Episode 10

FADE IN:

INT. CORBETT GARAGE -- THURSDAY MORNING

Pan along the big dusty workbench cluttered with disused tools, bottles, cans, jugs, and a box full of old photographs. Abruptly, the garage door opens, revealing EMMA, wearing coveralls and a big tweed cap. Dust is heavy in the air as sunlight floods the room. WAYNE is with her, looking at the large tarp-covered automobile that takes up much of the floorspace. Emma pulls the tarp off, revealing it to be a filthy red 1957 Cadillac convertible. Wayne’s eyes light up. Emma rolls up her sleeves.

EMMA

Wayne, my son... We’ve got a job to do.

They smile at each other.

CUT TO:

EXT. TWINSBURG HOSPITAL -- MORNING

CUT TO:

INT. BOX LADY’S HOSPITAL ROOM -- MORNING

The BOX LADY is lying in bed, unconscious. GALE leans over her as SHERIFF and TERRENCE stand at the foot of the bed.

GALE

How is she, Doctor?

TERRENCE

She’s suffering from mild exposure, but aside from that, she’s fine, as far as I can determine.

GALE

How long will she be unconscious?

TERRENCE

Well, it would help if I knew why she was in the first place. By rights, she should be fine. Yet our tests show minimal brain activity. Frankly, I’m at a loss.

GALE

There’s no indication of trauma?

TERRENCE

Nothing I can detect.

GALE

Well, there is one thing we do know for certain. She did not tie herself to that tree.

SHERIFF

Right. Any ideas?

GALE

Not yet, Bob. Not yet.

TERRENCE

Well, if you gentlemen will excuse me.

GALE

Of course, Doctor.

Terrence exits.

SHERIFF

Alan Cartwright woke up last night. I want to stop in and talk to him.

Gale nods.

CUT TO:

INT. ALAN’S HOSPITAL ROOM -- MORNING

ALAN is sitting up in bed, reading the comics page in the newspaper. He is laughing loudly as GALE and SHERIFF enter.

ALAN

Sheriff, Agent Gale! Come in, please.

SHERIFF

Alan.

ALAN

You know, I haven’t taken the time to read the funnies for years. Not since I was a kid, in fact. And all this time, I didn’t know what I was missing. Look at this one. See, the little boy gets off the school bus and everything is peaceful, but as soon as he opens the door--

GALE

Mr. Cartwright, two nights ago you were attacked and nearly murdered. Can you tell us anything about that?

ALAN

You’re not going to like this, gentlemen, but try as I might, the entire night is a complete blank. The last thing I remember was Albert leaving. I had some last-minute things I had to finish up.

SHERIFF

Was there anybody else still in the office? A secretary or someone?

ALAN

I’m afraid not. I’m often there alone at night. After all, I do own the building.

SHERIFF

Right.

GALE

In cases like this, loss of memory surrounding the crucial event is not uncommon.

ALAN

Sorry I can’t be of more help. But be assured, Sheriff, I want whoever is responsible to be found and apprehended. The public isn’t safe with all these homicidal maniacs running around.

SHERIFF

I’ll do my best.

ALAN

Of course, Sheriff. You always do.

Alan smiles jovially. Gale and Sheriff look at each other.

CUT TO:

INT. ROSEMARY’S PASTRY SHOP -- MORNING

ROSEMARY is unpacking a new coffee pot. The door jingles and OREGON enters.

ROSEMARY

Oregon!

OREGON

Howdy, little darlin’. Durned if you ain’t the purdiest thing these eyes is seen today.

ROSEMARY

Thank you, kind sir.

OREGON

You may flash them pearly whites, but I see a whole lot o’ trouble behind them baby blues. Don’t tell me, yer boy hain’t turned up.

ROSEMARY

I’m so worried. What could have happened to him?

OREGON

Now, just how long has he been gone, altogether-like?

ROSEMARY

It’s been three days.

OREGON

Well, then, there you go. I reckon he’ll be back on home soil any time now.

ROSEMARY

Really?

OREGON

Sure as shootin’. And when it comes to shootin’, there’s nobody surer than Oregon Blackthorn, Deadeye o’ the Desert!

ROSEMARY

Wow.

OREGON

Little lady, now, you wouldn’t be havin’ any big plans for tomorrow night, wouldja?

ROSEMARY

Tomorrow night? No... no plans at all.

OREGON

Then, how’s about comin’ with me to OWLS?

ROSEMARY

Owls?

OREGON

The Old West Legendarium Society. What d’ya say?

ROSEMARY

Oh... yes, please.

CUT TO:

EXT. SHERIFF STATION -- MORNING

CUT TO:

INT. SHERIFF STATION -- LOBBY -- MORNING

GALE and SHERIFF enter. LYNDON is eating a chocolate candy bar. He has a big mouthful as Gale comes up to him.

LYNDON

Mgnm Glm!

GALE

Lyndon, I have a special assignment for you. I’d like you to check the woods surrounding the area where we found the Box Lady last night. See if you can find any sign of her box.

LYNDON

Mn nrr. Mmp...

GALE

(pats him on the shoulder)

Good man.

ABIGAIL approaches, carrying a large box of candy bars.

ABIGAIL

Sheriff Armstrong, Agent Gale, would you care to purchase a chocolate candy bar to help sponsor the Maple Lodge Festival of Lights a week from Saturday? They cost one dollar each, but on the back of every one you get a coupon for a free hot fudge sundae.

Gale smiles at Sheriff. They both take out their wallets. Abigail smiles. Lyndon loudly swallows his mouthful of chocolate and takes a breath.

CUT TO:

EXT. TWINSBURG HOSPITAL -- MORNING

ALAN emerges from the hospital in a suit and tie. A limousine is waiting and he gets into it. The limousine pulls away.

CUT TO:

INT. LIMOUSINE -- MORNING

ALAN sits in the back of the limousine as the CHAUFFEUR drives.

ALAN

Good morning, Poole.

CHAUFFEUR

Good morning, sir.

ALAN

How are you?

CHAUFFEUR

Fine, sir.

ALAN

How’s the wife?

CHAUFFEUR

(looks in the rear-view mirror uncomfortably)

Fine, sir.

ALAN

Good, good.

Alan rolls down the window and takes deep breaths. He loosens his tie.

ALAN

Stop the car.

CHAUFFEUR

Sir?

ALAN

Right here.

NEW ANGLE

The limousine pulls over and stops.

BACK TO SHOT

ALAN

I think I’ll walk.

CHAUFFEUR

Sir?

ALAN

Such a wonderful day. I’ll walk.

CHAUFFEUR

Yes, sir.

NEW ANGLE

ALAN gets out and pats the roof. The limousine pulls away. Alan stretches, inhales, thumps his chest, and smiles.

CUT TO:

EXT. TWINSBURG INN -- THURSDAY NOON

CUT TO:

INT. TWINSBURG INN SUITE -- NOON

JANET is looking in the mirror, putting on her earrings and checking her hair, when there is a knock on the door. She walks over and opens it, revealing KENT. He looks terrible.

JANET

Kent!

KENT

I need to talk to you.

JANET

Come in.

KENT

I’ve done something terrible... I’m so confused. I wanted to help you.

JANET

Sit down, tell me everything.

KENT

I love you... and when I think about Cartwright and what he did to you, it makes me so angry. I just wanted to destroy him. I wanted to make sure he could never hurt you again. I couldn’t think straight...

JANET

Look, just relax and tell me what you’ve done. Tell me!

KENT

Monday night, I went to his office. I was going to confront him. I waited. I didn’t have a plan. Everyone else went home except him. I saw an opportunity. So I went in. He was alone. He made me so mad, he pretended he didn’t know what I was talking about. I lost control. I wanted to get him, but I... somehow, I...

JANET

You attacked him. You threw him out the window.

KENT

No, he fell! It was an accident!

JANET

You bloody fool.

KENT

What?

JANET

Don’t you realize what you’ve done? You’ve jeopardized everything with your rashness! He might have died!

KENT

I don’t understand... what are you saying?

JANET

It may not be too late. But you... I should have known you couldn’t be trusted, that you’d lose your head. Idiot, don’t sit there sniveling! I’m utterly sick at the sight of you! Your whole family is barmy, keeping a dead woman and pretending she’s still alive. You’re all mad!

KENT

How did you--? Nobody...

JANET

You’re pathetic. Get out of here. And mind what you tell people, if you know what’s good for you.

Kent, dazed, gets up and goes to the door. He stops and looks back, then exits quietly. Janet picks up a magazine and throws it on the floor.

CUT TO:

EXT. SHADYGROVE DEVELOPMENT -- NOON

GALE and SHERIFF are talking to a CONSTRUCTION WORKER, who is eating a sandwich.

GALE

You were here on Tuesday evening when the creature was sighted?

CONSTRUCTION WORKER

You betcha. I’ll never forget it. Weird. Restless spirits, that’s what I say.

GALE

When did you first spot it?

CONSTRUCTION WORKER

Saw him comin’ out of the woods right over there. Movin’ real slow like. Weird.

GALE

Yes. Thank you.

Gale and Sheriff go over to the edge of the woods and look around.

SHERIFF

You think all this is somehow related to Megan’s murder?

GALE

It’s too early to rule anything out. But I’m certain it’s connected to Llewellyn. I would undoubtedly know more if I had heard the Astronaut’s message.

SHERIFF

All he said was “festival.”

GALE

I saw it last night also, but--

SHERIFF

Last night? Where?

GALE

In my room at the Twinsburg Inn. It appeared and said something. Unfortunately, due to the arrival of the motorcycle association, I was wearing my silicon ear-pillow earplugs. I did not even realize it was speaking until it was too late.

SHERIFF

Tough luck.

GALE

Yes. Bob, look at this.

SHERIFF

Footprints?

GALE

Look at the size and shape. And here.

CU -- GALE examines a broken twig on a slender tree branch.

GALE

Whatever was seen here Tuesday night was no mass hallucination.

Gale takes a plastic evidence bag out of his coat pocket and scoops some dirt out of the footprint, placing it carefully into the bag. He then returns the bag to his pocket. Sheriff is looking off in the distance when Gale stands up.

SHERIFF

That’s Alan Cartwright.

NEW ANGLE

Long shot of ALAN standing on the edge of the road, looking at the construction site.

BACK TO SHOT

SHERIFF

Doc must have released him.

GALE

I wonder what he’s doing here.

SHERIFF

Overseeing his domain?

CU -- ALAN is deeply moved as he looks at the site.

CUT TO:

INT. CORBETT GARAGE -- THURSDAY AFTERNOON

Close up of the front of the Cadillac, now clean and polished. Pull up to reveal EMMA finishing up waxing the back end and WAYNE polishing the wheels. Emma wipes her face with a fresh towel and laughs with anticipation.

EMMA

Stand back, Wayne.

Emma opens the driver’s-side door and sits down, puts the car in gear, and eases it out into the driveway.

CUT TO:

EXT. CORBETT HOME -- AFTERNOON

EMMA backs the Cadillac into the driveway. It looks like new. WAYNE follows her out, watching. Emma gets out of the car and removes her coveralls, revealing a white mini-dress underneath. She takes a white fur coat off the front seat and wraps herself in it.

EMMA

Wayne, as your mother, I feel it is my duty to impart to you certain wisdom. There is something you must always remember about clothes. It’s not how they make you look, it’s how they make you feel.

She smiles and puts on a pair of large sunglasses. She starts the engine and the car roars to life.

EMMA

Hop in! Let’s go!

Excited, Wayne climbs in the back seat. The car then takes off down the road, fifties music blasting as it zooms into the distance.

CUT TO:

EXT. TWINSBURG INN -- AFTERNOON

CUT TO:

INT. TWINSBURG INN -- LOBBY -- AFTERNOON

JAMES enters. He sees KENT sitting on a sofa and goes over to him.

JAMES

You sounded bad on the phone, but you look even worse.

KENT

I don’t know what I’m going to do.

JAMES

You just relax and take it easy. I’ll take care of everything. Look, I’ll get you some coffee, all right?

KENT

Yeah.

James goes over to a table with a coffee station and takes a cup off the stack. He sets it down by the carafe, then takes a napkin and wipes off his hands. He takes a second napkin and wipes his hands again, harder. Suddenly, he hears a girl’s laugh. He looks up, startled.

JAMES

Megan...

James looks around but sees no one. He goes around a corner and looks down the hallway but again sees no one. He comes back into the lobby and sees a GIRL in a hooded denim coat going outside. He goes after her.

CUT TO:

EXT. TWINSBURG INN -- AFTERNOON

JAMES emerges from the inn and looks around desperately. He sees the GIRL getting into a pick-up truck driven by BRADLEY. As the truck drives past him, James sees the girl’s face through the window. It is MEGAN.

CU -- JAMES is shocked.

CUT TO:

EXT. SHERIFF STATION -- AFTERNOON

CUT TO:

INT. SHERIFF STATION -- CONFERENCE ROOM -- AFTERNOON

DUNCAN is packing his briefcase as GALE enters.

GALE

You’re leaving us.

DUNCAN

Yes, I’m looking forward to seeing civilization again. I hope my system can handle the shock.

GALE

Thanks for coming out.

DUNCAN

We found some interesting tidbits at the scene of your murder, Martin. When I get back to my labs, I’ll sort out what’s evidence and what’s garbage and get back to you.

GALE

Perfect. There’s something else I’d like you to check out for me.

DUNCAN

Fine. What have you got?

Gale produces the plastic evidence bag full of mud.

GALE

From a footprint at the campground where the Astronaut was sighted. I’d like you to check for anything unusual, especially any trace of a substance that might glow.

DUNCAN

A glowing astronaut?

GALE

Yes.

DUNCAN

Husband or brother of the glowing woman?

GALE

The exact relationship is unclear at the moment.

DUNCAN

Martin, what is it with you? Ever since you’ve come here, you’ve been full of these ghost-and-goblin stories. I know you’ve always been a little off-the-wall, but what is it? The air? The water?

GALE

I appreciate your concern, Duncan.

DUNCAN

Look, maybe you’ve been working too hard. Maybe all this fresh air has gone to your head.

GALE

Are you saying you believe me unfit for duty?

DUNCAN

No. Not yet.

GALE

I see.

Duncan puts the evidence bag inside his briefcase, then snaps it shut. He heads for the door, carrying his briefcase and putting on his sunglasses.

DUNCAN

I’ll let you know what I find.

Duncan exits. Gale is a bit unsettled.

CUT TO:

INT. SHERIFF STATION -- LOBBY -- AFTERNOON

DUNCAN crosses the lobby, passing ABIGAIL.

ABIGAIL

Agent MacNeil, would you like to buy a chocolate candy bar to support...

Duncan ignores her and exits the building.

ABIGAIL

I guess this isn’t a good time.

CUT TO:

EXT. SHERIFF STATION -- AFTERNOON

DUNCAN gets into his car, starts it up, and pulls out into the street.

CUT TO:

EXT. NEIGHBORHOOD STREET -- AFTERNOON

DUNCAN pulls up to a red traffic light and stops. EMMA and WAYNE sidle up next to him in the Cadillac. Duncan casually glances over and sees Emma making eyes at him over her sunglasses. She revs her engine loudly. Duncan raises his eyebrows. The light turns green and Emma peels out and races away. As they rocket down the street, Emma and Wayne laugh uproariously.

CUT TO:

INT. ROSEMARY’S PASTRY SHOP -- AFTERNOON

ROSEMARY is working behind the counter when NICHOLAS enters.

ROSEMARY

May I help you?

NICHOLAS

Two turkey croissants and four jelly doughnuts. To go.

ROSEMARY

Coming right up.

As Rosemary bags up his order, Nicholas turns around and looks at the payphone near the door.

ROSEMARY

Okay. Three thirty-eight.

Nicholas pays and Rosemary rings up the sale.

ROSEMARY

Thank you.

Nicholas takes his bag over to the payphone and makes a call.

NICHOLAS

Hi. Yeah, I’ll be over in a little while. That’s where I’m calling from. Yeah. I love you, too. Bye.

While Nicholas is talking, the GIRL in the hooded denim coat enters and goes up to the counter. Nicholas is about to leave when he glances over at her, just as she turns around to look at him. Nicholas is astonished and goes up to her. She smiles.

NICHOLAS

Who are you?

JEAN

You’re a friend of Megan’s.

NICHOLAS

Yeah, but...

JEAN

I’m Megan’s cousin, Jean Bellew. But all my friends call me Blue Jean.

NICHOLAS

(shakes hands)

That’s cute. I’m Nicholas Grey.

JEAN

It’s nice to meet you.

NICHOLAS

I’m sorry, but you look...

JEAN

I know, there’s quite a resemblance.

She puts her hood down, revealing long blond hair.

JEAN

Of course, Megan was a redhead. I always envied her, she had such beautiful hair.

NICHOLAS

Your hair doesn’t look so bad.

JEAN

Thanks.

Jean smiles. Nicholas grins.

CUT TO:

INT. ALBERT’S OFFICE -- AFTERNOON

ALBERT is working at his desk when BRADLEY knocks on his door.

ALBERT

Bradley! Come in. How are you?

BRADLEY

Fine. I’m fine.

ALBERT

Well, please, sit down.

Bradley sits and fiddles with a paperweight from the desk.

BRADLEY

My cousin just got into town. She’ll be staying with us, to help out.

ALBERT

I see.

BRADLEY

Mom’s a little... you know, upset.

ALBERT

Yes, I understand. Well, it’s great to see you. What can I do for you?

BRADLEY

Actually, my school is doing this “shadowing” thing. We sort of follow around somebody to find out about their career. And I thought maybe you and I could...

ALBERT

Why, that sounds terrific, Bradley. I’d be glad to help out. You know, there are many fascinating careers in corporate law. Real estate law is just one of the many fields.

BRADLEY

Great. I wasn’t going to participate. But maybe I will after all.

ALBERT

Glad to hear it.

CUT TO:

EXT. SHERIFF STATION -- THURSDAY EVENING

CUT TO:

INT. SHERIFF STATION -- CONFERENCE ROOM -- EVENING

GALE enters with a glass of milk and sees SHERIFF standing behind the table, which has stacks of papers and sketchpads on it.

SHERIFF

Here’s Megan’s drawings. Her father just dropped them off.

GALE

Excellent. Well, let’s get down to work.

SHERIFF

Same deal as with Millicent’s notebooks?

GALE

Bob, you’ve hit the nail on the head.

They sit down and each takes a tablet and begins leafing through it.

SHERIFF

Looks like sketches of friends. That’s Bradley. She was really talented.

GALE

This one is mostly houses and other architecture. Hmmm. Then it switches to elves and faeries toward the back.

SHERIFF

Wow, that’s beautiful.

GALE

Bob.

Sheriff looks over as Gale shows him a sketch. It is of Llewellyn the Marauder, scowling fiercely.

SHERIFF

That’s Llewellyn! The way he looked when Tuppence died!

GALE

His true face.

SHERIFF

What do you think it means?

GALE

Considering the dreams we know her to have had, Megan must have been unusually sensitive to psychic impressions, especially where Millicent was concerned.

SHERIFF

Spooky.

ABIGAIL (V.O.)

Agent Gale?

Gale presses the button on the intercom.

GALE

Yes, Abigail?

ABIGAIL (V.O.)

There’s a Dani Clapsaddle here to see you. She says it’s very important.

GALE

I’ll be right there.

CUT TO:

INT. SHERIFF STATION -- LOBBY -- EVENING

GALE and SHERIFF come out of the conference room. ABIGAIL is seated at her desk. DANI is waiting. She has a black eye.

DANI

Martin...

GALE

What happened?

DANI

Patrick surprised me last night. I don’t know how he got in, but he was waiting for me when I got home. He’s crazy.

SHERIFF

We can assign a deputy to protect you.

DANI

Thank you. I’ll do anything to make sure he’s put where he belongs. I don’t care anymore. If you arrest him, will he be convicted? He is going to jail, isn’t he?

GALE

Yes.

DANI

I think I know where he’s hiding.

CUT TO:

INT. KENT’S HOME -- EVENING

KENT and JAMES enter. ROSEMARY, washing dishes, is shocked.

ROSEMARY

Kent! Kent! What happened to you? Where have you been? I’ve been so worried! I nearly lost my head, I was so worried about you! Are you all right? Are you hurt?

KENT

I’m okay.

JAMES

He was mugged Monday night. Some guys grabbed him and took him out 82 where they robbed him, beat him up, and left him. He made it to a nearby house, where some old lady lives alone. She took care of him until he got his strength back. She didn’t have a phone, though, ’cause she didn’t pay her phone bill, so they cut her off. But she did what she could. He called me this afternoon from a gas station and I went out and got him.

ROSEMARY

(leads Kent from the room)

Well, as long as you’re all right. You don’t look too good. Come and lie down, I’ll make you something. Would you like some soup?

James smiles to himself.

CUT TO:

INT. APARTMENT BUILDING HALLWAY -- EVENING

GALE and SHERIFF come up to an apartment door and knock, but the door swings open a little. They draw their guns and enter.

CUT TO:

INT. KIMMY’S APARTMENT -- EVENING

GALE and SHERIFF enter and look around quickly.

GALE

Bob!

KIMMY is lying on the floor, unconscious. There are numerous different kinds of pills scattered on the floor around her. Gale rushes to her and checks her pulse and eyes. Sheriff checks the other rooms and returns with a man’s jacket.

SHERIFF

He’s not here, but I found this. It’s got Patrick’s name written on the label.

GALE

Good. She’s still alive, Bob, but she needs immediate medical attention.

SHERIFF

I’m on it!

CUT TO:

EXT. PENNY’S HOME -- EVENING

The doorbell rings. PENNY goes to the door.

PENNY

I’ll get it.

She opens the door, revealing NICHOLAS outside.

PENNY

Hi, where’ve you been? I’ve got everything on the dining room table and I’m ready to study. You’ve got the sandwiches and sugar-bombs?

NICHOLAS

Penny, there’s someone I want you to meet. You’re not going to believe it.

PENNY

What...?

NICHOLAS

Jean?

JEAN walks up onto the porch, stepping into the light. Penny is astonished.

PENNY

Oh, my gosh.

JEAN

Hi, I’m Blue Jean.

PENNY

Uh...

NICHOLAS

She’s Megan’s cousin.

PENNY

I am so sorry, but you look... you look so much like her.

JEAN

It’s all right. I never even thought what a stir I might cause by showing up. I almost frightened poor Bradley out of his wits.

PENNY

I can imagine. Well, please, come in.

JEAN

Thank you. It’s really great to get to meet some people here, especially Megan’s friends. I don’t really know anybody in town and I may be staying for a little while. Until Aunt Wilma can recover from the shock, at least.

NICHOLAS

Well, we’ll be glad to help you out in any way we can. You just ask, okay?

JEAN

Thanks, I will.

Nicholas and Jean smile at each other. Penny squints.

CUT TO:

EXT. TWINSBURG INN -- THURSDAY NIGHT

CUT TO:

INT. GALE’S ROOM -- NIGHT

GALE is making an audio recording while looking at Megan’s sketch of Llewellyn.

GALE

Roseanne, I am looking at a sketch of Llewellyn the Marauder done by Megan Thomas, and I cannot help but recall the words Gruffydd said to me: “You know Llewellyn’s true face. Few can see it, the gifted and the damned.” I believe that Megan fell into both categories. The accuracy of the sketch is remarkable -- the murderous eyes, the fierce grimace. I can only hope that I will have the strength to face Llewellyn again if my worst fears are indeed realized.

Gale lays the picture down on the dresser and walks away. Pan down to the drawing, where now, mysteriously, Llewellyn is grinning wickedly.

FADE OUT

 

Special Agent Martin Gale, 34. FBI agent.

Sheriff Robert Armstrong, 36. Sheriff of Twinsburg.

Jean Bellew, 19. Megan’s lookalike cousin.

Bradley Thomas, 18. High school senior, Jean’s cousin.

Alan Cartwright, 50. Real estate developer, mall owner.

Penny Gardner, 17. High school senior.

Lyle Terrence, 62. Local doctor.

Rosemary Clapsaddle, 40. Owns pastry shop/catering service.

Nicholas Grey, 17. High school senior.

Kent Clapsaddle, 16. High school sophomore, Rosemary’s son.

Abigail Voigt, 24. Sheriff’s secretary.

Dani Clapsaddle, 29. Rosemary’s sister-in-law.

Janet Flynn, 39. Twinsburg native returned from England.

James Clapsaddle, 18. High school senior, Rosemary’s brother.

Wayne Corbett, 9. Local boy.

Lyndon Pfiffer, 26. Deputy.

Albert Collins, 48. Lawyer.

Duncan MacNeil, 38. FBI forensics expert.

Emma Corbett, 25. Mysteriously rejuvenated woman, mother of Wayne.

Box Lady, 53. Local eccentric.

Kimmy Clapsaddle, 38. Sister of Rosemary.

Oregon Blackthorn, 35. Wild West enthusiast.

Chauffeur

Construction Worker


Next Episode