Episode 9

Twinsburg - Episode 9


FADE IN:

INT. SFX

A white flash fills the screen, accompanied by a long, low roll of thunder. Slowly move down a tunnel of swirling colors and electrical discharges.

CU -- GALE moving toward the camera, squinting, his hair blown about by wind.

There is another flash, longer this time, during which is heard a menacing laugh that is quickly replaced by an angelic chorus. The light and music fade.

CUT TO:
INT. LODGE -- NIGHT

GALE awakens on a rustic couch, covered by a plaid wool blanket. Next to him, a fire roars in the fireplace, providing the only illumination. Groggily, he looks around the rustic room.

Across the room, a door slides open, revealing an ASTRONAUT in an unmarked, glaringly white spacesuit. The Astronaut moves always in slow motion. It enters the room and crosses to Gale. The Astronaut points to a lamp on the table behind Gale’s head, causing the lamp to light up.

Gale turns around to look at the lamp and sees a cup of coffee on the table. He picks it up, but it is ice cold. The Astronaut holds out its hands and takes the cup. Its hands and the cup shimmer with silvery-blue energy. The coffee is now steaming hot. Gale takes it back and takes a sip. The Astronaut exits as it came in. As the door slides shut again, the lamp goes out.

The fire flares up and leaps out of the fireplace, forming into the LADY OF LIGHT. Gale tries to get up, but she holds up her hand.
LADY OF LIGHT
Disruption. Disruption. You have crossed the amber circle. You have seen beyond your eyes. You have seen into the darkness.

GALE
Llewellyn...

LADY OF LIGHT
Shimmering. Shimmering. You have disrupted the circle. You must shatter it. You must stop the carnage forever.

GALE
How?

LADY OF LIGHT
Darkness. Darkness. You have the key. You have found the lock. You must journey down the dark tunnel.

GALE
We destroyed the tunnel.

LADY OF LIGHT
Time is of the essence. Time is of the essence. You must find the Electrical Man. He is the locksmith.

GALE
Where?

LADY OF LIGHT
Time is of the essence.
Lady of Light bends down and kisses Gale passionately. The colors explode on the screen. Slow fade to black.
TERRENCE (V.O.)
I don’t believe it...
CUT TO:
INT. TWINSBURG HOSPITAL -- TUESDAY MORNING

GALE opens his eyes. Standing by his bed are SHERIFF, TERRENCE, and DUNCAN, who is drinking a cup of coffee.
DUNCAN
Martin?

GALE
Where am I?

SHERIFF
The hospital. We’re getting to make a habit of this.

GALE
Sheriff Armstrong. I’m back. What hit me?
Duncan indicates his cup and takes a sip. He grimaces.
SHERIFF
The cup of coffee delivered to your room was poisoned.

DUNCAN
Moreso than usual.

TERRENCE
Agent Gale, it’s nothing short of a miracle that you’re alive. There was enough strychnine in that cup of coffee to kill a bull elephant.

GALE
What happened?

TERRENCE
It’s hard to say. We’re analyzing it now.

DUNCAN
Unfortunately, the good doctor’s magnifying glass keeps steaming up.

GALE
Bob, there was a note...

SHERIFF
We found it. Penny didn’t write it. In fact, whoever did didn’t even try to imitate her handwriting.

DUNCAN
Welcome to amateur hour, folks.

GALE
That may be so, Duncan. But whoever just tried to kill me came very close to succeeding.
Suddenly, a NURSE rushes into the room.
NURSE
Sheriff! Sheriff Armstrong!
The nurse bumps into Duncan, causing him to spill his coffee onto Gale’s stomach. Gale yelps in shock. Terrence pulls back the covers, but the coffee has seeped into the bandage around Gale’s stomach.
TERRENCE
Damn it! Help me get this dressing off!
Terrence and Duncan work furiously.
NURSE
Sheriff, you’ve got to come quick!

SHERIFF
What’s going on?

NURSE
There’s a fight downstairs with a visitor and one of your deputies. He needs your help!

SHERIFF
All right, let’s go!

TERRENCE
Sweet heaven, would you look at that.

DUNCAN
I’ll be damned!

SHERIFF
What?
Sheriff leans in to look at Gale’s stomach. His stab wound has completely healed.
GALE
The dagger wound... it’s gone.
Duncan looks in his coffee cup with puzzlement.

CUT TO:
INT. HOSPITAL HALLWAY -- MORNING

SHERIFF and NURSE emerge from the stairwell. They find LYNDON and ALBERT struggling with DUANE.
DUANE
Bastards! Bastards! Who did it? Who did this? I’ll kill ‘em!

LYNDON
Duane! Duane!

SHERIFF
(grabbing Duane)
Duane! Settle down! Stop it!

DUANE
(relents)
My father is lying in there like a vegetable and I want to know who did it! Tell me!

SHERIFF
We’re investigating it, Duane! We’ll do what we can, but if you want to be allowed to visit, then you’ve got to behave! Or you can go right back to your cell!

DUANE
Okay, I got it. Just let me be alone with him for a minute.

SHERIFF
All right.
CUT TO:
INT. ALAN’S HOSPITAL ROOM -- MORNING

DUANE enters. ALAN is lying in bed, his head bandaged. He is unconscious. Duane looks at him for a moment.
ALAN
(mumbles)
No... no... walls all around... so cold... the darkness...

DUANE
I’m going to find who did this to you. And they’re going to pay for it. Nobody walks all over the Cartwrights and gets away with it. Nobody!
CUT TO:
INT. HOSPITAL HALLWAY -- MORNING

DUANE comes back out to where SHERIFF, LYNDON, and ALBERT are waiting.
DUANE
All right.

SHERIFF
Lyndon, take Duane back to the station.

LYNDON
Right, Sheriff.
Lyndon and Duane exit.
SHERIFF
Albert, thanks for your help.

ALBERT
Of course. When I got to work this morning, the deputies had it blocked off with tape. They told me Alan had been pushed out the window.

SHERIFF
It looks that way.

ALBERT
Naturally, I came right over. Do you know if he’ll be all right?

SHERIFF
Doctor Terrence says it’s too soon to tell.
Sheriff and Albert walk down the hall together. KIMMY passes them, stops, and watches them go around a corner. She continues on. She looks terrible, with a vague, distracted look on her face. She approaches another room, hesitates at the door, and goes in.

CUT TO:
INT. HOSPITAL ROOM -- MORNING

The blinds are closed. KIMMY walks over and opens them. A man lies in the bed, hooked up to various tubes. She sits down next to him, begins to cry, and buries her face in the blanket. Pan over to reveal that it is ELLIOTT.

CUT TO:
EXT. HIGH SCHOOL -- MORNING

CUT TO:
INT. SCHOOL HALLWAY -- MORNING

PENNY is with some girlfriends.
PENNY
Okay, I’ll see you later.
She goes to her locker and dials the combination of her lock. The lock opens, she removes it, and opens the door. The locker is empty. She is surprised. She turns around to find that NICHOLAS has come up right behind her.
PENNY
Where’s all my stuff?

NICHOLAS
It’s in my locker. Where it belongs.
He takes the lock from her hand.
NICHOLAS
You won’t need this anymore.

PENNY
I don’t know your combination.

NICHOLAS
Let me whisper it to you.
Nicholas kisses her on the ear and the neck. She smiles. Close up of the combination lock dangling from Nicholas’s hand.

CUT TO:
INT. KENT’S HOME -- MORNING

ROSEMARY comes up the stairs and goes to Kent’s room. She opens the door, but he is not there, and his bed has not been slept in. She is worried, so she picks up the phone on the desk and dials.
ROSEMARY
Yes. I’d like to check if my son came in to school today. Kent Clapsaddle. Tenth. I see. No, no problem. Thank you.
Rosemary exits the room. She goes by the door of Aunt Elspeth’s room and pauses. She tries the door. It is unlocked.

CUT TO:
INT. AUNT ELSPETH’S ROOM -- MORNING

ROSEMARY opens the door and enters. JANET is sitting on the floor by the door with her legs up against her chest. She is in a daze. The room is softly illuminated by flashing red and blue lights from an offscreen source.
ROSEMARY
You! What are you doing in here? Who let you in? Answer me!
Rosemary grabs Janet and pulls her to her feet and shakes her. Janet comes to her senses.
ROSEMARY
Answer me, damn it!

JANET
No! Let go of me! Let me go, damn you! You’re mad! You’ve all gone mad! What kind of ghouls are you?

ROSEMARY
Shut up! You don’t understand anything! Just shut your filthy mouth!

JANET
I certainly don’t understand anything as monstrous as that!
Pan across the room to a giant chamber where a bed would normally be. The chamber is black with red and blue lights blinking on it. Through a transparent section can be seen the perfectly preserved cadaver of an old woman.

CUT TO:
EXT. TWINSBURG HOSPITAL -- MORNING
TERRENCE (V.O.)
Agent Gale! Agent Gale!
CUT TO:
INT. HOSPITAL HALLWAY -- MORNING

GALE, dressed in his dark suit and tie, emerges from his room. TERRENCE follows him.
TERRENCE
Agent Gale, I must protest! Until we know more about--

GALE
Doctor, you have my absolute assurance that I have never felt better. My wounds have healed and there are several matters that demand my immediate attention.

TERRENCE
Agent Gale, you know perfectly well that wounds like those don’t just disappear overnight. There isn’t even a scar! We don’t know what happened to you...
DUNCAN approaches.
DUNCAN
The man has a point, Martin. Whatever healed that wound didn’t come from my coffee, and frankly, after the last cup you had, you should be in a stainless steel drawer.

GALE
Duncan, there are powers at work here far beyond our ability to comprehend. I have been given a glimpse of those powers, and the delicate balances they maintain. Those balances have been upset, and it is my duty to restore them.

DUNCAN
I don’t know what frequency you’re tuned in to, Martin, but I must strongly urge caution.

GALE
Thank you, Duncan.
Gale walks off down the hall and exits.
TERRENCE
There’s just no reasoning with that man.

DUNCAN
Told you.
CUT TO:
EXT. VALLEY -- TUESDAY NOON

BRADLEY is sitting on a rock by the river. ALBERT approaches.
ALBERT
Hello, Bradley. I’m Albert Collins. Millicent’s father.

BRADLEY
Yeah?

ALBERT
You’ve been excused from school today?

BRADLEY
That’s right.

ALBERT
I see. May I ask when your sister’s funeral will be?

BRADLEY
Yeah. It’s tomorrow. Tomorrow afternoon.

ALBERT
You know, I used to come to this rock at times myself. When I was young, I would sit here, much as you are now, and I’d look into that water, always flowing by.

BRADLEY
Great.

ALBERT
It helped me put into perspective the bad things that happened to me.

BRADLEY
This was more than just some “bad thing!” Megan was murdered in our own living room! I found her!

ALBERT
Bradley, I know the kind of grief you’re feeling. I know it very well.

BRADLEY
Maybe you do.
CUT TO:
INT. ROSEMARY’S PASTRY SHOP -- NOON

DANI enters, wearing a business suit. ROSEMARY is behind the counter.
ROSEMARY
Dani! I’ve got something to tell you! Last night, when I was closing, the--
GALE enters and comes up to the counter.
ROSEMARY
Excuse me a minute.

DANI
Sure.

ROSEMARY
(to Gale)
May I help you?

GALE
Yes. Hello, Danielle.

DANI
Martin.

GALE
May I buy you lunch?

DANI
I’m sorry, I’m just picking something up. I have to run some errands.

GALE
Too bad.

DANI
Please, go ahead.

GALE
(keeps looking at Dani)
I’ll just have one of those delicious-looking croissant sandwiches.

ROSEMARY
Okay. That will be a dollar twenty-nine.

GALE
(pays)
There you go. Thanks. Keep the change.
Gale smiles at Dani. She smiles back. He goes to sit down.
ROSEMARY
Last night, I met a man! You should have seen him! He looked great, and he--
PATRICK enters.
PATRICK
Dani!
Dani turns around. Gale watches intently as Patrick walks over to Dani.
PATRICK
I’ve been looking for you.

DANI
What do you want?

PATRICK
I needed to get some of my stuff from the house, but you’ve changed the locks!

DANI
Yes, it was Elliott’s idea, and I think it was a good one.

PATRICK
(grabs her)
Well, let me tell you something, you little--

GALE
(standing behind Patrick)
Is there a problem here?

PATRICK
Family quarrel, pal. Butt out.

GALE
Maybe you should calm down and let go of the young lady.
Patrick swings his fist at Gale, who dodges the blow. Gale grabs Patrick’s arm and twists it around his back. Gale pushes Patrick out the door onto the sidewalk.
PATRICK
You’re asking for trouble!
Patrick storms off. Dani heads for the door, going past Gale.
DANI
Thank you.
She hurries off in the opposite direction.
ROSEMARY
Very good. He’s had that coming to him. Have a cup of coffee on the house.
Rosemary pours a cup of coffee. Gale looks at it.
GALE
No, thank you.
CUT TO:
EXT. SHERIFF STATION -- TUESDAY AFTERNOON

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

LYNDON is putting up posters advertising the annual Festival of Lights sponsored by the Maple Lodge. He drops his thumbtacks.
LYNDON
Darn it!
Lyndon gets down on his knees to gather up the thumbtacks. ABIGAIL comes up and stands behind him.
ABIGAIL
Hello, Lyndon.

LYNDON
Hi.

ABIGAIL
(kneels down)
What are you doing?

LYNDON
I dropped my thumbtacks.

ABIGAIL
Oh. I wanted to tell you...

LYNDON
Yes?

ABIGAIL
I had a wonderful time last night.

LYNDON
Me too.
Lyndon leans over to kiss her, putting his hand on a tack.
LYNDON
Ow!
CUT TO:
INT. JAIL -- AFTERNOON

DUANE is in his cell. SHERIFF approaches.
DUANE
Hey, how long am I going to be cooped up in here?

SHERIFF
We’re planning an operation to catch Patrick Clapsaddle red-handed.

DUANE
Yeah, let me guess. I’m the bait.

SHERIFF
You got it. If you want to get out of here, that is. Your choice.

DUANE
Very funny. Not.

SHERIFF
Look, Duane, I know how you feel, what with your dad in the hospital. But you’re responsible for your own actions. And you’ll take the consequences.

DUANE
Yeah. Spare me the sermon.
CUT TO:
EXT. HIGHWAY -- AFTERNOON

A pack of tough-looking BIKERS come roaring down the road. Two bikers wearing helmets are in the lead. They are dressed the same and riding identical motorcycles. They zoom past the Twinsburg sign, heading into town.

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

ROSEMARY is on the phone, but there is no answer on the other end. She hangs up, looking worried. The door jingles and the clinking of spurs is heard. She turns around. A pair of intricately designed cowboy boots steps into the shot. Pan up to reveal a MAN in a fancy cowboy costume.
MAN
Howdy, little lady.

ROSEMARY
You’ve come back.

MAN
Hell, darlin’. A pack o’ stampedin’ buffalo couldn’t keep me from gittin’ another gander at them sparkly eyes o’ yourn.

ROSEMARY
Really?

MAN
You bet. ‘Ceptin’ that sparkle’s lookin’ mighty dim at the moment. Tell me yer troubles, little buckaroo.

ROSEMARY
It’s my son. He didn’t come home last night. I called the high school this morning, but he never came in.

MAN
Heck, I wouldn’t worry none about that. The boy’s just sowin’ his wild oats is all. He’ll be back when his belly starts a’rumblin’. You take it from me.

ROSEMARY
I’m sure you’re right... I don’t know your name.

MAN
(draws his pistols and twirls them)
They call me Oregon Blackthorn, sharpshooter extraordinaire!

ROSEMARY
Wow!
CUT TO:
EXT. SHERIFF STATION -- TUESDAY EVENING

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

GALE enters. ABIGAIL is at her desk.
ABIGAIL
Good evening, Agent Gale. How are you?

GALE
Evening, Abigail. As the saying goes, never felt better. What’s going on?

ABIGAIL
Well, Agent MacNeil has been setting up some equipment in the conference room. Video equipment, I mean.
The BIKERS pull up outside.
GALE
Perfect. He must have his final report on the murders ready.
The two lead bikers march in and remove their helmets. They are identical twins DAN BARRETT and DON BARRETT.
DAN
We want to see Sheriff Armstrong!

DON
And we want to see him now!
Abigail gasps. Gale squints. SHERIFF comes out of his office.
SHERIFF
Gale, good to see you back on your feet.

GALE
Great to be here, Bob.

SHERIFF
Can I help you gentlemen?

DAN
I’m Dan Barrett. This is my brother Don.

DON
We head up the Federation of Modified Motorcyclists.

DAN
(produces a slip of paper)
We’ve got a permit to use the Shadygrove campground for our convention this week.

SHERIFF
Yes, I remember. Is there a problem?

DON
The whole place has been torn up for construction.

SHERIFF
What?

DAN
By Cartwright Developers. The foreman there told us to get lost.

DON
We’ve got a lot of people outside and nowhere to set up camp.

SHERIFF
Right. I’ll drive out to Shadygrove with you and see if we can’t get to the bottom of this.

DAN
Fair enough.

SHERIFF
(to Gale)
Coming?

GALE
Not this time, Bob. I’ve got a meeting with Duncan.
CUT TO:
INT. SHERIFF STATION -- CONFERENCE ROOM -- EVENING

GALE enters. DUNCAN has set up a VCR with a monitor and a remote, and has put up various maps.
DUNCAN
Pull up a chair, Superman. As per your request, I’ve put together a comprehensive report on the recent killings.

GALE
Thank you, Duncan.
Gale takes a doughnut and starts to pour himself a cup of coffee. He stops, then presses the intercom button.
GALE
Abigail?

ABIGAIL (V.O.)
Yes?

GALE
Would you bring me a glass of milk, please?

ABIGAIL (V.O.)
Certainly.

DUNCAN
Getting down to business...

ABIGAIL (V.O.)
Agent Gale?

GALE
Yes, Abigail?

ABIGAIL (V.O.)
Did you want two percent or one percent?

GALE
One percent, please. Skim, if you have it.

DUNCAN
Whenever you’re ready.

GALE
Proceed.
Duncan starts the tape. An image of Theresa Chavez comes on. He freeze-frames it.
DUNCAN
Theresa Chavez, 16. Runaway. Found in a wooded area in southern Ohio last year. She had been beaten and stabbed with a broadsword, tiny fragments of which were found embedded in her ankle bones. Fragments that match the sword from the Collins basement. She was found with her wrists bound by shoelaces from her own hiking boots. The letter W had been burned into the underside of the fourth toe of the right foot.

GALE
At the time of the murder, Millicent Collins was staying with her father. Tuppence was supposedly at a librarians conference in West Virginia that, it turns out, never took place. In reality, she was leading the cult activities of the Medieval Re-creation Society.
Duncan advances the tape to a photo of Millicent.
DUNCAN
Millicent Collins, 17. Found in a wooded area on the outskirts of Twinsburg ten days ago. She had been tortured, slashed, and stabbed with the same broadsword, the match made from fragments extracted from two of her ribs. She had been tied up with nylon rope. The letter Y was found burned into the underside of the fourth toe of the right foot.

GALE
Murdered after returning from the high school dance. The next morning, she had planned to elope with her boyfriend and escape her tormentor, using the money gotten through the sale of illegal drugs.
Duncan advances the tape to a picture of Leigh.
DUNCAN
Leigh Pfiffer, 23. Found wrapped in plastic which was caught on branches protruding into the river where she had been dumped. Her body had been badly mutilated. She had been bound with barbed wire. The letter N had been burned into the same position on her foot as the others. These killings demonstrate the tendency of serial killers to become more violent and destructive with each victim.

GALE
And Penny Gardner was very nearly next.
Duncan advances the tape to a picture of Tuppence.
DUNCAN
Tuppence Collins, 46. Demonstrated symptoms of schizophrenia and dissociative disorder, believing herself to be possessed by the spirit of an ancient warrior. Confessed to the killings of Millicent and Leigh, as witnessed by Penny Gardner. Killed while resisting arrest from a stab wound to the heart, delivered by Special Agent Martin Gale. Before dying, she again confessed to the killing of her daughter.

GALE
That’s the official version?

DUNCAN
Franklin found your version somewhat... colorful.

GALE
I see. And Megan Thomas?
Duncan advances the tape to a photo of Megan, followed by footage of the murder scene and autopsy.
DUNCAN
Horse of a different color, Martin. Megan Thomas, 16. The reconstructed scenario goes as follows. 12 noon -- the victim’s parents leave for the day. 1:15 -- the victim’s brother leaves for a friend’s house. 3:00 -- the victim makes a phone call to Grey’s Bike Shop, her place of employment. At about this time, we believe her killer came to the door. She let him in.

GALE
She knew her attacker?

DUNCAN
There were no signs of forced entry. This person then beat her, undressed her, and raped her. Then, he took two tent spikes and a mallet from the basement and drove the spikes through her forearms, into the hardwood floor, like this.
Duncan extends his arms to make a T shape.
GALE
The only neighbors home at the time reported hearing nothing out of the ordinary.

DUNCAN
They also reported to have been playing their stereo at the time. After immobilizing his victim in this way, the killer then raped her a second time. He proceeded to vandalize the house, destroying photographs and smearing the victim’s blood on the walls. This took an hour to an hour and a half. Then he terminated his victim’s life with several blows to the head. She would have bled to death shortly in any case. 11:30 -- the victim’s brother returns, finds the body, and contacts the police. The parents also call the police upon their return minutes later. No letters were found anywhere on the victim’s anatomy. In fact, I see no correlation between this and the other murders.

GALE
Different killers.

DUNCAN
No question about it.

GALE
Thank you, Duncan. Good work.
Gale squints.

CUT TO:
INT. FUNERAL HOME -- EVENING

MEGAN is laid out in her casket, with the bottom half of the lid closed. BRADLEY, PENNY, NICHOLAS, ALBERT, CASEY, WILMA, and other anonymous townspeople are present. Pan from a close-up of Megan’s face around to Albert, who is talking to Casey and Wilma.
ALBERT
Believe me when I say that I know what you’re going through.

WILMA
We know, Albert. Thank you.

ALBERT
There’s a certain feeling when you lose a child, especially in such a violent way, that no one who hasn’t felt it can ever understand. But if there is anything I can do for you...
Pan over to Nicholas and Penny, talking to Bradley.
PENNY
I really wish I could say something that would help, Bradley. I really do.

BRADLEY
Hey, it’s cool.

NICHOLAS
Don’t worry about how you feel, man. Everybody’ll understand.

BRADLEY
What, do you want me blubbering and crying? What good would that do?

NICHOLAS
That’s not what I mean. But you don’t have to pretend. That just hurts you.

BRADLEY
Well, I’m all right. I...
Bradley sees JAMES enter and glares at him. James looks around nervously and walks up to the casket. He looks down at Megan’s face. He tries not to cry, but the tears come anyway.
BRADLEY
Who does he think he is, the dirty--

NICHOLAS
Be cool, man.
Penny goes over to James.
PENNY
James, are you all right?

JAMES
I just needed to see her... one last time...
James exits quickly. Penny returns to Nicholas and hugs him. Bradley scowls, seething with anger.

CUT TO:
EXT. SHADYGROVE DEVELOPMENT -- EVENING

SHERIFF, DAN, DON, and other BIKERS arrive at the former campground, which has been torn up for construction. A sign announces new upscale homes to be built. Workers are milling about, getting ready to go home. The FOREMAN and a COMPANY REP, wearing a business suit, come out to meet the Sheriff.
COMPANY REP
Can I help you, Sheriff?

SHERIFF
I want to know why this construction has gotten underway ahead of schedule. These people have a legal permit to use the land this week, and the campground wasn’t scheduled to be closed until after Valentine’s Day.

COMPANY REP
I’m afraid those figures have been changed, Sheriff. And you may recall that when Cartwright Enterprises acquired this land as part of a deal with the city six months ago, all permits issued for use of the land were rendered null and void.

DAN
What does she mean, a deal with the city?

SHERIFF
Cartwright offered to help finance the widening and repairing of roads around the mall in exchange for the rights to develop the campground.

DON
That’s a hell of a way to run a city.

FOREMAN
Nobody’s used this land except for those bikers for years anyway! This development will bring in a lot of money.

COMPANY REP
He’s right, of course.

DAN
Well, what are we supposed to do? We had an agreement! We paid for this week already!

SHERIFF
I’m sure we can come up with an equitable solution...

COMPANY REP
Just remember who your constituents are, Sheriff. The people who will benefit from this development, not these bikers who come roaring into town once a year.

SHERIFF
Look, I don’t like the way you--
Suddenly, a biker woman screams. There is a lot of commotion from the construction workers. Sheriff tries to see what’s going on. People start running around. The ASTRONAUT appears, glowing eerily, coming toward them in slow motion. It approaches Sheriff.
ASTRONAUT
Festival...
CUT TO:
EXT. NIGHT

A yellow traffic light flashes.

CUT TO:
EXT. WOODS -- TUESDAY NIGHT

JAMES walks alone in the woods. He stops at an elm tree and leans his head against it. He caresses the bark of the tree, then hugs it. He sinks to the ground in tears. Slow fade.

CUT TO:
EXT. SHADYGROVE DEVELOPMENT -- WEDNESDAY MORNING

GALE and SHERIFF check out the scene of the sighting.
SHERIFF
It came out of the woods right over there. It was glowing. When it got up closer, I could see it was a man, only much bigger and bulkier. It looked like a radiation suit, or maybe an astronaut.

GALE
Astronaut...

SHERIFF
That set any bells ringing?

GALE
I don’t believe it! Bob, have you ever experienced a semi-conscious state in which your brain is very active, producing vivid images that fade totally once you regain consciousness?

SHERIFF
Sure, I guess so.

GALE
Nothing but the vaguest impression remains. But I remember now! Before I awoke in the hospital yesterday morning, I had a vision of myself traveling down a tunnel toward a light source. At first, I believed this to be the normal post-death experience. However, I found myself by the fireside of a rustic lodge. An astronaut appeared and gave me a cup of coffee. Then, I had a conversation with the Lady of Light.

SHERIFF
The one from your other dream?

GALE
Yes, she came out of the fireplace and told me I have to find the Electrical Man or Llewellyn will return.

SHERIFF
I thought we sealed Llewellyn off by destroying the tunnel!

GALE
Apparently, that was only a temporary solution. We need something more permanent.

SHERIFF
So it’s not over.

GALE
I’m afraid not. And if he kills again, it will be my fault.

SHERIFF
I don’t know about any electrical men, but the astronaut said one thing before it disappeared.

GALE
What was it?

SHERIFF
It said, “festival.”

GALE
Meaning?

SHERIFF
Your guess is as good as mine.

GALE
Damn. Bob, we’ve got our work cut out for us.
CUT TO:
EXT. TWINSBURG INN -- MORNING

CUT TO:
INT. TWINSBURG INN -- SUITE -- MORNING

JANET is lying in bed, talking on the phone. She has tea and a newspaper on a tray.
JANET
Hello, darling. I’ve got some bad news. No, it’s nothing major, just a little snag. It’s James Clapsaddle. He’s Kent’s uncle. The little snoop made a tape recording of our conversation Sunday night. I don’t know! But he’s trying to make trouble. Well, he wants a cut, of course. Yes, I know we... yes. Well, it’s not as simple as that, he’s...
Janet glances down at the paper. A picture of Alan is on the front page with the caption “DEVELOPER ATTACKED IN OFFICE -- Cartwright in coma after fall from window.” Her eyes grow wide.
JANET
Damn him!
CUT TO:
INT. KIMMY’S APARTMENT -- MORNING

KIMMY answers the door. It is GALE and SHERIFF. Kimmy has been drinking.
SHERIFF
Miss Clapsaddle?

KIMMY
Yeah? What do you want?

SHERIFF
We need to talk to you about your brother.

KIMMY
Chip? Is he out? I thought... wait.

SHERIFF
Not Chip. Patrick.

KIMMY
Oh. Come in.

SHERIFF
We’re sorry to disturb you, but it is important, and we found out you hadn’t gone to work this morning.

KIMMY
No, I’m not feeling well. It’s this damp weather, you know. The cold’s murder on my back.

GALE
We’ll only be a few minutes, ma’am.

KIMMY
Well, I don’t know what I can tell you. He doesn’t tell me much about what he does, you know, so I don’t know if he’s done anything or what he’s done. I haven’t seen him all week, to be honest.

SHERIFF
Do you have any idea where we could get ahold of him? We’d like to talk to him.

KIMMY
No, I don’t know. Please, I don’t know anything. I don’t know what’s going on.

GALE
Ma’am, Elliott Grey was hospitalized last night with a gunshot wound. I understand you two were close. Can you tell us anything about that?

KIMMY
(starts to cry)
No. Elliott... I just don’t know. I don’t know why these things happen to me. What have I done? Why can’t I just be left alone? I don’t want to be involved.
Gale motions to Sheriff that they should leave.
SHERIFF
Thank you for your time, ma’am.
Gale and Sheriff exit. PATRICK comes out of the back bedroom, puts his hand on Kimmy’s shoulder, and squints.

CUT TO:
INT. ALAN’S HOSPITAL ROOM -- MORNING

ALAN is in bed, still unconscious. JANET enters.
JANET
Well, well. How the mighty are fallen. Was it Kent? Tell me! Stupid, impetuous boy! It was too soon. I hadn’t closed my net around you. Now, everything may be lost! Wake up, damn you! You’re not going to escape my revenge this easily, Alan. You corrupted me. You destroyed me! And now, I’m going to destroy you. I’m going to take everything you have. But you have to be there to see it -- to see me standing over you with my foot on your throat! After all these years of planning, of nursing my hatred for you, I’ll not be cheated of it now! Do you hear me?

ALAN
(mumbles)
Walls... no... concrete blackness... no... no... please... I can’t breathe... no sunlight... closing... they’re closing in on me...
Janet squints at him, then turns and exits.

CUT TO:
EXT. FIRST BANK OF TWINSBURG -- WEDNESDAY NOON

CUT TO:
INT. DANI’S OFFICE -- NOON

DANI is at her desk, getting ready to go to lunch. GALE approaches.
DANI
Martin.

GALE
Good morning, Danielle.

DANI
What can I do for you?

GALE
I’d like to talk to you.

DANI
All right.

GALE
About your husband.

DANI
I’d rather not discuss my husband, Agent Gale.
She starts to walk away.
GALE
Did you know he was involved in the trafficking of illegal drugs?

DANI
(stops)
No. No, I didn’t. Are you certain?

GALE
We are in the process of gathering evidence. Does this surprise you?

DANI
Not really. In fact, it explains a great deal. He was always buying things, little things, and I didn’t really know where the money came from. I guess I assumed he had been gambling. He’d often be out all night, or go on little trips that he wouldn’t talk about. I just thought he was having an affair or something.

GALE
I’m afraid it is worse than that. We have arrested a high school student who sold Patrick’s drugs to his fellow students.

DANI
Kids? That’s awful!

GALE
Yes.

DANI
Agent Gale... Martin, I’ll readily admit that there’s nothing between Patrick and me anymore. I’ll be happy to assist your investigation in any way I can.

GALE
Danielle, you are a good woman.

DANI
Thank you. And thank you for coming to my rescue yesterday. You were quite wonderful.

GALE
Preserving the peace is part of my job, Dani. May I buy you lunch?

DANI
That won’t interfere with your case?

GALE
I don’t think so.
CUT TO:
INT. CORBETT HOME -- NOON

WAYNE comes out of his bedroom in his pajamas and stretches. He walks past the front door and sees his school bag on the floor. He smiles to himself. He goes into the kitchen and pours himself a bowl of cereal. He loads it up with sugar and then breaks up pieces of a banana on it. He squishes the banana between his fingers and laughs.

CUT TO:
EXT. CEMETERY -- WEDNESDAY AFTERNOON

Megan’s funeral is underway. GALE, SHERIFF, BRADLEY, PENNY, TERRENCE, NICHOLAS, LYNDON, ALBERT, CASEY, WILMA, and other townspeople are present. The MINISTER is also on hand.
MINISTER
It is with a heavy heart that I find myself performing this particular duty once again under such tragic circumstances. We are reminded that sorrows do not walk alone. We have lost another of our fair daughters, and there is no peace in our hearts. Our tiny town, isolated, we thought, from the evil and strife of the world. But we have learned that tragedies are visited upon us even here. Megan was intelligent. She was creative. She was beautiful. And we are the lesser for her passing.
JAMES approaches and stands a short way off. Bradley sees him and is infuriated.
MINISTER
We must find that strength within that allows us to go on, remembering always the brightness that she gave to our hearts, and the--

BRADLEY
No! You bastard! Get out of here!
Bradley breaks out of the crowd and attacks James. They fight on the ground. Casey and Wilma start screaming at him. Gale and Sheriff move in to break it up. Albert holds Bradley back.
BRADLEY
You killed her! How dare you come here? You filthy murderer!

SHERIFF
Bradley, that’s enough!

BRADLEY
You’ve got no right to be here!

ALBERT
Bradley!

PENNY
(to James)
Are you okay?
James runs off.
PENNY
James!

SHERIFF
James! All right, let him go.
Albert lets Bradley go. Bradley wipes his mouth on his sleeve.

CUT TO:
EXT. AFTERNOON

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

CUT TO:
INT. DAY

A glass of milk sits on a wooden table.

CUT TO:
EXT. CEMETERY -- AFTERNOON

The cemetery is deserted, save for JAMES, who returns to Megan’s fresh grave. He looks at the headstone. PENNY approaches.
PENNY
James?

JAMES
Hi.

PENNY
I’m sorry about what happened. Everyone felt awful for you.

JAMES
Yeah.

PENNY
I know you’re very upset. You really liked Megan. Do you want to talk? I’m here if you do. You don’t have to always be alone.

JAMES
I think I’m more comfortable alone.

PENNY
Okay.
She turns to leave.
JAMES
Penny? I guess I’d be more comfortable staying in bed all day, too. But I’m better off getting up and going to school.

PENNY
You’re a neat guy, James. Why does Bradley hate you so much?

JAMES
I don’t know. I guess it was over Megan. He was afraid of me.

PENNY
Why?

JAMES
Because I... I loved her.

PENNY
I didn’t know. I’m sorry.

JAMES
He didn’t want us to ever be together. I guess I didn’t measure up to his standards.

PENNY
Did Megan know how you felt?

JAMES
No... no, I never told her.
CUT TO:
EXT. SHERIFF STATION -- AFTERNOON

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

GALE has a glass of milk. SHERIFF pours a cup of coffee.
SHERIFF
Milk?

GALE
Somehow, coffee has lost its appeal.

SHERIFF
I don’t blame you.
BRADLEY enters.
SHERIFF
Bradley, come on in.

GALE
Quite a show you put on, Bradley.

BRADLEY
Hey, I was upset and I lost it, all right? He shouldn’t have showed up anyway. That guy, man, he gives me the creeps.

SHERIFF
What can we do for you?

BRADLEY
Well, I know Megan told you about some dream she had about Millicent...

GALE
Yes, it was very helpful.

BRADLEY
Well, she was always having weird dreams. She told me about one the day after Millicent died. I didn’t think too much of it until now.

GALE
Can you tell us about it?

BRADLEY
She said it was about me, and I’d been nailed to the wall of a room that was going around and around. She said blood was running all over and making really sick sounds.

GALE
What kind of sounds? Did she say?

BRADLEY
Like sloshing noises.

GALE
Yes, I see what you mean. Marked similarities to her own death. Thank you, Bradley.

BRADLEY
Sure.

GALE
One last thing.

BRADLEY
Yeah?

GALE
Did your sister keep a diary?

BRADLEY
No, she didn’t really like writing very much. She sure drew all the time, though. She’s got stacks of drawings in her room.

GALE
Thank you, Bradley.

SHERIFF
Thanks for coming in.
Bradley exits. Gale squints at his milk.

CUT TO:
INT. ROSEMARY’S PASTRY SHOP -- WEDNESDAY EVENING

ROSEMARY is serving some CUSTOMERS when KIMMY enters, drunk.
KIMMY
Rosemary?

ROSEMARY
Hi, Kim.
Kimmy leans on the counter right next to the customers.
KIMMY
Rosie, I gotta talk to you.

ROSEMARY
Just a minute. I’m helping these people.

KIMMY
Now! I gotta talk to you right now.

ROSEMARY
(to customers)
I’m sorry.
(to Kimmy)
Look, sit down and I’ll be with you in a minute!

KIMMY
That’s what you always say, you’re always too busy for me. It’s always been like that! You never change!

ROSEMARY
Will you be quiet?! Lower your voice!

KIMMY
(screaming)
I’m not going to be ignored! Don’t tell me what to do! You always are so bossy! I hate you!

ROSEMARY
Look at you, you’re drunk out of your mind! If you want to talk to me, get sobered up first! I’m not going to listen to you rant and rave like a babbling idiot!
The customers exit.
ROSEMARY
Wait! Come back, don’t -- Oh, thanks a lot, you stupid bitch! Look what you’ve done!

KIMMY
(crying)
I hate you! I’ll never speak to you as long as I live!
Kimmy storms out. Rosemary takes the glass coffee pot and hurls it at the wall in frustration. The pot shatters and coffee runs down the wallpaper.

CU -- COFFEE on the wall.

CUT TO:
EXT. WOODS -- EVENING

GALE, SHERIFF, and LYNDON approach a hunting cabin.
SHERIFF
This place belongs to Patrick Clapsaddle. He comes up here in the summers to hunt. He could be hiding out here now.

GALE
He may be armed. We’ll have to use extreme caution.

SHERIFF
Right.

GALE
Lyndon, extreme caution.

LYNDON
Right.
They check around the cabin, but it appears deserted.

CUT TO:
INT. HUNTING CABIN -- EVENING

SHERIFF opens the door. GALE and LYNDON follow him in.
SHERIFF
Well, let’s see what we can find.

LYNDON
Sheriff.

GALE
Keep on your guard.

LYNDON
Sheriff.

SHERIFF
What is it?

LYNDON
I have to go to the bathroom.

SHERIFF
Well, all right. Just be careful.
Lyndon goes to the bathroom, turns on the light, and closes the door.
GALE
Check the kitchenette. I’ll try the fireplace.

SHERIFF
Good idea.
Sheriff searches the cupboards and the refrigerator. Gale shines his flashlight up the chimney and feels around. The toilet flushes and the sink water is heard briefly.
SHERIFF
Anything?

GALE
Not yet.

LYNDON (O.S.)
Sheriff! Agent Gale! Sheriff!
Lyndon comes out of the bathroom. Sheriff and Gale go up to him.
SHERIFF
What’s wrong?

LYNDON
I flushed the toilet when I was done, you know, but the bowl didn’t refill, so I thought something was wrong and I took the lid off the tank to check it out and I found this!
Lyndon holds up a large Ziploc bag containing cocaine.
GALE
Lyndon, you just hit the jackpot!
CUT TO:
INT. DANI’S HOME -- WEDNESDAY NIGHT

DANI enters from the garage, carrying two bags of groceries. She sets the bags down on the kitchen counter and takes off her coat and shoes. She begins putting the groceries away. She rubs her neck. She is very tired. She walks through the living room, taking off her business suit.

In her underwear, Dani goes in the bathroom and runs a bath. She takes off her bra. Her panties drop around her ankles and she steps out of them.

Dani goes into the hall and opens the linen closet. She takes out some baby powder and a fresh towel. Suddenly, she is grabbed and spun around. It is PATRICK.
PATRICK
No Lone Ranger to rescue you this time, Dani. I said I wanted to talk to you.
CU -- DANI is scared to death.

CUT TO:
EXT. WOODS -- NIGHT

GALE, SHERIFF, and LYNDON walk through the woods with their flashlights.
GALE
Now we’ve got hard evidence against Clapsaddle.

SHERIFF
If we can find him.

GALE
Don’t worry, he’ll -- what on earth?

SHERIFF
What?
Gale shines his light on a tree. There is a tap in the wood with a bucket hanging on it.
SHERIFF
Oh, yeah. People draw the sap to make their own maple syrup. It’s the best there is.

GALE
Incredible.

SHERIFF
I think this stand belongs to the Box Lady. She’s always had the best maple--

GALE
Bob!
Gale shines his light on another tree. Two legs are coming out from the other side. They run over and go around the tree. Tied to the tree, with sap dripping on her head, is the BOX LADY.
GALE
The Box Lady!

SHERIFF
She’s alive!

GALE
She appears to be in some kind of trance. Ma’am? Ma’am! Can you hear me?

LYNDON
Where’s her box?
CU -- GALE squints.

CUT TO:
INT. HOSPITAL HALLWAY -- NIGHT

Pan down a hallway, past an empty nurses’ station. Cut to an empty waiting room, a television playing silently.

CUT TO:
INT. ALAN’S HOSPITAL ROOM -- NIGHT

ALAN lies in bed, restless.
ALAN
(mumbles)
The walls... everywhere... all around me... I can’t stand it... can’t see... can’t breathe... no sun... no light... no... no... NO!
He wakes with a start.

CUT TO:
EXT. TWINSBURG INN -- NIGHT

CUT TO:
INT. GALE’S ROOM -- NIGHT

GALE, in his pajamas, is making an audio recording.
GALE
Roseanne, I now conclude another busy day, grateful that events have allowed me another chance for a decent night’s sleep. As you know, being a Special Agent for the Bureau is no nine-to-five job, and I am often called upon to work around the clock. I admit, since I have come to Twinsburg, I have slept better that ever in my adult life. There is a strange and unmistakable quality of tranquility here, despite the dark and often violent events that have rocked this tiny community. The splendor of the natural world which surrounds this town lends an aura -- no, a scent of peacefulness to the...
The sound of many motorcycles fills the air as they roar up, gun their engines, and stop. Many voices are heard outside, Gale looks out the window.
GALE
Roseanne, at least six dozen motorcycle enthusiasts have just parked their vehicles in the inn parking lot and are now heading for the lobby. Although I had thought they would not be necessary on this assignment, I am fortunate to have with me my silicon ear-pillow earplugs. One must be prepared for any eventuality.
CUT TO:
INT. CORBETT HOME -- NIGHT

A late-night talk show is playing on the television. WAYNE is asleep on the couch, with a bag of snacks next to him and a bottle of soda pop overturned on the floor. Suddenly, the TV screen is filled with static as the reception is lost completely. The house begins to shake, and Wayne wakes up. He looks around in confusion, then goes to the kitchen.

As Wayne enters the kitchen, a bright white light fills the house from the backyard. Suddenly, in the back door bursts EMMA -- young, beautiful, and bursting with energy.
EMMA
I’m back!
CUT TO:
INT. GALE’S ROOM -- NIGHT

GALE is asleep in bed. An eerie light illuminates him. Small bolts of electricity dance around the room and coalesce into the ASTRONAUT. Gale wakes up and is surprised. The Astronaut holds out its hand for a moment. Gale suddenly realizes he has earplugs in and quickly takes them out.
ASTRONAUT
--ssage.

GALE
Wait!
The Astronaut fades away. Gale realizes he’s missed something important.

CUT TO:
EXT. CEMETERY -- NIGHT

BRADLEY is at Megan’s grave.
BRADLEY
Megan, why did you leave me like this? First Millicent, now you?! Why? What’s going on? Everything used to be so simple! I knew the score, but now everybody’s dying and there’s nothing I can do! I told you to stay away from that James Clapsaddle. I told you! You should have listened to me! Now it’s too late... I don’t want you to be dead! Megan... don’t leave me all alone...
Bradley hears a noise and looks up. A girl approaches, wearing a heavy denim coat. Her hair is hidden in a headwrap. She smiles. It is MEGAN.
GIRL
Bradley...?
FADE OUT



Cast of Characters


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.
Abigail Voigt, 24. Sheriff’s secretary.
Dani Clapsaddle, 29. Rosemary’s sister-in-law.
Janet Flynn, 39. Twinsburg native returned from England.

James Clapsaddle, 18. High school senior, Rosemary’s brother.
Wayne Corbett, 9. Local boy.
Lyndon Pfiffer, 26. Deputy.
Albert Collins, 48. Lawyer.
Patrick Clapsaddle, 33. Brother of Rosemary, husband of Dani.
Duncan MacNeil, 38. FBI forensics expert.
Emma Corbett, 25. Mysteriously rejuvenated woman, 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.
Lady of Light. Mystical being.
Oregon Blackthorn, 35. Wild West enthusiast.
Dan Barrett, 30. Motorcyclist, twin of Don.
Don Barrett, 30. Motorcyclist, twin of Dan.

Minister
Nurse
Company Representative
Construction Site Foreman
High School Students
Bikers
Mourners
Pastry Shop Customers
Astronaut


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