The Game Page #12

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-f***ing

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...

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