Kathy Slevin & Paul Haggis
July 18, 1994
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.
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
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.
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.
Strange; it seems so convenient. You
know I could walk to work from here
in under ten minutes?
Walk to work??
INT. RAY'S CAR -- CONTINUOUS
FRASER, RAY AND DIEF
231, it must be just up on the right.
Do me a favor, let's just turn around
and I'll take you back to your hotel.
Oh, I checked out. The windows
Fraser, this is Chicago. The only
reason to open a window is to get a
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.
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:
I forgot to ask if they take pets.
Yeah, a dog could easily throw off
the delicately balanced ecosystem.
You'll have plenty to hunt in here,
As Fraser steps over a sleeping drunk:
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.
I found the key.
Be right with you, sir.
Is my tie straight?
He's a slumlord!
THE FLIGHT ABOVE
Fraser and Ray follow the Landlord up the last flight of
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.
Would you care to see my references
now, or when I fill out the
It's like a rap sheet.
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.
Mrs. Garcia. Mr. Kline. Hello, Mrs.
They quickly shut their doors.
You know these people?
I memorized their names from the
mailboxes. It only takes a little
extra effort to be a good neighbor,
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.
Furniture and appliances are included.
Ray switches on the overhead light. The bulb flickers and
Utilities are extra.
Fraser opens a window and gazes out. The landlord notices.
On a good day, you can see Canada
just across the lake.
Canada is five hundred miles due
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.
My purse! He got my purse!
Excuse me. I'll be right back.
(to Dief, pointing to
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.
(to Ray, worried)
He's not some kinda nut, is he?
He's a Mountie, it's something they
Benny! You wanna hold up there?
Ray climbs out of the window and follows him.
EXT. TENEMENT BUILDING, ENTRANCE
Diefenbaker charges out the front door, leaping over TWO OLD
TRANSIENTS, who sit sharing a bottle.
Looked like a wolf.
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.
He continues onward, leaving the Worker agog.
ON THE SIDEWALK
Still running, the kid looks behind to see:
Loping down the pavement after him.
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.
You gonna help here or what?
ON THE SIDEWALK
Diefenbaker is quickly narrowing the gap between himself and
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.
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
That's far enough, son.
What are you, a flying boy scout?!
Constable Benton Fraser, Royal
Canadian Mounted Police.
The kid turns to run and sees Diefenbaker standing there.
You've broken the law, son. That
carries a heavy penalty. Perhaps you
didn't think that through.
Back off, okay -- just back off!
I'm afraid I can't do that.
(moving toward him)
Now, if you'll just hand over the
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.
That's right. You keep the dog off
me or I'll pop him, too.
(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.
Why? I got the gun!
Because you don't want to hurt anyone,
and because if you don't you might
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:
You're lucky, cop, you know that?
'Cause I coulda shot you right through
That would require knowing how to
take off the safety.
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.
EXT. TENEMENT BUILDING -- MOMENTS LATER
The ELDERLY LADY, supported by her DAUGHTER, thanks Fraser
for recovering her purse.
...Apartment 4D, six o'clock.
Thank you, Mrs. Dalhousie, I look
forward to it.
Please, call me Enid.
As her DAUGHTER leads her off, Ray finally runs up, out of
Okay, okay, what's going on?
I've been invited to dinner.
Where is he?
The kid, the purse snatcher, I'll
book him, where is he?
Oh. I let him go.
You let him go?!
He apologized and promised never to
You just let him go??
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.
I just hope I didn't leave a bad
EXT. CANADIAN CONSULATE -- LATER THAT DAY
Establishing shot, OVER which we hear:
So as I understand it, you have
Canadian on the left and American on
INT. MOFFAT'S OFFICE -- CONTINUOUS
SUPERINTENDENT MOFFAT studies Fraser's report.
That's correct, sir.
So, the American term for "touque"
would be... ski cap.
Chesterfield is... sofa; serviette
is... napkin, this is fine work,
Thank you, sir.
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?
No, sir, it was entirely your idea.
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.
Speaking of which, sir, I was
wondering if you would consider
expanding my post to include duties
of an investigative nature?
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.
A tip from the wise -- take your
time, get to know your enemy. Until
then, you still have a very valuable
function to perform.
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".
...Now, Snappy Cleanser isn't just
any cleaning product. It removes
rust, stains, mildew -- and it always
leaves a snappy shine.
Look, you can see your face in it.
Ray appears at his shoulder.
(to salesman, a threat)
No kidding. Can you see my badge in
The Salesman wisely decides to move on.
Okay -- so, the gun you took off
that purse snatcher this morning?
Ran it through the routine ballistics
test. Guess what it said.
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.
Okay, lunch -- catch you later.
Ray starts away, just as Fraser suddenly comes to life.
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.
Shift just ended. The bullet?
Turns out, the bullet in the kid's
gun matches a bullet they dug out of
a guy's arm yesterday. Robbery at a
Dief scampers out from behind a bush. As the three climb
into Ray's car:
He didn't do it, you know -- the
And if he did, I'm sure he apologized.
As the car doors close we:
END OF ACT ONE
EXT. POLICE PRECINCT -- LATER
Establishing shot, over which we hear the voice of DETECTIVE
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.
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.
Security camera, runs twenty-four
hours in the place.
Is there one in the elevator?
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
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
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...
I'm sure you did. Did the guy say
Just "open the vault." I did.
Looks like they knew what they were
after, didn't touch any of the other
Just the bearer bonds.
Any idea how they knew what to take?
The little one, you say he was 5'3
or '4? Could it have been a kid, a
I'm not sure. I suppose... yes.
ON THE OTHER SIDE OF THE MIRROR
As Ray and Fraser turn and exit:
Not a betting man, are you, Benny?
INT. INTERROGATION ROOM "B"
(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.
Quite a little record here. Seven
arrests, first at age ten; petty
theft, theft, more theft...
I had to support my mother.
You don't have a mother, kid.
CHILD WELFARE OFFICER
He also has no convictions, which
means you shouldn't even have that
We don't need it.
We checked your fingerprints against
the gun -- the only ones that came
up belong to you. You're going down
for this one, Willie.
I told you, I found it somewhere.
CHILD WELFARE OFFICER
You don't have to tell them anything.
That's true, but I'd suggest that
it's in Willie's best interest to
talk to us.
If you are innocent, the police have
no reason to incarcerate you.
CHILD WELFARE OFFICER
Not from around here, are you?
I'm supposed to trust you?
I think you know you can.
All I know is, a cop is a cop, and
all they want is to put you away.
All right. Ray? I think we've done
all we can here.
You're not going to offer me a deal
No, all you have is my word that I
will do my best for you.
CHILD WELFARE OFFICER
Not good enough.
She said it.
I understand. 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
Good, let him sweat. The punk will
crack in twenty minutes.
He's scared, but he's a pretty tough
kid. I don't think he'll respond to
Ray and Fraser are met by HUEY and GUARDINO.
Nice job, Vecchio.
Is that a compliment, Jack, or do my
ears deceive me?
Don't be so hard on yourself, Ray.
Sooner or later you had to solve at
least one case.
And this must be your Mountie.
Benton Fraser, Deputy Liaison Officer
Jack Huey, Louis Guardino. Major
Or as we call them "Huey and Louey."
It's Louis, Vecchio, and I don't
like your mouth.
Before this can go any farther, Huey breaks it up.
If you will excuse us, Lt. Guardino
and I have a suspect to interrogate.
(taking the file out
of Ray's hands)
Hey, that's my collar, Jack. You
question that kid without me, I'm
taking this to the Captain --
Sure, Ray. If you think your record
will support that, go ahead.
(getting in his face)
My record? Are you maligning my
Fraser steps between them.
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.
Huey and Guardino push past them into Interrogation Room B,
closing the door in Ray's face.
Ray turns to Fraser, furious.
How could you do that?! How could
you turn over my collar to them?!
The lunch room is this way?
You know how many times a perp falls
right in your lap? How many times
you think that happens, Fraser? How
As Ray follows him around the corner, we:
INT. LUNCH ROOM -- DAY
A VENDING MACHINE MAN stocks one of the machines, as Ray
takes a sandwich out of another an unwraps it:
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.
(to vending machine
Did you make this, or scrape it off
The vending machine man ignores him, takes a fresh sandwich
from his box and hands it to Fraser.
VENDING MACHINE MAN
Thank you, Hugo.
As they move off:
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
How do you know his name?
It's embroidered on his shirt.
INT. HALL -- CONTINUOUS
Fraser, carrying his sandwich and a couple of sodas, heads
down the hallway toward the interrogation room, Ray in
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.
Okay... so the kid says he'll only
talk to the guy in the hat.
(to Huey, re: his
Could you hold the door?
Fraser moves into the room without missing a step. As Huey
and Louey move to follow, Ray pushes past cutting them off.
(to Huey and Louey,
I'm with the guy in the hat. You're
Ray closes the door in their faces.
INT. INTERROGATION ROOM -- A FEW MINUTES LATER
Willie wolfs down the salmon sandwich.
Look, I didn't shoot nobody. I never
even saw that gun before yesterday.
Where did you see it?
Like in your pocket?
CHILD WELFARE OFFICER
This interview is over.
Why don't you tell us how you found
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
You got a number on that building?
Yeah, I wrote it in my address book.
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.
'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
I had a bad day.
The woman, could you describe her?
Depends. Can you get me out of here?
(off Fraser's look)
Right, right. You'll do your best.
INT. CAPTAIN WALSH'S OFFICE -- DAY
The tiny office is packed with Detectives, as Ray and Huey
and Guardino face off.
No way! No way is that kid gonna
Huey turns to CAPTAIN WALSH, seated behind his desk.
Captain, we've got his prints on the
gun, it was in his possession --
The kid's a pickpocket, he could've
gotten that gun anywhere. Your "eye
witness" can't even place him at the
One of the perps matches his height
(re: Louey's height)
So the only one that rules out is
You and me, on the roof.
CAPTAIN WALSH rises from his desk, trying very hard to keep
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.
That's right Captain, our case, our
Shut up, Louey.
It's Louis, sir.
Captain, can I help it if the kid
will only talk to a Mountie?
Ah yes, the Mountie...
All eyes turn to FRASER, who stands at a respectful distance.
I thought they sent you back to the
They did, sir. And then they sent me
back here again. I'm afraid I'm not
all that well liked up there.
By "up there" you mean...
Pretty much all of Canada, sir.
The wolf isn't involved in this, is
Only peripherally, sir.
Sir, permission to speak freely?
(to other detectives)
See? This I like; "Permission to
speak freely." Go ahead, young man.
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.
Good reason. Louey?
Maybe some bigger kids took them
away from him, how do I know?
He says he found the gun in a
briefcase he stole -- and, he can
identify its owner.
We've got him out there right now
putting together a composite.
Captain, you let that kid walk outta
here and you'll never see him again.
You willing to assume responsibility
Sir, I can't watch the kid day and
Then Huey and Louey get him.
Smart decision, Captain.
I'll take responsibility for him,
Huey and Louey react. As Fraser and Ray turn to leave:
Oh, and one more thing. You lose the
kid, and Detective Vecchio loses his
On Ray's reaction:
A COMPUTER SCREEN -- A COMPOSITE OF THE FEMALE THIEF
Long dark hair, pretty.
You know who this is? This is Victoria
Principal. The kid's yanking our
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
I saw her for two seconds! You try
and draw one of these things!
I'll run it through VICAP, see if I
can find a match.
(picking up pencil)
You want me to call you at home?
My case, Elaine. Me, Detective
But I should probably have it just
Oh. I'm afraid I don't have a phone...
(taking him by the
He uses smoke signals. We'll call
As they head down the hall with the kid and Diefenbaker:
(continuing; to Fraser)
You don't have women in the Yukon?
Certainly, they just aren't quite
Passing an attractive FEMALE OFFICER.
Like your dog.
Oh, thank you.
Ray reacts as they exit.
EXT. POLICE STATION -- DAY
The moment they step out the door, Willie bolts off down the
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.
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.
We lost the little creep! We lost
Fraser watches the bus move down the street, unconcerned.
He'll be back.
Suddenly the WHINE OF BUS BRAKES. They look to see:
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.
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
You have one more chance, kid. One.
No problem. You want evidence? I'll
show you lots of evidence.
As they step into Ray's car, we
EXT. VACANT LOT -- LATE AFTERNOON
Willie sifts through the contents of an upturned barrel.
I tossed the briefcase right here! I
put it right in here.
So where is it?
It should be here. I dropped it right
Nothing that fits the description.
So, kid, where is it?
It must have been stolen.
Maybe you noticed this isn't the
The kid is making me very angry.
Diefenbaker noses around the barrel. He smells something.
What have you got?
Diefenbaker sniffs around and then runs off. Fraser follows.
Why does this have to be my life?
Come on, Ray!
I'm coming, you hook up the sled!
(taking kid by the
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
In her lap is the large, soft leather brief case.
Nice dog, very good listener.
Actually, he's deaf.
But I've come to believe he reads
Ray runs around the corner, panting, the kid in tow.
Okay, what'da we got?
Ray, this is...?
Enough with the names.
Chicago P.D., gimme the bag.
Ray reaches for the briefcase. The old lady pulls it away,
holding on stubbornly.
HELP! HELP! POLICE!
(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.
I'm not giving her fifty bucks!
(taking out his money)
I'm afraid all I have is ten.
(re: money in his
Why is it purple?
Do I look like Margaret Trudeau?
All right, all right.
Ray hands her ten. She gives them the briefcase.
Thank you, ma'am.
The bag lady moves off with her cart as Ray opens the
briefcase. Inside is the manila portfolio.
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.
picks them up and looks to Fraser. Then looks to the kid.
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.
Not yet.... Calm down, he has
company... A cop, and -- looks like
a mountie and a dog.... How should I
ANGLE THROUGH WINDSHIELD -- MORGAN'S POV
Fraser, Ray, Willie and Diefenbaker head for the car.
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
END OF ACT TWO
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.
If I find them here you're going
away for this, kid.
I didn't take no stupid bonds! I
don't even know what a "bond" is!
There wasn't anything else inside
the bag? Certificates with seals on
On my sister's life.
(quickly, to Ray)
And I do have a sister.
Ray gives up and heads out of the room.
Yeah? So where is she?
INT. WILLIE'S APARTMENT KITCHEN - MOMENTS LATER
Ray continues his search through the kitchen cabinets.
Is your sister the one who does the
Fraser sniffs an open milk carton. Rancid.
She's been busy.
WILLIE'S APARTMENT DOOR -- MOMENTS LATER
So, you two go home, get some rest,
we'll start fresh in the morning.
Fraser and Ray are, of course, ignoring him.
He can't stay here.
He's not staying at my place.
Fraser turns to Willie.
Can you make a bed?
You mean out of twigs?
QUARTER (N.B. NEW LOCATION)
as it bounces off a neatly made cot.
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
Couldn't have done better myself.
Good, because a Nazi couldn't sleep
in sheets that tight.
Willie collapses on the bed, worn out.
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.
Willie looks at the bill, confused.
You earned it.
A rather astonished look crosses Willie's face.
(suppressing a smile)
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:
You know crack dealers are afraid to
come into this neighborhood?
Fraser? Why is this money pink?
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.
...Her name's Carole Morgan -- alias
Carole Thomas, alias Morgan Thomas,
INT. RAY'S CAR
Fraser in the front, Willie and Dief in the back as usual.
Ray is on the car radio.
Whoa, whoa, Elaine -- that's a
According to the FBI. Is Fraser with
Fraser doesn't work there, Elaine. I
do. About the perp?
Ray shoots Fraser a look. Fraser shrugs.
Armed robbery; three arrests, one
conviction, all in Florida.
A long way to come to steal blank
Fraser, is that you?
Sorry, Elaine, breaking up, gotta
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.
You'd better wait for us here, son.
We can't leave him in the car.
He'll be fine.
ON WILLIE, FOILED
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
Please... After you... Please.
Then something strikes him. Finally Ray comes back out.
Do all Canadians grow up longing to
be doormen? Does this explain the
Why five o'clock?
(still holding the
Why pick the busiest time of day to
stage a robbery?
So you can disappear into the crowd.
Still, all these potential witnesses,
the difficulty of making a getaway,
you'd think there'd be more risks
Could we talk about this inside?
Ray goes back in, Fraser starts to, then holds the door for
another woman, and finally enters.
INT. BROKERAGE FIRM, BULLPEN -- MOMENTS LATER
KELLARD is studying the empty portfolio.
This could be it, but it's hard to
say. Every financial firm in the
city uses these.
(taking it back)
Could you have made a mistake? Handed
the thief the wrong portfolio?
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
IN THE BACKGROUND
Fraser studies the open vault. He lifts the police tape and
KELLARD glances at Fraser, curious.
They watch as Fraser licks his index finger and holds it up,
as though to test the air.
He's very thorough.
So I see.
INT. RAY'S CAR -- BACK SEAT
Willie, his eye on Diefenbaker, reaches slowly for the car
Now you stay here, I'm just gonna go
for a little...
Willie pops up the lock. Dief lets out a small threatening
Willie shoves the lock down again. He doesn't see the BLUE
SEDAN pull up across the street.
INT. BROKERAGE FIRM, RECEPTION AREA.
Kellard walks Ray and Fraser to the suite door.
Perhaps the thief handed the bonds
off to an accomplice. Or maybe the
bag you found wasn't even hers.
It's a possibility. Thank you for
Anything I can do.
INT. HALLWAY OUTSIDE OF BROKERAGE FIRM
Ray and Fraser head for the elevators.
He's in on it.
Don't ask me how I know, but I know.
How do you know?
The same way you do.
What do you mean "ah"? How do you
know? You stick a wet finger in the
air and figure out he's a thief?
No. From that I could tell they have
a malfunction in their ventilating
Fraser pauses to speak to an ELECTRICIAN who's working on a
Pardon me, you have a broken cooling
vent in Suite B.
Fraser ignores the man's befuddled look and keeps walking.
(continuing; to Ray)
It's of no importance.
He told us. He referred to the thief
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.
The elevator doors close behind them.
INT. RAY'S CAR
Willie very slowly rolls down the back window as a horse-
drawn HANSOM CAB pulls up to let off passengers.
See? We could take a ride through
the park, it's a beautiful day.
Dief lets out a small growl.
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:
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
in the front seat, pulls the wires out of Ray's dash and
tries to hot wire the car.
Come on -- come on!
The front passenger side window EXPLODES under the impact of
EXT. LOBBY OF OFFICE TOWER -- AT THAT MOMENT
The elevator doors open and Fraser and Ray step out.
So the robbery had to be a cover.
The thieves never had the bonds,
Kellard stole them.
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
And we know that because...
He signed the log in the vault. And,
Kellard didn't leave the office all
So the accountant took them!
No. Everyone is checked by security
Huh. So the question is, how did
Kellard get the bonds out, and where
Fraser notices the crowd of people by the glass doors.
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.
Shoot the dog! Shoot the dog!
The first assailant (CHARLES) pulls out his gun, levels it
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:
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
BACK WITH RAY
still running. A second later Fraser pulls up beside him in
the Hansom cab.
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:
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.
startled, swerves to miss them.
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:
The driver door hangs open, no Willie. Ray and Fraser look
around, but the kid is gone.
END OF ACT THREE
INT. POLICE PRECINCT -- CAPT. WALSH'S OFFICE -- DAY
Ray's boss, CAPTAIN WALSH, listens patiently.
-- so then he yanks on the reigns
and the horses rear up, the car
swerves and takes off, it was amazing
It sounds it. And our witness?
Oh, he... well, you see, what he did
More or less, yes.
Now that is a shame.
No one is more chagrined than myself.
The door opens and Huey and Louey step in.
We got there too late, Kellard's
One disappointment after another.
Perhaps if you'd thought to call in
before cantering though the park...
but these judgement calls are so
hard to make.
That's true, sir, you really had to
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.
Five o'clock would be...
He's just now picking these things
It has nothing to do with rush hour.
No, it just gives me enough time to
It's on the surveillance tape.
Permission to leave, sir?
Fraser quickly exits. Ray makes his excuses and follows.
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.
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.
But if he was in on it, why didn't
he just let the robbers take the
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
And they don't look like the
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
And Fraser freezes the tape, then lets it run forward. The
mailman drops off his deliveries, picks up packages and
The mailman? That's so stupid it's --
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.
So he sent it to himself!
No, too easy to trace.
To the woman!
Doesn't trust her.
No one. A fake name, a fake address,
no way to trace it.
Which means the parcel would end up
back at the Post Office!
Exactly. Which means...
I'm going the wrong way.
Ray pulls a U-turn and speeds off.
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.
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.
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.
My cut -- remember?
We'll split it up right here.
EXT. DOWNTOWN STREETS
RAY'S CAR weaves through traffic, dodging lanes.
Shouldn't we radio ahead for units
in the area?
This could be my last collar! It's
He cuts into an alley.
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.
This isn't butcher's paper, my sister
always uses butcher's paper.
It's your package.
Are you sure this is the right
package? I don't think it's my
Morgan grabs the parcel and stuffs it in the woman's hand.
Take the package, lady.
The woman disappears. The clerk turns to Morgan.
How can I help you?
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.
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
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.
The clerk points. Ray hops the counter.
I'm here in a non-official capacity.
Would you mind if I...?
Not at all.
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.
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
Ray hangs up, looks to Fraser and smiles.
INT. POLICE STATION - NIGHT
Ray and Fraser enter the bullpen, Ray playing back his
exploits to Elaine, the Civilian Aid.
-- and I land on the conveyor belt,
and this guy jumps on me and suddenly --
Fraser saves you?
No. I flip the guy off, but he grabs
a crow bar and swings it at my head
Fraser grabs it.
No, I duck. And out of nowhere --
You tell the story.
Ray walks off, Elaine looks to 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.
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.
He said you told him if he got lost
to come here.
Fraser walks up behind Ray.
No sh --
-- ame in that, kid. Anybody can get
(not buying it)
(folding his hand)
You win kid.
The Captain gets up and heads for his office.
And Vecchio? Nice work.
Walsh walks away, leaving Ray speechless. Willie steps up to
I figure that's worth a twenty.
Ray pays him.
Not a question about it.
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:
You come over, feed and walk him
twice a day. I'll take him out again
when I get home at night. Deal?
Fraser pulls out his wallet and hands Willie some cash.
Twenty-five dollars a week, as long
as you stay in school.
(re: Canadian cash in
(taking it back)
Oh, sorry. Ray, would you mind lending
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
You can't keep doing this.
(getting in car)
Romping through the streets of
Chicago, rescuing widows and orphans
as you may.
The car pulls out of the driveway.
He's just one kid, Ray.
EXT. STREET - EXTREME LONG SHOT
The car pulls away down the street.
You're not in a small town anymore,
you can't rescue everyone you meet.
No, I understand.
A HOMELESS GUY waves from the sidewalk.
HOMELESS GUY (V.O.)
Fraser, thanks for the boots!
Glad they fit, Jerome.
And the car drives off.
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