Killer in the Wind - Chapter Four

As eerie patterns emerge, the case takes an unlikely turn, pointing to similar attacks years before. Leaning on a local biology teacher for assistance, he finds evidence of the origins of the deadly poisons the perpetrator is using. Focused on finding the killer, Tripp begins to suspect someone close to him...but a new person of interest catches his attention.

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Transcript

NOCTURNUM COLLECTIVE – SEASON ONE

Killer in the Wind – Chapter Four

Written by Karl White

 
NARRATOR (OPEN): There are constants that endure in the known world. Space, time, energy, matter. Physical and scientific laws constraining us to this existence. But there's a current below the surface. Contrary to the explainable, it's where the unknown resides, where meaning and form collide with the abstract, where shadows hold dominion…Enter the Nocturnum Collective. 

(MUSIC – opening sequence)

NARRATOR: Killer in the Wind, Chapter Four, written by Karl White.

NARRATOR: Death is as inevitable as the rising sun. The dark, icy hand reaches out for us all, no matter what. But as long as life has persisted, man has sought ways to cheat the end, going to great lengths and measures to prolong living past one's allotted years. But no one has ever stopped the Grim Reaper, for when it is our time to have the conversation with death, it will happen either freely or by force.

(SFX – car pulling into parking lot)

NARRATOR: October 1st, it's nearing sundown. On the north edge of Stanfield, a beat-up car with tinted windows pulls into the sparsely populated parking lot of the feed store. The driver is careful to stay unseen by anyone, picking the right moment to get out of the car and walk away. 

(SFX – car door closing)

NARRATOR: They cling to the shadows, rounding a nearby alley, remaining concealed. But inside the car, the dark windows are meant to obscure numbers on a digital clock, counting down.

(SFX – nature sounds)

NARRATOR: The full moon is high in the middle of the night sky, shining a tinge of dark blue on Stanfield's main street. Not far from the sheriff's station sits the only movie theater for miles around, aptly named The Jewel…Built in 1934, The Jewel catered mostly to the transient population of the Air Force base, a place where men and women from all over the world, coming to the flat barren prairies of east-central Illinois, could find an escape. The theater has changed hands to many owners over the decades, and the passing years have not been kind to it. But in 2018, the historic building was purchased by Georgia Taft, an entrepreneurial drama teacher who, after surviving breast cancer, wanted to restore the faded classic to its former glory. While matinee and weeknight showings usually consist of current movies projected digitally, Georgia takes great pride in hosting classic films on 35mm every Friday and Saturday night…Tonight, theatergoers are lined up on the sidewalk, waiting to get in to see a special October screening of a horror classic. The marquee reads, “The Crimes of Spring-Heeled Jack,” which will be accompanied by live organ music…In the middle of the line, Daisy Thatcher, 14, and her dad, Dave, are having a daddy-daughter date night.

DAVE THATCHER: I saw this movie as a kid. It scared the bejesus out of me. Are you excited?

NARRATOR: Nose in her phone, Daisy shrugs…Dave snatches it away from her.

DAISY: Hey!

DAVE THATCHER: I don't want you to see you every other weekend, so I want to make the most of it.

DAISY: Gwen's having a party. I don't want to see some stupid, crusty old movie…Probably isn't even scary.

DAVE THATCHER: I'm trying to make memories with you that you can share with your kids someday.

NARRATOR: She gives a mortified and embarrassed look to her father.

DAVE THATCHER: If you act like you're at least enjoying it, afterwards, I'll take you to Gwen's. And you can have your phone back…Deal?

NARRATOR: Thinking on it a moment, Daisy nods in agreement…Directly across the street from the theater, Arlo sits in the cruiser with eyes on the main drag. Though it appears he's slacking on his patrol, there's something else unfolding. The figure who has been committing gas attacks against citizens of Stanfield and months into the investigation, going by several names, the Horror, the Phantom, the Warlock, is still at large, and without any new leads, Tripp and Arlo have devised a plan…As both of the killings have taken place nearly a month apart, both near full moons and within close proximity, they've set up a drag net in town, ready to act at a moment's notice…
 

NARRATOR: From Arlo's location to down the block, Deputy Liston is perched atop the sheriff's station. The three-story building is tall enough that she has a near 360-degree view of the town.

ARLO: (over radio) All clear on Main. Over.

LISTON: (into radio) The Eagle's Nest is all clear.

NARRATOR: On the other side of Stanfield, on a residential street, the Weaverville Police Cruiser is parked. Inside, Chief Earl Stark is there to lend a much-needed hand. Because of the possible connected case in his small town, he's got skin in the game. And as Arlo's longtime friend, he's happy to take part in catching a killer…He calls in on his radio.

STARK: (into radio) All's quiet over here, too. Over.

NARRATOR: Tripp pulls up in Arlo's truck. He's plain-clothes tonight.

TRIPP: I'm gonna do another pass, and then park a few blocks down on the edge of town. We appreciate your help.

STARK: Gotta sit still if you want to hunt snipe, am I right?

NARRATOR: Stark gives a joking grin and a wink…Tripp nods and drives on to take his position along a dark rural road.
 

(MUSIC – creepy organ music)
(SFX – movie projector)

NARRATOR: Back to the Jewel. Inside the beautifully restored theater, the organist's fingers dance across keys, belting out an eerie soundtrack to go along with the frightening images of the silent black and white film. On screen, Spring-Heeled Jack, a frightful fiend clad in a devil outfit with clawed hands and glowing eyes, lurks…Dave and Daisy Thatcher sit in a middle row, dead center. She covers her eyes at what's unfolding on screen. Dave nudges her, giving a playful smile to his daughter, and her previous comment about not thinking the film would scare her. But she's enjoying the experience more than she'd care to admit.

DAISY: Dad, can we get some candy?

NARRATOR: Having planned ahead, Dave pulls candy from his coat pocket.

(MUSIC – organ crescendo)

NARRATOR: In the film, the supernatural Jack springs towards his prey. Daisy jumps, gripping on to Dave. He can hardly contain his joy.


(SFX – digital clock ticking down)

NARRATOR: From the theater to the feed store, it's closed, and the parking lot is empty, except for the beat-up car. Inside, the clock counts down to zero.

(SFX – explosion)

NARRATOR: The blast demolishes the car in a ball of fire, and shatters the store's windows, triggering an alarm.

NARRATOR: Having been on his fair share of stakeouts, Arlo tries to stay alert, but he's not the young buck he used to be, and his eyes are looking heavy…But then, Elke’s voice comes over the radio.

ELKE: (over radio) Delta040, we have a 10-80 at the feed store on Willamette.

NARRATOR: As Arlo hits his lights, Phil in the fire engine hurries by.

(SFX – fire engine sirens)
 

NARRATOR: In the lobby of the movie theater, Marv, 14, buys concessions. His 8-year-old sister Mae, who was forced to tag along as their mother was called into work at the last minute, hovers close. Mae’s anxious and antsy. The movie is too much for her innocent adolescent mind…Georgia gives the scared little girl a wave as she fills a soda behind the counter. But Mae’s not having it as she tugs at Marv's sleeve.

MAE: Can we leave, please? I don't like this. I don't want to go back in.

NARRATOR: Georgia tries to reassure her.

GEORGIA: It's only make-believe, sweetheart.

NARRATOR: Marv is annoyed.

MARV: She's right. If it's too scary for you, cover your face.

NARRATOR: Marv gathers his snacks with one hand, prompting Mae forward with the other. As they go back in the theater, a thick vapor begins to seep into the lobby from the air ducts.

(SFX – gas spewing)

NARRATOR: Georgia yawns, suddenly sleepy…A moment later, she hits the floor, out cold.

(SFX – body hitting the ground)


NARRATOR: Inside the theater, the same sleeping gas plumes from the back and front, slowly creeping through the dark aisles, knocking everyone out, row by row. Behind Dave and Daisy, Marv chomps on his popcorn. Mae hides under her coat. When the gas reaches Marv, he passes out…Up front, the organist starts to do a drowsy swoon. 

(SFX – gas spewing)

NARRATOR: Then, an abrupt “FIN” as she nose-dives into the keys, which finally indicates something's amiss to Dave and Daisy…They look back. Everyone's out cold…In front, the same. Dave grabs Daisy, and they stand to flee. But it's too late…They drop back in their seats as they succumb to the knockout gas…

(SFX – film projector)

NARRATOR: Eeriness fills the theater as the movie continues to play silently, but everyone's unconscious. The quiet makes Mae thinks the film is over. She peeks, keeping her face covered, in turn not inhaling the gas…Behind the screen, a large, dark silhouette appears…More scared than before, Mae pulls her jacket over her head.

(STING – scary)

NARRATOR: Emerging from behind the screen by the light of the movie, the terror of the figure is finally revealed. The tall brute wears a high-altitude pressure suit, modified with an armored exoskeleton built over the outside…The shell is covered in LED lighting, like on a tricked-out car…When lit, it gives the disembodied skeleton look…On the figure's back, tanks storing the deadly gases is connected to a holstered blaster, used to expel the fumes…It wears thick gloves…One has a switcher control unit for the poison in the tanks…Heavy work boots, modified with hydraulics, help the figure move effortlessly with the cumbersome equipment…A plexiglass helmet has a hose connected to an oxygen tank, and whoever's underneath sports a black ski mask, with the phosphorescent imprint of a skull obscuring their identity…Over the mask, tactical goggles cycle different colors as they adjust with the light, giving the figure the ability to see perfectly in any condition…It's both a monstrous and a high-tech marvel.

(SFX – heavy hydraulic steps)

NARRATOR: Trudging down the aisle, the figure zeroes in on a specific target, Dave Thatcher. At the push of a white button on the glove control unit, it sprays Dave with a mist of smelling salts…Dave comes to, in a sudden rush of consciousness. His eyes grow at the sight of the figure looming over him.

DAVE THATCHER: Who are you? What do you want?

NARRATOR: The figure speaks in a distorted, ghastly voice.

NIGHTSHADE: I'm here for revenge, David.

NARRATOR: Realizing the menacing voice is directly in front of her, Mae peeks over her jacket and between the seats to get a glimpse of the monster talking to Dave.

NIGHTSHADE: I'm a howl in the dark. I'm the creeping vine constricting the hickory tree. I'm the mighty tempest wilting the spring that is your life.

NARRATOR: Seeing Mar through the seats, the figure shifts its gaze to her.

NIGHTSHADE: I am the deadly NIGHTSHADE!

NARRATOR: The frightful appearance, the skull face, the eyes of fire, like the character on the movie screen, makes May quickly hide her face again. Dave struggles against his assailant, but the effects of the initial knockout gas are limiting his motor skills…He can't move.

(SFX – button hit)

NARRATOR: Nightshade hits a green button, and a new poison is primed. Shoving the tip of the blaster in Dave's mouth, nightshade sprays a fine green mist. As the fumes fill Dave's lungs, he silently chokes…His face swells…Dark veins rise to the surface…The terror on Dave's face reflects in Nightshade's helmet. On the movie screen, spring-heeled Jack has seized his prey, extracting the life force from his frightened victim. Life is eerily imitating art as the horror of death unfolds right there, in person, at the Jewel.


(SFX – outdoor sounds)

NARRATOR: Sirens wail off in the distance. On the roof of the sheriff's station with binoculars in hand, Deputy Liston sees light from the blaze on the edge of town.

(SFX – trashcans knocked over)

NARRATOR: But a crash down the block in the alley below grabs her attention. Over the ledge, her eyes grow as she spots Nightshade 30 yards away, slipping out of the back of the theater, fleeing into the shadows.

LISTON: Hey!

NARRATOR: Nightshade turns, looking up, but still obscured in the darkness, then continues around the corner, out of sight.

(SFX – alarm blares)

NARRATOR: In the feed store parking lot, Phil and a handful of his volunteer brigade fight the car fire. Arlo emerges from the feed store as Tripp pulls up.

TRIPP: Anything?

NARRATOR: As Arlo shakes his head no, Deputy Liston's frantic call statics over the radio.

LISTON: (over radio) The Phantom just came out of the back of the Jewel. Hurry!

NARRATOR: As Arlo hops in the truck, Tripp hurries off like a bat out of hell.


(MUSIC)

NARRATOR: Minutes later, arriving at the jewel, Tripp and Arlo rush past EMTs who attend to dazed theatergoers. Some are shaken, others take oxygen…Deputy Liston and Oscar are with Daisy, who sits on the curb, wrapped in a blanket, tears streaming down her face…In the lobby, Georgia is in a chair, holding ice to her head, crying…Chief Stark's waiting for them, shaken, silent.

(MUSIC – eerie)

NARRATOR: Tripp, Arlo, and Chief Stark enter the theater. The movie is over, the house lights are up. The room is deadly quiet. Everyone's been evacuated, except the body of Dave Thatcher…Vibrant Flora has already sprouted out of every orifice on his head, giving him the appearance of a grotesque plant-shaped version of himself.

 
(MUSIC)

NARRATOR: The Jewel Theatre is now an active crime scene. The place is a beehive of activity. Chief Medical Examiner Sonny Manus looks over Dave Thatcher's body in astonishment…On the other side of the room huddled in the corner, Tripp is with Arlo, Chief Stark, and Fire Chief Phil Corbin.

TRIPP: Plates on the car came back. It was stolen from a junkyard a few days ago.

STARK: Think he was trying to mimic Chicago?

PHIL: The shrapnel we found is consistent with the pipe bomb. The guy in Chicago was using heavy explosives.

TRIPP: It was an obvious diversion.

ARLO: The little girl behind her victim got a look. The description fits our rendering in the video from the semi. Finally got her name too, Nightshade.

NARRATOR: Silence as they all take it in…Deputy Liston hurries over with a picture taken from a security camera in the back of the theater. A clear definitive photo of Nightshade in the suit. They all lean in, studying the image carefully.

PHIL: I've seen firefighters use these goggles. You can buy them online.

TRIPP: Look at that crazy shell built on the outside. See how it's cobbled together?

STARK: I was in the Navy. This guy's wearing a pressure suit. I'm telling you, this has the Tempest and Hickory bullshit written all over it.

PHIL: Are you talking about the airman who gassed all this folks on the base? He wore something like that, didn't he? I was 15 when that happened. Wait, Arlo, weren't you the one who nabbed him?

NARRATOR: Everyone turns to Arlo.

ARLO: His wasn't as built up as this.

NARRATOR: Tripp gives his dad a sideways glance…Liston points to Nightshade's boots in the photo.

LISTON: See that? Those are hydraulics. Components for suspension, struts, car parts.

NARRATOR: Her words hit Tripp deep.


(MUSIC)

NARRATOR: Another stress-filled night, and another nightmare plagues Tripp. A hazy imprint in his mind, but familiar scattered details. He's on the ground again, behind his cruiser. Flailing, in pain, shot in the ankle. He struggles frantically to pump the shotgun in his hand, but he can't do it…A shadow rounds the corner. Looking up against the sun, he sees Dave Thatcher in his plant state. Grotesque green skin branches as bones and joints, with flowers sprouting. Tripp tries to scream, but his cries are soundless, empty…The shadow over him grows. Looking back up, he shudders in fear. A standing chill, horror personified, Nightshade has taken Dave's place.

(STING – terrifying)

NARRATOR: Green mist sprays from Nightshade's hands. Through the smoke, he sees that it's Brian Dobbs under the helmet.

(SFX – bed sheets rustle)

NARRATOR: Tripp sits up from another nightmare, hungrily gasping for air. He wonders if his dreams will ever stop haunting him, but more importantly, considers if the puzzle pieces of his case are starting to fall into place.


(MUSIC) 

NARRATOR: After his morning workout, as streaks of sunlight peek through the basement window, Tripp rests on the couch, searching on his laptop using the keywords Emerald Lakes Air Base and Tempest. 

(SFX – typing, enter)

NARRATOR: It yields only a handful of results. There's a Wikipedia page, a few national news headlines about the base closure in the early ‘90s, but at the bottom, a lone local newspaper archive that reads, “Breslin Surrenders to Authorities after Killing Spree”.

NARRATOR: Tripp clicks on the last link. 

(SFX – computer click)

NARRATOR: Accompanying the story is a grainy photo of a modified flight suit and gas mask, along with the byline, “What Made Airmen Snap?”.


(MUSIC)

NARRATOR: In the interrogation room at the Sheriff's Station, Brian Dobbs, in a long-sleeve shirt, buttoned to the top, sits across from Tripp and Arlo.

BRIAN: So what's going on? Why'd you need to see me this morning?

TRIPP: Where were you Saturday night?

BRIAN: I was at home.

TRIPP: Can anybody vouch for your whereabouts?

BRIAN: Wait, wait a minute…You think the movie theater?

TRIPP: You were a CBRN specialist in the Army. Tell me what that stands for.

NARRATOR: Brian isn't liking Tripp's not-so-subtle inference.

TRIPP: Chemical, biological, radiological, and nuclear. You have a history with those kinds of weapons.

BRIAN: So what? I worked with UN peacekeepers, and I was assigned to the Pentagon Force Protection Agency. Do you even know what that means?

TRIPP: I just find it interesting, we're dealing with a series of unique biological attacks around the same time you show back up in Stanfield.

BRIAN: You're out of your element here, Tripp.

NARRATOR: Brian starts to unbutton his shirt at the top and rolling his sleeves.

BRIAN: Last year, I was called to Yemen after a stockpile of possible biological weapons was discovered in a remote village. Somebody was careless and didn't properly secure the material. One of the devices went off. I was one of the lucky ones.

NARRATOR: The reveal of burn marks and scarred skin underneath Brian's shirt turns the tide.

BRIAN: I've been in an army hospital for the last 11 months, which is why I couldn't make it home from my brother Kyle's funeral. But I get it. I get why you'd look at me. But I've got nothing to do with it.

NARRATOR: Tripp and Arlo share a look. Neither was expecting that.

ARLO: Does the name Embry Fisher mean anything to you?

BRIAN: No.

ARLO: Dave Thatcher?

BRIAN: Who?

TRIPP: Kevin, Jenna Sullen, Maggie, or Adam Marsh. What was going on between you two at the bar that night?

BRIAN: Are you really that blind, Tripp?

TRIPP: Does it have anything to do with your brother?

NARRATOR: Brian's demeanor acidifies towards his boyhood friend.

BRIAN: Unless I'm under arrest for something, I've got nothing else to say.

(MUSIC)

NARRATOR: After questioning Brian Dobbs, Tripp thumbs through a file cabinet in his office, searching for something, as Arlo looks over the printout of the list of names Lark provided.

ARLO: Phil's on this list. Adam Marsh is, too.

TRIPP: It's obvious Brian knows more than what he's saying. I remember those looks when we were kids.

ARLO: I don't like him for it. He wasn't even in the country when Embry Fisher was killed.

TRIPP: We still don't know for certain that the Fisher case is 100% connected.

ARLO: Is this really worth losing a friend over?

TRIPP: I can't exclude someone just because we grew up together. Too much lines up. Unless you know something else. I mean, the information about Hickory was interesting in regards to repeating history and all. What about the Tempest thing that keeps getting brought up?

ARLO: Breslin. He got locked up in Leavenworth for what he did but died years ago. I think we can exclude him.

TRIPP: That's not what I meant.

(SFX – file cabinet drawer)

TRIPP: Are there any files on Polygon?

NARRATOR: Arlo cocks his head to the side, unsure.

(SFX – file cabinet drawer)

NARRATOR: Marching out of his office, Tripp heads to the file room, where rows of file cabinets line the walls. Tripp opens drawer after drawer, continuing his search.

(SFX – file cabinet drawer)

NARRATOR: Arlo comes to the doorway.

TRIPP: There's not one report on Polygon at all. Nothing about Kyle Dobbs' accident. It was, what, last summer? I took office in June of last year.

NARRATOR: So many details over the last year are scattered for Tripp. He rubs his forehead, trying to remember.

TRIPP: What was it that happened to him?

ARLO: Forklift. I think I had heard that. Weren't you there?

TRIPP: Tom took those kinds of calls.

NARRATOR: Back to the file cabinets, Tripp keeps looking. But there's nothing. No call logs. No reports…Elke comes to the door.

ELKE: Tripp, honey, you got a message. That teacher wants you to come by.

TRIPP: Hey, Elke, where are Tom's old case files?

ELKE: Should be in the cabinets there. I filed everything from his office.

TRIPP: Do you remember seeing a file about Kyle Dobbs' accident last year at Polygon?

NARRATOR: She thinks about it for a moment, but she's at a loss.

TRIPP: Where do we keep older files?

ELKE: At the county courthouse.

TRIPP: See if there's anything on Polygon. Inspections, permits, anything. I want to take a look at everything you can find.

ELKE: Sure thing.

TRIPP: Hey, Dad, want to tag along and see what Ava has to say?

ARLO: No can do. I got my yearly physical I gotta go do. I'll see you when you get back.

(MUSIC)

NARRATOR: A few hours north of Stanfield, details of another case are taking shape. In a southside Chicago neighborhood, in a run-down, pay-by-the-month apartment building, members of the SWAT team are geared up, quietly waiting in a stairwell. Lark and other detectives, all donning bulletproof vests, hang back. She holds a blown-up driver's license photo of Arthur Leary, the electrician last seen in Paddock Tower the night before the first bombing…She directs the leader of the SWAT team.

LARK: Apartment 7, we want him taken alive. Move.

NARRATOR: On the command, the SWAT team heads through the door.

(SFX – marching through halls)

NARRATOR: They move swiftly, silently through the hall to Apartment 7. A battering ram busts down the door…The SWAT team storms in.

NARRATOR: In the stairwell, Lark and the others wait. Moments later, to their dismay.

SWAT LEADER: (over radio) All clear.

LARK: Fuck.

NARRATOR: In Leary's apartment, Lark looks around. Apart from it being a pigsty, there are bomb-making components all over and schematics of various buildings…Lark grabs her radio. The call goes out citywide.

LARK: (over radio) Attention, all available units. Our suspect is in the wind. Lockdown airports, trains, buses. Check bridges, toll cams. We’re not letting him slip away.


(MUSIC) 

NARRATOR: Arlo is on the exam table in his doctor's office for his routine checkup. His primary care physician goes through the regular steps, checking blood pressure, heartbeat, lung function. Everything seems fine for a man his age…But it's upon examining Arlo's neck that the doctor's brow furrows, feeling something unusual.


(SFX - classroom ambience)

NARRATOR: Meanwhile, at the science lab at Eau de Nil High School, students quietly sit at their desks taking a dreaded pop quiz. At the front of the class, Tripp looks over a picture list of flowers while Ava studies the new photo of Nightshade.

TRIPP: Bloodroot, Oleander, Mountain Laurel, Foxglove, Morning Glories, Wolfsbane.

AVA: And mushrooms, five varieties play into your killer's poison. And they connect to the case from last year.

TRIPP: What's this plant here?

NARRATOR: He points to a purple-petaled flower with a yellow style.

AVA: Atropa Belladonna, deadly Nightshade.

TRIPP: Can any of these be grown in a garden?

AVA: Sure, all of them can under the right conditions.

NARRATOR: A reprieve for the students as the dismissal bell sounds. Ava excuses herself a moment, turning to the class as the teens cannonball for the door.

AVA: Continue reading Chapter 5 for Wednesday.


(MUSIC)

NARRATOR: Done for the day. With the halls empty, Ava and Tripp walk along, continuing their conversation about the case.

AVA: I was discussing the phytological aspects of the case with a colleague. They mentioned a person of interest. I wasn't sure at first, but after examining the photo, the hull this individual constructed, for whatever reason, gives them size. The description in the papers says your suspect is well over 6 feet, 200 pounds…That might be a bit of a red herring.

TRIPP: What do you mean?

AVA: Anyone could be in that suit. As I was saying, I was told about a former biology teacher not far from here. She talked about poisoning people with plants.

TRIPP: A woman?

AVA: A general rule with serial killers, they're rarely the monsters you expect.


(MUSIC)

NARRATOR: Grand Prairie. Not terribly far from Stanfield, but off the beaten path for sure. The only way there is through a labyrinth of county and rural roads. Tripp meets with Chief Baker…Older, grandpa-ish. He looks like Santa, but without the beard.

BAKER: When I heard about your case, Tilda Vedder's name was the first one to come to mind. Highly intelligent, science background.

NARRATOR: Tripp raises an eyebrow, intrigued.

BAKER: She was the other woman in a love triangle. Made threats about using ricin and food. She got fired from her teaching job over it…You talked to Stark over in Weaverville?

TRIPP: The Embry Fisher case?

BAKER: She worked for Fisher, accused him of sexual harassment, but the case never made it to court. After he was killed, she was considered a strong suspect, but she was cleared.

NARRATOR: Tripp is quiet as he absorbs the new information…Chief Baker jots down her address, sliding it to him with a warning.

BAKER: She's got a smooth exterior, but underneath, whew, whatever you do, don't eat or drink anything she offers you.


(MUSIC) 

NARRATOR: With long summer days behind them, the sun sits near the horizon in the October sky. Tripp drives up a long dirt road, towards a decrepit, decaying farmhouse. A car, hood-up, in some stage of repair, sits in the driveway. Half of the yard is taken up by a dog run filled with pit bulls…They bark as Tripp gets out of his cruiser, making his way towards the house.

(SFX – dog’s barking)

NARRATOR: Tilda Vetter, 43, a sultry redhead with dark eyes, meets Tripp on the porch. Flanking her are two female pit bulls, Ruby and Belle.

TRIPP: I'm Sheriff Ellis from Stanfield. Pleasure to make your acquaintance.

NARRATOR: As Tripp extends his hand, they shake, the dogs eyeball him.

TILDA: Yeah, Baker called and said he had some questions.

NARRATOR: She invites him in…Tilda follows Tripp inside. She carries a big key ring that she uses to lock the main deadbolt from the inside, followed by several more hand turn locks. Her place is well-fortified…Her house is messy as she wasn't expecting company. Torn dog toys, half-chewed bones, and dirty clothes are piled up. A grandfather clock ticks loudly against the far wall. Tilda motions for Tripp to sit on the couch. The corner of the arm has been chewed down to the frame by her pets. She continues on towards the kitchen.

TILDA: Would you like a cup of tea?

TRIPP: No, thank you, though.

NARRATOR: Ruby and Belle sit, watching Tripp licking their chops. He takes his hat off, doing all he can to avoid eye contact with the dogs. A few moments later, Tilda comes back in, sitting in a recliner across from him. Her dogs faithfully reposition themselves at her side.

TRIPP: May I ask where you were Saturday night?

TILDA: I don't have an alibi, if that's what you're asking. I live alone. I lost my job teaching some time back and now I make my living breeding dogs.

NARRATOR: She pets Ruby's head, then looks at Tripp with a sly sneer.

TILDA: But I'm flattered you'd consider me in your case. Statistically speaking, men are more prone to murder. But to think a woman might be capable, how with the times.

NARRATOR: Tilda switches her attention to Belle.

TILDA: Achlys was the goddess of deadly poisons, the mist of death.

(SFX – kettle whistling)

NARRATOR: Quickly hopping up, Tilda hurries to tend to her kettle. Her sudden movements make her dogs stir. But they remain in the room, keeping a close eye on Tripp…Tilda calls out from the other room…

TILDA: It wasn't me, but I admire what you guys do.

NARRATOR: The sounds of Tilda in the kitchen…The ticking of the clock…The dogs staring. Tripp is feeling the stress…Tilda comes back carrying two cups of tea. She hands one to Tripp.

TILDA: You look tired. Thought you could use a pick-me-up.

NARRATOR: She gives a creepy wink…Tripp politely places the cup on a coaster but dares not take a drink…Tilda stares at his scar, her eyes narrow.

TILDA: I know who you are. Being shot in the head, I’m sure it's been tough. Do you have nightmares about it?

NARRATOR: Tugging at his collar, Tripp feels the walls closing in.

TILDA: There was a chase, a shootout. They put 15 bullets in your would-be murderer. He'd killed before. Your life didn't matter to him. How does that make you feel?

NARRATOR: The tension in the room is thick. The clock ticks in unison with his heartbeat. He wants to get out of there, but he tries to remain composed.

TRIPP: Do you happen to have a garden?

(SFX – nature sounds)

NARRATOR: Out behind the house, Tilda has rows of flowers and vegetables planted, but nothing that matches what Tripp's looking for. She watches on as he scrutinizes her garden, the dogs remaining at her side.

TRIPP: May I ask about the threats you made? What got you fired from your teaching job?

TILDA: It was an error in judgment. I was dumb enough to get involved with a married man. I should have ended it but didn't. His wife found out and confronted me. Emotions ran high…Things were said.

NARRATOR: A simple explanation, but her cheek twitches. It's a sensitive subject.

(MUSIC)

NARRATOR: Back inside, Tripp looks through Tilda's office, where she operates her dog business. He scans a bookshelf, spotting something curious, a textbook titled “Poisonous Plants”. As he pulls it, she storms over, snatching it away.

TILDA: I taught biology.

NARRATOR: As she carefully places it back on the shelf, Tripp continues through the room. He tries a door, but it's locked.

TILDA: It's a craft room…Why are you hassling me anyway? Do you get off acting like this around women? You don't even have a warrant, so you don't even have a right to look through my stuff. I'm just trying to be nice.

NARRATOR: Seeing her starting to crack a little, Tripp applies some pressure.

TRIPP: Tell me what happened with Embry Fisher.

NARRATOR: That flips a switch.

TILDA: He made advances. I know he was Mr. Boy Scout to everyone else, but behind closed doors, he was a fucking pig, just like the rest of you. No one believed me. I couldn't get another lab job because of him…Did you know he accepted bribes from companies to clear them in compliance with OSHA and the EPA?

NARRATOR: Anger is getting the better of her. She tries to reset, but something inside her can't.

TILDA: After he died, they searched my house, but didn't find one shred of evidence.

NARRATOR: Her growing agitation has her dogs upset…Tripp backs away. She spots his unease.

TILDA: My dogs are trained to kill. One word, and they'll rip your throat out. I have the right to stand my ground.

NARRATOR: Her intense eyes are focused on him as she sorts through her key ring. The dogs growl at Tripp…He wants to go.

TILDA: The reason I raise them is because I live in fear. Because every man I've known has either tried to take advantage or screw me over.

NARRATOR: She suddenly comes at Tripp, at the last moment, stepping around him too…Unlock the door he was inquiring about…She opens it. A craft room. She makes an I told you so face.

TRIPP: Well, I can see I've taken enough of your time.

NARRATOR: Tripp steps past Tilda, making a beeline for the living room and the front door. Ruby and Belle are hot on his tail.

(SFX – undoing locks)

NARRATOR: He undoes the slew of hand locks, but can't get out without the deadbolt undone, which requires the key. Up against the door, the dogs are sniffing him. Tripp is on the edge of having a full-on panic attack…He wants out. The dogs can smell his fear…Tilda lumbers towards him menacingly.

(SFX – keys jingling)

NARRATOR: She fumbles with her keys, unlocking the door…Before he leaves, she notices his unconsumed tea.

TILDA: Would you like that to go?

NARRATOR: A hasty exit, Tripp is shaken. The dogs in the pen bark at him as he stumbles to his car…

(SFX – engine starts, car drives off)

NARRATOR: Tilda watches from the door, hands on her hips, as he speeds off in his cruiser.


(SFX – driving)

NARRATOR: Back on the interstate, Tripp gasps for air, trying to breathe his way through it. But his hands are shaking so bad, he's forced to pull over.

TRIPP: Calm down…calm down...calm down.

NARRATOR: Checking his pulse, it's racing. He continues focusing on his breathing.

TRIPP: Calm down. You made it. You're not gonna die.

NARRATOR: Finally, a calm. But the stillness is soon broken as Elke statics through his radio.

ELKE: (over radio) One-Alpha-S, come back.

NARRATOR: He takes another calming breath before he responds.

TRIPP: Go ahead, dispatch.

ELKE: (over radio) A car traveling at high speeds flipped. Interstate 57, southbound, mile marker 70.

NARRATOR: He's at mile marker 73.

TRIPP: I'm on my way. Over.
 

(SFX – police siren)

NARRATOR: Dusk has arrived, with night not far behind. As Tripp speeds down the interstate, he spots a car upside down in the ditch. Lights on, he pulls to a stop behind it.

(SFX – car door slams)

NARRATOR: He quickly hurries to the wreck…On his knees, no one is inside. Glancing around up and down the road, he looks for the driver or any other sign of life. As he goes for his radio, a nearby voice rings out.

ARTHUR LEARY: Put your hands up.

NARRATOR: Arthur Leary, the suspect in the Chicago bombings, on the run and well out of the Windy City, is hiding in the weeds, injured from the crash. It takes Tripp a moment to realize what he's asking…For Tripp to put his hands up. But he gets it when Leary opens his coat, revealing explosives wired to his chest and a detonator switch in his other hand.

ARTHUR LEARY: The blast radius is enough to kill us both and anyone driving by.

NARRATOR: With no other choice than to comply, Tripp puts his hands in the air.

ARTHUR LEARY: Call off anybody responding to this accident and hand over your keys.

NARRATOR: The scene, eerily similar to his reckoning on the side of the road with Gino Corso, and everything that has tormented Tripp's mind for the last 11 months…He's frozen, unable to move…Leary angrily steps forward.

ARTHUR LEARY: Come on, man. I'll do it.

NARRATOR: But the world around Tripp dims. Fear radiates to his core.

ARTHUR LEARY: I'll blow us both to kingdom come. I'm not fucking around.

NARRATOR: Heart racing, Tripp's body shakes, and Leary grows more anxious by the moment.

ARTHUR LEARY: What's wrong with you?

NARRATOR: Interrupted by fast approaching sirens, Leary's panicked. Tripp's staring at his worst nightmare again…Another conversation with death.

ARTHUR LEARY: You wanna fucking die? Give me your keys right now.

NARRATOR: Leary primes the detonator, ready to push the button…But something inside of Tripp clicks. He lets go of the fear gripping him. His survival instincts kick in, and like a wild west gunman, he skins his side arm.

(SFX – unholsters gun)

NARRATOR: Two shots, thunder.

(SFX – two gunshots)

NARRATOR: One in Leary's shoulder makes him drop the detonator switch…The other hits Leary square in the head…He falls backwards in the ditch, dead.

(SFX – police sirens nearing)

NARRATOR: Tripp drops the gun and collapses to his knees as backup arrives. He looks at his shaking hands. He's still alive, somehow, again.


NARRATOR: To be continued.

(MUSIC – outro)

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