"RED, WHITE OR BLUE"
Story by Paul Gross and John Krizanc
Teleplay by Paul Gross

Published Draft - April 15, 1996
Revised Pink - April 21, 1996
Revised Blue - April 25, 1996
Revised Green - April 27, 1996

EXTERIOR-DAY	INTERIOR-DAY
CHICAGO STREET	CONSULAT-ANTE ROON
COURTHOUSE - ROOF	CONSULATE-HALLWAY
COURTHOUSE	CONSULATE-PRESS CONFERENCE RM.
RIVIERA	COURT BSMT – COLD AIR RET.CORR
WOODS	COURT BSMT-FAN CIRCULATION RM
	COURT BSMT-LOW ROOM
	COURTHOUSE-12TH FLOOR
	COURTHOUSE-BASEMENT
	COURTHOUSE-HALLWAYS
	COURTHOUSE-STAIRWELL
	COURTROOM
	ELEVATOR - PIT
	ELEVATOR CABLE ROOM-BSMT
	ELEVATOR CONTROL ROOM
	ELEVATOR SHAFT
	EVIDENCE LOCK-UP
	HALLWAY-AT ELEVATOR
	PRISON-VISITING ROOM
	PRISON CELL
	RIVIERA
	SITUATION ROOM
	VAN
	WOODS
EXTERIOR-NIGHT	INTERIOR-NIGHT
n/a	FRASER’S APARTMENT
	PRISON
	US ARMY WEAPONS DEPOT
	VECCHIO HOUSE

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

* - Scenes 4,6,8 are flashbacks to Night
** - Scenes 19,21,23 are flashbacks to 15 years ago

PROLOGUE

EXT. FIELDS -- VARIOUS -- DAY (DAY ZERO)
A train sways slightly on the tracks, creaking and groaning.
To the accompaniment of thunderous music, the doors to the box cars crash open and thirty-four horses, ridden by thirty-four Mounties wearing red serge and carrying battle lances, leap from the train and gallop away.
ANGLE ON: AN ATV
Driven by BOLT (from 'All The Queen's Horses') and carrying THATCHER as a hostage, crests a hill to see:
THE RCMP MUSICAL RIDE IN CHARGE FORMATION
The horsemen lower their lances and gallop forward.
BOLT frantically turns the vehicle as the Ride closes ground.
ANGLE ON: FROBISHER AND FRASER
Galloping forward and throwing their battle lances in unison. The lances strike into the engine of the ATV. Smoke bursts from the motor and the vehicle comes to an abrupt stop.
BOLT trains his weapon on Constable FRASER who gallops toward him.
THATCHER snaps her elbow back, catching BOLT in the jaw and throwing him off the ATV as FRASER thunders through, scooping THATCHER off the ground and setting her down on the saddle in front of him.
THE RIDE re-configures itself with electrifying speed and in a SPINE-
TINGLING AERIAL SHOT we see BOLT trapped in the centre of the famous
'Dome' formation.
CLOSE ON: BOLT screaming with furious frustration.
HARD CUT TO:
INT. A PRISON CELL -- NIGHT (DAY ONE)
BOLT shoots out of bed, sweating and feverish from his nightmare. He
sits on the edge of his cot breathing deeply.
A GUARD appears at his cell, clanking the bars with his nightstick.
GUARD: You got a visitor.
BOLT: I'm handling my own defense so if it's that no account lawyer you can feed him to the pigs while his bones are still soft.
GUARD: It's your brother.
BOLT: (brightens) Different story, morning glory.
He leaps off the cot and leaves the cell.
CUT TO:
INT. PRISON -- VISITING ROOM -- NIGHT
Under the watch of four armed GUARDS, BOLT sits across from his brother
FRANCIS, a monochromatic oddball -- meticulous, clinical and careful.
FRANCIS: You need a haircut, Randal.
BOLT: My hair-do is the least of my worries.
FRANCIS: Never let hygiene take a back seat.
BOLT: I'm incarcerated, Francis. I could be facing lethal injection.
FRANCIS: Oh, I don't think so.
BOLT: I got a hanging judge sitting on that bench. You don't think he's filling up that big needle right now, getting ready to send me off to my final reward?
FRANCIS: No, I don't.
BOLT: And why is that?
FRANCIS: The family would never permit it.
BOLT pauses and nods, as if the mention of the 'family' is some kind of
code.
BOLT: Continue.
FRANCIS: As you know, the family is dedicated to your cause...
CUT TO:
INT. UNITED STATES ARMY WEAPONS DEPOT -- NIGHT
TIGHT SHOTS OF: wooden crates marked 'RDX-T4 CYCLONITE -- HANDLE WITH CARE -- CONTENTS EXPLOSIVE -- PROPERTY OF THE UNITED STATES ARMY'. Two military personnel pass by the crates checking off inventory on a clipboard.
FRANCIS (V.O.): ...in fact, we are organizing a care package for the day of your trial, planning for the possibility there might be some waiting involved...
CUT TO:
INT. PRISON -- VISITING ROOM -- NIGHT
BOLT leans forward
BOLT: What about the cousins? Are they behind me?
FRANCIS: As they always have been. Do you recall the games we played in Uncle Jimmy's mortuary?
BOLT: Those weren't games, Francis. You pickled my dogs.
FRANCIS: Let the dogs go, Randal.
BOLT: They weren't dead --
FRANCIS: Let them go, I say. Think instead of Dracula.
BOLT: (understands) You mean when the cousins hid in the coffins?
FRANCIS: Exactly. And Vernon suffered his first asthma attack.
CUT TO:
INT. U.S. ARMY WEAPONS DEPOT -- NIGHT
A large hunting knife stabs out of one of the crates. It slices down and cuts one of the black plastic packing straps, then the other. A man (VERN) dressed in army fatigues steps out of the crate and puts an inhaler to his lips.
BOLT (V.O.): How's the asthma now?
FRANCIS (V.O.): Well, he still suffers but he's discovered the attacks are bearable if he's got a knife in his hand.
BOLT (V.O.): What about Gabe? He and Vern still close?
FRANCIS (V.O.): Like peas in a pod.
A second man (GABE) emerges from the crate.
CUT TO:
INT. PRISON -- VISITING ROOM -- NIGHT
FRANCIS continues.
FRANCIS: Of course, Gabe still has his problems. It seems that on occasion he finds himself incapable of resisting the urge to get loaded...
CUT TO:
INT. U.S. ARMY WEAPONS DEPOT -- NIGHT
The second man uses a manual fork lift to wheel the skid of RDX-T4 CYCLONITE
into a waiting three-ton truck.
FRANCIS (V.O.): ...and lately he's developed a taste for things somewhat more dangerous.
CUT TO:
INT. PRISON -- VISITING ROOM -- NIGHT
BOLT smiles and sits back in his chair.
BOLT: Well, Francis, this news of the family is very encouraging and
encouragement is just the thing I need 'cause I've been having a devil of a time in here.
FRANCIS: Interesting you should speak of the devil. Our Father was at
the pulpit last Sunday when God decided to show him a vision. He showed him the face of Satan.
BOLT: And what does Satan look like?
FRANCIS: Well, the curious thing, from a theological standpoint, is that Satan currently has two faces.
He produces a couple of photographs and lays them on the table. BOLT stares at them.
BOLT: Ah, yes. We all have to reconcile our pasts, don't we?
FRANCIS: Has prison made you something of a philosopher, Randal?
He shrugs and spits. The spittle hits the photographs: DETECTIVE RAYMOND VECCHIO and CONSTABLE BENTON FRASER.
BOLT: (smiles) A man cannot be free, Francis, until he erases his mistakes.
FADE OUT:
END OF PROLOGUE

ACT ONE

INT. CONSULATE -- ANTEROOM -- DAY (TWO)
Close on FRASER'S face, the RCMP crest behind him.
WOMAN'S VOICE (O.S.): Constable Fraser, you're on a train loaded with
explosives, full of Royal Canadian Mounted Policemen, heading for a nuclear disaster and you avert that disaster. How does that make you feel?
FRASER: Fine.
A slight pause, FRASER says nothing more.
WOMAN'S VOICE (O.S.): Cut.
We pull back to find FRASER is in a press conference prep room. He is being tutored by a blonde in a power suit named VIVIAN RICHARDS. The proceedings are watched by THATCHER.
RICHARDS: Constable, I want you to imagine a spotlight, a big spotlight, 72,000 watts of a spotlight, and it is focussed on you, you are the center of a media frenzy which we are trying to capitalize on. Look at these people...
She opens a door to reveal a press briefing room full of journalists. She lets the door close.
RICHARDS (CONT'D): ...you are already on their television sets and on the covers of their magazines. But they want more. They want your inner soul. So let's think Rosanne. Show them your scars.
FRASER: With respect, Ma'am, I thought it was our unstated protocol to avoid the appearance of currying favour with the media.
RICHARDS: We sold out to Disney, Fraser. That is about as curried as it gets. You have to trust me on this. I am an RCMP media relations expert, and I --
THATCHER: Isn't that an oxymoron?
RICHARDS: Are you calling me a moron?
THATCHER: Not you specifically.
RICHARDS: Let's start again. From the details to the general. Now,
Constable, tell us how you made your way from the hand car to the engine room.
FRASER: Ahh. Well, I followed Inspector Thatcher up the ladder to the top of the train. She then turned on me and engaged in a conversation that led to us finding ourselves --
THATCHER: That's terrific, Constable. Marked improvement. But could I have a quick word with you?
She draws him off to one side.
THATCHER (CONT'D): Fraser, our, uhm...what would be the word?
FRASER: Contact?
THATCHER: Contact. Yes, that's a good word. Our 'contact', in my opinion, is not something that requires public airing.
FRASER: I understand, Ma'am, and since it had no impact on the outcome of the event, I agree. Furthermore, I have followed your instructions and have tried to erase the...'contact' from my memory.
THATCHER: You have?
FRASER: Yes.
THATCHER: And have you succeeded?
CUT TO:
EXT. TOP OF TRAIN -- FLASHBACK -- DAY
THATCHER and FRASER are swept into a large 'R' Romantic kiss, the countryside hurtling behind them...
CUT TO:
INT. CONSULATE -- ANTEROOM -- DAY
They break from the memory and stare at one another.
FRASER: Not altogether. No.
THATCHER: Well, that's...I suppose that's...
CONSTABLE COOPER enters carrying a tray.
COOPER: Sorry to interrupt but I have the coffee and I also have the java and -- Holy Moly, I've forgotten the sweetener. If you could give me a couple ticks, I'll be right back.
Cooper steps into...
CUT TO:
INT. CONSULATE HALLWAY -- DAY
And passes RAY who wanders down the hallway and turns into...
CUT TO:
INT. PRESS CONFERENCE ROOM -- DAY
The room is full of reporters. As RAY enters, they turn to stare at him. A PERT REPORTER (Tracy Wightman) turns to him.
PERT REPORTER: Who are you with?
RAY: I'm with me, Ray Vecchio, the guy who saved Illinois. Who are you with?
PERT REPORTER: Are you the detective that was on the train?
RAY: I wasn't just on the train, baby, I stopped the train.
She gestures for her camera crew to join her.
PERT REPORTER: Can I...?
RAY: Fire away.
PERT REPORTER: Rolling? (the CAMERAMAN nods) I am standing now with
someone who was on the train. Detective Vecchio, will you answer me just one question?
RAY: Go ahead.
PERT REPORTER: What is the Mountie like?
CUT TO:
EXT. CHICAGO STREET -- DAY
The Riviera cruises by.
FRASER (V.O.): You're not talking?
RAY (V.O.): No.
FRASER (V.O.): I mean really not talking?
RAY: That's right, Fraser. I'm really not talking.
He pulls up to a stop outside FRASER'S tenement. RAY is manifestly steamed.
FRASER stares at him with concern.
FRASER: Just so I can be clear in my own mind about this, other than telling me you're not talking, you are, in fact, really not talking.
RAY: That's about the size of it.
FRASER: I see. (a beat) Is there something I should know?
RAY: Yeah, you should.
They sit in silence for a couple of seconds.
FRASER: This thing I should know. Could you perhaps give me a hint as to what it might be?
RAY throws him a magazine. On the cover is a photograph of FRASER and BOLT -- no sign of RAY.
FRASER (CONT'D): I see. So I should probably...?
RAY: Get out of my car.
FRASER: Understood.
FRASER steps out of the car. As the Riv wipes frame we see a non-descript grey van parked across the street. Someone riding shotgun watches FRASER through a set of binoculars.
FADE TO:
INT. INTERCUT FRASER'S APT./VECCHIO HOUSE -- EVENING (NITE 2)
Although this scene occurs in separate sets, it is to be played as a two-hander with fluid transitions from one location to another. (N.B.: the action is TBA.)
With a judgmental air, DIEFENBAKER watches FRASER.
FRASER: What do you want?
RAY stands at his fridge, staring vacantly at its contents.
RAY: Nothing. (a beat) Every time I open this box I'm full of hope. And then? I got a choice of dill pickles or asiago cheese. It's like having your knees cut...
SHIFT
FRASER: ...out from under you and he's feeling slighted. Not without
justification. After all, if you go to extreme lengths and your efforts are...
SHIFT
RAY: ...ignored it makes a guy feel...what? What am I feeling? Am I
depressed? Am I angry? Am I just jealous? Look at me. I'm talking to myself and...
SHIFT
FRASER: ...it's unforgiveable that he was overlooked. Nevertheless, we really have to...
SHIFT
RAY: ...try and talk this out. (speaks as though FRASER was present)
Alright, Fraser, here's the thing: we put the bad guy behind bars, he's ready to face trial...I step into that room today and this bouncy little reporter turns toward me and I'm thinking, "Hey, Ray, here you go. A small reward for throwing yourself in harm's way yet again." And what's the first question she asks me? "What's the Mountie like?" So answer me this, and answer me with a straight face: you gotta wear that sign post of a uniform every single day of your life?
SHIFT
FRASER: The fact of the matter is I don't wear it *all* the time and there are times I wish I didn't have to. For one thing it itches and I mean it itches 365 days of the year, unless of course, it's a leap year, in which case it itches for 366 days. But it's not something I do intentionally. It's part of my obligations
SHIFT
RAY: What do you think I'm talking about here? Clothes? I'm talking about you, Fraser. Who you are!
The television is on and FRASER is being interviewed
RAY (CONT'D): Oh yeah, here we go.
PERT REPORTER: ...faced with a criminal like Randal Bolt, what kept you going?
RAY mutes the sound and lip sync's FRASER'S answer.
RAY: The obligations I accepted when I put on the uniform.
He un-mutes it and we hear:
PERT REPORTER: Well, I think I speak for all of America in offering my thanks.
He mutes it again.
RAY: That's right, Ma'am, I can fall off the Sears Tower, land on my skull and my hair will still be neat. How is that possible? I must not be human!
RAY shuts off the TV and tosses the remote aside.
RAY (CONT'D): That's what I'm talking about.
SHIFT
FRASER: I know some people find me irritating. I don't try to be. I mean, there are times when I imagine how you might handle a given situation. For instance, the other day I saw a woman in a wheel chair having difficulty with a set of doors. I was about to help her when suddenly I heard your voice in my head: Fraser? You gotta help every single cripple in the greater Chicago area? What do you think they invented those handicap buttons for?
SHIFT
RAY: So people can feel good about themselves. So they can feel like they're doing something on their own without some do-gooder's help. But no. You opened the door anyway, wheeled her through and helped her into her cab...
SHIFT
FRASER: ...and she backed up over my foot, but the point of the anecdote is that while I was doing it, I realized you would have been irritated with me and I don't know how to prevent that. Maybe it's a flaw in my upbringing. Or something genetic, possibly. Or it could simply be some aberrant property in the Tuktoyuktuk water system.
SHIFT
RAY: Don't try and put this down to water. This is a...thing, a conscious thing you do. You cover everything up. You squash it all down. It's like that time with Frobisher when that guy Counter stabbed you in the shoulder --
SHIFT
FRASER: Geiger.
SHIFT
RAY: What?
SHIFT
FRASER: The man's name was Geiger.
SHIFT
RAY: His name was Geiger Counter?
SHIFT
FRASER: No. Just Geiger. No counter. And he stabbed me in the leg.
SHIFT
RAY: Leg. Shoulder. What difference does it make?
SHIFT
FRASER: When you're the one being stabbed, Ray, the difference is remarkable.
SHIFT
RAY: The point is, Fraser, he stabbed you! And were you angry?
SHIFT
FRASER: I was in pain.
SHIFT
RAY: I'm talking about anger, Fraser! Hate. Are you a human being? 'Cause if you are then human beings feel things. They feel anger and love and lust and fear and once in a while they --
A knock at the doors. RAY looks up. FRASER looks up. RAY goes to his door, FRASER goes to his. RAY opens his door to see FRASER. FRASER opens his door to see RAY.
RAY (CONT'D): (in his house) Fraser?
FRASER: (in his apartment) Ray?
FRASER knocks RAY out, RAY knocks FRASER out.
The 'FRASER' and 'RAY' that are still standing reach into the neck of their shirts and tug, pulling off latex masks, revealing themselves to be VERN and GABE.
FADE OUT:
END OF ACT ONE

ACT TWO

INT. FRASER'S APARTMENT -- NIGHT
A rolled up Persian carpet is in the middle of the room. DIEFENBAKER is lying unconscious on the floor. FRASER is slumped over in the chair to which he is tied, also unconscious. A bucket of water is thrown over his head. He stirs and wakes to see FRANCIS standing over him.
FRANCIS: You have a fine animal. Fifty percent wolf, if I'm not mistaken?
FRASER: What have you done to him?
FRANCIS: He's alright, he'll wake up soon. Please answer the question.
FRASER is silent.
FRANCIS (CONT'D): Perhaps you're missing a full appreciation of your situation.
You are tied up. This is a gun. Ergo, you are my prisoner. So, if I ask a question I expect an answer without hesitation. Where did you get this animal?
FRASER remains silent. FRANCIS cocks the gun and points it at DIEFENBAKER'S
head.
FRASER: It's rather a long story.
FRANCIS: I have time.
FRASER: I've forgotten most of it.
FRANCIS: That's unfortunate. It's an interesting story and bears repeating. (he thinks) Mid-May 1981, 212 miles northwest of Whitehorse in the Yukon Territories -- is that Territor*ies* or Territ*ory*?
FRASER: Territory
FRANCIS: Thank you. I crave accuracy. You'd been on the force for three months in this, your first posting...
CUT TO:
EXT. YUKON -- FLASHBACK -- DAY
FRASER moves through deep snow, a rifle in his hand. The mountains are
spread out behind him.
FRANCIS (V.O.): You'd been dispatched to track down big game poachers that had come across the border from Alaska. In spite of your training..
FRASER falls through the snow...
CUT TO:
INT. MINE-SHAFT -- FLASHBACK -- DAY
...landing at the bottom of the shaft. He is knocked out.
FRANCIS (V.O.): ...you were unable to foresee that the poachers would have converted an abandoned mine shaft into a bear trap. You have no idea how long you lay there but when you woke, you discovered you were not alone...
DIEFENBAKER (as a puppy) steps out of the shadows and starts to lick
FRASER'S face.
CUT TO:
INT. FRASER'S APARTMENT -- NIGHT
FRANCIS continues.
FRANCIS (V.O.): Your first impulse was to save the animal.
CUT TO:
INT. MINE-SHAFT -- FLASHBACK -- DAY
FRASER throws the puppy out of the hole. DIEFENBAKER dislodges a boulder at the lip of the shaft that falls, striking FRASER on the head, knocking him out again.
FRANCIS (V.O.): Admirable, but not without it's drawbacks....
CUT TO:
INT. FRASER'S APARTMENT -- NIGHT
FRANCIS: When you came to, you were alone with no visible means of escape. You sat down to collect your thoughts. Little did you think that the animal would be so grateful as to wish to repay the favour...
CUT TO:
INT. MINE-SHAFT -- FLASHBACK -- DAY
FRASER sits with his back against the wall. A large branch falls from the top of the shaft, striking him on the head and knocking him out again. DIEF watches him from the lip.
FRANCIS (V.O.): ...and so it was that you were knocked out for the third time. In spite of that gaffe, a bond was formed and you've been together ever since...
DIEFENBAKER leaps into the shaft and licks FRASER'S face.
CUT TO:
INT. FRASER'S APARTMENT -- NIGHT
FRANCIS smiles.
FRANCIS: I have to congratulate you, Constable. Three concussions in one day? It's remarkable you have any memory at all. You wonder, of course, how it is I know the details of that story. Suffice it to say I know many things and it was no accident that you were on board that train. Can you guess who I am?
FRASER: Your name would be Francis Bolt. You were born in Oregon in 1949 --
FRANCIS: 1950.
FRASER: 1950. You are a theoretical mathematician by training and a recluse by choice. You have a younger brother named Randal --
FRANCIS: Who you arrested. That was a mistake.
FRASER: He broke the law. I would arrest him again in a heartbeat.
FRANCIS: You would? Let's see what your friend has to say about that, shall we?
He kicks the rolled up carpet. It unrolls, revealing RAY, bound and gagged.
FRANCIS (CONT'D): Detective Vecchio? I'd like it if you could talk your friend into apologizing.
RAY'S gag is removed.
RAY: Yeah? Well, you're out of luck, pal, 'cause I'm not talking to him.
FRANCIS hits him across the back with the pistol.
CUT TO:
INT. PRISON -- NIGHT
BOLT sits on his cot staring at the pictures of RAY and FRASER that are
tacked on the wall. He does the 'I am squishing you' routine from Kids in the Hall.
FRANCIS (V.O.): The problem with my brother is the same that plagues all geniuses.
RAY (V.O.): Can't get a date?
CUT TO:
INT. FRASER'S APARTMENT -- NIGHT
VERN and GABE are busy at the kitchen table with a load of plastic explosives which they cut into chunks and place on a scale. FRANCIS addresses RAY and FRASER.
FRANCIS: You are a wiseacre, Detective, whereas I am a mathematician. I look for symmetry, for order within chaos. Let us take the charter train, coded 56023 as an example. Do you have any appreciation for the elegance of that plan? Imagine a tree with many branches -- on one, the cousins' interests; on another my brother's political agenda; on yet another my own interests. I crunched the numbers and reconciled this apparent chaos to a single point in a continuum --
RAY: You're talking to the wrong guy, pal. I tuned out math after long division.
FRASER: Actually, it's kind of fascinating, Ray. He's talking about
Mandelbrot geometry wherein fractal trees --
RAY: You want to inform that guy that I'm not talking to him?
FRANCIS: It makes little difference to me whether you talk to him or not, Detective. You are being held to account for your part in thwarting my plan, a plan that was rigorous in detail. And as a wise man once said, "God is in the details", so it is to God that you will both now have to answer.
RAY and FRASER share a look.
FRANCIS: Oh, by the way. Have either of you ever worn a Mexican poncho?
CUT TO:
EXT. COURTHOUSE -- DAY -- (DAY THREE)
Establishing a shot of a twelve story edifice.
BAILIFF (V.O.): In the matter of the State of Illinois versus Randal K. Bolt, the accused is herein charged...
CUT TO:
INT. COURTROOM -- DAY
The jury is sitting and the courtroom is packed as the BAILIFF reads the charges. BOLT is standing -- he is in shackles.
BAILIFF: ...with two counts of murder in the first degree, one count of possession of illegal firearms...
CUT TO:
INT. COURTHOUSE -- HALLWAY -- DAY
THATCHER stands inside the security checkpoint at the main doors. She
is joined by the ASSISTANT STATES ATTORNEY.
ASSISTANT STATES ATTORNEY: Where is he?
THATCHER: I don't know.
ASSISTANT STATES ATTORNEY: We're getting down to the wire, here, Inspector.
They turn and leave, revealing the security guard behind them; it is GABE.
CUT TO:
INT. COURTROOM -- DAY
The reading of the charges continues...
BAILIFF: ...two counts of assault with deadly intent, one count of possession of explosives, one count of transporting explosives, over a border...
CUT TO:
INT. COURTHOUSE -- HALLWAY -- DAY
X-ray machine: two large athletic bags clear the machine. They are picked up by VERN who nods at GABE. He continues down the hall, passing THATCHER who is at a pay phone.
THATCHER: ...no, Mr. Mustafi, it's not dangerous, I just want you to knock on Constable Fraser's door...
CUT TO:
INT. COURTROOM -- DAY
The litany of BOLT'S crimes continues.
BAILIFF: ...one count of conspiracy to commit acts of terrorism and thirty-five counts of kidnapping.
JUDGE BROCK: Do you understand these charges?
BOLT: Could you repeat them, just so they're real clear in my head?
BAILIFF: (takes a deep breath) In the matter of the State of Illinois versus Randal Bolt you are charged with two counts of first degree murder, one count of...
CUT TO:
INT. COURTHOUSE -- HALLWAY -- DAY
THATCHER is still on the pay phone. The ASSISTANT STATES ATTORNEY comes up next to her.
THATCHER: Alright, Lieutenant. I appreciate it.
She hangs up and shakes her head.
ASSISTANT STATES ATTORNEY: We're in the middle of openings, for God's sake!
They rush down the hall, passing FRANCIS. We follow FRANCIS into a utility closet.
CUT TO:
INT. COURTROOM -- DAY
BOLT sits complacently in the prisoner's dock.
JUDGE BROCK: Let it be duly noted that the defense has waived its right to an opening statement. The State will call its first witness, please.
STATES ATTORNEY: Thank you, Your Honour. The State calls Constable Benton Fraser.
THATCHER and the ASSISTANT STATES ATTORNEY step into the courtroom. The ASSISTANT STATES ATTORNEY rushes up the aisle and whispers into the STATES ATTORNEY'S ear.
JUDGE BROCK: Is there a problem, Ms. Sheldrake?
STATES ATTORNEY: Your Honour, it would appear that Constable Fraser has been delayed. Perhaps I could --
JUDGE BROCK: Perhaps you could what? We barely got our toes in the pond and you've lost your first witness? This does not promote confidence on the bench, Councillor.
STATES ATTORNEY: I understand that, Your Honour, however I had antici-
pated this witness's testimony to cover the bulk of --
JUDGE BROCK: You should invest in a calendar, Councillor. You'd be surprised to discover how much time you've had to prepare for this case.
STATES ATTORNEY: I am aware of the time I've --
JUDGE BROCK: If your witness does not appear pronto --
A guard opens both doors of the courtroom and props them so they stay open.
The assembly falls silent in anticipation. (a beat) Then RAY and FRASER appear and shuffle in to the room as if joined at the hip. They are covered by an oversized serape.
STATES ATTORNEY: My witness is here, Your Honour.
JUDGE BROCK: I'm glad you saw fit to join us, Constable Fraser. This trial was in danger of going south. You mind taking the stand?
FRASER: Well, I could take the stand, Your Honour, but I'm not sure that would be in the best interests of the court.
JUDGE BROCK: (a beat) Ms. Sheldrake, you want to explain this.
STATES ATTORNEY: I'm sorry, Your Honour, I don't --
JUDGE BROCK: Are you pleading the fifth, son, is that what you're doing?
FRASER: No, Your Honour, I'm just not sure that taking the stand would be beneficial to this trial.
JUDGE BROCK: Well, now that's interesting, son, 'cause I've been trying capital crimes going on twenty years and it's been my experience that witnesses tend to be kind of central to the whole process.
RAY: I think what he's saying, Your Honour, is that maybe this would be a good time for a short recess.
JUDGE BROCK: Who the hell are you?
RAY: Detective Vecchio, Chicago P.D.
JUDGE BROCK: Are you two joined at the hip?
RAY: In a manner of speaking.
FRASER: I think Detective Vecchio is suggesting that your Honour might feel the urge to, say, step out?
JUDGE BROCK: Are you telling me I have to go to the bathroom?
FRASER: Well, there’s an idea. Perhaps some of the jurors might also want to relieve themselves.
A JUROR shoots up his hand.
RAY: What do you know? One of them does.
JUDGE BROCK: Are you suffering from Tourette’s, Detective?
RAY: Not that I know of.
JUDGE BROCK: Then why are you winking at me?
The JUROR waves his hand.
JUDGE BROCK (CONT'D): (to JUROR) You. Put a cork in it. (to RAY and FRASER) And you two listen to me. We have a tradition here that dates back to the deepest recesses of Common Law and I will not have that tradition violated. So unless you want to get hit with a contempt charge, you better have a good reason why you aren’t sitting in that box right now.
FRANCIS steps in through the open door.
FRANCIS: Oh, he does, Your Honour.
JUDGE BROCK: Who the hell are you?
FRANCIS: A friend of Justice.
JUDGE BROCK: What the hell’s going on here?
FRANCIS: May I remove this poncho?
FRANCIS removes the poncho: RAY and FRASER are strapped to a BOMB. Screams from the gallery. The GUARDS reach for their weapons only to find VERN and GABE training guns on them. BOLT leaps to his feet.
BOLT: Morning Glory!
FRANCIS: This courtroom...is ours.
FADE OUT:
END OF ACT TWO

ACT THREE

EXT. COURTHOUSE -- THROUGH BINOCULARS -- DAY
The courthouse as seen through a pair of binoculars. Swish pan over to
the main doors. Silent. Swish to the side doors. Deserted.
FORD (O.S.): Anything?
AGENT SHORREN (O.S.): Nothing.
CUT TO:
INT. SITUATION ROOM -- DAY
We're in the FBI's headquarters for this crisis, established in the building opposite the courthouse. It's whirling with activity and presided over by AGENT FORD who barks commands.
FORD: What's the count?
AGENT PHELPS: We have twenty in the building.
FORD: Communications?
AGENT MCTAVISH: Still nothing. The hard lines have been severed.
FORD: Where are the Response Teams?
DEETER: They'll be here in ten.
FORD: Alright, until they get here, we're going to --
A phone rings. FORD punches 'speaker-phone'.
FORD (CONT'D): Ford.
BOLT (V.O.): Good morning, Glory! I need you to pick something up for me...
CUT TO:
INT. COURTROOM -- DAY
BOLT sits in the middle of a very uncomfortable jury.
BOLT: ...and that would be a helicopter, preferably a Bell-Star. And seeing as I was kind enough to clear most of this building for you, I wonder if you'd be kind enough to have it on the roof in exactly 30 minutes. If you're wondering about the destination, well, that's none of your beeswax, nosey parkers...
CUT TO:
INT. SITUATION ROOM -- DAY
They stare at the speaker-phone.
DEETER: What's a 'nosey parker'?
BOLT (V.O.): ...in the meantime, I'm sending a liaison to you in the person of Inspector Thatcher of the RCMP...
AGENT SHORREN: We have another one!
FORD grabs binoculars and peers out the window.
CUT TO:
EXT. COURTHOUSE -- BINOCULAR MATTE -- DAY
THATCHER steps out of the courthouse and starts across the deserted street.
BOLT (V.O.): Stay tuned...
CUT TO:
INT. SITUATION ROOM -- DAY
Dial tone.
FORD: (to DEETER) Get the woman up here. (to AGENT PHELPS) Give me the count.
AGENT PHELPS: 19 inside. That includes Judge Brock, the twelve jurors, Detective Vecchio and the Mountie.
BOLT (V.O.): Before we proceed...
CUT TO:
INT. COURTROOM -- MORNING
BOLT commands the floor. The jury is still sitting in the jury box. RAY and FRASER are found in the prisoners' box. JUDGE BROCK'S mouth is taped.
BOLT: ...are there any final instructions from the bench? Well, what do you know? The bench isn't talking.
FRANCIS enters the courtroom.
FRANCIS: Fifteen minutes, Randal.
BOLT: I'll be there.
FRANCIS: Randal, we depart in fifteen minutes, end of sentence.
BOLT draws FRANCIS aside.
BOLT: Francis, I am standing in front of a jury of my peers, for God's sake and when you use that tone of voice I hear Mom and when I hear Mom I feel humiliated.
FRANCIS: This is not a point for debate, Randal. I will not have you ruin this plan as you did my plan for the train. So, you can take all the spotlight your ego demands but in fourteen minutes, thirty-two seconds we leave, with or without you, end of discussion.
As their conversation continues, FRASER leans over to RAY and whispers:
FRASER: Ray, I realize you're not talking to me, but I'll take the liberty of posing the question anyway: why would you order a helicopter to arrive in 30 minutes if you intend to depart in 15 --
He breaks off. The tete-a-tete between the Bolt brothers concludes as
FRANCIS leaves the courtroom. BOLT turns to his captive audience. He depresses a switch on the remote control for the courtroom camera, which pans over to him.
BOLT: Wake up, America! The enemy is among us. Two men sit before you, accused of treason. Their co-conspirator is no less a figure than that of the American government, which daily curtails the freedoms enshrined in our Constitution. The Fathers of Confederation sound the alarm!
We leave BOLT and CLOSE IN on the COURTROOM CAMERA.
BOLT (CONT'D): The same alarm that was sounded on April 18, 1775 by a simple silversmith named Paul Revere...
INSERT: a satellite transmission station.
BOLT (V.O.): ...he saddled a horse with one thought in his mind: the
British are coming...
INSERT: a satellite in orbit above the earth.
BOLT (V.O.): ...all alone he rode through the cradle of democracy. The British are coming...
INSERT: a satellite receiving dish.
BOLT (V.O.): ...all alone he rode through Lexington. The British are coming...
CUT TO:
TELEVISION SET -- DAY
BOLT'S ranting face is replaced by that of REPORTER 1.
REPORTER 1: ...this live feed is coming to you from the State courthouse in the heart of Chicago where the standoff...
The channel changes
REPORTER 2: ...continues where he left off. Randal Bolt, on trial for acts of terrorism and murder has struck...
The channel changes.
REPORTER 3: ...again we have no indication at this time what his demands are...
PULL BACK TO DISCOVER WE ARE IN THE:
INT. SITUATION ROOM -- DAY
The gathered stare at a television set as BOLT rants.
FORD: Where the hell is that signal coming from?
DEETER: Must be the court T.V.
BOLT (V.O.): (on T.V.) ...all alone he rode through Woburn. The British are coming...
FORD: Cut the signal. We go to full blackout on this one. (spins to face THATCHER) What kind of weaponry have they got?
THATCHER: Assault rifles, semi-automatics, handguns.
DEETER: How'd they get it through?
THATCHER: They had one of their own planted on security.
AGENT MCTAVISH interrupts.
AGENT MCTAVISH: The circuit box is in the building.
FORD: Then cut the cables, blow the dish -- I don't care what you do, just stop the signal. (back to THATCHER) OK, darlin', the bomb. Is it real?
THATCHER: Did you just call me darling?
FORD: I have no idea. Is the bomb real?
THATCHER: Can we afford to assume otherwise?
FORD regards her for a moment, sizing her up.
FORD: Bring in the teams.
As the door swings open and the Response Team spills into the room, we hear:
BOLT (V.O.): ...he rode alone through that dark night until he finally
reached Concord and sounded his cry: The British are coming!
FRASER (V.O.): Objection.
CUT TO:
INT. COURTROOM -- DAY
BOLT stares at FRASER in disbelief.
FRASER: I don't mean to be difficult, but your tract contains some inaccuracies. Paul Revere was unquestionably a patriot but he did not ride alone, nor did he reach Concord.
BOLT: Oh, he didn't, did he, smarty pants?
FRASER: No, he didn't. Revere, a doctor named Prescott, and a man named Dawes set out together from Lexington. En route to Concord they were detained by the British.
BOLT: So who got to Concord?
FRASER: Dr. Prescott, who's been largely overlooked by history, in part because of the distortions in Longfellow's poem, distortions, I might add, you're perpetuating in this courtroom.
RAY: If you want to kill us, Benny, why don't you just use the bomb?
FRASER: I'm glad to see your talking to me again, Ray.
BOLT: Objection. Does the bench sustain? (he nods BROCK'S head) The bench sustains!
FRASER: Furthermore, your assertion --
BOLT: Order in the court!
Silence descends. FRANCIS steps forward.
BOLT: At this juncture, the Jury will retire to deliberate the verdict and the Judge will be thrown into the street.
BOLT opens the door for the jury who file out. As the courtroom is cleared, FRANCIS joins RAY and FRASER. He smiles briefly and depresses a transmitter.
RAY and FRASER flinch.
BOLT: The heart monitors I attached to your chests are now active. Should your combined heart rates clear 200, the plastic explosive will detonate.
He leaves. RAY and FRASER look down.
INSERT: a rising digital readout. 160, 161, 162...
RAY: We're going to die.
CUT TO:
INT. SITUATION ROOM -- DAY
The Response Team is gathered for a briefing from FORD.
FORD: ...we have 18 inside, 12 of them noncombatants. They're requesting helicopter dust off. Let's take a look at the big board.
As FORD'S briefing continues, we slide over to THATCHER who has been shuffled to the side by testosterone. She turns to the RECORDS CLERK.
THATCHER: Can you get me a list of all the trials that were on the slate today?
CUT TO:
INT. EVIDENCE ROOM LOCKUP -- DAY
FRANCIS oversees VERN as he works on the vault door – sophisticated stethoscopes are attached to the tumbler mechanism. FRANCIS checks his watch.
CUT TO:
INT. COURTROOM -- DAY
RAY and FRASER are still in the prisoners' box.
FRASER: Calm? (Ray shrugs) Good. Three wires: red, white and blue.
Now, if I remember correctly, the Continental Congress of 1872 spelled out the meaning of the colours in the seal: red stood for heartiness and courage; white for purity and innocence; blue for vigilance and justice, all of which no terrorist would object to. So where does that leave us?
Ray: In a courtroom, strapped to a bomb, waiting to blow up. Where do you think it leaves us?
FRASER: Ray, don't get excited --
The digital readout climbs to 189.
RAY: Fraser, we're going to die! You want me to pretend I'm happy about it?
FRASER: If you're bitten by a rattlesnake the safest course of action is to lower your metabolic rate.
RAY: This isn't a rattlesnake, Fraser, it's plastic explosives!
FRASER: The same principle would apply --
RAY: You should listen to yourself sometime. You sound like a robot.
The readout hits 191.
FRASER: Calm down, Ray.
RAY: I'm looking at Judgement Day and you want me to calm down?
The readout is at 192.
FRASER: If we work together we can --
RAY: Oh, for God's sake! Can you honestly tell me you're calm right now?
FRASER: No, I'm --
RAY: What?
FRASER: Concerned.
RAY: Concerned? That's it? What about anger? You don't feel angry?
The readout climbs to 193.
FRASER: Not exactly, no --
The readout climbs to 194.
RAY: Just once, just once before we die would you admit that you're a human being?
FRASER: Please, Ray...
The readout hits 195.
RAY: That you feel anger. That you feel hate.
FRASER: Ray --
The readout is at 197.
RAY: Admit it! You've even hated me.
The readout hits 199. FRASER slumps over.
RAY: What are you doing?
FRASER drifts into a trance.
FRASER: Dropping my heart rate.
RAY: We're in the middle of an argument!
FRASER: Don't let me stop you.
RAY: I'm going to kill you.
FRASER: That's very possible.
Slight pause. FRASER from the edge of a coma.
FRASER (CONT'D): I've never hated you, Ray. I've envied you, maybe...
RAY: Envied me?
FRASER: It's not something I'm proud of but yes. I mean, you have a
freedom I wish I had. A kind of existential honesty.
RAY: Are you saying I'm honest?
FRASER: In your heart? Yes.
RAY stares at him.
CUT TO:
INT. SITUATION ROOM -- DAY
In the B.G. FORD details plans for an armed assault.
FORD (V.O.): ...Red team will load at staging area B and the chopper will lift off at thirteen hundred hours...
THATCHER is off to one side, looking over the docket of trials with the
RECORDS CLERK.
RECORDS CLERK: Courtroom one? Ongoing manslaughter. Two? Fraud. First day. Three? A series of misdemeanors --
THATCHER: Hang on. What was the fraud?
FORD continues with his briefing.
FORD: ...rooftop E.T.A. at thirteen fifteen. Blue team will be in readiness at staging area A. White team will be in like readiness at staging area C. On my go, we move. Any questions?
THATCHER steps forward.
THATCHER: Yes. (beat) I know this man. He doesn't leave things to chance.
He'll have anticipated this. If you --
FORD: You know, darlin', I appreciate your thoughts but let's get something straight: this isn't a train. You're on my turf now.
THATCHER (to RECORDS CLERK): Did he just call me 'darlin' again?
CUT TO:
INT. EVIDENCE ROOM LOCKUP -- DAY
VERN has stripped to his T-shirt. He works feverishly on the tumblers.
FRANCIS watches with concern.
FRANCIS: The clock is ticking.
CUT TO:
INT. COURTROOM -- DAY
FRASER remains in his trance.
RAY: Fraser, wake up.
FRASER: Are you calm?
RAY: Yeah, I'm all over calm. What was blue again?
FRASER: Blue stood for vigilance and justice.
RAY: We're in a justice building.
FRASER sits bolt upright with excitement.
FRASER: That's it, Ray!
RAY: Benny --
FRASER: You got it!
RAY: Calm down.
FRASER: You figured it out!
RAY: Fraser!
The digital counter hits 199. They both slump over.
FRASER: So it's blue?
RAY: Yeah. Blue. Maybe.
FRASER: OK. Let's go with blue.
RAY: You go with blue.
FRASER: Why don't you go with blue?
RAY: You're better at this.
FRASER: Perhaps we should both go with blue.
RAY nods and they both reach for the blue wire. The digital counter rises again: 196, 197, 198... ...they pull the wire. The counter shuts off. They are still alive.
CUT TO:
INT. SITUATION ROOM -- DAY
FORD consults his watch, then turns to the Response Team.
FORD: Alright. Let's make ready.
The Response Team starts to gear up.
CUT TO:
INT. HALLWAY -- COURTHOUSE -- DAY
RAY and FRASER burst out of the doors to see a JUROR standing by the elevators in a parody of 'Justice': she is chained to the floor, blindfolded and holding a set of scales. On either side of the scales is a mound of SEMTEX.
RAY: Fraser.
He indicates the elevator read out -- all the cars are on the roof. RAY and FRASER run for a stairwell.
RAPID CUTS OF:
-- A magazine cartridge is inserted into an M-16.
-- FRASER and RAY burst through stairwell doors to see another JUROR posed as 'Justice'.
-- A combat knife is shoved into a boot sheathe.
-- RAY and FRASER discover yet another JUROR chained to explosives.
-- Tear gas canisters as clipped to a combat flak jacket.
-- Another JUROR in the macabre 'Justice' pose. RAY and FRASER head for the...
CUT TO:
INT. STAIRWELL -- DAY
...and run up the stairs. As they run:
RAY: Twelve floors in the building, twelve members on the jury.
FRASER: They've stationed one on every floor and they're linked to the same detonator frequency.
RAY: So when they blow, the whole building goes. What's our time?
FRASER stops, glances at his watch.
INSERT: FRASER'S WATCH, TICKING.
INSERT: A COMMANDO WATCH TICKING.
INSERT: A WALL CLOCK TICKING.
CUT TO:
INT. SITUATION ROOM -- DAY
FORD looks from the clock on the wall to AGENT MCTAVISH.
AGENT MCTAVISH: The chopper's in the air.
FORD: Alright, gentlemen. Showtime.
The phone rings. They hear, on speaker-phone:
BOLT (O.S.): Inspector Thatcher? Before your colleagues see fit to send in the Response Team they've no doubt been readying, perhaps you'd like to take a gander at the front doors.
They rush to the windows.
CUT TO:
INT. COURTHOUSE -- FRONT DOORS -- DAY
BOLT is at the revolving doors. He spins the doors as he talks -- to what end, we don't yet understand.
BOLT: I have it on good authority that the Judge is an avid fan of the death penalty. I think he should lead by example, don't you?
He suddenly stops the doors dead.
CUT TO:
EXT. COURTHOUSE -- FRONT DOORS -- DAY
JUDGE BROCK shoots out of the door as if fired from a cannon. He hurtles across the sidewalk, bounces down the steps, lurches over the curb and comes to an uneasy rest in the middle of the deserted street.
BOLT (V.O.): It was a sad day in Illinois when the State opted for lethal injection. I may be old fashioned but there is something elegant about an electric chair.
Still gagged and strapped to his chair, JUDGE BROCK now sports a strange skull cap. Wires protrude from the cap and terminate in a metal box that is placed on his lap.
CUT TO:
INT. SITUATION ROOM -- DAY
The team stares at the JUDGE in the deserted street below.
BOLT: Look closely and you'll confirm that our man from the bench is wired for sound. Should anyone approach him then justice will truly be cooked.
DEETER lowers his binoculars and looks to FORD.
DEETER: He's for real.
FORD: Response teams stand down.
HIGH ANGLE ON: THE JUDGE, ALONE IN THE DESERTED STREET
BOLT: You have XX minutes to get me that chopper. If you fail...I do the
Judge and then I do the jury.
FADE OUT:
END OF ACT THREE

ACT FOUR

EXT. COURTHOUSE -- DAY
Seen from the situation room, JUDGE BROCK sits in the middle of the deserted street.
CUT TO:
EXT. ROOF OF COURTHOUSE -- DAY
The stairwell door bursts open. RAY and FRASER hurtle through and glance about them. There is no sign of the enemy.
RAY: Where the hell are they? They should be here.
FRASER: Unless the helicopter was a diversion --
They turn a corner to see JUDGE BROCK in the street below.
CUT TO:
INT. SITUATION ROOM -- DAY
The gathered react...
AGENT SHORREN: We have movement on the roof!
THATCHER: (to herself) Fraser.
...and rush to the window.
CUT TO:
EXT. ROOF OF COURTHOUSE -- DAY
FRASER sees THATCHER in the situation room window. He hands the athletic bag to RAY.
FRASER: Hold this, will you?
RAY: You want to explain why we're carrying our own bomb around with us?
FRASER: It might come in handy.
He steps on the edge of the roof and starts signalling with his arms.
RAY: Fraser, if you're going to jump, jump. You don't have to wave your arms around.
FRASER: I'm not jumping, Ray. It's semaphore. In the absence of a phone it's the best that I can do.
INTERCUT WITH:
INT. SITUATION ROOM -- DAY
FORD looks up to the roof.
FORD: What the hell's he doing?
THATCHER: Semaphore.
She returns the signals. This conversation is subtitled.
FRASER: (subtitled) Start communication. Response team status?
THATCHER: (subtitled) Standing down.
FRASER: (subtitled) Do not activate. The jury is gang linked to explosives.
THATCHER: (subtitled) Where are the terrorists:
FRASER: (subtitled) I have no idea. Do you?
THATCHER: (subtitled) I'm not the one who's in the building. Moron.
RAY: What's she saying
FRASER: She called me a moron.
RAY: She's a very perceptive woman.
FRASER: (subtitled) Could you have someone retrieve Diefenbaker?
THATCHER: (subtitled) Will do. Ask Vecchio about the --
FORD: What are you saying?
THATCHER: (starts signal again) Ask Vecchio about the --
FORD: What are you telling him?
THATCHER: (starts signal again) Ask Vecchio about the --
FORD: Come on, darlin', talk to me --
She swings her arm back and clocks FORD who drops. On the roof, FRASER is puzzled.
FRASER: (subtitled) Ask Vecchio about green cheese? Clarify.
THATCHER: (subtitled) Spelling mistake. Read: Gambello case. And pick up coffee on return to Consulate.
FRASER: (subtitled) Understood. End communication.
FRASER turns and they head for the stairwell.
FRASER (CONT'D): Tell me about the Gambello case.
CUT TO:
INT. STAIRWELL -- DAY
As they clatter down the stairs:
RAY: It was a big scale fraud. 30 million in U.S. bearer bonds. It's like cash in hand.
FRASER: The bonds are in the building as evidence in that trial.
RAY: So the helicopter *was* a diversion. They'll grab the bonds and head out where?
FRASER: Sewers, probably. Then detonate from a safe distance.
CUT TO:
INT. EVIDENCE ROOM -- DAY
The last tumbler clicks into place. VERN pulls the massive vault door open.
FRANCIS: Thank you, gentlemen.
CUT TO:
INT. STAIRWELL -- DAY
FRASER and RAY stand at the elevators.
RAY: They must have jammed them. Now what?
FRASER: I have an idea but you're not going to like it.
CUT TO:
INT. FRASER'S APARTMENT -- DAY
CONSTABLE COOPER kneels next to DIEFENBAKER who is still chained. He clips a leash around his neck.
COOPER: OK, boy. Fraser is in trouble. Do you understand?
He unchains DIEFENBAKER who bolts, dragging COOPER with him.
CUT TO:
INT. HALLWAY -- AT THE ELEVATOR -- DAY
FRASER and RAY stare down the dark shaft of the elevator.
RAY: You gotta be kidding me.
FRASER: I told you, you wouldn't like it.
CUT TO:
INT. EVIDENCE ROOM -- DAY
VERN and GABE lie bound and gagged on the floor as BOLT stuffs the last of the bonds into the athletic bag.
FRANCIS: I'm sorry about this but it makes the mathematics much simpler.
CUT TO:
INT. ELEVATOR SHAFT -- DAY
RAY holds onto FRASER who holds onto the elevator cable. In tandem, they slide down the elevator shaft. FRASER glances at his gloved hand on the cable.
SMOKE appears from it.
FRASER: Hmm.
RAY: What?
FRASER: Nothing. Just a little friction.
He glances again. The GLOVE bursts into flames.
FRASER (CONT'D): Oh, dear.
RAY: What?
FRASER: Well, it would appear that --
His ARM bursts into flames.
FRASER (CONT'D): Yep, I'm on fire, Ray.
RAY: Well, at least this day isn't a total write off.
SEEN FROM BELOW: a human fireball screams toward us, passes us and disappears from frame. We hear a splash and the sound of flames being doused.
RAY (O.S.) (CONT'D): That was lucky.
FRASER (O.S.): Not luck, exactly. There's usually a puddle at the bottom of an elevator --
RAY (O.S.): No, there isn't.
FRASER (O.S.): As a rule, actually, there is. You see, the condensation --
RAY (O.S.): Oh, shut up.
CUT TO:
EXT. COURTHOUSE -- DAY
DIEFENBAKER drags the tattered CONSTABLE COOPER up the deserted street. They screech by JUDGE BROCK, causing his chair to spin like a top.
CUT TO:
INT. SITUATION ROOM -- DAY
FORD turns to THATCHER.
FORD: Who the hell is that?
She shrugs her shoulders. FORD turns to DEETER.
FORD (CONT'D): Where's the chopper?
DEETER: At a boundary marker, 3 miles out.
FORD: Get the teams back to full readiness.
CUT TO:
EXT. STREET -- DAY
DIEFENBAKER hurtles toward the door to the garage. The door is partially lowered -- room enough for a dog, not quite enough for a Mountie. COOPER'S head connects with the door and he stops on a dime, letting go of the leash.
CUT TO:
INT. STAIRWELL -- DAY
The BOLTS clatter down the stairs, carrying their booty.
CUT TO:
INT CONTROL ROOM -- BASEMENT -- DAY
RAY, FRASER and DIEF hide behind one of the panel boxes. RAY reaches down and pulls a pistol from his ankle holster.
FRASER: How did you get that weapon through security?
RAY: Same way they got us through.
FRASER: Oh, right. Here they come.
The BOLTS open the door and start into the room.
FRASER (CONT'D): (to DIEF) Go.
DIEF races toward the BOLTS and relieves them of the athletic bag containing the bearer bonds. The BOLTS draw their weapons. RAY and FRASER break cover and the trio races through the far door and into...
CUT TO:
INT. ELEVATOR CABLE ROOM -- BASEMENT -- DAY
They run through the maze of the room and are about to reach the door when gunfire from the BOLTS force them to take cover.
BOLT: You realize, of course, this story does not have a happy ending.
RAY: (shouts and FIRES) Bite me! (to FRASER) Listen, just in case he's right, I want to -- I mean, I know you are what you are and there's nothing you can do about that. It's just, it's hard to have a saint for a friend, if you know what I mean. Go!
They sprint across the room, dodging bullets and step into...
CUT TO:
INT. COLD ROOM -- DAY
They rush through the obstacle course. The BOLTS pursue.
FRASER: I'm not a saint, Ray.
RAY: I don't mean a saint saint, like in you've got your own day...
He fires his weapon.
RAY (CONT'D): I mean saint in the sense of a --
FRASER: A metaphor?
RAY: Yeah, a metaphor. Ready?
FRASER nods. RAY fires for cover and they run into the...
CUT TO:
INT. FAN CIRCULATION ROOM -- DAY
They run the length of the corridor, carrying the two identical athletic bags.
The BOLTS enter and fire, forcing the trio to take cover behind a fan housing.
FRASER: You are as well, Ray. We all are. We're not that different. Even them. Do you know what I mean?
RAY: Yeah and that's what scares me. I do know what you mean.
FRASER: That's probably why we're --
RAY: OK, that's enough. Don't go all mushy on me.
BOLT calls out from the far end of the corridor.
BOLT: Gentlemen, your choice is simple. You give us what we want or we blow the building.
RAY: (shouts) You're not going to blow the building. You're not a martyr. You're just a self-centered little creep, wants to get his face in the paper.
FRASER: (to RAY) Are you talking about me, Ray?
RAY: (to FRASER) Indirectly.
BOLT: You're wrong about this, my friend. I'm on a midnight ride for America. I'm the modern day...what was the name of that guy, again?
FRASER: (shouts) Dr. Prescott.
BOLT: Yeah, that's the guy. I'm the modern day Dr. Prescott.
ANGLE ON: FRANCIS AND BOLT
FRANCIS: No, you're not, Randal. And neither am I.
BOLT: What are you saying?
FRANCIS: See the world for what it is, Randal. We're not patriots. We are thieves. Uncommon, to be sure, but thieves nonetheless. And once again you are on the verge of ruining a perfect plan so it is time for you to be quiet!
ANGLE ON: RAY AND FRASER
FRASER: We seem to have hit a nerve, Ray.
FRANCIS: Detective, there are 12 innocent people in jeopardy. Is it worth the risk? All we want are the bonds.
RAY: You kidding me? That's all they want? Why the hell didn't he say that in the first place? (yells) Here. Take them.
RAY lifts up the athletic bag and hurls it down the length of the room. The BOLTS scoop it up and run.
FRASER: Ray, how could you do that? It doesn't belong to us.
RAY: I know that. It's theirs.
FRASER: It is not theirs. That money belonged to someone else.
RAY: Ohhh. Did he say 'bonds'? I thought he said 'bombs'.
FRASER: You know, you're very clever, Ray.
CUT TO:
INT. LOW ROOM -- BASEMENT -- DAY
The BOLTS rush up to the grate that leads to the sewers. FRANCIS suddenly stops short.
FRANCIS: Open the bag.
BOLT does: no bonds, just a lot of RDX - CYCLONITE.
CUT TO:
INT. CORRIDORS -- VARIOUS DAY
The BOLTS step into a corridor to see DIEF standing at the far end holding the other athletic bag in his mouth. As they step toward him, he runs out of view.
They follow...
...and turn the corner to see DIEF standing at the bottom of a short flight of stairs. As they approach, he darts up the stairs. They follow...
...and see DIEF at the end of a hallway. They give chase, and round the corner to see...
CUT TO:
INT. OPEN ELEVATOR SHAFT -- DAY
...the athletic bag dangling like a jewel in the center of the empty shaft. The BOLTS approach cautiously, looking over their shoulders. They peer into the shaft -- it seems to be empty.
FRANCIS: Grab the bag.
BOLT: Why don't you grab the bag?
FRANCIS: Don't you trust me, Randal?
BOLT: Do you trust me?
FRANCIS: Why don't we both grab the bag?
In tandem, they reach across the space and both lay a hand on the bag. As soon as they grip it, the bag seems to leap above them, pulling them off balance.
As they start to fall RAY'S hand shoots out and plucks the detonator from BOLT.
They lose their balance and fall, landing at the bottom of the elevator shaft.
FRASER appears out of the shadows, unhooking a cable that is attached to the bag full of bearer bonds. RAY holds up the detonator and calls down to the BOLTS.
RAY: You still want to blow the building?
BOLTS: No -- don't -- please.
RAY: Yeah, just as I thought.
DIEF appears at the elevator opening. FRASER smiles.
FRASER: (to DIEF) Kind of reminds you of a bear trap, doesn't it?
DIEF barks.
FADE TO:
EXT. COURTHOUSE -- DAY
The jurors are led out of the building to waiting ambulances. JUDGE BROCK is attended to by some policemen. THATCHER and FORD argue -- presumably about the bloody nose he dabs his handkerchief at. In the middle of this activity, the focus is on DIEFENBAKER who is the center of a media scrum.
We tilt up toward the roof of the building.
CUT TO:
EXT. ROOFTOP -- DAY
FRASER retrieves his hat and joins RAY at the edge of the building. They can both see DIEF on the steps below.
RAY: What a press hound.
FRASER: Who needs it?
RAY: Not us. (they breathe deeply) God, I love this city! (a beat) Yeah, sometimes you just have to be a conduit, let the world come to you. You know what I'm talking about?
FRASER catches sight of THATCHER on the street below. She starts signaling in semaphore.
THATCHER: (subtitled) You have duties, Constable.
FRASER: (subtitled) Understood. Once again: red suits you.
THATCHER: (subtitled) I...oh, I...well...
FRASER: (subtitled) End communication.
RAY: What was that about?
FRASER: Nothing.
RAY: You wave your arms around for nothing? I didn't fall off the turnip truck this morning, Fraser.
FRASER: Which turnip truck?
RAY: Don't try to deflect this --
FRASER: Deflect what, Ray?
RAY: You know what I'm talking about.
FRASER: No, I don't, Ray. In fact --
RAY: Yes, you do...
They continue bickering as we pull up and away and:
FADE OUT