Script: The Deal
"THE DEAL"
by
Peter Lefcourt
PUBLISHED DRAFT
February 16, 1995
Episode #17 "THE DEAL" Published Draft
CAST
Regular Cast Recurring Characters
FRASER FRASER SENIOR (VO)
RAY FRANCESCA
DIEFENBAKER FATHER BEHAN
WELSH
HUEY
GARDINO
ELAINE
Guest Cast-Speaking Roles
ZUKO LITTLE GIRL
JOEY ORGANIST
CHARLIE PLAYER
PRIEST
CABRINI ROSE
CHOIR MEMBER #1 STORE CLERK
CHOIR MEMBER #2 URSULA
CHOIR MEMBER #3 WISE GUY #1
CHOIR MEMBER #4 WISE GUY #2
ELDERLY WOMAN WISE GUY #3
HEAD MOVER
IRISH LANDLADY
KENNY

Episode #17 "THE DEAL"-Published Draft
SETS
EXTERIOR-DAY INTERIOR-DAY
CHEAP ROOMING HOUSE ANOTHER HOTEL LOBBY
CHURCH BEDROOM
GRANT STREET CHEAP ROOMING HOUSE
ROOF OF THE REAR PORCH CHURCH-CHOIR LOFT
ROOMING HOUSE-FRONT DOOR CHURCH-PEWS (CANDLE RACK)
ROOMING HOUSE-PORCH CHURCH-VESTIBULE
SHOEMAKER'S SHOP FRASER'S APARTMENT
SIDE HOUSE FRASER'S BUILDING-HALLWAY & STAIRS
SIDEWALK GYMNASIUM BASKETBALL COURT
STREET IN FRONT OF CHURCH HOTEL
STREET IN FRONT OF ZUKO'S HOME JOEY'S ROOM
LINGERIE SHOP
POLICE STATION-BULLPEN
ROOMING HOUSE-HALLWAY
ROOMING HOUSE-STAIRS/HALLWAY
ROOMING HOUSE PARLOR
ZUKO'S HOME-DEN
ZUKO'S HOME-FOYER
EXTERIOR-NIGHT INTERIOR-NIGHT
DOWNTOWN BUS STATION BUS STATION
STREET IN FRONT OF GYM GYMNASIUM BASKETBALL COURT
FRASER'S APARTMENT
POLICE STATION-BULLPEN
POLICE STATION-INTERROGATION RM
POLICE STATION-WELSH'S OFFICE
RAY'S BEDROOM
SUBTERRANEAN LEVEL
TUNNEL

PROLOGUE
FADE IN:
EXT. CHURCH -- DAY
A Catholic church on the west side of Chicago. Old, fairly large. A man approaches the front steps. He is insufficiently dressed against the cold, a threadbare jacket, collar up, in spite of the chilly temperature: JOEY PAGLIA stands for a long moment looking at the church, as if trying to make a decision. When he finally does, he walks up the steps of the church and enters.
INT. CHURCH (VESTIBULE) -- CONTINUOUS
Paglia enters to find that the vestibule is filled with WOMEN, all whispering excitedly to each other as they make their way up the stairs toward the choir loft. Paglia removes his cap and makes his way around the women into the church.
INT. CHOIR LOFT -- CONTINUOUS
A loft with several rows of benches that looks down on the sanctuary below. (N.B. the rear pews in the sanctuary should not be visible from the loft.) At the organ, the church ORGANIST is warming up on the keyboards. FATHER BEHAN stands to one side with RAY, watching with amazement as excited women push their way into the choir stalls, edging each other out of the way as they vie for the few remaining seats.
FATHER BEHAN
It's a miracle. We've never had so many people wanting to join our choir. You've done a wonderful thing, Raymond.
RAY
It's nothing, father; I just pulled out my little black book and made a few calls, they were happy to oblige. (to a stunner who is hurrying in) Ursula, thanks for coming.
URSULA
Yeah-yeah-get out of my way.
Ursula hurries off into the crowd of women.
RAY
(calling after her) We'll talk after.
Follow Ursula to find Fraser in the front row, surrounded by flirting female choir members of all ages, and flustered by all the attention. The TWO WOMEN closest to him are squabbling over the empty seat next to him.
CHOIR MEMBER #1
It's my chair, I sit here every week.
CHOIR MEMBER #2
Well this week it's mine.
A THIRD CHOIR MEMBER looks at Fraser, adoringly.
CHOIR MEMBER #3
Would you like to borrow my pitch pipe?
FRASER
Thank you, that's very kind of you, but--
CHOIR MEMBER #4
Didn't I see you at the church singles dance the other night?
FRASER
Actually I'm not a member of the congregation. My friend and I just stopped by to visit Father Behan... or so I thought.
Fraser shoots Ray a betrayed look. Ray grins and waves back, pretending to misunderstand.
FATHER BEHAN
He did volunteer for this, didn't he?
RAY
(to Father Behan) Absolutely, Father. You know how it is with Mounties -- any excuse to burst into song.
The ORGANIST taps her baton on the keys to call attention.
ORGANIST
Alright, ladies... (with a smile) and Constable Fraser... (everyone giggles) turn to Hymn one-oh-three...
A commotion begins at the back of the stalls as a late arrival starts pushing her way through the crowd, eschewing the aisle and climbing directly over the seats. Ray looks up and reacts.
RAY
Oh God. (remembering Behan) Sorry, Father.
FATHER BEHAN
Isn't that your sister?
RAY
Yes, Father.
FATHER BEHAN
Oh god.
FRANCESCA VECCHIO appears, elbowing women aside. She squeezes her way into the spot just behind Fraser, settles herself, opens her hymnal, and then glances up at Fraser as though just noticing.
FRANCESCA
Oh, Benton. What a surprise. You sing, too?
FRASER
So I'm told.
FRANCESCA
(big smile) How nice. (to Woman next to him) Move it or lose your foot.
The woman knows when to retreat. Franny climbs down beside Fraser. The ORGAN MUSIC BEGINS, they begin singing and we TILT DOWN TO:
INT. THE CHURCH PEWS BELOW (CANDLE RACK AREA) -- CONTINUOUS
As Joey picks up the taper to light a candle, he reaches into his pocket to pull out some money to put into the dish. All he comes up with is a wrinkled dollar bill and some coins. Even this he can't afford. He sets down the taper, stuffs the money back in his pocket and moves instead to a rear pew. He genuflects and kneels to pray.
ANGLE - A PEW NEAR THE FRONT
where two men are sitting side by side. In contrast to Joey, they are both well-dressed in expensive but understated business attire. FRANK ZUKO is in his early thirties. He's a good looking man, young, well-groomed, a bit on the preppy side. His is speaking with an older man TOMMY CABRINI in his sixties -- someone who would be his father's age. They are speaking quietly. Zuko's attitude is casual, Cabrini's somewhat anxious.
CABRINI
I'm only asking for the same terms your father gave me.
ZUKO
My father was a very generous man. I'm sure he's in heaven. (points to his bandaged wrist) Look at this, I'm playing pickup, I got the ball and some real estate broker charges me and practically breaks my arm.
CABRINI
We go back a long way, I've been doing business with your family for forty years. I made good every time. This isn't right.
ZUKO
Are you accusing me of being unjust, Tommy?
Cabrini knows he went too far and starts to backpeddle.
CABRINI
No. I wouldn't do that, Mr. Zuko.
ZUKO
(a threat) Good. Because I would hate to think that I failed to earn your respect.
Cabrini is scared now, and should be.
CABRINI
No, the deal's fine, I'll take the deal.
ZUKO
(casually) If that's what you want.
Zuko blesses himself and heads down the aisle toward the exit. Cabrini does the same and catches up with him.
ZUKO (CONT'D)
So, you wanna shoot some baskets, Saturday?
CABRINI
Me?
ZUKO
Yeah, you.
CABRINI
(having no choice) Sure.
Zuko and Cabrini pass
PAGLIA
who averts his eyes. They pay no attention to him.
JOEY'S POV
Zuko reaches into his wallet and takes out a $100 bill, stuffing it into the poor box as he exits.
JOEY
watches, obviously envious of the money so casually tossed away.
INT. CHOIR LOFT -- CONTINUOUS
As Fraser sings along with the rest of the choir, Francesca chatters away to him.
FRANCESCA
(never taking a breath:) ...Anyway, I'm sitting there having my nails done, and it suddenly hits me like a ton of bricks. "This guy is never going to make the first move." So, I say to myself "Ask him out", to which I reply: "But what if it goes badly, what if we go to dinner and I have food between my teeth or something and he turns off to me." I mean, there are a lot of risks involved in eating with someone for the first time, so I figure "ask him out for drinks", but then I say "He's a mountie, you putz, he doesn't drink."
Fraser's high note sounds more than a little panicked.
INT. CHURCH. (PEWS) -- CONTINUOUS
Paglia climbs out of the pew, genuflects, and moves up the aisle to the rear of the church, pulling up his collar and putting on his cap as he goes. He approaches the poor box he hesitates, then stops and looks around.
JOEY'S POV - PANNING
Except for the choir members out of view in the loft above, the church is completely empty.
RESUME JOEY
He makes the decision, reaches into the inside pocket of his jacket, takes out a strange-looking, sharp-edged implement (a bindlestich). After looking around him once more, he pries open the poor box with it.
BACK WITH FRASER AND FRANCESCA
Fraser singing even louder. It doesn't phase Franny for a second. Neither do the stares from the Organist and other choir members, or the looks that Father Behan and an embarrassed Ray exchange.
FRANCESCA
Sure, it's dark in the movie theatre, but there could be people around. So I think, why do we have to play these games? We're both adults, we both know what we want--
Fraser sings louder.
INT. CHURCH VESTIBULE -- CONTINUOUS
The lid has been pried off the poor box, it's a small lock left dangling. Paglia reaches in, coming up with the hundred dollar bill and some other small bills. As he stuffs the money into his pocket, AN ELDERLY WOMAN steps through the doors, surprising him. Before she can get a look at him, Paglia, panicked, pushes past her and runs.
INT. CHOIR LOFT -- CONTINUOUS
FRANCESCA
--So, you want to have sex?
Fraser hears the ELDERLY WOMAN'S SCREAM. Rescued in the nick of time.
FRASER
Oh, darn. Excuse me.
Fraser leaps over the balcony to freedom.
INT. CHURCH (PEWS) -- CONTINUOUS
Fraser lands in the aisle. The elderly women points out the door, breathless.
ELDERLY WOMAN
Thief! Thief!
As Fraser races for the door.
INTERIOR. CHOIR LOFT
The Organist has stopped playing, all the women are leaning over the balcony, watching in stunned silence. The woman next to Francesca gives her a dirty look.
FRANCESCA
EXT. STREET IN FRONT OF CHURCH -- CONTINUOUS
At the corner, Paglia approaches a woman carrying groceries and pushing a stroller. As he falls beside her:
JOEY
(to mother) Can I help you with that?
He takes the groceries out of her arms and forces himself to walk slowly beside her.
AT THE FRONT DOORS
Fraser bursts through, runs down the steps.
THE STREET -- HIS POV
Just a family on their way home from the market.
FRASER
scans the rest of the street, puzzled.
FADE OUT:
END OF PROLOGUE
ACT ONE
FADE IN:
INT. POLICE STATION BULLPEN -- LATER
Fraser sits at Ray's desk, examining the broken poor box. The lid dangles from the front of the box, attached only by the small lock. Ray is fighting a losing battle.
RAY
Benny, will you forget about it? Father Behan says there was less than forty bucks in there. (taking out the money) Here -- I'll give him the money right outta my own pocket, okay?
FRASER
Look at the gouge marks around the hinges, Ray.
RAY
No.
FRASER
The thief weakened the fittings before he pried open the lid.
RAY
Okay. Forty bucks AND a new poorbox.
Ray slaps some more cash in front of Fraser.
FRASER
Judging from the striations in the wood, I'd say he must have used some sort of specialized tool.
RAY
It's a three dollar lock on a ten dollar box, you sure you don't want to call in Scotland Yard?
FRASER
Judging from the angle of insertion, he was probably right-handed. Or at least ambidextrous.
RAY
Ah, you see, now that was the break we needed! Let's go nail that right handed bastard.
Fraser indicates a barely visible mark on the underside of the lid, about five inches in from the hinges.
FRASER
You'll notice this rough indentation in the wood, made when the lid was pried open.
RAY
No, I won't.
FRASER
It indicates an implement with a curved head and a sharp point. It brings to mind the sort of fishhook used for sockeye salmon.
RAY
(calling out) Elaine, give me a list of every salmon fishery in the greater metropolitan area.
ELAINE
(from her desk) What?
FRASER
Never mind, Elaine. I believe Ray was just mocking me. (to Ray) We're not looking for a hook, Ray. I was referring to the shape of the implement's head. The distance of the mark from the rear of the box indicates that the implement was at least six inches long, with sufficient heft to loosen the hinges.
Fraser has run a finger across the indentation on the underside of the lid, then rubs off the invisible substance on a sheet of paper and squints at it.
FRASER (CONT'D)
Ah-hah.
RAY
No. No ah-hah's, no interesting's, no Look at this Ray's. Because I'm not going to look.
Fraser studies it in silence for a long time. Ray can't help himself.
RAY (CONT'D)
All right, what is it?
FRASER
The tool left a waxy residue.
RAY
I DON'T CARE!
FRASER
But you asked.
RAY
Fraser, this is a petty theft! We fill out a report. If someone turns in the missing money, we send it back to them.
FRASER
It's not the forty dollars I'm after Ray, it's the thief.
Lieutenant Welsh marches over and hands him a piece of paper.
WELSH
Vecchio. St. Michaels. Somebody robbed a poor box. Look into it.
RAY
Already on it, sir, I've found some waxy residue.
WELSH
Seems a prominent member of the congregation is concerned that we're not going to give the crime any attention since such a small amount was stolen.
FRASER
Detective Vecchio was just pointing out the basic injustice of that, sir.
WELSH
(to Fraser) ...I have to ask you this. Don't you have a job of your own?
FRASER
I had the early shift today, sir.
WELSH
...And you have nothing better to do with your life than hang out here and help solve crimes.
FRASER
(thinks, then) No, sir.
WELSH
(thinks about this, then turns to Vecchio and hands him paper) Start by questioning this concerned citizen.
Welsh smiles and hands Ray a report as he moves off.
RAY
(off report, in disbelief) Frank Zuko?
He goes after Welsh.
RAY (CONT'D)
We're running around doing errands for Frank Zuko now?
WELSH
You have evidence to put Mr. Zuko behind bars, Detective? Because if you do, there's a pack of Feds that would love for you to pass on that information.
RAY
No, sir.
WELSH
Then go show the flag. (to Fraser) Never go to a movie, a date, anything?
FRASER
(trying to be positive) I've just joined a choir, sir.
WELSH
...Good. That's good.
Welsh exits into his office. Fraser turns to Ray, careful of his blackening mood.
FRASER
This Mr. Zuko -- he's an acquaintance of yours?
RAY
Yeah...we're acquainted.
INT. ZUKO'S HOME (FOYER) -- LATER
The front door opens revealing Fraser and Ray on the stoop. Ray looks up, his attitude coldly professional.
RAY
Detective Vecchio, 27th district.
REVERSE ANGLE
Frank Zuko smiles back at him -- a warm, boyish grin.
ZUKO
Ray...good to see you.
RAY
doesn't acknowledge the grin.
INT. ZUKO'S DEN -- MOMENT'S LATER
All mahogany and leather. A comfortable room, tastefully decorated, everything upper-middle class chic. On the desk is the latest in computer equipment. The coffee table books show varied interests from photography to architecture. There's a small free-standing basketball net in the corner. Zuko enters, leading the way from Fraser and Ray.
ZUKO
...It's such a great old neighborhood. One of the last. I just hate to see this kind of criminal element creep in. When my father was...well, we all know what my father was. But one thing you could say for the man, he made sure the neighborhood was safe.
At the desk a LITTLE GIRL is making use of her Dad's paper, markers and glue to make a picture. Zuko crosses behind her and lifts her gently out of the chair.
LITTLE GIRL
I made you a picture, Daddy.
ZUKO
That's beautiful, honey. Why don't you run along and show Mama.
The little girl runs out with her picture.
RAY
Out of respect for your little girl I didn't say anything, but lets not start rhapsodizing about the good old days of intimidation and extortion, because nothing's changed but the designer sneakers.
ZUKO
(crossing to an armchair) PR's not your strong suit, is it, Detective?
Ray remains standing, takes out a notepad.
RAY
How much did you put in the poor box?
ZUKO
Oh, I don't know, a hundred, I guess.
RAY
The man you saw in the sanctuary. You have a description?
ZUKO
Nope. Barely noticed him.
RAY
Just one guy. Hard to believe someone could pull off this kinda heist single-handedly.
Zuko is starting to get just a little irritated with Ray's challenging tone.
ZUKO
I'm ignoring your tone because we have a history. But don't push it. This may seem penny-ante to you, Vecchio, but somebody did commit a crime here.
RAY
yeah, you figure a guy who stole maybe a hundred and forty dollars is a serious threat to the community and should be prosecuted.
ZUKO
I think that this person didn't just rob a church; he stole from the people in this community who need it the most. You ask me, that's about as low as a person can get.
RAY
(pointedly) I'm not so sure.
Fraser steps in to cool things down.
FRASER
I'm sure Detective Vecchio stares your concerns, Mr. Zuko. After all, as you pointed out, this is his neighborhood, too.
ZUKO
(appraising Fraser)Canadian, right? (Fraser nods) So you understand, then. You come from one of those nice clean cities, no graffiti, no garbage on the streets, people treat each other with respect?
FRASER
Yes, I suppose so. Although, it's been my experience that many people live their lives thinking that they are respected only to find out that they've merely been feared. And fears can be overcome. (beat) We'll find the thief.
ZUKO
(smiling, amused) Thank you, Constable. I'd be very grateful if you would.
FRASER
(turning to leave) Ray?
Ray slaps his notebook shut and follows Fraser to the door. Zuko shows them out.
INT. FOYER -- CONTINUOUS
ZUKO
You still play basketball, Ray? (Ray just gives him a look) You should come down to the gym on Saturday. Work off some of that pasta.
RAY
I don't think so.
EXT. STREET IN FRONT OF ZUKO'S HOME -- CONTINUOUS
Fraser and Ray walk to the car.
RAY
His father was Carl Zuko. He ran the extortion rackets on this side of town for thirty years. You couldn't write a parking ticket in this neighborhood without getting it clear with him.
FRASER
And he was never brought to justice?
RAY
Oh, yeah. He was gunned down in the Men's Room in Wrigley Field during a Cub's game.
FRASER
Oh...how American. At least he's attempting to work through the law, Ray.
RAY
Only because he can't find him himself. I hope two things: either we find this guy, or he never gets found.
FRASER
You're that certain he's like his father?
RAY
Do I think he's more legit than his father? Yes, he can afford to be. But I went to school with Frank. We played pickup basketball together. There was this one kid, Marco Moranni, couldn't make a basket to save his life. No matter whose side he was on, he always managed to lose the game. Frank didn't like losing. His friends held Marco down for half an hour while Frank dribbled a basketball into his face. Fifty-two stitches. Marco never came near that court again.
FRASER
We had a schoolyard bully in Tuktoyaktuk.
RAY
You had a schoolyard?
FRASER
There's no need to be sarcastic, Ray. (beat) Sometimes at night I can still picture him... coming into school swinging that otter over his head. There was just no reasoning with him.
RAY
See, now I thought we had nothing in common.
Fraser stops abruptly.
FRASER
Bindlestich.
RAY
You gotta stop swearing in Eskimo.
FRASER
A bindlestich is a tool used by shoemakers in lifting stitches from leather. Our poor box thief used a bindlestich. The waxy residue was shoe polish.
RAY
You make this stuff up, right?
FRASER
Is there a shoemaker in this neighborhood?
INT. ZUKO'S HOME (FOYER) -- CONTINUOUS
Zuko watches through a window as Fraser and Ray climb into the car. CHARLIE, Zuko's Lieutenant, steps in from the other room.
CHARLIE
We've been all through the neighborhood. No one saw anything.
ZUKO
Ask me, this city could use a few more Mounties. Follow him -- he'll find the guy.
END OF ACT ONE
ACT TWO
FADE IN:
EXT. SHOEMAKER'S SHOP -- DAY
On its faded sign. The words "Quality Shoe Repair" just barely visible. In foreground, the city street signs indicate we're at Wabash and 35th. Ray and Fraser get out of the car and approach.
RAY
So, we're not really tracking a criminal. What we're tracking is Pinocchio's Dad.
FRASER
Giapetto was a wood carver, Ray.
RAY
(with disdain) He was not.
FRASER
That's how he made Pinocchio -- out of wood.
RAY
...Then who was the shoemaker?
FRASER
I have no idea, Ray.
RAY
Sure you do. The Brother's Grimm --a poor shoemaker, can't feed his wife, little elves make the shoes for him...
They stare in the window -- the store is closed and deserted. Fraser studies the think layer of dust and grime on the windows.
FRASER
There's very little dust in the windows. He can't have been out of business that long.
RAY
Who says he went out of business? Maybe he just packed up and moved to another neighborhood. I distinctly remember reading about shoes made by elves.
FRASER
Fraser is off to the shop next door.
RAY
You telling me you have no recollection of any shoe related elves at all.
FRASER
I'd tell you if I did, Ray.
INT. LINGERIE SHOP -- CONTINUOUS
Fraser enters the shop and looks for a clerk.
FRASER
(calling out) Hello...
A voice pipes up from the rear of the shop.
STORE CLERK (O.S.)
I'm with a customer, I'll be right out.
Fraser takes a few steps in the direction of the voice and suddenly realizes he's facing a mannequin dressed in an extremely sexy bra and panties set -- the kind designed to reveal more than it covers.
FRASER
(embarrassed) Oh... (turns and is blocked by another.) Oh. Yes. Perhaps you should interview her, Ray.
RAY
It's molded plastic, Fraser. It's not going to lunge at you.
FRASER
You mean this? If you're implying that I'm embarrassed, you're mistaken.
RAY
You just turned the color of your uniform.
FRASER
That's ridiculous. It's warm in here, that's all.
Walking up behind him is a SALESWOMAN who is wearing some of the merchandise.
STORE CLERK
Can I help you?
Fraser turns to face her.
FRASER
Yes, my name is Constable Fraser, this is Detective Vecchio, and we have some questions we'd like to ask you that have nothing to do with breasts. (to Ray) You see, I'm not embarrassed in the least.
RAY
I stand corrected. (to clerk) You know who used to own the shoe repair next door?
STORE CLERK
Sure, Joey, nice guy.
RAY
He have a last name?
STORE CLERK
I think it started with a "P". He'd come over for coffee sometimes. Sort of sweet and shy...(gives Fraser a killer smile) which personally I find very sexy.
Fraser finds a new reason to blush.
RAY
You know what happened to him?
STORE CLERK
He went out of business about six months ago. Too bad. About two weeks before that he came in to buy something for his wife. He had it all picked out, but couldn't come up with the cash. So we worked out a deal. I don't think his wife liked the camisole. Left him, took the kid. Real sad.
RAY
Do you have nay idea where he is now?
STORE CLERK
Girl who works here saw him going into one of those cheap hotels over on Grant.
FRASER
Is she here?
STORE CLERK
On vacation. Anything else I can do for you?
FRASER
Yes. You said he made a deal for the camisole.
STORE CLERK
Yeah. He made me this.
The store clerk opens her see-through blouse to reveal a black leather bustier, even more revealing than blouse.
RAY
He did a fine job.
FRASER
...May I?
STORE CLERK
Sure.
Fraser leans in and stares.
FRASER
(standing) Thank you.
STORE CLERK
You're very welcome.
As Fraser and Ray exit.
RAY
How do you get away with that?
FRASER
Hand stitched, very delicate work.
RAY
Yeah, it just screamed quality to me.
They exit. The store clerk goes back to work. A customer steps out of the changing area at the rear of the store. It's Francesca. She's carrying something on a hanger which is obscured by the plastic cover on top.
FRANCESCA
I'll take it. But I need it for tonight.
STORE CLERK
I don't know, we're kind of backed up...
FRANCESCA
I'll pay anything, understand? This is worth any amount of money.
EXT. DIVERSY STREET -- DAY
Ray and Fraser step out of the car and head for a seedy apartment hotel.
FRASER
Well, we know he kept his tools. If he bartered his services once, chances are he's still doing it.
INT. A CHEAP ROOMING HOUSE (FRONT HALLWAY) -- DAY
ROSE MACLUNG, fiftyish, with steel wool for hair, stares at us blankly. An ash falls from the cigarette dangling from her bottom lip.
ROSE
...You want to see my shoes?
FRASER
Yes. If you don't mind.
ROSE
(shrugs) Why should I mind? It's the best offer I've had in years.
Fraser kneels down, Rose proffers her foot and Fraser lifts it onto one knee, like a prince assisting his Cinderella. Fraser checks the soles -- no new stitching here.
FRASER
Very nice, thank you. (to Ray, aside) Machine made, not recently repaired.
Rose flashes him a girlish smile.
ROSE
(coquettish) See anything else you like?
But Ray and Fraser are gone.
EXT. CHEAP ROOMING HOUSE -- CONTINUOUS
As they exit.
RAY
Now what? We go up and down the block till we find Cinderella with freshly soled shoes?
Fraser's looking over his shoulder. Ray turns to follow his look.
FRASER
Yes.
RAY'S POV
There must be a dozen rooming houses and fleabag hotels on this street.
RAY (O.S.)
Great.
INT. BEDROOM
A closet door opens revealing rows and rows of shoes. A VERY ATTRACTIVE LANDLADY sticks out her long, bare leg, ready and waiting. Fraser, averting his eyes, picks up a shoe. Ray watches, growing increasing jealous.
INT. A ROOMING HOUSE PARLOR
ECU: A DELICATE, IF SOMEWHAT LARGE, FOOT in six inch pumps. RAY'S HAND lifts it onto a footstool. PAN UP the leg. Ray looks up at the TRANSVESTITE dressed to the nines, smiling down at him.
RAY
Thank you, sir.
INT. ANOTHER HOTEL LOBBY
Fraser replaces a woman's shoe, looks up...a line of FEMALE TENANTS has formed behind her, each woman holding several pair of shoes, all wanting them checked. Fraser smiles weakly. As the next one takes a seat...PAN OVER TO ANOTHER CHAIR where Ray is struggling to get the shoe off a HUGE WOMA'S bulging foot. He pulls too hard -- she smacks him on the head with a rolled-up magazine.
EXT. A ROOMING HOUSE PORCH Fraser walks out the door, coat open, dishevelled, exhausted, A HAND reaches out tries to yank him back in....Ray grabs his arm and forcibly extracts him.
ON SIDEWALK
They head down the sidewalk, come to the next rooming house. An OLDER IRISH WOMAN is on the porch repotting plants. Ray keeps walking. Fraser calls to him, Ray waves him off, refusing, and heads for the car. Fraser steps up to the porch, speaks with the woman. She shrugs, agreeing. As Fraser kneels down and inspects her shoes:
CLOSE ON
a sturdy pair of brogues -- older tops, but with brand new soles.
THE WOMAN
looks down at him curiously
FRASER
breaks into a smile.
END MONTAGE
INT. ROOMING HOUSE (STAIRS/UPSTAIRS HALLWAY) -- DAY
The Irish landlady leads Fraser up the stairs to a hallway, sorting through her key ring.
IRISH LANDLADY
...Paducci. He moved in a few months ago. He a friend of yours?
FRASER
I'm familiar with his work.
They head down the hallway.
INT. JOEY'S ROOM -- CONTINUOUS
A small room, cheaply furnished. Joey Padduci is sitting at a small breakfast table with his tools spread out, repairing some leather boots. At the sound of footsteps approaching, he freezes.
INT. HALLWAY -- CONTINUOUS
The landlady knocks on the door.
IRISH LANDLADY
Mr. Padducci, you have callers. (no response, to Fraser) I'm sure he's in there.
FRASER
Could you open it Ma'am.
INT. JOEY'S ROOM -- CONTINUOUS
The door opens. It's empty. The window stands open.
FRASER
(to landlady) Thank you.
He strides across the room, climbs the sill, turns back
FRASER (CONT'D)
(to landlady) I'll see myself out.
He jumps.
EXT. THE ROOF OF THE REAR PORCH -- CONTINUOUS
Joey drops from the porch into the yard, hits the ground and runs around the corner of the house. A beat later, Fraser follows.
EXT. SIDE HOUSE
Joey tears around the side of the house into the driveway:
IN DRIVEWAY -- JOEY'S POV
Ray, leaving against the Riv
JOEY
startled, turns, looks back
FRASER
is right behind him.
BACK TO SCENE
Joey gives up. Ray approaches Joey, pats him down. He pulls something out of his pocket -- the bindlestich.
RAY
A spindlebin, I presume.
MATCH CUT TO:
INT. POLICE STATION (BULLPEN) -- DAY
THE BINDLESTICH is in Elaine's hand. She studies the odd-looking implement. Huey and Gardino are also standing around doing the same.
ELAINE
...Rumplestiltskin. Didn't he use one of these?
GARDINO
No, he was a dwarf. Dwarves don't make shoes. They hide under bridges.
HUEY
Those are trolls.
ELAINE
So who made shoes?
HUEY
Glinda, the good witch, in "The Wizard of Oz."
GARDINO
That was magic and those were slippers, not shoes.
ELAINE
(dreamy)I always wanted a pair of ruby slippers. I used to put on my mother's high heels, standing in front of the mirror, click my heels together and say "there's no place like home, there's no place like home, there's no place like home..."
GARDINO
(equally dreamy) Me too.
They turn, look. Caught:
GARDINO (CONT'D)
What? (they just stare, he shovels fast) I wanted to be the Tinman, I'd dress up as the Tinman. My sister would dress up as Dorothy. (beat) I almost never played with my sister. (pretending to hear someone call) Yeah, coming!
Gardino heads off fast, bring us to:
RAY'S DESK
We pick up on Joey, handcuffed, sitting beside the desk while Ray does the paperwork. Fraser is with them.
JOEY
...nothing fancy, but I was making a living. Then one day, these wise guys pay me a visit. They say I'm not paying my Neighborhood Association dues. Fifty bucks a week. Maybe that doesn't sound like much, but I got overhead, an apartment, a wife who likes to go out... Anyway, six months later it's sixty-five a week. Then eighty-five, a hundred.
RAY
Did they ever threaten you?
JOEY
Who has to threaten, I'm not stupid. Pretty soon I can't afford to pay for the phone, or the utilities, I get behind in the rent. I go to Zuko and say I need some relief. He tells me the payments are strictly voluntary. When I get back, my front window is broken. Five months later I'm out on the street, and my wife is... You can't blame her. When I saw Zuko stick that hundred in the box, all I could think was "that's my money." I just wanted some back. That's fair, isn't it?
RAY
Maybe. It's also a crime.
FRASER
Could you identify these men?
RAY
There's nothing illegal about a voluntary neighborhood association. Been down that path too many times.
JOEY
I just wasn't brave enough to stop paying. He took my business, my family, my life. I should have done something.
Off Fraser and Ray, we go to:
INT. CHURCH -- DAY
A MAINTENANCE MAN is putting a new lid on the poor box. Father Behan passes by with Fraser and Ray.
FATHER BEHAN
Joey Paglia...can't say I know him.
RAY
Frank Zuko does.
FATHER BEHAN
Him, I know. It's a sin to wish people ill, so I don't. And if I do, I confess it.
RAY
Father, Paglia's been arraigned, but you have to come down and sign a complaint or it's not going to stick.
FATHER BEHAN
What would I want to do that for?
RAY
He stole from the church, Father.
FATHER BEHAN
You said he was destitute, didn't you?
RAY
Yes, but --
FATHER BEHAN
Well, then -- who do you think poor boxes are for?
As they move down the aisle past the confessionals, we HOLD ON a confessional door. From inside we hear:
FRANCESCA (O.S.)
Forgive me father for what I am about to do...
PRIEST (O.S.)
This isn't about the Mountie again, is it?
FRANCESCA (O.S.)
I know, I know, but this time, I'm going to do it.
PRIEST (O.S.)
Francesca, I can't keep forgiving you in advance for something that never happens.
INT. FRASER'S BUILDING -- HIS HALLWAY AND STAIRS -- DAY
as Fraser and Ray climb the stairs.
RAY
...the safest place for him right now is exactly where he is, behind bars.
FRASER
I don't think you can keep a man in jail without charges, Ray.
RAY
Yeah, well if Joey's out on the street, Zuko's coming after him.
NEIGHBORS stick their heads out of the doors as they approach the stairs. Fraser nods politely, tips his hat.
FRASER
Mr. Mustafi, Mr. Kline...
As they turn the corner:
RAY
I know Zuko, Fraser. He needs to make an example of Joey.
ANGLE ON HIS HALLWAY AND DOOR
The door is open, Dief lies out in the hall.
RAY (CONT'D)
You leave your door wide open?
Dief looks at Fraser, WHIMPERS
INT. FRASER'S APARTMENT -- CONTINUOUS
They step into the apartment to see: The entire apartment is filled with very expensive furniture, the exact same style that was in Zuko's house. Two MOVERS struggle to carry a mahogany credenza toward the corner.
FRASER
Excuse me, what are you doing?
HEAD MOVER
I made some decisions in your absence. If you want anything moved around, speak now or forever hold your peace.
FRASER
There must be some mistake. I didn't order any furniture.
The Head Mover checks her invoice.
HEAD MOVER
Fraser. Benton. That you?
FRASER
Yes...
HEAD MOVER
You live at 221 West Racine? Apartment 3J
FRASER
Yes, but...
HEAD MOVER
Right. You want to make a decision about the credenza, we're on the clock.
RAY
Like your style, Benny.
FRASER
It's not my style, Ray. It's Zuko's.
HEAD MOVER
Credenza goes here.
They drop it in place as Ray pulls his phone out and starts to dial.
HEAD MOVER (CONT'D)
Tips taken care of. Enjoy.
RAY
(into phone) It's Vecchio...give me the Duty Sergeant... (beat, with urgency) Phil, it's Vecchio. Where's Joey Paglia? (beat) Yeah, thanks.
He closes the phone.
RAY (CONT'D)
He was bailed out an hour ago.
FRASER
"I'd be grateful." (off Ray's look) Zuko's words.
As they stare at the furniture, we:
FADE OUT:
END OF ACT TWO
ACT THREE
FADE IN:
INT. GYMNASIUM BASKETBALL COURT -- DAY
A pickup game is in progress, the PLAYERS all men in their thirties and early forties, locals from the neighborhood. Driving down the court is Frank Zuko, having a great time. Others are deferring to him, but subtly, which helps his score. Other than Zuko, the players are exhausted, beaten and wish they were somewhere else. Charlie sits on the bench. Zuko makes a final basket and everyone collapses in exhaustion, game over, but Zuko is still dribbling and ready to go again. Ad lib congratulations to him from the other players as they head for the showers.
ZUKO
(turning to a player) Kenny, you and me, to twenty...
KENNY, exhausted, reluctantly returns.
ZUKO (CONT'D)
I'll spot you three...
And Zuko sinks one before the guy's even on the court.
ZUKO (CONT'D)
Three-one.
Zuko grabs the ball, takes it out beyond the top of the key, dribbles in on Kenny, intentionally elbows him in the head as he passes for an easy lay up, Kenny flying to the ground.
As Zuko stands over Kenny, an unpleasant grin on his face, dribbling the ball menacingly, Fraser enters in the b.g.
ZUKO (CONT'D)
(to Kenny) Sorry about that, I didn't foul you, did I?
PLAYER
(checking the blood running from his nose) No.
ZUKO
Three-two
Zuko spots Fraser.
ZUKO (CONT'D)
Constable Fraser, care to play some hoops?
Zuko tosses him the ball. Fraser fumbles a little, drops his hat, but catches it. Zuko's smile broadens.
FRASER
(indicating his boots) I wouldn't want to scuff the floor.
ZUKO
Forget the floor. Shoot.
Fraser takes a good long look at the net, licks a finger and holds it up to judge wind flow, then takes a very long shot. Swish, nothing but net.
ZUKO (CONT'D)
Hit the showers, Kenny.
KENNY
(quickly taking off) See you Tuesday.
Fraser removes his jacket and folds it neatly, placing it on the bench before walking onto the court.
ZUKO
(tossing Fraser the ball) You got the first shot.
Fraser again carefully lines up his shot. He's about to shoot when Zuko dives in, slams the ball out of his hands and tears off down the court.
ZUKO (CONT'D)
So you like the furniture?
As the game progresses, Zuko shoots with flourish, making most baskets, missing few. Whereas Fraser shoots with great exactitude, causing him to lose the ball more often to Zuko's swift moves.
FRASER
There is a great deal of it.
ZUKO
You need a bigger apartment?
FRASER
No. Thank you. You see, that's one of the things I wanted to speak to you about. As a police officer, I am forbidden to accept gifts.
ZUKO
Really? The officers I know never mentioned that to me. I just wanted to show my gratitude to you.
FRASER
I understand. But even if I could accept it, it would possibly reflect badly upon you.
ZUKO
...Upon me?
FRASER
Some might get the mistaken impression that you wanted this man found for your own purposes and that I had aided you in that endeavor.
ZUKO
(with a wry smile) I don't see how anyone could read that into it. But if it bothers you, don't keep it. Donate it to your favorite charity.
FRASER
I'm afraid that would be against regulations as well.
ZUKO
You're a hard man to thank, Constable.
The games heats up, Zuko setting the pace, Fraser matching him. Fraser keeps pace with Zuko who is pulling out all the stops, elbowing, charging etc. Fraser holds his own, takes Zuko's punishment, and still manages to sink a few.
FRASER
Father Behan isn't pressing charges against Mr. Paglia.
ZUKO
I guess it's Mr. Paglia's lucky day.
FRASER
I suppose it is. Before Detective Vecchio could have the charges dropped, Mr. Paglia's bail had already been posted anonymously through an attorney.
ZUKO
I love this neighborhood. So many good samaritans. (shoots and scores) Next basket wins.
Zuko moves in on Fraser, who steals the ball and scores a layup.
ZUKO (CONT'D)
Foul
FRASER
I don't believe that...
ZUKO
Charlie?
CHARLIE
He fouled you, Mr. Zuko.
Zuko shrugs as if to say "there you have it". He takes the ball, makes the same elbow-to-the-head move he used to such advantage against Kenny, knocks Fraser down and scores unopposed.
ZUKO
Game. Good try, Constable.
Zuko gives him a hand up and they head off. Charlie passes them towels as they walk to the bench.
FRASER
Mr. Paglia is prepared to make restitution. If that satisfies the church...
ZUKO
Constable, you are aware of who I am, aren't you?
FRASER
If you mean have I heard the stories, yes.
ZUKO
Let's say they're all true. Something you may not have heard is that I really do love this neighborhood. And Constable, when someone hurts my community, they hurt me.
FRASER
By that same logic, one could say if someone hurt Mr. Paglia, they hurt me.
ZUKO
Then you would have been standing in the wrong place at the wrong time. Thanks for the game, Constable.
Zuko and Charlie exit.
INT. JOEY'S APARTMENT -- LATER
Paglia is quickly packing a suitcase. Ray stands at the window keeping cautious watch on the street, his gun drawn.
RAY
(indicating a shop across the road) I used to buy gum balls over there. Big fat ones -- nickel a piece. Now my nephew buys 'em -- a buck fifty
JOEY
The price of doing business. Welcome to Mr. Zuko's neighborhood.
There's a knock on the door. Ray motions Paglia to stand aside, which he quickly does.
FRASER (O.S.)
It's me, Ray.
Ray unlocks the door and lets Fraser in, locking it again after him. Ray reads Fraser's resigned look.
RAY
What did I say? Was he swinging an otter over his head?
FRASER
You're right, there wasn't much reasoning with him.
Paglia turns to his suitcase laying out on the bed. It's packed and ready to go. He drops the bindlestich in on top, and closes it.
JOEY
(resigned) I always wanted to see New York.
RAY
Yeah, well forget it. If Zuko's got a contract out on you, he'll have this neighborhood sealed up tighter than a drum. You'll won't make downtown Chicago alive.
FRASER
I could take him to my place.
RAY
Yeah, I'm sure the wolf is used to catching bullets with his teeth.
JOEY
So what do I do -- stay here and wait till he comes and kills me?
Ray thinks for a moment; then:
RAY
Jimmy Venuto. His sister was in a hit and run on the south side. I caught the driver.
He takes out his cell phone, starts to dial.
RAY (CONT'D)
Let's hope he's got a good memory.
EXT. BUS LINE PACKAGING DEPOT -- NIGHT
Several rows of buses are lined up in front of the depot. The depot itself is a brick warehouse type building. As we MOVE IN ON the front door:
VENUTO (V.O.)
...I got a 9:46 going non-stop to Philadelphia. How's that?
INT. BUS LINE PACKAGE DEPOT -- NIGHT
Ray, Fraser and Joey are with the dispatcher, JIMMY VENUTO, who is explaining to them how to sneak Joey out of town. They speak quietly, out of hearing of a PASSING EMPLOYEE.
RAY
I appreciate this Jimmy.
FRASER
Good luck.
HIGH ANGLE--SOMEONE ELSE'S POV
From the bar above, looking down onto the main floor as Joey shakes hands with Fraser and Ray, then moves off toward the doors to the bus bay, falling in with the crowd of waiting passengers.
REVEAL
HAGMAN, a man in his thirties, humorless, nondescript, wearing a black overcoat. A glass of soda water sits untouched on the table in front of him. He drops a bill on the table, and makes his way out of the bar, never taking his eyes off the floor below.
FRASER AND RAY
watch Joey move into line at the bus bay. Ray starts to turn away, Fraser hesitates.
RAY
He'll be okay.
They turn and head for the main doors.
EXT. BUS STATION -- NIGHT
The angle is from the parking lot on Dundas looking across the street into the station. It takes us a moment to realize we're looking through a windshield.
INT. SEDAN
Charlie sits at the wheel. Three wise guy's are with him. Charlie watches Fraser and Ray through the window. One of them reaches for the door handle. Charlie stops him.
CHARLIE
Wait until they're out of the crowd.
INT. BUS STATION -- CONTINUOUS
As Fraser and Ray approach the main doors. Fraser stops suddenly as he sees them.
FRASER
...Ray.
Ray sees them, too. Fraser suddenly bolts and runs back toward the bus bay.
ANGLE ON SEDAN
Charlie and the boys see what's happening and jump out of the car.
AT THE BUS BAY DOORS
Joey is nearing the front of the doors where a BUS OFFICIAL is taking tickets. A few passengers behind him, Hagman, one hand pushed deep into a pocket, jockeys his way around the crowd toward Joey.
JOEY
unaware, steps aside to let an older man pass.
HAGMAN
moves in close. Shielded by the crowding elbows of passengers, he removes the nine mm automatic, with silencer, from his pocket. He presses in...
FRASER (O.S.) (CONT'D)
(shouting) Joey...!
Joey and Hagman turn...
FRASER
racing toward them, pushing through the crowd, Ray on his heels...
HAGMAN
raises his gun...
JOEY
instinctively yanks up his suitcase protectively, just as a round from the gun rips through the suitcase, sending Joey hurtling back from the impact...
EXT. BUS STATION -- CONTINUOUS
As fleeing passengers push out onto the sidewalk, Charlie and the wise guys split up -- one heading down the street for the bus bay, one entering the main floor of the terminal and Charlie and the other heading for an exterior staircase that leads to the lower level.
INT. BUS STATION -- NEAR THE BUS BAY
The crowd, scatters, people SCREAMING...
HAGMAN
jumps the railing of the down staircase next to him, and takes off into the subterranean level...
FRASER

reaches the bay doors just in time to see Joey, unhurt, take off out the bay doors and run for cover behind the buses
FRASER
(to Ray) Go after him!
Ray complies. Fraser jumps the railing and takes off down the stairs after Hagman.
IN THE BUS BAY
Joey is running between buses...
ELSEWHERE IN THE BUS BAY
Ray also runs between the buses, looking for Joey and/or trouble...
BACK TO JOEY
he sees one of the bus doors open and makes a run for it...
AT THE OPPOSITE END -- JOEY'S POV
The wise guy appears, sees Joey, pulls up short...
JOEY
freezes, terrified, turns to run...
CLOSE ON THE WISE GUY
as he takes aim at Joey's back and fires...
JOEY
is tackled by Ray, who flies out of nowhere, and the bullet flies over Joey's head. The wise guy runs for it.
RAY
Stay here!
Ray gets up and takes off to the garage door and looks out at the street.
RAY'S POV
WISE GUY
smiling as Joey appears on the pavement and preparing to shoot
RAY
taking a flying leap off the roof of the departing bus, tackling the Wise Guy and saving Joey's life.
Sequence ends with:
RAY AND JOEY
taking off up the row of buses toward the depot, where they are startled by the appearance of
ANOTHER PACKAGE HANDLER
who drops his packages and raises his hands, pray that Ray won't shoot.
CUT TO:
INT. BUS LINES PACKAGE DEPOT -- AT THAT MOMENT
Where an exciting foot chase is in progress. The Hit Man is leading Fraser on a chase through the corridors of the warehouse. Elements for your viewing pleasure:
THE HIT MAN
squeezing off shots at Fraser, yards behind him
FRASER
diving into a row of package carts to avoid being shot
WISE GUYS #2 and #3
(separate shots, different corridors) as they enter the building through separate exterior doors, just as Fraser races pas. They each take off after him. (Fraser isn't aware they are behind him.)
THE HIT MAN
races off down the corridor, turns a corner. As he passes through an open glass door he throws it shut.
BEHIND HIM
Fraser comes careening around the corner just as the door locks into place, and goes hurtling through the door in a shower of glass.
Sequence ends with:
CHARLIE
Got a message for you from Mr. Zuko
The first wise guy removes a set of brass knuckles from his pocket, the third grabs Fraser, pinning his arms from behind.
FRASER
I take it's not in writing.
As the wise guy's fist slams into Fraser's stomach:
SOMEWHERE ELSE
Ray takes off down the stairs.
INT. TUNNEL
Charlie keeps watch as the wise guys, screen from view behind him, land blow after blow into Fraser's midsection. A final blow sends Fraser to his knees. A kick and he topples over onto the floor.
The wise guys pull back, look to Charlie. Charlie studies Fraser and nods for the wise guys to clear out. They take off back toward the car.
FRASER
lays there, bleeding, bruised and only half conscious.
CHARLIE
takes out his weapons and aims it at Fraser's head.
CHARLIE
Here's the message.
He pulls back the hammer. Suddenly Fraser throws out his leg and trips him. Charlie hits the ground, Fraser kicks the gun out of his hand. Charlie pulls himself up and takes off as:
RAY
bursts out the door and onto the scene. Charlie's is gone, but Fraser is still alive.
RAY (V.O.)
Benny...you okay? Benny....
It's too late, he's passed into unconsciousness.
FADE OUT:
ACT FOUR
FADE IN:
INT. POLICE STATION, BULLPEN -- NIGHT
Elaine is cleaning up Fraser with the station first-aid kit, swabbing his cuts and bruises with antiseptics.
ELAINE
Are you sure there's nothing broken?
FRASER
I don't believe so, Elaine.
ELAINE
How many of them were there?
FRASER
More than necessary.
Elaine hits a tender spot, and Fraser smiles.
ELAINE
That hurt, didn't it.
FRASER
Yes, quite a bit.
ELAINE
Sorry.
FRASER
Were there any prints on the handgun?
ELAINE
No, and no serial number. Does this hurt?
FRASER
Yes. Any response to the APB?
ELAINE
I don't think we'll be seeing that face around here for a while. (dabbing another spot in his hair) What about this?
FRASER
That's an old scar.
ELAINE
(inspecting it) Huh. How'd you get it?
FRASER
I'd rather not say. (she looks at him. He reluctantly confesses) Someone struck me with an otter.
ELAINE
Huh. I guess that's what happens in a country with gun control.
FRASER
I believe he shot the otter first.
ELAINE
Oh, that's just too cruel.
FRASER
Yes. But strictly speaking he adhered to the law. Swinging a live otter is a crime in the territories.
ELAINE
Huh.
FRASER
Indeed.
ELAINE
So there's nothing the police could do about it?
FRASER
No. But the law was changed just after that.
ELAINE
Good thing.
FRASER
Indeed.
INT. WELSH'S OFFICE -- NIGHT
Ray is with Welsh.
WELSH
We got an i.d. on the shooter?
RAY
Paglia's going through the mug books now, sir.
WELSH
What about the guys that worked Fraser over?
RAY
He recognized one, but the others had to be imported talent. And there's a lot more where they came from.
WELSH
...Where'd they come from?
RAY
It's an expression, sir.
WELSH
Oh, I thought you had a lead.
RAY
No, sir.
WELSH
I'd dearly love to tie Zuko to this.
RAY
What about protective custody for Paglia?
WELSH
States Attorney isn't going to do it, there's no indictment against Zuko and no likelihood of getting one. Even if we could lock him up, we'd have to keep him in solitary for the rest of his life or Zuko reaches out to him. We leave him out and assign men in shifts and we eat up the district's entire budget inside a month. All Zuko has to do is wait. I hate to say it, but Mr. Paglia had the right idea.
RAY
We can't just throw him back out there.
WELSH
I'll shuffle some paper around, keep him in holding for 48 hours.
RAY
I appreciate it, sir.
INT. POLICE STATION -- INTERROGATION ROOM -- NIGHT
Joey is sitting looking through mug books with Fraser as Ray enters.
RAY
Anything?
Joey looks at him and closes the book.
JOEY
No.
FRASER
(to Ray) Protective custody?
RAY
Forty-eight hours in holding.
FRASER
(to Joey) ...What do you want to do?
JOEY
...You know anybody who has a place in the Islands?
Fraser and Ray offer small, sad smiles.
INT. POLICE STATION CORRIDOR -- MOMENTS LATER
Fraser and Ray step out of the interview room and walk in solemn silence. After they're gone, Huey and Gardino pass in mid conversation:
HUEY
So what are you afraid of?
GARDINO
(defensive) I'm not afraid of anything!
HUEY
I smell fear.
GARDINO
Why would I be afraid of that?!
HUEY
Because you're homophobic
GARDINO
Because I will not admit I wanted to wear ruby slippers?!
HUEY
Yes.
GARDINO
Fine, I did.
HUEY
I don't want to hear this.
INT. LUNCH ROOM -- MOMENTS LATER
Ray takes a coffee from the machine and joins Fraser.
RAY
How many guys worked you over, Benny?
FRASER
Three.
RAY
There were three then, too...
Fraser looks at Ray, not sure what he's talking about.
RAY (CONT'D)
Marco Mitrani. The kid Zuko worked over with the basketball. Two guys held him down while he dribbled the ball on his face...I'm talking twenty years ago, and I can still remember it like yesterday...
Ray pauses for a beat, as if dredging this up from some place buried deep inside him.
RAY (CONT'D)
When the kid hit the concrete, he looked up at me with these helpless eyes that said: do something,. Please. Get help. Call the cops. But I just stood there and watched Frankie Zuko rearrange his face. I didn't try to stop it. I didn't say a word. I just stood there like I was watching a movie. When I got home that night I felt like I was eighty years old. I could never look that kid in the eye again.
A beat of silence; then:
FRASER
Maybe it's time, Ray.
Ray looks up to Fraser.
INT. GYM -- NIGHT
Frank Zuko is shooting baskets in an empty gymnasium, working off some of his frustration at the failed hit. Two lieutenants are feeding him the ball.
ANGLE TO DOOR
as it opens, and Ray enters. Zuko doesn't see him for a moment, as Ray walks across the gymnasium floor, the sound of his street shoes echos through the empty gymnasium.
ANGLE TO INCLUDE ZUKO AND LIEUTENANTS
as the lieutenants turn and see Ray, their hands go to their shoulder holsters. Ray opens his coat, shows he's unarmed. Then:
RAY
(to Zuko) Come on, Frankie -- you and me, one on one.
ZUKO
That so, Ray?
RAY
Yeah, just you and me.
ZUKO
(chuckling) You think you can take me on?
Ray takes off his jacket, puts it across the bench.
RAY
Better. (smiles) I'm gonna kick your ass.
A moment... then Zuko grins and turns to his lieutenants, dismissing them.
ZUKO
(to lieutenants) Go get me a cappucino.
The two lieutenants walk over to the door. Ray holds it for them as they exit, then locks the door after him.
RAY
(off Zuko's look) We don't want to be disturbed.
Ray picks up a basketball moves to the net, where he and Zuko take warm up shots.
RAY (CONT'D)
WE go back a long way you and me, Frankie...and we got some unfinished business to attend to. (takes a shot, nets it) Remember Marco Mitrani?
ZUKO
...Who?
RAY
Junior High. You bounced a ball on his face until it was mush.
ZUKO
(fondly) Oh yeah, Marco. God, we had some times, didn't we. Poor old Marco. I heard his family moved away.
RAY
Yeah, even then it was your neighborhood. And even then you were a coward.
ZUKO
Me? I'm not the one who watched his friend get his face beaten in.
RAY
(smiles) You're right, Frankie. I just watched.
Ray suddenly drops the ball and throws a lightening right, taking Zuko to the floor. Zuko looks up at Ray, stunned.
Zuko
You just go yourself dead, my friend.
RAY
That so? I'm not the one bleeding on the floor.
As Zuko scrambles to get up Ray grabs him and throws him against the wall, stepping back.
RAY (CONT'D)
You want a piece of me? Take a shot -- your best shot. You're a big man now Frankie. Come on, show me.
Ray punches again, without warning, knocking Zuko to the ground.
ZUKO
You think your badge is going to protect you? You're not that smart, are you?
RAY
Do you see a badge? I ain't wearing no badge. It's just me, little Ray, and I'm standing here open. You want me to drop my hands, here, go ahead. No? (pulling off his belt and tossing it at him) Okay, use my belt, wrap it around your fist. (beat) Don't like that? (moves and grabs a chair, throws it at him so it bounces off the wall over his head) Here, hit me with this.
Zuko kicks the chair away and pulls himself up the wall.
ZUKO
How long do you think you have to live? You think you'll make it through the night?
RAY
I don't see anybody here but you and me. Let's look. Nope. But I see that door. And only one of us is walking out it.
Ray throws another punch, taking Zuko down.
ZUKO
You're crazy.
RAY
Yep. That's what I have planned for a defense. Now get up you little worm.
ZUKO
If you've got a problem...
RAY
No, you got a problem, Frankie. Cause you're one-on-one with a guy you have twenty pounds on, and you don't have any body to hold me down. All you got is your guts, which means you got nothing.
Zuko looks around again, hoping that one of his lieutenants is still there, sees no one.
RAY (CONT'D)
You're scared to death, aren't you? (laughs to himself) God, I love this. You are actually scared to death, aren't you?
He doesn't answer, but it's clear he is.
RAY (CONT'D)
Answer me!!
ZUKO
Go to hell.
RAY
Then stand up and hit me. Okay, so we got one thing straight. You're a coward. Tell you another thing -- I got a big mouth. See you around.
Ray starts to walk off.
ZUKO
You're not going to walk far.
RAY
Down the block's far enough. I am going to enjoy telling this story. It's the type of thing people like to tell over and over again.
ZUKO
Like someone's going to believe you?
RAY
Check your face, Frankie. Everyone's going to believe me. You know it's got to be pretty hard to instill fear in people when they're laughing at you.
Ray picks up his jacket, puts it on, then his coat, then turns back like he just thought of something.
RAY (CONT'D)
Course, I could forget about it real fast too. You know, I got one of these memories. I can remember things happened twenty years ago, and I can't tell you what I had for breakfast...
Zuko just sits there, motionless. Ray starts to turn away again, then:
ZUKO
(stopping him) Don't...
Ray turns back, waits.
RAY
Don't what? Don't tell? Is that it, you want to make a deal with me? (beat) Okay, here it is. You call the hit off Joey Padduci. You let him go back into business, and you leave him alone. You do that, and this never happened. It'll just be between you, me and the basketball.
Frankie looks away, mutters a curse under his breath.
RAY (CONT'D)
Was that a "Go to hell?" I didn't hear it, did you say "Go to hell?" That's too bad, Frankie, 'cause the deal's only good till I get to the door.
Ray turns and walks right for it.
ANGLE FROM THE OTHER SIDE OF THE DOOR
As Ray approaches and unlocks it. A voice stops him just before his hand pushes it open.
EXT. STREET IN FRONT OF GYM -- MOMENTS LATER
Ray gets in, rejoining Fraser.
FRASER
How are you, Ray?
RAY
Scared to death, Fraser.
FRASER
That's probably wise.
Fraser hands Ray his gun and they drive off.
INT. VECCHIO HOUSE, RAY'S BEDROOM -- NIGHT
Ray stands by the window, in his pajamas, watching the street outside. Beside him, on the table, is his service revolver.
After a moment he picks it up, holds it, looks out the window.
He considers it for a long moment, then takes the weapon, opens it, removes the shells.
He puts it in the top drawer of his night table and gets into bed.
MOVE IN ON HIM TIGHT as he lies there thinking.
MATCH DISSOLVE TO:
TIGHT -- FRASER'S FACE
concentrating on something, then WIDEN to...
INT. FRASER'S APARTMENT -- NIGHT
Fraser is lying in bed, reading from his father's diary. Diefenbaker is on the floor beside him. The furniture is gone. After a moment...
FRASER SR.'S VOICE
...when I took him in, his eyes were pure hatred. As the door to the prison slammed shut behind me, I could still hear his voice and the words he spit out at me: "I'll get you, Fraser, if it's the last thing I do. I'll track you down and kill you wherever you go..." That night, in my cabin, I lay there and thought about fear and what it does to a man. How it eats his insides out and takes the best from him. I listened to the wind make the ice floes creak outside and the wolves bay and the thousand other sounds of the winter night. And as I listened to my heart beat, I released the fear inside me little by little until it was no longer there. And then I closed my eyes and slept soundly until morning.
Fraser puts the diary down, looks across to the door of his apartment. It is locked, and the chain is in place.
He considers for a moment, then gets up and walks to the door, unlocks the deadbolt, returns to bed.
ON FRASER
as he lies there, hands beneath his head, and little by little releases the fear inside him. Then he closes his eyes, and we...
FADE TO BLACK
GRAPHIC: FINAL CREDIT
FADE IN:
INT. FRASER'S APARTMENT--NIGHT
The unlocked door to Fraser's apartment opens, revealing Francesca in silhouette. She instantly drops her coat, revealing her sexy clothing.
FRANCESCA
Don't be afraid.
As Fraser SCREAMS involuntarily, we...
FADE OUT

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