Episode 7

Twinsburg - Episode 7


FADE IN:

EXT. WOODS -- SUNDAY MORNING

The rock formation, scene of last night’s violence, sits quiet and peaceful in the cool morning sunlight.

CUT TO:
INT. CHURCH LOBBY -- MORNING

The MINISTER is shaking hands as people file out. There is a lot of crowd noise and hubbub. JAMES waits in line behind the two ELDERLY LIBRARIANS to shake hands.
MINISTER
Good morning, ladies.

1ST LIBRARIAN
I must tell you that was a simply delightful service. Such beautiful hymns.

2ND LIBRARIAN
The choir sounded wonderful this morning. Such moving music.

MINISTER
Thank you. Good morning, James.

1ST LIBRARIAN
And the choir was simply heavenly. What lovely voices they have.

2ND LIBRARIAN
Oh, yes. I wasn’t familiar with the hymns, though. I prefer the traditional ones.

MINISTER
I’ll remember that next time. Good morning, James.

JAMES
Morning.

MINISTER
Are you all right? You look a little banged up.

JAMES
I fell off my bike last night. That’s all.

MINISTER
Well, be careful. I don’t see many of your friends here this morning.

JAMES
Well, you know how people are.
James walks toward the door. He pauses at a drinking fountain and washes off his hands. He starts to leave, but then washes his hands again.

CUT TO:
EXT. CHURCH -- MORNING

JAMES comes out of the building and moves off. Pan up the church steeple.

CUT TO:
EXT. WOODS -- MORNING

Pan down the chimney of a ramshackle cabin surrounded by maple trees.

CUT TO:
INT. CABIN -- MORNING

PENNY is sitting on the floor, tied up securely with an apple stuffed in her mouth. TUPPENCE kneels beside her and leans in close.
TUPPENCE
So pretty you are, so young and delicious. The Lady of Night thirsts. She cries out for fresh, hot blood that you shall provide. Thus the circle may continue unbroken as I weave her veil of darkness. All things have their place in the cosmic hierarchy, my darling. As my life belongs to my Lady, so she has given your life to me. And such a fire burns within me when I gaze into your eyes. Such light within you, and I relish it. I am the vessel, and when your blood wets my lips, my Lady will drink and her unquenchable thirst will be abated. There is no escaping your fate. Those who oppose me have been crushed, their hopes dashed. But you should rejoice, my precious. Soon you will be reunited with your very best friend: my sweet Millicent.
CUT TO:
EXT. TWINSBURG CEMEMTERY -- MORNING

Pull back from Millicent’s headstone to reveal BRADLEY.
BRADLEY
I don’t know what’s going on. Ever since you died, it’s like everything’s turned upside down. And no matter how hard I try, I can’t make things go the right way. I push and I push, but I just can’t keep things on track. I need you. I’ve been doing a lot of thinking, you know. Since I found out you were into drugs. That blew my mind, Millicent. Why didn’t you trust me? I would have helped you. I hate that, that you were on drugs, and I hate it even more that you wouldn’t let me help you. But I don’t hate you. I couldn’t. I just get so frustrated thinking about you, I want to hit something. But with this, there isn’t anything to hit. And I just don’t know which way to go.
CUT TO:
INT. TWINSBURG HOSPITAL -- MORNING

SHERIFF, TERRENCE, DUNCAN, and FRANKLIN FOSGILL come into focus as GALE regains consciousness.
TERRENCE
There he is.

FOSGILL
Looks like he’s coming around!

GALE
What happened?

FOSGILL
Take it easy, Martin! Doc says you’re going to pull through!

GALE
Franklin?

FOSGILL
Drove in first thing, Martin! When an agent goes down in the field, I like to check up on the situation personally!

TERRENCE
You’re a lucky man, Agent Gale. You lost a lot of blood. Thanks to the Sheriff for carrying you out of the woods, you’ll be okay.

SHERIFF
I did what I had to.

GALE
Bob, Tuppence--?

SHERIFF
She got away. I’ve got all the men I could spare combing the woods, but it’s such a large area...

DUNCAN
Unfortunately, the bloodhound union is on strike.

GALE
Duncan...
Gale tries to sit up, but winces in pain.
DUNCAN
Take it easy, Martin. You’ll pull yourself right open.

TERRENCE
I want you to remain in bed for at least two days, Agent Gale.

GALE
Doctor, I cannot afford to lie in bed while a killer of such vehement evil is on the loose, and her probable next victim is already missing. I just hope we are not too late as it is.
Gale sits up with Sheriff’s help.
GALE
When the mind and spirit work in concert, the body’s powers of rejuvenation are simply incredible. Thank you, Doctor. I will try to be careful.

FOSGILL
Good man, Martin!
Fosgill slaps Gale on the back. Gale winces.

CUT TO:
EXT. CARTWRIGHT HOME -- SUNDAY NOON

ALAN stops jogging at the end of his driveway and checks his pulse. He walks up to the house and goes inside. In a car parked across the street sits KENT, watching Alan intently. Kent checks his watch and makes some notes on a clipboard. Suddenly, the passenger-side door opens and JAMES gets into the car. Kent is surprised.
KENT
What are you doing here?

JAMES
I think you’re the one who has some explaining to do.

KENT
How did you find me?

JAMES
Why are you keeping track of Alan Cartwright’s movements? What are you up to?

KENT
Why can’t you mind your own damn business?

JAMES
Listen to me, you thick-headed fool. Janet isn’t playing straight with you. I don’t know what her game is, but she’s two-timing you, and filling your head with all kinds of stuff. I know you, and you’re going to do something stupid and get into trouble.

KENT
You don’t even know what the hell you’re talking about. You don’t even know Janet. We’ve talked, and she’s told me everything. Cartwright ruined her life, and I’m not going to let him terrorize her. Your problem is you’re jealous! Because I’ve found a woman like Janet and all you do is moon over stupid Megan Thomas. She only talks to you at all to be polite. Anybody who wasn’t blind could see that.

JAMES
You little bastard. When Janet sucks you dry of whatever she’s after, don’t come crying to me. You can rot, for all I care.
James gets out of the car and slams the door.
KENT
Just stay out of my life! Nosy butthead!
Kent peels out and races away. James stands in the street, seething with rage.

CUT TO:
EXT. SHERIFF STATION -- NOON

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

GALE, SHERIFF, and FOSGILL enter.
FOSGILL
That’s a wild story, all right, Martin! But I’ve always trusted you as a good, no-nonsense agent, so I’ll back you up on this one!

GALE
Thank you, Franklin.

SHERIFF
We’ve got Saltares in a cell. We had to watch him all night; he was acting pretty self-destructive.

GALE
I think we’d better have a talk with him right away.

FOSGILL
What’s that?

GALE
Saltares!

FOSGILL
Might be a good idea to talk to him now, Martin!
CUT TO:
INT. JAIL -- NOON

SALTARES sits dejectedly in his cell. GALE, SHERIFF, and FOSGILL enter and stand outside the cell.
SALTARES
You! Why did you disrupt our ceremony?

SHERIFF
Hey, you were about to be murdered!

SALTARES
What business is that of yours? My life is forfeit. It was my time to join with the Lady of Night in her Shadowrealm. I am dead already! Why do you prolong my misery?

GALE
Professor, how long has Mrs. Collins led the cult?

SALTARES
The current leader took over when the previous leader died, about ten years ago.

GALE
Do you have any idea where she might have gone after last night’s encounter?

SALTARES
Do what you like, but I will say no more. My tongue has enjoyed too much liberty already. I will not add to my sins now.

SHERIFF
Now, look here, fella. You’re facing a charge of accessory to murder, so you better--

GALE
Don’t waste your breath, Bob. We won’t get anything more from him. I’m all too familiar with the strength of fanaticism.
CUT TO:
INT. SHERIFF STATION -- LOBBY -- NOON

GALE, SHERIFF, and FOSGILL bring ALBERT up from his cell.
SHERIFF
Okay, Albert. You’re free to go.

ALBERT
Thank you, Bob. I understand why you had to hold me.

GALE
Albert, we’re going to need your help to find Tuppence. Now that we have some idea who and what we’re dealing with, any assistance you can provide will be invaluable.

ALBERT
I’ll do whatever I can, Agent Gale. I know Tuppence must be stopped, once and for all.
NICHOLAS enters.
NICHOLAS
Sheriff, have you found out what happened to Penny? Why are you just standing around? You’ve got to remember what he said about Penny being in danger!

GALE
What about that, Albert?

ALBERT
Well, I thought it seemed likely that Tuppence might go after Penny, since she was Millicent’s best friend.

NICHOLAS
Wait a minute. Are you saying Mrs. Collins is the killer?

SHERIFF
It looks that way, Nicholas. She’s completely insane.

NICHOLAS
I can’t believe it. She always seemed so nice. Sheriff, if she’s got Penny, you’ve got to let me help out. I can’t just sit around.

SHERIFF
Nicholas, why don’t you come along with us.
They all exit.

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

ELLIOTT is on the phone as KIMMY enters.
ELLIOTT
That’s all right, Megan. I don’t think it will be too busy today, so there’s no problem is you can’t come in. I hope you feel better soon. Okay. Bye.

KIMMY
Hi. How are things going?

ELLIOTT
I tried to call you last night, but you were out.

KIMMY
Oh, I... I had to do some shopping.

ELLIOTT
At one in the morning? Kimmy, are you getting mixed up with Patrick again?

KIMMY
Elliott, please, just trust me. Don’t ask me about it.

ELLIOTT
I want to trust you, honey, but you know what happened last time. I’m trying to look out for you.

KIMMY
I know, Elliott. You’re the sweetest guy I’ve ever known. I don’t want to hurt you. Just trust me, please.
CUT TO:
INT. CORBETT HOME – AFTERNOON

EMMA spreads peanut butter on a slice of bread and then tops it with sliced banana. She presses another slice of bread on top, puts the sandwich on a plate, and takes it out the back door.

CUT TO:
EXT. CORBETT HOME -- AFTERNOON

EMMA walks toward the detached garage. She stops and looks up into the sky.
EMMA
I hear you. I’m busy.
CUT TO:
INT. CORBETT HOME -- GARAGE -- AFTERNOON

EMMA enters through the back door. A large 1950s car sits under a tarp, and against the wall is a large workbench littered with disused tools. The cavity under the workbench has been closed off with translucent plastic sheets. Emma bends down and raps on one of the sheets. The sheet slides back, revealing WAYNE. He takes the sandwich and closes the sheet again.

CUT TO:
INT. COLLINS HOME -- AFTERNOON

The front door opens and GALE, SHERIFF, and FOSGILL enter with their guns at the ready.
SHERIFF
Mrs. Collins? This is Sheriff Armstrong!
Sheriff moves into the kitchen. Fosgill checks down the hall. Gale motions to ALBERT and NICHOLAS to enter. They all meet at the door to the basement and enter.

CUT TO:
INT. COLLINS HOME -- BASEMENT -- AFTERNOON

GALE descends the stairs first, followed closely by SHERIFF. Seeing no one is there, they motion to FOSGILL, ALBERT, and NICHOLAS to come down.
GALE
I don’t remember these boxes being opened.

SHERIFF
They weren’t. She must have come back sometime yesterday.
NICHOLAS looks in the sink and finds a school jacket.
NICHOLAS
Sheriff, look at this. It’s Penny’s.

GALE
Are you sure?

SHERIFF
It’s got her name on it.

GALE
Damn! It looks like our fears have been confirmed. Tuppence has Penny. If only we knew where!

NICHOLAS
What are we going to do?

ALBERT
I’ve been trying to think of somewhere Tuppence might go to hide out, but I can’t think of anything.

GALE
If she is being controlled by Llewellyn, there’s no telling what hiding places he might know of.

SHERIFF
Agent Gale, if this Llewellyn character is real, and is some kind of demon or spirit, how in the world are we going to catch him?

GALE
Bob, since the nature of this situation has been revealed to me, I’ve given that question a great deal of thought. And to speak frankly, I just don’t know.

FOSGILL
Martin, I know what cracking this case means to you, but you’ve got to remember to stay calm, cool, and in control! You’re on the right track! All you have to do is follow through and it will all fall into place!

GALE
Thank you, Franklin! I hope so! I still feel as though I’m missing something vital. If only I knew where to find it.
CUT TO:
INT. COLLINS HOME -- LIVING ROOM -- AFTERNOON

GALE, SHERIFF, FOSGILL, ALBERT, and NICHOLAS enter.
SHERIFF
Maybe we should start at the beginning and go--
Gale cuts him off. Sitting on the couch is ZEKE, who looks up and smiles.

CUT TO:
INT. CABIN -- AFTERNOON

PENNY does her best to scream, causing a good deal of saliva to flow out around the apple wedged in her jaws. TUPPENCE, who is polishing the ornate dagger, laughs.
TUPPENCE
You grow eager for the ceremony, I know. My heart is racing, I’m so looking forward to it. Listen! I can hear the voices of the forest, and they are saying it’s almost time... time for you to die. But you won’t be going until I’ve had my fun with you. Millicent wasn’t much fun. She fought too hard. But Leigh was such a joy to have. I enjoyed her. And now it’s just you and me. I want you to know that after you have breathed your last, I will show that I am not cruel-hearted. I will send Nicholas to join you in the Shadowrealm. Then you will all be happy.
CU -- PENNY sobs.

CUT TO:
INT. COLLINS HOME -- LIVING ROOM -- EVENING

ZEKE sits on the couch, surrounded by GALE, SHERIFF, FOSGILL, ALBERT, and NICHOLAS.
GALE
Gruffydd, I need more information. Where has Llewellyn taken Penny? How do we stop him? I need your help.

ZEKE
The altar of the amber circle. It is to there that Llewellyn is linked.

GALE
The rock formation... the tunnel!

ZEKE
It is both the key and the lock. The tunnel is the umbilical cord that ties Llewellyn to his dark mother. For in the time of darkness, her powers were at their strongest.

GALE
You mean he’s still linked to the medieval period -- through that tunnel?

ZEKE
(closes his eyes)
Through the darkness, he reaches out to seize his souls.

SHERIFF
What do you think?

GALE
If we seal off the tunnel, we may cut Llewellyn’s connection to the present.

SHERIFF
Or would he just be trapped here?

GALE
I believe Llewellyn is a projection into our time. That’s why he needs to work through Tuppence. If his conduit to her is cut off, he should lose the connection.

NICHOLAS
Like cutting phone lines.

GALE
Precisely! Is that correct, Gruffydd? Sheriff?
Zeke moans incoherently.
SHERIFF
I think we’ve lost him.

GALE
It may be the strain...
The doorbell rings. Albert starts for the door.
SHERIFF
I’ll get it.
Drawing his gun, Sheriff moves to the front door and opens it. On the doorstep is WAYNE.
WAYNE
I know where she is.
CUT TO:
INT. DANI’S HOME -- EVENING

PATRICK is packing a suitcase. DANI enters.
DANI
What are you doing?

PATRICK
Look, it’s no good.

DANI
What do you mean?

PATRICK
I’ve got to get out of here. We don’t have anything between us anymore. You know that as well as I do. It’s time I cleared out.

DANI
You’re leaving? You’re leaving me? Just like that? We’ve got our problems, I know, but we could work them out...

PATRICK
It was too late for that a long time ago. Look, it’ll be better for both of us.

DANI
You don’t give a damn about what’s best for me! I can’t afford this place on my own. This is my home!

PATRICK
Well, I’ve got my own problems to worry about. It’s over, Dani. I’m just admitting what we already know.
He heads for the front door. She follows him.
DANI
Patrick? Patrick! Don’t just walk out on me. Talk to me, damn you!
He goes out the front door and shuts it behind him.
DANI
Patrick...
CUT TO:
EXT. WOODS -- EVENING

FOSGILL and NICHOLAS approach the rock formation with explosives.
NICHOLAS
I should be with the others. Penny might need me. I should be there with her.

FOSGILL
Don’t worry, Junior, your girl’s in good hands! Besides, it’s better this way, well, just in case.
Nicholas scowls. They begin rigging the tunnel with the explosives.

CUT TO:
EXT. WOODS AND CABIN -- SUNDAY NIGHT

WAYNE leads GALE, SHERIFF, and ALBERT to the cabin. They stop a short distance off.
WAYNE
In there.

SHERIFF
Wayne, I want you to keep out of harm’s way. Stay behind here.
Wayne hides behind the bottom end of an uprooted tree. Sheriff and Gale draw their guns and approach the cabin. Albert maintains a safe distance.
SHERIFF
Mrs. Collins! This is the police! I order you to surrender and come out with your hands where we can see them!

GALE
The game is up, Llewellyn! We know who you are!

ALBERT
Tuppence?
The door to the cabin opens slowly. TUPPENCE appears, using PENNY, still bound and gagged with the apple, as a human shield.
TUPPENCE
It matters not what you know, mortals. You must not interfere with my mission. The Lady of Night will taste this maiden’s blood tonight, or we will all feel her terrible wrath.

SHERIFF
Let the girl go. You’re under arrest.

TUPPENCE
I am not bound by your human laws. Surrender your weapons or the girl dies here and now.

GALE
He means it.
Gale and Sheriff place their guns on the ground.
TUPPENCE
Now, husband! Bring the firearms here. Place them within this dwelling.

GALE
Go ahead, Albert.
Albert picks up the guns and goes toward the door of the cabin. Tuppence and Penny move outside, away from the door.
ALBERT
Tuppence, please. Stop all this. You need help. You’re sick. Let us help you, Tuppence...

TUPPENCE
Cretin, your foolish woman is merely my vehicle. She cannot hear your pathetic whining. Put the weapons inside and be quick about it.
Albert goes inside, then re-emerges without the guns. He moves slowly away from the cabin.
TUPPENCE
You are all fools! Do you think you are the first to oppose my sacred mission? You will be ground to dust as have all my enemies throughout the centuries. You will not leave this place alive!
EXT. DANI’S HOME -- NIGHT

JAMES approaches the house and sees the lights are on. He is clearly disturbed. He goes to the front door, but changes his mind and sneaks around to the backyard. The kitchen window is open slightly and he goes up under it. Inside, JANET is on the phone.
JANET
It’s all right, darling, we can talk freely. I found a note from Dani. She’s gone over to see Rosemary. Everything is going splendidly. Yes, our plans are coming together quite nicely.
James takes a small tape recorder out of his coat pocket, checks it, presses the recording button, then holds it up to the window.
JANET
Oh, yes. I have Kent completely within my power. He doesn’t suspect a thing. He sees me as the sweet damsel in distress and he’s my gallant knight. [laughs] Yes, I know. Well, I spoke to Alan and he was reluctant, but I think, given time, I can convince him to marry me. Kent is so blinded by passion, there will be no trouble driving him to kill Cartwright for us. Then a little accident for poor Kent, and you and I will have everything we’ve ever dreamed of!
James leaves the tape recorder outside the window and runs out into the street. He doubles over and bursts out laughing.

CUT TO:
EXT. WOODS AND CABIN -- NIGHT

GALE, SHERIFF, and ALBERT face TUPPENCE, who is holding PENNY in front of her and has the ornate dagger to her throat. They have moved back into the doorway of the cabin.
TUPPENCE
Now, I will give you the pleasure of watching this girl die! Though it is not as satisfying an end as I had planned.

WAYNE (O.S.)
Stop!
WAYNE emerges from behind the tree roots. Tuppence looks at him with horror.
TUPPENCE
You! So, you’ve found me at last.

WAYNE
It is I, the sheriff Gruffydd. I now inhabit this vessel. Do not be afraid, men of the law. The boy will come to no harm. The time has come, fiend, to face me in final battle.
Tuppence roars with laughter.
TUPPENCE
You challenge me from the body of a child? You are mad!

WAYNE
It is not this form in which I shall do battle, but one other.
Wayne looks at Gale. Gale nods his head. He stiffens, then steps back woozily.
SHERIFF
What’s going on? Gale?

GALE
Agent Gale is now host to me. His is the hand with which I shall smite Llewellyn. Come, fiend. Cease your cowering behind a helpless maid and face me.

TUPPENCE
This mortal has hounded me for many months. It is fitting that you be the instrument of his destruction, Gruffydd.
Tuppence pushes Penny to the floor of the cabin and tosses the dagger to Gale, who catches it. Tuppence then seizes the broadsword and runs out of the cabin. Wayne jumps behind a tree. As Albert looks on in horror, Tuppence attacks Gale. They battle.
SHERIFF
Penny!
Sheriff circles the fighters and goes to Penny. He takes the apple out of her mouth and she collapses in his arms, sobbing.
GALE
You are fighting a losing battle, Marauder. Your evil service is ended!

TUPPENCE
You made a poor choice of vehicle, Gruffydd, for that one has been damaged by my own hand!
Tuppence brings her sword down on Gale. He blocks it with the dagger, but she knees him in the stomach, hitting his earlier wound. Gale cries out, and Tuppence kicks him in the face, knocking him over.

CU -- GALE clutches his stomach as blood begins soaking his shirt.

BACK TO SHOT

Tuppence moves in for the kill.
TUPPENCE
Die!

SHERIFF
Gale!
Sheriff lunges for his gun on the floor of the cabin, but Penny falls on him and trips him up.

Gale suddenly thrusts the dagger up into Tuppence’s chest, piercing her heart. She staggers back and collapses to the ground. Then, the ghostly form of LLEWELLYN appears above her, shimmering. Gale sinks back down as GRUFFYDD materializes above him.
GRUFFYDD
Now, villain, we shall battle in our true forms, as it was always meant to be.

LLEWELLYN
Depriving me of my vehicle will avail you nothing. Once I have dispatched you once and for all, I will take another. You cannot stop my dark crusade.

GRUFFYDD
We shall see!
The two ghostly beings engage in battle, blue sparks flying whenever their blows make contact. Gale, dazed, watches in amazement. Suddenly, an explosion is heard in the distance.
SHERIFF
The tunnel! They did it!

LLEWELLYN
What have you done?! You fools! You know not the forces with which you tamper!

GRUFFYDD
Into the abyss, devil!
The two ghostly beings begin to appear disrupted, like a weak television signal. As they continue their battle, they slowly fade away, until only the fading blue sparks remain.
GALE
They’re gone.
Nearby, Albert holds Tuppence’s head in his lap.
TUPPENCE
Albert...?

ALBERT
It’s all right, Tuppence. It’s over.

TUPPENCE
Oh, Albert, Albert! I remember. All the things... the terrible things he made me do! I couldn’t help it...

ALBERT
Oh, Tuppence...

TUPPENCE
I couldn’t fight him, he was too strong. He came to me... here in these woods, so long ago. He chased me down, he was like a shadow, and he came inside me... it was like a nightmare.

ALBERT
Tuppence...

TUPPENCE
He made me kill... he needed blood... to drink. It was horrible, the things I had to do... Millicent! Oh, Millicent, my angel! He wanted Millicent to... to serve him, but she was too strong. She wouldn’t let him in, so he made me kill her. So much torture... the pain. My only daughter... I loved her.

ALBERT
Yes.

TUPPENCE
I loved her, but he wanted her. He was so jealous. Jealous of us, me and Millicent and you... Albert.

ALBERT
Oh, god.

TUPPENCE
Oh, darling. I’ve always, always loved you, Albert.

ALBERT
Oh, Tuppence...

TUPPENCE
He drove us apart... I never... never wanted to leave you. I was so helpless... forgive me...

ALBERT
Tuppence...

TUPPENCE
I always... loved... you...
Tuppence dies. Albert holds her up against himself and cries. Sheriff puts his hand on Albert’s shoulder. Albert gently rocks her while the others look on. Long dissolve.

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

FOSGILL and NICHOLAS are waiting when GALE, SHERIFF, and PENNY enter.
PENNY
Nicholas...
Nicholas and Penny embrace. Gale sits down weakly.
GALE
It’s over, Franklin.

FOSGILL
Good work, Martin! I’ve always been able to count on you to give a hundred and ten percent to get the job done!

SHERIFF
I think we’d better get you over to the hospital.

FOSGILL
You don’t look so good, Martin! I want you to get right back to the hospital!

GALE
You destroyed the tunnel just in time, Franklin. It worked not a moment too soon.

FOSGILL
No, we did it right when you planned, Martin! Won’t catch me jumping the gun under pressure! I see you were able to rescue the girl! Great job!

GALE
I’m sorry we couldn’t save Tuppence.

SHERIFF
I’ve seen things tonight I couldn’t have imagined. I’m having trouble convincing myself it was all real.

GALE
There are more mysteries in this world than we’ll ever be able to solve. But hopefully, we won’t have any more trouble from Llewellyn.

SHERIFF
I sure hope you’re right. Maybe things will start getting back to normal around here.
BRADLEY enters, very upset.
BRADLEY
Sheriff! You’ve got to come, quick!

SHERIFF
Bradley, what’s wrong?

BRADLEY
It’s Megan! It’s horrible! She’s been murdered!
CU -- SHERIFF is shocked.
CU -- NICHOLAS and PENNY are shocked.
CU -- FOSGILL is shocked.
CU -- GALE squints.

FADE OUT



Cast of Characters


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

Bradley Thomas, 18. High school senior.
Alan Cartwright, 50. Real estate developer, mall owner.
Penny Gardner, 17. High school senior.
Lyle Terrence, 62. Local doctor.
Nicholas Grey, 17. High school senior.
Elliott Grey, 42. Owns bike shop, uncle of Nicholas.
Kent Clapsaddle, 16. High school sophomore.
Tuppence Collins, 46. Librarian.
Dani Clapsaddle, 29. Kent’s aunt by marriage.
Janet Flynn, 39. Twinsburg native returned from England.

James Clapsaddle, 18. High school senior, Kent’s uncle.
Wayne Corbett, 9. Local boy.
Gabriel Saltares, 44. College professor.
Albert Collins, 48. Lawyer.
Patrick Clapsaddle, 33. Kent’s uncle, husband of Dani.
Duncan MacNeil, 38. FBI forensics expert.
Emma Corbett, 50. Mother of Wayne.
Kimmy Clapsaddle, 38. Kent’s aunt.
Gruffydd. Sheriff from the Dark Ages.
Llewellyn the Marauder. Killer from the Dark Ages.
Zeke Chomski, 68. Mailman.
Franklin Fosgill, 52. FBI regional supervisor.

Elderly Librarians
Minister
Churchgoers


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