Unwell Season 3/Episode 11- Variables
by Bilal Dardai
Anger can be healthy
A really creepy laugh
It’s me
===
Content Advisories for this episode can be found here.
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This episode features: Anuja Vaidya as Norah, Michael Turrentine as Wes, David S Dear as Thomas Wesley, Regina Renee Russell as Evelyn Wesley, Joshua K. Harris as Rudy.
Written by Bilal Dardai, sound design by Alexander Danner, directed by Jeffrey Nils Gardner, theme music composed by Stephen Poon, recording engineer Mel Ruder, associate producer Ani Enghdahl, Theme performed by Stephen Poon, Lauren Kelly, Gunnar Jebsen, Travis Elfers, Mel Ruder, and Betsey Palmer, Unwell lead sound designer Eli Hamada McIlveen, Executive Producers Eleanor Hyde and Jeffrey Nils Gardner, by HartLife NFP.
INTERIOR OF THE OBSERVATORY. AN UNUSUAL ECHOING SOUND AS NORAH MANIFESTS A PHYSICAL FORM.
NORAH: I have an idea, Rudy. Please tell me you’re here for once.
(BEAT. AN UNEARTHLY SIGH.)
No, of course not. Then perhaps... perhaps let’s try this.
AN ECHO OF RUDY’S VOICE.
RUDY: “What is it, Norah?”
NORAH: Ah, there you are. I’m so glad you’re here, it’s quite helpful for me to talk to someone when I’ve had a breakthrough.
RUDY: “What is it, Norah?”
NORAH: I was reminded of a paper I read before I died. A German professor named Max Planck. Have you heard of him? Surely you have. Hold on. I need to concentrate.
SOUND OF CHALK ON THE CHALKBOARD, TENTATIVELY AT FIRST AND THEN WITH CONFIDENCE.
NORAH: As I recall correctly, this was his postulate describing the radiation of energy from an ideal physical black-body, in which energy “E” is equal to integer “n” by the frequency of oscillation “nu,” and “h” to represent Planck’s constant.
RUDY: “Yes. That sounds familiar!”
NORAH: We should also consider this in terms of the Rayleigh-Jeans ultraviolet catastrophe, correct? At thermal equilibrium “T” the black-body will radiate energy at all frequencies, with energy increasing as frequency increases.
RUDY: “Yes. That sounds familiar!”
NORAH: Although as I say it out loud, the point of Planck’s law was to resolve Rayleigh-Jeans, wasn’t it. Hm. Set that aside for a moment. The question I wish to pose is whether or not the supernatural qualities of this town and observatory in particular are affecting Planck’s observations about how a physical body might both absorb and emit energy, and whether this led to what we have been calling the “lightning strike” that killed me; that... nearly killed you.
(BEAT) In which case, we’re not simply trying to solve for the position of a star in the sky, but that we’re also trying to solve for “nu.” Does that make sense?
RUDY: “That’s amazing.”
NORAH: It’s not amazing yet, but I do think we can get there with a little work.
RUDY: “This is remarkable, Norah.”
NORAH: Oh very well. “Remarkable” seems more accurate. Thank you, Rudy.
(BEAT) Yes, I understand why you do that now, with your students. Spencer and Judith and such. It is quite useful.
(BEAT) Rudy, I will say this now, and I will make sure you hear it later. I am very, very upset with you. I took you for someone who finished what they began. Whatsoever intrigues you are now engaging in your secret society, I believed your dedication to the discipline would come first. Perhaps I misjudged you, and perhaps it is best if we do not continue our collaboration. Your colleague Abbie may be more suitable for the work we have been doing.
PAUSE. AN ECHO.
NORAH: “I am very, very upset with you. I took you for someone who--”
NORAH: Yes. That seems both firm and clear. Upon your return we shall see what you have to say about it.
THE CHALK CLATTERS TO THE FLOOR.
NORAH: Damn. Keep focus, you graceless phantom. What if that had been glass? What if it had been a lens? Then where would we be?
(BEAT) Practice, then. As Abbie suggested. How did they describe it? Juggling, I think? Yes. Juggling. Start the first task. Add the second. Add the third.
NORAH PICKS UP THE RUBBER BALL AND BOUNCES IT AGAINST THE FLOOR A FEW TIMES.
NORAH: First task.
THE BALL BOUNCES OFF THE FLOOR, OFF THE WALL, AND IS CAUGHT. THIS TASK REPEATS A FEW TIMES, AND PICKS UP A RHYTHM.
NORAH: (AS SHE THROWS THE BALL) Good. All right. Add the second.
(SHE BEGINS TO HALF HUM, HALF SING THE IRISH FOLK SONG “MOLLY MALONE” IN RHYTHM TO THE BALL’S BOUNCE.)
“In Dublin’s fair city, hmm hmm hmm so pretty, hmmm hmm hmm hmm hmm hmm sweet Molly Malone... as she pushed her wheelbarrow, hmm hmm hmm hmm so narrow, crying cockles and mussels, alive, alive-oh!”
SHE SINGS THE CHORUS MORE CONFIDENTLY. MIDWAY THROUGH THE CHORUS, WES’S VOICE JOINS IN, AND NORAH’S CUTS OUT. THE BALL BOUNCES AWAY.
NORAH: “Alive, alive-oh! Alive, alive-oh!”
NORAH AND WES: “Crying cockles and mussels, alive, alive-oh!”
PAUSE. NORAH PLAYS BACK THE ECHO. WES’S VOICE CANNOT BE HEARD ON IT.
NORAH: “Crying cockles and mussels, alive, alive-oh!”
NORAH: Wes? (BEAT) Wes, it’s you, isn’t it?
(BEAT) I didn’t hear you come in.
WES: I don’t need doors. You know that. You’re the one who told me that.
NORAH: I was hoping you’d come back. Please talk to me.
WES: I’m not ready to talk to you.
NORAH: Can I see you, at least?
WES: I’m thinking about how to punish you.
NORAH: ...I see.
NORAH PLAYS AN ECHO OF THE MOMENT WES LEARNED HE WAS A GHOST. WES IS NOWHERE WITHIN IT, AND THE GAPS ARE NOTICEABLE.
NORAH: “How do you do it? --- How do you eat, how do you tie a rope, how do you leave. --- But you’re dead.”
WES: Yes. That’s what you said.
NORAH: I wasn’t... I didn’t consider how...
WES: I thought about how I could scare you.
NORAH: Scare me?
WES: Like I thought maybe I would haunt you and see how you liked it. See if you could still do all of the, your astronomy stuff with another ghost haunting you all the time. I have a really evil laugh, do you know that? I was working on it for a month so that I could win the Evil Laugh Contest at Dot’s Halloween party. It’s really good. You want to hear it?
NORAH: All right?
WES: I don’t care what you want. But it would terrify you. The acoustics in here? Terrify you.
NORAH: Wes.
WES: That’s not even my name! Did you know that? You know so much about me and you didn’t even know that’s not my name, did you? It’s Theodore! Theodore Wesley! Born nineteen thirty-seven, died nineteen fifty-four!
NORAH: Theodore, then.
WES: (AFTER A LONG PAUSE) No. No. Theodore was... or Teddy. Somebody used to call me Teddy. That was before I knew. Before you told me.
NORAH: Wes, then.
WES: Wes.
PAUSE. AN UNUSUAL ECHOING SOUND AS WES MANIFESTS A PHYSICAL FORM.
NORAH: There you are.
WES: Here I am.
NORAH: Are you... still here to punish me?
WES: No. I was never able to get that evil laugh right anyway.
(WES LETS OUT AN EVIL LAUGH, BUT IT’S STILL A BIT ADORABLE.)
See? Dot heard me practicing, and she said, “Wes, evil is something you feel in your marrow, and I don’t think you have a wicked bone in your body.” Which is true, turns out, because I don’t have any bones in my body. Because I don’t really have a body. Or. Whatever this is I have? It’s all still a little confusing. After you told me, it was like I had some memories come back of who I was when I was Theodore, but they’re mixed with the memories of who I’ve been as Wes, so, it’s like, it’s all a little, um. Puzzle pieces. You know?
NORAH: I do apologize, Wes. When I told you, I was still... I thought we should be the same, but you were so different, and I couldn’t understand how you could be so different, and I was perhaps also a little envious?
(BEAT) No. Please. Let me start again.
WES: Okay.
NORAH: When I told you that you were a ghost I was being selfish. I was looking at you as something to solve. You were the second person I’d hurt that way. With my narrow vision. Looking with one eye through the lens of my own curiosity.
WES: I did need to know.
NORAH: Maybe you did, but I should not have been the one to tell you. And not that way. Dot, and Abbie, and Lily. They cared about you. They still care about you.
WES: I still care about them.
NORAH: They could have told you without breaking you into a thousand pieces. Like I did. So I apologize to you, for all of it.
WES: Thank you, Norah.
A LONG PAUSE.
NORAH: How do you know that song?
WES: Which song?
NORAH: “Molly Malone.” The one I was singing.
WES: I remember... my mother used to sing that song. It was something in the book she gave to her beginning piano students. I asked her what cockles and mussels were and she said they were like clams, and you could eat them, but she’d never had one before.
NORAH: They are like clams.
WES: Are they good?
NORAH: I only tried them once. I did not find them appealing.
(BEAT) When I was a child, I could hear the fishermen, the grandfathers and fathers and sons, returning from the River Charles with whatever they had caught on their lines. Carp and perch, mostly. No cockles, no mussels. They sang that song through the streets like soldiers returned from war. My mother closed the windows and named them for drunken savages. I grew to love the melody and the story it told.
(BEAT. SHE SINGS, SOFTLY.) “Now her ghost wheels her barrow, hmm hmm hmm so narrow...”
(BEAT) Oh. I hadn’t... that’s quite funny, isn’t it. A ghost singing about another ghost.
WES: You’re not Irish.
NORAH: Not in the slightest.
WES: Me neither. That’s also a little funny.
(BEAT) You said I was different. Because I could hold things, and eat, and because I could walk anywhere, right?
NORAH: Yes. But also because I cannot hold your echoes.
WES: What does that mean, hold my echoes?
NORAH: Listen.
A BRIEF MONTAGE OF VOICES; LINES THAT NORAH, LILY, ABBIE, RUDY, AND DOT HAVE SPOKEN IN THE OBSERVATORY.
ABBIE: “Ugh, Saturn...”
NORAH: “There is a lesson to be learned.”
LILY: “Watch how fast I do this.”
RUDY: “I'm glad you asked, Spencer.”
ABBIE: “His name is Wes.”
DOT: “I gave you an errand.”
WES: Except for me.
NORAH: I wish I knew why.
WES: I heard you in there. Am I the only ghost you can’t do that with?
NORAH: I don’t know. You’re the first one who’s come here.
WES: I’ve met Joey. She’s been childhood best friends with both Lily and Spikes. Dot too, I think.
NORAH: There’s one named Tim. Abbie has met him at an eating establishment called Hunter’s.
WES: I do know Hunter’s.
NORAH: It is an evil place, from what I could hear.
WES: And there’s an old man with two dogs.
NORAH: Him. Yes. I have heard him called Silas. Those two from the Delphic Order also refer to him as The Revelator.
WES: “Beware the one in the night.”
NORAH: Sorry?
WES: Nothing. I thought I’d heard... never mind. It’s gone.
NORAH: Five of us, then. No one else?
WES: No people. But there might be some wolves and some birds that are also ghosts. And my house.
NORAH: Your house?
WES: The house I grew up in. 1974 East Oak Street. I went to see it and it disappeared. I remembered being there. I think I died there. I don’t know if I remember being there from when I was alive,
NORAH: Five people, several animals, and a house. This is a very unusual data set, but let us see what we can make of it, shall we? Come, over to the chalkboard, please. I should write this down, since I won’t have your echoes to listen to later.
ONE SET OF FOOTSTEPS WALKS OVER TO THE CHALKBOARD.
NORAH: I simply need to erase... (A SMALL VOCALIZATION AS SHE CONCENTRATES ON PICKING UP THE ERASER) ...erase...
WES: Do you need help with--?
NORAH: --no, I need to practice this.
WES: You’re doing great.
NORAH: Thank you.
A CLATTER AS CHALK AND ERASER LAND ON THE FLOOR.
NORAH: Damn.
WES: Norah, I’m happy to--
NORAH: (SNAPPING) --I can do it! Let me do it!
(BEAT) I just need to focus a little more.
(BEAT) Little more. (A CRY OF FRUSTRATION)
WES: Norah. You don’t have to do this on your own.
NORAH: (GRUDGINGLY) Would you, please?
WES: Should I save any of this?
NORAH: I have it already.
THE CHALKBOARD IS HASTILY ERASED.
WES: Do you want to write it?
NORAH: No. If you could. It seems to come so much easier to you.
WRITING ON CHALKBOARD.
NORAH: You said you were alive from 19...
WES: 1937 to 1954.
NORAH: I lived from 1880 to 1911. Joey...?
WES: She didn’t say.
NORAH: Silas.
WES: I didn’t ask.
NORAH: Tim. Tim. Abbie would know.
(BEAT) Tim seems to be tethered to Hunter’s, as I am to the observatory.
WES: I think Joey’s connected to the Witch’s Altar. It’s a sort of, a flat rock in the middle of a field.
NORAH: And Silas, I have gathered, may not enter the boundaries of the town itself.
WES: I don’t know if that’s true anymore.
NORAH: I see.
(BEAT) The dilemma is that our equation is made entirely of variables. The only constant is that each of us are ghosts, but the nature of a ghost is, itself, a variable. May I try the chalk again?
WES: Please do!
NORAH HOLDS THE CHALK AND WRITES WITH IT CONFIDENTLY.
NORAH: Since we cannot solve what makes Wes, “W,” distinct from other ghosts “g” without determining a singular value for “g” we are unable to consider this problem in a wholly quantitative manner.
WES: ...okay?
SHE DRAWS A SERIES OF CONCENTRIC OVALS ON THE BOARD. OTHER LINES ON THE BOARD AS NECESSARY.
NORAH: So what if we visualize the data another way. Perhaps we think of Mt. Absalom as a sort of star system. These landmarks we discussed: The observatory, the witch’s...
WES: Witch’s Altar.
NORAH: The observatory, the Witch’s Altar, Hunter’s diner. These are as planets in the Absalom system. Which means that Tim, Joey, myself, we are the satellites of these planets.
WES: Moons.
NORAH: Yes. And like moons, we may appear intermittently, when conditions align, when we are in a position to reflect light.
WES: Wait, so does that mean... does that mean that sometimes you’re not even here?
NORAH: Uncertain. There are very long silences in my collection of echoes, come to think of it.
WES: So if you’re a moon, then what is Silas?
NORAH: An asteroid, perhaps? Or a comet, whose path has shifted.
WES: ...and what am I?
NORAH: Something else. But what.
(BEAT) 1954, you said. That was the date on your tombstone?
WES: Yeah.
NORAH: So unlike me, you did not become a ghost immediately after your death. Otherwise, you would have wandered Mt. Absalom for 50 years and would have realized before I ever had a chance to tell you.
WES: Probably.
NORAH: So we arrive at the essential question: What is the first thing you remember...after 1954?
A FLOURISH LINE ON THE CHALKBOARD, FOLLOWED BY A LONG PAUSE.
WES: I remember. I remember walking up to the front door of Fenwood House. That can’t be right, can it?
(BEAT) No. That’s what I remember. I walked up the steps and knocked on the door. Dot opened the door, and I said, “Hi there, I’m Theodore.”
(BEAT) I said “Theodore.” I did. And then I said “But call me Wes.” She laughed at that. Said something, something sarcastic, like she does. (BEAT) And then she forgot about it. And I was just Wes. Then... then I forgot about it.
(BEAT) I forgot that I was Theodore Wesley. I forgot that I lived at a house on Oak Street. I forgot that, that my. My dad. My mom. Thomas and Evelyn Wesley. I knew I had a dad and a mom but I forgot their names. Why did I forget their names? That’s not right. You can’t, you shouldn’t have to come back from the, the dead and forget the people who used to love you, that’s not right!
(PAUSE) I told Dot that I heard she needed help, and I was there to help her. She said she didn’t know how I knew that, but I was right, and she asked me to come in. Except I don’t... I don’t remember hearing she needed help. I walked up to the door and I just knew.
(BEAT) Thomas and Evelyn Wesley. She was a music teacher and he was a supervisor in the bottling works. Thomas. Evelyn. Theodore.
A WHOOSH AS WES DISAPPEARS AGAIN. HE CAN BE HEARD SOBBING, QUIETLY.
NORAH: Theodore?
WES: I told you it’s Wes.
NORAH: I did not mean to upset you. Again.
WES: You’re not upsetting me. It’s not you, don’t you get it? It’s, it’s all this. Ghosts! Mt. Absalom! Why is it me? Why did I come back? What even am I? I don’t even know how I died!
NORAH: Is that something you wish to know?
WES: I don’t know! Maybe!
NORAH: I know exactly how I died. It has not given me comfort.
PAUSE. AN UNUSUAL ECHOING SOUND AS WES MANIFESTS A PHYSICAL FORM.
WES: You’ve been a ghost longer than me. What do we want?
NORAH: Again, that seems variable. Silas wants entrance to the town, I wanted to repair my telescope. You wanted to help Dot.
WES: But I didn’t know Dot. I don’t know if she was even alive in 1954.
NORAH: So if we ask what is peculiar about Dot Harper, then we may learn what is peculiar about you. Hm. A deeper mystery. (BEAT) Oh my.
WES: What?
NORAH: “Mystery.” That’s why it sounded familiar.
WES: What sounded familiar?
NORAH: Thomas and Evelyn, you said.
WES: Norah, what are you talking about?
NORAH: I believe your parents were here once. In this observatory.
A SERIES OF ECHOES AS NORAH CYCLES THROUGH SEVERAL DIFFERENT VOICES, SOME OF THEM SAYING THE NAME “THOMAS,” “TOM,” OR “TOMMY.”
THE SERIES STOPS ABRUPTLY.
NORAH: Wait. Do you want to hear this?
WES: Are they... were they okay?
NORAH: I couldn’t say for certain.
WES: (AFTER A MOMENT) Please let me hear them.
A SERIES OF ECHOES AS NORAH CYCLES THROUGH VOICES. WE HEAR THOMAS, WES’S DAD, TALKING TO HIMSELF. THE ECHOES GRADUALLY SOUND MORE LIKE A STRAIGHT-UP FLASHBACK.
THOMAS: “...but why does he keep coming back here?”
WES: Oh. That’s him. Dad.
THOMAS: “Something in here. Something hidden, maybe?”
EVELYN: “Thomas?”
WES: Mom...
SOUND OF THE OBSERVATORY DOOR OPENING. EVELYN WALKS IN.
EVELYN: “You’re here.”
THOMAS: “Trying to figure something out.”
EVELYN: “Bennett Kipner called our house to check on you. Said there was some concern, what with you calling in sick two nights in a row.”
THOMAS: “What did you tell him?”
EVELYN: “What do you think I told him? I told him that I was concerned too, but he didn’t want a floor manager coming in sick, and there’s nothing to do for a virus except to let it run its course.”
THOMAS: “That’s good. That’s good Evelyn.”
EVELYN: “Oh, you think we’re done, Thomas Wesley? We’re not done. You may have told work that you were sick, but you sure as hell forgot to tell me.”
THOMAS: “I just needed to--”
EVELYN: “--what. You needed to sneak off to the old observatory in the middle of the night for no good reason.”
THOMAS: “I have a reason.”
EVELYN: “I know you think you have a reason.”
THOMAS: “I have watched Arthur Warren coming up here once a week for a month now and I have no idea what business it is of his.”
EVELYN: “And what business is it of yours?”
THOMAS: “It’s the Delphic Order, Evelyn! There’s something they want in here, or something they’re hiding in here, or--!”
EVELYN: “--stop it. Thomas. Stop.”
THOMAS: “Evelyn!”
EVELYN: “This isn’t about the Delphic Order.”
THOMAS: “It is.”
EVELYN: “Then I don’t care if it’s about the Delphic Order. I care about my husband, who’s been off chasing whatever mystery he can find ever since Theodore died.”
THOMAS: “This doesn’t have a thing to do with Teddy. We know what happened to him.”
EVELYN: “I know. That wasn’t any mystery to solve. If it was, that’s what you’d be doing. And since you can’t, you’re doing this instead. Because it’s what you’d be doing with him, if he was still living.”
THOMAS: (AFTER A PAUSE) “I miss him, Evelyn.”
EVELYN: “I know.”
THOMAS: “I miss our boy.”
EVELYN: “I know. Come home. You don’t have to do this on your own.”
WES: That’s it? That’s all you have?
NORAH: He was here a few other times. But quietly.
WES: What he was saying about the Delphic Order... did he find out anything else?
NORAH: I only have what’s spoken in this room. I’m not like you. I’m limited. I can’t see what happens beyond the observatory.
(BEAT) Did that help you?
PAUSE.
WES: Why can’t you?
NORAH: I’m sorry?
WES: You keep saying that. That you can’t leave.
NORAH: Because it’s true.
WES: But you’re also catching balls and picking up chalk, which you couldn’t do before. You worked at it and now you can do that.
NORAH: Yes, but that’s not the same thing as, as...
WES: But why not?
NORAH: Picking up chalk isn’t...
WES: But why not.
NORAH: What are you doing?
WES: Do you want to leave the observatory?
NORAH: It doesn’t matter if I do. I’m unable.
WES: How do you know that?
NORAH: I simply do.
WES: You tried to walk out the door, and something pushed you back.
NORAH: No.
WES: Did you try?
NORAH: You think it’s that easy? What do you know? In here I know I exist. In here I have function, I have purpose. I have my telescope. You didn’t know you were a ghost before, you only knew you were compelled to help Dot Harper, which meant you needed to be anywhere that she was. As soon as you knew the truth about yourself, what happened to you?
WES: I vanished.
NORAH: That’s right!
WES: But I came back. I wandered and I listened and I thought about what I knew, and I came back.
NORAH: We are different.
WES: We are. I don’t know if we’re as different as you think we are. Maybe we’re not any kind of moons. Maybe we have choices.
NORAH: ...what if?
WES: Yes.
NORAH: What if instead of mass, we were energy?
WES: I don’t know if I fully understand, but let’s go with it, okay?
(BEAT) Let’s try it like you were doing before. One task at a time? Like juggling?
NORAH: Juggling.
WES: Put the chalk down.
NORAH: The...? Oh. I didn’t realize I was still holding it.
WES: You see? (BEAT) Here. Start with my hand.
NORAH: What?
WES: Take my hand, Norah.
NORAH: Oh. (BEAT) Oh! I can... I can feel you. How odd. Your hand is warm. I thought...
WES: You thought I’d feel dead.
NORAH: Yes.
WES: I don’t get it either. You ready?
NORAH: For what?
WES: We’re going to walk out the door.
NORAH: Oh. Oh, I don’t know.
WES: You’re a ghost. I’m a ghost. I have footsteps and I can pick things up. So maybe you can, too.
NORAH: Maybe I can be a ghost like you’re a ghost, you’re saying.
WES: Maybe. Let’s try. The door’s like 30 steps that way. Can you still feel my hand?
NORAH: Yes. All right. Let’s try.
WES AND NORAH WALK TOWARDS THE OBSERVATORY DOOR. WE CAN HEAR WES’S FOOTSTEPS ALONG THE FLOOR. A FEW STEPS IN, NORAH BEGINS TO CALM HERSELF BY HUMMING “MOLLY MALONE”.
A FEW MORE STEPS IN, WES BEGINS TO HUM WITH HER. HALFWAY ACROSS THE FLOOR, WE CAN HEAR NORAH’S FOOTSTEPS AS WELL AS WES’S. THE DOOR TO THE OBSERVATORY BEGINS TO OPEN.
NORAH: No. Let me try.
WITH SOME SMALL EFFORT, THE DOOR TO THE OBSERVATORY OPENS.
IT IS A CLEAR, CRISP WINTER NIGHT OUTSIDE THE OBSERVATORY. NORAH GASPS IN SURPRISE.
NORAH: Oh. Oh goodness. I haven’t seen them all at once like this in so long.
WES: Mt. Absalom is a dark sky community. Rudy told you that, didn’t he? Or somebody?
NORAH: Yes, I knew what it meant, but I... I did not know what it meant.
(BEAT) Oh, I’ve missed seeing them like this. Can we please keep walking?
WES: Do you want to keep holding my hand?
NORAH: No, let me try without... but please, keep walking with me?
WES: If you keep walking with me. Deal?
NORAH: Yes. All right. Thank you.
WES AND NORAH CONTINUE WALKING UNDER THE SKY ACROSS THE FIELD. BOTH FOOTSTEPS CAN BE HEARD ON THE STIFF, FROSTED GRASSES AND PATCHES OF SNOW. THEIR FOOTSTEPS FADE INTO THE DISTANCE AND INTO SILENCE.
AFTER SEVERAL MOMENTS, A TRANSITION TO CREDITS.
POST-CREDITS.
WE HEAR WES’S FOOTSTEPS APPROACH THE STEPS OF FENWOOD HOUSE. HE CLIMBS THE FRONT PORCH STEPS. HE KNOCKS ON THE DOOR. HE KNOCKS ON THE DOOR AGAIN. AN ANNOYED RUCKUS OF NOISES FROM INSIDE, AND STEPS RUSHING DOWN THE FRONT STAIRS. THE DOOR OPENS, THE BELL RINGING.
DOT: (ASLEEP, BUT COMING QUICKLY ALERT) Wes?
WES: Hello, Mrs. Harper. I’m Theodore Wesley. Call me Wes.
END