Predation - Chapter Two

As Sara continues to fight against her ever worsening anxiety, she feels as though she's being followed. 

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NOCTURNUM COLLECTIVE – SEASON TWO

Predation – Chapter Two

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: And now, together with Legends of the Night, the Nocturnum Collective presents - Predation, chapter two, written by Karl White.

(MUSIC – mysterious drone)

NARRATOR: Everyone has a secret, information we hold on to tightly. For fear of revealing something about who we are, that others would not accept. Deep, dark things from our pasts that can never be revealed. For if they were, judgment, guilt, and pain would be unleashed. Vulnerability teetering, ready to smash us to smithereens. So we bury our secrets, hoping they disappear. But skeletons in the closet are always there, waiting to be found. And the more one constricts a secret, the more dangerous it becomes. As the inner darkness, where unmentionables are buried, begins to seep into veins, poisoning the well of the soul.

(SFX – car pulling into spot)

NARRATOR: As last we saw Sara, leaving the support group after refusing to share the secrets she's holding, she realized she was going to be late for work. Speeding across town, her beat up car rumbles into a spot on the lower level of the library's parking garage. As soon as the car is in park, she jumps out, running for the stairwell.

(SFX – stairwell door)

NARRATOR: Doing a final check to see if she's put together, Sara adjusts her clothes and digs through her purse, double and triple checking to make sure her precious pills are with her.

(MUSIC – slows)

NARRATOR: As she walks into the west side branch of the Des Moines Public Library, reality feels like it's flashing by like a movie. Everyone's going a million miles a minute, except for Sara. She sneaks past the front desk, trying to remain invisible, as she heads towards a door marked employees only.

(SFX – door)

NARRATOR: In the break room, two other librarians are on break, having a conversation. They look at Sara. Already feeling exposed like an open wound from her interaction at the support group, she does all she can to avoid their scrutiny. She makes her way to a set of lockers. Spinning the combination to hers, Sara opens the creaky door, wishing she could just disappear.

(SFX – squeaky locker)

NARRATOR: As her co-workers return to their conversation, Sara steals a glance, making sure they aren't watching, and covertly slips her pill bottle in her pocket before stuffing her purse into her locker.

(MUSIC)

NARRATOR: An average suburban public library on a Monday afternoon. A spatter of patrons, some at tables flipping through books, others browsing shelves. But the place is so quiet, you could hear a pin drop. Heavy-eyed, Sara stealthily walks towards the front desk, almost home free. But a voice rings out behind her.

MARIE: You're late.

NARRATOR: Sara cringes, turning to see the head librarian, Marie, 64, a real battle axe, sporting a white beehive haircut. She points at a wall clock.

MARIE: You're thirty-five minutes late, Sara. This is unacceptable.

SARA: I know. I'm sorry.

MARIE: It's the third time in as many weeks.

SARA: I said, I'm sorry.

NARRATOR: Slightly louder with her last response, this is Sara standing her ground...But in an intimidating old lady type of way, Marie steps up to Sara, getting in her face.

MARIE: I'm going to tell Joe, and you're going to get written up this time.

NARRATOR: Sara notices stares from patrons, men, women, children, all focused solely on her. Feeling their eyes, she cringes with embarrassment…Simultaneously, overhead, a fluorescent bulb pulsates with a strange surge of energy.

(SFX – fluorescent flicker)

MARIE: The world doesn't single-handedly revolve around your schedule, Miss Ivy.

NARRATOR: Sara grits her teeth, trying to maintain composure…But Marie keeps going at her.

MARIE: That's the problem with your generation…

NARRATOR: But as more eyes in the immediate area gawk, Sara absorbs all the awkwardness. Above, more lights begin to mysteriously flicker.

(SFX – fluorescent flicker)

MARIE: …So spoiled, so entitled.

NARRATOR: The stress is becoming more than Sara can bear. She wants to flee…She tries to go around the crone, but Marie cuts her off and forcefully grabs her arm.

MARIE: Are you even listening to me?

NARRATOR: Sara glares at Marie. Her eyes look different, focused, darker. And as she angrily leans towards Marie, everything electronic in the library flickers with a massive power surge.

(SFX – electricity pulsating)

NARRATOR: Sara angrily leans in and whispers…

SARA: Let go of me, bitch, or I'll whip your fucking arm off.

NARRATOR: Marie's jaw drops.

MARIE: What did you say to me?

NARRATOR: Sara is equally shocked. She doesn't know where that came from…All she can do is lower her head and quickly retreat from the scene.

(SFX – bathroom door)

NARRATOR: Away from the chaos, Sara runs to the sanctuary of the women's restroom.

(SFX – sink/water)

NARRATOR: At a sink, Sara splashes water on her face, but as the liquid cascades back into the basin, blood drips into the white porcelain of the sink from somewhere, quickly diluting pink in the flowing water. Looking at herself in the mirror, it's coming from her mouth. Sara flashes her teeth. Her gums are bleeding again, adding to her distress.

(SFX – toilet flush)

NARRATOR: But her turmoil and quickly mounting anxiety is interrupted by a flush and a patron exiting a stall. They wash their hands in a neighboring sink.

(SFX – water)

NARRATOR: For Sara, suppressing the panic only makes it worse. She jettisons away from the sink, locking herself in a stall.

(SFX – stall door)

NARRATOR: She braces herself against the wall, silently raging. Then, sounds of the patron leaving.

(SFX – bathroom door)

NARRATOR: Finally alone, Sara gasps with a heavy breath, her heart pounding. Even under the influence of her meds, Sara is spinning out. At the apex of her hysteria, something catches her eye…A spider crawling down the wall. It stops and seems to be watching with its eight eyes.

(SFX – sting)

NARRATOR: Sara closes hers tight and shakes her head.

SARA: It's not real. Focus, breathe, control.

NARRATOR: The self-examination is enough of a distraction to quell her distress.

(MUSIC – atmosphere)

NARRATOR: A quiet calm has returned to the library. Sara, fatigued but back in control, keeps herself occupied as she fishes books from the return slot to put away. She does all she can to avoid eye contact with anyone, including a maintenance man nearby. He's on a ladder replacing a spent fluorescent bulb. She can feel him leering and tries to keep her focus on the task at hand. She organizes the books in numerical order based on their catalogue number, then stacks them onto a rolling cart. Her accuracy is efficient and automatic.

(SFX – ladder)

NARRATOR: Climbing down from his ladder, the maintenance man clears his throat to get her attention.

MAINTENANCE MAN: Excuse me, ma'am?

NARRATOR: Off in her own little world, Sara's startled at the sound of his voice.

MAINTENANCE MAN: I need someone to sign my work order.

NARRATOR: As he slides it across the counter to her, he smiles, trying to be flirty…Focusing on his eyes, they're warm, welcoming, wanton. Shrinking at the attention, she hastily signs and hurries back to her card.

MAINTENANCE MAN: Thank you.

NARRATOR: He looks at her signature, now knowing her name.

MAINTENANCE MAN: Sara.

NARRATOR: But she quickly propels the book card forward. The momentum moves her away from the unwanted admirer, but he watches as she goes.

(SFX – sting)


NARRATOR: The air of near silence is occasionally interrupted by ambient sounds of humanity, as a handful of people litter the Athenaeum. 

(SFX – cart rolls by)

NARRATOR: On the outskirts of the space, Sara pushes her cart to return more books to the shelves, making her way past a communal table, and a man in a members-only jacket, hiding behind a newspaper. The headline reads, “City Gripped with Fear”…The man's in his 30s. He's overweight, oafish, greasy hair. He thumbs through the paper, attempting to obscure the fact he's watching Sara as she rolls by.

(SFX – cart continues by)

NARRATOR: She goes around the corner, disappearing out of sight.

(MUSIC)

NARRATOR: She lumbers down a long corridor, passing row after row of bookshelves, pushing her cart all the way to the end. Sara collects a few books, disappearing into an aisle to shelve them, sliding the books back in their rightful spots.

(SFX – books)

NARRATOR: A strange sense begins to wash over her…She's not alone. Over her shoulder, she peers through the rows of books behind her, but no one seems to be there.

(SFX – sting)

NARRATOR: Back to the cart, she moves to the next aisle, returning more books, but she can't shake the uncanny feeling someone's nearby. She grows still, listening, picking up sounds of movement. Quiet breathing, light steps. Peeking again through the rows, the unending sea of volumes creates a distorted vanishing point, like an infinity mirror of books at a funhouse, her eyes narrow as she tries to detect someone…But she doesn't see anything.

(SFX – mysterious sting)

NARRATOR: Turning her back, shelving another book, she unexpectedly feels the hair on the back of her neck raise, like some sort of extra sensory perception alarm going off…Sara turns, defensive, focusing through the aisles…She's being watched, but she doesn't see anyone. She steps back into the hall and walks past a few more aisles of bookshelves, staring down each, searching for the source of her sudden discomfort…But there's not a soul in sight. Trying to shake it off, her paranoia is getting to her. She goes for the prescription bottle in her pocket. Maybe it's time for another pill.

(SFX – pill bottle)

NARRATOR: But she's interrupted as her boss, Joe, 43, tall, with a tidy and neat appearance, rounds the corner, walking up to her cart.

JOE: Sara, can I have a word?

NARRATOR: He motions her over for a quiet conversation. She avoids eye contact as she approaches.

JOE: Marie said you threatened her?

NARRATOR: Sara does her best to play innocent.

JOE: I heard she was reading you the riot act. Girl, what did you do? Did you call her a bitch or something?

NARRATOR: Sara shakes her head “NO”.

JOE: Marie can be a bit extra. You know I could care less if you're late now and again.

NARRATOR: Joe shifts, his posture changes. The look on his face says he's about to ask Sara for a favor.

JOE: Can you cover tomorrow night? Lock up and all? I've got to go to Newton for a budget meeting. Was going to stay overnight, meet up with some friends.

SARA: I don't know.

JOE: Here's the deal. I know you're working the morning, but Tuesday nights, Barb can't close because of her bowling league, and Marie requested a mental health day…You're the only one I trust.

NARRATOR: A moment of silence as Sara needs more convincing.

JOE: Do this for me, and I'll let you take Wednesday off.

NARRATOR: Sara nods in agreement.

JOE: You're a peach. Have you taken a break yet?

SARA: No.

JOE: Why don't you go now?

SARA: Okay. Sure.

NARRATOR: With that, Joe hurries off. Sara shelves one last book, and as she walks back to her cart again, out of her line of sight, there's movement. She looks over to catch a glimpse of someone exiting an aisle, just a few down from her. It's the man in the member's only jacket. He quickly walks away.

(SFX – parking garage)

NARRATOR: It's nine o'clock, closing time. The last few library patrons trickle out, walking to their cars in the parking garage. A few moments later, the lights in the library go out. At the door, Sara and Joe are the last to exit the building. She notices the maintenance man driving off in a white service truck. Because of the weird interaction she had with him earlier, Sara ducks out of sight, hiding behind Joe as he locks up, so as not to be seen. Unaware, Joe turns and hands over the keys.

(SFX – keys jingle)

JOE: Thanks a million, Sara. You are a lifesaver.

NARRATOR: She nods, and the two go their separate ways. Joe walks off to the right, and Sara hurries left to the stairwell.

(SFX – stairwell door)

NARRATOR: Down the stairs, she makes her way to the lower level, but as she reaches the door, there's a noise above, as if someone else entered the stairwell.

(SFX – stairwell door)

NARRATOR: Sara stops and looks up, expecting to see someone coming from the upper landing. Maybe it's Joe needing to tell her something he forgot, but no one is there.

(SFX – footsteps across garage)

NARRATOR: In the lower level of the garage, Sara dashes towards her car, but something deep down makes her turn back, looking at the little window on the stairwell door, as if she senses someone watching...But again, no one is there. 

(SFX – mysterious sting)

NARRATOR: She shakes it off. It's been a long, stressful day. She gets in her car

(SFX – car door)

NARRATOR: Her vehicle pulls up from the lower level and out of the garage, on her way home.

(SFX – car drives off)


NARRATOR: Driving down the boulevard, Sara is calm, in one of her few comfortable spaces. She turns on the radio.

(MUSIC – dance)

NARRATOR: After a moment, she uncharacteristically lets her guard down and begins to sway along to the beat. There's energy and passion in her movement. It's beautiful, strong, full of emotion. It surprises even her. A momentary reminder of a life that once was…But the hypnotic, oscillating flashes of the streetlights overhead make her mind wander to a dark place. Her movements fade, and she turns the radio off.

(SFX – radio click)

NARRATOR: Back to silence…Her eyes drift to the rear view, and the headlights of another vehicle a few car lengths back. At a green light, she takes a right and notices the car behind her doing the same. She changes lanes. The car following also changes lanes.

(SFX – tense sting)

NARRATOR: Unnerved, she hits the gas, speeding up to add distance. But in the rear view, the car tailing her keeps pace…She grips the wheel, panicked. Eyes volleying from the road to the mirror, trying to formulate a plan. Ahead is a fast-food joint. She plays it cool, doesn't signal…And at the last moment, Sara hangs a tight right into the parking lot, quickly pulling into a spot.

(SFX – tire squeal)

NARRATOR: She nervously peers over her shoulder…The car behind her continues past the restaurant. It's just some dull sedan with a family inside. She shakes her head, annoyed with herself.

(SFX – car pulls to stop)

NARRATOR: Sara pulls into her driveway at the end of a cul-de-sac on the edge of the suburbs. Hers is a modest bungalow directly bordering the woods.

(SFX – car door)

NARRATOR: Out of the car, fast food bag in hand, a series of security lights trigger as she walks to a side door.

(SFX –door locks)

NARRATOR: Unlocking several locks, Sara enters the kitchen. An internal motion sensor light comes on…Inside, the place is sparse. No effort to decorate. No personality to the space at all. Nothing on the counter except a microwave. No formal dining, just a card table with a folding chair. At first glance, it has more in common with a bachelor pad than the house of a woman in her twenties…At the counter, Sara throws down her bag of food and pulls the prescription bottle from her pocket.

(SFX – pill bottle)

NARRATOR: She pops the top and takes a pill…In her purse, she digs out a date book, opening it to a marked page. The month of August, all the days in the month before the 12th are crossed out. A triple-digit number is written next to each date. She writes the number 217 in the box for the 12th, then crosses that day out, counting ahead to the 15th -- She writes 220. Thinking a moment, she gives a lopsided grin.

SARA: A new record.

NARRATOR: Distracted by her rumbling stomach, she abandons the date book and quickly scoops up her bag of dinner, heading to…the living room. More meager decor.
Walls primarily covered with bookshelves, filled to the brim. Stacks of books litter the floor throughout. It's like a well-read monk lives here. Sara settles in a shabby recliner and pulls a container of fries and a big juicy double burger from the bag. She sets everything neatly in front of her on a TV tray. Turning on the television, the news is on.

(SFX – TV turns on)

NARRATOR: A reporter delivers the evening's top story.

REPORTER (on TV): Police are urging women, especially those living alone, to remain vigilant.

NARRATOR: Sara is about to take a bite of her burger, just as an outdated, corded phone next to her on a misplaced end table, rings.

(SFX – phone rings)

NARRATOR: She drops her sandwich and mutes the TV as she answers.

SARA: Hello, Jody.

JODY (over phone): You’re home. Great, I tried earlier but figured you were working…I really wish you’d get a cellphone.

NARRATOR: With a flicker of irritation, Sara takes a bite of food so as to not say what she's feeling.

JODY (over phone): I was calling to see how my little sister's doing. I haven't talked to you in, gosh, it's been, what, two months?

SARA: I guess.

JODY (over phone): I've called and left messages on your machine. I'm sure you got them.

SARA: I've been busy. Did you need something?

JODY (over phone): I just wanted to hear your voice. I miss you.

NARRATOR: Sara's eyes trail to a shelf, and a silver frame with the word Sisters on it. And a photo, her and Jody, huddled together smiling, taken years ago. Her lip curls, Jody’s words touch her, but she fights back the tears, trying not to feel anything.

JODY (over phone): How's life? Made any friends in Des Moines?

SARA: No.

JODY (over phone): Are you seeing anyone? There was a guy you were telling me about, Joe, I think?

SARA: He's my boss. He's gay.

JODY (over phone): Oh, okay. I didn't know. How is work?

NARRATOR: Sara makes a face, not wanting to be doing this.

JODY (over phone): What do you do for fun?

SARA: Fun?

JODY (over phone): Yeah, in your free time. Do you go out?

SARA: I go to work. I come home. That's it.

JODY (over phone): Maybe you should think about getting a pet, like a dog.

SARA: I hate dogs.

JODY (over phone): You used to not hate them.

NARRATOR: A long beat, as Sara's irritation is growing.

JODY (over phone): Sara, what's going on with you? I mean, ever since your accident...

SARA: It wasn't an accident. I was attacked.

JODY (over phone): I'm sorry. I guess I don't like using that word.

SARA: Why? It didn't happen to you.

JODY (over phone): I worry about you, but I'm not sure why you pushed yourself away from everyone. Why you packed up and moved? Why you refused to let anyone know what's going on with you? You just seem so…alone.

SARA: Don't call and lecture me about what I am or what I choose to be. I like being alone.

JODY (over phone): Sara, I didn't mean...

SARA: It's fine, but you do this every time. I shouldn't have answered expecting anything different from you.

JODY (over phone): You don't have to get so upset…Are you still taking your medication?

SARA: Why would you ask that?

JODY (over phone): I don't know. You just don't seem like yourself. You used to be so fun, full of life, but now...

SARA: What a shitty thing to say.

NARRATOR: Annoyed, Sara takes a deep, quiet breath.

SARA: Thanks for calling. I love you, but I gotta go.

JODY (over phone): Sara, wait.

SARA: Goodbye, Jody.

(SFX – slams phone)

NARRATOR: Sara clenches her fists, fuming. She tries to go back to her dinner, but something inside of her won't let the irritation go. Angry, she knocks the TV tray over in a fit of rage. Food goes everywhere.

(SFX – crash)

NARRATOR: Sara squirms in her chair, uncomfortable in her own skin. Then, a sudden shudder. Her body tenses up with a deep pain.

SARA: 217 days. Don't fuck it up now. Relax…

NARRATOR: Doing her measured breathing, Sara leans back in her recliner, struggling against her increasing anxiety.

SARA: Relax.

NARRATOR: But as her look drifts back to the picture of her and Jodie, a vexation grows. She squirms uncomfortably in her chair. More pain washes over her, fighting against something deep down. She grips the arms of the recliner, holding on.

(SFX – distant howls)

NARRATOR: Over her violent writhing, the sounds of neighborhood dogs can be heard, barking, howling in distress. She tries again to loosen her body, attempting to just be calm. Uncomfortable, she kicks her shoes off and shifts in the chair. The ache surges, reaching a pinnacle. Her teeth gnash, muscles strain, veins rise from her neck. The wave is a bad one, but she rides it through, finally giving a haggard exhale, panting to catch her breath…A moment later, blood seeps from her nose. She can feel it and wipes it away. As she inspects the crimson on her fingertips, an appropriate response would be concern. But Sara leans her head back, finally relaxing.

(SFX – thunder)

NARRATOR: Outside a somber rumble of thunder, a storm is close.


(MUSIC )

NARRATOR: It's late, and Sara's bedroom is dark, except for a small reading lamp. She flips through a magazine, unsatisfied. She closes it, staring at an ad on the back page for a men's razor. It features an attractive male model with a half-shaved face wearing nothing but a towel around his waist. Sara sets the magazine on her nightstand and lets out a lonely sigh.

(SFX – heavy breath)

NARRATOR: She grabs a remote and turns on a small television that sits atop a dresser across the room.

(SFX – TV sounds)

NARRATOR: Flipping through the channels, unable to shake her bad mood, she stops on a cheesy romantic comedy. In the movie, the music swells. The lonely nerd and the girl next door come together, sharing their first kiss. Despite coming in at the end of the movie, Sara's on the verge of a full-on cry, but she pushes her feelings way down.

(SFX – remote click)

NARRATOR: She turns off the TV and looks up at the ceiling. The darkness amplifies her melancholy as she gives another forlorn sigh…What a lonely existence she leads, but she has to.

(MUSIC – tense)

NARRATOR: Jagged pieces, muted sounds, the station wagon, the rain, the driver's side window shatters, echoes of Sara and Mark screaming, quick, violent fragments, repressed flashes in the shadows and silhouettes of the night, an unseen assailant in the front attacking Mark…Arterial blood sprays the window. Mark is dead.

(SFX – tense sting)

NARRATOR: The assailant, shrouded in complete umbra, comes over the seat after Sara. She kicks, fights him off, slipping out the car door.

(SFX – rain echoes)

NARRATOR: Rain falls. Sounds of leaves rustle as Sara runs for her life. Stumbling through the mud and muck, she looks back, her mind erasing details. But someone, a shape, a silhouette, is in pursuit. Sara splashes through puddles of mud, running from danger…But off to Sara's right, through the wind and rain, she sees a deer with antlers made of tree branches. It watches her flee…Ahead of her, a fox just off the path. Its eyes are actual flames dancing from its skull…Above her, a deafening screech. Sara looks up to see an owl. It spreads its wings and takes flight, transforming into water, becoming one with the pouring rain…She notices a spider crawling up her arm. She screams, trying to shake it off. She sees another and another. Her arms are covered with arachnids. She stops, frantically wiping them off of her body.

(SFX – terror sting)

NARRATOR: But behind her, pounding footsteps grow near. Sara takes off, running again.

(SFX – terror sting)

NARRATOR: Ahead, a disjointed and degraded figment of the party. Loud music plays. The song slowed and distorted. Sara emerges from the woods, trying to make it to safety. Just then, everything begins to fall away. The rain, the trees, the ground, the party, the music, disappears into nothingness. Sara is running in a black void. She tries to call out, but her voice is silent…The darkness itself envelops Sara. She's finally swallowed by the abyss.

(SFX – tossing in bed)

NARRATOR: Sara kicks and fights with her sheets, shedding them as she sits up. Sweat pours down her face. She struggles for breath. She automatically goes for her prescription bottle on the nightstand, already in the midst of a panic attack.

(SFX – pill bottle)

NARRATOR: She rips the cap off, shakes two pills into her hand, and downs them quickly. Measured breaths, one after another.

(SFX – breathing)

NARRATOR: Then feet on the floor, her toes dig in the carpet, anchoring herself back in reality. But it's not working…Once again, she stumbles to the bathroom, rushing to the sink, splashing water on her face.

(SFX – water slash)

NARRATOR: But her hands are shaking uncontrollably. Her discomfort, spiraling. Sara does her concise measured breaths, in and out, in and out.

SARA: Focus, breathe, control.

NARRATOR: She inhales deeper, holding it, slowly letting it out…She's starting to calm down…Leaning against the counter, she notices her fingernails. They're long again.

(SFX – footsteps)

NARRATOR: Marching back into her room, Sara sits on the bed, and grabs her clippers from her nightstand, obsessively cutting, grooming her nails.

(SFX – clipping nails, phone rings)

NARRATOR: Not expecting a call, the phone scares her…She answers it, already in a bad mood.

SARA: Jody, I'm sorry, but I don't want to do this right now.

DR. KELLER (over phone): Sara, it's Dr. Keller.

NARRATOR: She straightens up.

SARA: I thought you were someone else.

DR. KELLER (over phone): Is this a bad time?

NARRATOR: Not knowing how to answer, she stays quiet.

DR. KELLER (over phone): I wanted to follow up from yesterday, see if you were okay.

SARA: I'm fine.

DR. KELLER (over phone): The way you left, I...I don't want to overstep, but your visit seemed like a cry for help.

NARRATOR: His words send Sara on the defensive.

SARA: Well, it wasn't.

DR. KELLER (over phone): Look, it's hard to ask for help.

NARRATOR: She can hear concern in his voice, but fights to hold her feelings back.

SARA: I'm very busy, I don't have free time.

DR. KELLER (over phone): How about today? It doesn't even need to be at the office.

SARA: Can't. I'm working a double shift.

DR. KELLER (over phone): Then tomorrow, or the weekend. We can meet any time, we can work around your schedule. Heck, we can even get together for coffee. Keep it casual, just talk.

NARRATOR: Just like the phone call with her sister, Sara knows she needs to keep her distance.

SARA: You're a good guy, Dr. Keller. But this isn't working.

DR. KELLER (over phone): I understand…I wish there was some way I could help, but I get it…If you need anything, please don’t ever hesitate.

(SFX – hang up phone)

NARRATOR: Sara quickly hangs up the phone, then steadies her shaking hands as she goes back to clipping her nails. Exile is nothing new for Sara. Being alone with her own mind is the safest place for her right now.

NARRATOR: To be continued…

(MUSIC – Outro)

NARRATOR: For more killer content, subscribe or go to www.NocturnumCollective.com. And for more information about Predation and the LOTN universe, go to www.LegendsoftheNight.com