One Day of Redemption
by
Jack Allen

Based on the short story
“One Day of Redemption”
by Jack Allen

Burping Frog Publishing
Livonia, Michigan
www.burpingfrog.com
jallen@burpingfrog.com

EXT. - busy street - dAY
It is a cold, rainy October day in Detroit.  RAY VELDER, a gray-haired man in his sixties, is standing at the curb of St. Antoinne Street, across the street from the Frank Murphy Hall of Justice building, waiting to cross.  The cold rain hits his face and makes him squint.
He is wearing a rumpled tan suit, which looks inadequate for the cold, rainy weather, and he is leaning on a nicked and scraped aluminum cane.  In his other hand, he is clutching a brown paper bag with grease stains on the bottom, and a folded newspaper.
Behind him is the entrance to the $8-A-Day parking lot, surrounded by a tall fence.  In front of him is a line of cars waiting to make the turn into the parking lot.  He shuffles into the street between two cars, and they become impatient and honk at him.
He crosses the street and reaches the steps that head up to the front doors of the Hall of Justice.  There aren't too many steps, but they are wet and difficult to climb, especially with a cane.  He starts up the steps slowly, taking them one at a time.
At the top he passes a pair of uniformed Detroit Police officers, who have just come out of the building.  Their caps are covered with plastic to protect them from the rain, and they are wearing heavy, dark blue jackets.
One of the officers is a younger man, and he passes Ray on the steps without looking at him.  The other officer is an older man, with gray in his hair, and he stops at the top of the steps, glaring at Ray.
Older officer
Rot in hell, you son of a bitch.
Ray ignores the officer and keeps walking.
INT. Hall of justice - dAY
Inside the doors, Ray stands in line to go through one of the metal detectors.  He chooses the line to the right, which will lead to the elevators, beyond the security screen.
When he reaches the metal detector, one of the security officers gives him a small plastic basket.  He puts his keys and thin wallet in the basket.  He puts the cane, the brown paper bag, and the newspaper on the plastic folding table and steps through the detector, moving slowly on his sore knees.  The buzzer does not sound.  He collects his stuff and continues toward the elevators.
At the elevators, he stands with a group of people waiting for an elevator car.  The doors to one of the cars opens and a bunch of people get off, sifting through the group of people.  Some of them get on until the car fills, then the doors close again.  Ray is still waiting, clutching the paper bag and the newspaper.
Along one wall is a row of photos high enough that he has to look up to see them.  They are all pictures of past police captains, all wearing their uniforms.  Ray stares at the last picture in the row, as if he expects it to speak to him.  He looks away when the bell on the elevator chimes, and he climbs aboard with others from the group.
INT. eighth floor hallway - dAY
The elevator doors open and Ray gets off.  The elevator is empty except for him.  He shuffles down the hall, past the doorways to different offices.  Some of the doors are open, some are closed.  Some of the offices are busy, and some are quiet.
At the end of the hallway, he stops outside an open door, leans his cane against his leg and knocks on the door frame.  An engraved placque on the wall by the door reads "Alex Velder, Deputy D.A."
INT. office - day
Inside the office is ALEX VELDER, hunched over the desk.  He looks up.
Alex
Uncle Ray?  I didn't expect to see you today.
Ray goes into the office.
Ray
What do you mean you didn't expect me?  It's the first Monday of the month, isn't it?
Alex stands up and clears the clutter of papers and folders from the corner of his desk.
ALEX
I didn't expect you to come all the way downtown on a day like today.
RAY
It takes more than a little rain to stop me.
He sits in a chair beside the desk.
ALEX
What did you bring for lunch today?
Ray puts the bag on the corner of the desk and opens the top.
RAY
Today your favorite, the corned beef with Swiss and coleslaw on rye bread, without the seeds.
ALEX
Sounds great.
Alex is busy rearranging the piles of paper and folders on his desk to make room.  Ray waits, watching him, holding the sandwich wrapped in paper.
RAY
It looks like you're ready for a promotion.
Alex pauses and looks at him, holding a stack of folders in both hands.  He puts it on the floor behind his chair.
ALEX
You think so?
Ray puts his newspaper on the edge of the desk.  He rests his arm on the folded newspaper and unwraps his own sandwich, a roast beef on pumpernickel with tomato and horseradish.
RAY
Oh yeah.  The DA can't heap this much work on you and expect you to remain content as a junior prosecutor.
He takes a big bite of his sandwich and points at Alex with his finger.
RAY (cont'd)
You need to start pushing for bigger cases, not just more of this small time stuff.  You need to get your teeth in the high profile stuff.  Get your name in the paper.  Get your face in front of the tv cameras.  One day you're gonna be running this town, Alex.  It all starts right here.
He taps his finger on the folded newspaper under his arm.
ALEX
That's an interesting idea, Ray.
RAY
It's all true.  There isn't anywhere you can't go from here, District Attorney, Circuit Court Judge.  Hell, Supreme Court, if you want it.
Alex looks at the newspaper.  He is holding his sandwich with both hands and chewing.  He has some Thousand Island dressing at the corners of his mouth.
ALEX
What's on your mind today, Ray?  You didn't come down here to give me career advice.
RAY
No.  That was presumptuous of me.
ALEX
You seem pretty interested in that newspaper.
RAY
Now that is an odd thing.  What would you say if I told you I had information to suspect a murder, and it was all right here?
He taps the newspaper with his finger again.  Alex takes a bite of his sandwich.
ALEX
I'd say it wouldn't be the first time an editor skewed the facts to make a man look guilty.
RAY
Yes, I've seen that myself.  I'm talking about the classified ads.
He unfolds the newspaper and hands it to Alex.
RAY
Read the ones I circled.
Alex looks over the classified pages.
ALEX
So you got someone selling a pair of cats, a hospital bed, and a pair of cemetery plots.
RAY
Look at the phone numbers.
Alex looks at the ads again.
ALEX
They're all the same.  What are you trying to tell me?
Ray waves his hand in the air.  He takes the paper back.
RAY
This is just a crazy theory.  Bear with me for a minute.  What if this man who is selling each of these items is selling them because he killed his wife, so he no longer needs them?
Alex stares at him, then laughs.
ALEX
How could you get evidence to support a theory like that?
Ray shrugs.
RAY
You couldn't, of course.  That's why it's only a crazy theory.
ALEX
Just one thing.  You said 'this man'.  What makes you think it's a man who placed these ads?
Ray reaches into the inside breast pocket of his jacket and pulls out a folded sheet of paper.  He unfolds it slowly and deliberately and hands it to Alex.
RAY
This was in the obituaries in the News a couple of weeks ago.
Alex takes the sheet of paper and reads it aloud.
ALEX
Mrs. Lilly Dowd, survived by her husband, Mr. Gerald Dowd, and their two children.  How did you find this?
RAY
I used the computer at the library.  I traced the phone number on the internet.  I'm old, but I know how to use a computer.
Alex laughs and hands the sheet of paper back.
ALEX
That would be a hell of a coincidence.  You're not gonna follow through on this, are you?
Ray folds the sheet of paper and puts it back in the pocket of his jacket.
RAY
Are you kidding?  I'm retired.  I got better things to do.
EXT. Ray's house - dAY
Ray comes out the front door of his house, a small, quaint bungalow in a quiet suburban neighborhood.  He uses the aluminum cane to hold the storm door open before it hits him in the ankle.
In the driveway is a silver '89 Crown Victoria.  DEAN LEMIN is waiting in the car with the engine running.  He is about the same age as Ray, in his mid-sixties, and he wears an impatient, irritated scowl on his face.
Ray hobbles around to the passenger side of the car.
INT. dean's car - dAY
Ray gets in with some difficulty, straps on the seat belt, and lets out a sigh.  He puts his papers in his lap.  Dean is glaring at him.
RAY
What?
Dean
Just what in the world is so important that you have to make me miss my monthly church meeting on a Tuesday morning?
RAY
Trust me.  God will thank you for this.
DEAN
Why do you need me?
RAY
You're the only friend I have who has a car.
Dean scoffs and puts the car in gear.
DEAN
I hate to tell ya Ray.  I'm the only friend you got.
INT. dean's car - dAY
Dean drives very slowly.  He and Ray talk very little on the entire slow trip.  The radio is set on a news station.  Dean's car is stuck to the right lane of the main roads, and other cars are backed up behind them, waiting to get around.
DEAN
Where is this place?
He is leaning forward over the steering wheel and squinting, as if trying to see through a dense fog.
RAY
It's right up ahead.
EXT. suburban street - dAY
Dean's car drives slowly down a side street of a subdivision.  All the houses are mundane and look alike.
INT. dEAN'S CAR - dAY
Ray points to a house on the left side of the street.
RAY
There.
Dean eases the car toward the curb on the near side of the street.
DEAN
What are we here for?
EXT. sUBURBAN STREET - dAY
The car creeps toward the curb.  The right front wheel rolls up on the curb, and it stops in front of a fire hydrant.
INT. dEAN'S CAR - dAY
RAY
I told you, Dean.  I'm gonna talk to this guy about a hospital bed he's selling.
Ray opens the door to get out, but the door only opens about halfway before it hits the hydrant.  He squeezes out of the car with the cane.
Dean is holding the steering wheel with both hands and faces the open passenger door.
DEAN
What do you need a hospital bed for?  What, are you dying?
EXT. curb - dAY
Ray has one hand on the door and one hand on the cane and bends down to speak into the car.
RAY
Do me a favor, Dean.  Just shut up.  I'll explain it to you later.
He slams the car door.  He stands at the curb to wait for a car to go by, then starts across the street.  When he gets to the sidewalk on the other side, he stops to check the address on his papers.
The lawn of the house in front of him is neatly trimmed.  Ray walks up the narrow brick walk to the front door, limping painfully with each step.
EXT. front porch - dAY
Ray pushes the doorbell button.  There is no sound from inside the house.  He looks in through the front windows, but sees nothing in the dark front room.  He waits.  Just as he raises his hand to knock on the screen door, the inside door opens.
Inside the door is JERRY DOWD, who is a little older than Ray.  He is bald except for a fringe of gray hair over his ears, and his belly sticks out over his belt.  He is wearing a green golf shirt and has bright, charming blue eyes.
Jerry
Can I help you?
Ray
My name is Ray Velder.  I called about the ad for the bed?
Inside the screen door, Jerry smiles, and his bright blue eyes sparkle.
JERRY
Of course.  Come in.  I'm Jerry.
He opens the door.  Ray steps inside carefully, using the cane.
INT. dowd's house - dAY
The house is dark.  All the lights are turned off.  Inside the door is thick, plush carpet, the same green color as Jerry's shirt.
RAY
I hope you don't mind.  I just need to look at the bed before I decide if I want to buy it.
JERRY
Of course, of course.  I totally understand.  We looked at two other beds before we decided to get this one.
Jerry leads Ray through the kitchen to a side room with a large bay window that looks out over an immaculately groomed back yard.  The small room is dominated by a hospital-style bed with side rails.
JERRY
Here it is.  I hope it's what you're looking for.
RAY
Looks like a good bed.
He looks around the room.  Against the side wall is a small table with a phone and a crystal vase of colored fake flowers, and a dust mark where a picture frame has been removed.
JERRY
It is a good bed.  Top of the line.  Kept my poor wife very comfortable.
With a cross look on his face, Ray starts to speak, but stops himself.  His face softens and he clears his throat.
RAY
Do you mind if I ask how your wife passed away?
JERRY
Ovarian cancer.  She suffered with it for a couple of years.  I have to be honest, it was a relief not to have to watch her suffer.
He wipes a tear from his cheek and sighs.
RAY
I hope you don't mind me asking this.  It's my sister, you see.  Well, she's looking for a good oncologist.  Could you recommend your wife's doctor?
JERRY
Oh, now she is a real hero, I gotta tell ya.  If it weren't for her, well, I don't know what we would have done.  Let me get her number for ya.
He walks out of the room.  Ray lingers for a minute, then goes back into the kitchen.
INT. kitchen - dAY
At the end of the row of cabinets over the counter are three shelves.  On the top shelf is a small pot with some dried flowers.  The bottom shelf has a plate that has been painted with a flower by a child.  The middle shelf is empty, as if something has been removed.
INT. living room - dAY
He goes into the living room.  It is dark, but the furniture is covered in a flowery pattern.  On the mantle over the fireplace is a row of framed pictures, from one end to the other, except for a gap in the middle where one picture has been removed.  Ray wipes his finger over the remaining dust mark.
JERRY
Here ya go.  Name's Dr. Canto.  Trust me.  She'll treat you right.
He hands Ray a slip of paper.  Ray reads the name and phone number written on it, folds the slip of paper and puts it in his pocket.
RAY
Thanks so much.  My sister will be grateful.  You don't know how much this will mean to her.  I hope you don't mind.  I have a couple of other beds I wanna look at before I make up my mind.
JERRY
Not at all.  Like I said, we looked at a couple of other beds ourselves.  I'm sure you'll be back.  This baby's top of the line, don't forget.
EXT. subuRBAN STREET - dAY
Ray walks across the street away from Dowd's house and gets into Dean's car.
INT. dEAN'S CAR - dAY
Dean is listening to a jazz station, and turns down the volume.
DEAN
Well?  What did you find out?
Ray pulls the folded piece of paper from his pocket and unfolds it.
RAY
More than I expected.  A lot more.  Let me use your cell phone.
He holds out his open hand.  Dean looks at it.
DEAN
Cell phone?  Do I look like I'm made of money?
RAY
You don't have a cell phone?
DEAN
No.  Why don't you use your cell phone?
RAY
Ok.  Let's find a pay phone.
EXT. busy main street - dAY
Ray and Dean are in the car on Warren Road at the intersection of Wayne Road.  The traffic is heavy and they are stuck behind a line of cars going in and out of the Westland Mall parking lot.  It takes Dean forever to make the left turn into the gas station.
EXT. gas station - dAY
Ray gets out of the car to use the pay phone.  He looks at the number written on the piece of paper and dials.  He speaks with someone for a few seconds, then hangs up and gets back in the car.
INT. dEAN'S CAR - dAY
Dean is waiting in the car with both hands on the steering wheel.
DEAN
Are you done?  Can we go home now?
Ray fastens his seat belt.
RAY
Not yet.  We have to go to Farmington Hills.
DEAN
Farmington Hills?  What, am I your personal taxi today?
RAY
Just drive, Dean.
Dean glares at him with fury in his eyes and grumbles.  He puts the car in gear and starts driving.
INT. doctor's office - dAY
Ray hobbles into the reception area of the DOCTOR'S OFFICE with the cane.  Behind the desk is the RECEPTIONIST, a pretty young woman.  She smiles at him.
Receptionist
Good afternoon.  Can I help you?
RAY
I think you might.  We spoke on the phone a few minutes ago.  Can I speak with Dr. Canto?
The Receptionist turns to her computer screen and taps some buttons on the keyboard.
RECEPTIONIST
Do you have an appointment?
RAY
Uh, no.  I have some very important questions to ask the Doctor.
The Receptionist frowns.
RECEPTIONIST
Are you a pharmaceutical rep?
RAY
No, no.  Nothing like that.  I'm a private investigator.  I have some questions about a former patient of hers.
RECEPTIONIST
Wait here, please.
She gets up from the chair behind the desk and goes through a door to the back rooms.
Ray waits, and looks out the window at Dean sitting in his car.  A minute later, the Receptionist returns, but her polite smile is gone.
RECEPTIONIST
Dr. Canto will be with you in a few moments.
Ray nods.  He mills about the waiting room.  The Receptionist avoids his eyes.  Ray plops into a chair a rubs his sore knee.
He picks up a magazine and flips through it without reading it.  He finishes one and picks up a second magazine.  The door behind the Receptionist opens and an OLDER COUPLE comes out.
They stand by the Receptionist's desk.  They talk in low voices, but Ray is not listening.  The Receptionist taps on the keyboard in front of her computer.  The older man and woman thank her and walk out, past Ray.  Without looking up, he flips through the pages of the magazine.
He finishes that magazine and picks up a third.  The door behind the Receptionist opens again.  DR. CANTO, in a white lab coat, comes out and speaks with the Receptionist.  Ray closes the magazine.  The Receptionist points in his direction, and Dr. Canto looks right at him.
She comes around from behind the desk to meet Ray with a reserved smile on her face, but she does not offer her hand.
Dr. Canto
I'm Dr. Canto.  How can I help you?
Ray pushes himself to his feet with the aluminum cane.
RAY
Good afternoon, Doctor.  My name is Ray Velder.  I'm doing some investigation into one of your patients, Mrs. Lilly Dowd.
The smile vanishes from her face.
DR. CANTO
Are you with the police?
RAY
No.  This is a private investigation.
DR. CANTO
I see.  Who hired you?
RAY
No one hired me ...
DR. CANTO
So you're here to waste my time to satisfy your own curiosity?
Ray stares at her with his mouth open.
DR. CANTO
I'm going to have to ask you to leave.
RAY
I apologize for wasting your time.
He turns and walks toward the door.
INT. eIGHTH FLOOR HALLWAY - dAY
The door to Alex Velder's office is open.  He is standing at a filing cabinet with the top drawer pulled out.  He is looking through the folders and papers stuffed inside.
Ray taps on the door with his knuckles.  Alex turns, looks confused.
ALEX
Uncle Ray?  I wasn't expecting you.  It's not even a Monday.
INT. alex velder's office - dAY
Ray shuffles into the office.
RAY
I know.  I just stopped by to get your advice on a case.
Alex pulls a folder stuffed with papers out of the filing cabinet and closes the drawer.
ALEX
You're working on a case?
Ray stands next to the chair by the desk.  He looks at it with longing in his eyes, as if he would love to sit, but can't get his old bones to cooperate.
RAY
It's the old woman who passed and her husband.  You know, the one with the classified ads I showed you the other day.
Alex drops the folder on his desk and sits in the chair.  Ray avoids his eyes.
ALEX
I thought you weren't gonna mess around with that.
RAY
Yeah, well, you know me.  I'm a stubborn old dog.  Once I get my teeth into a bone I never let go.
Ray chuckles, but Alex's face is impassive.  He sits back in his chair.  His lips are squeezed together, and his head shakes slowly.
ALEX
Ray, you're no longer on the force.  I don't know if you're authorized to conduct an investigation.
Ray settles his weight into the chair beside the desk.
RAY
I'm just a concerned citizen asking some questions.  Listen.  I talked to the husband.  I have reason to believe he is somehow involved with his wife's death.  I wanted to ask the wife's doctor a few questions, but she wouldn't talk to me.  I was hoping I wouldn't need a court order to get a look at her records, but ...
ALEX
Whoa, whoa, Ray.  Why are you coming to me with this?  I can't get a court order for a case that doesn't exist.  No judge is gonna issue a warrant just because you got a hunch.  He's gonna need to see some hard evidence.
Ray nods, but he is staring at the floor.  He lets out a deep breath and pushes himself to his feet, leaning on the cane.
RAY
You're right.  I should know that.
He shuffles toward the door.
ALEX
Uncle Ray, do me a favor.  Do yourself a favor, will ya?  Drop this thing before you start some trouble.
At the door, Ray stops and turns back to face Alex.
RAY
You know I can't do that.  I dedicated the first thirty years of my life to helping people who can't help themselves.  All of that was pulled out from under me when I made that hard choice back in ninety two.  You've seen the way they look at me, the old cops, the ones that remember.  They tell the new cops how one of their own rolled over on a corrupt Captain, until they're ready to crucify me at the mention of my name.  Not this time, Alex.  I owe it to Lilly Dowd to follow through on this investigation, even if there isn't a hint of wrongdoing.  I owe it to myself to satisfy my own suspicions, and if I'm completely wrong then to hell with me.  That's where I'm going, anyway.  But not as long as I have this one chance for redemption.  One day of redemption, that's all I ask for.
INT. dEAN'S CAR - nIGHT
Ray is sitting next to Dean in Dean's car.  It is the middle of the night, and they are driving slowly.
DEAN
Why do we have to come back to this place?  I got more important things to do than taxi your ass around in the middle of the night.
RAY
You don't got shit to do but sit around and watch your stupid tv shows.  There's the house.  Pull over here.
EXT. sUBURBAN STREET - nIGHT
Dean's car eases to a stop at the curb.  The street is dark and quiet.  There are few street lights, and just about each house has a lamp in the front yard.
INT. dEAN'S CAR - nIGHT
Ray and Dean are sitting beside each other in the dark, slow moving car.
DEAN
Why in God's name do we gotta come back to this place in the middle of the night?  Can't you do your business in the day time like normal people?
Ray is looking past him at the Dowd house.  It is dark, as are the rest of the houses up and down the street.
RAY
Dean, do me a favor.  Shut up and open the trunk.
EXT. sUBURBAN STREET - nIGHT
Ray gets out of Dean's car and hobbles across the street on the cane as fast as he can.  At the curb in front of Dowd's house is a single bag of trash.  He picks it up and carries it back to the car.
Dean is standing at the back of the car, where he has opened the trunk.
DEAN
What do you think you're doing?
RAY
I think I'm gonna put this bag of trash in the trunk.
Dean shakes his head and holds up his hand.
DEAN
No you're not.  It's gonna make a mess all over my trunk.
RAY
It's not gonna make a mess.  Now get out of the way.
Dean holds his ground with a stern face.  Finally, he relents and moves aside.  Ray lifts the trash bag into the trunk.
DEAN
I must be nuts to help you with this.  You can't just go through someone's trash.
Ray closes the trunk and brushes his hands together.
RAY
There you're wrong.  I can't go through his mail.  That's a federal crime.  His trash is free for anyone.
DEAN
Don't expect me to help you dig through any of that.  My assistance in your crimes has its limits.
Ray goes around to the side of the car and opens the door.
RAY
Don't worry, my friend.  I won't make you get your hands dirty.
INT. kitchen - nIGHT
The clock on the wall of the kitchen reads after one o'clock.  Ray dumps the trash bag on the kitchen table.
INT. bathroom - nIGHT
Ray opens the medicine cabinet.  He gets a bottle of Rolaids, opens it, pours a tablet into his palm, and pops it into his mouth.
INT. bedroom - nIGHT
Ray changes out of his clothes into his shorts and an old t-shirt and gets into bed.  He lays on his back, staring up at the shadows of a tree branch on the ceiling.  He lays there for a long time, then lets out a heavy sigh and drags himself out of bed.
INT. kitchen - nIGHT
Ray turns on the light.  The black trash bag is waiting on the kitchen table.  He gets a new trash bag from a drawer and sits down at the table.  He opens Dowd's trash bag and pulls out the first piece of trash at the top.
INT. kITCHEN - dawn
The dull, gray light of dawn begins to show through the kitchen window.  At the table, Ray pulls the last piece of trash out of the trash bag, an old orange peel.  He wads up Dowd's empty trash bag and stuffs it in the new bag with the rest of the trash.
The only thing remaining on the table is a letter with coffee stains.  At the top of the letter is the company name: Harrisburg Life Insurance Company.  Ray picks up the letter, wipes away a few coffee grounds, rubs his eyes, and reads it.
When he finishes reading it, he yawns and looks at the clock on the kitchen wall.  He looks at the address on the letter again.  It is in Dallas, Texas.  He looks at the clock again, then yawns and gets up from the table, shaking his head.
INT. kITCHEN - dAY
The clock on the wall reads after twelve noon.  Ray is standing at the counter, pouring coffee into a mug.  Behind him, a pan on the stove is sizzling with corned beef hash and chopped onions.  His hair is still wet from a shower and he has shaved.
He puts a plate of corned beef hash and the mug of coffee on the counter, next to the telephone, where he has also placed a pen, a pad of paper, and the letter from Harrisburg Life.
He sits in the stool at the counter and dials the toll free number at the top of the letter.
The phone rings, then it is answered by an automated answering system.  He listens, and pushes a button.  He listens again.  His finger hovers over the buttons on the phone, as if he is anticipating which one he should push.  He pushes one and waits some more.
Finally the phone clicks and he is listening to music.  Ray rolls his eyes.  With one hand, holding the phone to his ear, he takes a bite of the hash.
The plate of hash is nearly gone by the time a young woman takes his call.
RAY
Uh, yes, hi.  My name is Robert Becker.  I'm the new lawyer for the estate of Mr. and Mrs. Gerald Dowd.  I'm afraid the previous trustee of the Dowd estate was a little ... disorganized with his records.  I would like to confirm some of the facts of the estate, if I could?
He listens on the phone.  He is holding the pen over the notepad, ready to write.
RAY
Yes, I have the policy number, right here.
He picks up the letter and reads a long string of numbers, then listens.
RAY
Just a couple of questions.  First, could you tell me the amount of the policy?
He listens, then writes the amount on the letter next to Gerald Dowd's address.
RAY
One last thing.  Can you tell me the beneficiary?
He waits a few seconds.  When she tells him over the phone, he just circles Gerald Dowd's name on the letter.
RAY
Thank you so much.  You've been a terrific help.  Is it all right if I call again if I need more information?  Great.  Thank you.
He hangs up the phone and stares at the number he has written next to Gerald Dowd's name.  He taps the pen on the notepad.  He picks up the phone again and dials another number.  It rings a few times and he taps the pen on the pad.
RAY
Dean?  It's me, Ray.  I need you to drive me to that doctor's office again.
INT. dOCTOR'S OFFICE - dAY
Dr. Canto is standing by the Receptionist's desk, holding a green folder and talking with the Receptionist, who is seated behind the desk.  Both of them look up when the front door opens and Ray walks in with his aluminum cane.  At the same time, both of their expressions change to irritation.
Dr. Canto puts the folder down on the desk and walks toward him.
DR. CANTO
Listen, I don't know who you think you are, but when I asked you to leave-
RAY
Dr. Canto, were you aware that Mr. Gerald Dowd was the sole beneficiary on his wife for an insurance policy worth ninety thousand dollars?
DR. CANTO
That is personal information important only to Mr. Dowd-
RAY
Were you aware also, Doctor, that this policy was due to expire four months from now?
Dr. Canto hesitates, as if she is unsure what to say.  She looks back at the Receptionist, then at Ray again.
DR. CANTO
N-No.  No, I was not aware of that.
Ray watches her.  She is pulling at her fingers.
DR. CANTO (cont'd)
How do you know this about Mr. Dowd?
RAY
My name is Ray Velder.  I'm a retired Detroit city police detective.
DR. CANTO
Can we talk in my office?
He follows her through the door behind the Receptionist's desk.
INT. oFFICE hallway - dAY
They walk down a short hallway to her office.  At the door, she waits for Ray to catch up, then she goes in and closes the door.
INT. dr. Canto's office - dAY
The office is cool and quiet, and decorated with soft, subtle colors.  Through the windows behind the desk is a school playground where young children are playing.  Dr. Canto and Ray stand facing each other.
DR. CANTO
You've told me what you know, Detective Velder.  Let me tell you what I know.
RAY
It's just Ray.  I'm not a detective anymore.
She nods.
DR. CANTO
Gerald Dowd's wife, Lilly Dowd, was very sick with ovarian cancer.  The cancer was terminal.  But it was likely she could have lived another couple of years with a good quality of life.  Now, you have to understand, I thought that her death was a little sudden, but certainly not unlikely, given the number of complications that can come up for a person in her condition.  So I didn't think anything of it.  Now, though, with what you've told me, it does seem ... unusual.
Ray holds up his hand and shakes his head.
RAY
Don't get any ideas about it yet.  I don't have any evidence to prove my suspicions.  I could be completely wrong about the whole thing.
She puts her hand on his arm.  He looks into her eyes.
DR. CANTO
But you're not, are you?
EXT. sUBURBAN STREET - dAY
Dean's car drives so slowly down the street it is hard to tell if it is parked or moving.  It is a sunny, but chilly October afternoon.  Dowd's house is on the right side of the street.  Some kids are playing hockey in a driveway.  On the other side of the street, an older woman is arranging Halloween decorations in her front yard.
The car eases toward the curb.  It comes to a stop halfway across a driveway, then slowly backs up.  The door opens and Ray gets out.
DEAN
Try not to be all day, would ya?  I'd like to get some dinner today before it gets dark.
Ray leans into the open passenger door and grabs a folder and a pen from the dashboard.
RAY
If you drove a little faster ... Oh never mind.
The OLDER WOMAN in the front yard is wearing a violet hat with a wide brim.  She doesn't notice Ray approach until he speaks.
RAY
Excuse me.
She looks up.  She is a little older than him, in her mid to late sixties.
Woman
Can I help you?
Ray leans the cane against his leg and opens the folder.  He holds the pen over the paper, ready to write.
RAY
I sure hope you can.  My name is Ray Volker.  I'm an investigator for the Harrisburg Life Insurance Company.  Do you mind if I ask you a couple of questions?
The Older Woman pushes herself to her feet, holding a plastic skull in one hand.  She pulls her work gloves off one finger at a time.
WOMAN
I'm afraid I don't need any insurance, Mr. Volker.  My dear husband, he made sure I was completely covered before he passed away.
RAY
Forgive me.  I meant to say I have some questions about your neighbor.  Are you familiar with Mr. Dowd?
With the pen, he points to Dowd's house across the street.  Her eyes follow the direction of his pen, and her head remains still.
WOMAN
Jerry?  You want to ask me about Jerry?
Her wrinkled eyes narrow, as if she is skeptical, then her eyes brighten.
WOMAN
What do you want to know?
When Ray speaks, he hesitates, as if he is not actually prepared with any questions.
RAY
Well ... What can you tell me about his wife?
She shakes her head and frowns.
WOMAN
It was such a shame about Lilly.  She was the sweetest person I ever met.
RAY
That's what I've heard.
WOMAN
She loved those cats, almost as much as she loved that dear husband of hers.
Ray's head is nodding, then stops and he looks confused.
RAY
Cats?
WOMAN
Yes.  Lilly had a pair of white Himalayan long haired cats.  They're a beautiful breed, you know.
Ray's head start nodding again.  He writes something in the folder.
RAY
No, I didn't know that.
The Old Woman sighs.
WOMAN
I would have bought them myself, but even though Jerry was selling them for half of what they were worth, I still couldn't afford them.
RAY
Do you know how much he sold them for?
WOMAN
Oh, he was asking over a thousand dollars.
RAY
For both?
The Old Woman chuckles.
WOMAN
Goodness no.  For each one.
Ray stares at her with his mouth open, holding the pen over the notepad.
WOMAN
I tell you, they were the most beautiful cats you ever saw, if you like cats, of course.  Poor Jerry, I don't think he liked them too much.
RAY
Why do you say that?
WOMAN
Oh, he was allergic to them.  Frankly, I think he was glad to just get rid of them.  I understand he spent a lot of money on allergy medication.  But you have to admire a man who would put himself through so much suffering for the woman he loves.
Ray looks at her with a dubious expression on his face.
RAY
Yes, you do.
A red Mustang comes up the street.  He looks up when he hears it.  The Mustang stops in the driveway of Dowd's house.  CLAIRE gets out and walks up to the front door.
WOMAN
Now that is interesting.
RAY
What's that?
The Old Woman points to Dowd's house across the street.  Claire walks up to the front porch.  The front door is opened by Jerry Dowd.  He says something to her and smiles real big.  Ray turns away.
WOMAN
That's Claire, Lilly's caregiver.  She's been coming back just about every day since she passed.  Why do you think that is?  Do you think Jerry might be sick, too?
Ray closes the folder and puts the pen in the pocket of his jacket.
RAY
That's a possibility.
INT. eIGHTH FLOOR HALLWAY - dAY
Ray stops outside the open door of Alex Velder's office and taps on the door with his knuckles.  Inside the office, seated behind the desk, Alex looks up.  Ray holds up a stuffed brown paper bag.
RAY
This time I brought lunch.
INT. aLEX VELDER'S OFFICE - dAY
Ray hobbles into the office with the cane and sets the bag on the bare corner of his desk.  Alex is watching him with wary eyes.
ALEX
What are you bringing me today?
RAY
Today, grilled ham and cheese because I think you'll like it.  I also brought you a story about a pair of cats.
He pulls a wad of folded pages from the pocket of his jacket and puts them on the desk in front of Alex.  Then he opens the brown paper bag and pulls out a pair of sandwiches wrapped in paper.  Alex sighs and drops his pen on the folded sheets of paper in front of him.
ALEX
I have a cat, and a dog, and two kids.  What is the point of this?
Ray puts one sandwich in front of him, then moves the brown paper bag from the corner and puts the other sandwich in its place.
RAY
Bear with me.  I'll get to the point.
He winces and puts his hands on his knees until he has settled in the chair.  He unwraps his sandwich while he speaks.
RAY (CONT'D)
I recently learned something very interesting about a pair of rare Himalayan white haired cats.  These cats are registered with the Michigan chapter of the Rare Breed Cat Association.  Every specimen of this breed across the country is registered and tracked, and there are only a handful of them.
He takes a big bite of his sandwich and points to the papers in front of Alex.  He continues, this time with his mouth full.
RAY (cont'd)
These people have an intense desire to maintain the purity of this breed.  It has to do with their value.  Myself, I call it a perverse obsession, but to each his own.
Alex pokes the printed sheets with the tip of his pen.  He has barely touched his sandwich.  He holds up his hand.
ALEX
Hold it, Uncle Ray.  Really, this is all very fascinating, and I'm very interested.  But I'm also very busy.  What does this have to do with anything I have on my desk right now?
He waves his hand over the stacks of paper and file folders that clutter his desk.  Ray pulls the folded classified pages from the pocket of his jacket and puts it on the desk.
RAY
Our man sold his wife's rare white haired Himalayans for half of what they were worth.
Alex groans and rolls his eyes.
ALEX
Not this again.
RAY
Now, I have to ask myself, why doesn't he just kill these cats, or dump them on the side of the road?  Is it because they're registered and it would come back to him?  I have to say no.  I think it's simpler than that.  It has to be the same reason he sold the bed and the cemetery plots.  It's the money.  He's greedy.  And that's where he made his mistake.
Alex is staring at him.
ALEX
There's more to this, isn't there?
Ray wipes his hands and mouth on a napkin.
RAY
Let me tell you another story about a man blinded by greed.
Alex pushes his creaky chair back.
ALEX
Uncle Ray, Jesus.  I can't get a judge to issue a warrant based on hearsay, circumstantial evidence and your gut feeling.
Ray stares at his sandwich.  Bits of lettuce and cheese litter the wrapper.  He takes a deep breath.
RAY
Ok.  You know everything I told you already about the bed and the cemetery plots and the cats.  Let me tell you what else I have learned.  Mr. Gerald Dowd had an insurance policy on his wife that was set to expire in a few months.  The value of the policy was ninety thousand dollars.  Now, his wife was suffering from terminal cancer, but it was likely she would have outlived the policy.  Mr. Dowd was allergic to those cats I told you about, and he spent a good deal of money on allergy medication, which I have no doubt was very inconvenient for him.  Plus, he's having an affair with his wife's nurse.
He picks up his sandwich and takes a bite.  Alex's head is nodding, then stops and he looks at Ray with disbelief.
ALEX
Wait.  How do you know that?
RAY
She returns to the house to visit every day, weeks after the wife passed.  What other reason could it be?
Alex frowns.  His head nods again, slower.  He picks up his sandwich to take a bite, but his eyes stare off into space.
ALEX
That's a very compelling story.  But one thing is missing.
RAY
I know.  That's why I need a warrant.  I want to take it Judge Bering.
Alex shakes his head and holds up his finger.  He is trying to swallow a big bite of his sandwich.
ALEX
I think we can get a warrant now.  But not from Bering.  He retired a year ago.  Let's take it to Judge Hager.
RAY
Who's he?
Alex closes his desk drawer and locks it with a key.  He stands up and helps Ray to his feet.
ALEX
She's my sister-in-law.
It takes a few seconds for Ray to get to his feet on his sore knees.  He walks to the door.  Alex grabs his jacket, follows him out and closes the door.
EXT. hospice offices - dAY
Alex rushes up the steps and goes in the glass front doors.  Ray is going up the steps one at a time with the cane and his sore knees.  Alex comes back out and holds the door open for him.
INT. hOSPICE OFFICES - dAY
Inside the glass front doors is a long counter.  Two women are sitting behind the counter, facing computer monitors.  One is talking on the phone.  The other, LINDA, is smiling at them as they come in.
Linda
Good afternoon, gentlemen.  How can I help you?
Alex takes his wallet out of his pocket and opens it to show a badge inside.
ALEX
I'm Wayne County Deputy District Attorney Alex Velder.  I have a warrant.  Could I speak to the manager, please?
He holds up a folded warrant in his other hand.  The pleasant smile drops from Linda's face.  Her eyes flicker from his badge to the warrant to his face.  The other woman, holding the phone to her ear, stops to look at him.  Her face is pale and uneasy.
LINDA
Uh ... Yes sir.
She picks up her phone and presses a button.  They all wait in tense silence.  Ray is looking at Alex with the beginnings of a big, proud grin.
LINDA
Mr. Carmenates?  There's a ... District Attorney to see you?  Yes sir.
She puts the phone down and looks at Alex.
LINDA
He'll be with you in a moment.
Alex nods.  He looks at Ray, but they don't need to say anything.
MR. CARMENATES appears around the corner at the far end of the long counter.  He is wearing a shirt and a tie and small, round glasses.  He looks at the two women behind the counter, then at Alex and Ray with a wary, guarded look in his eyes.
Carmenates
What can I do for you?
ALEX
Are you the manager?
CARMENATES
I'm the Director.  I'm in charge of all operations here.
Alex hands the folded sheet of paper to him.
ALEX
I am Wayne County Deputy District Attorney Alex Velder.  This is a warrant to look at your records.
Carmenates takes the warrant and looks down the page with his eyes narrowed.
CARMENATES
I guess I have to let you in.  What is it specifically that you want to see?
RAY
The medicine disbursement records for Mrs. Lilly Dowd.
He is leaning on the cane with most of his weight, trying not to let the pain show on his face.  Carmenates looks at Linda behind the counter.
CARMENATES
Show him where the file is.
He holds the folded warrant out for Alex, but he holds his hand up.
ALEX
You can keep that.  I have a copy.
Linda gets up from her chair and comes out from behind the counter.
LINDA
Follow me.
She goes down the hall around the corner, where Carmenates emerged.
INT. oFFICE HALLWAY - day
She walks all the way to the end of the hall and opens a door to another room.  She and Alex go in.  Ray moves more slowly, and it takes him a minute to catch up.
INT. storeroom - dAY
The small storeroom is lined on each wall with filing cabinets.  Linda reads the labels on the fronts of the drawers, then opens one at about her chest height.
LINDA
What was the name again?
She thumbs through the folders in the cabinet without looking up.
RAY
Lilly Dowd.
Linda nods.  She thumbs through a few more folders, pulls one out, and hands it to Ray.
LINDA
Mrs. Lilly Dowd.
RAY
Thank you.
He put the folder on top of one of the filing cabinets.  Linda crosses her arms and keeps her eyes on him.
On the front of the folder is the name of the nurse, written in black marker: Claire Graham.  Ray flips up the pages in the folder, page after page.  The extensive listings come to an abrupt end on the last page.  Ray runs his finger down the page to the last entry.
ALEX
You find what you're looking for?
RAY
I think I have.
He points to the last entry on the page.  Alex looks where his finger is pointing, looks at Ray, and nods.  He takes his cell phone out of the pocket of his jacket, flips it open and dials some numbers.
ALEX
I'm gonna have Westland PD send a squad car to pick up Dowd and the nurse.
Ray nods and closes the folder.  Linda is staring at him with a pale, horrified look on her face.
INT. westland police department - day
Ray and Alex stop in the hallway outside the door that goes into the Detective room.  Through the window, they see Gerald Dowd and Claire Graham sitting at a desk together.  There are several other desks in the room, but only a few have detectives.
A little further down the hallway, CAPTAIN MAEDER is talking with a pair of uniformed officers.  He is wearing a light blue shirt and a dark tie, and his sleeves are rolled up past his elbows.  His hands are on his hips.  He looks in the direction of Ray and Alex, says something to the officers to dismiss them, and walks toward Ray and Alex with his meaty, hairy arms swinging at his side.  He has a mean, angry look on his face like he just chewed through the bars of his cage.  When he speaks, his deep voice shakes the floor.
Maeder
Which one of you is the DA?
Alex opens his wallet to show him his badge.
ALEX
Deputy DA Velder.  I'm the one who called.  You're Captain Maeder?
MAEDER
You better have a damn good reason for bringing these people in or I'm gonna string you up in front of your boss like-
Alex holds up Claire's folder.
ALEX
The charge is murder, Captain.  I'm holding the last piece of evidence.  This is Detective Velder of the Detroit PD, retired.
Maeder looks at Ray, and his eyes narrow.
MAEDER
I remember you.
RAY
I'll fill you in on the rest of the evidence when we're finished questioning Dowd.
Maeder opens the door to the Detective Room and Ray and Alex follow him in.
INT. detective room - dAY
Maeder, Alex and Ray go straight to the desk where Gerald and Claire are sitting.  Gerald is staring hard at Ray, as if he is trying to recognize his face.
jERRY
Hey, if this is about the bed, I swear to you it's all legit.
Ray sits in the chair behind the desk and lets a breath out.  The twisted, pained expression on his face eases.
RAY
We didn't bring you down here about your bed.
Claire stands up and puts her hands on her hips.  She is attractive, and clearly younger than Jerry.
Claire
Then would you mind telling me what this is about?  I have patients to attend to.
She looks at her watch.  Ray's face remains impassive.
RAY
Are any of those patients also sleeping with Mr. Dowd?
Her mouth falls open, but no words come out.  She closes her mouth and sits back down in her seat.
RAY
Ms. Graham, you're free to go any time.  What I have to discuss with Mr. Dowd doesn't concern you.  But I'm gonna ask you to stay.  The questions I have for Mr. Dowd are about his late wife.
Ray turns to Alex and holds out his hand.  Alex puts the folder in it.  Ray puts the folder on the desk in front of Claire and Jerry.
CLAIRE
How did you get that?
JERRY
What is it?
She reaches for the folder, but Ray puts his hand on top of it.
RAY
This is the medicinal record for your wife, Mr. Dowd.  This is the record of medications prescribed and administered to your wife, a record kept by Ms. Graham, written by her hand.
He opens the folder.  Jerry just nods, but Claire's face is ashen and she cannot look Ray in the eyes.
JERRY
My wife took a lot of medication, mister.  And every one of them was paid for by Medicaid.
He is indignant and thumps his finger on the folder.
Ray looks from Jerry to Claire with a surprised, uneasy look on his face.  He looks down at the pages of the folder.  His brow furrows with intense concentration.
He turns the folder around and flips the pages up to the last entry on the last page.  He looks closely at the handwritten entries, then looks up slowly at Claire.
RAY
It was you.
CLAIRE
What?
Behind Ray, Alex and Captain Maeder move in a bit closer.  Ray puts his finger on the last entry, about three quarters of the way down the page.
RAY
On the last day of Lilly's life, you recorded an entry for two bottles of morphine.  The day after her death, one bottle was returned unopened.  The other was returned empty.
Jerry's eyes are fixed to the spot on the page where Ray's finger is pointing.
JERRY
She told me the morphine would ease her suffering on the difficult days.  She told me it would hasten things along.
Claire jumps to her feet, shoving her chair over.
CLAIRE
Oh my God.  You lying sack of shit.  I can't believe you.  How could you not get it right?  I told you exactly how to do it.
Her voice is a hysterical shriek.  She flails on Jerry with her fists.  He holds his arms up to shield himself from her blows.  Captain Maeder and one of the detectives from across the room rush over and grab her.
JERRY
I don't know what you're talking about, woman.  You're crazy.
Ray can only stare at the spectacle in front of him, stunned by the turn of events.
Claire is screaming and shouting.  The other detective drags her out of the room.  At the door, a uniformed officer helps him.  As they escort her down the hall, they can still hear her shouts.
Jerry dabs at a drop of blood on his cheek.  He looks at the blood on his finger.
JERRY
That woman is crazy.  I think she cut me.
Ray goes through the drawers of the desk until he finds a box of tissues.  He pulls one out and hands it to Jerry.
RAY
Here.  You got a cut.
JERRY
Thanks.
He takes the tissue and dabs at his cheek.
JERRY
What are you gonna do with her?
MAEDER
We'll hold her.
JERRY
For how long?
MAEDER
Until she can talk to her lawyer.
Jerry nods.  He holds the tissue on his cut.  Ray closes the folder, lets out a breath and rubs his sore knees.
JERRY
You gonna charge her?
MAEDER
Yeah.  We'll charge her.
Ray hands the folder to Alex.
RAY
We're gonna need to submit that for evidence.
JERRY
What are you gonna charge her with?
MAEDER
Murder.
Jerry's head turns down, shaking slowly.  Ray watches him, with a sympathetic sadness in his eyes.  His own head shakes slowly.
JERRY
I could really use a cigarette.
Maeder pats the pockets of his shirt and pulls out a mangled pack of Marlboros.  He pulls out a cigarette, hands it to Jerry, and uses his lighter to light it.
JERRY
Thanks.
He takes a long, deep drag on the cigarette and blows out the smoke sharply.
JERRY
I don't know what her problem is.  I told her it would only take one bottle.
Ray is looking at Jerry, and his eyes narrow.  He looks at Alex, who has a shocked look on his face.
RAY
What did you say?
Jerry looks up, with a face like he knows he's been caught.  He looks at Ray, then Alex.
JERRY
Nothing.
Ray pushes himself to his feet on his sore, creaky knees with a great deal of difficulty.  He clears his throat, and searches for the words to say what he is thinking.
RAY
Mr. Dowd.  Did you kill your wife?
Jerry looks at him with astounded disbelief on his face.
JERRY
No.  What, are all you people crazy?
Ray's fingers tap on the desk.
RAY
Mr. Dowd.  I'm gonna ask you again.  Did you kill your wife?
Jerry's head is down.  When he looks up, his teeth are clenched.
JERRY
Yes.  I killed her.  Ok?
His voice is like the snap of an angry dog and makes Ray jump.  Jerry starts to sob.  He wipes a tear from his cheek.
JERRY
It was Claire's idea to use the morphine.  She said my dear Lilly wouldn't feel a thing.  You gotta understand, mister, I loved my wife.  I swear to you I loved her.  But those Goddamned cats.  She was obsessed with those Goddamned cats.
His hands are clenched into fists, and he takes a breath.
JERRY (cont'd)
I swear to God she was obsessed with those cats and it was driving me out of my mind.  I would have thrown them in a bag of manure and lit them on fire, but ...
He takes a deep breath and sobs, and his fierce, angry tone softens.
JERRY (cont'd)
But I couldn't do that to my dear Lilly.  I owed it to her to find a good home for them, at least.
RAY
What about the insurance money?
Jerry looks confused.
JERRY
What insurance money?
RAY
You had a policy on your wife from Harrisburg Life.
Jerry snorts.
JERRY
Hell, I forgot all about that.  We must have got that twenty five years ago.
Captain Maeder waves to one of the detectives seated at a desk on the other side of the room.
MAEDER
Parks, come on over here, would you?
PARKS gets up, straightens his tie, and walks over to join them.
MAEDER
Read this man his rights, would you?
Parks
Yeah.  No problem.
He puts his hand on Jerry's shoulder.
PARKS (cont'd)
Come on, old man.  Let's go.  You have the right to remain silent ...
Parks leads Jerry out of the room and down the hallway, the same direction that Claire was taken earlier.
Ray lets out his breath and his shoulders slump.  His hands are holding him up on the desk, and his legs are trembling, like he wants to sit down, but his knees won't let him.
ALEX
I don't know what to say about that one.
Maeder puts his hand on Ray's shoulder.
MAEDER
That's some fine detective work.  That's what I got to say.
He looks straight into Ray's eyes, gives him one quick nod with a bit of a grin on his face, and follows his detective out of the room and down the hall.
Ray nods, and finally he smiles, too.
End.