Regular Cast	Recurring Cast
FRASER	FRANCESCA
RAY	FORD
DIEFENBAKER	DEETER
WELSH
HUEY
GARDINO
ELAINE
Guest Cast – Speaking Roles
GARRET
MARY ANN MADISON
MADISON
COOK #1
COOK #4
DETECTIVE #1
DETECTIVE #2
MAN
MANAGER
PATROLMAN
TECHNICIAN
TRANSIENT
UNIFORM
WILSON

EXTERIOR-DAY	INTERIOR-DAY
DALY PLAZA	BLUE AND WHITE POLICE CAR
DOWNTOWN STREET	HARBOR LIGHTS MISSION
ELEVATED WALKWAY	POLICE STATION - BULLPEN
PHONE BOOTH	POLICE STATION – HALLWAYS (SEVERAL).
POLICE STATION - FRONT	POLICE STATION – INTERROGATION RM.
POLICE STATION - REAR	POLICE STATION – LUNCH ROOM
STREET	POLICE STATION – NR. FORENSICS ROOM
	POLICE STATION – OBSERVATION RM.
	POLICE STATION – STORAGE CLOSET
	POLICE STATION – WELSH’S OFFICE
	RAY’S CAR
	SOUP KITCHEN
	ST. MARY’S MISSION
	UNDERGROUND PARKING GARAGE
EXTERIOR-NIGHT	INTERIOR-NIGHT
BRICK BUILDING	BRICK BUILDING
COLLEGE CAMPUS	BRICK BUILDING – CENTRAL CHAMBER
COLLEGE CAMPUS – PARKING LOT	HARBOR LIGHTS MISSION
HARBOR LIGHTS MISSION - KITCHEN	POLICE STATION - HALLWAY
HELI-PAD	POLICE STATION – INTERROGATION RM.
INDUSTRIAL DISTRICT	POLICE STATION – OBSERVATION RM.
POLICE STATION	POLICE STATION – WELSH’S OFFICE
RAY’S CAR - TRAVELING	RAY’S CAR - TRAVELING
SEDAN
WAREHOUSE COMPLEX

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
OVER BLACK:
A HEART BEAT, regular and calm. As the blackness starts to clear:
FADE IN:
SOMETHING METAL
glints in the blackness…once…twice…something gold, we don’t know what…it’s getting closer, jumping toward us, stopping and starting in fits, moving jerkily through the darkness. Mix into the heartbeats, the SOUND OF LAUGHTER, high female giggles, distant but growing. The glints grow to flashes…flashes grow brighter… FLASH CUT TO:
PIXILATED IMAGES – TONES OF GRAY AND BLACK AND WHITE ONLY
ECU: A GOLD LOCKET – PIXILATED POV
hanging on a delicate chain around the throat of a young woman. It continues to glint and bounce as we JUMP BACK to reveal the face of the wearer: MARY ANN MADISO, 18, -- pretty, vivacious, and loaded down with college text books. Beside her is BENDAY, her girlfriend, giggling at Mary Ann’s animated chatter. They made their way down the main walkway of a college campus heading for the gates. The HEARTBEAT QUICKENS. as the two girls brush past camera and move off toward the street, THE ACTION JUMPS. Then suddenly we’re moving forward…and we realize we are SOMEONE’S POV…
PICTURE JUMPS as we fly by the trees bordering the walk, stopping and starting, the girls in the distance, the HEARTBEAT INCREASING.
EXT. COLLEGE CAMPUS – AT THE GATE
Mary Ann and Brenda stopp to say goodnight. We jerk to a halt and JUMP into the shadows. SCAN THE STREET on either side...no one...then PAN BACK TO Mary Ann who has continued down the path and across a parking lot. A beat and we follow.
EXT. PARKING LOT
dark and mostly empty. MOVING again, with Mary Ann ahead, digging through her purse for her keys as she crosses towards her residence building, bright and cheery on the far side of the lot. A book slips, her purse drops, contents scattering…as she bends down to pick them up, we MOVE IN FAST, IN A JERKY MOTION. Suddenly her head whips around, eyes startled…then terror.
PICTURE JUMPS, as she struggles, thrashing screaming, her abductor’s hand grabs at her throat and:
THE LOCKET
is ripped off. FOLLOW THE LOCKET as it drops to the pavement.
CUT TO:
THE LID OF A TRUNK
opens. PIXILATED POV as the contents of the trunk are pushed aside in an abrupt, jerky, motion and Mary Ann’s body is dumped inside. As the lid is slammed shut.
CUT TO:
ECU: ON A MAN’S FACE
in full glorious color, as he suddenly comes to consciousness, as though having awoken from a trance – his eyes wild and terrified, his skin beaded in cold sweat. PULL ACK slowly and we discover that he’s huddled in a wreck of a VW van. As he gradually uncurls his dirty fist we see the reason for his terror:
IN HIS HAND
the gold locket. The hand begins to shake… He looks out on
HIS POV – THE PARKING LOT
The same one where Mary Ann was abducted.
ECU: ON HIS FACE
and his tortured expression. As the tears fall:
MAN: …No…please…not again…not again…
END OF PROLOGUE

ACT ONE
EXT. POLICE STATION – DAY
Establishing shot, over which we hear:
RAY (V.O.) I don’t care what you have to confess. I don’t want to hear it.
INT. POLICE STATION (LUNCH ROOM) – DAY
It’s lunch time and the room is crammed with cops. Ray is once again locked in battle with the vending machine. His clothes are rumpled, he looks like he’s been living in them for some time. Fraser hovers nearby, obviously interrupting at an inopportune moment. Diefenbaker is with him.
FRASER: I’m sorry, Ray, I realize this isn’t the best venue or a particularly appropriate moment, but…
Ray slams the machine repeatedly, hitting different “sensitive spots” determined to retrieve his snack.
RAY: Look. I’m on a big missing person case, I haven’t slept, this is the first time I’ve left my desk in seventy-two hours and I’m trying to get some food, so can we do this some other time?
FRASER: I’m disturbing you.
RAY: Yes, you are.
FRASER: I should leave.
RAY: Yes, you should.
Fraser starts to move off…Diefenbaker follows. Fraser turns back…Diefenbaker returns with him.
FRASER: Ray…
RAY: But you won’t.
FRASER: I’m sorry, it’s just that there is a certain matter which I have withheld from you for some time now and if I don’t clear my conscience soon…
RAY: Okay, okay – clear.
All three exit the lunchroom into the
INT. HALLWAY – MOVING
FRASER: (quietly) Well, it appears that I have unwittingly encouraged a situation which seems to have taken a turn I had…perhaps foolishly, not anticipated…or been even remotely aware of as a possibility. However, in that it is a matter of the heart and directly effects someone very close to us both…
RAY: Fraser you got from here to y desk. Make it count.
Fraser, takes a beat, gathers his courage, leans in.
FRASER: (in a rush) On Saturday last, your sister came to my apartment in the middle of the night, scantily clad, and offered herself to me.
RAY: Great, now get the hell—
Ray freezes, suddenly realizing what he just heard. He turns slowly to face Fraser.
RAY: My sister?
FRASER: Yes, Francesca.
RAY: You slept with y sister?!
Heads turn in the hall.
FRASER: I didn’t say that. Did she say that?
RAY: How should I know? I don’t talk about sex with my sister – she’s my sister!
FRASER: She didn’t say anything about…?
RAY: Nothing.
FRASER: (relieved) Ah. Well, then – forget I mentioned it.
Fraser turns and exits down the hall. Dief faithfully follows.
RAY: (calling after) Fraser…?
A UNIFORM appears and stops him.
UNIFORM: Got another one for you, Detective.
RAY: Madison case? (he nods) Get a statement.
UNIFORM: Uh-uh. He’ll only talk to you.
Ray glances at
GARRETT
the man from the prologue, being lead by the UNIFORM. He’s unkempt, dirty, disheveled – doesn’t look promising.
RAY: Park him. I’ll be right back.
They cross through and head for the bullpen as Ray takes off down the hall.
INT. POLICE STATION (ANOTHER HALLWAY) – MOMENTS LATER
FRANCESCA VECCHIO is strolling along chatting with ELAINE who is finding their talk immensely enlightening. Ray appears at the T in the hall just in time to hear:
FRANCESCA: (rhapsodizing) So I’m standing there at the door – I drop my coat, he looks at me – I look at him…
Startled, Ray pulls back into his hallway, and listens in:
FRANCESCA: (beat, then) You know how a squirrel looks just before you hit him?
They pass Ray by, unaware. On Ray’s reaction:
INT. YET ANOTHER HALLWAY – MOMENTS LATER
Fraser is giving some NERVOUS PARENTS directions to the holding area when Ray swoops in, grabs him by the arm…
RAY: (to parents) Would you excuse us?
…and yanks Fraser into:
INT. STORAGE CLOSET – CONTINUOUS
Pitch black.
RAY: Okay. The way I see it…
Beat. Ray opens the door again.
RAY: (to Diefenbaker) Out.
Dief reluctantly exits into the hall. Ray pulls the door shut.
RAY: The way I see it, we have two choices. Either you tell me right now what happened between you and my kid sister, at night, in your apartment, or one of us is not leaving this closet alive.
FRASER: You’re upset.
RAY: That would be correct.
FRASER: I didn’t have a lot of choice, Ray. The door opened and she was there. And then when she dropped her coat, there was…very much more of her there.
RAY: So you did sleep with her!
FRASER: I told you, I can’t answer that – it would be unchivalrous. However, if you feel it necessary to call me out…
RAY: Call you out? What is that – some kind of hockey expression?
FRASER: No. I mean, it has nothing to do with hockey. It has to do with honor. And given the circumstances, I’m not sure I’d blame you…
INT. HALLWAY OUTSIDE OF STORAGE CLOSET – CONTIUOUS
Where Diefenbaker stands staring intently at the closed door. Elaine walks by, then stops, looks at Diefenbaker. She thinks for a second, then KNOCKS on the storage closet door.
INT. STORAGE – CONTINUOUS
The door opens. Elaine is standing there. Wearing the Mona Lisa smile.
ELAINE: Hi.
FRASER/RAY: Hi.
ELAINE: Am I disturbing you?
FRASER/RAY: Not at all…
ELAINE: (to Ray) Lieutenant wants to see you.
RAY: (turning to Fraser, between clenched teeth) Don’t more.
FRASER: Ah.
Ray exits. Fraser remains standing in the closet, ill at ease. Elaine just stands there studying Fraser with a curious, thoughtful look on her face.
ELAINE: Can I ask you a personal question?
Fraser starts to answer – she doesn’t wait.
ELAINE: Francesca Vecchio…
On Fraser – a squirrel about to be roadkill –
CUT TO:
INT. BULLPEN
Ray enters, sees four guys in FBI jackets installing telecommunications equipment at a desk in the bullpen.
Welsh’s office is full of suits, their backs to us at the moment, so we can’t tell who is in there. Ray pulls up short – turns to a Uniform.
RAY: (to Uniform) What’s with the suits?
UNIFORM: FBI.
At that moment, HUEY AND LOUEY walk by on the way to their desk. They are carrying boxes of files that have “Madison” marked on the side.
RAY: What the hell are you doing? Those are my files!
HUEY: Not any more.
LOUEY: You’re off the case.
RAY: Says who?
LOUEY: (nodding towards the office) A couple of old friends of yours.
ANGLE ON WELSH’S OFFICE – RAY’S POV
WELSH with AGENTS FORD AND DEETER, who we met during the FBI investigation in Chinatown.
INT. WELSH’S OFFICE – CONTINUOUS
FORD: All that’s needed here is a little cooperation, Lieutenant. Surely your people can manage that.
WELSH: I’ve seen your version of cooperation. They’re still replacing windows in Chinatown.
FORD: We’re not blaming you for Chinatown. Although there were some in Washington who were dismayed by the lack of respect your people showed for federal authority.
Ray bursts in.
FORD: Here’s a case in point.
RAY: (sees them) So, guys, they ran out of things for you to screw up in Washington?
WELSH: Detective Vecchio, these gentlemen are here seeking our “cooperation,” – on the Madison case.
FORD: Howard Madison has asked us to get his daughter back.
RAY: (thrown) Asked you.
FORD: He is a defense contractor, with a number of influential friends in Washington – the Director being one of them.
RAY: It’s been three days!
FORD. And you have nothing. We’re taking over.
Furious, Ray turns to Welsh—
RAY: Lieutenant, this is a missing persons case, pure and simple, you let these bozos take it over and –
DEETER: Bozos?
RAY: Excuse me, Agent Bozos…
FORD: (to Deeter) Call Washington.
WELSH: There’s no need. (to Ray) You know the drill Vecchio.
RAY: Lieutenant…!
WELSH: (pointedly) You’ll be kept informed.
Ray looks for support, gets none. Turns and walks out.
INT. BULLPEN – CONTINUOUS
Ray does a burn as he crosses to his desk. Huey and Louey are all smiles. He arrives to find Garret sitting there. Remembers who he is. Garret studies him – anxious, suspicious.
RAY: (cutting him off) What the hell are you looking at?
GARRET: The girl. I have something.
RAY: (re: Huey and Louey) Tell them.
Ray gets up, puts on his coat. Garret looks at the locket in his hand. A picture on Ray’s desk catches his eye. It’s a photo of MARY ANN MADISON. We recognize her as the girl who was abducted in the prologue. Garret stares at the photo as he lays the locket down beside it, we see that it matches exactly the one around her neck in the photo.
RAY: (crossing out, to Uniform) Get a statement, or get him out of here.
ANGLE ON
Fraser and Elaine crossing to Elaine’s desk. Elaine, a little dismayed. Diefenbaker follows them into the bullpen.
FRASER: …You see, a gentlemanly code of behavior dictates a certain restraint on the gentleman’s part regardless of how he might feel, in order to respect a lady’s reputation…
ELAINE: And your grandmother taught you this.
FRASER: . . . Yes.
ELAINE: And you believed her.
In the b.g. the Uniform moves up behind Garret, puts a hand on his shoulder.
GARRET: I told you, I don’t want to make a statement, I just…
As Garret turns to move away, he catches sight of Fraser.
GARRET: (grabbing the Uniform by the arm) That’s him!
UNIFORM: Who?
GARRET: The one in the red coat…he did it—he kidnapped the girl.
All heads turn to
FRASER
Who suddenly becomes aware that he’s the center of attention.
ON GARRET – INTERCUT
The pixilated POV of Fraser from the vision, hand reaching down into the hole, earth tumbling in around us.
BACK TO SCENE
UNIFORM: What, are you kidding? He’s a cop.
Garret suddenly turns pale, starts backing away…He stumbles over a chair, sending it tumbling. The Uniform starts looking at him, suspicious. Ray starts walking back towards them. Welsh and the FBI are out the door of the office to see what’s happening.
UNIFORM: Come here – come back here. (calling for Ray) Detective…?
Ray starts moving through the crowd toward them. As the Uniform reaches in to take hold of Garret’s arm, Garret panics, and wrenches away, sending the Uniform stumbling back and crashing into a set of file drawers. As Ray and Fraser rush in to help the Uniform, Garret makes a dash for the fire exit door behind Ray’s desk.
His hands hit the panic bar—THE FIRE ALARM screams as Garret flies out the door and slams it shut.
WITH FRASER AND RAY
As Ray helps the Uniform to his feet, Fraser spots something on the floor – the locket. He picks it up…then spots the photo beside it.
FRASER: Ray…
Fraser holds out the locket and photo for Ray to see.
RAY: Oh my God… (both turn to follow Garret)
They hit the fire door together. It’s jammed shut from the outside! Fraser looks around for a convenient window exit.
RAY: (indicating Welsh’s) Window’s in there. I’ll take the front.
Ray turns and heads for the stairs as Fraser heads for a window. Suddenly Ford and Deeter block Fraser’s way:
FORD: Not so fast.
DEETER: to nearby agents) Hold him!
The do.
FORD: (crocodile smile) Nice to see you again, Constable.
OMMITTED
INT. WELSH’S OFFICE – CONTINUOUS
CU: THE LOCKET
as Ford drops it into a plastic baggie. Deeter sets down the phone.
DEETER: (to Ford) It’s hers. Father confirmed it.
FORD: Get it analyzed.
Deeter exits. Ray enters. They glare at each other. Fraser throws him a questioning look.
RAY: (shakes his head) No sign of him.
FORD: He said you did it.
FRASER: Yes, that’s correct.
FORD: …and he referred to you as “the one in the red coat.”
RAY: Gee, I wonder why he would say a thing like that.
Fraser intercedes.
FRASER: You’re quite right, Agent Ford. The man did identify me by my coat. and judging from his reaction I’d say his identification of me was quite sincere. He was terrified.
Ford takes in this admission – glances at Deeter, then:
FORD: (to Fraser) You work downtown, don’t you Constable?
FRASER: Yes, sir.
FORD: Ever spend anytime at Havenhill College? Take any night courses?
RAY: Oh, this is good – some nutcase walks in here with the girl’s locket, says a mountie did it, and you go after the mountie??
FRASER: It’s alright, Ray. (to Ford) I’m afraid I’ve never had the pleasure of visiting the campus, sir, however if you wish an account of my actions that evening I’ll be happy to supply you with a complete itinerary. In the meantime, perhaps this can be of some assistance.
Fraser displays his drawing – a professional sketch artist couldn’t have captured Garret more accurately. Ford stares at the sketch, taken aback.
FRASER: I’m afraid the shape of the ears may not be quite accurate, but perhaps Ms. Besbriss, our computer artist could...
FORD: This is very good, Constable. Perfect perspective, attention to detail—But let’s be very clear about one thing: This time you are not going to come in the way of my investigation. In fact, if I so much as catch sight of your little red coattails I am going to nail them, and you, to a wall. Understand?
FRASER: That seems perfectly clear, sir. (standing) So, I’ll just…
Fraser starts to move off with his sketch. Ford glares, holds out his hand.
FORD: Out.
RAY: You sure you wouldn’t prefer a wallet-size?
Ray moves off after Fraser, grinning. Deeter waits at the door.
FORD: (turning to Deeter) Put out an APB.
CUT TO:
INT. POLICE STATION (HALLWAY/STAIRS)
As Fraser and Ray head out of the precinct.
RAY: So, we’ve got a face, what else have we got?
FRASER: Agent Ford does seem rather annoyed with us, Ray.
RAY: Of course he is. The FBI hates you, Fraser, you solved their last case.
FRASER: You were there too, Ray.
RAY: Yeah, but a bright red suit is kind of hard to forget.
As they start down the stairs:
FRASER: Perhaps this time it would be best no to antagonize him.
RAY: Okay, let’s review your options here: You can leave the case to them and eventually be arrested as a suspected kidnapper, or cooperate with me, solve the case and narrowly escape being beaten to death by an outraged brother. I leave it to you.
FRASER: That’s very kind of you. Though I do think you are taking this just a bit too seriously, Ray.
RAY: Nothing happened?
FRASER: If it makes you feel better.
At that moment, Francesca passes by in the hall below, this time chatting with GLORIA, a lab technician.
FRANCESCA: I think it was the look in his eyes. You know, that long slow drift from here, down to…well, you know. (sighs) So romantic…
Francesca and Gloria move off. Ray shoots Fraser a look.
FRASER: (quickly) After you.
EXT. POLICE STATION – DAY
Fraser and Ray exit with Diefenbaker and make their way to the Riv.
FRASER: Judging from the rumpled state of his clothing and the build up of soil, I’d say this man lives on the street. Still, he didn’t look ill-nourished so he’s managing to feed himself.
RAY: Food stamps. Or he could be begging meals from a diner or coffee shop.
FRASER: His finger nails. Everything about him was dirty, except his finger nails.
RAY: You saw that?
FRASER: He pointed right at me, Ray. And something else, something on his clothing…something pungent. (stops, closes his eyes, sniffs) mesa Powder. Chili.
RAY: Chili.
FRASER: It’s the best I can do, Ray.
RAY: Okay, so we’re looking for a transient with clean finger nails who eats chili.
As they climb in the Riv:
RAY: “…A long, slow drift?” You know how to do that?
FRASER: Apparently.
CUT TO:
INT. A SOUP KITCHEN – LATER
ECU: A HUGE POT OF CHILI
as a portion is ladled out and slopped onto a plate. WIDEN and we see we’re behind the food line of a skid row soup kitchen. A line up of TRANSIENT MEN waits hungrily.
Cook #1: Best chili in town. They come from midtown, the lakeshore.
THE COOK indicates the dining area filled with street people and homeless transients.
COOK #1: In this business, it’s all word of mouth.
THE COOK holds his recipe up for Fraser and Ray to smell.
RAY: (O.S.) Yeah, I bet… (quickly shifting the ladle to Fraser) Fraser…?
FRASER: (sniffs, then) Delicious. Worcestershire sauce, if I’m not mistaken?
COOK: Gives it some “oomph.”
Ray gives Fraser a questioning look. Fraser shakes his head.
FRASER: Thank you kindly.
They start to move off.
CUT TO:
INT. ST. MARY’S MISSION – LATER
Ray is making his way through a plate of spaghetti as he talks to the MANAGER.
MANAGER: Sure, I got lots of dishwashers, they come and go like flies.
RAY: You got one about six feet, thin, brown hair, kinds of stringy?
MANAGER: That would describe about half of them.
Ray digs out a newly made sketch of the suspect.
RAY: How about this guy?
MANAGER: (shakes his head) Sorry.
Ray looks to Fraser who is tasting from a large pot of Chili simmering on the stove. He shakes his head.
INT. HARBOR LIGHTS MISSION – LATER
As a SERVER slaps something indistinguishable onto Ray’s plate:
RAY: No. That’s it – no more chili. I don’t care who finds him.
Fraser turns to Ray holding a bowl of chili. Tastes.
FRASER: Ray … mesa powder.
Fraser ducks under the counter with his chili and starts heading for the kitchen. Ray follows.
INT. HARBOR LIGHTS MISSION (KIT CHEN) – CONTINUOUS
Fraser and Ray step into the kitchen where TWO COOKS and their HELPERS are preparing the meal.
FRASER: (approaching a Cook) Excuse me, your chili recipe…
COOK #4: Eat it or toss it, okay?
Someone catches Ray’s eye – a dishwasher scraping plates. As he turns to collect another tub of dishes we see it’s Garret.
RAY: (already moving) Fraser…!
Garret turns, sees Fraser…and heaves the tub of dishes at Ray, sending him flying back against a prep table, dishes crashing all around. Fraser jumps the table … Garret reaches into the sink and comes up with a butcher knife…Fraser jumps back..
FRASER: Please…
GARRET: Get away from me!
FRASER: There’s no need.
GARRET: Like hell!
Garret slashes out at Fraser with the knife. Brilliant knife fight ensues (courtesy of Larry and Ken) ending with Fraser disarming Garret and Ray cuffing the suspect.
END OF ACT ONE.

ACT TWO
EXT. POLICE STATION (STOCK) – LATER THAT DAY
FORD: (O.S.) So, tell me again, you found the locket in the parking lot…
INT. INTERROGATION ROOM – CONTINUOUS
Tape recorder rolling. Ford and Deeter present. Ford grills Garret who sits handcuffed to a chair, exhausted, agitated, on the edge. The public defender, CAROLYN WILSON, sits with him, uncertain, playing it safe, pretty sure she has a lunatic on her hands. Ford is holding up the evidence bag with the locket.
FORD: You find anything else?
WILSON: Mr. Ford, we’ve been over this ground.
INTERCUT – OBSERVATION ROOM
Fraser and Ray enter. Ray turns on the audio monitor.
FORD (sarcastic) Thank you, Ms. Wilson. (to Garret) Just walk me through this, okay? You find the locket in the parking lot, it’s lying beside the car, you pick it up…
GARRET (O.S.) Yes.
BACK TO SCENE
FORD (turns to Deeter who’s making notes, he nods) …Were you breaking into the car, Mr. Garret, is that what happened?
GARRET: I told you. I just found it.
FORD: Yes, and all you wanted to do was return it to its rightful owner. How did you know who owned it?
GARRET: I didn’t. It’s a police station, right?
FORD: But you asked to talk to Detective Vecchio about the Madison case. You must have know it was here.
GARRET: No. (a lie) … I saw her picture in the paper.
INTERCUT – OBERVATION ROOM
Fraser and Ray watching.
RAY: The picture released to the media didn’t have the locket.
FORD (O.S.) (knows it’s a lie) Okay…why not sell it? Must be worth something, you could use the money.
GARRET (O.S.) I…I WANTED TO HELP.
back to scene
Ford signs, sits down beside Garret, looks at him with sympathy.
FORD (O.SO.) Can I tell you what I think, Mr. Garret? I think you came in here because you wanted to tell the truth. Because your conscience was bothering you.
Ford continues. Garret is looking at him strangely.
FORD: You saw her on her way home from school. Purse dangling, gold jewelry—she’s gotta have money on her, right? You didn’t want to hurt her, you just wanted to rob her…
Garret sees where this is going, and reacts with growing alarm.
GARRET: No –
FORD: But she struggled, it got out of hand, she screamed – so you hit her…
GARRET: It didn’t happen like that – she was…(catches himself) No.
FORD: Where’s the body, Mr. Garret?
IN THE OBSERVATION ROOM
Ray explodes. RAY: What the hell is he doing…?! She’s not dead.
Ray heads for the door – Fraser holds him back.
RAY: If those jerks buy into this guy and stop looking for her…
BACK TO SCENE
WILSON: I object to this line of questioning. There has been no body recovered…
GARRET: I found the locket, that’s all I did!
FORD: That’s a lie, Mr. Garret. Everything you’ve said here today is a lie!
WILSON: Mr. Ford, if there is evidence…
Ford slaps a file of newspaper clippings down in front of Garret. On the top one is a photograph of Mary Ann Madison—sans locket.
FORD: The picture of her in the paper. There was no locket so you couldn’t have known it was hers. And another little detail: You couldn’t have picked up the locket beside her car, because she doesn’t own one.
GARRET: Why are you doing this??
FORD: (in his face) Because you are lying, Mr. Garret. You lied to the sergeant at the desk, you lied to Detective Vecchio, you lied about Constable Fraser, and you are lying to me. You saw her, you robbed her and you killed her, plain and simple!
Garret lurches to his feet, out of control—
GARRET: NO! She was alive! She was breathing!
ORD: When? After you hit her?
GARRET: NO! When she was in the trunk – she was alive in the trunk…!
Everyone in the room freezes. Garret looks around wildly, then realizes what he’s said. Then:
FORD: What kind of car?
GARRET: I don’t know. Just a car…
FORD: A big car? A small car? Red? Blue? Green?
GARRET: You don’t understand. I wasn’t there, I just “see things”…
FORD: Yeah. Like you “saw” the mountie.
GARRET: He was there.
WILSON: Mr. Ford, stop badgering…
FORD: (sarcastic) He probably helped you put the body in the trunk, right?
Garret opens his mouth t protest – hesitates –
GARRET: No. He buried her…
INTERCUT – THE OBSERVATION ROOM
Fraser listening.
GARRET (O.S.): …She’s in a hole, the earth is falling… I can see him…he’s trying to say something, he’s reaching for…
BACK TO SCENE
ford: What did he reach for, Mr. Garret. Her neck? Did you break her neck before you buried her.
GARRET: …No!
FORD: Is that how you got this?
Ford shoots the evidence bag containing the locket across the table. Garret catches it before it slips off the edge.
CLOSE ON GARRET
his hands close around it for an instant.
INTERCUT – CARRET’S PIXILATED POV
The locket, glimmers, it’s chain snapping as the rough hands pull it free…FRALSH CUT: To a dark hole. JUMP SHIFT DOWN, into the darkness, a body slides. It’s Mary Ann Madison, hitting bottom, dirt falling in on her – she’s fighting.
BACK TO SCENE
Inexplicable, relief breaks over his face.
INT. THE OBSERVATION ROOM
Close on Fraser.
FRASER: She’s alive.
RAY: Huh?
INT. INTERROGATION ROOM
Ford is about to say something when they hear a sound from the other side of the mirror to the observation room. He and Deeter share a look.
FORD (realizing): Vecchio.
Ford turns back, throws the door open…
INT. HALLWAY
…steps out, looks both ways – then drags Deeter down the hall after him. A beat. Francesca walks by in foreground talking to Welsh.
WELSH: …Just out of curiosity – where was the wolf during all this?
In b.g., Fraser and Ray emerge from around the other corner and head for the door of the Interrogation room.
INT. INTERROGATION ROOM – CONTINUOUS
The door opens and they slip inside.
WILSON: I’m sorry but my client will answer no further…
FRASER: This will only take a moment.
RAY: Thanks, Carolyn.
FRASER: (turns to Garrett) She’s alive isn’t she? You saw that.
GARRET (startled)…Yes.
FRASER: What else did you see?
GARRET (backing away) Nothing.
FRASER: You saw me.
GARRET (surprised) Yes.
FRASER: With her?
Garret doesn’t’ answer. It’s as if he’s never considered this before.
FRASER: When you saw me – did you see the girl as well?
GARRET (realizing) …No.
GARRET’S FEAR DISSIPATES. He looks at Fraser, relieved and curious.
GARRET: No.
FRASER: Thank you. (to Wilson) Excuse me.
Fraser turns to move away – Garret reaches out and locks firmly around Fraser’s wrist.
INTERCUT – GARRET’S PIXILATED POV
Fraser, at the top of the hole, turning to yell at someone we can’t see. Then he turns back. PICTURE JUMPS, now Fraser is leaning into the hole, the earth tumbling down, on us.
BACK TO SCENE
Garret continues to grip Fraser’s arm and stare directly into his eyes. Fraser’s eyes are locked on him as well. Ray starts to move forwards to intercede…
RAY: Hey…
The door bursts open. It’s Ford and Deeter.
FORD: Out.
INT. POLICE STATION HALLWAY – MOVING
Fraser and Ray walking and talking. On their way back to the bullpen.
RAY: What the hell was that?
FRASER: He did see the girl.
RAY: Great. So all do is place him in the parking lot and…
FRASER: I don’t think so, Ray. He wasn’t there.
RAY: You believe that?
FRASER: If he’s guilty, why bring us the locket? It’s sure to incriminate him.
RAY: Because he’s delusional. Or a liar.
FRASER: Or because he sees things you and I can’t see.
RAY: You’re losing me, Fraser.
FRASER: (to himself thoughtfully) “There are more things in heaven and earth that have been dreamt of in your philosophy, Horatio.” (to Ray) Horatio is—
FRASER: I know, Hamlet’s friend. I saw the movie.
FRASER: Hamlet sees his father’s ghost.
RAY: Yeah – he also kills his uncle and spends an inordinate amount of time chatting with skeletons.
FRASER: Yes, I suppose that would follow.
RAY: How is this relevant?
FRASER: It isn’t. (hesitates) But it’s possible.
RAY: Now you’re scaring me.
INT. BULLPEN – CONTINUOUS
As they enter Elaine meets them at the door.
RAY: He was a crazy person, Fraser. (to Elaine) Elaine, tell him Hamlet was crazy.
ELAINE: I can’t vouch for Hamlet. But I’d watch out for Rosencrantz and Guildenstern if I were you.
Elaine nods toward Welsh’s office:
ANGLE – WELSH’S OFFICE
Ford and Deeter are inside, locked in heated argument with Welsh. Ignoring them, Welsh crosses to the door and opens it…
WELSH (beckoning to them) Vecchio. Bring the mountie.
INT. WELSH’S OFFICE – CONTINUOUS
As Fraser and Ray enter. Welsh reaches for a file on the desk.
WELSH: This showed up at Howard Madison’s office half an hour ago.
Ray takes the paper Welsh holds out – a photocopy of a typed note. Ray reads it.
RAY: (off the paper) …She’s been kidnapped.
WELSH: That’s generally what a demand for ransom indicates.
RAY: So Garret’s innocent.
DEETER (lashing out, frustrated): The letter was mailed yesterday. Your transient could have written it days ago.
RAY: And then he changes his mind, walks in here and decides to confess? That’s nuts!
DEEER: Yeah, so is he.
Ford puts a hand out, silencing Deeter.
FORD: Cut him loose.
DEETER (turning on Ford): What??
FORD: Vecchio has a point. Cut him loose.
Frustrated, Deeter stalks out of the bullpen, slamming the door behind him. Ray stares at Ford, curious. Ford shrugs and smiles. Fraser turns to Welsh.
FRASER: (to Welsh) …The girl?
WELSH: The kidnapper’s demanding one million dollars in cash by 5PM, or she’s dead by morning.
FRASER: But she’s still alive.
WELSH: For the moment.
END OF ACT TWO

ACT THREE
INT. WELSH’S OFFICE – A SHORT TIME LATER
Filled with FBI AGENTS and SWAT TEAM MEMBERS all gathered around the desk. Ford is at the center, referring to a map of a city plaza. Welsh watches.
FORD: (to SWAT Captain) … No sharpshooters, no guns, no helicopters. We need him alive – we only have one shot at this.
DEETER: What about the armored personnel carrier?
FORD: No.
SWAT CAPTAIN (armed to the teeth, grenades, etc.) Ah, sir…
Ford glares at him. At the back of the room Ray and Fraser exchange a look: what’s wrong with this picture?
FORD (turning to an FBI Agent) Have Madison take his limo to the drop site. Tell him to leave his driver at home – we’ll supply one of ours.
Ray speaks up from the back of the room:
RAY: No. The kidnapper sees a driver, he’ll spook.
Ford turns to look at Ray. A beat, then:
FORD: Another good point. (to SWAT Captain) Tell him to drive himself.
Ray continues to watch Ford for a moment, then glances at Fraser. They move out of the office and into the bullpen.
INT. BULLPEN – CONTINUOUS
Ray moves Fraser to one side. They speak quietly.
RAY: Good plan.
FRASER: Mmm.
Ray is suddenly struck by a thought.
RAY: Where’s Deeter?
They look around and spot –
THEIR POV
Huey and Louey at their desks speaking quietly with Deeter.
BACK TO SCENE
RAY: Mmm.
FRASER: Mmm, indeed.
They exit.
INT. HALLWAY NEAR FORENSIC EVIDENCE ROOM – MOMENTS LATER
Gloria, the lab technician, walks down the hall toward Ray and greets him with a hug which covers the fact that she’s slipping him an envelope.
GLORIA: Five minutes, that’s it.
Ray gives her a quick kiss on the cheek.
RAY: I owe you one, Gloria.
Gloria: You owe me ten.
she walks off. Ray opens the door to:
INT. INTERROGATION ROOM – MOMENTS LATER
Fraser sits at the table with Garret. The PD stands by nervously.
FRASER: The FBI have a ransom note.
Garret nods.
FRASER: Tell me about the kidnapper.
WILSON: He doesn’t have to tell you anything. My clients been exonerated –
RAY: No. He’s being released. There’s a difference.
WILSON (starts to twig) What are you saying?
RAY: I’m saying maybe they’ll find someone at the drop – maybe this will all be over in an hour. But if something goes wrong, they’re gonna come looking for someone to lay it on. (turning to Garret) They’re gonna come looking for you.
Garret just stares at the table.
FRASER: There isn’t a lot of time.
Fraser takes the evidence envelope from Ray and gently pushes it over until it is right in front of
GARRET
who stares at Fraser, then slowly picks it up and slides the letter out. As he touches it:
PIXILATED POV
The kidnapper’s hands come into frame – JUMP SHIFT – as the hands pull a dark colored shoulder length wig from where it sits. The hands pull it at us, until it almost fills the frame – PICTURE JUMPS and we are now looking into a mirror – the kidnapper is “looking” at himself, adjusting the wig. The mirror is cracked and broken – in the dim light it’s impossible to make out what he looks like…he pulls a light baseball cap down over the hair, is about to check his reflection – he jerks around to look at something: it’s the mouth of a cistern laid into a dirt floor. PICTURE JUMPS as he moves toward it. We catch a glimpse of the floor – deserted equipment, barrels, etc. indicating it’s a factory floor long abandoned. Along one wall a row of industrial windows.
Through them we see part of a large neon sign. The whole thing reads: Goddard’s – Fine Ladies Footware. We see: God…
PICTURE JUMPS and we’re looking down into the cistern.
At the bottom we can barely make out the crumpled figure of the girl. The hands pull a sandwich out of a bag and drop it down into the hole.
BACK TO SCENE
Garret staring at the ransom note, transfixed by what he has seen.
GARRET: …dark hair…it’s a wig I think…baseball cap…
RAY: Any insignia?
GARRET: No.
FRASER: His face.
Garret nods, concentrates.
PIXILATED POV
We’re back at the mirror. The kidnapper is staring at himself. Suddenly, violently – he is engulfed in flames.
GARRET
starts – almost thrown out of his chair by the ferocity of it. He throws down the note as if it too was on fire.
THE DOOR OPENS
It’s agent Ford. He sees the note on the floor.
FORD: Isn’t this interesting.
FRASER: (to Garret, urgently) His face…
GARRET: I…
WILSON: (stepping in) My client has nothing further to say.
Fraser looks to Garret. Garret drops his eyes. He and Wilson exit.
FORD: (to Ray and Fraser) You coming?
EXT. REAR OF THE POLICE STATION – DAY
Lots of activity as cops and FBI load into unmarked cars and move out. Garret and Wilson emerge from the back doors. Garret shields his eyes from the light. For the first time we can see how worn and tired he really is. They shake hands and Garret shambles away to the street.
ANGLE – FORD AND DEETER
Ford is now dressed in a windbreaker and flak vest. They watch as Garret disappears. Fraser and Ray stand in the background.
FORD: (To Deeter) Don’t loose him.
Deeter hops into a car with Huey and Louey and take off. A couple of dark sedans follow.
EXT. A DOWNTOWN STREET – DAY
A lonely phone booth stands in the middle of a bustling downtown plaza. Couples pass by on their way into a movie theatre. Business people walk briskly to appointments. Kids move in groups – somewhere a boom box blares vintage Mel Tome. Pull back:
EXT. DALY PLAZE
A large outdoor pedestrian mall, dominated by a large bronze statue. A pond/skating rink in the middle, surrounded by elevated pedestrian walkways. A great place for a stroll on a lovely day.
ELEVATED WALKWAY
Ford and a small team are sitting in his car, on a part of the elevated walkway overlooking the center of the plaza. He’s holding a pair of high mag binoculars.
FORD; (into a mic) Everyone in position?
VARIOUS ANGLES
Undercover FBI agents, in various interesting disguises, signal with affirmative touches of their ear plug mics, look up towards Ford, etc.
EXT. DALEY PLAZE – STREET LEVEL
Fraser and Ray sit in the Riv. Watching the phone booth. They look up at
FORD
Affirmative replies crackle from a small speaker box on the dashboard of Ford’s car. He consults his watch 4:57 PM.
FORD (putting the binocular to his eyes) Okay. Signal Madison.
CUT TO: A LINCOLN CONTINENTAL
Howard Madison steps out, 45, well-dressed, tired and drawn. He looks around him, then walks purposefully towards the phone booth.
THE PHONE BOOTH
now we’re seeing it through the intense magnification of high powered optical scope. CLICK. The magnification doubles. As it does we see:
MADISON
arriving beside the phone booth. Looking nervously around him. Looks at his watch.
CUT TO: THE KIDNAPPER – CONTINUOUS
Seen from behind, his wig clearly visible under his baseball cap. he flips open a cellular phone, dials.
AT THE PHONE BOOTH
Suddenly, the phone RINGS. He enters and picks it up. Listens.
FORD
FORD: Okay. Showtime. Everybody heads up (the cell phone on his hip starts to ring) What?
EXT. CITY STREET
Deeter, standing beside his car – looking up and down an empty street.
DEETER: Unit 17…
INTERCUT
DEETER (O.S.) We lost Garret.
FORD: Where.
DEETER (O.S.) Not far from you.
FORD: (into mic) Attention all units – Garret made his move. Keep your eyes open.
INT. RAY’S CAR – CONTINUOUS
Ray bangs the dashboard.
RAY: They’re looking for the wrong guy!
ANGLE
past them through the rear window of Ray’s car – a grey Ford LTD makes its way slowly into the underground parking garage that serves the plaza. Follow it:
INT. UNDERGROUND PARKING GARAGE
The kidnapper, his wig clearly visible under his baseball cap, drives slowly through the garage and into a parking spot. He shuts off the car and pulls a cellular phone from his pocket. Dials…
INT. THE PPHONE BOOTH – CONTINUOUS
The phone rings again. Madison looks at it, then walks slowly away.
ANGLE
FORD: What’s he doing.
BACK TO SCENE
Madison walks up to a steel ventilation grate in the floor of the plaza – he lifts the grate up and drops the satchel with the money down into it.
FORD: Sonofabitch. (turns to someone) What’s underneath this place?
INT. RAY’S CAR
Watching Madison.
RAY: (to Fraser, realizing) He’s in the parking garage.
Ford’s voice comes over the walkie talkie.
FORD (O.S.) The parking garage – all units move out.
WITH FORD
as he moves into his car
FORD: I want a man at every exit! Seal it off. Now!
His car screeches away.
FULL SHOT – THE KIDNAPPER
His windbreaker reversed – in another part of the underground garage, making his way towards an exit carrying a back pack. as he reaches the exit, he pulls the wig off his head and stuffs it into a trash can.
INT. UNDERGROUND PARKING GARAGE
Fraser and Ray driving furiously through the pillars, weaving around slower traffic.
RAY: He must be in the red section.
FRASER: (watching space numbers go by) It’s coming up.
THEIR POV – THE FORD LTD
beside it, an open ventilation grid hangs down, opened from above.
BACK TO SCENE
Ray drifts the car to a stop. They both hop out and run to the Ford. It’s empty. The satchel, minus the cash, sits on the front seat. They both hear the SCREECHING TIRES of the FBI cars approaching. On their look:
CUT TO:
EXT. STREET
The kidnapper emerges from a pedestrian exit from the underground parking garage. Inside:
THE FORD LTD
Surrounded with FBI and forensics. A technician elbows his way past Ray and rushes towards the car.
RAY: They’re not going to find anything.
Fraser’s not listening. He staring at a garbage can half way across the garage.
CLOSE UP – THE WIG
as Fraser pulls it out of the garbage can.
INT. GARAGE
Fraser examines it, briefly. Ford runs up behind him holding a street map.
FORD: All units in sector seven…
EXT. STREET
He makes his way to a late model sedan parked inconspicuously on a side street half a block from the plaza. At that moment, far up the street, a blue and white comes slowly around the corner.
INT. BLUE AND WHITE
A PARTOLMAN and HIS PARTNER scan the street, listening to the FBI traffic on his radio.
FORD (O.S.) …a perimeter around the plaza from State Street to LaSalle. Anything suspicious, stop and apprehend…
Up ahead, he sees the kidnapper opening the trunk to the car, throwing the knapsack into it.
WITH THE KIDNAPPER
As he closes the trunk he looks up, sees:
POV – THE BLUE AND WHITE
coming at him down the street
BACK TO SCENE
he moves to the side of the car, opens the door and revs up the engine.
INT. THE BLUE AND WHITE
Keeping an eye on him.
PATROLMAN: Check him out.
They pull alongside the sedan – just as the kidnapper revs his engine and guns the car out into the street! Sideswipes an oncoming vehicle before taking off around the corner.
THE BLUE AND WHITE
turns around to follow. The Patrolman picks up the radio as his partner races to pursue the fleeing sedan.
PARTOLMAN: Suspect’s westbound on Madison.
EXT. CITY STREETS
What follows is a glorious full out car chase. The sedan, followed by the several blue and whites, the FBI and Fraser and Ray in the Riviera. They chase him out of the loop and into
THE LAKESHORE
Still, they are unable to catch up until the kidnapper, who’s driving furiously to avoid capture. An FBI vehicle gets too close and forces the kidnapper off the road. He smashes through a fence – and collides with a natural gas main.
AT THE CAR the kidnapper hears the HISS OF GAS, tries to start the engine—
THE RIVIERA
roars into view
FRASER AND RAY’S POV
The Kidnapper’s car, engine cranking.
BACK TO SCENE
Fraser flies out of the car.
FRASER: Nooo!
REVERSE ANGLE
in the foreground, sparks fly from the engine and, WHOOOOM – the gas goes up in a burst of rolling flame. Throwing Fraser to the ground.
RAY
on his cell phone, running for them
RAY: (shouting into phone) South Torrence Avenue, the refinery…!
He reaches Fraser, face down on the ground. Rolls him over – Fraser looks at Ray – there’s nothing they can do. As the sedan burns in the background we:
FADE OUT:
END OF ACT THREE

ACT FOUR
FADE IN:
EXT. POLICE STATION – NIGHT
FORD (O.S.) Jefferson, Adam. DOB 5/25/49. No fixed address…
INT. WELSH’S OFFICE – CONTINUOUS
Ford on the phone, pacing, under the gun in a big way. He refers to a rap sheet.
FORD: (into phone) It’s hard to say, sir. He may have been some kind of disgruntled employee…Because he worked at Madison Systems for—
MATCH CUT TO:
THE SAME REPORT
RAY: 9V.O.) …fifteen years…
PULL BACK TO REVEAL
Ray and Fraser at Elaine’s desk, reading from a copy of the report.
RAY: (reading) …plant closed, laid off last year sometime…couple of misdemeanors, petty stuff since then…(hands report back to Elaine) Nothing to get us to the girl.
FRASER: Where is the plant?
ELAINE: Skokie. (off his look) FBI’s already up there. No sign of her.
Ray glances at Welsh’s office where Ford is still on the phone pacing, sweating it out.
RAY: Wouldn’t want to be in his shoes.
The door flies open at that moment and Ford steps out, yelling to Deeter, hand over the receiver:
FORD: Where the hell is he?
Deeter looks up, his mouth dribbling with a salmon salad sandwich.
DEETER: Who?
Ford shoots him a look, goes back in, slams the door shut. Huey and Louey enter, looking worried, walk over to Deeter. They huddle. Throw a look over to
RAY AND FRASER
FRASER: Garret. They can’t find him.
Ray and Fraser watch as Huey, Louey and Deeter enter Welsh’s office.
INT. WELSH’S OFFICE – CONTINUOUS
Ford can barely put the phone to his ear for the screaming going on at the other end.
FORD: (into phone) …No, I wouldn’t call it hopeless. We still have a suspect…an accomplice…
Ford looks to Huey and Gardino in desperation. They shrug their answer – no luck.
FORD: (back to phone) Yes, sir, we’ll have him in custody within the hour – half-hour, yes sir. Good night…(reacts to the slamming of the phone at the other end) …sir.
Ford wheels on Deeter, ready to take drastic action.
FORD: Get the mountie in here.
DEETER: The mountie?
FORD: Get him in here!
Deeter shrugs, opens the door and looks out.
DEETER’S POV
Elaine sits alone at her desk. PAN TO RAY’S DESK – which is also empty.
BACK TO SCENE
Deeter turns back to Ford, empty handed.
FORD: Can’t you find anybody??
EXT. RAY’S CAR TRAVELLING – NIGHT
Motoring through one of Chicago’s seedier neighborhoods. Dief in the back seat.
RAY: (V.O.) You’re not going to tell me, are you?
INT. RAY’S CAR TRAVELLING – NIGHT
FRASER: No, Ray.
RAY: I’m just going to have to live with this, aren’t I?
FRASER: Yes, Ray.
RAY: (after a moment) It’s stupid, right? I mean, if anybody was going to sleep with my sister – and I’m not encouraging this, understand – I’d want it to be you.
A beat, then.
FRASER: But…?
Ray can’t respond. He keeps his eyes on the road, troubled.
EXT. RIVIERA – A FEW MINUTES LATER
As it slows and pulls into some shadows at the curb. Ray douses the lights. We see we’re outside of the Harbor Lights Mission where Garret works.
INT. RIVIERA – CONTINUOUS
Ray looks out at the darkened building, only a couple of lights left on inside. They go out, then the Manager steps out, locking the door after him and moves off down the street.
RAY: Why would he hang around? Even the FBI would eventually find him there.
FRASER: Where’s he going to run?
INT. HARBOR LIGHTS MISSION (KITCHEN AREA) – MOMENTS LATER
The kitchen is empty and dark with the exception of the illuminated “EXIT” sign over the door, spilling red shadows on the back door. A beat, then we hear some SCRATCHING at the lock, and a CLICK. The door eases slowly open. Ray’s face appears. He pushes it back for Fraser to enter. A moment, the Garret emerges from the shadows.
INT. KITCHEN – MOMENTS LATER
They sit. Garret looks at Fraser, studies his face.
GARRET: He’s dead.
FRASER: Yes.
Garret nods.
FRASER: Without him we have no way of finding the girl.
A moment, then:
GARRET: What I see doesn’t help people. I just feel them. I feel them till it crushes me. Other people’s lives, other people’s pain…I don’t know what’s me anymore, or what’s them…I let them in and they swallow me up till I feel like I’m gonna suffocate. I don’t want their pain anymore—I -I don’t want their pain anymore—I don’t care…I just want them to stop.
FRASER: But they won’t.
GARRET (beat) No. It took years just to shut off the sound of their voices. I still see them. But at least I didn’t hear them anymore. Not for a long time. Until now.
GARRET: She’s strong. She wants to live.
FRASER: Help her.
GARRET: She’s not my responsibility…What if I lead you there, what if I find her and it’s too late. They’ll think I killed her.
FRASER: Yes, you’d be taking that risk.
A moment of silence.
FRASER: You’ve been running for a long time. They’re your visions. You have to look at them and listen to them—
GARRET: Why?
FRASER: (beat) Because if you don’t, a young girl is going to die. You know that…can you live with it?
On Garret, torn.
CUT TO:
EXT. HARBOR LIGHTS MISSION – NIGHT
The Riviera still sits at the curb, but now it’s surrounded by blue and whites, lights flashing, and several unmarked FBI sedans. Tension in the air as Uniforms and Agents mill around their cars, waiting for orders.
INT. RIVIERA
Garret sits in the passenger seat. He’s nervous, frightened. Fraser is in the back with Diefenbaker. He turns and looks out the back window.
FRASER’S POV
Ray stands with Ford beside his sedan.
EXT. THE SEDAN
Ford is tight-lipped and furious. Ray leans casually up against the sedan, watching the action around him.
RAY: …It’s called a deal. He helps us find the girl – you go back to the station and put your feet up.
FORD: Otherwise?
RAY: Otherwise…forget it.
FORD: This is blackmail.
RAY: Pretty much.
FORD: I can have you up on charges.
RAY: Yep, you probably can. But by the time you put through the paperwork it will be morning. And then you’ll have to explain to Howard Madison why his daughter is coming home in a body bag.
Ford turns away, barely keeping a cap on his fury, then turns back.
FORD: I will fry you for this, Vecchio. I promise.
Ray smiles, turns on his heel and walks back to the Riv.
INT. RIVIERA – CONTINUOUS
As the car pulls out and drives off, leaving Ford steaming on the curb.
EXT. INDUSTRIAL DISTRICT – A SHORT TIME LATER
Dark and deserted. The Riv is the only moving vehicle on the streets.
GARRET (V.O.) …there’s no floor. Just sand or dirt. But it’s inside.
Garret’s eyes are pinned on the view from the windows—squat industrial buildings, darkened warehouses.
RAY: What did you see. A warehouse? Factory?
GARRET: (suddenly) God!
Fraser and Ray turn.
RAY: Oh great.
A WAREHOUSE COMPLEX
Surrounded by cyclone fencing. Several others just like it nearby. Ray pulls the Riviera up to the curb. They get out and walk towards the front gate. Several large towers rise up behind the buildings – at the top of one, a billboard: Brightly illuminated, it advertises a local brand: Goddard – Fine Ladies Footware.
GARRET: I only saw part of it, through the window. G…o…d…
Fraser and Ray look up at the sign as Garret joins them.
GARRET: I couldn’t tell for sure.
It’s the same sign we saw earlier in one of Garret’s visions. Fraser lifts his hands up in front of his face – forming a crude “viewfinder”.
FRASER’S POV
his hands block out much of the sign, leaving only the letters “God…”
BACK TO SCENE
Ray tries it himself, sees the letters.
RAY: It could be any of these.
GARRET: Older windows. Industrial, with safety glass.
Fraser scans the surrounding buildings.
GARRET: Dirty.
FRASER: They haven’t been cleaned in a long time.
RAY: you just described every window within fifty blocks.
FURTHER UP THE STREET
A low brick building sits darkened. A “For Sale” sign on the fence out front – from the condition of the place, it hasn’t been open in a long time. Fraser holds up his hands to make the viewfinder
FRASER: Maybe no one cleans them…
RAY: Because there’s no need.
HIS POV – THE GODDARD SIGN
He narrows in to hold the first three letters.
FRASER: Yes.
EXT. A HELI PAD – SOMEWHERE IN CHICAGO
Ford and Deeter, heads together against the ROAR OF TURNBINES
FORD I want ground teams on five minute ready. There won’t be much time once we find them.
Ford runs across the tarmac, two agents in tow, and steps up to a gleaming black Bell 220 Jet Ranger, agency markings etched into the side door. He jumps into the front passenger seat, puts on a headset, and signals the pilot to take off. As the gleaming black bird rises into the night we:
CUT TO:
INT. BRICK BUILDING – MOMENTS LATER
A door swings open from the inside. Its old hinges creak under the weight. Fraser, Ray and Garret make their way through, followed by Diefenbaker, who trots off into the darkened building.
FRASER: Diefenbaker.
(Dief ignores him) Be careful.
Dief disappears.
GARRET: (to Fraser) Good listener, huh?
They move off.
INT. BELL 220 – SOMEWHERE OVER CHICAGO
Ford referring to a map, speaks to the pilot.
FORD: (headset) Turn to Red Tango zero niner – We’re looking for a Green Buick Riviera.
INT. THE BRICK BUILDING
Fraser, Ray and Garret move into a large cavernous chamber. Several doors and entrances exit off of it. They look around.
FRASER: (calling out) Miss Madison!?
Silence. Then BARKING. They follow the sound.
FULL SHOT – DIEFENBAKER
Staring intently down at something. He looks up, sees:
A DOORWAY HIGH UP THE WALL
Stairs lead down from it. Fraser, followed by Ray and Garret come through the door and stand overlooking the central chamber of the abandoned factory. Pull back:
INT. CENTRAL CHAMBER
To reveal Diefenbaker is standing beside a large hole in the center of the floor. Surrounded by thousands of tons of sand and silicates. One entire end of the cavernous room is piled to the rafters with sand, the pile gradually tapering until, around the circle of the hole and beyond, there is only a foot or two covering the floor. The doorway is at the top of the chamber, giving the boys and Garret a full view of it. The hole is dark. They can’t see the bottom from the angle they are at.
FRASER: Miss Madison!
No answer. They begin to move down the stairs.
CUT TO:
A PAIR OF MOUNTIE BOOTS
drops off the last step onto the floor of the chamber leaving prints in the hard packed sand. As the others run by, the prints blur, then disappear as the sand breaks down.
INT. CENTRAL CHAMBER – CONTINUOUS
Fraser and Ray arrive at a table the kidnapper was using. The mirror still propped up on it. Garret arrives at the window. Looks out, sees
HIS POV
The Goddard sign
BACK TO SCENE
GARRET: This is it.
RAY: (calling out) Mary Ann.
DOWN BELOW
An unconscious Mary Ann Madison begins to stir.
RAY: (O.S.) Mary Ann!
BACK TO SCENE
Fraser and Ray move carefully towards the hole. As they move closer to it, the sand starts to shift down the gentle slope towards the mouth of the hole. Fraser, who’s ahead, stops. He turns to Ray.
FRASER: This whole area is unstable. We need a safer pathway.
He points to a series of long flat rectangular indentations 18” wide in the sand. They lead away from the hole.
FRASER: The kidnapper must’ve been using something to walk across, keep his weight from undermining the sand.
MARY ANN (O.S.) (moans, weakly) …Who’s there?
FRASER: Don’t worry.
RAY: It’s the police Miss Madison. Sit tight. We’ll have you out of there in a minute (to Garret) You heard the man…
Fraser and Ray move off away from the hole looking for whatever the kidnapper had been using to get across.
MARY ANN (O.S.) (Ghostly) Don’t go away…please…
Garret turns. He’s just about to respond, but he stops to listen. A LOW RUMBLING reverberates from far away.
CLOSE ON GARRET
As he cocks his head to listen.
ANGLE
The sand. His gaze follows its gentle slope towards the hole, and Mary Ann. The sound grows louder. Diefenbaker WHINES.
ANGLE
Fraser and Ray are fifty feet away, picking up piles of 1” x 18” boards.
FRASER: (turning) Dief?
SOUND grows louder, until we HEAR the unmistakable THUMP, THUMP of helicopter rotors cutting air.
ANGLE -- FRASER
beside his head, a piece of steel begins to vibrate in time to the rotors.
ANGLE – GARRET
Staring at the sand. Tiny grains begin to roll silently towards the mouth of the hole. More begin to follow.
GARRET (to himself) Oh, no…
ANGLE – TOWARDS THE ROOF OF THE BUILDING
The helicopter is directly overhead. Then
A BLINDING LIGHT
washes the room in harsh white light.
RAY: (looking up) Ford. That jerk.
The skids of the helicopter HIT the roof.
FRASER: Ray…
He looks to Fraser – who’s staring towards the hole. Sand is beginning to dislodge from the edges. They run.
IN QUICK SUCCESSION:
AT THE EDGE OF THE HOLE
Garret, wading through the sand. He gets to the edge – sees the girl, choking, buried by the falling sand.
MARY ANN (panic, choking) Help…Help!
GARRET
Galvanized by her scream he leaps! Lands beside her at the bottom. She throws her arms around his neck, holds on.
AT THE TOP
Fraser and Ray arrive. The hole is now almost half full of sand, but it’s not firm enough to support either Garret or Mary Ann – they are being swallowed. Garret begins to lift the girl up towards Fraser.
GARRET: Hurry!
The sand reaches chest height. More from above. Fraser bends down, Ray holding his waist. The sand beneath them beginning to give way.
Fraser manages to grab her wrist and in one powerful motion, heaves her to safety. She collapses into Ray’s arms. Fraser leans back in at the edge.
ON THE OTHER SIDE OF THE HOLE
The large shelf of sand overhanging the hole begins to shift. Chunks of the surface calve off and slide towards the hole.
FRASER: (Reaching for Garret) Take my hand! (to Ray) I can’t reach him.
In the bottom of the hole, Garret looks up.
GARRET’S POV
It’s the exact one we saw in his vision. Fraser, at the top edge of the hole, sand and earth falling towards him.
FRASER: Reach for it! Take my hand.
CLOSE ON GARRET – RECOGNIZING
He laughs! Then struggles furiously to reach Fraser’s outstretched hand.
AT THE TOP
Ray has ripped a long piece of electrical cable and fastened it to a girder. He runs up behind Fraser, wraps it around himself to set up a belay, tosses the other end to Fraser, who ties himself off.
IN THE HOLE
the sand now impossible deep – cascading down on top of them, rapidly filling the hole. Fraser fighting his way through, reaching blindly for Garret who’s now disappeared from sight.
RAY
straining to hold on.
FRASER
fighting – then: he sees Garret’s hand poke through from underneath. He grabs the outstretched hand, gets a firm grip around the wrist and signals to Ray, who begins to pull.
Fraser and Ray, together, manage to drag Garret out of the rushing sand. They collapse together beside the girl. She’s pale, exhausted. Diefenbaker nuzzles her…
ABOVE
Ford enters, followed by several other agents. Sees what’s happening below.
EXT. BRICK BUILDING – LATER
Mary Ann wrapped in a blanket, being attended to by paramedics at AN AMBULANCE. Ford hovers nearby. Mr. Madison arrives and reunites with Mary Ann in a warm embrace. Ford leans in to ingratiate himself.
FORD: Ah…Agent Ford, sir.
Madison looks at him, annoyed.
MADISON (to Mary Ann) Is this the idiot with the helicopter you were telling me about?
NEAR THE RIVIERA
Fraser, Ray and Garret stand a few feet away, watching. Diefenbaker in the car, waiting patiently.
RAY: C’mon. (indicating Garret) We better get him out of here.
Mary Ann leaves her father and comes over to them.
MARY ANN: Thank you. (to Garret) I want to give you this.
Mary Ann presses something into his hand and walks away. It’s the locket. A beat. No vision. He smiles.
FRASER: Can we drop you somewhere?
GARRET: (thinks) I hear Murphy at the Harbor Light is looking for a new Sous Chef…
They get into the car.
INT. POLICE STATION – A HALLWAY
The two men walk in silence. Tired. Neither really wanting to get into it. Fraser turns to Ray.
RAY: (stopping him) Forget it.
He turns off. Fraser hesitates a beat…
ANOTHER HALLWAY
Ray comes around the corner – and bumps into Francesca.
FRANCESCA: Hi. (looks behind him) Where’s the mountie?
RAY: You and me gotta talk.
FRANCESCA: (light) What?
He pulls her into an interview room off the hall and closes the door.
INT. INTERROGATION ROOM – NEXT DOOR
Fraser slips in the door. Sees them talking through the one way window. Flicks a switch, on goes the green light indicating the audio monitor is open.
RAY: Stay away from him.
FRANCESCA: Excuse me?
RAY: You heard me, just stay away.
He walks to the door.
FRANCESCA (he’s not getting off this easy) Ray…!
He hesitates, turns back. This is very difficult.
INTERCUT – FRASER
RAY: (O.S.) You’re in over your head, Franny.
FRANCESCA (O.S.) Meaning?
RAY: (O.S.) Guys like him don’t marry girls like you. That’s fairy tales. Girls like you get hurt and guys like him never know it. That’s life.
FRANCESCA: (bridling) Oh. You know this.
RAY: (commenting, frustrated) Why do you do this…You always do thins to yourself.
FRANCESCA: Yeah, I do.
A moment, then:
FRANCESCA: You know what your problem is, Ray? You’re afraid to dream. You’re afraid to really reach for something that you want. Well you know what happens to people like you? They get old, they get alone, and then they die and they never know…That’s not me.
He has no response. Maybe it’s true, but he’s not prepared to look at that. She lets it go, moves for the door.
RAY: (beat) Did you sleep with him?
FRANCESCA: (irritated) Would it matter to you if I did?
RAY: You’re my sister.
Which is probably the most touching think he’s ever said. She turns back, gives him a quick, embarrassed kiss on the cheek – then quickly leaves.
Ray stands there, thinking.
INT. INTERROGATION ROOM
It’s empty.
INT. HALLWAY – CONTINUOUS
Francesca rounds a corner and bumps into—
FRANCESCA (covering) Fraser…
FRASER: Hello.
An awkward moment. Her confidence deserts her.
FRANCESCA: Well…see you.
She starts to move past.
FRASER: May I see you home?
She turns back – a smile lights up.
fff (quickly) Your home. I mean, I assume that’s where…
FRANCESCA: (lightly) Some other time.
She turns and carries on down the hall. Smiling. On Fraser watching her we:
FADE OUT: