4C15 Der Versuch (englisches Transkript)

Aus Spookyverse
Wechseln zu: Navigation, Suche
Copygif.gif Die Charaktere, Handlungen, Zitate usw., die im folgenden Transkript Erwähnung finden sind © Chris Carter/1013/Fox Entertainment und (in der deutschen Fassung) Cinephon Synchron. Diese Abschrift ist ohne explizite Erlaubnis von den Rechtehaltern von Fans für Fans als Hommage an MillenniuM erstellt worden, wir verfolgen keinerlei finanzielle Absichten. Die Texte selbst sind Eigentum des jeweiligen Autors.


Copygif.gif Transcribed by Maria Vitale, With kind help from: Paul Klimstra, Warren Burwell and Crusader.

Edited by Libby, Used with kind permission from Libby (www.chelonium.plus.com)


MLM-115 4C15 Der Versuch

Written by Chip Johannessen & Tim Tankosic
Directed by Cliff Bole
U.S. Air Date: 28. März 1997
Originaltitel: Walkabout

"I remember the very things I do not wish to; I cannot forget the things I wish to forget." Cicero


Transcriber's note: Editor's note: The description of the listing on the computer screen in the first act is accurate.

polaroid fade up

Morning. It is raining. Thunder can be heard. Overhead view of a city street. There is little traffic.

A view of an alley. There is no movement.


Yakima, Washington
Sunday, 9:27 AM


Groundview of a city street. Some traffic is moving along the street now. We can see a sign for a medical facility. It reads: 'WHOLE FAMILY MEDICAL CENTER - No Appointment Necessary.' A small dog runs up near the sign and sniffs at a bush. Then shakes the rain from his fur before running up to the front door of the clinic. The dog scratches at the glass door, trying to get in out of the rain.

Perspective changes to inside the clinic, looking out at the dog through the glass door. Thunder can still be heard.

The camera pans away from the door and moves towards the front desk. There is no movement anywhere. No sound except for the background music. The clinic is obviously closed to the public. The office is dark except for a couple of small lamps.

The camera then pans across the empty receptionist's desk, the empty chair, the file cabinets, and moves along to a corridor where some screams can be heard coming from a room at the far end.

The camera moves forward through the corridor towards the room. Shouts and screams continue. Pounding can also be heard.

Suddenly a woman, a nurse, bursts through the door, screaming. She tries to shut the door but a bald man pushes against it, thrusting his left arm out at her. Her hair is a mess, her nose is bloody. She's terrified but manages to stay out of the man's reach. Still pressing against the door, she reaches for the keys. She succeeds in shoving her weight against the door, closing it, then locking it with the key. Then she runs away from the room. The man can be seen through the security glass panel in the door.

Inside the room, several people are screaming, moving about the room, each behaving in a psychotic manner. All are talking gibberish or nonsense.

A man stands by a water dispenser, a paper cup of water in his hand. He's wearing a brown jacket. His face is unseen. He lowers his hand so that the water spills out from the cup, then he crushes and drops it to the floor. We see the room and its occupants, more or less, from his perspective.

TARDOT: Who's keeping the whales from evolving? They beach themselves higher each year. They want to live on land but someone keeps pushing them back!

The camera finally shows the bearded man, Tardot, who has been speaking about the whales. He is very upset now and removes both upper and lower dentures, holds them in his fisted hands and screams.

Two woman, a brunette and a blonde, begin fighting with one another on top of a table.

A black man, G.J., has his arm around the head of another man, Moxie, and slams him against a wall.

Another man is reaching with his arms over his shoulders trying to claw at something he thinks is on his back as he walks past another woman, Sal, who is undoing the buttons of her blouse.

Tardot, the bearded man, is seen again, crying, mumbling incoherently.

The bald man who attacked the nurse and struggled with her at the door has his thumbs pressed against his eyes.

Sal, the woman who was undressing, begins dancing towards the camera. Her blouse is open, her bra is visible and she is lifting her skirt. Another man in the background behind her is chewing on a pillow.

The two women fighting on the desk are getting more rough. Both are clawing at each other. The brunette is trying to choke the blonde.

The bald man then gouges his own eyes with his thumbs, blood runs down his cheeks. Blood is also visible on his teeth.

The man in the brown jacket goes the glass-paneled door. We see him through the glass. It is Frank Black. He leans against the glass with both his arms raised. He begins pounding his fists against the glass.

FRANK: Let me out!

His first strike breaks the glass. It shatters but does not splinter. The tempered glass encases a wire mesh security screen and the glass continues to be shattered with each blow from his fists, palms and forearms as he treats the door as if it were a punching bag.

FRANK: Out! Out! Out! Out! Let me out!

fade to black


polaroid fade up

Outside, a glorious morning, sunshine. The Black residence is seen from across the street as a car pulls up and parks.

Inside, Jordan gestures with her hand raised above her, trying to teach Benny, the family pet dog, to sit up. He's not being very cooperative. Jordan's mother, Catherine, enters the room with the day's mail.

JORDAN: Sit! Sit, Benny! Sit! Sit, Ben! Sit!

She begins giggling.

JORDAN: Benny won't sit!

She starts laughing because the dog is licking her face.

CATHERINE: You don't always do what I tell you to do.

JORDAN: But it's not the same.

The door bell rings.

CATHERINE: Oh! Race you!

Catherine, Jordan and the dog make a dash for the front door. Jordan and Benny win easily.

CATHERINE: Oh! Hey, how'd you two get to be so fast, huh?

Catherine pulls back the curtain on the glass door and sees Peter Watts standing outside.

CATHERINE: Um, Jordan... why don't you go and see if Benny wants something to eat, huh?

JORDAN: But he already ate.

CATHERINE: Well, maybe he wants some water then?

JORDAN: Okay. Come, Ben!

The two go off to the kitchen as Catherine opens the door.

WATTS: Hi. I'm Peter Watts.

CATHERINE: Yes, I, I know who you are. Has something happened?

WATTS: Um, did Frank call you last night?

CATHERINE: No. But he wouldn't if it got late or something. What's going on?

WATTS: He never checked into his hotel in Yakima. The police called this morning when he missed his meeting with them.

CATHERINE: Have you checked the hospitals?

WATTS: Mm-hmm. Also notified law enforcement along his route but, uh, nothing so far.

CATHERINE: Oh, my God. He said he was going to review a few papers.

WATTS nods: That was my understanding. I'd like to take a look through his things, if I could. Maybe the two of us together can find something.

CATHERINE: Yes, come in.

Watts enters the house and follows Catherine through the hallway, into the kitchen where Jordan sits on the floors petting Benny's head on her lap. She looks up and stares at Watts as they continue walking towards the basement door to go down to Frank's office.

Downstairs, they both stand by Frank's computer.

WATTS: Listen, I apologize for even asking this but is there anything I should know? Everything all right here?

CATHERINE: Yeah, things have been good.

WATTS nods: Not much on his desk. Let's see what's on his computer. May I?

CATHERINE: Uh, yes.

Watts takes a floppy disk from his pocket and inserts it into the disk drive.


CATHERINE: What was this case that you sent him on?

WATTS: Routine homicide review.

CATHERINE: Then why send Frank?

WATTS: From what I understand, it was something he wanted to do.

The computer screen can be seen. The disk Watts has inserted is running. The screen has a red graphic and reads: 'SECURITY TRACE - LOADING...' and there is a progress bar beneath it. The upper left hand corner has the usual 'Starting up... ' message whenever the computer is turned on.

WATTS: Got a fair amount of Internet activity outside the Group.

The screen shows a box which reads as follows: NETWORK ACTIVITY listing last 12 hits . . . http://www.cc.mancol.edu/science/biology/plants.new/protec http://www.palu.gov/search.html http://www.effex.com/kjv/book2.chapter7.verse21-25.html http://www.westmedia.com/search/research/dho/new_sites...http://www.Peripheral/Home.html http://www.biblicalref.com/dan/poem0419/psalms_new/entry... http://www.Peripheral/Search/Results

WATTS: One web site in particular.

He highlights one of the repeated sites listed. Another box pops up with a different code for the URL and the word: 'ENCRYPTED' written in red.

WATTS: Some encrypted correspondence. We can probably undo that. pause E-mail.

A new box appears on the screen. Heading reads: 'E-MAIL' with 'DATE, TO and FROM' columns. Lines of code appear, each ending with the word 'ENCRYPTED' in red. At the bottom, it reads: '10 Encrypted Files selected' and it asks: 'DECODE?' with an 'OK' button next to it.

Watts hits the 'OK' button and the files are decoded. The ten messages are dated from 3/15/97 through to 3/22/97. All are addressed to: 'DAVID MARX' and are from: 'DOCTOR DANIEL MILLER.'

WATTS: The correspondence itself has been deleted but the directory's intact. You ever hear of a Doctor Daniel Miller?

CATHERINE: No.

WATTS: Frank's using another name besides his own here. David Marx? Is that a friend of yours?

Catherine hesitates.

WATTS: Catherine, help me here.

CATHERINE: Five years ago, just before Frank collapsed, he used to vanish. Sometimes for days at a time. He would check into hotels using that name. It was a friend of his when he was a kid, who died.

Jordan comes down the stairs.

JORDAN: Mommy?

CATHERINE: Uh, I'll be right there, sweetheart.

JORDAN: Is Daddy all right?

Catherine and Watts both turn and stare at Jordan.


Yakima, Washington
Monday, 11:17 PM


A police car drives down a quiet street when it gets a radio call from dispatch.

RADIO: Unit 311, be advised we have a disturbance at 54th and Lincoln. Probable 415. D and D.

OFFICER #1: Drunk and disorderly - Plasma Row.

OFFICER #2: Yeah, your turn to do the honors.

OFFICER #1: Yeah, I know, I know. We got any rubber gloves or anything in here?

His partner smiles. The patrol car pulls into an alley, the location their dispatcher gave them. Two drunks are wrestling over an item. The car turns on its siren and lights to get their attention.

MAN: It's mine! Give it to me!

The car stops in front of them and both officers get out and approach the drunks.

OFFICER #1: All right, break it up! Break it up!

They finally stop fighting and let go of one another.

OFFICER #1: You want to hand that to me now?

One of the men hands the officer a watch. Frank's watch. The other man is wearing Frank's brown jacket. The other officer has walked over to check on another man who is lying on the ground by the wall beyond a dumpster.

OFFICER #1: I see a man somewhere late for an appointment.

The second officer shines a flashlight on the man on the ground. He is curled in a fetal position. His hands are bandaged. His socks and shoes have been taken from him as was his jacket. His face is covered by his hands.

OFFICER #2: Jack, we got a guy here in serious shape.

The officer rolls him over. His hand falls to the side of his face and we can see that it is Frank. There's blood on the bandages and some blood on his sweater. He's unconscious.


Seattle Public Safety Building
Tuesday, 8:11 AM


Bob Bletcher paces in front of the elevator waiting for Catherine, Watts and Jordan who step out through the elevator doors. Catherine is carrying her daughter in her arms.

BLETCHER: Hi.

CATHERINE: Where's Frank?

Bletcher gestures with his head toward an office.

BLETCHER: We got a call from the Yakima police. He was in pretty bad shape when they found him.

Catherine and Watts look over and can see Frank through the windows of the office. He is wearing the same clothes from the alley, still without shoes. He's slumped down leaning against his right hand with his arm resting on the chair. Catherine puts Jordan down on the floor and Bletcher takes charge of the child.

BLETCHER: How you doing, Jordan?

JORDAN: Fine.

Catherine enters the office. She walks over to Frank, kneels down in front of him, caresses his shoulder, then his face. At first, he doesn't react. Then he looks up and sees her. He melts in her arms. He holds on, then just lets go when she sighs and kisses his cheek.

CATHERINE: Oh, Frank, what happened?

He seems near tears and unable to speak.

JORDAN: Hi, Daddy!

Jordan enters the office and comes running up to him. He picks her up and puts her on his lap. Then he pulls Catherine's head towards him embracing them both.

Just outside the office, Watts speaks with Bletcher.

WATTS: Any explanation?

BLETCHER: Maybe he'll talk to you. He was wearing this hospital bracelet. David Marx?

He shows Watts the bracelet. It reads:

03-23-97 49M ER
MARX, DAVID (NMN)
DR. J. SERVICE
1154-44 625-88

Watts looks at the Black trio, still huddled together as Frank sighs.


Later that day, back home at the Black residence, Frank stares out at his backyard while holding the bracelet in his hands. Both sets of knuckles have band-aids on them. Catherine enters the room.

CATHERINE:Frank. whispers What's going on?

He turns and faces her.

FRANK: I can't remember.

He holds up the hospital bracelet.

FRANK: David Marx? That must have been scary for you.

CATHERINE: I already knew. We found the name on your computer.

FRANK: I used that name before I left?

CATHERINE nods: Some e-mail.

FRANK: It's not what you're thinking. Something happened to me up there and I don't know. I can't remember. Wherever I was, someone died there.

He gets emotional as he says those last words.


Central District
Yakima, Washington


Watts drives Frank to see Dr. Daniel Miller.

FRANK: You're sure this is the right address?

WATTS: I'm sure it's the address on his Internet account.

They enter a seedy-looking old apartment building and walk up a flight of stairs. Kids are shouting, playing ball in the hallway. The superintendent calls out from his office where he sits at a desk watching TV.

SUPER: Hey, out there! Shut up! I warned you kids!

Frank and Watts stand by the open door which has a 'PRIVATE' sign and a flyer on it.

SUPER: What can I do you for?

WATTS: We're looking for a Dr. Daniel Miller.

SUPER: Dr. Daniel Miller? You mean Danny.

The kids begin yelling and chasing one another in the hallway behind Watts and Frank. Watts has to raise his voice to be heard over them.

WATTS: Is he in?

SUPER: He's in all right. Guy hasn't left the building since I've worked here. Down the hall, 109.

FRANK to Watts: I'd like to talk to him myself.

He heads down the hall alone. The superintendent steps out from his office.

SUPER to Frank: Tell him his rent's two weeks late.

Watts walks over to a chair in the hall opposite the manager's office.

Frank walks down the hall. Other residents in the building can be seen. He finally reaches Room 109. He knocks on the door.

FRANK: Dr. Miller?

There's no response so he knocks again.

FRANK: The superintendent said you were here. My name is Frank Black. pause David Marx.

The door is opened, a security chain remains fastened as Dr. Miller peers out to look at Frank.

MILLER: You lied about your name?

He removes the chain, opens wide the door and allows Frank to enter the room.

Inside, the room is a mess. Books are piled everywhere, stacks of papers, shelves teeming with books, file cabinets. On a desk, a laptop computer sits next to an opened full-sized tower unit which the doctor is working on.

FRANK: You're a doctor?

MILLER: Please don't answer a question with a question.

He walks over with his eyeglasses in hand and picks up a couple of cards or adapter boards from a shelf and a framed diploma from the top of a file cabinet.

MILLER: Cornell Med. Fourth in my class.

He walks back to Frank, handing him the diploma, then sits down at the desk to work on the half-assembled tower. Frank looks at the diploma, then puts it down on a chair which is covered with folders and books.

FRANK: I came to you for medical advice?

MILLER: Here?

FRANK: I've never been here before.

He walks over and stands near Miller. He looks lost.

MILLER: You're barely here now.

Frank seems a bit dazed.

MILLER: You really don't remember.

FRANK: I can't imagine why I would have been in contact with you.

MILLER: Do you remember the trial?

FRANK: What trial?

MILLER: Selective retrograde amnesia. Possibly psychogenic.

FRANK: What kind of medicine do you practice?

MILLER: I said right up front I can't practice anymore.

FRANK: When did you tell me this?

MILLER: E-mail.

He notices Frank's bruised knuckles. He takes his eyeglasses, puts them on and looks more closely at Frank's hands. All of his knuckles have cuts on them.

MILLER: Wow! I heard it got weird but, the others just said they saw crazy, crazy stuff.

FRANK: What did you do to me?

MILLER: I thought I did you a favor - one to another.

Frank leans in closer to Miller.

FRANK: One what to another?

MILLER: You said you were like me - seeing things.

Frank straightens up again.

MILLER: You told me you were looking for a cure.


Later that night. Thunder can be heard but it is not raining yet. Watts drives Frank to the Whole Family Medical Clinic. They both exit the car and eye the clinic suspiciously. Watts walks round the car to join Frank who remains leaning against the car while holding onto the open door.

WATTS: You were here?

FRANK: According to Dr. Daniel Miller. Said I contacted him on the Internet. He keeps tabs on experimental drugs and clinical trials.

WATTS: Testing drugs before they're approved.

FRANK: Yeah. He said I was interested in a third-stage efficacy trial, a drug called Proloft.

WATTS: Why?

FRANK: I don't understand it. I don't even take aspirin.

He finally steps away from the car, slamming the door shut.

The two enter the clinic which has several patients sitting and walking about the room, a nurse behind the desk, sound of a phone ringing, and everything is well-lit, in marked contrast to the last time we saw the clinic. Watts and Frank walk up to the desk.

NURSE: Can I help you?

WATTS: Yes, would you know anything about a clinical trial that was held here this past Sunday?

NURSE shakes her head: We're closed weekends.

Frank impatiently taps his hand on the desk then walks off down the corridor on his own.

NURSE: Sir! May I help you?

She follows after Frank who seems oblivious to her questions. He's heading for the room at the end of the corridor. The room where the drug trial was held - the room where he had been. Watts follows after the nurse.

NURSE: Sir, may I help you? Sir?

Frank pauses before reaching the room, then continues.

He stands before the safety glass, newly repaired, tapping it with the fingertips of both hands in unison. He looks through the wire mesh and glass into the room itself and flashes on some quick images he recalls from the drug trial.

He sees (in black and white): some very confused, close up images of the bald man's nose, then his thumbs shoved into his eyes; a couple of blurred images; the black man, G.J., with his arm around the neck of a white man, Moxie; G.J. grinning at the camera (Frank's POV) - this image is washed out in a bright white light; an indistinguishable image bathed in white light; and of G.J. with his arm around Moxie's neck. End of flashback.

Frank opens the door and touches the door frame, this time the side facing the room - the same perspective from which he had broken it earlier. He raps the knuckles of his right hand against the door and enters the room.

FRANK to Watts: It happened here. The glass, I broke it with my hands.

He gestures with his fists. He looks around at the room. Everything is neat and orderly. The water dispenser stands by a wall where Frank had stood with the cup of water in his hand. He turns around and around, hands still held in fists, breathing heavily.

FRANK: These were animals in a zoo.

He remembers more of the events which occurred.

He sees (again in black and white): a couple of negative images of some of the others in the room; blurred, confused images of yet others; and a few confused images of someone, the blonde woman, kneeling or sitting on the floor beside the water dispenser.

The flashback pauses, then resumes.

He sees (again in black and white): blurred images of G.J. screaming, eyes and mouth wide open as he's carrying someone across his shoulders; images of the two women fighting, the brunette hitting the blonde woman and then the blonde falling down to the floor; more images of the two women who seemed to have both been struck by someone else; Frank as he pounded the glass with his fists; and several images of two men fighting. End of flashbacks.

Frank suddenly takes a folding chair, opens it, places it before the water dispenser, stands on it, then places his hand up on the molding surrounding the painted paneling in the room. He rubs his finger on the molding.

FRANK: They were observing. Here.

He taps the wall. He then turns and faces the opposite wall.

FRANK: Over there. A camera.

He nods. It seems to be making some kind of sense to him now.


Elsewhere, someone is viewing video surveillance tapes of the drug trial. The video is in black and white. The sounds of the participants' screams can be heard throughout in the background.

On the top monitor, a close up of Frank, from behind, can be seen pounding the glass with his fists. A time code is on the lower right hand corner of the monitor. On the lower monitor, a wider shot of the room can be seen as well as some of the other participants in the drug trial, but still centered on the screen is Frank, seen from behind, and his battle with the glass-paneled door.

The man viewing the tapes is making careful notes as he watches Frank.

A close up of the second screen shows Frank, from behind, slamming his hands against the glass. The time code reads: '21:13.19' and runs through to '21: 13.21' as the man writes:

SUBJECT DATA CHART - {number}
NAME: Marx, David
AGE: 49 SEX: Male
WEIGHT: 175 lb. HEIGHT: 5' 10"
ETHNIC ORIGIN: Caucasian
ALLERGIES: Unknown
PREVIOUS ADVERSE REACTIONS: N/A
PRE-EXISTING MENTAL CONDITIONS: Temporal Lobe Seizures Possible
SUBJECT'S REACTION
REACTION ONSET: Sudden
REACTION INTENSITY: Major
AGITATION: 8.5
COMMENTS
EXTREME ADVERSE REACTION
Suggests Organic Disorder

An extreme close up of the back of Frank's head as he continues to pound the glass with his hands. The man viewing the tape underlines the word: 'EXTREME' above in his conclusions on the subject, David Marx (Frank).

fade to black

polaroid fade up


Seattle Public Safety Building
Tuesday, 4:22 PM


Later that afternoon in the Seattle P.D. forensics lab, Watts tells Frank what they've learned about the clinic.

WATTS: We scoured the clinic. There were four holes in the ceiling molding - one in each corner – that could have housed video cameras. The glass in the door was replaced at some point. Hair and fiber is consistent with a multi-purpose room used by many people. Some latent bloodstains, but that's hardly unusual in a medical setting. The drug company released the test records to us. No names, of course, but they confirm that David Marx was in the trial. Left at 3:45 P.M.

Frank looks at the records from the drug company.

FRANK: Who's signature is this?

WATTS: The attending nurse. We're trying to contact her. So it appears you were in this trial.

Frank sighs and walks across the room. Watts joins him.

FRANK: I would have never taken the drug.

WATTS: Then whatever happened to you came later.

FRANK: Everyone was affected. It must have been in the water dispenser.

WATTS shakes his head: No, it was fine. We checked.

FRANK: It had to be.

WATTS interrupts: Frank, listen to me. Your hands were cut up. There was blood all over them.

FRANK: We talked about that.

WATTS: And this person that you say died.

FRANK: Did die.

WATTS: And you don't know where you've been or what you've done. You see what I'm saying? The Group wants you to come in and talk to someone.

FRANK: Danny's been in touch with the trial participants. He's gathering them together to find out what happened. You're welcome to come.

He leaves. Watts grabs his jacket off a hook and follows after him.


Later, at Dr. Miller's apartment, the trial participants are relating some of the events they remember from the drug trial. Watts and Frank are present and Danny Miller takes notes.

G.J., who had been fighting with the other man, tells his story.

G.J.: Moxie here - just clumsy. That's how that happened.

He taps the other man's bruised forehead.

Tardot, the man who talked about whales and removed his dentures, is also there.

TARDOT: Yeah, well, I was scared.

G.J.: That goes with being paranoid.

FRANK to G.J.: Did you see me there?

G.J.: Sure. You were writing down things.

Sal, the woman who was disrobing and dancing speaks next.

SAL: That was the nurse.

Frank turns and faces the woman. He has sees a brief series of images.

He sees: a bright white light; blood; then Sal's legs with her skirt pulled up, dancing (in black and white); close up of Sal's face (also in black and white). End of flashback.

SAL laughs: I don't know what all the stink is all about. Believe me, I saw much worse down in New Orleans. Hmph. Some kind of anti-Alzheimer concoction that they're trying to sneak past the F.D.A. Everyone was crazycorn for a whole week afterwards.

G.J.: I heard everyone was drunk as skunks. Drunk as skunks.

SAL: That's you, sweety-pie.

Sal and G.J. continue talking in the background.

MILLER: Great turnout.

WATTS: How many people actually do this for a living - be human guinea pigs?

MILLER: Thousands of trials each year.

The others are still talking in the background when they mention the bald man at the trial.

TARDOT: He blinded himself.

SAL: That's Oedipus, dear.

TARDOT: With his own hands. I saw it.

G.J.: Hey, I saw you tear your own nose off – but there it is, on your ugly face. So what's that about, huh?


After the gathering, Watts and Frank leave Danny's apartment. They talk about it and the drug trial in the hallway.

Frank pulls on Watts' arm to get him to stop walking and listen to him.

FRANK: The man who blinded himself - that's who died.

WATTS: Based on what - on what you heard in there?

Frank nods.

WATTS: Frank, what are you doing with these people?

FRANK: Trying to find out.

WATTS: So you trust some shut-in you met over the Internet? You have to be honest with me.

FRANK: I have been.

WATTS angry: No, you have not been! You misled us when you concocted Group business to take you to Yakima; you misled your wife!

FRANK: That's not your problem.

WATTS raises his voice: I am the person who had to go to your house and tell your wife that you were missing! You're not being honest with anybody!

FRANK: I am trying - very hard!

Exasperated, Frank walks away from Watts.

WATTS: Frank.

Frank does not stop nor turn to look back at Watts.


Yakima County Hospital


Day, sunny. Outside the hospital's emergency entrance.

Inside, Frank, on his own, tries to get some information. He steps out of an elevator and walks past a gurney in the hall, running his hand along the sheets. A page can be heard in the background as well as some phones ringing. He walks up to a desk where a nurse is seated by a computer. She answers him without looking up from her work.

FRANK: Excuse me.

NURSE: Just a moment.

FRANK: I'm looking for a man that may have been admitted two days ago, suffering from severe eye damage.

NURSE: Sorry, patient records are confidential.

FRANK: He may have been admitted with me. I was released yesterday morning. My name is David Marx.

At the mention of the name, she stops working, looks up at Frank, smiling.

NURSE: Wait here. I'll see what I can do.

FRANK: Thank you.

She gets up and walks away from the desk and Frank. He looks over and sees the door is open behind the nurses' station. Files and records can be seen through the open door. Frank enters the other room and begins looking at the folders. He quickly scans two file drawers, then looks through a third. He sees: MERCER, BETH; MELCHIOR, KLAUS; McDONALD, AYLENE and finally, the one he has been looking for: MARX, DAVID. Seeing the name on the folder triggers a flashback.

He sees: himself on a gurney as he was brought into the emergency room, struggling with the doctor and nurse who were trying to restrain and calm him, his hands bandaged but still bleeding, lots of blood visible on his sweatshirt. A pause. Then: a close up of his face, eyes wide open; again the full shot of himself on the gurney, grimacing, still struggling as he was brought into the E.R. End of flashback.

Frank hears the nurse return with a security guard out by the desk.

NURSE: He was right here!

SECURITY: Violent, huh?

He takes the folder and hides behind the open door.

NURSE: The guy nearly broke Jackson's arm. You know, that new orderly?

Frank opens the folder to see what's inside but finds that it is empty except for another folder which is also empty.

SECURITY: Well, why'd you release him?

NURSE: We didn't! He fought his way out!

Frank slumps back against the wall and sighs in frustration.


A black and white still photograph of Frank near the smashed glass door, looking directly into the camera from the surveillance video of the drug trial. Then the missing hospital records for David Marx. The records reads as follows:

YAKIMA COUNTY HOSPITAL
1081 BURRARD ST., YAKIMA WA
EMERGENCY NURSING TRIAGE REPORT
Name: MARX, DAVID (NMN)
D.O.B.: JULY 21, 1947
Age: 49
Allergies: NONE KNOWN
Chief Complaint: LACERATIONS TO L/R (DORSAL) HAND
Family Doctor: UNKNOWN
Accompanied By: UNKNOWN

The man, Hans Ingram, who had been viewing the surveillance video of the drug trial and making notes while watching Frank, now closes the David Marx file from the hospital. He places the Marx file along with several others under a table.

On top of the table is a microscope with a lighted tissue sample under the lens. He bends down to look at the sample and turns a knob for focus. Then the sample itself can be seen. It is yellow-orange in color and shows many closely-spaced, elongated cells throughout the sample.

He stands upright again, pauses for a moment, walks over to a refrigerator past the four surveillance monitors which still are running the tape from the trial. All are showing Frank as he pounded and broke the glass, trying to get out of the locked room.

At the refrigerator, Ingram opens the door, looks inside, then takes an apple from the door before closing it. As he walks away, we see a red liquid dripping from the refrigerator door and pooling on the floor.


Outside, night, the Black residence.

Inside, Frank and Catherine are talking in the kitchen.

FRANK: I thought the medical records would help me remember.

CATHERINE: They'll show up.

FRANK: No. He has 'em.

CATHERINE: Who?

Frank can't offer any answer except for a sigh.

CATHERINE: Peter called. I know it doesn't seem like it, but he's trying to help.

FRANK: Then he should be looking for the man who died instead of questioning whether or not it ever happened.

CATHERINE: He doesn't believe you?

FRANK: He says I lied to everyone, including you.

CATHERINE: He told me some things about Proloft - that it's being certified to treat certain temporal lobe anomalies. Hallucinations.

FRANK: I would have never taken the drug.

CATHERINE: I know that. Uh, that's not what I mean. I mean, it makes a kind of sense that you were at the trial.

FRANK: Not to me.

CATHERINE: You had to have a good reason to contact Danny in the first place. Frank, I know you would never lie to me.

Frank shakes his head.

CATHERINE: So now you just have to find the guy who died.

FRANK: I must have seen him at the clinic.

CATHERINE: They found you there after you left the hospital. Whatever drew you back must have been pretty important.


Later that night, Frank stands outside the clinic as a man with his arm in a sling exits the building and walks past him. Frank has some flashbacks.

He sees (in black and white): a couple of images flooded with white light; then G.J. and Moxie but they both become blurred; a flash of white light; an extreme close up of someone's mouth and teeth with hands trying to pry the mouth open; the bald man who had blinded himself with a bandage wrapped around his head covering his eyes; then an extreme close up of the bandage. Sounds of screams throughout. End of flashback.

Frank then hears a sound from the alley and runs to see what it is.

A garbage truck is lifting the dumpster from behind the clinic and is ready to dump the contents into the truck. The same dog from the opening scene is near the truck and barks at Frank. He looks up and sees something fall into the truck which does not look like ordinary trash. He runs to the front of the truck, whistling to try and get the driver's attention. The man has a flashlight in his hand.

FRANK: Hey! Stop the truck. Turn it off. Give me your flashlight.

Frank then climbs a ladder on the side of the truck to the top, leans over the edge and looks down into it with the flashlight. The driver climbs up another ladder on the opposite side.

DRIVER: Holy Mother of God.

In the truck, among the trash bags and boxes is the body of the nurse from the drug trial. Her face is badly bruised.

fade to black

polaroid fade up

Sometime later that same night, the police are on the scene. Photos are being taken and Watts is examining the body.

WATTS: Lacerations, bruises, defensive marks. Probably finished her off with a blow here. The occipital bone is shattered. Whatever caused the cuts on your hand is not what was used to kill her. My guess is a rock, a pipe, something ad hoc. Disposal of the body reads the same way.

He removes the rubber gloves he used for the examination of the body.

FRANK: A struggle. Not premeditated.

WATTS: Certainly not well planned.

FRANK: He doesn't see himself as a killer.

WATTS: Think a jury would disagree. But you were right. Somebody died.

Frank walks over and stands near the nurse's body.

FRANK: She's not the one.

WATTS: This guy killed two people?

Frank nods.

WATTS: Whoever it is has to be somehow hooked into this trial - a participant, someone from the drug company...

FRANK interrupts: Man of science. There was someone I was supposed to see - some expert. That's why I went to the trial.


Frank goes to Danny Miller's apartment. Perspective is from within the apartment. He knocks on the door, then shoves a photo underneath the door. Danny picks it up and looks at it. He removes the chain from the door, opens it a crack, peers out, then opens and lets Frank in.

FRANK: That's the nurse from the trial.

MILLER: Dead?

FRANK: Yeah.

He hands it back to Frank, then walks across the room. Frank closes the door and sits on the arm of a chair.

FRANK: There's another body. We just haven't found it yet. You led me to the man that was connected with the trials. He's some kind of expert – psychotropic drugs.

MILLER: You saw who I know. They wouldn't do this.

FRANK: He almost killed me. Who is he?

MILLER shouts: I don't know! All right? I don't know! I don't know! I trusted you! What about your family? Did you lie about that, too?

FRANK: I have a wife and a daughter.

MILLER emotional: Yeah, but you don't really see things, do you?

FRANK: I do.

MILLER near tears: I have a daughter.

Pause. He picks up a photo, then continues.

MILLER: One night, when my wife was out, I was taking care of her and...

He sits down on the edge of his bed.

MILLER: ...they found me on the highway trying to run into cars. The lights, I thought it was the road to heaven.

Frank gets up, walks over and sits beside Danny. He points to the frame and Danny hands it to him. The photo is of Danny, his wife and their young daughter.

FRANK: Beautiful child.

MILLER: I thank the Lord every day I didn't drag her out there with me. It's okay for me, this, but, my daughter. God, I worry what she might have inherited from me.

Frank's beeper hums. He checks it. He sees the message: '2000.'

FRANK: I've got to go.

He gets up and goes to the desk, writes on a piece of paper, tears it from the page, folds it and walks back and sits down next to Danny.

FRANK: Look, this is my phone number.

He pushes it into Danny's shirt pocket.

FRANK: If anything comes up... or, call if you want to call.

He pats him on the shoulder then leaves.


Back at the Public Safety Building. Watts and Frank are walking through a hallway and going to the forensics lab.

WATTS: So you were right, the water was contaminated.

FRANK: I thought you checked it.

WATTS: We did and mass spectrometry I.D.'d a trace residue of mesmertine hydrochloride in the spill trough.

FRANK: Which is what?

They've reached the forensics lab and enter it. A technician is in the lab.

WATTS: Proloft. We simply thought someone from the trial had spit out their medication.

FRANK: So why are we here?

WATTS: Sandy Geiger, Frank Black.

SANDY: Hi.

Frank nods.

WATTS: Sandy runs the x-ray diffraction facility. She had a look at the residue from the spill trough.

FRANK: I thought it was Proloft.

SANDY: Yes and no. You'll love this.

She presses a few keys at a computer terminal. Frank walks over to the monitor and looks at the screen.

FRANK: So what are we looking at?

SANDY: Stereo-isomers - two different configurations of mesmertine hydrochloride.

The image on the screen is of a large round shape and an elongated shape with five additional offshoots, all connected. The image undulates on the screen and occupies the left hand portion of the screen.

SANDY: Same chemical formula. Mass spectrometry can't tell them apart. But look at this.

She presses some keys again and a second image joins the first. This one on the right hand portion of the screen, perfectly mirroring the original image.

SANDY: Two totally different 3-D structures.

FRANK: Mirror images.

WATTS: Like thalidomide. The molecule had two forms. One prevented miscarriages but the flip side caused severe birth defects.

FRANK: I remember that.

SANDY: Now this is Proloft. It adjusts serotonin levels, controls anxiety. But this is what you gave me. Structurally, it's close to molecules that lower the threshold for temporal lobe seizures.

Frank has a brief flashback.

He sees (in black and white): the two women were fighting with each other at the drug trial, the brunette slams the blonde's head against the wall and she falls to the ground. End of flashback.

WATTS: Causing fight-or-flight response and other primal behaviors. Almost the opposite of Proloft.

SANDY: Evil twin.

FRANK: I had a drink of water. I never knowingly took the drug.

WATTS: Anti-Proloft. Access to the trial. Has to be someone from the drug company. Was Danny any help?

FRANK: Not yet.

WATTS: Bedford Shriver has 2000 employees. If we go in blind, we could tip him off.

FRANK: That's what this is - a trial. He's testing his product for something bigger.

WATTS: Massive contamination after Proloft is certified?

FRANK: I'm not so sure he'll wait that long.


Meanwhile, back at Danny Miller's apartment, Danny is doing some research of his own into Proloft. His video screen is still a mess since he had not finished working on the video display card from earlier. The images are askew. He types on his keyboard and brings up the following screens:

The first screen reads: 'Current Anti-Depressants' and shows a couple of structural models of molecules.

The second screen reads as follows: PROLOFT BEDFORD SHRIVER™ for years a leader in the development of neurological pharmacology proudly announces the release of PROLOFT1. PROLOFT1 is a multi-level neurological adjustment tool that acts on both unreadable and depressive symptoms. The Digest of Pharmaceutical Sciences Stereochemistry

The third screen reads: 'The Digest of Pharmaceutical Sciences' and beneath that: 'Scientists on the Move - Chivalry and Stereochemistry.' There is a large color photograph of Hans Ingram with another scientist at work at the Bedford Shriver drug company. The view zooms in on Ingram's face on the screen.

There's a knock on his door.

INGRAM: Open the door! I need to talk to you!

He turns the knob and shoves the door open but is stopped by the chain. Danny runs to the door and tries to force it shut but Ingram is larger and stronger than he is and continues to press hard against the door.

INGRAM: Danny, open the door. I just want to talk.

He gives one more big push against the door, breaks the chain off the door frame and enters the room. Then the door is closed.


Then Frank can be seen driving in his Jeep. It is late night and very dark. He is on the phone with Catherine. The perspective alternates between both during their conversation.

CATHERINE: Frank, I'm so glad you called. How are you?

FRANK: Better. We're finally making some progress on this thing. Jordan asleep?

CATHERINE: Of course. Do you know how late it is?

FRANK: Long day. Peter and I have been all over the place.

CATHERINE: I take it you saw Danny Miller.

FRANK: Why?

CATHERINE: He left kind of a nutty message for you. Hang on, I, I'll play it for you.

She places the phone near the answering machine's speaker, then presses a button. Danny's message plays.

MILLER: Frank? David? After you two left, I started thinking - why feel bad when you can feel good. It's a choice we make and I'm, I'm ready to head outside. sings Oh, Danny boy...

He then hangs up.

CATHERINE: Frank, are you still there?

FRANK: Honey, I'll talk to you later.

Frank hangs up the phone.


Then Danny can be seen standing in the middle of traffic. Cars are swerving to miss him. He's still singing 'Danny Boy' as another car hits the brakes just inches in front of him.

Frank's Jeep comes up on the scene. He sees Danny in the middle of the road and pulls over to the side. Frank gets out of his car, not stopping to close the door and runs toward Danny, whose back is to him.

As Danny turns, he is hit by a car. The impact throws him against the car's windshield, shattering it. The momentum tosses him over the length of the entire car and drops him down on the ground behind it. Frank keeps running till he reaches Danny.

DRIVER: You saw it, man - he ran right at me. There was nothing I could do. It wasn't my fault.

Frank kneels by Danny's side and feels for a pulse but he's dead. Blood can be seen coming from Danny's nose.

fade to black

polaroid fade up


Wednesday
11:54 PM


Frank is in his basement office talking to someone on the phone.

FRANK: Yeah, I know. Thank you. Thank you very much.

He hangs up the phone. Watts comes down the stairs.

FRANK: Peter.

WATT: Any word on who Danny contacted at Bedford Shriver?

FRANK: It's bad.

He gestures for Watts to take a seat. Watts grabs a chair, brings it over near Frank's desk and sits down.

FRANK: Once he got going, he talked to half the company. Obviously, he got to our guy.

WATTS: I stayed at his apartment till the Fiber crew showed up. I'm sure they'll come up with something.

FRANK: Takes time.

WATTS: I also went through some of his things.

FRANK: You find anything?

WATTS: Yeah. Dr. Daniel Miller is definitely for real. Top of his class at Cornell. Chi Sigma Delta. Did his post-doctorate work at the University of Pennsylvania. Stacks of letters from grateful patients. And then it all ends in 1986. But he had a lot of fans.

FRANK: Until his breakdown.

WATTS: Even after that. He hooked people up with experimental drugs. He helped get them into the trials - people in the late stages of AIDS, psych patients who didn't respond to approved therapies.

FRANK: Doctor of last resorts.

WATTS: Helped a lot of people.

He hands Frank a stack of papers.

WATTS: Those are his sheets on the trial participants. I thought you might want to tell them what happened.

Frank flips through some of the pages. All have from the drug company and have the company letterhead: 'Bedford Shriver Pharmaceuticals' along with info on each of the participants in the drug trial. Some of the pages have a hand-written name at the upper right hand corner: 'HANS INGRAM.'

FRANK: Danny left us a message.

He stands up by the desk. Watts joins him. He flips through the pages, most of which show the name.


Bedford Shriver Pharmaceuticals
Thursday, 10:22 AM


Some of the assembly line which packages the drugs manufactured there can be seen. Also some of the workers, clad in robes, caps, gloves and masks. A personnel chief, Dana Flender, guides Frank and Giebelhouse through the facility.

FLENDER: I have a hard time believing Hans Ingram could do the kind of things you're talking about.

FRANK: He did.

FLENDER: He's been a model employee for 16 years. Long hours. Never misses a day.

GIEBELHOUSE: Except today. Wouldn't you know.

FLENDER: What I mean is, there was no sign.


Meanwhile, several officers and Bletcher get into Ingram's personal office using a battering ram to break down the door. The officers and Bletcher all enter with their weapons drawn. Then Watts can be seen and he remains by the open door.

Inside, this is the same office where Ingram had been watching Frank on those surveillance tapes. The four monitors can be seen, all shut off, as well as the microscope and patient files.

As Bletcher walks through the office, another officer passes an open door and shakes his head at Bletcher, not having found anyone so far.

BLETCHER to Watts: No one.

WATTS: That's a bad sign.


Back at Bedford Shriver, Frank and Giebelhouse look through Ingram's office there. The walls are covered with Proloft ads. Some of them read: 'CHANGE DIRECTION WITH PROLOFT'; 'GET YOUR LIFE BACK ON TRACK WITH PROLOFT'; 'PANIC - REACH FOR PROLOFT'; 'Straighten Out Your Life With PROLOFT'.

Giebelhouse walks over, picks up one of the boards with a Proloft ad on it. He looks at it, then turns to Frank.

GIEBELHOUSE: Does this seem maybe, uh, slightly obsessive to you?

Frank looks at an ad which is shown in close up. It reads:

The one that stands alone against depression PROLOFT
...SHRIVER©, for years a leader in the development of neurological...
...announces the release of PROLOFT©.
...is a multi-level neurological adjustment tool that acts as both...
... transmitters, resulting in near immediate relief
... symptoms.


Back at Ingram's personal office, Watts looks through the collection of patient files. We see: 'JONES, URA; LEAR, BEV; McGILL, DON; MARX, DAVID; and MASTERS, ED.' Watts removes David Marx's file, opens it and finds several black and white stills from the surveillance video. They show Frank standing by the broken glass door. Included is the Yakima County Hospital E.R. triage report. When Watts hears Bletcher walk up behind him, he closes the file and doesn't let Bletcher see it.

BLETCHER: Guy this neat's not going to be too happy about getting his door broken.

Bletcher runs his fingers along one of the shelves where the monitors are located. No dust.

Watts walks over to a table, places the Marx file down next to him, finds two gold packets, face down on the table. He picks up one of them and looks at it. It is an item called: 'SMOOTH TIME - ALL NATURAL' and beneath it is the name: 'BEDFORD SHRIVER PHARMACEUTICALS.' It looks like it may be a tea sample.

Bletcher looks at the microscope and finds the tissue sample.

BLETCHER: Get a load of this.

He looks at the tissue through the microscope.

BLETCHER: Hmmm, looks human.

Watts at first looks at Bletcher, then turns back and finally notices the red liquid dripping from the refrigerator door to the floor. He drops the packet, walks over to look more closely at the liquid. Then, using the end of his jacket, he opens the refrigerator door.

The bald man from the drug trial who had blinded himself falls out onto the floor. There are several lacerations where sections of skin have been cut from his arms and chest.


Back at Bedford Shriver, Frank looks through some things on Ingram's desk.

GIEBELHOUSE: Half the country's on antidepressants already. Proloft will snare 20 million more.

He stands before yet another ad: 'A NEW ERA DAWNS.'

FRANK: 50 million people medicated. Welcome to the Age of Aquarius.

GIEBELHOUSE: This guy with his Anti-Proloft? He probably thinks he's doing us all a favor, right?

The phone rings. Flender answers it.

FLENDER: Yes? to Frank For you. Peter Watts.

The view alternates between the two during their conversation.

FRANK: Peter.

WATTS: We found the other body. Ocular trauma, tissue samples removed. Turned into a lab specimen but no Ingram. How about you?

FRANK: A hopper of Ibuprofen, a kilo heavy. They're testing it for contaminants.

WATTS: Maybe we got him in time.

FRANK: From what I'm seeing, dosing random bottles of aspirin won't do it for him. I think he's going to make a grander point.

WATTS: Does Bedford Shriver make a product called Smooth Time?

FRANK to Flender: Do you make Smooth Time?

FLENDER: Never heard of it.

FRANK to Watts: No, why?

WATTS: His grand point - I think we've got a box of it here.


Gateway Center
11:43 AM


A man jumps through a glass window, falling to the ground, four stories below. Paramedics are on the scene. There is great confusion everywhere as Frank drives up in his Jeep. People are being carried out on stretchers and loaded into ambulances. More police squad cars pull up with their sirens wailing. A radio dispatch can be heard.

RADIO: All units, all sectors, all districts. We have a Stage One alert. Proceed immediately to 6221 19th Street, 62-21 19th Street.

Frank and Giebelhouse try to make their way inside the building past others who shove their past them to get out.

Inside, several officers are trying to restrain some people. Frank finds Watts kneeling beside a woman he is trying to help. Another man is leaning on Watts' back and shoulder.

WATTS to the man: Can you help? Hang on.

Frank pulls the man away from Watts and sits him down on the floor.

WATTS: Frank. He's handing out bogus product samples to people on the way to work.

He hands Frank a torn, empty packet of Smooth Time.

FRANK to Bletcher: You have him?

BLETCHER: He's got to be long gone.

FRANK: No, he records everything. He wouldn't miss this.

He makes his way through the lobby. People are falling over themselves, staggering around, being helped by others. Frank looks up and see security cameras positioned in the ceiling. He finds Giebelhouse and a security guard struggling with a man.

FRANK to security guard: Where's Security?

GUARD: Upstairs, left.

People are piling down the stairs as Frank goes against the flow trying to reach Security.

The scene on the next floor is no less chaotic than it was in the lobby. Frank keeps moving, looking for the office. He moves along a corridor. A man is lying on the floor. Frank jumps over him. Two other men begin fighting. Frank moves past them and finally reaches the office. It is locked. He kicks the door open.

Inside, Ingram calmly sits before the security console. He's been watching the madness he's created throughout the building. He speaks to Frank without turning from the monitors.

INGRAM: I saw you coming. I could have left.

He finally turns and faces Frank.

INGRAM: Agitation, 8.5. You were wild. I learned a lot from you.

Frank tosses the sample packet at Ingram.

FRANK: You poisoned me.

INGRAM: I had a plan. You stepped on it.

Frank becomes furious. He kicks Ingram's chair, turns him back towards the monitor and shoves his face up against it.

FRANK: Yeah? Look at these people. You poisoned them all.

INGRAM: No. They poisoned themselves.

He turns his head sideways, bracing himself with his hands against the monitor. Frank forces his head forward against the screen by squeezing his neck.

INGRAM: Look at this! People will take anything!

Frank eases up for a moment and Ingram moves back in the chair, turning to face Frank.

INGRAM: We're a nation of zombies!

Frank shoves his face back against the screen.

FRANK: People are dying out there!

Ingram struggles with Frank and turns once more.

INGRAM: Half the country's dead. The company I work for puts people to sleep.

Frank grabs him by the lapels of his suit.

FRANK: And you wake 'em up!

INGRAM: That's right! And when this is over, will everyone go back to their zombie lives?

He stands up, defiant before Frank.

INGRAM shouts: I don't think so!!

FRANK: So you made your big point?

INGRAM: Yes!

FRANK: You killed the nurse, you killed Danny - what kind of point is that?

INGRAM defeated: I had a plan.

Frank, still holding onto Ingram's lapel, hands him over to Bletcher who has finally reached the room with Giebelhouse and another officer. They then shove him up against a row of lockers and put his arms behind his back.

BLETCHER to Giebelhouse: Cuff him.

INGRAM crying: I had a plan and you ruined it! I had a plan...

BLETCHER: Yeah, I got a plan for you - prison.

They take Ingram into custody and remove him from the office. Frank, who is still standing by the security console, then hits a key on the keyboard which turns off all the monitors. He looks at the blackened screens.


Saturday
10:02 AM


Outside, the Black residence. It is a beautiful sunny morning. Frank and Jordan are on their front steps. He is mending a kite for Jordan. She is putting a pair of sunglasses on her father. She then stands behind him, raising his shirt collar.

Peter Watts pulls up in his car, parking it across the street. He steps up of the car with an envelope in his hand. Jordan sees him.

JORDAN: He was here before, in your office.

FRANK: I know. Be right back.

He hands her the kite, gets up, walks down the steps, through the gate and crosses the street to speak with Watts. Jordan stands there watching them, kite in hand. Catherine comes to the door, opens it and stands watching them too.

When Frank reaches Watts, he removes his sunglasses.

WATTS: Looks like the body count's going to hold steady at four.

FRANK: Could have been worse.

WATTS: It would have been a lot worse, if you hadn't found him. pause Thought you'd better have this.

He hands Frank the envelope. Inside are the file and the video from the drug trial.

FRANK: David Marx? Did you see it?

Watts doesn't answer him directly.

WATTS: Why you were at that trial, whatever you were after...

He looks over towards Jordan, then back at Frank.

WATTS: ...that's your business.

He turns to leave.

FRANK: Peter. Thank you.

WATTS: I'll see you.

Watts gets into his car and Frank walks back to the gate, looks up and sees Catherine sitting on the steps with Jordan, waiting for him to return.


Inside. Frank shows Catherine the David Marx file. He shows her the black and white photo of himself, with his hands and head resting against the broken glass.

FRANK: No secrets.

She looks through the photos and sees the one where he's looking directly at the camera.

FRANK: I got drawn into these trials because I wanted to find out something. A few weeks ago, when Helen was abducted, something happened that made me wonder - if Jordan has this thing that I have.

CATHERINE: I know that you don't want her to see the things that you've seen.

FRANK: We don't want her to live in a world where those things exist, but she does. And if Jordan has any part of my gift, then we'll be there, to guide her.

He holds his wife's face cupped in his hands when Jordan comes running into the room.

JORDAN: Daddy, Daddy, Daddy!

FRANK: Yes!

He lifts her up and carries her.

JORDAN: Come and see what Benny can do!

He carries her into the other room.

JORDAN: I taught him myself.

FRANK: You did?

Catherine sits alone with the file in her hands. Offstage, Jordan can still be heard.

JORDAN: Okay, Benny, sit. Good boy! Good boy!

fade to black