Episode 8

FADE IN:

INT. THOMAS HOME -- SUNDAY NIGHT

Pan along the living room’s hardwood floor, littered with smashed Thomas family portraits. Shards of glass and blood spatters are scattered about. Bright flashes from a deputy’s camera occur periodically. The sobbing of WILMA THOMAS is heard. Pan up GALE from his muddy shoes to his blood-stained shirt and up to his grim, haggard face. SHERIFF comes up to him.

SHERIFF

This is the worst thing I have ever seen.

GALE

Yes.

Gale and Sheriff cross the room to the foyer where Wilma and her husband, CASEY THOMAS, are standing by the front door with a DEPUTY. BRADLEY and FOSGILL are nearby.

GALE

Mr. Thomas, can you tell us when you found your daughter’s body?

CASEY

We’d been out all day... visiting Wilma’s mother. We didn’t know. We didn’t know anything was wrong. How can this just happen?

BRADLEY

I found her.

GALE

Tell us about it, Bradley.

BRADLEY

I was at a buddy’s house, we were watching the game all day. Megan was here alone. She said she didn’t feel well. When I got back, the lights were all out. I figured she’d gone to bed. I came in and turned on the light.

GALE

I see.

BRADLEY

She was just lying there like that. I almost puked. I didn’t even think, man. I just booked to the sheriff station. My dad almost ran me down in the driveway. I didn’t stop. I didn’t want to be here when they came in.

CASEY

Yes, yes... we were just pulling in when Bradley ran across the headlights. I didn’t know what he was doing. We called the station, but the girl said you were on the way. My baby... we didn’t even say goodbye this morning...

GALE

Deputy, would you take the family upstairs, please? Mr. Thomas, we’d like you to go with the deputy. We’re going to examine the room, and we’d like as few people in here as possible.

CASEY

Yes. Sure. Wilma?

Casey helps Wilma up the stairs, followed by Bradley and the Deputy. Bradley stops and turns around.

BRADLEY

You know who you better arrest for this! It’s that James Clapsaddle! He killed her!

Gale squints as the family goes upstairs. Gale turns and looks at the body. In the foreground of the shot, Megan’s arm is seen nailed to the floor with a steel tent spike.

Gale crosses the room and bends down, wincing with pain, to examine her toes.

SHERIFF

You think it was Llewellyn?

GALE

I don’t know, Bob. I don’t want to rule that out.

SHERIFF

You know, Penny said that Mrs. Collins was with her in that cabin all day.

GALE

We’ve seen that they can operate through more than one host, Bob. However, there isn’t any letter on her toe. No signature, different M.O.

SHERIFF

So it wasn’t Llewellyn. Then we have another killer now.

GALE

It would appear so. Still, I can’t shake the feeling there’s a connection somehow.

SHERIFF

I don’t know. I still don’t get what those letters on the toes were supposed to mean anyway.

GALE

Bob, you may remember my mentioning that every killer leaves a signature. However, in this case, I believe it was much more literal than I had imagined. More than once, Llewellyn said to me, “I’ll scratch you with the poison claws -- dance upon my name.” I believe this was a reference to the letters, W, Y, N, each of which appears in the name Llewellyn.

SHERIFF

You mean he was spelling his name on his victim’s bodies?

GALE

Yes. And there is neither an L nor an E on Megan.

FOSGILL

It’s an ugly sight, Martin!

GALE

Franklin, as I have developed an excellent working relationship with Sheriff Armstrong, I want this case.

FOSGILL

I understand how you feel, Martin! However, due to your experience with the local law enforcement here, I want you to take this case!

GALE

Thank you, Franklin!

FOSGILL

First things first, Martin! No man is an island, so I want you to report to the hospital, pronto! Doctor Terrence will get you squared away!

GALE

I’ll have the sheriff drop me off as soon as we’re done here.

Pan over to the wall, smeared with Megan’s blood.

CUT TO:

EXT. MORNING

Maple trees sway in the wind against a pale gray sky.

CUT TO:

EXT. COLLINS HOME -- MONDAY MORNING

CUT TO:

INT. COLLINS HOME -- LIVING ROOM -- MORNING

Snapshots of the Collins family are spread out on the carpet. ALBERT is kneeling, running his fingers across the photos. He is crying. A knock is heard on the door, but Albert does not react. SHERIFF enters.

SHERIFF

Albert, I don’t mean to intrude. I saw your car in the driveway. I wanted to make sure you were all right.

ALBERT

It’s too much, Bob. Too hard to accept. Everything I had, everything I loved is gone. And how? What kind of nightmare was it? If I hadn’t been there, if I hadn’t seen it, I would never have believed a word of it. I know I’ll never understand it.

SHERIFF

I don’t think I will, either, Albert. You know, when I was a kid, I remember going fishing with my best friend in the pond behind the driving range on 82. We’d sit on the bank and catch some pretty good bass sometimes. Or we’d make a raft and float out into the middle, but we’d usually end up pushing each other in. Then, they built the plastics factory right there and started dumping their wastes into that little pond. Next thing we knew, the fish were all dead, and that pretty little pond turned into a sewer. But we found another pond, over by the Maple Lodge, and we kept fishing.

ALBERT

I know what you’re trying to say, Bob. Thank you. Maybe it’s all over now. Maybe our lives will start getting back to normal.

SHERIFF

Albert, I know you’re going to hear about this anyway, so I guess I should let you know ahead of time. There’s been another murder.

ALBERT

What?

SHERIFF

Now, we don’t think Tuppence had anything to do with it. But Agent Gale will be investigating.

ALBERT

What’s happening to us?

CUT TO:

EXT. TWINSBURG HOSPITAL -- MORNING

CUT TO:

INT. MORGUE -- MORNING

MEGAN is on the examining table. TERRENCE and DUNCAN examine her together.

TERRENCE

She was raped.

DUNCAN

It seems like they usually are. Nailing the arms down with tent spikes, though, that’s a new one on me.

TERRENCE

I can’t believe you can be so cool about this kind of thing.

DUNCAN

It’s all part of the job, Doc.

TERRENCE

That’s the same argument Agent Gale gave me. He came in here last night with his wound pulled open and fresh bruising, on the verge of exhaustion. I sewed him up again, of course, but he was right out of here first thing this morning. A body isn’t made to take that kind of stress.

DUNCAN

When I first met Agent Gale, he had just stopped a terrorist attack on a passenger airplane. He had been en route to Sri Lanka when the aircraft was hijacked. After spending fourteen hours sitting on the runway, Martin attacked the terrorists with his carry-on bag. He took four shots to the abdomen and leg before subduing his opponent, blocking off the cockpit, and opening the emergency exits. After one night in the hospital, he caught the red-eye to his destination and began his assignment. He’s not a man you can keep down.

TERRENCE

So I see.

CUT TO:

INT. GREY’S BIKE SHOP -- MORNING

ELLIOTT is on the phone.

ELLIOTT

That’s terrible, Mr. Thomas. I’m real sorry for you. If there’s anything I can do... You know, Megan was great to work with, a really sweet girl. I see. Thank you, yes, I will. You take care now. Bye.

Elliott is stunned by the news. KIMMY enters.

KIMMY

Elliott, I have awful news.

ELLIOTT

I just heard, honey. Poor Megan.

KIMMY

What?

ELLIOTT

Megan Thomas. She’s been killed.

KIMMY

Oh, my. That’s not it, though. It’s Patrick -- he walked out on Dani. He wants a divorce. She’s taking it hard. I really think we should go over there, be with her. You know.

ELLIOTT

Right. I think I’ll close the shop today, what with all that’s happened.

CUT TO:

EXT. SHERIFF STATION -- MORNING

CUT TO:

INT. SHERIFF STATION -- LOBBY -- MORNING

GALE enters. LYNDON comes up to him.

LYNDON

Agent Gale.

GALE

Good morning, Lyndon.

LYNDON

Agent Gale, I wanted to thank you for finding Leigh’s killer and stopping her. I don’t know what we would have done without you.

GALE

Lyndon, I did what I could. I’m sorry I could not prevent your sister’s death.

LYNDON

Well, I wanted to give you this.

Lyndon presents Gale with a gallon jug of real maple syrup.

LYNDON

It’s the syrup Leigh bought. My mother wants you to have it.

GALE

Lyndon, tell your mother I will savor every golden drop. Thank you.

ABIGAIL comes by, watering the plants.

GALE

Good morning, Abigail.

ABIGAIL

Good morning, Agent Gale.

Abigail and Lyndon look at each other, then Abigail blushes and walks away. Gale smiles. SHERIFF comes out of his office.

SHERIFF

Why am I not surprised to see you?

GALE

Bob, looking for clues is like finding stars in the morning sky. The longer you wait, the fewer you find.

SHERIFF

You’re incredible, Agent Gale. I was just going down to talk to Duane Cartwright.

GALE

Lead the way, Sheriff.

CUT TO:

INT. SHERIFF STATION -- INTERROGATION ROOM -- MORNING

DUANE sits at the table. GALE and SHERIFF enter.

DUANE

Finally, I was starting to feel neglected.

SHERIFF

Cool it, Duane.

DUANE

Talk to me, cop man.

SHERIFF

Duane, you’re eighteen years old and therefore will be tried as an adult. However, you might receive a more lenient sentence if you cooperate.

DUANE

Gimme a break, Sheriff. I can tell you stuff that’ll net you the biggest bust of your life. I’m talking the number one man, going all the way to the top. Twinsburg’s got one drug supplier, man, and he’s been working overtime to keep it that way. You could take him out, man, but not without me. And I don’t come cheap.

SHERIFF

What do you have in mind?

DUANE

Scott B. Free, man. I’m outta here, or no deal.

SHERIFF

Duane, let’s face it. You’re small change. You’re a spoiled brat and a cheap punk. I know there’s no shortage of guys at the high school who’d like to make a field goal with your hind end. So, I’m prepared to drop the charges against you if your information leads to an arrest and conviction. Or, you can waste my time and go to the pen. What’ll it be?

DUANE

Hey, my dope’s good, Sheriff. I’m talking non-fiction.

SHERIFF

Your supplier have a name?

DUANE

Doesn’t everybody?

SHERIFF

Answer the question.

DUANE

His name’s Clapsaddle. Patrick Clapsaddle.

CUT TO:

EXT. MALL PARKING LOT -- MORNING

JANET is sitting in her car in the middle of the vast parking lot. JAMES drives up, parks next to her, and gets out of his car. Janet gets out also.

JANET

What’s this all about, James?

JAMES

I’ve got something you might be interested in.

James takes his tape recorder out of his pocket and plays the tape.

JANET (V.O.)

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 stops the tape.

JANET

What do you want?

JAMES

I know what you’re after. It’s this.

He spreads his arms, indicating the mall.

JAMES

And I want a piece of it. A big piece. Or this recording goes straight to Kent and the police, and then your little scheme is finished, and so are you. I’ve made the copies already, and they’re where nobody but me could ever find them. Unless something tragic happened to me.

JANET

Clever boy. Very well, then. Let us talk terms.

CUT TO:

INT. DANI’S HOME -- MORNING

DANI, ELLIOTT, and KIMMY are sitting in the kitchen.

DANI

He wouldn’t even talk to me, he just walked out like I wasn’t even here.

KIMMY

I feel so bad for you. He can be so insensitive, I know.

ELLIOTT

Did he mention anything about this to you the other day, Kimmy?

KIMMY

What? Of course not. No, we just -- I mean...

ELLIOTT

What have you been seeing him about?

KIMMY

It’s nothing. Just family business. It’s not related to this. He never told me he was actually going to leave Dani.

DANI

I just don’t know what I’m going to do. I can’t afford this house on just my salary. There’s no way. And we just bought all that new furniture. I don’t want to lose my home, I don’t know where I’ll go.

ELLIOTT

I’m sure there’ll be some provision in the divorce settlement to let you keep the house. He’ll have to pay alimony.

DANI

Yes, I just feel so confused.

KIMMY

Maybe you need a change of scene. Why don’t we go out for some lunch. Maybe it’ll get your mind off it.

DANI

I doubt that. But all right.

CUT TO:

INT. ROSEMARY’S PASTRY SHOP -- MONDAY NOON

GALE and SHERIFF enter. ROSEMARY is working behind the counter.

GALE

Do you know what you’re going to do with Duane’s information?

SHERIFF

I’ve got a pretty good idea. We’ve been working on this for a real long time. Duane’s our big break.

ROSEMARY

Morning, officers. Or good afternoon, I should say. What can I get you?

SHERIFF

Go ahead. It’s on me.

GALE

I would like two buttermilk doughnuts with a light sugar glaze and a cup of hot, fresh, black coffee.

ROSEMARY

Sheriff?

SHERIFF

Make mine a strawberry-jelly and a coffee.

ROSEMARY

Coming right up.

Rosemary pulls their order together. Gale sits down stiffly while Sheriff pays for their snack. Sheriff then brings the coffee and doughnuts to the table and sits down.

SHERIFF

Are you all right?

GALE

Yes, just sore.

SHERIFF

I bet. You should try to take it easy.

GALE

Doctor Terrence and Duncan agree that Megan died between three and five P.M. yesterday. It is clear that Tuppence had no hand in the killing.

SHERIFF

Good. Albert’s taking this pretty hard.

GALE

I’m still reluctant to rule out a connection to the Llewellyn murders.

SHERIFF

I’m just glad there won’t be any more of them.

GALE

As am I, Bob. As am I.

DANI, ELLIOTT, and KIMMY enter. Gale sees Dani and is quite taken with her.

GALE

Bob, who is that?

SHERIFF

Well, that happens to be Patrick Clapsaddle’s wife, Danielle. Everyone calls her Dani.

GALE

I see. She’s very upset about something.

Dani sits at a nearby table while Kimmy and Elliott go to the counter and order soups.

GALE

She may be instrumental to the case against her husband, Bob. It might be a good idea if I met her.

SHERIFF

Are you sure that’s all you have in mind?

GALE

You’re learning, Sheriff. Not to worry, I am a professional.

Gale takes his coffee and goes over to Dani.

GALE

Hello.

DANI

Hello.

GALE

Special Agent Martin Gale, Federal Bureau of Investigation. I noticed you seemed upset.

DANI

I’m sure it wouldn’t take a detective to see that. I’m Dani Clapsaddle, by the way.

GALE

Well, I’m sorry to see a beautiful woman feeling blue.

DANI

Um... thank you, Mr. Gale.

GALE

Call me Martin.

Kimmy and Elliott return with three bowls of soup and drinks.

GALE

See you later, Dani.

DANI

All right... Martin.

CU -- DANI is intrigued.

CUT TO:

EXT. CITY PARK -- MONDAY AFTERNOON

PENNY is sitting in the gazebo. NICHOLAS rides up on his bicycle and goes to her. They embrace and kiss.

NICHOLAS

I don’t want to let go of you.

PENNY

Please don’t.

NICHOLAS

I’d never been so scared as I was when I thought you were going to die. All the time we were looking for you, rigging that tunnel to blow up -- and the waiting, that was the worst. All I could think about was never seeing you again. I felt like there was a hole opening up inside me, and I was going to fall into it and never get out.

PENNY

I was so sure I was going to die. But what hurt me the most was the thought of you and what you were going to go through. I was so mad that she would do that to you, you know? That was more important than what she did to me. She told me she was going to kill you after she killed me. She said it like she was doing me a favor. I felt like my heart was just going to explode. Oh, Nicholas, I felt so helpless and afraid.

NICHOLAS

I don’t want you to ever feel that way again. We should be together, always.

PENNY

Oh, Nicholas...

NICHOLAS

I wasn’t sure before, but I know it now. It’s the right thing to do. For both of us. We belong together.

PENNY

That sounds like a proposal.

NICHOLAS

Yeah.

Penny smiles through her tears. Nicholas smiles back. They kiss. Long shot of them kissing in the gazebo.

CUT TO:

INT. KIMMY’S APARTMENT -- AFTERNOON

KIMMY enters and finds PATRICK waiting for her.

PATRICK

You’re late.

KIMMY

I had a hard time getting away from Elliott. He’s suspicious.

PATRICK

Yeah, well, you better just keep him cool if you don’t want him to end up cold.

KIMMY

Look, you can’t stay here.

PATRICK

Don’t worry about it. As soon as we finish this, I’ll leave. You have to make the run tonight.

KIMMY

Tonight? Why so soon? We just--

PATRICK

Look, with Duane in the slammer, we’ve got to make sure there’s no interruption in service. I want a little overstock.

Patrick hands her a packet of maps in a Ziploc bag.

KIMMY

All right, just--

ELLIOTT bursts in.

KIMMY

Elliott!

ELLIOTT

I’m sorry, Kimmy. I followed you. I know how you are where your brother is concerned.

KIMMY

Elliott, please. I did it to protect you!

PATRICK

You should be worried about how I am where you’re concerned, Elliott!

Patrick and Elliott attack each other and grapple. Patrick produces a gun. Elliott grabs Patrick’s gun hand and they struggle.

CU -- KIMMY. The gun goes off and Kimmy screams.

CUT TO:

EXT. SHERIFF STATION -- AFTERNOON

CUT TO:

INT. SHERIFF STATION -- CONFERENCE ROOM -- AFTERNOON

JAMES is seated at the table. GALE and SHERIFF stand.

GALE

James, tell us about your relationship with Megan Thomas.

JAMES

We were friends. That’s all. We knew each other from church. We didn’t have a “relationship,” you know.

GALE

You mean you weren’t lovers.

JAMES

Of course not.

GALE

But you did go out to dinner together on Friday.

JAMES

Well, yeah. But just as friends. And we went for a walk in the woods on Saturday. What’s wrong with that?

GALE

Maybe nothing. Bradley Thomas thinks you had something to do with his sister’s murder. Now, why would he think that, James?

JAMES

Probably because he hates my guts. He always has. Well, he was upset, you know.

GALE

Yes, I do. Where were you late yesterday afternoon?

JAMES

I had a fight with my nephew. He’s about my age. And, well, I spent the day fuming about it in the woods. Pretty stupid, really.

GALE

You weren’t in school today, James. Why is that?

JAMES

I got hurt on Saturday night. I still don’t feel very good.

GALE

Well, we don’t want to keep you, then. Thanks for coming in, James. We may be talking to you again in the course of our investigation.

JAMES

No problem.

James exits. Gale looks over at Sheriff, then looks back at the door and squints.

CUT TO:

INT. ALAN’S OFFICE -- MONDAY EVENING

ALAN is standing at the large window of his second-story office, which he has opened slightly to get some fresh air. He is deep in thought and so is caught off guard when KENT storms into the room.

ALAN

Yes? What are you doing in here?

KENT

You bastard.

ALAN

Who are you? What do you want?

KENT

You’ll never hurt Janet again. I’m going to make you pay for what you’ve done to her!

ALAN

I don’t know what you’re talking about. Get out of here before I call security.

Kent sweeps everything off Alan’s desk.

KENT

You bastard! You take an innocent girl, get her drunk at an office party, rape her, get her pregnant, make her have an abortion, and totally destroy her life! You make me sick! Your kind is like a disease that needs to be wiped out!

ALAN

Who the hell are you talking about?!

KENT

You don’t remember which one? Is that it? Janet Flynn!

ALAN

I’m afraid you’ve been sadly misinformed, young man. Janet is after me to marry her for the sake of our grown son.

KENT

You liar!

Kent lunges forward, causing Alan to lurch backwards and fall out the window. Kent stumbles to the floor trying to grab him. Suddenly shocked to his senses, Kent gets up and looks out the window.

KENT’S P.O.V. -- SIDEWALK -- EVENING

ALAN lies unmoving on the pavement, a pool of blood forming beneath his head.

BACK TO SHOT

Kent panics and runs out of the office.

CUT TO:

INT. ROSEMARY’S PASTRY SHOP -- EVENING

The shop is quiet. DANI and ROSEMARY are talking.

DANI

I put up with him for so long. I just feel like such a heel.

ROSEMARY

I know. Do you want to stay at our house tonight? The change of scene might do you good.

DANI

No, thanks. I’d just as soon stay at home. I’m not going to let this destroy me.

ROSEMARY

That’s the spirit. You know I’m here if you need a friend.

DANI

Yes, thank you, Rosemary. I think I’ll get going. I’m tired.

ROSEMARY

Okay. Take care.

Dani exits. Rosemary begins tidying up behind the counter. The door jingles and a man’s hip appears in the shot. Strapped to it is an ornate western gunbelt with an ivory-handled six-shooter in its holster.

MAN

Howdy.

Rosemary turns around and is very surprised.

CUT TO:

INT. SHERIFF STATION -- LOBBY -- EVENING

ABIGAIL is straightening up her desk. SHERIFF approaches.

SHERIFF

Good night, Abigail.

ABIGAIL

Good night, Sheriff.

SHERIFF

You’re looking mighty nice this evening.

ABIGAIL

Thank you, Sheriff. I have a date with Deputy Pfiffer tonight.

SHERIFF

Well, you two have a good time.

LYNDON enters.

LYNDON

Good night, Sheriff.

SHERIFF

Have fun.

LYNDON

Are you ready to go, Abigail?

ABIGAIL

Yes.

Lyndon offers his arm. Abigail takes it and they exit together.

CU -- SHERIFF smiles to himself.

CUT TO:

EXT. TWINSBURG INN -- MONDAY NIGHT

CUT TO:

INT. GALE’S ROOM -- NIGHT

GALE is making an audio recording.

GALE

I am experiencing considerable discomfort from my wound, Roseanne, and I hope it does not impede my performance on this case. I must admit that I am glad not to be leaving Twinsburg so soon after my arrival. There is some intangible quality to this place that I find most peaceful and rejuvenating. Since my arrival, I feel I have been re-introduced to qualities within myself that I had thought lost long ago: an appreciation for the colors of the sky, a sense of harmony with all living things. Do not misunderstand, however, Roseanne. I am greatly relieved that I was able to end the rampage of Llewellyn the Marauder once and for all. Unlike certain agents of the Bureau who may be tempted to--

There is a knock on the door. Gale answers it. It is the BOX LADY. She comes into the room, carrying her box. She is agitated.

BOX LADY

It’s not at all. It’s not at all. You men are all alike, you never read the instructions, and now you’ve made a mess of things. Such an ungodly mess.

GALE

Excuse me?

BOX LADY

The amber circle has been disrupted but not shattered. You must learn to listen to the trees! You must journey down the dark tunnel to stop the carnage forever. You lost your chance. Tunnels lead two ways, my dear.

GALE

What are you saying?

BOX LADY

Plain English, then. Open your ears and receive. The things I tell you will not be wrong.

GALE

Go ahead.

BOX LADY

Llewellyn will return.

CU -- GALE squints.

CUT TO:

INT. KENT’S HOME -- NIGHT

JANET enters the house.

JANET

Kent?

Janet checks around downstairs, but no one appears to be home. She goes upstairs, passing the closed door to Aunt Elspeth’s room. Curious, Janet tries the door, but it is locked. She goes into Kent’s room, opens his desk drawer, and takes out the key. Janet returns to Aunt Elspeth’s door and unlocks it. She goes inside. Pan down the door as she shuts it behind her. Through the gap at the bottom, the light inside the room is seen to come on. Janet screams.

CUT TO:

INT. CORBETT HOME -- NIGHT

WAYNE is watching television. The screen produces the only light in the house. EMMA comes in and tosses him his pajamas. She shuffles across the cluttered room, treading on dirt from an overturned planter. Suddenly, the television screen is filled with static. The house begins to shake, and an intensely bright white light comes in from the back of the house. Emma walks through the kitchen and out into the backyard, into the light. Wayne runs out after her. The light suddenly shuts off, and Emma has disappeared. Wayne stands alone in the dark backyard.

CUT TO:

INT. GALE’S ROOM -- NIGHT

GALE continues his audio recording.

GALE

I have just received a very ominous message from the Box Lady, Roseanne, concerning Llewellyn. Perhaps most disturbing due to its uncharacteristic directness. I cannot help but--

There is a knock on the door.

GALE

Room service has just delivered the milk I requested for Doctor Terrence’s prescribed medication, Roseanne.

Gale stops the tape, puts down his tape recorder, and goes to the door. He opens it, revealing a room-service WAITER holding a tray with a glass of milk, a cup of coffee, and a note. Gale looks at the note.

GALE

Thank you. “Dear Agent Gale, wanted to thank you for coming to our town and solving our murder.” Signed, Penny.

Gale takes the tray and tips the waiter.

WAITER

Thank you.

Gale closes the door, takes two pills, and drinks the milk. Then he picks up his tape recorder and starts sipping the coffee.

GALE

As I was saying, Roseanne, I cannot help but wonder if I misinterpreted one of the messages I was given by either the Box Lady or Sheriff Gruffydd. If I have indeed failed to stop Llewellyn completely, then I... I...

Gale gets woozy. He drops the tape recorder on the bed, then drops the coffee cup on the floor. He clutches at his throat, doubles over, and collapses.

FADE OUT

Special Agent Martin Gale, 34. FBI agent.

Sheriff Robert Armstrong, 36. Sheriff of Twinsburg.

Megan Thomas, 16. Corpse.

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.

Dani Clapsaddle, 29. Rosemary’s sister-in-law.

Janet Flynn, 39. Twinsburg native returned from England.

James Clapsaddle, 18. High school senior, Rosemary’s brother.

Wayne Corbett, 9. Local boy.

Lyndon Pfiffer, 26. Deputy.

Albert Collins, 48. Lawyer.

Abigail Voigt, 24. Sheriff’s secretary.

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

Duncan MacNeil, 38. FBI forensics expert.

Emma Corbett, 50. Mother of Wayne.

Casey Thomas, 41. Father of Megan and Bradley.

Wilma Thomas, 40. Mother of Megan and Bradley.

Box Lady, 53. Local eccentric.

Kimmy Clapsaddle, 38. Sister of Rosemary.

Franklin Fosgill, 52. FBI regional supervisor.

Deputies

Room Service Waiter


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