Episode 13

FADE IN:

EXT. WOODS -- SUNDAY MORNING

Looking up through the bare branches at the gray sky, track down a path in the woods. Quietly, as if in the distance, can be heard the sounds of a girl being viciously attacked. Screams and cries are mixed with slapping and hitting noises.

CUT TO:

INT. TWINSBURG INN SUITE -- MORNING

Close-up of a tape deck playing a cassette. The sounds of screaming and hitting continue until a hand stops and ejects the cassette. JANET holds up the cassette and squints at it.

CUT TO:

EXT. SHERIFF STATION -- MORNING

CUT TO:

INT. SHERIFF STATION -- CONFERENCE ROOM -- MORNING

GALE looks at a large map of Twinsburg on the wall. SHERIFF has a map of the area surrounding the Box Lady’s home, which he is showing to DUANE. Duane is very nervous, though he tries to appear nonchalant. On the other end of the table is a briefcase.

SHERIFF

All right, Duane, Agent Gale and I will be about here, watching the house. Meanwhile, we’ll have a man monitoring your wire in a van along here, and we’ll also have men stationed here, here, and somewhere around this point here.

DUANE

Right, right. What, am I supposed to memorize all this?

GALE

It’s just for your information, Duane. The Sheriff and I want you to know we have the situation covered.

DUANE

Yeah.

Gale walks over and opens the briefcase and takes out the listening device.

GALE

Duane, this is what is commonly referred to as a “wire,” which you’ll be wearing during your meeting with Patrick Clapsaddle. It will allow us not only to record any incriminating statements made by Patrick but also to ensure your own safety.

DUANE

Unless he spots it. Then I’m dead meat.

SHERIFF

Now, listen, Duane, you’re going to have to play this really cool, or you’ll just tip Patrick off. If he even suspects something’s not right, it could be big trouble.

DUANE

You think I don’t know that? Damn, I gotta hit the can.

Duane exits.

GALE

That’s the third time in an hour.

SHERIFF

I don’t think he’s as tough as he puts on.

GALE

You seem on edge around him, Bob.

SHERIFF

Well, no matter what Duane has done, he’s still... her son. I’m worried about what could happen to him.

Gale nods in understanding.

CUT TO:

INT. CHURCH -- LOBBY -- MORNING

The MINISTER is shaking hands with the parishioners. ALBERT approaches.

MINISTER

Mr. Collins, this is a surprise. Good morning!

ALBERT

Good morning.

MINISTER

I don’t recall seeing you attending services here before.

ALBERT

No, I haven’t. But this church was important to Millicent, and being here, I feel somehow closer to her. I can almost see her here, laughing with her friends. I thought that by attending, it might help me to know her better.

MINISTER

I understand. And, Albert, I am always here to listen, if you need someone to talk to.

ALBERT

Thank you.

Albert shakes the Minister’s hand, then goes across the room to the refreshment table. As Albert takes a cup of coffee, EMMA comes up to him, wearing a tight floral-print dress.

EMMA

Well, good morning.

ALBERT

Emma! Hello. I didn’t expect to see you here.

EMMA

But I hope you’re glad you have. I know I am.

ALBERT

I am. And I haven’t spilled anything on you yet.

EMMA

(laughs)

What a dear you are. I should introduce you to my son. That’s him over there, the one on the sofa.

NEW ANGLE

WAYNE, wearing his Sunday best, is sitting on a sofa across the room, watching the adults milling about.

BACK TO SHOT

ALBERT

He’s a cute kid.

EMMA

Yes. I’m afraid his father passed away some years ago. We’ve been alone ever since.

ALBERT

I’m surprised you have a son that big. I mean, you don’t seem...

EMMA

Oh, you’re a flatterer.

Emma smiles. Albert chuckles. Emma’s eyes flash with delight. Albert smiles at her.

ALBERT

You’re very beautiful.

CUT TO:

INT. SHERIFF STATION -- BASEMENT GUN RANGE -- MORNING

GALE, SHERIFF, and LYNDON enter the long, narrow room.

GALE

We need to be razor sharp this afternoon, gentlemen. I think it will prove a good idea to get off a few rounds in practice.

SHERIFF

I agree. Most of the time here, our guns are for just in case.

LYNDON

Brent used his gun last month when Mrs. Tyler locked herself out of the house and all her security systems were armed.

SHERIFF

I don’t think that’s what Agent Gale had in mind.

The three men put on their headsets and Sheriff fires six times at the man-shaped target suspended at the far end of the room. Gale presses a button, bringing the target towards them. He takes the target off the wire.

GALE

Four hits, one kill. Forgive me, Bob, but you were shooting a hell of a lot better yesterday.

SHERIFF

Well, my aim improves when I get worked up.

GALE

Yes, I know several agents of the Bureau who are the same way. All right...

Gale steps up and fires six times, his face expressionless. Sheriff brings the target up and takes it off the wire. He looks at it, then holds it up. Gale has made a smiley-face with bulletholes.

SHERIFF

Looks like you’ve got it down to a science.

GALE

It’s a simple matter of abstracting myself from the greater dimensions of the situation, thereby protecting myself from the thought that I may be destroying another human being.

SHERIFF

Yeah. We’ve got hard jobs.

GALE

Unfortunately, it is true we may be called upon to surrender a portion of our humanity in the line of duty. Sometimes it seems too high of a price to pay...

SHERIFF

I’d say you’re thinking of something in particular.

GALE

A case that happened a long time ago. Involving someone very important to me. Someone I lost.

SHERIFF

I know the feeling.

Gale holds up his hand and nods, indicating that Sheriff should look behind him. Sheriff turns around. Lyndon is aiming at a target, moving his lips and arching his eyebrows as if he were intimidating it. He notices Gale and Sheriff are watching him and blushes. He fires six times, excitedly. Sheriff brings the target forward and sees that Lyndon failed to hit it.

GALE

Deputy, it looks like a full day of practice, practice, practice is in order.

LYNDON

(disappointed)

Yes, sir.

CUT TO:

EXT. TWINSBURG HOSPITAL -- MORNING

CUT TO:

INT. KIMMY’S HOSPITAL ROOM -- MORNING

ELLIOTT, wearing a bathrobe, is in a wheelchair, being pushed by NICHOLAS. They enter the room where KIMMY is lying in bed, groggy. Nicholas parks Elliott next to the bed and stands by the wall. Kimmy looks at them.

ELLIOTT

Doc Terrence said you were awake, honey. He said you weren’t talking, though, and he thought it might help if I came to talk to you. I guess you can see I’m doing all right. It’ll take more than a bullet to put me out to pasture. Now, don’t you worry, though. This wheelchair is only temporary, till I get my strength back. And when I do, well, I’m gonna carry you across that old threshold. What do you think of that?

KIMMY

Who... who are you?

ELLIOTT

It’s me. Elliott. Kimmy?

KIMMY

Kimmy? Is that... is that my name?

ELLIOTT

Don’t you remember?

KIMMY

I don’t remember... anything!

Kimmy looks around. Elliott squints.

CUT TO:

INT. CARTWRIGHT HOME -- LIVING ROOM -- SUNDAY AFTERNOON

ALAN serves YVONNE some tea.

YVONNE

So what’s this all about, Alan?

ALAN

I want you to know that I really have turned over a new leaf. I have shed my old self like a snake sheds its skin, or a turtle leaves its shell for a larger one. It’s all a part of the process of growth, Yvonne. Growth and change are universal, and we should not resist it as we do.

YVONNE

Well, besides the way you talk, I don’t really see much in the way of growth and change.

ALAN

That’s why I asked you to come over. I want to tell you that I have decided to abandon the development of the Shadygrove campground.

YVONNE

What?

ALAN

I’m going to restore the land to its natural state.

YVONNE

You’re really serious about this.

ALAN

I had been thinking of those motorcyclists. Riding the highways and byways of this vast land on those magnificent machines... open to the sky, the scenery flowing by uninterrupted... what an incredible sensation of freedom it must be. It’s in everything they do, their lack of inhibition. I wanted to taste that. So, last night, I went up to the Maple Lodge and took them all out to the construction site. We just tore the place apart, it was fantastic! What a rush! I had this overpowering sense of victory, of the earth reclaiming a part of itself. I’ve never felt anything like it! It’s better than sex!

YVONNE

Well... it is a thrill to be a part of saving the environment. It’s what shapes my whole world view.

ALAN

You are so in touch, Yvonne. I want to do more, I want to make a real commitment to the planet... to living a simple and pure life...

Alan picks up a small sculpture and weighs it in his hand.

CUT TO:

INT. POLICE VAN -- AFTERNOON

LYNDON is seated at a surveillance console in the back of an unmarked police van. He is wearing headphones. GALE and SHERIFF stand behind him.

GALE

Everything check out?

LYNDON

I’m receiving him. Duane is approaching the house now.

GALE

Well, Bob?

SHERIFF

Let’s do it.

CUT TO:

EXT. RURAL ROAD -- AFTERNOON

GALE and SHERIFF exit the unmarked police van and walk between two houses towards the woods.

CUT TO:

EXT. BOX LADY’S HOME -- FRONT YARD -- AFTERNOON

DUANE walks up the tree-lined driveway towards the Box Lady’s house, which is set back into the woods.

CUT TO:

EXT. BOX LADY’S HOME -- BACK YARD -- AFTERNOON

GALE and SHERIFF creep up and hide behind a large stack of firewood at the rear of the yard, on the edge of the woods. Gale looks through his binoculars.

NEW ANGLE -- GALE’S P.O.V. THROUGH BINOCULARS

DUANE approaches the Box Lady’s back door. PATRICK opens the door and Duane goes inside. Patrick looks around, then closes the door.

GALE (O.S.)

We’ve got him.

BACK TO SHOT

Sheriff speaks into his walkie-talkie.

SHERIFF

All units stand by.

NEW ANGLE -- GALE’S P.O.V. THROUGH BINOCULARS

DUANE and PATRICK can be seen through a picture window.

CUT TO:

INT. BOX LADY’S HOME -- AFTERNOON

PATRICK is complaining to DUANE.

PATRICK

This whole operation is in rough waters, man. Kimmy was proving unreliable, so I had to put her out of the picture.

DUANE

How’d you manage that?

PATRICK

Overdose, made to look like a suicide.

DUANE

She’s dead? Are you sure?

PATRICK

Well, I haven’t exactly gotten down to the newsstand every day!

DUANE

Oh, right. Sorry.

PATRICK

What’s the matter with you?

DUANE

What? Nothing, man.

PATRICK

You’re acting weird.

DUANE

No, I’m cool. Let’s talk turkey, man.

PATRICK

You’re gonna have to make the runs now, man, until I can find somebody to replace Kimmy.

DUANE

Come on, man! I can’t go driving all over--

Patrick violently grabs Duane by the shirt.

PATRICK

You’ll do it, you little turd--

Patrick feels the wire, pulls up Duane’s shirt, and sees it. He glares at Duane, who stares back, scared stiff. Patrick suddenly headbutts Duane, sending him crashing to the floor. Patrick backs up against the wall and draws his gun.

EXT. BOX LADY’S HOME -- BACK YARD -- AFTERNOON

SHERIFF looks on as GALE lowers his binoculars.

GALE

Damn it!

CUT TO:

EXT. MAPLE LODGE -- AFTERNOON

CUT TO:

INT. MAPLE LODGE -- AFTERNOON

A line dance is in progress. KENT is standing by the refreshment table. ROSEMARY comes up to him, wearing an elaborate rhinestone-encrusted “cowgirl” outfit.

ROSEMARY

This is so much fun! Now, aren’t you glad I talked you into coming?

KENT

(sarcastically)

Yeah, it’s a blast.

ROSEMARY

Come on now, don’t be a wallflower!

KENT

I’m going out for some air.

CUT TO:

EXT. MAPLE LODGE -- AFTERNOON

KENT comes out the back door. Behind the building is a horse-riding ring and stables. In the ring, RAMONA WINGFEATHER rides a horse bareback, her long black hair blowing behind her. Kent walks over and leans on the railing. Ramona reins in the horse in front of him.

RAMONA

Hello.

KENT

That’s a beautiful animal. Morgan, isn’t he?

RAMONA

That’s right. He had a touch of the mange, but he’s recovering nicely. You into horses?

KENT

Always have been. But I’m more interested in breeding than riding.

RAMONA

(dismounting)

Nothing wrong with that. Name’s Ramona Wingfeather.

KENT

Kent Clapsaddle. Hi.

RAMONA

You must be up here for the Old West business.

KENT

Sort of. I came with my mom.

RAMONA

You’re not interested in it?

KENT

Not especially. But I guess you would be, being a Native American.

RAMONA

I’m an Indian.

KENT

Oh. Sorry.

RAMONA

I don’t mind them so much, really. But I’d rather they showed some interest in the problems facing the Indian peoples today, along with their obsession with the past.

KENT

Yeah.

Ramona leads the horse away, then stops and looks back at Kent.

RAMONA

Come on.

CUT TO:

EXT. BOX LADY’S HOME -- BACK YARD -- AFTERNOON

GALE and SHERIFF crouch behind the firewood.

GALE

We’ve got to move in on him now.

SHERIFF

Right!

Gale and Sheriff draw their guns and cross the back yard, keeping low and going from tree to tree. They reach the back door and move to either side of it. Sheriff reaches across and takes hold of the door handle. Gale nods. Sheriff pushes the door open and Gale darts inside.

CUT TO:

INT. BOX LADY’S HOME -- AFTERNOON

GALE enters, holding his gun out in front of him. SHERIFF follows him in. They go through the kitchen into the living room, where they find PATRICK standing against the wall near a large picture window, holding DUANE in a stranglehold with his gun held to Duane’s head.

PATRICK

That’s far enough!

DUANE

Come on, man!

PATRICK

Shut up! Traitor! I’ll show you what happens to people who try to screw me!

SHERIFF

All right, Patrick. Just let Duane go and put down the gun. You’re under arrest.

PATRICK

Back off, man! Drop your piece -- or this sucker gets smoked!

SHERIFF

All right, take it easy, Patrick.

Gale and Sheriff lay their guns on the floor.

PATRICK

Now back up!

Gale and Sheriff comply. Duane slowly reaches into his overcoat. Gale notices, then fixes his eyes on Patrick.

GALE

Come on, Patrick. There’s no way for you to get out of this. You’ll be better off to give yourself up.

PATRICK

Yeah, we’ll see about that!

GALE

This entire area has been surrounded, Patrick. You’re cut off. Trapped. You’ve lost. Give it up.

PATRICK

Shut up, man! I mean it!

GALE

You’re just making it harder on yourself, Patrick. Now, show us how smart you are.

PATRICK

Shut up, damn you!

Patrick takes the gun from Duane’s head and aims at Gale. Duane produces a butterfly knife from his coat pocket, twirls it open, and stabs Patrick in the arm. Patrick cries out and lets go of Duane. He fires blindly.

Gale and Sheriff hit the floor and go for their guns.

Duane throws himself to the floor and spins around to face Patrick, as Patrick swings his gun around into Duane’s face.

Sheriff grabs his gun as a shot rings out.

Patrick, a bullethole in his forehead, collapses to the floor.

CU -- BULLETHOLE in the window. The focus changes to reveal LYNDON outside, still aiming his gun.

CU -- DUANE stares at Patrick’s body in shock.

CUT TO:

INT. LIGHTHOUSE -- SUNDAY EVENING

NICHOLAS is sitting at the bar, sulking. JEAN approaches.

JEAN

Hey.

NICHOLAS

Oh, hi.

JEAN

I haven’t heard anything from you or Penny since Friday night. Is something wrong?

NICHOLAS

Yeah. There is.

They cross the room and sit down opposite each other in a booth.

NICHOLAS

It’s Penny. She’s been acting different lately. She’s not like herself.

JEAN

How so?

NICHOLAS

She’s been acting really jealous. Like she thinks I’m falling for you.

JEAN

Oh.

NICHOLAS

But it’s crazy, ’cause I’ve had other female friends before, and she’s never been like this. I don’t know why she’s making a fuss now.

JEAN

I’m sorry if I’m causing a problem.

NICHOLAS

No, I’m sure it isn’t you. Something’s gotta be bugging her.

JEAN

Do you think she’s just disturbed by everything that’s happened?

NICHOLAS

Well, she seemed to be handling everything pretty well until about a week ago. We kind of talked about getting married. I mean, we didn’t really talk about it, but we sort of knew that was what we were thinking about.

JEAN

Uh-huh.

NICHOLAS

And now she’s all hyper-sensitive. And what I don’t get at all is why she went out with some other guy last night. What’s she trying to do? If she’s mad, why doesn’t she just talk about it?

Jean puts her hand on Nicholas’s hand to comfort him.

JEAN

Oh, Nicholas, I’m so sorry.

PENNY appears.

PENNY

Well. And why am I not surprised to find the two of you together?

JEAN

Penny, it’s not what you think!

PENNY

Right. You think I’m blind?

NICHOLAS

Penny, look, let’s talk, okay?

PENNY

You know, it looks to me, Nicholas, like you’ve got something other than talking on your mind right now. So why don’t the two of you just go back to gazing into each other’s eyes?!

Penny storms off.

NICHOLAS

Penny!

Nicholas goes after her, leaving Jean alone. Jean looks at the crowd.

NEW ANGLE

A large CROWD of people mill about and dance in the dim light.

CU -- JEAN shivers.

CUT TO:

EXT. SHERIFF STATION -- EVENING

CUT TO:

INT. SHERIFF STATION -- LOBBY -- EVENING

LYNDON sits in the waiting area in shock. ABIGAIL sits down next to him and hands him a cup of coffee. He holds it without drinking any, staring straight ahead.

ABIGAIL

Lyndon? Are you all right? Lyndon?

Across the room, SHERIFF looks on, drinking a cup of coffee. GALE approaches.

GALE

Doctor Terrence called while we were out. It seems the Box Lady has regained consciousness.

SHERIFF

Great.

GALE

How’s Lyndon doing?

SHERIFF

Looks like shock. I can’t remember the last time any of us actually had to shoot somebody.

GALE

Believe me, Bob, it’s something too many agents of the Bureau have become desensitized to.

Sheriff crosses over and kneels down to talk to Lyndon.

SHERIFF

Lyndon? I want you to know that everything’s going to be all right. Agent Gale and I were both there, and you acted properly. Nothing to worry about, okay?

Lyndon is unresponsive. Sheriff stands and Gale nods to him supportively. Other DEPUTIES congregate by the far wall. One is acting out Lyndon’s deed while the others watch, smiling.

SHERIFF

Why don’t you guys find something to do?

The deputies disperse grudgingly.

SHERIFF

Now, I’ve got a lot of paperwork to get through, so...

GALE

Bob, I have a favor to ask.

SHERIFF

Anything.

GALE

Let me tell Dani.

Sheriff nods and pats Gale on the back, then goes into his office. Gale squints.

CUT TO:

INT. JAMES’S HOME -- FOYER -- EVENING

JAMES answers the doorbell, revealing PENNY outside.

JAMES

Penny! Hi.

PENNY

James, can we talk?

JAMES

Sure. Come on in.

Penny steps through the door and takes off her coat.

CUT TO:

INT. JAMES’S HOME -- BASEMENT -- EVENING

JAMES and PENNY come down the stairs and sit on a couch.

JAMES

You know, while we were out last night, somebody broke in here.

PENNY

Oh, no. That’s terrible! Did they take anything?

JAMES

No, not really. Nothing important.

PENNY

Thank the Lord for small favors.

JAMES

Right. Is something wrong?

PENNY

Oh, I don’t know. I had a really nice time last night, James. I like you.

JAMES

Penny, I thought you were going with Nicholas Grey.

PENNY

I need someone I can count on. Someone to whom love means something. You know, when you told me about your being in love with Megan, even though you never told her, I could see that that’s what love is really about. If you can love somebody from afar, in silence, and stay true to them no matter what. You’re very special, James. You understand true love.

JAMES

Penny, you’re really nice and all, but I really don’t think I could...

PENNY

Oh, I know what you’re thinking, James. You never have to forget Megan, but she’s gone now, and you have to live for yourself. And if you give me a chance, I know we could be very happy. You’d see that you can love someone else just as much.

JAMES

I just don’t think I’m ready, Penny. I still think about Megan all the time. I couldn’t go out with somebody else. I’d feel like I’m betraying her. All last night, that’s what I was worried about. It’s just too soon.

PENNY

I... I see. I’m sorry.

CUT TO:

INT. SHERIFF STATION -- SHERIFF’S OFFICE -- EVENING

SHERIFF is at his desk, working on paperwork.

YVONNE (O.S.)

Hello, Bob.

Sheriff looks up. YVONNE enters.

SHERIFF

Yvonne.

YVONNE

Are you angry?

SHERIFF

No. Of course not.

Yvonne crosses to the window and looks out.

YVONNE

You know, I’ve been going over this conversation in my mind for years, but now I don’t know what to say.

SHERIFF

I’ve missed you.

YVONNE

I’ve been thinking of you constantly since we met again. And I can’t deny that what we once felt for each other is still there. When I left Twinsburg, I needed to find myself. I felt so lost. There was something missing in my soul that I needed to get in touch with. I thought I’d found the answer when I was working with Appalachian children, and then when it was Eskimo fishing rights, and again with the Brazilian rainforest. But all my crusades never gave me the feeling of satisfaction I got when you and I spent an afternoon fishing.

SHERIFF

Those are my favorite memories.

YVONNE

I realized that it wasn’t the closeness of nature that made me feel the way I did. It was being close to you. You were the piece of my soul that I lost, Bob. I should never have married Alan, it was all so crazy. And then Duane was born. I tried to make it work, but finally, I just had to escape somehow. Then I just wandered. But when I saw you again, it was as if I’d found what had been missing at long last.

SHERIFF

(crosses to her)

There’s never been anyone for me but you...

They embrace and kiss hesitantly, then again with great passion.

CUT TO:

EXT. TWINSBURG HOSPITAL -- SUNDAY NIGHT

CUT TO:

INT. HOSPITAL HALLWAY -- NIGHT

GALE and TERRENCE walk towards the hospital’s recreation room.

GALE

Thank you for coming in so late, Doctor.

TERRENCE

Don’t mention it, Agent Gale. I said I’d let you know when there was any change in her condition, but I’m afraid she’s still completely unresponsive.

GALE

I see.

TERRENCE

Her symptoms are actually similar to what we saw in Tuppence when we brought her in after she’d been drugged up.

GALE

Interesting.

CUT TO:

INT. HOSPITAL RECREATION ROOM -- NIGHT

GALE and TERRENCE enter. BOX LADY sits in a wheelchair by a large picture window staring out into the darkness. Gale kneels down beside her.

GALE

Ma’am? Can you hear me? It’s Martin Gale. I have been visited by the Astronaut and the Lady of Light. She told me to find the Electrical Man. Do you know about them? Can you help me? I spoke with Brownturtle. Do you know about him? About Brownturtle?

BOX LADY

(mumbles)

Out of time...

TERRENCE

What the devil?

CU -- GALE squints.

CUT TO:

INT. MAPLE LODGE -- NIGHT

The crowd is square-dancing. ROSEMARY, KENT, OREGON, DAN, DON, and RAMONA are among the numerous people dressed in ordinary, biker, and western outfits. Kent is happy, and he and Ramona smile at each other. Oregon notices and nudges Rosemary, pointing it out to her. Rosemary grins at Oregon, then nudges him back. Kent and Ramona clasp arms and spin.

Dissolve into a slow dance, with the lights down low. Kent and Ramona dance together, she with her head on his chest. Rosemary and Oregon also dance together, and Dan and Don each have a biker girl for a partner. Ramona looks up at Kent and they smile at each other as the song ends. Then SERGEI KRIZMAN walks across the stage to the microphone.

KRIZMAN

Is this thing on? Good evening, ladies and gentlemen. My name is Sergei Krizman, and on behalf of the Maple Lodge Elders, I would like to thank all the good people of the Old West Legendarium Society for another great weekend. We always enjoy hosting these events and hope you’ll all come back soon. I want to announce that next weekend, of course, is our annual Festival of Lights, a great time for the whole family, so we hope you’ll plan to come out and join us. And if you know any young ladies, Twinsburg residents, who would be interested, we are holding the Queen of Lights contest, and we’ve got a lot of great prizes and a five thousand dollar scholarship for the lucky winner. Anyway, registration is on Tuesday, so thank you all for coming out, and we hope to see you next weekend. Thank you.

Krizman leaves the stage.

KENT

Hey, you should try for that.

RAMONA

(laughs)

I don’t think I’m the right type. Oh my gosh!

KENT

What is it?

RAMONA

I didn’t realize it was so late. I’ve got to go.

KENT

Are you okay?

RAMONA

Yes, I’m just late... Bye.

KENT

Well, can I see you again?

RAMONA

I’ll be in touch.

She hurries out. Kent is somewhat dazed.

CUT TO:

INT. DANI’S HOME -- NIGHT

DANI is brushing her hair when the doorbell rings. She walks down the hall, across the front room, and opens the front door, revealing GALE outside.

DANI

Martin, come in. Thank you for calling. I was away on business all weekend. Actually, I was glad to be out of town while Patrick was still on the loose. You’ve caught him?

GALE

Dani, I think you should prepare yourself for a shock.

DANI

(sits down on the couch)

What is it?

GALE

(sits down next to her)

Using our informant, Sheriff Armstrong and I were able to set up a trap for Patrick, as I described to you a few days ago.

DANI

Yes?

GALE

However, Patrick discovered the trap before we were quite ready, and we were forced to act directly.

DANI

What are you saying? Martin?

GALE

I’m afraid Patrick was shot.

DANI

Shot?

GALE

He’s dead.

Dani tries to take it all in. She is stunned.

GALE

I’m sorry. He died instantly.

DANI

He’s dead? Dead?

Gale puts his hand on her knee. Dani catches her breath, then begins to retch. She puts her hands to her face and rushes out of the room. Gale feels at a loss as to how to help her.

CUT TO:

EXT. INTERNATIONAL AIRPORT -- NIGHT

A Lockheed 10-11 comes in for a landing.

CUT TO:

INT. INTERNATIONAL AIRPORT TERMINAL -- NIGHT

JANET stands near the gate as PASSENGERS disembark. A crowd of young SOCCER PLAYERS comes out waving small Union Jack flags and are met by cheering PARENTS. Other passengers file out as Janet watches expectantly. Then, finally, JEREMY FLYNN, a young man in a dark suit, overcoat, and dark glasses, emerges. Janet waves to him.

JANET

Darling!

Jeremy approaches her, and Janet embraces him.

JANET

Darling, I’m so glad you’re here.

JEREMY

Hello, Mother.

FADE OUT

Special Agent Martin Gale, 34. FBI agent.

Sheriff Robert Armstrong, 36. Sheriff of Twinsburg.

Jean Bellew, 19. Megan’s lookalike cousin.

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

Penny Gardner, 17. High school senior.

Duane Cartwright, 18. High school senior, Alan’s son.

Lyle Terrence, 62. Local doctor.

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

Nicholas Grey, 17. High school senior.

Elliott Grey, 42. Owns bike shop, uncle of Nicholas.

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.

Patrick Clapsaddle, 33. Brother of Rosemary, husband of Dani.

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

Box Lady, 53. Local eccentric.

Kimmy Clapsaddle, 38. Sister of Rosemary.

Yvonne Temple, 36. Environmentalist, mother of Duane.

Oregon Blackthorn, 35. Wild West enthusiast.

Dan Barrett, 30. Motorcyclist, twin of Don.

Don Barrett, 30. Motorcyclist, twin of Dan.

Ramona Wingfeather, 18. Maple Lodge janitor, Native American.

Sergei Krizman, 68. Maple Lodge Elder.

Jeremy Flynn, 20. Criminal mastermind, son of Janet.

Minister

Churchgoers

Deputies

Townspeople

Airplane Passengers

Soccer Players

Soccer Parents


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