Knight Moves script
Knight Moves (1992)
Synopsis: FADE IN: INT. AUDITORIUM - 1972 - DAY TWO BOYS sit on opposite sides of a chessboard. One is NINE, the other FOURTEEN. The room is SILENT, the tension between the two young players severe. All the ADULT PLAYERS that have been eliminated from this match by the two boys stand around watching. On the wall is a BANNER that reads: 1972 WASHINGTON STATE TOURNAMENT. The FOURTEEN year old moves and hits his TIMER. Frustration fills the NINE year old's face. He moves. The FOURTEEN year old moves and calls CHECK. The NINE year old frantically searches the board for a solution. He moves. Again the FOURTEEN year old moves and calls CHECK. The NINE year is stunned. He picks up his KING to lay it on it's side and signal defeat. Suddenly, he rakes the pieces off the board, grabs his fountain pen and lunges at the FOURTEEN year old, stabbing him repeatedly in the chest. The

FADE IN:

INT. AUDITORIUM - 1972 - DAY

TWO BOYS sit on opposite sides of a chessboard. One is NINE,

the other FOURTEEN. The room is SILENT, the tension between

the two young players severe. All the ADULT PLAYERS that have

been eliminated from this match by the two boys stand around

watching. On the wall is a BANNER that reads: 1972 WASHINGTON

STATE TOURNAMENT.

The FOURTEEN year old moves and hits his TIMER. Frustration

fills the NINE year old's face. He moves. The FOURTEEN year

old moves and calls CHECK. The NINE year old frantically

searches the board for a solution. He moves. Again the

FOURTEEN year old moves and calls CHECK. The NINE year is

stunned. He picks up his KING to lay it on it's side and

signal defeat. Suddenly, he rakes the pieces off the board,

grabs his fountain pen and lunges at the FOURTEEN year old,

stabbing him repeatedly in the chest. They fall to the floor.

The ADULTS try to pull them apart. The NINE year old struggles

ferociously, SCREAMING and kicking like a mad man.

INT. HOSPITAL WARD - 1972 - DUSK

In the b.g. we see the Nine year old Boy sleeping. A DOCTOR

and the boy's FATHER, a hard-looking MAN in his forties, walk

through the door. We MOVE with them down the hall.

DOCTOR:

The pressures and demands players with

your son's abilities put on themselves

to win are incredible. The stress and

tension are difficult enough for adults

to handle, yet alone a nine year old.

FATHER:

I can't afford to keep him in here

forever, you know.

DOCTOR:

I'd just like to keep him here over

night, then start sessions with a child

psychologist.

FATHER:

I knew this would happen. This is his

mother's doing. She's not strict

enough with him. I work all day. She

lays in bed drunk and the boy does

whatever he wants.

2

DOCTOR:

After he's released it's crucial that

he's supervised. The most important

thing is that during his treatment he's

not allowed anywhere near a chessboard.

EXT. HOUSE, BACKYARD - 1972 - DUSK

A small, tract home. The Boy sits on the ground, drawing in

the dirt with a stick. He does not notice as his Father walks

up and stands behind him.

FATHER:

What are you doing?

The Boy is startled. He stands up quickly. In the DIRT we see

he has drawn a CHESSBOARD.

BOY:

Nothing.

The Father SLAPS him across the face.

FATHER:

Don't lie to me! What did the doctor's

tell you about playing chess! Get in

the house!

The Father drags his foot across the dirt, erasing the board.

INT. BEDROOM - 1972 - NIGHT

The Boy is sitting on his bed. In the b.g. we HEAR the VOICES

of his PARENTS.

FATHER (OS)

I've had it! I've got a drunk for a

wife and a lunatic for a son. I don't

need this shit anymore!

We HEAR FOOTSTEPS.

FATHER (OS)

You're crazy! Both of you.

We HEAR a DOOR SLAM. The Boy shows no sign of emotion.

3

INT. HALLWAY BLACK SCREEN - NIGHT

All is quiet except for a faint DRIPPING SOUND. A door is

slowly opened. Light streaks out into a hallway. We see the

NINE year old. He is barefoot and wearing pajamas. He looks

up. Drops of BLOOD drip from a crack in the ceiling above.

The Boy moves towards a staircase at the end of the hall.

INT. BEDROOM - 1972 - NIGHT

The Boy enters, takes a few steps into the room and stops. He

stares ahead blankly.

HIS POV:
WOMAN'S ARM - CLOSE SHOT

The arm hangs off the bed, blood flows out of a deep gash in

her wrist and pools on the floor. The CAMERA moves up the arm.

A WOMAN in her forties lays in bed. The blood flows from her

other wrist, soaking into the mattress. Her eyes are closed,

head titled away from him.

The Boy shows no sign of emotion. He walks over to the

nightstand and starts to open her purse. There is a MOAN from

the WOMAN as she opens her eyes and turns her head toward the

boy. They lock eyes for a moment, then slowly, her eyes close.

The boy removes a key from the purse and walks to a dresser.

He unlocks a drawer and removes a box, then leaves the room.

INT. KITCHEN - 1972 - NIGHT

The Boy walks over to the table with a glass of MILK and

COOKIES. He sits down, his feet dangling from the chair and

opens the box. Inside is a CHESSBOARD and PIECES. He removes

them, sets up the board and starts to play.

CLOSE ON CHESSBOARD: The CAMERA moves from one side of the

board to the other, weaving through the chess pieces, then

PULLS BACK over the heads of the AUDIENCE.

INT. AUDITORIUM - PRESENT DAY - NIGHT

>From the rear of the room, over the HEADS of the AUDIENCE, we

see THREE TABLES on stage. A large board of the game is

presented on the wall behind each table.

CLOSE SHOT - PLAYER'S EYES: We cut back and forth. Deep,

probing eyes, intensely focused and determined.

CLOSE ON THE CLOCK: It ticks methodically, and is the only

sound we hear.

4

THE AUDIENCE:
watches with anticipation, their eyes locked on

the viewing board.

PETER SANDERSON sits on one side of the board. He is a

handsome man, in his early thirties. Well-dressed in an

expensive suit, there is an air of confidence about him. Peter

makes a move, then hits the timer. Peter's opponent,

GRANDMASTER LUTZ, a quirky-looking little man in his fifties

makes a tentative move.

JEREMY EDMONDS, Peter's trainer, a distinguished-looking man in

his fifties, watches from his WHEELCHAIR. He grins and nods

his head, knowing that Peter has got the game.

Lutz studies the board, makes a move, then hits his timer.

Peter moves, then hits his timer. He is in control.

Frustration shows on Lutz's face. He surveys the board, then

slowly reaches over and lifts up his KING and lays it on it's

side signaling defeat. Peter stands, shakes his hand, waves to

the crowd, then leaves the stage.

INT. HALLWAY - NIGHT

A NEWSCASTER is positioned by the stage door.

NEWSCASTER:

Today concludes the second week of

competition in this round-robin

candidates tournament. Each of the

players will play four games against

the other and the winner will earn the

right to play for the world title next

year.

Peter walks through the doorway and down the hall, accepting

congratulations. Jeremy wheels himself along side of him.

NEWSCASTER:

But the big story is the amazing

comeback of Peter Sanderson who is

currently leading the tournament.

America's best hope since Bobby

Fischer, Sanderson stunned the chess

world three years ago when he walked

out in the middle of last candidates

tournament while leading by three games

and forfeited the match to Viktor

Yurilivich who is only two games behind

Sanderson in this match.

5

Peter stops to sign a few autographs. A young attractive WOMAN

in her twenties walks over to Peter. She is wearing a CHESS

FEDERATION BLAZER and a NAME TAG identifying her as DEBI

RUTLEGE.

DEBI:

Mister Sanderson, here is your schedule

for tomorrow.

Peter takes it. They lock eyes. She smiles at him. A

REPORTER sticks a MICROPHONE in Peter's face.

REPORTER:

Peter, could we have a moment please?

The moment is broken, as ERICA SANDERSON, Peter's daughter, a

bright-faced ten year rushes up to him and hugs him.

ERICA:

Congratulations, dad.

PETER:

(to the press)

My cheering section.

INT. PETER'S HOTEL ROOM - NIGHT

Peter sits across a CHESSBOARD from Jeremy, who has just

finished making an opening move.

PETER:

You opened with the English. Lutz

won't use it. He opened his first game

with it.

JEREMY:

He knows you're aware of that.

PETER:

Then I'll transpose.

JEREMY:

On a variation, yes -- but it must be a

variation that is unique.

PETER:

I suppose you have something in mind?

Peter gets up and begins to pace.

6

JEREMY:

(quickly moving the

pieces)

At this point you'll move Bishop to e4.

He'll capture your Knight e6. Rook to

b5, begins his counterplay. D6 takes

your Rook, your advantage is lost --

but watch -- Queen f5 check. He takes

your Knight -- Now, Rook to d3 -- he's

finished.

There is a KNOCK on the door and a MESSAGE is slipped under.

Peter picks it up.

PETER:

It's a good play, but risky.

JEREMY:

You don't win by playing it safe,

Peter.

Peter opens the MESSAGE and reads it. Erica appears in the

doorway to her room.

PETER:

What are you doing up?

ERICA:

I can't sleep. My beds lumpy.

PETER:

I see. You forgot to bring you're

night-light, didn't you?

ERICA:

That has nothing to do with it.

PETER:

You want to sleep in my bed tonight?

ERICA:

Okay.

JEREMY:

I'll tuck you in.

Erica kisses Peter, then runs into his room. Jeremy wheels

after her.

PETER:

Jeremy, have someone pick up a night-

light tomorrow.

Jeremy nods and leaves the room. Peter picks up the phone and

dials.

7

PETER:

(into phone)

Debi..?

INT. DEBI'S APARTMENT, BEDROOM - NIGHT

Peter and Debi move passionately on the bed, their bodies

moving rhythmically. Peter pulls her up to a sitting position,

guiding her up and down as he runs his lips sensually over her

breasts. She arches her back, MOANING softly as she gives way

to her pleasure.

EXT. DEBI'S HALLWAY - NIGHT

Peter kisses Debi goodbye. He walks off and she closes the

door.

INT. DEBI'S BATHROOM - LATER - NIGHT

Debi is soaking in the bath. The DOORBELL RINGS.

INT. DEBI'S LIVING ROOM - NIGHT

Debi slips on a ROBE as she walks to the door.

DEBI:

Yes?

MAN'S VOICE

(static; barely

audible)

It's me. I forgot something.

She smiles and pushes the button, then opens the door, leaving

it ajar, and walks out of the room.

INT. DEBI'S BATHROOM - NIGHT

Debi quickly fixes her face, grins and leaves.

INT. DEBI'S LIVING ROOM - NIGHT

It is dark. She enters and tries the light switch. It doesn't

work.

DEBI:

Very funny.

8

CLOSE ON DEBI:
She senses something is very wrong. She turns

around slowly, her eyes squinting to see through the darkness.

Suddenly, terror fills her face as a FLASH of BRIGHT LIGHT

fills the screen.

EXT. FERRY LANDING - MORNING

Quaint and charming. Boats bob lazily in the water. TOURISTS

walk along the waterfront shops. ANDY WAGNER, a tough-looking

cop in his twenties, smokes a cigarette as he waits on the

dock. CHIEF OF POLICE, FRANK SEDMAN, walks towards him. He's

a large, slightly over-weight man in his forties. He takes one

last drag of a cigar, then crushes it out on the dock.

ANDY:

Sorry to ruin your trip to the city,

but we got a real nut on our hands,

Frank.

FRANK:

(all business)

Run it down.

Frank starts to walk. Andy follows.

ANDY:

(looking at note-pad)

Debi Rutlege. Female. Caucasian.

Twenty four. Worked over at the Four

Oaks Hotel.

FRANK:

Local?

ANDY:

No. She just moved here last month

from Portland.

EXT. DEBI'S APARTMENT BUILDING - MORNING

Several BLACK and WHITE units are in front of the building.

Uniformed OFFICERS keep back a CROWD of onlookers. A CAR

drives up and stops in front of the building. Frank and Andy

get out.

INT. DEBI'S LIVING ROOM - MORNING

The room is filled with FORENSIC TEAM MEMBERS along with

UNIFORM OFFICERS. Frank enters with Andy. UNIFORMED OFFICERS

are standing around talking.

9

FRANK:

This isn't a party. Everybody that

doesn't need to be here get out!

INT. DEBI'S BEDROOM - MORNING

Frank enters the room with Andy. He stops and stares at the

sight before him.

Debi Rutlege is laying on her bed. Her face is a deathly white

and has been painted awkwardly with rouge and lipstick giving

her a macabre appearance. She is draped in the sheet which is

tucked tightly around her body, her hands folded carefully

across her chest.

Above the bed written in blood is REMEMBER.

FRANK:

I moved out here from the city so I

could get away from this kind of shit.

STEVE NOLAN, from the forensic team, who has been kneeling on

the other side of the bed stands up.

FRANK:

Whaddaya got, Nolan?

NOLAN:

(continuing; holding

up a plastic bag)

Not much. There's no sign of a break

in. I think she let him in.

FRANK:

How long has she been dead?

NOLAN:

Six, eight hours tops.

FRANK:

Any sign of rape?

NOLAN:

Not that I can see. We'll know more

once I get the lab reports back from

Seattle.

ANDY:

What she die of?

Nolan turns over her arms. There are deep gashes in each

wrist.

10

ANDY:

You think whoever did this wanted it to

look like it was a suicide?

NOLAN:

No. He would have taken more care not

to the leave rope burns on her wrists.

The way I got it figured is he tied her

up, slit her wrists, then sat back and

watched her bleed to death. But that's

not the main thing. What's wrong with

this picture?

A beat. Suddenly, Frank sees it.

FRANK:

There's no blood. Where's the fuckin'

blood?

NOLAN:

Bingo.

EXT. DEBI'S APARTMENT, COURTYARD - MORNING

Frank and Andy walks across the yard.

FRANK:

Who found her?

Andy points to MISS GREENWELL, a middle-aged woman talking to a

UNIFORMED OFFICER in the b.g.

ANDY:

The landlady. Alice Greenwell. She

came for the rent check. The door was

ajar.

Frank walks over to Miss Greenwell.

FRANK:

Miss Greenwell, I'm Captain Sedman.

Did Miss Rutlege have a boyfriend?

MISS GREENWELL:

I guess so.

FRANK:

What do you mean, you guess so?

MISS GREENWELL:

I know she had company last night.

(confidentially)

A man.

11

FRANK:

How do you know that?

WOMAN:

Well, her bedroom is on the other side

of mine. The walls are very thin. I

could hear them.

ANDY:

What were they doing? Humping?

MISS GREENWELL:

They were having sex, yes--

Andy grins.

MISS GREENWELL:

-- not that I was intentionally

listening -- but with the walls being

so thin--

FRANK:

I understand. Thank you.

INT. POLICE STATION - AFTERNOON

Frank and Andy stand before several UNIFORMED OFFICERS.

FRANK:

First of all, I'd like to say that a

lot of us haven't got to know each

other since I replaced Captain Waters

last month. A lot of you think that

I'm an outsider who came over and took

away a job that should have gone to a

local... but that's the way it worked

out. So, all I can say is tough shit.

You want to bitch about it, that's fine

-- but you will tow the line in my

department. That means the next time

an Officer is responding to a homicide

call he seals off the crime scene and

nobody -- nobody but but Detective

Wagner and I go in.

(Beat)

Also, if anyone talks about the message

on the wall or the blood I'll

personally cut their balls off with a

butter knife.

(to Andy)

Get 'em going - then meet me at the

car. We're going over to the hotel.

Frank heads to the door.

12

ANDY:

Campbell, you check with the FBI see if

they got anything like this on file...

INT. POLICE STATION, HALLWAY - AFTERNOON

Frank steps into the hall and bumps into Nolan. They walk

together.

FRANK:

Anything?

NOLAN:

Not much. I don't think she was raped.

There's no bruising, or any signs of

trauma to the pelvic region -- and no

trace of sperm which makes sense

because she took a bath.

FRANK:

What about prints?

NOLAN:

No prints.

FRANK:

You mean, no prints but hers?

NOLAN:

No Frank. No prints.

INT. PETER'S LIVING ROOM - AFTERNOON

Peter is sitting at a chessboard with Jeremy. Peter studies

the board. There is a KNOCK on the door. Peter gets up and

opens the door. Frank and Andy are outside.

FRANK:

Mister Sanderson? I'm Frank Sedman,

Bainbridge P.D. and this is Detective

Wagner. We'd like to ask you a few

questions about Debi Rutlege.

Peter opens the door and they enter.

FRANK:

I know you're busy so I'll get right to

it. Did you know her?

PETER:

Only in passing. To say hello to.

13

ANDY:

I've talked to a few people who say you

and her were... friendly?

PETER:

Chess tournaments can be boring

sometimes. People have a lot of free

time. They like to gossip.

FRANK:

Could you tell me where you were last

night?

PETER:

Here. I played Gregory Lutz.

FRANK:

I know. You won two games against him

and left the auditorium at eight forty

five. Where did you go after that?

PETER:

To my room and then I went for a walk.

ANDY:

By yourself?

PETER:

Yes.

Frank takes out a piece of paper from his jacket pocket.

FRANK:

This is a printout from the hotel

computer for all the messages logged to

your room. Here's one at 9:04 pm. It

says:
From Debi. Please call me at

home.

PETER:

She called to give me my schedule for

tomorrow.

FRANK:

What's interesting about it is you say

you only knew her in passing. Yet, she

says on her message for you to call her

at home and she doesn't leave a number.

That would imply you already knew the

number.

PETER:

I got it from the tournament directory.

Frank takes out a small book.

14

FRANK:

There's no Debi Rutlege listed in the

directory.

Peter's irritation starts to show. He opens a dresser drawer

and removes a small book.

PETER:

You're looking in the general

directory. The player's directory

lists everyone connected to the

tournament.

A beat. Frank and Peter have reached a stalemate.

ANDY:

We seem to have a little problem here?

PETER:

What kind of problem?

ANDY:

I think you're lying. That's what kind

of problem.

PETER:

What are you saying?

FRANK:

We're not saying anything right now.

We're just trying to put a few pieces

together.

Frank and Andy leave. Peter turns and stares at Jeremy.

EXT. HOTEL GROUNDS - AFTERNOON

Frank and Andy walk along the grounds, heading back towards the

main hotel.

ANDY:

What do you think?

FRANK:

He's got an answer for everything, but

he doesn't have an alibi.

ANDY:

You think he's dirty?

FRANK:

I don't know, but I think you're right.

He's lying.

15

INT. AUDITORIUM - AFTERNOON

On the stage is three tables each flanked by two chairs.

Several CHESS OFFICIALS along with the PRESIDENT of the CHESS

FEDERATION attend to the GRANDMASTERS at their respective

boards. Peter sits in a chair and swivels back and forth.

PETER:

I want another chair. This one killed

me yesterday.

(points to big board)

Also, the pieces on the board move too

slowly. I can see them out of the

corner of my eye. Can they be sped up?

PRESIDENT:

David?

DAVID WILLERMAN, a computer technician sits at a computer off

to the side of the stage.

DAVID:

No problem. It's just a matter of

adjusting the response time.

He taps in a few commands on the keyboard. We see a piece

quickly move across the board.

DAVID:

That should do it.

Grandmaster Lutz walks over and stands by the board.

GRANDMASTER LUTZ

You're acting like a superstitious

schoolboy, Peter. What's next?

Incense and rosary beads?

PRESIDENT:

(points to a chair)

Grandmaster Lutz, you'll be sitting

here for your next match.

GRANDMASTER LUTZ

Oh no -- no, I can't sit there. I must

be facing North. My power comes from

the North.

Peter smiles and starts to walk off stage. VIKTOR YURILIVICH,

a tall, slender man in his forties, walks on stage. The two

men stand face to face, their eyes locked on each other.

16

YURILIVICH:

Hello, Peter. You played an

interesting game last night. Even

though sacrificing your Queen at b-5 is

the game I played against Valsney in

'82. I'm glad it helped you.

PETER:

I'm sure you are.

YURILIVICH:

No, I want you to do good. That way

when I beat you at the end I'll look

that much better.

PETER:

You're getting sloppy, Yurilivich.

You're nervous?

YURILIVICH:

I'm not nervous.

PETER:

Well, you should be, because this time

I'm going to win.

YURILIVICH:

Well, then this time you'll have to

stay for the whole match, won't you?

EXT. HOTEL TERRACE - AFTERNOON

Peter sits at a table across from Erica. They play a game of

checkers as they eat their ice cream. Peter is grinning.

PETER:

Who told you that?

ERICA:

Mrs. Lutz. She also told me that Mr.

Lutz goes to a medium to try and

contact great Grandmasters in the

spirit world.

PETER:

Has he gotten through to any?

ERICA:

No, but he did contact a dead

parcheesi champion from Ohio.

They both LAUGH. A WAITER comes over with a CORDLESS PHONE.

17

WAITER:

There's a call for you Mister

Sanderson.

PETER:

(into phone)

Hello?

The "CALLERS" VOICE we HEAR is FILTERED through some type of

electronic devise that alters the voice. It is low, resonant,

with a macabre quality to it.

CALLER (OS)

Hello, Peter.

PETER:

Who is this?

CALLER (OS)

Someone who's going to become an

important part of your life.

(Beat)

I want to play a game with you.

PETER:

I haven't got time for this.

Peter starts to hang up, when...

CALLER (OS)

You had time for Debi.

Peter freezes.

CALLER (OS)

Don't worry, I wiped off all your

prints.

Peter slowly lowers the phone back on the cradle. He is

visibly shaken.

ERICA:

What is it, dad?

PETER:

Nothing.

INT. LOBBY - AFTERNOON

As Peter walks across the room the DESK CLERK calls out to him.

DESK CLERK:

Mister Sanderson, there's message for

you.

18

Peter walks over to the desk. The Clerk hands him an envelope.

Peters walks away and starts to open it.

CLOSE SHOT:
The back of a POLAROID PHOTOGRAPH. Letters have

been clipped out of a magazine and spell out a message: THE

GAME HAS BEGUN. WILL CALL AGAIN TOMORROW AT ELEVEN. The

photograph is turned over. It is a shot of DEBI RUTLEGE

exactly as the police found her. The word REMEMBER written on

the wall. Peter slides the picture back into the envelope,

thinks for a moment, then looks at the DESK CLERK.

PETER:

Get me the police.

INT. PETER'S ROOM - AFTERNOON

Peter is with Frank and Andy.

FRANK:

Why didn't you tell us you were there

earlier?

PETER:

I don't know. I was afraid there'd be

hours of questions. I can't afford to

miss a game.

ANDY:

We wouldn't want someone's death to

interfere with your games.

FRANK:

What was your relationship with her?

PETER:

Casual.

ANDY:

Casual? You were boning her weren't

you?

PETER:

It wasn't serious. What's your

problem?

ANDY:

You are! I don't like you.

PETER:

Fine, don't ask me out on a date.

19

ANDY:

Don't worry I won't. I've seen how

your dates end up.

Peter takes a step towards Andy. They both square off.

FRANK:

Take it easy. Both of you.

ANDY:

I'm sorry, this is just too convenient.

PETER:

What's that supposed to mean?

ANDY:

It means, if I were a killer and I

thought the police were closing in on

me I might invent someone to try and

put them off the scent.

PETER:

That's crazy! Why would I draw

attention to myself like that?

ANDY:

You like to play games, don't you,

Peter?

PETER:

He says on the photo he'll call

tomorrow at eleven. Why not come back

then and listen for yourself.

ANDY:

Oh, we'll be back. You can bet on it.

INT. AUDITORIUM - AFTERNOON

Peter sits across from GRANDMASTER LUTZ. He looks over a few

tables and stares at Yurilivich. Meanwhile, Lutz takes out a

compass. He checks his reading then starts shifting the board

slightly. Peter looks at him.

LUTZ:

Do you mind?

Peter shrugs his shoulders indicating he doesn't. The

President walks over to Peter's table and starts his timer.

Peter makes a move.

20

INT. BAINBRIDGE INSTITUTE - DUSK

Frank and Andy sit at a table with DOCTOR ALAN FULTON. A tall,

thin man in his fifties. Doctor Fulton studies the

photographs, then looks up at Frank.

DOCTOR FULTON:

You must understand that this is not my

field?

ANDY:

It ain't mine either but I can tell

this guy's crazy. That's your business

ain't it, doc? You deal with crazy

people.

DOCTOR FULTON:

I deal with people with problems... and

there are all different types of

problems.

FRANK:

Doctor Fulton, we don't have a budget

out here like Seattle. We can't afford

to hire outside Psychological help.

I'll take whatever you can give me.

DOCTOR FULTON:

Well, he appears to be acting out some

kind of fantasy. We're talking about a

deeply disturbed person.

ANDY:

No shit!

FRANK:

Could someone this disturbed give the

appearance of being normal?

DOCTOR FULTON:

Absolutely.

FRANK:

We've got a suspect but no hard

evidence. If you met him do you think

you could tell?

DOCTOR FULTON:

Tell what?

ANDY:

If he's crazy?

21

FRANK:

(askance at Andy)

If he's... disturbed.

DOCTOR FULTON:

It's possible, but not likely. There's

only one opinion I can offer with any

certainty.

(Beat)

He's going to kill again.

INT. HOTEL GYM - NIGHT

Peter is on the bench press straining to finish his set.

Although he is clearly tired, it's a battle of will over

muscle. Although his face is red, veins bugling, he does his

three last presses, then replaces the bar. He sits up and

buries his face in his towel. When he looks up he sees...

KATHY SHEPPARD, a beautiful woman in her twenties is standing

against the wall, her eyes on him. Peter smiles at her. She

smiles back, then walks out of the room. Peter lays back down

and starts another set.

INT. STEAM ROOM - NIGHT

Peter enters, a towel wrapped around his waist. He takes a few

steps into the room, then stops when he sees Kathy through the

steam.

PETER:

Sorry. I thought it was empty.

KATHY:

It's alright.

Peter sits down a few feet from her. Steam swirls through the

room. Kathy's eyes drift over to him.

HER POV:
Beads of sweat roll down his chest and stomach.

Peter looks over at her, their eyes meet. She looks away.

Peter closes his eyes and takes a few deep, meditative breaths.

Kathy looks over at him again. As if sensing he is being

watched Peter opens his eyes. A beat. Their eyes linger on

each others.

KATHY:

Is this your first time here?

PETER:

Yes.

22

KATHY:

I love this hotel. I stay here every

time I visit my parents.

PETER:

How come you don't stay with them?

KATHY:

Because I love them, but they drive me

crazy. You know how parents are?

PETER:

No. I don't.

A beat.

KATHY:

Are you with the tournament?

PETER:

Uh huh.

KATHY:

Are you one of the players?

PETER:

Yes.

KATHY:

I've always wanted to learn how to play

chess. I don't have the patience for

it. When did you start playing?

PETER:

When I was very young.

KATHY:

It seems like such a complicated game.

PETER:

Not really. You see your goal and you

go after it. Anything that gets in the

way is an obstacle and must be

destroyed.

KATHY:

Sounds very violent.

PETER:

Chess is a reflection of life. Life is

violent. The strong win. The weak

perish.

23

KATHY:

--but you enjoy being the stronger one?

You like the control.

PETER:

If you're asking me if I'm passionate

about what I do, the answer is yes.

Without passion, nothing moves us.

What's your passion?

KATHY:

That's a very personal question.

PETER:

I see. This is going to be a very

polite conversation. What shall we

discuss? The weather? Movies?

KATHY:

Are you disappointed that I won't

answer you?

PETER:

I had just hoped there would be more

substance to the conversation.

KATHY:

I thought opening too quickly was a

fatal mistake in chess.

PETER:

(grinning)

It is.

KATHY:

Do you always open quickly?

PETER:

Are we talking about me, or chess?

KATHY:

You.

PETER:

Each circumstance requires a different

tactic.

KATHY:

Well, I hope you remember that tomorrow

when you play Krikorian.

Peter stares at Kathy for a moment. She's made a mistake and

she knows it. She stands up.

24

KATHY:

Well, I think I've had enough.

PETER:

Getting too hot in here for you?

She feigns a smile and starts towards the door. Suddenly, his

hand shoots out, grabbing her arm. She freezes. Peter stands

up, his body trapping her between him and door, his lips almost

touching her ear.

PETER:

What are you looking for?

KATHY:

Nothing. I just came in for a steam.

PETER:

No you didn't.

He spins her around. They are face to face.

PETER:

What are you? A reporter? Just how

far were you going to go?

A beat. Peter lets her go and backs off. She opens the door

and leaves. Peter smiles.

EXT. HOTEL - NIGHT

Kathy walks across the grounds. Frank catches up with her and

walks along side.

FRANK:

Well?

KATHY:

Well what? I told you this was a

stupid idea. You can't learn anything

from someone in a few minutes.

FRANK:

You didn't pick up any vibes from the

guy?

KATHY:

I'm a psychologist, Frank... not a

psychic. What's this all about anyway?

FRANK:

What did Dr. Fulton tell you?

25

KATHY:

Only that you wanted someone from the

institute to talk to Sanderson for some

case you're working on. What'd he do?

FRANK:

We're not sure.

KATHY:

What do you think he did?

FRANK:

We think he could be a suspect in a

murder investigation.

Kathy stops dead in her tracks and stares at him.

KATHY:

The girl that was killed last night?

Frank's silence tells her she's right. She stares at him for a

moment, then walks off.

EXT. DOCTOR FULTON'S HOUSE - NIGHT

Kathy is BANGING loudly on the front door. A moment later it

is answered by Dr. Fulton. In the b.g a DINNER PARTY is going

on.

INT. DOCTOR FULTON'S STUDY - NIGHT

Dr. Fulton sits on the couch. Kathy paces the room.

DOCTOR FULTON:

You might not have done it had you

known.

KATHY:

You're damn right! I'm a child

psychologist and you send me into a

room with someone who could be a

murderer!

DOCTOR FULTON:

Would you mind keeping your voice down?

I have guests.

KATHY:

Oh, well we wouldn't want to disturb

your guests, would we?

26

DOCTOR FULTON:

The police came to me for help. What

could I do?

KATHY:

You could have been honest with me for

starters. We work together. I have to

be able to trust you.

DOCTOR FULTON:

(checks his watch)

I admit I handled it badly. Sanderson

wasn't going to talk to me... but

you're young, attractive--

KATHY:

--the same type as the girl who got

killed. Jesus, Alan, the guy could be

a psychopath.

DOCTOR FULTON:

They asked who would be best suited for

this and you--

KATHY:

Don't patronize me! You sent me into a

potentially dangerous situation and

didn't warn me!

She walks to the door and opens it.

DOCTOR FULTON:

It worked out alright, didn't it?

KATHY:

(loudly)

Fuck off!

All the GUESTS are sitting at the dinner table, eating soup.

They stare at Kathy. Fulton.

KATHY:

(to the guests)

That's what I would have said to the

chef if I caught him shaving over the

soup.

She walks out. Slowly, several of the GUESTS lower the soup

spoons and push their bowls away.

27

INT. OFFICE, LOBBY - NIGHT

The LOBBY appears empty. One of the office doors opens and

CHRISTIE EASTMAN, A young, attractive woman, comes out carrying

a stack of files. She walks out of the lobby, LOCKING the door

behind her.

INT. ELEVATOR - NIGHT

As the car descends, Christie looks through one of the files.

She turns a page and the file falls to the floor. She bends

down to pick it up. As she does the elevator stops and the

doors open.

A pair of black boots stand before her. She looks up to see a

MAN in his fifties. He smiles and gets in. The doors close

and the car starts down again. Christie stares at the floor

indicator, somewhat unnerved by the man's presence. The car

stops at the lobby and the man gets out.

EXT. PARKING LOT - NIGHT

Christie walks across the deserted parking lot towards her car.

She HEARS a SOUND and stops and looks around.

CHRISTIE'S POV: As her eyes scan the desolate parking lot, she

sees nothing unusual.

Christie starts to walk again. She arrives at her car, gets

inside, then rolls down the window.

INT. CAR - NIGHT

Christie starts the car, then takes out a cigarette from her

pocket and lights it. She takes a deep drag, then looks

into...

CLOSE ON REAR VIEW MIRROR: From the back seat we see TWO DARK

EYES staring at her from behind a PORCELAIN MASK.

She turns around. Her face filled with fear. FLASH! The

screen is filled with BRIGHT LIGHT.

EXT. BAINBRIDGE INSTITUTE - MORNING

A car drives up the gravel path and stops in front of the

entrance. Frank gets out and walks towards the door.

28

INT. OBSERVATION ROOM - MORNING

Kathy is watching a young GIRL through a two-way mirror in the

next room as she plays and interacts with dolls and toys. She

makes a few notes, then the door opens and Frank walks in.

KATHY:

I'm busy right now.

FRANK:

It's important.

Kathy goes through a door into the observation room. Through

the mirror we see her kneel down next to the girl and smile.

She says something to her as she points to a door leading out

of the room. The girl gives her a big hug. A moment later we

see Frank join her in the room. He says something and they

start to argue. Kathy points towards the door.

CLOSE ON COMPUTER MONITOR: A chess program. A piece is moved.

The screen reads: CHECKMATE! YOU WIN. PULL BACK.

INT. PETER'S HOTEL ROOM - MORNING

Peter is at the computer. Jeremy sits beside him. Frank walks

over to Andy who is with a TECHNICIAN setting up tracing

equipment.

TECHNICIAN:

We're all set.

ANDY:

I still think this is a crock of shit.

There's a KNOCK at the door. Andy opens it. Kathy enters.

FRANK:

I'm glad you could make it.

Peter looks at Frank, then Kathy with confusion.

FRANK:

Mister Sanderson, this is Doctor

Sheppard. She's a psychologist helping

us out.

PETER:

We've already met. Haven't we...

Doctor.

29

KATHY:

(she smirks)

I see you're still having problems with

your openings.

FRANK:

And this Jeremy--

KATHY:

--Edmonds. I know. You lost to Karpov

in '82, didn't you?

JEREMY:

Yes. However, that's not exactly how I

prefer to be remembered.

(Beat)

Well, I'm going to get out of your way.

Peter, I'll see you this afternoon.

CLOSE ON ASHTRAY: A cigarette is snuffed out. PULL BACK.

Andy finishes putting out his cigarette, then glances up at

Peter who is pacing back and forth. Andy checks his watch.

ANDY:

Eleven oh six.

He looks at Peter with a grin. A beat as the two men stare at

each other. The moment is broken as the PHONE RINGS LOUDLY.

Peter's head snaps towards the phone.

FRANK:

Remember, try to keep him on as long as

you can. Don't confront him. Let him

answer the questions I gave you.

The Technician starts his tape machine and tracing equipment.

Peter picks up his CORDLESS PHONE.

PETER:

Hello?

We HEAR the CALLER'S distorted VOICE.

CALLER (OS)

Hello, Peter.

PETER:

(stalling)

Just a second.

(a beat, then)

Hello?

30

CALLER (OS)

Very amateurish, Peter. I'm surprised

you would use such an obvious tactic.

(there is anger in his

voice)

I'm not an idiot! Don't treat me as

one! I'll call you everyday... You get

one minute, whether you put me on hold

or talk is up to you! Are you ready to

play?

PETER:

Yes. Why did you kill Debi Rutlege?

CALLER (OS)

To get your attention.

PETER:

Did you know her?

CALLER(OS)

No, only the path she chose to travel.

Peter is trying to keep the conversation moving.

PETER:

And -- what path is that?

CALLER (OS)

We all have paths to follow. You hope

yours will lead you to me.

PETER:

Why did you write remember on the wall?

CALLER (OS)

That's something you'll have to figure

out for yourself. Really, Peter, you

can't expect me to answer such direct

questions.

PETER:

Why not?

CALLER (OS)

You don't want to think and that's why

I'll win! I'm already two points

ahead.

PETER:

What?

31

CALLER (OS)

I did another one last night. You

might have saved her, but you didn't

want to play.

PETER:

Where is she?

CALLER (OS)

You'll find her.

PETER:

If you got something to say to me, just

come out and say it!

Andy picks up the extension phone.

ANDY:

Where is she you sonofabitch!

There's a chuckle from the Caller.

CALLER (OS)

Ah... Detective Wagner. I'm sorry but

you'll have to get off the line and go

back to your tracing equipment. If I

wanted to play the game with a moron I

would have called you.

Frank angrily motions Andy to get off. Andy hangs up.

CALLER (OS)

I suppose you want to know where I'm

going to kill tonight, Peter?

PETER:

You're not going to tell me that.

CALLER (OS)

"Wee Willie Winkie runs through the

town. Upstairs and downstairs in his

nightgown. Crawling through the

window. At the end of Miss Emma's

street. Her God has gone and left his

home. So her and I can meet."

The line goes dead. A beat. Everyone reflects on what they

have just heard.

FRANK:

(to Andy)

Are you out of your fuckin' mind

picking up the phone!

32

ANDY:

Sorry.

FRANK:

(to Technician)

Anything?

TECHNICIAN:

Nothing. We'd have a better chance if

we could tap in at the junction box.

FRANK:

Thanks Mister Sanderson.

(to Kathy and Andy)

Let's go.

PETER:

You want me to go with you? Maybe I

can help.

FRANK:

That's alright. We'll take it from

here.

EXT. HOTEL GROUNDS - MORNING

Kathy, Frank and Andy leave Peter's room and walk back towards

the hotel.

ANDY:

You should be an actor, Frank. You

looked like you were really mad. The

veins popping out on your neck was a

really nice touch.

KATHY:

You weren't mad at him for picking up

the phone?

FRANK:

No. I told him to. I wanted to make

sure there was someone on the other

end.

KATHY:

But we heard him.

FRANK:

It could have been a tape. A

prerecorded conversation between

Sanderson and himself.

33

INT. POLICE CONFERENCE ROOM - AFTERNOON

A room set up to deal with the murder. PHOTOGRAPHS are pinned

to a cork board. Frank is at a table with Kathy, Andy and

Nolan. On the chalkboard in the rhyme the Caller recited

earlier.

ANDY:

The F.B.I. has nothing remotely similar

to this guy. I think he's a first-

timer.

FRANK:

Check with the State. If he's never

killed outside of Washington the F.B.I.

wouldn't have it. Nolan?

NOLAN:

He tapes their mouths shut. We found

traces of adhesive around the victims

mouths. We're doing a chemical

analysis for components, but it's

probably a standard brand you can buy

in any hardware store.

FRANK:

There's only two hardware stores on the

whole Island. We'll check that out.

What about the blood?

NOLAN:

Not a drop. Maybe the guy works for

the Red Cross.

Frank looks at Nolan askance.

FRANK:

Kathy?

KATHY:

Well, the fact that he views this as a

game suggests that he is trying to

prove some sense of superiority -- and

the way he murders confirms a need to

be in complete control of his victim.

FRANK:

What about the way he arranged the

body?

34

KATHY:

That would indicate he's playing out a

fantasy. Power-control killers usually

fantasize about their actions long

before they commit them. Once they

become a reality though, they reach a

sense of euphoria and need to repeat

the act to sustain it. But, in all the

research I've read on Serial Killers,

I've never heard of one moving so fast.

It's as if the game is the catalyst for

the murders -- not the other way

around.

FRANK:

Anything else?

KATHY:

Yes. Why disguise your voice if no one

knows it?

FRANK:

I was thinking the same thing. He must

be local. It's logical for him to

assume that the police would be there,

but he recognized Andy's voice and

called him by name.

(points to the rhyme)

What about this?

KATHY:

I would think it's some type of clue as

to where he's going to kill next?

ANDY:

Why does he call Sanderson?

KATHY:

He's one of the best Chess players in

the world. Who better to play a game

with?

FRANK:

(to Andy)

You still having a problem with this?

ANDY:

Yeah, I am. I think he's playing us.

If I was a killer and the police were

trying to make a case against me, what

better why to draw them off than to put

their attention on someone else?

35

KATHY:

Sending yourself anonymous notes in the

mail is one thing -- but who called him

today?

ANDY:

I don't know. Maybe there's two of

them. Maybe he hired some Wino to make

the calls.

KATHY:

Maybe you're reaching a bit? I think

Sanderson should be in on this.

There's a reason why the killer's

calling him.

A UNIFORMED OFFICER KNOCKS and enters.

OFFICER:

Captain, we found her.

EXT. WAREHOUSE - WIDE SHOT - AFTERNOON

Several BLACK and WHITE UNITS are parked in the rear of the

building. Frank and Andy walk up the loading dock steps in

silence.

INT. WAREHOUSE - AFTERNOON

The body of CHRISTIE EASTMAN is laying on top of a large crate.

Her body has been draped tightly with a sheet and her arms are

folded across her chest. Her face is deathly white and has

been made up with the same clumsy makeup.

Written in blood on the wall behind her is: EVENTUALLY

INT. STAGE WINGS - EVENING

Peter paces back and forth waiting for the match to begin.

Yurilivich is sitting in a chair, watching Peter with a grin.

Peter turns around and almost bumps into Lutz who is wearing a

ridiculous hat with sheets of aluminium foil sticking out.

[LUTZ

They're trying to control my thoughts.

(points to the hat)

Aluminium foil. It repels the thought

rays.]

Peter stares at him. In the b.g. Kathy enters, looks around,

then walks over to Peter.

36

KATHY:

They couldn't break the riddle.

PETER:

Did you think it was going to be easy?

You think he was going to lay it out at

your feet?

KATHY:

We need your help.

PETER:

I offered my help this morning and

Sedman turned me down.

KATHY:

But you're the key. The one he wants

to play the game with.

PETER:

I can't right now. I've got a game.

KATHY:

She could be dead after the game.

PETER:

She could be dead now.

KATHY:

What if she isn't? Where are your

priorities? You have to think between

someone's life and a chess game?

(raising her voice)

The girl he killed last night was only

twenty one years old! He dumped her

body behind a warehouse like a sack of

garbage!

Everyone is now staring at Kathy and Peter who are staring at

each other. In the b.g. The President appears.

PRESIDENT:

Gentlemen...

The GRANDMASTERS walk onto stage as Peter and Kathy continue to

stare at each other. A beat. Peter starts to move towards the

stage. Kathy takes a step after him. She takes a envelope

from her jacket pocket and puts it into Peter's jacket pocket.

KATHY:

These are for you.

37

INT. AUDITORIUM - NIGHT

Peter sits across from GRANDMASTER KRIKORIAN. He makes a move,

then hits his timer. On the BOARD behind him the move is

duplicated. Krikorian studies the board. Peter is staring out

over the AUDIENCE deep in thought. Krikorian makes a move and

hits the timer. Peter continues to stare, unaware that it is

his move. A beat. All eyes are on him.

Peter turns around and stares at the big board, then walks over

and makes a move. Krikorian studies his position. Peter

reaches into his pocket for a cigarette. He removes the

envelope Kathy gave him, then his cigarettes. A beat. He

stares at the envelope, flicking his finger against it.

Krikorian looks up annoyed. Peter opens the envelope.

CLOSE ON PHOTOGRAPHS: We see several PHOTOGRAPHS of Christie

Eastman before her death. Peter turns through them. Next, we

see the grisly PHOTOS taken at the crime scene. He is a man

struggling to make a decision. Krikorian makes a move. Peter

does not react. He replaces the PHOTOS and stares at the

envelope, then looks up at Krikorian who is watching him. A

beat. Peter replaces the envelope in his pocket, then makes a

move.

INT. POLICE CONFERENCE ROOM - NIGHT

Kathy sits with Frank and Andy. Coffee cups litter with table.

The nursery rhyme is written on the BLACKBOARD and reads:

WEE WILLIE WINKIE RUNS THROUGH THE STREET,

UPSTAIRS AND DOWNSTAIRS IN HIS NIGHTGOWN;

CRAWLING THROUGH THE WINDOW,

AT THE END OF MISS EMMA'S STREET,

HER GOD HAS GONE AND LEFT HIS HOME,

SO HER AND I CAN MEET.

FRANK:

"Her God has gone and left his home?"

Everyone shakes there head indicating they don't understand the

reference.

KATHY:

Why these girls? How does he pick

them?

Frank points to a LARGE MAP of the CITY on the wall, with TWO

RED PINS in different locations.

38

FRANK:

(pointing to the map)

I don't think it matters. Last nights

victim, Christie Eastman was found in a

warehouse on the outskirts of town.

The night before, Debi Rutlege was

found in the center.

KATHY:

Meaning?

ANDY:

Meaning, it looks like his victims are

chosen at random.

PETER (OS)

No.

Peter is standing in the doorway. He enters the room.

ANDY:

What do you mean, no?

PETER:

He says it's a game. All games have a

strategy.

ANDY:

All you gotta do is look at the map.

PETER:

His victims aren't random. It only

means that they appear to be random.

There's a connection, we just have to

find it.

Peter turns his attention to the blackboard.

PETER:

What have you come up with on the

riddle?

FRANK:

"Wee Willie Winkie runs though the

street." We think he might be making a

reference to himself.

PETER:

Maybe, but I don't think so. I think

it's just a tease.

FRANK:

Upstairs and downstairs in his night

gown -- He could be saying the house

he's picked is two stories.

39

EXT. HOUSE - NIGHT - KILLER'S POV

As he approaches a TWO STORY house. The POV stops moving, as

if to decide which way to go... then goes around the right side

of the house.

INT. POLICE CONFERENCE ROOM - NIGHT

Peter, Kathy, Frank and Andy continue to unravel the message.

KATHY:

(offering)

"Crawling through the window"... We

think that's how he's going to get in?

EXT. SIDE OF HOUSE - KILLER'S POV - NIGHT

A crowbar is placed under a window and pried up until the lock

breaks. We see two GLOVED HANDS open the window.

INT. POLICE CONFERENCE ROOM - NIGHT

Peter has taken his jacket off and is pacing the room. Kathy,

Frank and Andy stare at the board.

PETER:

That's it?

FRANK:

We think he might be making a reference

to drugs? Miss Emma is a street term

used by junkies for Morphine.

PETER:

Could Emma be the name of the girl he's

going to kill?

ANDY:

We've checked. There's no one with the

last name of Emma on the Island.

FRANK:

Maybe he's going to drug her?

KATHY:

He's killed both girls exactly the same

way. It's almost ritualistic. Why

would he change now?

40

PETER:

Morpheus.

ANDY:

What?

PETER:

Not what -- who. Morpheus. The Greek

God of dreams. Look at the next line.

"Her God has gone and left his home."

KATHY:

His home would be... Mount Olympus.

FRANK:

Call dispatch. Double the patrols. I

want that area blanketed.

Frank and Andy rush from the room.

INT. LORAINE'S BEDROOM - NIGHT

LORAINE OLSEN, a YOUNG, ATTRACTIVE GIRL in her twenties enters

the room and walks over to the CLOSET as she takes off her

jacket. She reaches for the DOORKNOB when the PHONE RINGS.

She hesitates for a moment, deciding whether to open the door,

but decides to answer the phone first. She walks over and

picks it up.

LORAINE:

Hello?... Oh hi Mom... No I just got

in... No I haven't forgotten.

Tomorrow, ten o'clock... Yes... Yes...

Okay, I'll see you in the morning.

Bye.

She hangs up, walks back to the CLOSET and opens the door.

INT. CLOSET - NIGHT

is a large WALK-IN, the back filled with LONG HANGING DRESSES

that almost reach the floor. Below them is a row of SHOES,

neatly aligned on the floor. Loraine hangs up her jacket,

takes off her shirt, then puts on a tee shirt.

INT. LORAINE'S BATHROOM - NIGHT

Loraine finishes brushing her teeth. She turns off the water,

but we still HEAR a DRIPPING SOUND. She looks over at the bath

tub with the SHOWER CURTAINS DRAWN. She opens the curtain and

tightly turns the handle to stop the nozzle from leaking.

41

INT. LORAINE'S BEDROOM - NIGHT

Loraine sits on the edge of her bed and peels herself out of

her tight pants.

INT. LORAINE'S CLOSET - NIGHT

She enters the closet and hangs up her pants. As she does so

we see:
Among the row of shoes is a pair of BLACK HIGH-TOP

TENNIS SHOES.

Loraine starts to leave. The TENNIS SHOES move forward.

CLOSE ON LORAINE: A GLOVED HAND reaches over and CLAMPS down

tightly over her mouth, muffling her SCREAM as,

INT. BEDROOM - NIGHT

The CLOSET DOOR is SLAMMED SHUT. SILENCE. A FLASH of light

fills the frame of the door.

EXT. WATERFRONT - NIGHT

Colorful SHOPS and RESTURANTS line the street. Peter grabs a

HOT DOG from a VENDOR and takes a big bite, then looks at

Kathy.

PETER:

You sure you don't want to eat

something?

KATHY:

I don't think I could.

They start to walk agin.

PETER:

It's going to be a long night. It

could take hours before we know

something. You should try to eat.

KATHY:

You sound like my mother.

PETER:

It wasn't intentional.

KATHY:

Does what's going on bother you at all?

Or are you just wearing your game face?

42

PETER:

I think it's interesting.

KATHY:

Another kind of game?

PETER:

In a way.

KATHY:

This isn't a game.

PETER:

Oh, but it is. He's killing a person

everyday and challenging us to catch

him. That's a game. It has rules and

objectives.

KATHY:

How can you look at it so clinically?

PETER:

Take your average cop. They deal with

death everyday. If they let emotions

get in the way it would cloud their

judgement.

KATHY:

That's true -- but the emotion is still

there. They just learn to control it.

PETER:

What about you? Aren't there times

when a young child is telling you a

story so sad you just want to cry?

KATHY:

Of course.

PETER:

Do you?

KATHY:

(uncomfortable)

Let's change the subject.

PETER:

Okay. So, tell me about yourself. Are

you married?

Kathy stops.

KATHY:

How did we get to that subject?

43

PETER:

I'm just curious.

KATHY:

(uncomfortable)

I think it's best if we don't ask too

many personal questions -- I want to

keep things on a professional level.

PETER:

You mean like in the steam room?

KATHY:

That's not fair!

PETER:

Are you going to tell me you didn't

feel something in there?

Kathy is growing more uncomfortable by the moment.

KATHY:

You're projecting your own desires and

reading more into what happened than

what actually did.

PETER:

Very good. Spoken like a true

psychologist. When confronted with the

prospect of your own reality, hide

behind quotations. What is that

Masters and Johnson?

The tension breaks. Kathy smiles.

KATHY:

You have to win every point, don't you?

PETER:

I just wanted to know if you're

involved with anyone?

(Beat)

Let me ask you something? Do your

colleagues know if you're involved or

not?

KATHY:

Of course.

PETER:

Why?

KATHY:

Because I work with them.

44

PETER:

Aren't you working with me?

Kathy smiles again, amused by Peter's tactics.

KATHY:

No.

PETER:

You're not?

KATHY:

No -- I'm not involved.

(Beat)

And I plan on keeping it that way.

Kathy walks off, leaving Peter staring after her.

INT. LORAINE'S KITCHEN - MORNING

Kathy, Frank and Andy are in the room with Nolan. Nolan is on

his knees at the base of a window. On the floor beside him is

a RULER and a SHEET OF RUBBERIZED PAPER.

NOLAN:

(proudly)

This is where he forced his way in. We

found some fibers on the windowsill,

probably particles of clothing that

rubbed off when he climbed through.

I'll know more once I get it under the

microscope.

FRANK:

(not impressed)

That's great.

NOLAN:

Wait, I've saved the best for last.

Andy, hit the lights, will you?

Andy looks for the light switch. Kathy realizes she's standing

in front of it and moves out of the way. Andy turns off the

lights and the room goes dark. Nolan turns on a FLASHLIGHT and

gets down on his knees, then SHINES the LIGHT at a LOW ANGLE

across the floor.

THE FLOOR - CLOSE SHOT: We can clearly see the impression of a

SHOE PRINT.

NOLAN:

It's a tennis shoe. Pretty old by the

individual characteristics. About a

size ten or eleven. This guy is big.

45

ANDY:

What's this?

Andy points to a JAGGED LINE in the impression.

NOLAN:

Don't know. Looks like a cut or a gash

in the sole of the shoe. We'll blow it

up back at the lab.

INT. HALLWAY - MORNING

Frank, Andy and Kathy follow Nolan towards the bedroom. Frank

stops and taps Kathy on the shoulder.

FRANK:

Before we go in I gotta tell you this

isn't going to be pretty.

KATHY:

I know that. I've seen the photo's.

FRANK:

This ain't no photo.

INT. LORAINE'S BEDROOM - MORNING

Frank, Andy and Kathy enter the room. Loraine's body is

laying on the bed, her appearance is like all the others.

On the wall written in blood is: REVENGE.

Kathy stares at the sight, horrified. She starts to gag and

runs from the room.

FRANK:

Same as the others?

NOLAN:

Yeah.

FRANK:

How long she been dead?

NOLAN:

I'd say at least eighteen hours.

FRANK:

That means she was dead before we even

finished figuring out the message.

46

ANDY:

Or before Sanderson ever showed up to

help us with the riddle. He figured it

out pretty quick, didn't he? Maybe

it's not to hard if you wrote it.

INT. PETER'S HOTEL ROOM - MORNING

Peter enters in his SWEATS to find Erica, Jeremy and David

sitting around a computer.

PETER:

Good morning.

Erica runs over to him and gives him a kiss.

PETER:

(to Jeremy)

We got a problem?

JEREMY:

Our computer went on the fritz again.

David came up to fix it.

PETER:

Is it serious?

DAVID:

Naw, it's all fixed. I also loaded up

a program that'll analyze your games

three hundred percent faster.

PETER:

Thanks.

Peter walks over to the MONITOR. A COMPUTER GAME is on.

PETER:

What's this?

DAVID:

Oh, I put a few games on for your

daughter. I hope you don't mind.

PETER:

Of course not.

[DAVID

Well, I've got to go over Lutz's room

now. He thinks someone has tapped into

his computer and is monitoring his

practice games.]

David picks up his bag and starts to leave.

47

PETER:

Don't you have something you want to

say to David?

ERICA:

Thanks, David.

DAVID:

Your welcome.

David leaves.

ERICA:

You ready?

PETER:

For what?

ERICA:

You told me you'd take me over to

Seattle today.

PETER:

I'm sorry, honey, I can't. Not today.

ERICA:

But you promised.

Erica stares at him sadly.

JEREMY:

I'll take you.

She forces a smile for Jeremy's sake, then leaves the room.

JEREMY:

Peter...

PETER:

I've got be here for the police when

they come. Then I've got to practise.

In case you forgot I'm in the middle of

a match right now.

JEREMY:

You're always in the middle of a match.

PETER:

I want to be the best I can.

48

JEREMY:

Sometimes I think you'd rather be the

best chess player, than the best

father. Instead of thinking about what

kind of day your daughter had, you

would rather think about the Sicilian

Najdorf opening or a counter to the

Tartokover Bondarevsky System.

(Beat)

A relationship is not a chessboard.

You can't walk away from it and come

back whenever you want and still expect

all the pieces to be there.

INT. PETER'S ROOM - MORNING

Peter enters from the bathroom wearing only his jeans. He goes

over to his briefcase and starts to take out a paper. He

stops, then slowly takes out an OLD, WORN, ENVELOPE. He stares

at it. There is a KNOCK on the door. Peter replaces the

ENVELOPE. He opens the door to find a pale and shaken Kathy.

She walks into the room.

KATHY:

They found the third girl. Her name

was Loraine Olsen. I just came from

the crime scene. It was horrible. How

can anybody do something like that?

You got anything to drink around here?

Peter walks over to the bar and pours her a brandy. He brings

it over to her and sits beside her on the couch. Kathy gulps

it down.

PETER:

Relax.

KATHY:

How the hell can I relax after seeing

what I just saw.

PETER:

I know it was bad.

KATHY:

How could you? Unless you were there.

Their eyes lock for a moment, each probing the others.

KATHY:

Sorry, I didn't mean that the way it

sounded.

49

PETER:

I know you didn't

KATHY:

You know, Andy thinks you're doing

this.

PETER:

Doesn't that scare you?

KATHY:

No.

PETER:

Why?

KATHY:

Because I think he's wrong.

Peter takes her hand and holds it in his. There is a KNOCK at

the door. Peter opens it to find Frank and Andy.

FRANK:

Come with us.

INT. HOTEL HALLWAY - MORNING

Peter follows Frank and Andy as they walk down a utility

hallway.

INT. HOTEL BASEMENT - MORNING

Damp and dark. A large cavernous room built under the hotel.

SEVERAL SMALLER ROOMS, OR ALCOVES, CONNECT TO THE MAIN ROOM

THROUGH A SERIES OF JOINING DOORS. FLORESCENT LIGHTS spaced on

the ceiling cast long shadows through the room. Large water

pipes and electrical mains run across the ceiling.

Frank, Andy, Peter and Kathy enter. Frank walks over to the

TECHNICIAN we saw before. He is setting up his tracing

equipment at the main TELEPHONE JUNCTION BOX.

FRANK:

How's it going?

TECHNICIAN:

(points to a phone)

While we're down here all calls coming

into Mr. Sanderson's room will be

routed to extenion 611. I've also--

50

The PHONE RINGS. It echoes through the room. Peter's face

tenses. He walks over and picks it up. A LOUDSPEAKER is

activated.

PETER:

Hello?

CALLER (OS)

Do you know what I'm doing right now,

Peter? I'm looking at the name of the

girl I'm going to kill tonight.

PETER:

You know her?

CALLER (OS)

Not really.

PETER:

Why her?

CALLER (OS)

(a trace of anger)

Because she's the type.

PETER:

But you said you didn't know her.

CALLER (OS)

(annoyed)

I know what I said! She looks just

like...

PETER:

Just like who?

CALLER (OS)

I really wish you'd stop trying to

maneuver me. I find it irritating, not

to mention insulting.

PETER:

I'm just trying to play the game.

CALLER (OS)

You're not playing very well. There

are clues all around you and you keep

missing them.

Peter's frustration grows. He decides to try a different line.

PETER:

Listen, if you're just going to call up

to gloat, I don't want to hear it!

51

CALLER (OS)

I'm sure there are other people who

would be interested in what I have to

say.

PETER:

Then call them!

Peter slams down the phone. Kathy, Frank and Andy are stunned

that Peter would end the conversation.

ANDY:

Are you crazy?

PETER:

Let's see how much he wants to play.

SILENCE fills the room. Peter stares at the phone expectantly.

A moment later it RINGS. Peter waits and lets it ring.

Finally he answers it on the fourth ring.

CALLER (OS)

Just for that no hint today.

PETER:

Why are you doing this? You must have

some idea of the pain you're causing

people.

CALLER (OS)

Pain? Pain is just a state of mind.

It's something you learn to live with.

I have.

Kathy hands Peter a note she has written.

PETER:

(reading the note)

And you want these girls to feel your

pain?

CALLER (OS)

Please, I don't want to get into the

psychological aspects of my actions.

It would detract from the game.

PETER:

How?

CALLER (OS)

I couldn't say it any better than

Huxley.

52

PETER:

Huxley's quote also says, "his play is

always fair and just."

CALLER (OS)

So is mine, within the framework of my

rules.

The line goes dead. Peter hangs up.

ANDY:

What in the hell do you think you're

doing? Slamming down the phone in the

middle of the trace.

PETER:

You think you're going to catch him on

a trace? Everything he does is planned

out well in advance. The only way

we're going to get him is to rattle him

-- make him slip up.

FRANK:

You never know how you're going to

catch a suspect.

KATHY:

Peter's right, Captain. He's got to be

forced into making a mistake.

ANDY:

We didn't ask for your opinion, Doctor.

PETER:

Maybe you should.

Peter stares at Andy defiantly.

ANDY:

You don't tell us how to run our

investigation. You got that?

PETER:

You don't have an investigation without

me. You got that?

The two men lock eyes hostilely.

FRANK:

What were you going to say, Kathy?

53

KATHY:

Well, I think you have to play to his

ego. He thinks he's superior. The

more secure he feels, the more chances

he'll take.

FRANK:

What did he mean by Huxley?

PETER:

He was referring to a quote by Thomas

Henry Huxley.

(quoting)

"The chess board is the world, the

pieces are the phenomena of the

universe, the rules of the game are

what we call Nature. The player on the

other side is hidden from us. We know

that his play is always fair, just, and

patient. But also, we know, to our

cost, that he never overlooks a

mistake, or makes the smallest

allowances for ignorance."

EXT. PUGET SOUND - AFTERNOON

Peter and Kathy are sitting on the beach. Peter draws squares

in the sand like a chessboard and starts moving shells and

rocks around. Kathy grins.

KATHY:

Are you playing chess?

Peter smiles like a boy with his hand caught in the cookie-jar.

PETER:

When I was little I'd watch the other

kids playing baseball from my room. In

the evening, when their parents would

call them in to put their bats and

balls away, I'd watch them from my

window, forcing, expressions of

disappointment, trying to gain another

few minutes outside so they could play

-- but no one could stop me from

playing.

(he closes his eyes)

All I had to do was close my eyes and

my whole world became a chessboard. I

could see the pieces, and sometimes it

felt like if I reached out I could

almost touch them. I ordered them and

they obeyed.

54

Kathy stares at him for a moment, unsure what to make of his

speech. Peter opens his eyes, there is a beat as he seems to

bridge the gap back to this world. He smiles.

KATHY:

Can you go fifteen minutes without

thinking about it?

PETER:

(thinks for a moment)

No. But I'm open to distractions.

KATHY:

I'm sure you are.

He smiles at her. He destroys the pattern in the sand, takes

her hand and they start walking.

PETER:

You know, you're not the easiest person

in the world to get close to.

KATHY:

You always want to talk about me. What

about you?

PETER:

Wasn't I just talking about me?

KATHY:

No. You were talking about chess.

PETER:

Alright. What about me?

KATHY:

I dunno. Where's Erica mother?

PETER:

She died in a car accident.

KATHY:

I'm sorry.

PETER:

It's alright. It was a long time ago.

KATHY:

It must've been very hard on Erica?

PETER:

It was.

KATHY:

And you?

55

Peter stops and smiles.

PETER:

Do you want me to lay down, Doctor?

Kathy grins.

PETER:

Look, why don't you just come out and

ask me what you want to know?

Kathy hesitates.

PETER:

Was it serious between Debi and me?

No. Have I known a lot of girls like

her?

(Beat)

None of your business.

Kathy stares at him, almost studying him for a moment.

PETER:

What?

KATHY:

Have you noticed that every time we

start to talk about something serious

you start to play games.

PETER:

I'm not playing a game now.

KATHY:

Yes you are. You're playing word

games.

PETER:

(defensive)

What is this?

KATHY:

I'm just trying to get to know you,

Peter.

PETER:

What? By attacking me?

56

KATHY:

Nobody could attack you. You set your

life up like one of your chessboards.

You're impregnable -- but at the same

time you've become trapped behind your

own defenses. You're cut off from

everyone around you.

PETER:

What are you talking about? You don't

even know me.

KATHY:

Does anyone?

He starts to walk away.

KATHY:

Are you forfeiting?

He stops dead in his tracks, turns and walks back.

PETER:

I just don't want to fight with you.

KATHY:

Then show me who you are.

Peter thinks. There's a seriousness we haven't seen before.

PETER:

This frightens me -- because I'm

starting to feel things I haven't felt

in a long time.

KATHY:

You've got to face the things you feel.

PETER:

(a little grin)

I thought you were the woman who didn't

want to get involved.

KATHY:

I said I didn't plan on getting

involved.

He moves closer. She takes a step back.

PETER:

(moving closer)

What happened to facing the things we

feel?

57

KATHY:

(giving in)

You can turn everything around so

easily. This is not just another game,

is it?

PETER:

No.

They stare at each other, each of them probing the others eyes.

Peter leans forward and gently kisses her on the lips. He

kisses her again. Their passion builds until they throw their

arms around each other and embrace passionately.

INT. PETER'S LIVING ROOM - AFTERNOON

Peter pins her against the wall and kisses her. She wraps her

legs around his waist as he holds her against the wall. They

continue to kiss as they move along the wall, knocking pictures

off the wall. Peter carries her over to a LARGE CHESSBOARD.

With one hand he sweeps the PIECES off onto the floor, then

sits her down on it. They kiss each other furiously, each of

them groping at the others clothing. Their hands move along

each others bodies, exploring, touching, feeling. He un-

buttons her blouse, then kisses her neck, working his way to

her breasts. Kathy closes her eyes, submitting to the pleasure

of his touch.

INT. PETER'S BEDROOM - AFTERNOON

TWO SILHOUETTES. Bodies intertwined. The SOUNDS of love

making fill the room.

SLOW FADE TO BLACK

INT. PETER'S BEDROOM - LATER - NIGHT

DARK. SILENCE.

KATHY:

I'm hungry.

PETER:

Call room service.

A LIGHT COMES on. Kathy lays next to Peter. She rolls over

and kisses him.

KATHY:

I hate hotel food. Rondi's Pizza is

just down the street.

58

PETER:

Fine.

KATHY:

What do you want on it?

PETER:

(nibbling at her neck)

You.

KATHY:

Would you settle for pepperoni?

PETER:

If I have to. I'm going to take a

shower.

Peter goes into the bathroom. Kathy sits up and throws on a t-

shirt. She goes to the desk. By the phone is a copy of the

WHITE PAGES. She starts to look up the number. In b.g. we

HEAR the SHOWER.

CLOSE ON PHONE BOOK: In the middle of the page a name is

underlined in RED. It reads: RUTLEGE, DEBI

Kathy stares at the name. A beat. Slowly she turns through

the pages.

CLOSE ON PHONE BOOK: The name EASTMAN, CHRISTIE is UNDERLINED.

The pages are quickly turned again until we see the name OLSEN,

LORAINE UNDERLINED.

Kathy is stunned. She thinks for a second, then gets up and

starts getting dressed. In the b.g. we HEAR the SHOWER stop.

PETER (OS)

Did you call?

KATHY:

The line was busy. I'll try again.

She finishes dressing then heads for the door. She opens the

door and stops, then looks back.

HER POV:
Her PURSE is on the nightstand.

She hesitates, then quickly walks back to get it. She picks it

up and starts back for the door when... Peter steps out of the

bathroom. He stares at her.

PETER:

Where are you going?

59

KATHY:

They're not delivering. I'm going to

go pick up the pizza.

PETER:

(moving closer to her)

I thought you said the line was busy?

KATHY:

I tried again and got through.

PETER:

(still closer)

What's wrong?

KATHY:

(backing away)

Nothing.

PETER:

(following her)

Then why are you backing up?

Peter waits for an answer. There isn't one. He looks around

the room, retracing in his mind what could have happened. He

sees the open PHONE BOOK on the dresser next to him. He stares

at it for a moment, then back at Kathy.

PETER:

This?

She doesn't answer. Peter appears disappointed.

PETER:

I was looking for correlations between

their names, addresses, anything that

might be the same.

Kathy looks away.

PETER:

You're as bad as Andy... maybe worse.

He walks over to a chair and sits down, freeing the path to the

door.

KATHY:

Peter, you have to admit--

PETER:

--admit what? That I was right about

you in the steam room? That you're

willing to do anything to find out what

you want? Would you like me to leave

so you can search the rest of the room?

60

KATHY:

Peter...

PETER:

(cutting her off;

hurt)

How could you think that, Kathy? How

could you even consider it?

A beat. Kathy thinks for a moment, then walks to the door and

leaves. A beat. Peter gets up, stares at the phone book, then

closes it softly.

INT. AUDITORIUM WINGS - NIGHT

Peter seems deep in thought. Behind him Lutz is pacing back

and forth. He is wearing a ridiculous hat with sheets of

aluminium foil sticking out. Peter stares at him.

LUTZ:

They're trying to control my mind.

(points to his hat)

Aluminium foil. It repels the thought

rays.

Peter stares at him blankly.

INT. KATHY'S HOUSE - NIGHT

Kathy enters her house and checks her messages. There are

none.

KATHY:

Very popular.

INT. AUDITORIUM - NIGHT

Peter walks out on stage. Yurilivich is waiting for him at the

CHESSBOARD. The other two tables are vacant_ The President

addresses the audience.

61

PRESIDENT:

Since Grandmaster Sanderson leads the

tournament with nine wins, and

Grandmaster Yurilivich is in second

with eight -- it as become apparent

that with only four games remaining,

the other players, should they win all

four of their remaining games, would

still not be in a position to win the

tournament. Therefore, we have decided

that the remaining games between

Grandmaster Sanderson and Yurilivich

will be held separately.

INT. KATHY'S HOUSE - NIGHT

Kathy sits on the couch, reading a book entitled: CASE STUDIES

OF SERIAL KILLRS. She appears distracted. She looks off and

thinks about Peter. Finally, she grabs her coat and leaves the

house.

INT. AUDITORIUM - NIGHT

Yurilivich makes a moves, then hits his timer. The PIECE moves

on the board behind them.

Jeremy grabs Erica's arm excitedly.

ERICA:

What is it?

JEREMY:

Mate in five.

Peter makes a move. There is a slight MOAN from the crowd.

Jeremy looks at the BIG BOARD reflecting Peter's move then over

at Erica.

JEREMY:

He didn't see it.

Yurilivich makes a move.

YURILIVICH:

Check.

Peter is stunned at his position. He looks at the board,

frustration fills his face. Slowly he picks up his KING and

lays it on his side.

At the door to the auditorium we see Kathy watching him. She

turns and leaves.

62

INT. HOTEL HALLWAY - NIGHT

A tired-looking Peter walks to his door. He starts to put in

his key when he notices the door is ajar. A beat. He slowly

pushes it open.

INT. PETER'S HOTEL ROOM - NIGHT

Dark. Peter enters. He tries the light switch. It doesn't

work. He walks slowly across the room. As he nears the hall a

FIGURE OF A MAN stands up out of one of the high-backed chairs.

Peter senses something and spins around. A LIGHT on the desk

comes on. Andy stares at him with a grin.

ANDY:

Scare you?

Peter doesn't answer. He stares at Andy hostilely.

ANDY:

You know, I figure that's pretty much

how these girl's feel just before they

get it. You think I'm right?

PETER:

I wouldn't know.

ANDY:

That's right. I guess only the killer

would know that.

PETER:

How'd you get in here?

ANDY:

The door was open.

PETER:

No it wasn't.

ANDY:

Of course it was. Otherwise I'd be

breaking and entering. That's a

felony.

PETER:

What do you want?

ANDY:

You ever do any hunting, Peter?

63

PETER:

No.

ANDY:

I used to. With my old man. He taught

me how to hunt and trap. Trapping's a

lot harder than most people think. We

used to go after Raccoons mostly.

They'd get into our garbage, our

fields. When an animal can't live

peacefully with those around it, it has

to be destroyed. But they're crafty

little devils. You see the trick is,

you can put your trap down, but no

Raccoon is going come near it unless

you lay down the scent. You ever smell

Raccoon scent? Smells like shit, but

to a male Raccoon it smells just like

pussy. He'll walk right up to that

trap, even though it don't look nothing

like a Raccoon and stick his Goddam

head right in it. You know why? Cause

he can't help himself. The scent

drives him. So, if you want to catch a

Raccoon all you gotta do is figure out

where he is -- lay down the scent --

and sooner or later he'll walk right

into the trap.

PETER:

What if he doesn't bite? What if he's

an exceptionally bright Raccoon?

ANDY:

Well then, you just gotta find out

where he is -- and once you're sure

where he is -- you shoot the fucker.

A beat. They stare at each other. Andy walks to the door and

leaves.

EXT. PETER'S HOTEL ROOM, BALCONY - NIGHT

Peter sits outside, thinking. Jeremy and Erica join him.

ERICA:

Hi dad.

She hugs him. He hugs her back.

ERICA:

He just got lucky tonight, that's all.

You'll cream him next time.

64

Peter smiles. There is a long pause. Peter looks at Jeremy.

They stare at each other.

PETER:

You have something you want to say?

JEREMY:

Just thought you might want to talk.

PETER:

About what?

JEREMY:

Whatever's on your mind.

PETER:

Who says something's on my mind.

Jeremy pulls out a printout of chess board with pieces in

different positions. He shows it to Peter.

JEREMY:

What do you see here?

PETER:

(after a moment)

Mate in five.

JEREMY:

Exactly... and you did this.

Jeremy moves an imaginary piece. Peter stares at the paper for

a moment. He can't believe he could miss such an obvious move.

JEREMY:

Is it Kathy?

ERICA:

Who's Kathy?

PETER:

No, it's not Kathy.

Jeremy stares at him with a knowing expression.

PETER:

It isn't Kathy.

ERICA:

Who's Kathy?

JEREMY:

Peter, I know you better than you

think.

65

FADE TO BLACK:

Over the BLACK we hear

ERICA:

Who's Kathy??

INT. APARTMENT - BLACK SCREEN - NIGHT

FLASH! As we see the word IS written in blood on a wall, we

HEAR the SOUND of a POLAROID CAMERA pushing out the photo.

DARKNESS:

FLASH! We see a new GIRL laying in her bed, the sheet draped

over her body, her face made up. DARKNESS

FLASH! A CLOSE UP of the girl's ghastly face. DARKNESS.

CLOSE ON:
GLOVED HANDS as they pull a photo from the camera.

EXT. APARTMENT - NIGHT

All the apartment LIGHTS are out. We see SEVERAL FLASHES of

LIGHT from an upstairs window.

EXT. INSTITUTE - MORNING

Kathy walks up a dirt path towards the side of the building.

She comes to a depression in the earth. She stops, lifts her

skirt, as she gets ready to jump over, when something catches

her eye.

HER POV:
in the soft ground she sees A perfect imprint of the

Killer's distinctive tennis shoe_

Kathy stares at it as the thought that the killer is nearby

becomes more frightening. She starts to back up slowly when...

She bumps into Dr. Fulton behind her. She SCREAMS, then turns

around quickly. Fulton is startled at her action.

KATHY:

Jesus, Alan, you scared the crap outta

me.

EXT. APARTMENT BUILDING - MORNING - WIDE SHOT

Several BLACK AND WHITE UNITS are in front of the building.

Frank and Andy are off to the side talking to an ATTRACTIVE

GIRL in her twenties.

66

FRANK:

If you can think of anything else give

us a call.

GIRL:

You know, I hate to say I told you so,

but I warned her. Coming home at all

hours of the night. A young girl new

to the city. This neighborhood ain't

what it used to be.

A UNIFORMED OFFICER standing by a BLACK and WHITE UNIT yells

over.

OFFICER:

Captain, you got a call!

INT. POLICE CONFERENCE ROOM - MORNING

CLOSE ON PHOTOGRAPH: OF THE KILLER'S SHOE: Pull back to see

another PHOTOGRAPH just like it on the wall.

A distraught Kathy sits on a chair, sipping a cup of coffee

with both hands. Frank and Andy stand up waiting for Nolan's

appraisal.

NOLAN:

It's the same shoe alright.

ANDY:

Was there anyone else on the grounds?

KATHY:

A few people.

ANDY:

Did anyone stand out?

KATHY:

What do you mean, stand out?

ANDY:

Did anyone look suspicious? Think!

KATHY:

Now that you mention it there was

somebody who looked suspicious.

ANDY:

(excited)

What was suspicious about him?

67

KATHY:

He was holding a sign that said "Serial

Killer".

Frank LAUGHS. Andy does a slow burn, then smiles. Through the

GLASS WINDOW Frank sees the GIRL from the apartment walking

down the hall. He thinks about something for a moment, then

springs from his seat.

INT. HALLWAY - MORNING

Frank steps into the hall. Andy follows.

FRANK:

Excuse me... you said earlier that Mary

Albert just moved in. How long ago was

that?

GIRL:

Ten days ago.

FRANK:

Do you know how she found the

apartment?

GIRL:

Through a rental agency.

FRANK:

(to Andy)

Didn't you tell me that Debi Rutlege

had just moved into her place also?

INT. FRANK'S OFFICE - MORNING

Kathy is standing off to the side, listening to Frank and Andy

as they both speak on the phone.

ANDY:

(into the phone)

Uh huh... Thank you very much.

He hangs up, looks at Frank and NODS with a grin.

FRANK:

(into the phone)

No, I really appreciate it. Thanks.

(he hangs up)

That's it! All the women moved into

their homes in the last three months

and all of them found them through

Homesearchers!

68

EXT. STREET - MORNING

An UNMARKED CAR is parked down the street from HOMESEARCHERS.

Frank and Andy get out and walk towards a building with TWO

DETECTIVES.

INT. HOMESEARCHERS - MORNING

A MIDDLE AGED WOMAN stands behind the counter. She stares at

Frank with a bewildered expression.

FRANK:

Who else works here beside you?

WOMAN:

There's a girl that helps at the

counter, part time and that's it.

FRANK:

Who else has access to these files?

WOMAN:

No one.

INT. PETER'S LIVING ROOM - MORNING

There is a KNOCK on the door. Erica opens it to find Kathy

outside.

KATHY:

You must be Erica.

ERICA:

Uh huh.

KATHY:

I'm Kathy.

Erica grins.

KATHY:

Is your dad here?

ERICA:

He went down to the lobby for a minute.

He should be right back. Would you

like come in?

Kathy enters and sits on the couch. Erica sits beside her and

stares at her, evaluating her.

69

KATHY:

So, are you having a good time on the

Island?

ERICA:

Not really. It's pretty boring.

KATHY:

That's only because you don't know

where to go. You like hiking?

(Erica nods no)

Fishing?

(Erica nods no)

Sailing?

(Erica nods no)

What do you like?

ERICA:

Boys.

Kathy grins and they LAUGH together.

ERICA:

Do you like my dad?

KATHY:

Of course.

Erica stares at her.

KATHY:

(getting it)

Oh... do you mean do I like, like him?

Erica waits expectantly. Kathy grins, but doesn't answer.

ERICA:

(confidentially)

I know he really likes you.

KATHY:

How do you know that? Did he say

something?

ERICA:

No... but I can tell. A woman knows

these things.

Kathy smiles. She looks up and sees Peter standing in the

doorway. There is a moment of embarrassment between them.

PETER:

Honey, why don't you run down to

Jeremy's now.

70

ERICA:

Okay.

(to Kathy)

Nice meeting you.

KATHY:

Nice meeting you.

She walks over to Peter and gives him a kiss.

ERICA:

(whispering)

I like her. She's nice.

Erica leaves. There is an uncomfortable moment between Peter

and Kathy. They look at each other, probing each others eyes.

There is a KNOCK on the door. Frank and Andy enter, their

expressions are serious.

PETER:

Another one?

(Frank nods)

What word did he leave?

FRANK:

"Is".

(to Kathy)

Did you tell him about the institute?

INT. HOTEL BASEMENT - MORNING

Peter is on the phone with the Caller. Kathy sits beside him.

Frank and Andy are with the Technician.

CALLER (OS)

Have you any idea what the message is?

PETER:

If it's so important, why don't you

just tell me?

CALLER (OS)

I couldn't tell you that. It would

ruin the game. Not that you're playing

it very well.

PETER:

You like to brag, don't you?

71

CALLER (OS)

Credit should be given where it's due.

I'm not worldly like you, Peter. I'm

not an internationally known figure.

I'm just a poor guy who has never been

anywhere, but I'm beating you.

The Caller's statement hits home. Slowly a look of

determination covers Peter's face.

PETER:

So, why were you looking for Doctor

Sheppard today?

CALLER (OS)

What?

PETER:

You heard me. Why did you go out to

the institute looking for her?

CALLER (OS)

What makes you think I was there?

PETER:

(using his words)

I couldn't tell you that. It would

ruin the game.

CALLER (OS)

The game's almost over, Peter, and

you're running out of time.

Peter's face hardens, eyes intensely staring off in the

distance.

PETER:

It's you who's running out of time.

You're starting to make mistakes now.

You're wondering just how much I really

know. Just how close I'm getting?

Well, I'm closer than you think, pal --

and I'm gonna nail your ass to the

wall!

CALLER (OS)

Very nice speech, Peter. Did you

rehearse that, or was it impromptu?

(Peter doesn't answer)

There's an old wooden bench in the

garden. Next to it is a rock. You'll

find a message for you under it. Let's

see if you're as clever as you think

you are.

72

The line goes dead. Peter hangs up, his frustration shows.

INT. POLICE CONFERENCE ROOM - AFTERNOON

Peter sits across the desk from Frank. Kathy stands by the

window. The room is crowded with the Caller's clues. The MAP

with colored pins in it. The words: REMEMBER EVENTUALLY

REVENGE IS... A copy of the Caller's NOTE written on the

blackboard. It reads:

PETER:

IN A FIERCE MAGAZINE YOU WILL FIND A HINT OF MY ACTION TO COME:

AS LARGE AS YOU MAYBE IN THE WORLD OF PAWNS AND CASTLES YOU ARE

STILL LIGHT YEARS FROM REACHING ME. INVISIBLE AS THE AIR, ONE

HUNDRED MEN WITH THEIR DESPERATE PLEAS TO STOP, CAN'T MOVE ME

Peter walks over to the BLACKBOARD and studies the note.

PETER:

(reading)

In a fierce magazine you'll find a hint

of my actions to come... Why does he

set this line apart?

KATHY:

For emphasis?

PETER:

Exactly. It's the key.

KATHY:

But what does he mean by a fierce

magazine? Violent?

PETER:

A fierce magazine... brutal...

(thinking aloud)

An angry magazine... A war magazine...

a mercenary magazine... fierce...

(he gets it)

Mad.

KATHY:

What?

PETER:

Where's the note?

73

ANDY:

You got it on the board.

PETER:

No, I need the original note.

ANDY:

There's a photostat of the original on

the wall.

Peter gets up and takes the note off the wall and studies it

for a moment, then starts to fold it in half.

PETER:

My daughter reads Mad Magazine all the

time. If you fold the back cover a

certain way, the text reads

differently.

Peter moves the crease of the paper in and out until it forms

the correct margin.

The NOTE now reads:

IN A FIERCE ACTION TO COME:

AS LARGE AS CASTLES, YOU ARE

STILL LIGHT AS THE AIR,

ONE HUNDRED MEN CAN'T MOVE ME.

Kathy looks at Peter, impressed.

PETER:

(reading)

As large as castles. You are still

light as air, one hundred men can't

move me.

FRANK:

It doesn't make sense.

KATHY:

It doesn't make sense because we don't

understand it.

ANDY:

But a hundred men could move him.

74

PETER:

(losing patience)

He's not talking about himself.

ANDY:

Then what's he talking about?

PETER:

(on edge)

If we knew that we'd know the answer to

the riddle, wouldn't we? He's telling

us where he's going to kill tonight and

we can't see it.

FRANK:

Maybe we should back up a minute and

take a look at what we do have. All

the girls that have been killed have

been killed at night. They're all the

same type. All moved into their homes

within the last three months -- and all

of them found their homes through

Homesearchers.

KATHY:

I thought that Homesearchers was a dead

end?

FRANK:

It can't be a coincidence. The woman

that owns it has a son. She says he's

been on vacation in Montana for the

last ten days. We're trying to locate

him. There's also a cleaning service

that comes in once a week. We're

checking that out too.

KATHY:

He moves around a lot. Why?

ANDY:

He finds his victims through

Homesearchers. He goes where they are.

Peter is only half-listening to the conversation. He appears

deep in thought.

KATHY:

But they rent lots of apartments. He

could probably find them all in a

localized area. Why move all over the

Island?

Peter slowly comes to a realization. His eyes open wide as a

thought crashes into his mind.

75

PETER:

Jesus! It can't be that easy!

Peter walks to the MAP of the victims locations on the wall.

He moves his finger from point to point, examining each

location. Kathy, Frank and Andy watch him. Peter continues to

move his finger in various GEOMETRIC LINES across the map.

ANDY:

You want to tell us what the hell

you're doing?

Peter doesn't answer. He stares at the MAP for a few more

seconds, as the excitement of his realization grows. He takes

a step back and turns to Kathy.

PETER:

He told us and we missed it! He said

he's never been anywhere. Therefore,

this Island is the world to him.

(pointing to the map)

As far as he's concerned, this is a map

of the world. That's why he quoted

Huxley. "The chessboard is the world."

Peter takes a MARKS-O-LOT off Kathy's desk and DRAWS a LARGE

SQUARE BORDER on the MAP, OUTLINING THE GRIDS, EIGHT BY EIGHT.

PETER:

He's using the map as a chessboard!

The sonofabitch is playing chess with

me!!

FRANK:

How can he be playing Chess with you?

You're not making any moves against

him.

PETER:

Maybe I already have.

Peter rushes towards the door.

INT. AUDITORIUM - AFTERNOON

Peter is with Kathy, Frank, Andy and David at the computer

station.

PETER:

Can you get into the Federation

records?

76

DAVID:

Sure. We've got a modem line hooked up

with the data base in New York.

PETER:

Can we correlate data? Look for

specific things, like player's ages...

stuff like that?

DAVID:

No problem.

(hits a few buttons)

We're in.

PETER:

Okay. Run a search to see if there are

any players with a rating above two

thousand that live on the Island.

David enters the commands on the keyboard.

DAVID:

Nope. Nothing.

PETER:

Set up some pieces on the big board?

FRANK:

I still don't see how he could be

playing chess against you. There's

only enough grids on the map to be half

a board.

PETER:

That's all he needs. He's making the

moves. It's an opening. I just can't

remember the name.

(looks at the board)

Okay, it's a game. He's starting it,

so he moves first. He's white. e2-e4.

The pieces on the board move, following Peter's instructions.

PETER:

D2-d4... b1-c3... and c1-f4.

(he studies the board)

It's the number two variation of the

Tarakoss opening.

(thinks for a moment)

David, can you bring up the tournament

records for the last ten years.

DAVID:

Mister Sanderson, they'll be hundreds

of thousands of games.

77

PETER:

We're only interested in people who

have played against me.

David enters the data.

DAVID:

Now what?

PETER:

Have computer search for anyone that's

used that opening against me. There

can't be more than a handful.

David enters the information and waits.

DAVID:

There's three. The first is 1983.

Lionel Baines. The Boston...

PETER:

Never mind. He died two years ago.

DAVID:

1985. Hans Korshaud.

PETER:

He's in his seventies and lives in

Holland.

David presses a button and looks at the next one. He hesitates

and looks at Peter awkwardly.

PETER:

What is it?

DAVID:

(a beat; hesitantly)

New York. 1986. Viktor Yurilivich.

A quiet rage spreads across Peter's face.

PETER:

Print out the game.

INT. PETER'S LIVING ROOM - AFTERNOON

Peter, Kathy, and all stand around a map of the Island. Peter

looks at a PRINTOUT.

78

PETER:

He's replaying the game I played

against him move by move, using these

girls as the Chess pieces.

(Beat)

All the girls have been found in their

homes except Christie Eastman, who was

found in back of a warehouse. Why?

KATHY:

(making the

connection)

Because to follow the game he played he

had to move to that grid?

PETER:

Right.

(he searches the map

and points to a spot)

Here! c-4.

FRANK:

It's a commercial area. No one lives

there.

PETER:

But he had to dump the body there to

make the move.

KATHY:

Now that you know what stage of the

game he's at, can we figure out where

his next move is going to be?

Peter walks over to the MAP and traces his finger over it, then

looks at the computer printout.

PETER:

His last move was c1-f4. I would move

f8-g7. His next move using the

Tarakoss would be... e2-e3... that

would be...

(points to a spot)

Right here!

There is a moment of silence as Kathy, Frank and Andy both

digest what they have heard.

KATHY:

Each of those grids represents almost a

square mile.

FRANK:

That's a big area to cover.

79

PETER:

Then let's narrow it down.

ANDY:

(knowingly)

Homesearchers.

INT. HOMESEARCHERS - AFTERNOON

Andy stands at the desk with the WOMAN they talked to before.

He holds out a THOMAS GUIDE and places it on the desk next to

the computer.

WOMAN:

(shocked)

You want me to what?

ANDY:

I want you to feed every street in this

grid into your computer.

WOMAN:

It'll take hours. You can't make me do

this.

ANDY:

You're right, I can't make you do it.

Besides, you're probably gonna be too

busy with the Franchise Tax Board

anyway.

WOMAN:

What are you talking about?

ANDY:

I gotta friend over there. He was

telling me things are kind of slow.

So, I figured I'd give him a call, have

him come down here and look through

your records. You know, give him

something to do.

WOMAN:

What's the first street?

The CAMERA PULLS BACK through the window until we are...

EXT. HOMESEARCHERS - AFTERNOON

Peter, Kathy and Frank stand on the sidewalk. Peter looks at

the NOTE and folds it to read the message.

80

PETER:

As large as castles, you are still

light as the air, one hundred men can't

move me. It's posed as a question.

What am I?

FRANK:

A building?

PETER:

A building isn't as light as air.

What's large, but as light as air and

can't be moved?

KATHY:

(correcting him)

As large as castles.

FRANK:

Yes. Why not just say a building if he

meant any general type of structure?

PETER:

He's not going to give us direct hints.

He's going to skirt around it.

FRANK:

He uses castles...plural -- then says

"can't move me." Singular. Not can't

move us.

Kathy stretches her arms above her head. Her shadow falls

across the lawn. Peter stares at the ground for a moment.

PETER:

A shadow. What's as big a castle? As

light as air , but one hundred men

can't move it? The shadow of the

castle. Are there any buildings that

have the name Castle in it that cast a

shadow long enough to fall across

another building?

FRANK:

Wait a minute. There's an apartment in

that area called the Castle Arms.

PETER:

That's got to be it.

Peter rushes inside Homesearchers.

81

INT. POLICE CONFERENCE ROOM - EVENING

Frank stands Andy and SIX DETECTIVES. One of them is a WOMAN

named JANET MCLELLAN.

FRANK:

Okay. Homesearchers gave us the name

Laura Owens. She just moved into an

apartment across the street from the

Castle Arms one week ago. We've moved

her to her parents house in Seattle and

S.P.D. is going to keep a watch on her

tonight.

(pointing)

Officer McLellan will spend the night

at her apartment.

(Beat)

Andy, you're going to go to the hotel

and pick up Yurilivich at the

tournament. Stay with him until it

ends, then follow him wherever he goes.

If things work out right we'll wrap

this up tonight.

INT. AUDITORIUM - NIGHT

Peter walks out on stage to join Yurilivich who is already

seated. Peter stares at him.

INT. LAURA OWENS BEDROOM - NIGHT

Frank is standing over a bed. Officer McLellan is under the

covers.

FRANK:

You all set?

McLellan pulls down the blanket to reveal her .38 and nods.

INT. LAURA OWENS KITCHEN - NIGHT

Frank joins a DETECTIVE and begins to wait in the darkness.

INT. AUDITORIUM - NIGHT

The game continues. Peter makes a move. Andy watches the game

from the back of the room.

82

EXT. STREET - NIGHT

An OUTLINE of SOMEONE walks down the street, then stops for a

moment. Under s STREET LAMP we see that it's a WOMAN in her

fifties walking her dog.

INT. AUDITORIUM - NIGHT

Yurilivich makes a move, then hits his timer. Peter studies

the board. He looks up at Yurilivich. Both of them stare at

each other intensely. Peter looks back at the board and makes

a move. On the BIG BOARD a PIECE MOVES, then STOPS halfway

between a square. A moment later the entire board breaks up

into an unreadable mass of lines. There's a GROAN from the

crowd. The President walks over to David and confers with him

quickly, then goes to the players.

PRESIDENT:

The board's going to take several hours

to repair. I think we should adjourn

until tomorrow.

EXT. SIDE OF APARTMENT BUILDING - NIGHT

The POV of someone walking slowly along the side of the

building.

INT. APARTMENT, BEDROOM - NIGHT

Officer McLellan stirs in bed, the tension of waiting beginning

to take affect on her.

EXT. SIDE OF BUILDING - NIGHT

The POV of someone looking through a bedroom window and looks

inside. We can see the outline of a WOMAN in bed. Slowly the

window is open by TWO GLOVED HANDS.

INT. APARTMENT, BEDROOM - NIGHT

The POV climbs through the window and studies the WOMAN in bed

for a moment. She is on her SIDE, her back to him. Sensing

something the WOMAN turns over. THE WOMAN IS NOT OFFICER

MCLELLAN! Her eyes widen with terror... then FLASH! BRIGHT

LIGHT fills the screen.

INT. LAURA OWENS KITCHEN - LATER - NIGHT

Frank looks impatient. He checks his watch.

83

FRANK:

I'm getting a bad feeling about this.

If Yurilivich was making a move we

would have heard something from Andy by

now.

DETECTIVE:

You think we're in the wrong place?

FRANK:

This has to be the right place. It all

fits. This is the only building that

has the word castle in it.

DETECTIVE:

No. There's the Castle Courts

Apartments over on Pine Road.

FRANK:

But that's all the way across town.

It's in another grid.

Frank thinks for a moment, then checks his watch again.

FRANK:

You hold things down here. I'm going

to take a run over there.

EXT. CASTLE COURTS APARTMENTS - NIGHT

A bracket-shaped, one story building in a less expensive part

of town. Frank drives up in his car and gets out. He starts

to walk towards the building.

FRANK'S POV: From a window in the back we see a series of

FLASHES.

Frank grabs his radio microphone.

FRANK:

This is Sedman. It's going down in the

back apartment of the Castle Courts.

He runs towards the building.

INT. CASTLE COURTS, APARTMENT - NIGHT

The front door crashes open as Frank breaks it down. He enters

the room, his .38 readied. We MOVE with him as he works his

way towards the hall.

84

INT. APARTMENT HALL - NIGHT

Frank slowly moves towards the bedroom. He stops at the door,

takes a deep breath, then lunges in.

INT. BEDROOM - NIGHT

Frank enters. The room is lit by moonlight. The rear window

is open. On the bed is the WOMAN we saw earlier. She is

naked. Her arms tied to the bed frame. There are two deep

GASHES in her wrists. Blood flows from her wrists into large

plastic bags. Her mouth is taped. Still conscious she

struggles, her eyes opened wide in a horror-filled stare.

On the wall behind her, written in blood is CAREFULLY.

Frank runs to the window. The b.g. we HEAR the SOUND of

FOOTSTEPS running away. Frank turns back towards the Woman and

quickly moves to the bed.

EXT. CASTLE COURTS APARTMENTS - NIGHT

BLACK and WHITE UNITS are parked in front, their lights

flashing. Frank looks drained as he watches an AMBULANCE pull

away. He walks over to Andy who is at a POLICE CAR on the

RADIO.

ANDY:

How is she?

FRANK:

She's unconscious, but they think she's

going to make it.

ANDY:

You alright?

FRANK:

I've seen a lot of things in my time on

the job, but nothing like this.

Yurilivich?

ANDY:

I was with him the whole time until I

got the call at the hotel.

FRANK:

Sanderson?

85

ANDY:

I spoke to Jeremy. He's watching

Sanderson's kid. Sanderson went out

after the match and hasn't come back

since.

FRANK:

Find him! I want to talk to him.

EXT. PUGET SOUND - NIGHT

Peter sits on the beach. He stares out over the water with a

pained expression. He reaches into his pocket and removes the

ENVELOPE we saw earlier and stares at it.

INT. KATHY'S HOUSE - NIGHT

We HEAR the DOORBELL. Kathy glances at her watch as she walks

across the living room to the front door. She looks through

the viewing-hole, then opens the door to reveal a tired-looking

Peter on the doorstep.

KATHY:

Hi.

PETER:

Can I come in?

Kathy thinks about it for a moment,then opens the door wider,

signaling for him to come in. Kathy sits down on the arm-rest

of a chair, Peter stands. A beat.

PETER:

The other night -- I said some things

that maybe I shouldn't have. I mean,

you haven't known me very long and I

can see how you thought what you did.

KATHY:

I'm not looking for an apology, Peter.

PETER:

I was thinking that... maybe when this

is all over we could...

KATHY:

I want someone I can get close to. I

don't know if that's possible with you.

PETER:

You really haven't seen my best side.

86

KATHY:

Peter...

PETER:

No, listen. You have no idea of the

kind of pressure I'm under right now.

KATHY:

That's still no excuse. You treat

everything like a game.

PETER:

I can't think any more, unless it's

about you. I'll be in the middle of a

match and instead of thinking about my

next move, I think about how you look

when you smile.

(Beat)

Remember how you said that I hide

behind my chessboard? Ever since my

wife died I've been...

(this isn't easy)

I've been afraid of getting too close

to someone again -- afraid of losing

them.

KATHY:

You're wife died. You can't feel

responsible for that.

PETER:

You don't understand.

KATHY:

Then help me to understand. I want to

understand.

PETER:

It's not that easy.

KATHY:

Of course it isn't. It's always

difficult when someone you love dies.

But you can't feel responsible because

she had a car accident.

PETER:

But I do.

KATHY:

Why?

PETER:

Because she killed herself!!

87

(softer)

She killed herself.

(Beat)

She drove her car over that cliff!

(Beat)

Oh, the police said it was an accident

-- but I knew. I've always known. I

closed myself off to her and after I

found the letter I closed myself off to

everything else. Beating Yurilivich

and playing for the title was all I

could think about -- but I snapped. I

had a breakdown in the middle of the

match. I don't remember too much about

it.

He removes the envelope from his pocket.

PETER:

This letter. I've never opened it.

KATHY:

Why not?

PETER:

Because I know what it says.

KATHY:

Maybe you're afraid of what it says.

A beat. Peter walks to the couch and sits down. He stares at

the envelope, then starts to open it. He stops and looks up at

Kathy who nods her head. Kathy starts to leave

PETER:

Will you stay with me?

Kathy sits beside him. He opens the envelope and starts to

read.

WOMAN'S VOICE

Peter. There are many pains we feel in

this world -- but loving someone who

has shut you out of his life has to be

the most unbearable of them all. I

knew when we married that you were a

man consumed with ambition, but

somewhere along the way, your

chessboard became your wife, and I

became your mistress.

88

(Beat)

I know now that you cannot change,

cannot give me the things I need. You

may think that I'm a coward for what I

am about to do, but it is my choice.

My release. I only ask that you shield

Erica from the truth, and that you

forgive me for being so weak.

Jennifer.

His eyes fill with tears. The guilt he has carried for so long

is released. Kathy puts her arm around him. He turns to her

and rests his head on her shoulder.

INSERT TELEVISION

REPORTERS stand outside the police station. We see Kathy

walking down the steps. PULL BACK to reveal we are in...

INT. PETER'S LIVING ROOM - MORNING

Jeremy is watching the TV. He does not notice the door open

behind and Peter enter.

REPORTER:

Doctor Sheppard, what goes on in the

mind of someone like this?

KATHY:

That's a very difficult question to

answer.

REPORTER:

Is there a usual scenario?

KATHY:

Well -- yes... usually we find they've

had a traumatic childhood. He was

probably abused by a dominant female

figure. That, coupled with the fact

that these girls have not been raped

leads me to believe that he is either

impudent or a latent homosexual.

Regardless, he's acting out some type

of revenge fantasy that fulfills some

sick sexual needs.

Jeremy notices Peter. He turns off the TV.

PETER:

Hi. Where's, Erica?

89

JEREMY:

She went into town with Mrs. Lutz. Did

they get him?

PETER:

No.

JEREMY:

Feel like practicing?

PETER:

Yeah. Just let me grab a shower.

INT. BASEMENT - MORNING

Peter enters the room to find Frank and Andy staring at him

angrily.

FRANK:

Where were you last night?

PETER:

Are we going to go through this again?

FRANK:

Answer the question.

PETER:

I went out.

ANDY:

Don't fuck with us! Where did you go!

KATHY (OS)

He was with me?

Kathy is standing in the doorway. Frank and Andy look at her

as she enters.

FRANK:

What time did he get there?

KATHY:

About a quarter to one.

ANDY:

We're interested in where you were from

the time you left the auditorium until

you got there.

PETER:

I was at the beach.

90

ANDY:

You sure you weren't over on Pine Road?

PETER:

I'm positive.

ANDY:

You're a lying bastard!

PETER:

Fuck you! I'm tired of your goddam

accusations! If you want to arrest me

go ahead! Otherwise back off.

ANDY:

It's all a big game isn't it? A sick,

fuckin' game. I don't know if there's

two of you involved, or what -- but

we're going to find out. Last night

you gave us just enough to send us to

the wrong place. It must've shocked

the hell out to you when Frank walked

in on Pine Road and you couldn't

finish.

Peter starts to walk away.

PETER:

I'm not going to listen to this.

Andy grabs him forcefully.

ANDY:

Yes you are.

PETER:

(pushing him)

Get off me!

Andy explodes. He pushes Peter backward into a GLASS FIRE

EXTINGUISHER CASE. It breaks as Peter's HAND SMASHES THROUGH

THE GLASS. Peter raises his hand. Blood pours out from a cut

on his wrist. Anger floods across his face. He raises his

hand to hit Andy. Andy quickly pulls out his gun and points it

at Peter's head.

ANDY:

Go ahead. Do it.

A beat. Peter stares at him. Slowly a crazed grin spreads

across his face. He moves closer, pressing his forehead

against the barrel of the gun, his eyes locked on Andy's.

91

PETER:

You want to shoot me? Go ahead. Shoot

me!

Peter and Andy lock eyes. Everyone in the room is stunned by

Peter's action. The tension is broken as the phone RINGS.

Peter and Andy continue to stare at each other. Slowly, Andy

backs off. Peter doesn't move. The PHONE continues to RING.

FRANK:

You going to answer that?

A beat. The PHONE continues to RING. Peter stares at Andy.

KATHY:

Peter. Please.

Peter walks to the phone and answers it. Kathy wraps a towel

around his hand to stop the bleeding.

PETER:

Hello.

CALLER (OS)

Last night was very exciting, wasn't

it? Have you figured out what I'm

doing?

PETER:

You're playing the Tarakoss opening.

CALLER (OS)

Very good.

PETER:

You're next move should have been e2-

e3.

CALLER (OS)

I used a variation. You should have

anticipated that. Have you figured out

the message?

PETER:

What word did you leave last night?

CALLER (OS)

The police haven't told you?

PETER:

They think that you and I are doing

this together.

92

CALLER (OS)

(a pause)

Interesting concept. I hadn't thought

of that. If you think about how Anton

Berger plays chess you might get it.

PETER:

I'm beginning to think it doesn't mean

anything. Remember eventually revenge-

-

CALLER (OS)

--you're hopeless! You can't even read

a sentence! Didn't they teach you

punctuation in school? The game ends

tonight!

The line goes dead.

INT. POLICE CONFERENCE ROOM - AFTERNOON

Kathy sits with Frank at the table. Andy paces. Frank and

Kathy look at the PHOTOGRAPHS of MESSAGE-WORDS on the wall.

KATHY:

Remember eventually revenge is

carefully... Have you tired

juxtaposing the words?

ANDY:

Oh, c'mon. We're not going to spend

any more time on this crap, are we? It

doesn't mean anything. It's Sanderson!

KATHY:

It isn't him. Frank, you brought me in

on this in the beginning because you

wanted my opinion if he was capable of

doing this.

ANDY:

Jesus, you're sleeping with the guy.

You've lost your perspective. You

can't possibly be unbiased.

FRANK:

He's right, Kathy.

KATHY:

What are you saying? That I'm seeing

what I want to see? That I'm

protecting a murderer? What?

93

FRANK:

We can't rely on your judgement

anymore.

KATHY:

What does that mean?

ANDY:

It means you're off the case.

Kathy looks at Frank.

FRANK:

I'm afraid I have no choice. I can't

run the risk of compromising what

little we do know and the future

actions of this department by sharing

knowledge with someone who is

emotionally involved with the prime

suspect.

Kathy stands up and stares at Frank angrily.

KATHY:

(pointing to Andy)

And what if he's wrong. If you were

one hundred percent sure it was Peter

you would've arrested him. If it is

someone else then he's going to kill

again tonight and you're sitting here

ignoring the message.

FRANK:

We're going to work on the message.

KATHY:

(angry)

This stinks! You want to know what I

think? I think there have been five

murders and you've got shit to go on.

You need to blame someone and he's the

easiest choice.

FRANK:

The most logical choice.

KATHY:

You don't have a shred of evidence!

ANDY:

We'll find the evidence.

KATHY:

You couldn't find your dick in a wind

storm!

94

Kathy storms out of the room.

INT. JEREMY'S BEDROOM - AFTERNOON

Peter enters.

PETER:

Jeremy?

INT. HOTEL LOBBY - AFTERNOON

Peter walks through the room. He bumps into Lutz.

PETER:

Have you seen Jeremy today?

LUTZ:

No.

PETER:

If you do will you tell him I'm looking

for him?

INT. KATHY'S HOUSE - EVENING

Peter is sitting on the couch writing on a piece of paper.

Kathy walks over holding two cups of COFFEE.

PETER:

If we could just figure out what the

next word is going to be. He said the

game's going to end tonight so there's

only going to be one more word.

KATHY:

It could be anything.

PETER:

It's got to be grammatically correct.

Peter gets up and starts pacing.

PETER:

Remember eventually revenge is

carefully... carefully what?

Kathy looks at Peter with a stunned expression.

PETER:

What?

95

KATHY:

How did you know it was "carefully"?

PETER:

Frank told me.

KATHY:

No he didn't.

A beat. Peter stares at her for a moment.

PETER:

You're right. The killer told me.

KATHY:

He didn't tell you either.

A beat. Their eyes lock.

PETER:

Yes, he did. He said, "think about how

Anton Berger plays chess". Anton

Berger wrote one of the most famous

books on chess called "Principals and

Tactics". Every beginning player reads

it. The first chapter is his three

rules to good play: Carefully.

Carefully. Carefully.

Peter looks at her, studying her for a reaction.

PETER:

This isn't going to be like the phone

book, is it?

KATHY:

(weakly)

Of course not.

A beat. Kathy checks her watch.

KATHY:

You're going to be late for your match.

PETER:

Are you going to come tonight?

KATHY:

Yeah. I'll be there later.

Peter walks over to her and kisses her good-bye. Kathy forces

a smile. Peter walks to the door, opens it, then looks back at

her, then leavess. Kathy stares at the door, her mind racing.

She starts to pace as she thinks, then walks to her phone book

and looks up a number. She dials and waits as it rings.

96

WOMAN'S VOICE

Bainbridge Books.

KATHY:

Hi, Sara. This is Doctor Sheppard. I

was wondering if you could tell me if

you have a book on chess called

"Principals and Tactics" by Anton

Berger.

WOMAN'S VOICE

I can check and call you back.

KATHY:

Thank you. I'm at 639-7393.

WOMAN'S VOICE

We'll call you back.

Kathy hangs up. There is a KNOCK on the door. She walks

towards it.

KATHY:

Yes?

MAN'S VOICE (OS)

It's me. I forgot something.

Kathy hesitates a moment, then opens the door. Terror fills

her face.

HER POV:
A man wearing a black RAIN COAT stands outside. His

face is covered by a porcelain MASK. FLASH! A bright light

goes off. Kathy is blinded.

The Man lunges inside, pushing Kathy to the floor. He enters

and SLAMS the door shut. Kathy gets up and starts to run

towards the back of the house. The MAN tackles her to the

ground. Kathy kicks her way free. She crawls backwards,

pushing herself back with her legs. The MAN crawls after her

groping for her legs with his GLOVED HANDS. He grabs her

ankle, then sits on top of her, pinning her to the ground. HE

SPEAKS IN A WHISPER.

MAN:

You shouldn't have said those things

about me today. You have no idea what

I am.

He raises a STILETTO. CLICK! The BLADE just out. He holds it

before her eyes.

KATHY'S POV: There is a DEEP CUT on his wrist.

97

KATHY:

Peter...

MAN:

Peter, isn't here anymore.

The PHONE RINGS. The MAN snaps his head towards the sound.

Kathy quickly pushes him backwards and rolls over. The Man

falls backwards. Kathy gets up and runs to the front door,

SCREAMING.

EXT. KATHY'S HOUSE - EVENING

Kathy runs out into the street, SCREAMING for help. She runs

across the street and BANGS on the front door.

EXT. KATHY'S HOUSE - LATER - NIGHT

It has begun to RAIN lightly as Kathy sits in the passenger

seat of a PATROL CAR. Frank and Andy are with her.

FRANK:

Did you see his face?

KATHY:

No. He was wearing a mask... but I saw

the cut on his wrist. It was Peter.

FRANK:

I can't arrest someone for having a cut

on their wrist. Do you have someone

you can stay with tonight?

KATHY:

I've got a room at the institute I use

when I stay late.

FRANK:

Okay. Why don't you go out there.

We'll check in with you later.

INT. AUDITORIUM - NIGHT

Peter walks out on stage and sits across from Yurilivich. He

sits down and makes a move, then looks out into the audience.

PETER'S POV: The place where Jeremy usually sits is empty.

98

INT. POLICE CAR - NIGHT

Andy drives. Frank sits in the passenger seat. A VOICE

crackles over the radio.

MAN'S VOICE (OS)

King base one. This is King fifteen.

FRANK:

This is Sedman.

MAN'S VOICE (OS)

Captain, this is Harton. I'm out at

Hollow Bluffs. I think you should get

out here.

FRANK:

It better be important.

EXT. HOLLOW BLUFFS - NIGHT

A PATROL CAR is parked at the base of a CLIFF. OFFICER HARTON

is standing by it on the RADIO. In the light from the HEAD

LIGHTS we can see the body of JEREMY laying on the rocks, his

WHEELCHAIR in the b.g.

OFFICER HARTON:

It is, sir.

EXT. HOLLOW BLUFFS - LATER - NIGHT

Frank and Andy study Jeremy's battered body. Frank looks

through Jeremy's jacket and removes a NOTE. He reads it, then

looks up at Andy.

FRANK:

(reading)

"Peter, I'm sorry but I just can't do

it anymore".

They stare at each other. OFFICER HARTON walks over holding

something.

OFFICER HARTON:

I found this over by the wheelchair.

Frank takes it and looks at it.

ANDY:

What is it?

FRANK:

It's a voice modulator.

99

ANDY:

He was never there when the calls came

in. He was covering for Sanderson the

whole time.

INT. POLICE CAR - NIGHT

Frank and Andy drive back towards town. Frank is on the RADIO.

FRANK:

I want you to find Judge Meyerson and

have a search warrant for Peter

Sanderson by the time I get back to

town.

INT. DOCTOR FULTON'S OFFICE - NIGHT

Doctor Fulton is at his desk working on a computer. Kathy

enters. She looks tired.

DOCTOR FULTON:

What are you doing here?

Kathy doesn't answer. She walks wearily into the room.

DOCTOR FULTON:

Kathy, what is it?

She is on the verge of tears.

KATHY:

I've been such an idiot!

Doctor Fulton walks over to her. Tears flow down her cheeks.

He hugs her and she falls into his arms weeping.

EXT. PETER'S HOTEL ROOM - NIGHT

Frank and Andy walk towards the door with a HOTEL EMPLOYEE.

Frank KNOCKS, waits a moment, then motions for the Employee to

open the door.

INT. AUDITORIUM - NIGHT

Peter and Yurilivich continue their match. Peter looks

confidant.

100

INT. PETER'S LIVING ROOM - NIGHT

Frank looks through the desk. We HEAR Andy call from another

room.

ANDY (OS)

Frank, c'mere.

INT. PETER'S BEDROOM - NIGHT

Frank enters and joins Andy at the nightstand. Andy points to

a DRAWER that he's pulled out.

ANDY:

Take a look under here.

Frank looks under the drawers, then at Andy. He removes

several POLAROID PHOTOGRAPHS taped to the bottom. He looks

through them.

CLOSE ON PHOTOGRAPHS: Each one shows a different girl, her

face filled with terror.

INT. AUDITORIUM - NIGHT

The match continues. Peter makes another move. Yurilivich

looks nervous as he studies his position. In the back of the

room the doors crash open as Frank and Andy barge into the

room. Peter watches them from the stage as they approach.

They walk up the steps and stop before him.

ANDY:

Peter Sanderson. You're under arrest.

Peter bolts up from his seat.

PETER:

This is...

Before he can finish Andy grabs him and SLAMS him down onto the

chessboard. He removes his HANDCUFFS.

ANDY:

(cuffing him)

You have the right to remain silent.

If you give up that right anything you

say can and will be used against you in

a court of law... (Con't)

Andy snaps the cuffs on tightly and jerks Peter upright, then

pushes him off the stage. Andy continues reading Peter his

rights as he pushes him down the aisle towards the doors.

101

INT. DOCTOR FULTON'S OFFICE - NIGHT

Kathy sits by the window. LIGHTNING lights up the night sky.

She sips a cup of coffee. Doctor Fulton stands behind her.

DOCTOR FULTON:

Feeling better?

KATHY:

I just can't believe it.

DOCTOR FULTON:

You don't want to believe it. It's a

normal reaction.

KATHY:

How come the police never had a record

of Sanderson before. This doesn't come

out of nowhere, there has to be a

history.

INT. POLICE CONFERENCE ROOM - NIGHT

Peter is sitting on a chair, his hands cuffed. He looks

stunned. Frank and Andy sit before him.

PETER:

Jeremy would have never killed himself.

FRANK:

Maybe he just got tired of covering for

you.

PETER:

This is insane! Can't you see what's

going on. The killer wants me out of

the way. He's setting me up.

ANDY:

You set yourself up tonight when you

attacked Kathy, you crazy fuck!

PETER:

What?

FRANK:

She saw the cut on your wrist, Peter.

INT. POLICE STATION, FRONT DESK - NIGHT

The PHONE RINGS. Officer Harton answers it.

102

OFFICER HARTON:

Bainbridge Police Department.

MAN'S VOICE

This is Richard Farrington. I've been

retained by the Chess Federation as

council for Peter Sanderson.

INT. DOCTOR FULTON'S OFFICE - NIGHT

Kathy sits at Doctor Fulton's desk, staring at the phone. A

beat. She picks up the receiver and dials.

WOMAN'S VOICE

Bainbridge Books.

KATHY:

Sara, this is Doctor Sheppard. I

called you earlier about a book.

WOMAN'S VOICE

Yes, Doctor Sheppard. We called you

back but you weren't home. We have the

book.

KATHY:

Could you please do me a big favor? In

the first chapter the author mentions

his three rules of chess. Could you

look and tell me what they are?

WOMAN'S VOICE

Of course.

(a long pause)

Yes, here it is.

(a little laugh)

Why, they're all the same?

KATHY:

What are they, please?

WOMAN'S VOICE

"Carefully". "Carefully".

"Carefully".

INT. POLICE CONFERENCE ROOM - NIGHT

Frank is at the door with Officer Harton. Andy glares at Peter

hostilely. Frank puts a piece of paper on the table.

103

FRANK:

The Chess Federation got you an

attorney. Here's his number. You've

got three minutes.

Frank, Andy and Harton leave. Peter looks at the paper and

dials the number on the phone. It RINGS.

MAN'S VOICE (OS)

Hello?

PETER:

This is Peter Sanderson calling for

Richard Farrington.

We HEAR the CALLER'S distorted VOICE.

CALLER (OS)

Hello, Peter.

PETER:

You sonofabitch!

CALLER (OS)

Emotional? I expected more from you.

PETER:

If you kill tonight and I'm in jail the

police will know I'm innocent.

CALLER (OS)

By that time the game will be over.

PETER:

I've figured out the message.

CALLER (OS)

No you haven't. And even if you had it

doesn't matter. Who would you tell?

The police don't believe you, and

you've just used your only phone call.

We HEAR the Caller LAUGH, then the line goes dead. Peter turns

his attention to the WORDS. He springs from his seat.

PETER:

Alright, Peter, think. The game ends

tonight. He'll leave one more word.

Remember eventually revenge is

carefully... carefully what? Planned?

Arranged? Contrived?

104

INT. POLICE STATION, FRONT DESK - NIGHT

Frank stands with Andy. Andy checks his watch.

ANDY:

Ready for round two?

FRANK:

I've got a feeling we're going to go

the distance with him. Let him sweat

for a little while.

INT. DOCTOR FULTON'S OFFICE - NIGHT

Kathy paces the room. Doctor Fulton is at his desk working on

the computer.

DOCTOR FULTON:

Kathy, please. You're going to wear a

hole in the carpet.

KATHY:

I'm just nervous. Sorry.

DOCTOR FULTON:

You're safe. He wouldn't come here.

KATHY:

He already did once.

Kathy thinks about something for a moment.

KATHY:

Why did he?

DOCTOR FULTON:

Why did he what?

KATHY:

Come here.

DOCTOR FULTON:

He was watching you.

KATHY:

Yeah -- that's what we've always

thought -- but what if he wasn't? What

if I had nothing to do with the reason

he came here?

DOCTOR FULTON:

You're losing me.

105

KATHY:

What if he came here because he's a

patient. An out-patient?

INT. POLICE CONFERENCE ROOM - NIGHT

Peter paces the room, his mind racing.

Remember eventually... remember

eventually... grammar...

Peter walks to the PHOTOGRAPH of the word REMEMBER. He points

to a smudge after the word.

PETER:

Period! That's what he meant about

punctuation. Remember. Remember what?

INT. DOCTOR FULTON'S - NIGHT

Kathy is at a computer. Doctor Fulton works at his desk.

FILES from the computer MONITOR scroll past, reflecting off

Kathy's GLASSES.

INT. POLICE CONFERENCE ROOM - NIGHT

Peter writes on the blackboard. He is writing: Eventually

revenge... He stops.

PETER:

Okay. Remember is a separate sentence.

They key is in the long sentence

Everything with him has been word

games.

He erases what he wrote and starts to write again.

EVENTUALLY:

REVENGE:

IS:

CAREFULLY:

PLANNED:

He stands back and studies it. His eyes dart across the

message like a chessboard, calculating, evaluating.

106

INT. POLICE STATION, FRONT DESK - NIGHT

Frank taps Andy on the shoulder and they start back down the

hall.

INT. POLICE CONFERENCE ROOM - NIGHT

Peter erases the word "PLANNED" and adds "ARRANGED" at the

bottom. He studies it for a moment, then closes his eyes. He

turns around and takes a few steps, then stops dead in his

tracks. His eyes open wide as a thought crashes into his mind.

He turns around and stares at the board confirming what he

already knows.

PETER:

Oh my God!

Frank and Andy walk into the room. Peter is on the verge of

being hysterical.

PETER:

The message! I figured out--

ANDY:

Sit down!

Andy moves towards Peter and grabs him. Peter plows into him,

slamming his full body weight him.

PETER:

He's going to kill my daughter!!

Peter gets the blackboard and erases all of the letters but the

first one of each word. It now spells:

E:

R:

I:

C:

A:

Frank and Andy look at each other.

INT. PETER'S LIVING ROOM - NIGHT

A full-blown storm is raging outside as Erica enters the room.

She turns on the lights and walks towards the back.

ERICA:

Dad?

107

INT. POLICE CONFERENCE ROOM - NIGHT

Frank stands before Peter. He is frantic.

PETER:

Don't you understand what I'm telling

you? That's why he wants me out of the

way.

FRANK:

I understand that this is just another

one of your games.

PETER:

Look, I'll do anything you want! I'll

sign anything you want! Just send a

car out to the hotel.

INT. ERICA'S BEDROOM - NIGHT

Erica sits on her bed. Behind her the DRAPES to her WINDOW are

OPEN. Outside LIGHTNING FLASHES SILHOUETTING a MAN standing on

the BALCONY in the rain. Erica senses something and turns

around. A moment later there is another FLASH OF LIGHTNING,

but the MAN is no longer there.

INT. POLICE CONFERENCE ROOM - NIGHT

Peter slams his hand down on the table.

PETER:

Alright! I confess! I killed them!!

I killed them all! Now, will you

please send a car to the hotel?

INT. DOCTOR FULTON'S OFFICE - NIGHT

Kathy continues searching through the files. She brings up

another one and stares at it. Confusion fills her face.

KATHY:

Oh no.

She raises her finger to the screen, tracing the words as she

reads them.

108

INT. POLICE CONFERENCE ROOM - NIGHT

Frank watches Peter as he signs a confession. Frank grabs his

arm.

FRANK:

Alright, c'mon Peter. We're moving you

to a cell.

PETER:

I signed the confession. What about

the car?

INT. POLICE STATION, FRONT DESK - NIGHT

Frank leads Peter into the room. Officer Harton is behind the

desk.

FRANK:

Where the hell is Andy?

OFFICER HARTON:

He took off about ten minutes ago.

PETER:

(to Harton)

Did you send the car?

FRANK:

It's over, Peter. Let's stop the

games. I'm not sending a car.

Something in Peter snaps. Rage fills him as he crashes his

body into Frank's, then quickly strips Frank's pistol out of

his belt. He holds it out in his handcuffed hands, pointing at

Harton before he can even get up from his seat.

PETER:

Get up! Real slow and put your hands

on the desk.

Harton does what he's told.

PETER:

(to Frank)

Drop the keys to the cuffs on the

ground and kick them over to me.

Frank drops the keys and kicks them over. Peter bends down,

his eyes on Frank and Harton. Slowly he removes the cuffs.

PETER:

Alright! Let's move down the hall.

109

WE MOVE down the hall with them. Peter motions for them to go

inside the Conference room. They do. Peter closes the door

and LOCKS it from the outside. As Peter runs out of the

station the PHONE starts to RING.

INT. DOCTOR FULTON'S OFFICE - NIGHT

She is at her desk, on the PHONE, listening as it RINGS.

EXT. POLICE STATION - NIGHT

Peter runs out and gets into Frank's car. He drives.

INT. PETER'S LIVING ROOM - NIGHT

The CAMERA MOVES IN towards a WINDOW on the other side of the

DARKENED ROOM. Suddenly, a GLOVED HAND smashes through the

GLASS and reaches inside. At the same time a CLAP of THUNDER

booms overhead, covering most of the noise.

INT. ERICA'S BEDROOM - NIGHT

Erica is watching TV. She gets up, thinking she has heard

something.

INT. HOTEL ROOM, HALLWAY - NIGHT

Erica enters the DARK ROOM and cautiously walks over to the

LIGHT SWITCH located next to a DOOR that leads to the living

room. She is just about to turn the SWITCH when... There is a

LONG FLASH OF LIGHTNING. Suddenly, her expression turns to one

of horror as she sees something in the next room.

ERICA'S POV: On the other side of the LIVING ROOM is a LARGE

MIRROR. The LIGHTNING LIGHTS the room well enough for her to

see A MAN'S SILHOUETTE in the MIRROR. He is standing on the

other side of the doorway, his back pressed up against the

wall, waiting for her to enter the room.

INSERT LIGHT SWITCH: Erica slowly starts to move her hand away

from the SWITCH when a HAND GRABS her firmly by the WRIST.

ON ERICA:
She is startled, but quickly relaxes as she looks up

at someone.

ERICA:

Boy! You scared me.

There is a KNOCK at the door.

110

EXT. HOTEL, PARKING LOT - NIGHT

Peter pulls his car in and skids to stop. As he gets out he

sees Andy's car parked close by. He runs towards the building.

INT. HOTEL HALLWAY - NIGHT

Peter rushes frantically towards room.

INT. PETER'S HOTEL SUITE - NIGHT

Peter rushes inside and runs across the room.

PETER:

Erica! Erica!

INT. HOTEL ROOM, HALLWAY - NIGHT

Peter runs towards Erica's room. A NOTE is taped to her door.

It reads:
CHECK!

EXT. HOTEL - NIGHT - WIDE SHOT

Lightning lights up the sky. Before the THUNDER comes we HEAR

Peter's frantic cry.

PETER (VO)

No!!!

EXT. ROAD - NIGHT

We see Kathy through the windshield as she drives through the

storm.

INT. PETER'S LIVING ROOM - NIGHT

Peter sits by the phone in the dark. He stares at the PHONE

almost willing it to ring. In a FLASH OF LIGHTNING he sees a

pool of blood flowing out under the closet door. Slowly Peter

walks towards the door, he reaches to open it, then hesitates,

afraid of what might be behind the door. He takes a deep

breath, then opens it quickly.

PETER'S POV: A FLASH OF LIGHTNING highlights Andy's lifeless

body as it falls out of the closet.

Peter is startled as he backs away from the body.

111

INT. POLICE STATION, FRONT DESK - NIGHT

Two UNIFORMED OFFICERS enter and notice that no one is at the

desk. In the b.g. they HEAR someone POUNDING on a door.

EXT. POLICE STATION - NIGHT

The RAIN falls in sheets. Frank runs out and gets into a

patrol car and drives off.

INT. PETER'S LIVING ROOM - NIGHT

The PHONE RINGS. Peter runs to the cordless phone and lifts it

up.

PETER:

Yes?

CALLER (OS)

Congratulations on your daring escape.

You just missed me by a few seconds.

(Beat)

It's check, Peter.

PETER:

Let me speak to my daughter.

CALLER (OS)

She's in the other room. I just wanted

you to know she wasn't dead... yet.

But it's time for her to die now.

PETER:

Please... wait.

CALLER (OS)

The game's over. You lost.

PETER:

It's me you want. Not her.

CALLER (OS)

No. As usual you're wrong. It is her

I want. Killing you would be easy.

Living with the consequences of losing

will be much more of a defeat.

Peter HEARS a faint RATTLING SOUND in the background.

112

PETER:

That wouldn't be very sporting.

Remember Huxley? "His play is always

fair and just."

CALLER (OS)

You're groping. I have been fair.

It's my move now.

PETER:

I'll give you anything you want.

Anything! Please!

CALLER (OS)

Don't beg, Peter. She has to die. I

can't win unless she dies.

Peter hears the SOUND again.

CALLER (OS)

I was thinking about leaving the phone

line open so you could hear her die --

but I've decided it's better if you

don't know exactly when I kill her.

Good-bye Peter.

PETER:

No! Wait!!

The line goes dead. Peter's mind races.

PETER:

A few seconds! Where could he have

gone in a few seconds? Think! Think,

Goddamit!

He looks towards the window.

PETER'S POV: of the wind blowing through the trees outside.

Peter's face floods with realization.

PETER:

Steam pipes!

Peter dials a THREE DIGIT number on the phone.

INT. HOTEL BASEMENT - NIGHT

The MAN wearing a black rain-coat walks across the room towards

an alcove. The door to the alcove is OPEN and we see Erica who

is tied to a chair and gagged. WATER FLOODS in through cracks

in the foundation flooding the room.

113

THE PHONE RINGS. He stops, startled by the sound, his head

snapping towards the phone. The MAN is stunned. His mind

races. He thinks for a moment. He walks back to the phone and

slowly lifts the receiver.

PETER (OS)

I know where you are.

CALLER:

Very good. How did you know?

PETER (VO)

The pipes.

The MAN looks at the PIPES. They RATTLE. The realization of

his mistake dawns on him.

CALLER:

Excellent. It doesn't matter. You

still lose. She'll still be dead

before you can get down here.

The MAN slams down the receiver. CLICK! The blade snaps out of

the STILETTO. He walks quickly back towards the alcove, the

KNIFE clutched tightly in his hand. He stops for a moment at

the door, as he prepares for the act ahead.

Erica stares at him as he approaches with wide-eyed terror!

The MAN moves towards her then stops, sensing something is

wrong.

The door slowly CLOSES revealing Peter standing behind it,

Frank's gun aimed at him in one hand, the CORDLESS PHONE in the

other.

PETER:

(dryly)

Checkmate!

Peter turns on the LIGHTS. The MAN turns around. It is David,

the computer technician. He slowly brings the KNIFE to his

side, hiding it behind his leg.

CALLER:

How'd you know I wouldn't be in the

same room with her?

PETER:

You told me. When you called you said

she was in the other room. Drop the

knife.

The Caller shrugs his shoulder, then drops it. They stare at

each other. David takes a little step closer.

114

PETER:

Computers. That's how you got into

Homesearchers records. You can get

into anything. But why? Why?

DAVID:

You still haven't figured it out, have

you? You think that I've put you

through an ordeal. My scars run so

much deeper than yours.

PETER:

What scars?

DAVID:

(moving closer)

The scars on your chest. From where I

stabbed you with my fountain pen.

Shock pours over Peter's face as his mind drifts back to a

tournament twenty years ago.

PETER:

We were only children.

David lunges at Peter. Peter raises the gun. Too late! David

is too close. He pushes Peter's hand away. They struggle over

the gun.

INT. PETER'S HOTEL ROOM - NIGHT

Kathy enters and starts to move down the hall.

KATHY:

Erica!

EXT. HOTEL GROUNDS - NIGHT

Kathy runs outside.

INT. HOTEL BASEMENT - NIGHT

The struggle continues. David butts his head into Peter's

nose, then slams him into the wall again. THE GUN FIRES into

the air. At the same moment a CLAP OF THUNDER BOOMS overhead.

EXT. HOTEL GROUNDS - NIGHT

Kathy does not HEAR the SHOT. In the b.g. we see Frank running

towards her.

115

INT. HOTEL BASEMENT - NIGHT

David repeatedly smashes Peter's hand into the wall. THE GUN

FIRES INTO THE AIR SEVERAL TIMES. A bullet hits an over head

PIPE. STEAM FLOODS the room.

EXT. HOTEL GROUNDS - NIGHT

Frank hears the shots and runs towards the SOUND.

INT. HOTEL BASEMENT - NIGHT

David smashes Peter's hand into the wall until the gun falls to

the ground, disappearing under the water. He grabs Peter,

lifting him into the air, displaying brute strength, his rage

is unleashed. He slams Peter's back into the wall, knocking

the wind out of him.

INT. HOTEL UTILITY CORRIDOR - NIGHT

Frank races through the hallway.

INT. HOTEL BASEMENT - NIGHT

The fight continues. STEAM SWIRLS through the room. David

slams his elbow into Peter's face. Blood pours out of Peter's

nose. David raises his knee, kicking Peter in the stomach.

Peter doubles over. David picks up a lamp off the desk and

smashes it over Peter's head. Peter drops to the ground.

David picks up his knife and walks over to Peter, then lifts

his head out of the water.

DAVID:

They took everything from me -- because

of you -- and now I'm going to take

everything from you.

David opens the door to the alcove, then walks back to Peter.

He bends down and presses the BLADE to Peter's neck. For a

moment we sense he is going to kill Peter, then, he grabs him

by the hair, lifting his head up so he can see.

PETER'S POV: Erica is sitting in the alcove, tied to the

chair.

Peter is only semi-conscious. David starts to leave. David is

just about at the alcove door when Frank enters the room, his

weapon drawn. Then looks at Peter, then David.

116

DAVID:

(moving towards Frank)

Thank God you're here. I heard Erica

scream and came in to see what was

going on. Mister Sanderson was going

to stab her.

(holds up the knife)

With this.

Frank looks at the knife.

FRANK'S POV: There is a DEEP CUT on David's wrist, exactly

like Peter's.

Frank's face registers the cut. David notes it. Before Frank

can even look at him, David thrusts the blade into his stomach.

The force drives Frank back against the wall. His gun drops

from his hand as Frank slides to the floor.

Peter tries to grab David's leg as he heads towards the alcove.

Frank pulls up his pant leg revealing his backup gun. He tries

to reach for it.

INT. HOTEL BASEMENT, ALCOVE - NIGHT

David enters the room. Through the STEAM he sees Kathy trying

to untie Erica. David stares at them, his lips spread into

maniacal grin. The OVERHEAD LIGHTS FLASH on and off

intermittently.

KATHY:

This isn't going to help, David.

You're mother's dead. You can't undo

it.

DAVID:

You don't understand.

KATHY:

Yes, I do. I found your file. I know

what happened.

DAVID:

They took away the game because of him.

My father left and my mother... There

was so much blood... It covered

everything.

KATHY:

I know, but this isn't going to bring

her back.

117

DAVID:

Don't you see? I had to make it right.

I ignored my mother's crossing. I sat

with them all. I held their hands. I

stroked their hair. I was with them to

the end. I took away the blood. I

washed them. Their crossing was

peaceful.

KATHY:

I think your mother knows that now.

Why don't you put the knife down. Put

it down, David.

For a moment it appears he is thinking about it. He lowers the

blade, but his need to kill is to strong. He raises it again.

DAVID:

She has to die!

His face tenses. He lunges towards Erica.

BANG! A shot tears through his chest. The impact blows him

off his feet. He falls back into the murky water and

disappears.

Peter stands in the doorway, straining to stay conscious,

Frank's GUN aimed at David.

Kathy quickly finishes untying Erica. They run to the corner

of the room. Kathy holds her close.

Peter slowly staggers forward. He probes the water with his

feet, checking for David's body. The MURKY WATER, THE STEAM

and the BLINKING LIGHTS don't make it easy. Peter leans over,

pointing the gun at the ground.

PETER'S POV: The MURKY WATER. Suddenly, a HAND streaks out of

the water.

The hand grabs Peter around the neck. David stands up quickly.

They struggle over the gun. They both fall backwards into the

water. Peter surfaces and crawls backwards. David stands up.

They locks eyes. Peter stares back with a deadly calmness.

PETER:

The game's over, asshole!

David starts to lunge for him. Peter empties the GUN into him.

His body jerks backwards violently, smashing into the wall,

then he slides down and dies, slowly disappearing under the

surface of the water.

118

EXT. HOTEL GROUNDS - LATER - NIGHT

BLACK and WHITE UNITS fill the area, their RED LIGHTS FLASHING.

UNIFORMED OFFICERS hold back the CROWD of on-lookers.

Peter sits off to the side. He looks worn to the point of

exhaustion. A PARAMEDIC attends to the wounds on his face.

Erica sits beside him, clinging to his arm. TWO MEN carry a

STRETCHER, the body on it is covered. Peter stares at it

blankly as it passes.

Kathy is standing at the rear of an AMBULANCE. The doors close

and it drives off. She walks over to Peter and Erica.

KATHY:

Frank's going to be alright. They

don't think any major arteries were

severed.

The information doesn't seem to register with Peter. He

continues to stare ahead blankly.

KATHY:

Peter, you beat him.

He slowly looks over at her, but says nothing.

KATHY:

You beat him.

PETER:

I got lucky.

KATHY:

There's a girl in the hospital who is

going to live because of you. You made

a difference.

Peter just continues to stare at her.

KATHY:

Peter, I'm sorry I doubted you, but--

Peter reaches forwards and places his fingers on her lips.

PETER:

It's over now.

KATHY:

I just wanted you to know in case you

thought about it in the future.

PETER:

Do we have a future?

119

A beat. Kathy leans in a kisses him. Erica smiles.

INT. AUDITORIUM - DAY

Yurilivich is at his seat. The seat across the board from him

is vacant. THE AUDIENCE waits, silently. THE PRESIDENT:

Checks his watch, then gets up to address the crowd. We HEAR

the SOUND of DOORS opening.

CHESSBOARD CLOCK: It TICKS methodically.

CLOSE ON YURILIVICH'S HAND: his fingers taps on the table.

KATHY AND ERICA:
in the audience. Kathy checks her watch.

She is anxious.

Peter enters and limps towards the stage. Slowly he climbs the

steps, then sits down across from Yurilivich. He looks out

into the audience.

Kathy smiles. Erica nods to him.

CLOSE ON PETER:
He looks at the board and makes a move, then

hits his timer. Slowly he looks up at Yurilivich. A huge

smile covers his face.

FREEZE FRAME:

FADE TO BLACK:

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Brad Mirman

Born June 28, 1953 in Hollywood, California. Went to Beverly Hills High school. First big break came with the sale of a spec script "Partners in Crime" to Paramount in 1989 after a bidding war. He Lived in Paris from 1999 to 2005 and currently resides in Paris and Los Angeles. Married to Delphine Wilhelem in 1996. more…

All Brad Mirman scripts | Brad Mirman Books

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"Knight Moves" Scripts.com. STANDS4 LLC, 2017. Web. 13 Dec. 2017. <http://www.scripts.com/script/knight_moves_1018>.

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