INT. MAJOR CHARLES' CABIN – NIGHT
Major Charles, Ethan and Jason are sitting around the table. Everyone has a heavy look on his face.
MAJOR CHARLES
I really don't think that's a good idea.
ETHAN
Dad, we've been through this all-
MAJOR CHARLES
(holds up his hands)
I know, I know.
All I'm saying is that maybe you should wait for Jarod to give us a call before flying to Rome on wild goose chase.
JASON
Jarod may need our help.
MAJOR CHARLES
We're not even sure if he's still there.
ETHAN
He's there.
MAJOR CHARLES
And how do you know th-
(pauses)
Nevermind...
JASON
That's why we need to go there as fast as possible.
MAJOR CHARLES
What if something happens to your sister on her way here? She's already taking longer than she was supposed to.
Or what if Ethan starts having seizures again?
JASON
You sound like an old lady, dad. Relax.
Em's fine.
ETHAN
Besides, I think my seizures were caused to force me to act. To be where I'll be needed.
MAJOR CHARLES
Fine.
Anyway, I'm getting too old to keep you two on a tight leash.
Ethan and Jason grin, so much like their brother.
MAJOR CHARLES
So, when are you thinking about leaving?
ETHAN
Just enough time to pack up some essentials and rest a little. Then we'll be on our way.
EXT. CARTHIS – NIGHT
Miss Parker and Sam watch as the chopper lands.
No words are exchanged as they enter the chopper and it flies off.
INT. CHOPPER – NIGHT
Miss Parker looks at ocean below; sees nothing but her reflection on the glass.
PILOT
Where to, Miss Parker?
MISS PARKER
Back to The Centre, Ted.
PILOT
Sure thing, Miss Parker.
EXT. ATLANTIC OCEAN – NIGHT
On their small boat, Jarod and Andrew leave Carthis behind.
Jarod looks up and watches the chopper fly above them.
ANDREW
You really like her.
JAROD
I just hope she'll be fine.
ANDREW
She will be.
EXT. ROAD - DAY
Emily's car drives along a low traffic road.
INT. EMILY'S CAR - DAY
Emily is focused on the road; her driving mechanic, her thoughts elsewhere. An occasional glance at the rearview mirror is the one time she diverts her attention.
EXT. GAS STATION – DAY – FLASHBACK
Emily's cell phone rings. After checking if no one's around, she answers it.
EMILY
Hello?
We hear the voice from the other side for the first time.
MARGARET (V.O.)
Emily? It's mom, honey.
A beat. Emily still in shock. Her heart gaining speed. Then...
MARGARET (V.O.)
I can't talk much now. Listen carefully: someone is following you. You must outtrack before you meet your father.
EMILY
How do you-
Click.
INT. EMILY'S CAR – PRESENT
Holding the steering wheel with her left hand, Emily reaches over the passenger seat and opens the glove compartment. Keeping her eyes on the road, she retrieves a thin manila folder. She puts it on her lap, opens it and looks at a 6/6 snapshot of Mr. White.
EMILY
I know it's you, bastard.
But if you think I'm running again, you got another thing coming.
I'm done running.
Emily closes the folder and tosses it on the passenger's seat. She picks up her cell phone and dials a number.
INT. THE CENTRE. MISS PARKER'S OFFICE – DAY
Miss Parker is back at her office. While she is organizing her desk, she finds a post-it with a word scribbled on it: Lazarus.
She looks at the air vent. No surprise about who left the message there.
Raines bursts in.
RAINES
Where were you?
MISS PARKER
(without looking)
Out.
RAINES
Let me remind you, Miss Parker, that although our family status has changed, the rules of the game are still the same.
MISS PARKER
The only thing that's changed between us is that the man I believed to be my father is now dead. That's it.
RAINES
Sooner or later you will have to accept your heritage.
MISS PARKER
I'll eat a can of live worms before I even think of you as more than just a walking corpse with emphysema.
RAINES
I suggest you use that energy of yours in finding Jarod.
The new Chairman expects results, not insubordination.
MISS PARKER
I wouldn't worry much about the new Chairman if I were you.
RAINES
What-
Someone knocks at the door.
Without waiting for a reply, Broots enters in a rush, carrying some papers.
BROOTS
Miss Parker! Miss Parker! I-
(finally sees Raines)
S-sorry, I'll come back another time.
MISS PARKER
Stay where you are, Broots. Mr. Raines was just leaving.
RAINES
(nods)
We'll continue this another time.
MISS PARKER
No, we won't.
Raines leaves the office. Broots approaches the desk.
MISS PARKER
What happened, Broots?
You look like you've seen the Big Bad Wolf.
BROOTS
I wish. I saw what drove him away.
(hands her the papers)
MISS PARKER
What's this?
BROOTS
(looks around and whispers)
Is it safe to talk?
Miss parker nods.
BROOTS
Well, I was doing some maintenance on the security mainframe when I intercepted an e-mail to Raines' office.
MISS PARKER
What's so scary about that?
BROOTS
The Triumvirate is relieving Raines off his duties.
They issued a sanction order on him.
MISS PARKER
A sanction order on Raines?
Who issued it? And why would someone warn him in advance?
BROOTS
That's just it. The e-mail was deleted before Raines had any chance to see it.
MISS PARKER
How do you know?
BROOTS
Because I could see Raines and Lyle from my station while I was reading this.
It was as if...
MISS PARKER
What?
BROOTS
As if someone knew I was checking Raines' account at the time.
MISS PARKER
Do you know exactly who sent the e-mail?
BROOTS
It's a recent account. High level of encryption. My guess is that guy...
(has trouble saying the name)
Perrgo... something.
MISS PARKER
(mutters)
A dead man's final wish.
BROOTS
Sorry?
MISS PARKER
So, he sends an e-mail meant to be intercepted. And then someone erases it before Raines is able to see it.
(thinks)
Can you find out who erased it?
BROOTS
I already did. It was the same person who sent it.
MISS PARKER
Broots, when was the e-mail sent?
BROOTS
An hour or so before you arrived.
MISS PARKER
That leaves our new friend out of the loop.
BROOTS
Why's that?
MISS PARKER
I put two bullets in his chest. I saw him dead.
Broots
You... what?!
Miss parker
Nevermind. Focus, Broots!
Broots
Ok, ok. Maybe... maybe he programmed that e-mail to be sent at a specific time and to automatically erase itself.
But it would have to be someone with enough clearance to access Raines' account.
(pauses)
Oh my...
MISS PARKER
What?
BROOTS
Raines' personal account can only be accessed through the computer at his office.
Whoever erased that e-mail had to be there.
And if he was...
MISS PARKER
The camera's got him.
Get to work, Broots.
BROOTS
Right away, Miss P.
Broots is about to leave the office, when Miss Parker notices the post-it left on her desk.
MISS PARKER
Hold on, Broots.
He turns. She gives him the memo.
MISS PARKER
Run a search on this too.
Broots reads the post-it, puts it in his shirt pocket, nods and leaves.
INT. MAJOR CHARLES' CABIN - DAY
Major Charles is dozing off on the couch when his cell phone rings. He wakes up and answers it.
MAJOR CHARLES
Hello?
EMILY (V.O.)
Dad, it's me.
MAJOR CHARLES
Emily?
(straightens up)
Where the hell are you? What's taking you so long to get here?
EMILY (V.O.)
I left Chicago a few hours ago. Something came up.
(beat)
Mom called me.
MAJOR CHARLES
(straightens up)
Your mother? How is she? Where? What did she say?
EMILY (V.O.)
Calm down, dad. I don't know where she is. She only told me someone is following me.
MAJOR CHARLES
Did she say who?
EMILY (V.O.)
She didn't, but I know who he is.
It's White, dad.
MAJOR CHARLES
That bastard.
Tell me where you are. I'll meet you there.
EMILY (V.O.)
No. You need to be there. I don't know why. I just feel it.
MAJOR CHARLES
Your brother is the psychic one. You're trying to take his place now?
EMILY (V.O.)
Call it a woman's intuition.
MAJOR CHARLES
What about White? Think you can outtrack him?
EMILY (V.O.)
I'm not running away, dad.
MAJOR CHARLES
Emily, no! you don't want to stand up against him on your own!
EXT. PARKING LOT - DAY
Emily's car is parked in a diner's parking lot, facing the building's big sized window.
Hiding behind a tree, Emily sees a white sedan arrive at the parking lot and park on the opposite row.
The driver exits his vehicle. Unsurprisingly, it's White.
EMILY (CONT'D)
Don't worry about me, dad.
I just twisted the rules of the game and poor Whithey doesn't know it yet.
White goes inside the diner.
Emily closes her cell phone and moves swiftly from her hiding spot to White's car.
She sneaks behind his car, watching as White sits at a booth and waits for a waiter to get his order.
A waitress approaches, pen and pad in hand.
White makes his order, takes a picture from his pocket and shows it to the waiter.
The waiter nods.
White puts the picture back in his pocket.
The waiter walks away.
INT. DINER - DAY
WHITE'S POV
An abandoned purse on a booth right next to the bathroom.
No one's around.
EXT. PARKING LOT - DAY
EMILY
(grins)
You can wait all you want. I'm not there anymore.
Emily takes a set of pick-up tools out of her pocket.
EMILY
Let's see if all those years on the run taught me anything.
She opens the set and moves from her spot to work on White's driver's door.
A click.
She opens the door and sneaks in.
A quick glance at the diner to make sure White is still at his booth.
She sees the waiter bringing White's request.
Emily opens the glove compartment. There she finds a gun, the car papers and a folder. Inside the folder are several snapshots of her – at the gas station, at her car, etc.
EMILY
(almost smiling)
You make this all too easy.
She closes the glove compartment and takes a deep breath.
EMILY
Now, for the hard part.
Emily pulls the trunk open, exits the car and closes the door. She flips open her cell phone and dials a number.
INT. DINER - DAY
White is seemingly tired of waiting. He keeps staring at the abandoned purse at that distant booth.
He puts another fry in his mouth. A cell phone starts ringing.
White realizes it's coming from the purse. He looks toward the women's bathroom, smiling as if waiting for his prey to come out in a hurry.
But no one comes. After a while, the phone stops ringing.
Seeing his waiting is now useless, White gets up, goes to the booth, takes the cell phone from the purse, flips it open.
An unanswered call. And a new text message. He reads it.
'NICE TRY'.
White takes a deep breath, checks inside the purse. He finds nothing but shredded papers.
WHITE
(throws the purse away)
Damn it!
He quickly returns to his booth and takes a look outside.
Emily's car is missing!
White takes off his wallet, leaves a note on the table and leaves the diner.
EXT. PARKING LOT – CONTINUOUS
White walks to his car, gets in and drives away.
INT. THE CENTRE. SIM-LAB
TITLE: SL-10
Miss Parker and Sydney are in the middle of a conversation. Sydney is reading the papers Broots had previously delivered to Miss Parker.
Broots enters the lab with a folder under his arm.
BROOTS
Oh, good. You're here.
MISS PARKER
Have you found anything?
BROOTS
I found the DSA from Raines' office, but I couldn't copy it without being discovered. Instead, I brought this.
Broots hands the folder over to Miss Parker. She opens it and sees a few black and white camera shots of a man inside Raines' office. To all appearances, it looks like Perrgodak.
MISS PARKER
No front shot?
BROOTS
No. I looked, but he kept his face away from the camera at all times.
MISS PARKER
I need to be sure of his identity.
What about Lazarus?
BROOTS
(shakes his head)
Nothing so far...
Actually, I did find something; an old file relating Lazarus to the Green Files Project.
MISS PARKER
Green Files? Have you ever heard of those, Syd?
SYDNEY
Can't say that I have?
BROOTS
Maybe it has something to do with the Pretender Project or the Red Files.
MISS PARKER
There's only way to find out.
BROOTS
It will take a while. I doubt some of these files are in any computer.
MISS PARKER
What makes you say that?
BROOTS
According to the date on the file, those have to the oldest Centre's projects.
They were personally initiated by your great-grandfather, Miss Parker.
SYDNEY
Broots, when was the project started?
BROOTS
1933.
MISS PARKER
My great-grandfather died in 1932.
BROOTS
Well, it's his signature there.
Miss Parker stops listening for a moment. She closes her eyes. All around her disappears. She is listening.
SYDNEY
Parker?
Miss Parker doesn't reply. Broots gets nervous.
BROOTS
Syd...
Miss Parker opens her eyes.
SYDNEY
You all right, Parker?
MISS PARKER
Get some shovels, Broots. It's time to go dig again.
Broots sighs.
Sydney says nothing.
EXT. ROMAN STREET-CAFÉ – DAY
Where Jarod and Andrew first met. Another espresso. Perhaps the last.
Andrew
This is where we part, Jarod.
JAROD
What're you talking about?
ANDREW
I cannot go any farther. You need to be on your own from now on.
JAROD
That's it? He beats us to the map and you simply give up?
ANDREW
There's a big difference between stepping aside and not being on one's way. He's much too powerful for someone like me.
JAROD
But...
ANDREW
Tell me, what did you feel when you first saw him?
JAROD
I felt... It was as if I was looking at a twisted reflection of me.
ANDREW
(nods)
That is the power of the scrolls.
You could feel him, couldn't you? Hear his breathing, feel his heart beat? Yes?
Jarod nods.
ANDREW
And you were not surprised when you saw he was no longer at the chapel.
JAROD
When I first heard of Carthis, about the fleeing monk, the all thing seemed so farfetched. And now...
(beat)
Andrew, if I can feel him... do you think he can feel me too?
ANDREW
Yes, I do.
And that is why I should be as far away from you as possible. That way you won't be diverted from your quest.
JAROD
What if I need your help?
ANDREW
In due time, people will come to assist you.
JAROD
Who?
Andrew gets up.
JAROD
Wait. Where are you going?
ANDREW
Home.
(smiles)
Don't worry about me, Jarod.
JAROD
Before you... I need to know more.
(beat)
About my past. Anything that helps.
Andrew sits again.
ANDREW
I will tell you a story that might help you.
Have you read the Apocrypha, Jarod?
JAROD
I did a pretend as a professor of Theology once. Why?
ANDREW
The Apocrypha claim that Jesus and Mary Magdalene had a daughter.
After the crucifixion, and according to legend, Mary Magdalene travelled with her unborn child to Southern France, where the sacred bloodline was mixed with that of the Merovingian kings.
JAROD
Isn't there a book about that?
ANDREW
There are many books about this subject. Some of them very well researched, others not quite. But, all of which based on facts very well fabricated; all carrying a common mistake few are aware off.
JAROD
And what mistake is that?
ANDREW
The Merovingian ties are only a myth – a mere stratagem to distract everyone's attention.
JAROD
From what?
ANDREW
From where Mary Magdalene and her daughter really were.
(beat)
Right here in Rome.
JAROD
That doesn't make any sense. If they were being chased by the Romans, why hide—
ANDREW
It makes as much sense as escaping The Centre and hiding in Blue Cove, does it not?
Jarod grins.
JAROD
Point taken.
But why are you telling me this?
ANDREW
I'm telling you because you have to look beyond what you see. No matter how solid, how real, a truth may be, it can be based on a lie.
Never forget about the beginning of things. If you do, you will never be strong enough to face its end.
Andrew gets up, offers his hand. Jarod gets up and shakes Andrew's hand.
ANDREW (CONT'D)
So long, Jarod. Best of luck.
Jarod doesn't reply. He simply nods and watches as Andrew walks away and disappears in the crowd.
After a while, Jarod picks up his stuff and walks to the opposite direction.
INT. THE CENTRE. MISS PARKER'S OFFICE
Miss Parker is absently watching her mother's picture.
Broots enters in a hurry, carrying a thick folder. He looks around.
MISS PARKER
Broots! What did I tell you about coming in here without knocking?
BROOTS
(absently)
Sydney's not here.
MISS PARKER
No, he's in SL-2.
Broots sighs, relieved.
MISS PARKER
What is it?
BROOTS
(walks over to the desk)
I found out what the Green Files were all about.
A beat. Miss Parker's look tells him to go on.
BROOTS
It was a genetic breeding and monitoring program. Children were monitored from birth 'till... I don't know for sure, maybe adult age.
I found nothing to confirm if the project was shut down or not.
But I was right about one thing. This project was a prequel to the Pretender Project.
MISS PARKER
A prequel to the Pretender Project in 1933?
(a beat)
Broots, is Sydney one of the subjects?
Is that the reason why you didn't want him to be here?
BROOTS
(nods)
Sydney and Jacob were two of the subjects.
(hands her the folder)
But they were not the only ones.
Miss Parker opens the folder. The first two files are Sydney's and Jacob's. She reads them over. Medical details, academic achievements, place of birth, etc. Their entire lives reduced to lines on paper.
MISS PARKER
My God! This is...
(she flips to the third file and gasps)
My mother was on it too?
BROOTS
Your mother, Jarod's mother. All those who parented the Red Files and some others I never heard of. Even Michelle and Ben Miller were on it too.
But that doesn't make any sense. You told me your mother and Ben met by accident.
MISS PARKER
That's what he told me.
BROOTS
At least, that's what he remembers.
Either way, they were all monitored by The Centre their entire lives. And your great-grandfather was behind the whole thing.
MISS PARKER
Sydney and Jacob spent their early childhood in a concentration camp.
BROOTS
That makes us wonder how strong The Centre was.
MISS PARKER
And still is.
(grabs her mother's picture frame and stares at it for a moment)
This is getting out of our league, Broots. We need help.
BROOTS
Are you thinking of someone in particular?
MISS PARKER
Yes. But I have to wait for him to call.
BROOTS
What are you gonna do in the meantime?
MISS PARKER
(puts the frame down)
I'm gonna call Ben and check up on him.
INT. WHITE'S CAR - DAY
White is furious, his knuckles are white as he grips the steering wheel tight.
WHITE
No one plays with me, missy.
White is so focused on his driving that he doesn't notice the police car behind him. That is, until it passes by and signals him to pull over.
White sighs, but does as asked.
EXT. ROAD - DAY
One of the two officers exits the vehicle and walks towards White's car.
OFFICER
License and registration, please.
White opens the glove compartment. He reaches inside, takes out his documents and delivers them to the officer.
He tries to keep his composure, but he knows something is wrong.
OFFICER
(reads the papers, talks on his radio)
Come over here, Dan. I think it's him.
(to White)
Do you mind stepping out of the car?
WHITE
Is there something with my papers?
OFFICER
(putting a hand on his holster)
Please exit the car, sir.
White exits the car. He watches as officer Dan approaches. So far, nothing is lost.
WHITE
Can I ask what's all this about?
OFFICER DAN
You sure it's him, Peter?
OFFICER PETER
(ignoring White, yet keeping an eye on him)
Yeah, the license confirms it.
(turning to White)
We received a call a few minutes ago. About you forcing a young woman inside your car trunk.
WHITE
What? No! That's insane! Who told you that?
OFFICER PETER
She did. From her cell phone.
White says nothing.
OFFICER DAN
Open the trunk.
WHITE
I can assure you I didn't kidnap anyone.
I'm on my way home. Just had a long day and-
OFFICER PETER
Open the trunk. Now!
White swallows his anger, goes to his car and opens its trunk. To his surprise, inside he finds Emily bounded with tape at her feet and wrists. He notices her hands are free, the tape bitten off, and she's holding a cell phone tightly.
She recoils a bit as she sees White's face.
The look on his face tells he has no idea how that happened.
Officer Peter and Officer Dan draw their guns on White.
OFFICER PETER
Freeze! On your knees! Do it!
White does as told, still dumbfounded.
Officer Peter cuffs him and takes him to the police car.
WHITE
I never saw her! I have no idea how she got there! I swear it's the truth!
Meanwhile, Officer Dan checks Emily for injuries. After making sure she's all right, he removes the tape from her ankles and helps her out of the car trunk.
OFFICER DAN
You all right, miss?
EMILY
(nods)
Just thirsty, that's all.
(takes a deep breath)
He grabbed me at the parking lot when I was walking to my car.
WHITE
(yells out)
That's a lie, you bitch!
Officer peter twists White's arm.
OFFICER PETER
Shut up!
EMILY
Check his glove compartment. He told me he had a gun there in case I tried to escape.
Officer Dan leaves Emily's side and goes to check on the glove compartment.
ON WHITE
White can only watch as Officer Dan retrieves his gun and his 'Hunter-Folder' on Emily. Officer Dan shows Officer Peter the snapshots of Emily and the gun.
Officer Peter twists White's arm harder. White grimaces.
OFFICER PETER
Never saw her, hey?
Officer Dan checks under the seat and finds something else there. Another folder.
OFFICER DAN
I found another folder.
(checks its contents briefly)
It's filled with newspaper clippings about several rapes occurring on the east coast. All refer an albino as a possible suspect. There's also a list, with the vic's names crossed over.
OFFICER PETER
Got anything to say in your defense?
White doesn't respond.
OFFICER PETER
You have the right to remain silent. You have the right to an attorney...
White stops listening to Officer Peter. He simply looks at Emily. He can't be sure, but it feels like she's smiling.
INT. THE CENTRE. SIM-LAB
Miss Parker enters Sydney's area just as he and Broots watch another of Sydney's twin experiments.
MISS PARKER
Don't you ever get tired of that?
Broots turns around, but Sydney keeps his eyes on his subjects.
SYDNEY
There's work to be done here, Parker.
MISS PARKER
Yes, there is.
(to Broots)
Might I ask... What are you doing here, sitting on your ass?
BROOTS
I... I...
MISS PARKER
Get back to work. I expect results when I come back.
SYDNEY
(turning)
You leaving again?
MISS PARKER
I'll be back a.s.a.p. I just need to go check up on someone.
BROOTS
I-is everything all right?
MISS PARKER
I hope so.
SYDNEY
Parker... Broots told me what happened with you in Carthis.
MISS PARKER
You really can't keep your mouth shut, Shaggy.
SYDNEY
Are you all right, Parker?
MISS PARKER
I'm fine, Syd. I'm only going to see a friend.
Sydney nods.
Miss parker turns and exits the sim-lab.
BROOTS
You think she's fine?
SYDNEY
She needs her room now, Broots.
In the meantime, it wouldn't hurt to have something good to surprise her when she returns.
BROOTS
So, now you're taking her side.
SYDNEY
Mere survival skills, my friend.
As long as she has you to chew off, I'm safely off the hook.
INT. THE CENTRE. CORRIDOR
As Miss Parker walks toward the elevator, she flips open her cell phone and dials a number.
OPERATOR (V.O.)
The number you just dialled is no longer available. Please contac-
Miss Parker ends the call just as she reaches the elevator. She goes in and presses the button to ground level before dialling again on her cell phone.
This time the call is answered.
MISS PARKER
Sam, meet me at the lobby. We're going on a trip.
Miss Parker ends the call and puts the cell phone back in her pocket.
The elevator doors open and she almost bumps into Lyle. She goes right past him and continues on her way.
Lyle smirks, turns around and follows her.
LYLE
Someone's in a hurry.
MISS PARKER
Don't you have something rotting on your fridge?
LYLE
Always the Miss Sympathy.
I heard you went to Carthis. Found anything interesting there?
MISS PARKER
Ask the new guy. He was there too.
Miss Parker walks faster. Lyle stays behind.
Lyle
I can't. No one's seen him since then.
Miss Parker doesn't look back. She continues on her way out; her face a storm of mixed emotions – confusion and fear subsiding.
She reaches the lobby where Sam is waiting for her. Without a word, he simply joins here and together they leave the building.
INT. THE CENTRE. ANGELO'S QUARTERS
Angelo stares at the vent, shakes his head. He seems to be curious about something, but something's holding him.
ANGELO
Too soon. Help Daughter and Friend when right. Not now.
Then, something changes. His curiosity wanes and turns into alarm. He stares at the vent again. This time he knows he has to go.
He gets up from his bed, goes to the grid, removes it and climbs in.
INT. THE CENTRE. AIR VENT
We follow Angelo across the air vents, until he reaches the nursery level. Hiding behind the grid, he watches the little Parker (no more than 2 years old) draw something with crayons. The whole environment is sterile white and offers no stimuli.
ON THE CHILD
The little Parker (no first name given) stops drawing and looks at the grid.
For a while his eyes lock with Angelo's and they look as if changing information.
Then the child nods, as if understanding, and returns to his drawing.
ON ANGELO
Angelo
Soon.
He turns around and starts crawling away.
ON THE CHILD
We return briefly to little Parker and see a glimpse of what he's drawing.
It's the symbol for infinity, the number eight, drawn over and over again.
EXT. BEN MILLER'S BED AND BREAKFAST – TWILIGHT
Miss Parker's car parks in front of Ben Miller's place.
The lights in the house are on.
Miss Parker and Sam exit the car. She draws her weapon, anticipating the danger. Sam follows her example.
Slowly and carefully they make their way to the front porch.
Miss Parker knocks on the door.
No answer.
She tries to peek inside but the curtains are drawn.
She tries the knob. The door opens.
It doesn't take more than a glance to see the pool of blood covering the floor. Miss Parker tries to avoid looking, but it's too late.
The image of Ben Miller's mutilated body is one thing she will never forget.
The world around her disappears once more. This time the Voices aren't talking. They are screaming. Like they never did before.
One Voice, however, rises over the rest. Her mother's.
CATHERINE (V.O.)
Images of the past... Family secret...
INT. THE CENTRE. MR. COX'S STUDIO
With a passion hardly understandable, Mr. Cox on a white lab coat, works on another of his taxidermy experiments. The small puppy has only one eye yet.
Cox is about to insert the other one when the phone on the wall rings.
He puts everything down and goes to answer it.
MR. COX
Cox here.
Yes, sir.
You want me to-?
Shouldn't a sweeper-
No, no problem. I'll take care of him him.
Yes, then I'll handle the mother.
Mr. Cox puts the phone down.
MR. COX
I'll finish you some other time, Fluffy.
He removes his lab coat, hangs it and leaves the room.
DARKNESS
Then, a flick of the light. Images regaining definition.
INT. BEN MILLER'S BED AND BREAKFAST. BEDROOM - NIGHT
Miss Parker opens her eyes. She recognizes the place.
Pictures of her – no, not hers, her mother's – fill the room.
She's lying on the bed, still fully dressed. She sits up on the bed, sees Sam sitting at a chair watching her.
MISS PARKER
What happened?
SAM
You passed out.
I brought you here. Figured you could use some rest.
MISS PARKER
How long was I...?
Her head still hurts. The Voices are not screaming anymore, but the choir of spirits still echoes inside her head.
SAM
About three and a half hours.
MISS PARKER
What about Ben? Is he...?
Sam nods. Miss Parker looks down.
MISS PARKER
Damn him! He knew I was coming here!
This is him returning the favour.
SAM
I took the liberty of cleaning everything up. If this was Centre's work, we should avoid using local authorities.
Miss parker nods.
MISS PARKER
You did good, Sam.
What about the...
(deep breath)
the...
SAM
I buried him.
Miss parker gets up, moves to the door. Sam gets up from his chair.
Only then, Miss Parker notices the old photo-album leaning against the chair.
Sam follows her look, grabs the book and delivers it to Miss Parker.
MISS PARKER
Where did you find this, Sam?
SAM
He was clutching it. Holding it as if it meant the world to him.
Miss parker feels the brown leather cover. No drawings, only four words: IMAGES OF THE PAST.
Miss Parker raises his head to look at Sam.
SAM
I didn't open it, Miss Parker.
Doing her best to hide the anxiety, Miss Parker opens the book. She sees a painting of an angel.
INT. PARKER FAMILY HOUSE. MR. PARKER'S OFFICE – FLASHBACK
A very young Miss Parker (no more than 7 or 8 years old) ventures inside the empty office. Her curiosity leads her to the highest shelf that she can reach.
Among the dozens of books that fill the room, one captures her attention. She retrieves it from the shelf, opens it.
A painting of an angel.
She flips to the next page.
Written in golden classic lettering are the words THE PARKER FAMILY.
Young miss Parker smiles, then she hears a loud voice, an angry voice. Aiming at her.
She turns her head.
Mr. Parker removes the book from her hands and slaps her in the face.
He says something to her, she nods, sniffing and hurting.
PRESENT
Miss Parker is clutching the photo-album tightly.
She flips to the second page.
Nothing. No photos, no drawings.
MISS PARKER
Images of the past... Family secrets.
SAM
You all right, Miss Parker?
Miss parker closes the photo-album.
MISS PARKER
Let's go, Sam.
SAM
Where to, Miss Parker?
MISS PARKER
Home. We had enough for one day.
Miss Parker leaves the room, without looking behind. Sam follows her, turning off the light as he closes the door.
EXT. SYDNEY'S OFFICE - DAY
Sydney is reviewing some reports, when Broots comes in, trying but failing to hide his anxiety.
BROOTS
Syd! Syd!
SYDNEY
Calm down! What is it, Broots?
Broots retrieves a DSA disc from his shirt pocket and hands it over to Sydney.
BROOTS
You have to go to see this!
SYDNEY
What is it?
BROOTS
Don't ask. You have to watch it to believe it!
Sydney nods, puts the disc on the DSA reader and begins watching.
ON SCREEN – BLACK AND WHITE
Lyle and Jules are in Lyle's office.
Jules retrieves a small picture from his pocket and hands it over to Lyle.
JULES (O.S.)
I'll be leaving to Carthis in a few minutes. While I'm gone, I want you to kill this man.
Lyle examines the picture.
LYLE (OS)
Any preferences?
JULES (OS)
Make it painful.
(smiles)
Use your imagination.
The address is on the back of the picture.
Lyle flips the picture to read the address.
ON SYDNEY
He gasps as he sees who the target is.
SYDNEY
My God! That's Ben Miller! Miss Parker...
BROOTS
We have to warn her, Syd!
SYDNEY
Yes. Maybe there's still time to stop it from happening.
Sydney grabs his cell phone, dials Miss Parker's number.
She answers.
MISS PARKER (V.O.)
(ice cold voice)
What?
SYDNEY
(sighs)
So you already know... I'm sorry about Ben, Parker.
MISS PARKER (V.O.)
How do you-
SYDNEY
Broots found a DSA that showed our new boss delivering someone the assignment. I called you as soon as I learned of this, but-
MISS PARKER (V.O.)
Who was it?
SYDNEY
Parker, right now, I don't think you-
MISS PARKER (V.O.)
Damn it, Syd! You didn't see him! He was tortured! Someone tortured a man that could have been my father!
Tell me who's the son of a bitch who killed him!
SYDNEY
Lyle was handed over the assignment, but I'm not sure if he-
The call is finished on Miss Parker's end.
Sydney puts his cell phone down and sighs.
SYDNEY
We were too late, Broots. She probably go after Lyle now.
BROOTS
What about you? What're you gonna do?
SYDNEY
I'll pray.
BROOTS
(surprised)
For Lyle?
SYDNEY
For her soul.
In the meantime, find out if Lyle really went through with the assignment.
BROOTS
You don't think he's capable of it?
SYDNEY
I know he is. But something tells me, the real threat is the new Perrgodak.
Find out everything you can about him.
BROOTS
I already did that. I found nothing except the tip that led Miss Parker to Carthis.
SYDNEY
There's got to be something else, Broots!
BROOTS
I'll do what I can...
Broots leaves Sydney's office. Sydney closes the DSA reader and returns to his papers.
INT. THE CENTRE. CORRIDOR
We follow Broots to his station. He goes to an empty desk, puts down his papers on Perrgodak (the snapshots, the search results, the project files) and tries to make sense of it.
INT. PARKER FAMILY HOUSE. MR. PARKER'S OFFICE – MORNING
Miss Parker walks inside the office and walks straight to the shelf.
Still the same shelf, but the height has changed.
The book is still there. Gaining dust. She removes it slowly.
No one around to see her discomfort.
She sits at the desk and opens the book.
The painting of an angel
A turn of the page.
THE PARKER FAMILY
Int. the centre. Tech room
Broots is now writing the name Perrgodak.. Under it, he writes the three anagrams he had previously come up with.
Unaware of his movements, Broots makes a circle right in the middle of the word with his pen. The word GOD catches his attention.
BROOTS
It can't be...
He writes the letters G-O-D down and crosses the letters from the original word. Now he has PERRAK.
INT. PARKER FAMILY HOUSE. MR. PARKER'S OFFICE – MORNING
Miss Parker flips to the third page. The book falls from her hands and hits the desk.
On the open page, we see an old black and white picture of Jules.
The date below the picture: September 8, 1902.
The name: Theo Parker.
TO BE CONTINUED ON THE SECOND PART
OF MY POST IOTH QUADROLOGY
THE HIGHER THEY ARE...
(ALREADY BEING WRITTEN. WON'T POST ANYTHING THOUGH, NOT BEFORE I HAVE AT LEAST A THIRD OF IT WRITTEN)
