Regular Cast	Recurring Cast
FRASER
RAY
DIEFENBAKER
WELSH
HUEY
GARDINO
ELAINE
Guest Cast – Speaking Roles
HERB
MRS. CHAFFEY
STEG/THIEF
ANTHONY
GLADYS
IRVING
KIRK*
MOTHER
MRS. PORTER
MR. RUBENS
MRS. HARTZ
MRS. KLAPP
MRS. PUMPUTIS
OWNER
RELATIVE #1
SMALL BOY
STORE CLERK
TURNER

EXTERIOR-DAY	INTERIOR-DAY
A PASSAGEWAY	HERB’S APARTMENT
A SOUTH SIDE NEIGHBORHOOD	HERB’S APARTMENT BUILDING
ACROSS FROM PARK	HERB’S APARTMENT BUILDING - HALLWAY
ALLEY	HERB’S APARTMENT BUILDING - STAIRWAY
ANOTHER ALLEY	MERV’S NEIGHBORHOOD GUN STORE
AT THE TUNNEL
BUSINESS STREET NEAR SENIOR CITIZEN’S	POLICE STATION - BULLPEN
CENTER	POLICE STATION - ELAINE’S DESK
DEEPER INTO THE PARK	POLICE STATION – LINE UP ROOM
FRONT STOOP OF APARTMENT BUILDING	POLICE STATION – RAY’S DESK
FURTHER DOWN THE STREET	POLICE STATION – WELSH’S OFFICE
HERB’S APARTMENT BUILDING	RAY’S CAR
HERB’S APT BLDG/NEIGHBORHOOD STREETS	RAY’S CAR – IN THE PARK
MAIN STREET	SENIOR CITIZEN’S CENTER
MAZE OF ALLEYS	TUNNEL
NEIGHBORHOOD STREET
ON THE PATHWAY
PARK
PARK (CHESS AREA)
PARK - PATHWAY
RAY’S CAR
SIDE ALLEY
SOMEWHERE IN THE PARK
STREET
STREET CORNER
STREET NEAR CENTER
STREET NEAR PARK
EXTERIOR-NIGHT	INTERIOR-NIGHT
HERB’S APARTMENT BUILDING	HERB’S APARTMENT BUILDING
PARK - TUNNEL	PARK
RAY’S CAR	PARK - TUNNEL
RAY’S CAR	RAY’S CAR
RAY’S CAR – SOMEWHERE IN THE PARK	RAY’S CAR
STREET	RAY’S CAR – IN THE PARK
WE CA$H CHECKS	STEG’S APARTMENT
	STEG’S APARTMENT HALLWAY
	WE CA$H CHECKS

SCRIPT DAYS
Scenes Day/Night
1-6 DAY ONE
7-10 DAY TWO
11-22 DAY THREE
23-31 NIGHT THREE
32-35 DAY FOUR
36-52 NIGHT FOUR

PROLOGUE
FADE IN:
EXT./INT. "WE CA$H CHECKS" - NIGHT
A bitter cold winter wind blows through a neighborhood whose decrepit buildings have seen better days, much like their aging residents. Inside We Ca$h Checks' brightly lit mid-block storefront, an elderly man, HERB COLLING, is getting cash. He carefully counts his money and exits.
As he exits ANGLE IN TO SEE his face: lined and tired, eyes reflecting the cynicism and suspicion of a man living alone in a decaying part of the city. Herb pulls his overcoat up against the cold and heads north towards the four-way intersection. Hears a RUSTLE
behind him and turns. Scans the sidewalk.
HERB'S POV
Some freshly deposited JUNKMAIL blows off a stoop and across the sidewalk with old newspapers and garbage. Herb gathers his coat more tightly around him and moves on.
EXT. STREET - CONTINUOUS
He starts walking again. FOOTSTEPS. Herb stops. The FOOTSTEPS stop. Herb tries to pick up the pace but has difficulty walking quickly. He makes it to the traffic light, a little out of breath. It's red. He doesn't wait for it to change, hurries across the street. Up ahead on the east side of the street, small dumpy apartment buildings. On the west side, a park. A very dark park. We definitely hear FOOTSTEPS now. Herb risks a look --
HERB'S POV
A shadow shrinks into an alcove.
HERB
heart pounding in his chest, he walks as fast as he can toward his apartment building. The twenty yards feel like a million miles. He finally gets there. Struggles with the heavy front door. Opens it and enters. Shuts it behind him.
INT. HERB'S APARTMENT BUILDING -- CONTINUOUS
Burnt out light bulbs and peeling wallpaper. Herb climbs the stairs as fast as arthritis will allow.
As he gets to the landing, BANG. He looks down --
HERB'S POV
The front door blows shut.
HERB
hurries for the door of his apartment. Hands shaking, he fumbles for his keys. Finally gets the right one. A quick look behind him --
HALLWAY
Nothing.
BACK TO HERB
Someone hits Herb from behind, knocking him to the floor. He falls like a sack of potatoes. A shadow looms over him: A MAN.
THIEF: Give me the money.
Herb starts to get to his knees, but the thief puts a boot in his shoulder and shoves him back down. He pulls a SWITCHBLADE and threatens Herb with it.
THIEF: (CONT'D) The money.
Herb digs the money out of his pocket. The thief grabs it, stuffs it in his pocket.
THIEF: (CONT'D) Any more cash?
HERB: (terrified) No...
The thief puts a boot in the old man's back to hold him down, and frisks him roughly.
HERB: (CONT'D) Take what you want, just leave me alone.
The thief ignores him, realizes he's telling the truth and removes his boot.
THIEF: Keep your head down, understand?
With that, the Thief takes off down the stairs. Herb turns his head slightly...
ANGLE ON DOOR -- HERB'S POV
As the thief opens the door to exit, Herb catches a glimpse of his profile.
HERB
struggles to his knees. Anger and frustration come over his features as he kneels there, an old man, beaten, humiliated.
He stands, walks painfully to the door, opens it and goes inside, quietly closing it behind him.
EXT. A SOUTH SIDE NEIGHBORHOOD -- DAY
The same street we saw in the prologue. In daylight it looks a little better, but not much. Ray's car travels into shot, passing slowly through the snowy streets. Ray and Fraser in the front, Diefenbaker in the rear.
RAY: (V.O.) (in a rehearsed voice) "Safety on the street is a matter of common sense. You must ask yourself..." (beat) What -- what do you ask yourself?
INT. RAY'S CAR -- CONTINUOUS
Ray turns a panicked look on Fraser who refers to a pamphlet and prompts him.
FRASER: (off pamphlet) "You must ask yourself: Is it safe to walk in my neighborhood during the day or night?"
RAY: This neighborhood? Of course it's not safe, it's a slum! What kind of joker comes up with a safety tip like that?
FRASER: (checks back page) "The Mayor's Blue Ribbon Panel on Safety for Senior Citizens".
RAY: Yeah, a bunch of do-gooders sitting around solving other people's problems over cappuccino.
Ray pulls the car to the curb in front of a senior citizen's center -- an old single story recreation hall just inside the gates of a run-down park. He looks out the windshield, nervously.
RAY: (O.S.) (CONT'D) I'm dead, Fraser. These people are gonna eat me alive.
Fraser follows his gaze:
IN FRONT OF CENTER -- THEIR POV
Several ELDERLY PEOPLE, some with walkers and canes, are being helped through
the door by
younger RELATIVES.
FRASER: (O.S.) They hardly seem the type to pose a threat.
RAY: Fraser, six of their neighbors have been robbed and beaten in the last five weeks. We got no leads, nobody can I.D. the guy -- and Division sends me down to "reassure them?"
BACK TO SCENE
RAY: (CONT'D) Trust me -- they're gonna rip me limb from limb. (opens the door, turns back)
Maybe I should bring the baton.
FRASER: Ray...
RAY: Okay, okay.
Ray climbs out. Fraser opens his door and turns to Dief.
FRASER: Diefenbaker. (Dief doesn't move) Now, don't be selfish. I told you, taking an hour out of your day to visit with the elderly can be as rewarding an experience for you as it is for them. Dief remains sitting, unconvinced.
FRASER: (CONT'D) When was the last time I asked you to do a good turn? (off Dief's look) That was different, those were orphans and that taffy-pull was for charity.
Dief crawls down behind the seat and disappears.
FRASER: (CONT'D) I shaved it out of your hair, didn't I?
END OF PROLOGUE

ACT ONE
OMITTED
INT. SENIOR CITIZEN'S CENTER (RECREATION HALL) -- A SHORT TIME LATER
A large all-purpose room with groupings of worn sofas and card tables and chairs. There is an arts and crafts corner, a music corner with an old record player and a collection of vinyl records, but, all in all, it looks as though someone is trying too hard with too little money to make the place look bright and cheery. Instead it comes off threadbare and garish. There's also a trophy case filled with sports and community mementos. (NB. There are several pictures in the case, a mix of seniors accepting awards for community activities, receiving bowling trophies, posing with children's sports teams. In one of these, HERB COLLING, with a team of peewee baseball players).
For today's meeting the stacking chairs and sofas are lined up auditorium style.
Only a dozen or so OLDER PEOPLE and the odd DAUGHTER OR SON are in attendance, but what they lack in number they make up for in volume, as they chatter and grumble discontentedly throughout Ray's stilted attempt at a public address.
RAY: ..."Step six: How can I prevent myself from becoming a victim?" The answer to this is... (consulting pamphlet) Dead bolts. Purchase a strong dead bolt lock and be sure to keep it fastened at all times.
An elderly woman, MRS. CHAFFEY, pipes up in a contentious voice:
MRS. CHAFFEY: (to Fraser) I got a dead-bolt. Doesn't help when the door jambs are rotting.
RAY: (continuing) Also, windows should be fastened with key lock mechanisms and bars installed on lower floors.
MR. PORTER, a back man in his sixties:
MR. PORTER: Yeah? Tell that to my landlord. And while you're at it tell him to put in a hot water heater.
RAY: Sir, I appreciate your plumbing problems, but I'm not here for that.
RELATIVE #1: Then what are you here for? You sure didn't do nothing when that animal attacked my mother. I want to know what you people are going to do!
Ray clears his throat nervously, trying to enlist Fraser's help.
Fraser turns his attention from the seniors' trophy and awards cabinet he's been noting to answer.
FRASER: It is an honest question, Ray.
RAY: (aside) I realize that, Fraser, but division says I'm not supposed to answer it. I'm supposed to talk about dead bolts and window bars.
FRASER: Well, perhaps these people don't consider that a realistic solution.
RELATIVE #1: Damn right, it isn't.
RAY: (to Fraser) You want to keep your voice down?
Ray returns to his pamphlet.
RAY: (CONT'D) "When on the street, the best method of personal protection is..." (looking to crowd) Anyone?
No one responds, so...
FRASER: A positive attitude.
Ray gives Fraser a resentful look.
FRASER: (CONT'D) I was merely suggesting one shouldn't allow fear to dictate one's actions. Traveling in groups can also be a deterrent as well as provide pleasant companionship.
RAY: Fraser, these people are not going lawn bowling, they're trying to survive in an urban hell-hole.
FRASER: Well, they can try to survive in it alone, Ray, or they can meet the challenge together.
But that's up to them.
From the back of the room, a familiar voice speaks for the first time.
HERB: Easy for you to say.
A few others nod and agree.
Fraser searches out the voice and sees Herb Colling seated in the back row. He has a small bruise on his forehead from the incident in the prologue.
FRASER: Perhaps it is. I haven't lived in this neighborhood as long as you have. Where I come from, the challenges are different. There are no drug pushers or pimps and few thieves to bother with. There is only the environment and surviving in the face of it is the challenge of the Inuit. A mother gives birth, somewhere out in a glacier field hundreds of miles from the nearest outpost. She has a little boy and she knows this little boy hasn't a chance in Hades of living until the spring; disease, lack of food, so forth. And even if he does live, she knows that when the snow melts it will flood every seed she plants out of the ground and sweep what little soil there is out to sea. If she can salvage anything out of that, maybe, maybe the child might live to see another winter. Still, if he should grow to be a boy, she knows very well that all he has to do is lose his foothold on the smooth side of a glacier or take shelter in the wrong cave and meet with a grizzly and that'll be that. In other words, she already knows he can't live -- so why try? I know this woman; I helped deliver her son. She was weak, undernourished, she should have died. But the next morning she stood, gathered her child in her arms and set out again into the blinding snow. That... that was the single bravest act I've ever seen.
Dead silence in the room -- no one seems to be able to think of a thing to say.
Especially Herb on whom this speech has had a particular impact. Fraser notices Ray, just staring at him, as transfixed as the rest.
FRASER: (CONT'D) But, I'm sorry, Ray -- you were saying...?
INT. POLICE STATION (BULLPEN) -- DAY
As Ray storms across the bullpen followed by Fraser.
RAY: See, this is what's wrong with you, Fraser. You see a problem, you gotta fix it. You can't go to the men's room without stopping to tell some charmingly simple Inuit story that just happens to inspire people to take on the world's social ills.
FRASER: I'm sorry, Ray, but I fail to see how a few people banding together to form a Neighborhood Watch constitutes anarchy.
RAY: Well, at least this morning they had the good sense to be scared. Now there's going to be hordes of them out there wandering the streets doing God knows what --
FRASER: It's called "living," Ray.
Elaine steps in brandishing a message slip for Ray.
ELAINE: You got a call from the Senior Citizen's Center. Three more muggings have been reported.
RAY: Since this morning?
ELAINE: Apparently someone "inspired" them to come forward and do something about it. They're willing to try and make an identification.
Ray looks to Fraser, who shrugs innocently. Ray grabs the messages and moves on.
RAY: It's on your head, Fraser. If even one of those old people so much as slips on the ice putting up a poster, just remember -- you're the one they voted Block Captain.
FRASER: I won't forget.
Ray walks away. Fraser waits a beat, then:
FRASER: (CONT'D) (realizing) Ray, what exactly is a Block Captain?
EXT. SENIOR'S CENTER -- THE FOLLOWING DAY
Fraser (in civvies) stands beside a blue and white. Elaine (in uniform) is getting something out of
the trunk.
ELAINE: You'll be needing these.
Elaine thrusts a large dusty box into Fraser's arms.
ELAINE: (CONT'D) We ordered them the last time somebody organized a Watch in this neighborhood. The guy got shot before he could get them out of the box.
Fraser reached inside the box and pulls out a walkie talkie.
ELAINE: (CONT'D) Well, so far so good.
INT. SENIOR CITIZEN'S CENTER -- SAME DAY
A sign-up campaign for the Watch is in full swing. Elaine sits behind a table taking names from a line of volunteers. Fraser hands out walkie talkies to each person who signs up.
FRASER: (to volunteers as he passed out walkies) Thank you, Mr. Porter. Mrs. Fisher, thank you kindly.
Mister Rubens, a small portly volunteer, is next in line and eagerly accepts his walkie.
MR. RUBENS: (to Fraser) Can I keep it?
FRASER: No sir I'm afraid not.
MR. RUBENS: Do I get a badge?
FRASER: None appear to have been provided.
Mr. Rubens considers this, clearly disappointed. Then, eyeing Fraser:
MR. RUBENS: How about the hat?
FRASER: (taken aback) Oh. You mean...
Fraser points to his own hat. Mr. Rubens nods enthusiastically.
FRASER: (CONT'D) Well, I... uh...
While Fraser phumpers his way out of this we PAN TO
AN ARMCHAIR
where another senior, whom we'll call GLADYS, is chatting away to Diefenbaker who sits there suffering quietly.
GLADYS: ...it was 1942 and Benny Goodman was playing the Orpheus. I tell you I could really cut a rug back then -- swing, jive -- you name it. (reaching for a tin) Would you like a nice piece of taffy...?
Dief whines and crawls under the chair. PAN TO:
THE DANCE FLOOR
where Ray is instructing a group of ladies in the art of whistle defense.
Elaine is assisting.
RAY: (holding up a whistle) ...Anybody bothers you, you take this, you put it to your lips, you blow as hard as you can. Elaine...?
Elaine demonstrates with a short blast on her whistle.
RAY: (CONT'D) (to ladies) You think you can do that? Now take it slowly because we don't want anyone to hyperventilate. Ready... one... two...
REVERSE ANGLE
Half a dozen frail ladies let out WHISTLE BLASTS that would deafen a bull elephant.
ON RAY
reeling.
RAY: (CONT'D) That's good. Very good. (to Elaine) Is my ear bleeding?
EXT. PARK (CHESS AREA) -- DAY
A grouping of outdoor chess tables with benches, all covered with snow. Fraser passes through with a group of ladies who are putting up neighborhood watch posters. He spots Herb Colling approaching.
FRASER: Morning, Mr. Colling. I was hoping you'd join us.
HERB: I come here every day. What's new?
Herb brushes the snow off one of the benches, sits and takes out a box of chess pieces.
FRASER: The Neighborhood Watch. We could use your help.
HERB: I'm busy.
FRASER: Yes. I'm sure you are.
Herb ignores him and goes about setting up his chess pieces. Mrs. Chaffey turns to Fraser, not caring if the old man hears.
MRS. KLAPP: He keeps to himself.
Fraser tips his hat to an uncaring Herb as they move off.
OMITTED
EXT. STREET CORNER -- CONTINUOUS
Mr. Porter and Mr. Rubens, armed with flashlights and walkie talkies, are in mid argument.
MR. PORTER: No, this is my post -- Sixteenth and Morgan. It's marked right here on the map.
MR. RUBENS: You're gonna protect my building? You who twice cheated me in canasta?
MR. PORTER: I didn't cheat you, old man. You fell asleep and missed your turn!
As Fraser and Ray walk by:
RAY: Oh yeah, the neighborhood is definitely in safe hands now.
FRASER: They just need a little more drilling, Ray. They'll get the hang of it.
Fraser hands out Neighborhood Watch flyers to PASSERSBY as they move down the street.
FRASER: (CONT'D) (to passersby) Thank you... Thank you kindly. Neighborhood Watch meeting Thursday night. Hope you'll join us.
RAY: I've double-checked every statement, interviewed the neighbors, talked to every shopkeeper on the street. Nobody saw this guy, and even those that did can't describe him. It's like the guy doesn't exist.
FRASER: Maybe he doesn't. At least not to the casual observer.
RAY: He follows people through the neighborhood, beats and robs them, but nobody notices him?
FRASER: Apparently so. But we do know he's in a position to notice them. How else would he know his victim's movements well enough to know when to rob whom and when not to?
RAY: He notices them, but they don't notice him. But he's here.
FRASER: He has to be.
As Fraser returns to handing out flyers, Ray takes a good look at the pedestrians. Suddenly everyone is a suspect.
EXT. PARK -- AT THAT MOMENT
Mrs. Chaffey wearing her patrol jacket is hurrying across the park to her duty station. The park is empty, as usual. There's an unintelligible BURST OF NOISE from her walkie.
MRS. CHAFFEY: (into walkie) I'm on my way, Edith. (no response) Edith?
She fusses with it, can't get it right, shuts it off.
OMITTED.
EXT. SOMEWHERE IN THE PARK
In the shadow of a clump of trees we can just make out a figure in a dark coat and hat, waiting.
He is holding something under his coat but we can't see what it is.
EXT. ON THE PATHWAY
Mrs. Chaffey HEARS a noise in the street behind her and turns:
HER POV
A man is in the distance. Too far to make out clearly who it is.
RESUME MRS. CHAFFEY
as she turns and keeps walking.
EXT. A PASSAGEWAY -- DAY
A short but darkened tunnel lies ahead. Iron gates, now open, are at either end. Mrs. Chaffey is upon it. No turning back, she hurries forward and enters the tunnel.
HOLD ON PASSAGEWAY
And a few seconds later the man rounds the corner following the same route, heading for the tunnel. We can see his face clearly now -- it's the thief from the prologue -- and since we're getting to know him better now, we'll call him STEG.
EXT. SOMEWHERE IN THE PARK
MOVE IN on the overcoated figure. As he moves off we see that he has something hidden beneath the coat -- a weapon of some kind, but we can't tell what.
INT. TUNNEL
Mrs. Chaffey is moving as fast as she can, heading for the light at the end.
Behind her
FOOTSTEPS echoing her own. The woman hurries on, too terrified to look back.
Mrs. Chaffey struggles to put on her reading glasses as she fiddles with the dials on her walkie talkie.
AT THE MOUTH OF THE TUNNEL
Mrs. Chaffey, relieved, hurries out into the light again. She stops to catch her breath, then suddenly remembers where she is -- in the middle of the deserted park, no one in sight. Even more panicked now she struggles across the snowy pathway, pushing buttons on her walkie and speaking into it as she goes...
MRS. CHAFFEY: (into walkie) Hello?... Can anyone hear me? ... Hello...?
BACK AT THE TUNNEL
Steg strides out of the tunnel, but before his eyes can adjust to the light, a BASEBALL BAT comes out of nowhere and CRASHES into his chest. GROANING with pain he crumples to the sidewalk.
MRS. CHAFFEY
hears the man's cry and wheels around, startled, just in time to see
HER POV
Fuzzy, a little out of focus, the two figures in the distance, one wielding a bat over the other's crumpled frame.
MRS. CHAFFEY
SCREAMS REPEATEDLY, stumbling back into the trees, panic stricken.
EXT. THE PARK -- ANOTHER PLACE
Mr. Porter and Mr. Rubens hear Mrs. Chaffey's screams. He speaks into the transmitter, anxiously.
MR. PORTER: Hello...! Who's there? ...Come in, who's there??
EXT. STREET -- CONTINUOUS
With Fraser handing out flyers. His walkie talkie crackles to life.
MR. PORTER (V.O.): ...Screams down on the passageway! Call for police!
Fraser and Ray exchange looks and take off.
FRASER: (into walkie) It's alright, Mr. Porter. We're on our way.
EXT. AT THE TUNNEL
Steg lays winded on the ground, clutching his chest. He looks up, sees:
HIS POV
Herb Colling standing over him with the baseball bat in his hands, breathing hard.
HERB: (indicating his own face) See this face? Take a good look. You come back here again and it'll be the last face you see.
Herb lets the bat down and begins to move away... Steg lurches to his feet and lunges at the old man. Herb stumbles forward, manages to turn and awkwardly swings his bat at the thief's head catching him on the side and glancing off. The thief stumbles back but recovers and lurches in again, making a grab for the bat -- suddenly the SOUND OF RUNNING FOOTSTEPS from inside the tunnel. Steg makes a fast decision and takes off at a run. Herb quickly tucks the bat under his coat, and disappears into the trees.
FRASER AND RAY
burst out of the tunnel but the only person in sight is
MRS. CHAFFEY
stumbling toward them, still weeping uncontrollably. Fraser is the first to her side.
FRASER: Are you all right, Mrs. Chaffey?
MRS. CHAFFEY: He... he was following me.
RAY: Who?
MRS. CHAFFEY: I... I don't know. There were two of them...
FRASER: Ray...
Fraser's attention is on something on the ground; a crimson smear staining the snow. Fraser touches it lightly with his finger: blood.
END OF ACT ONE

ACT TWO
EXT. THE PARK -- DAY
In the b.g. a FORENSICS MAN (TURNER) studies the snowy area where the scuffle took place.
TWO UNIFORMS control the group of WATCH MEMBERS straining to get a look at the crime scene as they chatter excitedly among themselves.
Nearby Fraser and Ray sit on a park bench with Mrs. Chaffey. A THIRD UNIFORMED
OFFICER offers her some coffee from a thermos.
MRS. CHAFFEY: ...He was big, very big.
RAY: Which one, Ma'am?
MRS. CHAFFEY: The first one.
RAY: And the second one?
MRS. CHAFFEY: (thinks for a moment) He was... smaller. (hesitating) I think.
RAY: (with a look to Fraser) You think.
MRS. CHAFFEY: You see I put on my reading glasses so I could see the buttons (indicating the walkie) and then I tried to find my right glasses again, but this purse – I told my daughter don't buy me anymore of those purses with the compartments, I can't find anything in them, but she thinks she knows everything...
Ray shoots Fraser a skeptical look.
RAY: Yes, Ma'am. Now the attacker -- was he the smaller man, or the bigger one?
MRS. CHAFFEY: Oh, I couldn't say -- by the time I looked, both of them were running away.
RAY: I see. So would it be safe to say that what you actually saw was two big blurs?
MRS. CHAFFEY: (brightening) Yes. I suppose it would.
FRASER: Thank you, Mrs. Chaffey. You've been very helpful.
As Ray and Fraser move off:
RAY: No wonder he robs old people.
FRASER: (knitting on something) Why Mrs. Chaffey? It's broad daylight, she's wearing a red vest, carrying a walkie talkie. It's like mugging a bulls eye. Doesn't make sense.
RAY: Which is why he picked another victim.
FRASER: But what happened to the victim? Why would he run?
RAY: For the same reasons a lot of people don't hang around to report crimes. They're either too intimidated or too embarrassed.
FRASER: ...Maybe.
As they approach the tunnel, they meet Turner the sloppy Forensics expert, who is struggling to stuff samples into his already overstuffed medical case.
RAY: What have you got?
TURNER: Blood.
RAY: Look, Turner, we know you're a forensics expert, it says so on your car, so if you could just...
TURNER: I don't carry a lab in my back pocket, Vecchio.
RAY: Okay, how about a weapon, you want to take a stab at that?
TURNER: I don't know. Probably something big and blunt.
RAY: Have you met Mrs. Chaffey, because you two are a match made in heaven.
TURNER: You'll get my report in the morning.
Turner gathers his bulging sample case, walks off in huff.
RAY: (to Fraser, frustrated) Great, we got witnesses, we got evidence – and we still got nothing.
FRASER: What's that?
Fraser points to some footprints leading off into the trees.
FRASER: (CONT'D) There, beside the right footprint.
Ray crouches down and studies what appears to be a perfectly round indentation in the snow.
Ahead of it, beside like footprints are several other round tracks.
RAY: Looks like a crutch.
FRASER: Yes. Or something he was using as one.
Fraser is about to move off when Diefenbaker appears led on a leash by Gladys, the elderly lady from the center. Dief is wearing a crocheted sweater and tam o'shanter.
FRASER: (CONT'D) (taken aback) Diefenbaker?
Dief stops and looks up at Fraser sorrowfully.
FRASER: (CONT'D) I... I'm sorry. Really, I had no idea it would come to this.
GLADYS: (pulling on Dief's leash) Come on, Corky.
Dief shoots Fraser a betrayed look and allows Gladys to drag him off.
FRASER: (calling after Dief) There's a very nice dog biscuit in this for you. I swear.
EXT. EDGE OF PARK/NEARBY STREET -- MOMENTS LATER
As they follow the trail.
RAY: The right heel is dragging.
FRASER: Must have been injured during the assault. If the man he attacked was indeed bigger...
They approach a low retaining wall. Ray moves to step over it, but Fraser holds him back.
FRASER: (CONT'D) No, this way.
Fraser follows the prints which run parallel to the wall to a nearby opening which allows him to step out onto a path unobstructed.
FRASER: (CONT'D) He didn't climb it.
RAY: His ankle...
FRASER: Even a young man with an injury could step over that wall.
They cross through the opening in the wall which leads them out onto the sidewalk of the bordering street. As they go, a SMALL BOY eating a hamburger and dragging a baseball bat falls into step behind them, curious. As the trail continues down the sidewalk:
RAY: Okay, so he goes around the fence, hits the sidewalk, and... (stops, realizes) the prints disappear.
As Ray stops to study the ground, so does the boy.
THEIR POV
The trail of footsteps has indeed joined the trampled prints of others,
effectively disappearing.
WITH RAY AND THE BOY
RAY: (CONT'D) Good -- another dead end.
Ray sighs. The kid imitates him, also disappointed. They move on and catch up to Fraser who is a few paces ahead studying the well-trampled ground.
FRASER: It's gone -- the crutch.
Ray and the boy bend down to study the prints.
FRASER: (CONT'D) The prints are obscured but the crutch wouldn't be.
RAY: (realizing) He pitched it.
Fraser scans the neighboring houses.
FRASER'S POV
Across the street TWO CONSTRUCTION WORKERS are pushing a dumpster up the driveway of a HOUSE UNDER RENOVATION.
WITH FRASER AND RAY
FRASER: There.
as he hurries across the street toward it.
RAY: No, not the dumpster...! Not the dumpster! Fraser...!
Fraser heads for an alley between the apartment buildings. Ray follows. The boy trails after him.
OMITTED
EXT. DRIVEWAY BESIDE HOUSE
Fraser climbs in and starts sorting through the scraps of construction materiel inside. The boy stands a few feet away watching them, munching his burger.
RAY: (to Fraser) I am not climbing into another dumpster with you, don't ask, don't even suggest it. You know how many suits I've ruined frolicking in refuse?
FRASER: (handing him some pipe) Check these, will you?
RAY: It's a waste of time. Half the stuff in here could qualify as a weapon.
FRASER: It would have to be concealable. Probably under a coat.
Ray pulls out a length of pipe about the right size.
RAY: Bingo.
Fraser climbs out of the dumpster.
FRASER: (studying the pipe) That's not blood, Ray.
RAY: Sure, it's red, it's sticky.
Fraser takes a bit on his finger and tastes it.
FRASER: Catsup.
RAY: Who sits in a dumpster eating catsup?
Fraser peels something off Ray's suit jacket -- something mashed up and yucky.
FRASER: Someone who likes french fries.
Both turn and look at:
THE SMALL BOY
...and his baseball bat. The boy reacts, caught. He turns to dash off, but Ray catches him and lifts him up in his arms. As the kid struggles vainly:
RAY: Come on, now, be a good boy and give the Detective the bat.
SMALL BOY: No.
RAY: Give it.
SMALL BOY: No! I found it, get your own!
FRASER: Ray, children are just small people. All you have to do is reason with them.
Ray reluctantly sets the boy down.
FRASER: (CONT'D) (to boy) Son, that bat is evidence in a very important criminal investigation. We would be most grateful if you would cooperate.
SMALL BOY: (to Fraser) A hundred bucks.
FRASER: Ah. (turning) Ray...?
RAY: (to boy, sweetly) Kid, can you spell "penitentiary?" Let's try it together, P-E-N...
SMALL BOY: (nervous) Okay, okay!
The boy drops the bat and runs off.
SMALL BOY: (CONT'D) (calling back) Creep.
Off Fraser's look.
RAY: (defensive) I reasoned with him.
Ray picks up the bat and studies the blood stain on the wood.
RAY: (CONT'D) (to Fraser) This is definitely not catsup.
FRASER: All the other victims said the attacker used a knife. Why suddenly switch to a bat?
RAY: Who cares? This is evidence. We match up the blood types, get lucky with a print, we've got ourselves a thief!
Fraser hesitates - -then it hits him.
FRASER: I was wrong.
RAY: (knows what's coming) No -- no you weren't. We've got a crime, we've got a weapon...
FRASER: I tracked the wrong man, Ray. The man with the bat isn't the thief.
Seized with the realization, Fraser turns on his heel and rushes off toward the park.
RAY: (following) Fraser, don't do this to me... Fraser!
OMITTED
INT. PARK -- MINUTES LATER
AT A CLUMP OF TREES
A patch of trampled snow. Fraser runs his hands across it and finds a circular imprint. He takes the bat and sets it into the imprint. It matches perfectly.
FRASER: He waited here. The snow melted and re-froze under his feet. An hour, maybe longer.
RAY: You live to do this to me, don't you? No sooner do I find one piece of hard evidence that might actually put an actual criminal in jail...
FRASER: I didn't say the man with the bat isn't a criminal, Ray. He just didn't commit the crime you think he did.
Fraser hurries toward the mouth of the tunnel. Ray trudges after him.
RAY: It's the hero thing, right? One flub and you have to overcompensate.
Fraser is back where the altercation took place. He points to the two sets of tracks in the snow leading off in different directions.
FRASER: Look at the difference in the footprints. We know from his victims that the thief preys on the weak. But his man (points to victim's tracks) the man who was attacked -- has a long agile stride. While this man -- (pointing to second tracks) the one with the bat --
he limps, he can't climb a wall even to save himself. He's old, Ray. So, why would an old man try to rob someone bigger and stronger than himself?
RAY: (wavering) Maybe he felt threatened by the bigger guy.
FRASER: (thoughtfully) Yes... (indicating the bat) And maybe this was his solution.
INT. POLICE STATION (WELSH'S OFFICE) -- LATER
Fraser, Ray and Welsh -- who is none too pleased.
WELSH: (to Ray) A vigilante? I send you out to solve a simple string of robberies and you come back with a vigilante? And a senior citizen no less?
RAY: The local population voted to form a Neighborhood Watch, sir. Somebody just got a little carried away, it happens.
WELSH: (picking up bat) This is not a little carried away, Detective. This is a lot carried away.
FRASER: Lieutenant, he responsibility is entirely mine.
WELSH: Of course it is. You know, just once I would like to see someone, other than a Mountie, come into this police station and confess.
FRASER: Sir, I encouraged these people not to allow themselves to be intimidated. I had no right comparing my experiences to theirs and suggesting solutions to a problem that was far more severe in their minds than I could anticipate. If this man has taken the law into his own hands it is because I, in my arrogance and shortsightedness, allowed him to do so.
WELSH: That may be so, Constable. But before you put on the hair shirt, none of this would be happening if Detective Vecchio here had done his job and found the thief before some little old man did.
FRASER: (thoughtfully) He's right, Ray.
RAY: Thanks, Fraser.
FRASER: No, no -- about the old man. He was waiting in the park for the thief to arrive. Which means he knows the thief and knows his movements.
RAY: So we find the vigilante, we find the thief.
WELSH: Personally, I'll be thrilled if the two of you can find your way out of here.
FRASER: (to Welsh) Thank you Lieutenant. As usual, this talk has been extremely helpful.
WELSH: I'm so glad, Constable. And if there's anything else I can do to help...
FRASER: Actually, yes sir. (holding out form) I've taken the liberty of formally reprimanding myself.
WELSH: Yeah, yeah. Just put it in the file with the rest of them.
OMITTED
INT. BULLPEN -- NEAR RAY'S DESK
Fraser and Ray in conversation. There's a bulletin board on the wall beside them with a map of the park and surrounding streets and buildings, including the Senior's Center.
The diagram is dotted with push-pins marking where attacks on seniors have taken place. Around the diagram are Polaroid pictures of the victims, six in all, including Mrs. Chaffey.
RAY: There have been two male victims -- both of them were keeping watch, their partners vouched for them.
FRASER: Then it was a victim who didn't bother reporting the crime. Instead he waited and watched.
RAY: I thought the thief was somebody no one would notice.
FRASER: He is. Unless you were patient and had time on your hands -- and he didn't notice you noticing him.
RAY: Now we've got two people noticing?
Fraser studies the map.
FRASER: He would need a clear vantage point. Somewhere outside where he could see the street in both directions. (indicating on the map) The park...
RAY: Fraser, old people do not sit outside in this weather -- if somebody did he'd be noticed right away.
FRASER: (to himself) ..."I come here every day." (then) Get your coat...
Ray follows Fraser out.
EXT. NEIGHBORHOOD STREET
Stores and small businesses, people crossing in and out. We pick up on TWO YOUNG HOODS, call them ANTHONY AND KIRK, tearing down the sidewalk on bicycles and TRACK WITH THEM.
ON THE SIDEWALK
Elderly pedestrians sidestep the hoods and they ride down the sidewalk, buzzing passersby, barely missing them.
A TRUCK DRIVER grabs a bale of junkmail off the back of his delivery truck and drops it onto a pile of others on the pavement. One of the hoods swings his foot out and kicks the stack over as he passes, spilling them into the slush. The hoods laugh and keep riding.
FURTHER DOWN THE SIDEWALK
Herb stops to put some coins into a newspaper box. An off-screen commotion catches his attention.
HERB'S POV
The hoods are riding alongside MRS. HARTZ, her arms full of groceries. As one of them, Anthony, glides past he reaches into the bag and grabs a bunch of bananas off the top. She cries out, startled.
MRS. HARTZ: My fruit -- (to others) He took my fruit!
Anthony finds this hysterically funny and rips off one of the bananas, tossing it to his friend.
ON HERB
watching them, his face tight with anger.
EXT. THE PARK -- AT THAT MOMENT
POV -- THE TUNNEL
from the chess tables.
BACK TO SCENE
Fraser and Ray looking down on it. They are at the chess area. The tables sit covered with snow.
All except one.
FRASER: This is his routine. No one notices a man keeping to his routine.
RAY: You can't arrest Herb Colling for playing chess.
FRASER: The bruise on his forehead, the day of the meeting. I should have realized.
RAY: (turning away) You're not a mind-reader, Fraser, you're just a Canadian. Come on. Maybe we'll get lucky and he'll blurt out a spontaneous confession.
As they move off:
EXT. STREETS -- AT THAT MOMENT
WITH THE HOODS
as they ride double-breasted down the street tossing the banana back and forth. The second hood, Kirk, misses and the banana flies past him and into traffic. In retribution Anthony starts hammering him with one banana after another. Kirk finally grabs one and throws it back -- it's high and wild
ON ANTHONY
as he stands on his pedals reaching up to grab the banana... A baseball bat (it's a kid's wooden bat, painted red) swings into frame catching him full in the stomach. He pitches headlong over the handle bars and tumbles to the pavement, the bike skidding out from underneath him...
ON KIRK
reacting too slowly to avoid the bike as it slams into his own and sends him skidding off the sidewalk and into a parked car.
BACK TO SCENE
Anthony lies on the pavement unconscious, Kirk lays moaning against the parked car. Clerks step out of their stores and join the frozen pedestrians staring at the spectacle in disbelief. Finally someone shouts to call an ambulance. A CLERK comes to his senses and rushes back inside to find a phone.
IN THE ALLEY
Herb is pressed into a doorway out of sight. He peeks into the alley – all attention is on the boys. He tucks his baseball bat, a new one, under his coat and moves off down the alley.
ON ALLEY -- ANOTHER POV
From across the street someone is watching as Herb slips down the alley and disappears.
REVERSE ANGLE
Steg stands in a doorway, the cut on his forehead still fresh. Slung over his arm is a delivery bag full of bundled junkmail. He toys with his switchblade as he watches the old man disappear.
END OF ACT TWO

ACT THREE
EXT. NEIGHBORHOOD STREET -- LATER
Anthony's MOTHER berates a UNIFORMED COP as the Paramedics lift the boy onto a gurney.
MOTHER: ...He's just a kid! What kind of crazy person beats a kid just for acting up??
Nearby, Mr. Rubens picks up a banana off the street and peels it.
MR. RUBENS: (he turns to Mrs. Hartz) ...you mind?
Mrs. Hartz turns away disgusted. Mr. Rubens crosses through the crowd of onlookers to reveal:
Fraser bending over something in the alley. Ray walks over to him.
RAY: Tell me the kid got clumsy and tripped.
Fraser indicates a partial right footprint in the snow. Beside it is a circular indentation exactly like the ones we saw in the park.
FRASER: If he did he had help.
EXT. PARK -- MORNING (NEXT DAY)
Herb moves up the path with his chess box under his arm. As he reaches the chess area he sees
FRASER
sitting at Herb's chess table.
FRASER: Good morning Mr. Colling.
Herb hesitates for a moment, then continues forward and takes the seat opposite.
FRASER: (CONT'D) Do you mind?
HERB: It's a public park
Herb unpacks his chess pieces and sets them out, business as usual. He glances up at Fraser, who is observing the park, taking in the morning.
FRASER: Did you know this park was created in 1871 after the great fire by Richard Allen Burnside, a noted businessman and philanthropist?
Herb ignores him.
FRASER: (CONT'D) At the dedication he said it was meant for all citizen of Chicago to enjoy equally and freely. But not everyone's feeling so free about it now, are they Mr. Colling? In fact, most people are afraid to come here anymore.
Herb moves his King's Bishop to Queens Rook seven.
HERB: I'm not afraid.
FRASER: No.
Fraser lifts the old baseball bat from under the table.
FRASER: (CONT'D) I need some advice.
Herb glances at the bat briefly and continues playing.
FRASER: (CONT'D) I found this in a dumpster. Rather a nice bat. Not
something you'd just toss in the garbage.
Herb indicates Fraser's shadow which has fallen across the table.
HERB: You're in my light.
FRASER: Excuse me.
Fraser shifts over to allow the light to fall on the table. Herb moves his pieces.
FRASER: (CONT'D) The label says it's a Louisville Slugger. I thought it might be valuable. It's been well taken care of. Someone took the time to clean and oil it regularly, and see here (indicates) how the oil's worked carefully into the grain? This bat was a memento. It belonged to someone who played baseball, someone who loved the game. (offering the bat) What do you think?
Herb begrudgingly takes a look.
HERB: It's just old.
FRASER: Maybe you're right. You can't always tell. Still, if you examine it, look inside, you can sometimes tell the exact age...
Fraser takes out his hunting knife and proceeds to slice a six inch gouge in the side of the bat.
Herb tries hard not to react.
BACK TO SCENE
Fraser continues, exposing dry white wood under the polished surface.
FRASER: (CONT'D) Ah, yes. See how the oil has seeped into the wood. Sort of like the rings of a tree.
He holds the bat up close to his nose, looking at the cut intently. Herb can't keep himself from trying to peer around the bat and see what he's seeing.
FRASER: (CONT'D) It was an original.
HERB: I wouldn't know.
FRASER: I thought you would. It's your bat, isn't it?
HERB: No.
Herb begins to put away his chess pieces.
FRASER: You're sure?
HERB: Yes.
FRASER: Strange. Because there's a picture in the trophy case at the Center. A man with a boys team, smiling, holding a bat that looks very much like this. I'll have to look again.
HERB: You do that.
Herb stuffs the last chess piece into his box and moves to pick it up. Fraser sets the bat down on the chess box stopping him. Herb lifts his eyes to Fraser's, defiant.
HERB: (CONT'D) This was a nice park. Forty years ago people used to come from all over the neighborhood. On Sundays they'd have picnics, sit in the shade. There was a fountain over there. Kids used to take off their shoes and wade in it. Splashed everybody, made a hell of a noise. It was full of life. Look at it now. When the muggers and the drug addicts came people didn't fight back -- they hid, inside their homes, behind their doors. Until finally, one day they tried to come out and they couldn't. They just couldn't. It's not much, but it's my home. Why should I give it up? For them? You? No, not for anyone.
Fraser lifts the bat off the chess box, releasing it. Herb stuffs the box in his pocket and stands to leave.
FRASER: Mr. Colling?
The old man turns back.
FRASER: (CONT'D) Someone used this bat to hurt two people. Maybe one deserved it, maybe one didn't. No matter, because he won't get away with it again. The next time he tries, I'll be watching.
An expression crosses Herb's face -- a brief look of respect. He nods,
accepting the challenge, and walks away towards the Senior Center. Fraser watches him go.
OMITTED
INT. HERB'S APARTMENT BUILDING (STAIRWAY) -- A SHORT TIME LATER
Herb is climbing the stairs with Mr. Porter.
MR. PORTER: ...I go to the counter, I buy a paper. I give her a dollar, she gives me change, just like we've done a thousand times. Only this time she sees my red vest and she calls me "mister." Not Rudy; "Mister Porter."
HERB: So?
They arrive at their floor and continue down the hall.
MR. PORTER: So I winked at her. Then she winks back. We're going to bingo Saturday night. Go figure.
Herb smiles, stops at his door. Mr. Porter, with a distinct lift in his step, carries on down the hall.
INT. HERB'S APARTMENT
Herb removes his coat, opens the closet door...
STEG
lunges out at him, delivering a roundhouse blow to the side of Herb's head. He goes down like a stone, crashing into a side table.
INT. HALLWAY -- CONTINUOUS
Mr. Porter is stepping inside his apartment when he hears the noise down the
hall. He freezes,
listening... another violent sound from Herb's apartment. As he cautiously
retraces his steps down
the hall he fumbles with his walkie talkie...
INT. RAY'S CAR -- TRAVELING -- CONTINUOUS
Fraser is holding the bat on his lap as Ray drives.
RAY: ...So you decided to scare the vigilante by destroying the only piece of evidence we have against him.
FRASER: He may try again, Ray. I felt it was worth the risk.
RAY: Fraser, it's time someone told you that it's little things like this that make them not want you across the border.
Fraser's walkie crackles to life.
MR. PORTER: (V.O.) This is unit seventeen... got a problem at Parkview Towers, third floor... Copy?
FRASER: (to Ray) That's Mr. Colling's building.
EXT. RAY'S CAR -- CONTINUOUS
Does a vicious 180 and takes off.
INT. HERB'S APARTMENT
Steg really putting the boots to Herb. (But photographed in an eight o'clock kind of way.)
EXT. HERB'S APARTMENT BUILDING
Fraser and Ray out of the car, into the building.
INT. HERB'S APARTMENT
Steg has Herb pushed up against the wall and is slamming him back against it. The old man reaches for something to defend himself. His fingers find the new bat leaning against the door frame, he swings, delivering Steg a glancing blow that throws him off balance.
INT. STAIRWELL
Fraser and Ray racing up.
INT. HERB'S APARTMENT
Steg wrenches the bat out of the old man's hands, grabs his wrist, twists his arm behind his back, raises the bat -- suddenly
THE DOOR
furious pounding from the other side.
INT. HALLWAY
Fraser and Ray pounding at the door. Mr. Porter beside them.
RAY: Mr. Colling, it's the police. Open up!
INT. HERB'S APARTMENT -- CONTINUOUS
Steg throws a look to the door. It's just enough for Herb to break away from him. Steg is about to give chase, looks at the door one more time, the pounding increasing in intensity, and drops the bat, heading for the balcony.
EXT. HERB'S APARTMENT BUILDING
Steg leaps off the balcony, hitting the ground running
INSIDE
Fraser and Ray finally force the door, find Herb crumpled on the floor. Ray goes for the phone, dials 911.
MR. PORTER: (pointing) He went out there.
FRASER
Bolts through the door to the balcony, and in one smooth motion is over the edge.
MR. PORTER: (CONT'D) (on his walkie) Calling all units. Intruder heading west through the quad.
EXT. HERB'S APT BLDG/NEIGHBORHOOD STREETS -- CONTINUOUS
MRS. KLAPP AND MRS. HART
on patrol, see Steg race down the alleyway between buildings.
MRS. KLAPP: (into walkie) He's in the alley!
CUT TO:
FRASER
running, hears it over his walkie, presses the receiver.
FRASER: Thank you, Mrs. Klapp.
Fraser leaps a hedge and dashes into the alley.
CUT TO:
EXT. MAZE OF ALLEYS -- CONTINUOUS
Steg ducks out of one alley and down another, stumbling over trash cans.
ANGLE TO REVEAL
Mr. Rubens looking down from his apartment window above.
MR. RUBENS: (into walkie) I got him!
FRASER
running past the alley, hears the call.
MR. RUBENS: (V.O.) (CONT'D) He's heading south, behind the building!
FRASER: (into walkie) Roger.
Fraser backtracks, turns down the side alley...
EXT. SIDE ALLEY -- CONTINUOUS
and runs smack into the pile of metal trash cans spilled over, rolling around on their sides! He leaps up onto the first one and, like an expert lumberjack, fast-steps over the rest like they were rolling logs.
MR. RUBENS: (V.O.) (through walkie) Watch out for the trash cans.
Fraser jumps off the last one and carries on.
FRASER: (into walkie) Thank you, Mr. Rubens.
EXT. ANOTHER ALLEY
Steg finds himself at a dead end -- the brick wall of a one-story garage barring his way. He grabs for a drainpipe and starts hoisting himself up.
CONTINUED:
Fraser appears behind him, takes a run at the wall and grabs for Steg's leg.
Steg delivers a vicious kick and sends Fraser sailing back to the ground.
ANGLE ON A BUILDING WINDOW
Gladys sees this through the rear window of her apartment. She opens the window and turns to Diefenbaker beside her.
GLADYS: Sic 'em, Corky!
Diefenbaker jumps out the window and down the fire escape, tam o'shanter flapping as he goes.
ON THE GARAGE ROOF
Fraser has a grip on Steg who is struggling to pull himself up on to the roof.
Steg pulls his knife -
- jabs at Fraser's hand -- Fraser pulls back, hanging by one hand from the rain gutter.
DIEFENBAKER
navigates a plank stretching across the alley from the fire escape to the garage roof, looking something like a Scottish tight-rope walker. He reaches a ladder leading up to the roof and starts to climb.
ON THE GARAGE ROOF
Steg is up on his feet, racing across the roof toward the top of the ladder reaching up from the alley below. As he climbs on:
FRASER
pulls himself up onto the roof and gives chase.
ON THE LADDER
Steg hurries down, only to meet
DIEFENBAKER
coming up from below.
STEG
startled, loses his grip and tumbles back off the ladder and onto the alley floor...
EXT. ALLEY
Fraser climbs down the ladder to where Steg lies moaning on the ground.
Diefenbaker steps in, drops his tam o'shanter at Fraser's feet -- "So, there" -- and walks past. At the bottom of the fire escape Gladys meets Diefenbaker and gives him a pat.
GLADYS: You've lost your tam o'shanter. Never mind, I'll make you another.
On Diefenbaker's suffering look:
INT. POLICE STATION -- LINE UP ROOM -- DAY
Welsh, Gardino, Fraser, Ray and Herb. All standing in the darkened viewing room as Steg is led in amongst a group of men. One of them is Huey. Gardino, running the lineup, starts giving instructions:
GARDINO: Turn left... turn right...
This take s a long time.
HERB
Intently watching Steg.
GARDINO: (CONT'D) Face front...
IN THE VIEWING ROOM
The cops watching the line up, glancing at Herb, trying to judge his reaction. Nothing.
GARDINO: (CONT'D) You recognize any of these men Mr. Colling?
A long silence. Herb keeps his gaze fixed on Steg. Welsh looks from Herb to Ray. Ray shrugs, uneasy.
WELSH: Mr. Colling?
HERB: No.
RAY: No? The man slammed the back of your head into the wall repeatedly. Don't tell me you didn't see his face.
WELSH: (warning) Vecchio... (to Herb) Perhaps you'd like to take another look.
HERB: I've seen enough.
Welsh reluctantly nods to Steg in the lineup.
WELSH: Cut him loose.
Welsh exits. Gardino takes one more look at Herb, and follows. Back in the line-up room, Huey and some of the others begin to file out. Fraser turns to Herb.
FRASER: This won't end here. He knows you, where you live, he knows you've seen his face.
HERB: It will end.
FRASER: Yes, and someone will die.
HERB: So be it.
Herb turns to leave, Fraser holds him back.
FRASER: You had the strength to swing that bat, Mr. Colling. You have the strength to put it down.
Colling glares at him, then pushes past and out the door.
INT. HALLWAY -- CONTINUOUS
The door to the line-up room opens. Steg steps out, accompanied by a UNIFORM
COP. He turns and sees Herb. They lock eyes for a moment.
FRASER AND RAY
Watch this.
STEG
grins at Herb, walks toward and past him, brushing by Herb as he goes. Herb waits a moment, then follows.
ON FRASER
watching him go.
OMITTED
END OF ACT THREE

ACT FOUR
INT. POLICE STATION -- RAY'S DESK -- LATER
Ray is typing a form two-fingered on his typewriter. He's ignoring Fraser, who sits opposite, brooding as Mounties do at times like this.
RAY: (without looking up) What?
FRASER: Nothing.
A long silence.
FRASER: (CONT'D) But I can't help feeling...
RAY: See? There's your problem. You have to keep feelings out of it. That way, it's just a case.
A docket with a number and file attached.
FRASER: Yes, I suppose that's prudent.
Ray hits a couple of keys on the typewriter.
FRASER: (CONT'D) (without looking) That's an "H."
RAY: What?
FRASER: "Offender." You meant to hit a "D", you hit an "H."
RAY: You heard that?
Fraser shrugs. Ray goes back to his form.
FRASER: (a beat, then:) Still, I can't help feeling...
RAY: (interrupting) Fraser, he had his chance. There's nothing more we can do for the guy.
FRASER: You're right.
Ray goes back to typing.
FRASER: (CONT'D) That's a "z", you want an "s"...
RAY: Will you stop that?! It's very unnerving.
FRASER: I'm sorry.
RAY: (after a moment) You don't know what the old guy's gonna do. Maybe he learned his lesson.
FRASER: He's determined. And he's desperate.
RAY: He doesn't want our help!
FRASER: Of course, Ray.
A long beat, as Ray goes back to his form. A moment passes. Ray hits another key, Fraser turns to comment...
RAY: Okay, I'm getting up, I'm leaving. Happy?
FRASER: I was just going to compliment you on your spacing...
RAY: Right. (grabbing his coat, gun from the desk) Come on. Maybe we can't help your friend -- but the least we can do is sit on his playmate.
Fraser follows him out the door.
INT. "MERV'S NEIGHBORHOOD GUN STORE" -- DAY
The dirty glass door and grimy windows covered by heavy steel bars. A CUSTOMER
crosses into the store, checking out the cases of weapons as he goes. The helpful OWNER is talking to someone we can't see.
OWNER (O.S.): Here's your ID back. You check out just fine. Now, there's normally a three day cooling off period, but you look like a reasonable man to me, so in your case, we can waive it. (winks) You're not going to run out and shoot anyone, now, are you Mr. Colling?
REVEAL HERB
at the counter, signing a gun registration. He looks nervous, but a little relieved. The Owner, anxious for the sale, grabs the registration away from Herb as soon as he finishes it.
HERB: That's it?
The owner smiles, pushes a box across the counter.
OWNER: You've chosen a fine gun, sir. If you have any trouble, give me a call.
Herb counts him three one hundred dollar bills, takes the box and starts quickly to the door, hands shaking as the box disappears into his pocket.
OWNER: (O.S.) (CONT'D) Sir, wait a minute.
HERB
anxious, almost can't bear to turn. But he does. The owner has pulled out several small boxes, holds one up.
OWNER: (CONT'D) Bullets. You didn't ask for any, but .22 caliber snubbies are two-for-one this month, and with a seniors discount, well, it's a hell of a deal...
Herb hesitates for a moment. Then:
HERB: Just one box.
As he advances towards the counter and takes the bullets we see two TEENAGERS
perusing the guns in the display case. The owner finishes with Herb and moves over to them.
OWNER: (big smile) What can I do for you, gentlemen?
CUT TO:
INT. STEG'S APARTMENT -- NIGHT
Steg comes in, right from the station. He's antsy. Throws his coat on the ramshackle couch. Goes to the phone.
STEG: (dials 411) Give me the number for the Transit Authority.
Steg hangs up and dials.
STEG: (CONT'D) Yeah... a ticket to Philly... how much?
He opens the fridge, pulls out a mayonnaise jar, dumps the contents on the counter, sorts through it while he waits. There's about forty bucks in small bills and change – not enough.
STEG: (CONT'D) Yeah... No, no credit card -- forget it.
He stuffs the money in his pocket. Reaches over to pick up a flyer advertising "WE CA$H CHECKS".
REVEAL
a large pile of junk mail and coupons. Much of it is still in its original bales. Beside the pile is a delivery bag, the one Steg uses to make his rounds.
BACK TO SCENE
He dials the number.
STEG: (CONT'D) How late are you open?
INT. HERB'S APARTMENT BUILDING -- NIGHT
Herb makes his way up the stairs. The heavy weight of the gun swings against his thigh as he climbs.
AT THE TOP OF THE STAIRS
He pauses to catch his breath. IRVING LITINSKY, also seventies, Herb's
neighbor, exits his apartment. He's got a brown, federal government envelope in his hand. Herb immediately straightens up, covers the heavy bulge in his coat.
HERB: (nods) Irving.
Irving walks with difficulty, his breathing labored, raspy, a cigarette between yellowed teeth. He catches Herb looking.
IRVING: (without irony) I should quit, one of these days.
HERB: Yes.
IRVING: But who would care? Not my son. He's supposed to be here every Thursday end of the month. Take me to the check cash. Do you think he could make it? No. Phones me up. Has to work -- could I make it on my own. I say sure, isn't that what I've been doing for the last
seventy years? (coughs, pats the check in his pocket) So... I'm off.
Irving turns to close and lock his door.
HERB: Irving, I just remembered. I left a package at Azarelo's market, up the street. I have to go there now.
Irving turns to look at him.
HERB: (CONT'D) You want me to go to the check cash for you?
IRVING: (coughing) I can make it you know.
HERB: (humoring) I know. But no need for both of us to make the same trip.
Irving nods, puts his key in the lock to open his door.
INT. STEG'S APARTMENT HALLWAY -- NIGHT
Ray knocking on Stegwell's door.
RAY: It's the police Mr. Steg, open up. (to Fraser) Now just stand back and watch how we do things here in America. No neighborhood watch, no caring for your fellow man. Just good old fashioned intimidation.
FRASER: Your methods are a continuous source of inspiration to me, Ray.
RAY: (genuinely pleased) Thank you.
Ray gives the door one hard kick...
INT. STEG'S APARTMENT
The door flies open, wood splintering everywhere.
ANGLE
The apartment's a mess, just like Steg left it. Ray glances at the counter, sees the mayonnaise jar on its side. Fraser steps over the stacks of junk mail and coupons to get into the back room. No sign of Steg. They share a look and then leave the apartment.
CUT TO:
INT. RAY'S CAR -- TRAVELING -- NIGHT
Ray is on the overhead mic with Elaine.
RAY: (into mic) You sure he didn't answer?
ELAINE: (V.O.) I made the call, didn't I?
RAY: What about the Senior's Center?
ELAINE: (V.O.) No luck there, either.
As they near the apartment complex, Fraser looks out the window, notices something.
EXT. RAY'S CAR -- TRAVELING -- NIGHT
FRASER: (V.O.) There he is.
EXT. HERB'S APARTMENT BUILDING - CONTINUOUS
Herb's distinctive coat and hat (whatever they are...) are visible from the street. The car pulls up, and Fraser and Ray get out, moving quickly towards the shuffling figure who's heading for a garbage can beside the front door, garbage bag in hand.
FRASER: Mr. Colling. (no response) Herb!
Startled, the figure turns towards them. It's not Herb, it's Irving.
RAY: Where's Herb?
IRVING: There (points across the park) At the check cash for me.
RAY: That's his coat.
IRVING: He asked to borrow mine. Said he needed it for something...
FRASER: How long ago did he leave?
IRVING: (concerned) What's wrong...
INT./EXT. "WE CA$H CHECKS" -- NIGHT
Herb, dressed as Irving. He wears a hat and a big muffler wrapped around his face against the cold.
OUTSIDE
Steg, in the shadows, lurking in the alcove of a door.
STEG'S POV
As Herb/Irving cashes his check. Sees the money handed over the counter. It's more than enough to get Steg to Cleveland.
BACK TO SCENE
Herb exits the check cash. Looks up the street. Senses the presence in the alcove. Turns and moves off down the street.
HERB'S POV
JUNK MAIL blowing in the wind
STEG
Takes a quick look at Herb/Irving, melts into the night.
INT. RAY'S CAR - TRAVELING -- CONTINUOUS
Ray's navigating through traffic. The park on their right.
EXT. STREET -- CONTINUOUS
"We Ca$h Checks" in the background as Herb/Irving makes his way slowly up the street. Herb takes an occasional look over his shoulder, but can see no sign of Steg. He pats the gun inside his coat and moves on.
ANGLE -- NEAR "WE CA$H CHECKS"
Herb/Irving far down the street
EXTREME FOREGROUND
Steg comes into frame. Turns to look, making sure no one is following him, takes one more look at Herb/Irving, then jumps over the retaining wall and disappears into the park.
HERB/IRVING
Takes a look behind him just in time to see Steg going over the wall. He quickly finds a break in the retaining wall and heads down some stairs into the park.
EXT./INT. "WE CA$H CHECKS" -- MOMENTS LATER
The Riv pulls to the curb. Ray and Fraser climb out, Ray runs into the Cash Check. Fraser hesitates at the door; a half bale of undelivered junk mail sits on the stoop. He looks at it, something coming together. Ray steps back out again.
RAY: Just missed him. (scanning street) They didn't take the streets back.
FRASER: (on his own track) He doesn't follow them home, Ray.
RAY: What?
FRASER: He waits for them. He already knows where they live: he delivers junk mail to their doors.
With a sudden realization, Fraser turns and scans the park.
FRASER: (CONT'D) He watches them cash their checks, then cuts across the park to get there first.
Fraser moves to climb into the car. Ray fires up the engine and the car roars toward the park.
INT. TUNNEL -- NIGHT
Steg's making good time. He's almost through, when he notices the gate at the end of the tunnel is closed. He reaches the end. Tries to push the gate open. It's locked.
ANGLE -- MOVING
with Steg as he makes his way quickly back down the tunnel. He nears the far end as:
A FIGURE
steps out of the shadows, blocking his way out. It's Herb, the gun pointed at Steg's chest.
Steg's eyes narrow. He hesitates. The figure doesn't move.
STEG: Don't be stupid old man.
Herb cocks the gun. Steg backs away, hands up in a defensive position. He knows he can't go back up the way he came, so he has to go through.
STEG: (CONT'D) Okay, okay.
INT./EXT. RAY'S CAR -- TRAVELING -- CONTINUOUS
Racing into the park.
Passing a SAW HORSE with a sign at the entrance indicating the thoroughfare is closed until 7:00 AM. Ray ignores it, crashes through the barrier, sends it flying.
EXT. PARK -- TUNNEL
Steg's talking fast, sizing Herb up.
STEG: You ain't gonna shoot me. You're old, you can't see -- you can't even hold that thing straight.
Steg starts moving slowly toward Herb, hoping to unnerve. It does. Herb shoots -- misses. The bullet ricochets through the tunnel. Steg throws himself to the ground, not taking any more chances.
INT. RAY'S CAR -- IN THE PARK
Barreling through the park. Fraser hears the report of the gun, reacts.
FRASER: Gunfire.
RAY: I know a shortcut.
Ray pulls the wheel...
EXT. RAY'S CAR
Veers off the roadway, and ploughs across the park among the trees.
EXT. PARK -- TUNNEL
Steg is fairly terrified now. He's cowering on the ground as Herb, calmer now, trains his gun on him.
HERB: You don't like this. You're frightened. I could take your money – I could take your life. You don't know which. Which one should I take?
STEG: (grabbing for his wallet) Here -- fifty bucks!
HERB: No. I don't want your money.
EXT. RAY'S CAR - SOMEWHERE IN THE PARK
Bouncing across the landscaping, weaving around trees.
FRASER: (V.O.) Ray -- sapling at twelve o'clock.
The Riviera demolishes it.
RAY: (V.O.) Got it.
EXT. PARK -- TUNNEL - CONTINUOUS
They both HEAR THE CAR. Herb freezes.
INT. RAY'S CAR
Fraser looking intently.
FRASER: There.
FRASER'S POV
In the glare of the headlights. The tunnel, Herb standing over Steg, gun drawn.
EXT. PARK -- TUNNEL -- CONTINUOUS
The Riviera skids to a stop in a spray of snow, sleet and saplings. Herb turns his attention away from Steg.
STEG
scrambles to his feet. Herb turns on him.
HERB: (aiming the gun) No!
Steg freezes in his tracks.
ANGLE
Ray takes up position behind the car, gun out, trained on Herb.
RAY: Drop the gun!
FRASER
Closes the car door, proceeds to walk toward Herb.
HERB: (to Fraser) What are you doing?!
FRASER: You're planning on shooting this man, aren't you?
Herb keeps the gun leveled at Steg.
FRASER: (CONT'D) Right, then.
Fraser steps between them, into the path of Herb's gun. A frozen moment – Herb stares at Fraser, Ray stares at Fraser, Fraser just stands there, calmly...
RAY: Fraser... what are you doing?
FRASER: I'm letting him shoot me, Ray. (to Herb) That isn't a problem for you, is it? You've already taken the law into your own hands twice, it should be easy.
RAY: Have you thought about this, Fraser? Because I'd hate to think this wasn't thought through.
FRASER: It's quite simple, Ray. All Mr. Colling has to do is shoot me, and then he can shoot him.
RAY: Oh... well then. As long as you have a plan.
Steg is looking over Fraser, who has his back to him.
HERB: Get out of the way. It's him I want. Just him.
Fraser keeps between them. Steg can't believe his luck.
FRASER: I see. It's him you want off the streets. Understandable – he attacked you, stole your money. Fine. Who else should go? Who else is bad enough they deserve killing?
HERB: This man is evil.
FRASER: And the boys you attacked, how about them?
HERB: They needed a lesson.
FRASER: So why didn't you shoot them?
HERB: It's not the same.
FRASER: Sure it is. (indicating Steg) People like them took this neighborhood away from you.
Now you are taking it back. You will decide who is good enough to walk the streets and sit in the park - -who should be protected and who should be punished. And if someone who disagrees with you just happens to get in the way... (lets it sit) You shoot us both and he'll never go back on the street, never hurt another person. I can see your logic -- it's a good idea.
Herb hesitates.
STEG
inching toward Fraser, slowly reaches for his knife.
FRASER
senses it but doesn't move.
FRASER: (CONT'D) If you wait any longer, he's going to stab me in the back. So if you'd rather not shoot me, then just wait a couple of moments, and he'll kill me in order to get to you.
RAY
whips his gun over the Steg... then back to Herb... then to Steg...
BACK TO SCENE
FRASER: (CONT'D) It's alright, Ray. Either way, I'm going to get shot or stabbed. (turning to Herb) Isn't that right, Mr. Colling?
Herb looks at Steg, then at Fraser. Then slowly lowers his gun.
RAY: Freeze! Just drop it - slow!
Herb lets the gun fall to the ground. Herb looks to Fraser, shaken.
HERB: I would have killed you.
FRASER: Yes. I know.
Ray moves in.
RAY: (to Steg) Don't move. (turning) Good plan, Fraser. You're alive, they're alive, and I've got about thirty seconds left on my lifespan.
FRASER: Actually, it wasn't really a plan, Ray. I was kind of making it up as I went along.
RAY: (with mock surprise) Not you, Fraser.
FRASER: Yes, Ray.
RAY: Imagine that.
Ray reaches down to pick up the gun. As he does, Steg makes a break for it.
FRASER
Blocks his way.
STEG
Swings the knife towards him.
RAY
sees the knife slicing toward Fraser's back -- raises his gun -- shoots --
ON STEG
as the bullet skims past Steg's head and RICOCHETS off the wall behind him.
Steg stumbles back dropping the knife and falls to the ground.
BACK TO SCENE
Ray scoops up the knife.
RAY: (CONT'D) (to Fraser) I was making that up too.
EXT. PARK -- DAY
The chess area. Herb sits at his usual table playing chess. Anthony, the boy he attacked, sits opposite him.
ANTHONY: How much time did they give you?
HERB: Six months community service. You?
ANTHONY: Five months. Suspended.
Herb looks up.
ANTHONY: (CONT'D) I'm just a kid.
HERB: (smiles, indicates game) Play.
ANTHONY: Why do we have to sit here? It's freezing.
HERB: Because I like it. Did you know there used to be a fountain over there?
ANTHONY: Who cares?
HERB: I do. You sit here long enough, maybe you will too. Play.
Anthony reluctantly makes his move.
ANGLE
to reveal Fraser and Diefenbaker in front of the senior's center. Gladys hands a package to Fraser.
GLADYS: I've packed his sweater, and a nice new tam o'shanter. He loves it so.
Diefenbaker whines and crosses behind Fraser.
FRASER: Thank you kindly, Ma'am.
Gladys waves to Diefenbaker as she moves off.
GLADYS: See you Saturday, Corky.
Diefenbaker looks up at Fraser in disbelief.
FRASER: (caught) Just for an hour.
Diefenbaker turns and starts walking out of the park.
FRASER: (CONT'D) (following) Half an hour. (Dief keeps walking) Ten minutes and then we'll burn the tam o'shanter, I promise...
END OF ACT FOUR