The name of the play goes here

Written by Samantha Corbin and Michael Deliakis

Directed by Leah Dennis
Produced by the Level V 09 Drama Class
SCENE I
Scott: I got the call at 4:30 AM.
Opening: Scene from Maltese Falcon/Casablanca
projected onto the backdrop. Volume is up for a
brief few lines (significant lines) then fades as the
volume of Detective Scotts monologue comes up
stage remains dark, movie is still playing but
almost silently now. We cannot see Detective
Scott. Mid-monologue, open curtain and lights
come up. The movie keeps playing but we barely
see it because of the lights.
Set: Detective Agency. A young man stands
looking a little disoriented, reading the signs on
different doors and desks. Secretary-type desk
sits L.D., diagonally facing front. The agency looks
deserted, and the detective rings the little silver
help bell just as Scott is finishing her monologue.
At the last line of Scotts monologue, a woman
pops up from behind the desk, as though she had
dropped something and was stooping over to pick
it up. She is wearing a flattering white ruffled
blouse and knee-length beige A-line skirt. As she

catches sight of the detective, she eyes him

carefully.
Scott: Sir. Sir? Can I help you?
Moore: Well, hey there dollface. Say, whats a
pretty lady like you doin in a place like this?
Scott: Whats that supposed to mean?
Moore: Well, I mean with a face like yours, you
could be doing a lot more than just sitting around
filing papers for all these men all day.
Scott: Is there something I can help you with?
Moore: Well see, honey, Im a detective. Detective
Moore. I was coming in looking for a Detective
Scott, but say after my little rendezvous with the
guy I take you out for a night on the town, show
you a good time?
During this next exchange, both move an inch or
so forward over the top of the desk as they say
their respective lines until their noses almost
touch.
Scott: Are you asking me out on a date?
Moore: I do believe I am.

Moore: ...So...youre my new partner?

Scott: Are you sure you want to be doing that?
Moore: Cant see any reason why not.
Scott: (seductively) Well then, seeing as were
getting all personal like, can I whisper you a little
something?
Moore: (excitedly) Sure.
Scott: You gotta come closer.

Scott: (Finishing up a paper then standing)

Correction, Detective Moore. Im your new boss.
(Exit.)
BLACKOUT. The projected film is now visible and
the volume comes up for one line then cuts.
SCENE II
MOORE still stands dumbfounded. SCOTT walks
back in and begins sorting through papers on the
desk. MOORE hangs up his coat and hat.

Moore: I knew youd come around.

Scott: Even closer.
Moore: So, uh what did you want to tell me?
(They are within an inch of each other. At this
point, hes expecting a kiss)

Scott: You know Detective, (while sorting), if I

hadnt known that you were going to be my
employee, I woulda had another dead body to
deal with.

Scott: (drawing out the line) Im Detective Scott.

Moore: Its a shame you have such bad manners.

Under his breath: I wonder how she deals with
clients...

It takes Moore a minute to process this. As he

realizes, he draws back suddenly.

Scott: Professionally. (Pulls out a cigarette) You

got a light?

Moore: But youre youre a woman!

MOORE throws her a pack of matches. She reads

it. It says, Rockford Police Department. On
projector, the matchbox spins onto screen.

Scott: Nothing gets past you does it Mr. Moore?

Scott: Interesting... I guess you might be

wondering what this whole call is about.

your help. I live at 9 Tabby Lane. Yes, as soon as

possible.

Moore: Naturally. When did the call come in?

During this time, MOORE and SCOTT have been

walking from agency to ELEANORS. They now
stand at the door to the mansion.

Scott: 4:30 am.

Moore: Who from?
Scott: A woman.
Moore: How old?

Moore: (thoughtful) 9 Tabby Lane...does that

address sound familiar to you? I seem to
remember an incident a few months ago...

Scott: Mid 40s, Id say.

Scott: (Knowing) How would you have heard of

this incident? Investigations arent normally
publicized.

Moore: Anything else?

Moore: (Evasive) Rumours come and go...

Scott: White upper-class, old money.

Arriving at the house. MOORE gets ready to

knock on the door by flatten out his suit.
Meanwhile SCOTT steps up and knocks on the
door, smirks at Moore.

Moore: Whatd she say?

Scott: She said... (Projected video: ELEANORS
phone call. Lips/phone frame only.)
Eleanor: (somewhat panicking) Hello, Scott
Detective Agency? This is the Lott residence,
Eleanor Liza speaking. Im calling on behalf of my
husband, Frank. Theres been an accident. I need
your help. I know, thats why Im calling. I need

Eleanor: (Overdramatic) Thank heavens youre

here. Please, please come in.
Scott: Good day, maam. Im detective Scott, this
is my(about to say trainee)
Moore: Partner. Detective Moore.
(SCOTT sees ANYA)

Scott: And you are?

Eleanor: Ah, yes. Anya, would you mind fetching

the milk from the basement? (Giving her a
meaningful look)

Eleanor: Anya. She doesnt speak English and

shes of no use to you.

Scott: You keep your milk in the basement?

They walk into the house, looking around

suspiciously.

Eleanor: Oh, yes, its mostly for the cat though.

(Looking out the window) She likes it cold.

Eleanor: Please, make yourselves comfortable.

Can I offer you something to drink? Scotch on the
rocks?

Moore: Mhm...So (flirting while pretending to take

notes) is this your only cat, Eleanor?

Scott: Its two in the afternoon.

Eleanor: Wellits never too early for me. Coffee,
then?
Moore: Yeah, sure, Ill take a--Scott: Were fine. So you called about an
accident. Mind telling us what happened?
Eleanor: Certainly, detective. And please, call me
Eleanor. (Stares absently out the window and a
cat is sitting staring at her from the windowsill).
Moore: Uh...Maam? Is everything alright?

Eleanor: (Coming out of trance-like state) Cat? I

dont have a cat.
SCOTT and MOORE exchange confused glances.
ANYA now enters with a tray and gives ELEANOR a
meaningful nod as she sets down the tray and
begins pouring the coffee. She hands it to the
detectives.
Eleanor: So, would you like to come downstairs
and see the body?
Scott & Moore: (shocked) Body?
Eleanor: Well, you didnt think I called you here for
nothing, did you...Detective Moore?

Scott: (recognizing the sexual tension) If you two

are finished, Eleanor, mind telling us whats going
on here?

Moore: How about this: I checked Franks

passport. Hes been to four different countries in
the last week, all of which were in South America.

Wife: (annoyed, ignoring SCOTT) Shall we head

downstairs, then?

Scott (overlapping): South America, yeah I know, I

checked.

Moore: Lead the way Mrs. Lott.

Moore: (getting more frustrated) Well get this. She

served me my coffee----black.

SCENE III
(Nighttime. Streetlamp shines over SCOTT, who
stands alone smoking a cigarette. Enter MOORE.)

Scott: Yeah? So?

Scott: Youre late, detective.

Moore: Well, whyd she go to the trouble of getting

us the milk if she wasnt going to use it for the
coffee?

Moore: Not by my watch.

Scott: Didnt anybody ever teach you not to keep
a lady waiting?
Moore: (sarcastically) Oh, so now youre a lady?
Scott: So what have you got?
Moore: Well, she dont have a cat, thats for sure.
And we know the body is at least a couple of days
old and looks tampered with.
Scott: (chuckles) All that aint news to me, rookie.

Scott: Im surprised you noticed, what with

Eleanors chest practically shaking your hand.
Moore: Thats not the point! The maid went
downstairs to do something, and it wasnt to get
the milk. (Silence. Emphatically) Doesnt that
seem a little suspicious considering?
Scott: Alright, alright, rookie, you dont have to
spell it out for me. So theyre hiding something,
what else is new? Lets lay down the facts. We got
a dead body, a manic widow and a maid who
doesnt speak English.

Moore: Dont forget the milk. And the cat.

Scott: Right. You find out what the wifes hiding
and Ill get to the bottom of this passport
business.

protestations.) I checked out Franks bank

statements: when he died, he was in the middle of
transferring all of his funds into an offshore
account that was opened a couple months back,
in Colombia.

Moore: Maybe I should handle the passport since,

you know, I found em and all.

Moore: Colombia, eh? Whyd he need an account

there?

Scott: Well, detective, if you cant handle a lousy

police job, I doubt youll do any better in this one.
Feel free to prove me wrong. (Leaves MOORE
alone, dumbstruck in the lamplight. Fade to
black).

Scott: Think, rookie. Whats the hottest thing on

the market these days?
Moore: Cigarettes?
Scott: Warm.

SCENE IV
It is the following day, in the morning. SCOTT is
sitting at her desk in the agency. MOORE walks in
and hangs up his coat and hat. SCOTT sees him
before he has time to turn around.

Moore: Oil!
Scott: Cold, real cold.

Scott: Anything on Eleanor?

Moore: Look, we dont have time for your little

guessing games, get to the point.

Moore: We only spoke 12 hours ago! A mans

gotta get his beauty rest, you know. Oh, sorry, I
guess you wouldnt know.

Scott: (exasperated) Drugs, Sherlock, drugs! Youd

think as a cop youd be familiar with this type of
thing.

Scott: Watch it, detective. Youre skating on thin

ice. Do what I ask you next time and cut the
backtalk. (Continues over MOORES

Moore: Would you lay off? (Embarrassed that he

has let his guard down). What else we got?

Scott: Heres the thing. I found the wallet in

Franks chest pocket. There was a hole right
through the jacket, where the bullet hit. But the
walletnot a scratch on it.
Moore: So youre saying that the wallet
Scott (overlapping): The wallet wasnt in Franks
pocket when he was shot. Somebody had the
wallet, but goofed when they put it back.
Moore: Somebody. (MOORE turns around and
looks out the window. While he continues talking
she takes her coat and hat from her desk.)
Scott: Theres only two people that we know of
who had access to that wallet.
Moore: (gesturing to her and then himself) Four
people.
Scott: Point being---somebody messed with it.
Moore: So maybe its time for a little surprise visit
to the Lott residence.
Scott: (standing expectantly at the door) So are
you coming or not?
SCENE IV

(Eleanors. SCOTT gets her notebook out while

MOORE steps past her and knocks on the door,
then smirks at her. She eyes him hatefully. ANYA
opens door and expresses shock at seeing the
detectives, then whimpers helplessly and looks
back for ELEANOR, who is not there.)
Scott: Afternoon maam, hope were not disturbing
you. We just have a couple questions for you.
(ANYA nods head and steps back so they can
enter.)
Moore: (Walks in and looks around. Takes a seat.)
Hey, uh, Anya is it? Mind fixing me a cup of
coffee? With milk, please.
ANYA nods and slowly retreats. MOORE sits down
at the table. SCOTT, cleverly and stealthily trails
ANYA in her retrieval of the milk. MOORE, not
noticing, goes to stare out the window, and sees a
cat. He takes out his notebook and begins to
write it in. But he cant, he is craving a cig. He
pulls out a piece of gum and chews to calm
himself. SCOTT re-enters, composing herself. At
that moment, as ANYA is rushing in to bring the
tray to MOORE, she crashes into ELEANOR who is
coming up the stairs. The milk spills all over her
fur coat. )

Eleanor: My fur coat!

Anya: Oh, Mrs. Lott Im sorry! Ill clean this up
right away. I didnt see you coming up from the
stairs, I was rushing to get the
ANYA, remembering the detectives, looks over to
them. She starts mumbling in Russian and
quickly pulls a rag out of her apron pocket and
begins cleaning the spill off the floor. In the
process of pulling out the rag, a note flies out of
ANYAS apron. It is clearly tattered. ELEANOR
notices the detectives and looks shocked. She
hands her coat to ANYA to go clean and ANYA
retreats to the kitchen. While their backs are
turned, MOORE, suddenly getting an idea, takes
the gum that he is chewing out of his mouth and
sticks it onto the bottom of his shoe. He steps
gingerly onto the note, and it sticks. ELEANOR
turns, an irked look on her face. She composes
herself and forces a smile.)
Eleanor: Detectives! I didnt know you were here.
Can I help you with anything?
Scott: I think that we have about all we need Mrs.
Lott. Thank you.
Detectives exit, fade to black.

Lights down Projector video (flashback): ANYA is

in a living space of some kind and a note is slid
under the door. She picks it up and reads:
[Anya]: My darling, I heard about the incident with
your visa application and it pains me to know that
you had to suffer through such an ordeal. I am
counting down the hours until we can be together,
far from Tabby Lane, from Eleanor, from Rockford.
Theres been a slight problem with the cash
balance in the business deal but I wont let money
get in the way of our love. Well start from scratch.
Ive put enough aside to get us a couple of plane
tickets to Colombia, and we can start a new life. I
will return home for the last time next week. Youll
have your work visa and then we can leave this
wretched place. What I want most is to hold you
again.
All my love,
Frank
SCENE V
Scott and Moore stand by a lamp post outside. It
is dark out.
Scott So now we have reason to believe that
Eleanor was up to something, and that the maid
who didnt speak English now does, but she
apparently isnt the brains of the family.

Moore: Yeah, thats for sure.

even more interesting that Eleanor doesnt

actually keep her milk downstairs.

Scott: I still cant get over why Eleanor waited 24

hours after she found her husband dead to call us.
And if she called us its because shes got
something to hide. Unless she wants us to find
whatever it is that shes hiding. Though we still
cant rule out the possibility of suicide and
suspects outside the residence. Isnt it odd that
Eleanor was coming up from the basement?
When we were down there I didnt notice much
else in there besides some firewood, and the maid
would be the one to handle those kinds of things.

Moore: What? How do you know that?

Moore: The milk is downstairs too. Its possible

that she was rearranging or moving some things
around down there. Then again, its more
probable that she was

Moore: You knew the milk wasnt downstairs and

didnt even tell me until now? What kind of
partner are you? Partners dont withhold
important information from each other.

Scott: Manipulating some important evidence. We

should return to the house soon to question the
two of them together.

Scott: No, but partners do the work theyre

supposed to. I dont see you coming up with any
new leads.

Moore: Why do you have to cut me off all the

time? Its not like I wouldnt have come to that
conclusion myself.

Moore: Look, just because you got lucky and

ended up at the head of a big-shot detective
agency doesnt mean---

Scott: Grow up, rookie. You dont work at a police

station anymore. Get over it. Besides, I think its

Scott: Lets get one thing straight. Im at the top

because I worked my ass off to get there. Not

Scott: ...What do you mean how do I know?

Moore: (frustrated) How do you know that she
doesnt keep the milk downstairs?
Scott: Slow down flaptrap! Jeez, youd think I was
the one on trial from the way youre firing
questions at me. I wouldve thought youd notice
me leaving to follow Anya.

because of some lucky break. And watch what you

say in front of a woman--Moore: There you go again, raving about being a
woman. You know, just because youre an
independent woman, doesnt mean you cant act
like a decent lady for once, or a decent human
being. Hate to break it to you, sunshine, but the
whole feminist bit is getting old. Its like you have
this idea in your head that being a successful
female means stepping on every man who comes
your way--Scott: No, Moore. Im just not used to working with
a dimwit cop. If you stopped for a second to use
your head, you might have a chance of surviving
as a detective. Face it, youve had a problem with
me from the beginning because like it or not, you
cant handle the fact that a woman is in control.
Well, buck up and deal with it, cause right now I
cant even trust you with a lousy paper and pen
(grabbing MOORES notebook and holding it by
the one page of notes he has taken, then ripping
it off and crumpling it up.) Now I see why you
were let go--Moore: Hold it. I retired as a cop, I wasnt let go.
Look at you, the head detective, big lady with the
notepad. Well I got news for you, being a
detective you dont know a damn thing about

being in the line of fire, and having to take aim at

other people, having a human life in your hands
every day of your life. Chauvinism aside, I dont
know a woman on this earth that could see what
Ive seen and still be able to think straight. Every
chase is like staring down the barrel of a gun: so
many calls, threats, insults, choices, youd wanna
take that gun in your belt and blow your goddamn
brains out. You make a decision, never knowing
whether you were right or wrong. Now theres a
dead man on the ground and youll never know
whether youre a hero or a murderer. And when
youre stuck in a raging fire, you got no time to
think ahead. You follow your gut. You do the wrong
thing, and you cant change it. You live with it.
You tell him, hang on Jack, Ill come back for
you. And when they hold you down and they tell
you its too dangerous to go back, you just watch
the fire blaze, and you hear his voice in your head,
and the fire burns and hes gone but you can still
hear him. Maybe if you came off your high horse
youd understand. But youre so caught up in
being anything but a woman Maybe its best if
you take the rest of this one on your own.
Scott: (defensive but clearly taken aback) Fine. I
work better without a partner any way.
MOORE exits. Fade to black.

SCENE VI (Double-scene)
On the right side of the stage, SCOTT is standing
at the door to the Lott residence. Upstage left of
the lamppost is a tight specialbar where MOORE
sits. A BARTENDERfemaleis cleaning glasses
behind the counter with a wet rag. The following
lines happen in quick succession but do not cut
each other off.
Scott knocks at door and MOORE knocks on the
counter simultaneously. The BARTENDER slides
MOORE a shot as ELEANOR opens the door to
Scott.
Eleanor: Hello, Detective.
Bartender: Hey, honey, dont you think youve had
enough?
Scott: Mrs. Lott. Im here because I dont have
quite enough information to draw any conclusions
about the case yet.
Moore: I havent had enough til I start
understanding whats wrong with the world.

Bartender: Aw, come on. Why the long face,

sugar?
Scott/Moore: Oh just something on my mind.
Eleanor: Well, you didnt come here for nothing.
Im just so cut up over this entire ordeal, I
Scott: Are you?
Eleanor: What are you suggesting, Detective?
Moore: Its just thatwell look, doll, no offense
but everywhere I go I see broads just---runnin
things. Bein in control. First my boss upstages
me, then I get this case where a guy was plugged
either by his nutjob wife or by his immigrant maid,
and now youre here serving me. Where are all
my fellow men?
Scott: What Im suggesting, Eleanor is that you
had a reason to want Frank Lott dead.

Eleanor/Bartender: How can I help?

Bartender: Thats the thing with you type of men,

youre all close-minded.

(Moore and Scott both stare absently into space.)

Eleanor: How dare you say such a thing!

Eleanor: Detective? Are you alright?

Moore: I cant help it.

Moore: (thoughtfully) NoI guess I havent.

Scott: Ive been to the bank, Mrs. Lott. Your
account is near empty. But you know whats a
crazy coincidence? The day the drainage stopped
was the same day as Franks death. Fancy that.

Eleanor: Fine, yes, its true I didnt want all my

money going into that drug deal of his.
Moore/Eleanor: But can you blame me?

Bartender: Times are changing, honey. The war is

over, Dior is in and we chicks are moving up in
the world. Get used to it.
Moore/Wife: I wont accept that.
Scott: The funds were being transferred to an
offshore account indamn, what was that country
name again
Anya: Colombia. (Scott flinches, aware that Anya
spoke but pretends to ignore it.)
Bartender: You dont really have a choice, sugar.
Sometimes things in life dont go as planned, but
you just gotta roll with the punches and move on.
Now I dont know who this boss lady of yours is
but she sounds like a fine woman and a damn
good detective. Ever try telling her that?
Scott: Yeah, but when that didnt work out so well
for you and your funds, you had to cut the cord
fast.

Moore: Its not easy for a man who dropped out of

the force to admit defeat. I guess Ive just been
trying so hard to prove Im worth something that I
didnt realize being macho had become Old Hat.
Eleanor: I suppose it was a little protective of me,
but I guess I just had this idea in my head that I
couldsave him. He was getting in over his head,
mixing with the wrong crowds. I knew the deal
would go sour if word got out to the authorities,
and I couldnt bear the thought of dear Frank
behind bars. So I stopped it.
Scott: (looking up from her notepad) stopped it?
Eleanor: (realizing) No, no, not like that! Not like
that. I just stopped the transfer. You must
understand, Id never do anything to my husband,
never!
Moore: I guess Im just washed up.
Bartender/Scott: I find that hard to believe.

Scott: You were ready to end his career. Why

shouldnt you have been ready to end his life?
Bartender: I have a feeling youll be just fine,
honey.
(Scott closes her notebook and gets up. At the
same time, Moore gets off the barstool and gets
ready to leave.)
Scott/Moore: Just one more thing.
Scott: Your mistake was when you put the wallet
back into Franks chest pocketright where he
was shot. See the thing about the wallet was
there wasnt a scratch on it.
Moore: What do you say after your shift we
Eleanor/Bartender: Goodnight, detective.
(BLACKOUT.)
SCENE VII
It is late at night. SCOTT is back at the detective
agency. MOORE is at the streetlamp smoking a
cigarette. SCOTT is trying to concentrate on her
work but is clearly distracted. ANYA enters,
heavily clothed.

Scott: The office is closed, Maam.

ANYA takes off veil/face-covering material/hat.
Anya: I have some information that I think youll
find very valuable, Detective.
Scott: (surprise) Anya! So now you speak English.
Anya: I have spoken English my whole life. Eleanor
instructs that I should keep my lips sealed.
Scott: Where is she now?
Anya: She has gone to shop for caskets for Frank.
This was my only chance to come, because she
will be out for a while.
Scott: So, why are you here?
Anya: You know, Detective, I came to Rockford
looking for a job when I was 18 years old. My
cousin is American, his family owns a corn farm in
Hoopeston. Their best customers were the Lott
family, up until recently anyway. He knew they
were looking for help staff for their new house, so
he gave them my name. I got the job and Ive
been living in the house ever since.
Scott: Eleanor doesnt seem like the most gracious
of employers.

Anya: Im only in it for the money. Believe me, if I

knew what I know now I never would have signed
on. But---

(Streetlamp. It is night. MOORE still stands alone

smoking a cigarette. Enter SCOTT. She looks
expectantly at him.)

Scott: What do you know now?

Scott: Well?

Anya: (panicking) Ive already said too much.

Moore: Well what?

Scott: Anya, I can offer you protection. Tell me

what you know.

Scott: Arent you gonna tell me Im late?

Anya: Frankhe was involved with illegal

activities, and Eleanor did not want her money in
Franks business. And she was going to ruin our
my life. And I couldntI couldnt let that happen.

Moore: Nah, by my watch youre right on time.

(Scott is taken aback.) So what did you find?

Scott: Okay, hang on. Couldnt let what happen?

Anya looks up at the clock and gasps.
Anya: Oh no! I have to go. (Backing away) Eleanor
will be home any minute.

Scott: Anya, couldnt let what happen?

Anya: Im sorry, detective! (Runs out.)
Blackout.
SCENE VIII

Scott: Well, Eleanor confessed to having stopped

Franks business deal, and she was pretty clear
about how she felt. So shes got the motive and
weve got the evidence. Case closed.
Moore: Oh! I just remembered.
Scott: What?
Moore: That incident at Tabby Lane I was thinking
of?
Scott: Yeah?
Moore: It was just an immigration issue. One of
the help staff tried to stowaway on a plane to
South America while her American visa

application was still being reviewed. Caused a

ruckus.

Moore:And that way he could keep an eye on his

business deal

Scott: (slowly) Any idea what the name of the

country was?

Scott:And thats what caused the immigration

incident

Moore: Something with a C---

Moore: ....And he mustve written this the day he

was murdered, since he was talking about a cash
balance problem. Well, Anya must be clean if she
was planning on getting away, but I can imagine if
Eleanor found out

Scott: Colombia?
Moore: Yeah, how do you
Scott: Just a hunch. I thinkHey, whats that on
your shoe?
MOORE looks down and sees that the note is still
stuck to his shoe. He leans over and peels it off.

Scott: Hold it. Anya came to see me tonightat

the agency. When we were talking she said she
was only in it for the money. Maybe the same
was true of the affair.
Moore: And if Frank suddenly lost that money

Moore: Huh, how bout that. I guess in the heat of

things I forgot Id picked that up.

Scott: Little miss Maid couldnt have been too

happy.

Scott: Well, whats it say?

Moore: This isnt good. Wed better
MOORE starts to read the letter aloud then trails
off as realization creeps over his face. SCOTT
grabs the letter to read then does the same.
Scott: Frankand Anya? So they were going to get
away to Colombia

(The payphone next to them rings. The detectives

exchange a confused glance.)
Scott: (coolly) You gonna get that?

MOORE picks up the payphone. Voice heard on

line is ELEANORS. Projector video: Phone/lips.
Eleanor: (sounding suspicious) The catI cant
find her I thought she was downstairs but shes
gotten out somehow...
Moore: Eleanor? Calm down. Where are you
calling from?

SCENE IX
SCOTT and MOORE reach the house. They walk
up to the door.
Scott: After you, partner.
MOORE knocks on the door. No answer. He
knocks again.
Moore: Eleanor, open up, its the detectives!

Eleanor: Detective? I dont have much time.

Please come over. It was Anya. Ill tell you
everything. (Hangs up).

He knocks again. No answer.

Eleanor? Mrs. Lott? Anya?

Moore: Hello? Hello! Damn it. Weve gotta go over

there. Eleanors agreed to talk.
Scott: Right. And Moore?
Moore: Yeah?
Scott: Good work.

He bangs on the door this time. As he knocks the

lights come up inside the house and we see both
ELEANOR and ANYA, dead in the living room in
pools of blood. Outside, a black cat crosses in
front of SCOTT and she watches it intently as it
walks across the stage. The lights fade as MOORE
continues banging on the door.

Moore: Thanks. And boss?

FIN
Scott: Yeah?
Moore: You make a fine detective.