[NOTE: This one was difficult to do. What’s in black is what was typed onto the pages. Later, when they went over it, hand written notes were made. Those appear in red]
The Ladies Man Previously "The Other Mrs. Botrelle" Written By: John Krizanc Published Draft: October 29,1997
PROLOGUE (42) Man-Fraser/Ray/Dief (2) EXT. DOWNTOWN STREET--DAY (DAY ONE) Ray and Fraser are walking along the street with Dief. Ray glances at a newspaper. The headline reads. "Lady Godiva Gets Her Wish. Copkiller's Execution set for Friday." Ray is in an agitated state as he spots an empty coke can. He kicks the can, sending it skittering on the sidewalk. RAY: Empty can? Garbage can. What's so hard about the equation? How hard can that be? And this, look at this. He spies a cardboard box and gives it the boot. RAY: It's a box. You put one box in another box. You take it and put it in the dump or wherever. How hard is that? FRASER: You know, I sympathize with your sentiments, Ray, so you have to forgive me for asking…when did you become so concerned with neatness? (43) WS-Fraser/Ray/Dief (1) RAY: This isn't about neatness, Fraser. This is about the nut, the down to the bone core of what keeps a city ticking. Little things: don't chuck stuff in the street; you stop at a red light, you go at a green light. I mean, if we can't agree on the little things, how the hell do we manage the big stuff? FRASER: It's an interesting question. My father… RAY: I'm not looking for an answer. It's one of those…whaddaycallits? FRASER: Rhetorical questions? RAY: Yeah. I mean, look at those countries where they cut your hand off if you steal? Do they keep stealing? No. Why? They got no hands. FRASER: Are you proposing we cut people's limbs off for littering?…Ray. (44) FS-Cop/Fraser/Ray/Carmen (7) (8) Fraser's POV-On the corner-A dazed looking Uniform Cop seems to be staggering on his feet. There is a bleeding cut on his chin. They run towards the cop. FRASER: Are you alright? UNIFORM COP: (nods) He tried to take my gun. He's got a big knife like you see in movies. Ran down the alley. FRASER: (to cop) Cover the corner. (45) Fraser/Ray's POV Away (1) As Ray and Fraser head to the top of the alley: RAY: I was six? I put a match to a mask I'd made out of a paper bag, almost sent the whole house up. My Dad was gonna skin me alive. FRASER: Did he? RAY: No, but the threat was there. And the point is, no threat? No danger. No danger. Anarchy. (they survey the alley) How do you want to work this? FRASER: I think I see a way to the back of the alley through the building. Dief. Dief follows Fraser in the building. Ray pulls his gun and heads warily down the alley. Ray's POV-scanning the alley, moving forward. ON RAY as he moves along the side of a dumpster/pile of boxes. A FLASH OF STEEL and a MACHETE is at Ray's throat. CARMEN MIRANDA has Ray's head in the crook of his forearm and his knife to Ray's throat. Miranda is hopped up on something or just plain nuts-either way, he's dangerous. CARMEN: Gimme your gun. RAY: You don't want my gun. CARMEN: Don't tell me what I want. I know what I want. I want what I need. I need your gun. RAY: Why don't you just go buy a gun? CARMEN: If I could afford to buy a gun, do you think I would need to buy a gun? Do you have any idea of the cost of maintaining a single family dwelling in the greater Chicago area? No, you probably live in an apartment. Me? I want to put down roots. Pay for a new roof, a little pink insulation. So give me the gun. RAY: What do you want it for? CARMEN: I'm robbing the Credit Union Bank tomorrow just before closing. RAY: You think it's a smart idea to tell me that? (46) FS-Carmen/Fraser (3)(5) Carmen grabs the gun from Ray's hand, steps away from Ray and levels the gun at him. Carmen cocks the gun. Fraser appears at the end of the alley. (47) MS-Ray/Carmen (2) FRASER: Excuse me. Carmen turns to see Fraser standing there. FRASER: I don't think you want to do this. Do you really want to shoot a man? CARMEN: Sometimes. FRASER: You realize it's a felony. CARMEN: I don't care. RAY: He doesn't care, Fraser. FRASER: You could go to prison. CARMEN: I don't care. RAY: He doesn't care, Fraser. FRASER: You might be attacked by a wolf. CARMEN: In prison? FRASER: No. Right now. (50) MS-Fraser/Guy (4)(5) (48) CU Ray (2)(3)(4) (49) CU Carmen (1) Diefenbaker LEAPS from high ground. Carmen goes sprawling, Ray's gun sails through the air and hits the ground. Ray picks up his gun, whirls on Carmen, yanks him to his feet and throws him up on the hood of the car. RAY: Are you okay? You want this gun? You want it bullet by bullet? Or do you want me to take this gun and pound it into your head? Ray jumps up on the hood with him. RAY: Come on. You tell me how much you want it. A GUY appears, car keys in hand. GUY: Hey! What are you--- RAY: (to guy) Back off. GUY: This is my car. RAY: Tell me! GUY: Is he crazy? FRASER: No. He's a police officer. RAY: Tell me. GUY: He's scratching up the paint! CARMEN: You can't kill me! (51) FS-Ray/Fras/Car/Guy/Dief RAY: You don't think so? FRASER: Ray…Ray Fraser's hand reaches out and puts his hand over the gun. RAY: What?! FRASER: Look at me. Ray does. FRASER: (Ray stares at him) You are not going to kill this man. RAY: Why not? That's what I do. FRASER: That's not what you do, Ray. RAY: Oh yeah? You talk to me in two days. I'll guarantee I'll have killed someone. On Fraser's look.
END OF PROLOGUE
ACT ONE (33) MFS-MCU-Bartender/Ray/Fraser (1) INT. SEEDY BAR--DAY (34) MCU Bartender (3) (35) MCU Ray (1) Ray sits at the bar, a coffee in front of him. An odd ball of a BARTENDER washes glasses. Fraser joins Ray and offers him something to eat which Ray declines with a glance. A beat. Ray exhales audibly. FRASER: Ray, a nice selection of dates, apricots, figs, prunes and two cheese sticks. RAY: Look at that. He holds out his hand--it's shaking. RAY: I'm a wreck. I'm right up on the edge of some…I don't know what. BARTENDER: Breakdown? RAY: No, I just, I just gotta get my… BARTENDER: Head? RAY: Head screwed on right. He takes a sip of coffee. Fraser watches him. FRASER: Ray…as you know, I first came to Chicago on the trail of the killers of your father… RAY: and you have remained… FRASER: Indeed. (beat) And in the course of that long hunt for the murderers I could picture very clearly the moment that I would come face to face with them. And in every scenario I would concoct, I would exact revenge in like kind. BARTENDER: Like kind? What's that mean, "like kind'? FRASER: It means I would see myself killing the killers. But (as it turned out) the impulse to murder, no matter how justified, was dulled by time and reality. RAY: What if it's out of your hands, Fraser. What then? FRASER: It's never out of your hands. It's your decision. RAY: Not in this case. BARTENDER: I don't follow. Ray passes over a newspaper. The same headline as we saw before: "Lady Godiva Gets Her Wish. Copkiller's Execution set for Friday." Fraser reads the headline. RAY: Beth Botrelle. She gets a needle stuck in her arm in two days. Fraser looks at him. RAY: I was the arresting officer. The Bartender whistles. EXT. A MIDDLE CLASS NEIGHBORHOOD--NIGHT (NIGHT ZERO) OMIT. Ray's Squad Car pulls up to the curb in front of the darkened house. The neighborhood is quiet. There is a car in the driveway. Ray steps out of the car. The house is in darkness. The front door is hanging slightly open. Ray pushes at the door and it swings open. (113) FS-Ray (2)(3pu) INT. BOTRELLE HOUSE--NIGHT Near total darkness. Ray's flashlight held at shoulder level. RAY is nervous. The dancing oval of light adds to the spookiness of the scene as Ray makes his way through the living room. (2) (3pu) (114) MS-Ray/Jake/Gun/Purse (4)(6pu) We can see contents of Beth's purse on the floor. Ray's foot hits something. He slips on it, almost losing his balance. He puts the light on it for a look. A black shoe, toe pointing to the ceiling. Ray's light travels along the leg, along the body to the face. (116) MCU Ray (3) (115) FS-Ray/Jake/Paper (2) RAY'S POV--JAKE BOTRELLE lying on his back on the floor, soaked in blood and dead. He's been shot in the head. (112) MCU Ray/Gun/Paper (2) Ray almost wretches. He pulls his gun and swallows hard as he lowers himself to one knee. That's when he realizes that the carpet is blood soaked. A BLOOD SOAKED PIECE OF PAPER is on the floor near the body. Ray picks it up and tries to unfold it but holding a gun at the same time makes it difficult. He hears noise. Ray rises silently to a standing position. He shoves the piece of paper into his breast pocket and makes his way deeper into the house toward the source of the noise. (119) SINGIE Ray (1) (120) MCU Ray/Paper (1)(2) (8pu) WITH RAY as he approaches the bathroom. The door is pulled to, but is not tightly, closed. A crack of light defines the doorway. The source of the sound we've been hearing has become clear now. It's a running shower. Ray stops outside the door and takes a deep breath, preparing himself. He flattens himself against the wall beside the door and carefully pushes the door open. (121) MS-Ray/Footprints (1)(2) (continued on p.21 sc.19) INT. BOTRELLE HOUSE-BATHROOM-NIGHT Ray's POV-smears of blood on a white bath mat outside the shower stall. (122) MCU Ray (2)(3) As Ray approaches the glass walled shower stall, his gun extended in front of him. He reaches for the door and yanks it open. (123) MS-Beth (1)(2) BETH BOTRELLE is sitting curled up in a ball against the wall on the floor of the stall. Water pours down on her. (continued on p.22 sc.20) EXT. BOTRELLE HOUSE--NIGHT OMIT. Crime Scene. The usual busy traffic. TRAFFIC CONTROL COPS holding back the press and the curious neighbors. Ray is talking to a PLAINCLOTHES COP when a Detective we'll know as SAM FRANKLIN leads a handcuffed Beth Botrelle, barefoot and naked except for the trench coat that's being used to cover her, out of the house. A PHOTOGRAPHER leaps forward and snaps off a FLASH PHOTO. FREEEZE ON THE PHOTOGRAPH: (36) Master (2) INT. SEEDY BAR--DAY (DAY ONE) CLOSE ON the photo taken in the previous scene. Franklin leads Botrelle from the house; Ray visible in the corner on the B.G. PULL BACK to see Fraser and Ray at the bar. RAY: She'll be in the history of Illinois as only the second woman to be executed. FRASER: Ray, she's there because of what she did. Not because of what you did. BARTENDER: Unless there was something screwy with the arrest, some screwy kind of technical screwup that… RAY: Hey, it was a clean arrest, pal. It was cut and dried. She was as guilty as the day is long. FRASER: Then all you did was your duty. RAY: It's not about duty, Fraser. FRASER: What is it about? RAY: I'm the first link in a chain, OK? The first link in a long chain that leads to someone being killed. And let me tell you something, there's a whole lot of ground between what's, you know…? BARTENDER: The Abstract? (37) CU Ray (1)(2) (38) MCU Fraser (1) RAY: (nods) The Abstract. And the uh… BARTENDER: Reality? RAY: Hey! You mind? The Bartender huffs and wanders off into the bar. RAY: The point is this, Fraser. Reality. The question is this. When it comes right down to it, the real question is: could you pull the switch? Fraser looks at him. He has nothing to say. RAY: I had this dog once. This crazy little mutt. And one day he got hit by a car. It didn't kill him, but it was lying there in a lot of pain. He'd look up at me, to help him. And I couldn't look at him so I put this bag on his head and took him to the vet and the vet gave him the needle, the vet put him down. FRASER: (beat) You know, having a conscience can be a terrible burden. RAY: I know what I gotta do. FRASER: What's that? RAY: Look her in the eye. I gotta look her right in the eye. EXT. PRISON--DAY The "Cicero Correctional Center for Women" A skeleton crew of DEATH PENALTY PROTESTERS hold a vigil outside the prison gates. Some of them carry candles, most carry placards. A group of SKINHEADS mill around a few yards away across a No Man's Land, hurling taunts and obscenities at the Protesters. A POLICE OFFICER tries to keep order among the protesters and keep traffic moving at the same time. OMITTED EXT. PRISON--DAY Diane Bowen (a reporter) does her standup. DIANE BOWEN (V.O.): Beth Botrelle's lawyer, Carolyn Sherman is a daily visitor to the prison in a seemingly endless shuffle to the Gubernatorial Mansion where clemency from the Governor is Beth Botrelle's last and only hope. Diane Bowen. Channel 10 news. A shouting match erupts between the opposing camps. SKINHEAD #1: Hey, they're gonna fry her veins. They're gonna strap her to the board! SKINHEAD #2: They should fry you with her. They start toward the prison. (68) Master (1)(2) INT. PRISON-THROUGH THE PRISON--DAY PRISONER #1: Oooh, I love a man in uniform. PRISONER #2: I bet you got ways to make me talk. (69) MFS-Carolyn/Fraser/Guard/Trustie #1/2 (1)(3) CAROLYN: Against my better counsel, Beth has consented to see you. I can't prevent this but I can impose one condition: anything said between you remains between you. Agreed? Fraser and Ray nod. TRUSTIE #1, a sad eyed young thing, runs up to Fraser. TRUSTIE #1: Are you really a Mountie? FRASER: Yes, ma'am, I am. Trustie #2, hardened, tougher than Trustie #1, shoves her roughly aside. TRUSTIE #2: Never mind her. I want to taste your Musical Ride. Fraser steps past her to the fallen Trustie #1. He helps her to her feet. FRASER: I see, thank you. Are you alright? TRUSTIE #1: Yes. Can you really sing? FRASER: Well, yes I can. Trustie #1 looks at him pleadingly. TRUSTIE #1: Oh…Please…? FRASER: (sings) Alright. KKKKatie…adored." RAY: Fraser. FRASER: Just a second, Ray, I'm just finishing up. "…moonshine…door." GUARD: That's enough. Get back to the range. TRUSTIE #1: My name's not Katie. INT. PRISON-VISITOR'S ROOM-DAY (70) FS-Beth/Fra/Guard/Ray (2) BETH BOTRELLE is wearing a brightly colored jump suit. But that's the only bright thing about her. She's resigned, shut down. (71) MCU Beth (1)(2) (72) 3SHOT-Fraser/Carolyn/Ray (1) Fraser, Ray and Carolyn Sherman enter. CAROLYN: Beth, this is Constable Fraser of the RCMP. BETH: (re: Fraser's tunic) The British wore coats like that during the War of Independence. Minutemen picked them off like it was a turkey shoot. No wonder you lost an empire. CAROLYN: And this is Detective… BETH: Yeah, I know him. I couldn't forget him. Ray just looks at her. CAROLYN: Are you sure you want to do this, Beth? BETH: (staring at Ray) Yeah, sure, I'll talk to him. Alone. CAROLYN: Beth, I'm not sure… BETH: Alone. CAROLYN: Very well. (73) Master (4) She signals to a guard who opens the door, allowing Fraser and Carolyn to step into the hallway. The door closes and Ray is face to face with Botrelle. They stare at one another. BETH: It's been a long time, Officer Kowalski. INT. PRISON--HALLWAY--DAY Fraser and Carolyn in the hallway outside the Visitor's room. Carolyn looks out the window. CAROLYN: I loathe this place. FRASER: You know, in the Middle Ages, they would open a hole in an accused's torso into which they would pour molten lead as an encouragement to confession. FRASER: So viewed in a favorable light, I suppose one might conclude we have made some progress. CAROLYN: Are you under the care of a qualified psychiatrist, Constable? FRASER: Not that I'm aware of, no. CAROLYN: I could recommend one. FRASER: I'd appreciate that. (77) CU Ray (1)(2) (78) CU Beth (1)(2) INT. PRISON--MEETING ROOM--DAY Ray and Beth. BETH: You're looking for forgiveness. RAY: Is that what you think? BETH: People visit me for a limited number of reasons. You're not press. You're not family. If it's not a pardon you're looking for, what is it? RAY: I'm just here because I ahh… BETH: (sing song) I'm just here because I'm here because I'm here because I'm queer. RAY: You're kind of nutty, huh? BETH: Actually, I would say I'm fairly well adjusted considering. RAY: You got a point. BETH: You can rest easy, Kowalski. They took me to the Death Room four times. One time the needle pricked my skin before the call came and they had to stop. (beat) I would prefer they killed me. (111) MCU Beth (2) RAY: Why? Because you killed him? BETH: Does it matter any more? RAY: It does to me. BETH: (looks off) I loved him. INT. BOTRELLE HOUSE--FLASHBACK--NIGHT (NIGHT ZERO) 1990, Beth, smeared with blood, on her knees, bent over, keening over the bloody dead body of her husband, a gun in her bloody hand. BETH (V.O.): He wasn't perfect, and God knows he made me could make me angry but I loved him. And I wished it had been me lying on that floor. INT. PRISON--VISITOR'S ROOM--DAY (DAY ONE) Beth smiles at Ray. BETH: It's not your fault. Any cop could have taken that call. RAY: I know that. BETH: So don't let this wear on you. I know how hard it is. I was a Cop's wife for ten years. RAY: I know. Beth looks at him and smiles a little for the first time. (112) FS-Jake/Beth (3) BETH: Let your conscience be clear, Officer Kowalski, I killed him. EXT. PRISON--DAY Ray and Fraser approach the GTO. Ray suddenly erupts, throwing his coat at the car. RAY: Damn, damn, damn, damn! Fraser waits until Ray's anger subsides. Ray turns to him. RAY: She was lying. That woman is going to die and she's trying to make me feel better. FRASER: How do you know she was lying? RAY: Fraser, I know when someone is lying and she was lying. (beat) She didn't kill her husband. Off Fraser's look:
END OF ACT ONE
(39) Master (4)(8pu)(9pu)(10pu) INT. SEEDY BAR--DAY The Bartender offers up on odd concoction on an ornate plate. BARTENDER: You throw some of this down the old food tube? It'll boost you right back up. WL #1190-Ray RAY: (stares at it) What is it? (40) CU Fraser (1) BARTENDER: A little concoction of my own devising. I call it 'Despondency'. Personally, I'm prone to a sinking heart. So I brew this up. It's got a little wind flower a little ground cuttlefish but the main ingredient is St. John's Wort which-- RAY: Wart? You want me to eat something made out of warts? FRASER: I believe it's 'wort', w.o.r.t., Ray--an herb reknowed for its medicinal properties. BARTENDER: I respect a man who knows his roots. RAY: Yeah? Well, I'd respect you if you'd take your 'despondency' and give yourself a calonic, we're talking here, okay? The bartender shrugs his way into another area of the bar. (5pu)(6pu)(7pu)(8pu)(9pu)(10pu) RAY: Fraser, it was an open and shut case. Number one, her fingerprints were on the trigger, 2, she'd threatened to kill him in public, 3, she couldn't account for her movements on the night in question. Whole thing was over in a week. (39)(4)(8pu)(9pu)(10pu) FRASER: What about the piece of paper? The one you picked up near the body? RAY: One little piece of paper isn't going to change the outcome. Fraser, we're wasting time. She g ets the needle in a matter of hours. FRASER: Ray, indulge me. (a beat) Let's just follow the paper trail. RAY: Follow the paper trail. (118)CU Paper (1) INT. BOTRELLE HOUSE--FLASHBACK--NIGHT (NIGHT ZERO) Throughout the following we remain CLOSE ON the bloodied piece of paper. Ray picks the paper up off the floor and tries to unfold it, but holding a gun in his hand makes it difficult. RAY: (V.O.) OK, I found the paper near the body. Or maybe it was under the body. I can't remember. FRASER: (V.O.) Did you read what was on the paper? RAY: (V.O.) No. I was…I heard this noise so I…I shoved it in my pocket, I guess. Yeah, it was in my pocket. He hears a noise and stuffs the paper into his breast pocket, leaving part of it sticking out. He moves deeper into the house. (120) (1)(2)(3pu) FRASER: (V.O.) Then what? From p.9 RAY: (V.O.) I carried it around with me till I found Mrs. Botrelle in the bathroom. Ray carefully pushes the bathroom door open. (123) (1)(2) INT. BOTRELLE HOUSE--BATHROOM--NIGHT from p.9 Ray's POV-BETH BOTRELLE is sitting curled up in a ball against the wall of the floor of the stall. Water pours down on her. FRASER: (V.O.) And after that? RAY: (V.O.) I waited till backup showed. (124) PS-Ray/Cops/Jake/Franklin (2) EXT. BOTRELLE HOUSE--NIGHT (125) MCU Ray/Paper/Franklin (2)(3) Crime scene. A VIDEOTAPE CAMERAMAN in a CSU WIND BREAKER moves from room to room among the crowd of cops and technicians. RAY: (V.O.) And eventually I found Detective Franklin. FRASER: (V.O.) Who was he? RAY: (V.O.) The primary investigator. Ray carefully takes the bloody sheet of paper from his pocket and hands it to Detective Franklin. Franklin takes a plastic evidence bag from his pocket and drops the sheet of paper inside. With a felt pen he writes a number on the bag. (41) Master (1)(2) INT. SEEDY BAR--DAY (DAY ONE) Ray lowers his head. RAY: I contaminated evidence. FRASER: Well, procedure would suggest that it had been…disturbed, yes. RAY: I forgot a bout that till now. I mean whole careers are wrecked over something like that and what happens to me? I get promoted. (41) (1)(2) FRASER: Don't be so hard on yourself, Ray. You were young. It was your first situation. There was blood. There was a corpse. It could have happened to anybody. RAY: Something like that ever happen to you? FRASER: No, but that's not important. What is important is that we find out what was on that piece of paper. Ray shakes his head. RAY: A woman could be sitting on death row 'cause I screwed up. (a beat, then to the Bartender) (Fraser-True) You got any of that despondency? BARTENDER: You know I do. RAY: Bring me a jumbo to go. (52)MS-Jocelyn/Ray/Fraser (5) INT. STATE ARCHIVES--DAY JOCELYN KERR, ushers Fraser and Ray into a book lined room centered by a large board room table. She and Fraser seem to know each other. JOCELYN: (to Fraser, as if it's a joke punchline) I had land acquisitions next to Aboriginal Spirit Walks. Can you believe it? FRASER: No, I can't. She enjoys a laugh. Fraser is amused too. JOCELYN: You really must come to the Art Institute. We’re having a retrospective on "Geopolitics in the post colonial Burmese Puppet Theater." FRASER: Oh you scamp. JOCELYN: Yeah JOCELYN: (laughing) Let me just grab that evidence log. FRASER: Thank you. She closes the door behind her. Ray shoots Fraser a look. RAY: Friend of yours? FRASER: (nods) Ahh, yes… We share a some common interests. Inuit Throat Singing and--- (53)MFS-Fraser/Ray/Jocelyn (8) RAY: Hold that story. (53) Insert Photo (1) Ray turns his attention to framed photos on the wall. CLOSE ON ONE PHOTO- State's Attorney Robert Bedford smiling and shaking hands with President Reagan. There is a third man in the photo. It is the late Jake Botrelle. RAY: Waddya know? There's our man. FRASER: We used to watch his movies in Dawson Creek. No one was more surprised than we when he became President. RAY: Not Reagan. The guy beside him. That's Jake Botrelle. Everybody's favourite cop. FRASER: And who's this? RAY: Our fearless State's Attorney Robert Bedford. Known to his intimates as 'Ordinary Bob'. Made big on the Botrelle case. If he keeps this up, he'll make Governor. Jocelyn returns with a fat ledger which she hands to Fraser. JOCELYN: We must go for bark tea some time. FRASER: Well, that's an inspired idea. RAY: Hang on. Where's the evidence? JOCELYN: It's not here. After five years they move it across town into storage which is stupid but it is the government. I could call ahead and get you a time. FRASER: We'd appreciate that. And I am looking forward to that bark tea. A smile for Fraser and she disappears out through the door. Fraser flips through the ledger. RAY: Look for evidence bad 26. FRASER: (referring to the log) One pair of sunglasses. No reference to a piece of paper. (8)FS-CU: Fraser/Ray/Dief (8) INT. POLICE STATION-HALLWAY--DAY Ray and Fraser and Dief walk along the hallway toward the bullpen. FRASER: There's no point in complaining, Ray. The Civil Service has its own metronome. RAY: I don't care if they got their own astrodome… They step into… (9)MCU-Welsh/Ray/Dewey/Huey (4)(5) INT. POLICE STATION-BULLPEN--CONTINUOUS ---the bullpen and Ray stops in his tracks. His POV: a group of cops are gathered around a large white paper pad that is hanging on the wall. The front page of the paper is tacked up above it. Dewey writes the number 2 across the pad. RAY: (re: the pad) What is that? DEWEY: Two more days then it's Wham Bam, Thank you, Ma'am. RAY: Take it down. DEWEY: What is the problem? RAY: Take it down. I said…take it down. Ray pulls down pad off the wall as he heads for Dewey. A scuffle breaks out. Welsh appears from his office. Welsh and Huey pull them apart. WELSH: Hey. What's going on here? DEWEY: Nothing, Sir. (6)MS-Dewey/Huey/Welsh/Fraser (2) (12) ECU MFS: Ray/Franklin (1)(2) WL#1182-Welsh WELSH: What is it, the Middle Ages here? You want to celebrate, do it in private. DEWEY: Yes, sir. Dewey climbs up on a desk, removing the pad from the wall. From the desk he turns up the volume on the TV. ON TV-Outside the prison. Death Penalty and Anti-Death Penalty Marchers file past each other in protest. ANGRY CATCALLS. Skinheads. Middle Aged Women in Ponchos. Diane Bowen stands in front of them, doing her standup. DIANE BOWEN: convicted cop killer, Beth Botrelle, sees daylight for what may be her last time as the countdown continues towards Friday's execution. ROBERT BEDFORD speaks at a battery of microphones. BEDFORD: No one gets any pleasure out of what is going to happen here. But people should let the State get on with the business of dispensing the justice that is the will of the people. WELSH: What is that, a paid political (announcement)? Advertisement Turn it off. Dewey clicks off the tv and climbs down off the desk, pad and newspaper in his hand. DEWEY: Am I missing something? She killed one of us, a cop. And now she gets what she deserves: the Big Sleep. End of story. HUEY: You're turning into a very colourful personality. (11) 2SHOT-Fraser/Welsh (2) DEWEY: Thanks, Jack. OMIT: Dewey turns up a radio at a desk. We hear "Lady Godiva" by Peter and Gordon. Various officers laugh uproariously and high five each other as they sing along. Welsh turns to Fraser and, by way of explanation: WELSH: He was a good cop, Constable. You kill a cop, eight years or not, people are gonna remember. ANGLE ON: RAY Who stands by the door, away from the other cops, watching the proceedings with a mixture of disgust and self-loathing. FRANKLIN: (O.S.) Not easy, is it? Ray turns to see INSPECTOR FRANKLIN, whom we last saw in the flashback. He's a little older, a little more beaten up, he's put on some weight. RAY: Inspector Sam Franklin. FRANKLIN: Good to see you, Ray. RAY: Good to see you. FRANKLIN: Come on walk me down the hall. RAY: What the hell brings you down here at the twenty-seven? FRANKLIN: Passing on the new guidelines for petty cash accountability. Since I was here I thought I'd pop my head in, see how you're holding up. (13)Master (7) RAY: To tell you the truth. Not that good. Franklin puts an arm on Ray's shoulder and they walk… INT. POLICE STATION-HALLWAY--CONTINUOUS …into the hallway. FRANKLIN: Listen, Ray, I know it's hard. Maybe you should take a few days, get out of town till its over. RAY: Look, I don't want you to think I'm off my nut but I'm not so sure she did it, Sam. (I don't think) FRANKLIN: Ray, come on. You know she did. RAY: No, I don't. There's stuff… FRANKLIN: Look, I know what you're going through. Jake Botrelle and I worked together. He was a helluva guy. I thought I'd be the first one to head up the cheer when his killer took the walk. But all I feel right now is sad. RAY: What happened to that paper, Sam? FRANKLIN: What paper? RAY: The piece of paper I gave you? FRANKLIN: Bagged and tagged, like everything else. Ray, listen to me: we did a good job. That's all you have to think about. You think about this other stuff, it'll make you crazy. You got to let it go. RAY: Yeah, right, maybe. FRANKLIN: Come on. You take care. And if you need to talk to someone call me. Franklin exits. (80) Master (3) INT. EVIDENCE WAREHOUSE--OFFICE--DAY THE DOOR OPENER is buzzing as two men in black coveralls emerge from the warehouse. These two men are police officers EDDIE POLITO and DROP ROBERTSON. If we see their faces at all, it is only for a split second. FRASER: Hmm. Bay Rum cologne. They file past Ray and Fraser who approach the security desk. RAY: I'm Detective-- SECURITY GUARD: We're closed. RAY: You don't look closed. SECURITY GUARD: But we are closed. Very closed. The Security Guard unwraps a sandwich. Ray is about to engage when he is corralled by Fraser. RAY: Look, pal FRASER: Ahh, Ray. Thank you kindly, Sir. Fraser leads Ray out the door. Security Guard turns the page. The phone rings. He answers it. SECURITY GUARD: Security. Right. Right away. He hangs up the phone and gets up tucking in his shirt as he hurries out of the room, obviously summoned by an authority. A beat and Fraser and Ray enter, Ray tucking his cell phone back into his pocket. Fraser crosses to the Security Desk and moves the sandwich aside, so as to get at the buzzer on the underside of the desk. He presses the buzzer. Ray grabs the door and holds it open. INT. EVIDENCE WAREHOUSE-CAVERNOUS SPACE--DAY Ray and Fraser come through from the outer office. Their POV-miles of warehouse aisles… RAY: The B's are over this way. As they walk, Fraser rubbernecking, impressed. FRASER: (re: the stacks) My father kept a record of every crime committed in the Yukon Territory in a five cent scribbler he carried tucked in his boot and he had room at the back for several risqué jokes that he'd picked up along the trail. I remember one- RAY: Spare me would you, Fraser? FRASER: Understood. They've reached the head of an aisle. RAY: B…Bo..Botrelle'd be down here. They turn down the aisle. Fraser stops and sniffs the air. RAY: What? FRASER: Several things. Bay Rum cologne. Aftershave, peppermint gum, hair dye, garlic. I'd say two, possibly three people. (sniffing) And from the acrid smell of perspiration, I'd say a fair bit of physical activity in this area here. Ray rolls a sliding ladder along the aisle. Fraser climbs the ladder to a shelf and pulls a box out and removes the lid. It is not the box they're looking for. FRASER'S POV-other boxes stacked behind the ones he's opened. He pulls one of the boxes forward and opens it. On the inside lid is written "People VS Botrelle". (79)Master (13)(15) INT. EVIDENCE WAREHOUSE--OFFICE--DAY Security Guard returns from his fool's errand. His POV-the buzzer button under the desk. The sandwich has been moved. The Guard smells a rat, picks up a phone. (82) MFS-Ray/Fraser (3) (85)MCU Ray/Fraser (2)(3) INT. EVIDENCE WAREHOUSE--MOMENTS LATER (109) MCU Ray/Fraser Ray and Fraser with the contents of the three boxes spread out around them. Brown Paper evidence bags. (RESHOOT) RAY: So basically nothing is in the right bag? (everything is in the wrong bag) FRASER: But there is a pattern. The contents of every fifth bag have been switched. One is switched with six, two with seven and so on up til twenty. Then the pattern repeats itself. So I think the piece of paper should be in bag on eleven which is marked eyebrow pencil. RAY: Eyebrow pencil, eyebrow pencil. I saw that… Ray rummages and comes up with a bag with "eyebrow pencil" written on the outside. He opens it and pulls out a single sheet of bloodstained paper. RAY: How did you do that? (84) FS-Polito/Robertson (2) INT. EVIDENCE WAREHOUSE--OFFICE--DAY TWO PAIRS OF LEGS (POLITO AND ROBERTSON) slip silently through into the warehouse proper. INT. EVIDENCE WAREHOUSE--DAY Fraser sniffs the air. FRASER: Someone has just entered the building. Ray is a million miles away. RAY: This doesn't look like the same piece of paper. ANGLE ON Polito and Robertson moving through the stacks. Fraser's ears perk up. He gestures for Ray to quiet. FRASER: Two men. Heading this way. Carrying weapons. (83) MFS Ray/Fraser/Polito/Robertson (4)(5) ANGLE ON TWO PAIRS OF LEGS coming through the stacks. Ray shoves the piece of paper in his pocket as Ray starts to run for the exit. Fraser stops him, indicating that the two pairs of legs are getting close. They'd never make it. Fraser indicates that they climb to the top shelf. They do. POLITO AND ROBERTSON checking each row. (86) FS-Fraser/Ray/Polito/Robertson (3) FRASER AND RAY spreadeagled on the top shelf as Polito and Robertson go by below. Fraser and Ray scramble to their feet and jump quickly from row to row in the direction of the door. POLITO AND ROBERTSON are heading their way along the other side of the aisle. (B87) FS-Fra/Ray/Pol/Rob (1)(2pu) (C87) WS-Fraser/Ray (1) Ray and Fraser reach the end of the row and jump into boxes. They scramble out the door as Polito and Robertson rush up the aisle to the door but they can't get out.
END OF ACT TWO Fraser spots a fire extinguisher hanging on the wall. He grabs it and ducks back to cover. POLITO AND ROBERTSON stick their heads around the corner and are BLASTED with a cloud of billowing foam. FRASER AND RAY retreat toward the door, behind the camouflaging effect of the smoke screen that Fraser blasts at the advancing forms of Polito and Robertson. They reach the door. Fraser throws the extinguisher into the cloud of smoke, at Polito and Robertson. Then he and Ray make it to the door, throw it open and are gone. END OF ACT TWO
ACT THREE (16) MCU CU Bedford/Welsh/Fraser (5) EXT. POLICE STATION--ESTABLISHING--DAY (17) CU Ray (1)(2) Cops and their cars in front of the building. BEDFORD: (V.O.) Detective Kowalski, Lieutenant Welsh tells me you have more than lived up to your promise as a rookie… INT. POLICE STATION--WELSH'S OFFICE--DAY Welsh sits behind his desk as Ray is addressed by STATES ATTORNEY ROBERT BEDFORD. Fraser stands off to the side. BEDFORD: …as a matter of fact, he tells me that you are one of his finest officers. Which dismays me. It dismays me because I can't have anyone from the CPD making public statements that inflame the situation. (Do you understand?) You know what I mean? RAY: I'm not sure. BEDFORD: Am I not getting through to you, detective? RAY: I'm really not sure, sir. BEDFORD: Alright, let's cut the nail. Carolyn Sherman is one of the finest defense attorneys in the State. You've been talking to her, you've been talking to her client and you have been requesting evidence on the Botrelle case. In my eyes? This is not a good thing. RAY: It's nothing official, sir. BEDFORD: And I hope its not personal, You have a job and I expect you to do it. RAY: I'm just trying to do what's right, sir. (19) FS-Fraser (1) BEDFORD: And I am suggesting you're not. (a beat) This woman has been sentenced by the people to be put to death with cause. That's our mandate, and speaking personally, she deserves it. The longer we drag this thing out, the more negative P.R. we attract to one of the greatest cities in America. RAY: You think we should kill her to avoid bad press, sir? BEDFORD: (to Welsh) You're a smart ass, huh? (to Ray) I'm gonna make this very simple, Kowalski. Drop the Botrelle case. That is a direct order from the State's Attorney. (to Welsh) Lieutenant, it'd be a good thing if you could learn to control you men. BEDFORD: What do you do? FRASER: Oh well, sir, I first came to Chicago on the trail of the killers of my father. (18) WS-Fraser/Welsh/Ray (5) WELSH: (shaking his head) Detective, I have never seen anyone with as great a capacity to piss off people as you. RAY: Just people I don't like, Sir. FRASER: Well actually, Ray. Even people you do like. If you think about Sandor who you beat about the head-- RAY: Fraser? (to Welsh) I'm close, really close. Don't shut me down. WELSH: (thinks a minute) Alright. You've got sick days coming. Take a couple. Go home. What you do on your time is your own business. RAY: Thank you Lieutenant. WELSH: Oh Detective-find something. (5) Master (2) INT. POLICE STATION--HALLWAY--DAY Ray and Fraser barrel along the hallway. RAY: Now what? FRASER: We need to know everything we can about Jake Botrelle. If his wife didn't kill him someone else did, and they must have had a reason. Ray nods. A thought strikes him. RAY: The crime scene videotapes. Were they in any of the boxes? FRASER: I didn't see them and I'm sure we won't get a second look. But I have another source. RAY: Good, but first thing let's pull the files. MS-Desk Sergeant /Fraser/Ray (4)(5pu) INT. POLICE STATION--FRONT DESK--DAY The Desk Sergeant is handing an armful of fat files to Fraser. W/Ray DESK SERGEANT: (slightly dreamy) I knew Jake. Everybody loved Jake. Especially the women. You know why? FRASER: Why? DESK SERGEANT: Sincerity. He had it down cold. (emphasis) You couldn't tell he didn't mean a single word he was saying or that as soon as you move out of sight you were out of his mind. (re: the pile) You're lucky. If anyone was in charge around here, we'd have thrown those out long ago. FRASER: Thank you kindly. Fraser's POV/Dief (1) Fraser turns to leave, passing Diefenbaker MCU Dief (1)(2) FRASER: Dief, Dief, Dief…oh forget it. Dief's POV Pretty Woman PRETTY WOMAN: (getting close to the way you'd talk to a baby) You captured that big bad man all by yourself, didn't you? She grabs his ruff and tugs lovingly at his face. PRETTY WOMAN: Yes you did. And you weren't one bit afraid of that machine gun, were you? Diefenbaker knows he's done wrong. PRETTY WOMAN: Or all those big bad bikers. 6--2SHOT-Fraser/Ray (1)(4) INT. POLICE STATION--BULLPEN--DAY Fraser and Ray at Ray's desk, poring over the files. FRASER: Detective Botrelle's day planner. Several entries with a single word: the Mermaid. Is that standard police nomenclature? RAY: I don’t know nonenclature from my elbow but the Mermaid? That is not standard cop talk. (7) MFS-Huey/Dewey/Welsh (1)(2) Fraser nods, flips through the book. FRASER: A monthly payment reminder for Callahan's. Does that mean anything to you. RAY: Sounds like a bar. Huey and Dewey drift into the picture. HUEY: Still investigating the victim? FRASER: I thought that was standard procedure in a homicide investigation. DEWEY: Well it is an unsolved homocide? Yeah. But in this one we know who the murder is. So what's the point? RAY: Point is, walk on. That's all. Just walk on. Get out of here. Thank you. They do. As they leave, Welsh walks up to Ray. WELSH: Detective, how are you feeling? RAY: I'm fine. WELSH: You don't look too good. RAY: No, I'm fine. WELSH: (his name is there but there's no dialogue with it) RAY: Right I'm WELSH: Go home. (96) Master (2) INT FRANKLIN'S APT BLDG--NIGHT (NIGHT ONE) ON Franklin's apartment door as Ray knocks. Franklin opens the door. He is holding a dishtowel and a glass that he was drying. He's been doing dishes. FRANKLIN: Ray. RAY: Am I interrupting anything? FRANKLIN: You bet. Look at me. Come on in. He holds the door open for Ray. (55) Master (1)(3) (56) MCU Carolyn (1)(2) CAROLYN: (V.O.) What exactly are you looking for, Constable? WL#1191-Room Tone INT. CAROLYN SHERMAN'S LAW OFFICE--NIGHT Fraser sits across from Carolyn Sherman. (57) MCU Fraser FRASER: I'm not exactly sure to tell you the truth. We have certain questions, some of which may be answered but the crime scene tape. CAROLYN: And those that aren't? FRASER: I thought you might be able to help. For instance, why didn't the subject of Detective Botrelle's philandering arise in court? CAROLYN: Because it didn't help our case. Every step down that road led to a witness who would testify they'd heard Beth threaten to kill him in public. At some point you cut bait and run. FRASER: But it may have provided another party with a motive. CAROLYN: No physical evidence place anyone else inside that house. FRASER: Do you believe she's guilty? CAROLYN: That's an irrelevant question. The only real question is: do I think she deserves to die? (beat) Constable, if you are actually on to something be quick about it. It will all be a matter of academics in less than thirty hours. (67) Master (2) INT. PRISON CELL--DEATH ROW--NIGHT Beth Botrelle sits on her cot, staring at the wall… (97) MS-Franklin (2) (98) MS-Ray (4) INT. FRANKLIN'S APARTMENT--NIGHT Franklin and Ray at the kitchen table. Franklin is pouring a drink from a bottle of hard liquor. FRANKLIN: Got offered a job, you know? Chief Investigator for Phalanx Insurance. RAY: I never thought you the type to retire. FRANKLIN: After the Botrelle case, I don't know, I didn't lose my nerve exactly, just…if it could happen to him. (99) Insert-plastic bag (1)(2) Ray takes bloodstained paper from his pocket. RAY: I found it but I don’t think it's the same piece of paper. What do you think? FRANKLIN: (looking at it) How'd you get it? RAY: Evidence locker. FRANKLIN: You broke in? RAY: Is it the same piece of paper? FRANKLIN: If it was in the bag-- RAY: Yeah, it was in the bag but-- FRANKLIN: But what? You remember something about a piece of paper eight years ago? Listen to yourself. You're losing it. RAY: I think Bedford suppressed evidence. FRANKLIN: Ray, come on. Bedford's an ambitious bastard, yes, but that's as far as it goes. Why would he rig a trial that he already had red handed? RAY: Look, I don't know but this is not the piece of paper I found. It's not the piece of paper I found. It's not the piece you put into evidence bag twenty six. Franklin pours another drink. FRANKLIN: If you're sure about this, then we better bring it forward now, 'cause the clock is ticking on that woman. RAY: It's not solid yet. (We don't have nothing solid) (beat) Jake ever say anything to you about Mermaid? (Sam shrugs) Shows up in his notebooks a lot. FRANKLIN: Who knows? (a beat) He was Jake the Make. Could have been one of his women. RAY: Guy had some bad habits? FRANKLIN: There were some rumors about him and Bedford's wife. I never believed them. (14) Master (4)(5) INT. POLICE STATION-BULLPEN--DAY (DAY TWO) (15) Insert-Pad Countdown at the Station House. A steno pad is propped open on a desk. Dewey tears off a page to reveal the number one and the squad cheers. Welsh watches from his office door, unwilling to go against the public will. DEWEY: It's all over but the crying. (100) MFS-Fraser/Ray/Dief (3) INT. RAY'S APT--DAY Ray opens the door and Diefenbaker trots into the room. Fraser hands Ray a paper bag. FRASER: Good day, Ray. Carolyn Sherman gave me the crime scene videotape. Not terribly revealing. Ray picks the bloodstained paper off the coffee table. RAY: (downs a shot) I got a piece of paper that's not the real piece of paper. (beat) And I'm thinking you'd like some bark tea? FRASER: Yes, I'd love some. Thank you. RAY: Oh well I'm all out. Ray sets the paper down, gets up and pours himself a coffee, as Fraser inserts the video into the machine. He is cueing it when Ray returns and sets his slopping coffee mug down on tope of a bunch of paper on the coffee table. FRASER: Oh well, another time. (101) MCU-Fraser/Ray (3) FRASER'S POV: as Ray lifts his mug, revealing a ring stain in perfect circles, overlapping across three different pieces of paper. (102) Insert-Table/Paper/Dust (2) FRASER: Ray, look. RAY: What, I'm a pig. Fraser lifts two of the pieces of paper. We can see a portion of the ring marked on each page. FRASER: (re: the pages) No not that. I think we'll be able to prove that the piece of paper is not the piece of paper you found under the body. Fraser takes the bloodstained page and opens it to show the partial ring of the coffee cup stain. RAY: How? FRASER: Here you see that? This is a partial stain. Fraser picks up the remote and presses fast Forward. (126) Crime Scene Video (1)(2)(3) ON THE TV-FAST FORWARD through the tape which is LONG TRACKING SHOT through the crime scene. Time code rolls by. As the Camera Pans Past a shot of the kitchen counter. Fraser stops and rewinds to the top of the sequence. He presses "play" ON THE TV-a slow pan across the kitchen counter near the wall phone. A coffee cup sits on top of scattered pages of what looks like a phone bill. Fraser hits freeze. FRASER: See there on the coffee table, 3 overlapping pieces of paper, partial stains, like this 3 overlapping pieces of paper. WL#1193-Ray RAY: Right now, look at the time code. It was still on the (kitchen) coffee table an hour after the crime. This is it, Fraser! This is the proof! (103) FS-Ray/Fraser/Dief (1) Ray sets his coffee mug down on the coffee table. Fraser picks the mug up. FRASER: You know Ray, you really should consider dusting. RAY: (through a big smile) I'm a slob, sue me. As Fraser wipes at a water stain on the table, his fingers trace a trail through a patch of fine plaster dust. Fraser looks up at the ceiling. (110) Insert-Fire Alarm (6) (reverse print) FRASER'S POV-the sprinkler system nozzle attached to a plate on the ceiling. CAMERA PUSHES IN on the plate. We can see the signs of recent labour. A thin cable leads to a pinhead microphone. RAY: (O.S.) Okay, so I'm a pig and a slob and I have an infestation. Fraser gives Ray the high sign-shut up. RAY: (confused) What? Fraser mouths the words ("There is a bug on the ceiling.") Ray misunderstands. RAY: I'll kill it. Ray grabs a magazine and starts to roll it up. Fraser stops him, grabs a pad and scribbles out a message which he holds up to Ray. It reads "Surveillance microphone in ceiling". Ray nods. Then he gets a brilliant idea. RAY: (bad acting) Those guys from the Trib thought I was full of it. Fraser is confused for a beat then realizes that Ray wants to set a trap for whoever is bugging them. FRASER: (equally bad acting) Don't we meet them in one hour? RAY: (mind racing) At the…in the alley behind the Gladstone. Corner of Shuster and Wayne. WL#1194 Ray/Fraser (1) (104)Insert--Bloodpaper/Vidbox (1) FRASER: I believe that's Wayne and Shuster, isn't it Ray. RAY: Oh yeah, I always get those two mixed up. FRASER: Well, that's natural. Your not that familiar with corners from Canada. Ray and Fraser head for the door. After a beat Ray comes back, grabs the piece of paper, hides it inside a book, replaces the book on a shelf and heads out the door. (24) Fraser/Ray's POV Alley (1) EXT. SOMEWHERE ABOVE THE INTERSECTION--DAY (25) MFS-Fraser/Ray (1) (26) 2SHOT-Fraser/illegible Fraser and Ray settling in to watch from their hidden vantage point. Fraser checks his watch. Diefenbaker alert. Ray and Fraser look all around checking out every direction. FRASER: Here we go. (23)Fraser/Ray's POV Car (2) Their POV-a mid sized sedan cruises slowly along the curb. FRASER: He's backing up, he's turning in. This is it. (22) FS-Fraser/Ray/Dief (2) Fraser, Ray, Dief climb down off roof end and walk towards car. EXT. STREETS AND ALLEYS--DAY (28) MFS-Fraser/Ray (2) VARIOUS SHOTS (29) Huey/Dewey POV (1) Fraser and Ray split up and approach the car. Ray roll over roof of car, lands on ground, picks himself up and points gun into windshield of car as Fraser walks in. (30) 2SHOT-Huey/Dewey (1)(2) They both are surprised as it is Huey and Dewey in car.
END OF ACT THREE
ACT FOUR (31) Master (4) EXT. INTERSECTION--MOMENTS LATER WL#1189 Huey and Dewey, Fraser and Ray mill about. Diefenbaker stands guard HUEY: What are you guys doing here? RAY: What are you doing here? (32) CU Fraser (2) DEWEY: We got a tip there was a drug deal going down. RAY: Someone is playing games with us. FRASER: The piece of paper. Fraser takes off on the run. Ray follows. Huey and Dewey watch them go. DEWEY: You want a lift? FRASER: No, I'd rather run. Thank you kindly. (105) Master (4) INT. RAY'S APARTMENT--DAY (106) Fraser's POV Polito (3)(4) Fraser and Ray fly in through the door, crashing into a man (a man we recognize as POLITO) who is on his way out. They glance at him only briefly and continue up the stairs. INT. RAY'S APARTMENT--HALLWAY--CONTINUOUS They thunder down the hallway and burst into… (107) MS Ray/Dief (3) INT. RAY'S APARTMENT--CONTINUOUS (108) MCU Fraser (2)(3pu) …the apartment. The room has been ransacked. The piece of paper is gone. RAY: It's gone. FRASER: Bay Rum cologne. That man we passed in the hallway. I've (smelled) seen him before. Fraser turns away in thought. (81) Fraser/Ray's POV (1) INSERT: FRASER'S POV his brief look at POLITO in the evidence lockup; his brief look at POLITO in the hallway. (20) Master (2)(3) INT. POLICE STATION--BULLPEN--DAY The bullpen is busy. Ray and Fraser sit in front of a computer terminal, Fraser operating. RAY: Here we go. Sergeant Eddie Polito. Twenty year veteran. Currently in charge of evidence and seizure of property. This is the guy? FRASER: I think so. Ray reading file, sticks his head up. FRASER: (reading) Alright, In 1989-90, Officer Polito worked undercover with Officer Drop Robertson under the direction of Detective Jake Botrelle on Project Neptune for the State's Attorney's investigation into Union corruption on the waterfront, an investigation headed up by Robert Bedford. (beat) Neptune…Mermaid. RAY: Connection? FRASER: Other than they both have maritime associations? I have no idea. Dewey approaches, pissed off. DEWEY: You investigating other cops now? You want a job in IA, why don't you go apply to IA? RAY: Look, this is personal. You want to get in the middle of that? Fine with me. You want to be filled in. I'll fill you in. DEWEY: Another day, tough guy. Dewy backs off. Huey turns up the volume on the TV. as Dief and Dewey w/Huey watch it. ON THE TV--Diane Bowen doing her standup outside the prison. EXT. PRISON--DAY Bowen turns her microphone toward Robert Bedford. BEDFORD: Let us pray, not just for Beth Botrelle but for America. DIANE BOWEN: (O.S.) Are you running for Governor? BEDFORD: I don't think this is the time to be discussing that. But I will say that my faith in and my love for my country has never been stronger. Thank you. As Bedford leaves, Diane turns to camera. DIANE BOWEN: As Beth Botrelle's life is counted now in hours, Diane Bowen, Channel 10 News. (21) Master (8) INT. POLICE STATION--HALLWAY--DAY Ray and Fraser head down the crowded hallway. RAY: Man, Bedford's not even waiting till the body's cold. FRASER: No, and that may have given us the opening we need. RAY: How so? FRASER: Now that the rumour of his seeking governorship has been confirmed, he'll be walking on eggshells until such time as Ms. Botrelle is dead. That may make him vulnerable. What if we could trap him into talking about that piece of paper on tape? Ray, Ray, Ray. That should give us all of the evidence we need. RAY: How? We can't meet with him and we call the guy and he'll have us off the street in no time flat. FRASER: That would be True. It would have to be someone he would trust. RAY: I know the guy. Where are you going? FRASER: I'm going to find a mermaid. (74) Master (1) (75) MCU Carolyn/Beth (1)(2)(3) (76) MCU Fraser (1) BETH: (V.O.) Mermaid…? INT. PRISON--MEETING ROOM--DAY Fraser sits across from Beth Botrelle and Carolyn Sherman. BETH: Mermaid. (beat) No, Nothing springs to mind. CAROLYN: Constable Fraser found the reference in your husband's journal. FRASER: Could it be one of his contacts, perhaps? BETH: You could ask State's Attorney Bedford (Off Fraser's look) Jake was his Chief Investigator into waterfront corruption. He would know better than I. He called Jake the night he died. FRASER: Do you happen to know what they talked about? BETH: Jake never talked about his business. FRASER: Then I don't suppose he mentioned Callahan or Callahan's? BETH: Callahan's? (she laughs) Jake run up a mountain of charges on our credit card. I thought it was a bar. (a beat) We had one of our biggest fights about it. FRASER: And it wasn't a bar? BETH: No. It was a storage place. (a beat) Only time he was ever telling the truth. Fraser nods. BETH: Is this of any use? FRASER: I hope so. BETH: Me too. She glances at Carolyn who nods. BETH: (takes a breath) I lied the other day to Officer Kowalski. I didn’t kill my husband. FRASER: He knows. (94) Master (1)(5) INT. RAY'S CAR--DAY (95) FW Shot--Ray/Franklin (3) Parked on a downtown street. Ray and Inspector Franklin. FRANKLIN: You're asking me to save the woman who killed a cop. RAY: She didn't do it, Sam. I know it. Franklin thinks a minute, looks out the window. FRANKLIN: Come on Ray, What have you got? RAY: We think Jake Botrelle was having an affair with Bedford's wife. (TK1) That piece of paper I found at the scene had something to do with it. He knew this case would make his career. So he destroyed the one piece of evidence that could disqualify him from the case and kill his family man image at the same time. FRANKLIN: No. Bob wouldn't do that. RAY: Sam. Come on. Power? Ambition? Makes people do crazy things. Besides she was guilty anyway, right? Franklin swallows his doubt, takes a breath… FRANKLIN: So what do you want me to do? RAY: Set up a meeting. (22) Master (1)(3) INT. STORAGE LOCKER--DAY Fraser, Dief, Huey and Dewey and the proprietor KOVACS. KOVACS: Hasn't been opened in years. He squirts it with lubricating oil. KOVACS: You sure this is OK? HUEY: Absolutely. WL1188-Dewey DEWEY: It's really strange that the warrant department running out of ink? Kovacs opens the locker. Huey removes a briefcase. HUEY: Botrelle's DEWEY: (to Fraser) Probably where he keeps his love letters. Huey opens the briefcase. Filled with envelopes of money. HUEY: Love that writing paper. Fraser takes a small notebook from the briefcase. He opens it and reads. It is a list of payments and drops-dates and amounts. And it tells Fraser who Mermaid is. FRASER: There. DEWEY: What? FRASER: I found a mermaid. (88) Master (6)(7) INT. EVIDENCE WAREHOUSE--NIGHT (NIGHT TWO) Franklin and Ray stand in a dark corner of the warehouse, scanning the cavernous room. From out of the shadows, Bedford appears. RAY: What'd you tell him? FRANKLIN: Just said we had to talk. (beat) I hope you're right about this, Kowalski. RAY: You, me and Beth Botrelle. (checks his watch) We got about an hour. Bedford starts towards them… (66) Master (1) INT. PRISON CELL--DEATH ROW--NIGHT The last clasp on a pair of leg manacles is snapped shut. Beth Botrelle is led by two female guards out of her cell. She starts the long walk down the short, desparate hallway. INT. EVIDENCE WAREHOUSE--NIGHT As Bedford approaches, Ray presses "record" on a pocket recorder… RAY: You're up, Sam. (91) MCU Franklin/Ray/Wel/Dew/Hu (3) …and turns to hand it to Franklin only to discover a gun pointed at him. (92) MCU Ray (1) FRANKLIN: Move. (89) MCU Bed/Fra/Rob/Pol (2)(5) Bedford is startled as Ray steps out of the shadows. BEDFORD: What's going on here? Bedford now sees that Franklin has a gun on Ray. He turns only to find himself face to face with Polito and Robertson, both holding weapons. FRANKLIN: Sorry Bob, you would've made a good Governor. Mostly, you've always got what you wanted. But not this time? It's my turn. (58) FS-Beth/Guards/Attendants (3) INT. PRISON--DEATH ROW--EXECUTION ROOM--NIGHT Beth Botrelle is ushered into this spotlessly clean room and takes it in. It is featureless except for an operating gurney, two IV stands and a telephone on the wall. One wall is dominated by a huge window, behind which sit the witnesses to the impending execution. INT. EVIDENCE WAREHOUSE--NIGHT Bedford looks around in a panic. BEDFORD: Sam, What the hell's going on? I don't understand. FRANKLIN: It's not that complicated, Bob. Why don't you Give a try. (90) MCU Bedford (1) A voice echoes through the cavernous space: FRASER: (O.S.) Why don't I take a stab at it? They all turn slightly to see Fraser at a distance in the huge warehouse. (59) FS-Beth/Attendants (1) INT. PRISON--DEATH ROW--EXECUTION ROOM--NIGHT Beth Botrelle lies on the gurney. Her arms and legs are strapped to the table and cinched tight in restraining straps. INT. EVIDENCE WAREHOUSE--NIGHT (89)(2)(5) Franklin shifts nervously as Fraser continues towards them. FRASER: Beth Botrelle did not kill her husband. He committed suicide. (Ray looks surprised) A suicide prompted by a telephone call from State's Attorney in which Jake Botrelle learned he was about to be indicted in a kickback scheme. Ray checks his watch… FRASER: The piece of paper found under his body…was a suicide note, a note that also implicated his partner in the crime--Inspector Sam Franklin. Franklin shift uneasily… (60) MCU Beth/Attendant/IV (3) (63) MS Audience/Beth (2) INT. PRISON--DEATH ROW--EXECUTION ROOM--NIGHT Beth Botrelle waits as the technicians prepare. Two IV bags are hung on the stands: one for relaxing the condemned, the second to kill. INT. EVIDENCE WAREHOUSE--NIGHT Fraser faces the group. RAY: You really go in for these dramatic revelations, don't you Fraser? FRASER: Well, not really, Ray. As a matter of fact, all that exposition makes me kind of thirsty. FRANKLIN: This scheme was my pay off. And no one's gonna take it away from me. FRASER: Are you willing to kill all of us for it? FRANKLIN: I was willing to let a woman die for it, why not the three of you? FRASER: Only three? FRASER: Look again. (93) FS-Cops/Wel/Fra/Fran/Bed/Dew/Dief/more but page is cut off. (1)(2) A movement in the shadows. Franklin glances and sees Welsh step into the pool of light. Another movement. Dewey steps into the light. He and Ray share a look--one of fraternity. Another figure steps into the light. Huey. And another. One after another, some in uniform, some in civilian clothes until Franklin is surrounded by what must feel like the entire rank and file of the Chicago Police Department. Franklin hands over his gun to Ray. Franklin: Don't trust anybody. (61) MCU-Needle/Arm (2) INT. PRISON--DEATH ROW--EXECUTION ROOM--NIGHT (65) MCU Audience/Phone (1) An alcohol swab is applied to Beth Botrelle's arm. The plastic sheathe is removed from a needle and the needle is laid against her skin… (64) CU Phone/Clock (1)(2pu) …the telephone rings. (62) CU Beth (2) Over the following we remain on Beth Botrelle, her eyes focussed on some indeterminate point in the middle distance. DIANE BOWEN: (V.O.)…the last minute reprieve was followed up by the announcement that a task force was being formed to investigate allegations of police corruption and tainted evidence. In a related matter, State's Attorney Bedford, citing personal reasons, has announced his withdrawal from the gubernatorial race…
END OF ACT FOUR
TAG (127) 2SHOT-Ray/Beth (1)(3) INT. BOTRELLE HOUSE--NIGHT (NIGHT THREE) Ray stands with Beth in the hallway of the house. It has changed little from the night of the suicide except that, perhaps, in the intervening years, dust has coloured it a ghostly grey. BETH: …and you were frightened? RAY: Yeah, no, I mean not a first and then I bumped him and I pulled out my gun cause… BETH: (on the verge of tears) Here. He was lying here? RAY: Yeah. Look, we don't have to-- BETH: No. Please. Keep going. Please. RAY: (a breath) I kneeled down and I picked up that piece of paper. BETH: You didn't read it, though did you? RAY: No. No, 'cause I heard… BETH: The water running. RAY: Yeah. (128) MS-Ray/Beth (2) Ray nods. They walk deeper into the darkened house, toward the bathroom. BETH: And the water drew you here. RAY: Yeah. But the door wasn't closed. Not all the way, anyway. Beth opens the door to the bathroom a crack. BETH: So you opened it? RAY: Pushed it open. Yeah. She pushes it open, revealing the bathroom. BETH: And where was I? RAY: (points) There. (129) WS-Beth/Ray (1) BETH: And the water was running? They stare at the bathroom for a couple long seconds. RAY: I'm sorry. BETH: No. RAY: I am. I am so sorry. BETH: (shakes her head) No. She takes hold of his face with her hands and kisses him lightly on both cheeks. BETH: Thank you, Officer Kowalski. (130) Master (3) EXT. BOTRELLE HOUSE--NIGHT Fraser leans against the GTO. The door to the house opens and Ray emerges. He crosses the few feet to the car and sits next to Fraser. They say nothing. Ray looks off into the night…
…and falls apart, weeping from the bottom of his soul.
