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THE MARKHAM MYSTERY

A full-length play in two acts

by Jo Morello

Registered WGAW 1245185 (c) by Jo Morello, 2009. Jo Morello 6620 Grand Point Avenue University Park, FL 34201-2125 941-351-9688 [email protected] or [email protected]

mailto:[email protected]�

The Markham Mystery, 11/12/2009

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THE MARKHAM MYSTERY

Synopsis

Kerrie and Phil Markham have reached the enviable position of enjoying financial security and their happy 25-year marriage. The one danger is Carla, Phil's schizophrenic and currently homeless daughter from his first marriage. Two years older than Kerrie, Carla views her stepmother and half-brother Seth as impediments to the inheritance that should be hers, but really considers them as replacements for the spot she wants in her father’s heart. Her jealousy extends to her younger sister Tina. Off her medications and struggling with auditory hallucinations, Carla struggles to sort out real from imagined voices as she hears her father, mother, the CIA and others. Interpreting the messages as a command to commit murder, she announces her intentions through a series of phone calls. Her family hesitates to bring in the Sheriff until her threats become completely unambiguous--but they have waited too long. Kerrie has disappeared and Seth and Tina are on the lam. Faced with a shifting array of motives and suspects, Sheriff Reba Andrews and Deputy Joe Roma employ high and low technology in tracking the voices-inspired killer on her murderous mission.

Notes The playwright recommends a suggested set, using pools of light rather than furniture and flats, to indicate the many scenes and keep the play moving quickly.

Carla smokes cigarettes throughout the play, a character trait that is an important part of the plot. The actor can, of course, fake smoking. What is important is that the idea of Carla's smoking is conveyed to the audience.

DISCLAIMER This story was inspired by true events but has been fictionalized. Names, places, and dates have been changed and the characters have been invented. The characters portrayed herein bear no resemblance whatever to the persons who were actually involved in the true events that inspired this story.


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Cast of Characters (3M, 4F, some doubling)

Carla Markham.......…...52. Daughter of Phil Markham and his first wife, Madeline. A large woman who suffers from paranoid schizophrenia. Delusional and violent when off her medications.

Kerrie Markham..…... ..50. Beautiful, petite, vivacious, dark-haired. Married for 25 years to Phil

Phil Markham...........….72. Kerri's doting husband. Entrepreneur who parlayed his skill as an electrician into Markham Electrical Services, a highly successful business providing skilled workers during the boom days of home building on Florida's Gulf Coast. Hard-driving, impatient.

Sheriff Reba Andrews…In her 30s or 40s. Efficient, caring; the county's top law enforcement officer. A native Floridian-one of the few.

Dep. Sheriff Joe Roma...Late 20s. Brash, New York-ish. Hard-working, dedicated assistant to Sheriff Andrews.

Seth Markham…………mid-20s. Son of Phil Markham and his second wife, Kerrie. Recent college graduate, working in his father's company. (Doubled with Joe)

Tina Markham............…Late 40s. Second daughter of Phil Markham and his first wife, Madeline. Small, blonde. Hard-edged, gutsy, realistic. President of Phil's company. (Doubled with Kerrie)

Airport Security Guard...(Doubled with Kerrie)

Robin Arthur.............…. Reporter (Doubled with Kerrie)

Madeline...................…..74. but looks older. Large for a woman. Aging has removed any trace of femininity. Perhaps wild gray hair, glasses, shapeless Perry Como sweater over dark pants and tee shirt; sneakers; a persistent cough and gravelly voice from years of heavy smoking and hard drinking.

VOICES ONLY: Doubled by various actors Voice on headset 9-1-1 Dispatcher Martha Langstrom Operator & others


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LIST OF SCENES

Time: The present, Summer Place: Southwest Florida and airport boarding gates

ACT I

Scene 1 Boarding area, Cancun airport. Early on a Sunday morning in mid-July.

Scene 2 A dark alley or doorway in Southwest Florida. A little later.

Scene 3 The dark alley or doorway. Sunday afternoon

Scene 4 The Markham kitchen, Sunday, mid-afternoon

Scene 5 The Markham kitchen, Sunday, early evening

Scene 6 Security gate, Fort Myers Intl. Airport, early Monday morning

Scene 7 Sheriff's office, early Monday morning ACT II Scene 1 Seth's hotel room, Tina's car, Wednesday, late morning Scene 2 The bank of a retention pond after a rain; Carla’s Doorway; inside Tina's car Scene 3 Sheriff's office, early Thursday morning Scene 4 Inside Carla’s car; Madeline’s office. Thursday morning, around 10:15 a.m. Scene 5 At and inside Reba's car, inside Tina’s car, Thursday afternoon Scene 6 Madeline's office, two hours later Scene 7 Reba's office, a week later, just before noon.


1 ACT I SCENE 1 Time: Early on a Sunday morning in mid-July. Place: Boarding area, Cancun airport.

LIGHT UP on the boarding area. ISLAND MUSIC plays softly in background, then fades under the dialogue. Well-dressed KERRIE waits, two identical carry-on bags at her feet.

KERRIE Did we get seats together? PHIL Not even flights together. They're overbooked, like every Sunday. We checked in too late, Kerrie. KERRIE We're bumped? PHIL Just me, and our bags. Banished to Continental’s next flight to Fort Myers. You're still on Delta. KERRIE I don't want to go home without you. I'm afraid of Carla, Phil. PHIL I doubt she's even in Florida. Probably still in Ohio. Her calls come in from Cleveland. KERRIE That’s because she uses her cell. She could be anywhere. . . . What if she's hiding, waiting at home to kill me? PHIL If you're that worried-- KERRIE You're not?. . . I know she's your daughter and you love her, but she terrifies me. PHIL Carla’s all talk. She wouldn't hurt a fly. KERRIE You said she killed her dog. . . Tina's cat— PHIL Years ago. Before her therapy and meds. She's changed.


2 KERRIE Not that I can see. After 25 years, she still calls me the wicked witch, evil stepmother. PHIL It's natural for a child of divorce to resent a stepmother. KERRIE Child??? She was 27! When I was 25. PHIL (lightly) So I robbed the cradle. Sue me. KERRIE It's not funny! I never did anything to hurt her. What is her problem? PHIL (holding her close) Well, for one thing, you're beautiful. She never will be. KERRIE pulls away. PHIL Tell you what. The next flight with two open seats leaves on Tuesday. Let’s extend our celebration. There’s still plenty to see in Cancun KERRIE Tuesday? But my birthday party-- PHIL You weren't supposed to know! KERRIE Monday at. 6. You'll say we're going to Rita's for dinner. I walk in to Rita’s, unassuming. Then 50 people jump out. (calling out) Surprise! (singing) "Happy Birthday, dear Kerrie." THEY move close again. PHIL I never could keep anything from you. KERRIE Well, you sure surprised me with this trip. . . (holding out her left hand to display a very large diamond surrounded by rubies) . . . and this. PHIL Great idea, getting married on your birthday. For me, anyway. I only have to buy one gift. Think of all the money I've saved over the years.


3 KERRIE But the 25th anniversary is silver. You could have just bought me a vase, a bracelet. . . . Diamonds aren't until the fiftieth. PHIL Your fiftieth birthday. KERRIE . . . and the rubies- PHIL Your birthstone. (kissing her) Happy birthday, Darling Kerrie. KERRIE (pulling away, embarrassed but smiling as the kiss becomes passionate) Hold that thought! PHIL To be continued. . . the minute I get home. KERRIE (looking at the ring) This must have cost a fortune. PHIL Hey, we don't worry about money anymore. Remember? KERRIE All those years of mac and cheese, hot dogs and beans- VOICE (off) Todas las hileras de asiento del vuelo 530 de Delta con destino de Atlanta. KERRIE Is that me ? VOICE (off) Now boarding all rows for Delta Flight 530 to Atlanta, Georgia. HE picks up a carry-on bag and hands it to HER PHIL I'll see you later tonight. . . . SHE hesitates. PHIL Maybe they'll swap our tickets, let me go first.


4 KERRIE Impossible! Two different airlines. And Delta’s already boarding. . . . PHIL Look, you’re landing in Fort Myers at 2:47. (looking at his ticket) And I get in at 5:54. What could happen in three hours? KERRIE With Carla??? PHIL Kerrie, she’s not going to hurt you! Now get on the plane and relax. KERRIE I wish I shared your blind faith. PHIL gives her a disapproving look. KERRIE All right. You win. Anyway, I can use the time at home . . . Get some groceries— PHIL (only half-kidding) Sure you don’t have a handsome young guy tucked away at the supermarket? KERRIE Of course. Under “self-service.” PHIL Not funny. KERRIE Hey, it’s your idea for me to go first. I’d be happy to stay right here. PHIL Kerrie, go home. I’ll be right behind you. KERRIE (flashing her ring and manicured hands) I’ll use the time enough to shower, do my nails. . . . Gotta get gorgeous for my surprise party. PHIL That’s my girl. VOICE (off) Final de la salida del vuelo 530 de Delta con destino de Atlanta. . . . Final boarding call for Delta flight 530 to Atlanta, Georgia

HE kisses HER quickly as SHE turns to go.


5 PHIL Seth's picking you up? KERRIE (calling back as she exits) I couldn’t get him! Will you try? If he's not there, I'll take a cab. PHIL picks up the other carry-on and steps back from the gate. HE takes a seat in the boarding area and makes a call on his cell phone. It RINGS several times. Then. . . . SETH (off) This is Seth. You know what to do, Man. Wait for the beep. PHIL (after the BEEP) Seth, it's Dad. Mom and I are on separate flights. She gets home first. Can you pick her up? Delta from Atlanta to Fort Myers. Lands somewhere around 3. BLACKOUT SCENE 2

Time: A little later. Place: A dark alley or doorway in Southwest Florida.

LIGHTS UP on homeless, mentally ill CARLA, who smokes a cigarette and wears a headset. HER dirty, androgynous attire (jeans? overalls?) is oddly accented with a tattered scarf, earrings and sunglasses from the '80s. Between HER feet is HER beat-up U.S. Marine Corps duffel bag, holding all her possessions. There is wildness in HER appearance. SHE reacts frantically as anonymous VOICES come at HER rapidly from all directions.

CARLA Carla is so lonely. SHE reacts to the voices but isn’t too surprised. SHE hears voices often. FEMALE VOICE #1(off) You shouldn’t be. MALE VOICE (off) You have a family.


6 FEMALE VOICE #2 (off) Her family doesn’t want her. FEMALE VOICE #1 (off) They want Kerrie. FEMALE VOICE #2 (off) Everybody wants Kerrie. CARLA Nobody wants Carla. MALE VOICE (off) Kerrie is beautiful. CARLA Carla is ugly. FEMALE VOICE #1 (off) Everybody loves Kerrie. CARLA Nobody loves Carla. MALE VOICE (off) That’s not fair! Carla was there first. CARLA Carla was first! FEMALE #2 (off) Carla can be first again. CARLA How? MALE VOICE (off) Kerrie must go away. FEMALE VOICE #1 (off) Then Daddy will love Carla again. CARLA Daddy will love Carla again! FEMALE VOICE #2 (off) Kerrie must go away. FEMALE VOICE #1 (off) Kerrie must go away.


7 CARLA Kerrie won’t go away. The VOICES overlap, echoing one another. FEMALE VOICE #1 (off) MALE VOICE (off) FEMALE VOICE #2 (off) You can make her go away. You can make her go away. You can make her go away. CARLA (pulling off the headset) STOP!!! The VOICES STOP. CARLA tries desperately to regain control. SHE remains quiet for a few moments, then, CARLA It’s too quiet. (putting on the headset) Carla is so lonely. FEMALE VOICE #1 (off) You know what you have to do. CARLA Carla knows what she has to do. SHE sits quietly, then starts speaking as before. CARLA A call! For Carla! . . .Hello? MADELINE (off) Carla? CARLA Mommy! Is it really you? Help me, Mommy. Please. MADELINE (off) I can't help you, Carla. My clinic is shut down. You have to save us both. CARLA But you have a home. Carla doesn’t. She wants to live with you. MADELINE (off) I’m broke. CARLA Carla is broke too.


8 MADELINE (off) Your father is happy in his mansion while we barely scrape by. Ask him for money. CARLA Carla already asked. MADELINE (off) Did you say, "Daddy, Carla needs money. . . now"? . . . He's on the other line. Tell him. CARLA He is? . . . Hi, Daddy, Carla needs money now. PHIL (off) (a click) You've got all you're getting from me. Not one cent more. And you know why! CARLA No, Carla doesn't know why. Carla tries to be good. Why don't you love Carla anymore, Daddy? (a click) Daddy? MADELINE (off) Carla, are you there? CARLA Mommy, he hung up! MADELINE (off) Cut you off the phone. Cut you out of his will. CARLA He did not! The CIA would have told Carla. MADELINE (off) They phoned me instead. CARLA They don’t have your number. MADELINE (off) They have everybody’s number. CARLA Why can’t Carla have your number, Mommy? MADELINE (off) The CIA wants me to tell you about Daddy’s will. CARLA It’s a lie! Why would Daddy cut off Carla?


9 MADELINE (off) Why do you think? CARLA That bitch! Kerrie! She turned him against Carla! MADELINE (off) What are you going to do about it? CARLA Cut her off! . . . Kill her. Kill all three! . . . . Carla knows what she has to do! SHE hangs up. MADELINE (off) No, Carla! Wait! . . . Carla? CARLA punches a new call into her cell phone. LIGHT up on PHIL, in a different area of the Cancun Airport. When HIS phone RINGS, HE looks at the caller ID. PHIL Carla again! Now what? (answering) Hello, Carla. Is everything all right? CARLA’s mood shifts often during the following. CARLA (angry) How can you even ask, Daddy-O? PHIL Because you keep calling. But when I answer, you usually hang up. Why do you cut me off? CARLA You cut Carla off. PHIL No, I’m talking to you. CARLA Earlier. PHIL I didn’t— CARLA You won’t talk to your prodigal daughter.


10 PHIL Where are you? Are you all right??? CARLA Except my heart. PHIL Have you seen a doctor? CARLA Different part of my heart. Your part. (singing) Yes, my heart belongs to Daddy. So I simply couldn't be bad. Yes, my heart belongs to Daddy. Da, Da, Da, Da, Da, Da, Da, Da, DAAAAD Is Carla in your will, Daddy? PHIL Tell me where you are. CARLA Nowhere. No home. No job. No family. Free as a bird, with time to visit Daddy and his precious new family. Whenever Carla wants to. And she wants to. . . now. PHIL You know I'll give you whatever you need. . . anything you want. CARLA Carla wants what she's entitled to. PHIL What do you think you're entitled to? CARLA Don't play dumb, Pops. Remember the old days? Before Kerrie? When Carla and Tina were you only heirs? After you dumped Mom? I still don’t know why. PHIL Your mother knows. I'm not surprised she won't tell you. CARLA Oooh, a family secret? A mystery little ole Carla can't know? We'll see about that! PHIL Carla, what do you want? CARLA You already know. Carla’s inheritance.


11 PHIL I've provided for you. CARLA Not the way you should. You gave your company to Tina and Kerrie's wimpy son Seth. PHIL Kerrie’s and my son. Your half-brother. CARLA Whatever. . . . And what did you give Carla? She's w-a-a-a-y down the line, behind Kerrie and Sethie and Tina. PHIL Who told you that? CARLA The voices. PHIL They’re wrong. . . . And you don’t hear voices when you take your meds. CARLA The voices keep Carla company. And they tell her the truth, not the phony baloney on television. Straight from the CIA. Or the FBI. With Carla’s work assignments. PHIL We settled that long ago. You don’t work for the CIA or the FBI, Carla. CARLA Shows how much you know. They called the minute Carla got out of the Marines. PHIL Look, I'm at an airport. I'll change my flight and come for you. Just tell me where. CARLA You're out of town? That's why your house is dark! And how come you changed your locks? PHIL (terrified) You're at the house???? I’ll send Tina right over-- CARLA Baby sister wants nothing to do with Carla. . . . Too bad Kerrie’s with you. Little Helpful Hannah would show up in a minute, carrying her make-up and magazines. She's been trying to rescue Carla since the day we met. . . .

Crossfade lights, down on CARLA and PHIL, up on 25-year-old KERRIE, casually but stylishly dressed for the 1980s. SHE wears a designer scarf, big brightly colored earrings and prominent 1980s


12 vintage sunglasses. She carries a gift-wrapped box and expensive-looking perfume atomizer as she talks with an unseen, younger Phil.

In dark, CARLA has removed the headset and vintage accessories but keeps the sunglasses. SHE approaches KERRIE as an awkward, sullen 27-year-old wearing tomboyish clothes, no make-up.

KERRIE Carla, I'm so happy to meet you. Your father's told me so much about you. KERRIE extends her hand. CARLA spurns it. CARLA Any of it good? KERRIE Of course. CARLA Yeah, I can imagine. KERRIE No, really. An awkward silence. Then. . . CARLA Tell me you don’t expect me to call you Mom. KERRIE Don't be silly. "Kerrie" is fine. I can't be your mother. CARLA You got that right, Lady. KERRIE I mean. . . I don't want to force myself on you . . . or change your life-- CARLA You already have. If you marry my father-- KERRIE When I marry your father, I'd like you and Tina to be my bridesmaids. CARLA You only want big, ugly Carla beside you so sweet little Kerrie looks more beautiful. KERRIE That never entered my mind!. . . . And you're not ugly.


13 CARLA I'm not blind. KERRIE Neither am I. You could be very attractive if you wanted to. . . . Hey, I'm going shopping tomorrow. Let's get some new clothes. My treat. And we'll get makeovers. It'll be fun! CARLA I'm not good enough as I am? KERRIE Please, Carla. I want us to get along. CARLA (singing) You can't always get what you want. (smirking) Rolling Stones. Ever hear of them? Probably before your time, Kid. KERRIE Stop acting so superior! CARLA Ha! She fights back! I like that in an enemy! KERRIE Can't we be friends? CARLA Want me to sing that too? KERRIE That's it! I won't be bullied. I brought you a few gifts, a bottle of my favorite perfume. Asiana. (shoving the items into her hands and exiting) Take it or leave it.

CARLA is dumbstruck. SHE watches KERRIE leave, then opens the box to find a designer scarf and matching earrings. (These are the props SHE wears in other scenes.) SHE puts on the earrings, then wraps the scarf exactly as KERRIE wore HERS. The spot follows as SHE walks back into the scene with PHIL, spraying herself with the atomizer and adjusting HER sunglasses as she walks back to the park bench. CROSSFADE LIGHTS. DOWN on KERRIE and CARLA, UP on PHIL and on CARLA’s doorway. SHE resumes her position there and puts on HER headset.


14 CARLA What good's a makeover for somebody so ugly? PHIL You're the only one who thinks you're ugly. CARLA Yeah, right. . . . Hey, Kerrie IS with you, isn't she? No reply. CARLA Or is she with one of those younger dudes who used to hang around the house? PHIL Let’s stay focused on what you need. CARLA Carla needs her inheritance. Soon. PHIL I’ll pay for your care but I can’t give you cash. Not as things are. CARLA Then Carla will change things. . . . So. Has Kerrie finally left you? PHIL That’s not your concern. CARLA Ha! It was just a matter of time. You’re old enough to be her father! I should know. . . . Hey, Philsie, did she take your money when she left? PHIL Kerrie and I are still together. CARLA Carla will fix that. Before Kerrie leaves you all alone one day—and broke. PHIL Carla—

CARLA You know it’s what you want! PHIL I never said— CARLA You said you want her to get off your back. I heard you!


15 PHIL Years ago. Every husband says that sometimes. But Kerrie will never leave me. CARLA You said that before too. ““Kerrie will never leave me. I’ll see to that.” PHIL Carla, you're in trouble. I can hear it in your voice. CARLA Too bad you can't hear my other voices. One is yours. Daddy, your words hurt so bad! PHIL When do we ever speak? CARLA Cut the comedy, Daddio! I hear what you say. And I don't like it! . . . And I hear my mother... my real mother, not your trophy wife. You remember Madeline? Mother of your two lovely daughters? PHIL Will you please stop changing the subject? CARLA Will you? Stop ignoring Carla! Why are the women always ignored? Mileva. . .Zelda-- PHIL Who? CARLA Geniuses. Like me. Hidden in the shadows of history. They did the work; their men got the glory. Mileva Einstein should have won the Nobel, not her cheating, scumbag husband Albert. PHIL Carla, please-- CARLA Mileva told me herself. . . And who wrote Scott Fitzgerald's books when he was drunk? He stashed his wife in a nuthouse, where poor, Zelda wrote him lonely, lovely letters. Ever read them? They're in his novels, under his name. Zelda told me, “Plagiarism begins at home.” PHIL You’re delusional. You’ve stopped your meds. Your therapy too? CARLA You bet. Life is too lonely when the voices are gone. But now they’re back. And they all say the same thing. Even yours, Philsie. "Carpe Diem." Know what that means? PHIL Seize the day.


16 CARLA Say it the way you spell it. “Car-pay DIE-em.” All of ’em die. Your whole family. Seize the day, for tomorrow they die. PHIL Carla, stop that! You don’t want everybody to die. CARLA I do, and you do too! How ironic if your young wife should die before you. PHIL We’ve had this conversation before. CARLA But now you can add silly Sethie to the list. Your beloved son and heir. PHIL (now truly frightened) Seth??? He’s barely out of his childhood! What did he ever do to you? CARLA He was born! PHIL Tell me where you are! CARLA That’s for Carla to know and Philsie to find out. . . . You sound really worried, Daddio! . . . All right. Just Kerrie. To start. Just like you want. PHIL I never said I want— CARLA You never said you don’t. Don’t worry, Philsie. You’re safe. At least until you change your will. PHIL Then why should I change it? CARLA If Carla doesn’t get what she wants, your family will be carpe DIE-ing all over the place. And don’t try to change my mind. Nobody else can help Carla but Carla. PHIL You’re right. Call me when you’ve handled your responsibilities and we can talk about the will again. You know what you have to do. HE hangs up. CARLA Carla knows what she has to do. . . . Carla is scared.


17 LIGHT OUT on CARLA. PHIL desperately makes another call.

PHIL Come on, Seth. Answer. SETH (off) This is Seth. You know what to do, Man. Wait for the beep. PHIL (after the BEEP) Seth, it's Dad. This is urgent. Make sure you’re at the airport when Mom’s plane lands. Sometime before three. Both of you check into a hotel. Stay away from the house. Carla’s stalking it. She’s off her meds and dangerous. She wants to kill Mom, and you too! Call the Sheriff. I’ll be in the air then, landing around 6. Let me know you got this. Please! HE punches another number. A CELL PHONE STARTS RINGING nearby. HE looks around and sees that it is Kerrie's, in the carry-on at his feet. HE opens the phone. The RINGING stops. PHIL (as he hangs up the two phones) Kerrie’s bag. She’s got mine. (looking at Kerrie's phone) "You missed a call." . . . Mine. (pressing a button) And another call. Voicemail. OPERATOR (off) You have one new message, received at 8:15 today, from 216-555-5555. To hear this message, press 1. HE presses and listens. CARLA (off) (sarcastically) Hello, Mom. Happy birthday. You're almost as old as Carla. Again. Too bad you'll never catch up. Truth is, Kerrie, you've lived too long already. Carla will handle that. She's bringing the ultimate birthday gift for Mommy-Dearest and baby brother. PHIL (to himself) Her voices never told her to do this. PHIL shudders in terror. He replaces Kerrie's phone and dials his own again. Two RINGS, then. . . KERRIE (off) Hi! You've reached the happy home of Kerrie and Phil Markham. We can't chat right now. Leave your number and we'll call you back.


18 PHIL (after the BEEP) Kerrie, it's Phil. If you're hearing this, it means I didn't reach Seth. Carla’s watching the house. She’s after both of you. Get out RIGHT AWAY. Lock your car doors and drive to the sheriff's station. And make them find Seth. Just a couple of hours now. Hang on. I love you both. VOICE Final boarding call. . . . HE takes his bag and exits on the BLACKOUT SCENE 3

Time: A little later on Sunday afternoon LIGHT UP on the dark doorway, as before. CARLA, in headset, smokes and paces. She wears her '80s items and has tried to copy KERRIE's 1980s make-up and hairstyle. SHE's failed miserably, with frizzled hair and smeared make-up. SHE sprays herself liberally with a perfume atomizer. HER PHONE RINGS. SHE answers. CARLA

You called! Mommy, Carla's afraid. She doesn't want to kill all those people. MALE VOICE (off) You know what you have to do. MADELINE (off) No, Carla, you don't. And you need Daddy alive to change his will. He took care of Tina and Seth. They’re running his company. And what did you get? . . . Nothing! He owes you, Carla! Tell him! CARLA Carla just told him. He said no. And got on an airplane. MADELINE (off) An airplane? . . . Oh, no, not yet. He’s on the line. Tell him what you need. MALE VOICE (off) Daddy doesn’t care. FEMALE VOICE #1 Daddy isn’t there. CARLA Are you there, Daddy? . . . He’s not there!


19 MADELINE (off) Of course he is. Tell him! CARLA Daddy, please take care of Carla. Put her back in your will. (silence) Why won’t you answer? Please, Daddy, show Carla you love her. Carla wants to sit in your lap and be your little girl again. Sound of a CLICK. PHIL (off) Over my dead body! Sound of a CLICK. CARLA What??? Mommy, he won’t. He said, "Over my dead body!" He wants Carla to kill him. MADELINE (off) No, Carla. That's too easy. Make him suffer. He hurt us both so badly. CARLA Yes. Hurt us. Badly. MADELINE (off) You can fix it. CARLA Carla warned them. Nobody listens. MADELINE (off) Make them. You have the power, Carla. Only you. Show your father how it feels to be left alone. Take away what he loves most. CARLA Yes. Kidnap Kerrie. For ransom. Then Carla won’t need his will. MADELINE (off) Is that what your voices tell you? CARLA They say Carla knows what she has to do. Get rid of them. Kerrie the gold-digger! Stupid Seth! And pretty Tina! MADELINE (off) Tina? My own daughter? No, Carla. Don’t-- CARLA has hung up. Frightened CARLA takes off HER headset and replaces it in HER bag.


20 CARLA Carpe diem, Carla. BLACKOUT SCENE 4 Time: Sunday, mid-afternoon. Place: The Markham kitchen.

LIGHTS UP on the upscale Markham kitchen, with a small blue rug before the sink. The message light on the phone is blinking. KERRIE enters with a carry-on and her purse. SHE shuts the door, walks to the phone and presses the message button.

PHIL (off) Kerrie, it's Phil. If you're hearing this, it means I didn't reach Seth. Carla’s watching the house. She’s after both of you. Get out RIGHT AWAY. THE MESSAGE CONTINUES UNDER THE

SCENE as a frightened KERRIE runs for the door. As SHE puts her hand on the knob, it flies open. CARLA pushes her way in, with a gun in HER latex-gloved hand. She is dressed as closely to a replica of 1980s Kerrie as SHE can manage.

CARLA (OVERLAPPING PHIL'S MESSAGE) Hello, Kerrie. Happy to see Carla? She’s been waiting for you, Miss Rich Bitch. A fifty thousand dollar car in the garage and you roll up in a cab. What? No limousine? PHIL (off) Lock your car doors and drive to the sheriff's station. And make them find Seth. Just a couple of hours now. Hang on. I love you both.

The MESSAGE stops abruptly when CARLA goes to the answering machine and angrily pushes a button.

CARLA (to the answering machine) You love Carla! KERRIE (moving backward as fast as she can, frantically looking for escape) Carla! What do you want?


21 CARLA You! And Seth. Where is he? (walking to the answering machine) How do you erase this thing? KERRIE walks over to the machine, peers at it and pushes the RECORD button. KERRIE You just did. CARLA You'd better not be lying. . . . Never mind. I'll just take the tape.

CARLA starts to take the tape but is distracted as KERRIE moves toward her stealthily. KERRIE speaks loudly so that HER words will be recorded.

KERRIE Carla, what are you doing with that gun? This is me, Kerrie. Let me help you. Put down the gun. I'll give you whatever you want. CARLA whirls and grabs KERRIE from behind. FEMALE VOICE #1 (off) MALE VOICE (off) FEMALE VOICE #2 (off) Make her go away. Make her go away. Make her go away. CARLA (putting the gun to the back of Kerrie's head) Carla wants Kerrie to go away. KERRIE lets out a long, terrified SCREAM. A GUNSHOT SOUNDS on the BLACKOUT. SCENE 5 Time: Sunday, early evening Place: The Markham kitchen

LIGHTS UP on the Markham kitchen as before, but minus the blue rug. PHIL enters carrying his bags. HE looks around expectantly, desperately. As HE approaches the dishwasher and telephone, HE SNEEZES once or twice and blows HIS nose. HE may SNEEZES occasionally, perhaps anytime HE is close to the areas where CARLA would have been. HE is slightly sniffly throughout the scene.


22 PHIL Kerrie? Seth? As HE takes HIS bags to another room. . . . PHIL (off) Kerrie! Seth! Are you here? . . . Kerrie? HE goes to the phone. The message light is blinking. HE ignores it and makes a call. 9-1-1- DISPATCHER (off) This is 9-1-1. What is your emergency? PHIL This is Phillip Markham. My wife and son are missing. 9-1-1- DISPATCHER (off) Are you in any immediate danger? PHIL No, but my wife and son are! 9-1-1- DISPATCHER (off) You’re calling from Tropical Acres Estates. 2739 Bird of Paradise Drive? Correct? PHIL Correct. And my wife is supposed to be here but she’s missing. Her plane landed over three hours ago and she was coming right home. My daughter Carla called and said she was going to kill my wife and son. I just got home from the airport and they’re both missing. 9-1-1- DISPATCHER (off) We’re dispatching a patrol car from the Sheriff’s Office. Please lock your doors and windows while you wait. Call back if they don’t arrive in five minutes. Or if anything else changes. PHIL That’s it? You’re done? 9-1-1- DISPATCHER (off) I know it’s difficult. Please be patient until the patrol car arrives. PHIL slams the phone, consults a list on the wall and makes another call. RECORDED VOICE, (off) Thank you for calling the Lee County Sheriff's Office. Please listen carefully as our menu options have changed. To report a crime or true emergency, dial 911. To reach the operator, press 1 now.


23 Impatient, PHIL presses 1. Light up on SHERIFF

REBA ANDREWS, at her desk. A computer monitor and keyboard are visible on the desktop, along with a notepad and other standard desktop accessories.

REBA (picking up the phone) Sheriff's office. Sheriff Reba Andrews speaking. PHIL It’s Sunday night. Is this a real person? Or a recording? REBA Catching up on paperwork. I’m real. What about you? PHIL This is Phillip Markham. My wife and son are missing. I called 9-1-1 but all they’re doing is sending a patrol car. SHE types a few keys and consults her monitor. REBA I see that. A good start, wouldn’t you say? Now tell me what's going on, Mr. Markham. PHIL My daughter Carla phoned this morning from near my house. She said she was going to kill my wife and son. I was in Mexico. I just got home from the airport and they’re both missing. REBA Maybe they went shopping. . . to a movie. . . out for dinner. PHIL They’d have left a note. Sheriff, Carla is a paranoid schizophrenic and she's off her meds. REBA I’ll put out an APB. What's she driving? PHIL No idea. She may even be walking for all I know. REBA Her name and age? PHIL Carla C-A-R-L-A . Markham. M-A-R-K-H-A-M. Age 52. REBA Height? Weight?


24 PHIL Five-eight. Maybe 165 pounds. REBA Hair? Eyes? PHIL Eyes brown. Hair? Dark brown. Maybe gray by now. REBA Distinguishing characteristics? Glasses? Moles? Scars? Birthmarks? PHIL Not the last time I saw her. She pushes SEND on her computer. REBA It’s not much to go on but I sent the information to the patrol car. PHIL They have to find her. She's planning to kill Kerrie and Seth! REBA Kerrie? Seth? You the Markham of Markham Electrical Services? PHIL I am. REBA I know your family. Kerrie had that little gift shop? And Seth played football? PHIL Sheriff, please... could we get on with this? I’m afraid Kerrie is dead. HER two-way radio squawks. REBA Hold a minute, please. OFFICER ON RADIO (off) We’re at Markham’s, Sheriff. Nobody in sight anywhere. Want us to go inside? REBA (to radio) No. I’m heading over. Wait outside until I get there. Then you can come on back. (into phone) Mr. Markham? The patrol car is outside. They don’t see anybody. I’m heading over as soon as I pick up my partner. Meantime, lock your doors and windows. Close your blinds. Don't go outside. Don't stand in the light. Don’t touch anything. Don't open the door for anyone but me.


25 PHIL How will I know it’s you? REBA You want a password? Geronomino! HIS CELL PHONE RINGS. HE glances at it. PHIL My cell phone! It's Seth! Thank God he’s safe! LIGHT OUT ON REBA. PHIL hangs up the phone, answers HIS cell. PHIL Seth? Where are you? LIGHT UP on Seth. SETH I just got home. PHIL Thank God! Is Mom OK? SETH I don’t know. I didn't get her. I was out on the boat. . . Just got your message. . . . She's not home? PHIL (sniffling) No. SETH Are you crying? PHIL Sneezing. An allergy, maybe. SETH No note? PHIL No sign she's even been here. SETH Maybe her flight was late. PHIL It wasn’t. She should have been home hours ago.

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