Due South Episode #12 Hawk and a Handsaw Story by David Shore Teleplay by David Shore & Paul Haggis Published Draft November 29, 1994 Revised Pink - December 6, 1994 Revised Blue - December 7, 1994
Episode #12 – “HAWK AND A HANDSAW” – Revised Blue
EXTERIOR - DAY
INTERIOR - DAY
BANKS OF THE CHICAGO RIVER
ANOTHER BUS
BUS STOP NEAR BRIDGE
BATHROOM
FIFTH FLOOR WINDOW
BUS
HOSPITAL
CHICAGO TRANSIT AUTHORITY - LOBBY
HOSPITAL LEDGE
CHICAGO TRANSIT AUTHORITY - OFFICE
NUMBER NINE BUS
CHURCH – STAIRWELL TO BASEMENT
ST. MICHAEL’S CHURCH
CHURCH BASEMENT
STREET
CORRIDOR
CORRIDOR BY NURSES STATION
DARK CLOSET
DR. MARTIN’S OFFICE
*HOSPITAL ROOM
*ANOTHER HOSPITAL ROOM
HOSPITAL BEDROOM
HOSPITAL CORRIDOR
HOSPITAL EXAMINING ROOM
HOSPITAL HALLWAY
HOSPITAL QUAD
OBSERVATION ROOM
PADDED CELL
*OMITTED – POLICE BULLPEN
PSYCH. WARD RECREATION ROOM
*RAY’S CAR
*ST. MICHAEL’S CHURCH - HALLWAY
*ST. MICHAEL’S CHURCH - OFFICE
STAIRWELL
VISITING ROOM
*OMITTED – WELSH’S OFFICE
EXTERIOR - NIGHT
INTERIRO - NIGHT
HOSPITAL LEDGE
ADJOINING CORRIDOR
ANTEROOM
CORRIDOR WITH SECURITY DOOR
DOCTOR’S OFFICE
FRASER’S ROOM
HOSPITAL ENTRANCE
HOSPITAL HALLWAY
NURSES STATION
NURSES STATION HALLWAY
PADDED CELL
*STATIONARY JAGUAR
WALTER’S BEDROOM
PROLOGUE FADE IN: INT. HOSPITAL HALLWAY -- MORNING (DAY 1) RAY and FRASER exit an elevator and stroll down a corridor. Ray seems somewhat agitated. (Fraser is out of uniform). FRASER: Trust your own judgment, Ray. Just be honest with them. RAY: This is a psych review, Benny, not a confessional. You tell them what's really on your mind and you spend the rest of your career filing traffic reports. I say "mother" to you, what's the first thing that comes into your head? FRASER: Father. RAY: Brother. FRASER: Sister. RAY: That's good, it's the simple ones they trip you up on. (repeats to memorize:) Mother-father, brother-sister; mother-father, brother-sister. FRASER: These are professionals, Ray. Surely they'll know if you've rehearsed your answers. RAY: They might suspect, but they can't prove it. You don't go in prepared; they say "brother"; I say "naked"; I spend two weeks explaining it away. FRASER: . . .You said "naked"? RAY: It was hypothetical. FRASER: I'm sorry, Ray. It just sounded like you were drawing from personal experience. RAY: We used to take baths together when we were kids! What's wrong with that?! FRASER: Nothing. It just seemed like an odd response. RAY: See, even you're reading stuff into this! You say something innocent like that and next thing they try and convince you that you have dreams of seeing your mother naked. FRASER: You have dreams of your mother naked? RAY: I said "brother". FRASER: You said "mother". RAY: I know what I said! I said "brother". It's my dream, I should know who's in it! FRASER: How often do you have this dream, Ray? RAY: There is no dream!! I made it up!! FRASER: I'm sure it means nothing, Ray. Suddenly they're passed by two NURSES, who rush into an empty room. . . INT. HOSPITAL ROOM -- CONTINUOUS . . .toward an ORDERLY looking out of a window. Ray and Fraser follow after them, curious. ORDERLY: How did he get out of the ward?! NURSE #1: I don't know! Ray and Fraser catch up. FRASER: What's happening? ORDERLY: Jumper. FRASER: What's his name? ORDERLY: He's a John Doe. Fraser steps out the window. EXT. HOSPITAL LEDGE -- CONTINUOUS The ledge is five stories up. The building contains a small open internal quad and the ledge completely encircles same. JOHN DOE, late 20s, big and blonde, strides along the narrow ledge, desperately searching for something. FRASER (V.O.): Hi. John Doe spins around. . . REVEAL FRASER. He stands on the ledge several paces from Doe. Behind Fraser, Ray peers out the window, concerned. FRASER: How are you today? JOHN DOE (urgent): I can't find him! Fraser cautiously slides a couple of paces toward the man. FRASER: Who's that? JOHN DOE: I've got to stop him! He's going to hurt himself. FRASER: There's no one else out here. JOHN DOE: I saw him! I saw him out here! I gotta stop him! RAY: Don't go near him, Benny, he'll take you down with him! Fraser takes a step forward. FRASER: Maybe I can help you find him. JOHN DOE: How?! How are you going to find him?! FRASER: Well, I'm a Mountie. JOHN DOE: You don't look like a Mountie. FRASER: Well, the red uniform is only worn on special occasions, although for some reason they seem to insist I wear mine more often than you'd think was-- JOHN DOE: So you always get your man, right? FRASER: Well, actually that's a popular misconception, it isn't really our motto. That was invented by the writer of an early black-and-white movie. Our real motto is "Maintain the Right", which, admittedly, doesn't sound as-- RAY: BENNY!! FRASER: --but yes, we do often get our man. JOHN DOE: He said to meet him at the house but he wasn't there. It's not my fault I was late, I missed the bridge. FRASER: That can happen. JOHN DOE: You know where he is? RAY: Fraser, just tell him what he wants to hear! FRASER (to John Doe): No, I don't. JOHN DOE: Then I'm too late. John Doe takes a step forward into thin air. Fraser runs forward, grabs a drainpipe with one hand and John Doe's shirt collar with the other. John grabs Fraser's leg. Ray see's what's happening and disappears inside. FRASER: Just hold on. JOHN DOE: I can't. FRASER: Yes, you can. INT. ANOTHER HOSPITAL ROOM -- CONTINUOUS Ray desperately tries to open a jammed window. The Orderly enters behind him. EXT. HOSPITAL LEDGE -- CONTINUOUS JOHN DOE: He's down there. He's down there, isn't he? FRASER: No! He's inside. I saw him inside. JOHN DOE: You saw Ty? FRASER: Yes. John Doe reaches up and grabs hold of Fraser's belt. Fraser begins to pull John Doe up. Behind him the Orderly opens the window for Ray and Ray lends a hand to Fraser who by now has things under control. FRASER: Thanks, Ray. RAY: No problem. INT. HOSPITAL CORRIDOR -- SECONDS LATER Fraser and Ray step out of the hospital room. A second later the Nurse and the Orderly help John Doe into the hall. NURSE #1: Where the hell's the doctor? Are they never around? ORDERLY (to John Doe): Let's just get you back to the ward, okay? JOHN DOE (at first calm): Where is he? Where's Ty? . . .He's not here. (looks to Fraser) Where's Ty? FRASER: . . .I'm sorry. JOHN DOE: You lied to me! He's not here! Why did you lie to me? (as they take him away) You have to find him! You have to stop him! Please! And he disappears through the door to the psych ward, leaving Fraser and Ray standing there. Fraser seems deeply bothered. RAY (rhetorically): What are you gonna do, huh? FRASER: Find Ty. RAY (looks to Fraser, groans): . . .Oh no. END OF PROLOGUE
ACT ONE FADE IN: INT. CHICAGO TRANSIT AUTHORITY OFFICES -- LOBBY -- DAY We start on the sign. Fraser and Ray enter the lobby. RAY (annoyed): Oh, come on, Fraser, he said he was looking for Ty. For all we know we're searching for an article of clothing. FRASER (checking the directory): You start with what you know, Ray. We know from Elaine that John Doe was taken to the hospital after being turned in by a CTA driver. RAY:Five years ago! They approach a RECEPTIONIST. FRASER: Excuse me. We're looking for Andrew Shawl. The preoccupied receptionist points down a hallway. INT. CTA OFFICE -- DAY Fraser and Ray are in ANDREW SHAWL'S office. SHAWL: It's been almost that long since I was behind the wheel. FRASER: You remember him. SHAWL: Hard to forget. Poor guy. Rode my bus every day for weeks -- kept asking me to take him to some house. FRASER: Did you always drive the same bus route? SHAWL: Route number nine. Never had any idea what he was taking about. Seemed harmless enough, though. He in some kind of trouble? FRASER/RAY: Yes./No. FRASER: What did he do? SHAWL: He'd just ride it from one end to the other, looking out the window. I never made him pay -- didn't seem right seeing as I wasn't really taking him anywhere. Anyway, one day, shift ended and he wouldn't get off. Said I had to take him there now. I reached over to take his arm and he took a swing at me. Wouldn't get off no matter what. What could I do? I called the cops. RAY: We don't have any record of any charges filed. SHAWL: Nah, I didn't have the heart to see him locked up. The cop said they'd take him to the psych ward, keep him for 72 hours, check him out. I figured three days with some doctors would probably do him some good. What happened to him? RAY: He's been in there ever since. No I.D., no name, no home and possibly violent. He's one of the few they didn't dump back onto the streets. SHAWL (feels terrible): Geez. FRASER: Do you remember where he wanted to go? SHAWL: I don't know. Somebody's house. Mark's house, Marty's house, it's been five years, man. FRASER: Well, we appreciate your time. SHAWL: If I knew they were gonna lock him up. . . (remembers) Mike's house. He wanted to go to Mike's house. Can't believe I remember that. Human mind's a pretty wild thing, huh? FRASER: Yes, it is. INT. CHICAGO TRANSIT AUTHORITY -- LOBBY -- DAY Fraser and Ray come out of the hall on their way out. RAY: Why are you doing this to me, Fraser? FRASER: I told him I'd help. RAY: You tell that to everybody! EXT. NUMBER NINE BUS -- DAY The CTA bus cruises along on its appointed rounds. INT. BUS -- DAY Ray and Fraser sit toward the back of the bus. Fraser has a transit map spread out in front of him. RAY: So what are we going to do? Sit on this bus until Ty gets on? FRASER: I looked into his eyes on that ledge, Ray, and I saw a man who was lost. You lose your job, you lose your money, you lose your home, it's devastating. But you lose who you are and you have nothing. RAY (exasperated): Fraser, the man was looking for Mike's house on a bus that travels a twelve mile circuit. You have any idea how many Mike's live on this bus route? No. Neither do I. Neither does anybody! FRASER (realizes): We're on the wrong bus. As Fraser rings the bell: RAY: This is the number nine! FRASER (rising and heading down the aisle): He couldn't find the house again because he was on the wrong bus. He needed to transfer. RAY (re. map that Fraser is folding): It says that on there, does it?! "Transfer here to Mike's house??" FRASER: He told us. He said he was late because he missed the bridge. RAY (sarcastic): Which is hard to miss, seeing that they're so large and rarely travel too far. Fraser gestures out the window. Ray looks. THEIR POV (CHICAGO SECOND UNIT) -- A DRAW BRIDGE As shot from the bus. The bridge is up, traffic waits for the boat that passes underneath. RESUME BUS Fraser takes off to exit the bus. Ray, exasperated, follows. Ray and Fraser stand at the bus stop, waiting. A bus heads to the stop. RAY (cold and pissed off): Okay, let's say he transferred here. Seven bus routes pass over this bridge, how are we going to tell which one he took? The bus doors open. Fraser addresses the driver. FRASER: Could you take us to Mike's house? The door closes on his face and the bus pulls out. RAY: You don't think you're getting a wee bit desperate? FRASER: Since he asked the bus driver to take him to Mike's house, he must have had reason to think that the bus driver would know where Mike's house was. RAY: Fraser, there's a guy on my corner who stops me every morning and asks me if I've seen God. Do you think he really expects me to point him out? FRASER: Well, if you did, Ray, he'd probably stop asking. Another bus pulls up. BUS DRIVER #2 opens the door and Fraser addresses him. FRASER: Can you take me to Mike's house? The door closes in Fraser's face and the bus drives on. FRASER (to Ray): He didn't know either. (sees another coming) Ah, here's another one. INT. ANOTHER BUS -- LATER Ray and Fraser ride along in silence. The bus driven by LARRY. FRASER (trying to make him feel better): It did take seven tries, Ray. RAY (sulking): He's just taking us for a ride, you know. He has no idea where "Mike's house" is; he's just gonna drop us in the middle of nowhere and laugh himself sick all the way back downtown. FRASER (onto a new thought): What was Ty doing that John felt he needed to stop? RAY (blowing up): The guy's insane! He could be talking about Ty Cobb, or Tai Babilonia! Maybe he wants him to stop figure skating! -- which, parenthetically, I'd prefer all men stop doing right now anyway. LARRY: This is your stop! Fraser and Ray head to the front of the bus, getting there as it drifts to a stop. FRASER (to the driver): Thank you. LARRY: Around the corner, first house on the right. You can't miss it. RAY (following Fraser out): I can hear him laughing already. EXT. STREET -- SECONDS LATER -- DAY Ray and Fraser go around the corner to find the first house on the right. . . is an empty lot. RAY: Did I tell you? Ray turns and takes off after the departing bus. Fraser follows. RAY: Stop! Police! (to Fraser) I'm gonna find *something* to bust this guy for. INT. BUS -- SECONDS LATER Ray catches up to the moving bus and bangs his badge on the door. The driver stops and opens the door. As Ray and Fraser climb on: LARRY: What's the problem? RAY: There's nothing there, Chuckles. LARRY: They must have moved. Explains why nobody's asked to go there in years. FRASER: Do you know what happened to Mike? LARRY: Think he was killed in the fourteenth century. RAY: Well, at least now we've got a murder investigation (loses it) Is everyone in this city crazy?!!! LARRY (as he pulls out): Sit down, sit down, I'll take you to the father. Off Ray and Fraser's looks we cut to. . . EXT. ST. MICHAEL'S CHURCH -- DAY A bus driving off takes us to the sign that reads ST. MICHAEL'S. INT. ST. MICHAEL'S CHURCH HALLWAY -- DAY FATHER FLAHERTY searches the shelves of his study as Ray and Fraser watch. FATHER FLAHERTY: St. Michael's Halfway House for Troubled Juveniles. I thought it was a little stuffy. Apparently so did the kids. They just call it Mike's House. The first one burnt down about four years ago. We couldn't afford to rebuild, but we rented a place and opened up again. Too many of our young people turning to crime. (finds a photo album) We try to "subtly" put a little spirituality back into their lives. If they don't see it coming, they might not know it happened. (leafs through it) I just wished it happened to Ty. As they enter. . . INT. ST. MICHAEL'S CHURCH OFFICE -- CONTINUOUS RAY: Bad kid? FATHER FLAHERTY: No, he just got into drugs. Showed so much promise. A natural athlete. He finds a small five year old clipping from a community newspaper -- a photo of an 18 year old gymnast in mid flight. FATHER FLAHERTY: Took after his brother. (points to another larger clipping) Walter made All-City. Now there was a nice boy. FRASER: Ray. Fraser points at the photo: It's John Doe, eight or nine years ago. FATHER FLAHERTY: You know him? FRASER: Yes. (beat) Do you know where we could find Ty? FATHER FLAHERTY: I'm afraid he died five years ago. FRASER (beat): I'm sorry. Thank you, you've been a big help. Let's go, Ray. They start to leave. Something makes Ray turn back. RAY: How did he die? FATHER FLAHERTY: Suicide. Climbed out onto the ledge of their apartment and jumped. Poor Walter took it very hard -- blamed himself. FRASER: He was late. FATHER FLAHERTY: He got home from work just moments after it happened. I encouraged him to drop by, to talk. He did the once, but he barely made sense. I went over to his apartment several times after that, but he was never there. Poor lad. Haven't heard from him in years. I hope he's well. If you see him, tell him to drop by. FRASER: I will. EXT. HOSPITAL -- DAY Fraser and Ray somberly approach the front door of the building. RAY: What are you going to tell him? FRASER: I don't know if he'll hear it, but I owe him the truth. That his brother died five years ago. That nobody was on that ledge. . . Unless. . . Fraser heads off across the grass. INT. HOSPITAL QUAD -- DAY Fraser walks slowly across the quad, staring down at the concrete. Ray stands behind him, shivering. Fraser stops. FRASER: Here. Fraser looks up at the window five stories above. Looks back down at the sidewalk. FRASER: The concrete is white, Ray. RAY: It's a color we like to use for sidewalks in America. FRASER (squatting): The Inuit have two hundred words to describe snow, Ray. At least half of them concern the color. RAY: Eskimos don't have a lot to do in the winter, Fraser. FRASER: Compare this patch to the rest and you'll discover this area been bleached. (touching the surface and smelling his finger) And very recently. (looking up) Someone was on that ledge, Ray. And they ended up here. FADE OUT END OF ACT ONE
ACT TWO FADE IN:
OMITTED
INT. RAY'S CAR -- MORNING (DAY TWO) Ray drives as Fraser sits in the passenger seat. DIEFENBAKER is in the back seat. RAY: Let it go, Fraser. His brother killed himself, he went nuts, I feel for the guy, but overly-clean cement is not enough evidence to open an investigation. FRASER (ignoring this): I think he saw someone on that ledge, Ray. And the similarity between the incidents made him believe it was his brother out there. RAY: Fraser, the guy is crazy. FRASER: Delusional people don't simply make things up, Ray. RAY: Yes they do. That's the unique quality that makes them delusional. FRASER: No, I mean their delusions are drawn from something real. They're distorted, they're exaggerated, they're juggled and they're romanticized, but they're always somehow grounded in the real world. RAY: Alright. If somebody jumped, where's the body? FRASER: I'm sure it'll show up. Suddenly, ELAINE'S voice breaks in over the radio. ELAINE (V.O.): Vecchio? They just fished a body out of the Chicago River near Michigan. Lieutenant says he'll meet you down there. RAY (into radio): On the way. (he hangs up, then looks to Fraser) This proves nothing. Bodies show up every day in this City. As Ray does a U-turn, Fraser and Dief simply stare at him. FRASER: I'm sure that's the case. RAY: What's your theory? Guy jumped from the fifth floor of the hospital, caught a thermal updraft and flew the sixteen blocks to the river? And off they go. EXT. BANKS OF THE CHICAGO RIVER -- DAY By the banks of the river, ESTHER PEARSON, the female Medical Examiner, inspects a wet naked body. WELSH stands nearby directing a couple of UNIFORMED POLICE who are establishing barricades and keeping the ONLOOKERS at a distance. Two SCUBA DIVERS remove and pack their equipment in the background. Ray, Fraser and Diefenbaker approach. Fraser, with Dief, splits off to speak to the Scuba Divers and Ray heads for Welsh. WELSH: Morning, Detective. RAY: Morning, Lieutenant. WELSH: You know, I was trying to figure out why I missed you so much yesterday afternoon. And then I realized, it was because you weren't there. Detective, perhaps you could explain to me exactly why it is that nearly an entire working day went by without you doing any actual police work? RAY: Missing person, Sir. WELSH: Who? RAY: Ty. WELSH: Ty? RAY: Yes, Sir. WELSH: Babilonia? RAY: No, Sir. WELSH: Too bad. Don't see much of him anymore. RAY: No Sir. WELSH: You are aware of the naked corpse over there, aren't you? RAY: Yes, Sir. (realizes) I'll go check it out, Sir. WELSH: Good thinking Detective. Welsh walks off as Ray approaches the M.E., a short distance away. RAY: Got a cause of death? PEARSON: If you want to know before tomorrow, talk to a gypsy. Ray glances at Fraser who tips his hat to the scuba divers and heads toward Ray. RAY: Just do me a favor? The Mountie over there; tell him the guy drowned. PEARSON: Forget it. RAY: C'mon, there's no law against lying to Canadians. I'd owe you one. PEARSON: Like you'd ever have something I'd want. Fraser and Dief arrive. FRASER: He was dead when he hit the water. RAY: You haven't even looked at the body! FRASER (to M.E.): Hello, Doctor Pearson. (to Ray) The body's only been in the water a short while, but the scuba divers found it floating. If there'd been water in his lungs, it would have stayed down longer. (to M.E.) Am I right? RAY: The ice maiden won't tell you anything. PEARSON (to Fraser): You're right. Ray reacts. Pearson smiles at Ray. RAY: So he jumped off a bridge and died on impact! FRASER: Though he probably wouldn't have taken off his clothes before jumping. (just standing there studying the body) Twenty, twenty-one, twenty-two broken bones. PEARSON: You hit the water from high enough and it's like landing on pavement. FRASER: By high enough you mean. . . PEARSON (knows where he's going): A lot higher than that bridge. FRASER: But if he did land on concrete? PEARSON: Maybe fifty feet. FRASER (to Ray): Five stories. The exact height of that ledge. Fraser gets up. FRASER: Thank you. Fraser and Ray head off. Diefenbaker stays behind at the side of the M.E. FRASER: Diefenbaker. (no response, Fraser heads back) Diefenbaker! Diefenbaker looks up. FRASER: Come. Nothing. He's not about to leave the M.E.'s side. FRASER (to Pearson): I'm sorry. You see in the village where he grew up there were very few people with blonde hair, and ever since we came to Chicago, well, he's been kind of. . . fascinated. Anyway, that's not the problem, the problem is that he has a tendency to take advantage of situations. (to Dief) You can't expect her to give you a lift home just because the others did. I mean Doctor Pearson is a very busy person and I'm sure she. . . PEARSON: Oh no, I'd be glad to. FRASER (shakes his head): Although that's very kind of you, it really would play right into. . . PEARSON: It's no problem. FRASER (Dief wins again): Thank you very much, Dr. Pearson. PEARSON (smiles): Esther. Fraser turns, and turns right back. FRASER: You wouldn't be related to-- PEARSON: No. FRASER: No, you wouldn't be. And he's gone again. WITH FRASER AND RAY as they get into Ray's car. FRASER: Whoever dumped that body didn't want us to know who he was. Or where he came from. RAY: Please, Fraser, I'm begging you. FRASER: Something's going on inside that hospital, Ray. And there's only one way to find out what it is. RAY: You're crazy! FRASER: Let's hope so, Ray. And they drive off. INT. HOSPITAL EXAMINING ROOM -- DAY A PSYCHOLOGIST sits at a table. PSYCHOLOGIST: So you're a Mountie, are you? Discover Fraser sitting opposite in his dress reds. FRASER: Constable, First Grade, Royal Canadian Mounted Police. PSYCHOLOGIST: Here in Chicago? FRASER: Ah, you see I used to live in the Yukon, but then I uncovered a plot that involved drowning caribou, and then some men dressed in white came after me--it's a long story, it takes almost two hours to tell, but the upshot is they sent me here. I think I embarrassed some people in the government. PSYCHOLOGIST: I can imagine. Do you have anyone here who can vouch for you? FRASER: Well, there's my wolf. But I'm not sure he'd vouch for me. If you know anything about lupine behavior, you know how moody they are. And it doesn't help that he's deaf. PSYCHOLOGIST: I'm guessing that you don't have any proof of your employment by the RCMP? FRASER: I'm afraid I left my identification at home. But if you'd like. . . Fraser proudly pulls his largest knife out of its scabbard, and the Psychologist pulls back nervously and presses a button under the edge of the table. FRASER: I could build you an igloo. Assuming you could provide me with sixty cubic feet of ice and a pair of warm mittens. PSYCHOLOGIST: I don't think that will be necessary. A psychiatric assistant, basically a THUG ORDERLY, enters. He grabs Fraser's arms from behind. Fraser does nothing to resist. The Psychologist looks down to the file on the desk. PSYCHOLOGIST: Name? FRASER: I'd rather not say. CLOSE ON ADMISSION FORM Under "Name", the Psychologist enters "John Doe". INT. OBSERVATION ROOM -- DAY CLOSE ON ANOTHER ADMISSION FORM But this one is completely filled out for a John Doe and is on top of a large file. PULL BACK TO REVEAL DR. MARTINS, a middle aged, respectable type with a calm way of talking that can't help but instill confidence. Right now he's using that skill in addressing John Doe/WALTER who sits across from him in a stark room with two doors. WALTER: I couldn't stop him. I should have been there. DR. MARTINS: John, you couldn't stop something from happening that didn't happen. WALTER: He was out there, I saw him. I'm worried, I have to stop him. DR. MARTINS: John, you remember when you first came to us? You remember what you said? WALTER: I have to do something-- He opens the folder and shows John. DR. MARTINS: This is your file, John, look at it. See what it says there? You were looking for Ty, you wanted to stop him. WALTER: But I saw him out there yesterday-- DR. MARTINS: Look at that file, John. That was five years ago. (Walter looks) He couldn't have been out there, John. Not yesterday, not the day before. WALTER: . . .It was so clear. DR. MARTINS: You've been getting a lot better, John, a lot better. You know that, don't you? (Walter shakes his head) And you don't want to go back to the way you were, I know that. WALTER: I really don't. DR. MARTINS: . . .What did you see on the ledge, John? WALTER: . . .Nothing. DR. MARTINS (smiles warmly): You're doing just fine. Suddenly the image is on VIDEO TAPE, and we pull back to reveal that we are in: INT. DR. MARTIN'S OFFICE -- DAY A woman in a suit, TANYA FARMER, switches off the videotape machine and the TV goes dark. She turns to Dr. Martins. FARMER: Is he in the test group? DR. MARTINS: Yeah. We won't have any problem with him. Our problem is your drug. Five suicides now. That's totally unacceptable in a sample of fifty. FARMER: Forty-five patients with marked improvement. (smiles) I prefer to see the glass as half full. DR. MARTINS: You think this is a joke? FARMER: No, Will, what I think is that you're over-reacting. DR. MARTINS: Over-reacting?? We just had a body dumped in the river, you bastard. How the hell did I let this happen? FARMER: How many manic-depressives are there in this country? DR. MARTINS: I don't want to hear this speech again-- FARMER: You know as well as I do that nothing, not one drug out there can help them as much as this one has helped those people in there. DR. MARTINS: It's killing them, for God's sake! Five people have taken their own lives! FARMER: Five people who had suicidal tendencies before you ever put them on this drug, you know that. There is nothing in the material that links AD40 with-- DR. MARTINS: We're writing the material! And we keep sanitizing it! Every death we've swept under the rug-- FARMER--The test is almost over. In two weeks it'll go to the FDA and it'll be out of your hands-- DR. MARTINS: And it'll kill how many more? FARMER: You know damn well, even if they approve it tomorrow this thing won't hit the market for another two years, and by then we'll have reduced the risk factor to acceptable levels. But if we have to start over again, my company can't afford another five years of testing, we'll go under and with us will go a drug that could have done a hell of a lot of people a hell of a lot of good. (beat) And your stock won't be worth a damn thing. Dr. Martins just shakes his head. FARMER: Who knows about the jumper? DR. MARTINS: Just one of the Psychiatric Assistants. FARMER: Danny? He's a good man. I'll take care of him. Okay, he was a John Doe, right? DR. MARTINS: Yes. FARMER: Then find me another one. Give him the same patient number. Fifty patients need to come through this test, Will. Fifty living patients. Dr. Martins doesn't respond. FARMER: It's only two more weeks. Find me a John Doe. She exits into: INT. HOSPITAL HALLWAY -- CONTINUOUS Dr. Martins watches Ms. Farmer depart. As Farmer walks down the hall to the exit, she is passed by Fraser being accompanied by the Thug Orderly (DANNY). Fraser wears hospital pyjamas -- and his hat. Fraser is shoved behind a security door with a safety glass window. Danny locks the door behind him, then gives the paper work to Dr. Martins. Dr. Martins takes one look at the Admitting Form. . . ON "JOHN DOE" entered as the name. Martins looks up with uncertain interest at this new John Doe who has fallen into his lap. Fraser returns his look from behind the locked door. FADE OUT END ACT TWO
ACT THREE INT. PSYCH. WARD CORRIDOR -- MORNING (DAY 3) A long line of patients, all in their varied hospital clothes, inches its way toward the Nurses Station. The Orderly (Danny) walks Fraser from his room toward the line. Fraser wears his hat. DANNY: You get in line here, they'll give you your medicine. FRASER: Thank you kindly. DANNY: You behave, we'll get along just fine, you act up, we take away your privileges. FRASER: What privileges would those be? DANNY: You want to keep your hat? FRASER: I'd prefer to. DANNY: Then be a good boy and take your medicine. Fraser is placed in the line immediately behind Walter Sparks. Walter is a shadow of the confused but angry man Fraser met on the ledge -- the fight has been taken out of him -- he's cold and emotionless. A paranoid patient, NELSON, steps in beside Fraser and whispers in his ear. NELSON: Don't take your feet off the ground. FRASER: Okay. NELSON: You take your feet of the ground, they can kill you. FRASER: Really? NELSON: They've been trying to kill me for years. But I sleep with my feet on the ground. (confidentially) Rubber soles. They insulate against electricity. FRASER: You're absolutely correct. NELSON: I know. Walter turns and notices Fraser. FRASER: Hi. WALTER: Hi. (beat) You're the guy from the ledge. FRASER: Yes. But I'd prefer no one knew that. WALTER: . . .You're a patient? FRASER: I was admitted for evaluation. WALTER: Sorry. FRASER: You said you saw someone out there, on the ledge. Walter clams up, turns back to line. FRASER: Would you prefer not to talk about this? WALTER: Listen, you just got here, you don't know anything. I've been in here a long time, man, and I just want to get better and get out. FRASER: Are you? WALTER: What? FRASER: Getting better. WALTER: It doesn't matter what I think. FRASER: I would think it's the only thing that matters. Walter turns away from him again. NELSON: Don't worry about him. (confidentially:) Doesn't know what he knows. (beat) You don't even look like Winston. FRASER: I'm not. JIM, the patient behind Nelson, chips in. JIM: You're in his spot. That's Winston's spot. FRASER: What happened to Winston? NELSON (confidentially; not an answer): He wouldn't tell them his name. Killed him. (confidentially) Took his feet off the ground. JIM: Don't stand in his spot. They'll take you to the blue room. WALTER: There's no blue room. (beat) But I wouldn't listen to me. Fraser turns back to Jim and Nelson. JIM: Actually, I wouldn't listen to me either. NELSON (re: moving line): Shuffle. FRASER: Ah, right. Fraser shuffles to catch up and narrow the distance between them and Walter, who is at the dispensary window with NURSE UNGER. Nelson shuffles behind him. NURSE UNGER: Here you go, John. She gives Walter his medication in a paper cup. Fraser takes note of it before Walter swallows it. Danny the Orderly stands nearby. She sees Fraser. NURSE UNGER: Hi, who are you? FRASER: I'd rather not say. DANNY: John Doe. NURSE UNGER (to Danny; checking her list): I think there's a mistake here. DANNY (re: list): Right there, number thirty-six. She ignores him and turns on the computer. ON COMPUTER SCREEN It prompts her to key in the password. FRASER Watches her closely. He can't see what she is typing but he can see her arms move as she types in the password. NURSE UNGER gets the information she was seeking and shrugs. NURSE UNGER: Nobody tells me anything. Danny smiles smugly and paces away. Nurse Unger hands Fraser two capsules in a cup. FRASER: Could you tell me where the blue room is? NURSE UNGER (friendly): Sorry, no blue rooms on this ward. All beige. Supposed to be calming. Fraser looks down at the remaining cups. They all contain identical capsules -- yellow on one side, white on the other. FRASER: Thank you. Fraser starts to walk away. But Danny stops him, hands him a cup of water. DANNY: Water. Fraser doesn't want to, but he has no choice. He lifts a cup to his mouth and takes a sip. DANNY: The whole thing. Fraser lifts the cup back to his lips and downs it. Danny smiles as Fraser exits. INT. VISITING ROOM -- AFTERNOON Ray sits in a large visiting room, all alone. Nurse Unger enters with Fraser. FRASER: Thank you. She leaves and Fraser takes a seat. RAY: Your friend the ice maiden, finally served up an autopsy report on the John Doe in the river. FRASER: What was the cause of death? RAY: He was struck by a blunt object -- probably a sidewalk. And the pharmacology report turned up something weird in his system; M.E. called it some kind of M.A.O. Inhibitor. No buzz, so no street value. FRASER: Prescription? RAY: The FDA has no record of it, completely unregistered. FRASER: I think I know what it is. Fraser reaches under his tongue and pulls the damp pill out, offering it to Ray who would really rather not handle it. RAY: Oooo. How long has that been there? Fraser adjusts his jaw, uncomfortable after secreting the pill in his mouth for so long. FRASER: Two and a half hours. RAY: Don't those things dissolve? FRASER: The key is to maintain control of your saliva ducts. Repulsed, Ray pulls his shirt forward from his body so that Fraser can drop the pill directly into the pocket. FRASER: They're giving it to all the patients on that ward. RAY: I'll check it out. INT. PSYCH. WARD RECREATION ROOM -- LATER The patients are gathered in the room for their recreation period. Some pace slowly. Others sit staring at their hands. A few talk quietly in groups of no more than two. There is virtually no life here. About the only sound is the soothing, nondescript piped-in MUSIC soothing their nondescript minds. Nurse Unger watches from the Nurses Station. Fraser sits at a table with Walter and Nelson. FRASER: Hi. WALTER: Hi. FRASER: How are you doing today? WALTER: Some days are better than others. FRASER: Do you know how long you've been in here? WALTER: I'm insane, not stupid. (beat, admits) Today I know. FRASER: Do you remember Ty? Walter looks away, shutting off. Fraser knows enough to change the subject. He turns to Nelson. FRASER: What was Winston like? NELSON: Quiet. He never talked. (checks to see if anyone's listening) Paranoid. FRASER: Ah. Do you know what happened to him? WALTER: Why are you asking us?! FRASER: Because you're here. You see things. Walter and Nelson look at each other uncertainly. This is a new position they're being thrown into. JIM (leans in, quietly): I know where it is. FRASER: What's that? JIM: Kramer went to the blue room. WALTER: You don't know anything. JIM (to Walter, challenging): So where's Kramer, then? NELSON (to Fraser): Don't go to the blue room. FRASER: Is that where Winston went? NELSON (nods): I told him not to take his feet off the floor. WALTER: There's no blue room. JIM: What do you know, you're delusional. FRASER (to Jim): Can you show me where it is? JIM: . . .You believe me? FRASER: Yes. JIM: You're scaring me. NELSON: I'll go with you. WALTER: You're wasting your time. NELSON (surreptitiously): Come on, come on. (as Fraser gets up to follow) Feet on the floor. FRASER: Right. He follows Nelson off, Jim tags along. Walter stays behind. INT. HOSPITAL BEDROOM -- MOMENTS LATER Fraser stands in the doorway of a beige room with Nelson and Jim. Jim points. FRASER: This is the blue room? JIM: Yep. NELSON: Come here, come here. Fraser follows him off, Jim tags along. Another patient joins them. INT. STAIRWELL -- MOMENTS LATER Pan from the beige colored walls of the stairwell to the locked door. Nelson, Fraser, Jim and the third patient look through the glass at the stairs. FRASER: . . .This is it? NELSON: Don't go in there. The third patient beckons Fraser to follow. He does. INT. CORRIDOR The four of them head down the hall. A beat and three more patients follow. INT. DARK CLOSET The door opens and they all look in. FRASER: The blue room? Two patients nod. Another pulls at his sleeve and Fraser follows. INT. BATHROOM The door opens revealing Fraser and a dozen patients. Same beige walls. PATIENT #3: Don't ever go in there. NELSON: Unless you really have to. Another patient beckons Fraser to follow. EXT. FIFTH FLOOR WINDOW Fraser and what seems like the whole ward peer out the window into the courtyard. FRASER: The blue room. INT. CORRIDOR BY NURSES STATION Fraser and a dozen patients shuffle past. Nurse Unger steps out and watches, curious, as they round the corner. Another half dozen patients scurry past her to catch up. As they approach the corner: PATIENT 1: Which way did they go? PATIENT 2 (checking his palm): North by northwest. They scurry off in the wrong direction. Fraser steps out from the other side and beckons. FRASER: This way. The patients appear and scurry off after Fraser. Nurse Unger smiles. Dr. Martins steps out of the nurses station. DR. MARTINS: What was that about? NURSE UNGER (smiling): I think they're tracking something. DR. MARTINS (friendly advice): Keep an eye on the new one, will you? He could be dangerous. Martins moves off. INT. FRASER'S ROOM -- NIGHT Fraser lies on his bunk, writing a note on a small piece of paper with the cartridge from a Bic pen. Walter appears in the doorway. FRASER: Hi. Fraser puts the note and the cartridge into his hat band. FRASER: Come on in. One of the patients said something, and I was just trying to remember where I heard it. My father used to quote it. It's from Hamlet. "I am but mad North-Northwest; when the wind is southerly I know a hawk from a handsaw. WALTER: You're not helping them, you know. People see things, it doesn't mean they're real, it doesn't mean it happened. FRASER: I don't know; sometimes I see things that no one else does. WALTER: That's why you're here. FRASER (smiles): Yes. Reality is a curious thing. Really, it's just a matter of what you believe. If a lot of people believe something to be true, then it becomes reality. At least for them. For a long time it was true that the earth was flat. Then one person disagreed, and now we believe the opposite. Even after it was proven, many people refused to believe it, because they were afraid. They thought if they believed they'd suddenly fall off the earth. A lot of people are still afraid. WALTER (scoffs): Of falling off? FRASER: Of believing in what they know. Especially if that truth is painful. It's easier to make up a new reality. But I think you know that, don't you, Walter. WALTER: . . .Is that who I am? FRASER: No, that's just your name. Walter Sparks. Who you are is inside of you. You never lost that. I don't need to know your name to know who you are. WALTER (with shame): I'm not. . . I'm not who you think I am. FRASER: It wasn't your fault. WALTER: Yes it was. I was late. FRASER: Ty made his own decision. The question is when will you make yours? WALTER: Sometimes I see it real clearly, and sometimes. . . Sometimes I think it would have been a lot easier if I had killed myself. FRASER: It may have been. My mother died when I was very young. I don't remember very much about that time. . .except for my father's beard. I don't remember him crying or talking about her, I just woke up one morning and noticed he had a beard. It got longer and longer, he got thinner, he didn't go to work anymore. My mother died and my father stopped living. Then one day, I woke up and breakfast was on the table. Oatmeal and a sliced banana. He was clean shaven. . . and he was crying. WALTER: He was a very strong man. FRASER: He woke up, and the wind was from the south, and he found that he still knew the difference between a hawk and a handsaw. They sit there in silence. INT. OBSERVATION ROOM -- NEXT MORNING Ray sits waiting alone in the small room where Doctor Martins met with Walter. Danny escorts Fraser in. DANNY: Visiting Room's being repainted. You can meet in here. He leaves before Fraser can thank him. RAY: Got the lab results on those pills. You were right. It's the same drug. FRASER: They must be conducting clinical tests here. The man you fished out the river's name is Winston. The drug must be connected to his death and they're covering it up to falsify the test results. What I haven't been able to figure out is where the blue room is. Somehow it's associated with the deaths. RAY: Only one problem with your theory, Fraser. Lab says no way this drug is lethal. Worst case, it may cause some depression. FRASER (twigs): I didn't listen to what they were telling me. Well, I did, but I listened with my eyes. RAY: You know, you're really starting to scare me. FRASER: All communication is done in code, Ray. If you don't understand the language, none of it makes sense. They weren't talking about the color blue. They were talking about the emotion. The drug causes depression. They went into the blue room, Ray. They killed themselves. Ray gives Fraser a hard look, realizes he actually makes sense. He nods and rises to leave. RAY: I'll be back in twenty with a warrant. Fraser suddenly notices something over Ray's shoulder in the corner -- a pin hole in the wall. Fraser's face changes. FRASER: Ray, who did you tell you were coming here? RAY: Nobody. Why? Suddenly the door from the Anteroom opens and Danny charges in behind Ray. Before Ray can move, his arms are grabbed and pinned to his side. RAY: I misunderstood the question. I told everyone I know. The Sheriff, the State's Attorney, my mother. Danny pulls Ray's gun out of his pants and shows it to Dr. Martins who stands in the doorway. DANNY: Another John Doe? Dr. Martins nods, almost sadly, as Ray protests. RAY: Hey, I'm a cop! You can't do this! The Orderly jabs Ray's gun in Ray's ribs. INT. PADDED CELL -- MOMENTS LATER The floor and all four walls, including the door, are covered with padding. Clad in straight-jackets, Fraser and Ray are violently tossed into the room, falling to the ground, unable to get up because of their constraints. RAY: Fraser, I don't think they're really painting the Visiting Room. On Fraser, we: FADE OUT END ACT THREE
ACT FOUR INT. PADDED CELL -- THAT NIGHT Fraser and Ray are still on the floor. Ray squirms about desperately trying to extricate himself from his straight jacket. Fraser sits motionless. RAY (flailing around; a blind panic): This is like something out of the dark ages! Look at this room! They're probably going to give us shock treatment! I don't react well to shock treatment. FRASER: Calm down, Ray. They're not going to do any of those things. They're going to kill us. Ray stops squirming. RAY: You see, to most people, those would be contradictory thoughts. (resumes squirming) Help!!! INT. ANTEROOM -- CONTINUOUS A very nervous Dr. Martins is on the phone. DR. MARTINS: He's a *real* Mountie. And his buddy's a real cop. (pause) Yeah, yeah, they're under control. No, I'm not going to do that! Covering up suicides I can somehow rationalize, but not murder, no. You have to think of something else. (pause, then meekly) Yes, I'll be waiting. INT. STATIONARY JAGUAR -- NIGHT Ms. Farmer hangs up her cell phone. FARMER: Coward. She slams the car into gear and speeds off. INT. PADDED CELL -- CONTINUOUS Ray continues to scream and squirm around violently, while Fraser continues to lay almost perfectly still. RAY: Help!!!! FRASER: It would appear that the room is soundproof, Ray. RAY: You got a better plan? FRASER: Relax. RAY: That's a plan? Fraser pulls an arm out of his straight jacket. FRASER: The more you struggle, the tighter it gets. All you have to do is completely relax, dislocate your shoulder and pull the arm out of the sleeve. RAY: Or, you could let me out. FRASER: Ah, yes that would work too. He helps Ray up and unbuckles him, inspecting the door at the same time. FRASER: Dead bolt, keyless entry, sealed frame, hinged on the outside. RAY: So no windows and a sealed door. Might as well put the straight jackets back on. FRASER: If something can get in with the door locked, then something can get out. RAY: Did something get in? FRASER: Air. In spite of a hermetically sealed door, we haven't suffocated. Fraser licks his finger and holds it up, feeling for where the draft is coming from. He starts to move around the room, searching the air. RAY: You see, Fraser. The problem is, we're much bigger than air. Fraser closes in on a wall. FRASER: The air flows through the padding. Fraser takes the band off his hat, undoes the buckle and slices the padding. FRASER: I sharpened the buckle. RAY: You anticipated having to cut your way out of a rubber room??! FRASER: No, Ray, I anticipated them taking away my knife. He peels back the padding from the wall. Ray helps, and with great difficulty, they uncover the bare wall, and an air vent near the floor big enough for a man to crawl through but covered with a thick metal grate. Ray stoops to inspect it. RAY: Bolted shut. Fraser pulls a metal supporting pole out of the top of the padding. FRASER: Archimedes said give me a fulcrum and a long enough lever and I'll move the world. INT. HOSPITAL ENTRANCE -- CONTINUOUS Farmer pushes open the front door, where Dr. Martins and Danny wait. They hustle toward the elevator. FARMER: You've got to learn to finish what you started, Martins. INT. PADDED CELL -- CONTINUOUS The pole has been jammed under the edge of the vent cover. Ray bends down, the pole over his back. At the other end of the pole, Fraser holds the other end of the pole. RAY: Why do I always have to be the fulcrum? FRASER: Don't move, Ray, you're dispersing energy. Fraser pushes down. The pole bends slightly, then. . . pop. The vent cover springs off. INT. HOSPITAL HALLWAY -- CONTINUOUS Martins, Farmer and Danny approach the padded cell. DR. MARTINS: I want nothing to do with this. FARMER: You're in, Doc. The appropriate time to have had a battle with your conscience has long since passed you by. Dr. Martins unlocks the door with his card. They enter. INT. PADDED CELL -- CONTINUOUS It's empty -- except for two straight jackets, the cover to the air conditioning vent and the rest of the mess. DR. MARTINS (panicked): They were here. They were locked in. FARMER (re: open A/C shaft): Where does that go?! DR. MARTINS: I don't know. I. . . FARMER: Find them! Danny hurries off out of the room. INT. HOSPITAL HALLWAY -- MOMENTS LATER Fraser kicks the grate out and emerges from the air duct near the floor. He then helps Ray out and leads the way down the hall. RAY: Fraser, I don't think that's the way out of here. Fraser stops at a corner, tight against the wall. FRASER: They'll discover we're missing in a matter of minutes, maybe less. By the time we got back with a warrant, there'd be no evidence to seize. Fraser peaks around the corner -- the coast is clear. They hurry down the hall toward. . . INT. NURSE'S STATION -- MOMENTS LATER It's dark. Closed down for the night. From the other side of the door, Ray slips the lock with a tongue depressor and they enter. As Ray shuts the door and the blinds, Fraser sits down behind the computer and flips it on. CLOSE ON SCREEN It boots up and displays the question PASSWORD? Fraser pauses at the keyboard, closes his eyes, puts his hands out in typing formation ON THE DESK and taps out a sequence. RAY: If you open your eyes you wouldn't miss the keyboard. FRASER: I saw the nurse type in the password, but I didn't actually see it. RAY: Watching with your ears, were you? FRASER: Yes. Each finger applies different pressure to a key, so each sounds slightly different when tapped. Of course it varies from person to person. RAY (sarcastic): What did this one sound like? FRASER: Something like the tune to "I've Been Working on the Railroad." Ray reacts as Fraser starts humming the tune and tapping the computer. CLOSE ON COMPUTER SCREEN reads "Access Denied. You have two more opportunities to enter correct password before system shut down." INT. HOSPITAL HALLWAY -- CONTINUOUS Danny and Farmer hurry down the hallway. Behind them, we can see the A/C vent where Fraser and Ray emerged. The Orderly opens each bedroom door, looking for the fugitives. Martins trots up. DR. MARTINS: Security says they didn't leave the building. I've had them post an extra man on each exit. In their wake, curious patients poke their heads out of their bedroom doors and watch the excitement. DR. MARTINS: Go back to your rooms! They scurry away. As Doc and his party move on, PATIENT 2 peeks out around the corner. PATIENT 1 beckons from out of sight. PATIENT 1'S VOICE: Where are they going? PATIENT 2 (checks palm): North by North-West. INT. NURSE'S STATION -- CONTINUOUS Fraser tries again, humming "I've Been Working on the Railroad" as he types. COMPUTER SCREEN shows the effects of Fraser's failed efforts to enter the correct password. The last line reads "Please enter correct password or system will shut down!" RAY: Last chance, Dinah. FRASER: I think it was the refrain. He types one more time. Then he nervously waits a beat. COMPUTER SCREEN A message appears: "Welcome to MST Software." FRASER: It was "All the live long day". RAY: They can play it at our funeral. Fraser begins to type furiously. INT. WALTER'S BEDROOM -- CONTINUOUS Danny flings open the closet door. Other patients look on in the doorway. WALTER: What's going on? Dr. Martins appears in the doorway. DANNY (as he exits): They're not in here. WALTER: Who are you looking for? DR. MARTINS: No one. The patients step aside as Martins exits. Walter follows. INT. NURSE'S STATION -- CONTINUOUS Fraser stands over a laser printer as a piece of paper silent prints out joining a pile of other pages on top of the machine. FRASER: That's the last of them. All five of the deceased and their medical histories. RAY (heads o.s., opening the door): Now can we get out of here? FRASER: Yes, Ray. RAY (O.S.): Maybe not. Fraser turns to see Ray being held by Danny, a big syringe to his neck. Farmer, followed by Martins, pushes past them and heads for the computer. DANNY: You just got yourself a trip to the blue room. Martins types on the computer "Delete x.x" COMPUTER SCREEN reads "All files deleted." Farmer grabs the papers off the printer, sets them on fire with a lighter and dumps them in a waste basket. INT. NURSE'S STATION -- CONTINUOUS From the end of the hall, Nurse Unger watches the door to the nurse's station close. She slips into: INT. DOCTOR'S OFFICE -- CONTINUOUS She picks up the phone and dials. INT. HOSPITAL HALLWAY -- MOMENTS LATER Fraser and Ray, arms strapped behind their backs, emerge from the nurses station, followed by the others. The end of the hallway is crowded with patients. Farmer stops when he sees the strange crowd blocking their path. DR. MARTINS: Don't worry. (starting forward) Step aside, people. Nothing's happening here. Everybody back to bed. The patients meekly stand aside, like the sea parting before Moses, as the procession comes through. RAY (can't believe this): Hey, I'm a cop! (to NELSON the paranoid patient) They wanta kill us! NELSON: Me, too. And he shuffles aside. RAY: Come on! Do something! But the patients continue to stand aside as the condemned men are escorted past them down the hallway. FRASER: They're confused, Ray Danny pokes the needle threateningly into Ray's neck. DANNY: Shut up. RAY: Why? So I can enjoy another ten minutes of life? FARMER (in Ray's ear): Your life is already over. The question, Officer, is how many of these innocent people do you want us to take down with you. Danny jabs Ray again and Ray grudgingly continues forward. More patients step aside, leaving an open corridor to the security door. But as they walk through, Walter takes a tentative step forward, blocking their path. WALTER: Where are you taking them? DR. MARTINS: Nowhere, just step aside. The patients they passed drift back, crowding the scene. WALTER: You're taking them somewhere. DR. MARTINS: Nothing is happening here. Now, you're getting better, John. Don't start imagining things again. Walter uncertainly takes half a step back. RAY: Don't trust him! Trust Fraser. He's your friend. FRASER: No. Trust what you know, Walter, because once we're through that door it'll be too late. DR. MARTINS: Do you really want to spend the rest of your life here, John? No? Then go back to your room. Walter steps aside. The Orderly shoves Fraser forward. Ray, the Doctor and Farmer follow closely behind. Walter looks down, unable to face them. But just as they pass him, he looks up, sees the syringe behind Ray. He stares at it, unsure what to make of it. Tears well up in his eyes. He makes his decision. And with a mighty roar, he charges the three of them, knocking the villains and Ray and Fraser to the floor. The needle skids across the floor. Nelson comes to help, as does Jim. The rest of the patients are too damned scared. Farmer makes a grab for the needle, but Ray takes her down and Jim and Nelson pile on top of him. In one deft move, Fraser slips his hands under his feet, so the wrists are still bound but are now in front of him. Danny grabs Fraser as Martins breaks for the door. Fraser makes short work of Danny and takes off after Martins. INT. CORRIDOR WITH SECURITY DOOR Martins flies around the corner and slips his mag card into the lock. He looks up through the door and sees: HUEY AND LOUEY AND TWO UNIFORMED COPS entering at the far end of the hall. Nurse Unger approaches them and points toward the door. MARTINS slams the security door shut and takes off back into the empty ward corridor. INT. ADJOINING CORRIDOR Fraser comes running around the corner toward the security door, getting there in time to see Nurse Unger opening the door for Huey and Louey. FRASER (to uniforms): The recreation room. Farmer and an Orderly. (as the uniforms run off. To Huey and Louey:) Did someone just come through here? GARDINO: Not past us. Ray runs up behind him, a charred piece of evidence in his hand, as Fraser runs off. FRASER (calling back): Check all the offices! RAY (handing burnt paper to Louey): Put this in your report. And Ray runs off in another direction. EXT. HOSPITAL LEDGE -- NIGHT Ray leans out an open office and sees Dr. Martins on the ledge. DR. MARTINS: Don't come out here. Unless you want me to take you down with me. RAY: Am I wearing a funny hat? Do I look like a Mountie? So jump, what do I care? DR. MARTINS: I have a medical degree, Officer, your high-school reverse psychology isn't going to work on me. RAY: What psychology? Damned if I'm going out on that ledge. DR. MARTINS: You don't have to. Good-bye, Detective. Martins eases one foot forward. RAY: OKAY-OKAY-OKAY! (climbing out on ledge) I'm coming out. Don't jump. DR. MARTINS (lets go of his hold): Sorry. RAY (calling back): Fraser! (inching toward Martins) Just hold on for one second. (calling) Fraser! DR. MARTINS: The fact is, Detective, that I know what I did. And I know what'll happen to me. And you're not going to lock me away. Martins leans over and falls off the ledge head first in SLOW MOTION. BEHIND HIM -- THE WINDOW The glass shatters in slow motion as Fraser dives through it and catches Martins by the ankles at the last second. With Dr. Martins dangling there: FRASER: Know much Shakespeare, Doctor? DR. MARTINS (beat): . . .I don't get much time to read. FRASER: You will. (as he pulls him up) Ray, you want to help me here? RAY (inching along the ledge): I'm coming, I'm coming. EXT. ST. MICHAEL'S CHURCH -- DAY establishing. Ray's car parked out front. INT. CHURCH -- STAIRWELL TO BASEMENT -- DAY Several weeks have passed. Father Flaherty, Fraser and Ray turn onto the landing of the stairs. FATHER FLAHERTY: He's just finishing up. Go on down. FRASER: Thanks. FATHER FLAHERTY: Vecchio, huh? Are you Catholic? Ray gives a look, knowing he's caught. INT. CHURCH BASEMENT -- DAY Fraser stands with Walter, as he puts his broom away in the closet. FRASER: Father Flaherty says the place has never been this clean. WALTER: Yeah, I guess I'm a little bit compulsive. He and Fraser smile. A beat. WALTER: I'm doing okay. I miss Ty. I think for the first time, I really miss Ty. FRASER: I'm sorry, Walter. WALTER: No. Don't be. It's good. In a strange way. . . it means I have him back. I'd rather miss him than forget him. Walter smiles -- but it's a sad smile. Fraser nods -- he understands. FADE OUT END OF ACT FOUR
