(At rise a man, JOHN, down stage

left, in a long, dark brown coat,

and a hat of the same color. He is

On a street, with a street lamp

slightly behind the man that he is

leaning against, stage is empty

otherwise. JOHN casually, and

almost sadly taps a slow beat

with his feet,and a slow piece

of music plays to accompany it.

CHARLES enters from stage right.)

CHARLES

(furious)

Morris!

(The music stops playing the moment JOHN hears him.

CHARLES pushes JOHN, who stumbles back a step.)

CHARLES

He’s dead! You let this happen.

(CHARLES jabs a finger into John’s chest)

CHARLES

(weakly)

You promised.

(JOHN shoves CHARLES’ arm away from him,

his face unresponsive.)

CHARLES

(accusing.)

You know, I trusted you. You said you would help, and that you’d do everything you could to protect him. I should have seen it then. You had no intention to help, did you?

(CHARLES steps into JOHN’s space, angrily.

A woman runs in from stage right then,

wearing an expensive black velvet coat.)

MARY

Charles! Charles, I’ve been looking all over for you!

(MARY freezes a few steps away,

seeing JOHN, and noticing the tension.

She looks between JOHN and CHARLES

for a few seconds before CHARLES speaks.)

CHARLES

What’s happening?

MARY

(hesitant)

Well… They’re about to start questioning. They’d probably want us at the station for it. If you need to... stay here, I’m sure they can understand.

(JOHN gives stares blankly at CHARLES

a final time, before walking slowly, around

MARY and exiting stage right, hands in

his pockets. Both watch him exit,

MARY confused, and CHARLES crosses

his arms.)

MARY

(confused)

That was John, wasn’t-

CHARLES

Let’s just go.

(CHARLES and MARY quickly exit stage left)

SCENE 2

(A police station, two desks

lining the side walls, three are

occupied, and one larger desk

center-up stage, SHERIFF STONE,

a middle aged and overconfident

sheriff is standing in front of

his desk and leaning against it.

CHARLES and MARY run in from

stage left.)

MARY

Evening, Sheriff Stone.

(SHERIFF STONE straightens up

when he hears her voice.)

SHERIFF STONE

Hello, Mary. Thanks for coming.

(Mary nods, shaking SHERIFF

STONE’s outstretched hand.

SHERIFF STONE looks to CHARLES.)

SHERIFF STONE

(sympathetic)
Charles. I’m so sorry we have to meet under these circumstances. However, I can promise you that our whole station is completely focused on finding the guilty party in Samuel’s death.

(CHARLES freezes at the name.)

SHERIFF STONE

Charles? Are you alright? What-

MARY

(quiet)

Charles.

(CHARLES shakes himself when

MARY places a hand on his shoulder.)

CHARLES

Sorry. I just haven’t heard his name since… the police came with the news.

SHERIFF STONE

(apologetic)

Right. I’m sorry it’s moved so quickly.

(Silence.)

SHERIFF STONE

So… What we called you here for. We have gotten a few tips from some anonymous and named accounts. We have our whole force working on processing these into fallacy and fact. I just wanted to give you both an update. We will begin questioning on a potential suspect, and if that leads anywhere, I’ll let you know as soon as possible.

(SHERIFF STONE looks at MARY,

who smiles gratefully.)

MARY

Thank you for all your work here, Sheriff Stone. It means a lot to us.

(SHERIFF STONE nods his head.

CHARLES and MARY begin to leave.)

SHERIFF STONE

One last thing, you two.

(CHARLES and MARY both stop.)

SHERIFF STONE

(gently)

There’s a small event going on at the square. I think it would be good for you two to get out. Distract your minds, as much as you can.

MARY

(thankful)

Thank you, Sheriff. I will definitely consider it.

(MARY leaves, but CHARLES

is held back by SHERIFF STONE.)

SHERIFF STONE

Listen, Charles. It will be good for you to go, alright? And I have something I need to ask of you.

(There is a short pause.)

SHERIFF STONE

I know you have ties to John Morris.  

(CHARLES tenses slightly,

and nods tightly.)

SHERIFF STONE

If you see him at all, please let him know that we need him at the station. Some of our sources place him at the scene, and he’s a potential suspect. We’ve tried contacting him… but there hasn’t been a response or successful attempt.

(CHARLES nods, and exits stage

left, where MARY did. Once he

leaves, SHERIFF STONE leans against

his desk once again.)

SCENE 3

(A party, with woman in sleek dresses

of velvet or silk, men in black suits.

Elaborate and drapery runs along the

back wall, high up to make a grand

ceiling. Everyone is socializing, and the

Room is loud with conversation. MARY

and CHARLES enter from an open

archway on stage left. CHARLES

wears a nice white shirt under his

jacket, MARY wears a silk dress

under her coat.)

MARY

Alright, Charles. Whenever you want to leave here, you let me know okay? And if you’d be more comfortable, you can leave and I can get a taxi when I go.

(CHARLES nods as a woman waves to

MARY from a table on stage right.)

MARY

Elise! I haven’t seen you in ages!

(MARY hurries over to speak with

her. A man comes up to CHARLES once

he is alone.)

MAN

Hello. You’re Charles Nalem, aren’t you?

(CHARLES nods, forcing a smile.)

MAN

I hear the case for that victim is coming along well. How are you doing?

CHARLES

(flatly)

As good as one can do when their closest friend is killed.

(The man stills, there is silence.

CHARLES crosses his arms.)

MAN

Well… I did hear that a man… John Morris, I believe, is very likely responsible.  I’ve heard the police are going to convict. Isn’t that great news?

CHARLES

(looking off into space)

Mhm.

MAN

You must feel more relieved that everyone else though, huh? You were close with the victim, right? Wasn’t his name... Samuel Turner?

CHARLES,

(still staring)

Mmm.

MAN

(beat)

Oh, right. Well, sorry for your loss.

(CHARLES doesn’t respond, there is silence.

MAN stands awkwardly for a second, before

walking to the table MARY is

standing at, starting to talk with

MARY. CHARLES takes a breath,

walking to center stage, sitting

on the large couch there. There is a

woman on the other side holding a

newspaper, speaking to a man

sitting next to her.)

WOMAN

(scandalized.)

‘The most elaborate crime of the 1930’s’? Please.

(The man next to her nods.)

MAN

Exactly. How elaborate is police ignorance?

WOMAN

Indeed. Everyone seems to be in agreement; that Morris fellow can’t possibly be innocent.

(CHARLES looks down.)

MAN

It’s only a matter of time. The police will convict sooner or later.

WOMAN

I sure hope so. Did you hear that a friend of the victim knew Morris well? How horrible to be betrayed like that.

MAN

(quiet)

Isn’t that the victim’s friend? Over there?

(The two look at CHARLES, who

jumps up from the couch, quickly

exiting stage left. MARY

watches him leave, concerned.)

ELISE

(concerned)

Was that Charles? Is he alright?

MARY

(sadly)

I’m not sure he can be alright anymore. This whole situation... especially with someone he was close to being a suspect, it’s been so hard for him.

(ELISE puts a hand on MARY’s shoulder)

ELISE

I hope things get easier for him. Maybe if Morris is convicted, it will help him recover.

(MARY looks down.)

MARY

Maybe.

(Lights dim.)

SCENE 4

(A police interrogation room. The

stage is split down the middle

by a false wall, the stage left

side has a single table with two

chairs on either side. John is sat

farthest from the divide, an officer

closest to it, sitting across from JOHN.

The officer has a paper in front of

him. On the other side of the wall,

CHARLES is standing downstage and

SHERIFF STONE is sitting on a chair.)

OFFICER

Mr. Morris. How are you feeling?

(JOHN crosses his arm, and leans

back in his chair, not responding.)

OFFICER

Anything you would like? More coffee?

(Silence.)

OFFICER

Great. Now, Mr. Morris, I am under the impression that you had spoken to Samuel Turner on the day of the murder. Last Thursday at 1:30 P.M. at Han Diner. Is that correct?

JOHN

Yes.

OFFICER

And what was the reason for your meeting there?

JOHN

We were hungry, wanted a bite.

OFFICER

That’s all?

(JOHN doesn’t respond.)

OFFICER

Were you aware of any danger that the victim may have been in at the time of your meeting.

(JOHN stares at the table.

The officer jots something

on the paper in front of him.)

OFFICER

We have records of the victim having a few… extensive debts. Were you aware of this?

JOHN

He worked two jobs, the best ones he could get. Pay wasn’t ever enough. I helped him out if he needed it.

OFFICER

You helped him?

JOHN

(sarcastic)

Yes. Help. I gave him money if he needed some.

OFFICER

Thank you. And this money, how often did you supply Mr. Turner with funds?

JOHN

As I said, when he needed it.

OFFICER

Would you say that, because you were so helpful in your monetary assistance, that Mr. Turner owed you?

JOHN

I never asked for him to return the money.

 

OFFICER

But surely, taking money from your own earnings, giving it to someone else, would result in some sort of repayment.

JOHN

He was my friend.

(The officer leans closer to

JOHN. CHARLES tenses from the

other side of the wall.)

OFFICER

So, if he was your friend, you never would have killed him, right?

(JOHN glares.)

OFFICER

If you two were so close, you would have helped if he was in danger, right? Of course, any friend would do that.

CHARLES

What’s this guy’s problem?

(SHERIFF STONE doesn’t acknowledge CHARLES)

OFFICER

If you didn’t kill him, did you get someone to do it for you?

(JOHN stays silent.)

OFFICER

Hiring someone to kill-

JOHN

(quietly)

He was my friend.

OFFICER

If he was your ‘friend,’ then why isn’t he still alive right now?

(CHARLES storms towards the door that

leads into the interrogation room, but

SHERIFF STONE throws an arm out

to stop him. CHARLES huffs angrily.)

OFFICER

If you cared so much, couldn’t you have done more?

(JOHN slouches in his chair.

Silence.)

OFFICER

Well, Mr. Morris, thank you so much for your time. You can go home. The station will be in contact.

(The officer stands up, walks to the

door on the back wall, holding it open

for JOHN and follows him out, closing

the door behind them.)

SHERIFF STONE

I’m sure it seemed harsh, but this gives us a lead. If we see where this takes us, perhaps we will be able to find out who was responsible.

(CHARLES frowns.)

CHARLES

He lost his friend. Using that as leverage is an awful thing to do.

SHERIFF STONE

Well, if he did kill Samuel Turner, that’s a pretty awful thing too, isn’t it?

(CHARLES looks down, not responding.)

SHERIFF STONE

We will contact you with any new information.

(SHERIFF STONE exits the room,

Leaving CHARLES alone.

The lights dim.)

SCENE 5

(A press conference. A raised

platform stage left, a podium in

the middle with multiple microphones on

The top. SHERIFF STONE is behind the

podium, and the few seats to the

side of the podium are taken by

an officer and another by JOHN.

CHARLES sits in the audience.)

SHERIFF STONE

Thank you all for being here for new announcements involving the murder of Samuel Turner. New developments have placed this man, John Morris, as our most likely suspect.

(The crowd murmurs. CHARLES

shakes his head.)

SHERIFF STONE

Thanks to the hard work and focus of our station here, we have come to this conclusion, but will assemble a coherent report to move further. We will do all we can to bring justice to Samuel Turner.

(The crowd claps, apart from CHARLES.

SHERIFF STONE tilts his hat, walking

off the platform. The officer escorts

JOHN off as well, with his hands

handcuffed behind his back.

Reporters surround him.)

REPORTER #1

John! John! What is your reaction to being a main suspect in this murder?

REPORTER #2

John! Did you really murder Samuel Turner?

(Questions grow unintelligible

because so many reporters begin

asking questions at once.

CHARLES pushes through the crowd)

REPORTER 3#

How could you kill someone so close to you?

(CHARLES looks down, processing. He looks

up a moment later, his mouth ajar. He puts

a hand on JOHN’s shoulder, pushing

through more reporters. The noise of

the crowd fades, only CHARLES’s

voice is heard.)

CHARLES

(awestruck)

You didn’t do it.

(JOHN stops, but says nothing, and

doesn’t meet CHARLES’s eyes)

CHARLES

Of course. Of course. You were closer to him than... anyone. Weren’t you?

(CHARLES shakes his head in

amazement, then his expression

turns more serious.)

CHARLES

(quietly)

You know who did it.

(JOHN appears to flinch at the

words, quickly turning, with the officer

behind him, exiting the crowd - whose chatter

fades back to full volume once again.)

SCENE 6

(At the station, in an interrogation

room, identical to the one JOHN was

questioned in. It’s in the down stage left

fourth of the stage, leaving the rest of

the stage open. SHERIFF STONE and

JOHN are on the same side of the table,

a case file in front of them.

OFFICER MILANY enters from the door

behind them, case file in his hand.)

OFFICER MILANY

Here’s the other file…

(OFFICER MILANY winces.)

OFFICER MILANY

Good luck with this one. It’s a tough case, for sure.

(SHERIFF STONE nods, and

OFFICER MILANY leaves the room.

Silence. SHERIFF STONE opens a file.)

SHERIFF STONE

This is the first account, it’s vague, but possible.

FILE 1

(Back wall and stage right wall are pulled back,

revealing the front of a bar.)

 

 

SHERIFF STONE

Here’s the other account, someone claiming to have witnessed.

 

FILE 2

(SAMUEL enters from stage right, up

Stage, slowly strolling across the

stage, towards the bar. CHARLES

straightens up when he comes on stage.

JOHN enters from behind SAMUEL. He’s

slouched over, looking menacing. SAMUEL

stops in front of the bar entrance, frozen.

He realized someone was following him.

JOHN stops too. SAMUEL turns around,

inhaling sharply in surprise.)

SAMUEL

(afraid)

Why are you here?

(JOHN glares viciously)

JOHN

(angry)

Don’t lie to yourself. You kept the boss waiting. He said this was your last chance. You didn’t listen.

(JOHN pulls a gun out of his jacket.)

 

SAMUEL

I told him. I said it would happen soon.

JOHN

(raising the gun)

Well, to him, soon isn’t good enough.

(At the table, CHARLES looks

away from the scene)

(Gunshot.)

(JOHN drags the body, exiting stage right.

The walls come back to frame the room once

again. CHARLES stares at the table. There

is silence, apart from SHERIFF STONE

shuffling papers, and opening the next file.)

SHERIFF STONE

Now, this file, although potentially false, is the most compelling, and honestly, is most likely to satisfy every party. The public hates John, Charles. You know they do. Think of all the good it would do to convict him.

 

(CHARLES shakes his head, not wanting to agree.)

SHERIFF STONE

I’m sure you two were close, but I can’t allow a potentially guilty man to leave these walls. The public won’t have it.

(CHARLES stands.)

CHARLES

And I will not have a potentially innocent man be wrongly convicted of murder. I appreciate your time, but I will not testify against him. You should really look into valuable sources. I doubt the first account was very far off. Before I head out, I want to ask one other question.

SHERIFF STONE

(slightly annoyed)

Alright, Charles. What is it?

(CHARLES takes a deep breath,

his hand clenching into a fist.)

CHARLES

(angry)

Did this account come in after John was publicly named as a suspect?

(SHERIFF STONE is shocked at

the question, looking down at the date,

silent for a moment.)

SHERIFF STONE

(rattled)

Yes. Actually, the day after. I don’t know how processing could have missed it...

(CHARLES shrugs mockingly, and tilts

his hat to SHERIFF STONE, exiting the room

through the door behind the table. Once

CHARLES exits, SHERIFF STONE puts

his head in his hands.)

SCENE 7

(A small apartment, a couch in

the middle of the room, and a

dining table stage left. JOHN sits

on the couch, his eyes closed.

There are three knocks on the door,

and JOHN bolts up out of the couch,

slowly walking towards the door.

He opens it. It’s CHARLES. JOHN

relaxes slightly.)

JOHN

Charles. What are you doing here?

(CHARLES takes a deep breath.)

CHARLES

Listen, John. At the press conference… When I came up to you… I realized that you never could have done something so… horrible. You shouldn’t even be a suspect.

(JOHN looks down.)

JOHN

(quietly)

You’re right, Charles. I didn’t kill him.

(CHARLES sighs, relieved, and nods.

JOHN steps aside, and CHARLES enters

The apartment. Both make their way to

the dining table, sitting down.)

CHARLES

I know.

(Nobody talks for a few seconds.)

CHARLES

You know who did it, John.

(JOHN sighs.)

***He basically shuts down whenever his emotions are too much, that’s why he was so quiet at the first scene etc****

CHARLES

(desperate)

Just give me the name, John. It can stop all of this.

 

(JOHN looks down, shaking his head.)

CHARLES

John. They are going to convict. There’s no way to stop them, unless you tell me the name. You didn’t murder Sammy. I know you didn’t. So, please, just tell me, and we can prove you’re innocent. Sammy would have wanted that for you. You know he would have. I’m sure he knew you did all you could to protect him. Are you protecting the murderer?

(JOHN sighs.)

JOHN

I could have done more.

(CHARLES shakes his head.)

CHARLES

(outraged)

And what? Gotten yourself killed in the process? Imagine how much that would have killed Sammy. Listen, whoever did it would have done it anyway. There’s no way we can say that you could have made a difference. Please, John. Tell me.

(There is silence. CHARLES

hangs his head after a few seconds,

gets out of his chair to leave.)

JOHN

(softly)

It was an officer at the station. Edward Milany. He runs with a gang, Sam owed his boss money.

(CHARLES sits back down.)

JOHN

But listen, Charles. There’s no way he’ll go down, trust me. I know what that man can do. The leader has ties… We don’t have a chance.

(JOHN quickly looks down)

JOHN

(emotional)

He’s ruined lives... He killed Sammy. He’d pull up everything I’ve ever been involved with, and trust me, he’d make up more than enough to put me away. There’s nothing we can do. Just let it be.

(CHARLES looks fiercely at JOHN, getting

to his feet, and putting on his hat.)

CHARLES

(determined)

We’ll do everything we can. I know you’re innocent, John.

(JOHN smiles, sadly, standing up with

CHARLES.)

JOHN

That’s enough.

(CHARLES nods in a goodbye, and JOHN

only smiles back. CHARLES leaves,

and JOHN sits on the couch again,

Puts his head in his hands.

A slow, sad song begins to play.)

(Lights dim.)

SCENE 8

(CHARLES and MARY are standing

in the middle of the station.

They looks around, all the desks

are empty. The lights are dim.)

MARY

How strange. The officer said the Sheriff would be here.

(CHARLES continues to look around.)

CHARLES

(suspicious)

Very strange.

MARY

I’ll check some questioning rooms, and see if he- or anyone- is in.

(CHARLES nods, and MARY exits the room.

CHARLES leans against a desk.

At that moment, OFFICER MILANY enters

from a different door.)

OFFICER MILANY

Charles! How are you doing? What are you doing here?

(CHARLES tenses.)

CHARLES

Um… An officer called us here, said that he had news.

(OFFICER MILANY tilts, almost mocking.)

OFFICER MILANY

What a shame. Station’s empty now, you ought to just come back  tomorrow.

(CHARLES doesn’t respond, just

Staring at OFFICER MILANY, who,

after a beat, laughs.)

OFFICER MILANY

(laughing)

Honestly, Charles. How stupid do you think I am?

(CHARLES stares at OFFICER MILANY, confused.

OFFICER MILANY begins to glare.)

OFFICER MILANY

(serious.)

I know John told you.

(CHARLES stills. OFFICER

MILANY shakes his head.)

OFFICER MILANY

Yes. I know, shocking. But listen, Charles.

(OFFICER MILANY steps close to CHARLES.)

OFFICER MILANY

(vicious)

I have a case made already. When it’s out, everything will fall apart for John Morris. You’re better off just getting out, forgetting all about this case, about John. If you get in my way, don’t think I would be unable to throw you under as well.

(CHARLES glares at OFFICER MILANY.)

CHARLES

How could you do this?

(OFFICER MILANY rolls his eyes.)

OFFICER MILANY

Oh, please. Just because I’m an officer doesn't mean I am one to actually follow the law.

 

(There is a tense silence.)

OFFICER MILANY

Go home, Charles. Stay there.

(MARY enters the room.)

MARY

Nobody is here-

(OFFICER MILANY smiles at MARY.)

OFFICER MILANY

(kindly.)

Hello, Ms. Dretter. My apologies. Turns out the office let out early, so I’m afraid you’ll have to come tomorrow.

(MARY smiles, nodding.)

MARY

That’s quite alright. We will be leaving now.

(As MARY and CHARLES walk towards the

door, CHARLES and OFFICER MILANY

hold a glare.)

OFFICER MILANY

Goodbye, now.

(OFFICER MILANY leaves through

the other door.)

SCENE 9

(JOHN’s apartment’s door. A false

wall spreading across the stage,

three doors on it. CHARLES enters

from stage left, walking up to the

middle door, room 153. He knocks

Three times.)

CHARLES

It’s me, John. Come on, we need to talk. Something happened yesterday, I’ve got to tell you.

(There is no response.)

CHARLES

John! It’s Charles.

(No response. CHARLES knocks

three more times, then waits.

Silence.)

CHARLES

John?

(Silence.)

CHARLES

(horrified.)

Oh, no.

(CHARLES runs, exiting stage left.)

SCENE 10

(At the station, the room

with the desks, three of which

are occupied, and SHERIFF STONE

sits at his. CHARLES runs in

from the open door, fuming.

SHERIFF STONE sees him enter,

Standing up from his desk.)

SHERIFF STONE

Charles, we have some news.

(CHARLES breathes deeply, and

says nothing.)

SHERIFF STONE

John’s been convicted. We’ve gotten a case, full of records and accounts, all put John at the scene, and everyone condemns him more than the last. I’m so sorry, Charles, but it looks like John’s going to be executed.

(CHARLES jaw drops.)

CHARLES

(loudly.)

Executed?

(SHERIFF STONE sighs, looking down.)

SHERIFF STONE

Yes, Charles. Some of the evidence… it went beyond one murder. There’s no other options. There was already a ruling. We can’t go back now.

(CHARLES is staring at the

ground, in shock.)

SHERIFF STONE

I’m sorry, Charles. It’s over. Don’t you want justice for Samuel?

(CHARLES sighs, looking to the ground.

CHARLES leaves, the other three officers

watch him.)

SCENE 11

(A single table center stage,

a telephone on top of it.

CHARLES is speaking in a quiet

voice. SHERIFF STONE enters

from stage right, not noticed

by CHARLES.)

CHARLES

Exactly… They can’t touch you if they don’t know who you are… I know… I’m sure it will all work out… Yes, see you then.

(CHARLES hangs up the phone,

sighing deeply.)

SHERIFF STONE

Charles? Everything alright?

(CHARLES jumps.)

CHARLES

Oh! Sheriff Stone.

SHERIFF STONE

Who were you on the phone with?

CHARLES

Oh. Just an old friend. We’re going to meet up today. I haven’t spoken with them in years.

SHERIFF STONE

Ah. If I have you here, I want to let you know that we are going to have a press conference in four days revolving around the execution and the conviction. I thought you would want to know.

CHARLES

How long does he have?

(SHERIFF STONE sighs.)

SHERIFF STONE

I’m sure they won’t want to extend anything. I’d say probably a week.

(CHARLES rubs his eyes.)

CHARLES

Goodbye, Sheriff.

SHERIFF STONE

I hope to see you at the press conference.

(CHARLES doesn’t respond, exiting stage left.

SHERIFF STONE watches him leave, before

exiting stage right.

Lights dim.)

SCENE 12

(The inside of a simple

diner, with booths framing

The interior. MARY and CHARLES

are sitting at a table in the

middle of the diner, across from

each other. A man in a dark coat

Watches from a table next to them,

a menue held up as a cover.)

MARY

That’s horrible news, Charles.

(CHARLES rests his head on a hand,

nodding slowly.)

MARY

Do you think John knows? How awful that must be for him, knowing that he is to be killed.

CHARLES

I feel awful. Maybe if I’d done more to push his innocence-

MARY

(fiercely)

No. That station is filled with ignorance, they wouldn’t have ever believed you, no matter how compelling your evidence.

CHARLES

You’re right. I just wish that I could help him.

MARY

Me too. It’s awful that there’s nothing more for us to do.

(CHARLES and MARY share a look

for a few seconds, not much

emotion on their faces.)

CHARLES

Truly. I hope he finds peace before it happens.

(MARY nods.CHARLES and MARY both rise, MARY

leaving a tip on the table. Both exit, sharing a nod.

A few seconds after they leave, OFFICER

MILANY enters, sitting across from

The man in the dark coat.)

OFFICER MILANY

Did you overhear anything?

MAN

Nothing of value. They’ve given up hope. They know they can’t do anything to stop the execution.

(OFFICER MILANY smiles darkly.)

OFFICER MILANY

About time. Finally, John will be gone, the boss will reward me.

MAN

(angrily.)

Reward you?

OFFICER MILANY

(laughing)

Why, yes. Reward me. You may have assembled the case, but I was the one, after all, who allowed the case through questioning in the first place. Who do you think was the first to put in a tip about John being the murderer? Who do you think threatened

(The man shakes his head, outraged.)

MAN

I thought you had more of a reason to kill this man. I guess it has always been for power.

(OFFICER MILANY shrugs, grinning)

OFFICER MILANY

I suppose it has been.

(The man storms out of the diner.

Lights dim.)

SCENE 13

(At the police station, SHERIFF
STONE and two other officers are

Sitting at their desks.)

OFFICER #1

At least the case is finally over. That information came in at the perfect time.

(SHERIFF STONE looks down at his desk.)

OFFICER #2

I know. It really was the break we needed. Now we can rest easy knowing that man will be off the streets.

OFFICER #1

Anyway, have you heard any updates about the-

(Suddenly, an alarm starts blaring,

Lights start flashing red. All three

jump, before the two officers get up

And run towards the door.

SHERIFF STONE sits still for a few

Seconds, before getting up,

walking out of the room.

The red lights and alarm continue

for a few seconds, then a shout is

heard from off stage.

OFFICER #1

Morris!

(The lights and alarms continue, then

get quieter as the lights dim.)

SCENE 14

(At a press conference. The raised

platform on stage left, chairs

Set up on stage right, where the crowd

Sits. The chairs to the side of the

Podium are occupied by officers, one of

Them being OFFICER MILANY. SHERIFF STONE

stands at the podium, his hair not as

neat as it usually had been. The crowd

is chattering, but quiets as SHERIFF

STONE begins.)

SHERIFF STONE

Thank you for coming everyone… As you have likely heard, John Morris escaped his prison cell four days ago, and the alarms were triggered too late for us to realize.

(The crowd murmurs once again.)

CROWD MEMBER

(fearful.)

Are we safe?

CROWD MEMBER #2

(curious)

How are you going to find him?

SHERIFF STONE

We are doing all in our power to locate John Morris, and return him to-

CROWD MEMBER #3

(angrily.)

Who’s to say he won’t escape again?

(The crowd murmurs louder at the question.

SHERIFF STONE runs a hand over his hair.)

SHERIFF STONE

We are currently evaluating how an escape was possible, and have no records of anyone coming into contact with him before the escape. We will put our remaining forces into finding out.

(The crowd’s chatter grows louder.

In the noise, A woman stands. The

crowd instantly silences. Her face is

hidden, she keeps her head down.)

WOMAN

Sheriff Stone, there are a few questions I would like to ask you.

(SHERIFF STONE nods.)

WOMAN

How would you respond to any allegations against one of your own officers being the true murderer, rather than John Morris?

(SHERIFF STONE shakes his head,

dismissively.)

SHERIFF STONE

The evidence against John Morris was beyond damning, Miss.

WOMAN

If someone had proof of fabrication and fallacy in that evidence, what would be your response?

(SHERIFF STONE opens his mouth to

respond, getting cut off)

WOMAN

Sheriff Stone, how would you respond to allegations against your own officer Milany being responsible for the murder, and for the contrived evidence?

(OFFICER MILANY stiffens in his chair.

SHERIFF STONE looks at him.)

SHERIFF STONE

Listen, Ma’am. I strongly believe that there is no way that an officer here would ever-

WOMAN

And how, Sheriff Stone, would you respond if one would somehow come across some… how do you say, condemning evidence?

(SHERIFF STONE pauses, looking at

OFFICER MILANY once again.)

SHERIFF STONE

(hesitant.)

Ma’am, I don’t there could be any possibility of-

(The woman holds up a file,

filled with several papers.)

WOMAN

I would beg to differ.

(The crowd begins to murmur once again.

SHERIFF STONE takes a deep breath,

Looking again to OFFICER MILANY

who looks tense.)

SHERIFF STONE

Officer Milany will be taken in for questioning, and we will-

(Another man in the crowd stands,

it is the man that met with OFFICER MILANY

in the diner.)

MAN

I also have proof of officer Milany and his contrived case, as well as his hand in the murder of Samuel Turner.

(Suddenly, OFFICER MILANY jumps out of

his seat, running through the crowd, and

off stage right. The other three officers

run after him. The crowd gasps, watching where

they had ran. A shout sounds from off stage,

Then a loud bang of a body hitting the ground.

An officer walks on stage from stage right,

A handcuffed OFFICER MILANY in front of him.

The other two officers are on either side.)

OFFICER MILANY

(furious.)

You’ll never keep me. I’ll get out.

WOMAN

I’d like to see you try, Milany.

(OFFICER MILANY lunges towards

the woman, only to be yanked back by

the officer. OFFICER MILANY

Is led off stage left.)

SHERIFF STONE

Well, this new development will certainly change the focus of our station.

(The crowd is loud again with

shouted questions. The woman walks towards

stage right, to exit, but is

stopped by the man that had

Met OFFICER MILANY at the diner.

The noise of the crowd fades.)

MAN

Thank you, Mary.

(The woman freezes a moment, before smiling,

showing her face.)

MARY

Of course. Thank you for giving him that push.

(The man laughs darkly.)

MAN

He’s a coward. I knew he’d try to run.

MARY

Thank you again, I should go.

MAN

Of course. Tell John I said congratulations.

(MARY smiles, nodding as the man

turns, exiting stage left. MARY walks of

stage right.)

SCENE 15

(A graveyard, a headstone in

middle of the stage, reading

SAMUEL TURNER. JOHN is knelt in

front of it. A sad song plays.

CHARLES slowly enters from stage left.

Approaches JOHN, placing a hand on

his shoulder. The music continues.)

CHARLES

John, we were looking for you.

JOHN

(quiet)

Sorry. I just wanted to visit.

(CHARLES smiles sadly.)

CHARLES

You miss him.

JOHN

I do.

(CHARLES is silent for a few seconds.)

CHARLES

(kindly.)

Come on. We can meet Mary at the diner.

(JOHN stands, and CHARLES puts an

arm around his shoulder.

The sad song slowly shifts into

a happier, more beautiful ballad.)

fin.