Season 2
Episode 19
“Red Rock Jarod”
Writer: Tommy Thompson
Director: Fred K Keller
Somewhere in the Arizona Desert
(It is night.  An unseen figure lights a kerosene lamp before picking up a 
shovel and starting to dig into the soft earth.  The person picks up an 
instamatic camera and takes a photograph of a large metal cylinder that 
has a glass window in top.  The person returns to digging.  Fuel is poured 
into a small engine.  There is rope, rubber tubing and a roll of silver duct 
tape lying on the ground.  The person takes more pictures, throwing them 
on the ground to allow them to finish the developing process there.  The 
image emerges to reveal a young woman, bound, her mouth sealed with 
electrical tape.  Her eyes say the words that her mouth is not able to.)

Miss Parker’s Residence
(Miss Parker tosses restlessly in her sleep, a remembered incident 
disturbing her.  She stands on a pier on a foggy evening, Lyle opposite 
her.) 
Lyle: How strong are you?
Parker: Test me.
(In her dream, Lyle turns his back to her and tosses his cigarette into the 
river.  Parker is momentarily distracted by this action, giving Lyle enough 
time to reach under his coat and draw his weapon.  He spins back to 
Parker.  She blinks in surprise and fires instinctively.  The force of the 
bullet pushes Lyle into the river, the splash loud.  The sound of Miss 
Parker’s alarm brings her back to the present.  She reaches over and 
turns it off before rolling over and up with a groan.)

Jarod’s Lair
(Jarod takes a seat at a desk and picks up a pair of scissors.  He starts to 
cut around an article from a newspaper that is spread out before him 
when interrupted by his computer.)
Computer: You have mail.
(He turns his attention to the computer and enters his password.  There is 
a message there with the title “Refuge”.  He looks at it carefully before 
opening the message.  It reads: “Have urgent information concerning your 
past, present and future.  Please meet me in DRY RIVER, ARIZONA. 
Sydney.”  He reads it carefully before checking up the location of Red 
River on a map on the screen.)

Dry River Arizona
(A sign marks the boundary of the small, sleepy town.  It describes the 
town as “friendly”.  Jarod pulls up on the main street and gets out of the 
car.  He looks around.  He spots an old lady crossing the street and two 
men sitting on a verandah playing checkers.  There is no other sign of life.  
He walks over to the fence that surrounds the boarding house where the 
two men are sitting.  He calls out to them.)
Jarod: Morning.  I’m new in town and I was supposed to meet a friend 
and I was wondering if you gentlemen might have seen him?  (He opens 
the gate and steps through.  Behind him a car pulls up on the street and a 
door opened and closed.)  Look, I don’t mean to interrupt your game but 
it would be nice if you at least looked at me.  (The men continue to ignore 
him.  He seems bemused by this not so friendly welcome.)
Miller: They can’t hear you.
(Jarod turns back to the gate where a female deputy stands.  She walks 
through the gate.)
Jarod: Excuse me?
Miller: Those are the Mitchell brothers.  They’re deaf as posts.  (She 
walks to the bottom of the verandah and kicks the boards there.  The 
vibrations get the men’s attentions.  They sign her a welcome.  She turns 
back to Jarod to translate.)  They said-
Jarod: They said it looks like it’s going to be another hot day.
Miller: You speak sign language?  (Jarod signs a greeting to them to 
which one of the brothers responds in a friendly manner.)  Deputy Miller.  
(They shake hands.)
Jarod: Jarod . . .  (He looks across the street and spots a barbershop, 
complete with red and white pole out the front.)  Barber.
Miller: We don’t get many visitors to Dry River Mr. Barber.  (They start to 
walk along the pavement.)  What brings you to town?
Jarod: Well actually I’m here to meet a friend.   Maybe you’ve seen him; 
he’s fifty something and distinguished looking.
Miller: Distinguished?  (She stops walking and Jarod has to follow suit.)  
I’d remember him wouldn’t I?  (Her hand goes to her weapon in its holster 
on her hip.  She releases the catch that holds it in place.  Jarod is aware 
of her very deliberate movement.)
Jarod: I think I’ve probably taken up enough of your time Deputy.  Have 
a nice day.
Miller: I’m afraid I’m going to have to ask you to stick around a little 
while longer.
Jarod: Excuse me?
Miller: You’re gonna have to come with me Sir.
Jarod: And why would I want to do that?
Miller: (She takes out her revolver, cocks it and aims it in a two-handed 
grip at Jarod.)  Because if you don’t I’m going to have to kill you.

OPENING CREDITS

A Dead End Alley 
(Sam, the sweeper, pokes around at the end of the alley, where a Dead 
End sign and a chainlink fence mark the end of the street.  Sydney opens 
the lid of a dumpster and peers at the contents in side.  Miss Parker and 
Broots stand in the middle of the area that is surrounded by graffiti-
marred walls and litter of every description.  Miss Parker, as usual is 
impeccably groomed in a long line grey pants suits.  Broots, however, is a 
little less conventional in sporting a pink nylon jacket over his usual casual 
attire.)
Parker: So much for anonymous tips about Jarod.
Broots: The guy said we’d find what we wanted right here.
Parker: If we were looking for urban blight and the overwhelming stench 
of urine he was right on the money.  
(Sydney having finished his examination of the dumpster joins them.)
Sydney: You think we’re being led astray?
Parker: Thank you Sherlock.  (Her attention turns to Broots.)  Pink?
Broots: Oh.  Well I let Debbie do the laundry and she kind of got the 
colours mixed with the whites.  I don’t want to hurt her feelings.
Parker: Don’t let her cut the grass.  I want a team to sweep the area.  
(She removes Broots’ dark glasses, blows on the lenses and puts them 
on.)  I want everything within a fifty-foot radius brought back to the 
Centre.
Sam: Miss Parker!  There’s something here you should see.
(From above them, someone takes a photograph of them as Broots, 
Sydney and Miss Parker walk to the end of the alley.  Sam indicates a spot 
on the back of the Dead End sign.  Wedged between the pole and the sign 
is a buff coloured envelope addressed to Miss Parker.  She pulls it out and 
returns to the middle of the alley.  She opens the envelope and pulls out 
an identification card.  Sydney looks over her shoulder.  The card shows a 
picture of her mother.  Along with the usual details there is an expiration 
date which has been crossed out and replaced with a hand-written date.)
Sydney: Parker, you alright?  Your mother’s identification card, and the 
expiration date has been changed.
Parker: It seems Jarod has cultivated a darker sense of humour since we 
last spoke.  (She walks away.)
Broots: Did I miss something?
Sydney: The new expiration date.  That’s the same day her mother was 
killed.

Sheriff’s Department
Dry River Arizona
(The outside of the Sheriff’s Department is exactly how one would imagine 
a Sheriff’s department of a small town – glass panelled door, the inside 
hidden by a venetian blind.  Inside there is a reception area with a counter 
that is separated from the working area by a low railing, with a swing gate 
entrance.  The cells are accessed through another door in the far right 
corner of the office with access to another area through a hallway at the 
back..  Jarod sits on a chair, his hands cuffed in front of him in the 
reception area while the deputy finishes up the paperwork.)
Jarod: Everyone who’s arrested has the privilege of making one phone 
call.  (He sounds more exasperated than angry.)
Miller: You’re not under arrest.  You’re being detained for questioning.
Jarod: About what?
Miller: Sheriff Delmont will explain it all to you when he gets back.
(She walks through the swing gate and takes Jarod by the elbow.  He 
stands and she leads him toward the cells.)
Jarod: This is crazy.
Miller: Just go with the flow and nobody will get hurt.  
(She opens the door at the back of the office just as the front door bursts 
open and a teenage boy comes into the office, quite breathless and 
upset.)
Youth: Miss Miller?  Come quick!  It’s JR.
Miller: JR?  What happened?
Youth: We were tossing around a football by the church and he just 
passed out.
Miller: Well, go get Dr Kraner.
Youth: He’s gone to Tucson for the day.  We got JR inside the church, but 
he’s out cold.  (She bites her lip, unsure what to do.)
Jarod: I have some medical training.
Miller: (She turns back to face him.)  This is my son we’re talking about.
Jarod: I can help.

The Church
(The deputy’s car, siren blaring, pulls up with a skid outside the white 
church.  She and Jarod move quickly inside the church where JR has been 
laid out on the floor.  A group of teenagers surround him.  The sun 
filtering through the stained glass windows throws unusual coloured 
patterns on the floor.)
Miller: JR?  You kids get back.  Get back.  (Jarod and Deputy Miller kneel 
beside the boy.)  JR?  Honey?  Sweetie can you hear me?  JR?
Jarod: He’s in shock.  (He puts an ear to the boy’s chest.)  He’s still 
breathing.
Miller: He’s hypoglycaemic.  
Jarod: (He lifts the boy’s eyelids.)  When was the last time he ate?
Miller: Umm, he had cereal for breakfast, three or four hours ago.
(Jarod lifts one of JR’s hands and checks the colour of the fingernails.)
Youth: Only water since he was here.
Miller: Is he going to be okay?  JR?  Come on honey.  (Jarod puts his 
hands into the inside pocket of his jacket.)  What do you think you’re 
doing?  (He pulls out a PEZ dispenser.)
Jarod: I need to stabilise his blood sugar.  (He takes out one of the 
sweets.)  I’m going to stick this in your mouth.  I want you to let it 
dissolve, okay?  Good boy.
JR: (The boy’s eyes open.)  Mum?
Miller: Oh, it’s okay honey.  It’s okay.  Everything’s going to be okay.

Sheriff’s Office
(Jarod sits on the cot in a cell his knees drawn up to his chest, forearms 
resting on them.  Deputy Miller wanders into the cell area checking on her 
prisoner.  She turns to leave.)
Jarod: How is he feeling?
Miller: Better.
Jarod: He has a heart condition.  (She turns back to face him.)  I noticed 
the bluish tint to his fingertips and his lips.  I’d say, by the looks of it, it’s 
congenital.  You have a very sick boy.
Miller: Are you a doctor?  (She walks up to the bars.)
Jarod: Not at the moment.  (She gives him a look of disgust and turns 
away.)  Why hasn’t he had a heart transplant?
Miller: (She answers from the doorway.)  Because he’s on a waiting list.  
Because he has AB negative blood, which is very rare.  It only happens in 
certain families.
Jarod: One in three hundred thousand.  I know.  I have it too.
(Behind her, the sheriff has returned.  He marches straight to the cells 
and looks at Jarod.)
Sheriff: Is this the guy?

The Centre
Sydney’s Office
(Broots and Miss Parker lean over Sydney’s shoulder.  They are looking at 
something on his screen.)
Sydney: I may have found Jarod.  I received this e-mail from him today.  
Hmm.
(The message reads “Re REFUGE: Message Received.  Will meet in DRY 
RIVER as requested.  Hopes remain high.  Jarod.”)
Parker: And you say you didn’t send this refuge message to Jarod?
Sydney: If I had would I be showing it to you?
Broots: That’s a good point.  (Miss Parker tries to shrivel him with a look.  
He clears his throat.)
Parker: What is this Dry River place anyway?
Sydney: According to the computer there’s a Dry River in southwest 
Arizona.  (He stands and goes to his bookshelf, removing a hardbound 
book of maps.  He and Broots lean over it.  Miss Parker picks up the 
phone.)
Parker: This is Parker.  Have the jet prepared.  Well get it out of the 
Hangar.  Forget it!  Just book me a seat on the next commercial flight to –  
(She clicks her fingers at Sydney.)
Sydney: Phoenix.
Parker: Phoenix, and I’ll pick up the ticket at the gate.
Broots: Uh, you’re going alone?
Parker: I’m a big girl Broots.  Have this stuff analysed by Cousin It.
Sydney: Angelo?
Parker: I don’t like dead ends Sydney, especially when they concern my 
mother.
(She leaves.)

Car Park
(Miss Parker, carrying an attache case, walks to her car.  She pauses as 
she’s about to get into it, looking around.  An unseen figure takes a 
photograph of her from a raised position.)

Sheriff’s Office
Dry River
(The Sheriff takes a pump action shot gun from a rack of the same.  He 
passes a box of shells to Deputy Miller who looks on in concern.)
Sheriff: Hold this.
Miller: Then he helped JR back to the squad car, and we brought him 
back here.
Sheriff: A touching story.  (He starts to load shells into the weapon.)
Miller: Sheriff, he had every opportunity to escape but he didn’t even 
think about running.
Sheriff: What’s your point?
Miller: He helped save my son.  Surely there’s another way we can 
handle this.
Sheriff: There’s not.  (He pumps a round into the breech and goes back 
to the cells.  Jarod is standing at the bars at the back of the cell looking at 
the window through which strong sunlight floods the area.  He turns when 
he hears the sheriff enter the cell area.  The sheriff unlocks the cell.)  You 
did a decent thing for the boy and I’m grateful, but if you give me one 
second of trouble I’m going to shoot you dead.  You understand me?
Jarod: Completely.
Sheriff: Let’s go.
On the Road
Sheriff’s Vehicle
(Jarod sits in front beside the sheriff, his hands once again cuffed in front 
of him.)
Jarod: It’s a lucky thing I showed up here today.  Your deputy has a 
pretty sick boy on her hands.  He could have died.  It must be difficult, 
watching someone you love suffer like that.  (The sheriff twists his 
wedding ring.  Jarod removes his sunglasses and turns towards the 
sheriff.)  What about you, Sheriff?  Do you have any family?
Sheriff: I think it’s going to be a whole lot easier if you and I don’t get to 
know each other.  (The sheriff brings the vehicle to a halt outside a small 
disused foundry.  He gets out of the car, shotgun in hand, and goes to the 
passenger side, opening the door for Jarod.) Get out.   Let’s go.  (They 
enter the foundry that had been abandoned some time ago.  It is a large, 
high ceilinged structure with a dirty concrete floor.)  Go straight.  (He 
marches Jarod to the other side to the entrance.)  Move!  Go right over 
there.  Stay there.  (He goes to another door, keeping his weapon trained 
on Jarod, and unlatches the door.)  Let’s go.  (Jarod goes through the 
doorway to be met by a large guard dog.  It starts barking viciously and 
straining at the rope that keeps it tethered to a pole.)  Go on.  (Jarod 
sidles past the fierce animal followed closely by the sheriff.  He leads 
Jarod towards a dilapidated trailer.  Jarod stops walking and the sheriff 
lifts up a tarpaulin that acts as a door.  They step inside into what was a 
kitchen area.  Jarod notices a first aid kit and some blood stained 
bandages on a small stovetop.)
Jarod: Somebody cut themselves?
Sheriff: Sit down over there.
Jarod: (He doesn’t sit, but turns to face the sheriff.)  Look it’s pretty 
obvious by the way I’ve been treated that something terrible has 
happened.  Why don’t you tell me what it is?
Sheriff: I can’t.
Jarod: Why not?
Lyle: Because I won’t let him.
(Lyle steps out from another room.  He is dishevelled, unshaven and his 
white shirt is soiled.  His face is far from clean.)
Jarod: Lyle.
Lyle: Gone but not forgotten.  (He walks to the stovetop, picks up a tire 
iron there, and swings it at Jarod’s head.  Jarod brings his hands up in a 
defensive gesture but still the force of it knocks him to the ground, 
unconscious and bleeding from a head wound.  Lyle puts down the tire 
iron and bends to look at himself in a mirror.  He grooms his hair with a 
bandaged hand.)  And so it begins.  

The Centre
Sim Lab
(Broots and Sydney watch as Angelo approaches a table on which junk 
from the Dead End street has been placed.  Angelo crouches in front of it 
looking at the items eagerly.)
Broots: This is all the stuff brought in from the dead end street.  Do you 
think he’ll be able to help?  
Sydney: Empaths possess such fine-tuned instincts Broots, they can’t be 
hurried.  Or discouraged.  (Angelo picks up a filthy white sock, stretches it 
between two hands before running it under his nose.  He then tugs on 
each end sending a cloud of dust into the air.  He sniffs at the dust.  
Sydney takes off his jacket and places it on Broots’ shoulders.)
Broots: Or grossed out apparently.  (Broots puts on Sydney’s jacket.  
They sit on the steps.)
Sydney: I think Jarod believes the initial refuge signal to be authentic.  
Add to that the, uh, phoney tip on his recent whereabouts and it becomes 
clear that someone has lured him to Arizona.
Broots: Jarod could be in serious trouble.
Sydney: I believe he is.  The question is from whom?
Broots: Angelo could you give it a rest already?
(Angelo is making a lot of noise as he tries to pick up a plastic two-litre 
bottle.  He keeps dropping it onto the table.  Broots stands.  Sydney also 
stands, placing a restraining hand on Broots’ shoulder.)
Sydney: Wait.  (He moves to Angelo and crouches beside him.)  He can’t 
pick it up.
Broots: He – Why?
Sydney: The person Angelo is empathing doesn’t have a thumb.
(Angelo has his thumb tucked into his palm and is trying to pick up the 
bottle with just four fingers.)

Dry River
Foundry
(Jarod is propped up on an old kitchen chair, still unconscious.  His hands 
are still handcuffed but now the chain is around a pole immediately behind 
his head, which means that his hands are above and behind his head.  His 
black jacket has been removed, his black t-shirt is blood-smeared and his 
long legs stretched out in front of him.  He slowly regains consciousness, 
opens his eyes to be confronted by Lyle, camera in hand, taking a 
snapshot.)
Jarod: How long have I been out?
Lyle: A couple of hours.  (He takes another shot, the flash causing Jarod 
to blink.)  Ooh, that’ll be a good one.
Jarod: You sent the message.
Lyle: (Lyle stops moving and adopts a mocking tone.)  You really are a 
genius!
Jarod: How did you find out about refuge?
Lyle: You forget.  Before I found myself thumbless in the desert I was 
head rat at the cheese factory.  You may have taken off with the DSA’s, 
but I had access to surveillance videos of every conversation you and 
Sydney ever had.  (He squats down beside Jarod holding the camera at 
arms length, taking a photo of himself with Jarod.  Jarod turns his head 
away.)  I wish you could have seen your face when you first saw me.  It 
was priceless.  (He walks away.  Jarod takes the opportunity to taunt his 
captor.)
Jarod: Thumb looks pretty bad.  If you don’t take care of it you could lose 
the whole hand.
Lyle: It’ll be fine.
Jarod: (He looks to the front entrance where he can see Sheriff Delmont 
pacing anxiously.)  You seem to have captured loyal support from the 
locals.
Lyle: Sheriff Delmont?  Afraid his involvement has less to do with loyalty 
than it does survival.
Jarod: I don’t follow.
Lyle: My first acquisition after arriving in this little oasis was securing 
some leverage in the form of Mrs. Delmont.  (He takes another 
photograph of Jarod.)
Jarod: You kidnapped his wife?
Lyle: (He leans down to talk directly into Jarod’s ear.)  And buried her in 
the desert.  (Jarod closes his eyes, either to stop the visual image of Mrs 
Delmont struggling against her bonds, or because he receives too large a 
whiff off an unwashed Lyle.)  She’s currently being fed oxygen supplied by 
a five horsepower gas generator, which with an adapted fuel capacity of 
fifteen gallons should run for about-
Jarod: Sixteen hours.
Lyle: Sixteen h-  Give or take a few minutes.  When I check my watch 
(Which he does.)  she should have life support remaining in the area of 
seven hours and twenty minutes.  You’ll appreciate this: (He sits on 
Jarod’s knee.)  she’s pregnant.  (He stands again, leaving a photograph of 
the frightened woman on his thigh.)  I guess about six months.  So you 
see, our good Sheriff is in no position to be anything but cooperative.
Jarod: You’re insane.
Lyle: Psychological diagnosis can be really subjective.
Jarod: What do you want?
Lyle: (He squats beside Jarod again so that Jarod is looking down at him.)  
Isn’t it obvious?  I want everything.
Airport
Phoenix Arizona
(Miss Parker leans over the hood of her hire car, a map spread before her.  
Her overnight bag and other items sit there as well.  Her phone rings.)
Parker: What?
Sydney: Lyle is alive.  (He sits at his desk in the Sim Lab.)
Parker: What did you say?
Sydney: Angelo had a severe reaction to one of the objects brought in 
from the dead end street.  I’m certain Lyle is behind all of this.  (His taps 
on the desk with the fingers of his right hand, indicative of the degree of 
the agitation he keeps from his voice.)
Parker: We’ve been over this Sydney.  Lyle is dead.  I shot him point 
blank in the chest.
Sydney: Think about it.
Parker: Sydney, you were there, do you remember?  When they pulled 
his body from the river?
Sydney: It was never positively identified Parker.  Lyle faked his death as 
a teenager.  He just did it again!  (She drops the phone and walks away a 
bit.)  Parker?  Parker?  (She disconnects, gathers up her gear and gets in 
the car.  From a concealed position, a man wearing a bike helmet with the 
black tinted visor pulled down, takes another photograph of Parker.  He 
lowers the camera to make an adjustment to it.  There is a large blister 
type scar on the join between his thumb and forefinger.)

Red River
Foundry
(Lyle emerges from a back room of the foundry and walks over to the 
table that is set up beside Jarod’s chair.)
Jarod: Look you got what you wanted.  Let the woman go.
Lyle: Not until I finalise negotiations.  (He picks up a tie, puts it around 
his neck and starts to tie it.  However, he finds it difficult without the 
thumb of his left hand.)
Jarod: Negotiations?
Lyle: The Triumvirate is preparing to meet to choose my permanent 
replacement.  I intend to make that vote unnecessary.
Jarod: Where’s a clip-on tie when you need one?  You really think that 
the Centre’s going to let you just walk right in there like nothing’s 
happened?
Lyle: I bring back their Golden Boy and it’s business as usual.  Course 
there’ll have to be changes made, obstacles removed.
Jarod: Like Sydney and Miss Parker?
Lyle: (He adjusts his hair again.)  Among others.
Jarod: How long do you think it’s going to be before someone decides to 
remove you?
Lyle: (He glares at Jarod with hatred.)  Nothing’s forever.  However there 
is a way that we can assure our power base.  (He crouches beside Jarod.)
Jarod: We?
Lyle: With your brains and my leadership skills there isn’t anything we 
couldn’t accomplish.  I could be your friend Jarod.
Jarod: Like you were my friend when you tried to stop my heart?  (Jarod 
recalls the time that Lyle and Raines put him in a cryogenic chamber, 
froze him and stopped his heart.)  Why did you try to kill me?  (He is 
prevented from answering, or maybe he had no intention of answering, by 
the Sheriff calling out from the doorway.)
Sheriff: Hey!  I just got a call from my deputy.  (Lyle walks over to him.)  
She says there’s a tall, dark brunette woman asking questions about 
someone named Jarod and a man with a missing thumb.
Lyle: Parker.  And this was going so well.
Jarod: Nothing’s forever.
Lyle: (He throws another dark look at Jarod.)  Well if you ever want to 
see that wife of yours again get rid of her.  Now.

Sheriff’s Office
(Parker extinguishes a cigarette in the ashtray that has been placed on 
the counter.  It is obvious from the number of butts there that she has 
had to wait for some time.  Beside the ashtray she has placed a folder 
with a couple of photographs.)
Parker: I believe there are two very dangerous men here in Dry River.
Sheriff: You a cop?
Parker: I work for a private corporation.  We’ve been tracking these men 
for some time.  Have you seen them?  (Deputy Miller turns away from the 
photos.)
Sheriff: Those people dead?
Parker: Murdered.  Execution style.  
Sheriff: And that one?
Parker: Jarod.  He has a history of mental illness.  I’ve been instructed by 
his family to bring him home.  (She turns away from the Sheriff.)
Sheriff: I haven’t seen him.
Parker: Sheriff my information is certain.
Sheriff: Dry River’s a small town Maam.  I’m sorry but I can’t help you.
JR: (He emerges from the back room.)  Everything alright?
Miller: (She goes to him and puts an arm around his shoulders.  He is 
pale and seems weak.)  Oh everything’s fine JR.
JR: Hello.
Parker: Hello.
Sheriff: How you doing buddy?
JR: I’m tired.
Miller: That’s why you need to rest.  Come on, I’ll make you something to 
eat.  (She leads him back inside.)
Parker: (She opens the front door.)  Nice kid.  What’s the matter with 
him anyway?
Sheriff: He’s dying.
(Miss Parker leaves.  Deputy Miller comes back into the room to confront 
the sheriff.)
Miller: We have to call somebody.
Sheriff: Who?
Miller: The FBI, the State police-
Sheriff: To accomplish what?  Have you seen this picture?!  The man is a 
cold-blooded killer!  He’s got my wife buried in the desert!
Miller: Yeah but we can’t just stand here-
Sheriff: He’s a psycho.  If he even thinks that I’m crossing him Lyn and 
the baby are dead.

On the Street
(Miss Parker has parked her car on a side road and squats near the rear 
fender.  She watches as Sheriff Delmont drives by, stands up, flicks away 
a cigarette and gets in the car.  As she starts to ride away the biker from 
the airport, starts his bike and follows her.)

Foundry
(Jarod’s situation has not improved any.  Lyle is leaning on the table, a 
clipboard in his hand making notes.)
Jarod: This really doesn’t surprise me.
Lyle: What’s that?
Jarod: This rising from the dead game you keep playing.  (Lyle stops 
writing.)  You pulled the same scam in high school.  Only back then you 
got really creative: you murdered your best friend and then you set your 
own father up to take the fall.
Lyle: What do you know about my father?
Jarod: I know that he’s rotting in a jail cell, serving a life sentence for a 
crime you committed.
Lyle: He got what he deserved.
Jarod: What about your mum?  Did she deserve what she got?  (Lyle 
takes a deep breath.)  Did I tell you I went to visit her?  Very nice lady, 
only she seemed a touch confused.  Seemed she was ah trying to feed a 
couple of dogs that didn’t really exist.
Lyle: (His anger erupts.  He throws the clipboard down on the ground and 
stands up straight.)  You should not have gone there.
Jarod: She kept your bedroom just the way you left it.  It’s all very cosy-  
(Lyle steps quickly to Jarod, picking up the tire iron on the way, and 
pushes it sideways across Jarod’s throat, effectively cutting off any further 
conversation.)
Lyle: One more word and you die.
Jarod: (He speaks through clenched teeth.)  If you kill me here you’ll 
have nothing to bargain with.
(They try to stare each other down.  Eventually Lyle drops the tire iron 
and stands up.  Jarod gasps for breath.)
Lyle: Which brings us to step two of the process.  
(He goes to the table and opens up a case.  Inside the case there are a 
number of medical supplies all protected from damage by resting in 
padding cut to contain each object.  Lyle picks up a syringe and attaches a 
needle to it.)
Jarod: Look I hate to throw a wrench in your plans, but it’s against the 
law to impersonate a doctor.  
(He picks up a large ampoule of some kind of drug and draws some of its 
contents into the syringe.  He pushes the plunger to dispel any air 
bubbles.)
Lyle: Now that’s funny.  See I’m going to need something more 
substantial than photographs to demonstrate my resolve to the 
Triumvirate.  An offering, if you will.
Jarod: An offering?
Lyle: You should consider yourself fortunate.  (He walks over to Jarod.)  
You’ll be asleep when I cut off your thumb.  (He jabs the needle into 
Jarod’s upper arm and presses the plunger.  Jarod is unable to prevent it.)
Jarod: No!
(Sheriff Delmont returns to the doorway and Lyle goes to meet him.  
Delmont looks around Lyle to see Jarod starting to droop under the 
influence of the drug.)
Lyle: Miss Parker?
Sheriff: She’s gone.  She showed me a picture of you with a bunch of 
murdered people.
Lyle: Casualties of war.  (The sheriff puts his hand on the butt of his pistol 
and unclasps the holster.)  Is there something else?
Sheriff: (He erupts in anger and anxiety.)  I want my wife back!  You said 
when you had what you wanted you’d let her go.
Lyle: Have you ever seen a human being suffocate?  It’s not an easy way 
to die.  Now your family has slightly less than three hours of life 
remaining.  Unless of course you want to arrest me?  (He holds up his 
hands in front of him.  He becomes distracted by the arrival of a car that 
he spots over the sheriff’s shoulder.  He steps back around the doorway.)
Sheriff: Miss Parker!  She followed me.
Lyle: Get rid of her!  Now!

Outside the Foundry
(Miss Parker gets out of the car, her weapon held in both hands in front of 
her.  She starts to reconnoitre the area.  Sheriff Delmont steps up behind 
her.)
Sheriff: This is private property.  (She swings around, ready to shoot.)  
Whoa!
Parker: Sheriff.  I know they’re here.
Sheriff: Like I said before Miss Parker, I don’t know what you’re talking 
about.  
Parker: Then how did you know my name?  I never mentioned it.  I don’t 
know what he’s holding over your head Sheriff but trust me.  It will not 
end well for anyone.  I can help you, if you’d just let me.  (She turns to 
continue her search.  Sheriff Delmont draws his own weapon and points it 
at her.)
Sheriff: I wish I could do that.  You’re under arrest for trespassing.  (She 
looks over her shoulder and grimaces in frustration.)  Hand over the 
weapon.  (She reluctantly hands the weapon over.  The sheriff handcuffs 
her hands behind her back, leads her to his car and drives her back to the 
Sheriff’s Department.)

Inside the Foundry
(Lyle stands at the table and picks up a scalpel.  Jarod, whose vision is 
starting to blur, watches helplessly.)
Jarod: Please, don’t do this.
Lyle: Don’t fight the medication.  (He steps up to Jarod.)  There’s nothing 
you can do to stop it now.  (He moves Jarod’s head over to the right and 
grabs the thumb of Jarod’s left hand.  He readies the blade.)
Jarod: Please.  No.
(The man on the bike, quickly steps up behind Lyle, picks up the tire iron 
and hits Lyle on the back of the head.  Lyle drops to the ground.  Jarod 
looks up to see a blurred vision of his brother, Kyle.)

Flashback
(Jarod is undoing the straps that have Kyle trapped to the bed.  Kyle looks 
at him with disbelief.)
Kyle: They said you were dead.
Jarod: Not hardly.

(Jarod, just as confused as Kyle had been a year ago, now looks up at 
Kyle.)
Jarod: They said you were dead.
Kyle: Not hardly big brother.
(Jarod finally succumbs to the drug and passes out.)

The Centre
Sim Lab
(Broots enters and hands Sydney an envelope.)
Broots: Sydney, this was just delivered for you.
Sydney: Who’s it from?
Broots: Receiving.   (Sydney opens it and removes its contents.)  What is 
it?  (Broots steps around Sydney and takes a sheaf of photographs from 
his hand.)  Who could have taken these?
(Angelo snatches the photographs from Broots and starts shuffling 
through them.)
Angelo: I decide who lives or dies. I decide who lives or dies. I decide 
who lives or dies. I decide who lives or dies. I decide who lives or dies…..
Sydney: Kyle.
Broots: Jarod’s brother’s alive too?  Man this is turning into the Night of 
the Living Dead.
Sydney: (He picks up the phone.)  Hi this is Sydney.  I need seats on the 
next flight out to Arizona, and get the uh Centre helicopter ready for 
immediate takeoff from Phoenix.
(Sydney and Broots leave.  Broots turns back to take one last look at 
Angelo who is still crooning over the photographs.)
Angelo: I decide who lives or dies! (He has stopped at a photo of Miss 
Parker.  He runs his thumb over it, almost tenderly.)  I decide who lives or 
dies.

Trailer
(Jarod lies full length on the sofa at one end of the trailer.  He wakes up 
and slowly raises himself to a sitting position.  A creaking floorboard 
makes him look up.  His mouth falls open in surprise when he sees who it 
is.)
Kyle: I thought you’d never wake up.
Jarod: Kyle?  I thought you were dead!  (He stands but is quite unsteady 
on his feet.  They hug but Kyle does it only to stop Jarod falling over.  
There is little expression on Kyle’s face.  Jarod is overjoyed almost to the 
point of tears.)
Kyle: Yeah, that was the idea.
Jarod: (Kyle lowers Jarod back to the sofa.)  I saw you in the van.  I saw 
it explode.
Kyle: You saw the van explode but I wasn’t inside.  When you escaped I 
was able to crawl out and fire a shot into the fuel tank.  (He sits on a chair 
opposite Jarod.)  My leg was injured so I made my way up to the highway 
and caught a ride out.
Jarod: How did you find me?
Kyle: I’ve been following Parker and the others for months, hoping they 
would lead me back to you. 
Jarod: My thumb, (He holds up his hand.)  and the rest of me, is glad you 
did.  (He brings his hands down to slap Kyle’s.  They grasp hands.)
Kyle: Jarod, have you learned anything else about our parents?
Jarod: (Jarod reaches into the pocket of his leather jacket which is on the 
sofa beside him.  He takes out a piece of paper.)  Umm, Sydney gave me 
this.  His brother gave it to him before he died.  (On the paper is written 
the single word “GENE”.)
Kyle: Our father’s name?
Jarod: I don’t know.  I can’t bel- Where have you been?
Kyle: (His mood changes.)  In the shadows, waiting.  Watching.  (His tone 
hardens.)  Now that we’re together again I can finish this.
Jarod:  Finish what?
Kyle: I sent a package of photographs that’ll bring the others here soon.  
It’s almost over brother.  We’ll start with Lyle.
(Jarod sits on the sofa seemingly without the energy to react.)

Foundry
(Lyle is chained to a post.  His ankles are cuffed together and his arms are 
pulled over his head.  He does not have the luxury of a chair to sit on.  He 
looks semi-conscious and there is blood coming from his nose.)
Jarod: Kyle, what happened to him?
Kyle: He tripped and hit his head.
Jarod: (Jarod looks at his watch.)  We have less than an hour.
Kyle: What are you talking about?
Jarod: Lyle kidnapped a woman and buried her alive somewhere out in 
the desert.  We have less than an hour before her air supply runs out.
Kyle: Jarod we can’t leave now.  This is our chance to end this once and 
for all.  We’ll start with him.  (He takes out a large knife.)
Jarod: Did you hear what I said?  There is a woman and her unborn baby 
buried alive somewhere out in the desert and if we work together we can 
save their lives.
Kyle: Lyle and the others deserve to die.
Jarod: And if they do?  What chance do we ever have of finding our 
parents?  Look I know you’re angry, but there’s more important things in 
life than vengeance.  Let me show you how good it feels to save a life 
instead of trying to destroy one.  (Kyle steps around Jarod towards Lyle 
and swings the knife around his index finger.)  Kyle!
Kyle: We’ll need to know where they buried her, right?  Relax brother.  
This is what I do.

Sheriff’s Office
(Deputy Miller enters the cell area carrying a tray.  Miss Parker sits on a 
cot behind the bars.)
Miller: Hope you like meat loaf.
Parker: I live for it.  The sheriff said your son is sick.
Miller: (She unlocks the cell door and puts the tray on a table inside.)  He 
has a heart condition, yes.
Parker: I’m sorry.  He seemed like a really nice young man.
Miller: Yes he is.
Parker: (She stands.)  You have to let me out.
Miller: (Her hand drops to her weapon and she takes a step back.)  I told 
you, I can’t do that.
Parker: (She steps back to the far end of the cell.)  You know my mother 
died when I was almost your son’s age, and I know how hard it is to lose 
someone that you care about.  That’s why I promise you that the sheriff 
and anyone else Lyle has involved in this mess will die unless I walk out of 
here.
Miller: You don’t understand.
Parker: I understand perfectly Deputy.  (She steps up to the deputy.)  I 
think that you need to get out there and take another good look at those 
pictures because that is exactly what will happen unless you prevent it.
Miller: You don’t know what he wants
Parker: What?!
Miller: He’s got the sheriff’s wife buried alive out in the desert.
Parker: Then we don’t have much time do we?

Desert
(Kyle and Jarod have found  a pair of three wheeled trail bikes and are 
driving through the falling night.  They stop.)
Jarod: We must be close to the place.
Kyle: Kill the motors.
(They both listen intensely.)
Jarod: There’s a generator.  It’s coming from just over that rise.  Come 
on!
(They climb a hill, flashlights leading their way.  On the down slope they 
spot the engine at the bottom.  The engine splutters and dies.)
Kyle: Down there!  There it is!
Jarod: It’s out of fuel.  Hurry!  Find the feeding tube.
Kyle: Got it!
Jarod: Dig! (Jarod uses a shovel and Kyle scrapes at dirt with his hands.  
He eventually reveals the window in the lid.  Mrs Delmont faint screams 
can be heard, her face illuminated by the light of the flashlights.  
Together, Jarod and Kyle try to lift the lid.)    It’s sealed tight.
Kyle: Watch it!  (He uses his knife to pry under the lid.)
Jarod: Hurry, there can’t be much air left in there!  (There is a hiss of 
escaping air as Kyle manages to break the seal.  They lift off the lid.  Kyle 
lifts Mrs Delmont from the cylinder.  He turns her around and removes the 
duct tape from over her mouth.  She starts to sob out loud.  She leans 
into him close and he has no option but to hug her to him.  He strokes her 
hair and makes soothing noises.)
Kyle: It’s okay.  It’s okay.  Okay,  I’ve got you.  It’s okay, you’re safe 
now.  You’re safe now.
(Jarod looks on, a smile on his lips and tears in his eyes.)

Foundry
(Miss Parker enters the darkened building, handgun raised and at the 
ready.  She carefully inches her way through the building stopping briefly 
to examine the medical kit on the table.  She moves to where there are 
two sets of handcuffs, now devoid of Lyle, hanging from a beam.  She 
hears a banging from the back of the building.  She moves in the direction 
of the sound and takes up a position just inside the door.  Lyle enters, 
dropping a set of handcuffs with a clatter.)
Parker: Going somewhere Lyle?  (She trains her weapon on him.)
Lyle: (He sighs.)  Miss Parker, how nice to see you again.
Parker: I wish I could say the same.  What happened to you?  (She 
indicates the blood streaked t-shirt where there are a number of slashes 
across his ribs.)
Lyle: Jarod’s little brother wanted some information.
Parker: Kyle is here?
Lyle: We negotiated.  I lost.
Parker: Doesn’t anybody ever really die any more?  You left that 
envelope on that sign.
Lyle: What gave me away?
Parker: Jarod’s a pain in the ass but he’s not heartless.  (She hits him 
across the face with the handgun.  He spins away from her.  She grabs 
him roughly and pulls him back so that he’s facing her again.  She raises 
the gun so that it is pointing between his eyes.)  That’s for my mother, 
and this is for me.
(The dog leaps out of nowhere to Miss Parker’s right.  It is prevented from 
mauling her by a chainlink fence.  However, it distracts her long enough 
for Lyle to get the jump on her.  They struggle briefly but eventually Lyle 
overpowers her and trains her own weapon on her.)
Lyle: God you’re beautiful when you’re angry.

Sheriff’s Office
(Deputy Miller paces anxiously.  The door opens and Mrs Delmont enters 
followed by Kyle and Jarod.  The two women hug, laughing and crying.  
Sheriff Delmont enters behind them as well.  He places his shotgun on the 
counter before embracing his wife.)
Sheriff: Oh my God!
Wife: Oh Carl!
Sheriff: You alright?  (She nods.)  I was so scared.  (He turns to Jarod.)  
Where is he?
Jarod: We left him chained up at the compound.
Sheriff: I’m going to sit you down.  (He leads her to the bench.)  It’s 
going to be alright now, okay?  (He walks back to the counter and picks 
up the shotgun.)
Miller: What are you going to do?
Sheriff: What do you think?
Jarod: Sheriff wait.  Let us handle it.
Sheriff: The man almost killed my family.
Jarod: Which is exactly why you need to get your wife and baby to a 
hospital and make sure they’re okay.  (The sheriff holds out the shotgun.  
Jarod holds up his hands.)  No.  (Kyle leans around Jarod and takes the 
weapon.)
Sheriff: Now you boys be careful.
Kyle: Don’t worry Sheriff.  I’m no hero.

Helicopter, Over Red River
Sydney: The Sheriff said the Foundry’s on the edge of town.

Foundry
(Jarod emerges from the trailer and Kyle from one of the buildings.)
Jarod: He’s not in the trailer.
Kyle: He’s not anywhere in the building.
Jarod: He’s gone.  Which means he’s out there.  Somewhere.  Let’s head 
back to the hospital.  I want to see how the sheriff’s wife is doing.  (Jarod 
starts to walk away.  Kyle stands his ground.)
Kyle: You were right you know.
Jarod: About what?  (Jarod turns back to him.)
Kyle: About how it feels to help someone.  When that woman grabbed me 
after I saved her life and thanked me, it was like nothing I’d ever felt 
before.   I’ve been angry for so long, so full of rage and revenge I’d 
forgotten what it was like to care about someone.
Jarod: That’s all going to change.  Now that we’re together.  I promise.  
Come on let’s go.
(They turn to walk away but are stopped by a shout behind them  They 
turn.  Lyle stands there holding Miss Parker in a headlock.  Her gun is 
pointed at the brothers.)
Lyle: Oh this is beautiful!  It’s just one big happy family isn’t it?!
Jarod: (They step forward.  Kyle raises his weapon.)  It’s the end of the 
line Lyle, there’s no place left for you to run.
Lyle: I’m disappointed in you Jarod.  You know me better than that.  If 
there’s one thing I don’t do easy – it’s die.  Drop the cannon Kid.
Parker: Shoot him you moron!
Lyle: Shut up!  (The Centre helicopter appears overhead, its landing light 
illuminating the area.)  Stay back, or I put a very large hole in big 
brother.
Jarod: Kyle.
Kyle: Threats and pain – that’s all you’ve ever offered us.  You stole our 
lives and you killed our spirit, now you think you can threaten us with 
death?  It doesn’t matter Lyle, because we never made a difference 
anyway.
Lyle: I’ll kill him.  (Lyle looks around nervously, looking for an escape.)  I 
swear I will.
Kyle: And then I’ll kill you.
Jarod: Don’t do this Kyle.
Kyle: By the way Lyle, (He looks meaningfully at Miss Parker.)  how’s that 
knife wound?
(Miss Parker gets the message and throws her elbow back into Lyle’s 
wounded side.  She twists out of his grasp and Kyle takes aim and shoots 
Lyle in the shoulder.  The force of the blast knocks Lyle off balance 
momentarily but he regains his feet and aims the pistol at Kyle.  He then 
changes his mind and switches his aim to Jarod.  Kyle sees Lyle intent and 
dives across in front of Jarod, either as a shield or a vain attempt to knock 
him out of the way of the bullet.  The bullet hits Kyle in the middle of the 
back and he falls forward onto Jarod who instinctively puts out his arms.  
Jarod lowers his brother to the ground just as Lyle’s brain catches up with 
his body and sinks to the ground.  Jarod removes his jacket and makes a 
pillow for Lyle’s head.  Sydney, Broots and a sweeper emerge from the 
now landed helicopter and run up to Parker.  She grabs a gun from the 
sweeper and she turns back to face Jarod.  Jarod has taken one of Kyle’s 
hands in his and checks the pulse at Kyle’s neck with the other.  The 
Centre employees stand in a semicircle around Jarod and Kyle.)
Jarod: You stay with me little brother.  I’m going to get you to a hospital.
Kyle: Too late Jarod.  (He winces in pain.)
Jarod: Don’t you say that.  Look at me!  Come on, just think.  Think 
about all the good times we’re going to have together.
Kyle: I’m sorry Jarod.
Jarod: For what?
Kyle: For everything.  (There is the soft sound of air escaping from Kyle’s 
lungs and a stillness besets him that can mean only one thing.)
Jarod: No.  (He takes Kyle’s hand in both of his and holds them to his 
face.  He then lets the hand go and it fall lifelessly onto Kyle’s chest.  
Jarod looks up at Sydney, shock and grief the ruling emotions.  Sydney 
remains stony-faced but does take a deep breath, his only show of 
emotion.)
Parker: It’s time to come home now Jarod.
Jarod: (The words seem to wake Jarod up.  He looks around.)  Where’s 
Lyle?   
(Everyone looks around and the sweeper goes to look for him.)
Parker: We’ll find him.
(The sheriff steps around the corner of a building, his shotgun ready to 
fire.)
Sheriff: Right nobody move!   Mister, I don’t know who you are but I- I 
figure I owe you at least one get-out-of-jail-free card.
Parker: There are two of us Sheriff.  What’s to say we won’t shoot you 
right now?
Sheriff: Well mostly because this is a ten gauge pump action shotgun 
that will pretty  much cut anything in half that it’s aimed at and right now 
it’s aimed at you lady!
(Broots stands quivering his hands raised in front of him.  Miss Parker 
considers her options then holds up her gun and then lowers it to the 
ground.  Jarod sinks back to the ground and puts his head on his brother’s 
chest in grief.)
(Sydney and Broots accompany Jarod to the helicopter where he places 
the body of his dead brother inside.)
Broots: Jarod.  I’m sorry.
Sydney: Where will you be taking him?
Jarod: Some place where he can make a difference.
(Jarod climbs into the pilot seat, starts up the helicopter then flies off into 
the night, unchallenged.)

Hospital Waiting Room
(Deputy Miller paces anxiously, twisting her hands together.  Behind her, 
a now healthy looking Mrs Delmont sits with her husband.)
Over speaker: Trauma team to ICU on six west. Trauma team to ICU on 
six west.
(A doctor approaches Deputy Miller.  He is fresh from surgery.)
Miller: How is he Dr Ridlin, my son?
Doctor: Just fine.  The new heart is functioning on its own and barring 
complications your boy should live a long and happy life.
Miller: Oh, thank you.
Doctor: It was a stroke of luck really to find a donor to match your son’s 
blood type.  Whoever that donor was, he’s a Godsend.
Sheriff: I don’t know about that Doc, but he was a hero.

On a Bus
(Jarod sits in a window seat halfway down the bus.  He opens a red 
notebook and looks at the article glued there.  There is a picture of JR and 
Deputy Miller with a headline of “Anonymous Man Denotes Heart to Dying 
Boy”
Jarod: Good for you little brother.  Good for you.
(Jarod looks sadly out the window oblivious to the passing landscape.)

CLOSING CREDITS