Episode # 4 Project - SC1005

DUESOUTH

"Manhunt"

by

Paul Haggis


WRITER'S FIRST DRAFT July 13, 1994

Screenventures VII Productions Ltd.
940 Lansdowne Ave. Bldg #15
Toronto, Ontario M6H 4G9





PROLOGUE

FADE IN:

EXT. MAXIMUM SECURITY PRISON -- LONG SHOT -- NIGHT
The superimposed title reads: WHITE ISLAND MAXIMUM SECURITY PRISON, NORTHERN
CANADA. They built this place on this barren hunk of rock for a reason. This is where they put prisoners that they want to forget ever existed. Headlights appear from deep inside. A prison bus pulls up to the gate.
INT. PRISON BUS -- CONTINUOUS
The BUS DRIVER's face is obscured in shadow, but the guard in the booth who controls the gate still recognizes him. He takes the clipboard that the driver offers.
GUARD AT GATE: Going back empty?
BUS DRIVER: Mm-hm
GUARD AT GATE: Say "Hi" to Sarah.
The Guard pushes the button that opens the gate, the driver gives a cursory wave and pulls out.
EXT. MAXIMUM SECURITY PRISON -- CONTINUOS
The van drives off down the deserted road.
INT. PRISON BUS -- STILL MOVING -- CONTINUOUS
We notice something odd about the bus driver: he stares dead ahead, unmoving except for his arms. A micro-thin line of blood appears around his neck. The driver's left hand raises to his face and gives it a push -- and the driver's lifeless body falls on it's side -- his left hand still steering the van! From behind the seat a PRISONER appears -- it's his hands that are steering, his arms shoved through the driver's sleeves like that old party trick. The prisoner yanks his arms out of the driver's sleeves, shoves the driver's body aside and takes over the driver's seat. The prisoner's name is GEIGER. He's in the area of sixty, his body hard as a rock and his eyes dead and soulless. He removes the guard's overflowing ashtray and tosses it out the window.
It clatters across the road as the bus disappears into the barren landscape.
INT. BASEMENT OF RCMP HQ (NORTHERN ONTARIO) - - NIGHT
Standing inside the window of the Evidence lock-up cage, SGT. DUNCAN "BUCK" FROBISHER gives a very tired and overweight OFFICER a hard time about the evidence he wants Buck to take. From the long-suffering tone of the officer's voice, we realize this happens every time he brings Buck evidence.
FROBISHER: You want me to file this as evidence?
OFFICER: It was picked up at the scene of the crime.
FROBISHER: It's a whoopi cushion, Jack. You want me to file a whoopi cushion.
OFFICER: It was picked up at the scene of the crime.
FROBISHER: What kind of crime are we talking about, Jack? Murder? Bank robbery? Did they toss it into the crowd to make a clean get-away?
OFFICER: Please, do I need to explain every piece of evidence I bring in?
The phone on Buck's desk rings.
FROBISHER: You're right, I'll just do my job. Do you want me to unload it before it's stored? Because if it goes off in here I can't be held responsible.
OFFICER: Can you please just--
FROBISHER: Hold that thought-- (answers phone) RCMP Evidence Room, Sgt. Frobisher
GEIGER'S VOICE: … How's your leg?
A chill shoots up Frobisher's spine, his grip tightens on the phone. He tries to pretend he doesn't recognize the voice.
FROBISHER: ... Who is this ...?
GEIGER'S VOICE (seeing through him): Oh, you haven't forgotten.
FROBISHER: (turning so Jack can't see how scared he is)Geiger?
EXT. ROADSIDE PHONE BOOTH - NIGHT
Silent, empty. The phone swings back and forth.
FROBISHER (V.O.): ... Geiger ...?
Suddenly the grill of the prison bus smashes into the phone booth, pulverizing it, as the bus rides through it and disappears.
INT. BASEMENT OF RCMP HQ -- CONTINUOUS
Dial tone. Frobisher replaces the phone on its cradle. The officer waiting at the window realizes something is wrong.
OFFICER: ... Buck?
Frobisher doesn't respond. He stands and retreats into the evidence lock-up, desperately trying to figure a way out.
INT. BAR NEAR DOCKS -- SAULT STE. MARIE -- NIGHT
A grizzled BARGE CAPTAIN eyes the person across from him.
BARGE CAPTAIN: I take you across the border, I'm looking at five years .... Where do you want to go?
A hand pushes a crumpled wad of cash and an antique watch across the table. We tilt up to see Frobisher.
FROBISHER: As far as this will take me.
FADE OUT.


ACT ONE
FADE IN:
INT. CANADIAN CONSULATE (RECEPTION) - - DAY
PAULA the RECEPTIONIST heads off for a break as Fraser takes over for her.
PAULA: I'll just be five minutes ... and there's a fax for you on the desk.

FRASER: Take as long as you need. (answering first line)
Canadian Consulate, RCMP Liaison office, may I help you? ... A class project, is it? ... Well, son, they call us Mounties because we are the Royal Canadian Mounted Police, and although we rarely use horses anymore except in ceremonies like The Musical Ride, we still feel that the link to our historical past is important to maintain. (listens, amused) Really? Why do you think we are called Mounties? .... I don't think that's very clever, and it's more than a little rude, is your mother there? ... Hello? (answers another line) Canadian Consulate, RCMP Liaison Office, may I help you? .... (listens, beat) is this some kind of children's party? .... Hello?
Fraser hangs up, then looks up to see a beautiful young woman standing over the desk. It doesn't take an Inuit See-er to tell that she's deeply troubled. This is the last face Fraser expected to see here in the Big City.
FRASER (CONT'D): Julie?
JULIE: Hi.
INT. FRASER'S OFFICE -- A SHORT TIME LATER
Julie hands Fraser a snapshot of her father, "Buck" Frobisher.
FRASER: What makes you believe he's in Chicago?
JULIE: I know someone who works the docks, loading barges up in Sault Ste. Marie, where Dad was stationed. He said he thought he saw him board a Laker that would have stopped near here. It's all I had.
FRASER: He didn't leave a note or a letter?
JULIE: From the look of his apartment he didn't even pack. Didn't call, didn't say anything... I mean, maybe we weren't as close as some families, but I can't believe he'd just leave without ... Unless something was really wrong. (beat) When I found out you were here I thought maybe he called, or...
FRASER: ... No, I'm sorry.
JULIE: I just knew how close he and your dad were.
FRASER: Yeah. They went back a long way.
JULIE: I don't know what to do, Fraser. I've been here a week; I want to stay and keep looking, but my job-- they won't give me any more time. And if I lose it -- it's just me and Pattie, you know.
FRASER: I was sorry to hear about.
JULIE: Bruce? That's okay, it was my fault. I just married the wrong man. I was in love with someone else.
And we realize who she was in love with. And Fraser doesn't.
FRASER: Ahhh. (realizes she's talking about him) Oh. (suddenly embarrassed) Well ... Oh. I didn't ... I never ... Do you mean ...?
JULIE: No, Fraser, it wasn't you.
FRASER (relieved & then a little disappointed): Oh, good -- I mean, it's not "good". I just meant ... um, well. Indeed.
JULIE (has to smile): You haven't changed. Not…a bit. Is there some place they grow people like you and my father?
FRASER (taking the question seriously): Well, actually the RCMP used to have very specific requirements for candidates, height, weight, stamina ...
JULIE: It wasn't a serious question, Fraser.
FRASER: Ah, it wasn't. Yes.
JULIE: You could track a man a hundred miles with no more to go on than a broken blade of grass, but put either of you within arm's length of a woman and you are completely lost. Dad was that way with my mother. He loved her more than life itself, but couldn't see what the job was doing to her. When she died he was a thousand miles away. I still think he believes I blame him. I don't, it's worse than that-- I understand him. And I felt sorry for him, and I think he couldn't stand that. I tried to stay close to him, over the past few years ... but he didn't make it easy. When I found out he was gone-I was just so angry with myself for not trying harder. I have to find him, Fraser. I have to let him know that I love him, that no matter what happened, he can come home. Will you find him for me, Fraser? Will you tell him, please?
FRASER: I'll do everything I can.
JULIE: I haven't seen you in ten years, and you know what? I knew if there was one person in the world I could count on, it was you.
How this guy can't see she loves him is beyond me.
INT. POLICE STATION -- BULLPEN -- DAY
Ray is on the phone at his desk. Fraser enters during this conversation.
RAY: ... And you think this is the man who stole your cat? ... Paw marks on his cardigan? That's pretty conclusive, all right. Well, ma'am, it's difficult for me to break away from the case I'm on right now, but let me suggest you call back and ask for extension 312. That's Detectives Huey or Louey, they've been specially assigned to all suspected animal kidnappings. No trouble at all, Ma'am. (to Fraser) How's it going?
FRASER: I need your help.
RAY: Does it involve domestic animals?
FRASER: Not that I'm aware.
RAY (rising): Then I'm your man.
They exit past Huey and Louey. Huey answers his phone.
HUEY: Major Crimes, Detective Huey ... Cat, ma'am?
EXT. DOCKS NEAR CHICAGO -- DAY
Ray's car cruises the dock and pulls up next to a giant barge.
RAY (into phone): Thanks, Elaine. (to Fraser) Seven barges came in from Northern Ontario last week, none carrying passengers. Two of them would have left Sault Ste Marie the day he disappeared. The Lady of the Lake and The Bon Vivant. (back to phone) What? ... Yes, he's here. No, you can't speak to him, good-bye Elaine.
Ray and Fraser step out of the car.
INT. BRIDGE OF BARGE -- DAY
The BARGE CAPTAIN hands the photo of Frobisher back to Fraser
BARGE CAPTAIN: Sorry.
FRASER: You're sure.
BARGE CAPTAIN: I'm sure.
FRASER: ... He was my father's best friend if he's in trouble ...
BARGE CAPTAIN (with sarcasm): I'm sure he'll call your dad.
FRASER: I'm sure he would, if he was alive. Since he's not, he probably doesn't know who to trust. It's never an easy question.
BARGE CAPTAIN: Yeah, life is a series of conundrums.
RAY: You know what? Maybe immigration would be interested to know you're running in Snow Backs here.
BARGE CAPTAIN: Their office is right there, see the guy in the hat, name's Len. Now give me a warrant or get off my bridge.
FRASER: We won't bother you any further.
They turn to walk out.
FRASER: By the way, who do you know in the Force?
BARGE CAPTAIN: What?
Pointing to the watch on his wrist.
FRASER: The watch. RCMP field issue, circa 1950, spring wound, consecutively numbered. Civilians couldn't buy them, only a few people still own them. (removing his own) This was my father's. Want to show me yours?
The captain hesitates, knowing he's caught. Nods to Ray:
BARGE CAPTAIN: He leaves
FRASER: He isn't here to give you trouble.
RAY: (speaking of himself) But he will.
The Captain considers, then removes the watch and tosses it to Fraser.
BARGE CAPTAIN: I didn't feel right taking it anyway. You really his friend?
FRASER: I am
BARGE CAPTAIN: If I ever saw a man who needs one… (considers, decides) St. John Hotel, if he's still there.
FRASER: Thank you.

Fraser and Ray exit

INT. ST. JOHN'S HOTEL LOBBY -- DAY

14

Ray and Fraser step into the lobby of the flop house.

RAY
You know., I was thinking of taking a holiday, but it was here or the Club Med,
and I just couldn't decide.


They approach-the MAN behind the front desk

FRASER
I'm looking for Sgt.
(stops himself)
I'm looking for a man named Frobisher.

FRONT DESK Man
Got one of those, room 202.

FRASER
Do you know if he's in?

FRONT DESK MAN
I'm here twenty-four hours a day, seven days a week, I sleep here, I eat here,
I know everything that happens here.

14 CONTINUED:


RAY
So, is he in?

FRONT DESK MAN
If not, try the roof garden

FRASER
Thank you.

They climb the stairs.

INT. HOTEL ROOM -- DAY

15



One of the hotel's charming rooms. There's a knock at the door. No response.
The handle turns and the door opens revealing Fraser and Ray. What they see is:

REVERSE ANGLE

Frobisher sits on the floor in the corner of the room, a revolver resting in
his lap, a can of beer in his other hand, his crumpled shirt stained with
sweat.

FROBISHER
You track a man about as quietly as I pass wind.

Fraser is shaken by the sight. Ray understands.

RAY
I'll wait for you downstairs.

Ray moves off. Fraser steps into the room.

FRASER
Julie asked me to find you.

FROBISHER
Yeah. I'm gonna send her a postcard.

FRASER
She's worried.

FROBISHER
Nothing will happen to her if she just stays away from me.

PRASER
I don't think she's worried about herself .

FROBISHER
Tell her I'm fine.
15 CONTINUED:


FRASER
... Who is it? you're waiting for someone or you wouldn't be carrying that.

FROBISHER
(mocking him)
What, you going to protect me?

FRASER
I'd do whatever I could.

FROBISHER
I'm Buck Frobisher, you little tit-
fly. I brought more men down than you ever met. The day I need help from a boy
like you is the day I put this to my head. You want to do something for me?
(tosses him a silver dollar)
I'm almost out of beer.

Fraser looks at the coin at his foot. He stoops to pick it
up.

FRASER
I'll have them send it up.

Fraser turns and exits. Frobisher cranes to check the window, then takes
another drink.

INT. CONSULATE -- FRASER'S OFFICE -- NIGHT

16

The desk lamp provides the only light. Diefenbaker lies sleeping under the desk
as Fraser reads his father's diary.

FRASER SR. (V.O.)
February 13. Ten years ago I would never have walked into something like this.
A bear trap, so poorly camouflaged a child would have seen it. But I didn't.
I pried it open and got my leg out, but there was no way I could make it
back. I was prepared to die out here, and to be honest, felt I deserved it. A
man gets too old for a job, he should know it and stop. But I didn't die. Buck
found me.
(more)

16 CONTINUED:

FRASER, SR. (V.0.) (CONT'D)
I don't know how, no one knew where I was going. But he found me and carried me
back, eighty miles over terrain a mule couldn't navigate, laughing his ass off
the entire way. Being the one carried back was new for me.
Riding like that, completely helpless, slung over Buck's shoulder and staring
down his back for all those miles, I came to understand two things. One: at a
certain point in life a man's hips spread and there's nothing you can do about
it; and two, there's a very easy way to define friendship. A friend is someone
who won't stop until he finds you and brings you home.

A moment. Paula, the receptionist, knocks at the open door.

PAULA
You have a fax.

FRASER
Thank you

She hands it to him: it's a PHOTO of GEIGER, accompanied by the text describing
his escape and warning all stations to be on the look out for him. Fraser knows
what it means.

PAULA
Do you want me to put it on the board?

FRASER
No. Thanks.

INT. SERVICE STATION CORRIDOR -- NIGHT

17

One of those sterile service centers along Highway 401. The door to the MEN'S
ROOM is locked. We know this because a MOTORIST tries the door. MOTORIST #2
waits beside the door.

MOTORIST #2
Someone's in there.

MOTORIST
(settles in to wait) -
See the tie up at the border? that all about?

Motorist #2 shrugs. The restroom door opens and Geiger steps out, now dressed
in a blue shirt, tie and leather jacket.


17 CONTINUED:

He pulls the door closed behind him and walks away. MOTORIST #2 tries the
door. Locked. He calls after Geiger:

MOTORIST #2
Officer? ..
(Geiger stops, turns)
Can I have the key?

GEIGER
(key in hand)
No. I wouldn't go in there. It's a
real mess.


He puts his cap on, the BORDER PATROL badge prominent, and
walks off.

INT. FRASER'S APARTMENT STAIRWELL -- NIGHT

18

Fraser and Ray appear and come down the stairs.

RAY
One of these days you are going to have to get your own car.

FRASER
I will.

RAY
I can not be your own personal taxi driver, I do have a life, you know.

FRASER
I appreciate it.

RAY
Just because I am always there when you call, does not mean I do not have
friends to see. Not to mention women of the opposite sex.

FRASER
I understand.

RAY
We really have to go there at this time of night? I mean, I looked at that
guy's photograph, he doesn't look that dangerous to me.

Fraser pauses on the steps:

18 CONTINTUED:


FRASER
In nineteen seventy-eight, Harold Geiger held up a bank in Southern Michigan. A
guard tried to stop him, he shot him and six other employees before fleeing.
The police and FBI pursued him across five states. Before he crossed into
Canada, held killed two FBI men, a state trooper and three highway patrol
officers. Once over the border, despite a massive deployment of police forces,
Geiger managed to evade capture, and in so doing, killed three local police
officers, two provincial police officers, and four members of the
RCMP's special weapons and tactics force. in short, he killed every cop who got
close to him. Except one: Buck Frobisher. Sgt. Frobisher tracked him to
Whitehorse, caught up with him on a railroad bridge. A struggle ensued, Geiger
fell over the edge, Frobisher grabbed him by the arm at the last second.
Dangling there two hundred feet above the gorge, Geiger reached into his boot,
pulled out a hunting knife and jabbed it hilt deep into Frobisher's leg. Sgt.
Frobisher managed to pull him up, cuff him and take him in.

RAY
... And now he's coming here, to my city?

FRASER
I believe so, yes.

RAY
(turns to keep walking)
God, I hate tourists.


INT. BAR OF THE SEEDY WATERFRONT HOTEL -- NIGHT

19

Fraser and Ray step into the bar. They spot Frobisher at a table in the corner.
Ray signals that he'll wait at the bar.

FRASER
May I join you?


19 CONTINUED:


FROBISHER
What do you want?

Fraser drops the faxed RCMP notice on the table in front of Frobisher, the
photo of Geiger staring him in the face.

FROBISHER (CONT'D)
So he is coming.


FRASER
A few hours ago they found the body
of a Border Patrol officer in a service station washroom. They sealed the
bridge immediately, but can't be sure he didn't make it across.

FROBISHER
He made it

FRASER
... I came to offer you ...
(indicating Ray)
Detective Vecchio is with the Chicago PD. They're willing to place you in
protective custody until Geiger is apprehended.


FROBISHER
That long, eh? They must have quite the budget.

FRASER
The FBI has been notified, the state police are watching the roads, as soon as
they have proof that--

FROBISHER
You want to see proof?! Look. Look at this leg.


Frobisher pulls a plastic container from his pocket. He tosses it on the table,
it pops open and pills scatter everywhere.

FROBISHER (CONT'D)
Ten years ago I didn't need these to walk on it. That's what it cost me to
bring him in. He's been out a week; how many cops has he killed?

FRASER
Two that we know of.

19 CONTINUED: (2)


FROBISHER
That brings his total to twelve.
(re: Ray)
He have twelve more he's willing to spare? I put him away. He's not going to
stop until he finds me and does the same.

FRASER
(challenging him)
So what are you going to do, keep running?!

FROBISHER
You came, you warned me. I appreciate that. What I do or where I go, that's
none of your business.

FRASER
I read my father's diary today: it was the day you found him on the icepack.

FROBISHER
I was thirty-five years old then! Look at me! Do I look thirty-five? Do I look
forty-five? That was...
(It's hard for him even to think of himself back then)
... Back then, your father and I, we thought we were immortal. But we're not.
Look what happened to him. Look what happened to me.

FRASER
You're still the man who brought in Geiger when no one else could.

FROBISHER
No. I used to be. Now I'm just a guy who sits behind a desk ... who is running
for his life ... and is ashamed of who he's become.

Fraser lets this sink in, then stands.

FRASER
No, you're not. You're Buck Frobisher; and you know exactly who you are. The
question is, do you have the courage to act on it?


19 CONTINUED:

Fraser waits, but Frobisher can't rise to the moment. Instead, he looks down at
the table, unable to face himself or Fraser. Fraser realizes he's asking too
much of his fallen hero, and feels ashamed of himself for making him try.

FRASER (CONT'D)
If…if you need money, a plane ticket-

FROBISHER
(attempts a brave front)
I'll be fine. I'll send you a postcard.

Fraser stands there, wishing there was something else to say. There isn't. And
he can't let Frobisher see the pity in his eyes. He nods and turns away.

ANGLE ON RAY AT THE BAR

Ray pays for his soda and walks out with Fraser

RAY
So, what do we do?

FRASER
Nothing. There's nothing we can do for him.
(beat)
Could you drop me at home? I have to be at work early tomorrow.

Ray nods; he reads his friend pretty well by now. They walk
out in silence, leaving ...


FROBISHER

Alone in the corner. He sees the pills scattered over the table top and
attempts to put them back in the case, but they only remind him of what he's
become.

DISSOLVE TO:

INT. FRASER'S APARTMENT -- NIGHT

20

Lying in his sleeping bag on the floor, Fraser reads his father's diary by
lamp-light. He closes it and blows out the lamp.

INT. ST. JOHN'S HOTEL -- FROBISHER'S ROOM -- NIGHT

21

Frobisher packs his small bag. The last item he drops in is the small framed
photo of his daughter, Julie, as a little girl.

2 1 CONTINUED:


He picks it up and studies it, then slips another photograph out from behind it
-- this photo is much older and very yellow and worn. It's him as a young man,
a new recruit in his working uniform, somewhere way up north. It takes a lot to
look at this photo. Too much. He tosses them back in the suitcase and shuts it.

DISSOLVE TO:

EXT: CANADIAN CONSULATE -- MORNING

22

Fraser stands silent sentry beside the front door, as a tourist sidles up to
him to have her picture taken by her husband. Flash. Then she hears something
and looks off down the street. So does her husband.

ANGLE ON STREET -- MOVING CAMERA

looking down, and slightly ahead, at the PAVEMENT as the
road flies past below. Clippety-clop, clippety-clop. what's that sound? CAMERA
TILTS down until it's looking STRAIGHT DOWN at the road -- and now we see the
hooves of a pair of horses, riding at full canter.

THE TOURISTS

are thrilled. The husband lifts his camera to shoot Passer-bys stop and turn to
stare at:

BUCK FROBISHER

Decked out in full Mountie reds, riding high in the saddle down the middle of
the street toward them, a second horse beside him held by the reigns. Frobisher
yanks the horses to a halt at the Consulate steps, and turns to:

FRASER

who still stands stone-faced sentry. But even Fraser can't keep from smiling,
and it grows ear to ear.

FROBISHER
Hop on, son. We have a villain to catch.

Fraser takes a giant step forward and throws himself up into the saddle.

FRASER
You ran away, but you brought your dress uniform with you?


22 CONTINUED:

FROBISHER
No, I rented it. If we don't catch him by Tuesday I have to pay extra.
Ready?

FRASER
Ready.

Frobisher yanks back hard on the reigns.

THE HORSES

whinny and rear in the air, nostrils flaring, then charge off camera and down
the street! HOLD FRAME. A beat, Frobisher stands up into the frame, dusts
himself off, looks around and hails:

FROBISHER
Taxi!

An off-screen cab screeches to a halt

ACROSS THE STREET

A city bus pulls up to the corner and lets a passenger off before moving on.
The passenger is GEIGER. He is just in
time to see:

FRASER AND FROBISHER

get into the waiting taxi and drive off, leaving the baffled tourists holding
the reigns of the horses.

FRASER (V.O.)
So where do we start?

FROBISHER
The south-side. Everything I know tells me that's where we'll find him.

BACK WITH GEIGER

watching them drive away.

END OF ACT ONE

ACT-TWO

FADE IN:

EXT. POLICE STATION -- DAY

2 3

Just your standard establishing shot, over which we hear ELAINE'S VOICE.
Elaine, you may recall, is the station's resident computer wiz.

ELAINE (V.0.)
Geiger, Harold ... Ooo, he's a nasty one ...

INT..BULLPEN -- DAY

24

Fraser, Ray and Frobisher stand over ELAINE at her terminal. On her screen is
Geiger's rap sheet.

ELAINE
Where do you want me to start?

RAY
Known accomplices, cellmates, girlfriends, high school buddies, anyone in the
city he could hide out with.

ELAINE
I can give you known accomplices.

FRASER
Anything would be appreciated

ELAINE
Local boys, here we go: Ho, Raymond, armed robbery, multiple counts, currently
on parole. Trager, James, armed robbery, manslaughter, currently on parole.
Welker, George, murder one, attempted murder, mayhem, armed robbery, assault
with a deadly weapon...

RAY
(as if he has to ask)
On parole?

ELAINE
Escaped and at large. I'm printing out last knowns, but the parole office could
have more current addresses.
(more)


24 CONTINUED:

ELAINE (CONT'D)
(handing print-out to Fraser)
Do you want me to call you when I get them?

RAY
(snatching the list)
Me, Elaine, call me. Remember? I'm the real cop, he's the guy with the color-
blind tailor.

FROBISHER
(taking list from Ray)
We appreciate your thoughtfulness, miss.

ELAINE
God, I love the way they talk.

RAY
(heading out, had enough)
Good-bye, Elaine.

The Mounties tip their hats and follow. A female officer (OFFICER #1) joins
Elaine at her computer, both watching the guys leave.

OFFICER #1
Now there's a country that knows what to export.

EXT. CHINATOWN STREETS -- DAY

25

Ray's car cruises the streets, all aboard, including Dief, who rides with his
head out the window.

RAY (V. 0. )
Ho, Raymond, 311 Kimble Street…

INT. RAY'S CAR -- CONTINUOUS

26

Ray reads the list as he drives.

RAY (V. 0.)
Oh yes, we're right up to date here, it says he lived there in 1986.

FRASER
I really would feel more comfortable if I could stop off and change into my
work uniform.

2 6 CONTINUED:


FROBISHER
Son, we're looking for a man who is looking for us. You want someone to find
you, you can't dress inconspicuously.

RAY
I'm driving through Chinatown with two mounties and a deaf wolf. Blind men are
dropping their canes and pointing as we pass. "Inconspicuous" is not the word
on their lips.

FRASER
(notices a building)
RAY isn't that --

RAY
The apartment we blew up? Yes.

FRASER
(pointing ahead)
So that would be--

RAY
The bar we blew up, yes.

As Ray turns the wheel to park:

FRASER
And we're going back there? Do you think that's a good idea?

RAY
At least I no longer have a cover to maintain.
(stops car. He checks his large chrome automatic under:)
Okay, listen up, cause this is going to take teamwork; here's how we do this. I
go to the front door, you stay in the car; I open the door and go into the bar,
you stay in the car; I question the locals about the whereabouts of Raymond Ho,
you stay in the car; I come back here, and where do I find you?

FRASER
In the car?
2 6 CONTINUED: (2)

RAY
Exactly.

Ray exits the car and heads for the bar. Frobisher turns to Fraser.

FROBISHER
Ready?

FRASER
For what?

Frobisher opens his door and gets out, followed by Fraser and Dief.


FRASER (CONT'D)
I believe he said to ... Um, do you think we should ... You see, here before
and ...

INT. BAR - - DAY

27

Ray enters the bar, it's the same hangout for ex-cons and low-lifes that we saw
in the pilot. Ray spots CHUCK THE BARTENDER.


RAY
Hey, Chuck, long time no see.

CHUCK
Get outta here, Vecchio, get the hell
out of my bar!


RAY
Chuck, Chuck, why so worried?

CHUCK
I just got this place put back together! You know what it cost me?! Somebody
throw this goof out!

A big guy grabs Ray by the shirt and walks Ray backwards toward the door.

RAY
Police, pal, don't make me use my gun.

Still moving, the big guy holds up a gun with his free hand.

RAY (CONT'D)
That's it, that's my gun, don't make me use it.

27 CONTINUED:

THE BACK DOOR

is kicked in, and there stands Frobisher and Fraser.

FROBISHER
May I have your attention please?

Everybody stares, mouths open…

FROBISHER (CONT'D)
Thank you

FRASER
(aside to Frobisher)
Could I have one quick word?

FROBISHER
Anyone carrying illegal weapons, if you'd place them on the bar, you are under
arrest.

As before, all patrons pull guns and point them at the Mounties.

FROBISHER (CONT'D)
That's good, just place them on the bar.

They cock their weapons.

FRASER
(to Frobisher)
You see, I've been here before, I found that this may not be...

FROBISHER
Ah. Right. Local customs.
(to thugs)
All right, we are prepared to overlook the firearms infractions, it being
hunting season and all--

A knife imbeds itself in the post inches from his head

FROBISHER (CONT'D)
No, no, you keep that, sir. All we need from you is information on the
whereabouts of one Raymond Ho.

BIG THUG
(still holding Ray; incredulous)
You want to know where Raymond Ho is?


2 6 . CONTINUED (2)


FRASER
(to Frobisher)
You see, this is the point where they usually begin shooting, so if I might
suggest standing behind that pillar ...

BIG THUG
(to Chinese thug)
Vincent! Tell him where your father is.

CHINESE THUG
956 Dearness Street.

FROBISHER
Thank you.
(to Fraser)
Shall we?

Frobisher and Fraser walk through the crowd toward the front door.

FROBISHER (CONT'D)
Excuse me. Thank you. Pardon us.
(to Fraser)
Nice people, these Americans. And you hear all these stories.


The big thug lets go of Ray as they pass and Ray walks with them.

FROBISHER (CONT'D)
(to Ray as they exit)
You know, that man had a gun just like yours.

Ray comes back in, snatches his automatic from the Big Thug
and exits.


EXT. STREETS - RAY'S CAR -- DAY

28

The trek continues as they drive along.

RAY
We'll go, I'll take you, but there's
no way they gave you the right address. I mean, this is the man's father.

FRASER
It does seem suspicious.



2'8 (CONTINUED):


FROBISHER
(to Ray)
So you believe we're walking into a trap?

RAY
If Raymond Ho is at this address, you better believe he's not going to invite
us in for tea.

FROBISHER
All right, no sense being caught off guard. We go in ready for trouble.

INT.HALL -- DAY

29

The double doors swing open and Frobisher, Fraser and Ray
step in.

FROBISHER
All right, nobody move!

REVERSE ANGLE

To see that they are standing in the doorway of a BINGO HALL, set up in the
Multi-purpose room of a RETIREMENT HOME. The geriatric patrons stare back at
them, with mouths frozen open. Even the Bingo Caller is stunned into silence.
Unphased by this, Frobisher swaggers into the room.

FROBISHER
Hands on the table! Keep those daubers where I can see them.
(to man standing with walker)
You, pops! Hands in the air!


The man with a walker holds his hands UP and starts to tip over. We cut away
before he hits the floor..Ray and Fraser cringe at the THUMP.


FRASER
Ooo, sorry.

Frobisher moves down the aisles.

FROBISHER
All right, we don't want any trouble. Everyone just stay seated and don't make
any fast moves.
(to elderly Woman)
Is that cat de-clawed?

29 CONTINUED:

ELDERLY WOMAN
No.

FROBISHER
Then hold onto it. .
(keeps pacing)
Alright, I'm looking for Raymond Ho, and I want answers. Who knows where he is?

A VERY ELDERLY MAN raises his hand.

VERY ELDERLY MAN
He's right here.

The very elderly man points to the seat next to him. He
turns to look and we pan with him to see that the seat is empty. The very
Elderly Man takes a beat and looks down at the floor.

VERY ELDERLY MAN (CONT'D)
. ..Oh.

Frobisher looks under the table from the other side. We don't see what he does,
but he reaches under the table to feel the off-screen man's pulse, then looks
back to Fraser and Ray.

FROBISHER
It looks like we arrived just a moment too late.

EXT. RETIREMENT HOME -- DAY

30

As the ambulance pulls away, revealing our heroes, who head for their car.

RAY
Did anyone check this guy's birthdate before we started on this manhunt?
Raymond Ho was ninety-one years old!

FROBISHER
Still, I can't help but feel responsible. I think we scared the poor man to
death.

RAY
What I mean is, the last bank job he pulled was over thirty-four years ago!
Would you say this trail was just a tad cold?


3 0 CONTINUED:


FRASER
He must have worked with Geiger early in his career.

RAY
Early in his career?? This guy worked with Capone! Where next??

FROBISHER
(not taking the question as rhetorical)
907 Mill Street Road. This man I've run into before, and he won't be at any
bingo parlour. Trager, James ...

EXT. PARK-LIKE SETTING -- DAY

31

As Fraser steps into frame in close up.

FRASER
Born February 13, 1937


REVERSE ANGLE -- A HEADSTONE

that reads James Trager, Born Feb. 13 1937, Died Nov. 2 1993.

BACK TO SCENE

As Fraser, Ray, Frobisher and Diefenbaker stare at it

RAY
Alright, I'll get the shovel, you handle the interrogation.

FROBISHER
(pensive)
The man was several years younger than me.
(to Fraser)
I always thought I'd want to see my enemies in their graves before I died. It's
a strange feeling when it actually happens.

FRASER
(checking list)
There's no whereabouts on George Welker. He escaped from Pelican Bay eight
months ago, the FBI might have a lead.


3 1 CONTINUED:


FROBISHER
(an excuse)
I think we covered enough ground for one day.
(to Ray)
Could you drop me at my hotel?

RAY
(feeling like a heel)
Sure.

FROBISHER
Thank you

They. walk back to the car.

THE HIGH ANGLE

reveals that the small cemetery was pressed between two major freeways. The
guys get in their car and drive off.

EXT. ST. JOHN'S HOTEL -- NIGHT

32

Ray's car pulls up out front, Frobisher gets out.

FROBISHER
Thanks again

He heads across the street toward his hotel. Fraser gets out.

FRASER
(to Ray) Thanks, Ray. I'll walk from here.

RAY
You sure?

FRASER
Thanks.
(to Dief)
Come on. .

Dief hops out and Fraser closes the door. Ray gives him a last look and drives
off. Fraser catches up with Frobisher on his front steps.

FROBISHER
... Yes?

FRASER
We will find him.

32 CONTINUED


FROBISHER
(covering)
We always do. Good-night.

Frobisher turns and enters the foyer. Fraser watches him pass the front desk
and disappear up the stairs. Fraser turns to Dief.

FRASER
Think you can find our way home?

Dief turns and leads the way, Fraser follows

INT. ST. JOHN'S HOTEL - STAIRWAY AND HALL -- NIGHT

3

Frobisher climbs the steps and heads down the hall to his room.

EXT. STREETS -- NEAR ST. JAMES HOTEL -- NIGHT

34

Fraser and Dief walk along side by side. Fraser stops with
a thought:

FRASER
"I'm here twenty-four hours a day"
(Dief looks to him)
Where was the man behind the desk?

Fraser turns and charges back toward the hotel.

INT. ST. JOHN'S HOTEL - AT FROBISHER'S DOOR -- CONTINUOUS

35

Frobisher searches his tunic for his keys.

FROBISHER
Too many damn pockets.

He finds it and

CLOSE ON LOCK

puts the key in and turns.

INT. LOBBY OF ST. JOHN'S HOTEL -- CONTINUOUS

36

Fraser and Dief burst through the front door and run for the front desk. Behind
it, the DESKMAN lies unconscious or dead. Fraser looks up the stairwell and
calls…

FRASER
Stop!
INT. HOTEL ROOM - - CONTINUOUS

37

The door CLOSES at that second, the thud masking Fraser's voice. As Frobisher
walks to the window, we reveal Geiger standing behind the door in the darkness.

INT. LOBBY AND STAIRWELL -- CONTINUOUS

38

Fraser charges up the stairs.

INT. HOTEL ROOM - - CONTINUOUS

3 9

The glint we see is Geiger's huge knife coming out of its sheath as he moves
silently across the room. Frobisher, his back to the door, sees the glint of
the knife reflected in the window and turns…just as the knife is coming down.
He grabs his arm just before the tip digs in.

INT. HOTEL ROOM HALLWAY -- CONTINUOUS

4 0

Fraser throws his body into the door and it cracks.

INT. HOTEL-ROOM -- CONTINUOUS

41

Geiger and Frobisher struggle for the knife. Geiger throws his elbow into
Frobisher's jaw and Frobisher goes down. The door gives way under Fraser's boot
and smashes open. Geiger dives through the window, glass shattering, and …

EXT. HOTEL FIRE ESCAPE-- CONTINUOUS

42

Geiger lands on his back on the fire escape landing one floor below. He grabs
the railing and heads for the roof.

INT. HOTEL ROOM -- CONTINUOUS

43

Fraser checks Frobisher, he's dazed by the punch. Fraser checks the window,
turns to Dief in the doorway.

FRASER
The roof!

Diefenbaker goes.

INT. HALLWAY AND STAIRS -- CONTINTJOUS

44

Diefenbaker takes the stairs three at a time.

EXT. HOTEL FIRE ESCAPE -- CONTINUOUS

45

Fraser leaps out the window and lands on his feet on the fire escape. He flies
up the fire escape to the roof.

EXT. ROOF OF THE HOTEL -- CONTINUOUS

46

Fraser leaps over the parapet and lands on the rooftop. A pipe swings right at
his head! He tries to block it, too late! It hits him square in the face and
he falls back off the roof! .. landing on the fire escape below.

INT. STAIRWELL -- CONTINUOUS

47

Dief hits the top of the stairwell, claws at the door.

EXT. HOTEL FIRE ESCAPE -- CONTIN'UOUS

48

Fraser shakes off the blow, rights himself and charges back up the stairs. As
his head clears the roof top the pipe comes right at him again, to jab him in
the face. He moves fast and ducks the blow, grabbing the pipe and yanking it
out of Geiger's hands. Fraser jumps onto the rooftop, pipe in hand.

UP ON THE ROOF

49

Geiger yanks another pipe lose and swings it at Fraser. Fraser blocks it and
parries -- he's done this before. But so has Geiger, who brings the pipe up
into Fraser's groin. Fraser goes down on one knee. Geiger smashes him in the
ribs.

INT. STAIRWELL -- CONTINTJOUS

50

Dief claws at the emergency release on the door, but it won't give.

OUT ON THE ROOF -- CONTINUOUS

51

Geiger swings and knocks the pipe out of Fraser's hands. It clatters across the
roof. Geiger swings for his head. Fraser rolls and it misses. He rolls again
and grabs for his pipe. Geiger brings the pipe down on his hand! Fraser twists
on his back and kicks -- Geiger's pipe goes flying. Geiger
grabs for his knife and yanks it out of its sheath. Fraser leaps to-his feet
and throws a kick at Geiger's head. Geiger catches his foot and brings the
knife down into Fraser's leg - it lands hilt deep in his thigh.

FRASER
AHHHH! I !

Fraser falls on his back. Geiger grabs for his knife and
yanks it out.


INT.STAIRWELL -- CONTINUOUS

Dief claws at the door release and the door springs open. One flight behind
him, Frobisher starts up the stairs.


ON THE ROOF

53

Geiger lifts the knife for one last blow. He looks up just in time to see
DIEFENBAKER hurling toward him through the air. Dief hits him chest high,
Geiger falls backwards and over the roof.

Geiger catches the edge of the roof and hangs for a second, then drops ... Onto
the fire escape below, landing on his feet. He quickly throws himself over the
rail and lands like a cat on the lid of a dumpster.


BACK ON THE ROOF

54

Winded, Frobisher looks over the rooftop to see:

HIS POV -- THE ALLEY BELOW

55

Geiger runs off into the night.

FROBISHER

56

struggling to catch his breath:

FROBISHER
He's been working out

Frobisher turns to Fraser, sees the blood, he is badly hurt. He kneels beside
him.

FROBISHER (CONT'D)
Oh, my God.

FADE OUT:

END OF ACT TWO

55

56

and realizes that

FADE OUT-.

ACT THREE

FADE IN:

INT. HOSPITAL CORRIDOR - FOURTH FLOOR -- MORNING

57

Ray bursts in, a spring wound tight. He finds Frobisher in the hall. Frobisher
tries not to let on he is as shaken by this as he truly is.

RAY
How is he?

FROBISHER
We got the bleeding stopped right away, it looks like it missed most of the
major arteries.

RAY
He got him with a knife?

FROBISHER
It's pretty deep. But the doctors seem to know what they're doing.

RAY
He in there?

FROBISHER
Recovery. He's just coming around.
As soon as they know he's come through okay they'll move him.

RAY
(finally stands still)
God, why can't I believe this? I
mean, Fraser, it sounds stupid but it's like he was invincible. I mean,
I know anything can happen to anybody, but I never would have thought ...

FROBISHER
Yeah. It happens to the best of us.

An awkward moment.

RAY
Yeah.

Ray turns and see Captain Walsh approaching.

RAY (CONT'D)
Oh, great.


57 CONTINUED:


Ray heads to meet him half way

CAPTAIN WALSH
How's he doing?

RAY
I haven't seen him yet, but I'm told he's going to be okay, sir.

CAPTAIN WALSH
Good, good.
(sees Frobisher)
Who's that?

RAY
Sgt. Frobisher, also with the RCMP, Sir.

CAPTAIN WALSH
... Another Mountie?

RAY
Yes, sir.

CAPTAIN WALSH
We have two Mounties in our city?

RAY
At this present time, yes, sir

CAPTAIN WALSH
Is this necessary?

RAY
I've been told it's temporary.

CAPTAIN WALSH
Oh, alright.
(beat)
The wolf isn't here is he?

RAY
They wouldn't let him in the hospital, sir.

CAPTAIN WALSH
That's a rule.

RAY
Yes, Sir.

5 7 CONTINUED: (2)

CAPTAIN WALSH
At least that's something.
(beat)
I'm posting a man at the elevator. Fraser needs anything, you call.

RAY
Sir.

CAPTAIN WALSH
Okay.

As Captain Walsh walks away, Ray looks to see Frobisher. Frobisher avoids his
glance, walks to the window and looks out..


EXT.'HOSPITAL - HIGH ANGLE -- DAY

58

An ambulance turns the corner and heads for the back entrance.

INT. MORGUE -- DAY

59

The doors open and an ambulance attendant wheels a body in covered in a sheet.

MORGUE ATTENDANT
D.O.A.?


We angle to see that the ambulance attendant is Geiger.

GEIGER
Knife wound.

Still on the move, Geiger tosses back the sheet. He grabs the coil of chain and
rope that sits on the body and swings it up into the morgue attendant's jaw.
The attendant goes down like a rock. Geiger doesn't even miss a step.

INT. HOSPITAL ROOM -- FOURTH FLOOR -- DAY

60

An attendant puts Fraser's leg in traction as the HEAD NURSE winds up his bed.

HEAD NURSE
You got the room all to yourself. You really a Mountie?

FRASER
Yes, Ma'am.

HEAD NURSE
I have a nephew in Canada. Simpson, you know him?
6 0 CONTINUED:

FRASER
I don't think I've made his acquaintance.

We angle to the door as Ray enters.

HEAD NURSE
You aren't supposed to be in here yet.


RAY
I know, there's a cop outside, report me.

The Nurse and Attendant exit.


RAY (CONT'D)
So, how's it going?

FRASER
(smiles)
Well, Ray, it's going well- And you?

RAY
Can't complain, no one's stuck a knife in me lately. Room looks familiar. Yep,
same ceiling. One hundred and two and a half tiles, if I recall.

FRASER
I haven't had time to count.

RAY
Yeah, a few weeks in here and you'll be a new man. Have they explained the bed
pan policy yet?

FRASER
Not yet.

RAY
I'll get you the video. You okay?

FRASER
They tried to cut off my boots.

RAY
Nooo.

FRASER
Right up the side. I wouldn't let them.



6 0 CONTINUED: (2)


RAY
I don't blame you, I mean, lose a leg, sure, but boots are not that easy to
replace.
(indicating bandage)
That where he stuck you?

FRASER
Yes, Ray.

RAY
Got you in the face there, too, I see.

FRASER
A pipe

RAY
You let him hit you with a pipe?

FRASER
It wouldn't have been my first choice

RAY
Because if it was me, and I found myself being hit by a pipe and stuck in the
leg, I would have said to myself, "Shoot him with a big gun". But I know that's
not very Canadian of me.

FRASER
I'm not authorized to carry a firearm in your country, Ray.

RAY
"Authorized", another Canadian term I'm learning.

FRASER
Is Sgt. Frobisher out there?

RAY
Want me to send him in?

FRASER
Please.

RAY
Okay.
(stops at door)
I'm going down to the store, want anything? Small arms, anything?

6 0 CONTINUED: (3)

FRASER
I'm fine.

Ray exits, opening the door right into the camera. On black
we cut to:


INT. ELEVATOR SHAFT -- AT THAT MOMENT

61

Blackness, until the elevator doors are pried open from the other side and we
see Geiger in the basement, using his large knife as a pry bar. He sticks the
blade into the doorjam to keep them ajar and looks up into the elevator shaft.

Up the shaft, the elevator is descending. It stops at the floor above. Geiger
reaches back for the coil of rope and chain, a hook up on the end. He flings it
up and it catches. The elevator starts up, Geiger yanks his knife out of the
doorjam as the chain pulls him up into the shaft.

INT. HOSPITAL ROOM -- AT THAT MOMENT

62

Frobisher steps up beside Fraser's bed.

FROBISHER
You doing okay?

FRASER
I wanted you to know, it wasn't your fault.


FROBISHER
How do you figure that?

FRASER
He surprised me, too. I walked right into it.


FROBISHER
If I recall, you kicked your way into it.
(a beat)
It's going to hurt for a while, but it'll heal, if you keep off it. That's the
hard thing to do. When it happened to me, I said to myself get back up, get out
there, or they'll put you behind a desk.
(beat)
There are worse places. We visited one of them yesterday.


62 CONTINUED:

FRASER
I think ... I think you should take Ray's offer.

FROBISHER
...Protective custody?
("accepting it")
Yeah, it'd be the smart thing to do
(beat)
Listen, you rest up, don't push it, get well.


FRASER
Yeah. It'd be the smart thing to do

FROBISHER
Yeah, but I want you to do it.
(turns to leave)
Your father was very proud of you. Now I know why.

Frobisher exits.

INT. ELEVATOR SHAFT -- AT THAT MOMENT

63

Geiger rides the chain up, holding on with one hand. The elevator clanks to a
stop.

INT. HOSPITAL CORRIDOR NEAR ELEVATOR-- FOURTH FLOOR

64

The uniformed cop stationed on the fourth floor keeps a sharp eye out. The
elevator doors open and two attractive nurses step out and walk off down the
adjoining hall. As the elevator doors close, the cop saunters over near it to
get a better look at the nurses walking away. Then he hears something odd -- it
sounds like something scratching on the door of the elevator. He leans in
closer to it to listen.

The doors spring open and Geiger reaches out, grabbing the cop and pulling him
into the elevator shaft.

Geiger swings out, leaving the elevator doors jammed open He looks both ways,
no one watching.

INT. HOSPITAL FOYER -- AT THAT MOMENT

65

Ray punches the elevator button. He checks out the stack of magazines, books
and candy he picked up for Fraser; can't resist eating a jujube.


INT. HOSPITAL CORRIDOR -- FOURTH FLOOR -- AT THAT MOMENT

66

Geiger comes down the hall, looking in rooms. The Head Nurse
steps out of one of them.


HEAD NURSE
Can I help you?

GEIGER
I'm looking for a Mountie.

HEAD NURSE
Which one?

GEIGER
Either will do.

Head NURSE
(an excuse)
Let me check the book.

The Head Nurse

She moves off toward the Nurses Station. Geiger turns and opens a door, looks
in. Not there.
Opens another. Not there. He opens Fraser's door and sees him. Fraser's eyes are
closed. Geiger
takes a step in -- and that's as far as he gets --

FROBISHER

grabs him from behind, twists the arm with the knife and slams him into the
doorframe.

FROBISHER
I don't think so.

Fraser opens his eyes just in time to see Geiger twist out of Frobisher's grip.
He swings the
knife, Frobisher slips it and the knife digs deep into the wall. As Fraser
frantically tries to
sit up and get his leg out of traction, Frobisher knees Geiger in the stomach
and the fight is
on.

INT. ADJOINING HOSPITAL CORRIDOR -- AT ELEVATORS

67

The second elevator opens and Ray and others step off. Ray spots the open
elevator shaft and
drops the magazines. At the desk, the Head Nurse is on the phone.


HEAD NURSE
Down there! Down there!


Ray didn't have to be told, he's already running.

67 CONTINUED:

Ray
Call it in

INT. HOSPITAL CORRIDOR AND FRASER'S ROOM -- CONTINUOUS

68

Frobisher and Geiger struggle, but it's a mismatched fight. Geiger shoves
Frobisher back and
goes for the knife. Just as he yanks it out of the doorframe, Ray charges around
the far end of
the corridor and levels his gun.

RAY
Drop it!

Geiger knows he only has a split second. He turns and hurls the knife at
Frobisher! CHUNK! It
misses his head by an inch. Geiger turns and runs straight for Ray! Ray cocks
his weapon. A
patient steps out in the hall between them!

RAY (CONT'D)
Get clear! Get clear!

ANGLE ON ELEVATORS

Geiger lunges into the open elevator…

INT. ELEVATOR SHAFT

69

slamming into the cables, wrapping his ass and legs around them and plummeting
into the
darkness.

INT. HOSPITAL CORRIDOR -- AT ELEVATORS

70

Ray slides up to the edge and looks down. Just darkness. Behind him, Fraser
comes limping down
the hallway in his hospital gown.

FRASER
Ow ... ow ... ow ... ow ....
(looking down shaft)
He make it?

RAY
He threw himself down an elevator shaft!

FRASER
He made it. Where's Buck?

They start off back down the hall.


7 0 CONTINUED:


FRASER (CONT'D)
ow-ow-ow-ow-ow ...

Head Nurse comes out from behind the station

HEAD NURSE
You get back in bed! What are you doing, are you a crazy boy? ...

Another nurse joins her to look as she makes it to the hallway. From their
expression, we don't
have to see what they're suddenly appreciating.

HEADD NURSE (CONT'D)
Oh, now I've seen a lot of them, but that's a cute one.

INT. HOSPITAL CORRIDOR -- NEAR FRASER'S ROOM

71

Frobisher picks himself up off the floor, wincing from the pain in his leg. He
spots the
emergency exit and heads for it, limping more than he did before.

Fraser and Ray turn into the corridor just in time to see
the emergency door close. Ray jogs up to it and looks down the stairwell.

RAY
Where's he going?

FRASER
(exiting into his room)
After him.

Ray follows Fraser into his room ...

INT. HOSPITAL ROOM -- CONTINUOUS

72

and sees Fraser pulling his uniform out of the closet.

R.AY
Where are you going?

FRASER
After him.

RAY
Now this makes sense. Half of the Chicago police department is on this guy's
tail at this very
moment, but is he going to worry about that? No. He has two limping Mounties on
his tail.

7 2 CONTINUED:

Fraser has his hat on, the rest of his clothes he carries.


FRASER
Come on.

INT. HOSPITAL CORRIDOR -- CONTINUOUS

73

In hat and gown, Fraser limps down the corridor, leaning
onto Ray.

FRASER
Ow-ow-ow-ow.

Right past several nurses, including the head nurse, mouths gaping, heads
turning as Fraser
passes.

FRASER (CONT'D)
(re: the back of his gown)
Ray, could you hold that ...

Ray holds the back of Fraser's gown shut, but can't believe he's doing it.

INT. BASEMENT OF HOSPITAL -- AT THAT MOMENT

74

Frobisher leans into the open elevator shaft and feels the cables. Blood. He
turns and exits.

EXT. HOSPITAL -- AT THAT MOMENT

75

Geiger runs out the front doors and hears the sirens coming. He rips the white
smock off a
stunned male attendant and wraps his bleeding hands in it. The attendant runs
into the
hospital, as Geiger runs off down the street. Seconds later, two squad cars and
a motorcycle
officer screech to a halt at the entrance. The cops run into the hospital, guns
drawn, passing
Frobisher on his way out. Frobisher looks around, spots something on the curb.
He crosses and
kneels, touches it: a drop of blood. Frobisher turns and sees:

THE HARLEY DAVIDSON POLICE MOTORCYCLE

at the curb, a boy standing next to it. Frobisher steps up, throws his leg over
the seat, turns
the ignition key and the engine roars to life.


FROBISHER
Stand back, young man, there's a villain on the loose.

He pops the throttle, the engine screams…

7 5 CONTINUED:

LOW ANGLE

The front wheel shoots high in the air as the big cycle does
a wheelie and fires off down the road. HOLD FRAME. Frobisher stands up, dusts
himself off
and hails:

FROBISHER (CONT'D)
Taxi!

The wheels of the o.s. taxi screech to a halt.

ANGLE ON TAXI

Frobisher climbs in and takes off in pursuit of his villain.

ANGLE ON FRONT OF HOSPITAL

Fraser and Ray exit through the glass doors, Fraser still wearing his hat and
gown. They pass
a small crowd that has gathered near the sidewalk.

FRASER
Excuse me, have you seen...?

A blind man in the crowd points his cane to show them the way.

FRASER (CONT'D)
Thank you.

As Fraser limps off down the sidewalk, holding onto Ray, Ray holding the back of
Fraser's gown
closed ...

FRASER (CONT'D)
Ow-ow-ow-ow-ow ...

RAY
Oh yeah, he's panicking now.

INT. A MERCEDES -- AT THAT MOMENT

76

Waiting at a stop light. Geiger opens the door, yanks the driver out, gets
behind the wheel and
takes off through the light. He reaches for the car phone, dials and picks it
up.

GEIGER
George? Harold. I need some help ... You owe me, don't make me collect ...
Where? ... I'll
find it.

END OF ACT THREE

FADE OTJT-.


ACT-FOUR


EXT. WAREHOUSE DISTRICT -- NIGHT

77

Fraser and Ray cruise slowly along in Ray's car.

INT. RAY'S CAR - - CONTINUOUS

78

Back in his uniform, Fraser leans out the window, staring intently at the ground
as Ray drives.

FRASER
Slow down a little.

RAY
What? You spot another "bent twig"?

Fraser opens the door and picks up something.

RAY (CONT'D)
I you start tasting dirt again I'm turning around and going home.

Fraser stares intently at the trash he picked up

RAY (CONT'D)
What is it?

FRA-SER
A gum wrapper. There appears to be something inside.

RAY
Nooo, don't open that up, don't do that ...
(he does of course)
Oh, God, you're going to get that on my seats!

FRASER
Geiger gave up smoking in prison by using nicotine gum.

RAY
That's good, because God forbid he' have any bad habits. You're not going to...
(as Fraser tastes it with the tip of his tongue:)
Oh, gross! Get out of my car! Right now, I mean it, I can't take any more of
this.


7 8 CONTINUED:

FRASER
(looking ahead)
I see it.

RAY
More gum??

FRASER
No, a red uniform.

EXT. STREET CORNER -- CONTINUOUS

79

FRASER
Ow-ow-ow

Frobisher waves them over without looking back. They join him.

FROBISHER
I found him. He's in there.


THEIR POV

an abandoned warehouse, a building set all to itself. A small panel truck is
parked near the
door.

BACK TO SCENE

RAY
He's in there?

FROBISHER
And he has company.

THEIR POV

A man gets out of the truck and enters the buildings.

BACK TO SCENE

FROBISHER
(to Fraser)
You find the gum?

FRASER
Yes.




7 9 CONTINUED:

RAY
(still annoyed)
No wonder Canada is so clean, you have Mounties picking up all your trash!

FRASER
How many are in there?

FROBISHER
Five, that I've seen. They've been unloading weapons since I got here.

RAY
Okay, we call it in, they bring in the SWAT boys.


FROBISHER
We can't do that.

RAY
Trust me, I'm very good at it, I just pick up the radio and press the button.

FROBISHER
I have to do this.

FRASER
Do you think that's wise? Under the circumstances, it would seem the SWAT team
is the only
prudent choice.

RAY
There is no discussion here.

FROBISHER
A week ago that man did something to
me; and it was much worse than sticking a knife in my leg. He turned me into
something I
couldn't face in the mirror. I'd been afraid before, I'd have been a fool not to
have been. But
I was never a coward. A week ago
I became one. That man stole my self-respect. You helped me see that I couldn't
live without
it. Now I have to go in there and take it back, and I have to do it alone.

Fraser considers this, then:

FRASER
... I understand.


7 9 CONTINUED: (2)

RAY
You understand?! Let me suggest another interpretation: that is the stupidest
reason I have
ever heard in my life!

FROBISHER
(to Fraser)
All right, then.

Frobisher turns to move around the corner.

FRASER
One thing ... If we happen to feel that he's stole something from us,
too ...?


FROBISHER
(quickly)
Oh, then you can come, of course.

FRASER
Good.

RAY
Okay, okay, this has gone far enough. Let me point out something to you
that your sharp Mountie eyes may have missed. See that top window up there?

THEIR POV - THE WAREHOUSE

RAY (V.O.)
There is a man in that window with a sniper scope and a high powered rifle.
There is another
man in the opposite window with a similar weapon.

BACK TO SCENE

RAY (CONT'D)
Do you see any cover between there and here? No. Which means, we take two steps
out from here
and we're shot dead.

FRASER
He's absolutely right.

RAY
There is no way to get from here to there - without being seen and killed.
(more)


7 9 CCNTINUED: (3 )

RAY (CONT'D)
Which is a shame, because if there was, I'd be the first to say lets do it.


FRASER
Hm ... Unless ...

Fraser and Frobisher look back to each other, Fraser looks down at his feet, so
does Frobisher.
They're standing on a manhole. They turn and look down the street.

THEIR POV - AN AMY-NAVY SURPLUS STORE

80

sitting a block away, most of its lights out for the night.

BACK TO SCENE

81

Fraser and Frobisher look back to each other.

FROBISHER
Exactly.

INT. A STORM SEWER -- NIGHT

82

filled with water. The canoe comes into view, Frobisher and Fraser paddling, Ray
in the middle
holding the lantern.

RAY
I have never felt so ridiculous in my life.

FRASER
Can you hold the lantern a little higher? If we bump into the wall we'll have to
return it
scuffed.

RAY
Do you have any idea what's in this water??

FROBISHER
Shhh, we're getting close

RAY
Rats are laughing at us. You hear
that high pitched squealing? An entire
family of rats are doubled over-back there.



INT. WAREHOUSE -- NIGHT

83

Just as Frobisher said. Five heavily armed men get ready for a confrontation.
Geiger paces past GEORGE WELKER

WELKER
It's been seven hours, Harold, he's not coming.


GEIGER
Oh, he's coming. I left a clue of trails a blind man could have followed.

ANGLE ON DRAIN IN FLOOR

POV - - GEIGER AND WELKER

WELKER
And he'll be bringing the whole damn Chicago P.D.

GEIGER
You have to know your enemy, George. I've spent fifteen years getting to know
this one. He's coming alone.

Geiger walks off

WELKER
(to sentry in top window)
You see squad cars, I want to hear about it before they get here!

Welker heads up the metal stairs to relieve one of the sentries. As he
disappears, Fraser tips open the grate again and climbs out.

ANGLE ON BARRELS A SHORT DISTANCE AWAY

Fraser, Ray and Frobisher scurry for cover behind them. As they sit:

FRASER
(small)
OW-OW-OW.

FROBISHER
ow-ow-ow.

Perpetually annoyed, Ray pulls a small tin of aspirin from his pocket and
shoves it at Fraser.
83 CONTINUED:

RAY
Will you please take these?

FRASER
I try not to take non-prescription medicines, Ray.

RAY
It's aspirin!

FRASER
Still, it does have side-effects.

RAY
(sotto/more frustrated)
Just take them!

FRASER
All right.

FROBISHER
... may I?
(takes two)
Thank you.

As the Mounties munch their aspirin, Ray looks for an angle.

RAY
Okay, so here's the way I see it. I have the only gun, right?

FRASER/FROBISHER
Right.

A villain is heading their way.

RAY
So, we take them one at a time.

Fraser nods, stands.

HIGHER ANGLE -- BARRELS

The villain steps up on the other side of the barrels. Fraser pops up.

FRASER
Excuse me?

As the guy turns, Fraser cold cocks him.

83 CONTI NTUED: (2)

BEHIND BARRELS

Fraser sits again before we hear the THUMP of the bad guy hitting the floor.

FRASER (CONT'D)
Good plan.

Ray has that stunned/astonished look on his face again.

FROBISHER
Then we split up.

As they move off:

UP NEAR THE ROOF

Geiger takes over for one of the sentries at the window, sending him down the
metal staircase. He doesn't see:
leap up and grab a hand hold in the brick wall, scaling it.

FRASER

Leap up and grave a hand hold in the brick wall, scaling it.

ANGLE BELOW -- NEAR CRATES

A villain paces near the crates. Frobisher pops up on the other side ...

FROBISHER
Excuse me.

and delivers a lightening punch to the guy's jaw. Again. Nothing. Again.
Nothing.

FROBISHER (CONT 'D)
Never mind.

Frobisher drops down behind the crates again,

ANGLE ON STAIRWELL -- AT THAT INSTANT

The sentry on his way down sees the commotion, lifts his gun to fire at
Frobisher -- but Ray jumps up and grabs the guy 's ankles and the villain
topples head over heels. At which point ...

ALL HELL BREAKS LOOSE

The villain at the crates kicks them aside to get to Frobisher and shoot him,
but Frobisher has other ideas and dives for him.

83 CONTINUED: ( 3 )


UP ON THE CATWALK BY THE WINDOWS

Geiger and Welker strafe the floor below with machine gun fire.

RAY

dives for cover. The guy who tripped on the stairs comes round and goes
after him.

FRASER

Dives from the wall to the underside of the catwalk, and flips himself over,
landing behind Welker, grabbing the fun and flinging it over the side. Welker
grabs a metal bar and swings it at Fraser, but Fraser isn't going to be smacked
in the head twice in twenty-four hours.

ANGLE BELOW

Frobisher gets the better of the villain, but Geiger pins him down with machine
gun fire. Frobisher drops down behind the crates, trapped. A beat.

FROBISHER
What the hell.

Frobisher stands and runs for the metal staircase, bullets strafing at his
heels.

ANGLE ON STAIRS AND CATWALK

Frobisher charges up the stairs like a man of twenty, Geiger emptying the
magazine without hitting him. Before Geiger can reload, Frobisher is up on the
catwalk and on him. The two men roll on the catwalk, grappling to throw the
other off.

ANGLE ON FRASER

Welker swings the bar, Fraser ducks it, grabs the end and smashes the other end
into the man's groin. Welker doubles over in agony.

FRASER
It's a trick I learned.

Fraser looks to Frobisher: he's in big trouble. Fraser looks down: Ray's in big
trouble. Decisions. He flings himself over the rail of the catwalk, meaning to
land on a crate below.
83 CONTINUED:

ANGLE ON CRATE BELOW (BEHIND VILLAIN)

Instead Fraser crashes right through it, up to his neck in wood. The villain
turns, to see, and that's all the edge Ray needs. Ray decks the guy flat.

RAY
Thanks

FRASER
No problem.

Ray helps Fraser out of the crate as they look up to see:

FROBISHER AND GEIGER

locked in an epic hand-to-hand battle on the catwalk. Geiger gets the upper
hand, landing a vicious punch that dazes Frobisher; one last kick should send
the Mountie over the edge. Geiger's boot comes right at him, Frobisher grabs
it and twists and Geiger goes over.

Geiger grabs the edge at the last second; looks down, no crates to block his
fall to the concrete floor. He looks up, Frobisher stands over him.

BELOW

Fraser and Ray watch.

A beat

RAY
He's not going to..

FRASER
(calling)
No!

ABOVE

But once a Mountie, always a Mountie. Frobisher reaches down and grabs Geiger's
hand and pulls. Geiger's other hand goes to his boot, the knife comes out and
swings…

FROBISHER

catches the knife hand by the wrist.

FROBISHER
Not a second time.

He twists the wrist and the knife clatters to the floor, as Frobisher pulls the
beaten man up.

EXT. WAREHOUSE -- MORNING

84

Cops everywhere -- squad cars, unmarked cars, SWAT truck, even a couple of
mounted officers -- as the Chicago P. D. cleans up the mess. Fraser and
Frobisher watch as Geiger is shoved into the back of a squad car. Geiger's dead
eyes meet Frobisher's.

GEIGER
I'll see you again.

FROBISHER
I'll be waiting.

He slams the door on Geiger and turns to the uniformed cop.

FROBISHER (CONT'D)
Lock him up real tight.

The cop nods, gets in the car and it drives off.

ANGLE ON RAY

with Huey and Louey and another man, who Huey is trying to
calm down.

HUEY
Yes, sir, I understand.
(to Ray)
Man says you took his canoe.

RAY
We borrowed it, yes.

HUEY
You borrowed the man's canoe.

RAY
And were very careful not to scuff it.

STORE OWNER
It's scuffed.

HUEY
The man says you scuffed his canoe.

RAY
Not true.

OVER WITH FRASER AND FROBISHER

As they walk a short distance, Fraser still limping.

84 CONTINUED:

FROBISHER
You stay off that leg, now.

FRASER
I'll do that. Did you call Julie?

FROBISHER
Yeah. She's going to meet me at the airport. You know about her and Bruce?

FRASER
Yes, I was sorry to hear it.

FROBISHER
It happens. She was in love with someone else.

FRASER
Did she happen to mention who?

FROBISHER
(knows exactly who)
I know it was a guy who'd never let a friend down.

FRASER
(still doesn't get it)
Oh. He sounds like a good man.

FROBISHER
He is. Good-bye, Fraser.

They shake hands, Frobisher steps to the curb and hails:

FROBISHER (CONT'D)
Taxi!

The off-screen taxi screeches to a halt and Frobisher steps out of frame.

ANGLE ON

Frobisher gets in, closes the door.

FROBISHER
The airport, please.

The driver puts the car in gear. Fraser steps up to the
window.

FRASER
Can I offer you a ride?

~


84 CONTINUED: (2)

Frobisher looks out the window to see Fraser is holding:

TWO POLICE HORSES

FROBISHER
Absolutely.

ANGLE ON HORSES -- SECONDS LATER

Frobisher and Fraser throw themselves up into the saddles. Frobisher nods to
Fraser.

FROBISHER
Ready?

FRASER
Ready.

FROBISHER
Then let's go, son, we have a plane to catch.

Frobisher yanks back on the reigns

LOW ANGLE

The horses whinny, rear up and paw the air with their hooves! And charge off.

FROBISHER AND FRASER

ride off into the sun, as Ray, Huey, Louey and others watch, mouths agape.

FADE