Episode 2

Twinsburg - Episode 2


FADE IN:

EXT. MORNING

High tension wires converge atop a tower in a rural field.

CUT TO:
EXT. SHERIFF STATION -- TUESDAY MORNING
GALE (V.O.)
It’s a definite connection with the Chavez case, Franklin. Chavez. The girl downstate, turned up in a forest last year. Same killer.
CUT TO:
INT. SHERIFF STATION -- CONFERENCE ROOM -- MORNING

GALE is talking on the speaker phone to FRANKLIN FOSGILL. SHERIFF stands behind him.
GALE
The wounds conform to the same pattern. And, Franklin, we found another letter, a Y this time.

FOSGILL (V.O.)
Bad news, Martin! I’m glad you’re on it! You have my utmost confidence!

GALE
I’m going to need Duncan. I want him to take a look at the body. Could you send him out today?

FOSGILL (V.O.)
No can do, Martin! Duncan is on a kidnapping in Orlando!

GALE
Franklin, I’m afraid this killer will strike again soon if we don’t find him now. Agent MacNeil is the best, you know that.

FOSGILL (V.O.)
All right, Martin! I’ll have him up to you ASAP!

GALE
Bob, when is Millicent’s funeral?

SHERIFF
Thursday.

GALE
Franklin, they’re putting this girl in the ground the day after tomorrow!

FOSGILL (V.O.)
I can get him to you tomorrow morning, Martin! Best I can do!

GALE
Thank you, Franklin.

FOSGILL (V.O.)
Keep cool, Martin, and he won’t slip through your fingers this time!

GALE
Don’t worry, Franklin.
Gale hangs up.
GALE
Bob, Duncan MacNeil is the top forensics man in the Bureau. Every killer leaves a signature, and Duncan will find it.

SHERIFF
I’m glad to hear it.
LYNDON enters.
LYNDON
Excuse me, Sheriff.

SHERIFF
What is it, Lyndon?

LYNDON
Megan Thomas is here. She’d like to talk to you.

SHERIFF
We’ll be right there.
Sheriff and Gale exchange glances.

CUT TO:
INT. SHERIFF STATION -- LOBBY -- MORNING

MEGAN is waiting. LEIGH PFIFFER, Lyndon’s sister, enters and looks at her. GALE and SHERIFF approach Megan.
SHERIFF
Megan?

MEGAN
Oh! I’m sorry. Good morning, Sheriff Armstrong. Um...

SHERIFF
Megan, this is Agent Gale of the FBI. He’s working on finding Millicent’s killer.

MEGAN
How do you do? I need to talk to you. About my brother.

SHERIFF
Okay, we can talk in the conference room.
Megan, Sheriff, and Gale exit. LYNDON comes up to Leigh.
LYNDON
Hello, Leigh.

LEIGH
Lyndon, I came to remind you about Saturday.

LYNDON
What’s on Saturday?

LEIGH
Mom’s birthday, dumbbell. I’m having you and her over for dinner.

LYNDON
That’s right. I forgot all about it. Did you get her a present?

LEIGH
Of course. A gallon jug of real maple syrup. I don’t suppose you’ve gotten her anything.

LYNDON
No. What should I get her?

LEIGH
That’s up to you. I don’t know. I have to get to the library. Remember Saturday!
Leigh exits. Lyndon is at a loss.

CUT TO:
INT. SHERIFF STATION -- CONFERENCE ROOM -- MORNING

GALE, SHERIFF, and MEGAN are seated at the table.
MEGAN
I came in because my brother was beaten up pretty badly Sunday night. He came staggering in well after midnight.

SHERIFF
(exchanges glances with Gale)
Why wasn’t it reported yesterday?

MEGAN
Bradley didn’t want to make a big deal out of it. But with Millicent being murdered and all... I mean, she was his girlfriend.

GALE
Did Bradley say who attacked him?

MEGAN
No, he just said it was some guys from school. He said he wanted to handle it himself, but I’m afraid he’ll get into trouble.

SHERIFF
I don’t know what I can tell you, Megan. I’m afraid there isn’t a whole lot I can do unless Bradley decides he wants to press charges. But if he won’t cooperate...

MEGAN
I see. Well, at least I tried.

GALE
Don’t worry about your brother, Megan.

SHERIFF
Deputy Pfiffer will drive you to school, so you won’t be very late.

MEGAN
Thank you.
Megan exits.
GALE
I wonder if the beating is related to the case. Having been Millicent’s boyfriend, anything that happens to him may be significant.

SHERIFF
Right.

GALE
There is the rivalry between Bradley and Nicholas Grey to consider. Perhaps he and Nicholas fought.

SHERIFF
I don’t think Nicholas would do something like that.
Gale squints at Sheriff.
GALE
Sheriff, did your deputies find anything interesting when they searched Millicent’s bedroom?

SHERIFF
Not really.

GALE
I’d like to take a look for myself.
CUT TO:
EXT. HIGH SCHOOL -- MORNING

CUT TO:
INT. SCHOOL HALLWAY -- MORNING

JAMES and KENT are at their lockers.
KENT
Well, my mom’s friend should be arriving at the airport any time now.

JAMES
Janet Flynn?

KENT
Right. My mom has a big catering job she has to work on, though, so Janet’s just going to take a taxi to the bakery. Mom didn’t really want her at home alone with Aunt Elspeth.

JAMES
That’s understandable. Where’s this woman from again?

KENT
Well, she grew up here in Twinsburg, but she’s been living in England since shortly after they started college. When she left, my mom dropped out.

JAMES
I say, well, I’m positively dashed! England! Well, cheerio, then!
Kent laughs as James walks off down the hall.

CUT TO:
INT. HIGH SCHOOL -- CLASSROOM -- MORNING

JAMES enters and sits at a desk. He takes a photo of Megan out of his folder and looks at it admiringly. DUANE enters and shuffles over. James slips the photo back into his folder as Duane drops into the seat next to him. Duane gets back up and takes his overcoat off and leaves it in his chair while he goes across the room. James notices the diary pages sticking out of the pocket. He takes them out, glances at them, and slips them into his folder. He squints at Duane.

CUT TO:
INT. ROSEMARY’S PASTRY SHOP -- MORNING

ROSEMARY is stirring some batter when she hears the bells on the door jingling.
JANET (O.S.)
Hello?
Rosemary comes out front and smiles. JANET FLYNN is standing by the door with two big suitcases. She sets them down and holds out her arms. Rosemary goes over and they embrace.
ROSEMARY
I can’t believe how good you look! It’s been such a long time!

JANET
Too long. It is so good to be home!

ROSEMARY
You must be exhausted!

JANET
Actually, I’m more hungry than anything else!

ROSEMARY
Those are the magic words! Sit yourself down and I’ll... Oh, no! My pastries!
Rosemary runs back into the kitchen. Janet sits down and looks around the shop.
ROSEMARY (O.S.)
I can’t leave them in or they’ll get too dark. This is a split-second operation here. Like being in a pit crew, according to Kent.

JANET
I’m so looking forward to meeting him. And how’s Kimmy these days?

ROSEMARY
(returning to the counter)
Actually, my sister and I are not on speaking terms.

JANET
Well, in that case... you must tell me all about it!
CUT TO:
INT. COLLINS HOME -- FOYER -- MORNING

TUPPENCE opens the front door, meeting GALE and SHERIFF.
TUPPENCE
Sheriff Armstrong, Agent Gale, please come in.

SHERIFF
We’re sorry to bother you, Mrs. Collins.

TUPPENCE
It’s no bother, Sheriff. No bother at all. I’m happy to cooperate in any way I can. You’re welcome to search Millicent’s room as much as you need to. I want her killer brought to justice.

GALE
Thank you, ma’am.
CUT TO:
INT. MILLICENT’S BEDROOM -- MORNING

GALE, SHERIFF, and TUPPENCE enter.
GALE
Mrs. Collins, has Millicent’s room been disturbed at all since the deputies searched it?

TUPPENCE
No, not at all. I haven’t wanted to change anything. I hope to keep it just as she left it. Oh, Millicent’s friend Penny and I had some hot chocolate in here yesterday, but nothing was really disturbed.

GALE
Penny didn’t take anything?

TUPPENCE
Oh, no.
Gale examines the wastebasket very carefully.
GALE
Mrs. Collins, did your daughter keep a diary?

TUPPENCE
I think so. But I’ve really no idea where she kept it. She was always very secretive.
Gale returns to the bed and lifts the mattress.
GALE
Sheriff, give me a hand here.
Sheriff holds the mattress on its side while Gale inspects it for openings.
SHERIFF
We’ll make sure everything’s back where we found it, ma’am.

TUPPENCE
Thank you. I have to be getting to the library now.

SHERIFF
We’ll be sure to lock up on our way out.

TUPPENCE
Thank you, Sheriff.
Tuppence exits.
GALE
Your people trust you, Bob. That is truly remarkable.
Sheriff smiles.

CUT TO:
INT. GREY’S BIKE SHOP -- TUESDAY NOON

ELLIOTT is working on a bicycle in the workshop.
KIMMY (O.S.)
You know, you work too hard.

ELLIOTT
(turning around)
What would you suggest?
KIMMY CLAPSADDLE smiles, walks over and embraces him. He holds his greasy hands up like a surgeon as they kiss.
KIMMY
Are you ready for lunch?

ELLIOTT
You bet.
Elliott gets a tin of handcleaner and a rag and wipes off his hands.
ELLIOTT
Are you and your sister still at odds?

KIMMY
Yes.

ELLIOTT
What is it exactly that you two are fighting about?

KIMMY
Rosemary wanted me to put up a friend of hers that’s coming into town for a week. She said she didn’t want to trouble Aunt Elspeth about it, but she knows perfectly well that Aunt Elspeth couldn’t care one way or the other. Anyway, I never liked Janet when we were growing up and I don’t want to play hostess to her now. She was a bad girl, but Rosemary was always so blind.

ELLIOTT
Now, honey, don’t you think you might be blowing it out of proportion?

KIMMY
I don’t want to talk about my sister anymore.
She kisses him.

CUT TO:
INT. TWINSBURG LIBRARY -- NOON

TUPPENCE enters the library and is met by two ELDERLY LIBRARIANS.
1ST LIBRARIAN
Mrs. Collins, please accept my deepest sympathies on your loss. So tragic.

2ND LIBRARIAN
Yes, I must offer my sincere condolences. She was so young, so beautiful. Such a devastating thing to happen.

TUPPENCE
Thank you. Actually, I’m holding up rather well. I’m sure it’s what Millicent would want. I really just need to get back to work and I’ll be fine.
Tuppence continues on.
2ND LIBRARIAN
It’s shock.

1ST LIBRARIAN
Denial. That’s what it is.
Tuppence finds LEIGH shelving books in the children’s section.
TUPPENCE
Hello, Leigh. How are you?

LEIGH
Mrs. Collins! Oh, gosh. I’m fine. How are you? I am so sorry about what happened.

TUPPENCE
Thank you.

LEIGH
I can’t say I know anything of how you must feel, but I remember when my dad died in an accident...

TUPPENCE
It’s sweet of you to be concerned, dear. So very sweet indeed.
CUT TO:
INT. COLLINS HOME -- MILLICENT’S BEDROOM -- TUESDAY AFTERNOON

GALE and SHERIFF are seated on the bed, going through Millicent’s school folders.
GALE
These look like early drafts of her paper on the Dark Ages. The handwriting may give us an insight into her frame of mind.

SHERIFF
You’re incredible, Agent Gale. I wouldn’t know where to begin on this case.

GALE
All the same, Bob, I’m going to need all the help you can give me. This killer got away clean last time. I don’t want that to happen again.

SHERIFF
Take a look at these doodles on her history notes. What do you make of that?

GALE
That’s an iron maiden. In fact, they all look like ancient instruments of torture. It looks like Professor Saltares was right. Something about the Dark Ages frightened Millicent a great deal.

SHERIFF
But what could it possibly be? The Dark Ages were a thousand years ago.

GALE
I just don’t know.
Sheriff drops the notebook on the floor. He picks it up, noticing the back cover.
SHERIFF
What’s this?

GALE
What?

SHERIFF
Take a look, some kind of weird poem.

GALE
(reads it as best he can)
Whan cam the nyght his dark melodye
Thanne longen one with swich black eye
For to yronne to the hart of coll
And to maken the goode man black in soul
Into the hoyll of a devil woode
The Marauder perced thee, whan he cudde

SHERIFF
Sure sounds creepy. But what does it mean?

GALE
I don’t know, Bob. More doodles.

SHERIFF
I noticed. This one looks like a dead person.

GALE
It is clear Millicent was a deeply disturbed individual.
CUT TO:
EXT. AFTERNOON

A web of cables converge atop a telephone pole.

CUT TO:
INT. HIGH SCHOOL CAFETERIA -- AFTERNOON

BRADLEY is eating his lunch when he sees DUANE enter and sit down. JAMES is in the background, watching as Bradley approaches Duane.
BRADLEY
If you think it’s over between us, Cartwright, you’re wrong.

DUANE
(stands)
If you’re looking for more of what I gave you before, I’m ready anytime.

BRADLEY
You’re so crazy, man. I would pound you into the ground in a fair fight. You can act tough when you’ve got some thick-headed goon holding me back.

DUANE
Yeah, right. You’re so tough, prove it. C’mon, right now. Putz.

BRADLEY
After school, you’re meat, man. Dead meat.

DUANE
Right now, chicken. C’mon, woman.
A TEACHER comes between them.
TEACHER
All right, break it up, boys. Duane. That’s enough. Come on.

BRADLEY
You’re meat, man.

DUANE
Yeah?

BRADLEY
After school. Be there!
CU -- JAMES is laughing at them. Pan down to his folder.

CUT TO:
INT. ALAN’S OFFICE -- AFTERNOON

ALAN is on the phone in his second-story office.
ALAN
I see. Yes, it’s been a long time. Tomorrow night? All right. Yes, it’s still there. All right, I’ll meet you at seven-thirty.
ALBERT enters.
ALAN
(on the phone)
I have to go now. Yes. Good bye.
Alan hangs up.
ALAN
Albert! How are you?

ALBERT
I’m doing all right, Alan. It’s remarkable, sometimes, how we can adapt to the worst circumstances.

ALAN
I understand how hard it must be for you. Have you been able to see to the... arrangements?

ALBERT
The funeral? Yes, it will be held on Thursday.

ALAN
I will, of course, be there.

ALBERT
Thank you.

ALAN
Albert, if there is anything I can do... Do you need to take some time off? I’m sure we could manage if you need to get away.

ALBERT
Actually, I think the best thing would be for me to get back to work.

ALAN
That’s probably a very good idea. In fact, I’m sure of it. Take a look at this!
Alan unrolls plans on his desk.
ALBERT
The new mall expansion?

ALAN
Yes. We’ve decided against the postmodern. We’re going with the small-town look. Real Americana. I know that the parents committee is determined to give us a hard time about building on the soccer fields, so we’ve got to make sure this mall is just soaked in wholesome American... Albert?

ALBERT
What? Oh, sorry, Alan. I was just thinking. Could a tragedy of this proportion actually bring people together?

ALAN
I don’t know. Are you sure you don’t want to take off a few days, at least?

ALBERT
No, I’m fine, really. Tip-top. How will the development affect traffic patterns around these condominiums?
CUT TO:
EXT. COLLINS HOME -- AFTERNOON

GALE and SHERIFF come out the front door. Sheriff makes sure it is locked.
SHERIFF
So, what’s our next move?

GALE
I think the poem is an important piece of our puzzle. I’d like to check it out.

SHERIFF
Another trip to Saltares?

GALE
Exactly.
As he opens the car door, Gale notices ZEKE, the elderly mailman, across the street. Zeke stops and waves a few times. Gale waves back, squinting.

CUT TO:
EXT. HIGH SCHOOL -- AFTERNOON

DUANE and BRADLEY face off on the lawn. Several STUDENTS look on, among them NICHOLAS, PENNY, KENT, and JAMES. Duane takes off his overcoat and throws it on the ground.
DUANE
All right, Thomas. It’s time to put your money where your mouth is.

BRADLEY
You should know, little rich boy.

DUANE
Shut up! You scum sucker!
Duane attacks Bradley. They scuffle as the students cheer them on. Bradley gets in a few good shots and evades Duane’s wild swings. Duane fights dirty, trying to bite Bradley’s arm.
MEGAN (O.S.)
Stop it! Stop it!
MEGAN pushes her way through the crowd. James fixes his eyes on her, then motions to Kent to slip away unnoticed. James and Kent exit.
MEGAN
Bradley! Stop this! Stop it right now!

BRADLEY
Get the hell out of here, Megan! Back off!

MEGAN
Bradley!
Bradley grabs Duane and punches him in the face three times, knocking him to the ground. Duane is dazed, and Bradley takes the overcoat and drapes it over Duane’s face as if he were dead. The students laugh and walk off, except Nicholas and Penny. Bradley leaves with Megan.
NICHOLAS
Duane, are you all right?

DUANE
Yeah. He’ll pay for that. Bastard!
Duane grabs his coat, discovering that the pages from the diary are gone. He is alarmed.

CUT TO:
INT. ROSEMARY’S PASTRY SHOP -- AFTERNOON

ROSEMARY is baking as JANET leans on the counter. They are laughing about old times.
JANET
And then, he ended up going with Roberta and having a miserable time.

ROSEMARY
She wouldn’t even go to after-prom!
The door jingles and KENT enters.
KENT
Hello!
Janet turns around. Kent is stunned by her beauty.
ROSEMARY
Hello, Kent. This is Janet.

JANET
Hello. This is definitely a pleasure. Rosemary, you never told me your son was so handsome. How do you do?
She extends her hand. After staring a moment, Kent takes it.
KENT
Fine. It’s nice to meet you. I didn’t know you’d be so -- I mean, you’re not what I expected.

JANET
You’re sweet. But I’m sure your girlfriend tells you that every day.

KENT
No. I mean, I don’t have one. A girlfriend.

JANET
You’re kidding. You must be. I know if I were younger, I’d--

ROSEMARY
Kent, why don’t you take Janet’s luggage back to the house. Just put it in the spare bedroom. We’ll see you at dinner.

KENT
Right. Okay.
He takes the suitcases and backs toward the door.
JANET
Bye. See you later.

KENT
Bye.

JANET
It was nice to meet you.

KENT
Yeah. Bye.

JANET
Bye.

KENT
Nice to meet you.

JANET
Bye.
PENNY comes in the door, bumping into Kent. She scowls at him.
KENT
(embarrassed)
Excuse me.
Kent exits.

CU -- JANET smiles at him, then to herself, lifting an eyebrow.

CUT TO:
INT. SALTARES’ OFFICE -- AFTERNOON

GALE and SHERIFF are already waiting when SALTARES enters.
SALTARES
Sorry to keep you gentlemen waiting.

SHERIFF
No problem.

GALE
Thank you for seeing us.

SALTARES
Well, what can I do for you?
Gale produces a piece of paper from his pocket.
GALE
We discovered this poem on one of Millicent Collins’ notebooks. I wonder if you might recognize it.
He hands it to Saltares, who looks it over.
SALTARES
No, not off the top of my head. But I’d be glad to check my reference materials and see if I can trace it for you.

GALE
That would be a tremendous help, Professor. Thank you. How soon could you have it done?

SALTARES
Well, I’m afraid I won’t be able to get to it tonight. I have a very important engagement.

GALE
With the Medieval Re-creation Society?

SALTARES
As a matter of fact, yes, it is.

GALE
I wonder if it would be possible for the Sheriff and me to accompany you. We’d be very interested in having a look at your organization.

SALTARES
I’m afraid that won’t be possible, Agent Gale. Tonight is a closed meeting. Members only. Maybe some other time.

GALE
Yes. Sheriff, let’s go. Thank you, Professor.
Gale and Sheriff exit.
SALTARES
Anything I can do to help...
Saltares opens his drawer and produces a photo of himself and Millicent in medieval garb. He looks at it wistfully.

CUT TO:
EXT. CARTWRIGHT HOME -- TUESDAY EVENING

CUT TO:
INT. CARTWRIGHT HOME -- DEN -- EVENING

ALAN is lecturing DUANE.
ALAN
Duane, I don’t know what’s wrong with you. A fight at school? Do you have any idea how childish that is? When are you going to learn to settle your disagreements like a man instead of some spoiled brat? Well, do you have anything to say for yourself?
Duane is silent.
ALAN
All right. I don’t know what to do with you. Go on. I’ve got work to do.
Duane exits. Alan goes to his safe and takes out a pack of handwritten letters tied in a bundle. He taps them with his fingers while thinking.

CUT TO:
EXT. CARTWRIGHT HOME -- GARAGE -- EVENING

DUANE comes out to where NICHOLAS and PENNY are waiting. Duane has a tantrum and attacks the garbage cans, kicking them around.
DUANE
Bastard! Thinks money makes him king of the world! Mr. Perfect! Toilet-head!

NICHOLAS
You know, you asked to get pounded when you attacked Bradley in the first place. You think he would just cry in his pillow? That’s not exactly his style.

DUANE
Oh, what do you know?

NICHOLAS
I know that Bradley Thomas is dangerous. Maybe especially since Millicent’s death.

DUANE
You don’t know the half of it, Grey.

PENNY
What do you mean?

DUANE
I had those pages from Millicent’s diary in the pocket of my coat. Only, after the fight, they were gone.

NICHOLAS
What? Did you check around on the ground?

DUANE
Of course! Thomas must have taken them after knocking me down.

NICHOLAS
No. That doesn’t seem likely to me. But if he did, we’re all in a lot of trouble.
CUT TO:
EXT. LIBRARY -- EVENING

TUPPENCE and LEIGH come out after work.
LEIGH
Good night, Mrs. Collins.

TUPPENCE
Leigh, wouldn’t you like to come over for some dinner?

LEIGH
Oh. Well, I really don’t want to put you to any trouble...

TUPPENCE
Oh, it’s no trouble, really. None at all. In fact, I’d be glad to have the company.

LEIGH
(feels sorry for her)
Well, I’d be delighted, Mrs. Collins.

TUPPENCE
I’m so very, very glad.
CUT TO:
INT. ROSEMARY’S PASTRY SHOP -- EVENING

ROSEMARY is cleaning up in the kitchen. Out front, JANET is wiping off tables when DANI enters.
JANET
I’m sorry, we’re just closing.

ROSEMARY
(comes out from the kitchen)
Oh, it’s all right, Janet. This is my sister-in-law, Dani. This is Janet.

DANI
Hello.

JANET
I’m so sorry. How embarrassing.

DANI
Oh, no, don’t be silly. You couldn’t have known. I see she’s put you to work already.

JANET
Yes, she’s a slavedriver.

ROSEMARY
That’s me in a nutshell.

DANI
I just wanted to stop by to meet Janet before you left.

ROSEMARY
How nice. Say, why don’t you have us over for dinner?

DANI
Ah. Well, sure. How about tomorrow night?

JANET
Oh, I’m afraid I’ve made plans to have dinner with an old friend tomorrow.

ROSEMARY
Oh?

JANET
I was going to tell you when we got home.

ROSEMARY
Who is it?

JANET
(smiles coyly)
It’s a secret.
Dani smiles also, but Rosemary squints at Janet suspiciously.

CUT TO:
EXT. TWINSBURG INN -- TUESDAY NIGHT

CUT TO:
INT. TWINSBURG INN -- GALE’S ROOM -- NIGHT

GALE is making an audio recording.
GALE
Roseanne, it’s 9:57 P.M. The investigation into the death of Millicent Collins is getting off to a slow start. I am experiencing the same frustration I faced with the Chavez case last year. This killer seems to leave no trace, no definite leads. I am increasingly convinced, however, of a positive connection between Millicent’s obsession with the Dark Ages and her murder. Professor Saltares’ secrecy concerning the MRS seems unwarranted. Is he merely spiteful about our initial meeting in the hospital yesterday morning, or is the society involved in some activities they wish to remain covert? I had another unsettling encounter with the elderly postal worker, Roseanne, and the same oddly friendly greeting. I look forward to Agent MacNeil’s arrival in the morning, so that the investigation can begin in earnest.
CUT TO:
INT. CORBETT HOME -- LIVING ROOM -- NIGHT

EMMA is asleep on the couch as the television plays. Her knitting is in her lap, and a planter is on its side, dirt spread out on the carpet. WAYNE comes in and looks at her.

CUT TO:
EXT. CORBETT HOME -- NIGHT

WAYNE sneaks out the back door and creeps into the woods.

CUT TO:
EXT. WOODS -- NIGHT

WAYNE sneaks about the dark paths, then hears a strange chanting. He sees a light through the trees, a campfire. He starts to turn back, then advances stealthily. He peers through the underbrush and sees several CULTISTS in hooded brown robes circling the fire, chanting into the night.

FADE OUT



Cast of Characters





Special Agent Martin Gale, 34. FBI agent.
Sheriff Robert Armstrong, 36. Sheriff of Twinsburg.

Megan Thomas, 16. High school sophomore.
Bradley Thomas, 18. High school senior, Megan’s brother.
Alan Cartwright, 50. Real estate developer, mall owner.
Penny Gardner, 17. High school senior.
Duane Cartwright, 18. High school senior, Alan’s son.
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.
Tuppence Collins, 46. Librarian.
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.
Gabriel Saltares, 44. College professor.
Albert Collins, 48. Lawyer.
Emma Corbett, 50. Mother of Wayne.
Kimmy Clapsaddle, 38. Sister of Rosemary.
Leigh Pfiffer, 23. Library aide, sister of Lyndon.
Zeke Chomski, 68. Mailman.

Elderly Librarians
Teacher
High School Students
Cultists


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