Jack’s Lantern
By Carlin Salisbury

Characters

Tom O’Leary, 30s
Jack O’Leary, 30s, older than Tom
Elizabeth Kingston, psychiatrist
Kayla Ellis, late twenties
A Reporter, played by the actress portraying Kayla
Erin Kent, a detective, played by actress portraying Dr. Kingston
Oliver James, a detective played by actor portraying Jack

SCENE ONE

SETTING: Tom’s apartment. No one is one stage.

Enter TOM, returning from work. He throws his jacket and backpack on the couch and enters kitchen. He pulls out a bottle of whiskey and sets it on the counter before getting a glass. He goes to the freezer to get ice. Opens freezer door towards audience. Pause. Closes freezer door. Takes deep breath, steels himself. Opens freezer door. Slams it shut and leaps backward.

Enter JACK from the bedroom. He moves toward the couch to turn on TV. Notices that TOM is staring at the freezer.

JACK

What’s wrong with you?

TOM (gesturing at freezer)

Did you put that there?

JACK

Put what where?

TOM

The head. The freezer. Did you put a head in my freezer again?

JACK

Oh yeah, I forgot about that. You can throw that out, if you want.

TOM

What the fuck is the matter with you?!

JACK

What?

TOM

You can’t just—

JACK

Yes?

TOM

You can’t just... chop off somebody’s head and stick it in my freezer anytime you want!

JACK

Well obviously I can, because I did.

TOM

Who is he?!

JACK

I dunno.

TOM

How can you have no qualms about this? How is this not a big deal for you?

JACK

It just isn’t.

TOM

No, I’m done covering for you, Jack. I’m calling the cops.

JACK

You might wanna call Dr. Kingston first.

TOM

Oh yeah...

JACK

That’s right.

TOM

We don’t want a repeat of what happened last time...

JACK

No, we don’t.

TOM

Because you’re dead.

JACK

I was executed last May.

TOM

Lethal injection.

JACK

So what are you going to tell the cops? That your dead brother stuck a head in your fridge? How did that work out last time?

TOM

There was no head.

JACK

There was no head.

TOM

Is there a head now?

JACK

That head is as real as you or me.

TOM (approaching the couch)

Turn on the news!

JACK

What for?

TOM

Just humor me.

JACK hits the remote and the TV crackles to life.

REPORTER (O.S.)

—but we have been told that both the kitten and the polar bear were unharmed. In other news, serial killer Jack O’Leary, also known as Jack the Hacker, enters urban legend history today as a copycat murder occurred in Redmond today. The police have not released details of the victim, but we do know that it was a male who has been decapitated and positioned in front of his television set—

TOM switches off the television set.

TOM

You didn’t...

JACK

I did.

TOM picks up his phone and dials.

TOM

Yes, Dr. Kingston?... I think it’s happening again... Yup. In the freezer. Just like last time... I’ll need you to come over right away.

There is a knock at the door.

TOM

That was fast...

He answers the door. Kayla pushes her way past him inside.

KAYLA

Oh my God, Tom! Are you OK?

TOM

I...

He searches for JACK, but his brother has vanished.

TOM

Wait! What are you doing here? You should leave.

KAYLA

I cam right over as soon as I heard about what happened. How are you doing?

TOM

You heard about what—I mean, what... what happened, exactly?

KAYLA

You haven’t heard?

TOM

You’re being very vague and ominous. I don’t like it.

KAYLA

It’s all over the news! There’s a copycat on the loose, and he’s chosen your brother as his idol.

TOM

Oh. That. Yeah, I heard, um... I was just about to go and, um... do something...

KAYLA

Well, you’re certainly not going anywhere tonight, that’s for sure. You look like shit! (Moving to the kitchen) Sit down, I’ll get you something to drink. Ah, I see you’ve already broken open the whiskey. On the rocks, right? That’s how you like it? Let’s get you some ice—

TOM

NO! I mean, um, no, I just recently... I’ll just take it straight up thanks.

KAYLA

Suit yourself. (She begins to pour two glasses of whiskey.) So what do you think about all of this? I mean, how long has it been since your brother was executed? And now this murder today! It’s gotta be freaking you out. Talk to me, baby.

KAYLA finishes in the kitchen and enters the living room, handing a glass of whiskey to TOM, who hasn’t answered her questions.

KAYLA

I mean, honestly, what do you think about all of this going on? I know that you and your brother were, once upon a time, pretty close.

TOM

Mega close. When we were kids, though.

KAYLA (excited)

Do you feel like you should have known? Should have done something to save those people? Did you expect him at all, I mean... you did know him better than anyone else.

TOM

No. I always knew Jack was a little... abnormal, but I never thought that he would... I mean, he was such a people person. If it wasn’t for him, I would have never left the apartment. He had friends all around town, he liked to go to parties, and, well, when you live with a guy for so long you begin to notice their bad habits and killing people wasn’t a habit of Jack’s that I really noticed.

KAYLA (gestures at the Locked DoorK1 .)

What’s in there?

TOM

Nothing.

KAYLA

I’ve been to your apartment a dozen times by now, Tom. I’ve spent the night here. But every time I come and I try to open that door, it’s locked. What’s in there?

TOM

I told you, nothing. It’s storage space, just a bunch of boxes and cobwebs.

KAYLA

You wouldn’t lock the door if it was nothing.

TOM

What are you implying?

KAYLA

This is the same apartment you used to share with your brother, right?

TOM

It’s late. I have to go in early tomorrow to pick up new ink. We’re out of black and red.

KAYLA

Which room was you’re brother’s room?

TOM

You need to leave.

KAYLA

It’s seven o’clock.

TOM

Time for bed.

KAYLA

For a three-year-old. Tom, what’s going on with you?

TOM

I’ll tell you what’s going on with me, Kayla. What’s going on with me is that someone has decided that I need to “talk about my feelings,” feelings that I have successfully dealt with on my own without a prying girlfriend who snoops around my apartment trying to open locked doors while I’m sleeping.

KAYLA

I just thought you might want—

TOM

I have a psychiatrist to tell me what I want, Kayla. Jack is dead. So there’s a copycat killer out there, so what? It has nothing to do with me, does it? Go home.

KAYLA

But...

TOM

Go!

KAYLA

When can I see you again?

TOM

When will you stop asking me about my dead brother?

KAYLA

OK, OK, I’ll stop talking about him! I just want to see you! Baby, I’m just worried about you.

TOM

I wish you would stop using that term for me. It’s so pedophilic.

KAYLA

What term? “Baby”?

TOM

You don’t see the disturbing pathology in calling your lover “baby”?

KAYLA

I think sometimes you read a little too much into things, Tom. You take the fun out of everything.

TOM

If I take the fun out of everything, Kayla, then why are you still with me?

KAYLA

Because you see the truth in things, too.

TOM

Weren’t you leaving?

KAYLA

Just on my way out.

KAYLA doesn’t move for a moment as they stare each other down. There is a knock at the front door.

TOM

Goodbye, Kayla.

KAYLA

Come to a movie with me tomorrow?

TOM

I said goodbye, Kayla.

TOM opens the door to reveal DR. KINGSTON. TOM watches KAYLA until KAYLA moves past DR. KINGSTON and out the door.

DR. KINGSTON

Was that Kayla?

TOM

That was Kayla.

DR. KINGSTON

Did you tell her about the head?

TOM

No.

JACK is sitting on the couch again, watching them. TOM knows he is there.

DR. KINGSTON

Alright then, let’s have a look at this head of yours...

She moves to the kitchen and opens the freezer door where she examines its contents. TOM watches from a distance. DR. KINGSTON closes the door.

DR. KINGSTON

Well it’s a good thing you called me before the police this time.

TOM

There is no head?

DR. KINGSTON

There is no head.

TOM

Oh, thank God!

DR. KINGSTON

But I would like to discuss why you keep seeing this head in your freezer. It’s obviously connected with your brother.

TOM

Gee, ya think?

DR. KINGSTON

Was it the same head as last time?

TOM

I... I don’t know. I can’t remember what it looked like last time.

DR. KINGSTON

What did it look like this time?

TOM

I’m not sure. It was kind of generic. Plane face, black hair... He had a Greek nose. He seemed kind of familiar, actually.

DR. KINGSTON

Odds are it was a manifestation of your subconscious, like your dreams. So it would be someone you’ve seen before, most likely.

TOM

Doc, there’s this other thing...

DR. KINGSTON

Yes, Tom?

TOM

I’m, um... I’m seeing Jack. He talks to me.

DR. KINGSTON

I see. And what does he say, Tom?

TOM

Normal things, the kind he’d say when he was alive. He just haunts my apartment all day like a ghost. I think he is a ghost, Dr. Kingston.

DR. KINGSTON

You’re rationalizing things, Tom. You know there’s no such thing as ghosts.

TOM

Did you hear about the dead guy they found in Redmond?

DR. KINGSTON

... Yes, I did.

TOM

Jack says he did it.

DR. KINGSTON

Tom, I think it may be time that you spend some time at Sun Oak’s. Just for observation.

TOM

I’m not crazy, Doc, I swear he’s real. I know because he’s not just affecting me, is he? He’s killing people in Redmond.

DR. KINGSTON

Are you taking your medication, Tom?

TOM

Yeah, I’m not stupid.

DR. KINGSTON

Well, it’s obviously not working for you. Come down to Sun Oak’s, just for a few days.

TOM

I don’t mind seeing all the psychiatrists you want me to see, Doc. And I will take whatever pills you want me to take. But please don’t lock me up in some nuthouse.

JACK

Maybe she’s right, Tom. Maybe you deserve to be locked up.

DR. KINGSTON

I just want to see how you do in a social environment. Maybe these delusions will go away if you have real people to interact with.

JACK

Being imprisoned sure did wonders for me.

TOM

I’m not a criminal.

DR. KINGSTON

I’m not saying you are, Tom. I just want to help you.

JACK

Do you think they helped me, Tom? Do you think I’m all better?

TOM

That place is like a prison.

DR. KINGSTON

No it isn’t. It’s quite comfortable, I assure you. You’ll even have your own room.

JACK

Yup, with little white padded walls.

TOM

I can’t think—

JACK (overlapped by DR. KINGSTON)

Why I’ll bet they’ll even get you your own cute little jacket with those adorably long sleeves that tie behind your back. How precious!

DR. KINGSTON (overlapping JACK)

It’ll just be a few days. I’ll prepare a different prescription, maybe change the dosage. There’s this new experimental drug that I’ve—

TOM

Stop it! Just... stop talking. Please. (Dr. Kingston says nothing.) Not you... I mean... What did you say?

DR. KINGSTON

Stay at Sun Oak’s for one night. I’ll take another look at your prescription and see if we can’t try something else. OK?

TOM

OK.

DR. KINGSTON

Why don’t you come in tomorrow, around three o’clock?

TOM

Sure.

DR. KINGSTON (on her way out.)

I really think this will help you, Tom.

TOM

Whatever.

DR. KINGSTON

See you tomorrow.

DR. KINGSTON exits.

JACK

Well look at you, all grown up. My little brother, the schizo.

TOM

My big brother, the psychopath.

JACK

Aren’t we a pair?

Lights to black.

SCENE TWO

SETTING: Lights up on Tom’s apartment, later that evening. TOM has fallen asleep on the couch. There is a loud, startling banging on his front door and TOM falls off the couch. He tries to ignore it, but it is relentless. Begrudgingly, he answers the door. KAYLA barges in, distressed.

KAYLA

I just came from the police.

TOM

What were you doing there?

KAYLA

That doesn’t matter right now, what matters is they’ve found a second body washed up at Gas Works from Lake Union. They say it’s been there for weeks.

TOM

That’s great, Kayla, but I don’t—

KAYLA

You think that’s everything?

TOM

Fuck, Kayla, I don’t give a shit. Would you just leave and tell me all this in the morning?!

KAYLA

The Redmond corpse has a tattoo.

TOM

Is it dedicated to his Mom?

KAYLA

It’s a Jack O’Lantern. Didn’t you say you needed more orange and black ink?

TOM

Red and black, Kayla—What the fuck is this about, get out of my apartment!

KAYLA

You’re a tattoo artist, Tom. And I recognize your style.

She walks over to the coffee table and pulls a book out from under some magazine. She throws it open and points to something.

KAYLA

There, you see? That’s his tat!

TOM

God dammit, Kayla, there are at least a dozen tattoo artists I know of who can ink a fucking Jack O’Lantern like that. It’s not difficult. And even if I did do it, what does that prove?

KAYLA

The body in Lake Union was too far gone to tell, but he had a bandage on his upper arm and welts that suggest he’d just gotten inked himself.

TOM (becoming violent)

How the hell do you know all this anyway, Kayla, huh? Are you a fucking cop? Are you spying on me? Is that why you’re snooping around my apartment? Is that why you keep asking about my brother? Do you think I’m crazy, Kayla? Well, do you?!

KAYLA

Tell me how you did it.

TOM

What?!

KAYLA

Tell me how you killed those men. And why.

TOM

Get out of my apartment, you fucking cunt.

KAYLA

It’s not what you think—

TOM

It’s not what you think either. If you’re going to accuse me of being a serial killer in my own apartment, then you are not my friend, let alone my girlfriend.

KAYLA

I always knew you and your brother were close, but I never realized you were—

TOM (seizing her)

No, don’t you fucking dare, Kayla. Don’t you even begin to—

She interrupts him with a kiss, which turns angry, almost violent as he returns it before breaking it by pushing her furiously away towards the door.

TOM

You are too twisted. Go home. Don’t come back.

KAYLA

If I’m not coming back, can I go get my toothbrush?

TOM

Forget the fucking toothbrush.

KAYLA

It’s electric, and I don’t want to—

TOM

Fine. Just stay right there. I’ll go get your damn toothbrush.

TOM exits. KAYLA watches him. JACK enters, watching KAYLA. KAYLA edges over to the Locked Door, by which JACK is standing. SHE looks at HIM. HE smiles as he opens the Locked Door. She sneaks inside and JACK slams it shut behind her. TOM reenters as JACK exits.

TOM

Kayla?... So I did hear the door.

Lights to black.

SCENE THREE

SETTING: Lights up on Tom’s apartment, the next morning. There is knocking at his door. TOM, having just woken up, goes to open it, revealing DETECTIVE KENT and DETECTIVE JAMES. JAMES flashes his badge and marches in, surveying the room.

TOM

What the—

DETECTIVE KENT

You’ll have to forgive my partner, Tom, he’s a little... abrupt.

JAMES is examining his apartment, touching things. He stumbles upon TOM’s book of tattoos and flips it open.

TOM

Hey, I have rights you know!

DETECTIVE JAMES

It’s interesting that you believe that. You see, I think that if you can take someone’s life so callously, you shouldn’t have those rights.

TOM (to KENT)

What’s he talking about?

KENT

It’s been a while, Tom, how are you?

TOM

Right now? Pretty pissed off. What’s he doing? Why are you here?

KENT

My name is Detective Kent, I’m sure you remember me from—

TOM

You worked my brother’s case, yeah, I remember. You were here dozens of times until you finally dragged his ass away.

KENT

Do you resent that?

TOM

Hell no! He was a fucking serial killer!

JAMES

I guess it runs in the family.

TOM

You shut the fuck up! Who the hell are you anyway?

KENT

This is Detective James.

JAMES (insincerely)

It’s a pleasure.

TOM

Believe me, pleasure’s all mine... Now, would you take your hands off my stuff, please? (To KENT). Why are you here?

JAMES

We just want to ask you about the two men you inked and decapitated.

TOM

I was talking to her, thank you. Wait— what?

KENT

What my partner is trying to say is that one of your clients was named Damien Mikos. He was found in Redmond yesterday missing his head.

TOM

You’re shitting me.

JAMES

You didn’t think we could link him back to you? And here I was thinking that a killer like you would be smart.

TOM

No, I mean... I can’t... I don’t remember—

KENT

You don’t remember Mr. Mikos coming into your shop?

TOM

No. No, I mean, I don’t remember him, but I don’t remember decapitating anyone either! I didn’t kill anyone.

KENT

That’s not what I’m insinuating, Tom.

JAMES

Funny, that’s exactly what I’m insinuating.

TOM

Fuck you!

KENT

Are you sure you don’t remember Damien Mikos?

TOM

No! Lots of guys come into my shop every day, why should I remember every one of them?

JAMES

Well, his credit card remembers you. He purchased a tattoo of a Jack O’Lantern on his right shoulder. Remember him now?

TOM

Mikos? Isn’t that a Greek name?

KENT

Do you remember him now?

TOM

No, it’s just... I remember a Greek nose... never mind.

JAMES

Records also show that Micah Donovan bought a tattoo of a skull on his forearm from you, too. A bit more than coincidence, don’t you think?

TOM

Who’s Micah Donovan?

KENT

The man we pulled out of Lake Union yesterday. Both of them seem to be victims of Jack O’Leary’s copycat.

JAMES

Your brother’s copycat.

TOM

I don’t want to talk about this.

KENT

Tom, be warned that you are the lead suspect in a very high profile case. If you don’t cooperate—

TOM

I don’t want to hear this.

JAMES

Whether you want to or not, you have to hear this, mother fucker.

KENT

Oliver!

JAMES

Didn’t you call 911 claiming you saw a head in your freezer a few weeks ago?

TOM

That was a mistake. It never happened, my psychiatrist explained everything. I was delusional.

JAMES

Maybe you weren’t as delusional as you claimed.

TOM

You going to arrest me, Detective James?

JAMES

Believe me, O’Leary. It’s on my to-do list.

TOM

Then I have nothing more to say to you. Either of you. Please leave.

JAMES

We’ll be back with a warrant for your arrest.

TOM

Then come back with a warrant.

TOM guides the detectives to the door. JAMES leaves first, but KENT holds onto the doorframe.

KENT (at the door)

Tom, you remember me, right? I was here when they revealed your brother’s coolers—the ones with the heads in them—and I was the one who caught you when you almost fainted. You couldn’t stand the sight of them. I want to help clear you on this. My partner, he wasn’t here when we took Jack away, but I was. And I saw clearly then that you are not your brother, Tom.

TOM

You think you know me? Just because you saw me keel over at the thought of my big brother as a fucking serial killer? Get the fuck out of my house!

He pushes her out and slams the door.

TOM

Jesus, what’s wrong with me?

He goes to pour himself some whiskey, then moves to the freezer to get ice. Almost opens it, thinks better of it, and pours the whiskey straight up. There is another knock at the door.

TOM

I told you, Detectives, come back when you have a—

He opens the door to see KAYLA, a large grin on her face.

TOM

What are you smiling about? Don’t you know I might be arrested in the next twenty-four hours?

KAYLA (entering and closing the door)

That won’t happen.

TOM

Did you come back for your toothbrush?

KAYLA

I came back for you.

TOM

I’m too tired to deal with you right now.

KAYLA

I know who you are.

TOM

Well I’m glad, that means you’re not senile.

KAYLA

I saw what was behind that door. And I have to say, I’m impressed.

TOM

I’m sorry... what?

As SHE speaks, SHE tries to seduce him, and is visibly excited.

KAYLA

That room, the one you always locked. I finally found my way inside.

TOM

See, Kayla, this is why I broke up with you in the first place. You keep trying to make me your little project.

KAYLA

On the contrary, Tom, I want to be your project.

TOM

... What did you see in there?

KAYLA

Two coolers. Guess what was inside?

TOM

That’s impossible. That was Jack’s old room. That’s why I lock it. I don’t want to think about him. I haven’t been in there since I cleaned out his room after he was arrested and hocked his stuff.

KAYLA

There’s more than just cobwebs in there, Tom.

TOM

So what? If I don’t take you back, you’re going to go to the police?

KAYLA

Don’t you see what I’m offering you here, Tom? I want to learn! I want to be a part of this.

TOM

You’re sick.

KAYLA

It started out as one of my projects, OK, I admit. I’m not in insurance.

TOM

So you can’t get me a good deal for my car?

KAYLA

I’m a journalist. I was writing a book about your brother. He fascinates me. Oh God, if Jack O’Leary were still alive...

TOM

Kayla, say another word and I’m calling the cops.

KAYLA

You don’t have to do that, don’t you understand? You aren’t alone anymore, Tom! You don’t have to hide anything from me. I want to know everything. I want to learn from the best. But since Jack’s dead, I’ll settle for his apprentice.

TOM

Apprentice? I’m no one’s apprentice, I... (moves for the phone) I told you I’d call the cops!

KAYLA

While you’re at it, why don’t you explain the two severed heads in your brother’s old room?

TOM stops

TOM

I don’t know how those got there.

KAYLA

The mock innocence is endearing, baby, but it’s getting old.

TOM

I told you to stop calling me—

KAYLA

Baby...

They are very close by now. She tries to kiss him again, but he dodges her, moving to the Locked Door. He tries to open it and can’t. The doorknob turns and he stands back. JACK walks through. TOM hesitates, then runs into the room. JACK and KAYLA look at each other, but do not move.

TOM

Oh my God!

TOM runs out of the room and looks from JACK to KAYLA.

TOM

I think I’m going to be sick...

He runs off stage to throw up. KAYLA turns to watch him leave. JACK approaches swiftly, surprising HER with an embrace and THEY kiss. HE whispers something in her ear, inaudible to the audience. THEY break apart and TOM reenters.

TOM

You’ve got it all wrong. I’m not a serial killer. I didn’t kill those people.

KAYLA and JACK say nothing, but they watch him pointedly.

TOM

I need to call the police. I don’t... I don’t know who else could have done this. It has to be me, right? I have to be the one, don’t I? Don’t I?! Oh Jesus, I need... I need to call Dr. Kingston... I need to... confess. I have to confess, it’s the only way; I need to be locked up. (To JACK) Will you stop then? Will you leave me alone? If I can’t do your dirty work anymore, will you go away? Will the killing stop? How can you still affect me when you’re dead?! I’m through with this Jekyll and Hyde bullshit! I told you I was through cleaning up with you, well I’m through putting up with you altogether! (He seizes his phone and dials angrily.) It’s the only way, isn’t it? You made me do this. I need to be put away. I need to be locked up... Hello, Detective Kent? Forget the warrant. I’m your killer.

Lights to black.

SCENE FOUR

SETTING: Police station. DETECTIVE KENT is at her desk filling out paperwork. DETECTIVE JAMES dances in, humming. She tries to ignore him as he teases her, and then finally throws down her pen and paper, glaring at him.

KENT

You’re in an obnoxiously good mood.

JAMES

And why shouldn’t I be? We just caught Jack the Hacker’s copycat, you just got a promotion for your efforts, and we can finally see each other now that we’re no longer partners.

KENT

I don’t think we did...

JAMES

Did what?

KENT

Catch him. Take a look at these.

JAMES

O’Leary’s phone records. Yeah, so what? Hey, are you off? I’m off. I was thinking of getting some drinks, you should—

KENT

He made a phone call to Kayla Ellis at 6:30PM on the twenty-first... (Shifts papers) And his credit card records say he purchased two tickets for a movie an hour later... It was a double feature. They didn’t get out until midnight.

JAMES

What’s your point?

KENT

Coroner put Mikos’s TOD at roughly 9:30PM.

JAMES

So he has an established alibi. Who says he didn’t sneak out of the damn theater? Come on, Erin, stop working for fuck’s sake! Come get drinks with me.

KENT

I think we should talk to Kayla Ellis.

JAMES

Erin... please. It’s the end of the day. At least leave it until tomorrow. We’ll follow up on everything then, I promise. But for now, will just come out and have some fucking drinks with me?

KENT

I really wish you wouldn’t talk like that. You shouldn’t throw your words around like they hold no weight.

JAMES

I forgot how much you hated it... I’ll stop if you come out with me. For once, Erin, please. For once, we can stop pretending like there’s nothing between us and enjoy each other. Come on. Let’s celebrate our last day as partners. What do you say?

KENT

... OK, I guess I could leave it.

Laughing in triumph, JAMES whisks her off stage. A moment later, she stumbles back on, gesturing at an off-stage JAMES that she’ll be quick before going to her desk. She searches through the files and bites her lip. She gathers them off and exits again.

SCENE FIVE

SETTING: Alderwood Prison Hospital. TOM’s room. TOM is lying on his bed. Lights focus on him, everything else in darkness. The Locked Door is still where it was in Tom’s apartment, but the lights do not reveal it. Enter JACK.

TOM

Is that it? Are you done?

JACK

My work is never done, little brother.

TOM

I’m here. You can’t use me to hurt anyone else. I am your instrument and I have been broken and shut away. You should go back to the grave now, Jack, where you belong.

JACK

Do you honestly think that you can send me away just like that? As if you have any control over me?

TOM

At least now they’re safe.

JACK

Who’s safe?

TOM

The people you would have me slaughter.

JACK

Death comes to everyone in time, Tom. It came to me and it’ll come to you. And it would have come to those people. You can’t prevent people from dying, Tom. You can hide in here and pretend that I’m some figment of your fucked up imagination, but that won’t keep anyone from dying.

TOM

It’ll keep them from dying at my hand.

JACK

You really think this is about you, isn’t it? You really think that you actually had a hand in killing those people. Even after I told you it was all my doing. You weren’t even a part of it. Don’t you think you would remember killing two people?

TOM

Dr. Kingston says it’s a dissociative fugue.

JACK

Dissociative fugue my ass. You don’t remember it because you didn’t do it.

TOM

But you don’t exist.

JACK

What makes you so sure? Is that what Dr. Kingston told you? Does it make you feel better? Do you believe in ghosts, little brother?

TOM

You’re not a ghost.

Lights up on the Locked Door.

JACK

Then how the hell else did those heads get in my old bedroom if you can’t even open the door yourself? What happened to the key to that door, Tom? Do you remember that?

TOM

I... I flushed it down the toilet.

Sounds begin to come from behind the locked door, as if someone is trying to open it. The movements become more desperate throughout the scene.

JACK

Exactly. To prevent yourself from ever trying to open that door again. You were afraid of what you would find inside. If you lost the key, Tom, then how did you get it open to find those severed heads? More over, how did Kayla?

TOM

Kayla... Dr. Kingston says she’s missing. They went over to her apartment and she wasn’t there. Her editor said she’d called him earlier to call off the book, but she hadn’t said where she was.

JACK

She’s with me.

TOM

Did I kill her?

JACK

Oh you really are gullible. You’ll believe anything anyone tells you. “Jack’s not real,” says Dr. Kingston. “It’s a dissociative fugue,” says Dr. Kingston. “You’re a serial killer,” says Dr. Kingston. Gee, I guess it’s in our genes.

TOM

What she says make sense. What you say makes no sense. I’m sick, I need professional help. I need to be here. It’s good that I’m here.

JACK

If I don’t exist, how come your medication did nothing to make me go away? How come I still haven’t gone away, even though they’ve upped your dosage and included a heavy sedative?

TOM

Why won’t you leave me alone? What can I do to make you go away? I take pills, I see shrinks, I’m in a fucking prison hospital, and you’re still here harassing me. What do you want from me, Jack? What do you want me to say or do that will satisfy you?

JACK

I will never be satisfied, Tom.

TOM

Then leave me alone. Go haunt someone else.

JACK

I already am.

TOM

What?

By now, the locked door is banging against the frame as JACK speaks.

JACK

You’re under the delusion that I need you to survive. Because then, maybe you have some say in the matter, some control over what I do. What you fail to understand, little brother, is that I am not a part of you. I was born of your quiet fears and hysterical grief at the loss of your brother. You wondered, “If Jack was a serial killer, what if I am too?” I fed on that fear, on that grief, and I capitalized on it. I am no hallucination, Tom. I bet that would make it easier for you if I were. If I could just be chased away with pills and doctors. There are forces at work here that you could never understand. But by all means, delude yourself. Let them convince you that I live inside your head. That you’re crazy, that I’m dead, that you’re dead, that everything is dead until your whole world will cease to exist and you can finally be all alone in that tormented pretty little head of yours. And trust me, Tom, I know heads and yours is a pretty one. But you can’t beat me. I always beat you. I beat you to death over and over and over again.K2

JACK fades into the darkness until he is gone. Lights up. Enter DR. KINGSTON. TOM is sedated.

DR. KINGSTON

How are you feeling today, Tom?

TOM

Don’t understand...

DR. KINGTON

Well, your increased medication seems to be doing wonders. I know you’ve been a bit lethargic lately, but that’s the drugs. It’ll pass. I spoke with Dr. Wright and we both think you’re doing very well for your first few days here.

TOM

Maybe it’s real... he’s not...

DR. KINGSTON moves over to his bed and fusses over him, maternally. She strokes his hair.

DR. KINGSTON

Hush. Everything’s alright now. He’s gone, and you’re getting better. Everything is going to be just fine.

SCENE SIX

SETTING: A dark room. The bed is the only furniture there. JACK smokes a cigarette. KAYLA lays beside him. Through this whole scene, she keeps touching him, trying to get closer to him, but he does not reciprocate.

KAYLA

What’s it like to kill someone?

JACK

It’s like sex. The best orgasm you’ve ever had.

KAYLA

To take something away from a person, to take everything away from that person, and to allow them to become a part of you... It is like sex.

JACK

We all want it.

KAYLA

Sometimes.

JACK

That guy who nabbed your parking space when you’ve been waiting for it all day. The girl on the bus who’s talking loudly and obnoxiously on her cell phone. The asshole who cuts in front of you in a long line at the check out counter. The mother who can’t keep her kids quiet.

KAYLA

Is that why you kill people? Because they annoy you?

JACK

I kill people because I enjoy it. But it’s those who do it in the heat of passion who are the uncontrollable ones.

KAYLA

Who are you?

JACK

The dawning of a new century.

KAYLA

But who are you.

JACK

Every nasty thought that ever wriggled its way into that tiny little head of yours. I am everything about you that you try so hard to hide. That unquenchable thirst, that need to feel someone’s life slip between your perfectly manicured fingers. I am God. I am the Devil. I am your dear old dad. I am everything.

KAYLA

You’re inside of me.

JACK

I’m inside everyone. You’re just more willing to admit it than most people.

KAYLA

I feel you crawling beneath my skin, demanding action, demanding a taste... I can’t fight you.

JACK

Most people try. Tom tries.

KAYLA

Tom doesn’t matter now. You don’t need him. You have me. I’ll do anything you ask. I’ll be your faithful servant.

JACK

You will never be satisfied. It’s our curse.

KAYLA

I don’t need satisfaction, just the occasional release.

JACK finally returns her physical attentions.

JACK

Oh baby... you can’t handle it.

KAYLA

You underestimate me.

JACK

On the contrary, Kayla, I know you better than anyone. The sweet little girl abused by her father, the resentment swelling to the size of a massive balloon which you finally popped when you buried that knife in that hideous beer gut of his. You enjoyed that a little too much. You have been trying to find that feeling again, in anyway you can, but it’s impossible. You haven’t killed anyone since. Your story is not a unique one. You are not special.

KAYLA

I want you inside of me.

JACK

Your pleasure is generic.

KAYLA

I need you to guide me.

JACK

Your life is empty.

KAYLA

I need you to fill me up with heat.

He grabs her, pressing her back to his chest. She is thrilled as he caresses her neck and shoulder.

JACK

Is this what you want, baby? Is this what you need?

KAYLA

I need release.

JACK pulls out a knife from between the sheets. He teases her with it before pressing it against her throat. She is unafraid. Lights fade as he slits her throat.

SCENE SEVEN

SETTING: An interrogation room. TOM sits in a chair. DETECTIVE JAMES circles him. TOM is still not all there.

JAMES

What’s going on here, O’Leary. Do you have an accomplice?

TOM

What?

JAMES

You can play dumb right now, but when those drugs wear off, I swear...

DETECTIVE KENT enters

KENT

That’s enough, Oliver.

JAMES (a little more calmly)

O’Leary. Is there something about your crimes that you’re neglecting to tell us?

TOM

I don’t... Crimes?

KENT

What he’s asking, Tom, is did anyone help you to commit these murders? Did you have an accomplice, an apprentice, anyone?

TOM

I’m no one’s apprentice.

JAMES

He’s too fucked up to give us anything.

KENT

Hush, Oliver. Tom... Tom, do you remember Kayla Ellis? She was a journalist for the Post-Intelligencer. Your girlfriend? She was writing a book about Jack?

TOM

You are too twisted...

KENT

Tom?

TOM

Don’t call me that.

KENT

Tom, Kayla is dead.

He becomes slightly more coherent at this news.

TOM

Dead?

KENT

She was found in her apartment with her head severed... Someone wrote something on the wall... in her blood...

TOM

What’d it say?

JAMES

What do you think it said, you mother fucker?

KENT

Oliver!

JAMES

Erin! You can’t seriously think he didn’t have a part in this?

TOM

What’d it say?

KENT

All I know is he couldn’t have killed Kayla Ellis. He’s been in the prison hospital all this time! So who did?

TOM

What did it say what did it say what did it say?!

JAMES

It said, “Wrong brother.”

THE END

K1Why is this capitalized?

K2Absolutely beautiful.