Knight Moves
- R
- Year:
- 1992
- 116 min
- 438 Views
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 sh*t 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 SHOTThe 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 onthe 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 turnsaround 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 sh*t.
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 f***in'
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 sh*t.
You want to b*tch 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 athome.
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.
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 havebeen 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 sh*t!
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
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)
F*** 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, shesees 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 sh*t.
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 f***in' 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
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;
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-TOPTENNIS 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."
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 sh*t, but
to a male Raccoon it smells just like
p*ssy. 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 f***er.
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 theKiller'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:
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:
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 ofFLASHES.
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 f*** 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:
F*** 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,
f***in' 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 sh*t 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. Hisface 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 f***!
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 LARGEMIRROR. 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 upat 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 lifelessbody 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.
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 thechair.
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, exactlylike 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 ofthe 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, a**hole!
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, thenhits his timer. Slowly he looks up at Yurilivich. A huge
smile covers his face.
FREEZE FRAME:
FADE TO BLACK:
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"Knight Moves" Scripts.com. STANDS4 LLC, 2024. Web. 22 Dec. 2024. <https://www.scripts.com/script/knight_moves_1018>.
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