confused. MR. SMITH looks at it. GENE Is this about those kids? Look, I'm sorry about that. But they darn near... MR. SMITH You're from Santa Maria, Mr. Watson? GENE Yes. MS. JONES Where's that? GENE Near Lompoc, north. What's... MR. SMITH Come with us, sir. GENE I'd like to know what... MR."SMITH Don't cause a ruckus, sir. He pulls open his coat, putting his hands on his hips, not- so coincidentally revealing the butt of a holstered gun. MR. SMITH You don't want to cause a ruckus, with the little girl and all. MS. JONES Come with me, honey. MS. JONES swoops LYNN up and heads for the station entrance. GENE Hey! I'll take the girl. I'll take the girl! MR. SMITH Don't worry. She's good with kids. GENE hurries after MS. JONES. MR. SMITH grabs up the suitcases. INT. UNION STATION - SOUVENIR SHOP - DAY - 12:11PM MS. JONES nears a souvenir stand. The OWNER is looking the other way. Without breaking stride, MS. JONES reaches out, snatches a child's coloring book and crayons. LYNN You stole that. MS. JONES No, I didn't. I confiscated it. There's a difference. And they're out the door, GENE hurrying after. The big hand on the big clock moves. 12:12. EXT. UNION STATION PARKING LOT - DAY - 12:12PM MS. JONES heads for-a van with smoked windows. She gets inside with LYNN. GENE stops a few feet away. GENE What is going on? MR. SMITH prods him in the ribs. MR. SMITH Into the van, Mr. Watson. Front seat. GENE looks desperately around for help. There is none. He lets MR. SMITH push him toward the van. INT. VAN -.DAY - 12:13PM LYNN and MS. JONES are in the back. MS. JONES Let's get your seatbelt on. Always gotta wear your seatbelt, isn't that right? LYNN resists. LYNN I want my daddy. GENE climbs into the front passenger seat. MS. JONES There's your daddy. See? We're your daddy's friends. MR. SMITH climbs into the driver's seat. MR. SMITH That's right. The policeman is your friend. Isn't that right, Daddy? GENE looks down. MR.. SMITH has pulled his gun. He points it casually so it's aiming through the seat in the general direction of the little girl. MR. SMITH Daddy? GENE Yes. It's OK, Lynn. These are our friends. MS. JONES Hey, would you look at this crazy car? Everybody has their own radio. What do you think of that? LYNN Everybody does? MS. JONES Yep. And you can listen to it without anybody else listening. Let's try it out. She puts some ear phones on her. She holds up the plug-in end. MS. JONES This is what they call the jack. Hi, Jack! LYNN Laughs. MS. JONES It goes in that little hole. LYNN Let me do it. She plugs the jack in. MS. JONES turns on the radio. LYNN gets a big smile on her face. LYNN (loudly) It's loud! She goes to work, playing with the radio, changing stations, etc., oblivious to all else. MS JONES Removes a Pro Label Machine from under the seat. She begins to type in several characters. MR. SMITH Let's get down to business. GENE Who are you? You're not the police. MS. JONES Brilliant. MS JONES presses PRINT on the Labeller. A strip of plastic emerges that she begins to apply to a Name Tag. He looks back to her. MR. SMITH whacks him on the knee with the gun. It hurts. MR. SMITH Pay attention, Mr. Watson. Pay attention and your daughter won't be hurt. GENE You wouldn't... MS. JONES Try us. He looks back. She is caressing LYNN's hair. GENE Get your hands off her. He makes a move. MR. SMITH whacks his knee again, harder. MR. SMITH Mr. Watson, you're not paying attention. Your daughter's life depends on you. Do you understand that? GENE looks from MR. SMITH to MS. JONES and back. He's having a hard time focussing. She slips the NameTag into a manila envelope beside her MR. SMITH Do you understand? GENE Yes, yes, I understand. MR. SMITH Good. He takes the manila envelope from MS JONES, tosses it in GENE'S lap. MR. SMITH This is for you. In it there is a picture of a woman and an itinerary. It is her itinerary. She is presently - are you listening, Mr. Watson? GENE Yes, I'm listening. MR. SMITH She is presently at the Bonaventure Hotel. That's right near here. He gestures. GENE looks. The glassy Bonaventure Hotel is glimpsed surrounded by taller, newer high-rises. MR. SMITH When you leave this van you will get yourself a cab and take it to the Bonaventure Hotel. Then you will take this. MR. SMITH holds up his hand, snaps his fingers. From the back, MS. JONES hands him a cloth-wrapped bundle. He puts it in GENE's hand, shows him what it is: a gun. MR. SMITH ...and you will kill the woman whose picture is in there. Not just shoot her, mind,! kill her. I'd recommend you empty the gun into her. Close up. Got all that? It takes a moment for it all to sink into GENE'S brain. GENE You're out of your mind. MR. SMITH What's your point? GENE I will do no such thing. MR. SMITH Yes, you will, Mr. Watson. A "snap!" from the back seat. GENE looks. MS. JONES has broken a carrot stick. She breaks another. MS. JONES Don't worry. We'll take good care of the kid. She gives half the carrot stick to LYNN, pops the other half in her mouth and grinds it to pulp. MR. SMITH is checking his watch. MR. SMITH It is now 12:16. If the woman in the picture is alive at 1:30... (holds up a walkie- talkie) ...I call my partner, your daughter is dead. He looks in the rear-view mirror to MS. JONES. MR. SMITH And what happens if I don't call you? MS. JONES I kill her anyway. MR. SMITH Did you hear that, Mr. Watson? Do you understand? He taps the manila envelope. MR. SMITH The woman in the picture... He indicates the back seat with his head. MR. SMITH ...or your daughter. GENE looks at his daughter. GENE Oh, my God... MR. SMITH reaches over, puts the gun and manila envelope into GENE'S pockets. MR. SMITH God can't help her, Mr. Watson. Only you can help her. MS. JONES Only you. MR. SMITH You're wasting time. He reaches across GENE, opens the door and pushes him out, then follows him. LYNN takes off the ear-phones, tries to undo her seatbelt. LYNN Where is my daddy going? MS. JONES wraps a big arm around her. MS. JONES He's going to help the police. Your daddy is going to be a hero. LYNN My daddy is going to be a hero? Like Power Rangers? MS. JONES Just like Power Rangers. EXT. UNION STATION PARKING'LOT - DAY - 12:18PM MR. SMITH activates the walkie-talkie, speaks into it. MR. SMITH Let's test this thing. You on? He holds it up for GENE to hear. MS. JONES (O.S.) (filtered) Reading you. MR. SMITH still has GENE'S wallet. He opens it, pulls out some cash, puts it in GENE's breast pocket. MR. SMITH You'11 need some cash. (re: the wallet) I'll hang onto this for the time being. Oh, and... He grabs one of GENE's hands. MR. SMITH You'll need these. He dumps six bullet's into GENE's palm from a cloth Chivas Regal bag. MR. SMITH Get moving, Mr. Watson. Time's a wastin'. GENE just stands there, transfixed by the bullets in his hand. MR. SMITH reaches out, turns him around and gives him a shove away from the van and into the midst of... EXT. UNION STATION - PARKING LOT - BUS STOP - DAY - 12:19PM ...a LARGE CROWD OF TOURISTS, that have just exited an arriving mini-bus. GENE is caught up in the crowd and carried along like a leaf in a stream. Amid the chattering CROWD, GENE is pushed along as if in a trance. He touches the pocket with the gun. He looks at the Bullets in his hand, then at the people around him. It's like a splash of cold water. He quickly pockets the bullets, turns and pushes against the tide of tourists. They resist him, pushing him along until he breaks free and can see... The van is gone! ANGLE ON GENE -- 12:19PM He stands there, a lost man. Fear sweeps over him. He looks desperately around. He is within himself, oblivious to his surroundings, his mind racing, his face a tangle of emotions. He is a man alone in a crowd. He takes a step. A LITTLE LATINO GIRL, chased by HER BROTHER, runs into GENE'S legs. He instinctively grabs her before she can fall, finds himself, crouched down, holding her by the arms. His heart plunges - she isn't Lynn. His intensity scares her. LITTLE GIRL Mama! She pulls away, flees to HER MOTHER, who hoists her up, reprimanding her in Spanish. GENE stays crouched, watching the LITTLE GIRL staring at him over HER MOTHER'S shoulder. Until a COP crosses his line of sight. A LOS ANGELES TRANSIT POLICEMAN, foot-patrolling the station. It's like a gift from above. Relief floods GENE's face. He is saved. He stands, hurries toward the COP, each step more confident. Then, just beyond the COP, MR. SMITH casually slides into view, pointedly holding the walkie-talkie. GENE walks right past the COP heading towards a cab stand. MR. SMITH falls in behind him speaking in his ear. MR. SMITH You talk to a cop, you even look at a cop too long and your daughter is dead. (into walkie-talkie) Do it. MS. JONES (O.S.) (filtered) Go ahead, sugar Die. LYNN (V.O.) (filtered) Lynn calling Daddy. Lynn calling Daddy. Come in, Daddy. GENE grabs at the walkie-talkie like a drowning man. GENE Lynn! LYNN (V.O.) (filtered) I can hear you good. Can you hear me? GENE Yes. Yes, I can hear you. MR. SMITH That's enough. MS. JONES (V.O.) (filtered) 'Daddy has to go now. LYNN (filtered) He has to say "over and out". Daddy, you have to say "over and out". GENE Over and out. MR. SMITH clicks off the walkie-talkie. MR. SMITH Look at your watch. Look at it! At one-thirty your little girl is dead. Say it with me. At one-thirty my little girl is dead. Say it. Say it! GENE (softly) At one thirty my little girl is dead. MR. SMITH Unless you do what you're told. Go do it! He pushes GENE on, toward a cab. MR. SMITH And don't forget I'll be watching you. GENE looks back at him, full of impotent rage. MR. SMITH raises the walkie-talkie. GENE reaches the first cab at the stand. EXT. UNION STATION - CAB STAND - DAY - 12:21PM The CABBIE, talking to ANOTHER DRIVER, throws away his cigarette, ambles over to the Driverside-of the cab. CABBIE Where to, sir? GENE The Bonaventure. The Bonaventure Hotel. Do you know where that is? The CABBIE is disappointed, but he nods and GENE gets into the cab. INT. CAB - DAY - 12:21PM The CABBIE gets in and they take off. GENE stares at the manila envelope in his hand. He starts to open it, is stopped by: CABBIE Amtrack? GENE What? CABBIE You just come in on Amtrack? GENE Uh, yes.. CABBIE Business or pleasure? GENE Business. CABBIE Where'd you come from? GENE San Diego. CABBIE Oh, San Diego? I've thought about moving to San Diego. It's hard to make a living in this town. These short hops. Can't make a dime on 'em. To LAX, Pasadena, then I can make a buck. These little hops cost me money. GENE Sorry. CABBIE 'S okay. What do you think? GENE Huh? CABBIE Better in San Diego? More opportunity there? What? GENE I really don't know. I don't live there. I was just visiting...a grave. CABBIE Aw, too bad. They lapse into silence. GENE starts to open the envelope again. CABBIE Somebody close? GENE What? CABBIE The grave. Somebody close? GENE Wife. Ex-wife. Almost ex. We were separated. She was thinking about a divorce. GENE notices the dashboard clock - 12:22 GENE leans forward. GENE Look...I've... I've got a problem. A big problem... CABBIE Oh, yeah? He hits the horn and swerves to the left. CABBIE Jesus! Watch it, buddy! EXT. LOS ANGELES STREET - DAY - 12:22PM GENE looks out his window and finds himself staring at MR. SMITH, staring back at him, driving the van, next to him. He throws himself back in the seat. INT. CAB - DAY - 12:22PM The cab pulls into the drive front of the Bonaventure Hotel and stops. CABBIE I'd love to hear about your problem, but the ride's over. Three-fifty. GENE looks out the back window, watches the van pulls up to the curb on the other side of the street. CABBIE Three-fifty. I hope your problem doesn't have anything to do with my three-fifty. GENE looks back at the CABBIE, waiting for his fare. GENE Right. Right. GENE digs through his pockets and comes up with one of his business cards. He hurriedly writes on it: "HELP. VAN KIDNAP CHILD." He wraps a five around it, pushes it into the CABBIE'S hand, gives him a meaningful look and gets out of the cab. EXT. BONAVENTURE HOTEL - DAY - 12:23PM GENE stops a few yards from the cab, watching the CABBIE. INT. CAB - DAY - 12:23PM The CABBIE finds the secreted card, but looks at the wrong side. CABBIE What do I want with an accountant? A DOORMAN leans down at the window. DOORMAN I got one for the airport. You free? CABBIE You bet. The DOORMAN plants a PASSENGER in the cab. As he pulls away, the CABBIE again glances at the business card, crumples it up. EXT. BONAVENTURE HOTEL - DAY - 12:23PM GENE watches the cab leave. As it exits, the CABBIE's arm snakes out and tosses the card in the trash. GENE knows what it is. He looks around. VALETS, BELLMEN, ARRIVALS and DEPARTEES, cars coming and going. No one pays particular attention to him. GENE looks at the van across the street. MR. SMITH gets out and walks across the street towards him. The van drives away. GENE watches the van disappear around the corner, desperately hanging onto the last glimpse of it. MR. SMITH takes the walkie-talkie out of his pocket. GENE goes into the hotel. INT. BONAVENTURE HOTEL - LOBBY - DAY - 12:24PM GENE enters. It's like another world. A busy, humming, air- conditioned planet. PEOPLE hustle around the restaurants, waterfalls - a definite ant farm ambiance. HIGH DOWN ANGLE ON GENE - LOBBY - DAY - 12:24PM Suddenly we have cut to a VIDEO IMAGE of Gene looking around this Hotel, complete with scrolling TIME AND DATE. Shot by someone high above. CLOSE ON GENE - LOBBY - DAY - 12:24PM GENE is bumped and buffeted about by the bustling crowd. He breaks free to a clear spot, looks up and freezes. Then he starts tracking all around him, seeing...something. GENE Oh, my God. Oh, no. He desperately fumbles in his pocket. Facing and above him, some WORKMEN ON LADDERS are securing a huge, rolled up banner. GENE finds what he's looking for - the manila envelope. He rips it open. As he pulls out the photograph that is inside, the WORKMEN let their banner unfurl. We do a simultaneous reveal. The woman in the photograph in the envelope is the same as depicted on the banner. Written across the bottom of it in your best red, white, and blue: "RE-ELECT ELEANOR SAMARA GRANT GOVERNOR" And an addendum: "HERE TODAY!" GENE Oh, shit. It dawns on him. He looks around him again. This time we see what he sees. Campaign posters and banners everywhere. On some of them she is posed with a handsome man, several years her junior. These have the caption, "Governor Grant and husband Brendan". GENE Oh, sweet Jesus... His eyes fall on MR. SMITH, standing inside the entrance, walkie-talkie in hand, watching him. GENE looks at a poster, at MR. SMITH, who smiles, nods and gives GENE a move of the head - "Get to it." GENE shoves the photograph away as if it could incriminate him, then slides out the itinerary. The itinerary says "California Educators' Association - 12:00 noon - Emerald Bay Room - Opening Address - Governor Eleanor Samara Grant". GENE checks his watch. 12:26. He looks around him at the confusion and spots a Bellboy, GUSTINO, who's cleaning out ashtrays. GENE Could you tell me where the Emerald Bay Room is? GUSTINO points up. GUSTINO Third floor. Yellow stairwell. Follow the signs. GENE turns away without a word, starts to walk, then turns back. GENE Oh, thanks. Thanks a lot. GUSTINO smiles. GUSTINO No problem. INT. BONAVENTURE HOTEL - "YELLOW STAIRWELL" - DAY - 12:26PM GENE mounts a set of stairs that will take him to the third floor. MR. SMITH follows him as he climbs. INT. "YELLOW STAIRWELL" - DAY - 12:2 6PM The whole lobby and entrance of the hotel are seen as Gene ascends. GENE forces himself not to look at MR. SMITH behind him. His nerves are rising in anticipation of his destination. INT. THIRD FLOOR - DAY - 12:26PM GENE sees the arrow and sign for the Emerald Bay Room. He walks that way. MR. SMITH follows. INT. THIRD FLOOR - SHOP ARCADE AREA - DAY - 12:27PM GENE and MR. SMITH pass gift shops, snack bars. The walkway is crowded and GENE is going against the tide of REPORTERS, POLITICIANS, SUPPORTERS, and just a lot of PEOPLE WITH NAME TAGS. GENE plows on through... ...and runs smack into BRENDAN GRANT. BRENDAN GRANT (laughs) Whoops! The two men reel back from each other. A SECURITY MAN, earphones and gray suit, steps immediately between them. BRENDAN GRANT is a charmingly smooth man. BRENDAN GRANT Nice body check. He continues on, talking to an ATTRACTIVE WCMAN COMPANION. BRENDAN GRANT What the Governor really admires, Mrs. Wentzel, and Eleanor has said this to me on more than one occasion, are pecple like you who take a personal tragedy and turn it into a positive force. He slides a familiar hand around her waist. BRENDAN GRANT You know my wife has a deeply personal reason for going after repeat drunk drivers. They are felons and they should be treated as such. A drivers license is a privilege, not a right. And he is hustled away. Right past an election poster featuring him and Governor Grant. Still stunned by the encounter, GENE turns back and watches the Governor's husband, but keeps walking. INT. EMERALD BAY ROOM - DAY - 12:28PM It is emptying, that's where the crowd came from. GENE comes in. A WOMAN is heading for the door with a centerpiece she's just copped. GENE Excuse me, is the...thing over? WOMAN Yes. You didn't miss much. The food...chicken again. GENE Eleanor Grant is gone? WOMAN Yes. Nice speech. But it's the same at all these... But GENE has turned away. The WOMAN gives him a face, grabs another centerpiece and exits. A CLEAN-UP CREW is starting to go through the room. GENE leans against a wall, breathing through a combination of relief and agony. MR. SMITH is suddenly next to him. MR. SMITH Check your itinerary. Move along. GENE gets out the itinerary. "12:30 - 12:45 - Hors d'oeuvres/ Buffet w/Friends of Eleanor Samara Grant - INVITATION ONLY - Bona Vista Lounge". GENE This says "invitation only". MR. SMITH Of course you're invited. You're a big donor to the campaign. They love you. MR SMITH digs into the manila envelope, comes out with a handful of security badges, name tags, invites. He plucks the name tag that MS JONES printed earlier. It has a red ribbon signifying a Major Donor to the Campaign. He fastens it to Gene's lapel. MR. SMITH This'11 get you in anywhere. Red Elevator. Thirty-fifth floor. GENE Where did you get these? Who are you? MR. SMITH I'm the guy who's going to kill your daughter if you don't get moving. INT. LOBBY ENTRANCE TO THE "RED" ELEVATOR - DAY - 12:28PM GENE approaches. He notices a flurry of movement, a small GROUP OF PEOPLE moving determinedly through the lobby. It is GOVERNOR ELEANOR GRANT with a small entourage! She is a handsome woman in her fifties. The entourage consists of KRISTA BROOKS, Eleanor's, late-twenties assistant, a few assorted POLITICAL AIDES and a couple of PEOPLE WITH NAME TAGS. GENE is not sure what to do. The group reaches the elevator. KRISTA pushes the button. ELEANOR GRANT They-didn't hear a word I said. The mike was too low on the podium. KRISTA How much did we pay for that room? CHIEF AIDE We didn't. ELEANOR GRANT Somebody did. KRISTA turns to an Aide. KRIST A Have Nolin pre-check the PA systems. The elevator doors open. They crowd in. The doors start to close. Gene looks around, where did Mr. Smith go? GENE springs forward, thrusts his hand between them. The doors stop, then bounce open. GENE is startled, finding himself face to face with a cold eyed bodyguard. BODYGUARD Excuse me, sir, this car is for the Governor. You can take the next one. ELEANOR GRANT Don't you dare, Franco. This is one of our biggest supporters. She smiles charmingly, offers her hand to GENE. ELEANOR GRANT Eleanor Grant, gubernatorial incumbent. That's a mouthful isn't- it? I love saying that. GENE steps aboard, shakes her hand. INT. "RED ELEVATOR" - DAY - 12:29PM The elevator begins to rise. ELEANOR GRANT Whose idea was it to have a lunch right after the brunch? I'm about to bust as it is. KRISTA We'll just walk through, do a little grip-and-grin, then get ready for the press con. INSERT FLOOR INDICATOR We are on the third floor. The doors have closed and the elevator begins to rise. GENE Governor... It comes out a little louder then he intended. He has turned, his back to the door. Everyone looks at him. He's committed. GENE I need your help. ELEANOR GRANT What can I do for you Mr....Watson? GENE Its'...ah...about my daughter.... The elevator slows and stops on the next floor above. INSERT FLOOR INDICATOR We are on the fourth floor. Behind GENE, the doors open. MR. SMITH (O.S.) Room for one more? GENE freezes. ELEANOR GRANT I think we can accommodate you. She offers her hand to MR. SMITH as he steps on board. ELEANOR GRANT Eleanor Grant, gubernatorial incumbent. MR. SMITH A pleasure to meet you, Governor. The car begins to rise again. ELEANOR .GRANT turns back to GENE. ELEANOR GRANT You were saying? Your daughter....? GENE I... ELEANOR GRANT Yes? ANGLE ON MR SMITH Yes??? ANGLE ON GENE What to do now? GENE She ..ahh...wanted me to... be sure to get your autograph. ELEANOR GRANT Of course. I wish everything were that easy. KRISTA I've got the pen if you've got the paper. GENE looks at her. She smiles back. KRISTA How about that? He looks at what she refers to: the manila envelope he holds, the one MR. SMITH gave him. KRISTA Is that something precious? GENE No, that's,..that's fine He gives it to ELEANOR GRANT. KRISTA hands over the pen. GENE's eyes flick over to MR. SMITH who is staring at the envelope. ELEANOR GRANT What's her name? GENE looks at the Governor, only inches away, back to MR. SMITH, who raises his eyes, nods, his silent message curt - do it! GENE pulls his eyes away. GENE Her name? Her name is Lynn. ELEANOR GRANT writes the autograph. MR. SMITH'S eyes drill into him. GENE looks over. MR. SMITH raises a hand to his face, pretends to scratch an itch. His other hand taps his wristwatch. GENE's hand slides toward his jacket pocket. Sweat beads on his forehead. He's barely aware of KRISTA talking to him. KRISTA It's funny. I don't even keep a pad of paper with me anymore, everything's gone so electronic. He gives her a quick, weak smile. His free hand wipes the sweat from his face. KRISTA If it wasn't for double A batteries I'd be in big trouble. He is slowly reaching into the pocket with the gun, but stops when he notices MR. SMITH'S hand slide into his jacket, where his gun is. He looks at the other MR. SMITH, earphone, crewcut-Security. There is the hint of a gun on his hip. GENE's eyes widen, dart to MR. SMITH'S face, his hand sliding into his coat. His hand hovers over his gun, trembling. Is the SECURITY MAN staring at him? ELEANOR GRANT hands over the autograph. ELEANOR GRANT Are you all right? Elevators make me queasy, too. GENE gives her a sick smile, abruptly turns away. He takes his hand out of his pocket. It's shaking. He clenches it to stop the shakes. The doors open, startling him. INT. THIRTY-FIFTH FLOOR - DAY - 12:2 9PM ELEANOR GRANT and her entourage exit to greetings and applause. GENE stays in the elevator, frozen, alone with MR. SMITH. The doors close and the elevator descends. INT. "RED ELEVATOR" - DAY - 12:29PM MR. SMITH is fuming, his face red. He explodes. MR. SMITH She was right in front of you! What's wrong with you!? His fists clench. He seems about to lose control. He backs GENE into a corner, physically terrified. MR. SMITH Are you 'fucking with me!? GENE The gun... MR. SMITH What about the gun? GENE It wasn't loaded. I didn't put the bullets in it. MR. SMITH You... He raises a fist. Struggles with the impulse to smash GENE, controls it. Angrily, he takes the gun from GENE's pocket, expertly loads it with bullets from his own pocket. MR. SMITH You won't get many chances like that, Mr. Watson. That's the way life works. Don't blow the next one. He indicates the glass,wall of the elevator with his eyes. GENE looks out and down. GENE'S POV The van. It's moving into a parking spot across from the Bonaventure, on Flower Street. INT. THE VAN - DAY - 12:29PM LYNN is coloring a picture in her stolen book. MS. JONES takes a look. MS. JONES That's pretty good. LYNN I've done much better ones than this. MS. JONES You have, huh? LYNN Oh, yes. I'll show you. I have much more colors at home. MS. JONES That's good. (checks her watch) That's good, sweetie pie. INT. RED ELEVATOR - DAY - 12:29PM The elevator continues its descent and the van disappears from view. GENE strains to see it again, but it's impossible. MR. SMITH jams the loaded gun into GENE's pocket. MR. SMITH There, all loaded. Ready for the hunt. The elevator, doors open into the lobby. INT. BONAVENTURE HOTEL - THIRD FLOOR - YELLOW ELEVATOR LOBBY - DAY - 12:29PM MR. SMITH walks out. GENE follows. MR. SMITH, suddenly becomes self-conscious, walks away from GENE. The object of his shyness: A JAPANESE TOURIST COUPLE nearby. The man is taping his wife with a video camera. VIEW THROUGH VIDEO CAMERA - 12:31PM We see what the camera is seeing, the WIFE, smiling. Behind her, we see GENE, looking confusedly after Mr. Smith. He turns, walks out of frame. In the corner of the picture, a read-out of the TIME: 12:31:00. INT. BONAVENTURE HOTEL - SHOESHINE STAND - DAY - 12:31PM Back in real life, GENE walks toward a shoeshine stand outside the Men's Room. "Huey's Polished Act" and below that, hand- lettered, "Disabled Veteran" where HUEY himself, a fiftyish black man, reads a "Smithsonian" magazine. He sees GENE and perks up - a customer. HUEY Having a rough day? Down at the heels as they...? But GENE goes right past HUEY and into the Men's Room. HUEY (calling after him) You don't see your face, you don't pay! HUEY gives up, goes back to his magazine. INT. MEN'S ROOM. - DAY - 12:31PM Gene goes- over to one of the sinks, runs the cold water, splashes his face, looks in the mirror, into his own eyes. He tries to find an answer, a way out. A pay phone, on the wall behind him, comes into focus. Then a hand reaches in, grabs the receiver...and yanks it, snapping the wire. Gene spins around. It is MR. SMITH, of course. MR. SMITH smiles. GENE doesn't. MR. SMITH leaves. INT. BONAVENTURE HOTEL - THIRD FLOOR - DAY GENE exits the Men's Room and walks back the route he came. INT. BONAVENTURE HOTEL - SHOESHINE STAND - DAY - 12:32PM HUEY sets down his magazine again. HUEY Having a rough day? Down at the heels as they say? What you need is a shoe shine, shoe shine, shoe shine today. It's HUEY's usual patter, he's said it a thousand times. GENE looks around. MR. SMITH is in the lounge area, facing the Flower Street entrance, able to keep the Men's Room and GENE in view. HUEY Take ten, take a break, take a seat, take a load off. Put the world in perspective. GENE lets HUEY usher him into a chair. The gun in his jacket pocket clunks against the arm of the chair. A grim reminder. He pulls out the itinerary. ECU - ITINERARY 12:45 - Governor Eleanor Samara Grant - Pacific Rim Multi-Cultural Conference - Pool Deck - Fourth Floor GENE looks at his watch. ECU WATCH 12:32. The minute hand clicks to 12:33 as he watches. ANGLE ON HUEY - 12:33PM He works away at GENE's shoes. HUEY So, are you a visitor or lucky enough to live in The City of Angels? It's more of HUEY's patter, no real substance to the inquiry. GENE I'm...I'm visiting. GENE watches MR. SMITH frown and amble toward the shoeshine stand. HUEY What do you do, if I may be so bold? GENE (looking at MR. SMITH) I'm just an accountant. HUEY Don't denigrate yourself, my friend. Where would the government be without accountants? They wouldn't know how hard they can squeeze us before we pop, isn't that right? ANGLE ON MR. SMITH - 12:33PM He takes note of the conversation and wanders back to his chair. ANGLE ON HUEY - 12:33PM HUEY Now you take tips. Time was a tip was between a man and his customer. Not any more. They've figured out what they call a formulae, don't laugh, it ain't for babies. They take your sales, see, and slap a percentile on there, figuring that somewhere between your lies and your bad luck they'll hit on the mean amount, mean meaning "in the middle", but if you ask me it means "just plain mean". Why you can have Uncle Scrooge wring a nickel over your poor out-stretched palm, or Daddy Warbucks dropping pearl stick-pins like manna from heaven, don't make no difference, they'll tax your behind according to that same figure. Doesn't seem quite right., does it? GENE No. No, it doesn't. The Bellboy GUSTINO walks by, calls out to HUEY. GUSTINO Hey, Huey, how's it hangin'? HUEY It's a load, my friend, but somebody's got to carry it. GUSTINO laughs, waves. GENE I have to do something. HUEY What's that? You have to speak up. (taps his ear) I'm a little deaf in this ear. Between that and my wooden leg I'm a mess. Compliments of the United States Army Artillery Corps. GENE I said I have to do something. HUEY I'll have you out of here in two shakes o'f a lamb's tail. GENE Is within himself. GENE I keep wondering what she would do if she was here. She'd figure it out. She'd run it down like a column of numbers. Pro's and cons. That's the way she was: Lists all over the house. HUEY's manic shoe-shining slows down: who has he got in his chair? GENE Drove me crazy. There must have been one on me. I didn't add up so she left. That's what attracted me to her In the first place. She made up her mind and she did it. She wouldn't sit around waiting for...whatever. She'd do something. She'd do something. HUEY keeps his eyes on his work. He's afraid he's got a live one. HUEY Yes, well, you know, for a quality shoe you can't beat a good wingtip. Wears like iron. You're a wise man. There ya' go. Two bucks. HUEY gestures for GENE to get down. GENE steps to the floor. He pays HUEY with a twenty. HUEY You got anything smaller? GENE Keep it. HUEY It's a twenty. GENE Keep it. GENE is thinking about something. HUEY Well...thanks muchly... GENE looks around the lobby, at MR. SMITH, the Flower Street entrance, the rest of the area, feeling the gun in his pocket. GENE Can I get out to Flower Street from here? HUEY Sure. Go down past the bar. Take you right out there. HUEY nods toward the bar. GENE Thanks. GENE walks toward the bar. HUEY shakes his head: time for the boys in white. INT. BONAVENTURE HOTEL - LOBBY - DAY - 12:35PM GENE looks towards the Flower Street entrance. The van is still there. A bus pulls up. GENE walks past MR. SMITH. MR. SMITH You get another chance in ten minutes. GENE Then I have time for a drink. He heads up to the bar. MR. SMITH All right, Mr. Watson, but make it just one. I don't want you... But GENE is long gone. INT. HOTEL BAR AREA - DAY - 12:3 6PM GENE walks into the area of the bar. The BARTENDER is just returning to chat with a customer, a REPORTER who is getting sloshed. GENE moves slowly along the bar, into an area where MR. SMITH'S view of him is blocked. REPORTER So where was I? BARTENDER I don't know. Something about the Governor's new regime. GENE hears this and glances towards them. REPORTER Oh yeah. She's dumping the Good Old Boys like yesterday's newspapers. GENE sees that MR.SMITH can no longer see him. He scans the lobby, sees a smaller door that leads onto Flower Street. REPORTER The white boys are in for it. When they got her elected they never thought she was gonna make the Governor's office look like the United Nations. The BARTENDER laughs. GENE quickly cuts across the lobby and out the smaller door onto Flower Street. REPORTER We're talking Custer's Last Stand here. The only minorities not on her staff are the ones still lost in the Rain Forest. EXT. FLOWER STREET - DAY - 12:3 6PM GENE comes out the door, dashes across the street, weaving through the traffic. Once across, he heads up the sidewalk toward the van, keeping low, sneaking up behind it. He crouches by the front door, one hand sliding into his pocket for the' gun, the other -on the door handle. He raises his head cautiously and looks inside the cab. No MS. JONES up front at least. He takes a breath, braces himself. With one motion he jerks the back door open, yanks out the gun. INT. VAN - DAY - 12:37PM The first thing he sees, fixates on, is LYNN. She is stretched out on the seat, eyes closed, mouth open. She appears dead. GENE (a gasp) Lynn! MS. JONES (O.S.) Shhh. You'll wake the baby up. MS. JONES is sitting on the seat behind the one LYNN is on. GENE points the gun at her face. She smiles. MS. JONES (softly) What we have here is what they call a Mexican standoff. The thing you gotta ask yourself is, "What's behind the seat?" Now, a twenty-two'd go right through it, but even a button will throw a twenty-two off so there's a good chance it'd get screwed up somewhere along the way, miss the target. Maybe a thirty-eight? A thirty-eight'11 drill pretty straight, unless it hits metal, then it'll bust up in little bitty pieces. They'll keep going but they'll be slowed down quite a bit. How's about a three-fifty-seven? It'll go through the seat, her, you, the dashboard, shit, it'll go through the engine block before it knows it's hit anything, end up in some pedestrian three blocks away. What do you think? What's my poison? GENE look at Lynn's sleeping face - the gun in his own hand. He lowers the gun, defeated. MS. JONES Well it's a comfort to know you've got the co-Jones to pull that thing out. Whether you've got the balls to pull the trigger we've still got to see. EXT. FLOWER STREET - DAY GENE climbs out of the van, shuts the door, leans there. The gall of his defeat is hard to swallow. He realizes he's holding the gun, hurriedly tucks it away. INT. THE VAN - DAY - 12:38PM MS. JONES puts her gun down, raises a walkie-talkie. MS. JONES (into the walkie-talkie) He's coming back in. MR. SMITH (filtered) I've got him in the crosshairs. INT. BUFFET AREA - DAY - 12:38PM MR. SMITH near the entrance, eating some food. He watches GENE walk past him. Their eyes meet. INT. BONAVENTURE HOTEL - LOBBY - DAY - 12:39PM GENE looks at his watch, then checks the itinerary once more. ECU - ITINERARY 12:45 - Governor Eleanor Samara Grant - Pacific Kim Multi- Cultural Conference - Pool Deck - Fourth Floor ANGLE ON GENE-NEAR BUFFET AREA - 12:39PM GENE addresses another Bellboy, HECTOR who is moving luggage out to the street. GENE Pool Deck? HECTOR Fourth Floor. Take that escalator. GENE thanks him and moves across the lobby MR. SMITH follows GENE INT. BONAVENTURE HOTEL - BAR AREA - DAY - 12:39PM GENE heads toward the escalators. Ahead of him, he sees ELEANOR GRANT and BRENDAN GRANT surrounded by AIDES and SECURITY MEN facing a crowd of PRESS PEOPLE. The Governor and her husband have an arm around each other. They are smiling, relaxed, quite the" happy couple. They give each other a warm kiss. Camera flashes, recording the moment. GENE, heading toward them, has to thread his way through a large WEDDING PARTY - tuxedos and bridesmaid gowns. When he clears them he has neared the impromptu press conference. ANGLE ON BRENDAN GRANT - 12:3 9PM He is now alone in front of a campaign poster, fielding questions from a few remaining REPORTERS. Farther on, ELEANOR GRANT and her entourage can be seen taking the escalator up. GENE heads that way, passing BRENDAN GRANT. BRENDAN GRANT My wife is not interested in negative campaigning. She wants to accentuate the positive. I don't know about you but I find that refreshing. A REPORTER Have you ever thought of running for office yourself? BRENDAN GRANT (smiles, charmingly) Me? A PRETTY YOUNG WOMAN walks by. The Governor's husband's eyes follow her appreciatively as he says: BRENDAN GRANT I'm just a business man. ANGLE ON GENE - 12:40PM He nears the escalator. It's crowded and GENE is pulled into the midst of NEWS PEOPLE, TV, RADIO, PRESS. He joins the flow and lets it pull him along. GENE rides the escalator to the Second Floor and follows the crowd up two flights of the circular stairs. Down a short tunnel and out onto the Pool Deck. EXT. BONAVENTURE HOTEL - POOL, DECK - HIGH ANGLE - 12:41PM About an acre of grass on the Fourth Floor. Skyways connect the Pool Deck to the office buildings across Flower and Figueroa. A platform has been set up with chairs and microphones in front of a podium. EXT. POOL DECK - CLOSE ANGLE ON GENE - 12:41PM GENE blinks in the sudden, bright sunshine. When his eyes adjust, he finds himself in a line that is approaching A SECURITY MAN with a hand-held metal detector. He panics, turns, trying to escape, but finds himself bumped along, trapped. The line shuffles forward. He turns, determined to make a supreme effort to escape and finds himself facing a 2ND SECURITY MAN, who waves him to one side. 2ND SECURITY MAN Excuse me, sir, You don't have to wait. I can take you over here. GENE is dragged forward. He looks around; no way out. He stands, expectant, as the detector slides down one side of his body, is lifted over to the other. Down it slides, toward the pocket concealing the gun. GENE waits for the alarm - which doesn't come. The SECURITY MAN operating the gizmo deftly switches it off as it passes the weapon. GENE is pushed on, looking back, confused, alarmed, finds himself among: PRESS by the dozens. Eleanor Samara Grant SUPPORTERS by the hundreds. SECURITY MEN and COPS IN UNIFORM. GENE moves through them, trying to figure out what just happened. He glances back to the 2ND SECURITY MAN, and bumps into one particular POLICE OFFICER, plain clothes, badge in pocket, who reacts with a quick laugh. POLICE OFFICER Easy, sir. Got to watch where you're going in a crowd like this. He is a handsome, solid-looking guy. You'd trust him. Call him OFFICER TRUST. OFFICER TRUST seems to be in charge. He moves off through the crowd, giving LOCAL POLICE orders in an easy way. GENE looks around. He can't see MR. SMITH. He edges his way after OFFICER TRUST, who reaches the wall beyond which is the drop to the street. He leans there comfortably, scanning the crowd, GENE reaches the wall a few yards away from him. He looks out at the city, getting his courage up. Just as he turns to approach OFFICER TRUST: MR. SMITH (O.S.) I know what you're thinking. GENE freezes! MR. SMITH appears from the crowd, joins him. He smugly flips his walkie-talkie into the air, catches it. GENE What would you do in my place? MR. SMITH Me? He flips the walkie-talkie, catches it. MR. SMITH The bitch would be dead. Course I ain't sayin' which bitch. He flips the walkie-talkie. GENE lashes out, smacks the walkie- talkie. It sails over the edge, falls and smashes onto the sidewalk four stories below. MR. SMITH goes ballistic. GENE walks away from him - right up to OFFICER TRUST. GENE There's a plot to kill the Governor. If you don't believe me, check that guy right there. He has a gun. OFFICER TRUST looks at MR. SMITH and then at GENE. OFFICER TRUST So do you, Mr. Watson. And OFFICER TRUST reaches in his hip pocket for a spare Walkie- Talkie that he tosses to MR. SMITH. OFFICER TRUST You got this under control? MR. SMITH Yeah. OFFICER TRUST It doesn't look like it. MR. SMITH It's under control. OFFICER TRUST It better be. OFFICER TRUST walks away. MR. SMITH stares at a devastated GENE. He sticks the walkie- talkie into his pocket, grabs GENE under the arm, drags him to an isolated corner. MR. SMITH I oughta throw you after that walkie- talkie but I'm going to give you a break because you're an amateur. WAITER M (O.S.) Gentlemen... The WAITER offers a tray of hors d'houvres. MR. SMITH Yeah, thanks. Have a cracker. GENE shakes his head. MR. SMITH Have a cracker, Mr. Watson. GENE woodenly takes one. The WAITER moves on. MR. SMITH There was this guy. Big guy. Irish- Italian. Red-faced, black-haired, jolly son-of-a-bitch. We see them from a distance - just a couple guys chatting. MR. SMITH Nobody could make me laugh like him. We closed more bars together than I can count. He was my pal. I loved that crazy mick, I'm not ashamed to say it. But he was fuck-up. He had this image of himself. Thought he was con man. Always trying to shave the edge. Nickel and dime. I'll always miss him. Tell me why. GENE What...? MR. SMITH Tell me why I miss him. GENE He's dead? MR. SMITH That's right. He's dead. Tell me why. GENE How should I...? MR. SMITH Tell me why he's dead. GENE stares at him for a beat. GENE You killed him. MR. SMITH That's right, I killed him. He fucked up one too many times so I put a bullet in his eye. Then I put two more into him just to make sure. Now that was somebody I loved. He moves in on GENE, crowding him. He breathes hard, looks like one insane piece of work. MR. SMITH I loved that motherfucker but I got the call and I put him down like a sick animal. So if you've got any doubts about what's going to happen if you don't deliver let me tell you something. I'd make gravy out of your little girl just to season that black Irish cocksucker's meat. A wave of applause catches their attention. ANGLE ON ELEANOR GRANT She and her entourage enter the Pool Deck and walk toward the platform. ELEANOR GRANT gladhands people on the way. ANGLE ON MR. SMITH - 12:45PM He turns' back to GENE. MR. SMITH Do what you're supposed to do. Do it now. He grabs GENE and gives him a push. There is a general movement in the crowd toward the platform. GENE is buffeted along. MR. SMITH follows him, keeping him in sight, but then a PACK OF PHOTOGRAPHERS move in, start snapping, lifting their cameras high to shoot over the crowd. MR. SMITH instinctively turns away, hiding his face. He moves around the PHOTOGS and finds himself separated from GENE by the mob. He searches, trying to spot him. MR. SMITH Shit! ANGLE ON GENE - 12:4 6PM In the crowd, GENE is bumped this way and that. His face displays an inner devastation. His eyes focus desperately on something ahead: It is the back of ELEANOR GRANT'S head. She is turning this way and that, greeting supporters. GENE's hand slides into his pocket, grips the gun. He is at the end of his rope. He is going to do it. ANGLE ON ROSTRUM A local POLITICO mounts the platform, taps the microphone. LOCAL POLITICO Can I have your attention Please! Please welcome a man who was for 19 years the distinguished Mayor of Los Angeles. The honorable Tom Bradley. The CROWD reacts loudly, yells and whistles. GENE-pushes his way forward. TOM BRADLEY It is my extreme pleasure this afternoon to introduce to you... ANGLE ON GENE - 12:4 6PM He is now a few yards from ELEANOR GRANT. He comes up against the SECURITY MAN who gave him the once-over with the metal detector. The man's eyes slide over him, then he looks away. He nonchalantly steps aside, moves off through the CROWD. TOM BRADLEY ...a woman who can only be characterized as a one-of-a-kind. GENE is close to ELEANOR GRANT. She is just a few bodies away, visible between them. His hand moves in his pocket. He swallows. The impulse sweeps over him and... KRISTA (O.S.) Feeling better? KRISTA BROOKS, the young woman from the elevator is next to him, smiling. He looks at her in confusion. TOM BRADLEY An iconoclast with class... KRISTA The elevator. You weren't feeling well. GENE looks at ELEANOR GRANT. TOM BRADLEY A genuine lady who's not afraid to get into the trenches... KRISTA Are you better now? GENE turns, scans the crowd - no sign of MR. SMITH. TOM BRADLEY ...and go to the mat with greedy special interests... GENE looks at KRISTA, studies her intensely. She's a bit unnerved. TOM BRADLEY The finest Governor our state has ever had... Again GENE looks at ELEANOR GRANT. She's turning around, facing the crowd, facing him. TOM BRADLEY My friend and yours, Governor Eleanor Grant! ELEANOR GRANT raises her arms. A perfect target. The CROWD roars as GENE turns back to KRISTA. He leans into her, speaks. GENE My wife always said I had a problem trusting people. KRISTA Well, you can trust Eleanor Samara Grant. GENE You don't understand. I'm going to trust you. And you have to trust me. Krista looks at Gene. KRISTA Yes, you're right, I don't understand. GENE Look...my daughter ... she's going to die...unless you can help me. Krista assesses Gene, his desperate tone of voice. Obviously a nut case. A well-dressed nut case, but a nut case nevertheless. Krista, nervous, looks around for help. KRISTA Sure, sure, I'll help you. Let me get Mr. White. I'm sure he can assist you, he's our... Gene pulls the gun, holding it in Krista's sight only, unnoticed by anyone else. GENE (sotto voce) No! You have to listen to me. Krista stares wide-eyed at the gun, at Gene. KRISTA I'm listening, I'm listening. ANGLE ON THE ROSTRUM ELEANOR GRANT takes over the microphone from the beaming LOCAL POLITICO. ELEANOR GRANT My friends, my good friends... ANGLE ON THE CROWD Gene and Krista are gone. EXT. BEHIND THE PLATFORM - DAY - 12:47PM Hidden by potted plants and campaign posters at the fringe of the CROWD, GENE confronts KRISTA, covering her with the pocketed gun. In the background, ELEANOR GRANT delivers a ringing speech, accented with applause. GENE Please...please...you have to believe me... They have my daughter. They want me to kill Eleanor Grant — or they'll kill my daughter. KRISTA tries to edge away. KRISTA All right, let's just...let's get security in on this. GENE No! You can't! They're in on it. KRISTA I don't see how they could be in on it. They're the best. They're hand- picked. GENE I don't know. One of them is following me. If he knew what I'd just told you they'd... GENE pulls the gun from his pocket. She recoils, thinking he's going to shoot her. GENE Look, how did I get in here with this!? KRISTA stares at the gun. She can't deny the fact. KRISTA I don't know. GENE You've got to trust me. I'm putting my daughter's life in your hands. She's only six. She's just a little girl. Please, please, trust me. KRISTA It's a little hard to trust you under the circumstances. GENE looks at her intently. GENE You're right, it is. (beat) Here. GENE offers KRISTA the gun. She is surprised, to say the least. She takes it gingerly, with only the tips of her fingers. GENE Will you trust me now? She stares at the gun, at the strange man. KRISTA I guess I'll have to. Come on, there's one person we can go to. GENE The man following me has a walkie- talkie. If he sees I'm not here he'll call his partner. I do anything out of line and he'll send the word to kill my daughter. KRISTA He'll think you're in the crowd until the end of the speech. Wait a minute. She steps closer to the platform/ listens. ELEANOR GRANT'S voice is heard. ELEANOR GRANT (O.S.) ...I remember that horrible night as if it were yesterday. A phone call pulling me out of sleep, the terrible news... KRISTA checks her watch. 12:48. ELEANOR GRANT (O.S.) My husband and child senselessly killed by a drunk driver. KRISTA We've got about ten minutes. GENE Are you sure? KRISTA I've heard this speech a lot. Come on. We'll take care of him. We will. GENE But... KRISTA Trust me. You asked me for help. Let me help. Trust me. GENE Okay... She starts to lead him away. GENE Hey. He stops her, points to the gun she still holds. GENE I think you better put that away. KRISTA I think you're right. She pulls out a handkerchief, covers the gun and tucks it out of sight as she leads him behind the platform and away. EXT. POOL DECK - DAY - 12:4 9PM MR. SMITH still roams the crowd, looking for Gene. ELEANOR GRANT But tragedy, if it doesn't destroy us, has a curious way of giving us strength. He sees OFFICER TRUST who gives him a questioning look. He ignores it. ELEANOR GRANT I doubt if I would be before you now, if I hadn't been put through that crucible of loss. MR SMITH notices the JAPANESE TOURIST COUPLE we met before. The man has the video camera pointed at a sharp up angle. MR. SMITH glances up toward what the man is shooting. Consternation and anger fill his face. ANGLE ON RED BONAVENTURE TOWER - 12:4 9PM What he sees is one of the exterior elevators rising. KRISTA stands at the glass looking down. Behind her, just glimpsed, is GENE. ANGLE ON MR. SMITH ELEANOR GRANT And though I can never forget William and Bill Junior or the love I felt for them... MR. SMITH cuts a wake through the CROWD. ELEANOR GRANT I have found joy again in serving this great state. I have found love again in my second husband Brendan... INT. TWENTY-FIFTH FLOOR - DAY - 12:.50PM The elevator doors open. GENE and KRISTA bolt out and hurry down the hall. GENE Where are we going? INT. TWENTY-FIFTH FLOOR - SECURITY TABLE - DAY - 12:50PM KRISTA leads GENE past the SECURITY GUARD stationed in the hallway at a small table. GENE tries to keep his face turned away. The GUARD glances up. HALL GUARD Ms. Brooks ... KRISTA Is he in? HALL GUARD Yes, ma'am. They walk past him. He's a bit curious about GENE, but shrugs it off. GENE and KRISTA reach a door and knock. GENE Who is this? Are you sure we can trust him? KRISTA I'm sure. It's her husband. He's her Campaign Manager. The door opens. BRENDAN GRANT is framed there. BRENDAN GRANT What is it? Is there a problem? KRISTA We need to see you, Brendan. She grabs GENE and pushes inside. INT. ROOM 2503 - DAY - 12:51PM Upscale suite. BRENDAN GRANT'S coat is draped on a chair. KRISTA moves past him, pulling GENE. GENE (to KRISTA) We have to hurry. KRISTA I know. Brendan, listen to me. Someone is trying to kill Eleanor. BRENDAN GRANT What? What are you talking about? KRISTA We need people we can "trust. We only have a few moments... BRENDAN GRANT This is...this is insane. How do you know this? GENE I know it because I'm the one who's supposed to kill her. BRENDAN GRANT You are!? (to KRISTA) You brought this man here!? You brought this man to my room!? KRISTA I had to. Her Security people may be involved... There is the sound of a toilet flushing in an adjacent bathroom. The door opens and A MAN emerges drying his hands on a hotel towel. He is late-middle-aged, white, mild-looking, perhaps wearing glasses. MYSTERY MAN Is there a problem, Brendan? BRENDAN GRANT There certainly is. This man says he's been hired to kill Eleanor. GENE Not hired. They're blackmailing me. MYSTERY MAN Who is this "they"? GENE I don't...I don't know. Please, Mr. Grant! They have my daughter. I'm not some lunatic. Your wife is in trouble. Someone is trying to kill her. Someone is trying to make me kill her. Please, listen... MYSTERY MAN And on the strength of this story, you bring this man to Brendan's suite? Does that show good judgment, Ms. Brooks? I'm just a friend of Brendan's, but it seems to me... KRISTA He brought a gun onto the pool deck. MYSTERY MAN (beat) What? KRISTA He got onto the pool deck with a gun. How did he get past her Security carrying a MYSTERY MAN I see. Where is this gun? KRISTA I Have it. MYSTERY MAN Well, is it real? Do we know anything about it? KRISTA It looks real. I don't know anything about guns. MYSTERY MAN Could I see it? KRISTA gets out the gun, wrapped in the handkerchief, hands it to him. It lays in the palm of his hand. He unwraps it awkwardly, examines it. MYSTERY MAN My goodness. It certainly looks real. He looks beyond them, towards the entrance to the suite. MYSTERY MAN What's your opinion? You're the expert in these matters, supposedly. GENE turns, to see who he is talking to. ANGLE ON DOORWAY - 12:.53PM MR. SMITH stands by the open door. Before GENE can speak, MR. SMITH moves. It is fluid and cohtroled and fast. He marches across the room, detouring to grab a pillow from the couch. He takes the gun, shoves" it- into the pillow and goes face to face with KRISTA. She just has time to wonder what is going on There is a double muffled gunshot. Shock fills her eyes, she slides to the floor. GENE can only stand there, unbelieving, freaked to the gills. BRENDAN GRANT Jesus Christ! MR. SMITH (calmly, staring at GENE) Yeah, I'd say it's real. MYSTERY MAN Are you out of your fucking mind!? The door opens. OFFICER TRUST slides in quickly. OFFICER TRUST Somebody mind telling me... (sees KRISTA's body)) What the hell happened!? MR. SMITH Help me get her off the rug. OFFICER TRUST checks the hall, shuts the door. They begin to drag her body to the bathroom. The MYSTERY MAN watches. BRENDAN GRANT What have you done to me!? Christ almighty! GENE's eyes follow them. As if rousing from a sleep he comes to life. GENE No! He tries to rush to the bathroom but MR. SMITH is right there, gripping him. GENE struggles frantically, uselessly, watching the bathroom door close. MR. SMITH is beyond anger. He grabs GENE'S throat, muscles down. GENE grips the iron hand that's cutting off his air. MR. SMITH You fucked up. MYSTERY MAN (O.S.) That's enough. The MYSTERY MAN grabs MR. SMITH'S arm, tries to pry him loose. MR. SMITH is beyond reason. MR. SMITH You want me to kill your kid!? You want me to kill you!? GENE's eyes begin to roll back in his head. Everything begins fading to black. The blackness retreats in a rush and GENE finds himself staring at the butt of MR. SMITH'S gun, visible under his coat. He reaches for it, yanks it out, fires point-blank into MR. SMITH, again, again. MR. SMITH'S shocked face falls away. GENE heads for the door. MYSTERY MAN Don't let him go! OFFICER TRUST steps between GENE and the door. GENE shoots him down and is out the door. INT. HALLWAY - DAY GENE stumbles out in the hall, gun in hand. He hurries down the hall, looking back to see the MYSTERY MAN and a wounded OFFICER TRUST spill out of Room 2503. The HALL OFFICER pulls his weapon MYSTERY MAN Get him! GENE fires at the HALL OFFICER who goes down. GENE rushes down the hall. One of the guest room door's opens and a MAN staggers out. It is a bloody, wounded MR. SMITH! GENE stops in shock. GENE I killed you. MR. SMITH You fucked up. And MR. SMITH grabs him by the collar and throws him over a railing. INT. THE LOBBY - MID-AIR - DAY GENE is falling, falling. He passes the ascending elevator and gets a glimpse of MS. JONES and LYNN, pressed against the glass, her face a mask of terror. The floor rushes up to meet GENE and... INT. ROOM 2503 - DAY - 12:5 6PM ...he hits the floor, thrown there by MR. SMITH. His escape has been a dream. A wrist-watch fills the frame. 12:56. It is GENE's. We are seeing his P.O.V. He's laying on the floor, his watch-hand in front of his face. MYSTERY MAN (O.S.) You nearly killed him, too, you idiot! MR. SMITH (O.S.) Nearly doesn't count. Lose the P.O.V. BRENDAN GRANT I'm on record. I never wanted this. I wanted simplicity; a telescopic sight, a powerful rifle, but no. What was good enough for Oswald wasn't good enough for you two. You had to get fancy. Drag some shmuck in off the street, stick a gun in his hand. MYSTERY MAN It's academic now. She had to be killed. MR. SMITH What were you going to do, Brendan? Lock her in a closet? You're in the fucking kitchen now. Get used to the heat. He's been seen all over the hotel, looking like some Loony Tunes. We even got him on video. It'll work. Don't worry about it. GENE stirs on the floor. MYSTERY MAN (about GENE) Is he awake? MR. SMITH Yeah. He yanks GENE to his feet. BRENDAN GRANT Oh Great. Why don't we just give him our home phone numbers while we're at it? MR. SMITH It doesn't matter what he hears. He pulls GENE over to the bathroom door. Throws it open. GENE reacts to what he sees within. MR. SMITH That's what it looks like. She was alive a minute ago. Now she's dead. Because you wouldn't do what I told you to do. MYSTERY MAN Get going. You've only got a few minutes to pull it together. MR. SMITH takes GENE out of the suite into the hall. The door closes. Brendan, the Mystery Man and Officer Trust are alone BRENDAN GRANT I don't know if we should go through with this. MYSTERY MAN It's too late for that. BRENDAN GRANT There is a dead woman on my bathroom floor! MYSTERY MAM What about it? She's Eleanor's assistant and they will have been shot with the same gun, by the same lunatic. Some, anonymous loser who went over the edge. BRENDAN GRANT (breathing easier) Only thing better would be if he were a postal worker. OFFICER TRUST He won't be doing any work once I get through with him. MYSTERY MAN And in a few months you're in the Governor's mansion. The people'd make you king of California if they could. BRENDAN GRANT laughs. INT. HALLWAY - DAY - 12:57PM OFFICER TRUST exits from the room and engages the HALL OFFICER in conversation down the hall. GENE and MR. SMITH turns the other way, walk. In an undertone: GENE I'm not stupid.. I know how this is supposed, to work. MR. SMITH Do you now, Mr. Watson? GENE I kill her - and you kill me. MR. SMITH Keep your voice down. GENE Even if you don't, Her Security men will. INT. TWENTY-FIFTH FLOOR - ELEVATOR FOYER - DAY - 12:58PM They reach the elevator. MR. SMITH punches the button. GENE turns on him. GENE How am I supposed to get away? MR. SMITH That's not my problem, Mr. Watson He gets out the walkie-talkie, keys it. MR. SMITH (into the walkie-talkie) Come back. GENE How do I know you won't kill my daughter once I'm gone? MR. SMITH (into the walkie-talkie) Come Back....Fucking Radio. MR. SMITH is getting nothing but static. He angrily keys off, hisses at GENE: MR.SMITH I told you she'd be alright, if you do your job. GENE And I'm supposed to trust you? MR. SMITH What choice do you have? The elevator doors open. MR. SMITH gestures graciously. MR. SMITH After you. INT. "BLUE" ELEVATOR - DAY - 12:58PM They step into the elevator. Stare at each other. The doors close. MR. SMITH erupts. He grabs GENE slams him into the outside window. GENE's face is smashed into the glass by MR. SMITH'S shoulder. His body presses GENE against the glass wall and he speaks, his mouth an inch from GENE's ear. MR. SMITH Look out there! You see the van? The van can be seen below on Flower Street. MR. SMITH You see it?! WHAM! He slams GENE's head against the window. He lifts up the walkie-talkie. MR. SMITH Come back. MS. JONES (V.O.) (filtered) Yeah. MR. SMITH Do it! He jabs the walkie-talkie next to GENE's ear. LYNN (V.O.) (filtered) Daddy...? And then a scream. The horrible sound of a little girl in terrible pain. It cuts through GENE like a stab in the heart. GENE Lynn! He struggles to turn around. MR. SMITH kidney punches him, hard! GENE goes down on one knee. The car stops. SOMEONE starts to board it, stops in surprise. MR. SMITH sticks a badge in their face. MR. SMITH Security. Take the next car. They back off. The doors close, the car continues its descent. MR. SMITH lifts the walkie-talkie. MR. SMITH Again. GENE (a gasp) No, please... Another bone-chilling scream from the walkie-talkie. GENE is ripped to his soul. MR. SMITH hauls him to his feet, shoves him against the glass. MR. SMITH You got one last chance. Half an hour and that kid is dead. I'll kill her myself. I'll rip her fucking head off right in front of you! MR. SMITH releases GENE, who goes limp. The elevator doors open onto the lobby. MR. SMITH gets out, straightening his tie, wiping the sweat from his face. INT. THIRD FLOOR "GREEN" ELEVATOR LOBBY - DAY - 12:59PM GENE gets out of the elevator, almost getting caught in the closing doors. He can't even fight back at the doors. They pound him a couple of times before he is able to step clear of the elevator. GENE stifles a retch, hurries away. MR. SMITH is standing there. Childish giggles erupt from the walkie-talkie. LYNN (O.S.) (filtered, giggling) Daddy, did you hear me scream? INT. THE VAN - DAY - 1:00PM MS. JONES holds the walkie-talkie for LYNN. LYNN (O.S.) She told me to scream as loud as I could. Did you hear me? OMIT INT. MEN'S ROOM - DAY - 1:01PM GENE staggers over to the row of sinks. Leaning on one sink with both hands, his body shudders violently. And he throws up. A man exits a toilet stall and walks toward the sinks. He sees GENE retching, turns away in disgust, and leaves quickly. GENE turns on the faucets.to wash the mess away. He tries to clean up, but catches his reflection in the mirror. He has trouble looking himself in the eye. INT. THIRD FLOOR LOBBY - DAY - 1:01PM MR. SMITH is fuming. Into the walkie-talkie: MR. SMITH The next time I tell you to do something, you goddamn well do it! INT. THE VAN - DAY - 1:01PM MS. JONES tries to be private on the walkie-talkie. MS. JONES Hey, fuck you! You want to baby-sit a screaming kid in traffic, come out here and do it yourself. He got the message, didn't he? LYNN watches her, knowing something's not quite right. INT. BONAVENTURE HOTEL - EXT MEN'S ROOM - DAY - 1:02PM GENE comes out of the Men's Room, stands there at a loss. HUEY (O.S.) Having a rough day? Down at the heels as they say? What you need is a shoe shine, shoe shine, shoe shine today. GENE looks around. HUEY has his nose in his magazine, calling out his patter for whoever drifts by. INT. BONAVENTURE HOTEL - SHOESHINE STAND - DAY - 1:02PM GENE walks over, climbs into a chair. HUEY (still not looking up) Take ten, take a break, take a seat, take a load off. Put the world in perspective. GENE has settled into the chair. HUEY tosses the magazine aside, swings into action... HUEY So, are you a visitor or are you lucky enough to... ...and freezes, staring at the familiar pair of shoes. HUEY (as he looks up) You got a complaint? GENE looks down at him. GENE You remember me? HUEY I remember. The big tipper. GENE Something is going to happen. When it's over you'll know what I was talking about. HUEY Oh, man... GENE Please. Something is going to happen... HUEY What? The end of the world? Man, don't give me your mad rap. I'm not a bartender. I don't want to hear it. I raise a family doing this bullshit. Do me a favor. Get your crazy white ass out of my chair. GENE Please... HUEY Hey, a big tip doesn't give you the right to crap in my ear. You want change? You got it, brother. What was that you gave me, a twenty? HUEY kneels down, gets his cashbox, starts to open it up. From behind him: MR. SMITH Come on, let's get some privacy. GENE He's deaf. It spills out of GENE almost without volition. There's a note of pleading hidden in it. GENE slowly points a thumb at HUEY's "Disabled Veteran" sign. GENE He can't hear a word we're saying. MR. SMITH looks at the sign. HUEY stops what he's doing - "What the fuck?" He almost says it aloud, then: MR. SMITH You wouldn't be kidding me now, would you, Mr. Watson? (to HUEY's back) Hey, nigger! Is that right? You can't hear me? Nigger? HUEY's face settles into something cold. What's he going to do? He stands, looks at GENE, who stares back at him, then slowly turns around, looks at MR. SMITH - and breaks into a jive-ass grin. HUEY Why, looky-here. My customer-quotient just got multip