Predation - Chapter Three

A killer is stalking the shadows, with their sights set on Sara.

Transcripts - https://www.NocturnumCollective.com/predationbonus

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Transcript

NOCTURNUM COLLECTIVE – SEASON TWO

Predation – Chapter Three

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 three. Written by Karl White.

(MUSIC – tense pulse)

NARRATOR: There's only so much stress a person can handle. For months, Sara has been riding the razor's edge of excessive emotional strain, dulling her mounting pain with chemicals, a pill in the morning to get going, an after-lunch tablet to keep her steady, a late-afternoon dose to even things out, and a nighttime elixir to dull it all…But the routine is fleeting. Too many of the in-between times are beginning to feel like her dosing isn't enough, especially when it comes to keeping whatever it is she's repressing at bay. At work, bright and early, Sara wears an oversized button-up sweater on top of an unadventurous red dress. She stuffs her things in her locker, barely hanging on by a thread.

(SFX – pill bottle)

NARRATOR: So, she pops a few pills and takes a deep breath, psyching herself up for her double shift.

(MUSIC – drone)

NARRATOR: Time flashes around Sara as she works. Having numbed herself just enough, the hours of the day have quickly ticked away into another sparse weeknight at the library. Tables sporadically filled with people quietly reading or studying. But amidst the stillness, Sara, shelving books again, is getting an earful from an uppity soccer mom.

SOCCER MOM: This was in the kids' section, out where any young, impressionable mind could find it.

NARRATOR: The woman holds William Golding's Lord of the Flies.

SOCCER MOM: There's excessive violence, profanity, defamatory remarks about God. It's obscene.

SARA: It's a classic.

SOCCER MOM: It needs to be removed at once.

NARRATOR: Not knowing what to tell her, Sara simply shrugs, setting the soccer mom off even more. 

SOCCER MOM: You know, my taxes pay your salary.

NARRATOR: But Sara, still under just enough of the influence of her medication to not care, flat out ignores her…After a beat, realizing she's not gonna get anywhere with the quiet librarian, the irked soccer mom storms off.

(SFX – rolling cart)

NARRATOR: Pushing her cart back towards the front, Sara's stressed. She's starting to feel too much again. That's not good…And her sudden aggravation is far from over. As an older man with a goatee, impatiently waits at the front to check out a book. He spots her on her approach.

MAN WITH GOATEE: Do you work here? I've been waiting like five minutes.

SARA: Sorry, sir.

MAN WITH GOATEE: What's that? Speak up. I can't hear you.

SARA: Sorry for your wait.

NARRATOR: She scurries around the desk and goes about scanning the book and his library card. He watches, sizing her up.

MAN WITH GOATEE: You know, I go for your librarian types.

NARRATOR: That garners a sharp, triggered look from her…She looks deep in the man's eyes. They're dark, shiny, he's had a few drinks tonight.

MAN WITH GOATEE: Pretty girl like you probably gets a lot of attention.

NARRATOR: He curls his lip at her, exuding a very creepy vibe. Sara wants to tell him to fuck off, but slides the book over the counter to him, turning away.

MAN WITH GOATEE: I'm paying you a compliment. The least you could do is smile.

NARRATOR: Ignoring him and her quickly mounting stress, Sara does her best to act like neither are there, scanning returned books back into the computer system.

MAN WITH GOATEE: Whatever…Bitch.

NARRATOR: He swipes his book and with a huff, heads out the door. She's relieved that he's gone. But tugging at her collar, she's grouchy, irritable, stressed, feeling the approaching shift back to unmedicated Sara…Wanting the day to be over, she looks at the wall clock. It's 8:41 p.m., the home stretch.

(SFX – pick up phone receiver)

NARRATOR: She picks up the desk phone and dials to initiate the automated closing announcement.

(SFX – dials)

AUTOMATED VOICE (over loudspeaker): The library will be closing in 20 minutes.

NARRATOR: Not far from the front desk, at a reading table, the man in the Members-only jacket puts the book he was looking at down on the table and abandons his post. He hastily heads for the exit, passing by Sara as he leaves, doing all he can not to look at her.

(SFX – parking garage sounds)

NARRATOR: Nine o'clock, and like the night before, the lights in the library go out. Moments later, Sara exits, trying to lock the door behind her, while holding on to an armful of books that she's taking home. She manages to juggle it all, getting the door secured, stuffing the keys in her pocket, shifting the books to get a better grip.

(SFX – keys jingle)

NARRATOR: But now, the long trek to her car.

(SFX – stairwell door)

NARRATOR: Sara emerges from the stairwell. Her car is the only one remaining in the lower level, and since she's alone, she doesn't feel self-conscious, performing an inelegant ballet, fighting to maintain control of what she's carrying. But as she reaches her car, she realizes she's made a mistake by putting her keys in her pocket.

(SFX – keys)

NARRATOR: Sara fumbles, fleetingly trying to hold on to everything with one arm as she attempts to retrieve her keys. She loses the battle, as her unstable tower of books tumbles to the ground.

(SFX – books fall)

SARA: Goddamnit.

NARRATOR: She's forced to lean over and collect her belongings.

(SFX – car door)

NARRATOR: Getting her door open, Sara throws the books on the seat next to her as she climbs in.

(SFX – key slides in ignition)

NARRATOR: Key in the ignition, she turns it to start the car.

(SFX – engine struggles)

SARA: Come on.

(SFX – car sputters)

SARA: Great. Just fucking great.

NARRATOR: Could this night get any worse? She sits back in her seat, trying her dead level best to stay calm…But a moment later, a mini tantrum. She pounds the steering wheel, taking her anger out.

(SFX – angry squeal)

NARRATOR: She's losing control. She doesn't like that, and it doesn't solve her car trouble. But anxiety can be more powerful than prudence…More stress and strain builds. She writhes in her seat, closing her eyes, trying not to freak out.

(SFX – knock on glass)

NARRATOR: There's a sudden knock on her window. Already keyed up, Sara jumps. As she looks over, the man in the Members-only jacket waves, wearing an awkward smile…Sara quickly locks her door.

(SFX – door lock)

NARRATOR: He motions for her to roll down her window. She doesn't, so he talks through the glass, so she can hear him.

MAN IN MEMBERS-ONLY JACKET (stutters): C-C-Car trouble?

NARRATOR: He speaks with a nervous stutter…It seems like he wants to lend a hand, but Sara waves him away.

MAN IN MEMBERS-ONLY JACKET: I can help. I'm a m-mechanic.

NARRATOR: Through the dusty window, she gives an apprehensive look. He's doing his best to seem innocuous and affable.

MAN IN MEMBERS-ONLY JACKET: Pop the hood!

NARRATOR: But Sara rightly delays a moment.

MAN IN MEMBERS-ONLY JACKET: I-I-It's no problem. I'll just take a quick look.

NARRATOR: With no other options, she pulls the release.

(SFX – hood release clicks)

NARRATOR: Members-only waddles to the front and disappears behind the open hood. In the car, tugging at her collar, Sara's more on edge. She's doing all she can to hold her anxiety back, which is in turn amplifying it. Her discomfort is doubled, with Members-only around…She turns to her purse on the passenger's seat. Her shaking hands dig out a stick of pepper spray. She slides it into the pocket of her sweater, just in case.

(SFX – sting)

NARRATOR: When she looks back up, the man is leaning past the hood, watching her through the windshield.

MAN IN MEMBERS-ONLY JACKET: You should r-r-really take a look at this.

NARRATOR: He motions for her to get out of the car…Sara hesitates, gritting her teeth, as her anxiety is starting to approach critical mass…But as his insistence grows, she unlocks the door and gets out.

(SFX – car door)

NARRATOR: Trying to stay vigilant, Sara's hand stays in her pocket, clinging on to the pepper spray. But repressing her stress is distracting. She licks her lips. Her mouth is dry. She's beginning to feel lightheaded. Through her own discomfort, Sara notices Members-only. He has a tick, where he twists his neck, rubbing it against his shoulder. And as he guardedly looks at her, she concentrates on his eyes…They shift nervously, filled with doubt and fear.

(SFX – sting)

NARRATOR: Alarms are starting to sound in Sara's head. Is it him, or the panic attack she's fighting so hard to resist? Off her probing look, his demeanor, too, suddenly shifts. He purposefully and aggressively steps towards her…She recoils, instinct taking over, as she pulls the pepper spray from her pocket, keeping it out of sight, but ready to use at a moment's notice. He tries to speak.

MAN IN MEMBERS-ONLY JACKET: S-s-someone's...

NARRATOR: He gets hung up, fighting through his anxious stutter. He can't get the words out, so he grabs Sara by the arm. And just like when Marie did it, the aggressive gesture triggers the rose of fluorescent lights overhead to mysteriously flicker.

(SFX – lights flickering)

MAN IN MEMBERS-ONLY JACKET: Y-Y-You should c-c-come with me.

NARRATOR: Frightened by his hostility, Sara forcefully pulls away, causing him to stumble forward. A small handgun accidentally falls out of his pocket…As it hits the ground, they both look at it.

(SFX – sting)

NARRATOR: Members-only tries to explain, but can't.

(SFX – sting)

NARRATOR: Now in a full panic, Sara pepper-sprays him in the face.

(SFX – scream)

NARRATOR: Blinded, eyes burning, he falls to his knees. Sara sprints towards the stairwell, but halfway there, remembers her keys are still in the ignition. Back to the car, she snatches them.

(SFX – keys jingle)

NARRATOR: Members-only is on the ground, feeling for his gun, his eyes red and puffy, he can't see…He's still stuttering, trying to say something. Sara hurries back towards the stairwell.

(SFX – footsteps, running)

NARRATOR: As he feels her breeze passed, he reaches out, attempting to grab her.

MAN IN MEMBERS-ONLY JACKET: W-w-wait.

NARRATOR: But Sara bursts through the stairwell door.

(SFX – stairwell door)

NARRATOR: She's not doing well. She gasps for breath, her heart pounds. A dizzy spell forces her to brace the wall to stay on her feet as she heads up, the lights above her going haywire, hectic flickering and strobing. As she climbs the stairs, she can't feel her legs. She's fighting a tsunami of panic flooding her mind, but somehow, she keeps moving.

(SFX – exit stairwell)

NARRATOR: Out of the stairwell, Sara stumbles towards the library entrance, her vision blurring, steps staggered, crying, distressed. She can't catch her breath.

(SFX – lights flicker)

NARRATOR: Lights in the parking lot flicker, then bulbs explode.

(SFX – glass burst)

NARRATOR: Ignoring what's going on around her, Sara reaches the library entrance. She's trying to get the door unlocked, but her hands are trembling terribly.

SARA: Focus…Breathe…You're in control.

(SFX – drop keys)

NARRATOR: But she drops the keys, and when she tries to pick them up, she can't. Her stress is so bad, her body is shutting down. She falls to her knees. Then all fours, panting, struggling, on the verge of succumbing to it all.

(SFX – power surge)

NARRATOR: Near her, bollard lights illuminating the sidewalk, leading to the door flare, then burst inside their housings.

(SFX – bulbs burst)

NARRATOR: But sounds from the stairwell, heavy steps climbing, refocuses Sara. Her unsteady hand latches on to the keys, and with a surge of survival instinct, gets the door unlocked.

(SFX – door closed, locked)

NARRATOR: Inside the library, Sara secures the entrance, and with what little strength and resolve she has left, she pushes off from the door, careening to the front desk.

(SFX – sting)

NARRATOR: She makes it, crashing, sliding down to the floor…She crawls around the back, out of sight, fighting against her massive panic attack. Sara grips her chest, trying to breathe her way out, but she's not going to make it…She pulls her prescription from her pocket, ripping the cap off.

(SFX – pills spill)

NARRATOR: Pills go everywhere…Grasping one, she pops it, but it's not going to be enough…She's in it deep. Desperate, she reaches up, fumbling on the counter for the phone. Touching the cord, she pulls the whole thing down.

(SFX – phone hits floor)

(SFX – door rattles)

NARRATOR: The library entrance rattles as someone's trying to get in. Sara's trembling fingers dial.

(SFX – dialing phone)

NARRATOR: The line trills as she waits for an answer…Finally.

DR. KELLER (over phone): Hello? 

(SFX – heavy breathing)

DR. KELLER (over phone): Who is this? 

(MUSIC – drone)

NARRATOR: In the lower level of the library parking garage, Dr. Keller is at Sara's car, looking under the hood…Sara sits safely in his vehicle, an older model sports car. She's hunched over, disheveled, coming down from her run-in with the man in the Members-only jacket…He makes his way over to the parking garage stairwell.

(SFX – stairwell door)

NARRATOR: He opens the door, looking around, staring up. No one's there…Back in the good doctor's car, Sara, head down, stares at her fingernails -- they're long again.

(SFX – car door)

NARRATOR: Dr. Keller gets in.

DR. KELLER: Someone definitely tampered with your car.

NARRATOR: Noticing her broken-down demeanor.

DR. KELLER: Are you sure you don't want me to call an ambulance?

SARA: I'm sure. Thank you.

DR. KELLER: Well, whoever was here is long gone. You said he had a gun?

NARRATOR: She answers with a quiet nod.

DR. KELLER: What did he look like?

NARRATOR: Nerves frayed. Sara can't think…Only able to muster a shrug.

DR. KELLER: It could have been that killer that the police are after.

NARRATOR: Saying it gives him pause. Then...

DR. KELLER: I'm worried about you, Sara. I know you don't want to talk, but...

NARRATOR: She shrinks further into herself. Her eyes well, lips quiver, trying to hold back, but cracks show in her guarded façade.

DR. KELLER: Sara?

NARRATOR: Her shoulders slump, tired from the massive weight of holding her emotions back. The floodgates suddenly open.

SARA: I can't do this. I need help.

DR. KELLER: It's easy to let fear and anxiety consume you, but you have to fight.

SARA: What I've been through, I don't know that I can open up about it. But if I don't do something soon...

NARRATOR: She trails off, unable to say the words.

DR. KELLER: Whatever it is, we'll figure it out together.

NARRATOR: He puts a comforting hand on hers. She takes a deep breath but doesn't pull away…And for the first time, in a long time, she doesn't feel so alone…After a moment, Dr. Keller goes for his pocket, pulling out his cell phone.

DR. KELLER: We do need to call the police, and they're most likely going to want a statement. It's going to be a long, stressful night. Can you handle that?

NARRATOR: Sara's optimistic look fades, but she nods, nonetheless.

DR. KELLER: Not sure it's safe here. Maybe we go to my office, have them meet us there.

NARRATOR: She cringes, not liking the suggestion.

DR. KELLER: You should probably be in a setting you're comfortable with. How about your place? Nah, that'd be an intrusion in your space and your privacy. I don't want to jeopardize that.

NARRATOR: He raps the steering wheel, thinking some more…Adrenaline is a hormone, and as the fight or flight continues to wear off for Sara, she watches him. Well, not exactly him, but his chiseled jaw, swollen arms, heaving chest, and her mind wanders…As Keller has a lightbulb moment, he turns back to her, still jumpy, and thinking she's been caught staring, Sara quickly averts her eyes.

DR. KELLER: How about my house? It's a neutral site, and I'm happy to speak on your behalf. I really don't want you to have to go through this alone.

NARRATOR: Sara mulls it, still a bit thrown and unsure, but as she gives a shy look his way, that smile of his...

DR. KELLER: Let me do this as your friend, not your psychiatrist.

NARRATOR: His comfort draws her in…so with an agreeable nod from Sara, Keller starts the engine.

(SFX – car starts, drives off)

NARRATOR: As Dr. Keller's car pulls away, the man in the Members-only jacket emerges from the shadows, his eyes still red and swollen from the pepper spray…He watches the taillights of the car disappear up the ramp.

(SFX – car on dirt road)

NARRATOR: Outside of the city, Dr. Keller pulls down a long dirt driveway towards a quaint farmhouse that sits alone for miles.

(SFX – car door)

NARRATOR: Out of the car, the night sky is dark, except for a porch light and a single streetlamp at the far end of the driveway…Sara follows Keller to the back door He seems suddenly timid, as if he's worried about Sara's impression of him, or maybe it's something else.

DR. KELLER: This is actually the house I grew up in.

(SFX – door unlock/open)

NARRATOR: Dr. Keller turns on the lights as he enters. The back door leads into a sleek eat-in kitchen, which is a drastic departure from the house's outward appearance.

DR. KELLER: I know it doesn't look like much, but after my mom died, I remodeled. I'd like to think the juxtaposition of styles is kind of a metaphor for my life. You know, shy farm boy who made something of himself.

NARRATOR: He ushers Sara just beyond the kitchen to the living room. It's neat, tidy, decorated with boxy Scandinavian furniture and expensive art. 

(SFX – keys jingle)

NARRATOR: Dr. Keller drops his car keys in a glass bowl on a console table against the wall.

DR. KELLER: Please make yourself at home. I'm gonna call the police so we can get this over with. May I get you something to drink?

NARRATOR: Sara gives a quick nod. He disappears into the kitchen. She sheds her sweater and purse. Out of habit, she sits on the far end of the couch just like in Keller's office…She rubs her nose. Something in the air seems off. But at the moment, after her stress-filled night, everything is a bit off. From the kitchen, sounds of liquid pouring and snippets of Keller on the phone.

DR. KELLER (muffled/in the background): A friend of mine was attacked. Could you please send an officer to one-thirteen, rural route five...

NARRATOR: Sara scans the room. On the wall across from her, a framed photograph, a woman, whose appearance is strikingly similar to her own. Up from the couch, Sara gets closer, examining the photo. The woman is posed provocatively, wearing a bondage corset and a choker. There's a look of despair on her face…Dr. Keller hurries in, bringing Sara a glass of milk.

DR. KELLER: The police are on the way. They should be here shortly.

NARRATOR: She studies the choice of drink as he hands it to her.

DR. KELLER: Warm milk. It's hokey, but it's good for calming nerves.

NARRATOR: Sara takes a sip. Her face contorts, hung up on the taste.

DR. KELLER: I added a little splash of amaretto, too. Also good for nerves. I hope that's okay.

NARRATOR: She nods as she takes a larger gulp, then stares back at the photograph, rubbing her nose again.

SARA: Where did you get this?

NARRATOR: Noticing his modest look.

SARA: You took it?

DR. KELLER: Many years ago. The lighting's too harsh. I was just getting to know lenses.

NARRATOR: He furrows his brow, a bit bashful about it.

SARA: It's stunning.

DR. KELLER: Oh, thanks. But Cynthia, the model for this particular photo session, all the credit goes to her. She made it very easy.

NARRATOR: He looks off, having a memory…Sara takes another drink.

DR. KELLER: There's a unique bond between an artist and a subject.

NARRATOR: As he talks, Keller walks along the wall with Sara, looking at other photographs. More women, who all look like Cynthia, each more alluring and suggestive in their poses.

DR. KELLER: Photography is one of my many outlets. You know, it's kind of my own form of therapy. Do you have any hobbies?

NARRATOR: Sara nods, seeming a bit lighter on her feet. Keller notices and motions to the couch where she sits. Dr. Keller takes his place in a chair, across from her. The dynamic now feels a little too reminiscent of his office. But Sara doesn't notice as she kills the rest of her drink, smiling. Her demeanor is more uninhibited than usual.

DR. KELLER: What do you do to find a connection with yourself?

SARA: I used to write.

DR. KELLER: Is that so? Do you appreciate the healing power creativity can bring out?

SARA: It can be liberating. I miss it.

NARRATOR: He smiles at her…She smiles back.

SARA: You have such a nice smile.

NARRATOR: Sara is suddenly more aware she's feeling loose, but she gets distracted as Dr. Keller comes over and sits next to her.

DR. KELLER: You have a nice smile too.

NARRATOR: He slowly, deliberately inches towards her. Leaning closer for a kiss, she hesitates a moment, pulling back…But through her increasingly relaxed state, she lets her guard down and moves closer. Before their lips meet, she catches something, another strange scent.

(SFX – sting)

NARRATOR: The hairs on the back of her neck raise. The smell of a threat in close proximity. Danger fills her senses. Recoiling, Sara finally looks at Dr. Keller…Focusing on his eyes, she sees darkness, hate, death.

(SFX – terror sting)

NARRATOR: The panic meter in her head screams for her to go, now. Instinct brings her to her feet to flee, but her legs are jello…Keller lunges and grabs her. Sara fights to get away but hasn't the strength. All she can do is wiggle loose and fall to the ground.

(SFX – thud)

DR. KELLER: Careful. You're in no condition.

NARRATOR: She tries to get up, but her arms and legs aren't working. The best she can do is crawl. Keller watches, snickering, letting her advance a few feet, before grabbing her by the ankle and dragging her back.

DR. KELLER: Where do you think you're going?

NARRATOR: He scoops her up and throws her down on the couch.

DR. KELLER: Relax, will you?

(SFX – sound from another room)

NARRATOR: A muted sound from the kitchen grabs Dr. Keller's attention. He peers back over his shoulder, curious…Struggling, swaying on the couch, Sara tries to stand again, but can't. All she can muster is one last, uncoordinated swing of her arm, knocking the empty glass of whatever he drugged her with over…

(SFX – glass hits floor)

NARRATOR: As the glass hits the floor, it diverts Keller's alertness back to her. Sara slumps forward. Dr. Keller hurries over, leaning her back, gently brushing her hair from her face.

DR. KELLER: Everything will be okay. Promise.

NARRATOR: Distracted, admiring his prize, Dr. Keller doesn't notice the man in the Members-only jacket sneaking into the room, gun in hand.

MAN IN MEMBERS-ONLY JACKET: G-g-g-get away from her.

NARRATOR: Surprised by the voice, Dr. Keller quickly turns, grabbing a hefty vase off an end table.

DR. KELLER: Ah, Donald, I should have known.

NARRATOR: It takes the man, Donald, a moment to respond, fighting again through his anxious stutter.

DONALD: I-I-I've been watching you. I know who you really are, Dr. Keller.

DR. KELLER: You're confused as usual, Donald.

DONALD: You followed this woman after she left your office yesterday. I-I-I had a feeling y-y-you'd try something, and I'm h-h-ere to stop you.

NARRATOR: Dr. Keller glances back at Sara, frozen on the couch.

DR. KELLER: Hear that, Sara? Your knight in shining armor has arrived.

NARRATOR: Barely conscious, Sara still tries to fight against the drugs, but she's not going anywhere.

DR. KELLER (mocking): I know you didn't call the cops, b-b-b-because you wouldn't b-b-be able to explain yourself without sounding like a f-f-f-f-fucking lunatic.

NARRATOR: With Keller in his crosshairs, Donald pulls the hammer back.

(SFX – gun cocks)

NARRATOR: He's not messing around.

DR. KELLER: Okay, relax, Donald. I'd say you got me, but there's one thing you missed.

NARRATOR: Already on edge, Donald thinks a moment, then foolishly lowers his weapon. Taking the safety, Keller lobs the vase at him. It misses Donald, shattering against the wall.

(SFX – glass shatters)

NARRATOR: It's enough of a distraction to provide Dr. Keller with an opening. He rushes Donald, tackling him to the ground.

(SFX – fighting)

NARRATOR: The gun flies out of Donald's hand, ending up in the corner near the fireplace, out of sight, to both men. And as they violently clash, Sara's vision blurs as she loses consciousness.

(MUSIC – horror drone)

NARRATOR: Deep below Dr. Keller's farmhouse is a finished cellar. Sara's eyes begin to slowly flicker open. She's drowsy, disoriented.

(SFX – running water)

NARRATOR: On the far side of the room, Dr. Keller is in a water closet, washing and scrubbing his hands like a surgeon. It takes Sara's eyes a moment to adjust to the harsh fluorescent lights. She's still dazed, not fully conscious. But as she becomes more aware, she can see she's in a sterile room with white walls, a smooth concrete floor with a drain in the center, and foam sound deadening panels covering the ceiling. On one wall, more framed photographs of women, all bound to a chair, all in different stages of torture. Against another wall sits a shelf lined with torture devices, and various animal traps. More lucid with each passing moment, Sara tries to speak, but realizes she has a gag in her mouth. She tries to reach for her face but can't. With her eyes wide open, Sara looks down to see her wrists and ankles bound to a chair, like the women in the photographs. Her shoes are gone.

(SFX – scream through gag)

NARRATOR: She lets out a muffled squeal as her head snaps around, surveying what she can see of the room. There are no windows and only two doors. One, a large metal one with an intricate lever lock. The other, the bathroom, where Keller is. She's flanked by professional photography equipment, strobe lamps with reflective umbrellas. A camera mounted on a tripod is directly in front of her. On the other side of the room, she sees Donald, in a similar situation as herself, gagged and bound to a chair. They make eye contact. He's awake, face battered. He looks as terrified as she does.

(SFX – scream through gag)

NARRATOR: Dr. Keller exits the bathroom, a joint hanging from his mouth. Seeing Sara awake, he perks up.

DR. KELLER: Hi there, Sleeping Beauty!

NARRATOR: Looking down at her red dress.

DR. KELLER: Or should I call you Little Red Riding Hood?

NARRATOR: Dr. Keller gives a wry smile as he takes a long toke off the joint. He walks back to Donald and blows the smoke in his face.

DR. KELLER: And I haven't forgotten about you, Humpty Dumpty.

NARRATOR: Then he puts the cherry out on Donald's arm, causing him to scream through his gag.

(SFX – scream through gag)

NARRATOR: Keller strolls over to a small wet bar in the corner, littered with bottles. He rips the cap off some vodka, taking a healthy swig. Then he dumps cocaine on a mirror, cutting it.

DR. KELLER: You're probably both thinking, a psychiatrist with antisocial personality disorder and psychopathic tendencies? Really?

NARRATOR: Doing a line of coke, Keller pops up, feeling the effects immediately.

DR. KELLER: There are tons of etiological theories, you know. Early stress, parental relationship patterns, issues of power and control, blah, blah, blah.

NARRATOR: Peeling his shirt off, Dr. Keller reveals a muscular frame. He looks different. Not different in his hair doesn't look the same, but in the way that his personality has morphed, like Jekyll and Hyde.

DR. KELLER: But all the science and psychobabble aside, for me, my love for killing comes down to one simple thing. I love fear.

NARRATOR: Dr. Keller walks up and grabs her face. Sara squirms in her restraints, struggling to yell through her gag. He leans over her and inhales deeply, taking in Sara's scent. This scares her even more. She shifts in the chair, trying to pull away from him, but can't.

DR. KELLER: Calm down? You're gonna make yourself pass out?

NARRATOR: He turns from her, standing at the middle point of the room between Sara and Donald. But he can't stop moving, giddy with excitement.

DR. KELLER: Donald, I've never killed a man before. Guess here's the first time for everything.

NARRATOR: Another wry smile as he walks over to one of the photographs on the wall. In it, his victim's eyes are rolled back as blood weeps from a deep neck wound. It's fuzzy, indicating the victim was squirming. It's as if you can see the life leaving her body in the photo…He glances back at Sara.

DR. KELLER: I wasn't quite sure about you, Sara. But when you came back to my office yesterday…

NARRATOR: Keller stops, his eyes narrow. Looking at Sara, something's not right. He quickly hurries over, smoothing wrinkles in her dress, wanting it, and her, to look just right…Back to his train of thought.

DR. KELLER: I could see it, deep down, fighting with every part of your being to protect yourself.

NARRATOR: He again leans over, getting in her face, inspecting her closely. He teases her hair a little, styling it in a certain way.

DR. KELLER: Sara, whatever messed you up must have been pretty extreme to create such an excessive response. I mean, you exhibit a lot of panic and fear. It's gonna be really fun to take you apart.

NARRATOR: Tears stream down her face, making her eyeliner run. But not done with his muse, Dr. Keller takes his finger, smearing mascara across her face…He takes a step back and looks her over, inspecting with an artist's critical eye.

DR. KELLER: There we go. That's what I want to see.

NARRATOR: He quickly takes his place behind the camera, snapping off a few shots.

(SFX – taking photos)

NARRATOR: The strobes flash in her face as Sara squirms in bondage. The camera is connected to a laptop. The images Dr. Keller takes appear in order on his monitor. He abandons the camera and hurries to the computer, looking at the pictures of Sara. He selects one and prints it.

(SFX – printer)

NARRATOR: As it spits out, he admires the hard copy, his gaze going from Sara to the picture and back again.

DR. KELLER: This is a good place to start.

NARRATOR: Dialed in, Dr. Keller discards the photo and marches back to the bar, doing another line of nose cand and slamming more vodka…With a sudden burst from the pick-me-up, he's excitable, overactive…He hurries to the shelf with the torture devices and picks out an instrument known as a Heretic’s fork, a neck band with a double-sided fork attached. Sara and Donald both look at him, scared of what he might do with it…But Keller thinks for a moment.

DR. KELLER: Too soon. I’m getting ahead of myself.

NARRATOR: He puts the heretics fork down and rushes to his desk. Digging in a drawer, he pulls out a tube of lipstick and marches back to Sara, grabbing her face again. She tries to resist, but he forcefully holds her, smearing the lipstick around her lips and gag, then looks her over.

DR. KELLER: Not natural enough.

NARRATOR: He leans in, kisses her over her gag. She squeals with terror and disgust. Then he rubs the makeup with his fingers, creating an eerie distorted smile on her face.

DR. KELLER: Better.

NARRATOR: Back to the camera, wiping the lipstick from his mouth. He takes more photos, the strobes flashing each time.

(SFX – taking photos)

DR. KELLER: The way you looked at me tonight, Sara, I knew I had to get you in my chair. It was so easy too. You women are all the same. So fucking weak.

NARRATOR: More tears roll down Sara's cheeks. Her hands futilely struggle against the restraints. She shakes her head, tussling her hair…It throws something off for Dr. Keller. Back to Sara, he styles her hair again, picky with his subject.

DR. KELLER: A look, a smile, an invitation to feel something. It's like luring an animal.

NARRATOR: Back at the camera, Dr. Keller, the voyeur, enjoys watching Sara breaking down through the viewfinder, strobes of blinding light as he documents her mental collapse.

(SFX – taking photos)

DR. KELLER: My father used to set animal traps in the woods and make me collect the carcasses. A lot of times, the animals wouldn't be dead yet. It was my job to kill him. That's what he used to say.

NARRATOR: Sara twists and fights with her binds, using all her might to break free. But she hasn't the strength.

DR. KELLER: I love watching life flee through the eyes.

NARRATOR: He stares off, having a moment.

DR. KELLER: I still set traps in the woods, hoping to catch something really big.

NARRATOR: He shakes it off and comes back to Sara. He looks at her. She's scared, trembling.

DR. KELLER: You are something else, Red.

NARRATOR: His eyes linger on her hair, her red dress, then an idea. At the desk, Keller grabs a pair of scissors. He goes to his camera, setting it on auto…The strobes flash every few seconds, taking pictures as he approaches Sara. Brushing the hair from her face, he smiles, then forcefully grabs a handful of her mane. She tries to pull away.

DR. KELLER: You're Little Red Riding Hood, and I'm the Big Bad Wolf.

NARRATOR: With the shears, he cuts a chunk of her beautiful locks, sprinkling them on the floor. Sara screams again through her gag. She twists and squirms in her seat. More tears roll down her cheeks…The overhead lights in the room begin to flicker.

(SFX – lights flickering)

NARRATOR: Keller doesn't notice. Donald does. Keller cuts more hair. It falls to the ground. Sara's breathing hard, almost hyperventilating. She and Donald lock eyes for a moment…Her loud but muffled screams continue.

(SFX – scream through gag)

NARRATOR: Dr. Keller snips more hair. The strobe lights trigger with each photo taken. The combination of it all is a violent assault meant to overwhelm the senses…It's too much for Sara…She's losing control.

(SFX – sting)

NARRATOR: Something begins to happen. Sara's screams are high-pitched but deeper and more pain-filled at the end.

(SFX – deep scream through gag)

NARRATOR: She's at the frayed end of her sanity.

(SFX – deeper scream through gag)

NARRATOR: Dr. Keller doesn't hear it as he's focused on cutting more of her hair. Then with the shears, he cuts the top of her dress open a few inches from the neck down. He slashes her chest just below the collarbone with the blades of the open shears. The wound isn't deep, but it weeps blood. Sara cries in pain and fear. He straightens up, looking into her panic-stricken eyes, taking so much pleasure in it.

DR. KELLER: That's what I'm talking about. The eyes.

NARRATOR: Dr. Keller can't get back to his camera fast enough, staring through the viewfinder, snapping more pictures.

(SFX – taking photos)

DR. KELLER: Just like a scared little animal.

NARRATOR: She continues to fight her restraints. Another scream.

(SFX – deep scream through gag)

NARRATOR: But this one is deep and primal. Keller is watching Sara's face through the camera's point of view. She trembles. Tears stream from her eyes. And he enjoys watching it as he snaps more photos…More noises from her. Lower in pitch, bassy.

(SFX – roar through gag)

NARRATOR: Dr. Keller finally notices the sounds from her don't match her presence in the chair. Keller looks at Donald. They're both perplexed. Sara's body begins to tremble.

(SFX – power pulsating)

NARRATOR: The lights are flickering wildly.

(SFX – growling through gag)

NARRATOR: Gripping the arms of the chair, Sara's eyes flutter. Teeth clench. Pulse pounds. Adrenaline at its apex. She's on the verge of passing out or having a massive heart attack or something much, much worse.

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