KNIGHT MOVES by Brad Mirman PROPERTY OF KNIGHT MOVES PRODUCTIONS (third draft) ________________________________________________________________________ 1 FADE IN: INT. AUDITORIUM - 1972 - DAY TWO BOYS sit on opposite sides of a chessboard. One is NINE, the other FOURTEEN. The room is SILENT, the tension between the two young players severe. All the ADULT PLAYERS that have been eliminated from this match by the two boys stand around watching. On the wall is a BANNER that reads: 1972 WASHINGTON STATE TOURNAMENT. The FOURTEEN year old moves and hits his TIMER. Frustration fills the NINE year old's face. He moves. The FOURTEEN year old moves and calls CHECK. The NINE year old frantically searches the board for a solution. He moves. Again the FOURTEEN year old moves and calls CHECK. The NINE year is stunned. He picks up his KING to lay it on it's side and signal defeat. Suddenly, he rakes the pieces off the board, grabs his fountain pen and lunges at the FOURTEEN year old, stabbing him repeatedly in the chest. They fall to the floor. The ADULTS try to pull them apart. The NINE year old struggles ferociously, SCREAMING and kicking like a mad man. INT. HOSPITAL WARD - 1972 - DUSK In the b.g. we see the Nine year old Boy sleeping. A DOCTOR and the boy's FATHER, a hard-looking MAN in his forties, walk through the door. We MOVE with them down the hall. DOCTOR The pressures and demands players with your son's abilities put on themselves to win are incredible. The stress and tension are difficult enough for adults to handle, yet alone a nine year old. FATHER I can't afford to keep him in here forever, you know. DOCTOR I'd just like to keep him here over night, then start sessions with a child psychologist. FATHER I knew this would happen. This is his mother's doing. She's not strict enough with him. I work all day. She lays in bed drunk and the boy does whatever he wants. 2 DOCTOR After he's released it's crucial that he's supervised. The most important thing is that during his treatment he's not allowed anywhere near a chessboard. EXT. HOUSE, BACKYARD - 1972 - DUSK A small, tract home. The Boy sits on the ground, drawing in the dirt with a stick. He does not notice as his Father walks up and stands behind him. FATHER What are you doing? The Boy is startled. He stands up quickly. In the DIRT we see he has drawn a CHESSBOARD. BOY Nothing. The Father SLAPS him across the face. FATHER Don't lie to me! What did the doctor's tell you about playing chess! Get in the house! The Father drags his foot across the dirt, erasing the board. INT. BEDROOM - 1972 - NIGHT The Boy is sitting on his bed. In the b.g. we HEAR the VOICES of his PARENTS. FATHER (OS) I've had it! I've got a drunk for a wife and a lunatic for a son. I don't need this shit anymore! We HEAR FOOTSTEPS. FATHER (OS) You're crazy! Both of you. We HEAR a DOOR SLAM. The Boy shows no sign of emotion. 3 INT. HALLWAY BLACK SCREEN - NIGHT All is quiet except for a faint DRIPPING SOUND. A door is slowly opened. Light streaks out into a hallway. We see the NINE year old. He is barefoot and wearing pajamas. He looks up. Drops of BLOOD drip from a crack in the ceiling above. The Boy moves towards a staircase at the end of the hall. INT. BEDROOM - 1972 - NIGHT The Boy enters, takes a few steps into the room and stops. He stares ahead blankly. HIS POV: WOMAN'S ARM - CLOSE SHOT The arm hangs off the bed, blood flows out of a deep gash in her wrist and pools on the floor. The CAMERA moves up the arm. A WOMAN in her forties lays in bed. The blood flows from her other wrist, soaking into the mattress. Her eyes are closed, head titled away from him. The Boy shows no sign of emotion. He walks over to the nightstand and starts to open her purse. There is a MOAN from the WOMAN as she opens her eyes and turns her head toward the boy. They lock eyes for a moment, then slowly, her eyes close. The boy removes a key from the purse and walks to a dresser. He unlocks a drawer and removes a box, then leaves the room. INT. KITCHEN - 1972 - NIGHT The Boy walks over to the table with a glass of MILK and COOKIES. He sits down, his feet dangling from the chair and opens the box. Inside is a CHESSBOARD and PIECES. He removes them, sets up the board and starts to play. CLOSE ON CHESSBOARD: The CAMERA moves from one side of the board to the other, weaving through the chess pieces, then PULLS BACK over the heads of the AUDIENCE. INT. AUDITORIUM - PRESENT DAY - NIGHT >From the rear of the room, over the HEADS of the AUDIENCE, we see THREE TABLES on stage. A large board of the game is presented on the wall behind each table. CLOSE SHOT - PLAYER'S EYES: We cut back and forth. Deep, probing eyes, intensely focused and determined. CLOSE ON THE CLOCK: It ticks methodically, and is the only sound we hear. 4 THE AUDIENCE: watches with anticipation, their eyes locked on the viewing board. PETER SANDERSON sits on one side of the board. He is a handsome man, in his early thirties. Well-dressed in an expensive suit, there is an air of confidence about him. Peter makes a move, then hits the timer. Peter's opponent, GRANDMASTER LUTZ, a quirky-looking little man in his fifties makes a tentative move. JEREMY EDMONDS, Peter's trainer, a distinguished-looking man in his fifties, watches from his WHEELCHAIR. He grins and nods his head, knowing that Peter has got the game. Lutz studies the board, makes a move, then hits his timer. Peter moves, then hits his timer. He is in control. Frustration shows on Lutz's face. He surveys the board, then slowly reaches over and lifts up his KING and lays it on it's side signaling defeat. Peter stands, shakes his hand, waves to the crowd, then leaves the stage. INT. HALLWAY - NIGHT A NEWSCASTER is positioned by the stage door. NEWSCASTER Today concludes the second week of competition in this round-robin candidates tournament. Each of the players will play four games against the other and the winner will earn the right to play for the world title next year. Peter walks through the doorway and down the hall, accepting congratulations. Jeremy wheels himself along side of him. NEWSCASTER But the big story is the amazing comeback of Peter Sanderson who is currently leading the tournament. America's best hope since Bobby Fischer, Sanderson stunned the chess world three years ago when he walked out in the middle of last candidates tournament while leading by three games and forfeited the match to Viktor Yurilivich who is only two games behind Sanderson in this match. 5 Peter stops to sign a few autographs. A young attractive WOMAN in her twenties walks over to Peter. She is wearing a CHESS FEDERATION BLAZER and a NAME TAG identifying her as DEBI RUTLEGE. DEBI Mister Sanderson, here is your schedule for tomorrow. Peter takes it. They lock eyes. She smiles at him. A REPORTER sticks a MICROPHONE in Peter's face. REPORTER Peter, could we have a moment please? The moment is broken, as ERICA SANDERSON, Peter's daughter, a bright-faced ten year rushes up to him and hugs him. ERICA Congratulations, dad. PETER (to the press) My cheering section. INT. PETER'S HOTEL ROOM - NIGHT Peter sits across a CHESSBOARD from Jeremy, who has just finished making an opening move. PETER You opened with the English. Lutz won't use it. He opened his first game with it. JEREMY He knows you're aware of that. PETER Then I'll transpose. JEREMY On a variation, yes -- but it must be a variation that is unique. PETER I suppose you have something in mind? Peter gets up and begins to pace. 6 JEREMY (quickly moving the pieces) At this point you'll move Bishop to e4. He'll capture your Knight e6. Rook to b5, begins his counterplay. D6 takes your Rook, your advantage is lost -- but watch -- Queen f5 check. He takes your Knight -- Now, Rook to d3 -- he's finished. There is a KNOCK on the door and a MESSAGE is slipped under. Peter picks it up. PETER It's a good play, but risky. JEREMY You don't win by playing it safe, Peter. Peter opens the MESSAGE and reads it. Erica appears in the doorway to her room. PETER What are you doing up? ERICA I can't sleep. My beds lumpy. PETER I see. You forgot to bring you're night-light, didn't you? ERICA That has nothing to do with it. PETER You want to sleep in my bed tonight? ERICA Okay. JEREMY I'll tuck you in. Erica kisses Peter, then runs into his room. Jeremy wheels after her. PETER Jeremy, have someone pick up a night- light tomorrow. Jeremy nods and leaves the room. Peter picks up the phone and dials. 7 PETER (into phone) Debi..? INT. DEBI'S APARTMENT, BEDROOM - NIGHT Peter and Debi move passionately on the bed, their bodies moving rhythmically. Peter pulls her up to a sitting position, guiding her up and down as he runs his lips sensually over her breasts. She arches her back, MOANING softly as she gives way to her pleasure. EXT. DEBI'S HALLWAY - NIGHT Peter kisses Debi goodbye. He walks off and she closes the door. INT. DEBI'S BATHROOM - LATER - NIGHT Debi is soaking in the bath. The DOORBELL RINGS. INT. DEBI'S LIVING ROOM - NIGHT Debi slips on a ROBE as she walks to the door. DEBI Yes? MAN'S VOICE (static; barely audible) It's me. I forgot something. She smiles and pushes the button, then opens the door, leaving it ajar, and walks out of the room. INT. DEBI'S BATHROOM - NIGHT Debi quickly fixes her face, grins and leaves. INT. DEBI'S LIVING ROOM - NIGHT It is dark. She enters and tries the light switch. It doesn't work. DEBI Very funny. 8 CLOSE ON DEBI: She senses something is very wrong. She turns around slowly, her eyes squinting to see through the darkness. Suddenly, terror fills her face as a FLASH of BRIGHT LIGHT fills the screen. EXT. FERRY LANDING - MORNING Quaint and charming. Boats bob lazily in the water. TOURISTS walk along the waterfront shops. ANDY WAGNER, a tough-looking cop in his twenties, smokes a cigarette as he waits on the dock. CHIEF OF POLICE, FRANK SEDMAN, walks towards him. He's a large, slightly over-weight man in his forties. He takes one last drag of a cigar, then crushes it out on the dock. ANDY Sorry to ruin your trip to the city, but we got a real nut on our hands, Frank. FRANK (all business) Run it down. Frank starts to walk. Andy follows. ANDY (looking at note-pad) Debi Rutlege. Female. Caucasian. Twenty four. Worked over at the Four Oaks Hotel. FRANK Local? ANDY No. She just moved here last month from Portland. EXT. DEBI'S APARTMENT BUILDING - MORNING Several BLACK and WHITE units are in front of the building. Uniformed OFFICERS keep back a CROWD of onlookers. A CAR drives up and stops in front of the building. Frank and Andy get out. INT. DEBI'S LIVING ROOM - MORNING The room is filled with FORENSIC TEAM MEMBERS along with UNIFORM OFFICERS. Frank enters with Andy. UNIFORMED OFFICERS are standing around talking. 9 FRANK This isn't a party. Everybody that doesn't need to be here get out! INT. DEBI'S BEDROOM - MORNING Frank enters the room with Andy. He stops and stares at the sight before him. Debi Rutlege is laying on her bed. Her face is a deathly white and has been painted awkwardly with rouge and lipstick giving her a macabre appearance. She is draped in the sheet which is tucked tightly around her body, her hands folded carefully across her chest. Above the bed written in blood is REMEMBER. FRANK I moved out here from the city so I could get away from this kind of shit. STEVE NOLAN, from the forensic team, who has been kneeling on the other side of the bed stands up. FRANK Whaddaya got, Nolan? NOLAN (continuing; holding up a plastic bag) Not much. There's no sign of a break in. I think she let him in. FRANK How long has she been dead? NOLAN Six, eight hours tops. FRANK Any sign of rape? NOLAN Not that I can see. We'll know more once I get the lab reports back from Seattle. ANDY What she die of? Nolan turns over her arms. There are deep gashes in each wrist. 10 ANDY You think whoever did this wanted it to look like it was a suicide? NOLAN No. He would have taken more care not to the leave rope burns on her wrists. The way I got it figured is he tied her up, slit her wrists, then sat back and watched her bleed to death. But that's not the main thing. What's wrong with this picture? A beat. Suddenly, Frank sees it. FRANK There's no blood. Where's the fuckin' blood? NOLAN Bingo. EXT. DEBI'S APARTMENT, COURTYARD - MORNING Frank and Andy walks across the yard. FRANK Who found her? Andy points to MISS GREENWELL, a middle-aged woman talking to a UNIFORMED OFFICER in the b.g. ANDY The landlady. Alice Greenwell. She came for the rent check. The door was ajar. Frank walks over to Miss Greenwell. FRANK Miss Greenwell, I'm Captain Sedman. Did Miss Rutlege have a boyfriend? MISS GREENWELL I guess so. FRANK What do you mean, you guess so? MISS GREENWELL I know she had company last night. (confidentially) A man. 11 FRANK How do you know that? WOMAN Well, her bedroom is on the other side of mine. The walls are very thin. I could hear them. ANDY What were they doing? Humping? MISS GREENWELL They were having sex, yes-- Andy grins. MISS GREENWELL -- not that I was intentionally listening -- but with the walls being so thin-- FRANK I understand. Thank you. INT. POLICE STATION - AFTERNOON Frank and Andy stand before several UNIFORMED OFFICERS. FRANK First of all, I'd like to say that a lot of us haven't got to know each other since I replaced Captain Waters last month. A lot of you think that I'm an outsider who came over and took away a job that should have gone to a local... but that's the way it worked out. So, all I can say is tough shit. You want to bitch about it, that's fine -- but you will tow the line in my department. That means the next time an Officer is responding to a homicide call he seals off the crime scene and nobody -- nobody but but Detective Wagner and I go in. (Beat) Also, if anyone talks about the message on the wall or the blood I'll personally cut their balls off with a butter knife. (to Andy) Get 'em going - then meet me at the car. We're going over to the hotel. Frank heads to the door. 12 ANDY Campbell, you check with the FBI see if they got anything like this on file... INT. POLICE STATION, HALLWAY - AFTERNOON Frank steps into the hall and bumps into Nolan. They walk together. FRANK Anything? NOLAN Not much. I don't think she was raped. There's no bruising, or any signs of trauma to the pelvic region -- and no trace of sperm which makes sense because she took a bath. FRANK What about prints? NOLAN No prints. FRANK You mean, no prints but hers? NOLAN No Frank. No prints. INT. PETER'S LIVING ROOM - AFTERNOON Peter is sitting at a chessboard with Jeremy. Peter studies the board. There is a KNOCK on the door. Peter gets up and opens the door. Frank and Andy are outside. FRANK Mister Sanderson? I'm Frank Sedman, Bainbridge P.D. and this is Detective Wagner. We'd like to ask you a few questions about Debi Rutlege. Peter opens the door and they enter. FRANK I know you're busy so I'll get right to it. Did you know her? PETER Only in passing. To say hello to. 13 ANDY I've talked to a few people who say you and her were... friendly? PETER Chess tournaments can be boring sometimes. People have a lot of free time. They like to gossip. FRANK Could you tell me where you were last night? PETER Here. I played Gregory Lutz. FRANK I know. You won two games against him and left the auditorium at eight forty five. Where did you go after that? PETER To my room and then I went for a walk. ANDY By yourself? PETER Yes. Frank takes out a piece of paper from his jacket pocket. FRANK This is a printout from the hotel computer for all the messages logged to your room. Here's one at 9:04 pm. It says: From Debi. Please call me at home. PETER She called to give me my schedule for tomorrow. FRANK What's interesting about it is you say you only knew her in passing. Yet, she says on her message for you to call her at home and she doesn't leave a number. That would imply you already knew the number. PETER I got it from the tournament directory. Frank takes out a small book. 14 FRANK There's no Debi Rutlege listed in the directory. Peter's irritation starts to show. He opens a dresser drawer and removes a small book. PETER You're looking in the general directory. The player's directory lists everyone connected to the tournament. A beat. Frank and Peter have reached a stalemate. ANDY We seem to have a little problem here? PETER What kind of problem? ANDY I think you're lying. That's what kind of problem. PETER What are you saying? FRANK We're not saying anything right now. We're just trying to put a few pieces together. Frank and Andy leave. Peter turns and stares at Jeremy. EXT. HOTEL GROUNDS - AFTERNOON Frank and Andy walk along the grounds, heading back towards the main hotel. ANDY What do you think? FRANK He's got an answer for everything, but he doesn't have an alibi. ANDY You think he's dirty? FRANK I don't know, but I think you're right. He's lying. 15 INT. AUDITORIUM - AFTERNOON On the stage is three tables each flanked by two chairs. Several CHESS OFFICIALS along with the PRESIDENT of the CHESS FEDERATION attend to the GRANDMASTERS at their respective boards. Peter sits in a chair and swivels back and forth. PETER I want another chair. This one killed me yesterday. (points to big board) Also, the pieces on the board move too slowly. I can see them out of the corner of my eye. Can they be sped up? PRESIDENT David? DAVID WILLERMAN, a computer technician sits at a computer off to the side of the stage. DAVID No problem. It's just a matter of adjusting the response time. He taps in a few commands on the keyboard. We see a piece quickly move across the board. DAVID That should do it. Grandmaster Lutz walks over and stands by the board. GRANDMASTER LUTZ You're acting like a superstitious schoolboy, Peter. What's next? Incense and rosary beads? PRESIDENT (points to a chair) Grandmaster Lutz, you'll be sitting here for your next match. GRANDMASTER LUTZ Oh no -- no, I can't sit there. I must be facing North. My power comes from the North. Peter smiles and starts to walk off stage. VIKTOR YURILIVICH, a tall, slender man in his forties, walks on stage. The two men stand face to face, their eyes locked on each other. 16 YURILIVICH Hello, Peter. You played an interesting game last night. Even though sacrificing your Queen at b-5 is the game I played against Valsney in '82. I'm glad it helped you. PETER I'm sure you are. YURILIVICH No, I want you to do good. That way when I beat you at the end I'll look that much better. PETER You're getting sloppy, Yurilivich. You're nervous? YURILIVICH I'm not nervous. PETER Well, you should be, because this time I'm going to win. YURILIVICH Well, then this time you'll have to stay for the whole match, won't you? EXT. HOTEL TERRACE - AFTERNOON Peter sits at a table across from Erica. They play a game of checkers as they eat their ice cream. Peter is grinning. PETER Who told you that? ERICA Mrs. Lutz. She also told me that Mr. Lutz goes to a medium to try and contact great Grandmasters in the spirit world. PETER Has he gotten through to any? ERICA No, but he did contact a dead parcheesi champion from Ohio. They both LAUGH. A WAITER comes over with a CORDLESS PHONE. 17 WAITER There's a call for you Mister Sanderson. PETER (into phone) Hello? The "CALLERS" VOICE we HEAR is FILTERED through some type of electronic devise that alters the voice. It is low, resonant, with a macabre quality to it. CALLER (OS) Hello, Peter. PETER Who is this? CALLER (OS) Someone who's going to become an important part of your life. (Beat) I want to play a game with you. PETER I haven't got time for this. Peter starts to hang up, when... CALLER (OS) You had time for Debi. Peter freezes. CALLER (OS) Don't worry, I wiped off all your prints. Peter slowly lowers the phone back on the cradle. He is visibly shaken. ERICA What is it, dad? PETER Nothing. INT. LOBBY - AFTERNOON As Peter walks across the room the DESK CLERK calls out to him. DESK CLERK Mister Sanderson, there's message for you. 18 Peter walks over to the desk. The Clerk hands him an envelope. Peters walks away and starts to open it. CLOSE SHOT: The back of a POLAROID PHOTOGRAPH. Letters have been clipped out of a magazine and spell out a message: THE GAME HAS BEGUN. WILL CALL AGAIN TOMORROW AT ELEVEN. The photograph is turned over. It is a shot of DEBI RUTLEGE exactly as the police found her. The word REMEMBER written on the wall. Peter slides the picture back into the envelope, thinks for a moment, then looks at the DESK CLERK. PETER Get me the police. INT. PETER'S ROOM - AFTERNOON Peter is with Frank and Andy. FRANK Why didn't you tell us you were there earlier? PETER I don't know. I was afraid there'd be hours of questions. I can't afford to miss a game. ANDY We wouldn't want someone's death to interfere with your games. FRANK What was your relationship with her? PETER Casual. ANDY Casual? You were boning her weren't you? PETER It wasn't serious. What's your problem? ANDY You are! I don't like you. PETER Fine, don't ask me out on a date. 19 ANDY Don't worry I won't. I've seen how your dates end up. Peter takes a step towards Andy. They both square off. FRANK Take it easy. Both of you. ANDY I'm sorry, this is just too convenient. PETER What's that supposed to mean? ANDY It means, if I were a killer and I thought the police were closing in on me I might invent someone to try and put them off the scent. PETER That's crazy! Why would I draw attention to myself like that? ANDY You like to play games, don't you, Peter? PETER He says on the photo he'll call tomorrow at eleven. Why not come back then and listen for yourself. ANDY Oh, we'll be back. You can bet on it. INT. AUDITORIUM - AFTERNOON Peter sits across from GRANDMASTER LUTZ. He looks over a few tables and stares at Yurilivich. Meanwhile, Lutz takes out a compass. He checks his reading then starts shifting the board slightly. Peter looks at him. LUTZ Do you mind? Peter shrugs his shoulders indicating he doesn't. The President walks over to Peter's table and starts his timer. Peter makes a move. 20 INT. BAINBRIDGE INSTITUTE - DUSK Frank and Andy sit at a table with DOCTOR ALAN FULTON. A tall, thin man in his fifties. Doctor Fulton studies the photographs, then looks up at Frank. DOCTOR FULTON You must understand that this is not my field? ANDY It ain't mine either but I can tell this guy's crazy. That's your business ain't it, doc? You deal with crazy people. DOCTOR FULTON I deal with people with problems... and there are all different types of problems. FRANK Doctor Fulton, we don't have a budget out here like Seattle. We can't afford to hire outside Psychological help. I'll take whatever you can give me. DOCTOR FULTON Well, he appears to be acting out some kind of fantasy. We're talking about a deeply disturbed person. ANDY No shit! FRANK Could someone this disturbed give the appearance of being normal? DOCTOR FULTON Absolutely. FRANK We've got a suspect but no hard evidence. If you met him do you think you could tell? DOCTOR FULTON Tell what? ANDY If he's crazy? 21 FRANK (askance at Andy) If he's... disturbed. DOCTOR FULTON It's possible, but not likely. There's only one opinion I can offer with any certainty. (Beat) He's going to kill again. INT. HOTEL GYM - NIGHT Peter is on the bench press straining to finish his set. Although he is clearly tired, it's a battle of will over muscle. Although his face is red, veins bugling, he does his three last presses, then replaces the bar. He sits up and buries his face in his towel. When he looks up he sees... KATHY SHEPPARD, a beautiful woman in her twenties is standing against the wall, her eyes on him. Peter smiles at her. She smiles back, then walks out of the room. Peter lays back down and starts another set. INT. STEAM ROOM - NIGHT Peter enters, a towel wrapped around his waist. He takes a few steps into the room, then stops when he sees Kathy through the steam. PETER Sorry. I thought it was empty. KATHY It's alright. Peter sits down a few feet from her. Steam swirls through the room. Kathy's eyes drift over to him. HER POV: Beads of sweat roll down his chest and stomach. Peter looks over at her, their eyes meet. She looks away. Peter closes his eyes and takes a few deep, meditative breaths. Kathy looks over at him again. As if sensing he is being watched Peter opens his eyes. A beat. Their eyes linger on each others. KATHY Is this your first time here? PETER Yes. 22 KATHY I love this hotel. I stay here every time I visit my parents. PETER How come you don't stay with them? KATHY Because I love them, but they drive me crazy. You know how parents are? PETER No. I don't. A beat. KATHY Are you with the tournament? PETER Uh huh. KATHY Are you one of the players? PETER Yes. KATHY I've always wanted to learn how to play chess. I don't have the patience for it. When did you start playing? PETER When I was very young. KATHY It seems like such a complicated game. PETER Not really. You see your goal and you go after it. Anything that gets in the way is an obstacle and must be destroyed. KATHY Sounds very violent. PETER Chess is a reflection of life. Life is violent. The strong win. The weak perish. 23 KATHY --but you enjoy being the stronger one? You like the control. PETER If you're asking me if I'm passionate about what I do, the answer is yes. Without passion, nothing moves us. What's your passion? KATHY That's a very personal question. PETER I see. This is going to be a very polite conversation. What shall we discuss? The weather? Movies? KATHY Are you disappointed that I won't answer you? PETER I had just hoped there would be more substance to the conversation. KATHY I thought opening too quickly was a fatal mistake in chess. PETER (grinning) It is. KATHY Do you always open quickly? PETER Are we talking about me, or chess? KATHY You. PETER Each circumstance requires a different tactic. KATHY Well, I hope you remember that tomorrow when you play Krikorian. Peter stares at Kathy for a moment. She's made a mistake and she knows it. She stands up. 24 KATHY Well, I think I've had enough. PETER Getting too hot in here for you? She feigns a smile and starts towards the door. Suddenly, his hand shoots out, grabbing her arm. She freezes. Peter stands up, his body trapping her between him and door, his lips almost touching her ear. PETER What are you looking for? KATHY Nothing. I just came in for a steam. PETER No you didn't. He spins her around. They are face to face. PETER What are you? A reporter? Just how far were you going to go? A beat. Peter lets her go and backs off. She opens the door and leaves. Peter smiles. EXT. HOTEL - NIGHT Kathy walks across the grounds. Frank catches up with her and walks along side. FRANK Well? KATHY Well what? I told you this was a stupid idea. You can't learn anything from someone in a few minutes. FRANK You didn't pick up any vibes from the guy? KATHY I'm a psychologist, Frank... not a psychic. What's this all about anyway? FRANK What did Dr. Fulton tell you? 25 KATHY Only that you wanted someone from the institute to talk to Sanderson for some case you're working on. What'd he do? FRANK We're not sure. KATHY What do you think he did? FRANK We think he could be a suspect in a murder investigation. Kathy stops dead in her tracks and stares at him. KATHY The girl that was killed last night? Frank's silence tells her she's right. She stares at him for a moment, then walks off. EXT. DOCTOR FULTON'S HOUSE - NIGHT Kathy is BANGING loudly on the front door. A moment later it is answered by Dr. Fulton. In the b.g a DINNER PARTY is going on. INT. DOCTOR FULTON'S STUDY - NIGHT Dr. Fulton sits on the couch. Kathy paces the room. DOCTOR FULTON You might not have done it had you known. KATHY You're damn right! I'm a child psychologist and you send me into a room with someone who could be a murderer! DOCTOR FULTON Would you mind keeping your voice down? I have guests. KATHY Oh, well we wouldn't want to disturb your guests, would we? 26 DOCTOR FULTON The police came to me for help. What could I do? KATHY You could have been honest with me for starters. We work together. I have to be able to trust you. DOCTOR FULTON (checks his watch) I admit I handled it badly. Sanderson wasn't going to talk to me... but you're young, attractive-- KATHY --the same type as the girl who got killed. Jesus, Alan, the guy could be a psychopath. DOCTOR FULTON They asked who would be best suited for this and you-- KATHY Don't patronize me! You sent me into a potentially dangerous situation and didn't warn me! She walks to the door and opens it. DOCTOR FULTON It worked out alright, didn't it? KATHY (loudly) Fuck off! All the GUESTS are sitting at the dinner table, eating soup. They stare at Kathy. Fulton. KATHY (to the guests) That's what I would have said to the chef if I caught him shaving over the soup. She walks out. Slowly, several of the GUESTS lower the soup spoons and push their bowls away. 27 INT. OFFICE, LOBBY - NIGHT The LOBBY appears empty. One of the office doors opens and CHRISTIE EASTMAN, A young, attractive woman, comes out carrying a stack of files. She walks out of the lobby, LOCKING the door behind her. INT. ELEVATOR - NIGHT As the car descends, Christie looks through one of the files. She turns a page and the file falls to the floor. She bends down to pick it up. As she does the elevator stops and the doors open. A pair of black boots stand before her. She looks up to see a MAN in his fifties. He smiles and gets in. The doors close and the car starts down again. Christie stares at the floor indicator, somewhat unnerved by the man's presence. The car stops at the lobby and the man gets out. EXT. PARKING LOT - NIGHT Christie walks across the deserted parking lot towards her car. She HEARS a SOUND and stops and looks around. CHRISTIE'S POV: As her eyes scan the desolate parking lot, she sees nothing unusual. Christie starts to walk again. She arrives at her car, gets inside, then rolls down the window. INT. CAR - NIGHT Christie starts the car, then takes out a cigarette from her pocket and lights it. She takes a deep drag, then looks into... CLOSE ON REAR VIEW MIRROR: From the back seat we see TWO DARK EYES staring at her from behind a PORCELAIN MASK. She turns around. Her face filled with fear. FLASH! The screen is filled with BRIGHT LIGHT. EXT. BAINBRIDGE INSTITUTE - MORNING A car drives up the gravel path and stops in front of the entrance. Frank gets out and walks towards the door. 28 INT. OBSERVATION ROOM - MORNING Kathy is watching a young GIRL through a two-way mirror in the next room as she plays and interacts with dolls and toys. She makes a few notes, then the door opens and Frank walks in. KATHY I'm busy right now. FRANK It's important. Kathy goes through a door into the observation room. Through the mirror we see her kneel down next to the girl and smile. She says something to her as she points to a door leading out of the room. The girl gives her a big hug. A moment later we see Frank join her in the room. He says something and they start to argue. Kathy points towards the door. CLOSE ON COMPUTER MONITOR: A chess program. A piece is moved. The screen reads: CHECKMATE! YOU WIN. PULL BACK. INT. PETER'S HOTEL ROOM - MORNING Peter is at the computer. Jeremy sits beside him. Frank walks over to Andy who is with a TECHNICIAN setting up tracing equipment. TECHNICIAN We're all set. ANDY I still think this is a crock of shit. There's a KNOCK at the door. Andy opens it. Kathy enters. FRANK I'm glad you could make it. Peter looks at Frank, then Kathy with confusion. FRANK Mister Sanderson, this is Doctor Sheppard. She's a psychologist helping us out. PETER We've already met. Haven't we... Doctor. 29 KATHY (she smirks) I see you're still having problems with your openings. FRANK And this Jeremy-- KATHY --Edmonds. I know. You lost to Karpov in '82, didn't you? JEREMY Yes. However, that's not exactly how I prefer to be remembered. (Beat) Well, I'm going to get out of your way. Peter, I'll see you this afternoon. CLOSE ON ASHTRAY: A cigarette is snuffed out. PULL BACK. Andy finishes putting out his cigarette, then glances up at Peter who is pacing back and forth. Andy checks his watch. ANDY Eleven oh six. He looks at Peter with a grin. A beat as the two men stare at each other. The moment is broken as the PHONE RINGS LOUDLY. Peter's head snaps towards the phone. FRANK Remember, try to keep him on as long as you can. Don't confront him. Let him answer the questions I gave you. The Technician starts his tape machine and tracing equipment. Peter picks up his CORDLESS PHONE. PETER Hello? We HEAR the CALLER'S distorted VOICE. CALLER (OS) Hello, Peter. PETER (stalling) Just a second. (a beat, then) Hello? 30 CALLER (OS) Very amateurish, Peter. I'm surprised you would use such an obvious tactic. (there is anger in his voice) I'm not an idiot! Don't treat me as one! I'll call you everyday... You get one minute, whether you put me on hold or talk is up to you! Are you ready to play? PETER Yes. Why did you kill Debi Rutlege? CALLER (OS) To get your attention. PETER Did you know her? CALLER(OS) No, only the path she chose to travel. Peter is trying to keep the conversation moving. PETER And -- what path is that? CALLER (OS) We all have paths to follow. You hope yours will lead you to me. PETER Why did you write remember on the wall? CALLER (OS) That's something you'll have to figure out for yourself. Really, Peter, you can't expect me to answer such direct questions. PETER Why not? CALLER (OS) You don't want to think and that's why I'll win! I'm already two points ahead. PETER What? 31 CALLER (OS) I did another one last night. You might have saved her, but you didn't want to play. PETER Where is she? CALLER (OS) You'll find her. PETER If you got something to say to me, just come out and say it! Andy picks up the extension phone. ANDY Where is she you sonofabitch! There's a chuckle from the Caller. CALLER (OS) Ah... Detective Wagner. I'm sorry but you'll have to get off the line and go back to your tracing equipment. If I wanted to play the game with a moron I would have called you. Frank angrily motions Andy to get off. Andy hangs up. CALLER (OS) I suppose you want to know where I'm going to kill tonight, Peter? PETER You're not going to tell me that. CALLER (OS) "Wee Willie Winkie runs through the town. Upstairs and downstairs in his nightgown. Crawling through the window. At the end of Miss Emma's street. Her God has gone and left his home. So her and I can meet." The line goes dead. A beat. Everyone reflects on what they have just heard. FRANK (to Andy) Are you out of your fuckin' mind picking up the phone! 32 ANDY Sorry. FRANK (to Technician) Anything? TECHNICIAN Nothing. We'd have a better chance if we could tap in at the junction box. FRANK Thanks Mister Sanderson. (to Kathy and Andy) Let's go. PETER You want me to go with you? Maybe I can help. FRANK That's alright. We'll take it from here. EXT. HOTEL GROUNDS - MORNING Kathy, Frank and Andy leave Peter's room and walk back towards the hotel. ANDY You should be an actor, Frank. You looked like you were really mad. The veins popping out on your neck was a really nice touch. KATHY You weren't mad at him for picking up the phone? FRANK No. I told him to. I wanted to make sure there was someone on the other end. KATHY But we heard him. FRANK It could have been a tape. A prerecorded conversation between Sanderson and himself. 33 INT. POLICE CONFERENCE ROOM - AFTERNOON A room set up to deal with the murder. PHOTOGRAPHS are pinned to a cork board. Frank is at a table with Kathy, Andy and Nolan. On the chalkboard in the rhyme the Caller recited earlier. ANDY The F.B.I. has nothing remotely similar to this guy. I think he's a first- timer. FRANK Check with the State. If he's never killed outside of Washington the F.B.I. wouldn't have it. Nolan? NOLAN He tapes their mouths shut. We found traces of adhesive around the victims mouths. We're doing a chemical analysis for components, but it's probably a standard brand you can buy in any hardware store. FRANK There's only two hardware stores on the whole Island. We'll check that out. What about the blood? NOLAN Not a drop. Maybe the guy works for the Red Cross. Frank looks at Nolan askance. FRANK Kathy? KATHY Well, the fact that he views this as a game suggests that he is trying to prove some sense of superiority -- and the way he murders confirms a need to be in complete control of his victim. FRANK What about the way he arranged the body? 34 KATHY That would indicate he's playing out a fantasy. Power-control killers usually fantasize about their actions long before they commit them. Once they become a reality though, they reach a sense of euphoria and need to repeat the act to sustain it. But, in all the research I've read on Serial Killers, I've never heard of one moving so fast. It's as if the game is the catalyst for the murders -- not the other way around. FRANK Anything else? KATHY Yes. Why disguise your voice if no one knows it? FRANK I was thinking the same thing. He must be local. It's logical for him to assume that the police would be there, but he recognized Andy's voice and called him by name. (points to the rhyme) What about this? KATHY I would think it's some type of clue as to where he's going to kill next? ANDY Why does he call Sanderson? KATHY He's one of the best Chess players in the world. Who better to play a game with? FRANK (to Andy) You still having a problem with this? ANDY Yeah, I am. I think he's playing us. If I was a killer and the police were trying to make a case against me, what better why to draw them off than to put their attention on someone else? 35 KATHY Sending yourself anonymous notes in the mail is one thing -- but who called him today? ANDY I don't know. Maybe there's two of them. Maybe he hired some Wino to make the calls. KATHY Maybe you're reaching a bit? I think Sanderson should be in on this. There's a reason why the killer's calling him. A UNIFORMED OFFICER KNOCKS and enters. OFFICER Captain, we found her. EXT. WAREHOUSE - WIDE SHOT - AFTERNOON Several BLACK and WHITE UNITS are parked in the rear of the building. Frank and Andy walk up the loading dock steps in silence. INT. WAREHOUSE - AFTERNOON The body of CHRISTIE EASTMAN is laying on top of a large crate. Her body has been draped tightly with a sheet and her arms are folded across her chest. Her face is deathly white and has been made up with the same clumsy makeup. Written in blood on the wall behind her is: EVENTUALLY INT. STAGE WINGS - EVENING Peter paces back and forth waiting for the match to begin. Yurilivich is sitting in a chair, watching Peter with a grin. Peter turns around and almost bumps into Lutz who is wearing a ridiculous hat with sheets of aluminium foil sticking out. [LUTZ They're trying to control my thoughts. (points to the hat) Aluminium foil. It repels the thought rays.] Peter stares at him. In the b.g. Kathy enters, looks around, then walks over to Peter. 36 KATHY They couldn't break the riddle. PETER Did you think it was going to be easy? You think he was going to lay it out at your feet? KATHY We need your help. PETER I offered my help this morning and Sedman turned me down. KATHY But you're the key. The one he wants to play the game with. PETER I can't right now. I've got a game. KATHY She could be dead after the game. PETER She could be dead now. KATHY What if she isn't? Where are your priorities? You have to think between someone's life and a chess game? (raising her voice) The girl he killed last night was only twenty one years old! He dumped her body behind a warehouse like a sack of garbage! Everyone is now staring at Kathy and Peter who are staring at each other. In the b.g. The President appears. PRESIDENT Gentlemen... The GRANDMASTERS walk onto stage as Peter and Kathy continue to stare at each other. A beat. Peter starts to move towards the stage. Kathy takes a step after him. She takes a envelope from her jacket pocket and puts it into Peter's jacket pocket. KATHY These are for you. 37 INT. AUDITORIUM - NIGHT Peter sits across from GRANDMASTER KRIKORIAN. He makes a move, then hits his timer. On the BOARD behind him the move is duplicated. Krikorian studies the board. Peter is staring out over the AUDIENCE deep in thought. Krikorian makes a move and hits the timer. Peter continues to stare, unaware that it is his move. A beat. All eyes are on him. Peter turns around and stares at the big board, then walks over and makes a move. Krikorian studies his position. Peter reaches into his pocket for a cigarette. He removes the envelope Kathy gave him, then his cigarettes. A beat. He stares at the envelope, flicking his finger against it. Krikorian looks up annoyed. Peter opens the envelope. CLOSE ON PHOTOGRAPHS: We see several PHOTOGRAPHS of Christie Eastman before her death. Peter turns through them. Next, we see the grisly PHOTOS taken at the crime scene. He is a man struggling to make a decision. Krikorian makes a move. Peter does not react. He replaces the PHOTOS and stares at the envelope, then looks up at Krikorian who is watching him. A beat. Peter replaces the envelope in his pocket, then makes a move. INT. POLICE CONFERENCE ROOM - NIGHT Kathy sits with Frank and Andy. Coffee cups litter with table. The nursery rhyme is written on the BLACKBOARD and reads: WEE WILLIE WINKIE RUNS THROUGH THE STREET, UPSTAIRS AND DOWNSTAIRS IN HIS NIGHTGOWN; CRAWLING THROUGH THE WINDOW, AT THE END OF MISS EMMA'S STREET, HER GOD HAS GONE AND LEFT HIS HOME, SO HER AND I CAN MEET. FRANK "Her God has gone and left his home?" Everyone shakes there head indicating they don't understand the reference. KATHY Why these girls? How does he pick them? Frank points to a LARGE MAP of the CITY on the wall, with TWO RED PINS in different locations. 38 FRANK (pointing to the map) I don't think it matters. Last nights victim, Christie Eastman was found in a warehouse on the outskirts of town. The night before, Debi Rutlege was found in the center. KATHY Meaning? ANDY Meaning, it looks like his victims are chosen at random. PETER (OS) No. Peter is standing in the doorway. He enters the room. ANDY What do you mean, no? PETER He says it's a game. All games have a strategy. ANDY All you gotta do is look at the map. PETER His victims aren't random. It only means that they appear to be random. There's a connection, we just have to find it. Peter turns his attention to the blackboard. PETER What have you come up with on the riddle? FRANK "Wee Willie Winkie runs though the street." We think he might be making a reference to himself. PETER Maybe, but I don't think so. I think it's just a tease. FRANK Upstairs and downstairs in his night gown -- He could be saying the house he's picked is two stories. 39 EXT. HOUSE - NIGHT - KILLER'S POV As he approaches a TWO STORY house. The POV stops moving, as if to decide which way to go... then goes around the right side of the house. INT. POLICE CONFERENCE ROOM - NIGHT Peter, Kathy, Frank and Andy continue to unravel the message. KATHY (offering) "Crawling through the window"... We think that's how he's going to get in? EXT. SIDE OF HOUSE - KILLER'S POV - NIGHT A crowbar is placed under a window and pried up until the lock breaks. We see two GLOVED HANDS open the window. INT. POLICE CONFERENCE ROOM - NIGHT Peter has taken his jacket off and is pacing the room. Kathy, Frank and Andy stare at the board. PETER That's it? FRANK We think he might be making a reference to drugs? Miss Emma is a street term used by junkies for Morphine. PETER Could Emma be the name of the girl he's going to kill? ANDY We've checked. There's no one with the last name of Emma on the Island. FRANK Maybe he's going to drug her? KATHY He's killed both girls exactly the same way. It's almost ritualistic. Why would he change now? 40 PETER Morpheus. ANDY What? PETER Not what -- who. Morpheus. The Greek God of dreams. Look at the next line. "Her God has gone and left his home." KATHY His home would be... Mount Olympus. FRANK Call dispatch. Double the patrols. I want that area blanketed. Frank and Andy rush from the room. INT. LORAINE'S BEDROOM - NIGHT LORAINE OLSEN, a YOUNG, ATTRACTIVE GIRL in her twenties enters the room and walks over to the CLOSET as she takes off her jacket. She reaches for the DOORKNOB when the PHONE RINGS. She hesitates for a moment, deciding whether to open the door, but decides to answer the phone first. She walks over and picks it up. LORAINE Hello?... Oh hi Mom... No I just got in... No I haven't forgotten. Tomorrow, ten o'clock... Yes... Yes... Okay, I'll see you in the morning. Bye. She hangs up, walks back to the CLOSET and opens the door. INT. CLOSET - NIGHT is a large WALK-IN, the back filled with LONG HANGING DRESSES that almost reach the floor. Below them is a row of SHOES, neatly aligned on the floor. Loraine hangs up her jacket, takes off her shirt, then puts on a tee shirt. INT. LORAINE'S BATHROOM - NIGHT Loraine finishes brushing her teeth. She turns off the water, but we still HEAR a DRIPPING SOUND. She looks over at the bath tub with the SHOWER CURTAINS DRAWN. She opens the curtain and tightly turns the handle to stop the nozzle from leaking. 41 INT. LORAINE'S BEDROOM - NIGHT Loraine sits on the edge of her bed and peels herself out of her tight pants. INT. LORAINE'S CLOSET - NIGHT She enters the closet and hangs up her pants. As she does so we see: Among the row of shoes is a pair of BLACK HIGH-TOP TENNIS SHOES. Loraine starts to leave. The TENNIS SHOES move forward. CLOSE ON LORAINE: A GLOVED HAND reaches over and CLAMPS down tightly over her mouth, muffling her SCREAM as, INT. BEDROOM - NIGHT The CLOSET DOOR is SLAMMED SHUT. SILENCE. A FLASH of light fills the frame of the door. EXT. WATERFRONT - NIGHT Colorful SHOPS and RESTURANTS line the street. Peter grabs a HOT DOG from a VENDOR and takes a big bite, then looks at Kathy. PETER You sure you don't want to eat something? KATHY I don't think I could. They start to walk agin. PETER It's going to be a long night. It could take hours before we know something. You should try to eat. KATHY You sound like my mother. PETER It wasn't intentional. KATHY Does what's going on bother you at all? Or are you just wearing your game face? 42 PETER I think it's interesting. KATHY Another kind of game? PETER In a way. KATHY This isn't a game. PETER Oh, but it is. He's killing a person everyday and challenging us to catch him. That's a game. It has rules and objectives. KATHY How can you look at it so clinically? PETER Take your average cop. They deal with death everyday. If they let emotions get in the way it would cloud their judgement. KATHY That's true -- but the emotion is still there. They just learn to control it. PETER What about you? Aren't there times when a young child is telling you a story so sad you just want to cry? KATHY Of course. PETER Do you? KATHY (uncomfortable) Let's change the subject. PETER Okay. So, tell me about yourself. Are you married? Kathy stops. KATHY How did we get to that subject? 43 PETER I'm just curious. KATHY (uncomfortable) I think it's best if we don't ask too many personal questions -- I want to keep things on a professional level. PETER You mean like in the steam room? KATHY That's not fair! PETER Are you going to tell me you didn't feel something in there? Kathy is growing more uncomfortable by the moment. KATHY You're projecting your own desires and reading more into what happened than what actually did. PETER Very good. Spoken like a true psychologist. When confronted with the prospect of your own reality, hide behind quotations. What is that Masters and Johnson? The tension breaks. Kathy smiles. KATHY You have to win every point, don't you? PETER I just wanted to know if you're involved with anyone? (Beat) Let me ask you something? Do your colleagues know if you're involved or not? KATHY Of course. PETER Why? KATHY Because I work with them. 44 PETER Aren't you working with me? Kathy smiles again, amused by Peter's tactics. KATHY No. PETER You're not? KATHY No -- I'm not involved. (Beat) And I plan on keeping it that way. Kathy walks off, leaving Peter staring after her. INT. LORAINE'S KITCHEN - MORNING Kathy, Frank and Andy are in the room with Nolan. Nolan is on his knees at the base of a window. On the floor beside him is a RULER and a SHEET OF RUBBERIZED PAPER. NOLAN (proudly) This is where he forced his way in. We found some fibers on the windowsill, probably particles of clothing that rubbed off when he climbed through. I'll know more once I get it under the microscope. FRANK (not impressed) That's great. NOLAN Wait, I've saved the best for last. Andy, hit the lights, will you? Andy looks for the light switch. Kathy realizes she's standing in front of it and moves out of the way. Andy turns off the lights and the room goes dark. Nolan turns on a FLASHLIGHT and gets down on his knees, then SHINES the LIGHT at a LOW ANGLE across the floor. THE FLOOR - CLOSE SHOT: We can clearly see the impression of a SHOE PRINT. NOLAN It's a tennis shoe. Pretty old by the individual characteristics. About a size ten or eleven. This guy is big. 45 ANDY What's this? Andy points to a JAGGED LINE in the impression. NOLAN Don't know. Looks like a cut or a gash in the sole of the shoe. We'll blow it up back at the lab. INT. HALLWAY - MORNING Frank, Andy and Kathy follow Nolan towards the bedroom. Frank stops and taps Kathy on the shoulder. FRANK Before we go in I gotta tell you this isn't going to be pretty. KATHY I know that. I've seen the photo's. FRANK This ain't no photo. INT. LORAINE'S BEDROOM - MORNING Frank, Andy and Kathy enter the room. Loraine's body is laying on the bed, her appearance is like all the others. On the wall written in blood is: REVENGE. Kathy stares at the sight, horrified. She starts to gag and runs from the room. FRANK Same as the others? NOLAN Yeah. FRANK How long she been dead? NOLAN I'd say at least eighteen hours. FRANK That means she was dead before we even finished figuring out the message. 46 ANDY Or before Sanderson ever showed up to help us with the riddle. He figured it out pretty quick, didn't he? Maybe it's not to hard if you wrote it. INT. PETER'S HOTEL ROOM - MORNING Peter enters in his SWEATS to find Erica, Jeremy and David sitting around a computer. PETER Good morning. Erica runs over to him and gives him a kiss. PETER (to Jeremy) We got a problem? JEREMY Our computer went on the fritz again. David came up to fix it. PETER Is it serious? DAVID Naw, it's all fixed. I also loaded up a program that'll analyze your games three hundred percent faster. PETER Thanks. Peter walks over to the MONITOR. A COMPUTER GAME is on. PETER What's this? DAVID Oh, I put a few games on for your daughter. I hope you don't mind. PETER Of course not. [DAVID Well, I've got to go over Lutz's room now. He thinks someone has tapped into his computer and is monitoring his practice games.] David picks up his bag and starts to leave. 47 PETER Don't you have something you want to say to David? ERICA Thanks, David. DAVID Your welcome. David leaves. ERICA You ready? PETER For what? ERICA You told me you'd take me over to Seattle today. PETER I'm sorry, honey, I can't. Not today. ERICA But you promised. Erica stares at him sadly. JEREMY I'll take you. She forces a smile for Jeremy's sake, then leaves the room. JEREMY Peter... PETER I've got be here for the police when they come. Then I've got to practise. In case you forgot I'm in the middle of a match right now. JEREMY You're always in the middle of a match. PETER I want to be the best I can. 48 JEREMY Sometimes I think you'd rather be the best chess player, than the best father. Instead of thinking about what kind of day your daughter had, you would rather think about the Sicilian Najdorf opening or a counter to the Tartokover Bondarevsky System. (Beat) A relationship is not a chessboard. You can't walk away from it and come back whenever you want and still expect all the pieces to be there. INT. PETER'S ROOM - MORNING Peter enters from the bathroom wearing only his jeans. He goes over to his briefcase and starts to take out a paper. He stops, then slowly takes out an OLD, WORN, ENVELOPE. He stares at it. There is a KNOCK on the door. Peter replaces the ENVELOPE. He opens the door to find a pale and shaken Kathy. She walks into the room. KATHY They found the third girl. Her name was Loraine Olsen. I just came from the crime scene. It was horrible. How can anybody do something like that? You got anything to drink around here? Peter walks over to the bar and pours her a brandy. He brings it over to her and sits beside her on the couch. Kathy gulps it down. PETER Relax. KATHY How the hell can I relax after seeing what I just saw. PETER I know it was bad. KATHY How could you? Unless you were there. Their eyes lock for a moment, each probing the others. KATHY Sorry, I didn't mean that the way it sounded. 49 PETER I know you didn't KATHY You know, Andy thinks you're doing this. PETER Doesn't that scare you? KATHY No. PETER Why? KATHY Because I think he's wrong. Peter takes her hand and holds it in his. There is a KNOCK at the door. Peter opens it to find Frank and Andy. FRANK Come with us. INT. HOTEL HALLWAY - MORNING Peter follows Frank and Andy as they walk down a utility hallway. INT. HOTEL BASEMENT - MORNING Damp and dark. A large cavernous room built under the hotel. SEVERAL SMALLER ROOMS, OR ALCOVES, CONNECT TO THE MAIN ROOM THROUGH A SERIES OF JOINING DOORS. FLORESCENT LIGHTS spaced on the ceiling cast long shadows through the room. Large water pipes and electrical mains run across the ceiling. Frank, Andy, Peter and Kathy enter. Frank walks over to the TECHNICIAN we saw before. He is setting up his tracing equipment at the main TELEPHONE JUNCTION BOX. FRANK How's it going? TECHNICIAN (points to a phone) While we're down here all calls coming into Mr. Sanderson's room will be routed to extenion 611. I've also-- 50 The PHONE RINGS. It echoes through the room. Peter's face tenses. He walks over and picks it up. A LOUDSPEAKER is activated. PETER Hello? CALLER (OS) Do you know what I'm doing right now, Peter? I'm looking at the name of the girl I'm going to kill tonight. PETER You know her? CALLER (OS) Not really. PETER Why her? CALLER (OS) (a trace of anger) Because she's the type. PETER But you said you didn't know her. CALLER (OS) (annoyed) I know what I said! She looks just like... PETER Just like who? CALLER (OS) I really wish you'd stop trying to maneuver me. I find it irritating, not to mention insulting. PETER I'm just trying to play the game. CALLER (OS) You're not playing very well. There are clues all around you and you keep missing them. Peter's frustration grows. He decides to try a different line. PETER Listen, if you're just going to call up to gloat, I don't want to hear it! 51 CALLER (OS) I'm sure there are other people who would be interested in what I have to say. PETER Then call them! Peter slams down the phone. Kathy, Frank and Andy are stunned that Peter would end the conversation. ANDY Are you crazy? PETER Let's see how much he wants to play. SILENCE fills the room. Peter stares at the phone expectantly. A moment later it RINGS. Peter waits and lets it ring. Finally he answers it on the fourth ring. CALLER (OS) Just for that no hint today. PETER Why are you doing this? You must have some idea of the pain you're causing people. CALLER (OS) Pain? Pain is just a state of mind. It's something you learn to live with. I have. Kathy hands Peter a note she has written. PETER (reading the note) And you want these girls to feel your pain? CALLER (OS) Please, I don't want to get into the psychological aspects of my actions. It would detract from the game. PETER How? CALLER (OS) I couldn't say it any better than Huxley. 52 PETER Huxley's quote also says, "his play is always fair and just." CALLER (OS) So is mine, within the framework of my rules. The line goes dead. Peter hangs up. ANDY What in the hell do you think you're doing? Slamming down the phone in the middle of the trace. PETER You think you're going to catch him on a trace? Everything he does is planned out well in advance. The only way we're going to get him is to rattle him -- make him slip up. FRANK You never know how you're going to catch a suspect. KATHY Peter's right, Captain. He's got to be forced into making a mistake. ANDY We didn't ask for your opinion, Doctor. PETER Maybe you should. Peter stares at Andy defiantly. ANDY You don't tell us how to run our investigation. You got that? PETER You don't have an investigation without me. You got that? The two men lock eyes hostilely. FRANK What were you going to say, Kathy? 53 KATHY Well, I think you have to play to his ego. He thinks he's superior. The more secure he feels, the more chances he'll take. FRANK What did he mean by Huxley? PETER He was referring to a quote by Thomas Henry Huxley. (quoting) "The chess board is the world, the pieces are the phenomena of the universe, the rules of the game are what we call Nature. The player on the other side is hidden from us. We know that his play is always fair, just, and patient. But also, we know, to our cost, that he never overlooks a mistake, or makes the smallest allowances for ignorance." EXT. PUGET SOUND - AFTERNOON Peter and Kathy are sitting on the beach. Peter draws squares in the sand like a chessboard and starts moving shells and rocks around. Kathy grins. KATHY Are you playing chess? Peter smiles like a boy with his hand caught in the cookie-jar. PETER When I was little I'd watch the other kids playing baseball from my room. In the evening, when their parents would call them in to put their bats and balls away, I'd watch them from my window, forcing, expressions of disappointment, trying to gain another few minutes outside so they could play -- but no one could stop me from playing. (he closes his eyes) All I had to do was close my eyes and my whole world became a chessboard. I could see the pieces, and sometimes it felt like if I reached out I could almost touch them. I ordered them and they obeyed. 54 Kathy stares at him for a moment, unsure what to make of his speech. Peter opens his eyes, there is a beat as he seems to bridge the gap back to this world. He smiles. KATHY Can you go fifteen minutes without thinking about it? PETER (thinks for a moment) No. But I'm open to distractions. KATHY I'm sure you are. He smiles at her. He destroys the pattern in the sand, takes her hand and they start walking. PETER You know, you're not the easiest person in the world to get close to. KATHY You always want to talk about me. What about you? PETER Wasn't I just talking about me? KATHY No. You were talking about chess. PETER Alright. What about me? KATHY I dunno. Where's Erica mother? PETER She died in a car accident. KATHY I'm sorry. PETER It's alright. It was a long time ago. KATHY It must've been very hard on Erica? PETER It was. KATHY And you? 55 Peter stops and smiles. PETER Do you want me to lay down, Doctor? Kathy grins. PETER Look, why don't you just come out and ask me what you want to know? Kathy hesitates. PETER Was it serious between Debi and me? No. Have I known a lot of girls like her? (Beat) None of your business. Kathy stares at him, almost studying him for a moment. PETER What? KATHY Have you noticed that every time we start to talk about something serious you start to play games. PETER I'm not playing a game now. KATHY Yes you are. You're playing word games. PETER (defensive) What is this? KATHY I'm just trying to get to know you, Peter. PETER What? By attacking me? 56 KATHY Nobody could attack you. You set your life up like one of your chessboards. You're impregnable -- but at the same time you've become trapped behind your own defenses. You're cut off from everyone around you. PETER What are you talking about? You don't even know me. KATHY Does anyone? He starts to walk away. KATHY Are you forfeiting? He stops dead in his tracks, turns and walks back. PETER I just don't want to fight with you. KATHY Then show me who you are. Peter thinks. There's a seriousness we haven't seen before. PETER This frightens me -- because I'm starting to feel things I haven't felt in a long time. KATHY You've got to face the things you feel. PETER (a little grin) I thought you were the woman who didn't want to get involved. KATHY I said I didn't plan on getting involved. He moves closer. She takes a step back. PETER (moving closer) What happened to facing the things we feel? 57 KATHY (giving in) You can turn everything around so easily. This is not just another game, is it? PETER No. They stare at each other, each of them probing the others eyes. Peter leans forward and gently kisses her on the lips. He kisses her again. Their passion builds until they throw their arms around each other and embrace passionately. INT. PETER'S LIVING ROOM - AFTERNOON Peter pins her against the wall and kisses her. She wraps her legs around his waist as he holds her against the wall. They continue to kiss as they move along the wall, knocking pictures off the wall. Peter carries her over to a LARGE CHESSBOARD. With one hand he sweeps the PIECES off onto the floor, then sits her down on it. They kiss each other furiously, each of them groping at the others clothing. Their hands move along each others bodies, exploring, touching, feeling. He un- buttons her blouse, then kisses her neck, working his way to her breasts. Kathy closes her eyes, submitting to the pleasure of his touch. INT. PETER'S BEDROOM - AFTERNOON TWO SILHOUETTES. Bodies intertwined. The SOUNDS of love making fill the room. SLOW FADE TO BLACK INT. PETER'S BEDROOM - LATER - NIGHT DARK. SILENCE. KATHY I'm hungry. PETER Call room service. A LIGHT COMES on. Kathy lays next to Peter. She rolls over and kisses him. KATHY I hate hotel food. Rondi's Pizza is just down the street. 58 PETER Fine. KATHY What do you want on it? PETER (nibbling at her neck) You. KATHY Would you settle for pepperoni? PETER If I have to. I'm going to take a shower. Peter goes into the bathroom. Kathy sits up and throws on a t- shirt. She goes to the desk. By the phone is a copy of the WHITE PAGES. She starts to look up the number. In b.g. we HEAR the SHOWER. CLOSE ON PHONE BOOK: In the middle of the page a name is underlined in RED. It reads: RUTLEGE, DEBI Kathy stares at the name. A beat. Slowly she turns through the pages. CLOSE ON PHONE BOOK: The name EASTMAN, CHRISTIE is UNDERLINED. The pages are quickly turned again until we see the name OLSEN, LORAINE UNDERLINED. Kathy is stunned. She thinks for a second, then gets up and starts getting dressed. In the b.g. we HEAR the SHOWER stop. PETER (OS) Did you call? KATHY The line was busy. I'll try again. She finishes dressing then heads for the door. She opens the door and stops, then looks back. HER POV: Her PURSE is on the nightstand. She hesitates, then quickly walks back to get it. She picks it up and starts back for the door when... Peter steps out of the bathroom. He stares at her. PETER Where are you going? 59 KATHY They're not delivering. I'm going to go pick up the pizza. PETER (moving closer to her) I thought you said the line was busy? KATHY I tried again and got through. PETER (still closer) What's wrong? KATHY (backing away) Nothing. PETER (following her) Then why are you backing up? Peter waits for an answer. There isn't one. He looks around the room, retracing in his mind what could have happened. He sees the open PHONE BOOK on the dresser next to him. He stares at it for a moment, then back at Kathy. PETER This? She doesn't answer. Peter appears disappointed. PETER I was looking for correlations between their names, addresses, anything that might be the same. Kathy looks away. PETER You're as bad as Andy... maybe worse. He walks over to a chair and sits down, freeing the path to the door. KATHY Peter, you have to admit-- PETER --admit what? That I was right about you in the steam room? That you're willing to do anything to find out what you want? Would you like me to leave so you can search the rest of the room? 60 KATHY Peter... PETER (cutting her off; hurt) How could you think that, Kathy? How could you even consider it? A beat. Kathy thinks for a moment, then walks to the door and leaves. A beat. Peter gets up, stares at the phone book, then closes it softly. INT. AUDITORIUM WINGS - NIGHT Peter seems deep in thought. Behind him Lutz is pacing back and forth. He is wearing a ridiculous hat with sheets of aluminium foil sticking out. Peter stares at him. LUTZ They're trying to control my mind. (points to his hat) Aluminium foil. It repels the thought rays. Peter stares at him blankly. INT. KATHY'S HOUSE - NIGHT Kathy enters her house and checks her messages. There are none. KATHY Very popular. INT. AUDITORIUM - NIGHT Peter walks out on stage. Yurilivich is waiting for him at the CHESSBOARD. The other two tables are vacant_ The President addresses the audience. 61 PRESIDENT Since Grandmaster Sanderson leads the tournament with nine wins, and Grandmaster Yurilivich is in second with eight -- it as become apparent that with only four games remaining, the other players, should they win all four of their remaining games, would still not be in a position to win the tournament. Therefore, we have decided that the remaining games between Grandmaster Sanderson and Yurilivich will be held separately. INT. KATHY'S HOUSE - NIGHT Kathy sits on the couch, reading a book entitled: CASE STUDIES OF SERIAL KILLRS. She appears distracted. She looks off and thinks about Peter. Finally, she grabs her coat and leaves the house. INT. AUDITORIUM - NIGHT Yurilivich makes a moves, then hits his timer. The PIECE moves on the board behind them. Jeremy grabs Erica's arm excitedly. ERICA What is it? JEREMY Mate in five. Peter makes a move. There is a slight MOAN from the crowd. Jeremy looks at the BIG BOARD reflecting Peter's move then over at Erica. JEREMY He didn't see it. Yurilivich makes a move. YURILIVICH Check. Peter is stunned at his position. He looks at the board, frustration fills his face. Slowly he picks up his KING and lays it on his side. At the door to the auditorium we see Kathy watching him. She turns and leaves. 62 INT. HOTEL HALLWAY - NIGHT A tired-looking Peter walks to his door. He starts to put in his key when he notices the door is ajar. A beat. He slowly pushes it open. INT. PETER'S HOTEL ROOM - NIGHT Dark. Peter enters. He tries the light switch. It doesn't work. He walks slowly across the room. As he nears the hall a FIGURE OF A MAN stands up out of one of the high-backed chairs. Peter senses something and spins around. A LIGHT on the desk comes on. Andy stares at him with a grin. ANDY Scare you? Peter doesn't answer. He stares at Andy hostilely. ANDY You know, I figure that's pretty much how these girl's feel just before they get it. You think I'm right? PETER I wouldn't know. ANDY That's right. I guess only the killer would know that. PETER How'd you get in here? ANDY The door was open. PETER No it wasn't. ANDY Of course it was. Otherwise I'd be breaking and entering. That's a felony. PETER What do you want? ANDY You ever do any hunting, Peter? 63 PETER No. ANDY I used to. With my old man. He taught me how to hunt and trap. Trapping's a lot harder than most people think. We used to go after Raccoons mostly. They'd get into our garbage, our fields. When an animal can't live peacefully with those around it, it has to be destroyed. But they're crafty little devils. You see the trick is, you can put your trap down, but no Raccoon is going come near it unless you lay down the scent. You ever smell Raccoon scent? Smells like shit, but to a male Raccoon it smells just like pussy. He'll walk right up to that trap, even though it don't look nothing like a Raccoon and stick his Goddam head right in it. You know why? Cause he can't help himself. The scent drives him. So, if you want to catch a Raccoon all you gotta do is figure out where he is -- lay down the scent -- and sooner or later he'll walk right into the trap. PETER What if he doesn't bite? What if he's an exceptionally bright Raccoon? ANDY Well then, you just gotta find out where he is -- and once you're sure where he is -- you shoot the fucker. A beat. They stare at each other. Andy walks to the door and leaves. EXT. PETER'S HOTEL ROOM, BALCONY - NIGHT Peter sits outside, thinking. Jeremy and Erica join him. ERICA Hi dad. She hugs him. He hugs her back. ERICA He just got lucky tonight, that's all. You'll cream him next time. 64 Peter smiles. There is a long pause. Peter looks at Jeremy. They stare at each other. PETER You have something you want to say? JEREMY Just thought you might want to talk. PETER About what? JEREMY Whatever's on your mind. PETER Who says something's on my mind. Jeremy pulls out a printout of chess board with pieces in different positions. He shows it to Peter. JEREMY What do you see here? PETER (after a moment) Mate in five. JEREMY Exactly... and you did this. Jeremy moves an imaginary piece. Peter stares at the paper for a moment. He can't believe he could miss such an obvious move. JEREMY Is it Kathy? ERICA Who's Kathy? PETER No, it's not Kathy. Jeremy stares at him with a knowing expression. PETER It isn't Kathy. ERICA Who's Kathy? JEREMY Peter, I know you better than you think. 65 FADE TO BLACK Over the BLACK we hear ERICA Who's Kathy?? INT. APARTMENT - BLACK SCREEN - NIGHT FLASH! As we see the word IS written in blood on a wall, we HEAR the SOUND of a POLAROID CAMERA pushing out the photo. DARKNESS FLASH! We see a new GIRL laying in her bed, the sheet draped over her body, her face made up. DARKNESS FLASH! A CLOSE UP of the girl's ghastly face. DARKNESS. CLOSE ON: GLOVED HANDS as they pull a photo from the camera. EXT. APARTMENT - NIGHT All the apartment LIGHTS are out. We see SEVERAL FLASHES of LIGHT from an upstairs window. EXT. INSTITUTE - MORNING Kathy walks up a dirt path towards the side of the building. She comes to a depression in the earth. She stops, lifts her skirt, as she gets ready to jump over, when something catches her eye. HER POV: in the soft ground she sees A perfect imprint of the Killer's distinctive tennis shoe_ Kathy stares at it as the thought that the killer is nearby becomes more frightening. She starts to back up slowly when... She bumps into Dr. Fulton behind her. She SCREAMS, then turns around quickly. Fulton is startled at her action. KATHY Jesus, Alan, you scared the crap outta me. EXT. APARTMENT BUILDING - MORNING - WIDE SHOT Several BLACK AND WHITE UNITS are in front of the building. Frank and Andy are off to the side talking to an ATTRACTIVE GIRL in her twenties. 66 FRANK If you can think of anything else give us a call. GIRL You know, I hate to say I told you so, but I warned her. Coming home at all hours of the night. A young girl new to the city. This neighborhood ain't what it used to be. A UNIFORMED OFFICER standing by a BLACK and WHITE UNIT yells over. OFFICER Captain, you got a call! INT. POLICE CONFERENCE ROOM - MORNING CLOSE ON PHOTOGRAPH: OF THE KILLER'S SHOE: Pull back to see another PHOTOGRAPH just like it on the wall. A distraught Kathy sits on a chair, sipping a cup of coffee with both hands. Frank and Andy stand up waiting for Nolan's appraisal. NOLAN It's the same shoe alright. ANDY Was there anyone else on the grounds? KATHY A few people. ANDY Did anyone stand out? KATHY What do you mean, stand out? ANDY Did anyone look suspicious? Think! KATHY Now that you mention it there was somebody who looked suspicious. ANDY (excited) What was suspicious about him? 67 KATHY He was holding a sign that said "Serial Killer". Frank LAUGHS. Andy does a slow burn, then smiles. Through the GLASS WINDOW Frank sees the GIRL from the apartment walking down the hall. He thinks about something for a moment, then springs from his seat. INT. HALLWAY - MORNING Frank steps into the hall. Andy follows. FRANK Excuse me... you said earlier that Mary Albert just moved in. How long ago was that? GIRL Ten days ago. FRANK Do you know how she found the apartment? GIRL Through a rental agency. FRANK (to Andy) Didn't you tell me that Debi Rutlege had just moved into her place also? INT. FRANK'S OFFICE - MORNING Kathy is standing off to the side, listening to Frank and Andy as they both speak on the phone. ANDY (into the phone) Uh huh... Thank you very much. He hangs up, looks at Frank and NODS with a grin. FRANK (into the phone) No, I really appreciate it. Thanks. (he hangs up) That's it! All the women moved into their homes in the last three months and all of them found them through Homesearchers! 68 EXT. STREET - MORNING An UNMARKED CAR is parked down the street from HOMESEARCHERS. Frank and Andy get out and walk towards a building with TWO DETECTIVES. INT. HOMESEARCHERS - MORNING A MIDDLE AGED WOMAN stands behind the counter. She stares at Frank with a bewildered expression. FRANK Who else works here beside you? WOMAN There's a girl that helps at the counter, part time and that's it. FRANK Who else has access to these files? WOMAN No one. INT. PETER'S LIVING ROOM - MORNING There is a KNOCK on the door. Erica opens it to find Kathy outside. KATHY You must be Erica. ERICA Uh huh. KATHY I'm Kathy. Erica grins. KATHY Is your dad here? ERICA He went down to the lobby for a minute. He should be right back. Would you like come in? Kathy enters and sits on the couch. Erica sits beside her and stares at her, evaluating her. 69 KATHY So, are you having a good time on the Island? ERICA Not really. It's pretty boring. KATHY That's only because you don't know where to go. You like hiking? (Erica nods no) Fishing? (Erica nods no) Sailing? (Erica nods no) What do you like? ERICA Boys. Kathy grins and they LAUGH together. ERICA Do you like my dad? KATHY Of course. Erica stares at her. KATHY (getting it) Oh... do you mean do I like, like him?