Regular Cast	Recurring Cast
FRASER	THATCHER
RAY	O’NEIL
DIEFENBAKER
WELSH
HUEY
GARDINO
Guest Cast
SID
ANDY
COBB
CELIA
ATTORNEY	PRESS REPORTER
CABBIE	SUNG LEE
CAMPAIGN MANAGER	SUNNY
CHILD WELFARE OFFICER	SWAT TEAM OFFICER
LARGE WOMAN	TRANSIENT
MIDDLE-AGED WOMAN	TV REPORTER
MILES	UNIFORM
MS. DOWNING	WAITRESS
PARKING ATTENDANT

EXTERIOR-DAY	INTERIOR-DAY
ALLEYWAYS BEHIND THEATRE	BACK OF VAN
BACK ALLEY	CANADIAN CONSULATE
CURIO SHOP	CURIO SHOP
DEAD END ALLEYWAY	DONUT SHOP
DONUT SHOP	FEDERAL BUILDING HALLWAY
FEDERAL BUILDING OF SOME SORT	JOHSTONE’S OUTER OFFICE
PAWN SHOP ROW	POLICE STATION
PAY PHONES NEAR THEATRE	POLICE STATION - HALLWAY
POLICE STATION – REAR LOADING	POLICE STATION - INTERROGATION
STREET CORNER NEAR THEATRE	POLICE STATION - OBSERVATION
STREET IN FRONT OF THEATRE	RIVIERA
STREET NEAR THEATRE	STARS & STRIPES TATTOO PARLOR
TATTOO SHOP ROW	STREET NEAR CURIO SHOP
VAN	TATTOO PARLOR
EXTERIOR-NIGHT	INTERIOR-NIGHT
ALLEYWAYS NEAR THEATRE	CONSULATE TOWN CAR
CITY HALL	JAGUAR
CONSULATE TOWN CAR	PLOICE STATION - BULLPEN
ON THE ROOF	POLICE STATION - BATHROOM
POLICE STATION	RIVIERA
RIVIERA
STREET IN FRONT OF THEATRE
STREET NEAR PARK
THEATRE
THEATRE DISTRICT
VAN

SCRIPT DAYS
Scenes Day/Night
1-6 NIGHT ONE
7-25 DAY TWO
26-36 NIGHT TWO
38-58 DAY THREE
59 DAY FOUR

PROLOGUE
FADE IN:
CLOSE ON A CANADIAN FLAG
a small one, mounted on the hood of a sleek BLACK TOWN CAR. As it moves slowly, perhaps too slowly, through traffic, PULL BACK TO REVEAL we're in Chicago's downtown theatre district.
THATCHER: (V.O.) If you had picked me up on time, when I told you to...
FRASER: (V.O.) Of course, I was far too early.
INT. CONSULATE TOWN CAR -- CONTINUOUS
Fraser, needless to say is at the wheel. Thatcher sits in the rear dressed in evening wear, still applying makeup, her jewelry and accessories spread over the back seat of the consulate car.
THATCHER: ...instead of driving in endless circles around the justice building...
FRASER: There was a "no stopping" sign.
THATCHER: ...then I would be fully dressed and on time for the theatre instead of half-dressed and late.
FRASER: Yes, sir. My apologies, sir.
THATCHER: This is a Consular vehicle with diplomatic plates. No one is going to haul you off to jail for double parking.
FRASER: Understood. (passing them back) Your tickets, sir.
THATCHER: (shoving her handbag at him) You put them in.
Fraser takes the tiny handbag, already stuffed to the brim and looks at it, helpless. A WOLF WHINES. Thatcher reacts -- looks over into the front seat and sees:
DIEFENBAKER
lying o the floor of the passenger side. He doesn't look at all well.
FRASER: (to Dief) Sssh.
THATCHER: Do you always bring your wolf on assignments?
FRASER: He isn't feeling well. I didn't want to leave him alone. If he's bothering you...
THATCHER: (defensive) I don't dislike animals, Fraser. I've had pets. (beat) Small ones. (beat) A dachshund. (beat) He died.
FRASER: Oh.
She's embarrassed for having revealed too much.
THATCHER: Just keep the hair off my seats.
EXT. CONSULATE TOWN CAR -- CONTINUOUS
The town car turns right and pulls into a side street running in front of the theatre entrance.
INT. CONSULATE TOWN CAR -- CONTINUOUS
Thatcher looks out the window, sees the theatre entrance approaching.
THATCHER: It's right here.
FRASER: Yes, I see it.
THATCHER: You need to stop.
FRASER: That appears to be prohibited.
THATCHER: Stop anyway.
FRASER: Certainly.
THATCHER: You're not stopping.
FRASER: No, sir.
EXT. THEATRE -- CONTINUOUS
The town car drives straight past the theatre. HOLD ON A TRANSIENT standing out front, holding out his cap to passing theatre goers. A man strides past, the transient offers his cap. He pushes past. This is COBB, early 30's. The suit and cashmere coat are expensive, but the military crew-cut and meaty features make him look like a marine on a night pass. As does the postage stamp-sized American flag tattooed at the nape of his neck. As he steps off the curb and crosses the street we see where he's heading:
A JAGUAR
sleek and dark with tinted windows is waiting in a lane way that runs off the street, across from the theatre. Cobb smiles as he strides toward it.
INT. JAGUAR
Reveal the driver of the Jag, SUNNY BARCLAY, 42 -- attractive, expensive, high maintenance.
Open in her hand is an electronic address book displaying rows of names and phone numbers. She scrolls down until her lacquered nails finally locate an entry that reads:
SEN. E. JOHNSTONE HM: 555-8734 OFF: 555-0947 CELL: 555-1196.
As she reaches for her car phone, the passenger door opens and Cobb climbs in.
Sunny is surprised and uneasy but tries to cover it with cool professionalism. She snaps the electronic address book shut and drops it into her purse.
SUNNY: Where's Elliot?
COBB: Nice car.
SUNNY: It was a gift. Where's Elliot?
COBB: He decided not to come. I think he's unhappy with you.
SUNNY: I'm sorry to hear that.
COBB: So is the senator. He enjoyed your services, but you were paid once. He sees no reason to pay you again.
SUNNY: Alright, if he would rather leave this to his press agent...
Sunny reaches for her door handle. Cobb stops her.
COBB: I think we can come to an accommodation.
SUNNY: (smiles warmly) I'm so glad.
As Cobb rolls up his window the camera rises above the car, over the hood and RACKS FOCUS across the street to:
THE MOUTH OF THE ALLEY
where THE TRANSIENT watches with curiosity as the Consulate Town Car trolls past him once again toward the theatre entrance.
THATCHER: (V.O.) There's a parking spot right there.
FRASER: (V.O.) Sorry. Handicapped.
THATCHER: (V.O.) What about that one?
FRASER: (V.O.) Taxi stand.
THATCHER: (V.O.) There's an alley right there!
FRASER: (V.O.) Yes there is.
THATCHER: (V.O.) (as he drives past) Fraser!
FRASER: (V.O.) Fire lane.
The town car drives straight past the theatre again.
THE TRANSIENT
shakes his head and holds out his cap to the THEATRE GOERS moving up the alley beside the theatre and emptying onto the sidewalk. They ignore him.
ANOTHER ANGLE
deeper into the alley. Someone stands in a doorway watching the crowd move past. This is SID, 18, a street kid dressed in army surplus. As he surveys the crowd he spots
SID'S POV
A MIDDLE-AGED WOMAN walking alone, her attention on the shawl that keeps dropping off her shoulders. In her hand -- a purse dangles open. As she hurries up the alley toward him
BACK TO SCENE
Sid suddenly steps out of the doorway into the woman's path, jostling her...
MIDDLE-AGED WOMAN: Oh...!
SID: 'Scuse me.
causing her to step backwards into the arms of ANDY (Andrea) a 15 year-old street urchin...
MIDDLE-AGED WOMAN: (reacting) I'm sorry...
who helps the woman right herself while at the same time reaching down into her purse and pulling out her wallet.
ANDY: No problem.
The woman moves off up the alley, none the wiser. Sid holds open his knapsack and Andy slips the wallet inside. As he moves past her:
SID: (aside to Andy) Two more.
ANDY: (complaining) I already did three.
SID: Two more.
ANDY: Sid...
Sid keeps walking, ignoring her. As he heads deeper into the alley he passes another doorway and opens his knapsack. A hand reaches out and drops in two wallets.
SID: That all?
SUNG LEE, another teenage street urchin, steps out of the shadows and reluctantly drops a man's watch into the knapsack.
SID: (CONT'D) Better. Two more.
Sung Lee shrugs reluctantly and moves out into the crowd.
Sid turns to another TEENAGE PICKPOCKET, a boy, huddled in the same doorway smoking a cigarette.
SID: (CONT'D) You deaf?
The boy reluctantly stamps out his cigarette and he and Sung Lee move out into the crowd.
Sid continues on down the alley into a square open lot between buildings where several other alleys intersect and a number of cars are parked. HEADLIGHTS spill into the alley. As he ducks into the safety of the shadows
ANGLE ON
The Consulate Town Car pulling up to one of the intersecting alleys into the lot.
INT. CONSULATE TOWN CAR -- CONTINUOUS
Thatcher leans over the back seat, directing Fraser's attention.
THATCHER: That is a parking space. It is not for bus patrons, it is not for crippled children, it is for cars -- like this one.
FRASER: True, but if you notice the diagonal striped lines--
THATCHER: Constable!
FRASER: Parking.
The town car pulls into the parking space.
EXT. CONSULATE TOWN CAR
Thatcher throws open her door and jumps out. Fraser rolls down the passenger window and calls after her.
FRASER: I'll wait.
THATCHER: I'll take a cab.
FRASER: It may rain...
THATCHER: (calling back) Suit yourself.
She hurries up the alley toward the theatre still pinning a brooch to her evening coat.
A PARKING ATTENDANT appears beside Fraser.
PARKING ATTENDANT: What's the matter, you can't see the diagonal striped lines? I have to call a tow truck?
FRASER: Terribly sorry, my mistake.
Fraser backs the car out, turns and drives up the alley toward the street.
PARKING ATTENDANT: And keep moving!
FRASER: (calling back) Quite right.
ON THE STREET
The Town Car turns right onto the street passing in front of the theatre, heading around the block once more. Fraser waves at the transient -- the transient waves back.
As the Town Car moves past in the b.g. we see:
THE JAGUAR
sits quiet in the lane way, parking lights still on. A moment, then the lights are extinguished.
The passenger door opens and Cobb climbs out.
ANGLE ON JAG
We catch a glimpse of Sunny's hand lying limp on the seat as he locks and shuts the door behind him.
WITH COBB
as he moves off something dangles in his hand -- a garrotting wire with two small handles. As he steps over a storm drain he drops it and it falls through the grate and into the sewer beneath.
ON THE STREET
Andy, hanging out at the pretzel stand. She's sneaking some sugar cubes from a container on the pretzel stand and slipping them into a small paper bag. By the weight of it, she has quite a collection. Cobb passes through frame.
ANDY'S POV
Sunny's organizer as Cobb stuffs it into his coat pocket.
ANDY
stuffs the bag of sugar cubes in her pocket, and starts sauntering toward him. As she walks past, jostling him...
ANDY: (quickly) Sorry.
...and keeps going. Cobb glances at Andy and reacts, annoyed, then turns and continues on.
WITH ANDY
as she tucks the organizer under her jacket and crosses the street, heading back toward the theatre.
ANDY: (CONT'D) (to herself) One down.
EXT. THEATRE
Thatcher heads toward the entrance still struggling with her brooch that won't seem to latch properly. Suddenly she stops, reaches for her bag -- it's not there.
THATCHER: Damn. Fraser...
She whirls around to head back down the alley.
ANDY
Moving through the crowd, sees the brooch, its green gemstones sparkling.
BACK TO SCENE
Thatcher turns into the alley. Andy swoops in, bumps Thatcher--
THATCHER: (CONT'D) Hey, watch where you're--
The brooch drops off -- Andy catches it without breaking stride and moves quickly down the alley. Thatcher sees her empty lapel -- realizes --
THATCHER: (CONT'D) Hey!
Andy looks back, starts running
THATCHER: (CONT'D) Hey...!
AT THE END OF THE STREET
As Cobb is about to turn the corner, he hears the commotion as well, sees
ANDY
disappear into the alley on the run.
THATCHER: (CONT'D) (calling after) Somebody stop that little... (to herself) Oh, hell.
Thatcher takes off after Andy.
WITH COBB
He checks his pocket -- no organizer. He panics, and dashes into the street --
SCREECHING
BRAKES -- the Consulate Town Car is screeching to a halt in front of him. Cobb one-hands his way over the hood and keeps running.
Fraser jumps out of the car as Cobb races off across the street. Fraser looks to the transient who's been watching.
TRANSIENT: (to Fraser) Pickpockets -- they're all over the place.
Fraser tosses the car keys to the transient.
FRASER: Would you mind?
TRANSIENT: No problem. (lying) I'll drive around and meet you.
Fraser dashes off after Cobb.
INT. CONSULATE TOWN CAR
The transient crosses to the car and climbs in, happy as hell. He throws the car into gear, ready to take off. A GROWL. He freezes. Diefenbaker climbs up on the seat beside him.
The transient quickly changes his mind.
TRANSIENT: We'll wait.
EXT. ALLEY -- CONTINUOUS
Sid sees Andy racing down the alley toward him, pushing theatre-goers out of the way. Thatcher chases after as fast as her high heels will carry her. Which isn't fast.
Andy races past the doorway... Thatcher hurries past... Sid jumps out, knocking Thatcher stumbling back...
THATCHER: Oh...!
Sid takes off after Andy.
Thatcher struggles to her feet, only to be shoved aside again by Cobb as he runs past. She picks herself up and sees Fraser run up...
THATCHER: (CONT'D) Fraser, thank God...
FRASER: Be right with you.
And keeps going...
THATCHER: (calling after) Fraser...!
But he's long gone.
IN THE MAZE OF INTERSECTING ALLEYS
Andy and Sid dash out of one alley and down another. A beat and Cobb appears, catches a glimpse of them disappearing and follows after. Then Fraser rounds the corner -- no one in sight, he listens -- hears THE SOUND OF DISAPPEARING FOOTSTEPS, takes off down the right alley.
What follows is a cat and mouse game through the alleys, Cobb, the cat, Andy and Sid the mice. But the pickpockets know the alleys like the backs of their hands and keep outwitting him, dashing down alleys and jumping fences. Finally Cobb is hopelessly lost in the maze. Fraser, more successful, takes the right alleyways, jumps the right fences and forces Sid and Andy, a few yards ahead, into a dead end alley.
Sid and Andy are trapped, hear Fraser coming... Fraser knows he has them, rounds the corner... The dead end stands empty. The pickpockets have disappeared. Fraser stands astonished, admitting defeat.
BACK WITH COBB
Leaning against a wall, breathing hard. Fraser rounds the corner.
FRASER: I'm sorry. I'm afraid they know the territory better than-- But Cobb has moved off and is running away from Fraser down the alley.
FRASER: (CONT'D) Sir?... Sir?
Cobb disappears around a corner.
Fraser watches after, curious.
END OF PROLOGUE

ACT ONE
INT. POLICE STATION (INTERROGATION ROOM) -- MORNING
MS. DOWNING, an exceptionally attractive young woman, beautifully dressed by Alfred Sung, sits at the interrogation table, toying nervously with her matching gloves and handbag.
MS. DOWNING: ...I waited in the lobby for twenty minuets then took my seat. I assumed Ms. Barclay had been delayed with business. It wasn't uncommon. She offers DETECTIVES HUEY and GARDINO a small, uncomfortable smile. They're well aware of the "business" she's speaking of but find themselves bereft of the usual wisecracks -- this isn't a prostitute, this is a lady. And they are most impressed. Huey finds his voice first.
HUEY: Were you aware of any particular appointments Ms. Barclay had scheduled last evening?
MS. DOWNING: No. I wasn't privy to that kind of information.
HUEY: But you did work for her.
MS. DOWNING: We were associates.
HUEY: And she supplied you with ... clientele.
ATTORNEY: (cutting in) They were associates. I think that's sufficient.
INT. OBSERVATION ROOM -- CONTINUOUS
RAY, WELSH, COMMANDER O'NEIL and a couple of other PLAIN CLOTHES DETECTIVES. Fraser stands at the back behind Ray trying to conduct a quiet conversation with him. But Ray's attention is fixed on the interrogation and he barely hears Fraser.
FRASER: (sotto) ...Demantoids.
RAY: (not listening) What?
FRASER: Demantoids. They're green gemstones, a variety of the andradite commonly known as green garnets.
Ray ignores Fraser, mutters to Welsh under his breath.
RAY: (frustrated) Lieutenant, is this an interrogation or a first date? I mean, I realize she's got nice-- (remembering O'Neil) eyes and everything, but this is--
WELSH: (trying to hear) Do you mind?
Fraser continues to whisper over Ray's shoulder:
FRASER: Apparently the Inspector's brooch was a gift and has some particular significance which makes it irreplaceable, so I was hoping...
RAY: (off Huey and Louey) What about the book? Could they ask that, or would that be a relevant question?
O'NEIL: (to Welsh) Doesn't he have his own caseload?
WELSH: (to Ray) Shut up.
RAY: Sir--!
WELSH/O'NEIL: Shut up!
FRASER: It's an attractive brooch, I made a drawing...
RAY: Shut up, Fraser.
INT. INTERROGATION ROOM -- CONTINUOUS
Gardino, in his best gentlemanly manner, addresses Ms. Downing.
GARDINO: We understand Ms. Barclay kept a book. Names, addresses, private phone numbers...
MS. DOWNING: Most people keep address books.
HUEY: This book is rather exclusive. A lot of names of clients who are somewhat publicity shy.
GARDINO: If it's the wrong kind of publicity.
MS. DOWNING: I'm afraid I wouldn't know about that.
INT. OBSERVATION ROOM -- CONTINUOUS
RAY: (exploding) Oh, come on! She knows all about the book, she was one of Sunny's girls. She knows damn well the guys she spends her evenings with are all over People
magazine.
O'NEIL: Welsh, does your detective not have a leash?
RAY: (to Welsh) Let me have this one, Lieutenant. I spent six years in vice, I know how to handle this kind of case--
O'NEIL: You're not going near this case, Vecchio. God only knows whose names are in that address book.
WELSH: (to Ray) It requires special handling.
O'NEIL: Not your kind of special handling.
RAY: What's that supposed to mean?
IN THE BACKGROUND
The interview in the interrogation room ends. All break into polite smiles.
Gardino helps Ms. Downing out of her chair.
FRASER: I believe the Commander is saying that your methods tend to be a little -- what is it -- "in your face?"
O'NEIL: Exactly.
WELSH: Commander, have you met--
O'NEIL: The Mountie. (extending her had) Sherry O'Neil.
FRASER: Benton Fraser, pleased to meet you, sir.
RAY: (sarcastic, referring to Huey and Louey) Oh, but the duck-boys here, they're perfect for the assignment. They never ruffle any feathers.
ANGLE ON HUEY AND MS. DOWNING
as he helps her into her coat.
GARDINO: Are those Chanel pumps?
MS. DOWNING: (pleased) Yes.
HUEY: Stunning.
BACK TO SCENE
O'NEIL: (to Welsh, re: Huey and Louey) They'll do fine.
INT. HALLWAY OUTSIDE INTERROGATION ROOM
At the end of the hall a group of PHOTOGRAPHERS and ON CAMERA REPORTERS are being held back by TWO UNIFORM COPS. Pick up O'Neill moving up the hall toward them with Welsh, Ray and Fraser right behind them.
RAY: Oh, so this was my mistake -- I've been spending my time out there solving crimes, when I should have been attending charm school.
O'NEIL: (to Fraser) Does he always whine like this.
FRASER: Well, whine isn't quite how I would ... I mean, as a rule I wouldn't say ... at times he has a certain nasal quality which...
WELSH: (to O'Neil) Yes.
RAY: (to Welsh, off O'Neil) Was that a sexist remark? Do I detect a little reverse discrimination here?
As they pass the reporters shout out questions, overlapping.
TV REPORTER: Commander O'Neil do you have a suspect in the Barclay murder?
PRESS REPORTER: What about Sunny's client list? Is it true she was blackmailing them?
O'NEIL: (to reporters) No statements. (to Uniform) Get them out of here. (to Welsh, re: Ray) Him too.
O'Neil peels off, leaving Welsh with Ray and Fraser.
WELSH: (turning to Fraser) Constable, you wouldn't happen to have an insignificant but time- consuming crime in your back pocket, would you?
FRASER: Actually, sir, there is the matter of a certain street urchin...
WELSH: Perfect. (re: Ray) Take him with you.
RAY: Oh, great.
Welsh moves off.
FRASER: Thank you, Lieutenant.
Ray glares at Fraser then stalks off down the hall.
FRASER: (CONT'D) Well, Ray, this is hardly my fault.
EXT. CURIO SHOP -- DAY
Establish a downtown street, on the sleazy side, lined with second hand shops and low-rent antique and souvenir places. The sign over one shop, the one we're interested in, reads "CELIA'S FINE REUSEABLES."
INT. CURIO SHOP -- CONTINUOUS
A low-rent antique shop, mostly full of fakes and knock-offs. It's a front for a fencing operation and looks like one.
Andy eyes the glass case of cheap estate jewelry that bisects the room while Sid huddles with CELIA, late 50's, the shop's proprietor. He pushes a wallet in front of her. Celia, busy totaling up her receipts for the day, barely glances at it.
CELIA: Naugahyde.
SID: Leather, smell it.
CELIA: Naugahyde.
SID: Come on, Celia.
Reluctantly she turns a couple of the wallets over and makes her decree.
CELIA: Fifty bucks for the lot.
SID: This is quality stuff -- it's worth twice that much.
Celia pulls a fifty out of her cash box.
CELIA: Take it or leave it.
Sid takes it.
SID: What about this?
Sid pulls the organizer out of his pocket.
SID: (CONT'D) It's some kind of computer, gotta be worth a hundred bucks.
CELIA: (dismissive) Korean party favour. Got ten of 'em.
He jams the organizer in his pocket.
SID: (to Andy) Show her the brooch.
Andy hesitates.
SID: (CONT'D) Show her.
Andy reluctantly pulls out Thatcher's brooch which she is loathe to part with.
ANDY: (to Sid, quietly) Maybe I could keep it.
SID: No. We need the money.
ANDY: (To Sid, angry) It's mine.
SID: Nothing's yours. Not until I say.
CELIA: Maybe you should listen to your sister.
SID: Somebody ask you?
CELIA: Sidney, look at you. Look at your hands. Hard to pinch quality stuff, I would think, with those size mitts. (with a nod to Andy) You oughtta remember where your bread's buttered.
SID: You want the pin or not?
Celia hesitates a beat -- glances at Andy and takes pity on her.
CELIA: Can't move it. Try somewhere else.
Celia turns away.
SID: (sarcastic) Thanks.
Andy quickly stifles her smile. Sid, irritated, grabs his knapsack and starts hustling Andy out the door.
SID: (CONT'D) Come on. Matinee's getting out.
EXT. PAWN SHOP ROW -- DAY
Andy and Sid head for an old van that is parked haphazardly against the curb. Sid doesn't try to hide his anger.
SID: Who does the business in this family, huh? Who?
ANDY: It's just a stupid piece of jewelry -- I don't ask for clothes, I don't bug you for money, you wouldn't give it even if I did --
SID: You'll have jewelry -- when we can afford it!
ANDY: (stubborn) I want it!
SID: Fine -- starve to death!
Sid throws open the panel door of the van. Andy climbs in the back. Sid slams it shut and walks around heading for the driver's door.
INT. BACK OF VAN -- DAY
The back is filled with their belongings, which don't add up to much.
Andy checks to see if her brother is watching before pulling an old tin jewelry box from a panel beside the wheelcase. She opens the box to reveal a mix of old fashioned jewelry and other keepsakes.
She lifts a photograph taped to the lid of the box. IT'S A PICTURE OF HER AND HER MOTHER PLAYING DRESS UP. She takes the brooch from her pocket and places it with the other precious belongings in the box.
EXT. THE VAN -- AT THAT MOMENT
Sid pulls a parking ticket off the van window and tosses it. As he starts to climb into the driver's side a car pulls up beside the van. It's a city (or state) vehicle with the proper logo and the inscription, "Department of Child Welfare" underneath it. The driver is a well-groomed man in his 30s.
CHILD WELFARE OFFICER: How you doing, Sid?
Sid watches the man climb out of the car with distaste.
SID: I haven't got time for you, Crowley.
CHILD WELFARE OFFICER: You better. Otherwise I may have to invite you and your sister into the office for an interview. An official interview. Which will cost us both time and money.
Sid glances back at the van, not anxious for Andy to hear this.
SID: Over here.
He moves away from the van. Crowley follows him.
SID: (CONT'D) I gave you five hundred last week.
CHILD WELFARE OFFICER: That was last week.
SID: I don't have it.
CHILD WELFARE OFFICER: Then get it. Otherwise I do have an obligation to return your sister to a foster home. You understand.
SID: My sister's staying with me.
CHILD WELFARE OFFICER: Not if you can't afford it.
Sid realizes this guy has him caught between a rock and a hard place.
CHILD WELFARE OFFICER: (CONT'D) (smiling) You stay out of trouble now.
Sid watches him drive off, then climbs into the van.
SID: (calling back) Andy... today.
Andy climbs into the passenger seat beside Sid.
THE VAN
pulls out and drives down the block, passing:
EXT. DONUT SHOP -- AT THAT MOMENT
Establishing a small donut shop as the van drives past.
OMITTED
INT. DONUT SHOP -- CONTINUOUS
Cobb is at the cashier's desk speaking with a WAITRESS.
COBB: ...brown hair, about this high. Her mother's worried sick about her.
WAITRESS: We get a lot of runaways in here. I'll ask around.
COBB: Thank you. I can be reached at this number.
He hands the WAITRESS a phone number scrawled on the back of a meal check along with a fifty dollar bill. The Manager nods and accepts the money, grateful. (NB: Meal check should be distinctive in color.)
EXT. STREET IN FRONT OF THEATRE -- DAY
The Riviera is parked across from the theatre near the alleys. Fraser and Ray climb out.
RAY: There is no way we're going to find these kids They're street smart, they live underground. We might as well be looking for a pennant-winning Cubs team.
FRASER: I promised the Inspector, Ray.
RAY: You promised her. The same woman who has been trying to fire you for weeks. Does the word sap mean anything to you, Benny?
FRASER: Actually yes. It's from the Latin -- sapire.
RAY: It is...?
FRASER: Of course not.
Fraser realizes there is no white wolf behind him. He stops and returns to the car. Dief is still laying on the front seat.
FRASER: (CONT'D) You're babying yourself -- you know that. If you give in to these things they just get worse.
RAY: He's sick. Let him sleep.
FRASER: (quietly) He's my wolf, Ray, I think I know what's best for him. (to Dief) Come on, no slacking.
Dief reluctantly drags himself out of the car and follows Fraser and Ray.
RAY: (to Fraser) How would you know what's best? You've never been sick a day in your life.
FRASER: I certainly have.
RAY: With what?
FRASER: Well, I... various childhood illnesses.
RAY: Such as.
FRASER: The usual.
RAY: Could you be a little more specific?
FRASER: Pink eye. Both of them. Swelled up like watermelons.
RAY: Pink eye. I'm bleeding for you.
They turn into the alleys. Dief stops, waits a beat to make sure they're gone, then turns, runs back to the car and jumps in through the window. They turn a corner into another alley.
OMITTED
EXT. THE DEAD END ALLEY
Fraser is running his hand along the brick walls looking for some indication as to how the pickpockets escaped the night before.
FRASER: First impressions can be misleading, Ray.
RAY: No. You just have to see good in everyone. Even if you have to manufacture it.
Fraser spots a small paper bag on the ground, picks it up -- he empties out several sugar cubes.
RAY: (CONT'D) Someone has a sweet tooth.
FRASER: Mmm.
RAY: Did I mention I hate it when you mmm?
FRASER: (distracted) Mmm.
Fraser's attention is back on the wall again. He pulls away some crates in the corner and finds a grate in the floor of the alley. As Fraser tugs at it, it comes loose.
FRASER: (CONT'D) Underground.
Fraser starts to climb into it.
RAY: No. No!
As Fraser disappears into the hole--
FRASER: (O.S.) (calling back) No need -- I'll be back.
RAY: You always do this to me!
Hating himself, Ray crawls in after Fraser.
RAY: (CONT'D) Wait, you do not move without me, you understand? This is Chicago, half the city is underground, you could disappear into one of these and never be seen a--
Ray disappears into the hole. The camera HOLDS ON THE FLOOR GRATE then,
RAY: (V.O.) (CONT'D) (beat) Fraser, where are you?
FRASER: (V.O.) I'm here, Ray. Just follow my voice.
The camera STARTS TO MOVE slowly PANNING ALONG THE GROUND tracing Fraser's progress.
RAY: Okay, just don't move.
CAMERA STOPS. A beat. CAMERA STARTS MOVING AGAIN following along with both of them.
RAY: (O.S.) (CONT'D) This is a swill pit. You brought me into a swill pit.
FRASER: (O.S.) It's not a swill pit, Ray. First of all, swill entails a more pungent odor, and a pit is generally a circular indentation with only one entrance from the top.
This however fits the definition of a tunnel-- a long straight--
RAY: (O.S.) Ahhh!
The camera stops.
FRASER: (O.S.) Correction. A meandering tunnel.
The CAMERA STARTS AGAIN. It makes a move following them around an underground obstacle.
RAY: (O.S.) Call it what you want. All I see is dirt and mold and -- oh God. Oh God if you put that in your-- OH GOD!
FRASER: (O.S.) I'm just smelling it.
RAY: (O.S.) There isn't enough to smell under here, you have to dredge something up out of the sludge and--
FRASER: (O.S.) A carrot.
RAY: (O.S.) What?
FRASER: (O.S.) It's a carrot.
RAY: (O.S.) Great, a carrot. Drop it!
The camera tracks around a corner to another part of the alley.
FRASER: (O.S.) It's fresh too.
RAY: (O.S.) You did eat it!
FRASER: (O.S.) Ray, calm down. I'm sure there's nothing in here that's any less sanitary than... Stay away from that, Ray.
The camera is now PASSING OVER A MANHOLE COVER around the corner.
RAY: (O.S.) Out, out. Now.
Camera backtracks, HOLDS ON manhole cover. A beat later, the cover lifts and Fraser emerges, dragging Ray up after him.
RAY: (CONT'D) You know how many suits I have ruined for you? Twenty four...
EXT. STREET NEAR THEATRE -- DAY
RAY: ...twenty-four perfectly good--
We see they are now in the middle of a busy thoroughfare, cars whizzing by.
RAY: (CONT'D) Go, go!
Fraser and Ray make a run for the sidewalk and just make it. Ray studies his filthy clothes – and the two smears of dirt on Fraser's face.
RAY: (CONT'D) What is with you? Does dirt not stick to you? Were you Scotchguarded at birth?
Fraser holds out a starched linen handkerchief.
FRASER: Hankie?
Ray grabs it and begins wiping himself off.
EXT. STREET IN FRONT OF THEATRE -- DAY
Sung Lee purchases a pretzel from the vendor, slathers it with mustard. Andy scouts the streets for marks.
WITH FRASER AND RAY making their way through the crowd. Ray's checking out a well- dressed woman. Fraser spots--
ANDY AND SUNG LEE who have lined up a WELL-DRESSED MARK. As they start toward him, Sung Lee positions herself in front of the guy, Andy moves into position behind him. As Sung Lee slaps the mark in the chest with the mustard pretzel. The Mark freaks. Andy smoothly slips up behind him and reaches for his wallet. As she begins to move away, a hand suddenly shoots out and grabs her wrist -- it's Cobb! Andy looks up and SCREAMS. Cobb slaps a hand over her mouth and drags her into a nearby alley.
WITH FRASER AND RAY running after them.
INT. THE ALLEY -- CONTINUOUS
Cobb pulls her down the alley to a juncture where the alley divides. He shakes her forcefully.
COBB: Where is it? Where's the book?
ANDY: Don't touch me!
Cobb pulls out a garrotting wire and dangles it in front of her.
COBB: You stole something from me. I want it back.
Andy starts to scream -- Cobb tightens his grip on her throat, choking the sound in her throat.
Fraser and Ray come into view at the end of the alley.
As Cobb's attention is drawn away, Andy takes the opportunity to slip out of his grasp. Cobb runs off down one branch of the alley, Andy takes the other.
WITH FRASER AND RAY running toward them. They get to the branching and Ray hesitates.
RAY: Which way?
FRASER: You take him!
As Ray starts off after Cobb, Fraser takes off in a totally different direction -- not after Andy.
Ray starts out after Cobb.
(ON THE STREET -- omitted)
EXT. ANOTHER ALLEY -- MOMENTS LATER
Cobb comes flying down the alley, throwing over the garbage cans and boxes behind him as he runs. Ray takes them in his stride and keeps coming. As he gets to a corner, Cobb suddenly comes back around it and smashes him in the face with a garbage can lid. Ray goes down. Cobb takes off again at a free run.
EXT. DEAD END ALLEY -- MOMENTS LATER
Andy hits the dead end alley and goes directly for her secret tunnel. She doesn't see anyone coming up behind her, but realizes she's far enough ahead for comfort and smiles as she pushes the boxes out of the way and goes for the tunnel. As she throws the grate aside, A HAND shoots up and grabs her wrist.
ANDY: (startled) Ah!
Fraser appears from the tunnel.
FRASER: I'm sorry but I'm going to have to ask you to come with me.
On Andy's amazed expression:
END OF ACT ONE

ACT TWO
INT. POLICE STATION -- NIGHT (NIGHT TWO)
In the bullpen. Andy and Sid are sitting on a bench at the far side of the room, a Uniformed Officer guarding them. Thatcher sweeps past them to Ray's desk. Fraser and Ray stand.
THATCHER: (hopeful) You have my brooch?
FRASER: Ah. No, sir.
She quickly couches her disappointment in annoyance.
THATCHER: I see. You brought me down here in the middle of a business day and you don't have my brooch.
FRASER: The police would like you to identify the suspect who might have stolen it.
THATCHER: (eyeing Ray) But they don't have my brooch either.
RAY: No.
She gives Ray small withering smile and turns back to Fraser.
THATCHER: I thought I made it clear that you are not here to clean up America. This is their problem.
RAY: Thanks. I appreciate your pointing that out.
THATCHER: (to Ray) I am not interested in retribution, I am interested in results. (to Fraser) It seems that even a rudimentary understanding of dealing with criminals would
indicate that you have a better chance of tracing the whereabouts of my brooch if the suspect is free to be followed. Or am I mistaken, Constable?
FRASER: No, sir. Quite right.
THATCHER: Well then -- get going.
Thatcher turns on her heel and leaves. Ray gives Fraser a look.
RAY: Oh yeah -- I'd crawl through a sewer for her anytime.
We follow Thatcher past SID AND ANDY on a bench being guarded by a Uniform.
Sid's focus is on HUEY AND GARDINO at their desk. A SECOND UNIFORM is unloading an armful of books.
UNIFORM: Cleaned out her apartment, got every book we could find -- fiction and non-fiction.
He dumps the pile on Huey's desk.
HUEY: We're looking for an appointment book. With name and numbers of possible suspects. Not a good read, officer.
GARDINO: How long out of the Academy are you?
INT. POLICE STATION -- CONTINUOUS
Ray turns to a UNIFORMED OFFICER.
RAY: Cut the kid loose.
Fraser intercepts Ray.
FRASER: The man who assaulted her. It was the same man she stole from last night.
RAY: You spend your day taking other people's belongings you're going to tick someone off.
FRASER: Cold comfort to a fourteen year-old.
RAY: Why do you care so much about this kid?
Fraser hesitates.
RAY: (CONT'D) Tell me this doesn't involve sub-zero temperatures, Inuit legend and the insulation qualities of seal fat.
FRASER: No.
RAY: Course it does. It always does.
FRASER: Alright. When I was little, my grandparents and I went on a vacation to Aklavik.
RAY: For a little sun and sand?
FRASER: Hardly, Ray. It's quite a thriving urban center. Anyway, I wandered off while they were doing some window shopping. There I was alone in the big city.
Ray mouths the words "Big City".
FRASER: (CONT'D) I became hungry. Very hungry. I knew no one. I didn't have any money. I became desperate.
RAY: (trying to cut this short) So, you ate a polar bear...
FRASER: I was five. So I boiled my left oxford in well water. My good oxfords. Supped heartily, even shared it with some of the locals. Of course my grandmother tanned my hide for that one...
RAY: The point Benny. The point.
FRASER: To be young and alone is frightening. Without proper guidance we do things that are often out of character.
RAY: Oh come on, they're thieves -- they rob and assault people for a few bucks.
FRASER: Just give me a minute with her.
RAY: (disgusted) Go on, go on.
Fraser crosses the room to Andy, Sid and the Child Welfare Officer. They fall silent as Fraser steps in.
FRASER: (to Andy) The man, the one who accosted you.
SID: Who is this guy?
FRASER: Fraser, Royal Canadian Mounted Police. (to Andy) He was the man who chased you the night before.
CHILD WELFARE OFFICER: Excuse me, are you here in some official capacity?
FRASER: My superior officer lost something. (to Andy) A brooch.
She looks away.
SID: (to Child Welfare Officer) We don't have to talk to him, right?
Fraser steps up to Sid.
FRASER: You sister's been accosted by the same man twice in the last 24 hours.
SID: She's fine.
FRASER: Not if we hadn't been there.
SID: I'm telling you I can take care of her.
FRASER: I'm sure you can, under normal circumstances, however--
SID: (to Child Welfare Officer) Like I said, do we have to talk to him?
CHILD WELFARE OFFICER: No, you don't.
SID: (to Fraser) Bye.
He hustles Andy out of the bullpen. The Child Welfare worker follows. As they move out of Fraser's hearing
ANOTHER ANGLE
CHILD WELFARE OFFICER: (to Sid, sotto) Now you owe me six hundred.
He pushes past and exits. As Sid and Andy stop by the door, Fraser calls out.
FRASER: Miss...
He approaches them, holds out the bag of sugar cubes to Andy.
FRASER: (CONT'D) You dropped these.
Andy doesn't answer, just takes the bag quickly, stuffs it in her pocket. As Sid and Andy exit--
EXT. STREET NEAR POLICE STATION -- NIGHT
Sid and Andy climb into the van.
INT. THE VAN -- NIGHT
Sid and Andy. He pulls out the organizer out of a pocket in the van.
SID: This what you stole from that guy?
ANDY: I guess so.
SID: It's gotta be worth something.
ANDY: It's junk. You heard Celia.
SID: No. It's worth something. Maybe even a thousand.
ANDY: Then give it to the cop, you heard what he said. The guy's trying to kill me.
SID: Since when has a cop ever been straight with us?
ANDY: We've got enough saved, don't we? Can't we just get out of this place?
SID: No. We need more.
ANDY: We always need more.
She turns away. Sid rolls the organizer in his hands.
SID: We're going, okay? Don't I always do what I say?
Andy hesitates. Sid snaps at her, hurt.
SID: (CONT'D) (turns on her, snapping) You want to go back to the foster home? Anybody else would've left you there. Not me, I took care of you.
She drops her eyes.
SID: (CONT'D) It'll be okay.
ANDY: Yeah.
She opens the door, jumps out and starts to walk away. Sid calls after her.
SID: Andy! Andy...! (she ignores him) You meet me back at Celia's, you hear?
She keeps going. Sid looks at the organizer again, shoves it back in the pockets and throws the van into gear.
EXT. STREET NEAR PARK -- NIGHT
A hansom cab rank with three cabs waiting and no customers. If we're lucky there's a bit of fog swirling under the street lights and we can almost imagine we're near Hyde Park.
CLOSE ON A BIG OLD UGLY HORSE as it noses into Andy's jacket pocket where she has the sugar cubes.
ANDY: That's dessert. Not until after dinner.
Andy pulls the bag out of reach, offers him a carrot instead. As she strokes the horse's nose--
FRASER: (O.S.) A good choice. Plenty of carotene.
Andy looks up, startled to see Fraser standing there.
ANDY: What's carotene?
FRASER: A red or yellow crystalline pigment found in carrots among other things which the body converts into vitamin A.
She gives him a blank stare.
FRASER: (CONT'D) The orange stuff.
ANDY: Oh.
Fraser gestures permission to take a carrot. She nods. He holds it up for the horse.
ANDY: (CONT'D) You need to lay it flat in your palm. Otherwise he'll chew your fingers off.
FRASER: Ah. (he corrects his carrot position) You have experience with horses.
ANDY: (lying) Sure. Lots. (then) My Mom had one. She told me all about him.
FRASER: Have you ever ridden in one of these?
Her eyes light up -- but then she remembers herself and looks properly unimpressed.
ANDY: Sid says it's a waste of money.
FRASER: Sid's not paying.
Fraser turns to the CABBIE who is curled up, half asleep in the back seat. He goes into his hat and hands the Cabbie a bill.
FRASER: (CONT'D) (indicating the driver's seat) May I? I've had some experience.
The Cabbie shrugs and accepts the bill, not thrilled with the idea of getting up.
CABBIE: Go ahead. But she only moves for me.
FRASER: Really.
Fraser gets up into the cab of the hansom, Andy hops up beside him, excited.
Diefenbaker climbs into the back of the cab and lies down with the Cabbie.
ANDY: (to Fraser) Wolf, huh?
FRASER: Yes, Diefenbaker.
ANDY: Looks pretty sick.
FRASER: A bid for sympathy, I assure you.
Fraser flicks the reins and the horse immediately begins moving.
EXT. CITY PARK -- NIGHT -- A SHORT TIME LATER
Fraser and Andy circle the park in the hansom, the Cabbie asleep in the back seat.
FRASER: So it's just you and your brother?
ANDY: No, we've got family. They've got a big ranch with lots of horses. We're just hanging out, making a few bucks until we hook up with them. Ever been to Wyoming?
FRASER: No.
ANDY: That's where we're going. I'm gonna have my own horse. Ride every day. That's why Sid's got us working so hard. He's just trying to get us there.
FRASER: So you'll be leaving soon.
ANDY: Pretty soon.
FRASER: Next week? Next month?
ANDY: I don't know.
FRASER: That's a big trip. The two of you must talk about it, make plans.
ANDY: We do. (beat) I do.
FRASER: How long?
ANDY: What?
FRASER: How long have you been talking about it?
ANDY: A few months. (then) A year.
FRASER: Ah.
ANDY: (with a flash of anger) We're going, okay? Sid always does what he says. Always. (softening) It's just, we need to go together. We promised.
Fraser nods.
FRASER: Okay.
He hands her the reins.
FRASER: (CONT'D) You want to try?
Andy can't help but smile as she takes the reins.
EXT. STREET IN FRONT OF THEATRE -- NIGHT
Sid is across the street from the theatre, reading a newspaper.
CLOSE ON a headline which reads, "Sunny Barclay Dead; Madam to the Stars Murdered."
As he lowers the paper, we see he's standing at the same phone both where Andy hit Cobb. Sid looks to the alley where the crime scene tape is still up. He smiles to himself, throws the paper in the gutter, and looks down at the organizer in his hand -- yes, this is definitely worth something.
INT. POLICE STATION, BULLPEN -- NIGHT
Huey and Gardino are interviewing more high-priced CALL GIRLS.
HUEY: (to Call Girl #1) Personally I prefer Myrtle Beach to Martha's Vineyard... You?
The Call Girl smiles. PAN OVER TO GARDINO who's also trying to impress his Call Girl interviewee.
GARDINO: (Mr. Suave) ...Tell me, is that blouse from the Gap?
From the look on the Call Girl's face, he isn't succeeding.
In the midst of this, Ray moves past and scoops a case file off Huey's desk. Neither notices.
EXT. CITY PARK -- NIGHT
The cab is still, the horse grazing as Fraser and Andy continue to talk.
ANDY: So what do you want?
FRASER: Excuse me?
ANDY: Sid says people only help you when they want something.
FRASER: The world's a big place. Sid's only seen a part of it.
Andy nods, then:
Fraser waits.
ANDY: You think that guy's gonna come after me again?
FRASER: I think it's likely.
She considers this. Considers him. Decides.
ANDY: He kept asking about a book.
FRASER: Is that what you stole from him?
ANDY: (quickly) I didn't say anything about stealing anything.
FRASER: Of course.
She looks at him, relieved to have trusted someone.
FRASER: (CONT'D) Once more around?
She grins and accepts.
EXT. POLICE STATION -- NIGHT
Establishing shot. (Stock)
FRASER: (V.O.) She says she picked his pocket the night of the murder.
INT. POLICE STATION -- MEN'S ROOM -- NIGHT
Ray paces as he reads a file, looking to the door every few seconds to make sure no one comes in. Fraser leans against the sink.
RAY: Yeah, so?
FRASER: She took some kind of electronic device from him. I believe it's called an organizer.
Ray's suddenly real interested.
RAY: (realizes) The book -- Sunny's address book.
FRASER: Perhaps. There's something else. She said he tried to use a wire on her. Sounded like a garrotting wire.
Ray looks up from his reading and hands the autopsy report and photograph from Sunny's murder file to Fraser.
RAY: Guess who was killed the same way.
OMITTED
END OF ACT TWO

ACT THREE
INT. TATTOO PARLOUR -- DAY
PAN ACROSS a wall covered in various tattoo designs.
FRASER: (O.S.) It was a small tattoo -- the stars and stripes, approximately 4 centimeters below the left ear. I remember it distinctly.
PULL BACK TO REVEAL
Fraser and Ray standing in the middle of a sleazy but thriving tattoo parlour.
A couple of questionable looking CUSTOMERS are seated in chairs with even more questionable looking TATTOOISTS decorating their arm or face.
FRASER: (CONT'D) Judging from the sharpness of the colours, our man either avoided the sun or his tattoo was relatively new. Now if we can match the style of the tattoo
with the artisan...
RAY: A tattoo is a tattoo, Fraser. It does not take a Michelangelo to doodle Old Glory across somebody's neck.
FRASER: Nonsense. A tattoo is not something one leaves in the hands of just anyone. You have to trust the vision and integrity of the artist.
RAY: Artist?
Ray indicates a man who is having a large palm tree tattooed across his considerable stomach.
RAY: (CONT'D) This is an art form?
FRASER: Yes and it is exactly your kind of uneducated assumption that contributed to the commercialization of this ancient art form in the first place.
Fraser stoops down to question A LARGE WOMAN who is decorating a MAN'S face with a snake design.
FRASER: (CONT'D) (to Large Woman) Excuse me, Ma'am. Those subtle shadings,
would
they be Zulu-influenced or Tanganyikan?
The woman gives Fraser a bored look, then calls out to someone.
LARGE WOMAN: Boyd.
A HUGE MAN covered in tattoos steps into frame.
FRASER: Ah.
EXT. TATTOO SHOP ROW -- MONTAGE
Fraser being thrown out of several doorways by LARGE TATTOOED MEN AND WOMEN.
Ray doesn't even bother going in, he just waits outside, relaxed against the door frames, as Fraser is impolitely escorted out of one door after another. Finally:
INT. STARS & STRIPES TATTOO PARLOUR -- DAY
Wall to wall tattoos. Plenty of versions of the American flag.
ON MILES EMERY
long greasy hair, nose ring and a walking advertisement for his craft, leans over a customer as his tattoo needle buzzes away. On the wall behind him is a sign that reads: "WE SPECIALIZE IN AMERICANA."
MILES: Nuance. You don't see a lot of it in this business. That's why I remember him.
INCLUDE RAY
standing beside Miles.
RAY: Nuance?
MILES: The man favoured subtlety. At first I thought he was just another Cro-Magnon knockoff. Figured him for the dancing Statue of Liberty. The flag at Iwo Jima. Jon Bon Jovi.
Miles looks down at his customer.
MILES: (CONT'D) Just red and white, huh?
REVEAL FRASER
sitting in the chair. Miles is sketching a tattoo on his arm -- we don't see what.
FRASER: Yes, just red and white.
Ray grins. Fraser pretends not to care.
MILES: Then he did something unexpected. It was like he ordered a bottle of 1970 Chateau Margaux with his burrito.
FRASER: The American flag on the back of his neck?
MILES: Yeah. Postage stamp size. You have to appreciate it. (to Fraser, off his tattoo) You sure -- I got a nice metallic puce...
FRASER: No, thank you, red and white are quite sufficient and I believe you'll discover that maple leaves are three pointed, not...
Fraser looks down at the tattoo -- this artisan has clearly not attended a lot of maple sugar festivals.
FRASER: (CONT'D) ...Oak leaves.
MILES: Problem?
FRASER: No, carry on.
RAY: Do you know where we can find this guy with all the nuance?
MILES: Nope. Just paid in cash and left.
RAY: He didn't talk about work, mention a favorite restaurant or anything?
MILES: Nope. Not the talkative type. Gave me this, though.
Miles pulls an AMERICAN FLAG LAPEL PIN off the cork board wall.
MILES: (CONT'D) Like I don't have enough of them.
Ray takes the lapel pin, studies it -- it's the same design as the one tattooed on Cobb's neck, except on the bottom it says "Johnstone '90."
RAY: Johnstone. (twigs) Senator Johnstone. (to Fraser) Let's go.
Fraser gladly jumps out of the chair just as Miles is revving up his needle.
FRASER: Perhaps next time.
As they exit...
RAY: (to Fraser, studying his tattoo) Nice. I think it's the Tanganyikan influence.
INT. VAN -- DAY
Parked on the street near the Curio Shop. Sid and Andy in the seats, arguing.
Sid is only half-listening to Andy's complaining. His attention is on the several glossy "People"-type magazines
he's leafing through, and the organizer screen which he keeps referring to.
ANDY: When are we going?
SID: Leave me alone.
ANDY: Sid. When?
SID: A month or two.
ANDY: Why can't we go now?
Sid is about to snap at her, then reconsiders and tries some patience.
SID: I told you, I'm saving up for a place. A nice one.
ANDY: I don't need a nice one.
SID: You want to go to Wyoming and live on the street again?
ANDY: (surprised) We'll have the ranch.
Sid decides not to respond. He turns back to his magazines.
SID: You see this -- (off pictures in magazine) movie actors, football players. They've got lots of money.
ANDY: So?
SID: Some of their names are in this computer.
Sid scrolls through the organizer and smiles.
SID: (CONT'D) I knew it was worth something.
ANDY: How much do we have saved?
SID: You don't worry about that. That's my business. You dip -- I do the rest.
Andy shoots him a disgusted look and moves into the back of the van.
IN THE BACK OF THE VAN
Andy removes the panel over the wheel well, puts aside her jewelry box and pulls out a metal strong box.
Sid appears and rips the strong box out of her hands.
SID: (CONT'D) What the hell are you doing?
ANDY: Open it.
SID: No.
ANDY: It's my money too. I must have lifted five hundred bucks last week -- how much is left?
SID: We have expenses.
Furious, Andy pushes past him and jumps out of the van.
EXT. STREET NEAR CURIO SHOP
Andy stalks down the street, heading nowhere in an hurry. Sid catches up.
SID: Don't walk away from me.
ANDY: You spent our money!
SID: I put food in your mouth, a roof over your head--
ANDY: You said it was okay to steal other people's stuff.
SID: (overlapping) You know how much it costs me to keep you out of that foster home??
ANDY: You said it was so we could get to Wyoming!
SID: There's nothing in Wyoming! It's just some stupid idea you got into your head!
ANDY: Mama said we had family. She told me!
SID: Mama lied!
Andy wheels around and slaps him, hard. Sid takes it, stunned. Andy fixes him with a condemning look.
ANDY: You said you'd take me. You lied!
She turns and fires off down the street. Sid stalks back to the van, hesitates, frustrated and smashes the door with his foot.
EXT. FEDERAL BUILDING OF SOME SORT
Establish a building where a Senator's office might be located.
RAY: (V.O.) Celebrities are no different than the next guy, Fraser.
INT. FEDERAL BUILDING HALLWAY -- CONTINUOUS
As Ray leads the way down the hall.
RAY: The only mistake you can make is treating them like they are.
FRASER: Still, there is etiquette involved.
RAY: Are you saying I don't have etiquette?
FRASER: Ray, etiquette is the customary rules for conduct or behavior in polite society. I believe that precludes accusing a United States Senator of conspiracy, murder and moral deviancy.
RAY: Fraser, this is America -- people do that all the time.
They push through a door marked "ELLIOTT JOHNSTONE, UNITED STATES SENATE."
INT. SENATOR JOHNSTONE'S OFFICE (OUTER OFFICE) --
Senatorial decor. Re-election posters and pamphlets everywhere. BOTH SECRETARIES and SEVERAL GO-FORS are manning the CONSTANTLY RINGING PHONES.
The Campaign Manager is busy approving posters emblazoned with the smiling face of Sen. Johnstone. "Johnstone '96" is printed across the bottom along with various different political slogans on each poster. The art work on each looks a little different. The Campaign Manager, as we will call her, passes them off to an ASSISTANT as she speaks with Ray.
CAMPAIGN MANAGER: (to Ray) ...We have dozens of campaign workers. We don't demand a psychiatric history before allowing them to stuff envelopes. (to assistant, off layout) This one. But ditch the slogan.
RAY: The woman he killed was Sunny Barclay. You may have seen some of the press coverage.
This gets her attention.
CAMPAIGN MANAGER: That's quite an accusation.
RAY: Who's accusing? We just want a word with the Senator.
CAMPAIGN MANAGER: It sounds to me like you want to start a smear campaign.
RAY: Come on. We've got a dead Madam, a missing address book, and a guy running around with a garrotting wire who is a walking advertisement for Elliot Johnstone. I'd say that justifies a conversation with the man.
CAMPAIGN MANAGER: You believe the Senator, a well known advocate of family values, knew Miss Barclay.
RAY: It wouldn't be the first time a politician preached one thing and practiced another.
A beat. She manages a small, tight smile.
CAMPAIGN MANAGER: You have proof of this.
RAY: Look, I just want five minutes of the guy's time. You keep stonewalling me, I'm gonna start to get suspicious. Like maybe the Senator did know Sunny Barclay. Maybe
they exchanged phone numbers, and maybe that phone number made its way into Sunny's little black book.
CAMPAIGN MANAGER: So you are accusing him.
RAY: No, I'm just saying it's possible.
CAMPAIGN MANAGER: Well, it's not.
RAY: You know this for sure. You know where he is and who he's with every minute of the day and night.
CAMPAIGN MANAGER: Yes. I do.
RAY: I thought you're his campaign manager.
CAMPAIGN MANAGER: I am. I'm also his wife.
Barely containing her anger, she picks up the phone to dial.
CAMPAIGN MANAGER: (CONT'D) What district did you say you're with?
On Ray's reaction:
INT. CURIO SHOP
Sid is at the counter using Celia's phone. In his free hand is the meal check Cobb gave the Waitress in the donut shop -- the phone number on the back. In the b.g. Celia deals with a SHADY CUSTOMER.
SID: (into phone) I got something you want.
COBB: (V.O.) Yeah?
Sid takes a beat, then gets up the courage.
EXT. PAY PHONES (NEAR THEATRE)
Cobb, on his cell phone, just listens.
SID: (V.O.) A book with names in it. (no response) You want to hear some?
COBB: Be smart, kid. Take the book back to the alley where you stole it from me. I'll meet you there.
SID: I want a reward.
INT. CURIO SHOP -- CONTINUOUS
Sid struggles to contain his nervousness.
SID: (into phone) Ten thousand. You don't pay, I turn the book over to the cops.
Sid waits, holding his breath. Finally:
COBB: (V.O.) (thoughtfully) The girl. She's your sister, isn't she?
Sid reacts, stunned.
SID: What...?
EXT. PAY PHONES (NEAR PHONE)
Cobb is at the pay phone. His attention is fixed on something across the street.
COBB: (into phone) I thought so. She looks like you.
COBB'S POV
The Donut shop. Through the window we see Andy sitting at a table brooding.
BACK TO SCENE
SID: (V.O.) My sister...?
COBB: The alleys. One hour. Bring the book.
INT. CURIO SHOP
Sid's throat goes dry with fear.
SID: What about my sister?
COBB: (V.O.) Don't worry. I'll keep an eye on her.
The LINE GOES DEAD. Panic sweeps over him. Sid drops the phone and races out of the shop. On Celia's reaction:
OMITTED
EXT. THE DONUT SHOP -- CONTINUOUS
THROUGH THE WINDOW we see Andy leave her table and move to the cash register to pay the Waitress.
EXT. NEARBY STREETS -- CONTINUOUS
Sid tears down the sidewalk, pushing away bystanders, frantically searching for Andy. He spots Sung Lee, pulls her aside - a hurried discussion - Sid tears off in the direction Sung Lee points him.
EXT. THE DONUT SHOP -- CONTINUOUS
Andy steps out of the door, pinning Thatcher's brooch to the inside of her jacket -- the clasp won't seem to catch.
She moves down the sidewalk, preoccupied, passes a doorway. Cobb reaches out and grabs her, wrenching her off her feet and into the doorway. The brooch flies out of her hands.
EXT. NEARBY STREETS
Sid, running as fast as he can. He races around a corner --
EXT. STREET IN FRONT OF DONUT SHOP
Cobb pushes Andy into the drivers side of the sedan and climbs in behind her.
The car speeds off just as:
Sid bursts onto the street heading for the shop. He runs up to the doorway -- goes inside. HOLD ON DOOR. A moment later he flies out again -- wildly scans the street -- and is about to take off when he spots something on the sidewalk.
SID'S POV
Thatcher's brooch lying on the cement.
SID
picks it up. It dawns on him. With a sick fear he stares at the empty street.
END OF ACT THREE

ACT FOUR
INT. WELSH'S OFFICE -- DAY
Welsh, Fraser and Ray.
WELSH: Now that takes real vision. Shaking down a United States Senator.
RAY: Sir, honest to God, all I did was question Ms. Johnstone -- she completely overreacted.
WELSH: You think? I mean you did accuse the woman's husband of consorting with a world famous prostitute.
RAY: Suggested, sir -- never accused.
WELSH: Well, that makes all the difference.
The door flies open and O'Neil marches in.
O'NEIL: (to Welsh) Harding, what were you thinking?
WELSH: Excuse me?
O'NEIL: You let this idiot question a United States Senator?
WELSH: Why don't we discuss this privately.
O'NEIL: I don't have time for that I have to report to the Mayor's office and explain why your detective lost his mind.
RAY: Commander, we have compelling evidence tying one of the Senator's men to the murder of Sunny Barclay.
O'NEIL: Really? And what would that compelling evidence be?
RAY: (chickening out) Tell her, Fraser.
FRASER: A tattoo, sir.
Ray winces, looks the other way.
O'NEIL: Johnstone has a tattoo?
FRASER: An employee. One of his bodyguards, I believe.
RAY: The guy with the tattoo murdered Sunny Barclay and stole her organizer.
We have a witness.
O'NEIL: Someone saw this guy kill Sunny?
RAY: Not exactly. Our witness stole the organizer from the killer.
FRASER: A young pickpocket, sir.
O'NEIL: Oh, a credible witness.
FRASER: The pickpocket was later threatened by the tattooed man with the same type of weapon.
O'NEIL: So you proceeded to grill the Senator's wife -- on the word of a thief.
FRASER: Not just the thief, sir. There was also the tattoo artist. He gave us this.
Fraser holds up the "Johnstone '90" pin.
WELSH: Fraser, there are thousands of those all over the city. I have one.
FRASER: Yes, but I believe you'll find those pins are labeled "Johnstone '96." (displaying the pin) This one is from his earlier campaign in 1990, indicating that whoever wore this pin would have to have a particular attachment to the Senator to have kept it and be wearing it six years
later.
O'NEIL: Your pickpocket -- can she I.D. the guy?
FRASER: Yes, but...
O'NEIL: Is she here ready to make a statement?
RAY: No, she's not on the premises, sir.
O'NEIL: You have her stashed somewhere?
RAY: Well, we don't actually have her in our actual possession, sir...
WELSH: (tense) But you know where to find her...
Ray looks to Fraser for help.
FRASER: Not the first clue.
O'Neil loses it.
O'NEIL: You're a real piece of work, Vecchio. And you wonder why your career is going nowhere. No, you're so incompetent, you couldn't get to nowhere if I drew you a
map.
A UNIFORMED OFFICER enters.
UNIFORM: Detective Vecchio.
Ray doesn't turn around.
O'NEIL: (to the Uniform) I'm not through with him.
UNIFORM: Commander, the kid says it's urgent.
RAY: (to Uniform) What kid?
Curious, Fraser moves to t he window.
O'NEIL: (to Uniform, indignant) Would you mind not interrupting me?
WELSH: (temperature rising) Commander, this is my unit, my detective. If Detective Vecchio needs to be disciplined, I will make that decision.
RAY: (to Uniform) What does he want?
UNIFORM: Something about an address book.
Suddenly all conversation ceases.
ANGLE
Fraser looks into the bullpen, his expression changes.
FRASER: Ray...
All turn to the window.
THEIR POV
Sid stands in the bullpen, anxious and ill at ease.
BACK TO SCENE
Ray smiles -- big -- real big. He turns his grin on O'Neil.
RAY: Would you excuse me?
EXT. STREET IN FRONT OF THEATRE -- NIGHT
The theatre is closed. The street is relatively quiet and dark. There are a few parked cars. The Riv is one of them, (parked on west side of Balmuto, north of pickpocket alley).
SID: (V.O.) He's gonna see us. He's gonna know I went to the cops.
RAY: (V.O.) Relax.
INT. RIVIERA -- NIGHT
Fraser, Ray and Sid are watching the alley. Diefenbaker sits in the back seat.
RAY: He doesn't think you're that smart.
WELSH: (V.O.) (walkie filter) All units report.
Ray responds into a walkie.
RAY: Unit one's in place.
EXT. STREET -- CONTINUOUS
Huey mans a roasted chestnuts stand on the west side of Balmuto in front of the theatre. (His sightline should be clear up and down the street as well as directly into the
mouth of the smaller alley.)
HUEY: (into hidden mic) Unit two.
EXT. AT THE END OF PICKPOCKET ALLEY
In the inlet with the back door and the hinged gate. (The one we saw Andy, Sid and Fraser use in the prologue cat and mouse chase.) Gardino, dressed as a transient, is hidden in shadow beside a dumpster.
GARDINO: (into mic) Unit three, check.
EXT. CATWALK ALLEY
At the far end of the alley (near Bloor St.) a number of cars are parked along one side of the alley. Welsh and O'Neil sit in an unmarked car sandwiched between a couple of
empty parked cars. A couple of spaces back is another unmarked car with two PLAINCLOTHES DETECTIVES hunched down inside.
WELSH: (Into walkie) Suspect appears, we let him get in position. Don't overreact. Wait for my command.
He turns to O'Neil seated beside him.
WELSH: (CONT'D) (to O'Neil) Unless you...
She's miffed, but she'll get over it.
O'NEIL: Your department.
WELSH: Yes, sir.
Turning away, he rewards himself with a small smile.
EXT. STREET -- CONTINUOUS
Huey sees Cobb's sedan pull onto Balmuto from Charles St. As it pulls to a stop just in front of the smaller alley:
HUEY: (into mic) They're here.
INT. RIVIERA -- CONTINUOUS
Sid reacts, moving to the window.
RAY: Stay cool.
THEIR POV
Cobb pulls Andy out of the sedan. He scans the street but notices nothing amiss as he pulls her with him into the smaller alley.
EXT. ALLEY PARKING LOT - CONTINUOUS
GARDINO'S POV
Cobb moves through the parking lot with Andy held tight. He looks for a place to take up position (while he waits for Sid).
GARDINO: (softly into mic) Moving this way.
Cobb spots the inlet (where Gardino is secreted) and moves into it.
GARDINO
sees them coming and presses deeper in the shadow near the back door.
BACK TO SCENE
Cobb moves into the same shadow, unaware of Gardino's presence just a few feet away.
Suddenly A LIGHT GOES ON above the back door revealing Gardino beneath. Cobb and Gardino freeze -- lock eyes. The moment is broken as A RESTAURANT WORKER pushes out the door with garbage. Both men turn.
Andy seizes the moment, slams her heel down on Cobb's foot. As Cobb reacts, Andy breaks free and lunges for the hinged door.
Gardino reaches under his coat for his gun -- Cobb beats him to it, backhanding Gardino and sending him smashing into the dumpster.
Cobb tuns to see the hinged door slam shut and races through the door after Andy.
Gardino picks himself up, speaking into his mic.
GARDINO: (CONT'D) (into mic) We're blown. They're on the fire escape --
INT. RIVIERA -- CONTINUOUS
Ray and Fraser are already out of the car as:
GARDINO: (V.O.) (over walkie) -- heading for the roof.
RAY: (shouting back to Sid) Stay there!
Sid ignores him, jumping out after.
EXT. BACK DOOR INLET
Huey joins Gardino as he slams against the hinged gate -- it won't budge.
ON THE OTHER SIDE OF THE GATE
A plank has been pulled down in front of the gate and is wedged in the narrow passageway.
EXT. PICKPOCKET ALLEY -- CONTINUOUS
Fraser tears down the alley, Ray close behind. Fraser stops for a beat and watches Gardino and Huey run out of the inlet, off into the parking lot and head up another fire escape.
GARDINO: (shouting back to Fraser and Ray) They've blocked the gate!
Ray follows their lead.
Fraser makes a decision and dashes off to the left down catwalk alley.
A beat behind them, Sid runs straight into the inlet and tries the swinging door to no avail. He turns back and without a second thought scales the tree leading up to the roof.
EXT. ROOFTOP -- NIGHT
Andy pops up onto the roof and heads for her patent escape route (seen in the prologue). She reaches the gap between two buildings and pulls on the wooden plank, dragging it towards the gap between the buildings just as Cobb appears over the roof's edge.
The board is too heavy -- Andy struggles with it, but in seconds Cobb catches up and grabs her.
As Andy SCREAMS.
EXT. ROOFTOPS -- NIGHT
Ray stares down into a black pit of an alley. Huey barrels down a fire escape as Gardino runs out from behind a rooftop wall. They look at each other empty handed -- it's a dead end.
RAY: Nothing!
EXT. ON THE ROOF -- NIGHT
Cobb is hurrying along the roofs with Andy, half pushing, half dragging her. It looks like they've lost their pursuers.
They come to the railings of a steel ladder down to the ground when Fraser appears on the top of the ladder, blocking their only escape. Cobb pulls up, just a couple feet short of Fraser.
COBB: I'll kill her.
FRASER: It won't help you.
The SOUND of cops closing in are heard louder now.
COBB: Get outta my way!
FRASER: I can't do that.
COBB: Move!
Cobb's arm tightens around Andy's neck -- she grabs his hand and sinks her teeth in.
FAR SIDE OF ROOF
Sid jumps down onto the roof and sees:
SID'S POV
Cobb SCREAMS and flails his arm outward, sending Andy hurling toward the edge of the roof.
SID: Andy...!
ON FRASER AND ANDY
as Andy sails over the edge, Fraser reaches out and grabs Andy's arm in mid air, holding on to the ladder now by one hand.
They both hang - vulnerable.
SID'S POV
Cobb bending to pick up a steel bar readying to smash down on Fraser.
OUT OF NOWHERE - Sid comes flying through the air and tackles Cobb. The two bodies sail over the edge and down into --
LOW ANGLE
from the alley below as Cobb and Sid fly over lip of the roof, past Fraser and Andy and plummet toward the ground.
ANDY
Andy shrieks with horror.
ANDY: Noooo!
She turns away.
FRASER'S POV
Cobb's body lying on the ground, Sid stretched over him. Neither of them are moving.
ON FRASER
struggling to hang on.
EXT. ALLEY -- LATER
In the b.g. O'Neil stands with a GAGGLE OF REPORTERS AND TV CAMERAMEN,
answering questions. Welsh stands a few feet away, watching and admiring.
TWO AMBULANCES are on the scene, lights flashing. Louey makes notes and Huey confers with a paramedic as Cobb is wheeled to the first ambulance.
HUEY: (to paramedic) ...I don't care if he has three broken legs -- just tell me how soon I can have him in court.
The paramedic shakes his head and keeps pushing. They move past:
THE SECOND AMBULANCE
Ray and Fraser look down at Sid who is lying on a gurney. He's got some broken bones as well, but nothing fatal. In Fraser's hand is Thatcher's brooch.
FRASER: (to Sid) Thank you.
He tucks the brooch in his pocket.
SID: She didn't want to steal. I made her.
RAY: (to Sid) Not to worry. I have a friend in the State's Attorney's office.
As they turn and walk off:
FRASER: She hates you, Ray.
RAY: That's a ploy, Fraser.
FRASER: She tried to have you incarcerated.
RAY: So she likes handcuffs.
WITH SID AND ANDY
The paramedics wheel Sid's gurney toward the second ambulance. Andy moves with him.
SID: You okay?
ANDY: Yeah.
She's worried and frightened, but she forces a smile. As the paramedics open the ambulance doors:
SID: I was thinking -- maybe we should get out of this place.
ANDY: You just fell off a building.
SID: Okay. (beat) Tomorrow.
Her smiles spreads into a big grin. So does his.

INT. CANADIAN CONSULATE (FRASER'S OFFICE) -- DAY
Fraser is at his desk concentrating on some paperwork. Suddenly the door swings open and Thatcher steps in, the brooch prominent on the lapel of her jacket. Startled, Fraser jumps to attention hitting his knees on the desk.
FRASER: ...Ah!
THATCHER: Oh-- I'm sorry I --
FRASER: I'm fine. Fine.
THATCHER: Oh.
They recover. Fraser has stepped out from behind the desk and they find themselves face to face, uncomfortably close. A moment -- then both speak together.
FRASER: (seizes the opportunity) I took the liberty of...
THATCHER: (briskly) I found it on my desk this morning.
Another uncomfortable pause. Fraser's eyes drop to the brooch. if we didn't know him better we'd think he was not looking at the lapel but what lay beneath it.
Thatcher cannot help but look down to see if there is something amiss with her breast. Annoyed at being made to feel self conscious, she shoots FRASER a look and he averts his gaze. She turns to leave.
FRASER: I hope it hasn't sustained any damage. I noticed a slight disfiguration.
THATCHER softens a bit.
THATCHER: That's been there for quite a few years.
It sounds like there might be more to the story but THATCHER does not continue.
FRASER
waits expectantly.
THATCHER: (CONT'D) Thank you for recovering it.
She turns to leave. FRASER looks after her.
THATCHER: (CONT'D) And never go into my office without permission again. That's my first and last warning.
FADE OUT:
THE END