BLOODMOON
by
Keith W. Strandberg
FADE IN:
OPENING CREDITS
Background of the rising moon, and it is Blood Red.
Over this background, the silhouettes of several fighters cross
back and forth, throwing beautiful techniques, hitting each other.
Various other IMAGES, of victims, women, swords, weapons, also
appear and then disappear. Various Chinese characters, all with a
MOON motif, also appear.
At the end of the credit roll, one fighter, the Killer, stands
alone, still in silhouette, his arms raised to the sky.
Fresh blood streams down the moon, covering this image, DISSOLVING
into the exterior of an old style, traditional boxing gym.
EXT. BOXING GYM NIGHT
A back to the basics kind of gym, full of old leather punching
bags, and even more leathery fighters. There are several cars in
the parking lot, and the lights are on.
INT. BOXING GYM CONTINUOUS
In the ring a very muscular FIGHTER is sparring rounds. He is very
good, scoring at will on his sparring PARTNER. The sense of
confidence the Fighter has can be FELT as he plays with his
Partner, flicking in and out, making contact but doing no real
damage.
He is not, however, trying to put his sparring Partner out.
There are people all around the ring, working on heavy bags, speed
bags, treadmills, exercise bikes, stairclimbers.
A banner above the ring reads "Home of the Light Heavyweight
Champion of the World."
The bell sounds, and the action breaks in the ring, both fighters
hitting their gloves together and going to their corners.
CORNERMAN
Way to go, Champ. Closing time!
FIGHTER
I'm going to work the bag, Ernie. Listen,
you go on. I'll lock it up.
The cornerman agrees, and the fighters start migrating to the
doors.
INT. BOXING GYM LATER
The Fighter is hitting the heavy bag, while in the WINDOW above
him, the Blood Red Moon fills the glass.
As the Fighter hits the heavy bag, he hears something and suspects
that something is wrong. Coated in sweat, he goes looking around
the gym.
He looks in several shadowy places, only to find nothing. Shaking
his head, he starts back towards the heavy bag when he hears...
KILLER
You fight well.
(beat)
Champ.
The KILLER, a tall, very muscular, very handsome man, appears at
the other end gym. He moves with an easy grace, and comes closer
to the Fighter. The Fighter sizes him up. An air about the Killer
tells the Fighter he knows what he's talking about.
FIGHTER
All dressed up and no place to go?
KILLER
You don't have the killer instinct.
(beat)
I can show it to you.
FIGHTER
Is that a fact? Well, maybe some time we
could go a round or two.
KILLER
No time like the present. Or are you...
scared...?
The Fighter sizes the Killer up for a moment, then smiles a small,
confident smile.
FIGHTER
You got a death wish, buddy?
KILLER
Did you notice that there is blood on the
moon tonight?
The Fighter doesn't know what to make of this remark as they head
for the ring.
The Killer and the Fighter climb up into the ring and face off.
A single overhead light SHINES down on them, throwing strange
SHADOWS on the ring and on the walls of the boxing gym.
The killer starts toward the Fighter, a small smile on his lips.
KILLER
The key to winning is to take advantage of
every weakness. Like how you never really
cover your side...
He swings quickly, three times, and BURIES three deadly hooks in
the man's kidneys. The Fighter bends over in pain, his hands at
his side.
KILLER
Always attack is lesson two.
And the Killer does just that. He throws powerhouse punches, and
the Fighter's defense cannot withstand the barrage. He is getting
HIT.
HARD.
FIGHTER
Hey, man, that's enough...
The Fighter has his arms up, covering his face and head.
Surrendering.
KILLER
It's never enough. Lesson Three. A true
champion never goes easy, never lets up.
He comes on, the blows cruel and calculated. The Fighter doesn't
stand a chance.
The Killer keeps punching, his gloves glistening with the
Fighter's blood.
KILLER
Fight! Goddamn it! FIGHT!
But, in the face of the Killer's onslaught, there is no fight,
only slaughter. The Fighter falls to the canvas, but the Killer
continues to drive his fists into the fallen man until there is no
more movement.
The Killer stands over the fallen fighter.
KILLER
School's Out, Champ.
He turns to the window of the gym, and raises his arms to the
moon.
EXT. STREETS MORNING
Establishing shot, New York streets. A man is riding a motorcycle
on the streets.
EXT. BOXING GYM CRIME SCENE MORNING
The boxing gym has been turned into a Crime Scene, with police
cars in front of the gym. Their lights flash against the dawn's
light.
CHUCK BURKE, a black detective about 35 years old, rides up on his
Black TRIUMPH motorcycle. He gets off and walks into the busy
crime scene. In front of the entrance to the gym is a pile of
stuff, and Chuck, instead of climbing over it, gracefully jumps
from place to place in a very acrobatic way.
The cops around the scene see him, but they are used to his
eccentric ways. They ignore it.
INT. BOXING GYM CONTINUOUS
Burke strides confidently into the boxing gym, taking in
everything as he walks to the two UNIFORMS near the body.
CHUCK
What do we have here, ladies? Somebody
talk to me.
Chuck absently runs a scarf through his fist, and it comes out
alternately blue and red, red and blue.
CRIME SCENE COP
(looking at his notes)
Well, Detective, we have one dead boxer,
Eddie Cunningham, 33 years old, Light
Heavy Champion of the World. Found in the
ring, this morning.(beat) Somebody beat
him to death.
CHUCK
Guess we got a new champ. Is this the
latest from our boy? Do we make it three?
CRIME SCENE COP
No witnesses, no finger prints, plenty of
blood and guts...
CHUCK
Any chance he left a suicide note?
(after a beat)
Boys and girls, sounds like we have
ourselves a homicide.
They share a grim smile, and Chuck kneels down to look more
closely at the body. Chuck shakes his head at the grisly sight.
CHUCK
What the hell is going on?
He runs the scarf through once more, and it comes out completely
white.
He respectfully lays it carefully over the face of the dead
Fighter.
EXT. POLICE STATION MORNING
Chuck arrives at the station, and sees a phalanx of reporters,
surrounding CHIEF HUTCHINS. He looks frustrated, and a little
angry. Chuck quickly about faces and heads for a side door. As he
goes, we SEE Hutchins talking to the media.
REPORTERS
(stepping on each other)
Is this the work of the same man?
Do you have any suspects?
What are you doing to catch him?
Any communication with the killer?
HUTCHINS
We are following up every lead. We are
very close to cracking this case. We just
need patience and cooperation from you
people in the media...
Chuck pushes his way through the crowd, to the side entrance of
the building.
INT. POLICE STATION LATER
Chuck comes in and sits down wearily at his desk. It is covered
with papers, maps, notes, books, etc. There are martial arts
magazines scattered all over his desk.
CHUCK
Tell the M.E. I want her report on my desk
as soon as she has it. I waited 15 damn
minutes for her banker's hours ass to come
in.
SECRETARY
Chuck, Chief on line 2.
Chuck hits the phone off its cradle, catching it while it is still
up in the air. With his other hand, he is juggling two balls in
the air.
CHUCK
Hey, hey, hey. This is Burke. I'm working
it, Chief.
HUTCHINS
Goddamn it! We need some answers! Son of a
bitch!
CHUCK
Chief, chief, what's with that language!
Yes, Sir. Yes, Sir.
Chuck moans and takes the phone away from his ear, not listening
any more. The Chief's voice, tinny and thin, is heard through the
earpiece. He puts the phone down on his desk, and stands up to
meet one of the other OFFICERS in the squad, who walks in to bring
him a computer print out, a new challenge from the Killer.
Chuck holds it up, looking at it closely.
OFFICER
Came in last night. Before the boxer.
Chuck nods his head and shrugs.
It is a computer print out of a graphic, a moon with blood on it,
and the words: "Blood on the Moon."
Chuck turns to his bulletin board, and pins it up along with the
other messages challenging, taunting, deriding. He continues
juggling with one hand.
CHUCK
Variations on a theme. Why didn't I get
this last night?
OFFICER
It was attached to e-mail addressed to the
Chief.
CHUCK
(wincing)
Did you see him? Did he have the face
on...
At this moment, the Chief appears behind Chuck, who is still
juggling the balls.
CHUCK
Oh, man, the bulging eyes, the popping
veins, the quivering lips...
ANGLE ON OFFICER
Who is reacting to the Chief standing behind Chuck.
CHUCK
He's standing right behind me, isn't he? I
TOLD you not to bring these balls in here!
The Officer walks away, quickly, anticipating the fireworks.
He turns around to face the enraged Chief, still juggling. The
Chief takes the balls from him, one by one.
HUTCHINS
We're up to our eyeballs in murder
victims, and you're screwing me around?
Any idea the pressure on me? I was
crucified this morning by the press!
Chuck tries to charm the Chief.
CHUCK
That's because you, Chief, are the man!
Hey, great to see you. You should slum
down here more often...
Chuck reaches out to smooth down his lapels, and pulls a silver
dollar out of his jacket, showing it to Hutchins with a flourish.
HUTCHINS
Get some results, Chuck! You ever do that
again...
(pointing at the phone on
Chuck's desk)
The Great Chucker can book himself magic
shows in Atlantic City, 'cause he won't be
working here!
(beat)
Juggle these balls!
The Chief stalks out of the doorway, tossing the juggling balls
back to him. When he is gone, Chuck smiles.
Chuck turns back to his wall, scanning all the collected
information. He starts juggling as he looks through it all.
CHUCK
Hell. Atlantic City. If I could conjure
this sicko out of thin air... I'd be
headlining in Vegas!
HOLD on picture of Moon.
DISSOLVE
TO:
EXT. MOON NIGHT
Empty shot of Blood Red moon in the reflection of a puddle of
water. A car SLICES through the water, and the CAMERA TILTS UP to
reveal an establishing shot of a Sleazoid Bar.
INT. SLEAZOID BAR CONTINUOUS
The bar is smoky, and nearly empty. DUTCH, the owner of the bar,
is a big, muscular man who looks like he doesn't take shit from
anyone. His trophies and photos from his fighting career rare all
over the bar.
Dutch and his lady, ROXY, very sexy, though a little slutty, are
alone in the bar. Roxy is sitting at the bar, and she wants to
dance, and Dutch complies. They start to sway to the slow music,
and Dutch kisses Roxy. She responds, and soon they are on one of
the pinball machines. Dutch is undressing Roxy, when she thinks
she heard something.
ROXY
What was that?
DUTCH
Nothing! Don't break the mood!
Dutch gets Roxy's shirt off, and starts on her bra, but she is
sure she heard something. She tries to push Dutch off, but he is
in heat and won't take no for an answer. He goes for her shorts,
and has them unzipped before she can push him away.
ROXY
I heard something, goddamn it!
DUTCH
Nobody's gonna mess with me, babe. You're
just being stupid.
ROXY
Thanks a lot.
She starts away, to look around the bar, pulling her pants up as
she goes.
DUTCH
Come back here, you bitch.
ROXY
(to herself)
My luck with men is for shit...
KILLER
Roxy, your luck is about to change...
She turns with a wary look on her face, and the Killer gently
CHOKES her out. He catches her before she hits the ground, and
lays her down carefully on the floor. He then advances on Dutch,
who has his back to the bar.
DUTCH
You find anything?
KILLER
She found me, Crutch.
DUTCH
The name's 'Dutch'.
KILLER
It won't be, after tonight.
(he sizes up Dutch)
Marvelous night for a moondance.
Dutch is ready for the Killer, itching to fight. The Killer moves
out to face Dutch. He puts a scared face on.
Dutch attacks, and hits the Killer several times. The Killer is
not fighting back he takes a couple of awkward swings, but
misses by a mile.
Dutch thinks he's in full control.
The Killer backs up and holds his hand up.
KILLER
(scared voice)
Can we talk this over? Please?
Dutch laughs and closes on The Killer.
DUTCH
No way! You're mine!
The Killer's scared demeanor changes completely, and he stands up
to his full height.
KILLER
(smiling)
OK.
He attacks Dutch first, tearing him apart. The Killer really takes
it to Dutch, never letting up. He hits him up one side and down
the other.
Dutch is helpless.
The Killer is enraged.
He was looking for a good fight, but he's not getting it. It's the
pugilistic equivalent of a barrel shoot.
KILLER
Why aren't you better?
He hits Dutch at will.
KILLER
Tough man? You're not tough!
The Killer grabs him by the head from behind and smiles. He is
going to kill him.
The Killer stops smiling, and looks almost like he is going to let
Dutch go. But then, he wrenches Dutch's head, breaking his neck
and killing him. He lets Dutch slide to the ground.
The Killer walks away from the death.
INT. MORGUE MORNING
The shattered body of Dutch is on the examining table, the MEDICAL
EXAMINER having just finished the autopsy.
Standing with him are Chuck, Chief Hutchins, and one other
OFFICER.
MEDICAL EXAMINER
Killed by trauma to the head. His
extremities... the bones were shattered.
He died in extreme pain.
MEDICAL EXAMINER
The killer has a knowledge of anatomy, the
destruction is systematic, precise every
strike is a vital area, a nerve center or
a meridian. He definitely has a signature,
I recognize it.
CHUCK
Any evidence of a weapon? Or post mortem
mutilation?
MEDICAL EXAMINER
It doesn't look like he used a weapon, but
I've never seen wounds like these. As for
mutilation, it's the fight he's interested
in. Once they're dead, he's done.
HUTCHINS
What about the witness?
CHUCK
The Killer choked her out, didn't hurt
her, before she could see him clearly. I
have her looking at mug shots anyway.
HUTCHINS
This one makes four, right?
Chuck just nods.
HUTCHINS
I'm assigning you some help in this,
Chuck. I want you to go see this guy...
CHUCK
Chief, I don't need any help.
HUTCHINS
Let's see, we have four dead bodies, a
technofreak nutball who sends computer
messages about the murders and we're no
closer to solving this than we were on day
one. Did I forget something? Oh, the
killings are getting closer together,
which can't be a good sign.
CHUCK
Chief...
HUTCHINS
You need to shut up, Chuck.
CHUCK
I'm working my ass off...
HUTCHINS
Shut up. I've got heat from everywhere on
this one, and I'm trying to stop the
bleeding. Get Ken O'Hara, specialized in
serials before you got here. He was one of
the best mindhunters in the country. He
retired a couple of years ago.
CHUCK
Mindhunter? What the hell is a mindhunter?
HUTCHINS
Here's his address. His last case was a
messy one. Put O'Hara in the hospital,
almost put him right here.
CHUCK
I don't NEED any help!
HUTCHINS
Yeah, and I'm not going to need a triple bypass one
day. Go see O'Hara, I want him on this. Oh, Chuck,
wear a suit. Try to make a good first impression.
The Chief leaves them standing there, around Dutch's dead body.
EXT. SEASHORE DAY
We open on a little girl, LAUREN, seven years old, working on a
sand sculpture on the beach. There is a straw sticking out of the
front of the sculpture. Lauren is very concentrated on making the
sand as smooth and as nice as possible. Suddenly, the sand
sculpture SHIFTS a little.
LAUREN
Don't move, Dad!
Just then, the sculpture SNEEZES and ex-cop, now retired, KEN
O'HARA, comes out of the sculpture, shaking the sand off of him.
He ROARS like a monster, and CHASES Lauren, and they go running
into the water.
EXT. BOARDWALK LATER
Ken and Lauren are walking down the boardwalk with Lauren. It is
their one day together. Several SHOTS of Ken and Lauren tenderly
interacting, shopping, sharing an ice cream, walking hand in hand,
arm in arm.
Suddenly, a group of motorcyclists come near them. Ken,
reflexively and protectively, pulls Lauren out of the way.
As he does this, Ken BUMPS into TERRY, who is standing with his
GIRLFRIEND and a couple of other FRIENDS.
Ken bump sends Terry's beer spilling all down the front of his
shirt and pants. Terry's Girlfriend immediately laughs out loud.
Terry spins around to face Ken, really angry.
KEN
Sorry, man! I wasn't looking where I was
going.
TERRY
You're gonna be sorry!
KEN
Hey, let me pay to clean your clothes, OK?
$20 do it?
Terry looks at his girlfriend, who is still laughing.
FRIEND
Hey, Karate Boy! Looks like you pissed
yourself!
GIRLFRIEND
Show me what you got, Jackie Chan man!
TERRY
I'm gonna take it out of your hide!
He pushes Ken HARD, and Ken goes backward. He is careful to gently
move Lauren out of the way.
KEN
Stay there, this won't take long...
LAUREN
Daddy!
Terry advances on Ken, and there is now a crowd of people
surrounding them, watching the action.
TERRY
C'mon, man! Put 'em up!
KEN
Look, I said I was sorry. Hitting me isn't
going to dry your shirt.
TERRY
Yeah, but it's gonna make me feel a hell
of a lot better.
Terry takes a swing at Ken, and he evades it, sidestepping him.
Terry keeps coming, swinging wildly.
Terry's girlfriend laughs even harder, and Ken notices this. He
shakes his head, and resigns himself to the beating.
Terry swings again, and makes contact this time, doubling Ken
over. He hits him again and again, and Ken just takes it.
He's not getting really hurt, he's avoid most of the hits, and
dissipating the force out of the others, but he's not fighting
back.
LAUREN
Daddy! (to the Leader)
Leave him alone!
KEN
It's all right, honey. He can't hurt me.
TERRY
Wanna bet?
Terry's girlfriend is cheering for her man now, and Terry's
Friends are impressed by his machismo.
Ken gets taken to the ground, and Terry towers over him.
TERRY
Why don't you fight back? You a pussy?
KEN
Yeah, I'm a pussy...
LAUREN
Stop it! Stop it!
She rushes up to Terry and pulls on his arm, trying to get him to
stop.
TERRY
What do we have here?
Terry smiles menacingly and pulls his open hand back to SLAP
Lauren.
Suddenly, it is stopped, in Ken's powerful grip.
KEN
I don't think so.
Terry goes to punch Ken again, and Ken blocks it this time and
takes the man down, subduing him. As soon as he does this,
however, he is attacked by the Friends.
Four to One.
The odds are seriously against Ken.
The Friends don't stand a chance.
Ken handles them all, his movements graceful, beautiful, powerful.
He finishes them off, not reveling in the violence. In fact, he
puts them out as humanely and quickly as possible. They end up in
a pile on the ground. Ken's last action is a flying sidekick that
sends one of the Thugs OFF his motorcycle.
Ken stands over them for a moment, and Lauren runs up to him,
hugging him, and they continue to walk down the boardwalk
together.
KEN
I'm sorry you had to see that, honey. You
OK?
She nods yes.
LAUREN
Are you? I don't like fighting.
Ken stops and kneels down to talk to his daughter.
KEN
I didn't want to fight them, Lauren, but
he was going to hit you, I had no choice.
Nobody hurts my family!
LAUREN
I was worried they'd hurt you.
KEN
They couldn't hurt me. I'm like Superman!
LAUREN
(laughing)
Superman!
She laughs and spins away from him. Ken stays kneeling down and
holds up his hand to her.
KEN
Hey, help Superman stand up, OK, honey?
She pulls him up, and they continue walking down the boardwalk,
hand in hand.
EXT. KEN HOUSE LATER
Ken's home is a two story building, obviously built for a family.
It's a nice house but not too nice, Ken's a cop after all.
At the front door, Ken's Wife, MEGAN, a beautiful woman, is
waiting impatiently. She's very angry because Ken is late getting
back with their daughter, and she is constantly checking her
watch.
Chuck, dressed in a nice suit, pulls up on his Triumph motorcycle.
He pulls the case file out of his tank bag, and reluctantly walks
up to the door. He seems surprised to see Megan waiting there.
CHUCK
Hi. I'm looking for Ken O'Hara...
MEGAN
Get in line.
CHUCK
He's not home?
MEGAN
He's dead.
CHUCK
Dead?
(beat)
I thought...
MEGAN
When he gets back with my daughter, our
daughter, he's going to be dead.
CHUCK
I see. Uh, you guys divorced?
MEGAN
Separated. It's his afternoon with Lauren,
and he promised he wouldn't be late.
CHUCK
Pretty damn inconsiderate. How do you
stand it?
MEGAN
It's tough. We're going through a hard
time.
(smiling at Chuck)
My name's Megan.
CHUCK
Chuck. I've never met your husband, and
I'm not so sure I want to...
Chuck reaches out for her hand, and immediately a bouquet of
flowers appears. Megan, who was reaching for his hand to shake, is
startled, and she stumbles into Chuck. He catches her and they
share a laugh.
Just then, Ken comes walking up the sidewalk with his daughter. He
sees Megan and Chuck, "embracing," and grimaces. He doesn't like
to see Megan with another man, and he also knows what's coming.
Megan sees Ken, and stands up, smoothing out her clothes, the
bouquet of flowers in her hand.
MEGAN
Where have you been?
Ken looks at Megan, then at Chuck, then back at Megan.
KEN
We were having fun, if that means anything
to you. Right, Lauren?
LAUREN
Yeah, Mommy! You should have seen...
MEGAN
Not now, honey. We have an appointment...
KEN
(looking at Chuck)
I bet you do.
MEGAN
You promised to have her back on time.
It's your responsibility. Right, Chuck?
CHUCK
Indubitably. Exactly right.
KEN
Stay out of this, "Chuck."
CHUCK
She's got a point, Ken. You should listen
to her.
Ken looks at Chuck, stunned that this boyfriend would dare to
speak to him. He doesn't take his eyes off Chuck, there is real
menace in his gaze.
KEN
I thought you were late.
MEGAN
We are. Say goodbye to your father.
Ken and Lauren share a hug and a kiss.
KEN
See you soon.
LAUREN
Love you, Superman.
KEN
Right back at you.
He watches as Megan and Lauren walk away. Surprisingly to Ken,
Chuck stays there.
KEN
Lost your way, Chuckie? Hit the road.
CHUCK
I came to see you, Ken.
KEN
Well, nothing personal, but fuck off.
CHUCK
Chief Hutchins sent me to see you.
KEN
Hutchins? You're not...?
CHUCK
No. Can I come in?
Ken waves him inside.
INT. KEN HOUSE MOMENTS LATER
Ken is looking through the file on the murders. He passes a hand
over his face, as if he were trying to wipe away the violence, and
the memories.
He hands the file back to Chuck.
KEN
I don't do this anymore.
CHUCK
That's what the Chief said, but he wants
your help.
KEN
Answer's no. Tell him that, OK?
CHUCK
No sweat. Chief said you quit over a case.
That right?
KEN
Tell Hutch I said hello. Drive safely.
Ken opens the door for Chuck to leave. Chuck leaves the file on a
table as he walks to the door.
CHUCK
Something subtle going on here, Ken? You
want me to leave, just ask!
Ken ignores him, and Chuck leaves.
EXT. KEN HOUSE CONTINUOUS
Before Chuck can turn around to say something, the door is closed
in his face.
CHUCK
I didn't want your help anyway.
He shakes his head and walks towards his motorcycle.
EXT. CITYSCAPE NIGHT
Lighting flashes over New York City.
INT. KEN HOUSE NIGHT
Ken at home, after dinner.
The file is still on the table, unlooked at.
Ken is folding clothes, looking towards the file.
Ken doing his dishes, looking at the file again. The steam rises
up from the sink, obscuring his features.
Ken is sitting in an easy chair, reading a novel. He can't
concentrate on the novel, and lowers it, looking at the file
again.
Finally, he gives up and goes to get it. He sits down on the
couch, going through the file. He looks at some of the pictures,
then closes the file. He gets up and walks away, looking out the
window.
He comes back to the file, however, and looks through it again.
INT. SHOWER LATER
Ken is getting ready to take a shower, and we SEE for the first
time the HUGE SCARS on his upper body, back and front. As Ken
looks into the mirror, he fingers one of the bigger scars, and
a...
FLASHBACK STARTS
INT. FLASHBACK DAY
Very disjointed, and shocking in its violence...
Each CUT is punctuated by a WHITE FLASH (like an intentional
overexposure):
A LEERING SERIAL KILLER hovering over Ken, a BLOODY KNIFE raised
over his head.
WHITE FLASH
The knife SLASHES through Ken's skin on his back!
WHITE FLASH
Ken arching with pain.
WHITE FLASH
The Serial Killer laughing with delight, his face misted with
blood. Ken's blood.
WHITE FLASH
Ken is STRUNG up by ropes, and his back is covered in SLASHES and
CUTS.
WHITE FLASH
More torture.
WHITE FLASH
THE FLASHBACK ENDS
INT. KEN HOUSE LATER
Ken, lying on the couch, his hair wet, himself exhausted, the file
spread open on the coffee table.
KEN
No.
(beat)
Not again.
EXT. CITYSCAPE NIGHT
Establishing shot of New York City at night. Lightning flashes.
INT. KILLER HOUSE NIGHT
TIGHT SHOT of a computer monitor, the image of "Bloodmoon" on it.
The CAMERA PANS across to the Killer fixing metal fingers onto his
hand. Two false fingers lay on the desk, along with the Killer's
mask.
There are pictures and sheets of information on the killings all
around, and one computer monitor that reads "City of New York
Police Department Central Computer."
This section ends with a close up of a picture featuring a number
of different fighters, and a Master.
INT. MASTER DOJO CONTINUOUS
We PULL OUT from MASTER TOKAIDO, who is meditating in his dojo. It
is a very traditional martial arts dojo, hard wood floor. There
are trophies everywhere, and a bookshelf full of research tomes.
Training equipment, calligraphy and martial arts weapons serve as
the decorations on every wall in sight.
The dojo is empty save for Master Tokaido. He is in traditional
dress (black kimono, white gi top, helmets), and a sword lies on
the floor next to him.
As he meditates a "student" (the Killer) walks in, in full kendo
garb, complete with helmet. The Killer walks up to where the
Master is meditating.
The MASTER senses him and what he is there to do. Without opening
his eyes, he says...
MASTER
Your spirit is unclean.
The Killer says nothing, standing waiting.
The Killer is carrying a high tech, compact video camera and a
cellular phone, and he places the camera in position. He then
turns to the Master, raising his sword.
KILLER
Hajime!
He barks the command to begin to spar, and the Master opens his
eyes and looks at him strangely. He gets up and dons his helmet,
bringing his sword into position.
The Killer attacks with his sword, and the fight has begun. The
Master is confident that he will be able to beat this interloper.
The two circle each other, exchanging swordplay. The Master is
good, but the Killer is better.
Faster. Stronger.
INT. POLICE STATION CONTINUOUS
Chuck is on duty, reviewing pictures from the series of killings.
The phone rings.
CHUCK
Entschuldigung.
(beat)
A kung fu movie, on the computer? Cool.
I'll be right there.
INT. POLICE STATION MOMENTS LATER
Chuck walks up to the officer who called him, DONNA, who is
sitting in a wheelchair, and pulls a seat up to her computer
monitors there are two of them, one fixed on the "Bloodmoon"
graphic. As he sits down, he pulls a piece of candy out of her
ear, and hands it to her.
CHUCK
What's up?
DONNA
This just started coming in. It looks like
our kind of action movie! Can't trace the
transmission.
CHUCK
Man, the quality really sucks. Who's in
it?
TIGHT ON THE SCREEN
The video image is not great, but it's of the killing, happening
right now in the Master's House.
INT. MASTER DOJO CONTINUOUS
The Master is getting HIT OFTEN and HIT HARD.
The Killer whirls and strikes the Master across the helmet,
stunning him.
He strikes again, and this time the Master's breastplate is CUT in
two, leaving a clean cut across his chest!
A little blood flows from the almost surgical slice.
The Killer attacks again, and SLICES the Master's helmet off,
leaving a thin cut on his face, revealing his face.
The Master STABS the Killer, but the sword does no damage! There
is a metal breastplate built into his uniform.
INT. POLICE STATION CONTINUOUS
Chuck sees the face of the Master.
CHUCK
Oh sh...! I know him! Get units to 562
Houston, right away!
Chuck gets up to run off, calling over his shoulder.
CHUCK
Copy the transmission if you can...
DONNA
I'll try.
Chuck runs off.
INT. MASTER DOJO CONTINUOUS
The Killer CUTS the Master's bamboo shiniai into several pieces.
He then lifts off his own helmet, smiling broadly.
MASTER
Who are you?
KILLER
You don't remember me? Pity.
The Killer discards his razor sharp blade and lowers himself into
a fighting position. The Master also prepares to fight, thinking
he has a better chance to stay alive without the blade.
He is wrong.
They fight, and the Killer uses the most brutal techniques in his
arsenal, and the Master doesn't stand a chance. The Killer is
about to finish him off, and stands over the Master's body.
KILLER
Who is the champion now?
EXT. STREETS CONTINUOUS
Chuck is racing through the streets, on his motorcycle, rushing to
get to the house. He SLIDES the motorcycle under a truck!
EXT. MASTER DOJO CONTINUOUS
Chuck finally rounds a corner and makes it to the house. He stops,
gets off his motorcycle, then pauses for a moment, checking in all
directions, pulls his gun, then heads for the front door.
As he approaches the front door, the front of the building
EXPLODES!
The windows and the door BLOW OUT!
Chuck is BLOWN BACK as the flames reach the sky, licking up at the
moon.
Chuck lands on a patrol car that pulls up to the front of the
dojo.
The debris falls down around Chuck in SLOW MOTION.
INT. POLICE STATION LATER
Tight on Hutchins he is calling on his cellular phone.
INT. KEN HOUSE CONTINUOUS
Ken is sleeping on his living room couch, and falls off the sofa
after a nightmare. The file Chuck gave him is all over the floor.
The phone rings, and Ken answers it.
KEN
Yeah?
INT. POLICE STATION CONTINUOUS
HUTCHINS
Ken, this is Hutch. Your instructor,
Master Tokaido, has been... killed.
INT. KEN HOUSE CONTINUOUS
Ken, on the phone, hears that it is his friend, his Master, who is
dead. Murdered. Like the others.
Ken leaves immediately, without a word.
EXT. KEN HOUSE CONTINUOUS
Ken runs out to his car, fires it up and then roars off.
EXT. POLICE STATION LATER
Ken walks into the police station.
INT. MORGUE LATER
Ken walks into the morgue and motions to the ATTENDANT to show him
a body.
KEN
Master Tokaido. Came in last night.
The Attendant nods and pulls out one of the shelves, then steps
back and leaves Ken alone with his Master.
Ken lifts the sheet and hangs his head, the anguish overcoming
him.
INT. POLICE STATION CONTINUOUS
Ken comes into the squad room, where the Chief is standing with
Chuck.
HUTCHINS
Ken, thanks for coming. Sorry for your
loss.
KEN
What do we have?
HUTCHINS
I'll let Chuck bring you up to speed, OK?
You are to work together, as partners, on
this case.
Ken nods, and Chuck smiles.
CHUCK
Glad to have you on board, Ken. I know we
can sure use the help. Why don't you come
into my office?
Ken looks at Chuck carefully, then glances at the Chief.
HUTCHINS
Talk to you later. Thanks again for
helping us out.
INT. CHUCK OFFICE CONTINUOUS
Chuck leads him in and motions for him to sit. He looks out
through the door, where the Chief is still standing, watching
them. While he is standing there, Chuck is all smiles and welcome.
CHUCK
You read the file?
KEN
Carefully.
CHUCK
And...?
KEN
You're not getting anywhere, are you?
Chuck swallows a smart ass reply, and glances at the Chief.
CHUCK
That's why you're here. To save our poor
souls. You got any ideas?
KEN
A few.
(beat)
We're dealing with a very organized
killer, someone who plans. These killings
aren't random, spur of the moment things.
He only kills who he wants to kill. Low
risk victims in low risk areas, no
witnesses everything planned out very
well.
Out of the corner of his eye, Chuck sees the Chief leave. He turns
his attention back to Ken.
KEN
His behavior reflects his personality, and
his behavior is very controlled, well
orchestrated. His M.O. exists nowhere
else. Now, I thought...
Chuck holds up his hand for Ken to stop talking.
CHUCK
Let me stop you right there... I know who
you are, Ken. You quit the force because
you were scared. I can't partner with a
guy who is going to piss himself when he
comes face to face with the enemy.
CHUCK
So, you can have all the bullshit theories
you want, and write all the stupid
reports, but stay the fuck out of my way
when it gets dirty.
He stares straight at Ken, who half expected it.
CHUCK
You got that?
KEN
Yeah. I got it.
CHUCK
Now, I'm sure they found you your own
office. I need to check out a theory, I'll
call you.
KEN
I need copies of everything you got on the
case... for my reports.
CHUCK
See a fucking secretary. Have a fine day.
Ken nods his head and walks out of Chuck's office. Chuck watches
him go, then takes a piece of paper, balls it up and shoots it at
the wastebasket. It swishes through.
CHUCK
He shoots, he scores!
INT. POLICE STATION NIGHT
Chuck is working alone, going through the piles of files and
reports.
He is looking for something, and he picks up a picture of the
Master's dojo, post explosion. He looks closely at the picture,
but isn't satisfied.
He decides he has to go back to the Master's dojo. Picking up his
jacket as he walks out, Chuck leaves.
EXT. MASTER DOJO LATER
The windows are blown out, and the door is barely closed. There is
crime scene tape around the building, still marking it as off
limits.
Chuck pulls up in front, gets off his bike, and goes inside.
INT. MASTER DOJO LATER
Chuck comes inside and begins to look around for what he needs. As
he moves through the downstairs, he senses that something is off,
wrong.
He looks around, staying still.
He's not alone. There is someone already inside the dojo!
A figure is there, walking through the crime scene, moving through
the scene, back and forth.
Chuck watches for a moment, trying to figure out what he is doing.
Finally, Chuck comes forward, to put a stop to this. As soon as he
dislodges from the shadows, the figure attacks!
A fight ensues, and both men are very skilled fighters. As they
fight, Chuck pulls out a small flashlight, and tries to light it
to illuminate the other. The other man pulls out his own
flashlight.
Finally, the flashlights come on together, and the fighters see
each other it's Ken!
CHUCK
You! What are you doing here?
Chuck flicks on a small wall light, giving some light. The windows
and door are blown out, but the place is not completely destroyed.
KEN
My job. Remember?
CHUCK
Man, you're lucky I didn't kill you!
KEN
Yeah, I'm positively blessed.
CHUCK
I thought I told you to stay out of my
way. You come over here to sneak around in
the dark.
KEN
I'm picking up impressions...
CHUCK
Well, pick up your butt on your way out,
because I'm about to kick it.
KEN
My knees are shaking.
Chuck pushes Ken, and Ken pushes him back. They start to fight
again, but before long the lights come on, blinding bright.
Ken and Chuck stop fighting and face the door, and there stands
KELLY, the Master's beautiful daughter.
KELLY
What the hell is going on here?
Chuck looks at Kelly. He pulls out his badge and flashes it to
her.
CHUCK
Police. Who are you, Miss?
KELLY
I live here.
CHUCK
The victim lived here alone.
KEN
Kelly? Is that you?
KELLY
Uncle Ken?
CHUCK
Uncle Ken?
Ken nods, and Kelly and Ken come together in a hug, as they
console each other. Kelly starts to cry, and Ken holds her.
KEN
It's OK. I'm here. This is Master
Tokaido's daughter. Adopted daughter.
Chuck, the third wheel in this situation, is uncomfortable. He
clears his throat, and Kelly and Ken break off their embrace.
CHUCK
I feel for your loss, but I'd like to ask
you some questions. How about we go down
to the station?
Kelly starts to protest.
KEN
We can talk tomorrow, Kelly. Don't worry.
Chuck shoots him a look.
CHUCK
The department will put you up in a
hotel...
KELLY
You got any leads?
CHUCK
That's what we're doing here, working on
them...
KELLY
Looked like you were working on each
other.
They walk towards the door and go out.
EXT. MASTER DOJO CONTINUOUS
They come out of the dojo, and a Taxi is waiting at the curb.
KEN
Yeah, well... Let me take you to a hotel.
KELLY
I got my own ride, and I'm staying at
Carol Hartman's. You know it, right? It
was great to see you, Uncle Ken. I'll see
you tomorrow?
KEN
You bet.
Kelly leaves, and they are alone with each other again.
CHUCK
We should have questioned her tonight,
Uncle Ken. Don't go making decisions you
don't have the authority to make.
KEN
Tomorrow's soon enough to talk with her.
CHUCK
When I'm the retired chickenshit and
you're running the investigation, you get
to make that call! Look, asshole, just
stay out of my way. I'm calling it a
night... you can skulk here all you
want...
KEN
I'm through skulking, for now...
They walk out of the house together, but not really together.
INT. POLICE STATION DAY
Ken, Chuck, Chief Hutchins and two other Detectives are talking
about the case.
KEN
There was no sign of forced entry, and the
explosion was pretty primitive gasoline
and a stick of dynamite. I didn't see a
timer, so he had to be waiting for
Detective Burke...
CHUCK
How do you know that?
KEN
I found it, skulking. He was waiting for
Burke here to come running, maybe he's
tied into our GPS system so he can track
our vehicles, and blew the place up just
before he went inside.
HUTCHINS
To cover his tracks?
KEN
To send a message the killings are
getting closer together, and he's getting
better. It's almost as if he's learning.
And, he's getting more confident, so now
he's sending us the computer notes,
taunting us... This guy is so out there
with technology, and I'm lost. I know a
computer hacker from a case a couple of
years ago. I want to go see him, get some
advice on the computer end of things.
HUTCHINS
Well, don't stand around here.
CHUCK
We're gone.
Ken and Chuck are walking out of conference room, and Kelly is
waiting on one of the benches in the squad room.
As soon as she sees them, Kelly gets up and hurries up to Ken and
Chuck.
KELLY
Uncle Ken, I've been waiting...
KEN
What are you doing still here? After the
interview, I told you go home. We'll call
you if we need anything more.
KELLY
I want to be involved.
KEN
You have to stay out of it.
KELLY
What are you talking about? This was my
dad!
KEN
Sorry, Kelly. Go home, and I'll call you
when I know something.
(softens)
Really, Kelly. Go home.
Ken and Chuck walk away.
CHUCK
Man, she's got guts, asking to work with
us.
Chuck is impressed with Kelly, and looks over his shoulder at her.
INT. CAR LATER
Ken and Chuck are in a squad car on their way to the Hacker's
house. Ken is looking at the stores along the way.
CHUCK
You tag along with me, you play by my
rules.
(no answer from Ken)
So, you and Kelly have a thing going?
KEN
With Kelly? She's like my own daughter!
(beat)
Oh, I get it. I don't think you're her
type.
Chuck looks at him strangely for a moment.
CHUCK
Oh, really? Why? Because I'm black?
KEN
No, because you're an asshole.
CHUCK
Well, at least you're not a racist.
KEN
Justice lives around this corner.
Chuck parks the car, and they get out.
EXT. STREETS CONTINUOUS
Ken and Chuck are on their way up to the door of Justice's place.
CHUCK
He dangerous?
KEN
Only if you're allergic to poor hygiene.
CHUCK
You just follow my lead...
KEN
I'll watch the back door, just in case.
They round the corner, and Chuck leads the way into an apartment
building.
INT. COMPUTER HACKER HOUSE MOMENTS LATER
The CAMERA does a SLOW PAN across the room. It is very dimly lit,
with the only real light source coming from four or five computer
monitors at one end.
The place is a pit, filled with dirty clothes, trash, books,
notes, papers and everything else you can think of. Lots of Star
Trek, Deep Space Nine, Alien stuff adorns the walls, floor and
furniture.
At one of the black, oversize monitors sits JUSTICE, an overweight
man with thick glasses. He is holding a bottle in front of
himself, relieving himself. He then types on his ergonomic
keyboard, and talking to himself while he does.
He SLIDES his chair over to another computer, slides a CD-ROM into
the machine, and starts another program.
JUSTICE
I bet you're hot, aren't you?
COMPUTER VOICE
Shall I take off my top?
JUSTICE
Yeah, baby, you should definitely take off
your top.
INSERT ON SCREEN
Justice clicks his mouse on the sexy girl's image, and the top
disappears. Justice laughs, and a KNOCK is heard O.S.
JUSTICE
Damn! Don't cool off! I'll be right back.
Justice gets up and goes to the door.
JUSTICE
Who is it?
CHUCK
Police. I need to ask you some questions.
JUSTICE
What kind of questions?
CHUCK
Just open the door, Sir.
JUSTICE
Just a minute.
He looks frantically around the room, trying to figure out what to
do. He looks over at the window, its shades drawn, and makes up
his mind.
JUSTICE
Be right there.
Justice grabs his bag off the floor and heads for the window. He
throws open the shades and slides the window back, then starts to
climb out. Before he gets too far, however, Ken's face comes INTO
FRAME, next to Justice.
KEN
Detective O'Hara here, Justice. Remember
me? You going somewhere?
Justice swallows hard and then edges back through the window. Ken
follows him back in and then opens the door for Chuck.
KEN
You looking for him?
Chuck, pissed off that Ken has the upper hand, grabs and pushes
Justice into the middle of the room.
CHUCK
You messed with the wrong guy! You're
coming with me!
JUSTICE
For what? I didn't do nothing!
CHUCK
Pack some petroleum jelly, computer boy.
You're gonna need it!
Chuck grabs him by the lapels and PROPELS him across the room,
SLAMMING him into the wall.
CHUCK
Don't play dumb! You did it!
JUSTICE
You mean the bank computer? I didn't do
anything...
CHUCK
Of course you didn't!
He SLAMS Justice against the wall again.
KEN
I'm sorry, Justice. Detective Burke and I
don't necessarily see eye to eye.
(beat)
Burke, I need his help with my
investigation.
JUSTICE
I'll help you! I'll help you!
CHUCK
Shut the hell up! No way this scumbag is
getting out of this!
KEN
C'mon, he said he'd help. You'll help,
right?
JUSTICE
Yeah! Yeah! Whatever you need!
Ken smiles at Chuck, and they make eye contact they work well
together.
KEN
Let's sit down.
They sit down, and Ken notices the virtual vixen on the computer
screen. He touches the keyboard and she says
COMPUTER VOICE
Take off my panties...
CHUCK
Cool! Hey, man, what button did you push?
KEN
Can you trace e-mail, graphics files and
other messages? These were sent to the
station.
JUSTICE
Sure. It's not hard.
Ken takes a couple of diskettes out of his pocket and hands them
to Justice.
Chuck, meanwhile, is looking at the desk and the apartment in
general. There is a big bottle, like a Thermos, under the table.
He picks it up, hefting it.
CHUCK
You live like a slob, man. How can you
stand it?
Justice pops one of the diskettes in and closes down the erotic
program.
JUSTICE
Later, baby. Wait for me.
He pulls up the first file and scans it quickly.
JUSTICE
There's no return address. Can't do it. I
have nothing to work from...
CHUCK
(holding up the bottle)
What's this for?
JUSTICE
That's for my all nighters, so I don't
have to leave my computer.
CHUCK
Coffee?
JUSTICE
Urine.
Chuck drops the bottle back onto the floor, making a disgusted
face and rubbing a handkerchief over his hands.
CHUCK
Man, you nasty!
An alarm on the computer SOUNDS:
JUSTICE
Watch, I can trace this message, cause
it's coming in right now.
He opens up the piece of mail, and a picture of a moon fills the
screen, then blood starts to flow on it.
JUSTICE
What the hell...?
He checks the message, and it is not addressed to him.
JUSTICE
Your name Ken O'Hara?
KEN
Yeah.
JUSTICE
This one's for you.
Ken and Chuck share a look.
CHUCK
How could anyone know you're here?
A text message scrolls down the screen. Justice clicks on the
"Reply" button, then slides his chair to another computer. He
flicks on a printer, so that everything that comes in is printed
out, and throws a storage tape into a machine.
JUSTICE
Keep him "talking" type what you want to
say then hit return. I can trace him from
here.
Ken is still scanning the text.
KEN
Holy shit. It IS him.
JUSTICE
Do it! Lose the connection and I lose him!
KEN
(typing)
Who are you?
Justice clicks on a voice box, and as the text comes in, a
computer voice "reads" it.
COMPUTER VOICE
You don't know?
KEN
What the hell was that?
JUSTICE
Speech synthesizer.
KEN
I have an idea.
(typing)
Can you prove who you say you are?
COMPUTER VOICE
How's this?
A picture fills the screen. One of the dead bodies. It is
instantly replaced by another dead body. And another.
JUSTICE
Holy shit! I almost got him! Keep him
going!
KEN
Why are you killing?
COMPUTER VOICE
It's a game to see who will win you two,
or me. Yes, I know Chuck Burke is with
you.
CHUCK
He knows I'm here? Hell, he knows
everything!
JUSTICE
Got you, you son of a bitch!
CHUCK
Where?
JUSTICE
Beijing? No wait, Tainan, Taiwan. No,
that's just a blind... Anchorage, Los
Angeles... This guy is GOOD.
Justice's hands race over the computer keys.
JUSTICE
I'm printing all this out. Moscow, Berlin,
man, even I couldn't do this...
KEN
You gonna find him or what?
JUSTICE
Getting there. Miami, Harrisburg, hold
on... Bingo! Last location, 843 S. Main,
#2A. That's...
CHUCK
Right around the corner. Let's go!
Chuck rips the paper from the printer, and Ken and Chuck run out
of the apartment.
KEN
Keep talking to him!
Justice slides his chair back to the original computer, and types
a message.
EXT. STREETS CONTINUOUS
Chuck and Ken come BOLTING out of the apartment and take the steps
outside four at a time, running as fast as they can.
Chuck and Ken race each other down the street. One gains the lead,
then the other.
Ken takes a corner quicker than Chuck, then Chuck beats him in the
straight.
They are hurrying to the address, but they also want to win this
race.
CHUCK
This way!
KEN
Wrong!
They split up at an intersection, and as soon as Chuck leaves, Ken
hops onto the back of a truck, taking him down the long length of
straightaway.
At the next intersection, he hops off and sprints down to the
address, getting there a BEAT before Chuck gets there.
Ken is not nearly as winded as Chuck, who is gasping as he tries
to catch his breath.
CHUCK
You're pretty quick, for an old, retired
dick.
They go up the steps to the apartment.
KEN
You forgot "chickenshit"...
CHUCK
I wasn't done...
INT. APARTMENT COMPLEX CONTINUOUS
They get to the top of the stairs, and stand panting outside the
door, looking at each other. Chuck pulls out his gun, Ken does
not. Chuck looks at him strangely.
CHUCK
Where's your gun?
KEN
Don't use one.
CHUCK
Why the hell not?
KEN
You ready?
CHUCK
We gotta have a plan.
KEN
I kick the door down, you go in first,
secure the room. I cover your ass.
CHUCK
That's the plan? White bwana without a gun
covering my ass?!? I'm gonna kick the door
down.
KEN
Why?
CHUCK
It's your idea, that's why. See you guys
always sending the brothers in first. I
don't think...
KEN
OK, let's do it together. One... Two...
Before he gets to three, Ken KICKS the door in and yells
KEN
POLICE! FREEZE!
Chuck CHARGES into the apartment.
INT. DRUG APARTMENT CONTINUOUS
Chuck is in first, sweeping the apartment with his gun. He has his
gun on a group of SIX OR SEVEN DRUG DEALERS, who are standing in
the middle of the room, transacting some business.
CHUCK
Nobody move! Where's the computer? Unless
you're growing, you better sit your ass
down.
Nobody answers him.
CHUCK
Where the fuck is it?
There is still no response from the Dealers. They have no idea
what they are talking about and they are looking at the door
like they are expecting more police to come in.
CHUCK
Go check in the back. I got these guys.
DEALER
Who you talking to?
CHUCK
Shut the hell up! Take the back.
Chuck looks around the apartment, still keeping his gun trained on
the drug Dealers.
DEALER
You're all alone, my friend.
Chuck smiles, thinking that it is a scam, and he looks to where
Ken is supposed to be.
He is not there!
Chuck looks back at the door, and it is open and empty.
CHUCK
Ken?
DEALER
Where's your backup, Detective?
CHUCK
Shut up! I got your backup right here!
The Drug Dealers in the room, relax, realizing Chuck is seriously
outnumbered.
REACTION SHOT ON CHUCK
Who cannot believe that his partner deserted him.
CHUCK
That chickenshit son of a bitch!
Suddenly, a gun is pointed at Chuck's head from behind and to the
side. There was a guy BEHIND Chuck, where Ken was supposed to be!
DEALER
Seems like your pal left you all alone,
amigo.
CHUCK
He's not my pal. Look, you guys, I've got
two S.W.A.T. teams on their way up here
right now!
DEALER
I don't think so, dipshit.
CHUCK
How about one S.W.A.T. team and a K9 unit?
DEALER
Say goodbye, asshole!
KEN
Goodbye, asshole!
Suddenly, Ken appears from behind the Dealer and disarms him, then
the real fight begins. Ken and Chuck battle them in the apartment
and together they are a force to be reckoned with and the
Dealers are no match for them.
CHUCK
What took you so goddamn long?
KEN
I was waiting for the right moment...
CHUCK
I could've been killed!
KEN
I wouldn't have waited THAT long!
They finish the Dealers, handcuff them together. Chuck uses the
apartment phone to call for pickup.
CHUCK
Yeah, pickup at 843 S. Main, #2A.
(to Ken)
Thanks, man.
KEN
It was the least I could do.
Chuck motions to the back of the apartment.
CHUCK
We gotta check for the computer...
KEN
Not there. No computer.
CHUCK
You took the time to look?
Ken walks out of the apartment and Chuck follows.
CHUCK
Let me get this straight... 7 to 1, and
you LOOKED for the computer?
EXT. DRUG APARTMENT CONTINUOUS
KEN
Yeah. I did. Get over it! Find it.
They start down a hallway when Chuck hears something, coming from
behind a closet door.
COMPUTER VOICE
Cop assholes! Cop assholes! Cop assholes!
CHUCK
What the hell?!?
Ken is there, and they are both standing outside the door.
COMPUTER VOICE
Cop assholes! Cop assholes! Cop assholes!
Ken nods at Chuck, and Chuck trains his gun on the door. Ken
flings it open and Chuck gets ready to fire at...
A laptop computer, on the floor of the closet, hard wired to the
telephone system.
The laptop begins to shuffle a series of images, all of them of
Ken and Chuck, separate or together.
COMPUTER VOICE
You flatfoots are out of your league. Give
up or get dead! See you soon.
TIGHT ON COMPUTER
It runs a video from the Keystone Cops, and the message isn't lost
on Chuck and Ken.
Then the computer EXPLODES in a flash!
EXT. APARTMENT COMPLEX STAIRS MOMENTS LATER
Ken and Chuck, loaded down with the burned out laptop computer and
other paraphernalia, come walking down the stairs. They get into
their car, and drive off.
EXT. STREETS MOMENTS LATER
Ken drives off, and as he drives along, he spots a car following
them. He ROARS off, and the car behind follows suit.
EXT. BROOKLYN BRIDGE CONTINUOUS
Ken's car moves across the bridge, with the other car following.
INT. SQUAD CAR CONTINUOUS
CHUCK
What the hell are you doing?
We need to expand this dialogue, give them more to talk about.
Chuck could be complaining about things, and Ken isn't even
listening.
KEN
We've got company...
He continues driving, FAST.
EXT. STREETS CONTINUOUS
Ken speeds around a corner, then takes another corner fast. The
other car follows quite closely.
Ken's car rounds another corner, and then comes to a stop,
blocking the street.
The other car SCREECHES to a stop, and Ken is immediately out of
his car and at the driver's side door.
It's Kelly!
KEN
Kelly! I thought I told you to go home.
KELLY
I have to do something.
CHUCK
This is police business...
KELLY
Save it, Burke. It's not illegal to follow
you guys!
KEN
Stay out of our way!
Ken and Chuck walk away to their car, while Kelly goes to hers.
They drive off, and Kelly follows.
EXT. STREETS LATER
Ken and Chuck are driving around, following up leads, and Kelly is
following them.
EXT. STRIP BAR LATER
Chuck and Ken pull up to a XXX Strip Bar, and get out of their
car. Thinking that Kelly won't follow them in, they slap hands and
go inside.
Kelly pulls up, thinks for a minute, then gets out of her car and
follows them in.
INT. STRIP BAR CONTINUOUS
Ken and Chuck think they are slick, walking through the dim strip
bar. Two STRIPPERS are up on stage, bumping and grinding, and a
group of low lifes are crowded around the beat up bar.
Then, the door opens again and Kelly comes in! She walks right up
to Ken and Chuck, watching the strippers.
Ken and Chuck react to her, then walk away from her a little bit.
KELLY
You come here a lot, Uncle Ken? I thought
you said you were going to church...
A group of THUGS sit up at attention, watching Kelly.
KEN
I'm getting real tired of this follow the
leader shit.
They start to walk out of the bar.
KELLY
Uncle Ken, don't leave yet! These girls
still have their pasties on!
Ken doesn't even turn around while he walks toward the door. A
group of THUGS watch Kelly carefully as she follows Ken and Chuck.
The Thugs start towards Kelly, cutting her off. Chuck sees this
and gets ready to help her out.
CHUCK
Shouldn't we...?
KEN
She won't need it. Let's go back to the
car...
The Thugs start to bother Kelly, and all she is trying to do is
get through them to continue following Ken and Chuck. Two
conflicting desires, and the inevitable happens a fight starts.
CHUCK
But...
KEN
She doesn't need your help, Chuck. It
won't last long. She's a former national
champion!
She handles them, Kelly is truly masterful, and just before it's
over, Ken and Chuck head out the door.
Excited by Kelly's fight, a whole group of bar patrons have also
started a fight, and Kelly can't get through the punching and
hitting.
Kelly finishes up her fight, and goes to the front door. On her
way, she is forced to hit and knock out a couple of other guys.
EXT. TIMES SQUARE STRIP BAR LATER
Kelly comes out of the strip bar and sees Ken's car pulling away.
There's no way to follow them now.
KELLY
Damn it!
INSERT: Over the Shoulder shot of the Killer, who is watching all
of this.
INT. POLICE STATION NIGHT
Ken and Chuck are back in Chuck's office, tremendously pissed off.
They are both bitching and moaning.
KEN
He's staying a step ahead of us.
CHUCK
I want to find this bastard so bad!
KEN
He's got to be leaving something behind
everyone makes mistakes.
CHUCK
Not this psycho, not yet.
KEN
Check the print-out, maybe we missed
something...
Chuck pulls out the computer paper.
CHUCK
It's all the standard stuff... you talking
to him, him baiting you. He's got a wit,
this one.
KEN
Don't give him too much credit, OK? Don't
give him a personality. Serial killers fit
a profile white, 30s and 40s, certain
definable experiences, child abuse,
deviant sexuality...
CHUCK
Just making conversation, man. Spare the
profiling lecture, OK?... Hold on, I never
saw this before.
KEN
What?
CHUCK
The last line of his message. "Say goodbye
to Jim, Gene and the Heroes. There's blood
on the moon." What the hell does that
mean?
KEN
Got me. The ranting of a lunatic mind.
CHUCK
Maybe they have something in common? Jim
Nabors, Gene Hackman, Hogan's Heroes.
Nothing there.
KEN
You mind works in weird ways. Jim Carrey.
Carrey Gene. Carrey's heroes?
CHUCK
He's going after someone named Carrey?
KEN
Shit, this is nuts. C'mon, let's get
something to eat.
Chuck picks up the phone.
CHUCK
I'm gonna check on Kelly...
KEN
Ok. I can feel the son of a bitch laughing
at us...
Ken gathers up his stuff, then stops.
KEN
Wait a minute. Kelly!
CHUCK
Yeah. I'm checking on Kelly.
KEN
Jim Kelly, the guy from "Enter the
Dragon," Gene Kelly, and Kelly's Heroes.
KEN
He's going after her... While we're
chasing his ghost...
INT. KELLY APARTMENT CONTINUOUS
The phone is ringing, but there's no one home.
INT. POLICE STATION CONTINUOUS
CHUCK
There's no answer!
They run out of the station.
INT. KELLY APARTMENT LATER
Kelly comes into her apartment, puts down her things.
She goes into the kitchen and puts on a pot of tea, then decides
to get a shower.
Kelly goes into the bathroom and starts to undress.
The Killer, however, is already in the apartment and stalking her,
but she doesn't know it.
The Killer is getting closer, but she still has no idea.
When the Killer is just about to go into the bathroom, about to
strike...
The door THUNDERS once, then EXPLODES inside.
Kelly grabs a robe, and rushes out of the bathroom.
As she leaves the bathroom, the Killer goes into the bathroom!
The Killer is now gone, with no sign to say that he was there.
It's just Ken and Chuck, crashing into her house.
KEN
You OK?
KELLY
What the hell do you think you're doing?
KEN
Check the back, I've got this side.
They split up, carefully checking the rooms. No one is there, and
Kelly is furious.
KELLY
You can't just barge in like this...
KEN
We thought you were in danger...
Chuck comes back to the main room.
CHUCK
All clear.
KELLY
I'm not in any danger, except from you
guys.
CHUCK
You should put on some clothes or you're
in danger of catching a bad cold...
Kelly punches Chuck in the gut, doubling him over.
KELLY
It's not funny!
KEN
You're right, but we got a message from
the Killer and he said you were next. We
got over here as soon as we could.
Ken holds up the computer print-out, then throws it down on the
couch.
CLOSEUP of print out on the couch.
KEN
He got us again, chasing our tails.
CHUCK
We were here to save you, you know...
KELLY
You were?
KEN
Yeah.
KELLY
OK. Do me a favor, will you?
CHUCK
Sure.
KELLY
Knock next time. Now, get the hell out of
here.
Kelly just stands there, staring at them both, pointing at the
door.
CHUCK
We'd love to stick around, but we gotta
get going. Right, Ken?
KEN
You got my pager number?
KELLY
Yes, Uncle Ken. I have all your numbers.
She shepherds them out, then closes the door behind them, shaking
her head.
KELLY
Too damn macho.
She starts go back to the bathroom, to continue her shower,
unaware that the Killer is waiting for her inside.
As she gets to the threshold of the bathroom, the teapot she put
on WHISTLES.
Kelly stops and goes toward the Kitchen.
She takes the whistling teapot off the hot burner, and when she
turns around, the Killer attacks!
The Killer and Kelly fight. Kelly is good, but she is no match for
the Killer.
Kelly is losing, and if she doesn't turn it around, she is going
to be killed.
EXT. KELLY APARTMENT HALLWAY CONTINUOUS
Ken and Chuck are walking down the hallway, back to her front
door.
KEN
I can't believe I left that printout
behind.
CHUCK
No shit, it's evidence.
Ken is about to just open the door and walk in, but Chuck stops
him.
CHUCK
Eh, eh, eh. I wouldn't do that. We gotta
knock first.
KEN
Right.
He knocks lightly, worried about disturbing her.
INT. KELLY APARTMENT CONTINUOUS
The fight is raging. They break some things in the kitchen, and
the sound is LOUD.
EXT. KELLY APARTMENT HALLWAY CONTINUOUS
They hear the sounds of the fight within, look at each other, then
BURST through the door.
INT. KELLY APARTMENT CONTINUOUS
They come in and see the Killer fighting with Kelly.
Immediately, the Killer SLAMS Kelly through a window, then takes
off, past Ken and out the door.
Ken gives chase, while Chuck goes to check on Kelly.
EXT. APARTMENT HALLWAY CONTINUOUS
The Killer is in the hallway. Ken gives chase and the Killer and
he fight in the hallway in front of a vending machine.
Chuck comes out and draws his gun. The Killer uses the vending
machine as a shield, and forces Chuck back into the apartment.
Chuck gets a couple of shots off, but they bounce off the vending
machine.
The Killer goes out the window and down the fire escape.
EXT. APARTMENT COMPLEX CONTINUOUS
Ken comes out on the fire escape at the 7th floor, and the Killer
is already on the 3rd floor. Ken comes down a pipe, sliding like a
fireman.
They fight on the fire escape.
The Killer swings and SLAMS into a metal trash can, echoing with a
metal on metal SOUND.
Chuck comes onto the 7th floor landing, and pulls his gun.
He squeezes off a couple of shots, but the shots miss.
The Killer jumps through the window onto the 3rd floor.
INT. APARTMENT 3RD FLOOR HALLWAY CONTINUOUS
The Killer runs down the hallway, and goes into an apartment,
breaking down the door.
Ken gives chase.
INT. STRANGE APARTMENT CONTINUOUS
The Killer is inside, and he goes THROUGH the apartment window,
landing on a truck going by outside.
Ken, stunned, has no choice he tries the same thing, following
the Killer almost at the same time.
EXT. STREETS CONTINUOUS
The Killer lands on the moving truck, and Ken stops himself,
hanging outside the window.
ANGLE ON KEN
Ken is hanging in mid air as the truck moves away.
ANGLE ON KILLER AS HE DRIVES AWAY
KILLER
It's not your time yet, Detective O'Hara.
Chuck runs up to where Ken is hanging, and helps him back into the
apartment.
KEN
He could've killed me. Said it wasn't my
time...
Chuck helps Ken up, and walks him carefully out of the street.
INT. POLICE STATION DAY
Ken and Chuck are sitting at their new computers, marveling at
what they can do. Justice is standing there, after having
installed them.
CHUCK
Yes! You put the naked ladies on this one?
JUSTICE
Just trying to make you happy, Detective.
Gotta run! Hey, who's the babe?
They turn and see Kelly walking in. She stops in front of them.
KEN
Kelly! What are you doing here? Where's
the uniform assigned to protect you?
KELLY
I'm working on this case with you, Ken.
I'm a target, where would I be safer than
with you two? Take me along or I'll just
follow you. You know that, Uncle Ken.
Chuck looks to Ken for confirmation. Ken nods reluctantly.
CHUCK
She's got a point. She's a target now.
KEN
Promise to stay out of our way?
KELLY
You got it, Uncle Ken.
CHUCK
Promise you won't ever call me Uncle
Chuck?
Kelly nods.
CHUCK
Cool. Let's run through the victim list
again.
They go over to where all the victims are tacked up to a bulletin
board.
EXT. STREETS DAY
A MONTAGE of the three of them following up clues together. As
they are walking down a street, Ken spots a small specialty shop,
and motions for Chuck and Kelly to wait for a second.
KEN
I'll be right back out.
He goes inside, points to something in the window, and pays for
it. He comes right back out.
KEN
(sheepishly)
My daughter, Lauren, she loves little
pins. This will look cute on her...
TIGHT ON PIN
CHUCK
That's cute. I have one just like that at
home...
They continue walking.
INT. CHINESE MEDICINE STORE DAY
Ken, Chuck and Kelly walk into a Chinese medicine store, and we
can see them walking around inside, talking to the OWNER.
EXT. FAKE SHAOLIN SCHOOL DAY
Ken, Kelly and Chuck go into a fake Shaolin Temple-like school.
INT. MARTIAL ARTS SCHOOL DAY
Ken, Chuck and Kelly pull up in the squad car, and walk inside the
Chinese school, which is filled with kids. They ask the INSTRUCTOR
some questions.
INT. POLICE STATION DAY
Kelly and Chuck are working together on one computer, and we can
tell that Chuck is interested in Kelly through his actions in this
montage.
Ken is working with photos and X-rays of the wounds of the
victims. He is measuring the wounds, and comparing them with the
metal trash can on his desk (from the encounter with the Killer).
The wounds on the pictures match up with the dent in the trash
can.
EXT. PRISON DAY
Ken, Chuck and Kelly walk up to the front of the prison and go
inside.
EXT. STREETS DAY
Ken, Chuck and Kelly are walking along the street. Someone comes
up to them, map in hand, and asks for directions. They give him
the directions, and the man thanks them, then walks away. When he
gets a little ways away, he turns around and looks back.
It is the Killer, smiling!
We FREEZE FRAME.
INT. RESTAURANT NIGHT
Ken and Chuck together, sitting at a table in a restaurant. They
are just relaxing, fooling around. Chuck is doing a magic trick,
and Ken is laughing as Chuck makes the water disappear in a glass
right in front of his eyes. They haven't completely become great
friends, but they are getting there.
KEN
He didn't spring from nowhere. This guy
had to have trained. He's too good!
CHUCK
No one teaches killing people.
KEN
He's testing different killing methods. We
believe the arts effectiveness, but he's
actually trying it out. He's got a list of
victims...
CHUCK
And we just made the top forty.
KEN
I've got the feeling that he's almost
done. I just wish we knew the sequence.
Who was next.
He pauses for a BEAT, looking into his glass of beer.
CHUCK
Why'd you quit, Ken?
Ken looks at him for a long moment, trying to measure why Chuck is
asking.
Finally, he sighs and resigns himself to telling the story, maybe
for the very first time.
KEN
I was working serials, like you. I tracked
the bastard, got inside his head, he had
killed 10 by then, and I took him down.
But I had seen too much, done too much. I
just never wanted to experience that kind
of evil again. Didn't want it in my
life...
CHUCK
He messed you up pretty good, right?
KEN
Almost killed me. Killed my marriage too.
I'm trying to salvage it, but... you saw
for yourself...
Chuck nods, remembering the scene at Ken's house.
CHUCK
I was married, long time ago. When I was
in the academy. It ended badly, and I
blamed it on the job, but that wasn't it.
I just didn't try hard enough.
KEN
Too bad.
CHUCK
I don't know much about you, Ken, but you
don't seem like the kind of guy to give
up. Am I right?
KEN
Yeah, I guess.
CHUCK
Then, you shouldn't give up on your
marriage, man. To this day, my only regret
is that I didn't save my marriage, when I
could have. All I had to do was call
her...
They sit in silence for a moment.
CHUCK
All you have to do is call her.
KEN
How is this parable about you suddenly
about me?
CHUCK
The moral of the story is just give her a
call, see if you can save it. You got the
chance. Take it.
KEN
Maybe I will.
CHUCK
You've got motive, and you've got
opportunity. You're guilty.
He points to a line of phones at the back of the bar.
Ken looks at the phones, then back at Chuck.
KEN
You know nothing about me.
CHUCK
Don't want to know any more. Believe me.
Chuck produces a coin from Ken's ear.
CHUCK
Tell you what. Here's an ordinary quarter.
If it lands heads, you call her. Deal?
Ken nods, and Chuck flips it. It comes up heads, and Ken loses.
Ken nods, grabs the coin from Chuck, going to the phones. Ken
starts to put the coin in the slot, then realizes it is a two
headed coin. He smiles and throws the coin back to Chuck, then
digs a quarter out of his pocket and dials.
KEN
Megan? It's me. Can we get together and
talk?
Ken looks over his shoulder at Chuck, who is still looking at him.
KEN
Yeah, all of us. I want to try.
Kelly walks into the restaurant, carrying some packages. Chuck
hands her a glass of wine and toasts.
KELLY
To what?
CHUCK
To true romance!
They share a toast, with Ken in the b.g.
EXT. CITYSCAPE MORNING
The moon is setting, and the sun is rising. The sky is blood red.
EXT. RIVERFRONT MALL LATER
Ken, Megan and Lauren are walking together. Ken and his wife are
talking, while Lauren is watching all the activity.
Shots of: Ken and Lauren playing video games
Ken and Megan watching Lauren play a game
Eating some cotton candy
Playing volleyball on the beach.
Bumper cars.
Shopping
Trying on goofy hats, etc.
As they are walking, Ken stops, remembering the pin. He gives
Lauren the pin he bought while with Chuck, putting it on her
sweater.
MEGAN
You seem different, Ken. Well, not
different, more like the old Ken.
KEN
I told you, I'm trying...
They continue walking around the mall, and Ken and Megan hold
hands.
EXT. BOARDWALK EVENING
It's the end of the day. Lauren is bouncing in the amusement area
behind them, while Ken is walking with Megan. Megan spots a bench.
MEGAN
Can you sit for a little while, please?
KEN
I'd like that.
They sit down on the bench, side by side. They both want to talk,
but neither knows how to begin. Ken is playing with the pin he
gave Lauren, which is on the sweater she is wearing.
KEN
Megan... I know it's been tough, and I
haven't been trying hard enough. I want to
change that.
MEGAN
You know, it was never about not loving
you.
Ken looks at her, surprised. He thought she had stopped loving
him.
KEN
I don't know how to explain it. I... just
shut off the world...
MEGAN
You shut me out, and I can't, I refuse, to
live like that.
KEN
It was the biggest mistake I ever made. I
won't do that again I need your support,
all the time.
MEGAN
You have it. You always have.
KEN
So, what do you say? Can we live together,
a family.
MEGAN
I want to try.
KEN
Me too. How about moving back in this
weekend? I'll try to free up from this
case to help.
MEGAN
Sounds like a plan. Lauren would love to
move back home...
KEN
How about you?
MEGAN
Yeah, me too.
Ken and Megan share a tender, beautiful kiss.
Lauren runs up and is overjoyed by the sight of their kiss.
Lauren smiles happily, content.
In the middle of this kiss, Ken's beeper goes off.
KEN
Damn!
He looks at the beeper, and clicks it off.
KEN
Sorry.
MEGAN
That's OK. Comes with the territory.
KEN
Don't forget! This weekend.
MEGAN
This weekend. Be careful.
KEN
You got it.
He hands Lauren over to Megan, and they sit on the porch, watching
him go. Megan kisses Lauren on the forehead, and smooths her hair.
INT. OFFICE LATER
Ken, Chuck and Kelly show up at the crime scene. Ken and Chuck
immediately take control of the situation, while Kelly hangs back.
The body is on the floor, covered with a sheet.
CHUCK
Talk to me.
OFFICER
Another one, Detective. No weapons, no
prints, no witnesses, nothing.
While Chuck is talking to the Officer, Ken is looking around the
crime scene.
Chuck lifts the sheet off the body, grimaces, then puts it back.
OFFICER
Oh, there's something written on the
floor. I couldn't make it out...
CHUCK
Thanks. We'll look around for a while.
Chuck and Ken immediately look at the blood pooled around the
body. There do indeed seem to be letters scrawled on the ground,
in the blood.
CHUCK
Can you read it?
KEN
No. You?
CHUCK
It looks like a "C" and an "A..."
(to photographer)
Get some good shots of this, and blow them
up for me, OK?
The Photographer nods.
Kelly is off at the back of the room, and she notices the picture
frames knocked off the wall. She bends over and carefully, wearing
gloves, places them back on the wall. One prominent picture is
missing, and there is blood on the wall where it was.
KELLY
What do you make of this? There's blood on
the wall.
Now he's interested.
CHUCK
The mystery picture. Who do you think is
in it?
KEN
Get a shot of the wall, and as soon as the
scene is processed, get these pictures
over to the office too, OK? You did good,
Kelly.
INT. POLICE STATION DAY
Ken, Chuck and Kelly are together in a large meeting staring at
the pictures of the crime scene.
One of the pictures, blown up very big, is the letters written in
the blood. It's obvious that the letters are C-H-A. On a bulletin
board next to the pictures they are writing out all the possible
"Cha" words.
CHUCK
I tell you, he's trying to write the
Killer's name.
One list is possible last names (like Champlaign, etc.). They have
a phone book out opened to the CHA pages.
Kelly reads the list of "ch" names:
KELLY
Chamberlain. Chambers. Chambless.
Chameleon...
KEN
It doesn't ring right.
CHUCK
He's not writing Champagne, that's for
sure.
Kelly pulls out a dog-eared dictionary, and leafs through the
pages.
KELLY
Maybe he's spelling something else.
Chamber, chamberlain, chambermaid...
KEN
The chambermaid did it...
KELLY
Chamber music, chambray, chameleon...
chamfer, chaoisa, chamomile, champ,
champagne, champion...
KEN
Wait a minute!
CHUCK
Champion! Son of a bitch!
KEN
It was right here the whole time.
KELLY
What?
CHUCK
All the victims were or are champions.
He's killing them all.
He goes to the victims' photographs on the wall.
CHUCK
Boxing. Wrestling. Tough Man. Karate.
Kendo. Kickboxing. Shit! These are all
champions but they wouldn't have fought
each other. They have their own
competitions.
Ken is silent for a moment, then raises his head to look directly
at Chuck.
KEN
They fought together once.
CHUCK
Huh?
KEN
Yeah, and the link is her father, my
instructor.
CHUCK
What are you talking about?
KEN
You hear of the Master's Challenge?
CHUCK
Damn it!
KEN
Remember the tag line?
KELLY
"The Tournament of Champions"
They look at each other. They've made the connection, now they
have to find the killer.
CHUCK
I've got some magazines with those
pictures in it.
He pulls a magazine out of his drawer, and leafs through it. He
finds the picture he was looking for.
CHUCK
Here it is!
KELLY
That's it. This is the photo from the
Master's Challenge.
CHUCK
Recognize anyone?
KEN
Most of them are staring at steel, in
drawers at the morgue. Think our boy is in
this picture?
INT. POLICE STATION LATER
The picture from the Master's Challenge is blown up very big and
tacked up on the wall. Six of the Champions are already dead, and
there are two left.
Ken goes up to the blown up picture, with a red pen in his hands.
As he says the name of each victim, he puts a red CROSS across
their faces.
KEN
Eddie Cunningham, boxer. Victim. Dutch
Schultz, tough man. Victim. Kurt McKinney,
point Karate. Mark Cramer, Kickboxing,
victim. Master Tokaido, victim. Kevin
Haley, Judo, victim.
Ken circles two of the heads, men not accounted for.
KEN
Who are these guys?
Chuck comes into the room, a file in his hands.
CHUCK
The first guy is Chad Atkins, kung fu
stylist, disqualified during the
Tournament of Champions for excessive
contact. Broke some poor guy's ribs.
KEN
I like him so far.
CHUCK
Don't fall in love, it'd be a tough
arrest. Computer says he died in a car
accident three years ago.
KEN
Shit.
Just then, Chief Hutchins comes into the room for an update.
HUTCHINS
So, what's the story?
CHUCK
Six murdered.
CHUCK
Of the remaining two in the picture, one
is dead, car crash, confirmed.
KEN
That leaves this guy, Willie Namath. He
fits the profile age, height and weight.
Kelly, you recognize him?
KELLY
No. It happened too fast, and... I don't
know...
CHUCK
This Namath guy has a sheet you wouldn't
believe. He's been picked up a bunch of
times for assault, and even did time for
assault with intent to kill.
KEN
No model citizen.
OFFICER
It gets worse. We had him here last month
on something unrelated. Couldn't hold
him...
KEN
Fuck me...
CHUCK
We won't let him go this time.
HUTCHINS
He's our guy, right?
CHUCK
Everything points to him, Chief.
HUTCHINS
Let's get him. I'll set up the strike
team.
KELLY
I don't know. Something isn't right...
Nobody listens to her. Chuck and Ken grab their guns and are
getting ready to leave. Kelly goes out with them.
EXT. POLICE STATION LATER
Ken and Chuck are hurrying down to the squad cars, Kelly in
pursuit.
They get to the car, ready to hop inside.
KELLY
Do I get a gun?
Ken turns around, shocked that she is even there.
KEN
Sorry, Kelly. You can't go along. You'll
have to stay here until we find this guy.
KELLY
You said yourself I was safer with you
two.
CHUCK
Yeah, but we're walking into the valley of
the shadow of death here. We won't be able
to protect you.
KELLY
You know I can take care of myself.
KEN
Discussion's over, decision's been made.
It's for your own good, Kell.
KELLY
Right. That must be why I feel so good.
KEN
Let's go.
Chuck and Ken leave, and Kelly stays behind, fuming. She is not
happy with the situation. She watches them leave.
We STAY on Kelly, as she watches out the window.
EXT. POLICE STATION MOMENTS LATER
Cops are loading up into squad cars, their lights flashing.
Kelly, despondent, walks off in a completely other direction. She
does NOT go back into the police station like they asked her to.
We HOLD ON Kelly as she walks off.
EXT. KEN HOUSE LATER
A U-Haul pulls up in front of Ken's house. Megan is driving, and
she gets out, then goes to the passenger side. Lauren gets out,
and they start to move their things back into Ken's house.
Their house, again. She pulls out a cellular phone and dials it,
sending a page to Ken.
EXT. GUY HOUSE LATER
Ken and Chuck are outside the house, backed by a SWAT team in the
yard, and around the sides.
Ken and Chuck nod at each other, and double time it to the front
door. They get up on the porch, and pause for a moment.
INT. HOUSE CONTINUOUS
Chuck KICKS the door open, and comes through quickly, scanning the
room with his eyes and his gun.
The GUY is sitting at a desk, and as soon as he sees Chuck, he
SPRINTS for the stairs.
Ken comes into the house, and together they chase the Guy up the
stairs.
INT. SECOND FLOOR BALCONY CONTINUOUS
Ken and Chuck chase the Guy out onto the balcony and ATTACK. Ken
and Chuck get hit, and a FIGHT starts.
The Man is a pretty good fighter, but he is no match for Ken and
Chuck. They subdue him fairly quickly, just in time for the SWAT
team to storm into the area, their weapons drawn.
They surround the Man, even though the Man is already handcuffed
and defeated.
CHUCK
Thanks, guys. I think we can take it from
here.
INT. DANCE CLUB DAY
Kelly is sitting in the dance bar, alone.
She is drinking, still depressed and frustrated by not being
involved.
There are lots of people around her, dancing and partying. Her
mood is in stark contrast to the party going on around her.
A distinctive BEEP sounds, O.S., and Kelly looks up to see what it
is.
Off in one portion of the bar is a metal detector, and SOMEONE has
gone through the bar's metal detector, and set it off.
KILLER
It's a metal joint, in my hand...
Kelly watches the person, and when he turns around Kelly sees the
Killer, recognizes him!
It's Chad Atkins from the picture!
FLASHBACK to the picture.
The man who the computer said was dead!
His metal fingers are setting the metal detector off!
As soon as Kelly sees the Killer, the Killer sees her. This time,
however, the Killer doesn't stop.
He's going after Kelly.
The Killer turns to where Kelly was sitting, and she is no longer
there.
ANGLE ON KELLY
Who is hiding on the dance getting lost in the crowd.
The Killer comes through the crowd, searching for her.
Kelly moves through the crowd, looking behind her, anxious.
The Killer, stalking her.
The music abruptly stops, and the dance floor clears of dancers.
The Killer spots Kelly and moves towards her, grabbing her by the
shirt, lifting her up off the chair!
It's not Kelly!
He scans the crowd for Kelly, she's nowhere to be seen. He too
exits the building.
EXT. PARKING LOT CONTINUOUS
The Killer looks around the parking lot. No one is there. There
are a couple of PARTY GOERS, laughing and happy.
Kelly is not there.
The Killer, knowing that he has to leave, goes to his car in the
parking lot.
He starts his car and drives off the lot, pulling into traffic.
As soon as he leaves the parking lot, Kelly sits up in the
driver's seat of her car. She starts her car and follows him.
EXT. STREETS MOMENTS LATER
Shot of the Killer's car coming down the street, following at a
safe distance by Kelly's car.
It is a very run down house in a run down neighborhood. None of
the windows are broken, but the place matches the rest of the
houses on the street.
The Killer drives home, and goes inside in a hurry.
Kelly drives up and parks, watching and waiting. She starts to get
out of her car as soon as he is inside, but he comes out of his
house right away!
EXT. GUY HOUSE LATER
The police cars are loaded up and pulling off.
EXT. KILLER HOUSE LATER
Kelly is out of her car, watching the house. The Killer suddenly
comes back out, his clothes changed, gets into his car again and
roars off.
Kelly waits for a moment, watching the street all the while, then
runs to get into the garage right before the garage door goes
down.
INT. KILLER HOUSE CONTINUOUS
Kelly is making her way through the house, looking in various
rooms. It is all very spooky, very frightening. The house is well
kept inside, but very old.
She is exploring, looking for clues, evidence, anything.
Kelly comes across a phenomenal computer set up, acupuncture
dummy, and a bulletin board filled with pictures of the killings,
news clippings, lists upon lists of victims, and so on.
KELLY
Will the mystery guest please sign in?
She picks up the phone next to the computers and dials a number.
INT. SQUAD CAR CONTINUOUS
Ken and Chuck are riding in their car, returning to the station.
KEN
Seemed a little easy, don't you think?
CHUCK
Way too easy. The guy barely fought back,
and he wasn't much of a fighter...
Just then, Ken's receives a beeper message. He looks down at the
alphanumeric display. It reads:
"Found real killer. 132 Lynn Ave. I'm inside, hurry. Kelly."
KEN
Shit! Let's go!
EXT. STREETS CONTINUOUS
Ken and Chuck's car does a 180 and roars off in the opposite
direction.
INT. KILLER HOUSE CONTINUOUS
Kelly is still searching through the house. It's creepy, but she
has to keep looking. All the rooms so far have been deserted.
She opens a door, and a figure comes out of the closet at her!
She screams, only to see that the "figure" is a coat on a hangar
that fell from the closet.
She breathes a sigh of relief and closes the closet.
To come FACE TO FACE WITH THE KILLER!
KILLER
Well, Kelly. How nice to see you again.
KELLY
(frightened, stammering)
Have we met?
KILLER
Don't be coy. I've done some research on
your career. You were a national champion,
right?
KELLY
That's right.
KILLER
How interesting.
He smiles.
EXT. STREETS CONTINUOUS
Ken and Chuck are in the car, careening through the streets,
trying to get to the Killer's house as soon as they can.
INT. KILLER HOUSE CONTINUOUS
SLAM! Kelly goes flying back against the wall, hitting it with
incredible force!
The Killer, still smiling, advances on her.
INT. SQUAD CAR CONTINUOUS
Ken is driving fast.
CHUCK
Hit it!
KEN
Call for backup!
EXT. STREETS CONTINUOUS
The car careens around the corner, flying down the street.
EXT. KILLER HOUSE MOMENTS LATER
Ken and Chuck pull up to the house. All is quiet. They run up to
the house, and kick the door in.
INT. KILLER HOUSE CONTINUOUS
They rush into the house, Chuck's gun drawn, flashlights lit,
piercing the gloomy inside.
CHUCK
Police! Kelly!
No answer.
They go into the house.
In the first room, they find the computer set up. It's even more
impressive than what Justice had. Several computer monitors are
on, complete with all kinds of supporting hardware.
As they go into the room, Kelly's body falls out of a closet,
landing on the floor with a THUD!
Chuck reaches Kelly, and touches her. She's cold!
CHUCK
Oh, no.
Chuck puts a hand up to his mouth, trying to block out the image.
Ken SNAPS his head up, seeing Kelly.
KEN
No!
Ken goes over to where Kelly is, and just as he gets there, he
hears the computer behind him.
KILLER VOICE
A lovely family you have, Ken.
Ken WHIPS his head around to look at the computer.
A new picture comes up, and it is of Ken, his wife and daughter
obviously taken during their afternoon out. Then, the picture of
Ken turns into the picture of the Killer, and he pulls out a knife
to kill the wife and daughter.
KILLER VOICE
Someone has to take care of your family,
Ken.
Ken runs to the computers and immediately snatches up the phone to
call his wife, to warn her.
INT. KEN HOUSE CONTINUOUS
The phone is ringing, and Megan comes out of the dining room,
where she was talking, to answer the phone. She is smiling as she
picks up the phone, very at ease.
MEGAN
Hello?
INT. KILLER HOUSE CONTINUOUS
KEN
Megan? Are you OK?
INT. KEN HOUSE CONTINUOUS
MEGAN
I'm fine. This is so like you, letting
someone else do the dirty work.
KEN
What are you talking about?
MEGAN
Your friend got here about an hour ago,
told me you couldn't get away, and helped
me move everything in...
INT. KILLER HOUSE CONTINUOUS
KEN
What friend?
(beat)
Megan, listen to me. Where is he now?
INT. KEN HOUSE CONTINUOUS
Megan, still holding the phone, leans back to look into the living
room.
The Killer is sitting with Lauren, his arm around her.
She is smiling and talking happily, and the Killer seems to be
fully concentrated on the young girl.
Megan pulls back into the kitchen.
MEGAN
He's sitting next to Lauren. They're
getting along...
INT. KILLER HOUSE CONTINUOUS
Ken cuts her off.
KEN
If you can get away, do it. If not, don't
let on anything's wrong, and I'll be there
right away. I won't let him hurt you,
Megan. I promise. I love you.
INT. KEN HOUSE CONTINUOUS
MEGAN
I'm scared, Ken.
INT. KILLER HOUSE CONTINUOUS
KEN
I know, baby. I'll be right there.
MEGAN
(in phone)
Don't hang up, let me call Lauren.
She turns to look back into the living room, and comes face to
face with the Killer, who is standing with his arm around Lauren.
KILLER
Is that my good buddy, Ken? Let me talk to
him...
He takes the phone away from her, smiling.
KILLER
Come for me, Ken. I'm waiting in the
Forge. By the way, it's just us now, no
one else. Just you, or they're dead.
The Killer hangs up.
Ken stands there for a moment, looking at the phone. Chuck,
standing next to him, has heard the entire conversation.
Ken grabs the computer and is about to SMASH it down on the floor
when Chuck stops him.
CHUCK
Ken, that's evidence.
KEN
There's not going to be a trial.
Ken SLAMS the computer down onto the hard floor, and it SHATTERS
into a million pieces.
Ken starts out of the house. Chuck starts to follow him, but Ken
whips around and stops him.
KEN
It's just me and him now.
CHUCK
Bullshit. We're a team, man. I'm going
with you.
KEN
No, you're not.
Ken starts for the door, and Chuck grabs his shoulder.
CHUCK
We're cops, man. We don't do this!
Ken grabs Chuck, and Chuck grabs him. They come together, face to
face.
KEN
This is my family here! I can't take the
chance...
He PUSHES Chuck back, and he stumbles and ends up on the couch.
Ken heads for the front door.
When Ken gets to the front door, Chuck calls out...
CHUCK
Ken!
Ken turns around, ready for a battle. Chuck pulls his gun out of
his holster.
Then turns it around and throws it to Ken.
CHUCK
Kick his ass!
Ken acknowledges Chuck as he catches the gun, then runs out the
door.
EXT. STREETS LATER
Ken is in the car, rushing to the Forge.
EXT. THE FORGE LATER
Ken's car comes FLYING up the road to the Forge, dust pluming
behind it. Looming in front of them is an abandoned
warehouse/factory complex. The only other car there is Megan's.
Ken hops out of the car, checks Megan's car, then they both run up
to the entrance of the Forge. They go in.
INT. THE FORGE CONTINUOUS
Ken walks into the forge, and there, with his back turned, is the
Killer.
Waiting for him.
Ken moves forward, carefully but still quite fast.
Ken has Chuck's gun drawn, and he is ready to shoot.
He advances on the Killer, who still has his back turned.
KILLER
Greetings! You wouldn't shoot me in the
back, would you?
KEN
(under his breath)
Shit!
KILLER
Especially when I am the only one who
knows where Ken's lovely wife and daughter
are.
They HOLD in this position for a BEAT, and Ken, the frustration
evident in his face, FIRES the gun, emptying it.
ANGLE ON THE KILLER
The shots all landed, right next to the Killer's head.
He turns around, a HUGE smile on his face.
KILLER
Welcome to hell.
KEN
Where are they?
KILLER
I don't want them, I want you.
KEN
They aren't champions, they are innocent.
KILLER
They are part of the plan, Ken. Just like
you and me.
KEN
Your grand plan?!? Man, we figured you out
long ago you couldn't hack it as a
fighter, so you started killing the real
champions. The psychologist said something
about penis envy.
KILLER
Banter all you want, the end game has
begun.
He whirls and takes off. Ken gives chase, and they fight for a
brief moment, then the Killer disappears.
Ken looks around, moving through the forge.
The Killer appears again, and they fight some more.
The Killer is leading him somewhere.
The Killer then disappears again.
Vanished.
ANGLE ON KEN
He is looking through the factory complex. He passes through
cavernous rooms, and small office areas, the glass in the windows
and lights long since smashed.
He doesn't see anything or anyone out of the ordinary.
Ken continues searching, and he comes to a decrepit section of the
Forge, and across the floor Ken sees...
The Killer standing with his back to Ken.
Megan and Lauren are tied up in the b.g., in a showplace position
behind the Killer.
A BUNDLE is strapped to the wall behind them.
Ken moves back into the shadows of the walls, hoping that the
Killer doesn't see him. There is no indication that he has seen
him, but then the Killer says.
KILLER
Come closer, Detective O'Hara.
Ken advances on the Killer.
The Killer has a timer in his hands, and he holds it up.
KILLER
Far enough. I have placed a crude bomb
next to your wife and daughter. We have 15
Minutes for the Grand Championship match.
Life or death, it's in your hands.
The Killer presses the button on the timer, the red LED numbers
begin to count down.
KILLER
There's no going back now. Shall we begin?
ANGLE ON LAUREN AND MEGAN
They are struggling with their bonds, but it's no use.
ANGLE ON KEN
He sees the situation, and knows that he has to fight.
The Killer settles into a fighting stance.
KEN
They are nothing to you.
KILLER
Exactly, but they are everything to you.
Now you have the motivation to fight me
with everything you have. You are like the
samurai, ready to die.
KEN
I hope you're ready to die, motherfucker.
Ken walks up close to him, and assumes a fighting position.
They fight!
The Killer KIAIS loudly and attacks.
As the fight goes on, it becomes clear that Ken is overmatched,
and he is going to lose. Ken is a superb fighter, but so is the
Killer. The Killer gets hit a little bit, but he is doing more
damage to Ken that he is taking.
It's going to take a little time, but Ken is going to lose.
And that means he is going to die, and so are his wife and
daughter.
KILLER
I still haven't met my match.
KEN
You're going to meet your maker.
KILLER
Not today.
They continue to fight, and it is spectacular.
But, Ken is losing. Only by a little bit, but the Killer is just a
little faster, a little better. He is no match for the Killer, who
is a phenomenal fighter.
The Killer senses that he has the advantage, and starts to take
the fight to Ken. Soon, Ken is in real trouble, and the Killer is
setting him up for the kill.
Angle on Timer: it's getting close.
ANGLE ON MEGAN AND LAUREN
They are terrified.
ANGLE ON KEN AND KILLER
Ken is helpless, and the Killer reaches back, preparing the
killing strike, a smile on his face.
The Killer strikes the killing blow, and...
Chuck comes out of nowhere and KICKS, blocking the strike. The
Killer still hits Chuck in the leg, and he collapses on the
ground.
CHUCK
Go after them!
The Killer, enraged, attacks Chuck, hitting him at will.
Ken, meanwhile, heads for Lauren and Megan.
The Killer spots Ken running for his family, and leaves Chuck,
cutting Ken off.
KILLER
You couldn't save Kelly, your partner,
your family... And you can't save
yourself...
They fight each other, and the heavens open.
Lighting flashes and the Gods watch, the fate of the world in the
balance.
Ken, unbelievably, is getting the upper hand. He is taking a great
deal of punishment, but it's with a purpose.
He is taking a shot to give a better shot, and for the first time
in his killing spree, the Killer is hurt.
Soon, Ken is taking less punishment, and meting out more.
ANGLE ON TIMER: IT'S ALMOST GONE!
The Killer starts looking for somewhere to escape, to get away
from this fighting machine that doesn't care about pain, about
injury.
KEN
Nowhere to run, asshole.
He SLAMS the Killer over and over, finally finishing him off with
a series of beautiful techniques.
ANGLE ON TIMER: 30 SECONDS LEFT!
Ken steps over the Killer on his way to save Megan and Lauren,
when the Killer REARS up and grabs Ken's leg, trying to stop him.
Ken turns back to him and puts him away, for good this time.
He turns and runs to where Megan and Lauren are.
ANGLE ON TIMER: 10 SECONDS!
MEGAN
No! There's no time!
Ken keeps coming.
MEGAN
Stop! Back up! NO!
She knows the bomb is going to go off, and she wants to save Ken.
ANGLE ON TIMER: 5 SECONDS!
Ken will have none of it. He runs to them, loosening the rope and
grabbing them, trying to shield them from the force of the bomb!
ANGLE ON TIMER: COUNTDOWN TO ZERO!
The bomb EXPLODES!
Ken THROWS Megan and Lauren to the ground, protecting them from
the blast.
But the blast is not what they expected.
It's no bomb at all it's a firework, that has thrown millions of
pieces of silver confetti into the air.
It's beautiful, and it's harmless.
They are alive, and they are unhurt.
Ken goes to them, throwing his arms around them.
Chuck appears in the midst of the silver shower, smiling and
holding up his hands. He is hurt, but still alive.
KILLER VOICE
No slaughter of the innocents, O'Hara.
The Killer's voice is coming from a small, digital recorder,
linked to the package.
The CAMERA pulls back, revealing the entire Forge, Chuck and the
Killer in the foreground, Ken and his family.
FADE OUT
THE END