PUBLISHED DRAFT October 12, 1994 REVISED PINK - October 16, 1994
REVISED BLUE - October 20, 1994
REVISED GREEN - October 20, 1994
REVISED YELLOW - October 21, 1994
Episode #7 - "Chicago Holiday" - Part One - Rev'd Pink CAST
Regular Cast
Recurring Cast
FRASER
None
RAY
DIEFENBAKER
WELSH
HUEY
GARDINO
Guest Cast
CHRISTINA
BOY
EDDIE BEETS
DOMINATRIX
JANICE
FAUZ MOUNTIE
NICHOLS
*
GEROME
JANITOR
HENRY
*
QUIGLY
MEDICAL EXAMINER
JANUS
MOTHER
JERRY
OTHER UNITS
HOUSEKEEPER
UNIFORMED DOORMAN
AMAZON#1
YOUNG HOUSEKEEPER
BARTENDER
*
BILL
Episode #7 "Chicago Holiday"-Part One - Rev'd Pink SETS
EXTERIOR-DAY
INTERIOR-DAY
None
None
EXTERIOR-NIGHT
INTERIOR-NIGHT
ALLEY
BLACK LACQUERED LIQUOR CABINET
ANOTHER ALLEY
BOVINE CLUB
ANOTHER STREET
BOVINE CLUB-LADIES ROOM
BOVINE CLUB
CAR
BOVINE CLUB-BACK ALLEY
CHRISTINA'S CAB
CHICAGO STREET
*EDDIE'S CONDO
CHRISTINA'S CAB
*EDDIE'S CONDO - BEDROOM
DEPARTMENT STORE
FRASER'S APT.
*EDDIE'S CONDO
GEROME'S CAB
HOTEL
HOTEL-20TH FLOOR CORRIDOR
MOON
HOTEL-BALLROOM
MOUTH OF ALLEY
HOTEL-BASEMENT
STREET
HOTEL-CHRISTINA'S BEDROOM
STREET NEAR HOTEL
HOTEL-CHRISTINA'S SUITE
TOP OF TOUR BUS
HOTEL-CORRIDOR'20TH FLOOR
TOUR BUS
HOTEL-ELEVTOR
HOTEL-LOBBY
HOTEL-SERVICE AREA'20TH FLOOR
HUEY'S CHEVY
LT. WELSH'S OFFICE
POLICE PRECINCT-BULLPEN
PRECINCT LOBBY
TOUR BUS
PROLOUGE FADE IN: INT. FRASER’S APARTMENT – NIGHT Fraser stands in his dress uniform and stocking feet, ironing something as he reads the paper. FRASER: All right, now pretend you’re a sixteen year old girl and this is your first time in Chicago. We angle to see that it’s Diefenbaker he’s talking to, sitting there watching him. FRASER: What would you most like to see on your very first evening: Rigaletto or La Boheme? Diefenbaker lies down, obviously bored. FRASER: You have to give opera more than one chance. that was the Yukon Light Opera, and they did their best under very difficult circumstances. it’s a wonder that poor woman could sing at all after being dragged out of that snow drift. We see what Fraser is ironing: His boots. He turns the page over onto the ironing board. FRASER (checks paper again): Ah, here’s an idea: A modern dress version of Gilbert & Sullivan’s Ivanhoe. He looks to Dief, who puts his head flat on the floor and looks up. FRASER: You’re right, it wasn’t their best work. Fraser MOVES OFF SCREEN with his boots. Dief watches. ANGLE ON FRASER SITTING ON BED Fraser laces his boots as he studies the paper on his bed. FRASER (reconsiders): She is sixteen, I wonder if I’m being a little too conservative. Dief raises an eyebrow – or whatever wolves do. FRASER: Still, she’s the daughter of a very important Canadian diplomat, I can hardly take her to a sock hop. I have museums and galleries scheduled tomorrow, I have to think of something she’d enjoy doing tonight. (checks paper) Oh, look, the Bee Gees are reuniting. Dief groans. ANGLE – FRASER AT THE HAT PRESS Fraser takes his hat out of the press, puts it on and heads for the door, under: FRASER (really annoyed): You know, I really don’t know why I even bother talking to you when you’re in these kinds of moods. I only started talking to you on the icepack out of sheer boredom, and now you’ve got an opinion on damn near everything. well, from now on, you can keep them to yourself.
Fraser opens the door and exits, then steps back inside. FRASER: How do I look? (Dief looks away) Oh never mind. Fraser exits. Dief goes to sleep. EXT. ALLEY – NIGHT A slash of light cuts the alley as a man, call him FRANK CALIBRI, comes out the back door of a social club. he lights a cigarette and steps to the corner, where he’s now in extreme close up. he leans against the wall and takes a drag: it’s a great night to be a mobster. Maybe not. His body suddenly tightens, his face doesn’t have time to register shock. Letting out the smallest of groans, he crumples to the pavement, face up and dead. Whoever put the unseen kife in his back knew exactly where to place it. We track from his face to an EXTREME CLOSE UP of his hand. The fingers open, revealing a book of matches that read SMOKING KILLS. The killer’s hand comes in and takes the matchbook, as we TRACK OFF THE LIFELESS HAND to the BLACK of the PAVEMENT… ECU OF BLACK LACQUERED LIQUOR CABINET and track slowly across the black lacquered surface of the cabinet. Somewhere off we hear a door open and close. EDDIE (O.SO) (playing at Ricky Ricardo, without the accent): Hi, honey, I’m home. I had a very hard day at the office. The oily voice belongs to EDDIE BEETS. We don’t see him now, but we’ll meet him later. He drops THE FOLDED KNIFE into EXTREME CLOSE UP on the liquor cabinet, followed by an expensive money clip stuffed with hundreds. The next item to land there is the BOOK OF MATCHES. (Under the following, the camera moves to get a peek inside the matches – and we can see something is written on the inside cover) EDDIE (O.S.): Guess what? I got “the promotion.” (a sick laugh) And I am in the mood to celebrate. Come out, come out, wherever you – AHH!! The AHH! was accompanied by the sound of a champagne bottle shattering over his head. The THUD is the sound of him hitting the floor. The CLICK of high hills on the marble floor belong to his angry unseen girlfriend, JANICE. JANICE (O.S.): You think you can treat me like that, Eddie?! You make me wait here all day and you think you can walk in and talk to me like that?! Think again, jerk. Janice’s hand comes into frame, snatches up the money clip and tosses it back empty. Then she takes the matchbook, opens it. We tilt up to the gold mirror on the wall and for the first time WE SEE HER FACE. JANICE has never looked, or felt, better. She picks her tooth with the matchbook, drops it in her purse, tosses her hair and exits, slamming the door behind her. FADE OUT: END OF PROLOGUE
ACT ONE FADE IN: EXT. ALLEY – CLOSE ON FRANKIE’S HAND – LATER THAT NIGHT we TRACK across A COUPLE OF YARDS of wet pavement, FLASHING BLUE LIGHTS dancing on the surface. A foot steps into frame. WELSH (O.S.): Who called it in? We WIDEN TO REVEAL A COMPLETE CRIME SCENE. Squad cars flashing lights, several uniformed cops stringing up CRIME SCENE tape trying to keep back the gaggle of looky-loos. An attractive MEDICAL EXAMINER in an evening dress squats over the body, as HUEY AND GARDINO stand over her. They’ve just been joined by LT. WELSH, who is wearing his best suit. HUEY: One of the broken-nose guys in the bar found him when he came out to get his car. WELSH: We have a cause of death? Ray comes out of the back door of the club and joins them. MEDICAL EXAMINER: Judging from the hole in his back, I’m ruling out asphyxiation. RAY: They all tell the same story. They were playing cards, Frankie was up, he stepped out and never came back. They figured he went home a winner. WELSH: Who do we like for this? RAY: I’ts gatta be Eddie Beets. HUEY: Eddie’s a soldier, this took too much initiative. RYA: Word is Eddie’s been getting itchy, talking Frankie down. Money says somebody was putting big thoughts in his head. GARDINO: Eddie didn’t have the brain for big thoughts. FRAY: If he has the list, he doesn’t need a brain. GARDINO: That list is a fairy tale. RAY: Frank was a very hands-on kind of guy. he kept a meticulous record of every distributor, every dealer in his network. you own Frankie’s list, you own the whole west side. GARDINO (to Welsh, skeptical): We searchd the body, there’s no list. WELSH: Everybody’s on this. HUEY/GARDINO: Oh, Lt. / Moans and groans. WELSH: half this city is up for grabs right now. Nobody sleeps. find me the doer, and find me the list. Ray’s cell phone rings. He answers it. RAY: Vecchio. (more quietly) Fraser, I’m sort of busy right now. Welsh is staring. Ray puts the phone down. WELSH: You’re not otherwise engaged, are you, Detective? RAY: No, sir. WELSH: Good. (to Medical Examiner) You ready to go? She stands, removing her surgical gloves. MEDICAL EXAMINER; You think we can still make it? WELSH (taking her by the arm): We’ll take my car, I have a flashing light. I’ll sing the opening aria on the way. The boys watch as the boss walks off with the girl. Then HUEY and LOUEY turn their stares back to RAY. RAY smiles back. Huey and Louey turn and walk off. As soon as hie sees they’re gone, Ray puts the phone back to his ear. RAY (into phone): What kind of emergency? INT. HOTEL BALLROOM – NIGHT Waltz music fills the air. The CAMERA DRIFTS across the elegant black granite walls, then Fraser steps into shot in profile. He nervously checks his watch, glances at the door, then back at the dance floor, where diplomats and spouses in tuxedos and formals waltz and attempt to peddle influence. Among them, a pretty 16 year-old, CHRISTINE NICHOLS, waltzes with a nerdy looking, uncoordinated boy slightly younger than herself (call him JERRY). Fraser looks back to the entrance and sees Ray hurrying in, a brown bag in his hand. FRASER: Thank goodness. RAY (out of breath): Okay, I got it. I don’t know what’s in here, I didn’t look, I know how you are about your stuff, but it batter be very important. FRASER: I can’t thank you enough for this, Ray. Fraser takes a pair of white gloves out of the bag and puts them on, under: RAY: So, what’s the emergency? FRASER (nods to the girl): I’m assigned to escort the daughter of Canada’s senior trade negotiator. RAY: The one in the blue dress, dancing with the dufus? FRASER: He’s the American Ambassador’s son.
The boy has a huge grin on his face and is oblivious to the fact that he’s stepping all over her feet. She’s barely holding him up and keeping her composure at the same time. RAY: It looks like a very painful experience. Fraser removes a dress belt from the bag and puts it on in place of his work belt. FRASER: Dancing with the Americans often is, Ray. (off Ray[‘s look) Speaking politically, not personally, of course. RAY (more insistent): So, what’s the emergency? FRASER: You’ll never believe this, but … I wasn’t aware it was a formal event. Fraser now has his formal belt and gloves on, his work belt stowed in the paper bag. Ray can’t believe this. RAY: You called me off the biggest case in my career to bring you a pair of gloves? FRASER: And I can’t thank you enough. RAY: I’m supposed to be on a stakeout right now. I get a tip where I can find Eddie Beets, a guy suspected of offing his boss and trying to take over the entire West Side, and instead I’m delivering formal accessories? FRASER: If it wasn’t this important I would never have called. You’ll never know what it means to me, Ray. RAY: I don’t want to know. This is just to sick for me to ever comprehend. Just then a distinguished looking man, IRVING NICHOLS, spots Fraser from the far side of the dance floor and heads for him. Ray sees him, too. RAY: Uh-oh, I know that look. He’s gonna wanna see my ticket I’m outta here. As Ray exits. FRASER: Thanks, Ray. (looks at bag he’s holding) Oh, Ray, could you? Ray comes back, takes the bag with the work belt and leaves. RAY: I gotta make some new friends. And Ray exits, just as IRVING NICHOLS walks up to Fraser, and offers his hand. NICHOLS: Your boss at the consulate said I couldn’t miss y ou. he was right. FRASER: Constable Fraser, sir. Pleased to meet you. NICHOLS: Shouldn’t be too tough an assignment for you, eh, Constable? FRASER: I’ll take good care of your daughter, sir. NICHOLS (watching his daughter): Wish I had more time to take her around myself. Her mother used to do that for her on these trips. It’s been two years, I still haven’t got the hang of it. FRASER: I’m sorry, sir. NICHOLS (still watching Christina): I’m afraid I’m not much of a substitute. (now to Fraser) So, you’re up for it? FRASER (pulling out a paper): I’ve drawn up a short itinerary, but it would be helpful if I knew more about her particular interests. NICHOLS: Oh, you know, sightseeing, shopping, I gave her some money, she needs more, make a call. Just make sure she has a good time and shows up at the ball tomorrow night. (spots someone important) Well, duty calls. Have to make these Americans sell less and buy more. FRASER: I understand, sir. NICHOLS (offers his hand): Take very good care of her for me. Fraser shakes it. As Nichols walks away, Fraser realizes Nochol’s pressed a twenty into his hands. As Fraser inspects it curiously, CHRISTINA walks up, surprising him a little. CHRISTINA: So you’re Chicago. FRASER: Constable Fraser, I’ll be your escort until tomorrow night. (re: paper) I’ve given a few thoughts to the itinerary, but not knowing your tastes— CHRISTINA: Whatever you picked, I’m sure it’ll be fine. I’ll just be a minute. She exits into the rest room right across the corridor: FRASER: I’ll be right here. She’s gone. JERRY, the American Ambassador’s fifteen-year old son, comes up looking for her. JERRY: She go in there? FRASER: Yes. Jerry leans up against the wall, beside Fraser. JERRY: So. FRASER: So. JERRY: You her boyfriend? FRASER: Me? No. JERRY: She said she didn’t want to dance anymore because her boyfriend might get bent out of shape. FRASER: Ah. JERRY: …You seen him around here? FRASER: Her boyfreind? No. JERRY: You think she was lying to me? FRASER: The truth? JERRY: Yeah. FRASER: Yes. JERRY: Women can be cold. FRASER (beat, leans in): When I was your age, I couldn’t dance either. JERRY: Really? FRASER: Really. JERRY (beat): You’re like what, the valet? FRASER: Something like that. JERRY (not wanting him to feel bad): That’s cool. FRASER: Thanks. A dazzling looking woman in her early twenties wearing a scarf, sunglasses and something so short that it looks more like a lace sllip than a dress, steps out of the rest room, and throws them a look as she walks away. FRASER: Good evening, miss. YOUNG WOMAN (without looking back): It’s going to be. After she’s gone. JERRY (in confidence): That was a babe. FRASER: Well, in complete honesty, I’d have to say she did look – Fraser stops with a thunderous realization. Without thinking he pushes open the door to the women’s restroom, and is met by WOMEN’S SCREAMS AND PROTESTS. FRASER: Sorry, I was just – is there a – I’m looking for – Oh dear. (calling off down the corridor): Miss?! He lets the door close and runs off toward the exit. Another teenager comes up beside Jerry, who’s been watching all this. JERRY :You’d never believe it, man. (beat) The Valet’s a perv. EXT. HOTEL – NIGHT Christina jumps into the back of a waiting cab. The cabbie, GEROME, a young RASTAFARIAN, Brightens as she hops in. GEROME: Don’t you look pretty tonight. CHRISTINA; Drive! GEROME: And where would you be wantin’ to go? CHRISTINA: Anywhere! A club! What’s the wildest club in town? GEROME: The wildest club? Oh, no, no, no, you don’t want to go there. She hands Gerome a twenty. GEROME: You going to love the place. The cab pulls away from the hotel just as Fraser bursts out through the revolving door. FRASER (to doorman): Did you see--? (hears screeching tires and spots her): Miss Nichols! CHRISTINA (disappearing): See you, Chicago! And she’s gone. FRASER (urgently, to doorman): I need a cab! UNIFORMED DOORMAN (confused): … Do you work here? EXT. CHICAGO STREETS – NIGHT Traffic is pretty light for this time of night, especially for Michigan Avenue. Gerome’s cab cuts from one lane to another. INT. CHRISTINA’S CAB – NIGHT She takes off her hat, shakes out her hair and checks her makeup in the rear view mirror. She catches Gerome looking and smiles. He smiles, turns the music up. INT. ANOTHER CAB – NIGHT This one driven by a surely cabbie named HENRY. From the back seat, Fraser scans the streets looking for Christina’s cab. Just then: FRASER: There it is, number 8430. Follow that cab. HENRY (squinting): You can see that? FRASER: If you could, I don’t want to lose her. HENRY: Lose em? I can’t even see em. Fraser is thrown back in his seat as the cab roars forward. INT. CHRISTINA’S CAB – NIGHT GEROME: So how come a pretty thing like yourself is out all on her lonesome tonight? CHRISTINA (settling into this role): Just looking to have some fun, Gerome. Just then Fraser’s cab pulls up beside her. FRASER : In a hurry to see the sights, are you? Well, I can certainly understand that. GEROME: Do you know this guy? CHRISTINA (out the window): Go away! Leave me alone! FRASER: I can’t do that, I have the itinerary! GEROME: He some kind of nut? CHRISTINA: Yes! Go faster! GEROME: I’m already going – CHRISTINA (shoving cash at him): Lose him! Gerome instantly floors it, leaving Fraser’s cab in the dust. INT. FRASER’S CAB – NIGHT FRASER: I’m afraid I’m going to have to ask you to break the speed limit. HENRY: How much? FRASER: By as little as necessary. HENRY: How much money? FRASER: Oh. Fraser takes a Canadian fifty dollar bill out of his hat, hands it to the cabbie. The cabbie looks at him reproachfully. HENRY: It’s red. FRASER: It’s Canadian. HENRY: It’s got your picture on it. FRASER: That’s the RCMP Musical Ride. HENRY (hands it back): It’s not a very good likeness. Fraser finds the American twenty Mr. Nichols gave him and hands it over. HENRY (re: picture on bill): This guy I know. Fraser’s cab takes off in pursuit. EXT. CHRISTINA’S CAB – NIGHT As Fraser’s cab catches up beside it. FRASER: I believe there’s been a misunderstanding. CHRISTINA: Why are you doing this to me?! FRASER: I’m your escort. Your father has entrusted you to my care. CHRISTIINA: My father doesn’t give a damn about me! Another car gets between the two cabs and Fraser’s swerves. Christina’s leaning/yelling out her window. The two cabbies roll down their windows to listen. FRASER: Now that’s not true. In fact he gave me twenty dollars just to take you someplace nice (to Henry) Would you show it to her: (Henry shows the bill) See? CHRISTINA: I don’t need his money, and I don’t need a baby sitter! GEROME: I need his money. She hands him another twenty. Gerome floors it, leaving Fraser’s cab behind. INT. FRASER’S CAB HENRY: I need more, too. FRASER: I’m afraid all I have left is Canadian. HENRY: Fine, so I’ll go thirty percent slower. FRASER: We have to keep up with her. HENRY: Your twenty runs out by the end of the block. FRASER: Oh. All right then. Fraser slips out the window and onto the roof of the cab. HENRY: What the hell are you doing?!
Fraser leaps from the roof of the cab! Something hits the roof with a thud. A second later, Fraser looks in through the side rear window. FRASER: Would you consider discussing this over coffee? GEROME: This man is serious crazy. CHRISTINA (rolling her window almost all the way up): Go away! FRASER: Now you’re being childish. CHRISTINA: Childish? I just turned sixteen years old! Do you know what my father sent me for my birthday?! A porcelain doll. Do I look like I play with dolls?! GEROME: No, you look very fine. CHRISTINA: Thank you. FRASER: You should really discuss this with your father. I’m sure he’d understand you have valid concerns. CHRISTINA: You want to hear what I’m concerned about, Chicago!?— FRASER: This may not be the most appropriate venue. GEROME: I’d like to hear it. CHRISTINA: Here’s one: when do I get my own life? When do I do things I want to do?! When do I get to stop being the perfect princess?? When do I get to go skinny dipping?! GEROME: Public pool, coming up! FRASER: Keep driving! CHRISTINA: I want to stay out all night and go home when the sun comes up! I want to fall in love with someone I just met! I want to kiss someone who isn’t related to me! GEROME: I can pull over right here. FRASER: Keep driving! CHRISTINA (head back out the window): I want to do everything I’ve never done! And I want to do them tonight! FRASER: There’s a terrific exhibit at the Museum of Science. CHRISTINA (shoving money at driver): U-turn! Gerome spins the cab into a wicked U-turn. Christina looks out the back window to see if Fraser fell off. Fraser’s face appears at the back window. FRASER: The Textile Museum? CHRISTINA: All right, I’ll make you a deal. We go to one place I choose, then I’ll go back to the hotel. FRASER: I’m afraid I can’t agree to that. CHRISTINA (TO Gerome): All right, where’s the pool?! Gerome swerves around a corner, almost losing Fraser. Fraser slides. When he appears again he’s in the other rear side window. FRASER: One place and that’s it? CCC: Do we have a deal, or do you want to see my backstroke? FRASER: …All right. We have a deal. GEROME: Here we are! Gerome slams on his brakes. FRASER: Oh. EXT. HOUSE OF CORRECTION CLUB – CONTINUOUS The brakes of the cab lock up as it screeches to a halt. Fraser rolls off the roof and somersaults over the pavement, where he somehow lands on his feet. He’s back in time to open the door for her. FRASER (re: door): Let me get that. She gets out and heads off toward the club. GEROME: You are one freaky red person. You’re going to fit in real well at this place. FRASER: Where are we? Gerome just laughs and drives off. Fraser feels his head, realizes his hat is missing. He realizes it’s on the street, and looks to see Gerome’s cab run right over it. Fraser walks over, picks it up and one deft stroke pops it right back into place. He looks back just in time to see Christina enter the club, past two huge and nasty looking BOUNCERS. Fraser scurries after her. As he reaches the door, one of the bouncers digs into a box and hands him a black leather Lone Ranger-type mask. At that moment a similarly-masked woman dressed as German Officer steps out of the club with her bare-chested boyfriend in tow, wearing a spiked dog collar and leash. FRASER: Ah, costume party, is it? Sounds like good clean fun. The bouncers stare as he exits into the club. As he does we push focus to a car pulling up at the far end of the street: INT. HUEY’S CHEVY – NIGHT Detectives Gardino and Huey occupy the front seat, Ray sits in the back, loading his weapon. The police radio chatters as other units confirm positions. GARDINO: Unit Five, in position. OTHER UNITS (V.O.): Unit four in position. Unit two, in position. RAY: Nobody moves till we give the word. FADE OUT: END OF ACT ONE
ACT TWO EXT. HOUSE OF CORRECTION CLUB – NIGHT The crowd heading in and out of the club are some of the weirdest people you’d ever want to see. WE PAN TO FIND HUEY’S CAR parked down the street. And we hear what can only be Ray coughing. INT. HUEY’S CAR – CONTINUOUS Gardino smokes his cigarette down to the stub. Ray anguishes, rolls the window down a little. Smoke billows out. HUEY (into radio): No sign of Beets. I hope we aren’t wasting our time. RAY: How can you see anything? I can’t see my hand in front of my face! GARDINO: My source says he’ll be here, he’ll be here. RAY: Only we’ll be dead by then from the second hand smoke. Gardino ignores him, lights another cigarette, using the lit end of the one he’s just finishing. RAY: Yeah, go ahead, have another one. God forbid you should consider someone else’s lungs. (to Huey) How do you put up with this?
Huey reaches into his jacket, pulls out a cigar, and lights up. As Ray reacts, we cut to… INT. HOUSE OF CORRECTION CLUB – NIGHT The MACHINES OF LOVING GRACE blast away on the sound system. It’s almost pitch black, except for the blinding strobe light that flashes across the chains that hang from the cavernous ceiling, forming partitions between different areas of the club. No one watches the videos that flicker on television screen tucked into the black leather walls, they’re too busy watching each other. The male and female patrons (about half wearing assorted black masks) look like they’re auditioning for the 90’s version of The Village People, only many of them aren’t quite that attractive. the few that are draw looks from the wannabe’s. The one who’s drawing the most attention right now is Fraser, sans mask, who weaves through the crowd in search of Christina. He tries to get past a small man (call him Bill) BILL: I’ve been bad, I’ve been very bad, please punish me. FRASER: Nothing’s so bad it can’t be forgiven, son. And he moves on. Bill stares after him, not sure what he just witnessed. WITH CHRISTINA AT THE BAR Christina (scouting): Long Island Ice Tea, and keep them coming. BARTENDER: How old are you? Christina (flashing a twenty): How old do I look? Bartender (taking it): Just the right age. Fraser finds Christina, just as the bartender finishes making her drink. FRASER: Here you are. Fraser turns to GLADY, the cute elderly lady in a sailor suit sitting beside Christina at the bar. FRASER: Hello. Gladys winks at him. Fraser isn’t sure how to take this. He turns to Christina as she lifts her glass. Fraser assumes she’s offering it to him. FRASER: Thank you. (takes a sip, almost dies) I’m afraid there’s been a mistake, there’s liquor in this one. Quite a large quantity of it. Christina (picks up a second From the bar): Cheers. FRASER (taking it, too): No, I don’t think so. Christina (moving off): You are a real drag. Fraser turns to follow her, drinks in hand, and bumps right into a couple of towering AMAZONS, who smile at his “offer” of libation. FRASER (offering them): Would you? AMAZON #1: In a heartbeat. Fraser takes off, even he’s starting to get spooked. He weaves through the heavy crowd looking for her again. FRASER: Miss Nichols? Miss Nichols? WITH CHRISTINA Fraser catches up with her. She turns on him. FRASER: Miss Nichols? CHRISTINA: Listen, we had a deal. FRASER: I don’t want to alarm you, but I’m beginning to suspect that this isn’t a normal costume party. I’m not sure what it is, but— CHRISTINA: it’s an experience, Chicago. This is an experience, something I’ve had very little of to this point in my life. Christina disappears into the crowd again. Fraser follows her, bobbing and weaving. But before he can catch up with her a sizable DOMINATRIX with a whip steps in and blocks his path. He tries to go around her, she counters. FRASER: Excuse me. DOMINATRIX: Make me. With lightening speed he lifts her up and places her on the bar. FRASER: Be careful. You could hurt someone with that. WITH CHRISTINA She checks over her shoulder then disappears into the ladies room. Fraser moves deeper into the club searching for Christina. As he passes, a match flares in the darkness and we reveal Janice (no mask) using a match from SMOKING KILLS to light her cigarette. She puts the matches back in her purse. When she turns, she’s startled to find EDDIE right behind her. She jumps. He tips his mask to reveal a cut over the eye where she whacked him. EDDIE: Look what you did to me. Look at this eye. Janice tries to slip away, Eddie grabs her arm. EDDIE: Not smart, Janice. You are one stupid girl. What’d you plan to do with it, huh? JANICE: What do you want, Eddie? EDDIE: You don’t take from me. No one takes from me. JANICE: I’m a giver, Eddie. In a flash, her hand comes up from behind her, a bottle of Tequila in it. She smashes him in the face with it and Eddie goes down as Janice runs into the crowd. ELSEWHERE IN THE CROWDED CLUB Fraser, looking for Christina in the sea of bobbing heads. A man with a hat stands blocking his path, back to Fraser. Fraser taps him on the shoulder. FRASER: Excuse me, did you see— The man turns and we see he is dressed as a MOUNTIE. FRASER (taken aback): Oh. (looks down below frame, really taken aback): Oh. Whatever he saw was too much for even Fraser, who pales and beats a hasty exit. INT. LADIES ROOM Counter and mirror on one wall, a half dozen stalls along the other. Chrestina bursts in out of breath, passing several preening and milling women. She checks the window – too high and small to make an escape. She goes over to the mirror, takes off her mask and checks herself out. ANGLE Janice pushes through the door, checks out the window and reaches the same conclusion, then drops her purse on the counter beside Christina and starts searching through it. CHRISTINA: Want to borrow mine? Christina offers her a lipstick. JANICE: Thanks, anyway. At that second the door slams open and Eddie enters. A second before he spots her, Janice slips the matchbook into Christina’s bag. Eddie sees Janice and pushes his way through the group of women, who protest. JANICE ((backing away): Stay away from me, you son of a bitch. Eddie shoves Christina out of his way, sending her sprawling on the floor. Janice ducks into one of the stalls and slmas it shut. Eddie Kicks the metal door. EDDIE (While kicking): You’re dead, Janice. You know how long you have to live? Start counting, honey. Christina grabs her purse from the counter, pulls herself off the floor and gets the hell out of there. INT. CLUB – CONTINUOUS Outside the ladies room the crowd is oblivious to the violence on the other side of the door. Christina pushes out and runs bumping and falling into the crowd of dancing patrons—only now the faces that stare back at her don’t look so cute and harmless. A beat after she runs out of the shot, Fraser steps in, his concern deepening. Where the hell is she? A SHORT DISTANCE OFF One of the women from the ladies room is pointing and telling the large BOUNCER what’s happening in there. INT. LADIES ROOM – CONTINUOUS Two more vicious kicks and the stall door gives way – it’s empty. Janice rolls out from under the far end of the row of stalls and breaks for the door. Eddie wastes no time going after her. INT. HOUSE OF CORRECTION CLUB – CONTINUOUS Janice flees into the crowd as Eddie comes out the ladies room door. The BOUNCER moves to intercept Eddie. Without even pausing, Eddie slashes his fist through the air. With a glint of steel the huge bouncer goes down in a heap. around them people scream and scramble to get out of the way. Panic spreads. The FAUX MOUNTIE surreptitiously speaks into his cuff. FAUX MOUNTIE (into a hidden walkie): Something’s going down. EXT. HOUSE OF CORRECTION CLUB – STAKE OUT CAR – CONTINUOUS Ray spots several patrons leaving in a hurry and makes the decision. RAY: Let’s go! As Ray hops out, Gardino speaks into the radio. GARDINO: Moving in! Huey and Louey burst out of the car, and follow Ray. INT. HOUSE OF CORRECTION CLUB – CONTINUOUS Fraser sees the panic and heads straight for it. WITH CHRISTINE Disoriented and frightened, Christina tries to fight through the crowd. People slam into her as they try to get away. She bursts between two people and bounced off: EDDIE just as he lunges and grabs Janice by the hair. Christina falls to the floor as Janice SCREAMS. EDDIE: Times up, Janice. (the knife appears): You used to have such a nice face. Janice screams. The knife arcs back. From out of nowhere, Fraser grabs Eddie’s wrist, easily forcing the knife from his hand before flinging him into a booth. Fraser turns back. Janice is already gone. To the crowd that’s gathered to watch: FRASER: Would anyone here have a pair of handcuffs? Two dozen pairs of handcuffs are raised in the air. Fraser borrows the closest pair. FRASER: Thank you. Fraser reaches down and cuffs the dazed villain’s wrist to a pole in the booth. Fraser turns back to Christina and helps her up. FRASER: Now lets get you out of here. FRASER hustles her toward the door. Halfway there the door flies open as cops fly in the every direction, Ray in the lead. RAY: Raid! No body move! The Faux Mountie pulls his service revolver and aims it at Fraser. FAUX MOUNTIE: Freeze, Red, you’re under arrest! BACK IN THE BOOTH Eddie yanks the pole loose and slips the cuffs out, running off toward the kitchen, sidestepping a cop who has his hands full with a leather-clad woman. RAY pushes through a couple of people being carted off, heading for the undercover detective in the Faux Mountie costume. RAY: Who ya got? Just as he gets through, Fraser and Christina turn to face him, handcuffed together. FRASER: Hello, Ray. RAY (stunned): Fraser?? EXT. HOUSE OF CORRECTION CLUB – MOMENTS LATER As Fraser and Christina are herded toward the paddy wagon amidst the throng of similarly-fated patrons. Bill and his friend are right behind them. FRASER: There’s a very simple explanation, Ray. RAY (humiliated): Don’t talk to me. I don’t even know you. BILL (raising his handcuffs): These aren’t tight enough. RAY: Get away from me! EXT. BACK ALLEY – AT THAT MOMENT Janice turns into this alley, trying to put some distance between herself and the club, checking over her shoulder as she runs. She gets to the intersection of a side street and peers around the corner. Sees: THE PADDY WAGON being loaded a half block away. JANICE turns to back-track, only to find EDDIE right there. He grabs her by the hair before she even has a chance to scream and forces her to her knees. EDDIE: I’m beginning to reassess our relationship. The knife comes out. JANICE: No, Eddie, don’t, come on! Eddie! EDDIE: Where are the matches, honey? JANICE: I dropped them! Don’t! EDDIE: You lie to me, Janice. You never used to lie. JANICE: I dropped them! She has them! EDDIE: Who? JANICE (pointing): Her! Eddie looks down the street where she’s pointing and sees: FRASER AND CHRISTINA AT THE PADDY WAGON Fraser letting the other arrestees board first. FRASER: After you. No, please, after you. RAY: Get in there! FRASER (climbing in): Sorry, Ray. EDDIE pushes Janice to the ground, letter her lie at his feet, his eyes fixed on the paddy wagon as its doors close. FADE OUT: END OF ACT TWO
ACT THREE FADE IN: INT. POLICE PRECINCT – BULLPEN – NIGHT Detectives have their hands full booking the patrons from the House of Correction Club who swamp the bullpen. Detectives Huey and Gardino each have one at their desks: Gardino has the Bominatrix, Huey has Bill. GARDINO: Name? DOMINATRIX: Madame DaFarge. GARDINO (as he types with two fingers): D-A-F-A- HUEY: Louis? Gardino looks to him, Huey shakes his head. Gardino looks back to the Dominatrix, she smiles. GARDINO: Name? DOMINATRIX: Marat Sade. GARDINO (typing):: M-A-R-A- With Huey and Bill BILL (to Huey): You’re sure we haven’t met before. HUEY: I’m sure. BILL: Because you look very familiar. HUEY: I need you to look at this picture and tell me if you saw this man at the club. The office door opens and Welsh sticks his head out: WELSH: Gentlemen? Could you join me? INT. LT. WELSH’S OFFICE -- MOMENTS LATER Huey, Louey and Ray are not enjoying this. WELSH: So you have no idea if Eddie Beets was even in the club. GARDINO: We were working on a tip from a very reliable source, sir. HUEY: We’re squeezing the patrons, sir, but most of them won’t even give us their real names. GARDINO: Sir, the club is a well known hangout for people who run in these circles. If there is a list – (to Ray) which I sincerely doubt—(back to Welsh) and a person wanted to sell it or parlay it, this is the place to go. WELSH (craning to see): You’re telling me these are underworld figures we have out there?
GARDINO: Mostly hangers-on and wanna-bes, sir. HUEY (trying to dig his way out): This was a very reliable source, sir. GARDINO: Very reliable, sir. WELSH: Detective, let’s say this list exists. If Eddie Beets has it, he now controls everything that comes into the West Side. WELSH: Detective Gardino, if you had just seized control of the entire West Side, would your first sat be to go dancing in leather underwear? RAY: Perhaps Detective Gardino is the wrong person to ask, sir. WELSH (to Huey and Gardino): You searched Beet’s apartment? GARDINO: Top to bottom; no list. WELSH: Search it again. HUEY/GARDINO (complaining): C’mon Lieutenant / Ah, sir… WELSH (rising): And get those perverts out of my squad room. Huey and Gardino exit, grumbling. RAY: One thing, sir, of a personal nature. WELSH: If this is about people smoking in the washroom again, I don’t want to hear it. RAY: No, sir, it’s more delicate than that. I have a friend who, through an unfortunate set of circumstances, happened to be at the club at the time of the raid. WELSH: And you want to bounce him? Can I ask who this friend is? Ray points to his desk: THEIR POV – THROUGH WELSH’S WINDOW. Fraser, seated at Ray’s desk with Christina, sees Welsh looking and gives him a little wave, his wrist still handcuffed to Christina. BACK TO SCENE WELSH: Really. RAY: Yes, sir. WELSH: The girl he’s with… RAY: The daughter of a Canadian Diplomat, sir. WELSH: No kidding. A very agitated Irving Nichols knocks at the door. NICHOLS: I’m looking for Lt. Welsh. CUT TO: INT. PRECINCT LOBBY – MOMENTS LATER Furious, Nichols comes down the stairs, taking off his jacket and putting it over his daughter’s shoulders. He’s not a monster, just a man overwhelmed by the pressures of the job, and this is the last damn thing he needed. NICHOLS: You have no idea, do you? You have no idea what could have happened to you. CHRISTINA: I’m okay, Dad. NICHOLS: You’re okay? Then why did I have to leave the American Commercial Attache sitting at a restaurant while I came down to a police station to get you out? I’m surprised the damn press isn’t here. FRASER (O.S.): Excuse me, Mr. Nichols? Nichols turns to see Fraser approaching. Christina just looks at the floor. NICHOLS: If I have anything to say to you, Constable, you’ll hear it from your supervisor, after he hears it from his commanding officer. And trust me, he will hear. FRASER (handing him): This is a copy of my report, sir, stating that my gross negligence endangered the security of your daughter. NICHOLS: Damn right it did. FRASER: Miss Nichols just wanted to see some of the city night life. If I had done my research, I would have known that the club was totally inappropriate. I should never have taken her there. Christina looks up at Fraser. NICHOLS: So it was your idea. FRASER: I’m truly sorry for the anxiety it must have caused you. NICHOLS: Caused me? What about her? My daughter is fifteen years old, my God man, did you see the people in there?! CHRISTINA (stung): I am sixteen, okay? I am sixteen years old. I turned sixteen two months ago. NICHOLS: I’m sorry, sweetie, I know that. My mind is just so filled with the junk from these trade talks, and I come down here and find you – I mean, what would your mother say if she saw you in those clothes. Christina reacts like she’s been slapped. She wants to say something, but can’t. She turns to Fraser. CHRISTINA (to Fraser): Can you take me back to the hotel? NICHOLS: I’ll take you, I just have to make a call. I don’t even know the number I left this poor man sitting in that restaurant. CHRISTINA: I can take a cab. NICHOLS: We’ll just drop over there for a few minutes. CHRISTINA: I’m not a child, I have taken a cab before. FRASER (sees his reluctance): I’ll make sure she gets home, sir. NICHOLS: I can trust you to do that? FRASER: You have my word, sir. NICHOLS:…Okay. (to Christina) You okay? CHRISTINA (sullen): Yeah. NICHOLS: I’ll see you at the ball. We’ll talk, okay? CHRISTINA: Sure. Nichols gives her a small kiss on the forehead, turns and heads for the door. He stops after a couple of paces. NICHOLS: Oh, damn. She looks up, hopefully, as he comes back. NICHOLS: Honey?…I need my jacket. This wasn’t what she was hoping to hear. She hides the hurt as she takes it off her shoulders and hands it to him. NICHOLS: Love you. (to Fraser) Make sure. FRASER: I will, sir. And he’s already gone. Christina looks to Fraser, a real burn, as she turns and heads for the door. CHRISTINA (sarcastic): Thanks a lot. FRASER (confused): I’m sorry? CHRISTINA: Why didn’t you tell him it was my idea? FRASER: I was just trying to— CHRISTINA: -- protect me? (walking out) I am so tired of everybody always trying to protect me from living my life. Christina turns away, angry. Ray appears next to Fraser, on his way out. RAY (to Fraser): You okay? FRASER (nods): Thanks. RAY: Just stay outta trouble, alright? FRASER: Yes, Ray. Ray exits out the front doors.
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INT. HOTEL – 18TH FLOOR CORRIDOR The elevator door opens and Fraser and Christina step out and head down the hall. (During this scene, Christina removes a piece of kleenex from her purse, wipes off her lipstick and drops the tissue back in her purse.) CHRISTINA (with an attitude): You’re going to walk me right to my door? FRASER: I promised your father I’d get you home safely. CRHISTINAS: And I bet you always do everything you’re told. FRASER: …Actually, no. CHRISTINA (facetiously): Really? Well, I do. I do everything I’m told to do. FRASER: …You don’t seem to be very happy about it. CHRISTINA: Like I have a choice. FRASER: Christina, you may not believe this, but whether you’re 16 or 60, no one can make you do anything you don’t want to do. Ultimately, no matter what the situation, the choice is always in your hands. You just think it isn’t. Christina gets her door open. The tag on the door handle said HOUSEKEEPER IN ROOM. We open the door to see that the HOUSEKEEPER is indeed there. CHRISTINA (to Fraser, still angry): Well, you’re right, maybe it is time. So here’s my decision. that ball my father really wants me to go to tomorrow night? I’m not going. FRASER: That’s your decision. As to tonight…? CHRISTINA; Don’t worry, I’m not going anywhere. FRASER: You’ll be all right here by yourself? CHRISTINA: I’ve been left in hotel rooms all over the world, Chicago. It’s the one thing I know how to do. She closes the door behind her. Fraser waits a beat, then turns and walks away. INT. CHRISTINA’S HOTEL SUITE A beautiful one bedroom suite, this is the living room. Christina takes off her heels and tosses them, as the maid busies herself emptying the last trash can into her cart. HOUSEKEEPER: I’ll be finished in a wink, darlin’. CHRISTINA: No trouble. Christina dumps her evening purse out on the bureau, picks out her lipstick, money and compact. The ball of kleenex falls from the bureau… ECU ON CARPET As the kleenex ball falls into frame, the MATCHES inside it. We PUSH IN VERY TIGHT on the MATCHES. BACK TO SCENE Christina exits to the bedroom as the Housekeeper opens the door to the hall. HOUSEKEEPER: Good-night, then. INT. 18TH FLOOR CORRIDOR – ROUND THE CORNER As we hear the hotel room door open, Fraser pokes his head out around the far corner of the hall. He sees it’s: THE HOUSEKEEPER Her cart in the doorway, the housekeeper looks back into the room and sees the kleenex on the floor. She walks over, picks it and the matches up, drops it into the cart and exits, letting the door close behind her. INT. 18TH FLOOR CORRIDOR The housekeeper gives Fraser a suspicious look as she passes. Fraser smiles back. As she exits to ANOTHER GUEST ROOM, Fraser looks back and checks the hall. Christina’s door shows no sign of opening. Fraser seems satisfied. He walks to the elevator and ECU – ELEVATOR CONTROLS presses the call button. INT. CHRISTINA’S BEDROOM – CLOSE ON A NEW PURSE ON THE BUREAU Christina opens it and tosses in her lipstick, money and compact. We widen to see that she’s changed clothes to match. Christina turns and heads for the door. INT. 18TH FLOOR CORRIDOR – AT THE ELEVATORS It opens and Fraser steps on, joining the sole occupant, a young, impish looking BOY. Fraser turns to press the button for the lobby, and notices that every second button is already lit. He looks to the boy, the boy smiles. This is not Fraser’s night. Fraser presses the Lobby button. BOY: Thanks. FRASER: You’re welcome. The doors close. The moment they do, Christina comes hustling around the corner. She jabs the call button, the other elevator opens instantly, she steps on to the empty elevator and the doors close. As they do, the HOUSEKEEPER passes with her cart. We follow her into: INT. SERVICE AREA – ECU ON MATCHES at the top of the trash cart. We WIDEN as the Housekeeper tips the trash into the garbage chute. Things bang and clunk as they fall away towards the basement. In the background, a YOUNG HOUSEKEEPER, steps into the service elevator on her way home for the evening. YOUNG HOUDEKEEPER: Goodnight, Mrs. McGuffin. HOUSEKEEPER: Good-night, dearie. INT. HOTEL BASEMENT – CONTINUOUS The trash bag comes flying out of the overhead chute. The bag splits open as it lands with the rest of the trash. Welcome to the hotel incinerator room. THE JANITOR picks up the bag and heaves it into the incenerator. He spots THE MATCHBOOK on the floor, picks it up and walks off. CLOSE ON AN SIGN-IN BOARD – CONTINUOUS on the basement wall near the stairs. Just the first names of the janitorial staff, in two rows. On one, MAC lines up beside GUFF, beside GUFF it reads IN. The Janitor’s hand comes n and changes the IN to OUT. INT. HOTEL LOBBY The elevator opens and Christina hurries out through the lobby. We RACK FOCUS to the concierge desk in the foreground, where EDDIE is sweet-talking the pretty concierge. As she laughs, Eddie turns, sees Christina exiting through the revolving door and casually follows her. FADE OUT: END ACT THREE
ACT FOUR FADE IN: EXT. EDDIE’S CONDO – NIGHT Establish an expensive high-rise building. Ray’s car pulls up. INT. EDDIE’S CONDO Huey checks something on the black lacquer cabinet as Gardino joins him. GARDINO:…You see the bathroom? The guy’s got a marble toilet seat in the john! They head for the door. HUEY: Italian marble. For a psycho, Eddie’s got good taste. GARDINO: But what about the winter? I mean – isn’t it a little cold? Ray meets them in the doorway. RAY: Boys, isn’t it past your bedtime? HUEY (angry): No list, Vecchio. You wasted my evening. As they exit into the hall: GARDINO (parroting Huey’s tone): Yeah, you wastedour evening, RAY: Oh come ibm guys – “Chuck E. Cheese” is open till midnight. They give him a lost look at Ray shuts the door behind them. Ray moves around the living room of the ultra modern apartment, searching the most unlikely places he can think of (baseboards, wallpaper seams, etc.) As he moves off toward the kitchen, he hears A KEY TURN in lock of the front door. Ray makes a decision and steps quickly into the kitchen doorway and out of sight. REVERSE ANGLE – RAY’S POV a glimpse of a woman (Janice) as she steps in and disappears down the hallway leading to the bedroom. BACK TO SCENE Ray waits a beat then follows, silently. INT. BEDROOM – MOMENTS LATER CLOSE ON A BUREAU sitting to top is a man’s jewelry box. Expensive watches, cuff links, etc…are spread over the bureau. Along with a near empty liquor bottle and two used glasses. Janice’s HANDS reach into frame, grab the jewelry box and everything else worth money dump them into her oversized purse. ON JANICE going through Eddie’s bureau drawers, ripping him off for every valuable item she can find: A roll of cash, a portable CD player, rings – she bites a silver tie clip – tosses it back. Then suddenly, Ray’s voice about eight inches from her ear. RAY (O.S.) (re: tie clip): Mistake. That was platinum. She turns into Ray’s gun pointed at her chest. JANICE (cool as ice): Really? How much is it worth? RAY: About six months. JANICE (SOFTENING, SEXY): Hey, come on – I’m his sister. Ray grabs her purse with one hand and dumps the contents out on the bed. Out spills all Eddie’s stuff. JANICE (hardening): So I’m not his sister. I’m his housekeeper. RAY: Yeah? Well, you’re doing a hell of a job of tidying up. ANGLE BEHIND JANICE’S BACK Her fingers inch slowly for the neck of the liquor bottle. RAY (O.S.): Got a driver’s license, Hazel? Her fingers freeze. BACK TO SCENE Ray grabs her wallet and throws it to her. She catches it. RAY: Get it out. JANICE (sarcastic): I think I left it in my apron. She tosses the wallet back, purposely too far, over his shoulder. As Ray instinctively turns to grab for it; she swings the bottle at his head. And Ray goes down like a rock. Janice scoops her contraband into her purse and heads out, stepping over Ray’s unconsious body. At the door, she hesitates, steps back, takes Ray’s expensive watch from his wrist and then exits.
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INT. HOTEL LOBBY The other elevator opens and Fraser steps out. He turns to say something to the young boy, but the kid runs his hands up all the buttons and the elevator doors close. Fraser turns and exits. EXT. HOTEL – NIGHT Fraser steps out onto the sidewalk and turns right. And stops. Did he just see something? He turns back in time to see: A DOUBLE DECKER TOUR BUSS drives past, picking up speed. It’s the kind that has entrances front and rear. And it’s covered with advertising billboards selling a tour of Chicago. CLOSER ON THE BUS – FRASER’S POV Through the rear window. Christian handing the BUS DRIVER some cash as the bus pulls off down the street.
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FRASER Reacts and takes off down the sidewalk in hot pursuit. EXT. STREET – NEAR HOTEL The HOTEL JANITOR pulls out. Fraser dashes past. The janitor slams on his breaks! INT. CAR In doing so he jams his cigarette into the wheel and embers fly everywhere. The Janitor mutters to himself as he flicks the embers off his pants and goes to relight his cigarette – which is when he gets the first good look at the matchbook cover up close: SMOKING KILLS JANITOR: What the hell do you know? He tosses the matchbook out the window. ECU ON MATCHES as they hit the sidewalk. Feet pass. ANGLE ON SIDEWALK A Volvo station wagon is parked right there at the curb. A mother puts her toddler down to open her car door. THE TODDLER spots the MATCHES on the ground and picks them up. THE MOTHER turns back and puts her child in the car. INT. TOUR BUS Signs everywhere tell us this is a Windy City Tours bus. The driver stares ahead, disinterestedly working his way through traffic. Beside him ED QUIGLY, tour guide extraordinaire, who is rhyming off some of Chicago’s landmarks as they go by. QUIGLY: Coming up on your left, Chicago’s famous water tower…
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EXT. STREET (2U CHICAGO) – THEIR POV The watertower as they pass it. GUIGLY (O.S.): …built in 1869 and one of the only buildings to survive the great fire of 1871 which destroyed four square miles of Chicago, killing over 300 and leaving 90 thousand homeless. CHRISTINA notices the YOUNG LATVIAN man sitting across from her, reading his travle guide book. He looks up and catches her looking. He smiles sweetly. She looks away, and smiles out the window. FRASER runs through traffic. The car directly in front of him suddenly jams on the brakes! Fraser can’t stop, so he goes right over it. As he runs on he turns back and waves his apologies.
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INT. BUS JANUS flips intently through his travel guide, checks out the window, looks through the guide again. CHRISTINA (curious/interested): What are you looking for? He looks up, smiles. JANUS: The…tower…water. CHRISTINA: Ah, we just passed the … tower water. JANUS: You…are from…? CHRISTINA: Chicago? Born and raised…You too? JANUS (looks it up, smiles): Yes. Beat. JANUS: Chicago is…my kind of town. Christina smiles and looks back out the window. FRASER Running full tilt for the back of the bus. BACK IN THE BUS CHRISTINA (re book): You need some help? JANUS: Would you? BACK WITH FRASER running between lanes of traffic. City sewer workers have the manhole ahead barricaded. Fraser is boxed in by cars on either side, so he has no choice but leap over it. A SEWER WORKER half way into the manhole watches Fraser fly overhead. INT. BUS CHRISTINA: Look. JANUS: What is it? He moves closer to look out the window, his face near hers. Not too close, just nice. CHRISTINA: The moon. JANUS: It’s not in the book. Christina smiles and looks up again. As Janus shifts to look, we see EDDIE sitting in the rear of the bus. THE MOON follows them.
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FRASER sprinting through traffic.
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THE BACK OF THE BUS Thunk! Fraser finally catches up. He lands, catching a grip on the back advertising panel and a foothold on the bumper. He catches a glimpse of CHRISTIAN before….
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THE TOURISTS at the back of the bus see Fraser, his face mashed against the window. they know a good picture when they see one. THREE NIKONS are instantly raised. FLASH-FLASH-FLASH. BLINDED, FRASER’S hand goes up to shield his eyes, he loses his grip and falls backwards off the bus! THE STREET Fraser falls into frame landing on his back. HIS POV (UPSIDE DOWN) A VW BUS coming straight for him! FRASER: Oh. IT PASSES DIRECTLY OVER TOP OF HIM, WHEELS SPEEDING BY ON BOTH SIDES. He gets up sees: THE BUS pulls over to pick up passengers. FRASER jumps up and runs down the middle of the street, determined to not let it get away. INT. THE BUS EDDIE feigns interest in a brochure in a holder on the wall, stands and takes it and moves up the aisle to the seat right behind Christina. EXT. BUS Fraser gains on it as it pulls away. INT. BUS CHRISTINA: You want to hear something funny? I knew I was going to meet someone like you tonight. JANUS: Latvian? CHRISTINA (smiles): …Yes. JANUS: Really? (looks out window) It was very nice to meet you. CHRISTINA (he’s going?):…You, too. Janus stands. EDDIE slips his switchblade knife out of the pocket. EXT. BUS Fraser catches up, leaps, and gets a firm hold. The two women tourists are delighted for a second opportunity. As they get their cameras ready, he quickly scans the passengers. HIS POV Christina is blocked by Janus. (He can’t see Eddie either). Fraser starts to climb up the back of the bus to the upper deck.
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EXT. TOP OF BUS A couple sit kissing in the back row of the convertible bus. They don’t notice FRASER’S HAND grab the railing behind them. A beat later his second hand appears. INT. BUS Janus stands at the rear door as the bus slows. He turns back to see her, looking for something to say. Christina smiles, Janus gives a little wave and gets off. The bus slows, but doesn’t stop.
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EXT. TOP OF BUS (MOVING) Fraser flips himself over the railing and falls into shot, sitting right beside the kissing couples. They turn to look. FRASER: Excuse me. Fraser is up and moving, passing the other passengers wrapped n blankets. INT. BUS Christina makes a snap decision and decides to go after him. She hops off the bus while it’s still moving. A beat and Eddie follows.
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EXT. BUS Christina steps off the bus and looks around. HER POV – THE CROWD (IN TWO DIRECTIONS) The street is crowded with NIGHT PEOPLE and some TOURISTS. No sign of Janus. CHRISTINA looks disappointed. She walks along, kicking herself for not saying something. INT. BUS (MOVING) Fraser comes down the stairs, looks for Christina. He sees she’s not downstairs and quickly runs back up.
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EXT. TOP OF BUS (MOVING) Fraser searches the faces for Christina. EXT. TOP OF BUS (MOVING) Fraser touches the shoulder of a girl cuddling with a boy, a blanket up around her neck. She turns to him, it’s not Christina.
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EXT. TOP OF BUS (MOVING) Fraser cups his hands around his mouth and calls out into the night: FRASER: Christina!!…Christina!! The bus pulls away, Fraser getting smaller and smaller.
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EXT. STREET A VOLVO STATION WAGON pulls sharply to the curb. We recognize the toddler in the front safety seat. Her mother has noticed the book of matches she’s chewing on. MOTHER: Don’t put those in your mouth, honey! She takes the matches and tosses them out the window. CLOSE ON SIDEWALK The wet matches land on the concrete. MOTHER (O.S.): Where did you get those? Huh? A pair of DOC MARTENS step into frame, one shoe landing on the matches. When it lifts up, the matchbook is gone. We TILT UP with the man wearing the Doc Martens as he walks away from us and into a department store. The banner over the doors reads MIDNIGHT MADNESS SALE. A beat and CHRISTINA steps into shot in close up. Lost and alone. She moves off through the revolving door of the store, and as she does we push focus to the background to see EDDIE. He follows her in. ANGLE ON REVOLVING DOORS Eddie flicks open his knife as he moves through the door. EXT. STREET – EXTREME HIGHT AND WIDE SHOT The bus moves off into the city. FRASER: Chris-tin-a!! We can hardly hear his voice from way up here. FADE OUT: END OF PART ONE
ADDITIONAL DIALOGUE FOR TOUR BUS SEQUENCE QUIGLY: We will now be heading south towards Grant Park. We will be stopping for five minutes at the famous Buckingham Fountain . Make sure you take advantage of this opportunity to take a few pictures of the beautiful light and water show. (break) On your right you will see the Museum of Contemporary Art. Exhibits may include works by such artists as Andy Warhol, Jackson Pollock and Pablo Picasso. Next year the museum will be moving to it’s new, larger home at the Illinois National guard Armory. (break) As we continue south we are crossing the Chicago River, look out the windows on either side of the bus now. If you visit in March you may notice the river has turned green. Don’t worry, it’s not toxic waste, they actually dump forty pounds of non-polluting green dye into the river to celebrate St. Patrick’s day, a tradition which dates back to 1961. (break) If you look quickly to your right you might catch a glimpse of The State of Illinois Center. Sitting out front is a sculpture by Henri Dubuffet. (break) Grant Park stretches just over a mile from Randolph Street in the North to 12th street in the south. We are travelling south on Columbus Drive. Originally known as Lake Park, the land was given to the city with the provision that it remain “Public ground, forever to remain vacant of buildings.” Many battles have been fought over the years by industry and government to build on this land. The only structure that exists on this land today is the Petrillo Music Shell, coming up on your left. Many open air concerts are performed here throughout the year, and all are free.
