Unwell Season 5/Episode 1 - The Farmhouse and the Flood
by Jim McDoniel
He's here
He's not here
None of us really know
Content Advisories for this episode can be found here.
Support Unwell and HartLife NFP on Patreon at www.patreon.com/hartlifenfp
This episode features: Clarisa Cherie Rios as Lily, Marsha Harman as Dot, Mark Soloff as Silas, Pat King as Chester, Kat Hoil as Abbie, Anuja Vaidya as Norah, and Michael Turrentine as Wes.
Written by Jim McDoniel, sound design by Eli Hamada McIlveen, directed by Jeffrey Nils Gardner, theme music composed by Stephen Poon, assistant director Lauren Grace Thompson, recording engineer Mel Ruder, associate producer Ani Enghdahl, Theme performed by Stephen Poon, Lauren Kelly, Gunnar Jebsen, Travis Elfers, Mel Ruder, and Betsey Palmer, produced by haydée r. souffrant, Unwell lead sound designer Eli Hamada McIlveen, Executive Producers Eleanor Hyde and Jeffrey Nils Gardner, by HartLife NFP.
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SCENE 1
EXT. WOODS. NIGHT.
THE CRACKLE OF FIRE. WIND BLOWING
THROUGH TREES. THE PADDING FOOTSTEPS OF
TWO LARGE DOGS MAKING THEIR WAY
THROUGH THE WOODS.
SILAS: Ah. There you are.
PANTING AND PLEASANT YIPS FROM MOLLY
AND DON AS SILAS PETS THEM.
And where have you two been? Making trouble?
BARK FROM DON. SMALL WHINE FROM MOLL.
SHE LAYS DOWN IN THE GRASS.
SILAS: Well, I’ve got news. We may be going home soon.
EXCITED BARKS AND SNEEZES FROM DON AND
MOLLY.
SILAS: I know. How long has it been? It feels like...I remember
when the birds sang in the trees. Not these trees. These
trees don’t know me. But the trees. You remember the trees,
don’t you?
SNORT FROM MOLLY.
Of course. Of course. You remember the trees long before
that. The birds and the trees and...
THE FIRE SPARKS ANGRILY.
(Angry and sad.) I remember.
WHINE OF DON.
SILAS: (Coming back to himself.) Heh. You’re right. Just look at that
sky. It’s hardly changed at all. So long ago, even for the
trees, but to the sky, it was only yesterday.
CRACKLE OF FIRE AS SILAS TAKES A MOMENT.
So, what story do you want to hear tonight? How about the
story of the Woodcutter’s Punishment? Molly, I know that’s
one of your favorites.
MOLLY GROANS.
SILAS: Hmm...something more upbeat?
DON BARKS EXCITEDLY.
The Old Man’s Ferry, well we could...
A LOUD WIND BLOWS THROUGH THE TREES.
THE TREES GROAN AROUND THEM. SOMETHING CARRIES IN THE WIND.
The Farmhouse and the Flood?
THE WIND SUBSIDES.
SILAS: So, it will be.
SILAS’S VOICE FADES INTO VOICE OVER.
SILAS (VO): Once upon a time, there was a grand old farmhouse.
TIRES ON GRAVEL AS A CAR PULLS UP TO THE
FENWOOD HOUSE.
SILAS (VO): As tall as the trees and as sturdy as the stones, it was built
with all the best wood and a fresh coat of paint and a family
brimming with love...
THE CAR STOPS AND TURNS OFF. THE DRIVER
DOOR OPENS.
CHESTER: Mrs. Harper...uh...no, that’s... (CLEARS THROAT) Dot.
Dorothy. Dot. Or...Lily. (TAKES A DEEP BREATH)
FOOTSTEPS AS CHESTER WALKS UP TO THE
FENWOOD HOUSE.
CHESTER: Lilian. Lily Harper, I just wanted to...offer my condolences...
(STARTS TO LOSE IT)... (TAKES A DEEP BREATH) It’s
fine. You’re fine. It’s fine. Calming breaths. (CONTINUES TO
BREATHE)
KNOCKS.
You can do this.
SOMEWHERE ABOVE A WINDOW SLIDES OPEN.
DOT: (YELLING FROM ABOVE) COME IN!
CHESTER: Mrs. Harper...it’s me. Chester Warren.
DOT: (STILL YELLING FROM ABOVE) What part of me yelling
“COME IN” didn’t you understand?
HE OPENS THE DOOR.
ABBIE: Hello.
CHESTER: (STARTLED) Oh. Um...Abbie Douglas.
Dot...Dorothy...Mrs...I was told I could come in.
ABBIE: I heard. I would’ve opened the door, but I don’t work here.
CHESTER: Oh.
FOOTSTEPS ON THE STAIRS.
LILY: Chester?
CHESTER: Lily...an. I just wanted to...is your mother coming down?
LILY: (YELLING UPSTAIRS) MOM? YOU COMING?
DOT: (YELLING DOWN) I CAN EAVESDROP FROM HERE.
LILY: She’s busy.
CHESTER: I just wanted...
DOT: (YELLING) TELL HIM TO SPEAK UP.
CHESTER: (SPEAKING UP) First of all, I just wanted to offer my
condolences in your time of mourning.
ABBIE: (GROANS)
CHESTER: I am very sorry for your loss.
ABBIE: This is not grief. This is auditory sensitivity.
CHESTER: Oh. Uh. I...I don’t know how to proceed.
LILY: Thank you, Chester for your...concern.
CHESTER: You’re welcome.
LILY: How are you doing?
CHESTER: Oh...you know. Between the wolves, the bottling works
exploding, the bottling works closing, public panic over the
bottling works closing, the impending danger of the
Revelator, and Rudy...I’m fine.
LILY: Uh-huh. Well, if you know if you need anything...
CHESTER; That is...very kind. Thank you.
AWKWARD PAUSE.
LILY: Was there something else?
CHESTER: Yes. That is...you may not be aware, but Dr. Peltham
assigned me to be the executor of his final wishes.
ABBIE: He what now?
CHESTER: It was something he had asked me to do...recently, in the
event of...well...
LILY: We understand. Is there a will reading or anything we need
to attend?
CHESTER: No. Not as such. Dr...Rudy didn’t have much in the way of
an estate. Most of his money had gone into the telescope
and because he traveled so often, he didn’t keep many
belongings.
ABBIE: Yes. WE know.
CHESTER: He did have very specific instructions on what to do
with...him. However, water cremation...
LILY: Water cremation?
CHESTER: I know. It seems rather morbid...considering...
ABBIE: It’s really not. Alkaline hydrolysis is a much more ecological
means of body disposal. It uses less energy, there’s no
smoke pollution... (PAUSE) Rudy and I talked about what we
wanted to happen when we died. Like you do. With friends.
It’s not weird.
CHESTER: Unfortunately, it isn’t available in Ohio...
ABBIE: That’s the Funerary Industrial Complex for you.
CHESTER: ...so I’ve borrowed Ernie’s hearse to transport
his...remains...to Illinois for the procedure. But I
thought...you may want to pay your respects before I go.
LILY: Oh.
ABBIE: Isn’t that what the memorial service was for?
CHESTER: Yes. Well...no. That was a memorial. An occasion
for...communal grief and healing. This is more funerial. One
last send off by those who knew him best.
ABBIE: That...actually makes technical sense.
LILY: We only really knew him a couple of months.
CHESTER: I...I couldn’t find anyone else. He didn’t have any other
family. His mother was...
ABBIE: Gone.
CHESTER: ...and most of the numbers I tried were either disconnected
or people had moved. There is no one else.
LILY: Okay.
CHESTER: And I know you didn’t end things on the best terms...
LILY: Chester...
CHESTER: But that’s my fault. So, be angry at me and not him. He was
only trying to help.
LILY: CHESTER. Yes. We would appreciate a moment with Rudy.
CHESTER: Oh. (PAUSE) I...didn’t expect you to say yes. I had a whole
speech prepared.
LILY: I’m sure it was...very persuasive.
CHESTER: It was. I guess we can skip it.
LILY: Thank you, Chester. We’ll be out in a minute.
CHESTER: I’ll be outside.
THE FRONT DOOR OPENS AND CHESTER
LEAVES.
LILY: Will you be joining us?
ABBIE: (HESITANT) Yes.
LILY: Yes?
ABBIE: Not for any sort of supernatural magic reason, but rituals of
passing are sociologically interesting, and I understand the
benefit they provide a community.
LILY: I’ll see if anyone else wants to join us.
FOOTSTEPS UP THE STAIRS TOWARD RUDY’S
OLD ROOM.
THE SOUND OF PACKING TAPE BEING PULLED. A
KNOCK AT THE DOOR.
DOT: Lily! Question for you: the colored chalk, yea or nay?
LILY: Yea is...?
DOT: Giving it to Abbie.
LILY: Yea. I think they’ll find a use for it.
DOT: Yea it is.
SOUND OF A PACKAGE OF CHALK BEING
TOSSED INTO A BOX FROM A DISTANCE.
DOT: Nothing but cardboard.
LILY: How’s it going in here?
DOT: Fine. Rudy didn’t have much stuff, but he did leave most of it
on the floor. Mostly it’s just been cleaning.
LILY: Wasn’t Wes going to help you?
DOT: I told him I could take care of it. No reason to put a kid
through this.
LILY: He’s not really a kid, mom.
DOT: He’s not, not a kid either. And every time he picked
something up, he’d get all teary-eyed and go, “Look, it’s a
Best Western mug. Remember when you told Rudy about
your collection of stolen hotel mugs, and we spent the night
making a map based on where the mugs you’d taken had
come from.” Then I’d have to spend ten minutes talking him
down. It really wasn’t helpful to the process.
LILY: I understand. Look, Chester’s here...
DOT: Did he finally come in?
LILY: ...with Rudy’s body.
DOT: Oh.
LILY: He thought we might want to say goodbye or something.
DOT: Sure. Yeah. Uh...give me a minute to finish with some of
these boxes, and I’ll be right down.
LILY: Okay. Do you need...
DOT: Nope, I’ve got it.
LILY: ...a hand. Okay.
FOOTSTEPS BACK DOWN THE STAIRS. DOT
PICKS UP A BOOK.
DOT: Guide to Patagonia? (PAUSE) That’d be a good, confusing
conversation starter. Keep box.
THE BOOK LANDS IN ANOTHER CARDBOARD
BOX. WE HEAR THE SOUND OF NORAH APPEAR
AND THEN HER FOOTSTEPS APPROACH. THEY
STOP AT THE DOOR. DOT IS RIFLING THROUGH
ITEMS.
DOT: “I sailed the route of the Kon-Tiki and all I got was this
t-shirt.” Extra Large.
NORAH: (CLEARS THROAT)
DOT: Yeah, someone will want this.
THE SHIRT IS THROWN IN THE BOX.
NORAH: I am at the door.
DOT: Oh, Norah. Hi.
NORAH: I apologize for the intrusion.
DOT: I didn’t hear you knock.
NORAH: I didn’t. I am...not feeling quite up to being fully corporeal
today.
DOT: Ghost hangover?
NORAH: If you like.
DOT: Ghost hangover. What can I do you for?
NORAH: I came to discuss...lodging with you.
DOT: Lodging?
NORAH: As you know, I previously resided at the Observatory.
DOT: That is something I know.
NORAH: However, given...circumstances, it no longer...feels
appropriate remaining there. But I currently don’t have any
other place to go.
DOT: Say no more. How would you like to stay here?
NORAH: That was what I intended to ask.
DOT: No, I mean here. In this room.
NORAH: This was Dr. Peltham’s room, was it not?
DOT: Exactly. I know you two worked together, so maybe being
here where he was...I mean, I could make up another room
for you, but I know he’d have liked you to be here and if it
doesn’t bum you out...
NORAH: I...do not think I understand that usage of “bum.”
DOT: Sad, if it doesn’t make you sad or anything.
NORAH: No, I would... like that.
DOT: Good, it means I don’t have to change the sheets.
NORAH: Is the planet blanket meant for children?
DOT: It’s meant for astronomers.
NORAH: Very well.
DOT: Not to put to fine a point on it, but...Rudy is downstairs.
NORAH: I heard.
DOT: If you wanted to pay your respects with us.
NORAH: Would that not be potentially problematic? I’m not sure your
Mr. Warren is aware of me.
DOT: It’s fine. If he raises a fuss, just tell him you’re my other
daughter.
NORAH: That seems...unlikely.
DOT: Trust me, he’ll be too embarrassed about the implications
and his own assumptions, he’ll glitch out and won’t question
it.
NORAH: Very well. Let us pay our respects.
TRANSITION DOWN TO THE OUTSIDE OF THE
FENWOOD HOUSE.
WES: ...and then Rudy went to the kitchen and came back out with
a plain white mug and a magic marker, and he made us a
Fenwood House mug to complete our collection. I
think...that was the best night I had with him.
CHESTER CLAPS.
CHESTER: That was lovely.
WES: I just really miss him.
CHESTER: We all do.
WES: Can I...have a minute?
CHESTER: Sure. Take your time.
CHESTER WALKS OVER TO LILY.
LILY: That was nice of you.
CHESTER: Who is that young man?
LILY: Wes?
CHESTER: Did you hire him to look after Dot because he doesn’t seem
old enough to be a nurse practitioner?
LILY: You don’t know? Wes? Theodore Wesley? Rudy didn’t
mention him?
CHESTER: No...wait...I think...he mentioned a Wes on the phone with
you that time we...visited Fenwood while you were...away.
LILY: Broke in.
CHESTER: (CLEARS THROAT) As you say.
LILY: You’ve really never met Wes before right now.
CHESTER: Why is that surprising?
LILY: Chester...Wes is a ghost.
CHESTER: (SERIES OF INCOMPREHENDING NOISES)
THE DOOR OPENS.
LILY: Mom! You made it.
DOT: Sorry, we’re late. Just had to finish tidying up a few things.
CHESTER: I’m sorry, he’s a...
DOT: Chester, have you met Norah, my other daughter?
CHESTER: What? No. (GASP) Norah?! Other? (HYPERVENTILATING)
DOT: (TO NORAH) Told you, he’d glitch out.
LILY: Uh...Chester might need a minute. Would anyone else like
to say anything?
ABBIE: I would like to speak.
LILY: (IN UNISON) Really?
DOT: (IN UNISON) Really?
ABBIE: Yes, really. (CLEARS THROAT) I do not believe in an
afterlife. I do not believe that Rudy can hear me right now.
This is more of an exercise in expression through self-talk,
but I know, both through studies and recent practice, that
can be useful in and of itself.
Rudy was challenging. And difficult. And wrong about so
many things. Including his forgotten astronomy idea which
makes so little sense.
LILY : Abbie...
ABBIE: He was my friend. More than just...colleagues. Friends. And
I’m not sure...I ever told him that. But I’m telling you now. We
were friends. Rudy was my friend. And...I am...sad that he
is gone. I will miss him. Even though he was wrong. I will
miss him being wrong. That is all.
CHESTER: (SNIFFS) (CLEARLY MOVED) Thank you Abbie...that
was...thank you. I’m sure wherever he is...
ABBIE: Nowhere. That’s not how it works.
CHESTER: ...Rudy appreciates it. Would anyone else like to...
DOT: I guess that’s my cue. Here. Chester...you can have the
Holiday Inn. Abbie...Holiday Inn EXPRESS.
ABBIE: No.
DOT: All right, Norah can be the Holiday Inn Express. How about
Marriot?
ABBIE: I suppose.
DOT: Norah...I’ll set this down here for you. Lily, Hilton.
LILY: Because I’m fancy.
DOT: Because you’re fancy. This is for Rudy, Best Western and for
me...Motel Six. And Wes...Fenwood House.
WES: (SNIFFS) Thanks Dot.
DOT: Now...
LIQUID BEING POURED INTO A MUG.
DOT: ...everyone pass this around.
LILY: Kahlua?
DOT: It’s what we had.
LIQUID CONTINUES TO BE POURED.
Except Wes...
WES: But Dot...
DOT: You get our last can of celery soda.
POP CAN BEING OPENED AND POURED.
I think it’s what Rudy would have wanted.
WES: That’s true. He probably would.
DOT: Everyone have some? To Rudy. You may be somewhere.
You may be nowhere. But regardless, we’ll leave the light on
for you.
EVERYONE: (NOT REALLY IN UNISON) To Rudy.
CHESTER: I really shouldn’t...I’m driving.
DOT: You’re right. You’re driving.
DOT DRINKS HIS.
DOT: AH! Who wants sandwiches? Sandwiches?
Chester...sandwich for the road.
CHESTER: I couldn’t...
DOT: Did you already eat?
CHESTER: No.
DOT: Sandwich for the road. Come on...
THEY START TO HEAD INSIDE.
EVERYONE BUT LILY AND NORAH GO INSIDE.
LILY: I’m sorry. Did you want to be alone?
NORAH: No. Not really. I...like Abbie, I do not...believe he is really
here with us. Anymore.
LILY: Funny thing for a ghost to say.
NORAH: I am aware of the irony yes. But I am not really a ghost. I am
something. And whatever I am, Rudy is not that. Hence, he
is gone. And I, a dead person, have not entirely reconciled
with that. Which is also an irony. (PAUSE) Did you have
something to say?
LILY: Yeah. Well...I don’t know if Rudy can hear us. I guess, I
hope he can. I wish he can. And I wanted to say to
Rudy....to you, Rudy if you’re listening...that I’m sorry. About
what happened. I...wish I could have done more or
something, anything different...maybe this wouldn’t have
happened.
NORAH: I’m fairly certain there was nothing you could have done.
LILY: I know.
NORAH: And if Dr. Peltham were here, he would say the same thing.
LILY: I know that too.
NORAH: And if he were here, now, he wouldn’t be sad about any of
this. In fact, (BEGINS TO CRY) he’d be quite happy. Happy
that we were here with him. Remembering him. Talking to
him even if we didn’t believe he was really there. (PAUSE
FOR SOBBING) I’m sorry. I don’t know why this is
happening.
LILY: It’s okay.
NORAH: I’m losing cohesion. I need to go in before I blink out.
LILY: Okay...just one second...
SILAS (VO): Once upon a time there was a grand old farmhouse...
LILY PATS THE CAR.
LILY: (QUIETLY) Hey Rudy. Don’t worry. We’re going to be okay.
We’ll figure it out...and when we do...I’ll tell you how we did
it.
LILY TAPS THE CAR ONE LAST TIME.
I promise.
SILAS (VO): ...as tall as the trees and as sturdy as the stones.
LILY: (TO NORAH) I’m ready.
LILY AND NORAH’S VOICES MOVE INTO THE
BACKGROUND AS THEY WALK INTO THE HOUSE.
SILAS (VO): It was made from all the best wood and a fresh coat of
paint...
LILY: (OFF) You know you don’t have to walk in with me.
NORAH: (OFF) I’m operating under the theory that one can displace
strong emotions by focusing on others, so I will let you
comfort me which in turn comforts you and thereby my
feelings will also lessen.
SILAS (VO): ...and a family brimming with love...
THE SCREEN DOOR TO THE HOUSE SWINGS
OPEN.
LILY: (OFF) How’s that working for you?
NORAH: (OFF) Surprisingly well.
THE SCREEN DOOR SHUTS.
SILAS (VO): Until one day...
DISTANT THUNDER.
...the rain began.
PITTER PATTER OF RAIN ON THE DECK, GRAVEL,
AND CAR. IT SLOWLY PICKS UP FROM A FEW
DROPS TO A STEADY RHYTHM. ANOTHER,
LOUDER THUNDER RUMBLE. SLOW FADE TO
OUTRO MUSIC.