Nick of Time Page #5

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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.

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