Episode 3

Twinsburg - Episode 3


FADE IN:

EXT. MORNING

A dirt road recedes into the woods.

CUT TO:
INT. KENT’S HOME -- HALLWAY -- WEDNESDAY MORNING

Slow pan down the hall toward the semi-closed door to Aunt Elspeth’s bedroom.
KENT (O.S.)
There was a fight at school yesterday, Aunt Elspeth. Two big guys. James and I watched part of it, but we left when the girl he likes showed up. I think he didn’t want her to see him there. She’s the sister of one of the boys that was fighting. Her brother was the boyfriend of that girl who was murdered over the weekend. Remember I told you about that? James is very interested in the whole thing. Well, it’s almost time for me to get off to school. The weather’s nicer today. Not as drizzly for a change. Bye, Aunt Elspeth. I’ll see you again this afternoon.
KENT comes into the hall. JANET appears and they almost bump into each other. She is wearing only a bath towel, with another wrapped around her head.
JANET
Whoops!

KENT
Excuse me!

JANET
My fault. I’m so sorry.

KENT
No, really. It... I... Um...

JANET
You were talking to your aunt? How is she?

KENT
She’s not well, really.

JANET
I’m so sorry. Can I meet her?

KENT
I don’t think that would be a very good idea.
Kent locks the door and slips the key into his pocket.
JANET
It’s just that I feel a bit odd, I mean, staying in her home and not at least popping in to say how-do-you-do.

KENT
It’s all right, really.

JANET
Well, if you say so.
Janet touches Kent’s shoulder, then runs her hand down his arm.
JANET
(softly)
Will you help me?

KENT
I...

JANET
(takes his hand and kisses it)
Why don’t you help me decide what to wear? Come.
They go into Janet’s room and shut the door.

CUT TO:
EXT. SHERIFF STATION -- MORNING

Gale’s car pulls up.

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

GALE enters. LYNDON is waiting for him.
GALE
Good morning, Lyndon.

LYNDON
Agent Gale, may I talk to you for a minute?

GALE
Of course.

LYNDON
You see, this weekend is my mother’s birthday and we’re having a party, only I don’t have any idea what to get her. You know, for a present. I was wondering if you could give me some ideas.

GALE
I’ll be glad to assist in any way I can. Lyndon, do you have any siblings?

LYNDON
Yes, I have my sister, Leigh. She works in the library. She’s giving the party, you see.

GALE
Do you know what Leigh is getting for your mother’s present?

LYNDON
Yes, a gallon jug of real maple syrup. It’s her favorite.

GALE
Real maple syrup. Well...
SHERIFF sticks his head out of his office.
SHERIFF
Agent Gale, glad you’re here. I’ve got something you might be interested in.

GALE
Okay. Lyndon, I’ll get back to you on this.
CUT TO:
INT. SHERIFF’S OFFICE -- MORNING

GALE enters. SHERIFF goes behind his desk. They sit.
GALE
What have you got, Bob?

SHERIFF
Reports of strange goings-on in Shadygrove woods last night.

GALE
What happened?

SHERIFF
Well, I’m not really sure, but from the description, it looks like some kind of cult ritual.

GALE
That’s it, Bob. The break we’ve been looking for.

SHERIFF
(hands him a piece of paper)
Have a look.

GALE
(reads)
“A bunch of weird-looking dudes in black robes with hoods and stuff, walking around a campfire making spooky noises, like singing or something. There were a couple of cats tied up on leashes, too. The place smelled really gross.” Bob, this sounds like a nine-year-old’s description.

SHERIFF
Uh... actually, it is. It’s from Wayne Corbett. He’s a little boy I met when he joined the Cub Scouts.

GALE
Can we trust his description of the events?

SHERIFF
Wayne is... not like just any little boy. He seems to have a knack for finding things. It was Wayne who found Millicent’s body. Otherwise, it could have been days, weeks maybe, before we found her. I trust him.

GALE
Bob, I can see that in Twinsburg, I’m going to have to keep an open mind.

SHERIFF
Well, Twinsburg isn’t like any other town.
CUT TO:
EXT. NEIGHBORHOOD STREET -- MORNING

NICHOLAS and PENNY are walking to school.
PENNY
Nicholas, I think we should go and talk to Sheriff Armstrong. We’re in a very bad situation now, and we could get into serious trouble. If someone has the pages of Millicent’s diary that implicate us in Duane’s scheme and turns them into the sheriff, then it would be too late to tell the truth.

NICHOLAS
Why?

PENNY
No one would believe us then, don’t you see? Our only chance is to go to the sheriff right away and tell him everything.

NICHOLAS
We shouldn’t do anything hasty. Duane thinks Bradley Thomas took the pages. Now, if he did, I’m sure he’d try to blackmail Duane, or all three of us. But he wouldn’t just turn them in without making some kind of demands. So we’re safe for the time being.

PENNY
We don’t know that Bradley has them, and we don’t know that he would blackmail us. We just don’t know any of that and we can’t risk it, Nicholas. This whole thing has gone so terribly wrong! We were just trying to do some good -- trying to save Millicent, but she’s dead and we keep getting in deeper and deeper...

NICHOLAS
(embraces her)
It’s okay. We’re gonna be okay.
CUT TO:
INT. LIBRARY -- MORNING

TUPPENCE enters the library and is greeted by two ELDERLY LIBRARIANS.
TUPPENCE
(happily)
Good morning!

1ST LIBRARIAN
Good morning, Mrs. Collins.

2ND LIBRARIAN
Good morning, Mrs. Collins.
Tuppence strides past them.
2ND LIBRARIAN
She’s a strong woman.

1ST LIBRARIAN
I still say it’s denial.
Tuppence greets LEIGH with a hug.
TUPPENCE
Good morning, dear.

LEIGH
Mrs. Collins, how are you? You’re holding up so well. My mother was a wreck for so long after my father’s accident.

TUPPENCE
It’s hard, yes. But your company last night was tremendously helpful. I know that Millicent is gone, but I have to just pick up the pieces of my life and go on without her. It’s what she would have wanted.

LEIGH
You are a special person, Mrs. Collins.

TUPPENCE
You’re so sweet.
ALBERT comes in and approaches Tuppence.
ALBERT
Tuppence, I need to talk to you.

TUPPENCE
All right. Excuse us, Leigh.
Leigh leaves the area. Tuppence begins filing papers.
TUPPENCE
What do you want to talk about?

ALBERT
I’ve been doing a lot of thinking. I think we should try spending some time together. I mean, Millicent was our daughter. I know we haven’t been much of a family, but maybe we could put aside our differences and at least be friends, help each other through the difficult times.

TUPPENCE
Albert, whatever we once had ended long ago. It’s over between us, and that’s something we cannot change. I’m finding human contacts and I’m beginning the healing process. I suggest you do the same. But trying to get back together will only open old wounds and make us both worse off in the end.

ALBERT
Yes... I see your point. I mean, yes, I understand.
Albert leaves. Tuppence watches him go with a sudden, desperate yearning in her eyes.

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

GALE and SHERIFF come out of the office, hearing a commotion. FBI forensics expert DUNCAN MACNEIL is arguing with the Sheriff’s secretary, ABIGAIL VOIGT.
DUNCAN
Look, missy, I need to see Special Agent Gale and I need to see him now, as in right now!

ABIGAIL
I’m sorry, sir, but you’ll have to wait until they come out of conference...

GALE
Duncan! Good to see you!

DUNCAN
Gale, finally! It’s good to see you! You look well!
Duncan gives Gale a robust hug, patting him vigorously on the back.
GALE
Duncan, this is Sheriff Robert Armstrong.

DUNCAN
Good to meet you, Sheriff!

SHERIFF
Welcome to Twinsburg, Agent MacNeil.
They shake hands.
DUNCAN
Whoa, wait a minute! Wake up, Sheriff! Let’s try that again!
They shake again, more vigorously.
DUNCAN
Thought you said the corpse was a girl, Martin. Feels like somebody offed the sheriff here. Actually, though, most of the stiffs I’ve examined had a firmer grip than his!

SHERIFF
Now, see here...

DUNCAN
Franklin informs me that this girl goes under tomorrow. Therefore, I suggest we begin the examination as soon as possible.
The phone rings. Abigail answers it.
GALE
Right you are, Duncan. We’ll--

ABIGAIL
Agent Gale, you have a telephone call from a Professor Saltares.
Gale looks at Sheriff with excitement, then goes to the phone.
GALE
Professor, Agent Gale here. You found the source of Millicent’s poem? Excellent. I’d like to meet with you right away. Perfect. Good bye.
Gale hangs up, returns to Sheriff and Duncan.
GALE
I think we’re on a roll, Bob. Why don’t you take Duncan down to the morgue while I go see the professor?

SHERIFF
Good idea.

DUNCAN
Are you up to the drive, Sheriff? I hope to heaven you have power steering!

SHERIFF
I’ll contact Dr. Terrence.
Gale frowns at Duncan and leaves.

CUT TO:
EXT. HIGH SCHOOL -- WEDNESDAY NOON

The school bell rings.

CUT TO:
INT. SCHOOL HALLWAY -- NOON

JAMES is at his locker. KENT comes up and opens his own.
JAMES
So there you are! Finally decided to come in?

KENT
I overslept.

JAMES
Oh, okay. I saw the way that Janet was looking at you over the dinner table. I wondered what went on after I went home.

KENT
Just shut up, all right?

JAMES
Fine. But your rudeness can’t spoil my good mood anyway.

KENT
What are you so happy about?

JAMES
Well, I just ran into a bit of good luck.

KENT
What the hell does that mean?
MEGAN walks by.
JAMES
Megan! How are you?

MEGAN
Hi, James. I’m fine. How are you?

JAMES
Just great. On your way to lunch?

MEGAN
Yes, I am.

JAMES
So am I. See you later, Kent.
James and Megan walk off together. Kent squints at them.

CUT TO:
INT. SALTARES’ OFFICE -- NOON

GALE raps on the door. SALTARES slips something into his desk drawer.
SALTARES
Agent Gale, come in, come in.

GALE
You have some information for me?

SALTARES
(produces a large book)
Indeed I do, and I hope you’ll find it very interesting. You see, Agent Gale, before the advent of our technological society, information was passed along in a manner only slightly different from our own. Minstrels would travel the countryside singing about the important events of the day, and ballads were written about nearly any kind of celebrity. The poem you found is part of just such a ballad, one that concerns the exploits of a colorful pillager, Llewellyn the Marauder. He is said to have led an army of the most evil men in Medieval Europe, roaming far and wide, raping and torturing people and plundering both hamlets and castles alike.

GALE
What’s the connection with Millicent Collins?

SALTARES
You know, Millicent surprised me when I first told her about the battles of Llewellyn and his arch-nemesis, the sheriff Gruffydd. It seemed as though she had found what she’d been looking for.

GALE
Interesting. Were these figures real people, or merely legends?

SALTARES
Oh, they were real enough. Well, the stories are mostly legend, a grain of truth surrounded by thick layers of nonsense.

GALE
I see. Professor, does your Medieval Re-creation Society ever discuss Llewellyn the Marauder?

SALTARES
No, not really.

GALE
Thank you for your help, Professor. I’m sure it will prove valuable to my investigation.

SALTARES
Glad to be of service.
CUT TO:
INT. COLLEGE HALLWAY -- NOON

GALE presses the elevator call button, taking out his tape recorder.
GALE
Roseanne, it is 12:19 P.M. and I have just left the office of Professor Saltares. I am intrigued by his information on medieval legends about a figure called Llewellyn the Marauder. I still must find the path that led a portion of this legend to the back of Millicent’s school folder...
The elevator doors open, revealing the BOX LADY. Gale gets into the elevator beside her.

CUT TO:
INT. ELEVATOR

GALE and the BOX LADY stand next to each other.
GALE
Good afternoon.

BOX LADY
My box has another message.

GALE
I would like to know it.

BOX LADY
(looks in her box)
It is this. The shadows grow longer.
CU -- GALE squints.

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

DANI is having a cup of coffee. JANET is sitting with her.
DANI
Ahh, I needed that.
Janet sings softly to herself.
DANI
Are you feeling especially happy or are you always this way?

JANET
Oh, it’s just that I had a very good morning. And I’m looking forward to a very good evening.

DANI
Janet, I know, and I’m sure you do too, that Rosemary is a terrible blabbermouth. But I can kept a secret.

JANET
I’m so full of secrets, I wouldn’t know where to begin. But I’ll keep it in mind. Thank you. You know, Dani, I’d forgotten how much I loved Twinsburg. I mean, England was super, but it feels good to be home. You know, I might just decide to stay.
KIMMY comes in and looks around nervously. ROSEMARY comes to the counter and sees her.
KIMMY
Rosemary, I think we should talk.

ROSEMARY
I have nothing to say.

KIMMY
You’re just acting childish.

ROSEMARY
I’m the one who’s childish? You started the whole thing, remember?

KIMMY
It was you who wanted me to -- Look, this whole thing is idiotic.

ROSEMARY
The only thing idiotic here is you, so why don’t you just leave? I don’t have the time to deal with you now, anyway.

KIMMY
Fine, but you’re going to have to open your eyes someday, and when you do, maybe I won’t be there!
Kimmy storms out. Dani and Janet look at each other uncomfortably.

CUT TO:
INT. MORGUE -- WEDNESDAY AFTERNOON

MILLICENT’s body is on the examining table. SHERIFF, TERRENCE, and DUNCAN are all standing with arms crossed, fuming, when GALE enters. Sheriff, Terrence, and Duncan complain to Gale as soon as he comes in.
GALE
Gentlemen! Please! Calm down. Duncan, what’s going on here?

DUNCAN
These people are hampering my investigation in any way they can, Martin! First I was kept waiting while this old fool finished his lemonade, then they refused to let me proceed with my examination of the body. I’ve heard of these small-town cover-ups. Everybody from Mayor Hayseed to Farmer Brown’s dog is involved in a conspiracy to--

TERRENCE
I got back from lunch just in time to stop him from drilling holes in Millicent’s forehead!

DUNCAN
It’s standard procedure--

SHERIFF
Millicent’s parents have requested an open casket viewing at the funeral home.

DUNCAN
I could have patched her up perfectly well.

TERRENCE
I’ve never seen such a callous son of a--

GALE
Doctor, Sheriff, would you please step outside for a moment? I’m sure we can clear this up to the satisfaction of both sides.

TERRENCE
Very well, Agent Gale.
Sheriff hesitates, then he and Terrence step out.
GALE
Duncan, I understand that you meet life with a particular gusto and find it difficult to tolerate more soft-spoken individuals, but I want you to restrain yourself and show these people some respect. Twinsburg is a place unlike any I’ve encountered, and I do not want to see the natural harmony of this town disturbed by Bureau personnel. Do I make myself clear? Good. Now, I want the results of your investigation by five o’clock today, and I want that girl’s body pristine. That’s an order, Duncan.
Duncan grumbles. Gale turns to go, but pauses at Millicent’s side and gazes at her intensely.

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

NICHOLAS and PENNY enter and see ABIGAIL at her desk.
ABIGAIL
May I help you?

PENNY
We need to talk to Sheriff Armstrong.

ABIGAIL
I’m afraid Sheriff Armstrong is out. Would you like to talk to one of the deputies instead?

NICHOLAS
No.

PENNY
No, thank you. We’ll stop by later.

ABIGAIL
All right.
CUT TO:
EXT. SHERIFF STATION -- AFTERNOON

NICHOLAS and PENNY leave the building. They are observed from across the street by JAMES. He gives himself a big smile.

CUT TO:
INT. GREY’S BIKE SHOP -- AFTERNOON

ELLIOTT is behind the counter when MEGAN comes in.
MEGAN
Hello, Elliott.

ELLIOTT
Hi, Megan. It’s been pretty slow today. If you have a chance, I’d like you to organize these orders by part number.

MEGAN
Sure thing.
KIMMY enters, close to tears.
KIMMY
Elliott, can we talk?

ELLIOTT
Sure, honey. Come on in the back.
Elliott and Kimmy go in the back. Slow pan towards Megan, sitting on a stool behind the counter, listening to Kimmy’s sobs from the back room. Megan’s eyes slowly widen. All the bicycle wheels in the shop start slowly spinning, then go faster and faster. Her throat tightens as she watches. Then she sees blood start running down the walls, and the wheels keep spinning.

BRADLEY suddenly appears.
BRADLEY
Megan! Snap out of it!

MEGAN
What? Oh, Bradley. I’m sorry.

BRADLEY
Not half as sorry as you’d be if your boss caught you zoning out on the customers like that. You’re shaking -- are you okay?

MEGAN
I’m fine.

BRADLEY
Okay. Anyway, have you seen Nicholas Grey around here?

ELLIOTT (O.S.)
Nicholas isn’t here.
Bradley turns and sees Elliott standing in the doorway to the back room.
ELLIOTT
If you have any ideas about fighting with Nicholas, you can just give them right up.

BRADLEY
Hey, man, I’m just looking for him. It’s nothing for you to worry about.

ELLIOTT
I’m Nicholas’s uncle, and I’ll decide what I worry about. You shouldn’t judge Nicholas by the company he keeps, Bradley. That’s called guilt by association, and it doesn’t wash in this country. If you have something against Duane Cartwright, that’s between you two. But where Nicholas is concerned, I make it my business to be involved.

BRADLEY
That’s cool. Hey, I was just on my way out. See you later, Megan.
Bradley leaves.
ELLIOTT
I’m sorry about that, Megan.

MEGAN
It’s all right. I understand.
CUT TO:
INT. SHERIFF STATION -- CONFERENCE ROOM -- WEDNESDAY EVENING

GALE and SHERIFF are going over the poem.
SHERIFF
So, “hoyll” is a hole! I see. That should do it.

GALE
(reads)
When came the night’s dark melody
Then longs one with such black eyes
To run to the heart of coal
And make the good man black in soul
Into the hole of a devil’s woods
The Marauder pierces you, if he could.

SHERIFF
Well, the words are plain English, but I’ll still be damned if I know what it means.

GALE
“The hole of a devil’s woods...”
DUNCAN enters abruptly.
DUNCAN
Good evening and welcome to the five o’clock news.

GALE
You have the results of your tests?

DUNCAN
The preliminary results.

SHERIFF
That was quick.

DUNCAN
If we can get started...? The sooner I can get to my own labs, the better.

GALE
Proceed.

DUNCAN
I examined the body as carefully as I was able and discovered callouses on both wrists and both ankles. The patterning of these callouses indicate to me that the girl was bound often, most recently with nylon rope, fibers of which I found in her wrists. Peculiar marks on her neck indicate that shortly before she died, she had been wearing a dog’s choke chain. I also found minute scars and burns in sensitive areas of her anatomy, indicative of a long history of physical abuse. She was also addicted to cocaine.

SHERIFF
I can’t believe what I’m hearing. That she was tortured before she was murdered, sure, but you’re saying she was on drugs? And she was abused?

DUNCAN
The facts don’t lie.

SHERIFF
She always seemed to have a great life. Always so happy and friendly...

GALE
That’s often the way it is with abused children, Bob. The friendliest manner often hides the deepest scars.

DUNCAN
I was also able to find tiny fragments of the sword used to kill her embedded in her ribs. I’ll be taking them back to my lab for analysis and comparison with similar evidence from the Chavez case. It looks like a match already, Martin.

GALE
I know. Good work, Duncan.

DUNCAN
Well, that done, I’m going to catch the next train out of this crossroads, and in fact, it’s leaving right now. Good day, gentlemen.
Duncan exits.
SHERIFF
I just can’t believe it all. It’s almost too much to take in at one time.

GALE
I know the wrenching when our perceptions of someone are turned inside-out. It’s probably the most disturbing facet of my work.
ABIGAIL buzzes the sheriff on the intercom.
ABIGAIL (V.O.)
Sheriff?

SHERIFF
Go ahead, Abigail.

ABIGAIL (V.O.)
There’s a James Clapsaddle here to see you.
CUT TO:
INT. ALAN’S OFFICE -- EVENING

ALAN is on the phone.
ALAN
Duane, I received a call from your principal today regarding your school performance. You know what I’ve told you about that. I don’t have time for parent-teacher conferences. We should have been done with those when you left elementary school. You’re not a child anymore, Duane. When are you going to stop shooting spitwads and act like an adult? You be home tonight, mister. We will continue this discussion. No, I’m having dinner with someone. You can just wait.
Alan hangs up. ALBERT appears in the doorway, putting on his coat.
ALBERT
Trouble at home?

ALAN
It’s nothing, Albert. Thank you for staying late to go over those contracts.

ALBERT
No problem, Alan. Good night.

ALAN
Good night.
Albert leaves. Alan is alone in the office. He gets up and looks in the mirror, straightening his tie.
JANET (O.S.)
Hello, Alan. It’s good to see you. It’s been such a long time.
Alan turns around and JANET steps into the light.

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

GALE and SHERIFF are standing near JAMES, who is sitting. The pages of the diary are spread out on the table.
GALE
Where did you get these, James?

JAMES
I found them at school. In a wastebasket. I was curious, you know, because they looked like part of somebody’s diary, which they are, of course. But when I read them, I was shocked. I thought I’d better turn them in to you right away.

SHERIFF
James, did you show these to anyone, or tell anyone about them?

JAMES
No one knows about it but me. And you, now.

SHERIFF
Well, James, you’ve done the right thing. This will make all the difference in my investigation. And in Agent Gale’s, I’ll bet.

JAMES
I’m always glad to help.

SHERIFF
Thank you, James. You can go.

JAMES
So long.
James exits.
GALE
This diary belonged to Millicent Collins.

SHERIFF
Yeah.

GALE
Duane Cartwright. Penny Gardner. Nicholas Grey.

SHERIFF
I can’t believe it. First the autopsy and now this.

GALE
Sheriff, let me be frank. I believe you know a good deal more about Nicholas Grey than you have previously let on. I would like to know the truth.

SHERIFF
I used to know Nicholas when he was in the Boy Scouts. He really looked up to me, and said he wanted to be a police officer. Then he seemed to fall in with the wrong crowd. It just haunts me that it might be something I said or did that turned him off. Maybe I let him down somehow.

GALE
Bob, no one is responsible but Nicholas himself, and now he must pay the consequences of his decisions.

SHERIFF
Right. I’ll have to place them all under arrest.
CUT TO:
EXT. CARTWRIGHT HOME -- WEDNESDAY NIGHT

CUT TO:
INT. CARTWRIGHT HOME -- DUANE’S BEDROOM -- NIGHT

DUANE is sitting in the middle of his bed, listening to music on his headphones. The room is lit by many candles. Then he sees the flashing red and blue lights of police cars. He thinks for a moment, then realizes they have stopped. He gets up and shuts off the music.
HOUSEKEEPER (O.S.)
Can I help you, Sheriff?

SHERIFF (O.S.)
I’m sorry, ma’am, but I have a warrant for the arrest of Duane Cartwright.
Duane panics. He goes to the head of the stairs and sees SHERIFF with the HOUSEKEEPER by the front door. Sheriff spots Duane and starts up the stairs.
SHERIFF
Duane--!
Duane runs back into his room and locks the door. He quickly climbs out the window. Sheriff bangs on the door.

CUT TO:
EXT. CARTWRIGHT HOME -- NIGHT

DUANE runs across the porch roof and jumps to the ground. He runs across the yard, but GALE appears and tackles him. Duane fights back, but Gale pulls out his gun.
GALE
Freeze!
SHERIFF comes running up.
SHERIFF
Duane Cartwright, I’m placing you under arrest for suspected drug trafficking.
CU -- DUANE squints.

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

GALE and SHERIFF bring DUANE in past ABIGAIL. LYNDON and other DEPUTIES bring in NICHOLAS and PENNY. Penny is crying.
NICHOLAS
Sheriff, you’ve got to listen to me! I can explain everything! It’s really not what you think!

DUANE
Shut up, Grey!

NICHOLAS
You’ve got to listen to me!

SHERIFF
Take them downstairs and lock them up.
Lyndon and the deputies exit with Duane, Nicholas, and Penny.
SHERIFF
Abigail, give me hand calling the parents.

ABIGAIL
Yes, sir.
Sheriff and Abigail go into his office. Gale finds himself alone in the now-quiet lobby, sipping a cup of coffee.
GALE
“The shadows grow longer...”
CUT TO:
EXT. NIGHT

A streetlight illuminates a web of high-tension wires converging atop a telephone pole.

CUT TO:
EXT. TWINSBURG INN -- NIGHT

CUT TO:
INT. GALE’S ROOM -- NIGHT

GALE is sleeping fitfully. A dream comes to him.

CUT TO:
EXT. WOODS IN SUMMER -- DAY

After a burst of white light, GALE finds himself walking through a forest in his pajamas. There are no signs of modern civilization, and he breathes in the unusually fresh air. He sees a bright light moving through the trees, and it envelops him. The LADY OF LIGHT appears, a beautiful woman in a flowing white gown adorned with wildflowers. Light streams from behind her, and from her very being.
LADY OF LIGHT
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.
There is a burst of flame, and Gale turns around. The forest behind him has been replaced with desert. LLEWELLYN appears.
LLEWELLYN
Black are the stars that bring me light
Black the souls that bring delight
Wither in the flames!
Enter, enter into my cave
Meet your killer, slave of a slave!
MILLICENT, in her formal gown, runs past Gale and into wintry woods, screaming.
LLEWELLYN
I’ll scratch you with the poison claws
Dance upon my name!
Crush your bones within my jaws
Dance within the flame!
Laughing, Llewellyn vanishes in another burst of flame. The desert vanishes as well. Gale turns to see the Lady of Light wince in pain.
LADY OF LIGHT
Time is of the essence!

GALE
The shadows grow longer.
GRUFFYDD appears and brings Gale a cardboard box.
GRUFFYDD
I am Gruffydd and I speak true
Llewellyn the one I pursue
Tunnels lead two ways
Beware! History it repeating itself!
Millicent runs by again, exactly as she did before. The Lady of Light points at her.
GALE
Wait--!

GRUFFYDD
I am where I know everyone’s name.
Gruffydd and the Lady of Light disappear. Gale runs after Millicent into the wintry woods. Millicent appears again at a rock formation and then disappears into a small tunnel. Gale follows her in.

CUT TO:
EXT. NEIGHBORHOOD STREET -- NIGHT

GALE emerges from a drainage ditch in his suit and tie and looks up at a house silhouetted against the night sky. He hears a person howling within.

CUT TO:
INT. GALE’S ROOM -- NIGHT

GALE wakes up in a cold sweat, fresh green maple leaves scattered on his bed.

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.
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.
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.
Lyndon Pfiffer, 26. Deputy.
Millicent Collins, 17. Murdered girl, daughter of Tuppence.
Gabriel Saltares, 44. College professor.
Albert Collins, 48. Lawyer, father of Millicent.
Abigail Voigt, 24. Sheriff’s secretary.
Duncan MacNeil, 38. FBI forensics expert.
Box Lady, 53. Local eccentric.
Kimmy Clapsaddle, 38. Sister of Rosemary.
Gruffydd. Sheriff from the Dark Ages.
Lady of Light. Mystical being.
Llewellyn the Marauder. Killer from the Dark Ages.
Leigh Pfiffer, 23. Library aide, sister of Lyndon.

Elderly Librarians
Housekeeper
High School Students
Deputies


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