FRASER: I can understand that.
Another awkward silence.
VICTORIA: Anyway, I'm glad I saw you before I pushed on. (smiles) You look great. As always. (beat) I better go. Thanks for the--
She rises to leave, reaching for her wallet.
FRASER: I've got it.
VICTORIA: (smiles) Figure you owe me, huh?
She puts her money away, turns and starts to go. Fraser just sits there watching her leave, debating with himself.
FRASER: (decision made) Victoria?
She stops as Fraser approaches.
FRASER: (CONT'D) Do you think I could see you again?
VICTORIA: When?
FRASER: ... Now?
She smiles.
VICTORIA: You hungry?
FRASER: Starving.
INT. FRASER'S APARTMENT -- NIGHT
Fraser and Diefenbaker enter. Fraser carries bags of groceries. Victoria is in the kitchen cooking. Under the following he places the bags on the counter and they unpack them.
FRASER: Sorry, it took me a while to find the cilantro.
VICTORIA: Tracked it down, did you?
FRASER: (taking the question seriously) The second grocer said he never stocked it, but I found traces of the leaf on the floor in the produce section and there was a boot imprint on it and-
VICTORIA: --You found it?
FRASER: (gets that he's being teased) No.
VICTORIA: So what did you get?
FRASER: Ice cream.
As he unpacks it and a bunch of other groceries.
VICTORIA: Great. (re: stuff on counter) I found brown beans, a pork chop, spaghetti sauce and rice.
FRASER: So what are we making?
VICTORIA: All of it. How much do I owe you?
FRASER: Oh no, you were right. I owe you. An awkward beat. Fraser puts the list and his wallet down on the counter.
FRASER: (CONT'D) What can I do?
VICTORIA: (re: soup pot) Can you stir?
FRASER: It's one of my many areas of interest.
She hands him the stirrer, their hands touch... Fraser looks into her eyes, and is transfixed. And... the tomato sauce boils, spitting bubbling sauce their way.
FRASER: (CONT'D) Sorry.
He starts to stir much too vigorously. She takes the spoon from his hand, again touching it with hers.
VICTORIA: How about you set the table.
Fraser goes to the dish cabinet, opens it.
HIS POV: THE CABINET
One set of camping dishes, one dog dish.
FRASER
looks at the cabinet, looks at Diefenbaker, who would shrug if he could. Fraser takes out the camping dishes and some cutlery and heads for the table. When he exits to the dining room, Victoria notices his wallet on the counter. She peeks into it -- two singles. She takes four twenties from her purse and slips them into his wallet. As he returns:
VICTORIA: (CONT'D) You wouldn't have any candles, would you?
Fraser opens the cabinet again.
THE CABINET -- SHOOTING FROM BEHIND THE WALL LOOKING OUT
Camera moves up to the second shelf full of emergency candles.
Victoria looks to him.
FRASER: (somewhat embarrassed) ...In case of power disruption.
VICTORIA: Always prepared for anything.
FRASER: ...No.
A long beat. Fraser takes an arm full of candles and closes the cabinet into camera.
INT. FRASER'S APARTMENT -- LATER THAT NIGHT
PAN ACROSS APARTMENT. And all around the room we see the source of the eerie lighting, dozens of flickering candles. We finally find Fraser and Victoria, on the floor, propped up at the end of the bed, watching television. Dief lies nearby, staring at them.
VICTORIA: I would have never figured you for a television.
FRASER: I borrowed it from my neighbor, Mr. Mustafi.
ANGLE TO INCLUDE TELEVISION
On it plays North By Northwest. It's the train scene. But there's no sound. Instead, the closed captions show the dialogue.
VICTORIA: Why doesn't it have any sound?
FRASER: I'll have to have it repaired before I return it. If it's a problem, I have other neighbors.
VICTORIA: It's okay.
FRASER: You sure you don't want to go out?
VICTORIA: Shh. (beat) This has always been my favorite movie. I always wanted to be Eve Kendal.
FRASER: She sent Cary Grant to be killed.
VICTORIA: She had no choice.
Beat, she looks away at the screen, he does, too. Fraser seems very content.
WIDE SHOT
As they watch TV, we notice it's snowing outside the windows.
FRASER: It is a terrific movie.
VICTORIA: (she pulls her coat around herself) You're not cold?
FRASER: No. (realizes) Oh, pardon me.
He rises to go to the window.
ANGLE ON WINDOW
It's not snowing. He smiles to himself and shuts the window.
HIS POV -- FROM WINDOW
The street is dark and quiet, no sign of snow.
EXT. KING EDWARD HOTEL -- NIGHT
Fraser and Victoria walk up to the door to the lobby.
INT. KING EDWARD HOTEL LOBBY -- CONTINUOUS
Fraser and Victoria cross the lobby. She stops and turns to him.
VICTORIA: Thank you.
FRASER: You're sure I can't walk you up to your room.
VICTORIA: I think I'll be safe from here.
An awkward beat as they gaze in each other's eyes. Do they kiss? No.
She looks at him for another moment.
VICTORIA: (CONT'D) I had a nice time...
FRASER: So did I.
And she's gone. Fraser lingers for a moment watching her go.
EXT. KING EDWARD HOTEL -- MOMENTS LATER
Fraser emerges, turns as he hears a STREET PEDDLER's voice:
PEDDLER: Twenty bucks for genuine Eskimo soapstone sculpture.
The man, sitting on the sidewalk in front of a cardboard box displaying small white sculptures of polar bears. Fraser takes the one being offered and inspects it.
FRASER: Actually, it isn't soapstone. It isn't even stone. It's soap. (checks bottom) Also, you should know that Inuit aren't indigenous to Taiwan.
PEDDLER: Weren't they supposed to have crossed the Bering Strait?
FRASER: Point taken. I'm afraid I only have--Fraser opens his wallet, sees the twenties, looks to the lobby, smiles and shakes his head.
PEDDLER: Your lucky day.
He hands a twenty to the peddler. Fraser throws one last look at the lobby, his melancholy returning.
INT. FRASER'S APARTMENT -- NIGHT
Dirty dishes sit in the sink. Fraser lies on his bed, still half dressed, watching another scene from North by Northwest. But what we see on his face isn't a fond remembrance of a pleasant moment. It's the pain of loss. There's a knock on the door. Fraser checks his watch and heads for the door, opening it to...
VICTORIA
standing in the hallway, exactly as we last saw her, except her face is tear stained.
VICTORIA: You think we can just act like nothing happened? How could you do it? How could you do that to me?
Fraser reaches for her, pulls her tight, seeks forgiveness in her. She throws her arms around him and takes refuge in the embrace. The embrace turns into a kiss, and the kiss never ends. The camera circles, as they turn into the living room passing the dining room wall, and when we see them again, snow is falling all around them.
ANGLE FROM HALLWAY
The door opens again, Dief is evicted and the door is closed behind him.
INT. FRASER'S APARTMENT -- NIGHT
They fall onto his bed, lost in a kiss. He reaches for her fingers, places one of them in his mouth. The camera moves off them to black, and finds them again:
ANGLE ON BED -- LATER THAT NIGHT
The camera moves in from black to find Fraser asleep. Victoria sits and pulls on one of his shirts. She moves to the window, which is propped open by a book. She slides the window closed. And then something outside catches her eye.
VICTORIA'S POV -- THE APARTMENT BUILDING ACROSS THE STREET
Across the street, a window at the end of a well lit hallway. A man stands silhouetted at the window staring right back at her. He drags on a cigarette. It could be Jolly.
RESUME FRASER'S BEDROOM
Victoria turns and crosses back into the room, glancing at Fraser as she crosses to THE KITCHEN where she dons a pair of rubber gloves and begins to scrub the dishes and the counter. She notices the polar bear soap, smiles, picks it up and scrubs it into the sponge.
EXT. APARTMENT BUILDING ACROSS THE STREET -- CLOSER
Jolly stubs out his cigarette on the window sill.
EXT. CHICAGO -- ESTABLISHING SHOT -- MORNING (DAY 3)
INT. FRASER'S TENEMENT
Ray climbs the stairs and approaches Fraser's apartment. He notices Dief lying outside the door. That's odd. He knocks. No answer.
RAY: (yelling through door) Fraser?
He tries the door, it's locked. That's also odd.
RAY: (CONT'D) (more yelling) You okay? ... Fraser?
Still no answer. He prepares to kick in the door but Fraser preempts him by opening the door just a crack.
FRASER: (through the crack) Good morning, Ray.
RAY: Consulate said you didn't show up, I figured you had to be pretty sick. (gesturing to Dief) Is it contagious?
FRASER: I'm fine, Ray.
RAY: (can't believe this) ...You're not sick?
FRASER: I'm fine.
RAY: But you're not at work.
FRASER: I must have slept in.
RAY: (concerned and jumping to the only logical conclusion) What kind of trouble are you in?
FRASER: I, um... An old friend is visiting and...
RAY: You have a woman in there???? (wait a minute) Why are you lying to me?
FRASER: I'm not, honestly.
RAY: (not quite sure how to react) Oh, well, that's great, really that's great, good for you...Really?
FRASER: (shutting the door) Thanks for dropping by, Ray.
RAY: Way to go, buddy.
Ray turns and walks away, sharing his stunned amazement with a neighbor who peeks out of her door.
RAY: (CONT'D) He has a woman in there.
The neighbor closes the door.
INT. FRASER'S APARTMENT -- CONTINUOUS
Fraser turns to Victoria who finishes dressing.
VICTORIA: Do you have to go to work?
FRASER: Well... I do have something like eighty-two sick days coming to me.
VICTORIA: So you could afford to get really sick.
FRASER: ...Yes.
VICTORIA: Then you should get back into bed.
As they kiss, we cut to...
INT. CONSULATE RECEPTION AREA -- NEXT DAY (DAY 4)
Start on an FTD bouquet on Jasmine's desk. She hands it to Fraser as
he enters for work.
JASMINE: Feeling better?
FRASER: Yes, thank you.
JASMINE: Twenty-four hour bug, was it?
FRASER: ...Yes.
JASMINE: Mmmm. Line three is for you. A Staff Sgt. Meers.
He exist into his office.
INT. FRASER'S OFFICE -- MOMENTS LATER
Fraser's desk is stacked with paper work that he's been neglecting.
The room is filled with flowers and "Get Well" notes. Fraser speaks on the phone.
FRASER: (concerned) I appreciate your calling, Sergeant.
INT. RCMP NORTHERN SUBSTATION -- AT THAT MOMENT
STAFF SERGEANT MEERS speaks to Fraser.
STAFF SERGEANT MEERS: We don't know what caused it yet. Could have been lightning. I'm sending someone up there tomorrow to see if there's anything we can salvage.
INT. FRASER'S OFFICE -- (INTERCUT)
FRASER: I don't think there's anything of value.
STAFF SERGEANT MEERS: Still, we'll have a look. (an afterthought)
Did your Dad keep any gunpowder in the place, something that might have caught a spark?
FRASER: No.
STAFF SERGEANT MEERS: Okay, well, I'll call if I find out anything.
FRASER: Thank you.
He hangs up, letting the bad news sink in.
FRASER: (CONT'D) Your cabin burned down last week.
REVEAL FRASER SR., still in his dress reds, still in half a hat -- How did he get in here?
FRASER SR: Hm. Well, I don't use it much anymore. (sniffs some flowers) I can't smell, either. (beat) Not much left behind to remember me by now, is there?
FRASER: ...No.
FRASER SR: Just don't start picturing me on that fishing trip. All I need is to start tromping around in hip-waders. (re: cabin) I'm sorry. I know you loved the cabin.
FRASER: (fakes a smile) I wasn't using it much anymore.
Fraser looks his father straight in the eye. Behind him, Jasmine enters, bearing a florist box.
JASMINE: Another well-wisher. No card. He opens the box. It's a single purple rose. A smile slowly crosses Fraser's face. He looks up at Jasmine.
JASMINE (CONT'D): Go. I'll cover for you.
FRASER: Thanks.
Fraser grabs his coat and exits. Fraser Sr. looks around, notices Fraser's spare Stetson on a chair, picks it up and throws a furtive look to the door.
EXT. VECCHIO HOME -- NIGHT (NIGHT 4)
Cars in the driveway and parked out front.
LOUEY: (V.O.) I can't get an angle on this ball.
RAY: (V.O.) Will you shut up and shoot?
INT. VECCHIO LIVING ROOM -- AT THAT MOMENT
Louey is shooting. Because of the proximity of the wall, his cue is almost vertical to the ball.
LOUEY: How am I supposed to shoot like this? All I can do is drill the ball straight through the table. He shoots, the ball hops and goes nowhere. Welsh returns from the kitchen with a glass of water.
HUEY: You miss, you have to pull up a ball.
LOUEY: We've been playing for twenty minutes and we haven't sunk one!
WELSH: Didn't I hear something about pizza and a deli platter?
RAY: I got caught a little short. (offering a jar) Another caper,
sir?
WELSH: Leave the "sir" at the office. (to Ray) You have anything else other than water?
HUEY: (trying to aim) I can't remember, are we spots or stripes?
LOUEY: You sink anything, you win! Despite his efforts, Huey miscues and the ball just hops. Welsh takes his cue and lines up a shot, his back to the window.
WELSH: So where is the big red one?
RAY: Oh, he's got himself some mystery woman.
HUEY: (a little surprised) You haven't met her?
RAY: (covering) Oh, yeah, sure.
WELSH: So what's she like?
RAY: She's, you know... Canadian.
HUEY/LOUEY/WELSH: Ohhh.
Ray throws a glance at the one cue left in the rack, covering the fact that he's really upset. Welsh lines up his shot, his backswing bumps the window.
WELSH: Detective Gardino...
Louey opens the window and holds it open as Welsh takes advantage of the additional room to make a clean shot, sinking a ball. It goes right through the pocket and hits the floor.
INT. FRASER'S APARTMENT -- NIGHT
Fraser and Victoria are asleep. A small clock beside the bed shows 4 a.m. Suddenly there's a loud KNOCKING on the door. Fraser stirs, Victoria doesn't. He looks at the clock, looks to Victoria, and slides out of the tiny bed.
INT. FRASER'S TENEMENT HALLWAY -- AT THAT MOMENT
Ray bangs on Fraser's door, then looks to Dief, curled up in the hall.
RAY: (annoyed) Has he let you meet her?
Finally the door opens, revealing Fraser, wearing only his pants.
RAY: (CONT'D) What's tonight, buddy?
FRASER: Friday. (realizes) Oh... Ray, I am so sorry.
RAY: (petulant) Hey, no problem, it was nothing special.
FRASER: I simply forgot. I got involved in some things-- (reaches for his wallet) I have your money.
Fraser hands him three twenties.
RAY: Thanks, this makes all the difference.
FRASER: I really meant to be there.
RAY: So, she in there?
FRASER: Yes, I'm sorry, would you like to meet her?
RAY: Don't do me any favors. (walking away) I wouldn't want to embarrass you.
FRASER: (calling after) Ray... (he keeps walking) Ray.
Ray heads down the stairs. Fraser goes back inside.
INT. FRASER'S APARTMENT -- CONTINUOUS
VICTORIA: I take it that was Ray.
Fraser nods as he scrambles to quickly put on some clothes.
VICTORIA: (CONT'D) I'm sorry.
FRASER: It's not your fault.
And he grabs a coat and hurries out the door.
EXT. FRASER'S APARTMENT -- MOMENTS LATER
Ray's car pulls away from the curb. A beat later, Fraser emerges. He sees Ray half a block away and chases after.
ANGLE ON JOLLY
in the window of the building across the road. He butts out his cigarette on the window ledge.
EXT. STREET CORNER SEVERAL BLOCKS AWAY -- MOMENTS LATER
Ray is stopped at a red light. He glances into his rear view mirror.
RAY'S POV -- THROUGH REAR VIEW MIRROR
Fraser runs toward him down the middle of the street.
RESUME RAY
The light changes to green. Ray waits. Fraser catches up to him and leans in the window, out of breath.
FRASER: I'm sorry, Ray.
RAY: Yeah.
FRASER: It's just that... I made a mistake once. I can't do it again.
INT. FRASER'S APARTMENT HALLWAY -- AT THAT MOMENT
Dief comes around the corner, returning to the apartment. He stops, noticing the door is open. Then moves forward.
INT. FRASER'S APARTMENT -- CONTINUOUS
Dief peeks around the door, sees something, snarls.
ECU -- THE BARREL OF A REVOLVER
aimed right at him. The muzzle explodes into flames as the bullet leaves the chamber.
EXT. STREET AND RAY'S CAR
The faint echo of the gunshot. Fraser dismisses it.
FRASER: There are some things in your life that you always regret, losing your friendship would be one, losing her... Gunshot.
Fraser runs back toward his building. Ray swerves around.
INT. FRASER'S APARTMENT -- MOMENTS LATER
Fraser charges in to find Dief on the floor, bleeding. He drops to his knee, checks his pulse, then moves into the room -- the window to the fire escape is open. Furniture is upended, and there are other signs of a struggle. Victoria is gone. Fraser grabs a blanket and drops to cover Dief, as Ray runs down the hall and sees what's happening.
RAY: The car's out front, let's go.
Fraser cradles the wounded wolf and follows Ray quickly out the door.
FADE OUT:
END OF ACT ONE
ACT TWO
FADE IN:
EXT. CHICAGO -- ESTABLISHING SHOT -- NIGHT
INT. VETERINARY HOSPITAL WAITING ROOM -- AT THAT MOMENT
Fraser paces as Ray enters, bag in hand. Fraser looks to him with a question.
RAY: I put out her description. She might have gone to a police station--
FRASER: --She wouldn't.
RAY: --They're checking the hospitals--
FRASER: I called them.
RAY: You have any idea who it could have been?
FRASER: No.
RAY: ...I'm sure she's okay. (No he's not. He nods toward surgery.)
Any word?
FRASER: They got the bullet out. It missed his major organs, but it punctured his spleen. They had to remove it. As soon as he's conscious they'll have a better idea.
RAY: Welsh is sending a Crime Scene Unit over. (Fraser nods. Beat) I got some donuts; you should eat something.
FRASER: I'm fine, thanks.
RAY: Got one for Dief, too. Cherry filling, right?
Fraser nods.
RAY: (CONT'D) You think they'll let him eat it?
They sit there.
DISSOLVE TO:
INT. ANIMAL RECOVERY ROOM -- MORNING (DAY 5)
Dief lies in a cage (or whatever's appropriate), his torso completely bandaged, a saline solution drip attached to his leg, his eyes closed. Fraser sits beside him, stroking his fur. Eventually Dief opens a groggy eye. Fraser offers a small, sad smile and pets him.
EXT. STREET NEAR KING EDWARD HOTEL -- MORNING
Fraser runs up the street. As the pedestrians clear, half a block ahead he sees:
VICTORIA
In front of the hotel, a cabbie putting her bags into the trunk of a waiting taxi.
FRASER
doubles his pace and gets there just before she steps into the back seat, grabbing her arm.
FRASER: Where are you going?
VICTORIA: Please, just let me go.
FRASER: I want to know what happened.
VICTORIA: (looking around fearfully as she speaks) I'm sorry. I'll call you, please let me go.
FRASER: What happened?!
VICTORIA: It was Jolly.
She glances behind her, obviously afraid. Fraser looks around for someplace to take her. A man and his two kids pass carrying bright zoo balloons.
FRASER: (with compassion) ...Come on.
He takes her by the arm and leads her into the street.
EXT. LINCOLN PARK ZOO -- EXTREME HIGH & WIDE ANGLE -- DAY
Fraser and Victoria are just specks on the sidewalk heading for the zoo
entrance, his left hand on her elbow, guiding her.
OMITTED
INT. ZOO -- POLAR BEAR EXHIBIT -- DAY
A polar bear dives under the surface of the water. We follow it to find Fraser and Victoria at the glass. A couple of kids run out past them with zoo balloons. Fraser looks back to her.
VICTORIA: About a month after I got out Jolly turned up at my sister's place, in Skagway. Threatened me... I testified against him.
FRASER: He should still be in prison, he got thirty years.
VICTORIA: I just packed up and left. I don't know how he found me again, maybe he followed me, I don't know. I wasn't sure if I saw him one night.
FRASER: Why didn't you tell me?
VICTORIA: I've been seeing his face every night for the last month.
Then I looked up and he was standing over me, he grabbed me by the throat, I couldn't scream, I couldn't fight, if Diefenbaker hadn't come in... Is he dead?
FRASER: He's badly hurt.
VICTORIA: I ran for the fire escape, made it out. You have to let me go.
FRASER: ...What does he want from you?
VICTORIA: I don't know!
FRASER: What aren't you telling me?
VICTORIA: Nothing!
Fraser just looks at her. Victoria struggles with it, then tells.
VICTORIA: (CONT'D) They never found the money we stole. Over half a million dollars. When I got out, I went to find it.
FRASER: I don't suppose you were planning on returning it?
VICTORIA: (a bitter half-smile) It wasn't there. I assumed Jolly got there first. He thinks I did.
FRASER: Did anyone else know where he hid it?
VICTORIA: Jolly has a pretty big mouth, but I can't believe he'd be stupid enough to tell anyone.
FRASER: You told no one?
VICTORIA: (defensive) I'm not exactly the most trusting person in the world. People tend to let me down.
Fraser knows she's talking about him.
FRASER: ...Not this time.
INT. RAY'S HOUSE -- FRANCESCA'S ROOM -- DAY
Ray swings open Francesca's bedroom door and enters with Victoria.
RAY: You can stay here till they get back, then we'll work out something. This is my sister's room.
VICTORIA: You sure this is okay?
RAY: (not completely) Hey, any friend of Fraser's is a friend of mine.
VICTORIA: So... you're Ray.
RAY: Yeah. (beat) How did you two meet?
VICTORIA: He arrested me.
RAY: Ah. He meets a lot of people that way. (beat, matter of fact)
You hurt him, I'll kill you. (as he heads to the door) My room is just across the hall. You hear anything funny, you bang on it.
VICTORIA: I don't think--
RAY: (deadly serious) You hear anything, see anything, you bang on the door. (handing her card) I'm not home, you call this number. Nothing happens to you while you're under my roof. Understand?
VICTORIA: ...Thanks... I appreciate what you're doing.
RAY: I'm not doing it for you.
VICTORIA: You made that real clear. But I appreciate it.
Ray nods and exits.
INT. UPSTAIRS HALLWAY -- CONTINUOUS
Ray exits Franny's bedroom as Fraser comes upstairs with her bags.
FRASER: Thanks, Ray.
VICTORIA: (O.S.) Fraser? Why are all these pictures of you in here?
On Fraser's reaction, we..
INT. FRASER'S APARTMENT
Huey and Louey along with the Crime Scene Unit (dusting for prints, taking blood samples, etc.)are packing up as Fraser and Ray enter.
LOUEY: Just two sets of prints, if you discount the paw marks. (realizes his joke is in poor taste) Sorry. How is the little guy?
FRASER: We won't know for a while.
HUEY: Is anything missing?
Fraser looks around. TV and VCR are still there.
FRASER: Doesn't appear to be. Not much of value in here.
Fraser checks his trunk, it's still locked.
HUEY: We'd like to talk to your lady friend.
FRASER: I'll bring her in.
As they exit, Louey pulls a folded report out of his jacket pocket.
LOUEY: Oh, you wanted this.
RAY: Thanks.
And they're gone. Fraser tidies up, as Ray reviews the report, which comes with a photo.
RAY: (CONT'D) Chuckles ain't no clown, is he?
FRASER: Jolly?
RAY: Quite a history, manslaughter, attempted murder, assault with a
deadly weapon. He killed a guard on that bank job with your girlfriend. She get a lighter sentence for testifying against him?
FRASER: Yes.
Fraser looks out the window.
RAY: Looks like he didn't trust her. He escaped the same week she got released.
Ray wanders over and joins him.
RAY: (CONT'D) You were only gone for a few minutes, he must have been staking her out.
EXT. STREET ACROSS FROM FRASER'S -- THEIR POV
Just a few shoppers, homeless people, addicts and passers-by. Fraser and Ray cross the street (into their own POV)
OMITTED
INT. THIRD FLOOR OF APARTMENT BUILDING
Fraser and Ray arrive on the third floor landing and turn down the
hall. Behind them, the hallway stretches forever -- dozens of apartments. They head for the window at their end of the hall. Ray looks out the window as Fraser stoops and examines the dozen crushed cigarette butts.
RAY: Yeah, this'd do it.
Fraser picks up one of the cigarette butts and gives it a good sniff.
FRASER: Canadian.
Ray holds open an evidence bag for Fraser.
ANGLE ON NEIGHBOR'S DOOR --SECONDS LATER
He knocks on a door. It's answered by TENANT #1.
RAY: Police officer. Have you noticed--
The door is slammed shut on him. Fraser knocks on the door across the hall. It's opened a crack by TENANT #2.
FRASER: Excuse me, I was wondering if you could help--
SLAM. The scenario is repeated two or three more times.
INT. APARTMENT BUILDING -- LATER
They have made it all the way down to the distant far end of the hall. They wait for the final door to be answered. TONY BONILLA, a lonely middle aged man, answers the door.
FRASER: Excuse me, we were wondering... (waits for the slam, it doesn't come) -- if you had seen a man loitering at the far end of the hall the last few days?
BONILLA: Just the private detective. I let him use my phone.
Ray looks to Fraser.
INT. BONILLA'S APARTMENT -- MOMENTS LATER
Ray is on the phone.
RAY: (to Bonilla) 555-9732?
BONILLA: My mother.
RAY: Seven times. (from phone, to Bonilla) 555 seventy-three thirty-three? (Bonilla shakes his head. Into phone) Want to pull out your reverse directory?
EXT. SEEDY HOTEL -- DAY
Ray and Fraser pull up across the street and get out.
INT. SEEDY HOTEL LOBBY -- AT THAT MOMENT
The DESK CLERK, virtually blind, wearing the world's thickest glasses has Jolly's photo about half an inch from his face. Finally, he looks away from it.
DESK CLERK: (sarcastic) Oh sure, I'd recognize him anywhere.
RAY: What's his room number?
INT. HOTEL HALLWAY -- MOMENTS LATER
Ray and Fraser come down the hall.
FRASER: Why would he call his own hotel?
RAY: Probably picking up messages.
FRASER: No known associates.
Ray knocks on the door, then slips a pick into the lock.
RAY: Maybe he has a girlfriend.
FRASER: Maybe.
The door pops open.
FRASER: (CONT'D) Don't you need a warrant to go in there?
RAY: (removing matches from a pocket) Not if there exists imminent danger.
FRASER: What imminent danger would that be, Ray?
RAY: (lighting the match) Something like fire.
He reaches in the room...
INT. JOLLY'S HOTEL ROOM - CONTINUOUS
Ray's arm reaches through the door and drops the lit match in the
garbage. The waste paper catches fire.
INT. HOTEL HALLWAY -- CONTINUOUS
Ray closes the door, calmly proceeds to the door across the hall and
knocks. Ray waits calmly until it is answered by HOTEL TENANT.
RAY: How ya doing?
HOTEL TENANT: Fine.
RAY: We wanted to ask you a few questions about your neighbor across
the hall.
HOTEL TENANT: I just checked in.
Ray puts a foot in the door before the tenant can close it.
RAY: You haven't noticed anything strange about him?
HOTEL TENANT: I've never seen him.
RAY: Any odd smells coming from his room?
HOTEL TENANT: (sniffs) Fire!
RAY: Really? Where?
The Hotel Tenant flees.
RAY: (CONT'D) (loud and stagey, for Hotel Tenant to hear) Oh, look,
whoever's in that room will be in imminent danger.
INT. JOLLY'S HOTEL ROOM -- CONTINUOUS
Ray kicks open the door and enters, a hanky to his face. Fraser looks
in.
FRASER: So, according to the law, we can now look around?
The fire in the trash can is really burning.
RAY: Yeah, look for something to put out the fire!
Fraser goes to check out the drawers.
FRASER: ("in on it") Ah, yes, I understand.
RAY: No, I mean it!
Ray tries to stamp out the fire in the waste paper basket, which is
threatening to get out of control. He finally grabs the flaming basket and runs down the hall to the bathroom...
RAY: (CONT'D) (burning his hands) Ah-ah-ah-ah!
INT. HOTEL BATHROOM -- CONTINUOUS
Ray dumps the flaming trash into the sink and turns on the water,
dousing the flames.
FRASER: (V.O.) Ray.
Ray turns around to face
FRASER
standing behind him, holding a large worn scabbard with shoulder
holster.
RAY: Where's the knife?
FRASER: Not here.
Ray turns back to turn off the water -- notices a half-burnt piece of cigarette pack. He picks it up.
RAY: (re: cigarettes) Canadian.
He turns it over and his face goes chalk-white.
RAY: (CONT'D) Oh my god.
INT. RAY'S HOUSE -- MOMENTS LATER
The phone rings. Victoria answers it.
VICTORIA: Hello?
INT. JOLLY'S HOTEL ROOM -- AT THAT MOMENT
Fraser is on the phone, the cigarette pack in his hand.
FRASER: Get out of the house!
Fraser puts the cigarette pack down on the end table. Written on the
inside is VECCHIO and 2926 North Octavia Ave.
VICTORIA: What's--
FRASER: He has your address! Get out of there, go someplace public -- the zoo, where I took you. I'll meet you there!
INT. RAY'S HOUSE -- DAY
She slams down the phone and runs out.
INT. JOLLY'S HOTEL ROOM
Fraser does the same.
INT. HOTEL LOBBY -- MOMENTS LATER
Ray questions the Desk Clerk as Fraser bounds down the stairs.
DESK CLERK: Maybe fifteen minutes ago.
Ray and Fraser run for the exit past several FIREMEN entering.
EXT. VECCHIO HOME -- AT THAT MOMENT
Victoria rushes out and desperately hails a cab. She gets in and they go.
ANGLE DOWN THE STREET
Jolly, just stepping out of his car. He spots her, gets back in and follows.
FADE OUT:
END OF ACT TWO
ACT THREE
FADE IN:
EXT. LINCOLN PARK ZOO -- EXTREME HIGH ANGLE -- DAY
A cab pulls to the curb, the door opens immediately and Victoria gets out. She doesn't run, but even from way up here her quickened pace betrays her fear.
EXT. STREET -- LONG LENS SHOT -- CONTINUOUS
As Victoria wipes through frame we see Jolly's car pull up to the curb. He watches for just a second before he steps on the accelerator.
EXT. ANGLED PARKING SPACE -- CONTINUOUS
A car pulls out, Jolly pulls in. He opens the door, pulls a large ugly-looking knife from its hiding place between the seats and slips it into a scabbard inside his jacket before exiting the frame.
EXT. ZOO -- ENTRANCE -- DAY
Victoria pushes open a pavilion door and heads off down the path.
(N.B. Locations: This is Australasia Pavilion) We push in on the doors until we're very tight. We wait until finally Jolly's hand comes up to the glass and shoves open the door.
OMITTED
EXT. STREETS -- AT THAT MOMENT
Ray swerves madly through the busy streets. He slams on his brakes and barely misses slamming into the bumper of the car in front.
AHEAD
Traffic snarls the intersection.
RAY whips the wheel around and mounts the curb, taking the car down the sidewalk and around thecorner, where it lurches back onto the road.
OMITTED
INT. POLAR BEAR TUNNEL -- AT THAT MOMENT
A polar bear dives into the water and swims right by us. Small fish sink slowly, reminiscent of snow, to be eaten by the voracious bears. PAN to reveal Victoria alone, scared. The romantic tunnel of yesterday, somehow seems frighteningly eerie now. She throws a look to the end of the tunnel -- a mother and a couple of kids enter. The Mother, who looks a little like Victoria, holds up the smaller child to the window. The sight of Mother and child pulls at something deep and long repressed in Victoria, and she acknowledges them with a small smile.
EXT. STREETS -- ANOTHER LOCATION
Ray takes a corner at sixty, wiping out a post box in the process.
INT. POLAR BEAR TUNNEL -- AT THAT MOMENT
The unheld child decides to run for the far exit.
MOTHER: Jenny!
The Mother chases after her child, holding the smaller child in her arms. Victoria watches them exit. Then turns back to check on the other end of the tunnel.
JOLLY
stands right in front of her. She throws open her mouth to scream, he clamps a huge hand over her throat before a sound comes out and tosses her up against the window.
JOLLY: I thought you wanted to see me. Don't tell me I thought wrong.
INT. ZOO ENTRANCE -- AT THAT MOMENT
Fraser pushes through the entrance door, Ray through the "exit only."
INT. POLAR BEAR TUNNEL -- AT THAT MOMENT
JOLLY: Just tell me where the money is, love.
VICTORIA: I told you, I don't have it.
JOLLY: Did I mention I don't believe you?
VICTORIA: You never told me where you were going to stash it!
JOLLY: Ed knew.
VICTORIA: Ed's dead.
JOLLY: I'm thinking he told you. I'm thinking maybe you told someone else. Someone who could pick it up for you when things went bad. And somehow things went very bad, didn't they? Poor Ed.
Her eye is caught by a shadow at the end of the tunnel.
VICTORIA: Fraser!
Jolly whips his head around to see the entrance -- but she's wrong, it's only a man and his son. He twists back to face her.
JOLLY: Fraser?
Victoria jabs her fist into his stomach.
CLOSE ON HER FIST
she drives her silver pen knife into his gut and
JOLLY
doubles over, as Victoria shoves him away and breaks for it. Jolly yanks the tiny knife out of his stomach, folds it and puts it in his pocket. He sheaths his own knife as he exits past a family on its way in to see the bears.
INT. ZOO PATHWAY -- LEOPARD CAGE -- AT THAT MOMENT
Ray and Fraser run along the pathway, passing a pacing leopard, who trots after them into close up.
INT. POLAR BEAR TUNNEL
Fraser and Ray burst into the tunnel -- scaring the family at the window, who quickly head for the exit. Fraser doesn't apologize. He runs to the far end, sees she's not there, trots back.
FRASER: How long would it take to get here from your place?
RAY: (checking his watch) Not this long. You think maybe she went to the wrong place?
FRASER: No.
Fraser spots a drop of something on the floor, stoops, touches it with his finger.
CLOSER ON FRASER
Blood on his finger. He looks back up to Ray.
RAY: (springing into action) I'll take from here to the lagoon.
Ray races out one end of the tunnel, Fraser dashes out the other.
INT. AMERICAS PAVILION -- MOMENTS LATER
Victoria runs out of the darkness, crouching beside the glass wall -- through which we see an otter dive and frolic. Pan off to look through the window, to see Jolly on the bridge. As he stops and looks around, Victoria pushes away from the glass and runs back into the dark exhibit. We angle back to her pov of the bridge: only Jolly isn't there any more. A second later he steps into extreme foreground. He hears her panicked footfalls and takes off.
ECU ON GLASS CAGE
A particularly ugly looking little lizard follows the action.
INT. BARBARY SHEEP TUNNELS -- SECONDS LATER
Victoria scrambles through the tunnel, shoving aside a tourist. Sheep watching through a peephole want none of this and take off. A second later, Jolly runs through in pursuit.
EXT. ZOO PATHWAY -- MONKEY AREA -- AT THAT MOMENT
Ray dashes along, spots someone with similar hair and spins her around.
RAY: Sorry.
He hurries off. As the curious monkeys chatter and watch him go.
EXT. BARBARY SHEEP MOUNTAIN - CONTINUOUS
Fraser runs over the rock landscape, grabs a handhold and scales the mountain.
ONCE ON TOP
He searches the horizon.
FRASER'S POV
Nothing appears to be out of the ordinary. Tourists wander about
enjoying the exhibits.
EXT. ZOO - MAYAN TEMPLE & WATERFALL - A DISTANCE AWAY
Victoria runs along a pathway. Jolly takes a short cut, getting closer. He disturbs a pair of nesting geese that honk and flap at the outrage.
EXT. BARBARY SHEEP MOUNTAIN -- AT THAT MOMENT
Fraser whips his head around at the sound of the distressed geese.
OMITTED
WIDE ANGLE -- FRASER
He leaps off his perch, rolls and jumps down again. He hits the path and runs off.
OMITTED
EXT. WATERFALL -- SECONDS LATER
Victoria flees under the water fall. She slips on the wet cement and falls. She twists back around to see if he's coming. Suddenly Jolly leaps through the corner of the water fall. Victoria tries to push herself back, her hands find no grip on the wet concrete. Jolly steps up to tower over her.
JOLLY: You know what, love? Money isn't everything. I can always make more, right? (pulls his knife out) I'll settle for peace of mind.
Jolly reaches for her and suddenly...
FRASER
dives through the waterfall, tackling him to the ground.
FRASER: (to Victoria) Run!
She does, as Jolly kicks Fraser off of him. Jolly takes a run at Fraser, Fraser sends him flying. Jolly regains his feet and lunges. Fraser neatly avoids the weapon and counter punches, sending Jolly reeling, knocking the knife from his hand. It clatters across the wet floor. Jolly looks up, wipes the blood from his mouth.
JOLLY: (smiles) I should have known it was you.
Fraser is thrown by this just enough so that when Jolly charges like a mad bull, Fraser is off balance. Jolly head butts him and sends Fraser tumbling over the waterfall. Fraser throws out his arm and grabs a handhold.
A CROCODILE
turns and watches with some interest.
JOLLY
picks up his knife and appears over Fraser, who can't get a grip on the slimy rocks.
JOLLY: You think you know her. You're wrong.
Jolly slices the knife blade across Fraser's knuckles. Fraser screams and falls, his body smashing against the rocks as he shoots down the falls and into the pond below.
EXT. POND -- UNDERWATER SHOT
Fraser falls into the water.
ANGLE ON CROCODILE
It slips into the water.
RESUME FRASER UNDERWATER
As he pushes to the surface he looks to the top of the water fall.
HIS POV -- THE WATERFALL
Jolly is gone.
FRASER
pulls himself out of the water.
OMITTED
EXT. ANGLED PARKING AT ZOO ENTRANCE -- MOMENTS LATER
Jolly runs up, looks around for Victoria, then jogs to his car, opens the door and drops into the driver's seat.
INT. JOLLY'S CAR -- CONTINUOUS
He is surprised to see Victoria sitting in the passenger seat. He smiles.
JOLLY: Come to your senses, have you?
VICTORIA: A long time ago.
She raises a revolver and
ECU -- BARREL OF REVOLVER
Fires at him point blank.
EXT. ANGLED PARKING AND SIDEWALK -- CONTINUOUS
After a beat, Victoria emerges from the car and strolls away.
FADE OUT:
END OF ACT THREE
Index Page - due South - Behind the Scenes
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