KNIGHT MOVES

                     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.