"MASK"
Story by Nancy Merriett Bell & Michael McKinley and Jeff King
Teleplay by
Jeff King
PUBLISHED DRAFT
November 17, 1995

REVISED PINK – November 20, 1995

REVISED BLUE – November 22, 1995

REVISED GREEN – November 27, 1995

Episode #28 "MASK" Published Draft
CAST

Regular Cast	Recurring Cast
FRASER	THATCHER
RAY	ST. LAURENT
DIEFENBAKER	MUSTAFI
WELSH
ELAINE
Guest Cast
ERIC	ALBERT
DAVID	CLERK
DUCHAMP	KREZJAPOLOV
KELLY	PATTY
JOHN ROBINSON	SARA
	SECURITY GUARD
	VICTORIA	SUPER

Episode #17 "THE DEAL"-Published Draft
SETS

EXTERIOR-DAY	INTERIOR-DAY
ARTISTS BUILDING	ARTISTS BUILDING - HALLWAY
ARTISTS BUILDING - ROOF	ARTISTS LOFT
ARTISTS BUILDING - ALLEY	FRASER’S APARTMENT
FRASER’S TENEMENT	FRASER’S APT. – SWEAT LODGE
MUSUEM	FRASER’S TENEMENT - HALLWAY
POLICE STATION (ESTABLISHING)	GEMINI CAR RENTALS
ROOMING HOUSE	MUSEUM – GRAND HALL
STREET	RIVIERA
	ROOMING HOUSE
	ROOMING HOUSE - APARTMENT
	SEDAN
EXTERIOR-NIGHT	INTERIOR-NIGHT
DOWNTOWN BUS STATION	BUS STATION
STREET IN FRONT OF GYM	GYMNASIUM BASKETBALL COURT
	FRASER'S APARTMENT
	POLICE STATION-BULLPEN
	POLICE STATION-INTERROGATION RM
	POLICE STATION-WELSH'S OFFICE
	RAY'S BEDROOM
	SUBTERRANEAN LEVEL
	TUNNEL

SCRIPT DAYS
Scenes Day/Night
1-27 NIGHT ONE
28-47 DAY TWO
48 – 63A NIGHT TWO
64 – 65 NIGHT THREE



PROLOGUE
EXT. NATURAL HISTORY MUSEUM (ESTABLIGHING) – NIGHT
RAY (V.O.): Can we leave already?
INT. NATURAL HISTORY MUSEUM – GRAND HALL – CONTINUOUS
A symphony of new-classical architecture in gleaming marble with eighteenth century leaded windows and a seven figure heating bill.
GLASS DISPLAY CASES
Filled with native north american artifacts and spread throughout the hall. A SIGN proclaims the Exhibit “Native Art of the Americas”.
FFF: is standing on a chair, checking an Emergency Lighting Panel on the wall. He climbs down, brushes off the chair, walks a few steps, stops, and bends down to examine:
A PRESSURE PLATE
Sunk into the floor in front of the doors.
RRR: Touch that thing again you’re going to wear a hole in it.
WITH FRASER
Satisfied, he stands, walks towards the center of the room. He stops at one particular case in the center of the exhibit.
FFF: Any job worth doing is worth doing well.
RRR: You’re protecting rocks, Fraser.
TWO DRAMATIC STONE MASKS
Occupy this case. Both are made of smooth green soapstone. Half man/ half frog, the masks fit together, one on top of the other, the outer with its eyes closed, the inner with eyes open. Matching Tsimsian “transformation” masks, called for reasons we will understand later, “The Thief”.
Fraser examines the case, checks the seal between glass and pedestal.
FFF: Not rocks, Ray. Transformation masks. Hand-carved basalt, and over a thousand years old. The Tsimsian people used the masks during a winter ceremony to pray that the gods would return the sun to them in spring.
RRR: They give me the creeps.
RRR: Then stop looking at them.
RRR: They’re staring.
FFF: Interesting you should say that, Ray…
Fraser circles the case until the upright masks fall into line, one in front of the other.
FRASER: They’re meant to. The inner mask has it’s eyes open, the outer mask has it’s eyes closed, they interlock, one on top of the other and are the only matching set in existence.
RAT: Great for them. But I don’t care – so can we just go now?
Fraser ignoring him, turns, looks towards the doors.
FRASER’S POV
There are motion detectors on either side that BLINK when Fraser moves. He moves – BLINK – stops – moves – BLINK –
RAT (O.S.): That’s it.
BACK TO SCENE
Ray walks purposefully for the exit.
RAY (calling back): Fraser.
Fraser turns, reaches the door, thinks of something, turns back into the room –
RAT (O.S.) (from the hall): Fraser!
He turns right back around.
FFF: Coming
And hurries out closing the door.
POV – FROM ABOVE
Someone is looking through a ventilating grate down into the grand hall. The display case with the masks inside is directly below. [NB:Don’t see Fraser or Ray in this shot.]
INT. MUSEUM – HALLWAY – NIGHT
More marble. Pick up Ray and Fraser walking together towards the main exit, lid conversation, Fraser still trying to make a case as to why Ray should care.
FRASER:…In 1879 they wee confiscated by an Anglican priest named Duncan who was sent to convert the Tsimshian and who took their religious symbols from them. He later sold them separately to two different counties and they are finally being reunited after more than a hundred years.
RAY: So? (still not getting it) Okay?
FRASER (sighs): They’re worth over a million dollars.
RAY: Now you’re talking.
Fraser veers off down a subsidiary hall.
RAY: The car’s this way?
Ray takes off after him.
INT. MUSEUM HALLWAY – NIGHT
RAY (O.S.): This is not leaving, Fraser.
They come around a corner toward us.
RAY: This is staying. Leaving-out, staying-in, how confusing can it be.
FRASER: This won’t take a minute.
Fraser checks his watch passes through an archway: INT. MUSEUM – ENTRANCE HALL – CONTINUOUS
INSPECTOR THATCHER standing with JOHN ROBINSON, the Exhibit Curator. There is more than just professional interest going on here.
THATCHER: …it was the summer I spent at the Sorbonne. I was young and a trifle naïve, I’m afraid.
ROBINSON: Yes, but what artist’s model isn’t?
Thatcher smiles, shy and charming.
ROBINSON: Do you still have the sketches?
Fraser steps in behind her, catching her unaware.
FRASER: Sir?
THATCHER (startled): What is it, Fraser?
FRASER: I have inspected the motion detectors, the emergency back up systems, checked the security of the exits, reviewed the pressure plates and examined the perimeter of the building.
RAY: Twice.
They look around Fraser. Thatcher is anxious to be rid of the intrusion.
THATCHER: Fine. Carry on.
He doesn’t.
FRASER: May I introduce Detective Vecchio. He has (throws a look to Ray) Been assigned by the Chicago Police Department for the duration of the Exhibit. (to Ray) Mr. Robinson is the Museum Curator. Inspector Thatcher you know.
Ray nods.
ROBINSON: The police? Relax, Constable. This museum has a well deserved reputation for top notch security. We’ve got you covered.
FRASER: Just the same I …
THATCHER (cutting him off): Thank you, Fraser. (to Robinson, hinting) We should let Mr. Robinson go home to his family.
ROBINSON: I’D HAVE A LONG DRIVE. My parents live in Pensacola.
Thatcher’s question answered, she breaks into a big smile.
THATCHER (TAKING HIS ARM): Really? I love Pensacola.
As they exit.
THATCHER: Where exactly is that?
Rat: She’s stepping out n you man.
Fraser is about to respond. Doesn’t dignify it.
They pass a SECURITY GUARD on the way out.
FRASER (To Guard): The motion detectors around the mask exhibit are incorrectly offset. By at least two degrees. Would you have someone check it?
The guard takes out his notebook, writes in it.
FRASER (hesitates, looks back): Thank you.
RAY: Come on.
They exit. The guard hits a breaker switch and lights start to go off.
INT. GRAND HALL – CONTINUOUS
High overhead, the lights in the Great Hall begin to go out one at a time. something gets our attention:
A METAL VENTILATING GRATE
Moves ever so slightly. Then a pair of GLOVED HANDS pushes it down and out of the way, tilting it and drawing it back up into the air shaft.
A BALACLAVE CLAD THIEF
Emerges from the opening, looks down at us.
FROM A UTILITY BELT
He pulls out a small bag, opens it and pulls out NIGHT VISION GOGGLES. Slips them on.
THIEF’S POV
He cranks a small switch and through the glasses he can see the room and the almost invisible hair-like strands of light projected by the motion detectors. The strands form a crisscross pattern which vectors in at the central display case.
BACK TO SCENE
The thief smiles to himself. Runs a carabineer through a harness around his feet, then to a carabineer on the end of a wire. Secures it.
FIRST THIEF (calling up): Piece of cake.
A SECOND THEIF
Drops down to the mouth of the shaft from the shadows above, straddles the opening and hands the first one a small nylon bag and some tools.
EXT. CITY STREET – NIGHT
Fraser, Ray a few steps behind. At the Riv. Fraser hesitates, looks back.
RAT: It’ll still by there in the morning. (easing him) Come on.
Fraser can’t. he turns, starts walking back in the direction they came from.
INT. GRAND HALL/DUCTWORK – CONTINUOUS
FIRST THIEF: Ready.
The second thief reaches up, activates an ELECTRIC WINCH that begins lowering his partner downward on the wire, head first, into the exhibit room…
THE LARGE DISPLAY CASE
Prominent in the center of the room. Inside, the stone masks.
A HAND REACHES INTO FRAME
Followed by an arm, then the rest of the thief. He clamps a sophisticated looking diamond tipped inscribing tool with a suction cup attached to the spindle to the top of the case and begins to inscribe a round hole in the glass. He pops the glass circle out of the hole and places it on top of the case.
INT. MUSEUM HALLWAY
The guard doing his rounds.
INT. GRAND HALL – CONTINUOUS
CLOSE ON THE MASKS
A gloved hand lifts the first mask, then the second, up out of sight.
THE THIEF
Puts the last mask into the nylon carry bag.
FIRST THIEF: Okay.
Tugs on a filament and the bag disappears up out of sight.
SFX – KEYS JANGLING – A KEY INSERTED IN A LOCK
THE THIEF WHIPS HIS HEAD AROUND
To find the sound. Causing the wire above him to rotate and spin him away from the top of the display case.
THE MAN ABOVE
Grabs on to the wire trying to steady it.
BELOW
The thief makes a wild grab for the display case, trying to steady himself, but rocking the pedestal and knocking the glass circle to the floor –
EXT. MUSEUM – CONTINUOUS
-- and setting off the ALARM.
RAY (mid-conversation, grinning): …the dragon lady and Mr. Museum guy?
She must be desperate…
Fraser and Ray hear it. Break into a run.
INT. GRAND HALL/DUCTWORK – CONTINUOUS
FIRST THIEF (hissed): Bring me up!
SECOND THIEF (quiet, firm): No. The masks.
The second thief finishes pulling up the nylon bag containing the masks.
FIRST THIEF (from below): Up. Now!
The second thief hits the electric motor, but the –
WINCH
jams, then explodes in a shower of sparks.
THE FIRST THIEF
Sees this.
FIRST THIEF: Pull me up!
ABOVE
The second man hesitates, then unhooks his safety harness and starts climbing back up into the ventilating shaft with the masks.
THE SECURITY GUARD
Enters the room. Sees:
THE EMPTY DISPLAY CASE
The thief hanging above it, trying to climb back up the wire. He looks up.
ABOVE
The open grate.
THE GUARD PULLS OUT HIS WALKIE
SECURITY GUARD (into a walkie talkie): They’re in the ventilating system.
Fraser and Ray arrive with A SECOND GUARD. See the empty display case. Ray pulls his gun, waves off the guards.
RAY: I got it.
Fraser turns runs back out.
RAY
Grabs the thief, pulls off the balaclava to reveal DAVID, a very young, and very scared, native man.
INT. VENTILATING SHAFT – CONTINUOUS
The second thief scrambling through the narrow shaft.
INT. MUSEUM – STAIRS – CONTINUOUS
Fraser races up.
EXT. MUSEUM – NIGHT
ON THE ROOF
The second thief pushes out of a ventilating shaft and runs towards the edge. He leaps –
AND LANDS
In a tight tuck on the far side. Rolls to his feet, looks back –
A DOOR ON THE MUSEUM ROOF
Bursts open, Fraser runs for the edge, leaps –
LANDS
In control, rises to his feet – and the thief flies from out of the shadows, catching Fraser full in the chest, propelling him backwards—
OVER THE EDGE
Fraser twists, stops himself with one hand.
LOOK DOWN
Fifty feet to the alley below. Empty, except for a few cars and a large DUMPSTER full of garbage. ON THE ROOF
He thief approaches the edge.
BELOW
Fraser looks around for a new handhold. There are none.
THE THIEF
Reaches the edge of the roof. Looks down at Fraser, stops. A moment of…recognition?
FRASER SENSES IT
Sees the eyes staring at him through the balaclave.
FRASER: …Eric?
The thief pulls back, disappearing behind the lip of the roof. Fraser struggles to pull himself up – as his head clears the lip suddenly –
FRASER’S POV – A LARGE RAVEN
Flies dead for him, wings spread—
FRASER
Startled, loses his grasp and begins to fall towards the dumpster.
FRASER: Eric!!
As the ground rushes up to meet him we:
FADE OUT:
END OF PROLOUGUE

ACT ONE
EXT. MUSEUM – BACK ALLEY – NIGHT
Fraser leaning against the side of the building. Obviously sore, but otherwise okay. Uniformed Police on the scene. Ray walks over from the dumpster.
RAY (suspicious): You fell.
FRASER: I fell.
RAY: You fell?
FRASER: Yes, Ray.
RAY: No, see Mounties do not just fall. They leap, bound, grand j’ete maybe –
FRASER: …I think I knew him.
RAY: The thief?
FRASER: Yes…
RAY: So you got a look at him while you were dangling?
FRASER: No. (beat) I don’t know what I saw.
Ray doesn’t know why he doesn’t believe him, but drops it.
A DOOR OPENS
And David is led out of the museum and into a waiting police car. Fraser watches him closely. If he notices Fraser he doesn’t remark on him.
Fraser watches the police car with David in it pull out of the alley.
FRASER’S POV
David stares back at him through the window.
BACK TO SCENE
Fraser steps forward away from the wall. Hold on the empty frame:
WHICH HE WALKS INTO
From the other side. Only now we are:
INT. POLICE STATION – INTERROGATION ROOM – LATER
David seated at a able in the middle of the room. Staring straight ahead, ignoring Ray and Fraser.
RAY: We’ve got your picture out on the wire. Sooner or later someone’s going to send it back with a name and a place and you will have wasted a great deal of this detective’s time, making him very angry in the process. (leans in) So, why don’t you make it easy on yourself. Tell me now.
DAVID: I told you. I came to see the Black Hawks play.
RAY: Funny place to be catching a game, the museum.
Ray rocks the kids chair, he’s getting frustrated.
RAY: So your partner took the masks, left you hanging there and saved his own skin. Sounds like double cross to me. (gets in his face) And you’re protecting him?
DAVID: I got nothing to say.
RAY: Okay, tough guy…
FRASER: Ray. (off his look) He’s right. He can’t do anything for us.
Ray stands, rolls up his sleeves.
RAY (for the kid’s benefit): So we can’t do anything for him. Stupid.
Fraser stops in the doorway, turns back to David.
FRASER (Tsimshian): Would you like a glass of water?
Just the smallest glimmer of a reaction. Fraser waits for a further response, gets none. Exits.
INT. HALLWAY – CONTINUOUS
Ray’s staring at *Fraser. If you’ve never heard spoken Tsimshian it’s hard to imagine what this will be like.
RAY: What was that?- Some form of secret Canadian that you only speak to one another.
FRASER: Tsimshian.
RAY: That was going to be my next guess.
FRASER: I’m a little rusty, but he seemed to understand. Is there a water cooler on this floor?
ELAINE rounds the corner. Spots them. Cheery.
ELAINE: There you are. (hands Fraser a fax) You were right, he’s a Canadian….one misdemeanor, charges were dropped. Name’s David Kitikmeot. From…Nakina?
FRASER (correcting her pronunciation): Nakina.
RAY: That’s Canadian, Elaine. For cold, or frozen, or maybe tundra, something like that…
FRASER: Thank you kindly, Elaine.
They turn to go back into the interrogation room.
ELAINE: Not so fast. Welsh wants to see you (to Fraser) You’ve got “visitors”.
She flips her hair back over her shoulder in dramatic fashion and walks away.
Fraser and Ray exchange a look and follow.
INT. WELSH’S OFFICE – NIGHT
Thatcher who is now changed into casual clothes and looks like she dressed in a hurry. Standing with her are MICHELLE DUCHAMP, 30ish, athletic but graceful, the French representative to the Exhibit, and DAPHNE KELLY, the Canadian representative. You don’t need to hear them to guess a country of origin, their clothes will be enough of a clue. Duchamp flips her hair back over her shoulder. Now we know.
THATCHER (to Welsh): Miss Duchamp is here on behalf of the French Government, and Mrs. Kelly the Canadian.
As Fraser and Ray enter.
THATCHER: The masks?
FRASER: Nothing to report, sir.
THATCHER: You were unable to apprehend the thief?
FRASER: I’m sorry.
THATCHER (aside, quietly): Not good enough, is it.
RAY (overhearing): Come on, he grand j’ete’d fifty feet off a roof trying to get that guy. He’s lucky to be alive.
The other women regard Fraser with interest. Thatcher glares at Ray.
THATCHER (to Ray, tight smile): Of course.
RAY (smug): Nice shirt.
He grins at the shirt tail sticking out of her trousers. She quickly fixes it.
THATCHER (covering): You caught me changing.
RAY: I’m sure we did.
Fraser speaks up quickly to save her.
FRASER: We are currently interrogating a suspect, a Canadian citizen who was apprehended in the museum.
He moves to hand Thatcher David’s file.
FRASER (to Welsh): May I?
WELSH: By all means. (to Thatcher) Are they all this well behaved?
Thatcher takes the file, smiles at Welsh. Chilly. He flinches.
THATCHER (to Fraser): He’s native.
FRASER: Yes.
DUCHAMP: Then this begins to make sense. (turning to Welsh) Lieutenant, my government is very concerned about recent demands by Canadian aboriginal people for the return of our half of the mask.
KELLY: As is our own government.
WELSH: Meaning?
FRASER: It’s a Tsimshian religious symbol. They want it back.
WELSH: Understandable.
DUCHAMP: But irrelevant. They sold it to us.
KELLY: And us.
FRASER: A matter of opinion.
DUCHAMP (with an edge): Really?
THATCHER (to Welsh, quickly): Needless to say if the masks are not returned before the gala opening of the exhibit on Friday…
By her look we understand this will be bad for everyone.
WELSH: I’ve assigned Detective Vecchio this case. (to Ray) I trust you will be able to put aside your many open cases and give this one your complete undivided attention.
RAY: Absolutely, sir.
WELSH: I thought you would.
THATCHER: Thank you for your cooperation, Lieutenant.
WELSH: My pleasure.
Thatcher turns to Fraser.
THATCHER (quiet, even): We will discuss this later.
FRASER (equally): Yes, Sir.
RAY (calling after her): Have a nice evening.
Thatcher turns and walks out the door. Kelly and Duchamp follow her. As do Fraser and Ray. Duchamp turns back to Ray.
DUCHAMP: Detective Vecchio, I trust you will grant the French all the courtesy that you extend here to the Canadians..
Ray looks to Fraser, who nods.
RAY: Of course. (takes her hand, kisses it) Au revoir.
She swishes out. Off Fraser’s surprised look:
RAY: Women one0oh-one: learn at least one word in every foreign language.
ST. LAURENT (O.S.): Vecchio!
RAY: For this one: Vamos!
They turn to take off, but
STATES ATTORNEY ST. LAURENT
Catches them coming from across the room.
ST. LAURENT: Freeze, Detective!
FRASER: Excuse me, will you?
RAY: Coward.
He departs hastily. Louise arrives.
RAY (all sugar): Louise. Looking good. And if this is about our date Friday…
ST. LAURENT (not buying it): My office tells me that, against all good sense and logic, you have a minor child…
RAY: The kid’s no choir boy, Louise…
ST. LAURENT:…in holding without counsel. Can you explain this to me, Detective? And please tell me that you have not actually been interrogating him under these circumstances as well.
Ray shoots a look to Elaine. She mouths “sorry”.
INT. POLICE STATON – OBSERVATION ROOM – NIGHT
Fraser enters from the hall. Walks over to the observation window. David is still sitting at the table, shaping a piece of paper origami style with his hands.
INT. INTERROGATION ROOM – CONTINUOUS
FRASER’S POV
We see the paper figure that David is forming – a small delicate bird.
INT. OBSERVATION ROOM – CONTINUOUS
Fraser studies David. Suddenly he HEARS A WHOOSH OF WINGS – like their [me note: that’s how it’s spelled] flying right at his head. He ducks instinctively – THE SOUND OF THE WINGS DISAPPEARS. Fraser looks –
The room is empty. Nothing there. Did he imagine it?
Fraser turns back to look at David, still sitting quietly fashioning his bird.
A beat later, St. Laurent enters with a CHILD WELFARE OFFICER.
THE OBSERVATION ROOM DOOR SWINGS OPEN
RAY: He’s only seventeen, County Juvenile’s full, so Child Welfare’s going to take him to a temporary shelter. (off Fraser’s look) St. Laurent made a deal with the Public Defender to peddle him until charges are laid tomorrow in consideration of the little chat we did not have with him. Get it?
FRASER: Turns to look in at David. The Child Welfare Officer hands David his coat.
FRASER: He’ll disappear.
RAY: We don’t have a lot of choice. He’s out of our hands.
Watch as the Child welfare Officer leads David out of the interrogation room. David throws a look over towards the window, smiles.
Fraser looks at Ray, with that look Ray knows only too well.
RAY (giving up): Come on.
They exit. A moment later, Fraser enters the interrogation room. He walks to the tale, bends down and picks up:
THE PAPER BIRD
That David made. Turns it over in his hands.
RAY (O.S.): Fraser?

FRASER (takes the bird): Coming.
EXT. CITY STREET – NIGHT
David and the Child Welfare Officer get out of a SEDAN and walk up the street.
ACROSS THE STREET
The Riviera pulls up to the curb. They’ve been following them.
FRASER: What happens now?
RAY: Child Welfare checks him in, turns on the cable and gets comfortable while we spend the rest of the night out here on our bunions is what.
David and the Child Welfare Officer go around a corner.
RAY (beat): We’re wasting our time.
A moment later, David emerges from around the corner.
RAT (O,S,): Son of a …
He’s moving fast.
ON THE STREET
David throws a quick look over his shoulder –
AND DISAPPEARS
-- into the subway
FRASER
Those open the door and breaks into a run. He dodges traffic on his way to the subway entrance.
RAY
Runs –
EXT. STREET -- CONTINUOUS
---around the corner sees:
THE Child Welfare Officer leaning against a building, a large gash over his eye. A BYSTANDER helps him to his feet.
RAY: You okay?
The Officer acknowledges Ray, who turns around and heads for the subway entrance around the corner.

OMITTED

Int. subway – night
Fraser running along the platform, looking for David. The station is not very busy, a couple of dozen people waiting for the last train of the night. A westbound TRAIN comes into the station and eases to a halt. Fraser is near the driver’s compartment at the front. Several PASSENGERS exit as the doors open.
FRASER
Moves to a position beside the train so he can look up it’s entire length and begins to walk slowly down the length of the train. It idles while passengers enter. Then:
DAVID APPEARS FROM BEHIND A PILLAR
About to get on to the train. He sees Fraser, freezes. They are two cars apart. Fraser steps half on to the train, waiting in the door. David steps forward, hesitates.
AN EASTBOUND TRAIN
Screams into the station. David turns as it to get on it, then moves on to the westbound train surrounded by a CROWD OF TEENAGERS who have just arrived on the platform from above. One of them is toting a BOOM BOX, Rap music BEATING off tunnel walls. Fraser steps ONTO THE TRAIN, LOOKS UP THROUGH IT, SEES David, in the next compartment, surrounded by the kids.
THE WHISTLE
Blows, the doors start to close –
DAVID
--Throws himself out of the train.
FRASER
Reacts, but there’s a LARGE MAN in the doorway. He pushes around him, gets his hands between the closing doors.
SFX – TRAIN CONDUCTOR’S WHISTLE – EASTBOUND TRAIN
THE WESTBOUND TRAIN PICKS UP SPEED
As Fraser forces his way out, rolls, looks up and sees:
DAVID
Slip through the doors of the last car as they close behind him.
FRASER
Pulls up, winded. A moment later, A WHOOSH OF WINGS. Fraser starts –
FRASER’S POV
SOMETHING, moving so fast we can’t tell what it is, FLIES through the tunnel in pursuit of the train.
ON THE PLATFORM
Fraser watches it go as Ray arrives with several COPS. Also too late.
EXT. STREET – NIGHT
Fraser and Ray get into the Riv.
RAY (as they cross): I knew I didn’t trust that kid.
FRASER: He won’t have gone far.
RAY: Says you.

OMITTED
INT. FRASER’S TENEMENT – HALLWAY – NIGHT
Fraser comes around the corner. Sees:
FRASER’S POV
The door to his apartment is ajar. The lights are off.
IN A CHAIR
By the window the dark form of a man. His face in shadow, we can’t quite see it. What we do notice right away is Diefenbaker, sitting quietly beside the chair, the man stroking his fur, rubbing his ears.
ERIC: I was wondering when you’d get here, Mountie.
Fraser’s eyes adjust to the light.
FRASER: Hello, Eric. I was wondering when you would show up.
FADE OUT:
END OF ACT ONE

ACT TWO
INT. FRASER’S APARTMENT – NIGIHT
Fraser and Eric, seated at the dining room table. Diefenbaker lying in the corner, watching Eric.
ERIC (smile): David is young and idealistic. When we heard about the masks being brought together and David disappeared with a Tsimshian boy from his village I knew where he would go.
Eric is holding the paper bird that David made.
ERIC: This Thunderbird is the symbol of a Warrior society that is calling our youth together. Nowadays, when young people feel the power of the spirit they are not patient or willing to leave things to the elders or the proper authorities. They take matters into their own hands.
A look between them. Could mean something, or nothing.
FRASER: It was you.
ERIC: It was me.
FRASER: On the roof of the museum.
ERIC: What took you to the roof of a museum?
FRASER: A thief.
ERIC: David’s friend Joshua Springer perhaps…
FRASER: It was you.
ERIC: I was here. (indicating Diefenbaker) Ask your wolf.
Diefenbaker moves to Fraser who gives him a pat.
FRASER (shakes his head): It was you.
ERIC: Me?
FRASER: Yes, you.
Slight pause.
ERIC: There’s a story I heard once about these masks. It tells of a man who became a raven and went to Skyworld to steal the sun. this raven brought back the sun to the Tsimshian to give the light, but that left the people in Skyworld blind. Perhaps it was Raven you saw on the roof.
FRASER: It was a man on that roof. I will find him.
ERIC: You will.
FRASER (nods) And then I will arrest him and return the masks.
ERIC: I am going to find my nephew David and return the masks.
FRASER: I can help find your nephew. The masks you have already.
ERIC: Someone maybe. Not me.
FRASER: Good. Then we are both in search of the same thing.
ERIC: I could use your help.
FRASER: Then we understand each other?
Eric nods. He gets up, walks to the front door, picks up his bedroll. Looks around the apartment.
ERIC: You sleep in here?
FRASER: You’re welcome to stay.
Eric sniffs the air.
ERIC: It’s a bit…cramped.
FRASER: It’s not so bad.
FRASER (looks at the spares room): Once you get used to it.
Diefenbaker WHINES.
ERIC (shakes his head): You’ve changed, Mountie.
FRASER: Changed?
Eric turns, opens the window and climbs out on to the fire escape off the kitchen window.
ERIC: I’ll be more comfortable here.
He closes the window, shakes out his bedroll, gets under it and lays down. Fraser watches this. Looks to Diefenbaker. Shakes his head. He crosses to the bed, climbs on top of the sheets. He lies there for a minute thinking about it. LAUGHS to himself.
DIEFENBAKER
Curls up underneath the window. Puts his head down, closes his eyes.

FRASER – SLEEPING
Bright sunshine rakes his face.
SFX – PEOPLE IN THE APARTMENT – SOUNDS OF COOKING
His eyes open. He sits bolt upright.
FRASER’S POV
There are half a dozen TSIMSHIAN, two adults, four children and more or less traditionally clothes, cooking at his stove. In the other room a portable television BLARES talk-show babble.
Eric arrives carrying a plate and cutlery.
ERIC: Finally. I thought you were going to sleep all day.
Fraser checks.
FRASER; It’s six o’clock in the morning.
Fraser turns his attention back to the Tsimshian in the kitchen. Eric seems not to notice.
FRASER: What are they doing here?
ERIC: Cooking. (gets it) Oh, my family…
FRASER: You invited them?
ERIC: I could hardly make them stay away.
A man and a woman approach Eric and Fraser and dump a thing that looks vaguely like fish onto the plate that Eric is holding. They are Eric’s aunt and uncle, VICTORIA AND ALBERT.
FRASER: Victoria, Albert, nice to see you again.
VICTORIA: Hello, Fraser. Are you all right?
FRASER (troubled again): Why, yes, very well.
VICTORIA: Oh.
ALBERT: I brought a TV, I hope you don’t mind. We don’t like to miss our programs.
FRASER: Please make yourself at home.
ALBERT: Chicago doesn’t seem to have a very good selection.
FRASER: Oh, really? I was unaware of that.
VICTORIA; We’re just happy to be here, Fraser.
FRASER: And why are you here?
VICTORIA: We were worried about David. And I’ve always heard about the architecture here.
ALBERT: Have you found him.
FRASER: No. but we’re looking.
Albert checks his watch. Incongruously, it’s a state of the art electronic time piece.
ALBERT: You’re wasted half the day.
Fraser is about t protest.
ERIC: Let’s go.
FRASER (to Victoria, Albert): A pleasure to have you here.
Fraser goes to the closet to get his uniform. Eric follows.
FRASER: Actually, Eric, I am feeling some embarrassment coming on over my incompetence as a host. That plus some concerns about overcrowding.
ERIC: I guess none of us figured on you apartment being to small. (looks around) Good thing Patty and Sara didn’t come.
Those girls couldn’t pack light if their house was on fire.
KNOCK. Fraser looks at Eric. Eric looks at Fraser.
ANGLE OVER FRASER’S SHOULDER
He opens the door to reveal PATTY and SARA and their luggage. Beside them, several pairs of MUKLUKS piled up at the door.
PATTY: We left our shoes in the hall.
EXT. FRASER’S TENEMENT – DAY
Fraser and Eric walk to the Riv and get in. Fraser holds the door for Diefenbaker who hops in.
ERIC: Thanks for leaving tem the guide book.
FRASER: Ray, this is Eric. From the Territories. He’s here to look for David and his friend, and may be able to offer some assistance finding the masks.
RAY (nods): Eric.

ERIC (handing Ray a piece of paper): David rented a car in Chicago using a stolen credit card.
Fraser looks at Eric, surprised he hasn’t mentioned this.
RAY (hands it back): This place is on the south side.
Something catches Ray’s eye. He looks up, straining to see around the roof of the car.
RAY: Fraser, there’s black smoke coming from your apartment.
Ray moves to get out. Fraser stops him.
FRASER: Not to worry. Let’s go.
RAY: Not to worry?
FRASER (leans in): A cooking fire. Perfectly safe. (off Rays’ look) Ray, believe it or not, there is an entire family of Tsimshian living in my apartment.
Ray looks up at the black smoke.
RAY: They trying to elect a Pope?
Ray starts the Riv and pulls into traffic.
EXT. STREET (CHICAGO) -- TRAVELLING – DAY
The Riv weaving in and out of traffic.
RAY (O.S.): Let’s see…Bellisima? No, too expensive. She would think I was trying to impress…
INT. RIV – TRAVELLING – CONTINUOUS
Ray has out a RESTAURANT GUIDE and is trying to drive and read at the same time. Fraser has a street map.
RAY: …Which I am, but don’t want her to know.
FRASER: Ray…pedestrian.
RAY: Old?
FRASER: Teenager.
Ray swerves around the obstacle without taking his eyes off the restaurant guide.
RAY: Thanks.
FRASER (back to the earlier subject): She?
RAY: St. Laurent.
FRASER: States Attorney St. Laurent?
RAY: None other. We’re going for dinner tomorrow night. What about Bigliardi”s? No, too many people know me there. Things don’t work out I can’t go back for weeks. (he goes back to the guide) Let’s see…
FRASER: Things don’t work out?
RAY: You know, when a woman tells you – dress casual, pick me up at eight, nothing fancy – what she really means is if you don’t do it up first class and break the bank at every turn she fits you with goat horns and rips up your number. Know what I mean?
Fraser clearly doesn’t. he and Eric share a look.
ERIC (to Fraser): Remind me to ask you later.

OMITTED

INT. GEMINI CAR RENTALS – DAY
Not a thriving establishment. Ray, Fraser and Eric approach the bored check-in CLERK. Ray badges him and he perks up.
CLERK: Cops? Cool.
RAY: I need you to look up a rental that was made using this credit card number.
He hands the kid a piece of paper.
CLERK: Here we go. (reads) Oh, yeah, I remember this guy – Indian, medium height, dark hair. Rented a blue mid-size. Very polite. Canadian driver’s license.
RAY: Got a Chicago address?
CLERK: The one he gave me or the real one?
RAY: You want to expand on that?
CLERK: I’m pretty sure the one he gave me was made up, but when he pulled out his credit card, I saw a receipt from a rooming house on the south side, so I put both addresses in the computer.
RAY: Sneaky. I like that.
FRASER: Excuse me, but if he gave false information wouldn’t that indicate he might also be lying about his intention to pay or to return the car?
CLERK: My manager says be grateful we have any customers at all. (conspiratorially) Incentives.
FRASER: AH.
RAY: Give me the second address.
FULL SHOT – A LATE MODEL BLUE SEDAN
David’s rental car. Most of the parts, tires, etc, have already been stripped.
RAY (O.S0): Eight-four-five Dearness Street.
FULL BACK TO REVEAL
We are in a Vacant Lot by the lake. Sea gulls walk near the water’s edge. Fraser, Ray and Eric, contemplate the car. Diefenbaker prowls nearby.
RAY (to himself): Lying little clerk.
FRASER: I thought you liked that.
RAY: Only when it works for me. (to Eric) Your pal David is sitting somewhere laughing at us right about now. We’re never gonna find him.
Eric walks towards the car.
ERIC (to Fraser): Let’s have a look.
Eric goes around to the passenger side.
RAY: It’s been stripped!
FRASER: (looking under the driver’s seat): On the contrary.
Fraser rummages around in garbage then pulls something out.
FRASER (sniffs): Hamburger.
He shows it to Diefenbaker, who concurs. He shows it to Eric across the roof. Eric tastes it –
ERIC: Special sauce. McDonalds. His favorite.
Then goes back to rummaging through the car.
RAY; You sure? ‘Cause I was hoping this trail of evidence would lead us to “Wendy’s”
ERIC (calling): Fraser…
They walk over to where Eric is kneeling on hard, packed earth.
ERIC: Look.
FRASER: Ah, excellent preservation.
RAY (who can’t see anything): What?
FRASER: You don’t see it?
RAY: What?! What do you see.
ERIC: A footprint.
RAY: How do you know it’s his?
ERIC: Mukluks leave an odd indentation.
FRASER: Not as odd as a Rez Runner.
ERIC: No, those are really tough. But mukluks, you figure in his size, weight, the wear marks on the soles – his knees were bowed slightly since birth—
RAY (interrupting): Come on. There’s hundreds of prints here. You figure there isn’t a car stripper with bowed knees in these parts?
FRASER: Please, Ray, he knows what he’s doing.
Eric bends over, tastes the ground.
ERIC: More sauce.
Fraser tastes it.
FRASER: It’s him.
He moves off following the trail.
RAY: I don’t believe this.
Fraser follows Eric.
RAY (calling): We’re tracking a Happy Meal!
He starts to walk after them.
RACK FOCUS TO
A late model SEDAN parked up the street. The unseen DRIVER is watching them.
POV
Of Ray walking off after Fraser and Eric.
EXT. STREETS – DAY
Eric and Fraser walking along the residential street. Eric kneels to examine the gutter, Fraser joins him. Ray catches up to them.
RAY: Let me guess. Shoe string fries.
ERIC: No.
Eric stands, starts to continue down the sidewalk.
FRASER: But we’re close.
Fraser looks up. Above the door a sign reads:
LEXINGTON HOTEL
Offering rooms by the day, week or month. The street address is 548 Dearness.
BACK TO SCENE
Fraser clears his throat. Eric crosses back to them, takes another look at the street, stiffens.
ERIC (to Fraser): Yes, of course. I would have missed it. (chuckles) you’re still sharp, Fraser.
[me note. This is how it’s written, really]
The Eric turns and enters the building, leaving Fraser and Ray standing on the sidewalk.
RAY (guessing): Apple pie. Chicken McNuggets
Fraser points to the number on the building.
FRASER (so Eric won’t hear): The address, Ray – 548. The clerk was reading David’s address upside down. He ditched the car, then doubled back on his tracks before going inside. Eric missed it.
Fraser goes inside. Diefenbaker follows him.
RAY (entering): Why is this my life? Mounties, Wolves, Tsimshian…
INT. ROOMING HOUSE – HALLWAY – DAY
The three walk down the hall, behind the SUPER.
SUPER: Third on the left.
FRASER: Thank you, kindly.
RAY: Beat it.
The Super retreats quickly. Ray gets out his gun. Diefenbaker GROWLS.
RAY: This better not take long. I got reservations to make.
ERIC (to Fraser): I’ll let him explain it to you.
Ray winds up with his right foot –
RAY: Police, open up!
and kicks the door in.
FRASER: You see. None required.
INT. ROOMING HOUSE – APARTMENT – CONTINUOUS
Ray moves in, gun ahead of him. Scans the apartment. It’s empty. Fraser and Eric follow him in. a living room, with a kitchen off one side and a bathroom and closet. It’s clear no one has been there for a while.
Fraser crosses to the kitchen. Eric walks to the unmade bed. Pulls the sheets up to the nose and breathes deeply.
ERIC: David was here.
RAY (searches the empty closet): Kid travels light.
Ray crosses into the bathroom.
INSIDE
He lifts toilet lid. Nothing. Sees a loose tile near the floor. He bends over, starts to shake it –
IN THE KITCHEN
Fraser examines a dish rack beside the sink. A lone juice glass, a single plate in the rack.
FRASER: The second boy from David’s village.
ERIC: Joshua Springer.
FRASER: Doesn’t eat much.
ERIC: Apparently.
ERIC
Watches him with interest.
RAY (O.S): Hey!
The door to the bathroom opens. Ray steps out, with the two Tsimshian masks.
RAY: Well, well – look what I found.
Eric walks over to Ray. Clearly he is overjoyed.
ERIC: May I?
He takes the masks in his hands. Hold on Fraser, a troubled expression forming.
EXT. ROOMING HOUSE – DAY
Fraser, Ray and Eric exit. Eric moves off ahead.
RAT: That was easy.
FRASER (troubled): Yes, very.
Fraser walks off after Eric. Ray shakes his head and follows.
RACK FOCUS to reveal the sedan, parked up the block.
INT. SEDAN – DAY
Duchamp is watching them.
END OF ACT TWO

ACT THREE

EXT. NATURAL HISTORY MUSEUM (ESTABLISHING) – DAY
INT. MUSEUM – GRAND HALL
CLOSE ON THE Tsimshian MASKS
As Eric passes them to the curator, Robinson, who puts them back under glass and closes the case.
ROBINSON: I’m sure you must be feeling very conflicted right now. I want you to know that thousands of people will be able to share the beauty of these because of your efforts. Thank you.
ERIC
Like he hadn’t given it any thought.
ERIC: Will they pay?
ROBINSON (off guard): Admission. (recovers) Three-fifty. Why?
ERIC: Just doing some math. For when we finally settle up.
Eric crosses away. Passes:
KELLY: This is very exciting. I’ll call Ottawa.
THATCHER: I’ve taken care of that.
KELLY: The newspaper should be told.
THATCHER: Already done.
DUCHAMP: And the French government?
THATCHER: I’ll leave that to you.
DUCHAMP: Merci.
Duchamp crosses out, passing Fraser and Ray who are standing off to one side.
FRASER AND RAY
In a quiet huddle.
RAY: How do you know?
FRASER: I know.
RAT: Yeah, but how?
FRASER: How does one know anything, Ray? I just know.
Thatcher: Good work, Constable.
FRASER: I hope so, Sir.
She turns to leave, then:
FRASER: Sir? (she turns back) The masks. The Curator is happy with them?
THATCHER: Yes.
FRASER: Ms. Kelly and Ms. Duchamp?
THATCHER: You heard them.
FRASER: And yourself, sir?
THATCHER: I don’t want to hear this, do I?
RAY: He thinks it was too easy. The masks, just sitting there.
THATCHER: Ah, he does.
FRASER: Perhaps if we were to call in a native expert, sir. Someone impartial.
THATCHER: There are no impartial natives when it comes to these masks, Fraser. (reaching into her purse) Let me suggest a constructive use of your time. Sell these.
She pulls out a ticket BOOK. Native art images on the outside cover. It’s still in it’s original cellophane seal.

FRASER: Tickets?
THATCHER: For the opening Gala.
FRASER: But, sir…
Thatcher: You have a table to sell.
She tucks them into the cross strap of his Sam Browne belt.
THATCHER: Get cracking.
And exits. Fraser and Ray start to walk.
RAY (the tickets): How much?
Fraser pulls out the tickets.
FRASER: Ten at one hundred per person.
RAY: Wow.
They reach Eric, who falls in beside them.
ERIC: Party, huh?
RAY: Black tie. Hundred a plate.
ERIC( making a not): Plus the three-fifty admission?
FRASER: So it appears.
TRACK WITH them as they follow Eric out of the gallery and we hold on:
THE TSIMSHIAN MASKS
Safe, back in their display case.

OMITTED

EXT. FRASER’S TENEMENT – DAY
The Riv pulls up and Fraser and Eric get out, followed by Diefenbaker. Ray looks up at Fraser’s apartment window.
RAY: Looks like we have a pope.
RAY’S POV
White steam billows out the seams of the closed window.
ERIC (to Fraser): We’re late. Better hurry, there’s probably a line-up.
Eric enters the tenement.
RAY: A line-up?
FRASER: The sweat lodge. We can only enter two at a time.
Fraser heads for the door of the building.
RAY: A sweat lodge? In your apartment?
Ray throws the car into park and follows.
INT. FRASER’S TENEMENT – HALLWAY – DAY
Fraser, Ray and Eric come up the stairs on to the second floor. MRS. GARCIA one of Fraser’s neighbors, passes by in her bath robe carrying a metal tub or steaming rocks.
FRASER: Mrs. Garcia.
She smiles and heads past them for Fraser’s apartment. MS. KREZJAPOLOV steps out of her apartment, in bathrobe and curlers, also carrying a container of rocks.
FRASER: Ms. Krezjapalov.
KREZJAPOLOV: Don’t think you’re cutting in line.
She hurries past them into Fraser’s apartment.
RAY: Fraser, why are they taking hot rocks into your apartment?
As they round the corner, Patty and Sara come from behind them each with a shovel and carrying a red hot ROCK about the size of a small melon.
SARA (to Eric): You’re late.
PATTY: Hi Fraser. Your neighbors, it only seemed polite to invite them.
SARA (off the heated rocks): They loaned up their ovens.
As they enter the apartment, Fraser, Ray and Eric follow.
INT. FRASER’S TENEMENT APARTMENT – CAY
Sara dumps her rock into a bucket beside the door of the SWEAT LODGE which is built in the center of the apartment. NB: This is a circular dome-like structure made using hides stretched over a skeleton of poles, with a flap door and a vent hole on the top.} Albert walks over to them.
ALBERT: Did you find David?
ERIC: No.
ALBERT: Did you find the masks?
FRASER: No.
ALBERT (thinks this over): You should have got up earlier.
Albert walks over to the sweat lodge and opens the flap.
ALBERT (TO THE UNSEEN OCCUPANTS): Time’s up.
Fraser’s neighbor MR. MUSTAFI exits, along with Victoria.
MUSTAFI (to Fraser): Love your guests.
(to Albert) Can I borrow this later?
He exits.
RAY: Fraser, people are building a sauna in your living room.
FRASER: A sweat lodge.
RAY: This makes a difference?
FRASER: Yes. Saunas ease tired muscles. The purpose of a sweat is purification. It assists one who is seeking direction.
RAY: As in David.
FRASER: Possibly.
RAY: No. I am not going in there. Under no circumstances am I going to sit in hundred degrees heat surrounded by other people’s sweat.
Patty, looks remarkably attractive in her towel, steps in to Ray.
PATTY: Sara’s going with Victoria. I need a partner.
Ray, suddenly convinced, turns to Fraser.
Ray: Okay, so where do I change.
INT. FRASER’S APARTMENT – SWEAT LODGE – LATER
Fraser and Eric, stripped to the waist. In the middle of the sweat lodge, an iron bucket containing the pile of hot rocks that is used to heat the structure.
Eric pours a cup of water onto the stones and they begin to STEAM. Immediately, the steam fills the small space.
SFX – ALBERT BEGINS TO CHANT AND CANG A CEREMONIAL DRUM
FRASER AND ERIC
Eyes locked on each other. The steam almost obscuring them from each other.
ERIC: You almost fainted the first time I brought you into one of these.
FRASER: I was ten.
ERIC: You were scrawny then. Still are.
FRASER: You always could climb faster than me.
ERIC: Still can.
FRASER: So I noticed.
FRASER POV – ERIC
As the steam swirls between them an image forms – faint at first, fading in and out…
DREAM SEQUENCE
A dancer, wearing the outer Tsimshian mask, back lit by a fire against the night sky. He removes the outer mask, revealing the inner.
FRASER
Stares. He is now with the dancer, looking across at him, fire playing on his face.
BACK TO
The dancer, wearing the inner mask. Then the dancer spins, removing the mask revealing Eric staring intently at the CAMERA.
Close on
THE OUTER MASK, FALLING THROUGH black SPACE, HITTING THE GROUND AND SHATTERING INTO pieces.
A raven
LANDS AMONG THE BROKEN SHARDS.
Suddenly
THE chanting STOPS
INT. FRASER’S APARTMENT – SWEAT LODGE
Fraser opens his eyes. Ray has the flap of the sauna open.
RAY: You guys finished? Patty and I are ready to sweat.
RAY: What?
INT. RIVIERA – TRAVELLING – DAY
Ray and Fraser.
RAY: you robbed me of a very important spiritual moment back there, Fraser.
FRASER: Ray, I saw Eric in a vision. He took the masks.
RAY: No Fraser, what you saw was a dancing man and a big black bird. Where I come from that is not called a vision.
FRASER: he told me a story about a raven who stole the masks and returned them to the Tsimshian people.
RAY: Raven’s don’t break into museums.
FRASER: You’re right. He was talking about himself. But then he discovered the masks were fake after he stole them and he knew if he led me to the fakes, I would find the real ones for him.
RAY: Right. So now we’re playing his game and you’re tracking by “vision”. Normally this would be a cause of concern on my part, but since we do not have any real clues or hard evidence, dreaming some up may not be such a bad idea.
FRASER (on his own track): If the masks he stole were fake, then someone else must have stolen the real ones and replaced them.
RAY: That would require a forger.
FRASER: Do you know any?
RAY: Do I know any forgers?

OMITTED

EXT. ARTISTS BUILDING – DAY
The Riv out front. TILT UP and find a window.
INT. ARTISTS BUILDING – HALLWAY
Ray and Fraser come around a corner.
FRASER: Your friend Vinnie. This was his only suggestion?
RAY: This is Chicago, Fraser. Not a lot of call for forgers who carve in volcanic rock.
The door is ajar.
RAY: This is not a good sign.
INT. ARTISTS LOFT – CONTINUOUS
Ray and Fraser enter quietly. Ray has his weapon out. The place has been trashed. Pieces of stone, sculptures tools, things tipped over, storage closets emptied. The window to the roof is open.
ON THE GROUND
The OWNER of this place, lies dead in a pool of blood 9most of which we can’t see). Fraser checks for a pulse. There is none.
FROM THE NEXT ROOM
The SOUND of a foot on broken glass. They freeze.
RAY
Takes the lead. He moves quickly to the door –
THE PERSON INSIDE
slams it shut, knocking Ray off stride.
FROM THE OTHER SIDE OF THE WALL
They hear footsteps running then – BANG. A bullet BURSTS through from the other side of the wall. Fraser ducks.
A CRASH
Glass smashes as the person goes out a window.
FRASER
Takes off, gets to the open window dives out.
ON TO THE ROOF
He tucks and rolls.
FRASER
Gets to his feet –
FRASER’S POV
A BLUE CLAD FIGURE WEARING A WATCH CAP DISAPPEARS DOWN A FIRE ESCAPE.
Back to scene
Ray joins him.
RAY: I called for back up.
Ray follows in the direction of the fleeing criminal. Fraser turns and goes the other way across the roof top.
FROM ABOVE
Ray sees the blue clad figure disappear around a corner. He starts down the fire escape.
WITH FRASER
Running, looking over the edge of the roof.
IN THE ALLEY BELOW
The blue clad figure is running for a parked sedan. She turns to look over her shoulder – it’s Duchamp.
FROM ABOVE
FRASER DROPS INTO THE ALLEY RIGHT IN FRONT OF HER. SHE TURNS GUN POINTED DIRECTLY AT HIM. Fraser dives for cover.
RAY
Comes around a corner from behind her.
RAY: Freeze!
She goes stiff. Drops the gun and raises her hands. Ray approaches her carefully, and cuffs her. Fraser picks himself up off the ground.
DUCHAMP: I didn’t kill him.
FRASER
Looks at her closely.
RAY: Yeah, right.
He jerks the cuffs tight.
RAY: Excusez moi.

And leads her down the alley.
RAY: You have the right to remain silent. Anything you say may…
NOTE: For Complete “Miranda” text see Appendix A.
As they move off RACK FOCUS and find:
DAVID
Watching them.
END OF ACT THREE

ACT FOUR
EXT. POLICE STATION (ESTABLISHING) – NIGHT
DUCHAMP (O.S.): …thousands of dollars of art is stolen every year and finds its way into private collections….
INT. POLICE STATION – INTERROGATION ROOM – NIGHT
Fraser and Ray.
DUCHAMP: But for every dollar stolen there are ten of forgeries hanging in galleries all over the world. even experts at the Louvre have purchased such fakes. Some are homage’s, but most are exquisite forgeries, intended to replace the real.
FRASER: And the masks?
DUCHAMP: All I can tell you is this: when I left Paris, the French half of the mask way very and definitely real.
RAY: So why all the cloak and dagger stuff?
DUCHAMP: When I saw that Constable Fraser was working with the Tsimshian, I felt it in my government’s best interests to know where his…allegiances rested.
FRASER: Allegiances require trust. You don’t seem a trusting person, Miss Duchamp.
DUCHAMP: Appearances can be deceiving.
RAY: Okay, let’s cut through all the bull – you killed the forger.
DUCHAMP: I did not kill him.
RAY: No, you just dropped in to take his pulse.
The door opens. Elaine pokes her head in, waves a file at Ray, who crosses out into the hall. He leaves the door open.
ELAINE (softly): Ballistics. The bullet that killed him was a forty-five. She (Duchamp) had a nine mil. No match.
RAY: Time of death?
ELAINE: Between noon and one.
RAY: Thanks.
Ray waves Fraser out.
INT. POLICE PRECINCT – HALLWAY – CONTINUOUS
RAY: She didn’t kill him.
FRASER: I know.
Before Ray can ask how, St. Laurent comes around the corner.
ST. LAURENT: You have a French citizen with diplomatic immunity in interview and a very angry French Official in my office. What do these tow things mean to you?
RAY: Another opportunity to see your smiling face? (hands her the file) She’s all yours.
St. Laurent reacts with surprise to this turn of events.
ST. LAURENT: Thank you.
As she goes into interview she stops.
ST. LAURENT: What’s the catch?
RAY (feigning): I’m hurt.
ST. LAURENT (with the world’s smallest grin): Just wait until tomorrow night.
And she exits into interrogation. Ray stares after her – finally recovers. Fraser has already turned and is walking away up the hall.
RAY (calling after him): How do you know?
INT. HALLWAYS – CONTINUOUS – NIGHT
Fraser and Ray come walking and talking around a corner.
RAY: If it wasn’t her, then who was it? (Fraser opens his mouth): No, don’t tell me.
He thinks for a second. Then –
RAY: The curator. It’s always the curator. Of course he was the one who could authenticate the masks. Yes. He went to the forger, had the dupes made and then switched them in the cases without anyone knowing.
FRASER: He may be guilty of a forgery, but he’s not the killer.
RAY (thinks, better): David. He’s an activist, he’d do anything to return the mask to his people.
FRASER: He’s a thief, not a killer.
RAY: Damn. (thinks) Eric! Of course, it’s obvious.
FRASER: No opportunity. He was in the sweat lodge. With us.
RAY: Then who? There is no one else.
FRASER: Yes there is.
INT. MUSEUM – NIGHT
Tilt up from walking feet. Kelly walking briskly through the darkened hall of an upper floor. She opens the door to:
AN OFFICE
Robinson is working at his desk. He looks up.
KELLY (stepping in): Change in plan. I’m leaving tonight.
She closes the door.
INT. ROBINSON’S OFFICE – CONTINUOUS
Robinson goes to a cabinet, pulls out the masks (the real masks) and puts them into a steel impact CASE.
KELLY: This time tomorrow we’re rich.
EXT. THE RIVIERA TRAVELLING (CHICAGO STOCK) – NIGHT
As the Riv tears down Chicago streets.
RAY (O.S.): Kelly? The Canadian? The Canadian is the killer? That is so…unCanadian.
EXT. MUSEUM – BACK ALLEY – NIGHT
Kelly and Robinson push out through a door and step to a parked SEDAN. She goes to the back of the car, opens the trunk and places the case inside. She closes the trunk to reveal:
DAVID
Standing at the front of the car. A gun pointed at her. Robinson stands behind her.
DAVID: You have something that doesn’t belong to you.
David is between Kelly and the other end of the alley. She yanks the case out of the trunk and runs. David raises his gun – FIRES – it blows a hole in the trunk lid, missing Kelly. She disappears back into the door. Robinson runs up the alley towards the arriving Riviera.

OMITTED

INT. BACK ALLEY
David runs in behind Kelly as the Riv drifts to a stop. Fraser and Ray get out of the car and follow. Ray grabs Robinson and cuffs him to the door handle of the car.
RAY: I told you it was the curator.
FRASER (already running): He was only an accomplice.
INT. MUSEUM ESCALATOR/CHINESE EXHIBIT – NIGHT
Kelly, running through a hallway. She stops at a security panel, PUNCHES in a series of numbers. The indicator light goes red, indicating the ALARMS are not off. She enters the
INT. CHINESE EXHIBIT
Full of magnificent stone pagodas, austere statuary looking down from pedestals. In the dark, this place could give you nightmares. Right now, it’s a great place to hide.
WITH KELLY
Looking for an exit. Tries a door. Locked.
DAVID
Enters the exhibit. When he doesn’t see her, he slows, letting his eyes adjust to the strange shapes in the darkened room.
KELLY
Hidden from view behind a granite dragon, HEARS him, moves off quietly.
INT. LOBBY EXHIBIT – CONTINUOUS
Fraser and Ray moving quickly through the maze of display cases. Ray nods to Fraser. They separate.
FRASER
Sees a shadowy reflection in a display case – A RAVEN.
HE TURNS
There is nothing there.
A PAIR OF MOCCASINS
Tread noiselessly across a marble floor somewhere else in the museum. {NB: This is Eric. But we don’t see all of him yet, just the moccasins]
INT. MUSEUM / DINOSAUR EXHIBIT
CLOSE ON
David. Moving slowly, listening. BANG. He dives for cover.
REVEALING KELLY
Farther up the row of display cases – smoking gun pointed at the place he just left. She disappears.
INT. MUSEUM / ESCALATOR/CHINESE EXHIBIT
FRASER
Moves towards where he heard the gunfire come from.
FIND – RAY
Gun out now. Crossing a hallway. Sees Fraser crossing along the next row of displays.
INT. GRAND HALL – CONTINUOUS
A pair of hands opens the case containing the Tsimshian masks and drops them into a steel impact CASE identical to the one used by Kelly. {NB: This is Eric}.
INT. GREEK EXHIBIT
David moves slowly along looking for Kelly, gun raised.
SHE SEES HIM
Reflected in a display case, turns – FIRES
DAVID
Throws himself to the ground and FIRES wildly.
INT. MUSEUM / DINOSAUR EXHIBIT
FRASER AND RAY
Break into a run.
INT. MUSEUM / GREEK EXHIBIT
WITH KELLY
Who is making a break for it. David FIRES, she dives for cover, her case containing the masks goes flying and skitters across the floor and into the shadows lost from view.
FRASER AND RAY
Come from around a corner.
RAY: Police, freeze!
And she does, coming up with her gun trained on Ray.
DAVID
Finds his gun, stands. Fraser moves around the end of a large display – and right into David’s cross-hairs.
DAVID: Stop!
Fraser does. Kelly swings her gun towards David, then back on to Ray and Fraser.
RAY: Easy. You don’t want to hurt anybody.
FRASER: She already has, Ray.
RAY (sotto): That’s not normally a thing I’d point out in the circumstance.
KELLY: Get the case (points) – over there.
FRASER: The masks? I’m afraid they don’t belong to you.
Fraser HEARS something, turns his attention to the shadows at one end of the room.
FRASER: Do they, Eric?
A long beat, then:
ERIC: I’m glad you agree.
Eric steps out of the shadows he has two identical impact cases, Kelly’s and the one he put the fake masks from the display case into.
RAY (looking around): What about the other guy?
FRASER: There never was anyone else. (to Eric) There was no Joshua Springer.
ERIC: No.
FRASER: Just you – and David.
ERIC: Yes.
Kelly (impatient): Those are my masks.
She swings her gun off Ray, towards Eric. As she does, Ray moves like lightning and knocks the gun out of her hand. He twists her arm up behind her back and holds her.
ERIC
He puts the impact cases down at his feet.
ERIC: Maybe you haven’t changed.
FRASER: No, I haven’t.
He and Eric exchange wry smiles. Eric turns to David.
ERIC (in Tsimshian): Give me the gun.
DAVID (Tsimshian): No.
ERIC (Tsimshian): The gun!
David hesitates then obeys, throws the gun to Eric. Eric raises the gun at Fraser.
FRASER: Good. Now we all know where we sand.
RAY (to Eric): You don’t drop that thing I’m going to have to shoot you, Eric.
ERIC: I think you have your hands full, American.
Eric turns back to Fraser.
FRASER: Give me the gun, I’ll return the masks, and maybe the governments involved won’t prosecute.
ERIC: I think that’s unlikely.
RAY: Me too.
FRASER: Alright, let’s look at the other option. You kill me, take the masks and escape.
ERIC: Yes, that’s a plan too.
Eric cocks the pistol. Eyes lock.
ERIC: I shot a caribou once. The next time I looked he had turned into a man.
FRASER: Yes. You saved my life. I was grateful then.
ERIC: And now?
FRASER: I can’t let you leave with the masks, Eric.
ERIC: Or you won’t.
FRASER: I won’t.
David turns a panicked look on Eric.
DAVID (Tsimsian): Eric, let me—

ERIC (Tsimshian): Run! Now!
David flees the room. They lock eyes for a moment longer.
ERIC: You win, Mountie.
With that Eric disappears back into the shadows, leaving the cases behind.
Fraser walks over to one of the cases and flips it open. It’s empty. He moves to the second, opens it – it contains a set of masks. On him as he studies the cases:
EXT. MUSEUM – BACK ALLEY – NIGHT
Ray stuffs Kelly and Robinson in the back of a blue and white and it pulls away.
RAY: let me guess. Eric disappeared.
FRASER: He seems to have a knack for it.
RAY: So I’ve noticed. At least you’ve got your masks.
FRASER: Yes. Everything’s back where it should be.
On Fraser’s smile:
EXT. A ROOFTOP – NIGHT
A raven. It flies away into the night.

OMITTED

EXT. CONSULATE – (STOCK) – NIGHT
INT. CONSULATE – FRASER’S OFFICE – NIGHT
Fraser has just retrieved a file from the shelf. Thatcher enters, dressed for the black-tie gala. Diefenbaker sits beside Fraser’s desk.
THATCHER: Well, I’m off.
FRASER: Ah, well. (has no idea what this is about) You’re off then.
She hesitates.
THATCHER: Have you written your report yet?
FRASER: It will be on your desk in the morning.
THATCHER: Thank you, (hesitates) I, uh…
FRASER: Yes, sir?
THATCHER: Nothing.
She turns quickly and decisively walks away from him.
Diefenbaker watches with interest. Follows her like the ball at a tennis match – WITH THATCHER
-- as she debates something in her head, then makes her decision, turns, and comes right up to meet him nose to nose.
THATCHER: You won’t be mentioning anything outside of the case, will you?
FRASER: Excuse me?
THATCHER: In your report. Will anything of a …personal nature…about anyone, make its way into your report?
FRASER (baffled): Personal nature?
Thatcher, irritated, looks around to make sure no one is listening and lowers her voice.
THATCHER: Don’t be coy. you know damned well I had…communication…with the curator outside of office hours.
FRASER: Actually I – I really didn’t … I mean, I wasn’t sure…but now that you’ve brought it up…the curator?
THATCHER: Look, I had one perfectly innocent…lunch with a criminal. alright, one lunch and one dinner. (beat) And a couple of drinks. I think.
FRASER (no idea): Oh.
Beat.
THATCHER: Never mind. Do what you will.
She starts to turn away – Fraser catches her arm.
FRASER: Sir?
THATCHER: What.
FRASER: I have no idea what you’re talking about.
THATCHER (taken aback): Oh. (beat) Good.
She manages a tight, humiliated smile.
THATCHER: Thank you.
Turns.
And gets ready to slit her wrists for having had to have this conversation with him. As she walks away, hold on Fraser. Just a hint of a smile. Sees Diefenbaker watching him – catches himself, goes back to his report.
INT. FRASER’S APARTMENT – NIGHT
Only the kitchen light and the light coming in from the window. The sweat lodge is still standing in the center of the main room. Over a chair a stylish tuxedo and a stunning wrap that would make any woman smile just at the thought of wearing it.
CAMERA STARTS TO CREEP IN
Towards the sweat lodge.
ST. LAURENT (O.S.): Well, I have to hand it to you, Ray. You really know how to show a girl a good time. Different, but good.
RAY (O.S.): That’s me. an original. (hear Ray pick up the water scoop) And just wait until you try this…
a HISS of steam as Ray pours water on the rocks.
ST. LAURENT (O.S.) (beat): …Oh, Ray…
EXT. NIGHT
A fire burning. CAMERA TRACKS towards the fire.
FIND
The two Tsimshian masks, sitting on the ground. PAN TO FIND: Eric – along with David, Victoria, Albert, Patty, Sara and the entire family, all in black tie or evening dress, sitting in a semi-circle around the fire admiring them.
FADE OUT:
END OF ACT FOUR