Game, The (1997) by John Brancato and Michael Ferris and Larry Gross and Andrew Kevin Walker. Draft script. 2/8/96. More info about this movie on imdb.com
EXT. MANSION -- DAY -- HOME MOVIES
A stately mansion. A perfect lawn. A BUTLER carries a
birthday cake with sparking sparklers...
Past wealthy MEN in crewcuts and thin ties, WOMEN in cat-eye
sunglasses. Everyone sings (silent) "Happy Birthday"...
CHILDREN follow the cake, in dresses and suits, gathering
round NICHOLAS VAN ORTON, 7, guest of honor, who wears a
blindfold. MOTHER comes to remove the blindfold and
Nicholas ogles the cake, laughs. He reaches for a sparkler.
STEP PRINT: Mother intercepts, fussing, fixing his hair...
Nicholas' FATHER sits near, smoking, nodding. He's intense,
thin, wearing a party hat. He notcies the camera without
mugging for it, bends to snuff his cigarette in an ashtray.
SPLICE-JUMP TO/STEP PRINT: a Harlequin CLOWN ties balloon
animals. Nicholas assists, distracted by the inattentive
children who look into the camera and pull hair and stand on
their chairs...
Men are drinking, storytelling, laughing. A fraternity...
The women are elsewhere, doing movie-vamp poses for the
camera, blowing cigarette smoke, brightly dressed, eyelids
blue and green, lipstick perfect...
Servants clear the table. Father holds a piece of untouched
cake. A man talks to him, but Father stares off, lost in
thought. He's forgotten the party hat on his head...
STEP PRINT: Mother puts her arms around Father and makes him
face the camera. He leans in, posing dutifully.
SPLICE-JUMP TO: a nanny in uniform, ILSA, holds an INFANT
(CONRAD) to the camera, places the baby in Nicholas' arms.
STEP PRINT: Nicholas is gentle, overwhelmed by cradling his
tiny brother.
SPLICE-JUMP TO: children play tag. Across the lawn, Father
heads to the house. He looks back, walks backwards.
STEP PRINT: he gives a small wave, continuing away...
Kids chase past. Nicholas and two other kids huddle, arms
locked, spinning round and round, till they stumble
different directions, falling, laughing, dizzy...
Nicholas gets up, wearing a PUPPET on each hand.
STEP PRINT: He walks CLOSE and peers in the camera, steps
back, happily talking. We can't hear because it's SILENT...
DISSOLVE TO:
INT. VAN ORTON MANSION, BATHROOM -- MORNING
The emotionless face of NICHOLAS VAN ORTON, just today 40,
looks upon itself in a mirror. He brings an electric shaver
across his chin, shuts it off, wipes his face with a towel.
INT. VAN ORTON MANSION, MASTER BEDROOM -- MORNING
Nicholas crosses. The bedroom is spacious, devoid of
clutter. A weight-machine in a far corner. A big T.V.
shows CNN with no sound.
At a bedside table, Nicholas picks up a heavy, gold ROLEX,
sliding it on, checking the time. 6:32.
INT. VAN ORTON MANSION, KITCHEN -- NIGHT
Nicholas stands at the kitchen islandm his tie thrown over
his shoulder, eating breakfast. ILSA, now elderly, is
across the way doing dishes.
The only sounds are the tiny clicks of Nicholas' knife and
fork against his plate. He's reading a German newspaper.
Nicholas jabs the last piece of egg, skewers the last bit of
ham and last square of toast. Plate's clean.
He sips his last swallow of juice, dabs his mouth with a
napkin, picks up his briefcase and heads to a back door.
NICHOLAS
(without looking)
Thank you.
ILSA
Have a nice day.
EXT. VAN ORTON MANSION, BACKYARD -- MORNING
Nicholas walks down a garden pathway to a three-car garage.
He looks at his Rolex.
CUT TO:
INT. NICHOLAS' BENTLEY -- MORNING
Bentley Continental Coupe. Quiet. Nicholas drives, begins
humming, barely audible. A Prince song, "Erotic City."
NICHOLAS
(sings, to self)
...until the dawn... making love till
cherry's gone..
(humming, quiet)
... Erotic City, you and me...
Nicholas changes lanes, HONKING the HORN, impassive. We can
BARELY HEAR the BEEPING in here. He glances back.
He drives, adjusts his mirror. Resumes humming.
CUT TO:
EXT. VAN ORTON BUILDING -- MORNING
Distinctive SAN FRANCISCO skyline on the horizon.
Nicholas' building is a brownstone bookended by skyscrapers.
Old money dwarfed by new. The Bentley arrives...
INT. VAN ORTON BUILDING, UNDERGROUND GARAGE -- MORNING
The Bentley moves past a valet station. One VALET follows.
The Bentley takes its place. A brass plaque reads:
"NICHOLAS VAN ORTON, Van Orton Enterprises." The valet
opens the car door for Nicholas.
CUT TO:
INT. VAN ORTON OFFICE -- MORNING
Two objects on Nicholas' desk: phone and laptop computer.
He's on the phone, operating the laptop with one hand.
Business talk, mile-a-minute.
MALE VOICE (v.o.)
(from phone)
... might be perched up on majority
shares, but you're not the only one
who gets hurt if the actuals crash.
Forecasts were fucked to begin with.
NICHOLAS
(into phone)
The moment Baer/Grant's P and L
report is placed in my hand, I will
be speed dialing your number.
Empty walls. No distractions. MARIA, the proper executive
assistant, stands practically at attention.
MALE VOICE (v.o.)
Is that a promise?
NICHOLAS
I'm sorry... I'm unfamiliar with the
term.
MALE VOICE (v.o.)
What if Alan calls me with a sob
story about substantiation procedure?
NICHOLAS
Take evasive action: have your
secretary say you're in a meeting.
Goodbye, Jack.
MALE VOICE (v.o.)
Yeah.
Nicholas hangs up, shuffling computer windows: stock quotes,
pie-charts, graphs, lists. Maria refers to an index card.
MARIA
Invitations: the Museum Gala.
NICHOLAS
No.
NICHOLAS
The Fitzwilliam Botanical Garden
Annual Fundraiser.
NICHOLAS
No.
NICHOLAS
The Hinchberger wedding.
NICHOLAS
Let me think...
(sits back, eyes closed)
Hordes of men in tuxedos. Everyone's
droning. Ludwell's trying to break
the ice by reciting an off-color
limerick...
MARIA
(impatient)
I'll send your regrets. Honestly,
why must I even bother?
NICHOLAS
Because, if you don't know about
society, you don't have the
satisfaction of avoiding it.
A KNOCK and a female ASSISTANT enters. There's a lot more
NOISE and ACTIVITY behind her.
ASSISTANT
Elizabeth on line three.
Nicholas taps his fingers on his lips, considering.
MARIA
Your ex-wife.
NICHOLAS
I know who she is.
(to assistant)
Take a message.
ASSISTANT
Um... Happy Birthday, sir.
Nicholas squints.
MARIA
(icily)
Thank you, Maggie.
The assistant backs out. Nicholas returns to his computer.
NICHOLAS
I don't like her.
MARIA
I wouldn't mention the following,
except he was very insistent. It's
obviously some sort of prank...
NICHOLAS
What?
MARIA
A gentleman left a message requesting
a lunch, but I assured him...
NICHOLAS
What gentleman, Maria?
MARIA
A Mister... Seymour Butts.
Nicholas looks up. He sits back, lost in thought.
NICHOLAS
(to himself)
"Under the Bleachers"... by Seymour
Butts.
MARIA
Pardon me? I'm afraid I don't...
NICHOLAS
Cancel lunch. Make reservations at
Campton Place for me and Mr. Butts.
Maria nods, heading out, high heels clicking as she crosses.
NICHOLAS
And, put the reservation in my name.
CUT TO:
INT. CAMPTON PLACE RESTAURANT -- DAY
Upscale. Quiet. Nicholas is in a booth facing the rear,
studying a thick FINANCIAL STATEMENT, making tiny notations.
A WAITRESS arrives.
WAITRESS
Ready to order, sir?
NICHOLAS
I'm still waiting...
Nicholas points out the other plate. The waitress leaves.
NICHOLAS
Excuse me...
She returns. He slides his empty glass toward her.
NICHOLAS
This was iced tea.
He's returned to his report. The waitress takes the glass
and leaves, irritated. Nicholas checks his watch. An
EXAGGERATED SNEEZE is HEARD and liquid hits the back of his
neck -- AH-CHOO!...
Nicholas jumps, sickened, turning to face CONRAD, who holds
a spray bottle and smiles.
CONRAD
Hey there, Nickie.
NICHOLAS
(repulsed)
Conrad, what a surprise. Gesundheit.
CONRAD
Happy Birthday, man.
NICHOLAS
(nods)
"Seymour Butts." I never get tired
of that one.
CONRAD
That's why it's a classic. Come on,
man... how 'bout a hug... ?
Nicholas is wiping his neck with a napkin as Conrad forces a
hug on him. Conrad takes a seat, good-lookingm unkempt,
tan, wearing a too-big suit jacket.
CONRAD
They gave me a free jacket at the
door.
NICHOLAS
They'll be wanting it back.
CONRAD
Not after I'm done with it.
(laughs)
Actually, I've been here. In
grad-school I bought crystal-meth
from the maitre d'.
NICHOLAS
Which grad-school?
Conrad smiles. The brothers take each other in for a
moment. Long moment. They're a bit stunned to be reunited.
NICHOLAS
You look good.
CONRAD
So do you. And to think I was
worried...
NICHOLAS
About me?
CONRAD
How long's it been? Since mom
died... four years? How are you?
NICHOLAS
Never better.
CONRAD
Elizabeth?
NICHOLAS
Divorced. Remarried to some
pediatrician or gynecologist, or
pediatric gynaecologist, in Sausalito.
CONRAD
Too bad, I liked her. So, you're all
alone in the House of Pain?
NICHOLAS
I redecorated. What about you?
CONRAD
Nowhere in particular. Don't you
keep track of my whereabouts anymore?
NICHOLAS
Connie... what brings you here? Is
everything alright?
CONRAD
Yeah.
NICHOLAS
You need anything?
CONRAD
No.
NICHOLAS
Really?
CONRAD
I don't need anything from you. I
was laying on a beach somewhere in
Spain, naked, and, it hit me --
Nickie's birthday. So, here I am,
four layovers, twenty-seven hours
flying and one donkey ride later.
Not necessarily in that order.
Conrad drops an envelope on the table.
CONRAD
For you.
NICHOLAS
You shouldn't have.
Nicholas opens it, takes out a sappy, Hallmark B-day card.
A BUSINESS CARD falls out. Nicholas picks it up...
CONRAD
What do you get for the man who has
just slightly more than everything?
The card: "Consumer Recreation Services." With a
PHONE NUMBER and ADDRESS below.
CONRAD
Call that number.
NICHOLAS
"Consumer Recrreation Services."
What, do they make golf clubs?
CONRAD
Trust me. Call that number.
NICHOLAS
Why?
CONRAD
They make your life fun. Their only
guarantee is you will not be bored.
NICHOLAS
Fun?
CONRAD
You've heard of it. You've seen
other people having it. They're an
entertainment service, but more than
that.
NICHOLAS
This isn't an escort service?
CONRAD
It's a profound life experience.
NICHOLAS
Like a stroke?
CONRAD
Call them. Trust me.
The waitress shows up with Nicholas' iced tea, spills some.
Nicholas blots it up with a napkin.
WAITRESS
Sorry. Let me get you another
napkin.
NICHOLAS
I'll be fine... if we could just...
She moves off as Nicholas raises a finger to order, ignored.
CONRAD
Tell me you'll call.
NICHOLAS
Okay.
CONRAD
Will you?
NICHOLAS
I said I would...
CONRAD
But, will you?
NICHOLAS
Are you still on mediction?
CONRAD
(taken aback)
Why would you say that?
The waitress arrives.
WAITRESS
Ready to order, gentlemen?
NICHOLAS
(ignores, to Conrad)
I didn't mean it like it sounded...
CONRAD
I'm not on anything anymore. I'm not
even seeing a shrink. I'm happy.
(notices waitress,
turning to her)
Do you mind... ?!
The waitress gives him a look, leaves.
CONRAD
(to Nicholas)
I thought you'd like this. Best
thing I ever did. If you don't want
to do it, DON'T...
NICHOLAS
I'll call them, okay?
CONRAD
It doesn't matter...
NICHOLAS
I'm going to call.
CONRAD
Do it for YOU.
NICHOLAS
Okay, okay... okay?
(pause, studies card)
I just... you know I hate surprises.
CONRAD
I know...
Conrad CLINKS his fork against a glass, motioning...
Behind Nicholas, WAITERS, WAITRESSES and BUS-BOYS, lying in
wait, now come to SING "HAPPY BIRTHDAY."
Conrad stands, loving it. Nicholas forces a fake smile.
CUT TO:
EXT. NICHOLAS' NEIGHBORHOOD -- NIGHT
The Bentley cruises hilly streets, ESTATES on all sides.
INT. NICHOLAS' BENTLEY -- NIGHT
Nicholas is on his CELLULAR PHONE. CLASSICAL MUSIC PLAYS.
FEMALE VOICE (v.o.)
(from cellular)
... seen the profitability report.
No one's happy with the numbers.
NICHOLAS
(into cellular)
Imagine how much MORE unhappy I am.
FEMALE VOICE (v.o.)
You'll deal with Alan?
NICHOLAS
Correct.
FEMALE VOICE (v.o.)
Okay, Nicholas. Sleep well.
NICHOLAS
I plan to.
He increases VOLUME on the CLASSICAL MUSIC, makes a turn.
He looks out his window, watching the street roll past...
FLASHBACK/GRAINY HOME MOVIES -- 1960'S -- DAY
SILENT, HOME MOVIE-ISH IMAGES as before: YOUNG NICHOLAS, 10,
peers out from a LIMOUSINE, watching his neighborhood
pass... PERIOD FASHIONS, PERIOD CARS and HOUSES...
BACK TO SCENE, IN THE BENTLEY
Nicholas faces front. The Bentley comes to the formidable
FRONT GATE of the mansion. The gate begins to slide open.
Nicholas stares ahead, expressionless.
FLASHBACK/GRAINY HOME MOVIES -- 1960'S -- DAY
The LIMOUSINE pulls up the ungated driveway. Young Nicholas
emerges, carrying books, waving goodbye to the CHAUFFEUR.
Young Nicholas runs past rose bushes, heading to the house,
but slows, looking up...
High up, Nicholas' FATHER, in a robe, stands on a balcony
railing, looking to hte sky. He's weary, lowers his gaze...
Young Nicholas is puzzled, gives a tentative wave.
Father just stares, eyes dead, expression blank.
BACK TO SCENE, IN THE BENTLEY
Nicholas looks down, puts the car in gear and drives...
THRU THE WINDSHIELD: the Bentley's headlights sweep the
stately Van Orton house.
CUT TO:
EXT. VAN ORTON MANSION, BACKYARD -- NIGHT
Nicholas exits the garage, walks up the garden path. Ahead,
Ilsa's leaving through the kitchen door of the house,
heading across the yard to the GUEST HOUSE.
ILSA
Dinner's in the oven.
NICHOLAS
Thank you. Goodnight.
At the rear door, Nicholas stops himself.
NICHOLAS
Oh, I saw Conrad today.
Ilsa stops, looking back. They're far from each other.
ILSA
You did? How is he?
NICHOLAS
Okay. I think he's into some sort of
new personal improvement cult.
ILSA
(nods, at a loss)
Well... send my love, if you see him
again.
Nicholas nods. Ilsa leaves.
CUT TO:
INT. VAN ORTON MANSION, KITCHEN -- NIGHT
Nicholas uses mitts to remove a dinner plate from the oven,
sets it on a waiting tray: huge cheeseburger and hand-cut
french fries, perfectly presented.
Nicholas picks up a CUPCAKE with a B-day candle in it.
CUT TO:
INT. VAN ORTON MANSION, DEN -- NIGHT
Nose-bleed-high ceilings. Cavernous fireplace. THREE TVs
in the ENTERTAINMENT WALL, the largest showing CNN.
Nicholas is seated in a chair facing his meal, pouring a
glass of champagne.
He toasts to no one, takes a sip. The PHONE RINGS.
Nicholas looks to it, hesitates. He hits SPEAKERPHONE.
NICHOLAS
(to speakerphone)
Elizabeth.
ELIZABETH (v.o.)
(from speakerphone)
Happy Birthday, Nick.
NICHOLAS
(looks at watch)
Eleven forty. You almost didn't make
it this year.
Nicholas uses a REMOTE to MUTE BERNARD SHAW on the TV.
ELIZABETH (v.o.)
Did you have a great birthday?
NICHOLAS
Does Rose Kennedy have a black dress?
You know my parties. I went not
once, but twice through the
spanking-machine.
ELIZABETH (v.o.)
I can only imagine. How are you?
NICHOLAS
Connie asked me the same thing today.
ELIZABETH (v.o.)
Connie, really? I always liked him.
NICHOLAS
Anyway...
ELIZABETH (v.o.)
I just thought this... might be
difficult for you.
NICHOLAS
Just another birthday.
ELIZABETH (v.o.)
I meant because of your father.
NICHOLAS
That's right. He was forty, wasn't
he? Hadn't thought about it, to tell
you the truth, thanks for the
reminder.
ELIZABETH (v.o.)
Why do I call you... ?
NICHOLAS
I honestly don't know. Listen, give
my best to Doctor Mel and Rachel....
ELIZABETH (v.o.)
Sue has a little brother on the way.
We just did the ultrasound.
NICHOLAS
No kidding? An official nuclear
family. You must be pleased.
ELIZABETH (v.o.)
We are. We couldn't be happier.
Nicholas smiles thinly, bored, waiting for more.
NICHOLAS
Well, so... thanks for calling. I've
got some work here...
ELIZABETH (v.o.)
I should let you go.
NICHOLAS
Take care of yourself.
ELIZABETH (v.o.)
You too, Nicholas. I mean that, I
really do.
NICHOLAS
Um-hm. Good luck. Bye.
He PUSHES OFF the PHONE in the middle of her "goodbye." He
uses the t.v. remote to give BERNARD SHAW back his VOICE.
Nicholas eats, watching the news. He takes out the business
card Conrad gave him, looks at it, puts it on the table.
The card: "Consumer Recreation Services."
Nicholas sits back, chewing. He stares at the ceiling.
FLASHBACK/GRAINY HOME MOVIES -- 1960'S -- DAY
SILENT IMAGES: Nicholas' FATHER stands on the high balcony,
as before. He looks skyward one last time, then LAUNCHES
INTO SPACE... falling in EXTREME SLOW MOTION...
A head-first dive...
CUT TO:
INT. OFFICE BUILDING, 10TH FLOOR -- DAY
"DING," elevator doors open. Nicholas and TWO EXECUTIVES
are talking. As PEOPLE get on, the two executives get off.
EXECUTIVE 1
We're getting off here.
Nicholas follows. He and the executives huddle nearby.
NICHOLAS
(voice low)
So, we understand each other?
EXECUTIVE 2
We do.
NICHOLAS
Make it work on paper, and you can
count on my full support.
EXECUTIVE 1
Right-o. We'll talk. Soon.
They shake. The executives walk away. Nicholas returns to
elevator, pushes the button, waiting. He turns, noticing...
A massive WALL OF TRANSLUCENT GLASS marks the office of
"C.R.S." Modern. Activity beyond it.
Nicholas finds this disconcerting. He takes out his wallet,
digging up the C.R.S. business card, studying it... looking
again to the glass facade to double check.
He looks at his Rolex.
ON THE OTHER SIDE OF THE GLASS DOORS
Nicholas enters. A female RECEPTIONIST speaks into a
HEADSET/PHONE. EMPLOYEES mill about. UTILITY MEN sort
crawlspace wiring.
NICHOLAS
(to receptionist,
shows "C.R.S." card)
Is this Consumer Recreation
Services... ?
The reecptionist takes the card. In the b.g., JIM FEINGOLD
pays a DELIVERY GUY for CHINESE FOOD.
RECEPTIONIST
(into PHONE)
You shouldn't feel this reflects
negatively upon yourself.
(to Nicholas)
Just a moment.
(back into phone)
We hope we haven't caused you any
inconvenience. Thank you for
considering C.R.S.
She studies the card, hangs up and motions to Feingold, a
bald, amiable engineer-type who passes with his food bag.
RECEPTIONIST
Mister Feingold... could you assist
this gentleman?
Feingold spins on his heels, looking, walking over with his
hand out. Nicholas shakes.
FEINGOLD
Jim Feingold, V.P., E.D.A.
Engineering and Data Analysis.
NICHOLAS
I'm not quite sure how this works.
My brother...
FEINGOLD
Oh, here we go...
Feingold takes the card the receptionist offers, examines
it, turns it over: finds FOUR NUMBERS on the back.
FEINGOLD
(of the numbers)
Excellent. Let's get started.
Nicholas picks up his briefcase to follow Feingold.
INT. C.R.S. OFFICES -- DAY
Big operation. Feingold leads past partitioned cubicles
that seem to go on forever. C.R.S. WORKERS abound.
TELEPHONE CO. WORKMEN operate on the phones.
FEINGOLD
Sorry about about all the hullabaloo.
We're still moving. Stick with me...
I've got an office around here
somewhere.
Feingold reaches open BOXES, begins collecting pages from
each, loading up on all sorts of forms. he holds out his
leaking, greasy food bag to Nicholas.
FEINGOLD
Mind holding this... ?
Nicholas reluctantly takes it, keeping it at arms length.
INT. FEINGOLD'S OFFICE -- DAY
Feingold types at his computer. Nicholas stands, looking
through the pile of forms on a clipboard.
FEINGOLD
(TYPES in keyboard)
V-A-N... O-R-T-O-N...
(studies screen)
A gift from Conrad Van Orton.
Interesting...
NICHOLAS
What is?
Feingold picks up his Chinese food, eats using chop-sticks.
The BOX features a grinning CARTOON PANDA mascot,
FEINGOLD
(still studying screen)
Your brother was a client with our
London branch. We do a sort of
informal scoring. His numbers were
outstanding.
(holds up box)
Sure you're not hungry at all... ?
Tung Hoy, best in Chinatown...
NICHOLAS
No, thank you.
FEINGOLD
(eating, mouth full)
You need to fill out those forms.
Application, psych-tests: M.M.P.I.
and T.A.T. For the financial
questionnaire, don't answer anything
you don't feel like. We'll run a
T.R.W....
Nicholas looks through the densely written forms.
NICHOLAS
(reading FORM)
"I sometimes hurt small animals.
True or False?" "I feel guilty when
I masturbate..."
Nocholas looks up, skeptical. Feingold shrugs, embarrassed.
FEINGOLD
I don't write the questions. I just
review them.
NICHOLAS
What's all this for?
FEINGOLD
We want a sense of your overall
capabilities, limitations, turn-ons,
turn-offs...
NICHOLAS
No, I mean, what is it FOR? What
are you selling?
FEINGOLD
Oh... it's a game.
NICHOLAS
A game?
FEINGOLD
Tailored specifically to each
participant. Think of it as a great
vacation, except you don't go to it,
it comes to you.
NICHOLAS
What kind of vacation?
FEINGOLD
It's different every time.
NICHOLAS
(patience waning)
Humor me with specifics.
FEINGOLD
We provide whatever's lacking.
NICHOLAS
And if nothing's lacking?
FEINGOLD
May I make two suggestions... ?
NICHOLAS
Do you really expect me to
participate without knowing a single
thing?
FEINGOLD
First, admit to yourself that it
sounds intriguing. Second, you don't
have to decide today. Take the silly
tests, fill out the forms. One day,
the game begins. You either love it
or hate it. Decide then. We're like
an experimental Book-of-the-Month-
Club; drop out at any time with no
further obligation.
(smiles)
That was my sales pitch.
Nicholas thumbs thru the forms one last time...
NICHOLAS
How long will these take?
FEINGOLD
An hour for those... maybe another
for the physical.
NICHOLAS
Physical?
FEINGOLD
Cursory examination. Turn-your-head-
and-cough sort of thing. You'll be
out of here in no time.
Feingold takes out a ballpoint pen, clicks it and offers it
to Nicholas. Nicholas takes it.
On the pen, in tiny letters: the C.R.S. LOGO.
CUT TO:
TESTING MONTAGE -- VARIOUS C.R.S. OFFICES -- DAY
- Nicholas fills out an APPLICATION of endless questions.
- A #2 pencil fills in circles on a long M.M.P.I. form.
CLOSE ON: "I often feel someone is following me.
True/False." "I hate vegetables. True/False." "Vegetables
hate me. True/False."
- WHITE ROOM. A stone-faced PSYCHOLOGIST holds up CARDS.
Nicholas gives his unenthusiastic interpretation into a TAPE
RECORDER, checks his Rolex.
One CARD shows a large ant in an apron feeding a TV dinner
to a human child. That card is replaced by another of a man
slipping head over heels on a banana peel.
- Nicholas wears HEADPHONES, facing a TECHNICIAN, raising a
finger on his left fist or right fist for each low BEEP.
Nicholas sighs, can't believe he's doing this.
INT. C.R.S. OFFICES, EXAM ROOM -- MONTAGE CONTINUES
Electronic MONITORS and PRINTERS record Nicholas' EEG and
EKG. He's on an exam table, wearing a paper gown, covered
in SENSORS and WIRES, talking on a C.R.S. telephone.
NICHOLAS
(into phone)
... cancel. Push Cooper back to
Wednesday afternoon.
A TECHNICIAN studies readouts. A NURSE takes BLOOD PRESSURE.
MARIA (v.o.)
(from phone)
Mister Sutherland called about
Baer/Grant Publishing.
NICHOLAS
(into phone)
Tomorrow. Hold on...
(to NURSE)
How much longer?
NURSE
Almost done.
NICHOLAS
I heard that two hours ago.
The nurse smiles, pumping up the blood-pressure cuff.
Nicholas returns to the phone.
- DARK ROOM. Images FLASH on a screen: SHAPES, CURSE WORDS,
PICTURES of U.S. PRESIDENTS, INSECTS...
In flickering light, Nicholas, still in his gown, watches
with THREE BUTTONS before him, pushing one from time to
time. Frustrated, he looks around. He stands and turns...
Directly into the projector's bright BEAM OF LIGHT.
NICHOLAS
Hello... ? Anyone there?
(squints, holds up hand)
Hello?!
CUT TO:
INT. C.R.S. OFFICES, EXAM ROOM -- DAY
Nicholas dresses, alone, pulling up his pants. He notices
above: a MIRRORED DOME in the corner, obviously a camera.
Nicholas pulls on his jacket as Feingold arrives.
FEINGOLD
Sorry to keep you waiting.
NICHOLAS
Don't worry. It's been terrific
spending the entire day with your
"crack team".
FEINGOLD
It's all down to this...
Feingold holds out a CLIPBOARD with PAPERWORK in it.
Nicholas takes it, studies it, wary.
FEINGOLD
An insurance company requirement. It
states that you are aware "the game"
exists and that you are a willing
participant in said game, so on and
so forth.
Nicholas flips a page and Feingold leans over, pointing.
FEINGOLD
(of the paperwork)
One guarantee. Payment's entirely at
your brother's discretion and, as a
gift, dependent on your satisfaction.
NICHOLAS
(still reading)
You mean, I don't like it, he doesn't
pay?
FEINGOLD
It's never happened. We've never had
an unsatisfied customer.
NICHOLAS
You mean, dissatisfied.
FEINGOLD
(glances at form)
That's right -- you're a left-brain
word fetishist.
Nicholas uses the C.R.S. pen to sign. Feingold turns pages.
FEINGOLD
Initials... initials, and...
(another page)
Sign here.
Nicholas is about to sign when Feingold grabs his wrist...
FEINGOLD
In blood.
(laughs)
Just kidding.
Nicholas signs. Feingold tears out a few PINK TINTED COPIES
and hands them to Nicholas, kind of in a hurry now.
FEINGOLD
Your copies, thank you. Keep the
pen. We'll let you know.
Feingold exits, gives a thumbs-up and a WINK, shuts the
door. Nicholas is a bit bewildered. He continues dressing.
NICHOLAS
(muttering to self)
... grown man just winked at me.
INT. ATHLETIC CLUB, RACQUETBALL COURT -- NIGHT
WHAM! -- a blue racquetball BALL SLAMS a wall...
THRU A WINDOW: Nicholas plays, alone, sawtting violently at
the ball. We HEAR a PHONE CONVERSATION in VOICE OVER:
CONRAD (v.o.)
What about Monday or Tuesday?
NICHOLAS (v.o.)
Bad for me.
CONRAD (v.o.)
How 'bout tonight?
NICHOLAS (v.o.)
Unfortunately I'm working all
evening. Wednesday's the only
possibility right now...
CONRAD (v.o.)
Okay.
NICHOLAS (v.o.)
Dinner?
CONRAD (v.o.)
Fine. I get to pick the restaurant.
NICHOLAS (v.o.)
By the way, I went to C.R.S...
CONRAD (v.o.)
Really? What'd you think?
NICHOLAS (v.o.)
They seemed disorganized.
Nicholas finishes playing, exits. The ball keeps bouncing.
CONRAD (v.o.)
Well, the office is new. When I did
it in London, they'd been around
awhile. You gonna do this?
NICHOLAS (v.o.)
Haven't decided yet.
CUT TO:
INT. ATHLETIC CLUB, LOCKER ROOM -- NIGHT
Carpeted floors and mahogany lockers. Nicholas sits at his
locker, wet, in a monogrammed robe, toweling his hair.
VOICES can be HEARD O.S.: BUSINESSMAN 1 and BUSINESSMAN 2.
BUSINESSMAN 1 (o.s.)
... getting in on the ground floor of
the next Disneyland.
BUSINESSMAN 2 (o.s.)
C.R.S. will not go public. They're
family owned.
BUSINESSMAN 1 (o.s.)
Stranger things have happened.
BUSINESSMAN 2 (o.s.)
No, they haven't, actually.
Nicholas leans to look around a locker. Businessman 1 and 2
dress, two fat-cats. Nicholas leans back, still listening.
BUSINESSMAN 1 (o.s.)
They just opened here.
BUSINESSMAN 2 (o.s.)
The game in San Francisco? You see,
they're doing fine without any of us.
INT. ATHLETIC CLUB, LOUNGE/BAR -- NIGHT
Nicholas enters, looking around, spotting Businessman 1 and
2 across the room. He gets the BARTENDER'S attention,
motioning to the businessmen.
NICHOLAS
New members?
BARTENDER
I believe so, sir.
NICHOLAS
This round's on me.
Nicholas moves casually toward the men...
INT. ATHLETIC CLUB, BAR/LOUNGE -- TIME CUT
LATER. Another round arrives at the table where Nicholas
and Businessman 1 and 2 chat. The businessmen smoke cigars.
BUSINESSMAN 1
... last time I played Pebble, I
swore I'd never pick up a club again.
NICHOLAS
Speaking of games... I couldn't help
but overhear you talking about C.R.S.
Businessman 1 and 2 share a furtive glance. Nicholas
discretely waves cigar smoke out of his face.
NICHOLAS
I only mention it because I took the
test this afternoon, down on
Montgomery Street.
BUSINESSMAN 2
Did you? Kudos.
BUSINESSMAN 1
So, yours hasn't started?
NICHOLAS
Not yet. I was hoping you could tell
me... uh...
(almost embarrassed)
What is it?
Businessman 1 and 2 smile. Shared enlightenment.
BUSINESSMAN 1
(to Businessman 2,
knowingly)
Ahh, what is it?
BUSINESSMAN 2
The eternal question.
BUSINESSMAN 1
(to Nicholas)
I envy you. I wish I could go back
and do it for the first time all over
again...
He raises his glass. They toast.
BUSINESSMAN 1
Here's to... new experiences.
(gulps drink)
If you'll excuse me, I've got to be
going. 'Night, Jon... Nicholas.
He leaves. Nicholas focuses on Businessman 2.
NICHOLAS
Did you play recently?
BUSINESSMAN 2
Hm? No, about a year ago. I was
working out of Los Angeles.
NICHOLAS
(nodding)
I've heard good things about their
London branch.
(leans in)
You have to admit, it sounds like
some fantasy, role-playing nonsense.
BUSINESSMAN 2
You want to know what it is? What
it's all about?
(off Nicholas' nod)
John. Chapter nine. Verse
twenty-five.
NICHOLAS
I, uh... haven't been to Sunday
school in years...
BUSINESSMAN 2
"Whereas once I was blind, now I can
see."
(rises)
Night, Nick. Best of luck.
Businessman 2 puffs his cigar, walks away. Nicholas watches
him go, then pauses, puzzled, mouthing the words to himself.
CUT TO:
INT. LAW FIRM, CONFERENCE ROOM -- DAY
A table of unhappy LAWYERS. Nicholas goes thru a thick
CONTRACT with a red pen, CIRCLING, CROSSING-OUT and
SCRAWLING QUESTION MARKS ON paragraphs that displease him.
SUTHERLAND, trust personified, in his late 50's, stands
behind Nicholas, imperturbable.
NICHOLAS
(still scrawling)
As far as I'm concerned...
(reading, x-ing out)
... if the Baer/Grant meeting does
not take place tommorow, it might
as well never take place at all.
Nicholas slides the contract to the center of the table.
SUTHERLAND
When Mr. Van Orton boards his plane
in the morrow, he will have every
contract, side agreement and
addendum, the complete closing
package, flawlessly revised.
INSTANT UPROAR as the contract is grabbed up. All the
lawyers talk at once, fearful, arguing, protesting.
SUTHERLAND
Ladies and gentlemen...
(as they quiet)
This is why you're paid twice what
you deserve. So you will miss
another opera you would've fallen
asleep during anyway...
During this, Nicholas' CELLULAR PHONE is HEARD RINGING.
Nicholas takes it out, irritated.
SUTHERLAND
The meeting has been moved forward.
It affords you the opportunity to
show our client how well you will
rise to his exhilarating challenge.
QUIET COMMOTION resumes as Nicholas takes his cellular phone
to a corner, answering impatiently:
NICHOLAS
(into cellular)
Yes?
WOMAN'S VOICE (v.o.)
(from cellular)
Nicholas van Orton?
NICHOLAS
Yes, who is this?
WOMAN'S VOICE (v.o.)
This is Cynthia calling from C.R.S...
NICHOLAS
How did you get this number?
WOMAN'S VOICE (v.o.)
We've finished processing your
application...
NICHOLAS
I'm in a meeting...
WOMAN'S VOICE (v.o.)
... I'm afraid your application was
rejected.
NICHOLAS
(pause)
Pardon me?
WOMAN'S VOICE (v.o.)
You shouldn't feel this reflects
negatively upon yourself. We hope we
haven't caused you any
inconvenience...
NICHOLAS
This is absurd...
WOMAN'S VOICE (v.o.)
Thank you for thinking of C.R.S.
CLICK -- she's hung up. Nicholas folds the phone and
pockets it, his mind suddenly far away from the meeting
behind him. Sutherland steps close, concerned, quiet...
SUTHERLAND
Anything wrong... ?
NICHOLAS
Nothing. Nothing at all.
CUT TO:
EXT. FINANCIAL DISTRICT STREETS -- NIGHT
Nicholas guides the Bentley down streets lined with
skyscrapers, staring ahead. A previous PHONE CONVERSATION
is HEARD in V.O., a PHONE RINGING... RINGING... RINGING...
SWITCHBOARD OPERATOR (v.o.)
Would you like voice-mail?
NICHOLAS (v.o.)
I suppose.
SWITCHBOARD OPERATOR (v.o.)
I'll connect you. Thank you for
calling the Four Seasons.
EXT. NICHOLAS' NEIGHBORHOOD -- NIGHT
The Bentley heads towards home. The V.O. PHONE CONVERSATION
CONTINUES uninterrupted, CLICKING, then...
CONRAD'S VOICE (v.o.)
(voice-mail recording)
This is Conrad. Leave a message.
NICHOLAS (v.o.)
(waits till after BEEP)
Connie, it's Nicholas. Give me a
ring when you get a chance...
INT. BENTLEY -- NIGHT
The Bentley reaches the VAN ORTON GATES, which open slow.
V.O. CONVERSATION CONTINUES:
NICHOLAS (v.o.)
About your birthday gift. Things are
tight right now. I'm just not sure
whether it'll fit my schedule.
Anyway, see you at dinner tomorrow.
The PHONE is HEARD DISCONNECTING.
EXT. VAN ORTON MANSION -- NIGHT
The Bentley's headlights sweep the front of the Van Orton
house. There's something there, on the ground...
INSIDE THE BENTLEY
Nicholas stops the car, peering ahead, worried...
THRU THE WINDSHIELD: A BODY lies face down on the edge of
the driveway.
FLASHBACK/GRAINY HOME MOVIES -- 1960'S -- DAY
The BODY of Nicholas' FATHER, sprawled face-down, in nearly
the same place, head twisted, mouth bloody.
BACK TO SCENE
Nicholas gets slowly out of the Bentley, reluctant.
NICHOLAS
Hello! What are you doing there?
(no reaction)
Wonderful...
Nichoals CLAPS his hands. The body doesn't stir. Nicholas
look all directions, then approaches.
NICHOLAS
Are you okay?
Nicholas nudges the body with his foot. He crouches,
confused, turning the limp body. It's a grotesque
HARLEQUIN, not unlike the clown from Nicholas' seventh
birthday, with a shiny face of painted wood.
Nicholas looks around for an explanation.
CUT TO:
INT. VAN ORTON MANSION, FOYER -- NIGHT
The front door opens. Nicholas enters with the Harlequin,
depositing it on a hallway BENCH.
A half-inch of RED RIBBON sticks out from the Harlequin's
lips. Nicholas tugs the ribbon... pulling out a GOLD KEY
tied to the other end.
Three letters embossed on the key: "C.R.S."
CUT TO:
INT. VAN ORTON MANSION, DEN -- NIGHT
Nicholas sits with his evening's meal, examining the key.
CNN on TV. He looks across the room to the couch where the
Harlequin is slumped staring back.
BERNARD SHAW (v.o.)
(from television)
... according to Nicholas Van Orton,
millions of Americans will be
affected by this legislation.
Nicholas hears this vaguely in the back of his mind, looks
to the TV. BERNARD SHAW has moves on to the next story.
Nicholas goes to the Harlequin, opening its hinged mouth,
attempting to look inside. He gets a knife from his tray,
uses it to probe the Harlequin's mouth, jabbing, prying.
BERNARD SHAW (v.o.)
... number of criminals behind bars
growing by record numbers, with Van
Orton pointing the finger at stiff,
anti-crime regulations...
Nicholas looks up. He heard that. He walks toward the TV.
Bernard Shaw is reporting, nothing strange.
Nicholas waits. Nothing. He walks away...
BERNARD SHAW (v.o.)
... largest portion of population
incarcerated. These figures were
given at a press conference called
toady by Mr. Nicholas Van Orton.
Nicholas turns, disbelieving. Bernard Shaw apparently looks
out FROM THE TELELVISION, perturbed...
BERNARD SHAW (v.o.)
You going to spend the rest of the
evening prying at that clown's mouth?
NICHOLAS
(dumbfounded)
I... I don't...
BERNARD SHAW (v.o.)
It's frustrating for me if you don't
even pretend to pay attention.
NICHOLAS
What is this... ?
BERNARD SHAW (v.o.)
This is your game, Nicholas, and
welcome to it. I'm here to let you
in on a few ground rules...
Bernard Shaw's FACE RIPPLES and GLITCHES occasionally,
revealing its true, computer-generated nature.
BERNARD SHAW (v.o.)
You've received the first key and
others will follow. You never know
where you'll find them, or when or
how you'll need to use them, so keep
your eyes open.
NICHOLAS
(waves his hand)
How do you... ? You can see me?
BERNARD SHAW (v.o.)
I see you, I hear you. Why don't we
save the questions till...
NICHOLAS
How does this work?
BERNARD SHAW (v.o.)
There's a tiny camera looking at you
right now.
NICHOLAS
That's impossible.
BERNARD SHAW (v.o.)
You're right. Impossible. You're
having a conversation with your
television.
Nicholas touches the TV, feeling the seams.
BERNARD SHAW (v.o.)
It's miniaturized.
Nicholas begins poking his butter knife between slots of the
television's speaker, stabbing, poking...
BERNARD SHAW (v.o.)
Do you know how dangerous that is?
Nicholas pries at the plastic speaker cover. It's not easy,
but he's determined, cracking the plastic...
ILSA (o.s.)
Mister Van Orton... ?
The speaker cover breaks off with a SNAP! and Nicholas
spins, holding the broken piece.
NICHOLAS
Yes... Ilsa, what is it?
ON T.V., Bernard Shaw grabs up pages, resumes...
BERNARD SHAW (v.o.)
... and in other news, auto workers
vowed to remain on picket lines...
Ilsa's in the doorway, wondering.
ILSA
Is everything alright?
NICHOLAS
Fine.
ILSA
I've finished for the evening. Will
you be needing anything else?
NICHOLAS
No, thank you. Goodnight.
ILSA
Goodnight then.
She leaves. Nicholas throws the piece of television away.
Bernard Shaw stops reading now that the coast is clear.
BERNARD SHAW (v.o.)
Who was that?
NICHOLAS
Never mind who that was.
BERNARD SHAW (v.o.)
You're uncomfortable. You want to
know how a camera got into your home,
don't you?
NICHOLAS
Yes, I do.
ON TELEVISION: Bernard Shaw is REPLACED by a FISH-EYED IMAGE
of NICHOLAS' DEN. It shows Nicholas from behind.
The P.O.V. is not from the TV. Nicholas crosses the
room, keeps his eye on the TV as a guide...
BERNARD SHAW (v.o.)
(from t.v., o.s.)
... cold... cold... warmer...
warmer...
ON TELEVISION: Nicholas gets bigger as he gets closer to...
The Harlequin. Nicholas leans, looks at the clown's eyes...
ON TELEVISION: Nicholas' face is huge, distorted.
Nicholas pries one of the Harlequin's glass eyes with his
knife, pulling it out and examining it.
ON TELEVISION: The Harlequin's P.O.V. turns to STATIC.
Bernard Shaw returns with a PHONE NUMBER SUPERIMPOSED.
BERNARD SHAW (v.o.)
Write this number down. It's a
24-hour Consumer Recreation Services
hotline, for emergencies only.
BERNARD SHAW (v.o.)
But, don't call asking what the
object of the game is; figuring that
out is the object of the game.
Nicholas feels his pockets, finds the C.R.S. pen. He comes
up with a VALET PARKING TICKET to scrawl the number on.
BERNARD SHAW (v.o.)
Good luck and congratulations on
choosing C.R.S. We now return you to
your regularly scheduled program...
STATIC and SNOW, then CNN's Bernard Shaw is back for real,
newscasting. Nicholas reads the number he wrote.
CUT TO:
EXT. VAN ORTON MANSION -- NIGHT
Nicholas crouches at a coaxial CABLE LINE at the side of the
house. He fingers a BOX with a miniature LOOP and RABBIT
EAR ANTENNA that's been spliced into the line.
He starts to unscrew it... then thinks twice. He leaves it.
INT. VAN ORTON MANSION, KITCHEN -- NIGHT
Nicholas enters thru the back door. He pauses, looking out
at the night. He closes the door and locks it. He PUNCHES
the ALARM CODE into a KEYPAD.
Nicholas takes his Bentley key chain from its hook, takes
out the gold, "C.R.S." key... adding it to the keychain.
CUT TO:
INT. SAN FRANCISCO INTERNATIONAL AIRPORT -- DAY
Nicholas enters the vast, busy terminal, briefcase in hand.
He walks with purpose, but is extra-aware of the world
around him. He notices...
A MAN and WOMAN engaged in a SIGN LANGUAGE conversation.
A MAN reading a newspaper peers from behind the pages.
A JANITOR opens a door with a big KEY CHAIN full of keys.
A MAN on a payphone seems to be staring at Nicholas...
Nicholas turns his head to keep an eye on the man,
practically bumping into a grimy HOMELESS BUM...
HOMELESS BUM
Help me out there? Used to be an
affluent fella, till some folks did
this to me...
Nicholas moves away, leaving the homeless man behind.
HOMELESS BUM
Don't ignore me. I got screwed.
INT. AIRPORT, RED CARPET LOUNGE -- DAY
Quiet MUSIC. Rich people's lounge. Nicholas sits with a
cup of coffee, considering magazines on a coffee table. Two
seats down, a BUSINESSMAN coughs and rises, leaving his
newspaper on the empty seat between Nicholas and himself.
Nicholas glances down, curious when he sees...
A smiling-clown-face INFANT'S RATTLE on the seat beside,
sticking out from under the paper.
Nicholas catches only a glimpse of the exiting businessman.
Nicholas looks around, picks up the rattle.
He rattles it, studies it, rattles it in his ear. He tries
to see thru it by holding it up to the light. He doesn't
notice the MOTHER who enters with a baby, watching him.
MOTHER
Excuse me...
Nicholas looks up, realizes, awkward, offering the rattle.
She takes it and exits.
There's a BESPECTACLED MAN watching Nicholas.
Nicholas notices, tries to ignore.
But, bespectacled man is really staring.
NICHOLAS
(sits forward, fed up)
May I help you... ?
Nicholas' tone has turned other heads. Bespectacled man
seems embarrassed, shy, taps his chest.
NICHOLAS
What... ? What is it?
Bespectacled man taps his chest again, points at Nicholas.
Nicholas looks down. Inside his suit jacket -- a huge blue
INK STAIN across his shirt. Nicholas stands, aghast, taking
out the offending pen.
It's the "C.R.S." pen, dripping ink.
INT. AIRPORT, BATHROOM -- DAY
Running water. Nicholas tries to clean his shirt, blotting
it ineffectually with wet paper towels. he looks in the
mirror, crestfallen. The stain's worse.
DEEP VOICE (o.s.)
Hey, buddy... you still out there?
Nicholas looks around. He's alone, except for a MAN in a
TOILET STALL. All we see are the man's brown shoes.
DEEP VOICE (o.s.)
(from toilet stall)
I'm in a little bit of trouble...
The man's hairy hand motions from below the stall. Nicholas
backs away, nervous, grabs his briefcase.
DEEP VOICE (o.s.)
I need paper. There's none in here.
Come on, help a guy out...
Nicholas considers, then hurries to exit.
DEEP VOICE (o.s.)
Hello?! Anybody? Hello?
INT. AIRPORT, METAL DETECTORS -- DAY
Nicholas' briefcase rides into the x-ray machine.
Nicholas drops his keys, cellular phone and Rolex in a tray.
He passes thru the metal detector. A SECURITY GUARD brings
the tray to him.
SECURITY GUARD
Nice watch.
Nicholas smiles tolerantly, collects his belongings. He
waits at the x-ray conveyor belt, which is stopped. A
FEMALE GUARD studies the x-ray monitor.
NICHOLAS
Is there a problem?
The female guard looks up, turns the conveyor belt back on.
Nicholas' briefcase arrives.
Nicholas moves on, aggravated. Ahead, Sutherland rises from
a seat along the concourse hallway, walking to meet him.
NICHOLAS
I wasn't expecting you.
SUTHERLAND
Wanted to wish you luck. Not that
you'll need it.
Sutherland offers the contract, points to Nicholas' shirt.
SUTHERLAND
Attractive...
NICHOLAS
(paging thru contract)
Don't ask.
SUTHERLAND
I checked it personally.
Nicholas nods, props his briefcase up on a window ledge,
opens it and drops the contract in.
CUT TO:
EXT. SEATTLE AIRPORT, RUNWAY -- DAY
Nicholas' jet touches down.
EXT. SEATTLE AIRPORT, LOADING ZONE -- DAY
Nicholas follows a CHAUFFEUR. The chauffeur opens a LIMO
door. Several pressed SHIRTS hang waiting.
EXT. BAER/GRANT BUILDING -- DAY
In the shadow of the Baer/Grant Publishing offices, the
limousine idles. Downtown Seattle.
INT. BAER/GRANT PUBLISHING, ALAN BAER'S OFFICE -- DAY
Meet ALAN BAER, elderly CEO, blue-blooded, pissed.
ALAN BAER
All these years... the first time
ever you step foot in these offices,
it's to ask me to step down?
Nicholas stands by CHILDREN'S TEXT BOOK mock-ups. "Math-
Magic." "Wonder-Words." They're "Little Baer Books."
NICHOLAS
You promised you'd meet projections,
Alan. A dollar sixty per share you
said. So, I don't think this is so
surprising a visit.
ALAN BAER
Projections were far too optimistic.
NICHOLAS
Admittedly...
ALAN BAER
Our E.P.S. was one fifty last
quarter. We're up eight cents per
share.
NICHOLAS
But, the expectation was ten. And,
in this case, expectation is
everything.
ALAN BAER
Will you really hold me to it over
pennies?
NICHOLAS
My stock's falling. Isn't yours?
Those pennies are costing me
millions.
ALAN BAER
The stock will turn.
NICHOLAS
It probably will. In fact, I'd go so
far as to say it almost certainly
will, in time. Why should I settle
for that?
ALAN BAER
Because it's fair. Give me next
quarter. If you still feel this way,
vote your shares...
NICHOLAS
You're talking tomorrow. Today is
what counts.
ALAN BAER
You intractable son-of-a-bitch. If
your father could see you now...
NICHOLAS
What?
ALAN BAER
Your father was a friend. Goddamn
it... I watched you grow up. How do
you end up treating me like this?
This swings Nicholas into a new mode: acutely-focused anger.
NICHOLAS
It is so very inappropriate for you
to mention my father. Or, did you
think this, between us, was
friendship? Just because you went
fishing with my father, I should sit
on my hands while you throw my money
away?
ALAN BAER
Now, look...
NICHOLAS
(holds up his hand)
I'll be done in a minute. You
misspoke before. You're not
"stepping down." I'm taking you out
at the knees. The whole point is to
prove that you're not deciding
anything anymore. I'm firing you.
Action's taken. Confidence restored.
Stock goes up. I sell my shares.
ALAN BAER
There is no Baer/Grant Publishing
without Alan Baer.
NICHOLAS
Remember Daniel Grant? Do they
say, "without Daniel Grant, there is
no Baer/Grant Publishing?" He's gone
sailing, Alan. He's out there
enjoying his golden years, probably
wondering where you are.
At Alan's desk, Nicholas clears a space for his briefcase.
NICHOLAS
You made a promise. You failed. The
severance I'm offering is more than
equitable. Valid tonight only.
(looks at watch)
For one hour.
Nicholas takes a pen from a holder, lays it on the blotter.
NICHOLAS
I'll step outside, so you'll have the
privacy you need to read and sign it.
He tries to unlatch his briefcase clasp. It's stuck.
ALAN BAER
I could fight you on this.
NICHOLAS
You could. But, if I leave without
your signature, this agreement begins
to disintegrate; benefits shrink,
options narrow, compensations
shrivel.
Nicholas works on the briefcase the whole time, distraction
growing as it becomes a true struggle.
NICHOLAS
So... it is in your best interest...
to sign presently.
Nicholas sits, pulling the latch, trying to see what's
jammed. It refuses to open. Nicholas stares at it,
frustrated, then... an odd realization...
He takes his keys out, finds the C.R.S. KEY, tries it...
It doesn't fit. It was never meant for this lock. Alan
Baer watches, wondering.
Forgetting himself, Nicholas grabs up the briefcase,
pulling, grunting, desperate, striking it with his palm.
Nicholas straightens, immediately composed.
NICHOLAS
Well... as luck would have it, you've
just gotten a reprieve, I'm sure
you'll come around to my way of
thinking.
(picks up briefcase)
I have a plane to catch. My
attorneys will contact you.
Nicholas exits. Alan Baer doesn't know quite what to think.
CUT TO:
EXT. SEATTLE AIRPORT TERMINAL -- DAY
On the sidewalk, Nicholas bashes his briefcase over and over
again against a fire hydrant.
EXT. SAN FRANCISCO AIRPORT, RUNWAY -- SUNSET
Nicholas' jet touches down.
INT. CAMPTON PLACE RESTAURANT -- NIGHT
Nicholas sits staring. His battered briefcase is near. He
checks his watch, impatient, flags down a WAITER...
NICHOLAS
Is there a message up front from a
Conrad Van Orton?
The waiter goes. Nicholas drums his fingers. He slides out
of the booth, rising. when a WAITRESS knocks into him with a
tray. Wine spills. Glasses crash.
WAITRESS
Oh, excuse me...
Nicholas looks down at his wine-stained front. The waitress
is CHRISTINE, same waitress as the other night. She tries
to clean him up with a napkin.
CHRISTINE
I'm so sorry.
NICHOLAS
Please, don't do that...
Nicholas snatches the napkin from her, wiping his suit.
CHRISTINE
I apologize, sir, I'm having a
bad day...
NICHOLAS
A bad month. You did the exact same
thing to me last week.
Christine's taken aback.
NICHOLAS
Don't help me, just get more napkins.
And soda water.
CHRISTINE
(gets more napkins)
It was an accident.
NICHOLAS
Terrific. I now have a hundred
dollar dry cleaning bill.
CHRISTINE
I said I was sorry...
Nicholas turns his back on her, throwing wet napkins,
picking up clean ones, still patting at the stain.
CHRISTINE
(stews)
Asshole.
Nicholas turns, angry. The MAITRE D' arrives, shocked.
MAITRE D'
Christine! Mister Van Orton is a
valued customer...
CHRISTINE
Then, you kiss his ass.
She's leaving, but the maitre d' pulls her aside.
MAITRE D'
You don't talk to me like that.
CHRISTINE
(quiet, evenly)
I apologized, I offered to help.
MAITRE D'
Clean out your locker.
CHRISTINE
Fine, Dennis. Soon as I get my money
for this week.
MAITRE D'
I'll be right with you.
Christine heads to the back. The maitre d' motions for BUS
BOYS to clean, smoothly guiding Nicholas to a new table...
MAITRE D'
I'm terribly sorry, Mr. Van Orton.
If you're not too uncomfortable, will
this table suit you for a
complimentary meal... ?
NICHOLAS
Yes. Fine.
MAITRE D'
I'll fetch your waiter.
Nicholas sits, keeps wiping his shirt as the maitre d'
hurries away. After a moment, a uniformed WAITER moves
past, leaves a CHECK...
WAITER
Check, sir.
Nicholas picks up the check, indignant.
NICHOLAS
Excuse me...
But, the waiter is long gone. Nicholas shakes his head,
then the check catches his eye... "DON'T LET HER GET AWAY"
scrawled across it.
Nicholas turns to look. The waiter who brought the check
crosses the room, goes out the front door.
Nicholas rises, following...
EXT. CAMPTON PLACE RESTAURANT -- NIGHT
Nicholas comes out the front, sees: the waiter has crossed
the street, still moving...
The waiter gets in a CAR as the car pulls quickly away.
Nicholas is baffled, looks at the check, heads back inside.
EXT. ALLEY, BEHIND RESTAURANT -- NIGHT
Christine exits the kitchen door, purse over her shoulder.
CHRISTINE
(back to doorway)
Yeah... ? Well, fuck you and your
vichyssoise, prick.
She heads down this dark alley. After a moment, Nicholas
follows, hurrying to catch up, briefcase in hand.
NICHOLAS
Pardon me... Miss... ?
CHRISTINE
Oh, no... you.
Christine picks up the pace.
NICHOLAS
I'm not sure how this works. Do you
have something for me... ? I got
this note...
CHRISTINE
What are you babbling about, psycho?
NICHOLAS
I want to know what's going on. Are
you part of this?
CHRISTINE
What's going on? I'm going on my
second job this month, and now I'm
going on unemployment.
She keeps walking. Nicholas stops, ponders. He follows.
They're nearing the end of the alley.
NICHOLAS
Excuse me, I need to explain...
CHRISTINE
Don't explain. Fuck off. Goodbye.
Nicholas steps in a deep, splattering pot-hole, stumbles,
pants soaked, stopping, fed up.
NICHOLAS
Son of a bitch!
Christine rounds the corner, heading down the street.
Nicholas reaches the sidewalk, watches her go.
NICHOLAS
(shouts after)
I'm trying to... ask you...
(giving up)
I'm apologizing...
He heads back the way he came. A strangled CRY is HEARD.
Nearby, a HEAVY MAN falls to his knees, then falls face
forward to the concrete. Nicholas looks around, alone...
NICHOLAS
(to Heavy Man)
Are... are you okay?!
DOWN THE SIDEWALK, Christine slows, looks back...
Nicholas bends, trying to see the man's face, seems afraid
to actually touch him.
NICHOLAS
Jesus... this can't be...
Nicholas looks up to see Christine running back.
CHRISTINE
What's with him?
NICHOLAS
I don't know... he fell.
Christine kneels, turns Heavy Man on his side and feels for
a pulse. Heavy Man convulses.
CHRISTINE
Do you know what to do?
NICHOLAS
I don't think he's breathing.
Christine clears Heavy Man's airway, pulling saliva and
mucus from his mouth with two fingers.
NICHOLAS
Oh, God... !
CHRISTINE
Don't just stand there, get help!
NICHOLAS
(taking out his CELLULAR)
This can't be real...
CHRISTINE
He's pissing his pants. Is that real
enough for you? Call 911!
NICHOLAS
Alright... okay...
CHRISTINE
He's turning blue!
Nicholas is starting to believe, dialing, circling as
Christine gives C.P.R. He listens to his phone -- STATIC.
NICHOLAS
Damn...
He backpedals in the street, cellular to his ear, trying to
catch a signal, tilst his head. STATIC. A HORN BLARES -- a
CAR barely misses Nicholas, DRIVER cursing.
Nicholas anxiously punches buttons. He spots a SQUAD CAR
and runs toward it...
NICHOLAS
Police!
SAME STREET -- TIME CUT...
SIREN BLASTING, an AMBULANCE is parked. PARAMEDICS pull a
stretcher, helped by TWO COPS, hurrying to the prone Heavy
Man. A crowd is gathered.
Nicholas and Christine watch the paramedics work. COP ONE
hands Nicholas a clipboard, everything hurried, overlapped:
COP ONE
You have to fill these out.
NICHOLAS
I don't know this man.
Christine takes the clipboard.
CHRISTINE
(to cop, of clipboard)
What do you need... ?
Paramedics hoist heavy Man on a stretcher and take him to
the ambulance. Cop Two goes to help them lift.
NICHOLAS
(to Christine)
I can't get involved in this.
Christine moves to climb into the ambulance.
COP TWO
(to Nicholas)
We'll have to detain you.
COP ONE
Report's got to be filled out. Ride
with your wife. We'll meet at the
hospital.
PARAMEDIC
(shouting to cop)
We're moving!
Cop One leads Nicholas to the ambulance.
NICHOLAS
She's not my wife.
COP ONE
It's a few blocks. Help me out, huh,
pal?
Nicholas reluctantly gets in.
EXT. CITY STREETS -- NIGHT
Busy streets. The ambulance rockets on...
INT. AMBULANCE -- NIGHT
SIREN WAILING. Paramedic works. Christine fills out forms.
Nicholas tries to see where they're going, frustrated.
NICHOLAS
This is nuts.
CHRISTINE
(without looking up)
What is your problem?
NICHOLAS
(digging in his pocket)
Ten minutes ago, I'm looking forward
to a quiet dinner. I get a note...
Nicholas slaps his CHECK on top of Christine's paperwork.
NICHOLAS
Suddenly I'm in an ambulance. Why am
I in an ambulance?!
He looks out the window. Christine studies the check:
"DON'T LET HER GET AWAY," finds it odd, looks to Nicholas.
NICHOLAS
(wincing, to paramedic
of Heavy Man)
He's breathing, isn't he? Is the
siren entirely necessary?
INT. UNDERGROUND PARKING ENTRANCE -- NIGHT
"Emergency Vehicles Only." The ambulance races down a RAMP,
moving across this big underground garage, doing a u-turn...
Backs up toward a busy EMERGENCY ROOM ENTRANCE. MEDICAL
PERSONNEL everywhere. Other ambulances. INJURED PEOPLE.
Our paramedics get out and unload Heavy Man.
Nicholas and Christine get out, disoriented. Heavy Man's
rushed inside via automatic doors. Christine hands off the
clipboard to Nicholas, following the stretcher...
CHRISTINE
Let's talk to whoever can get this
over with...
NICHOLAS
(reading clipboard)
Hold on...
(of the clipboard)
They want your driver's license
number.
Christine returns to look, and suddenly ALL THE LIGHTS GO
OUT. Nicholas and Christine look up. In the surrounding
darkness, we HEAR EVERYONE FLEEING...
FOOTSTEPS SCATTER... then, SILENCE.
NICHOLAS
You've got to be kidding.
CHRISTINE
What... is... happening... ?
The only light is a BULB inside the ambulance.
NICHOLAS
(disgust)
I was trying to tell you... it's a
game.
CHRISTINE
A game?
NICHOLAS
(tosses clipboard)
It's run by a company... they play
elaborate pranks. Things like this.
I'm really only now finding out
myself.
CHRISTINE
What are you talking about?
NICHOLAS
The lights went out, one hundred
people all ran away...
CHRISTINE
You mean, the guy who turned blue and
wet himself... ?
NICHOLAS
I'm sorry, about this...
CHRISTINE
You should be.
Christine climbs into the ambulance, searching.
CHRISTINE
There's got to be a flashlight.
NICHOLAS
(quietly)
I don't understand why they're
getting you involved.
IN THE AMBULANCE, she finds all drawers and cabinets EMPTY.
CHRISTINE
This is so fucked. You don't fuck
with people like this. I thought
that guy was gonna die. I gave him
mouth to mouth!
She digs in her purse, finds a book of restaurant MATCHES.
She lights a match, climbing out.
CHRISTINE
See you around.
NICHOLAS
Where are you going?
CHRISTINE
Home.
NICHOLAS
How do you know that's the way?
She just keeps walking.
A distant "DING" is HEARD. Far away, an ELEVATOR OPENS with
a light inside. Christine stops.
Christine changes direction, heading for the elevator.
Nicholas hurries to follow. The match burns out. A moment,
then Christine strikes another, lighting the way, barely.
As they squeeze between parked cars, Christine searches...
CHRISTINE
Where'd you all go? Motherfucking
frat boys. You better hide.
(to Nicholas)
Is your life so pathetic that this is
something you're willing to pay for?
NICHOLAS
It was a gift... from my brother.
CHRISTINE
How thoughtful. The gift of
inconvenience.
NIcholas stumbles. A beer BOTTLE is HEAR SKITTERING away.
INT. ELEVATOR -- NIGHT
They reach the elevator. Nicholas pushes a button.
NICHOLAS
Ground floor.
He and Christine step back and wait, looking up. And
wait... and wait, looking unhappily to each other.
Nicholas pushes all the buttons. Nothing happens.
Christine opens the EMERGENCY PHONE door: NO PHONE.
Nicholas touches his finger to a KEY HOLE below the buttons.
He takes out keys, finds the C.R.S. KEY, tries it...
it fits. He turns it. DOORS CLOSE and the ELEVATOR MOVES.
Nicholas is pleased, sees Christine wondering.
NICHOLAS
(of the key)
Long story.
(off her stare)
I found this key in the mouth of a
wooden Harlequin.
CHRISTINE
Never mind.
The ELEVATOR LURCHES, DROPS, then HALTS. LIGHTS OUT,
replaced by RED EMERGENCY LIGHT. A MOTOR is HEARD DYING.
CHRISTINE
I don't like that.
(pushing buttons)
We're stuck.
Nicholas takes out his phone, puts it to his ear. STATIC.
NICHOLAS
(pockets phone)
No signal.
Christine pounds on the buttons and doors, frustrated. She
tries to pry the doors open. Can't.
CHRISTINE
What's the going rate for the
"trapped-in-elevator-adventure" these
days?
Nicholas hits BUTTONS hard. Christine studies the ceiling,
moving under the square seam of the TRAP DOOR, pointing.
NICHOLAS
Don't even think about it.
CHRISTINE
Why not?
NICHOLAS
Read what it says: "Warning, do not
attempt to open. If elevator stops,
use emergency... "
CHRISTINE
If there was one.
NICHOLAS
"... wait for help." Wait for help.
I'm not opening a door that
specifically warns me not to.
CHRISTINE
Are you suggesting we wait till
someone finds us?
Nicholas considers this, looks around.
INT. ELEVATOR SHAFT -- NIGHT
The trap door CREAKS open. Nicholas looks up from the
elevator, standing on hand rails. He gets down.
IN THE ELEVATOR
NICHOLAS
I'll give you a boost.
CHRISTINE
You first.
NICHOLAS
This isn't an attempt to be gallant.
If I don't lift you, how are you
going to get there?
CHRISTINE
You pull me up.
NICHOLAS
It's much easier this way. Come on,
step up...
CHRISTINE
No.
NICHOLAS
Please...
CHRISTINE
I'm not wearing underwear. Okay?
There, I said it. Satisfied.
NICHOLAS
(looks at her skirt)
Oh. FIne.
Nicholas starts climbing...
IN THE ELEVATOR SHAFT
Nicholas comes up, batting cobwebs, tentative. He grips a
handful of grease, disgusted. He climbs thru, catching his
jacket on a jutting screw, FABRIC RIPPPPPPPPING...
CHRISTINE (o.s.)
Oops.
Nicholas stands in the shaft, pissed. He looks for a place
to wipe his hand, wipes it on his jacket, looking up.
NICHOLAS
There's a ladder here.
IN THE ELEVATOR
CHRISTINE
My hero. Let's go.
Nicholas offers his grease covered hand from above.
NICHOLAS
I don't think so.
Nicholas withdraws that hand, offers the clean one.
CUT TO:
INT. BUILDING LOBBY -- NIGHT
Elevator doors shift, forced from inside. Nicholas climbs
out, then pulls Christine out behind him. They're
head-to-toe filthy, clothing ruined.
NICHOLAS
Damn. My briefcase.
He looks back down the shaft.
CHRISTINE
I'll wait.
NICHOLAS
(resigned sigh)
It's not like anyone could actually
open it.
They walk, looking at the vast lobby and sky-lit ATRIUM.
NICHOLAS
This is C.R.S.
CHRISTINE
What's C.R.S.?
NICHOLAS
Consumer Recreation Services. It's
their building. They...
A BEEP is HEARD. Nicholas looks above...
Sees a MOTION SENSOR with a green light blinking.
NICHOLAS
Oh...
An ALARM SOUNDS; a loud RINGING BELL. Nicholas backs away.
NICHOLAS
Don't panic. When security gets
here, we simply explain what
happened...
CHRISTINE
They'll love that.
NICHOLAS
Yes... well...
FOOTFALLS. Nicholas turns to see Christine running away.
CHRISTINE
(over her shoulder)
Explain for both of us!
Nicholas looks around, unsure. He follows...
EXT. ALLEYWAY, BEHIND C.R.S. BUILDING -- NIGHT
Christine bursts thru "EMERGENCY EXIT" doors. Nicholas
arrives. He grips her arm and they walk, out of breath.
NICHOLAS
Walk, slowly. Don't draw attention.
Out for a stroll...
TIRES SCREECH. A SPOTLIGHT HITS them from behind.
ANGRY VOICE (o.s.)
You! Stay where you are!
It's a SECURITY CAR on the other side of a fence.
CHRISTINE
Run!
They run, down the alley.
ANGRY VOICE
Stop!
EXT. NARROW ALLEYWAY -- NIGHT
SIRENS HEARD. Christine and Nicholas sprint round a corner,
all out... thru puddles, glancing back. Ahead, a SECURITY
CAR skids, starting for them. Christine and Nicholas double
back. She takes the lead.
Christine spots something, makes a chouse, moving
into a very NARROW ALLEY space.
NICHOLAS
Where are you going?
(looks in, worried)
You can't fit there.
She's making fine progress regardless.
NICHOLAS
I can't!
Nicholas sees the SECURITY CAR bearing down. He must turn
sideways to fit in the narrow alley, shuffling after.
BEHIND, the car stops and SECURITY GUARD gets out, club in
hand. In the car, a GERMAN SHEPHERD barks.
Security Guard tries to fit down the space, but can't. His
belly's too big, his utility belt catching. He runs back to
the car, opens the door...
The German Shepherd shoots down the alley, a projectile...
DOWN THE TIGHT ALLEYWAY
Christine comes out into OPEN AREA, running on, looking up.
Ruined buildings on all sides, CHAIN LINK FENCES everywhere.
Nicholas arrives, pissed, trying to catch up...
NICHOLAS
You deserted me.
CHRISTINE
You're a grown man. I'm not
responsible for you.
NICHOLAS
You're the one who started running.
CHRISTINE
Me? You're the one who... !
(sees something)
Shit!
Christine runs faster. Nicholas looks back...
The German Shepherd's on its way...
Nicholas faces front, runs, arms pumping, terrified...
The German Shepherd's closing, growling...
Christine and Nicholas reach the CHAIN LINK FENCE ahead...
NICHOLAS
Climb!
Christine makes the leap first, scrambling up the fence.
Nicholas climbs beside her, pulling himself up...
The German Shepherd leaps... bites Nicholas' leg...
Nicholas YELLS -- PANTS RIPPING. The dog falls with a
mouthful of cloth.
Christine and Nicholas reach the top of the fence, clinging,
balanced on their elbows, looking back. The German Shepherd
barks and leaps.
Christine and Nicholas start over the fence, beginning their
climb down the other side...
ON THE OPPOSITE SIDE: three OTHER DOGS run from the shadows,
Pit-Bulls and a Doberman, jumping and biting...
Nicholas and Christine scramble back to the top.
All the dogs hop up and down, snapping. They gnash at each
other and bark at each other, frenzied.
Nicholas and Christine have no choice but to hang, stranded.
CHRISTINE
Now what?
Nicholas looks up, daunted. He spots something...
There's a place where the fence runs under a FIRE ESCAPE.
NICHOLAS
Follow me...
Nicholas gets a toe-hold, shifts his elbows, grunting,
beginning the herky lateral climb toward the fire escape.
Christine follows his example.
Slow going. DOGS BARKING NON-STOP, nipping at their heels.
CHRISTINE
Shut up, you stupid, fucking dogs!!
BARKING AND BARKING AND BARKING.
CHRISTINE
What are they guarding around here?
Each other?
Nicholas slips, keeps grip, but loses a SHOE...
The dogs catch the shoe in their jaws, fighting for it.
Nicholas watches the shoe get torn to pieces, keeps moving.
NICHOLAS
There goes a thousand dollars.
CHRISTINE
Your shoes cost a thousand dollars?
NICHOLAS
That one did.
CHRISTINE
(to herself)
... two hundred dollars a toe.
Nicholas reaches the fire escape, balancing precariously to
reach it. He climbs gracelessly up...
He helps Christine after him, bringing her on board. They
lean against the rail, exhausted. Nicholas looks to the
multi-leveled ladders above.
NICHOLAS
Let me guess. Me first?
He climbs. Christine looks down at the dogs, stupefied,
looks up at Nicholas on the CREAKING rusty fire escape.
CHRISTINE
(to herself)
This is getting out of hand.
As she starts up.
CUT TO:
EXT. GARBAGE ALLEY -- NIGHT
ABANDONED BUILDING. Boarded-over windows are kicked open
from inside. Nicholas and Christine look out.
They climb out onto ANOTHER FIRE ESCAPE, two stories up
above a trash filled, dumpster crowded alley.
CHRISTINE
Never did catch your name.
NICHOLAS
Nicholas. Nicholas Van Orton.
CHRISTINE
Nicholas Van Orton? What are you,
a czar?
Nicholas moves to the catch of the fire escape ladder,
unhooks it. The LADDER DROPS to bridge the gap to the
ground, KEEPS GOING, sliding free and disconnecting -- falls
flat to the ground below with a LOUD, ECHOING CLATTER.
CHRISTINE
(pause)
That's classic.
NICHOLAS
(staring down, misery)
Why... ?
Christine crosses to the far edge of the railing, points.
CHRISTINE
We hang down here and drop. The
garbage'll break our fall.
NICHOLAS
I think not.
Christine climbs over the fire escape railing...
CHRISTINE
Afraid you're going to ruin your
one-legged suit?
She lowers herself down, hanging off, legs dangling...
NICHOLAS
Be careful...
A metal DOOR is THROWN OPEN below. TWO THAI BUS-BOYS come
out, dumping garbage, smoking cigarettes, laughing.
Above, Christine looks up at Nicholas, mortified. She nods
urgently for him to help her back up. Nicholas climbs the
rail, beside her, trying to get a grip, none too effective.
Below, one bus-boy looks up, shouting. The other bus-boy
looks. They back away, SPEAKING RAPID THAI, pointing.
CHRISTINE
What are they... ?
(realizing)
Hey!
Christine lets go with one hand, trying to pull her skirt
shut. Nicholas loses hold, drops her...
Christine lands hard in garbage.
NICHOLAS
Are you okay... ?!
Nicholas drops, alarmed... lands in broken plastic bags of
wet garbage, slipping as he moves to Christine. Bus-boys
are helping her up.
CHRISTINE
I'm okay... I'm okay, thank you...
Bus-boys keep questioning in Thai. Nicholas and Christine
brush off. Nicholas takes off his spewed jacket, shakes it
in disgust, straightens his tie. They stop...
At the doorway, all the COOKS, BUS-BOYS, WAITERS and
DISH-WASHERS stare at Nicholas and Christine in wonder.
Nicholas and Christine stare back. Nicholas looks to
Christine, brushing rotten lettuce off her shoulder, nods to
the restaurant workers, clears his throat.
NICHOLAS
Table for two, please.
He offers his arm to Christine, she takes it, they head in.
CUT TO:
EXT. CITY STREETS -- NIGHT
ONE CONTINUOUS LONG SHOT: Nicholas and Christine walk,
taking their time, eating out of take-out boxes.
CHRISTINE
Where are we going?
NICHOLAS
(points at skyline)
That tall, bright building. Near
there.
They walk a long time in silence. A POLICE CAR moves from
behind. POLICEMAN shines a flashlight up and down Nicholas.
POLICEMAN
Everything okay, miss?
CHRISTINE
Yeah. How are you?
The police car keeps pace, then drives on.
CUT TO:
INT. NICHOLAS' OFFICE -- NIGHT
Nicholas enters, turning on lights, which dim to a warm
glow. Christine takes in the impressive office. Nicholas
crosses to a wall, opens a hidden closet, chooses a shirt.
NICHOLAS
There's a shower, if you'd like.
Christine leans to peek in the bathroom.
CHRISTINE
A shower in your office? You an
athlete or something?
Nicholas puts on a new shirt.
Christine circles the desk, runs her fingers down his phone.
CHRISTINE
What exactly do you do?
NICHOLAS
Investment banking. Moving money
from place to place.
Christine has wandered to the closed blinds, opening them to
reveal a breathtaking view of the city.
CHRISTINE
Nice.
NICHOLAS
Hm?
(looks)
Oh, yes.
Nicholas takes out a SWEATSHIRT and offers it.
NICHOLAS
A fresh shirt...
CHRISTINE
(takes shirt, crossing)
If this was my office, I wouldn't
keep that closed.
NICHOLAS
I don't spend much time looking out
the window.
(goes to desk)
I'll call you a taxi.
Christine faces away, throws off her filthy shirt...
Nicholas, on the phone, looks to Christine's shapely back
and RED BRA. He averts his eyes, embarrassed...
NICHOLAS
Oh! Uh...
Christine puts on the PENN STATE sweatshirt, straightens it.
CHRISTINE
Thanks.
Nicholas nods, phone to his ear.
CUT TO:
EXT. VAN ORTON BUILDING -- NIGHT
TWO CABS. Nicholas opens the door of the first for
Christine. She faces him, close.
NICHOLAS
I know the owner of Campton Place. I
could talk to him in the morning.
CHRISTINE
Don't. It was a shitty job anyway.
I overreacted.
Christine sits, keeps her legs out the door of the cab.
Nicholas stands waiting for her to pull her legs in.
NICHOLAS
Goodnight.
CHRISTINE
I don't think I've ever spent this
much time with someone who didn't
even ask my name.
NICHOLAS
The maitre d' called you Christine.
CHRISTINE
(remembering)
Right. Call me Christy.
NICHOLAS
Goodnight, Christy. It was nice
meeting you.
CHRISTINE
Give me an address so I can send your
shirt back.
NICHOLAS
Keep it.
She looks up at Nicholas, sits inside. He shuts the door
and steps back. Christine rolls her window down.
CHRISTINE
I have a confession to make. Someone
gave me six-hundred dollars to spill
drinks on you, as a practical joke.
NICHOLAS
Seriously? What did they say?
CHRISTINE
They said five hundred. I said six.
They said the man in the gray
flannel suit. I think I said, you
mean the attractive guy in the gray
flannel suit?
Christine smiles, rolls up the window. The taxi leaves.
Nicholas watches it go. A twinge of regret.
EXT. CAMPTON PLACE RESTAURANT -- LATER NIGHT
Nicholas' cab pulls up at the closed restaurant, behind the
Bentley. A restaurant VALET sweeps the sidewalk, waves to
greet as Nicholas gets out of the cab.
CUT TO:
INT. VAN ORTON MANSION, MASTER BEDROOM -- NIGHT
Nicholas comes from the bathroom, just showered. He looks
at CNN on TV. He walks to change channels: infommercials,
B+W movies, cartoons. BUGS BUNNY. Nicholas leaves Bugs
Bunny on, steps back, watching.
He sits on the bed.
CUT TO:
INT. VAN ORTON MANSION, MASTER BEDROOM -- DAY
Nicholas sleeps. Cordless PHONE RINGING. He stirs,
awakens, face creased, hair mussed.
NICHOLAS
(in phone, voice cracks)
Hel... hello?
MARIA (v.o.)
(from phone)
Mr. Van Orton, it's Maria. I... I
wasn't sure I should call...
NICHOLAS
(in phone)
What time is it?
Nicholas studies his CLOCK RADIO: 11:05. He picks it up and
examines it, suspicious.
MARIA (v.o.)
(from phone)
Eleven o'clock. I took the liberty
of rescheduling your nine a.m. with
Allison and Dietrich. Are you... not
not feeling well?
NICHOLAS
I'll be in in an hour. I left my
briefcase at fifteen-thirty-three
Montgomery. Check with their lost
and found.
MARIA (v.o.)
Alan Baer's in town, at the
Ritz-Carlton.
NICHOLAS
Really?
MARIA (v.o.)
He's requesting dinner tonight.
NICHOLAS
We'll let him know.
MARIA (v.o.)
Also, the Claremont Hotel called to
say they have your American Express
card at the front desk. You left it
last night?
Nicholas is confused. He crosses with the phone, finds and
studies his wallet. He fingers an empty plastic pocket.
MARIA (v.o.)
Should I send someone... ?
NICHOLAS
No. Give me their number.
MARIA (v.o.)
Eight, four, three, three-thousand.
NICHOLAS
See you in awhile. Goodbye.
Nicholas hangs up, dials.
HOTEL MANAGER (v.o.)
(from phone)
Claremont Resort and Spa.
NICHOLAS
(into phone)
This is Nicholas Van Orton. I'm told
my American Express card...
HOTEL MANAGER (v.o.)
(from phone)
Yes, Mister Van Orton. Everything's
in order. The concierge has arranged
for the wine and flowers in the room.
NICHOLAS
Has he?
HOTEL MANAGER (v.o.)
And, a young woman phoned just now to
say she's on route but running a
little late.
NICHOLAS
(pause)
Did this young woman leave her name?
HOTEL MANAGER (v.o.)
I'm sure I don't know.
NICHOLAS
Thank you.
Nichola hangs up, interest piqued.
CUT TO:
EXT. BAY BRIDGE -- DAY
Nicholas drives the Bentley. PREVIOUS CONVERSATION:
SWITCHBOARD OPERATOR (v.o.)
There's no answer. Would you like
his voice mail?
NICHOLAS (v.o.)
Tell him his brother called, and to
call back soon as he can.
SWITCHBOARD OPERATOR (v.o.)
Yes, sir.
CELLULAR DISCONNECT. Nicholas looks in his rearview mirror.
THRU MIRROR: a grimy BLACK SEDAN follows... keeps distance.
EXT. CLAREMONT HOTEL -- DAY
Grand hotel. Nicholas lelaves his car with the valet.
INT. CLAREMONT HOTEL, LOBBY -- DAY
At the GLASS DOORS, Nicholas pushes thru. A THIN MAN in a
plain suit isn't looking, BUMPS Nicholas.
THIN MAN
Sorry. My fault.
Thin Man exits. Nicholas crosses the opulent lobby to the
desk. The grinning HOTEL MANAGER spots him coming.
HOTEL MANAGER
Ah, Mr. Van Orton. Here you go...
NICHOLAS
Have we met?
He hands over Nicholas' AMEX CARD, which Nicholas studies.
HOTEL MANAGER
I believe so. If you would jsut sign
here...
The manager offers a CHARGE SLIP and pen. Nicholas looks at
the manager, the slip, then signs. The manager hits a BELL.
A BELLHOP arrives.
HOTEL MANAGER
Show Mr. Van Orton to his room.
NICHOLAS
The key?
HOTEL MANAGER
Hm?
NICHOLAS
Is there a room key?
HOTEL MANAGER
Didn't I give you two?
NICHOLAS
No, you didn't...
Nicholas shakes his head and pats his pockets, stops,
feeling one pocket... reachse in and takes out a GOLD KEY on
a hotel key chain. Nicholas looks to the GLASS DOORS.
NICHOLAS
Cute.
INT. CLAREMONT HOTEL, HALL -- DAY
Long hallway. Nicholas follows the Bellhop. They arrive at
the door to ROOM 277.
NICHOLAS
I'll take it from here.
He tips the Bellhop, who leaves, uses the key, entering...
INT. CLAREMONT HOTEL, ROOM 277 -- DAY
Nicholas shuts the door. There's a room-service cart with
wine chilling. Nicholas moves down this short hall...
NICHOLAS
Hello... ?
His jaw drops. The room is TRASHED. Curtains shredded,
furniture overturned, television imploded, mirror
spiderweb-smashed, walls full of holes.
Nicholas moves forward, having spotted...
His battered BRIEFCASE on the ruined mattress.
The latch is undone. Nicholas opens it.
Inside: MANY PHOTOGRAPHS of blurry SEX acts. Bodies in
motion. Limbs. Breasts. A NAKED WOMAN tied to the bed.
One PHOTO shows two women entwined with a NAKED MAN who
appear to be NICHOLAS. It's a so-so cut-and-paste job.
A LOUD KNOCKING at the door startles Nicholas. He closes
the briefcase, freaked.
He hurries to the door as POUNDING is HEARD again, puts his
eye to the peephole.
THRU THE PEEPHOLE: a MAIN gets out her keys.
MAID
(thru door)
Time to make up the room.
Nicholas fumbles with the SECURITY CHAIN, slides it in place
as the door opens -- stopped. Nicholas keeps hidden.
NICHOLAS
Could you come back later?
MAID
Yes, sir. Sorry.
THRU THE PEEPHOLE: the maid moves away.
Nicholas crosses to retrieve his briefcase, and is crossing
back when he stops in his tracks upon seeing...
On a dresser, a MIRROR covered in COCAINE lines and residue.
IN THE BATHROOM
Nicholas turns on the faucet, washing the cocaine down the
sink, hands shaking. The mirror edge cuts his thumb and he
gives a cry, drops the mirror, which SHATTERS on the floor.
Nicholas sucks his thumb, puts it under the faucet. He
finds a hand cloth and wraps it round his thumb.
There are big blood droplets on the sink and floor.
Nicholas grabs wads of tissues from a box on the back of the
toilet, using them to blot up the blood, throwing tissues in
the toilet and flushing.
Nicholas keeps wiping blood. The toilet burps, OVERFLOWING.
WATER SPILLS OUT...
Nicholas backs away, panicked, exiting...
INT. CLAREMONT HOTEL, HALL -- DAY
Nicholas looks out from Room 277. He sees a MAID CART,
HEARS an O.S. VACUUM CLEANER. He run-walks down the hall,
hugging his briefcase. He pushes thru a STAIRWELL DOOR.
EXT. CLAREMONT HOTEL -- DAY
Nicholas takes his Bentley back from the valet, pulling out
fast to the street. Further back, the grimy BLACK SEDAN
moves from the curb.
INT. NICHOLAS' BENTLEY -- DAY
Nicholas' mind races. He wipes sweat off his face.
He glances in his rearview...
THRU MIRROR: the black sedan, following again.
Resolve comes to Nicholas, and anger. He speeds up.
EXT. BERKELEY STREETS -- DAY
The Bentley weaves thru traffic, taking a corner sharp.
Nicholas spins the wheel, heading...
DOWN AN ALLEYWAY
Nicholas brakes hard, gets out of the Bentley and heads for
the mouth of the alley...
As the black sedan follows, blocked, stopping. Nicholas
comes to pull open the car door, confronting the rumpled,
PLUMP GUY behind the wheel.
PLUMP GUY
What the fuck... ?!
NICHOLAS
Why are you following me?
PLUMP GUY
I don't know what you're talking
about. I'm just driving...
He falters as he follows Nicholas' angry gaze to the seat
beside him where a FILE is open to a PHOTO of NICHOLAS.
PLUMP GUY
(fumbling to close file)
Look... what I'm doing is none of
your business...
NICHOLAS
Is Alan Baer "the Game?" Is that
what this is?
PLUMP GUY
(defiant pause)
Friend... why don't you back off.
He leans as he talks... inside his jacket, he wears a gun.
Nicholas reaches across and pulls the gun, hefting it.
PLUMP GUY
Hey... !
NICHOLAS
(of the gun)
Nice touch. Does the game use real
bullets... ?
Nicholas points the gun at the sedan's rear tire, FIRES!
The gun is SHOCKINGLY LOUS -- BURSTS the TIRE!
Nicholas looks to the smoking weapon, blanching.
Plump Guy leaps to the other seat, scrambling out the
passenger door, submissive...
PLUMP GUY
Okay, I'm a private investigator.
Somebody hired me to keep tabs on
you...
Nicholas lifts the gun, unsure, pointing it awkwardly...
NICHOLAS
Who... who hired you?
Plump Guy bolts, running away down the alleyway. Nicholas aims
the gun after him, but catches himself, lowers it. He runs
the other direction, back to the Bentley...
Nicholas gets in the car, drops the gun on the seat, drives.
INSIDE THE BENTLEY
Nicholas returns to the street, glancing back. He looks at
the gun. He opens the glove compartment, throws the gun in.
He takes out his CELLULAR PHONE, dialing...
MARIA (o.s.)
(from cellular)
Mister Van Orton's office...
NICHOLAS
(into cellular)
Maria. Have Sutherland meet me at
the Ritz-Carlton. I'm on my way
there now.
MARIA (o.s.)
May I tell him... ?
But, Nicholas is already pushing DISCONNECT.
CUT TO:
INT. RITZ CARLTON HOTEL, LOBBY -- DAY
Nicholas enters with briefcase. Sutherland rises to follow.
SUTHERLAND
What's happened...
NICHOLAS
Follow me.
INT. RITZ-CARLTON, ALAN BAER'S SUITE -- DAY
A HOTEL EMPLOYEE rolls a room service cart out. Nicholas
pushes past with Sutherland in tow. Alan Baer, his handsome
WIFE and lovely DAUGHTER are seated at a table where a
WAITER lays out a splendid meal.
ALAN BAER
Nicholas... this is unexpected.
Nicholas takes out the SEX PHOTOS, throws them on the table.
NICHOLAS
Do you actually believe that because
you publish children's books,
anyone's going to care about my
reputation?
Wife and daughter are frightened. Alan Baer covers the
photos with his napkin.
NICHOLAS
You could print pictures of me
wearing nipple rings and butt-fucking
Captain Kangaroo... all anyone would
wonder was whether the stock was up,
or down.
Sutherland's nervousness grows by the second.
DAUGHTER
Daddy... ?
ALAN BAER
It's alright, dear. Mr. Van Orton...
SUTHERLAND
Nicholas...
NICHOLAS
(still to Alan Baer)
That you've involved Conrad... is
unforgivable. I am now your enemy.
ALAN BAER
Are you finished?
NICHOLAS
No. This is my lawyer, Samuel
Sutherland. I thought you two should
meet.
ALAN BAER
We met, this morning. I signed the
termination contract for Baer/Grace.
I accepted your settlement, Nicholas.
you were right. I'm going sailing.
Nicholas opens his mouth, but no words come. He looks to
Sutherland. Sutherland nods to confirm.
ALAN BAER
You're welcome to join our luncheon.
Maybe we can straighten this our.
(motioning to...)
My wife, Mary Carol, and my
daughter-in-law, Kaliegh.
Wife and daughter give mumbled greetings, having no desire
to meet Nicholas. Nicholas just stands stymied.
NICHOLAS
It seems I've... please, disregard
my apparently misguided remarks.
Nicholas heads for the door, hurrying out. Alan, wife,
daughter, the waiter and Sutherland exchange looks.
SUTHERLAND
Well...
Sutherland walks to retrieve the sex photos.
SUTHERLAND
Enjoy your lunch.
Sutherland smiles, exiting.
CUT TO:
INT. NICHOLAS' OFFICE -- DAY
Nicholas sits at his desk, opens his briefcase, checking the
contents. Soon, Sutherland arrives, shutting the door. He
watches Nicholas, deciding.
SUTHERLAND
How concerned should I be?
NICHOLAS
It was a misunderstanding.
Sutherland puts the SEX PHOTOS on the desk.
NICHOLAS
Someone's playing hardball. It's
complicated. Can I ask a favor?
SUTHERLAND
You know you can.
NICHOLAS
Find out about a company called
C.R.S. Consumer Recreation Services.
SUTHERLAND
Sounds like they make tennis rackets.
What do we know?
NICHOLAS
Just what I told you.
SUTHERLAND
Nothing else?
Nicholas remembers. He opens up a file drawer in his desk.
NICHOLAS
They gave me their waiver. On
their... wait...
Nicholas hands over a file, returning to his briefcase. He
finds an ENVELOPE with a SMILELY-FACE on it. He opens it.
He takes out a silver-plated METAL CRANK. Like a handle.
SUTHERLAND
What is this?
Nicholas looks up. Sutherland's looking in the file,
quizzically, hands it back...
Nicholas studies PINK-TINTED PAGES; the pages Feingold gave
him, once dense with words, now completely blank except
for NICHOLAS' SIGNATURE and INITIALS several places.
NICHOLAS
(of the pages)
Christ... I can't believe it...
invisible ink?
SUTHERLAND
You're joking.
NICHOLAS
It's what they do. It's like...
being toyed with by a bunch of...
(picks up SEX PHOTOS)
Depraved children.
Nicholas examines each photo. Sutherland goes to leave.
SUTHERLAND
Very well. If you tell me not to
worry, I shan't.
NICHOLAS
Sam...
(as Sutherland stops)
Thank you.
Sutherland exits. Nicholas keeps examining the pictures.
He sits forward, finding something...
IN A PHOTO: the out-of-focus back of a NAKED WOMAN wearing
only a RED BRA.
NICHOLAS
(INTO PHONE-INTERCOM)
Maria. The other night... last
night, there was a woman here named
Christine. I called a taxi, from
that company we use...
MARIA (v.o.)
(FROM PHONE-INTERCOM)
Elite?
NICHOLAS
What?
MARIA (v.o.)
Elite Taxi Company?
NICHOLAS
Look into it. Find out which car
answered and where they took her.
Nicholas sits back. He picks up the METAL CRANK, twists it
in his hands, frowning, pockets it.
CUT TO:
EXT. VAN ORTON MANSION, GARAGE -- NIGHT
The rapid SOUND of a PHONE OFF THE HOOK is HEARD OVER: BEEP
BEEP BEEP BEEP... The Bentley pulls in. Headlights out.
IN THE CAR, Nicholas takes the gun from the glove
compartment and puts it in his briefcase.
INT. VAN ORTON MANSION, KITCHEN -- NIGHT
Dark. The PHONE OFF THE HOOK is LOUDER, grating: BEEP BEEP
BEEP BEEP BEEP... Nicholas comes in the back door, peering
into the weak moonlight.
NICHOLAS
Ilsa?
Nicholas replaces the phone on its cradle. QUIET.
He reaches for a light switch, ZAP! -- BLUE SPARKS leap to
his fingers. Nicholas YELPS and shakes his hand out.
The switch has been RIPPED OUT, leaving exposed wiring.
Nicholas goes to his briefcase, getting the gun and moving
forward, wary, calling out...
NICHOLAS
Ilsa!?
INT. VAN ORTON MANSION, DEN -- NIGHT
In the blackness, Nicholas comes to stand at the doorway,
levels the gun at someone across the room...
NICHOLAS
I've got a gun!
There's a roaring fire in the giant fireplace and a FIGURE
in a chair. Nicholas eases forward...
It's the HARLEQUIN in the chair, with a GLOSSY B+W PHOTO
between its teeth. Nicholas pulls out the picture...
A POLICE PHOTO of NICHOLAS' FATHER, his body sprawled.
It's stamped "PROPERTY SFPD" in red.
There's a NOTE papere-clipped behind:
"Like my father before me, I choose eternal sleep." At the
bottom, a RED SIGNATURE ARROW affixed, "Please Sign Here."
Suddenly, ALL LIGHTS SURGE TO LIFE, icy and ghoulish -- each
and every bulb replaced by BLACK LIGHT...
Nicholas pivots slowly, taking in the horror...
The wrecked den is covered in FLUORESCENT SPRAY-PAINT
GRAFFITI: "WELCOME HOME" "FUCK YOU" "NICHOLAS VAN
COCKSUCKER" "SUCK IT" "C.R.S. RULES" "HAVING FUN, RICH
BOY?" Everywhere. Across windows, paintings and curtains.
The ceiling is covered in "MOMMA'S BOY" and OBSCENITIES.
Scaffolding's been left behind. Used SPRAY CANS on the
splattered Oriental rug. A PAINT/AIR COMPRESSOR.
NICHOLAS
... fuckers...
INT. VAN ORTON MANSION, MASTER BEDROOM -- NIGHT
A glowing ANARCHY SYMBOL sprayed across the door which is
throw open by Nicholas as he enters.
It's all BLACK LIT here too. GRAFFITIED and DESTROYED.
"HELTER SKELTER: in jolting letters. Nicholas backs out...
INT. VAN ORTON MANSION, VARIOUS ROOMS -- NIGHT
FOLLOW: Nicholas down the hall and around corners, BLACK
LIGHTS above, walls covered in CURSES and MULTI-COLORED
SQUIGGLES. Like a bad trip thru the Bat-Cave...
DOWN STAIRS
Past OTHER ROOMS likewise awash in vibrant slurs...
THRU THE KITCHEN
Now also revealed as ruined. Nicholas goes out the door...
EXT. VAN ORTON MANSION, BACKYARD -- NIGHT
Nicholas runs to the GUEST HOUSE.
INT. VAN ORTON GUEST HOUSE, FOYER -- NIGHT
BANGING on the FRONT DOOR. Ilsa comes to look thru the
peephole, opens the door to a breathless Nicholas.
ILSA
Mr. Van Orton... ?
NICHOLAS
Ilsa... you're alright?
ILSA
Yes. What do you mean? What's wrong?
NICHOLAS
Did the alarm go off? The house...
they... you didn't see... ?
ILSA
I don't know what you're talking
about. What's happened?
NICHOLAS
There's been a break in. Lock this
door and stay here. Don't move a
muscle.
Nicholas runs back toward the house.
ILSA
Be careful!
EXT. VAN ORTON MANSION, BACKYARD -- NIGHT
Crossing the lawn, Nicholas pulls out his cellular phone,
dialing as he runs, takes out his gun.
911 OPERATOR (v.o.)
(from cellular)
Nine-one-one, emergency...
NICHOLAS
(into cellular)
I need the police. There's been a
break-in at my home...
911 OPERATOR (v.o.)
(from cellular)
Okay, sir. Stay on the line and give
me your address...
INT. VAN ORTON MANSION, KITCHEN -- NIGHT
Nicholas enters, still on the phone, locking the door,
beginning to punch the security code into the ALARM KEYPAD.
NICHOLAS
(into cellular)
Twenty-two Moore Street. At the
corner of Moore and Buchanan.
911 OPERATOR (v.o.)
Now, sir, you said it was a
break-in...
NICHOLAS
Yes...
911 OPERATOR (v.o.)
Are you sure they're gone... ?
As Nicholas finishes the security code, the KEYPAD BEEPS,
and Nicholas straightens, worried.
911 OPERATOR (v.o.)
... are you sure there's not still
someone somewhere in the house?
NICHOLAS
I... don't think so.
And with the DYING HUMMMMMMMM of POWER FAILING, all the
BLACK LIGHTS GO OUT. Nicholas raises his gun...
NICHOLAS
Oh God...
Pointing it into the dark kitchen, hand trembling.
911 OPERATOR (v.o.)
Hello? Are you still there?
Behind, a DARK FIGURE outside rises against the kitchen door
window, POUNDING FRANTICALLY! Nicholas leaps and spins,
CRYING OUT in terror, dropoping the gun...
The gun bounces across the linoleum.
It's CONRAD at the kitchen door, haggard and scared, his
pale face pressed against the glass, pointing frantically.
CONRAD
Meet me out front!
Conrad ducks away, moving on.
CUT TO:
EXT. CITY STREETS -- NIGHT
The Bentley takes a corner fast, heading downhill, moving
from residential to mostly urban...
INSIDE THE BENTLEY
Nicholas drives. Conrad looks back over his shoulder, a man
on the run, dark circles under his eyes.
NICHOLAS
Tell me where we're going.
CONRAD
Just drive, man.
(slumps low)
It's fucking nuts!
NICHOLAS
What's this all about, Connie?
CONRAD
Shhhhhhh. Wait... wait...
Conrad flips the sunshade, looks behind it, feels the fabric
of the roof and the seam of the door.
He grips the interior LIGHT, breaks it open, pulling the
bulb and wires.
NICHOLAS
What are you doing?
CONRAD
They're methodical. They're nothing
if they're not that.
NICHOLAS
Who?
CONRAD
C.R.S. Who do you think? Jesus H.,
thank your lucky charms. To think
what I almost got you into.
NICHOLAS
(miserable)
Yeah, almost...
CONRAD
You dodged a bullet.
NICHOLAS
How do you mean, exactly?
CONRAD
They fuck you and they fuck you and
they fuck you. And then, just when
you think it's done, that's when
the real fucking begins.
NICHOLAS
Slow down, take a breath...
CONRAD
It doesn't stop, Nick. I paid the
bill, I gave 'em their money, but it
all started again. They won't leave
me alone...
NICHOLAS
What have they been doing to you?
CONRAD
Everything. I'm a goddamn
human-pinata...
NICHOLAS
Calm down. Why would they keep
playing after you paid?
CONRAD
You think I know? I paid them more
to make it stop.
BOOM! -- the wheel jerks in Nicholas' hand, TIRES SCREAM...
CONRAD
What the hell... !?
ON THE STREET
A TIRE'S BLOWN OUT. Riding the rim, the car jerks over...
INSIDE THE BENTLEY
Nicholas stops at the curb. Conrad's turned in his seat.
CONRAD
It's them. They did this.
NICHOLAS
It's a flat tire. That's all.
CONRAD
How do you know?
NICHOLAS
We're going to figure this out. Get
a grip on yourself.
CONRAD
Okay... okay.
Conrad faces forward. Nicholas gets out to look at the
wheel, using his cellular, then returns to the open window.
NICHOLAS
The phone's dead.
CONRAD
Really?
NICHOLAS
Do you know how to change a tire?
CONRAD
No. Do you?
(off Nicholas' frown)
Can't be too hard, can it? I don't
think we should be here out in the
open like this.
Nicholas rubs his temples, looks all around, frustrated.
NICHOLAS
Check the glove box... might be
another battery there.
Conrad OPENS the glove compartment: KEYS SPILL OUT. At
least fifty, silver and gold, all stamped "C.R.S."
Conrad's breath catches in his throat. He looks to
Nicholas, afraid. Nicholas leans closer...
NICHOLAS
How did those... ?
CONRAD
You're part of it...
NICHOLAS
What? Connie...
Conrad climbs out, pointing across the roof of the car...
CONRAD
No! You're one of them. Of course,
it makes perfect sense!
NICHOLAS
No, it doesn't! Those keys were put
there. I didn't even know...
CONRAD
You're behind this, aren't you? You
and your sick friends. Well, make it
stop!
NICHOLAS
Listen to yourself. Why would I do
anything like what you're describing?
CONRAD
Because you hate me. Because you had
to be here, when mom died. Because
you had to do it alone.
(near tears)
Well, don't you think if I'd known...
I'd've been here too. I'd have been
here...
NICHOLAS
Stop this. It's not true...
CONRAD
I'm sorry, Christ, I'm sorry! How
many more times do I have to say I'm
sorry before you forgive me... ?
NICHOLAS
Stop it!
Conrad bolts away, full tilt, into a nearby PARK and PUBLIC
GARDENS. Nicholas gives chase, calling after.
AHEAD, Conrad runs headlong, disappearing thru thick bushes.
Nicholas follows, downhill, falls and slides, gets up. At
the bottom, he shoves thru vegetation...
On the other side, Nicholas looks all directions, gulping
air. Conrad's nowhere to be seen. Nicholas stops.
NICHOLAS
(shouting)
Connie!
Far off, there's a concrete path winding thru the park past
a BANK OF PAYPHONES. ONE PAYPHONE starts RINGING. Nicholas
starts back the way he came.
Behind, ALL THE PAYPHONES start RINGING. Nicholas halts.
He runs to the phones, answers one.
NICHOLAS
(into phone)
You sons-of-bitches...
MAN'S VOICE (v.o.)
(from phone)
Flippy? Is Flippy there? Flippy?
Nichols slams the phone down, picks up another...
RECORDING (v.o.)
(from phone)
If you'd like to make a call, please
hang up and...
PHONE STOP RINGING. Nicholas hangs up, digging out his
wallet. Rifling thru it, he comes up with the VALET TICKET
with the C.R.S. EMERGRENCY 800-NUMBER on it. He dials...
Puts the phone to his ear. BUSY SIGNAL. He slaps the
headset-tongue, redialing, waiting...
RECORDING (v.o.)
(from phone)
We're sorry. The number you have
dialed has been disconnected or is no
longer in service...
He throws the receiver, tears the valet ticket in half and
tosses it, then steps back -- KICKS the phone.
EXT. CITY STREET -- NIGHT
Nicholas returns to his car, looks down at the flat tire.
At the rear, Nicholas opens the trunk. He reaches in and
takes out the car's JACK. He looks at it like an alien
thing, turns it over, tosses it into the street.
He closes the trunk, REMOTE's the ALARM, walking away.
There's a TAXI heading this way. Nicholas hails it...
INSIDE THE TAXI
Nicholas gets in. GLASS separates him from the CAB DRIVER
NICHOLAS
Twenty-two Moore Street.
The driver nods and hits the gas.
EXT. CITY STREETS, FURTHER ON -- NIGHT
The taxi roars down the street.
INSIDE THE TAXI
Nicholas has his head back, eyes closed, loosening his tie.
He looks out the window, narrow his eyes.
NICHOLAS
(pointing)
Um... you want to turn here...
(TAXI KEEPS GOING)
Excuse me, you missed the turn.
The driver says nothing. Nicholas knocks on the glass.
NICHOLAS
Did you hear me? You're...
Nicholas stops, noticing the DRIVER I.D. on the other side
of the partition. "California Regal Sedans." C.R.S.
NICHOLAS
No... no, no, no. Stop the car!
The taxi HALTS at a LIGHT. Nicholas tries the DOOR HANDLE.
Doesn't work. He tries the WINDOW HANDLE -- it COMES OFF.
ON THE STREET
The cab PEELS OUT as the light turns green.
INSIDE THE TAXI
Nicholas tries the other door, panicky. Same results --
locked in. The taxi makes a SCREEEEECHING TURN...
ON THE STREET
The taxi speeds up... heading for a WHARF AREA and PIERS.
INSIDE THE TAXI
Nicholas presses against the partition, urgent, calm...
NICHOLAS
Listen. I am a very wealthy man.
Whatever they're paying you, I'll
double it!
The taxi driver simply opens his door and leaps out...
THRU THE WINDOW: the driver ROLLS, a perfectly executed
stunt fall. Nicholas can't believe. He grabs frantically
for his seatbelt, SNAPS it around him, looks up...
Opens his mouth to SCREAM...
ON THE WHARF
The taxi goes FLYING off a deserted pier... airborne...
SPLASHES DOWN! in the San Francisco Bay.
INSIDE THE TAXI
Nicholas is jerked forward, breath slammed out of him.
ON THE SURFACE OF THE WATER
The taxi goes under in an eruption of bubbles.
UNDERWATER
THRU THE TAXI WINDOW: Nicholas pulls off his seatbelt,
extricates himself and starts kicking the window. Dashboard
lights grow eerie as they submerge.
INSIDE THE TAXI
Nicholas stops kicking, trying to calm. He looks to the
front: water's gushing in through two-inches of open window.
The taxi's less that half full.
NICHOLAS
(to himself)
It's a game... it's a game...
He tries the DOOR HANDLE again, yanking, to no avail. He
realizes something, searches his pockets...
UNDERWATER
The taxi sinks, headlights dimming in murkier depths.
INSIDE THE TAXI
Nicholas finds the METAL CRANK. He takes a deep breath...
SUBMERGING. He puts the crank in the WINDOW HANDLE HOLE,
turns the crank. The WINDOW LOWERS, water flooding in...
UNDERWATER
Nicholas swims out the window, heading upwards...
EXT. SAN FRANCISCO BAY -- NIGHT
Nicholas bursts to the surface, sucking air. He treads
water, catching his breath.
GIRL'S VOICE (o.s.)
Hey, mister... are you alright?
Nicholas turns. There's a CABIN CRUISER docked nearby. A
beautiful GIRL in a yellow raincoat throws a life preserver.
Nicholas swims to it.
EXT. CABIN CRUISER -- NIGHT
Nicholas climbs the rear ladder with the girl's help. He
stays on his knees, teeth chattering. The boat's luxurious.
GIRL
You could get hepatitis from that
water.
She helps Nicholas up, keeps a grip on him.
NICHOLAS
I need the police.
GIRL
Let's get you dried off first. I
might have some clothes below.
INT. CABIN CRUISER, BATHROOM -- NIGHT
The shower and mirrors are fogged. Nicholas' wet clothing
sits in the sink. He's wearing a short-sleeved shirt,
pulling on trousers.
IN THE ADJOINING BEDROOM
QUIET MUSIC. Nicholas comes from the bathroom, feeling the
waistband of the pants, checking out the cuffs.
NICHOLAS
You know, these fit... perfectly.
GIRL
They were my husband's. My late
husband... may he rest in peace.
Nicholas looks to the girl. She rises from the bed and
slides the raincoat off, wearing only a BIKINI. A Playmate.
Nicholas just sort of sags.
The girl undoes her top, which falls. She steps forward.
GIRL
I've been so lonely.
NICHOLAS
I can't tell you how not interested
I am.
GIRL
Don't be nervous. They said you'd be
nervous.
NICHOLAS
Don't take another step.
The girl covers her breasts, confused. Nicholas gathers his
clothing from the sink, heading for the stairs.
GIRL
Isn't this what you like? They told
me you had a thing for boats.
NICHOLAS
First they try to kill me, now you?
(to girl)
Put your damn clothes back on.
Nicholas scrambles upstairs...
EXT. CABIN CRUISER -- NIGHT
Nicholas leaps off onto the wharf. The girl, pulling on her
raincoat, crosses to the boat's rail, waving a BOX. Thru
the box's window: a gold GLASS CUTTER nestled in velvet.
GIRL
Don't you want your thing? I was
supposed to give you this thing.
Nicholas just keeps walking.
CUT TO:
EXT. C.R.S. BUILDING -- DAY
TWO POLICE CARS, marked and unmarked, pull to the curb.
From the plainclothes car, MALE DETECTIVE and FEMALE
DETECTIVE get out. Nicholas and Sutherland get out.
INT. C.R.S. BUILDING, LOBBY -- DAY
Nicholas, Sutherland, Male and Female Detective cross the
busy lobby with TWO UNIFORMED OFFICER'S behind.
INT. C.R.S. BUILDING, OFFICES -- DAY
Nicholas enters, followed by the others. He stops short...
REVEAL: this huge room, once filled with cubicles far as the
eye could see, is now entirely EMPTY. Trash. Dust.
Fixtures jutting from the floor.
CUT TO:
INT. NICHOLAS' OFFICE -- DAY
Nicholas stands with hands in pockets, staring at the floor.
Sutherland's here. Female and Male Detective stand
together. She's checking notes.
FEMALE DETECTIVE
Management for the building says that
space hasn't been officially rented
yet. The county recorder has no
listing for "Consumer Recreation
Services" or any derivation thereof.
No sign of the boat or the girl.
We're checking escort services, but
it's unlikely. Divers are looking
for the taxi, and soon as they find
it they'll pull the plates and V.I.N.
MALE DETECTIVE
Have you gotten in touch with your
brother?
NICHOLAS
He hasn't called back.
SUTHERLAND
What about the house?
MALE DETECTIVE
The graffiti was painted in an
oil-based marine marking solution.
Illegal in the states. Not impossible
to trace, but it'll take time.
FEMALE DETECTIVE
The photos, gun, the clown, the
ambulance, cable box, everything
else... it's all pending.
(shuts notebook)
Breaking and entering we have, solid.
Malicious mischief, vandalism,
harassment. But, that's about all.
SUTHERLAND
Illegal surveillance, reckless
endangerment...
NICHOLAS
Attempted murder.
MALE DETECTIVE
Except... you said you hired these
people.
SUTHERLAND
That's irrelevant.
MALE DETECTIVE
It's our job to let you know what we
have. We haven't got motive.
FEMALE DETECTIVE
(to Nicholas)
You are who you are, so we know
you're not making it up. But, we've
never dealt with anything quite like
this. Be appropriately cautious.
(pause)
Unless you think they're done with
you.
CUT TO:
INT. VAN ORTON MANSION, KITCHEN -?NIGHT
Ilsa sets down a plate: sandwich with crust cut off, potato
chips and carrot sticks. Nicholas eats, pondering.
NICHOLAS
What was my father like?
Ilsa's at the fridge, near where drop-cloths, paint cans and
other repair preparations are piled.
ILSA
What makes you ask?
NICHOLAS
I'm not sure.
Ilsa comes to set down a glass, fills it with milk.
ILSA
All the time I've known you, you've
never once asked about him.
NICHOLAS
He came to my mind recently, that's all.
Ilsa moves to put food back into the refrigerator.
ILSA
Your mother thought he was a good
man. He worked very hard. What I
remember most was his manner was
so... slight. It was easy to spend
time in a room, and not realize he'd
been there the whole time.
NICHOLAS
Was he morose, or...? I mean...
ILSA
No. What happened... no one expected
it.
NICHOLAS
Sometimes I wonder how much of him
there is in me.
ILSA
Not much, I think.
NICHOLAS
I'm just like him.
ILSA
You're not like him at all. I don't
know exactly what's going on around
here lately, but don't make me start
worrying about you.
NICHOLAS
Did you worry about him?
ILSA
Nobody worried about your father.
Nicholas stares at his milk. PHONE RINGS. He answers...
NICHOLAS
(into phone)
Hello.
MARIA (v.o.)
(from phone)
It's Maria. I found the address you
wanted from Elite Taxi.
NICHOLAS
(picks up pen and paper)
Go ahead...
CUT TO:
EXT. SUBURBAN NEIGHBORHOOD -- NIGHT
Rows of lower-middle-class homes. Nicholas parks. A WHITE
VAN sits near, a wrench-wielding WORKMAN painted on the
side. "Cable Repair Specialists."
Nicholas crosses the lawn of a WHITE HOUSE, to the porch.
He rings the doorbell and waits. Finally, an older man in a
bathrobe answers, CHRISTINE'S DAD, puffy-eyed.
CHRISTINE'S DAD
Yeah?
NICHOLAS
Hello. Is Christine in?
CHRISTINE'S DAD
She's sleeping.
CHRISTINE (o.s.)
Who is it, dad?
INT. CHRISTINE'S LIVING ROOM -- NIGHT
Christine looks down from the top of the stairs. Below,
Nicholas looks up past Christine's dad.
CHRISTINE
What are you doing here?
NICHOLAS
Can we talk?
CHRISTINE
It's okay, dad.
Christine's dad opens the door and heads away. Christine
comes down, in a pajama top and shorts, pleased.
CHRISTINE
Didn't think I'd ever see you again.
NICHOLAS
Come here...
He watches to make sure dad's gone, leads Christine to the
middle of the room, takes out a PHOTOCOPY, unfolds it.
NICHOLAS
What can you tell me about this?
The SEX PHOTO of the woman in the RED BRA.
CHRISTINE
What is it?
NICHOLAS
Is this you?
CHRISTINE
Where'd you get this?
NICHOLAS
It was left in my hotel room, well,
not really mine. You're saying it's
not you?
CHRISTINE
I think I would remember.
(hands it back)
What makes you think it's me?
NICHOLAS
Well... the red bra.
CHRISTINE
(like he's crazy)
Okay.
NICHOLAS
I thought...
He's at a loss, drained.
NICHOLAS
Do you mind if I sit?
CHRISTINE
Sure. You alright? Is this still
that contest you're in...
NICHOLAS
(sits)
I'm tired. I'm sorry, I should go.
I've been enough of a nuisance.
CHRISTINE
Let me go get some clothes on.
We'll talk, okay? Be right back.
Christine hurries upstairs. Nicholas stands, calls after.
NICHOLAS
Do you have any aspirin?
Nicholas takes in the room, unhappy. He squints at a VIRGIN
MARY figurine, picks it up... unscrews the head. It's a
decanter. He sniffs it and puts it back. He sniffs the
air, noticing...
A WISP OF SMOKE rises from a bright LAMP.
INSIDE THE LAMPSHADE: Nicholas peers inside. A PRICE TAG
dangles against the bulb, turning brown, smoking.
Nicholas reaches to remove the tag -- burns his finger on
the bulb, jerking his hands away. He blows on his finger,
sighs, walks to poke his head thru a swinging door...
INT. CHRISTINE'S KITCHEN -- NIGHT
Modest, cluttered. Nicholas goes to the sink, holds his
finger under the faucet. NO WATER. He jerks the faucet
handle, but gets nothing. He looks around...
Opens a drawer -- EMPTY. He opens another drawer -- EMPTY.
He opens more EMPTY DRAWERS, a disturbing thought forming.
Opens a cabinet -- EMPTY.
INT. CHRISTINE'S LIVING ROOM -- NIGHT
Nicholas returns, scanning the room. He picks up a FRAMED
PHOTO of a LITTLE GIRL in a dress, takes the frame apart...
The picture is an ADVERTISEMENT from a glassy magazine, with
TEXT folded behind and print on the back.
Nicholas takes a breath, quickly replaces the clipping just
as Christine returns from upstairs. She's in a pull-over
dress, putting her hair up.
CHRISTINE
Want anything to drink?
NICHOLAS
(holds up frame)
You?
CHRISTINE
Yeah. First Communion. Aren't I a
little angel?
Nicholas offers the frame to Christine, fury showing...
NICHOLAS
Take the picture out.
CHRISTINE
What's wrong?
NICHOLAS
Take the picture out of the frame and
show it to me.
CHRISTINE
I don't...
Christine tries to assess the situation... realizes he's
onto her. She swallows, making a quick decision, drops her
facade, her voice a desperate WHISPER.
CHRISTINE
They're watching.
NICHOLAS
Wha... ?
CHRISTINE
(under her breath)
Not here! They can see.
Christine motions with her eyes. Nicholas looks...
ON THE CEILING, a red-bulbed SMOKE DETECTOR.
CHRISTINE
(cheery, in character)
So, what do you say we go for a
drive? We'll take your car...
She takes his hand and pulls him. Nicholas yanks away...
NICHOLAS
No! I'm sick of this...
CHRISTINE
Nicholas...
Nicholas points up at the smoke detector, addressing it...
NICHOLAS
You can come out now, if you're
there. Come on out! Let's go!
Nicholas walks to the fireplace, picks up a FIREPLACE POKER.
He moves to SWING it up -- SWATS the smoke detector.
Christine runs to the picture window.
CHRISTINE
Now you've done it!
THRU WINDOW: THUG 1 and THUG 2, muscle men, climb out from
the CABLE REPAIR VAN, running this direction.
Nicholas comes to look, poker in hand.
NICHOLAS
What? Oh, and I suppose they're going to...
THRU WINDOW: Thug 1 and 2 draw guns, pointing...
Nicholas furrows his brow, unsure.
CHRISTINE
Get down!
WINDOW'S BLOWN IN by GUNFIRE! as Christine tackles Nicholas.
Shattered glass showers down. KNICK-KNACKS FLY TO PIECES.
Christine crawls. Nicholas follows. They flee, Nicholas
gasping and glancing back, terrified...
IN THE KITCHEN
Christine pulls Nicholas thru a door...
INT. CHRISTINE'S GARAGE -- NIGHT
Christine and Nicholas come downstairs to the empty garage.
Christine's dad looks up from his solitaire game at a card
table, a day player thrown off by this backstage intrusion.
CHRISTINE'S DAD
What the hell... !?
Christine leads Nicholas out the REAR DOOR...
EXT. CHRISTINE'S BACKYARD -?NIGHT
They run along the back of the house...
NICHOLAS
What is this!?
CHRISTINE
God, wake up, it's a con!
Around the corner, toward the front, Christine stops, looking
across the front lawn to Nicholas' Bentley.
INT. CHRISTINE'S GARAGE -?NIGHT
Thug 1 and 2 bluster in, guns up. Christine's dad points to
the open rear door, afraid. Thug 1 thinks quick -- SLAMS
the GARAGE DOOR OPENER...
The OPENER'S MOTOR RATTLES to life, GARAGE DOOR RISING...
EXT. CHRISTINE'S FRONT LAWN -?NIGHT
Nicholas and Christine speed away in the Bentley.
BEHIND, Thug 1 and 2 crawl under the garage door, giving
chase, FIRING. Too little, too late. They run to the van.
EXT. SUBURBAN STREETS -- NIGHT
The Bentley roars onwards...
IN THE BENTLEY
Nicholas drives, white-knuckled. Christine watches behind.
ON THE STREET
The van pursues, far behind, but closing ground.
IN THE BENTLEY
Nicholas checks his mirror. Christine looks forward...
CHRISTINE
Look out!
ON THE STREET
The Bentley SIDESWIPES another CAR as Nicholas runs a light.
The Bentley keeps going, the other car SPINNING...
The van BRAKES HARD to avoid the spun-out car. The van
reverses, angling to get around...
FURTHER ON
The Bentley SKIDS into an alley, lights off, still moving.
The van, having lost half a block, misses this and continues
straight, raging forward, then SCREEEEECHING to stop...
In the middle of a four-way intersection, stumped. The van
chooses a direction, cutting a corner, roaring away...
INT. BENTLEY -?NIGHT
CHRISTINE
(looking back)
Okay... they're gone...
She's thrown forward as Nicholas SLAMS BRAKES. He reaches
across and throws Christine's door open.
CHRISTINE
What are you doing... ?
NICHOLAS
Get out.
CHRISTINE
I could've handed you to them. They
find me now, I'm dead...
NICHOLAS
Get out of my car!
CHRISTINE
You don't have a choice. No one else
is going to tell you what's going on.
Nicholas stares at her with hatred.
CHRISTINE
Do you want to know? If I'm gone,
you never will.
Nicholas flips the headlights on, puts the car in gear and
drives. She pulls the door shut.
NICHOLAS
You can talk while I drive us to the
police.
CHRISTINE
No cops. I've got a warrant out.
Mail fraud. They'll take me in, but
you won't be able to prove anything
else.
Christine takes out cigarettes, lights up.
CHRISTINE
I can't believe they didn't take the
time to get the house right.
Nicholas grabs the cigarette, throws it out his window.
NICHOLAS
Who are "they?"
CHRISTINE
I don't know, nobody does. I'm an
employee.
NICHOLAS
Then, what good are you?
CHRISTINE
I know things... like who you can
trust. Like that your brother was in
on it from the beginning.
NICHOLAS
That's a lie...
CHRISTINE
Yeah? I was your waitress on your
birthday. Connie told you about
C.R.S. that day, remember? I was
already playing my part, before you
started the game.
Nicholas looks to her, realizing the truth of it.
Christine's lighting up a new cigarette.
CHRISTINE
It wasn't his fault. He thought it
was his only way back. They fleeced
him real good.
NICHOLAS
How? How could they have gotten
anything?
CHRISTINE
They did the same to him as they did
to you.
NICHOLAS
What are you talking about... ?
She gives him a pitying look.
CHRISTINE
They've already got it, Nicholas.
They got everything.
Nicholas shoots her a glance; this is absurd.
CHRISTINE
Check your accounts. That night in
your office, when we were there...
FLASHBACK -- NICHOLAS' OFFICE -- THAT NIGHT
Christine runs her finger down Nicholas' TELEPHONE. She
looks to see Nicholas is preoccupied, lifts the receiver...
Reads the PHONE NUMBER underneath. She turns, looks down...
There's a NUMBER written on the PHONE JACK on the wall: #C4.
CHRISTINE
I got the number to your private line
and modem. I gave C.R.S. remote
access to your computer...
FLASHBACK -- VARIOUS INSERTS
NICHOLAS' C.R.S. TESTING: Nicholas' hand scribbles his
SIGNATURE... fills out a FINANCIAL QUESTIONNAIRE. A TAPE
RECORDER'S REEL SPINS... a PENCIL blackens TEST BLOCKS...
CHRISTINE
You already gave them everything
else. Handwriting, voice samples,
psych-info. They used it all to
figure out your passwords.
FLASHBACK: ON A MONITOR, combinations of LETTERS and NUMBERS
SCROLL BY, multiplying, too quickly for the eye to see...
CHRISTINE
From there, they only had to keep you
distracted while they broke into the
network and transferred your holdings
to dummy accounts.
FLASHBACK: FIGURES appear on a COMPUTER SCREEN; HIGH NUMBERS
flying down to 000,000,000's. More NUMBERS, falling.
CHRISTINE
Remember Jim Feingold, the guy who
signed you up? He did five years for
hacking Citibank in eighty-four...
FLASHBACK: PAN UP from deft fingers at a keyboard to JIM
FEINGOLD, lit by cold COMPUTER SCREEN GLOW.
BACK TO SCENE IN BENTLEY
Nicholas sweats. He checks his watch, takes out his
cellular, dialing with his thumb. Christine smokes.
CHRISTINE
Why else would they be willing to put
you under... ?
NICHOLAS
(into cellular)
Overseas operator? Please dial
Allgemeine Bank, Zurich.
CHRISTINE
They don't care about you anymore.
Alive or dead is the same, as long as
they bury you deep enough.
EXT. HIGHWAY -- NIGHT
The Bentley SPEEDS out a tunnel on the highway toward S.F.
INSIDE THE BENTLEY
NICHOLAS
(into cellular)
Guten tag. Vilen dank, Englisch.
Blue-two-backslash-five. Mother's
maiden name: Miller. Six-nine-zero,
D as in David. Yes. The balance...
(listens)
That's impossible. When did... ?
Nicholas listens, scarcely breathing. Christine seems
regretful. Nicholas lowers the phone, shuts it off.
CHRISTINE
They got everything.
Lights flash across Nicholas' sweaty features.
CUT TO:
EXT. GAS STATION/CONVENIENCE HUT -?NIGHT
Nicholas pumps gas, pale, on his cellular. Christine stands
across the lot, out of earshot, watching the dark freeway.
NICHOLAS
(into cellular)
Call soon as you get this message,
Sam. I checked them all, I don't
know how, but they drained my
accounts. Now they're trying to kill
me. You tell the cops, I've got one
with me. We'll make her testify. I
know how it must sound. Call on my
mobile. Be careful
INT. CONVENIENCE HUT -- TIME CUT
A FEMALE CLERK taps a gold credit card, listens on a PHONE.
She hangs up, goes to the BULLETPROOF WINDOW. Nicholas and
Christine wait on the other side with armloads of food.
CLERK
(into intercom)
They say I have to take the card.
Nicholas seems numb. Christine checks her pockets.
CHRISTINE
(via intercom)
I think I've got some cash.
CUT TO:
EXT. DIRT ROADWAY -- NIGHT
The Bentley overtakes a logging TRUCK on this dirt road.
IN THE BENTLEY
QUIET NEWS RADIO. Nicholas drains coffee from a styrofoam
cup, rolls his window and tosses the cup out, trying to stay
awake. He looks beside him.
Christine's asleep against her door, placid and
innocent-looking. Nicholas stares at her.
CUT TO:
EXT. LAKE, VAN ORTON CABIN -- NIGHT
Beautiful lake. Dense forest. The Bentley's parked near a
relatively humble CABIN. LIGHTNING FLASHES across the sky.
INT. CABIN -- NIGHT
FIRE in the fireplace. Christine tends a metal pot over the
flames. Nicholas sleeps slumped in a low chair. Christine
passes with the pot. Nicholas awakens, disoriented,
searching for familiarity. He sits forward...
Christine's in the candle-lit kitchenette. He watches her,
grim. She makes coffee. He sits back.
CHRISTINE
What?
Christine comes over and gives him a mug of coffee.
CHRISTINE
What did you say?
NICHOLAS
I didn't say anything.
He gets up, walks, sipping coffee. Christine watches him.
Nicholas stares at FAMILY PHOTOS on the mantle.
CHRISTINE
(sad, unsure)
My name's not Christine. It's not my
real...
NICHOLAS
Who the fuck cares?
He doesn't even look at her, picks up a PHOTO: FATHER and
YOUNG NICHOLAS, holding up fish. Nicholas rubs the dust off
his father's face.
CHRISTINE
It's just money. You should be glad
you're alive.
NICHOLAS
It might be best if we didn't talk.
CHRISTINE
All I mean is... someone like you...
NICHOLAS
How many times have you done this?
I'm interested.
CHRISTINE
What?
NICHOLAS
Scams, con games. How many?
CHRISTINE
I don't know. A lot.
NICHOLAS
Whatever kind of nickel-and-dime shit
you did before, this is more than
just me. Your friends raided pension
plans, and payrolls... they took just
over six-hundred million. You ruined
people's lives.
Christine looks sick and truly scared. The CELLULAR CHIRPS.
Nicholas goes to pick it up off a table.
NICHOLAS
(into cellular)
Yes.
SUTHERLAND (v.o.)
(from cellular)
I got your message. I was disturbed,
to say the least...
Christine stands.
CHRISTINE
Who is it?
NICHOLAS
(into cellular)
What do we do?
SUTHERLAND (v.o.)
(from cellular)
I've been on the phone for an hour
already. Nicholas, your funds are
intact. Nothing's been touched.
CHRISTINE
(worried, insistent)
Who is it?
NICHOLAS
(still into cellular)
What do you mean? I checked them
myself. I made the calls...
SUTHERLAND (v.o.)
Nothing's changed. I'm telling you,
not a cent is unaccounted for...
NICHOLAS
(cups phone, to Christine)
My lawyer... says nothing's missing.
She shakes her head ominously.
CHRISTINE
(fear, whisper)
He's in on it...
Nicholas stares at Christine, trying to comprehend...
SUTHERLAND (v.o.)
I don't know what's happening, but
stay where you are till I get to you.
Give me your precise location...
CHRISTINE
Sutherland's in on it.
SUTHERLAND (v.o.)
I'll come there. Hold on, Nicholas,
I have another call. Tell me where
you are.
Nicholas lowers the phone, pushes DISCONNECT, afraid.
NICHOLAS
We have to get out of here.
The PHONE CHIRPS again. Nicholas looks at it, flicks a
switch on the side, silencing it. He sits, sickened.
NICHOLAS
How did they get to him? Why didn't
you tell me?
She lights a cigarette, backing toward the kitchenette.
CHRISTINE
Mm... I wouldn't worry about it.
NICHOLAS
What... what do you mean?
CHRISTINE
It's out of your hands.
He looks up, trying to figure. His head lulls...
He takes a breath, looks at his trembling hands. Drugged.
He looks around, confused... spots the COFFEE CUP, realizes.
With a CRY of RAGE, he LUNGES toward Christine, but comes up
short, toppling a shelf, contents CRASHING DOWN...
Nicholas rolls, pained, clutching his throat, taking air in
RASPING GULPS. He crawls, swings his fist, slams a table...
CHRISTINE
Cellular calls can be intercepted,
you know.
Christine backs to avoid, hefts a heavy cooking POT in case.
She maneuvers, steps over him. He grabs, blindly...
She scoops up the dropped PHONE and crosses away.
CHRISTINE
(cigarette 'tween lips)
All those calls you made, to B of A,
France, Switzerland... you were
talking to my people.
(hits REDIAL on cellular)
You filled the blanks. Access codes,
passwords, stuff even your lawyer
didn't have -- but we have it now.
Nicholas tries to stand, falls, clutching his gut, CRYING
OUT in great pain, frothing at the mouth.
CHRISTINE
It's over, Nicholas. Goodbye.
THE ROOM SPINS round and round, spinning OUT OF CONTROL.
FADE TO BLACK
BREATHING... then a STRUGGLE... POUNDING, KICKING...
INT. CRYPT -- MORNING
A PARTICLE-BOARD LID SPLINTERS as Nicholas pounds his way
out of a COFFIN, looking wildly around, eyes blood-shot...
A moldering MAUSOLEUM. Light seeps thru cracked walls.
Piles of rotten flowers. Coffins. Hundreds of flies.
Nicholas gags on the air, climbing free and falling to the
floor, legs weak. He's in a WHITE SUIT, dazed and afraid.
There's a RED ROSE taped to his chest.
EXT. MEXICO CEMETERY -- MORNING
Pushing the plywood door of the MAUSOLEUM outward, Nicholas
tumbles into dawn light. He's in a ramshackle GRAVEYARD.
Tombs for miles. Misty, tropical vegetation. Third World.
Nicholas walks, trying to figure this. He notices the red
rose, pulls it off and throws it. An OLD WOMAN sits at a
grave with her rosary. She watches Nicholas, emotionless.
NICHOLAS
Where am I? What is this place?
The OLD WOMAN speaks SPANISH. Nicholas stares blankly. She
seems to be asking questions. Nicholas finally realizes
it's a foreign language, turns, walks away.
CUT TO:
EXT. MEXICO STREET -- MORNING
A busy downtown street. A sea of MEXICAN PEOPLE, many poor.
Nicholas walks, caught in the flow of the crowd, JOSTLED,
aimless. The world's a NOISY BLUR around him.
Nicholas pushes to the TRAFFIC JAMMED street, spotting a
POLICEMAN directing traffic, heads for him...
NICHOLAS
Officer... officer...
HORNS BLAST. Nicholas comes to the officer, relieved...
NICHOLAS
Do you speak English? I'm an
American.
The policeman scolds Nicholas in SPANISH, shoos him away.
Nicholas searches his empty pockets...
NICHOLAS
Listen... they took my wallet...
(insistent, of himself)
American. I am an American citizen.
The policeman shouts angrily, grabs Nicholas' arm. Nicholas
reflexively pulls away...
NICHOLAS
No, you don't understand, I'm an
American...
The policeman unsheathes his baton -- STRIKES Nicholas.
Nicholas hits the street, raising his arms in defense. The
policeman SWINGS AGAIN...
Hits Nicholas' skull. Nicholas runs, escaping thru traffic.
The policeman curses after him.
CUT TO:
EXT. MEXICAN BUS STOP -- DAY
Hot. Nicholas sits on a bench, a dried blood trail down his
face, holding balled-up newspaper to his bleeding head.
Others on the BUSY SIDEWALK don't even take notice of him.
Nicholas checks to see if he's clotted, tosses the
newspaper. He watches traffic pass, sits forward, elbows on
his knees, staring at the sidewalk.
NICHOLAS
... fuck...
Tears forming in his eyes. He takes a deep breath, stops
himself, swallowing back despair, deciding. Determined...
He gets up and walks. He picks up the pace, running.
LONG SHOT: Nicholas running, across one street, down
another, a strange sight in his filthy white suit. Stopping
now and then to ask questions of passerbys, moving on...
FOLLOW: Nicholas continuing, stopping in a SHOP DOORWAY.
NICHOLAS
(to SHOPKEEPER)
The embassy? Please... the American
embassy, do you know it?
No answer. Nicholas continues, slowing. Ahead down the
sidewalk, there's another MEXICAN COP, tough-looking.
Nicholas hesitates, then, approaches...
NICHOLAS
Excuse me... Buenos Diaz, I'm looking
for the United States embassy. U.S.
embassy, please... pour favor?
The cop seems angry, eyeing Nicholas' appearance, deciding.
The cop points down the street. Nicholas heads away.
NICHOLAS
Thank you. Thank you, sir.
Nicholas runs.
EXT. AMERICAN EMBASSY -- ESTABLISHING -- LATER DAY
"Embassy of the United States of America, MEXICO CITY."
INT. AMERICAN EMBASSY, OFFICE ? DAY
A secretary leads Nicholas in from a crowded hallway. An
American COUNSELOR rises from his small desk in his small
office, shaking Nicholas' hand, taking PAPERWORK.
COUNSELOR
Please, sit...
Nicholas sits in a metal chair. A fan blows, poor remedy in
the heat. The counselor reads the paperwork.
NICHOLAS
Mister...
(sees desk name plate)
Mister Patterson. Some things have
happened... it's important that I...
The counselor holds up his hand, still reading...
COUNSELOR
No money, no identification or
passport. You are in a fix.
(looks up from papers)
What did happen to you?
NICHOLAS
Well, where to begin. It's
complicated...
COUNSELOR
(matter of fact)
It always is.
Nicholas looks to the counselor, who sips a glass of water
and looks at papers. Nicholas takes a moment, rethinks.
NICHOLAS
What happened was, I'm on vacation,
alone... I was robbed, at gunpoint.
They hit me and ran. Two men, a few
blocks away. They took my wallet,
money... all of it. So...
COUNSELOR
Robbed?
NICHOLAS
Yes.
COUNSELOR
Have you gone to the police?
NICHOLAS
I don't speak Spanish. All I need is
to get back... just enough for that.
The counselor taps his finger on desk's edge.
COUNSELOR
We'll help with the police, if you
want to bother. As far as money
goes... can I make a suggestion?
(off Nicholas' nod)
You say you were mugged?
NICHOLAS
Yes.
COUNSELOR
And, they didn't take that watch?
Nicholas looks at the ROLEX he's wearing, didn't realize it
till now, having taken it for granted.
COUNSELOR
How much is it? A few thousand, at
least. A Rolex like that... lucky
for you they missed it.
NICHOLAS
Yes, very lucky.
INT. MEXICO CITY PAWN SHOP -- LATER DAY
INSCRIBED on the back of Nicholas' ROLEX: "On your 18th
birthday, your father's watch. Love, Mother"
The FEMALE OWNER examines the Rolex inside a rusty metal
cage, makes a face. Nicholas is at the front of the long
line in this impossibly cluttered pawn shop.
PAWN SHOP OWNER
Cincuenta dolares Americano. Fifty.
NICHOLAS
Fifty? Do you know...
(deep sigh)
It's a Rolex. It's gold. Not gold
colored, actual gold.
PAWN SHOP OWNER
Si, oro. Cincuenta y cinco.
Cincuenta y cinco Estados Unidos.
Nicholas runs his hands thru his hair... resigned.
NICHOLAS
You see, all you had to do was get in
the ballpark. Yes, fifty-five... si,
senorita.
The owner counts battered dollar bills from a cigar box.
CUT TO:
EXT. BUS STOP/TACO STAND -- DAY
At a faltering TACO STAND painted in peeling orange paint,
Nicholas pays for tacos wrapped in paper and a bottle of
Budweiser. A bus ticket sticks out his breast pocket.
Nicholas steps away, wolfing down the food, following it
with guzzled beer. MANY PEOPLE are waiting for the bus, on
and around benches, suitcases and belongs in piles.
Nicholas looks, still chewing, to THREE YOUNG MEXICAN
CHILDREN staring at him. They stand with their plump
MOTHER, just watching him. Nicholas faces away, eating.
CUT TO:
EXT. MEXICAN HIGHWAY -- DUSK
A repainted SCHOOL BUS zooms past, trailing exhaust.
INT. BUS -- DUSK
Not one empty seat. At the back, Nicholas' eyes flutter
under their lids. He SNORES QUIETLY. The MOTHER of the
three Mexican children is next to him, one child in her lap.
She's asleep, leaning toward Nicholas. The child's awake.
The bus shifts, GEARS GRINDING, and mother slides further
over till her head rests on Nicholas' shoulder. Nicholas
awakens, looking at Mother against him.
The child looks up at Nicholas. Nicholas looks at the
child. Nicholas puts his head back, closes his eyes.
After a moment, the bus jerks and Nicholas opens his eyes,
turning to look out the window, watching a far-reaching
SUNSET. Crimson and gold clouds.
CUT TO:
EXT. MEXICO/UNITED STATES BORDER -?NIGHT
In the line of vehicles at the U.S. BORDER, the BUS' BRAKES
HISS, doors swinging open for an AMERICAN BORDER OFFICER...
INT. BUS -- NIGHT
The BORDER OFFICER comes on, not a calming presence. The
Mexican passengers know what to do, holding up GREEN CARDS
and PASSPORTS for perusal...
The officer grunts at each passenger he approves, moving on.
Nicholas slides lower in his seat. Mother, beside him,
produces her GREEN CARD and holds it aloft, waiting.
The officer comes to glare at Nicholas.
Nicholas looks back at him, unblinking.
The officer looks to Mother's card. He says something in
SPANISH. Mother responds in SPANISH. The officer grabs her
card, speaking, dissatisfied.
He shouts for Mother to get off... hurrying her up, moving
her out...
Mother moves, carrying the child in her lap, hastening the
other two children seated in front of her.
Mother protests about her rope-bound SUITCASES in the
overhead shelf, trying to grip one, arms full of child. The
official pulls her along, ignoring...
Nicholas watches. He rises...
OUTSIDE THE BUS
Mother and three children are unloaded. The official waves
the bus on to the border, despite Mother's protest.
The bus sets in motion...
AT THE BACK OF THE BUS, the rear emergency door is forced
open. Nicholas is there, dropping one suitcase...
Following with a second suitcase, tossing it to the ground
gently as the bus' motion allows. Mother spots this, moving
to collect the suitcases, children following...
ON THE BUS
The BUS DRIVER shouts a complaint in SPANISH.
At the rear, Nicholas pulls the door shut and latches it,
watching thru the window as Mother and children drag their
suitcases out of the path of other vehicles.
CUT TO:
EXT. CALIFORNIA HIGHWAY -- NIGHT
Nicholas walks backwards, exhausted, hitchhiking on the
freeway shoulder. TRAFFIC absolutely SOARS PAST.
EXT. BOB'S BIG BOY RESTAURANT -- NIGHT
Highway in the b.g., Nicholas hikes across the parking lot
of this 24-hour DINER, past many parked TRACTOR TRAILERS.
INT. BOB'S BIG BOY RESTAURANT -?NIGHT
There's a heavy duty TRUCK DRIVER clientele elbow to elbow
at the counter, eating, drinking coffee. The BELL above the
door TINKLES as Nicholas enters.
NiCHOLAS
Pardon me...
Nicholas moves to the end of the counter, louder...
NICHOLAS
Excuse me, please, if I could have
your attention...
Conversations stop. Everyone looks to Nicholas. He's
scruffier than ever; a hobo freak in a white suit, fed up.
NICHOLAS
Thank you. If anyone's heading to
San Francisco, I need a ride.
Met with silence. Nicholas clears his rough throat.
NICHOLAS
There's...
(digs in pockets)
There's all the money I've got left
in it for you... eighteen dollars and
seventy-nine cents...
Nicholas puts his crumpled bills and coins on the counter.
One penny falls. You can hear it hit the floor and roll.
CUT TO:
EXT. UPSTATE CALIFORNIA HIGHWAY -- DAY
BRIGHT DAY. A big, Baskin-Robbins TRUCK rumbles by...
INT. BASKIN-ROBBIN'S ICE CREAM TRUCK -- DAY
ENGINE and ROADWAY ROARING. Windows open, wind whipping.
Beside the DRIVER, Nicholas sleeps wrapped in a blanket.
CUT TO:
EXT. SAN FRANCISCO -- EARLY EVENING
The Baskin-Robbin's tractor trailer keeps on truckin'.
AHEAD: the San Francisco skyline.
EXT. WAREHOUSE DISTRICT -- NIGHT
Nicholas climbs down from the Baskin-Robbin's truck, thanks
the driver. The truck lurches away. Nicholas walks.
CUT TO:
EXT. VAN ORTON MANSION -- NIGHT
The gate is WRAPPED IN CHAINS. Nicholas arrives, trudging.
He pulls to test the chains. There's a "PUBLIC AUCTION"
SIGN hung. Nicholas tears it down, begins climbing...
INT. VAN ORTON MANSION, KITCHEN -- NIGHT
A ROCK SMASHES a glass pane in the door. Nicholas reaches
thru to let himself in. No electricity. Graffiti's gone.
There's scaffolding. Work in progress. Appliances gone.
Nicholas checks the PHONE, finds it dead.
INT. VAN ORTON MANSION, DEN -- NIGHT
Nicholas looks in. Furniture's wrapped in thick plastic.
Curtains and paintings are gone. Like the kitchen, this
room's repainted. Cold and bare.
INT. GUEST HOUSE, FOYER/LIVING ROOM -- NIGHT
The front door's ajar. Nicholas pushes it open slow,
entering darkness. The living room is completely empty.
NICHOLAS
(calling upstairs)
Ilsa.
Pitch dark at the top of the stairs. Nicholas moves forward
into another EMPTY ROOM. It's creepy quiet.
INT. VAN ORTON MANSION, GARAGE -- NIGHT
Nicholas enters the moonlit garage. THREE EMPTY SPACES.
INT. MANSION, MASTER BATH -- NIGHT
IN THE SHOWER, Nicholas scrubs his hair with a bar of soap,
huddled under the cold spray, shuddering.
INT. MANSION, MASTER BEDROOM ? NIGHT
In the stripped bedroom, Nicholas, in a baggy t-shirt and
jeans, pulls a paper wrapped package from a dresser. On the
bed, he tears open the paper, pulling out a long OVERCOAT.
INT. MANSION, KITCHEN -?MORNING
Dawn light. BIRDS HEARD SINGING. Nicholas opens drawers.
He finds a mason jar with CASH inside, unscrews the lid.
INT. MANSION, LIBRARY -- MORNING
Moving boxes. Half the shelves of this impressive library
are emptied into high stacks of books on the floor.
Nicholas moves to search a section still lined with books...
... looking for one in particular, reading spines...
"To Kill a Mockingbird" by Harper Lee, leather bound.
Nicholas takes it down.
INT. MANSION, FOYER -- MORNING
Nicholas heads for the front door. He halts, noticing...
An ENVELOPE on the counter, "TO WHOM IT MAY CONCERN."
Nicholas opens the envelope, unfolding a letter... "Like my
father before me, I choose eternal sleep." Still with the
RED SIGNATURE ARROW affixed below.
INT. MANSION, KITCHEN -- MORNING
The "suicide note" lands in the sink, BURNING.
CUT TO:
EXT. UNION SQUARE, GEARY STREET -- DAY
A MINI BUS halts at a corner. Nicholas is the second rider
off, paranoid, book under his arm. He moves down the
sidewalk... toward the FOUR SEASONS HOTEL.
INT. FOUR SEASONS HOTEL, FRONT DESK -- DAY
Unkempt, unshaven Nicholas is a blight in this flawless
hotel. At the desk, he gets the CLERK'S attention.
NICHOLAS
I'm here to see Conrad Van Orton.
Ring his room.
The desk clerk gives a pause while Nicholas scans the lobby.
DESK CLERK
One moment, please...
The desk clerk crosses to a gray, elder statesman MANAGER,
huddling to speak in hushed tones. Nicholas watches them,
concerned. The manager walks over...
NICHOLAS
What's the trouble?
MANAGER
You're here for Conrad Van Orton?
I'm the hotel manager...
He offers a handshake which Nicholas ignores.
NICHOLAS
Pleasure to meet you, I'd like to see
my brother, thank you.
MANAGER
(worry, guiding Nicholas)
Your brother. Will you come with me?
NICHOLAS
What's this about?
MANAGER
It's a private matter, for you... I
think you'll be more comfortable...
NICHOLAS
Where's my brother?
The manager looks around, feeling indiscreet, voice low.
MANAGER
There were complaints by other
guests, and damage to his room. We
did the best we could to accommodate
his behavior.
NICHOLAS
His behavior... ?
MANAGER
He couldn't, or refused to pay. We
extended credit...
NICHOLAS
Look, where is he?!
MANAGER
There was an incident a few days
ago... a nervous breakdown, they
said. The police took him. They
left this address, in case anyone...
Nicholas struggles to absorb this while the manager takes
out a BILLFOLD of business cards, offers a SLIP OF PAPER...
MANAGER
It's a hospital in Napa. I'm
terribly sorry. If you'd have been
here, you'd have seen, there was
nothing else to do.
Nicholas regards the paper, disbelieving, sorrow welling up.
CUT TO:
EXT. ELIZABETH'S HOME (SAUSALITO) -- DAY
ELIZABETH, Nicholas' ex-wife, bends to kiss her young
DAUGHTER. The daughter runs to a waiting, luxury MINI-VAN.
The female driver waves as the van pulls away.
Across this suburban street, Nicholas stands watching.
Elizabeth is about to go back inside, but she sees Nicholas.
She's surprised, smiling at first instinctively, but then
she looks concerned.
INT. RESTAURANT -- DAY
BUSINESS PEOPLE chat over breakfast. A TV at the bar shows
GOOD MORNING AMERICA. Nicholas and Elizabeth are seated
near. He's edgy, fingering a spoon, hand on his book.
NICHOLAS
I need your car, Elizabeth.
ELIZABETH
What happened to you, Nick? I mean,
look at yourself...
NICHOLAS
I know, look at me, well...
(short laugh)
What happened? I don't know. I
don't even really know. I have some
things to try to take care of... I
need the car a little while.
ELIZABETH
Of course you can have it if you need
it. Can I get you something to eat?
She starts working the CAR KEY off her keychain.
NICHOLAS
You're the only person I can trust.
Everyone else...
(pause)
If Sam Sutherland calls, don't tell
him you saw me. Lie to him. And,
whatever you hear, whatever anyone
tells you when this is over...
Nicholas straightens as a PALE WAITRESS arrives. He studies
her. She notices his fixation, tries to ignore.
PALE WAITRESS
(serving...)
There we go... coffee and English
muffin... water...
(smiles)
So, if there's anything...
Nicholas picks up his bottled water, examining the broken
plastic SAFETY SEAL around the cap.
NICHOLAS
This is open. Someone opened it.
PALE WAITRESS
Yes sir, I...
NICHOLAS
I can't have this open.
(gives it back)
I'd like another unopened. And I
don't want ice. I need a glass
without ice.
The waitress leaves, glad to get away from this freak.
Nicholas keeps looking all around the restaurant and over
his shoulder. Elizabeth takes Nicholas' hand, worried.
ELIZABETH
Nick, talk to me. You're scaring me.
I don't even know what you're saying.
He faces her, looks down at her hand in his.
NICHOLAS
I'm sorry, Liz... I don't mean to.
Nicholas clasps her hand, caresses it, looks at her.
NICHOLAS
The last few days, um... I've been
thinking... had a lot of spare time.
(pause, sad)
I want to tell you... I'm starting to
understand why you left me. I've
been resenting you for it, maybe, but
... I want to apologize, for all of
it. For shutting you out, for not
being there. I...
(swallows)
Anyway, I hope you can forgive me.
ELIZABETH
There's nothing to forgive.
NICHOLAS
It would mean a lot to me... if you
and I could be friends. If I could
have you back in my life... in some
small way. It would be important.
ELIZABETH
Of course, Nick...
Nicholas tries to smile. He glances away for a second, and
he lets out a STRANGLED CRY because he SEES SOMETHING...
NICHOLAS
No... no!
He stands, agonized, looking across to the...
TELEVISION, where JIM FEINGOLD is ON SCREEN in C.U.
NICHOLAS
(to television)
You fucking bastard!
ON TELEVISION: Feingold looks menacing, the top of his HEAD
REDDENING and beginning to THROB. CHEESY SOUND EFFECTS...
NICHOLAS
(still to t.v.)
How did you find me here?!
Obviously, everyone's watching Nicholas, Elizabeth included.
FEINGOLD (v.o.)
(ON TELEVISION)
Honey, my head is killing me!
WIFE'S VOICE (v.o.)
(from t.v., o.s.)
Did you take anything, sweetie?
FEINGOLD (v.o.)
(on television)
I took aspirin, but it's not working!
ON TV: a FEMALE HAND appears, offering a BOTTLE OF PILLS.
WIFE'S VOICE (v.o.)
(from television)
Try Ambutol, you silly goose. It's
stronger than aspirin and...
Nicholas is starting to understand, stunned.
NICHOLAS
He... he's an actor...
ON TV: Feingold, now cured, holds up the pills and smiles.
FEINGOLD (v.o.)
Thanks to Ambutol, I've got my head
back together.
JINGLE MUSIC. Nicholas looks to Elizabeth, points to t.v.
NICHOLAS
It's just a t.v. He's just an actor.
ELIZABETH
(slowly)
Yes.
Nicholas realizes how he must look. He picks up the car
key, gives Elizabeth a kiss on the forehead.
NICHOLAS
I'll explain someday.
ELIZABETH
I hope.
She watches Nicholas hurry away. She sits forward,
wondering, shaking her head.
NEAR THE CASH REGISTER, Nicholas moves to the door, but
stops. He goes to the CASHIER.
NICHOLAS
Can I borrow your Yellow Pages... ?
The cashier digs under the counter, comes up with the PHONE
BOOK. Nicholas takes it, leaving...
NICHOLAS
Thanks.
Nicholas goes out the door, gone. The cashier does a
double-take, about to say something, confused, dour.
CUT TO:
EXT. URBAN STREET -- DAT
A run-down neighborhood. Nicholas drives Elizabeth's VOLVO,
erratically, distracted...
INSIDE THE VOLVO
He steers with one hand while paging thru the YELLOW PAGES
open on the seat. He gets to RESTAURANTS, trading glances
between the book and the street.
ON THE STREET
Red light ahead. The Volvo stops.
INSIDE THE VOLVO
Nicholas finds ads for CHINESE RESTAURANTS, running his
finger down, flipping the page. His finger hits it -- a
grinning CARTOON PANDA. "TUNG HOY Chinese Restaurant."
NICHOLAS
Tung Hoy. Tung Hoy... best in
Chinatown.
He tears the page out and studies it like a pirate with a
treasure map. Suddenly, an arm reaches in thru the window,
putting a KNIFE to Nicholas' throat...
MALE VOICE (o.s.)
Get out of the car, fucker...
Nicholas holds still, eyes shifting to look at the wasted,
skittish TEEN THUG threatening.
TEEN THUG
Open the door and climb out. Leave
it running.
Nicholas is twitchy calm, motionless.
NICHOLAS
You're making a mistake...
The knife presses harder against Nicholas' throat.
TEEN THUG
Get out of the car.
NICHOLAS
You don't understand...
TEEN THUG
Get out of the car, motherfucker!
Get out of the car... !
Nicholas' hand finds and opens the book "To Kill a
Mockingbird" beside him. It's HOLLOWED-OUT with a GUN
hidden inside, a revolver, which Nicholas grips...
Nicholas brings the gun across, into the thug's face...
NICHOLAS
You have no idea how fragile I am
right now.
The thug backs off... runs away. Nicholas watches him go,
puts down the gun, drives.
CUT TO:
EXT. TUNG HOY -- DAY
A festive Chinatown neighborhood. At "TUNG HOY," ducks hang
behind the CARTOON PANDA painted on the window.
INT. TUNG HOY -- DAY
Cramped. Walls covered in CELEBRITY HEADSHOTS. Nicholas
faces an OLD CHINESE WOMAN behind the counter.
NICHOLAS
He's an actor. He does television
commercials...
CHINESE WOMAN
Do you know how many customers we
have? Hundreds. Thousands.
NICHOLAS
I know he orders from you. He had
his food delivered to Montgomery
Street. Fifteen-thirty-three...
The woman just shakes her head, continues bagging orders.
Nicholas realizes it's futile. He bends over the counter.
NICHOLAS
Is there anyone else I could ask?
Maybe they'll remem...
Nicholas stops, eyes locked...
Low on the wall, amongst the grease-browned pictures of
pseudo-celebs, there's a newer GLOSSY OF FEINGOLD,
smiling big, labeled "William Fisher."
Nicholas looks to woman who's shouting into the kitchen. He
jumps up on the counter, reaching with his fingertips for
the "Feingold" PHOTO, straining, almost has it...
EXT. CHINATOWN STREET -- DAY
On a PAYPHONE, Nicholas looks at the BACK OF THE HEADSHOT --
credits, phone number -- flips it to show Feingold/Fisher.
NICHOLAS (v.o.)
(into phone)
... I know it's short notice Mrs.
Fisher, but we were hoping your
husband could audition today. He's
perfect for the part...
MRS FISHER (v.o.)
(from phone)
Oh, this will break his heart...
NICHOLAS
Is there any way we can get in
touch with him?
MRS FISHER (v.o.)
His beeper's here on the table. He
took the kids to the zoo.
NICHOLAS
The zoo. How sweet. Which zoo?
CUT TO:
EXT. ZOO -- DAY
ANIMALS lounge in their cages. TOURISTS wander, mostly
families. Here comes Nicholas, running, searching...
Ahead: Feingold's in casual clothes, eating ice cream, doing
his best to supervise THREE OBNOXIOUS CHILDREN. Nicholas
moves in, slows when he's close.
NICHOLAS
Bill Fisher, I love your work...
Feingold turns, smiling... till he sees Nicholas and
recognition sets in. He goes pale, sheepish.
FEINGOLD
Okay, please.. I got my kids...
Nicholas casually shows him the gun.
NICHOLAS
Get rid of them.
FEINGOLD
Hey, everyone -- snack time! Here...
here you go...
Feingold takes out cash and dispenses it. KIDS CHEER and
run to a nearby SNACK CART.
FEINGOLD
Look, it was just a job. Nothing
personal, ya know? I play my part,
improvise a little. That's what I'm
good at.
NICHOLAS
I'm tired of dealing with peons. I
need to get to whoever's in charge.
FEINGOLD
Nobody knows, pal. Nobody gets the
big picture...
(looking away)
Jason, Tommy, cut it out!
His BOYS are THROWING ROCKS at the MONKEYS. They look to
their father, drop the rocks and saunter away.
FEINGOLD
Goddamnit, why do they do that?
NICHOLAS
(grips Feingold's shirt)
How do I find them? Their offices are empty.
FEINGOLD
They own the whole building. They
just move from floor to floor.
Nicholas releases him.
NICHOLAS
They know you... you worked for them.
You can get me in.
FEINGOLD
No, I can't. I'm sorry and all,
but...
NICHOLAS
Tell them the cops are after you...
tell them you've got to talk to
someone, I'm threatening to blow the
whistle.
FEINGOLD
What whistle? There's no fucking
whistle. This is fucking dangerous.
Nicholas gets in Feingold's face, furious.
NICHOLAS
You don't seem to understand. Right
now -- I'm dangerous.
Feingold gets the message.
CUT TO:
EXT. C.R.S. BUILDING -- EARLY EVENING
Dusk. LIGHTS OFF in the towering building. A battered
STATION WAGON rounds a corner, PAUSES at the GARAGE RAMP.
IN THE STATION WAGON
Cluttered car. Feingold at the wheel, tense, appears alone.
FEINGOLD
We're here.
BEHIND THE SEAT, Nicholas peeks from under a blanket.
NICHOLAS
Drive in.
FEINGOLD
What are you gonna do anyway? You
won't get your money back.
NICHOLAS
(muffled, under blanket)
I don't want money. I'm pulling back
the curtain. I'm here to meet the
wizard.
INT. C.R.S. UNDERGROUND GARAGE -- NIGHT
The station wagon comes down the ramp to a closed GATE. A
BEEFY GUARD looks from his booth. Feingold waves timidly.
The GATE RISES and the station wagon moves on...
IN THE STATION WAGON
IN THE REARVIEW MIRROR: Beefy Guard watches, suspicious.
FEINGOLD
(under his breath)
He's eyeing us like Tiffany Towers.
NICHOLAS (o.s.)
Just go. Park where he can't see.
IN THE UNDERGROUND GARAGE
ACROSS THE GARAGE, near elevators, the station wagon parks.
Feingold gets out, scared. Nicholas climbs out, crouched,
gun in hand, points for Feingold to go first.
Feingold goes to push the elevator button, sweating.
Nicholas remains hidden between cars.
A few elevators down, ELEVATOR DOORS open and a fierce
C.R.S. SECURITY GUARD gets off, spots Feingold, murmurs into
a WALKIE-TALKIE while taking out a gun.
C.R.S. GUARD
You're not allowed to be here.
FEINGOLD
No, they called me back... I have a
fitting...
Behind, Nicholas puts his gun to the guard's neck.
NICHOLAS
Give me the gun.
Security Guard gives it up, an automatic, which Nicholas
throws across the garage. Nicholas forces the guard to the
open elevator, takes the WALKIE-TALKIE and pockets it, pulls
Feingold along...
IN THE ELEVATOR
Nicholas frisks the Guard... pulls out HANDCUFFS.
FEINGOLD
You don't need me...
NICHOLAS
Shut up. Cuff him to the rail.
Feingold takes the handcuffs and obeys. Nicholas jams the
gun against the guard's neck.
NICHOLAS
What floor?
C.R.S. GUARD
Fourteen. But this elevator ain't
gonna get you there, college boy.
Nicholas pulls off the guard's KEYCHAIN, sorts keys...
He uses a GOLD C.R.S. KEY on the control pad, turns it and
hits 14. DOORS CLOSE. The elevator sets IN MOTION.
C.R.S. GUARD
You'll never get away with this.
These people will fuck you up.
Nicholas ignores. Feingold whimpers.
INT. C.R.S. BUILDING, 14TH FLOOR HALLWAY -- NIGHT
ELEVATOR OPENS. Nicholas peers out. No one in the hall.
He pushes Feingold ahead, pushes ALL THE FLOOR BUTTONS.
C.R.S. GUARD
You're fucked. You're both...
ELEVATOR SHUTS. Nicholas and Feingold move on.
NICHOLAS
Where?
FEINGOLD
I told you, they hired me over the
phone. I never met anyone.
NICHOLAS
Where'd you pick up your checks?
FEINGOLD
It was a different floor then...
NICHOLAS
Guess!
FEINGOLD
Like, this way... sort of...
Nicholas nudges Feingold ahead with the gun.
INT. COMMISSARY -- NIGHT
Door swings open. Nicholas and Feingold enter...
A BUSTLING, NOISY COMMISSARY. A cafeteria counter along one
wall. People CHATTING and LAUGHING at rows of long tables.
Nicholas keeps a grip on Feingold, walks forward, stunned...
EVERYONE FROM THE GAME IS HERE: the PARAMEDICS eat with the
HEAVY MAN who faked the heart attack. CHRISTINE'S FATHER is
seated near the airport HOMELESS BUM, BIKINI GIRL and the
MEXICAN MOTHER with her THREE CHILDREN from the bus.
PLUMP GUY, the P.I. who followed Nicholas and had his gun
taken, comes off the cafe line with a soda, spotting
Nicholas... spotting the gun, quaking. He flees...
Nicholas and Feingold continue. BUSINESSMAN 1 and 2 from
Nicholas' club sit near AMBULANCE ATTENDANTS. The TAXI
DRIVER and the FEMALE DETECTIVE chat.
There's the HOTEL MANAGER from the Claremont... the
BELLHOP... the CHINESE WOMAN from Tung Hoy... the DESK CLERK
from the Four Seasons and TEEN THUG. Every incidental
character from Nicholas' recent life.
Nicholas inches into the room. A few of the players begin
to notice him, some trying to place him, others pointing him
out to their dining partners. Nicholas halts, sees...
CHRISTINE rising, picking up her dirty tray, in
mid-conversation till she turns and sees...
Nicholas, who raises his gun.
CHRISTINE
Oh, fuck...
People notice the gun. SOME SCREAM. Everyone goes HUSHED.
CHRISTINE
What are you doing here?
NICHOLAS
I'm back from the dead.
CHRISTINE
Nicholas, okay... you're not about to
shoot anyone...
Nicholas moves to grab Christine. She drops her tray...
NICHOLAS
You're coming with me!
MALE VOICE (o.s.)
Everybody down!
Nicholas spins. At a far entrance, TWO SECURITY GUARDS aim
guns. PEOPLE SCREAM. Some run. Many dive for cover.
PANIC. Nicholas gets behind Christine...
He uses Christine as a shield, arm around her throat, pulling
her backwards. Feingold's frozen, hands held high...
SECURITY GUARD 1
Don't move!
Nicholas glances at the door, moving for it, dragging
Christine. Feingold's still got his hands up...
Nicholas and Christine near the doors...
Feingold bolts another direction, leaping tables...
Security Guard 1 shifts aim to Feingold...
SECURITY GUARD 1
Stop!
Security Guard 1 FIRES...
INT. 12TH FLOOR HALLWAY -?NIGHT
Nicholas shoves out into the hall with Christine just as
GUNSHOTS ECHO behind. MORE horrified SCREAMS HEARD and
TABLES TOPPLING and PLATES CRASHING.
Nicholas shoves Christine ahead, searching desperately...
NICHOLAS
Get us out of here...
CHRISTINE
Nicholas...
NICHOLAS
Get us out!
He shoves. She falls. He pulls her back up...
INT. STAIRWELL -- NIGHT
They enter. He makes her climb at gunpoint...
NICHOLAS
Move, move, move!
They climb stairs... up towards the "HELIPORT..."
EXT. ROOFTOP -- NIGHT
Air ducts, etc. A MUFFLED ALARM SOUNDS as Christine comes
out the door onto the windy rooftop, followed by Nicholas.
She backs against the railing the borders the huge BLACK
PIT at the center of the building; an atrium SKYLIGHT.
Nicholas SLAMS the door, throws the HEAVY BOLT, searches to
make sure the rest of the roof is clear.
CHRISTINE
What do you think you're doing?
NICHOLAS
You tell me... I want to know who's
behind this. Who did this to me...
how, why... ?
CHRISTINE
How deluded can you be? There's no
why...
NICHOLAS
Who's responsible?!
CHRISTINE
It wasn't you. It wasn't personal...
NICHOLAS
You call them...
Nicholas pulls out the WALKIE-TALKIE, throws it to her.
CHRISTINE
It could have been any asshole with a
couple hundred million in the bank.
NICHOLAS
Call them, tell them to get the boss
up here. Tell them I'll kill you...
POUNDING is HEARD from the other side of the roof DOOR.
MUFFLED VOICES. Nicholas reacts.
CHRISTINE
They won't...
NICHOLAS
They will! You tell them if they
don't come now, I will shoot you!
STATIC and GARBLED ORDERS HEARD from the WALKIE-TALKIE.
CHRISTINE
I'm telling you... they'll let me die
first. You're not in a position to
threaten them. You're trapped.
You're the one who...
Christine freezes, thrown...
CHRISTINE
... wait a minute...
She's taking notice of the revolver Nicholas brandishes...
CHRISTINE
Where'd you get that... ?
NICHOLAS
... what... ?
CHRISTINE
That gun. That... that's not
automatic. The guard had an
automatic...
POUNDING is LOUDER against the nearby door.
NICHOLAS
What the fuck are you... ?
CHRISTINE
Where'd you get that gun?
NICHOLAS
It's mine...
CHRISTINE
We searched the house.
NICHOLAS
Guess you missed it.
CHRISTINE
(suddenly very afraid)
Just... wait. Just wait! Okay...
please, I'm not kidding anymore...
Christine brings the WALKIE-TALKIE to her mouth...
CHRISTINE
(into walkie-talkie)
He's got a gun. Everyone, he's got a
real gun up here! Real situation!
(switching channels)
... damn it...
NICHOLAS
What are you doing?
CHRISTINE
Nicholas, this is fake. It's all
part of the game...
NICHOLAS
Fuck you.
THUMP-THUMP-THUMP against the DOOR...
CHRISTINE
Listen very carefully, I'm telling
the truth... this is the game. This
was all the game.
NICHOLAS
Bullshit. They killed him.
Feingold, Fisher, whoever... they
shot him...
CHRISTINE
No, now wait... think about it. What
did you see... ?
NICHOLAS
I saw them kill him!
CHRISTINE
What did you really see? This
whole time... special effects,
squibs, like in the movies. Please,
you've got to believe me...
(into walkie-talkie)
He's got a gun, with real bullets!
NICHOLAS
Stop talking to them!
CHRISTINE
Okay... okay...
(drops walkie-talkie)
I put it down. Now open that door.
Mister Fisher's right on the other
side of that door. He's an actor...
NICHOLAS
Stop talking...
CHRISTINE
Nicholas...
NICHOLAS
Shut up!
CHRISTINE
Let me show you...
She takes a step toward the door.
NICHOLAS
No! You take another step, I'll
shoot! They're trying to kill me...
CHRISTINE
You're wrong. You're about to make
the biggest mistake of your life.
Put that gun down.
POUNDING on the DOOR is DESPERATE. Nicholas falters...
CHRISTINE
Think about it! They followed you
every step of the way. There was
always a safety net. The taxi, there
was a diver. At my house, the window
was rigged... they shot at us with blanks...
NICHOLAS
That's not true...
CHRISTINE
It is. It's what you hired us for.
Nobody touched your money. Nobody
stole anything. They're waiting on
the other side of that door with
champagne... all your friends... it's
a celebration...
NICHOLAS
No...
CHRISTINE
Open that door, you'll see. Your
brother's there... Conrad. He's
there. It's your birthday party...
NICHOLAS
Stop it!
CHRISTINE
Please, Nicholas, let me show you...
She takes a tentative step towards the door...
NICHOLAS
Don't move, you bitch... !
CHRISTINE
(still moving)
I have to show you...
NICHOLAS
No!
And from the staticy WALKIE-TALKIE on the ground:
MALE VOICE (v.o.)
(thru WALKIE-TALKIE)
... Take him down! Take him down...
CHRISTINE
(shouts to door)
He's got a gun!
With a CLANK! -- the DOOR is POUNDED OPEN, swinging...
Nicholas turns, aims at the door...
CHRISTINE
Don't!
Nicholas FIRES, gunshot DEAFENING... !
In the doorway, Conrad, in TUXEDO and PARTY HAT, is startled
as the magnum of CHAMPAGNE he holds EXPLODES and throws foam
and glass in a wide spray...
The smile falls from Conrad's face as BLOOD spreads across
his chest. He looks to Nicholas, confused, collapsing...
A collective cry of horror comes from the gaily dressed
PARTY-GOERS behind as Feingold catches Conrad and eases him
to the ground, cradles him...
Nicholas lowers his gun... realizing...
NICHOLAS
Connie...
Feingold clutches Conrad, trying to stop the bleeding,
feeling for a pulse. Blood flows out Conrad's mouth.
FEINGOLD
Jesus... you shot him... !
(back to others)
Someone call an ambulance!
Conrad's eyes are closed. He's motionless. He's dead.
Christine lets out a hysterical sob, hands to her mouth.
FEINGOLD
Oh, God... oh, God...
Nicholas drops the gun, moves forward, stunned, numb...
FEINGOLD
He's dead... he's dead... !
(to Nicholas)
You killed him!
Nicholas falls to his knees in front of Feingold and Conrad.
Christine's eyes fill with tears...
CHRISTINE
(to Nicholas)
Why?! I told you... I told you. Why
didn't you listen?
Feingold releases Conrad to the floor, rising, bloody...
FEINGOLD
We're going to jail. We're all going
to jail for the rest of our lives...
People start clearing out of the stairwell, heading down.
FEINGOLD
(to Nicholas)
We thought you knew! How could you
let this get so out of hand?
Nicholas just remains kneeled there, breathing unevenly,
staring at his brother's corpse...
CHRISTINE
Why wouldn't you listen to me? What
is wrong with you? You killed your
own brother!
Nicholas looks to the dark sky, tears streaming down his
face. He looks all around.
Christine stops, looking down at the corpse, crying out of
control. Feingold comes to attempt to comfort her.
Nicholas gets to his feet, unsteady, backing away, looking
to the GLASS SKYLIGHT. He wipes his tears.
Nicholas stands motionless for the longest time. Calm.
Nicholas moves forward... a goal in mind...
Christine turns, sees...
Nicholas comes to the edge of the SKYLIGHT...
Christine screams...
Nicholas leaps...
INT. C.R.S. BUILDING -- NIGHT
Nicholas CRASHES thru the SKYLIGHT, FALLING...
SPARKLING SHARDS surround him like stars as he PLUMMETS...
The WORLD BELOW is PITCH DARK. Nicholas turns in the air,
head thrown back, closing his eyes...
FLASHBACK/GRAINY HOME MOVIES -- FLASH FRAMES
QUICK IMAGES: the CLOWN, CHRISTINE'S FACE, NICHOLAS and
CONRAD as children, Nicholas' FATHER striking the ground...
IMAGES so RAPID they're hard to process.
BACK TO SCENE
As Nicholas falls...
FALLING forever...
He lets out a CRY as the end rushes closer...
BRILLIANT LIGHT suddenly illuminates him. Nicholas throws
his eyes open, gasping in the brightness...
LIGHTS come on from all sides to show NICHOLAS' IMPACT as he
lands on his back, arms outstretched, SWALLOWED by an
ENORMOUS INFLATED LIFESAVING CUSHION that covers the entire
floor of the atrium...
AIR is HEARD RUSHING. Nicholas sinks, coming to rest as the
cushion DEFLATES. Harmless bits of BREAKAWAY GLASS shower
down. He doesn't move...
He can't comprehend. Motionless.
DOORS are HEARD OPENING. FOOTSTEPS RUSHING FORWARD.
VARIOUS VOICES (o.s.)
... let's go! ... make sure he's
alright... see if he's okay...
STUNT COORDINATORS come from all directions, in C.R.S.
jumpsuits, wading thru the flowing cushion, coming to help
Nicholas up, asking if he's okay. Nicholas just blinks at
them, quaking, lips trembling...
He's led out of the cushion, barely standing, sees...
Conrad runs from the elevators, covered in blood but very
much alive, smiling...
Conrad reaches Nicholas, throwing his arms around him,
giving him a long kiss, laughing...
CONRAD
Happy Birthday, Nickie. Happy
fucking Birthday...
Conrad embraces him again, knocks him back into the cushion.
Nicholas is still not all there, pulling away...
NICHOLAS
Get... get off. Get off me!!
You... you...
Nicholas shoves free, staring at Conrad, looking up, looking
back at Conrad, looking all around, terrified, near tears...
Emotion overwhelms Nicholas. He laughs and cries at once,
takes Conrad in him arms, holding tight, hands balled into
fists, clinging gratefully.
ACROSS THE ATRIUM, DOORS OPEN and people flow out, cheering:
Sutherland, Ilsa and Elizabeth at front, looking unsure,
forcing smiles, led by C.R.S. ESCORTS. And behind, DOZENS
and DOZENS of C.R.S. WORKERS, ASSISTANTS and TECHNICIANS.
At the bank of ELEVATORS, DING, DING, DING... DOORS OPEN and
the CAST OF CHARACTERS EMERGES, Feingold leading, holding
Christine's hand, everyone elated and shouting victoriously.
The crowd encircles Conrad and Nicholas as they climb back
out of the cushion. HUNDREDS of WELL-WISHERS gathering...
Conrad climbs a few stairs, pulls Nicholas along, motions...
CONRAD
Ladies and gentlemen...
(pause)
My big brother... Nicholas Van Orton!
He had it all, and now he has it all
back!
THUNDEROUS APPLAUSE. Nicholas looks out over them, flush,
awed, unable to catch his breath.
CUT TO:
INT. C.R.S. BUILDING, ATRIUM/LOBBY -- TIME CUT -?NIGHT
LOUD MUSIC. COCKTAIL PARTY IN PROGRESS. A huge CAKE is
being cut. Tables surround a PACKED dance floor area where
Feingold dances crazily. Everyone's drinking, eating...
IN THE CROWD, FIND: Nicholas stands with a bottle of
champagne in hand, watching Ilsa embrace Conrad.
ILSA
I hope we'll be seeing more of you.
CONRAD
Count on it.
Ilsa reaches to straighten Conrad's hair. She regards
Nicholas with affection, kisses his cheek.
ILSA
Goodnight. See you home.
NICHOLAS
Goodnight.
(watches her go, to Conrad)
Where was she?
CONRAD
In a hotel. Ordering room service
and watching pay-per-view. She was a
real sport.
BUSINESSMAN 1 and HEAVY MAN come thru the crowd to Nicholas.
BUSINESSMAN 1
Hey, congratulations! You did
great... really kicked ass...
HEAVY MAN
Amazing, just wanted to tell you...
Nicholas thanks them, shaking hands as they move on.
NICHOLAS
(to Conrad)
You know... how'd you manage the gun?
I mean...
CONRAD
Baby, they were all over the house
with metal detectors. They switched
your gun with a look-alike, rigged
barrel, loaded with blanks. Pop-gun.
MAN'S VOICE (o.s.)
(from behind)
Mister Van Orton... ?
Nicholas and Conrad both turn to face a C.R.S. ACCOUNTANT, a
nebbish who holds a CLIPBOARD and gives an amused look.
ACCOUNTANT
Conrad Van Orton.
CONRAD
Yeah... ?
Conrad steps aside with the accountant. Nicholas takes a
swig off his champagne, nods in response to C.R.S. WORKERS
who slap his back as the pass.
Nicholas realizes something, begins searching the crowd as
Elizabeth arrives with HUSBAND and DAUGHTER hand in hand.
ELIZABETH
We have to head out... just wanted to
say goodbye.
NICHOLAS
You're going? Well, thanks again.
(to DAUGHTER)
Good to see you, Rachel...
(shakes HUSBAND'S hand)
Thanks for coming, Mel. I'll get
your car back. Right now it's, uh...
at the zoo. Sorry.
ELIZABETH
Happy Birthday, Nicholas.
NICHOLAS
I'll call. I really will.
ELIZABETH
I know.
She kisses his cheek. Nicholas waves as they go...
NICHOLAS
Bye guys.
Nicholas looks around, still searching. He walks, receiving
more random congratulations, heading to a table where
Sutherland sits puffing a cigar. Nicholas sits.
SUTHERLAND
Bravo, young man. you have to tell
me what this was all about sometime.
(blows cigar smoke)
I want you to know... when it looked
there for awhile like you were going
slowly insane... I was fully
prepared to have you committed to the
finest mental-health facility
available. I mean that sincerely,
don't thank me.
NICHOLAS
You warm my heart.
Sutherland smiles, raises his glass. Conrad deposits
himself in a seat, holding an inch-and-a-half thick stack of
COMPUTER PAPER, studies the last sheet, thumbs the pages.
NICHOLAS
What?
CONRAD
This... ? Oh, this is just... this
is the bill.
Conrad tries to laugh, daunted.
NICHOLAS
Really?
CONRAD
(none too happy)
Yeah.
NICHOLAS
Split it?
CONRAD
Oh, God yes please. Thanks, man.
I'll take you up on that.
NICHOLAS
(leans forward)
Where's Christine?
(off Conrad's look)
The waitress.
CONRAD
Yeah, yeah. She called a cab.
Said something about catching a plane.
NICHOLAS
Did she?
Nicholas looks around.
EXT. C.R.S. BUILDING -- NIGHT
Nicholas comes out of the building to the street, hurrying
without wanting to appear hurried, looks both ways. Down
the block, a TAXI arrives. Christine's getting in.
Nicholas runs to catch it...
NICHOLAS
Excuse me... Christine... !
She looks out, waiting with the door open.
NICHOLAS
Hi. Didn't get a chance to say
goodbye.
CHRISTINE
That's my fault. I get too worked up
at these. I'm very method. You do
know... that's not my name.
NICHOLAS
I didn't know what else to call you.
CHRISTINE
Claire.
NICHOLAS
Claire. Pleased to meet you.
He holds out his hand. She shakes.
CHRISTINE
I have to get to the airport...
NICHOLAS
Where are you going in such a hurry?
CHRISTINE
There's another gig starting in Saudi
Arabia. I'm just a walk-on this time
though. Bit-part.
NICHOLAS
What about dinner sometime, when you
get back? Would that be... ?
CHRISTINE
(pause)
Is this something you're interested
in? I'm not really that person I was.
NICHOLAS
I realize. Maybe you could... tell
me a little about yourself.
CHRISTINE
Like what... my favorite color... ?
NICHOLAS
Like... where are you from?
CHRISTINE
Originally, Connecticut.
NICHOLAS
Big family... small?
CHRISTINE
One brother, one sister.
NICHOLAS
Studied acting, I assume?
CHRISTINE
Julliard, yeah.
NICHOLAS
Single?
CHRISTINE
Yes.
NICHOLAS
Boyfriend?
CHRISTINE
No.
NICHOLAS
Underwear?
CHRISTINE
Always.
Nicholas nods, scratches his head.
NICHOLAS
I could learn to live with that.
Christine smiles.
NICHOLAS
See how much I've learned already.
Imagine how much more I could learn
if you let me keep you company to the
airport.
She considers.
She moves over. Nicholas gets in beside her, shuts the
door. The cab drives away, into the nighttime city.
THE END
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