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Earth Knows an original screenplay by Gene Adamson

Crime / Drama / SciFi A weather research Scientist attempts to create a computer program to further his research. He mistakenly creates a time camera that can photograph images of the past. He uses the camera to solve cold cases and uncovers a shocking crime of corruption and murders.

Copyright Š2011 E. Eugene Adamson All Rights Reserved WGAW # 1530171

Contact: geneadamson@mail.com


Earth Knows

Character List Characters: Ray Nolan Dan Matthews Anna McGuire

- Research Scientist - Researcher, Ray's friend - Newspaper Archive Researcher

Jack Wilson Ross Barnes

- Homicide Detective - Homicide Detective

Victor

- Bum / Homeless Man

Frank Carson Henry Miller George Sanders Stephen Falkner Richard Phillips

- Police Officer / Police Chief - Police Officer / City Councilman - Police Officer / Mayor - Police Officer - Police Officer

Walter Greene Angela Brooks

- District Attorney - City Attorney

Marci Abbey

- Mail Clerk, Police Headquarters - Receptionist, City Hall

Woman in Park Man in Park

- Murder Victim - Murderer

Two Women

- Dan met in Club

Bouncer Waiter Waitress Woman 1 Woman 2 Policemen Paramedics


1

FADE IN: EXT. CITY LANDSCAPE - NIGHT A storm brews over the city. Thunderclaps as dark clouds roll. Lightning bolts streak the sky and pound the earth. EXT. APARTMENT BUILDING - NIGHT Each stroke of lightning shows the silhouette of a man standing in the window of a darkened apartment. INT. LIVING ROOM, APARTMENT - NIGHT The man stands in a darkened room, amidst an array of electronic equipment and cameras mounted on tripods, focused toward the night sky. He walks from the window, across the room and flips a wall switch. Light brightens the room. RAY NOLAN, a tall slender man in his early forties, allows his eyes to focus adapt to the light and walks back to the window. He performs adjustments to a camera. Turning toward a computer, he begins to enter data. EXT. CITY STREET - MORNING Ray walks along the sidewalk, carrying a briefcase and a shoulder bag. He stops at a newsstand, and purchases a newspaper and cup of coffee. EXT. WEATHER RESEARCH CENTER - MORNING Ray makes his way up the stairs and enters the building. INT. HALLWAY, WEATHER RESEARCH CENTER - MORNING Ray walks through the hallway, passing CO-WORKERS. RAY Good morning Cecilia, Jim, Dawn. The Co-workers acknowledge Ray as he passes.


2 INT. RAY'S OFFICE, WEATHER RESEARCH CENTER - DAY The office has a desk overflowing with stacks of papers. A large bookcase stuffed with books. The remainder of the room is cluttered with electronic gadgets and weather instruments. Ray enters the room and walks to the desk. He sits the cup on the desk, tosses the newspaper on top of a pile of papers. He walks across the room and places the briefcase and shoulder bag onto a table. Ray walks to the desk and grabs the newspaper as he sits down and leans back to read. The office door opens and DAN MATTHEWS, mid thirties, walks into the office carrying a folder. DAN Did you see?

Ray!

Dan sits down in a chair as Ray looks up briefly, then back down to the newspaper. RAY I saw. DAN And? RAY And, nothing. Nothing!

DAN Are you crazy?

Dan raises the folder and tosses it onto the desk. continues reading the newspaper.

Ray

DAN (CONT'D) Look at those stats. Some of the best bolts we've had in ages. RAY I don't need to look at the stats. I saw the storm. DAN What's the problem? Ray raises his head, tosses the newspaper to the desk, and looks at Dan.


3 RAY There is no problem.

DAN So... You got the photos? camera works?

Your

RAY Yes, I got the photos, and no my camera does not work. DAN So that's it. RAY What? DAN The camera didn't work and you don't want to talk to me. RAY Dan, I am trying to read the morning news. My camera... I have a few adjustments. I did get some pictures. Just not the... Ray rises from the chair and walks to the briefcase. DAN I don't see what is so important about that camera. Ray stops and turns toward Dan. RAY That's where we differ, as Researchers. You study events from the surface. I like to dig deeper and find what mother nature will not easily give up.


4 Ray turns back to the briefcase. He retrieves a manila envelope and tosses it to Dan. Ray removes a notebook computer and walks to the desk. He pushes a stack of papers and sits the computer onto the desk. Dan removes photos of lightning from the envelope.

DAN Nice shots. RAY I'll have the ability to photograph the nucleus of clouds. Therefore, revealing ionized air molecules and negative charges. DAN Ray, we know how negative charges travel and produce lightning. Ray sits down in the desk chair. RAY You miss the point. I want to pin point lightning before it strikes. DAN And? RAY Dan, if you were half the Researcher you could be, you would understand. This will allow us to better understand lightning. Or at least have an understanding of physical characteristics on the ground that may attract it, and then have an idea of how to divert strikes. DAN I can't get into it that deep. You know me, it's eight hours a day, night time parties and a paycheck.


5 RAY Hey, you're the party man Dan and I'm lightning Ray. The two men laugh. DAN It's not the party, but the ladies at the party. That's what you need. RAY What?

DAN Come hang with me. project a break.

Give your

RAY Dan, right now my project is the most important thing in my life. DAN When you're ready to loosen up, and live again, let me know. RAY I'll remember, Dan the party man. DAN Right now, I should get back to my office and finish my six hours. RAY See you later Dan. Dan rises from the chair and walks to the door. and turns toward Ray. DAN Lunch? RAY Not today. DAN Maybe we can get together tonight.

Dan stops


6 Ray nods, "no".

Dan shrugs and leaves the office.

Ray turns his attention back to the newspaper.

EXT. CITY STREET - EVENING Ray walks along the sidewalk, carrying a briefcase and bag, as he looks into the sky at the forming dark storm clouds.

INT. LIVING ROOM, APARTMENT - NIGHT Ray enters the room from the kitchen area, carrying a plate with a sandwich, and a beer. He sits the plate on a table, takes a drink of beer and sits it on the table. He reaches for the sandwich. Thunderclaps sound outside. Ray jerks his hand back, turns and walks to the window. He pulls the curtain to the side and looks out the window, seeing lightning in the distance. EXT. APARTMENT BUILDING - NIGHT A steady rain is falling, the door opens and Ray steps out and walks down the stairs to the sidewalk. He is wearing a raincoat, and carrying a large metal case and tripod. EXT. CITY PARK - NIGHT The area is desolate and hazy as the misty rain falls over the lampposts. Ray enters the park. He walks to a shelter, sits the case on a picnic table, sets up the tripod on the ground. Ray looks into the sky, the storm rumbles and lightning flashes. He opens the case, removes a digital camera and attaches it to the tripod. He removes a notebook computer and attaches a cable from the camera. Ray opens the computer and starts a photo recorder program, entering data, as he prepares the application. Ray moves into place behind the camera and peers through the viewfinder. The view shows the park area in front of him without the falling rain. Ray raises his head from the camera and looks to the front area observing the rain. He looks at the camera and then to the photo on the computer as it records second by second frames. He taps the keys on the keyboard making data adjustments.


7 INT. DOWNTOWN NIGHTCLUB - NIGHT The club is filled with loud music and patrons. seated at a table with two women.

Dan is

EXT. CITY PARK - NIGHT Ray adjusts himself and again peers through the camera viewfinder. He rotates a knob to tilt the camera skyward. As the view rises, he notices a WOMAN walk into the park. He stops and reverses the knob, moving the view downward; bringing the woman into full view. Ray pulls from the viewfinder and looks out in front. He sees an empty park with the misty falling rain. He looks back into the viewfinder and sees the Woman walking toward him. Ray continues to observe the Woman. She is dressed in seventies style clothing. Suddenly, a MAN moves into view, behind the Woman. The Man grabs the woman around the throat and begins to choke her. Ray jerks from the camera and looks into the park. The area is empty with a misty falling rain. Frantically, Ray runs into the open area searching for the woman. He approaches a bench beside a lamppost. A lightning bolt strikes the post. The lamp explodes, knocking Ray to the ground. Half conscious, Ray lies in a puddle of water, as the rain pours down on him. INT. LIVING ROOM, APARTMENT - NIGHT The room is dimly lit. Ray's camera case and raincoat is strewed on the floor. Ray is slumped on the sofa. The doorbell rings. Ray does not move. The doorbell rings again with knocking. Ray slowly rises. RAY Just a minute! Ray pulls himself up from the sofa and walks to the door. RAY (CONT'D) Who is it? DAN (O.S.) It's me, Dan!


8 Ray opens the door. Dan is standing in the hall with the two WOMEN from the nightclub. DAN (CONT'D) Ray! I have some friends, I want you to meet. Uh, come...

RAY Come in.

Dan and the women walk into the room. Ray is standing, wet and dazed, looking toward the three, attempting to focus.

RAY (CONT'D) What... What are... Dan hits the light switch and brightens the room. Damn Ray!

DAN You look like shit!

RAY I... I uh... Come on.

DAN You ladies sit down.

Dan points toward the sofa as he grabs Ray's arm and leads him toward the kitchen. INT. RAY'S APARTMENT - KITCHEN - NIGHT Dan guides Ray to a chair at the table. DAN You wanna tell me what's going on? RAY I was... I was taking some... DAN Okay, relax. I'll make some coffee.


9 Dan walks to the counter and grabs the urn from the coffee maker and begins filling it with water. DAN (CONT'D) Let me guess. Considering the weather and by the way you look, you have been out trying your camera. Right? RAY Yes, I was and... DAN And?

RAY Nothing. Dan finishes starting the coffee.

He turns toward Ray.

DAN Nothing? Like it still didn't work? So, you were depressed and tried to drown yourself? Dan chuckles as Ray barely smiles. No!

RAY Is the coffee ready?

DAN Almost. You get changed. Michelle and Cassandra are waiting for us. RAY Dan, not tonight, I am not... Dan approaches Ray, as he looks up from the chair. DAN No excuses. It's time you relax. RAY Well, maybe for a short while. DAN


10 We'll just talk and have a nice visit. Get cleaned up and I'll get the coffee. Dan turns back toward the counter to the coffee maker. Ray rises from the chair and walks to the doorway, he stops and turns toward Dan. RAY Dan, I, I... Dan turns toward Ray. DAN What? Shaken, Ray walks to Dan.

RAY I saw... I saw something tonight... Puzzled, Dan stares at Ray. DAN What the hell is wrong with you. RAY You got to listen to me! I saw something happen in the park. DAN Ray, I am listening. telling me anything.

You're not

RAY Okay, I saw a woman murdered! EXT. CITY PARK - NIGHT Ray and Dan enter the park. The area is dimly lit with the lamppost light blinking over a slight rain mist and fog. RAY That's where I was standing. Ray points toward the shelter.


11 DAN Okay, where's the body? RAY That's where it happened. Ray and Dan walk closer toward the area. Seeing nothing, Ray looks puzzled. Dan stares at Ray in disbelief. DAN I don't see foot prints in the mud. Except one set. Probably yours. RAY Well, it happened! She must have crawled away. Or maybe, he drug her into the woods! You look there, I'll check over here. Ray points out the areas to search. The two men walk toward opposite wooded areas of the park. INT. APARTMENT BUILDING STAIRWAY - NIGHT Ray and Dan enter the stairway and remove their coats shaking the water off as they walk up the stairs. DAN I cannot believe you had me out poking in the woods for nothing. RAY Well, it did happen, I saw it. DAN Yeah, don't call the police. INT. LIVING ROOM, APARTMENT - NIGHT Entering the living room, Ray takes the coats to a closet. Dan looks around at the deserted room and walks to the kitchen door. He turns and looks toward Ray. DAN They're gone! RAY Don't worry.


12 DAN Don't worry? It took my best lines to get those girls here. We could have had a very good time. But, no! Mister amateur detective, had me trudging in the wet woods looking for nothing. RAY Your best lines? DAN Yeah, some original material. RAY Like what? DAN You wouldn't understand. RAY I understand one thing. I know, I saw a rape or murder or something. DAN Why didn't you try to stop it? RAY I did! I told you, I ran to help, I couldn't see them and then the lightning... I don't know... Dan walks toward Ray and takes his coat. DAN You're having delusions. Too much time working on that damn camera. RAY That's it! Ray quickly walks over to his computer case. DAN What? RAY My camera! I should have pictures in the computer memory.


13 Dan puts on his coat and walks to the door. DAN Play with your computer. I have to go, while the night is still young. Dan leaves, as Ray is preoccupied in setting up the laptop computer. DISSOLVE TO:

EXT. APARTMENT BUILDING - NIGHT A hanging light sways with the breeze, over the entrance stairway, as a light rain falls, glistening on the concrete steps and sidewalk. One lighted window can be seen and Ray behind the glass, intently engaged in the computer. INT. LIVING ROOM, APARTMENT - MORNING The morning sun shines into the room. Sitting in front of a desktop and laptop computer with an assortment of camera's and electronic devices, Ray, in a T-shirt, looking haggard and tired, pecks on a keyboard, entering data. Abruptly, he stops as a thought comes to his mind. He looks toward a camera mounted on a tripod. Ray springs from the chair and moves to the camera. Grasping the tripod, he moves and places it in the middle of the room. He aims the camera toward the sofa area and returns to the keyboard. Ray enters data and hits the enter key. A blurry image of the coffee table, sofa and end table scrolls onto the laptop screen. Moving back to the camera, Ray adjusts the focus, as a clear picture appears on the screen. He returns to the chair and begins entering data. Watching the monitor, nothing happens. Ray rises and walks to the window in deep thought. After a moment, returning to the keyboard, he changes data and enters a date sequence of nineteen fifties era and presses enter.


14 The picture on the notebook screen blanks out. Ray stares at the monitor and then enters few more strokes of data on the desktop. Watching the laptop, the screen flickers and whites out. Ray continues to stare at the screen. RAY Come on dammit! Slowly a picture develops onto the screen. Ray watches as the picture clears and displays a shabby table, lamp and a few chairs. Ray gasps. RAY (CONT'D) Yes, yes, now I know! Ray looks toward the window. He rises and walks to the camera. Moving the tripod to the window he aligns the camera to view the street below. Looking out the window he can see the morning sun glisten on the deserted damp street. Returning to the chair, Ray begins to enter data and presses enter. Again, the screen blanks and flickers a moment. An image fades onto the display. Ray leans toward the laptop and views a picture of the outside street, lined with forty and fifty modeled cars and a few people walking in fifties style clothes. Ray looks amazed. EXT. APARTMENT BUILDING SIDEWALK - DAY Dan is walking along the sidewalk approaching the stairway entrance. He walks up the stairs and opens the door. INT. LIVING ROOM, APARTMENT - DAY Ray is sitting at the computer looking at pictures on the screen. There is a knock at the door. Ray rises and walks to the door. INT. APARTMENT BUILDING STAIRWAY - DAY Dan looking depressed, is leaning against the railing as Ray opens the door.

RAY (happily) Dan, come in buddy.


15 Dan reluctantly pushes away from the railing and drags toward the entrance to Ray's apartment. DAN You ruined a perfect evening. INT. LIVING ROOM, APARTMENT - DAY Dan walks into the apartment as Ray closes the door. RAY I have something to show you that will blow your mind. Dan walks to the sofa as Ray follows behind. turns toward Ray.

He stops and

DAN Those chicks that I had last night was all I needed to blow my mind. Dan plops back onto the sofa. RAY No, you just wait till... DAN Got a beer? RAY Sure... Okay, I'll grab you a beer and then show you some incredible pictures. Ray turns and walks to the kitchen. INT. KITCHEN, APARTMENT - DAY Ray walks into the kitchen and to the refrigerator. DAN (O.S.) Pictures? I don't want to see more stupid lightning pictures. Ray opens the refrigerator and reaches in grabbing two beers.


16 RAY No, just wait... What do you mean stupid? INT. LIVING ROOM, APARTMENT - DAY Dan sits up on the sofa. DAN I don't mean to insult your life's work. But, you see one bolt, you've seen them all. Ray walks into the living room and passes a beer to Dan.

RAY Like your women. DAN What? Ray walks toward the computer table. RAY Come on over here. I'm going to show you the most astonishing pictures you have ever seen. DAN Have you been downloading porn from the internet? Dan rises from the sofa and walks toward Ray as he sits down in front of the computer. RAY No, I haven't been downloading porn. Will you get serious? Dan pulls a chair next to Ray. DAN Okay, show me. Ray sits the beer down on the table and pulls the keyboard to the center and begins loading thumbnail pictures onto the screen.


17

RAY This will explain what I saw last night. Ray clicks on the first photo and it re sizes full screen. Dan looks at the picture on the screen, frowns and shrugs. He looks closer and then glances across the room and back to the screen. DAN Okay, that's your sofa. astonishing about that?

What's

Ray minimizes the picture. RAY No just wait, it gets better. Ray clicks the next picture.

Dan looks and then closer.

DAN Ray! It's a chair, a table and a lamp. What the hell... You are really losing it! Dan looks at Ray and notices his eyes. RAY That is not just any table and chair. DAN Ray, look at me! Ray turns directly toward Dan. RAY What? Man! red.

DAN Your eyes are totally blood Have you been to sleep?

RAY No, I haven't. I discovered something.


18 DAN Do you realize it is four o'clock in the afternoon. What's that thirty six... forty two hours with no sleep? RAY I'm okay! DAN You have to go to bed. RAY I said, I'm okay. Now, will you shut up and listen to me?

DAN Okay, what's so important about these pictures. Dan sits back in the chair and takes a drink of beer. RAY This photo is the same as this one. Ray clicks on the first picture of the room and places them side by side on the screen. Dan looks at the pictures and shrugs. DAN I don't understand. RAY These pictures are of the same area, five minutes apart. Dan sits the beer on the table and leans forward toward the computer screen, as he observes the pictures. DAN You mean to tell me, these two pictures are of that wall. Dan points toward the sofa area.


19 RAY Yes! The photo on the left is today. The photo on the right is nineteen fifty, five minutes later. Dan looks toward the sofa and then back to the screen. DAN Where's the phone book?

RAY Why? Dan and Ray look at each other. DAN So I can find the number of the closest psychiatrist. RAY You don't believe me.

Do You?

DAN You are telling me, that you created a time machine? Ray turns toward the computer screen. RAY Well, it's not really a time... I may have a way to see past events. Ray grabs the mouse and clicks away the two photos. RAY (CONT'D) I have more, look at these. Ray clicks the mouse. Photos of the street outside scroll into view. Dan looks at the photos and rises from the chair. He looks toward the window and walks over and looks out for a moment. Dan turns around, leans back against the window sill, looks at the computer screen and then to Ray. DAN So, these are...


20 Ray nods yes and leans back in his chair, looking up at Dan. RAY That's right, five minutes apart. DAN How did you... RAY Well, as much as I can understand, it's like a ghost story.

DAN A ghost story? RAY Yeah, you know, the best time to go ghost hunting is the nights when there is thundering and lightning. Dan walks to the chair sits down and grabs the beer and takes a drink, intently listening. Ray sits up in the chair and turns toward Dan. RAY (CONT'D) We have always thought the thunder and lightning was used to just make it spooky. Well, I think lightning is the source of ghosts. DAN I don't understand. How can lightning make ghosts. RAY No, it doesn't make. It provides the energy to see images of past events. Ray stands and walks to the camera and aims it toward Dan. RAY (CONT'D) Now watch this.


21 Ray moves to the keyboard and enters data. Dan sits up in the chair and sits the beer on the table, as he observes Ray. RAY (CONT'D) Everything on Earth works through magnetics and energy. Ray stops entering data on the PC, looks toward the laptop computer screen and presses enter. The screen blanks for a moment, then a picture scrolls onto the screen. Dan leans forward, closer to the screen, as a the picture of himself sitting in the chair displays. Ray looks back to the desktop PC monitor and returns to entering data. RAY (CONT'D) For example, consider a computer . Any data that has ever been recorded on the disk is always there, no matter how many times the disk has been erased or the data written over. Information can be retrieved from a disk, if you have the right tools. Dan grabs the beer and takes a drink, sits back into his chair, intently listening. Ray continues entering data. RAY (CONT'D) I have discovered that the earth, is like a disk. Any activity that occurs has been recorded and stored in the earth's magnetic fields. Ray presses enter and sits back into the chair, as he and Dan look toward the laptop screen. RAY (CONT'D) Most importantly, I have developed the tool to retrieve the information. An image scrolls onto the screen. Ray and Dan lean forward closer to the screen as a picture of a dining table unfolds. A man, woman and boy are seated at the table having dinner.


22 RAY (CONT'D) And that is what was happening where you sit, fifty years ago. Ray smiles.

Dan just stares at the screen in amazement.

DAN What does this have to do with the park? Dan continues to stare at the screen, not believing what he is seeing and hearing. Ray looks toward Dan. RAY Well, obviously what I saw in the park happened in the past. Probably thirty or forty years ago. DAN I better make some coffee. DISSOLVE TO:

EXT. NEWSPAPER OFFICE - DAY It is a sunny morning, as Ray walks along the sidewalk, clean and refreshed, carrying a briefcase and shoulder bag. He walks to the entrance. INT. NEWSPAPER OFFICE ARCHIVE LIBRARY DESK - DAY Ray walks into the archive room. The Attendant, ANNA McGUIRE, attractive, in her late thirties, wearing glasses, hair pulled back in a pony tail. She is seated at the desk, busily working typing on a keyboard. Ray walks to the desk and sits his bags on the floor. Anna stops working and looks at Ray. ANNA Hello, may I help you? Ray notices her name plate "Anna McGuire" on the desk.


23 RAY Yes Anna, I would like to look at some past news stories. ANNA Any particular subject? Ray thinks for a moment. RAY The park, any information that was printed about the park. Anna turns to the computer monitor and begins to type on the keyboard. ANNA What year? RAY I'm not sure. Just see if you have any articles from the sixties and seventies. Anna enters more data and a menu displays on the screen. ANNA Now, what event took place? Anna looks up at Ray, as he places his hands on her desk, leans toward her and looks her in the eye. RAY A murder. EXT. CITY PARK - DAY The sun glows through the park and birds chirp, as Ray slowly walks though the area in deep thought. DISSOLVE TO: INT. RAY'S OFFICE, WEATHER RESEARCH CENTER - DAY Ray walks into the office, sits the bag on the table and walks to his desk sitting the briefcase on top. He walks to the window and looks out onto the street.


24 Dan walks into the office, unnoticed by Ray. front of the desk.

Dan stops in

DAN Ray! Ray jumps and spins around. RAY Oh!

Dan.

DAN Where have you been? Ray walks to the desk and opens the briefcase. RAY I had to make some stops. Ray removes folders from the case, places them on the desk and sits the briefcase on the floor. DAN Well, what are you going to do? RAY About what?

DAN Your discovery... your camera. Ray sits down in the chair and looks up at Dan. RAY Dan, I have been thinking. It could be good or... a bad thing. DAN How could it be bad? All the unanswered questions and unsolved crimes that camera could solve. RAY Yes! And what about the people that have moved on past tragedies in their lives.


25 Dan move closer and leans over the desk looking Ray in the eyes. DAN Moved on without closure. RAY The many unanswered questions... Maybe the answer is not what the world wants to know. Dan stands straight. DAN There is more problems in the world because we do not have answers. Even if the answer is not what we want to hear, at least we would know the truth. RAY Well, we know one truth already. There's no spirits walking around and coming back to see us. I'm sure that would kill the psychic business. I always wondered why, people that reported seeing ghosts would also report sounds or the spirit talking to them. DAN What?

RAY It only makes sense. A spirit has no vocal chords and no way to physically resonate a sound. Now as I know, the magnetic field of the Earth stores images, it probably retains sound too. When people hear the deep slow motion type of ghosts sounds it is being release with low energy. When people hear spirits talking to them, well, the mind will hear what it wants to hear.


26 DAN So there are no real spirit ghosts that return to see the living. I can deal with that. That doesn't mean there is not a God, or Angels that visit us. RAY No it doesn't. Maybe you can deal with it, Dan. But, the rest of the world may not be so accepting. What if it proved that Jesus was not real, as the man, the world perceives him to have been? DAN How far back in time can you go with that camera? RAY I don't know. You saw the only experiments I did with it yesterday. I'm not sure if I am ready to know any more truths. DAN There is a reason for everything. You have this great invention and the world deserves to know and to benefit from it. I would like to go to Dallas and see who shot JFK. RAY Why are you suddenly Mister care for the world? DAN I have a good side too. We could solve old crimes and stop more from happening. RAY We? DAN Yes We. Together we could solve crimes and be like...


27 RAY No we are not doing anything. DAN Too bad you couldn't retrieve the pictures from the park. RAY Why? DAN You could have printed the photos of the killer and sent them to the police. He may still be alive and loose. Ray pulls the chair up to the desk. RAY I have work to do.

Don't you?

Dan looks at his watch. DAN Sure. RAY After work we will discuss it.

DAN Okay, see you then. Dan leaves the office. Ray grabs a folder and opens it. He looks down at a copy of a news article dated June 2, 1972. The headline reads "College Student Murdered in Park". A photo accompanying the article shows the body of a young woman on the ground. Ray reads the article and then pushes the chair from the desk, turns around toward the window and looks outside. A tear flows down his cheek. EXT. CITY PARK - NIGHT The park is dimly lit and quite as a few rabbits scamper through the area. Ray and Dan walk into the area each carrying a case of equipment.


28 RAY We'll set up over there. Ray points toward the shelter as they to walk toward the table. DAN I'm glad you decided to do this. Maybe we can help solve a murder. The two men walk to the picnic table and sit the cases on top. Ray sets up a tripod as Dan removes a laptop computer, a camera and cables from the cases. Ray opens the laptop as Dan attaches the camera to the tripod and attaches a cable. RAY Okay, attach that cable to the adapter and turn on the camera. Ray presses a switch on the laptop as Dan completes the connection and switches on the camera. DAN Okay, it's on. What have you got? Ray watches the computer screen. The screen shows an application of lines of data and an inset picture of the park. A blurry image of the park bench appears. RAY Zoom out and focus. Dan adjusts the camera as Ray watches the screen. RAY (CONT'D) Okay, that's good. Dan walks toward the table and stands behind Ray, in a position he can see the screen. Ray enters data with the date of June 1, 1972 and time 8:00 p.m. The picture on the screen blanks and an image of the same scrolls into view. The picture shows a difference in the foliage including an existing large tree is smaller in the image on the screen. RAY (CONT'D) Okay, we are getting there. have to pin point the time.

I only


29 Dan moves to the table and opens a case, retrieving a folder. He opens the folder and reads the news article. DAN The body was found at six thirty a.m. By a park attendant. The Coroner's office estimated the murder took place eight to ten hours prior. RAY Okay, let me make some adjustments. Ray enters time data at 9:00 p.m. Dan tosses the folder back into the case and returns to the position in view of the screen. Ray presses enter. The screen image blanks and the same picture appears. DAN That's the same. RAY I have to move the time forward. Dan walks to the camera on the tripod and looks into the open serene vision of the park setting. Ray enters data and a time of 11:00 p.m. Dan looks through the camera view finder as Ray presses enter. The inset picture on the screen blanks and flashes and blanks as Ray watches. RAY (CONT'D) Come on. Suddenly a picture of the park area appears. Dan jumps back from the camera. There is a body lying near the bench under the lamp post. Dan moves next to Ray. DAN That's the same as the picture in the article.

RAY Getting close. I need to adjust the time back minute by minute. DISSOLVE TO:


30 EXT. POLICE HEADQUARTER'S - DAY The day is hazy and rainy as PEOPLE and POLICE walk into and out of the building. INT. HALLWAY, POLICE HEADQUARTERS - DAY PEOPLE walk along the hall past offices; some entering into the rooms. A Mail Clerk, MARCI, walks through the hall, pushing a cart of mail, stopping at each office. She pushes the cart and stops in front of an office door inscribed, "Jack Wilson, Det. - Ross Barnes, Det. Homicide". She removes a bundle of envelopes and folders. Opening the door she enters the office. INT. DETECTIVES OFFICE, POLICE HEADQUARTERS - DAY JACK WILSON, in his fifties, medium build, is seated in front of a computer, viewing a case, as the Mail Clerk approaches the desk. He looks up from the computer. JACK Good morning Marci. MARCI Hello detective. Your mail and some files from the records office. Jack stands and takes the bundle. JACK Thank you, have a good day. MARCI You too detective. Marci leaves the room. Jack lays the bundle on the desk and walks to a coffee maker. He pours a cup of coffee and walks to the window. He takes a drink of coffee, while looking out at the dreary day. The office door opens. Jack turns his head toward the door as ROSS BARNES, in his forties, walks in. Jack walks to his desk. Ross walks to the opposite desk sitting down a briefcase and takes off a wet raincoat. ROSS Man, this weather!


31 JACK It should let up soon. Ross hangs his raincoat on a rack and walks to the coffee maker. Jack sits down at this desk and moves the bundle of mail to the side and sits down the coffee cup. ROSS Any luck on the Sullivan case. Ross pours a cup of coffee. JACK I just can't figure it. doesn't add up.

The time

Ross walks to his desk, sitting down the cup of coffee. presses a switch on the computer and sits down.

He

ROSS When the weather clears, let's go back to the area and do a distance and time analysis. Jack nods and takes a drink of coffee as he turns his attention back to the computer screen. JACK I'm reviewing the witness information.

Focused on the screen, Jack sits down the cup, spilling the coffee over the desk. He jumps from the chair and quickly pushes documents and the mail bundle to the side of the desk. Ross approaches with paper towels. JACK (CONT'D) Dammit! ROSS Here. Jack blots the coffee from the desk. desk.

Ross returns to his


32 ROSS (CONT'D) Looks like you've had enough coffee. JACK Not enough. Just too occupied with this case. Jack continues cleaning the desk. He moves a small stack of envelopes from the mail bundle and places it into a file box. He stops wiping the desk and looks at a large brown envelope in the bundle. The left side on the envelope reads; "OPEN IMMEDIATELY! IMPORTANT EVIDENCE PHOTOS!". Jack tosses the wet paper towels into the trash container. Curiously looking at the envelope, he sits down and pulls the package to him. He examines the envelope and then opens it. He slides out a folder and moves the brown envelope to the side. Opening the folder there is a copy of the newsprint article paper clipped to several photos of the murder as it happened. Ross notices a startled look on Jack's face. ROSS What do you have there Jack. JACK Come here, you've got to see this. Ross walks to Jack's desk. and photos.

The two men look at the article

ROSS What the hell? Pictures of a murder in nineteen seventy two? JACK I remember this. I was a young rookie. It was never solved. Not a piece of evidence was ever found. ROSS This is more than evidence. Here is photos of the crime as it happened. Jack grabs the envelope and looks at it.


33 JACK I don't know where these came from. No return address. Jack lays the envelope down. pictures.

The men continue studying the

ROSS Does it matter? JACK This happened thirty five years ago. No witnesses came forward. ROSS It seems there was a witness. JACK Why now? Ross picks up a photo and examines it. back.

He looks at the

ROSS Jack, the murder may have happened thirty five years ago, but these prints are new. JACK What? Ross passes the print to Jack. ROSS See the watermarks. Printed on computer photo paper. JACK Well, the prints may be new, but the pictures are of the actual murder scene as it was then. ROSS Maybe some one was afraid to come forward until now.


34 JACK It doesn't matter why. We have pictures of the murderer. Scan those and see if you get an identity. Ross takes the photos from the desk.

Jack stands up.

ROSS Where are you going? JACK To see the D.A. DISSOLVE TO: INT. RAY'S OFFICE, WEATHER RESEARCH CENTER - DAY INSERT TITLE: "TWO WEEKS LATER" Ray is seated at his desk working. Dan walks into the office and approaches, tosses a newspaper on the desk. headline reads, " Man Indicted in 1972 Park Murder".

The

DAN Have you seen the news? Ray picks up the paper and looks at the headline article. RAY So, it worked? DAN Yes it worked. There is sure to be a conviction with those photos. Dan sits down in a chair in front of the desk. back into the desk chair. RAY I'm glad we helped bring some closure. DAN That's just the beginning. going to be millionaires.

We are

Ray settles


35 RAY What are you talking about? DAN I will contact city governments throughout the country. You just duplicate your application and we will sell the units. Not to mention long term licensing agreements.

RAY Hold on Dan. DAN Ray, just think! Police departments, lawyers, detective agencies. There is no end to the customers for this device. We can go worldwide overnight. Hell, we'll be billionaires in a month! RAY I'm not ready to do that. Dan sits up and leans forward in the chair. DAN What do you mean?

It works!

Ray leans forward and places his arms on the desk. RAY My camera works. It's not right to change the natural order of things. DAN Natural order? RAY Some things are better unknown. DAN All the crimes could be solved. Crime would probably stop. Who would risk committing a crime anymore?


36 RAY Think of the number of people that would be out of work. Police, judges, attorneys, security. That's many people, worldwide. DAN Just think of the new jobs with all the old cases being solved. RAY I think it's more important that people choose to not commit crimes because it is right. Dan settles back into the chair. Ray sits back into his chair, turns toward the window and looks into the sky. DAN It shouldn't matter why. We can help stop crime and make a fortune. Ray stands and turns toward Dan. RAY I don't want to make a fortune. I am going to erase the program and start back to work on my original project. Dan rises from the chair. DAN Ray, you can't do that!

RAY I never intended for this to happen. DAN You haven't done anything but, discover a way to look at the past to know the truth. RAY My only interest is my project with the weather.


37 Dan turns and walks to the door. DAN Come on, let's go to lunch. EXT. RESTAURANT PATIO - DAY Ray and Dan are seated at a table among several other tables, filled with patrons. A WAITER finishes taking their order and walks away.

DAN I can't believe you. The greatest invention of all time and you want to throw it away. RAY I have no desire to be caught up in publicity and controversy. Dan takes a drink of water, sits the glass down and looks at Ray. DAN Who cares about that? Just think of how wealthy we could be. It's only a matter of time until someone else discovers what you already have. RAY This is not about money. Ray reaches for a glass of water and takes a drink. leans forward over the table. DAN I have a plan. RAY Dan, no I just want... DAN Ray, you have to think big. hear me out. Okay ?

Just

Dan


38 RAY What's your big plan? DAN Can you condense the program into a digital camera? RAY It's possible with the right programming to a digital camera. What are you thinking? DAN I'm thinking we are going to be billionaires. RAY What? The waiter approaches the table with a tray of food. Dan sits back in his chair. The waiter places plates of food in front of Ray and Dan. WAITER Here you are, sir.

And you sir.

RAY Thank you. WAITER Will there be anything else. DAN No, we're good. The waiter leaves the table.

Ray looks at Dan.

RAY What are you talking about, billionaires? Dan grabs a napkin and begins unwrapping the silverware. He leans forward toward Ray. DAN Just think, a portable time camera. There are many men that would like to photograph their bedroom,


39 RAY What do you mean? DAN To what's happening, when they aren't home. And women too. That is a market. That will make us billionaires. Dan begins to eat.

Ray picks up his silverware.

RAY The divorce rate is already fifty percent. I do not want to be responsible for it being ninety percent. Ray begins to eat. DAN You wouldn't be responsible for people's actions. We just provide the device for the truth to be known. RAY I don't want to start a worldwide domestic war. How do you think the truth would be handled by most people. DAN I haven't thought about that. RAY Domestic violence would be the crime of the day. Beaten and dead spouses. Talk about blood money. No, the device has to be used responsibly. If used at all. DAN Look on the bright side. There would be plenty of law enforcement jobs to handle the domestic violence.


40 RAY Haven't you been listening? DAN It was just a thought. RAY There has got to be some good for this device. DAN Sending the police the photos of the murder in the park was a good thing. Ray and Dan continue eating, as the waiter approaches. EXT. NEWSPAPER OFFICE - DAY Carrying a briefcase, Ray walks along the sidewalk with Dan.

RAY Remember, I only agree to do this, as long as we stay anonymous. DAN That's right, we'll help the police and the community. No publicity, no marketing, no money. RAY Forget about the money. We will be doing the right and good thing. Ray and Dan approach the entrance and walk into the building. INT. NEWSPAPER OFFICE ARCHIVE LIBRARY DESK - DAY Ray and Dan walk into the archive room. Anna is seated at the desk, busily working at the computer. The men approach the desk. Anna stops working and looks up at Ray and Dan.


41 ANNA Hello. Nice to see you again, Mister... Sorry, I didn't get your name. RAY Oh I'm Ray and this is Dan. ANNA How may I help you today? RAY I have more research. ANNA More stories of the park? RAY No, we just want to look at past articles of any crimes and police reports... Uh, for a book. ANNA Oh, so you're writers? DAN Well, not yet. RAY It's our first book. Anna rises from her chair and walks around the desk. ANNA Follow me. Ray and Dan follow Anna toward an adjacent research room. ANNA (CONT'D) By the way, did you know they caught the murderer? Anna at the door of the research room and turns toward Ray and Dan. They stop and look at Anna then each other and back at Anna, acting unknowing of what she is asking. RAY Murderer?


42 ANNA Yeah, the murder in the park. You know the news article I printed for you. RAY Oh, that murder.

When?

ANNA When what? RAY When was the murderer caught? ANNA A few days after you were here. I read the news, the article jumped right off the page at me. RAY I didn't know. Did you know Dan? Dan shrugs. DAN No, I must have missed the paper that day. RAY No, that's news to us. ANNA What a coincidence. RAY Coincidence? ANNA Yeah, you came and researched the article and a few days later the murderer is arrested with photographs that showed up to the police thirty five years later. DAN Yeah, that was a coincidence.


43 ANNA Well, it was good news. The guy is finally caught after all these years. INT. NEWSPAPER OFFICE, RESEARCH ROOM - DAY The walls are lined with racks of newspaper archives. There is several wooden tables with computers and microfiche machines. Anna walks into the room as Ray and Dan follow. They stop in the middle of the room as Anna points toward the computers and microfiche machines. ANNA These terminals have an archive index system, which will allow you to search by date or subject. Anna walks to a computer as Ray and Dan follow. She moves the mouse and clicks the screen, bringing up a search menu. Anna enters a year in the search field. ANNA (CONT'D) After you enter the search information, just click here. Anna clicks on the search button. screen.

A list scrolls on the

ANNA (CONT'D) Now, I can review these subjects and click on a particular one to narrow the search. Anna navigates through the program as Ray and Dan watch. ANNA (CONT'D) Once you find an article you are interested in just click it and it will come up on the screen. Any questions? RAY No, I think we got it.


44 ANNA Any articles you want to print, just click the printer icon. It will print at a printer by my desk. DAN Okay. Ray sits the briefcase onto the table. Dan pulls a chair and sits down in front of a terminal. Anna turns and walks toward the door. ANNA If you need anything, I'll be at my desk. RAY Thank you. DAN Thanks. Anna leaves the room. Ray and Dan are seated at the terminals and begin searching. RAY Let's start from the present back. I'll search this year and you can search last year. DAN Alright.

INT. LIVING ROOM, APARTMENT - NIGHT Ray and Dan sit at a table, sifting through a large stack of papers. Ray is looking at an article and writing notes in a pad. Dan holds an article in one hand, he takes a drink of beer and sits the bottle down. He looks at the stack of articles and then to Ray. DAN This is only three years worth of one hundred and twenty three crimes. We haven't even touched the surface.


45 RAY I know, it could take some time. But, don't worry. DAN I can't spend all day working and then trudging around with you making pictures at all night. I'll have no life. RAY I said, don't worry. our job.

This is now

DAN What are you talking about? RAY Before you got here tonight, I called Stafford and explained that I need field time for my project and that you are valuable as my assistant. DAN For how long? RAY Until the project is finished. Stafford cares about is a new breakthrough for new funding.

All

DAN What happens when we don't have a breakthrough? We are going to be fired! RAY I will continue to work on the lightning program. The more I can understand how this camera is working, probably will give me the answers to the original project. DAN Okay Ray, I'm putting my trust in you. I may not have the greatest job, but I need to keep it.


46 Dan turns his attention back to the article, picks up a pen and makes notes. Ray lays the article and pen down, picks up a bottle and takes a drink of beer. He looks at the stack and then toward a camera on a tripod. He thinks a moment and turns toward Dan. RAY I'm going to try and re configure the camera. It sure would lighten our load. Ray Sits down the beer. Ray.

Dan stops writing and looks at

DAN How will you do that? RAY I will erase the camera's configuration and upload... wait a minute. Let me see your handheld. Dan reaches to the side and picks up a pocket PC and hands it to Ray. He turns it on and looks at the programs. DAN What do you need with that? Ray passes the PC back to Dan. RAY Erase all the data, we need all the memory we can get. DAN Wait a minute! I can't erase anything on this, I have some very important phone numbers in memory. RAY Yeah, like who? DAN Like... Some women.


47 RAY Well, back it up on the desktop. But, we need this device to run the application and store the photos. I will program the dates and times from the news articles. INT. LIVING ROOM, APARTMENT - NIGHT Ray is lying on the sofa asleep. Next to the table with gadgets, the camera is mounted on a tripod. A cable from the camera is attached to the pocket PC. The door bell rings. Ray jolts up. The bell rings again. He rolls off the sofa and stumbles to the door. Ray unlatches and opens the door. Dan walks into the room. Hey buddy.

DAN Ready to get to work?

Sleepily, ray turns and walks to the sofa and flops down. Dan walks to the kitchen door. DAN (CONT'D) I'll take that as a no. I'll make some coffee. Dan walks into the kitchen. sofa and stretches.

Ray slowly rises up on the

RAY Coffee, sounds good. DAN (O.S.) So, how did it go last night? RAY It's going to work. Dan walks into the room.

Ray looks up toward Dan.

DAN Did you try it? RAY Yeah, come here let me show you.


48 Ray rises from the sofa and walks to the camera. Dan follows. Ray picks up the pocket PC and presses a button. Using the stylus pen he clicks an icon and a picture appears on the screen. He holds it toward Dan. RAY (CONT'D) Remember these two? Dan looks at the photo on the screen, a picture of two women sitting on the sofa. DAN That's, that's Cassandra and Michelle! How could I forget. Look at those legs. Ray smiles at Dan, takes the PC and sits it on the table. RAY Told you, it works. the coffee?

Now, where's

EXT. NIGHTCLUB - NIGHT The nightclub is lit with neon signs and loud music is spilling into the street, as patrons come and go. A car with two men slowly passes by the Nightclub and turns into the side parking area. INT. RAY'S CAR - NIGHT Ray pulls into a parking spot and stops. DAN I don't remember this place. RAY It's on my list. Decided to come here first, it being closest.

DAN This is my kind of place. Ray places the car in park, turns off the lights and ignition.


49 RAY I don't think so Dan. This is a rough place, a lot of fights happen here. There was a murder last year. DAN Oh yeah, what happened. RAY A guy walked in and shot a man in the face. No witnesses. You believe that? There was probably a hundred people in there, but no one saw a thing. So, they say. DAN Let's hurry up and get this over. Dan opens the door and steps out of the car. EXT. NIGHTCLUB PARKING LOT - NIGHT Ray steps out of the car and walks to the trunk as Dan approaches. Ray opens the trunk and takes out a shoulder bag. RAY Okay, let's go in, get the shots and get out. No flirting. DAN That depends on the women. RAY No, we're not staying that long. EXT. NIGHTCLUB - NIGHT A large muscular scruffy BOUNCER, wearing a T-shirt imprinted with "SECURITY", stands at the door taking a cover charge as several PEOPLE enter the club. Ray and Dan walk along the sidewalk toward the door and approach the man.

BOUNCER I.D.?


50 Ray and Dan look at each other and then the Bouncer. RAY Excuse me? BOUNCER I need to see your i.d. son. RAY What? BOUNCER You hard of hearing? The Bouncer laughs in a scruffy tone. BOUNCER (CONT'D) Just shitting ya anyways. It'll be five bucks a piece. RAY Here's ten for both of us. The Bouncer takes the ten and places it into a stack of bills in his other hand. Ray and Dan walk away and begin to enter the club. The Bouncer looks up and notices the shoulder bag under Ray's left arm. BOUNCER Hey! Wait a minute. here.

Come back

Ray and Dan turn around and then approach the Bouncer. RAY What? BOUNCER What is that in the bag? RAY Just a camera. BOUNCER You ain't aloud to take no pictures in this club.


51 RAY Just carrying it. We were out sightseeing earlier. The Bouncer stares roughly at Ray and Dan. BOUNCER It stays in the bag! RAY Okay, no problem. Go on.

BOUNCER Just don't give me no shit.

INT. NIGHTCLUB - NIGHT Loud music fills the large room, dimly lit with lights flashing to the music. People mingle, dance and sit at tables drinking and talking. A few pool tables sit in one area of the room, as people stand watching the players. Ray and Dan ease through the crowd, getting bumped and pushed. They walk into a clearer area as they pass the bar. The bartender busily fills drink orders as the Bar Maids pick up drinks. Ray and Dan stop and look around. Dan is busily looking at women as they walk by. RAY We have to find a table. DAN What about that one? Dan nods toward a table where sits two women. RAY It's taken. DAN We'll join them. RAY Wait! Dan walks toward the table and Ray follows.


52 INT. BOOTH, NIGHTCLUB - NIGHT The two WOMEN are seated talking as Dan walks to the table. The women look up toward Dan. Ray approaches. DAN Hello! WOMAN 1 Hi! WOMAN 2 Hi! DAN Could we sit with you? WOMAN 2 Sure Honey. The women slide over making room for Dan and Ray to sit down. DAN Sure is packed in here tonight. WOMAN 1 It always is. Must be your first time here. WOMAN 2 So, what do you two have in mind? Like to dance? RAY Actually, we just want to take you girls back to our apartment and have a wild orgy. We have whips and chains too. Astonished, Dan looks at Ray. The Women frown and push Ray and Dan from the booth as they grab their purses and stand up from the booth. One Woman pushes Dan back. The other Woman slaps Ray. WOMAN 2 Sicko!


53 WOMAN 1 Yeah, asshole! The two Women storm off in a huff. DAN I can't believe you, man! RAY I had to do it. DAN Why? Ray sits down in the booth.

A Waitress approaches.

WAITRESS What would you like? RAY Two Bud's. The Waitress walks away toward the bar. the booth.

Dan sits down in

DAN Now tell me, what was that about? RAY I had to get them to leave. DAN I'm beginning to wonder about you. You seem to like chasing women away. RAY Yeah, those bar hopping women are not what we need. DAN Any kind of woman is better than what we have. RAY I couldn't pull the camera out with them sitting here.


54 DAN Okay, I'll let you off this time. The Waitress approaches and sits the beers down as Ray hands her a bill. RAY Keep the change. WAITRESS Thank you. The Waitress walks away. Dan picks up a beer and takes a drink. Ray leans closer toward Dan, not to speak too loud. RAY I have to put the camera on the table and aim it toward the bar with out being seen. Dan looks at the glasses left by the women. He moves the glasses to the end of the table facing the bar. Ray grabs a candle and napkin holder and moves it by the glasses. DAN Pass it to me. Dan looks around the room. Ray reaches down to the bag in the seat to his side. The Waitress approaches. Dan kicks Ray under table. Ray jumps and looks up. The waitress reaches for the glasses. DAN (CONT'D) Leave them. We like looking at the lipstick on the rim. Dumbfounded, the Waitress looks at Dan . WAITRESS Okay, whatever you say.

Sicko.

The Waitress walks away. Dan and Ray look around the room. Ray reaches for the bag and unzips the top. He removes the camera and pocket PC. Ray slides the camera across the table. Dan positions the camera behind the glasses and presses the power switch.


55 Ray holds the PC below the table, presses the on switch and makes a fast glance around the room to insure no one is watching. The club patrons are busy in their own worlds. Dan monitors the LCD display on the back of the camera as he adjusts the zoom and focus, getting a clear picture of the bar. DAN Okay, whenever you're ready. Ray taps the PC screen with a stylus pen. RAY You should get a picture now. Ray looks around the room. The image on the screen changes. Dan looks toward the bar and then back to the screen. DAN Okay, we're getting something. I see a man standing near the bar and another man walking toward him from behind. Ray looks down at the PC and then around the room and back to Dan. RAY It's recording just hold it a minute. DAN It's not clear. RAY Zoom in and focus. Dan makes adjustments to the camera and monitors the screen. Ray glances around the room. The screen image shows a man walk up the man near the bar. The first man turns around and the second man pulls a gun from his pocket, puts it to the mans head and pulls the trigger. Dan is pale faced and startled, he looks toward Ray. Oh shit! of here.

DAN We gotta get the hell out


56 RAY Did it happen. DAN It was the...

Yes!

Ray looks across the room. checking people out.

Oh no!

The Bouncer is walking around

RAY Look who is coming.

Dan glances across the room toward the Bouncer. Ray places the PC between his legs and reaches over the table toward the camera. RAY (CONT'D) Here, cover my hands. Dan quickly places his hands over Ray's, as they sit looking at each other terrified. The Bouncer approaches the table. BOUNCER Hey! None of that in here! This is a straight bar, you need to go to the club two blocks down. Ray looks up at the Bouncer. Dan sits frozen, looking straight ahead, sweat beads appear on his forehead. RAY Sorry, we'll leave. BOUNCER Do that and don't let the door hit you in your sweet little asses. The Bouncer turns to walk away and notices the cable on the table leading down to Ray's crotch area. He looks for a moment and then to Dan and back to Ray. Sickos! back.

BOUNCER (CONT'D) Don't be here when I come


57 The Bouncer shakes his ahead and walks away and then disappears in the crowd as Dan and Ray watch. Dan pulls his hands back. Ray watches toward the crowd. Dan pushes the camera toward Ray. DAN Okay, let's get the hell out of here. He's the... Dan sees the Bouncer coming toward them. Oh hell!

DAN (CONT'D) Here he comes.

Let's go.

RAY He's the what? DAN The murderer! RAY Oh shit! Ray and Day begin to scramble.

The Bouncer approaches.

BOUNCER I told you shit heads no picture taking! I'll beat your... Dan grabs the camera. Ray grabs the PC. The two men bolt from the booth. The cable still attached to the PC and camera throws the glasses from the table and wraps around the Bouncer. The glasses crash to the floor and shatter. As Ray and Dan run the pull on the cable trips the Bouncer. He slams head first into the table and falls to the floor. The cable snaps loose from the camera and PC as Ray and Dan push through the crowd toward the door. EXT. NIGHTCLUB PARKING LOT - NIGHT Ray and Dan run to the car. Ray struggles for the right key. Dan stands by the passenger door waiting. DAN Ray, hurry up!


58 Ray unlocks the doors and jumps into the car. Dan jumps in as Ray starts the car. The doors slam, the car backs up and squeals through the parking lot, dodging pedestrians as they jump out of the way. INT. CAR INTERIOR - NIGHT Ray drives along a city street as Dan sits catching his breath. RAY That was close. Did you say... the Bouncer is the murderer. DAN Yes! I saw him on the camera. killed the guy!

He

RAY I think this is enough for one night. DAN I agree. EXT. CITY STREET - NIGHT The car with Dan and Ray rolls along a busy street. DISSOLVE TO: INT. KITCHEN, APARTMENT - NIGHT Ray pours a cup of coffee, places the pot into the maker and turns toward Dan, seated at the table. RAY Did you mail the photos with the article? DAN Yes, they're on the way to the Police. RAY Good. Ray walks to the table and sits down in a chair.


59 DAN What do you have lined up tonight? RAY I don't know. Look at the list and choose something. Dan picks up a list on the table. DAN Look at this! Eight people killed in 1982. INT. HALLWAY, POLICE HEADQUARTERS - DAY Jack Wilson is standing in the hallway speaking to a POLICE OFFICER. The Homicide office door opens. Ross steps into the doorway, holding a manila folder, he motions for Jack. Hey, Jack.

ROSS Need to see you.

Jack looks toward Ross and motions, "just a minute". Ross turns and walks back into the office. INT. DETECTIVES OFFICE, POLICE HEADQUARTERS - DAY Ross walks toward his desk, as he looks in the folder. Jack walks into the room toward Ross. JACK What's so damn important? Ross turns around and faces Jack as he approaches. ROSS We have another one! JACK Another what? ROSS Pictures of an unsolved case. Ross holds up the folder.

Jack looks puzzled.


60 JACK Let me see that. Ross hands the folder to Jack. Jack walks toward his desk as Ross follows. Jack sits down in his chair and spreads the photos on the desk looking at each one. He picks up the article. JACK (CONT'D) I remember this... last year. A night club full of people and not one witness. ROSS Yeah, Klein and Hollins worked that case.

JACK That's right. ROSS Well, someone was a witness. Here are the pictures to prove it. JACK This is strange. Jack lays the article on the desk and ponders over the pictures. Ross picks up a photo and looks at the back. ROSS This is the same computer photo paper as we received before. JACK The news article is a copy of a microfiche file. I didn't know those were still around. ROSS The Daily News probably have an archive of old stories. Jack rises from the chair.


61 JACK Take that photo and see if you can track the paper. Check the Daily News too. I'm going to visit Carson with these. Ross turns and walks to his desk. Jack grabs the remaining pictures and article, places them into the folder. INT. CHIEF CARSON'S OFFICE, POLICE HEADQUARTERS - DAY Police Chief FRANK CARSON, a large frame man in his late fifties, sits at his desk looking over the photographs. Jack sits in front of the desk. FRANK CARSON Well... let's hold on to these and anymore you receive. Until we get some answers. JACK Yes sir. FRANK CARSON In the meantime, try to find out where these are coming from. JACK Ross is tracing the photo paper. FRANK CARSON Good... let me know as soon as you find out anything. DISSOLVE TO: EXT. STREET, ALLEY CORNER - NIGHT The street is a dark rundown area with vacant buildings, streets littered with trash and a flickering lamp post. Ray's car slowly drives onto the street and pulls to the curb and stops. Ray and Dan get out, walk to the trunk and retrieve the camera, computer equipment and flashlights.


62 DAN Are you sure we're in the right area of town? RAY Yes, this is it. Used to be a high class area about thirty years ago. DAN What happened? RAY Don't know, I guess it fell on hard times. Dan puts a bag over his shoulder as Ray grabs a second bag and closes the trunk. EXT. ALLEY - NIGHT The alley way is littered with trash. Ray and Dan walk along shining the flashlights. Ray walks ahead of Dan, shining the light up onto the building and stops as he sees a fire escape stairway on the building. Dan walking up behind Ray, gets closer, stumbles and jumps back. He shines the light on the ground. A BUM, VICTOR, laying on the ground, pulls back newspapers from his face and looks up at Dan. Hey!

VICTOR What are you doing man?

Dan shines the light into the bums face, getting a good look. VICTOR (CONT'D) You go find your own spot, on up that way. Dan steps back and moves closer to Ray. DAN (frightened) Sorry! The Bum shrugs, pulls the papers around him and rolls over.


63 Ray sets up the tripod and camera aiming at the fire escape. Dan approaches Rays side. DAN (CONT'D) Ray... I don't like this place. RAY It'll just take a minute. get the photos and leave. laptop up there.

We'll Set the

Ray points to a block. Dan sets up the computer. attaches a cable to the camera and passes to Dan.

Ray

INT. LIVING ROOM, APARTMENT - NIGHT Ray is sitting at the table in front of the computers and cameras, as he taps the keyboard and watches the screen. Dan is sitting in a chair alongside Ray, watching intently. RAY Okay... here it comes. I set the program to automatically advance five minutes each shot... so, we should have several hours. An image appears on the screen. Ray and Dan look close. The picture is of the fire escape. Ray advances several pictures through the frames. The same image appears. RAY (CONT'D) Dammit! I thought I set the right time frames. We may have to go back. DAN Oh no! Just keep advancing, maybe there is something. Ray advances several more images, then appearing on the screen is two men on the fire escape. Dan smiles. DAN (CONT'D) Yes! Ray looks closer and examines the image.


64 RAY Well, we have three images. But, we can't use them. Too dark. DAN Zoom in... enhance the brightness. Ray zooms the image and clicking the mouse attempts to brighten and enhance the image. RAY It's no use. All we can see is the silhouette of two men. DAN Damn! Let's forget this one. I'm not thrilled to go back to that place. Ray continues working on the computer in an attempt to enhance for a clearer image. RAY Wait a minute! Look at that Dan! Ray points to the screen.

Dan leans closer.

DAN Yeah... a dark blurred picture of a man. RAY No, not just that... look closer. See the outline, the hats and the shiny object there in the chest area. DAN Hey, that's policemen! RAY That is definitely the looks of it. DAN So, that means you set the timing incorrectly. RAY What?


65 DAN Well, if the police were already there, then the murders happened earlier. RAY No, the image is during the night. According to the information, the police were notified at seven in the morning.

DAN Oh! So, you think these two police were involved? RAY Maybe. Problem is we can't see their faces. Ray scrolls through more images. RAY (CONT'D) Let's see what is on the other images I shot at ground level. Ray stops at a photo of the alley street with the hazy image of the front half of a police car on the right side. On the left back of the photo is a street light, which makes the car vaguely visible.

DAN See, that's a police car... I can see the p o on the side door. Ray looks closer, examining the street light area. RAY Too bad the two men didn't walk under that light. Wait!... Look! DAN What?


66 RAY There is someone along that wall by the light. DAN Zoom in. Ray clicks the mouse, zooms in to the image area around the street light and enhances the focus. RAY There's a man. DAN Can you get in closer to the face? Ray clicks the mouse and zooms in to a close up showing a clear image of the mans face. RAY There we go. DAN Hey... I've seen him. RAY When? DAN Tonight. RAY What?

DAN Yeah, remember when I stumbled on the bum, that was him. RAY No! DAN Yes it was, Ray! RAY How can you tell?

That's the man.


67 DAN Ray, I shined the light into the mans face... that is him! RAY Okay... maybe it was. But... why would this man in the picture, still be there on the same street thirty years later? DAN I don't know. Look at the way he is dressed. He wasn't a bum then. Ray and Dan look at the photo, puzzled. RAY Whatever he was doing there, he wasn't a part of what was going on upstairs. DAN Why? RAY Look at his face. He looks frightened. And look at his stance... like he is backing away. DAN Yeah... he must have seen something. RAY We need to go find him. Ray stands up.

Dan leans back into the chair.

DAN No, no... not tonight Ray. Man I am beat. You already had me in that dirty alley. RAY We need to find out what he knows.


68 DAN Ray, the man has been there thirty years, he'll probably be there for a few more days. INT. DETECTIVES OFFICE, POLICE HEADQUARTERS - DAY Jack is sitting at his desk reviewing files. and approaches Jack. ROSS Just spoke with Forensics. JACK Yeah? ROSS The photo paper is highly specialized. Used mostly by researchers, especially photographing in dark environments. The texture provides the best contrast results. JACK So... what does that mean? ROSS Hell, I don't know. Some research scientist must be involved. But... they were able to lift some prints. Seems there are two people involved. JACK Any matches? ROSS Not yet. JACK Any results from the News office? ROSS No. I spoke with Anna McGuire in the news archive. She hasn't had any recent requests for those cases.

Ross walks in


69 JACK Any luck tracing the paper? ROSS Still waiting on a list of vendors. JACK Okay, well keep on it. EXT. ALLEY - NIGHT Ray's car pulls up to the entrance of the alley way. Ray and Dan get out with flashlights, and walk into the alley, searching the sides for the Bum. Dan stops at a spot and kicks cardboard and papers.

DAN This is the spot he was at last night. RAY Probably found a new place. I knew we should came back last night. Ray walks toward the fire escape, shining the lights under and around it, searching. Dan shines his light up the alley. Looking ahead he sees a figure coming down the alley. DAN Ray! RAY Yeah? Come here.

DAN There he comes.

Dan points the light directly toward the figure. Ray approaches to Dan's side. The approaching figure stops. DAN (CONT'D) Hello, Sir! Dan and Ray walk closer toward the man. Both shine their lights directly into his face, blinding his vision.


70 VICTOR (angry) Will you get that damn light outta my face? DAN That's him! Dan and Ray approach the man and lower the lights. VICTOR That's who? DAN You! VICTOR You what? RAY He means, you are the man we are looking for. VICTOR Why the hell would you be looking for me? RAY We just have some questions to ask you. VICTOR Oh yeah? DAN Yeah about something that happened twenty years ago. VICTOR I don't anything about something from thirty years ago. DAN You don't know anything about some murders?


71 VICTOR No, I don't! If I did, it would costs you. RAY Oh, so you might talk to us for some money. VICTOR (suspicious) Who are you guys? Are you cops? RAY No we're... we're just writer's... and we are working on a book of unsolved crimes. VICTOR Oh, well... it will cost you. Dan looks around the alley, uncomfortable with the surroundings. RAY How about a hundred bucks? The Bum thinks about the offer. VICTOR Well, that's a little low. DAN Ray, let's get out of here and do this in the car. RAY I tell you what. Let's go to the diner down the street and buy you a meal and discuss it. VICTOR Yep, now you're talking.


72 INT. DINER - NIGHT Several customers sit throughout the diner at tables, booths and a few at the counter. Ray, Dan and Victor are sitting at a booth, drinking coffee, as they watch the bum devour a meal. A pad folio is on the table between Ray and Dan. RAY So, how long have you... VICTOR (interrupting) Uh, uh, uh! The Bum continues hastily eating without any manners. RAY You said, we could discuss... VICTOR Uh, uh, uh! Nodding "no", the Bum continues eating. Ray and Dan have a few more sips of coffee and watch the Bum. After a moment the Bum finishes eating, takes his last bit, a swig of water, grabs the napkin and wipes his mouth. He tosses the napkin to the plate leans back in the booth, relaxed and smiles. VICTOR (CONT'D) Now, that hit the spot. Never talk to a hungry man when he is eating. RAY Okay... now can we discuss our business? VICTOR Possibly. That was five hundred dollars right? RAY No! I said, I will give you a hundred dollars, if you can give us some information.


73 VICTOR Two hundred. RAY Okay, two hundred.

But that's it.

The Bum sits up to the table. VICTOR Okay. RAY Now, I want to ask you about... VICTOR Where's it at? RAY What? VICTOR The moola!

RAY I'm not giving you any money until you answer my questions. The Bum stands up. VICTOR Thank you for the meal. RAY Where are you going? VICTOR Back to my alley. The Bum turns to walk away. Wait!

RAY Come sit down.

The Bum turns back to the booth and sits down. VICTOR Give me the three hundred now.


74

No!

RAY I said two hundred.

DAN That's right I remember two hundred and you agreed.

VICTOR Damn, you guys drive a hard bargain. Okay, give me the two hundred. Ray reaches into his pocket and removes his wallet, taking out ten twenty dollar bills and holds it in his fist. RAY Listen here! Now, this is the two hundred. I will gladly hand it over to you after we discuss the murders. The Bum can hardly take his eyes off the money. VICTOR What do you want know? DAN Did police officers commit the murders? VICTOR I don't know anything about that. RAY Are you sure?


75 VICTOR (frightened) Look now, I don't know anything. I just started staying in that alley last week. You two came along tonight, asking questions and I just thought I could get a few fast bucks and I needed a meal. That's all. I know nothing else. Why would you even think I would know of something that happened thirty years ago? DAN Well, maybe we know you were there. Ray opens the folder and removes a photo and slides it across the table. The Bum looks down and stares at the photo. RAY There you go. That's how we know. The Bum is motionless, staring at the photo. moment, the Bum looks up toward Ray and Dan.

After a

VICTOR How did you... where did this... RAY Don't worry about where or how I got this photo. DAN Yeah, that's a long story. RAY Look we just want a little information and will give you the two hundred. I don't even want to know your name. That is you in the photo... Right? The Bum looks at the photo again, and then back to Ray and Dan.


76 VICTOR (reluctantly) Yes. Anything I say, is between me and you two, okay? RAY Yes, just between us. We just need information on what happened for our research. We will not reveal anything about you. DAN Why are you still in that same alley all these years later? VICTOR As you say, it's a long story. (loosens up) But, I'll tell you this. The way you see me now... as a bum... I haven't always been like this. RAY What happened? VICTOR Well, the way you see me there in that picture. That was the days. Ray and Dan are intently listening. 1980's - Vic's Television Repair Shop A younger Victor is showing a customer a t.v. VICTOR (CONT'D) (V.O.) Yeah, I lived in that building on the fifth floor. I had a shop there on the first floor... doing real good. Vic's television repair.


77 1980's - Vic's Television Repair Shop Victor is working on a t.v. Two policemen walk into the shop. Victor looks up, seeing the policemen, he looks frightened. He stands up, walks behind a counter. Victor reaches below the counter and retrieves money. He hands the money to the policemen. Victor stands behind the counter, watching as the policemen leave the shop. VICTOR (CONT'D) (V.O.) Then... these, uh... several men showed up in the area. Started... harassing all the business owners and many of the residents in that area. RAY Who were the men? The Bum looks around the diner and then back to Ray and Dan and leans closer. VICTOR (whispers) The police! RAY Real police officers?

Yes! They us. I had a while, I broke, had shop.

VICTOR would extort money from to pay up weekly. After couldn't keep up. I was to shut the doors on my

RAY Why didn't you report it to a higher up authority. VICTOR I wanted to live.


78 RAY What do you mean? VICTOR That night... in this picture. 1982 - APARTMENT BUILDING Six MEN and two WOMEN sit around the living room on a sofa and chairs, having a meeting. The door bursts open. Several policemen storm into the room with shotguns and revolvers. Startled and frightened, the men and women jump up and attempt to run. The policemen begin firing, massacring the men and women. VICTOR (CONT'D) (V.O.) There was a meeting in one of the apartments on the third floor. Several of the business owners and residents got together, planning to go to the FBI. Well, the police that worked that beat... they got word. DAN Why have you stayed there all these years? VICTOR I left for awhile, but I didn't have anywhere else to go. Didn't know anywhere else. I grew up there... broke or not, I didn't want to go to another place. DAN So, all these years, you just been sleeping in that dirty alley?

VICTOR No, not always. I sleep in the building. Just depends on how drunk I am, whether I go inside or sleep under the stars.


79 DAN You mean under the trash. VICTOR Hey, I use clean boxes. DAN So, your name is Vick? VICTOR No. DAN Victor? VICTOR Uh... maybe. I can answer that for twenty five. DAN Are you crazy? Twenty five dollars for your name. I know it's Victor. Wanting to get back to the subject, Ray interrupts the two. RAY What happened that night? VICTOR I was on the way home. Heard shooting as I was coming down the alley. I stopped and saw police coming down the stairs. There were about six. They left and the next morning at about six ion the morning the bodies were discovered.

DAN So, what happened after that? Like you. You knew who did it. You were a witness.


80 VICTOR Hell, everybody in the area knew who did it. Nobody was saying nothing and doing nothing. The murders that night were called a drug deal gone wrong. There were drugs found up in that apartment. I knew those men. They weren't no drug dealers. The bum looks out the window, in silence a few moments, remembering his friends. He looks back to Ray and Dan. VICTOR (CONT'D) But, it got the message across to everyone else. Like I said, we wanted to live. After awhile those crooked police left the area for other assignments or whatever. RAY You know their names? VICTOR Look, I told you what happened and that's all I know. Now, give me the money. DAN Come on, you know more than that. RAY No Dan, he's right. Ray separates five twenty dollar bills and holds over the table to the Bum. The Bum takes the money. VICTOR Hey, that's only one hundred. RAY Hey, you told us half the story. So, you get half the money. Unless you can give some better details. The Bum looks at the money in his hand, the remaining money in Ray's hand and then back to Ray.


81 VICTOR Well uh, let me see... you know, it's been a long time. DAN Just a name. VICTOR I... I may remember one name. RAY Yeah? VICTOR (reluctantly) It was uh... Carson, I think. that was one of them.

Yep,

RAY Carson? DAN Are you sure? VICTOR Look man, I ain't sure about alot. Like whether or not I will be alive tomorrow after talking about this to you guys. Have to find me another place to go now, down by the river. The Bum looks at Dan and then back to Ray, direct in the eyes. VICTOR (CONT'D) But... I am sure about one thing. Yes, it was Carson. And before you ask... yes, the Chief. Ray and Dan sit, stunned. to Ray for the money.

The Bum reaches across the table

VICTOR (CONT'D) Now, give me my money. Ray reaches toward the Bum as he grabs the money and stands up and walks away. Ray and Dan watch. A few feet from the table the Bum stops and turns back toward the table.


82

By the way. book.

VICTOR (CONT'D) Good luck on your

EXT. CITY STREET - NIGHT Ray and Dan walk out of the diner and along the sidewalk toward their car. Damn, Ray!

DAN The chief!

RAY That's what the man said. we need better proof.

But Dan,

DAN No, Ray. We need to let this go. Forget about it. The police, the chief! That's too much for us. Ray and Dan stop by the car. In deep thought, Ray leans against the fender. He glances up and down the street and looks at the diner. RAY (an idea) Dan! The Bum said, there were six police and they left the area that night. The bodies weren't reported until the next morning. DAN Yeah. RAY Where do you think the six went? DAN I don't know. To the station? No.

RAY Where do cops like to go?


83 DAN Ray, I don't know. Quit playing a guessing game with me. Where do they go? Ray points and Dan turns and looks toward the diner. RAY To a diner! DAN What? RAY Yeah, after they finished, probably all met at the diner and kinda celebrated. Just a hunch. DAN I don't know Ray. Like I said, we need to let this one go. Ray stands up and walks to the driver side of the car. RAY You're right! Ray gets in the car.

Dan gets in the passenger side.

INT. RAY'S CAR - NIGHT RAY We'll get the equipment and come back to the diner. No!

DAN Ray, no!

RAY Don't worry, Dan. They'll never know who we are. Just because they are police, doesn't matter. They are criminals that need to be taken off the streets. DISSOLVE TO:


84 INT. APARTMENT BUILDING STAIRWAY - NIGHT The stairway is dimly lit. A woman is seated at the top of the first stairway landing waiting patiently. Ray and Dan walk into the stairway and up the stairs, stopping half way, as they see the woman, startled, looking up, trying to see her. Anna McGuire is the woman, without glasses and hair is let down, dressed in jeans and blouse. She stands up, looking down at Ray and Dan. ANNA About time you guys got here. Confused, Ray and Dan slowly move up the stairs. RAY Excuse me? ANNA I have been here three times, looking for you two. Finally, I decided to wait. RAY And you are? ANNA Anna... don't you remember me? RAY (confused) From? ANNA The newspaper. Ray and Dan reach the landing.

Standing in front of Anna.

RAY (smiling) Oh! Anna... the newspaper. Yeah, I remember, you helped us with the research. Anna nods, "yes".


85 DAN You look different. ANNA Well, this is me. All three just stand looking at one another a moment. RAY Uh... what brings you here? ANNA Looking for you guys. DAN And... why would you be looking for us? ANNA Because the police were. DAN (frightened) Police? Ray, I told you! RAY Wait, I don't know what you are talking about. Ray glances up and down the stairs. RAY (CONT'D) Let's go inside and discuss this. INT. LIVING ROOM, APARTMENT - NIGHT The door opens. Ray walks into the dark room and flips the light switch. Anna walks in and Dan follows. Dan closes the door. Ray hastily walks in from of the table with the computer equipment and cameras, to shield it from Anna's view. Ray turns around. RAY Now, what is this about the police looking for us.


86 ANNA The detective that came to see me, had some very interesting crime scene photos and copies of articles printed by me, for you.

RAY Uh, how... how did you find my apartment. ANNA Your credit card information had your full name... Mr. Ray Nolan. I'm in research. Remember? Ray nods.

Dan sits down in a chair. RAY Uh, have a seat, please.

Anna sits down on the sofa. blocking the equipment.

Ray continues standing,

ANNA Aren't you going to join us? No, no.

RAY I'll just stand.

Still confused, Ray and Dan stare at Anna. ANNA So, like I was saying, a Detective Ross paid me a visit. You guys aren't writing a book, are you? RAY Well we... DAN Yes, we are...


87 ANNA Save it. As the detective showed me the documents, I remembered you two. At first I thought you may be involved, but realized, you must be trying to help the police solve old crimes. DAN Well, something like that. ANNA How did you get the pictures? RAY So, what did you tell the detective. ANNA Nothing. Nothing? that?

RAY You expect us to believe

ANNA Honest. I told him, that no one had been in requesting those articles and they must have been from somewhere else. Like maybe the Library. Threw him off your trail. RAY And, why would you do that? ANNA What? RAY Lie to a police officer. ANNA I thought you were nice guys and you must be trying to do something good. Lord knows, we need more of that.


88 RAY Well, we thank you for the confidentially of our activities. DAN Yes, we really do more than you know.

RAY It has been a long night for us. Ray gestures toward the door. RAY (CONT'D) Thanks for stopping by. ANNA But... I didn't just stop by to tell you that. RAY What? ANNA (happily) I wanna help! RAY You wanna what? ANNA Help! RAY No! ANNA Where did you get the pictures? DAN That's a long story. ANNA Well, I've got all night. Smiling, Anna leans back on the couch. moment.

Ray thinks for a


89 RAY She's right Dan. We could use her help to research the information. Ray looks to Anna. RAY (CONT'D) What I am about to tell you, must remain secret between us. ANNA Ray, you can trust me. DAN Well, if your going to fill her in on our secret, I need a beer. Dan stands, looks to Anna. DAN (CONT'D) Wanna beer? ANNA Sure! Dan walks toward the kitchen. RAY I need coffee. There is a knock at the door. Dan stops and turns. Ray looks toward the door, slowly he approaches. There is another knock. Ray looks through the peep hole. RAY (CONT'D) Who is it? INT. APARTMENT BUILDING STAIRWAY - NIGHT Detective Ross is standing at the door, holding a folder. ROSS Detective Barnes, Police Department. INT. LIVING ROOM, APARTMENT - NIGHT Ray and Dan look at each other startled. Anna stands up. Ray motions Dan and Anna toward the kitchen.


90 RAY Yes? ROSS (O.S.) I'm looking for Ray Nolan. RAY Yes? ROSS I'd like to speak with you a moment. RAY Uh, jus... just minute. Ray hurriedly walks to the kitchen, INT. KITCHEN, APARTMENT - NIGHT Dan and Anna wait.

Ray looks to Anna.

RAY (CONT'D) (slight whisper) You said, we could trust you! ANNA (slight whisper) I didn't say anything to the police! I covered for you guys. DAN (slight whisper) Ray! Just see what he wants. Ray turns and walks out of the kitchen.


91 INT. APARTMENT BUILDING STAIRWAY - NIGHT Ross is waiting. The door opens, slightly, as Ray looks out between the door and frame. Ross flashes his credentials. Yes?

RAY I am Ray Nolan.

ROSS Good evening, Mr. Nolan. Sorry, it's late, but I came by several times today and you weren't home. I was on the way home and just thought I'd stop by one more time. May I come in for a moment? RAY Uh, well... Ray eases the door open slightly wider and squeezes through into the hall, pulling the door shut behind him. RAY (CONT'D) I... I have some guests inside and would prefer we talk here. ROSS Okay. RAY Now, why did you come to see me?

ROSS I have been tracing some paper purchases that led to you. That you may possibly use this particular type of paper. RAY (confused) Paper?


92 ROSS Yes. It's a special photographic paper. RAY How did you find me? ROSS I received information from the supplier that several institutions in the area use the particular paper. One is the weather center. I visited there and was told that you use the paper for your research. They also told me that you are currently on field assignment and provided me your address to see if I could catch you at home. RAY Oh... well, yes I use uh, some photographic paper. Why are you interested in the paper. ROSS We've received several photos anonymously through the mail and we would just like to find who is sending them. RAY Well, I wouldn't know anything about that. Ross opens the folder, displaying the back side of a photo. ROSS Can you identify this? Ray looks closer, examining the paper. RAY No... I mean I kinda recognize the paper... uh, yeah it may be the type of paper I use. But I don't know that particular piece.


93 ROSS What do you do with photographic paper? RAY I'm a researcher and I uh... photograph things. ROSS Like what? RAY Uh, clouds, lightning, storms. Suddenly, Ross jerks the photo from the folder and holds the picture side in front of Ray. Startled, Ray jumps. ROSS Have you ever seen this photo? RAY What is that? ROSS That is a man with a knife killing a woman. RAY Oooh... no, I've never seen that before. ROSS Take a good look. RAY Hell, I'm looking at it. What else can I do with it stuck up my nose. I have never seen that photo. Ross puts the photo back into the folder. ROSS Sorry. I would just like to have more information on where these photos are coming from. RAY And... if you find the person responsible?


94 ROSS Well, then I would like to congratulate the person. RAY Congratulate him? ROSS Oh yes! You see, these photos have helped us solve old cases and get confessions from the suspects. RAY That's why you're looking for who sent the photos? ROSS Sure, unless... RAY Unless what? ROSS Unless the person is connected to the crimes. He will be considered a suspect at first as a possible accomplice... until he can be cleared. RAY Oh! Well, sorry I can't be of any help. ROSS Now, you are sure, that you only photograph weather things, right? RAY That's right. Bolts, strikes, clouds. ROSS Okay, guess I will be going. Sorry to have interrupted you and your company. Ross reaches into his pocket and pulls out a card.


95 ROSS (CONT'D) If you happen to remember anything, like maybe someone else in your company uses the paper; or if uh, there is anything you want to tell me... just call me. Ross passes the card to Ray. RAY Okay. Anything I can do to help, I surely will. Ross turns and takes a few steps toward the stairs, stops and turns back toward Ray. Oh!

ROSS Uh, before I go...

Ross approaches Ray. folder out to Ray.

Ross removes a pen and holds the

ROSS (CONT'D) Can you please jot down your address and phone number. Ray reaches and takes the pen and folder and begins to write. RAY Wait a minute! You know my address. ROSS I know, but sometimes, I'm forgetful of such things. Just so many leads places I go in a day. And I lost the card with your information. I just happened to remember tonight, after coming over several times today. After a few days, I'll probably forget and may need to contact you again. Just... just write it on the folder.


96 RAY Okay, whatever. Ray writes the information on the folder. DISSOLVE TO: INT. POLICE HEADQUARTER'S - DAY Jack is sitting at his desk and Ross standing beside. are comparing the envelopes and the folder with Ray's information. JACK I don't know Ross. of differences.

There are alot

ROSS Jack, this guy knows something. Maybe the writing isn't the same because he has an accomplice. He was very suspicious acting. He is the fifth person I have interviewed so far, and he asked more questions. I can feel it, there is something with him. JACK (laughs) Yeah, feeling it, will go over well with the D.A. (serious) How many more interviews do you have? ROSS Two. They're out of town. One will return this week and the other in three weeks. JACK Just sit tight on it and complete the interviews. We'll go from there.

They


97 INT. LIVING ROOM, APARTMENT - NIGHT Ray is sitting at the table at a desktop computer and a cell phone. He is entering data. He removes a micro card from the computer, picks up the cell phone and inserts the card. There is a knock at the door. Ray sits down the phone, stands up and walks to the door. Ray peers through the peep hole, and opens the door. walks in.

Dan

DAN Ready? RAY In a moment. I want you to see something. Ray walks to the table, Dan follows. phone and holds it out to Dan.

Ray picks up the cell

RAY (CONT'D) What do you see here? DAN A cell phone. RAY Look closer. Dan takes the phone and presses a button. displays the call pad.

The phone screen

DAN A cell phone. RAY Press the star key. Dan presses the star key and the screen displays the camera function. DAN Okay. So, you have this phone programmed with the camera.


98 RAY I have the phone camera function interfaced with my application on the micro card. But, it's limited to preprogrammed dates and times that I upload to the card from my main application. DAN That's great! You can copy the cards to more phones. RAY No, just that one. I can't take a chance on the card getting into someone else hands. Dan continues to examine the phone. the door.

There is a knock at

Ray walks across the room, looks through the peep hole and opens the door. Anna walks in, as Ray closes the door. ANNA Hello. RAY Hello. Dan looks up, as Ray and Anna approach him. DAN Hi Anna. Ray was just showing me his new camera. Very compact. RAY So, everyone ready. ANNA Ready. DAN Yes, let's go.


99 EXT. CITY STREET - NIGHT Ray's car pulls along the street and parks, near the diner. Ray, Dan and Anna get out of the car and walk toward the diner. INT. DINER - NIGHT There are a few people in the diner. One man reading a paper, another looking out the window, others eating. Ray, Dan and Anna are seated at a booth. Each have a cup of coffee and pie. Dan and Anna converse as Ray DAN So, how long you been at the paper? ANNA Eight years. I started in subscription services. Moved into the research and archive department about three years ago. DAN You seen some interesting information, huh? ANNA (smiles) Not as interesting as you guys. RAY Damn it! Ray is fumbling with the camera. DAN What's the matter? RAY Aw, with the program running it's draining the battery, fast! Dam! I still have half power. I can get the shots here, but won't have enough to get the other shots. DAN What other, shots?


100 RAY The apartment building. DAN What! RAY After we leave here, we go back to the alley and up the stairs and take inside photos. DAN Oh Ray! I really don't want to go back over there. ANNA He's right. The photos from inside here, may show police gathering and maybe we can identify them. But we need the photos of the crime being committed. DAN I guess, I agree... but right now, I have a calling for relief. Dan stands up and walks toward the rest room area. Ray holds the camera slightly above the table top and presses the screen, as he scans the camera from left to right. Anna observes Ray. Pictures zip through the screen as the program processes and stores the data. Ray presses "save" and then the power switch turning the phone off. He lays the camera on the table in front of himself. RAY Okay, that's done. There's only 25% power left. We'll review the images back at the apartment. Ray picks up the cup and takes a sip of coffee. Good.

ANNA So, do you enjoy doing this?

RAY Well, it's not something I wanted to do. I was working on a program for weather research.


101 ANNA Weather research? RAY Lightning. Dan approaches the table and sits down. DAN Okay, what do we do now? RAY I have the images. the alley.

Now let's go to

EXT. STREET, ALLEY CORNER - NIGHT Dan and Anna stand on the sidewalk, as Ray digs through his trunk and retrieves two flashlights. Ray closes the trunk and hands the flashlights to Dan and Anna. RAY Okay, we go up the fire escape to the third floor. I'll start at the end of the hall and the last apartment, where the shooting took place. Hopefully the battery will last long enough. DAN Let's make it fast. I don't like that creepy area. Don't know why I let you talk me into coming back. ANNA Okay guys, let's go do it. EXT. ALLEY - NIGHT Ray, Dan and Anna walk cautiously into the alley. Searching the area with flashlights. The approach the fire escape stairway.


102 EXT. FIRE ESCAPE STAIRWAY - NIGHT Ray begins to ascend the stairs, Anna follows, pointing her flashlight to the stairs in front of Ray. The rusted stairs creek with each step. Dan is at the bottom of the stairs facing the alley, pointing the flashlight in all directions. He turns to the stairs an begins ascending the steps, carefully watching his steps. INT. DILAPIDATED BUILDING, HALLWAY - NIGHT The hallway is dusty, walls crumbling, spider webs stretched between walls. The exit door at the end of the hall, shakes, as it is pushed open, Ray stumbles into the hall. Anna and Dan follow, shining their flashlights around checking the area. Knocking webs away. A few rats scramble past Dan and down the hallway. DAN (frantic) Oh! Let's hurry this up and get out of here. ANNA (laughs) It's just a few rats, Dan. DAN (disgusted) I don't like rats, or this dirty place. RAY Follow me. They walk to the opposite end of the hallway. Ray reaches into his jacket and removes the camera. turns on the power, the screen lighting his face.

He

Ray, Dan and Anna walk down the hallway, side by side; as Ray scans the area with the camera; Dan and Anna point the flashlights to light their way. Reaching the last apartment on the right, they stop.


103 DAN That's the apartment. RAY Okay Dan, kick the door open. Dan reaches and grasps the door knob, turns and opens the door. He looks at way and smiles. DAN Kick the door open? RAY Well. Dan shines the light into the room and walks in. Anna follow.

Ray and

INT. DILAPIDATED BUILDING APARTMENT - NIGHT The room has a broken down, dirty couch sitting in the middle. Walls are dirty, cracked, paint peeling. Plaster hanging down from the ceiling. Dan shines his light around the room and sees the glow of a rats eyes sitting in the corner. DAN Let's hurry up, Ray! Ray scans the room with the camera. RAY Dammit! ANNA What? RAY The battery's gone. DAN Did you get it?


104 RAY I don't know. I set the program for a two hour period. I think it got about one hour of the time period. We'll see when we run it on the main program. If not, then we come back later. No.

DAN You'll come back later.

ANNA Ray and I will come back. Not wanting to seem weak to a woman, Dan responds. DAN Well, I guess I will come too. Only if we need too. Ray examines the camera. RAY We'll see what we have. DAN Right now can we get the hell out of here? Dan walks toward the door, stops and shines the light across the room onto the rat, still sitting along the wall. DAN (CONT'D) And you, stay there. Bye, bye. Dan walks toward the door as Anna and Ray follow. FADE IN: EXT. FIRE ESCAPE STAIRWAY - NIGHT Dan, Anna and Ray cautiously walk down the stairs, shining the lights along the steps down. Each step makes the rusted stairs squeak and creek with sounds as if it may give away any moment.


105 Dan enters the turn on the 2nd floor landing and stumbles on a rusted piece of metal sticking up. Catching himself, he straightens up, turns around and looks up toward Anna and Ray. DAN Careful down here. sticking up.

There metal

Dan turns back around, bumps into the rusted side rail. The rail falls over, Ray loses his balance and topples over onto the rail, still attached, extending out from the stairs. The flashlight plummets to the ground, as Dan grabs hold of the rail. RAY Dan! Ray and Anna, horrified, rush to the edge of the railing. With one hand, Anna grabs hold of secure railing in the center and reaches out with the other hand. Ray grasps Anna's hand and reaches with his other to Dan. RAY (CONT'D) Hold on! Their hands several inches apart; Ray strains toward Dan's hand. Leaning closer, the camera falls out of Ray's jacket, hits the railing and bounces off, past Dan and crashes on the concrete below. DAN (frantic) Ray! Help me! RAY I'm trying, hold on! The railing begins to squeak and shake, loosening under Dan's weight. The railing gives way and Dan falls, screaming to the ground. Then silence. Horrified, Ray and Anna walk to the edge and look down. Shining the light. They see only piles of trash. Ray and Anna, cautiously, rush down the stairway.


106 EXT. ALLEY - NIGHT Ray and Anna rush to the site below the stairs. Digging through cardboard and trash. Locating Dan, laying motionless. ANNA He's still breathing. RAY Help me get him up. Ray and Anna grab Dan by the shoulder and pull him from the trash pile. Dazed, Dan slowly opens his eyes. DAN What the hell... RAY Dan!

Dan!

DAN Yeah.... wanna go to the bar? Seeing Dan is okay, Ray and Anna smile. RAY Can you move? DAN I believe so. Dan slowly sits up, with help from Ray and Anna. RAY Thanks to this trash, your alive. Just had your breath knocked out for a moment. ANNA Better than we can say for the camera. It smashed on the concrete. RAY The camera!


107 Ray stands up and walks to Dan's flashlight on the ground, picking it up, he searches for the camera. He locates the busted camera and checks to see the micro card still inserted. He puts the camera into his jacket pocket and walks back to Dan and Anna. Dan is attempting to stand up, with Anna helping raise and support him on one side. Ray approaches and grabs the other side, helping Dan stand straight. RAY (CONT'D) How you feeling buddy? DAN I'm okay... just need to change my pants. The three laugh. INT. LIVING ROOM, APARTMENT - NIGHT Dan is lying back on the sofa with a damp cloth over his forehead. Ray and Anna sit at the table in front of the computer. Ray removes the micro card from the broken cell phone. He inserts the card into the computer. Anna watches, as Ray enters data and brings up the program onto the screen. RAY Now, let's see. After a moment the screen fills and scrolls with thousands of thumbnail images downloading from the card. RAY (CONT'D) Yes! ANNA (amazed) Those are the images! RAY Yes. Since, we don't know the exact time. I programmed the camera to capture in one minute increments, between a four hour time frame.


108 ANNA Oh, I see. RAY Well, now the hard work begins. We have to search each image to find what we are looking for, the pictures with the evidence. Ray views the images on the computer.

Anna stands up.

ANNA I see it's going to be a long night. I'll make coffee. Ray nods "yes". EXT. RESTAURANT PATIO - DAY Ray and Dan sit at a table in a secluded corner of the outdoor cafe. Anna, carrying a folder, walks to the table. ANNA Hello! DAN Hey! RAY Hi Anna! Anna sits down at the table and looks to Dan. ANNA Feeling better? DAN Oh yeah! I'm good, after falling a hundred feet. RAY (laughs) Dan, it was only about twenty five feet, and you landing on a pile of soft trash.


109 DAN Wasn't all that soft. Besides, a hundred sounds better. Could be a new pick up line. Ray and Anna smile and listen to Dan. DAN (CONT'D) Hi, I'm Dan, the man that fell a hundred feet, onto hard concrete, and lived to be here, just to meet you. That's catchy. Ray and Anna laugh at Dan. RAY Just be glad it was trash and not concrete. ANNA Just be yourself. Pick up lines are turn offs to women. Getting serious, Ray turns to Anna. RAY So, how did the research go? ANNA I found some very interesting information on our culprits. DAN Oh yeah? ANNA Two are deceased. Anna removes a photo from the folder showing six police officers sitting aa a table in the diner. Ray and Dan listen intently and observe as Anna points to the men in the photo. ANNA (CONT'D) These two. Stephen Falkner and Richard Phillips, are deceased. DAN What happened?


110 ANNA Stephen Falkner died from a heart attack almost ten years ago. Richard Phillips was Frank Carson's partner. Anna removes a newspaper article from the folder. ANNA (CONT'D) Apparently Phillips and Carson were chasing a robbery suspect. Phillips was killed in the alley, near where we were at last night. DAN Robbery suspect, I bet. RAY Did they catch the suspect. ANNA No. Phillips received full honors for being killed in the line of duty. DAN And Carson made chief. RAY Anna, see if you can find the details of where the shooting took place, along with date and time. I'll go take the pictures and we'll see, if it was indeed a robber. Anna reaches into the folder and pulls out a paper with written information. ANNA Got it, right here. Anna passes the paper to Ray. RAY Damn, you're fast. Anna smiles.

He smiles.


111 ANNA Thought you would want that information. RAY What did you find about the other three? Anna points to the photo. ANNA That is George Sanders and that's Henry Miller. RAY Henry Miller the City Councilman? Anna nods. DAN And George Sanders the Mayor? ANNA Yes, that's them. But it goes higher. Who do you think that one is? Anna points at one of the policemen in the photo. Dan look at the photo. RAY I don't know. DAN He looks familiar. seen him before. ANNA Of course you have. Brown.

I know I have

That is Edward

Ray and Dan abruptly look at Anna. RAY The Edward Brown? ANNA Yes, the Lieutenant Governor.

Ray and


112 DAN Okay, it doesn't matter who they are, we have the other photos showing they committed the crime. So, let's mail them to the homicide office, case closed. RAY No, it's not going to be that simple. Remember who the chief is? Ray is in deep thought a moment and then turns his attention back to Dan and Anna. RAY (CONT'D) This one will require a little more action on our part. I have a plan. DAN I don't think I like the sound of that. Anna smiles. ANNA I like the sound of that! INT. CHIEF CARSON'S OFFICE, POLICE HEADQUARTERS - MORNING Chief Frank Carson is sitting at his desk, leaned back in his chair, reading the newspaper. Marci walks into the room and approaches, placing mail on the desk. MARCI Good morning Chief. Frank looks up. FRANK CARSON Thank you Marci. Marci leaves the room. Frank places the newspaper on the desk and picks up the mail, sorts through it. He notices a large envelope with his name and "Important Open Immediately" written on the envelope.


113 Frank opens the envelope and removes a photo, a folded note falls out onto the desk. Her looks at the photograph, puzzled. Examining the photograph, he places it on the desk. Leaning over the photo, he places his hand to his chin, as he thinks back. DISSOLVE TO: EXT. ALLEY - NIGHT (1982) Four police officers, HENRY MILLER, GEORGE SANDERS, RICHARD PHILLIPS, and STEPHEN FALKNER stand by a police car as two officers, EDWARD BROWN and Frank Carson walk from the stairs toward the car. Edward Brown and Frank Carson approach. RICHARD PHILLIPS (upset) Goddamit Frank! You said nobody would get hurt! We were supposed to scare them to keep quiet. FRANK CARSON (smirking) Well, they're quiet now. boys?

Right

EDWARD BROWN We don't have to worry about those son of a bitches anymore. HENRY MILLER Yeah, I think this neighborhood will get the message and not try to fuck us over again. RICHARD PHILLIPS I think they would've listened. GEORGE SANDERS That's bullshit, Richard. They were planning to go to the FBI. HENRY MILLER That's right. Now, the problem is solved.


114 FRANK CARSON Richard, don't worry. You're my partner and I will take care of you. Right now we need to get out of here. EDWARD BROWN Yeah, let's meet at the usual spot, I'm hungry. Frank Carson and Richard Phillips get into the police car. The other four police officers walk up the alley toward the street. CUT TO: INT. CHIEF CARSON'S OFFICE, POLICE HEADQUARTERS - MORNING Frank jolts from his thoughts and looks at the folded paper on the desk. He picks up the paper, opens and reads. DISSOLVE TO: INT. HENRY MILLER'S OFFICE, - MORNING Henry Miller walks into the office carrying a cup of coffee and some documents. He places the documents on the desk and sits down the cup. Sitting down at his desk he reaches to the in box for the daily mail. After skimming through several pieces of mail, he notices the large envelope with his name and "Important Open Immediately". Henry opens the envelope and pulls out a picture and folded paper. He opens the paper and reads. CUT TO: INT. HALLWAY, CITY HALL - MORNING George Sanders walks along the hallway and approaches the reception area for the offices of the mayor and vice mayor. The receptionist ABBEY is sitting at the desk, entering data into the computer. GEORGE SANDERS Good morning, Abbey.


115 Abbey looks up from her work. ABBEY Good morning, Mr. Sanders. GEORGE SANDERS Anything good today? Abbey reaches to the side of the desk and grabs a stack of documents and mail that has been opened and screened. ABBEY Just the usual, except... Abbey removes a large envelope from the bottom of the stack. The envelope has been opened, a photo and note paper clipped to the top. ABBEY (CONT'D) This is strange. A dark picture of police standing by a police car. Abbey passes the envelope and photo to George. GEORGE SANDERS Huh! George takes the envelope, removes the clip and the note. He looks at the photo. INT. DINER - NIGHT (1982) The six policemen are sitting around a table eating and talking. Richard Phillips sitting at the end of the table, staring out the window in deep thought. George Sanders is sitting across from Frank Carson. GEORGE SANDERS Gotta hit the can. George stands up. He looks at Frank and gives a slight nod, indicating for him to follow. George walks away. FRANK CARSON Yeah, me too. Frank stands up and walks away. continue eating.

The other four policemen


116 INT. REST ROOM, DINER - NIGHT (1982) George walks into the rest room and looks around and into each of the three stalls, insuring no one else is there. Frank walks into the rest room and approaches George. GEORGE SANDERS Frank, you gotta do something about your partner. FRANK CARSON He'll be okay. GEORGE SANDERS Well, he doesn't look okay. didn't sound okay earlier.

And he

FRANK CARSON I'll talk to him. GEORGE SANDERS Frank, we can't take a chance. If he opens his stupid mouth, it's our asses. FRANK CARSON George, he won't say anything. He's in as deep as we are. GEORGE SANDERS You're damn right. He's not going to say anything. Cause he's not going to be able to. FRANK CARSON What do you mean? GEORGE SANDERS I mean, shut him the fuck up! Permanently! Can you handle that? Frank stares at George. FRANK CARSON George... he's one of us.


117 GEORGE SANDERS No he's not. He's wearing the same uniform as us. But he's not hard like us. He's weak and he will break. Then none of us will be wearing blue. Will you say, he's one of us, when we are all wearing orange jump suits? Franks stares deep at George and then nods. FRANK CARSON Okay... I'll take care of it. CUT TO: INT. HALLWAY, CITY HALL - MORNING George is staring at the photo. He looks at the note in his left hand and opens it and reads. DISSOLVE TO: INT. LIVING ROOM, APARTMENT - DAY Ray is sitting at the table in front of the computer, there is a film camera and rolls of film on the table. He is downloading a program from the computer onto a flash drive. The program scrolls over the screen as it downloads. download completes.

The

Ray removes the flash drive and places in his pocket. Ray picks up the camera, opens the back. There is a knock at the door. Ray stands up, walks to door and opens it. Dan and Anna walk in carrying a bag. RAY Got everything? ANNA Yes.


118 Dan and Anna walk to the sofa and sit the bags down. There is a black canvas bag on the sofa. Ray walks back to the table and sits down, finishing unloading the film roll from the camera. Dan unzips the canvas bag and holds it open as Anna removes items from the bags and places into the canvas bag. Duct tape, rope, ski masks, gloves, a cheap cell phone. Dan zips the bag. Dan looks over at Ray and walks to the table. approaches by his side.

Anna

DAN What's that? Ray closes the camera cover and holds it up. RAY A camera. DAN A film camera? RAY Yes, an old film camera. DAN Where'd you find that? RAY At a pawn shop. DAN And film too? Ray nods. ANNA What are you gonna do with it? Ray sits the camera down on the table and begins scrolling through images on the computer screen. RAY I didn't like the visit from the police detective. Well, I got to thinking. I need to throw them off our track.


119 ANNA (puzzled) I don't understand. DAN Yeah, how does this camera help? RAY I photographed the images from the screen. We place the negatives with the photos. That way it's as if they were old negatives that turned up or someone found. ANNA Yes, but wouldn't there still be suspicion as to who has found the negatives? RAY Yes... hmm. DAN We need somebody to turn in the negatives. RAY Yeah... let me think on that. In the meantime, we need to get ready for tonight. Ray reaches across the table and moves some papers, revealing a revolver. He picks up the gun and holds it out to Dan. RAY (CONT'D) Here put this in the bag. Startled, Dan and Anna jump back. DAN Ray! Where the hell did you get that? RAY The pawn shop. DAN Why?


120 RAY Just in case. Hesitantly, Dan takes the gun and walks to the sofa placing it into the bag. Ray stands up from the table. RAY (CONT'D) I'll see you guys in a few hours. ANNA Where are you going? RAY I've gotta develop the film. meet at the diner at seven.

Let's

EXT. BANK - DAY Ray walks along the sidewalk, up the stairs and into the bank. INT. BANK, SAFETY DEPOSIT VAULT - DAY Ray walks to a safety deposit box, unlocks it. He removes the flash drive from his pocket, and places it in the box. He closes the box and locks it. INT. DETECTIVES OFFICE, POLICE HEADQUARTERS - DAY Jack and Ross are sitting at their desks. walks into the room and approaches Jack.

Frank Carson

FRANK CARSON Jack. JACK Hey Chief. FRANK CARSON Have you turned up any leads on the photographs we discussed? JACK Ross is still investigating. did have one lead.

He

Ross over hears the conversation, stands up and walks to Jack's desk. Frank looks at Ross.


121

Oh yeah.

FRANK CARSON Tell me about it.

EXT. WEATHER RESEARCH CENTER - DAY Ray walks up the stairs and enters the building. INT. HALLWAY, WEATHER RESEARCH CENTER - DAY Ray walks through the hallway and approaches a lab door. He looks around, seeing no one, and opens the door and enters. INT. LAB DARKROOM - DAY Ray is developing the negatives, removing from chemical trays and dipping in the wash. He holds up a negative and looks at it through the red light. INT. DINER - EVENING The diner is busy with several customers. Ray is sitting at a booth. Dan and Anna walk in. They look and see Ray, as he motions for them. INT. LIVING ROOM, APARTMENT - EVENING The living room is dimly lit with one corner lamp. is several knocks on the door.

There

The entrance door handle shakes and rattles. There is bumps and thuds on the door, as it is forced from the outside. Suddenly the door gives way and bursts open. Frank Carson steps into the doorway with his gun drawn. looks around the living room. He closes the door.

He

Frank walks toward the kitchen, looks through the door. He walks back to the living room and down the hall, checking the apartment to insure it is vacant. Franks walks back into the living and passes the table with the computer. As it catches his eye, he stops and turns toward the computer looking at the screen.


122 Frank approaches the computer and sees the image of him shooting Richard Phillips. He grabs the mouse and scrolls, seeing pictures of him and the other policemen killing the residents. Franks becomes enraged with anger. FRANK CARSON God dammit! Frank holsters his gun. He walks to an end table and grabs a lamp, ripping the cord from the wall. Frank walks back to the computer and begins slamming the computer. He slams the computer screen, bursting the glass, sparks shoot out. Smoke rises from the computer. EXT. BRIDGE - EVENING An unmarked police car rolls along the street and abruptly pulls to the side. Frank Carson gets out of the car, walks around to the back passenger side. He opens the door and grabs the computer case. Frank walks to the bridge railing and tosses the computer over the side, into the raging water below. EXT. ALLEY - NIGHT The alley is lightly lit by the lamp post, occasionally flickering off and on. The unmarked police car pulls into the alley and stops in front of a pile of trash and cardboard boxes. Henry Miller and George Sanders walk out of the dark, into the dim glare of light and approach the car as Frank Carson gets out. GEORGE SANDERS What the fuck is this about Frank? FRANK CARSON What? HENRY MILLER Why the hell did you want to meet us here?


123 FRANK CARSON What the fuck are you talking about? I came here because of the note you sent to me George. GEORGE SANDERS I didn't send you a note. I got a photo and a note from you. HENRY MILLER Yeah, I got the same from you Frank. Frank looks around, up and down the alley. FRANK CARSON Okay... somebody's fucking with us. Who?

GEORGE SANDERS What do you mean?

FRANK CARSON I received a photo and a note signed George Sanders. I know who is responsible and he's trying to bust us. But I destroyed the evidence. GEORGE SANDERS Are you sure? Three figures, Ray, Dan and Anna, dressed in black, with gloves and ski mask covered faces walk down the alley toward the car and the men. Ray is holding the gun, Anna has the black case slung over her shoulder. They become slightly visible as they get closer to the car and into the light. RAY I sent the photos! George and Henry jump and look up startled. Frank spins around toward the approaching figures and reaches for his gun. RAY (CONT'D) No, no! Don't do that. All of you put your hands up.


124 Frank, George and Henry raise their hands. FRANK CARSON Who are you? RAY You don't need to know that. DAN But we know what you did, all of you. GEORGE SANDERS What the fuck are you talking about. HENRY MILLER Do you know who we are? ANNA We know. RAY That's right, Chief Carson, Mayor Sanders and Councilman Miller. DAN And, we know what you did here thirty years ago. RAY All those people your extorted money from and killed. And your own partner Richard Phiilips. EXT. DESERTED STREET - NIGHT (1982) A patrol car rolls down the street and stops. Richard are inside the car on patrol. FRANK CARSON Did you see that? RICHARD PHILLIPS What? FRANK CARSON I saw a guy run into the alley as we approached.

Frank and


125 RICHARD PHILLIPS I didn't see anything. I did.

FRANK CARSON Let's check it out.

Richard gets out of the car and draws his flashlight and weapon, walks toward the alley. Frank gets out of the car, reaches underneath the seat and retrieves a drop gun. Richard stops at the corner of the alley and shines the light into the alley. RICHARD PHILLIPS I don't see anything, Frank. Frank walks up behind and aims the gun toward Richard's head. There is a loud clicking sound as Frank pulls back the hammer. Richard swiftly turns. Frank fires. Richard drops to the ground. Frank pulls a handkerchief, wipes the gun and throws it into the alley. DISSOLVE TO: EXT. ALLEY - NIGHT FRANK CARSON You don't have any proof of anything. And I know who you are too. I paid a visit to your apartment. You can forget that evidence it's gone in the bottom of the river. RAY I knew you were going to do that. FRANK CARSON What the fuck do you mean? Ray motions to Dan and Anna.


126 RAY Okay, get the tape. Anna unzips the bag, removes the duct tape and hands it to Dan. He tears a strip off and walks to Henry placing it over his mouth, then to George and Frank. Anna removes a piece of rope from the bag and gives it to Dan. Dan grabs Franks arms and pulls them behind his back, Frank resists. Dan plus harder on Franks arms. Frank jerks his arms away, spins around and hits Dan in the stomach knocking him to the ground. Frank runs toward the stairs. George and Henry charge Ray, knocking the gun to the ground. Ray wrestles with George. Dan gets to his feet and runs after Frank who is running up the stairs. Henry grabs the gun and aims at Ray. Anna jerks the bag from her shoulder, swings it hitting Henry's arm and knocking the gun to the ground. Anna swings the bag again hitting Henry in the head, knocking him to the ground. George is on top of Ray. He raises his fist to deliver a blow to Ray. Anna swings the bag, hitting George in the head. George falls over to the ground. Anna removes two pieces of rope from the bag, gives one to Ray. George and Henry are dazed, Anna and Ray roll them over and start tying their hands. Ray looks around. RAY (CONT'D) Where's Dan? ANNA He went up the fire escape after Carson.


127 EXT. FIRE ESCAPE STAIRWAY - NIGHT Frank runs up the stairs stopping on the third floor, aiming his gun, he looks down trying to get a view of Dan approaching on the second floor. He fires a shot. The bullet hits the railing beside Dan, he jumps back to the side. EXT. ALLEY - NIGHT Hearing the shot, Ray jumps. at Anna.

He grabs the gun.

He looks

RAY Tie their legs. ANNA Okay. Anna removes more rope from the bag. stairway.

Ray runs toward the

EXT. FIRE ESCAPE STAIRWAY - NIGHT Franks aims and waits a second, sees Dan move and fires again. Dan is hit, stumbles and falls off the side with the missing railing, where he previously fell. Ray races up the stairs looking up, searching for Frank. He approaches the third flight of stairs and can vaguely see Frank moving up the fourth flight. Ray aims and fires twice. Frank jumps as the bullet his the railing next to him. He fires back toward Ray and runs up to the fifth floor and out of breath, falls on his side on the stairs. Ray reaches the fourth flight and fires four times. He runs to the fifth flight and half way up stops, aiming his gun at Frank. Frank turns around, aims at Ray.


128 RAY Drop it! Frank eases up to the landing and stands up, keeping his aim on Ray. FRANK CARSON I don't think so! How many bullets you got? Ray looks at his gun. Remembering he has fired the six rounds, he bolts backward down four stairs falling to the landing and scrambles for the next flight of stairs. Frank fires twice, sparks fly, as one bullet hits the floor in front of Ray and one hits the railing behind him. The fifth floor door bursts open. Victor jumps out onto the landing, grabs Franks from behind in a choke hold. Surprised, Franks hands flail upward flinging the gun outward and it falls below. Franks grasps Victors hands, struggling to get away. Victor lets go, bends down and grabs Franks legs, jerking up and flips Frank over the railing. Franks screams as he falls to the concrete below. Ray grabs the railing and pulls himself up. off his face. He looks up toward Victor. Thank God!

Pulls the mask

RAY You saved my life.

VICTOR Hey man, just settling an old score. RAY I need you to do something, to get the score fully settled. Come with me.


129 EXT. ALLEY - NIGHT George and Frank leaned against the car, legs and hands tied, masks over their faces. Anna is pulling Dan from the trash pile. Dan and Anna have removed their masks. Dan!

Ray approaches.

RAY Are you okay?

DAN I got shot and fell a hundred feet again. Anna shines a flashlight on Dan's arm. There is a tear in his shirt. Anna tears the shirt to reveal Dan's bloody arm. ANNA He's okay. A flesh wound, just broke the skin. A band aid will fix that. DAN Yeah, but I still got shot. till I tell the ladies.

Wait

RAY Anna get the bag. Ray helps Dan to his feet. picks up the bag.

Anna walks across the alley and

VICTOR I see you guys book research is coming along with a lot of detail. RAY There's not a book. VICTOR I knew that, I ain't stupid. RAY Look we're just trying to help solve some old crimes. And hopefully, solving this one will help you too.


130 Anna approaches with the bag and hands it to Ray. places the gun into the bag.

He

RAY (CONT'D) Now, listen to me carefully. VICTOR Okay, what do you want me to do? Ray reaches into the bag and pulls out a manilla envelope, and hand the bag back to Anna. EXT. STREET, ALLEY CORNER - NIGHT Ray, Dan and Anna walk out of the alley and along the sidewalk. Anna reaches into the bag on her side and removes the cell phone. She dials 911. ANNA I want to report a shooting. A FEW SECONDS LATER EXT. CITY STREET - NIGHT Ray, Dan and Anna are walking past the diner. A trash can sits on the side. As they walk by, Anna tosses the phone into the trash can. Ray approaches his car, Dan and Anna approach the car behind his. RAY See you guys back at the apartment. DAN Okay. EXT. STREET, ALLEY CORNER - NIGHT Several police cars speed to the alley entrance area and screech to a halt. Ambulances follow. POLICEMEN rush from the cars, draw their guns and approach the alley.


131 EXT. ALLEY - NIGHT Flashing red and blue lights and spotlights from the police cars fill the alley. Policemen cautiously enter the alley and approach the two men leaning against the car. EXT. STREET, ALLEY CORNER - NIGHT PARAMEDICS push a stretcher with a body bag and load into an ambulance. Another ambulance has the doors open, George and Henry are sitting inside on stretchers as a MEDIC removes duct tape from their faces. Jack and Ross are standing on the sidewalk watching the activity. A PATROLMAN standing several feet away with Victor by his side, calls out to Jack. PATROLMAN Detective Wilson! Jack and Ross turn toward the Patrolman as he approaches with Victor. PATROLMAN (CONT'D) This man here has something interesting. JACK Yeah? VICTOR I found this up on the fifth floor. Victor holds up the manilla envelope and hands it to Jack. Jack opens the envelop and removes a large amount of photos and negatives. JACK You say you got this on the fifth floor? VICTOR Yeah. ROSS What were you doing up there?


132 VICTOR Just trying to get some sleep for the night. Then I heard a scream. I went out on the fire escape and saw below somebody had fell. Then I looked down and there was this here envelope. I figured the fellow that fell must have dropped it. JACK Did you see anything else. VICTOR No, that's all I heard and saw. LATER Jack and Ross approach the ambulance. George and Henry are still sitting on the stretchers as the Medic checks them over. JACK Henry Miller. HENRY MILLER Yes? JACK And George Sanders. GEORGE SANDERS Yes? JACK You are both under arrest for murder. EXT. STATE CAPITOL BUILDING - MORNING There are several State Police cars, lights flashing, blocking the street at the front of the building sidewalk. The front doors burst open as several STATE POLICEMEN walk out with Edward Brown handcuffed. The Policemen approach one of the waiting cars and place Edward Brown into the back seat and close the door.


133 EXT. CITY HALL - DAY A multitude of REPORTERS are gathered in front of City Hall, as District Attorney, WALTER GREENE and the City Attorney, ANGELA BROOKS hold a press conference. Ray, Dan, Anna and Victor are standing in the crowd behind the reporters. WALTER GREENE The investigation is ongoing to determine the scope of the corruption and horrible crimes that were committed. Currently, the suspects in custody are Henry Miller, George Sanders and Edward Brown has been apprehended at the State Capitol. There may be more suspects as the investigation unfolds. REPORTER Mr. Greene, has Chief Carson's cause of death been determined? WALTER GREENE An autopsy is underway. However, at this point it seems he was attempting to destroy some crucial evidence and lost his balance, falling to his death. REPORTER Who will replace Chief Carson? WALTER GREENE The interim Police Chief will be Detective Jack Wilson. REPORTER Will there be any compensation to the victims? WALTER GREENE I'll let the City Attorney, Angela Brooks answer that question. Walter steps back from the microphones, as Angela steps up.


134 ANGELA BROOKS As Walter pointed out, this is going to be an extensive investigation to determine the magnitude of the crimes and to identify all victims. The City Attorney's office will meet with the City Council to determine appropriate compensation, once all victims and their family's have been identified. LATER The reporters are leaving the area. Victor walk along the sidewalk.

Ray, Dan, Anna and

RAY Well buddy, seems like you may get some good money. VICTOR Yeah, maybe I can get off the streets and me a new shop. They stop walking as they approach the street. Victor.

Ray faces

RAY I'm sure you will. Ray holds his hand out to Victor. RAY (CONT'D) I gotta thank you for saving my life. VICTOR It was nothing. I think you guys saved mine. Ray and Victor shake hands as Dan and Anna smile. RAY Bye now. VICTOR Bye.


135 Victor walks away. Ross Barnes is walking nearby and calls out. ROSS Ray, Ray Nolan! Ray looks toward Ross as he approaches. Uh... yes?

RAY Do I know you?

ROSS Ross Barnes. Remember? Oh!

RAY Detective Ross Barnes. ROSS

Right! RAY You wanna speak with me? ROSS Well, I was just wondering why you're here. RAY Just a concerned citizen. my friends.

Me and

Ray points to Dan and Anna. ROSS Oh, concerned citizen. But uh, you wouldn't know anything more? RAY No. Just wondering what kind of police we have here in this city. What kind are you? ROSS A good one. RAY Well, that's good to know.


136 ROSS Who was that guy, that bum you were talking to? RAY Oh, he was just asking for some change. ROSS Well, it's odd. RAY What's odd about a bum asking for change. ROSS No. It is odd, seeing you here today talking to a guy that gave me some photos, that he claims he found. RAY Really. I wouldn't know anything about that. Would I guys? Dan and Anna nod. ROSS Look Ray, I don't know where the photos came from. Where they were found, or whatever. But, if you come across anymore that can help solve a crime, let me know. Any help will be kept confidential. RAY I'll keep that in mind. ROSS Like I said, I'm a good cop, just trying to make a difference. You got my card? RAY I've got it.


137 EXT. CITY STREET - DAY Ross walks away. Ray, Dan and Anna smiling, start walking along the sidewalk. RAY Let's have lunch. DAN Okay! EXT. RESTAURANT PATIO - DAY Ray, Dan and Anna sit at a table as the Waiter places drinks. The Waiter walks away. DAN Ray, there's something I've been wondering about. RAY Yeah? DAN You told Carson, I knew you would do that. What did you mean? RAY I saw him go into my apartment and destroy the computer. ANNA How did you see him? RAY Okay, I'll let you in on my new discovery. Since I could program any previous date and look back in time, I begin thinking it would be nice to look into the future. DAN Yeah?


138 RAY So, I experimented with the program there in my apartment. After a few tries, I started getting images. I saw Carson break into my apartment and destroy the computer. I guess he thought all the evidence was on the hard drive and he destroyed it. ANNA Did you see any farther into the future? No.

RAY Like what?

ANNA Well, I thought maybe that you would recognize that I am a woman. An available woman. DAN Sounds like a pick up line to me. RAY You be quiet. Besides, maybe I already recognize that. ANNA Oh really? DAN Before you guys get all mushy. Are you sure you can't reprogram the camera. RAY No. It was an accident in the first place. And the main program was on the hard drive when the computer was destroyed. DAN Damn shame. RAY Why?


139 DAN Think of the money we could make. RAY Forget it. DAN Okay, forget the money. But Ray, don't you realize that program was exactly what you needed for your research. RAY How's that? DAN After storms and lightning strikes, you could have photographed those areas for your research. RAY Yeah, damn shame. ANNA Maybe you can rewrite the program. RAY Maybe. In the meantime, let's take a vacation. Vacation?

DAN Where to? RAY

Dallas. Ray smiles, Dan and Anna look at him, puzzled. FADE OUT: THE END

Earth Knows  

Screenplay - A Scientist attempts to create a computer program to further his research. He mistakenly creates a time camera that can photogr...

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