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: It was picked up at the scene of the- 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? You okay, Buck? FROBISHER: (covering) Just leave it there, Frank, I have to, uh… A moment of indecision, then Frobisher turns abruptly and walks out, leaving the officer staring after him. INT. BAR NEAR DOCKS -- SAULT STE. MARIE -- NIGHT A grizzled BARGE CAPTAIN eyes the person across from him. BARGE CAPTAIN: This is a scow, not a cruise ship. I take you across the border, Immigration finds out, they seize my boat. (beat, reluctantly) 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: EXT. SCHOOL - DAY FRASER: --WHICH MAKES THE BORDER BETWEEN Canada and the United States the longest undefended border in the world. INT. SCHOOL CLASSROOM – DAY Fraser, dressed in his reds, stands at the front of the class. FRASER: So, that since their formation, our countries have found a peaseful way to co-exist. Except of course for The War of 1812, where your country invaded ours—but that’s hardly worth mentioning. So, at this point I’ll open the floor to questions. WE ANGLE to see the faces of FIRST GRADERS staring at him. FRASER: Yes? LITTLE BOY: Do you have to undo all your buttons to go to the bathroom? FRASER: Ah. Well. No. Another question? LITTLE BOY #2: How many do you have to undo? FRASER: Just enough to get my trousers undone—yes? LITTLE BOY: Do they have bathrooms in Canada? FRASER: Yes, we do. At the back? We see a woman standing in the doorway with her hand raised. It takes Fraser a second to recognize her. JULIE: When’s the last time you were home? This is the last face Fraser expected to see here. FRASER: …It’s been much too long. A moment, he smiles. INT. SCHOOL CORRIDOR – DAY JULIE: I’m afraid I ruined your talk. FRASER: No, it was perfect timing, I think I was losing control of my audience. JULIE: (laughs, then) I need your help, Fraser. It doesn’t take an Inuit Seer to realize she’s deeply troubled. EXT. SCHOOL PLAYGROUND – DAY Julie offers Fraser a current photo (of Frobisher) from her wallet JULIE: He just disappeared. His car was still in the garage, he hadn’t taken anything from the apartment. I checked all the buses and trains. Finally someone at the dock remembered seeing him get on a barge that was headed here. I still can’t believe he’d just leave without saying something or…(beat) I’ve been looking for a week, I can’t find him, Fraser. I was hoping maybe he’d called you 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 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 a bit. You’re just like my father. You could track a man five-hundred miles over sheer ice, but put either of you within arm’s length of a woman and you are completely lost. (beat) Or put you in an office and you’d die. That’s what was happening to him, and it was so hard to watch. I don’t know what’s happened, but I don’t want to loose him, Fraser. I can’t. Will you help me? Will you find him? FRASER: I'll do everything I can. JULIE: I haven't seen you in ten years, but somehow…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. SERVICE STATION HALLWAY – DAY 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? What’s that all about? Motorist #2 shrugs. The restroom door opens and Geiger steps out, now dressed in a blue shirt, tie and leather jacket. 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. POLICE STATION -- BULLPEN -- DAY Ray is on the phone at his desk. 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. GARDINO: Violent Crimes, Detective Gardino (deadpan) ... Cat, ma'am? EXT. DOCKS NEAR CHICAGO -- DAY Ray's car cruises the dock. RAY (into cell phone): Thanks, Elaine. (to Fraser) Seven freighters came in from Northern Ontario last week, none carrying passengers. You still think your Mountie friend came in on one of these? FRASER: Seems likely. Did any come in from Sault Ste Marie? Ray: Two. The Lady of the Lake, and a garbage scow called The Bon Vivant. FRASER: We’ll try the scow. RAY: There are 1700 places to drive across the border between Canada and the U.S. Why would anyone in their right mind travel by “scow”> FRASER: I don’t know, Ray. I don’t know. Ray and Fraser drive off. INT. BRIDGE OF BARGE -- DAY The BARGE CAPTAIN hands the photo of Frobisher back to Fraser SCOW CAPTAIN: Sorry. FRASER: You're sure. SCOW CAPTAIN: I'm sure. FRASER: ... He was my father's best friend… If he's in trouble ... SCOW 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. SCOW 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. SCOW CAPTAIN: Their office is right there, see the guy in the hat, name's Len. Now 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? SCOW CAPTAIN: (annoyed) 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: SCOW CAPTAIN: He leaves FRASER: He isn't here to give you trouble. RAY: (speaking of himself) But push him and he might. SCOW CAPTAIN: You really his friend? FRASER: I am. SCOW CAPTAIN: If I ever saw a man who needs one… (considers, decides) Some of the men billet over at the St. John Hotel. Try there. FRASER: Thank you. RAY: Yeah, you’re a prince. Fraser and Ray exit INT. ST. JOHN'S HOTEL LOBBY -- DAY Ray and Fraser step into the lobby of the flop house. RAY: You know., I was thinking of going to Maui, but now that I’ve seen this place… They approach DONALD, the man behind the front desk FRASER: This man…(shows the photo) Is he registered here? DONALD: Never seen him. Ray flashes a twenty. Donald takes it. DONALD: Carney. One bag, no tip, room 202. RAY: You sure? DONALD: I'm here twenty-four hours a day, I sleep here, I eat here. I see every face that comes in here. RAY: Do you know if he’s in? DONALD: For twenty more I’ll ring the room. RAY: That’s okay. They cross over and climb the stairs. INT. HOTEL HALLWAY – DAY Fraser and Ray come up the stairs and down the hall. RAY: (sotto) What’s this guy like? FRASER: What do you mean? RAY: I mean, if this guy is unhinged I don’t want to knock on a door and be met by a bullet. FRASER: It’s okay. He knows we’re coming. RAY: How could he? CRUNCH. Ray stops and looks down at his feet. He just stepped on several small shards of broken glass. Ray looks to Fraser. Fraser gives him a “That’s how” look and walks to the door. INT. HOTEL ROOM -- DAY One of the hotel's less 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. FRASER: ... Who is it? you're waiting for someone or you wouldn't be carrying that. Fraser nods toward the gun in Frobisher’s hand. FROBISHER: (mocking him) What, you going to protect me? FRASER: I'd do whatever I could. FROBISHER: I'm Buck Frobisher, you little pissant. 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 Fraser lies in his sleeping bag, reading his father’s diary by 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. I don't know how, no one knew where I was going. But he found me and carried me back – three days over terrain a mule couldn't navigate, laughing his ass off the entire way. Riding like that, completely helpless, slung over Buck's shoulder and staring down his back, 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. Fraser reacts to someone banging on his apartment door. INT. APARTMENT HALLWAY – CONTINUOUS Fraser opens the door to find Ray. RAY: I sure wish you’d get a phone. FRASER: Good evening, Ray. RAY: I think I know who’s after the old man. He hands Fraser an FBI bulletin, a photo of Geiger prominent. INT. FRASER’S TENEMENT STARIWELL – MOMENTS LATER Fraser pulls on his leather jacket as Ray follows him down the stairs from the second floor landing. RAY: It came over the wire. As usual, I decided to drop my life and bring it over. FRASER: I appreciate it. RAY: The guy must be sixty years old, he doesn't look that dangerous to me. Fraser turns and stops on the steps, looking up at Ray: FRASER: In 1978, Harold Geiger held up a bank in Southern Michigan. A guard tried to stop him, he shot him and six other employees. The police and FBI pursued him across five states. Before he crossed into Canada, he’d killed two FBI men, a state trooper and a highway patrol officers. Once over the border, he broke through a massive dragnet, killing a local officer, two Provincial Police officers and two members of the RCMP's emergency response team. 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. So, what the hell is your Mountie friend still doing here? FRASER: He wanted to be found, Ray. RAY: By Geiger?? FRASER: By me. He came to Chicago because a part of him still wants to stand and fight. I hope. INT. ST. JOHN HOTEL – FROBISHER’S ROOM –NIGHT START CLOSE ON PHOTO OF GEIGER as Fraser sets it onto Frobisher’s lap. FROBISHER (O.S.): So he is coming. Widen to see Fraser standing over Frobisher who sits in his ratty armchair. On the bed lied a half-packed suitcase. 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 ... Frobisher stiffens. Fraser changes tact. FRASER: My friend, Detective Vecchio, is waiting downstairs. He’s 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 know he’s-- FROBISHER: Coming after me? They want proof? Show them this. (puts his leg up on a chair) Show them my leg. Frobisher pulls a plastic container from his pocket. He slaps it on the table, it pops open and pills scatter everywhere. FROBISHER: 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. FROBISHER: That brings his total to twelve. Your friend have twelve more cops he's willing to lose? I put Geiger away; he's not going to stop until he finds me and does the same. FRASER (challenging him re: suitcase): 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 years old then! Look at me! Do I look thirty? Do I look forty? 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? 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: If…if you need money, a plane ticket- FROBISHER (a small smile): …I’m moving on tonight. 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. EXT. ST. JOHN HOTEL – FRONT DOOR – NIGHT Fraser walks out the front doors. Ray is leaning against the car waiting for him. RAY: Did he go for it? FRASER: No. 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 get in the car and drive off. INT. ST. JOHN HOTEL – FROBISHER’S ROOM -- NIGHT 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 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 Frobisher packs his small bag. The last item he drops in is the small framed photo of his daughter, Julie, as a little girl. 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 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? 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. AT THE FAR INTERESCTION A bus wipes frame and we see Geiger standing there, watching. 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 He spits his gum out onto the street and watching them drive away. END OF ACT ONE
ACT-TWO FADE IN: EXT. POLICE STATION -- DAY Just your standard establishing shot, over which we hear ELAINE'S VOICE. ELAINE (V.0.): Geiger, Harold ... Ooo, he's a nasty one ... INT..BULLPEN -- DAY Fraser, Ray and Frobisher stand over ELAINE at her terminal. On her screen is Geiger's rap sheet. RAY: I need known accomplices, cellmates, girlfriends, high school buddies, anyone in the city he could try to hook up with. ELAINE: Local boys, here we go: Ho, Walter, 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. hands Fraser print-out)I’ll call you when I get them? FROBISHER: We appreciate your thoughtfulness, miss. The Mounties tip their hats and follow. A FEMALE OFFICER 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 Ray's car cruises the streets, all aboard, including Dief, who rides with his head out the window. RAY (V.0.): Ho, wALTER, 311 Kimble Street… INT. RAY'S CAR -- CONTINUOUS 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 1983. FRASER: I really would feel more comfortable if I could stop off and change into my work uniform. 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: No, but it’s the only idea I have. (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 Walter Ho, you stay in the car; I come back here, and where do I find you? FRASER: In the car? RAY: Exactly. Ray exits the car and heads for the bar. Frobisher turns to Fraser. FROBISHER: Let’s go. FRASER: Right. They get out and head down the street. FRASER: But before we go in ther4e there’s something I should tell you. INT. BAR - - DAY 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! I don’t need any more trouble! RAY: Oh, come on Chuck, you worry too much. CHUCK: I just got this place put back together! You know what it cost me?! I can’t get insurance anymore because of you. Somebody throw this goof out! A big guy grabs Ray by the shirt and walks Ray backwards toward the door. Ray plays it tough: 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. 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 Walter Ho. BIG THUG: (still holding Ray; incredulous) You want to know where Walter Ho is? 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. INT BUILDING FOYER -- DAY As they enter: RAY: This is a waste of time. There's no way they gave you the right address. I mean, this is the man's father. FROBISHER: You’re right, we could be walking into a trap. We go in ready for trouble. Frobisher halls back and kicks open the door. INT.HALL -- CONTINUOUS The double doors fly open as the boys 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 Asian man standing with walker) You, pops! Hands in the air! The Asian 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. EXT. RETIREMENT HOME -- DAY Attendants wheel Walter Ho (the Asian man) to the ambulance, oxygen mask over his face. As they wheel past our heroes: RAY: Did anyone check this guy's birthdate before we started on this manhunt? Walter Ho was ninety-one years old! Would you say this trail was just a tad cold? 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 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. FRASER: (checking list) There’s no whereabouts on George Welker. He escaped from Pelican Bay eight months ago, the FBI might have a lead. FROBISHER: (looking at grave) 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 actuallyhappens. (beat) I think we covered enough ground for one day. As he walks away, Ray and Fraser share a look 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 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. 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 Frobisher climbs the steps and heads down the hall to his room. EXT. STREETS -- NEAR ST. JAMES HOTEL -- NIGHT 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 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 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 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 Fraser charges up the stairs. INT. HOTEL ROOM – CONTINUOUS The door CLOSES at that second, the thud masking Fraser’s voice. As Frobisher walks to the window, we revieal Geiger standing behind the door in the darkness. INT. LOBBY AND STAIRWELL – CONTINUOUS Fraser charges up the stairs. INT. HOTEL ROOM - - CONTINUOUS 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 Fraser throws his body into the door and it cracks. INT. HOTEL-ROOM -- CONTINUOUS 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 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 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 Diefenbaker takes the stairs three at a time. EXT. HOTEL FIRE ESCAPE -- CONTINUOUS 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 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 Dief hits the top of the stairwell, claws at the door. EXT. HOTEL FIRE ESCAPE -- CONTIN'UOUS 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 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 Dief claws at the emergency release on the door, but it won't give. OUT ON THE ROOF -- CONTINUOUS 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! 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 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 Winded, Frobisher looks over the rooftop to see: HIS POV -- THE ALLEY BELOW Geiger runs off into the night. FROBISHER 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
ACT THREE FADE IN: INT. HOSPITAL CORRIDOR - FOURTH FLOOR -- MORNING Ray bursts out of the elevator, a spring wound tight, a UNIFORMED COP behind him. RAY: Stay here! No one gets on this floor! ANOTHER CORRIDOR Ray runs up to find 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-- FROBISHER: Yeah. It happens to the best of us. An awkward moment. RAY: Yeah. Frobisher walks to the window and looks out. EXT. HOSPITAL - HIGH ANGLE -- DAY An ambulance turns the corner and heads for the back entrance. INT. MORGUE -- DAY 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 The HEAD NURSE adjusts the traction on Fraser’s leg. 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? 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 exits. RAY (CONT'D): So, how's it going? FRASER: They tried to cut off my boots. RAY: Nooo. FRASER: Right up the side. (smiles) I wouldn't let them. RAY: I don't blame you, I mean, lose a leg, sure, but boots are not that easy to replace. (beat) Does it hurt? FRASER: Yes, Ray. RAY: (beat, re: IV):…You want a little extra fluid or anything? FRASER: No, thanks. How’s Dief? RAY: I rented him “Rin TinTin”, he’s thrilled. FRASER: Thanks, Ray. 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? FRASER: Like what? RAY: Yukon Today, The Sledding Report…? FRASER: I’m fine. Ray exits, opening the door right into the camera. On black we cut to: INT. ELEVATOR SHAFT -- AT THAT MOMENT 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 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. You won’t be doing that again too soon. FRASER: No. It doesn’t look like it. FROBISHER: (a beat) 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. FRASER: I can’t even imagine that. (realizing) I’m sorry. FROBISHER: …Protective custody? (“accepting it”) Yeah, it’d be the smart thing to do. (beat) Listen, you rest up, get well. FRASER: Yeah. It'd be the smart thing to do FROBISHER: Yeah. (beat) You know that wallet you stitched for your father when you were little? FRASER: He showed you that? FROBISHER: He used it until it fell apart, and even then he kept carrying it. When I carried it back that time, it fell out of his pocket and it was lost. First thing he did when he got out of the hospital was go back up there to find it. FRASER: …Did he? FROBISHER: (a lie) …Yeah. Frobisher exits. INT. ELEVATOR SHAFT -- AT THAT MOMENT Geiger rides the chain up, holding on with one hand. The elevator clanks to a stop. INT. HOSPITAL CORRIDOR NEAR ELEVATOR-- FOURTH FLOOR 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 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 Geiger comes down the hall, looking in rooms. The Head Nurse steps out of one of them, spots Geiger and heads for 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 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: (already running) Call it in! INT. HOSPITAL CORRIDOR AND FRASER'S ROOM -- CONTINUOUS 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! Not enough time – Geiger shoves past the patient and slmas into Ray, knocking him to the floor. Geiger turns and flees toward the elevators. Ray turns on his stomach and aims. ANGLE ON ELEVATORS Geiger lunges into the open elevator… INT. ELEVATOR SHAFT slamming into the cables, wrapping his ass and legs around them and plummeting into the darkness. INT. HOSPITAL CORRIDOR -- AT ELEVATORS 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. 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 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 and sees Fraser pulling his uniform out of the closet. RAY: 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. Fraser has his hat on, the rest of his clothes he carries. FRASER: Come on. INT. HOSPITAL CORRIDOR -- CONTINUOUS 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 Frobisher leans into the open elevator shaft and feels the cables. Blood. He turns and exits. EXT. HOSPITAL -- AT THAT MOMENT 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… 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 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 OUT-.
ACT-FOUR EXT. WAREHOUSE DISTRICT -- NIGHT Fraser and Ray cruise slowly along in Ray's car. INT. RAY'S CAR - - CONTINUOUS 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. Fraser stares intently at it. FRASER: A gum wrapper. There appears to be something inside. RAY: Of course there is – disease, it was in someone’s mouth! Don’t open that! He does, of course. FRASER: Geiger gave up smoking in prison by using nicotine gum. RAY: That's good, because God forbid he'd have any bad habits. You're not going to... (as Fraser tastes it with the tip of his tongue:) Oh, God, you tasted it! That is the grossest thing a person could do! FRASER: Nicotine, all right. (looking ahead) I see it. RAY: More gum?? FRASER: No, a red uniform. EXT. STREET CORNER – CONTINUOUS Pressed up against the corner of a building, his back to them, stands Frobisher, watching something off screen. Behind him, Ray and Fraser get out of their car and approach as stealthfully as possible, what with Fraser limping and all. 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 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. How many are in there? FROBISHER: Five, heavily armed. RAY: Okay, we call it in the tactical team. FROBISHER: Call anyone you want, but I’m going in there now. FRASER: Do you think that's wise? RAY: There is no discussion here! FROBISHER: A week ago that man stole my self-respect, at least I let him steal it. Now I want him to know I’m taking it back. I’m going in there alone. Fraser considers this, then: FRASER: ... I understand. 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? FROBISHER (quickly): Oh, then you can come too. FRASER: Good. RAY: Okay, this has gone far enough. Let me point out something to you that your sharp Mountie eyes may have missed. THEIR POV - THE WAREHOUSE RAY (V.O.): There men in those windows with sniper scopes and high powered rifles. BACK TO SCENE RAY (CONT'D): Do you see any cover between there and here? No. Which means, there is no way to get from here to there without being seen and killed. FRASER: He's absolutely right. RAY: 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 sitting a block away, most of its lights out for the night. BACK TO SCENE Fraser and Frobisher look back to each other. FROBISHER: Exactly. INT. A STORM SEWER -- NIGHT 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?? FRASER: I suspect a higher percentage of amonia, phosphorous and cyanide. RAY: Wrong! Rats! Rats this big. And you know what they’re doing? They’re laughing at us! I’m in a canoe with two wounded mounties and I’m being humiliated by rats! INT. WAREHOUSE -- NIGHT 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. 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. 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. 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. 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. 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 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): Shoot him if you get a chance. The cop nods, gets in the car and it drives off. FROBISHER heads to find Fraser. 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? 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. FRASER: Ready? FROBISHER: 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
