Episode #1 Project - SC1001 DUE SOUTH "Free Willy" by Kathy Slevin & Paul Haggis PUBLISHED DRAFT July 18, 1994 Screenventures VII Productions Ltd. 940 Lansdowne Ave. Bldg #15 Toronto, Ontario M6H 4G9
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 onthe 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: (CONT'D) Utilities are extra. Fraser opens a window and gazes out. The landlord notices. LANDLORD: (CONT'D) 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: (CONT'D) 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: (CONT'D) (straightening his uniform) I just hope I didn't leave a bad impression. OMITTED 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: (CONT'D) 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. OMITTED 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: (CONT'D) (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: (CONT'D) 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: (CONT'D) (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: (CONT'D) (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: (CONT'D) (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: (CONT'D) 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: (CONT'D) (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: (CONT'D) (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: (CONT'D) (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: OMITTED 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: OMITTED OMITTED OMITTED A 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: (CONT'D) 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: (CONT'D) (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: (CONT'D) (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: (CONT'D) (continuing) Pardon me, you have a broken cooling vent in Suite B. Fraser ignores the man's befuddled look and keeps walking. FRASER: (CONT'D) (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: (CONT'D) (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 RAN 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 ake. 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: (CONT'D) (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: (CONT'D) (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: (CONT'D) (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.
