NICK OF TIME
Written by
Ebbe Roe Smith & Patrick Duncan
March 1995
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 multiplied by two. What do
you think of that? You'll have to
forgive me, sir. Didn't hear your
approach. Fact of the matter is, I'm
deef as a post. Compliments of the
United States Army...
(does a snappy salute)
...Artillery Corps. Can I give you a
shine, sir? You don't see your face,
you don't pay.
MR. SMITH is suspicious but he climbs into the second chair.
MR. SMITH
(loudly)
Yeah, sure, give me a shine...
(looks at GENE)
...shine.
HUEY goes to work on his shoes.
MR. SMITH
I'm putting your toy back in your
pocket, Mr. Watson.
Unseen by MR. SMITH, HUEY takes a peek and sees the gun being
transferred to GENE's pocket.
MR. SMITH
It's all wound up. Now let's get out
your itinerary.
GENE does.
"1:'30 - California Leads the Nation into the 21st Century -
California Ballroom - Governor Eleanor Samara Grant and
Brendan Grant" It is the last entry.
GENE
One thirty. California Ballroom.
MR. SMITH
(glances at HUEY)
That's right. That gives you...
He looks at his watch.
1:04.
MR. SMITH
...twenty-six minutes to get your
shit together.
GENE
Let me talk to her again.
MR. SMITH
No.
GENE
I want'to talk to her.
MR. SMITH
Forget about it.
GENE
I talk to her or you can forget about
it.
MR. SMITH
Don't you threaten me.
GENE
What are you going to do about it,
shoot me?
MR. SMITH
(glances again at HUEY) You know
what I'm gonna do.
GENE
What? Walk out there and twist her
arm off?
MR. SMITH doesn't reply.
GENE
It would be a lot less trouble just
to let me talk to her.
They stare at each other for a few beats. Then MR. SMITH
checks HUEY out and gets out the walkie-talkie.
MR. SMITH
(into it)
Come Back.
MS. JONES (O.S.)
(filtered)
Yeah.
MR. SMITH
Put her on.
MS. JONES (O.S.)
What gives?
MR. SMITH
Just put her on.
LYNN (O.S.)
(filtered)
Daddy?
GENE grabs the walkie-talkie.
GENE
Yes, sweetie, it's me.
LYNN (O.S.)
(filtered)
I'm tired. I want to.go now.
GENE
I know you do, honey.
INT. THE VAN - DAY -1:05PM
MS. JONES holds the walkie-talkie for LYNN.
LYNN
Can we go now?
GENE (O.S.)
(filtered)
Not just yet, baby. There's...there's
something Daddy has to do.
LYNN
To be a hero?
INT. BONAVENTURE LOBBY - DAY - 1:05PM
MR. SMITH, GENE and HUEY in situ.
GENE
No, honey, not to be a hero. But I
want you to remember something for
me, all right?
LYNN (O.S.)
(filtered)
All right.
GENE
He's doing it for you. No matter
what anybody tells you, no matter
who they are, he's doing it for you,
because he loves you.
MR. SMITH
That's enough.
He reaches for the walkie-talkie, but GENE stares him down.
Back to the walkie-talkie:
GENE
Will you promise me that?
LYNN (O.S.)
(filtered)
I promise.
GENE
All right. Kisses to you.
LYNN (O.S.)
(filtered)
No...kisses to you.
GENE
No. Kisses to you.
LYNN (O.S.)
(filtered)
No, kisses to...
MR. SMITH grabs the walkie-talkie.
MR. SMITH
I don't care who the fuck you do it
for just so you do it. Hey.
He reaches down, snaps his fingers in HUEY's face. HUEY looks
up.
MR. SMITH
You done yet?
HUEY
Just about.
He gives the shoes a final wipe, stands away.
HUEY
Two dollars, if it pleases you.
MR. SMITH
It doesn't. I remember when it was a
fuckin' quarter.
He throws a couple dollars to HUEY. To GENE as he stalks
away:
MR. SMITH
Twenty-five minutes.
TO HIS BACK:
HUEY
Thanks for the tip.
HUEY turns back to GENE. They stare at each other.
HUEY
Mister, what are you dragging me
into?
GENE
I'm not dragging you into anything.
I don't expect...
HUEY
Cover your mouth.
GENE
What?
HUEY
This gorilla's watching you, is that
right?
GENE
That's right.
HUEY
Then don't let him be seeing you
talking to me. I don't want him
twisting my arm off.
GENE lowers his head, covers his mouth with a hand. HUEY
pretends to work on his shoes.
HUEY
That was your kid on the walkie-
talkie?
GENE
My daughter. They have her in a van
across the street. They say they'll
kill her if I don't do something for
them.
HUEY
In twenty-five minutes in the
California Ballroom.
GENE
There was a woman. She was trying to
help me. I watched him murder her.
HUEY
What are you supposed to do?
GENE
Kill the Governor.
HUEY checks his perimeters, then:
HUEY
I knew I should have packed up and
gone home as soon as I got that
twenty. What am I supposed to do
about this situation?
GENE
One of them is in on it. He might
even be in charge. Her Security is
in on it. There's only one person I
know for sure isn't in on it.
HUEY
Who?
GENE
The Governor. If I could just talk
to her...
HUEY
Oh, Jesus ...
GENE
No way, there's nothing you can do
to help me.
HUEY
Then why'd you drag me into it?
GENE
(getting emotional)
It's my kid. I've got to...to
somehow...do right by my little girl.
He gets out her picture, stares at it.
GENE
It's about time I did. I was one of
those guys, workaholics. I worked my
ass off for them - my wife, my
daughter. That's just what I thought
I was supposed to do.
HUEY
Yeah, all right, listen...
GENE
(running on)
So when she wanted a divorce...I
was...I didn't know what I'd done
wrong. I didn't see it. I didn't see
it....
HUEY takes his wooden brush and whacks GENE on the foot,
snapping him from his downward spiral.
HUEY
Why don't you tell me about the early
years some other time?
GENE
I'm sorry. You understand I don't
mind dying if I could save my
daughter. I mean that.
HUEY
Yeah, now listen. I can't mess with
these shoes any more or it's gonna
look funny. You go down get yourself
something to drink. Make sure Godzilla
there, follows you.
GENE
What are you going to do?
HUEY
I haven't the faintest idea. Go on
now. I'll get word to you.
GENE gets down.
GENE
If nothing else, someone heard my
story.
He gives HUEY a twenty.
GENE
Keep the change.
HUEY
Don't think I won't.
GENE just stands there. HUEY has to give him a little push.
INT. BONAVENTURE HOTEL - THIRD FLOOR - DAY - 1:09PM
GENE turns and walks across the lobby toward the bar. His
mind is racing. As he passes MR. SMITH...
GENE
I need a drink.
MR. SMITH rises immediately, looks back at HUEY. HUEY gives
him a symbolic tip of the hat. MR. SMITH follows GENE.
INT. HOTEL BAR - DAY - 1:11PM
GENE finds a stool at the empty part of the bar. The place
is half-full, noisy. The television is showing a game show.
The BARTENDER comes over.
GAME SHOW HOST (O.S.)
(over television)
...and time is running out...
GENE
Give me a ...a gingerale?
MR. SMITH sits -at the other end of the bar. The BARTENDER
gets him a beer. GENE and MR. SMITH lock eyes in the mirror.
Between them, a couple of T.V. NEWS TECHNICIANS are grabbing
a quick beer. A video camera resides on the bar by them.
GENE notices OFFICER TRUST, walking by on a level above,
watching him.
T.V. NEWS TECHNICIAN 1
Man, I thought she was going to get
out the violins.
TV REPORTER
No shit. If I hear that stop the
violence routine one more time I'm
going to shoot somebody.
A WAITRESS appears suddenly at GENE's elbow, surprising him.
She puts a basket of pretzels next to him and a coaster next
to his drink.
WAITRESS
Here's your Ginger Ale, sir.
DOWN THE BAR:
T.V. NEWS TECHNICIAN 1 Politicians.
TV REPORTER
They're all the same.
The WAITRESS is tapping a long fingernail against the bar.
GENE looks down and sees it. A note on the coaster. "Men's
Room - Huey."
The WAITRESS turns the coaster over, and leaves. GENE looks
down the bar at MR. SMITH, drinking, unaware.
TV REPORTER
You know what bothers me?
GENE looks at his watch.
1:12.
TV REPORTER
When they get all weepy eyed about
the "ordinary citizen", the "regular
Joe", the "normal American". Gimme a
break. There ain't no such animal.
We're a nation of two hundred forty
million special interest groups.
GENE stands.
GENE
Well, I'm just a regular guy.
The T.V. NEWS TECHNICIANS stare at him.
TV REPORTER
Is that right?
GENE
Yeah, that's right. But I've built a
good solid business out of nothing.
Don't underestimate the regular guy.
He heads for the open lobby.
BARTENDER
Sir, you haven't paid.
GENE
It's on the Special Interest at the
end of the bar.
GENE jerks a thumb at MR. SMITH and is gone. MR. SMITH starts
to follow him. The BARTENDER is right with him.
BARTENDER
Hey, Sir, don't make me call a cop.
MR. SMITH slaps some money on the bar and leaves.
T.V. NEWS TECHNICIAN 1
Left field bleachers heard from.
T.V. REPORTER
Laughs.
INT. BONAVENTURE HOTEL - LOBBY - DAY - 1:13PM
MR. SMITH scans the lobby trying to spot Gene. OFFICER TRUST
comes up behind him.
OFFICER TRUST
Where is he? Did you lose him?
MR. SMITH
Shut up.
INT. BONAVENTURE HOTEL - SHOP ARCADE - DAY - 1:13PM
Elsewhere, GENE circles around the lobby. There seem to be
clocks everywhere.
A. set of four clocks over the registration desk with the
time for Tokyo, Los Angeles, New York, and Paris.
The souvenir shop has a dozen clocks on display, with the
logos of various LA sports teams.
INT. BONAVENTURE HOTEL - RESTAURANT AREA - DAY - 1:14PM
The restaurant, the travel agency, the newsstand, all have
clocks.
1:14 .
Everywhere he turns. GENE has to look at his watch.
1:15! GENE's watch and all the clocks tick over at once.
GENE winces as if he could hear all those minute hands tick
over one number in a thunderous chorus.
INT. BONAVENTURE HOTEL - SHOESHINE STAND - DAY - 1:16PM
He's near the Men's Room. HUEY's stand has a sign on the
chair - "Gone to Lunch" and there is a clock face with
moveable hands. "We'll be back at 1:30."
GENE
(sotto voice)
Let's all hope so.
And he enters the Men's Room.
Across the lobby MR. SMITH spots him, heads that way.
INT. MEN'S ROOM - DAY - 1:16PM
GENE enters to find HUEY and GUSTINO the Bellboy. HUEY runs
to the door, keeping a lookout.
HUEY
Quick, off with the shoes and pants.
Trade with Gustino. The big guy's
coming.
INT. BONAVENTURE HOTEL - THIRD FLOOR - DAY - 1:16PM
MR. SMITH marching towards the Men's Room.
INT. MEN'S ROOM - DAY - 1:16PM
HUEY turns to see GENE and GUSTINO just looking at each other,
uncomfortable, to say the least.
HUEY
C'mon, ladies. No time to be shy.
GENE kicks off his shoes, shucks his pants. He trades his
pants and jacket with GUSTINO, who has done the same.
GUSTINO's pants are too big for GENE. His pants are too small
for GUSTINO.
GUSTINO goes into a stall and closes the door.
HUEY comes back from the door.
HUEY
Gustino! Drop 'em!
GUSTINO has taken a seat inside the stall, but with GENE's
pants still up. He drops them.
HUEY
And cover up them socks. Man, who
dresses you?
HUEY leads GENE to another door. "Service Personnel Only".
He taps on it. It is opened by a Latino JANITOR. HUEY and
GENE slip through the door, shut it. The JANITOR begins
mopping the floor as MR. SMITH comes in.
His eyes come to rest on the stall. All he sees are GENE's
shoes and GENE's pants crumpled around the ankles.
MR. SMITH smirks and leaves.
The Janitor raps on GUSTINO's stall with the mop.
JANITOR
Fue. (Gone.)
INT. SERVICE HALL - DAY - 1:17PM
HUEY and GENE move down a drab service corridor. Boxes stacked
on both sides, floor buffers at rest, shelves with cleaning
supplies. GENE notices for the first time that HUEY has a
pronounced limp.
They come upon IRENE the Cleaning Woman. She joins them moving
down the corridor.
HUEY
Meet Irene.
GENE
Hi.
HUEY
Irene is going to help.
GENE
Thank you.
IRENE takes GENE's hand and leads him along at a half-trot.
GENE
Where am I going?
INT. BONAVENTURE - SERVICE ELEVATOR FOYER - DAY - 1:17PM
They come through a short corridor and onto the service
elevator.
HUEY
You said there was only one person
you knew wasn't in on this thing.
GENE
Yeah.
HUEY
You're going to go see her.
GENE
What!?
The elevator doors close.
INT. SERVICE ELEVATOR - DAT - 1:17PM
IRENE punches the button for the twenty-fifth floor.
HUEY
You sure she's asleep?
IRENE
I took up extra pillows. She take a
nap before her big speech.
GENE
What am I supposed to say to her?
HUEY
It'll come to you. See if you can
stop this thing 'fore it gets started.
Save us all considerable
embarrassment.
HUEY takes a pillow and a blanket from IRENE'S cart and puts
it into GENE's arms IRENE You don't have to save me. I got
nothin' to do with it. You ain't gettin' no key from me.
HUEY
(shocked)
Irene...?
The service elevator stops. IRENE pushes her cart out into
the hall signalling them to stay put for a second. She starts
moving out into the hall, the card key falls on the floor.
INT. TWENTY-FIFTH FLOOR - HALLWAY - SECURITY TABLE - 1:17PM
At the other end of the hall the HALL OFFICER turns when he
hears her approach.
INT. SERVICE ELEVATOR - DAY -
GENE and HUEY hover in the door of the service elevator.
Gene reaches down and snags the card key at his feet.
INT. TWENTY-FIFTH FLOOR - HALLWAY - SECURITY TABLE - 1:17PM
The HALL OFFICER has to move his table aside so Irene can
pass with the cart. As he turns,
INT. TWENTY-FIFTH FLOOR - HALLWAY - DAY
HUEY pushes GENE across the hall to the door of the Governors
bedroom.
The Service Elevator door closes.
INT. TWENTY-FIFTH FLOOR - HALLWAY - SECURITY TABLE - 1:18PM
HALL OFFICER turns quickly at the noise.
INT. TWENTY-FIFTH FLOOR - HALLWAY - DAY
GENE holds totally still in the alcove outside her room.
INT. TWENTY-FIFTH FLOOR - HALLWAY - SECURITY TABLE - 1:18PM
HALL OFFICER looks suspiciously, and finally sits back down.
INT. TWENTY-FIFTH FLOOR - HALLWAY - DAY
GENE uses the key to let himself into
INT. ROOM 2510 - 1:18PM
Lit only by a bedside lamp. ELEANOR GRANT is laying on the
bed, dressed, towel across her eyes, bare feet elevated on a
pair of pillows. GENE edges over slowly to her. He stands
over her, not knowing how to begin.
GENE
(softly)
Excuse me...
ELEANOR GRANT lifts a hand, moves the towel from her eyes.
ELEANOR GRANT
Who the hell are you?
She sits upright, reaches for the phone! GENE moves, putting
his hand on top of hers on top of the phone.
GENE
No, please.
They stare at each other for a beat.
She bolts for the door! Gene beats her to it! She backs up
to the bed.
Eleanor Grant is a strong, tough woman, but she's not
fearless.
GENE
Mrs. Grant, Governor...I won't hurt
you.
ELEANOR GRANT
My security people are right next
door.
GENE
I appreciate that.
ELEANOR GRANT
One loud scream will bring them in
here instantly. You won't get very
far. Think it over.
GENE
If I were here to hurt you I would
have done it already.
ELEANOR GRANT
That's...a comfort to hear.
GENE
I have a problem.
ELEANOR GRANT
Ah.
GENE
Only you can help me. I'm also sorry
to say, my problem is your problem,
Mrs. Grant.
She studies him.
ELEANOR GRANT
I remember you...in the elevator.
GENE
That's right.
ELEANOR GRANT
You were very nervous.
GENE
It was because I had this...in my
pocket
He slowly pulls out the gun. She takes it in.
GENE
I need you to listen to me. Carefully.
Three lives depend on you listening
very carefully to what I have to
say.
She smiles.
ELEANOR GRANT
(friendly as can be)
Of course. But suppose we set up an
appointment. I have an important
speech to deliver and you're cutting
into my nap time.
Very slowly, she moves to the table, lifts the phone ELEANOR
GRANT My assistant, Krista Brooks, takes care of
constituent...
GENE
Krista Brooks is dead.
She freezes, slowly replaces the phone.
ELEANOR GRANT
How do you know that?
GENE
I saw her die. She was shot. With
this gun.
She turns to him.
ELEANOR GRANT
You shot her?
GENE
No.
ELEANOR GRANT
Who did?
GENE
I don't know. The only thing I know
about him is that he works for your
husband.
ELEANOR GRANT
What?
GENE
And your husband works for somebody
else.
ELEANOR GRANT
What the hell are you saying?
GENE glances at the bedside clock.
1:19.
He looks back to the Governor.
INT. BONAVENTURE HOTEL - THIRD FLOOR - DAY - 1:19PM
An increasingly edgy MR. SMITH is looking at the Men's Room
door. He glances over to OFFICER TRUST who's keeping an eye
on him. He looks at his watch again, then gets up and heads
for the Men's Room.
INT. MEN'S ROOM - DAY - 1:19PM
MR. SMITH enters. HECTOR is at the urinal.
MR. SMITH checks out the feet under the stall. He has to
bend over to check properly. GENE''s shoes, GENE' s pants
legs.
HECTOR notices MR. SMITH'S actions.
MR. SMITH is aware that he's been noticed, but he is very
suspicious.
HECTOR flushes the urinal.
MR. SMITH stays by the stall. He is going to look over the
top of the stall. He rises on his tiptoes.
But HECTOR is staring at him like he's a pervert.
MR. SMITH is suddenly embarrassed. He backs away from the
stall.
HECTOR washes his hands, watching MR. SMITH in the mirror.
MR. SMITH leaves.
HECTOR dries his hands. He walks over to the stall and knocks
on the door.
HECTOR
He's gone.
And GUSTINO tosses a Bellboy jacket over the top of the stall.
HECTOR puts it on.
HECTOR
Hey, Gustino, what takes you so long?
You need to eat more fiber.
GUSTINO (O.S.)
You got anything to read?
INT. ROOM 2510 - DAY - 1:21PM
The clock on the nightstand.
1:21.
ELEANOR GRANT sits against the headboard. GENE sits on the
edge of the bed, the gun all but forgotten, held loosely in
his hand.
GENE
I knew you wouldn't believe me.
ELEANOR GRANT
I said I'd listen to you, not
necessarily believe you. You're
telling me my people are in a plot
against me. You're telling me my
husband wants me killed. What do you
expect?
GENE
I don't blame you. I don't have any
proof. But nothing like this occurs
in a vacuum. You can't be totally
oblivious. You must suspect something.
You're doing things which are making
people angry. People who have been
in power a long time are losing their
jobs. You know them better than me.
How much does it mean to them? How
far would they go to hang onto it?
Her eyes go inward, reflecting a vague doubt. GENE sees it,
hurries to follow up on this possible chink in her armor.
Excited by it, he gets up, forgets to cover her so closely.
GENE
There's only one way to find out for
sure. Try to cancel the last speech.
ELEANOR GRANT
(smiling, covering
her inner thought)
I'd prefer we didn't refer to it as
my last speech.
GENE
It's the last chance they have for
me to kill you. Try to get out of
it. They won't let you. They can't.
Try to change the schedule and you'll
know I'm right. What have you got to
lose? It comes down to who you trust,
them or me? Test them.
ELEANOR GRANT
I love it when pistolero's talk of
trust.
GENE, across the room looks at the gun in his hand. He takes
the plunge.
GENE
This? I've never even fired one.
ELEANOR GRANT
Indeed.
ELEANOR GRANT'S hand sweeps the lamp off the table, plunging
the room into blackness.
ELEANOR GRANT
(in the blackness)
Franco! Franco.'
GENE slips out into the hall as the connecting room door
flies open. Light from the other room spills in. FRANCO rushes
in, pulling a gun.
INT. TWENTY-FIFTH FLOOR - SECURITY TABLE - DAY - 1:22PM
The HALL OFFICER jumps from his chair and runs into the suite
INT. TWENTY-FIFTH FLOOR - HALLWAY - DAY
GENE quickly moves to the Service Elevator and pushes the
button.
INT. ROOM 2510 - DAY - 1:23PM
ELEANOR GRANT stares up at FRANCO, back-lit by the light
coming from the next room. It gleams off the gun he holds in
his hand. She stares from the gun up to his hulking frame.
FRANCO
What is it, Governor!? What's wrong!?
She hesitates.
ELEANOR GRANT
I...I'm afraid I've had a bad dream,
Franco.
INT. SERVICE CORRIDOR - DAY - 1:23PM
The service elevator opens and GENE rushes out. He hurries
down the dim service corridor. Suddenly an arm snakes out of
the blackness and grabs him! HUEY steps into the light.
HUEY
Well?
GENE
I don't know.
HUEY
What are you going to do now?
GENE
I don't know. I have to get back.
GENE keeps moving fast. HUEY limps to keep up
HUEY
What are you going to do!?
GENE
This is about power and you haven't
got any. There's nothing more you
can do. I'm sorry. Thanks for trying.
HUEY watches him disappear.
INT. BONAVENTURE HOTEL - LOBBY - DAY - 1:23PM
MR. SMITH sees the T.V. TECHNICIAN and REPORTER leaving the
bar with their equipment.
OFFICER TRUST (O.S.)
(alarmed)
Where is he?
MR. SMITH looks at the man who has appeared behind him.
MR. SMITH
In the john.
He looks at his watch.
1:23.
OFFICER TRUST
Get moving.
MR. SMITH
You' oughta learn to relax. I told
you I've got it under control.
OFFICER TRUST
It's time. It's time now.
MR. SMITH scowls and heads for the Men's Room.
INT. THE VAN - DAY - 1:24PM
A different watch. The minute hand moves to:
1:24.
It is MS. JONES'. She is in the driver's seat. She looks
back at LYNN who is trying to amuse herself one way or
another. She checks her gun. She pulls out her walkie-talkie,
puts it on the seat beside her. She starts the car.
LYNN
Where are we going?
MS. JONES
Not very far, honey-pie. Not far at
all.
She pulls the van out into traffic.
INT. MEN'S ROOM - DAY - 1:24PM
MR. SMITH bursts into the Men's Room. He goes to the stall
and lifts his fist to pound on the door.
MR. SMITH
Out of there, Mr. Watson! Your time's
up!
The stall door opens and GENE comes out, zipping up his pants.
He brushes right past MR. SMITH, heads for the door. MR.
SMITH reaches out, grabs him.
MR. SMITH
You forgot to wash your hands.
He throws him against the sinks. GENE washes his hands. MR.
SMITH leans against the sink next to him In the mirror above
the sink, GENE sees the stall door swings open. GUSTINO Is
huddled in the corner, feet up on the toilet. MR. SMITH
doesn't notice.
MR. SMITH
I've got faith in you, Mr. Watson. I
know you're not just a regular guy,
see, I know that. Even if you don't
know it yourself. Maybe that's why I
picked you.
GENE steps between MR. SMITH and the open stall door.
GENE
I know what I have to do. I'll do
it. Let's go.
And'they exit the Men's Room. GUSTINO slumps with relief.
INT. ROOM 2510 - DAY - 1:25PM
Other lights have been turned on. ELEANOR GRANT is fixing
her hair in the mirror. FRANCO is cleaning up the broken
lamp. There is a perfunctory knock on the hall door and it
opens, revealing BRENDAN GRANT. The MYSTERY MAN hovers in
the background.
BRENDAN GRANT
Hey, El, how's the head?
She turns, locks eyes with the MYSTERY MAN.
MYSTERY MAN
Eleanor.
She nods, turns back to the mirror.
ELEANOR GRANT
Lousy. And I have siesta hair. I'm
thinking of canceling the speech.
BRENDAN GRANT
It's an important speech.
MYSTERY MAN
I'd say critical, not that it's any
of my business.
ELEANOR GRANT
It's just another speech in a Tower
of Babel so high that Nimrod himself
would be put to shame. Cancel. Make
my apologies.
In the mirror she takes note of BRENDAN GRANT and the MYSTERY
MAN exchange a look.
BRENDAN GRANT
Excuse me.
MYSTERY MAN
I'll trot along. Nice to see you,
Eleanor.
BRENDAN steps into the room, shuts the door.
BRENDAN GRANT
During a campaign every speech is
important. This is free media
exposure. Primetime news coverage
that we couldn't buy.
ELEANOR GRANT
What's he doing here?
BRENDAN GRANT
Who, him? Just visiting.
ELEANOR GRANT T
Hings have changed, Brendan. I thought
you understood that.
BRENDAN GRANT
He's my friend. And he did help you
to get elected, after all.
ELEANOR GRANT
Don't remind me.
BRENDAN GRANT
(re the broken lamp)
What happened here?
ELEANOR GRANT
Nothing. I broke a lamp.
Brendan steps behind Eleanor and puts his arms around her
affectionately.
BRENDAN GRANT
Eleanor, please. I'll put it this
way. This speech or a half-dozen
rubber chicken-fund raisers. What do
you say?
ELEANOR GRANT
Truth is, besides the headache I've
come down with a little lower
intestinal havoc. Make my apologies.
BRENDAN GRANT
Come on, El, you're a trooper. I'll
get you some Pepto, you'll make one
of your patented tributes to the
common person, then back to
Sacramento. This is no time to lay
down on the job. I don't care what
the polls say, you can't afford to
relax. Look what happened to Bush.
Tell you what, if you want to blow
off the Sacramento speech, fine. But
do this one and we'll get out of the
smog.
ELEANOR GRANT looks at him, almost sadly. She steps toward
the dressing table to fix her hair
ELEANOR GRANT
All right, I'll do it.
BRENDAN GRANT
That's my girl.
ELEANOR GRANT
But I want to make some changes. Get
Krista in here right away won't you?
BRENDAN looks at her for a beat, then snaps his fingers like
he just remembered something.
BRENDAN GRANT
Aw, gee. I sent her on an errand.
ELEANOR GRANT
You sent my assistant on an errand.
BRENDAN GRANT
(trying to look
sheepish)
I've been a bad boy.
ANGLE ON ELEANOR
It was not what she wanted to hear.
INT. BONAVENTURE HOTEL - LOBBY - DAY - 1:26PM
Mr. Smith pushes Gene toward the escalators.
INT. CALIFORNIA BALLROOM - DAY - 1:27PM
All sorts of MEDIA PEOPLE hover around, CAMPAIGN WORKERS
wearing political buttons and REGULAR FOLKS round out the
crowd. People are eating, drinking, and talking.
There are a couple of bars, one at each end of the room.
Dessert tables are strategically placed around the room. On
the speaker's platform at one end is a podium with some chairs
arranged behind it.
One of the POLITICO'S takes the podium microphone.
POLITICO
Ladies, gentlemen, it is my great
pleasure to introduce to you the
esteemed spouse of our Governor.
Let's give a big L.A. welcome to Mr.
Brendan Grant.
The crowd applauds warmly.
INT. HALLWAY - DAY - 1:27PM
GENE and MR. SMITH move down the hall, following the signs
to the California Ballroom. The entrance to it looms ahead.
INT. CALIFORNIA BALLROOM - DAY - 1:27PM
BRENDAN GRANT at the podium.
BRENDAN GRANT
Ladies and gentlemen of the press,
campaign volunteers, and those of
you who were looking for any excuse
to take off work for the afternoon...
Polite laughter.
INT. HALLWAY - DAY - 1:27PM
GENE is pushed up to the doorway where he is met by our
friend, the SECURITY MAN with the metal detector. He gives
MR. SMITH a nod over GENE's shoulder and sends GENE to join
the crowd beyond.
INT. CALIFORNIA BALLROOM - DAY - 1:28PM
VIEW THROUGH CAMERA
The Video Camera clumsily tracks past the CROWD, and comes
tosettle on GENE who is walking into the room, not quite
sure where he is going.
UP ON THE PODIUM:
BRENDAN GRANT
We have with us today the first woman
Governor of our great state...
GENE is pushing forward into the crowd. He looks back, seems
surprised, begins turning, searching for someone as:
BRENDAN GRANT
Governor Eleanor Samara Grant. What
can I say about her....that won't
get me in trouble when I get home
tonight.
Laughter.
Lose the video camera effect.
ANGLE ON GENE - 1:28PM
GENE, in the midst of the crowd, can't locate MR. SMITH.
Confusion clouds his face.
He finds himself near the T.V.TECHNICIAN from the bar. The
TECHNICIAN is talking into a walkie-talkie.
T.V. NEWS TECHNICIAN
Charlie. Charlie. Charlie, are you
reading me?
He gets nothing but static. GENE's eyes move to the back of
the room.
BRENDAN GRANT
She's a woman who loves our great
state.
T.V. NEWS TECHNICIAN
Charlie...
(gives it up)
I can't get shit on this stupid radio.
GENE looks up to a spotlight booth set up in the back.
BRENDAN GRANT
A brilliant legislator.
GENE sees the GLINT of something. A gun? His eyes widen. Is
that MR SMITH there? He looks from the spotlight booth to
the stage.
BRENDAN GRANT
...who will soon win her second term
as the greatest Governor California
has ever seen!
T.V. NEWS TECHNICIAN
Somebody's going to ave to run down
to the truck. Tell them this radio's
fucked.
GENE looks away from the stage and locks eyes with OFFICER
TRUST. He's at the front of the ballroom to one side of the
speaker's platform.
OFFICER TRUST stares at GENE like a hungry wolf, clutching
his gun in his pocket. They both hear:
T.V. NEWS TECHNICIAN
I can't get through. Walkie-Talkies
don't work from here. There's too
much concrete and stuff.
Realization floods GENE'S eyes. He looks back at Mr. Smith
in he booth.
ANGLE ON MR. SMITH - EXTREME CLOSEUP
The camera pans along the barrel of the weapon until it comes
to Mr. Smith who is settling into firing position.
ANGLE ON CROWD
BRENDAN GRANT
Ladies and gentlemen...
T.V. NEWS TECHNICIAN
Nothin's getting out.
OFFICER TRUST, presses forward, hand in pocket. Gene is his
target.
ANGLE ON PODIUM - 1:29PM
BRENDAN GRANT
I am honored to present to you our
esteemed Governor and my beloved
wife, Eleanor Samara Grant!
ANGLE ON ELEANOR GRANT
The crowd erupts in .applause and cheering as ELEANOR GRANT
comes from the rear of the auditorium and begins to work her
way down the center aisle. She waves and nods to all the
lyal supporters who surround her.
ELEANOR GRANT
Thank you! Thank you all!
Ballons are released above her onto the center of the floor.
ANGLE ON WAITER-GUSTINO
He is pushing a large high cart filled with hundreds of
finished plates back towards the kitchen area.
ANGLE ON GENE - 1:30PM
GENE looks at Mr. Smith and Officer Trust and the impending
disaster. He has to do something...anything...NOW!
GENE begins frantically clawing his way toward the podium.
GENE
Look out! Look out!
But it is lost in the uproar.
Fighting to be heard above the noise:
GENE clawing forward, screaming hopelessly. He pulls the gun
out.
ANGLE ON ELEANOR GRANT
She spots Gene in the crowd, pushing toward her, gun drawn.
Her eyes widen in fear.
BRENDAN GRANT follows her gaze. His eyes widen in something
other than fear.
GENE aims his gun at the ceiling and fires.
BAM! BAM!
GENE
Look out!
Pandemonium. Total chaos. People scattering.
The Gun in the booth swings from Gene to ELEANOR GRANT.
Mr. Smith fires, but his target is blocked by a panicked
guest who is hit.
From behind her, FRANCO runs to protect ELEANOR GRANT as
more gunfire erupts.
Mr. Smith's aim is clear and he pulls...BAM! BAM!
FRANCO is hit in the center of the back and in the shoulder.
He falls onto ELEANOR GRANT and they both fall down hard on
the steps. Blood is everywhere.
ANGLE ON GENE
He looks over and sees ELEANOR GRANT, beneath FRANCO, looking
very dead.
He careens toward a door.
ANGLE ON PODIUM
On the dais, BRENDAN GRANT crawls over to where FRANCO lays,
half on top of ELEANOR GRANT. They are both still, eyes
closed. BRENDAN looks down at his wife's face, splattered
with blood.
BRENDAN GRANT
My God, he did it!
The Governor suddenly and violently gasps for breath. Her
eyes snap open and burn into BRENDAN. She has heard her worst
suspicions confirmed.
BRENDAN'S a great liar, but even he can't hide the shock and
fear on his face.
INT. BACK HALLWAY - DAY
GENE bursts through a door. He is followed speedily by OFFICER
TRUST.
OFFICER TRUST
You little son of a bitch.
His attack is interrupted by a noise from the darkness. The
HUGE DISH PLATE CART, fully loaded, comes flying toward them
pushed by GUSTINO. The cart smashes into OFFICER TRUST,
throwing him against a wall, dishes clatter and smash.
GENE raises a hand to the darkness and takes off.
INT. CALIFORNIA BALLROOM - DAY
The dais. FRANCO takes a shuddering breath. ELEANOR GRANT
pulls herself free, leans over him. She rips opens his shirt
revealing a slightly-used bullet-proof vest with a bullet
hole that missed the vest and hit his upper arm. His eyes
flutter open.
ELEANOR GRANT
Are you all right, Franco?
FRANCO
(painfully)
I'd be better if they'd put sleeves
on these damn vests.
She touches his face, looks over to where her husband stands.
Their eyes lock. It's curtains for BRENDAN.
EXT. HOTEL TAXI STAND - DAY
The van pulls into a waiting area.
INT. LOBBY - NEAR SHOESHINE STAND - DAY
Huey turns and spots a van arriving outside the hotel. He
realizes who it could be.
INT. THE LOBBY - DAY - 1:30PM
GENE 'bangs out of a door, comes to a failing and sees:
MR. SMITH has reached the spiral stairway. He starts down
it, two and three steps at a time.
GENE moves along the railing.
MR. SMITH is a whole floor below him. He looks up, sees GENE
and lifts the walkie-talkie to his mouth.
GENE pockets the gun climbs the parapet. And jumps!
INT. BONAVENTURE HOTEL - LOBBY - DAY - 1:30PM
GENE lands right on top of MR. SMITH. The walkie-talkie flies
over the railing and into the water of the central fountain.
INT. THE VAN - DAY - 1:30PM
MS. JONES
(on the walkie talkie)
It's time....You read me? I don't
hear from you I'm going ahead now.
CHECKS HER WATCH:
1:30
INT. THE LOBBY - DAY - 1:31PM
MR. SMITH and GENE roll down the steps, fighting. MR. SMITH
basically beats the crap out of him and gets up to continue
on. GENE somehow pulls himself up and tackles MR. SMITH. He
gets in a few lucky shots before MR. SMITH overpowers him,
beats him again finally .sending him flying into the fountain
pool.
INT. THE VAN - DAY - 1:31PM
MS JONES looks to the back seat at LYNN.
LYNN
Why do you keep looking at me?
MS. JONES
That's my job. I'm your babysitter.
As they talk MS. JONES screws a silencer on her gun.
LYNN
I'm not a baby.
MS. JONES
You're a big girl, huh?
LYNN
I'm not a big girl but I'm not a
baby.
MS JONES turns to face LYNN.
MS. JONES
Close your eyes.
LYNN
Why?
MS. JONES
I've got something for you.
LYNN
A surprise?
MS. JONES
You ask too many questions. You want
the surprise or not?
LYNN closes her eyes. MS. JONES makes to do the deed.
Suddenly, HUEY appears behind her at the windshield.
HUEY
Good afternoon, madam. Hello there,
little girl.
With a crumpled up newspaper he begins vigorously rubbing
the window. LYNN's eyes pop open.
MS. JONES
Hey, hey, what are you doing!?
HUEY
Just giving you the gift of a clean
windshield. Only cost you a dollar.
MS. JONES
I don't want my windshield cleaned.
HUEY
You just think you don't want your
windshield cleaned.
MS. JONES
No, I know I don't want it cleaned.
Get out of here.
HUEY
Don't be like that. Think of me as
the Moses of dirty windshields leading
you through the desert of dead bugs.
LYNN laughs.
MS. JONES
For the last time, I don't want it
cleaned. Now get the hell out of
here!
HUEY
It's already done. I've already done
it. You have to pay me now.
MS. JONES
I don't have to pay you nothin'.
HUEY
You're going to deny me a lousy dollar
after I've sweated like a pig giving
you the gift of a clean windsheild?
MS. JONES
Fuckin' A.
HUEY
I don't think so.
He reaches in the passenger's window.
MS. JONES
Hey!
HUEY
I think this is worth a dollar.
He snatches the walkie-talkie off the seat.
MS. JONES
Goddamnit! Gimme that!
She lunges across. HUEY dangles the walkie-talkie before
her.
HUEY
Oh, we'll have to do better than
that.
MS. JONES
You worthless piece of shit! Gimme
that!
She throws open the passenger door, climbs out.
EXT. TAXI STAND - DAY
HUEY backs away, taunting her with the walkie-talkie. She is
caught between the van and HUEY, trying to keep her gun under
wraps.
MS. JONES
Goddamnit, you fuckin' bum, come
here!
HUEY
Gimme a dollar.
MS. JONES
Fuck you!
She loses it, hauls out her cannon.
BAM!
HUEY's leg is shot out from under him. He ends up on his
back. MS. JONES swoops down on him, trying to grab the walkie-
talkie..
MS. JONES
Gimme that thing!
HUEY's wounded leg is twisted under him.
INT. THE VAN - DAY
Lynn is terrified by the gunfire and looks for someplace to
go.
EXT. THE VAN - DAY
MS. Jones jumps on the wounded HUEY who is stunned but bravely
clutches the Walkie Talkie under him.
MS. JONES
Goddammit, give it to me, you
Sunnavabitch!
She sticks the gun in HUEY's face. He tries to take it away
from her, but she's really tough...and mad. The gun fires
wildly, hitting a passing vehicle which careens left causing
a chain reaction of COLLISIONS on the street.
INT. THE VAN - DAY
LYNN tries to open the van door to escape. The van's door
flies open. MR. SMITH stands there, gun in hand.-
MR. SMITH
Daddy blew it.
He points the gun. Lynn jumps back in terror and clambers
back in the van. She goes over the seat as he FIRES...
The back window SHATTERS.
MR SMITH steps inside the van a step and aims over the seat.
This time he won't miss.
LYNN has nowhere to hide.
BAM! BAM!
But it isn't his gun firing. He stands, staring surprised,
wide-eyed. He pivots...
EXT. TAXI STAND - DAY
...and stares at GENE, soaking wet, holding the gun. MR.
SMITH'S gun slides from his hand.
MR. SMITH
Very good...Mr. Watson. I told
them...I could make a killer out of
you.
He drops to his knees, pauses, then tree-falls onto his face.
ANGLE ON GENE
He rushes forward into the van and reaches over the seat to
pick Lynn up.
ANGLE ON MS JONES AND HUEY
She has heard the gunfire and turns her attention from HUEY
to GENE. She raises her gun and aims at GENE and LYNN inside
the van.
HUEY reaches down, grabs his ankle and pulls his shattered
artificial leg out of the pants-leg and applies it to the
side of her head. She is knocked aside and out.
HUEY
There's nothing like a good wing-
tip.
INT. BONAVENTURE HOTEL - SHOESHINE STAND - LATER - 2:26PM
At HUEY's shoe-shine stand, GENE and HUEY sit in the shoe-
shining chairs. They are variously bandaged. LYNN is on GENE'S
lap. She clings to him, .her face buried against him.
They are guarded by COPS.
HUEY
What time is it?
GENE looks at his wrist, gives an ironic smile.
GENE
Lost my watch.
A hub bub catches their attention.
ANGLE ON LOBBY AREA-BELOW - 2:26PM
A handcuffed BRENDAN GRANT is lead out by STATE POLICE. PRESS
flock around them - shouting questions.
ELEANOR GRANT watches her husband taken out.
The PRESS descends on her like ducks on bread crumbs.
Questions litter the air like confetti.
ELEANOR GRANT
Any comment at this time would be
most premature. Please, we'll have
something for you in a couple of
hours. Please...
ELEANOR GRANT finally makes her way toward GENE. COPS keep
the PRESS back.
INT. BONAVENTURE - SHOESHINE STAND - 2:27PM
ELEANOR GRANT looks at GENE for a long moment.
ELEANOR GRANT
I...1 would like to...thank you,
Mister Wat... Gene.
GENE NODS, SMILES.
ELEANOR GRANT
I would also like to apologize.
GENE
For what?
ELEANOR GRANT
For not believing you.
GENE
Believe me, I don't blame you.
(to LYNN)
This is the Governor, Lynn. Say hello.
LYNN lets go of her father with one of her hands, gives a
shy little wave.
The Governor reaches out, strokes the little girl's hair.
ELEANOR GRANT
You have a very brave father, Lynn.
LYNN looks up.
LYNN
He's a hero.
ELEANOR GRANT
Yes, yes he is.
LYNN
Dads are like that.
She goes back to clinging to her father. Gene looks like he
might cry he, loves her so much.
GENE
Can we go now?
ELEANOR GRANT
Of course. I'll get a car to drive
you.
GENE
No, that's... That's OK. We don't
need any help. We'll be just fine.
Won't we, Lynn?
LYNN nods. ELEANOR GRANT offers her hand to GENE.
ELEANOR GRANT
Good luck.
GENE
Same to you.
ELEANOR GRANT walks away. The PRESS renews their assault.
HUEY and GENE look at each other. Then:
GENE
Thanks for the shine.
HUEY
Thanks for the tip.
GENE
(to LYNN)
Come on, kid. I gotta make a phone
call.
He gets up wearily, carrying his daughter, grabs his
briefcase, and heads away. LYNN peeks back over his shoulder
at HUEY, shyly waves. HUEY points at her.
HUEY
Kisses to you.
LYNN laughs, comes to life.
LYNN
No, kisses to you!
HUEY
No, kisses to you.
INT. BONAVENTURE - LOBBY - DAY - 2:30PM
Across the lobby, GENE's watch lays on the ground. The crystal
is smashed, the hands stopped.
1:31.
A shoe steps on the watch, crushing it further. It belongs
to the MYSTERY MAN. He stops, checks his perimeters and walks
slowly toward the exit.
FADE OUT:
THE END
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