Episode #2 Project - SC1002 DUE SOUTH "Diefenbaker's Day Off" by Kathy Slevin
FINAL DRAFT August 2, 1994 REVISED PINK - August 5, 1994 REVISED BLUE - August 12, 1994 REVISED GREEN- August 15, 1994 REVISED YELLOW - August 19, 1994 Revised Pages: 1,4,20A-24A,26,26A,31,31A,35,35A Screenventures VII Productions Ltd. 940 Lansdowne Ave. Bldg #15 Toronto, Ontario M6H 4G9
PROLOGUE FADE IN: INT. FRASER'S APARTMENT -- MORNING Dressed in his browns. Fraser is ready to go to work. He turns to speak to someone off camera: FRASER: Now, before I leave for work we have something to discuss. We angle to see he's talking to Diefenbaker, who sits eyes fixed on the door, tail wagging expectantly. FRASER (CONT'D): We are no longer in the Yukon. This is a big city and you can't just run around freely anymore. Dief lets out a little MOAN FRASER (CONT'D): Like it or not, you need a license -- and I can't get a license for a wolf. I've tried, they just don't issue them. Additionally, they have something here called "Animal Control Officers", whose specific job it is to take unattended animals off the street. Dief bares his teeth and GROWLS. FRASER (CONT'D): No, no, you can't have that attitude. These are hard working city employees who perform a fine service for the community, and the animals themselves. (off Dief's look) Alright, occasionally they put them to sleep, but that's neither here nor there. My point is, until we can work this out, you'll have to stay in the apartment while I'm gone. Dief WHINES pitifully. FRASER (CONT'D): So, it's agreed? Dief lies down on the floor and GRUMBLES, signaling defeat. FRASER (CONT'D): Good. I'll see you tonight. Fraser exits. INT. TENEMENT HALLWAY -- CONTINUOUS Fraser leans down and looks through the keyhole. INSIDE Dief lies just where he left him. Fraser nods to himself and heads off down the hail. INT. FRASER'S APARTMENT -- CONTINUOUS Dief runs and jumps out the open window. INT. TENEMENT HALLWAY -- CONTINUOUS As Fraser heads out several NEIGHBORS watch from behind chained doors. He tips his hat as he passes. FRASER: Morning Mr. Newby, Ms. Krezjapalov. Spooked, they slam their doors. Fraser is unphased. EXT. FRONT OF TENEMENT BUILDING (FIRE ESCAPE) Dief runs down the fire escape trying to beat Fraser to the front steps. INT. TENEMENT BUILDING (LOBBY) As Fraser comes down the stairs a woman enters juggling a baby in one arm and bags of groceries in the other. FRASER: (to Woman) May I? She shrugs, hands him the kid and the groceries and leaves him to struggle up the stairs behind her. INT. TENEMENT HALLWAY AND STAIRS -- CONTINUOUS Fraser follows the woman up to the third floor landing. FRASER: This floor is it? (sees her heading up) Ah, no. He follows her up. As he does, an apartment door opens and CHARLIE PIKE, mid-thirties, steps out holding the hand of his six year-old daughter, LUCY. He turns to say goodbye. LUCY: Please can I go with you? CHARLIE: No, honey, I told you, I have to go to work. LUCY: I'11 be very quiet. CHARLIE: I know, but you got school. Charlie studies his little girl's worried expression, then kneels down beside her. CHARLIE (CONT'D): Hey, who's the toughest guy in the whole world? LUCY: (sadly) You are. CHARLIE: Who could stop me from comin' home to you? LUCY: Nobody. CHARLIE: And what would I do to 'em if they tried? LUCY/CHARLIE: (demonstrate as they rhyme) Upper cut, left hook, poke em in the eyes. Lucy can't help but collapse into her Dad's arms with the usual giggles this ritual invokes. CHARLIE: Okay, so you're going to wait inside till the bus comes, right? (she nods) I'll see you tonight, killer. Charlie gives her a kiss and exits down the stairs, blowing her another kiss before he's gone. Lucy goes and sits on the top step to watch him go, not happy about this at all. A beat later Fraser comes down the stairway above, rounds the landing, passing her. FRASER: Good morning, Lucy. Lucy studies him suspiciously. LUCY: You know my name. FRASER: (turns back) All the beautiful girls are named Lucy. LUCY: It's on my lunch box. She holds up the lunch box with her name on it. FRASER: Found me out! He smiles and turns to keep going, but stops as he hears: LUCY: Are you a policeman? FRASER: Yes, I am. But in Canada. And at the Consulate, where I work. But outside the Consulate, I'm not. Unless I'm in Canada. That's not clear. Do you know what a "liaison officer" is...? Of course you don't, you see-- LUCY: Policemen help people, right? FRASER: Uh, yes. We try. LUCY: Can you help my Dad? He keeps hurting himself. FRASER: ...He does? Lucy nods. Fraser studies her expression. This clearly isn't a minor concern. FRASER (CONT'D): Where is he? Lucy walks Fraser to the window and points out. EXT. TENEMENT STREET -- THEIR POV Half a block away, Charlie crosses the street. LUCY (V.O.): That's him. BACK TO SCENE FRASER: What's his name? LUCY: Dad. FRASER: Ah, yes, it would be. Well, actually Lucy I'm on my way to work right now...(off her expression) But I can spare a few minutes. LUCY: You'll help him? FRASER: I'll help him. Fraser exits with a smile. Lucy watches out the window. EXT. TENEMENT -- CONTINUOUS Fraser steps out, looks around, no Charlie. He walks off in the direction he last saw him. We hold a beat, Diefenbaker peers around the corner, sees Fraser walking away and trots off to catch up with an ELDERLY LADY out for a walk. ELDERLY LADY (to Dief): Hello, Whitie. Here's your cookie. EXT. AN INTERSECTION SEVERAL BLOCKS AWAY -- MOMENTS LATER Charlie takes a paper from a vending machine and checks his watch. He opens his paper and joins the pedestrians waiting at the corner. A BLOCK AWAY Fraser comes to the corner, turns and spots Charlie. WITH CHARLIE He stands engrossed in his paper, oblivious to the fact that the other pedestrians are crossing the street. The light turns to amber. In the background, Fraser quickens his step. A BLACK LUXURY CAR waiting in curb lane guns its engine as the light turns green. CHARLIE steps into the intersection. THE DRIVER sees Charlie, hits his brakes, but he can't stop in time! When... FRASER flies across his path, lands full tackle on Charlie's back, and the two men go rolling across the pavement to safety. THE DRIVER sees he didn't hit him and takes off. FRASER checks out Charlie as pedestrians walk right past them. Charlie seems stunned but perfectly fine. CHARLIE: What are you doing?! FRASER: (forgotten his manners) Oh, sorry. Benton Fraser, RCMP. CHARLIE: You're a Mountie?? (looks around/bewildered) Where'd you come from?! FRASER: Apartment Three J. Are you all right? CHARLIE: (gathering his wits as he dusts himself off) Oh yeah, sure. sure. I'm fine. Guess I should watch where I'm going. FRASER: Stop, look, listen -- a simple motto but one worth adhering to. CHARLIE: Yeah, well -- gotta go. Thanks. Charlie disappears around the corner. Fraser calls after him: FRASER: Perhaps we could talk another time. (checks his watch) Oh. He's late. Fraser strides away in the opposite direction. A few seconds later we hear TIRES SQUEAL, A HORN BLARE, and a LOUD THUD. Fraser races back around the corner and sees a crowd of spectators milling around a luxury car. As Fraser pushes through we hear the panic-stricken voice of the DRIVER. DRIVER: He stepped right out in front of me -- I couldn't stop...! Charlie lies dazed on the pavement, moaning with pain. FADE OUT: END OF PROLOGUE ACT ONE FADE IN: INT. PRIVATE MEDICAL CLINIC (WAITING ROOM) -- MOMENTS LATER 1 Several patients wait for doctors, while at the counter a HEAD NURSE takes information from a patient and a younger, strikingly attractive, nurse-receptionist (call her MACKENZIE) handles the phones. Suddenly the door is kicked open and in steps Fraser carrying Charlie in his arms. Everyone looks up, astonished, as Fraser checks the business card in his hand. FRASER: Harper Medical Clinic? HEAD NURSE: (stunned) ...Yes. FRASER: (to Charlie) You're sure about this? I could have you in an Emergency Room in less than... CHARLIE: No, no -- I wanna see my doctor -- Dr. Howard. The Head Nurse hurries to assist them. HEAD NURSE: Right this way. She leads Fraser, with Charlie in his arms, through a door that leads to the examination rooms. The nurse-receptionist watches them with some interest. INT. CLINIC HALLWAY -- LATER DR. HOWARD steps out of an examination room and addresses Fraser. who has been waiting patiently. DR. HOWARD: Constable Fraser? I hear you're quite the good Samaritan. Didn't know we had any left in this town. FRASER: I'm sure any one of his neighbors would have done the same. DR. HOWARD: ...Yeah. Well, Mr. Pike has suffered considerable soft tissue damage, but none of his injuries are life threatening. FRASER: Oh, thank you, doctor. Dr. Howard gives him a cursory smile and turns away. FRASER (CONT'D): Excuse me. Dr. Howard? Is there any medical reason why Charlie might be prone to accidents. Perhaps an inner ear imbalance resulting from an old boxing injury? DR. HOWARD: (a little taken-aback) How did you know he was a boxer? FRASER: His nose cartilage has been reduced by almost eighty percent and his left eye socket is raised about half a centimeter above his right, resulting in a slight shift in the cranial plates. DR. HOWARD: ...Where did you study? FRASER: The Inuvik Public Library. My grandparents were librarians. DR. HOWARD: No kidding? Well, you're quite correct. Judging from today, it appears Charlie has taken one too many hits to the head. FRASER: I see. Will you be releasing him soon? DR. HOWARD: If there's no concussion, he should be home this afternoon. FRASER: And the bill? DR. HOWARD: You must have inspired me, Constable. This one's on me. Dr. Howard smiles and exits to his office. Fraser turns and heads down the hall. INT. WAITING ROOM -- MOMENTS LATER Fraser approaches the counter where the Head Nurse is dealing with the anxious DRIVER that hit Charlie. DRIVER: I know you have rules! Can't you just tell me if he's okay? HEAD NURSE: Just a moment. The Head Nurse turns to Fraser. FRASER: Pardon me, is there a pay phone? HEAD NURSE: Down there. As Fraser moves off: HEAD NURSE (CONT'D): (to Driver) I told you, sir, if you'll leave your name and phone number someone will contact you. INT. REAR HALLWAY (PHONE BOOTH) -- CONTINUOUS Fraser pumps some change into the pay phone and dials. As he waits for the connection, Fraser hears a door open at the far end of the corridor. Mackenzie, the nurse-receptionist slips into a room marked "Medical Records" and closes the door quietly behind her. Fraser notices, but she doesn't appear to see him. RAY'S VOICE at the other end of the phone pulls him back. RAY (V.O.): Ma, I can't talk, I'm on a stakeout. FRASER: Ray? INT. SPORTS BAR -- CONTINUOUS (INTERCUT AS NEEDED) Ray, on his cellular phone, is taking an early lunch at his favorite haunt. He's glued to a Bears game on the big screen. RAY: Benny! Get over here -- the Bears are finally kicking some butt. FRASER: Ray, I need your help on something. I'm having a bit of a problem getting a license for Diefenbaker. I'm not sure if it's just because he's a wolf, or because he's deaf, but if you could-- RAY: (to screen) Yes! Yes! WITH FRASER -- ANGLE INCLUDING MACKENZIE IN BACKGROUND Fraser has his back to her, he doesn't see her stepping out of the closet stuffing x-rays into her bra. FRASER: Then you think you can help me? RAY: What?? FRASER: With the license. Of course, I wouldn't want you to use your influence unduly. MacKenzie passes Fraser and exits, not noticing that she's dropped an x-ray. Fraser sees it happen. RAY: Sure, sure, leave it with me. FRASER: Miss?...Thanks, Ray. Fraser hangs up, picks up the x-ray and exits. FRASER (CONT'D): (calling o.s.) Miss? EXT. CLINIC PARKING LOT -- MOMENTS LATER MacKenzie throws her purse into an old Alpha Romeo Spider convertible. She hikes up her nurse's uniform and hurriedly pulls x-rays and documents out of her garter belts, tossing them on the seat. She grabs her jeans from the car, pulls them over her legs, checks to see if anyone's watching, then dips down behind the door and pulls off the nurse's uniform. FRASER (O.S.): Excuse me? MACKENZIE: (startled) AH! She looks up to see Fraser come around the back of her car. He colors immediately when he sees her predicament. FRASER: Oh..! I'm sorry...1... MACKENZIE: Are you following me?! FRASER: No! I mean, yes, but -- I'll just... He quickly closes his eyes and turns away. MacKenzie grabs her blouse and pulls it over her head. MACKENZIE: I think men who skulk around after women are the lowest scum on earth. Don't you? She climbs into her car. FRASER: Well yes, I suppose, but-- MACKENZIE: (stops with an afterthought) How did you know where to bring him? FRASER: You mean Charlie? MACKENZIE: Friend of yours, is he?. FRASER: Oh, no, I just met him at the accident site. Actually, the accident site before that... MACKENZIE: So you do this a lot? FRASER: By "this" you mean...? MACKENZIE: Can you spell your name for me? FRASER: Certainly. B-E-N-T-0- MacKenzie spots the Head Nurse in the lobby, asking the security guard something. Time to get out of here. She starts her car. MACKENZIE: You're a very interesting person, Bento. I'd like to see more of you. FRASER: It's Benton. Benton Fraser. MACKENZIE: How about dinner tonight? FRASER: (panics) Dinner? Oh, I'd like to, but I have a dog. MACKENZIE: Do you have a good suit? FRASER: Two, actually, but... MACKENZIE: The Lakeshore Room, eight o'clock. Wear the suit, leave the dog. And she's off before the Head Nurse comes out the door. The Head Nurse looks around, shrugs and goes back in. FRASER realizes he didn't give MacKenzie the x-ray. FRASER: Oh. Urn... Her car is long gone; then he realizes what he just agreed to do. FRASER (CONT'D): Oh. (checks his watch, he's late) Oh. Fraser hurries off. We PAN WITH HIM. As he exits frame we push focus the background -- a small park. A kid comes down slide holding a soft ice cream cone. A beat later, Dief follows him down the slide. He licks the kid's cone and takes off. A beat later, Fraser walks back into extreme foreground. He sniffs the air curiously. Smells like Dief. He looks around, no Dief. Curious. FRASER (CONT'D): Hm. Fraser dismisses the thought and exits. OMITTED INT. CITY OFFICE -- DAY WARREN KNOOP, a harried-looking man in his early forties, sits at a cluttered desk, not his own, answering the phone. He's trying but failing to hide his building irritation. WARREN: (into phone) Mackenzie King's desk. No she's not, call back. (another line) Mackenzie King's desk... The door flies open and Mackenzie strides in. MACKENZIE: I've got the story. Warren, I've got it right here! Honey, you're sweating on my phone. Fed up. Warren hands her the phone. MACKENZIE (CONT'D): (into phone) Call back. (to Warren) Any messages? MacKenzie slaps the x-rays down on her desk and grabs the stack of messages. Warren holds up the x-rays. WARREN: I send you to a press conference, you come back with x-rays. Why am I confused? MACKENZIE: Look at these obituaries. Mackenzie slaps down a file of newspaper clippings. MACKENZIE (CONT'D): James T. Ryan, Carlos Escobar and Louis Wyndowski -- know what they all have in common? WARREN: None of them covered the press conference? MACKENZIE: They're dead prize fighters. Warren -- all killed in auto accidents over the last eight months, the death certificates all signed by the same doctor. And if you think that doesn't stink, take a whiff of this: There's a Mountie involved. WARREN: A what?? MACKENZIE: Honest to God -- big hat, sweet little grin, crooked as they come. WARREN: A crooked Mountie?? You're bringing me a crooked Mountie?? MacKenzie, I know you hate cops, all of Chicago knows you hate cops, but I am not printing any more retractions! You keep making accusations about police corruption that you can't prove and it's going to get you suspended again...or fired! MACKENZIE: Okay, so I screwed up last time. But it changed me. I spent three months in a dark apartment with a Persian cat under one arm and a tub of cherry ice cream in the other. I've been to hell and back in a flannel nightgown, Warren. And so help me God, I will never wear flannel again. This time I nail 'em dirty. At eight o'clock .tonight., his little Canadian butt is mine. Her phone rings as she heads off. Doubling back: MACKENZIE (CONT'D): Could you get that? Thanks. And she's gone. FADE OUT; END OF ACT ONE ACT TWO FADE IN: INT. FRASER'S TENEMENT HALLWAY -- EVENING Carrying a paper grocery bag, Fraser climbs the stairs and heads for his apartment, passing neighbors who open their doors to stare at him. FRASER: Evening, Mrs. Garcia, evening Mr. Mustafi. They slam their doors in terror as Fraser moves on, unphased. EXT. FRASER'S APARTMENT BUILDING --AT THAT MOMENT Diefenbaker races up the fire escape. INT. FRASER'S APARTMENT -- SECONDS LATER Fraser opens his unlocked front door and looks to see Diefenbaker, lying on the floor, looking dejected. FRASER: I brought you supper! Fraser steps off screen, then comes back. FRASER (CONT'D): Oh, I was hoping to be able to spend some time with you this evening, but I'm afraid I have a dinner engagement, with a very nice woman I met in a parking lot. And I can't cancel it because I don't know her phone number ... or her name, for that matter. (off Dief's look, with growing irritation) No, it is not what your thinking, it isn't, and I don't appreciate you being so damn judgemental. Just because you were right the last time does not make you infallible. I am quite capable of handling myself in any situation. (to convince himself:) I am. As he steps out of frame we begin the POUNDING BEAT of the 70's hit AMERICAN WOMAN by the Guess Who. A PAIR OF BLACK SILK STOCKINGS are pulled out of a drawer and tossed carelessly onto A SATIN BEDSPREAD followed by a lace Teddy. WITH FRASER as he takes a pair of red long Johns out of a drawer, looks at them, then thinks better of it. Instead, he takes out a pair of freshly starched boxer shorts. Perfect. MACKENZIE'S LARGE STEAMY BATHROOM Two long, wet legs climb out of the shower and drip water into the bedroom, casting off a towel as she goes. FRASER'S CRAMPED DINGY BATHROOM where Fraser, his head lathered in shampoo, reaches blindly for a bucket and splashes cold water over his head and into the sink, shivering as it hits him. He starts to exit, then realizes he brought his hat. He puts it on and exits. OUTSIDE THE BATHROOM -- MOMENTS LATER As Fraser steps out dressed only in a towel and hat, we realize this is a communal bathroom off the hallway - where FOUR people have been waiting on line. As they stare at him, none too pleased, Fraser tips his hat in greeting and carries on. MACKENZIE in her walk-in closet, fingers through half a dozen killer dresses, until she finds the one she wants: short, tight and deadly. As she turns to hold it up to the mirror we cut to: REVERSE ANGLE ON WALL MOUNTED MIRROR -- ONLY IT'S FRASER'S ancient, pitted and all of twelve inches square. Fraser holds up a red serge uniform to see how it looks on him, then swings that one away and replaces it with a second identical red surge outfit. He can't decide. MACKENZIE'S BEDROOM MacKenzie rolls on her black hose, snaps it to her garter belt. checks the mirror to see the seam is straight. Satisfied, she opens a bureau draw and dumps the contents onto the top -- a dozen tape recorders of all shapes and sizes, with microphones to match. FRASER gives his hair a stiff brushing. MACKENZIE'S BEDROOM MIRROR as she tapes the second of two micro-recorders to her waist. FRASER meanwhile, isn't totally happy with his hair. He decides to try brushing it the other way, part on the left. MACKENZIE pulls her short and deadly dress over her head and checks the mirror. The tape recorders budge noticeably. FRASER still at his mirror, checks out his new hair style. No, it just isn't him, he brushes it back the original way. MACKENZIE now has one of the tape recorders under her right armpit. She pulls a toreador jacket on to see if it covers, but her right arm sticks out from her body like a weightlifter's. BACK WITH FRASER He spit polishes his boot until he can see his face in it. A PAIR OF DEADLY STILETTO HIGH HEELS As Mackenzie slips into them. we PAN UP and discover that she looks just fabulous, we have no idea where her tape recorders could be hidden on that scantily clad body. That's because they're not. She picks them up off her bureau and drops them into her purse, followed by a can of mace. She smiles, satisfied, flings her jacket over her shoulder and heads for her door. INSIDE FRASER'S REFRIGERATOR The door opens and he looks in. Among it's spare contents sit two boxed corsages. He studies each, decides on the one on the left and closes the door. A beat later and he opens it again and takes the other as well -- you can't have two many wrist corsages. INT. FRASER'S TENEMENT HALLWAY -- EVENING Fraser opens his door and gives a little wave to Dief, who lies dejected on the floor. Fraser closes the door and strides off, looking great, corsages under his arm. INT. FRASER'S APARTMENT -- CONTINUOUS Dief grabs two bones from his hiding place and hops out the window. EXT. RESTAURANT -- EVENING The Chicago equivalent of Lutece -- chic, romantic and incredibly expensive. INT. RESTAURANT -- LOBBY Fraser waits in the foyer, catching looks from exiting diners. He glances at his watch, then checks with the smarmy MAITRE'D. FRASER: Has...? MAITRE'D: A woman called to say she'd be late? No. FRASER: Are you sure? Because it is ten after eight. MAITRE'D: This would be the woman with no name? FRASER: No, I'm sure she has one. I'm just not sure... (sees his getting nowhere) I'll just keep waiting. The maitre'd moves off. Several diners exit past Fraser. He smiles and opens the door for them. One of them hands him a ten before exiting. Fraser isn't quite sure what to do with it. As he tries to decide. MacKenzie enters. MACKENZIE: Did I keep you waiting? FRASER: Actually, yes. but I seem to have profited by it. (has his first real look at her & is awed) You look...beautiful. MACKENZIE: Thanks. That's your good suit? FRASER: Ah, I knew I should have worn the other one. If you have a few minutes I could just dash home and-- MACKENZIE: You're fine. A little red, but fine. FRASER: (remembering) Ah, this is for you. MACKENZIE: ...A wrist corsage? FRASER: (hands her the other) Actually two. MACKENZIE: You want me to wear them on both wrists? FRASER: I forgot to ask what color dress you'd be wearing. MacKenzie is charmed. She catches herself at it. MACKENZIE: (to Maitre'd) Reservation for two, Mackenzie King. MAITRE'D: Right this way, Ms. King. FRASER: (following her) Your name; you wouldn't be related to -- MACKENZIE: No. FRASER: --No, you wouldn't be. INT. DINING ROOM -- LATER A waiter sets down their entrees: Fraser gets the lobster. Fraser inspects it, then picks up his dull knife and tries to saw through the shell. MACKENZIE: ...So you and Charlie live in the same building and you started talking... FRASER: Actually his daughter asked me to help him and-- MACKENZIE: (assumes it's sexual) --and the way she looked at you, you just couldn't refuse. FRASER: She had these sad eyes that-- MACKENZIE: Don't they all. Getting nowhere with the dull dinner knife, Fraser pulls out his deluxe" swiss army knife and flips out the small saw. FRASER: Do you mind? MACKENZIE: Go for it. Fraser begins sawing the lobster in half. MACKENZIE (CONT'D): You and Charlie make quite the team. FRASER: By team you mean..? MACKENZIE: He falls under cars, you save him. FRASER: Well he does seem to have quite a few-- MACKENZIE: How much do you make? FRASER: Me? Well. let's see, it's in Canadian, so you have to deduct thirty-eight percent, but-- MACKENZIE: Enough. FRASER: About myself, absolutely. Consulate work can be pretty dull. Although there was this one passport case-- MACKENZIE: (taken aback): Wait a minute -- you work at the Consulate? FRASER: That's why I'm paid in Canadian. It seems to be some odd government regulation... MACKENZIE: (sees her "source" disappearing) So now you're denying you work with Charlie? FRASER: With Charlie? No, I could never be a professional boxer. I mean, in High School-- MACKENZIE: I saw you bring him in. You're telling me you don't feed patients to the clinic, you're not part of this million dollar insurance scam? You're just this straight arrow, do-gooding Mountie out to help the little guy. Tell me why I find that hard to believe. FRASER: I understand your skepticism, appearances can be deceiving. For example, you're a nurse but you wear extremely high heels to work, suggesting that either you haven't been a nurse very long or you have remarkable arches. Also, the way you hold your wrists suggests you spend many hours at a computer keyboard. Add that to the slight crick in your neck, which indicates extended phone use, plus the minute traces of printer's ink under your three-quarter inch nails -- which by the way, must make bandaging quite a challenge -- and a less trusting person might assume that you aren't a nurse at all. They might assume you work for a newspaper. (lets this sink in) But then, appearances can be deceiving. MACKENZIE: (once she recovers) And you've known this since...? FRASER: The parking lot. Oh, and you might want to check your tape recorders. Either a battery is leaking, or some liquid has spilled into the motor. From the smell I'd say...mace. MACKENZIE: So you came along for the free meal and the amusement of watching me humiliate myself. FRASER: No. I had a feeling that Charlie was in some sort of trouble, and I thought you might be able to tell me something that would help. MACKENZIE: You're trying to get information from me?? Forget it! Furious, Mackenzie grabs her purse. FRASER: I understand, you've already been of great help. MACKENZIE: I've helped you?? This dinner is over. She grabs her purse and is off. Fraser pats his lips with a napkin and catches up with her. The waiter sees what's happening and quickly tallies up the bill. FRASER: Can I at least walk you home? MACKENZIE: Walk me home?? (to a seated diner) He wants to walk me home. FRASER: I thought it was expected. MACKENZIE: Yeah, what else did you "expect"? FRASER: (embarrassed) Oh. No. If you mean, uh-- The waiter approaches and presents the bill on a tray. MACKENZIE: You want to do something for me? Get Charlie to talk to me, on the record. FRASER: If Charlie's in trouble he needs help, not an interview. MacKenzie -snatches the bill from the waiter. MACKENZIE: Then all you're getting out of dinner is the bill. She slaps it into Fraser's hand and storms out. Fraser wants to follow, but has to deal with the waiter. He pulls his hat off and takes out some money -- Canadian, of course. FRASER: (after her) Uh. . . (to waiter, as he checks his money) Do you happen to know the current exchange rate? EXT. FRASER'S TENEMENT -- NIGHT Fraser walks home alone from his date. He tips his hat to an elderlv. couple that pass on the sidewalk, then enters his building. INT. LOBBY AND FIRST FLOOR OF TENEMENT -- CONTINUOUS Fraser stops in the foyer to check his mail box. The sound of voices from down the hall draws his attention to: ANGLE THROUGH THE DOUBLE DOORS OF THE FOYER In the shadows at the far end of the hall, Charlie and a pug-nosed IRISHMAN are having words. The Irishman uses an envelope to punctuate his words as he slaps it against Charlie's chest. Charlie tries to keep his voice down. CHARLIE: I told you, it's not enough. I can't live on what you bastards pay me. IRISHMAN: Two hundred is what you agreed to, two hundred is what you get. CHARLIE: I can't even pay the rent! There's a noise in the foyer. They jerk their heads to see: THEIR POV the foyer is empty and still, no sign of Fraser. CHARLIE looks back to the Irishman. CHARLIE: You want me to keep taking dives for you, you make it worth my while. IRISHMAN: You wouldn't be threatening me, would you Charlie? Cause that wouldn't be healthy. CHARLIE: (backing down) ...No, no. But I got a kid to support-- IRISHMAN: Not my problem. He tucks the envelope into Charlie's shirt pocket. IRISHMAN (CONT'D): And count yourself lucky -- it don't take a lot of skill to fall under a car. The Irishman strides off down the hall and pushes out through the foyer. Unsatisfied, Charlie considers and follows. As he gets to the inner foyer door, Fraser opens it from the other side. Where did he come from? FRASER: Evening. CHARLIE: (thrown) Hi. FRASER: Excuse me, but I couldn't help overhearing... CHARLIE: (pissed) You heard that? You gotta learn to mind your own business. FRASER: Your daughter is... CHARLIE: You don't know nothin' about me or my daughter, so just back off. FRASER: I know you're in trouble, and I'd like to help. CHARLIE: That's easy; stay away from me and stay away from my kid. Now, excuse me, I got groceries to buy. Charlie slams through the front door and exits. Fraser considers going after him, but sees it's of no use. He pushes through the inner foyer door and starts up the stairs. He looks up to see: HIS POV -- LOOKING UP THROUGH THE ELEVATOR CAGE Lucy sits on the top stair of the floor above. Fraser approaches. He knows she's heard, he's not sure what to say. FRASER: Hi. (no response) Your father...he has a very good heart. He's a good man. LUCY: It's okay. I understand, you can't help everybody. FRASER: Lucy.. . .. LUCY: It's like the doctors. They tried but they couldn't help my mom. It's okay. Lucy walks back into her apartment. On Fraser, we: FADE OUT END OF ACT TWO ACT THREE FADE IN: EXT. POLICE STATION -- DAY Establishing shot. INT. POLICE STATION LUNCH ROOM -- DAY HUGO, the vending machine man, stocks the candy machine. Next to it, the coffee machine gives Ray a half a cup of gloppy mud. RAY: Okay, I'm on the edge of my seat, what is this huge moral dilemma that you are carrying on your shoulders? FRASER: I've given my word to a girl. RAY: Fraser, you don't have to marry every girl you meet. FRASER: Ah, no, this is a very young girl. RAY: Then you do have a problem. FRASER: No. it's a little girl, six years old, very sweet, she's asked me to help her father. Ray takes a sip of the mud and gags. RAY: (to Hugo) See you been making those minute adjustments to really bring out the flavor, Hugo. As Ray pours the sludge into a trash can, Hugo hands Fraser a cup. HUGO: Camomile, right? FRASER: Thanks, Hugo. (to Ray) Now I've discovered that her father is doing something illegal. RAY: So, what's the dilemma? We bust him. FRASER: Then I'd be breaking my word to the little girl. RAY: And this gives you a problem? FRASER: Yes, Ray. RAY: (new concept) Oh. Ray tries the candy machine. FRASER: But if I don't turn him in, I'm withholding evidence of a crime. RAY: Good, Benny, go to the head of the class. FRASER: (realizing) So, I could only come up with one logical solution. (holds up wrists) You'll have to arrest me. RAY: For what?? FRASER: I can't tell you. RAY: Then I'm not going to arrest you! (off another cop's look: with sotto urgency) Will you stop that, you're embarrassing me! (Ray thinks) This guy -- the Dad -- just how illegal is this activity he's involved in? FRASER: It's serious. But he's not the only one profiting from it. In fact he stands to lose more than he's made. Ray hates having to be a nice guy, but: RAY: Okay. So if you and I get the bigger fish, maybe we can let the little girl's father slide on this one. FRASER: (another new concept) Is that done? RAY: Yes, Fraser. FRASER: And it's legal? RAY: I would be offering this to you if it wasn't? (long beat. No response.) Yes, it's legal. So tell me what you know. As they head for the door: FRASER: And you won't use it against the man in question? RAY: On my word as a girl scout. And they're gone. EXT. BOXERS' GYM -- DAY Ray's car is parked across the street. As he and Fraser climb out and head for the gym: RAY: So how did you know the guy who paid Charlie is a fighter? FRASER: His wrists. They were completely hairless -- indicating that he wears gloves that are tightly tied and in constant use. RAY: So we're tracking a guy with "hairless wrists"? FRASER: Also, the second knuckle on each hand was considerably lower than the others, his jaw clicked slightly when he spoke, indicating a fractured mandible, and his eyes had shifted downward and laterally in the sockets, caused no doubt by repeated blows to the zygomatic arch. RAY: Okay, that I'll buy. But how did you know he works out at this gym? FRASER: It was written on his t-shirt. RAY: (exasperated) You couldn't have said that first?! You had to go through the hairless wrists and the fractured mandibles?! FRASER: Sorry. As Ray and Fraser enter the gym we pick up on a WHITE VAN, and pan with it as it trolls down the street. As it slows for a light, Diefenbaker rounds the corner and spots it, stopping short. CLOSE ON SIDE OF VAN -- DIEF'S POV: We PAN across the lettering: "Department of Animal Control." DIEFENBAKER reacts, turns and runs the other way. Whoever taught this dog to read did an excellent job. But the ANIMAL CONTROL OFFICER spots him and backs up. He looks again, Dief has disappeared. Still, he heads off in that direction. INT. BOXERS' GYM -- CONTINUOUS The real thing -- no nautilus machines here. A number of FIGHTERS work out with ropes and punching bags. In the center is a sparring ring where a COACH is lacing a young FEATHER WEIGHT into his gloves. Fraser and Ray survey the occupants. FRASER: I don't see him. Perhaps if we were to give out a description? RAY: Leave this to me. I used to hang out in places like this when I was a kid. There's a secret to talking to these types. Ray flips a ten spot to the GUY AT THE DESK, who looks at him askance. RAY (CONT'D): What's it cost to work out for a little while? GUY AT DESK: Maybe your life? RAY: Just gimme a towel. THE SPARRING RING -- MOMENTS LATER Ray, decked out in boxing shorts and sparring equipment, dances around the ring opposite the feather-weight. His footwork isn't too bad either. RAY: ...So I figure, kill the guy or not, sooner or later I have to get back in the ring. Still, it's hard to make ends meet. training all the time like this. How do you do it? The feather-weight throws a jab to his face and Ray drops like a rock. THE SPARRING RING -- MINUTES LATER Now it's Fraser in the ring, but with a Middle-weight, using a stance and technique that hasn't been seen since the turn of the century. FRASER: Now you'll have to refresh my memory on the American rules, because I know there are some subtle differences from ours. The fighter tries a low blow to the groin, Fraser neatly slips it. FRASER (CONT'D): Ah, you see right there, that would've been disallowed under the Canadian system. The fighter instantly tries it again with the other hand, and again misses. FRASER (CONT'D): As would have that. I wonder, while we're boxing, if you'd mind answering a few questions? The fighter throws all his weight into a round house punch to the head. Fraser dips quickly, the man loses balance and flies over Fraser's back. As Fraser straightens up, the man flung out of the ring and off screen. FRASER (CONT'D): Ah, now I believe that was my fault. ANGLE ON ANOTHER BOXER IN RING -- MOMENTS LATER This is a mean looking HEAVY WEIGHT the size of a mountain. Fraser ducks and slips his vicious punches with ease. FRASER: ...approximately five foot six, with a deviated mandible and a noticeably fractured zygomatic arch. The Heavy-weight punches, Fraser automatically counters with a right to his jaw, and the big man hits the mat below screen. FRASER (CONT'D): ...Oh. Fraser turns and looks off screen: INT. LOCKER ROOM -- LATER Five thoroughly beaten fighters return the gaze. This plays at first as a "reverse angle" of the above, until we realize we are in the locker room, where the fighters are being patched up by a tough experienced trainer, VINCE. Beside them on the bench. Ray nurses a cold pack on his jaw. Fraser leans in close to the Heavy-Weight that he's been sewing up himself and bites the thread. The Heavy-weight winces. FRASER: Sorry. VINCE: Your old man taught you how to box like that?? FRASER: Actually, my grandmother. Although I'm beginning to suspect the book she used was somewhat out-dated. VINCE: (to Middle-weight) Spit. The Middle-weight moves to spit the blood out on the floor. VINCE (CONT'D): Not on the floor! Vince indicates a bucket. The Middle-weight uses it. FRASER: You were saying about Charlie...? Vince spits out of habit, but nothing comes out. VINCE: Yeah, I know him. Used to train here, till he gave it up last year. He'd bring his little girl when he couldn't get a sitter. RAY: But you haven't seen him around since? VINCE: 'fraid not. Though... RAY: Yeah? VINCE: I don't know, I heard he was in trouble, that's all. Nothing special about that, half the guy's in here spend their summers in the joint. FRASER: If you hear anything else, we'd appreciate you calling Detective Vecchio. VINCE: I got the card. As Fraser and Ray exit, Vince takes a swig from a water bottle. EXT. BOXERS' GYM -- MOMENTS LATER Fraser and Ray step out and walk to Ray's car. FRASER: He's in on it. RAY: Who? FRASER: The trainer. RAY: How do you know? FRASER: You'll get upset. RAY: No, I won't. Just enlighten me as to how, in the space of a two minute conversation, you discovered the man was a criminal. FRASER: You sure? RAY: Sure. FRASER: Alright. Spittle. RAY: Why do I even ask?? FRASER: During our conversation he tried to spit several times, but he couldn't, because his mouth was too dry. Which would indicate he was lying. RAY: (feigning shock) So this is how it works in the Yukon, you arrest everybody who doesn't drool? FRASER: Do you have binoculars in the car? (off Ray's look) Not to worry. INT. GYMNASIUM OFFICE --AT THAT MOMENT Vince steps into the small, shabby office. Seated waiting is Dr Howard. DR. HOWARD: So? VINCE: Look's like Charlie's made some new friends. As Vince dials the phone: DR. HOWARD: Too bad. You try to help somebody and he just ends up hurting himself. VINCE: (into phone) Charlie? INTERCUT WITH: INT. CHARLIE'S APARTMENT. CHARLIE: Yeah? VINCE: Can you do one right away? It's a trucking company, driver is in on it. We could go five hundred this time. CHARLIE: My daughter's not home from school yet, I gotta wait till... VINCE: No time, guy. I'll get someone else. CHARLIE: No, no, I'll do it. Where? ANGLE ON BACK DOOR TO VINCE'S OFFICE It opens and the IRISHMAN steps in as Vince finishes his conversation and hangs up. IRISHMAN: (having been summoned) You need me? VINCE: Charlie's going to meet with an accident. ANGLE FROM OUTSIDE VINCE'S OFFICE WINDOW -- POV SHOT From the TELESCOPE MAT we figure out someone is watching their conversation. EXT. ROOF TOP OF BUILDING -- DAY Fraser and Ray lay on the roof of the building directly across from the gym. Fraser takes the small, collapsible telescope from his face. FRASER: They're going to kill Charlie. Fraser is up and moving, collapsing the eyeglass and replacing it in his belt. RAY: You have to teach me how to do that with the lips. As Fraser steps over the side of the building to grab the drainpipe: RAY (CONT'D): Hey!-hey!-heyi The stairs are right there! FRASER: Right, sorry. Fraser and Ray run for the stairs. EXT. STREET IN FRONT OF GYM -- SECONDS LATER The doors of Ray's car fly open and Ray and Fraser jump in -- which is when they notice MacKenzie sitting in the back seat. MACKENZIE: (to Fraser) I changed my mind, I do want to see more of you. Ray does a double take. RAY: They're following you around town now?! FRASER: You'll have to get out of the car, Ms. King. MACKENZIE: MacKenzie. So what do you know? RAY: MacKenzie King?? The one who wrote that crap about corruption at Division?! Get outta my car! MACKENZIE: Yeah, and I got it wrong because I believed a cop! FRASER: Ray, we have to go! RAY: Not till she's out of my car! FRASER: (to MacKenzie) If I asked you politely? MACKENZIE: (sarcastically) Like that'll do it. FRASER: Ray, we'll miss him! RAY: (hates this) I'm driving, I'm driving! Ray slams the car into gear and the car fishtails down the street. EXT. ERASER'S TENEMENT BUILDING -- MOMENTS LATER Charlie steps out, looks around anxiously for his daughter's bus, but it's not coming. He hurries off across the street. AT THE FAR END OF THE BLOCK Ray's car swerves around the corner. ANGLE ON ERASER'S BUILDING Ray slams on the brakes as his car skids into shot. Fraser is about to jump out of the car when MacKenzie points: MACKENZIE: There! THEIR POV A block ahead, Charlie disappears around the corner. BACK WITH OUR HEROES Ray floors it and ..they're off. VARIOUS SHOTS Charlie hurries along on foot, as Ray weaves through traffic and runs red lights, trying to keep him in sight. At one point their car turns a corner, and we hold for a beat as Diefenbaker trots through frame in the background, accompanied by a rather attractive Afghan. IN THE CAR Fraser turns, thinking he's seen something out of the corner of his eye. HIS POV just the street corner, no Diefenbaker. IN THE CAR Fraser turns back. FRASER: Hm. Ray swerves madly around another corner. BACK AT THE INTERSECTION The animal control van drives through, heading the way we saw Dief and friend go. EXT. STREET WITH CONSTRUCTION Charlie passes under a crane that is lifting a giant sign into place atop a building. Behind him. Ray's car makes the corner and he has to slam on the brakes to miss piling into the line of waiting cars. The opposite lane is jammed with traffic. MACKENZIE: Go around! Go around! RAY: On the sidewalk?! Yeah, you'd love that. "Maniac Detective Slaughters Pedestrians". MACKENZIE: He's getting away! FRASER: Stay in the car. Fraser hops out and hurries down the sidewalk, but can't see Charlie anywhere. He stops at the intersection, Charlie has disappeared. Fraser looks up, spots the crane. ANGLE ON CRANE OPERATOR'S COMPARTMENT Fraser climbs up past the operator. FRASER: May I? The guy is too dumbfounded to respond. FRASER (CONT'D): Thank you. Fraser climbs the crane. The operator stares up at him, so stunned that he doesn't stop the crane from swinging. ANGLE ON RAY'S CAR Ray and MacKenzie watch him with mouth's agape. MACKENZIE: ...Do you have a camera? RAY: Get outta my car! MACKENZIE: You want me to yell? ANGLE ON TOP OF SWINGING CRANE Fraser takes one last step and looks around...and finally spots the speck that is Charlie a couple of blocks away. Fraser removes his heavy gloves from his belt-pack, puts them on and... ANGLE ON RAY'S CAR They stop arguing to turn to watch in astonishment as: FRASER: slides down the cable to the hook. ON THE GROUND BELOW construction workers burst into spontaneous applause as Fraser lands on the sidewalk and takes off again, back to the car. WITH RAY AND MACKENZIE Fraser pops his head in the window. FRASER: Follow me. Fraser disappears in a flash. RAY: Like that's gonna happen. As Ray and MacKenzie jump out of the car to'follow: EXT. AN INTERSECTION SEVERAL BLOCKS AWAY Start high on the street signs, then find Charlie stepping in below and checking them. This is the place. He glances at the street, then his watch. He eyes a phone booth. EXT. STREETS -- WITH FRASER As he leaps over something or other and runs on. BACK WITH CHARLIE IN PHONE BOOTH Phone to his ear, Charlie waits as it rings on the other end. INT. CHARLIE'S APARTMENT -- AT THAT MOMENT The phone rings. The door opens and Lucy enters, home from school. She crosses and picks up the phone, but at that second. BACK WITH CHARLIE He sees the DUMP TRUCK coming and hangs up. He walks to the curb, waits till it's close and then steps out in the street. At that second FRASER flies through the shot and tackles him. The truck narrowly misses them and skids to a stop. CHARLIE (stunned): You again?! Get outta here! But they hear gears grind and swing around to see: THE DUMP TRUCK backing right for them, and fast. Charlie doesn't get it. FRASER: Run! Fraser yanks Charlie to his feet and they hVINCE: Your old man taught you how to box like that?? FRASER: Actually, my grandmother. Although I'm beginning to suspect the book she used was somewhat out-dated. VINCE: (to Middle-weight) Spit. The Middle-weight moves to spit the blood out on the floor. VINCE (CONT'D): Not on the floor! Vince indicates a bucket. The Middle-weight uses it. FRASER: You were saying about Charlie...? Vince spits out of habit, but nothing comes out. VINCE: Yeah, I know him. Used to train here, till he gave it up last year. He'd bring his little girl when he couldn't get a sitter. RAY: But you haven't seen him around since? VINCE: 'fraid not. Though... RAY: Yeah? VINCE: I don't know, I heard he was in trouble, that's all. Nothing special about that, half the guy's in here spend their summers in the joint. FRASER: If you hear anything else, we'd appreciate you calling Detective Vecchio. VINCE: I got the card. As Fraser and Ray exit, Vince takes a swig from a water bottle. EXT. BOXERS' GYM -- MOMENTS LATER Fraser and Ray step out and walk to Ray's car. FRASER: He's in on it. RAY: Who? FRASER: The trainer. RAY: How do you know? FRASER: You'll get upset. RAY: No, I won't. Just enlighten me as to how, in the space of a two minute conversation, you discovered the man was a criminal. FRASER: You sure? RAY: Sure. FRASER: Alright. Spittle. RAY: Why do I even ask?? FRASER: During our conversation he tried to spit several times, but he couldn't, because his mouth was too dry. Which would indicate he was lying. RAY: (feigning shock) So this is how it works in the Yukon, you arrest everybody who doesn't drool? FRASER: Do you have binoculars in the car? (off Ray's look) Not to worry. INT. GYMNASIUM OFFICE --AT THAT MOMENT Vince steps into the small, shabby office. Seated waiting is Dr Howard. DR. HOWARD: So? VINCE: Look's like Charlie's made some new friends. As Vince dials the phone: DR. HOWARD: Too bad. You try to help somebody and he just ends up hurting himself. VINCE: (into phone) Charlie? INTERCUT WITH: INT. CHARLIE'S APARTMENT. CHARLIE: Yeah? VINCE: Can you do one right away? It's a trucking company, driver is in on it. We could go five hundred this time. CHARLIE: My daughter's not home from school yet, I gotta wait till... VINCE: No time, guy. I'll get someone else. CHARLIE: No, no, I'll do it. Where? ANGLE ON BACK DOOR TO VINCE'S OFFICE It opens and the IRISHMAN steps in as Vince finishes his conversation and hangs up. IRISHMAN: (having been summoned) You need me? VINCE: Charlie's going to meet with an accident. ANGLE FROM OUTSIDE VINCE'S OFFICE WINDOW -- POV SHOT From the TELESCOPE MAT we figure out someone is watching their conversation. EXT. ROOF TOP OF BUILDING -- DAY Fraser and Ray lay on the roof of the building directly across from the gym. Fraser takes the small, collapsible telescope from his face. FRASER: They're going to kill Charlie. Fraser is up and moving, collapsing the eyeglass and replacing it in his belt. RAY: You have to teach me how to do that with the lips. As Fraser steps over the side of the building to grab the drainpipe: RAY (CONT'D): Hey!-hey!-heyi The stairs are right there! FRASER: Right, sorry. Fraser and Ray run for the stairs. EXT. STREET IN FRONT OF GYM -- SECONDS LATER The doors of Ray's car fly open and Ray and Fraser jump in -- which is when they notice MacKenzie sitting in the back seat. MACKENZIE: (to Fraser) I changed my mind, I do want to see more of you. Ray does a double take. RAY: They're following you around town now?! FRASER: You'll have to get out of the car, Ms. King. MACKENZIE: MacKenzie. So what do you know? RAY: MacKenzie King?? The one who wrote that crap about corruption at Division?! Get outta my car! MACKENZIE: Yeah, and I got it wrong because I believed a cop! FRASER: Ray, we have to go! RAY: Not till she's out of my car! FRASER: (to MacKenzie) If I asked you politely? MACKENZIE: (sarcastically) Like that'll do it. FRASER: Ray, we'll miss him! RAY: (hates this) I'm driving, I'm driving! Ray slams tN ORDERLY pulls back the curtain. ORDERLY: You Fraser? (Fraser nods) Phone. At the nurses station. Fraser exits. The Orderly starts off then turns back. ORDERLY (CONT'D): (to Charlie) Oh, you got one too. A man called, says he's looking after your little girl for you. Said you'd know who. Guess he didn't want you to worry. The orderly walks away. He doesn't see Charlie's face go chalk white. INT. E.R. NURSES STATION -- MINUTES LATER Fraser is on the phone. FRASER: ...I'm sorry? RAY (V.O.): ....I'm saying the place is cleared out. Files, medical records, everything.... FRASER: And Howard? INT. MEDICAL CLINIC --AT THAT MOMENT Empty file drawers flung open. everything in disarray. RAY: (into phone) By now, probably sitting on a beach in Costa Rica. You want me to come pick you up? INT. EMERGENCY ROOM (NURSES STATION) - CONTINUOUS Fraser glances over to Charlie's cubicle - the curtain is pushed back and it's empty -- Charlie's gone. Fraser drops the phone and runs. As we PUSH IN on the dangling receiver RAY (V.O.): Fraser...? Don't do this to me...Fraser?? INT. ERASER'S TENEMENT BUILDING -- DAY Charlie crashes into the foyer and flies up the stairs. INT. CHARLIE'S APARTMENT Charlie bursts through the door. Lucy cries out the instant she sees him. LUCY: Daddy! She struggles to get to him but Howard tightens his grip on the girl. CHARLIE: (to Howard, furious) You hurt her, you're dead. Vince intervenes. With him are several of the nastier looking FIGHTERS from the gym. One of them has hold of MacKenzie, who looks to Charlie, feeling ashamed. VINCE: Come on, Charlie. You come with us, nothing's going to happen to her. DR. HOWARD: Sorry, we just can't have you talking. Two Fighters seize Charlie. Vince pushes past them to check the hall... INT. APARTMENT HALLWAY As Vince opens the door and peers out, ERASER'S FIST slams into his jaw sending him reeling back into the room. THE GUN flies out of his hand and Fraser catches it. FRASER: Thank you. You won't be needing that. He flicks open the revolver and lets the bullets scatter onto the floor. INT. CHARLIE'S APARTMENT -- CONTINUOUS The fight is on! CHARLIE elbows one of the goons and spins around, punching the other below the belt. FRASER steps over Vince and into the room, just as two fighters leap at him and knock him flying back into the hall. HOWARD seizes the moment and runs out of the room, Lucy in his arms. IN THE HALL Flattened on the floor under the two gorillas, Fraser sees Howard running past him and makes a grab for his leg, but misses. He tosses one of the guys off him. FRASER: Charlie! IN CHARLIE'S APARTMENT Struggling with the Heavy-Weight, Charlie snaps his head around to see Fraser. FRASER: Go! Charlie winds the Heavy-Weight with a blow to the abdomen. Another fighter steps in to grab him, but MacKenzie gets him in the face with her Mace. The fighter turns and swings, catching MacKenzie in the lip. MACKENZIE: Ah! Oh nice, very -nice. Charlie flies out of the room, being pursued by the Heavy-weight. But the Heavy-weight is met by a flying Mountie. EXT. ALLEY -- DAY The window shatters on impact as THE HEAVY-WEIGHT sails through the glass and plummets to the garbage below. EXT. ALLEY -- A BLOCK AWAY Down the alley, Dief snaps his head around in time to see the Heavy-weight land. He takes off in a blur toward the building, but... THE ANIMAL CONTROL VAN cuts him off at the corner, stopping dead in the middle of the street, blocking his path. both doors to the cab slid wide open. ANIMAL CONTROL OFFICER Gotcha! But Dief leaps into the cab, FLIES RIGHT OVER THE GUY'S LAP and out the other open door. EXT. FRONT OF TENEMENT BUILDING -- AT THAT MOMENT Howard runs out the front door with Lucy struggling in his arms. He-runs for his car and almost gets there, before Ray's swerves his car and broadsides the doctor's, cutting him off. RAY: I don't think so. Howard turns and runs. Ray hops out of his car -- and then feels the jabbing whiplash pain in his neck. RAY (CONT'D): Ah, jeez. INT. APARTMENT The mace-faced fighter has MacKenzie, two other fighters have Fraser pinned. Before they deliver the final blow, something makes them look up. Maybe it's the growl. Diefenbaker leaps and.... EXT. BUILDING -- CONTINUOUS The Animal Control officer gets to the doorway, catch-pole in hand, just in time to be knocked back by Charlie, who jumps the bottom steps as he sees Howard disappear around the street corner with Lucy. EXT. CROSS STREET -- CONTINUOUS Howard jumps into the seat of the animal control van and drops Lucy on the floor between the seats. As he releases the hand brake, Lucy jumps up and flails at him with her tiny fists. He slams his foot on the accelerator and the van lurches forward. Still under attack by the six year old, he puts his hand on her and gives her a shove and... LUCY: falls out the open passenger door! CHARLIE catches her, running along side the van. CHARLIE: I got ya! Still running, Charlie makes a sharp turn down the blind alley, his daughter in his arms, but... THE VAN skids into the alley and Howard floors it, bearing down on them. CHARLIE looks back then ahead -- the alley is blind and the brick wall is coming up fast. Nowhere to go and the van is just a few feet behind them! FRASER (O.S.): CHARLIE!! Charlie looks up and sees Fraser running down the fire escape just ahead. Just before they get to the wall, Charlie tenses every muscle in his body and flings his daughter up into the air and... FRASER catches her and... THE VAN slams into the wall! FRASER turns his head, covers Lucy's eyes but the child SCREAMS! RAY yanks Howard out of the wreckage and cuffs him. Down by his feet... CHARLIE rolls out from under the van looks up to see his daughter: LUCY: Daddy !!! CHARLIE: (beams) Hey, I'm a professional. FRASER: slides down the fire escape ladder, the little girl on his back. She jumps off and runs to Charlie, who scoops her up in his arms. CHARLIE: (tears in his eyes) Hey, who's the toughest guy in the whole world? LUCY: You are. CHARLIE: Who could stop me from comin' home to you? LUCY: Nobody. CHARLIE: And what would I do to 'em if they tried? LUCY: Upper cut, left hook, poke em in the eyes. CHARLIE: Damn straight. ANGLE ON FRASER AND DIEFENBAKER watching. Suddenly, from out of nowhere a wire noose snags Dief around the neck. Dief yelps as Fraser turns to see the Animal Control Officer holding the end of the pole. ANIMAL CONTROL OFFICER: Ha! Where ya going now? Dief growls. Fraser cautions the dog. FRASER: Now, Diefenbaker, remember what I said. (offers his hand) Hello, Benton Fraser, RCMP, this is my dog--uh wolf. ANIMAL CONTROL OFFICER: I thought it was a wolf! Well, he's mine now, because you sure as hell don't have a "wolf license". RAY: In fact, he does. Ray slaps a card down in the man's hand. ECU -- LICENSE Just like a laminated dog license, but it reads WOLF LICENSE. THE ANIMAL" CONTROL OFFICER is stunned. ANIMAL CONTROL OFFICER: But you can't have this...there's no such thing. There never has been! RAY: Signed by the mayor himself, special dispensation. (snatches it back) Now unhand that wolf. The officer has no choice but to obey. Then he sees his van and moves off: ANIMAL CONTROL OFFICER: Look what you did to my van! FRASER: (stunned) You got it. I only asked you once, and you got it. RAY: Of course I got it. You asked me for it, right? FRASER: From the mayor himself? RAY: No, I didn't want to bother him. I just xeroxed a dog license and put in "wolf". Wonderful things, photo-copiers. Dief licks Ray's hand in gratitude. RAY (CONT'D): Don't do that. Don't let him do that. EXT. TENEMENT -- FRONT ENTRANCE -- MOMENTS LATER UNIFORMED POLICE load VINCE and the FIGHTERS into squad cars. As they move off. we pick up Ray. who leads Dr. Howard into the back of a squad car and slams the door. RAY: (to cop, re: doctor) You want to take this garbage off the streets? The cop nods and gets into the cruiser. Ray turns away, considers and steps back to the car. RAY (CONT'D): Wait-wait-wait, one more thing.... (to Doctor) For a neck spasm, do you use cold or hot? But the car drives off. WITH MACKENZIE AND FRASER FRASER: I see you got your story. MACKENZIE: Are you kidding? There's gonna be a bidding war over this baby. FRASER: And Lucy's father? You'll be mentioning him in your article? MACKENZIE: (getting his drift) Look, Fraser -- I don't want to see Lucy hurt anymore than you do, but if there's anything I've learned it's that people's feelings aren't as important as facing the facts... FRASER: Did I tell you the story about the caribou on the mountainside? Lucy interrupts. LUCY: Mr. Fraser? You don't have to help my Dad anymore. (to Mackenzie) You were right. He's the bravest man in the whole world. Lucy runs back to Charlie, her little eyes shining. Mackenzie watches the kid. She hates herself for what she's about to do. She gives Fraser a dirty look, closes her notebook, slaps it into his hand and walks away. She calls back over her shoulder. MACKENZIE: You're a very bad influence on me, Bento. FRASER: I'll be seeing you. MACKENZIE: Yeah, in your dreams. On Eraser's smile, we cut to... INT. MACKENZIE'S BEDROOM -- NIGHT Mackenzie sits huddled in her bathrobe watching TV. an icepack on her swelling eye. She thinks, reaches over to her night stand, takes out something and slips them over her hands. She crosses her arms and we see them: two wrist corsages, one on each arm. Despite herself, she closes her eyes and dreams. A beat, she opens her eyes with an idea for a story idea, picks up her tape recorder and speaks into it: MACKENZIE: I wonder if he's here legally. FADE OUT
