Regular Cast	Recurring Cast
FRASER	MACKENZIE KING
RAY	WARREN KNOOP
DIEFENBAKER	DENNIS ARGYLE
	MR. MUSTAFI
	Ms. Krezjapalov
Guest Cast
TAYLOR	BEECH
POTTER	BRAD
AL	BUS PATRON
ANGELA	CHAIRMAN
MR. KLEIN	CLERK
MRS. GARCIA	COUNCIL CLERK
	FEMALE POLITICIAN
	JANET
	KID
	MIDDLE-AGED POLITICIAN
	NEBBISH SUBURBAN MAN
	RECEPTIONIST
	RIV OWNER
	RUSHTON
	SECRETARY
	SECURITY GUARD
	THUG #2
	TRANSIENT

Episode #30 " ONE GOOD MAN " - Published Draft AKA "THANK YOU KINDLY MR. CAPRA"
SETS

EXTERIOR-DAY	INTERIOR-DAY
BODY SHOP	CHICAGO GUARDIAN
CHICAGO GUARIAN	CITY HALL
CITY HALL	CITY HALL - TENANT/LANDLORD OFF.
MICHIGAN AVE. BLDG.	FRASER'S APARTMENT
STREET	GAS STATION - REPAIR BAY
TRUMP TOWER	LAW OFFICES
	MOTOR POOL SEDAN
	RIVIERA
	TAYLOR'S OFFICE
	TENANT'S RIGHT ASSOCIATION
	TENEMENT - LOBBY
EXTERIOR-NIGHT	INTERIOR-NIGHT
SIDE OF VERY TALL BUILDING	1972 RIVIERA
-	CITY COUNCIL CHAMBERS
	CITY HALL ROTUNDA
	FRASER'S APT. - BEDROOM
	FRASER'S APT. - KITCHEN
	OLD MANSION
	TENEMENT - BATHROOM
	TENEMENT - LOBBY
TENEMENT - UPPER HALLWAY

SCRIPT DAYS Scenes Day/Night
1-6 DAY ONE
7-10 DAY TWO
11-22 DAY THREE
23-31 NIGHT THREE
32-35 DAY FOUR
36-52 NIGHT FOUR

PROLOGUE
FADE IN:
CLOSE ON A WHITE GLOVED HAND
as one finger runs slowly across the upper ledge of a door frame.
FRASER
(in reds) wearing a serious expression, inspects his gloved finger then looks to
FRASER'S POV -- THE CROWD OF TENANTS
gathered in the hall watching him anxiously.
FRASER
reveals nothing. He crouches and inspects a baseboard in the same manner --
checks his finger --
glances cryptically at the tenants.
THE TENANTS
watch with held breath.
FRASER
looks up, sees
AN OLD LAMPSHADE
covering the overhead light
THE TENANTS
look up ... look at each other, uneasy -- this could be dicey.
FRASER
reaches for the lampshade and runs his finger around the inside of the glass
bowl ... checks his
finger ...
THE TENANTS
Breathe a little easier ... but it's not over yet.
FRASER
looks carefully around the hall... spots something and moves toward it.
THE TENANTS
watch as Fraser strides down the hall, stops, and looks up at...
AN OLD AIR VENT
out of use, stuck in a corner of the ceiling
THE TENANTS
wince -- they're dead for sure.
FRASER'S FINGER
reaches up through the grill work and rubs along the inside of the grill. As he
pulls his hand back
out again...
FRASER
studies his gloved hand.
THE TENANTS
hold their breath.
FRASER
Slowly looks up at the tenants...
ON THE TENANTS
the suspense is killing them.
FRASER
holds out his glove to show them the result ... perfectly white ... and breaks
into a grin.
THE TENANTS
grin and break into applause.
FRASER: Congratulations. You've done an excellent job.
MR. MUSTAFI approaches Fraser, grinning broadly.
MUSTAFI: See, I told you. A little dusting, a little painting -- the whole
building, good as new.
Piece of pie.
FRASER: Cake.
MUSTAFI: Whatever.
RAY: (whispering to Fraser) Great, so they dusted off the Titanic, so what.
FRASER: Ray...
RAY: The roof is leaking, the plumbing is rusted out...
MS. KREZJAPALOV: This new owner, you think he'll fix my oven?
FRASER: I'm sure he will, Ms. Kresjapalov. New appliances within six months,
it's part of the
sale agreement.
RAY: The basement floods, the floorboards are rotting -- who was the rocket
scientist who
convinced them to decorate? (off Fraser's look) Of course.
FRASER: I convinced them it would show the new landlord that he has made a good
investment,
not just in the building but in his tenants as well.
MR. KLEIN: I don't get some relief from those cockroaches, I'm taking down my
wallpaper.
Mr. Klein indicates the new, if somewhat gaudy, velvet wallpaper he has applied.
FRASER: I'm sure Mr. Taylor will be most appreciative.
RAY: (off wallpaper) Where did he steal this from -- Graceland?
Fraser checks his watch and starts heading down the hall, down the stairs and
out of the building.
Ray follows.
RAY: (CONT'D) (they continue walking) Look, you got dry rot in the bathrooms,
termites in
the baseboards -- this new owner is either blind, mentally challenged, or
Canadian. Which one?
FRASER: I think you would be surprised to know that some of the savviest
business titans in the
world were Canadians.
RAY: Like?
FRASER: (at a loss) ...Laura Secord.
RAY: Laura Secord. Who's she?
FRASER: She was a nurse who made candy.
RAY: I'll alert Ted Turner. You're stalling.
FRASER: Mr. Taylor is an intelligent businessman who knows a good investment
when he sees
one.
RAY: Benny.
FRASER: I met him in the laundromat.
RAY: Oh, God.
FRASER: He owns it. As well as a string of twenty seven other cleaning
establishments. I
complimented him on his 25 cent all you can dry policy and we fell to talking.
He seems
genuinely enthusiastic about restoring the neighborhood.
RAY: Including the slaughterhouse.
FRASER: He seems quite sincere, Ray.
RAY: You checked him out.
FRASER: Of course. Not a clogged lint trap in the whole chain.
RAY: Financially, Benny.
FRASER: He's meeting with Mr. Potter to sign the sale agreement this afternoon.
Cash, isn't it
Dennis?
They meet DENNIS, the building superintendent, in the lobby who also checks his
watch and falls
in behind them. As they head for the front door:
DENNIS: For the full asking price.
RAY: Potter must be thrilled -- the old weasel hasn't spent more than a dollar
ninety-eight on
repairs since you moved in.
DENNIS: I object to my employer being characterized in that manner.
RAY: Being a fellow rodent, I expected you would.
EXT. TENEMENT -- CONTINUOUS
Fraser waits on the sidewalk. Checks his watch again.
FRASER: The building needs a proper owner who will respect his tenants and keep
his
obligations.
RAY: Fraser, look around you -- this whole neighborhood is a slum. You clean
up one building
-- it's like dropping a good apple into a barrel of rotten ones. You can't win.
FRASER: A journey of a thousand miles begins with a single step, Ray.
RAY: Your grandmother taught you that, didn't she?
FRASER: No. A woodchuck. But that's not important now.
A ROLLS ROYCE pulls to the curb. Fraser steps in and opens the rear passenger
door before
the UNIFORMED CHAUFFEUR can get to it.
FRASER: (CONT'D) Good afternoon, Mr. Potter.
An elderly man wearing an overcoat and bowler hat steps out, using his cane to
steady himself.
This is MR. POTTER and he does indeed have the disposition of a weasel -- a very
disgruntled
one. He looks Fraser up and down,
POTTER: Damn Mounties.
FRASER: (offering his arm) May I...
Potter pushes past, ignoring him.
POTTER: (shouting) Dennis, get the door.
DENNIS: (under his breath) Yeah, yeah.
While Potter hobbles to the tenement door, A VINTAGE SPORTS CAR pulls up behind
the
Rolls.
RAY: (to Fraser) And you honestly think this Taylor guy is going to be an
improvement? Let
me tell you, nobody with that much money got it from being a nice guy.
JOHN TAYLOR, late thirties, well dressed but not ostentatiously so, climbs out
and greets
Fraser.
TAYLOR: Ben, how are you?
FRASER: Well thank you, Mr. Taylor. Mr. Potter just arrived, if you'd like to
join us inside...
Taylor glances back to see Ray who is now standing beside the sports car and
can't take his eyes
off it. It's everything he can do not to visibly drool.
FRASER: (CONT'D) (apologizing) My friend, Detective Ray Vecchio.
RAY: (to Taylor) '62 T-bird? (introducing himself) '72 Riviera.
They shake hands.
TAYLOR: (impressed) A Riv. Mint?
RAY: Was. I've gone through a couple of them recently. Hey, you wouldn't
know...
TAYLOR: I'll keep an eye out for you.
Taylor crosses into the building. Ray follows Fraser a pace or two behind.
RAY: (to Fraser) Nice guy.
Off Fraser's look.
INT. TENEMENT (LOBBY) -- LATER
DIEFENBAKER is with them at the elevator. Ray and Taylor watch as Fraser pushes
the call
button. The doors open -- Fraser turns to see Potter's surprised reaction.
POTTER: Somebody give you permission to fool with this elevator?
FRASER: It was broken, sir.
POTTER: (to Taylor, re: tenants) Good for 'em. They need the exercise.
FRASER: We took the liberty of having it fixed.
POTTER: This elevator?
FRASER: Yes, sir.
POTTER: (with a grin) After you.
He waves Fraser into the elevator. Ray follows. DIEFENBAKER stops short,
refusing to enter.
FRASER: (to Diefenbaker, quietly) You are not inspiring confidence.
Diefenbaker turns away and takes the stairs up instead.
FRASER: (CONT'D) Coward.
Taylor hangs back as well.
TAYLOR: (re: Dief) I'll go with him. No offense.
Potter smiles like a cat as the doors close on them.
POTTER: (to Fraser) Happy landing.
INT. ELEVATOR -- DAY
An old style manually operated lift. Fraser closes and latches the wire door
and operates it with
the manual handle. It JOLTS into operation and moves slowly but smoothly
upward. Ray tries
not to look as nervous as he feels.
RAY: (to Fraser) You fixed this.
FRASER: Yes, Ray.
RAY: Not your grandmother's library...
FRASER: (shakes his head) No, of course not. I studied with my Uncle
Tiberius.
RAY: The guy who died wrapped in cabbage leaves -- you want to let me off of
this thing?
FRASER: Uncle wasn't always unbalanced. In his lucid moments the man could
take some bits
of wire and a few stripped gears and turn them into a four cylinder engine.
RAY: And when he wasn't lucid?
FRASER: He strapped some propellers to a bicycle and flew it through the
nursing home
windows.
RAY: Is there an emergency hatch?
Fraser stops the elevator on the second floor. The doors open. Taylor is
there, beaming.
TAYLOR: Congratulate me, Constable. I've made an excellent investment.
The tenants who crowd the hallway and stairs CHEER and APPLAUD.
FRASER: You won't regret it, sir.
TAYLOR: John.
Smiling, Taylor moves off. The tenants crowd around Fraser, AD LIBBING thank
you's and
patting each other on the backs. Ray notices Taylor stop and whisper something
to Dennis before
disappearing down the stairs.
INT. TENEMENT (LOBBY) -- A SHORT TIME LATER
Fraser holds open the front door for Mr. Potter who is just leaving. Potter
seems
uncharacteristically content.
POTTER: So you've saved the day, Constable.
FRASER: The tenants did it themselves. They earned this.
POTTER: Yes, I suppose they did. But you're the hero.
FRASER: Good afternoon, sir.
POTTER: Good luck, Constable.
With a grin, Potter exits with his Chauffeur.
RAY: And good riddance.
Fraser and Ray turn back. Dennis is waiting for them.
DENNIS: Allow me to add my congratulations.
FRASER: Thank you Dennis.
DENNIS: And this...
Dennis offers Fraser a sheet of legal paper. Fraser reads it.
FRASER: There's some mistake.
DENNIS: Nope. Taylor hired me to stay on as Super, and I never make mistakes.
Dennis exits into his closet-size office off the lobby. Ray climbs into the
elevator with Fraser,
who is studying the legal paper, troubled. Once again Diefenbaker refuses to
get into the elevator
and takes the stairs.
INT. ELEVATOR -- CONTINUOUS
Ray operates them up to Fraser's floor.
RAY: He found out about the plumbing.
FRASER: No, we disclosed all of that. He's raising the rent.
RAY: A new owner, it's to be expected.
FRASER: He's raising it by a thousand dollars a month. Per unit. He can't do
that. Can he.
RAY: No. Not if you have a lease.
A beat of silence.
RAY: (CONT'D) (to Fraser) You do have a lease.
The elevator doors open. They turn to see:
A WALL OF TENANTS
waiting for them, all holding similar legal papers, glowering at Fraser -- if
looks could kill. Ray
turns to Fraser.
RAY: (CONT'D) Would that be a "no?"
END OF PROLOGUE

ACT ONE
INT. A GAS STATION REPAIR BAY -- DAY TWO
CLOSE on a Q-Tip as it winds through a groove between two pieces of metal.
Steel, actually
The Q-Tip travels on a smooth path, until --
FRASER: (O.S.) I told them not to pay the increase. It's unfair and, if not
illegal, certainly
unethical.
RAY: (O.S.) Good. So when do you move?
PULL BACK TO REVEAL
Ray and Fraser (in civies) inspecting the grill of a vintage RIVIERA.
FRASER: We're not moving. We're going to exercise our rights.
RAY: Uh-huh. Well, excuse me while I exercise mine.
FRASER: Certainly.
Standing over them is AL GROSSO, a thirtyish guy in a leather jacket and chinos
who isn't going
to like what he's about to hear about the vintage RIVIERA on the HOIST in front
of him.
Ray holds up his Q-tip for Al to view.
RAY: (off Q-tip) Bubbles, Al. If the paint dries too fast you get bubbles.
So what we have here
is the work of someone who either lacks a keen appreciation for a good finish or
has a bad eye for
bubbles. (to Fraser) Lowers the value.
Winks.
AL: (sarcastic) Fine. Two bubbles -- I'll knock off a quarter.
RAY: That's it?
Al crosses his arms. Ray starts examining the rest of the car. Fraser
re-starts a conversation Ray
is only half listening to.
FRASER: Ray, the tenants can't afford the rent increase.
RAY: (to Fraser) Exactly. So move.
FRASER: We're not moving.
RAY: (to Al) You need to turn this baby over, Al. You know it, I know it.
AL: Ray, you're beating me up here. I'm bleeding all over the floor.
RAY: (to Al) Hoist it.
Al activates the HOIST and the Riv rises up until we can see the undercarriage.
FRASER: I got them into this, Ray.
RAY: You got them to clean up that hell hole -- they want more help tell them
to call Sixty
Minutes.
FRASER: Every person has the right to a roof over his head.
RAY: Not if he can't pay for it.
The hoist gets the Riv up to eye level.
RAY: (CONT'D) (to Al) Whoa. There's rust on that rod. Is that rust I see?
(to Fraser) A
steal.
AL: It's primer.
RAY: Sure.
FRASER: (glances up) Oh, dear.
RAY: (thinks Fraser's playing along) Yeah, will you look at that?
Al starts to fidget as he watches Fraser, who walks up to the front of the car,
pokes around the
engine mounts. Ray turns to Al.
RAY: (CONT'D) Well?
AL: All right. A half. But that's it.
FRASER: Let's see, that would make the final price... (thinks about it) Well,
how much can a
new frame cost anyway?
RAY: Frame?
FRASER: You see here? It's been spot welded and hidden with paint. But I'm
sure the rest of
the car is salvageable. (to Al) It must have been quite an accident.
Al smiles weakly at Ray.
RAY: (darkening) You have anything to say before I take you downtown Al?
FRASER: Ray, he's your cousin.
Ray eyes Al with hostility.
RAY: He's twice removed.
As Ray closes in on Al, from behind Ray he hears:
ANGELA: (O.S.) Still driving the same old hunk of junk, huh?
Ray freezes. He knows this voice. He turns to see:
ANGELA RUSSO
thirties, petite, standing in the doorway. She smiles -- a little bit sad, but
wry. Don't be fooled by
her size, she's a tough cookie.
RAY
stands there, completely thrown. Clearly there's a lot of history here and it
isn't all good.
RAY: Ange.
BACK TO SCENE
She steps in, gives him a kiss on the cheek, neatly bypassing what could have
been a very
uncomfortable moment.
ANGELA: Don't let me interrupt. I'm just a woman with a dead Hyundai. (tosses
the keys to
Al) Al, try to remember to put the oil cap back on.
AL: Sure, Ange.
ANGELA: (to Ray) See ya.
She turns and walks out. Fraser watches her leave, curious -- but what's even
more fascinating is
the look on Ray's face. Emotionally, he's stripped naked. And he resents it.
EXT. BODY SHOP -- DAY
A MOTOR POOL SEDAN at the curb. Fraser and Ray cross to the sedan. Ray is very
purposefully not talking about the scene that just occurred in the garage --
instead he's focusing
on the Riv and carrying that emotional baggage with him.
His mood is souring by the minute as he searches through THE AUTOTRADER for more
listings.
RAY: Okay, that's twelve. Twelve Rivieras with valve leaks, cracks in the
engine blocks,
stripped gears... (he crumples the paper, tosses it) You're a jinx, you know
that.
FRASER: I'm sorry. I was being observant.
RAY: Well, cut it out.
Beat. Fraser wonders if he should say something about Angela. Quickly decides
not. As the
conversation continues Ray becomes increasingly irate.
FRASER: (beat) Perhaps you're not ready to replace your old car.
RAY: I would be happy to replace it. You keep finding something wrong with
them.
FRASER: Well, Ray, I only find something wrong with a vehicle if there is
something wrong
with it.
RAY: You're saying I can't find a car that there isn't something wrong with?
FRASER: No.
RAY: But what you are saying is that because I can't find a car that there
isn't something wrong
with, by extension there's something wrong with me.
FRASER: ...No.
RAY: Then what are you saying?
FRASER: That perhaps you are not ready to replace your old car.
RAY: That's what I thought you were saying.
They climb in the car.
INT. MOTOR POOL SEDAN -- CONTINUOUS
As they buckle up.
RAY: She's a friend.
FRASER: Fine.
RAY: It's none of your business.
FRASER: Understood.
Ray puts the car into gear and they drive off.
EXT. STREET - CONTINUOUS
As the sedan drives off down the street:
RAY: (V.O.) Why are you in this car with me?
FRASER: (V.O.) Because you said you'd drive me.
RAY: (V.O.) No I didn't.
FRASER: (V.O.) Yes, you did.
RAY: (V.O.) I changed my mind.
FRASER: (V.O.) Oh.
We see the passenger door open as the car continues driving.
RAY: (V.O.) Shut the door! Just shut the door, okay!
INT. TENANT'S RIGHTS ASSOCIATION -- DAY THREE
A small storefront in Fraser's neighborhood. Funded by grants, staffed by
college students.
At the back of the establishment, Fraser (in brown) and Ray are sitting across
the desk from
BRAD and JANET, two preppy fresh faced kids from the right side of the tracks.
Republicans.
They are the only two staffers in the place.
BRAD: So let me get this straight. The landlord is kicking them out on only
thirty days notice
after a thousand percent rent increase?
FRASER: Yes.
JANET: Cool.
Fraser and Ray exchange a look. Janet makes a note in an official looking BOOK.
BRAD: And they have been paying rent on a monthly basis -- regularly?
FRASER: Yes.
RAY: Ask again.
FRASER: (off Ray's look) Most of them are very poor and while they have the
best intentions...
RAY: (knows what's coming) They pay when they feel like it.
FRASER: They can't afford an increase.
BRAD: And the problem?
FRASER: I beg your pardon?
Brad and Janet exchange a look. She makes another note.
JANET: Sounds like the landlord has the situation under control.
BRAD: I'd say he has a good case for getting those freeloaders out of there
pronto.
Fraser and Ray exchange a look.
She offers them a box of LAPEL PINS.
JANET: Button?
Fraser takes one out, it reads "I Love Newt".
RAY: Hello '96.
On his look we cut to:
EXT. MICHIGAN AVENUE BUILDING -- (CHICAGO STOCK) -- DAY FOUR
INT. LAW OFFICES -- DAY
A DOOR MARKED
"Leavitt, Weisbarth and Pozmantier" is pushed open by DAVID BEECH, a young
lawyer in his
early thirties. He moves down the hall of this expensive law firm followed by
Fraser (now in his
reds) and Ray.
BEECH: ...You think because I'm a lawyer I can't feel for them? Come on, you
think I wasn't
poor once? You think I never rented an apartment?
As he passes his SECRETARY'S desk, she leans in to pass him a message.
SECRETARY: Your father called, he wants his Mercedes back. He said it was only
supposed to
be a loaner.
BEECH: Tell him I'm in Cancun.
As they continue down the hall, Beech stops at every cubicle to reach into
various secretary's
desks and borrow from their jelly beans, cookies, fritos, gumdrops, jujubes,
etc. What he can't eat
on the spot he tucks into his suit pocket for later.
BEECH: (CONT'D) The truth is, the cost of filing a law suit can be staggering.
On the other
hand, these are cases in which I have a deep personal interest.
FRASER: So you take pro bono work.
BEECH: (laughs) Not since Darrow died. But we do have a discounted fee.
RAY: Let me guess -- anything up to and including the clothes on their backs.
BEECH: We don't accept barter. (to Fraser) Two hundred an hour. You think
your neighbors
can swing that?
As Beech continues walking, Fraser and Ray turn and walk back down the hall.
EXT. CHICAGO CITY HALL (2ND UNIT CHICAGO) -- DAY
Establishing shot, over which we hear:
RAY: (V.O.) City Hall. Are you crazy?
INT. CITY HALL -- CONTINUOUS
Fraser and Ray walk down a set of stairs and into a hallway of basement offices.
FRASER: It is their responsibility to consider the rights of all urban
dwellers.
RAY: Fraser how many of those mutants who live in your building do you think
actually vote?
FRASER: City Hall has a responsibility to govern and protect its citizens
whether they vote or
not. It's called the social contract.
RAY: Yeah, well maybe in Canada there's an igloo for every Eskimo and a seal in
every pot.
Here, if it doesn't get votes it's dog meat. That's called America.
They step through a door marked "TENANT-LANDLORD DISPUTES."
INT. CITY HALL TENANT-LANDLORD OFFICE -- CONTINUOUS
This room is clearly a basement office, evidenced by the painted pipes on the
ceiling and enhanced
by the bargain basement office furniture. Nobody comes down here unless they're
demoted,
desperate or both.
A CLERK, who was probably the Deputy Mayor in the last administration, is eating
his lunch and
reading the want ads. Fraser steps up to the counter.
FRASER: Excuse me...
CLERK: (without looking up) Make it good.
RAY: We've got a complaint.
FRASER: No, we don't.
The Clerk looks up.
CLERK: Which is it?
FRASER: We have an injustice.
CLERK: Injustice is down the hall.
He goes back to his food and want ads. Ray takes Fraser aside.
RAY: Fraser, if you want help you have to register a dispute.
FRASER: You're sure?
RAY: Yes, that's what they do here, they handle disputes.
FRASER: I won't be causing a fuss?
RAY: Of course you will be, that's the whole point.
FRASER: Ah. (turns back to the clerk, turns back) I don't have to raise my
voice, do I?
RAY: There's no polite way to dispute, Benny. Just throw yourself into it.
FRASER: Fine.
Fraser walks back to the clerk, steels himself.
FRASER: (CONT'D) I demand... no, well, I request... I mean, I would sincerely
like... strictly
speaking and only for myself... (beat, turns) Ray.
RAY: (to Clerk) We've got a slumlord who's trying to illegally evict a
building full of poor
people.
CLERK: (sighs) If that's the best you can do.
FRASER: (to Ray, relieved) Thanks for getting that off my chest.
The Clerk takes a form out of a stack, stamps it, and hands it back to Ray.
CLERK: Fill this out -- take it upstairs to room 232. You'll need a buck for
processing.
Ray takes a dollar out of his pocket and hands it to Fraser. Fraser looks at
it, curious. Ray smiles.
CITY HALL MONTAGE:
THE BUCK
as it is handed over a counter to A FEMALE CLERK who looks at the form, looks at
the buck,
hands it back and points Fraser upstairs. Ray follows with a grin knowing full
well where this is
leading.
THE BUCK
as Fraser holds it out to AN ELDERLY CLERK who waves him off, and points him
upstairs
again.
THE BUCK
and the form as a FRESH-FACED YOUNG CLERKETTE considers it, looks as though she
would like to accept it, but hands the buck and the form back to Fraser. Ray,
who has been busy
studying the Clerkette's legs, wakes up in time to follow.
THE BUCK
and form in Fraser's hand as he enters an imposing executive suite and walks
toward a rich
reception desk. If we could see the view out the window we would see the view
from the City
Council President's Office at the top of City Hall.
AN EXECUTIVE SECRETARY sees him coming with the buck and form and panics. She
hurries over, grabs him by the arm and ushers him out the door as fast as
possible. Fraser looks
confused -- she points down and then quickly closes the door on him and breathes
a sigh of relief.
IN THE ELEVATOR
Ray is waiting. He takes his finger off the door open button as Fraser enters.
CLOSE ON THE
DOWN ARROW as the door closes.
THE BUCK
and the form as it is handed across the counter to
THE BASEMENT CLERK
who takes the form, stamps it, refuses the buck and points Fraser out the door.
THE STEPS OF CITY HALL
Ray is pitching pennies against the wall. Fraser steps out, looks at his buck
... hands it to Ray.
Ray puts it back in his wallet, slaps Fraser on the shoulder in an "oh well,
you'll learn" gesture.
They walk off down the steps together.
INT. FRASER'S TENEMENT -- DAY
The tenants, including Mr. Mustafi, Mrs. Kresjapalov and several others we've
seen before. The
place is too full, so Fraser has to get up on top of his father's trunk to
address the entire group.
Diefenbaker is cowering under the bed.
FRASER: It's not as bleak as it seems.
MR. KLEIN: You get our rent lowered?
FRASER: No.
MS. KREZJAPALOV: A new landlord?
FRASER: ...No.
MUSTAFI: (hopefully) Anything?
Silence
FRASER: There is a lawyer who for a small fee...
TENANTS: We can't afford a lawyer./They're all shysters. /Too expensive.
Diefenbaker looks at the crowd, inches further back under the bed.
MR. KLEIN: You got us into this.
FRASER: Yes, I know and I firmly believe that if we all stand together,
undivided...
Dennis steps in and hands Fraser a legal-looking notice.
FRASER: (CONT'D) Thank you kindly.
DENNIS: I'd read it first.
Fraser opens the notice.
FRASER: (stunned, to Dennis) He can't do this.
DENNIS: That's what you said last time.
Fraser looks at the tenants, guilt stricken.
MUSTAFI: What? More rent?
FRASER: No. It seems... I'm afraid... we're being evicted.
DENNIS: For nonpayment of rent.
MR. KLEIN: I paid my rent!
DENNIS: But not the increase.
MS. KREZJAPALOV: (to Fraser) You told us not to pay it. You said it was
unjust.
FRASER: It is unjust.
DENNIS: It also gives Mr. Taylor the legal right to toss you all out on your
cans. Five days
notice -- you don't pay, you're out. (grins) Sorry.
The tenants turn on Dennis, glowering -- a couple of them take a step toward
him. Dennis
quickly hands off the fifty other notices to Fraser.
DENNIS: (CONT'D) Be a pal, pass these out.
Dennis hurries out the door.
Dead silence. Fraser looks at the tenants. The tenants stare back at Fraser.
DIEFENBAKER
looks at Fraser, looks at the tenants -- and runs for the door
ON FRASER
dying.
END OF ACT ONE

ACT TWO
EXT. THE CHICAGO GUARDIAN -- DAY
A Riviera, not unlike Ray's old one, sits at the curb in front of the newspaper
building.
RAY: (O.S.) She's not going to help you, this is small potatoes, she's a big
journalist.
INT. RIVIERA -- CONTINUOUS
Ray and Fraser in the front.
FRASER: She was very helpful last time, as I recall.
RAY: Last time she thought you were a fraud. Fraud sells newspapers.
Do-gooders do not.
FRASER: I think you're underestimating her, Ray. Everyone loves an underdog.
RAY: Everyone is not Mackenzie King.
Fraser starts to climb out.
RAY: (CONT'D) I'll wait.
FRASER: No need.
RAY: You'll be back in thirty seconds.
FRASER: I'll be fine.
As Fraser exits, a voice from the back seat pipes up.
RIV OWNER: (O.S.) You heard him. I thought this was supposed to be a test
drive.
Ray turns back to look at the RIV OWNER who looks suspiciously like Glen Avigdor
(Norman's
brother-in-law.)
RAY: Keep your shirt on, pal.
Ray puts the car into gear -- it GRINDS horribly. Ray reacts -- more proof to
add to his already
growing paranoia. He turns on the Riv Owner who is watching him.
RAY: (CONT'D) Hey -- there is nothing wrong with me. Nothing.
RIV OWNER: Did I say something?
Ray returns to doing battle with the gears. The Owner tries to look calm, like
this isn't a raving
lunatic driving his car.
INT. THE CHICAGO GUARDIAN (MACKENZIE KING'S OFFICE)
CLOSE ON
a box of greasy assorted pastries.
MACKENZIE: (O.S.) Bagels, Warren. Not muffins, not cheese danish, just a
plain honest-to-
god water bagel --
PULL BACK TO REVEAL
MACKENZIE KING standing over her long-suffering boss, city editor WARREN KNOOP,
with
whom she shares an office.
MACKENZIE: (CONT'D) ...Is that too much to ask?
WARREN: You know, Mackenzie, there are reporters in Korea who would thank their
boss for
bringing them a rice-coated water beetle.
MACKENZIE: Warren, sweetie, I'd eat a beetle for you any day. But first, bring
me the bagel.
FRASER: (O.S.) Ahem.
They turn. Fraser is standing at the open door.
FRASER: (CONT'D) Excuse me, Miss King, I...
MACKENZIE: Now here's a man who knows how to save a damsel in distress. (to
Fraser) You
know what a bagel looks like, don't you Fraser?
FRASER: (nodding) Mr. Knoop.
WARREN: Constable.
FRASER: (to Mackenzie) I was wondering if you would join me for lunch.
Mackenzie grabs her purse.
MACKENZIE: (to Warren) Forget the bagels.
She takes Fraser's arm. As they step out the door and into the newsroom, Warren
follows.
WARREN: (irate) I'm sorry, do I pay you to take Mounties out to lunch? No, I
do not. I pay
you to sit at that desk, work that phone and come up with a story that will sell
papers. Am I
making myself clear??
A beat.
MACKENZIE: (to Fraser) Excuse me a moment.
She steps back into the office with Warren and closes the door. As Fraser
waits, we hear the only
slightly MUFFLED SOUND of Mackenzie verbally brow-beating Warren to a pulp.
Silence. A
moment later, the door opens and Mackenzie re-emerges.
MACKENZIE: (CONT'D) (smiling) I'm ready now.
Fraser looks back -- through a crack in the open door he sees Warren applying a
cold compress to
his forehead while consuming large quantities of an over-the-counter antacid
tablet.
He looks back to Mackenzie who smiles brilliantly. They move off.
EXT. TRUMP TOWER (THE ONE IN CHICAGO SILLY) -- DAY
A rag tag group of tenants from Fraser's building huddle in the cold outside the
front entrance.
Each carries a roughly made PICKET SIGN proclaiming "Taylor Unfair" or "No No NO
Taylor's
Got to Go". Several beefy SECURITY GUARDS prowl just inside the front entrance.
No one
on the street seems to pay them any notice.
MACKENZIE: (O.S.) This is your tenants group?
REVEAL FRASER AND MAC
Standing a few feet away on the sidewalk. Mackenzie is eating a hot dog.
FRASER: It's a small group, but dedicated.
Fraser walks forward to speak to Mr. Mustafi.
FRASER: (CONT'D) Where are the others?
MUSTAFI: I caught Mr. Klein sneaking out with his bags packed. Some of the
others too. I
had to drag the rest of them here myself.
A limo pulls to the curb -- as it does, the doors of the building open and the
Security Guards
move in phalanx formation to greet
TAYLOR
Who steps out of the limo and inserts himself into their midst.
FRASER: Mr. Taylor. I've been trying to reach you.
TAYLOR: Fraser, nice to see you. (re: the tenants) Is this really necessary?
FRASER: Yes. You see, there's been some misunderstanding wherein you raised
the rent beyond
the capacity of the tenants to pay and now your Superintendent is having them
evicted.
TAYLOR: The building isn't rent controlled, is it?
FRASER: No...
TAYLOR: And they were given the full five days allowable by law to meet the
rent increase.
FRASER: Yes, but...
TAYLOR: Is it illegal for a businessman to make a profit on an investment?
FRASER: You're taking away these people's homes.
TAYLOR: It's my building now, remember? (smile for Mackenzie, the rest of the
group) I'll see
what I can do.
The phalanx nears the front doors, some of the tenants try to get in the way to
slow Taylor down
but it's no good, the security guards just push them aside and Taylor slips in
without another
word.
FRASER
Looks somewhat optimistic until:
MACKENZIE: John Taylor? He's worth a fortune. He buys and sells places like
the one you
live in every day of the week.
FRASER: You think our chances are slim.
MACKENZIE: You see this building? Donald Trump couldn't afford it. You are
one man in a
red suit.
Fraser looks up at the very tall and imposing building.
FRASER: Yes. I see what you mean.
He leans over and picks up a placard.
FRASER: (CONT'D) Thank you for coming.
Fraser joins the picket line. Mackenzie stands there nonplussed. A moment
later, she catches up
to him and follows behind.
MACKENZIE: You watch a lot of movies growing up in Ookpik or wherever you come
from?
FRASER: Some.
MACKENZIE: "It's A Wonderful Life," right?
FRASER: Thirty-two times. It was Reverend Beltbuckle's favorite film -- it was
either that or
"The Passion of Joan of Arc."
MACKENZIE: See, that's why movies are dangerous, Fraser. They take young minds
and twist
them into believing in things like courage and hope and "one man can make a
difference." This
may come as a shock to you and Reverend Shoehorn but life is not a Frank Capra
movie. Real
life is money and bank accounts and politicians. People who pretend it isn't,
end up out here on
the street with people like them. (points to tenants)
FRASER: Yes. I suppose you're right.
Fraser continues walking.
MACKENZIE: Are you listening to me?
FRASER: Yes.
MACKENZIE: You're still going to try.
FRASER: Yes.
A moment. She stands there watching him, completely frustrated. Then grabs a
placard out of a
little kid's hands.
KID: Hey...
MACKENZIE: Get your own.
She falls into line behind Fraser, pulls out her cell phone.
MACKENZIE: (CONT'D) (into phone) Warren, I'm at the Taylor building. Get a
photographer
down here. (listens, then) Don't yell with muffins in your mouth. (hangs up,
to Fraser) You're a
bad influence on me, Bento.
She turns to the picketer behind her.
MACKENZIE: (CONT'D) (to picketer) You're not going to get anyone's attention
slouching
like that. Hold that placard higher.
Fraser smiles. TILT UP... WAY UP... TO:
A PENTHOUSE WINDOW
as we PUSH IN
TAYLOR: (V.O.) Dennis, do you know the story of the three bears?
INT. TAYLOR'S PALATIAL OFFICE IN THE SKY -- DAY
Taylor stands at the window looking down. Dennis is beside him, uncomfortable
in these
surroundings.
DENNIS: The three bears...
TAYLOR: They went out picketing, left their home unattended. Someone came
along shut off
their heat, cut their electricity, backed up their plumbing... changed all the
locks?
DENNIS: Goldilocks?
TAYLOR: It's an analogy.
DENNIS: (gets it) Oh.
Dennis looks back out the window, down at the street below.
DENNIS: (CONT'D) It's cold out.
TAYLOR: Who would you rather be -- Goldilocks (indicates down on the street) or
one of the
bears?
Dennis really gets it now.
INT. TENEMENT BUILDING (LOBBY) -- NIGHT
Fraser, carrying several placards and weary beyond words, leans up against the
elevator and
presses the call button. It takes him a moment to realize it isn't coming.
Then he notices the sign
hanging on the grill work.
ON SIGN
the words "Out of Order" scrawled in marker.
FRASER
sighs, looks down
DIEFENBAKER
equally exhausted looks up at him sadly.
FRASER: (to Diefenbaker) "These are the times that try men's souls."
He looks up at the staircase, weary.
FRASER: (CONT'D) Not to mention men's feet. (to Dief) Come on.
Fraser moves up, Dief doesn't.
FRASER: (CONT'D) (without looking back) Don't lallygag.
Diefenbaker reluctantly follows.
INT. FRASER'S APARTMENT (KITCHEN) -- NIGHT
Fraser, in civies now, is stirring some pancake mix in a bowl. Diefenbaker sits
beside him.
FRASER: (to Dief) Thomas Paine. He wrote a book called "The Rights of Man,"
among others.
(quoting) "Those who expect to reap the blessings of freedom must, like men,
undergo the
fatigue of supporting it."
Fraser moves to the stove, turns a dial - the gas flame ignites.
CUT TO:
CLOSE ON
the Gas meter (in the tenement basement.) A large wrench yanks on the valve
moving it to the
"closed" position. Dennis drops the wrench and dusts off his hands.
INT. FRASER'S APARTMENT (KITCHEN) -- AT THAT MOMENT
THE FLAME
sputters and dies.
FRASER
studies the element -- tries the knob again, then the other knobs. Nothing. He
takes the pancake
mix and pours it raw into Dief's bowl.
FRASER: "Tyranny, like hell, is not easily conquered..."
INT. BATHROOM -- LATER
Diefenbaker sits in the empty bathtub as Fraser shampoos the wolf's hair.
FRASER: (to Dief, quoting) "...Yet we have this consolation with us, that the
harder the
conflict, the more glorious the triumph. What we obtain too cheap, we esteem
too lightly; it is
dearness only that gives everything its value."
Fraser takes a pitcher, puts it under the tap and turns it on.
SOMEWHERE IN THE BASEMENT
Dennis wrenches shut a water pipe.
INT. BATHROOM -- CONTINUOUS
A TRICKLE OF WATER pours out of the bathtub tap, then stops. Fraser looks into
the pitcher,
not enough. He looks at Dief, covered in suds, hair sticking up like a canine
punk rocker...
FRASER: (to Dief) They call it mousse -- it's the latest fashion.
Diefenbaker BARKS at this concept.
FRASER: (CONT'D) Not that kind of moose.
INT. FRASER'S APARTMENT (BEDROOM) -- LATER
Fraser continues to quote as he dries Diefenbaker's sticky hair with an electric
hair dryer.
FRASER: "...The summer soldier and the sunshine patriot will, in this crisis,
shrink from the
service of their country; but he that stands it now, deserves the love and
thanks of man and
woman."
SOMEWHERE IN THE BASEMENT
At a FUSE BOX, Dennis turns off all the switches, then shuts and padlocks the
box.
INT. FRASER'S APARTMENT (BEDROOM) -- CONTINUOUS
The hair dryer WHINES and DIES.
DIEFENBAKER
turns and looks at his reflection in Fraser's shaving mirror. WHINES.
FRASER: (picking up a brush) Comb out?
INT. FRASER'S APARTMENT (BEDROOM) -- LATER
Diefenbaker sits with Fraser on the bed, the two of them wrapped in comforter
against the cold.
Fraser reads from a large old volume by the light of Fraser's camping lamp.
FRASER: "...It is not a field of a few acres of ground, but a cause, that we
are defending, and
whether we defeat the enemy in one battle, or by degrees, the consequences will
be the same--"
The flame from the CAMPING LAMP sputters and dies. Silence as Fraser and
Diefenbaker sit in
the pitch blackness. Then, Fraser continues to quote by heart.
FRASER: (CONT'D) "...We fight not to enslave, but to set a country free, and
to make room
upon the earth for honest men to live in."
We HEAR Fraser CLOSE THE BOOK.
FRASER: (CONT'D) Good night.
A moment of silence then.
FRASER: (CONT'D) You're stealing the blanket. Stop that, you're an arctic wolf
for pity sake.
A WHINE
FRASER: (CONT'D) Oh, alright. (beat) You're getting soft, you realize that.
A moment of quiet as they settle down, then a WOMAN'S SCREAM reverberates from
the hall,
breaking the silence followed by THE FRIGHTENED SHOUTS of tenants. Diefenbaker
BARKS
REPEATEDLY and dashes off the bed. HEAR THE SOUND OF FRASER leaping out of bed
in
the dark, knocking over things in his haste.
AT THE DOOR
Fraser throws it open to see:
A KITCHEN CHAIR
flying directly toward his head.
FRASER
catches it, tosses the chair aside.
IN THE HALLWAY
THE TENANTS cower against the wall and in the stairwell watching THREE HUGE
THUGS
literally toss Mr. Mustafi's clothing, bed sheets and furniture out of his
apartment door and into
the hall. MUSTAFI RATTLES OFF A STREAM OF ARABIC as he struggles to grab an old
Tiffany lamp that one of the Thugs is dangling over the smaller man's head.
MUSTAFI: Get away! This is mine, you can't touch my things, I don't care who
you are--!
Fraser steps in, grabs the thug's arm, twists it... the lamp drops neatly into
Mr. Mustafi's hands.
FRASER: Thank you. Now if you and your friends will kindly vacate Mr.
Mustafi's apartment...
A BIGGER THUG (we'll call him Kevin Rushton) appears behind Fraser, taking him
by surprise,
and throws him up against a wall, the second thug helping to pin him.
RUSHTON: Sorry. No can do.
DIEFENBAKER
turns on them GROWLING.
THUG #1
pulls a knife.
RUSHTON: (CONT'D) (to other thug) Jack, put that away! You're gonna scare
our new
neighbors.
THUG #1
backs off.
DIEFENBAKER
holds his ground, watching them.
BACK TO SCENE
Fraser speaks to the thugs as politely as a man can whose face is being squashed
into a wall.
FRASER: You live here?
RUSHTON: Do now. This apartment -- I guess somebody didn't pay his rent.
We're your new
neighbors.
Fraser watches as ANOTHER THUG steps out of the apartment carrying a glass vase.
THUG #2: (to Mustafi) You forgot this.
Before Mustafi can reach for it, the thug lets the vase fall and it SMASHES on
the floor.
RUSHTON: (to Fraser) We'll be seeing you.
Rushton and the thugs release Fraser and exit back into the apartment slamming
the door.
Mr. Mustafi clings to his Tiffany lamp, heart-broken. The tenants stare at
Fraser.
FRASER
is speechless.
DENNIS
stands in the back of the crowd, watching. This time he isn't smiling
END OF ACT TWO

ACT THREE
INT. MOTOR POOL SEDAN -- THE FOLLOWING DAY
CLOSE ON
a file containing three rap sheets bearing photos of Rushton and his two thugs.
RAY: (O.S.) Rushton, Herrera and Goldman -- all ex-cons, no outstanding
warrants, none of
them on parole.
PULL BACK TO REVEAL
Fraser studying the file. He sits in the passenger seat beside Ray. The sedan
is parked on a street,
we don't immediately see where.
FRASER: And Mr. Mustafi's furniture?
RAY: He refused to move it. They had the landlord's permission. Cruel but not
illegal.
FRASER: There's nothing the police can do?
RAY: I can drag them into the station house, give Taylor a warning, maybe buy
you a few more
days. But if he wants you out sooner or later he's gonna find a way to do it .
This isn't about
what's legal. Time is on his side. Time and money.
Fraser closes the file. They sit in silence for a moment. Ray is watching
through the windshield.
He wipes the steam off the glass so he can see better -- we see why.
THROUGH WINDSHIELD -- THEIR POV
Al's garage. ANGELA and Al step out of the office door. He hands her a set of
car keys, she
says goodbye and crosses to a little red Hyundai. As she climbs in:
BACK TO SCENE
Ray watches her, his face a map of emotions, predominantly painful. Fraser
watches Ray
watching her.
FRASER: A friend.
RAY: (nods) Yeah.
THROUGH WINDSHIELD -- THEIR POV
The Hyundai pulls out onto the street. Angela is unaware of their presence as
she drives past the
sedan.
BACK TO SCENE
RAY: (CONT'D) She's my ex-wife.
ON FRASER
stunned.
FRASER: ...Oh.
BACK TO SCENE
Fraser just sits there -- what do you say to that kind of revelation? If you're
a guy, nothing. (So
since that's the case, we won't break any sacred rules.)
Ray watches the Hyundai drive off and disappear in the distance. After a
moment, he starts the
engine and pulls out, moving in the opposite direction.
RAY: Hungry?
FRASER: Starving.
EXT. MOTOR POOL SEDAN -- CONTINUOUS
As the sedan drives off down the street.
RAY: (V.O.) Hot dogs?
FRASER: (V.O.) Perfect.
CLOSE ON
a messy, greasy chili dog as Ray hoists it to his mouth and takes a huge bite.
RAY: (with mouth full) I have a lunch date with Mr. Taylor.
PULL BACK TO REVEAL
Ray standing at a reception desk just outside Taylor's office in the sky. He's
holding a grease-
stained bag of chili dogs and is quite enjoying the mess he's making with the
one he's eating. The
RECEPTIONIST is not amused. Fraser hovers in the background.
RECEPTIONIST: Name?
RAY: Vecchio.
RECEPTIONIST: (disdainfully) First name?
RAY: Detective.
He flips open his badge. She checks the appointment book in front of her.
Looks up...
RECEPTIONIST: Mr. Taylor's lunch appointment is with a Mr. Johnson.
Ray leans over and looks at the book -- as he does, a glop of chili drops from
his hot dog and
splatters onto the page obscuring Mr. Johnson's name. The Receptionist lifts
her eyes to Ray...
RAY: (smiles) Check again.
She picks up the phone.
INT. TAYLOR'S PALATIAL OFFICE IN THE SKY -- CONTINUOUS
Laid out on the conference table is a large architectural model of a modern,
urban neighborhood -
- a developers dream, with towers of chrome and glass condominiums rising to the
sky, a few
splashes of landscaped greenery, even toy delivery trucks and Mercedes' and
BMW's on the
street.
TAYLOR: (O.S.) Hardly looks like the south side of Chicago, does it?
PULL BACK TO REVEAL
Taylor admiring his model. Fraser and Ray beside him. Ray is still carrying
his paper bag of chili
dogs.
RAY: I assume this is a rhetorical question.
Taylor smiles, turns to Fraser.
TAYLOR: You want to improve your neighborhood. You want it to be safer,
cleaner. You and
I are not in disagreement, Constable. I want that too.
FRASER: This isn't my street. I don't recognize any of these buildings.
TAYLOR: Oh, you will. I purchased four buildings in your neighborhood last
week, two more
will close escrow by the end of the month. By next summer they will be gone and
these beauties
will have risen in their place. Your building will be the first. (off model)
When I'm through your
neighborhood will be a model of city planning which will set the standard for
the best
neighborhoods in Chicago.
RAY: (to Fraser) I hope you like chrome.
FRASER: (to Taylor) You intend to demolish the entire block.
TAYLOR: Six blocks.
FRASER: What about the tenants?
TAYLOR: There will be no discrimination. Anyone who is able to afford the new
buildings is
certainly welcome. Those who can't, well I think you'll discover those were the
people who put
the refuse in the streets and the graffiti in the halls to begin with. You can
only help people who
want to be helped, Constable. Those who don't will only drag you down.
FRASER: Perhaps. But there are different kinds of help.
Fraser studies the model, reaches for one of the toy trucks.
FRASER: (CONT'D) May I?
Taylor nods.
FRASER: (CONT'D) My mother bought me a set of these when I was small. She had
to order
them from a catalogue and they took three months to arrive. When they did I
rushed outside to
share them with the other boys in my village. Inuit boys. We sat down in the
dirt and I showed
them how the dump truck worked and how the roof on the convertible could be
removed. My
friends just looked at me, blankly, and went back to baiting their fishing
hooks. They had that
evening's meal to catch and I was wasting daylight. That night I told my mother
my friends didn't
want to play with me anymore. She didn't say much. But the next day she handed
me my fishing
rod, took three bottles of herring from the larder and told me to take those out
to play. We
caught enough meals to last a week and I became the most popular boy in the
village. At least
until my mother's stock of herring ran out.
A patronizing smile from Taylor,
TAYLOR: Yes. The innocence of childhood.
FRASER: Mmm. That winter one of those six-year old boys got caught in a bear
trap. He cut
off his own leg to save himself. A child, yes, but innocent, hardly.
Taylor takes a polite moment to pretend to consider this.
RAY: I played with those things too. My cousin Al swallowed one. I wanted to
cut out his
stomach to get it back, but Ma said no.
Fraser turns to Ray, not terribly grateful for this.
FRASER: Thank you, Ray.
RAY: Any time.
Taylor walks Fraser to the door.
TAYLOR: (to Fraser) I appreciate your concern for your neighbors. Perhaps
there is something
more that can be done for them. I have friends in government, there are low
income housing
projects. If you were to help convince them to relocate...
FRASER: Most of them live and work in our neighborhood. I don't think they can
afford to
commute.
TAYLOR: Still, I would be grateful to you. Your building is going to have a
penthouse on the
32nd floor. How does that sound?
Fraser looks at Taylor evenly.
FRASER: Like it's too high off the ground. Good day, Mr. Taylor.
Fraser exits. Ray follows, handing Taylor what's left of his messy chili dog.
RAY: Lunch. My treat.
A glop of chili runs down Taylor's hand and onto his white Persian rug. Ray
smiles as he exits.
INT. TENEMENT (LOBBY) -- EVENING
Fraser enters and walks to the elevator, presses the button and leans against
the wall to wait, tired
and dispirited.
After a beat, he realizes the elevator isn't moving. He checks for the out of
order sign -- it's been
torn off its string. He turns for the stairs -- hears the SOUND OF ANGRY VOICES
coming
from above. As he looks up, concerned, Diefenbaker comes running down the
stairs. He
BARKS when he sees Fraser. MACKENZIE KING is on his heels, wielding a camera
with a
large photo flash.
MACKENZIE: About time. You want to get in on the action here -- I've got a
deadline.
Fraser starts up the stairs, two at a time.
INT. UPPER HALLWAY - - AT THAT MOMENT
A group of tenants are gathered in the hall watching RUSHTON clamp a LOCK BOX on
Mr.
Klein's door. Every door in the hallway has one. Dennis is with them, looking
very nervous.
MR. KLEIN: I got everything I own in there! You can't just take it!
RUSHTON: You people got rats in these apartments. Gotta wait for the
exterminators.
MS. KRESJAPALOV: You put those rats in the hall! I saw you!
Fraser appears at the top of the stairs, Mac and Dief behind him. Dennis
intercepts Fraser.
DENNIS: (sweating it) Look, this is all legal. Mr. Taylor says everything
that's happening here
is legal.
FRASER: Mr. Taylor lies, Dennis. (turns to) Mr. Klein?
MR. KLEIN: (agitated) They been going into people's apartments, saying they
broke the
plumbing and didn't take care of things. It's not true -- those things been
damaged since we
moved in!
MRS. GARCIA: (to Fraser, re: Thug #1) He broke my window, he said I did it!
Fraser crosses to the fire box, smashes the window, opens it and takes out the
crow bar inside the
case. He crosses towards Mr. Klein's door. THUG #1 pulls his knife, moves
toward Fraser --
Fraser WHACKS him in the stomach, sending the man stumbling back into THUG #2
and
stumbling backward.
Mackenzie takes a photo of the pair -- THE FLASH almost blinds them.
MACKENZIE: Okay, now we're talking.
Fraser shoves the crow bar into the lock box, starts to pry it open -- Rushton
comes at him from
behind -- Fraser is ready, wheels on him, kicks him in the chest. ANOTHER FLASH
as Mac
takes a picture.
MACKENZIE: (CONT'D) (to Fraser) Aim for the head next time, I could use a
little blood.
The fight is on (brilliantly staged by Larry McLean and Ken Quinn). Some
tenants scatter and
run, a couple others, like Klein, help as they can, using furniture thrown in
the hall to crack over
the thugs' heads.
Mackenzie uses her photo flash to help protect Fraser, blinding the thugs -- one
of them grabs it...
she kicks him in the shins... he drops it into her hands.
Dennis stays well back of the altercation, not wanting to get involved. When a
thug comes flying
at him, he ducks and ducks into the stairwell for safety.
In the midst of this, A WOMAN grabs the hand of her SMALL SON and pulls him into
the open
elevator, trying to avoid the conflict. Inside the elevator, she pushes the
down button frantically
and pulls the grate closed.
Back with Fraser, Rushton grabs Fraser and throws him back into his apartment
door which
SPLINTERS and flies open.
INT. FRASER'S APARTMENT -- CONTINUOUS
The fight rages on, thugs against Fraser, tenants and a wolf, pretty much
trashing the place,
until...
A SCREAM and the GRINDING OF METAL is heard from the hall. Fraser stops to
listen --
MORE SCREAMS AND SHOUTS from the hallway (various tenants).
FRASER throws Rushton off and dashes into the hall.
INT. HALLWAY -- CONTINUOUS
Fraser comes from around the corner and sees:
THE ELEVATOR
Hanging in mid air, jammed several feet below third floor level. Several
tenants are trying to pry
open the doors because --
INSIDE
A WOMAN and her YOUNG SON are desperate to escape. She is YELLING for help.
The boy
is getting scared because his mother is.
FRASER
races for the cage.
THE AUTOMATIC
brakes of the car-- They shudder and the car DROPS in a shower of SPARKS.
THE DOORS
Open a few inches under Fraser's prying and the woman tries to push her young
son out of the
narrow gap -- it's still too narrow.
RUSHTON
and the other thugs round the corner. He takes a run at Fraser, but Mr. Klein
intercepts him.
Rushton --
TRIPS
and crashes headlong into the wall at the top of the stairs.
THE TENANTS KEEP THE OTHER THUGS AT BAY
As Fraser forces his broad shoulders into the narrow opening and forces the door
wide enough for
the young boy to slip through.
MACKENZIE
Snaps a picture of the action.
IN THE ELEVATOR MECHANICAL ROOM
The WINCH controlling the elevator's rise and descent has been sabotaged.
The BOLTS which hold the winch in place begin to pull away from the floor. One
SNAPS. Then
ANOTHER.
THE ELEVATOR
Drops a foot -- it's nearly half way between floors.
MACKENZIE
Throws down her camera and races to the elevator cage, cradles the young boy in
her arms, pulls
him out of danger
THE WOMAN
in the elevator with Fraser is too scared to lift herself up --
ONE FLOOR BELOW
Several tenants are looking at her FEET as they begin to appear from the floor
above -- the gap
still too small to allow her to escape that way --
ABOVE
Fraser JUMPS into the elevator car -- it drops. He quickly hoists the frantic
woman up level with
the third floor, is about to push her out of the car --
THE BRAKE
GRINDS sparks as it threatens to give way and --
PLUNGE
To the bottom of the shaft.
THE WOMAN
SCREAMS, knowing she will be cut in half if the car falls --
FRASER
propels the woman out of the car
SEVERAL TENANTS
SCREAM for him to follow. As he does --
THE CAR
drops down the shaft.
IN THE BLINK OF AN EYE
Fraser dives --
DOWN
and out of the opening BELOW him, narrowly missing it's deadly guillotine as the
elevator flashes
by the second floor ceiling and keeps going.
FRASER
Rolls, gets to his feet.
BELOW
The plummeting elevator impales on the steel reinforcing rods imbedded in the
floor of the shaft.
ABOVE
The tenants, stunned, crowd into the doorway, staring down at the shattered car
below. FIND:
THE WOMAN
Her child clinging to her. Then:
FRASER
Grabs a barely conscious Rushton. And:
THE TENANTS
Turn on the rest of the thugs -- murder on their minds.
DENNIS
Shifts uneasily and tries to separate himself from the thugs as he slides down
the hall.
THE THUGS
back away fearfully.
EXT. TENEMENT -- LATER
A blue and white at the curb. A UNIFORMED POLICE OFFICER slaps cuffs on Rushton
and
puts him in the back of the squad car along with the other two thugs. They look
like they have
been roughed up, which they were.
Ray stands to one side with Fraser and Mackenzie.
RAY: I called Taylor. He claims he never heard of Rushton or the other two.
He said it must
have been the Super who put them up to it.
FRASER: Dennis isn't that stupid.
MACKENZIE: Taylor isn't either. There won't be any convenient check stubs to
tie him to this.
The front door opens and Mr. Klein comes out carrying suitcases. A taxi pulls
up and he moves
towards it.
FRASER: Mr. Klein?
Fraser follows him to the cab.
FRASER: (CONT'D) It's alright, they won't be back.
MR. KLEIN: Tonight, maybe. What about tomorrow? I'm supposed to sit in my
apartment and
wait for somebody to try and kill me?
Mr. Klein puts his suitcases in the taxi.
FRASER: If you leave you'll lose your home. Our only hope is to stay here and
fight...
MR. KLEIN: You fight. (apologetic) I'm not like you.
Mr. Klein climbs into the taxi and it pulls away. Fraser turns back to see
SEVERAL MORE
TENANTS with suitcases and boxes existing the apartment. MRS. KREZJAPALOV is
among
them. She hesitates when she sees Fraser -- gives him an apologetic look --
then moves off down
the street with the others.
ON FRASER
watching them go.
END OF ACT THREE

ACT FOUR
EXT. AN ANCIENT OLD MANSION -- NIGHT
Think "Citizen Kane..."
POTTER: (V.O.) "Oh how are the mighty fallen..." That's a quote from the
Bible. Did you
know that, Constable?
INT. POTTER'S MANSION (STUDY) -- CONTINUOUS
Now think Kane's dining room, crammed with tapestries, palm trees, paintings and
statues. Potter
sits at the head of the world's longest dining table, in his high-backed wheel
chair, dwarfed by his
surroundings. He's playing "GameBoy." We HEAR THE MUSICAL SOUND of "Tetris"
coming from the small hand-held computer. Fraser stands respectfully, nearby.
FRASER: Yes, sir. The Second Book of Samuel, I believe.
POTTER: Quite right. A humbling notion for those who aspire to be heroes.
He sports a thin smile, but doesn't remove his thickly lensed eyes from the
GameBoy.
POTTER: (CONT'D) But I digress. You want something.
FRASER: My neighbors -- your former tenants -- are being forced out of their
homes. Mr.
Taylor was less than honest about his intentions.
POTTER: How disappointing.
FRASER: Yes. He intends to destroy the building. Most of the neighborhood, in
fact.
POTTER: And this gives you pause. You are beginning to wonder if you did the
right thing... if
your actions, if not intentions, weren't "less than honest."
FRASER: (thrown) Excuse me?
POTTER: You did one hell of a lot of flag waving, young man. You must have
known
somebody would try and shoot a cannon through it.
Fraser considers this, his attention now introverted on himself.
FRASER: Yes, I suppose I did.
POTTER: Nonsense. It never occurred to you.
Potter sets down his GameBoy. This is far more interesting.
POTTER: (CONT'D) You saw glory and that's all you saw. Little people rising
up and throwing
off the yoke of tyranny. You probably quoted Jefferson and Bolivar and
Geronimo, or some such
garbage. Anything to serve what you told them was a just cause.
FRASER: If they had stood together they could have won.
POTTER: Oh, horsefeathers! People don't like to succeed, Fraser. It's a lot
of responsibility. If
you had consulted them in advance and explained the repercussions, I think you
would have found
that ten out of ten preferred to fail. It's just a whole lot easier.
Potter motors his wheelchair over to a sideboard and opens a drawer which is
filled with
medicines. As he takes out pill after pill, building a small mountain of them:
POTTER: (CONT'D) Think about it. You tell a man he's going to die and he can
accept that.
You've given him a certainty. You ask that same man to take a gamble, to risk
all that he has?
Even if the prize is the fountain of youth, he'd rather roll over in the ditch
than take that chance.
FRASER: Not every man.
POTTER: No. Some are just plain dense, like you.
A beat.
FRASER: I would like you to purchase the building back from Taylor.
POTTER: You would.
FRASER: His plan will fail. At least one of the tenants will refuse to move,
which means he'll
have to bring the building down around my ears. He may want to avoid that kind
of unfavorable
publicity.
POTTER: (thoughtfully) Yes, he may. And it was one of my better investments.
(beat) I won't
fix it up. No expensive plumbing repairs, no fancy water heaters...
FRASER: Will you give the tenants leases?
POTTER: And throw away money on legal fees? Don't be stupid.
FRASER: (beat) Alright. We accept.
Potter smiles triumphantly.
POTTER: That's swell of you. But I'm not interested.
FRASER: (startled) Pardon?
POTTER: I made a handsome profit on that sale. As for the building, it's a
dump. Who needs
the aggravation?
FRASER: You said it made money.
POTTER: It does. But I have a feeling I'll get far more pleasure out of
watching you fail.
Potter starts to swallow his handful of pills. Fraser stands there, beaten.
POTTER: (CONT'D) You can leave now.
Fraser turns and starts out of the room, passing the fireplace. The fire is
dying.
POTTER: (CONT'D) Throw another log on before you go. It's cold in here.
Fraser stops, looks around at the huge room filled with acquisitions, yet
surprisingly empty.
FRASER: Yes. I'm sure it is.
Potter looks up and sees the expression on Fraser's face -- a deep pity. Potter
suddenly realizes
just how cold it is.
POTTER: Get out.
FRASER: Yes, sir.
Fraser puts a log on the fire and exits.
INT. MOTOR POOL SEDAN -- NIGHT
Parked outside Potter's Mansion. Fraser climbs in. Ray studies his friend's
expression. It doesn't
take a rocket scientist to figure out that it didn't go well. Ray lets Fraser
sit in silence for a
moment, then:
RAY: So what's the plan?
FRASER: I... have no idea.
RAY: Come no, you always have a plan. Granted, they're always incredibly
foolish and
dangerous plans, but you're a Mountie, you can't help that.
FRASER: I really don't know, Ray. My plans don't seem to be working.
Ray studies him. He's never seen Fraser this uncertain.
RAY: Come on, off the top of your head.
FRASER: I said, I don't know.
RAY: So just say anything.
Fraser thinks for a moment.
FRASER: Perhaps... (hesitates) No.
RAY: What?
FRASER: It won't work.
RAY: Sure it will.
FRASER: (thinks again, then) Well, perhaps...
RAY: Now you're talking.
Ray starts the car and pulls out.
EXT. MOTOR POOL SEDAN -- CONTINUOUS
As it drives off.
FRASER: (V.O.) You won't like it.
RAY: (V.O.) That's a given. Where to?
FRASER: (V.O.) You don't want to know.
RAY: (V.O.) Bigger than a bread box?
FRASER: (V.O.) (beat) what's a bread box?
EXT. THE SIDE OF A VERY TALL BUILDING -- LATER
We don't know how high up we are because we are CLOSE ON the building, but it's
a safe guess
that we're maybe four or five floors above the ground. And we don't know why
we're here until
Fraser climbs into view, scaling the side of the building, climbing ledge over
ledge.
FRASER: Ray, do you think I expect too much from people?
As Fraser climbs up and out of frame, Ray comes climbing up from below him.
RAY: Gee, Fraser, why would you think that?
Fraser reaches back down to give Ray a hand up and over a ledge.
FRASER: Present company excepted.
RAY: Well, since you're qualifying it. Don't take this the wrong way, but
you're not what I'd call
a normal person, Benny.
FRASER: You think not.
As we continue to CRANE WITH THEM up the side of the building (Forgive me, Bob):
RAY: I'm not saying abnormal, I'm just saying -- not normal. Your average
schmo, he sees a guy
about to jump off a bridge, he just shakes his head and reads about it in the
next day's paper. You
-- you've got to play Tarzan, save the guy's life, get him his job back and
reunite him with his long
lost grandmother. No normal person can live up to that. That little schmo,
he's being real brave if
he can just bring himself to pick up the phone and call 911.
FRASER: So I do expect too much.
RAY: Yeah, you do.
FRASER: So I shouldn't.
RAY: No, you should. If you didn't expect too much the schmo would never even
think of
picking up the phone. Without guys like you to humiliate him, he wouldn't even
try.
FRASER: Ah.
Ray loses his footing and dangles there for a moment, praying he doesn't fall.
RAY: Fraser...
Fraser hasn't noticed, continues to climb.
FRASER: I don't understand, do I expect too much or too little?
RAY: Fraser...!
Fraser looks back, reaches down, hauls Ray up.
FRASER: Sorry.
RAY: No problem. Too much and too little.
FRASER: That's completely nonsensical.
RAY: No it's not, it makes perfect sense.
FRASER: It doesn't.
RAY: Well then you weren't listening.
FRASER: I heard every word.
RAY: Okay, enough.
Fraser pulls himself over the lip of a balcony and onto a wide ledge. He looks
in the window:
FRASER'S POV
A room shaped like an amphitheatre which resembles a smaller version of the
House of Congress.
A smattering of POLITICIANS and their AIDES are spread through the hall. A
COUPLE OF
DOZEN PUBLIC PERSONS fill the roped-off gallery at the rear.
AT THE PODIUM
THE COUNCIL CHAIRMAN pounds on his gavel, trying to bring some ARGUING
POLITICIANS to order. If you haven't guessed yet (and there's no reason you
should), this is the
City Council Chambers at City Hall.
RAY: (O.S.) (CONT'D) Hey! You want to give me a hand here?
BACK TO SCENE
Fraser returns and fetches Ray up over the ledge. Once on firm cement, Ray
takes a moment and
adjusts his skewed clothing.
RAY: (CONT'D) Have you noticed I don't even question your stupid plans
anymore?
FRASER: Yes. Should I worry?
RAY: I'm six floors off the ground. Don't look a gift horse in the mouth.
Fraser crosses and checks one of the full size windows. It's open a crack and
he pulls it wider.
FRASER: Shall we?
RAY: I thought you'd never ask.
INT. CITY COUNCIL CHAMBERS -- CONTINUOUS
Fraser and Ray step out from behind a curtain and find themselves at the back of
the
amphitheatre. AN ELDERLY SECURITY GUARD spots them and moves in.
SECURITY GUARD: You come in that window?
RAY: What are you, nuts?
FRASER: Yes sir, we did.
Ray shoots Fraser a glare.
SECURITY GUARD: You climbed up here?
RAY: We got lost.
FRASER: It was an emergency.
Ray glares again. Fraser shrugs.
FRASER: (CONT'D) (to Security Guard) The sign on the front door said City
Hall was closed
after five o'clock, however a second sign indicated that City Council was in
night session so...
SECURITY GUARD: (still can't get over it) Six floors? You climbed all six
floors?
FRASER: I'm afraid we did.
Ray rolls his eyes -- they're done for.
SECURITY GUARD: (amazed) Would you like to sit down?
FRASER: Thank you, kindly.
Ray shakes his head -- it never ceases to amaze him.
IN THE BACK ROW OF SEATS
Mackenzie King waves them over. Ray takes a seat beside her.
RAY: How did you get in?
MACKENZIE: I opened the back door.
Ray shoots Fraser another look.
FRASER: Oh.
MACKENZIE: (whispering) I got to the Chairman. He said no go. Taylor has
legal demolition
permits, legal building permits, and I suspect he's greased some pretty
significant palms. (to
Fraser) Sorry.
Fraser's attention is on the SPEAKERS PODIUM at the bottom of the amphitheatre.
A
NEBBISH SUBURBAN MAN is droning on at length to the drowsy politicians.
FRASER: Thank you for trying.
Fraser slips out of his seat and moves off toward the podium. Ray sees him and
follows.
AT THE PODIUM
The suburban man is reading from a stack of 3x5 cards as he speaks.
NEBBISH SUBURBAN MAN: (dead pan) It's a threat, I tell you. A threat. To
every man,
woman and child in the Greater Chicago area. Certainly there are those who will
scoff, those who
will... (switches cards) ...jeer. But they are urban dwellers. They have yet
to experience the
scourge of the suburbs, the green death - the blight we call "crabgrass."
Ray exchanges a look with Fraser, then steps up behind the man and whispers in
his ear.
RAY: Don't turn around. I have toadstool in my pocket and I'm prepared to use
it.
The man goes white, drops his cards, and flees for the exit doors. Fraser gives
Ray a
disapproving look.
RAY: (CONT'D) The crabgrass would've gotten him first.
Fraser steps up to the microphone.
RAY: (CONT'D) What are you going to say?
FRASER: No idea.
RAY: Good. So the climb was worth it.
The COUNCIL CHAIRMAN wakes up from his nap and notices Fraser.
CHAIRMAN: The Chair recognizes...?
FRASER: Benton Fraser, Royal Canadian Mounted Police.
A stir among the politicians. Aides nudge their bosses awake.
FRASER: (CONT'D) No, no -- I'm not here in an official capacity. I'm here
because... because
I need your help.
The Chairman looks at Fraser, quizzically.
CHAIRMAN: You did say you were a Mountie?
FRASER: Yes, sir.
CHAIRMAN: ...Are you lost?
FRASER: No, sir. I am, however, a trifle confused. You see, someone told me
tonight that a
man would prefer his own death rather than put himself at risk for an ideal.
Perhaps it is my
failing, but I find that difficult to reconcile.
CHAIRMAN: I see. And you feel there is something we can do to help you sort
out this...
confusion.
FRASER: I hope so, sir. I didn't know where else to turn.
Fraser looks out at the rows of politicians -- most of them tired, bored,
anything but the august
body of leaders one would hope for.
FRASER: (CONT'D) You are the people's elected representatives; those they feel
best
understand their needs and hopes for their future. They've chosen you to guide
them. If they
trust your judgement, then why shouldn't I?
The Chairman pauses to take this in, then leans over to his Aide and whispers in
her ear.
CHAIRMAN: (to Aide, sotto) Call the paramedics.
She nods and moves off. The Chairman turns back to Fraser.
CHAIRMAN:
(CONT'D) What exactly is your quandary, sir?
FRASER: Yes, my point. My neighbors have been evicted from their homes. A
certain
businessman, Mr. John Taylor... (sees Taylor) Ah yes, there he is. Mr. Taylor,
I believe, has been
given your blessing to tear down their apartment building and replace it with a
new one. One that
my neighbors can't afford. I take exception to this, as I was raised to believe
that exclusion is one
of the cruelest acts that one man can perpetrate upon another. But you have
approved of Mr.
Taylor's plan. So, with deference to your leadership, I was hoping you could
set me straight.
The Chairman pauses -- eyes Taylor warily. Taylor shoots him a look, one that
says "don't screw
up." The Chairman takes a moment, then responds.
CHAIRMAN: Mr. Taylor's development plans are a matter of record, Constable. If
you need
further explanation, I suggest you speak to the City Clerk's office.
FRASER: I'm well aware of Mr. Taylor's plans, Mr. Chairman. My question is for
you -- why
did you approve them?
The Chairman's Aide passes him a note. He reads it and looks to Taylor, who
nods. The
Chairman turns back to Fraser.
CHAIRMAN: Do you represent anyone besides yourself, Constable?
FRASER: Sir?
CHAIRMAN: These other tenants. Your neighbors. Where are they tonight?
FRASER: They're not here, sir. They weren't able to come.
CHAIRMAN: Weren't able, or weren't willing.
FRASER: (beat) I suspect the latter, sir. They were intimidated.
CHAIRMAN: So you're only here to speak for yourself. These other (referring to
note) fifty
tenants... for all we know, they may not even exist.
Fraser looks to Taylor, who smiles -- "gotcha."
FRASER: You could infer that sir. But I'm sure if you were to give them some
indication that
you might seriously consider their difficulty...
CHAIRMAN: We certainly would, Constable. But apparently they don't care enough
about the
outcome to speak out as you have. Without their presence here... well, you
can't help people
who don't want to be helped. Can you?
FRASER: Mr. Chairman, I assure you, that isn't the situation at all--
The bored COUNCIL CLERK slaps a BELL.
COUNCIL CLERK: Time.
An almost audible sigh of relief goes up and the politicians start shuffling
papers, preparing to
leave.
FRASER: Excuse me?
COUNCIL CLERK: Time's up. Step down.
FRASER: I don't understand.
CHAIRMAN: Each speaker has one minute, Constable. I'm afraid if you wish to
say more, you'll
have to come back tomorrow night. May we have the next speaker, please?
The suburban crabgrass man is ready to speak again.
SUBURBAN MAN: I was interrupted, Mr. Chairman. Per Robert's Rules of Order, I
believe
that entitles me to another minute.
FRASER: But my question...
CHAIRMAN: (to Fraser) I'm afraid those are the rules.
COUNCIL CLERK: Step down, please.
FRASER: I'm not finished.
COUNCIL CLERK: Step down, please.
FRASER: I'm sorry, I can't do that.
SUBURBAN MAN: (to Fraser) This is my minute -- you are using up my minute.
CHAIRMAN: Constable, I'm going to have to insist that you leave the podium.
The suburban man starts pushing it to take the mic. Fraser holds his ground.
FRASER: No!
Heads turn. Including Ray and Mackenzie's. A hush falls.
CHAIRMAN: Excuse me?
FRASER: With all due respect, sir, I refuse to yield the floor.
A BUZZ spreads through the house. Politicians who have been asleep for weeks
are coming to.
THE COUNCIL CLERK turns to the Chairman.
COUNCIL CLERK: Oh God, a filibuster. He's going to filibuster.
A YOUNG FEMALE POLITICIAN leans in.
FEMALE POLITICIAN: What?
AN OLDER POLITICIAN responds.
OLDER POLITICIAN: He's going to talk us to death. We'll be here all night.
MIDDLE-AGED POLITICIAN: I don't have time for that. I'm a City Councilman for
godsake -
- I have a golf game in the morning!
AT THE PODIUM
Ray steps in beside Fraser.
RAY: You're wasting your time, you know this.
FRASER: Probably.
RAY: The best you're going to get is a bad case of laryngitis.
FRASER: Understood.
RAY: Then why are you doing this?
FRASER: I don't know. I just have to.
Ray sighs.
RAY: I'll get the lozenges.
FRASER: Cherry-flavored?
RAY: Sure.
Ray heads for the exit.
AT THE DOORS
Mackenzie waits for Ray.
MACKENZIE: I could've packed the place if he'd waited for the morning edition.
RAY: What about the TV stations?
MACKENZIE: And lose my exclusive?
She raises her camera to Fraser. The FLASH POPS.
MACKENZIE: (CONT'D) "Do unto your neighbor..." You would've thought at least
some of
them would show.
Ray exits into the hall. As the doors close we hear:
FRASER: "These are the times that try men's souls." Thomas Paine. He wrote a
book called
"The Rights of Man..."
ON THE POLITICIANS
MIDDLE-AGED POLITICIAN: Oh God...
He drops his head in his hands.
OLDER POLITICIAN: At least he didn't start with Geronimo.
INT. CITY HALL (ROTUNDA) -- MOMENTS LATER
Ray steps out of the elevator, crosses to the doors, frustrated and angry.
EXT. CITY HALL -- CONTINUOUS
Ray steps out into the night air. He stops, looks around.
RAY'S POV
On the street, he sees A SMALL GROUP OF BUS PATRONS waiting at a bus stop. A
movie
theatre letting out, MOVIE PATRONS strolling by. Something occurs to him. He
reaches into
his wallet, looks
INSERT OF WALLET
A stack of hundred dollar bills. His Riv money.
RAY
considers this thoughtfully. Then pulls out the stack of money and crosses to
the crowd at the bus
stop.
RAY: (to bus patrons) Who wants to make an easy fifty?
They look at him suspiciously.
RAY: (CONT'D) Okay, a hundred. A hundred apiece. All you've got to do is
listen to a
Canadian quote an American revolutionary.
Ray shows a fan of hundreds. The group of people exchange looks. One BUS
PATRON looks
at Ray suspiciously:
BUS PATRON: Which revolutionary?
INT. CITY HALL (HALLWAY OUTSIDE AMPHITHEATER) -- LATER
Mackenzie is at a pay phone. Movie patrons and other street people stream by
her and into the
amphitheatre.
MACKENZIE: (into phone) ...No, Jack, this is not a trick. No, I haven't been
drinking. Look,
you've got ten minutes to get a camera crew down here or I call WKZY and give
them the
scoop... I would never do that, Jack. You know me, my word is my bond. (hangs
up, waits a
beat, dials a number) Maury, Mackenzie King. You've got ten minutes to get
down to City Hall
or I call Jack at WGRT and give him one hell of a scoop... No, I haven't been
drinking...
AT THE DOOR TO THE AMPHITHEATRE
A TRANSIENT takes Ray's last hundred dollar bill.
TRANSIENT: You always give money to strangers?
RAY: This is better than money. It's a 1972 Buick Riviera. Or what's left of
it.
The TRANSIENT, looks at the money, considers.
TRANSIENT: You should have kept the money.
The transient pushes through the doors.
INT. CITY COUNCIL CHAMBERS -- MOMENTS LATER
Fraser is at the podium, wearying, his voice hoarse.
FRASER: ...I believe it was Geronimo who said, "It is my land, my home...
As Fraser filibusters on,
THE POLITICIANS
have their jackets off and are playing cards at a desk. They speak the rest of
the quote with him,
by heart.
POLITICIANS/FRASER: "...my father's land, to which I now ask to be allowed to
return..."
OLDER POLITICIAN: How long until he hits Tolstoy?
CHAIRMAN: (off his watch) He'd have to be desperate. Two hours, easy.
As they re-deal...
AT THE REAR DOORS
Ray stands with Taylor who watches nervously as the room fills with people.
TAYLOR: You're not fooling anyone. Not one of these people lives in my
building.
RAY: You sure? You never stopped to shake their hands let alone learn their
names.
TAYLOR: I have their names. There are files.
RAY: Congratulations, I have camera crews. In these hallowed halls, perception
is nine tenths of
the law.
TAYLOR: I'll win this in court and you know it.
The door behind them opens. Dennis steps in. Taylor turns.
TAYLOR: (CONT'D) Good, you're here. Give the list of tenants to the Chairman.
Dennis hangs back, nervous.
DENNIS: I couldn't find it.
TAYLOR: What?
DENNIS: I looked through my files. All I found was this.
Dennis holds a piece of paper in his hand. Taylor reaches for it, Dennis passes
it to Ray instead.
Ray takes it, looks.
RAY: It's a lease.
DENNIS: Potter gave it to me when he made me Super. Ten years, no increase.
It's got four
years left to run.
RAY: Congratulations, Dennis. At least you've got a roof over your head.
DENNIS: If I do, so does he.
Dennis indicates Fraser at the podium.
DENNIS: (CONT'D) Nobody can tear that building down unless I say so.
ON FRASER
flagging badly...
FRASER: ...as Leo Niklaevich Tolstoy once put it, "The strongest of all
warriors are these two--
Time and Patience..."
BACK TO SCENE
Ray grins at Dennis.
RAY: Just in time.
Ray moves off to collect Fraser. Taylor grabs Dennis' arm.
TAYLOR: Dennis. You realize you're fired.
DENNIS: Stuff it in your ear, Goldilocks.
Dennis moves off, a little straighter if not richer for it.
INT. FRASER'S APARTMENT -- LATER
Fraser sweeps up the broken glass in his apartment. The place is still a hell
of a mess, broken
furniture and dishes everywhere. Diefenbaker lays on the bed watching him.
Fraser picks up
Diefenbaker's smashed dog bowl.
FRASER: (hoarse) I'm sorry, I'll get you another one.
Diefenbaker looks unimpressed.
FRASER: (CONT'D) I know it was your favorite, but some things are worth the
sacrifice.
Dief WHINES.
FRASER: (CONT'D) Ingrate.
At which moment -- A RAT scampers across the floor.
DIEFENBAKER
dives after it, dashing across the room, knocking Fraser flying.
FRASER: (CONT'D) What did I tell you.
A KNOCK ON THE DOOR
Fraser crosses and opens it.
IN THE HALLWAY -- FRASER'S POV
The tenants -- Mr. Mustafi, Mr. Klein, Mrs. Kresjapalov, etc. They fill the
hallway. They're
carrying brooms and cleaning supplies.
MUSTAFI: We heard your place was a mess. You really should set a better
example.
FRASER
breaks into a smile
INT. A 1972 BUICK RIVIERA -- SAME NIGHT
Ray sits behind the wheel. He runs his hand across the upholstery, tries the
turn signal. He
reaches up and adjusts the rear view mirror, gets it just right and studies his
reflection. After a
moment we realize he's lost in thought.
ANGLE ON MIRROR
We see Ray's reflection, but it isn't the Ray we know. He looks about ten years
younger. There's
a big grin on his face.
PULL BACK TO REVEAL
Ray, the younger man, sitting behind the wheel of another green Riv, wearing A
BLUE PATROL
UNIFORM, admiring his new acquisition.
RAY: So what do you think?
ANGLE
and we see ANGELA sitting beside him, also younger, also wearing a patrolman's
blue uniform.
ANGELA: This is what you spent our savings on.
RAY: yeah.
ANGELA: Five thousand dollars.
RAY: (smile fading) Yeah. (realizes he needs a really good excuse, so...) I
bought it for you.
She resists the urge to burst out laughing.
ANGELA: A 1972 Buick Riviera, the car of your dreams. You bought this for me.
There are some crises which only a boyish grin can overcome.
RAY: We can't have the same dreams?
A beat. She squeezes out a smile, albeit involuntary.
ANGELA: When do I get to drive it?
RAY: Right now.
ANGELA: Okay.
She starts to move over behind the wheel. Ray realizes he was too hasty.
RAY: Soon. (then) First you kiss me.
ANGELA: Why?
RAY: Because you love the car.
ANGELA: I don't.
RAY: You will.
She leans over, kisses him.
ANGELA: In your dreams.
He smiles. They kiss some more.
TILT UP TO REAR VIEW MIRROR
Ray, the one we know, staring at his reflection. The memory is gone.
BACK TO SCENE
Ray throws open the door, steps out. We're in Al's garage. Al is waiting
patiently.
RAY: A thousand bucks.
AL: Ray...
RAY: Not a penny more.
Al sighs.
AL: Deal.
Ray tosses Al the keys.
RAY: And get it washed.
Ray strides out the door.
THE END