The Vail (Episode Four: The Scene)

Look, I realize I only just posted episode three about a day ago but, what can I say, I am adamant about this series and looking for any excuse to write an episode. Like I said, I hate it when the holiday takes away my favorite shows. I want to mae sure I don't lose any fans of "The Vail" because they don't have anything to read. Those of you who haven't been able to read episode three yet, lucky you, you got extra episodes to read. It's like a Black Friday sale, two episodes when you usually only get one.
I also feel that there are those out there who will really like this episode. It's a lot like episode two, building the mystery, and I'm sure many of you out there will begin to see a story really beginning to evolve. As with all the other episodes, I wanna know what you all think. Please.
Enjoy, my friends.

Joey Pettine

The Vail

by Joey Pettine

Episode Four: The Scene

(A basement and a crime scene, damp and dark. Police tape stretches across the front of the stage. A bare light bulb hangs from the ceiling giving minor relief to the deep, pervasive shadows. Directly beneath the dim bulb is a bloodstained workbench, blood pooled most around the half open vise and gore smeared circular saw, framed by a wall of tools, power tools, and other accessories. Crimson life has dripped off the table and left it's mark upon the cold floor. Offstage there is the slow creak of a door opening and then the rhythmic thump of feet upon dusty wood as ANDY VAIL comes down the steps and enters the crime scene, rubbing his hands nervously. He looks over the crime scene, focusing on the pool of blood that once pumped through his brother's brain. Now and then his attention is nervously drawn to the shadows around him, wondering if someone isn't there. Then his eyes go wide with frightened disbelief, his hands fall cautiously to his sides. A man, HENRY, enters from the shadowy corners of the basement, he is armed with a sawed off shotgun trained directly on Andy's face. Henry stands tall and straight, his hands steady, his face an epitome of calm neutrality, yet his eyes seem to explode with intensity. He approaches Andy, never taking his eyes off him.)

HENRY

Speak.

(The statement is the last thing Andy expects and though his mouth opens his lips stammer silently. Henry moves the barrel of the gun a hair's breadth from Andy's eyeball.)

HENRY

Speak to me. Tell me who you are.

ANDY

I-I-I-

(Henry immediately lowers the weapon, the intensity in his eyes fade.)

HENRY

That is satisfactory, thank you. You are not who I seek. I apologize for the threatening advancement but I had to be sure of your identity. If you'll excuse me, I must complete my investigation of the scene of the crime. Please, return to your home and your bed and enjoy your holiday weekend.

(Henry turns his back on Andy, as if he doesn't matter anymore, leans the gun against the bench, then begin to closely inspect the blood, never touching but hovering his hands and eyes as close to the maroon puddle as possible. Andy is speechless, shocked, surprised, and everything in between. He even takes a moment too long of a moment to glance disbelievingly from the loaded weapon to this strange man. Finally, he grabs the shotgun and turns it on his calm assailant.)

ANDY

FUCK YOU, YOU CRAZY SON OF A BITCH! TURN AROUND!

(Henry slowly turns, giving Andy a perfunctory sideways glance, looking quite confused.)

ANDY

I SAID TURN THE FUCK AROUND!!

(Henry does with an interested look.)

HENRY

Put down the weapon and return to your home.

(Andy looks at him with disbelief, not quite sure if this is a trick or not. At the same time it's as if he can't properly see Henry's face, something he can't put his finger on.)

ANDY

What?! Fuck you! Who the fuck're you?

HENRY

It does not matter. Place the weapon on the floor, leave this residence, and forget me in your dreams.

ANDY

Stop fuckin' doing that! You think you're a Jedi or something?

HENRY

Jedi?

ANDY

I know you. I... You're him, aren't you?

HENRY

No. Why aren't you leaving?

ANDY

Because I'm gonna blow your fuckin' brains out, asshole!

HENRY

You have been partially unveiled. Do you know who I am?

ANDY

My brother's killer.

(Andy harshly jabs the gun's barrel into Henry's chest. Henry lets himself be pushed back but stands tall.)

HENRY

No, I assure you that is incorrect and impossible, but you deeply believe that I am.

ANDY

You killed him. I know it just as sure as if you'd walked into my home and slit his throat in front of me. You're coming with me.

HENRY

Why?

ANDY

Because I have the gun and I said so.

HENRY

Where are we going?

ANDY

To save my sister-in-law.

HENRY

I see. Very noble. But before you commit to this theory that I am the murderer, let me show you something.

ANDY

Fuck you.

HENRY

I simply want you to look at the workbench. If it adds to the comfort and security of the situation, you may keep the weapon trained upon me. Please, look at the bloodstains.

(Andy is suspicious but curious. He slowly walks toward the bloodstain. Henry's hands are raised in a gesture of surrender.)

ANDY

Back up.

(Henry complies. Andy keeps his attention on Henry but looks over the crime scene.)

ANDY

This is disgusting.

HENRY

Horrific, I know. What do you see?

HENRY

Blood, you sick fuck!

HENRY

Look again, open yourself to more than just your brother's death.

ANDY

What?

HENRY

You are blinded by grief and the desire to prove your sister-in-marriage's innocence. Look past the crime, see the scene for what it is.

(Andy is still suspicious but he looks again and notices something.)

ANDY

What is that? Writing?

HENRY

They're footprints.

(This hits Andy, he turns his attention back to Henry and prods him with the gun.)

ANDY

You're fuckin' nuts!

HENRY

I am not. That, in your brother's blood, are the footprints of his true killer. Your brother was dead long before I or whoever did this even arrived.

ANDY

What the fuck are you saying?

HENRY

You are right in believing your brother's assailant has not been apprehended. They have escaped.

ANDY

Across the top of the table?! On tiny chicken feet?!

HENRY

They fled after being cut from your kin's cranium, which they were inhabiting.

ANDY

What? I--I--

HENRY

You believe me. There is one more point of interest. The murder weapon.

ANDY

Yeah.

HENRY

What did you notice?

ANDY

Hair and skin.

HENRY

Look past the death. You're mind has been opened. Do not ignore this.

ANDY

Just tell me, fucker.

HENRY

The extension cord is still hanging on the wall.

(The realization hits Andy like a ton.)

ANDY

The saw doesn't run on a battery.

HENRY

It must be plugged into a power source. Yet whoever wielded it needed nothing of the sort. Narrows the suspect list substantially.

ANDY

This is crazy.

HENRY

Look at me.

(Andy does.)

HENRY

What is your name?

ANDY

Andy. Andrew. Andrew Vail.

HENRY

You may call me Henry, Andrew, because I, like you, seek whoever did this to the ones you love. Do you still believe I murdered your brother?

ANDY

Without a doubt in my heart. We're going to the station.

(Andy walks Henry out of the crime scene, the gun always at ready. Moments after they leave, the light bulb burns out and the scene goes black.)

The Vail (Episode Three: Lady In Red)

Happy Holidays, folks! I was recently asked by one of the followers of "The Vail" if I would be posting this week. Well here is a nice treat for you. Not only am I posting but I'm posting in time for Thanksgiving. I personally tend to get angry at my favorite TV shows when they take super long breaks just for the holidays. I realize they need family time too but I need my shows. Now, the good thing about not actually being recognized by anyone who would pay me is that the holidays only gives me more time for writing. So, an extra episode. And, hopefully, I plan on giving these little holiday gifts every time I can. So, Happy Thanksgiving and I hope you enjoy this special episode of "The Vail".
I also hope that no one finds this episode dissapointing. This is going to be a bit different from the other two, focusing more on a character than the plot, and I must admit that this one was a toughy to write. I actually wrote and rewrote it five times. But I feel that it is a necessary chapter in the story. So, please, this one more than any of the others, tell me what you think. And, if you do hate this episode, then please come back for the next installment, which will hopefully be pretty soon, because that one will be a lot more plot based na dintroduce a new element into the mystery. But, as for now, I hope you will either completely love this different kind of episode or at least be able to stomach through it and get something from it.
Oh, and I hope you all eat lots of turkey and grow tired and fall asleep and stay away from train stops on Thanksgiving Day. Until next time!

Joey Pettine

The Vail

by Joey Pettine

Episode Three: Lady In Red

(A small train stop, the ticket window is closed for Thanksgiving but the bench inside the tiny hut is still warmer than the boarding platform outside. A woman, NANCY VAIL, sits on the floor of the stop, her knees huddled against her chest. Her entire front is covered with blood, she holds her hands away from her body as if they were badly burned. Her cheeks and hair are smeared with blood, her eyes are wide and unbelieving, she shudders with tears. SAVANNAH, a young girl trailing a large suitcase of clothes behind her, enters from the cold offstage. She immediately sees Nancy and there is a moment of shock, then she instinctively drops the handle of her bag and runs by Nancy's side.)

SAVANNAH

Oh, my God. Are you okay?

NANCY

Get away from me.

SAVANNAH

There's so much blood. Wh--

NANCY

Get away from me! Get away!

(Savannah looks into Nancy's eyes, trying to calm her.)

SAVANNAH

I'm not gonna hurt you. I just wanna help.

(Savannah goes to touch Nancy's shoulder.)

NANCY

DON'T TOUCH ME!

(Nancy pulls her shoulder away as if the girl were diseased then scrambles to her feet, getting a safe distance away from Savannah.)

NANCY

Don't touch me. Just...

(Her words trail off into tears and she presses her face into her palms, accepting the blood, and twisting her fingers into her hair. Her shoulders bounce with each sob. Savannah surveys her pitifully for a moment then pulls out her cell phone.)

SAVANNAH

I'm just gonna call an ambulance.

NANCY

No!

(Nancy takes a step toward Savannah, her trembling hands clutched against her chest, her eyes welling with sorrow.)

NANCY

Please.

(Savannah is both worried and confused now. Nancy pleads with her eyes, her tears running red with blood as they wash down her cheeks. The sudden silence is almost comforting.)

SAVANNAH

Are you hurt?

(Nancy's lip quivers at the question.)

NANCY

N-No.

(Savannah seems suspicious.)

SAVANNAH

I think I should call--

NANCY

Please!

(Nancy chokes back a sob, swallowing it, and manages to regain some composure.)

NANCY

Please, I'm not hurt.

(Savannah seems more suspicious than ever, which is why she closes her phone and pockets it.)

SAVANNAH

Somebody do this?

NANCY

Ex-excuse me?

SAVANNAH

Did someone hurt you?

(Nancy's eyes empty of hope and she collapses onto the bench, resuming her cries. Savannah sighs empathy but keeps her eyes strong. She takes a seat next to Nancy.)

SAVANNAH

I'm sorry.

(Nancy bends so her elbows rest on her knees. Her breath hitches harshly. Savannah puts a comforting arm across her shoulders.)

SAVANNAH

It's okay, darling. It's alright.

NANCY

Oh, God. Oh, God!

SAVANNAH

This isn't your fault.

NANCY

Yes...

SAVANNAH

No. You can't... We have to call the police.

(Nancy sits back up, fear returning.)

NANCY

You can't!

SAVANNAH

It'll only get worse. I know.

NANCY

But... but...

SAVANNAH

He doesn't love you. I'm sorry, but he won't stop unless someone makes him. He won't stop until one of you is dead.

NANCY

You're wrong.

SAVANNAH

Look at yourself. You're covered in bl--

NANCY

YOU'RE WRONG! YOU'RE WRONG! YOU'RE WRONG!

SAVANNAH

What a--

NANCY

IT'S NOT MINE!!

(The last shriek is so loud it seems to stun both of them into silence, just staring at each other.)

NANCY

This isn't mine. It's my husbands.

(Nancy sobs again. Savannah, surprisingly, doesn't run. She reaches out and laces her fingers between Nancy's.)

NANCY

I didn't mean to. I...

SAVANNAH

I'm sorry.

NANCY

I loved him. I did. E-e-even though...

SAVANNAH

He hurt you.

(Nancy buries her face into Savannah's shoulder, feeling the comfort of another human being. Savannah understands.)

SAVANNAH

It was my dad. Whenever he drank he'd get “hot hands”, is what he called them. It either meant he was angry or horny.

(Nancy looks up at her, horrified.)

SAVANNAH

I know what it's like. I've seen you before. There are people who can help.

NANCY

But I loved him.

SAVANNAH

I loved my dad, too. Still do. And I still ran away. If I hadn't I would have been just like you.

NANCY

You don't understand! I murdered my husband! I KILLED HIM! I... I did it because I wanted to. I needed to. He... He didn't deserve what I did to him.

SAVANNAH

You need help.

NANCY

I don't know what I'm capable of.

SAVANNAH

You have to go to the police. If this is how you feel...

NANCY

I COULD KILL YOU!

(Savannah seems a bit more cautious now, not taking Nancy's threat lightly, but she doesn't back off.)

SAVANNAH

What's your name?

(Nancy continues to sob.)

SAVANNAH

Please, you never meant for this to happen. I know. I can help. My name's Savannah. And, honestly, I'm not gonna be able to go and have a happy Thanksgiving until I know you're safe. So do me a favor, huh?

NANCY

Just leave.

SAVANNAH

Look... I... It would really help if I knew your name.

(Silence.)

SAVANNAH

Eight years ago an old woman found me in a bus station restroom covered in blood that was mine. She watched me cry on the floor, looked me right in the face, then asked, “What did you do?” I never answered her and so she left but not before she gave me some advice. “Whatever it was, don't do it again. Then you deserve it.” I had two thoughts then: The first was that she could go fuck herself with a gramophone. The second was that she was right, if I went home and let it go and did nothing, then I deserved everything that he did to me. No excuses. You may not have done the right thing but, in my opinion, you didn't do the wrong thing either.

Nancy continues to cry. Suddenly the train stop is aglow with the red and blue swirling lights of surrounding cop cars. There is the sound of commotion from off stage. Nancy drops to the floor, the tears streaming back harder than ever.)

NANCY

I didn't mean to! I didn't mean to! I didn't mean to! I didn't mean...

(Nancy continues, running her fingers through her hair, repeating the mantra. Savannah kneels down and embraces her. As the spinning lights fade to black, so does everything else. Until all we can hear is the sound of Nancy sobbing painfully in the dark.)

The Vail (Episode Two: Pretty Thoughtless)

So I was quite surprised with the turnout last week. At least five people that I know of read the first episode of "The Vail". Now it's time to find out fi they were intrigued enough to come back and read more. Especially since this episode is a bit longer than the previous one. Not by much, just a bit.
If you are one of those returning few, I hope you decide to come back again next week for even more of my coninuing story. Especially since you're never gonna truly know what happened unless you keep reading. Ooh, ain't I a stinker.
As usual, tell me all what you think. If it goes as planned then the plot will thicken while still staying interesting and not crappy. Here's to hoping. And here's to enjoying the latest episode of "The Vail".

Joey Pettine

The Vail

by Joey Pettine

Episode Two: Pretty Thoughtless

(A morgue. In the center of the room lies a single corpse upon a cold metal table, its form shrouded by a white sheet, all save for the foot which peeks from under the cloth, a tag hanging quietly from the big toe. Next to the table sits a small cart littered with a number of gruesome tools. Then the sound of soft footsteps. The MORTICIAN enters, looking almost bored, still working on a mostly eaten sandwich and washing it down with giant sips from the large cup in his grasp. He takes another bite of the sandwich then looks at his watch. He follows this up with a long sip of drink then turns to the cart for something he needs. Realizing his hands are full, his gaze alternates from the drink to the sandwich, not sure which to put down. After a moment he seems to decide on the sandwich. Yet as he lowers it toward the table he pauses, thinking, then thinks better. He tries to set down the cup now but can't find enough room on the cart. He turns, looking for a place to rest his drink, and eyes the table with the body. Not enough room there either. He ponders this for a minute and is struck by ingenuity. Holding the sandwich in his mouth, he uses his free hand to pry open the fingers of the corpse. He then places the drink within the open hand, letting rigor mortis do it's work, a morbid cup holder. Then he returns to the cart, casually chomping his sandwich, and begins to circle the body, glancing from the clipboard to the deceased, checking that all is correct. At one point a large chunk of food falls from his mouth and onto the sheet. He stares at it a moment then snatches it up and back into his mouth, glancing around to make sure no one sees. From offstage there is the sudden noise of a door opening and closing followed by the growing sound of footsteps echoing closer. The mortician quickly finishes his sandwich, stuffing his cheeks, then wipes his palms on his pants. The footsteps come nearer. He swallows as he snaps on some gloves. Then he turns to meet whoever enters. The footsteps are quite close now. At the last moment, he remembers the cup and panics. Quickly, he snatches up his drink and looks around, unsure of how to dispose of it. Right before the footsteps enter the room he sees something offstage and shoots the cup from his fingertips like a basketball. There is a moment of hope and then he grimaces, offstage hear the sound of a paper cup breaking open as it smashes into the floor. Behind him, ANDY VAIL and DETECTIVE WILLIAMS enter. The mortician turns to greet his guests. He seems to recognize the detective, nodding to him. Detective Williams nods back, his demeanor is cold and businesslike, his hands in his pockets and a suspicious look in his eyes. Andy's face is pale and weak, like he has no breath. He swallows.)

ANDY

Is this him?

WILLIAMS

That's what you're here to tell us.

(Williams motions to the mortician.)

Show him.

(Andy's palms shoot outward in a stopping gesture.)

ANDY

Wait! Ju-just a second.

(The mortician stops and looks incredulously at Williams who just seems more suspicious. Andy breathes loudly and slowly, trying to calm down.)

WILLIAMS

You okay, Vail?

(Andy looks at him anxiously.)

WILLIAMS

Well, suck it up and take it. There's worse. You could be the guy on the table.

(Andy nods in agreement and the mortician pulls the sheet down, uncovering the face. Andy's expression changes from anxiety to sorrow. He exhales.)

ANDY

Mike.

WILLIAMS

This is your brother then?

ANDY

Yeah. That's him.

(Andy slowly reaches out and touches his brother's skin. Both the mortician and Williams get an odd look.)

WILLIAMS

We usually don't do that, Mr. Vail.

(Andy pulls his hand back just as slowly, his eyes don't leave his brother.)

ANDY

Sorry. It's just... Mike. I can't believe it.

WILLIAMS

No?

ANDY

How did she do it?

(Williams moves closer to Andy, keeping an eye on him.)

WILLIAMS

She? Mr. Vail, do you know who murdered your brother?

(Andy looks at Williams and nods.)

WILLIAMS

And how would you know something like that? I don't recall sharing any information with you.

ANDY

Nancy. She stopped by after it happened. Confessed.

WILLIAMS

Whoa! Whoa! Hang on just a second. Did you just say the woman who killed your brother came to see you after she did it?

ANDY

Yes. She... She was... covered... with his blood.

WILLIAMS

She simply came and confessed to you?

ANDY

Not so weird.

WILLIAMS

No? Really?

ANDY

Mike and Nancy had a strained relationship. She--

WILLIAMS

Strained?

ANDY

He was abusive, okay.

WILLIAMS

Physical?

ANDY

Mike liked to push people around. Gave me more than a couple black eyes in our lifetime.

WILLIAMS

So you weren't exactly your brother's number one fan either.

ANDY

We hadn't even talked in ten years.

WILLIAMS

But you and his wife have?

ANDY

On and off. Nancy needed me. Needed someone to talk with. About Mike. I did my best.

NANCY

But it wasn't enough.

ANDY

Apparently not. God! I knew I should've told someone. Maybe if I'd gotten the cops involved Nan woulda just.... instead of...

WILLIAMS

Murder.

ANDY

Instead of killing my brother.

WILLIAMS

You say that so calmly, Vail. Like you're talking about baseball statistics.

ANDY

I guess I always figured something like this would happen. Nancy's strong. I don't know why she put up with what she did. Love?

WILLIAMS

Love, Mr. Vail? Let me show you something.

(Williams walks around the table and clutches the corpse's hair. With one swift tug the top of the head comes off with a sickening sucking sound. Andy's eyes go wide and his stomach sucks in.)

ANDY

God!

(The mortician sees the telltale signs and grabs the silver tray from the cart, rushing over to Andy and letting him vomit into it. Afterward Andy bends over, steadying himself on his knees, and the mortician disgustedly exits, gingerly carrying the tray. Williams strolls over to Andy, still holding the top of the head.)

WILLIAMS

You didn't figure on that, did you?

ANDY

Wh-what ha-happened... his brain is gone!

WILLIAMS

This is what we've deduced so far. Sometime this evening your brother's wife clamped his neck inside the vise bolted to their basement work table. The metal jaws of the vise were screwed so tight they crushed his larynx into over a dozen pieces. Your brother must have been in unbearable pain. Not to mention, suffocating. But doctor's assure me he most likely remained conscious for at least four minutes. I don't think Mrs. Vail gave him that much time, . Her fingerprints were all over the circular saw. The one she used to carve into his skull, with what I am told is surgical precision, to remove the skull cap and reveal the brain. If this was within those four minutes, he felt it all. However, he was surely dead by the time his wife removed his brain.

(Andy looks dizzy, about to faint, but Williams hits him with a resounding slap and stands him up straight, tossing the skull cap casually on top of the white sheet. Andy stares at it wide eyed.)

WILLIAMS

You stay awake, god dammit! She took his brain so you stay here! Cause I got a problem. I got a woman who can't be over two hundred pounds and her SCALPED HUSBAND who can't be under two eighty! How in the name of Christ's ballcock was she able to hold him long enough to screw that vise onto his neck?

ANDY

I-I-

WILLIAMS

It would take Bob Vila half an hour to twist those rusty screws. Hell, it took my men over twenty minutes to get him out. How the fuck did she do it?

ANDY

I don't know. I don't know! I-I'm an accountant.

WILLIAMS

And an accomplice?

ANDY

What?! No!

WILLIAMS

Someone held your brother while his wife clamped him still. I say it was the caring brother with a hard on for the defenseless hunny.

(Andy pushes Williams out of his face.)

ANDY

I didn't do it!

WILLIAMS

Did you help her?

ANDY

No. I swear. I'm... I--

WILLIAMS

You're just an accountant. And I'm convinced. We're gonna take a ride down to the--

ANDY

No. We need to get to the Elkyns train station.

WILLIAMS

What? No.

ANDY

It's the one closest to my house.

WILLIAMS

So?

ANDY

That's where Nan is.

WILLIAMS

Mrs. Vail?

ANDY

She said she'd be there when I needed her. But I think we need to hurry.

WILLIAMS

And you only thought to tell me this--

ANDY

I only just realized.

WILLIAMS

I bet.

ANDY

Detective, we need to help her.

WILLIAMS

That's not what she needs.

(Williams forcibly grabs Andy and pulls a radio off his belt, the last sound we here before he exits is the static of the radio as he goes to make the call. The rest of the conversation mixes in with the rapid echoes of footsteps hurrying away from the morgue. Then silence. Blackout.)

The Vail (Episode One: The Visitor)

I don't really like blogs. As a matter of fact if it wasn't for my good friend Seamus Sullivan I'd never be doing this. See, he started writing a series of short plays once a week called, "The New Adventures Of Horatio". It's about Horatio from Hamlet in a modern society travelling all over the world and having adventures. It's been going well and you are stupid if you don't give it a look. www.seamusektin.blogspot.com
And so Seamus gave me a challenge. He challenged me to write a like series once a week. And so I came up with a short series that will post once a week, each episode running under five minutes. The goal is to write something very short that is also concise and clever and just plain god. Obviously comments always help. So tell me what you think and maybe if you have any ideas or suggestions abiut what you would like to see happen then speak up.
So here is the first installment of, "The Vail". I hope you guys enjoy and keep coming back for more.

Joey Pettine

The Vail

by Joey Pettine

Episode One: The Visitor

(It is a late evening. ANDY VAIL sits in a dark office working diligently at his desk, a sole lamp his only illumination. He rubs his eyes, returns to the work, cranks the calculators, and then rubs his eyes once more, restarting the cycle. It is work time, it is always work time. A woman, NANCY VAIL, Andy's sister in law, enters from the shadows offstage. Her entire front is covered with blood, which does not seem to bother her. Her face is neutral but her eyes direct, she has a goal. She approaches Andy's desk, never taking her eyes off him. Andy only notices her when she is directly in front of him. He looks up quickly, does a bit of a double take, and looks surprised. He stops what he is doing, standing as if to come around and hug her.)

ANDY

Nan? I didn’t hear you come in.

NANCY

I have a limited amount of time, Andrew. You must listen.

(She sits as she says this, moving stiffly as if this conversation had been rehearsed and it was her cue to take a seat. Andy retakes his seat, concerned.)

ANDY

What’s wrong?

NANCY

Once, you saved my life. I feel inclined, as your friend, to try to do the same for you.

ANDY

Nancy, what are you talking about?

(Nancy seems minutely hurt.)

NANCY

You don’t recognize me yet. You will now.

ANDY

Excuse me?

NANCY

You haven’t noticed my clothing either.

(Only at that moment does Andy seem to notice the torrents of blood. His face becomes a tableau of shock and worry. He stands so quickly that he knocks his chair over.)

ANDY

Oh, my God! Nancy, we have to get you to the hospital.

NANCY

There is no need.

(He is so worried it borders on panic.)

ANDY

Jesus Christ, you’re bleeding everywhere! Did Mike do this? Is this about—

NANCY

I am unharmed. Conversely, your brother Michael, the man who would be my husband, is murdered.

(Every emotion Andy had turns suddenly to silent shock. When he speaks it is quiet and slow, as if trying to keep Nancy calm. His face is disbelieving yet somewhat understanding.)

ANDY

Murdered?

NANCY

His blood is on my hands.

ANDY

Nancy, what happened?

NANCY

In three minutes you will receive a phone call that will ruin your life forever. Allow it to ring.

ANDY

A call?

NANCY

From the police. But you already know your brother is deceased. There is nothing you can do.

ANDY

I—

NANCY

Let the phone ring. If you answer it, you will never be able to return to the existence you know now. I am giving you this choice.

ANDY

Is this some joke? This isn’t funny.

(Nancy stands.)

NANCY

I agree. This is not for amusement.

ANDY

Mike’s dead?

(Nancy seems sorry for Andy.)

NANCY

Yes. I apologize. I know your relationship was strained but this is not how it should have finished.

(Nancy turns to leave. Andy still seems in shock.)

ANDY

Where are you going?

(Nancy turns back just before she exits.)

NANCY

I know you better than you realize, Andrew. I know you will try to make this right. That is what pains me. To see your love be your undoing.

ANDY

Nancy.

NANCY

I suppose I knew my visit could not stop you. Perhaps it was only a veiled excuse to see you one final time. You will find me at the local train station when you need to. But I will be gone. Goodbye, friend.

(Nancy exits, leaving Andy puzzled. He looks around, as if looking for an audience secretly laughing at his confusion. He sets up his chair and returns to his seat, mystified. The phone rings. Andy stares at it as if finally understanding. The phone continues to ring as we fade to black.)