"Juiliet Is Bleeding"
written by Kathy Slevin and Jeff King

PROLOGUE

FADE IN:

EXT. STREET IN LITTLE ITALY - NIGHT ONE

We're on a main street in Chicago's little Italy. Shops and restaurants, etc.

PICK UP A SEDAN moving down the street, FOUR MEN inside It pulls to the curb in front of a coffee club. The men climb out. All are wearing balaclavas and long, dark raincoats. (One should be a lighter color and more distinctive than the others - this belongs to THE LEADER.) Hidden under the coats are guns and a couple of baseball bats. As they stride to the door of the coffee club:

INT. COFFEE CLUB - CONTINUOUS A small unassuming,coffee bar. THE OWNER is serving espressos to the sparse CLIENTELE in the front room - a few OLD MEN - playing dominoes and: a couple .of MIDDLE-AGED MEN who would rather sit around reading racing forms all night than go--home to their wives. A WAITER is behind the counter replenishing the stack of clean cups and saucers.

THE DOOR FLIES OPEN and the FOUR MEN burst in, guns out, and make a beeline for the back of the club.

MEN: Everybody stay where you are./Chill out, pops./No one moves./Stay where you are.

The waiter sees them and it doesn't take a genius to know what's coming. He dives to the floor behind the bar.

The owner steps into the men's path, barring their way to the back room, which is brash for a man armed only with a coffee tray.

OWNER (belligerent): Hey - what the hell are you doing? We're protected. THE LEADER slams him violently against the wall.

LEADER: Not anymore.

Two seconds later his heel meets the DOOR to the back room and

INT. BACK ROOM - CONTINUOUS It lies open. The leader and two of the men step inside to reveal:

THEIR POV an electronic poker den, smokey and crowded The HALF DOZEN MACHINES GO SILENT as the PLAYERS turn to stare --

ON THE INTRUDERS LEADER: This is from the Doric Brothers. Two pull out their baseball bats while the leader covers. THE PLAYERS immediately scatter in a host of Screams and Shouts, heading for the rear exit.

A POKER MACHINE smashes as a baseball bat is driven down hard. TABLES Poker, craps, smash against walls AT THE DOOR the owner, practicallv having heart seizure, can't believe his eyes.

OWNER: What are you, crazy?! This is Frank Zuko's place!!

He dives back into the front room just in time to avoid the table that comes flying at his head -

INT. COFFEE CLUB (FRONT ROOM) - CONTINUOUS As one of the four men rips the phone cord out of the wall another jumps the counter and runs his bat along the rows of neatly stacked coffee cups and glasses, sending GLASS CRASHING AND FLYING EVERYWHERE.

THE CLIENTELE shield their faces, but are too frightened to move.

THE LEADER pushes the owner back against the bar, the length of the bat pressed against his throat.

LEADER: Tell Frank Zuko he's out of business - as of now.

With that the leader takes his bat and hurls it over the bar and into the LARGE ORNATE MIRROR hanging above -- which shatters into a thousand pieces. As the shards of mirror rain down on the terrified waiter the four men stride out the front door.

THROUGH THE WINDOW we see them climb into the car and drive away. EXT. COFFEE CLUB - CONTINUOUS WITH THE SEDAN

The men pull off their balaclavas. We see the leader's face - a man in his thirties, handsome, commanding. We'll come to know him as MICHAEL SORRENTO. From the back seat, one of his henchmen hands him a wrapped present, SILVER WRAPPING PAPER, PUCE BOW, A "Happy Birthday" ribbon around it. He smiles, tosses it on the dash.

INT. COFFEE CLUB - CONTINUOUS THE CLIENTELE sit frozen, staring at the mess. Finally ONE OLD MAN leans down, picks up the only intact piece of crockery in the place, a tiny espresso cup, and sets it to rights on the counter. it's all he can do.

EXT. STREET IN LITTLE ITALY - NIGHT

FRASER, RAY, and DETECTIVES JACK HUEY and LOUIS (Louey) GARDINO, appear on the street heading toward a restaurant. It's after work, there's a mood of celebration in the air and the boys are out for a good time. Even DIEFENBAKER looks frisky.

HUEY: (to Ray): You can't afford this. Let me stop you before you embarrass yourself. RAY: Eat your heart out. Jack.

GARDINO: Everything's on you? The whole check?

RAY This is a significant raise, my friend.

GARDINO: Oh, yeah, I remember mine.

HUEY (remembers too): Golden Arches here we come.

RAY: No way. The puttanesca they make here, you can't get this anywhere else in North America. And the wine cellar. . .

HUEY: Wine cellar? (to Fraser) See this man? Last time he was promoted he bought us a case of generic beer.

GARDINO: And we had to pay him five cents if we didn't return the bottle.

RAY: Yeah well this time it's first class all the way.

GARDINO: Then I'm gonna get the calamari, after some stracciatella, followed by the mostaccioli primavera, then a pan seared veal smothered in onions and garlic...Fraser falls in with Ray and speaks to him quietly. FRASER: Ray, exactly how much does a Detective First Grade make? If you don't mind my asking.

RAY: Not at a11, Fraser. Thirty five thousand five hundred and eighty dollars.

FRASER: And your old salary?

RAY: Thirty-three-five.

FRASER: And the average entree...?

RAY: Fifteen bucks.

FRASER: Wine?

RAY: I don't know, twenty bucks maybe, why?

FRASER:(quickly) Nothing.

GARDINO: ...and after coffee, I'll top it off with a chocolate tartuffo - two of em.

HUEY: I'll have the same. Three maybe.

As Huey and Louey enter, Fraser stops, looks at the menu posted outside the restaurant.

RAY (concerned): How much? Fraser mentally tots up the bill. FRASER: I'll have the soup.

RAY: Good man.

He opens the door. Dief starts to enter, but:

RAY (CONT'D): Hey, hey.

FRASER: You did invite him.

RAY: To stay in the car.

Diefenbaker WHINES - disappointed.

FRASER: Ah. My mistake. I thought this being a special occasion and Diefenbaker being at least in part responsible for your promotion...

RAY: Responsible? He tagged along.

FRASER: He was looking forward to this. He hasn't eaten all day.

RAY: Fraser, there are no "wolf" portions on this menu.

Fraser and Dief exchange a look. Diefenbaker turns and walks sadly away.

RAY (CONT'D): Ail right, all right. (Dief turns, brightens) I'll bring you some gnocchi.

Dief was thinking veal might be more in order. He looks up at Fraser sorrowfully.

FRASER: I'm just having soup.

INT. SCARPETTA'S RESTAURANT - CONTINUOUS

They've arrived at Scarpetta's, a simple but classy neighborhood restaurant. People come here for the food, not the ambiance. There is a main dining room which houses the majority of the tables, and a smaller side room with a bar.

THEY SEE a private party in progress, the rest of the place closed.

A SWELL OF LAUGHTER from the tables in the main dining room. At the entrance to it hangs a banner that wishes "Happy Birthday, Frank". Huey and Gardino turn to Ray and Fraser.

HUEY (reading the sign): Happy Birthday, Frank.

GARDINO: (like I need this) Zuko. Great. GARDINO'S POV of several well dressed men and women, among them FRANK ZUKO. Ray's childhood nemesis who is also the head of a very powerful crime organization. They met again last season in "The Deal." It wasn't pleasant.

BACK TO SCENE On Ray's darkening expression. PAT: The owner of this establishment comes rushing out from the back, makes a bee-line for Ray. He's worried and he has reason to be.

PAT: Hey,, Ray, look I tried to call you but...it's a private party...

RAY: You're kicking me out. Pat. That what you're saying?

GARDINO (to Pat): These guys hate each other and you didn't think of this before you took the reservation. Pat?

PAT: (pleading) He called to book the whole place. It's Frank Zuko's birthday... (leans in) ...What am I gonna say: "no"?

FRASER: The man does have a point. Ray.

RAY: No, the man is greedy. (to Pat) You know the rules in this neighborhood: You cater to both sides and you don't play favorites.

PAT: Ray. . .

RAY: Fine, fine. What do you say I walk in there and see if I can find a valid carry permit for every gun in those silk suits?

Ray strides purposefully into the main dining room. Huey and Louey start to object, as does Pat, who's scared to death.

PAT: You trying to get me killed?

RAY: (big smile) Hey, Frank! Good to see you.

the MALE GUESTS turn and for the first time we get a good look at Zuko, who is at a table with a group of his ten most trusted "business associates" and their wives/girlfriends.

ZUKO (smile): Ray, what brings you to Scarpetta's on a night like this?

RAY: A reservation.

ZUKO: What, no gift? Ray's anger has put the other guests on edge, but they LAUGH.

RAY sees a beautiful woman, lit softly by a candle, sitting to Frank's left. She is IRENE ZUKO, Frank's sister. He catches himself for a second as their eyes meet. She doesn't seem to notice.

BACK TO SCENE

RAY: I forgot. (beat) All I want's my table.

ON Zuko, as he considers this.

ZUKO: Pat - get him a table. (to the others) What the hell, it's my birthday.

PAT: (relieved, turning to Busboy) Jimmy, set up twenty-seven.

RAY (objecting): The side room?

ZUKO: You want to sit on my lap, Ray?

Everybody LAUGHS.

RAY: Thanks Frank, but I can smell the cheap cologne from here.

Ray turns and walks back over to join the others, Zuko notices Fraser. He motions to CHARLIE, his consigliere.

WITH RAY AND THE BOYS

RAY (CONT'D): Come on, let's mange.

Ray heads for the table that's being set up. Fraser watches Zuko as we:

FADE OUT:

END OF PROLOGUE

ACT ONE

INT. SCARPETTA'S - NIGHT

Fraser, Ray, Huey and Gardino at the table. It's clear from the state of the table that they have not been served anything more than bread sticks and water.

CHARLIE approaches the table.

RAY: Wat now, Charlie?

CHARLIE: Mr. Zuko wants to say hello to the Mountie.

Fraser leaves the table. They watch him go.

GARDINO: We are never going to eat.

INT. DINING ROOM - MOMENTS LATER

With Fraser as he approaches Frank's table.

ZUKO: Fraser, right? (extends his hand) Glad you could be here for my birthday. (squints)

Those scars have healed nicely.

FRASER: Yes, very.

ZUKO: Sorry, the boys got a little carried away. Water under the bridge?

FRASER: I understand completely.

Fraser shakes his hand.

ZUKO: Come on, let me introduce you around.

As Frank leads Fraser to the table a man enters through the rear door of the restaurant. It's Michael Sorrento. He's carrying the gift and is wearing a smile. Frank returns the smile when he sees him coming.

ZUKO (CONT'D): Where you been?

MICHAEL: Sorry, Frank - just keeping an eye on things.

Frank gives him a proud slap on the shoulder.

ZUKO: Always keeping an eye on things. You'll wear me out. (to Fraser) My friend and business associate, Michael Sorrento. Constable Fraser.

FRASER: Pleasure.

MICHAEL: Right. (hands him the gift) Open.

Zuko does - It's a box of CIGARS. Expensive ones, cuban by the look of the package.

ZUKO (big smile): Michael, you shouldn't have.

Fraser watches him, interested.

ZUKO (CONT'D) (offers one to Fraser): Constable?

FRASER: Thank you. I don't smoke.

ZUKO: Your loss.

Zuko hands out cigars to some appreciative guests.

INT. SIDE ROOM - CONTINUOUS

Ray is watching.

HUEY: Those are Cuban cigars. We should bust him and smoke them ourselves.

RAY (eyeing Zuko) Frank sure knows how to buy a friend.

GARDINO: See that wine - hundred bucks a bottle. His check's gonna be your

whole raise, man.

Pat races by with a tray of canolis.

RAY: Yo, Pat, menu's?

PAT: On the bar...sorry.

Ray gets up and crosses towards the bar at the back of the restaurant. As he leaves, Huey and Louey eye the one remaining bread stick. A beat as each feigns disinterest. Then they both go for it at once, breaking the defenseless bread in two.

INT. MAIN DINING ROOM - CONTINUOUS

Fraser is involved in the round of introductions. A heavy set man, JIMMY, extends his hand.

JIMMY: Jimmy Roast Beef. Good to meet you.

FRASER (shaking): Mr. Roast Beef. is that a given name?

JIMMY (laughing): Yeah, sure.

The others laugh too, getting a real kick out of this.

THE BAR - WITH RAY

He's looking for the menus, grabbing a nice bottle of wine and two glasses out of the rack.

IRENE (O.S.): What's the matter, you can't say hello?

Ray turns and sees it's Irene. Better to act like it's not heart-in-your-mouth time. He goes back to looking for the cork screw.

RAY (nonchalant): Hello.

IRENE: ...Irene.

RAY: I remember.

IRENE: What are you looking for?

RAY: (still looking): I got it.

IRENE: No you don't.

She goes behind the counter and starts helping him look.

IRENE (CONT'D): How's your mom?

RAY: She's good. (beat) Where's what's-his-name?

IRENE: We split.

RAY: About time. (afterthought) Sorry.

IRENE: I wasn't. I'm back at home now.

RAY: (distastefully) Frank's house?

Irene considers and decides not to be offended.

IRENE: (evenly) My father left it to both of us.

RAY: I'll remember that.

A beat while they keep looking. Neither wants to leave it at that.

RAY (CONT'D): Your kids okay?

IRENE: (wry smile) You always were kind to the kids and animals.

RAY: (charming) What can I say, I'm a catch.

IRENE: (finds the cork screw, Hands it to him) Too bad you can't dance.

And on this challenge, she walks back into the main room. He watches her leave, a bit too long.

GARDINO (O.S.) Hey, Ray, get us some bread sticks, will ya?

EXT. SCARPETTA'S - NIGHT

The front door opens and a BUS BOY drops a plate of SALAD in front of Dief. He sniffs it. SIGHS and turns his nose up.

INT. DINING ROOM - LATER

A polished quartet (keyboard, drums, accordion, guitar) breaks into a fast song as the LIGHTS go down. Dinner has been cleared and coffee is being served. Wives try to get their husbands on to the dance floor.

Zuko sits with Michael and Charlie. The cigar box is being passed around. Frank checks his pockets - Michael jumps in with a PLATINUM CIGAR CLIPPER, reaches over and clips the end off Frank's cigar. Frank lights his cigar.

MICHAEL: Those young guns on the west side may be more of a problem than we thought.

CHARLIE: Punks. I never heard of 'em. Nobody's ever heard of them.

MICHAEL: Yeah, you better tell them that because they busted up another one of our places tonight. Bad.

Zuko finds his clipper, identical to Michael's and cuts the end off a fresh cigar. Hands it to Michael.

MICHAEL (CONT'D): You can't sit on this any longer Frank, people are starting to talk, maybe we got a problem we can't handle...

ZUKO: (flash of anger) Mike - enough. Anymore talk about the Dorio's you'll spoil my evening. Relax. It'll keep.

Zuko pats him sharply on the cheek, then lights a match. Charlie holds his cigar out to be lit, but Frank ignores him and lights Michael's instead. A look comes over Charlie's

face. Michael just smiles.

INT. SIDE ROOM - CONTINUOUS

Fraser, now back at the table with the guys watches this exchange with interest. They've eaten. Plates still cover the table. Ray is drumming his fingers on the table, clearly

frustrated, his mood worsening by the moment.

RAY (getting out his badge, to a passing busboy): This comes with a gun - now do we

get desert?

The busboy flees for the kitchen.

GARDINO: Good work. Ray.

HUEY (stands): I'll go...

GARDINO: And some cappucino while you're at it.

Fraser looks at Ray who is staring at the dancing couples in the other room. He is not a happy guy.

FRASER: Perhaps we should go somewhere else for coffee.

RAY: We get the side room, he gets the whole joint. He gets the wine, we get the spit. He still thinks he owns the neighborhood. I'd love to go another round with this guy...

FRASER: On the other hand, we could just skip coffee and leave before...

Ray sees Irene - she's sitting at a table with her mother. No one dancing with her, no one asking.

RAY: What the hell - we need to liven things up a little bit.

Ray starts into the dining room. Fraser looks to Gardino for a translation.

FRASER (to Gardino): Liven things up?

GARDINO: The part where we break chairs over people's heads.

FRASER: Ah.

INT. DINING ROOM

Ray pushes his way through the dancers and finds Irene seated with her white-haired Mother, who is in her eighties and seated in a wheelchair.

RAY: (to Mother) Excuse me, Mrs. Zuko. (to Irene) You wanna dance?

IRENE: With you?

RAY: No, with the man in the moon.

She glances in Frank's direction - then looks at Ray. A slow smile appears.

IRENE: You always liked to take chances.

With a smile to equal:

RAY: You always looked good in red.

Zuko has noticed. He watches intently. Ray, well aware of this, takes her hand in his and twirls her onto the floor.

The quartet is playing "My Foolish Heart," Tony Bennett style. The singer is really knocking himself out. They settle into the rhythm with ease, her body matching his with every movement - a perfect fit. She moves away, trying to break the moment. He pulls her back in, closer than before.

She looks away. He touches her cheek and gently brings her back to face him. He leans in and kisses her.

WITH ZUKO

This is too much for Frank - he signals Michael over to his table.

WITH RAY AND IRENE

IRENE (re: Frank): You dancing with him or me?

Ray says nothing. She realizes - and the look in her eyes quickly fads.

IRENE (CONT'D): (half a laugh) It's okay, I already know the answer.

She starts to pull away.

RAY: Irene...

IRENE: I'm not going through this again, Ray.

Michael appears behind her, PUSHES Ray aside - too hard.

MICHAEL (to Irene): Your brother would like you to cut the cake.

Ray secures his hold on Irene, pulling her into his arms.

RAY(loudly): Tell him to cut it himself.

Almost instantly the mood in the room changes. The guests turn, the men watch, alert.

MICHAEL: Perhaps you should leave.

RAY: Yeah, but I won't.

Frank calls out. Not a request, a command.

FRANK: Irene...

IRENE (to Ray): Just go.

Ray thinks about this - carefully. Smiles - to himself. Then he reaches back, balls his hand into a fist and plows Michael right between the eyes.

THE ROOM ERUPTS

As everyone tries to be in the same place at once - which is on Ray, in the middle of the dance floor.

AT ZUKO'S TABLE

Jimmy Roast Beef goes for a gun but Charlie waves him off.

ZUKO (to Jimmy): No guns - get in there.

INT. SCARPETTA'S RESTAURANT - VESTIBULE - AT THAT MOMENT

Several of the wives are bolting for the door.

WIFE ONE Would you look at that? He chipped my nail. I just paid fifteen dollars for these nails.

WIFE TWO (admiringly): You paid fifteen. Where?

As they open the door and exit Diefenbaker pokes his nose through and enters.

INT. THE DINING ROOM

THE MIDDLE OF THE DANCE FLOOR

A shoving match. At the center of it, Ray is whaling away for all he's worth at anyone in arm's reach. Fraser, followed by Gardino and Huey, wade in to pull him out.

FRASER (neatly fending off blows): Excuse me. Pardon me. Coming through.

MICHAEL

Gets to his feet.

ONE OF HIS THUGS is standing behind Ray. Michael indicates to him, the THUG pulls out a KNIFE, lunges at Ray -

FRASER (CONT'D): Excuse me.

- but Fraser catches his hand.

FRASER (CONT'D): That would be an unfair advantage.

The thug reacts, takes a stab at Fraser -

FRASER (CONT'D): And that would just be ill-advised.

- and Fraser sends him flying.

MICHAEL

And Fraser share a look which is broken as the shoving match separates them.

DIEFENBAKER

Sitting at an empty table, eating veal. Ignoring the brawl.

RAY

Taking on all comers.

IRENE

Hangs at the edge of the melee. She makes eye contact with Ray, mouths "Idiot", sweetly.

WITH RAY

A big smile- then someone finally gets his number and he goes down like a rock.

INT. POLICE STATION - WELSH'S OFFICE - NIGHT - LATER

CLOSE ON LT. WELSH

Who could he be staring at with that pissed-off expression on his face?

REVEAL

Ray Huey, Gardino and Fraser, all sporting shiners, bruised knuckles or minor cuts, except for Fraser. All standing at attention in front of Lt. Welsh's desk. SILENT. You can

HEAR a clock TICK. Then Welsh CLEARS his throat. That's all it takes -

RAY/GARDINO/HUEY: (clamoring) Look they started it./It wasn't our fault!/He pushed me./I didn't see a thing, sir./Here's how it happened.

Fraser says nothing.

WELSH: Enough! (beat) Constable?

They all turn and look at Fraser. He looks at them. Then Welsh.

FRASER: Mr. Zuko's sister was involved.

RAY (sees it coming): Oh, great.

FRASER: But Mr. Sorrento did start the altercation.

RAY: (relieved) See, sir?

FRASER: Although Detective Vecchio provided ample provocation.

RAY: Didn't I tell you to shut up?

WELSH: Mr. Sorrento claims detective Vecchio punched him in the mouth causing

grievous bodily harm.

RAY: A love tap.

FRASER: That's not entirely...

RAY: Okay, so I belted him - he pushed me first!

FRASER: Now that's true.

WELSH: Thank you.

HUEY/GARDINO: Absolutely right, sir./Exactly how I saw it, sir.

WELSH: Shut up.

They fall silent.

WELSH (CONT'D): Mr. Zuko is pressing charges.

RAY/GARDINO/HUEY: What?/That son-of-a-bitch./He's pressing charges?

WELSH: Harassment, assault, trespassing...

RAY: In Pat Scarpetta's place?

WELSH: Real charges. The kind that come with F.O.P. lawyers and suspensions

for misconduct. Not to mention career threatening civil suits.

HUEY/GARDINO: (re: Ray) It was his fault./We were just there to eat.

He silences them with a look.

WELSH: (to Huey and Louey) You two are on report. See the Duty Sergeant on your way out. (holds up his hand) Shush. (indicates the door) Out. '

They walk out - Ray turns to slink out with then.

FRASER: (still at attention) And us, sir?

Ray stops -

WELSH: Not you Vecchio.

- and returns, closing the door.

WELSH (CONT'D): Every other cop in this station can sit in Scarpetta's, side by side with

the zukos of this neighborhood, and have a nice dinner without busting up the place. You can't. Why, Ray?

Ray just looks at him.

RAY: You need an answer?

WELSH: The sister?

RAY: (an appeal) This is my business. Loo. It's private.

WELSH: When you went in there breaking heads you made it my business. So now I am

telling you straight out - go to Zuko, bury the hatchet, end this. Now.

Ray stares at Welsh. It's clear 'yes' is not the answer springing to his lips.

WELSH (CONT'D): Fine. (he tidies up his report) One week, without pay. Leave your

shield.

INT. POLICE STATION - HALLWAYS - MOMENTS LATER

Ray and Fraser, followed by Huey and Louey.

HUEY: So?

RAY: Suspended. A week.

GARDINO: That is hard.

HUEY: Over the line, man.

RAY: Ask me, Welsh is losing his edge.

FRASER: On the contrary. He seemed very reasonable under the circumstances.

GARDINO: (breaks into a grin) It was worth it. Did you see that big guy go down?

RAY (smile): You could hear his teeth pop.

HUEY: (to Ray) Which reminds me - (touching his mouth) One gold filling - you owe me.

GARDINO: I'm starving. Let's go eat.

RAY: You're hungry again? You ate half my raise. -

GARDINO: What can I say. Fast metabolism.

EXT. POLICE STATION - NIGHT

Ray takes his first real breath of air since leaving Welsh's office. The night shift is turning over and there are people walking on the street

GARDINO: (to Ray) Keys?

Ray throws him a curious look.

GARDINO (CONT'D) My coat - in your car.

Ray tosses him the keys, Louey moves off toward the Riviera parked up the street.

GARDINO (CONT'D): Order me pigs in a blanket.

ON THE STREET

As Fraser, Ray and Huey step off the sidewalk heading for the restaurant, Fraser notices a MAN IN A CAP, carrying a duffle bag, walking towards them, away from the Riv.

THE MAN IN THE CAP

Spots Louey coming and makes a turn into an alley.

FRASER crossing the street, watches the man disappear. He throws a look to:

GARDINO As he approaches the Riv. Tossing the keys up in the air.

WITH RAY FRASER AND HUEY

On the other side of the street now. Ray opens the door of the coffee shop for Huey. Fraser hesitates.

FRASER (to Ray): Pigs in a blanket.

He heads off toward Gardino.

RAY (surprised): You?

They enter the coffee shop.

AT THE RIV

Louey picks out the door key.

FRASER crossing toward him

FRASER: Louis...

He doesn't hear. Fraser steps up his pace.

INT. THE COFFEE SHOP

Hay and Huey sitting down at a table for four. Grab menus.

EXT. STREET - CONTINUOUS

Fraser moving quickly.

FRASER: Louis...?

GARDINO sticks the keys into the driver's side door lock. TURNS it.

IN SLOW MOTION:

FRASER running now...

Fraser: LOUIS!

INT. THE COFFEE SHOP

RAY AND HUEY

A FLASH - then a huge EXPLOSTION. They dive for the floor as the plate glass window at the front of the restaurant SHATTERS.

EXT. STREET - CONTINUOUS

ON THE RIVIERA enveloped in flames.

FRASER

Lying on the pavement, stares at the wreckage.

RAY AND HUEY

Running out the door of the coffee shop. Huey screams for his partner and races toward the flames. Ray tackles him and drags him back. Huey continues to scream as Fraser and Ray hold him back, staring at the wreckage, helpless.

FADE OUT:

END OF ACT ONE

ACT TWO INT. POLICE STATION - WELSH'S OFFICE - DAWN

Streaks of light through the windows. Oddly beautiful. Ray, Welsh and COMMANDER O'NEIL are locked In an intense argument. RAY: Zuko. O'NEIL: If it was a bomb, and we haven't even collected the pieces up yet...

RAY: It was Zuko! He blew my car, he meant to hit me.

WELSH: Right in front of the station house. .

RAY: He hit the Cordero Brothers in their beds - pipe bomb - their kids were in the next room.

Huey's voice cuts in, so angry he pulls their attention.

HUEY (O.S.): Who's in charge of these! They turn to see: HUEY - IN THE BULLPEN over the edge with grief and anger. He's right in the face of the FORENSICS CHIEF. A LAB KIT is on the desk beside them, and sealed EVIDENCE BAGS with pieces of metal and plastic are piled randomly on the desk.

FORENSIC CHIEF: I got it, just back off.

HUEY: This is sloppy work!

Huey lashes out, grabs him by the shirt.

HUEY (CONT'D) (struggling for control): You break a seal you tamper with evidence. Or are you too stupid to comprehend that?

The forensics man shakes himself free of Huey. Welsh goes to him. Ray and O'Neil stand in the office behind him.

WELSH: (calling out) Jack...

HUEY: Not now.

Welsh takes Huey firmly by the shoulders and moves him aside.

WELSH: Jack, leave it.

HUEY: He's an idiot, he's gonna destroy evidence...!

WELSH: (snapping him out of it) Jack. (easier) Go downstairs.

ELAINE (crossing in): Come on.

Elaine takes him by the arm and they walk away.

RACK FOCUS TO

Fraser, on the other side of the bullpen speaking quietly with the BOMB SQUAD TEAM LEADER. Around them, several SQUAD MEMEBERS move through their investigation, sorting pieces of the debris in a box, examining markings on the burned and scored pieces of metal.

The Team Leader is showing Fraser some fragmented pieces of what once was a pipe bomb.

TEAM LEADER: Every one of these has a signature, a distinctive way the bomb is made. To us, it's like a finger print. Sometimes you get lucky and there's a piece of this that survives the blast.

Fraser takes the wire, studies it.

FRASER (off wire): Double knots in each end.

TEAM LEADER: Yes (surprised he gets it)

Ray moves in beside them, tired, strung out.

RAY: What is it?

FRASER: A signature.

Ray's expression hardens.

INT. POLICE STATION - INTERROGATION ROOM - DAY

CLOSE ON A TABLE TOP

A BOX is slammed down It's full of things that you might make a bomb with: household FERTILIZER, etc.

PULL BACK TO REVEAL

MCLEAN, a hood who makes bombs for a living. Pale, drawn and damn nervous.

MCLEAN: I've got nothing to do with Frank Zuko.

Ray and Huey don't look like they believe him.

RAY: You helped him off the Cordero Brothers.

HUEY: You went to jail for him.

MCLEAN: Ten years ago.

RAY: And now you're out. Lucky.

McLean hunkers down.

MCLEAN: I want to talk to a lawyer.

RAY: I'm sure Frank will be happy to supply one. (to Uniform) Call his lawyer. Lock him up.

NT. HALLWAY - CONTINUOUS

The hall is jammed with cops in flack jackets and raid equipment moving for the rear exit door. Ray fires into the hall, folllowed by Huey. Someone hands them flack jackets as they go.

RAY: (to Huey) We got the warrant?

HUEY: In 30 seconds.

As they move they pick up Fraser who is still studying the wire.

FRASER: The plastic coating. It barely melted.

RAY: Yeah, so?

FRASER: Ammonium nitrate and fuel oil. At 2340 degrees celsius and a burn rate of 4270 meters per second, it should have incinerated.

Huey levels him with a cold stare.

HUEY: It didn't.

FRASER: Nitric Acid. When dropped on the skin, the acid produces a yellow coloration. Did you check his hands?

RAY ignores Fraser and throws him a flack jacket instead.

RAY: Put it on.

They burst out the back door of the police station into the rear parking lot.

EXT. ZUKO MANSION - DAY

Police cars: on the sidewalk, in the garden, on the lawn. NEIGHBORS gawk from their windows. They haven't seen anything like this since they watched OJ on CNN.

Cops run back and forth from the street to the door of the house. If we listen carefully we can HEAR:

ZUKO (O.S.): There are fifty of them - they're all over my street, they're parked on my lawn, they're ripping up my house and they're terrorizing my kids.

INT. ZUKO MANSION - DAY

Zuko on the phone, Welsh beside him. Charlie is there, holding a WARRANT.

ZUKO: Now you get your three hundred dollar an hour butt over here and get these people out!

He SLAMS the phone down in disgust. He grabs the warrant from Charlie and reads.

CHARLIE: It's in order.

ZUKO: Shut up. what are you, a lawyer?!

AT THE TOP OF THE STAIRS

Irene and her KIDS.

RAY (calling back): Get the computer too.

He arrives in the front hall. Looks up - sees:

IRENE she pushes her kids to the nanny and crosses down to him.

IRENE: What's this about?

RAY: Ask him.

IRENE: Frank?

ZUKO: Stay upstairs.

FROM THE BACK DOOR

One of the searchers calls:

TEAM LEADER (0.S.): Got a device!

Someone moves Irene out of the way and the Team Leader comes through from the back of the house, a BOX of detonating caps in his hand.

MICHAEL is following him.

MICHAEL: I couldn't stop them Frank. They dug up the whole damn back yard.

He moves beside Zuko and Charlie.

TEAM LEADER: (to Welsh) Detonators. Under the floor boards in the tool shed.

ZUKO: My tool shed?

The Team Leader keeps on moving right out the front door.

TEAM LEADER: Cyclonite. They won't initiate without electricity.

WELSH (re: Zuko): Cuff him.

A UNIFORM moves to do it.

IN THE FRONT HALL

Ray and Zuko eye each other. Ray stays very cool now, not wanting to blow it. Irene watches him.

ZUKO: You did this. You planted that crap in my back yard.

RAY: (lunges at him) You killed a cop - you think you can get away with that! You think that every guy in this room wouldn't love to get you alone for five minutes?

Welsh pulls him back.

WELSH: That's enough, Vecchio. (to a uniform) Take him outside.

ZUKO: This is a set up! (to Michael) Call the lawyer. Tell him to meet me downtown.

Welsh follows Zuko out. Hold on Ray. He turns to look to

Irene - she goes back upstairs.

EXT. ZUKO MANSION - CONTINUOUS

As Zuko, a coat thrown hastily over his shoulders, is led to a waiting POLICE CAR. Michael and Charlie watch from the front porch.

MICHAEL (to Charlie): Get the car.

Charlie reacts, but moves to do it anyway.

FRASER

Observes this as Zuko brushes by him.

IRENE

Watches Zuko from the upper window.

FRASER

Is with the Team Leader, pouring over the contents of the detonator box. He sees Ray coming down the front steps with Huey and a half dozen cops, emptying the house.

WITH RAY AND HUEY

Fraser moves toward them, intercepting.

FRASER: You're arresting him?

RAY: We've got everything we need.

FRASER: This isn't logical. Ray. Detonators, in his own house -- ten yards from his daughter's bedroom window?

RAY: That's more consideration than he allowed the Cordero Brother's kids. They're dead.

FRASER: The box was found in a tool shed near the back gate. Anyone could have put it there.

RAY: Including Zuko.

Fraser stops Ray with a hand to his arm.

FRASER: So he constructs a bomb, on his own, places it under the carriage of your car in broad daylight right in front of the station house. With ten cops passing by at any given time.

HUEY: Frank is a psycho. Everybody knows that.

FRASER: The man I saw on the street was not Frank Zuko.

Huey moves on.

RAY: You pay someone enough money, they'll do anything. Frank's got a lot of money.

FRASER: What alibi did he offer?

Ray is caught off guard.

RAY: He was at home.

FRASER: Witnesses?

RAY: None.

FRASER: No one? Frank Zuko killed a man and didn't arrange for an alibi?

No answer.

FRASER (CONT'D): Ray...

Ray doesn't want to hear this.

RAY (exploding): Who the hell do you think died out there? You've got wire that should be melted, an absence of finger stains, and Zuko without an alibi when he should have one. (Fraser tries to interject) Bottom line? Maybe somebody planted those detonators, or maybe they didn't. I don't care. Cause you know what I've got? A dead cop. A friend.

Ray turns and walks off.

FRASER (calling after): Ray...

Fraser turns and watches him go. Hold on him.

CUT TO:

MONTAGE (DAY THREE):

CLOSE ON

The buttons of a full dress patrol uniform. As each button is fastened we TILT UP until we see

RAY

staring into the mirror. A strange sight, even to himself. As he leans down to tie his shows, HOLD ON the empty frame until

FRASER

rises up into it. He adjusts his dress belt, straightens his lanyard, turns and sees

HIS HAT

lying on the bed. He reaches for it, picks it up, pulling it out of frame. . .

CLOSE ON

Ray's dress cap as he lifts it into frame and fits it on his head.

FRASER

standing in front of a similar mirror, hat on, pulls on his brown dress gloves.

RAY

pulls on his white dress gloves.

CLOSE ON

The brass rails of a coffin as it is slid out of the back of a hearse.

ANGLE ON SIX PAIRS OF BOOTS

In two columns, three feet apart, in single file. In the front row, a pair of Chicago PD regulation boots on one side and knee high RCMP on the other.

THE BOOTS

start to walk toward us.

PULL BACK TO REVEAL

Fraser and Ray carrying Gardino's coffin. Huey, Welsh and two OTHER COPS, all in full dress uniform, complete the complement of pall bearers. TRACK WITH THEM as they place the coffin on the straps spanning the open grave.

PULL BACK WIDER

and for the first time we see hundreds of POLICE OFFICERS in dress uniform, all there to pay their respects to a fallen comrade. Among them, another red uniform - INSPECTOR MEG THATCHER.

POLICE HONOR GUARD

seven officers load rifles...fire...

CLOSE ON HUEY

at attention.

POLICE HONOR GUARD

fires a second volley into the air

ON WELSH, O'NEIL

and EIAINE, a row back

POLICE HONOR GUARD

reloads...fires the final volley

ON FRASER AND RAY

side by side. At attention. Eyes front.

FADE OUT:

END OF ACT TWO

ACT THREE

INT. POLICE STATION - BULLPEN - DAY

Ray sitting at his desk, still in his dress uniform. There's a file folder open on the desk in front of him, but his mind's not on it. His eyes are distant, staring straight ahead.

ELAINE approaches with a cup of tea, puts it down on the desk. He doesn't even see it.

ELAINE: It's not your fault. You didn't put the bomb under the car.

Ray looks up at her. Nods. She turns and heads back to her desk.

EXT. A STREET IN LITTLE ITALY - DAY

Establish the exterior of the coffee bar we saw in the prologue.

CHARLIE (V.O.): You want to help Frank Zuko?

INT. COFFEE CLUB - CONTINUOUS

The club has been.patched up. The Owner and the waiter are hanging a new mirror over the bar.

Fraser sits at a table with Charlie, the Zuko family consigliere. They're playing dominoes.

FRASER: No. I have no interest in seeing Mr. Zuko anywhere other than in jail.

Charlie smiles at his honesty. Diefenbaker sits on the floor watching them. Charlie gives him a biscotti from the tray. Wolves don't know from mobsters, so he takes it happily. Charlie pats him.

CHARLIE: So how can I help you. Constable?

FRASER: A police officer...a friend...has been murdered. His killer must be brought to justice.

Charlie nods.

CHARLIE: Agreed. Dead cops are bad for business. Even Frank knows that.

There is just a touch of derision in Charlie's voice when he speaks of Frank - not lost on Fraser.

FRASER: Every piece of evidence leads directly to him.

CHARLIE: This bothers you.

FRASER: If the man who killed Louis Gardino goes free.

CHARLIE: What a piece of work. You got Zuko in the wringer and you're not going to pull the handle? And you call yourself a cop?

FRASER: (dead cold) What I would like for Mr. Zuko and what the law dictates are two different things. Right now that difference is all that's keeping him alive.

Charlie can't help but suppress a smirk.

CHARLIE: You're renewing my faith.

FRASER: I'm glad. (beat) Someone has gone to a lot of trouble to help the police. That would require a motive.

CHARLIE: To take down Frank? Find me somebody who doesn't have one. He's not like his father.

FRASER: Few of us are. (a beat) But you stayed. You protected him.

CHARLIE: Out of respect for his father.

FRASER: And now?

CHARLIE: Look, I'm fifty six years old. My arches are falling, I don't run so good - and the young guys got me winded before I'm down the front stoop. You've got to know when to get out before somebody decides you need a push.

FRASER: Is someone pushing you?

CHARLIE: Young men have ambitions. (beat, an enigmatic smile) But Frank's troubles are Frank's troubles. Somebody else is gonna have to watch out for him now. I wish him luck.

Charlie feeds Diefenbaker another biscotti.

CHARLIE (CONT'D) (to Diefenbaker): You want to come to Florida with me-huh?

INT. VECCHIO HOUSE - RAY'S ROOM - NIGHT THREE

The room is dark. Through the back window, see the "L" train flash by. FIND:

RAY

Sitting in a chair, still in his dress uniform, tie loose, shirt pulled out, top coat slung over the chair. Staring out the window at the passing train until it has completely passed from sight. The RUMBLE fades. QUIET. Then:

Ray gets up, cinches his tie, picks up the coat, walks out of frame.

EXT. ZUKO HOUSE (BACK YARD) - NIGHT

A large well-manicured yard. It is landscaped with trees and groups of bushes, although the leaves are bare and the gardens empty. Room to enjoy, but room to hide. On the main floor, the family room and kitchen are brightly lit. In the kitchen, Michael is fixing himself a sandwich while Charlie and a couple of soldiers watch television in the family room.

Upstairs, the only light comes from two of the second floor windows of the mansion (one bedroom light, one hallway) . As we watch, THE BEDROOM LIGHT GOES OUT. A moment later, perhaps the length of time it takes for a mother to walk from her child's room to her own, ANOTHER BEDROOM LIGHT GOES ON - a soft glow, like that from a lamp.

INT. IRENE'S BEDROOM

PAN THE ROOM

The one she thought she left behind when she was twenty-one. It is furnished with richness to suit her family, but her personal belongings are set out in a very temporary manner, as if she doesn't plan to be here long. In the center of the room, overwhelming it, is an ornate canopy bed which she loves to hate.

HOLD ON THE WALK-IN CLOSET

lit. from within, as Irene steps out wearing her preference in night attire - a man's plain white undershirt, v-necked, and. quite oversized, because she took it-from her husband and never gave it back. (In fact, before she left she took every undershirt he ever owned. Call it a quirk.) She crosses to the canopy bed and starts pushing back the heavily embroidered curtains, which irritates the hell out of her, as they did every night of her life when she lived here. But tonight she's on edge and fed up, so within seconds she's standing on the bed yanking at the-'damn things, trying to 'pull them off entirely, ending up hopelessly tangled in them until A RATTLE at the window startles her. She jumps, turns -

THE WINDOW is dark.

IRENE a thought flies past but she dismisses it. As she turns back to disengage the curtains tangled around her legs - ANOTHER RATTLE. Something bounced off the window? Like maybe a pebble.

THE WINDOW nothing there.

IRENE considers, then climbs off the bed.

EXT. HOUSE - REVERSE ON WINDOW

as it slides open and Irene leans out.

IRENE'S POV - THE BACK YARD

is silent, the light from her window barely penetrating the deep shadows.

IRENE watches, listening intently.

IRENE (looks down): Ahhl

IRENE'S POV

Two feet below. Ray is struggling to-hang onto-the trellis of thick vines beneath her window.

RAY: Took you long enough.

IRENE leaps back, startled, bumping her head on the window frame as she goes.

IRENE: Oh, Damn!

As she nurses her hurt head. Ray pulls himself up into frame hanging precariously from the trellis.

RAY: I'm sorry, I'm sorry-

IRENE: What the hell is wrong with you, you scared me to death!

RAY: (equally irritated) The signal - I thought you'd remember!

IRENE: After fifteen years?? Are you insane??

Ray struggles to hike himself up further, a vine breaks he drops from frame.

RAY: Ahh!

Irene lunges out - grabs him by the jacket, barely hanging on.

IRENE (struggling to pull him up): Get in here! Get in!

RAY: I'm trying!

As she hauls him up -

INT. IRENE'S BEDROOM - CONTINUOUS

As Irene drags Ray in over the window sill, he grabs the frame, tries to pull himself in and the two of them go tumbling back onto the floor in a heap. They stare at each other in stunned silence - Irene in her --long undershirt, muddied from his clothes. Ray still in his uniform, wet, dirty, looking like something the cat dragged in. And then they start to laugh, one building on the other until they are in tears just from the sheer sweet stupidity of it all. A moment later, the laughter takes a turn and subsides as they remember where they are and who they've become.

RAY: That vine is dead. You should have somebody cut it down.

IRENE: My father tried - twice. It grew back.

They're quiet for a long moment. The events of the day, of which they are both well aware, hang heavily between them.

IRENE (CONT'D): You look like hell.

RAY: Thanks.

A beat. She realizes why.

IRENE: The cop who died...

RAY: (too painful) Don' t.

She nods. He sits there shivering. She takes the bed curtain and wraps it around his shoulders. As her hand touches his chest he takes it, presses it to his cheek and pulls her down beside him, wrapping the curtain around the two of then. They sit huddled in each other's arms, comforted at least for the moment. This is what he came for. He recognizes the curtains.

RAY (CONT'D): I always liked these. You were the only girl I knew who slept in a tent.

IRENE: (grinning) That was.information you shouldn't have had.

RAY: I swear, I never told a soul.

IRENE: Yeah, outside of the basketball team.

He turns her face toward him, serious.

RAY: I never told a soul.

She smiles, holds him closer.

IRENE: This was stupid coming here.

RAY: It's what I do best.

IRENE: Frank's gonna get crazy.

RAY: Let him.

Her expression hardens, she sits up, suddenly very weary.

IRENE: Go home.

RAY: (sarcastic, hurt) What did I do, insult the little prince? 'Cause he's such a good guy...

IRENE: Don't do that. Not in his house.

RAY: I thought it was your house too?

IRENE: It is!

RAY: But nothing changes. You're as scared of him as you were of your old man.

IRENE: How I deal with my family is none of your business.

RAY: Right, they just run around killing people, and I should ignore that because I'm in love with you.

She shoots a look at him. This isn't news - it's an old argument that never ended.

IRENE: You would have come after Frank even if it weren't for me, you've been at each other since you were kids.

She starts gathering up the curtains, folding them at a furious rate.

RAY: Irene, the man is a murderer and you know that, you've known it for years.

IRENE: He didn't kill that cop! He was at home. You know he was!

RAY: So what?!

She throws the curtains down -

IRENE: That makes no difference to you?

RAY: No. Not this time.

IRENE: He's innocent, for God's sake!

They both know that's a lie, and for Irene, facing the truth even though she knows it, hurts like hell. The fire goes out of her.

IRENE (CONT'D): (crumbling) He's my brother!

She sinks to the floor, in tears. He lets her cry for a moment, then kneels down and gathers her into his arms, kissing her face, her neck, trying to take away the pain. She hangs on tight.

RAY: Shhh. It's okay. It's okay.

IRENE: This is never going to end. You'll kill each other first.

He doesn't answer. He just pulls her down onto the floor with him and the curtains spread around them.

EXT. STREET - DAY FOUR

Establish a row of shops. One of them is a tobacconist. Diefenbaker sits outside. He objects to tobacco smoke.

THROUGH THE WINDOW

See Fraser with the Manager. [ NB: We see their conversation, we do not hear it.] Several different types of CIGAR CUTTERS are laid out on the counter. The manager demonstrates a PLATINUM CLIPPER, like Zuko's, for Fraser; snipping the end off a cigar. He offers the cutter to Fraser along with a new cigar. Fraser accepts the cutter but leaves the cigar, instead pulling a length of WIRE out of his pocket. It is the same wire used in the bomb, but a newly purchased piece. Fraser SNIPS the wire and examines the end. He thanks the manager, hands him several BILLS and exits the store. As he does, a cute AFGHAN enters with her owner. Fraser walks away. Diefenbaker lingers. Fraser walks back into frame, speaks to him, and Diefenbaker walks off behind him, slowly.

EXT. ZUKO MANSION - DAY

Fraser walks up in front of the house. He surveys the surrounding manses. A pretty quiet street. Across the street and a few doors up the street, a TEENAGER uses a leaf blower (or snow) to clear the driveway and the yard around a house.

FRASER

Walks across the street stands between the teenager and Zuko's house:

FRASER'S POV

A clear view. You can see cars in the driveway, the front and side doors. Into windows. Everything.

WITH THE TEENAGER

Busy blowing.

FRASER (O.S.): Excuse me!

The kid turns. Sees Fraser and shuts off his machine.

FRASER (CONT'D): I was wondering - how often do you work here?

EXT. POLICE STATION - DAY

To establish.

INT. POLICE STATION - INTERROGATION ROOM - DAY

Zuko, with his lawyer, Mr. ZWICK. Tense.

ZWICK: I'm trying to get you into County, but I'm not getting a lot of cooperation.

ZUKO: Of course you're not getting a lot of cooperation - I'm surrounded by a hundred cops who want me dead!

A KNOCK on the door, and Fraser enters. The lawyer rises to intercept him, but Zuko holds him back.

ZUKO (CONT'D): It's okay.

His mood changes. The confident Frank now.

ZUKO (CONT'D): (smiles) Your friend come to his senses yet?

ZWICK: Frank, you don't have to...

FRASER: As a matter of fact, no.

Fraser looks at the lawyer. Zuko picks up on it.

ZUKO: Ed. Go make yourself useful.

The lawyer exits. Zuko leans back in his chair. Fraser pulls up a chair to the table and places a CIGAR BOX on it. Zuko eyes it with curiosity.

ZUKO (CONT'D): (re: the box) My favorites. Good memory.

FRASER: I study people's habits.

Fraser opens the box. He takes out a finely rolled cigar, hands it to Zuko.

FRASER (CONT'D): For instance, this is your brand. Hand roiled to exact specifications.

ZUKO: Yes.

From the box Fraser pulls a platinum cigar clipper. We've seen Frank use one exactly like it.

FRASER: Before smoking it you clip the end off (he clips Zuko's cigar) like so.

Fraser puts the clipper down on the table. Takes several winds of wire out of the box.

FRASER (CONT'D): Your friend the bomb maker has habits too. He tells me that he prefers a set of Snap-on number eight shears to cut wire.

He takes the right kind of shears out and puts them on the table.

FRASER (CONT'D): These were found in his apartment so I think he's telling the truth.

Fraser takes a length of wire and cuts it with the shears. Then he holds the wire up for Zuko to see.

FRASER (CONT'D): A straight cut. Makes it easier to connect to the detonator.

Then he takes out the piece of wire with the knots in both ends that was found at the site of the bombing.

FRASER (CONT'D): Another habit. He ties knots in each end. So one would assume this is his work. The odd thing? This piece that was found at the bombing - (shows it to Zuko) The wire was cut with a different implement. So either the bomb maker suddenly decided to change his habits, or. ..

Fraser now holds up another piece of wire, takes out the platinum cigar clipper and cuts the wire.

FRASER (CONT'D): Strange, for a bomb maker who doesn't smoke.

ZUKO: I like your thinking. Get to the point.

FRASER: Your humidor doesn't sell many of these. (re: the clipper) Too expensive. In fact, I'm told you are the only customer, but that most of them go to people as gifts. (puts it down) The police didn't plant those detonator caps in your yard. Whoever cut this wire did.

ZUKO: Who?

FRASER: I can't imagine, can you?

ZUKO: The Dorio brothers...

FRASER: Are they on your list?

ZUKO: (wicked smile) Not that one.

FRASER: Then it seems you have a problem. Perhaps someone closer to you. Someone who is on your list.

ZUKO: (mostly to himself) Charlie?

FRASER: (shakes his head) His arches have fallen.

Zuko thinks for a moment, a thought dawns on him, but it's something he can't afford to think. He's thinking it anyway.

ZUKO: (cool) You trying to turn me against my own people, people who are loyal to me ... You cop?

Fraser's silence tells him that Fraser is telling the truth.

ANGLE

The door. Zwick enters from the hall, in a much better mood.

ZWICK: Get your coat, Frank. Somebody just did you a big favor.

He turns his smile on Fraser. Fraser doesn't return it.

INT. POLICE STATION - BULLPEN

Ray, still in uniform from the night before, comes through the double doors. He's looking a damned sight better, until he sees Huey and stops dead. Huey doesn't look happy.

RAY: Yo. What's up?

HUEY: The Mountie. He's in with Zuko and the states attorney.

At that moment, the door to Welsh's office opens. Ray turns to look sees:

RAY'S POV

Zuko, putting on his coat as he strides out of the office, a satisfied grin on his face. With Zwick. Several paces behind, Fraser and STATE'S ATTORNEY ST. LAURENT - and the young gardener.

RAY AND HUEY

RAY (to Zuko): Where do you think you're going?

ST. LAURENT: (dreading this) His alibi has been confirmed.

WELSH: He was at home. The gardener saw him.

HUEY: What?

ZUKO: Thanks again, constable. (grins) See ya, Ray.

Zuko moves off down the hall, escorted by Zwick. Leaving Ray and Fraser nose to nose.

RAY: (astonishment) You're helping Zuko? (angry) This what you call justice?

FRASER: He didn't kill Louis.

HUEY: And what did you base that on - mud you licked off his boots?

Cops stop in the bullpen, watching.

HUEY (CONT'D): Answer me!

Fraser says nothing.

ST. LAURENT: (pulls Huey away) Don't put this on him. You didn't even canvass the neighborhood. What were you thinking - no one would?

RAY: (to St. Laurent) So that's it, he walks?!

ST. LAURENT: We'll get him on conspiracy. His phone's tapped and there's a surveillance truck on his house twenty four hours a day.

RAY: That could take weeks!

WELSH: (interceding) Vecchio, Huey. My office. (they resist) Don't push it!

Huey gives, too defeated to argue. He moves past into the office. Ray hangs back, looks at Fraser.

RAY (to Fraser): What's the matter with you? You've got to know when to hold the line, when to work the rule.

Fraser knows there's no point in answering. He watches Ray turn and stalk into the office. It takes him a moment to realize that the rest of the cops are staring at him. He turns and walks slowly out of the bullpen.

FADE OUT:

END OF ACT THREE

ACT FOUR

INT. AN ESPRESSO BAR - NIGHT FOUR

Michael and a few younger men, the thugs from the prologue, sit around drinking coffee, smoking cigars, reading. In the back, a couple of others are playing pool. Fraser enters, with Diefenbaker.

MICHAEL: You must be lost.

Michael watches with surprise as Fraser approaches his table. Diefenbaker sits down by his feet.

MICHAEL (CONT'D) (Re: Dief): This your guard dog?

FRASER: Wolf actually.

Michael moves to pat him. Diefenbaker SNARLS.

FRASER (CONT'D): I'm sorry. He's a little unpredictable. I never know whether he'll take to someone or rip out their throat. (to Dief) Behave.

Michael keeps a wary eye on Diefenbaker. Fraser pulls out a platinum cigar clipper.

FRASER (CONT'D): A gift from Mr. Zuko.

MICHAEL: I already have one.

FRASER: He thought yours might be damaged.

Fraser picks Michael's up off the table.

FRASER (CONT'D): (examines it) Yes. You really shouldn't cut wire with it.

Michael reacts, taken aback. Fraser sets down his clipper and begins to walk out.

MICHAEL: You and Frank been spending time together?

FRASER: Not anymore. He's been released.

MICHAEL: (this is not good news) Frank's out.

FRASER: An hour ago. I have a feeling he may be looking for you. (calls to wolf) Diefenbaker.

Michael watches them exit the coffee bar. He's not a man accustomed to sweating and wears it uncomfortably. A moment later the phone rings on the bar. The owner answers it, then turns to Michael.

OWNER: For you.

On Michael's look.

EXT. ZUKO MANSION - NIGHT

The street is dark and quiet. A SEDAN pulls to the curb. The lights go out, and Ray and Huey get out and walk towards a nearby drieway.

IN THE DRIVEWAY

A nondescript van, facing Zuko's house. If we recognized the small pizza-sized dish on the roof we might be able to tell that it's a POLICE VEHICLE.

INT. THE VAN

A communications suite. Electronic listening devices, LED's, a reel-to-reel tape recorder. Two COPS with headphones listening.

THE BACK DOORS OPEN

And Ray climbs in, Huey right behind. The two cops check watches.

COP: You're early.

RAY: We're a couple of keeners, what can I tell you?

The two cops make room.

COP: Charlie's in the house, so's the sister. Zuko came straight here from the station.

The cop hands Ray a clipboard and closes the back door behind him. Ray surveys the recording equipment.

HUEY

goes to the front of the van, parts the curtain and moves a CAMERA equipped with a very long lense and mounted on a tripod into position.

HUEY'S POV

The front of the house, all lit up.

WITH RAY

He puts on a set of headphones, turns a dial.

ON THE ROOF

The pizza-sized dish adjusts slightly.

INSIDE THE VAN

Ray hands Huey a set of headphones.

HUEY: He's going to brag to somebody.

RAY: Come on Frankie, tell us a story.

With Ray, we HEAR a BUZZ of static then:

ZUKO (O.S.): I don't care if he's not there - you find him for me, got it!

INT. ZUKO MANSION - ZUKO'S STUDY - NIGHT

Zuko with Charlie.

ZUKO: (to Charlie) Where the hell is he?

Charlie watches Zuko, amused.

CHARLIE: Out keeping an eye on things.

ZUKO: (rattled) Don't be smart with me, Charlie, I need you.

Irene enters from the hall, dressed in an overcoat.

IRENE: Frank?

ZUKO: Where are you going?

INTERCUT:

Ray in the van, intent now that he hears her voice.

BACK TO SCENE

IRENE: A movie.

ZUKO: No.

She turns back into the hall. Frank follows her.

INT. FRONT HALL

An overnight case sits by the door. Frank spots it.

ZUKO: Where's the movie?

IRENE: Something's going on Frank. I don't want any part of it.

ZUKO: No. YOU stay.

Irene looks to Charlie. An appeal for help.

CHARLIE: Let me take her to a hotel.

ZUKO: She's not going to a hotel - she's running off to her boyfriend. Isn't that right Irene?

She's taken aback.

INTERCUT:

Ray in the van.

missing page

RAY: (pushes past him) I got no time for you.

Fraser grabs him, throws him up against the back of the van.

FRASER: Make time.

Ray struggles to move away. Fraser is surprisingly strong and keeps him pinned.

FRASER (CONT'D): You are not thinking. A police officer who doesn't think is dangerous.

RAY: I know where you stand.

FRASER: No you don't. You know where you stand. But you're so full of hate all you see is Zuko. That's all you've seen from the beginning. Now, maybe putting him in jail is right and maybe it isn't - but do you hate him enough to let the real killer go free as a consequence?

RAY: (disbelieving) Zuko did this. :

FRASER: Ah. I understand. If you jail him it will be over. Then you won't have to feel guilty anymore...

Ray springs forward pushing Fraser backwards. A brief struggle. The doors of the van swing open.

HUEY (O.S.) (calling): Vecchio...

Fraser responds, gets him back up against the van.

HUEY (CONT'D) (surprised to see Fraser): Hey! Zuko ' s got company.

Ray turns to the sound of Huey's voice.

ANGLE

On Huey, still in the van.

HUEY (CONT'D): Michael Sorrento.

WITH FRASER AND RAY

They share a look. Ray pushes himself roughly out of Eraser's grip. Fraser allows him to do so.

ANGLE

Ray, then Fraser, looks around the corner of the van.

RAY: This is not a social call.

ZUKO MANSION - THEIR POV

Michael and three of his soldiers walk up the front walk. Charlie opens the door, lets Michael in but stops the soldiers from entering. Michael nods to them, indicating they should stay outside. Charlie shuts the door on them.

BACK TO SCENE

Ray checks his beretta, then reaches down and checks the qun in his ankle holster.

RAY: I'm getting her out. (calling back to Huey) Get some back up.

Ray pushes past.

FRASER: Ray!

RAY: (turns back) Make a choice.

They lock eyes for a second. Ray moves off. Fraser turns to Diefenbaker.

FRASER: Take the back.

They take off in pursuit of Ray.

INSIDE THE VAN

The reei-to-reei recorder continues to spin as Huey calls for back-up.

MICHAEL (V.O.): You've had a good run, Frank.

INT. ZUKO MANSION - ZUKO'S STUDY - AT THAT MOMENT

Michael and Frank square off. Charlie stands to one side.

MICHAEL: You tried to fill your father's shoes, you couldn't. He was a hard act to follow. No shame.

ZUKO: The coffee bar was you. And the warehouse fire - and Gardino.

MICHAEL: This business - it's a big responsibility, it needs a strong hand.

EXT. ZUKO MANSION (FRONT YARD) - AT THAT MOMENT

Ray fires across the lawn heading for the front door. THE SOLDIER closest to the front porch leaps to stop him - Ray decks him with a punch and keeps going.

THE SOLDILR scrambles to his feet, starts to run after Ray. From behind, Eraser takes a flying leap and tackles him. As they roll across the lawn--

IN THE DRIVEWAY

ANOTHER SOLDIER sees this, jumps out of the car. -- As he runs over to help his partner, gun raised

HUEY

Dumps him from behind, knocks the gun out his hand. The fight is on.

EXT. ZUKO MANSION - NIGHT

Diefenbaker vaults a fence and leaps into the backyard.

INT. ZUKO MANSION (ZUKO'S STUDY) - AT THAT MOMENT

ZUKO: I should kill you right here.

MICHAEL: (smiles) But you'll wait. And I'll wait. And in a month or so, one of us will slip up and the other guy will never know what hit him. (beat) You've been slipping up a lot lately, Frank. Face it, you've lost control.

They start at the SOUND OF THE FRONT DOOR being kicked open.

INT. ZUKO MANSION (FRONT HALL) - CONTINUOUS

Ray is taking the stairs two at a time. Zuko runs into the hall - sees him.

ZUKO (shouting to Ray): Get the hell out of my house!

RAY: It's not your house, Frank.

Ray disappears up the stairs.

Michael has appeared behind Zuko.

MICHAEL: (to Zuko, goading him) An unfortunate example.

Zuko, shoots a venomous look at Michael and pushes back into the study.

INT. STUDY - CONTINUOUS

A DRAWER OPENS

revealing a 9mm Ruger.

CHARLIE: Frank...

ZUKO on the move, ignores him, slams a clip into the gun.

EXT. ZUKO MANSION (FRONT LAWN) - AT THAT MOMENT

Fraser and Huey against the two soldiers. They've almost got them subdued when A THIRD SOLDIER steps around from the rear of the house. He pulls his weapon - and Diefenbaker races at him from behine - flies at him knocking him over.

INT. ZUKO MANSION (IRENE'S BEDROOM) - AT THAT MOMENT

IRENE: You had to come busting in here??

RAY: You're not safe.

IRENE: I can handle him.

RAY: Yeah, that's what the bruise on your face says.

She has no comeback for that. Ray grabs her coat off the bed and tosses it to her.

RAY (CONT'D): Come on.

She puts it on, takes his hand. They go into the hall and see:

ZUKO

At the top of the stairs. From his expression, he's been pushed to his limit, if not beyond it.

ZUKO: (softly) You take your hands off my sister.

Ray sees the gun in his hand.

RAY: Don't be stupid, Frank.

ZUKO: (softly, raising the gun) You will not take my sister out of this house.

IRENE: (terrified) Oh God, no, Frank...

She starts to shrink back into the room. Ray moves in front of her.

RAY: Tell you what. Let's take this outside.

ZUKO: Tell you what. You get the hell out of here before I kill you.

Ray realizes he's on the edge - plays it cool.

RAY: Okay, okay...

Ray shows his hands - empty - no threat. He starts to move pulling Irene with him. Zuko keeps his gun on him.

ANGLE

Michael is watching from the bottom of the stairs. This is not working out the way he had hoped. He quietly removes his own weapon, and starts to move up the stairs...

ALL AT ONCE:

RAY

Sees Michael's head appear, then his gun - knows what's going to happen next.

BELOW - FRASER

appears behind Michael. Leaps.

RAY

Goes for his gun.

ZUKO

reacts instinctively, raising his gun

MICHAEL FIRES

As Fraser slams into him, knocking his arm...

MICHAEL'S BULLET

Goes wide. SLAMS into the wall beside Zuko.

Irene SCREAMS.

RAY AND ZUKO

Faced off against each other, guns drawn, fire almost simultaneously...

IRENE

Grabs at Ray's arm. Pulls Ray's shot off its line -

THE HALLWAY

Fills with cordite smoke -

ON THE STAIRS

Fraser subdues Michael.

HUEY

Comes up the stairs past Fraser - trains his gun on Zuko.

HUEY: Drop it.

He does.

RAY

Checks to see if he's been hit.

RAY (turns, sees her): Irene. '

IRENE

sitting on the carpet, huddled against the wall. Terrified. Ray moves into her.

RAY (CONT'D): It's okay. ifs okay.

Ray starts to put his arms around her, she reaches up for him - there is blood matting the front of her blouse. A lot of it. Ray starts at the sight of it. Her arms wrap around his neck, tight.

IRENE: Let's go.

RAY: ...Yeah.

SFX - SIRENS

He picks her up in his arms. Passes Huey and Zuko, at the top of the stairs. Sees

FRASER

Handing Michael off to a UNIFORM.

RAY (CONT'D)(to Fraser): Call an ambulance.

Ray moves down the stairs. Zuko stares, tries to follow. Huey restrains him.

ZUKO (panicked): Irene...Irene?

INT. ZUKO MANSION (FRONT HALL)

Uniforms swarm the house as Ray carries Irene to the door, her arms secure around his neck.

Fraser joins him as they pass out the door.

IRENE (weak): You never listen.

Ray is trying very hard to stay in control.

RAY: I'm listening.

IRENE: Promise me...it ends here...

RAY: (gently) Shhh...Close your eyes.

She closes her eyes and rests her head against his chest.

INT. HOSPITAL CORRIDOR - LATER - NIGHT

Fraser and Huey lean against a wall. Zuko sits across the hall from them, handcuffed to a uniformed officer.

Beyond them down the hall a set of double doors that lead to the Emergency Room. Doctors and Nurses pass through the doors, ignoring them.

RAY

Walks out of the doors towards them. He walks past Zuko without even a look. A DOCTOR comes out of the ER and SPEAKS quietly to Zuko.

CLOSE ON RAY

Walking. His face blank - a form of shock.

He reaches Fraser and Huey. Fraser knows.

HUEY: How is she?

RAY: She didn't make it...

A look at Fraser. A moment between them. Then Ray pushes past and keeps walking. Huey follows - Ray gets to the door, goes through into a second hall. Sees:

RAY'S POV

REPORTERS and cops. Welsh.

BACK TO SCENE

HUEY: (Catching up) Look, before you say anything... (doesn't quite know how to say this) We can still nail Zuko. All you have to do is say he shot her with intent and we've got him for murder...

Ray looks at Huey. Stares past him to Zuko, still slicing on the bench in the next hall ~~ his hand in his hands. He finds Fraser, standing in the doorway. A- beat. Ray locks to Huey.

RAY: It was an accident.

HUEY turns and walks away.

Fraser joins Ray as he waits at the door not ready to face all the reporters.

FRASER: There's a side door.

Ray doesn't move. Eraser waits, knowing his friend needs to say something. A moment, then:

RAY: ... The first time I ever asked her to dance was in P.E. class. She kept trying to lead. Finally I had to tell her to lean against my shoulder and close her eyes, it would be okay...

FRASER: We all make choices.

Ray nods. Then they turn and walk off towards the side exit together.

FADE OUT:

THE END