Episode 17

FADE IN:

INT. THOMAS HOME -- THURSDAY MORNING

Pan up the staircase to meet JEAN as she comes down. She opens the front door, picks the newspaper up off the doorstep, and closes the door again. She begins to cross to the kitchen but stops and looks at the place on the floor where Megan’s body was found. Slow zoom into Jean’s face as the echo of screams and hammering noises can be heard. Shaking, Jean looks down at the inside of her bare forearms, which suddenly bruise and begin to bleed. She screams and drops the newspaper, the pages scattering across the floor. There is a knocking at the back door which snaps Jean out of it. She forces herself to look again at her forearms. They are fine. She goes to the back door, located in the kitchen, and opens it, revealing JAMES outside.

JAMES

Good morning.

JEAN

Good...

JAMES

Are you okay? You look pale. Something wrong?

JEAN

No, I...

Jean steps back into the kitchen as James enters.

JEAN

What do you want?

JAMES

I wanted to see you. I need to see you, Jean. I can’t stop thinking about you. Ever since we met, you’ve haunted me.

JEAN

(turns away)

It’s very flattering. Really, but I’m not... I mean, James, I don’t want to... I don’t want to go out with you or anything. I’m not interested. Really, just...

JAMES

(puts his hands on her shoulders)

You are so beautiful.

JEAN

Please go.

James runs his hands up to Jean’s neck and squeezes gently.

JAMES

I’ll see you later.

He exits. Jean clutches at her throat and gasps for breath.

CUT TO:

EXT. SHERIFF STATION -- MORNING

CUT TO:

INT. SHERIFF STATION -- LOBBY -- MORNING

GALE enters, wearing brown pants and a flannel shirt. He is looking over printouts of old newspaper articles. ABIGAIL is sitting at her desk.

ABIGAIL

Good morning, Agent Gale. I almost didn’t recognize you dressed that way.

GALE

Good morning, Abigail. Is the Sheriff in?

SHERIFF

I sure am.

SHERIFF crosses the lobby from his office.

SHERIFF

It’s good to see you.

GALE

I’ve been going over these articles concerning the disappearances. There are many interesting similarities in the cases, most of them very subtle. In fact, many of them I only see due to our experience with Tuppence Collins.

SHERIFF

No kidding. Let’s see.

Suddenly, WYNTON DUKE enters the building.

DUKE

Well, well, well. Look who we have here. It’s Martin Gale! I trust you haven’t forgotten me, Martin.

GALE

Of course not. Sheriff, this is Special Agent Wynton Duke.

DUKE

You know why I’m here, Martin. The grisly murder of the young and beautiful Megan Thomas of Twinsburg. We can begin the briefing immediately. You will tell me everything you’ve got on this case: evidence, suspects, leads, theories. I want it all.

SHERIFF

Now hold on a minute. Mr. Duke, I realize you’re eager to get started here, but I really don’t like strangers bursting into my station and being rude. It just rubs me the wrong way, understand?

DUKE

Ah, yes. You must be the good Sheriff Armstrong. I’ll be speaking with you after my briefing with Agent Gale, so stick around, there’s a good fellow.

GALE

All right, Wynton. Let’s begin.

Gale and Duke go into the conference room. Sheriff squints.

CUT TO:

EXT. MAPLE LODGE -- MORNING

CUT TO:

INT. MAPLE LODGE -- MORNING

EMMA enters, leading WAYNE by the hand. A few YOUNG WOMEN are milling about the registration tables for the Queen of Lights contest. Emma and Wayne go up to the table where KRIZMAN is sitting.

KRIZMAN

Well, good morning! Hello there, little guy. Please, sit down.

EMMA

Good morning, sir. I’ve come to register for the Queen of Lights contest.

KRIZMAN

Yes, we’ve been expecting you. We just need you to fill out this form.

EMMA

Sure.

KRIZMAN

(to Wayne)

You’ve been a very good little helper. Would you like a nice piece of maple sugar candy?

Wayne looks at Emma. She nods, so he takes the candy and eats it.

EMMA

(completes the form)

There we are. Thank you.

KRIZMAN

(takes the form)

It’s the least we could do.

They smile and look at each other, then at Wayne.

CUT TO:

INT. SHERIFF STATION -- CONFERENCE ROOM -- MORNING

DUKE is seated at the table. SHERIFF enters.

DUKE

Ah, Sheriff, do come in. Please, sit down.

SHERIFF

I’ll stand.

DUKE

As you like. Sheriff, being new to this town, I am going to need you to give me a clearer picture of the kind of people I’ll be dealing with. Frankly, Agent Gale’s investigation is a mess. He hasn’t even sketched out any personality profiles for suspects, and his bio on the victim is woefully inadequate. I wouldn’t expect you to know anything about it, but I’m really going to be playing catch-up for a few days here. How long depends on you.

SHERIFF

First off, you’re not dealing with personality types here, Agent Duke, you’re dealing with people. Agent Gale doesn’t reduce people to a paragraph on a piece of paper, because he tries to see the bigger picture. He looks for the sort of insights you can get about folks when you look at them as human beings. But I wouldn’t expect you to know anything about it.

DUKE

Sheriff, I sense a level of animosity from you that will clearly be a hindrance to our cooperation in the solving of this murder. Now, I always make it a point to share credit with the local law-enforcement -- it has a relaxing effect on the citizenry and also is good PR for the Bureau -- but if you interfere with my investigation in any way, I will see that you pay a heavy price. I understand this transition is difficult for you, after having grown accustomed to Agent Gale, but believe me, Sheriff, in the Bureau, Martin Gale is considered something of a wild card.

SHERIFF

Agent Gale is the finest lawman I have ever known. I have had nothing but respect for him since the day he came to Twinsburg. I don’t know what you’ve got against him, but you’re wrong. Dead wrong. Now, if you’ll excuse me, I have cases of my own to work on.

DUKE

You listen to me, Sheriff, and you listen good. I have had more than my fill of you small-town crossing guards obstructing the efforts of the United States government, talking down to Bureau personnel from your pulpit. Law enforcement is no moral crusade, it’s a business like any other. If Agent Gale doesn’t have the hardware to compete, that’s not my concern. What I’m concerned with is to solve this case.

SHERIFF

Well, then, best of luck. And help yourself to coffee... on the way out.

Sheriff exits the room.

CUT TO:

EXT. RURAL ROAD -- MORNING

CHIP drives his pick-up truck, with NICHOLAS and DUANE in the seat next to him.

CHIP

Hey, thanks a lot, you guys, for taking a day off to help me out like this.

DUANE

Nothing going on at school anyway.

NICHOLAS

What exactly are we doing? I mean, what’s the big deal that you need us?

CHIP

Well, before I went inside, you know, I had a lot of money I didn’t want around when the cops moved in. So I put it into safekeeping with a ladyfriend of mine.

DUANE

So, where do we come in?

CHIP

Me and a couple friends buried it behind her house, only they’re still put away, so I need you guys to help me dig it up. Hey, I’ll make it worth your while. No problem there for my bestest buddies.

Nicholas and Duane exchange glances.

CUT TO:

EXT. OLIVERA MANSION -- MORNING

The pick-up truck pulls into the grounds of a large estate and stops in front of a palatial mansion. NICHOLAS, DUANE, and CHIP get out of the truck.

DUANE

This is it?

NICHOLAS

She lives here?

CHIP

Who better to leave your money with than somebody who don’t need it?

ANASTASIA OLIVERA, drop-dead gorgeous and wearing high-fashion clothes, emerges from the house and approaches them. She and Chip embrace and kiss lewdly.

ANASTASIA

It is so good to see you again. I’ve been waiting for that tongue of yours.

CHIP

You’re looking fine. Damn! Guys, this is Anastasia Olivera. That’s Nicholas, that’s Duane.

DUANE

Hi.

ANASTASIA

It’s a pleasure to meet you. Believe me.

She looks Nicholas over lustily.

CUT TO:

EXT. SHERIFF STATION -- THURSDAY AFTERNOON

CUT TO:

INT. SHERIFF STATION -- CONFERENCE ROOM -- AFTERNOON

DUKE is looking over a map of Twinsburg, marking where various people live. He has several papers and lists around him. GALE enters.

DUKE

What is it, Martin? I’m busy.

GALE

I’ve made some disturbing discoveries that I feel you should be aware of.

DUKE

Very well.

GALE

In the course of my investigation into the murder of Millicent Collins, I discovered that there is a cult operating in this area that is involved in a number of criminal activities. Furthermore, I have found that whenever there is a conjunction between one of the cult’s feast days and the town’s Queen of Lights contest, the winner of the contest disappears that same weekend. And such a conjunction is due this coming weekend.

DUKE

And what is the connection with the Thomas case?

GALE

At present, I do not know.

DUKE

Martin, I don’t know what you’re asking me here. If there is a group of wacko Satanists in town, it’s clearly the Sheriff’s problem unless and until the Bureau is called in specifically to deal with it. Look, Martin, I have a mission to carry out, and I can’t be distracted by a kidnapping that hasn’t even happened. Be reasonable! You never could concentrate on your assignments without getting distracted. It’s your fatal flaw, Martin.

Gale squints and exits the room.

CUT TO:

INT. OLIVERA MANSION -- AFTERNOON

ANASTASIA looks out the second-floor window at her back yard.

NEW ANGLE

ANASTASIA’S P.O.V. THROUGH WINDOW -- AFTERNOON

CHIP and DUANE cross the lawn with shovels.

BACK TO SHOT

NICHOLAS enters the room.

NICHOLAS

You wanted me to help you with something?

ANASTASIA

Yes. Yes, I said that, didn’t I? I’m not really certain how to put it. I wasn’t expecting Chip to return so soon. He frightens me.

NICHOLAS

Why?

ANASTASIA

We go back a long way. And we caused a lot of trouble together... and for each other. I never wanted it to go on forever, though, and when I married Jonathan -- my husband -- I saw it as a way of getting away from Chip. Jonathan could give me so much, things Chip could only dream of and scheme for. I thought it would be worth the price. I mean, Jonathan isn’t exactly the most exciting person in the world, if you catch my drift. But Chip followed me. He threatened to ruin everything if I didn’t help him.

NICHOLAS

Did you tell your husband?

ANASTASIA

I couldn’t. He wouldn’t understand. And anyway, I’ve never been able to resist Chip’s charms. Whatever else he is, he’s a hell of a lover. I’ll give him that. But then, so am I.

She laughs and moves closer to Nicholas.

ANASTASIA

But he’s bad for me. And I feel so isolated. I don’t know where to turn. Help me...

She kisses Nicholas. He resists and pushes her away.

NICHOLAS

Don’t...

ANASTASIA

Please, hold me... I need you.

She kisses him again. He tries to push her off, but she clings to him, pulling at his clothes.

ANASTASIA

I’ve been so lonely... it’s been so long since I’ve had a real man...

She pulls Nicholas down onto the floor and climbs on top of him. She kisses him and he begins to relent. Suddenly, he pushes her off and runs out of the room. Anastasia runs into the hallway and looks over the banister. She sees Nicholas crossing the front hall below.

ANASTASIA

Don’t go!

Nicholas exits the house quickly. Anastasia collapses against the railing.

CUT TO:

EXT. SHERIFF’S HOME -- AFTERNOON

GALE and SHERIFF are behind the house, shooting at beer cans.

GALE

Wynton completely dismissed the disappearances. He refused to even consider the facts. He has always turned a blind eye to anything he considers irrelevant to the case at hand.

SHERIFF

I was thinking that maybe I should cancel the contest.

GALE

That would seem to be the prudent course of action, but I believe the contest may be the key to finding Llewellyn and the cult of the Lady of Night when they try to kidnap the Queen of Lights. We have a rare opportunity to be one step ahead of them when they act. If we miss it, there’s no telling when they will surface again.

SHERIFF

I don’t know. It sounds dangerous.

GALE

I believe the risks are worth the chance to stop this cult’s evil activities.

SHERIFF

All right. I trust your judgment.

CUT TO:

INT. OLIVERA MANSION -- AFTERNOON

CHIP bursts into the mansion with DUANE tagging along. ANASTASIA is frightened.

CHIP

All right, Anastasia. Where is it?

Anastasia tries to get out of the room by a side door, but Chip swings his shovel into the door, slamming it. He throws the shovel onto a table and grabs Anastasia.

DUANE

Hey, man, calm down--

CHIP

Shut up! Where’s the money, Anastasia? What did you do with it?

She squints at him.

CHIP

I warned you what would happen if you double-crossed me. Didn’t I make myself clear enough? I know you didn’t think I’d be back, did you? Well, I was a real good boy, and I knew that when my number came up, I’d be back on the outside. Now tell me, where is it?

ANASTASIA

Go to hell.

Chip punches her in the face, knocking her to the floor.

FADE TO:

EXT. WOODS -- THURSDAY EVENING

Maple trees sway in the wind.

FADE TO:

EXT. NEIGHBORHOOD STREET -- EVENING

Dead leaves blow across an empty street.

FADE TO:

EXT. GREY’S BIKE SHOP -- EVENING

Pan down from the sign to the front window. Through the window, DUKE can be seen talking to ELLIOTT and KIMMY. Although they cannot be heard, there is obvious tension in the conversation. Elliott becomes angry and speaks harshly to Duke.

FADE TO:

EXT. RURAL ROAD -- EVENING

High-tension towers recede into the distance. Lightning flashes.

FADE TO:

INT. THOMAS HOME -- LIVING ROOM -- EVENING

DUKE is arguing with CASEY, who is livid with anger and gesticulating wildly. WILMA is seated on the couch, sobbing, as JEAN tries to comfort her.

FADE TO:

INT. FIREPLACE -- EVENING

A fire roars in a rustic fireplace. Slow-motion.

FADE TO:

INT. HIGH SCHOOL GYMNASIUM -- EVENING

DUKE is talking to BRADLEY during basketball practice. Bradley yells at Duke and hurls a basketball at a rack holding a number of other basketballs. The rack is knocked over and the balls spread out across the court. Follow one of the balls as it rolls.

FADE TO:

EXT. NEIGHBORHOOD STREET -- EVENING

A car wheel rolls to a stop. Pan up from the wheel to the windshield, through which DUKE is seen making notes and checking papers while chuckling to himself about the people he has to deal with. Pan up to the sky, where the full moon appears from behind a dark cloud.

FADE TO:

INT. OLIVERA MANSION -- EVENING

Fade from the full moon to a matchflame lighting a candle. Several other candles, all in a row, are lit with the same long wooden match. CHIP holds the match up to his face and blows it out. As he turns around, lightning flashes. He crosses the room carrying a candle. DUANE stands in the background, watching him. ANASTASIA, in her bra and panties, is tied to the dining room table, her wrists and ankles lashed to the table’s sturdy legs. Several lit candles sit on the table around her. Chip leans in close and holds his candle up to her face.

CHIP

You were always so beautiful, Anastasia. So delicate from head to toe. But we both know that it’s all phony. A well-crafted disguise. Underneath it all, you’re hard as nails. No, you’re the anvil. Isn’t that right?

ANASTASIA

You’re a bastard.

CHIP

What did you do with my money, girl?

Anastasia remains silent. Chip moves the candle down her arm and lets some of the hot wax drip onto her forearm. Anastasia winces.

CHIP

Where is it? Where is that old money?

Anastasia turns her face away from him. Chip moves the candle to her upper arm and lets it drip again. Her face contorts in pain, but she will not make a sound. Chip begins setting some short, fat candles on her stomach.

CHIP

While I was in the penitentiary, I kept thinking about that money, you know, and how it was going to give me a better life. One where I didn’t have to worry about John Law looking over my shoulder. That money was my freedom, Anastasia. Now, I want you to tell me what happened to it!

She spits at him. He drops a gob of hot wax on her chest. She screams, and the candles on her stomach tip over. She screams again. Chip laughs loudly, then is struck from behind with a fireplace poker. He crumples to the floor, revealing Duane behind him, staring with wild, panicked eyes.

ANASTASIA

Thank you... please, untie me!

Duane stares at her and begins to back away, dropping the poker.

ANASTASIA

Don’t leave me! Please! Help me! Help me!

Duane turns and runs. Anastasia screams.

CUT TO:

EXT. SHERIFF’S HOME -- EVENING

Lightning flashes.

CUT TO:

INT. SHERIFF’S HOME -- LIVING ROOM -- EVENING

YVONNE is sitting on the couch. SHERIFF brings her a cup of coffee and sits down next to her. She curls up to him.

SHERIFF

Agent Gale’s replacement showed up today. Something about that guy gave me the creeps. And he has one hell of an attitude.

YVONNE

I’m sorry for your friend. I can tell you really respect him.

SHERIFF

He seems so lost now. Something in his eyes.

YVONNE

I see something in your eyes. Something I like. It feels so good to be with you. All day, I’ve been jumping at my own shadow. Why would someone want to kill me? It just doesn’t make any sense.

SHERIFF

You’ve been involved in a lot of controversial causes all over the world. Have you made any enemies?

YVONNE

Well, yes, plenty, but none who would actually want me dead, or would gain anything by it. It’s all so crazy. That’s the most frightening part.

SHERIFF

I don’t want you to be frightened.

Yvonne puts her arm around Sheriff and kisses him. She lies back on the couch as Sheriff kisses her passionately.

YVONNE

Protect me. Make me safe.

SHERIFF

I will.

They continue to kiss. Pan up to the window behind the couch. Lightning flashes, revealing JEREMY outside, watching them.

CUT TO:

INT. CARTWRIGHT HOME -- FOYER -- EVENING

DUANE enters the house, wet from the rain. He hears voices coming from the den and goes up to the closed door to listen in.

JANET (O.S.)

You must see what you’re doing. You can’t just take a company and bend it any way you want to bend it. It will break.

ALAN (O.S.)

You don’t know anything about it.

CUT TO:

INT. CARTWRIGHT HOME -- DEN -- EVENING

JANET is seated as ALAN paces the room.

JANET

Albert told me--

ALAN

Albert! Albert!

JANET

Albert told me that you could face bankruptcy if you continue on like this. Cancelling projects left and right, it’s mad! Alan, the lawsuits could break you.

ALAN

I am reshaping the company to fit my new vision. It’s a painful process, but it has to be.

JANET

Darling, listen to me. Maybe the best thing for it would be for you and me to slip off somewhere, a little island or something, where we can develop just what your vision is. And then we could form a new company to make it real, one tailor-made, instead of gambling with the lives of your employees. Alan, these people trust you, they depend on you for their livelihoods.

ALAN

And once we have this new company, who runs the old one?

JANET

Whomever you like, of course. But in the interim, while we’re away, there are two very capable hands to stand in...

ALAN

Who?

JANET

Jeremy, your son. Oh, Alan, he’s just brilliant, and ever so clever at business, believe me. He could look after things. He knows how to run things with a firm hand. He was born to it. And he’s very shrewd.

ALAN

He takes after his mother.

JANET

He takes after both of us. What do you say? Please?

ALAN

I don’t know. I’ll have to think about it.

CUT TO:

INT. CARTWRIGHT HOME -- FOYER -- EVENING

DUANE, eavesdropping on their conversation, is shocked by the revelation that he has a brother.

CUT TO:

EXT. TWINSBURG LIBRARY -- EVENING

CUT TO:

INT. TWINSBURG LIBRARY -- EVENING

GALE and DANI are looking through books about the history of the area.

DANI

Are you all right?

GALE

I’m fine.

DANI

Things go badly with Agent Duke?

GALE

He hasn’t forgotten a thing that went on between us. And I am more convinced than ever that he somehow holds me responsible for Cheryl’s death.

DANI

That’s crazy.

GALE

Wynton could never admit that his actions affected people the way they did. He saw people as means to his own ends and used them whenever and however he could. But at the same time, he hated what he perceived as weakness in those he exploited. It infuriated him. It was Cheryl’s strength that attracted him to her, but he managed to wear even her down over time. I think he feels I weakened her, corrupted her somehow. And when she took her own life, everyone was to blame except Wynton Duke. Except the man truly responsible.

DANI

But if he blames you for it...

GALE

I don’t know how far he would go with it. But I do know he is a dangerous man.

CUT TO:

EXT. TWINSBURG INN -- THURSDAY NIGHT

CUT TO:

INT. TWINSBURG INN SUITE -- NIGHT

JANET pours two glasses of champagne and gives one to JEREMY.

JEREMY

Did he go for it?

JANET

He agreed to think about it, but he seemed as though he might be keen on the idea. All he needs is a little more coaxing.

JEREMY

Well, once we’ve taken care of his former wife, there will be nothing to keep Father in Twinsburg. With any luck, the pain of her sudden death will be a further inducement for him to take a change of scene.

JANET

A few weeks alone with Alan in some resort hideaway is all I need to have him begging to marry me.

JEREMY

And once the company is in my hands, we’ll be able to keep dear old Dad on a very short leash.

They laugh and toast. Suddenly, DUANE bursts into the room.

JANET

Oh!

DUANE

I want some answers!

JEREMY

Who the devil are you?!

JANET

Duane! Jeremy, it’s all right. Duane, come in, please, do come in. Jeremy, this is Duane. This is my son Jeremy.

DUANE

I heard you talking to my dad at home, about Jeremy. And I want to know -- is it true?

JANET

Oh, dear. Yes, Duane. Jeremy is your brother. Half-brother.

DUANE

Then why didn’t I ever know?

JANET

Well, it was very difficult. Please, let me explain. Jeremy was born out of wedlock, I’m afraid. Your father and I were young and in love and eager. Alan had promised to marry me, until Yvonne stole him away.

DUANE

What are you talking about?

JANET

I’m sorry, Duane. I don’t mean to sound harsh, but your mother has always acted without regard for others. Her life is directed toward the satisfaction of her own selfish desires. It is very sad, because it hurts innocent people. Like you. Like us. She drove me and my unborn child away and took my place with the man I loved and still love. Just as when she left him and you, so young, to wander the globe. I don’t want her to hurt any of us again.

JEREMY

Look, Duane, both of our lives have been damaged by Ms. Temple. But what’s done is done, we can’t change the past. But we can make a fresh start, and that’s what I want. My mum’s told me about you, and about the trouble you’ve been in. I want to do what I can, that’s all. I want the chance to be the brother I never had the chance to be.

Jeremy holds out his hand. Duane looks at him, unsure of his feelings. Jeremy embraces Duane and pats him on the back. Duane nods.

CUT TO:

INT. BOX LADY’S HOSPITAL ROOM -- NIGHT

TERRENCE brings GALE into the BOX LADY’s room, where she sits staring out the window.

TERRENCE

All right. Don’t stay too long. She’s very weak.

GALE

I understand.

Terrence exits. Gale kneels down next to the Box Lady, but she does not acknowledge his presence.

GALE

Ma’am, I need your help. I need to ask you about the Queen of Lights. Is she a target of the Lady of Night’s cult? Is that when Llewellyn will return?

Box Lady is unresponsive.

GALE

Brownturtle has disappeared without a trace. How can I find him?

Again, there is no response. Gale stands, looks at her a moment, then exits.

CU -- BOX LADY, a tear running down her cheek.

CUT TO:

INT. KENT’S HOME -- LIVING ROOM -- NIGHT

ROSEMARY is sound asleep in a chair facing the television, which plays quietly. KENT enters and looks at her, then exits again.

CUT TO:

INT. KENT’S HOME -- HALLWAY -- NIGHT

KENT moves quietly to the hall staircase and signals to RAMONA, who follows him up to the door of Aunt Elspeth’s room. Kent takes the key out of his pocket and unlocks the door. Then he and Ramona enter the room.

CUT TO:

INT. KENT’S HOME -- AUNT ELSPETH’S ROOM -- NIGHT

KENT and RAMONA enter. Kent closes the door as Ramona looks at Aunt Elspeth’s neon-lit black sarcophagus with wonderment.

RAMONA

This is your secret?

KENT

Yes.

RAMONA

I knew it would be like this. Our secrets bind us together. Each alike, and yet different. Tell me the story.

KENT

Aunt Elspeth died a long time ago. Several years. She left everything, the money, the house and property -- all of it -- to her high-school sweetheart. She never loved anybody but him, and never recovered from her broken heart when he married someone else. She pined for him all her life. Anyway, we didn’t want to lose everything to a total stranger, so we kept her death a secret. We bought this chamber to preserve her body until we figured it was safe to stop pretending she was alive.

RAMONA

How long did you plan to keep it up?

KENT

Well, the plan was until the guy, the beneficiary, died too. Then we’d go from there.

RAMONA

She must have been very beautiful.

Kent runs his hand through Ramona’s long black hair. She turns around and looks into his eyes. They kiss. Pan over to Aunt Elspeth’s perfectly preserved corpse behind the glass.

CUT TO:

INT. TWINSBURG INN -- GALE’S ROOM -- NIGHT

GALE enters. His black suit is hanging on a hanger by the door, and he pauses to look at it and smooth a wrinkle. He crosses to the window. His tape recorder is on the desk. He picks it up and is about to make a recording but instead just looks at the device and puts it back down. He picks up the phone.

GALE

Room service?

There is a knock on the door.

GALE

Just a moment, please.

Gale hangs up the phone and goes to answer the door. He opens the door, revealing JEAN outside in the hall.

JEAN

I’m sorry to bother you so late, but...

GALE

Please, come in.

JEAN

I need to talk to you. I don’t know where else to go. I thought I should come to you.

GALE

Yes. You’re Jean. Bradley told me about you.

JEAN

Yes, I’m sorry.

GALE

You’re trembling. What is it?

JEAN

I’m so frightened. I’m being followed. And watched, constantly. I can’t stand it. Wherever I go, I turn around, and he’s there. He won’t leave me alone. And this morning, he -- he put his hands on me and I -- I felt --

GALE

Who is it, Jean? Who is following you?

JEAN

I -- I --

GALE

Tell me his name.

JEAN

James. James Clapsaddle.

Gale squints.

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.

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.

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

Casey Thomas, 41. Father of Bradley.

Wilma Thomas, 40. Mother of Bradley.

Box Lady, 53. Local eccentric.

Kimmy Clapsaddle, 38. Sister of Rosemary.

Yvonne Temple, 36. Environmentalist, mother of Duane.

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

Sergei Krizman, 68. Maple Lodge Elder.

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

Chip Clapsaddle, 31. Ex-con, Rosemary’s half-brother.

Anastasia Olivera, 30. Wealthy and beautiful woman.

Wynton Duke, 48. FBI agent, Gale’s former partner.

High School Students

Townspeople


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