Episode #37
Project - SC 1046
due SOUTH
"BODY LANGUAGE"
Written by James Kramer

PUBLISHED DRAFT
March 26, 1996
REVISED PINK - March 30, 1996
REVISED BLUE - April 1, 1996
REVISED GREEN - April 2, 1996
REVISED YELLOW - April 3, 1996
REVISED TAN - April 4, 1996
REVISED GOLDENROD - April 8, 1996
REVISED BUFF - April 10, 1996
LIMITED REVISIONS - April 11, 1996
Pages (10): 44, 45, 46, 47, 60, 60A, 61, 561A, 62, 62A
PROLOGUE
FADE IN:
EXT. BUSY STREET - DAY (ONE)
A busy street lined with outdoor vendors, shops, construction, pedestrian traffic. RAY VECCHIO, R.C.M.P. CONSTABLE BENTON FRASER, and his wolf DIEFENBAKER stroll toward a vendor selling sunglasses. His stand is right beside the entrance to a diner.
RAY: It's bad, Benny. For two weeks I can't win a hand of cards, my love life is in the toilet, and I can't buy a decent bust.
FRASER: And how is it that new sunglasses will change your luck, Ray?
RAY: My last pair had some mojo, but since I lost 'em it's been all downhill.
They stop at the stand, where Ray checks out a pair of sunglasses. Behind them, an attractive young woman with big hair and a long dark blue coat exits the diner. She carries a few shopping bags and a floppy purse as she goes to the door of a taxi waiting at the curb.
RAY: (CONT'D) What do you think? These look lucky to you?
Fraser looks at the glasses.
IN THEIR REFLECTION
He sees the young woman (IDA) climb into the taxi, unaware that a small, fluffy, stuffed rabbit has fallen out of her purse and onto the ground.
FRASER
dashes to follow as the cab takes off.
FRASER: Excuse me, Ray. (calling after the taxi) Ma'am...! Taxi...!
RAY: Where you goin'?
FRASER: She dropped her rabbit.
RAY: So?
Fraser snatches up the bunny and dashes like mad to catch up to the moving taxi.
Diefenbaker follows -- with bad intentions toward the toy rabbit -- as Ray hands the vendor five dollars for the glasses.
RAY: (CONT'D) Here you go. For five bucks, they're worth a try.
Ray pays the vendor, turns to see what Fraser's up to, just as the driver of a
MOTORCYCLE
parked at the curb guns the engine and peels out. Unfortunately, his tire was in a puddle, splashing wet gunk all over Ray's suit.
RAY: (CONT'D) Hey! Hey! (but the guy is gone) Ah, for cryin' out loud.
BACK TO FRASER
In full chase. He dodges pedestrians, bike riders, a loading ramp, moving cars, construction rigging, whatever, as he races after the cab.
FRASER: (as he goes) Excuse me. I beg your pardon. Terribly sorry...
Finally, Fraser manages to hurdle a barricade surrounding an open manhole cover and catch up with the taxi just before it takes off through a green light. He knocks on the window, stopping the car.
FRASER: (CONT'D) Excuse me. You dropped your rabbit.
Ida rolls down the window.
IDA: (re; the bunny) Bunny!
She takes the bunny and hugs her.
IDA: You ran all this way to give her back?
FRASER: For future reference, you might want to fasten your hand bag more securely.
IDA: Wow... That's so... (ALMOST dissolving into tears) ni-i-i-ice...
FRASER: Ma'am? Are you all right?
IDA: (unconvincing) Uh-huh.
FRASER: If there's anything I can do...
IDA: No... Well... Wait a minute! You think this could be a sign, maybe?
FRASER: A sign of what?
IDA: Bunny's my good luck charm. You know? A lotta people think I'm weird to carry around a good luck charm...
FRASER: You're not alone
Cars start HONKING HORNS at the cab, which has no room to pull over. Fraser politely gestures to them to wait just a moment.
DRIVER: Move it, will ya?
IDA: Keep your pants on!!! (back to Fraser) You're some kind of cop, right?
Bunny must have brought you to me for a reason. Look -- (gestures him to come closer; whispers) Tonight. Two o'clock. A liquor place called Konerko. Just don't tell anybody I told you.
FRASER: I don't even know who you are.
IDA: I know. (to the driver) You can go, now.
She waves good-bye to Fraser as the cab pulls away. Ray catches up to him.
RAY: What was that all about?
FRASER: I'm not sure.
RAY: I'll tell you one thing. These shades aren't the answer. I put 'em on for ten seconds and look what happens to my suit..
Ray is just about to toss them into a garbage can when Fraser stops him.
FRASER: Ray, don't throw those away just yet. The might have brought you something interesting, after all.
Off Ray, very curious,
FADE OUT.
END OF PROLOGUE

ACT ONE
FADE IN:
EXT. ALLEY BEHIND LIQUOR WAREHOUSE - NIGHT (ONE)
CREDITS OVER as we start CLOSE on a chain link fence. After a moment, a man dressed in dark clothes appears, cuts some of the links with a wire cutter. He creates an opening in the fence, squeezes through, makes his way stealthily through what we now see is a deserted loading area behind a wholesale liquor warehouse. He approaches a parked liquor delivery truck – with the KONERKO logo -- kneels down, takes a small device from a sack.
CLOSE ON THE DEVICE
A dark rectangular object with wires jutting from it. He applies some adhesive putty to it, then flicks a switch. A red light pops on. He starts to place it underneath the front of the truck when...
FLASH
he's caught in the glare of powerful flashlights.
COP #1: Freeze! Police!
Four uniformed cops approach from hiding, some with guns pointed at him. The guy freezes like a statue. Ray, the head of this team, and Fraser move up as the uniforms take the device from suspect, cuff him.
RAY: Nice tip, Benny. I'll bet there's more where this came from. Who'd the lady say she was?
FRASER: She didn't.
EXT. POLICE STATION - DAY (TWO)
Establishing.
INT. BULLPEN - DAY
Crowded and bustling. Wearing his new shades, Ray walks down the stairs with LT. WELSH.
WELSH: Nice bust last night, Vecchio. You were overdue.
RAY: No kidding.
WELSH: You nailed a bomber before he could do any damage.
Ray shrugs modestly.
WELSH: (CONT'D) Problem is he's not talking.
RAY: I know.
WELSH: How'd you get him anyway? I didn't even know you were working this area.
RAY: Through a source.
WELSH: Well, pump your source for all he's worth, Vecchio. That guy had a major explosive. I want his employers.
RAY: Yes, sir.
WELSH: One more thing. Those glasses? You look like a rebel.
RAY: Really?
WELSH: Yeah, like a rebel without a clue. Don't wear 'em inside.
Ray obliges, taking off the glasses. Welsh enters his office and closes the door. Ray puts the lucky glasses back on and leaves.
INT. DINER - DAY
Inside the diner Ida left in the prologue. CLOSE on a slightly dotty waitress behind the counter.
WAITRESS: I'm sorry, boys, I don't remember.
ANGLE -- INCLUDE RAY AND FRASER
On the other side of the counter. Diefenbaker is with them.
RAY: How could you not remember?
FRASER: (to waitress) She was here yesterday afternoon. Five three, five four, blonde, long blue coat.
WAITRESS: A picture might help. I'm visually oriented.
RAY: I didn't think to take her picture.
WAITRESS: Would you like some coffee, boys?
RAY: Sure.
She pours them some coffee while Fraser takes out a pen and quietly and quickly starts to draw on the back of the paper tablemat.
WAITRESS: I wish I could help. The memory goes second, they say.
RAY: What goes first?
WAITRESS: I forget. (laughs heartily) Walked right into that one, didn't you?
Ray takes off his glasses --looks at them as if they're useless -- as Fraser hands him his finished drawing.
FRASER: Here, Ray. I'm afraid this is the best I can do.
CLOSE ON THE PICTURE
As close to an exact likeness of Ida as you can get.
RAY: Are you kidding? This is her!
He shows the picture to the waitress.
FRASER: Not really, Ray. The angle of her chin to her jawline is easily five degrees sharper than my sketch, not to mention --
WAITRESS: Oh! Sure, I remember her!
FRASER: What can you tell us about her?
WAITRESS: Nothing. I never saw her before.
RAY: Did she say anything? Her name? Where she was from? Where she was going?
WAITRESS: Nope. Not a word. Except "tuna surprise and tea with lemon, please." Does that help?
RAY: (resigned; hands her a card) If you see her again, ask her to give me a call.
Ray makes for the door as Fraser reaches into his hat and hands her a folded bill from it.
FRASER: Thank you kindly.
He starts to leave as she looks at the folded bill. He joins Ray just as Ray is putting the glasses back on. At that moment, a light bulb goes off in the waitress' head.
WAITRESS: Boys...
They turn back to her.
WAITRESS: (CONT'D) (re: the folded bill) This just reminded me. There was something peculiar about her money.
She reaches into her purse, pulls out a wallet, fishes out two dollar bills from it. They're folded twice lengthwise with tight creases, and also creased horizontally across the middle.
WAITRESS: (CONT'D) Not that she kept it in her hat, like you. But here's the tip she left me. I don't know if it means anything, but you don't see bills folded like this very often.
FRASER: No, you don't.
RAY: You do if you know where to look.
CUT TO:
CLOSE ON A MAN'S HAND
In the hand is a dollar bill, folded like the ones we just saw. FOLLOW the hand to the g-string clad hip of an exotic dancer. As the man folds the bill around the G-string, WIDEN to reveal that we're in
INT. A STRIP CLUB - DAY
It's dark and smokey, so it's hard to tell that it's daytime outside. LOUD MUSIC. The dancer (at the start of her routine, so she's still relatively clothed) performs on a platform surrounded by chairs, some of which are occupied by male customers. Ray checks her out as
Fraser modestly keeps his eyes averted.
FRASER: You think it likely she's a... an entertainer of this sort, Ray?
RAY: Where else do you see bills folded so they'll stay in a g-string. You have been to places like this before, haven't you?
FRASER: Actually, no, Ray, not that I recall.
RAY: Really? They don't do this in Canada?
FRASER: I believe they do, yes. But it's not too common among the Inuit in the Northwest Territories.
RAY: So what do guys up there do for their bachelor parties?
FRASER: Well, at the last one I attended there was a prize for the best impression of the mating call of a north Canadian bull moose. I have to admit it was quite amusing.
RAY: Don't tell me you won.
FRASER: All right.
Ray looks at him as the dancer leans down close to Fraser. Her hair cascades down, covering his face.
MATCH CUT TO:
IDENTICAL HAIR
The owner of this hair raises her head to reveal Fraser now seated in
INT. ANOTHER STRIP CLUB - DAY
The same SONG plays, but the place has a slightly different look and feel. Ray and Fraser are at the rail of this platform as well.
RAY: Not that I approve of places like this, or anything.
FRASER: They're simply bodies. Of all the animals, we're the only ones who think the sight of the body is embarrassing.
RAY: These ain't no caribous, Fraser. In case you hadn't noticed.
FRASER: Caribou. There's no 's' in the plural.
RAY: Whatever. If you're not embarrassed, how come you're not looking?
FRASER: I only saw the face of the woman we're tracking, Ray. I don't believe I'd recognize her other features.
This dancer, whose theme is Catwoman, removes her cape and drapes it over Fraser's head.
BLACK
The SONG CONTINUES as Fraser pulls the cape off to reveal that we're in
INT. YET ANOTHER STRIP CLUB (THE KIT KAT CORRAL) - DAY
Now we realize that this article of clothing is something different -- a cowgirl style blouse which is meant to tie at the midriff. She drops it in Fraser's lap. He looks up to the new dancer. Her theme, like this club's, is Western.
FRASER: Would you like me to hold this for you, Ma'am?
COWGIRL DANCER: Meet me later and you can hold whatever you want, handsome.
She pulls her blouse back and dances off with a wink.
FRASER: If you preferred, Ray, I could easily recognize the woman from a much greater distance.
RAY: We gotta look like customers, Benny. We look like we're working, we might scare her off.
FRASER: How many more venues of this type does Chicago have to offer?
RAY: A lot. But we can't give up. I need the score.
FRASER: I'm sorry we're not being more successful. I may have to pick up with you again tomorrow, Ray. I have night duty at the consulate in an hour.
RAY: Just a few more. I'll get you back in plenty of time.
FRASER: Not so you'll exceed the speed limit, of course.
RAY: Of course.
CUT TO:
EXT. THE RIVIERA - DRIVING - (STOCK) -- NIGHT (TWO)
It's tearing along at a furious clip. Fraser and Ray in front, Diefenbaker in back.
FRASER: (V.O.) For pity's sake, Ray. You're a policeman.
RAY: (V.O.) I'm a desperate policeman. Gimme a break.
The car races on.
EXT. MT. OLYMPUS -- ESTABLISHING -- NIGHT
Its Ancient Greek theme begins outside and carries in. We find the Riv parked in front.
INT. MT. OLYMPUS - LOBBY - NIGHT (CONTINUOUS)
Ray and Fraser approach the cashier's window. To the side is a door leading into the club.
RAY: This is the last one. We're in, we look, we're gone. My hand to God.
(hands cash to the cashier) Two please. And I'll need a receipt.
In the booth, the cashier -- BARRY PAPPAS, 25, nice looking with a profile that screams ex-boxer, takes Ray's money, hits a button which allows Ray and Fraser to enter the door to the club.
RAY: (CONT'D) Man, ten bucks a pop just to walk in the door -- no wonder these places make so much money.
We STAY WITH BARRY as Ray and Fraser walk through the door and into the club.
He downs a slug of scotch, puts the money in the till as MARK ORDOVER -- a sophisticated 24, appears behind him, trailing a couple thugs.
MARK: Barry, what are you doing behind the cash?
BARRY: Mr. Ordover! Hey, how you doing? Just fillin' in for Julia. Her kid was sick.
MARK: Get someone else to fill in. You're not a bouncer anymore. You're management.
BARRY: You're absolutely right, Mr. Ordover. It won't happen again.
MARK: Any trouble from Litvak tonight?
BARRY: Nope. Everything's fine.
As they speak, Barry opens the cash drawer, pulls out a pile of bills and hands them to Mark, who pockets them.
BARRY: (CONT'D) Listen, I heard about the bust last night...
MARK: (shakes his head) I lost a good man on that.
BARRY: You know, Mr. Ordover, if there's ever anything I can do to help you
out...
MARK: Thanks, Barry. (as he heads out) Lot of ground to cover tonight. Keep up the good work.
He signals for his goons to exit with him.
INT. MOUNT OLYMPUS - NIGHT
More of the Greek motif -- columns, arches, faux marble friezes, waitresses in skimpy togas. Some musclebound bouncers. Various platforms for the girls to dance. Cabaret tables surround
the main stage, empty at the moment Unlike the Kit Kat Corral, whose business was brisk, this place is hurting for customers. Ray and Fraser cruise the talent. Some of the talent cruises Fraser.
FRASER: She's not here.
RAY: All right. I'll get you to work, and keep looking myself. Give me the picture you did.
Fraser reaches into his pouch for the picture as two dancers -- LILY and VI - clothed between sets and mingling with the customers, do a double take on seeing Fraser.
LILY: Oooh. Nice uniform, soldier.
FRASER: Actually, I'm not a soldier. I'm a Mountie.
VI: I'll bet you are.
Vi and Lily walk on as Ray turns to Fraser.
RAY: Let me borrow that outfit sometime, Fraser. It's got a lot more juice than these shades.
They're headed out the door just as the lights go out.
BLACK
They stop in the darkness as we hear the MC over the sound system.
MC (O.S.) And now, gentlemen, the jewel in our crown, the goddess of love, give it up for the beautiful APHRODITE.
Lots of mist. MUSIC UP as a SPOTLIGHT hits the main stage. It focuses on a giant scallop shell which opens to reveal IDA! She's radiant in long flowing diaphanous scarves, presenting a fairly close interpretation of Botticelli's Venus. Her dance begins, sensuous and quite beautiful.
An artful peeler, she'll take her time getting down to the altogether, but Ida knows that getting there is all the fun.
RAY: Fraser! Isn't that....?
FRASER: Yes, Ray.
Ray dashes down to a table by the front, dragging Fraser with him. In the background, Barry hovers, watching and drinking.
RAY: Talk to her. She knows you, she didn't see me.
FRASER: I do have to get moving, Ray. But if you want to talk to her, perhaps I can schedule an appointment --
RAY: Whatever. Just make contact.
As Ida dances close by, Ray whispers out to her.
RAY: (CONT'D) Pssst. Hey. Over here.
Ida comes near them, gasps when she recognizes Fraser.
FRASER: Good evening, Ms. Aphrodite. I wonder if I might --
She leans in close to Fraser, not breaking her dancing stride, whispers in his ear.
IDA: You shouldn't be here.
FRASER: Understood. If I may just introduce you to my friend --
IDA: No! I shouldn't have told you what I did. Just leave me alone, okay?
She dances off. Fraser leans to Ray.
FRASER: She doesn't want to talk, Ray.
RAY: She has to.
Suddenly SCREAMS SOUND from behind the stage. Ida stops dancing, looks around, screams herself. Half clad dancers run from the dressing room behind the stage and out into the house.
We soon see what they're running from.
RATS
Lots of them, quite nasty looking, scampering and dashing all about. The dancers blast out the front door of the club.
Barry calls to the music guy.
BARRY: Kill the music!
The MUSIC STOPS, the house lights brighten. Barry tries to calm the customers who are also fleeing.
BARRY: (CONT'D) Sorry about this, folks. We'll give you all passes for another night. Just a temporary problem. Everything'll be fine.
Ray watches the commotion as Fraser bends down to the floor.
RAY: (re: his glasses) These things are mocking me. They bring me this close to some good luck, then they kick me in the teeth.
He turns to see Fraser, holding a large rat, examining it, feeling it, checking its eyes...
RAY: (CONT'D) For cryin' out loud, that's a rat.
FRASER: I'm aware of that, Ray.
Fraser smells its breath.
RAY: Aagh. You're kissing a rat.
FRASER: Smelling her breath.
Ray charges out of the club. Barry follows the few remaining customers out, leaving Fraser nearly alone holding the rat. We GO WITH Fraser as he takes the rat behind the stage toward a door to the outside. He opens the door, and gently puts the rat down on the ground.
FRASER: (CONT'D) Go on.
The rat hesitates in the open doorway.
FRASER: (CONT'D) There's nothing to be afraid of. Well, that may not be true in the larger scheme of things, but at least this ordeal is over. Go.
The rat looks at Fraser for a moment -- communication? -- then scurries off under a dumpster.
Then, without looking up or reacting in any noticeable way:
FRASER: (CONT'D) Hello
INCLUDE IDA
Who's been watching Fraser and the rat from a short distance away.
IDA: (whispered) I can't let anyone see me talking to you. (hands him a note and a key) Go to my place and let yourself in. Here's the address. I'll be there in fifteen minutes.
With that, she disappears into the backstage shadows.
OMITTED
INT. IDA'S APARTMENT - NIGHT
A warm, homey apartment on the third floor of a brownstone in a pleasant neighborhood, the place reflects Ida's innocence, good nature, and love of dancing. Stuffed animals, figurines and posters of dancers dancing, lots of homemade curtains, pictures of her extended rural family, a kind of flowy feeling to the whole place. Also featured are mannequins and sewing dummies sporting rather clever strippers costumes in various states of completion.
Ray paces, checking the place out, as Fraser talks on the phone.
FRASER: Constable Turnbull, Constable Fraser. Would you be so kind as to stay on duty for another twenty minutes until my arrival. No, you won't get into trouble. I'm sure the Inspector will understand. Turnbull, calm down. You're just the messenger, she will not shoot you. If she does? I'll admit I was wrong. Thank you.
He hangs up just as Ida enters through the front door, fully dressed now in jeans and a casual sweater.
IDA: Hi.
RAY: Hello, Ida.
IDA: How'd you know my name?
RAY: It's on the mailbox.
IDA: Oh. Right. Nobody followed you here, did they?
FRASER: No.
IDA: Good. I figured they'd be all preoccupied at the club. I can't believe you tracked me down. Who are you guys, anyway?
FRASER: I'm Constable Benton Fraser, R.C.M.P.
IDA: What?
FRASER: Royal Canadian Mounted Police. I'm stationed at the consulate here.
This is my friend, Detective Ray Vecchio.
IDA: Chicago P.D. Oh, god. (this is not good news) I shouldn't have said anything to you yesterday. I can't say anything else. So, good night.
She holds the door open for them to leave. Ray closes it.
RAY: That was a serious crime you tipped us off to. I want to know more about
it.
IDA: I said I can't say anything.
RAY: Yeah, you can. If you won't help us on your own, I can always hit you with a subpoena.
IDA: No, don't do that! God, I'm such a moron.
They follow her into the apartment.
FRASER: No, you're not, Ida. You were troubled by something, and you acted very bravely.
You have a good conscience.
RAY: She's a stripper.
IDA: Dancer. I don't' think I like you very much.
RAY: You don't have to like me. What you have to do is give me more information.
Ida sits, looks away, very upset.
FRASER: You're worried about someone.
She nods.
FRASER: (CONT'D) A man. Who smokes more than he should.
IDA: How did you know that?
FRASER: You don't smoke, but you have ashtrays waiting everywhere he might turn and drop an ash. He also drinks more than you'd like. (off her look) The indentation in the lacquer indicates that you kept a decanter on this table. Until recently. Then you became concerned, and put the liquor away so there'd be less temptation. But it didn't work very well, did it?
IDA: No...
FRASER: You wish he'd stop what he's doing and just relax and let you take care of him.
IDA: (looks around her apartment) You figured that out from my apartment, too?
FRASER: No, from your eyes.
RAY: You're hot, Benny.
FRASER: Thank you, Ray.
RAY: So who's the guy?
IDA: I'm not talking to you.
SFX: A CAR HORN honked with a distinct rhythm.
IDA: (CONT'D) Oh, my God. He's here.
Ida runs to the window, followed by Fraser and Ray.
RAY: Who?
POV - THE STREET BELOW
Through the window, we look down to see a beat up old car from which Barry emerges.
IDA: Quick, hide in the closet.
RAY: I'm not hiding in a closet.
IDA: He can't find you here That'll ruin everything! Get in.
RAY: Forget it. I want to talk to this guy.
IDA: No. I'll get in so much trouble if he finds you. Please?
From the stairwell, we hear Barry, loud and quite drunk.
BARRY: Honey! I'm ho-ome!
IDA: Get in here! Hurry up!
FRASER: Ray, we blow it for her now, she can never be your source.
RAY: For cryin' out loud.
Ray rolls his eyes as he and Fraser go into the closet, which is quite uncomfortable, full of shoes, clothes on hangars, feather boas dangling to the ground. Ida closes the door on them. The door is shuttered and the shutters stay open a crack. It closes just as BARRY stumbles in.
BARRY: What a night! Can you believe that? Rats! Right in the damn club.
IDA: Are you all right?
BARRY: I had to get out of there. Shut the place down, called the exterminator. This is gettin' serious, baby. I need a drink.
He goes to a cabinet where he gets a bottle of expensive scotch.
IDA: You been drinking all night, Barry.
BARRY: Hey, I don't have enough grief already? How'm In supposed to get through this if I get it from you, too?
IDA: Through what? You've gotten so tense, lately. You can talk to me.
BARRY: You don't need to know.
IDA: But I want to.
BARRY: No, you don't! Understand? Business is business. You don't need to know, and you don't want to know!
IN THE CLOSET
Ray and Fraser are squeezed in uncomfortably.
RAY: (whispered) I want to know.
Fraser shushes him as we...
FADE OUT:
END OF ACT ONE

ACT TWO
FADE IN:
EXT. IDA'S APARTMENT BUILDING - NIGHT
Establishing. over, we hear the SOUND OF LOUD SNORING.
INT. IDA'S APARTMENT - NIGHT
The lights are low now Barry, still fully clothed, has passed out on the sofa and is snoring loud enough to wake the dead. Ida gently takes his shoes off, positions him more comfortably on the sofa.
INT. THE CLOSET - NIGHT
Ray and Fraser still crammed in. Ray keeps trying to swat the feather boa away from his face.
They whisper throughout.
RAY: All right. He conked. Let's get out of here.
He opens the closet door to find Ida.
IDA: Are you guys all right?
FRASER/RAY: Just fine. / No.
IDA: Thanks for doin' this. Just tiptoe out, okay?
RAY: Tell me who the guy is, first.
IDA: Barry Pappas. My boyfriend, although I'm starting to wonder why.
RAY: Barry Pappas. Didn't he used to be a fighter?
IDA: That's right.
RAY: I lost money on that guy.
Suddenly, the snoring stops.
BARRY: Shut up!
RAY: (draws his gun) Damn, he's awake.
IDA: Shh.
BARRY: I can do it! Just gimme a shot!
RAY: Who's he talking to?
IDA: I didn't want you to hear this...
BARRY: Tomorrow. I'll fix him for you.
FRASER: This is how you knew bout the liquor truck.
Ida nods.
BARRY: I'll burn it to the ground.
RAY: Burn what?
IDA: I'm not gonna wake him up and ask him.
RAY: All right, I will.
IDA: No!
FRASER: You probably don't have to wake him at all, Ray. He's in a fourth stage REM trance, enhanced by the effects of alcohol.
IDA: What does that mean?
FRASER: He's talking in his sleep.
Ray pushes past Ida, tiptoes to Barry.
IDA: You coulda just said so.
Ray leans in close to Barry.
RAY: (whispered) What are you gonna burn, Barry?
BARRY: (still talking in his sleep) What you said.
RAY: What did I say?
BARRY: You gettin' simple minded or something?
RAY: Hey.
FRASER: Ray --
BARRY: Warehouse. 3rd and Green. Midnight. I won't screw it up.
RAY: Whose warehouse?
BARRY: You gonna let me do it?
RAY: Whose warehouse, Barry?
Barry snores again.
RAY: (CONT'D) Barry...
Barry suddenly turns toward Ray. His eyes are still closed as he reaches for
Ray to wrap him in a hug, thinking he's Ida.
BARRY: Come here, baby. You're the best.
Ray delicately extricates himself from Barry's arms. Barry sputters, then returns to snoring.
IDA: All right? You satisfied?
RAY: Not yet. (hands her a card) Keep telling me what he says. Get it on tape if you can.
IDA: Barry's all I have. I just wanted to keep him out of trouble. Now you'll arrest him and I won't have anybody.
RAY: You?
IDA: What's that supposed to mean?
FRASER: I believe he means there's a good man for you out there, one who's perhaps more worthy of your affection.
RAY: Exactly.
With that, Fraser and Ray leave. Ida closes the door behind them, thinks about that.
OMITTED
INT. CONSULATE --FRASER'S OFFICE -- NIGHT
Fraser rushes in, followed by Diefenbaker.
FRASER: Turnbull?
Instead of Turnbull, he finds Thatcher waiting for him.
THATCHER: I sent him home, Constable. Over two hours ago. Would you care to tell me where you've been?
FRASER: In a closet, Ma'am.
THATCHER: Any particular closet?
FRASER: An exotic dancer's closet.
THATCHER: Ah. Well. That's your business, of course.
FRASER: Oh, no, Ma'am, you don't understand. I was there with Detective Vecchio.
THATCHER: I think that's all I care to hear about it, Constable. Now I hope you'll take the assignment I'm about to give you as a chance to reflect on the importance of punctuality.
DISSOLVE TO:
EXT. CONSULATE - DAY (THREE)
Morning. We move to find Fraser, standing sentry duty outside the consulate, Diefenbaker at his side. A pigeon lands on his hat, enjoys the view from there.
INT. BULLPEN - DAY
ELAINE catches up to Ray, still with his shades. She hands him some computer printouts.
ELAINE: Here's everything I could find on Mt. Olympus, Ray. There've been some disturbances there recently -- with their plumbing, and electricity, then the rats last night. But they haven't filed any complaints.
RAY: Thanks, Elaine.
As he starts looking through the file, Huey breezes past him, a handcuffed PERP in tow. Welsh falls in next to Huey.
WELSH: Nice work on the B&E, Huey. A solid seven.
RAY: Hold it. For a B&E? Get outta here. That's not worth more than a four.
HUEY: Four for the bust, three for artistic interpretation.
With that, he pushes the perp on past and continues to walk. Ray is staring at something in the report, stunned.
ELAINE: Ray?
Welsh crooks a finger at Ray as he goes into his office.
WELSH: Vecchio. In here.
INT. WELSH'S OFFICE - DAY
Ray follows Welsh in.
WELSH: (CONT'D) What is this?
RAY: Expense report, sir.
WELSH: Two hundred and twenty bucks for strip clubs?
RAY: I had to go to a lot of them.
WELSH: I think you're tracking down a bomber and you're visiting strip joints. You're in no position to be jerking my chain, Detective.
RAY: With all due respect, I don't think you'd call a shot at taking down Mark Ordover jerking your chain.
WELSH: (if it's real, he'll be impressed) Mark Ordover...
My-colleagues-in-the-14th-and-the-22nd-would-like-to-take-him-down Mark Ordover?
RAY: That's correct, Sir. (re: the report) He's the bankroll behind one of the clubs I found. And I think it's likely he's the man who ordered the bombing.
WELSH: What have you got on him?
RAY: I talked to one of his people. They're planning on burning a warehouse.
WELSH: (highly skeptical) He told you this?
RAY: I heard it from his lips, Sir.
WELSH: All right, Detective, you've got a full team at the warehouse.
RAY: Thank you.
As Ray opens the door, Huey is passing by outside and hears.
WELSH: Stopping a gang war hit. That could be a ten.
OMITTED
INT. BULLPEN -- DAY
As Ray comes out,
HUEY: Why stop it?
RAY Stop what?
HUEY: The gangs beating each other up. Let them take each other out. They're just doing our job for us.
EXT. CONSULATE - DAY
PREVIOUSLY SCENE 22A
Fraser remains on sentry duty -- unmoving, at attention -- when Ida appears and spots him.
IDA: Hey!
She comes dashing over to him.
IDA: (CONT'D) Hi! It's me.
No reaction from Fraser. He can't react.
IDA: (CONT'D) Ida Banks. From last night? Hello?
She waves her hand in front of his face. The pigeon flies off, but there's still no reaction from Fraser.
IDA: (CONT'D) Oh, I get it. You're not allowed to move. Right? Or talk or nothing. (beat) Maybe this ain't so bad. A guy who doesn't talk back. (beat) Anyway, I was thinking about what you said. How there's a good man for me out there? And then it hit me. You were talking about you. (beat) I mean, it's a little sudden. But maybe that's what Bunny had in mind. She's real powerful, you know. And the thing is, Barry USED to be the sweetest guy. When he started out as a bouncer, he was like so shy he could hardly look at me dancing. You know? And I liked that. (beat) But the last coupla months, ever since he got made assistant manager, he's like all different. Stressy and drinkin too much, and talkin' in his sleep, and tellin' me to shut up all the time... I just want a guy who treats me nice. You know? (beat) So, am I right or what? Time out. This is important. Just say yes or no. Just blink twice for yes. HELLO! Are you in there?
She rubs her leg up and down his. No reaction from Fraser, but Diefenbaker is enjoying the show, as are a few passers-by.
IDA: (CONT'D) You're human aren't you, Honey?
She gets close to his ear, blows into it, kisses it softly.
IDA: (CONT'D) (whispering) You're a real gentleman. If you want to ask me out sometime, I just might say yes. If Barry doesn't clean up his act, I mean.
Just then, Thatcher exist the consulate. Diefenbaker barks. Fraser's eyes shift ever so slightly to catch Thatcher observing this little scene. She reacts, then moves off in the opposite direction.
IDA: (CONT'D) See ya around, Mr. Mountie.
With that, she goes.
FRASER: (without moving his lips) Oh, dear.
EXT. GREEN ST. WAREHOUSE - NIGHT (THREE)
Through BINOCULARS, we watch from a distance as two thugs hop a fence into a lot leading to the loading door of a warehouse. One carries a gas can, the other a crow bar.
REVERSE ANGLE
reveals Ray, Fraser and Diefenbaker. Ray watches through the binoculars, speaks into a transmitter.
RAY: Here they come. Hold your positions.
THE WAREHOUSE - BINOC MATTE
Crowbar man goes to the loading door as the other thug stands watch, pistol at the ready. Just as the first thug has the crowbar in place, and starts to force open the lock:
RAY: (CONT'D) Get 'em!
Lights flash on the thugs. From the distance, we might hear a uniform shout "Freeze."
CLOSER
One thug freezes as uniformed and team-jacketed cops (including Huey) appear, surrounding them with guns drawn. The other thug gets still but his face shows panic and his hand is still moving.
He pulls a gun, turns.
FRASER
is watching through his monocular.
FRASER: Gun!
THE THUG
fires. Cops fire back. The thug falls. Huey falls.
ON RAY AND FRASER
Moving up fast.
RAY: Damn! (bending over Huey) You okay?
HUEY: He just winged my vest.
RAY: Sorry, pal. Guess we shoulda let them knock each other off.
HUEY: Maybe not.
He is looking behind Ray and Fraser where a door has creaked open and two figures have appeared from the shadows alarmed by the noise and commotion. A homeless mother and her child both standing up inside tattered sleeping bags.
INT. MOUNT OLYMPUS -- BARRY'S OFFICE - NIGHT
Small but neat. On the cut, we find Mark slamming down the phone.
MARK: Unbelievable!
BARRY: What?
MARK: The police were at the warehouse! Waiting for my guys.
BARRY: Again? Mr. Ordover, that's twice in a row.
MARK: Who's talking? You been talking?
BARRY: Not me.
MARK: I find the leak, it ain't gonna be pretty.
Mark pulls out a cigar and Barry hurries to light it.
BARRY: If there's anything I can do, Mr. Ordover.
MARK: Maybe there is. You seem to be the only guy I can trust around here.
BARRY: You bet.
MARK: (pacing; an idea) You want to be a player, don't you Barry?
BARRY: Absolutely.
MARK: The big money? Respect...? I've been bringing you along slow, and you've done all right. Do you think you can handle a step to the big time?
BARRY: You know it. I'll do anything you want. Break up his club, torch his car. You name it.
MARK: Actually, Barry, I had something more... effective in mind...
EXT. WAREHOUSE - NIGHT
An ambulance is pulling away as Ray, Fraser and Diefenbaker walk to Ray's car.
RAY: He won't laugh for a while, but he'll be okay.
FRASER: I don't recall detective Huey laughing a great _____ anyway.
RAY: True. So what do you feel like, Benny? Chinese? Italian? Barbecue? Your call.
FRASER: Barbecue!
RAY: Sure. I know a place with ribs that can make a grown man cry.
FRASER: No. The rat I examined... There was something about the scent of her breath, and you just helped me place it. It was barbecue sauce!
RAY: Barbecue sauce.
FRASER: For ribs. Putrefied, of course. It had been in her system for some time, which is why it took me so long to distinguish it. I was also thrown by a strange abundance of raw comb honey.
RAY: Aha! (beat) You gonna tell me what that means?
FRASER: Mount Olympus doesn't offer barbecued ribs on its menu. That means it's probably not where the rat got her food.
RAY: Okay. You gonna tell me what that means?
FRASER: If we can identify the source of the barbecue sauce on the breath of that rat, we might find the saboteur who released the rats in Mt. Olympus.
RAY: I've got a guy who talks in his sleep, a stripper who's licking your ear right out in public --
FRASER: I didn't say she "licked" my ear, Ray, I said she "nibbled" my ear. The lobe of my left ear, to be precise.
RAY: Thanks for clearing that up. (back to his point) And I've got rats who forgot to gargle. So I'm asking myself one question. When I get sent down to the bus depot, should I get ON a bus, or UNDER one?
SFX: THE CELL PHONE RINGS
Ray answers it.
RAY: (CONT'D) Vecchio.
OMITTED
INT. IDA'S APARTMENT - NIGHT
CLOSE on Barry, asleep, snoring for all he's worth. PAN to find IDA, on her phone, standing as far from Barry as the cord will allow.
IDA: Detective? It's me. Ida. Barry talked in his sleep again. It's bad this time. He's gonna kill somebody.
EXT. THE RIVIERA - DRIVING - NIGHT
As Ray plows the Riviera screeching into a u-turn...
FADE OUT:
END OF ACT TWO

ACT THREE
OMITTED
EXT. MT. OLYMPUS - NIGHT
Establishing
OMITTED
INT. MT. OLYMPUS - DRESSING ROOM - NIGHT
After hours. Fraser and Ray have met Ida here. She is pulling her things from closets, drawers, cupboards and angrily stuffing them into a big duffel bag. Slam, slam, slam.
IDA: You dance 'cause you love it, then you dance to make money... I don't mind the taking my clothes off part so much... Isadora Duncan said clothes were dishonest anyway. Then you meet a guy you think is the sweetest person in the world and he turns out to be a killer! (to Fraser) Hand me that teddy will ya?
She points to a hook on the wall above his head.
FRASER: (getting it) Here you go, ma'am.
RAY: Okay, Ida, can we focus here --
IDA: (getting a grip) All right, yes, okay, focus.
She picks up Bunny and strokes him furiously.
RAY: He hits the pillow and he starts to gab.
IDA: At first it was the usual, baby this, baby that, then he was talking to some guy at the club who musta tried to sneak in underage, then it sounded like he was talking to a guy in a parking lot about a dent in his car -
RAY: A dent in his car?
IDA: It's stuff that upsets him during the day. And stuff that he's worried about that's coming up, like this killing stuff.
FRASER: Ida, who did Barry say he was going to kill?
IDA: Like he's going to tell me. (slams suitcase shut) I'm gonna be better off without him.
RAY: No! You can't leave him.
FRASER: Ray. She has to do what she feels is right.
RAY: Work with me here. (to Ida) You said you love him, right?
IDA: I did.
RAY: Hey, the man is under a lot of pressure right now. He may not be at his best.
IDA: (looking at him levelly) You just want me to stay with him so I can keep telling you what he says in his sleep.
RAY: If that's what it takes to prevent a murder.
FRASER: Is there anyone who might be threatening Barry?
IDA: Oh-my-god, you mean someone might hurt him?
RAY: He's into some serious stuff --
IDA: (thinks for a minute) You talk to him. He won't listen to me anymore. (to Fraser) I guess this means I'm available, if you still want to go out with me sometime.
FRASER: Actually, Ida, I hope I didn't mislead you in any way, but Detective Vecchio is right about the seriousness --
IDA: Well, the invitation's good, as long as you really are a decent guy and not somebody who's gonna end up making me crazy like that crumb Barry. (picks up Bunny) Come on, Bunny, let's book.
OMITTED
EXT POLICE STATION -- ESTABLISHING -- DAY (FOUR)
Establish morning.
INT. BULLPEN -- DAY
ON A TRAY covered with bags and boxes of barbecued ribs, each from a different restaurant.
WIDEN TO REVEAL that the tray is being carried by Elaine who is crossing through the bullpen towards Ray's desk. She drops the tray on Ray's desk which is already covered with more boxes of ribs. Fraser and Diefenbaker are sitting at the desk, tasting and smelling each variety in turn. Fraser's technique is to sniff, taste, then throw the rib away. Ray looks on, shaking his head.
Elaine points out the new additions.
ELAINE: Little Tony's Rib Pit, The Rib Shack, Ribs O'Rhonda, and Tickle My Ribs. I think you've got every rib on the South Side there. You mind if I ask what's going on?
RAY: They're tasting them.
ELAINE: I can see that. I meant why.
RAY: You don't want to know.
ELAINE: Try me.
RAY: All right. Rat breath.
ELAINE: Ah.
She gives Ray a very strange look, then moves on. Fraser looks down at Dief, sees him chowing down.
FRASER: (to Diefenbaker) No eating! You're supposed to taste, not consume.
Remember, we're looking for a combination of jalapeno peppers and raw comb honey in a 1:4 ratio.
Fraser takes another bite of ribs.
RAY: Fraser, you've been at this all morning. Let's just forget about it. I'm gonna go shake Barry's peaches.
FRASER: (chewing) He hasn't done anything yet, Ray. If we can find the right sauce, we'll have a piece of the larger picture.
RAY: You want to now what's in the larger picture? Me without a source. Thanks for your help, but I've gotta catch something for my trouble, even if it's just a minnow like Barry.
Ray starts off as Fraser notices something.
FRASER: Ray, don't forget your sunglasses.
Ray picks them up from his desk and starts out again. But the moment he puts on the shades...
Diefenbaker barks. Ray turns back. Fraser looks down to see him holding a rib in his mouth.
Fraser takes it, smells it and tastes it. Ray and Elaine share a pained look.
FRASER: (CONT'D) This is it. (to Dief) Where's it from?
Diefenbaker picks up one of the cardboard boxes in front of him and presents it to Fraser. As Fraser holds it up for Ray to see, Ray reacts to the name on it.
RAY: Now this is no minnow.
OMITTED
EXT. KIT KAT CORRAL -- ESTABLISHING -- DAY
The Kit Kat Corral is a Western-themed bonanza of beauty. Ray's car is parked out front. A sign on the front door reads, "Closed for private party." Some delivery trucks are being actively unloaded with supplies for the party.
INT. KIT KAT CORRAL -- DAY
The interior decoration reflects the outside. Wagon wheels, bales of hay, merry-go-round horses, waitresses in chaps and western vests... Preparations are underway for a celebration, including a banner being unfurled which reads, "Happy 75th, Shelley".
Fraser and Ray enter, checking out the surroundings. They are approached by an elderly Jewish man in a ten gallon hat, trailed by some muscular bouncers wearing only vests to accentuate the size of their arms. The man is SHELLEY LITVAK.
LITVAK: Howdy partners
FRASER: Howdy.
RAY: Yeah, yeah. We're looking for Litvak.
LITVAK: You mosied into the right saloon, Buckaroos. I'm Litvak. But call me Shelley. All my friends do. What's on your mind?
FRASER: Tomatoes, vinegar, sugar white and brown, mustard, worstershire sauce... Jalapeno peppers and raw comb honey in a 1:4 ratio.
Ray shows his badge.
LITVAK: You gonna bust me for my mother's rib recipe?
RAY: How about fifty rats chasing away the customers at Mt. Olympus?
Litvak takes off the hat and drops his western persona.
LITVAK: Hey, don't blame me. Maybe those rats were just looking for one of their own.
RAY: Or maybe you're not up to the competition.
LITVAK: Mark Ordover? Hell, he's no competition. That dummy couldn't make a buck if he ran the only cathouse in Tiajuana.
As a couple of scantily dressed COWGIRLS pass, Litvak tips his hat to them.
LITVAK: (CONT'D) Howdy, gals!
GIRLS: Howdy, Shelley!
LITVAK: (back to Ray and Fraser) There goes the reason I love this business.
FRASER: Mr. Litvak, I'll have a look in your kitchen, if you don't mind.
LITVAK: What for?
RAY: Evidence. Linking you to the rats.
FRASER: We could waste a lot of time while Detective Vecchio gets a warrant, or we could conclude this now.
Litvak nods for the goons to let Fraser pass.
LITVAK: Evidence... Hey, kid, you don't seriously think I could go down for rat food.
RAY: It's the truth. Sometimes the truth wins. This could be one of those times.
LITVAK: What the hell do you want?
RAY: Looks to me like you're going after Ordover's business. But don't underestimate him. He's young, and tough and he won't back down. I want you to call a truce with him.
LITVAK: Truce? He'd only break it. That punk's got the ethics of a rattlesnake.
RAY: Well, when he does break it, get in touch. (hands him a card) You give me something I can use on Ordover, nobody has to know about the rats.
Fraser reappears with a container of the sauce. He spots something on the other side of the room.
ANGLE - A GROUP OF DANCERS
They're rehearsing a number for the party. One dancer sits in a chair, her back to us, her back heaving slightly.
BACK TO SCENE
LITVAK: Fair enough, Pardner. (back to cowboy mode) Now why don't you little dogies git along? I have seventy-five candles to blow out tonight. Got to conserve my breath.
Ray looks around for Fraser as Litvak moves away, summoning his officious assistant NELSON to his side.
LITVAK: (CONT'D) Nelson! C'mere.
Nelson hurries over.
NELSON: Yes, Mr. Litvak?
LITVAK: (re: Ray and Fraser) I like that Mountie look. But I could do without Frick and Frack over there. Make sure I don't see 'em again.
NELSON: Got it.
Litvak and Nelson walk off.
RAY: (spotting Fraser) Benny, c'mon. We're done here.
WITH FRASER
As he approaches the girl, who's crying, her face buried in her hands.
FRASER: Ida?
She looks up.
IDA: Oh, hi.
FRASER: What are you doing here?
IDA: Making a living. They gave me a job.
Ray joins them.
FRASER: But you miss Barry.
IDA: Uh-huh.
RAY: Great! (off their looks) I mean, not great that you miss him. But maybe if you tried a little reconciliation...
IDA: Make up to him just so I can rat on him?
RAY: Not just so you can rat on him --
IDA: I just want the old Barry back. But I don't know how to change him now.
RAY: If we don't find out who he's going to kill, I'll change him --
FRASER: Ray, may I speak with you a moment? (to Ida) Excuse us, please.
Fraser takes Ray aside. Ida watches curiously.
RAY: We're getting nowhere. I'll see if Welsh will put a twenty-four hour tail on the guy --
FRASER: I'd like to try something else first, Ray.
RAY: What?
On the cut --
INT. MT. OLYMPUS - BASEMENT WORKOUT ROOM - DAY
SMASH! A gloved hand hits a heavy bag.
WIDER
The small room has been turned into a makeshift gym -- nothing fancy. A ballet bar, a few free weights, mats. Barry has added the heavy bag. Sweating and grunting, he pounds the bag with a real fury and doesn't notice the arrival of Fraser, who watches him for a moment before speaking.
FRASER: Excuse me.
Barry stops.
BARRY: It's a private facility.
FRASER: I came to see you, actually.
BARRY: Me? Do I know you?
FRASER: No. But I know you.
BARRY: Haven't heard that in a while. That's what guys used to say when they wanted me to throw a fight.
FRASER: But you never did, did you?
BARRY: I might as well have. Look, if you're gonna talk, hold the bag. I don't want to cool off.
Fraser braces his torso against the heavy bag, trying to resist the force of Barry's strong blows.
FRASER: I read about your career. Promising, for while.
BARRY: You win some, you lose some.
FRASER: By the end, it looks like losing became the norm.
BARRY: Hey, I fought my heart out every time.
FRASER: No one ever questioned your heart, Barry. But my friend Ray described one of your fights to me. He'd placed a substantial bet on you. It was a fight you should have won.
BARRY: If he wants his money back, forget it.
FRASER: No... But what he remembers most was a moment in the third round.
You'd hit your opponent with three solid hooks, his legs were rubbery, you only needed one more hard punch to knock him out. And you didn't throw it. He recovered, and knocked you out in the next round.
BARRY: Yeah, well, if I had it to do over again, I'd throw the stupid punch.
FRASER: According to your record, you never did. That's why people started calling you a loser.
BARRY: I'm not a loser.
FRASER: No, you're not. Not to people who matter, like Ida.
BARRY: What do you know about Ida?
FRASER: That she doesn't want you to lose her. But the man who wouldn't throw that last punch is the one she cares for. Not the one who's going to keep trying to throw it until he's knocked out for the last time.
Barry stops punching, looks at Fraser.
FRASER: (CONT'D) We'll be at the twelfth street diner with Ida at six o'clock, if you'd like to join us.
Fraser leaves. Off Barry, quite confused...
EXT. STREET -- DAY
Barry, dressed now, is waiting nervously on the street, looking around. A LIMO pulls up to the curb beside Barry and the window rolls down. Mark is inside.
MARK: You wanted to see me?
BARRY: Mr. Ordover, I had to tell you. I've been having second thoughts.
MARK: I chose you. You agreed.
BARRY: Yeah, but... you know... I've got some stuff to work out with Ida...
MARK: I thought that was over. I thought your mind was on the business at hand.
BARRY: Yeah, well, sure... But...
MARK: (aggressive) What do you want, Barry? What's important to you? Do you want to be a player or are you just a flunky?
BARRY: I'm gonna be someone.
MARK: Then think about what's best for Barry right now.
Barry's about to answer. Mark holds up a hand to stop him.
MARK: (CONT'D) You're not listening again, Barry. I said, "Think about it."
CONTINUED:
With that, he raises the window, leaving Barry staring at the darkened glass.
INT. MARK'S LIMO -- DAY
Mark sits back in his seat, turns to one of his men (LEO).
MARK: I have a job for you, Leo.
INT. DINER - NIGHT
A clock reads 5:50. Fraser arrives to find Ray alone in a booth.
FRASER: I thought you'd be here with Ida.
RAY: She's coming. Stopped by her house to change. How about Barry? Is he coming?
FRASER: We'll know when he gets here.
RAY: Could you be a little more non-committal?
FRASER: I didn't hold a gun to his head, for pity's sake.
RAY: (re: his glasses) You see, Fraser, you need your own good luck charm.
They help give you a sense of optimism. You could use some of that.
FRASER: I happen to believe I'm quite optimistic, Ray.
RAY: Then tell me Barry's gonna show. That you feel it in your gut.
FRASER: I don't know if he's coming or not.
RAY: See? No optimism.
FRASER: (to the waitress) Ma'am, FOUR menus please. (to Ray) Satisfied?
RAY: It's a start.
CUT TO:
INT. IDA'S APARTMENT - NIGHT
Ida finishes getting dressed for the summit. Checks, primps, checks again. As satisfied as she's going to be, she grabs her coat, heads for the door, opens it and GASPS.
LEO is there with another thug. They grab Ida, shove her back into her apartment with bad intentions. As the door closes...
FADE OUT:
OMITTED
END OF ACT THREE

ACT FOUR
OMITTED
INT. DINER - NIGHT
Ray and Fraser sit at their table in the diner. It's ten past six. Ray drinks some water. Fraser drinks some water. The silence lengthens as they both hold the same thought.
RAY: She gets back to the apartment, she goes to the john, that's two minutes.
FRASER: Applies her make-up, an additional ten.
RAY: Change of clothes, that's five, six more...
FRASER: Something's wrong.
RAY: Let's go.
INT. MT. OLYMPUS - BARRY'S OFFICE - NIGHT
Barry, dressed nicely, adjusts his tie and hair in the mirror when the PHONE RINGS.
BARRY: Pappas... Oh, hey, baby, I was just thinking about you.
INT. IDA'S APARTMENT - NIGHT
CLOSE ON IDA, talking on the phone.
IDA: Well, don't Barry.
INTERCUT:
BARRY: Don't what?
IDA: Think about me.
BARRY: (snorts) That's like saying, "Don't think of an elephant," you can't help -- Wait, that didn't come out right.
IDA: I'm trying to talk to you, Barry, and you're talking about elephants.
BARRY: Right. I'm sorry.
IDA: I'm not meeting you at the diner, so don't bother going.
BARRY: What?
IDA: Mr. Litvak has offered me twice as much money as you ever paid me to dance. He's a very nice man. He also told me he can introduce me to all kinds of guys who are good looking and successful. So I'm sorry, Barry. But I officially don't want to see you any more.
Mark has made his way to Barry's door, watching this conversation unobserved.
BARRY: Shelley Litvak told you that? Ida, you're talking crazy. I love you.
IDA: I gotta go.
She hangs up. As she does, we WIDEN to reveal that she's spoken under the duress of Leo's gun pointed at her head. Ida glares at him angrily, as tears run down her cheeks.
IN BARRY'S OFFICE
Barry is beside himself. He lets the phone drop. Mark hangs it up.
MARK: What is it, Barry?
BARRY: She's gone. She's working for Litvak now!
MARK: (shakes his head) Women. They'll do this to you every time, Barry.
BARRY: Not Ida.
MARK: They see a greener pasture, they're gone. Tough to know who your friends are, sometimes.
BARRY: I'll show that son of a bitch Litvak. You didn't get anybody else to do the hit, did you?
MARK: Barry, look, I know you're not so sure about this --
Barry takes a pistol out of the drawer.
BARRY: (hard) When are we doing it?
INT. IDA'S APARTMENT BUILDING - HALLWAY - NIGHT
Ray and Fraser walk quietly up the stairs. Fraser stops when he sees something.
ON THE FLOOR BY IDA'S DOOR
Bunny lies outside the door.
Fraser looks at Ray. Ray agrees. They surround the door. Then, Ray KICKS it in hard. The door FLIES open.
RAY: Freeze! Police!
INT. IDA'S APARTMENT - DAY
With his gun drawn, Ray flies in to see Ida, gagged and bound to a chair. Her eyes are wide with fright as gun barrels appear from either side of the door, pointed right at Ray and Fraser's heads.
Reveal Leo and his partner, with the advantage. Ray hands them his gun, then tosses his sunglasses to the floor with a look of disgust. Off the moment...
EXT. KIT KAT CORRAL -- NIGHT
GUESTS are pulling up in front of the club and entering. Everyone's in fancy dress. A slight distance from the crowd, in a shadow, BARRY watches the scene, focusing especially on Nelson, who's manning the door surrounded by bouncers, and checking invitations.
After a moment, Barry retreats into the shadows.
OMITTED
INT. IDA'S APARTMENT -- NIGHT
Fraser, Ray and Ida are tied to chairs and gagged. Fraser and Ray are struggling with their bonds.
Fraser and Ray have a ridiculously muffled conversation, Fraser conversing as if Ray can understand perfectly and Ray not getting any of it.
Fraser suddenly spots Ray's glasses and gets an idea. He begins hopping toward them, then rocks his chair back and forth until it reaches the top of an arc going backwards and.... goes over the edge, slamming Fraser on his back on the ground.
Ray and Ida react. That's gotta hurt.
He aimed the chair just right. It landed on the glasses and cracked a lens in two.
Fraser extends his fingers as far as they'll go, grabs a piece of the broken lens and begins working at his ropes.
EXT. PARKING LOT -- NIGHT
As a PATRON in a loud suit is just about to walk way from his car, Barry emerges from the shadow.
BARRY: Did you leave your lights on?
As the guy turns to look back at his car, Barry hits the guy with the butt of his gun, knocking him out. He grabs the Patron and drags him between cars. A moment later, he steps out holding an invitation. As he starts back toward the front door of the club--
INT. IDA'S APARTMENT -- NIGHT
CLOSE ON THE ROPE which binds Fraser as the glass cuts through the final strands. The
SOUND of FRASER'S continuous muffled dialogue is heard over. As the rope snaps--
ON FRASER as he throws off the ropes and stands. As he unfastens the gag--
FRASER: ...and although Uncle Purvis did teach me the essence of escape maneuvers, I never did learn to dislocate my joints properly. Although they do say it's hereditary. So I'm sorry about your glasses, Ray.
As he moves to Ray and undoes his gag--
RAY: Hey, at least they were good for something.
Fraser moves on to release Ida.
IDA: Those guys made me say terrible things to Barry.
RAY: Like what?
IDA: Like I was gonna leave him for Shelley Litvak.
FRASER: Ah. Interesting plan. I suggest we go very quickly.
As they race out, Fraser politely gesturing for Ray and Ida to go first...
INT. KIT KAT CORRAL -- NIGHT
The party's in full swing. Sexy COWGIRL DANCERS everywhere. We FIND BARRY
Moving through the packed crowd, his eyes searching. He stops as he sees--
Litvak at a table by the stage, holding court.
Barry moves behind the cover of a pillar, steeling himself. His hand reaches into his jacket and grabs the gun. He's almost ready to make his move when--
Litvak suddenly stands and is embraced by a crowd of WELL-WISHERS. He disappears into the crowd.
Barry waits a beat, then looks around for a better vantage point.
EXT. KIT KAT CORRAL -- NIGHT
Ray's car screeches up to the curb and Fraser, Ray and Ida get out. They cross to the front door and start to enter, but Nelson bars their way.
NELSON: Your invitations, please?
Ray flashes his badge.
RAY: Here's my invitation.
NELSON: Unless you have a warrant to go with that, I'm afraid you're out of luck.
RAY: Yeah? Well, I'm afraid your boss is in danger.
Nelson looks over at the BEEFY BOUNCERS and smiles.
NELSON: I find that hard to believe.
As Nelson turns to admit the next invited guests--
RAY: What now? We gotta find a way in before Barry makes his move.
FRASER: I don't think it's an insoluble problem, Ray.
RAY: Oh no? What are you gonna do, just ask somebody for their invite?
FRASER: Excellent idea.
With that, he turns to a well-heeled patron who's approaching the front of the line.
FRASER: (CONT'D) Excuse me, Sir. I have reason to believe that the life of someone inside the club is in danger and I was wondering if I could use your invitation to gain entrance.
The Patron sizes Fraser up for a beat, decides he's telling the truth and hands over his invite. As Fraser hands his invitation to one of the Bouncers and enters--
RAY: Fraser! Hey, Fraser. What am I supposed to do?
IDA: Pssst!
Ray looks over to Ida who's standing at the mouth of an alley. Down the alley, we can see a catering truck parked. Ray shakes his head and follows her.
INT. KIT KAT CORRAL -- NIGHT
Barry is moving through the crowd again, zoning in on Shelley. There's never a clear opening. As the Country Western MUSIC stops, the lights DIM, and a follow spot finds Litvak.
FEMALE DJ (V.O.) Ladies and Gentlemen, how's about a great big "Happy Birthday" to the kindest, the handsomest, the most honest man you'd ever want to meet, the King
of the Kit Kat
Corral, Mr. Shelley "Ride 'Em Cowboy" Litvak!
LITVAK: Thanks, Honey. You said it just the way I wrote it.
Lots of applause. Shelley's all smiles as he bows, then takes his seat at a table at the front of the stage.
DJ (V.O.) We cooked up a little something special for you, Shelley. Enjoy!
The strains of an updated "Happy Birthday" start over the sound system and people sing along.
ONSTAGE, the four wood and plaster giant birthday cakes are rolled out.
Shelley's interested, pokes a friend, indicates he doesn't know what's happening.
LITVAK: There wouldn't be anything inside those would there?
The friend feigns ignorance.
ONSTAGE, the "Happy Birthday" song fades into the mix and is replaced by something up tempo.
WITH BARRY who's gotten himself to a discreet vantage point behind some bales of hay. He has a clear shot at the stage.
The first cake opens and a Mountie hat appears followed by the distinctive red tunic seen from behind.
BARRY: What's he doing here?
The Mountie in the cake turns and is seen to be a beautiful woman who starts to unbutton her tunic, gyrating to the music.
LITVAK: Now that's how a Mountie should look.
The Dancer beckons Shelley onto the stage. Shelley plays shy, but his friends push him up onto the stage. He's loving every minute of it.
LITVAK: (CONT'D) (ad libs reactions to the girls as they pop out of the cakes)
Don't worry, honey, you'll never drown. (re: another dancer) Bet she always gets her man.
(re: the third, who has the biggest chest -- aside to Nelson) That reminds me, I gotta get a new set of tires.
WITH FRASER working his way through the crowd, occasionally stopping to question people.
FRASER: Excuse me, you wouldn't have seen a man with a gun? (no response)
Pardon me... A man with a gun. About so high?
ONSTAGE as Shelley is dancing with the girls from cakes number one and two.
Cake number three opens and Shelley looks inside, swoons as another beautiful Mountie rises and plants a kiss on his cheek. The crowd loves it.
ON BARRY behind the bales of hay, steeling himself, raising the gun and preparing to fire.
WITH FRASER as he looks toward the stage, catches the glint of lights on gunmetal from behind the bale of hay. He launches himself up onto the stage and in front of Shelley.
LITVAK: (to Fraser) YOU! What the hell are you doing here?
Fraser turns to Barry behind the bale of hay.
FRASER: Barry, don't do this.
BARRY: Shut up! He hurt our club. He ruined my life! He took my Ida.
LITVAK: You're talking nonsense. I haven't done squat to you.
BARRY: You turned her against me!
Barry tightens his grip on the gun, ready to shoot.
FRASER: Mark Ordover is the one who had Ida kidnaped.
LITVAK: Yeah.
FRASER: He's the one who forced her to make that call to you.
LITVAK: Yeah!
FRASER: He knew you'd be so angry that you'd kill Litvak for stealing your girl.
LITVAK: He's right!
BARRY: Then where's Ida?
WITH THE FOURTH CAKE which begins to vibrate. There are a few vicious thumps and the top suddenly pops open. Big time. It sails through the air and off the stage.
Ray and Ida emerge, Ray red in the face, holding his gun on Barry.
BARRY: (CONT'D) Ida!
IDA: It's true. Everything he said!
BARRY: Do you still love me?
IDA: Yes! With very few conditions. One of them is put down the gun.
RAY: The other is you give us everything you have on Mark Ordover.
Barry thinks hard, looks from Fraser to Ida. He drops the gun, drops down from his perch, and runs into Ida's arms. The crowd stares on, stunned. Litvak tries to break the mood.
LITVAK: All right, folks, so much for the showdown, let's start the hoedown.
Yee-haa!
As the music starts up again, Fraser tries to avert his eyes as the other Mounties begin removing their tunics.
EXT. MOUNT OLYMPUS -- NIGHT
Squad cars are on hand, lights flashing. A small crowd -- including Ray and
Fraser -- is gathered
on the sidewalk watching Mark Ordover being led out of the club in handcuffs.
RAY: You know, Fraser, those glasses were making me crazy. I'm thinking I should get over this superstition thing.
FRASER: Que sera, sera, as it were.
RAY: Right. Whatever that means. No more lucky pennies. No more magic pencils. No more chanting.
FRASER: You chant?
RAY: (sheepish) No more. From now on, I deal with hard facts and empirical logic.
FRASER: I think that's a wise decision, Ray.
A BEAUTIFUL BUXOM DANCER steps in beside Ray, clearly attracted to him.
DANCER: Excuse me, I was just over at Ida's place. (hands him his sunglasses) She found these on the floor, and asked me to give them back to you.
She pulls out Ray's broken sunglasses.
DANCER (CONT'D) If you want my opinion, you've got such nice eyes, it's a shame to cover them up.
RAY: Yeah?
DANCER: Yeah. You want to get a cup of coffee or something? I'm supposed to dance tonight, but I'd much rather spend the time with a guy like you.
RAY: Sounds good to me.
Ray looks at Fraser, hands him the glasses, then takes the woman by the arm and they begin to walk off. As they step away --
RAY: Watch that crack will ya? Bad luck.
ON FRASER watching Ray walk off, considering, and then trying on the broken glasses.
FADE OUT:
THE END

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