"In writing fiction, the more fantastic the tale, the plainer the prose should be. Don't ask your readers to admire your words when you want them to believe your story." - Ben Bova [ more quotes ]

"DUE SOUTH"

Episode 101

"FREE WILLIE"

Written by

Kathy Slevin & Paul Haggis

PUBLISHED DRAFT

July 18, 1994



PROLOGUE

FADE IN:

EXT. CHICAGO FINANCIAL DISTRICT -- (2U CHI) -- EARLY EVENING

Rush hour, the streets jammed with traffic and pedestrians.

INT. BROKERAGE FIRM, LOBBY AREA -- AT THAT MOMENT

A security guard helps the receptionist into her coat. The
glass doors open with a WHOOSH OF AIR and they look to see
THREE ARMED INTRUDERS, wearing thick coats and ski masks.
The guard reaches for his gun. The SHORTEST INTRUDER levels
a handgun and shoots him in the shoulder.

INT. BROKERAGE FIRM OFFICES

Chaos. The intruders bark commands, ordering the employees
to lie face down on the floor. Two intruders grab the Vice
President (KELLARD), throw him up against the vault and poke
a gun in his ribs. Kellard opens the vault.

INSIDE THE VAULT

The taller intruder pulls a manila portfolio from the shelf
and hands it to the shorter intruder, who jams the portfolio
into a large, soft leather briefcase.

INT. BROKERAGE FIRM

Leaving the employees paralyzed on the floor, the three
intruders make a quick exit. We follow them past the reception
area to the waiting elevator.

INT. ELEVATOR

The doors close, the taller two intruders strip off their
ski masks and coats and shove them into a duffel bag, along
with their guns. The short intruder opens the leather brief
case, drops the handgun in and closes it. (We don't see the
short one's face.)

EXT. ALLEY BEHIND OFFICE TOWER -- LOW ANGLE

Three pairs of feet exit through the back door; two pair go
east down the alley and blend into the pedestrian traffic on
Michigan Ave. THE THIRD PAIR of feet out the door -- blue
jeans, scuffed running shoes -- belong to the short intruder,
who turns west into the dark and cluttered alley, carrying
the briefcase.

FADE OUT:

ACT ONE

FADE IN:

EXT. EAST SIDE STREETS -- (2U CHI) -- MORNING

We dip down from the Chicago skyline and over the roofs of
the tenement buildings to find Ray's car cruising along this
badly neglected inner-city street, teaming with urban life --
most of them watching the car.

RAY (V.O.)
Fraser, you do not want to live in
this area. Police officers do not
live in areas like this. Most people
we bust won't even live here.

FRASER (V.O.)
Strange; it seems so convenient. You
know I could walk to work from here
in under ten minutes?

RAY (V.O.)
Walk to work??

INT. RAY'S CAR -- CONTINUOUS

FRASER, RAY AND DIEF

FRASER
231, it must be just up on the right.

RAY
Do me a favor, let's just turn around
and I'll take you back to your hotel.

FRASER
Oh, I checked out. The windows
wouldn't open.

RAY
Fraser, this is Chicago. The only
reason to open a window is to get a
better aim.

Ray pulls over.

INT. THE HELLISH STAIRWELL OF TENEMENT BUILDING -- DAY

Fraser glances briefly at the row of mailboxes lining the
lobby, before mounting the stairs.

RAY
Yeah, I can see what draws you to a
place like this: the decorative
graffiti motif, the clever use of
plumbing to create the waterfall
effect, and there's the ease and
convenience of being able to dump
your garbage straight into the hall.

As Diefenbaker catches up:

FRASER
I forgot to ask if they take pets.

RAY
Yeah, a dog could easily throw off
the delicately balanced ecosystem.
(to Dief)
You'll have plenty to hunt in here,
big fella.

As Fraser steps over a sleeping drunk:

FRASER
Pardon us.

RAY
Fraser, I'm sure for a guy who's
used to living in an igloo, this
seems like a step up. However, by
urban standards? this is not what we
call "gracious living."

ANGLE ON THE LANDING ABOVE

The LANDLORD leans over the railing and calls down to them.

LANDLORD
I found the key.

FRASER
(to Landlord)
Be right with you, sir.
(To Ray)
Is my tie straight?

RAY
He's a slumlord!

THE FLIGHT ABOVE

Fraser and Ray follow the Landlord up the last flight of
stairs.

LANDLORD
Up here in the penthouse apartments
is where you get your great view.
Course it's an extra hundred a month,
but worth every penny.

FRASER
(to Landlord)
Would you care to see my references
now, or when I fill out the
application?

LANDLORD
References?

RAY
It's like a rap sheet.

LANDLORD
No, that's okay.

As they proceed down the graffiti-covered hallway, curious
NEIGHBORS open their doors a crack to stare. Fraser tips his
hat and greets each one cordially.

FRASER
Mrs. Garcia. Mr. Kline. Hello, Mrs.
Mustafi.

They quickly shut their doors.

RAY
You know these people?

FRASER
I memorized their names from the
mailboxes. It only takes a little
extra effort to be a good neighbor,
Ray.

As they pass the doors creak open again and the neighbors
stare at this freak of nature.

INT. THE APARTMENT -- DAY

The place is filthy and the furnishings are old and worn,
but it has huge arched windows that overlook the city.

LANDLORD
Furniture and appliances are included.

Ray switches on the overhead light. The bulb flickers and
explodes.

LANDLORD
Utilities are extra.

Fraser opens a window and gazes out. The landlord notices.

LANDLORD
On a good day, you can see Canada
just across the lake.

FRASER
Canada is five hundred miles due
north.

LANDLORD
You have to really squint.

Suddenly A WOMAN'S SCREAM is heard from the street below.
Fraser looks down to see:

SIDEWALK BELOW -- FRASER'S POV

A YOUNG TEENAGE KID yanks a purse out of an ELDERLY LADY'S
grasp and takes off down the street with it.

ELDERLY WOMAN
(panicked)
My purse! He got my purse!

FRASER
(to Landlord)
Excuse me. I'll be right back.
(to Dief, pointing to
thief)
Diefenbaker -- go!

As the dog takes off through the apartment door, Fraser
springs out the window...

EXT. TENEMENT BUILDING, FIRE ESCAPE

and lands on the fire escape, one floor below, then climbs
the ladder to the roof.

AT THE WINDOW

RAY and THE LANDLORD watch him go.

LANDLORD
(to Ray, worried)
He's not some kinda nut, is he?

RAY
He's a Mountie, it's something they
do.
(after Fraser)
Benny! You wanna hold up there?

Ray climbs out of the window and follows him.

CUT TO:

EXT. TENEMENT BUILDING, ENTRANCE

Diefenbaker charges out the front door, leaping over TWO OLD
TRANSIENTS, who sit sharing a bottle.

TRANSIENT #1
Looked like a wolf.

TRANSIENT #2
Yep.

EXT. TENEMENT ROOFTOP

Fraser strides to the edge of the roof and looks down.

THE TEENAGE KID tears down the sidewalk dodging pedestrians.

FRASER jogs the length of the roof, following the kid's trail.
Then, seeing the gulf between the next building approaching,
picks up speed.

ON THE ROOF OF THE NEXT BUILDING

A CONSTRUCTION WORKER is laying out tar paper. He watches
astonished as Fraser leaps across the expanse between the
buildings and lands neatly on the other side.

FRASER
(to Worker)
Morning.

He continues onward, leaving the Worker agog.

ON THE SIDEWALK

Still running, the kid looks behind to see:

DIEFENBAKER

Loping down the pavement after him.

THE KID

panics and doubles his speed.

BACK ON THE TENEMENT ROOF

Ray looks across the wide expanse that Fraser jumped earlier
and realizes he'll never make it. He climbs onto the ledge,
trying to make his leg reach, and notices THE CONSTRUCTION
WORKER watching him.

RAY
(to Worker)
You gonna help here or what?

ON THE SIDEWALK

Diefenbaker is quickly narrowing the gap between himself and
the thief.

ON THE ROOF TOPS

Fraser leaps from one roof top to another.

BACK A FEW BUILDINGS

The Construction Worker has stretched a wood plank between
the buildings and Ray crawls across.

RAY
(nervous)
Okay... this is good... this is fine.
Don't shake it, okay?

ON THE SIDEWALK

THE KID turns into a gated alley way, leaps onto the gate
and scurries over it -- leaving Dief on the other side. He
takes off as Dief tries to squeeze underneath.

ON THE ROOFTOPS

Fraser lowers himself off the edge of the roof and grabs a
drainpipe. The rivets pop loose and the drainpipe bends in
half under Fraser's weight.

IN THE ALLEYWAY

The kid (call him WILLIE) looks like he's going to get away.
Suddenly a Mountie drops out of the sky right in front of
him.

FRASER
(to Kid)
That's far enough, son.

WILLIE
What are you, a flying boy scout?!

FRASER
Constable Benton Fraser, Royal
Canadian Mounted Police.

The kid turns to run and sees Diefenbaker standing there.
He's caught.

FRASER
You've broken the law, son. That
carries a heavy penalty. Perhaps you
didn't think that through.

WILLIE
(scared)
Back off, okay -- just back off!

FRASER
I'm afraid I can't do that.
(moving toward him)
Now, if you'll just hand over the
purse...

WILLIE
I said, back off!

The kid yanks a gun out of his pocket and points it at Fraser,
his hands shaking.

IN THE BACKGROUND

Diefenbaker snarls and starts to move in.

FRASER
Diefenbaker, no!

WILLIE
That's right. You keep the dog off
me or I'll pop him, too.

FRASER
(to kid, calmly)
You're not going to harm anyone.
You're going to give that gun to me,
return that purse, and you're going
to apologize to that lady.

WILLIE
Why? I got the gun!

FRASER
Because you don't want to hurt anyone,
and because if you don't you might
hurt yourself.

The Kid looks at Fraser like he's nuts. But the gun's heavy,
and he clearly has no idea what to do with it. He lowers the
gun. Fraser takes it. As he leads the kid out of the alley:

WILLIE
You're lucky, cop, you know that?
'Cause I coulda shot you right through
the heart.

FRASER
That would require knowing how to
take off the safety.

WILLIE
Safety...?

FRASER
(smiles)
Let's go.

They move out of the alley.

HOLD ON ALLEY

The sound of METAL BENDING ... A CRACK... and Ray, clutching
a broken drainpipe, plummets to the earth, landing in garbage
somewhere below the screen.

RAY
Ahhhh!

EXT. TENEMENT BUILDING -- MOMENTS LATER

The ELDERLY LADY, supported by her DAUGHTER, thanks Fraser
for recovering her purse.

ELDERLY LADY
...Apartment 4D, six o'clock.

FRASER
Thank you, Mrs. Dalhousie, I look
forward to it.

ELDERLY LADY
Please, call me Enid.

As her DAUGHTER leads her off, Ray finally runs up, out of
breath.

RAY
Okay, okay, what's going on?

FRASER
I've been invited to dinner.

RAY
(looking around)
Where is he?

FRASER
Who?

RAY
The kid, the purse snatcher, I'll
book him, where is he?

FRASER
Oh. I let him go.

RAY
You let him go?!

FRASER
He apologized and promised never to
steal again.

RAY
You just let him go??

FRASER
But not without giving him a stern
warning. And he gave me this.

Fraser hands Ray the kid's gun. Ray just stands there, mouth
agape. Fraser turns back to the tenement and sees the
Landlord, watching, also agape.

FRASER
(straightening his
uniform)
I just hope I didn't leave a bad
impression.

EXT. CANADIAN CONSULATE -- LATER THAT DAY

Establishing shot, OVER which we hear:

MOFFAT (V.O.)
So as I understand it, you have
Canadian on the left and American on
the right...

INT. MOFFAT'S OFFICE -- CONTINUOUS

SUPERINTENDENT MOFFAT studies Fraser's report.

FRASER
That's correct, sir.

MOFFAT
So, the American term for "touque"
would be... ski cap.

FRASER
Yes, sir.

MOFFAT
Chesterfield is... sofa; serviette
is... napkin, this is fine work,
Fraser.

FRASER
Thank you, sir.

MOFFAT
A comparative dictionary of
Canadian/American terms has been
long overdue. If our NAFTA boys had
had this, maybe we wouldn't have
been raked over the coals. You sure
you don't want your name on it?

FRASER
No, sir, it was entirely your idea.

MOFFAT
Just wait till this hits Ottawa, the
name Donald Moffat won't soon be
forgotten, I tell you. And they think
we do nothing down here.

FRASER
Speaking of which, sir, I was
wondering if you would consider
expanding my post to include duties
of an investigative nature?

MOFFAT
(fatherly)
Now Constable, you're a young man,
anxious to test his mettle, I
understand that. But interrogating
passport applicants? These are
desperate people, Fraser. One false
move, a probing question too many...
and if there's a stapler nearby...

Moffat unconsciously rubs his backside.

MOFFAT
A tip from the wise -- take your
time, get to know your enemy. Until
then, you still have a very valuable
function to perform.

FRASER
Yes, sir. And that would be...

They both nod, knowingly.

EXT. CONSULATE - DAY

Fraser stands silent sentry in front of the Consulate, while
a zealous SALESMAN demonstrates his product line on Fraser's
boot and gives him "the pitch".

SALESMAN
...Now, Snappy Cleanser isn't just
any cleaning product. It removes
rust, stains, mildew -- and it always
leaves a snappy shine.
(indicating boot)
Look, you can see your face in it.

Ray appears at his shoulder.

RAY
(to salesman, a threat)
No kidding. Can you see my badge in
it?

The Salesman wisely decides to move on.

RAY
(to Fraser)
Okay -- so, the gun you took off
that purse snatcher this morning?
Ran it through the routine ballistics
test. Guess what it said.
(no response)
Go ahead, don't be shy -- guess.
(Fraser ignores him)
Good choice. Cause when you do find
out, you're gonna wish you hadn't.

The NOON BELL tolls signaling the end of Fraser's shift.

RAY
Okay, lunch -- catch you later.

Ray starts away, just as Fraser suddenly comes to life.

FRASER
Ray...?

RAY
Oh, so now you're interested? Now,
when it suits you? You know, you're
gonna take advantage of my good nature
once too often.

FRASER
Shift just ended. The bullet?

RAY
Turns out, the bullet in the kid's
gun matches a bullet they dug out of
a guy's arm yesterday. Robbery at a
brokerage firm.

FRASER
(calling)
Diefenbaker.

Dief scampers out from behind a bush. As the three climb
into Ray's car:

FRASER
(continuing)
He didn't do it, you know -- the
kid.

RAY
And if he did, I'm sure he apologized.

As the car doors close we:

FADE OUT:

END OF ACT ONE

ACT TWO

FADE IN:

EXT. POLICE PRECINCT -- LATER

Establishing shot, over which we hear the voice of DETECTIVE
JACK HUEY.

HUEY (V.O.)
As we watch the tape I want you to
talk us through it. Okay?

INT. PRECINCT, INTERVIEW ROOM

KELLARD, the vice-president of the brokerage firm, talks to
detectives JACK HUEY and LOUIS GUARDINO. Kellard is really
shaken by this; if it's an act, he's good.

KELLARD
Okay.

GUARDINO
Play the tape.

Guardino hits the play button on the VCR and we see the black
and white video made by the security cameras.

ON THE OTHER SIDE OF THE TWO-WAY MIRROR

Fraser and Ray watch.

RAY
Security camera, runs twenty-four
hours in the place.

FRASER
Is there one in the elevator?

RAY
No, why?

FRASER
The lobby was full of people, but no
one saw them step on or off the
elevator, there, or on any of the
other floors. They had to put the
masks on and take them off in the
elevator.

RAY
(of course)
Stands to reason.

BACK IN THE INTERVIEW ROOM

The tape of the security cameras runs. At first it's just
normal business activity: a couple of clients enter and exit,
the UPS man drops off and picks up deliveries, phones are
answered, that sort of thing. Guardino hits the fast forward
button and it scans through to the point where the intruders
burst in.

KELLARD
There they are. Three of them. Two
were about six foot, the other was
maybe five-foot three or four. The
little one stuck a gun in my ribs.
He'd just shot someone, I thought...

GUARDINO
I'm sure you did. Did the guy say
anything?

KELLARD
Just "open the vault." I did.

HUEY
Looks like they knew what they were
after, didn't touch any of the other
stuff.

KELLARD
Just the bearer bonds.

GUARDINO
Any idea how they knew what to take?

KELLARD
...No.

HUEY
The little one, you say he was 5'3
or '4? Could it have been a kid, a
teenager?

KELLARD
I'm not sure. I suppose... yes.

ON THE OTHER SIDE OF THE MIRROR

As Ray and Fraser turn and exit:

RAY
Not a betting man, are you, Benny?

CUT TO:

INT. INTERROGATION ROOM "B"

RAY
(reading from file)
Lambert, Willie -- age thirteen.

Ray and Fraser stand across from the kid, WILLIE, who is a
lot more nervous than he's letting on. A female CHILD WELFARE
OFFICER sits next to him.

RAY
(continuing)
Quite a little record here. Seven
arrests, first at age ten; petty
theft, theft, more theft...

WILLIE
I had to support my mother.

RAY
You don't have a mother, kid.

CHILD WELFARE OFFICER
He also has no convictions, which
means you shouldn't even have that
list.

RAY
We don't need it.
(to Willy)
We checked your fingerprints against
the gun -- the only ones that came
up belong to you. You're going down
for this one, Willie.

WILLIE
I told you, I found it somewhere.

CHILD WELFARE OFFICER
You don't have to tell them anything.

FRASER
That's true, but I'd suggest that
it's in Willie's best interest to
talk to us.
(to Willie)
If you are innocent, the police have
no reason to incarcerate you.

CHILD WELFARE OFFICER
(to Fraser)
Not from around here, are you?

WILLIE
(scoffs)
I'm supposed to trust you?

FRASER
I think you know you can.

WILLIE
All I know is, a cop is a cop, and
all they want is to put you away.

FRASER
All right. Ray? I think we've done
all we can here.

WILLIE
(surprised)
You're not going to offer me a deal
or something?

FRASER
No, all you have is my word that I
will do my best for you.

CHILD WELFARE OFFICER
Not good enough.

WILLIE
She said it.

FRASER
I understand. Ray?

RAY
Too bad, kid.

Ray and Fraser exit to...

INT. HALL -- CONTINUOUS

Ray closes the door and takes a last peek at the kid through
the small window, before walking off down the hall with
Fraser.

RAY
Good, let him sweat. The punk will
crack in twenty minutes.

FRASER
He's scared, but he's a pretty tough
kid. I don't think he'll respond to
threats.

Ray and Fraser are met by HUEY and GUARDINO.

HUEY
(big smile)
Nice job, Vecchio.

RAY
Is that a compliment, Jack, or do my
ears deceive me?

GUARDINO
Don't be so hard on yourself, Ray.
Sooner or later you had to solve at
least one case.

HUEY
And this must be your Mountie.

FRASER
(offering hand)
Benton Fraser, Deputy Liaison Officer

GUARDINO
Jack Huey, Louis Guardino. Major
Crimes.

RAY
Or as we call them "Huey and Louey."

GUARDINO
It's Louis, Vecchio, and I don't
like your mouth.

RAY
Touchy, Louey?

Before this can go any farther, Huey breaks it up.

HUEY
(to Fraser)
If you will excuse us, Lt. Guardino
and I have a suspect to interrogate.
(taking the file out
of Ray's hands)
Thanks.

RAY
Hey, that's my collar, Jack. You
question that kid without me, I'm
taking this to the Captain --

HUEY
Sure, Ray. If you think your record
will support that, go ahead.

RAY
(getting in his face)
My record? Are you maligning my
record?

Fraser steps between them.

FRASER
Ray, we're all on the same team.
These men are highly skilled
investigators. I'm sure if they need
our help, they'll ask.

GUARDINO
(smirking)
Absolutely.

HUEY
...Absolutely.

Huey and Guardino push past them into Interrogation Room B,
closing the door in Ray's face.

Ray turns to Fraser, furious.

RAY
How could you do that?! How could
you turn over my collar to them?!

FRASER
(moving off)
The lunch room is this way?

RAY
(following, furious)
You know how many times a perp falls
right in your lap? How many times
you think that happens, Fraser? How
many?

As Ray follows him around the corner, we:

CUT TO:

INT. LUNCH ROOM -- DAY

A VENDING MACHINE MAN stocks one of the machines, as Ray
takes a sandwich out of another an unwraps it:

RAY
You know what your problem is? You
think if you're nice to people,
they'll be nice to you.

Ray takes a bite and instantly reacts.

RAY
(to vending machine
man)
Did you make this, or scrape it off
the street?!

The vending machine man ignores him, takes a fresh sandwich
from his box and hands it to Fraser.

VENDING MACHINE MAN
Salmon, right?

FRASER
Thank you, Hugo.

As they move off:

RAY
Maybe in Moosejaw you cooperate with
all your cop buddies -- I mean, who's
gonna fight over tundra? Down here,
you make your own cases or they make
you a bicycle cop.
(re: Vending Machine
Man)
How do you know his name?

FRASER
It's embroidered on his shirt.

They exit.

INT. HALL -- CONTINUOUS

Fraser, carrying his sandwich and a couple of sodas, heads
down the hallway toward the interrogation room, Ray in
pursuit.

RAY
This is what's wrong with you, you
don't know what's important and what's
not. The name of the vending machine
guy, this is not important. This is
a detail you do not have to record.
You want a detail to record? Try
this: THAT WAS MY CASE!

As they approach the door, HUEY and LOUEY step out of the
interrogation room looking a little red-faced.

HUEY
Okay... so the kid says he'll only
talk to the guy in the hat.

FRASER
(to Huey, re: his
full hands)
Could you hold the door?
(Huey does)
Thank you.

Fraser moves into the room without missing a step. As Huey
and Louey move to follow, Ray pushes past cutting them off.

RAY
(to Huey and Louey,
smugly)
I'm with the guy in the hat. You're
not.

Ray closes the door in their faces.

INT. INTERROGATION ROOM -- A FEW MINUTES LATER

Willie wolfs down the salmon sandwich.

WILLIE
(between mouthfuls)
Look, I didn't shoot nobody. I never
even saw that gun before yesterday.

FRASER
Where did you see it?

WILLIE
Someplace.

RAY
Like in your pocket?

CHILD WELFARE OFFICER
This interview is over.

FRASER
Why don't you tell us how you found
it?

WILLIE
(resigned)
I was on my way home from school...
(off Ray's look)
okay, the track -- and I see this
woman come out of a building on
Michigan Ave.

RAY
You got a number on that building?

WILLIE
(sarcastic)
Yeah, I wrote it in my address book.
(to Fraser)
She goes down this alley, and there's
no one around and her briefcase is
just hanging there. So I grab it and
take off. I get away, I find the gun
in the bag, end of story.

RAY
'Fraid not, Tolstoy. You happened to
steal a bag, which happened to have
a gun inside, which happened to have
been used in the commission of a
major robbery?

WILLIE
(shrugs)
I had a bad day.

FRASER
The woman, could you describe her?

WILLIE
Depends. Can you get me out of here?
(off Fraser's look)
Right, right. You'll do your best.

CUT TO:

INT. CAPTAIN WALSH'S OFFICE -- DAY

The tiny office is packed with Detectives, as Ray and Huey
and Guardino face off.

HUEY
No way! No way is that kid gonna
walk!

Huey turns to CAPTAIN WALSH, seated behind his desk.

GUARDINO
Captain, we've got his prints on the
gun, it was in his possession --

RAY
The kid's a pickpocket, he could've
gotten that gun anywhere. Your "eye
witness" can't even place him at the
scene, Louey.

GUARDINO
One of the perps matches his height
and frame.

RAY
(re: Louey's height)
So the only one that rules out is
you.

GUARDINO
You and me, on the roof.

CAPTAIN WALSH rises from his desk, trying very hard to keep
his calm.

CAPTAIN WALSH
Okay, everybody, just... be quiet.
(turning to Ray)
Detective Vecchio, I could have sworn
that I specifically assigned this
case to Detectives Huey and Guardino.

GUARDINO
That's right Captain, our case, our
call.

CAPTAIN WALSH
Shut up, Louey.

GUARDINO
(meekly)
It's Louis, sir.

RAY
Captain, can I help it if the kid
will only talk to a Mountie?

CAPTAIN WALSH
Ah yes, the Mountie...

All eyes turn to FRASER, who stands at a respectful distance.

CAPTAIN WALSH
I thought they sent you back to the
Yukon.

FRASER
They did, sir. And then they sent me
back here again. I'm afraid I'm not
all that well liked up there.

CAPTAIN WALSH
By "up there" you mean...

FRASER
Pretty much all of Canada, sir.

CAPTAIN WALSH
Hm.
(to Ray)
The wolf isn't involved in this, is
he?

RAY
Only peripherally, sir.

FRASER
Sir, permission to speak freely?

CAPTAIN WALSH
(to other detectives)
See? This I like; "Permission to
speak freely." Go ahead, young man.

FRASER
Captain, Willie Lambert is a petty
thief. If he had just stolen a million
dollars in bearer bonds, he would
hardly have been out on the street
the next morning stealing purses.

CAPTAIN WALSH
(impressed)
Good reason. Louey?

GUARDINO
Maybe some bigger kids took them
away from him, how do I know?

FRASER
(to Walsh)
He says he found the gun in a
briefcase he stole -- and, he can
identify its owner.

RAY
We've got him out there right now
putting together a composite.

HUEY
Captain, you let that kid walk outta
here and you'll never see him again.

WALSH
(to Ray)
You willing to assume responsibility
for him?

RAY
Sir, I can't watch the kid day and
night...

WALSH
Then Huey and Louey get him.

GUARDINO
Smart decision, Captain.

FRASER
I'll take responsibility for him,
sir.

WALSH
(to Fraser)
Good.

Huey and Louey react. As Fraser and Ray turn to leave:

WALSH
(continuing)
Oh, and one more thing. You lose the
kid, and Detective Vecchio loses his
job.

On Ray's reaction:

CUT TO:

A COMPUTER SCREEN -- A COMPOSITE OF THE FEMALE THIEF

Long dark hair, pretty.

RAY (V.O.)
You know who this is? This is Victoria
Principal. The kid's yanking our
chains.

FRASER takes the rendering from the printer, and we see that
they're in the precinct bullpen with ELAINE, the Civilian
Aid, at her computer console, Willie and Dief beside her

WILLIE
I saw her for two seconds! You try
and draw one of these things!

FRASER
Thanks, Elaine.

ELAINE
(to Fraser)
I'll run it through VICAP, see if I
can find a match.
(picking up pencil)
You want me to call you at home?

RAY
(snatching sketch)
My case, Elaine. Me, Detective
Vecchio.

ELAINE
But I should probably have it just
in case.

FRASER
(uncomfortable)
Oh. I'm afraid I don't have a phone...

RAY
(taking him by the
arm)
He uses smoke signals. We'll call
in.

As they head down the hall with the kid and Diefenbaker:

RAY
(continuing; to Fraser)
You don't have women in the Yukon?

FRASER
Certainly, they just aren't quite
as...

Passing an attractive FEMALE OFFICER.

FEMALE OFFICER
(big smile)
Like your dog.

FRASER
(thrown)
Oh, thank you.

Ray reacts as they exit.

CUT TO:

EXT. POLICE STATION -- DAY

The moment they step out the door, Willie bolts off down the
sidewalk.

RAY
Oh, yeah, this is going to be fun.

and they're off after him. WILLIE, running hard, searches
the sidewalk ahead for a way out and sees A CITY BUS loading
passengers. The last passenger steps aboard and the doors
begin to close. Willie pitches his skinny body between the
front doors, jamming them.

RAY
(continuing; shouting
to crowd)
Stop that kid! Stop him!

AHEAD AT THE BUS

The REAR DOORS start to close again, but Diefenbaker makes a
graceful jump and slips through in the nick of time. The bus
pulls away, leaving Ray on the sidewalk behind it. He
collapses against the bus shelter, gasping for breath.

Fraser walks up behind him.

RAY
(continuing)
We lost the little creep! We lost
him!

Fraser watches the bus move down the street, unconcerned.

FRASER
He'll be back.

Suddenly the WHINE OF BUS BRAKES. They look to see:

EXT. STREET

The bus pulls to a stop in the middle of traffic. The doors
swing open and a dejected Willie climbs off, with Diefenbaker
herding him from behind. Ray moves to grab him.

WILLIE
Can I just say I really appreciate
the trust you've placed in me?
(as Ray takes him off)
My sister was on that bus. I was
trying to tell her I wouldn't be in
school.

RAY
You have one more chance, kid. One.

WILLIE
No problem. You want evidence? I'll
show you lots of evidence.

As they step into Ray's car, we

CUT TO:

EXT. VACANT LOT -- LATE AFTERNOON

Willie sifts through the contents of an upturned barrel.

WILLIE
(panicked)
I tossed the briefcase right here! I
put it right in here.

RAY
So where is it?

WILLIE
It should be here. I dropped it right
here!

FRASER
(walking up)
Nothing that fits the description.

RAY
So, kid, where is it?

WILLIE
It must have been stolen.

RAY
Again?!

WILLIE
Maybe you noticed this isn't the
best neighborhood?

RAY
(to Fraser)
The kid is making me very angry.

Diefenbaker noses around the barrel. He smells something.

FRASER
(kneeling, to
Diefenbaker)
What have you got?

Diefenbaker sniffs around and then runs off. Fraser follows.

RAY
(moaning)
Why does this have to be my life?
Mounties, dogs...

FRASER
(calling back)
Come on, Ray!

RAY
I'm coming, you hook up the sled!
(taking kid by the
arm, pissed)
What, you want me to carry you?

EXT. STREET -- A SHORT DISTANCE AWAY -- MOMENTS LATER

Fraser rounds the corner from the alley and sees a bag lady
petting Diefenbaker.

In her lap is the large, soft leather brief case.

BAG LADY
Your dog?

FRASER
Yes, ma'am.

BAG LADY
Nice dog, very good listener.

FRASER
Actually, he's deaf.

BAG LADY
(dejected)
Oh.

FRASER
But I've come to believe he reads
lips.

Ray runs around the corner, panting, the kid in tow.

RAY
Okay, what'da we got?

FRASER
Ray, this is...?

BAG LADY
Celeste.

RAY
Enough with the names.
(sees purse)
Chicago P.D., gimme the bag.

Ray reaches for the briefcase. The old lady pulls it away,
holding on stubbornly.

BAG LADY
HELP! HELP! POLICE!

FRASER
Ray, please.
(to Bag Lady)
Excuse me, Ma'am, but that briefcase
is needed as evidence in a criminal
investigation. We would be most
appreciative of your cooperation.

BAG LADY
Fifty bucks.

FRASER
Ray?

RAY
I'm not giving her fifty bucks!

FRASER
(taking out his money)
I'm afraid all I have is ten.

BAG LADY
(re: money in his
hand)
Why is it purple?

FRASER
It's Canadian.

BAG LADY
Do I look like Margaret Trudeau?

FRASER
Ray?

RAY
All right, all right.

Ray hands her ten. She gives them the briefcase.

FRASER
Thank you, ma'am.

The bag lady moves off with her cart as Ray opens the
briefcase. Inside is the manila portfolio.

RAY
Look at here, look at here.

Ray opens the portfolio and the papers spill out onto the
ground. They kneel to inspect them:

CLOSE ON PAPERS

No bonds, just blank pieces of paper.

RAY

picks them up and looks to Fraser. Then looks to the kid.

WILLIE
...What??

ANGLE THROUGH CAR WINDSHIELD -- SOMEONE ELSE'S POV

The same scene but from a distance.

WOMAN'S VOICE (O.S.)
Yeah, I found him...

INT. A BLUE SEDAN

The woman looks remarkably like the artist's sketch. Shortish,
small frame, blue jeans and running shoes. Call her MORGAN.
She speaks into her car phone.

MORGAN
(into phone)
Not yet.... Calm down, he has
company... A cop, and -- looks like
a mountie and a dog.... How should I
know?

ANGLE THROUGH WINDSHIELD -- MORGAN'S POV

Fraser, Ray, Willie and Diefenbaker head for the car.

MORGAN (O.S.)
(into phone)
Oh, the kid saw me all right... I'll
take care of him, but the minute I
do, I want my cut. Understood?

MORGAN presses the "End" button and hangs up the phone.

EXT. STREET, RAY'S CAR

Ray pulls out and drives off. A beat later Morgan's sedan
follows.

FADE OUT:

END OF ACT TWO

ACT THREE

FADE IN:

INT. WILLIE'S APARTMENT, BEDROOM -- THAT EVENING

A small shabby bedroom with cheap furniture and piled high
with clothes and junk. Willie watches nervously as Ray
searches the room. Fraser studies the manila portfolio.

RAY
If I find them here you're going
away for this, kid.

WILLIE
I didn't take no stupid bonds! I
don't even know what a "bond" is!

FRASER
(to Willie)
There wasn't anything else inside
the bag? Certificates with seals on
them?

WILLIE
On my sister's life.
(quickly, to Ray)
And I do have a sister.

Ray gives up and heads out of the room.

RAY
Yeah? So where is she?

WILLIE
(defensive)
Around!

CUT TO:

INT. WILLIE'S APARTMENT KITCHEN - MOMENTS LATER

Ray continues his search through the kitchen cabinets.

FRASER
(checking fridge)
Is your sister the one who does the
shopping?

Fraser sniffs an open milk carton. Rancid.

WILLIE
(defensively)
She's been busy.

CUT TO:

WILLIE'S APARTMENT DOOR -- MOMENTS LATER

WILLIE
So, you two go home, get some rest,
we'll start fresh in the morning.

Fraser and Ray are, of course, ignoring him.

FRASER
(to Ray)
He can't stay here.

RAY
He's not staying at my place.

Fraser turns to Willie.

FRASER
Can you make a bed?

WILLIE
You mean out of twigs?

CUT TO:

QUARTER (N.B. NEW LOCATION)

as it bounces off a neatly made cot.

WILLIE (O.S.)
Satisfied?

WIDEN and we see that we're in FRASER'S NEW APARTMENT in the
tenement; and it has undergone a miraculous change. The junk
has been cleared out, the furniture is arranged and polished,
and the room is neat and orderly. Fraser smiles at Willie
with approval.

FRASER
Couldn't have done better myself.

WILLIE
Good, because a Nazi couldn't sleep
in sheets that tight.

Willie collapses on the bed, worn out.

WILLIE
So, I took out the trash, washed the
walls and made the bed eight thousand
times. What's next, maneuvers?

Fraser takes a bill out of his wallet.

FRASER
Here.

Willie looks at the bill, confused.

WILLIE
What for?

FRASER
You earned it.

A rather astonished look crosses Willie's face.

WILLIE
Yeah?

FRASER
(suppressing a smile)
Yeah.

Willie settles into the cot, clutching the bill like it's
the first one he ever owned. Fraser climbs into his sleeping
bag on the floor, beside DIEFENBAKER, and switches out the
lamp. A moment:

WILLIE
You know crack dealers are afraid to
come into this neighborhood?

FRASER
Good-night, Willie.

Beat.

WILLIE
Fraser? Why is this money pink?

DISSOLVE TO:

EXT. DOWNTOWN CHICAGO -- THE FOLLOWING DAY

Ray's car weaves through the downtown traffic. We HEAR THE
VOICE OF ELAINE, THE SKETCH ARTIST, over Ray's car radio.

ELAINE (V.O.)
...Her name's Carole Morgan -- alias
Carole Thomas, alias Morgan Thomas,
alias...

INT. RAY'S CAR

Fraser in the front, Willie and Dief in the back as usual.
Ray is on the car radio.

RAY
Whoa, whoa, Elaine -- that's a
definite make?

ELAINE (V.O.)
According to the FBI. Is Fraser with
you?

RAY
(annoyed)
Fraser doesn't work there, Elaine. I
do. About the perp?

Ray shoots Fraser a look. Fraser shrugs.

ELAINE (V.O.)
Armed robbery; three arrests, one
conviction, all in Florida.

RAY
(to Fraser)
A long way to come to steal blank
paper.

FRASER
Indeed.

ELAINE (V.O.)
Fraser, is that you?

RAY
Sorry, Elaine, breaking up, gotta
go.

CUT TO:

EXT. BROKERAGE FIRM OFFICE TOWER -- DAY

Ray pulls his car into a No Parking zone, slaps a "Police"
permit in the windshield and grabs the manila portfolio.

FRASER
(to Willie)
You'd better wait for us here, son.

RAY
We can't leave him in the car.

FRASER
He'll be fine.

WILLIE
Absolutely.

FRASER
Dief, stay.

ON WILLIE, FOILED

WILLIE
Damn.

EXT. OFFICE TOWER -- CONTINUOUS

Fraser and Ray dodge heavy pedestrian traffic and reach the
entrance. Fraser opens the door and Ray walks in. But Fraser
stands there holding the door for a dozen people who come in
and out.

FRASER
Please... After you... Please.

Then something strikes him. Finally Ray comes back out.

RAY
(annoyed)
Do all Canadians grow up longing to
be doormen? Does this explain the
uniforms?

FRASER
(puzzled, watching
pedestrian traffic)
Why five o'clock?

RAY
Sorry?

FRASER
(still holding the
door)
Why pick the busiest time of day to
stage a robbery?

RAY
So you can disappear into the crowd.

FRASER
Still, all these potential witnesses,
the difficulty of making a getaway,
you'd think there'd be more risks
than benefits.

RAY
(losing patience)
Could we talk about this inside?

FRASER
Oh. Certainly.

Ray goes back in, Fraser starts to, then holds the door for
another woman, and finally enters.

CUT TO:

INT. BROKERAGE FIRM, BULLPEN -- MOMENTS LATER

KELLARD is studying the empty portfolio.

KELLARD
This could be it, but it's hard to
say. Every financial firm in the
city uses these.

RAY
(taking it back)
Could you have made a mistake? Handed
the thief the wrong portfolio?

KELLARD
Don't I wish. But the SEC
investigators have combed this place
from top to bottom. If the bonds
were still here, they'd have found
them.

IN THE BACKGROUND

Fraser studies the open vault. He lifts the police tape and
steps inside.

KELLARD glances at Fraser, curious.

KELLARD
(continuing)
Is he...?

RAY
Observing.

They watch as Fraser licks his index finger and holds it up,
as though to test the air.

RAY
(continuing)
He's very thorough.

KELLARD
So I see.

CUT TO:

INT. RAY'S CAR -- BACK SEAT

Willie, his eye on Diefenbaker, reaches slowly for the car
door lock.

WILLIE
Now you stay here, I'm just gonna go
for a little...

Willie pops up the lock. Dief lets out a small threatening
growl.

WILLIE
(continuing)
Okay, okay.

Willie shoves the lock down again. He doesn't see the BLUE
SEDAN pull up across the street.

CUT TO:

INT. BROKERAGE FIRM, RECEPTION AREA.

Kellard walks Ray and Fraser to the suite door.

KELLARD
Perhaps the thief handed the bonds
off to an accomplice. Or maybe the
bag you found wasn't even hers.

FRASER
It's a possibility. Thank you for
your help.

KELLARD
Anything I can do.

RAY
Right.

CUT TO:

INT. HALLWAY OUTSIDE OF BROKERAGE FIRM

Ray and Fraser head for the elevators.

RAY
He's in on it.

FRASER
Yes.

RAY
Don't ask me how I know, but I know.
(beat)
How do you know?

FRASER
The same way you do.

RAY
I guessed.

FRASER
Ah.

RAY
What do you mean "ah"? How do you
know? You stick a wet finger in the
air and figure out he's a thief?

FRASER
No. From that I could tell they have
a malfunction in their ventilating
system.

Fraser pauses to speak to an ELECTRICIAN who's working on a
light fixture.

FRASER
(continuing)
Pardon me, you have a broken cooling
vent in Suite B.

Fraser ignores the man's befuddled look and keeps walking.

FRASER
(continuing; to Ray)
It's of no importance.

RAY
...So??

FRASER
He told us. He referred to the thief
as "her."

RAY
And before he said they were all
men, as did all the other witnesses.
The only way he could know is if he
was in on it.

FRASER
Exactly.

RAY
Exactly.

The elevator doors close behind them.

CUT TO:

INT. RAY'S CAR

Willie very slowly rolls down the back window as a horse-
drawn HANSOM CAB pulls up to let off passengers.

WILLIE
(to Dief)
See? We could take a ride through
the park, it's a beautiful day.

Dief lets out a small growl.

WILLIE
(continuing)
You're a real pain, you know that?

As Willie rolls it up, A MAN'S HAND pushes in and jams it
open. Willie grabs the handle and gives it a hard yank. A
PAINFUL CRY, and the man yanks his fingers out. Willie
scrambles into the front seat, and that very second the back
window on the passenger side EXPLODES into shards as a crowbar
comes through it. The second assailant reaches in to grab
the door handle, but:

DIEFENBAKER

barks ferociously and the assailant pulls his hand back before
he loses it.

ACROSS THE STREET - MORGAN

pulls a vicious U-turn and pulls up beside Ray's car as

WILLIE

in the front seat, pulls the wires out of Ray's dash and
tries to hot wire the car.

WILLIE
(continuing)
Come on -- come on!

The front passenger side window EXPLODES under the impact of
the crowbar.

EXT. LOBBY OF OFFICE TOWER -- AT THAT MOMENT

The elevator doors open and Fraser and Ray step out.

RAY
So the robbery had to be a cover.
The thieves never had the bonds,
Kellard stole them.

FRASER
The question is, how did Kellard get
the bonds out of the office, and
where are they? Per the accountant,
the bonds were in the vault at 4:08
p.m.

RAY
And we know that because...

FRASER
He signed the log in the vault. And,
Kellard didn't leave the office all
day.

RAY
(realizing)
So the accountant took them!

FRASER
No. Everyone is checked by security
upon leaving.

RAY
Huh. So the question is, how did
Kellard get the bonds out, and where
are they?

Fraser notices the crowd of people by the glass doors.

FRASER
Ray...

And they're off at a run.

EXT. STREET -- IN RAY'S CAR -- AT THAT MOMENT

Diefenbaker keeps the second assailant (DONALD) from grabbing
the door handle.

DONALD
Shoot the dog! Shoot the dog!

The first assailant (CHARLES) pulls out his gun, levels it
at Diefenbaker...

WILLIE

gets the ignition to spark and the car lurches forward. The
bullet hits the car frame, and Ray's car takes off!

EXT. FRONT DOORS

Fraser and Ray push through the crowd to see:

RAY'S CAR

Scream off wildly down the street. The two assailants jump
into the blue sedan and Morgan takes off in pursuit.

FRASER AND RAY

tear after them at a dead run. No use. Fraser doubles back.
Ray keeps running.

WITH THE CARS

Willie swerves madly around a corner but the Sedan is right
behind.

BACK WITH RAY

still running. A second later Fraser pulls up beside him in
the Hansom cab.

FRASER
Hop up!

Ray does... and the chase is on. A head, the cars travel
through the streets and speeds no horse-drawn carriage could
match. But, Fraser cuts through the park. Picnickers jump
out of their path, Fraser has to avoid trampling a bunch of
sight-seeing nuns, until, finally:

RAY'S CAR

spins and stalls in an intersection. Willie tries desperately
to get the car started again, but the blue sedan has them in
its sights. Morgan guns the engine and takes aim to broadside
them. But at the last moment...

THE HANSOM CAB

pulls between them, Fraser yanks the reigns and the horses
rear up on their hind legs.

MORGAN

startled, swerves to miss them.

RAY

hops down and takes a bead on the car, but Morgan guns it
and the blue sedan speeds off.

Diefenbaker runs up to join Fraser and Ray. The sedan
disappears around a corner. Ray and Fraser look down at
Diefenbaker and the thought strikes them at the same time.
They run back to:

RAY'S CAR

The driver door hangs open, no Willie. Ray and Fraser look
around, but the kid is gone.

FADE OUT:

END OF ACT THREE

ACT FOUR

FADE IN:

INT. POLICE PRECINCT -- CAPT. WALSH'S OFFICE -- DAY

Ray's boss, CAPTAIN WALSH, listens patiently.

RAY
-- so then he yanks on the reigns
and the horses rear up, the car
swerves and takes off, it was amazing
really.

CAPTAIN WALSH
It sounds it. And our witness?

RAY
Oh, he... well, you see, what he did
was...

FRASER
Ran away.

RAY
More or less, yes.

CAPTAIN WALSH
Now that is a shame.

RAY
No one is more chagrined than myself.

The door opens and Huey and Louey step in.

HUEY
We got there too late, Kellard's
gone.

CAPTAIN WALSH
One disappointment after another.
(to Ray)
Perhaps if you'd thought to call in
before cantering though the park...
but these judgement calls are so
hard to make.

RAY
That's true, sir, you really had to
be there.

CAPTAIN WALSH
Would five o'clock be enough time to
clear out your desk? I don't want to
rush you, but we need the space for
actual police work.

RAY
Five o'clock would be...

FRASER
(gets it)
Rush hour.

RAY
(to Capt.)
He's just now picking these things
up.

FRASER
It has nothing to do with rush hour.

RAY
No, it just gives me enough time to
pack.

FRASER
It's on the surveillance tape.
Permission to leave, sir?

CAPTAIN WALSH
Oh, yes.

Fraser quickly exits. Ray makes his excuses and follows.

CUT TO:

INT. INTERVIEW ROOM -- CLOSE ON MONITOR -- DAY

Fraser scans backwards through the tape of the security
camera, so that we see the robbery happening in reverse.

FRASER
Kellard couldn't have taken the bonds
out himself, and he couldn't risk
the bonds being missed, so they had
to remain in the safe until just
before the robbery.

RAY
But if he was in on it, why didn't
he just let the robbers take the
bonds?

FRASER
Despite the adage, I've never found
that there is much honor among
thieves. If they took the money,
he'd have to trust them to give him
his share.

RAY
And they don't look like the
trustworthy types.

FRASER
So, he had to get the money out of
there just before the robbery, but
do it without drawing any attention
to himself. It would have to be a
normal occurrence, something that
happened every day, just before five
o'clock.

And Fraser freezes the tape, then lets it run forward. The
mailman drops off his deliveries, picks up packages and
leaves.

RAY
The mailman? That's so stupid it's --

FRASER
-- simple.

And they're up and moving.

INT. RAY'S CAR -- DAY

Fraser puts the flashing light on the roof as Ray pulls out
from the police station in a hurry, Dief hanging his head
out the back window.

RAY
So he sent it to himself!

FRASER
No, too easy to trace.

RAY
To the woman!

FRASER
Doesn't trust her.

RAY
To who?!

FRASER
No one. A fake name, a fake address,
no way to trace it.

RAY
Which means the parcel would end up
back at the Post Office!

FRASER
Exactly. Which means...

RAY
I'm going the wrong way.

Ray pulls a U-turn and speeds off.

CUT TO:

INT. POST OFFICE DEPOT -- AT THAT MOMENT

A large downtown facility with a parcel pickup counter at
the front of the building, and an alley leading to the package
distribution center in the rear. AN ELDERLY MAN signs for
his package, smiles at THE CLERK and steps aside, revealing
several CUSTOMERS lined up behind. At the end of the line,
KELLARD grips his briefcase, trying not to look as anxious
as he feels.

CUT TO:

EXT. AN INTERSECTION

Ray's car is racing toward it. The light is green -- now
yellow -- now red -- opposing traffic starts to move. RAY'S
CAR threads the needle, shooting right through.

CUT TO:

INT. POST OFFICE DEPOT

THE LINE OF CUSTOMERS has moved up. KELLARD removes the postal
receipt from his wallet. Then someone falls into line behind
him, jostles him. He glances back, irritated -- MORGAN stands
behind him, her gun noses out of her purse. Her accomplices,
Donald and Charles, stand just behind her.

MORGAN
My cut -- remember?
(takes receipt)
We'll split it up right here.

CUT TO:

EXT. DOWNTOWN STREETS

RAY'S CAR weaves through traffic, dodging lanes.

FRASER
Shouldn't we radio ahead for units
in the area?

RAY
This could be my last collar! It's
mine!

He cuts into an alley.

CUT TO:

INT. POST OFFICE DEPOT -- AT THAT MOMENT

KELLARD, MORGAN and ACCOMPLICES moving gradually up the line.
Two away from the counter... now only one customer ahead of
them -- a MIDDLE-AGED WOMAN, with nothing better to do than
argue with the quietly suffering CLERK.

MIDDLEAGED WOMAN
(off package)
This isn't butcher's paper, my sister
always uses butcher's paper.

CLERK
It's your package.

MIDDLEAGED WOMAN
Are you sure this is the right
package? I don't think it's my
package.

Morgan grabs the parcel and stuffs it in the woman's hand.

MORGAN
Take the package, lady.

The woman disappears. The clerk turns to Morgan.

CLERK
How can I help you?

CUT TO:

EXT. DOWNTOWN SIDEWALK

A TRASH CAN flies out of an alley and bounces into the street,
followed by RAY'S CAR, which hits the pavement bumper first,
and fires off down the street.

INT. POST OFFICE DEPOT

THE CLERK steps into frame and slides a LARGE EXPRESS ENVELOPE
across the counter to Kellard and Morgan.

CLERK
Sign, please.

Kellard sets his briefcase on the counter. MORGAN reaches
for the package. Kellard grabs his briefcase, swings it at
Morgan and knocks her off her feet into DONALD and CHARLES.
KELLARD grabs the package and leaps over the counter. CLERKS
scatter as KELLARD dashes past them heading for the warehouse
in the back of the building. THROUGH THE GLASS FRONT DOORS
we see Ray's car skid to a stop.

EXT. POST OFFICE DEPOT

Diefenbaker hops out after Fraser, Ray on their heels. They
react to the sight of customers fleeing through the front
door.

INT. POST OFFICE DEPOT

MORGAN and her two accomplices leap the counter and go after
Kellard. A beat later the front door flies open and Ray,
Fraser and Dief run up to the counter.

RAY
Which way?

The clerk points. Ray hops the counter.

FRASER
I'm here in a non-official capacity.
Would you mind if I...?

CLERK
Not at all.

FRASER
Thank you.

Fraser and Diefenbaker hop the counter, and they're off into
A FOOT CHASE THROUGH THE POST OFFICE WAREHOUSE involving
toppling packages, dangerous fork-lifts, leaping wolves,
Mounties jumping off catwalks and people fighting on conveyor
belts. Fraser even gets belted by a woman. Once. The second
time he catches her wrist and doesn't let go. He's courteous,
not stupid. And in the end, Ray gets to pick up the warehouse
phone and call the station.

RAY
(into phone)
Yes, this is Detective Raymond
Vecchio, I've apprehended the
perpetrators of the stock brokerage
robbery, would you mind sending a
couple of cars to pick them up?
...Huey and Louey? That'd be just
fine.

Ray hangs up, looks to Fraser and smiles.

CUT TO:

INT. POLICE STATION - NIGHT

Ray and Fraser enter the bullpen, Ray playing back his
exploits to Elaine, the Civilian Aid.

RAY
-- and I land on the conveyor belt,
and this guy jumps on me and suddenly --

ELAINE
Fraser saves you?

RAY
No. I flip the guy off, but he grabs
a crow bar and swings it at my head
and --

ELAINE
Fraser grabs it.

RAY
No, I duck. And out of nowhere --

ELAINE
Fraser appears?

RAY
(to Fraser)
You tell the story.

Ray walks off, Elaine looks to Fraser.

FRASER
That was pretty much it.

Fraser moves off, leaving Elaine to fill in the blanks.

ANGLE ON RAY'S DESK

As Ray approaches he sees the Captain sitting in his chair,
playing cards in his hand.

RAY
Oh, Captain, I was going to clean
that out but...

And then he sees Willie sitting low in the chair opposite,
studying his poker hand.

RAY
(continuing)
Willie?

CAPTAIN WALSH
He said you told him if he got lost
to come here.

Fraser walks up behind Ray.

RAY
No sh --
(covers)
-- ame in that, kid. Anybody can get
lost.

CAPTAIN WALSH
(not buying it)
Yeah.
(folding his hand)
You win kid.

The Captain gets up and heads for his office.

CAPTAIN WALSH
(continuing)
And Vecchio? Nice work.

Walsh walks away, leaving Ray speechless. Willie steps up to
him.

WILLIE
I figure that's worth a twenty.

Ray pays him.

RAY
Not a question about it.

CUT TO:

A HUNDRED POUND BAG OF DOG FOOD

hoisted from the trunk of Ray's car. Willie hefts it over
his shoulder. FRASER closes the trunk of Ray's car, parked
in front of the tenement. As Dief dances around Willie, trying
to get at the bag:

FRASER
You come over, feed and walk him
twice a day. I'll take him out again
when I get home at night. Deal?

WILLIE
Deal.

Fraser pulls out his wallet and hands Willie some cash.

FRASER
Twenty-five dollars a week, as long
as you stay in school.

WILLIE
(re: Canadian cash in
his hand)
This is...

FRASER
(taking it back)
Oh, sorry. Ray, would you mind lending
me...

RAY
Yeah, yeah, yeah.

Ray hands the kid the money and Willie heads off with the
bag into the tenement, Dief following him off. Ray gets into
the car.

RAY
(continuing)
You can't keep doing this.

FRASER
(getting in car)
What's that?

INT. CAR

RAY
Romping through the streets of
Chicago, rescuing widows and orphans
as you may.

The car pulls out of the driveway.

FRASER
He's just one kid, Ray.

EXT. STREET - EXTREME LONG SHOT

The car pulls away down the street.

RAY (V.O.)
You're not in a small town anymore,
you can't rescue everyone you meet.

FRASER (V.O.)
No, I understand.

A HOMELESS GUY waves from the sidewalk.

HOMELESS GUY (V.O.)
Fraser, thanks for the boots!

FRASER (O.S.)
Glad they fit, Jerome.

And the car drives off.

FADE OUT:

THE END

Contact | Disclaimer
Copyright © WeeklyScript.com | Scripts Copyright © their respective owners