| |
DSA - 07/01/1967
|
| Sydney |
What is it Jarod? |
| Young Jarod |
I don’t like to be watched. |
| Sydney |
So your drawing would indicate. Would you like me to leave? |
| Young Jarod |
No. Not you Sydney, them. They record everything, don’t they? Everywhere I go, everything I do, every word I say. Shut ’em off Sydney. Shut the cameras off. |
| Sydney |
I don’t control them Jarod. Just ignore them. |
| Young Jarod |
But I cant! Don’t you understand? I can feel them on me all the time. |
| Sydney |
There’s nothing I can do Jarod. |
| Young Jarod |
It’s not fair. Just turn ’em off! |
| Sydney |
Jarod! |
| Young Jarod |
All right? Turn ’em off! |
| Sydney |
No! Stop! |
| |
Studio-portrait shop - Manhattan
|
| Photographer |
Okay, you smile for the camera. All right, we’re all done kids. |
| Miss Parker |
Ow! Where’s Planned Parenthood when you need them? |
| Photographer |
Hey, how you folks doin? You know we got a special goin’ for uh, extra copies for Grandma and Grandpa. |
| Miss Parker |
Do I look like I drive a minivan? |
| Sydney |
Do you know this man? |
| Photographer |
Yeah sure, that’s Jarod Adams. He worked her a couple of weeks, good guy. He gave me this. |
| Miss Parker |
Heart warming. |
| Sydney |
You know where he is now? |
| Photographer |
Nope. But he did tell me that someone would be by to pick this up. Right here. |
| Miss Parker |
I’m someone. |
| Photographer |
This is Manhattan. |
| Miss Parker |
This is extortion. |
| Photographer |
Oh come on, this is Manhattan. |
| Miss Parker |
Your parents must be very proud. |
| Photographer |
Excuse me. |
| Sydney |
I think this is meant for you. |
| Miss Parker |
Oh, a View-Master with no reel. How tragically symbolic. |
| Sydney |
Why tragically? |
| Miss Parker |
Because it means that I’ll be forced to listen to you attach some greater semiotic meaning to that toy. |
| Sydney |
I think the stress of your father’s disappearance is starting to get to you. |
| Miss Parker |
The only thing getting to me is Jarod. |
| Sydney |
You should consider a vacation. It might help your state of mind. |
| Miss Parker |
So would putting a bullet in Jarod’s kneecap, but I cant do that now, can I? Because I don’t know where he is, do I? |
| Photographer |
Say cheese. |
| |
Darrin Faxon Modeling Agency - Miami - Florida
|
| Jarod |
That’s a wrap, that was great. |
| Man |
Great gig. |
| Jarod |
Well, it sure beats shooting triplets. |
| |
|
| Darrin |
Too pasty, not pasty enough. Get her a trainer. Hmmm. I didn’t know that Earl Schieb did hair. |
| Brian |
Come on Darrin, don’t you think that’s a little harsh? |
| Darrin |
Harsh? From an agent? Brian, this is a modelling firm not a halfway house for former prom queens. |
| Jarod |
Mr Faxon. |
| Darrin |
Jarod. Brian, I assume you’ve seen Jarod’s portfolio? |
| Brian |
Very impressive. |
| Darrin |
No, it’s exceptional. You’ve obviously worked with the masters, Avedon, Penn, Newton. Their influence is unmistakable. |
| Jarod |
I enjoyed their books quite a bit. |
| Darrin |
Their books? Yes, that’s very witty. |
| Brian |
You’re scheduled to shoot the Cindy Thomas portfolio at 11:30. |
| Jarod |
I haven’t met her, but I hear she’s… exceptional. |
| Darrin |
Well, she’s still very raw, but her potential is amazing. So far, no photographer has captured her true look, the uh, elusive quality that will make her the next, uh, her. |
| Jarod |
Kimberly Green. She died in a car accident right? |
| Darrin |
That’s the official version. |
| Jarod |
Was there something else? |
| Darrin |
A man was stalking Kimberly. |
| Brian |
Police think that she drove into the river by accident. |
| Darrin |
There’s no doubt in my mind that he killed her. |
| Brian |
Her body was never found. |
| Jarod |
And they never captured the stalker? |
| Darrin |
No, he’s still out there somewhere. Ah, Brian, I need you to run those to the agent. |
| |
The Centre - Blue Cove - Delaware
|
| Broots |
I used to have the entire Thunderbirds collection on reels for this. |
| Sydney |
Thunderbirds? |
| Broots |
Yeah. Well, it’s like Star Wars, only it’s little talking puppet heads. |
| Miss Parker |
Kind of like yours Broots? |
| Sydney |
Called your office, but the line was busy. |
| Miss Parker |
I was on the phone to St Thomas. |
| Sydney |
Your father’s vacation home? |
| Miss Parker |
I spoke to his houseboy who for six years has spoken perfect English, but today when I asked if he’d seen my father, he couldn’t understand a damn word. |
| Sydney |
He will come back. |
| Miss Parker |
So? |
| Broots |
Oh, so, uh, this package came for you. It’s from Maine, and uh, it’s moving. |
| Sydney |
Jarod? |
| Miss Parker |
Well, I doubt it’s Mrs Paul. |
| Sydney |
So much for your empty View-Master. |
| Miss Parker |
Here, you two bond. |
| Broots |
Miss Parker. |
| Miss Parker |
Where’s Daddy? He lives to torment me. |
| Lyle |
That would be Jarod? |
| Miss Parker |
Mr Lyle. |
| Lyle |
Miss Parker. I’d swear that we had an appointment in my office 30 minutes ago. |
| Miss Parker |
A pressing matter arose. Unfortunately it was a false lead on Jarod. |
| Lyle |
Hmm. That’s too bad. So you came up empty again? In New York I believe? |
| Miss Parker |
He’d already left his last locale when we arrived. |
| Lyle |
Any clue as to where he might be going? |
| Sydney |
I saw nothing that could be interpreted in that manner. |
| Lyle |
How unfortunate. Excellent with garlic butter. |
| Miss Parker |
I’m going out, if anyone asks where I am… lie. |
| |
Darrin Faxon Modeling Agency - Miami - Florida
|
| Jarod |
You look great Cindy. Fantastic, ha ha. Extraordinary. Lovely you look great. Great. Relax, have fun. Be a kid. |
| Cindy |
I though I was supposed to be sexy and provocative. |
| Jarod |
We’re selling you know, so be… you. |
| Cindy |
Okay, oh, I know. |
| Jarod |
Say cheese. That’s it. That’s the one. That was great. You can go home now. |
| Cindy |
That was a little ridiculous, but it was a lot of fun. Thank you. |
| Brian |
Jarod, that last shot just me be the cover of our next agency catalogue. |
| Darrin |
Exceptional, I couldn’t agree with Brian more. I am curious though. Where in the hell did you com up with that technique? |
| Jarod |
Happy Faces Photo Phun. Excuse me. |
| |
Jarod notices a presence during the shooting. A the end of the session, he follows the man he has seen earlier and meet Toby. |
| Jarod |
Hello? Excuse me, my name’s Jarod. Excuse me. I’m sorry I didn’t mean to scare you. |
| Toby |
N-n-n-no p-p-problem. I was j-just working. |
| Jarod |
Hmmn. A bearded lady. Now I bet people would pay money to see that. |
| Toby |
J-just, uh, experimenting. N-no flaws now. |
| Jarod |
Well to me, it’s the flaws that make a face interesting, but certainly a photographer like yourself knows that. |
| Toby |
I’m a photo enhancer. |
| Jarod |
But I though I just saw you taking pictures in the studio. Now, I’m used to having a camera trained on me but other people might not feel that way. |
| Toby |
I t-told you, I’m n-not a shooter. |
| Jarod |
Okay, it must have been someone that looks like you. Have a nice day, it was nice to meet you. |
| |
A street in Miami- Florida
|
| Jarod |
I’m telling you Cindy, Miami has the best doughnuts. |
| Cindy |
Come on, Cuban food and stone crabs maybe. But doughnuts? |
| Jarod |
I had my first doughnut when I was here. It’s a long story. |
| Cindy |
You’re right, it’s a great town. I used to love walking around, just taking everything in. Then after what happened to Kimberly… |
| Jarod |
You two were friends? |
| Cindy |
Well, as much as she’d let me. She was a pretty private person, wasn’t really close to anybody except her sister. I didn’t really blame her though, I mean, it’s really tough finding real friends when you’re suspicious of everybody. |
| Jarod |
The stalker. |
| Cindy |
He made her life a living hell. He used to send her pictures of herself. |
| Jarod |
What kind of pictures? |
| Cindy |
Well, just doing everyday things like going to the store, eating in a restaurant. He used to write “You’re mine” over every one of them. Once he got so close to her, he attacked her with acid. All she ever wanted to be was normal, you know? |
| Jarod |
I know the feeling. Is there something wrong? |
| Cindy |
No, everything’s fine. Thank you for walking me home, I really appreciate it. |
| Jarod |
It’s my pleasure. |
| Cindy |
Bye. |
| |
Jarod's lair
|
| |
DSA - 10/01/01967 |
| Young Jarod |
Shut ’em off Sydney. Shut the cameras off. |
| Sydney |
I don’t control them Jarod. Just ignore them. |
| Young Jarod |
But I cant! Don’t you understand? I can feel them on me all the time. |
| Sydney |
There’s nothing I can do Jarod. |
| Young Jarod |
It’s not fair. |
| |
End of DSA |
| Jarod |
Yeah, it wasn’t fair was it Kimberly? It just wasn’t fair. |
| |
Rock Cove - Maine
|
Miss Parker (phone)
|
What? |
Jarod (phone)
|
Little-known fact: Lobsters make wonderful pets. |
| Miss Parker |
Yeah, it was great hearing it scream when I threw it in the boiling water. There a point to all of this? |
| Jarod |
It’s about your father. I thought that point was clear. |
| Miss Parker |
If you know where my father is, you tell me. |
| Jarod |
When you tell me where my parents are. |
| Miss Parker |
I don’t know! |
| Jarod |
Find out. |
| Miss Parker |
This isn’t funny Jarod. |
| Jarod |
Now you know how I feel. Happy hunting, and tell Gladys I say hello. |
| |
Glady's shop - Rock Cove - Maine
|
| Miss Parker |
Gladys? Who’s…. |
| Gladys |
Good morning, may I help you? Would you… oh! Miss Parker. |
| Miss Parker |
Gladys |
| Gladys |
Guilty. |
| Miss Parker |
Exactly what the hell am I doin’ here, Gladys? |
| Gladys |
Jarod said you’d find this very valuable. Sentimental value I suppose. |
| Miss Parker |
I’m all tears. |
| |
Miss Parker is upset and violently shakes the box Gladys gave to her. |
| Gladys |
Well, it’s not in very good shape. There are a few pieces missing. Would you like a cup of tea? You seem a little tense. |
| Miss Parker |
What the hell am I supposed to do with this, make kindling? |
| Gladys |
Jarod said the man you’re having lunch with tomorrow would be able to help. |
| Miss Parker |
What man, where? |
| Gladys |
Jarod said you’d know. |
| Miss Parker |
You wouldn’t happen to know where there’s a Chuck’s Lobster House would you? |
| |
Jarod's lair - Miami - Florida
|
| TV |
Although we may never know the e xact motives of the person who stalked Kimberly Green. I’ve identified several character traits which all stalkers exhibit by getting into the stalker’s head, becoming the stalker, as it were. First and foremost, the stalker believes the victim belongs to him, and him alone, hence attempting to control the victim’s life through fear. By controlling the victim’s actions with fear he manipulates her ability to interact with other people. A fear achieved by anonymity. Avoiding any face-to-face confrontations with his victim. It’s what the victim can’t see that is most terrifying. And, in what may have happened in the case of Kimberly Green, if a victim rejects the stalker’s attempts to control her life, then the stalker is no longer in control, and can turn to violence. |
| |
Miami - Florida
|
| |
Jarod is simulating. He is following a young woman hoping he will discover how the stalker proceeds. |
| Jarod |
Zoe, I’m sorry, it’s okay, we’re done. |
| Zoe |
Thank you. I’ve been on a few auditions before, but never anything like this. What’d you call it again? |
| Jarod |
A simulation. I needed to get inside the head of someone who’s doing some pretty horrific things. You did a great job. Thank you. Oh, one question. Why did you walk up to that policeman? |
| Zoe |
A stranger offers cash to stalk me for a day? I mean, that’s a little out there. I was startin’ to feel kind of weird, you know? |
| Jarod |
Well, I’m sorry if it got too real. I didn’t mean to scare you. |
| Zoe |
Yeah, well, I saw the cop and I figured it was time for you to feel a little nervous. |
| Jarod |
It worked. |
| |
Sydney's Office - The Centre - Blue Cove - Delaware
|
| Broots |
Well, I don’t usually remember my dreams, but this particular one was… uh. I… I was sitting in some kind of a bar and uh, everybody was walking around wearing leather. And uh, I was trying to flirt with the bartender, who was a woman. All this time, I’m talking, saying some really clever things, and, you know, like, like ‘dream-clever’, and then, she turns around and it’s Miss Parker. And now I’m… I’m really turned on and she reaches out and grabs me and pulls me across the bar and starts shoving me into a blender. |
Lyle (entering the office)
|
Sorry to interrupt your session. |
| Broots |
Session? We’re not having any session. |
| Lyle |
But, I’m trying to get a bead on Miss Parker. Have either of you seen her? |
| Broots |
No. |
| Sydney |
Not since lunch. |
| Broots |
Oh, no, actually, um, I think she said something about pursuing a lead on Jarod. |
| Lyle |
Really? |
| Broots |
Yeah. |
| Lyle |
Lunch in Maine. Neat trick. Have her call me when she returns… from lunch. |
| Broots |
How did he know about our sessions? Y-you think he heard the part about the blender? Sydney? |
| |
Darrin Faxon Modeling Agency - Miami - Florida
|
| PA |
Alexander call on extension 4. |
| Toby |
S-sorry, I didn’t see you. |
| Jarod |
You have a good eye, for not being a photographer. |
| Toby |
K-kind of a hobby. |
| Jarod |
It’s, it’s honest. I mean, you’ve captured her. I mean, if the rest of these are like this one, you should really show your work. |
| Toby |
I c-couldn’t do that. N-never. |
| |
They hear a strident scream and run. |
| Jarod |
What’s wrong? |
| Darrin |
Cindy! |
| Cindy |
I found this on my vanity. He’s after me now. Why? |
| Jarod |
Because he needs a new target. |
| Darrin |
I want you to move in with me. I’ll hire a private, 24-hour security guard. |
| Cindy |
It’s not gonna make any difference. If he wants to get me, he’ll get me… just… just like he got Kimberly. |
| |
Chuck’s Lobster House - Rock Cove - Maine
|
| Waiter |
Welcome to Chuck’s Lobster House, may I help you? Oh, Miss Parker. |
| Miss Parker |
Is there anyone in this burg who doesn’t know me? |
| Waiter |
Jarod’s table is right this way. You’ve got company. |
| Miss Parker |
Jarod’s here? |
| Ben |
I’m afraid it’s only me. |
| Miss Parker |
Ben? |
| Ben |
It would seem Jarod has set us up. |
| |
Jarod's lair - Miami
|
| TV |
While police have ruled supermodel km Green’s death accidental, her sister Erika Green, believes, like many, she was murdered by the stalker who had been harassing her for months. |
| |
Erika Green's house - Florida
|
| Jarod |
My name is Jarod Adams, I’m a photographer with the Darrin Faxon Agency. |
| Erika |
I don’t have anything to say to you people. |
| Jarod |
The stalker’s back. He’s after one of your sister’s friends, Cindy Thomas. |
| Erika |
Come in. |
| Jarod |
There’s nothing more difficult than missing family. |
| Erika |
Kimberly wasn’t the stalker’s only victim. I lost the only family I’ve ever had. |
| Jarod |
When was this taken? |
| Erika |
One of the foster homes we were in. We had a strange childhood. I doubt you’d understand. |
| Jarod |
Oh, I might. |
| Erika |
We grew up in the system, went from one foster home to another. You never knew what kind of situation you were walkin’ into. But no matter what, Kimberly would never let anyone hurt us. Excuse me. Yes. Look this is the fourth time I told you people I am not switching. I tell you what, why don’t you give me your home number and I’ll call you back? I didn’t think so. I can’t stand having my privacy invaded. |
| Jarod |
I know what you mean. I think I would have liked your sister. She strikes me as a survivor. |
| Erika |
She was. There was only one thing she couldn’t handle. |
| Jarod |
Feeling trapped by her life, by the stalker. |
| Erika |
One fed the other. A way out was all she could think about. I’m sure it was on her mind when her car went off the bridge. At least now she’s at peace. |
| |
Jarod's lair - Miami
|
| Operator |
561 information. |
| Jarod |
561? |
| Operator |
Yes, Boca Raton, Florida. May I help you? |
| Jarod |
Thank you, that’s all the information I need. No wonder they want your long-distance business Erika. |
| |
DSA - 1967
|
| Sydney |
Jarod, Jarod Jarod! Jarod are you okay? |
| Young Jarod |
Yeah, I’m all right. |
| Sydney |
Don’t ever do that again Jarod, I thought you were dead. |
| Young Jarod |
I thought if I pretended to be dead, everyone would leave me alone. |
| |
End of DSA |
| Jarod |
You and me both Kimberly. You and me both. |
| |
Chuck’s Lobster House - Rock Cove - Maine
|
| Miss Parker |
Another. |
| Waiter |
Right away Miss Parker. |
| Miss Parker |
Courtesy of Jarod, I think I have finally reached the end of my rope, frayed, I might add. |
| Ben |
I haven’t seen this in years. |
| Miss Parker |
Was it yours? |
| Ben |
No, it was your mother’s. Jarod stayed with me a few months ago. It’s starting to make sense to me now. |
| Miss Parker |
What is? |
| Ben |
His preoccupation with your mother, and this. He told me the next time you and I met, to give it to you. I don’t know why, but I’ve been carrying it with me everywhere. She dances in there. I’m afraid it doesn’t work without the other figurine. I’m sorry, I don’t know where it is. I thought this was lost, but Jarod found it tucked away in the attic along with some other items that belonged to your mother. She bought it one day when we were together. It always reminded me of her delicate beauty, her graceful dancer’s gait. |
| Miss Parker |
My mother was a dancer? |
| Ben |
A great one. She never told you? |
| Miss Parker |
I am learning that there are a lot of things she never told me, but it certainly explains all the lessons I took as a child. |
| Ben |
Do you still dance? |
| Miss Parker |
No, I stopped when she… |
| Ben |
Yup, she stopped too, after she met your father. |
| Miss Parker |
Ben, do you know where my father is? He’s missing and Jarod led me here in hopes that I would find him. |
| Ben |
I’m sorry, I don’t know about your father, only your mother. |
| |
Erika Green's house - Florida
|
| Erika |
So? This could’ve been taken any time. |
| Jarod |
You know that it wasn’t. Erika I know that you speak to your sister every night at 10:30. I am not the stalker. |
| Erika |
And you expect me to just believe that? |
| Jarod |
I know where Kimberly is. If I were the stalker, if I wanted to invade her privacy I would be doing that instead of standing here talking to you, the one person that can help her to trust me. I understand how she feels. |
| Erika |
No one could understand that. |
| Jarod |
I do. |
| |
He shows Erika a DSA. |
| |
DSA - 14/01/1967
|
| Sydney |
I told you Jarod, you’re safe here, they’re not watching you. This is the only camera in my office. I took it out of the ceiling this morning, but remember, it’s only a special favour to you. I have to put it back in a few minutes. |
| Young Jarod |
So we can talk? Just you and me? |
| Sydney |
You can do anything you like. (Jarod is playing when he notices something) What is it Jarod? |
| Young Jarod |
There’s something in the clock. Right here in the middle. You said they weren’t watching. |
| Sydney |
Jarod, believe me I didn’t know. |
| Young Jarod |
You said I’d be safe here. You promised! |
| Sydney |
Jarod! Damn you. |
| |
A beach - Florida
|
| Kimberly |
After he attacked, faking my death was my way out. |
| Jarod |
Out of one trap, into another. |
| Kimberly |
Instead of living a nightmare, I just have them now. |
| Jarod |
What are they about? |
| Kimberly |
Always the same thing. His eyes. The night he attacked, I felt his eyes on me all day long and as I approached my building, I turned, and he was standing there, wearing a ski mask. Hiding his face as he tried to spray acid on mine. The only thing that registered were his eyes. |
| Jarod |
Tell me about them. |
| Kimberly |
They were cold, they had no feeling. |
| Jarod |
Was there any place that you felt safe? |
| Kimberly |
Home, and at the agency. But you know, near the end, I felt like I was being watched, even there. I think I was just being paranoid. |
| Jarod |
I don’t think so. The public doesn’t know who Cindy Thomas is, but the stalker does. |
| Kimberly |
You think he has access to the agency? |
| Jarod |
I don’t know, but I need your help to find out. I need you to help me find those eyes. |
| Kimberly |
No, Jarod. |
| Jarod |
It’s the only way out of this trap. Trust me. I think I know a way. |
| |
Rock Cove - Maine
|
| |
Miss Parker and Ben are walking and talking together. |
| Ben |
The relationship between your mother and I lasted almost 15 years before she died. I can still see her beautiful vision walking up to the inn on that sunny day in April. I was on a ladder when she called to me. Her roadster had broken down. |
| Miss Parker |
And she tried to fix it herself. |
| Ben |
Yes, she was covered in oil. |
| Miss Parker |
So did you help her with the car? |
| Ben |
She helped me to the doctor. I fell off the ladder. |
| Miss Parker |
Ben. |
| Ben |
That’s how she was, always helping others, even when she was in need. |
| Miss Parker |
Was that the spring you two fell in love? |
| Ben |
That was the spring we became friends. That’s all we were for many years. She would come up to the inn every April, spend the first two weeks. I lived for those weeks of joy. It may sound corny, but it was the simple things she loved. Gathering flowers down by the lake, watching the stars. Catherine had an unquenchable zest for life, a sparkle. Until… |
| Miss Parker |
She met my father? |
| Ben |
Well, at first she seemed happy but year after year the sparkle faded. |
| Miss Parker |
But she kept coming to see you. |
| Ben |
Well, I was a oasis from the life she was trapped in. She never told me about that life, only her feelings. |
| Miss Parker |
That’s the way she was with me. |
| Ben |
It was many years before our lips touched, but I truly believed that we were meant to spend our lives with each other. But we could only have what we had. |
| Miss Parker |
I hate to know that she was so sad. |
| Ben |
She was until you came along. After you were born, the sparkle returned. You gave her the strength to remember who she was. She was making big changes in her life but then she was gone. |
| Miss Parker |
God, I miss her. |
| Ben |
I do too. Don’t be sad. She was never sad when she talked about you and that was all she ever really wanted to talk about. |
| Miss Parker |
What was the other figurine that went in here? |
| Ben |
Another dancer, a little girl. A shame they can’t dance together anymore. |
| |
Toby's Office - Darrin Faxon Modeling Agency - Miami - Florida
|
| Toby |
What are you d-doing here? |
| Jarod |
Your work. It’s excellent. I can’t believe you’ve never shown this to anybody. |
| Toby |
I t-told you. I c-couldn’t do that. |
| Jarod |
Toby, you have a gift. It’s like the camera speaks for you. |
| Toby |
These are b-beautiful people. I’m not-not one of them. |
| Jarod |
Beauty is more than appearance, it’s also about real emotion. I look at your photographs, especially the eyes of your subjects, and I see a lot of that emotion. |
| Toby |
What do you want? |
| |
Kimberly's place - Florida
|
| Kimberly |
Toby took these? |
| Jarod |
Of everyone who was at the shoot. Anything? |
| Kimberly |
No, maybe he wasn’t there. Maybe he’s changed his habits. |
| Jarod |
Stalkers, they always hunt their prey in the same way, over and over again. He was there. Wait a minute. What’s this? There’s a figure behind this backdrop. |
| Kimberly |
Oh my god. Brian. |
| |
Darrin Faxon Modeling Agency - Miami - Florida
|
| Darrin |
Too puffy, no heroin chic. Oh please, send this one to Bob Vila, maybe he needs a new hand model. |
| Woman |
This just came in for you Brian. Mr Faxon, Paris is calling on the conference line. |
| Darrin |
Oh lovely. |
| Brian |
Kimberly. |
| Kimberly |
Hello Brian. |
| Brian |
Kimberly. Kimberly! Kimberly! Hey! |
| Zoe |
What’s your problem? My name is Zoe. |
| Brian |
I… I’m sorry. I thought you…What? Hey! Who’s there? |
| Jarod |
You’re trapped Brian. Now how does it feel? |
| Kimberly |
Over here Brian. |
| Brian |
Kimberly? |
| Cindy |
This way Brian. |
| Brian |
Cindy? |
| Jarod |
You cant see us, but we can see you. Now we have all the power. |
| Brian |
Who are you? |
| Jarod |
I’m you Brian. I’m weak, I’m a coward. I hide in shadows and watch because creating fear in others is the only way that I have strength. |
| Brian |
What do you want? |
| Jarod |
Are you feeling trapped, vulnerable, terrified? Just like Kimberly and Cindy felt. Are you afraid I’m going to hurt you? The worst part is you don’t know how and you don’t know when. But then again, that’s what stalking is all about, isn’t it? Admit itBrian. They rejected you and that just tore you up inside. |
| Brian |
I just wanted to be with them. |
| Jarod |
You wanted control. And when you couldn’t have your way with Kimberly, you stalked her and you trapped her and you tried to destroy her… with acid. And then you stalked Cindy in the very same way. |
| Brian |
I just wanted Kimberly and Cindy to be mine. |
| Jarod |
Oh, well, now you’re mine. |
| Brian |
Noooooo! |
| Jarod |
Will you relax Brian, it’s just CO2 and water. |
| Kimberly |
What’s the matter Brian? You look like you’ve seen a ghost. |
| Brian |
I thought you were… I thought you were dead. |
| Kimberly |
No, I’m not, and I’m not afraid anymore either. |
| |
Some times later : Jarod is with Toby and they are waiting for Toby's job interview. |
| Jarod |
Relax, let your portfolio speak for itself. Don’t worry, Darrin’s going to love your work. |
| Toby |
I-I never thought this this day would come for me. N-no matter what happens, I th-thank you Jarod. |
| Jarod |
Knock ’em dead. |
| |
Miss Parker's Office - The Centre - Blue Cove - Delaware
|
| Miss Parker |
What? |
| Jarod |
Pretty, isn’t it? |
| Miss Parker |
Pretty? |
| Jarod |
The music. |
| Miss Parker |
As usual Jarod there is no music at the end of one of your games. |
| Jarod |
Oh, well I am very sorry that you didn’t have a nice trip but you have everything you need to find what you’re looking for. |
| Miss Parker |
Why did you give me this Jarod? |
| Jarod |
Let’s just say, happy birthday Miss Parker. |
| Miss Parker |
My birthday isn’t until January 3rd. |
| Jarod |
That’s the point. |
| |
Flashback |
| Ben |
She would come up to the inn every April. |
| |
End of flashback |
Miss Parker (counting on the fingers of one hand)
|
May, June, July, August, September, October November, December…. |
Mr Parker (entering his daughter's office)
|
I’ve been lookin’ all over for that. |
| Miss Parker |
Daddy? |
| Mr Parker |
How you doin’ Angel? You been poachin’ from my office? |
| Miss Parker |
You’ve been gone for over a month. Where have you been? |
| Mr Parker |
If I told ya, I couldn’t protect ya. Now come along, Mr Lyle and Mr Raines want to meet with us. |
| Miss Parker |
But Daddy…. |
| Mr Parker |
Just listen to your father and follow my lead hmmm? |
| Miss Parker |
Of course. |
