STEVE (CONT’D)
I’m afraid we can’t take you, Steffie.
(to the commander)
She’s pregnant.
COMMANDER
Sorry, ma’am. Regulations won’t allow it.
STEPHANIE
Fuck your regulations.
Stephanie boards. The door closes behind her and the chopper lifts off.
EXT. OCEAN - THE MOTORBOAT - MIDNIGHT
The boat slips under the surface, leaving Ben in the water next to Serena. The clouds momentarily part, revealing a full moon. Ben, treading water, looks up.
SERENA
(weakly)
It’s a sign. It’s not too late, Ben. Come with me.
The life keeps bleeding out of Serena. It is only a matter of seconds before she will slip away.
SERENA (CONT’D)
(more weakly)
Kiss me?
Ben reaches for Serena — and for an instant, it seems he may oblige her. He caresses Serena’s face. Then, with sudden savage fury, he shoves her head underwater. Serena is gone. The clouds close in and all is black again.
EXT. OCEAN - MIDNIGHT
A wide shot of the helicopter, moving along at low altitude, its searchlights sweeping the ocean.
INT. HELICOPTER - COCKPIT - MIDNIGHT
The commander is intent on his mission; this is no easy flight. STEVE, the COPILOT, and Stephanie are using high- powered binoculars to scan the ocean.
SUDDENLY, the copilot spots something.
COPILOT
Debris at three o’clock.
COMMANDER
Roger. Bringing her around.
COPILOT
Looks like life vests and fishing gear.
COMMANDER
Any survivors?
COPILOT
Negative.
Stephanie buries her head in her hands and begins to sob. STEVE comforts her.
COPILOT (CONT’D)
I see someone! Two hundred yards! Twelve o’clock!
EXT. OCEAN - MIDNIGHT
A wide shot of Ben bobbing on the ocean, the chopper approaching. When the helicopter door opens and a crew member with a rescue basket is lowered down.
Ben is loaded onto the basket and hauled up. When he is safely aboard, Stephanie kisses him.
STEPHANIE
Ben!
BEN
Steffie.
STEPHANIE
Thank God you’re alive.
EXT. OCEAN - MIDNIGHT
A wide shot of the ocean. The helicopter door closes and the chopper heads toward land.
INT. HOSPITAL - BEN’S ROOM - MORNING - THE NEXT DAY
Ben is asleep in his bed. He stirs and opens his eyes. Stephanie is slumped near him in a chair, a book in her lap.
BEN
Have you been there all night?
STEPHANIE
I haven’t budged an inch.
BEN
You should sleep.
STEPHANIE
Actually, I should eat. I’m starved.
BEN
Then go get something.
STEPHANIE
You sure you mind?
BEN
I’m sure. You’re eating for two now.
STEPHANIE
I won’t be long. I love you.
BEN
I love you, too.
Stephanie kisses Ben and leaves. Ben closes his eyes again.
INT. HOSPITAL - NURSES’ STATION ON BEN’S FLOOR - MORNING
The elevator doors open and a CANDY STRIPER steps off. She is carrying a bouquet of flowers. After inquiring at the desk, she heads toward Ben’s room.
INT. HOSPITAL - BEN’S ROOM - MORNING
The candy striper stands at the door, unsure if she should bother Ben. He opens his eyes before she has to decide.
CANDY STRIPER
Ben Houghton?
BEN
That’s me.
CANDY STRIPER
A woman left these for you.
The candy striper hands the flowers to Ben.
BEN
Thank you. But there’s no card.
CANDY STRIPER
That’s how she left them.
BEN
Did she give her name?
CANDY STRIPER
No, sir.
BEN
Did you see her?
CANDY STRIPER
Yes. She was pretty and tall.
BEN
How old?
CANDY STRIPER
A few years older than me.
BEN
With long brown hair?
CANDY STRIPER
Nope. Short red hair. I never saw her before. Probably just a new delivery girl.
Ben is relieved.
BEN
Well, thanks again.
CANDY STRIPER
Hope you get better soon.
EXT. SUMMER HOUSE - EVENING - SEVERAL DAYS LATER
A shot of the remnants. Ben’s Cherokee and Serena’s Mustang remain where they were in the drive.
Stephanie’s BMW comes slowly up the drive. Stephanie is behind the wheel, Ben beside her.
The BMW stops next to the other vehicles. Stephanie, then Ben, get out. Neither speaks. We see, for the first time, that Stephanie is noticeably pregnant.
As Stephanie moves toward the carriage house, untouched by the fire, Ben lingers at the Mustang. The odometer catches his eye — and then something more disturbing.
CLOSE ON THE DASHBOARD
The scrimshaw ring is there. Ben quickly pockets it. His face reflects a flash of fear.
Composed again, Ben joins Stephanie in walking to the carriage house, where they will stay while the main house is being rebuilt. We see an air compressor, backhoe, and other evidence of the impending construction.
BEN
Knock on wood, the contractor starts this week.
STEPHANIE
How long will it take?
WIDE SHOT
BEN
About a year. We should be able to move in by next Fourth of July.
I was thinking maybe we could have the christening here.
STEPHANIE
That’s a great idea. What about the boat? Will you be getting another?
BEN
I think I’m done with boats for a while. Maybe forever.
Of the estate and, beyond, the beach, deserted today — but for one person. A woman, her back to the camera, is walking. We can’t identify her from this distance, but she is young, has long brown hair, and wears a red summery dress.
INT. CARRIAGE HOUSE - THAT EVENING
Ben and Stephanie sit cozily by a fire in the living room. Ben has a gift-wrapped present for Stephanie.
STEPHANIE
For me?
BEN
Do you see anybody else? Go ahead. Open it.
Stephanie does, revealing a Tiffany silver rattle. It sparkles in the firelight.
STEPHANIE
It’s beautiful! I love you, Ben.
BEN
I love you, too, Steffie.
EXT. SUMMER HOUSE - THAT EVENING
CUT TO:
Her back to the camera — her face still unseen — the woman in the red dress walks onto the pier where Houghtie’s Glory used to be docked. After pausing a moment, she strips naked and dives in. She does not surface.
ROLL CREDITS
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Vapors: The Essential G. Wayne Miller Fiction Vol. 2 Page 24